: a funeral for the Queen of Carthage concert staging Tuesday 2 October 2018 7.30pm, Hall

Purcell Sonata No 1 in G minor (movements 1, 2 & 3) Orpheus Britannicus – ‘So when the glittering Queen of Night’ Chacony in G minor, Z730 Pavan in G minor The Tempest – ‘No stars again shall hurt you from above’ Close thine eyes and sleep secure Chacony in G minor, Z807 interval 20 minutes Marco Borggreve Marco Purcell Dido and Aeneas

Academy of Ancient Music Choir of AAM director/ Thomas Guthrie director Caitlin Hulcup Dido Ashley Riches Aeneas Rowan Pierce Belinda Neal Davies Sorceress Laura Caldow & Ben Thompson Puppeteers Michael Casey Lighting Ruth Paton Designer Part of Barbican Presents 2018–19 Part of 2018–19 Generously supported by the Geoffrey C Hughes Charitable Trust as part of the AAM Purcell Cycle, and the Roger and Ingrid Pilkington Trust We are grateful to Caitlin Hulcup for stepping in at short notice to sing the role of Dido

Please turn off watch alarms, phones, pagers etc during the performance. Taking photographs, capturing images or using recording devices during a performance is strictly prohibited. The City of London Corporation If anything limits your enjoyment please let us know is the founder and during your visit. Additional feedback can be given principal funder of the online, as well as via feedback forms or the pods located around the foyers. 2 Second Woman relate the violentand that canbemostrevealing. Why doesthe great musicdrama –it’swhat’snot said great drama –perhapsespeciallywith As for theopera itself,assooften with insight into theretelling of herlastdays. and how thatbehaviour might provide behaviour after theQueen’sdeath– dramatic potential of seeing characters’ utterly extraordinary music,butalsoby the opportunity to digoutmore of Purcell’s was immediately excited not onlyby the the opera was Richard Egarr’s,andI idea for afuneral whichcouldprecede promoter’s problem. Inthiscase,the What to pairwith Director ThomasGuthrie writes: itself. ThisisPurcell athismostsearingly confronted withthegenius of themusic questions paleinto insignificance when even exactly whenitwas composed.Such don’t know for whomit was written or It’s awork swathed inmystery aswe work: attention to Purcell’s best-known stage Director Richard Egarrnow turnshis of praised andthought-provoking realisation Academy of AncientMusic.Following a works, co-produced by theBarbicanand in ourseriesof semi-stagings of Purcell Tonight marks thethird andfinal instalment Welcome King Arthur Dido &Aeneas lastyear, AAMMusic Dido . ? Aperennial Academy of AncientMusic Alexander Van Ingen,ChiefExecutive, Huw Humphreys, Head of Music,Barbican music anddrama. We hopeyou enjoy it. It promises to beawonderful evening of as theSorceress. Rowan Pierce asBelindaandNealDavies Hulcup andAshley Riches;joiningthemare Tonight’s star-crossed lovers are Caitlin to balanceoutthework’s darker sides. director ThomasGuthrie iskeen to exploit moments of humourtoo, qualitiesthat tragedy, however –itoffers ceremony and lament. Thisisnomere one-dimensional intense, culminatinginDido’sgreat invest itwithsuchfeeling? Whatwere the put herupto it?Andwhy doesPurcell at acelebratory royal gathering?Who deeply ominousstory of Actaeon’s death puppeteer. Butittakes specialartists to doit. song andmovement, shouldbethe chief thought, whoturnsthatthought into speech, For meitisvital thattheoriginator of the hard work of ourmodern singers,asIdo. story. Ihopeyou willsalute thebravery and great athelpingfocus attention onthe at openingourearsaswell asour minds, our imaginations, great atdying,great Transitional objects,magical engagers of And puppets.Puppetsandmasks. mind to ElizabethI(‘Elissadiestonight’)? one soclearlyrelated inthe17th-century pressures onafemale monarch, especially following ashedidstraight after thereign of could onlybewomen. Itwas inJames’s interest, had beenashifttowards theideathatwitches to thepropaganda spread by JamesI,there or female. Butinthe17th century, duelargely Purcell’s time–had traditionally beeneithermale genuine fear throughout Europe andbeyond in witches. Witches –powerful figures causing The scenenow changesto show acoven of in aceremonial hunt(‘To thehillsandvales’). will celebrate thebetrothal of DidoandAeneas the countryside isplanned,where thetwo courts Love’) asDidofinally consents. Astate outingto and thecourtare relieved (‘Pursuethy conquest, them (‘Ifnot for mine,for empire’s sake’). Belinda of thepoliticaladvantage of any unionbetween Aeneas isundaunted, andreminds her openly public courting,Didoatfirst refuses him,but in (‘Whenroyal fair’). Startled by suchbrazen an answer to theproposal himself,now bursts Aeneas, whohasbeenimpatientlywaiting for urge herto action (‘Fear nodangerto ensue’). whole courttogether seizetheopportunityto Belinda, theother ladies-in-waiting andthe (‘Whence couldsomuchvirtuespring?’). doesn’t deny thathermindisonthemarriage Belinda’). Sheistroubled, andconfused,but her court,Didoaddresses onlyBelinda(‘Ah In reply to suchthinlydisguisedpressure from cloud from off your brow’/‘Banish sorrow’). about to doso,theQueenappears(‘Shake the try to getaresponse from Dido.Justassheis her private apartments,issentoncemore to and oneof theonlypeoplewhohasaccess to has unsettledher. Belinda,herlady-in-waiting (both athomeandinterms of foreign policy), would seemto besoadvantageous politically Aeneas, recommended by them,andwhich concerns thattheproposed marriage to in publicfor too long.There are particular state to attend to, andshehasnot beenseen to heradvisors. There are urgent matters of The Queenof Carthage iscausingconcern synopsis &Aeneas: Dido sung by aman, takes alead in stirring uphatred Accordingly, thesorceress, originally (ashere) Elizabeth I,to underminewomen inpower. After abriefcomicinterlude, where sailors to go(‘Jove’s commandsshallbeobeyed’). such adesertionwillcause,nonethelessagrees hear’). Aeneas, aware of thechaos anddamage that hemustleave atonce(‘Stay, Prince,and delays Aeneas to give himthefalse message witches’ envoy, inthepromised form of Mercury, rush for shelter (‘Haste, haste to town’), butthe clouded’). Theroyal partiesclearthepicnicand the witches’ storm approaches (‘Theskiesare boast (‘Behold,uponmy bendingspear’),and tries to distract herwithhisown inappropriate his own hounds.Didoisdeeplydisturbed,Aeneas the hunted; andhewas rippedlimbfrom limbby woods, hisfate was sealed:thehunter became he saw Artemis (Diana)bathing naked inthe Theban hero, whowas afamed hunter. After tells thestory of Actaeon, themythological song causesoffence (‘Oftshevisits’).Thesong not clearhow thishascomeabout–thechosen pleasure of thegathered royalty, but–anditis The SecondWoman isinstructed to singfor the is infullswing (‘Thanks to theselonesomevales’). Back inthecountryside, thecourtly entertainment ancient times(conveniently enough)as‘Elissa’. of Dido(‘Wayward sisters’), whowas known in Synopsis © Thomas Guthrie Synopsis ©Thomas Guthrie her own life, leaving Belinda distraught. taken to beafemale monarch. Didotakes the weight, andthestrength of willthatithas only show theirignorance of theloneliness, minds against themselves conspire’) butthey him. Thecourtiersfeel thisisamistake (‘Great the damage isdone,andDidowillnot hear to ignore Jove’s instructionsandstay after all, to apologiseinperson,but,despite hisoffering of Carthage (‘Your counselall’).Aeneas arrives humiliation, butalsoby herperceived betrayal Dido istortured not just by herpersonal storm onthedepartingshipsof Aeneas. and vow to add insultto injuryby turningtheir their triumph(‘Seetheflags andstreamers’) away, fellow sailors’),thewitches celebrate as well ashisexcuses for leaving (‘Come echo Aeneas’ abandonmentof hisbeloved,

