JEAN-PHILIPPE RAMEAU (1683-1764) ANACRÉON (1754) Scène 6 1 Ritournelle [0.00] e Air pour les Bacchantes [0.00] r Gavottes 1 & 2 pour les Égipans et les Bacchantes [0.00] Scène 1 t Ariette: “Quand l’Amour enflamme nos cœurs” (Chloé) [0.00] 2 Air accompagné: “Mirthes fleuris, naissant feuillage” (Anacréon) [0.00] y Pantomime pour Silène et deux Bacchantes [0.00] u Airs 1 & 2 pour Silène et deux Bacchantes [0.00] Scène 2 i Ariette: “L’Amour, riant et sans bandeau” (Chloé) [0.00] 3 Récitatif: “Vous nous cachez l’objet” (Chloé, Anacréon) [0.00] o Tambourins 1 & 2 [0.00] Scène 3 p Trio: “Chantons Bacchus” (Chloé, Batile, Anacréon) [0.00] 4 Air accompagné: “Tendre Amour!” (Chloé) [0.00] a Chœur: “Chantons Bacchus” [0.00] (Chloé, Batile, Anacréon, Égipans et Bacchantes) Scène 4 s Contredanse [0.00] 5 Récitatif: “Ciel, c’est Batile... Hélas!” (Batile, Chloé) [0.00] Ariette: “Des Zéphyrs, que Flore rappelle” (Batile) Total timings: [43.00] Récitatif: “Dieux! vous pleurez!” (Batile, Chloé) 6 Air accompagné: “Mille fleurs parfument les airs” (Chloé) [0.00] Récitatif: “Dieux ! ces chants ne sont pas pour moi” (Batile, Chloé)

Scène 5 7 Air accompagné avec chœur: “Régnez” [0.00] MATTHEW BROOK ANACRÉON (Anacréon, jeunes Théoniens et Théoniennes) ANNA DENNIS CHLOÉ AGUSTIN PRUNELL-FRIEND BATILE 8 Airs Vifs 1 & 2 pour les jeunes Théoniens et Théoniennes [0.00] 9 Air accompagné: “Des caprices du sort” (Anacréon) [0.00] ORCHESTRA OF THE AGE OF ENLIGHTENMENT 0 Air pour les jeunes Théoniennes [0.00] THE CHOIR OF THE ENLIGHTENMENT q Récitatif: “C’est lorsque vous chantez” (Anacréon, Chloé, Batile) [0.00] JONATHAN WILLIAMS CONDUCTOR w Ariette: “Qu’Anacréon dans ce séjour” (Batile) [0.00] www.signumrecords.com Anna Dennis and Matthew Brook with Jonathan Williams and the OAE in rehearsal at the Sheldonian Theatre, Oxford, 9 November 2012 Anacréon in rehearsal at the QEH, 9 October 2014: an aegipan and two Bacchantes and (below) the Theonian maidens (images: OAE) (images: Oxford University)

- 4 - - 5 - Anacreon and the Anacréons Like Rameau’s masterpiece Pigmalion (1748), for performance in front of the king could Marivaux and Voltaire, the festival of music and Anacréon has come down to us as an opera be assessed. Just what the septuagenarian drama which took place during the six-week The wonderfully apt epigram found on the in one act, an acte de ballet. However, just Rameau thought of this vetting we don’t voyage of 1754 was a particularly remarkable one. frontispiece of his libretto for Anacréon reveals as Pigmalion was originally intended for know, but it must have been with some relief something of Louis de Cahusac’s fascination performance with other acts, it now seems that he eventually saw his Anacréon – with The newly completed Anacréon received two with the Greek philosopher-poet Anacreon. Born probable that Anacréon and the one-act a little further revision – given at the royal performances were on 23 and 26 October. These in Teos around 600 BC, Anacreon was well La naissance d’Osiris were once part of a château of Fontainebleau in October 1754. proved to be the only ones during Rameau’s known in eighteenth-century France through multi-act opera entitled Les beaux jours de lifetime for although Rameau and Cahusac translations of his Odes and through poems l’Amour. Begun during the early 1750s, this Anacréon at Fontainebleau subsequently made some important revisions about him by his Roman emulator, Horace (65–8 new work took the form of an opéra-ballet, to the work – namely reworking scene 2 and BC). Their musings on mortality and on the a popular kind of composite opera made of For Napoleon it was ‘the true home of kings, adding ‘Tendre Amour!’ – Anacréon was not consolations of wine, love, music and nature self-contained acts linked by a common the house of ages’. Situated some 40 miles heard again until a Paris Opéra production was resonated with many at the Court of Louis XV; theme. (Les Indes galantes is Rameau’s best- south of Paris, the chateau of Fontainebleau given in 1766, two years after Rameau’s death. they inspired in Cahusac (1706–1759) an overtly known example.) However, the many layers became a residence of the kings of France in After another short run in 1771, it suffered the literary libretto. Rameau was clearly intrigued by of revision found in the autograph score of the twelfth century. Under the influence of fate of his entire output and disappeared into Anacreon too: he composed two one-act operas an unfinished third act, ‘Nelée et Mirthis’, François I and his successors the chateau was obscurity. Only with the renewed interest in early featuring the poet, both called ‘Anacréon’. reveal that the project ran into difficulty and home to a movement known as the ‘school of music in the 1890s was Rameau rediscovered: That with a libretto by Cahusac was first was abandoned. Fontainebleau’ (c.1530 to c. 1610) and to the it was none other than Debussy who conducted performed in 1754 (now catalogued as finest works of art; it was here that the Mona an abridged version of Anacréon in 1909. Other no. 30 in the Rameau Catalogue Thématique Thankfully, this was not the end for Anacréon or Lisa resided for over a century before performances have been given since, but it was [RCT]) and the other – with a libretto by La Naissance d’Osiris for in 1754 an opportunity accompanying Louis XIV to Versailles. And it not until 2012 that the first complete concert Pierre-Joseph-Justin Bernard – was composed arose to perform them both separately at was to Fontainebleau that Louis XV’s several performance in modern times was given in for the reprise of Les surprises de l’Amour in Court. Being self-contained acts, the reworking thousand courtiers repaired each autumn to Oxford by the musicians heard on this 1757 (RCT 58). Remarkably, the two works have process should have been a simple matter. enjoy the varied amusements of hunting, recording. A further performance with Baroque neither music nor text in common. The opera The poor reception of new Rameau operas in gambling and amorous intrigue. Lavish official choreography by Edith Lalonger was given at presented here is the first of the two, and this 1753, however, seems to have led the courtier entertainments were staged too. All tastes the Queen Elizabeth Hall in 2014. is the first recording of the new edition published in charge of royal entertainments, the Duc were catered for and at great expense. With in the Société Jean-Philippe Rameau’s Opera d’Aumont, to organise two extraordinary performances of operas by Lully, Collasse, Omnia Rameau published by Bärenreiter. rehearsals at which the new works’ suitability Rameau and Mondonville and plays by Corneille,

