2018-19 SEASON VIVALDI: THE RED PRIEST, THE POET OCT 19 | 20 | 21 TELEMANN IN PARIS OCT 26 | 27 AN EMPIRE OF SILVER & GOLD: MUSIC OF 18TH CENTURY LATIN AMERICA NOV 16 | 17 | 18 HANDEL’S MESSIAH DEC 7 | 8 | 9 | 10 BACH AND THE YOUNG PRINCE FEB 15 | 16 | 17 LOVE, CHAOS, AND RESTORATION FEB 22 THE ROAD TO DRESDEN MAR 15 | 16 | 17 LECLAIR, RAMEAU, AND THE AGE OF ENLIGHTENMENT APR 6 THE FULFILLMENT OF GENIUS APR 26 | 27 | 28 DEAR FRIENDS, HANDEL’S MESSIAH, By the end this December, I’ll have had the immense pleasure of hearing forty live performances of Messiah on period instruments since 2011. One might assume that I’d be sick of it by now, but I love it. (PBO’s staff members THE COMPLETE Friday, December 7, 7:30pm will roll their eyes and confirm this.) It’s impossible for me to pick a favorite movement; each one is its own ORATORIO Saturday, December 8, 7:30pm delicious bite of a 53-course banquet, and I never want to miss a single flavor. Sunday, December 9, 3:00pm Desmond Earley, guest director and harpsichord First Baptist Church I know I’m not alone in my deep and abiding love. There’s a solid case to be made that Messiah is the most-heard piece of music in human history. For 277 years, it has been performed around the world in towns of every size. Miriam Allan, soprano George Frideric Handel to words compiled from Holy Scripture by Charles Jennens There are sing-along Messiahs, church choir Messiahs, Messiahs using choruses and orchestras of hundreds or Laura Beckel Thoreson, (1685-1759) (1700-1773) thousands, and Messiahs of a smaller scale like you’ll see tonight. A quick internet search for recordings yields mezzo-soprano pages upon pages of options. The Hallelujah Chorus is one of the most recognized combination of notes in the Nils Neubert, tenor Messiah William Gaunt, bass-baritone world, used everywhere from cell phone ringers to cartoon soundtracks to sports commercials. Messiah has Part the First become part of our collective consciousness. It makes our world smaller and binds us together. And in this way, Cappella Romana, chorus INTERMISSION your presence tonight makes you part of a vast international community that spans almost three centuries. Part the Second This is the power of great art: it connects us to something bigger than ourselves, allowing us to step outside of our Part the Third own lives. There’s divinity and humanity in that experience, no matter what our individual spiritual leanings. Our connection is strengthened through these many wonderful movements. I hope you enjoy the performance, from the first string chords to the final grandAmen ; I know I will! Wishing you peace and all good things,

MESSIAH, HIGHLIGHTS Abigail McKee Monday, December 10, 7:30pm Executive Director FOR CHRISTMAS First Baptist Church

G. F. Handel Messiah Part the First (selections) INTERMISSION

Part the Second (selections)

Part the Third (selections) ounded in 1984, Portland Baroque Orchestra is the third-largest Fperiod performance orchestra in the United States. PBO specializes in works of the Baroque and Classical eras, but also explores the musical world outside of those time constraints, performing with period instruments or replicas of instruments that were available when the music was composed. This means that our concerts feature familiar instruments that may look or sound a little different (for example, violins with gut strings or flutes made of wood and bone) as well as instruments that are no longer a part of the modern orchestra (like the PROGRAM SPONSOR theorbo). Led by Artistic Director Monica Huggett, the orchestra thrives on spontaneity, playfulness, and extraordinary artistry. For thirty-five years, PBO has sought to recreate the live music experiences of history pbo.org by presenting the highest level of music performance in intimate venues.

