Il Ritorno D'ulisse in Patria

Home , Elena (Cavalli), Federico Maria Sardelli, Francesco Albanese, Howard Crook, I gioielli della Madonna, Paride ed Elena

Thursday, October 19, 2017, at 7:00 pm Pre-concert lecture by Ellen Rosand at 5:45 pm in the Stanley H. Kaplan Penthouse

Monteverdi: The Birth of Opera Il ritorno d’Ulisse in patria Music by Claudio Monteverdi Libretto by Giacomo Badoaro , after Homer

Monteverdi Choir English Baroque Soloists Sir John Eliot Gardiner , Conductor Furio Zanasi , Ulisse Marianna Pizzolato , Penelope Krystian Adam , Telemaco Hana Blažíková , Minerva / Fortuna Gianluca Buratto , Tempo / Nettuno / Antinoo Michał Czerniawski , Pisandro Gareth Treseder , Anfinomo Zachary Wilder , Eurimaco Anna Dennis , Melanto John Taylor Ward , Giove Francesca Boncompagni , Giunone Robert Burt , Iro Francisco Fernández-Rueda , Eumete Carlo Vistoli , Umana Fragilità Silvia Frigato , Amore Francesca Biliotti , Ericlea John Eliot Gardiner and Elsa Rooke , Co-Directors

This performance is also part of Great Performers. (Program continued)

Monteverdi: The Birth of Opera is made possible in part by The Gladys Krieble Delmas Foundation. This performance is made possible in part by the Josie Robertson Fund for Lincoln Center. Alice Tully Hall, Starr Theater Please make certain all your electronic devices Adrienne Arsht Stage are switched off. WhiteLightFestival.org Support for Great Performers is provided by Rita E. UPCOMING WHITE LIGHT FESTIVAL EVENTS: and Gustave M. Hauser, Audrey Love Charitable Foundation, Great Performers Circle, Chairman’s Friday, October 20 at 7:30 pm at Gerald W. Lynch Council, and Friends of Lincoln Center. Theater at John Jay College Saturday, October 21 at 3:00 pm and 7:30 pm Public support is provided by the New York State Dancing Voices Council on the Arts with the support of Governor Meredith Monk , voice, composer, and director Andrew M. Cuomo and the New York State Young People’s Chorus of New York City Legislature. Francisco J. Núñez , artistic director Endowment support for Symphonic Masters is Elizabeth Núñez , associate artistic director provided by the Leon Levy Fund. Katie Geissinger , voice Endowment support is also provided by UBS. Allison Sniffin , voice and piano American Contemporary Music Ensemble American Airlines is the Official Airline of Lincoln Center Wednesda y–Thursday, November 1–2, at 7:30 pm Nespresso is the Official Coffee of Lincoln Center in the Rose Theater Stabat mater (New York premiere) NewYork-Presbyterian is the Official Hospital of Jessica Lang Dance Lincoln Center Jessica Lang , director and choreographer Artist Catering provided by Zabar’s and Zabars.com Orchestra of St. Luke’s Speranza Scappucci , conductor Andriana Chuchman , soprano The Monteverdi Choir & Orchestras would like to Anthony Roth Costanzo , countertenor thank and acknowledge the Monteverdi 450th MOZART: Divertimento in F major Anniversary Circle supporters for their support of PERGOLESI: Stabat mater this tour. November 1 –11 Regal by Meloni & Farrier Organbuilders The Psalms Experience (U.S. premiere) Baroque Keyboards Choir of Trinity Wall Street Netherlands Chamber Choir Tallis Scholars Norwegian Soloists’ Choir 150 psalms. 150 composers. 4 choirs. 12 concerts. Visit PsalmsExperience.org for full concert schedule.

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We would like to remind you that the sound of coughing and rustling paper might distract the performers and your fellow audience members. In consideration of the performing artists and members of the audience, those who must leave before the end of the performance are asked to do so between pieces. The taking of photographs and the use of recording equipment are not allowed in the building. The Return of Ulysses

MONTEVERDI Il ritorno d’Ulisse in patria , SV 325 (1640) Prologue Act I Act II (Scenes 1–3)

Intermission

Act II (Scenes 4–12) Act III

This program is approximately 3 hours and 20 minutes long, including intermission.

Please join the artists for a White Light Lounge in the Alice Tully Hall lobby following the performance.

WhiteLightFestival.org Director’s Note: Celebrating Monteverdi 450 By John Eliot Gardiner

Fifty years ago, Monteverdi epitomized for me all that was most exotic and alluring about Italian music of the early 17th century. His music spoke to audiences so directly: It demanded their attention through its glorious palette of colors and the passionate utter - ance in which it was couched, whether composed for the church, the chamber, or the theater. I became hooked, much in the same way that many people (myself included) are drawn to the works of his contemporaries: Shakespeare or John Donne, Rubens or Caravaggio—all humanists in the fullest sense of the term. These great creative artists were of a generation that lived through those turbulent, seminal years either side of 1600, a quasi-millennial moment of apocalyptic end-of-times appre hension. It was a theme that surfaces most obviously in Shakespeare’s late plays. Nor was it just the sci - entists and philosophers who contributed to the ferment of ideas that turned the intellec - tual life of Europe upside down.

Now, four centuries later, we have an opportunity to bring about a significant break - through in public awareness of Monteverdi’s part in this revolution. As good a place to start as any would be by celebrating and recalibrating that astonishing fusion of rich musi - cal beauty with theatrical verisimilitude that is the hallmark of his operas. A fitting 450th- birthday present to Monteverdi, I believe, would then be to put the excitement, and per - haps also the trepidation, back into his music.

