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Home , Arcangelo (ensemble), Echo (mythology), Esther (Handel), Giuseppe Maria Boschi, Polifemo (opera)

sings Handel Sunday 7 January 2018 7.30pm, Milton Court Concert Hall

Handel – ‘Sibilar gli angui d’Aletto’ , re di Persia – ‘Gelido in ogni vena’ – Overture – ‘Opprest with never ceasing grief’ Concerto grosso in D major, Op 6 No 5 – ‘Ah, canst thou but prove me’ interval 20 minutes – ‘I rage, I melt, I burn ...

Chris Gloag O ruddier than the cherry’ Aci, Galatea e Polifemo – ‘Fra l’ombre e gl’orrori’ – Overture Theodora – ‘Racks, gibbets, sword and fire’ Concerto grosso in F major, Op 3 No 4 – ‘How art thou fall’n’ Esther – ‘Turn not, O Queen’

Christopher Purves baritone Arcangelo Jonathan Cohen conductor/harpsichord

Part of Barbican Presents 2017–18

Programme produced by Harriet Smith; printed by Trade Winds Colour Printers Ltd; advertising by Cabbell (tel 020 3603 7930) Please turn off watch alarms, phones, pagers etc during the performance. Taking photographs, capturing images or using recording devices during a performance is strictly prohibited.

If anything limits your enjoyment please let us know The City of during your visit. Additional feedback can be given Corporation is the founder and online, as well as via feedback forms or the pods principal funder of located around the foyers. the Barbican Centre 2 of humour. turns dark,dramatic, virtuosicandfull lovestruck monsters thenext. Themusicisby power-obsessed tyrants onemomentand for bassandbaritone voices, conjuring inventive way inwhichHandelwrote hear brought to life attests to thebrilliantly The sheervariety of characters thatwe will of alltime–George FridericHandel. but arguably oneof the greatest dramatists explores themusicof asinglecomposer, as heisintheconcerthall.Thisevening he creating new roles incontemporary Purves, amusicianequallyathome distinctive baritones of today –Christopher Tonight we welcome oneof themost Welcome

Evgeny Kissin,Maxim Vengerov andNicoMuhly. , Joyce DiDonato, SirHarrisonBirtwistle, Sir JamesMacMillan, George Benjamin,Andrew Norman, artists from around theworld. Recent artists include for exclusive interviews andcontent from thebestclassical Stream ordownload ourBarbican ClassicalMusicpodcasts Available on iTunes, Soundcloud and the Barbican website Barbican the and Soundcloud iTunes, on Available Barbican Classical MusicPodcasts

Hyperion release withArcangelo, these characters ondisc,withhisacclaimed Christopher Purves hasalready explored Huw Humphreys, Head of Music,Barbican you enjoy it. It promises to beathrilling evening. Ihope Director JonathanCohen. under itsfounder andmulti-talented Artistic on hisHandelianjourney thanArcangelo He couldn’twishfor finer compansions this year. followed upby asecondvolume later Finest Ariasfor BaseVoice

