VERDI MESSA DA REQUIEM

JAC VAN STEEN conductor

CAMBRIDGE UNIVERSITY PrincipalORCHESTRA Guest Conductor Sir Roger Norrington CBE CUMSCHOIRS Conductor LaureateOF GONVILLEStephen & Cleobury CAIUS, CBE JESUS, Artistic Advisor SELWYN ANDSian STEdwards CATHARINE’S COLLEGES CAMBRIDGE UNIVERSITY CambridgeCHAMBER University MusicalCHOIR Society West Road Concert Hall Cambridge Saturday 27 JanuaryCB3 9DP 2018, 8.00pm www.cums.org.uk King’s College Chapel www.cums.org.uk

Cambridge University Orchestra Choirs of Gonville & Caius, Jesus, Selwyn and St Catharine’s Colleges Cambridge University Chamber Choir

Saturday 27 January 2018, 8.00pm King’s College Chapel

Verdi Messa da Requiem

Jac van Steen conductor

Elizabeth Atherton soprano Claudia Huckle contralto David Butt Philip tenor Darren Jeffery bass

CUMS is grateful for the support of TTP Group – Principal Sponsor, Bloom Design, Christ’s College, Churchill College, Corpus Christi College, CUMS Fund, CUMS Supporters’ Circle, Emmanuel College, Gonville and Caius College, Jesus College, King’s College, Murray Edwards College, Newnham College, Peterhouse College, Robinson College, St Edmund’s College, St John’s College, Trinity College, Trinity Hall, University of Cambridge Faculty of Music, University of Cambridge Societies Syndicate, West Road Concert Hall, Wolfson College Programme notes 2 A Gazzetta di Venezia di Gazzetta Messa da Requiem da Messa Giuseppe Verdi (1813-1901) Stolz and Maria Waldmann. A Waldmann. Maria Stolz and the Requiem at the T the at Requiem the It is July 1875, and Verdi’s latest work is about to receive its Venetian première première Venetian its to receive about is work Verdi’s latest and 1875, July is It an opera, but the Requiem. T Requiem. the but opera, an T the at shifters. T shifters. scene- his and ofBertoja hands the in was enterprise whole ofthe success church had been shunned for a theatre, but the theatre was being turned turned being was theatre the but a theatre, for shunned been had church the as yet, high; were expectations earlier, little interest, were it not for the fact the production in question was not of not was question in production the fact the for itnot were interest, little s Laura Basini put it, ‘far from imitating faithfully the trappings of a church, of a church, trappings the faithfully imitating from ‘far it, put Basini s Laura – according to the conception of the scenographer, our our scenographer, of the to conception the – according Gazzetta musicale di Milano di musicale Gazzetta T eatro Malibran, with a cast of eminent soloists including as T as including soloists ofeminent withacast Malibran, eatro verdict is unanimous that the fates are smiling propitiously propitiously smiling are fates the that unanimous is verdict O were in white, as were the signore Stoltz and Waldmann. Waldmann. and Stoltz signore the were as white, in were to close and conductor, the and concertmaster the were in one a copy of the –have been ago years some died who Centre stage there was a large chandelier lit by gas, and and by lit gas, chandelier alarge was there stage Centre Santa Maria dei Frari; but demands of space impossible to impossible ofspace demands but Frari; dei Maria Santa garlands, the names of certain of Verdi’s main works. of Verdi’s main of certain names the garlands, wheel. her with runs ofFortune goddess form of this choir and in the lighting... [nonetheless] the lighting... the in and choir ofthis form Byzantine style, and in the centre a choir, which would would achoir, which centre the in and style, Byzantine the proscenium, high up in the centre, Verdi’s name could could Verdi’s name centre, the in up high proscenium, the T soloists. the were left, to the alittle these, [ along the battery of lights [...] was a carpet of flowers. O [...] offlowers. oflights acarpet was battery the along distinguished [Pietro] Bertoja, son and student of Professor of Professor student and son [Pietro] Bertoja, distinguished chariot of Italian art the equally beautiful and smiling smiling and beautiful equally the art of Italian chariot tovictorious the close that and enterprise, daring this on in the both modifications, certain necessitated overcome be read, circled by a garland, and around it, circled by more by more circled it, around and by agarland, circled read, be choristers female the black; in dressed were choristers male left the orchestra; in the centre, on the apron of the stage, stage, ofthe apron the on centre, the in orchestra; the left G he stage will be set as the inside of a temple in Italian- in of atemple inside the as set be will stage he his episode in the composer’s biography would be of comparatively ofcomparatively be would biography composer’s the in episode his n the audience’s right were placed the choruses, to their to their choruses, the placed were right audience’s n the iuseppe] Bertoja, pride of the Venetian school of painting, of painting, school Venetian ofthe pride Bertoja, iuseppe] Giuseppe Verdi a Venezia al Teatro Malibran nel luglio 1875 luglio nel Teatro al aVenezia Verdi Malibran Giuseppe (issue 184, undated): 184, (issue PR (Venice: T (Venice: eatro Malibran was replete with contradictions: the the with contradictions: replete was Malibran eatro OG R he church-like staging was described in the the in described was staging church-like he ipografia della G della ipografia fter the huge success of success huge the fter AMM (8 July 1875), cited in in cited 1875), (8 July E NOTE Gazzetta musicale Gazzetta azzetta ‘Venezia’, 1875), 46 1875), ‘Venezia’, azzetta he orchestra and and orchestra he S Aïda Il Requiem del M. M. del Requiem Il three years tells us, the the us, tells n eresa eresa

Verdi had originally conceived the idea of a commemorative Requiem Requiem of a commemorative idea the conceived originally Verdi had 1868). But the project was ill-fated, firing-up professional rivalries and rivalries professional firing-up ill-fated, was project the But 1868). widely regarded, especially by the Milanese, as the central figure of Italian Italian of figure central the as by Milanese, the especially regarded, widely composer’s great of the anniversary first the on performed be would great author, G author, great of Verdi away. stay aphotograph sent and Manzoni privacy poet’s great four years later of another great Italian, A Italian, great of another later years four Reynolds put it, ‘Manzoni’s death is very far from being an “occasion” for for “occasion” an being from far very is death ‘Manzoni’s it, put Reynolds ofG death the on Mass Lombard writer.’ Verdi still kept his distance, but he hung the photograph photograph the hung he but writer.’ distance, his VerdiLombard kept still when that fact, in so, much –so Manzoni idolised simply,Verdi had Put the words, ‘I esteem and admire you as much as one can esteem and admire admire and esteem can one as much as you admire and esteem ‘I words, the [of T Requiem]. composition the the of author celebrated the death the until Requiem ofacommemorative idea the Verdito shelved go. days nine with only performance the cancelled committee organising the A ofthe posts the up took works his Verdi and sidelines; the this great man.’ man.’ great this a letter to his friend, the Countess Clarina Maffei: ‘Would that I might kneel kneel might I that ‘Would Maffei: Clarina Countess the friend, to his a letter so country ofour honour atrue as and aman as both earth, this on anyone Barbara as project: previous the than intensity and ardour greater a far death. Following in the wake of wake the in Following death. unification of Italy in 1861, the work was defined as much by the glorification glorification the much by as defined was work the 1861, in Italy of unification into a temple; the choir loft took centre stage, but the choristers were at at were choristers the but stage, centre took loft choir the into atemple; of personal interest, but of art and of the fame and honour of one’s own of one’s honour and fame ofthe and ofart but interest, of personal ‘not –aquestion religion or music as nation Italian newly-created of the so-called the composing about set he colleagues, continually troubled. You are a saint, Don A Don You asaint, are troubled. continually with inscribed ofhimself apicture Manzoni sent and wall, bedroom his on culture. before him [...] him before my [ wife Ienvy How ‘ inscription, the with himself the to respect decided he spirit’ ‘lofty this to meet opportunity an had he himself a principal participant.’ was he ofwhich emotion, widespread and important ofan of genius man a than more little in resulting his apostles.’ land’, as Verdi put it in a letter to his publisher, Ricordi (dated N Ricordi 11 publisher, to his aletter itin Verdi as put land’, Wanting to break the news at once, I said [to Verdi] Isaid with once, at news the toWanting break went red, pale, he perspired, he took off his hat and turned turned and hat his off took he perspired, he pale, red, went great and unexpected that I didn’t know whether to open to open whether know Ididn’t that unexpected and great the carriage windows to give him more air, or close them them air, close more to or give him windows carriage the T Countess.” day with the other the house his at Iwas and you, to meet wants He to Manzoni. affected indifference: “If you go to Milan, I will present you present will I Milan, go to you “If indifference: affected in case he leapt out in a paroxysm of surprise and joy. and He ofsurprise aparoxysm in out leapt he case in T his Requiem, however, was to capture the composer’s mind with mind however, composer’s the to was capture Requiem, his iuseppina wrote in a letter to the Countess (dated 1867): May Countess to the wrote aletter in iuseppina O n returning to Sant’ to Sant’ n returning ioachino Rossini in 1868 when, along with fourteen fourteen with along when, 1868 in Rossini ioachino I promessi sposi T o G pot-pourri il Risorgimento iuseppe Verdi, glory of Italy, from a decrepit adecrepit ofItaly, from Verdi,glory iuseppe G iuseppina Strepponi] that she has seen seen has she that Strepponi] iuseppina he work is the artistic expression by a expression artistic the is work he A of individual movements, and so so and movements, ofindividual gata after her audience with the with the audience her after gata (‘ lessandro!’ In 1867, Verdi In wrote in lessandro!’ lessandro Manzoni (1785-1873), (1785-1873), Manzoni lessandro T he Betrothed’, 1827) who was was who 1827) Betrothed’, he he bombshell was so so was bombshell he (‘ T Messa per Rossini per Messa he Resurgence’) and the the and Resurgence’) he lmighty and and lmighty ovember ovember , which , which