Please turn to page 30 for a full interview with John Eliot Gardiner. Synopsis see him, introduces the old beggar. Telemachus dispatches Eumaeus to report By Ellen Rosand his arrival to Penelope and is left alone with the beggar, who reveals himself. Ulysses Prologue sends Telemachus to his mother, promising Human Frailty (representing Ulysses) is to follow soon, but in disguise. taunted by Time, Fortune, and Love, sym - bolizing the forces at work in the opera Melantho complains to Eurymachos of that interact to bring it to resolution, when Penelope’s refusal to love, but the couple Love vanquishes her companions. soon lose themselves in melodious love- making. The suitors beg Penelope to love Act I one of them, but she still refuses. They Penelope laments Ulysses’ (Ulisse) long agree to intensify their wooing with song absence and is comforted by her nurse and dance. Penelope rejoices at Eumaeus’ Eurykleia (Ericlea). Melantho (Melanto), her report of Telemachus’ arrival but cannot handmaiden, conspires with her lover believe that Ulysses is near. Fearing that Eurymachos (Eurimaco) to convince Penel- Telemachus will quash their hopes of pos - ope to choose a new husband. Ulysses awak - sessing the kingdom, the suitors vow to kill ens on the deserted shore of Ithaca, having him, but are terrified by the evil omen of an been deposited there by the Phaeacians. eagle flying overhead. They abandon their Neptune (Nettuno) protests against Ulysses’ murderous vow and redouble their efforts return with Jupiter (Giove) and is granted to woo Penelope with gifts. Minerva reveals permission to punish the Phaeacians, who to Ulysses her plan for the suitors’ defeat. are turned into a rock. After railing against the Phaeacians and the implacable gods for Telemachus reports to Penelope on his wan - abandoning him, Ulysses seeks information derings and Eumaeus introduces the dis - on his whereabouts from a shepherd boy, guised beggar to the court, where the suit - who turns out to be the goddess Minerva ors insult him. Iros challenges him to a fight, (Homer’s Athena). She pledges to aid him in which the beggar wins, and Penelope, destroying the suitors, who have despoiled moved by his courage, invites him to his kingdom, and in reconquering his wife. remain. Unknowingly inspired by Minerva, Minerva departs for Sparta to fetch his son she agrees to marry whichever suitor can Telemachus (Telemaco), while Ulysses, dis - string Ulysses’ bow. When all three fail, the guised as a beggar, seeks hospitality from his beggar attempts the task and is successful, old friend, the shepherd Eumaeus (Eumete). whereupon, accompanied by loud thunder claps sent by Jupiter, he kills the suitors. Melantho entreats Penelope to choose one of the suitors to marry, but she adamantly Act III refuses. Eumaeus, enjoying his simple life Iros laments the suitors’ death, which as a swineherd, is accosted by the glutto - leaves him without sustenance, and vows nous parasite Iros (Iro), who attempts to to kill himself. Eumaeus, Telemachus, and steal Eumaeus’ pigs but is chased away. As Eurykleia all try unsuccessfully to convince Eumaeus muses on the fate of his lost mas - Penelope that the beggar was Ulysses in ter Ulysses, an old beggar approaches and disguise. When he appears in his own assures him that Ulysses is near, urging him clothes and conveys one of their marital to tell Penelope. Eumaeus fails to recognize secrets, Penelope finally believes him and his master, but offers him shelter. the opera ends with a beautiful love duet. Act II Telemachus returns from Sparta on —Copyright © 2017 by Lincoln Center for the Minerva’s chariot. Eumaeus, overjoyed to Performing Arts, Inc. WhiteLightFestival.org Notes on the Program of celebrating a special political occasion and bringing glory to a particular ruling By Ellen Rosand dynasty, like L’Orfe o, opera in Venice was a commercial venture. It functioned within Il ritorno d’Ulisse in patria , SV 325 (1640) the social context of Carnival, the notorious CLAUDIO MONTEVERDI Born May 15, 1567, in Cremona, Italy season that since the 16th century had fea - Died November 29, 1643, in Venice tured a variety of theatrical entertainments, from spoken comedies and musical It was not until 1640, when he was nearly pageants to jousts and bullfights. Opera 70, that Monteverdi produced Il ritorno had no trouble inserting itself in this envi - d’Ulisse in patria (“The Return of Ulysses ronment, but commercial considerations to His Homeland”), his first opera for affected its very nature. In order to sell tick - Venice. Though he was probably the best- ets, it had to appeal to a heterogeneous known composer of opera in all of Italy, audience, and could not depend on the having made his mark more than 30 years unlimited coffers of a ruling family; it suf - earlier with L’Orfeo and L’Arianna —written fered budgetary limitations imposed by for his patrons, the Gonzagas, at the individual theater owners. Venetian operas Mantuan court—Monteverdi had not come were relatively compact: Orchestras were to Venice as an opera composer; he had small—comprising just strings and con - been invited there in 1613 for his skill in tinuo—choruses were virtually non-exis - sacred music to fill the state’s highest tent, and plots contained elements with musical position—that of maestro di cap - popular appeal, such as comic characters pella at San Marco. And though he wrote a and rapid-fire dialogue. great deal of dramatic music for private patrons while in Venice, as well as a whole Was Monteverdi, the city’s leading church series of madrigals for publication by musician who had recently taken holy Venetian printers, he seems to have been orders, reluctant to express overt interest in no hurry to respond to the new Venetian in the commercial theater? Or might his craze for opera. advanced age have discouraged him from undertaking such a large-scale project? Given his inclinations, this was somewhat Whatever the reasons, Monteverdi evi - surprising, for by 1640 Venice was well on dently required special enticement. This its way to becoming the operatic capital of was provided by his friend Giacomo Europe. Just three years earlier, during Badoaro, the author of Il ritorno d’Ulisse, Carnival of 1637, a traveling company from who claimed, in a letter addressed “to the Rome had brought the first operatic spec - most illustrious and revered Signor Claudio tacle to the lagoon, where it played to a Monteverdi, Great Master of Music,” that paying audience at the Teatro San he had written his libretto for the express Cassiano. The same troupe returned the purpose of luring the composer out of oper - following year with another opera, and atic retirement—as he put it, “to stimulate when they returned yet again in 1639, a the imagination of Your Lordship to make second company—this one homegrown— known to this city that in warming the had begun to produce operas in a second affections there is a great difference opera house. And still Monteverdi between a real sun and a painted one.” He remained operatically aloof. was referring perhaps to the composer’s lesser-known predecessors on the Venetian To be sure, Venetian opera differed radi - stage and certainly to Monteverdi’s well- cally from the kind of opera that known ability to move audiences with his Monteverdi had written in the past. Instead expressive portrayal of human emotion. Badoaro produced a libretto eminently long career as a musical dramatist. He worthy of his friend. Il ritorno d’Ulisse found his inspiration for achieving that goal traces the memorable second half of in the text. By inventing the means to Homer’s Odysse y, the final leg of the translate or transform verbal meaning into hero’s tortuous return to his homeland and musical imagery, Monteverdi was able to to his long-suffering wife, Penelope. recreate feelings that words could only Drawing its characters essentially from suggest. Although his aims are evident in Homer, it features a varied cast, divine and his madrigals and sacred music as well, it human, representing a variety of social is in his late operas that they find their classes, from the noblest royalty to the fullest realization. lowest beggar. And Monteverdi responds with his characteristic ability to penetrate In these works, designed for the public human psychology. His musical drama pre - theater, Monteverdi produced the first sents a full range of human emotions and great masterpieces of the operatic genre. experience—from hedonistic sensual pas - With the classical inevitability of its narra - sion to chaste marital love, from ironic tive drive and its deeply gratifying cathar- manipulation and violent confrontations to tic effect, Il ritorno d’Ulisse in patria fully the most tender of reconciliations. Deep realizes the ambitious goal of the inventors feelings of self-doubt and self-deception, of opera. More than any earlier opera—and anger, indecision, and ambivalence are most later ones as well—it resurrects the resolved in the reuniting of friend with dramatic power of ancient tragedy. Along friend, father with son, husband with wife. with its better-known successor, L’incoronazione di Poppea , it deserves a perma - Badoaro’s ploy evidently worked— Il ritorno nent place in the operatic repertory. d’Ulisse was a great success. Performed at the newest and grandest theater in the city, SS Giovanni e Paolo, during Carnival, it Ellen Rosand, professor of music emeritus ran for ten performances and, later the at Yale University, founded the Yale same year, was taken on the road to Baroque Opera Project, which has pre - Bologna. It was even revived in Venice the sented a 17th-century Venetian opera following year. Its success must have every spring for the past decade. She is helped to overcome Monteverdi’s operatic the author of Opera in Seventeenth- reticence, for he produced two more Century Venice (1991) and Monteverdi’s operas in the years before his death in Last Operas (2007), and is the general edi - 1643: Le nozze di Enea e Lavinia (1641) tor of Cavalli Opere, a critical edition of the and his final masterpiece, L’incoronazione operas of Francesco Cavalli being pub - di Poppea (1643). lished by Baerenreiter Verlag.