, which will be , whichwillbe Handel’s Handel’s

years; hisgrand tour culminated triumphantly Hamburg, andthentoured for justover three becoming closelyacquainted withopera in A native of Halle,Handel spentafew years one-dimensional. yet all-too-common notion thathisbassariasare arias andEnglishairsserve to explode theunfair Handel’s longcareer, andthevarious Italian journey through works created throughout this concerttakes thelistener onarollercoaster most popularariasfor highervoices. Indeed, directly comparable inqualitywiththecomposer’s be; muchof theirbestmusiciscompellingand fascinating thanthey are sometimescredited to character. Thesetheatricalpersonalitiesare more several of thesestereotypes canbemixed into one worrying abouttheirchildren, andsometimes composer’s preference for anxious old fathers empathy; butthebassvoice was alsousuallythe bullies for whomwe may feel amixof disgustand a woman, orboth –turnstheminto menacing are politicaltyrants whoselustfor power –or Many bassroles inHandel’smusicdramas an instant). capable of shiftingfrom onemoodto another in violence andgrief(andasinglecharacter is affection, tenderness andjoy to nastiness,lust, predicaments, withqualitiesranging from humour, and engagingly to diverse characters andtheir how thecomposerresponded imaginatively , oratorios andother works thatillustrates features avaried assortmentfrom Handel’s his dramatic works abound.Tonight’s concert wide range of complex personalitieswithwhich eclectic musicalelementsandstylesto create the was asexpert asHandelatdrawing together No other composerof theearly18th century For texts, pleaseseepage6 world’s the All astage Handel Frideric George declaration thatheseemsto hear‘thehissingof that features four trumpetsanddrums.Hismanic parley withtheenemy ingloriouslybellicosemusic of virtuousconstancy, whenArgante burstsinto wheel of fortune spinningandtheimportance only justfinished singingawisetext aboutthe Christian crusader heroes. ThecalmEustazio has who disturbsthecontemplative reverie of the the villainousArgante, infidel Kingof Jerusalem, gli anguid’Aletto’ istheroaring first entrance of created especiallyfor theLondonstage. ‘Sibilar performed 1711) –thefirst all-Italian opera to be commissioned to compose Soon after hisarrival inlate 1710 hewas Handel travelled to England. George I of Great Britain), butstraightaway Elector of Hanover (whowould soonbecome had becomeKapellmeister atthecourtof the in hisorchestral writing).Withinafew monthshe glimpse of Handel’smastery of theatricaltension its fiendish virtuosooboesolopart,affords usa il caro Sassone!’(themagnificent overture, with members of theaudiencereputedly shouted ‘viva in withtheopera Royal Academy of Music–acompany founded artistic director (to usemodernparlance)of the British citizen.Bythistimehewas theprincipal capital city, andin1727 hebecameanaturalised In 1712 Handel settledpermanentlyintheBritish peacock preening hisfeathers. the event he appearsridiculous,akinto astrutting bully whowants to intimidate hisbesiegers,butin impact offers asubtext thatfits: Argante isacocky text’s peculiarirrelevance in Polifemo the brutishPolifemo’s arrival in musical essenceof theariaare borrowed from Scylla’ makes littlesensebecausethetext and ’s serpentsandthehowling of voracious (Naples, 1708), butnotwithstanding the (1685–1759) Agrippina Rinaldo Rinaldo Aci, Galatea e , at which , atwhich (first (first , the musical , themusical

3 Programme note 4 (Oxford, 1733). Fed upwiththeidolatryandevils a wicked monarch isalsoexplored in The notion of morally uprighttreachery against compensate Gobriasfor hisloss.) defeat, ittranspires thatnovictory cantruly succour, but,even after Belshazzar’signominious the character’s hopethatrevenge willprovide grief’. (Handel’stouching lamentexpresses he iscontinually‘Opprest withnever ceasing has confided to thevirtuoushero Cyrus that judgment of God’swritingonthewall, Gobrias from thetemple of Jerusalem,andtheominous hedonistically feasting from sacred vessels stolen we witnessthemusicaldepictionof Belshazzar seemingly impregnable walls of Babylon. Before Cyrus, whosearmy iscampedoutsidethe Gobrias to becomeanallyof thePersian invader the Assyrian lord Gobrias.Thishasmotivated has –inafit of jealousy –murdered thesonof debauched titularlibertinein the inconsolablemourningof grieving fathers. The Some of Handel’slater dramatic oratorios present innocent sonSiroe. it istoo late to revoke hisown order to execute his of abelated moral consciencewhenhebelieves anguished voice part);thetyrant feels icypangs a restless bassline,contrapuntal stringsandan in theextraordinary key of F sharpminor, with is depicted in‘Gelidoognivena’ (aLarghetto of theselfish andparanoid Persian king Cosroe of thefinal act of implacable tyrants. Towards thedramatic climax seems to have beenparticularlygoodatplaying in theoriginalproduction of Giuseppe MariaBoschi,whohad sungArgante seasons between 1720 and1728 featured Haymarket. Allof theRoyal Academy’s annual of Italian operas attheKing’sTheatre onthe governance of regular high-qualityseasons by Royal Charter to establish more effective Siroe (1728), theguiltyremorse Rinaldo Belshazzar . The bass . Thebass Athalia (1745)

