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Home , Alexander Balus, Chandos Anthems, Charles Daniels (tenor), Christopher Hogwood, Early Opera Company, Grimeborn

Purcell semi-staged performance Tuesday 3 October 2017 7pm, Hall

Academy of Ancient Music AAM director/ Daisy Evans stage director Jake Wiltshire lighting director Thomas Lamers dramaturg Ray Fearon narrator Mhairi Lawson soprano Reginald Mobley Ivan Ludlow Ashley Riches -baritone

Marco Borggreve Marco Rosie Purdie assistant stage director Jocelyn Bundy stage manager Hannah Walmsley assistant stage manager

There will be one interval of 20 minutes after Part 1

Part of Barbican Presents 2017–18 Part of 2017–18

Generously supported by the Geoffrey C Hughes Charitable Trust as part of the AAM Purcell Cycle

Confectionery and merchandise including organic ice cream, quality chocolate, nuts and nibbles are available from the sales points in our foyers.

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 2 John Drydenwithtext that speaks more replacing theoriginalspoken drama by with that.Daisy hastaken theboldstep of and religious ramifications associated change of monarchy andallthepolitical was inastate of flux, witha King Arthur King Arthur combine inthisrealisation of Purcell’s stage director Daisy Evans onceagain AAM MusicDirector Richard Egarrand hugely successful Academy of AncientMusic.Following a works, co-produced by theBarbicanand three-year seriesof semi-stagings of Purcell Tonight marks thesecondinstalment ina Welcome

Available on iTunes, Soundcloud and the Barbican website Barbican the and Soundcloud iTunes, on Available ,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 Barbican Classical MusicPodcasts was written atatimewhen . FairyQueen last season, last season,

Academy of AncientMusic Alexander Van Ingen,ChiefExecutive, Huw Humphreys, Head of Music,Barbican enjoy it. musically –thrillingevening. Ihopeyou It promises to beathought-provoking and Fearon to narrate thestory. We are alsodelighted to welcome Ray performing itisafirst-rank castof singers. the celebrated ‘Fairest isle’–and most visitandbeautifulmusic–including This piececontains someof Purcell’s more pertinent. central to era. Thesubjectof nationalidentity– directly to amodernaudience intheBrexit

King Arthur –hasnever seemed completely reordered themusicto reflect state andmeaning of Britishidentity. We’ve chance to give theirperspective onthe current and Remainers, andeveryone willhave a stage-invasion protest. There willbeBrexiteers ‘We’ll bestaging thepiece almostlike a worthiness we stillwant to stand upfor. is whetherthatreally isthemodelof British British Worthy of theoriginalpieceis and thevalues thatheembodies.Thefulltitle legend, it’sabouttheideaof KingArthur ‘This production isn’taboutKingArthurthe ambiguities are ripefor apost-Brexit reimagining. no meansstraightforward. It’sawork whose celebration of nationalprideandidentityisby of anationinflux, awork whoseapparent William andMary, Started underCharlesIIandcompleted under narrative that’srelevant to anaudience.’ something new, whetherwe canconstructa whether we canmake thismusicmean open-ended. Sothequestionbecomes explains, ‘theseworks are marvellously ‘Once you take away thetexts,’ she in favour of somethingrather more abstract. Arthur, to embrace inhertopical new staging of something director Daisy Evans hasbeeneager The freedom they offer isalmostendless, unusual challengefor contemporary directors. structure, Purcell’s semi- represent an of actors andsingers,often fragmented and musicalentertainment, separate troupes With theirdiscrete episodesof spoken drama Age the of Brexit in Arthur King cut: director’s The whichjettisonsDryden’soriginaldrama , andwhatwe’re exploring here King Arthur King Arthur or The King ArthurorThe istheproduct King King looking for avariety of poemseach of which choosing theadditional interpolations, Iwas and how we heartheminamodernera. In for themusicandDryden’soriginalsungtexts, into themusic.They helpusto find acontext a narrator, whowillinterject avariety of texts elements altogether, assheexplains. ‘We’ll have Evans hasn’tdoneaway withthework’s spoken Dryden’s originalspoken text may begone,but sure how proud we are to singitanymore.’ identity thanaquestion.We’re suddenlynot where itbecomeslessastatement of national in whatitmeans,andthenagain attheend beginning where we’re allpretty confident performed twice,’says Evans, ‘onceatthe music. ‘You’ll actually hear“Fairest isle” perspective to someof Purcell’s much-loved It’s arestructuring thatwillbringanew no-one knows whatto thinkorfeel anymore.’ at thisstate of frozen, nightmarishnight,where through uncertainty andwar, before arriving everything canstillbeOK.Thenwe move almost asifit’stheevening before Brexit and this new narrative, sothingsstart very light– from aninterview withDaisy Evans Introduction by Alexandra Coghlan, for people to reflect onafter theconcert.’ are includedintheprogramme (seepage 8), a noblethingto serve your country. Thetexts over everything, to askwhetheritreally issuch violence isbiggerthaneverybody, andtakes between nationalismandwar, theideathat War; Ireally wanted to bringouttherelationship but lots of themcomefrom theSecondWorld of theseare very old,others are contemporary, for it,someagainst, andsomeundecided.Some of nationalismandidentity–someare strongly had astrong andvividview onthecentral topics

advertising by Cabbell(tel 02036037930) printed by Trade Winds ColourPrinters Ltd; Programme produced by Harriet Smith;

3 Welcome 4 Poppea Monteverdi’s Between 1600 and1700 –aperiodinwhich For spoken texts, pleaseseepage8 and staged, leaving commercial theatres such andAeneas this period–Blow’s London. WhatEnglishoperas didemerge during root untilthe1720s andthe arrival of Handelin these European works wouldn’t beginto take genius willnot relish thatperpetualsinging’), ‘Experience hathtaught usthatourEnglish Gentleman’s Journal Deemed ‘effeminate’ by thepublic (the unpopularity of fullysungoperas inEngland. was atonceareaction to andacauseof the The nationalfascination withsemi-opera King Arthur to amuchlarger collaboration –thesemi-opera play invite Purcell to contribute songsto hiscomic abroad’. Later thatsameyear Drydenwould found anEnglish-manequalwiththebest Dryden to declare thathisnationhad, ‘atlast the DorsetGarden Theatre in1690, prompting opera the risingyoung Englishcomposerwhosesemi- The causeof thischangeof heart?HenryPurcell, years for theauthorto eathiswords. England, to beshown my error.’ Ittook justfive excel him,Ishallbeglad, for thesake of old Dryden claimed:‘Whenany of ourCountry-men French collaborator, thecomposerLouisGrabu, quickly sankwithouttrace. Writing of hisCatalan- Albion andAlbanius commercially produced inLondon.Dryden’s the continent–onlyonetrueEnglishopera was L’Ormindo Arthur King , Lully’s and . L’Orfeo La Calisto , butthiswas onlytheprelude –were privately commissioned openedto storming successat Venus andAdonis was premiered in1685 and reported in1692 that, and and were premiered on L’incoronazione di L’incoronazione di Armide (1691) (1691) andCavalli’s , Purcell’s , Purcell’s