- 6 - - 7 - Bringing Anacréon to life entirely lost. As a result, our version must players from Bohemia in the late 1740s. The man, admittedly very likable, but still the idea therefore be based on the material which two horn players of the Duc de Villeroy’s retinue of an old man, and such an amorous A vivid picture of Anacréon’s first performances originates from Rameau’s revised version must have been accomplished indeed to have character – or as Cahusac puts it, ‘ceaselessly can be recreated from numerous documents performed at the Paris Opéra in 1766 and 1771 dealt with Rameau’s challenging writing. playing with the Amours’ – borders on the now held in Archives nationales and – an incomplete set of orchestral and vocal comical, even the ridiculous. This first obstacle Bibliothèque nationale in Paris: the records parts, three incomplete scores and a printed The libretto had to be avoided...’. of the musicians, dancers and copyists libretto. In presenting this version, we hope employed, a bill from a carriage driver listing to reflect Rameau and Cahusac’s final Cahusac’s libretto is full of endeavour too. The The remarks of Thomas Moore in the preface to journeys made by Rameau to and from Paris thoughts on the work. opera is set in Anacreon’s gardens where we his 1806 translation of Anacreon’s Odes are (countersigned by Rameau himself) and find two youngsters, perhaps members of his useful too: ‘...the disposition of our poet was details of the refreshments and numbers of The music poetry academy. First is Chloe, whom Horace amiable; his morality was relaxed but not candles used in rehearsal. Invoices from the describes as a ‘trembling fawn’ and whose abandoned... He is sportive without being costume designer and jewellers describe in Cahusac described an opéra-ballet as being a very name (meaning ‘green’) emphasises her wanton, and ardent without being licentious’. great detail the clothes worn by the cast. succession of ‘pretty Watteaus’; and with its innocence. Here too is Bathyllus (Batile), a youth While some of the sentiments expressed by Also surviving are drawings by the stage fluid structure of recitatives, airs,ariettes whom the poet Anacreon describes in several the libertine Greek poet reportedly offended designers Sébastien-Antoine and Paul-Ambroise (virtuosic arias) and choruses, and with dance erotically-charged odes, an aspect omitted by the devout Queen Marie, the overall perception Slodtz of two pieces of scenery for Anacreon’s sequences which carry important narrative Cahusac. Nevertheless, the relationship between of Anacreon was one therefore of a benign, garden – ‘latticed arbours embellished with elements, Anacréon is a thoroughly French Anacreon and his young charges certainly jovial figure. gold [and] adorned with garlands of creation. However, we also witness Rameau raises questions of those performing the opera flowers’ to be placed in the wings and a seeking to keep his music in tune with the today. It is perhaps helpful therefore to bear in As in those for Les fêtes d’Hébé and Pigmalion, backdrop depicting ‘tree-lined avenues enriched very latest musical trends, particularly here mind the view of him found in the Mercure de the libretto’s underlying theme is the power with various flowers and a white marble from Bohemia. The unison phrases and France’s review of Anacréon in which Cahusac’s of the arts, in this case, the ability of palace’. If only this wealth of sources thrilling crescendos in the Ritournelle and first handling of the role is praised: Anacreon’s poetry to incite love. Bathyllus and extended to those for the music. From 1754 Air Vif are, for example, cutting-edge ideas Chloe identify their feelings for each other all that remains is an incomplete set of vocal drawn from the music of the Czech-born ‘It was intended in this ballet to portray a only through learning to perform Anacréon’s parts and the libretto printed for the Mannheim symphonist who worked in Paris character and that of Anacreon, the poet of verses ‘Des Zéphyrs’ (incidentally an adaptation audience. Missing are the autograph score, during the early 1750s, Johann Stamitz good humour and enjoyment, was not easy of Anacreon’s Ode 1, ‘Concerning his Lyre’) the production score and all of the orchestral (1717–57). Similarly, Anacréon’s prominent to develop on the opera stage. The name of and ‘Mille fleurs’. parts, including those of an Overture, now use of horns can be traced to the arrival of Anacreon represents to us the idea of an old

- 8 - - 9 - motion, indeed, was unspeakable gracefulness’, real and sustained. Like many opera plots, a member of his harem to be with her lover. as TWC Edwards describes them in his it is based on a narrative triangle – one With Bathyllus and Chloe’s marriage ensured, translations of Anacreon’s Odes (1830). At dominant character in whose hands rest the Anacreon’s poetry is now embodied in his two the head of this dynasty are Amour (Cupid) happiness of two others. Here, all hangs on disciples; his work – his ‘ouvrage’ – is complete. – the ‘arch, playful, dangerous urchin, armed Chloe’s inability to confront her mentor in with a bow, and a quiver full of arrows’ – scene 2, and the knot tightens until Anacreon So does this opera have a message, and, if and Bacchus, whose followers (the satyr-like himself provides the dénouement in scene 5. so, to whom from whom? One intriguing Silenus and the priestess Maenads or Nowadays, the deference which Bathyllus and possibility is that Anacréon may be one of Bacchantes) would dance and drink themselves Chloe show their elder is problematic; seen many works of art commissioned by the into a state of ecstatic frenzy and uncontrolled in the light of the hierarchal society found powerful courtier Madame de Pompadour in an sexual behaviour. It is a Bacchanalian at court (or in Anacreon’s poetry academy), attempt to persuade Louis to resume their celebration which is enacted at Anacreon’s however, where etiquette and status were loving relationship. But, as Anacréon himself academy in Scene 6, complete with procession, rigorously observed, this plot hinge becomes declares: ‘Let us surrender to sweet pleasure dancing and a rousing hymn. This provides more credible. Cahusac might have resolved each instant that remains; and let us run to Cahusac and Rameau with the pretexts the Anacreon triangle in a number of ways: the our dying day playing with the Cupids’. for spectacle, dance, mime and boisterous dénouement could be comic (with Anacreon Carpe diem! Perhaps this is message enough? music to be integrated into the fabric of humiliated at the altar), tragic (with Chloe the narrative. and/or Bathyllus committing suicide), or even Jonathan Williams, Oxford, June 2015. supernatural (with Amour descending from What does it all mean? on high to resolve matters). However, as the audience knows from the start, it has never We witness two friends being galvanised into been Anacreon’s intention to separate the Typically, the text alludes to numerous other admitting their love publicly only when their lovers – quite the opposite. No, what we mythological personages: Flora, Hymen, Hebe relationship is threatened, and when they have here is a fourth triangle, one motivated and Erigone (the deities of fertility, marriage, have fallen under the influence of Anacreon’s by Enlightenment ideals of sentiment and youth and fertility), Zephyrus (the seductive heady poetry. Taken at face value, the plot of generosity, such as is found in Rameau’s ‘Turc west wind) and the Graces, the ‘lovely virgins Anacréon may seem rather whimsical to the généreux’ from Les Indes galantes – and in whose forms were captivating, whose dresses modern opera-goer. In the hands of Rameau Mozart’s Die Entführung aus dem Serail – were elegant but simple, and whose every and Cahusac, however, such a drama becomes where the enlightened Pasha Osman releases

