CORO CORO HAYDN Symphony No. 99 & Harry Christophers & Mireille Asselin soprano, Catherine Wyn-Rogers mezzo-soprano, cor16176 Jeremy Budd tenor, Sumner Thompson baritone “What Harry is particularly good at is nurturing the natural beauty of the instruments and voices and, indeed, acoustic that are in front of him. It’s very handsome.” bbc radio 3 record review HAYDN HAYDN Symphonies Nos. 49 and 87 London Symphony MOZART: Sinfonia Concertante No. 100 Harry Christophers & Handel and Haydn Society cor16168 Aisslinn Nosky violin, Max Mandel viola “Christophers once again demonstrates that his 203-year-old band Nelson Mass are in rude health” gramophone

HAYDN Harry Christophers Harry Christophers & Handel and Haydn Society Handel and Haydn Society Sarah Tynan soprano, Jeremy Ovenden tenor, Matthew Brook bass cor16135 “Harry Christophers, the artistic director, led a performance that Mary Bevan was brilliant… From the opening through the final, buoyant chorus, Christophers emphasized both the music’s dramatic contours and its Catherine Wyn-Rogers almost boundless well of character.” the boston globe Jeremy Budd To find out more about CORO and to buy CDs visit Sumner Thompson

www.thesixteen.com cor16181 ne of the many delights of being Artistic Director sublimity!” For this performance both the bass drum and the Turkish crescent were made Oof America’s oldest continuously performing specially, the former modelled on a Turkish davul and the latter on an instrument in Boston’s arts organisation, the Handel and Haydn Society, is Museum of Fine Arts. that I am given the opportunity to present most of Four years later, Haydn wrote arguably his greatest work, (Mass in troubled our concert season at Boston’s glorious Symphony times); and troubled times they were. was sweeping through Austria, but in August Hall. Built in 1900, it is principally the home of the 1798 at the Battle of Aboukir he was defeated by Admiral Horatio Nelson. A month later Boston Symphony Orchestra, but it has been our Haydn’s Mass was given its premiere, and from then on the nickname ‘Nelson Mass’ became primary performance home since 1900 as well, and Borggreve Marco Photograph: indelible. As a Mass setting, it is dramatic and sophisticated, but it is also very personal. Of it is considered by many, with some justification I the soloists, the soprano has the lion’s share and it is she who initiates most of the drama, sung would add, to be one of the finest concert halls in the gloriously here by Mary Bevan. If I were to pick out one sublime moment, it would be towards world. It is that classic ‘shoebox style’ reminiscent of the end of the Credo where she sings softly and radiantly “et vitam venturi saeculi” (and the the Musikverein in Vienna; the acoustics are quite life of the world to come) over a sustained almost plaintive cello. Even the final Dona nobis superb and, despite its size - c.2500 capacity - perfect pacem, although it is triumphant, is more about Haydn pleading for peace; he demands it. for playing on period instruments. I feel very privileged to have taken this august Society into its Bicentennial; yes, the Handel On this live recording, we present a programme devoted to our namesake, Haydn. Having and Haydn Society was founded in 1815. Handel was the old, Haydn the new (he had just completed our cycle of his Paris symphonies (COR16104, COR16113, COR16139, COR16148, died in 1809), and what we can do is continue to perform the music of the past but strip COR16158 & COR16168), we are now focusing on some of his outstanding Masses, each set away the cobwebs and reveal it anew. This recording of music by Haydn was made possible alongside a symphony reflecting the sentiments of the Mass. We began with Symphony No. by individuals who are inspired by the work of the Handel and Haydn Society. Our sincere 99 and the Mass in B flat major more commonly known as the Harmoniemesse (COR16176). thanks go to all of them. Haydn was at the peak of his career at this time and in the midst of writing his 12 ‘London’ symphonies as well as his six late Masses. With the he had access to larger orchestral forces and he certainly made the most of it.