Programme notes 3 4 Programme notes ‘the genuine folk quality of his art, wherein all the characters, imbued with imbued characters, the all wherein art, of his quality folk genuine ‘the A A A for his own.’ In a letter to the Countess (dated 24 May 1867), Verdi rationalises Verdi rationalises (dated 24 Countess to 1867), May the aletter In own.’ his for Manzoni, the path to a moral life was guided exclusively by truth; for Verdi, for by exclusively truth; guided was life to a path moral the Manzoni, rigour. For moral Manzoni’s admired deeply ‘Verdi writes: Macchione Daniela true folklore and an intuitive apprehension of reality. [...] ofreality. Verdi as himself apprehension intuitive an and folklore true of soil the from sprung as but theory, of some postulates faded to the Manzoni that renown’, and ofhis zenith ‘the reached himself Verdi had time indefinable extraordinary, the to describe ‘How visit. his after Countess the wrote to he Isay of Manzoni?’, can ‘What salon. Countess’s the in to Manzoni the subjects of Christmas, G of Christmas, subjects the offour publication the with to Catholicism creed.’ personal and artistic ofhis centre the at was truth too, In his his In a letter to the Countess (dated 3 September 1872): (dated 3September Countess to the a letter G wife, second composer’s the agnosticism’; Verdi Likewise, austerity.’ without azealot as bigotry, without Catholic as traditions. sacred most her and Church Catholic Roman ofthe institution the both rejecting agnosticism, ofmoralistic strain personalised to a somewhat spirit analytical his applied ofhis height the at this what all unreservedly acknowledged, he found in Manzoni’s works an ideal standard standard ideal an works Manzoni’s in found he acknowledged, unreservedly shared in the worldwide admiration of the composer’s genius. composer’s ofthe admiration worldwide the in shared T me?’ in produced him, call you as saint, ofthat presence the sensation episode seems all the more remarkable when we remember that by that this we remember when remarkable more the all seems episode epiphany as Manzoni’s self-identification as ‘a Christian without rhapsodising, rhapsodising, without Christian as ‘a self-identification Manzoni’s as epiphany romantic and classical nor painters; idealist realist, purist, nor past; of the has often been viewed as having wallowed in a self-satisfying ‘happy ‘happy aself-satisfying in wallowed having as viewed been often has lives. artistic their as much as existence everyday artists’ both permeated musicians.’ true painters, true poets, true but poets; T as true as book, ofManzoni’s admiration his according constructed puppets mere as not themselves present life, real t first, both Verdi and Manzoni had held sceptical attitudes toward religion; toward religion; attitudes sceptical held had Manzoni both and Verdi t first, nd so Verdi’s wish was finally realised in May 1868, when he was introduced introduced he was when 1868, May in realised finally was Verdi’s so wish nd s A lbert Maecklenburg put it, what Verdi especially admired in Manzoni was was Manzoni in admired Verdi what especially it, put Maecklenburg lbert Romantiker in Italien Verdi is busy with his grotto and with his garden. He is He garden. with his and grotto with his Verdi busy is were completely silent for ten minutes. ten for silent completely were G the proud and fierce ‘bear of Busseto’ had tears in his eyes, his eyes, in tears had Busseto’ of ‘bear fierce and proud the A rag. to alimp and both of us were so moved and overwhelmed that we that overwhelmed and moved so were ofus both and it round and round in his hands until it was nearly reduced reduced nearly it was until hands his in round and it round extremely well and in the best of spirits. Happy man! May May man! Happy ofspirits. best the in and well extremely natures who need to believe in G in to believe need who natures od keep him so for many years. T years. many for so him keep od truth is, there would no longer be musicians of the of the musicians be longer no would there is, ruth itself. If only artists could understand once and for for and once understand could artists only If itself. ruth sturm und drang nd more (but keep this between ourselves), between this keep (but more nd , Johann Wolfgang von G Wolfgang , Johann ood Friday,ood E I promessi sposi T hen in 1815 he announced his conversion conversion his announced he 1815 in hen (‘storm and stress’) period, Manzoni Manzoni period, stress’) and (‘storm aster, and the Blessed Virgin Mary. Mary. Virgin Blessed the aster, and here are certain virtuous virtuous certain are here od; and others, equally equally others, and od; Inni sacri Inni : ‘ iuseppina Strepponi, wrote in Strepponi, iuseppina T he fact is that this is a is this that is fact he (‘Sacred Hymns’) on on Hymns’) (‘Sacred T oethe described this this described oethe his hunger for truth truth for hunger his future true his his or or

