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About Boston Baroque Martin Pearlman, Music Director ABOUT BOSTON BAROQUE MARTIN PEARLMAN, MUSIC DIRECTOR Boston Baroque is the first permanent Baroque orchestra established in North Martin Pearlman, American conductor, America and according to Fanfare Magazine, is widely regarded as “one of the world’s harpsichordist, composer and early music specialist, premier period-instrument bands.” The ensemble produces lively, emotionally is one of this country’s leading interpreters of charged, groundbreaking performances of Baroque and Classical works for today’s Baroque and Classical music. As founder and audiences performed on instruments and using performance techniques that reflect continuing music director of Boston Baroque, he has the eras in which the music was composed. been hailed for his “fresh, buoyant interpretations,” and his “vivid realizations teeming with life.” Founded in 1973 as “Banchetto Musicale” by Music Director Martin Pearlman, Boston Highlights of his work include the complete Baroque’s orchestra is composed of some of the finest period-instrument players in Monteverdi opera cycle, with his new performing the United States, and is frequently joined by the ensemble’s professional chorus and editions of The Coronation of Poppea and The Return by world-class instrumental and vocal soloists from around the globe. The ensemble of Ulysses; the American premiere of Rameau’s has performed at major music centers across the United States and performed Zoroastre; Gluck’s Iphigénie en Tauride, Alceste and recently in Poland for the 2015 Beethoven Festival with sold-out performances of Orfeo ed Euridice in May 2012; a survey of all nine Monteverdi’s Vespers of 1610 in Warsaw and Handel’s Messiah in Katowice. Beethoven symphonies on period instruments; seven major Handel operas and a Mozart opera series, Boston Baroque reaches an international audience with its twenty-four acclaimed including the North American period-instrument recordings. In 2012, the ensemble became the first American orchestra to record premiere of Don Giovanni. with the highly-regarded UK audiophile label, Linn Records, and their release of The Creation received great critical acclaim. In April 2014, the orchestra recorded Mr. Pearlman made his Kennedy Center debut with Monteverdi’s rarely performed opera, Il Ritorno d’Ulisse in patria, which was released The Washington National Opera in Handel’s Semele on Linn Records and received two nominations at the 2016 Grammy® Awards. and has guest conducted the National Arts Center Orchestra of Ottawa, Utah Opera, Opera Columbus, Boston Baroque’s Boston Lyric Opera, Minnesota Orchestra, San recordings have Antonio Symphony and the New World Symphony. received five He is the only conductor from the early music field to Grammy® Award have performed live on the internationally televised Nominations: their Grammy® Awards show. 1992 release of Handel’s Messiah, Recent compositions by Martin Pearlman include their 1998 release his 3-act Finnegans Wake: an Operoar!, as well as of Monteverdi’s The Creation According to Orpheus, for solo piano, Vespers of 1610, harp, percussion and string orchestra; and music their 2000 release for three plays of Samuel Beckett, commissioned of Bach’s Mass by and premiered at New York’s 92nd Street Y and in B Minor, and performed at Harvard University in 2007. Monteverdi’s Il Ritorno d’Ulisse in patria. 4 BOSTONBAROQUE.ORG 2017–2018 SEASON 5 PROGRAM DIETERICH BUXTEHUDE Dixit Dominus (1637–1707) Teresa Wakim, soprano GEORG PHILIPP TELEMANN St. Luke Passion (1744) (1681–1767) Thomas Cooley, Evangelist Andrew Garland, Jesus Teresa Wakim, soprano arias Stefan Reed, tenor arias Jason Wang, Peter and Centurion Ruby White, Maiden Jacob Cooper, First Soldier Will Prapestis, Second Soldier Beethoven Jonas Budris, Pilate ANNUAL David McSweeney, First Criminal Second Criminal SEMI-STAGED Patrick T. Waters, OPERA Fidelio Martin Pearlman, conductor WENDY BRYN WILLIAM Beethoven’s only opera HARMER BURDEN soprano tenor is a compelling story (Fidelio/Leonore) (Florestan) of political oppression, the fight for justice, and the triumph of love. An internationally renowned ANNA ANDREW NATHAN MARK BRIAN cast of Metropolitan CHRISTY STENSON STARK WALTERS KONTES FRIDAY, MARCH 2, 2018 AT 8:00 PM soprano tenor bass bass-baritone bass Opera soloists will join (Marzelline) (Jaquino) (Rocco) (Don Pizzaro) (Don Fernando) the orchestra in Boston’s NEW ENGLAND CONSERVATORY’S JORDAN HALL, BOSTON first period-instrument FRIDAY, APRIL 13, 2018, 7:30PM performance of this work. Pre-concert lecture by Dr. Laura Prichard, one hour before the concert SUNDAY, APRIL 15, 2018, 3:00PM NEC’S JORDAN HALL In consideration of the performers and those around you, please turn off all electronic devices during the concert, including tablets, cellular phones, pagers, watch alarms, and messaging devices of any kind. Please note that photographs, recordings, and videos are strictly prohibited during concerts. TICKETS FROM $25 VISIT BOSTONBAROQUE.ORG OR CALL 617.987.8600 Boston Baroque is funded in part by the Massachusetts Cultural Council. 