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Home , Antiphon, Carlo Gesualdo, Dominus (title), Most Serene Republic, Nigel North, Psalm 112 (Bruckner)

Vespro della Beata Vergine

Versicle & Response: GREEN MOUNTAIN PROJECT Deus in adjutorium / Domine ad adiuvandum Jolle Greenleaf artistic director music director Antiphon I: Jolle Greenleaf soprano Dixit (Psalm 109) Molly Quinn soprano for one voice: Nigra sum (adapted from Song of Songs) alto Aaron Sheehan alto Jason McStoots tenor Antiphon II: Quando natus es James Reese tenor Laudate pueri (Psalm 112) Aaron Sheehan tenor Motet for two voices: Pulchra es (Song of Songs 6:3-4) Sumner Thompson tenor Mischa Bouvier Antiphon III: Laetatus sum (Psalm 121) Dongmyung Ahn Motet for three voices: Duo seraphim (adapted from Isaiah 6:3 & John 5:7) Daniel Elyar Jason McStoots, James Reese, and Aaron Sheehan Jessica Troy Ezra Seltzer cello Antiphon IV: Anne Trout Nisi Dominus (Psalm 126) Daniel Swenberg Motet for one voice, and at the end for six voices: Audi coelum Charles Weaver organ

Antiphon V: Ecce Maria genuit DARK HORSE CONSORT Lauda Jerusalem (Psalm 147) Greg Ingles Sonata sopra Santa Maria Ora pro nobis Alexandra Opsahl cornett : Liza Malamut GREEN MOUNTAIN SCHOLA chant leader 2 Et exultavit 8 Esurientes 3 Quia respexit 9 Suscepit Israel 4 Qui fecit 10 Sicut locutus est 7pm, January 2 and 3, 2020 5 Et misericordia 11 Gloria Patri Church of Saint Jean Baptiste 6 Fecit potentiam 12 Sicut erat in principio and then three, Audi coelum for one tenor with an echo, culmi- Notes Sonata for eight instruments and one In 1610 was 43 years old and had long vocal line chanting an eleven-fold to the Virgin. been employed at the Gonzaga court in the northern - paid, and unhappy. His wife had died in 1607 and a young a prospective employer (the , say, to whom the print is protegée who was scheduled to sing the lead in his opera dedicated). On the one hand, he could compose according to Arianna died of smallpox the following year. Even the air the strictest rules of 16th-century counterpoint (the ). On of Mantua did not agree with him. His father, a physician, the other, he could combine the most ancient melodies of the Church (plainchant) with the most up-to-date compositional the about the waist and he feared, wrote Monteverdi in a letter in December of 1608, that “the air accomplishment here is all the more astonishing when one alone could be the death of me before long.” Monteverdi - are simple recitation formulas that serve to intone any num- ber of verses of unmeasured poetry and consist mainly of one employment in a more welcoming and more salubrious note repeated as needed to accomodate any number of syl- environment. While there is no proof, many scholars believe that the great publication of 1610 from which this songs” or emphasize his mastery of virtuosic vocal evening’s is drawn represents Monteverdi’s bid Sonata sopra Sancta Maria and the concerted demonstrate his command of instrumental techniques. - FOR THE MOST HOLY teverdi did not get a job at the Vatican. Three years later, how- VIRGIN, ever, he was appointed maestro di cappella , the most prestigious ecclesiastical position in northern A MASS FOR SIX VOICES . He remained in the post, honored and celebrated by the [FOR CHURCH ] , until his death in 1643. AND VESPERS TO BE SUNG BY SEVERAL VOICES, the versicle Deus in adiutorium and its response, Domine ad WITH SEVERAL SACRED SONGS, SUITED FOR CHAPELS OR THE CHAMBERS OF PRINCES the canticle , as well as various and oth- THE WORK er items. A short antiphon precedes and follows each of the OF CLAUDIO MONTEVERDI, and the , the same antiphon serving as in- RECENTLY COMPOSED troduction and afterword. The six antiphons vary according AND DEDICATED TO THE MOST BLESSED POPE PAUL V. to the liturgical occasion: their texts relate the psalms and the Venice, by Ricciardo Amadino. canticle to the season or feast being observed. On an ordi- 1 6 1 0. nary day all these texts would be chanted, but on important feasts in 17th-century Italy, a religious establishment of any size or musical ambition would have sung at least some of the based on a motet by the early 16th-century composer Nicolas psalms and the in . It was also common to replace the repeat of the plainchant antiphon with a piece the prima pratica, perfectly suited to the conservative tastes of polyphonic music, whether vocal or instrumental. For exam- of the dedicatee’s Sistine Chapel . The music for Vespers ple, a 1639 ordinance governing in Venetian confrater- which follows consists of the response (“- dum me”) to the plainchant versicle which opens the Vespers service (“Deus in adiutorium ; and two settings of the , one with composer living in Venice in the late 1640s mentioned that at and one without instruments. A rubric in the Bassus genera- Vespers in various churches “a sonata or motet was always lis performed between the psalms.” the Blessed Virgin in the concerto , composed on cantus - Monteverdi’s 1610 collection supplies polyphonic settings of and employ all the modern techniques of the avant-garde Vespers on a Marian feast, the Marian hymn - “concerto style” and the seconda pratica, of which Monteverdi la, and two versions of the . There are also those items, the “several sacred songs,” which are interspersed with which may be intended as antiphon substitutes. In short, the the psalms. These are scored for increasing number of parts, publication provides almost all the music one might desire Nigra sum for one, Pulchra es for two, Duo seraphim for two for a sumptuous celebration of Mass and Vespers on a great