Symphony No. 100 was billed the ‘Military’ for its premiere in 1794; the Turkish wars had recently ended but this was not Haydn glorifying war, it was more about him reflecting on the horrors of war. Yes, the battery of Turkish percussion instruments he calls for in the second and final movements are exotic, but they are there to serve as a warning. One critic This recording has been made possible through the generous support of the following: at an early performance said it evoked “the hellish roar of war increased to a climax of horrid Peacewoods Charitable Fund Peter G. Manson & Peter A. Durfee

2 3 (1732–1809) Joseph Haydn (1732–1809) Symphony No. 100 in G major, ‘Military’, Hob.I:100 Symphony No. 100 in G major, ‘Military’, Hob.I:100 Missa in angustiis, ‘Nelson Mass’, Hob.XXII:11 1 Adagio – Allegro 8.02 2 Allegretto 5.25 The death in 1790 of Prince Nikolaus invite Haydn to become resident composer 3 Menuet & Trio: Moderato 5.44 Esterházy brought an important change for his concert series in Hanover Square. in the life of his court music director (or Haydn accepted, and by early 1791 was 4 Finale: Presto 5.35 Kapellmeister), Joseph Haydn. Haydn had in England. The personal reactions of this happily served the Esterházy family for wheelwright’s son to the celebrity status Missa in angustiis, ‘Nelson Mass’, Hob.XXII:11 nearly 30 years, and, as he approached the he enjoyed in this foreign land can only 5 Kyrie 4.57 age of 60, had scarcely ventured outside be guessed, but it is clear that the whole 6 Gloria in excelsis deo 3.46 the 50-mile triangle between the Prince’s adventure of the visit, which lasted until the 7 Qui tollis 4.15 Viennese residence and his country palaces summer of 1792, and of a second that he 8 Quoniam tu solus sanctus 3.00 at and Eszterháza. Nikolaus’s made in 1794-5, had a rejuvenating effect successor Anton did not share his that was to fuel his creative powers not only 9 Credo in unum Deum 1.37 father’s enthusiasm for music, however, while he was there, but for the next decade bl Et incarnatus est 4.09 and disbanded the rest of the court as well. bm Et resurrexit 3.55 music, retaining Haydn only in a largely Central to Haydn’s composing activities in bn titular capacity. Sanctus 2.20 England were his 12 ‘London’ symphonies bo Benedictus 6.19 It was now, as public eagerness throughout (Nos. 93-104), state-of-the-art examples of bp Agnus Dei qui tollis peccata mundi 2.47 Europe to see the man acknowledged as the the genre which carefully catered to the taste bq Dona nobis pacem 2.51 greatest living composer grew ever stronger, of their intended audience. Haydn wrote to that Johann Peter Salomon, a London-based a friend that he had had to “change many Total running time 64.47 impresario, violinist and orchestra-leader, things for the English public”, and though saw his chance and hastened to Austria to he did not enlarge on this we may guess