WhiteLightFestival.org Illumination

The Return of Ulysses (from Homer’s The Odyssey , Book XIII)

The loud-mouthed dogs that saw Ulysses come Ran toward him, fiercely baying. He sat down At once, through caution, letting fall his staff Upon the ground, and would have suffered there Unseemly harm, within his own domain, But then the swineherd, following with quick steps, Rushed through the vestibule, and dropped the hide. He chid the dogs and, pelting them with stones, Drave them asunder, and addressed the king:— “O aged man, the mastiffs of the lodge Had almost torn thee, and thou wouldst have cast Bitter reproach upon me. Other griefs And miseries the gods have made my lot. Here sorrowfully sitting I lament A godlike master, and for others tend His fatling swine; while, haply hungering For bread, he wanders among alien men In other kingdoms, if indeed he lives And looks upon the sun. But follow me, And come into the house, that there, refreshed With food and wine, old man, thou mayst declare Whence thou dost come and what thou hast endured.”

—Translated by W. C. Bryant

For poetry comments and suggestions, please write to [email protected]. Meet the Artists Bach’s complete church cantatas on the label Soli Deo Gloria. In recognition of his work, Mr. Gardiner has received several international prizes and honorary doctor - ates from the University of Cambridge, E K R

A University of Lyon, New England Con - L C -

Y servatory of Music, University of Pavia, T T E

N and the University of St. Andrews. He is an A

C John Eliot honorary member of the Royal Academy of M I

S Gardiner Music, and an honorary fellow of King’s Founder and artistic director of the College, London, of the British Academy, Monteverdi Choir, the English Baroque and of King’s College, Cambridge. In 2008 Soloists, and the Orchestre Révolutionnaire Mr. Gardiner received the prestigious Royal et Romantique, John Eliot Gardiner is one of Academy of Music Bach Prize. He was the most versatile conductors of our time. made Chevalier de la Légion d’honneur in He appears regularly with leading sym - 2011 and was given the Order of Merit of phony orchestras such as the London Sym - the Federal Republic of Germany in 2005. In phony Orchestra, Gewandhaus Orchestra the U.K., he was made a Commander of the of Leipzig, Royal Concertgebouw, Bayer - British Empire in 1990 and awarded a ischer Rundfunk, and at the Royal Opera knighthood for his services to music in the House, Covent Garden. Formerly artistic 1998 Queen’s Birthday Honours List. director of the Opéra de Lyon (1983–88) and founding music director of its orches - In 2013, following the publication of his tra, his opera projects included Gluck’s long-awaited book on Bach, Music in the Orphée and Alceste , Verdi’s Falstaff , and Castle of Heaven (Allen Lane), he won the Berlioz’s Les Troyens at the Théâtre du Critics’ Circle’s Outstanding Musician Châtelet in Paris. At Opéra Comique he award. In 2014 Mr. Gardiner became the conducted new productions that included first ever President of the Bach Archive in Carmen , Pelléas et Mélisande, and Leipzig. He became the inaugural Chris- Weber/Berlioz’s Le Freischütz . toph Wolff Distinguished Visiting Scholar at Harvard University in 2014–15 and was Acknowledged as a key figure in the early recently awarded the Amsterdam Con cert - music revival of the past five decades, Mr. gebouw Prize. Gardiner has led his own ensembles in a number of large-scale tours, including a year-long Bach Cantata Pilgrimage in 2000 to celebrate the 250th year of the com - poser’s death. This past year he has led a seven-month tour celebrating the 450th anniversary of Claudio Monteverdi’s birth, Furio Zanasi culminating in these performances of the composer’s three surviving operas at Alice Baritone Furio Zanasi (Ulisse) began his Tully Hall. musical activity devoting himself to early music, with a repertoire spanning madri - The extent of Mr. Gardiner’s repertoire is gals and oratorios to cantatas and Baroque illustrated by over 250 recordings for major opera. He has appeared at major opera record companies and by numerous interna - houses and at prestigious festivals in Italy tional awards including Gramophone’s Special as well as all over Europe, the U.S., and Achievement Award for live recordings of Japan, singing under renowned conduc - WhiteLightFestival.org tors. His operatic roles have included Orfeo Symphony Orchestra under Charles Dutoit; in Monteverdi’s opera, recorded by Naive, Chausson’s Poème de l’amour et de la mer in which he appeared on tour as well as in with the Bremen Philharmoniker; Il viaggio a new production at Den Norske Opera & a Reims at Bolshoi Theatre; La donna del Ballett in Oslo. Mr. Zanasi has also per - lago in Liège under Michele Mariotti; formed Ulisse in Il ritorno d’Ulisse in patria Falstaff in Madrid; as well as recitals in at La Scala in Milan, where he took part in Rouen. Last season, Ms. Pizzolato made the Monteverdi trilogy directed by Robert her Metropolitan Opera debut with her per - Wilson, under the baton of Rinaldo formance of Hedwige in Guillaume Tell. Alessandrini. Additionally, Mr. Zanasi has This season, she joins John Eliot Gardiner recorded more than 60 CDs for various in the worldwide tour of Il ritorno di Ulisse record labels as well as for many of the in patria and L’incoron azione di Poppea in main European radio stations. honor of the 450th anniversary of Monteverdi’s birth. Ms. Pizzolato has recorded for EMI, Virgin Classics, Dynamic, Naïve/Opus 111, Naxos, and Opera Rara.