3 Marian feast day. Almost all, for if the “sacred songs” are meant to serve as antiphon substitutes, one might have expected 2). Besides being the Marian feast closest to today’s date in Monteverdi to include six, since antiphons are required for . A grand setting of Christmas, was regarded as the last feast of the long Christ- the could have rounded out the collection, as that motet Duo seraphim seems to sit oddly in the midst of all the nicely seasonal feel to them. Marian texts: could it really have been sung in a Marian Ves- A few other features of this evening’s performance are worth pers? These and other issues have led many scholars and perform- was clearly the norm in Monteverdi’s time for music “in the style.” Altus parts (those second from the top) are rather as a collection from which one might draw as needed— sung either by high tenors, as Monteverdi would have had, or a female alto. The highest parts are sung by women rather than may be correct, but it may also be unnecessary, from a prac- falsettists, castrati, or boys. Since we have chosen the Magni- tical, 17th-century point of view, to draw a distinction between the two. Monteverdi composed the music for use in Vespers hand, we have scored some sections of the psalms with dou- services, not for a concert in our sense of the term, and his bling instruments. We perform at A466 (one semitone above Vesperae lend themselves to diverse uses—a church musician the modern standard of 440), which is the most common pitch might select a piece or two for a given occasion, for example, of and other wind instruments which survive from or plan a Vespers service without all the extra instruments in Monteverdi’s time and was the general standard in Venice and which the response is chanted, the ritornellos for - northern Italy. The many changes between duple and triple nus and the hymn are omitted (a rubric in the Bassus generalis meter that occur in the music are handled proportionally, in the traditional manner of Monteverdi’s 16th-century training. This last detail points in a small way to one reason why Monteverdi’s Vespers of 1610 is so rich and compelling. Born in almost certainly not created together at one time, do consti- 1567, Monteverdi was a musician with one foot in the Renais- sance and one in the Baroque; indeed, he was one of the prin- cipal innovators who created the new style on the foundation Monteverdi’s page calls the collection Vesperae, Vespers, not simply Salmi and new made for a heady brew indeed. The 1610 collection, publications of Vespers music. Each sort of use, including a which was assembled in part from pre-existing music, is a daz- - meaningful whole out of the print’s constituent parts. lyphony of the 16th century, now to the harmonic audacities of As for the “sacred songs,” it is quite possible that their place the basso continuo era, answering (for example) the massive in the print, interspersed between the psalms, is merely the polychoral splendor of Nisi Dominus with the astonishing solo Audi - coelum—all leading to the most directly personal and touch- quence simply the consequence of adhering to the common practice of ordering pieces by number of voices. It is never- directly: “Blessed art thou, Virgin Mary, world without end.” The Vespers of 1610 juxtaposes old and new, spiritual and theat- motets were often used in place of antiphons. Furthermore, I rical, solo and choral, personal and hieratic. Finally, the foun- liturgically permissible in early 17th-century Italy to be certain - that Duo seraphim might not somehow belong in a Marian pers is, in short, one of the most profound, most spiritual, most Vespers. Of the four motet texts in the 1610 collection, Duo ser- historically aware, most musically audacious, most entertain- aphim ing and deeply moving variety shows ever conceived, sure to It is a little hard to imagine why the text was so exceedingly 2110 as it does today. popular if its use was strictly limited to the Feast of the Trinity —Scott Metcalfe and possibly Saint Michael and the Angels. Our concert performance is not a service or a reconstruction of one, but it mirrors the plan of a festive Vespers, with each psalm preceded by a plainchant antiphon and followed by a sacred song. We have chosen the antiphons for First Vespers

4 Texts and Translations

Deus in adjutorium meum intende. Domine ad adjuvandum me festina. Glory be to the Father, and the Son, and the Holy Spirit: sicut erat in principio, et nunc, et semper, as it was in the beginning, is now, and forever shall be, et in secula seculorum. Amen. world without end. Amen. Antiphon I O admirabile commercium: creator generis humani animatum corpus sumens, de virgine nasci dignatus est: assuming a living body, deigned to be born of a virgin: et procedens homo sine semine, and becoming a man without seed, largitus est nobis suam deitatem. enriched us with his divinity.