8 BOSTONBAROQUE.ORG 2017–2018 SEASON 9 GUEST ARTISTS THOMAS COOLEY, TENOR (EVANGELIST) of Idomeneo in a concert version at the Carmel Bach Festival and performs Handel’s oratorio Joshua with the Philharmonia Baroque Orchestra and conductor Nicholas Thomas Cooley returns to Boston Baroque as the McGegan. Cooley is also a featured guest artist in summer 2016 on the Prairie Evangelist, after receiving critical acclaim in last fall's Home Companion Alaskan cruise. performance of Mozart’s Requiem. Cooley is a singer of great versatility, expressiveness, and virtuosity, in demand internationally for a wide range of repertoire ANDREW GARLAND, BARITONE (JESUS) in concert, opera, and chamber music. Thomas Cooley’s repertoire on the symphonic stage includes Andrew Garland returns to Boston Baroque after the 2015-16 performance of works such as Beethoven’s Missa Solemnis and Ninth Papageno in Mozart's The Magic Flute and 2014-15 performances of Jesus in Symphony, Berlioz’ Requiem, Nuits d’été, and L’enfance Bach's St. John Passion. Mr. Garland has been praised for his “coloratura [which] du Christ; Haydn’s Seasons; Britten’s War bordered on the phenomenal as he dashed through the music’s intricacies with Requiem and Serenade; Stravinsky’s Les Noces; PHOTO: PAUL FOSTER-WILLIAMS his warm baritone, offering plenty of elegance and glamour in his smooth acting.” Mendelssohn’s Lobgesang and Elijah; Mozart’s Requiem; His latest recording, Andrew Garland: American Portraits (2013) debuted at # 1 on Elgar’s Dream of Gerontius; Rihm’s Deus Passus; Mahler’s Lied von der Erde; and Amazon. Recent highlights include his Carnegie Hall solo recital debut, as well Penderecki’s Credo. Recent concert highlights include the world premiere as performances with Lyric Opera of San Antonio and recording of Christopher Theofanidis’ Creation/Creator with the Atlanta as Mercutio in Romeo et Juliette, Atlanta Opera as Symphony, Kodály’s Psalmus Hungaricus, Bruckner’s Te Deum, and his first foray Schaunard in La Bohème, Arizona Opera as Ping into Wagner with an excerpt from Parsifal with the St. Louis Symphony. in Turandot, and Boston Lyric Opera as Starveling in A Midsummer Nights Dream. He sang the title role Particularly renowned for his agility and skill in Baroque music, Mr. Cooley is in Don Giovanni with Opera New Jersey, Dancairo in demand as an interpreter of the works of Bach and Handel, especially in the in Carmen with Boston Lyric Opera, Figaro in Il role of the Evangelist in Bach’s Passions and in the great oratorios of Handel. He barbiere di Siviglia with Knoxville Opera, Hermann appears regularly with such historically informed groups as Philharmonia Baroque in Les contes d'Hoffmann with Boston Lyric Opera, Orchestra, Handel and Haydn Society, Music of the Baroque (where he was named and Dandini in La Cenerentola with Fort Worth Artist-in-Residence for the 2015-16 season), Bethlehem Bach Choir, Akadamie für Opera. Concert highlights include performances Alte Musik, Boston Baroque, the Carmel and Oregon Bach Festivals, Les Violons with the Atlanta Symphony, National Philharmonic, du Roy, and the Munich Bach Choir. Dayton Philharmonic, Tucson Symphony, Delaware Symphony, New York Festival of Song, and with the Mr. Cooley’s activity on the operatic stage has largely centered on the roles Washington Chorale at the Kennedy Center. of Mozart, Handel, and Britten. Other roles he has performed include Count Almaviva in Rossini’s Barbiere di Siviglia, the title role in Bernstein’s Candide, Of important note is his recording, On the Other Shore, a disc of folk song settings and Tristan in Frank Martin’s Le vin herbè. In concert this season, Mr. Cooley by Steven Mark Kohn on the Azica label. The disc has been praised for his "virile, can be heard on the stage of Carnegie Hall with the Indianapolis Symphonic luxuriantly warm and beautiful" baritone and for his "positive, confident attitude Choir for Britten’s Les Illuminations and Mohammed Fairouz’s Zabur, with with a vibrant personality, subtle and boisterous as needed, that makes each song Minnesota Orchestra and Houston Symphony (Messiah), Music of the Baroque into a mini-drama or comic scene" in American Record Guide. 2009 also saw the (Handel’s Alexander’s Feast and Telemann’s Day of Judgment oratorio), and release of his disc of songs by Lee Hoiby entitled A Pocket of Time on the Naxos Berner Kammerchor (Bach’s St John Passion). Mr. Cooley also rejoins the Label. Indianapolis Symphonic Choir for Mendelssohn’s Elijah. He reprises
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