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Saturday Evening, October 31, 2015, at 7:00

Pre-concert lecture by Benjamin Sosland at 6:00 in the Stanley H. Kaplan Penthouse

Les Arts Florissants William Christie, Musical Director and Conductor Katherine Watson, Theodora Stéphanie d’Oustrac, Irene Philippe Jaroussky, Didymus Kresimir Spicer, Septimius Callum Thorpe, Valens Sean Clayton, Messenger

HANDEL Theodora (1750)

This performance is approximately 2 hours and 50 minutes long, including intermission. Please join the artists in the Alice Tully Hall lobby immediately following the performance for a White Light Lounge. This concert version of Theodora is based on the production of the Théâtre des Champs-Élysées (Paris). This performance is also part of the Great Performers Chamber Orchestras series.

(Program continued)

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 10-31 Les Arts.qxp_GP 10/21/15 1:18 PM Page 2

BNY Mellon is Lead Supporter of Great Performers. Upcoming White Light Festival Events:

Support for Great Performers is provided by Sunday Afternoon, November 1, at 5:00 in Rita E. and Gustave M. Hauser, The Florence Gould Alice Tully Hall Foundation, Audrey Love Charitable Foundation, Prayer Great Performers Circle, Chairman’s Council, and Christine Brewer , Soprano Friends of Lincoln Center. Paul Jacobs , Organ Works by HANDEL, BACH, PUCCINI, GOUNOD, Public support is provided by the New York State and WIDOR; works for solo organ Council on the Arts. Saturday Afternoon, November 7, at 4:00 in the Endowment support for Symphonic Masters is Stanley H. Kaplan Penthouse provided by the Leon Levy Fund. White Light Conversation: Language and Human Consciousness Endowment support is also provided by UBS. John Schaefer , Moderator With Joan La Barbara , Colum McCann , Steven MetLife is the National Sponsor of Lincoln Center. Pinker , and Gary Tomlinson Performance extract of Gare St. Lazare Ireland’s Artist Catering provided by Zabar’s and zabars.com work in progress of How It Is by Beckett, performed by Conor Lovett, with director Judy Hegarty Lovett

Saturday Evening, November 14, at 7:30 in Alice Tully Hall Last Soliloquy Paul Lewis , Piano ALL-BEETHOVEN PROGRAM Sonata No. 30 in E major, Op. 109 Sonata No. 31 in A-flat major, Op. 110 Sonata No. 32 in C minor, Op. 111

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HANDEL Theodora (1750)

PART I Ouverture Recitative: ’Tis ’s natal day Air: Go, my faithful soldier, go Chorus: And draw a blessing down Recitative: Vouchsafe, dread sir, a gracious ear Air: Racks, gibbets, sword, and fire Chorus: For ever thus stands fixed the doom Recitative: Most cruel edict! Air: The rapture’d soul defies the sword Recitative: I know thy virtues Air: Descend, kind pity, heav’nly guest Recitative: Tho’ hard, my friends Air: Fond, flatt’ring world, adieu! Recitative: O bright example of all goodness! Air: Bane of virtue Chorus: Come, mighty father Recitative: Fly, fly, my brethren Air: As with rosy steps the morn Chorus: All pow’r in heav’n above Recitative: Mistaken wretches! Air: Dread the fruits of Christian folly Recitative: Deluded mortal! Accompagnato: O worse than death indeed! Air: Angels, ever bright and fair Recitative: Unhappy, happy crew! Air: Kind heav’n, if virtue be thy care Recitative: O love, how great thy pow’r! Chorus: Go, gen’rous, pious youth

Intermission

PART II Recitative: Ye men of Antioch Chorus: Queen of summer, queen of love Air: Wide spread his name Recitative: Return, Septimius Chorus: Venus, laughing from the skies Symphony Recitative: O thou bright sun! Air: With darkness deep as is my woe Symphony Recitative: But why art thou disquieted, my soul Air: Oh, that I on wings could rise Recitative: Long have I known Air: Tho’ the honors that Flora and Venus receive

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Recitative: O save her then Air: Deeds of kindness to display Recitative: The clouds begin to veil the hemisphere Air: Defend her, heav’n Recitative: Or lulled with grief Air: Sweet rose and lily, flow’ry form Recitative: O save me, heav’n Air: The pilgrim’s home, the sick man’s health Accompagnato: Forbid it, heav’n! Recitative: Or say, what right have I Duet: To thee, thou glorious son of worth Recitative: ’Tis night, but night’s sweet blessing Chorus: He saw the lovely youth