Dixit Dominus Domino meo: sede a dextris meis, The said to my Lord: be seated at my right hand, donec ponam inimicos tuos scabellum pedum tuorum. Virgam virtutis tuae emittet Dominus ex Sion: The Lord shall send the rod of your strength out of Zion: dominare in medio inimicorum. reign in the midst of your enemies. Tecum principium in die virtutis tuae: Yours is the foundation in the day of your power: in splendoribus sanctorum ex utero in the splendor of holiness, from out of the womb, ante luciferum genui te. before the morning star I have borne you. Juravit dominus et non penitebit eum: The Lord has sworn and will not repent: tu es sacerdos in aeternum you are a priest for ever secundum ordinem Melchisedech. Dominus a dextris tuis The Lord at your right hand confregit in die irae suae reges. Judicabit in nationibus, implebit ruinas: conquassabit capita in terra multorum. he will shatter heads in the populous land. De torrente in via bibet: propterea exaltabit caput. therefore he will hold his head high. Gloria patri… Glory be to the Father… Nigra sum Ideo dilexit me rex et introduxit in cubiculum suum et dixit mihi: Surge, amica mea, et veni. and said to me: Arise, my love, and come away. Iam hiems transiit, imber abiit et recessit, Now the winter has passed, the rains are over and gone, tempus putationis advenit. the time of pruning is come. Antiphon II scripture: sicut pluvia in vellus descendisti, ut salvum faceres genus humanum: te laudamus, deus noster. Laudate pueri Dominum: Praise the Lord, O children: laudate nomen Domini. praise the name of the Lord. Sit nomen Domini benedictum, May the name of the Lord be blessed, ex hoc nunc et usque in seculum. from this time forth and for evermore. A solis ortu usque ad occasum, From sunrise until sunset, laudabile nomen Domini. worthy of praise is the name of the Lord. Excelsus super omnes gentes Dominus, High above all nations is the Lord, et super coelos gloria eius. and his glory above the heavens. Quis sicut Dominus Deus noster, qui in altis habitat, et humilia respicit in coelo et in terra: and beholds the humble in heaven and earth: Suscitans a terra inopem raising the helpless from the earth et de stercore erigens pauperem, and lifting from the dungheap the poor man, Ut collocet eum cum principibus, to place him alongside princes, cum principibus populi sui? with the princes of his people? Qui habitare facit sterilem in domo, a joyful mother of children? Gloria patri… Glory be to the Father… 5 Pulchra es, amica mea, You are beautiful, my love, a sweet and comely daughter of Jerusalem. Pulchra es, amica mea, suavis et decora sicut Jerusalem: You are beautiful, my love, sweet and comely as Jerusalem: terribilis ut castrorum acies ordinata. terrible as the sharp lines of an army’s camp. Averte oculos tuos a me, quia ipsa me avolare fecerunt. Antiphon III Rubum quem viderat Moyses incombustum, In the bush that Moses saw burning, yet unconsumed, conservatam agnovimus tuam laudabilem virginitatem: we recognize your virginity, gloriously preserved: dei genitrix, intercede pro nobis. O Mother of God, intercede for us. Laetatus sum in his quae dicta sunt mihi: I was glad when they said unto me: in domum Domini ibimus. we shall go into the house of the Lord. Stantes erant pedes nostri Our feet were standing in atriis tuis Jerusalem: within your gates, O Jerusalem: Jerusalem, which is built as a city cuius participatio eius in idipsum. that is compact together. Illuc enim ascenderunt tribus, tribus Domini, For thither ascend the tribes, the tribes of the Lord, testimonium Israel. to testify unto Israel, Quia illic sederunt sedes in judicio, For there are set the seats of judgment, sedes super domum David. the thrones over the house of David. Rogate quae ad pacem sunt Jerusalem O pray for the peace of Jerusalem, et abundantia diligentibus te. and abundance to those who love you. Fiat pax in virtute tua Peace be within your strength, et abundantia in turribus tuis. and abundance within your towers. Propter fratres meos et proximos meos loquebar pacem de te. Propter domum Domini Dei nostri quaesivi bona tibi. I have sought good things for you. Duo seraphim clamabant alter ad alterum: Two seraphim were calling one to the other: Sanctus, sanctus, sanctus Dominus Deus Sabaoth: Holy, holy, holy Lord God of Hosts: plena est