SPECIAL EVENT Guerrero Conducts HANDEL’S with the Nashville & Chorus

THURSDAY, DECEMBER 19, AT 7 PM FRIDAY & SATURDAY, DECEMBER 20 & 21, AT 8 PM SUNDAY, DECEMBER 22, AT 2 PM NASHVILLE SYMPHONY THANK YOU TO OUR CONCERT PARTNERS & CHORUS GIANCARLO GUERRERO, conductor TUCKER BIDDLECOMBE, chorus director MARY WILSON, soprano ANDREW FOSTER-WILLIAMS, bass GARRETT SORENSON, tenor

Mezzo soprano and tenor soloists to be announced This concert will last 2 hours and 40 minutes, including a 20-minute intermission. This weekend’s performances of the Nashville Symphony Chorus are underwritten in part by Mr. & Mrs. James W. White.

Air: The people that walked in darkness GEORGE FREDERIC HANDEL Chorus: For unto us a Child is Born Messiah – 2 hours, 40 minutes Pifa (Pastoral Symphony) Sinfonia : There were shepherds abiding in the field PART I Accompagnato: And lo, the angel of the Accompagnato: Comfort ye, my people Lord came upon them Air: Ev’ry valley shall be exalted Recitative: And the angel said unto them Chorus: And the Glory of the Lord Accompagnato: And suddenly, there was Accompagnato: Thus saith the Lord with the angel Air: But who may abide the day of Chorus: Glory to God in the Highest His coming Air: Rejoice greatly, O daughter of Zion Chorus: And He shall purify Recitative: Then shall the eyes of the blind Accompagnato: Behold, a virgin be open'd shall conceive Duet: He shall feed His flock like Air and Chorus: O thou that tellest good a shepherd tidings to Zion Chorus: His yoke is easy, and His Accompagnato: For behold, darkness shall burthen is light cover the earth.

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PART II Chorus: Behold the Lamb of God Chorus: Let us break their bonds asunder Air: He was despised Recitative: He that dwelleth in Heaven Chorus: Surely He hath bourne our griefs Air: Thou shalt break them with a Chorus: And with His stripes we are healed rod of iron Chorus: All we like sheep have gone astray Chorus: Hallelujah Accompagnato: All they that see Him, laugh Him to scorn PART III Chorus: He trusted in God Air: I know that my Redeemer liveth Accompagnato: Thy rebuke hath broken Chorus: Since by man came death His heart Accompagnato: Behold, I tell you a mystery : Behold and see if there be if there Air: The trumpet shall sound, and the dead be any sorrow shall be rais'd Accompagnato: He was cut off out of the Recitative: Then shall be brought to pass land of the living Duet: O death, where is thy sting? Air: But Thou didst not leave His Chorus: But thanks be to God soul in Hell Chorus: Worthy is the Lamb that was slain Chorus: Lift up your heads Chorus: Amen Air: How beautiful are the feet of them Air: Why do the nations so furiously rage together

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INCONCERT 33 SPECIAL EVENT Messiah

Born on February 23, 1685, Estimated length: in Halle, Germany 2 hours and 40 minutes

Died on April 14, 1759, in London, England First performance: April 13, 1742, in the Great Music Hall in Dublin, with the composer Composed: conducting. Handel composed the first version ofMessiah in just a little over three weeks, between August 22 and September 14, 1741, but First Nashville Symphony continued to make revisions to the score performance: — in some cases adding new — for December 15, 1963, with Music subsequent revivals of the work. Director Willis Page.