PART III Air: Lord, to thee, each night and day Recitative: But see the good, the virtuous Didymus! Air: When sunk in anguish and despair Chorus: Blest be the hand Recitative: Undaunted in the court Accompagnato: O my Irene, heav’n is kind Duet: Whither, princess, do you fly Recitative: She’s gone, disdaining liberty and life Air: New scenes of joy come crowding on Recitative: Is it a Christian virtue, then…Be that my doom Air: From virtue springs each gen’rous deed Recitative: ’Tis kind, my friends Chorus: How strange their ends Recitative: On me your frowns Air: Ye ministers of justice Recitative: And must such beauty suffer! Air: Streams of pleasure ever flowing Duet: Thither let our hearts aspire Recitative: Ere this their doom is past Chorus: O love divine, thou source of fame 10-31 Les Arts.qxp_GP 10/21/15 1:18 PM Page 5

Snapshot By Ruth Smith

Though unsuccessful in its day, Theodora is now recognized as a masterpiece of unique beauty and intensity. Handel’s only dramatic oratorio set in post-biblical times is one of his boldest; it is both spiritually and intellectually challenging, and deeply moving. In fourth- century Antioch, the eastern capital of the ancient Roman empire, Princess Theodora is a leader of the persecuted Christian community. When she refuses to offer a sacrifice to the heathen gods, she is sentenced to serial rape in the public brothel. An officer in the Roman army, Didymus, who has been converted to by Theodora’s example and is in love with her, attempts to save her. When he is apprehended and tried for treach - ery, she offers to die for him. The oratorio ends with the martyrdom of both hero and hero - ine. With this bleak tragedy Handel, at the age of 65, achieves some of his most vigorous, lyrical, aspirational, and transcendent music.

—Copyright © 2015 by Lincoln Center for the Performing Arts, Inc.

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Synopsis Didymus persuades Septimius to let him into Theodora’s cell. Irene leads the threat - By Ruth Smith ened Christians in prayer for Theodora. Didymus enters Theodora’s cell and offers PART I to change clothes with her and take her Valens, governor of Antioch, decrees that place. Refusing such sacrifice, she asks all must offer a sacrifice to the Roman god - that instead he kill her, so preserving her desses in honor of the emperor’s birthday. integrity. He persuades her to trust in God He orders his officer Septimius to ensure and accept his plan. compliance. The populace endorse the decree, but a junior officer, Didymus, asks The Christians hold a vigil for Theodora, that loyal citizens whose conscience pre - and recount the story of Christ’s resuscita - vents them from obeying be excused. tion of the son of the widow of Nain: God’s Valens responds with fierce threats of power can restore even the dead. reprisal, seconded by the populace. Alone with Septimius, Didymus puts the case for PART III freedom of belief. Septimius, sympathetic Theodora returns to the Christians. They but loyal, wishes for a more tolerant world. pray for Didymus. But Theodora is grief- stricken at his endangering his life for her Among the persecuted Christians, Princess own, until news comes that he has been Theodora leads her co-religionists in captured and Valens has changed her sen - renouncing the world. News arrives of tence from prostitution to immediate Valens’s decree. Irene rallies the terrified death. Theodora joyfully goes to offer her - community in affirming their faith. self in Didymus’s place. Septimius comes to arrest them. Theodora declares for Christianity, knowing the risk; In Valens’s court Didymus defends his Septimius has to tell her that her punish - actions. Theodora runs in, demanding that ment is not death but enforced prostitution judgment fall on her. They attempt to per - until she recants. Praying rather to die, suade Valens to let them die for each Theodora is led away. Irene breaks the other. Septimius urges the onlookers to news to Didymus, who vows to rescue her, appeal for clemency, and they are and the Christians pray for him. awestruck, but Valens condemns both prisoners to death, which they welcome in PART II anticipation of a blissful shared immortal - Valens sends Septimius to tell Theodora ity. Led by Irene, their fellow Christians that she will be subjected to serial rape pray to be vouchsafed an equally transcen - unless she joins in the pagan festival of dent faith. Venus and Flora before the day ends. Theodora, in solitary confinement in the city brothel, is near to despair, but regains —Copyright © 2015 by Lincoln Center for the hope of a heavenly afterlife. Performing Arts, Inc. 10-31 Les Arts.qxp_GP 10/21/15 1:18 PM Page 7