‘idolatrous veneration for Manzoni’, and Francis T Francis and Manzoni’, for veneration ‘idolatrous 1868), the composer had written: had composer the 1868), wrote to Ricordi – but told the Countess Maffei, ‘I shall come soon to see his his see to soon come shall ‘I Maffei, Countess the told –but wrote to Ricordi several for state lay in body his then Marco, ofSan Church the in held was Shortly thereafter, Ricordi despatched a proposal to the Mayor of Milan; it ofMilan; Mayor to the aproposal despatched Ricordi thereafter, Shortly Maecklenberg, stirred a profoundly spiritual (if not conventionally religious) conventionally not (if spiritual aprofoundly stirred Maecklenberg, two oftheir deaths the following closely 1840, in Barezzi, Margherita aconversion Verdi underwent Manzoni, like that, have argued scholars But By this time, however, Manzoni’s health was beginning to weaken; the death death the to weaken; beginning was however, health time, this By Manzoni’s the press, Verdi wrote: ‘ press, the reflecting, (after ulterior perhaps and seen, being without and alone tomb, Indeed, Verdi’s admiration for Manzoni might be regarded as the closest closest the as regarded be might Manzoni for Verdi’s admiration Indeed, a Requiem to be performed on the first anniversary of the author’s death. death. author’s of the anniversary first the on performed to be a Requiem his to honour my forces) something weighted having to propose after and days before being taken to the Cimitero Monumentale. Verdi grief- too was Monumentale. Cimitero to the taken being days before stricken to attend the funeral – ‘I have not heart enough to be present’, he he present’, to be enough have heart not –‘I funeral the to attend stricken children. N children. wife, first ofhis death to the attribute partly is it–which put writer one G for reverence ‘a profound discovered –or, least, at experience of his eldest son, Pier Luigi, on 28 A 28 on Luigi, Pier son, eldest of his none of them deeply felt.’ He advised Ricordi that he planned to compose to compose planned he that Ricordi advised He felt.’ deeply ofthem none A memory.’ Mass May.22 on ARequiem meningitis to cerebral succumbed finally he (dated 7July Countess to the aletter In author’. the for veneration mystical A sentiment: to religious ever came he Verdi’s in heart: response T T T When you see him, kiss his hand for me and tell him of my him tell and me for hand his kiss him, see you When veneration. that counsels the spirit to silent adoration. to silent spirit the counsels that Requiem sonorous this in vent found career, of his fame the Verdi had died, colleagues other When him. tortured always had that death and ofdoubt powers daemonic the the virtues of Manzoni, and who have even been villains. villains. have even who been and of Manzoni, virtues the I would have knelt before him, if men might be worshipped. worshipped. be might men if him, before have knelt I would summoned him “solemnly to conjure death” (Weissmann), to to (Weissmann), death” to conjure “solemnly him summoned impulses that had long lain hidden beneath the brilliance and and brilliance the beneath hidden lain long had that impulses confidence in the eternity ofG eternity in the confidence “ aresigned in only feelings his expressed morality. ofstrict precept every rigorously observing bow down before many who have neither the talent nor nor talent the have neither who many before down bow by power [placing] tragic abiding its with himself reconcile merely and anything in believing not happy are who perfect, hrough his Requiem in honour of Manzoni, Verdi conquered Verdi conquered ofManzoni, honour in Requiem his hrough he death of Manzoni was his first “enduring experience”, experience”, “enduring first his was ofManzoni death he hey say that it is not allowed, and so be it, although we although it, be so and allowed, not itis say that hey evertheless, it was Verdi’s grief for Manzoni which, according to according which, Manzoni for Verdi’s itwas grief evertheless, ppalled by the somewhat superficial tributes paid to Manzoni in Manzoni to paid tributes superficial by somewhat the ppalled N ot one speaks the way it should [...] Many words, but [...] but way the itshould words, Many speaks one ot pril 1873 only added to the pain, and and pain, to the added only 1873 pril od. T od. lessandro Luzio refers to Verdi’s Luzio refers lessandro he profound religious religious profound he T riste! triste! triste!” triste!” triste! riste! oye wrote of ‘his almost oye almost wrote of‘his od’, as od’,

Programme notes 5 6 Programme notes T Gazzetta musicale di Milano di musicale Gazzetta ( warmly, despite the number of problems which had beset preparations for for preparations beset had which of problems number the warmly, despite T solo.) soprano grandiloquent with asomewhat ofthe exception the with referred he of what completion the announced later months eight and work, ofrehearsal costs cover the would council city the that agreed soon was Finally, he had to negotiate the issue of female choristers, which resulted in in resulted which choristers, of female issue the to negotiate had he Finally, Described by the legendary G legendary by the Described curtains. of closed front in performed was Requiem of the première Parisian the performance: first, Verdi had insisted the commemoration took place place took commemoration the insisted had Verdi first, performance: the Milan. Marco, San of Church in the death, Manzoni’s of anniversary first the of aMass’. devil to ‘that as the A the a passage from Fr. from G a passage A and Roman ofthe blend acurious comprising a liturgy orchestral and score the loaning from publisher to his prevent attempted of a revival for rehearsals in engaged was she as to set quickly He work. to the rights the retaining for return in parts, and score ofthe publication pay for would Verdi himself but performance, and scornful criticism came from upper echelons of the church music hierarchy; hierarchy; music church of the echelons upper from came criticism scornful Verdi replaced later which orchestra, and chorus for fugue second-rate identity as ‘sacred’ or ‘secular’ almost since the first performance. T performance. first the since almost ‘secular’ or ‘sacred’ as identity its on by debates surrounded been has Verdi’s Requiem vestments’, church in composer’s preferred mezzo-soprano, Maria Waldmann, could not be hired hired be not could Waldmann, Maria mezzo-soprano, preferred composer’s the secondly, all; at not or death, ofManzoni’s anniversary the on exactly of 1874 provides one such example: such of 1874 one provides however, be viewed is something particularly curious or exceptional: the the exceptional: or curious particularly however, something is viewed be not, should this itseems, though Comical veils. mourning and dresses black with composition his thirdly, to Verdi reconcile had theatre!); to the parts T he first performance of Verdi’s performance first he he work performed in 1874 was essentially the same work we know today, we know work same the 1874 in essentially was performed work he rchbishop insisting they be hidden behind a grill, and clad in full-length full-length in clad and agrill, behind hidden be they insisting rchbishop Verdi], so long awaited by the nineteenth century; here the the here century; by nineteenth awaited the long so Verdi], with the most powerful artistic means and displayed in the the in displayed and means artistic powerful most the with ofreligious emotions the to feel made seldom too all were fame and the imposing religious circumstance that inspired inspired that circumstance religious imposing the and fame Here, then [or so it seemed], was the new Palestrina [i.e. [i.e. Palestrina new the was [or then itseemed], so Here, the prestige of art and the appearance of the performance performance ofthe appearance the and ofart prestige the sentiment, which should have emanated abundantly from from abundantly have emanated should which sentiment, our will [...] will our T note. every we admiration, ofartistic asense us from draw well could most vivid colours, roused our fantasy, not our intellect or or intellect our not fantasy, our roused colours, vivid most E him. by composer’s the implied rightly was this by many; believed new Missa Papæ Marcelli Papæ Missa xcept, gentlemen, that we [then] heard it; and while while we and [then] it; that heard gentlemen, xcept, uerrino A uerrino herein, the most terrible truths, [...] announced [...] truths, announced terrible most the herein, Liber scriptus Liber (14 June 1874) reported, for example, that the the that example, for 1874) June reported, (14 erman conductor Hans von Bülow as ‘[an] as von Bülow Hans opera conductor erman melli’s speech at the Italian Catholic Congress Congress Catholic Italian the at speech melli’s Messa di Requiem di Messa . T his, in fact, was asserted and and asserted was fact, in his, , which was originally set to a distinctly to set adistinctly originally was , which Aïda took place on 22 May 1874, 1874, May 22 on place took in Florence (Verdi even (Verdi Florence in he work was received received was work he mbrosian rites. rites. mbrosian he most most he A When in the midst of composing the Requiem, Verdi had written a letter to aletter written Verdi had Requiem, the ofcomposing midst the in When (if you will) of the individual.’ T individual.’ ofthe will) you (if wrote in a letter: ‘I say that a man like Verdi must write like Verdi, that is, is, write Verdi, that like Verdi like must aman say that ‘I wrote aletter: in up”, etc. right step come, “come, shouts drum, bass and atambourine with Camille DuLocle (dated 24 February 1874) expressing such a view: ‘I feel feel ‘I aview: 1874) such (dated expressing 24 February DuLocle Camille Maecklenburg: tenor and bass from from bass and tenor ofthe melody famous the It cannot, however, be denied that Verdi responded to the Latin Latin to the Verdi that responded however, denied be cannot, It according to the times and according to the people, clearly the religious religious the clearly people, to the according and times to the according T texts. the interpreting and way to his offeeling according and Radames of scene death famous in the we find – emotions agonising times at who, clown public’s the longer no am citizen and asolid become I’ve if as question, the Requiem is charged with those same raw – even unrefined, and and raw – even unrefined, same with those charged is Requiem the question, spirit and the works that express it must carry the imprint of the time, and and time, of the imprint the carry it must express that works the and spirit is scandalised, and I immediately make the sign of the cross!’ Yet, without cross!’ ofthe sign the make Iimmediately and scandalised, is etc. A etc. masterpiece is as popular now as it ever has been. Such a view is taken by taken is aview Such been. itever has as now popular as is masterpiece etc., or transformations, modifications a development, have a beginning, defunctis ntonio G ntonio A s you can imagine, when I hear operas spoken of now, my conscience ofnow, my conscience spoken operas Ihear when imagine, can s you ïda ( ïda Catholic school, speculating on the impressionability of the ofthe impressionability the on speculating school, Catholic the life of the composer. ofthe life the in experiences soul-searching most the through to maturity light the reflecting clarified, marvellously but Requiem, the the felt has that spirit earnest of an purpose mighty the [of of phrases text] bearers the as liturgical age-old the [e.g. [e.g. [ and exalted its higher self in pondering the mystery of mystery the pondering in self higher its exalted and sensations of eternity, who can still accept it in a spirit of a spirit itin accept still can who ofeternity, sensations in visible indeed, are, artistry, Verdi’s specific and senses, ideal of beauty that ever hovered before him, and uses uses and him, before ever hovered that of beauty ideal effect because it was conceived and born of faith and grew and faith of born and conceived it was because effect [...] itself. of divinity [ of eternity, a breath wafts there choruses, and ensembles belief, will know that the Requiem produces this profound profound this produces Requiem the that know will belief, and to thoughts ofresponsiveness atrace have preserved purified has death, ofapproaching pinions ofthe beating muffled to the hearkening and, cross, ofthe contact healing unisons the soli, vocal over the but melody; colourful his life and the craving for eternity. Both the imagery of the of the imagery the Both eternity. for craving the and life E in a manner quite unlike the libretti of libretti the unlike quite a manner in hislanzoni ( hislanzoni ]ven in the Requiem, Verdi remains faithful to the sensuous sensuous to the faithful Verdi remains Requiem, the in ]ven Aïda Agnus Dei Agnus , A ct IV, Scene ii). It comes as no surprise, for example, that that example, for surprise, no as comes It IV, ii). ct Scene Don Carlos Don Aïda ], over the artfully wrought polyphony of polyphony wrought artfully over the ], ), or Franceso Maria Piave ( Maria Franceso ), or Lachrymosa T ]hose who in these materialistic times times materialistic these in who ]hose his, surely, is the reason that Verdi’s gothic Verdi’s that gothic reason surely, the is his, (1867). In June 1875, G 1875, June In (1867). has its origins in a discarded duet for for duet adiscarded in origins its has T emistocle Solera ( Solera emistocle Il traviata Il iuseppina Strepponi Strepponi iuseppina hen, if religions religions if hen, ), for example. example. ), for T homas N Nabucco Missa pro pro Missa eal ), ),

