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Home , Behold the Sun, Dioclesian, Henry Purcell, Le Concert Spirituel, Le donne curiose, Lynne Dawson

An English Garden Friday 8 June 2018 7.30pm, Hall

Les Arts Florissants/Le Jardin des Voix director stage director

Soloists of Le Jardin des Voix: Natasha Schnur Natalie Pérez soprano Eva Zaïcik mezzo-soprano James Way Josep-Ramon Olivé Padraic Rowan -baritone Oscar Ortega Part of Barbican Presents 2017–18

The singers of this programme are the laureates of the eighth edition of Le Jardin des Voix, Les Arts Florissants’ Academy for young singers directed by William Christie and Paul Agnew. Since 2017, Le Jardin des Voix has been based in Thiré, in the Vendée – Pays de la Loire. Le Jardin des Voix academy is supported by The Conny Maeva Charitable Foundation, Premier Investissement and Brigitte & Didier Berthelemot.

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. Please remember that to use our induction loop you should switch your hearing aid to T setting on entering the hall. If your hearing aid is not correctly set to T it may cause high-pitched feedback which can spoil the enjoyment of your fellow audience members. We appreciate that it’s not always possible to prevent coughing during a performance. But, for the sake of other audience members and the artists, if you feel the need to cough or sneeze, please stifle it with a handkerchief. The If anything limits your enjoyment please let us know Corporation is the founder and during your visit. Additional feedback can be given principal funder of online, as well as via feedback forms or the pods the Barbican Centre located around the foyers. 2 is gardening andeach year hisgarden at Christie’s other great love besidesmusic The horticultural imagery isapt,asWilliam Voix, now initseighthedition. notably through itsAcademy, LeJardin des for itspromotion of young musicaltalent, , nowadays itisjustascelebrated repertoire, particularlyof the French name through theresurrection of neglected While LesArtsFlorissantsinitiallymade its Associate MusicalDirector. turned-conductor Paul Agnew, thegroup’s regulars LesArtsFlorissantsundertenor- Tonight we welcome back Barbican Welcome

Available on iTunes, Soundcloud and the Barbican website Barbican the and Soundcloud iTunes, on Available Evgeny Kissin,Maxim Vengerov andNicoMuhly. Iestyn Davies, 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 Huw Humphreys, Head of Music,Barbican I hopeyou enjoy it. It promises to beaninspiring evening. along theway. in , oratorio, andode Dowland to Arne,Purcell to Handel,taking eclectic array of repertoire ranging from musical form ‘AnEnglishGarden’ –an year’s academy willbepresenting in The sixyoung singersselected for this backdrop for amusicfestival. Thiré intheVendée becomesthevibrant

the antithesisof thatof LeNôtre, withBrown’s 2016). Hisvisionof thegarden isoften seenas Lancelot Brown (whose300thanniversary fell in figure inlandscape gardening, theEnglishman coincidence, itlinks to thenext great historical ‘English Garden’ inmusic,and,by ahappy dedicated to repertoire written inEngland,our Our eightheditionof theJardin desVoix is subjugated to form, controlled andmanicured. vision of thegarden was onewhere nature was geometry andperspective. LeNôtre’s theatrical were characterised by balanceandlineby II in1662.) Thesehighlyarchitectural gardens to theorder of therecently returned Charles provided designsfor London’sGreenwich Park much copiedthroughout Europe. (LeNôtre even the 17th century, andgardens thatwere to be gardens thatdefined anartisticaesthetic of Germain andof course,thePalace of Versailles: gardens of Vaux-le-Vicomte, Fontainebleau, Saint- 1613. Le Nôtre was responsible for theiconic of thelandscapegardener André LeNôtre in coincided withthe400thanniversary of thebirth the Baroque era, Jean-PhilippeRameau, and dedicated to thegreatest French composerof Our editionof theJardin desVoix in2013 was opportunity to give thebestof themselves. talents inmindaneffort to give each singerthe singers perform are conceived withtheirparticular very bestyoung singers.Theprogrammes these ambition to propagate andbringto flower the des Voix was bornfrom thesepassionswiththe two passions;musicandgardening. TheJardin William Christie’slife isdividedbetween his entwined two passions Music gardens: and the extraordinary effort to achieve theirart,and exacting technique, theinspired imagination and of thelandscapesof LeNôtre andBrown liethe effortless simplicity. Behindtheseemingsimplicity great complexity whilegivingtheappearance of Sprezzatura by Castiglioneinhis isperhapsthe Le Nôtre andBrown andthatof ourEnglish The musicalcorollary between theBaroque of reimagined through theireyes. just like LeNôtre’s, leave usinawe of nature, ‘Capability Brown’). Brown’s ‘improvements’, improvement’ (andsohebecameknown as to estimate whetherthere was ‘capabilityof surrounding thehouseof aprospective client of LeNôtre. Brown would gazeover thefields theatrical, andjustashighlycontrolled asthose Brown’s landscapesare ultimately justas figures of theBaroque garden sovery different? arcadian perfection. Butare thesetwo towering by acopseof trees andariver represents an most pure andfree. Aflowing vista punctuated landscapes givingtheimpression of nature atits Introduction ©Paul Agnew and asfresh asanEnglishgarden. sophistication, to appearasnatural, asbeguiling will disguisetheireffort, theirtechnique andtheir and onagain to ThomasArne,ouryoung singers greatest adoptive son,George Frederic Handel, and Dowland, to Purcell, by way of ’s of Englishmusic,from Gibbons,Tomkins, Ward music. Aswe move through thegreat masters Jardin desVoix 2017 intheir‘EnglishGarden’ in this willbethechallengefor ourlaureates of the

istheabilityto achieve atask of Book of theCourtier sprezzatura first defined in1528.