aristocratic Neapolitan wedding ( Handel’s earliersettingof thesamestory for an ruddier thanthecherry, Osweeter thantheberry’). caricature of clumsy attempts atlove poetry(‘O into atiny sopranino recorder, idealfor thewitty Cyclops by makingthesupposedlyhuge‘pipe’ humour pokes affectionate funatthedisturbed he intends to serenade Galatea, butHandel’s for himfrom ‘ahundred reeds of decentgrowth’, identify; callingfor awindinstrumentto bemade melancholy withwhichany unrequited lover can melt, Iburn’veers between furyandahintof amusing. Hisaccompanied ‘Irage, I attempt to beseductive isasimplausibleit is inlove withtheshepherd Acis) –andhisinitial his raging lustfor theseanymph Galatea (who 1718), themonstrous cannot control touching pathos.In characters canmingleabsurd comedyand At theother endof thespectrum,Handel’sbass has beenkept safely andsecretly atthetemple). boy whodoesnot yet know histrueidentity, and persuades Joad to unveil therightfulheirJoas(a abundantly clear, andisakey momentthat thou butprove me’makes Abner’sallegiances grandchildren). Handel’sassertive ‘Ah,canst she haskilledthemall,even includingherown descendant of David had survived (Athaliathinks would supporta worded questionaboutwhetherthecaptain enthusiasm to theHighPriest Joad’s carefully daughter of Jezebel–Abnerreacts withhearty perpetrated uponJudahby QueenAthalia–the Italian incarnationof Polifemo singsastonishingly the hurly-burly of hisCannonscounterpart, the monster sings‘Fra l’ombre egl’orrori’; rather than escaping into thesea,atwhichpointsorrowful Galatea eludesPolifemo’s unwanted advances by structurally. Halfway through theserenata, e Polifemo , 1708) isdissimilarmusicallyand coup d’état Acis andGalatea if a suitable true ifasuitable true Aci, Galatea (Cannons, (Cannons, and intercede onhisbehalf(thehushed‘Turn shaken Hamanimplores Estherto forgive him sentenced to deathby the indignantking, and secretly Jewish queenEsther. Uponbeing is exposed by theking’snew, courageous exiled from theirhomeland.Hiscrueltreachery gleefully plots thegenocideof theJews, whoare counsellor of thePersian kingAhasuerus,and in 1732). Hamanistheproud andspiteful revised by thecomposerfor publicperformances the Earlof Carnarvon inabout1718 andlater English oratorio blameless religious communityinHandel’sfirst for theunrighteous persecutor of anentirely In contrast, there isadeservedly miserable fate dissidence of Christiansasheiscruellypunitive. authority baffled by thepeculiarlyobstinate that heisarguably asmuchafigure of political laws of thestate ‘are not to betrifled with’,show place of each other, andhisinsistence thatthe Didymus’s eagerness to volunteer to dieinthe scenes, later onhisincredulity atTheodora and Inquisition). However menacing Valens isinsuch with theinstrumentsof torture usedintheRoman Handel’s audiencemightwell have associated ‘Racks, gibbets,sword andfire’ (language that the compulsorydecree to worship Jove willsuffer governor of Antioch,vows thatanyone resisting character issubtlyportrayed. Valens, theRoman (1750), thesuperficially unrulytyrannical bass the story of earlyChristianmartyrsin Even inunremittingly serioustragedies suchas scene. humour evoked by similarscoringintheCannons colour from recorder isutterly different from the extinguished; theuseof quietstringsandlyrical moth confusedinthedark after atorch hasbeen this beautifulariaPolifemo compares himselfto a that convey hisgrotesque nature more subtly. In wide leaps,stretching two-and-a-half octaves, Esther (originallyperformed for Theodora

the FifthConcerto had served astheoverture to of theminconcertsatLincoln’sInnFields;someof Op 6 (1740), Handelhad already performed most subscription. Bythetimethesewere printed as grossi composed acoherent setof 12 superb business dealingshad improved. In1739 Handel he give ithisblessing,butafew years later their was not involved inWalsh’s compilation,nordid King’s Theatre on20June1716. Itseemsthathe oboes andhad beenperformed by Handelatthe in Fmajor, includesinaddition to stringsapairof occasions, andcalleditOp 3;thefourth of these, various piecesHandelhad written for different concertos cobbledtogether haphazardly from London music-sellerJohnWalsh printed six them includingother instruments).In1734 the magnificent pioneering keyboard concertos andhis and organist, hismasterful chambersonatas, composer’s renown asavirtuosoharpsichordist less quickthantheirforbears to remember the last halfcentury. Perhaps today’s audiencesare composer hasrisento thehighestrank inthe of choirseverywhere, andhisstock asanopera Roman CatholicandAnglican)isthestaple diet has never beenindoubt,hischurch music(both Handel’s status astheinventor of Englishoratorio him to hisdoom(‘How artthoufall’n’). consequences of theworldly ambitionthathasled tongued petition–forcing himto confront thedire clemency, butEstherfirmly rejects hishoney- would beenoughto persuade mostof usto show not, OQueen’).The wilypolitician’sbeseeching Programme note ©David Vickers as anorchestral composer. gracefulness istestament to Handel’sexcellence of fizzy charm,buoyancy anddance-like on 22November 1739), anditsjuxtaposition the new for Walsh to produce asaneditionsoldby Ode for St Cecilia’sDay concerti grossi for strings(someof (first performed Concerti Concerti