2 3 For unto you is born this day in the city of David a Saviour, which TEXTS is Christ the Lord.” And suddenly there was with the angel a PART THE SECOND multitude of the heavenly host praising God, and saying, THE REDEMPTION Chorus* Luke 2:14 SCENE I: CHRIST’S PASSION SCENE III: THE PROPHECIES OF CHRIST’S BIRTH PART THE FIRST “Glory to God in the highest, and peace on earth, good will Chorus GOD’S PLAN TO REDEEM MANKIND Recitative* towards men.” John 1:29 Isaiah 7:14, Matthew 1:23 Behold the Lamb of God, that taketh away the sin of the world! SCENE I: ISAIAH’S PROPHECY OF SALVATION Behold, a virgin shall conceive, and bear a son, and shall call his SCENE V: CHRIST’S HEALING AND REDEMPTION name Immanuel: God-with-us. Air Sinfonia* Air* Isaiah 53:3, Isaiah 50:6 Air & Chorus* Zechariah 9:9-10 Accompagnato* Isaiah 40:9, 60:1 He was despised and rejected of men, a man of sorrows and Isaiah 40:1-3 Rejoice greatly, O daughter of Zion; shout, O daughter of acquainted with grief. He gave his back to the smiters, and his O thou that tellest good tidings to Zion, get thee up into the high Jerusalem. Behold, thy King cometh unto thee. He is the righteous cheeks to them that plucked off the hair: He hid not his face from Comfort ye, comfort ye my people, saith your God. mountain. O thou that tellest good tidings to Jerusalem, lift up thy Saviour, and he shall speak peace unto the heathen. shame and spitting. voice with strength. Lift it up, be not afraid; say unto the cities of Speak ye comfortably to Jerusalem, and cry unto her, that her Recitative* Judah, Behold your God! Arise, shine; for thy light has come, and Chorus warfare is accomplished, that her iniquity is pardoned. The voice Isaiah 35:5-6 the glory of the Lord is risen upon thee. Isaiah 53:4-5 of him that crieth in the wilderness: “Prepare ye the way of the Then shall the eyes of the blind be opened, and the ears of the Lord, make straight in the desert a highway for our God.” Accompagnato* Surely he hath borne our griefs and carried our sorrows. He was deaf unstopped. Then shall the lame man leap as a hart, and the Isaiah 60:2-3 wounded for our transgressions, he was bruised for our iniquities. Air* tongue of the dumb shall sing. The chastisement of our peace was upon him. And with his stripes Isaiah 40:4 For behold, darkness shall cover the earth, and gross darkness we are healed. Duet* the people, but the Lord shall arise upon thee, and his Glory shall Every valley shall be exalted, and every mountain and hill made Isaiah 40:11, Matthew 11:28-29 be seen upon thee. And the Gentiles shall come to thy light, and Chorus low; the crooked straight, and the rough places plain. Isaiah 53:6 kings to the brightness of thy rising. He shall feed his flock like a shepherd, and he shall gather the Chorus* lambs with his arm, and carry them in his bosom, and gently lead Air* All we like sheep have gone astray; we have turned every one to Isaiah 40:5 those that are with young. Isaiah 9:2 his own way, and the Lord has laid on him the iniquity of us all. And the glory of the Lord shall be revealed, and all flesh shall see Come unto him, all ye that labor and are heavy laden, and he will The people that walked in darkness have seen a great light, and Accompagnato it together, for the mouth of the Lord hath spoken it. give you rest. Take his yoke upon you, and learn of him, for he is they that dwell in the land of the shadow of death, upon them Psalm 22:7 meek and lowly of heart: and ye shall find rest unto your souls. hath the light shined. All they that see him laugh him to scorn. They shoot out their lips, SCENE II: THE COMING JUDGEMENT Chorus* Chorus* and shake their heads, saying, Matthew 11:30 Accompagnato* Isaiah 9:6 Chorus Haggai 2:6-7, Malachi 3:1 His yoke is easy, and his burden is light. For unto us a child is born, unto us a son is given. And the Psalm 22:8 Thus saith the Lord of hosts: Yet once, a little while, and I will government shall be upon his shoulders, and his name shall be “He trusted in God that he would deliver him; let him deliver him, if shake the heavens, and the earth, the sea, and the dry land; called Wonderful, Counselor, the Mighty God, the Everlasting he delight in him.” and I will shake all nations, and the desire of all nations shall come. Father, the Prince of Peace. INTERMISSION The Lord, whom ye seek, shall suddenly come to his temple, even Accompagnato the messenger of the covenant, whom ye delight in. Behold, SCENE IV: THE ANNUNCIATION OF Psalm 69:20 he shall come, saith the Lord of hosts. THE SHEPHERDS Thy rebuke hath broken his heart; he is full of heaviness. He Air* looked for some to have pity on him, but there was no man, Malachi 3:2 Pifa (Pastoral Symphony)* neither found he any to comfort him.

But who may abide the day of his coming? And who shall stand Accompagnato* Air when he appeareth? For he is like a refiner’s fire. Luke 2:8-11, 13 Lamentations 1:12

Chorus* There were shepherds abiding in the field, keeping watch over Behold, and see if there be any sorrow like unto his sorrow. Malachi 3:3 their flock by night. And lo, the angel of the Lord came upon them, and the glory of the Lord shone round about them. And they were And he shall purify the sons of Levi, that they may offer unto the sore afraid. And the angel said unto them, “Fear not, for behold, Lord an offering in righteousness. I bring you good tidings of great joy, which shall be to all people. *indicates selection for December 10 Messiah Highlights performance. 4 5 SCENE II: CHRIST’S DEATH AND REDEMPTION Chorus Air Psalm 2:3 PART THE THIRD Romans 8:31, 33-34 Accompagnato AN ANTHEM FOR THANKSGIVING FOR Isaiah 53:8 Let us break their bonds asunder and cast away their yokes from If God be for us, who can be against us? Who shall say anything to us. THE DEFEAT OF DEATH the charge of God’s elect? It is God that justifieth, who is he that He was cut off out of the land of the living; for the transgression of condemneth? It is Christ that died, yea, rather that is risen again, thy people was he stricken. Recitative* SCENE I: THE PROMISE OF ETERNAL LIFE who is at the right hand of God, who makes intercession for us. Psalm 2:4 Air Air* He that dwelleth in heaven shall laugh them to scorn; the Lord Psalm 16:10 Job 19:25-26, I Corinthians 15:20 SCENE IV: THE ACCLAMATION OF THE MESSIAH shall have them in derision. But thou didst not leave his soul in hell, nor didst thou suffer thy I know that my redeemer liveth, and that he shall stand at the Chorus* Holy One to see corruption. Revelation 5:12-13 SCENE VII: GOD’S ULTIMATE VICTORY latter day upon the earth. And though worms destroy this body, yet in my flesh shall I see God. For now is Christ risen from the Worthy is the Lamb that was slain and hath redeemed us to SCENE III: CHRIST’S ASCENSION Air* dead, the first fruits of them that sleep. God by His blood to receive power, and riches, and wisdom, Psalm 2:9 and strength, and honour, and glory, and blessing. Blessing, and Chorus* Chorus* honour, glory, and power, be unto Him that sitteth upon the throne, Psalm 24:7-10 Thou shalt break them with a rod iron; thou shalt dash them in I Corinthians 15:21-22 pieces like a potter’s vessel. and unto the Lamb for ever and ever. Lift up your heads, O ye gates; and be ye lift up, ye everlasting Since by man came death, by man came also the resurrection of Amen. doors; and the King of glory shall come in. Who is this King of Chorus* the dead. For as in Adam all die, even so in Christ shall all be made glory? The Lord strong and mighty, the Lord mighty in battle. Revelation 19:6, 11:15, 19:16 alive. Who is this King of glory? The Lord of hosts, he is the King Hallelujah! For the Lord God omnipotent reigneth. The kingdom of of glory. this world is become the kingdom of our Lord, and of his Christ. SCENE II: THE DAY OF JUDGEMENT And he shall reign for ever and ever. King of Kings, and Lord of Recitative* SCENE V: THE BEGINNINGS OF GOSPEL Lords. Hallelujah! Corinthians 15:51-52 PREACHING Behold, I tell you a mystery. We shall not all sleep, but we shall all Chorus be changed. In a moment, in the twinkling of an eye, at the last Psalm 68:11 trumpet.