4 5 that he was referring to the scale of his may well be called the hellish roar of war the 1750s. In the light of all this, he could with many of its territories occupied by the new symphonies, the gestural breadth that increased to a climax of horrid sublimity! have been forgiven if in his final years he armies of Napoleon. A dark-hued, at times admitted both a wealth of appealing detail Which, if others can conceive, [Haydn] alone had contented himself with composing a few even fearfully sombre aspect – partly created and a joy in the sonorities of Salomon’s can execute.” trifles, happy to live off the reputation he had by the unusual scoring of , drums, large orchestra. A distinctly popular element made for himself in an astonishingly vast and solo organ and strings, and most in evidence also seems calculated to appeal; ever since The rest of the symphony is typically varied corpus of works. in the powerful Kyrie and the startlingly Handel, the English had wanted their music Haydnesque: the wide-ranging first menacing fanfares that interrupt to be grand and sublime, but they also liked movement opens with a slow introduction Yet, in his late sixties, Haydn was still full of the restless course of the Benedictus – is one it plain-speaking and attractive. Haydn in that encompasses a brush with the sinister, adventure. In London he had heard Handel’s of the work’s most striking characteristics, his genius gave them all of these. before a chirpy theme for high woodwind oratorios performed on a giant scale in and cannot have failed to turn its first sets the music off into a muscular and , and had drawn from listeners’ minds to thoughts of war. Yet, Symphony No. 100 was composed for invigorating Allegro; the third movement them the inspiration to compose two rich and if it did, there is also music here of a Haydn’s second London visit, and was first is a genial Menuet, but one in which the uplifting oratorios of his own, The Creation cheerfulness and celebratory optimism that heard in March 1794. It was an immediate pleasantries are briefly interrupted by a and The Seasons. And in his principal must have struck just as resonant a chord success with the public, who apparently -led outburst in the central Trio remaining duty for the Esterházys – the within them, for only a few days before the responded with “absolute shouts of applause” section; and the Finale runs a brilliant and apparently unpromising one of composing a first performance, the news had reached to the second movement, a perky march eventful course with its springy rondo theme Mass to mark the nameday each September Vienna of Admiral Nelson’s unexpected originally composed as part of a harmless – “a kitten”, wrote the early 20th-century of the Prince’s wife – he found a new vehicle and audacious destruction of the French divertimento for the King of Naples, but essayist Donald Tovey, “until Haydn shows it for his boundless creative energy and, fleet at Aboukir. When Nelson visited the which here picks up a battery of percussion to be a promising young tiger”. between 1796 and 1802, produced six sacred Esterházys at Eisenstadt two years later (the instruments before darkening into what masterpieces of truly symphonic breadth Hero of the Nile swapping a watch for one of is apparently a harrowing vision of the By the last years of the 18th century, Haydn and vigour. Haydn’s old pens), this Mass was performed battlefield. Certainly the correspondent was basking in the esteem and recognition he especially for him, thereby acquiring its now of the Morning Chronicle, reporting on a enjoyed as Europe’s most venerated composer. The Missa in angustiis is the third of these more familiar nickname of the ‘Nelson Mass’. subsequent performance, felt the force of Life was good: his London trips had made six Masses, composed just after The Creation it: “It is the advancing to battle; and the him a relatively wealthy man; his professional in the summer of 1798. Haydn’s own Latin Above all, however, this is a work that march of men, the sounding of the charge, obligations to the Esterházys continued to title means ‘Mass in difficult circumstances’, achieves greatness on its own terms, showing the thundering of the onset, the clash of be undemanding; and he had taken a town and no doubt refers to the war-gripped the kind of compositional skill and lively arms, the groans of the wounded, and what house in Vienna for the first time since condition in which Austria then found itself, effusiveness that only Haydn could have

6 7 managed in the period between the death of and substantial slow introduction with fugal Mozart and the rise of Beethoven. Among music of unashamed gaiety. its delights are a stupendous fugue at the Haydn’s late Masses have sometimes been end of the Gloria on the words ‘in gloria criticised for alleged frivolity, yet in the wide- Dei Patris’, quickly followed at the start ranging contrasts of the Missa in angustiis of the Credo by a 78-bar canon, with the there could be no truer demonstration not sopranos and tenors faithfully shadowing only of this unassuming sexagenarian’s deep the altos and basses; a ravishingly warm and and abiding faith, but also of his grateful soothing Largo movement at ‘Et incarnatus Chris Petre-Baumer Photograph: awareness of his own talents. est’; and an Agnus Dei that sees no problem in ending the work by following a serious © Lindsay Kemp