Note on the Program The Martyrdom of Theodora and Didymus (1687, reprinted 1744), an admired novella By Ruth Smith by Robert Boyle, a pioneering English scien - tist and defender of Christian doctrine. Theodora , HWV 68 (1750) Born February 23, 1685, in Halle, Germany At a conservative estimate, there are over Died April 14, 1759, in London 50 verbal echoes of Boyle’s story in the libretto, but Morell’s alterations were thor - Among Handel’s 17 English oratorios, ough-going and complicating. Following Theodora is unique. The story is not from Boyle’s avowedly feminist agenda, Morell the Bible (it is set in fourth-century Roman greatly developed the character of Irene, imperial Syria), there are no heroic triumphs, from a weak cipher to the lynchpin of the and at the end there is no rejoicing. It was Christian community. Didymus is no longer too radical and complex for Handel’s own just a local Syrian converted to Christianity audience: Despite a fine cast, Theodora was by Theodora, but a high-achieving Roman a box-office disaster. But it gained admira - soldier on active duty. Most transformingly, tion from his musical friends and patrons, Septimius, in Boyle’s account just a and nowadays Theodora is prized as a land - bystander when the walk to their mark of dramatic oratorio, both deeply chal - execution, is made into a pivotal character of lenging and utterly accessible. the drama, giving rise to some of Handel’s most beautiful writing for the tenor voice. The unique subject matter is probably due to Handel’s librettist, , author Morell concluded his libretto with a pas - of Judas Maccabeus and sage that Handel left unset, in which and soon to be the librettist of . Septimius describes to the remaining Morell was an esteemed classicist, an ama - Christians the blissful confidence with teur poet who loved and absorbed the which Theodora and Didymus endured riches of English literature, and a friend of execution and how, inspired by their exam - writers and artists. Unlike many priests of ple, he and many other Roman bystanders his time, Morell was genuinely committed converted to Christianity. In ignoring this to preaching Christianity. Like many priests ending and moving straight from the mar - of his time, he admired the purity and sin - tyrs’ serene anticipation of heaven to the cerity of the early church, and the Christian hushed prayer of their fellow Christians still community of Theodora reflects that admi - in hiding—a chorus that ends the oratorio ration and purity, exactly captured by in G minor—Handel left unanswered the Handel in the Christians’ hymns. many questions about loyalty, duty, patrio - tism, self-sacrifice, toleration, materialism, Theodora’s story was first told by St. and justice raised in this most thought- in the fourth century. Morell took provoking of his works. many incidents in Ambrose’s narrative into the oratorio, even small details, such as The text is studded with quotations from the Theodora running to the courtroom to inter - New Testament, and Christian doctrine is rupt Didymus’s trial. Theodora featured too preached directly, for example in Irene’s in the principal accounts of Christian martyrs “Bane of Virtue.” Is the listener supposed to available to Morell: the Acta Sanctorum follow the oratorio’s version of Christianity, (Catholic) and John Foxe’s Book of Martyrs rejecting and condemning prosperity? Elite (Protestant). Morell also knew Pierre Londoners would have been confused by Corneille’s unsuccessful play about Theo - hearing this suggestion from Handel, who dora (1646), but his immediate source was only the previous year in had cele -

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brated successful commercialism, encour - Theodora’s case appalling—which drive aging them to rejoice that “gold now is the action and bring out their natures. common on our shore.” Most startlingly, Septimius, torn by duty and sympathy, Christianity is not incontrovertible truth. We faces choices nearer to common experi - hear the voice of the Enlightenment in ence, and his reactions form a bridge to Didymus’s appeal: “Ought we not to leave/ the feelings of the audience. Compassion The free-born mind of man still ever free,/ for others, the essential element of senti - Since vain is the attempt to force belief.” mental literature, pervades Theodora , This proposition would have been discon - most notably the role of Septimius. certing to Handel’s audiences, who were liv - ing in a nation-state where full rights of citi - Handel always excels in depicting heroines zenship were available only to members of under duress. But the unrelenting cruelty the Church of England. in the libretto of Theodora would not lead one to expect the astonishing warmth that Theodora has uncanny modernity, posing radiates from the score. Handel took up questions that are highly topical for us, too. the libretto’s challenges in a remarkable Is material comfort opposed to goodness; way. Theodora is about the power of should we limit consumption? Where does visionary faith aspiring to a better life. In duty lie? Is it right to withdraw from the this it is unlike both Handel’s Old world if one disapproves of it? How much Testament oratorios, whose characters freedom can be given to minority beliefs, aim for concrete results more often than freedom to disobey the law? Can soldiers spiritual states, and most of his legitimately disobey orders on grounds of arias, where music usually evokes present conscience? Should an oath of allegiance emotions rather than a wished-for state of give way to friendship? If there is an being. Theodora ’s music is so abundantly answer to these complexities within the lyrical because repeatedly it evokes not the oratorio, it would seem to lie in the word state that the characters are in, but the with which Theodora praises Didymus: state that they hope for. Theodora contains “the generous youth.” some of Handel’s most tender, most aspi - rational and most intense music. It is an In making generosity the key virtue in a overwhelming experience. multi-faith, multi-national, materialist world, Morell and Handel were writing in Ruth Smith is a leading authority on Handel’s the most respected theater genre of their oratorios. She is the author of Handel’s day. The heroes and heroines of “senti - Oratorios and Eighteenth-Century Thought mental” drama outdo each in other in coura - (Cambridge University Press). geous choices, imperiling their own safety for the sake of their loved ones or a higher cause. In Theodora the three Christian char - —Copyright © 2015 by Lincoln Center for the acters repeatedly face dilem mas—in Performing Arts, Inc. 10-31 Les Arts.qxp_GP 10/21/15 1:18 PM Page 9