The Lord gave the word: Great was the company of the preachers. Air* Duet & Chorus* I Corinthians 15:52-53 Romans 10:15 The trumpet shall sound, and the dead shall be raised How beautiful are the feet of them that preach the gospel of incorruptible, and we shall be changed. For this corruptible must peace, and bring glad tidings of good things. put on incorruption, and this mortal must put on immortality.

Air Romans 10:18 SCENE III: THE FINAL CONQUEST OF SIN

Their sound is gone out into all lands, and their words unto the Recitative ends of the world. I Corinthians 15:54

Then shall be brought to pass the saying that is written, Death is SCENE VI: THE WORLD’S REJECTION OF swallow’d up in victory. THE GOSPEL Duet Air I Corinthians 15:55-57 Psalm 2:1-2 O death, where is thy sting? O grave, where is thy victory? The Why do the nations so furiously rage together; why do the people sting of death is sin; and the strength of sin is the law. But thanks imagine a vain thing? The kings of the earth rise up, and the rulers be to God, who giveth us the victory through our Lord Jesus take counsel together: against the Lord and his Anointed. Christ.

6 7 warmer than that of London audiences in 1743. Dubliners are Portland Baroque Orchestra has opted for a varied account HANDEL’S MESSIAH: very proud that Messiah enjoys a longer history with them than of Messiah that remains faithful to the scale of the Dublin with Londoners, who would only develop a true affection for the performance, which would have involved little more than thirty A CANTANKEROUS OBJECTION TO PUBLICK DIVERSIONS work following the Foundling Hospital performances in 1750. All singers accompanied only by strings, continuo, trumpets, and in all, a combination of some of opera’s more generically appealing timpani. Now that Mercer’s Hospital is no more, we trust that characteristics with a text in English (which all could hear and Handel (and even the cantankerous Swift) would consent to The first performance of this much-beloved oratorio was given I do hereby require and request the understand) and a subject which rang true with the religious our performing Messiah purely for the intellectual pleasure and on April 13, 1742 “for the Relief of the Prisoners in the several sensibilities of so many listeners of the day, stimulated the appeal renewal of spirit that this great work of imagination embodies. Very Reverend Sub-Dean, not to permit Gaols, and of the Support of Mercer’s Hospital in Stephen’s of this oratorio, an appeal that endures to this day. any of the Vicar Chorals, choristers, or Street, and of the Charitable Infirmary on the Inns Quay.” The aim – Desmond Earley was to free many of those who had been confined in debtor’s organists, to attend or assist at any prison following the economic devastation that followed the ‘Great Frost’ of 1740. Many survivors of the resulting economic public musical performances, without downturn were unable to pay their debts and were incarcerated my consent, or his consent, with the as a consequence. Such desperate conditions moved the political establishment and people of private means to respond: donations consent of the Chapter first obtained. were collected in many churches in Dublin. JONATHAN SWIFT, DEAN OF ST. PATRICK’S CATHEDRAL, Perhaps because the of the charitable nature of the DUBLIN, 28TH JANUARY 1742. performance, Swift would rescind his prohibition to allow the Lay-Vicars Choral to perform at Neal’s New Music Hall on he cantankerous objections of Jonathan Swift to members Fishamble Street, the site of the first performance ofMessiah . Tof the choir of St. Patrick’s Cathedral participating in any of These singers would eventually join with the choir of Christ Handel’s Dublin performances have been well documented. Quite Church Cathedral to form the bulk of the chorus at the premiere. apart from Swift’s order that none of his singers should ‘assist What this performance may have lacked in terms of polish was at a club of fiddlers in Fishamble Street,’ Dublin society warmly compensated for in terms of financial success: £4000 was raised welcomed the presence of Handel. Dublin was at that time the for charity. second city of the two islands, and was experiencing a ‘golden age,’ evidenced today by the city’s Georgian architecture, and The text of Messiah was compiled in 1739 from the Authorised in the eighteenth century, by the quality and quantity of artistic Version of the Bible by Charles Jennens. Jennens’ imaginative activity. Many musicians from the London circuit had worked in selection of texts – and his choice of the Old Testament name of Dublin at one time or another, including Matthew Dubourg, Master “Messiah” rather than the New Testament name “Christus” – is of State Music at Dublin Castle since 1728. very much indicative of Jennens’ didactic vision of the work. The aim is to show that Jesus Christ is indeed the promised Dubourg would lead the orchestra in the first performance of Messiah of the Old-Testament Hebrew prophets. With few Messiah, but was not the only performer already acquainted with exceptions, Jennens avoids Gospel texts almost entirely. Instead We this music. Handel. In 1741, the disgraced actress and singer, Mrs. Suzannah he chooses to relate the story of Christ’s mission through the love 89.9 FM Portland/Vancouver • 88.1 Lincoln City/Newport • 96.3 Columbia Gorge East Cibber, had moved to Dublin from London in an attempt to recover Old Testament texts, combining these with texts from the New her damaged reputation and to begin the slow re-entry to society. Testament Epistles and Revelation. The result is an oratorio that 88.1 Hood River/ The Dalles • 88.9 Manzanita • 95.7 Corvallis/Flynn • 90.3 HD-2 McMinnville All of London knew of her from a scandalous trial in which her is neither overly dramatic nor simply an historical account of husband, Theophilus Cibber, had taken Suzannah’s lover William events. The emphasis is placed on the eschatological significance Sloper to the Court of the King’s Bench in 1738, accusing him of Christ’s life: issues surrounding the human soul in its relation of ‘Assaulting, Ravishing and Carnally Knowing Suzannah Maria to death, final judgement, heaven, and hell. The text takes us from Cibber, the Plaintiff’s wife.’ In truth, Theophilus Cibber was a man the original promise of Messiah, through Christ’s incarnation and of poor character, who had actually consented to – and sought passion, ending with the celebration of salvation and eternal life. to profit from – the affair between Suzannah and Sloper from the outset. Scandal indeed! Typically for Handel, many of the arias were re-written to suit the demands of different performances, and a small number of pieces Handel had met Suzannah in 1733 at her brother Thomas used material borrowed from Telemann, Buxtehude, and indeed his Arne’s production of Rosamond and had invited her to sing own works. The chorus ‘Surely He hath borne our griefs’ contains contralto solos in his London concert productions. Ever the eye for material from Israel in Egypt, and ‘For unto us a child is born,’ ‘All we drama, it may not have been lost on Handel that to have her sing like sheep,’ and ‘His yoke is easy’ are taken from a set of his Italian ‘He was despised’ before Dublin society in the premiere of Messiah duets. These contain some unusual word stresses: ‘Nò, di voi non would hasten her moral recovery. In fact, her performance of this vo fidarmi’ became ‘For unto us a child is born.’ With the exception aria was so well received that a member of the audience was of Swift who abhorred ‘Italian’ music as the herald of Roman moved to proclaim a spontaneous compliment from his seat in the Catholicism and (rightly) identified Handel as a composer of Italian parterre: ‘Woman, for this, be all thy sins forgiven!’ opera, Ireland’s reception to Messiah in 1742 was altogether 8 9 FEATURED ARTISTS