3 Introduction 4 interval Arne complaining Flute’ Handel Machine’ Purcell Purcell touch thelute’ Purcell proclaim’ Handel Arne Tomkins Purcell the plains’ Handel Gibbons Locke Part 1: The Mystery of Music For texts, pleaseseepage8 Tonight’s music TheSingingClub TheFairy Prince–‘Now alltheairshallring’ TheTempest –Curtain tune OdeonSt Cecilia’sDay –‘Wondrous Ofalltheinstrumentsthatare Come,ye sonsof Art–‘Strike theviol, Ifmusicbethefood of love Odefor St Cecilia’sDay –‘Thesoft Odefor St Cecilia’sDay –‘SharpViolins Acis andGalatea –‘Othepleasure of 20minutes Musicdivine TheCryes of London(Part 1) sports’ sports’ Dowland Purcell, arr isle’ Purcell Purcell Purcell here withmy jollycrew’; ‘Dance of Bacchanals’ –‘Make room for thegreat god’;‘I’m Purcell prevail’ with your trifling deity!’;‘Butover usnogriefs Purcell night’ Dowland ‘In thesedelightfulpleasantgroves’ Purcell Purcell Ward is here’ Purcell ‘Oh letthemerrybellsringround’ Handel Part 2: A Night of Revels Gibbons chas’d away’ Purcell ‘As steals themornuponnight’ Handel Handel Come,sablenight KingArthur, orTheBritishWorthy –‘Fairest ’Tiswomen makes uslove Bacchus isapow’r divine TheProphetess, orTheHistory of Timonof Athens,theMan-Hater –‘Hence TheLibertine,ortheLibertinedestroyed – TheFairy Queen–‘OnecharmingNight’ TheFairy Queen–‘See,even Nightherself TheFairy Queen–‘Now thenightis L’Allegro, ilPenseroso edilModerato – L’Allegro, ilPenseroso edilModerato – –‘Aswithrosy steps themorn’ TheCryes of London(Part 2) APilgrimesSolace –‘Ceasethesefalse APilgrimesSolace –‘Welcome, black William Hayes Fairest isle Dowland’s collectionof patronage. Even whenitwas publishedin1612, spoken tale of private performances and aristocracy, inmusicthattells anelegant, softly We pickupthestory in thehallsof theJacobean change. crucible for dramatic artisticdevelopment and new setof cultural consumers–and you have a growth of awealthy middle-class–abrand- Add to thatashiftingeconomicclimate andthe again andagain to suiteach new circumstance. fabric of thenation,whichwas torn andrestitched of Orange extended rightthrough to thecultural the overthrow of theHouseof Stuart by William Restoration, andtheGlorious Revolution thatsaw fissure of theCivilWar, Commonwealth and period inEnglishhistory. Thejagged political Prince premiere of ThomasArne’smasque Dowland’s The years between thepublicationof John divertissement. sober contemplation, bawdy pastimeandelegant sumptuous entertainment, solemnceremony and the way we encounter musicasspectacle and and concerthallsof Georgian London.Along playhouses andtaverns to thenew opera houses the Jacobean courtthrough theRestoration tour through 150 years of Englishhistory from Tonight’s concerttakes itslisteners onamusical a sonicsnapshot of anage andanation. encoded initsshiftingforms, functionsandstyles– social history. Politics, fashion andreligion are all excellence reflect, butitismusic–theappliedart Literature andthevisualartsmay record and that don’ttake place to musicalaccompaniment. ceremony, there are very few humanactivities warring, practising religion or performing acivic Whether it’sdrinkingordying,dancing,seducing, Garden An English Voix des Le Jardin in1771 represent avolatile, transitional –thatprovides thetruestmeasure of A PilgrimesSolace in1612 andthe A PilgrimesSolace The Fairy The Fairy par par

aristocracy andgentry(aspirational inculture asin England arrived late to themadrigal andboth the consummation. joyous musicalharmony enacts agraphic musical consort, andtheprogression from monodyto an oppositionbetween asolovoice andthewhole peaceful war’. Ineach caseDowland establishes bed, delightinginthephysical combatof ‘Hymen’s celebration of theerotic delightsof themarriage far from piousworks. Each songoffers afrank Walden. Whatever thetitlemay suggest,theseare the dedicatee of thecollection)Lord Howard de marriage celebrations of Dowland’s patron (and black night’,were probably written for the songs ‘Ceasethesefalse sports’and‘Welcome, Scored for five voices, andviol,companion- gamba. than embracing thenewly fashionable violada celebrates thedyingartof thelute ,rather title of Musitians’,andhiscollectiondefiantly composers who‘shroud themselves underthe Preface, heattacks thenew generation of was alittleold-fashioned. Inarather defensive ‘The Cryes of London’couldn’t bemore different, Although Gibbons’squirkytwo-part madrigal musical blankets over thesky. evocative images of night,pulledlike thesoftest of Ward’s gentlytumblingphrases conjure vivid, English sweetness. Text inboth casesisking,and harmonic gestures withamore characteristically daring andboldlyexpressive to Italy for inspiration intheirsettings,fusing Thomas Tomkins’ ‘Musicdivine’lookunashamedly Both JohnWard’s ‘Come,sable night’ tonight’s three Jacobean demonstrates. the variety of mood,styleandsubjectmatter of one, particularlyinitsEnglishinterpretation, as on theContinent.Thegenre was abroad-ranging Italian stylelongafter itspopularityhad waned all things)embraced theform andthefashionable