- 10 - - 11 - Anacréon Anacreon has fallen in love. Who is the lucky Scene 5 Synopsis girl who had inspired such romantic and Anacreon and his young Theonian followers amorous feelings? Charmed by her confusion, sing of the benefits of a life of pleasure. He Scene 1 he replies that it is in fact she who has been calls on Chloe to perform her verse. Fearful The aged poet Anacreon, alone in his gardens chosen by Cupid and that the celebrations and embarrassed, the two lovers struggle to designed for amorous intrigue, is enjoying the are, in fact, to be a wedding...! explain that their friendship has developed into cool shades and breezes scented with myrtle something greater. At last, Anacreon reveals blossom. He has organised a celebration Scene 3 that he has been teasing them; his purpose for later that day, the reasons for which he Alone, and realising only now that she has has been to make the friends acknowledge has kept secret, and at which he asked two feelings and hopes for a future with Bathyllus, their love for each other and, by coming between of the young charges at his poetry academy, Chloe appeals to Cupid to save her. them, to test the strength of their feelings. Bathyllus (Batile) and Chloe, to perform some Overjoyed, the young lovers are united. of his love poems. He is amused by the two Scene 4 youngsters’ growing affection for each other Bathyllus arrives, so engrossed in learning Scene 6 and reflects with pleasure on the discreet role Anacreon’s poem that he is unaware of The festivities – an enactment of a Bacchanalian he had played in nurturing their love. To help Chloé’s distress. He performs it to Chloe who, celebration – begin with dancing and with their love to blossom openly would be his on hearing its sentiments of love, is reduced Chloe’s songs of the pleasures of love. The crowning achievement. to tears. Fearing that they are to be separated merriment concludes with a chorus in praise forever, she tells a disbelieving Bathyllus of of Bacchus and Cupid, the gods of wine and Scene 2 Anacreon’s plans; the poem she is to sing love; may they reign forever! Chloe has been enjoying practising the verse only seems to confirm Anacreon’s intentions Anacreon has written for her and arrives and her fears. Inspired by the verses and by © Jonathan Williams, 2015 hoping to discover the reasons both for the their imminent separation, Chloe tells Bathyllus forthcoming festivities and the inspiration of her feelings for the first time. Before he behind such beautiful poetry. Still keeping his can reply, they are interrupted by the arrival intentions hidden, Anacreon avoids answering of the guests and the celebrations begin. and instead flatters and teases her, saying that he has been inspired by Cupid (Amour) himself. Misunderstanding, Chloe believes that

- 12 - - 13 - Anacréon SCÈNE 2 SCENE 2 A ballet héroïque in one act by Jean-Philippe Rameau. [The typically detailed formatting of the French text reflects Chloé, portant à la main des tablettes ouvertes, Anacréon Chloe, holding an open writing tablet, Anacreon Libretto by Louis de Cahusac. its metrical characteristics and follows that of the librettos printed in 1754 and 1766.] 3 CHLOÉ en gaité CHLOE gaily Vous nous cachez l’objet de la fête galante You are keeping from us the reason Dont vous annoncez les apprêts. for the celebration you have announced. 1 Ritournelle Ritournelle Le théâtre représente les jardins d’Anacréon, préparés The stage represents the gardens of Anacreon, prepared for ANACRÉON ANACREON pour une fête. a celebration. Chloé, vous la rendrez charmante. Chloe, you will grace it with your presence. Aux accents de Batile, à votre voix brillante My verses will owe much of their appeal SCÈNE 1 SCENE 1 Que mes vers vont devoir d’attraits ! to Bathyllus’s singing and to your silvery voice! Anacréon seul Anacreon alone CHLOÉ avec le sourire de sentiment CHLOE with a warm smile Prélude Prelude Le sentiment se peint dans ceux que je dois dire ; The feeling is conveyed in the words that I must speak; Eh, quel charmes encor pourrois-je leur prêter ! what further charm could I lend them? 2 [Air accompagné] [Accompanied Air] ANACRÉON ANACREON Air Air Mirthes fleuris, naissant feuillage, Blossoming myrtles, budding foliage, where ANACRÉON ANACREON Où Flore et les Amours ont fixé les Zéphyrs ; Flora and the Cupids have brought the gentle Zephyr breezes; C’est l’Amour qui me les inspire ; It is Cupid who inspires them in me; Berceaux charmants, que votre ombrage Enchanting groves, what joy C’est aux Grâces à les chanter. it is for the Graces that they are sung. Me promet encor de plaisirs ! does your shade yet promise me! Que j’aime à les voir rire et folâtrer ensemble ! How I love to see them laugh and play together! Je ne leur offre plus ces fleurs de mes beaux jours ; I can no longer offer them the flower of youth; Deux cœurs, que j’ai formés, qu’un doux penchant engage, Two hearts that I have shaped – now pledged to each other Mais je veux, près de moi, que l’Hymen les rassemble but I wish Hymen to unite them near to me Pensent qu’Anacréon ignore leur soupirs : - imagine that Anacreon is unaware of their tender sighs. Et les y fixe pour toujours. and keep them here for ever. D’ici je vois leur trouble et j’entends leur langage. But I see their distress and hear their exchanges. J’alarme, tour à tour, et flatte leurs désirs : Their longing I now kindle, now frustrate... CHLOÉ CHLOE J’aime à jouir de mon ouvrage : I enjoy relishing in my work Nommez-nous l’heureuse mortelle Tell us, who is the lucky mortal whom Et cet innocent badinage for this innocent amusement Dont l’Hymen, de vos jours va combler le bonheur ? Hymen has chosen to fill your days with happiness? De l’hiver de mes ans embellit les loisirs. brightens up the idle hours of my old age. Qu’elle sera chère à mon cœur ! How dear she will be to me! Tous nos chants, tous mes vœux ne seront que pour elle. All our songs, all my thoughts will be for her alone. Mirthes fleuris, naissant feuillage, Blossoming myrtles, budding foliage – Où Flore et les Amours ont fixé les Zéphyrs ; where Flora and the Cupids have brought the gentle Zephyr breezes; ANACRÉON à part ANACREON aside Berceaux charmants, que votre ombrage enchanting groves, what joys J’aime à jouir de son erreur. I love to play this little game on her confusion... Me promet encor de plaisirs ! does your shade promise me yet. haut aloud Tout me parle en votre faveur : It is in your favour that everything speaks to me: L’Amour vous a choisie et l’Hymen vous appelle. Cupid has chosen you; it is you that Hymen calls.

CHLOÉ à part CHLOE aside Qu’entends-je ? Ah, Dieux ! What do I hear? Ah, heavens!