Programme notes 7 Text & Translation 8 teste David cum Sibylla. cum David teste favilla, in saeclum solvet illa, dies irae, Dies nil inultum remanebit. latetquidquid apparebit: sedebit, cum ergo Judex unde mundus judicetur. continetur, totum quo in proferetur, scriptus Liber MEZZO-SOPRANO AND CHORUS judicanti responsura. cum resurget creatura, natura, et stupebit Mors BASS thronum. ante omnes coget per sepulcra regionem, T cuncta stricte discussurus! quando judex est venturus, Quantus tremor est futurus, cum Sibylla. David teste favilla, in saeclum solvet illa, dies irae, Dies CHORUS Kyrie eleison. Christe eleison. Kyrie eleison. QUARTET AND CHORUS veniet. caro te omnis ad E Jerusalem. in votum reddetur tibi et T eis. luceat perpetua lux et Domine; eis, dona Requiem aeternam CHORUS e decet hymnus, Deus, in Sion, in Deus, hymnus, e decet uba mirum spargens sonum, xaudi orationem meam: I. REQUIEMANDKYRIE II. SEQUENCE

&T TEXT

R AN Death and N and Death BASS throne. the before all gather will land, every of tombs the through sound T completely! everything smash will who when the Judge comes terror, the be will great How prophesied. Sibyl the and David as ashes, in world the dissolve T CHORUS us. upon have mercy Lord, us. upon have mercy Christ, us. upon have mercy Lord, QUARTET AND CHORUS to you. come will flesh earthly all Jerusalem. Hear my prayer: to in you paid be will adebt and OG you, befits Zion in A hymn them. upon shine light perpetual may and G CHORUS as David and the Sibyl prophesied. Sibyl the and David as ashes, in world the dissolve T unavenged. remain shall nothing revealed: be will hidden is whatever seat, T judged. be will world the which for which contains everything forth, brought be will book A written MEZZO-SOPRANO AND CHORUS Judge. to the to answer again rises Creation all when he trumpet, scattering a marvellous amarvellous scattering trumpet, he will day that wrath, of day he he day of wrath, that day will will day that wrath, of day he herefore when the Judge takes His rant them eternal rest, OLord; rest, eternal them rant SL I. REQUIEMANDKYRIE AT II. SEQUENCE ature shall stand amazed, amazed, stand shall ature ION

od,

cum vix justus sit securus? patronum rogaturus, Quem dicturus? tunc miser sum Quid AND TENOR MEZZO-SOPRANO, SOPRANO, teste David cum Sibylla. cum David teste favilla, in saeclum solvet illa, dies irae, Dies CHORUS finis. mei curam gere cinis: quasi contritum cor O benedictis. cum me voca flammis acribus addictis, maledictis, Confutatis BASS AND CHORUS dextra. parte in statuens sequestra, me haedis ab et praesta, oves locum Inter ne perenni cremer igne. benigne, fac bonus, tu, sed digne, sunt non meae Preces mihi quoque spem dedisti. exaudisti, latronem et absolvisti, Mariam Qui Deus. parce, supplicanti meus; vultus rubet culpa Ingemisco tamquam reus, TENOR rationis. diem ante remissionis fac donum ultionis: judex Juste causas. sit non labor tantus pacem: crucem redemisti me,Quaerens sedisti lassus; die. illa perdas me ne viae: tuae causa sum quod pie, Jesu Recordare, SOPRANO AND MEZZO-SOPRANO pietas. fons me, salva gratis: salvas salvandos qui majestatis, tremendae Rex SOLO QUARTET AND CHORUS ro supplex et acclinis, acclinis, et ro supplex

lest I burn forever in fire. in forever Iburn lest but show mercy, O worthy, not are prayers My well. as hope, me have given thief, the of prayer the heard and Magdalen, Mary You, absolved who OG supplicant, the spare guilt; with blushes my face and one, aguilty as I groan TENOR reckoning. of day the before redemption of gift the me give punishment: of Judge Just in vain. to have been pains these let not do enduring the Cross, you redeemed me: wearily; down sat you me, seeking In day. that on me destroy not do journey: your for reason the Iwas that Recall, merciful Jesus, SOPRANO AND MEZZO-SOPRANO pity. of Ofont save me, ones, redeemed the saves freely who majesty. dreadful of King SOLO QUARTET AND CHORUS unsafe? are ones just even the when me, for to intercede Iask shall Whom say? me like awretch can What AND TENOR MEZZO-SOPRANO, SOPRANO, as David and the Sibyl prophesied. Sibyl the and David as ashes, in world the dissolve T CHORUS care. your into my ending take ashes: as contrite aheart with kneeling, and I pray, suppliant ones. blessed the with me call and given to the fierce flames, When the damned are silenced, BASS AND CHORUS hand. right your on me placing goats, the from me separate G he day of wrath, that day will will day that wrath, of day he ive me a place among the sheep, and and sheep, the among aplace ive me benevolent one,

od.