DESMOND EARLEY On the opera stage she is a regular company soloist with GUEST DIRECTOR AND HARPSICHORD Pinchgut Opera, for whom she has sung Isifile (Giasone, Cavalli) and Costanza (Griselda, Vivaldi). For the Innsbruck Festival she Hailed by The Irish Times as “enterprising and has sung Galatea (Acis & Galatea, Handel), whilst she has taken wide-ranging,” Desmond Earley, founding Artistic various roles in The Fairy Queen for Glyndebourne Festival Opera, Director of the Choral Scholars of University College Dublin, Opera Comique, Paris, and Brooklyn Academy of Music, New York. has established a reputation as one of Ireland’s foremost choral Other roles include Queen of the Night (Magic Flute, Mozart), directors and early-keyboard specialists. A tenured professor of Musica and Proserpina (Orfeo, Monteverdi) and various roles in performance studies he holds a DMus Performance degree on the Dardanus, Rameau. harpsichord from the Royal Irish Academy of Music. She has appeared alongside Sir John Eliot Gardiner & English As consort instrumentalist and director, Desmond has worked Baroque Soloists, Masaaki Suzuki & Bach Collegium Japan, GREAT PASTA. with many of the world’s finest ensembles including the Irish Nicholas Collon & Aurora Orchestra, and Lars Ulrik Mortensen Baroque Orchestra, the RTÉ Concert Orchestra, the European & Concerto Copenhagen as well as conductors William Christie, Union Chamber Orchestra, and the English Chamber Orchestra. Stephen Layton, and Laurence Cummings and orchestras the BBC He has collaborated with some of the world’s great musicians Philharmonic, Melbourne Symphony, Les Violins du Roy, Australian PERIOD. including Konrad Junghaenel, Christopher Hogwood, Roy Chamber Orchestra, Orchestra of the Age of Enlightenment and A benefit dinner to support Portland Baroque Orchestra. Goodman, Monica Huggett, and Sir James Galway. the Academy of Ancient Music. Musical Surprises! Paddle Raise to support the Orchestra! An accomplished composer and arranger, Desmond Earley has She has sung Mozart’s Mass in C Minor in Lincoln Center, New written works for the RTÉ Concert Orchestra, Portland Symphony Tuesday, February 12, 2019, 6pm York, Bach’s Magnificat in the Musikverein, Vienna, Handel’s Orchestra (Maine, USA), Nigel Short’s London-based choir, Messiah in Sydney Opera House, Haydn’s Die Schöpfung at the Kempton Hall, Trinity Episcopal Cathedral Tenebrae (UK), and most recently the Irish Baroque Orchestra. Barbican, London, Rameau’s In Convertando in Chapelle Royale, Party Attire Publishers include Hal Leonard Corporation (USA), Alliance Music Versailles and appeared in Mozart Opera Galas at the Royal Opera (USA), and Seolta Music (Ireland). House, Covent Garden, and Salle Pleyel, Paris.