omnis terra gloria eius. the whole earth is full of his glory. Tres sunt qui testimonium dant in coelo: There are three who give testimony in heaven: pater, verbum, et spiritus sanctus: the Father, the Word, and the Holy Spirit: et hi tres unum sunt. and these three are one. Sanctus, sanctus, sanctus Dominus Deus Sabaoth: Holy, holy, holy Lord God of Hosts: plena est omnis terra gloria eius. the whole earth is full of his glory. Antiphon IV Germinavit radix Jesse, orta est stella ex Jacob, virgo The root of Jesse has blossomed, the star of Jacob has risen: peperit salvatorem: te laudamus, Deus noster. a virgin has brought forth the savior: we praise you, our God. Nisi dominus Except the Lord build the house, they labor in vain that build it. Nisi dominus custodierit civitatem, frustra vigilat qui custodit eam. Vanum est vobis ante lucem surgere: surgite It is vain for you to rise before dawn: rise postquam sederitis, qui manducatis panem doloris: after you have sat down, you who eat the bread of sorrow: cum dederit dilectis suis somnum. for he has given his beloved sleep. Behold, children are an inheritance of the Lord: merces, fructus ventri. and the fruit of the womb, a reward. Sicut sagittae in manu potentis: As arrows in the hand of the mighty, so are children of the vigorous. Beatus vir qui implevit desiderium suum ex ipsis: non confundetur cum loquetur inimicis suis in porta. to his enemies at the gate. Gloria Patri… Glory be to the Father…

6 Audi coelum verba mea, Hear, O heaven, my words, plena desiderio full of desire et perfusa gaudio. Audio. I hear. Dic, quaeso, mihi: quae est ista Tell me, I pray: who is she quae consurgens ut aurora rutilat, ut benedicam? Dicam. shines, that I may bless her? I shall tell. Dic, nam ista pulchra ut luna, Tell, for she is beautiful as the moon, electa ut sol replet laetitia terras, coelos, maria. Maria. the earth, the heavens, and the seas. . Maria virgo illa dulcis, Mary, that sweet virgin, praedicata de prophetis Ezechielis foretold by the prophet Ezechiel, porta orientalis, Talis. gate of the rising sun, Such is she. Illa sacra et felix porta, that holy and happy gate per quam mors fuit expulsa, through which death was expelled, introducta autem vita, Ita. but life brought in, . quae semper tutum est medium who always is a sure mediator inter homines et Deum, between man and God, pro culpis remedium. Medium. a remedy for our sins. A mediator. Omnes hanc ergo sequamur, All, let us all then follow her quae cum gratia mereamur by whose we obtain vitam aeternam. Consequamur. . Let us follow. Praestet nobis Deus Pater May God the Father grant us this, hoc et Filius et Mater, and the Son and the Mother, cuius nomen invocamus, dulce miseris solamen. Amen. sweet solace for the unhappy. Amen. Benedicta es, Virgo Maria, Blessed are you, Virgin Mary, in seculorum secula. world without end. Antiphon V Ecce Maria genuit nobis salvatorem, quem Joannes Behold, Mary has given birth to our savior. When John saw videns exclamavit dicens: ecce agnus Dei, ecce qui tollit him, he exclaimed: Behold the Lamb of God, behold him peccata mundi, alleluia. Lauda, Jerusalem, Dominum: Praise the Lord, O Jerusalem, lauda deum tuum, Sion. praise your God, O Sion. Quoniam confortavit seras portarum tuarum: For he has strengthened the bars of your gates: he has blessed your children within you. et adipe frumenti satiat te. Qui emittit eloquium suum terrae: He sends forth his commandment upon the earth: velociter currit sermo eius. very swiftly runs his word. Qui dat nivem sicut lanam: nebulam sicut cinerem spargit. Mittit cristallum suum sicut bucellas: ante faciem frigoris eius quis sustinebit? in the face of his cold, who shall stand? Emittet verbum suum, et liquefaciet ea: He will send out his word and melt them: Qui annuntiat verbum suum Jacob: He reveals his word to Jacob, justitias et judicia sua Israel. his statutes and judgements unto Israel. Non fecit taliter omni nationi: He has not dealt so with any other nation, et judicia sua non manifestavit eis. and he has not shown his judgements to them. Gloria Patri… Glory be to the Father… Sancta Maria, ora pro nobis. Holy Mary, pray for us. Ave maris stella, Dei mater alma, Hail, star of the sea, nurturing mother of God Atque semper virgo, felix coeli porta. and perpetual virgin, happy gate of heaven.