verall, the career of George Frideric production were making it an unsustainable OHandel resembles that favorite symbol business model. What’s more, significant of 18th-century England: the wheel of fortune. changes in the English public’s musical taste The man who was born Georg Friedrich could not be ignored. AfterMessiah , Handel Händel to a barber-surgeon in Halle (less than ceased writing Italian altogether and 100 miles from J.S. Bach’s birthplace) settled concentrated mostly on in English. in London in 1712 and made England his Handel cultivated an English variation on home until he died. Handel found admiring the older idea, cleverly mixing a sense royal and aristocratic patrons there but also of moral uplift with the entertainment value enjoyed success as a musical entrepreneur, of , minus the expense, costumes, and managing the production of a prolific series overpaid egos. Oratorio had an additional of Italian operas which he wrote for the appeal, in that it seemed more acceptable London stage. Then, after his reputation to emerging middle-class audiences wary and fortune soared, fashions changed and of the scandal-tinged world of opera. But Handel came close to the brink of ruin. It this association with the sphere of secular was through his cultivation of the English performance generated some initial resistance oratorio — essentially, opera in disguise, to Messiah. without the costumes — that he turned his After producing a highly successful luck around once more. subscription series of both oratorios and Messiah belongs to this pivotal turning point operas in Dublin in the 1741-42 season, in Handel’s career, when he was shifting his Handel chose to conclude it by presenting focus away from the genre of tragic opera the world premiere of Messiah in the spring (opera seria) that had become a central of 1742. Despite the praise the new work won preoccupation of his London career. In fact, from its Dublin audiences, back in London — it was with opera (Rinaldo, in 1711) that where Handel cautiously introduced Messiah Handel scored his first hit in London. Opera under the title “New Sacred Oratorio” in 1743 seria involved setting in Italian — it became the subject of controversy as a which recounted stories from mythology or debate raged in the press. Messiah’s method history. It was a genre calculated in part to of setting actual scriptural texts, as well as its showcase the star singers of the era, often delineation of Jesus within a genre that could with spectacular special effects as part of the be performed “for diversion and amusement,” staging. By the late 1730s, the high costs of even triggered charges of blasphemy, although

34 DECEMBER 2019 SPECIAL EVENT these were leveled against the secular context the part of the oratorio that is most closely of the performances rather than Handel’s tied to the Christmas season). Following its music itself. evocation of hope comes a condensed version The fretting subsided within a few years, of the Passion story of sacrifice in Part Two. although the only times Handel led Messiah Part Three concludes with the implications in a non-secular space were in his last years, of Christ’s redemption of humanity from the when he gave midday performances in the fall of Adam. newly built chapel of the Foundling Hospital. (The composer donated proceeds from WHAT TO LISTEN FOR Messiah concerts to charitable causes.) During his last decade, Handel conducted annual andel’s musical expression homes in on performances that became a highlight of the Hthe universal emotions that underlie each season. These were always given in the spring, stage of the Christian redemption narrative. at Eastertide. It was only after his death that Handel was above all a man of the theater, and the association of Messiah with the Christmas his operatic genius for establishing the mood to season took root. suit a given situation is everywhere apparent. Although we tend to think of Messiah as But in opera, Handel typically accomplishes the quintessential English oratorio, its text this through a lengthy chain of arias. The represents an unusual approach to the genre. centrality of the chorus in Messiah allows Librettist Charles Jennens had collaborated for greater diversity. Part One establishes a previously with Handel and likely compiled pattern of recitative, , and chorus, which the book for Israel in Egypt (first presented then allows for further variation in the other in 1739) which anticipates the method of two parts. construction of Messiah, arranging actual Handel moreover draws on the gamut texts from the bible. But the process is less of international styles of his era, mixing straightforward in Messiah. Jennens — a highly wrought, thrillingly complex wealthy patron who was nevertheless an Northern European counterpoint alongside outsider, disaffected with contemporary straightforward, Italianate lyricism, majestic English politics — juxtaposes extracts from French rhythms, and homophonic choruses. both the Old and the New Testaments to He avails himself as well of an astonishing represent the basic narrative of Christian range of colors in the accompanying textures, redemption. Rather than a biographical sketch though with a remarkable economy of of the life of Jesus, Messiah concerns the very instrumentation. Notice, for example, how idea of divinity becoming manifest in human the trumpets remain silent in Part One until history (hence the lack of the definite article “Glory to God,” and are subsequently kept — “the Messiah” — in its title). in the wings until the “Hallelujah!” chorus There is very little dramatic impersonation at the end of Part Two. (Incidentally, in of characters. The narrative is indirect and contrast to what is often assumed, the glory suggestive, and, as has been often noted, this chorus depicts refers not to the moment downright confusing to anyone not familiar of Christ’s resurrection but to the triumph with the implied events involving the life of of redemption). Jesus. Jennens divides the into three Consider, too, the compelling psychological acts (although he calls them “parts”), much range Handel explores, encompassing in like the organization of a opera. Part Part One alone the fathomless darkness One centers around prophecy and the nativity associated with the period of universal waiting of Jesus, ending with his miracles (this is for a savior; the oasis-like calm of the purely