3 Welcome 4 while ensuringEnglishmusicremained individual imagination, ableto satisfythetrend-seekers cue, matured into amusicianof exceptional from elsewhere inEurope. Purcell, righton progress depended onabsorbinginfluences life atcourt.Heknew thatgenuineartistic Charles IIwanted more thananactive music at elite level andmade important friends. musicianship, gainedexperience of theprofession composer was schooledinfundamental 14 whenhisfather died).Thusthebudding corridor from anearlyage (Henrywas only fully involved inthemusicallife of theWhitehall Westminster Abbey andmade sure hissonwas father was Master of theChoristers at One suchinstitutionwas thechurch. Purcell’s confinement to private homes. to beheard inpublicinstitutionsafter years of restored inEnglandandmusiconcemore started reached hisfirst birthday, themonarchy was place attherighttime.Shortlyafter HenryPurcell international significance was bornintheright England’s first composerof truehistorical and For songtexts, seepage7 for two violinsandbasswas published (a‘trio’ In 1683, Purcell’s collection of 12 triosonatas masterpieces). (though not before Purcell had written astringof made theirforebears intheviolfamily obsolete and energy on anentirely new level andsoon These instrumentswere capableof declamation violins andtheirassociated, lower-voiced siblings. Purcell’s handswas theemergence of modern One crucialinnovation thatplayed straight into Sonatas, Chaconnes&Pavans music inEnglanddidtoo. freedoms of theBaroque, Purcell thrived and Renaissance gave way to thenew expressive as well asprogressive. Asthestrictnessof the A funeral for the Queen of Carthage Queen for the A funeral (1659–95) dance from theElizabethanperiod.Another of creations for theensemble,itstitlereferring to a The exile inFrance. – not for nothing had CharlesIIspentpartof his ensemble of thesamenameatFrench court Violins, aprototype modelledonan director of thecourtensembleTheTwenty-Four birthday, Purcell officially succeededLocke as sometime mentor Matthew Locke. Onhis18th betrays theinfluence of Purcell’s friendand There isacertain terseness to thesonatas that music’s linearweave (aRenaissance mainstay). Baroque idea),rather thanaby-product of the to useharmony asameansof expression (a G minor, we canalready hearPurcell’s willingness speed andgait.From thefirst, theSonata in as asingle,continuousmovement of shifting Italian styleto England.Each sonata isconceived cycle of keys andwere intended to introduce the harpsichord). Theseworks travelled through a of four, asthebasswas usuallydoubled by the locked inplace. music into remote keys, whilethebasslineremains rhythmic andharmoniceffects; heeven pushesthe of bars(five) andexplores allmannerof melodic, Purcell usesabasslinewithanuneven number in thesecond,Z807(alsoGminor). Inthelatter, chaconnes we hearthisevening buteven more so derring-do. Thatisapparent inthefirst of the of thedance,andhisown harmonicandrhythmic between anunchangingbassline,theconventions the opportunityto explore thethree-way tension stage works (aswe’ll hearlater) andrelished back. Heusedtheminboth instrumental and Purcell loved chaconnes andthey loved him variations are laidover arepeating bassline. chaconne: amusicalstructure inwhichdancing used inthatspellingonlyby Purcell; infact itisa the sonatas. For somereason, theword was Z730, whichisfound inthesamecopybook as his earlyworks for thegroup was the Pavan inGminorwas oneof Purcell’s first