(1659–95)

the work –propelled by someof Purcell’s most Queen or familiarity of theShakespeare-inspired and Britons may not have thepicturesque appeal elements setitapart.Thestory of warring the resulting fluidity andcohesionbetween its operas to bepurpose-builtby itsdramatist and King Arthur between genres. eye –acollisionrather thanacollaboration The result canseemoddlydisjointed to amodern employing two discrete castsof singersandactors. drama andthemusictypicallyremained separate, Fairy Queen operas (includingPurcell’s interpolated between them.Withmany semi- episodes andmasques,withanincidental drama genre placed theemphasisongrand musical a play withincidental music. Thisvernacular In many ways thesemi-opera isthereverse of dramatic spectacles thepublicreally wanted. as DorsetGarden to mountthegrand musical- fundamentally changed the English political and fundamentally changedtheEnglishpoliticaland invasion of theDutch Williamof Orange The deathof Charlesin1685 andthesuccessful at leastlike anOpera’, Drydenshelved hisdrama. play. ButwhenCharlesIIdemanded‘something Jubilee) to serve asaprologue to aKingArthur (commissioned to celebrate Charles II’sSilver original intention was for originally conceived several years earlier. His love of the blindEmmeline.Itwas aplot hehad Saxon KingOswald for both hiscountryandthe to thehistorical KingArthur, whobattleswiththe Guinevere andLancelot, Drydeninstead returned Eschewing thefamiliar legendsof Arthur, much more satisfyingwhole. memorable andinventive music–make for a , butthedramatic thrustandenergy of

was theonlyoneof Purcell’s semi- ) adapting pre-existing plays, the Albion andAlbanius Dioclesian and Fairy Fairy The The

gamble was agoodone. drama to carrytheaudience’sattention. The Arthur spectacular stage effects andmachinery, both distance from hispatriotic material. Andwhile – perhapstheproduct of Dryden’snewly ironic and comedyhere becamealmostentirely comic genre thatnormallyembraced both tragedy The result isfar from atypicalsemi-opera. A a parody of theLatinrite. whose pre-battle pagan ritualsnow appeared as William, withJamesIIashisinvader-rival Oswald, the CatholicDryden.Now Arthurmuststand for whose religious sympathies were anathema to had to berepurposed to laudaforeign ruler, his strugglesagainst theWhigs(Saxons) now born EnglishmanCharles(KingArthur)and first Design.’Atale intended to celebrate true- me,’ hewrote, ‘Ihave beenobligedto alter the a Government whichhashitherto protected ‘In order not to offend thepresent Timesnor looking rather problematic. returned to hisplot in1691 hisallegorywas religious landscape,andby thetimeDryden drive theaction inthe ‘Hither, thisway’ episode, to insertitselfinto thecentral plot, andeven to sing andspeak,allowing musicfor thefirst time between singersandactors, theselatter two both music. More importantly, inacaststill divided and exquisite scenes,withthehelp of Purcell’s Caliban, thesetwo conjure someextraordinary echoes of and rival spiritsPhilidelandGrimbaldoffer clear magick.’ Rival magicians MerlinandOsmond part of theplay isnot Machinery, butactual the work’s appealwhenhesaid,‘Theinchanted It was poetThomasGray whogot to theroot of performed regularly upuntilthe1840s. on to becomePurcell’s mostsuccessfulstage work, Dioclesian was far simpler, trustingto itsmusicand and TheFairyQueen , and, just like Ariel and , and,justlike Arieland King Arthur employed would go would go King King elegant hymns to theirmultiplegods.Arcadian give themDutch courage, andbestialPagans sing firmly initscheek.Noblesoldiersneedwineto The result isapatriotic drama withitstongue the audiencefrom any real fear for itsheroes. ‘Hither this-way’ issetto musicwhosewitkeeps quick-fire mockery, while thedramatically perilous Cold Geniushasitsgrandeur pricked by Cupid’s one another. Thecelebrated shivering musicof the quick-change styles,whichsubvert andundercut Dryden’s ironic distance isreflected inPurcell’s effect isbewildering butconsciouslyso.Muchof massive ‘How happy thelover’). The and elaborate orchestral episodes(includingthe country dances, pseudo-folk , drinking songs (‘Icallye allto Woden’s hall’)sitalongside fragments) isitsvariety. Courtlyverse- Arthur What ismoststrikingaboutthescore for deliberately confusingcanon. to lead Arthur’sarmy down different pathsina in whichPhilidelandGrimbaldeach attempt Programme note ©Alexandra Coghlan does for the20th. for the 17th century whatBritten’s accurate, thegentlysatiricalopera thatdoes temptations – and beautiesalongsideitstaverns anditsbaser of anaughtyjoke, thatcelebrates itsambitions pomposity, puncturing affectation withtheprick As avisionof England–acountrythatdeplores and identity. and very humantapestry of anation’scharacter alongside oneanother, to weave thiscomplicated we seemusicandwords working together, not just difficulty discerning.For thefirst timeinsemi-opera King cannot seewhathisblindbeloved hasno of too muchArcadian love-making, andaheroic shepherdesses warn of thevery practical dangers (whichsurvives onlypartially, andin King Arthur isboth vividand Albert Herring King King