9 Text & Translation 10 Text & Translation Hosanna in excelsis! in Hosanna nomini Domini. in venit qui Benedictus excelsis! in Hosanna tua. gloria terra et coeli sunt Pleni Sabaoth. Deus Dominus Sanctus, sanctus, sanctus, CHORUS DOUBLE vitam. ad transire morte de eas fac defunctorum de poenis inferni; fidelum omnium animas Libera ejus. semini et A olim quam vitam, ad transire morte de Domine, Fac eas, quarum hodie memoriam facimus. T laudis offerimus. Domine, tibi, preces et Hostias semini ejus. A olim Quam repraesentet eas in lucem sanctam. Sed signifer sanctus Michael obscurum. in cadant ne ne absorbeat eas tartarus, leonis; ore de eas libera lacu; profondo et defunctorum de poenis inferni fidelum omnium animas libera gloriae: Rex Christe, Jesu Domine QUARTET A requiem. eis dona Domine: Jesu Pie Deus. parce, ergo Huic reus. homo judicandus ex favilla, resurget qua dies illa, Lacrymosa SOLO QUARTET AND CHORUS u suscipe pro animabus illis, illis, animabus pro u suscipe men. III. OFFERTORIO IV. SANCTUS brahae promisisti promisisti brahae brahae promisisti et et promisisti brahae

from the pains of hell; G hell; of pains the from dead faithful the all of souls the Deliver and his descendents. to A promised once you which life that into death from pass G whom we commemorate today. souls those of behalf on them Receive sacrificesand prayers. OLord, to Weyou, offer and his descendents. to A promised once you which light; holy the them show Michael standard-bearer holy the may But darkness. into fall not may they that and them, swallow not may hell that lion; the of mouth the from them deliver pit; deep the from and hell of pains the from dead faithful the all of souls the deliver G of King Christ, Jesus O Lord QUARTET A grant them peace. Jesus: Lord Merciful T judged. to be man, guilty the ashes the from rise shall which on T SOLO QUARTET AND CHORUS Hosanna in the highest! the in Hosanna Lord. the of name the in comes that he is Blessed highest! the in Hosanna glory. your with filled are earth and Heaven G Lord holy, holy, Holy, CHORUS DOUBLE life. that into death from pass might herefore, spare this one, OG one, this spare herefore, weeping, of one is day hat men. Lord, that they might might they that OLord, rant, od of Sabaoth. of od III. OFFERTORIO IV. SANCTUS

rant that they they that rant

od. lory: braham braham braham

A AND CHORUS: MEZZO-SOPRANO, SOPRANO, Libera me. tremenda. illa die in aeterna morte de Domine, me, Libera per ignem. dum veneris judicare saeculum terra; et sunt movendi coeli quando Domine, me, Libera tremenda. illa die in aeterna morte de Domine, me, Libera eis. luceat perpetua lux et Domine, eis, dona aeternam, Requiem valde. amara et magna dies miseriae; et calamitatis illa dies irae, Dies terra. et sunt movendi coeli quando irae, ventura discussio venerit atque T per ignem. dum veneris judicare saeculum terra: et sunt movendi coeli quando tremenda; illa die in aeterna morte de Domine, me, Libera SOPRANO AND CHORUS quia pius es. aeternam; in tuis sanctis cum eis, luceat perpetua lux et Domine, eis, dona aeternam Requiem es. pius quia aeternam; in tuis sanctis cum Domine, eis, luceat aeterna Lux AND BASS TENOR,MEZZO-SOPRANO, dona eis requiem sempiternam. A requiem. eis dona remens factus sum ego et timeo, dum dum timeo, et ego sum factus remens gnus Dei, qui tollis peccata mundi, mundi, peccata tollis qui Dei, gnus gnus Dei, qui tollis peccata mundi, mundi, peccata tollis qui Dei, gnus VI. LUX AETERNA VII. LIBERAME

V. AGNUS DEI

T moved. be when the heavens and the earth shall to come, wrath the and judgment the Ifear and I tremble, by fire. world the judge to come will you when moved: be when the heavens and the earth shall day, awful that on death eternal from OLord, me, Deliver SOPRANO AND CHORUS merciful. are you for forever; saints your with them upon shine light perpetual may G merciful. are you for forever; saints your with Lord, O them, upon shine light eternal Let AND BASS TENOR,MEZZO-SOPRANO, everlasting. rest them grant world, the of sins G of Lamb rest. them grant world, the of sins G of Lamb AND CHORUS MEZZO-SOPRANO, SOPRANO, Deliver me. day. awful that on death eternal from Lord, me, Deliver by fire. world the to judge come will you when moved; be shall earth the and heavens the when OLord, me, Deliver day. awful that on death eternal from Lord, me, Deliver shine upon them. light perpetual may G day, indeed. bitter and a great misery; and calamity of day that he day of wrath, wrath, of day he Lord, and and OLord, rest, eternal them rant Lord, and and OLord, rest, eternal them rant VI. LUX AETERNA VII. LIBERAME od, who takes away the away the takes who od, away the takes who od,

V. AGNUS DEI

11 Text & Translation 12 Biographies indhoven, T Eindhoven, in born was Steen van Jac A A A Wales, which also marked the formal start of his appointment as Principal Principal as appointment of his start formal the marked also which Wales, (up to A works both in concert and recordings with various orchestras and ensembles ensembles and orchestras with various recordings and concert in both works N ofthe Director Music and Conductor Chief appointed also was G Chamber O September 1985 his participation in the the in participation his 1985 September N conductor was he to 1990 From 1986 E BBC N Bournemouth Symphony O Symphony Bournemouth Philharmonic London, Philharmonia London, Philharmonic BBC Manchester, O BBC Symphony visit to the first His 5seasons. for held he aposition Dortmund, O Philharmonic Dortmund of the Director N N the 1993-94 season. T season. 1993-94 the O Philharmonic BBC the In of Music. Conservatory Brabants the the finest Dutch, Swiss and and Swiss Dutch, finest the O Halle the In September 1997, Jac van Steen was appointed chief conductor of the of the conductor chief appointed was Steen 1997, van Jac September In In A In and the Prague Symphony O Symphony Prague the and in Choir Bach ofthe director music and in the 1992-93 Season as their permanent guest conductor, a position which which aposition conductor, guest permanent their as Season 1992-93 the in in 2017 with the N the with 2017 in O Scottish Royal the Sinfonietta, London the as such U.K., the in In debut. Proms his and recordings CD engagements, return immediate of the N of the conductor of the Musikkollegium Winterthur, Switzerland. Switzerland. Winterthur, Musikkollegium of the conductor he held until September 1994. 1994. September until held he with engagements guest in resulted Jac van Steen van Jac t present he is Principal G Principal is he t present ugust 2005 he returned to the Proms with the BBC N BBC withthe Proms to the returned he 2005 ugust s per A s per etherlands and studied conducting at ijmegen. He was also Music Director Director Music also was He ijmegen. ational T ational uestconductor with this orchestra. Besides his BBC engagements, he he engagements, BBC his Besides orchestra. this with uestconductor uerenberg Symphony O ugust 2002 Jac van Steen became Music Director of the Deutsches Deutsches ofthe Director Music became Steen van Jac 2002 ugust uropean Conductor’s seminar ational Ballet, A Ballet, ational ugust 2005) and in that same year he took up the position of chief ofchief position the up took he year same that in and 2005) ugust ugust 2007, Jac van Steen has been appointed G appointed been has 2007, Steen van ugust Jac heater Weimar and chief conductor of the Staatskapelle Weimar Weimar Staatskapelle of the conductor chief and Weimar heater rchestra, the CBS the rchestra, rchestra. ew Japan Philharmonic. ew Japan he Bochumer Symfoniker in G in Symfoniker Bochumer he msterdam, a post which he held up until the end of end the until up held he which apost msterdam, rchestra. BI uest Conductor of the Ulster O Ulster ofthe Conductor uest G rchestra in G rchestra. He is a regular guest conductor with conductor guest aregular is He rchestra. erman orchestras and made his debut in Japan Japan in debut his made and orchestras erman Birmingham, CBS O Birmingham, rchestra (CSSR). rchestra OG R he he APHI rchestra in London in 1997 lead to lead 1997 in London in rchestra ermany and in September 1999 E rchestra and O and rchestra S O Youth O ermany appointed him him appointed ermany ational O ational rchestra (Belfast) (Belfast) rchestra rchestra, Royal Royal rchestra, pera T pera eneral Music Music eneral © Simon van Boxtel van © Simon rchestra of rchestra ew Berlin ew Berlin rchestra, rchestra, heatre heatre “Startling, inventive and compelling” ( compelling” inventive and “Startling, T Jac van Steen has built up a large opera repertoire, working extensively extensively working repertoire, opera alarge up built has Steen van Jac Youth O A A 2011, Jac van Steen participated in the Summer T Summer the in participated Steen van Jac 2011, with O with as well as Dortmund, and Weimar as such houses opera acclaimed with Independent Community Youth Community She appears frequently with BBC with BBC frequently appears She Music and the Royal College of Music, both in London. In the Summer of Summer the In London. in both ofMusic, College Royal the and Music N Royal the ofMusic, School Chetham the with works frequently also He offer and have joined orchestras provincial ofthe several and Philharmonic conducting of young group selected a offers which initiative an Hague, conducting teaches also Steen van Jac aconductor, as activities his Beside Mariner, Pierre Boulez, Carlo Rizzi, Harry Christophers and T and Christophers Harry Rizzi, Carlo Boulez, Pierre Mariner, A Sir Hickox, Mozart’s Mozart’s including prizes prestigious several won Having operas Birtwistle’s Harrison of roles the had she and Britten, Handel and Mozart through to Verdi, Bizet and means actress an and amusician as versatility Her the Maggie T Maggie the Monteverdi, from ranging roles sung has she that them. with concert in work and to prepare achance students master these ‘ of the initiators the In concert, E concert, In at the Royal Conservatory of Music in T in ofMusic Conservatory Royal the at Helena Medea students to work with various Dutch professional orchestras as part of their oftheir part as orchestras professional Dutch to various with work students in Vienna. In 2018-19 he will make his debut with the O the with debut his make will he 2018-19 In Vienna. in education. O critical acclaim. critical highlights include performances with BBC Symphony, LS BBC with performances include highlights O at performer platform. concert the or stage opera the on home of one is he and to him importance of great are students and musicians productions. Elizabeth Atherton ouring O msterdam Concertgebouw, and has conducted the CBS the conducted has and Concertgebouw, msterdam ssociate A ssociate orthern College of Music in Manchester as well as the Royal A Royal the as well as Manchester in ofMusic College orthern pera N pera