Chacony

, when heroes thought itbase The songactually hailsfrom Purcell’s ode when theglittering Queenof Night’isfound. after thecomposer’sdeath,inwhichsong‘So title given to ananthologyof songspublished Orpheus’. Indeed, him to bereferred to posthumouslyasthe‘British a natural way withthehumanvoice, whichled That mightbebecausethecomposerhad such from Purcell. hurt you from above’ are hard to disassociate harmonic delightof theduet‘Nostars again shall John Weldon. Still, theexpressivity andsimple more likely to have comefrom thepenof hispupil arias betray Purcell’s thinkingintheory, butare production isuncertain. Someof theItalian-style the exact provenance of themusic ascribedto the The Tempest been involved inanew version of Shakespeare’s do two centurieslater. Thecomposermay have seemed asvisionaryRichard Wagner’s would in the1680s, hisdramatic instinctsmusthave by thetimehewrote hisfirst music for thetheatre The composerwasn’t immediately persuaded, but joining them. for courtandchurch, cajoledthecomposerinto of expression Purcell had invested inhismusic London. Theatre folk, aware of theacute sense unleashed commercial stage entertainment in Charles IIreopened thetheatres andeffectively wider musicalworld. Following theRestoration, with theopportunityto spread hiswingsinthe royal family would inadvertently provide Purcell of musiciansrather thanabuilding).Butthe songs andmusicfor theChapelRoyal (abody within theconfines of courtlife. Hewrote odes, music, butfor thetimebeingremained firmly Purcell quicklymoved beyond purely instrumental Purcell, thetheatre andthevoice Britten noted, thesonguses afunereal march over city of York first performed in1690. AsBenjamin produced intheearly1690s, though Orpheus Britannicus , acelebration of the was the was the Of old, Of old, opera entirely intheItalian style,andaccordingly sensed Englandwasn’t ready for through-sung sprung upinFrance andItaly. Purcell must have Restoration, thegreen shoots of earlyopera had ones. Whilethetheatres were closedpre- trends inEurope ashehad beenof instrumental Either way, Purcell was as aware of theatrical Dido Dido & AeneasDido interval most beloved opera inEnglish, – ifnot thefirst, thenarguably thebest-known and introduced thepiecefor whichheismostfamous around theappearance of thissong,Purcell had Those giftswere certainly burgeoning. Sometime sense Purcell’s dramatic giftsunderthesurface. its settingof Francis Quarles’stext, even ifwe for andbass,restrained andrestful in first another popularsongcollection,HenryPlayford’s Close thineeyes andsleepsecure sudden shiftto themajorfor theword ‘ray’. use subtlebutilluminatingtouches, suchasthe composer ever set,andgave himthechanceto text by ThomasD’Urfey isamongthefinest the effects withoutupsettingthestructural rubric:the Yet again we hearPurcell’s abilityto deploy deft which thevoice pingsoutlike astar inadarksky. the decade, justlike John Blow’s as amasqueatthecourtof CharlesIIearlierin was itselfanadaptation of awork performed Some musicologistsnow believe theschoolversion in 1687 andanother followed two years later. Priest’s Boarding Schoolfor Young Gentlewomen earliest known performance took place atJosias written midway between 1680 and1689. The out. Thelatest research suggeststhe score was research isbringing ussteadily closerto finding wrote histhree-act opera We’ve never known precisely whenorwhy Purcell Harmonia Sacra ’s mostobvious precursor. 20minutes of 1688. Itisacoiledduet Dido &Aeneas Dido &Aeneas Venus &Adonis was published in was publishedin , but , but . ,