About the Instruments Haydn calls for bass drum, triangle and point of view of an 18th-century London cymbals in his janissary band and, though percussionist trying their best to make a not indicated in the score, it is also traditional composer (and conductor) happy. to add a Turkish crescent, improvised by the player. While the exact sizes and The bass drum is based on the typical construction of drums and cymbals used dimensions of a Turkish duval. This type of Triangle · bass drum · cymbals · Turkish crescent · timpanist at the time would have varied from region drum is still found across the Middle East to region, we chose instruments inspired and produces a distinctive high and low high. Our drum is slightly deeper than it is The Turkish crescent is a unique instrument by what would have likely been used by the sound due to its construction and playing wide (24x26 inches) so it lends itself well to in that its impact is perhaps more visual than military bands of the 18th-century Ottoman technique. A player uses one heavy stick and this playing technique, but is constructed in sonic. Essentially, it is a long and elaborately Empire. Assuming that Haydn intended to one light stick (typically made of cane) on a style closer to the rope-tensioned drums decorated stick with bells arranged around evoke these sounds rather than replicate, opposite sides to create two different tones; that would have been common in London ornate brass fixtures. While there is no we tried to approach the music from the one deep and full and the other crisp and during the 18th century. prescribed way of playing this, it is usually

8 9 shaken, twisted or struck vertically on the a darker tone with less sustain overall. floor. The instrument we used is based Finding older, yet still playable cymbals is HAYDN on the one at the Museum of Fine Arts in a rare thing indeed, a sort of Holy Grail Missa in angustiis, ‘Nelson Mass’, Hob.XXII:11 Boston. Both the crescent and bass drum for percussionists. We estimate this pair Mary Bevan soprano, Sonja DuToit Tengblad soprano II (Kyrie only), were especially made for this production by to be anywhere from 75 to 100 years old. Catherine Wyn-Rogers mezzo-soprano, Jeremy Budd tenor, Sumner Thompsonbaritone Bill Whitney of Calderwood Percussion. What they share with even older cymbals is the centuries-old ‘secret Zildjian formula’, In contrast to the brilliant, singing famously handed down from generation to 5 instruments of today, the triangles of the KYRIE generation, since the company’s founding early classical period would have sounded Kyrie eleison. Lord, have mercy on us. in 1623. This pair was obtained quite by darker with generally less sustain and closer Christe eleison. Christ, have mercy on us. accident, bought as part of a cheap and in sound and construction to a Cajun Kyrie eleison. Lord, have mercy on us. dreadfully beaten-up drum set. At the triangle. This is probably because they were time, the cymbals were covered in dust often made from repurposed iron or steel as 6 and unrecognisable as vintage instruments. GLORIA in excelsis Deo opposed to the engineered alloys of today. In fact, they were being used by the Gloria in excelsis Deo. Glory be to God on high. Classical triangles often had several metal owner as hi hat cymbals! In deciding to Et in terra pax hominibus bonae voluntatis. And on earth peace to men of good will. rings attached resulting in a more articulate use these particular instruments for this Laudamus te, benedicimus te, We praise You, we bless You, attack with a slight ‘rattling’ sound after the project, we were guided by the words of adoramus te, glorificamus te. we worship You, we glorify You. note is struck. author, historian, and curator of musical Gratias agimus tibi We give thanks to You Jonathan Hess instruments, Jeremy Montague, from his propter magnam gloriam tuam. for Your great glory. definitive work on the matter, Timpani & Domine Deus, rex caelestis, Lord God, heavenly King, Percussion: “The cymbals [of the classical Deus Pater omnipotens. God the Father almighty. period] were smaller and thicker than those Domine Fili unigenite, Jesu Christe. O Lord, the only-begotten Son, Jesus Christ. The cymbals used for this recording were Domine Deus, Agnus Dei, Filius Patris. Lord God, Lamb of God, Son of the Father. a pair of 14-inch ‘Old K’ Zildjians, hand used today, though larger and thinner than the medieval instruments. The sound was hammered, forged in Istanbul sometime 7 in the early- to mid-20th century. These more of a clang than the modern clash and it Qui tollis cymbals differ significantly from their was much shorter in duration”. Qui tollis peccata mundi, You who take away the sins of the world, modern American counterparts, possessing Robert Schulz miserere nobis. have mercy upon us. Qui tollis peccata mundi, You who take away the sins of the world, 10 11 suscipe deprecationem nostram. receive our prayer. bl Et incarnatus est Qui sedes ad dexteram Patris, You that sit at the right hand of the Father, Et incarnatus est de Spiritu Sancto And was incarnate by the Holy Ghost miserere nobis. have mercy upon us. ex Maria Virgine et homo factus est. of the Virgin Mary and was made man. 8 Crucifixus etiam pro nobis, And was crucified also for us Quoniam tu solus sanctus sub Pontio Pilato; under Pontius Pilate; Quoniam tu solus Sanctus, For You alone are holy, passus et sepultus est. He suffered and was buried. tu solus Dominus, You alone are the Lord. Tu solus Altissimus, Jesu Christe. You alone are the most high, Jesus Christ. bm Cum Sancto Spiritu With the Holy Spirit Et resurrexit in gloria Dei Patris. in the glory of God the Father. Et resurrexit tertia die, And the third day He rose again Amen. Amen. secundum scripturas, according to the scriptures; et ascendit in caelum, and ascended into heaven 9 sedet ad dexteram Dei Patris, and is seated at the right hand of God the Father, CREDO in unum Deum et iterum venturus est cum gloria and He will come again with glory Credo in unum Deum I believe in God iudicare vivos et mortuos, to judge both the living and the dead; Patrem omnipotentem, the Father almighty, cuius regni non erit finis. whose kingdom shall have no end. factorem caeli et terrae, maker of heaven and earth, Et in Spiritum Sanctum, And I believe in the Holy Ghost, visibilium omnium et invisibilium. and of all things visible and invisible. Dominum et vivificantem, the Lord and giver of life, Et in unum Dominum, Jesum Christum, And in one Lord Jesus Christ, qui ex Patre Filioque procedit; who proceeds from the Father and the Son; Filium Dei unigenitum, the only begotten Son of God, qui cum Patre et Filio simul who with the Father and Son together et ex Patre natum ante omnia saecula. begotten of His Father before all worlds. adoratur et conglorificatur; is worshipped and glorified; Deum de Deo, lumen de lumine, God of God, light of light, qui locutus est per Prophetas. He has spoken through the Prophets. Deum verum de Deo vero, very God of very God, Et unam sanctam catholicam And I believe in one holy, catholic genitum, non factum, begotten, not made, et apostolicam ecclesiam. and apostolic church. consubstantialem Patri, being of one substance with the Father, Confiteor unum baptisma I acknowledge one baptism per quem omnia facta sunt. by whom all things were made. in remissionem peccatorum. for the remission of sins. Qui propter nos homines Who for us men Et expecto resurrectionem mortuorum And I look for the resurrection of the dead, et propter nostram salutem and for our salvation et vitam venturi saeculi. and the life of the world to come. descendit de caelis. came down from heaven. Amen. Amen.

