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CAL PERFORMANCES PRESENTS Mark Morris Dance Group October 22–30, 2004 Zellerbach Hall

Craig Biesecker Joe Bowie Charlton Boyd Amber Darragh Rita Donahue Marjorie Folkman Lauren Grant John Heginbotham David Leventhal Bradon McDonald Gregory Nuber Maile Okamura June Omura Noah Vinson Julie Worden Michelle Yard

Artistic Director Mark Morris General Director Executive Director Barry Alterman Nancy Umanoff

Program – October 22–24, 2004 Program – October 28–30, 2004 Mosaic & United I Don’t Want to Love INTERMISSION Marble Halls Violet Cavern (West Coast Premiere) INTERMISSION Rock of Ages (World Premiere) V

MetLife Foundation is the official sponsor of the Mark Morris Dance Group’s 2004 national tour. Major support for the Mark Morris Dance Group is provided by Altria Group, Inc., The Shubert Foundation, and Target Stores. The Mark Morris Dance Group New Works Fund is supported by The Howard Gilman Foundation and the Andrew W. Mellon Foundation, as well as The Horace W. Goldsmith Foundation and The Gladys Krieble Delmas Foundation. The Mark Morris Dance Group’s education and performance activities are supported by Independence Community Foundation. The Mark Morris Dance Group’s performances are made possible with public funds from the National Endowment for the Arts Dance Program and the State Council on the Arts, a State Agency.

This presentation of Mark Morris Dance Group is made possible, in part, with the generous support of Bank of America. Cal Performances thanks the Zellerbach Family Foundation, Citigroup, the City of Berkeley’s Civic Arts Program, Macy’s West, and the McKesson Foundation for supporting Mark Morris Dance Group’s SchoolTime performance.

C AL PERFORMANCES 13 PROGRAM – OCTOBER 22-24 PROGRAM – OCTOBER 28-30

Choreography by Mark Morris Choreography by Mark Morris

Mosaic & United I Don’t Want to Love Music: Henry Cowell Music: (String Quartet No. 3, Mosaic, I–II–III–IV–V–III–I (“Non voglio amare”; “Ah, che non si conviene”; “Zefiro torna”; String Quartet No. 4, United, I–II–III–IV–V) “S’el vostro cor, Madonna”; “Eccomi pronta ai baci”; “Lamento della ninfa”; “Soave libertate”)

Costumes: Isaac Mizrahi Costumes: Isaac Mizrahi Lighting: Michael Chybowski Lighting: Michael Chybowski Members of American Bach Soloists Jonathan Gandelsman, ; Yosuke Kawasaki, violin; Steven Tharp, tenor; Wesley Rogers, tenor Jessica Troy, viola; Wolfram Koessel, Hugh Davies, bass; Shawnette Sulker, soprano David Tayler and Richard Stone, guitar and theorbo Joe Bowie, Lauren Grant, David Leventhal, Steven Lehning, violone Bradon McDonald, June Omura Jeffrey Thomas, harpsichord and conductor

Premiere: April 29, 1993 – Academy of Music, Brooklyn, NY Joe Bowie, Charlton Boyd, Marjorie Folkman, Gregory Nuber, June Omura, Julie Worden, Michelle Yard String Quartet No. 4 (United) and String Quartet No. 3 (Mosaic) by Henry Cowell used by arrangement with the publisher and copyright holder, C.F. Peters Corporation. For texts and translations, please see pp. 29–32.

Premiere: August 12, 1996 – Festival Theatre, Edinburgh International Festival, Edinburgh, INTERMISSION PAUSE Violet Cavern (West Coast Premiere) Marble Halls Music: (commissioned score) Music: Johann Sebastian Bach (Concerto for Oboe, Violin, Strings, and Basso Continuo in C minor, BWV 1060) Set: Stephen Hendee Costumes: Elizabeth Kurtzman Deborah Shidler, oboe; Yosuke Kawasaki, violin Lighting: Michael Chybowski Members of Berkeley Symphony Orchestra Robert Cole, conductor The Bad Plus Costumes: Katherine McDowell , ; , bass; , percussion Lighting: Phil Sandstrom Craig Biesecker, Joe Bowie, Charlton Boyd, Amber Darragh, Rita Donahue, Craig Biesecker, Joe Bowie, Amber Darragh, Rita Donahue, Marjorie Folkman, Lauren Grant, John Heginbotham, David Leventhal, Lauren Grant, David Leventhal, Bradon McDonald, Bradon McDonald, Gregory Nuber, Maile Okamura, Noah Vinson, Maile Okamura, Noah Vinson, Michelle Yard Julie Worden, Michelle Yard Premiere: March 14, 1985 – Batsheva Dance Company, Theater, Jerusalem, Commissioned, in part, by the Brooklyn Academy of Music. Company Premiere: May 9, 1985 – Washington Hall Performance Gallery, Seattle, Washington Premiere: June 8, 2004 – Brooklyn Academy of Music, Brooklyn, NY INTERMISSION

14 C AL PERFORMANCES C AL PERFORMANCES 15 PROGRAM – OCTOBER 28-30 Rock of Ages (World Premiere) Music: Franz Schubert ( in E-flat, D. 897)

Costumes: Katherine McDowell Lighting: Nicole Pearce

Yosuke Kawasaki, violin; Ariane Lallemand, cello; Benjamin Hochman, piano

Oct. 28 – Amber Darragh, Rita Donahue, Julie Worden, Michelle Yard Oct. 29 – Joe Bowie, Amber Darragh, Rita Donahue, Bradon McDonald Bank of America page Oct. 30 – Craig Biesecker, Joe Bowie, David Leventhal, Bradon McDonald

Commissioned, in part, by Cal Performances.

PAUSE

V Music: Robert Schumann (Quintet in E-flat for Piano and Strings, Op. 44) Allegro brillante In modo d’una Marcia. Un poco largamente – Agitato Scherzo molto vivace Allegro, ma non troppo

Costumes: Martin Pakledinaz Lighting: Michael Chybowski

Yosuke Kawasaki, violin; Jonathan Gandelsman, violin; Jessica Troy, viola; Ariane Lallemand, cello; Benjamin Hochman, piano

Craig Biesecker, Joe Bowie, Charlton Boyd, Amber Darragh, Marjorie Folkman, Lauren Grant, John Heginbotham, David Leventhal, Bradon McDonald, Gregory Nuber, Maile Okamura, June Omura, Julie Worden, Michelle Yard

Dedicated to the City of New York.

