CORO CORO HAYDN Symphonies Nos. 49 and 87 MOZART: Sinfonia Concertante Harry Christophers & Handel and Haydn Society cor16168 Aisslinn Nosky violin, Max Mandel viola “Christophers once again demonstrates that his 203-year old band are in rude health” gramophone HAYDN

London Symphony HAYDN Symphonies Nos. 26 Lamentatione and 86 MOZART: Violin Concerto No. 3 No. 99 Harry Christophers & Handel and Haydn Society cor16158 Aisslinn Nosky violin Harmoniemesse “Symphonies, nos. 26 (Lamentatione) and 86… are rendered with vigor and style” the arts fuse

HAYDN The Creation Harry Christophers Harry Christophers & Handel and Haydn Society Handel and Haydn Society Sarah Tynan, soprano, Jeremy Ovenden tenor, Matthew Brook bass

cor16135 “Harry Christophers, the artistic director, led a performance that Mireille Asselin was brilliant… From the opening through the final, buoyant chorus, Christophers emphasized both the music’s dramatic contours and its Catherine Wyn-Rogers almost boundless well of character.” the boston globe Jeremy Budd Sumner Thompson To find out more about CORO and to buy CDs visit

www.thesixteen.com cor16176 ne of the many delights of being Artistic Director of America’s oldest continuously fact that he was writing for a paying audience, but also the press and their daily music criticism Operforming arts organisation, the Handel and Haydn Society (H+H), is that I am given – something which didn’t happen on the continent. London loved him and his Symphony the opportunity to present most of our concert season at Boston’s glorious Symphony Hall. No. 99 was not to disappoint. One critic hailed it as “a composition of the most exquisite kind, Built in 1900, it is principally the home of the Boston Symphony Orchestra, but it has been rich, fanciful, bold and impressive”. The woodwind writing in the second movement Adagio is our primary performance home since 1900 as well, and it is considered by many, with some simply exemplary and demonstrates his mastery of symphonic art. Haydn was out to enlighten justification I would add, to be one of the finest concert halls in the world. It is that classic and delight and its Finale certainly achieves the latter. He litters the movement with numerous ‘shoebox style’ reminiscent of the Musikverein in Vienna; the acoustics are quite superb and, jokes of instrumentation and the overall effect is quite simply breathtaking. despite its size – c.2500 capacity – perfect for playing on period instruments. I feel very privileged to have taken this august Society into its Bicentennial; yes, the Handel On this live recording, we present a programme devoted to our namesake, Haydn. Having and Haydn Society was founded in 1815. Handel was the old, Haydn the new (he had just completed our cycle of his Paris symphonies (COR16104, COR16113, COR16139, COR16148, died in 1809), and what we can do is continue to perform the music of the past but strip away COR16158 & COR16168) it is high time we featured some of his outstanding Masses but set the cobwebs and reveal it anew. This recording of music by Haydn was made possible by alongside a symphony reflecting the sentiments of the Mass. TheHarmoniemesse was to be individuals who are inspired by the work of the Handel and Haydn Society. Our sincere thanks one of Haydn’s last major works and what a Mass; “not of the gloomy, suffering sort but rather go to all of them. cheerful and reconciled” so said his friend and biographer, Georg Griesinger. Full of harmony it is, but the reason for the nickname is because it is one of the early examples where a full wind band (“harmonie” in German) is employed in addition to the customary strings thus making it the largest orchestra in any Mass by Haydn. It is also the most richly and colourfully scored of his Masses blending intense drama with sumptuous mellowness, at times playful and ecstatic but always ravishing. The Benedictus is, without doubt, the most unexpected of movements. “The beautiful Mass in B-flat Major of 1802, the last of the six mass settings Haydn composed Unlike the customary pastoral feeling most composers of the classical era adopted, Haydn in Vienna following his return from London… exploits the complementary functions of chorus demands a brisk Molto Allegro sung and played to achieve a hushed and restless effect. Even and soloists—in this case the excellent soprano Mireille Asselin, mezzo-soprano Catherine Wyn- more of a surprise is the ebullient closing section of the Agnus Dei where dramatic fortissimo Rogers, tenor Jeremy Budd, and baritone Sumner Thompson. The 34-person chorus executed its fanfares herald in the Dona nobis pacem resulting in a feeling of total assurance. role with tremendous sensitivity and fine projection.” I also nickname his incredible Symphony No. 99 “Harmonie” as it is one of the early examples the boston musical intelligencer in symphonic repertoire of that extensive use of the wind band. This is one of Haydn’s twelve “London” symphonies composed between 1791 and 1795 when London was the indisputable This recording has been made possible through the generous support of the following: musical capital of Europe. Its musical life fascinated Haydn and he clearly enjoyed not only the Peacewoods Charitable Fund Peter G. Manson & Peter A. Durfee