12 13 bn SANCTUS Handel and Haydn Society Orchestra Sanctus, sanctus, sanctus Holy, holy, holy Harry Christophers Artistic Director Dominus Deus Sabaoth. Lord God of hosts. Pleni sunt caeli et terra gloria tua. Heaven and earth are full of Your glory. Violin I Cello Horn Hosanna in excelsis. Hosanna in the highest. Aisslinn Nosky * Guy Fishman § Todd Williams § Concertmaster Chair Nancy & Richard Lubin Chair Grace & John Neises Chair funded by Rhoda & Paul Joss Sarah Freiberg Elisabeth Axtell bo BENEDICTUS Guiomar Turgeon Colleen McGary-Smith Fiona Hughes Shirley Hunt Trumpet Benedictus qui venit in nomine Domini. Blessed is He that comes in the name of the Lord. Jane Starkman Jesse Levine § Hosanna in excelsis. Hosanna in the highest. Valerie Gordon Bass Bruce Hall Abigail Karr Heather Miller Lardin § Paul Perfetti Amelia Peabody Chair Francis Liu Timpani bp Sue Yelanjian AGNUS DEI qui tollis peccata mundi Violin II Jonathan Hess § Flute Barbara Lee Chair, Agnus Dei, Lamb of God, Adriane Post § Dr. Lee Bradley III Chair Emi Ferguson § in memory of John Grimes qui tollis peccata mundi, who takes away the sins of the world, Maureen Murchie miserere nobis. have mercy on us. Percussion Jesse Irons Debra Nagy § Chloe Fedor Desiree Glazier-Nazro Agnus Dei, Lamb of God, Chair funded in part by Jessica Park Thomas Schmidt qui tollis peccata mundi. who takes away the sins of the world. Dr. Michael Fisher Sandler Robert Schulz Rebecca Nelson Stephen Bard Dona nobis pacem. Grant us peace. Krista Buckland Reisner Gregory Simonds Clarinet Viola Organ Diane Heffner§ Ian Watson bq Patrick Jordan § Thomas Carroll Dona nobis pacem Chair funded in memory Chair funded in perpetuity in memory Agnus Dei, Lamb of God, of Estah & Robert Yens Jenny Stirling Andrew Schwartz § of Mary Scott Morton Dona nobis pacem. Grant us peace. Anne Black Stephanie Corwin Joy Grimes * = concertmaster § = principal