Premiere: October 16, 2001 – Dance Umbrella, Sadler’s Wells, ,

C AL PERFORMANCES 17 ABOUT THE ARTISTS ABOUT THE ARTISTS

Mark Morris was born the PBS series Dance in America. The Dance in the Mark Morris Dance, Music, and Lit- Berkeley Symphony Orchestra (BSO) reflects on August 29, 1956, Group was invited to become the national eracy program in the public the daring and the diversity that exemplify the in Seattle, Washington, dance company of in 1988, and school system. Berkeley community, with programming that where he studied as a spent three years in residence at the Théâtre combines premieres by emerging and estab- young man with Verla Royal de la Monnaie in . The compa- American Bach Soloists (ABS) was founded lished contemporary with classic Flowers and Perry Brun- ny returned to the United States in 1991 as in 1989 with the mission of introducing works seen through a 21st-century lens. The son. In the early years of one of the world’s leading dance companies, contemporary audiences to the cantatas of BSO has presented American and world pre- his career, he performed performing across the country and at major J.S. Bach through historically informed per- mieres at a pace few orchestras could approach. with Lar Lubovitch, international festivals. It has maintained and formances. Under the leadership of co-founder The BSO’s season consists of subscription Hannah Kahn, Laura strengthened its ties to several cities around and music director Jeffrey Thomas, the ensemble programs and a pension fund concert: a multi- Dean, Eliot Feld, and the Koleda Balkan Dance the world, most notably here in Berkeley, has achieved its vision of assembling the world’s chorus Choral Festival that brings together Ensemble. He formed the Mark Morris Dance where Cal Performances presents the company finest vocalists and period-instrument perform- talented adult choruses onstage with the BSO Group in 1980, and has since created over 100 in two annual seasons, including engagements ers to bring this brilliant music to life. The (all concerts take place in Zellerbach Hall). works for the company. From 1988–91, he was of The Hard Nut most Decembers. The Dance group’s first concerts were given at St. Stephen’s The informal and free Under Construction con- director of dance at the Théâtre Royal de la Group also appears regularly in Boston (MA), Church in Belvedere—where the ensemble still cert of new works by local composers is a Monnaie in Brussels, the national opera house Fairfax (VA), Seattle (WA), Urbana-Champaign serves as artists-in-residence—but by its fifth unique outreach to the community. The BSO of Belgium. Among the works created during (IL), and at the Jacob’s Pillow Dance Festival season, ABS had added regular performances in has received numerous ASCAP Awards for his tenure were three evening-length dances: in Becket (MA). It made its debut at the San Francisco and Berkeley. As the audience adventurous programming of contemporary The Hard Nut; L’Allegro, il Penseroso ed il Mostly Mozart Festival in 2002 and at the increased, the artistic direction expanded to music, most recently for its 2003–04 season. Moderato; and . In 1990, he Tanglewood Music Festival in 2003. The com- include Bach’s purely instrumental and larger The Orchestra also is an active community founded the White Oak Dance Project with pany’s London seasons have garnered two choral masterpieces, as well as music of his con- participant through its music education pro- Mikhail Baryshnikov. Morris is also much in Laurence Olivier Awards. MMDG is noted temporaries and that of the early Classical era. gram. Annually, nearly 1,500 Berkeley elemen- demand as a ballet choreographer. He has creat- for its commitment to live music, a feature of Now entering its 16th season, ABS presents an tary school students experience an extensive ed four works on the San Francisco Ballet since every performance on its full international annual subscription series in San Francisco, residency featuring concerts and classroom vis- 1994 and received commissions from such com- touring schedule since 1996. Cellist Yo-Yo Ma Berkeley, and Belvedere. The ensemble’s annual its. This program was recently a winner of panies as American Ballet Theatre, Boston has frequently collaborated with the Dance holiday performances of Handel’s Messiah Bank of America’s Award for Excellence in Ballet, and the Paris Opera Ballet. His work is Group; their projects include the 1997 Emmy have quickly become a Bay Area tradition. As Music Education, a national award sponsored in the repertory of the Geneva Ballet, New Zea- Award-winning film Falling Down Stairs, part of ABS’ 2004–05 season, the ensemble will by the American Symphony Orchestra League. land Ballet, English National Ballet, and the using Bach’s Third Suite for Unaccompanied present four performances of Messiah, one The BSO’s new CD, The Butterfly Tree, Royal Ballet, Covent Garden. Morris has Cello, and the 2002 dance Kolam, created for each in San Francisco’s Grace Cathedral and features a musical rendition of the two years worked extensively in opera, directing and The Silk Road Project in collaboration with Mission Dolores Basilica (December 14 and Julia Butterfly Hill spent on a tiny platform 180 choreographing productions for the New York Indian Zakir Hussain and jazz 15), and two in the Robert and Margrit Mon- feet up in a redwood tree that was slated to be City Opera, English National Opera, and the Ethan Iverson of The Bad Plus. davi Center for the Performing Arts at UC felled. The story is narrated by Hill and sung by Royal Opera, Covent Garden. He was named a MMDG’s film and television projects include Davis. ABS has received major grants from folk music legend Joan Baez. Also on the CD is Fellow of the MacArthur Foundation in 1991, Dido and Aeneas, The Hard Nut, and two doc- The William & Flora Hewlett Foundation, a setting of The Animal-Singers of Bremen, nar- and has received honorary doctorates from The umentaries for the UK’s South Bank Show. In Grants for the Arts/San Francisco Hotel Tax rated by noted Bay Area actress Joy Carlin. Boston Conservatory of Music, The Juilliard 2001, the Mark Morris Dance Center opened Fund, the Marin Community Foundation, For more information on the Orchestra’s School, Long Island University, Pratt Institute, in Brooklyn, New York. The 30,000-square- The William E. & Aenid R. Weisgerber current season, please visit www.berkeleysym- and Bowdoin College. Morris is the subject of a foot facility features three studios and a school Foundation, and the Arts Coun- phony.com or call 510.841.2800. biography by Joan Acocella (Farrar, Straus & for dance students of all ages. cil. An administrative staff and board of Giroux). In 2001, Marlowe & Company pub- trustees support ABS’ activities as a non- Craig Biesecker, from Waynesboro, Pennsyl- lished Mark Morris’ L’Allegro, il Penseroso ed il MMDG Music Ensemble was formed in profit organization. vania, received a BS in music education from Moderato: A Celebration, a volume of photo- 1996 and since then has joined the Mark West Chester University of Pennsylvania. graphs and critical essays. Morris Dance Group on tours throughout The Bad Plus is a co-operative ensemble with While teaching music in Philadelphia, he the United States, the UK, and . The bassist Reid Anderson, pianist Ethan Iverson, studied ballet with John White, Margarita de Mark Morris Dance Group was formed in Ensemble’s repertory ranges from 17th-century and drummer David King. The group has two Saa, and Bryan Koulman, and worked with 1980 and gave its first concert that year in works by John Wilson and releases on Columbia Records: this year’s Give choreographers Tim and Lina Early. In New New York City. The company’s touring sched- to recent scores by Lou Harrison and Henry and last year’s These Are the Vistas. The Bad York City, he has worked with Pascal Rioult, ule steadily expanded to include cities both in Cowell. In addition, the Ensemble presents Plus is noted for hijacking various styles while Carolyn Dorfman, New York Theater Ballet, the United States and in Europe, and in 1986 concerts at the Mark Morris Dance Center in always remaining committed jazz improvisers. Mark Dendy, and Gerald Casel. Biesecker it made its first national television program for Brooklyn and other venues, and participates For more information, visit thebadplus.com. joined the Mark Morris Dance Group in 2003.