2 3 Joseph Haydn (1732–1809) Joseph Haydn (1732–1809) Symphony No. 99 in E flat major, Hob.I:99 Symphony No. 99 in E-flat major, Hob.I:99 Mass in B flat major, Hob.XXII:14Harmoniemesse 1 Adagio – Vivace assai 8.40 2 Adagio 7.47 The death of Prince Nikolaus Esterházy the summer of 1792 and was followed by a in 1790 brought an important change in second visit in 1794-5, had a rejuvenating 3 Menuet & Trio: Allegretto 5.16 the life of his court music director, Joseph effect that was to fuel his creative powers not 4 Finale: Vivace 4.44 Haydn. Haydn had served the Esterházys only while he was in London, but for the next for nearly 30 years, and, now approaching decade as well. Mass in B-Flat Major, Hob. XXII 14 Harmoniemesse his sixties, had scarcely ventured outside the 50-mile triangle between the Prince’s Central to Haydn’s fame in England were 5 Kyrie 7.35 Viennese residence and his country palaces his 12 ‘London’ symphonies, known today 6 Gloria 2.08 at Eisenstadt and Eszterháza. Nikolaus’s as Nos. 93-104 (though the numbering does 7 Gratias agimus tibi 5.39 successor Anton did not share his father’s not reflect their order of composition). These 8 Quoniam tu solus sanctus 3.31 enthusiasm for music, however, and were state-of-the-art examples of the genre 9 disbanded the court music, retaining Haydn which found a new gestural breadth and Credo 2.51 only in a titular capacity. It was now, as public revelled in the sonorities of Salomon’s large bl Et incarnatus est 2.59 eagerness to see the man acknowledged orchestra. Symphony No. 99 – composed bm Et resurrexit 4.36 as the greatest living composer grew ever back home in Vienna and first heard at the bn Sanctus 2.35 stronger, that the London-based impresario start of the 1794 London season – is the first Johann Peter Salomon took the opportunity Haydn symphony to require clarinets, and bo Benedictus 4.24 to engage Haydn for a residency at his the added grandeur they bring is apparent bp Agnus Dei 5.39 concert series in Hanover Square. By early right from the big chords of the first 1791 Haydn was in England and being fêted movement’s opening. As in most of Haydn’s Total running time 68.25 in a way that he could never have imagined late symphonies, this is an imposing and back home. The adventure, which lasted until probing slow introduction, but the main part