7 Sumens illud ave, Gabrielis ore, Receiving that “ave” from the mouth of Gabriel, Funda nos in pace, mutans Evae nomen. give us peace in abundance, reversing the name “Eva.” Solva vincla reis, profer lumen caecis, Loose the chains of the guilty, bring light to the blind, Mala nostra pelle, bona cunctis posce. Monstra te esse matrem: sumat per te , Show yourself to be a mother: May he receive through you Qui pro nobis natus, tulit esse tuus. our prayers who, born for us, deigned to be yours. Virgo singularis, inter omnes mitis, Peerless virgin, gentle above all others, Nos culpis solutos mites fac et castos. Vitam praesta puram, iter para tutum, Grant us a pure life, prepare us a secure way, Ut videntes Jesum semper collaetemur. that, seeing , we may rejoice forever. Sit laus Deo Patri, summo Christo decus, Praise be to God the Father, honor to Christ the most high, Spiritui Sancto, trinus honor unus. Amen. and to the Holy Spirit, triple honor in one. Amen. Senex puerum portabat, puer autem senem regebat: The elder carried the boy, but the boy ruled the elder: quem virgo peperit, et post partum virgo permansit, whom the virgin bore, and after birth she remained a virgin, ipsum quem genuit, adoravit. and him to whom she gave birth, she adored. anima mea dominum, et exaltavit spiritus meus in deo salutari meo. and my spirit has rejoiced in God my savior. Quia respexit humilitatem ancillae suae, ecce enim For he has regarded the lowliness of his handmaiden: ex hoc beatam me dicent omnes generationes. behold, henceforth all generations shall call me blessed. Quia fecit mihi magna qui potens est, For he that is mighty has made me great, et sanctum nomen eius. and holy is his name. Et misericordia eius a progenie in progenies And his mercy is on them that fear him, from generation timentibus eum. to generation. Fecit potentiam in bracchio suo: dispersit He has shown strength with his arm: he has scattered superbos mente cordis sui. the proud in the imagination of their hearts. Deposuit potentes de sede He has put down the mighty from their seat et exaltavit humiles. and exalted the humble. Esurientes implevit bonis, et divites dimisit inanes. and the rich he has sent empty away. Suscepit Israel puerum suum, He has helped his servant Israel, recordatus misericordiae suae. in remembrance of his mercy. Sicut locutus est ad patres nostros, As it was promised to our forefathers, Abraham et semini eius in secula. to Abraham and his seed forever. Glory be to the Father, and the Son, and the Holy Spirit. Sicut erat in principio, et nunc, et semper, As it was in the beginning, is now, and forever shall be, et in secula seculorum. Amen. world without end. Amen.

8 Biographies

TENET Vocal Artists celebrates its 11th anniversary season in 2019-20. Under Artistic Director Jolle Greenleaf, TENET Vocal Artists has won acclaim for its innovative programming, virtuosic singing and command of repertoire that spans the to the present day. Highlights of recent seasons include performances of J.S. Bach’s St. Matthew Passion, St. John Passion, Bach’s motets, Handel’s Messiah, a three-year cycle of Carlo Gesualdo’s Responsories, and about women in 17th century Italy. Renowned for their interpretations of and Baroque repertoire, TENET Vocal Artists’ distinguished soloists have been praised for their pristine one-voice-to-a-part singing “to an uncanny degree of precision” (The Boston - Costa Rica International Music Festival, Montreal Baroque Festival, and many other festivals and prominent locations throughout the United States, America and .

Period violinist Dongmyung Ahn is a performer, educator, and scholar, whose interests span from the twelfth to eighteenth cen- performance schedule. She has been invited to play with many turies. She is co-founder of Guido’s Ear and regularly performs diverse groups across the nation and regularly ap- with the Sebastians, TENET, Early Music New pears with the Atlanta Baroque (Artistic Director), New Trinity. She has also played the in the The Robert Mealy), Apollo’s Fire, Les Délices, the Boston Early Music at the Cloisters. A dedicated edu- cator, Dongmyung is the director of the Queens Alabama-born baritone Mischa Bouvier continues to impact au- College Baroque Ensemble and has taught mu- sic history at Vassar College and Queens Col- ability, and a “soothing, cavernous baritone that can soar to heights lege. She is a Ph.D. candidate in musicology at of lyric beauty” (Opera News). He has performed the Graduate Center, CUNY, where she was a recipient of the with a wide array of ensembles including the Or- Chancellor’s Fellowship and published an article on medieval lit- urgy in the Rodopi series . - Julie Andrijeski enjoys both teaching and performing early music ists, the Princeton Glee Club, the Mirror Visions and dance. As a full-time Lecturer at Case Western Reserve Uni- Festival of Song, Musica Sacra Maastricht, the performance practices, teaches lessons in ba- roque , and directs the baroque orchestra, Thomas Choir of Men and Boys, Bronx Opera, and Christopher chamber, and dance ensembles. Her combined Williams Dance, and with the of Boston, Alabama, Col- - sas. Mischa holds degrees from Boston University and the Uni- at colleges and universities such as the Oberlin versity of Cincinnati’s College-Conservatory of Music. Conservatory, Indiana University, Juilliard, the Daniel Elyar is an active performer and recording artist and has University of Southern California, and