5 Programme note 6 Charles Jennens(1700–73) No hope,butinrevenge, isleft. Of allthatmade life sweet bereft, I drag apainful, weary life; Opprest withnever ceasinggrief, Gobrias ceasing grief’ Belshazzar –‘Opprest withnever after Pietro Metastasio (1698–1782) Nicola Francesco Haym (1678–1729), A uninnocente cor. A un’animafedele, Veggio chefuicrudele E permaggior miapena M’ingombra diterror. L’ombra delfiglio esangue Scorrer misento ilsangue: Gelido inognivena Cosroe Siroe, re diPersia –‘Gelidoinognivena’ after Aaron Hill(1685–1750) Giacomo Rossi (fl1710–31) Di timor, penamidiè. Né ancorlanguidafavilla Rio velen miserpeinpetto, Par miudird’intorno ame. E latrar vorace Scilla Sibilar glianguid’Aletto Argante Rinaldo –‘Sibilarglianguid’Aletto’ Texts

Translation ©SusannahHowe an innocentheart. my crueltyto aloyal soul, I seenow thatImeted out And to add to my sorrows, fills mewithterror. the shade of my dead son my bloodturnto ice; In every vein Ifeel Records; reproduced withkindpermission Translation by CharlesJohnston © Makes mesuffer. And asparkof fear, stillfaint, An evil poisoncreeps into my breast And thehowling of voracious Scylla. The hissingof Alecto’s serpents I seemto heararound me John Gay (1685–1732) And fierce asstorms thatbluster! As raging flame, Yet hard to tame No lilyhassuchlustre; Ripe asthemeltingcluster, Like kidlingsblitheandmerry! Than moonshinenight, O more bright O sweeter thantheberry, O ruddierthanthecherry, Sweet Galatea’s beauty, andmy love. In soft enchantingaccents letmebreathe To make apipefor my capacious mouth. Bring meahundred reeds of decentgrowth, Prop of my godlike steps, Ilay theeby! Thou trustypine, The feeble godhasstabb’d meto theheart. I rage, Imelt,burn! Polyphemus O ruddierthanthecherry’ Acis andGalatea –‘Irage, Imelt,burn... interval Jean Racine (1639–99) (c1697–1738), after ‘Athalie’by With joys thatare vain. I fear you deceive me Awhile from my pain, But whilstyou relieve me I’ll fall for my king. No terrors shallmove me, To vengeance Ispring. Ah, canstthoubutprove me! Abner Athalia –‘Ah, canst thoubutprove me’ 20 minutes

7 Texts 8 Samuel Humphreys, after JeanRacine Let mercy in thy sightbefound! O speak,hisgrowing furystay, Behold meprostrate ontheground! Turn not, OQueen,thy face away, Haman Esther –‘Turn not, OQueen’ And perishinthatday. Lest thouby mercy beforgot, When adverse fortune isthy lot, In power letmercy sway. Tremble, ambition,atthesight! How artthoufall’n from thy height! Haman Esther –‘How thoufall’n’ art by Robert Boyle (1627–91) after ‘Themartyrdom of Theodora andDidymus’ Thomas Morell (1703–84), Shall shake ourfirm decree. Nor ardent pray’rs, Nor gushingtears, Against thestubbornknee. Shall speakmy vengeful ire, Racks, gibbets,sword andfire, Valens Theodora –‘Racks, gibbets, sword andfire’ Nicola Giuvo (c1680–1748 orafter) Né spera piacer. Non trova maipace, Quest’alma delusa Così fra timori Non samaigoder. Già spenta laface Farfalla confusa Fra l’ombre egl’orrori Polifemo e gl’orrori’ Aci, Galatea ePolifemo –‘Fra l’ombre