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instrumental “Pastoral Symphony,” with its “Hallelujah!” chorus may seem unbeatable, evocation of the music of shepherds; and the yet somehow Handel manages to follow it dancing exuberance of “Rejoice greatly, O with still more glorious music: the soaring Daughter of Zion.” Handel continually finds certainty of “The trumpet shall sound” and freshly inventive ways to “paint” the words the progression of the choral finale, with through music (witness the “straying” lines its fugal setting of “Amen.” As the voices of “All we like sheep”) but subtler surprises weave their threads together, that final word are often hidden within his settings as well. In becomes a serene chant, all-encompassing in that same chorus, Handel engineers a detour its resonance. from the cheerful mood that predominates into the tragic minor when the consequences In addition to four vocal soloists and four-part of human failure are suggested. chorus, the version of Handel’s scoring for Messiah used in these performances calls for Amid all this variety, by the end of Part an of 2 oboes, bassoon, 2 trumpets, Three Handel has taken us on a journey that timpani, strings, continuo and organ. will later become familiar in the of Beethoven — the passage from darkness — Thomas May is the Nashville Symphony’s to enlightenment and final victory. The program annotator.

PART ONE AIR: But who may abide the day of His Coming (Countertenor) SINFONIA But who may abide the day of His coming, and who shall stand when He appeareth? For He is like a refiner’s fire. ACCOMPAGNATO: Comfort ye, my people (Tenor) Comfort ye, comfort ye My people, saith your CHORUS: And He shall purify God; speak ye comfortably to Jerusalem; and cry And He shall purify the sons of Levi, that they may unto her, that her warfare is accomplish’d, that her offer unto the Lord an offering in righteousness. iniquity is pardon’d. The voice of him that crieth in the wilderness: Prepare ye the way of the Lord: ACCOMPAGNATO: Behold, a virgin shall conceive make straight in the desert a highway for our God. (Countertenor) Behold, a virgin shall conceive, and bear a Son, and AIR: Ev’ry valley shall be exalted (Tenor) shall call his name Emmanuel, “God with us.” Every valley shall be exalted, and ev’ry mountain and hill made low, the crooked straight and the AIR AND CHORUS: O thou that tellest good tidings rough places plain. to Zion (Countertenor) O thou that tellest good tidings to Zion, get thee up CHORUS: And the glory of the Lord into the high mountain; O thou that tellest good And the glory, the glory of the Lord shall be revealed, tidings to Jerusalem, lift up thy voice with strength; and all flesh shall see it together, for the mouth of lift it up, be not afraid; say unto the cities of Judah, the Lord hath spoken it. Behold your God! Arise, shine; for thy light is come, and the glory of the Lord is risen upon thee. ACCOMPAGNATO: Thus saith the Lord (Bass) Thus saith the Lord of Hosts; Yet once, a little while, ACCOMPAGNATO: For behold, darkness shall cover and I will shake the heav’ns and the earth, the sea the earth (Bass) and the dry land; and I will shake all nations; and For Behold, darkness shall cover the earth, and the desire of all nations shall come. The Lord, whom gross darkness the people; but the Lord shall arise ye seek, shall suddenly come to His temple, ev’n upon thee, and His glory shall be seen upon thee. the messenger of the Covenant, whom ye delight And the Gentiles shall come to thy light, and kings in: behold, He shall come, saith the Lord of Hosts. to the brightness of thy rising.

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AIR: The people that walked in darkness (Bass) DUET: He shall feed His flock like a shepherd The people that walked in darkness have seen a great (Soprano & Countertenor) light. And they that dwell in the land of the shadow He shall feed His flock like a shepherd, and He shall of death, upon them hath the light shined. gather the lambs with His arm, and carry them in His bosom, and gently lead those that are with young. CHORUS: For unto us a Child is born For unto us a Child is born, unto us a Son is given, CHORUS: His yoke is easy, and His burthen is light and the government shall be upon His shoulder: and His yoke is easy, and His burthen is light. His Name shall be called Wonderful, Counsellor, The Mighty God, The Everlasting Father, The Prince of Peace! PART TWO

