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A co-production of Cal Performances, Philharmonia Baroque Orchestra & Chorale, and Centre de musique baroque de Versailles Friday and Saturday, April 28 –29, 2017, 8pm Sunday, April 30, 2017, 3pm Zellerbach Hall Jean-Philippe Rameau Le Temple de la Gloire (The Temple of Glory) Opera in three acts with a prologue Libretto by Voltaire featuring Nicholas McGegan, conductor Marc Labonnette Camille Ortiz-Lafont Philippe-Nicolas Martin Gabrielle Philiponet Chantal Santon-Jeffery Artavazd Sargsyan Aaron Sheehan New York Baroque Dance Company Catherine Turocy, artistic director Brynt Beitman Caroline Copeland Carly Fox Horton Olsi Gjeci Alexis Silver Meggi Sweeney Smith Matthew Ting Andrew Trego Philharmonia Baroque Orchestra & Chorale Bruce Lamott, chorale director Catherine Turocy, stage director and choreographer Scott Blake, set designer Marie Anne Chiment, costume designer Pierre Dupouey, lighting designer Sarah Edgar, assistant director Cath Brittan, production director

Major support for Le Temple de la Gloire is generously provided by Philharmonia Baroque Orchestra & Chorale supporters: David Low & Dominique Lahaussois, The Waverley Fund, Mark Perry & Melanie Peña, PBO’s Board of Directors, and The Bernard Osher Foundation. Cal Performances and Philharmonia Baroque Orchestra & Chorale dedicate Le Temple de la Gloire to Ross E. Armstrong for his extraordinary leadership in both our organizations, his friendship, and his great passion for music.

This performance is made possible, in part, by Patron Sponsors Susan Graham Harrison and Michael A. Harrison, and Francoise Stone. Additional support made possible, in part, by Corporate Sponsor U.S. Bank.

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Title page of the original 1745 libretto of Le Temple de la Gloire . From the collections of the Jean Gray Hargrove Music Library, University of California, Berkeley. april insert 4.qxp_Layout 1 5/10/17 7:08 AM Page 17

Jean-Philippe Rameau Le Temple de la Gloire (The Temple of Glory)

Reconstruction of the original 1745 version Julien Dubruque, editor Edited for the Opera Omnia Rameau by the Société Jean-Philippe Rameau Sylvie Bouissou, general editor Used by arrangement with European American Music Distributors Company, US and Canadian agent for Baerenreiter –Verlag, publisher and copyright owner.

• • •

PROLOGUE (L’ENVIE)

ACTE PREMIER (BÉLUS)

INTERMISSION

ACTE SECOND (BACCHUS)

TROISIÈME ACTE (TRAJAN)

• • •

SYNOPSIS The plot centers around admission qualifications to an allegorical Temple of Glory, to which King Louis XV, foremost among the audience, would have anticipated certain entry. However, Apollo and other representatives of peace, happiness, and virtue spurn a succession of applicants from classical antiquity who represent envy, tyranny, militancy, and debauchery. The contrast of these vices with their corresponding virtues invites a panoply of musical styles and characterizations: demons and Muses, shep - herds and warriors, priestesses and satyrs. In the end, only the Roman Emperor Trajan is admitted by the goddess Glory to her temple, after he shows magnanimity in freeing his conquered captives. For the French monarch fresh from victory on the battlefield, the opera was a cautionary tale rather than the apotheosis he expected. —Bruce Lamott First performed in the theater in the riding school in the Great Stable (Grande Écurie) at Versailles, November 27, 1745. Sung in French with English supertitles. • • • Length of performance is approximately two hours and 45 minutes, including one intermission.

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Engravings open each section of the printed libretto of Le Temple de la Gloire . This example shows Trajan, the model of an enlightened and benevolent ruler, at the entrance to the Temple of Glory. From the collections of the Jean Gray Hargrove Music Library, University of California, Berkeley. april insert 4.qxp_Layout 1 5/10/17 7:08 AM Page 19

Jean-Philippe Rameau Le Temple de la Gloire (The Temple of Glory)

CAST (in order of vocal appearance; dance roles in italics )

PROLOGUE (L’ENVIE)

L’Envie Marc Labonnette Apollon Aaron Sheehan

Une Prêtresse Caroline Copeland Un Héro Olsi Gjeci Les Héros Brynt Beitman, Andrew Trego Les Muses (solistes) Caroline Copeland, Carly Fox Horton, Alexis Silver, Meggi Sweeney Smith Chœur des Démons de la Suite de L’Envie, Philharmonia Chorale Chœur des Muses et des Demi-dieux de la Suite d’Apollon Les démons Ely Sonny Orquiza, Carlos Venturo, Adam Young Les muses Karin Jensen, Yara Jamil Kanaaneh, Rachel Levin, Sarah Sophia Pun, Elizabeth du Val

ACTE PREMIER (BÉLUS)

Lydie Chantal Santon-Jeffery Arsine Gabrielle Philiponet Une Bergère Camille Ortiz-Lafont Un Berger Artavazd Sargsyan Bélus Philippe-Nicolas Martin Apollon Aaron Sheehan Un Autre Berger Kevin Gibbs Petit chœur des Bergers et Bergères Jennifer Ashworth, David Kurtenbach, Heidi Waterman Les Muses Jennifer Ashworth, Tonia d’Amelio, Heidi Waterman

Les Bergers et Bergères Caroline Copeland (soloist) and Company Chœur des Bergers et Bergères, Philharmonia Chorale Chœur des Guerriers de la suite de Bélus Les guerriers Ely Sonny Orquiza, Raul Torres, Carlos Venturo, Adam Young Les rois captifs Andrew Leathers, Simon Palczynski, James Troup, Miles Walls

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ACTE SECOND (BACCHUS)

Une Prêtresse Gabrielle Philiponet Le Grand Prêtre de la Gloire Marc Labonnette Un Guerrier Philippe-Nicolas Martin Une Bacchante Chantal Santon-Jeffery Bacchus Artavazd Sargsyan Érigone Camille Ortiz-Lafont

Les Héros Brynt Beitman, Olsi Gjeci Une Prêtresse Caroline Copeland Une Bacchante Carly Fox Horton Les Bûcherons Olsi Gleci, Andrew Trego Les Satyres Brynt Beitman, Matthew Ting Une Faune Alexis Silver L’autruche Meggi Sweeney Smith Chœur des Prêtres et Prêtresses de la Gloire, Philharmonia Chorale Chœur des Suivans de Bacchus

TROISIÈME ACTE (TRAJAN)

Plautine Gabrielle Philiponet Junie Camille Ortiz-Lafont Fannie Tonia d’Amelio Trajan Aaron Sheehan La Gloire Chantal Santon-Jeffery Un Guerrier Philippe-Nicolas Martin Les cinq rois Kevin Gibbs, David Kurtenbach, Marc Labonnette, Philippe-Nicolas Martin, Artavazd Sargsyan

Mars Andrew Trego Venus Meggi Sweeney Smith Les danseurs romains de la cour Brynt Beitman, Olsi Gjeci, Carly Fox Horton, Alexis Silver Le Berger et Bergère Matthew Ting & Caroline Copeland Chœur des Prêtres de Mars, Philharmonia Chorale Chœur des Romains et Romaines • • • Dancer Understudies: Andrew Leathers, Simon Palczynski

CHILDREN from the Berkeley Ballet School Aarian Chacko-Whiting, Laurel Dolores Gawlikowski, Dasha Oxley, Teagan Oxley, Allie Weinberger, Catherine Lynch, Abilyn Vieira

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Jory Vinikour, repetiteur Patricia Kristof Moy , French language & diction coach Benoît Dratwicki, musical preparation Julien Dubruque, scholarly advisor Rachel List, dance rehearsal director Bethanie Baeyen, production stage manager Renae Davison, assistant stage manager Leandra Watson, costume coordinator Kitty Schweizer, costume workshop Mazena Puksto, wig & makeup designer Jennifer Gilbert, assistant wig & makeup designer Jenn “Jersey” Greene, production assistant & dresser Alex Hagman, stitcher & dresser Caylyn Skoog, dresser Corie Altaffer, dresser Adam Shaw, set illustrator Chris Bergen, supertitle translator DeAnna Scherer, cueing score preparation Wigs and makeup provided and executed by Elsen Associates. Scenery and props constructed by Rooster Productions, Inc. Costumes prepared by Seams Unlimited. Ostrich design by Jane Stein. Special thanks to Hofstra University for contributing rehearsal space for NYBDC. Thank you to the New York Baroque Dance Company for in-kind services assisting with costumes. Cal Performances Tiffani Snow, event manager Jeremy Little, master electrician Tom Craft, audio department head Joseph Parks, video engineer Philharmonia Baroque Orchestra & Chorale Nicholas McGegan, Waverley Fund music director Bruce Lamott, chorale director Courtney Beck, executive director Jeff Phillips, artistic administrator Myles K. Glancy, director of concert production Dianne Provenzano, director of marketing and PR Noelle R. Moss, director of development Paul Swatek, director of finance New York Baroque Dance Company Catherine Turocy, artistic director Rachel List, rehearsal director Sarah Edgar, associate director Caroline Copeland, associate director & principal dancer Centre de musique baroque de Versailles Hervé Burckel de Tell, directeur général Benoît Dratwicki, directeur artistique Marie Clément, administratrice artistique Julien Dubruque, responsable éditorial et musicologue

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First page of the Berkeley manuscript score of Le Temple de la Gloire . From the collections of the Jean Gray Hargrove Music Library, University of California, Berkeley. april insert 4.qxp_Layout 1 5/10/17 7:08 AM Page 23

Philharmonia Baroque Orchestra The Players and Their Instruments Philharmonia’s musicians perform on historically accurate instruments. Below each player’s name is information about his or her instrument’s maker and origin.