- 14 - - 15 - Air Air ANACRÉON ANACREON ANACRÉON ANACREON Vous rougissez! Ce modeste embarras You are blushing! but this demure embarrasment L’esprit, les talents, la beauté, Spirit, talent, beauty: Vous donne une fraîcheur nouvelle : only lends you a new freshness: Vous avez tout, sans rien prétendre : you have them all; there is no doubting it. Je ne vous vis jamais si belle. I have never seen you so beautiful. Les Grâces ont moins de gaieté, The Graces have not your cheerfulness, à part aside Et je vous crois un cœur plus tendre. and I believe your heart is more tender. Ah, qu’à cet âge on a d’appas ! Ah, how alluring youth is at this age! haut aloud CHLOÉ CHLOE Mais je me dois aux soins de l’Hymen que j’apprête. But I must devote myself to the wedding preparations. Seigneur... Batile... Sir... Bathyllus... CHLOÉ à part, dans la plus grande trouble CHLOE aside, and greatly troubled ANACRÉON ANACREON Juste ciel ! quel Hymen ! Great heavens! What wedding? Eh bien ? Bathyllus…? ANACRÉON en s’en allant ANACREON leaving CHLOÉ CHLOE Je vais presser la fête. I am going to hurry along the celebrations. Chante-t-il dans nos jeux ? Will he be singing at our celebration? SCÈNE 3 SCENE 3 ANACRÉON ANACREON Chloé seule Chloe alone Oui, Batile y verra comme un bien précieux Yes, Bathyllus will be there to behold Les tendres soins où je me livre. the precious gift of affection I soon shall bestow. Prélude Prelude J’ai vu, sous ces berceaux, et je lis dans vos yeux Under these very bowers I have seen, and now read in your Les doux transports qui vont les suivre. eyes, the sweet transports which are to follow. 4 [Air accompagné] [Accompanied Air] CHLOÉ CHLOE CHLOÉ à part CHLOE aside Tendre Amour ! vole à mon secours. Gentle Cupid! Fly to my rescue. Le cruel a tout entendu ! The rogue – he’s heard everything! Une chaîne de fleurs, que tes feux ont fait naître, A sweet bond which your flames have created ANACRÉON à part ANACREON aside Doit, comme eux, triompher, toujours. must, like them, triumph still. Qu’elle a d’attraits dans ce trouble ingénu ! How captivating she is in this naïve confusion! Les vers d’Anacréon me les firent connaître ; Anacreon’s verses made me realise this; Qu’ils me présageoient de beaux jours ! they promised me such happiness! Air haut Air aloud Père aimable, généreux maître, Dear father, generous master, Comme une fleur, quand l’hiver cesse, Just as a flower, when winter draws to a close, Doit-il, dans leur printemps, en troubler l’heureux cours ? must he, at the very start, upset their happy course? Renaît, s’épanouit au souffle des Zéphyrs is reborn and blooms at the breath of the Zephyrs, Au feu de vos regards, où se peint la tendresse, in the fire of your tender gaze, Tendre Amour ! vole à mon secours. Gentle Cupid! Fly to my rescue. Je sens renaître les plaisirs : I feel pleasure reborn. C’est Hébé, sous vos traits, qui me rend la jeunesse. Hebe, in your features, makes me feel young again. Batile paroît au fond du théâtre, les yeux attachés sur des Bathyllus appears at the back of the stage, his eyes fixed on tablettes qu’il tient. the writing tablets he is holding. CHLOÉ CHLOE Seigneur... Sir...

- 16 - - 17 - SCÈNE 4 SCENE 4 CHLOÉ CHLOE Chloé, Batile Chloe, Bathyllus Je le chéris encor, je ne puis m’en défendre, I cherish him still – I cannot help it – Quoique sa flamme ait éclaté : even though his passion has been so suddenly revealed. 5 CHLOÉ CHLOE Que je l’aurois aimé, s’il eût été moins tendre ! How I would have loved him if he had been less affectionate! Ciel, c’est Batile... Hélas ! Heavens, Bathyllus is here… Alas! BATILE BATHYLLUS BATILE à part BATHYLLUS aside Quoi ! c’est Anacréon qui fait des malheureux ? What! Anacreon has brought on this misfortune? Que j’aime à les apprendre, How I love to learn these lines, Non, non ! il ne sait point les nœuds qui nous unissent. No! He is not aware of the bonds which bind us. Et que le chant en est heureux ! and how well-turned is their melody! Apercevant Chloé et courant à elle. Seeing Chloe and running to her. CHLOÉ CHLOE Ah, ma Chloé! daignez entendre Ah my Chloe! Would you care to listen Il sait tout. He knows everything! Ce que je chante dans nos jeux. to what I am singing at our celebrations? Il continue en lisant dans ses tablettes. He continues reading from the tablets. BATILE BATHYLLUS Á ses pieds allons mourir tous deux, Let us both go and fall at his feet, [Ariette] [Ariette] Ou que nos larmes le fléchissent. or that our tears may soften him. « Des Zéphyrs, que Flore rappelle, “I wanted to sing of the return Je voulois chanter le retour : of the Zephyrs whom Flora calls back: CHLOÉ CHLOE Je vis Chloé... Qu’elle étoit belle ! But I beheld Chloe – how beautiful she was! – Il n’est plus temps ; les jeux sont prêts : There is no time; the festivities are about to begin. Je ne pus chanter que l’Amour. and I could sing only of Cupid. L’espoir, qui l’a séduit, le décide et l’enchante. Hope, which has seduced him, persuades and bewitches him. Je lui consacrai, dès ce jour, I dedicated to him from this day forth En grand douleur In great distress Tous mes vœux, mes vers et ma lire : All my thoughts, my verses, and my lyre. Jugez de ses transports secrets Judge his secret passion C’est pour Chloé que je respire, It is for Chloe that I breathe, Par les vers qu’il veut que je chante. by the verses he wishes me to sing. Je ne chante qu’elle et l’Amour. » To her and to Cupid alone I sing.” Elle continue en lisant dans ses tablettes. She continues reading from her tablets.

Dieux ! vous pleurez ! Heavens! You’re crying! 6 [Air accompagné] [Accompanied Air] « Mille fleurs parfument les airs ; “A thousand flowers perfume the air; CHLOÉ fondant en pleurs CHLOE in floods of tears Le Zéphyr vole et les caresse. Zephyrus flies to them and caresses them. Hélas! cette fête, ces jeux Alas! This celebration, these festivities, Heureux oiseaux ! jamais vos ramages divers Happy birds! Never have your varied songs Sont des chaînes qu’on me prépare. are chains being prepared for me. N’ont exprimé tant de tendresse. expressed such tenderness. D’Anacréon enfin l’Amour fixe les vœux ; Anacreon’s wishes are those that Cupid at last fulfils; L’Amour, caché dans ces beaux lieux, Is it Cupid, hidden in this enchanting place, C’en est fait : pour-jamais, Batile, on nous sépare. it is all over. Bathyllus, we are to be parted forever. A-t-il pris soin de leur parure ? who is to be thanked for their loveliness? Non : il est dans mon cœur ; et sa flamme, à mes yeux, No, he is in my heart; and his flame, within me, BATILE BATHYLLUS Embellit toute la nature ! » enhances all of nature!” Qu’entends-je ?.. Anacréon !.. Dieux, quelle cruauté !.. What! Anacreon? O gods, such cruelty...! A ce coup devois-je m’attendre ? How could I have expected such a blow as this? BATILE BATHYLLUS Ses bienfaits me charmoient ; mon cœur étoit flatté His kindness fooled me; my heart dared believe Dieux ! ces chants ne sont pas pour moi, Heavens! This song was not meant for me; Que votre main pût en dépendre. that your hand could depend on it. Et je me plais à les entendre ? can it be that I delight in hearing it?