5 Programme note 6 Music, whichbefore Purcell’s timeincludedwind Secular repertoire was theprovince of theRoyal 1698 and1702. perpetuated by thetwo volumes entitled British history; hisreputation inthisregard was make of himoneof thefinest writers of songin practical andaesthetic training thatwas to His experience asachorister surely provided 1661, whentheyounger Henrywas stillaninfant. Master of theChoristers atWestminster Abbey in father, alsonamedHenry, had beenappointed the choirwas completed by 32gentlemen.His time hewas oneof 12 children soappointed; began asachorister intheChapelRoyal; atthe might reside. Purcell’s associationwiththecourt but followed thesovereign wherever heorshe day. Itsactivities were not limited to London, to the13th centuryandexists to thepresent the ChapelRoyal, whoseoriginsstretch back institutions. Thesacred domainwas served by The courtsupported both sacred andsecular role of thecourtinmusic-makingcapital. reflected to aconsiderable degree thecentral and hiscareer asboth organist andcomposer Henry Purcell was bornanddiedinWestminster, attending PrinceCharles. musicians whohad served JamesIand those the andVoices, constituted in1625 from the genre at its heyday. Inaddition, there were cogency. Purcell was to contribute significantly to delight thepublicthanto provide dramatic machines butwhichwere designedmore to spectacular costumes,décorsandelaborate –theatricalproductions featuring often supported asmany as30players, performing in a violinband,enlarged from seven to 12, drummers andfifers. Intheearly17th century orviols),supplemented by trumpeters, (shawms andsackbuts, recorders, and and stringinstrumentsinfour distinctgroups Britannicus context in Arthur King published posthumously in London in publishedposthumouslyinLondon Orpheus Orpheus James II, whochoseto promote thecommercial venues. Thisshifthad already beenundertaken by his activities to London’stheatres andconcert others –turnedaway from thecourtby expanding music. From thispointonwards, Purcell – among most partanegative influence onthecultivation of the exile of JamesIItheprevious year had for the The ascensionof WilliamandMaryin1689 upon presented intaverns. had antecedents. Asarule,theseconcertswere concerts to thepublic,thoughsurely hisinitiative wind andtrumpets.In1672 JohnBanister brought of theChapelRoyal, strings,and,increasingly, various forces athand–vocal soloists,thechoir with brilliance.Theseoft splendidworks combined odes, thecompositionof whichPurcell pursued years witnessedtheregular performance of court were renamed thePrivate Music.Theensuing du Roi band to 24,mimickingthe (1660), whichsaw furtherexpansion of theviolin activities untilthey resumed after theRestoration The CivilWar (1642) drastically reduced musical heeded thetaste of theLondonaudience, and his dialogue withsinging.Notwithstanding productions that combinedagooddealof spoken then beingconceived andexecuted, thatis,with of hispositionatthecourt–to opera asitwas one hand,andmasques,ontheother –allpart from thecompositionof anthemsandodes,onthe prevailing trends, heturnedhiscreative energies of suchworks from Elizabethantimes.Adapting to harmony whilecarryingontheglorioustradition to beamaster of and expressive for violconsortof varying sizes, proving himself work. He had written some extraordinary fantasias These vicissitudesare clearlyreflected inPurcell’s court masquespreviously invogue. theatres rather thansubsidisingtheelaborate in France. AtthispointtheLutes andVoices , whichisindeedallsung,Purcell otherwise Vingt-quatre Violons Vingt-quatre Violons Dido and Dido and Robert Thompson, NicholasTemperley, Roger Bowers, (with grateful acknowledgment to Peter Holman, AAM Hogwood Fellow Robert Levin and Purcell’s adventurous music. imaginative drama, withJohnDryden’slibretto yourselves for aevening of splendidand supernatural, pastoral, or…drunk.Prepare sing; theonlyoneswhodoare thosewhoare latter work. Theprincipalcharacters donot We seethesepointswell illustrated inthe succinctly: Robert Thompsonsummarisesthesituation Company in1691. Of these, stage works are henceoften called‘semi-operas’. McVeigh) H Diack Johnstone, Richard Rastall, andSimon Scene in beings summonedby magic, asintheFrost History of Timonof Athens the fine Masqueof CupidandBacchus in might bepresented by humancharacters, asin supernatural beings.Self-contained masques gods, foretelling thefuture orsummoningup engaged incommunalprayer, sacrificing to the priests, soothsayers, enchanters ormagicians, the protagonists were Christianorpagan scenes naturally required musicwhether usually reserved for three situations. Ritual ‘Extended piecesof concerted musicwere hence theaudience. the entertainment of characters onstage –and celebrate battlesorlamentdeath,simplyfor seduction scenes,for serenades orlullabies,to would reasonably beexpected: indrinkingor in songsorcatches introduced where they or incidental instrumental movements, or for spoken plays, intheform of introductory ‘Much of Purcell’s dramatic musicwas provided KingArthur King Arthur was mounted by theUnited .’ … orby supernatural The The

7 Programme note 8 leave. All across thecountry, peopletold peopleto people. All across thecountry, peoplethreatened other graffiti. All across thecountry, peopledrew swastika therain. All across thecountry, peoplewaved flags in hopesonit. All across thecountry, peoplehad pinnedtheir counted for nothing. All across thecountry, peoplefelt like they nothing. All across thecountry, peoplefelt history meant shoulder. All across thecountry, peoplefelt history attheir All across thecountry, peoplefelt sick. All across thecountry, peoplefelt righteous. shocked. All across thecountry, peoplefelt bereaved and All across thecountry, peoplefelt legitimised. theirheads off. All across thecountry, peoplewere laughing All across thecountry, peoplefelt unsafe. cunts. All across thecountry, peoplecalledeach other Google:IrishPassport Applications. All across thecountry, peoplelooked up Google:move to Scotland. All across thecountry, peoplelooked up Google:whatisEU? All across thecountry, peoplelooked up wrong thing. the rightthingandother peoplehad donethe All across thecountry, peoplefelt they’d done won. All across thecountry, peoplefelt they’d really lost. All across thecountry, peoplefelt they’d really thing. All across thecountry, peoplefelt itwas theright wrong thing. All across thecountry, peoplefelt itwas the after FirstMusic: No.1/‘Fairest Isle’ Texts

The cruelandbloodyvictories of Caesar? Who formed ChristbutHerod andCaesar, Lacking theterrible haloof spears? Who would remember Helen’sface values. Violence hasbeenthesire of alltheworld’s head? Jewelled withsucheyes thegreat goshawk’s What butfear wingedthebirds, andhunger The fleet limbsof theantelope? What butthewolf’s tooth whittledsofine values. Stark violenceisstillthesire of alltheworld’s It isnot bad, itishightime, Speak hisprodigious blasphemies. Let thegunsbarkandbombing-plane It isnot bad. Letthemplay. Solo from ‘Autumn’ by AliSmith(born1962) All across thecountry, politiciansvanished … All across thecountry, politiciansfell apart. All across thecountry, politicianslied. All across thecountry, themediawas insane. reserved Jeffers’; ©by the Jeffers Literary Properties; allrights (1887–1962); from ‘TheSelected Poetry of Robinson ‘The BloodySire’ (1940) by Robinson Jeffers Old violenceisnot too oldto begetnew values. Never weep, letthemplay, values. Violence, thebloodysire of alltheworld’s

(1757–1827) ‘The Garden of Love’ (1794) by WilliamBlake And bindingwithbriersmy joys anddesires. rounds, And priestsinblack gowns were walking their And tombstones where flowers shouldbe; And Isaw itwas filled withgraves, That somany sweet flowers bore, So Iturnedto theGarden of Love, And ‘Thoushaltnot’ writover thedoor; And thegates of thischapelwere shut, Where Iusedto play onthegreen. A chapelwas builtinthemidst, And saw whatInever had seen: I went to theGarden of Love, after ‘ComeFollow Me’ Shelley (1792–1822) from ‘Prometheus Unbound’(1819) by Percy Bysshe This isaloneLife, Joy, Empire, and Victory. Good, great andjoyous, beautifulandfree; This, like thy glory, Titan, isto be Neither to change,norfalter, norrepent; From itsown wreck thethingitcontemplates; To love, andbear;to hopetillHopecreates To defyPower, whichseemsomnipotent; To forgive wrongs darker thandeathornight; To suffer woes whichHopethinks infinite; An empire o’erthedisentangled doom. These are thespellsby whichto reassume The serpentthatwould claspherwithhislength; Mother of many acts andhours,shouldfree And if,withinfirm hand,Eternity, Which barsthepitover Destruction’sstrength; These are thesealsof thatmostfirm assurance Gentleness, Virtue,Wisdom,andEndurance, after ‘ForFoldedFlocks’

Once pitywe knew, andrage we knew, There’ll berain tonight’. We said,’Ifthewind’sfrom over there Or sicken andblanchwhite. We didnot shake withpityandpain, ‘They soundcleartoday’. We drowsily heard, andsomeonesaid, We didnot curseorpray; We didnot wince,we didnot weep, The great gunsbeat. When heavily upthesouth-eastwind Drowsy, andquietsweet … And life was boundinastillring, To anunseensea. At ourfeet thedowns of Sussex broke Wild, wildingreenery; Behind usclimbedtheSurrey Hills, The darkpinesstood. Like aquire of singerssinginglow In thebracken of HurtWood. We lay andate thesweet hurt-berries after ‘InVain ourGraces’ And of black thingsdone). Mad from dreaming of naked fear (We have builtthemlestwe run We are shutaboutby guarding walls; The widewaste sea. And thebloodthatrunsthere runsbeyond And thepainof Picardy; And far andfar are Flandersmud, Dreams withindreams. The gunsare muffled and far away. Remote the anguishseems; But now hell’sgates are anold tale; Through thegates of hell. As we stared andpeered dizzily And painwe knew, too well,