5 Programme note 6 sung play withdancing)in included elementsof thefamiliar masqueform (a prove amodelfor Handelandothers. benediction ‘Withdrooping wings’,whichwould against themselves conspire’ andthemoving final Sailors’ chorus,thetragic dignityof ‘Great minds called uponto convey thecarefree swagger of the deep vaulted cell’).Thevery samesingersare and anunsettlinglyghostlyecho-chorus(‘Inour harmonic progressions (‘Harm’sourdelight’) witches’ cackling laughter there are devious manifestation of histheatrical gifts. Beyond the Purcell’s useof hischorusrepresents anobvious entertainment aswell as apsychological tragedy. of rollicking sailorsensured hiswork was an single lonesomecrone. Astorm andachorus witches (andachorusof hangers-on)to Tate’s dramatic potential –he added two bonus fascination withtheoccult–andsensinghuge gave him.Aware of the17th-century public’s But Purcell was not averse to altering whatTate while heisafforded justtwo barsof reciprocation. with whichto proclaim herpassionfor theprince, Dido thanto Aeneas: shegetstwo wholearias Tate certainly gave usmore chanceto warm to Catholic ritual. warnings to royalty andeven satires onRoman Tate’s version islittered withallegoricalreferences, He complies;Didotakes herown life. Somesay but thegodscallhimaway forbidding theirlove. lands inCarthage andfalls for thewidowed Dido, effective, quick-fire account of thestory: Aeneas he delivered to Purcell, Tate setoutadramatically in thelate 1670s. Inthesometimesclunkylibretto Brutus of Alba the dramatist andpoetNahumTate, whoseplay that account. For hisversion, Purcell consulted though there are sources whichpredate even been familiar inthe1600s from Virgil’s ill-fated romance withaTrojan princewould have The story of theQueenof Carthage andherswift, bass (chaconnes invocal form). his strategic placing of ariasemploying aground presents acontrast. Butfew couldhave missed outer sectionsare identicalandthemiddleone use of Italian-style informed listeners would have noticed Purcell’s prologue isintheFrench style.Onlythemostwell- of thethree acts hasroom for dancingandthe had paraphrased the da capo Dido &Aeneas arias, in which the arias, inwhichthe Dido Aeneid story story : each : each , have appeared inmany guises inthefirst years Whenever it was first performed, desperation. Dido’s stoicism momentarily flaring into painand aching melancholybornentirely of thetext –of completes itsloop.Thefeeling isof unbearable, so itstraddles thepointatwhichbassline extends thesoprano’s stanza across the‘join’ hanging entirely off them;atonepointheeven him, relishing theharmonicsuspensionswithout notes to theirutmostgiven thetools available to unspeakably evocative. Purcell exploits thosesix conclusive perfect cadence –uncannilysimpleyet the ground through sixadjacent notes towards a The basslineitselfisemotive enough,slidinginto in earth’stands asoneof music’sgreat miracles. tragedy of theopera’s story, but‘WhenIamlaid All three are usedby Purcell to expose thehuman canter rather thanaslow lament. example of aground bassfounded on arollicking of pivotal metaphorical significance – provides an story of DianaandActaeon ‘Oftshevisits’–itself between, theSecondWoman’s recounting of the her final lament,‘WhenIamlaidinearth’.In opening statement, ‘AhBelinda’,whichanticipates arias intheopera. Thefirst isthetitlecharacter’s looping bassline,for three strategically placed dramatic context. Heusesthesametechnique, a tapped ininstrumental chaconnes into acharacter- is thecomposer’stransferring of thetension he Purcell’s word-painting. Mostpertinent,though, vigorous, andislittered withtasteful examples of Dido &Aeneas Surtitles by Kelly Lovelady Programme note ©Andrew Mellor her onceAeneas hasgone.’. and why suicideistheonlycourseof action leftto explain thedifficulties andpressures sheisunder, takes herresponsibilities sopersonallyhelps ‘The fact thatDidois“marriedto theState” and text referred to directly aswell). Asheexplains, female rulermightfind herself(somethingTate’s was fascinated by theuniquepositioninwhicha the originaltext and,asmentionedonpage 2, who claimsaninterest in‘whatisnot said’in the award-winning director ThomasGuthrie, been discovered. Tonight’s concertstaging isby of themusicthathave not survived ornot yet We mustremember, too, thatthere are parts music omitted, includedoradjusted accordingly. placed varyingly ondanceordrama and with of itsexistence justasit doestoday, withemphasis isjustasoften infectiously Dido would would Frances Marshall (1606–68), after WilliamShakespeare (1564–1616) John Dryden(1631–1700) andWilliamD’Avenant But allyour days shall passinpeace andlove. No stars again shallhurt you from above, No stars you againshallhurt from above Thomas D’Urfey (1653–1723) And theneach ray isbrighter thanbefore. Does butalittletimeabide, Her dazzlingcharmsto hide, The globethatswells withsullenpride, With black eclipseisshadow’d o’er So whentheglittering Queenof Night So whentheglittering Queenof Night Francis Quarles(1592–1644) No sleepsosweet asthine,norest sosure. Then closethineeyes inpeace andrest secure, Are outof tuneunlessshesings; The musicandthemirthof kings Has onlypeace, hasonlyrest: A quietconscienceinabreast Who never slumbers, never sleeps. He thatguards thee,hetheekeeps, Thy soulissafe, thy bodysure; Close thineeyes andsleepsecure; Close thineeyes andsleepsecure

7 Programme note 8 Marco Borggreve performance andHandel’s at theBarbicanCentre includetonight’s Purcell highlights withtheAcademy of AncientMusic the Fundación JuanMarch inMadrid. Season the Wigmore Hall,Tokyo SpringFestival andat Orchestra. Hegives soloharpsichord recitals at Orchestra Tokyo andtheSeoulPhilharmonic Scottish Chamberorchestras, KioiHallChamber the SeattleSymphony Orchestra, SaintPaul and Orchestra inBach andVivaldi andreturns to makes hisdebutwiththeCincinnatiSymphony Ninth withtheHandelandHaydn Society. He the Utah Orchestra, andSchubert’s Orkest, Schumann’sSecondSymphony with No 0 andBeethoven’s FifthwiththeResidentie This seasonheperforms Bruckner’sSymphony such astheWigmore HallandCarnegieHall. , hegives solorecitals atvenues as well asleading Baroque ensembles.Asa Concertgebouw andPhiladelphia , guest conductstheLondonSymphony, Royal Orchestra from 2011 to 2017. Healsoregularly was Associate Artistof theScottish Chamber the Residentie Orkest inTheHague in2019. He up thepositionof PrincipalGuestConductor of Academy of AncientMusicsince2006andtakes music. HehasbeenMusicDirector of the keyboard, givingrecitals andplaying chamber is equallyhappy conducting,directing from the keen, enquiringmindto allhismusic-making.He Richard Egarrbringsasenseof adventure anda Richard Egarr About the performers Richard Egarr director/harpsichord