Marianna Pizzolato Mezzo-soprano Marianna Pizzolato (Penelope) made her debut at the Rossini Krystian Adam Opera Festival with Il viaggio a Reims , becoming an acclaimed interpreter of the Polish tenor Krystian Adam (Telemaco) main Rossini roles as well as for Baroque studied at the Karol Lipi ński Academy of and 18th-century repertoire. Ms. Pizzolato Music in Wrocław and at the Conservatorio regularly sings at prestigious venues and di Musica Giuseppe Verdi in Milan. In 2007 festivals worldwide, including Royal Opera he made his debut at La Scala in the world House, Covent Garden, Opéra National de premiere of Fabio Vacchi’s Teneke . Other Paris, Tokyo Nikikai Opera Theatre, credits include Mozart’s Le nozze di Figaro Belcanto Opera Festival, Teatro de la and Cilea’s Adriana Lecouvreur at Royal Maestranza, Gran Teatre del Liceu, Opéra Opera House, Covent Garden, and Royal de Wallonie, Teatro di San Carlo, and Mozart’s Idomeneo at Teatro La Fenice in Teatro Massimo, working with conductors Venice. In addition, Riccardo Chailly such as Bruno Campanella, Daniele Gatti, engaged him for performances of Puccini’s Riccardo Muti, Antonio Pappano, and La fanciulla del West at Teatro Alla Scala, Alberto Zedda. and Claudio Abbado invited him to appear in concerts with the Orchestra Mozart. Her 2016–17 season engagements included Beethoven’s Ninth Symphony at Mr. Adam is also intensively devoted to the the Menuhin Festival Gstaad and in music of the 17th and 18th centuries, and Wrocław (concert and recording) with has worked in historically-informed practice Kammerorchester Basel under Giovanni with such conductors as Giovanni Antonini, Antonini; Tancredi in Bremen (concert ver - Rinaldo Alessandrini, Ottavio Dantone, sion) with Accademia Bizantina and Ottavio Fabio Biondi, Jean-Christophe Spinosi, Dantone; Rossini’s Stabat Mater in Václav Luks, and Teodor Currentzis. He has Edinburgh with Accademia Nazionale di also collaborated with John Eliot Gardiner Santa Cecilia under Antonio Pappano, and in touring performances of Monteverdi’s at the Tanglewood Festival with the Boston Vespers and L’Orfeo . accompanies herself on Gothic and Romanesque harp and is also a member of Tiburtina Ensemble, a vocal ensemble that specializes in Gregorian chant and early medieval polyphony. Hana Blažíková Soprano Hana Blažíková ( Minerva/Fortuna ) specializes in the interpretation of Baroque, Renaissance, and medieval music, perform - ing with ensembles and orchestras around the world, including Collegium Vocale Gent, Gianluca Buratto Bach Collegium Japan, Sette Voci, Amsterdam Baroque Orchestra & Choir, With a noble and rounded voice, Gianluca L’Arpeggiata, Gli Angeli Genève, Neder - Buratto ( Tempo/Nettuno/Antinoo ) is rapidly landse Bachvereniging, Tafelmusik, Colle - establishing himself as one of the most ver - gium 1704, Collegium Marianum, Musica satile basses of his generation. His recent Florea, and L’Armonia Sonora, among oth - engagements include performances in ers. She has performed at many world festi - Monteverdi’s L’Orfeo and Vespers on tour in vals, including Edinburgh International the U.S., as well as at Wigmore Hall and in Festival, Festival Oude Muziek Utrecht, Tage Versailles under the baton of John Eliot Alter Musik Regensburg, Resonanzen, Gardiner; Guglielmo Ratcliff at the Wexford Festival de Sablé, Hong Kong Arts Festival, Festival Opera; Sarastro in Die Zauberflöte in Chopin i jego Europa, Bachfest Leipzig, and Liège; and a solo recital at Wigmore Hall. Festival de Saintes. Future engagements include I due Foscari in Amsterdam, Faccio’s Amleto and Tur andot In 2010 and 2013, Ms. Blažíková took part in at the Bregenzer Festspiele, Semiramide in a highly acclaimed world tour of Bach’s St. London for Opera Rara, Berlioz’s Roméo et Matthew Passion under the direction of Juliette in Beirut, Le nozze di Figaro in Philippe Herreweghe, and in 2011 made her Zurich, and Don Giovanni in Bilbao. Carnegie Hall debut performing with Masaaki Suzuki’s Bach Collegium Japan. Mr. Buratto’s other recent highlights include Other performance highlights include Bach’s Bach’s B-minor Mass with Jordi Savall in St. John Passion with the Boston Sym - Madrid and Barcelona; both Mozart’s and phony Orchestra (2011) and the stage pro - Jommelli’s Betulia liberata with Riccardo duction Orfeo Chamán with L’Arpeggiata Muti in Salzburg and Ravenna, and in in Bogota (2014). Ms. Blažíková also appears Wrocław under Corrado Rovaris; Bach’s St. on more than 30 CDs, including a well- John Passion with Eduardo López Banzo in known series of Bach cantatas with Bach Spain and Germany; Macbeth at the Collegium Japan. Salzburg Festival, Rome, and Chicago with Riccardo Muti, and at La Scala; Le nozze di Born in Prague, Ms. Blažíková sang in the Figaro in Barcelona with Christophe children’s choir Radost Praha and played Rousset; and La bohème with Riccardo the violin before turning to solo singing. In Chailly. He has also performed in Monte - 2002 she graduated from the Prague verdi’s L’Orfeo with Christophe Rousset Conservatory under the tutelage of Ji ří and Les Talens Lyriques in Nancy and Paris; Kotou č, and later undertook further study La bohème in Rome, Palermo, and with Poppy Holden, Peter Kooij, Monika Amsterdam; I Puritani in Florence; Rigoletto Mauch, and Howard Crook. Ms. Blažíková at the Macerata Opera Festival; and Verdi’s additionally presents concerts in which she Requiem in Manchester under Mark Elder. WhiteLightFestival.org Michał Czerniawski Gareth Treseder Polish countertenor Michał Czerniawski Welsh tenor Gareth Treseder ( Anfinomo ) (Pisandro ) studied singing at the Stanislaw became an apprentice for John Eliot Moniuszko Music Academy in Gdansk and Gardiner’s Monteverdi Choir upon graduat - the Guildhall School of Music and Drama in ing from the University of Bristol and the London. He has worked extensively with Royal Welsh College of Music & Drama. such performers and conductors as Solo engagements during his apprentice - Masaaki Suzuki, Mark Padmore (Aldeburgh ship included Bach’s Cantatas BWV 61 and Music), and William Christie (Le Jardin des BWV 70 at the Cité de la musique in Paris, Voix, on world tour, and for Les Arts Berlin’s Philhar monie, and at London’s Florissants’ 30th anniversary concert at Cadogan Hall. Mr. Treseder has since per - Opéra Comique). formed as a concert soloist in the Soli Deo Gloria (SDG) recordings Live at Milton Mr. Czerniawski’s concert repertoire Court: Handel Bach Scarlatti and J.S. Bach: includes