9 Texts 10 (1888–1965) from ‘TheHollow Men’(1925) by T SEliot The stuffed men. As thehollow men Violent souls,butonly Remember us–ifatallnot aslost With direct eyes, to death’sother Kingdom Those whohave crossed Paralysed force, gesture withoutmotion; Shape withoutform, shade withoutcolour, In ourdrycellar Or rats’ feet over broken glass As windindrygrass Are quietandmeaningless We whispertogether Our driedvoices, when Headpiece filled withstraw. Alas! Leaning together We are thestuffed men We are thehollow men Representative of theEstate of Rose Macaulay © TheSociety of Authors astheLiterary ‘The Picnic’(1917) by Rose Macauley (1881–1958); Should break …shouldbreak … Lest, battered too long,ourwalls andwe While theearth’sboundsreel andshake, Oh we’ll liequite still,not listen norlook, And sleeponceagain. We’ll lievery quietonHurtHill, Blowing shouldbringtherain … Be still,besouthwind,lestyour Dull dreams of pain… Heavily upthesouthwindthrob Be still,you crash invain … Oh gunsof France, ohgunsof France, Can quite break through. Not allthegunsthat shatter theworld So high,they shuttheview. We are ringedallround by guarding walls,

Solo after ‘You say ‘tisLove’/Call to battle from ‘TheHollow Men’by T SEliot Falls theShadow And thedescent Between theessence And theexistence Between thepotency And thespasm Between thedesire Falls theShadow And theresponse Between theemotion And thecreation Between theconception Falls theShadow And theact Between themotion And thereality Between theidea the principals:) (fragments of thetext below to beshared among (1564–1616) from ‘HenryV’(1599) by WilliamShakespeare That fought withusuponSaintCrispin’sday. speaks And holdtheirmanhoodscheapwhilesany here, Shall thinkthemselves accurs’d they were not And gentlemeninEnglandnow-a-bed This day shallgentlehiscondition; Shall bemy brother; behene’er sovile, For heto-day thatshedshisbloodwithme We few, we happy few, we bandof brothers; But we initshallberemembered; From thisday to theendingof theworld, For ThineistheKingdom Life isvery long For ThineistheKingdom

interval: 20minutes from ‘HenryV’by WilliamShakespeare George!’ Cry ‘Godfor Harry, England,andSaint Follow your spirit,anduponthis charge Straining upon thestart. Thegame’s afoot: I seeyou stand like greyhounds intheslips, That hathnot noblelustre inyour eyes. For there isnoneof you someanandbase, not; That you are worth your breeding; whichIdoubt The mettleof your pasture; letusswear here Whose limbswere made inEngland,show us yeoman, And teach themhow to war. Andyou, good Be copy now to menof grosser blood, you. That thosewhomyou call’dfathers didbeget Dishonour not your mothers; now attest And sheathedtheirswords for lack of argument: Have inthesepartsfrom morntilleven fought Fathers that,like somany Alexanders, Whose bloodisfet from fathers of war-proof! To hisfullheight.On,on, you noblestEnglish. Hold hard thebreath andbendupevery spirit Now settheteeth andstretch thenostrilwide, Swill’d withthewildandwasteful ocean. O’erhang andjuttyhisconfounded base, As fearfully asdoth agalledrock Like thebrass cannon;letthebrow o’erwhelmit Let prythrough theportage of thehead Then lendtheeye aterrible aspect; Disguise fair nature withhard-favour’d rage; Stiffen thesinews, summonuptheblood, Then imitate theaction of thetiger; But whentheblastof war blows inourears, As modeststillnessandhumility: In peace there’s nothing sobecomesaman Or closethewall upwithourEnglishdead. more; Once more unto thebreach, dearfriends,once Solo after ‘Comeifyou Dare’

11 Texts 12 (1923–2012) ‘Hatred’ (1996) by Wislawa Szymborska As onlyitcan. And gazesunflinchingly atthefuture It hasasniper’skeen sight They say it’sblind.Blind? If ithasto wait awhile, itwill. It’s always ready for new challenges. Towering over itssoiledvictim. Of itsleitmotif –theimpeccableexecutioner Above all,itnever tires Red bloodandwhite snow. Between explosions anddead quiet, Hatred isamaster of contrast – Of erotic ecstasy … Its face twisted inagrimace Hatred. Hatred. Until hate getsitsown momentumgoing. Justice alsoworks well attheoutset Whatever helpsitgetarunningstart. One fatherland oranother – Whatever getsitready, inposition. One religion oranother – And sleeplessnesswon’t sapitsstrength; itfeeds it. When itsleeps,it’snever eternal rest. That give itlife. It gives birthitselfto thereasons At onceboth olderandyounger. It’s not like other feelings. How rapidly itpounces,tracks us down. How easilyitvaults thetallest obstacles. Our century’shatred. How itkeeps itselfinshape– See how efficient itstillis, after ‘Brave Souls’ Thine istheKingdom This istheway theworld ends Joy, thepeace, thegloryof mankind White andgloriousvictory Life, Joy, Empire, andVictory Gentleness, Virtue,Wisdom,andEndurance before ‘Woden’s Hall’ Full castto mutter fragments of thefollowing

(1920–94) ‘Trashcan Lives’ (1986) by CharlesBukowski wind. cold it’s ahard in eithercase we justforgot ours. derelicts. destroy their only they eitherenslave or works too this istheway adictatorship if possible. and add to it try to keep that you getwhatyou can, works: this istheway ademocracy everything. and thatthere are locks on is owned everything that you notice that it’s whenyou’re ontherow red. I hopesomeof themhave abottle of the boys ontherow. and Ithinkabout and it’sacoldwind the windblows hard tonight after ‘Seewe assemble’/Dance … stone. Here isyour Victory, carved outof man, not ground. On broken swords, hacked bodies,bloody Death inhiseyes, and life. Here lethimstand Standing onemomentastheearthstands still– Yet aware heisfallen, aware of thesilence– Trying for onemore stroke atthefalling foe, Panting andalmostspent–heartpounding, Blood onhisface, hands,–wounds, dirt,sweat, Here isyour Victory. To thelastshred of steel, thelastounceof will. Tireless enemy, prove it,tryitinbattle Then fling itto battle,hurlitagainst thefar-flung Harden musclesto steel, unyielding, tireless. Rises flame of knowledge to harden thought, Under despair, anger, bite of whips, And again, until,slow, slow generated Till itstirsandrises.Thenbatter itdown again Set itaflame withanger, hate, despair Carve itwithhunger, cutitwithwhips,then hand. That cries,screams, curses,faints, underyour Now sculptor! Nodead marble.Livingflesh Smash thecarved pedestal into rubbishtoo. robes – Proud head, white limbs,breasts underflowing Shatter down white wings, smash arms upraised, Hammers here to shatter andsmashalie! ‘I amVictory.’ Victory, you lie! You came,white andapart,to stand andsay Friend andfoe, Against flesh, After After any battles. You are too white, andtoo cleanto have fought Oh white andgloriousvictory, you lie! Solo after ‘Ye blustering brethren’ theslaughter, thebattle, after after after thewreak of carrion after thesweat andblood, thehorror andweariness – theterror of steel