14 15 Handel and Haydn Society Chorus Harry Christophers Funded in perpetuity by Jane and Wat Tyler Appointed Artistic Director of the Handel and Haydn Society (H+H) in 2008, Harry Soprano Alto Tenor Bass Christophers began his tenure with the 2009- Jessica Cooper Cody Bowers Jonas Budris Glenn Billingsley 2010 season and has conducted H+H each

Cassandra Extavour Doug Dodson Colin Campbell Woodrow Bynum season since September 2006, when he led Rosner Stu Photograph: Maggie Finnegan Katherine Growdon Marcio de Oliveira Ryne Cherry a sold-out performance in the Esterházy Elise Groves Catherine Hedberg Ethan DePuy Jacob Cooper Palace at the Haydn Festival in Eisenstadt, MaryRuth Lown Miranda Loud Eric Christopher Perry Bradford Gleim Austria. Leading up to the organisation’s Elisabeth Marshall Emily Marvosh Patrick T. Waters Scott Allen Jarrett 2015 Bicentennial, Christophers and H+H Janet Ross Clare McNamara Steven Caldicott Wilson David McFerrin embarked on an ambitious artistic journey Sonja DuToit Tengblad Caroline Olsen Gregory Zavracky Peter Walker with a showcase of works premiered in the Ruby White United States by H+H since 1815, education Sarah Yanovitch programming, community outreach activities and partnerships, and the release of a series of Preise der Deutschen Schallplattenkritik recordings on the CORO label. (German Record Critics Awards), the coveted Gramophone Award for Early Music, and the Christophers is known internationally as prestigious Classical Brit Award (2005) for his founder and conductor of the UK-based disc entitled Renaissance. In 2009 he received choir and period-instrument orchestra, one of ’s highest accolades, the . He has directed The Sixteen Classic FM Gramophone Awards Artist of Photograph: Sam Brewer Sam Photograph: throughout Europe, America, and the the Year Award; The Sixteen also won the Asia-Pacific region, gaining a distinguished Baroque Vocal Award for Handel Coronation reputation for his work in renaissance, Anthems, a CD that in addition received a baroque, and 20th- and 21st-century music. 2010 Grammy Award nomination. In 2000 he instituted The Choral Pilgrimage, a tour of British cathedrals from York to In 2018 with The Sixteen he won a Royal Canterbury. He has recorded over 150 titles Philharmonic Society Music Award. Away for which he has won numerous awards, from the concert hall, he has recently including a Grand Prix du Disque, numerous collaborated with BBC Radio 3 presenter Handel and Haydn Society 16 17 Sara Mohr-Pietsch to produce a book the Royal Welsh College of Music and concerts and initiatives to mark two centuries published by Faber entitled A New Heaven: Drama, and has Honorary Doctorates from of music making. Since its founding, H+H Choral Conversations. the Universities of Leicester, Canterbury has given more than 2,000 performances Christ Church, Northumbria and Kent. He before a total audience exceeding 2.8 million. Harry Christophers is an Honorary Fellow was awarded a CBE in the 2012 Queen’s of Magdalen College, Oxford, as well as Birthday Honours. In addition to its subscription series, tours, and broadcast performances, H+H reaches