Handel’s Messiah and Solomon Motets . He also performed the role of the with Solomon’s Knot; Pergolesi’s Stabat Shepherd in Stravinsky’s Oedipus Rex mater with Krákow Chamber Opera; Salve alongside the London Symphony Regina at the London Handel Festival; and Orchestra at the Bar bican and for the Scarlatti’s Il primo omicidio at the orchestra’s CD release. International Wratislavia Cantans Festival. His opera engagements have included Recent solo performances include Handel’s Corrindo in Cesti’s L’Orontea at Dixit Dominus for the Prince of Wales at Innsbrucker Festwochen der alten Musik Buckingham Palace; Monteverdi’s Vespers and Wigmore Hall with David Bates and La at Carnegie Hall, King’s College, Nuova Musica; Purcell’s The Fairy Queen at Cambridge, and the Château de Versailles; Teatr Wielki w Poznaniu and Opera na Mozart’s Requiem at Royal Albert Hall; Zamku w Szczecin; Handel’s Acis and Handel’s Messiah at Colston Hall (Bristol); Galatea and Gassmann’s L’Opera Seria Men delssohn’s Elijah at St. John’s Smith with the New European Opera; Peri’s Square (London); Schumann’s Paradies und Euridice with the British Youth Opera; die Peri as the Jüngling at Gewandhaus Steffani’s Orlando Generoso at the Barber (Leipzig); Scarlatti’s Stabat Mater at Institute of Fine Arts at the University of Cologne’s Philharmonie and Vienna’s Birmingham; and The Fairy Queen , Konzerthaus; Elgar’s The Dream of Monteverdi’s L’incoronazione di Poppea , Gerontius at Trinity College, Cambridge; Cavalli’s Giasone , and Handel’s Agrippina Bach’s Cantata BWV 198 , “ Trauer Ode,” at with the English Touring Opera. Future Duomo di Pisa; and Orff’s Carmina Burana engagements include performances at at the Gloucester Cathedral. Göttingen International Handel Festival and at Bachfest Leipzig. Mr. Treseder also composes sacred choral works, which have been performed and recorded across the U.K., North America, and Australia. A Song Was Heard at Christ - mas and Blessed be that Maid Marie were recently recorded by the BBC Singers, and Cathedral under John Rutter; performances several works have since been published and a recording of Bach’s Magnificat with by Boosey & Hawkes. Arion Baroque Orchestra in Montreal; Trasimede and L’Interesse in Cavalli’s L’Oristeo in Marseille; Euryale in Lully’s Persée in Paris and Versailles (also recorded); Beethoven’s Ninth Symphony with the Mercury Orchestra in Houston; and Zadok in Handel’s Solomon in Hanover. Zachary Wilder A former member of William Christie’s Le Jardin des Voix, tenor Zachary Wilder (Eurimaco) has performed throughout Europe and the U.S. with groups such as Les Arts Florissants, Collegium Vocale Anna Dennis Gent, Orchestre de Chambre de Paris, San Antonio Symphony, Cappella Mediter - Soprano Anna Dennis (Melanto) studied at ranea, American Bach Soloists, and Early the Royal Academy of Music with Noelle Opera Company, with appearances at the Barker. Her concert performances have Boston Early Music Festival and Festival included Britten’s War Requiem at the d’Aix-en-Provence. Berlin Philharmonie, Thomas Adès’s Life Story accompanied by the composer at A keen performer of Baroque repertoire, Lincoln Center’s White Light Festival, a pro - Mr. Wilder has performed Un sylphe in gram of Russian operatic arias with Rameau’s Zaïs in France and Amsterdam Philharmonia Baroque Orchestra & Chorale with Les Talens Lyriques (CD released on (San Francisco), Orff’s Carmina Burana Aparté); Tirsi in Gagliano’s La Dafne in with the Orquestra Gulbenkian (Lisbon), Bruges with Leonardo García Alarcón and Bach’s Christmas Oratorio with the Cappella Mediterranea; and St. John Australian Chamber Orchestra at the Passion (Brussels, Barcelona, Seville) with Sydney Opera House, and Haydn’s Die Philippe Herreweghe . Other performance Schöpfung with Orchestra Ensemble highlights have included Damon in Acis and Kanazawa (Japan). Ms. Dennis’s BBC Galatea with the American Bach Soloists; Proms appearances include performances Septimius in Handel’s Theodora with Early with the City of Birmingham Symphony Music Vancouver; Haydn’s Die sieben let - Orchestra, BBC Symphony Orchestra, zten Worte unseres Erlösers am Kreuze Britten Sinfonia, and the Orchestra of the with Orchestre de Chambre de Paris under Age of Enlightenment. Leonardo García Alarcón; Bach’s Mass in B minor with the Grand Rapids Symphony; In 2016 Ms. Dennis performed Rosmene in and Lucano in L’incoronazione di Poppea Handel’s Imeneo at the Internationale and Telemaco in Il ritorno d’Ulisse in patria, Händel-Festspiele Göttingen; Despina at the both for the Boston Early Music Festival. Lichfield Festival; Iphigénie en Tauride at the Internationale Gluck Opern Festspiele in In 2016 Mr. Wilder debuted with the San Nuremberg; and Pergolesi’s Stabat mater Francisco Symphony performing Handel’s with the Orquestra Gulbenkian in Lisbon. Messiah . Other recent engagements Other recent operatic roles include Paride in include Everardo in Zingarelli’s Giulietta e Gluck’s Paride ed Elena (Nuremberg Opera Romeo with Theater und Orchester House); Katherine Dee in Damon Albarn’s Dr Heidelberg; Mozart’s Requiem at St. Paul’s Dee (English National Opera); Emira in WhiteLightFestival.org Handel’s Siroe with Laurence Cummings Mr. Taylor is a graduate of the Eastman (Internationale Händel-Festspiele Göttingen); School of Music and holds two advanced Bersi in Andrea Chénier (Opera North); and degrees from Yale University. He is a recip - Ilia in Mozart’s Idomeneo, directed by ient of the Yale School of Music Alumni Graham Vick (Birmingham Opera Com - Association Prize (2013), the Harriet Hale pany). A keen interpreter of contemporary Woolley Scholarship (2013), the Carmel music, Ms. Dennis has created roles in pre - Bach Festival’s Virginia Best Adams Vocal mieres of Francisco Coll’s Café Kafka (Royal Master Class Fellowship (2014), and the Opera House, Opera North), Jonathan Helpmann Award for Best Chamber Dove’s The Walk From The Garden Ensemble Concert (Australia, 2015). He is (Salisbury Festival), Edward Rushton’s The the co-founder and associate artistic direc - Shops (Bregenz Festspiele), Will Tuckett’s tor of the Lakes Area Music Festival in Pleasure’s Progress (Royal Opera House), Minnesota, as well as a founding core and Yannis Kyriakides’s An Ocean of Rain member of Cantata Profana, which was (Aldeburgh Festival). recognized with Chamber Music America’s 2015 award for Adventurous Programming. Ms. Dennis’s recordings include Rameau’s Anacréon of 1754 with the Orchestra of I