For Thineisthe Life is For Thineis after ‘OurNatives not aloneappear’ Falls theShadow And theresponse Between theemotion For ThineistheKingdom. Chorus ‘Victory’ (1940) by ArthurJ Kramer You whomustfight canknow thatthusitmustbe. was’. You whohave fought canstand andsay ‘Soit Hail then,horriblefigure! Out of death,life. Out of thedirt,cleanness of worlds to be, Out of thewounds, healingof ancientsores, Place atlastfor thebodyandsoulof man– Peace for theold,foul struggle,sweeter ground, Out of swift bullet,bloodysword descending, Out of blood,sweat, dust,steel, struggle, from ‘TheHollow Men’(1925) by T SEliot This istheway theworld ends This istheway theworld ends For ThineistheKingdom For ThineistheKingdom Not withabangbutwhimper. This istheway theworld ends

13 Texts 14 Marco Borggreve staged version of the his debutin2007, conductinga established theChoirof theAAM.Hemade his repertoire andearlyinhistenure he Opera andoratorio lieattheheartof well as touring theEastCoast with . Philharmonia andLesViolonsduRoy, as he conductstheDallasSymphony , in Beethoven’s ‘Eroica’ Symphony. IntheUSA Philharmonic andAntwerp Symphony Mozart’s MassinCminorandtheLuxembourg Scottish ChamberOrchestra in Schumann’s Philharmonic inthe This seasonheconductstheRotterdam such astheWigmore HallandCarnegieHall. , hegives solorecitals atvenues as well asleading Baroque ensembles.Asa Concertgebouw andPhiladelphia orchestras, guest conductstheLondonSymphony, Royal Orchestra from 2011 to 2017. Healsoregularly was Associate Artistof theScottish Chamber the Residentie Orkest inTheHague in2019. He up thepositionof PrincipalGuestConductor of Academy of AncientMusicsince2006andtakes music. HehasbeenMusicDirector of the keyboard, givingrecitals andplaying chamber is equallyhappy ,directing from the keen, enquiringmindto allhismusic-making.He Richard Egarrbringsasenseof adventure anda Richard Egarr About the performers Richard Egarr , Orquesta Sinfónica de Galicia in , Orquesta SinfónicadeGaliciain director/harpsichord St Matthew Passion St Matthew Passion

, the , the . Daisy Evans’s directing credits include Daisy Evans before working withGustav andMarieLeonhardt. organ scholaratClare College,, Minster, atChetham’sSchoolof Musicandas Richard Egarrtrained asachoirboy atYork enthusiastic reviews. and released earlierthisyear onLinnRecords to Pinafore 2015 heconducted GilbertandSullivan’s St Matthew Passions awards) and,mostrecently, Bach’s (which gained Music hehasrecorded seven discsof Handel of Bach’s Partitas. WiththeAcademy of Ancient Couperin, andearlierthisyear hereleased aset recordings of Bach, Handel,MozartandLouis His extensive solodiscography includes Juilliard School. Academy. HeisalsoaVisitingProfessor atthe Pears Foundation andtheNetherlandsOpera with theAmsterdam Conservatory, theBritten– of musicians,hemaintains regular relationships Passionate aboutinspiringthenext generation for BarberOpera; , ; and GrimebornFestival; Falstaff Barbican; Queen at TheVaults for ENO/SilentOpera; Daisy Evans withtheAcademy of AncientMusicatthe for FulhamOpera, Wilton’s MusicHall attheEdinburgh Festival, recorded live Così fan tutte stage director Gramophone Der Fliegende Holländer on the AAM’s own label. In ontheAAM’sown label.In for Bury CourtOpera; Shopera: , MIDEM and Edison , MIDEMandEdison L’ St John The Fairy The Fairy Vixen HMS HMS for for and and

( ( Richard Bromley ( series), Père Robert ( Film credits include Firenze (the Speech andDrama. Ray Fearon studied attheRose Bruford Collegeof Ray Fearon Ray Fearon for Waistcoat Theatre. King’s Players; and and Eurydic Daisy Evans’s theatre credits include Orpheus andEurydice The Poison Garden with composerLouisd’Heudieres haswritten L’Orfeo of As alibrettist, shehaswritten Englishversions Pizzeria dall’Opera Garden Party Festival; and Garden Opera; National Opera; Opera and Aeneas Festival Opera; premiere of for SilentOpera/;theworld Poppea Giovanni Engagement for FulhamOpera; Cape Town Machine Morlocks Midnight ( Origin Unknown Hamilton The CunningLittleVixen The Poison Garden for Heal’s; for Tête àTête andGrimeborn; and at SnapeProms; for SilentOpera; ), Bigger( The HooliganFactory ), Jimmy ( for SilentOpera; Wakening Shadow e and narrator attheRoyal Academy of Music; for theLittleOpera Company; La bohème L’Orfeo Savitri ), Colonel( The Foreigner Così fan tutte ), GabrielSwart ( Opera Squad Our Country’sGood The Therapist atBushTheatre. The Bear andanew adaptation of Lulu and Jimmy Beauty andtheBeast Bacchae / . , The Wandering Scholar for Opera; at the Grimeborn at theGrimeborn La bohème Live/Revive/Lament and incollaboration L’incoronazione di The Yellow Birds , and and A Night at the A Nightatthe for Glyndebourne ), Benjamin Lee ), BenjaminLee Harry Potter ), Tyrell ( for Hampstead ), Sterling Brooks for English A Dinner A Dinner Summer in Summer in The Tempest ), the Sous ), theSous and Orpheus Time Time ), ), with the Dido Dido ), ), , The The

Ray Fearon isanAssociate Artistof theRSC. also won for MarkAnthony ( Award for Best Actor in2010, anaward he won the in theSun His performance asWalter Leein with theOxford Stage Company. Vic, NationalTheatre, ’s Everyman and Exchange, , Sheffield Crucible,Young Manchester Festival, DonmarWarehouse, Royal in theCathedral Moby Dick Devil as in in thetitle-roles in Company, withwhichhehasalsoappeared Agamemnon ( role in Ray Fearon’s theatre credits includethetitle- Northern College of Music; School of Music&Drama; Åbo Svenska Teater; Marriage of Figaro National Opera; Vixen Jake Wiltshire’s recent lightingcredits include Jake Wiltshire of Shakespeare Street Neanderthal Silk Bury Court Opera; Blood On television hehasappeared in Marriage Chef ( Jake Wiltshire , Death inParadise , for Silent Opera inassociationwithEnglish , , The Chef’s Letter Troilus andCressida Revelations Macbeth Da Vinci’sDemons Manchester Evening News ). atManchester’s Royal Exchange , The Merchant of Venice , Raw Hecuba , lightingdirector atShakespeare’s Globe,and . Hehasalsoappeared atthe The Bill , The Magic Romeo andJuliet , Pericles , Keen Eddie for Turku Opera atFinland’s Missing The Castle , ) andBrush( ) for theRoyal Shakespeare Above Suspicion and and , , , Suspects Venice Preserved Doctors Così fan tutte Outside theRules Julius Caesar for SilentOpera; , Othello The Life and Times The Life andTimes at the Guildhall attheGuildhall Snatch and A Raisin Clandestine Clandestine Theatre , , , The White Moving On and Coronation Coronation for theRoyal , aswell The The , , Hominid: Hominid: Murder for for New New ). ). , . ,