18 C AL PERFORMANCES C AL PERFORMANCES 19 ABOUT THE ARTISTS ABOUT THE ARTISTS

Joe Bowie, born in Lansing, Michigan, began University of California, Berkeley. Cole is also joined bopi’s black sheep/dances by Kraig Stephen Hendee (set design) has shown his dancing while attending Brown University. general director of the Berkeley Festival & Patterson. Donahue began working with the dynamic sculptural environments in numerous After graduating with honors in English and Exhibition, an international festival of early Mark Morris Dance Group in 2003. museums in the United States and abroad since American literature, he moved to New York music he founded in June of 1990. In 2003, 1997. Recent exhibitions include the New and performed in the works of Robert Wilson he was appointed principal guest conductor of Marjorie Folkman began dancing for Mark Museum of Contemporary Art, Sculpture- and Ulysses Dove. Bowie danced with the the Perm Opera and Ballet Theater (Russia). Morris in 1996. She graduated summa cum Center, Whitney Museum of American Art at Paul Taylor Dance Company for two years Recently he conducted the Kirov Orchestra laude from Barnard College and has attended Altria, St. Louis Art Museum, The David before going to Belgium to work with Mark with the Perm Ballet at the Mariinsky Theatre Columbia University’s graduate program in Smart Museum at the University of Chicago, Morris in 1989. in St. Petersburg as part of the White Nights American studies. She has also danced with the Johnson Museum of Art at Cornell Uni- Festival. In 2002, Cole conducted The Hard Amy Spencer and Richard Colton, Kraig versity, and the Museum of Art Charlton Boyd was born in New Jersey, where Nut with the Mark Morris Dance Group at Patterson, Neta Pulvermacher, Sally Hess, Ellen (AL). He is also the recipient of many presti- he studied and performed with Inner City the Brooklyn Academy of Music in New York, Cornfield, the Repertory Understudy Group gious art foundation awards, among them The Ensemble Theater & Dance Company. He is a and this season, he will conduct the same work for the Merce Cunningham Dance Company, Louis Comfort Tiffany Award, a Pollock- graduate of The Juilliard School and has danced at Sadler’s Wells in London. In 1995, Cole was and Sara Rudner. Krasner grant, an Elizabeth Foundation grant, with the José Limón Dance Company. He named a Chevalier of the Order of Arts and and the Marie Walsh Sharpe Foundation appears in the Limón Technique Video, Volume Letters by the Government of . Jonathan Gandelsman (violin) most recently Studio Program. 1, and other music videos. Boyd first appeared played with Yo-Yo Ma and the Silk Road with the Mark Morris Dance Group in 1989 Amber Darragh began her dance training Ensemble at the Smithsonian Folk Life Festival Benjamin Hochman (piano) was born in and became a company member in 1994. with Nancy Mittleman in Newport, Oregon. in Washington DC. He has also toured with Jerusalem in 1980 and is a graduate of the She received her BFA from The Juilliard the ensemble to the West Coast and Toronto. Mannes College of Music in New York and the Michael Chybowski (lighting design) recently School in 1999 and went on to dance with the Other chamber music collaborations have Curtis Institute of Music in Philadelphia, where designed Four Saints in Three Acts, V, and José Limón Dance Company for two years. included performances with Lynn Harrell, he received the Festorazzi Award. He has per- Kolam for the Mark Morris Dance Group, as She is a recipient of the 2001 Princess Grace Nigel Kennedy, James Levine, Franz Helmer- formed at the Lincoln, Kennedy, and Jerusalem well as Morris’ A Garden for San Francisco Award and has presented her own choreogra- son, Sylvia Marcovici, Pavel Vernikov, Sergey music centers, Weill Recital Hall at Carnegie Ballet and Gong for ABT and the Royal phy in various venues, including Alice Tully Babayan, Gilbert Kalisch, Daniel Gortler, and Hall, the Louvre, and Suntory Hall in . Ballet. Other recent work includes Parsifal Hall and the Joyce Soho. Darragh joined the his father, Yuri Gandelsman, the violist of the Hochman has also participated in the Marlboro, (Seattle Opera); Moby Dick and Other Stories Mark Morris Dance Group in 2001. Fine Arts Quartet. A recording on EMI of Ravinia, Spoleto-, Santa Fe, , and with Laurie Anderson (BAM/Barbican); Wit works by Bach and Bartók with Nigel Kennedy Verbier music festivals. A recipient of numerous (New York, West End); Da (Guthrie); Hugh Davies (bass) was born and educated in was released in January 2003. Since 1990, awards, he begins a two-year residency with the Beckett/Albee and The Beard of Avon (New England, and started his singing career as a boy Gandelsman has been a student of Maya Chamber Music Society of Lincoln Center this York Theatre Workshop); and Antony and chorister at St. Albans Abbey under the direc- Glezarova. He graduated from the Curtis fall, and makes his debut with the Israel Phil- Cleopatra (Théâtre de Carouge in Geneva). tion of Peter Hurford and Simon Preston. While Institute of Music in 1999. harmonic in April. Upcoming work includes Much Ado About a student at Cambridge University, he was a Nothing at the Delacorte, two pieces at the choral scholar at King’s College, under the direc- Lauren Grant was born in Highland Park, Yosuke Kawasaki (violin) is currently the Oregon Shakespeare Festival, and Lady With tion of David Willcocks. As a professional singer Illinois, and began dancing at age three. She co-concertmaster of the Saito Kinen Orches- A Lapdog at the Guthrie. Chybowski was the based in London, he appeared with the Glynde- continued training, primarily in classical ballet, tra and the Mito Chamber Orchestra of recipient of an Obie Award (1999) for bourne Opera and the Royal Opera, Covent through high school. Grant received her mod- Japan. He is also the former concertmaster Sustained Excellence. Garden, and as a soloist with leading choirs and ern dance training at New York University’s of the Montgomery Symphony Orchestra orchestras throughout Europe. He was a mem- Tisch School of the Arts, graduating with a (1999–2001). As an active chamber musi- Robert Cole (conductor) received his MA in ber of the Monteverdi Choir, the Schütz Choir, BFA. She joined MMDG in 1998. cian, Kawasaki has worked with artists such as music from the University of Southern and the John Alldis choir, and has appeared on Lukas Foss, Gary Graffman, Karl Leister, and California School of Music and went on to many recordings and broadcasts. After teaching John Heginbotham is from Anchorage, Alaska, Walter Van Hauwe. During the 2000 season, study conducting with Richard Lert in Cali- music in for two years, Davies moved and graduated from The Juilliard School in he made duo appearances with Vadim fornia; Leonard Bernstein and Leon Barzin at to California in 1986. He now sings in the Bay 1993. He has performed with artists including Serebryany in America and Japan, which the Tanglewood Music Center; and Hans Area as a soloist and as a member of several pro- Susan Marshall and Company, John Jasperse, included the complete cycle of Beethoven’s Swarowsky in Europe. He served as associate fessional ensembles. Ben Munisteri, and as a guest artist with Pilo- sonatas for piano and violin. Kawasaki’s debut conductor of the Buffalo Philharmonic bolus Dance Theater. Heginbotham’s chor- recording of Bach’s Brandenburg Concertos Orchestra and was the executive director and Rita Donahue was born and raised in Fairfax, eography is featured in the performances and was released recently on the King label. music director of the Ballet Society of Los Virginia. She graduated with honors with a “Emerge” music video of recording artists Angeles. Since 1986, he has been director of BFA in dance and a BA in English from . He joined the Mark Morris Wolfram Koessel (cello) made his critically Cal Performances on the campus of the George Mason University in 2002 and then Dance Group in 1998. acclaimed debut at Weill Recital Hall at