The Cure The rchestra on several occasions. several on rchestra Midsummer Night’s Dream Countess Fiordiligi pera. She subsequently became an lizabeth has worked with such eminent conductors as Sir Richard Richard Sir as conductors eminent with such worked has lizabeth ndrew Davis, Sir Charles Mackerras, A Mackerras, Charles Sir Davis, ndrew rtist at Welsh at N rtist rchestras such as the T eyte Prize, E Prize, eyte ), E orth and the G the and orth pera N pera created for her to considerable to considerable her for created lizabeth A lizabeth and Britten’s Britten’s and and O rchestra), conducting concerts in in concerts rchestra), conducting N ational Masters’ of the Royal Conservatory of T Conservatory Royal of the Masters’ ational Pamina orth enjoying much success with roles including including with roles success much enjoying orth lizabeth’s debut was as as was debut lizabeth’s therton is equally at equally is therton arsington O arsington ational O ational The Corridor , and has since gone on to become a regular aregular to on become gone since has , and Governess Eurydice he Hague Philharmonic, the N N for E for ational ational pera, performing roles including including roles performing pera, pera in the UK and the Volksoper Volksoper the and UK the in pera he Hague. Working with young with young Working Hague. he nglish nglish in Sir Sir in . and The The O rchestra of Wales and other other and of Wales rchestra our of the E ofthe our

ntonio Pappano, Sir N Sir Pappano, ntonio © Kiran Ridley Kiran © slo O slo A ustria and in the the in and ustria O CY Birmingham O Birmingham , Philharmonia, , Philharmonia, pera with two two with pera hierry Fischer. Fischer. hierry O ( cademy of cademy etherlands E uropean uropean eville eville he he 13 Biographies 14 Biographies T Zauberflöte Wales and T Giovanni Götterdämmerung 2 with Hallé O Hallé 2 with O Israel in Ägypten in Israel Cycle. Concert plans include include plans Concert Cycle. was She recipient. British first and female, first Young A Cafritz ofMusic. Institute Curtis the and Conservatory G Exterminating Angel Exterminating Fidelio Das RheingoldDas / Siegfried Eugene Onegin She was the 2004 G 2004 the was She four seasons from 2009. from seasons four for G for Birgit N Birgit N O Metropolitan N the London, ofMusic, College Royal the at studied Huckle Claudia contralto British Handel’s RS E include engagements upcoming and Recent T Philharmonic, RLP Dresden Semperoper; include beyond and season this Plans O Domingo’s Donizetti Donizetti Birmingham O the Royal O Royal the title role in Britten Britten in role title A the International Festival; Festival; International a member of the ensemble at Leipzig at O ensemble of the a member Domingo- prestigious of the a graduate is and Madrid. and London in Vignoles withRoger recitals song and in Saint-Saëns Saint-Saëns in has sung Claudia Huckle Claudia eatro Real, Madrid; and a return to the Royal O Royal to the areturn and Madrid; Real, eatro lyndebourne on T ational O ational pera roles include / Laurence Cummings, St. Paul Chamber O Chamber Paul St. Cummings, /Laurence NO O lyndebourne Festival O Festival lyndebourne ge ofE ge , for Longborough Festival O O ilsson Remembrance A Remembrance ilsson , concerts with BBC NO BBC with , concerts Saul Schwertleite rchestra Sinfonica di Milano, Milano, di Sinfonica rchestra Anna Bolena Anna pera. Claudia is the 2013 winner of the ofthe winner 2013 the is Claudia pera. , a role she has sung at the Festival d’ Festival the at sung has she , arole pera, Covent G Covent pera, adaaki O peralia competition at Verona – the Verona –the at competition peralia nlightenment and Mark Padmore; and Mendelssohn-Handel Mendelssohn-Handel and Padmore; Mark and nlightenment with Harry Christophers / Handel and Haydn Society, Boston Boston Society, Haydn and /Handel Christophers Harry with rchestra; E rchestra; Samson et Dalila et Samson pera N pera pera Company; for Welsh N Welsh for he Sixteen and T and Sixteen he rtist Program at Washington Washington at Program rtist with the King’s Consort. King’s the with and our; The Rape of Lucretia of Rape The at R at Erda rand Final Winner of T Winner Final rand taka; Bach ational Council A Council ational

for Washington N Washington for Olga Anna Die Walküre Die Schwertleite Hippolyta lgar lgar O

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Tabarro A Washington, the San Francisco Symphony, A Francisco San the Washington, Godunov Solemnis O with the Freiburger Barockorchester and Bach Bach and Barockorchester Freiburger the with N Scottish Royal the and Sinfonia Britten the with N with Kent G sung also has Claudia G Melodius Lay Melodius Rheingold Das Ulster O E an is Philip Butt David tenor British O Philharmonic Liverpool Royal Society, Choral Huddersfield inMagdalene E Schubert include concerts Past Davies’ Maxwell Last season, Butt Philip returned to O returned Philip Butt season, Last N Prokofiev’s and Berlin N O Philharmonic O Hallé the concert platform, Butt Philip sings E sings Philip Butt platform, concert the the baton of Vladimir A ofVladimir baton the In the 2017/18 season, Butt Philip makes his company debut with T debut company his makes Philip Butt season, 2017/18 the In the leaving after shortly 2014, In at O as as Young Parker Jette of the alumnus fahrenden Gesellen, Kindertotenlieder Rodolfo Maid of today. to offer has Britain tenors helden exciting young of the program he made a hugely acclaimed acclaimed ahugely made he program damnation de Faust de damnation brujo David Butt Philip David Butt nglish N nglish rtists Program, Royal O Royal Program, rtists lyndebourne on T on lyndebourne alicia and in King’s College Cambridge, both with Paul Daniel; Daniel; Paul with both Cambridge, College King’s in and alicia ational Montpellier and O and Montpellier ational orth. rquesta Sinfónica di N di Sinfónica rquesta Gloriana Erik Robert Devereux, Earl of Essex of Earl Devereux, Robert pera Holland Park and