Pasta by Grassa Desmond Earley’s work Body of the Moon (world premiere WILLIAM GAUNT Dessert by Baker & Spice 2017), a setting of texts by Galileo Galilei, was commissioned by BASS-BARITONE All Classical Portland radio station especially for the total solar Winesworks by A to Z eclipse across the USA. Hailed by the London Times, Body of the William Gaunt was born in Yorkshire and began Moon has since been recorded on the Signum Records label (UK) his musical education there as a chorister at Tables of 10: $1,250 (charitable gift amount: $1,000) for the new CD Perpetual Twilight to be released in March 2019. Ripon Cathedral. Following a choral scholarship to King’s College, Individual Tickets: $150 (charitable gift amount: $125) Earley’s Handel Italian Duets album will follow in December 2019. Cambridge, he commenced his professional career with the choirs of Christ Church, Oxford and Westminster Cathedral. A specialist in Baroque, French Baroque, early European Call today: 503-222-6000 art-music, and Irish choral Music, Desmond Earley was (2017) William has developed a busy and versatile career as both a Visiting Scholar at Lewis & Clark College, Oregon (USA) and Guest soloist and a consort singer. In the latter capacity he performs Conductor/Scholar (2017) at Bowdoin College, Maine (USA). and records regularly with many of the UK and Europe’s most prominent ensembles, including the Gabrieli Consort, Tenebrae, MIRIAM ALLAN Gallicantus, Chamber Choir Ireland, Ars Nova Copenhagen, and SOPRANO Theatre of Voices.