; Thomas Guthrie before working withGustav andMarieLeonhardt. organ scholaratClare College,, Minster, atChetham’sSchoolof Musicandas Richard Egarrtrained asachoirboy atYork earlier thisyear onLinnRecords. latest recital discof musicby Byrd was released St Matthew Passions awards) and,mostrecently, Bach’s gained he hasrecorded seven discsof Handel(which Couperin. WiththeAcademy of AncientMusic recordings of Bach, Handel,MozartandLouis His extensive solodiscography includes Professor attheJuilliard School. the Amsterdam Conservatory andisaVisiting He hasalongstanding teaching positionat staged version of the his Glyndebournedebutin2007, conductinga established theChoirof theAAM.Hemade his repertoire andearlyinhistenure he Opera andoratorio lieattheheartof the Grange Festival in together withtheAAMhealsomakes hisdebutat direct ways. with theaimof telling stories invivid,new and winning director working intheatre andmusic Thomas Guthrieisaninnovative andaward- Thomas Guthrie Gramophone stage director ontheAAM’sown label.His St Matthew Passion , MIDEM and Edison , MIDEMandEdison St John . and and .

opera housesinternationally, includingthe Caitlin Hulcuphasappeared atleading Caitlin Hulcup University, New Jersey in2017. Festival, andwas BelknapFellow atPrinceton Guest ArtisticAdvisor to theYork EarlyMusic director of thecharityMusicandTheatre for All, Thomas Guthrieisthefounder andartistic Opera House’sgrandest achievements’ ( of allages –was describedas‘oneof theRoyal hundreds, includingprofessionals andamateurs Production Park inThurrock, involving acastof opera commissionedto launchtheROH’s new Opera. Hisproduction of Opera, thePrisonChoirProject andtheRoyal including collaborations withStreetwise successful projects have beeninthisfield, ages andbackgrounds. Someof hismost He alsoworks withnon-professionals of all his productions. music inthestorytelling are always attheheartof the commitmentof theperformers andtherole of work thatremains faithful to themusic.Thestory, physical, theatricalandattimescontroversial He hasareputation for stylish,energetic, Flying Dutchman Opera ledto aninvitation to direct Wagner’s and acclaimed productions of Stage On production of Garden, andhisrevival of David McVicar’s Director attheRoyal Opera House,Covent He isaformer Jette Parker Young ArtistStage Bayerische Staatsoper, Munich, , Berlin, ,, Wiener Staatsoper, DeutscheStaatsoper, Caitlin Hulcup The Magic Flute BestRevival 2018. Hisown critically The Magic Flute earlierthisyear. Dido atLongborough Festival Ludd andIsis The Marriage of Figaro there won – an –an Opera What’s What’s The The ). Idamante for Lisbon’sTeatro SãoCarlos Opera andGluck’s Garsington, ( Arbaces ( National Center of Performing ArtsinBeijing, Maggio Musicale,theBolshoiTheatre andthe Staatsoper, Octavian ( Dorabella ( ( Other notable appearances includeEnrichetta McCreesh, ChristianCurnyn andAlanCurtis. Rousset, René Jacobs, NicholasKraemer, Paul repertoire includeWilliamChristie,Christophe Orpheus ( ( ( Diana/Destiny ( ( ( and Scottish Opera. Shealsoperformed Cyrus Handel Festival inHalle,Theater anderWien Real, aswell asfor theBayerische Staatsoper, Lyriques here attheBarbicanandTeatro has appeared intherole withLesTalens last year. Sheisanacclaimed and the role of DidowiththeHongKong Philharmonic A renowned performer of earlymusic,shesang and thePalau delesArtsinValencia. Theater anderWien,Bolshoi Theatre, Moscow, des Champs-Élysées, LaMonnaie,Brussels, Madrid, Maggio MusicaleFiorentino, Théâtre academic to theUniversity of Melbourne. the andavisiting Caitlin Hulcupisprofessor of singingat attheLeipzigGewandhaus. Symphony Orchestra and Mozart’s include Beethoven’s Symphony No 9withthe for . Concerthighlights Washington, DC,and Hansel( in herUSdebutattheKennedy Center in Montecchi This seasonshesingsRomeo ( Vassily SinaiskyandMarkWigglesworth. Mehta, , Peter Oundjian, has collaborated withconductors suchasZubin National Orchestra andtheBBC Proms. She orchestras, WienerAkademie, Royal Scottish the BournemouthandSydney Symphony National Opera. Concertappearances include and Iseult(Martin’s Maometto II I puritani Il ritorno d’Ulisseinpatria Catone inUtica Belshazzar Admeto ) for theRoyal Opera. Conductors inthis ), Rosina ( Artaxerxes ) for PinchgutOpera, andPenelope ) for Victorian Opera, Radamisto ) withLesArtsFlorissants,Cesare Così fan tutte Iphigénie enTauride ) andIdamante ( ) atTheater anderWien,Irene ) atThéâtre desChamps-Élysées, Il barbiere diSiviglia Le vinherbé ) atCovent Garden, Calbo Orfeo Der Rosenkavalier ) for theWiener ) at La Monnaie, ) atLaMonnaie, ) andAristeo (Rossi’s for Scottish Opera, I Capuleti e i I Capuleti ei Hansel andGretel ) for Welsh for Pinchgut for Pinchgut ) and ) and ) at ) at ) for ) 9 About the performers 10 Debbie Scanlan at theGrange Festival, concertswiththe English NationalOpera, Claudio ( Count Almaviva ( Recent engagements includedhisfirst Roger Norrington andSir SimonRattle. Robin Ticciati,SirJohnEliot Gardiner, Sir conductors includingEsa-Pekka Salonen, Soloists undersomeof theworld’s finest Berlin PhilharmonicandEnglishBaroque Orchestra, Arcangelo, GabrieliConsort, , LondonSymphony In concert,hehasappeared withthe Egypt with thePannon Philharmonic;and Academy of AncientMusic; Fairy Queen Opéra NationaldeLorraine, Nancy; Opera; thetitle-role in ( Schaunard ( at theGlobeTheatre. Hehassungtheroles of company to singOsmano(Cavalli’s des Carmélites Douphol ( Moralès ( Nils Eichberg’s Salieri included Salieri(Rimsky-Korsakov’s During histwo years atCovent Garden hisroles Radio 3New Generation Artistsscheme. 2012 to 2014. Heisamemberof theBBC Royal Opera House,Covent Garden, from and was aJette Parker Young Artistatthe at theGuildhallSchoolof Music&Drama member of King’sCollegeChoir. Hestudied at CambridgeUniversity, where hewas a Bass-baritone Ashley Richesread English Ashley Riches Ashley Riches The Pirates of Penzance ); Michael (theworld premiere of Søren with theScottish ChamberOrchestra. Carmen La traviata La bohème here attheBarbicanwith ). Hehassincereturned to the Aeneas Glare The Marriage of Figaro ); Mandarin( ); andOfficer ( intheLinburyStudio); Owen Wingrave ) andthePirate King ) for EnglishNational Apollo eDafne Turandot Dialogues Dialogues Israel in Mozart and Mozart and L’ The The ); Baron ); Baron with with ) at ) at