the Univer- specialized in baroque performance practice in Europe and North America for over twenty years. Mr. Elyar has performed and re- teaches both violin and dance at several festivals including those in Oberlin (BPI), Madison (MEMF), and Vancouver, BC (BIP). In ad- d’Amsterdam, Teatro Lirico, Concerto Palatino, Les Arts Floris- 9 sants, the Boston Early Music Festival Orches- ionalis, and the Yale Choral Artists, in addition to being a member of theGrammy-nominated The Newbury Consort, Ensemble REBEL (NYC), Choir of Trinity Wall Street. As for new music, he NY State Baroque, Tempesta di Mare, Philomel, Bach Festival of Philadelphia, Clarion Players - and Choir (NYC) and the Trinity Baroque Orches- ble, among others. As an opera singer, he has tra. Mr. Elyar is happily a founder member of the performed with Bard Summerscape, Opera Om- - nia, Musica Nuova, and Union Avenue Opera. He studied at Yale University and Indiana University, and is also a vo- years at the Settlement in Philadelphia. From 2014 cal coach/accompanist. to 2016 Mr. Elyar directed the Renaissance Collegium at Temple attended the Interlochen Arts and went on University. to graduate from the Oberlin Conservatory. Two days after gradu- ation Greg won the position of Solo in the Hofer Sym- The New York Times as a “golden soprano” and “a major force in the New United States and completed both a Master’s - and Doctoral degree in trombone performance terpreter of the music of Bach, Buxtehude, Han- - - - teverdi. She has performed as a soloist in venues ver and Ciaramella and has played with such ensembles as the American Bach Soloists, Cha- Central America for exceptional presenters in- tham Baroque, Concerto Palatino, The Handel cluding Vancouver Early Music Festival, Den- - tional Music Festival, Puerto Rico’s Festival Casals, Utrecht brass music of the 17th century. He recently played with the Globe Festival, at Panama’s National Theater, and San Cristobal, the Ca- Theater in their Broadway debut. He is currently the Lecturer in Music Festival each summer. specializes in vital, engaging performances of music of the past, through processes Hailed by The New York Times as an “elegant,” “rich toned alto” with that are intensely collaborative and historically informed. As the “riveting presence,” Grammy© Award winning mezzo-soprano artistic director of the acclaimed baroque en- Virginia Warnken Kelsey - multiple large-scale collaborations with TENET poraries. In recent seasons Virginia has been Vocal Artists and performs Bach’s six sonatas for seen on the main stages of Lincoln Center, Car- violin and obbligato . In recent sea- negie Hall, and Disney Hall, and has been fea- tured as the alto soloist in Handel’s Samson, Haydn, the Saint Paul Chamber Orchestra, Quod- Bach’s B Minor Mass, Handel’s Messiah, Mozart’s libet, and the Boston Early Music Festival. For the , and most recently in Bach’s Mat- past thirteen seasons, he has also toured portions of the rural thäus Passion at both the Spoleto Festival and - Detroit, Michigan, he holds degrees from Harvard College, the citing and unique performances of avant -garde 20th and Juilliard School, and Carnegie Mellon University, and teaches at - Yale University. Hank Heijink has played all over the world with leading ensem- has taught privately and guest lectured at Yale, Princeton, Wil- - others. Wooster Group. As a member of the European Union Baroque Orchestra, he toured extensively Liza Malamut, trombone, is an active performer throughout the throughout Europe, Asia, Scandinavia. He has United States and abroad. She has appeared with groups such as collaborated with Richard Egarr, Nigel North, and and others. Liza has a DMA in Historical Perfor- part in productions including Purcell’s Dido and mance from Boston University. She received an Aeneas, John Blow’s Venus and Adonis, Cavalli’s American Fellowship from the American Associ- La Didone, and Monteverdi’s Il ritorno d’Ulisse in Patria integration of historical pedagogy with main- can be heard on the ensemble’s entire discography and as a so- stream teaching. Liza served as Visiting Lecturer loist on UNO + ONE: Italia Nostra and . A native of Eindhoven in the Netherlands, he holds a performance degree and 2018, and she most recently co-founded Incantare, an en- from the Royal Conservatory of the Hague, a master’s degree in computer science, and a Ph.D. in social sciences. and 17th centuries. Steven Hrycelak, a bass from Rochester, NY, is equally at home Reviewers describe Jason McStoots as having an “alluring tenor performing early and very new music. He appears regularly with voice” (ArtsFuse) and as “the consummate artist, wielding not just - a sweet tone but also incredible technique and impeccable pro- 10 ionalis, and the Yale Choral Artists, in addition to nunciation”. () In 2015 he won a GRAMMY cording of Handel’s . She has performed as a soloist being a member of theGrammy-nominated with the Boston Early Music Festival (BEMF) for - Choir of Trinity Wall Street. As for new music, he the music of Charpentier. Solo appearances in- ter of NYU, in Vancouver’s Chan Centre, San Cristobal Cathedral in clude Les plaisirs de Versailles (Charpentier), Or- Havana, Cuba, and the Carmen Alto Convent in Quito, Ecuador. - feo, Il ritorno d’Ulisse, 1610 Vespers (Monteverdi), Mack Ramsey has been a life-long specialist in performance on ble, among others. As an opera singer, he has (Mozart), performed with Bard Summerscape, Opera