20 C AL PERFORMANCES C AL PERFORMANCES 21 ABOUT THE ARTISTS ABOUT THE ARTISTS

Carnegie Hall in 1994, and since then has per- Sonata Competition. She also won the director Frank Corsaro, and was the choreo- merging the two fields, functioning as the first formed as soloist and chamber musician in UFAM Competition in Paris, the Mendelssohn graphic assistant to Donald McKayle at the entertainer/designer. concert halls throughout the world. Based in Competition in , the Mannes Alvin Ailey American Dance Theater. He New York City, Koessel appears with a wide Concerto Competition, and the prestigious joined the Mark Morris Dance Group in 2000. Gregory Nuber began working with MMDG range of ensembles and chamber music “Bourse Lavoisier.” As an avid chamber musi- in 1998 and became a company member in groups, most notably the Orpheus Chamber cian and new music enthusiast, Lallemand has Katherine McDowell (costume design) re- 2001. He was a member of Pascal Rioult Orchestra and the Jupiter Symphony. As a appeared at Weill (Carnegie) Hall, Alice Tully ceived a BFA from Cooper Union and has Dance Theatre for three years; has appeared as soloist, Koessel has performed the standard as Hall, and MOMA. She has also participated in designed Foursome, Kolam, Something Lies a guest artist with New York City Opera, well as unusual repertoire with many chamber music festivals and tours in the Beyond the Scene, and Marble Halls for Mark Cleveland Opera, and Tennessee Repertory the Jupiter Symphony, the New York Meta- United States, Europe, and China. Last year, she Morris. She has also designed for the José Theatre; and has worked with numerous New morphoses Orchestra (which he co-founded joined the Contrasts Quartet, a critically Limón Dance Company, Singapore Ballet, York-based choreographers. Nuber is a gradu- in 1994), the Mannes Orchestra, and the acclaimed versatile ensemble, and most recently American Ballet Theatre Studio Company, Ice ate of Arizona State University, where he stud- symphony orchestras of Cordoba, Mendoza, she made a recording of the two Haydn cello Theater of New York, and Ben Munisteri ied acting and dance. Costa Rica, and Stuttgart. Multifaceted as a concertos. Dance Projects, among others. chamber musician, Koessel is on the faculty Maile Okamura was born and raised in San of the New York Youth Symphony Chamber Steven Lehning (violone) is a remarkable and Isaac Mizrahi (costume design) was born in Diego, California. She was a member of Music Program and is the music director of versatile musician who is equally at home with Brooklyn, New York, attended the High School Boston Ballet II and Ballet Arizona before “Sundays on the Island” (a chamber music violas da gamba, violone, violone grosso, and of Performing Arts as an acting major, and moving to New York in 1996. Since then, she series on New York’s City Island). He served historical keyboards. The founder of Stylvs studied fashion at Parsons School of Design. has had the pleasure of dancing with Neta until recently as cellist with the award- Phantasticvs, he has worked with many of the In 1987, Mizrahi opened his own clothing busi- Pulvermacher, Zvi Gotheiner, Gerald Casel, winning Meridian String Quartet. His per- luminaries of the early music world, including ness. He is a three-time CFDA Designer of the and many others. Okamura began working formance of Tchaikovsky’s Rococo Variations Jeffrey Thomas, John Butt, Andrew Parrott, Year award winner. In 1998, he closed the ready- with MMDG in 1998 and became a company was featured on WQXR radio. Upon comple- and Ton Koopman. Lehning has performed to-wear company but still designs a shoe collec- member in 2001. tion of his master’s degree at the Mannes throughout the United States and in Europe, tion, a collection of coats, and a collection of College of Music, Koessel was the recipient of appearing with the American Bach Soloists, fine jewelry. Mizrahi has designed costumes June Omura spent her first six years in New the George and Elizabeth Gregory Award for Taverner Consort, and Philharmonia Baroque for film, theater, dance, and opera in collabora- York City, then grew up in Birmingham, Excellence in Performance. He has played Orchestra, to name a few. He has performed at tion with Mark Morris, Twyla Tharp, Bill T. Alabama. She returned to New York to with the MMDG Music Ensemble since 2000 the acclaimed Santa Fe Chamber Music Jones, and Mikhail Baryshnikov. In 1995, he attend Barnard College, graduating in 1986 and was named its music director in 2004. Festival as well as the early music festivals in was the subject of the highly acclaimed docu- with honors in dance and English, and has Boston and Berkeley. Lehning is currently mentary Unzipped, directed by Douglas Keeve, been dancing for Mark Morris since 1988. Elizabeth Kurtzman (costume design) was working toward a doctorate in musicology at which won the 1995 Audience Award for She is the proud mother of twin girls, born born in Manhattan. She began her career as a the University of California, Davis. Documentaries at the Sundance Film Festival. in July 2003, and is indebted to her hus- product and textile designer for several presti- Distributed by Miramax Films, the film was band, her family, and MMDG for their love gious New York design houses after studying David Leventhal, raised in Newton, screened internationally at the Cannes and and support. fashion at Parsons School of Design. She then Massachusetts, has danced with the Mark Venice film festivals and opened nationally in added costume design and illustration to her Morris Dance Group since 1997. Previously, 1995. In 1996, Mizrahi and Douglas Keeve Martin Pakledinaz (costume design) is repre- list of vocations and designed numerous pieces he worked with José Mateo’s Ballet Theatre received a special CFDA Award for bringing the sented in New York with Wonderful Town; for the Mark Morris Dance Group, including and the companies of Marcus Schulkind, fashion world to cinema. In 1997, Mizrahi earlier shows include Thoroughly Modern Dancing Honeymoon, The Argument, Greek to Amy Spencer/Richard Colton, Ben Munisteri, wrote a series of comic books entitled The Millie (Tony Award), A Year With Frog And Me, and Four Saints in Three Acts. Kurtzman and Zvi Gotheiner. He graduated from Adventures of Sandee the Supermodel (published Toad, The Boys From Syracuse, Kiss Me, Kate lives and works in New York City. Brown University in 1995 with honors in by Simon & Schuster), now in development as (Tony and Drama Desk awards), The Life, English literature. a major motion picture with Dreamworks Andrew Lippa’s The Wild Party, and Waste Ariane Lallemand (cello) has performed as (SKG). He is also developing a script from (Lucille Lortel Award), among many others. soloist with numerous orchestras in Europe and Bradon McDonald received his BFA from Jonathan Ames’ The Extra Man in association He has also worked with esteemed regional New York, as well as in many solo recitals, The Juilliard School in 1997. He danced with with Killer Films. Mizrahi recently appeared off- theaters throughout the United States. including appearances in Alice Tully Hall and the José Limón Dance Company for three Broadway in his one-man show, Les Mizrahi, Pakledinaz’s work in opera includes Xerxes and Merkin Concert Hall. She has also been fea- years and was the recipient of the 1998 which was produced by the Drama Depart- Alcina for New York City Opera; Regina for tured often as soloist on both the Young Artist Princess Grace Award. McDonald has choreo- ment. Currently, he is the host of his own Chicago Lyric Opera; L’amour de loin in Showcase on WQXR-FM and on WNYC, New graphed and presented his own works interna- talk show on the Oxygen Network. Mizrahi’s , Paris, Santa Fe, and ; York City. Lallemand has been a prizewinner in tionally, served as choreographer for seven interests lie in the entertainment industry as Lohengrin and Wagner’s Ring cycle in Seattle; the Epernay Cello Competition and the Juilliard Opera Company productions under well as in fashion, and he dreams one day of and an upcoming production of Rodelinda for