a worldwide audience through ambitious Lara Silberklang Photograph: recordings including the critically acclaimed and a Vocal Arts Program that includes six Handel and Haydn Society Haydn The Creation, the best-selling Joy Handel Messiah, recorded live at Symphony youth choruses. The Handel and Haydn Society (H+H) to the World: An American Christmas, and Hall under Christophers’ direction. is internationally acclaimed for its Founded in Boston in 1815, H+H is the oldest performances of baroque and classical music. continuously performing arts organisation Based in Boston, H+H’s Period Instrument in the United States, and is unique among Orchestra and Chorus delight more than American ensembles for its longevity, 50,000 listeners each year with a nine- capacity for reinvention, and distinguished Mary Bevan soprano concert subscription series at Symphony history of premieres. H+H began as a choral Mary Bevan enjoys huge success in baroque, Hall and other leading venues in addition society founded by middle-class Bostonians classical, and contemporary repertoire, and to a robust program of intimate events who aspired to improve the quality of singing appears regularly with leading orchestras in museums, schools, and community in their growing American city. They named and ensembles around the world. She was centres. Under the leadership of Artistic the organisation after two composers – awarded an MBE in the 2019 Queen’s Director Harry Christophers, the ensemble Handel and Haydn – to represent both the Birthday Honours. She is a winner of the

embraces historically informed performance, old music of the 18th century and what was Royal Philharmonic Society’s Young Artist Casisch © Victoria Photograph: bringing classical music to life with the same then the new music of the 19th century. In Award and UK Critics’ Circle Award for immediacy it had the day it was written. the first decades of its existence, H+H gave Exceptional Young Talent in Music. Through the Karen S. and George D. Levy the US premieres of Handel’s Messiah (1818), Education Program, H+H also provides Haydn’s The Creation (1819), Verdi’s Requiem She has performed roles such as Rose Maurrant engaging, accessible, and broadly inclusive (1878), and Bach’s St Matthew Passion (1879). in Weill’s Street Scene, Zerlina in Mozart’s music education to over 10,000 children each Between 2014 and 2016, H+H celebrated Don Giovanni, Susanna and Barbarina in year through in-school music instruction its Bicentennial with two seasons of special Mozart’s Le nozze di Figaro, the title role 18 19 in Rossi’s Orpheus, Bellezza in Handel’s Il Orchestra at the Proms, CBSO, OAE and and made her debut for the Teatro alla Royal Opera House, Covent Garden, and Trionfo del Tempo e del Disinganno, Eurydice AAM, among others. Scala as Mrs Sedley in Peter Grimes. For made her debut with the Metropolitan in Offenbach’s Orpheus in the Underworld English National Opera, she has appeared Opera as Adelaide in Arabella. Recent Mary’s recordings include her art song for opera houses such as Teatro Real, Opéra in Madama Butterfly, War and Peace, concert engagements include Semele in albums The Divine Muse and Voyages de Monte-Carlo, Royal Danish Opera, the La Gioconda, The Handmaid’s Tale, The London and Vienna with Ivor Bolton, Sea with pianist Joseph Middleton under Royal Opera House, Covent Garden, English Rape of Lucretia, and Deborah Warner’s Pictures with the BBC National Orchestra of Signum Records, Handel’s Queens under National Opera, Garsington Opera Festival productions of St John Passion and Messiah. Wales, and Das Lied von der Erde with the Signum Classics, Mendelssohn songs for and Adelaide Festival. She has had a close relationship with the Melbourne Symphony Orchestra. Champs Hill Records, Vaughan Williams On the concert platform, she has performed Symphony No.3 and Schubert Rosamunde with the BBC Symphony, BBC Concert with the BBC Philharmonic. Jeremy Budd tenor Born in Hertfordshire, Jeremy started Catherine Wyn-Rogers mezzo-soprano out as a chorister at St Paul’s Cathedral in London before going on to study at the Catherine Wyn-Rogers has appeared Royal Academy of Music. Since finishing with the Three Choirs, Edinburgh, and his studies he has been much in demand Aldeburgh festivals, and also at the BBC on the concert platform, predominantly for Proms, where she was a memorable Last his baroque repertoire. Jeremy has worked Night soloist. She has performed in concert with many of the foremost conductors in with Leonard Slatkin, Bernard Haitink, Sir this field including Sir , Andrew Davis, Sir Colin Davis, Gennady Harry Christophers, Sir Roger Norrington, Rozhdestvensky, Sir Charles Mackerras, Sir Sir Charles Mackerras, Paul McCreesh, John Roger Norrington, David Zinman, Peter Butt, Bernard Labadie and Jeffrey Skidmore.