15 About the performers 16 Audience Prize.Shewon theinaugural British competition andtheDameJoanSutherland in June2017, winningthethird round of the in BBC Singerof theWorld Competition Opera Awards 2017 andrepresented England She won BestYoung SingerattheInternational She continuesto studywithDinahHarris. as theinaugural KiriTe Kanawa scholar. andtheRoyal Collegeof Music of musiciansandstudiedattheUniversity of Louise Alderwas borninLondoninto afamily Louise Alder Associate of theRoyal Academy of Music. productions. In2009hewas made anHonorary films andPerrier Award-winning comedy He hasalsolitfor theatre, independent Kommilitonen! lit theUSpremiere of ’s As associate lightingdesigner, Jake Wiltshire Macbeth Dutchman Carmen Falstaff other productions for Royal Academy Opera; Dreigroschenoper Cendrillon Engagement Figaro di Poppea also worked onproductions of Giovanni of Music’sInternational Opera School;and the LondonHandelSocietyandRoyal College Louise Alder , for FulhamOpera/Grimeborn Festival; The Rake’s Progress for ENO’sBaylis programme; for Iford ArtsFestival; and for Opera Faber, Portugal. Hehas , , for FulhamOpera; May Night The Lighthouse , soprano Acante et Céphise at New ’s LincolnCenter. , Hänsel undGretel , The Marriage of , , Eugene Onegin The Bear The Snow Maiden L’incoronazione for UCO Opera. , , and many andmany A Dinner A Dinner The Flying The Flying , Don Don for for Die Die , , Katie Glastonbury Mhairi Lawson pianist JosephMiddleton was released inJuly. Life andLove Louise Alder’sdebutrecital album at OperFrankfurt withHelmutDeutsch. and JamesBaillieuinSheffield andarecital Matthewman, arecital withSirThomasAllen recitals attheWigmore HallwithGary Thomas Quasthoff attheGraz Musikverein, Angelika Kirchschlager, Michael Schade and Zaïs No 3, Poulenc’s delirio amoroso in ( Trulove ( Recent concertperformances includeAnne and ,Covent Garden. the Madrid, Bayerische Staatsoper Glyndebourne Festival Opera anddebutswith ( future engagements includethetitle-role in Clorinda ( Despina ( ensemble since2014 andthisseasonsings She hasbeenamemberof theOperFrankfurt on Tour DonaldAlbertAndersonAward. John ChristieAward andthe2013 Glyndebourne in 2015, the2014 GlyndebourneFestival Opera Young Soloists’CompetitionattheWigmore Hall International EarlyMusicNetwork Young Artists of Music&Drama, Mhairi Lawson won the While stillastudentattheGuildhall School Mhairi Lawson L’incoronazione diPoppea ), a Lieder gala with Helmut Deutsch, ), aLiedergalawithHelmutDeutsch, ), Mozart’sCminorMass,thetitle-role withtheOAE underIvor Bolton, Pamina The Rake’s Progress Così fan tutte –adiscof Strauss songs–with , Vaughan Williams’sSymphony soprano ) atGarsington, herreturn to , Zélidie(Rameau’s ), Sophie( ). Othercurrent and ), Marzelline ), Marzelline , Handel’s Through Il Il ) and ) and Symphony Orchestra; thetitle-role in include Mhairi Lawson’s recent andfuture highlights Ensemble andtwo discsof SchubertLieder. disc of Scottish Jacobite songswiththeAvison under Edward Higginbottom, recent recordings are Haydn’s works by Vivaldi withLaSerenissima; her most Her extensive discography features many vocal , SanFrancisco. the latter work withthePhilharmonia Passion by Bach, HandelandPurcell, including and Players for many years, notably inpieces She hasworked withtheGabrieliConsort Society andtheScottish ChamberOrchestra. Paris andBarcelona withtheNetherlandsBach has alsosung and HassewiththeEarlyOpera Company. She she hasperformed operas by Purcell, Handel London andBirmingham.AttheWigmore Hall, Monteverdi throughout Europe, includingParis, dramatic works by Purcell, Charpentier, Landiand With LesArtsFlorissants,shehasperformed andSirJohnEliot Gardiner. Christie, CharlesMackerras, Paul McCreesh, many distinguished conductors, includingWilliam and concerthallsworldwide andworked with She hasperformed inleading opera houses led to herfirst recording of Haydn songs. Prize withthefortepianist OlgaTverskaya, which recent discof Monteverdi , Asti. Shealsofeatures onLesArtsFlorissants’ International Festival andrecitals withEugene with lutenist ElizabethKenny attheSt Magnus residency attheCarmelBach Festival, arecital Chamber Orchestra underRaphaël Pichon,a Mozart’s MassinCminorwiththeScottish ( in BminorwiththeGabrieliConsort;Venus Galatea ( the Cityof BirminghamSymphony Orchestra; and Aeneas Morris DanceGroup productions of National Opera sheappeared intheMark Weimar andthroughout Spain.WithEnglish Fairy Queen Venus andAdonis atNew York’s LincolnCenter, in Acis andGalatea and . Shehasalsosungthe Messiah with the Hallé and Bournemouth withtheHalléandBournemouth King Arthur ) with the Dunedin Consort; ) withtheDunedinConsort; inAmsterdam, Utrecht, ) and Bach’s Mass ) andBach’s Mass , reprising Rebellion! Semele St John Venezia Dido Dido , a , a The The

with with . . and Mozart’sRequiem to Bernstein’s genres, ranging from Haydn’s equally drawn to later repertoire andother , odesandoratorios, hefinds himself period. Not to beundoneby astrictdietof Handel, Purcell andother majornamesof the habitat iswithintheworks of Bach, Charpentier, Classical andmodernrepertoire. Hisnatural a namefor himselfasasoloistinBaroque, his imaginative musicality, heisrapidly making Particularly noted for thepurityof histone and to openawiderspectrumonstage. and white of ascore, hehasendeavoured reducing hisvisualcolourpalette to theblack his own voice shouldspeakfor itself.Since oil pastels untilcircumstances demandedthat to convey hisartthrough watercolours and Countertenor Reginald Mobley fullyintended Reginald Mobley he hasappeared inseveral musicaltheatre In addition to standard countertenor repertoire, under thedirection of Matthew Halls. he hasalsosungattheOregon Bach Festival Music Vancouver andSymphony Nova Scotia; Ensemble VIII,SanAntonio Symphony, Early Orchestra, NorthCarolina Baroque Ensemble, Apollo’s Fire, Vox EarlyMusic,Portland Baroque These includetheDartmouthHandelSociety, ensembles both intheUSA andinternationally. Seraphic Fire andhasalsoappeared withother nominated Miami-basedvocal ensemble, He isalongtimememberof thetwiceGrammy- direction of Anthony Rooley andEvelyn Tubb. ’s performed thetitle-role intheFloridapremiere of Reginald Mobley andOrff’s TheJudgementof Paris countertenor Theresienmesse . He has also . Hehasalso under the underthe Chichester