Records; reproduced withkindpermission Translation by CharlesJohnston ©Hyperion Nor hopefor pleasure. Can never find peace, This deludedsoul Likewise, amiditsfears, Can never play. When theflame isextinguished, The dazedmoth, Amid shadows andhorrors Chris Gloag the title-role inHandel’s in Recent operatic highlightsincludethetitle-role under Richard Egarr. under Ticciati;andBach’s Enescu Festival; Berlioz’s Vladimir Jurowski attheRoyal Festival Halland BBC Proms; Creon (Enescu’s ( Festival underEdward Gardner; Peasant Balstrode ( Fabio Luisi.Inconcertrecent highlightsinclude Mahagonny Moses (Weill’s production underRobin Ticciati;andTrinity at GlyndebourneinStefan Herheim’snew ( Operatic highlightsthisseasonincludeGolaud Harvey andtheWallbangers. a memberof theexperimental rock group College, Cambridge,andwent onto become musical life asachoral scholaratKing’s conductors anddirectors. Hestarted his the world, working withleading orchestras, he isingreat demandwiththeatres around of aneclecticrange of roles andrepertoire, generation. Celebrated for hisinterpretations as oneof theleading Britishbaritones of his Christopher Purves hasestablished himself Christopher Purves About the performers Christopher Purves Pelléas et Mélisande Gurrelieder Don Giovanni Peter Grimes ) underSirSimonRattle atthe ) for ZurichOpera Houseunder Rise andFallof theCityof for English NationalOpera; baritone ) inHongKong and ) atthe2017 Edinburgh L’enfance duChrist St Matthew Passion Oedipe for Glyndebourne

) under

He hasaparticularaffinity for contemporary Yard inCambridge. the Aldeburgh Festival, Opera NorthandKettle’s with pianistSimonLepper, andhasappeared at He isalsoakeen recitalist andworks regularly Haydn’s of theBBC Proms underSirAndrew Davis and Music, Elgar’s Matthew Passion at theAmsterdam Concertgebouwand Philharmonic Orchestra, Bach’s Musica, Mozart’sRequiem withtheRoyal include On theconcertplatform, recent highlights d’amore at LaScalaandNono’s debut withChicago LyricOpera; Balstrode North, Sharpless( Aron the Opéra deParis (Schoenberg’s Glyndebourne Festival Opera; hisdebutat Gamekeeper ( Opera andtheCanadian Opera Company; Alberich ( Grand Opera andtheBavarian State Opera; Alberich ( Festival Opera andtheAdelaide Festival; will bereleased inearlysummer. Cohen, to great criticalacclaim. Aseconddisc on HyperionwithArcangelo andJonathan MacMillan’s Royal Opera House,androles inSir James (George Benjamin’s Other majorsuccessesincludetheProtector premiere of PhilipGlass’s roles, mostrecently Walt Disney intheworld repertoire andhascreated anumberof Handel’s FinestAriasfor BaseVoice Ricci andBenjamin.In2012 hisdebutsolo CD, includes works by Handel,Mozart,Donizetti, Christopher Purves’s extensive discography Parthenogenesis Opera, ); thetitle-role in InésdeCastro Acis andGalatea attheSalzburg Festival. Die Schöpfung Siegfried Götterdämmerung The Sacrifice The CunningLittleVixen The Kingdom attheEdinburgh Festival. withtheAcademy of Ancient Madama Butterfly ) for Houston Grand Written onSkin atScottish Opera and Gianni Schicchi underMasaaki Suzuki. Al gran solecarico The Perfect American at Welsh National withLaNuova attheFirstNight ) for Houston St JohnPassion , was released Moses und ) for the ) for his at Opera ) for St St .