22 C AL PERFORMANCES C AL PERFORMANCES 23 ABOUT THE ARTISTS ABOUT THE ARTISTS the Metropolitan Opera, along with projects for the Arts’ production of Copland’s The Lyrichord, Musical Heritage, NPR, the BBC, Festival, and the Freiburg Baroque Orchestra, with companies throughout the United States, Tender Land. Shortly after moving to the and Czech radio, along with his most recent solo among others, and has recorded over 60 discs Canada, Europe, and Asia. His work with Pacific Northwest, Rogers made his Seattle CD, Lute Works of Silvius Leopold Weiss, on for BIS, Harmonia Mundi USA, Koch Inter- Mark Morris includes the recent Sylvia for San Opera debut in 2001 as Maintop in Britten’s Titanic. Stone is director of the Swarthmore national, ORF, Sony, Reference, Arabesque, Francisco Ballet, The Hard Nut, Wonderland, Billy Budd. He returned the next season as the College Baroque Ensemble. He studied lute BMG, RCA, Musica Omnia, and Teldec. As a Le Nozze di Figaro, Ein Herz, Maelstrom, Fourth Jew in Strauss’ Salome. Rogers has also with Nigel North as a Fulbright Lusk Fellow at specialist in the art song of the early 17th centu- Pacific, A Lake, Orfeo ed Euridice, Rhymes with performed roles with Opera Memphis, Wash- the Guildhall School in London, and with ry, he has performed in lute song recitals Silver, Medium, V, and All Fours. ington East Opera, Obsidian Opera, Seattle Patrick O’Brien at the Mannes College of Music throughout Europe and the United States. Tayler Community Outreach Productions, and the in New York. is also guest conductor at the San Francisco Early Nicole Pearce (lighting design). Other dance University of Washington Opera Theatre. He Music Society Renaissance Workshop. credits include: The Little Mermaid, Carmina recently completed his master of music degree Shawnette Sulker (soprano), a native of Guy- Burana (Ballet Theatre of Maryland), Swan from the University of Washington. ana in South America, has sung in two Steven Tharp (tenor) has performed Handel’s Lake (Ballet Memphis), and, with choreo- San Francisco Opera productions: The Mother Messiah with Boston Baroque and New York’s grapher Alexandre Proia, Hold the Line Deborah Shidler (oboe), oboist with the Paci- of Us All and Louise. She previously appeared Musica Sacra, as well as with several symphony (Symphony Space). Theater credits include: fic Symphony, studied with Ronald Roseman, with Berkeley Opera in the roles of Adele (Bat orchestras, and will be debuting with American Mémoire (LAByrinth Theatre Company) and Marc Lifschey, and Robert O’Boyle. She Out of Hell), Susanna (The Marriage of Figaro), Bach Soloists in the same piece this December. Blood in the Sink, directed by John Gould received her MM from Yale and BME from the and Despina (Così fan tutte). Affiliations with He has also appeared in concert with the New Rubin; 16 Wounded (Cherry Lane Alternative) University of Nebraska-Lincoln. In addition to other Bay Area companies include West Bay York Philharmonic, Chicago Symphony, Royal and Judith, directed by Matt August; 99 her work in Southern California, Shidler is prin- Opera, where she sang Oscar (Un ballo in Philharmonic, Cleveland Orchestra, and the St. Histories, directed by Maria Mileaf; The Secret cipal oboe with the Berkeley Symphony and a maschera) and North Bay Opera, where she Louis Symphony, among others, under conduc- Garden, directed by Victor Maog; An Unseen frequent performer with many Bay Area ensem- sang Adele. Recently, she created the role of tors including Solti, Barenboim, Masur, Energy Swallows Space (The Kitchen), direct- bles, including the San Francisco Opera and Corina in the world premiere of David Gergiev, and Dohnanyi. His concert repertoire ed by Travis Preston; The New York Play, Ballet orchestras, San Jose and Oakland-East Conte’s opera Firebird Motel. Other roles includes masterpieces of the 18th and 19th cen- Farewell Undertaker, From Now On, Lucy Bay symphonies, Ballet and Opera San Jose, and performed include Adina (L’elisir d’amore), tury and extends to the music of Elgar, and the Conquest, and Much Ado About Festival Opera. Other performances include Musetta (La Bohème), Servilia (La clemenza Schönberg, and Britten. Tharp has performed Nothing (Juilliard School); Waiting For engagements with the American Ballet Theatre; di Tito), and Belinda (Dido and Aeneas). In with the Metropolitan Opera, New York City Godot and Mermaid (NYC Fringe); New Paris Opera Ballet; the Stuttgart, Kirov, and concert, Sulker has performed Mozart’s Opera, Opera, Glimmerglass Works/New Visions (Guggenheim Muse- Bolshoi ballet companies; and Mark Morris Exsultate, jubilate and Haydn’s Lord Nelson Opera, and the opera companies of Dallas, um), and The Magic Flute scene design (New Dance Group. She has participated in the Mass with Santa Clara Chorale and Orchestra. Houston, Seattle, Memphis, and Miami. His 50 York City Opera Education). Most recently, Aspen, Cabrillo, and Carmel Bach festivals, Additionally, she has sung Mahler’s Symphony operatic roles range from Monteverdi to Libby Pearce directed and premiered a new pro- Music in the Mountains, and the Bach Aria No. 4 and the role of Clara in Porgy and Bess Larsen, including Jaquino in Fidelio and duction based on poetry honoring nurses Festival and Institute in New York. Shidler has for Redwood Symphony. Film credits include Lysander in Midsummer Night’s Dream. Tharp entitled Intensive Care. She was also recently recorded for the Sony Classical, Koch Inter- a soundtrack performance for the movie has recorded for Decca, Newport, and Naxos. listed as a Hot Young Designer by Stage national, Harmonia Mundi, Summit, 20th Mimic and an on-camera operatic appearance His world-premiere recording of the complete Directions magazine. Century Fox, and Reference recording labels. in the forthcoming feature film Jackson, direct- songs of Edward MacDowell, accompanied by She is on the faculty of California State Uni- ed by J.F. Lawton. Upcoming engagements the late James Barbagallo, earned a Grammy Wesley Rogers (tenor) divides his busy singing versities at Sacramento and Hayward. include performing Adina for the San nomination. Tharp can be heard on Jane career between opera and oratorio. Recent Francisco Opera Guild, and the Princess in Glover’s recording of Cavalli’s La Calisto, and his concert engagements have included perform- Richard Stone (theorbo) has performed in solo Many Moons and Susanna with the Cinnabar recording of Frank Martin’s Le Vin Herbé was an ances of Mendelssohn’s Elijah, Handel’s recitals, music series, and festivals worldwide. Opera. “Editor’s Choice” in Opera News. Tharp’s most Messiah, Bach’s Magnificat, Haydn’s Creation, His performance of Baroque lute repertoire won recent recording includes Vaughan-Williams’ Honnegar’s King David, Kurt Weill’s Seven him a prize at the 1990 Festival of Flanders in David Tayler (guitar and theorbo) received his On Wenlock Edge with the Ciompi Quartet on Deadly Sins, and the world premiere of Bruges. Stone is one of the most highly regard- BA in music and interdisciplinary studies from the Albany label. Hawley’s Seattle. Rogers has appeared with the ed Baroque vocal accompanists in the United Hunter College and his MA and PhD in Seattle Choral Company, the Meridian States and is in constant demand as a continuo musicology from the University of California at Jeffrey Thomas (harpsichord and conductor) is Symphony, the Bremerton Symphony, and player on lute, archlute, and theorbo. Con- Berkeley. He is a member of Philharmonia artistic and music director of the American Bach Belle Arte Concerts, among others. In 2003, ducting credits include Monteverdi’s Poppea, Baroque Orchestra and director of the Bay Area Soloists. He has appeared with the Baltimore, he performed the role of Damon in Handel’s Steffani’s Stabat Mater, and Handel’s Judas Collegium Musicum and Ensemble Pandore. Berkeley, Boston, Detroit, Houston, Minnesota, Acis and Galatea with Santa Fe Pro Musica. Maccabeus, which he led from the archlute and Tayler has appeared with Tafelmusik, the San and San Francisco symphony orchestras, among On the operatic stage, he was most recently theorbo. Recording and broadcast credits Francisco Opera, the San Francisco Symphony, others; with the Vienna Symphony and the seen in the role of Martin in Sun Valley Center include Deutsche Grammaphon, PolyGram, the Dallas Bach Society, the Oregon Bach New Japan Philharmonic; with virtually every