and and

5 Programme note 6 playhouse, producing not onlyincidental musicfor Composers suchasPurcell traded thecourtfor the continue theStuart tradition of cultural patronage. William andMary, whoshowed littleinclinationto during thisperiod,especiallyafter theaccession of emerged asthemajoremployers of musicians Along withchurches, theatres increasingly birthday in1694. sons of Art works from amusicalpast,including a new musical future, butoverlapped with the final 1680s and1690s. Theseworks pointed forward to sequence of CecilianOdesfrom Purcell duringthe London ‘MusicalSociety’whichcommissioneda organisations beganto emerge, suchasthe new era of music-making.For thefirst timecivic and entertainments, andEnglandentered a playhouses, aswell asarevival of courtfestivities II in1660, however, camethereopening of the was severely restricted. Withthereturn of Charles under Cromwell’s rule,butmusicfor themasses consort musicintheprivacy of theirown homes to educate theirchildren inmusicandto enjoy England. Aristocratic families may have continued sudden silencefell over publicmusic-makingin the CivilWar andsubsequentinterregnum a may overstate thecase,butduringyears of breathe abroad inthekingdom’.CharlesBurney before astringwas suffered to vibrate orapipeto ‘Ten years of gloomy silenceseemto have elapsed sweeps are alsoheard plyingtheir trade. cow-cumbers’, whilerat-catchers andchimney- mare withalongmaneandshorttail’ to ‘ripe everything from ‘hot mutton pies’and‘agrey and violsgleefullyincorporates salespitches for audiences. Gibbons’extended settingfor voices have tickledthefancy of both composersand music andsuchlow, everyday words seemsto street sellers.Thefrictionbetween sophisticated for musicalsettingsof thetraditional criesof by Weelkes andDeringaswell asGibbons) composers includingServinand,inEngland, vogue launchedby Janequin(later taken upby it alsoowes adebtto Europe andabrief , an ode composed for Queen Mary’s , anodecomposedfor QueenMary’s Come, ye Come, ye Fairy Queen such asLocke’s the ‘effeminate’ appealof . Works evolved to cater to anEnglishpublicsuspiciousof an entirely separate castof characters andplot) and interpolated musicalepisodes(often involving genre whoseawkward fusionof spoken drama semi- of Purcell andhiscontemporaries –a the elaborate theatricalspectacles thatwere the nation’s prevailing mood.It’samoodshared by whose light,frothy entertainments played to the a typicalglimpseinto theRestoration theatre, rousing chorus‘Butover usnogriefsprevail’ offer the tripping‘Hencewithyour trifling deity’and Purcell’s ‘Inthesedelightfulpleasantgroves’, Shakespeare’s plays Composed for poetlaureate ThomasShadwell’s uniquely Englishgenre of semi-opera. spoken dramas butalsoscores for thenew and significant drama into theirsmallframes. divine’ are, ineffect, operas inminiature, packing music bethefood of love’ and‘Bacchus isapow’r elaborate expressively above it.Works suchas‘If whose anchoringstructure freed upthevoice to use of techniques suchastheground bass, boasted innovative forms and made creative cannot besaidof Purcell’s songs.Theseoften and thegenre’s limited theatricalscope,thesame were confined andconstrained by populartaste But iftheariasfrom thecomposer’ssemi-operas have lived on. their graceful dancesandmemorable melodies ultimately have proved amusicaldead-end, but ode (represented here by Handel’scharmingly theatrical descendentof thecourtmasqueand tonight, thegenre istheelephantinroom –the eventually won over. Thoughwe hearnoopera devised for aLondonaudience–they were theatre impresario Aaron HillandHandel’s to thecharmsof Italian opera but,thanks to canny English audiencesmay initiallyhave beenresistant The Libertine (1711) – the first Italian opera specifically , andhisreworking of and orPurcell’s Dioclesian respectively, The The might might Programme note ©Alexandra Coghlan Jacobean forebears. so muchof theirwitandelegancewith Georgian period,whosemusicalworks share this programme full-circle, usheringusinto the It’s awonderfully self-referential way to bring of singersperforming precisely these works. the limited abilityandover-earnest attitude mocks (withenormousskillandsophistication) Arne’s satiricalglee‘TheSingingClub’,which and ‘‘Tiswomen makes uslove’ to Thomas playful qualityof Purcell’s ‘Ofalltheinstruments’ can trace acleardevelopment from theslight, from themore decorous endof thegenre, we repertoire aswell. Whiletonight’s catches come only thepractice but,inevitably, thecontext and emerged, formalising andtransforming not fashion for catch clubsandsingingsocieties From thelate 17th centurythrough the 18th, a word-play suited thenewly informal setting. largest subsetof thegenre) andlight-hearted or bawdy content (drinkingsongs are by far the gave themnew appeal,andtheiroften ribald small forces andsimpledemandsof thesesongs making driven from publicinto private spaces, the Commonwealth andafterwards. Withmusic- but theform enjoyed new popularityduringthe secular round extends back to the 13th century, homes throughout theperiod.Thehistory of the music-making thattook place intaverns and but not beyond –to theinformal, off-duty of London’spublicplayhouses andtheatres, many private estates andinto thenoisierinteriors panelled rooms of theroyal courtandEngland’s So far musichastaken usinto thegildedand English oratorio inworks suchas backdrop to Handel’slater development of the at theRoyal Theatre, Lincoln’sInnFields),andthe Moderato by thedramatic ode entertainment for theDuke of Chandos,and pastoral Acis andGalatea , composedfor Handel’stheatre season L’Allegro, ilPenseroso edil , composedasaprivate Theodora .

7 Programme note 8 in thedarkdungeon ingreat misery. –Hot spice comfortless nightandday onthe bare boards sake, pitythepoorwomen; we liecoldand coal?– Goodgracious people,for theLord’s a fine washing ball.–Willyou have any small buy any scurvygrass? Buy anew almanack. Buy Quick periwinkles,quick,quick. –Willyou side, goodBess,GodAlmightybless thy wits.– a smallcutof thy bacon orapieceof thy sow’s mistress? –Poor naked Bedlam,Tom’s a-cold, – Willyou buyany starch orclearcomplexion, corns onyour feet ortoes? –Finepotatoes, fine. doublets, ha’ye any olddoublets?–Ha’ye any – Orapokingstickwithsilver handle.–Old very fine silk garters, fine combsandglasses. bone lace oredgings,sweet gloves, silkgarters, shirts orsmocks? –Perfum’d waistcoats, fine samphire. –Whatis’tyou lack? Finewrought any aqua-vitae, mistress? –Buyabarrel of have ripegooseberries,ripe.–Willyou buy damsons, fine ripedamsons.–Hard garlic.I Cryer andheshallhave well for hishire. Ripe can tell any tidingsof her, lethimcometo the lost thisthirtiethday of February. –Hethat right before andisstark lamebehindandwas you buyany fine tobacco?– shehalts down mare withalongmaneandshorttail –Will man orwoman cantell any tidingsof agrey dock, new Wallfleet oysters. –Oyez! Ifany cods. – Oysters, three penceapeckatBridewell ye any rats ormiceto kill?–Ihave ripepeas- you buyany pens?Very fine writing ink.–Ha’ white young lettuce,white. –Buyany ink,will White young parsnips,white. White lettuce, cabbage. White turnips,white young turnips. walnuts, ripe.–White cabbage, white young quick andgentle,ripechestnuts,ripe.–Ripe bellows ortrays to mend?–Rosemary andbays, mutton pies,hot. –Buyarope. –Ha’ye any old pippin pies,hot. Finepomegranates, fine. –Hot thornback, new. –Hot applepies,hot. Hot fresh herrings.–New haddock, new, new great sprats, new. –New great lampreys, new hot. –New cockles,new great cockles,new mussels, new lily-white mussels.–Hot codlings, past three o’clockandafair morning.–New God give you goodmorrow, my masters, The Cryes of London(Part 1) Gibbons(1583–1625) Texts Your eyes, your mien,your tongue declare To pleasures thatcannever cloy. For thenmy list’ningsoulyou move Sing ontillIamfilled withjoy. If musicbethefood of love, If musicbethefood of love, Z379 (1659–95) And autumnbleedsthevine. Spring swells for usthegrain, For usthesummersshine, For usthewinters rain, And flow’rs display theirhue, For usunfolds therose, For usdistilsthedew, For ustheZephyr blows, Dance andsportthehoursaway. Harmless, merry, free andgay, Happy nymphs andhappy swains! O thepleasure of theplains! plains’ Acis andGalatea –‘Othepleasure of the (1685–1759) make anend. light, hangoutmaidsfor allnight.–Andsowe cakes, hot, oatcakes, lanthornsandcandle To callthatlove whichisindeedbutlust. And yet inthisherslanderisunjust, Where tunefulconcords sweetly doagree. In thisappearsherheavenly harmony, Whose sacred subjectoften timesis love, Music divine,proceeding from above, Music divine Thomas Tomkins(1572–1656) Unless you save meinyour arms. Sure Imustperishby your charms, Though yet thetreat isonlysound. And allmy sensesfeasted are, So fierce the transports are, they wound, Pleasures invade both eye andear, That you are music ev’rywhere.