Illumination

Sacrifice by Frederick Manning

Love suffereth all things, And we, Out of the travail and pain of our striving, Bring unto Thee the perfect prayer: For the lips of no man utter love, Suffering even for love’s sake.

For us no splendid apparel of pageantry— Burnished breast-plates, scarlet banners, and trumpets Sounding exultantly. But the mean things of the earth Thou has chosen, Decked them with suffering; Made them beautiful with the passion for rightness, Strong with the pride of love.

Yea, though our praise of Thee slayeth us, Yet love shall exalt us beside Thee triumphant, Dying that these live; And the earth again be beautiful with orchards, Yellow with wheatfields; And the lips of others praise Thee, though our lips Be stopped with earth, and songless. Yet we shall have brought Thee their praises Brought unto Thee the perfect prayer: For the lips of no man utter love, Suffering even for love’s sake.

For poetry comments and suggestions, please write to [email protected].

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Meet the Artists residence at The Juilliard School, where he gives master classes twice a year accom - panied by the musicians of Les Arts Florissants. Wishing to develop further his E

R work as a teacher, in 2002 Mr. Christie V U O

R created a biennial academy for young

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E singers called Le Jardin des Voix, whose D

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1 laureates rapidly embark on brilliant inter - 1 0 2 William Christie national careers. William Christie is the musical director and founder of Les Arts Florissants. A harpsi - Mr. Christie is a Grand Officier in the Ordre chordist, conductor, musicologist, and de la Légion d’Honneur, the Ordre des Arts teacher, his pioneering work has led to a et des Lettres, and the Ordre National du renewed appreciation of Baroque music, Mérite. He was elected to France’s notably of 17th- and 18th-century French Académie des Beaux-Arts in 2008, and is repertoire, which he has introduced to an honorary member of the Royal audiences across the globe. Mr. Christie Academy of Music in London. studied at Harvard and Yale Universities and has lived in France since 1971. The turning point in his career came in 1979, when he founded Les Arts Florissants. As director of this ensemble, he brings new interpretations of largely neglected or for - Katherine gotten repertoire to fruition. Watson Mr. Christie’s busy operatic career has Soprano Katherine Watson has sung exten - been marked by numerous collaborations sively with William Christie and Les Arts with renowned theater and opera direc - Florissants since winning a place on tors, including Jean-Marie Villégier, Robert Christie’s Le Jardin des Voix. Having estab - Carsen, and Alfredo Arias. He is greatly in lished herself as one of the leading sopra - demand at festivals including Glynde - nos of the younger generation, Ms. Watson bourne and at opera houses such as the was awarded a young artist award by the Metropolitan Opera and Opéra National de Classical Opera Company in 2011 and the Lyon. Recent productions include Glyndebourne John Christie Award in 2012. Rameau’s Platée in 2014, and Campra’s Ms. Watson has worked with conductors Les fêtes vénitiennes in 2015 at Paris’s including , , Harry Opéra Comique. In addition to his exten - Christophers, Emmanuelle Haïm, Nicholas sive discography with Harmonia Mundi, Kraemer, and . Warner Classics/Erato, and Classics, Mr. Christie’s most recent recordings were Ms. Watson made her debut at Glynde - released by Les Éditions Arts Florissants: bourne as Fairy and Nymph in The Fairy- , Le Jardin de Monsieur Queen and returned as Diana in Hippolyte Rameau —featuring the finalists in Le et Aricie. Other operatic roles have Jardin des Voix 2013—and Music for included Italienne/Phantome in Médée , Queen Caroline , a program of religious Virtù/Damigella in L’incoronazione di works by Handel. Poppea , Cassandra in Didone , Phani in Les Incas du Pérou , Iphis in Jephtha , and Diana Mr. Christie has also brought to the lime - in Actéon . Under the baton of Haïm, Ms. light several generations of singers Watson has sung Cleopatra’s arias from and instrumentalists. He is the artist in , a program of Rameau arias, 10-31 Les Arts.qxp_GP 10/21/15 1:18 PM Page 11