VIOLINS VIOLA Elizabeth Blumenstock , concertmaster David Daniel Bowes Andrea Guarneri, Cremona, 1660; on loan from Richard Duke, London, England, c. 1780 Philharmonia Baroque Orchestra Period Instrument Trust Maria Ionia Caswell Egon & Joan von Kaschnitz Concertmaster Chair Anonymous, Mittenwald, Germany, c. 1800 Jolianne von Einem Anthony Martin* Rowland Ross, Guilford, England, 1979; after A. Stradivari Aegidius Kloz, Mittenwald, Germany, 1790 Lisa Grodin Ellie Nishi Paulo Antonio Testore, Contrada, Larga di Milano, Italy, 1736 Anonymous, Germany, 18th century Katherine Kyme Carlo Antonion Testore, Milan, Italy, 1720 VIOLONCELLO Tyler Lewis Phoebe Carrai bc Anonymous, Italy, c. 1800 Anonymous, Italy, c. 1690 Carla Moore Paul Hale Johann Georg Thir, Vienna, Austria, 1754 Joseph Grubaugh & Sigrun Seifert, Petaluma, 1988; after A. Stradivari Maxine Nemerovski Zheng Cao Memorial Cello Chair David Tecchler, Rome, Italy, 1733 Robert Howard Linda Quan Anonymous, Venice, 1750 Jacob Stainer, Absam, Tyrol, 1655 Farley Pearce Sandra Schwarz Antonio Garcias Rosius, Mendocino, California, 1988; Rowland Ross, Portsmouth, England, 1987; after A. Stradivari after A. Stradivari Noah Strick William Skeen Celia Bridges, Cologne, Germany, 1988 Anonymous, Northern Italy, c. 1680 Lisa Weiss † Osher Cello Chair Endowment Anonymous, London, England; after Testore Tanya Tomkins Alicia Yang Lockley Hill, London, England, 1798 Robert Brewer Young, 2011

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Centre de musique baroque de Versailles (C MBV) is proud to join Cal Performances and Philharmonia Baroque Orchestra as co-producers of the modern-day premiere of Le Temple de la Gloire.

Through the singularity of its mission and the complementarity of its actions, the CMBV has become a key player, both nationally and inter nationally, in the rediscovery and recovery of the French musical heritage of the 17th and 18th centuries.

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PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

DOUBLE BASS Andrew Schwartz Anthony Manzo Guntram Wolf, Kronach, Germany, 2008 Tom Wolf, 2007; after Carlo Ferdinando Landolfi, Katherine van Orden Tanegia, 1766 Peter de Kiningh, Hall, Holland, 1978, Kristin Zoernig* after Prudent, Paris, France, c. 1760 Joseph Wrent, Rotterdam, Holland, 1648 HORN FLUTE R. J. Kelley* Stephen Schultz* Richard Seraphinoff, Bloomington, Indiana, 2006; Martin Wenner, Singen, Germany, 2012; after J. C. Hofmaster, London, England, c. 1740 after Carlo Palanca, Turin, Italy, c. 1750 Paul Avril Janet See Richard Seraphinoff, Bloomington, Indiana, 1997; Martin Wenner, Singen, Germany, 2012; after J. W. Haas, Nürnberg, c. 1720 after Carlo Palanca, Turin, Italy, c. 1740 TRUMPET Mindy Rosenfeld Martin Wenner, Singen, Germany, 2010; John Thiessen* after Carlo Palanca, Turin, Italy, c. 1750 Rainer Egger, Basel, Switzerland, 2003; after J. L. Ehe, Nuremburg, Germany, 1746 PICCOLO Fred Holmgren Janet See Fred Holmgren, Massachusetts, 2005; Roderick Cameron, Mendocino, after J. L. Ehe, Nuremburg, Germany, 1746 California, 1995; after original models TIMPANI Mindy Rosenfeld Roderick Cameron, Mendocino, California, 2007; Allen Biggs after Robert Claire copy of G. A. Rottenburgh, Brussels, Pete Woods, Aldershot, England, 1996; Belgium, c. 1740 after 18th century continental, hand tuned

OBOE MUSETTE Marc Schachman* Chris Layer H. A. Vas Dias, Decatur, Georgia, 2001; Rob Gandara, chanter; after drawings by Denis Diderot, c. 1767 after T. Stanesby, England, c. 1710 HARPSICHORD Principal Oboe Chair In Memory of Clare Frieman Kivelson and Irene Valente Angstadt Jory Vinikour bc John Phillips, Berkeley, California, 1990; Gonzalo Ruiz after Albert Delin, Tournai, Belgium, 1768 Joel Robinson, New York, 1990; after Saxon models, c. 1720 [Generously lent by Nicholas McGegan] David Dickey Randy Cook, Basel, Switzerland, 2008; Hanneke van Proosdij bc after Jonathan Bradbury, London, England, c. 1720 John Phillips, Berkeley, California, 1986; after Delin [Generously lent by St. Clement's Episcopal Church, Berkeley ] BASSOON Danny Bond* * principal † principal 2nd Peter de Koningh, Hall, Holland, 1978; bc basso continuo after Prudent, Paris, France, c. 1760

Philharmonia Chorale Philharmonia Baroque Orchestra Community Fund for Choral Music Bruce Lamott , director Robert & Laura Cory Chorale Director Chair SOPRANO ALTO TENOR BASS Angela Arnold Natasha Hoehn Kevin Gibbs Paul Boyce Jennifer Ashworth Katherine McKee Corey Head Jeffrey Fields Tonia d’Amelio Laurel Cameron Porter Jimmy Kansau James Monios Barbara Rowland Casie Walker David Kurtenbach Sepp Hammer Helene Zindarsian Heidi Waterman Mark Mueller Tom Hart Angelique Zuluaga Celeste Winant Jonathan Smucker Chad Runyon

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Is Trajan Happy? The Remarkable History of Le Temple de la Gloire

by Victor Gavenda

The Grande Écurie—the Great Stable—of the palace of Versailles was alive with light, sound, and movement on this frosty November evening in 1745. The temporary theater housed within had just witnessed the premiere of a new opéra-ballet with music by Jean-Philippe Rameau: Le Temple de la Gloire . But leaving the Écurie behind, a tall, spindly figure emerged into the cold and set off across the vast space of the Place d’Armes, making a beeline for the palace itself. Th e man had writt en the words for theevenin g’s entertainment, but his goal had been to provide more than mere diversion. On the surface, the opera was a conventional celebra tion of Ki ng Louis XV’s victory in batt le. But because this author was none other than that utterly unconventional philosophe , Voltaire, the opera encoded an allegorical “lesson” for His Majesty. In the work, three kings from antiquity attempt to enter the Temple of Glory, established by Apollo and guarded by the Muses. Two of them fail, but the wise and benev - olent Trajan succeeds. Voltaire, eager to learn if his message found its intended recipient, entered the palace and pushed his way into the after-party. Positioning himself near the King, and perhaps with a sly grin, he is reputed to have asked—loud enough for all to hear—“Is Trajan happy?” The silence that followed, and the icy loo k that Louisshot in Voltaire’s direction, gave him his answer.

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mong the many valuable treasures Versailles in November 1745. Now Cal Per - housed in the Jean Gray Hargrove for mances hosts the first performances in Music Library of the University of over 270 years of this version of Le Temple de ACalifornia at Berkeley is a unique la Gloire , using a new edition compiled by hybrid book. Part manuscript and part print, Dubruque. Nicholas McGegan conducts the the second half of the volume consists of the Philharmonia Baroque Orchestra & Chorale manuscript score of an 18th-century French together with an international cast of soloists opera. The first half is the lavishly printed and the New York Baroque Dance Company libretto of the same opera, prepared for the in a lavish world-premiere, period-style pro - first performance of the work, which took duction co-produced with Philharmonia and place in 1745 at the great palace of Versailles. the Centre de musique baroque de Versailles . The two items were bound together in the In a telephone interview, McGegan ex - 18th century, apparently to serve as a sou - plained that he has been lobbying for a pro - venir of the event. duction of the 1745 version of Le Temple de The work itself is Le Temple de la Gloire la Gloire at Berkeley “since the Millennium.” (The Temple of Glory ) and its creators An internationally acclaimed interpreter of comprised a dream team of their time: the Rameau himself, McGegan felt that the op - words were written by the leading light of portunity to give a modern premiere of the the French Enlightenment, François-Marie work on the campus where the manuscript Arouet (1694–1778), better known by the now resides was too good to pass up. Finally, nom de plume Voltaire, and the music was it seems, the “planets have aligned,” and the by Jean-Philippe Rameau (1683–1764), 18th- work will move “from the library shelf to the century France’s greatest composer. stage.” He is thrilled to be participating in a John Shepard, head of the Hargrove bit of “living musicology” and believes that it Library, is the current custodian of this treas - sends a great message to students. McGegan ure. Shepard believes it is important not only says Le Temple de la Gloire comes from to protect rare books and scores like this one, “Rameau’s best period, the 1740s, when he but to make sure students and performers was at his most cranky and most individual.” have access to them so that the wonders they It is from the same year, in fact, as the great contain can be shared with the world. He comic opera, Platée , another masterpiece says, “The score was purchased by the library (which Cal Performances produced with in 1976, and almost immediately people no - McGegan conducting in 1998 and 2001). ticed that it included music not found in any The theatrical work enshrined in the book, other source.” Le Temple de la Gloire, came to be thanks to Since then, it has been the subject of inves - a confluence of remarkable events. Among tigation by several scholars (the present writer them is the presence of Voltaire, the great included). Most recently, Julien Dubruque gadfly of the French establishment, at Ver - of the Institut de Recherche en Musicologie sailles (“but not at court,” he often hastened to (Université Paris-Sorbonne) has completed a add). In the salon culture of 1740s Paris, Vol - dissertation on the opera that includes the taire was one of the most sought-after party most comprehensive analysis of the book guests, admired for his sparkling wit and en - to date. While mysteries remain, the book’s cyclopedic knowledge. importance as a source for a better under - He had becom eaparticular favorite of one standing of theater, music, and politics during Madame d’Étioll es, and in 1745 when Louis the reign of Louis XV has become clear. XV took her as his mistress and ennobled The chief value of the book lies in the man - her as the Marquise de Pompadour, Voltaire uscript portion, which preserves the only followed as her circle relocated to Versailles. known copy of the original version of the Mme de Pompadour arranged for Voltaire music as the work was first performed at to be made historiographer of France and