Is withtheeunableto dispute. yield: Though usedto conquest,mustbeforced to To theethewarbling lute, Wondrous machine! Machine’ Ode onStCecilia’sDay, Z328–‘Wondrous Henry Purcell With azinglesingandzitzanzounds. But above allthisstillabounds, With awhetandsweep. Mark how thestringstheirorder keep, None withtheviolcancompare. Of alltheinstrumentsthatare, Of alltheinstrumentsthatare, Z263 Henry Purcell In cheerfulandharmoniouslays. Sing your patroness’s praise Wake theharp,inspire theflute. Strike theviol,touch thelute, touch thelute’ Come, ye sonsof Z323–‘StrikeArt, theviol, Henry Purcell For thefair disdainfuldame. Depth of pains,andheightof passion, Fury, frantic indignation, Their jealouspangsanddesperation, Sharp Violinsproclaim, Violins proclaim’ Ode for StCecilia’sDay, HWV76 –‘Sharp George Frideric Handel He was cutfor thesimpletinstead of hisvoice. Poor fellow, whenfirst hemade singinghischoice, That ravishing voice wakes thepassionsof love. O charming,soothing, bravo, by Jove, Oh! Ah!Eh!Damnyour soul; The raven ne’ercroak’d sohorridanote. For shame,Sir, incharity, gargle your throat; Mi Re Do Do Re MiFa SolLaFa LaSolFa MiLaFa The SingingClub Thomas Augustine(1710–78) Arne

interval God save theKing! To soundandsing, In unionsweet rejoice, With ev’ry varied voice, And ev’ry trembling string, Now alltheairshallring, –‘Now alltheairshallring’ Thomas Augustine Arne Whose dirge iswhisper’dby thewarbling lute. The woes of hopelesslovers, In dyingnotes discovers The soft complaining flute complaining Flute’ Ode for StCecilia’sDay, HWV76 –‘Thesoft George Frideric Handel 20minutes

9 Texts 10 A thousandseveral ways. Make thepleasure longerlast, Night andIimprove thetast, Than ahundred luckyDays. Gives more delight, One charmingNight The Fairy Queen,Z629–‘Onecharming Night’ Henry Purcell Whilst allhishopesdofaint andlife isfailing. Only Amyntas wastes hishoursinwailing Their laboursclose, All thingsinsweet repose The day isspentandshades fair lightsupply. Behold thesunhathshuthisgoldeneye, And helpAmyntas sadly to condole. Put onthy mourningstole Come, sablenight, Come, sablenight ( Let nothing stay to give offence. Bring pleasingdreams; And murmuringstreams, Her eyelids close; Let soft repose Be ever banishedhence. (The fiends delight) Envy andspite, Doubt anddespair, Let noiseandcare, That mento sleepincline. And allherpeaceful train isnear, To favour your design; See, even nightherselfishere herself ishere’ The Fairy Queen,Z629–‘See,even Night Henry Purcell By whisp’ringwindssoonlull’dto sleep. Thus pasttheday, to bedthey creep, Till thelivelong daylight fail. On asunshineholyday, And young andoldcomeforth to play dancing inthechequer’dshade. To many ayouth, andmany amaid, And thejocundrebeck sound, Oh letthemerrybellsringround, ‘Oh let themerrybellsringround’ L’Allegro, ilPenseroso edilModerato – George Frideric Handel c 1589–1638)

Hymen comesnot, Love to beguile. Then stay (mosthappy), stay awhile, It heightens Love’s attained bliss. Longing hopedoth nohurtbutthis, And sauceare to Love’s sweetest Cates: These sportsare alluringbaits, Hymen comesnot, Love to beguile, Stay (happy pair)stay butawhile, that freest from mortality? What deityislike to thee, of treasures more divine, Hymen, Omine Help HymenLove’s duedebtto pay. Help, help,black night,Hymen’sfair day, And nightinlove herdignity. Hymen forfeits hisdeity, Which iftheturtleswant tonight, Love’s duedebtischaste delight, Help HymenLove’s duedebtto pay, Welcome black night,Hymen’sfair day, A PilgrimesSolace–‘Welcome, black night’ (1563–1626) Revel inthecheerfulspring. Thus ev’ry happy livingthing, Dance andlaugh,laughsing; Let’s pipeanddance, Let uscelebrate ourhappy love. In thesedelightfulpleasantgroves, – Inthesedelightfulpleasantgroves destroyed, ortheLibertine The Libertine, Z600 Henry Purcell While we have lustywine. But over usnogriefsprevail, While we have lustywine. But over usnogriefsprevail, And sneakandsighwhine. Love makes you languishandlookpale, From thatblindchildishpow’r. Bacchus, whoalways keeps usfree A greater we adore, Hence withyour trifling deity! ‘But over usnogriefs prevail’ ‘Hence withyour triflingdeity!’ Timon of Athens, theMan-Hater, Z632– Henry Purcell

And drinkingmakes usmad. ‘Tis sadness makes usdrink ‘Tis love thatmakes ussad, ‘Tis women makes uslove, ‘Tis women makes uslove, Z281 Henry Purcell The diff’rence to liedead, andliedead drunk. The fighting fool shallsee,whenIamsunk, But whenthebottles rang’d to make war withme, Some perhapsthinkitfit to fall anddie, Then fill my glass,fill ithigh, Go seekoutwar, whilstIseekpeace anddrink. To make anoiseandfight Of honour, anddelight, Let thebrave fools thatfondly think And scornwhatalltheworld canshow orgive. Then Ibeginto live, With flowers weav’d into agarlandcrown’d. Stretch’d ontheearth,my head allaround And withoutthoughtof want Ising, At leastIfancy so. And Iinrichesflow, Then thepleasingthoughtsbegin, And droop, thensinkdown dead. But allmy cares resign, With mightywine, For henosoonerfills my head Bacchus isapow’r divine, Bacchus is apow’r divine,Z360 Henry Purcell And gain’dHeav’n by love andgooddrinking. He took off hisglass,was kindto hislass, Ne’er troubl’d hishead withmuchthinking, The mightyJove whorulesabove Drink anddespisethepoliticass. Then alltogether clash. Give to ev’ry onehisglass. Come near, we’ll rejoice aswell asyou. I’m here withmy jollycrew The Bacchanals comewithliquordivine. The great godof wine– Make room for thegreat god, Danse of Bacchanals ‘I’m here withmy jollycrew’ Z627 –‘Make room for thegreat god’ , or The History of Dioclesian, Henry Purcell