and a Monteverdi gala at the Festspielhaus repertoire she has sung the title roles of Baden-Baden. As a recitalist, she has per - Médée and , and Carmen at Opéra formed Mozart and Schubert songs at the de Lille in 2010. Her versatility is reflected Festspielhaus Baden-Baden, songs by in the roles she takes on, ranging from Alma Mahler in Hungary, and Schumann, young women such as Zerline, Argie, and Strauss, Poulenc, and Messiaen songs in Psyché, tragedians like Médée, Armide, recitals in the UK. Recent concerts include and Carmen, and trouser roles like Bach’s Jauchzet Gott in allen Landen! and Nicklausse, Sesto, and Cherubino. More Handel arias with Bicket and the English recently, she interpreted the roles of Concert. Other recent engagements Concepcion in L’heure espagnole at the include with the ensemble Teatro dell’Opera di Roma, Mélisande in Arcangelo at Zankel Hall, and in Pelléas et Mélisande at the Angers-Nantes Seville with the Hallé Orchestra at Opéra, Orphée in Orphée et Eurydice and Bridgewater Hall and with Polyphony at St. L’enfance du Christ at La Monnaie, and John’s Smith Square. Ms. Watson also Carmen at the Glyndebourne Festival. appears in Cantata pastorale per la nascita di Nostro Signore with Roger Norrington, Ms. d’Oustrac has worked with directors concerts with the Finnish Radio Symphony Laurent Pelly, Robert Carsen, Jérôme Orchestra, and with Ensemble Deschamps, Jean-Marie Villégier, and Pygmalion at Opéra National de Bordeaux. conductors , John Eliot Gardiner, Myung-Whun Chung, and Ms. Watson’s recordings include Bach’s Christopher Hogwood, among others. She with Stephen Layton performs regularly with the ensemble and the Orchestra of the Age of Enlight- Amarillis, and has appeared in recital since enment, and Monteverdi madrigals with 1994 with pianist Pascal Jourdan. In 2014 a Jonathan Cohen and Arcangelo (Hyperion), CD of their collaboration, L’Invitation au as well as DVD recordings of Cassandra in Voyage: Mélodies Françaises , was La Didone (Opus Arte), and Virtù/Damigella released by Ambrony. Ms. d’Oustrac has in L’incoro nazione di Poppea (EMI). received awards that include the Prize Pierre Bernac (1999), Radios Francophones (2000), Victoires de la Musique (2002), and Gramophone Editor’s Choice for a release on Haydn with Aline Zilberach (2010).

Upcoming projects feature the title roles Stéphanie of L’Aiglon at the Opéra de Marseille, d’Oustrac Charpentier’s Médée at the Opernhaus Mezzo-soprano Stéphanie d’Oustrac was a Zurich, and Carmen at the Aix-en-Provence student of the Conservatoire National Festival. Ms. d’Oustrac will also perform Supérieur de Lyon when William Christie the roles of Irene in Theodora at Théâtre offered her the roles of Médée in Thésée des Champs-Élysées and in an interna - and Psyché in Les Métamorphoses de tional tour, Béatrice in Béatrice et Bénédict Psyché . Ms. d’Oustrac has performed at La Monnaie and at the Glyndebourne Baroque repertoire with such conductors Festival, as well as Concepcion in L’heure as Jean-Claude Malgoire, Garrido, espagnole , and the Cat and the Squirrel in and Hervé Niquet, and in the Classical L’enfant et les sortilèges at La Scala.