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he was assigned housing in the palace. himself in a letter to Rameau (probably from Eventually he was also made gentleman-in- the fall of 1734): ordinary to the King’s bedchamber. After Your music is admirable, but even that has years of haranguing the government from the made you enemies, and cruel ones at that.… outside, Voltaire tried for a time to effect mine are now spreading the slander that change from within. there are impious moments in Samson. Now His opportunity arrived in May of 1745 I must also correct the audience’s preconcep - when French forces defeated an army of tions: they will possibly find it difficult to un - Dutch, British, and Hanoverian troops at derstand an operatic heroine who is not in Fontenoy, in what is now Belgium. Thanks to love at any point in the opera—and whilst my the presence at the battle of Louis XV and slanderers say that my work is impious, the audience will possibly decide that it is too vir - his son, the Dauphin, the King’s popularity tuous and severe. reached its peak. (Ironically, this was to be the last occasion a French king would ever lead his Fast-forward now to 1745, and we find that troops into battle.) same aesthetic tension between Voltaire and The nation was swept up in a wave of pa - Rameau plays a role in the curious history of triotic feeling, and Voltaire was not immune. Le Temple de la Gloire. He tossed off a 350-line poem in honor of • • • Louis and later that summer the Duc de he glittering premiere of the work Richelieu, chamberlain to the King and one took place on November 27, 1745 and of Voltai re’s oldest frie nds, com miss ioned him Twas repeated on December 4. For all (possibly with the support of Mme de Pomp- its splendor, the great Château de Versailles a dour) to write the words for a new opera had no permanent opera house until 1770 commemorating the victory with music to be (built for the wedding of the future Louis XVI provided by Rameau. and Marie Antionette). Thus Temple was per - This would not be the first collaboration formed in a temporary theater in the Grande between the two giants; indee d, several of Écurie across the street from the palace. This Voltai re’s pr evious attempts at writing opera theater had been put up earlier in the year for (all abortive) had involved Rameau. Their the celebrations surrounding the wedding first joint work was Samson (1734), a biblical of the Dauphin and a Spanish princess, dur - epic that displayed its author’s libertaria n and ing which La Princesse de Navarre (play by anticlerical bias. Plans for a production crum - Voltaire with incidental music by Rameau) bled even before the work was finished. and Platée (comic opera by Rameau) also en - Voltaire spread the rumor that religious joyed their premieres. Contemporary en - censorship was to blame, but modern schol - gravings of the theater give us an idea of its ars suspect the cause was rather the artistic grandeur and opulence. differences between author and composer. After these first two performances, the Indeed, Rameau never finished the score and production was given to the Paris Opera the music is lost. where it was remounted but withdrawn after Th e two men enjoyed an awkward relat ion- a handful of performances. Author and com - ship. Th ey ackno wledged ea ch other’s talents, poser set to work on the piece, and the revised but they had opposing ideas about opera. version had a fresh premiere on April 19, Rameau had turned the art form upside 1746, opening the post-Lenten theater sea - down with his dazzling music and innovative son. Alas, this version had no more success approach to the use of dance, but he had left than the first, and was withdrawn in less than in place the key focus of French opera: love. a month. Voltaire, for his part, brought the same re - So, what happened? Why was the initial ver - forming zeal to opera that he had already sion of Le Temple de la Gloire a commercial tried to apply to society. He tried to explain flop? What did Voltaire and Rameau do to the

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work to try to salvage it? And why were their kingship: two bad, and one good. The opening efforts in vain? Prologue set the theme: The Muses tend the For many years, these questions were dif - Temple of Glory on Mount Parnassus, but ficult to answer because our knowledge of the the figure of Envy (backed up by an army of 1745 version was incomplete. The score of demons) tries to gain entry by force. A cohort neither version was ever printed, and the of heroes led by Apollo repulses the attack, surviving manuscript copies known until re - and Envy is subdued. As punishment, he is cently transmit only the later 1746 version. chained up outside. Apollo proclaims that All that was known of the 1745 music were only those who possess a great heart are wor - the portions of the opera that did not change thy of admission to the Temple. in the course of revision, as well as a few frag - Each of the three acts shows the attempt of ments of the original music that can be found a king from antiquity to enter the Temple. in the “production score” preserved in the The first, Bélus, bursts in on a peaceful gath - Bibliothèque de l’Opéra in Paris. This score ering of pastoral folk, is disgusted by their was used for rehearsals and performances “softness,” and is rejected from the Temple and contains markings by the conductor (and for being a bloodthirsty conqueror. Bacchus , in this case, a few pages in the hand of the king No. 2, is turned away because his fame composer himself). for inventing wine and spreading debauch - But many copies of the libretto exist, and ery does not qualify him; only virtuous deeds in the absence of music, the words can tell can do that. us much. These were printed and sold to the Finally, we meet Trajan. After defeating audience for each performance (for court five rebel kings, he pardons them magnani - spectacles they were distributed gratis ). The mously. Glory descends with a crown of lau - librettos for the Versailles performances, like rel and invites Trajan to enter the Temple, but the one in the Berkeley volume, were beauti - he refuses the offer and asks the gods to fully produced, with exquisitely engraved fron - transform the Temple of Glory into a Temple tispieces for each act. of Happiness and to welcome all of humanity. • • • A lengthy sung and danced divertissement o a typical mid-18th-century Parisian closes the opera. opera-goer, Le Temple de la Gloire be - The audience hardly knew what to make Tlongs to the genre of opéra-ballet . This of this. The music was generally agreed to genre became popular in the early part of the be excellent, but… the words! Voltaire had century, and expresses that age’s rococo taste used his privileged situation at the heart of for lightweight entertainment, as opposed royal power to deliver an object-lesson in to the ponderous serious operas, the tragédies the proper behavior of an enlightened ruler en musique, of the preceding Louis XIV era. directly to Louis XV: A great king, worthy of The opéra-ballet was literally “short atten - Glory, is not a conqueror or a tyrant, but one tion-span theater.” Typically in three or four who makes his people happy. acts with a prologue, a single plot did not It’s ea sy to imagine that the King would no t drive the action from beginning to end. The appr eciat e bei ng lectured by a socia l inferior story of each act was independent of the (not to mention a trenchant critic of the es - others, but all of the acts shared a common tablishment). Thus the famous—and possi - theme—such as a specific aspect of love, per - bly apocryphal—anecdote of Vol tai re’s stage- haps—which was typically set out in an alle - whispered “Is Trajan pleased?” and Louis’ gorical prologue. stony silence in response rings true. What the audience in the Grande Écurie ex - When the production moved to Paris, the perienced that night in 1745 was very different, public was even less kind. Wags complained however. Instead of a string of diverting love that if they wanted a sermon on ethics, they stories, they were treated to three examples of would go to hear a Latin cantata at a Jesuit col -

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lege. Rameau and Voltaire withdrew the work seems clear that it was copied directly from from the stage, and set about revamping it. an early state of the "production score" men - The new version that premiered in April tioned earlier. The scribes who wrote out 1746 shows the triumph of Rameau’s musical the Berkeley score also worked on the "pro - and theat rical sensibilitie s over Voltai re’s duction score," and their number included political agenda. The overall framework of the the principal copyist of the Paris Opera. Even drama remains the same, but the harsh actions more intriguing, small discrepancies between of the main players are softened, and love is al - the two scores seem to indicate that the lowed a larger role. Berkeley score was copied out while the In spite of the revisions, the work once again opera was still in rehearsal, and the musical failed to catch fire. But bits of the opera did content was still in flux. live on, as individual numbers were re-cycled Davitt Moroney, Professor of Music at UC in operas by Rameau and other composers as Berkeley, has been intimately familiar with well (rather like taking stock pieces of stage sets the music library’s collections since his days out of storage). as a graduate student here in the late 1970s. In the end the event was a pivotal moment He has long experience helping to bring to in the careers of both men. Rameau’s contri - light the glories of the collection by publish - bution met with favor from the King, and he ing, performing, and recording the rarities was rewarded with a court appointment and found within. a royal pension for life. Voltaire, however, fi - Moroney, for the last 20 years one of the nally realized that he was out of his element. international team of experts responsible for After signing over his share of the proceeds issuing the new edition of Rameau’s complete from the opera to Rameau, involvement in a works, says of the book in question: “This fresh scandal soon drove him from Ver sailles, manuscript is one of the most important and years later he wrote of his time as a documents in the Berkeley music library. It is courtier: “Of all the time that I have wasted in the only source for a good deal of music my life, it was this period that I regret the most.” by one of the greatest composers of the 18th • • • century. Furthermore, it preserves a record he skeletal nature of the Berkeley of his collaboration with another of the great - score, including only the melody and est figures of his time, Voltaire, at a moment Tbass parts, implies that it was intended when both men are at the peak of their ca - as a model for a printed score (this kind of reers and influence.” short score was typical of 18t h-century French Cal Performances is proud to join with opera pub licat ions, equivalentto today’s pia no - Philharmonia Baroque Orchestra & Chorale vocal score); bu t plans for publication seem to and the Centre de musique baroque de Ver - have been shelved. sailles to bring the music on the pages of this Then the manuscript disappears from unique volume to life for the first time in al - history. We do not know who bound it to - most three centuries, recreating a pivotal gether with the libretto, nor where it spent event in French Enlightenment culture. the next century and a half or so. In the early 20th century, the great French pianist Alfred Victor Gavenda is a freelance writer and editor Cortot acquired it for his stellar collection living in Albany, CA. In his youth he was a PhD of rare musical materials, and after his death candidate in music history studying the work of in 1962 the early opera scores were pur - Rameau, spending several years attempting to chased by Vincent Duckles for the Berkeley untangle the mysteries of the various sources of music library. Le Temple de la Gloire . Today he is choirmaster The manuscript has gradually yielded its at St.Clement’s Episcopal Church in Berkeley, and secrets under close scholarly scrutiny. It now he tunes the har ps ichords at UC Berkeley.