You’ll conquerthoughyou subdued are, Fear not Hymen’speaceful war, Lest you your sex defame, You changethatfruitlessname, But lookere day bespied, Goodnight, yet virgin bride, Love’s made atruantby your stay, Cease thisfalse sports,haste away, A Pilgrimes Solace –falsesports’ ‘Ceasethese John Dowland Fairest isle Henry Purcell, arr. William Hayes Those shallberenown’d for love. And astheseexcel inbeauty, Grateful ev’ry nymph shallprove; Ev’ry swain shallpay hisduty, Shall beallthepainsyou prove. Soft repulses, kinddisdaining, Sighs thatblow thefire of love Gentle murmurs,sweet complaining, And despair, thatdiesfor love. Jealousy, thatpoisonspassion, Care andenvy willremove; Cupid from hisfav’rite nation And forsake herCyprian grove. Venus here willchooseherdwelling, Seat of pleasure andof love Fairest isle,allislesexcelling, ‘Fairest isle’ King Arthur, or The British Worthy, Z628– Henry Purcell Thou artthelife, thelight,way! Triumphant saviour, Lord of day, Raise Thouourhopesof endlesslight. So from virtuoustoil well-borne, Advancing, drives theshades of night, As withrosy steps themorn, morn’ Theodora, HWV68–‘As withrosy steps the George Frideric Handel That Love’s darkworks may cometo light. Hymen, Oblessthisnight, Rise to thesunamarigold. Goodnight, andere theday beold,

11 Texts 12 and your lightandsogoodnight. Twelve o’clock,lookwell to your lock,your fire sweep. –FineSeville oranges, fine lemons. – soot fall inyour porridgepot, withahey derry, From the bottom to thetop, sweep, thenshallno chimney, sweep, mistress withahey derry sweep. for ChristJesus’sake. –Sweep Bread and meatfor thepoorpris’nersof the pies, hot. –Have ye any wood to cleave? – white young cabbage, white. –Hot pudding radish, white young radish. –White cabbage, Billingsgate, four anpenny, five to many. –White ye buyany straw? –New fresh herringat apples fine, medlarsfine? –Ac’ ablack. –Will mistress? –Hard onions,hard. –Cherryripe, my dishof eels?–Willyou buyany Aqua-vitae, cheese andcream. –Salt,salt.Willyou buy – Iha’ripecow-cumbers, Iha’ripe.–Fresh cakes, hot. –Whatconey skinshave ye, maids? or silver? –Ripestrawberries, ripe.–Hot spice for acooper?– Whatendshave you of gold ye any kitchen stuffmaids?–Ha’ye any work brooms. –Willye buyamatfor abed?–Ha’ broom, oldboots, oldshoes,pouchringsfor a tinker? –New mackerel, new. –Broom, any milkorfrumenty?–Ha’ye any work for oysters, new; new plaice,new. –Willye buy capon, goround. –Hot codlings,hot. –New good, anditberoasted, goround aboutthe am your first man,sir!–Agoodsausage, a with me,sir?IamSirJohnChimney’s man.–I Will you gowithapairof oars?–Willyou go The Cryes of London(Part 2) (1583–1625) the birthday of kingOberon. ‘tis thathappy, happy day, all salute therisingsun; Now thenightischas’daway, chas’d away‘ The Fairy Queen,Z629–‘Now thenightis Henry Purcell Restoring intellectual day. The fumesthatdidthemindinvolve, And risingreason putsto flight So truthdoesfancy’s charmdissolve And meltstheshades away As steals themornupon night – ‘As steals themornuponnight’ L’Allegro, ilPenseroso edilModerato, HWV55 George Frideric Handel Yves Petit motet français’ (SébastiendeBrossard andPierre in five different programmes: ‘Lesmaîtres du Platée the Opéra deParis andinanew production of in thereprise of theballet of theensemble.Sincethenhehasconducted it In 2013 hebecameAssociate MusicalDirector conducting certain projects for LesArtsFlorissants. In 2007hiscareer took anew turnwhenhebegan and Moderato and Galatea Charpentier ( d’Hébé He was acclaimed inoperas by Rameau ( andEmmanuelleHaïm Jean-Claude Malgoire, SirJohnEliot Gardiner, , , Paul McCreesh, He hasalsoperformed withsuchconductors as French Baroque repertoire withWilliamChristie. performer of choicefor thehigh-tenor roles of the With LesArtsFlorissants,hebecamethe Aricie debut asHippolyte inRameau’s joining LesArtsFlorissantsin1992, makinghis He sangwiththeConsortof Musicke before Oxford, where hecontinuedhismusicalstudies. . Hethenentered Magdalen College, musical educationwiththeBirminghamCathedral Born inGlasgow, Paul Agnew received hisinitial Paul Agnew About the performers Paul Agnew , conducted by WilliamChristie. . He has also conducted Les Arts Florissants . Hehasalsoconducted LesArtsFlorissants , Les Boréades ) andPurcell ( ). and Médée director L’Allegro, ilPenseroso edil and and King Arthur Actéon Doux Mensonges Les Indesgalantes Hippolyte et ), Handel( and

Dido Les fêtes Acis Acis at at ), ),

Sandra Lousada which promotes musicaleducationfor all. the European Baroque academy inAmbronay, . In2017, Paul Agnew directed many occasions,aswell astheEuropean Union Orchestre Français desJeunesBaroque on of musicianshasalsoledhimto conductthe This interest inthetraining of new generations Les ArtsFlorissants’academy for young singers. Paul Agnew isco-director of LeJardin desVoix, Vendée, underhisdirection. the creation of aspringfestival inthechurches of surrounding Monteverdi’s 450thanniversary, and production of ‘In anItalian Garden’. Lastseasonsaw anew and theinternational tour of LeJardin desVoix’s as seenby Monteverdi andhiscontemporaries; exploring thethemeof feminine amorousness of Monteverdi madrigals; ‘Women inLove’, Bouteiller); ‘Cremona’ and‘Mantova’ –selections Her opera roles includethe title-roles in Musikverein andCarnegieHall. Hall, Amsterdam Concertgebouw, Vienna including theWigmore Hall,QueenElizabeth at many of theworld’s majorrecital venues, in awide-ranging repertoire. Shehasappeared and hasestablished aninternational reputation studied attheGuildhallSchoolof Music&Drama Soprano andstage director SophieDaneman Sophie Daneman Sophie Daneman , Theodora L’Orfeo stage director and , aspartof thecelebrations L’Arianna , aswell