Om- Oratorio, St. Mark Passion (Bach), Dido and Aene- - nia, Musica Nuova, and Union Avenue Opera. He as (Purcell) and Messiah (Handel) with groups - studied at Yale University and Indiana University, and is also a vo- such as Boston Lyric Opera, Emmanuel Music, semble and has often appeared with other wind cal coach/accompanist. - tle Early Music Guild, Tragicomedia, Tanglewood Music Center, attended the Interlochen Arts Academy and went on The Whole Noyse. At home in the Boston area and Blue Heron. Recording credits include Lully’s , Han- to graduate from the Oberlin Conservatory. Two days after gradu- he plays with Boston Baroque and Handel and del’s Acis and Galatea, Blow’s Venus and Adonis and Charpentier’s ation Greg won the position of Solo Trombone in the Hofer Sym- Acteon with BEMF (CPO), Fischer Vespers (Toccata Classics), and Horse Consort in several Boston Early Music United States and completed both a Master’s Festival productions. He frequently travels to and Doctoral degree in trombone performance Alex Opsahl studied recorder with Peter Holtslag and Daniel - Bruggen at the Royal Academy of Music, and - - Consort, Mercury Houston, Opera LaFayette, Trinity Baroque Or- ver and Ciaramella and has played with such rum Basiliensis. Alex has performed with the chestra, and Clarion Society Orchestra. ensembles as the American Bach Soloists, Cha- Amsterdam Baroque Orchestra under Ton James Reese is a young tenor whose singing has been praised for tham Baroque, Concerto Palatino, The Handel - its “intensity and sensitivity...spirituality and eloquence.” ( enment, Boston Early Music Festival, the Green Hill Local) Recent and upcoming credits include performances Mountain Project, the Oslo Opera and Glyn- with Philharmonia Baroque Orchestra, the Cal- brass music of the 17th century. He recently played with the Globe debourne Opera. She recorded Vivaldi’s - gary Philharmonic, Gamut Bach Ensemble, and Theater in their Broadway debut. He is currently the Lecturer in - made his Carnegie Hall solo debut in Bach’s B Music Festival each summer. with the Norwegian Baroque Orchestra. Minor Mass Hailed by The New York Times as an “elegant,” “rich toned alto” with Mezzo-soprano Clara Osowski, who sings “from inside the music which wrote, “Re- “riveting presence,” Grammy© Award winning mezzo-soprano UK Telegraph), is an active Virginia Warnken Kelsey soloist and chamber musician throughout the United States and own over the long, gentle lines of the Benedic- - Europe. Hailed for her “rich and radiant voice” (Ur- tus.” James sings frequently with leading American choruses, in- poraries. In recent seasons Virginia has been ), select opera credits include cluding The Crossing, Santa Fe Desert Chorale, and Seraphic Fire. seen on the main stages of Lincoln Center, Car- Ruth, (Pirates of Penzance), Venus (Venus and He is a founding member of vocal sextet Variant 6. He holds de- negie Hall, and Disney Hall, and has been fea- Adonis), Zita (Gianni Schicchi), Mother (Amahl and grees from Northwestern University’s Bienen School of Music and tured as the alto soloist in Handel’s Samson, the Night Visitors), Dorabella (), and Yale University’s Institute of Sacred Music. Bach’s B Minor Mass, Handel’s Messiah, Mozart’s Cavalier Ramiro ( ). She was a Erik Schmalz , and most recently in Bach’s Mat- 2012 Metropolitan Opera National Council Up- thäus Passion at both the Spoleto Festival and per-Midwest Regional Finalist, the winner of the - He can be heard on numerous recordings, in- citing and unique performances of avant -garde 20th and runner-up in the 2016 Schubert Club Bruce P. Carlson Scholarship cluding a 2013 Grammy-nominated album by - Competition, and most recently in 2017 named the winner of the The Choir of Trinity Wall Street and The Trinity Ba- Houston Saengerbund Competition and placed third in the Mad- roque Orchestra, performing on period trom- ison Handel Aria Competition. Recognized for her excellence in bones, renaissance slide and recorder. has taught privately and guest lectured at Yale, Princeton, Wil- Minnesota, Clara was a recipient of the prestigious 2018-2019 This versatility led to him being cast as one of the seven instrumentalists in the recent Globe The- others. MacPhail Center for Music. ater’s productions of Richard III and Twelfth Night, Liza Malamut, trombone, is an active performer throughout the Hailed for her “radiant sweetness” by The New York Times, Molly United States and abroad. She has appeared with groups such as Quinn- ful interpretation of music from the medieval to Conservatory of Music and the University of CincinnatiCol- and others. Liza has a DMA in Historical Perfor- the modern. She has collaborated with notable lege-Conservatory of Music. He resides in Collinsville, Connecti- mance from Boston University. She received an cut where he also teaches early and modern low brass privately. American Fellowship from the American Associ- Portland Baroque Orchestra, Apollo’s Fire, Folger Consort, Bang on a Can All-Stars, Trinity Wall (Opera Britannia), cellist Ezra Seltzer has per- integration of historical pedagogy with main- Street, Ascension Music, Clarion Music Society, formed as guest principal cellist of the St. Paul stream teaching. Liza served as Visiting Lecturer - Chamber Orchestra, Musica Angelica, Orchester chestra, North Carolina Baroque Orchestra, Se- - and 2018, and she most recently co-founded Incantare, an en- roque Orchestra. He has also appeared as a so- Ensemble, and