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Gerard Collett Rowan Pierce Prince of Wales attheRoyal Collegeof Music awarded the President’s Award by HRH Yorkshire-born soprano Rowan Pierce was Rowan Pierce debut atGlyndebourneFestival Opera. Orchestra andTheEnglishConcerthis Symphony Orchestra, Royal Scottish National of Figaro under Ryan Wigglesworth, Silver Tassie under Gardiner, Mark-Anthony Turnage’s English Baroque Soloistsontour intheUS include Ashley Riches’current andfuture engagements Wales andarecital attheWigmore Hall. Philharmonic, BBC National Orchestra of Scottish Chamber Orchestra, Bremen Academy of AncientMusic,GabrieliConsort, performances withthe Rotterdam Philharmonic, London HandelPlayers. Future highlights include OAE andherWigmore Halldebutwiththe 2017 shemade herBBC Proms debut withthe Florilegium andRoyal NorthernSinfonia. In and Cityof BirminghamSymphony orchestras, Scottish ChamberOrchestra, BBC Scottish Academy of Ancient Music, GabrieliConsort, performs regularly withensemblesincluding the throughout Europe andin SouthAmericaand She hasappeared ontheconcertplatform Harewood artistatEnglishNationalOpera. Orchestra of theAge of Enlightenment andisa has recently beennamedaRisingStar of the first SchubertSocietySingerPrizein2014. She Someren Godfrey PrizeattheRCM andthe International SingingCompetition,theVan First Prizeattheinaugural Grange Festival in 2017. Shewon both theSongPrizeand Lélio inTokyo, concertswiththeMDR withtheBBC Symphony Orchestra withtheMonteverdi Choirand Belinda The Marriage The The Philharmonia orchestras underChristoph von Orchestra underPierre Boulez,Cleveland and Orchestra underMarissJansons,BBC Symphony He hasappeared withtheOsloPhilharmonic Cardiff Singer of theWorld Competition. Music, andwon theLiederPrizeat1991 College, LondonandtheRoyal Academy of Bass-baritone NealDavies studiedatKing’s Neal Davies Neal Davies Award andMidoriNishiura attheRCM. generously supported by theCountess of Munster Rowan Pierce isaSamlingArtistandwas Consort andtheAcademy of AncientMusic. Liverpool PhilharmonicOrchestra, theGabrieli Recording plansincludesessionswiththeRoyal Festival andRoger VignolesatLeedsLieder. Malcolm MartineauattheOxford Lieder the Ryedale Festival, DameAnnMurray and Sir ThomasAllenandChristopher Glynnat appearances includecollaborations with Queen Festival; androles in Figaro Flute Tiny ( sortilèges ( of Figaro Galatea ( Her roles atENOhave includedDrusilla Royal Liverpool PhilharmonicOrchestra. Nuova Musica,EarlyOpera Company and BBC Scottish Symphony Orchestra, La ,Orchestra of theAge of Dohnányi, ChamberOrchestra of Europe under Albert Herring L’incoronazione diPoppea ) for ENO;Barbarina( Paul Bunyan ) for Nevill HoltOpera andtheGrange withtheGabrieliConsort.Festival ), Iris( ), MissWordsworth, EmmieandCis ). Recent andfuture roles include Sorceress ) andPrincess( ) andPapagena ( King Arthur ), Susanna( The Marriage of ), Galatea ( L’enfant et les and The Marriage The Magic The Fairy The Fairy Acis and Zebul andSharpless( Flute Alfonso ( at theEdinburgh Festival; GuglielmoandDon Opera andOpéra deMontreal; Marseille; Leporello ( National Opera; Wigglesworth’s ´yKolenat ( Orchestra underBernard Labadie. under JaneGlover andthePhiladelphia under , Musicof the Baroque Jonathan Cohen,Bach CollegiumJapan the New York PhilharmonicOrchestra under appearances withLesViolonsduRoy and Concert highlightsfor thisseasoninclude the Edinburgh Festival andBBC Proms. King Arthur and to theDeutscheStaatsoper Berlinfor and Charpentier’s and LesArtsFlorissants,hehassungin Deutsche Staatsoper Berlin. WithWilliamChristie Welsh NationalOpera; and Publio ( Penseroso edilModerato Royal Opera, Covent Garden; and Fallof theCity of Mahagonny of Figaro Chicago; Ko-Ko ( General Stanley ( Operatic appearances have includedMajor Britten. Handel viaSchubertto Janácˇ ek,Barberand His award-winning discography ranges from guest of theEdinburgh Festival andBBC Proms. under DanielHarding. Hehasbeenaregular Symphony andViennaPhilharmonicorchestras under SirAndrew Davis andtheLondon David Zinman,MelbourneSymphony Orchestra Deutsches Symphonie-Orchester Berlinunder Philharmonic Orchestra underEdward Gardner, Chamber Orchestra underÁdámFischer, Bergen Elder, Concerto KölnunderIvor Bolton, Scottish under Paul McCreesh, HalléunderSirMark Concert underHarryBicket, GabrieliConsort Enlightenment underFrans Brüggen,TheEnglish a return to ENOasGaribaldo( Neal Davies’ recent engagements include River in theBarbicanCentre’s production of been released onDVD. HesangtheTraveller ), Leporello, Dulcamara ( , whichtoured to New York’s LincolnCenter. The Mikado La clemenzadiTito Così fan tutte ) andAlaska Wolf Joe( The Makropoulos Case , aswell asappearances at A Winter’s Tale The Pirates of Penzance Radamisto David et Jonathas ) for theLyricOpera of Madama Butterfly ), Papageno ( , Figaro ( , Zebul( ), Ariodates ( for Opéra de Agrippina L’elisir d’amore for English L’Allegro, il Rodelinda The Rise The Rise The Marriage ) andRyan Curlew River Jephtha ) for the ) for Scottish The Magic , which has , whichhas for the Curlew Xerxes Theodora ) for ) and ) and ), ), ) ), ), ), ),