13 About the performers 14 Thought Machine and arecording of anew song-cycle, DC, arecital attheHay-on-Wye Festival engagements include Seoul for arevival of Cleveland Baroque Orchestra, and atour to production of work withLesArtsFlorissants,asemi-staged included Directorial engagements this seasonhave of assisted Stephen Langridgeonhisproduction performances withLeJardin desVoix and Dijon, LondonandParis. Shehasalsogiven with performances inCaen, Luxembourg, Daphnis et Églé bill of Rameau’s Sophie Danemanrecently directed adouble- Rameau’s William Christie, Bostridge and,withLesArtsFlorissantsand a discof NoelCoward songsalongsideIan Eugene Asti,SchumannLiederwithJuliusDrake, Mendelssohn LiederwithNathanBerg and Villa with NicholasKraemer, Vivaldi’s Other highlightsincludethetitle-role in with ElizabethKenny andTheatre of theAyre. includes, mostrecently, Her extensive andaward-winning discography appearances attheOxford LiederFestival. Church withBostridgeandJuliusDrake and with theTokyo Quartet, arecital atTemple Bostridge, Schoenberg’s Quartet, Op 10 Rotterdam, Walton’s for theBBC andappearances withDeDoelen Recent concertengagements includerecitals Sir JohnEliot Gardiner. Malgoire, PhillippeHerreweghe, Ivor Bolton and with , Gérard Lesne,Jean-Claude and LesArtsFlorissants,aswell asperforming She hastoured extensively withWilliamChristie of Tod Machover’s She alsoappeared inthestaged productions et Aricie del filosofo Servilia ( et Dalila as Cleopatra ( Theodora withRichard Hickox, three volumes of ) andSusanna( ), Mélisande( La clemenzadiTito Acis andGalatea ), Euridice( for Théâtre desChamps-Élysées. L’Orfeo for LesArtsFlorissants, La naissanced’Osiris Theodora ,

by Cheryl Frances-Hoad. Skellig Façade Le maître àdanser L’Orfeo withApollo’sFire and Pelléas et Mélisande of Moments The Marriage of Figaro and atSage Gateshead. , inSingapore, further Acis andGalatea ), Euridice( ), Dalila( alongside Ian alongsideIan ), Phèdre ( inWashington, Les fêtes d’Hébé in Samson The The and and L’anima L’anima Rodelinda Hippolyte . Vocal ), ),

, ). ). .

Julien Gazeau Natasha Schnur two artforms aboutwhichsheispassionate: series wort+ton. Theseconcertscombine she performs inthemusical–literary concert In collaboration withpianistMarkusHadulla Esmail’s Center’s AliceTully Hallinthepremiere of Reena Magnificat She hasperformed J SBach’s Suzuki, David HillandNicholasMcGegan. at Yale sheperformed withconductors Masaaki the Performance of Sacred Music.Duringhertime Sacred MusicandtheMargot Fassler Prize for Hugh Porter scholarshipfrom Yale’s Institute of specialising inearlymusic.Shewas awarded the Litaker andYale University underJamesTaylor, the Karlsruhe University of MusicunderDonald German soprano Natasha Schnurstudiedat Natasha Schnur and Paul Agnew. in Moscow underthedirection of WilliamChristie Philharmonie andtheTchaikovsky ConcertHall in Madrid, theAuditorio of Zaragoza, theParis Nantes, Théâtre deCaen, the Auditorio Nacional Jardins deWilliamChristie,theThéâtre Graslin in of ‘AnEnglishGarden’ attheFestival dansles des Voix. Shehasparticipated inperformances for theeightheditionof theAcademy LeJardin Natasha Schnurisoneof thesixsingersselected Kammerchor. of theVocalensemble Rastatt andtheRIAS literature andartsong.Sheisaregular member This Love Between Us . Lastyear shemade herdebutatLincoln , aswell asBrahms’s soprano . Trauerode Ein Deutsches Ein Deutsches and and Britten’s studying attheGuildhall sheappeared in Euridice signor Bruschino fan tutte Hampstead Garden Opera, Despina ( and Euridice(Monteverdi’s Her operatic roles includeLaMusica Baden-bei-Wien. Lieder recitals inDortmund,Londonand Roger Vignoles.Shehasalsogiven solo Holl, RudolfJansen,Andreas Schmidtand Drake, Bernarda Fink,Tobias Truniger, Robert with EllyAmeling,HelmutDeutsch,Julius Schubert InstitutinAustria, where sheworked Murray, Peggy Bouveret andattheFranz Kirchschlager, Jean-Paul Fouchécourt, Ann Paul Agnew, AnneSofie von Otter, Angelika and hasparticipated inmasterclasses with She hasaparticularinterest insongrepertoire Brou withLesMusiciensd’Europe. Bourg-en-Bresse aspartof LesEstivales de Mahler’s EighthSymphony atL’Ekinox in Requiem withOrchestre HeliosinParis and of Graham Johnson’sconcertseries,Mozart’s Poulenc’s song-cycle Orchestra SymphoniqueBel-Arte inDourdon, a programme of Vivaldi motets withthe Cenere. Othernotable engagements include the period-instrumentensembleFuocoe In concert,sheperforms regularly with Kammeroper SchlossRheinsberg. the Internationaler Gesangswettbewerb atthe Opera Fuocoandwas arepeat prizewinner in Evans. ShethenjoinedtheAtelier Lyriqueof Guildhall School of Music & Drama under John French soprano Natalie Pérez studiedatthe Natalie Pérez Julien Gazeau Natalie Pérez ) withBritishYouth Opera. While AMidsummerNight’s Dream ) withOpera FuocoandSofia ( soprano ) andFirstNymph(Peri’s Tel jour, telle nuit L’Orfeo ) with atthe aspart Così Il

Julien Gazeau Eva Zaïcik Provence Festival. Moscow, andaresidency attheAix-en- Orchestra, Handel’s programme withtheGuangzhouSymphony at ShanghaiBaroque Festival, aTelemann Mozart’s Requiem inParis, de Brou inBourg-en-Bresse andinGeneva, (Offenbach’s Academy LeJardin desVoix,Fiorella eighththe in participation edition of the This season’sengagements include at Theater Magdeburg. Così fanciulli Bachfest Leipzig,Despina(NicolasBacri’s Philharmonic, Cisseo(J CBach’s la musicaepoileparole Schauspieldirektor Ars Nova, Mademoiselle Silberklang( (Ullmann’s Barbican Centre. ShehasalsosungBubikopf at theBBC Proms inMonteverdi’s Vespers. Le ConcertSpirituel;shealsomade herdebut (Monteverdi’s Opéra Royal deVersailles, the Messenger ( The sameseasonshesangtherole of Dido Janina Baechle andKenneth Weiss. Manoff, OlivierReboul, Margreet Hönig, with ElèneGolgevit, AnneLeBozec,Susan the Paris Conservatoire, where shestudied In 2016 shegraduated withdistinctionfrom prize attheVoix Nouvelles singingcompetition. Mezzo-soprano Eva Zaïcikrecently received third Eva Zaïcik (Lully’s Magic Flute Dido andAeneas Les amantsmagnifiques mezzo-soprano ) atOpéra deDijon andCaliste Der Kaiser von Atlantis ) andMirtilla(Telemann’s L’Orfeo Les Brigands ) atOpéra deRouen and ) andTonina (Salieri’s ), andThird Lady ( Apollo eDafne ) withtheHongKong ) atLesEstivales The FairyQueen ) ontour with Zanaida ) with in The The Der Damon Prima ) at

)