9 About the performers 10 Marco Borggreve Guadagni as countertenor Iestyn Davies (theirdisc recording studio,partneringwithfine soloistssuch Arcangelo isalsomuchindemandthe Playhouse. their BBC Proms debutat theSamWanamaker Tonhalle. In2016, heconducted Arcangelo in concerts atOsloOpera HouseandtheZurich include aEuropean tour withVildeFrang with York’s CarnegieHall.Otherrecent highlights Vienna Musikverein, andNew Hall, BerlinPhilharmonie,Cologne leading hallsandfestivals, includingtheWigmore reputation. Hehastoured withtheensembleto 2010 and whichhasalready gainedanenviable his ensembleArcangelo, whichhefounded in Philharmonique deLiège.Healsoperforms with Iceland Symphony Orchestra and Orchestre his debutwithKonzerthausorchester Berlin,the at GlyndebourneFestival Opera. Hemakes Scottish ChamberOrchestra, and Orchestra, BudapestFestival Orchestra and Les ViolonsduRoy, theSaintPaul Chamber Highlights thisseasonincludereturn visitsto is currently MusicDirector Designate. Music Director of LesViolonsduRoy, of whichhe Chamber Orchestra. Next seasonhebecomes Festival andArtisticPartner of theSaintPaul Les ArtsFlorissants,ArtisticDirector of Tetbury Director of Arcangelo, Associate Conductor of the Classicalsymphonic repertoire. HeisArtistic and isequallyathomeinBaroque opera and is well known for hispassionfor chambermusic as aconductor, cellistandkeyboard player. He musicians andhasforged aremarkable career Jonathan Cohenisoneof Britain’s finest young Jonathan Cohen Jonathan Cohen won the Recital Category atthe2012 conductor/harpsichord Arias for Arias for

Award. Both for Warner (2015) received anECHOKlassik Hyperion. TheirMozartdiscwithVildeFrang , andChristopher Purves on Gramophone Recent successesondiscincludeanalbum on both historical andmoderninstruments. of theworld’s leading ensembles,excelling orchestra. Eightyears on,ithasbecomeone intimate ensemblepiecesto works for chamber making to every pieceinitsrepertoire, from listening skillsandartistryof chambermusic- ruled by adetermination to applythedeep and founder JonathanCohen.Itsethosis the dynamicleadership of itsArtisticDirector 2010, comprisesoutstanding musiciansunder musical world by storm sinceitscreation in festivals. Theensemble,whichhastaken the perform attheworld’s leading venues and from criticsandaudiencesinvitations to combining energy andspirit,resulting inacclaim Arcangelo hasbecomeknown for performances Arcangelo Magnificats –isalsoattracting criticalacclaim. 2017 andtheirmostrecent recording –of Bach won cello concertos withNicolasAltstaedt (Hyperion) in 2016. Arcangelo’s recording of C PEBach nominated for anInternational Opera Award Arias for Benucci recording inthe2017 Bach cantatas was voted bestBaroque Vocal Hall to theSalzburg Festival. major venues from New York’s Carnegie last season,Arcangelo hasperformed at Wigmore Hall,where ithad aresidency In addition to regular appearance atthe is dueoutonHyperioninearlysummer. Gramophone arias withArcangelo, afollow-up to the Christopher Purves’s secondalbumof Handel disc isof Bach Magnificats for Hyperion. for a2018 Grammy Award. Arcangelo’s latest Op 1 onAlphaClassicshasbeennominated Award. Itsrecording of Buxtehude’s Trio Sonatas, Iestyn Davies, whichwon a2017 Magazine Altstaedt, which of C PE Bach celloconcertos withNicolas BBC MusicMagazine Award, andBach alto cantatas with Scene! Awards, whiletheirrecording of -Award nominated discof 2012, received a2017 withMatthew Rose were with ChristianeKarg and Gramophone ’s Concerto Award in BBC Music Gramophone Awards),

Jonathan Cohen Jonathan Cohen Harpsichord Director/Artistic Arcangelo

Timothy Amherst Double Bass Andrew Skidmore Jonathan Manson* Cello Jane Rogers Crockett * John Viola James Toll Beatrice Philips Florence Cooke Iona Davies Tim Crawford Jane Gordon Michael Gurevich* Cecilia Bernardini Violin leader

* principal Felix Yeung Harpsichord Chamber Organ/ Thomas Dunford Lute Peter Whelan Bassoon Rebecca Miles Recorder Leo Duarte Katharina Spreckelsen Oboe

11 About the performers Mon 4 Jun Franco Fagioli sings Vivaldi & Handel Franco Fagioli © Stephan Boehme

The charismatic countertenor performs a programme with a distinctly Italian flavour

Book now at barbican.org.uk/classical

Franco Fagioli A5 mono programme ad.indd 1 13/12/2017 15:45