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Elena Langer’s chamber works, Landscape N A I

G Boncompagni with Three People , on Harmonia Mundi. Soprano Francesca Boncompagni ( Giunone ) works with prestigious Baroque ensembles such as Les Arts Florissants, Collegium Vocale Gent, Modo Antiquo, La Venexiana, Accademia Bizantina, De Labyrintho, and Cappella della Pietà dei Turchini, and has John Taylor been a permanent member of the ensem - Ward ble RossoPorpora since 2013. She has Baritone John Taylor Ward ( Giove ) is highly worked with such conductors as Claudio acclaimed for his dynamic expressiveness Cavina, Federico Maria Sardelli, Walter and tone, alongside an impressive sense of Testolin, Antonio Florio, Ottavio Dantone, clarity and precision. This season, he has Paul Agnew, William Christie, Philippe appeared as a principal artist on five conti - Herreweghe, and Frans Br űggen, and has nents, joining ensembles such as Les Arts sung in distinguished concert halls that Florissants (as a laureate of Le Jardin des include Palazzetto Bru Zane (Venice), Voix), Collegium Vocale Ghent, the Boston Tonhalle Zurich, Cité de la Musique, Camerata, and the Grammy Award–win - Théâtre des Champs-Élysées, Alte Oper ning ensemble Roomful of Teeth. Other (Frankfurt), Tokyo Bunka Kaikan and Tokyo recent credits include several roles in the Opera City Concert Hall, and Berlin’s Boston Early Music Festival’s cycle of Philharmonie. Recent highlights include a Monteverdi operas, the premiere staging of production of Monteverdi’s Orfeo and Il Orfeo Chamán with L’Arpeggiata, and per - Vespro della Beata Vergine conducted by formances of Vivier’s Kopernikus and Kaija John Eliot Gardiner, with performances in Saariaho’s La Passion de Simone under the the U.S., London, and Versailles, as well as direction of Peter Sellars. the current tour celebrating the 450th anniversary of Monteverdi’s birth. Ms. Boncompagni has recorded for John Passion and Beadle in Sweeney Todd Pentatone, Phi, Virgin Classics, Brilliant (Nederlandse Reisopera); Red Queen in Classics, France Musique, Stradivarius, and Alice in Wonderland ‚ Dr. Blind in Die Deutsche Harmonia Mundi. Born in Arezzo, Fledermaus , Goro in Madama Butterfly, Italy, she studied violin, graduating with dis - and Biaso in I Gioielli della Madonna (Opera tinction in 2005 from the Istituto Superiore Holland Park). di Studi Musicali “Rinaldo Franci” in Siena, and the same year, began her formal vocal Further engagements include Pirelli training with Donatella Debolini. In 2007 Ms. (Chichester Festival Theatre); Evangelist in Boncompagni attended William Christie’s Le a staged St. John Passion (Nederlandse Jardin des Voix academy for young singers, Reisopera); Kittywake and Landlord in Ludd and took part in the documentary Baroque and Isis (Royal Opera House); Arnalta in Académie, produced and broadcast by Madrid; Mopsa and Flute in The Fairy France 3. In 2008 she won first prize in the Queen with William Christie and Les Arts Baroque singing competition F. Provenzale Florissants (Paris‚ Caen, and New York); in Naples. Ms. Boncompagni now attends King Bobeche in Bluebeard (Grange Park the Advanced Vocal Ensemble Studies pro - Opera); Snout in A Midsummer Night’s gram with Evelyn Tubb and Anthony Rooley Dream (English National Opera); L’Incredi- at the Schola Cantorum Basiliensis in Basel. bile in Andrea Chénier ‚ Fiorello in Il barbiere di Siviglia , and Hadji in Lakmé (Opera Holland Park); as well as the world pre - mieres of Family Matters for Tête à Tête and Stephen Barlow’s King ‚ as Henry II‚ in Canterbury Cathedral.

Robert Burt Tenor Robert Burt (Iro) studied at the Guildhall School of Music and Drama. Since Francisco then, his career has taken him to opera Fernández- houses and concert halls around the world. Rueda Mr. Burt is most associated with the role of Iro in Monteverdi’s Il ritorno d’Ulisse in Tenor Francisco Fernández-Rueda ( Eumete ) patria , which he has sung for Opera North has worked with such conductors as John and Deutsche Oper am Rhein‚ and at Eliot Gardiner, William Christie, Jordi Savall, Chicago Opera Theater‚ Grand Théâtre de Fabio Biondi, Enrico Onofri, Raphaël Pichon, Genève‚ Teatro Real (Madrid), Festival Konrad Junghänel, Alexis Kossenko, Wolf- d’Aix-en-Provence, and on DVD conducted gang Katschner, Alessandro Quarta, and by William Christie. He has also worked Ryan Brown, and with orchestras including with Christie on Cesti’s Il Tito (Strasbourg) Les Arts Florissants, Concerto Köln, Europa and Purcell’s Fairy Queen (Glyndebourne). Galante, Concertgebouw Kamerorkest, Les Ambassadeurs, Capella Reial de Catalunya, Recent and future plans include Dance Ensemble Pygmalion, and Philharmonische Master in Manon Lescaut (Royal Opera Orchester Heidelberg. He has appeared in House); Pirelli in Sweeney Todd (Adelphi such venues as Opéra Comique de Paris, Theatre‚ London); Mopsa and Flute in The Cité de la musique, Opéra Royal de Fairy Queen under Laurence Cummings Versailles, Opéra de Bordeaux, Theater (Glyndebourne); Arnalta in L’incoronazione Winterthur, Festspiel haus Baden-Baden, di Poppea (Montpellier); Evangelist in St. BAM, and the Kennedy Center.

WhiteLightFestival.org In the operatic field, Mr. Fernández-Rueda appeared at Teatro Comunale di Bologna has performed Don Ottavio in Mozart’s as Licida in Myslive ček’s L’Olimpiade. Don Giovanni , Bajazet in Handel’s Tam - erlano , Orfeo in Monteverdi’s L’Orfeo , Mr. Vistoli has won several prestigious Narete in Hasse’s Leucippo , Toante in awards in international competitions such Traetta’s Ifigenia in Tauride , Clotarco in as the fourth International Competition Haydn’s Armida , and Sir Hervey in “Città di Bologna” in 2012, and in the Donizetti’s Anna Bolena . He has taken part Baroque category of the fifth Renata in the legendary recreation of Lully’s Atys Tebaldi International Voice Competition in with William Christie and Les Arts 2013. The 2016–17 season saw his Florissants. In the oratorio field, Mr. appearance in concerts with Le Jardin des Fernández-Rueda has sung Mozart’s Voix, performances of Monteverdi’s Requiem and Krönungs messe ; Handel’s L’Orfeo with Les Arts Florissants, along Messiah; Bach’s St. Matthew Passion , with his debut at Festival d’Aix-en- Mass in B minor, and Weihnacht sora - Provence in Cavalli’s Erismena . Opera per - torium; Monteverdi’s Vespro della Beata formances include the title role of Handel’s Vergine; and C.P.E. Bach’s Magnificat. Tamerlano with Les Ambassadeurs and Alexis Kossenko; Purcell’s King Arthur in Born in Seville, Mr. Fernández-Rueda holds Rome and Bologna; Piritoo in Elena by a degree in French studies from the Cavalli, conducted by Garcia Alarcon in a University of Seville. He studied singing at Festival d’Aix-en-Provence production; and the Escola Superior de Música de Tolomeo in Handel’s Giulio Cesare Catalunya in Barcelona. In 2011 Mr. (Shanghai) with Opera Fuoco. Fernández-Rueda took part in the fifth edi - tion of Les Arts Florissants’ Jardin des Mr. Vistoli has been a member of Le Jardin Voix. He has recorded for such labels as des Voix conducted by William Christie, Fra Musica, Accent, Naxos, and Mercury with whom he toured France, Australia, Records, and for radio stations such as and Asia, and performed in Paris, Moscow, WDR, BR Klassik, Radio Nacional de New York, and at the Lucerne Festival. In España (RNE), and BBC Radio. 2015 he took part in the world premiere of L’Amore che move il sole by Adriano Guarnieri at the Ravenna Festival.