15 About the performers 16 Pichon, David Reiland andChristophe Rousset. Cornelius Meister, Hervé Niquet,Raphaël Guidarini, EmmanuelleHaïm,René Jacobs, García Alarcón, VincentDumestre, Marco with leading conductors, includingLeonardo in France andinternationally, andworked Eva Zaïcikhasappeared atmajorfestivals composed for herandtheTana Quartet. musicians, working onapieceby AhmedEssyad, which bringstogether Eastern andWestern also participated intheOración project, several works by VincentBouchot. Shehas Iliade l’amour the role of Nellyinthepremiere of Betsy Jolas’s an interest incontemporary music:shecreated She hasawide-ranging repertoire, including with harpsichordist JustinTaylor andhisconsort. touring Mexico. Shealsoparticipates inrecitals Maddalena (Draghi’s takes the sings inCouperin’s Harmonique underVincentDumestre she aux enfers Proserpine (Charpentier’s Christophe Rousset astheThird Lady, Dido, Voix eighth editionof theAcademy LeJardin des This season,inaddition to participationinthe and Ernesto (Haydn’s (Honegger’s Bluebeard’s Castle Marriage of Figaro Reims (Monteverdi’s ( her operatic roles have includedOttavia With theAtelier Lyriquede l’Opéra deParis L’incoronazione diPoppea , sheappearswithLesTalens Lyriquesand ), Farnace (

roles of Lybie(Lully’s ) andJuno( Les Aventures duRoi Pausole in2016 andhaspremiered L’Orfeo Mitridate ), Diane à la Houppe ), DianeàlaHouppe ), (Bartók‘s Leçons deTénèbres Ilmondodellaluna IlTerremoto Actéon ), Melibea( ), Cherubino( La descente d’Orphée ), Proserpina ); withLePoème Phaëton Il viaggio a ), aswell as Duke ) and ) and The The and and ). )

Julien Gazeau James Way Festival Hall,theBallad Singer( role of theHolyFool ( andJakubHru Opera credits includehisdebutwiththe Rousset. and asJupiter ( in Haydn’s with theorchestra, includinginBach , for thecurrent season,andperforms regularly the Age of Enlightenment’s RisingStars prize He hasalsobeenawarded theOrchestra of Young Artist. Voice Fellowship andisaformer Britten–Pears Garsington Opera, anIndependentOpera awarded the2016 SimonSandbach Award by Awards attheWigmore Hall.Hewas second prizeatthe62ndKathleen Ferrier James Way was borninSussex andwon James Way Academy LeJardin desVoix. is alsoparticipating intheeighth edition of the conducted by Barbara Hannigan. JamesWay and therole of Sellem( No 3 withtheCBSOunderJohnWilson; Stephen Barlow; Vaughan Williams’Symphony Bournemouth Symphony Orchestra under Florissants; Mozart’sCminorMass withthe Galatea premiere of Ross Harris’s Gabrieli ConsortandPlayers; theEuropean King Arthur performances andrecordings of Purcell’s Other current andfuture highlightsinclude several roles atGarsington Opera. at theAldeburgh andEdinburgh festivals, and Misteria Paschalia Festival; Acis in Samson Symphony Orchestra; thetitle-role in Handel’s withtheDunedinConsortat withWilliamChristieandLesArts The Creation and tenor The FairyQueen Boris Godunov ) underChristophe The Rake’s Progress underAdám Fischer FACE Owen Wingrave withtheBBC withthe Acis and ) attheRoyal ° ša in the ša inthe ) ) Julien Gazeau ( (Monteverdi’s Figaro Operatic roles includetheCount( Wheeler, Timothy Redmond andLluísVilamajó. Sigiswald Kujken, RubénGimeno,Dominic Duijck, Mark Shanahan,Laurence Cummings, Kazushi Ono,Eduardo LópezBanzo,Johan with prominent conductors, includingJordi Savall, Avignon, Vichy, ViennaandLondon,working in Barcelona, Madrid, Granada, Shanghai, Orchestra. Hehas appeared atleading venues Al Ayre EspañolandtheBrusselsPhilarmonic Cambra deAndorra, LeConcertdesNations, Handel Orchestra, Orquestra Nacional de Barcelona iNacional deCatalunya, London Barroca Catalana, Orquestra Simfònicade Sinfónica delPrincipado deAsturias,Orquestra Orquesta Ciudad deGranada, Orquesta such astheOrquestra SimfònicadelVallès, He collaborates regularly withorchestras together withpianistBen-SanLau. was nominated for Oxford LiederYoung Artist, of other prominent competitions.In2015 he and hasalsobeenaprize-winneratnumber prize atthe2015 HandelSingingCompetition He was awarded first prizeandtheaudience and Teresa Berganza, amongstothers. Widmer, JosepBros, LynneDawson, LuigiAlva Finley, HelenaDöse,MalcolmMartineau,Kurt Halfvarson, CarlosMena,EdithWiens,Gerald Levitt, Graham Johnson,David Gowland, Eric participated inmasterclasses withRichard he studiedwithRudolfPiernay. Hehasalso Guildhall Schoolof Music&Drama, where in 1988 andwon the2017 GoldMedalatthe Josep-Ramon Olivé was borninBarcelona Josep-Ramon Olivé Josep-Ramon Olivé Dido andAeneas ), Tarquinius ( L’Orfeo ), Frank ( The Rape of Lucretia baritone ), Lesbo( Die Fledermaus The Marriage of ), Orfeo ), Aeneas ), ),

Julien Gazeau Padraic Rowan Padraic Le Jardin desVoix. participation intheeighthedition include theCountatClonter Opera, aswell as Current andforthcoming engagements Phaedra, DiscmediandMusièpocalabels. has recorded for theAlia-Vox, ColumnaMúsica, de Catalunya conducted by and Josep-Ramon isamemberof theCapellaReial Müllerin La bonnechanson Dichterliebe Lieder einesfahrenden Gesellen sung Brahms’s Oratorio Bach’s BminorMass,Magnificat, Handel’s Duruflé andMozart,Orff’s deutsches Requiem His oratorio repertoire includesBrahms’s padrona Thésée (Martin Pantalone (Wolf-Ferrari’s Competition. Hemade hisWigmore Halldebut Les AzurialesOpera International Singing recent successesincludefirst prizeatthe2016 Award from theArtsCouncilof Ireland and He hasreceived aNext Generation Bursary studies withRobert Dean. of theAcademy LeJardin desVoix. Hecurrently season andisparticipatingintheeighth edition member of theOperStuttgart Opera Studio last with aMasters inmusicperformance. Hewas a from theRoyal IrishAcademy of Musicin 2013 Twenty-eight-year-old Padraic Rowan graduated Padraic Rowan , amongst others. , amongstothers. ). ). and various cantatas. Inrecital hehas Messiah , Ravel’s Die schöneMagelone u °

bass-baritone bass-baritone ’s and Ariane andSchubert’s , theRequiems of Fauré, Histoires naturelles ) andUberto ( Le donnecuriose Carmina burana , Schumann’s , Schumann’s of theAcademy Christmas Christmas Die schöne Die schöne , Mahler’s , Mahler’s La serva and and , Fauré’s Ein Ein ), ), ,