The “sublime singing” (Gramophone) of soprano As a soloist William performs much of the core concert and Miriam Allan has been enjoyed across the world, oratorio repertory. Recent highlights have included Handel’s from her native Australia, through Japan and Singapore, as well as Messiah with Nieuwe Philharmonie Utrecht and Johannes at festivals throughout Europe and North America. Leertouwer; Bach Matthäus-Passion and Johannes-Passion Recent highlights have included Bach St. Matthew Passion for Stephen Cleobury; Bach Johannes-Passion and Purcell at Wigmore Hall with Dunedin Consort and John Butt, a Come, ye Sons of Art, away for Paul McCreesh; and Stravinsky return to Australia in the role of Josabeth (Athalia, Handel) for Les Noces and Bach B Minor Mass for Paul Hillier. Recordings Pinchgut Opera, Sydney, Bach cantatas at the BBC Proms and include Monteverdi Vespro della Beata Vergine 1610 with Robert performances with the Queensland Orchestra and Erin Helyard. Howarth and the Orchestra of the Age of Enlightenment; the same work with John Butt and the Dunedin Consort; Odes by John Blow 10 11 with Jonathan Cohen and Arcangelo; and Fauré Requiem with Recent and upcoming engagements include performances Nigel Short and the London Symphony Orchestra. His work has of Rossini’s La Cenerentola (Tisbe), Mahler’s Symphony THE ORCHESTRA AND CHORUS seen him sing on some of the world’s most prestigious concert No. 4, a program of all-new art song compositions entitled platforms including the Cadogan and Wigmore Halls, London; Feminine Love with Northwest Art Song, Bernstein’s Jeremiah Carnegie Hall, New York; the National Concert Hall, Dublin; and the Symphony, Beethoven’s Symphony No. 9, Vivaldi’s Stabat Mater, Concertgebouw, Amsterdam. Mendelssohn’s Elijah, Robert Kyr’s The Passion According to an Desmond Earley, Guest Director and Harpsichord, Dublin, Ireland Unknown Witness, and more. ORGAN NILS NEUBERT Harpsichord: Titus Crijnen, Amsterdam, The Netherlands, 1994 Susan Jensen, Principal, Portland, Oregon TENOR A native of Vancouver, Washington, Ms. Thoreson is currently a After Giovanni Battista Giusti, Lucca, Italy, 1681 Portative Organ: Richard Bond, Portland, Oregon 1998 member of the voice faculty at Clark College, and maintains a full VIOLIN Tenor Nils Neubert was born and raised in private voice studio in addition to her active performing schedule. OBOE Hamburg, Germany, and maintains active Rob Diggins, Concertmaster, McKinleyville, California Stephen Bard, Principal, Philadelphia, Pennsylvania performing and teaching careers in the Unites States and abroad. CAPPELLA ROMANA Violin: Hiram Stewart Richards, Albany, Oregon 1899 Oboe: Levin and Robinson, New York, New York, 2003 He is a sought-after interpreter of oratorio, lieder, opera, and Copy of ‘Alard’ Stradivarius, Cremona, Italy 1719 After Saxon models chamber music, and a regular guest with international music Its performances “like jeweled light flooding the space” Los( Jolianne Einem, Principal Second, McKinleyville, California Brandon Labadie, Portland, Oregon festivals. A frequent interpreter of the cantatas and oratorios of Angeles Times), Cappella Romana is a vocal chamber ensemble Violin: Mathias Knilling, Mittenwald, Germany, 1835 dedicated to combining passion with scholarship in its exploration Oboe: Joel Robinson and Brandon Labadie, New York, Johann Sebastian Bach, his repertoire also includes the oratorios Toma Iliev, Portland, Oregon of the musical traditions of the Christian East and West, with New York, 2011 of Handel, Haydn, Mozart, and Mendelssohn. As a recitalist, Mr. The Charles and Ruth Poindexter Chair emphasis on early and contemporary music. Cappella Romana’s After 1730s Saxon models Neubert has sung nearly all of the major German song cycles, Violin: Anonymous 18th Century, Germany and has presented programs in French, Italian, English, and name refers to the medieval Greek concept of the Roman BASSOON Adam LaMotte, Portland, Oregon Russian. He is a founder of New York’s Polydora Ensemble, which oikoumene (inhabited world), which embraced Rome and Western Nate Helgeson, Principal, Portland, Oregon The Bob and Vi Metzler Chair specializes in nineteenth through twenty-first century repertoire Europe, as well as the Byzantine Empire of Constantinople (“New The Larry Dunn Chair Violin: Fasso, 2015, conversion by Adam LaMotte, Portland, for vocal quartet and piano. Nils Neubert holds degrees from The Rome”) and its Slavic commonwealth. Bassoon: Guntram Wolf, Kronach, Germany, 2011 Oregon, 2015 Juilliard School, Columbia University, and the City University of After HKICW, ca. 1700 Founded in 1991 by music director Alexander Lingas, Cappella Copy of Antonio Stradivari, Cremona, Italy, ca. 1718 New York’s Graduate Center. A former member of the faculties of Romana presents a robust annual concert series in Portland and Christine Wilkinson Beckman, Olympia, Washington TRUMPET William Paterson University, Kaufman Music Center, and the Music Seattle, and is regularly engaged by Portland Baroque Orchestra Conservatory of Westchester, he currently teaches at The Juilliard Violin: Jason Viseltear, New York, New York, 2011 Kris Kwapis, Principal, Shoreline, Washington as its principal chorus, and by the Seattle Symphony for special After Carlo Giuseppe Testore Trumpet: Frank Tomes, London, England, 2001 School, Manhattan School of Music, Mannes School of Music, and projects. It frequently tours in Europe and North America, having Courtney Kuroda, Seattle, Washington After Johann Leonhard Ehe III, Nuremburg, Germany, 1746 the Music Academy of the West. He is a student of Dr. Robert C. recently made its second appearance at the Utrecht Early Music Violin: Timothy G. Johnson, Hewitt, Texas, 2004 Bruno Lourensetto, São Paulo, Brazil White, Jr., and lives in New York City with his wife, pianist Yuri Kim. Festival, the largest event of its kind in the world, two tours to the After Guarneri del Gesu, Cremona, Italy Trumpet: Rainer Egger, Basel, Switzerland, 2018 LAURA BECKEL THORESON Festival of Wallonia in Belgium, and in Germany for the 600th Linda Melsted, Seattle, Washington After Johann Leonhard EHE II, Nuremberg, Germany, 1746 MEZZO-SOPRANO Anniversary of the Council of Konstanz. Violin: N. Amati, Cremona, Italy, 1670 Original: Germanisches Nationalmuseum, Nuremberg Recent tours in Europe featured a program of music for the Rite Hailed as “one of the loveliest voices in the VIOLA TIMPANI Northwest” (Oregon ArtsWatch), mezzo-soprano of Hagia Sophia at the Iaşi Byzantine Chant Festival in Romania, Victoria Gunn, Principal, Yamhill, Oregon Mark Goodenberger, Principal, Ellensburg, Washington Laura Beckel Thoreson enjoys a widely varied singing career in the and an appearance on the Orientale Lumen Festival in Budapest, Viola: Fasso, 2016, conversion by Adam LaMotte, Portland, Timpani: Ben Harms, New York, New York, 2000 USA and abroad, spanning opera, oratorio, recital, and ensemble Hungary. Oregon, 2016 performances. She has appeared as a guest artist with such CAPPELLA ROMANA The ensemble has released over 20 compact discs, including Copy of Antonio Stradivari, Cremona, Italy, ca. 1726 companies including Portland Opera, Eugene Opera, Utah Festival SOPRANOS ALTOS two recent titles that debuted in the top 10 Classical Recordings Hillary Oseas, Beaverton, Oregon Opera, Indianapolis Opera, and Augusta Opera, as well as Early on Billboard. Photini Downie Robinson Kristen Buhler Music Vancouver, Oregon Symphony, Oregon Sinfonietta, Portland The Susan Bach and Douglas Egan Chair Charlotte Engler Susan Hale Viola: Fasso, 2016, conversion by Adam LaMotte, Portland, Baroque Orchestra, Newport Symphony Orchestra, Indianapolis Since 2010 Cappella Romana has been a participant in the Maria Karlin Jessica Israels Oregon, 2016 Symphony Orchestra, Cincinnati Symphony Orchestra, Lafayette research project “Icons of Sound: Aesthetics and Acoustics of Vakarė Rūta Petroliūnaitė Cecily Kiester Copy of Antonio Stradivari, Cremona, Italy, ca. 1726 Symphony Orchestra, San Juan Symphony, and more, and has Hagia Sophia, Istanbul” at Stanford University. The ensemble’s Catherine van der Salm Kerry McCarthy performed internationally in Canada, England, Scotland, Belgium, next recording, made at Stanford, will feature medieval Byzantine VIOLONCELLO Stephanie Noble and the Netherlands. Favorite concert works performed as alto chant from Hagia Sophia imprinted with the acoustics of that great Joanna Blendulf, Co-Principal, Bloomington, Indiana TENORS BASSES soloist include many cantatas and oratorios by Bach (including B cathedral. Violoncello: Anonymous, Markneukirchen, Germany, ca. 1800 Minor Mass, St. John Passion, St. Matthew Passion, Magnificat), Daniel Burnett Aaron Cain Adaiha MacAdam-Somer, Portland, Oregon J. C. Bach, and Telemann; Handel (Messiah, Judas Maccabeus); Leonard Cottrell John Michael Boyer Violoncello: Anonymous mid-18th Century Haydn (Lord Nelson Mass); David Lang (little matchgirl passion); John K. Cox Ben Kinkley Mendelssohn (Elijah); Mozart (Coronation Mass, Solemn Vespers); CONTRABASS Michael Hilton David Krueger Joseph Michael Muir Patrick McDonough Pärt (Passio); Prokofiev The( Ugly Duckling); and Vaughan Williams Curtis Daily, Principal, Portland, Oregon Nick Stevens Mark Powell (Magnificat in ),C among others. A great early music enthusiast, The Bette Worcester Chair Adam Steele Ms. Thoreson has a particular affinity for opera and oratorio of the Contrabass: Ingnazio Ongaro, Venice, Italy, ca. 1770 Baroque; favorite roles include Orfeo in Gluck’s Orfeo ed Euridice, Dido in Purcell’s Dido & Aeneas, and Sesto in Handel’s Giulio Cesare. 12 13 DONOR LEVELS AND BENEFITS Join the generous community of music lovers who make it possible for PBO to present exciting, intimate, world-class performances of Great Music.