4 5 of movement is full of drive and energetic had acquired as Europe’s most famous The Harmoniemesse was the last of these Thursday 9 September. Left at 9 o’clock for bonhomie, with a leaning, lilting second and venerable composer. Life was great masses, and, uniquely, a description the hunt, having been roused by horns… theme that is used to push the music in a good: his London trip had made him a survives of the first performance, which took after this a superb concert directed by number of directions throughout the central relatively wealthy man; his professional place on 8 September 1802 in the Bergkirche, Haydn and consisting of the most beautiful development section and again after the obligations to the Esterházys continued a church in the grounds of the palace at parts of the Mass.” theme’s formal recapitulation. to be undemanding; and he had taken a Eisenstadt. The diary of Prince Starhemberg, townhouse in Vienna for the first time since a visiting Austrian diplomat, tells us of the As is the case with most of Haydn’s late masses, The G majorAdagio has been called by the the 1750s. In the light of all this, he could occasion, as well as revealing something of the name by which this one is now known 20th-century analyst Donald Tovey ‘one of have been forgiven if in his final years he Haydn’s now elevated social status: was not given to it by the composer, but arose Haydn’s most majestic things’, and its rich had contented himself with composing a some time after his death. It does not refer detailing includes some exquisite writing for few trifles, happy to live off the reputation “we went in a large cortège of many carriages to any particular characteristics of the music the woodwind, not just in their exchanges he had made for himself in an astonishingly to Mass. The Mass superb, new and itself, but rather to its scoring; “Harmonie” with the strings but also in a passage of vast and varied corpus of works. Yet Haydn excellent music by the famous Haydn and was the German word for a wind band, and warmly throbbing accompaniment towards was still full of adventure. While in London conducted by him… Nothing could have the orchestra for this mass, unusually for its the end. The Menuet has the ebullient, get- he had heard Handel’s oratorios performed been more beautiful or better executed; time, features a full complement of Classical on-with-it quality (as well as some of the on a giant scale in Westminster Abbey, and after the Mass, returned to the palace… An wind instruments – flute and pairs of oboes, off-beat accents) of an early Beethoven drawn from them the inspiration to come immense dinner afterwards, as excellent as clarinets, bassoons, horns and trumpets scherzo, and is coupled with a Trio whose home and compose two rich and uplifting it was well-attended, with music during the (plus timpani) – alongside the expected strangely disconnected feel owes much to oratorios of his own, The Creation and The meal. Toasts to the Princess proposed by strings, organ, vocal soloists and choir. Thus its being in the unexpected key of C major, Seasons. And in his principal remaining the Prince, and answered by fanfares and to this ‘Mass with wind band’ there is a remote from the symphony’s home key of E duty for the Esterházys – the apparently cannonades – then more toasts, including special richness and depth to the sound, and flat. The work ends with a boisteroussonata- unpromising one of composing a mass to for me, and for Haydn (who was dining while wind solos are not frequent, where rondo, featuring some typically Haydnesque mark the nameday each September of the with us), proposed by myself. they do appear they are keenly effective. surprise turns, and some delicious whimsy Prince’s wife, Princess Marie Hermenegild from the woodwind. – he found a new vehicle for his boundless After dinner, in evening dress to the ball, Haydn had written masses on and off since creative energy, and produced between 1796 which was quite superb, like a court ball. his earliest days as a composer 50 years By the end of the 1790s, Haydn was and 1802 six sacred choral masterpieces of The Princess opened with a menuet à before, and was largely happy to follow many basking in the esteem and recognition he truly symphonic breadth and vigour. quatre. After that, nothing but waltzes. of the genre’s accepted formal practices. Thus

6 7 we get such tried and tested constructional tender and lyrical, and set for soloists, Haydn procedures as a Gloria in three sections, the instead writes a swift-moving, largely choral HAYDN first a fast one led off by the solo soprano, the movement suggestive of excited anticipation; Mass in B-flat major, Hob.XXII:14 central one (starting at “Gratias agimus tibi”) shortly afterwards, an unexpected switch of being slower and more reflective, and the key (to G major) imparts a special radiance Harmoniemesse last (from “Quoniam, tu solus sanctus”) fast to the opening part of the Agnus Dei, before again and culminating in a vigorous fugue. resolving on to the home key of B flat for the

The Credo follows a similar scheme, but with closing “Dona nobis pacem”. 5 even more purpose, as the central section KYRIE (from “Et incarnatus est”) allows for a gloomy Haydn claimed that he had “toiled wearily Mireille Asselin soprano, Catherine Wyn-Rogers mezzo-soprano, contemplation of the Crucifixion to contrast and laboriously” on the Harmoniemesse, Jeremy Budd tenor, Sumner Thompsonbaritone with the subsequent noisy celebration and indeed this was to be his last major Kyrie eleison. Lord, have mercy on us. of the Resurrection (“Et resurrexit”). But composition. But if he was an artist reaching Christe eleison. Christ, have mercy on us. conventional though these strokes may the end of his creative life, you would never Kyrie eleison. Lord, have mercy on us. be, Haydn’s genius and confidence imbues guess so from the fresh and inspiriting work them with all the same strength, vitality with which he signed off. and momentum that had flooded out in the 6 London symphonies just a few years before. © Lindsay Kemp, 2019 GLORIA And he did have some surprises up his sleeve: Mireille Asselin soprano the “Kyrie eleison” is conventionally noble and Gloria in excelsis Deo. Glory be to God on high. devout in tone, but is here a self-contained Et in terra pax hominibus bonae voluntatis. And on earth peace to men of good will. movement, drawing the words “Christe Laudamus te, benedicimus te, We praise You, we bless You, eleison” unto itself rather than allotting adoramus te, glorificamus te. we worship You, we glorify You. them a contrasted central paragraph of their own; the Sanctus intensifies the volume and harmonic interest with each of its opening declarations, before breaking out in joy; and where traditionally the Benedictus would be