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Rameau’s Musical Feast Le Temple de la Gloire— An Extravaganza Fit for a King

by Bruce Lamott

Will Rogers once quipped, “If you don’t like first notes of the Ouverture to Le Temple de la the weather in Oklahoma, wait a minute and Gloire , two piccolos add striking brilliance to it’ll change.” The same could be said about the animated harmonies of the oboes, trumpets, Ra meau’s operas. Unlike the string-of-pearls horns, and bassoons. This bombast abates alternation of arias and freely sung recitatives briefly for the graceful minuet for flute duet and found in contemporary Italian opera seria (se - strings and two flutes that it frames. rious opera) such as those of Handel, Rameau’s Rameau’s orchestration works as musical set opéra-ballets are an unpredictable variety show design, creating an atmospheric effect before a of dances, choruses, ensembles, and shorter single note is sung. The Prologue begins in the arias interspersed with lyrical recitatives and cavern of Envy with a prominent duet of sub - audacious harmonic surprises. terranean bassoons in dialogue with plummet - Rameau’s orchestral palette is full of variety ing scales ( tirate ) in the violins. The bucolic as well, launching a French affinity for wood - scene for the éntree of the shepherds and shep - wind timbres that continued from Berlioz to herdesses in Act I is set by the sound of the Debussy to Messiaen. His compositions attest mu sette, a kind of housebroken bagpipe fre - to the serendipitous presence of Jacques-Martin quently seen in paintings of the Adoration of Hotteterre and family, who for woodwind play - the Shepherds or pastoral concerts ( concerts ers are what Antonio Stradivari and his Cre - champêtres ). The omnipresence of woodwinds mona contemporaries are to strings. From the in the French orchestra sets it apart from its

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Italian contemporaries, in which woodwinds absent content specific to the particular plot - are an occasional additive element used for spe - line. There was a rigid hierarchy of roles, and cific imagery such as birds or the hunt. leading characters were revealed through a se - Another departure from Italian opera seria ries of contrasting arias in a pageant of passions. of the period is the French treatment of the di - Audience demand for virtuosic display created alogues and monologues ( recitatif) connecting the two-steps-forward-one-step-back form of the concerted arias and dances. Unlike the free the da capo aria, in which the first half of the rapid-fire delivery in the rhythm and speed of aria is repeated from the top ( da capo ) as a ve - the Italian language, French recitative is subject hicle for improvised ornamentation and caden - to a pulse and very attentive to the scansion of zas. Dramatic convention then dictated that the the poetic lines. Rameau was assiduous in his singer exit the stage, allowing for applause and attention to Voltaire’s text both in the rhythm even encores. Word and phrase repetitions and meaning of the words. As the author of (“Rejoice, rejoice, rejoice greatly”) accommo - the century’s most important treatise on har - dated elaborate extensions for the purpose of mony, Rameau was particularly sensitive to vocalism and formal structure. the effect of chord progressions played by the Not so the French. One of the hallmarks of harpsichord and cello ( basso continuo ) that French Baroque musical theater is the seamless underscore the structure and content of the text. transition between recitative, solo aria, and Ever-present throughout Italian opera (hence ensembles of duets, trios, and chorus. Rameau the name continuo ), the harpsichord is not sets Voltaire’s text with careful attention to the included in Rameau’s orchestral accompani - rhythmic scansion and rhyme of the libretto re - ments, and the absence of its ubiquitous sparkle flected in the phrasing, pauses, and cadences of focuses our attention on other instrumental col - each line. Voltaire’s text is full of grandeur and ors. Rameau divides the viola section into two serious philosophic thought. In the Preface to separate parts—a characteristic of French string Le Temple , he states his intention to replace scoring since Lully—in order to fill out the har - vapid eroticism with something more serious monies usually supplied by the keyboardist’s and moralistic accompanied by grandiose spec - right hand. tacle; the occasion of a military victory—as op - Choruses and ensembles, rarely found in posed to a wedding—gave him license. Though opera seria, abound in this work. As with the text itself is much more prolific than its French grand opera of the 19th century, there Italian contemporaries, it passes with great is a large role for an independent choral en - dispatch absent repetitions and virtuosic exten - semble that changes characters with the shift - sions. Arias segue seamlessly from the reci ta tives ing scenarios of the three acts; their various without lengthy orchestral introductions, and roles—demons, muses, shepherds and shep - their content relates directly to the dramatic sit - herdesses, bacchantes, priests and priestesses, uation at hand. and Romans—require changes in vocal timbre This scrupulous respect for the poetry is fur - as well as personality. As a major figure of the ther reflected in the uniquely French approach Enlightenment’s classical humanism, Voltaire to vocal and instrumental ornamentation called was well-versed in Greek drama, and at times agréments. Unlike the bravura roulades and the chorus takes on the role of the classical flights of virtuosic passagework of the Italians, Greek Chorus, reflecting the message rather these agréments are concise and fleeting em - than portraying a role. phases of accented syllables, expressive har - Composers of Italian opera seria such as monies, and rhythmic stresses using brief and Handel, Vivaldi, or Alessandro Scarlatti strung frequent trills, appoggiaturas (a stepwise “lean - arias together on a storyline set up by recitative. ing” into dissonance followed by its resolution), Aria texts were most often generic expressions and ports de voix , a gentle sliding into a note fol - of affect—vengeance, joy, ambition, sorrow— lowed by a brief oscillation. The frequent use of

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these agréments also make the melodic lines forlane, gavotte, loure, and, as customary, a more pliable by cushioning large leaps and ta - concluding passacaille. The character of each pering phrase endings. dance type reflects the personality of the roles of The diverse roles in Le Temple were cast from the dancers, such as the pastoral gigue for the the resident ensemble of the Académie Royale shepherds and shepherdesses, the lusty forlane de Musique, founded by Louis XIV and de - for the bacchantes, and in the final scene, a voted to the exclusive performance of French series of entrées accompanying the entrances opera. It developed under the strict control of of Roman nobility, shepherds, soldiers, and Jean-Baptiste Lully (1632 –1687), whose works youths—each appropriate to its social class. continued to be performed alongside those of It’s quite possible that the engaging charm, Ra meau and Gluck a century later. This respect lyricism, and spectacle of this operatic rarity for the music of previous generations was rare, will prompt the question: Why don’t we see as opera companies generally discarded works these works performed more often? Though that were not stylistically au courant . The five performances of French Baroque opera are singers who created the principal roles were the becoming somewhat more frequent, Rameau’s leading artists in this resident company num - operas have yet to be staged by the major opera bering about 15 singers. Three of the five sang companies in America. While Handel’s Italian dual roles: Marie-Jeanne Fesch—known to operas appear now with some regularity, they audiences as Mlle. Chevalier—was the premier were created with economy in mind; Handel sujet (prima donna) of the company. As Lydie, was an impresario subject to the vagaries of she expressed the nobility and pathos for which ticket sales and audience taste, and expendi - she was famous, but the role of Plautine gave tures took their toll on his profit margin. Ra - her the opportunity to show a tender and some - meau and Voltaire, on the other hand, had the what amorous side as well. Marie Fel, soon to deep pockets of the Bourbon monarchy at their become a favorite of Rameau, sang the con - disposal. Such a large cast, dance troupe, large trasting roles of Érigone and La Gloire, demon - (in Baroque terms) orchestra, lavish spectacle, strating both her strengths in comedic acting and uncertain box-office would certainly give as well as brilliant vocalism. Pierre Jélyotte modern producers pause. But beyond that lies (Apollon and Trajan), known for his supple, another challenge: that of historically informed sonorous tenor, was also described as “a unique performance. French opera may be the last singer, but one without acting skills or looks.” frontier in Baroque performance practices, re - Bacchus was sung by François Poirier, noted quiring a specialized knowledge of period cho - for his extensive high tenor (or countertenor) reography, theatrical practice, and instrumental range, called haute contre —a voice preferred technique, not to mention a roster of singers by the French over the penchant for mezzo- who are fluent in the musical language of soprano castratos found in Italian opera seria . French declamation and Baroque vocalism. The alto part in the choruses is also labeled This performance brings these elements to - haut-contre , giving it the scoring of soprano and gether in an unprecedented collaboration in three-part male chorus (haute-contre, tenor, order to give you a rare glimpse of entertain - bass) that continued into the 19th century. ment fit for a king. The French penchant for dance is reflected in the nomenclature of this opera as an opéra- ballet, or ballet héroique. The theatrical dances Bruce Lamott has been director of the Phil har- that developed at the court of Louis XIV monia Chorale since 1997 and also serves as abound in this work: passepied, gigue, entrée, Philharmonia’s scholar-in-residence.

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From the Director by Catherine Turocy

The music of Rameau has been at the very heart director, our New York Times review read: “The of my artistic development. Beginning in 1974 teeming stage activity was so well integrated that at the Aston Magna Festival, as a member of it was often hard to tell where David Ostwald’s the Baroque Dance Ensemble directed by Dr. direction left off and Ms. Turocy’s choreography Shirley Wynne, I performed her dramatic cho - began. To a nonspecialist, the dance, for all its reography to Rameau’s La Cupis. (You will hear antiquated stylizations, seemed convincing, pos - this music tonight in the prologue of Le Temple sessed of a consistent logic and impulse.” de la Gloire for the dance of the Muses.) The However, the one section of the opera that always bothered me was the very quick mo - ment when Trajan declares he would like the Temple of Glory, celebrating his own triumphs, to become the Temple of Happiness, dedicated to the right to the pursuit of happiness for all people, regardless of social class, sex, or age. Musically, in the 1746 version, this moment almost slips by as if it were a sudden whim of Trajan’s. Now, in 2017, I have the opportunity to realize the original version of the opera and to discover the original context and dramatic buildup to this moment from the Enlight en - ment preserved in Voltaire’s libretto and Ra - meau’s music. I searched the text for a political argument in Act III, but found nothing in the libretto. No, the moment is too important and controversial to put into words. The buildup to the announcement by Trajan is in the dance music. It is a mute declaration of an inner strug - gle by a non-participant in the dance. How per - Preparation to the Portrait of Voltaire fect! As the performance reveals itself tonight, by Maurice Quentin de la Tour follow the thread of the dance throughout the staging to experience the power of this mute but music is haunting, otherworldly, tender, and very expressive art. beautiful and in my 1974 performance, at pre - A note on the costumes and décor: Our de - cisely the first note, I fell in love with the harp - sign team decided to go for a classical look, rem - sichordist, James Richman. Little did I suspect iniscent of the French painter Poussin for the that Rameau’s music from the prologue would first part of the opera. After intermission the au - also act, in some sense, as a prologue to my life. dience is carried to the “modern times” of 1745. After marriage, opera productions, and chil - I deeply appreciate the opportunity to be in - dren, James and I combined the resources of volved in this historic production and I thank our two companies to produce Le Temple de la Nicholas McGegan, Philharmonia Baroque, the Gloire in New York in 1991. He was the con - Centre de musique baroque de Versailles, and ductor; I choreographed and danced. We did Cal Performances, as well as the people and or - no t know about the original version of the ganizations who donated their resources to opera. With David Ostwald as the inspired stage make these performances possible.  PLAYBILL april insert 4.qxp_Layout 1 5/10/17 7:08 AM Page 37