PIFA ( PASTORAL SYMPHONY) CHORUS: Behold the Lamb of God Behold the Lamb of God, that taketh away the sin RECITATIVE: There were shepherds abiding in the of the world. field (Soprano) There were shepherds abiding in the field, keeping AIR: He was despised (Countertenor) watch over their flock by night. He was despised and rejected of men; a man of sorrows, and acquainted with grief. ACCOMPAGNATO: And lo, the angel of the Lord came upon them (Soprano) CHORUS: Surely, He hath borne our griefs And lo, the angel of the Lord came upon them, and Surely, He hath borne our griefs and carried our the glory of the Lord shone round about them, and sorrows; He was wounded for our transgressions, they were sore afraid. He was bruised for our iniquities; the chastisement of our peace was upon Him. RECITATIVE: And the angel said unto them (Soprano) And the angel said unto them, Fear not: for behold, CHORUS: And with His stripes we are healed I bring you good tidings of great joy, which shall be And with His stripes we are healed. to all people. For unto you is born this day in the city of David a Savior, which is Christ the Lord. CHORUS: All we like sheep have gone astray All we like sheep have gone astray; we have turned ACCOMPAGNATO: And suddenly there was with ev’ry one to his own way; and the Lord hath laid on the angel (Soprano) Him the iniquity of us all. And suddenly there was with the angel a multitude of the heav’nly host, praising God, and saying: ACCOMPAGNATO: All they that see Him, laugh Him to scorn (Tenor) CHORUS: Glory to God in the highest All they that see Him, laugh Him to scorn; they Glory to God in the highest, and peace on earth, shoot our their lips, and shake their heads, saying: goodwill towards men. CHORUS: He trusted in God AIR: Rejoice greatly, O daughter of Zion (Soprano) He trusted in God that He would deliver Him, let Rejoice greatly, O daughter of Zion shout, O daughter Him deliver Him, if He delight in Him. of Jerusalem: behold, thy King cometh unto thee: He is the righteous Savior, and He shall speak peace ACCOMPAGNATO: Thy rebuke hath broken His unto the heathen. heart (Tenor) Thy rebuke hath broken His heart; He is full of RECITATIVE: Then shall the eyes of the blind heaviness: He looked for some to have pity on be open'd (Countertenor) Him, but there was no man, neither found He any Then shall the eyes of the blind be open’d, and the to comfort Him. ears of the deaf unstopped; then shall the lame man leap as a hart, and the tongue of the dumb shall sing. ARIOSO: Behold, and see if there be any sorrow (Tenor) Behold, and see if there be any sorrow like unto His sorrow!

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ACCOMPAGNATO: He was cut off out of the land PART THREE of the living (Tenor) He was cut off out of the land of the living; for the AIR: I know that my Redeemer liveth (Soprano) transgression of Thy people was He stricken. I know that my Redeemer liveth, and that He shall stand at the latter day upon the earth. And tho’ AIR: But Thou didst not leave His soul in hell (Tenor) worms destroy this body, yet in my flesh shall I see But Thou didst not leave His soul in hell; nor didst God. For now is Christ risen from the dead, the first Thou suffer Thy Holy One to see corruption. fruits of them that sleep.

CHORUS: Lift up your heads CHORUS: Since by man came death Lift up your heads, O ye gates; and be ye lift up, ye Since by man came death, by man came also the everlasting doors; and the King of Glory shall come resurrection of the dead. For as in Adam all die, in. Who is this King of Glory? The Lord strong and even so in Christ shall all be made alive. mighty, The Lord mighty in battle. Lift up your heads, O ye gates; and be ye lift up, ye everlasting ACCOMPAGNATO: Behold, I tell you a mystery (Bass) doors; and the King of Glory shall come in. Who Behold, I tell you a mystery; we shall not all sleep, but is this King of Glory? The Lord of Hosts, He is the we shall all be chang’d in a moment, in the twinkling King of Glory. of an eye, at the last trumpet.