8 9 7 Gratias agimus tibi 9 CREDO Mireille Asselin soprano, Catherine Wyn-Rogers mezzo-soprano, Jeremy Budd tenor, Sumner Thompsonbaritone Jeremy Budd tenor, Sumner Thompsonbaritone Credo in unum Deum I believe in God, Gratias agimus tibi We give thanks to You Patrem omnipotentem, the Father almighty, propter magnam gloriam tuam. for Your great glory. factorem caeli et terrae, maker of heaven and earth, Domine Deus, rex caelestis, Lord God, heavenly King, visibilium omnium et invisibilium. and of all things visible and invisible. Deus Pater omnipotens. God the Father almighty. Et in unum Dominum, Jesum Christum, And in one Lord Jesus Christ, Domine Fili unigenite, Jesu Christe. O Lord, the only-begotten Son, Jesus Christ. Filium Dei unigenitum, the only begotten Son of God, Domine Deus, Agnus Dei, Filius Patris. Lord God, Lamb of God, Son of the Father. et ex Patre natum ante omnia saecula. begotten of his Father before all worlds. Qui tollis peccata mundi, You who take away the sins of the world, Deum de Deo, lumen de lumine, God of God, light of light, miserere nobis. have mercy upon us. Deum verum de Deo vero, very God of very God, Qui tollis peccata mundi, You who take away the sins of the world, genitum, non factum, begotten, not made, suscipe deprecationem nostram. receive our prayer. consubstantialem Patri, being of one substance with the Father, Qui sedes ad dexteram Patris, You that sit at the right hand of the Father, per quem omnia facta sunt. by whom all things were made. miserere nobis. have mercy upon us. Qui propter nos homines Who for us men et propter nostram salutem and for our salvation descendit de caelis. came down from heaven. 8 Quoniam tu solus sanctus Mireille Asselin soprano, Catherine Wyn-Rogers mezzo-soprano, bl Jeremy Budd tenor, Sumner Thompsonbaritone Et incarnatus est Mireille Asselin soprano, Catherine Wyn-Rogers mezzo-soprano, Quoniam tu solus Sanctus, For You alone are holy, Jeremy Budd tenor, Sumner Thompsonbaritone tu solus Dominus, You alone are the Lord. Tu solus Altissimus, Jesu Christe. You alone are the most high, Jesus Christ. Et incarnatus est de Spiritu Sancto And was incarnate by the Holy Ghost Cum Sancto Spiritu With the Holy Spirit ex Maria Virgine et homo factus est. of the Virgin Mary and was made man. in gloria Dei Patris. in the glory of God the Father. Crucifixus etiam pro nobis, And was crucified also for us Amen. Amen. sub Pontio Pilato; under Pontius Pilate; passus et sepultus est. he suffered and was buried.