La Camargo Dancing (c. 1730) by Nicolas Lancret (1690 –1743). Cover of Chorégraphie by Raoul Anger Feuillet (pub lished in Paris, 1700) Notes on the Choreography There is no surviving period-dance notation ette (where the dancers spins for as long as score from Le Temple de la Gloire . In fact, many he is able), graceful attitudes of the body, and choreographers were not champions of dance virtuosic dance passages described in Magri’s notation, as the system in use only recorded book that are still in use today. The port de bras the steps of the dance and not the dramatic ac - and high use of the arms are typical of the tion. Hence, I have choreographed the work by “high dancing” used on the stage. Following drawing from my experience in reconstructing the Italian tradition that influenced French period-dance notations (over 300), using steps practice, pantomimic gestures associated with and movement described in the following trea - danza parlante are used in la danse demi- tises: Chorégraphie by Raoul Anger Feuillet caractére style. The more exaggerated and ac - (pub lished in Paris, 1700), Louis de Cahusac’s robatic grotesco style works well with the music La Danse ancienne et moderne ou Traité his - and the character of the demons and the comic tor ique de la danse (The Hague, 1754), Jean- characters following Bacchus. The use of masks Georges Noverre’s Lettres sur La Danse et sur for dancers was common practice on the Les Ballets (Stuttgart, 1760) and Gennaro French stage until the end of the 18th century. Ma gri’s Trattato teoricoprattico di ballo (Naples, It is not clear if the dancers wore masks for Le 1779). I have also found Rebecca Harris War - Temple de la Gloire. rick’s Dance and Drama in French Baroque The most famous dancers of the day ap - Opera (Cambridge University Press, 2016) to be peared in Le Temple de la Gloire, including sensitive to many questions regarding stage di - Camargo, Sallé, Dupre, and the Dumoulins. rection and period practice. Although there is no choreographer listed in the The late-18th-century ballet technique uses manuscript score, it is possible Antoine Ban - a 90-degree rotation of the legs, pointed and re - dieri de Laval, the ballet master of the Académie laxed foot, complicated pirouettes with vary - royale de musique, created the dances. It was ing foot placements, full-range leg extensions, also usual for the solo dancers to create their and various expressive attitudes, as well as ac - own choreography in the operas. There were robatic and virtuosic steps for grotesque char - many rules shaping dance performance and acters. There are three genres of dance styles composition; as with the other arts, however, used in this production: la danse noble et the goal is to see the beauty, passion, and truth héroique dominates and employs balancing on of the human condition. the points of the toes, the indeterminate pirou - And above all, to please!  april insert 4.qxp_Layout 1 5/10/17 7:08 AM Page 38

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NICHOLAS Sym phony Orchestra, the Scottish Chamber McGEGAN , Orch estra, and the Royal Northern Sinfonia. conductor McGegan’s prodigious discography features As he embarks on his eight releases on Philharmonia Baroque’s label, fourth decade at the Philharmonia Baroque Productions (PBP), in - podium, Nicholas Mc - cluding the 2011 Grammy Award-nominated Gegan—long hailed recording of Haydn Symphonies Nos. 88, as “one of the finest 101, and 104. Their latest release features the ba roque conductors of first-ever recording of the newly rediscovered his generation” ( The Independent ) and “an ex - 300-year-old work La Gloria di Primavera by pert in 18th-century style” ( The New Yorker )— Ales sandro Scarlatti, recorded live at the US pre - is recognized for his probing and revelatory miere. McGegan has also recorded extensively explorations of music of all periods. Last season with Capella Savaria, most recently releasing marked his 30th year as music director of albums of Haydn and Joseph Martin Kraus. Philharmonia Baroque Orchestra; he is also English-born Nicholas McGegan was edu - the principal guest conductor of the Pasadena cated at Cambridge and Oxford. He was made Symphony. an Officer of the Most Excellent Order of the Best known as a Baroque and Classical spe - British Empire (OBE) “for services to music cialist, McGegan’s approach—intelligent, in - overseas.” Most recently, McGegan was invited fused with joy, and never dogmatic—has led to join the board of Early Music America. Other to appearances with many of the world’s major awards include the Halle Handel Prize; the orchestras. At home in opera houses, McGegan Order of Merit of the State of Lower Saxony shone new light on close to 20 Handel operas (Germany); the Medal of Honor of the City of as the artistic director and conductor at the Göttingen, and a declaration of Nicholas Mc- Göttingen Handel Festival for 20 years (1991 – Gegan Day by the Mayor of San Francisco 2011) and the Mozart canon as principal guest in recognition of his work with Philharmonia conductor at Scottish Opera in the 1990s. Baroque. In 2013 the San Francisco Conser - His 2016 –17 appearances include the Los vatory of Music awarded him an honorary Angeles Philharmonic (his 20th anniversary at degree of Doctor of Music. the Hollywood Bowl); two programs with the For more, visit Nicholas McGegan on the Pasa dena Symphony; Baltimore, St. Louis, and web at www.nicholasmcgegan.com. Toron to symphonies; Calgary Philharmonic; Handel and Haydn Society; Aspen Music Festi - CATHERINE val; and the Cleveland Orchestra/Blossom Music TUROCY , Festival. Highlights of Philharmonia Baroque stage director Orch estra’s season under McGegan include and choreographer Handel’s oratorio Joshua and programs with Recognized as one of Robert Levin (fortepiano) and Isabelle Faust (vi - today’s leading chore - olin). In addition, Mc Gegan and PBO revive ogra phers/reconstruc - Scarlatti’s La Gloria di Primavera at Tanglewood tors and stage directors and appear at Yale’s Norfolk Chamber Music in 17th- and 18th-cen - Festival. This fall at Harvard, McGegan will tury period performance, with over 80 Baroque serve a residency as the Christoph Wolff operas to her credit (15 of these by Jean- Dis tinguished Visiting Scholar. He also conducts Philippe Rameau), Cather ine Turocy has been the all-Mozart semi-final round of the 2017 decorated by the French Republic as a Chevalier Van Cliburn Piano Compe tition. Overseas, Mc- in the Order of Arts and Letters. Her first per - Gegan appears with Cap pella Savaria at the formance in Baroque dance was in 1972 with Ester hazay Palace in Fertod, the Bournemouth conductor Alan Curtis and choreographer

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Shirley Wynne and the Baroque Dance En - rected by conductor James Richman. High lights semble of Ohio State University at UC Berkeley include Gluck’s Orfeo ; Handel’s Ariodante and in Rameau’s La Naissance d’Osiris . She has re - Terpsi core ; and Rameau’s Pygmalion, Les Indes ceived the prestigious “Bessie” Award in New Galantes, Le Temple de la Gloire, and Les Fetes York City for sustained achievement in chore - d’Hebe, among others. In Washington (DC) she ography as well as the Natalie Skelton Award for has collaborated with Ryan Brown of Opera Artistic Excellence. In 1980 she received the Lafayette Orchestra and Chorus. Dance Film Association Award for The Art of Internationally, Turocy has worked with con - Dancing , a video produced with Celia Ipiotis ductors Nicholas McGegan (Festival Orchestra and Jeff Bush. NEA International Exchange fel - of Göttingen), Christopher Hogwood (Aca - lowships supported extended stays in London demy of Ancient Music, London), John Eliot and Paris, where Turocy conducted research Gardiner (English Baroque Soloists, London), and interacted with other artists. In the 1980s Philippe Herreweghe (La Chapelle Royale, she worked under famed stage directors Pier Paris), and Wolfgang Katschner (Lautten Com- Luigi Pizzi and Jean Louis Martinoty. pagney, Berlin). A founding member of the Society for Dance Training professional artists is an important History Scholars, Turocy has lectured on period part of Turocy’s work with the NYBDC. Former performance practices around the world in - members of the company include Ken Pierce, cluding at the royal academies of dance in Lon- Thomas Baird, Paige Whitley Bauguess, and don, Stockholm, and Copenhagen; the Festival Carlos Fittante, all of whom have gone on to Estival in Paris; and the Society for Early Music start their own companies and/or careers as in Tokyo. She has also served as consultant to freelance historical choreographers. Current Clark Tippett of American Ballet Theatre and members of the company trained by Turocy Edward Villella of the Miami City Ballet. As a and now active in the field as choreographers writer she has contributed chapters to dance include Patricia Beaman, Caroline Copeland, history text books, and articles to Opera News , Sarah Edgar, Rachel List, and Ani Udovicki. Early Music America, and Dance magazine, Turocy is a founding member of the Society many which have been translated into French, of Dance History Scholars, the Committee German, Japanese, and Korean. A chapter on Research in Dance, and the dance council in Janet Roseman’s book, Dance Masters: CORPS de Ballet Inter national. Inter views with Legends of Dance (Rout ledge) is Turocy began her studies of historical dance dedicated to her work. Books in which Turocy as a freshman with Dr. Shirley Wynne at Ohio has authored chapters include: Moving History/ State University, from which she gradu ated Dancing Cultures: A Dance History Reader; magna cum laude . She is grateful to Lynn Dally, Creating Dance: A Traveler’s Guide; and Dance Peter Saul, Kathryn Karipedes, Ruth Cur rier, on its Own Terms: Histories and Methodolo - Lucy Venable, Alex Martin, and Miss Betsy gies ( eds. Melanie Bales and Karen Eliot), pub - Widmer for their instruction and guidance lished by Oxford. during her early years. As a ballet dancer she As a sought-after and respected period stage performed with the Cleveland Ballet under director/choreographer, Turocy has worked with Alex Martin and as a modern dancer she has singers Jessye Norman, Bryn Terfel, Christine performed with choreographer Mitchell Rose Brandes, Howard Crook, Ann Monoyios, Juli - and in many of her own original works in New anne Baird, and Drew Minter. She worked for York City. 11 years at the Handel Festival in Göttingen, Germany, where she was praised by the inter - national press for her groundbreaking produc - tion of Handel’s Teseo in 2011. In New York, Turocy works closely with Concert Royal, di -