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N Philippe O M I

S Jaroussky Kresimir Spicer Born in 1978, Philippe Jaroussky has estab - Born in Croatia, tenor Kresimir Spicer’s inter - lished himself as one of the most admired national breakthrough took place at the Aix- countertenors of his generation. He has en-Provence Festival in 2000 with his per - explored a vast Baroque repertoire, from formance of Ulisse in Monteverdi’s Il ritorno the refinement of 17th-century Italian d’Ulisse in patria under William Christie. The works with Monteverdi, Sances, and success of this production resulted in a tour Rossi, to the staggering brilliance of to Lausanne, Bordeaux, Paris, London, New Handel and Vivaldi arias. Mr. Jaroussky has York, and Vienna, as well as an acclaimed worked with renowned period-instrument DVD recording. With René Jacobs he orches tras such as L’Arpeggiata, Ensemble appeared as Ulisse in Berlin, in Geneva with Matheus, Les Musiciens du Louvre, Le Attilio Cremonesi, and at the Frankfurt Concert d’Astrée, and Europa Galante, and Opera under Paolo Carigniani. with conductors including Christina Pluhar, Jean-Christophe Spinosi, Marc Minkowski, Mr. Spicer regularly appears in major opera Jérémie Rhorer, Emmanuelle Haïm, and houses, concert halls, and festivals. Fabio Biondi. With pianist Jerôme Ducros, Highlights include Festival de Beaune with he looked beyond the Baroque to fin- Christie in Handel’s , Aeneas in de-siècle French song, as well as con- Purcell’s Dido and Aeneas at the Baden- temporary music such as Sonnets de Baden Festival with Thomas Hengelbrock, Louise Labé , composed for him by Marc- and in Mozart’s Il re pastore at André Dalbavie. the . He debuted at the Zurich Opera with Marc Minkowski in Mr. Jaroussky has been praised for perfor - Handel’s Il trionfo del Temeo e del mances in concert halls that include the Disinganno and in Salieri’s La grotta di Théâtre des Champs-Élysées, Théâtre du Trofonio . In Zagreb he sang the title role in Châtelet, Opéra de Lyon, and Opéra de Monteverdi’s Orfeo under Hervé Niquet Montpellier in France; London’s Barbican and Eisenstein in Die Fledermaus , and in and Southbank Centres; Palais des Beaux Strasbourg the title role in Oedipus rex Arts in Brussels; Konzerthaus in Vienna; and Le Pecheur in Le rossignol . At the Berlin Philharmonie; Madrid’s Teatro Real; 2014 Baden-Baden Festival, Mr. Spicer and Carnegie Hall. He is signed exclusively appeared with Berliner Philharmoniker to Erato and has received numerous under Simon Rattle as Ballet Master in awards for his recordings with the label, Puccini’s Manon Lescaut and, as substi - including a Midem Classical Award in 2009 tute for Rolando Villazon, as Alessandro in for his tribute to Carestini (with Le Concert a concert version of Mozart’s Il re pastore d’Astrée and Emmanuelle Haïm) and 2014 at the Verbier Festival. International Classical Music Awards for best Baroque Vocal Album and Best Opera Equally at home on the concert platform, Album, for his Stabat Mater with Julia Mr. Spicer has performed at the Leipzig Lezhneva and I Barocchisti. Mr. Jaroussky Gewandhaus under Herbert Blomstedt, at is also the recipient of several French Amster dam’s Royal Concertgebouw with Victoires de la Musique awards and an Christian Zacharias, and with Yuri Termina - Echo Klassik Award in 2008. kov, Myung-Whun Chung, and Kent Nagano. 10-31 Les Arts.qxp_GP 10/21/15 1:18 PM Page 13