17 About the performers 18 Annelies van der Vegt John Passion for EarlyMusic.OtherhighlightsincludeBach’s & Players, winningthe2016 most recent, He hasmade over 90recordings asasoloist,the and London’sRoyal Collegeof Music. musical training atKing’sCollege,Cambridge, ninth centuryto thepresent day. Hereceived his Charles Daniels’srepertoire extends from the Charles Daniels at FloridaState University withRoy Delp. of FloridawithJeanRonald LaFond, and Reginald Mobley studiedvoice attheUniversity songs injazzclubsandaround Tokyo. shows andsetsof jazzstandards andtorch theatre, hehasperformed many cabaret The MusicMan Mystery of EdwinDrood productions, notably RupertHolmes’s the Recent engagements include Fairy Queen Operatic appearances have includedLully’s and Vespers Handel’s Canti divita ed’amore Career highlightshave includedLuigiNono’s Songs andmore than20discsof Purcell’s music. Christmas Story Charles Daniels St JohnPassion for the Opéra deParis andPurcell’s Messiah inVenice; Handel’s attheAix-en-Provence Festival. , Western Wind attheViennaMusikverein. Messiah , Haydn’s ‘St Cecilia’Mass,Bach’s , . Inaddition to hiswork inmusical inNew York; Monteverdi’s , Airs decour tenor The Beggar’sOpera with Tafelmusik, , Dowland songs, Handel’s , Dowland songs,Handel’s attheEdinburgh Festival; andMeredith Willson’s with theTaverner Choir Gramophone , Handel’s Occasional , Handel’sOccasional King Arthur , Schütz’s , Schütz’s The The inParis and and Award Award The The

St St Ivan Ludlow Ivan Ludlow return to Toronto for Bach’s MassinBminor. in St Gallen.Future engagements includehis the Oregon Bach Festival andBach cantatas London HandelFestival; aseriesof concertsat Passion Sage, Gateshead andatKingsPlace; ;the with HollandBaroque Society;Purcell atthe included aseriesof Purcell programmes This year CharlesDaniels’sconcertshave tour of The Dream of Gerontius King’s Consort, Biber’s Requiem, d’Apollo ediDafne with theGabrieliConsort,Cavalli’s with ,Purcell concerts Peter Sellars andKrzysztof Warlikowski. Macha Makaïeff, OlivierPy, AlvisHermanis, worked withleading stage directors suchas Gerard Korsten andGustav Kuhn. Hehasalso Ollu, Christoph UllrichMeyer, Ludovic Morlot, Jean-Yves Ossonce,Cyril Diedrich,Franck Rousset, Adam Fischer, JanLatham Koenig, whom hehasappeared includeChristophe and theSalzburg Festival. Conductors with at Welsh NationalOpera, Vlaamse Oper Bordeaux, Metz,Porto andLausanne Athens, Toulouse, Strasbourg, Marseille, of Brussels,Naples,Spoleto, Paris, Lyon, opera venues, including theopera houses guest atsomeof Europe’s mostprestigious the NationalOpera Studio. Heisaregular Guildhall Schoolof Music&Drama and Born inLondon,Ivan Ludlow attended the L’Allegro, IlPenseroso edilModerato atBathAbbey; baritone Messiah Dido andAeneas St Matthew Passion withtheToronto Consort, inWrocław anda inJapanandAustralia, Gli amori Gli amori with The with The St John at The atThe at the atthe . Debbie Scanlan Guildhall School of Music&Drama and King’s CollegeChoir. Hestudiedatthe University, where hewas amemberof Ashley Richesread EnglishatCambridge Ashley Riches Ashley Riches de Lyon and include Ophelias: Deathby Water Singing Schumann andBridgeHenrikHellstenius’s songs withGraham Johnson,discsof Fauré, He hasrecorded thecomplete Poulenc Il SeminarioMusicaleandDivinoSospiro. de Musique,Orquestra Nacional doPorto, orchestras, Auckland Philharmonia,LeParlement the BBC, Estonian andSeattleSymphony such asEnsembleModern,Remix Ensemble, Ensemble. Heappearsinconcertwithorchestras by DanielTong, pianistof theLondonBridge and theUnited States andisoften partnered Ivan Ludlow hasgiven recitals throughout Europe houses of Lyon, LaMonnaieandCovent Garden. international co-production between theopera Janác Holliger’s Current andfuture engagements includeHeinz Husband ( (Peter Maxwell Davies’s (Britten’s Demetrius, Traveller ( Rake’s Progress the Count( Didone Guglielmo, Onegin,Iarba(Cavalli’s His roles have includedDonGiovanni, was aJette Parker Young ArtistattheRoyal ˇ ek’s ), Escamillo,Nevers ( The MerryWidow The BurningFieryFurnace Lunea Les MamellesdeTirésias From theHouseof theDead Lulu bass-baritone ), Danilo,Belcore, Aeneas, attheZurichOpera Houseand from LaMonnaie. ), Marcello, Shadow ( Curlew River The No 11 Bus from Opéra ), Astrologer . HisDVDs ). ), Baritone La La ) and ) and in an inan The The ), ), Beethoven’s Bach’s MassinBminorattheFlandersFestival; and theOrchestra of theAge of Enlightenment; Messiah Shostakovich’s and highlightsincludetheUKpremiere of He iswell established ontheconcertplatform with Opéra NationaldeLorraine, Nancy. the Pannon PhilharmonicinHungary, European tour of the the Monteverdi ChoirandOrchestra for a rex the BerlinPhilharmonicasCreon ( Hall. Mostrecently hemade hisdebutwith the Academy of AncientMusicattheWigmore and inCadogan Hall;andBach cantatas with Requiem withtheGabrieliConsort;Britten’s Norrington; Handel’s appeared inthetitle-role of as Schaunard ( made hisdebutwithEnglishNationalOpera (Cavalli’s since returned to thecompany to singOsmano Officer ( ( Linbury Studio); Moralès ( premiere of Søren NilsEichberg’s Mozart andSalieri roles includedSalieri(Rimsky-Korsakov’s During histwo years atCovent Garden his 3 New Generation Artistsscheme. to 2014. Heisamemberof theBBC Radio Opera House,Covent Garden, from 2012 and Bach’s in Egypt ( English NationalOpera asthePirate King Highlights lastseasonincludedareturn to Tedesco, Handel,Poulenc andDanielPurcell. recordings include works by Bach, Castelnuovo- of London,SchubertandLudlow festivals. His the Wigmore Hall,BarbicanHallandtheCity As arecitalist Ashley Richeshasappeared at the Three ChoirsFestival inGloucester. with theAAMandElgar’s John’s SmithSquare, Bach’s Orchestra, sangPollux ( Powell’s also took partintheworld premiere of John Turandot The Pirates of Penzance ) underSirJohnEliot Gardiner andjoined withtheScottish ChamberOrchestra withtheScottish ChamberOrchestra Dialogues desCarmélites Prussian Requiem ); Baron Douphol( L’Ormindo Christmas Oratorio Missa solemnis withNovaya Opera Moscow La bohème Orango ); Michael (theworld ) attheGlobeTheatre. He St Matthew Passion L’Allegro underEsa-Pekka Salonen; Castor et Pollux ), Carmen Apollo eDafne TheKingdom with the Philharmonia withthePhilharmonia ) andhasrecently La traviata under SirRoger Owen Wingrave Christmas Oratorio withtheOAE. and Mozart’s and Mozart’s ); Mandarin ); Mandarin ). He has ). Hehas Oedipus Glare Israel ); and ); and ) at St ) atSt in the inthe at at . He . He with with