hank you for all you do to support our orchestra. Your ticket purchases, donations, and support enable PBO to present transformative, Timaginative, and intimate performances each year. Ticket sales support less than half of the costs of what it takes to bring the best historically-informed performances to Portland. The rest is donated by people like you, who have grown PBO over the past 34 years into YOUR GIFT HELPS the world-class orchestra it is today. Can you help? We invite you to review our donor levels and benefits below and consider making a gift. SET THE STAGE RITORNELLO SOCIETY CONTINUO CIRCLE Donors who give more than $1,000 annually are members of the $500 ($41.67 per month) ach year, Portland Baroque Orchestra relies on donations to fund over 45% of Ritornello Society, and are included in special Ritornello Society • Two guest-pass coupons for a performance of your choice. Ethe costs of making Great Music. Period. Your support funds artist fees, concert events, including PBO’s annual spring house concert. • VIP ticket service and priority seating venues, tuning and moving instruments, buying sheet music, and more. $25,000 and above • Two coupons for a free cookie or treat during the season December gifts are especially important. Your contribution today will support eleven • Season-wide sponsorship rights, including signage and verbal • All benefits below more concerts this season, including works by Bach, Mozart, Leclair, Purcell, and recognition of sponsorship, to be mutually agreed upon. PBO’s more. Our goal this month: to raise $50,000. Can you help? staff will work with you to customize your sponsorship package. $250 ($20.83 per month) • All benefits below Make a year-end gift today at pbo.org/donate, or call 503-222-6000 between • Ticket exchange privileges 9:30am and 5pm Monday through Friday. Every dollar makes a difference! $10,000 • Access to purchase tickets to select cast parties and other • Opportunity to name a principal musician chair for 12 months, behind-the-scenes events Your support helps us set the stage for more Great Music. Period. beginning six months after the date of your gift, chosen in • All benefits below Thank you for your consideration. consultation with PBO’s staff. $100 • All benefits below • Earlybird access to single tickets (two weeks before general $5,000 ($416.67 per month) public) • Opportunity to name a section player’s chair for 12 months, • All benefits below beginning six months after the date of your gift, chosen in consultation with PBO’s staff. $25 • All benefits below • Name recognition in printed program for twelve months after you make your gift $2,500 ($208.33 per month) • Invitation to one open dress rehearsal per year • All benefits below

$1,685 ($140.42 per month) “We contribute to PBO because we care about “Your support matters to us. Every time we • Stand beside PBO’s Board of Directors at this giving level, and having one of the world’s best period orchestras step onstage, PBO musicians know we are help sustain the Orchestra’s incredible work for decades to come! right here in Portland. Monica Huggett is an joined in our music-making by one of the best $1,000 ($83.34 per month) international treasure, and hearing her is audiences anywhere. Your energy makes our transformative!” work a pleasure, and your support means the • Ritornello Society membership, including annual Society events. world to us. Thank you.” • Parking pass for events held at First Baptist Church – JOHN AND BETH BISHOP • All benefits below SUBSCRIBERS AND DONORS – ADAM LAMOTTE SINCE 1986 VIOLINIST AND VIOLIST