- 18 - - 19 - CHLOÉ CHLOE 9 [Air accompagné] [Accompanied Air] Batile, en te voyant, j’oubliois mon effroi. Bathyllus, seeing you made me forget my dread. ANACRÉON ANACREON Hélas, mon cœur croyoit t’apprendre Alas! my heart wished to speak to you of Des caprices du sort je crains peu les retours. I do not fear the twists of fate. L’amour dont il brûle pour toi. the love with which burns for you. Je jouis du présent, j’en connois l’avantage : I enjoy the moment; I know the benefits of living so: Je retrouve, au déclin de l’âge, In old age’s decline I rediscover On entend l’annonce de la fête. The announcement of the festivities is heard. Les jeux rians de mes beaux jours. the merry pastimes of my youth. BATILE ET CHLOÉ BATHYLLUS AND CHLOE Livrons aux doux plaisirs chaque instant qu’il nous reste ; Let us surrender to sweet pleasure each instant that remains; O ciel ! on vient. Oh heavens, they’re here! Et courons au terme funeste and to our dying day let us run, En jouant avec les Amours. playing with the Cupids. SCÈNE 5 SCENE 5 Anacréon, Chloé, Batile, Jeunes Théoniens et Théoniennes Anacreon, Chloe, Bathyllus, Teonian youths and maidens who Des caprices du sort je crains peu les retours. I do not fear the twists of fate. qui environnent Anacréon. surround Anacreon. Je jouis du présent, j’en connois l’avantage : I enjoy the moment; I know the benefits of living so. Je retrouve, au déclin de l’âge, In old age’s decline I rediscover Chœur [des jeunes Théoniens et Théoniennes] Chorus [of Teonian youths and maidens] Les jeux rians de mes beaux jours. the merry pastimes of my youth.

7 ANACRÉON [ET DES JEUNES THÉONIENS ET THÉONIENNES] ANACREON [AND THE TEONIAN YOUTHS AND MAIDENS] 0 Air [pour les jeunes Théoniennes] Air [for the Teonian maidens] Régnez, remplissez nos momens Reign, fill our hours, La fête continue. Anacréon joue pendant le ballet avec les The celebration continues. During the dance Anacreon plays Jeux charmans, charming sport, jeunes Théoniennes qui dansent. with the dancing Teonian maidens. Léger badinage. light dalliance. q ANACRÉON ANACREON ANACRÉON ANACREON C’est lorsque vous chantez que le plaisir commence ; It is when you sing that pleasure can begin: Mettre à profit tous les instans To put every moment to good use Chloé, faites briller vos aimables accents. Chloe, let your lovely voice shine forth! Est l’unique soin du vrai sage. is the only care of the truly wise. Il naît des fleurs dans tous les temps, There are flowers to be born at all times, CHLOÉ Á part et bas, à Batile, en grand douleur CHLOE aside and quietly to Bathyllus, in great distress Il est des plaisirs à tout âge. and pleasures to be had at every age. Un froid mortel glace mes sens. A mortal chill freezes my senses. ANACRÉON [ET DES JEUNES THÉONIENS ET THÉONIENNES] ANACREON [AND THE TEONIAN YOUTHS AND MAIDENS] ANACRÉON ANACREON Régnez, remplissez nos momens Reign, fill our hours, Batile, d’où naît son silence? Bathyllus, why is she silent? Jeux charmans, charming sport, Léger badinage. light dalliance. BATILE bas à Chloé BATHYLLUS quietly to Chloé Je tremble. I tremble. 8 Airs Vifs 1 et 2 Airs Vifs 1 and 2 [pour les jeunes Théoniens et Théoniennes] [for the Teonian youths and maidens] ANACRÉON à tous deux ANACREON to them both Mes regards semblent vous alarmer... But something in my looks seems to alarm you… On danse. Anacréon est au milieu du théâtre. La jeunesse They dance. Anacreon is at the centre of the stage. The young Ah, parlez ; c’est trop vous contraindre. Ah, speak! I don’t wish to press you. de Théos le pare de fleurs et le couronne de roses nouvelles. Teonians adorn him with flowers and crown him with fresh Je ne veux que me faire aimer ; My only wish is that you should love me; Batile et Chloé se placent avec timidité à l’un des deux côtés roses. Bathyllus and Chloe position themselves nervously at Est-ce moi que vous devez craindre ? Am I the one whom you should fear? du théâtre. the side of the stage.

- 20 - - 21 - CHLOÉ avec beaucoup d’embarras CHLOE with much embarrassment Le fond du théâtre s’ouvre. On voit une suite des mêmes The back of the stage opens to reveal a continuation of the Un secret déplaisir nous agite tous deux... A secret unhappiness troubles us both… jardins qu’Anacréon a fait préparer pour cette fête. Des gardens Anacreon has prepared for the festivities. Garlands Batile doit vous en instruire. Bathyllus will tell you of it... guirlandes de fleurs ornent les berceaux et les plafonds. of flowers adorn the arbours and the ceilings. On a first ter- Sur une première terrasse, une troupe de jeunes Théoniens race, a troupe of Teonian youths forms a dance, the character BATILE BATHYLLUS forment des danses, dont le caractère répond à celui de of which corresponds to that taking place on the stage. This Chloé sait embellir tout ce qu’elle veut dire... Chloe expresses herself more gracefully than I… la fête qu’on célèbre sur le théâtre. Cette fête représente celebration represents a gallant imitation of those that the Elle vous l’expliquera mieux. She will explain it better. une imitation galante de celles que les Grecs, dans leurs Greeks in their days of pleasure had created in honour of the jours de plaisir, avoient imaginée, en l’honneur du Dieu god of gaiety. ANACRÉON ANACREON de la Gaité. Non, non, chers enfans, dans vos yeux No, dear children: my own affection C’est à ma tendresse à le lire. can read what is in your eyes. SCÈNE DERNIÈRE (SCÈNE 6) FINAL SCENE (SCENE 6) Chloé, Batile [ou un Égipan], Anacréon, Silène, Bacchus, Chloe, Bathyllus [or an Aegipan], Anacreon, Silenus, Bac- Air Air Érigone, Jeunes Théoniens et Théoniennes, Égipans et chus, Erigone, Teonian youths and maidens, Aegipans and J’ai voulu, quelque temps, jouir de vos soupirs : I wanted to play for a while on your sighs of longing: to Bacchantes Bacchantes Rendre heureux ce qu’on aime, est l’amour de mon âge. make happy those whom we love is what brings an old man Qu’à former vos deux cœurs j’ai goûté de plaisirs joy. Forming your two hearts has brought me such delight! e Air pour les Bacchantes Air for the Bacchantes Mais c’est en comblant vos désirs But it is in seeing your desires fulfilled Un Égipan et une Bacchante sont à la tête d’une troupe An Aegipan and a Bacchante are at the head of a light and Il unit Batile et Chloé. He joins Bathyllus and Chloe’s hands. légère et bruyante d’Égipans et de Bacchantes [Ménades] boisterous troupe of Aegipans and Bacchantes [Maenads] Que je couronne mon ouvrage. that my work is crowned. qui précèdent Bacchus et Érigone. who precede Bacchus and Erigone.