AIR: How beautiful are the feet of them (Soprano) AIR: The trumpet shall sound, and the dead shall be How beautiful are the feet of them that preach the rais'd (Bass) gospel of peace, and bring glad tidings of good things. The trumpet shall sound, and the dead shall be raised incorruptible, and we shall be chang’d. AIR: Why do the nations so furiously rage together (Bass) RECITATIVE: Then shall be brought to pass Why do the nations so furiously rage together: why (Countertenor) do the people imagine a vain thing? The kings of the Then shall be brought to pass the saying that is earth rise up, and the rulers take counsel together written: “Death is swallowed up in victory.” against the Lord, and against His anointed. DUET: O death, where is thy sting? CHORUS: Let us break their bonds asunder (Countertenor & Tenor) Let us break their bonds asunder, and cast away O death, where is thy sting? O grave, where is thy their yokes from us. victory? The sting of death is sin, and the strength of sin is the law. RECITATIVE: He that dwelleth in heaven (Tenor) He that dwelleth in heaven shall laugh them to scorn; CHORUS: But thanks be to God the Lord shall have them in derision. But thanks be to God, who giveth us the victory through our Lord Jesus Christ. AIR: Thou shalt break them with a rod of iron (Tenor) Thou shalt break them with a rod of iron; thou shalt CHORUS: Worthy is the Lamb that was slain dash them in pieces like a potter’s vessel. Worthy is the Lamb that was slain, and hath redeemed us to God by His blood, to receive power, and riches, CHORUS: Hallelujah and wisdom, and strength, and honour, and glory, Hallelujah! for the Lord God Omnipotent reigneth. and blessing. The kingdom of this world is become the kingdom of our Lord and of His Christ; and He shall reign CHORUS: Amen for ever and ever. King of Kings, and Lord of Lords. Amen. Hallelujah!

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NASHVILLE SYMPHONY CHORUS TUCKER BIDDLECOMBE, Chorus Director

Beverly Anderson† Kacie Dunham Jennifer Lynn Clair Susong Katie Arata Allison Espada Alisha Austin Menard Marva A. Swann Esther Bae Becky Evans-Young Jean Miller Marjorie Taggart Amie Bates Amy Frogge Jessie Neilson Angie Thomas* Jill Boehme Kelli Gauthier Angela Pasquini Clifford Ashley Vance Stephanie Breiwa Rebecca Greer Samantha Petry Jan Staats Volk† Christine Brosend Grace J. Guill† Kristine Phillips Camille Winton Daphne Bugelli Ally Hard Beth Pirtle Sylvia Wynn Sara Jean Curtiss Stacey Haslam Renita J. Smith-Crittendon Callie Zindel SOPRANO Claire Delcourt Vanessa D. Jackson* Ashlinn Snyder Katie Doyle Katie Lawrence Paige Stinnett

Carol Armes Erin Elgass Leah Koesten Debbie Reyland Kathy Bearden Cara Frank Stephanie Kraft Anna Lea Ritchie Tessa Berger Dana Purser Gary Emily Longenecker Allie Senyard Mary Bond Katherine Gillett Shelly McCormack Hannah Sims Vinéecia Buchanan Elizabeth Gilliam† Asha Moody Anjali Sivaainkaran Mary Callahan* Debra L. Greenspan Jessica Moore Madalynne Skelton Cathi Carmack† Bevin Gregory Stephanie Moritz Caroline Kimbrey Talbert*

ALTO Kelsey Christian Judith Griffin Shelia Mullican Deanna Talbert Lisa Cooper† Leah Handelsman Valerie Nelson Kathryn Whitaker Helen Cornell Sidney Hyde Lisa Pellegrin Maggie Zeillmann Carla M. Davis† Liza Marie Johnston Annette Phillips Amanda Leigh Dier Valerie Kamen Stacy L. Reed

Anthony R. Barta Kory Henkel John Perry Benjamin Tyrrel Robert Bennett William F. Hodge† Keith Ramsey Richard Colby White Eric Boehme Ron Jensen David M. Satterfield†* Richard Wineland Kevin Brenner Mitchell Lane Zach Shrout Scott Wolfe Brett Cartwright Scott Lee Daniel Sissom John Logan Wood Taylor Chadwick Lynn McGill Eddie Smith Jonathan Yeaworth

TENOR Joe A. Fitzpatrick Don Mott Stephen Sparks† Fred Garcia Devin Mueller Joel Tellinghuisen Danny Gordon* Ryan Norris Christopher Thompson