19 About the performers 20 education scheme,withtheaimof nurturingthe Since 2010 theAAMhasrunitsAAMplify Baroque period,was launchedinOctober 2016. Castello, aVenetian composerfrom theearly one, aselectionof instrumental works by Dario critically acclaimed recordings. Themostrecent AAM Records, theorchestra has released five and MIDEMawards. Onitsown in-houselabel, accolades, includingBRIT, than 300CDswhichhave won numerous the AAMhasanunrivalled catalogue of more Originally established asarecording orchestra, Director Richard Egarr. music scenetoday, undertheleadership of Music and theAAMremains attheforefront of theearly 1973 by scholar-conductor breaking whentheorchestra was founded in This historically informed approach was ground- as often aspossible. careful research andtheuseof first-edition scores themselves through acombinationof intended. Thisinvolves taking inspiration from the and Classicaleras intheway itwas first and choirthatperform musicfrom theBaroque The Academy of AncientMusicisanorchestra Academy of Ancient Music Gramophone , Edison , Edison Visit www.aam.co.uk to find outmore. Festival. the University of CambridgeandatTheGrange Barbican Centre andOrchestra inResidence at The AAMisAssociate EnsembleatLondon’s Fuge andcountertenor TimMead. music showcases thepairingof soprano Keri and aprogramme of secularandsacred vocal celebrates Englishsongfrom Dowland to Arne; Telemann andBach. Soprano Carolyn Sampson migration, andthe‘reversed fortunes’ of exploring themusicalimpact of cross-European strings. Soloistsfrom AAMfeature inprogrammes virtuosic Vivaldi andTelemann ongut first-class soloists;andNicolaBenedettiperforms St JohnPassion in theBarbicanHallfor performances of Bach’s opera cycle. TheAAMChoirtakes centre stage second instalment of theAAM’sthree-year Purcell performance of Highlights thisseasonincludetonight’s all ages. other specialprojects for children andpeopleof AAM delivers workshops, masterclasses and Working withpartnersaround thecountry next generation of young artistsandaudiences. andHandel’s King Arthur , whichforms the Messiah , joinedby Hannah WalmsleyHannah Manager Assistant Stage Jocelyn Bundy Stage Manager Jake Wiltshire Lighting Designer RosiePurdie Director Assistant Stage Daisy Evans Stage Director Richard Egarr Harpsichord Music Director/ Music Academy of Ancient Jonathan Stainsby Philip Tebb Richard Latham Bass Matthew Sandy Edmund Hastings James Geer Tenor Lucy Goddard Bingham Holly-Marie Cathy Bell Alto Eloise Irving Philippa Hyde Emma Brain-Gabbott Soprano

Timothy Amherst Imogen Seth-Smith Sarah McMahon Isuskiza Ricardo Cuende Alexandru-Mihai Bota Liz MacCarthy Pierre Joubert William Thorp Rebecca Livermore 2 Persephone Gibbs Iwona Muszynska Sijie Chen Bojan C Violin 1 ˇ ic ˇ ic ˇ

Lars Henriksson Lars Henriksson Katharina Spreckelsen /Recorder Malcolm Greenhalgh Technician Keyboard Eligio LuisQuinteiro William Carter AlastairRoss Harpsichord Benedict Hoffnung Phillip Bainbridge David Blackadder Ursula Leveaux

21 About the performers Support AAM

Each year AAM gives around 40 concerts in the UK and internationally, enriching the lives of tens of thousands of people with our fresh approach to baroque and . AAM’s recordings and broadcasts are heard by wide and varied audiences around the world on the radio and online. Our AAMplify scheme nurtures the next generation of artists and audiences, providing opportunities for talented young musicians to develop their skills and for all young people to experience the thrill of live performance with low- cost concert tickets and introductory workshops. AAM is a registered charity. This year we need to raise over £500,000 to sustain and develop the orchestra’s work promoting the very best music, and to expand our AAMplify programme. We do not currently AAMplify side-by-side workshop, University of receive any public funding towards Cambridge, 2015 our core costs, so the generosity of our valued family of supporters has never been more important.

Performance at the Shanghai Conservatory of Music with , Shanghai, 2016 AAM Friends • invitations to private recitals in fellow members’ homes and other Membership of AAM Friends starts from special events just £2.50 a month or £30 a year. In return, Friends receive: • complimentary drinks receptions at own-promotion concerts in • an annual drinks party London and Cambridge • invitations to open rehearsals • regular news and updates • regular news and updates • priority booking for all AAM own-promotion concerts in Last year, donations from AAM Friends London and Cambridge through allowed us to: the AAM office • provide a day of coaching from AAM players for talented young Last season, support from AAM Society musicians through AAMplify members facilitated the orchestra’s travel to countries near and far, our work with • fund speakers for free pre- , a staging of Purcell’s Fairy concert talks for all our Queen and to celebrate Music Director audience members Richard Egarr’s 10th anniversary with • support the cost of providing AAM in a glorious concert broadcast parts for the players in our by ClassicFM, reaching several million own-promotion concerts people. The generosity of individuals helped to fund our highly acclaimed For more information about AAM performances of Monteverdi’s Vespers Friends, please get in touch with in London and Gloucester, where we Alice Pusey, Projects & Fundraising showcased instruments and music to Coordinator, on 01223 301509 or primary school children; to develop [email protected]. exciting recording projects; and to broaden our reach online. Society donations also enabled us to AAM Society evolve our partnerships with the Guildhall School of Music & Drama, Royal Welsh The AAM Society is at the core of the AAM College of Music & Drama and the Royal family. Society members’ annual gifts Northern College of Music, giving support of between £250 and £20,000 form our and advice to young professionals in financial backbone, allowing us to evolve rehearsals and workshops. and excel in the concert hall, in recordings, and in the AAMplify scheme. To show our If you would like to join the AAM Society appreciation, we offer Society members: or receive more information about ways to support the orchestra, please get in touch • dinners with the director, soloists with Alice Pusey, Projects & Fundraising and musicians after performances Coordinator on 01223 301509 or in London [email protected]. • regular invitations to open rehearsals The Academy of Ancient Music: Our Team Music ­Director Head of Concerts and Artistic Consultant Richard Egarr Planning Lars Henriksson Chloë Wennersten Hogwood Fellow Development Consultant Robert Levin Projects & Fundraising Harriet Lawrence Coordinator Chief ­Executive Alice Pusey Marketing Consultants Alexander Van Ingen Bethan Sheppard Fundraising Assistant Chloe Priest Griffiths Leonore Hibou General Manager PR Consultant Anthony Brice Orchestra Librarian WildKat PR Adrian Horsewood Finance Marianna Lauckner Palieskova

Board of Trustees Terence Sinclair (chairman) · Hugh Burkitt · Matthew Ferrey · Philip Jones · Graham Nicholson · John Reeve · Madeleine Tattersall · Janet Unwin

Development Board

Philip Jones · Delia Broke · Hugh Burkitt · Elizabeth de Friend · Andrew Gairdner MBE Annie Middlemiss · John Reeve · Chris Rocker · Terence Sinclair · Madeleine Tattersall Janet Unwin

Council

Adam Broadbent · Kate Donaghy · Jonathan Freeman-Attwood · Carol Grigor · Tim Harvey-Samuel · Nick Heath · Lars Henriksson · Christopher Lawrence · Sir Konrad Schiemann · Rachel Stroud · Dr Christopher Tadgell · The Lady Juliet Tadgell