Carlo Vistoli After studying classical guitar and piano, Silvia Frigato countertenor Carlo Vistoli ( Umana Fragilità ) began his vocal training in 2005 with Winner of the 2007 Francesco Provenzale William Matteuzzi and Sonia Prina. He is a International Baroque Singing Competition graduate of the Conserva torio Frescobaldi in Naples, soprano Silvia Frigato (Amore) Ferrara (Renaissance and Baroque singing) continues to perform at numerous presti - and of Alma Mater Studiorum at the gious concert venues and festivals, collab - University of Bologna (cultural heritage). orating with such artists as Rinaldo He made his stage debut in 2012–13 as Alessandrini, Fabio Biondi, Gianluca Sorceress in Purcell’s Dido and Aeneas in Capuano, Claudio Cavina, Ottavio Dantone, Cesena and Ravenna, Italy, and later Antonio Florio, John Eliot Gardiner, Lorenzo Ghielmi, Philippe Herreweghe, “Città di Bologna,” and in 2012 was named Sigiswald Kuijken, Stefano Montanari, and winner of the Francesco Albanese compe - Federico Maria Sardelli. tition, finalist of the la Citta Sonora compe - tition in Milan, and best mezzo-soprano at Ms. Frigato recently starred in Monte - the Franca Mattiucci international competi - verdi’s Vespro della Beata Vergine with the tion in Asti, Italy. In 2013 Ms. Biliotti took Monteverdi Choir and Gardiner, second place at the 67th European L’incoronazione di Poppea at the Teatro alla Community competition for young opera Scala (Milan), and Jommelli’s L’isola disabi - singers in Spoleto, where she trained with tata at Teatro San Carlo (Naples), both Lella Cuberli and Renato Bruson; per - under Rinaldo Alessandrini. After her debut formed in several concerts; and sang the at Maggio Musicale Fiorentino with Gluck’s lead role in Mario Guido Scappucci’s con - Orfeo ed Euridice (2014), she returned as temporary opera Euridice . Yniold in Daniele Abbado’s new production of Pélleas et Mélisande under the baton of Born in Venice, Ms. Biliotti graduated from Daniele Gatti (2015). In addition, Ms. the Università Luigi Bocconi in Milan in Frigato was chosen by Gardiner for the first 2004. Recent performances include a and second editions of Accademia Monte - recital of cantatas by Vivaldi and Marcello verdiana (Sarteano, Italy), where she per - (Tuscia Operafestival); Maddalena in Verdi’s formed in the opening concert of the Rigoletto (Brescia, Italy); soloist in Vivaldi’s Incontri in Terra di Siena festival. Dixit Dominus with the Moscow Soloists Chamber Orchestra under the baton of Yuri Future plans include Vagaus in Juditha tri - Bashmet (International Music Festival in umphans at the Teatro Comunale (Ferrara, Yaroslavl, Russia); Isabella in Rossini’s Italy); Monteverdi’s Vespro della Beata L’italiana in Algeri and Angelina in La Vergine with Ensemble Matheus and Jean- Cenerentola (Teatro Nuovo Turino); and the Christophe Spinosi on tour in France; title role in Gluck’s Orfeo (Teatro Olimpico, Biber’s Missa Salisburgensis with Collegium Vicenza, Italy). She has also performed as a 1704 and Václav Luks in Salzburg; and soloist in Bach’s St. Matthew Passion, Martin’s Mirandolina (title role) and La son - Mozart’s Requiem , and Handel’s Messiah. nambula (Lisa) at Teatro La Fenice in Venice. Ms. Frigato has sung and recorded unpub - Elsa Rooke lished music by Manna and Feo with the Elsa Rooke (co-director) has worked as a Fondazione Pietà de’ Turchini in Naples for stage manager, assistant director, dra - Brilliant Classics. maturge, and director throughout Europe. Trained by drama coach Alain Garichot, she has taught acting to young singers, includ - ing William Christie’s Académie des Arts Florissants, and was appointed director of one of France’s major drama schools (Saint- Étienne). A long-term collaborator with Adrian Noble, she has revived many opera Francesca Biliotti productions for him over the past 15 years. Contralto Francesca Biliotti ( Ericlea ) has received numerous awards and recognition Ms. Rooke directed the European pre - for her singing, including first prize at the mieres of both Dominick Argento’s Camera Barocco section of the Opera Rinta Postcard from Morocco and Conrad Susa vocal competition (2009). She was also a and Anne Sexton’s Transformations for the finalist at the fifth International Competition Opéra de Lausanne. Other credits as stage