Oundjian, Edward Gardner, and Zubin Foster-Williams © Paul Photograph: Mehta. She sang Erda (Das Rheingold and He is featured on the 2016 Grammy- Siegfried) and Waltraute (Götterdämmerung) nominated recording of Monteverdi’s in Valencia and Florence with Zubin Mehta; Vespers by Harry Christophers and The appeared at the Lyric Opera of Chicago Sixteen. Notable performances have as Sosostris in The Midsummer Marriage, included a tour of Monteverdi’s Vespers 20 21 of 1610 with Harry Christophers and Masaaki Suzuki and the Orchestra of the The Sixteen, an abridged performance of Age of Enlightenment, Bach’s St Matthew Bach’s St Matthew Passion in collaboration Passion with Paul McCreesh and the Produced, Edited & Mixed by Raphaël Mouterde with Streetwise Opera and The Sixteen, Gabrieli Consort, and Monteverdi Vespers Recording Engineer: James Donahue Monteverdi madrigals with Jonathan with the Handel and Haydn Society, both Assistant Engineers: Nick Squire, Joel Watts Cohen and Arcangelo in Wigmore Hall, in Boston and at the Metropolitan Museum a tour of Bach’s Christmas Oratorio with of Art in New York. Recorded Live at: Symphony Hall, Boston, USA, 24 & 26 January 2020 Cover image: ‘London Up-West’, 2001 (oil on canvas), Francis Farmar, © Bridgeman Images Editions: Haydn Symphony No. 100: Haydn-Mozart Presse (Universal Edition) Sumner Thompson baritone Haydn Missa in angustiis: Bärenreiter Sumner Thompson has been hailed as “the Design: Andrew Giles – [email protected] real thing” by The Cleveland Plain Dealer and praised for his “elegant style” by The Boston Globe. He has appeared on operatic stages 2020 The Sixteen Productions Ltd. from Boston to Copenhagen, including the © 2020 The Sixteen Productions Ltd. Boston Early Music Festival’s productions Made in Great Britain of Conradi’s Ariadne and Lully’s Psyche and in the title role of Monteverdi’s Orfeo with Contemporary Opera Denmark. He has performed as a concert soloist For further information about the Handel and Haydn Society call + 1 617 262 1815 with many leading ensembles, including or e-mail: [email protected] www.handelandhaydn.org the Britten-Pears Orchestra, the National Symphony, the Boston Early Music Festival, For further information on CORO call +44 (0) 1865 793999 Apollo’s Fire, Pacific Baroque Orchestra, Les or e-mail: [email protected] www.thesixteen.com Boreades de Montreal, Mercury Baroque, Les Voix Baroques, Boston Baroque, and Tafelmusik, and is a soloist on Handel and Messiah and 2019 recording of Haydn’s Haydn Society’s 2014 recording of Handel’s Harmoniemesse, both on CORO.

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