10 11 bm Et resurrexit bn SANCTUS Mireille Asselin soprano, Sonja DuToit Tengblad 2nd soprano, Chorus Catherine Wyn-Rogers mezzo-soprano, Sanctus, sanctus, sanctus Holy, holy, holy Jeremy Budd tenor, Stefan Reed 2nd tenor, Dominus Deus Sabaoth. Lord God of hosts. Sumner Thompsonbaritone Pleni sunt caeli et terra gloria tua. Heaven and earth are full of Your glory. Et resurrexit tertia die, And the third day He rose again Hosanna in excelsis. Hosanna in the highest. secundum scripturas, according to the scriptures; et ascendit in caelum, and ascended into heaven sedet ad dexteram Dei Patris, and is seated at the right hand of God the Father, et iterum venturus est cum gloria and He will come again with glory bo BENEDICTUS judicare vivos et mortuos, to judge both the living and the dead; Mireille Asselin soprano, Catherine Wyn-Rogers mezzo-soprano, cujus regni non erit finis. whose kingdom shall have no end. Jeremy Budd tenor, Sumner Thompsonbaritone Et in Spiritum Sanctum, And I believe in the Holy Ghost, Dominum et vivificantem, the Lord and giver of life, Benedictus qui venit in nomine Domini. Blessed is He that comes in the name of the Lord. qui ex Patre Filioque procedit; who proceeds from the Father and the Son; Hosanna in excelsis. Hosanna in the highest. qui cum Patre et Filio simul who with the Father and Son together adoratur et conglorificatur; is worshipped and glorified; qui locutus est per Prophetas. He has spoken through the Prophets. bp Et unam sanctam catholicam And I believe in one holy, catholic AGNUS DEI et apostolicam ecclesiam. and apostolic church. Mireille Asselin soprano, Catherine Wyn-Rogers mezzo-soprano, Confiteor unum baptisma I acknowledge one baptism Jeremy Budd tenor, Sumner Thompsonbaritone in remissionem peccatorum. for the remission of sins. Agnus Dei, Lamb of God, Et expecto resurrectionem mortuorum And I look for the resurrection of the dead, qui tollis peccata mundi, Who takes away the sins of the world, et vitam venturi saeculi. and the life of the world to come. miserere nobis. have mercy on us. Amen. Amen. Agnus Dei, Lamb of God, qui tollis peccata mundi. Who takes away the sins of the world. Dona nobis pacem. Grant us peace.

12 13 Handel and Haydn Society Orchestra Handel and Haydn Society Chorus Harry Christophers Artistic Director Funded in perpetuity by Jane and Wat Tyler

Violin I Cello Horn Soprano Alto Tenor Bass Aisslinn Nosky * Guy Fishman § Todd Williams § Jessica Cooper Doug Dodson Jonas Budris Glenn Billingsley Concertmaster Chair Nancy & Richard Lubin Chair Grace & John Neises Chair Cassandra Extavour Katherine Growdon Marcio de Oliveira Woodrow Bynum funded by Rhoda & Paul Joss Sarah Freiberg Elisabeth Axtell Maggie Finnegan Catherine Hedberg Ethan DePuy Jacob Cooper Susanna Ogata Michael Unterman Elise Groves Margaret Lias Alexander Nishibun Bradford Gleim Trumpet Adriane Post Shirley Hunt Monica Hatch Miranda Loud Stefan Reed* Scott Allen Jarrett Karen Dekker Jesse Levine Bass Bruce Hall MaryRuth Lown Emily Marvosh Jason Wang Craig Juricka Jane Starkman Nacole Palmer Clare McNamara Patrick T. Waters David McFerrin Abigail Karr Pippa Macmillan § Timpani Carey Shunskis Caroline Olsen Steven Caldicott Wilson David Tinervia Krista Buckland Reisner Amelia Peabody Chair Douglas Balliett Jonathan Hess § Sonja DuToit Tengblad* Violin II Barbara Lee Chair, Sarah Yanovitch * = soloist in Et resurrexit (track bm) Christina Day Martinson § Flute in memory of John Grimes Dr. Lee Bradley III Chair Emi Ferguson § Fiona Hughes Andrea LeBlanc Organ Johanna Novom Ian Watson Oboe Chair funded in Francis Liu Debra Nagy § Maureen Murchie perpetuity in memory Chair funded in part by of Mary Scott Morton Guiomar Turgeon Dr. Michael Fisher Sandler Julie Leven Priscilla Herreid Photograph: Sam Brewer Sam Photograph: Viola Clarinet Karina Schmitz § Eric Hoeprich Chair funded in memory Diane Heffner of Estah & Robert Yens Anne Black Bassoon Jenny Stirling Andrew Schwartz § * = concertmaster Emily Rideout Marilyn Boenau § = principal

Handel and Haydn Society 14 15 Harry Christophers is also Principal the Royal Welsh College of Music and Harry Christophers Guest Conductor of the Granada Drama, and has Honorary Doctorates Appointed Artistic Director of the Handel Symphony Orchestra and a regular guest from the Universities of Canterbury and Haydn Society (H+H) in 2008, Harry conductor with the Academy of St Martin Christ Church and Leicester. He was Christophers began his tenure with the 2009- in the Fields. He is an Honorary Fellow awarded a CBE in the 2012 Queen’s 2010 Season and has conducted H+H each of Magdalen College, Oxford, as well as Birthday Honours.