11 About the performers 12 the mostlistened-to orchestra of itskindonline. record label,AAMRecords, andisproud to be Edison awards.) Ithasnow established itsown for recording are ClassicBRIT, performances. (Amongitscountlessaccolades many of whichare stillconsidered definitive periods andhasreleased more than300discs, instruments from theBaroque andClassical first Britishrecordings of orchestral works using been apioneer. Itwas established to make the The Academy of AncientMusichasalways Director in2006. four decades on;Richard Egarrbecameits Music of theworldwide earlymusicscenemore than Hogwood in1973 andremains attheforefront The ensemblewas founded by Christopher life incommitted, vibrant performances. instruments andoriginalsources to bringmusicto historically informed techniques, period-specific directly from themusic’scomposers,using Baroque andClassicalmusic.Ittakes inspiration with aworldwide reputation for excellence in The Academy of AncientMusicisanorchestra Academy of Ancient Music Gramophone and and of King’sCollege,Cambridge,andtheGrange Altstaedt, Tenebrae, theBBC Singers,theChoir Collins, VOCES8, LucieHorsch,Nicolas This seasonAAMcollaborates withMichael cultural traditions. inspires peopleof allages, backgrounds and work reaches thewidestpossibleaudienceand tertiary educationandbeyond, AAMensures its programme, working from pre-school through audiences andmusicians.Withthisexpanding AAMplify, nurtures thenext generation of AAM’s educationandoutreach programme, Visit www.aam.co.uk to find outmore. Edmunds. Festival, MusicatOxford andtheApex, BurySt Residence attheGrange Festival, Chiltern Arts Associate Ensemble,anditisalsoOrchestra-in- London homeistheBarbicanCentre, where itis Orchestra-in-Residence atthecity’suniversity. Its The AAMisbasedinCambridgeand and performances of including and Handel’s masterpieces suchasBach’s Festival. Programmes includelarge-scale vocal The Marriage of Figaro Israel inEgypt . , as well as concert , aswell asconcert St Matthew Passion Dido &Aeneas

Ruth Paton Designer Michael Casey Lighting Thompson Ben Laura Caldow Puppeteers Thomas Guthrie Director Richard Egarr Harpsichord Music Director/ Music Academy of Ancient Philip Tebb Jonathan Stainsby Richard Latham Bass (Sailor) Matthew Sandy (Sailor) Edmund Hastings James Geer(Sailor) Tenor Joy (FirstWitch) Kate Symonds- James Hall(Spirit) (SecondWitch) Cathy Bell Alto Emma Brain-Gabbott Philippa Hyde (SecondWoman) Charmian Bedford Soprano

Judith Evans Double Bass Sarah McMahon Seth-Smith + Imogen Joseph Crouch Cello Jordan Bowron Isuskiza Ricardo Cuende Jane Rogers Viola Pierre Joubert Liz MacCarthy William Thorp Livermore * Rebecca Violin 2 Joanna Lawrence Sijie Chen Gibbs ** Persephone Bojan C Violin 1 ˇ ic advertising by Cabbell(tel 02036037930) printed by Trade Winds ColourPrinters Ltd; ˇ ic ˇ * Programme produced by HarrietSmith;

Theorbo AlastairRoss Harpsichord + violadagamba ** Pavan Chacony, Z807 * Sonata No.1& Malcolm Greenhalgh Technician Keyboard Eligio LuisQuinteiro William Carter