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MARC Gré gorio ( Roméo et Ju - LABONNETTE , li ette ), Il Commis sario baritone Imperiale and Ya ma - L’Envie ∙ Un Berger ∙ dori ( Madama But ter - Le Grand-Prêtre de la fly ), Marullo ( Rigo let to ), Gloire ∙ Cinquième Roi Sciar rone ( Tosca ), Bel - A native of Orléans, core ( L’Elisir d’Amore ), France, baritone Marc Sganarelle ( Le Médecin Labonnette studied first Malgré Lui ), The Fores - in the conservatory of his native city, before gra - ter ( The Cun ning Little Vixen ), Mo ra lès ( Car - duating in Paris. He then studied at the Centre men ), Le Second Commissaire and Le Geôlier de musique baroque de Versailles and pursued (Dialogues des Carmélites ), The Clock and The his higher education at the Guildhall School Cat ( L’Enfant et les Sortilèges ), and Octave (Sau - of Music & Drama in London. Labonnette also guet’s Les Caprices de Marianne ). On the con - obtained a master’s degree and received a scho - cert stage, he has sung Brahms’ Ein Deutsches larship to study at the Royal Scottish Academy Requiem , Fauré’s Requiem , Campra’s Requiem , of Music & Drama in Glasgow. He has partici - Berlioz’s Messe Solennelle , Orff’s Carmina Bura- pated in master classes with Ruben Lifschitz, na , and Beethoven’s Ninth Symphony, as well as Graham Johnson, Sir omas Allen, Malcolm several recitals. Mar ti neau, François Le Roux, Christa Ludwig, This season, Martin sings Der Heerrufer des and Edda Moser. Königs ( Lohengrin ), Taddeo ( L’Italiana in Al - Labonnette is now a sought-aer singer in a geri ), Don Fernando ( Fidelio ), and The Forester wide repertoire, from Baroque composers such (The Cunning Little Vixen ), and makes his US as Lully, Purcell, Handel, and Rameau, to Fauré, debut with this production of Le Temple de la Wagner, and Verdi. He performs with conduc - Gloire . He also takes part in concert versions of tors including Hervé Niquet, Jean-Claude Mal - Proser pine by Saint-Saëns, Les Horaces by Sali - goire, Marc Minkowski, and Susanna Mälkki, eri, and Naïs by Rameau. in venues including the Opéra de Paris, the Salle Pleyel, the éâtre des Champs-Élysées, and the CAMILLE éâtre de La Monnaie in Brussels, and with ORTIZ-LAFONT, the opera companies of Montpellier, Bordeaux, soprano and Toulouse. Une Bergère ∙ Labonnette i s also devoted to contemporary Fannie ∙ Muse music and has sung Gérard Pessson’s Pastorale A native of Vega Baja, at the éâtre du Châtelet and, most recently, Puerto Rico, Camille Luca Francesconi’s Trompe-la-Mor t at the Opéra Ortiz-Lafont is equally de Paris/Palais Garnier. He will return to the at ease on the opera Opéra de Paris/Opéra Bastille in October for and concert stage, having performed both in Puccini’s La bohème ). the US and in countries including Italy, Spain, Germany, Greece, Ghana, and Mexico. Ortiz- PHILIPPE-NICOLAS MARTIN , baritone Lafont will graduate next month with a DMA Bélus ∙ Un Guerrier ∙ Quatrième Roi in voice performance and pedagogy from the After graduating from the conservatories of University of North-Texas, where she has been Marseille and Aix-en-Provence, Philippe- a teaching fellow under the tutelage of Molly Nico las Martin was trained at the CNIPAL Fillmore. Recent performances include Quiteria (formerly a postgraduate opera training center) in Telemann’s Don Quic hotte as well as the so - in Marseille. In opera houses in France and prano soloist in Francisco Courcelle’s Ave Maris Europe, he has sung such roles as Guglielmo Stella with Orchestra of New Spain; La Musique (Così fan tutte ), Papageno ( The Magic Flute ), in Charpentier’s Les arts florissants with the

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Dallas Bach Society; and Pamina in Die Zau - Catel (Glossa), Un mari à la porte by Offenbach berflöte and Belinda in Dido and Aeneas with with the Liver pool Phil harmonic Orchestra, the Fillmore Opera Studio. Next month she will works by Max d’Ollone, Dimitri by Victorin appear as Night in Dallas Bach Society’s pro - Joncières, and Adrien by Etienne-Nicolas Mé - duction of Purcell’s The Fairy Queen. In 2014 hul. Phili ponet currently studies voice with Ortiz-Lafont made her Carnegie Hall debut in Daniel Otte vaere. Dan Forrest’s Requiem for the Living ; and appeared in John Rut ter’s Mass of the Children CHANTAL under Rutter’s baton, as Gilda (cover) in SANTON-JEFFERY , Rigoletto for the Greek Opera Studio with the soprano Festival of the Aegean in Syros, Greece, and as Lydie ∙ Une Bacchante ∙ Musetta in La bohème ; she also gave art-song La Gloire concerts for the Berlin Opera Studio in Ger - Oen acclaimed as one many. She is the winner of the Gerda Lissner of the most accom - Foundation Encouragement Award (2008) and plished French sopra - a finalist in both the Lieder kranz competition nos of the moment, (2009) and the Sergei and Olga Kous sevitzky and praised for her “gloriously smooth, rich tex - Young Artists Com petition (2010). Le Temple tured soprano” ( International Record Review ), de la Gloire marks her debut with PBO. Chantal Santon-Jeffery has embodied numer - ous roles in opera, from Mozart (Donna Anna, GABRIELLE Fiordiligi, the Countess, San drina) to contem - PHILIPONET, porary repertoire including Wagner (Senta in soprano Der Fliegende Hollän der ), Britten (e Governess Arsine ∙ Une Prêtresse ∙ in e Turn of the Screw ), Campra ( Tan crède ), Plautine Gassman ( Opera Seria ), and Purcell ( Dido and Born in Albi, Gabrielle Aeneas, King Arthur ). Philiponet studied as She has been invited to sing with such pres - a flutist before begin - tigious ensembles as Le Concert Spirituel, Les ning to sing. As a mem - Talens Lyriques, Le Cercle de l’armonie, Les ber of the Opera Studio of the Chapelle Musi cale Siècles, Opera Fuo co, and the Brussels and Reine Elisabeth in Brussels, she was a prize Hong Kong philharmonic orchestras. Santon- winner at the prestigious Reine Elisabeth Com- Jeffery has recently performed in éâtre des pe tition. She has performed across Europe, Champs-Elysées and Salle Pleyel in Paris, in from the opera houses of Marseille, Toulon, the Royal Opera in Versailles, Avignon Opera, Reims, Montpellier, Nancy, Nice, Saint-Etienne, Liège Opera, Bozar in Brussels, and the Kon- Marseille, Bordeaux, and Toulouse, to the zerthaus in Vienna. Grand Théâtre de Luxembourg and the Théâtre Other recent projects include productions at Royal de la Monnaie in Brussels. Recently the Festival de Saint-Denis, Montpellier Opera, she performed Donna Anna ( Don Giovanni ) at the Palace of Arts in Budapest, the Konzerthaus the Angers Nantes Opera, Fiordiligi ( Così fan in Vienna, éâtre des Champs-Elysées, Teatro tutte ) at the Rouen Opera, and Violetta ( La La Fenice, Versailles Opera, and Bordeaux Traviata ) at the New Orleans Opera (US debut). Opera. Upcoming projects include Sofia in She also debuted as Mimi ( La bohème ) on tour Rossini’s Il Signor Bruschini at the éâtre des in Spain. Upcoming engagements include Le Champs-Élysées (under Enrique Mazzola) in pays du sourire (Mi) at the Tours Opera and June. In this venue, she also appeared as Fras - Marguerite ( Faust ) at the Saint-Etienne Opera. quita in Bizet’s Carmen with the Orchestre Her discography includes Scène de Chasse by national de France (Simone Young), alongside René Koering (Universal Music), Sémiramis by Marie-Nicole Lemieux and Michael Spyres.

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ARTAVAZD roles with BEMF have SARGSYAN , included L’Amour and haute-contre Apollon in Psyché , the Un Berger ∙ Bacchus ∙ title roles in Actéon and Premier Roi Orfeo , Eurimaco in Il A graduate of the Con - ritorno d’Ulisse in pa - servatory of Lille, Art - tria , Acis in Acis and avazd Sargsyan is cur- Galatea, and Liberto/ rently studying at the Soldato in L’incoro na- École Normale de Musique de Paris with Daniel zione di Poppea . With Boston Baroque he sang Ottevaere, with support from SPEDIDAM. On Telemaco in Il ritorno d’Ulisse in patria, Emilio stage, he has performed the roles of Gérald in in Partenope, and Damon and Valere in Les Lakmé by Delibes, Nadir in The Pearl Fishers by Indes Gallantes. He has performed in concert Bizet, Camille De Coutançon in The Merry at Tanglewood, the Concertgebouw, the Met - Widow , Grenicheux in Les cloches de Corneville ro politan Mus eum of Art, and Théâtre des by Planquette, Don Ramiro in La Cenerentola , Champs-Élysées; at the early music festivals Le Roi Ouf in L’Etoile by Chabrier, Vincent in of San Francisco, Vancouver, Washington (DC), Mireille by Gounod, and Ferrando in Così fan Carmel, and Regensburg; and with Orpheus tutte with the Orchestra of Massay, under the Chamber Orchestra, the Handel and Haydn direction of Dominique Ruits. As a member of Society, Tafelmusik, the Seattle and Char lotte the La Péniche Opera troupe, he sang in Gluck’s symphony orchestras, and Pacific Music Works. L’ivrogne corrigé with Barokopera Amsterdam. Recent engagements include Bach’s Mass in During the summer of 2011, he was Nemorino B minor (Calgary Philharmonic and Boston in L’Elisir d’Amore at the Belle-Île-en-Mer festi - Baroque), Gluck’s Orphée (title role, Pacific val and Arthur in Lucia de Lammermoor at the Music Works), and performances of Handel’s Morlaix festival. Other roles have included the Messiah, Bach’s St John and St Matthew Passions, Witch ( Hänsel und Gretel ) in Paris and Fon - and Monteverdi’s Vespers. Upcoming staged tainebleau, Ferrando ( Così fan tutte ), Henry in performances include Orfeo in Le Carnaval de Richard Strauss’ Die schweigsame Frau, and Venise (Campra, BEMF) and Eumete in Il ri - Belfiore ( Il viaggio a Reims ) at Wildbad. torno d’Ulisse in patria (Opera Atelier Toronto). Sargsyan sings regularly under the direction Sheehan’s many recordings include four of Jean-Claude Casadesus, Bruno Membrey, Grammy nominated operas: Lully’s Thésée and and Philip Walsh, and frequently performs re - Psyché, Cléarte in Steffani’s Niobe, and Telemaco ligious works such as Mozart’s Requiem , Beet - in Monteverdi’s Il ritorno d’Ulisse in patria. hoven’s Mass in C Major, Bach’s Magnificat , and Schubert’s Stabat Mater . TONIA d’AMELIO , He is a member of the opera studio of Opéra soprano Bastille in Paris and appears as a soloist in ora - Une Bergère ∙ Fannie ∙ torio. Sargsyan’s upcoming engagements in - Muse clude Chimène by Antonio Sacchini and Les Described as “extrava - chevaliers de la table ronde with Les Brigands. gantly charismatic” by the San Francisco Chron- AARON SHEEHAN , haute-contre i cle , and praised by San Apollon ∙ Trajan Fran cisco Classi cal Voi ce A superb interpreter of the works of Bach, Han - for her “beautiful phrasing” and “striking tone,” del, and Mozart, Aaron Sheehan sang the title soprano Tonia d’Amelio has estab lished a repu - role in the Bos ton Early Music Fes ti val’s (BEMF) tation as one of the most sought-after solo and Grammy Award-winning recording of Char - ensemble singers in the San Francisco Bay Area. pentier’s La déscente d’Orphée aux enfers. Other In recent seasons, she sang the role of Celia in