season since September 2006, when he led Rosner Stu Photograph: a sold-out performance in the Esterházy Palace at the Haydn Festival in Eisenstadt, Austria. Leading up to the organisation’s

2015 Bicentennial, Christophers and H+H embarked on an ambitious artistic journey with a showcase of works premiered in the Handel and Haydn Society United States by H+H since 1815, education The Handel and Haydn Society (H+H) H+H also provides engaging, accessible, and programming, community outreach activities is internationally acclaimed for its broadly inclusive music education to over and partnerships, and the release of a series of performances of baroque and classical 10,000 children each year through in-school recordings on the CORO label. music. Based in Boston, H+H’s Period music instruction and a Vocal Arts Program Instrument Orchestra and Chorus delight that includes six youth choruses. Christophers is known internationally as including a Grand Prix du Disque, numerous more than 50,000 listeners each year founder and conductor of the UK-based Preise der Deutschen Schallplattenkritik with a nine-concert subscription series Founded in Boston in 1815, H+H is the oldest choir and period instrument orchestra, (German Record Critics Awards), the coveted at Symphony Hall and other leading continuously-performing arts organisation The Sixteen. He has directed The Sixteen Gramophone Award for Early Music, and the venues in addition to a robust program of in the United States, and is unique among throughout Europe, America, and the Asia- prestigious Classical Brit Award (2005) for his intimate events in museums, schools, and American ensembles for its longevity, Pacific region, gaining a distinguished disc entitled Renaissance. In 2009 he received community centres. Under the leadership capacity for reinvention, and distinguished reputation for his work in Renaissance, one of classical music’s highest accolades, the of Artistic Director Harry Christophers, the history of premieres. H+H began as a choral baroque, and 20th- and 21st-century music. Classic FM Gramophone Awards Artist of ensemble embraces historically informed society founded by middle-class Bostonians In 2000 he instituted The Choral Pilgrimage, the Year Award; The Sixteen also won the performance, bringing classical music to who aspired to improve the quality of a tour of British cathedrals from York to Baroque Vocal Award for Handel Coronation life with the same immediacy it had the singing in their growing American city. They Canterbury. He has recorded over 150 titles Anthems, a CD that in addition received a day it was written. Through the Karen S. named the organisation after two composers for which he has won numerous awards, 2010 Grammy Award nomination. and George D. Levy Education Program, – Handel and Haydn – to represent both

16 17 Mireille Asselin soprano Mireille Asselin enjoys a diverse, international career spanning concert, recital and opera repertoire, singing a wide range of musical periods and styles. To date, she has sung five seasons at the Photograph: Lara Silberklang Photograph: Metropolitan Opera. Recent engagements have included Garsington Opera in England, the Champs-Elysees in Paris, Odyssey Opera in Boston, and a return to Carnegie Hall. Other appearance have been with Minnesota © Kristin-Hoebermann Photograph: Orchestra, National Symphony Orchestra, Les Violons du Roy, Festival Lanaudière, Opera of the Palace of Versailles and the the Cecilia Chorus, Opera Columbus, Wolf Handel and Haydn Society in Boston. Trap Opera and the symphony orchestras of Her recordings include two albums of Calgary, Edmonton and Kitchener-Waterloo. Canadian repertoire. Born in Ottawa, she As a respected performer of early music, is a graduate of the Royal Conservatory of the old music of the 18th century and what 2,000 performances before a total audience Mireille appears with Opera Atelier, the Music, Canadian Opera Company Studio was then the new music of the 19th century. exceeding 2.8 million. Boston Early Music Festival, the Royal and Yale University. In the first decades of its existence, H+H gave the US premieres of Handel’s Messiah In addition to its subscription series, tours, (1818), Haydn’s The Creation (1819), Verdi’s and broadcast performances, H+H reaches Requiem (1878), and Bach’s St Matthew a worldwide audience through ambitious Passion (1879). Between 2014 and 2016, recordings including the critically acclaimed H+H celebrated its Bicentennial with two Haydn The Creation, the best-selling Joy seasons of special concerts and initiatives to to the World: An American Christmas, and mark two centuries of music making. Since Handel Messiah, recorded live at Symphony its founding, H+H has given more than Hall under Christophers’ direction. 18 19 Catherine Wyn-Rogers mezzo-soprano Jeremy Budd tenor Catherine Wyn-Rogers studied at the Royal Born in Hertfordshire, Jeremy started College of Music and works with Diane out as a chorister at St Paul’s Cathedral Forlano. She performs regularly with: BBC in London before going on to study at the Proms, where she was a memorable Last Royal Academy of Music. Since finishing Night soloist; Three Choirs, Edinburgh and his studies he has been much in demand on Aldeburgh festivals; Bayerische Staatsoper; the concert platform predominantly for his and for the Royal Opera House, Covent Baroque repertoire. Jeremy has worked with Garden, where her many roles have included many of the foremost conductors in this field Mrs Sedley and Auntie (Peter Grimes), including Sir John Eliot Gardiner, Harry