WhiteLightFestival.org director include productions for the Opéra critically hailed. The Monteverdi Choir has National de Bordeaux, Opéra National de over 150 recordings to its name and has Lyon, Théâtre des Champs Élysées, and won numerous prizes. Grand Théâtre de Genève ( The Turn of the Screw , A Midsummer Night’s Dream, The choir is also committed to training Cener entola, Idomeneo, Hansel und Gretel, future generations of singers through the Dialogues des Carmélites, Comédie sur le Monteverdi Apprentices Programme. Pont ). More recently, Ms. Rooke wrote the Many apprentices go on to become full libretto (in English, French, and German) for members of the choir, and former choir a new opera based on the life and works of members have also gone on to enjoy suc - Annemarie Schwarzenbach: Le ruisseau cessful solo careers. noir , composed by Guy-François Leuen- berger. The production, which she also Last season the choir took part in a variety directed, was commissioned by the Haute of projects across different repertoires, École de Musique de Genève and con - from an extensive tour of Bach’s St. ducted by Michael Wendeberg (Théâtre du Matthew Passion (performed from mem - Grütli, Geneva). She also worked in partner - ory) with the English Baroque Soloists, to ship with Gwenaël Morin on Peter Berlioz’s Roméo et Juliette at the BBC Handke’s Introspection (Théâtre de la Proms, to the Festival Berlioz with the Bastille, Paris), and on four plays by Rainer Orchestre Révolutionnaire et Romantique. Werner Fassbinder in which she also per - Under the direction of Gardiner, the choir formed (Théâtre du Point du Jour, Lyon). also collaborated with both the London Symphony Orchestra on Mendelssohn’s Born in Paris, Ms. Rooke completed her Ein Sommernachtsrtaum and the Zurich PhD in literature and music on 20th-cen - Tonhalle Orchestra on Janá ček’s Glagolitic tury opera at the Sorbonne. Invited to pub - Mass . The Monteverdi Choir has also par - lish papers and give talks on this subject, ticipated in several staged opera produc - she has also translated novels, essays, tions, including Le Freischütz (2010) and and opera librettos from English and Italian Carmen (2009) at the Opéra Comique in into French. Paris, and Les Troyens at the Théâtre du Châtelet. Most recently, the choir per - Monteverdi Choir formed Gluck’s Orphée et Eurydice at the Founded by John Eliot Gardiner as part of Royal Opera House, Covent Garden, work - the breakaway period instrument move - ing in collaboration with the Hofesh ment of the 1960s, the Monteverdi Choir Shechter Dance Company. has always focused on bringing a new per - spective to its repertoire. With a combina - English Baroque Soloists tion of consummate choral technique and The English Baroque Soloists have long historically-informed performance practice, been established as one of the world’s the choir has been consistently acclaimed leading period instrument orchestras. over the past 50 years as one of the best Throughout their repertoire, ranging from choirs in the world. Monteverdi to Mozart and Haydn, they are equally at home in chamber, symphonic, Among a number of trailblazing tours was and operatic performances, and the dis - the Bach Cantata Pilgrimage in 2000, dur - tinctive sound of their warm and incisive ing which the choir performed all 198 of playing is instantly recognizable. Bach’s sacred cantatas in more than 60 churches throughout Europe and America. The ensemble has performed at many of The entire project, recorded by the com - the world’s most prestigious venues, includ - pany’s record label Soli Deo Gloria, was ing La Scala in Milan, the Concertgebouw in Amsterdam, and the Sydney Opera Lincoln Center’s Great Performers House. During the 1990s, the English Initiated in 1965, Lincoln Center’s Great Baroque Soloists performed Mozart’s Performers series offers classical and con - seven mature operas and recorded all of temporary music performances from the his piano concer tos and mature sym - world’s outstanding symphony orchestras, phonies. The English Baroque Soloists are vocalists, chamber ensembles, and recital ists. regularly involved in joint projects with the One of the most significant music presen - Monteverdi Choir, with whom they tation series in the world, Great Per formers famously took part in the trailblazing Bach runs from October through June with offer - Cantata Pilgrimage in 2000, performing all of ings in Lincoln Center’s David Geffen Hall, Bach’s sacred cantatas throughout Europe. Alice Tully Hall, Walter Reade Theater, and They also toured Gluck’s Orphée et Eurydice other performance spaces around New in Hamburg and Versailles, following a York City. From symphonic masterworks, staged production at the Royal Opera lieder recitals, and Sunday morning coffee House, Covent Garden, in collaboration with concerts to films and groundbreaking pro - the Hofesh Shechter Dance Company. ductions specially commissioned by Lincoln Center, Great Performers offers a Highlights in 2016 included tours of Bach’s rich spectrum of programming throughout Magnificat in E-flat major, Lutheran Mass in the season. F major, and Cantata “Sü er Trost” with the Monteverdi Choir in venues around Lincoln Center for the Performing Europe, as well as Bach’s St. Matthew Arts, Inc. Passion and a mixed program of Mozart’s Lincoln Center for the Performing Arts Symphonies Nos. 39–41, Requiem, and (LCPA) serves three primary roles: presen - Great Mass in C minor. ter of artistic programming, national leader in arts and education and community rela - The most recent recording by the English tions, and manager of the Lincoln Center Baroque Soloists is of Bach’s St. Matthew campus. A presenter of more than 3,000 Passion , released by Soli Deo Gloria in free and ticketed events, performances, March 2017. tours, and educational activities annually, LCPA offers 15 programs, series, and festi - White Light Festival vals including American Songbook, Great I could compare my music to white light, Performers, Lincoln Center Festival, which contains all colors. Only a prism can Lincoln Center Out of Doors, Midsummer divide the colors and make them appear; Night Swing, the Mostly Mozart Festival, this prism could be the spirit of the listener. and the White Light Festival, as well as the —Arvo Pärt. Now in its eighth year, the Emmy Award–winning Live From Lincoln White Light Festival is Lincoln Center’s Center , which airs nationally on PBS. As annual exploration of music and art’s power manager of the Lincoln Center campus, to reveal the many dimensions of our inte - LCPA provides support and services for the rior lives. International in scope, the multidis - Lincoln Center complex and the 11 resi - ciplinary festival offers a broad spectrum of dent organizations. In addition, LCPA led a the world’s leading instrumentalists, vocal - $1.2 billion campus renovation, completed ists, ensembles, choreographers, dance in October 2012. companies, and directors, complemented by conversations with artists and scholars and post-performance White Light Lounges.

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O M I S S A M Monteverdi Choir

Tenor Bass Hugo Hymas Alex Ashworth Graham Neal Samuel Evans Lawrence Wallington I L L E N N A I G

O M I S S A M English Baroque Soloists

Violin Viola Bass Dulcian Kati Debretzeni, Leader Fanny Paccoud Valerie Botwright Györgyi Farkas Iona Davies Lisa Cochrane Henry Tong Małgorzata Ziemkiewicz Harpsichord Recorders Anne Schumann, Aliye Cornish Antonio Greco Rachel Beckett Second Principal Paolo Zanzu Catherine Latham Henrietta Wayne Cello Davina Clarke Marco Frezzato Chitarrone/Lute Cornetti David Miller Frithjof Smith Gamba/Lirone Alex McCartney Richard Thomas Kinga Gáborjáni Josías Rodríguez Gándara Harp Jørgen Skogmo Gwyneth Wentink Lincoln Center Programming Department Jane Moss, Ehrenkranz Artistic Director Hanako Yamaguchi, Director, Music Programming Jon Nakagawa, Director, Contemporary Programming Jill Sternheimer, Director, Public Programming Lisa Takemoto, Production Manager Charles Cermele, Producer, Contemporary Programming Mauricio Lomelin, Producer, Contemporary Programming Andrew C. Elsesser, Associate Director, Programming Luna Shyr, Senior Editor Regina Grande Rivera, Associate Producer Daniel Soto, Associate Producer, Public Programming Walker Beard, Production Coordinator Nana Asase, Assistant to the Artistic Director Olivia Fortunato, Programming Assistant Dorian Mueller, House Program Coordinator Janet Rucker, Company Manager

For the White Light Festival Supertitles created by Kenneth Chalmers, adapted by James Halliday Supertitles operated by Megan Young

For The Return of Ulysses Rick Fisher, Lighting Designer Isabella Gardiner, Patricia Hofstede, Costumes Matthew Muller, Production Manager Noel Mann, Stage Manager Paolo Zanzu, Antonio Greco, Music Assistants Matteo Dalle Fratte, Language Coach

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