Champs-Élysées, and concert performan- ces of Theodora with Les Arts Florissants in New York and at the Royal Concertgebouw. He will debut as Sarastro in Die Zauberflöte , Banquo in Macbeth , and Old Hebrew in et Dalila for Theater Basel. Callum Thorpe -baritone Callum Thorpe began his musical training as a chorister at Coventry Cathedral, England, before pursuing a sci - entific career, obtaining a doctorate in immunology from Imperial College London. He subsequently returned to music and Sean Clayton studied opera at the Royal Academy of Music with Mark Wildman. Graduating with Tenor Sean Clayton trained at the distinction in 2009, Mr. Thorpe received the Birmingham Conservatoire in the UK with Harry Fisher Memorial Prize, and in the Julian Pike and continued his studies at same year received the Glyndebourne on London’s Royal College of Music with Neil Tour Donald A. Anderson Award. Mackie. In 2009 he was invited to be part of Le Jardin des Voix, the young artists pro - Notable operatic engagements include gram of Les Arts Florissants directed by Masetto in Don Giovanni for Glyndebourne William Christie, and he has since sung on Tour. In a flourishing collaboration with several roles with the ensemble. He has Les Arts Florissants, Mr. Thorpe has per - also sung for numerous choral projects, formed The Fairy-Queen on tour in Paris, including music of Scarlatti and Charpen- Caen, and New York with William Christie; tier. Since 2011 he has been a part of Les The Indian Queen with Paul Agnew; and Arts Florissants’ Monteverdi madrigal pro - Phobétor in Atys , among many others. ject directed by Paul Agnew, performing Recent engagements include Antinoo in Il the eight books all over Europe. ritorno d’Ulisse in patria, Jupiter in Platée (Early Opera Company), the world premiere Recent and current engagements include of Shell Shock (La Monnaie), Plutone in Démocrite in Campra’s Les fêtes véniti - L’Orfeo (–Covent ennes (Opéra Comique, Paris), Berger in Garden), and Gibarian in the world pre - Rameau’s La naissance d’Osiris (Théâtre miere of Dai Fujikura’s Solaris in Paris, Lille, de Caen), Berger in Charpentier’s Acteon , and Lausanne. Summer in Purcell’s The Fairy-Queen (Glyndebourne Opera), Secrecy in The In concert Mr. Thorpe has sung much of the Fairy-Queen (Aix-en-Provence Festival), major oratorio repertoire and regularly per - Blindman in a stage creation of Rossini’s forms throughout the UK and internation - Petite messe solonnelle (Nico and the ally. Performance highlights include debuts Navigators, Berlin), and Shepherd in Orfeo at Tel Aviv Opera House, performing and Sailor in Dido and Aeneas (English Handel’s with the Jerusalem Touring Opera). Equally at home on Sym phony Orchestra under Laurence opera and concert stages, Mr. Clayton Cumm ings, and Handel’s and Acis has performed all over the world, including and Galatea at the . at Opéra Garnier and Opéra Comique Engagements in 2015–16 include the role in Paris, Opéra National de Bordeaux, the of Valens in a fully staged production of Bolshoi Theatre in Moscow, Mariinsky Handel’s Theodora at the Théâtre des Theatre in St. Petersburg, Royal Albert

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Hall for the BBC Proms, and London’s and The Juilliard School has allowed a fruit - Barbican Centre. ful artistic exchange between the U.S. and France since 2007. Les Arts Florissants The vocal and instrumental ensemble Les Les Arts Florissants receives financial sup - Arts Florissants was founded in 1979 by port from the French Ministry of Culture harpsichordist and conductor William and Communication. Since January 2015, Christie. Named for a short opera by Marc- the ensemble has been artists in residence Antoine Charpentier, the ensemble special - at the Philharmonie de Paris. After a 25- izes in Baroque music on period instru - year partnership, this is the final year that ments and has played a pioneering role in Les Arts Florissants will be supported by the revival of long neglected French the City of Caen and the Région Basse- Baroque repertoire. Normandie.

Directed by Mr. Christie, Les Arts White Light Festival Florissants has enjoyed great success on I could compare my music to white light, the opera stage, with notable productions which contains all colors. Only a prism can that include works by Rameau, Handel, divide the colors and make them appear; Lully and Charpentier, and Monteverdi. The this prism could be the spirit of the lis - ensemble enjoys an equally high profile in tener. —Arvo Pärt. Celebrating its sixth the concert hall, giving around 100 con - anniversary, the White Light Festival is certs and opera performances in France Lincoln Center’s annual exploration of music each season. In addition to performances and art’s power to reveal the many dimen - of Theodora at Lincoln Center, Amster - sions of our interior lives. International in dam’s Concertgebouw, and Théâtre des scope, the multidisciplinary Festival offers a Champs-Élysées, the current season broad spectrum of the world’s leading includes Lully and Molière’s Monsieur de instrumentalists, vocalists, ensembles, Pourceaugnac , a reprise of Campra’s Les choreographers, dance com panies, and fêtes vénitiennes at Théâtre du Capitole in directors complemented by conversations Toulouse and the Brooklyn Academy of with artists and scholars and post-perfor - Music, Bach’s B-minor Mass, Mozart’s Il re mance White Light Lounges. pastore headed by Rolando Villazon, and a program of Bach cantatas. Lincoln Center’s Great Performers Celebrating its 50th anniversary, Lincoln Les Arts Florissants has produced nearly Center’s Great Performers offers classical 100 recordings for Harmonia Mundi, and contemporary music performances Warner Classics/Erato, and Virgin Classics. from the world’s outstanding symphony Its own recording label, Les Éditions Arts orchestras, vocalists, chamber ensembles, Florissants, has released five discs to date. and recitalists. Since its initiation in 1965, Les Arts Florissants has also launched sev - the series has expanded to include signifi - eral education programs for young musi - cant emerging artists and premieres of cians, including Le Jardin des Voix, which groundbreaking productions, with offerings has brought a substantial number of new from October through June in Lincoln singers into the limelight. The Arts Flo Center’s Geffen Hall, Alice Tully Hall, Juniors program, launched in 2008, and other performance spaces around New enables conservatory students to join the York City. Along with lieder recitals, Sunday orchestra and chorus for the duration of a morning coffee concerts, and films, Great production. In addition, the partnership Performers offers a rich spectrum of pro - between Mr. Christie, Les Arts Florissants, gramming throughout the season. 10-31 Les Arts.qxp_GP 10/21/15 1:18 PM Page 15