13 About the performers Support AAM

Our donors make our music happen: the levels of excellence for which we are affordable concerts, accessible education renowned, with your help. and high-level research. For more than four decades, the Academy of Ancient Music When you join the AAM family, you will has been changing the way the world hears receive invitations to a range of exclusive some of the greatest music ever written. We events that explore the Orchestra, our have got this far thanks to the generosity music, and our behind-the-scenes work. of our supporters, but there is far more to To find out more about how you can do. Our 2018–19 concert season is highly help AAM, please contact Development ambitious: we are presenting masterpieces; Manager Ellen Parkes (ellen.parkes@aam. working with the leading artists of our time; co.uk or 01223 341 097). releasing more recordings and delving deep into the past with doctoral research By supporting AAM, you play an essential projects on Beethoven’s contemporaries. role in sustaining its excellent performances, Off-stage, we are determined to introduce recordings and education projects, more and more young and disadvantaged bringing a greater number of people to music via a major expansion of experiences to more people every year. our outreach programme, AAMplify. We can only do this, and continue to heighten

Thank you

AAM is hugely grateful to the following AAM Supporters trusts and individuals for their support of the orchestra’s work. The Hogwood Circle Matthew Ferrey Trusts & Foundations Mark and Liza Loveday The Backstage Trust Mrs Julia Rosier Dunard Fund Christopher Purvis CBE and Garfield Weston Foundation Phillida Purvis MBE* Geoffrey C Hughes Charitable Trust Terence and Sian Sinclair John Armitage Charitable Trust Dr Christopher and the Lady Juliet Tadgell Newby Trust Ltd Ernest Cook Trust Principal Patrons Thistle Trust CBE, in memoriam* R K Charitable Trust John and Madeleine Tattersall and other anonymous trusts and foundations Clive Butler Alan J Clark Companies and other anonymous Principal Patrons Savills Beaux Arts London Patrons Andrew and Wendy Gairdner Lady Alexander of Weedon The Hon William Gibson Richard and Bridges The Hon Mr and Mrs Philip Havers Elizabeth and Richard de Friend Heather Jarman Mr John Everett Julian and Susie Knott Malcolm and Rosalind Gammie Mr Peter and Mrs Frances Meyer Nicholas and Judith Goodison* Herschel and Peggy Post Graham and Amanda Hutton Chris and Valery Rees Philip Jones The Hon Zita Savile David and Linda Lakhdhir Dr Robert Sansom Roger Mayhew Mr Michael Smith Graham Nicholson Nick and Margaret Parker John and Joyce Reeve Ms Sarah Shepley and Mr Kevin Feeney Chris and Alison Rocker Peter Thomson and Alison Carnwath Mr Anthony Travis Mrs Janet Unwin Mark West Peter and Margaret Wynn and other anonymous Patrons Tony and Jackie Yates-Watson Patricia C Yeiser, USA Principal Benefactors and other anonymous Benefactors Carol Atack and Alex van Someren John and Gilly Baker Donors Mrs D Broke Angela and Roderick Ashby-Johnson Jo and Keren Butler Marianne Aston Kate Donaghy Elisabeth and Bob Boas* The Hon Simon Eccles George and Kay Brock Dr Julia Ellis Charles Bryant Mark and Sophie Lewisohn David and Elizabeth Challen Mrs Anne Machin Lord and Lady Dilhorne Alessandro Orsaria Derek and Mary Draper Mark and Elizabeth Ridley Nikki Edge Sir Konrad and Lady Schiemann* Christopher and Jill Evans Mrs S Wilson Stephens Tina Fordham Christopher Stewart Mrs Marilyn Minchom Goldberg Stephen Thomas Miles and Anna Hember Julie and Richard Webb Mrs Helen Higgs Mr Charles Woodward Mr and Mrs Charles Jackson and other anonymous Principal Benefactors Alison Knocker Mr and Mrs Evan Llewellyn Richard and Romilly Lyttelton Benefactors Richard Meade Dr Aileen Adams CBE Annie Middlemiss Cumming Anderson Graham and Sylvia Orpwood Elise Badoy Dauby Jane Rabagliati and Raymond Cross Professor John and Professor Hilary Birks Michael and Giustina Ryan Mrs Stephanie Bourne Dr Alison Salt Mr and Mrs John Brisby* Mr Peter Shawdon Adam and Sara Broadbent Professor Tony Watts Hugh Burkitt and other anonymous Donors Marshall Field Michael and Michele Foot CBE *denotes founder member The Academy of Ancient Music: Our Team Music ­Director Head of Concerts and Finance Manager Richard Egarr Planning Elaine Hendrie Chloë Wennersten Hogwood Fellow Development Consultant Sandy Burnett Concerts & Projects John Bickley Coordinator Chief ­Executive Alice Pusey Marketing Consultants Alexander Van Ingen Bethan Sheppard Development Manager Chloe Priest Griffiths Ellen Parkes General Manager PR Consultant Anthony Brice Fundraising & Marketing Orchid Media PR Assistant Kemper Edwards

Orchestra Librarian Hannah Godfrey

Board of Trustees Paul Baumann · Hugh Burkitt · Matthew Ferrey · Philip Jones (chair) · Ash Khandekar Graham Nicholson · John Reeve · Terence Sinclair · Madeleine Tattersall · Janet Unwin

Development Board

Elise Badoy Dauby · Hugh Burkitt · Elizabeth de Friend (chair) · Andrew Gairdner MBE · Peter Hullah · Philip Jones · Agneta Lansing · Roger Mayhew · Craig Nakan · Chris Rocker · Terence Sinclair · Madeleine Tattersall

Council

Richard Bridges · Kate Donaghy · Jonathan Freeman-Attwood · Carol Grigor · Tim Harvey-Samuel · Nick Heath · Lars Henriksson · Christopher Lawrence · Christopher Purvis CBE (Honorary President) · Sir Konrad Schiemann · Rachel Stroud · Dr Christopher Tadgell · The Lady Juliet Tadgell