Acronym. Molly has also garnered acclaim for her loist and principal cellist at the Boulder Bach and 17th centuries. Festival, and is the associate principal cellist at She is a festival soloist at the Staunton Music Festival, and ap- Reviewers describe Jason McStoots as having an “alluring tenor - pears as a featured soloist at the Carmel Bach Festival. She was a voice” (ArtsFuse) and as “the consummate artist, wielding not just larly performs at Helicon Foundation Symposia, featured soloist on Trinity Wall Street’s Grammy Nominated re- a sweet tone but also incredible technique and impeccable pro- the 4x4 Festival, and at Music Before 1800, and is 11 a co-founder and principal cellist of the Sebastians. This season - he will also appear with the Portland Baroque Orchestra, Chica- - sort. With degrees from Eastman, Yale and University of Michigan, Aaron Sheehan performs in the United States, South America, Brass Antiqua (VA), and the Amherst and Madison Early Music and Europe. He sang the title role in Boston Early Music Festival’s Festivals. She happily lives in Ann Arbor, Michigan with her hus- Grammy Award winning recording of Charpentier’s opera La band Ron and 2 cats. . On the concert - Bassist Anne Trout performed, recorded and toured with most of the prominent early ensembles in North America for many years. He has performed at Tanglewood, Lincoln Cen- She is especially proud to be a long-time member of Aston Mag- ter, the Metropolitan Museum of Art, Washington na and to have been an active member of Han- National Cathedral, the Early Music Festivals of del & Haydn Society during the Hogwood years. Boston (BEMF), San Francisco, Vancouver, Often praised for her spirited and stylish contin- Washington DC, Carmel, Regensburg Tage Alter uo playing, she is sought not only for her experi- - ence but for her interest in new collaborations which this season include Blue Hill Bach, Vivaldi - Project and Four Nations. Anne serves on the faculties of Longy School of Music of Bard Col- roles in operas by Cavalli, Handel, Weill, Satie, and others. lege and Boston College. She has recently been named Baroque consultant for L’Archet Concert Group and performed on its series Daniel Swenberg- this season with the American Classical Orchestra. sance and Baroque , , Baroque and 19th century o Jessica Troy, viola, wears a variety of freelance hats. Since 1998 tune them. He performs regularly throughout Music Ensemble, from San Juan to Sydney, and appeared with Rebel, the Metropolitan Opera, the Carmel Bach Yo-Yo Ma across the US and Japan. On baroque Festival, Mr. Jones & the Engines of Destruction, viola, ensembles she performs frequently with include: the Sebastians, Trinity Baroque Orches- tra, Opera Lafayette, Concert Royal, Helicon, and Four Nations Enmble, Apollo’s Fire, the Green the 4 Nations Ensemble; she has guested with Mountain Project, and with soprano Nell Snaidas. Anima Eterna Brugge, and appeared with Renée - Fleming on the David Letterman Show. A mem- negie Hall. Daniel received awards from the Belgian American Educational Foundation (2000) for a study of 18th century cham- - ber music for the , and a Fulbright Scholarship (1997) to study monics, she performs frequently with many other area ensem- bles, including the Mostly Mozart Festival Orchestra and NOVUS - NY. She has recorded quartet parts for Lou Reed and Ani DiFran- ously with Pat O’Brien at Mannes College of Music, receiving a - Masters Degree in Historical Performance (Lute). vid Byrne. A participant at many illustrious music festivals, includ- ing Tanglewood, Spoleto, and Marlboro, she can be heard on Hailed as “the real thing” () and praised for Microludes for his “elegant style” (), Sumner Thompson is one of the , which she prepared with the composer. most sought-after young baritones today. His appearances on the operatic stage include the title role in Montever- Charles Weaver is on the faculty of the Juilliard School, where di’s L’Orfeo he teaches Historically Informed Performance Copenhagen), Uberto in (Apol- lo’s Fire), the Traveller in Britten’s for Cavalli’s - (Britten-Pears School and Aldeburgh Festival, te Opera in summer 2017, when La Bohème (Granite State Op- era), and the Count in Mozart’s Le Nozze di Figaro Charles Weaver...it was amazing to hear what (Commonwealth Opera). Mr. Thompson’s ap- warm and varied sounds he coaxed from the pearances in Chicago Opera Theatre’s productions of Britten’s ensemble.” He has served as assistant conduc- Death in Venice and Rossini’s Il Viaggio a Reims were also highly tor for Juilliard Opera, and accompanied operas praised. A favorite in top-tier early music circles, he has appeared with the Yale Baroque Opera Project and the Boston Early Music at the Boston Early Music Festival as the Satir in its recent produc- - tion of Conradi’s Ariadne. ro, Chamber Music Society of Lincoln Center, the Folger Consort, Kiri Tollaksen (cornetto) enjoys a varied career as a performer and teacher. Praised for her “stun- singers exploring seventeenth-century vocal music in semes- ning technique, and extreme musicality,” (Journal - of the International Trumpet Guild), and called an “excellent cornetto player” (The New York Times), Festival. This Summer he will join the faculty of the International Baroque Institute at Longy. He is associate director of music at St. America and Europe with such groups as Con- certo Palatino, La Fenice, Toronto Consort, Tenet, Renaissance polyphony and .. 12