CHLOÉ CHLOE r Gavottes 1 et 2 [pour les Égipans et les Bacchantes] Gavottes 1 and 2 [for the Aegipans and Bacchantes] Non, rien ne manque à mon bonheur : Nothing is lacking to make my happiness complete: [Ariette] [Ariette] La main qui nous unit le rend plus doux encore. the hand which unites us makes it sweeter still. t CHLOÉ CHLOE BATILE BATHYLLUS Quand l’Amour enflamme nos cœurs, When Cupid sets our hearts aflame, Ah ! jouissez tous deux des transports de mon cœur. Ah! Both of you enjoy the transports of my heart! Tout s’embellit, tout nous enchante ; all is more beautiful, more captivating; Á Anacréon et dans ses bras. to Anacreon, embracing him. Le zéphyr vole, l’oiseau chante ; the zephyr flies, the bird sings; Que je vous aime !.. How dear you are to me! La terre à nos regards n’offre plus que des fleurs. the earth appears to us to offer only flowers. En se precipitant vers Chloé And running to Chloe Je l’adore ! I adore him! La divertissement continue. Silène et deux Bacchantes The divertissement continues. Silenus and two Bacchantes [Ménades] paroissent et continuent le ballet. [Maenads] appear and continue the ballet. w [Ariette] [Ariette] Qu’Anacréon dans ce séjour May Anacreon in this abode y Pantomime [pour Silène et deux Bacchantes] Pantomime [for Silenus and two Bacchantes] Trouve tous les plaisirs ensemble. enjoy every pleasure. Dans vos pas, dans nos chants peignons-lui, tour à tour, Let us interpret for him in turn – in your dancing, in our song – u Airs 1 and 2 [pour Silène et deux Bacchantes] Airs 1 and 2 [for Silenus and two Bacchantes] L’Hymen, qui nous unit, Bacchus, qui nous rassemble : Hymen who unites us, Bacchus who gathers us together. Il suffit de Chloé pour lui peindre l’Amour. Cupid shall be depicted for him by Chloe alone!

- 22 - - 23 - i Ariette Ariette MATTHEW BROOK CHLOÉ CHLOE L’Amour, riant et sans bandeau, Cheerful Cupid, without a blindfold, Autour de nous vole sans cesse : around us flies without ceasing. Matthew Brook has appeared as a soloist Une de ses mains nous caresse ; One of his hands caresses us; throughout Europe, Australia, North and South L’autre, pour enflammer, agite son flambeau. the other, to inflame us, waves his torch. America and the Far East, and has worked

Notre bonheur, qui l’intéresse, Our happiness – his chief concern – extensively with conductors such as Sir John Semble le rendre encor plus beau. seems to make him more beautiful still. Eliot Gardiner, Richard Hickox, Sir Charles Cher amant, que notre tendresse Dear lover, may his triumph Mackerras, Harry Christophers, Christophe Soit pour lui tous les jours un triomphe nouveau. be each day renewed by our love. Rousset, Paul McCreesh and Sir Mark Elder, L’Amour, riant et sans bandeau, Cheerful Cupid, without a blindfold, and many orchestras and groups including Autour de nous vole sans cesse : around us flies without ceasing. the Philharmonia, LSO, the St Petersburg Une de ses mains nous caresse ; One of his hands caresses us; L’autre, pour enflammer, agite son flambeau. the other, to inflame us, waves his torch. Philharmonic, the Royal Philharmonic Orchestra, Freiburg Baroque Orchestra, Orchestra of the Age o Tambourins 1 et 2 Tambourins 1 and 2 of Enlightenment, the English Baroque Soloists, Le ballet continue. The ballet continues. the Gabrieli Consort & Players, the Sixteen, the p Trio et Chœur [d’Égipans et de Bacchantes] Trio and Chorus [of Aegipans and Bacchantes] Royal Northern Sinfonia, Orchestre National de Lille, Orchestre de Chambre de Paris, Orchestre a CHLOÉ, BATILE, ANACRÉON, CHŒUR D’ÉGIPANS ET CHLOE, BATHYLLUS, ANACREON, CHORUS OF AEGIPANS AND DE BACCHANTES BACCHANTES des Champs-Élysées, the Hallé Orchestra, the Chantons Bacchus, chantons sa gloire ; Let us sing to Bacchus, let us sing of his glory; Melbourne Symphony Orchestra, the Tonhalle- De l’Amour chantons ses bienfaits. let us sing of Cupid’s blessings. Orchester, Zurich, Collegium Vocale Gent, and the Qu’ils triomphent à jamais May they triumph forever Sur le même char de victoire. on the same chariot of victory. City of London Sinfonia. © Richard Shymansky in Carmen and Kouno in Le Freischütz all at the s Contredanse Contradance Matthew’s operatic roles include Polyphemus Opera Comique, Paris with Gardiner, Araspe Un ballet général termine la fête. A general ballet finishes the celebration. in Acis and Galatea, Aeneas in Dido and in Tolomeo, Garibaldo in Rodelinda, Il Re in Translation by Jonathan Williams with Anna Davies Aeneas, Vicar in Albert Herring, Noye in Noye’s Ariodante with Il Complesso Barocco and and Florence Martel © 2015. Fludde, John Bunyan and Lord Hategood in The Alan Curtis, and Seneca L’incoronazione di Pilgrim’s Progress, Melchior in Amahl and the Poppea at the Maggio Musicale Fiorentino. Night Visitors, Antenor and Calkas in Troilus He took part in a European tour with the and Cressida; Jupiter in Castor et Pollux, Zuniga English Baroque Soloists and Gardiner singing