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rchestra and Sir Mark E Mark Sir and rchestra , and made debuts as as debuts made , and Der fliegende Hollander fliegende Der rchestra.

with Sir Roger N Roger withSir have attracted serious attention and have established him as one one as him have established and attention serious have attracted La bohème ational O ational as well as taking on the title role of Brett Dean’s Dean’s ofBrett role title the on taking as well as agano and the Deutsches Symphonie O Symphonie Deutsches the and agano with A with with Vladimir Jurowski the and Rundfunk-Sinfonieorchester lgar and and Hogboon rchestra, Britten’s Britten’s rchestra, our. O ndris N ndris The Apostles The in a concert performance with the O withthe performance aconcert in . Recent debuts debuts . Recent pera debut as debut pera Grigoriy Seven, they are seven they are Seven, avarro; shkenazy. He also makes his role debut as as debut role his makes also He shkenazy. Messiah ther highlights include include highlights ther under Sir Simon Rattle, both with the LS with the both Rattle, Simon Sir under pera House. House. pera orrington at King’s College, Cambridge and Mary Mary and Cambridge College, King’s at orrington rquestra Sinfonica Portuguesa, Brett Dean’s Dean’s Brett Portuguesa, Sinfonica rquestra elsons and the Boston Symphony O Symphony Boston the and elsons Narraboth Erik lder, Verdi’s Zelenka

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15 Biographies 16 Biographies Ariadne auf Naxos auf Ariadne Vladimir Jurowski and the London Philharmonic O Philharmonic London the and Jurowski Vladimir Weill and Birtwistle. Weill and 2003 he was an inaugural member of the ofthe member inaugural an was he 2003 O O O worked regularly with the Royal O with the regularly worked as debut professional his made he where College of Music in Manchester with Patrick Patrick with Manchester in ofMusic College Messe Solennelle Messe Parsifal Gerontius of Dream 9 Beethoven Sir Mark E Mark Sir During his time as a Jette Parker Young A Parker aJette as time his During Recent engagements include include Prokofiev’s and Hall Handel’s Royal O Mc Royal N the at studied Darren on demand in much as is Jeffery Darren A Royal the Music, achorister was and Somerset Wells in in up brought and born was Philip Butt the London Philharmonic O Philharmonic London the the operatic stage as he is on the concert concert the on is he as stage operatic the appeared in productions of productions in appeared G at Hamlet Dean’s of Brett premiere the in Laertes and and G Curtis the accolade, A a Samling of Royal a graduate is He Cathedral. Peterborough at Quartet. Solstice the and Lane with Simon Hall Wigmore the at recitals and including most recently recently most including on the concert platform he has performed in Mahler Mahler in performed has he platform concert the on T on contemporary works of Britten, Stravinsky, Stravinsky, of Britten, works contemporary A Christie John prestigious of the production of Verdi’s production winning award its in role title the performed more the and to Wagner Handel from roles to sing him enables versatility His platform. Darren Jeffery rchestra at the BBC Proms. BBC the at rchestra O Symphony Boston the and rchestra pera. Concert engagements included G our and E and our Bill uigan. He received the R the received He uigan. , / La TraviataLa pera Young A pera Messiah Mahagonny lder, Britten lder, Britten rtist, an A an rtist, with both the Yomiuri the N both with nglish T nglish at the Barbican, Haydn Haydn Barbican, the at with the Mozart Festival O Festival Mozart the with cademy of Music, and the N the and ofMusic, cademy . , with the the with Seven, they are seven are they Seven, Die Frau ohne Schatten ohne Frau Die ouring O ouring . ssociate of the Royal A Royal ofthe ssociate Falstaff Folk Songs Folk Sprecher rtists Programme, Programme, rtists old Medal and Medal old rchestra at the Royal Festival Hall, E Hall, Festival Royal the at rchestra T Nabucco pera and and pera N onnkünstler O onnkünstler . From 2001- CM’s highest highest CM’s pera House and has sung over fifteen roles roles over fifteen sung has and House pera / ward in 2011. 2011. in ward with the Royal Philharmonic O Philharmonic Royal the with Die Zauberflöte Die orthern orthern ippon Symphony O Symphony ippon Rodolfo , Don José Don Die Zauberflöte Die rchestra at the T the at rchestra Froh Sciarrone with the Bournemouth Symphony Symphony Bournemouth with the Nelson Mass rtist at the Royal O Royal the at rtist rchestra at Musikverein Vienna, Vienna, Musikverein at rchestra ,

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Stephen to 2009, 1983 from and, Ledger, Philip Sir Willcocks, David Sir Stanford, Villiers Charles Sir including musicians, finest of Britain’s of several leadership the enjoyed T and Kodaly, Menuhin Dvořák, Britten, including soloists and conductors visiting alongside of performing experience the musicians of Cambridge generations given has and Williams, Vaughan and Rutter, Saxton Holloway, Lutoslawski, by Brahms, works E A Sir educated has It T year. every musicians Cambridge over 500 for opportunities performing providing and future of the musicians great the nurturing residents, local and University ofthe members for education musical class he Society has played a pivotal role in British musical life for over 170 years. over 170 for life years. musical British in role apivotal played has Society he dward G dward uest Conductor and a series was launched to expose CUMS members to members CUMS to expose launched was aseries and Conductor uest rchestra and the Cambridge University N University Cambridge the and rchestra conducted by Sir Roger N Roger by Sir conducted C Otello A ardner, Christopher Hogwood and Robin T Robin and Hogwood Christopher ardner, ctober 2010, the Society launched the Cambridge University University Cambridge the launched Society the 2010, ctober GE MBRID ( The Epic of Everest of Epic The A ct I) conducted by Richard Farnes, J.S. 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RSI rchestra and Cambridge University Music Music University Cambridge and rchestra orrington and Brahms’ Symphony N Symphony Brahms’ and orrington T orrington was appointed as Principal Principal as appointed was orrington Y MUSIC (CUMS) is one of the oldest and and oldest of the one is (CUMS) ew Music E ew Music lder, Sir John E John lder, Sir A L S nsemble joined CUMS CUMS joined nsemble icciati, has premièred premièred has icciati, rchestras undertook undertook rchestras OCI liot G liot ET rchestra and and rchestra Mass in B in Mass Y nnis and and nnis ardiner, ardiner, o.1 21 CUMS 22 CUMS Officers 2017/18 A Associate Directors, Artistic advisor Cambridge University Musical Society is a registered charity, limited by limited charity, aregistered is Society Musical University Cambridge Vice Presidents Vice President day to day running of the ensembles is undertaken by the student presidents presidents bystudent the undertaken is ensembles ofthe day to day running T Laing. by Stuart chaired of trustees with aboard (no.1149534) guarantee Society also administers administers also Society and their committees with professional support. withprofessional committees their and Cambridge University University Cambridge Choir Chamber University Cambridge Choir Chamber University Cambridge Conductor CUMS Conductor CUMS Student CUMS Student President Sian E Sian Stephen Cleobury CB N Roger Sir Sir John Meurig- Symphony Chorus Isaac Barkway Lawrence Wragg Lawrence N Lowe David Martin E N Richard Andrewes Laura A E University Sinfonia University Orchestra Principal Guest President, President, Cambridge President, Cambridge President, Director, Laureate dward Reeve dward dam Phillips dam icholas Mulroy icholas Cook dwards lexander nnis

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RS 2017/18 Jo Whitehead Reavell Jenny Jo Whitehead James Furber A A Alumni Secretary Assistant Trustees of CUMS of Trustees Trustees of the the of Trustees Vice Chairman Christine Skeen Ford Chris Chloë Davidson Ford Chris CUMS Librarian and and Librarian CUMS Marketing and Concerts General Manager University Cambridge TreasurerCUMS SeniorCUMS Treasurer Fund CUMS Stuart Laing (chairman) Laing Stuart Stephen Johns FaircloughSimon Secretary Circle Supporters’ Chorus Symphony Maggie Heywood Maggie Fray Paul Katharine Ambrose Nicholas Shaw Peter Johnstone Nicholas Shaw N Winter Liz David Pickard Performance Assistant Executive Director lice G lice lan Findlay igel Yandell reenwood T rustees. rustees.