Lincoln Center for the Performing Performers, Lincoln Center Festival, Arts, Inc. Lincoln Center Out of Doors, Midsummer Lincoln Center for the Performing Arts Night Swing, the Mostly Mozart Festival, (LCPA) serves three primary roles: presen - and the White Light Festival, as well as the ter of artistic programming, national leader Emmy Award–winning Live From Lincoln in arts and education and community rela - Center , which airs nationally on PBS. As tions, and manager of the Lincoln Center manager of the Lincoln Center campus, campus. A presenter of more than 3,000 LCPA provides support and services for the free and ticketed events, performances, Lincoln Center complex and the 11 resi - tours, and educational activities annually, dent organizations. In addition, LCPA led a LCPA offers 15 programs, series, and festi - $1.2 billion campus renovation, completed vals including American Songbook, Great in October 2012.

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 Kate Monaghan, Associate Director, Programming Mauricio Lomelin, Producer, Contemporary Programming Julia Lin, Associate Producer Regina Grande, Assistant to the Artistic Director Luna Shyr, Programming Publications Editor Madeleine Oldfield, House Seat Coordinator Kathy Wang , House Program Intern

For the White Light Festival Matt Frey, Lighting Design Josh Benghiat, Lighting Design Associate Megan Young, Supertitles Tatiana Stola, Company Manager

For Theodora Sophie Decaudavenne, Language Coach François Bazola, Chorus Master Florian Carré, Musical Assistant and Chef de Chant Marie Van Rhijn, Répétiteur Roberta Tagarelli, Répétiteur

WhiteLightFestival.org 10-31 Les Arts.qxp_GP 10/21/15 1:18 PM Page 16 E R V U O R

S I N E D Les Arts Florissants William Christie, Musical Director and Founder Paul Agnew, Associate Musical Director and Associate Conductor Jacqui Howard, Artistic Director

Choir Soprano Mezzo-soprano Tenor Bass Solange Añorga Alice Gregorio Thibaut Lenaerts Anicet Castel Maud Gnidzaz Violaine Lucas Jean-Yves Ravoux Laurent Collobert Cécile Granger Bruno Renhold Yannis Francois Brigitte Pelote Countertenor -Loughlin Smith Julien Neyer Juliette Perret Théophile Alexandre Simon Dubois Virginie Thomas Nicolas Domingues John Alvaro Vallés Sheena Wolstencroft Bruno Le Levreur Jérémie Delvert Leila Zlassi

Orchestra Violin I Viola Bass Trumpet Florence Malgoire, Simon Heyerick, Jonathan Cable* Jean-François Madeuf Solo Violin Section Leader Carver Gilles Rapin Myriam Gevers Dierdre Dowling Sophie Gevers- Lucia Peralta Flute Percussion Demoures Kayo Saito Serge Saitta Marie-Ange Petit Catherine Girard Olivier Riehl Liv Heym Cello Archlute Emmanuel Resche David Simpson, Oboe Thomas Dunford* Christophe Robert Section Leader* Pier Luigi Fabretti, Elena Andreyev Section Leader Harpsichord/Organ Violin II Ulrike Brütt Machiko Ueno Béatrice Martin* Sue-Ying Koang, Paul Carlioz Section Leader Damien Launay * Basso Continuo Bernadette Charbonnier Alix Verzier Philippe Miqueu Martha Moore Niels Coppalle Patrick Oliva Michèle Sauvé Satomi Watanabe