- 24 - - 25 - the roles of Don Alfonso and Bartolo in venues Kanazawa in Japan, the Russian premiere of (Royal Opera House), Kyoto/ Yannis Kyriakides’ including the Royal Opera House, Covent Thomas Ades’ Life Story at the Rachmaninov An Ocean of Rain (Aldeburgh Festival/Amsterdam Garden, Salle Pleyel, Paris, Teatro Real, Madrid Hall in Moscow, and the modern premiere of Muziekgebouw) and Strawberry Seller & and Giuseppe Verdi Opera House, Pisa. Rameau’s Anacreon of 1754 with the Orchestra Strolling Player/Britten’s Death in Venice (La of the Age of Enlightenment. Her BBC Proms Scala, Milan). Future plans include concerts Matthew’s recordings include Counsel Trial By appearances include performances with the of Carmina Burana with Paul McCreesh and Jury and Friar Tuck in Sullivan’s Ivanhoe City of Birmingham Symphony Orchestra, the the Gulbenkian Orchestra in Lisbon, a recital with the BBC National Orchestra of Wales BBC Symphony Orchestra, the Britten Sinfonia tour with Voices of Music in California, Haydn (Chandos Records); Bach’s Christmas Oratorio and the Orchestra of the Age of Enlightenment. Nelson Mass with the Britten Sinfonia, and with the Orchestra of the Age of Enlightenment Christmas Oratorios with the Nederlands (Hyperion); Gramophone Award-winning recordings Anna twice created title roles in new operas Kammerkoor and Concerto Copenhagen. of Handel’s original Dublin score of at the Almeida Theatre - The Girl of Sand and Messiah and Mozart’s Requiem with the Ariadne, both composed by Elena Langer, and AGUSTIN PRUNELL-FRIEND Dunedin Consort, as well as Bach’s St more recent opera roles include: Emira/Handel’s Matthew Passion and B Minor Mass, and Siroe (with Laurence Cummings, Göttingen Agustín Prunell-Friend was born in Tenerife Handel’s Acis and Galatea and Esther, all Händel Festspiele), Paride/Gluck’s Paride ed and trained at the Guildhall School in London. with the same group (Linn Records); Zebul Elena (with Andreas Spering, Nuremberg Opera He made his debut in Madrid as Don Ramiro in Jephtha with the Sixteen (Coro); and Il Re di House) Katherine Dee/Damon Albarn’s Dr Dee Rossini’s “La Cenerentola”, and has appeared Scozia in Handel’s Ariodante with Il Complesso (English National Opera), Ilia/Mozart’s Idomeneo since at the Royal Opera House, Wigmore Barocco and Joyce DiDonato in the title role and l’Ingrata/Monteverdi’s Ballo delle Ingrate, Hall, Royal Festival Hall, Walt Disney Hall in Los (EMI/Virgin). both directed by Graham Vick (Birmingham Angeles, Teatro Real in Madrid, Laieszhalle Opera Company), premieres of Francisco Coll’s Hamburg, Salle Pleyel Paris, De Singel in ANNA DENNIS Berlin Philharmonie, a programme of Russian Cafe Kafka (Royal Opera House/Opera North/ Antwerp, Opera New Zealand, Accademia Santa operatic arias with Philharmonia Baroque in Aldeburgh) and Jonathan Dove’s The Walk Cecilia, Opera di Roma and Teatro La Fenice. Described by the Times as a “delectable San Francisco, Handel’s Joshua with Laurence From The Garden (Salisbury Festival), Flora/ soprano and a serene, ever-sentient presence”, Cummings at the Laeiszhalle Hamburg, Jonathan Dove’s The Enchanted Pig (Young Orchestras he has worked with include the Anna studied at the Royal Academy of Music Bach’s Christmas Oratorio with the Australian Vic), Francesca/Edward Rushton’s The Shops Rundfunkorchester Berlin, Dresdner Philharmonie, with Noelle Barker. Notable concert performances Chamber Orchestra in Sydney Opera House, (Bregenz Festspiele/Royal Opera House), Moll Oslo Philharmonic, Bergen Philharmonie, Weimar have included Britten’s War Requiem at the Haydn’s Creation with Orchestra Ensemble Hackabout/Will Tuckett’s Pleasure’s Progress Staatskapelle, Sinfónica de Mexico, Nazionale

- 26 - - 27 - della RAI, London Philharmonic and Los Angeles ORCHESTRA OF THE AGE Philharmonic with conductors such as Sir Neville OF ENLIGHTENMENT Marriner, Rafael Frühbeck de Burgos, Gunter Matthew Truscott Leader Herbig, Esa Pekka-Salonen and Leopold Hager. Violin Viola Double Bass Horn He has sung Bach’s Evangelists with Frans Matthew Truscott Mark Braithwaite Chi-chi Nwanoku Ursula Paludan Brüggen; Cavalli with Andrea Marcón and the Rodolfo Richter Annette Isserlis Monberg Venice Baroque Orchestra; Handel and Gesualdo Rachel Isserlis Martin Kelly Flute Martin Lawrence with Alan Curtis and Il Complesso Barocco; Iona Davies Nicholas Logie Lisa Beznosiuk Handel’s Jephtha with Akademie für Alte Musick Claire Sansom Kate Heller Neil McLaren Percussion Berlin and Collegium Ghent; Purcell with the Roy Mowatt Marina Ascherson Nicholas Ormrod English Bach Festival; Lully and Hidalgo with Joanna Lawrence Oboe J.C. Malgoire and La Grand Ecurie; Monteverdi Debbie Diamond Cello Mark Baigent Harpsichord with William Christie and Les Arts Florissants Alison Bury Jonathan Manson Richard Earle Robert Howarth and concerts with Paul Goodwin, Paul McCreesh Claire Holden Susan Sheppard Cherry Forbes and Robert King. Andrew Roberts Helen Verney James Toll Ruth Alford Bassoon His repertoire ranges from the Elizabethan Henrietta Wayne Anna Holmes Andrew Watts lute songs to contemporary music, and includes Susan Carpenter-Jacobs Poppy Walshaw Sally Jackson Bach’s Passions, works by Monteverdi, Handel, Stephen Pedder Rebecca Hammond Haydn and Rameau and symphonic works by Catherine Ford Zoe Shevlin Orff, Mendelssohn, Berlioz and Britten. Agustin is proud to be a member of Graham Johnson’s Songmakers’ Almanac, with whom he often Just under three decades ago, a group of Put a single conductor in charge? No way. appears in recital. inquisitive London musicians took a long hard Specialise in repertoire of a particular era? Too look at that curious institution we call the restricting. Perfect a work and then move on? Too He has recorded with Naxos, Dynamic, Glossa, Orchestra, and decided to start again from lazy. The Orchestra of the Age of Enlightenment RTVE, Mondo Musica and RCOC. scratch. They began by throwing out the rulebook. was born.