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the world premiere and East Coast revival of cisco Conservatory of Music since 2001, Dr. Middlemarch in Spring and made several debut Lamott specializes in the vocal and instru men - performances: as a soloist with Philharmonia tal repertoire of the 18th century. He teaches Baroque Orchestra, as Drusilla in Monteverdi’s continuo-playing for the coach-accompanists L’Incoronazione di Poppea with West Edge in the San Francisco Opera’s Merola Opera Opera , and in recital with the Los Angeles Program and lectures for the company’s and the Baroque Players. Other career highlights in - Opera Guild’s education programs. clude liturgical performances of Monteverdi’s Vespers of 1610 , Mozart’s Requiem , and J.S. Bach’s St. John Passion , and concert perform - ABOUT THE DANCERS ances of Men delssohn’s Lobge sang , Mozart’s Great Mass in C Minor, J.S. Bach’s Mass in CAROLINE COPELAND , B Minor, and Handel’s Ode for the Birthday of principal dancer, associate director, Queen Anne. She has participated as a guest New York Baroque Dance Company artist at the William Byrd Festival in Portland, Caroline Copeland has been described as a Oregon, and at the Edington Festival of Music “d ance-provocateur” by the Courier-Journal and within the Liturgy in Edington, Wiltshire, “sublime” by the Wall Street Journal . In 1996 she UK. In addition to singing, d’Amelio teaches joined the New York Baroque Dance Company alignment-focused barre fitness classes at The (NYBDC), with whom she has perfor med Dailey Method’s Piedmont, Berkeley, and San throughout the US and Europe, including at Francisco studios. the Drottningholm Theater, the International Händelf estspiele Göttingen, the Guggenheim BRUCE LAMOTT , Museum, Danspace at St. Mark’s Theater, and chorale director at Potsdam Sanssouci. Copeland is also a Bruce Lamott has been featured performer and choreographer with director of the Phil har - the Grammy Award-winning Boston Early monia Chorale since Music Festival. As a solo performer, she has col - 1997 and also serves as laborated with numer ous early music groups, Philharmonia’s scholar- including Juilliard415, Cantata Profana, Quick- in-residence. He first silver, The Four Nations Ensemble, Brooklyn performed with the or - Baroque, the New Dutch Academy, Bourbon chestra in 1989 as continuo harpsichordist for Baroque, and the New York Consort of Viols, Handel’s Giustino . During his 30-year tenure and her choreography has been presented at with the Carmel Bach Festival, he served as a Alice Tully Hall, the Metropolitan Museum of harpsichordist, lecturer, choral director, and Art, the Public Theatre, and the Phillipzaal in conductor of the Mission Candlelight Concerts. The Hague. Copeland teaches master classes in As the founding director of the Sacramento historical dance across the country. Some of her Sym phony Chorus, he conducted annual con - presentations include appearances at ACJW- certs of major symphonic choral works and pre - Carnegie Hall, NYU Gallatin, Rutgers, Cornell, pared the chorus for their subscription season. Yale, and Vassar. She earned a MFA in dance Lamott received a bachelor’s degree from from Sarah Lawrence College and is an adjunct Lewis and Clark College, and an MA and PhD professor at Hofstra University, where she en - in musicology from Stanford. His teaching joys teaching dance history and classical ballet career began on the musicology faculty at from a historically informed perspective. UC Davis, where he directed the Early Music Ensemble. He recently retired from San Fran- SARAH EDGAR , assistant stage director, cisco University High School, where he directed associate director, NYBDC the choir and orchestra and taught for 36 years. Sarah Edgar specializes in 18th-century stage As a professor of music history at the San Fran - performance. She is the associate director of

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Cal Performances thanks

for its generous support of this presentation of Le Temple de la Gloire.

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NYBDC and the stage director/choreographer Baroque Dance Company since 2010. Off- of the Hay market Opera Company in Chicago. Broadway and regional theater credits include Her 2013 directing debut with Haymarket, One Ride, Lemon Meringue, 42nd Street, Okla - Telemann’s Pimpinone , was hailed by Newcity homa!, Seven Brides for Seven Brothers, and as one of the five best operas in Chicago. As Beauty and the Beast . Film credits include Namie a dancer with NYBDC, she has performed at Amuro’s music video New Look and Night at the Drottningholm Theater in Sweden, the Inter- Museum II . Horton graduated summa cum laude national Händel festspiele Göttingen, Danspace from the University of Kansas with a BFA in at St. Mark’s Theater, the Guggen heim Mu - dance and from the New York School of Interior seum, and the Potsdam Sanssouci Music Fest - Design with an AAS in interior design. ival. From 2006 –12, she lived in Cologne, Germany and toured Europe as a freelance OLSI GJECI was born in Vlore, Albania. The dancer, performing in Italy, Germany, Belgium, son of one of Albania’s premier folk dance Switzerland, and France. She has taught master choreographers Guri Gjeci, he began his pro - classes in Baroque dance at numerous universi - fessional career at age 15 with the folkloric ties in the United States and in Germany, and group Laberia and the National Albanian Folk - has given several lectures at symposia for 18th- loric Ensemble. He has performed throughout century performance. Edgar was an adjunct the world, including appearances in France, professor in dance at Northwestern University Spain, Israel, Italy, Turkey, Lithuania, Monte - in winter 2014, teaching Baroque dance tech - negro, and Macedonia. In 2006 he moved to nique. She holds a BFA summa cum laude in the US, where he studied contemporary dance dance performance from Ohio State University, and philosophy at Hunter College. He dances and an master’s degree from the Hochschule für with Trisha Brown Dance Company, Vicky Musik und Tanz Köln. Shick, Balam Dance Theatre, the Boston Early Music Festival Dance Ensemble, and the New BRYNT BEITMAN , from Dallas , earned a BFA York Baroque Dance Company. Olsi dances from the Juilliard School and is a Presidential folk, modern, contemporary, Baroque and Bali- Scholar in the Arts. His credits include Bruce nese, among others. Gjeci is the artistic direc - Wood Dance Project, Heidi Latsky Dance, tor of Sublime Dance Company. TAKE Dance, and Lydia Johnson Dance. As a choreographer, Beitman’s own works have been ALEXIS SILVER was born in Copenhagen, seen at the Juilliard Theater, Alice Tully Hall, Denmark and spent her formative years here in Bryant Park, Dance New Amsterdam, Gala - Berkeley. She began ballet training with Ronn pagos Art Space, Socrates Sculpture Park, Moyse Guidi at Oakland Ballet. As a teenager Silver Hall, and, most recently, Baruch Performing moved to Massachusetts, shifted her focus to Arts Center as a part of the REVERB Dance contemporary dance, and studied with Marcus Festival; internationally, in Montreal, Varna, Schulkind. She joined the New York Baroque and Bulgaria. He joined the New York Baroque Dance Company in the summer of 2010, with Dance Company in 2007. whom she has performed in Germany; she also dances with the Boston Early Music Festival, CARLY FOX HORTON is a New York City- Rebecca Warner, Gregory Nuber Dance, Becky based dancer and choreographer originally Radway Dance Projects, and Enrico Wey, from Missouri City, TX. She has worked with among others. Silver contributes writing to choreographers such as Amy Marshall, Sean Dance and Dance Spirit magazines and is an ac - Curran, Regina Nejman, Megan Bascom, Brit - complished photographer (www.asilverpho - ney Fal con, Catherine Turocy, Caroline Cope - tography.com). She holds a BA in liberal arts land, and James Koroni. Horton reads and from Sarah Lawrence College and a certificate reconstructs Baroque dances from period no - of higher education from the London Con - tation and has been a soloist with the New York temporary Dance School.

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MEGGI SWEENEY SMITH has performed Dance Company, the Metropolitan Opera, the solo roles with companies including Corbin - Paris Opera Ballet, BALAM Dance Theater, Dances, Nellie van Bommel, Cohen/Suzeau, the People Movers Contemporary Dance Com - and internationally with the New York Baroque pany, and Beth Soll & Company. He joined the Dance Company. She also dances for the Soko - New York Baroque Dance Com pany in 2014. low Dance/Theater Ensemble, performing Anna Sokolow’s 1965 piece Odes as part of the Sounds of Sokolow project. Smith was part of the ABOUT THE DESIGNERS original cast for Kazuko Hirabayashi Dance Thea ter’s The Spring to Stravinsky’s Le Sacre du SCOTT BLAKE , set designer prin temps and has performed works by the Scott Blake is the principal owner of Design 500 Intercultural Arts Dialogue, José Limón, Wally Inc. based in Memphis, Tennessee. The firm Cardona, and others. Smith earned her BFA in specializes in architectural design, museum dance (with highest honors) from the Uni versity planning and design, urban planning, and his - of Kansas. In addition to her continued training toric preservation. His museum clients include in modern dance, her interest in historic dance the Vatican, the Uffizi and Pitti Palaces, and the has taken her into the world of Baroque and Kremlin Museum. Stateside his work can be commedia dell’arte , where she taught on the re - seen at the Elvis Presley Birthplace, the National lationship between music and dance at the Mid- Civil Rights Museum, and the International dlebury Bach Festi val, move ment and notation Blues Hall of Fame. Blake is also the founder workshops at the Mark Morris Dance Center, and executive director of the nonprofit com - Roving Classical Com media University, New munity development corporation in Memphis Jersey City Uni versity, and Southern Illinois that is working to revive the downtown area. University. She joined NYBDC in 2010. MARIE ANNE CHIMENT , costume designer MATTHEW TING was born in Philadelphia, Marie Anne Chiment has designed sets and PA and grew up in El Paso, TX. He began danc - costume for hundreds of theater, opera, and ing with Leah Tubbs in 2012 and is a principal dance productions across the country and dancer of Ballet for Young Audiences, where he around the world. Design credits include also serves as ballet master. Ting has danced national tours of Grease! , Carousel , and the for companies including Connecticut Ballet, Broadway musical Metro . Her designs for opera mishi Dance, stringdance+media, and JT Lotus include the world premieres of Bright Sheng’s Dance Company. He is a graduate of St. John’s Song of Magnun and Bruce Saylor’s Orpheus College, Annapolis. In addition to dancing, Descending at the Lyric Opera of Chicago, and Ting is an actor and enjoys singing in choirs. He Mozart’s The Magic Flute at Santa Fe Opera. joined the New York Baroque Dance Company Her work has also been seen at the Oregon in 2014. Shakespeare Festival, Arena Stage, Actors Thea - ter of Louisville, and the Opera Theatre of St. ANDREW TREGO began his dance training Louis. Internationally, she has costumed operas at age 14 at Houston’s High School for Per - and ballets in Spain, Germany, England, France, forming & Visual Arts and Houston Ballet’s and Japan. Chiment is the recipient of the Kevin Ben Stevenson Academy. While completing a Kline Award for her costume designs for the BFA from the Boston Conservatory, Trego musical Ace . Her set and costume designs for performed lead roles in works by José Limon, I Am My Own Wife won the Kevin Kline Award Alwin Nikolais, Anna Sokolow, and Anthony for Outstanding Production, and her designs Tudor. In Boston he performed with O pera were nominated for the Helen Hayes Award for Boston and the Boston Early Music Festival. Outstanding Design. Her set and costume de - Trego relocated to New York City in 2012, where signs were exhibited in Lincoln Center’s Curtain he has danced with the New York Baroque Call: Celebrating a Century of Women Designing