Gilbert Aldridge Duane Hamilton Adam Mamula William E. Squires James Cortner Andrew Hard Bruce Meriwether Larry Strachan Nick Davidson Luke Harnish Andrew Miller David B. Thomas†* Dustin Derryberry Richard Hatfield† Christopher Mixon Alex Tinianow Frank Ellsworth Carl Johnson Chandler Montgomery Brian Warford* Mark Filosa Kenneth Keel Steve Myers Eric Wiuff

BASS Ian M. Frazier Justin Kirby Alec Oziminski Hunter Yates Stuart Garber William Loyd Steve Prichard George Goetschel Taylor Lucy Daniel Silva Tim Goodenough Rob Mahurin Merv Snider

* Section Leader Andrew Miller, president Jeff Burnham, accompanist † 25+ year members Sara Crigger, librarian

INCONCERT 39 SPECIAL EVENT ABOUT THE SOLOISTS MARY ANDREW WILSON FOSTER- soprano WILLIAMS bass n high demand on Ithe concert stage, ass-baritone Mary Wilson has most BAndrew Foster- recently performed with the Boston Symphony, Williams enjoys a vibrant career on opera Los Angeles Philharmonic, Philadelphia and concert stages, and is graced with a Orchestra, The Cleveland Orchestra, St. Louis vocal versatility that allows him to present Symphony Orchestra, Cincinnati Orchestra, an extensive repertoire. His dramatic capacity St. Paul Chamber Orchestra, Los Angeles has earned the respect of many acclaimed Master Chorale, Detroit Symphony, Delaware stage directors, as he “holds the attention of Symphony Orchestra, San Antonio Symphony, the audience with the energy of someone who Jacksonville Symphony, Virginia Symphony has great experience, and with sensational and at the Hollywood Bowl. She has also vocal ability, which he uses with total freedom" worked with numerous conductors, including (Opéra). Nicholas McGegan, Bernard Labadie, JoAnn Foster-Williams’ career recently found a new Falletta and Leonard Slatkin. direction with successes as Pizarro (Fidelio) As an exciting interpreter of Baroque at Theater an der Wien and Philharmonie de repertoire, particularly Handel, Wilson has Paris, as Escamillo in a new Kasper Holten appeared with Musica Angelica, American production of Carmen, and unanimously Bach Soloists, Boston Baroque, Grand Rapids praised performances of Telramund in Bach Festival, Bach Society of St. Louis, Wagner’s Lohengrin. Acclaimed performances Baltimore Handel Choir, Florida Bach Festival include Kurwenal (Tristan und Isolde), Lysiart and the Carmel Bach Festival. (Euryanthe), Nick Shadow (The Rake’s Progress) On the opera stage, Wilson is especially and Golaud (Pelléas et Mélisande). noted for her portrayals of Zerbinetta in Highlights of the 2019/20 season include Ariadne auf Naxos, Susannah in Le Nozze Lohengrin at the Tiroler Festspiele Erl, di Figaro and Gilda in Rigoletto. She has Iphigénie en Tauride with the Orchestra of created leading roles in North American and the Age of Enlightenment, La damnation de world premiere performances of Dove’s Flight Faust with Lan Shui and the National Taiwan (Controller), Glass’ Galileo Galilei (Grand Symphony Orchestra, Bach’s Weihnachts- Duchess Christina) and Petitgirard’s Joseph Oratorium with the Oslo Philharmonic, Merrick dit L’Elephant Man (Le Colorature). and Handel’s Messiah with the Munich Wilson has appeared most recently with Philharmonic. He also returns to the New York Opera Theatre of St. Louis, Minnesota Opera, Philharmonic for Mozart’s Mass in C minor Boston Lyric Opera, Dayton Opera, Arizona and sings the title role of Mendelssohn’s Elijah Opera, Tulsa Opera, Brooklyn Academy of with the Indianapolis Symphony Orchestra. Music and the Goodman Theatre. Foster-Williams’ extensive discography Opera News heralded Wilson’s first solo includes Beethoven’s on the Death recording, Mary Wilson Sings Handel, stating of Emperor Joseph II with the San Francisco “Wilson’s luminous voice contains so much Symphony, The Seasons with both the London charisma,” and dubbed the recording one of Symphony Orchestra and the Gabrieli its Best of the Year. Consort & Players, and HMS Pinafore with the Orchestra of Scottish Opera.

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