- 28 - - 29 - And as this distinctive ensemble playing on encouraged into its ranks. Great performances The Choir of the Enlightenment is formed of a conductors such as Richard Egarr, Emmanuelle period-specific instruments began to get a now become recordings on the orchestra’s group of professional singers, many of whom Haim, John Butt, Sir Charles Mackerras, Sir foothold, it made a promise to itself. It vowed own CD label. It thrives internationally: New are soloists in their own right. In recent years Roger Norrington and Sir Mark Elder. In 2013 to keep questioning and inventing as long as York and Amsterdam court it; Oxford and the choir has appeared with the Orchestra eighty singers were gathered together for a it lived. Residencies at the Southbank Centre Bristol cherish it. of the Age of Enlightenment at British and performance of the Brahms Requiem at the and the Glyndebourne Festival didn’t numb European festivals, as well as regularly BBC Proms under Marin Alsop prompting the its experimentalist bent. A major record deal In its 27th season, the OAE is part of our musical performing with them as part of their annual review “they produced the most homogenous didn’t iron out its quirks. Instead, the OAE furniture. It has even graced the outstanding London concert series at the Southbank Centre. sound I think I’ve ever heard from a choir…. examined musical notes with ever more conducting talents of Elder, Rattle, Jurowski they rightly received the loudest ovation of the freedom and resolve. and Fischer with a joint title. But don’t ever The choir has taken part in many of the night”. The current season sees another broad think the ensemble has lost sight of its OAE’s recordings over the years, including range of repertoire, working both as a consort That creative thirst remains unquenched. founding vow. Not all orchestras are the same. And Monteverdi Vespers 1610 with Robert Howarth, and a chamber choir with performances of Informal night-time performances are redefining there’s nothing quite like this one. Purcell Dido and Aeneas with Stephen Devine Praetorius at the Spitalfields Festival, Handel concert formats. Searching approaches to and Elizabeth Kenny, J S Bach Cantatas with at the Halle Festival, and Haydn’s Creation in varied repertoire see the OAE working frequently oae.co.uk | @theoae Gustav Leonhardt, and Mozart’s Così fan London and Dublin with Sir Simon Rattle. with symphony and opera orchestras. New facebook.com/orchestraoftheageofenlightenment tutte with Sir Simon Rattle, recorded live generations of exploratory musicians are © Andrew Mellor, 2014 at Symphony Hall Birmingham. It has also JONATHAN WILLIAMS appeared frequently on radio and television in CHOIR OF THE association with the orchestra, perhaps most The Director of College Music at St Hilda’s ENLIGHTENMENT memorably in July 2000 when the choir and College, Oxford, and a research fellow at David Clegg Choir Manager orchestra performed Bach’s B minor Mass at Oxford’s Music Faculty, Jonathan Williams the BBC Proms on the 250th anniversary of enjoys a wide-ranging freelance career working Soprano Haute-contre Tenor Bass his death, broadcast live both on BBC Radio 3 at the highest level as an orchestrator, Miriam Allan Daniel Auchincloss Matthew Beale Stephen Alder and on BBC Television. conductor and teacher. He has worked Zoe Brown Jeremy Budd Ronan Busfield James Birchall with groups such as the Orchestra of the Age Kirsty Hopkins George Pooley Jorge Navarro- Francis Brett During recent seasons the Choir of the of Enlightenment, BBC National Orchestra Emilia Hughes Nicholas Todd Colorado Robert Davies Enlightenment has performed frequently in the of Wales, BBC Concert Orchestra, English Robyn Parton Tom Robson William Gaunt UK and further afield with the orchestra, National Ballet, English Chamber Orchestra, Amy Moore Philip Tebb working on a wide range of repertoire with Liverpool Philharmonic, London Mozart Players,

- 30 - - 31 - Royal Philharmonic Concert Orchestra, and the musicians and dancers is pioneering the University of London Choir and Orchestra. He reappraisal of Rameau’s opera in the UK, has taught Orchestration at Oxford since particularly in Rameau’s use of complex 1992 and his work as composer/orchestrator choreography. The Project led the British can be heard on award-winning soundtracks celebrations of Rameau’s anniversary year recorded at Abbey Road for Sony, the BBC in 2014 with the UK’s first international and SKY, most notably with Emmy award-winner Rameau conference, numerous BBC broadcasts Sean Callery (SKY’s 24) and for the Novello and the semi-staged performance at the This recording was made possible thanks to the generous support of the University of Oxford’s John Fell Fund, Charles & Sheila Forbes (St Hilda’s award-winning score for Sony’s video Queen Elizabeth Hall of three Rameau operas, College, Oxford), the David Laing Foundation, Deborah & Joseph Andrews, Vernon Ellis and Martin Smith. Sincere thanks go to Florence Daguerre game Killzone 2. all with the OAE and featuring Baroque d’Hureaux, Stephen Carpenter, Graham Sadler and Roger Savage for their invaluable support in the preparation of this recording. choreography by Edith Lalonger. Also arising Recorded in All Saints Church, East Finchley, London on 14th and 15th February 2014 His doctoral research on the operas of Jean- from the Rameau Project is this première Recording Engineer & Producer – Andrew Mellor Philippe Rameau has come to fruition in recording of Anacréon, the first UK studio Recording Assistant – Claire Hay Editing – Andrew Mellor & Claire Hay the Rameau Project. This major collaboration recording of a Rameau opera for 30 years. between Oxford University, the OAE, scholars, Cover Image – iStock Design and Artwork – Woven Design www.wovendesign.co.uk

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- 32 - - 33 - Chloe (scene 2): ‘Great heavens! What wedding?’ Lubomir Roglev in the danced role of Silenus: ‘Old am I indeed, yet I, Still with feats of drink will vie; Like Silenus, brisk in age, I’ll with dancing sets engage.’ (from Anacreon’s Ode 38 ‘On Himself’, trans. T. Girdlestone, 1804) - 34 - - 35 - ALSO AVAILABLE on signumclassics

Mahler: Totenfeier Vivaldi: The Four Seasons Sarah Connolly Kati Debretzeni Orchestra of the Age of Enlightenment Orchestra of the Age of Enlightenment Vladimir Jurowski SIGCD377 SIGCD259

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- 20 - CTP Template: CD_INL1 COLOURS Compact Disc Back Inlay CYAN Customer SignumClassics MAGENTA YELLOW Catalogue No.SIGCD402 BLACK Job Title: Anacreon SIGNUM CLASSICS SIGCD402

JEAN-PHILIPPE RAMEAU (1683-1764) ANACRÉON (1754) RAMEAU: ANACRÉON (1754) OAE / WILLIAMS Rameau wrote two operas called Anacréon, both one-act actes-de-ballet but with completely different music and plots. The opera presented here is the first of the two, a setting of a libretto by Rameau’s most frequent collaborator, Louis de Cahusac, Following its first performance at the beautiful chateau of Fontainebleau in 1754, Anacréon enjoyed some success in Paris after Rameau’s death before becoming all but lost for over 200 years. From fragmented manuscripts scattered through Paris’s libraries, Jonathan Williams reconstructed the work, had his edition published by Bärenreiter, and now leads this world-première recording with a leading cast of soloists and the Orchestra of the Age of Enlightenment.

MATTHEW BROOK ANACRÉON ANNA DENNIS CHLOÉ AGUSTIN PRUNELL-FRIEND BATILE

ORCHESTRA OF THE AGE OF ENLIGHTENMENT THE CHOIR OF THE ENLIGHTENMENT

JONATHAN WILLIAMS CONDUCTOR RAMEAU: ANACRÉON (1754) OAE / WILLIAMS

WORLD PREMIERE RECORDING

LC15723 Signum Records Ltd, Suite 14, 21 Wadsworth SIGCD402 Road, Perivale, Middx UB6 7JD, United Kingdom. P 2015 Signum Records DDD SIGCD402 © 2015 Signum Records www.signumrecords.com 24 bit digital recording 6 35212 04022 5 SIGNUM CLASSICS CTP Template: CD_INL4 COLOURS Compact Disc Inside Inlay (clearcase) CYAN MAGENTA Customer: SignumClassics YELLOW Catalogue No.SIGCD402 BLACK Job Title: Anacreon JEAN-PHILIPPE RAMEAU ANACRÉON (1754)

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ORCHESTRA OF THE AGE OF ENLIGHTENMENT THE CHOIR OF THE ENLIGHTENMENT

JONATHAN WILLIAMS CONDUCTOR