24 C AL PERFORMANCES C AL PERFORMANCES 25 ABOUT THE ARTISTS ABOUT THE ARTISTS

American Baroque orchestra; and in Austria, Symphony Chamber Players, and the Eberli Development/Marketing Sincerest thanks to all the dancers for their dedi- England, Germany, Italy, Japan, and Mexico. Ensemble, as well as with the Acacia, Maia, Lauren Cherubini, director of development cation, support, and incalculable contribution to Thomas has performed at many major festivals, and Meridian string quartets. Rob Handel, director of foundation and the work. including the Santa Fe Chamber Music Festival, corporate relations Spoleto USA Festival, Ravinia Festival, Berkeley Noah Vinson received his BA in dance from Alex Pacheco, director of membership and For information contact: special events Mark Morris Dance Group Festival & Exhibition, and Boston Early Music Columbia College Chicago, where he worked Sarah Weber, marketing manager 3 Lafayette Avenue Festival, and he recently collaborated as conduc- with Shirley Mordine, Jan Erkert, and Brian Laura Wall, marketing assistant Brooklyn, NY 11217-1415 tor with the Mark Morris Dance Group in its Jeffrey. In New York, he has danced with Teri Tel: 718.624.8400; Fax: 718.624.8900 production of Handel’s Dixit Dominus. and Oliver Steele and the Kevin Wynn Finance [email protected] Thomas’ extensive discography includes record- Collection. Vinson has been working with Lynn Wichern, fiscal administrator www.mmdg.org ings of major works for Decca, EMI, Erato, MMDG since 2002 and became a company Elizabeth Fox, finance manager Koch International Classics, Denon, Harmonia member in 2004. Additional funding has been received from the Mundi, Smithsonian, Newport Classics, and American Music Center Live Music for Dance Arabesque. He is also an avid exponent of con- Julie Worden, from Naples, Florida, is a grad- Michael Mushalla (Double M Arts & Events), Program; The Capezio/Ballet Makers Dance Foun- booking representation dation; Carnegie Corporation of New York; Con temporary music, and has conducted the pre- uate of the North Carolina School of the Arts. Edison; Aaron Copland Fund for Music; Eleanor mieres of new operas—including David Conte’s She worked with Chicago choreographers Bob Mark Selinger (McDermott, Will & Emery), legal Naylor Dana Charitable Trust; Dance Heritage Gift of the Magi and Firebird Motel—and pre- Eisen, Jan Erkert, and Sheldon B. Smith. Worden counsel Coalition; The Fund for U.S. Artists at International miered song cycles by several composers. has been dancing with MMDG since 1994. Festivals and Exhibitions; The Harkness Foundation Thomas was educated at the Oberlin Conser- Kathryn Lundquist, CPA, accountant for Dance; IDT Entertainment; Independence vatory of Music, Manhattan School of Music, Michelle Yard was born in Brooklyn, New Community Foundation; JPMorgan Chase Foun- and The Juilliard School of Music, with further York. She began her professional dance train- David S. Weiss, MD (NYU-HJD Department of dation; Leon Lowenstein Foundation; Materials for studies in English literature at Cambridge ing at the New York City High School of the Orthopedic Surgery), orthopedist the Arts; McDermott, Will & Emery; The New York University. He is a professor of music (Barbara Performing Arts. Upon her graduation, she City Department of Cultural Affairs; The New Yorker; K. Jackson Chair in Choral Conducting) received the Helen Tamiris and B’nai Brith Thanks to Maxine Morris. The New York Community Trust; Fan Fox and Leslie R. Samuels Foundation; Town & Country; and the and director of choral ensembles in the awards. For three years, she was also a scholar- Friends of the Mark Morris Dance Group. Department of Music at UC Davis. In 2001, ship student at the Alvin Ailey Dance Center. he was designated a UC Davis Chancellor’s Yard attended New York University’s Tisch Fellow. School of the Arts, where she graduated with a ORCHESTRA ROSTER BFA. She began dancing with the Dance Jessica Troy (viola) has played for the Mark Group in 1997. Morris Dance Group since 1998. A native Members of Berkeley Symphony Orchestra New Yorker, she holds degrees from Amherst Robert Cole, guest conductor College, the State University of New York at MARK MORRIS DANCE GROUP STAFF Deborah Shidler, oboe soloist Stony Brook, and the Musikhochschule in Luebeck, Germany, where her major teachers Production Yosuke Kawasaki*, violin soloist were Philipp Naegele, Caroline Levine, and Johan Henckens, technical director Barbara Westphal. She has been a participant Wolfram Koessel, music director Violin I Viola Diana Dorman A.J. Jackson, assistant technical director Jonathan Gandelsman* Jessica Troy* Personnel Manager at many chamber music festivals, including Nicole Pearce, lighting supervisor Marlboro and Prussia Cove, performing with Katherine McDowell, wardrobe supervisor Gretchen Sauer Darien Cande , Nobuko Imai, Isidore Cohen, Katherine Kyme Patrick Kroboth Alice Kennelly Siegfried Palm, Ida Levin, and James Tocco, Administration Virginia Baker Barbara Hauser Librarian among others. Troy has had the opportunity Aaron Mattocks, company manager Larisa Kopylovsky to work with many composers on their own Karyn La Scala, studio manager Candace Sanderson Cello * members of the works, including Roger Reynolds, Jacob Kathleen Cannucci, administrative assistant Cowell Quartet José Suarez, facility manager Ariane Lallemand* Druckman, Oliver Knussen, and Gyorgy Violin II Carol Rice Kurtag; her performance of music by the latter Luis Mandry, maintenance Jay Selinger, office assistant Heather Haughn Nancy Bien Souza can be heard on a recent Bridge CD cele- David Cheng brating the 50th anniversary of the Marlboro Education Emanuela Nikiforova Bass Music Festival. A member of the Brooklyn Eva Nichols, director of education Philharmonic, Troy is also an active chamber Diane Ogunusi, school administrator Harry Chomsky Michel Taddei musician, appearing with Sequitor, the Jupiter Marc Castelli, administrative assistant Alice Kennelly Karen Horner-Kilgallen

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I Don’t Want to Love

Non voglio amare (Madrigals, Book 9, 1651) [Anonymous] Non voglio amare I don’t want to love per non penare, so as not to suffer; ch’Amor seguendo since Love, following on di duol sen va sorrow, goes on l’alma struggendo to consume the soul Craig Biesecker Joe Bowie Charlton Boyd Amber Darragh di pene amare. with bitter pain. Non vo’ più amare, I wish to love no more, no, no, no, no. no, no, no, no.

Chi vive amando, Who lives in love, s’è cieco Amore? if Love is blind? S’è cieco Amore, If Love is blind come ch’egli è, as he is, il mio dolore he cannot see non può mirara. my sorrow. Non vo’ più amare, I wish to love no more, no, no, no, no. no, no, no, no.

Rita Donahue Marjorie Folkman Lauren Grant John Heginbotham Fuggir vogl’io I wish to flee quest’empio e rio that wicked evil-doer; s’Amor è crudo, if Love, the naked boy, come ch’egli è, is as cruel fanciullo ignudo, as he is, che mi può dare? what can he offer me? Non vo’ più amare, I wish to love no more, no, no, no, no. no, no, no, no.