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for Live Performance and in the exhibit Costume ABOUT OUR PRODUCTION PARTNERS Design at the Turn of the Century: 1990 –2015 at the Bakhrushin Museum in Moscow. Under the musical direction of Nicholas Mc- Gegan for the past 30 years, PHILHARMONIA PIERRE DUPOUEY , lighting designer BAROQUE ORCHESTRA AND CHORALE Beginning his career as a news cameraman (PBO) is recognized as America’s leading and then as a director of photography for many historically informed ensemble. Using authen - foreign opera film projects, Pierre Dupouey tic instruments and stylistic conventions of the worked under many well-known directors, Baroque to early-Romantic periods, the or - including Francis Reusser, Youssef Chahine, chestra engages audiences through its signature Charles Matton a.k.a. Gabriel Pasqualini, Hugo Bay Area series, national tours, recordings, Santiago, and Claude d’Anna. He has premiered commissions, and education projects of the multiple projects at the Cannes and Venice film highest standard. Founded in the San Francisco festivals. As director of photography, he has also Bay Area 36 years ago, the ensemble is the teamed with numerous live opera recording largest of its kind in the United States and projects at venues including the Paris Opera is known for its versatility in programming and House, the Chorégies d’Orange, and the Salz - joyful performances. burg Festival. PBO’s musicians are among the best in the Dupouey has produced numerous music country and serve on the faculties of the Juil - documentaries ( Dalberto-Debussy; Vincennes- liard School and Harvard University, among Neuilly ), film portraits of musicians ( Renaud others. The orchestra performs an annual sub - et Gautier, Face A, Face B; Lettre d’Italie; Moi, scription season in four venues throughout the Hector Berlioz ), and recordings of opera and Bay Area and has its own professional chorus, concerts for DVD and television ( Verdi, une the Philharmonia Chorale. It regularly wel - passion, un destin; Sonatas de Beethoven ). He comes eminent guest artists including mezzo- has designed for many Turocy-directed and soprano Susan Graham, countertenor David McGegan-conducted productions, including Daniels, mezzo-soprano Anne-Sofie von Otter, Handel’s Teseo (Göttingen Handel Festival, fortepianist Emanuel Ax, and maestro Richard 2011), Orlando (Göttingen Handel Festival, Egarr, to name a few. 2008), and Atalanta (Göt tingen Handel Festival, The orchestra enjoys numerous collabora - 2005). He has worked with other design teams tions, including a regular partnership with the from across Europe at Opéra de Marseilles ( Il Mark Morris Dance Group. PBO gave the US Trovatore, Elektra, Iphigenia in Tauris, La Forza premieres of Morris’ acclaimed productions of del destino, Così fan tutte, Radamisto ), Opéra de Purcell’s King Arthur and Rameau’s ballet-opera Nantes ( Elektra, Fidelio ), and Göttingen Opera Platée . In April 2014 PBO gave the US premiere (Atalanta, Alcina, Ariana, Tolomeo, Xerxes ). of MMDG’s Acis and Galatea here at Cal Per - Dupouey has also designed for productions of formances. It was reprised in August 2014 with Rusalka (Athens Opera House and Opéra de three performances at the David Koch Theatre Nice), Fidelio (Opéra de Limoges, Opéra de at Lincoln Center. PBO also returned to Tangle- Tours), I puritani (Opéra d’Avignon), and Peter wood and the Mostly Mozart Festival that Pan (Théâtre du Châtelet). August to reprise its acclaimed 2013 production In 2016 and 2017 Dupouey served as scenic of Handel’s opera Teseo . The orchestra appears designer on two productions with renowned regularly at the Weill Concert Hall at the Green French soprano Natalie Dessay, combining Music Center, the Bing Concert Hall at Stanford contemporary music and illustration. In June University, Carnegie Hall, Lincoln Center, and he will act as lighting designer for a production Walt Disney Concert Hall. of Cilea’s Adrienne Lecouvreur at the Mariinsky Among the most recorded orchestras in the Theater in Russia. world, PBO boasts a discography of more than 40 recordings and launched its own label in

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2011, on which it has released nine recordings, Disney Concert Hall in Los Angeles, at New including a coveted archival performance York City’s Lincoln Center, and at Segerstrom of mezzo-soprano Lorraine Hunt Lieberson Concert Hall in Orange Country. Philharmonia in Berlioz’s Les Nuits D’été, a nd a Grammy- Chorale appears on the PBO’s recordings of nominated recording of Haydn symphonies. Arne’s Alfred , Scarlatti’s Cecilian Vespers , and The orchestra just released a recording of its Beet hoven’s Symphony No. 9. modern North American premiere of Alessan - dro Scarlatti’s La Gloria di Primavera , which NEW YORK BAROQUE DANCE COM - coincided with a tour in May 2016. PBO comis - PANY (NYBDC) , celebrating its 40th anniver - sioned its first work, a one-act opera titled To sary season, was founded in 1976 by Catherine Hell and Back , by acclaimed composer Jake Turocy, artistic director, and Ann Jacoby. The Heggie, in 2002. Audiences heard the world NYBDC specializes in producing 17th- and premiere of Red, Red Rose by Pulitzer Prize- 18th-century programs ranging from street winning composer Caroline Shaw at Walt Dis - performances to fully staged operas. The com - ney Concert Hall in May 2016. The piece was pany has over 80 operas in its repertoire as well written for and was performed by mezzo- as reconstructed dances and ballets choreo - soprano Anne Sofie von Otter. This unique tour graphed in period style. Through residencies also included works by Handel, Purcell, and at educational institutions serving grades K –12 Arvo Pärt. The orchestra’s newly launched and at the university level, the NYBDC in - alternative concert series for younger and new structs professionals and the general public, audiences—SESSIONS—has regularly sold out thus helping to preserve our cultural heritage. since its inception in 2014. The NYBDC has toured North America, Eur- ope, and Japan with conductors James Rich - Critically acclaimed for its brilliant sound, man, John Eliot Gardiner, Christopher Hogw ood, robust energy, and sensitive delivery of the Nicholas McGegan, and Wolfgang Katschner. text, the PHILHARMONIA CHORALE was At home in New York City, the company pro - formed to provide a vocal complement whose duces concerts annually with Concert Royal, fluency in the stylistic language of the Baroque directed by James Richman. The NYBDC also period matches that of Philharmonia Baroque performs regularly with Philhar monia Baroque Orchestra. Orchestra & Chorale, Opera Lafayette Orchestra Founded in 1991 by John Butt, a Baroque and Chorus, the Dallas Bach Society, Mercury keyboardist and one of the world’s leading Bach Baroque, and Apollo’s Fire. scholars, Philharmonia Chorale consists of 24 professional singers with distinguished solo and CENTRE DE MUSIQUE BAROQUE ensemble experience. Members appear regu - DE VERSAILLES larly with organizations such as the San Fran- In the 17th and 18th centuries, French music, cisco Symphony, Carmel Bach Festival, and renowned throughout Europe, gave rise to a American Bach Soloists, and are guest soloists whole series of rich and innovative genres, in - with most of the area’s symphonic and choral or - cluding the air de cour , ballet de cour , comédie- ganizations. They appear in roles with regional ballet , tragédie en musique , opéra-ballet , grand opera companies and have been members and motet , petit motet , and opéra-comique . The founders of some of the country’s premier vocal names of Rameau, Charpentier, Lully, Bou - ensembles, including Chanticleer, the Dale War - zignac, Marais, Campra, Mondon ville, Dau - land Singers, and Theatre of Voices. vergne, Grétry, and many others, testify to the In its first decade, the chorale’s repertoire extraordinary musical activity of that period. included nine Handel oratorios, Bach’s St. John That rich musical heritage nevertheless Passion and Christmas Oratorio , and Mozart’s nearly disappeared after the French Revolution Mass in C minor. The chorale has appeared and was completely forgotten throughout the with Philharmonia Baroque Orchestra at Walt 19th century. Not until musicians such as

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Debussy and Saint-Saëns came along did any - • development of resources such as one look with curiosity at that repertoire; then music scores and scholarship, to be a school of French musicology emerged in the displayed digitally on the internet. 20th century, paving the way for the “Baroque revival” of the 1980s, one of the main features of Through the singularity of its mission and which was performance on period instruments. the complementarity of its actions, the CMBV Emblematic of that movement, the Centre has become a key player, both nationally and de musique baroque de Versailles (C MBV) was inter nationally, in the rediscovery and recovery created in 1987 with the aim of bringing to - of the French musical heritage of the 17th and gether in one place, for the rediscovery and pro - 18th centuries. motion of the 17th- and 18th-century French musical heritage, all the necessary resources The Centre de musique baroque de Ver - for research, publishing, training, and concert sailles is supported by: production. In recent years, the CMBV has increased its • le ministère de la Culture et activities; the following actions are now the de la Communication, direction focus of its mission: générale de la création artistique • l’Établissement public du château, • research, involving in-depth and du musée, et du domaine national fundamental projects, organization of de Versailles symposia, scholarly literature, and • le Conseil Régional d’Ile-de-France performance-practice workshops with • le Conseil Départemental des Yvelines musicians; • la Ville de Versailles • Primary vocal education and advanced • le Cercle Rameau (cercle des mécènes professional training of 150 pupils and particuliers et entreprises du CMBV) students; • production of concerts and stage performances at Château de Versailles, throughout France, in Europe, and worldwide;

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