First Norn (Götterdämmerung), Erda (Das Foster-Williams © Paul Photograph: Christophers, Paul McCreesh, John Butt, Rheingold and Siegfried), Sosostris (The Bernard Labadie and Jeffrey Skidmore. Midsummer Marriage), Magdalene (Die Meistersinger von Nürnberg), Geneviève Notable performances have included a tour (Pelléas et Mélisande) and Filipyevna of Monteverdi’s Vespers of 1610 with Harry (Eugene Onegin). She has also appeared Christophers and The Sixteen, an abridged with the houses of Chicago, Houston, performance of Bach’s St Matthew Passion Milan, Amsterdam, Dresden, Madrid and in collaboration with Streetwise Opera Paris, at Scottish Opera, Welsh National and The Sixteen, the Evangelist in Bach’s Opera and Opera North, and for the St Matthew Passion at Symphony Hall Salzburg, Glyndebourne and Verbier with Jeffrey Skidmore and Ex Cathedra, festivals; and in concert with Andrew Davis, Monteverdi’s Madrigals with Jonathan Barenboim, Slatkin, Haitink, Colin Davis, Cohen and Arcangelo in Saffron Hall, also performed Gibbons’ Verse Anthems Rozhdestvensky, Mackerras, Norrington, Purcell’s King Arthur with Paul McCreesh with Fretwork and toured Bach’s Christmas Gardner, Harding and Mehta. and also a programme of Purcell Odes in Oratorio with Masaaki Suzuki and the the Wigmore Hall. Recently Jeremy has Orchestra of the Age of Enlightenment.

20 21 Sumner Thompson baritone Sumner Thompson has been hailed as “the Produced, Edited & Mixed by Raphaël Mouterde real thing” by The Cleveland Plain Dealer Recording Engineer: James Donahue and praised for his “elegant style” by The Assistant Engineers: Nick Squire, Joel Watts, Eliot Bayless Boston Globe. He has appeared on operatic stages from Boston to Copenhagen, Recorded Live at: Symphony Hall, Boston, USA, 25 & 27 January 2019 including the Boston Early Music Festival’s Cover image: ‘London Up-West’, 2001 (oil on canvas), Francis Farmar, productions of Conradi’s Ariadne and © Bridgeman Images Lully’s Psyché and in the title role of Editions: Haydn Symphony No. 99: Haydn-Mozart Presse (Universal Edition) Monteverdi’s Orfeo with Contemporary Haydn Harmoniemesse: Bärenreiter Opera Denmark. Design: Andrew Giles – [email protected] He has performed as a concert soloist with many leading ensembles, including 2019 The Sixteen Productions Ltd. the Britten-Pears Orchestra, the National © 2019 The Sixteen Productions Ltd. Symphony, Apollo’s Fire, Pacific Baroque Made in Great Britain Orchestra, Les Boréades de Montréal, Mercury Baroque, Les Voix Baroques, Boston Baroque, and Tafelmusik, and is a soloist on Handel and Haydn Society’s 2014 For further information about the Handel and Haydn Society call + 1 617 262 1815 recording of Handel’s Messiah on CORO. or e-mail [email protected] www.handelandhaydn.org

For further information on CORO call +44 (0) 1865 793999 or e-mail: [email protected] www.thesixteen.com

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