17 About the performers 18 field of opera thatLes ArtsFlorissantshas triumphantly revived inMay 2011, it isinthe Opéra ComiqueinParis in1987, whichwas Since itsproduction of baton over to British tenor Paul Agnew. since 2007, hasregularly passedtheconductor’s The Ensembleisdirected by WilliamChristiewho, but whichisnow widelyperformed andadmired. Baroque repertoire thathad longbeenneglected played apioneeringrole intherevival of a opera by Marc-Antoine Charpentier. Ithas William Christie,andtakes itsnamefrom an Franco-American harpsichordist and conductor Les ArtsFlorissantswas founded in1979 by the The renowned vocal andinstrumental ensemble Florissants Les Arts L’incoronazione diPoppea he makes hisdebutattheSalzburg Festival in number of concertperformances. Thissummer, will alsotour Europe withLesArtsFlorissantsina Alidoro ( Coburg inthetitle-role of well asmakinghishousedebutatLandestheater Stuttgart asNarumov ( This seasonPadraic Rowan returns to Oper Festival d’Aix-en-Provence. Handel ariasaspartof the2015 Académie du direction of EmmanuelleHaïm,heperformed Creation Requiem andCminorMass,Haydn’s St Matthew Passion In concerthisrepertoire includes Coriolan (Denisov’s Fifth Jew ( Masetto ( last seasonincludedCountCeprano ( His roles for theOpera Studio of OperStuttgart Les AzurialesOpera. Irish Youth Opera, Opera Theatre Company and Wexford Festival Opera, NorthernIreland Opera, of MusicinNew York. Hehasalsoappeared with reprised attheBBC Proms andBrooklyn Academy debut asSailor( He made hisGlyndebourneFestival Opera Belvedere SingingCompetition. finals of the34thInternational HansGabor Awards andthesameyear reached thesemi- in 2015 asafinalist intheMaureen LehaneVocal andStainer’s La Cenerentola Salome Billy Budd ), Guide( and B minor Mass, Mozart’s andBminorMass,Mozart’s L’écume desjours The Queenof Spades The Crucifixion ), HighPriest( ) andAngelotti ( The Marriage of Figaro ) in2013, arole hehas Death inVenice . by Lully atthe Messiah Nabucco . Under the . Underthe Rigoletto ). The The Tosca , Bach’s , Bach’s ) and ) and ), as ), as ). He ). He ), ), ), ), , Les ArtsFlorissantsalsoorganises numerous exchange between theUSA andFrance. School, whichsince2007hasallowed anartistic Les ArtsFlorissantsandNew York’s Juilliard fruitful partnershipbetween WilliamChristie, and chorusfor aproduction. There isalsoa conservatory studentsto jointheorchestra Juniors programme, launchedin2007, enables of new singersinto thelimelight.TheArtsFlo has already brought asubstantial number created in2002,itisheldevery two years and notably theAcademy of theJardin desVoix: education programmes for young musicians, In recent years, ithaslaunchedseveral baton of WilliamChristieandPaul Agnew. discography of over 100 recordings underthe Les ArtsFlorissantshasanaward-winning elsewhere. Vienna, Madrid, Barcelona, Moscow and regularly invited to New York, London,Brussels, ambassador for French culture abroad, being as well asatnumerous festivals –andisanactive Champs-Élysées andtheChâteau de Versailles, de Caen, theOpéra Comique,theThéâtre des the ensembleholdsaresidency, theThéâtre France –atthePhilharmoniedeParis, where 100 concertsandopera performances in Each seasonLesArtsFlorissantsgives around performances of operas andoratorios. its many acclaimed concertorsemi-staged profile intheconcerthall,asillustrated by found mostsuccess.Itenjoys anequallyhigh through somenoteworthy events: the settlement venue inThiré. Thisaimwas furthered in2017 is working to establish apermanentcultural In addition to thefestival, LesArts Florissants by William ChristieatThiré, intheVendée. promenades musicales finalists from LeJardin desVoix for concertsand Florissants, pupilsfrom theJuilliard Schooland event, itbringstogether artistsfrom LesArts départemental delaVendée. Anannual Christie, inpartnershipwiththeConseil created thefestival DanslesJardins deWilliam In 2012, WilliamChristieandLesArtsFlorissants and for both adults and children. amateur musiciansandnon-musicians, the world. Theseare designedfor both and elsewhere inFrance andallaround the PhilharmoniedeParis, intheVendée events aimed atbuildingnew audiencesat in thegardens created Edson Scheid Demoures Sophie Gevers- Paul-Marie Beauny Girard * Catherine Violin 2 Tami Troman Christophe Robert Myriam Gevers Resche Emmanuel Violin 1 Paul Agnew Director Associate Musical William Christie Founder Musical Director/ Florissants Arts Les Sponsors. Corporate &Investment Bankare itsPrincipal Friends of LesArtsFlorissantsandCrédit Agricole Paris since2015. TheSelzFoundation,American has beeninresidence atthePhilharmoniede and theRégionPays delaLoire. TheEnsemble Communication, theDépartement delaVendée from theFrench Ministryof Culture and Les ArtsFlorissantsreceives financial support gifted hisentire Thiré estate to theFoundation. Florissants–William ChristieFoundation. Christie This year saw thecreation of theLesArts associating creation, heritage anddissemination. Christie –anaward whichdistinguishesprojects Les ArtsFlorissantsandJardins deWilliam accolade of ‘Centre culturel deRencontre’ for annual event attheFontevraud Abbey andthe Spring Festival directed by Paul Agnew, anew of LeJardin desVoix inThiré, thecreation of a

leader

Lucia Peralta Bardonnèche Sophie de Heyerick * Simon Serge Saitta Flute Sébastien Marq Recorder Myriam Rignol Viola dagamba Cyril Poulet Alix Verzier

Claude Wassmer Yanina Yacubsohn Astrid Knöchlein *section principal Benoît Hartoin /Organ Thomas Dunford Jonathan Cable Simpson * David Cello advertising by Cabbell(tel 02036037930) printed by Trade Winds ColourPrinters Ltd; Programme produced by Harriet Smith; false sports’ ‘Cease these black night’ and London, for ‘Welcome and Stainer &Bell, (Pascal Duc) Les ArtsFlorissants Musical editions Haute couture On aura tout vu, Soloists’ gowns

19 About the performers 15–17 Jun Bach Weekend with

Sir Sim Canetty-Clarke Gardiner Sir John Eliot Image: Hear JS Bach’s Violin , Cello Suites, Goldberg Variations and glorious Cantatas all in our Bach Weekend, led by Sir John Eliot Gardiner and his Monteverdi Choir; music to truly gladden the heart.

Bach Weekend advert les arts A5.indd 1 22/11/2017 15:45