T he he he he for successive generations of Cambridge musicians. It has immeasurably immeasurably has It musicians. of Cambridge generations successive for opportunities unique provided has CUMS 1843, in founded itwas Since Christine Skeen: visit please Circle, Supporters’ the about details further For rehearsals. to on in sit opportunity the and receptions drinks booking, priority including exclusive benefits, enjoy Circle Supporters’ of the members ambitions, our to us fulfil helping as well A Circle. Supporters’ CUMS the invited are join to century, twenty-first the of musicians young finest the for opportunities to provide University the A soloists. and conductors to professional with work opportunity the and orchestras, London major ofthe members from coaching orchestral includes which projects, ofambitious programme CUMS’ to sustain year every needed T education. musical aworld-class ofdelivering cost full the meet not does sales ticket from income and University, the from funding core no receives CUMS tackle ambitious repertoire and develop as musicians. soloists, and conductors to world-class with work opportunities students conductors, instrumentalists, singers and composers. offers CUMS these as concerts, to up 40 in part —take Languages Modern and Medicine E beyond. world musical the in role apivotal played ithas music, classical in careers biggest ofthe many launched having city, and, and university ofthe life cultural the enriched he Supporters’ Circle plays a vital role in helping to raise the £35,000 £35,000 the to raise helping in role a vital plays Circle Supporters’ he ach year, 500 students — reading everything from Music and Maths to Maths and Music from everything —reading students year,ach 500 ll those who value Cambridge’s splendid musical heritage, and who want want who and heritage, musical splendid Cambridge’s value who those ll In helping us reach our targets, you will become part of of part become will you targets, our reach us helping In www.cums.org.uk/support an extraordinary musical tradition. Thank you. Thank tradition. musical extraordinary an [email protected] SUPP O R . A T US lternatively, please write to lternatively, please .

s 23 Supporters' Circle 24 Supporters' Circle Martin Darling Martin CulshawRobert Chris Coffin Brown Carol and Phil Frank and G John Barber A Richard A Dr annum per £100-£249 donors anonymous two and Peter Shawdon N Howarth Penny David Munday Mosey R. Mill Catriona Lydia and Lebus Simon Laing Sibella and Stuart Ffoulkes Stuart A annum per £250-£499 and one anonymous donor T FaircloughSimon annum per £500-£999 donor anonymous an and Keith Stuart Sir annum per £1,000-£2,499 Monica Chambers £2,500+ donor anonymous an and A £10,000+ Donors Benefactors Principal Benefactors CircleThe Stanford The Vaughan Williams Circle Circle Britten The he N he drian and Jane Frost ngela and Rod A eil Petersen nne EA nne ew E ndrewes urope Society urope enevieve Benfield llan CUMS SUPP CUMS shby-Johnson O R TE A Robert and Christine Skeen Peter Shawdon Sharp L. M. Dr Catherine Sharp Ruth Rattenbury Rattenbury Judith Puffett Kathryn E Val N N Paul Andrew Morris Sue Marsh John MacInnes Short &John Lowther Debbie Christopher Lawrence King Jennie Lady Jennings Holmes Mike and Ruth Jones Hellyer Jonathan Mr Helliar Lesley and Philip Donald and Rachel Hearn Michael G A Caroline G C JBFord A ZE Iand Drs Maggie Heywood Maggie donors anonymous fifteen and Wittman Mrs and Mr Ruth Williams Whitehead Jo Stapleton Mary Stansfield Jo T Meurig John Sir T Patricia Dr G Veronica and A Honorary Life Member dward Powell dward lan Findlay ndrew Soundy ndrew and Rachel G rahame and Cilla Swan RS’ CIRCL orton icholson winnell oulder ate llison-Wright lex Sutherland homas E race 25 26 27

CUMS SUPPORTERS’ CIRCLE MEMBERSHIP FORM

SECTION 1: MEMBERSHIP INFORMATION

Personal details Amount of Donation: £ Name and Address (if different from Sections 2 and 3) ...... Acknowledgement ...... FFI would like my name acknowledged ...... in CUMS concert programmes and on ...... the CUMS website as Telephone ...... FFI would prefer to remain anonymous Email ......

Membership level Payment details I would like to join the Supporters’ Circle I would like to make my donation by: at the following level: FFCheque (please enclose a cheque FFThe Britten Circle (£10,000+) made payable to CUMS) F FFThe Vaughan Williams Circle (£2,500+) FCAF Cheque (please enclose a CAF Cheque made payable to CUMS) FFThe Stanford Circle (£1,000–£2,499) FFStanding order (please complete FFPrincipal Benefactor (£500–£999) Section 2 below) FFBenefactor (£250–£499) FFShares (please contact FFDonor (£100–£249) Christine Skeen at the address below)

SECTION 2: STANDING ORDER MANDATE (Please complete this section if you Starting on ...... would like to make your donation by Signed ...... standing order.) Date ...... Name of your bank ...... Full name ...... Address of your bank ...... Address ...... Your sort code ...... Your account number ...... Please pay CUMS, Royal Bank of ...... Scotland, Sort code 16-15-19, ...... Account number 10298672 Please return your entire completed the sum of £...... form and payment to Christine Skeen, (Print amount: Secretary, CUMS Supporters’ Circle, ...... pounds) West Road Concert Hall, 11 West Road, Per  month  quarter  year Cambridge CB3 9DP. 28

SECTION 3: GIFT AID DECLARATION Cambridge University Musical Society (CUMS) is a registered charity (no. 1149534) and as such can claim Gift Aid on eligible donations. Please treat as Gift Aid donations all qualifying gifts of money made  today  in the past 4 years  in the future Please tick all boxes you wish to apply. I confirm I have paid or will pay an amount of Income Tax and/or Capital Gains Tax for each tax year (6 April to 5 April) that is at least equal to the amount of tax that CUMS will reclaim on my gifts for that tax year. I understand that other taxes such as VAT and council Tax do not qualify. I understand the charity will reclaim 25p of tax on every £1 that I give on or after 6 April 2008. Title ...... First name or initial(s) ...... Surname ...... Full home address ...... Postcode ...... Signature ...... Date ...... Please notify CUMS if you: • want to cancel this declaration • change your name or home address • no longer pay sufficient tax on your income and/or capital gains If you pay Income Tax at the higher or additional rate and want to receive the additional tax relief due to you, you must include all your Gift Aid donations on your Self Assessment tax return or ask HM Revenue and Customs to adjust your tax code.

Please return your entire completed form and payment to Christine Skeen, Secretary, CUMS Supporters’ Circle, West Road Concert Hall, 11 West Road, Cambridge CB3 9DP. Principal Guest Conductor Sir Roger Norrington CBE CUMS Conductor Laureate Stephen Cleobury CBE Artistic Advisor Sian Edwards

Cambridge University Musical Society West Road Concert Hall Cambridge CB3 9DP www.cums.org.uk