Ah, che non si conviene (Madrigals, Book 7, 1619) [G.B. Guarini] David Leventhal Bradon McDonald Gregory Nuber Maile Okamura Ah, che non si conviene It is not right to break faith romper la fede a chi la fe’ mantiene. with one who keeps faith. Il mio fermo voler è quell’istesso My firm desire remains the same lontan da voi, ch’esservi suol appresso; far from you as it does near you, né può cangiarlo morte, nor can death change it, né mia malvagia sorte, nor my unfortunate fate, ma, ferma come a l’onda immobil scoglio, but, firm as a rock to the wave, e viver vostro e morir vostro io voglio. I wish to live and die yours.

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June Omura Noah Vinson Julie Worden Michelle Yard

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Zefiro torna Eccomi pronta ai baci (Scherzi Musicali, 1632) (Madrigals, Book 7, 1619) [O. Rinuccini] [G.B. Marino] Zefiro torna e di soavi accenti Zephyr returns and with his sweet breath Eccomi pronta ai baci; Here I am, ready for kisses; l’aer fa grato e’il pié discioglie a l’onde, freshens the air and ruffles the waters, baciami, Ergasto mio, kiss me, my Ergasto, e, mormorando tra le verdi fronde, and, murmuring through the green branches, ma bacia in guisa but kiss in such a way fa danzar al bel suon su’l prato i fiori. makes the flowers in the field dance to his che de’ denti mordaci that no trace of biting teeth music. nota non resti nel mio volto incisa; may leave a scar to mark my face; perché altri non m’additi e in essa poi so that others may not point to it and in it Inghirlandato il crin Fillide e Clori Phyllida and Cloris, garlands decking legga le mie vergogne e i baci tuoi. read my shame and your kisses. note temprando amor care e gioconde; their hair, sing sweet and joyous love songs; Ahi! tu mordi e non baci, Ah! You bite and do not kiss, e da monti e da valli ime e profonde and sonorous caverns re-echo the harmony tu mi segnasti, ahi! ahi! you leave a tell-tale sign, Ah! Ah! raddoppian l’armonia gli antri canori. from high mountains and deep valleys. Poss’io morir se più ti bacio mai. May I die if I ever kiss again.

Sorge più vaga in ciel l’aurora, e’l sole, Dawn rises more lovely in the heavens, sparge più luci d’or; più puro argento and the sun spreads more golden rays; Lamento della ninfa fregia di Teti il bel ceruleo manto. purer silver decks Thetis’ fair cerulean mantle. (Madrigals, Book 8, 1638) [O. Rinuccini] Sol io, per selve abbandonate e sole, Only I, through desolate and lonely woods, Non havea Febo ancora Phoebus had not yet given l’ardor di due begli occhi e’l mio tormento, as my fate decrees, now weep, now sing recato al mondo il dì the day back to the world, come vuol mia ventura, hor piango hor canto. of the brightness of two lovely eyes and of ch’una donzella fuora when a damsel came out my torment. del proprio albergo uscì. of her own house.

Sul pallidetto volto On her pale face S’el vostro cor, Madonna scorgea se il suo dolor. her suffering (Madrigals, Book 7, 1619) spesso gli venia sciolto was plainly to be observed, [G.B. Guarini] un gran sospir dal cor. a deep sigh often rose from her heart. S’el vostro cor, Madonna, If your heart, my lady, altrui pietoso tanto, so merciful to others, Sì calpestando fiori Crushing the flowers underfoot, da quel suo degno would at times turn errava hor qua, hor là, she strayed back and forth, al mio non degno pianto from its seemly tears i suoi perduto amori bewailing her tal hor si rivolgesse to my unseemly weeping così piangendo va: lost love. e una stilla al mio languir ne desse, and a tear-drop bestow upon my grieving, forse nel mio dolore perhaps in my pain Amor, dicea, e’l ciel Love! she cried, and paused, vedria l’altrui perfidia it would see the malice of others mirando, il piè fermò, looking up to heaven: e’l proprio errore; and its own erring; Amor, dov’è la fe’ Love, where is the fidelity e voi seco direste: and you with it would say: che’l traditor giurò? that the betrayer swore? Ah, sapess’io Ah, if I knew how usar pietà come pietà desio! to have mercy as I need it myself! Fa che ritorni il mio Send back my lover, amor com’ei pur fu, as he once was; o tu m’ancidi ch’io or kill me, non mi tormenti più. so that I may no longer torment myself.

Miserella, ah più no, no! Ah, wretch! No, no further! Tanto gel soffrir non può. She cannot bear so much coldness.

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Non vo’ più ch’ei sospiri I don’t want him to sigh se non lontan da me, unless he is far from me no, no chei suoi no, no, because he no longer martiri più non dirammi affè. will tell me what ails him.

Perchè di lui mi struggo If I torture myself for his sake tutt’orgoglioso sta, he is unmoved, che sì, s’io’l fuggo but if I flee from him, ancor mi pregherà. he will again bid me.

Se ciglio ha più sereno Even though she may have colei ch’el mio non è, a prettier face than mine, già non rinchiude in seno Love has not endowed her heart Amor sì bella fe’. with equal fidelity.

Né mai sì dolci baci Never again will he receive such sweet kisses da quella bocca havrà, from that mouth, ne più soavi, ah taci, and none more tender—ah, say no more, taci, che troppo il sa. say no more, he knows it only too well.

Sì tra sdegnosi pianti As between angry tears spargea le voci al ciel, the cries rise up to heaven, così ne’ cori amanti so in lover’s hearts mesce Amor fiamma e gel. Amor mixes fire and ice.

Soave libertate (Madrigals, Book 7, 1619) [G. Chiabrera] Soave libertate, Sweet freedom, già per sì lunga etate for so long a time mia cara compagnia, my dear companion, chi da me ti disvia? who will deprive me of you? O Dea desiata Beloved Goddess e da me tanto amata, by me much loved, ove ne vai veloce? where are you fleeing so quickly?

Lasso, che ad alta voce Alas, aloud and in vain invan ti chiamo e piango. I call and implore you. Tu fuggi ed io rimango You run away and I remain stretto in belle catene ensnared in beauteous chains d’altr’amorose pene of love for another e d’altro bel desìo. and other allurements. A Dio per sempre, a Dio. Farewell for ever, farewell.

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