14 15 Jim and Ruth Alexander David & Ellen Ludwig Walter Witschard Anna Marsh Farouk Al-Hadi Frank MacMurray Sabina Wohlfeiler Sandra McHarg SUPPORTERS OF THE ORCHESTRA Emily & Hagen Amen Barbara Manildi Diana Woll Anne McLaughlin Ruth Ann Angell Kahler Martinson Anne & Ray Worden Fred & Susan Mosedale Gifts made from November 1, 2017 to November 1, 2018 Eugene & Linda Appel Sharon Maxey Jean Wu Carolyn Niblick Kerry & Nigel Arkell Lucille Baker & Robert Mayer Chris & Heather Young Erik Ochoa Anita & David August Raymond Mayer Joey Zarosinski Natalie & Robert Osburn We would not be here without financial contributions from the Katharine Babad Janice & Larry McBride Claude & Florence Zeller Diarmuid & Maura O’Scannlain Richard Baumann Rachel Foster & Randall McGowen Kathy Parker individuals, businesses, and foundations in this community. Fred Beal Debbie & Greg Mettler $25 to $99 George Penk Kirk and Molly Beiningen Rosemary & Thomas Mitchell Anonymous (2) Frances Philipek Your gift matters. Thank you. Richard Berkey Stephanie Montgomery AmazonSmile Foundation Larry Edelman & Loretta Pickerell Beth & John Bishop Carolyn & David Moore American Honda Motor Co. Inc. Marjorie Powell Bernard & Ginger Bopp Tony Morrell Marlene Anderson Cecelia & Joe Quaal TheresAnn Bosserman & Karen Morrow Constance Ashbrook & Troy Rappold James Strassel Arwen Myers Martha Landowne James & Reta Ratcliffe RITORNELLO SOCIETY Alan Brickley John Betonte & Carol Fredlund Anne Draper Isabel & Jeremiah Brackbill Sandy & Steve Norcross James & Sally Reed Cheryl & Steve Campbell Shep Gilchrist Mary Dreyer Joseph Auer Jason Brewer Diane O’Connor Frank & Karyn Baumeister Robert Reis David Brook & Susan Campbell John & Judie Hammerstad Kathy Faust Diane Bridge & Jack Landau Lisa O’Rourke Heather Rosenwinkel $25,000 and above Roxanne Cumming & Monica Huggett Dr. Virginia Hancock John French & Lauren McNaughton Myra & Richard Bennett Ronni Lacroute Mimi Chitty Donald & Kay Parr Warren Black Michael Roth Laura & Tom Cunningham Mary & Thomas Hansen John & Robyn Gastineau Victoria Chung & Paul Wendlick Dave & Diane Perkinson Gayle Rothrock James F. And Marion L. Miller Suzanne Bromschwig & Bill Dolan Susan Hanson Patricia & Tom Glass Ann Blaker Foundation Ruth Ciappini James & Sue Peters Charles Blanke Donella Russell Robert Downer Andrea Hess Lisa Goldberg Corbet & Myra Clark Barbara & Gary Peterson Mark Rutherford Oregon Cultural Trust Aron Faegre & Kathleen Kelley Debbie & Quintin Hess Joanne & Steve Goodfellow David Boeckh The Regional Arts & Culture Council, Elo and Oma Colburn PGE Employee Giving Campaign Barry & Linda Bolewicz Dennis Parker & Michael Sagun Laura Graser Robert Holub William DeBolt & Martha Graner Philip Copenhaver Susan & Walter Piepke Bill & Nancy Savage including support from the City of Diana Harris & Gary Piercy Cecelia Huntington James & Linda Hamilton Patricia Bollin Portland, Multnomah County, and Linda Craig Kathleen & Mark Powell Dennis Boyles Elizabeth & Eric Schneider Sharman Francis & William Hoffman Doug Inglis C. David Harris Cynthia Cristofani, M.D. Sam Bottone & Toni Propotnik Judith Thompson Schneider the Arts Education & Access Fund Mary & William Neeland Donald Jenkins Don & Jette Haslett Elly Branch John & Sharon Crowell Stephen Raher Andrea Bride Leslie Schockner Cheryl & Dave Richardson Sharon Johnson & Bill Patten Gina Henderson Lawrence Crumb Richard Adams & Wendy Rankin Elaine Sibley $10,000 to $24,999 Barbara & Ed Slaughter Jeffrey & Jessie King Diane Holland Jean Brodahl Blair Darney & Michael Sterner Bonnie Reagan Ann & Dave Bronson Holly & Mark Smith Anonymous Page Stockwell Mary Klein Rosemary Houha Chris Dart Denise Reed Maryann & William Smith Larry Dunn Dean & Patricia Werth Adela & Richard Knight Andrea & Steven Hoyt Kathy & Randy Carlson John & Margaret DeLacy Richard Rees Celia Carlson Barbara Stayton Oregon Arts Commission and the Susan Koe Gordon Kaplan Dorothy Dinneen Betty & Jacob Reiss Leslie Houston & Scott Stephens National Endowment for the Arts Jon Kruse & Karen O’Connor Heidi Kohne Evelyn & Michael Challis $1,000 to $1,684 Allen Dong David Ressler Ilze Choi LaRhette Swann Fred W. Fields Fund of the Elly Adelman & Chaim Sil Carol Bertley & Richard Lloyd-Jones The Kolbe Fund Susan Dornfeld & Walt Ream Barbara Rhyne Bob & Pam Turner Oregon Community Foundation Patricia & Walter Loveland Gerald Koll Linda & Myles Clowers Gail & S. Tremaine Arkley Steve Dulaney & Susan Torkelson Andrew Rich Bruce & Deborah Dickson Bruce Rothman & Sam Tyler Charles & Ruth Poindexter Jerry & Judy Braun Janet Loy Teresa & Tom Markgraf Angus & Kim Duncan Linda Rickert Steve Vacchi William & Jacqueline Willingham Kenneth & Nancy Martin Charlie Martin Richard and Rebecca Duncan Tom Cirillo & Aaron White Frances & Tom Dyke Charles Riter Mary Egan Denis & Patricia Vannier Work for Art, including contributions Linda Farris & Paul Wilson Patrick Mueller John Martin Becky Dykstra Quentin Robbins Les Vuylsteke from more than 75 companies Jerrie Nelson Charles McCarthy Janice Eller Claire & Zanley Galton David Edwards Ruth Robinson Davis Evans Brian & Nan Wagner and 2,000 employees Diane & Richard Hohl Frances Ousley Karen Henell & Gregg McCarty Annie & Woodruff English Daniel Rodriguez Elizabeth Wartluft John Pinkstaff & Bette Worcester Pfizer Foundation Laurie Meigs Louise Feldman Rick Caskey & Sue Horn-Caskey Ed & Marilyn Epstein Melvina & Richard Romanelli Joan Gardner Clifford & Kuniko Weber Fred Cohen and Randy Zasloff Leslie Lehmann & Clark Worth Norma & Paden Prichard Linda Meng & Christina Seluzicki Sharon Fekety Carol Rose Christopher & Priscilla Williams Ann & Tom Ridenhour Susan Miller Bonnie & Lee Garrett Nancie McGraw Linda Fergusson-Kolmes & Christopher Ruggles Barbara & David Ginsberg Patience Willner $5,000 to $9,999 Abigail McKee Ruth Roth Jeanette & Jim Munyon Steven Kolmes John Ryan Dorie & Jonathan Woolf Jeannie & Leonard Santos Ed & Jan Murphy Jean & Marion Goslain Susan Bach & Douglas Egan Martin Müller Elysa & Eric Foxman David & Eleanor Sacks Joseph & Patricia Grosh Clarence E. Heller Charitable Foundation Beverly & Richard North Kathy & Victor Savicki Robert Nicholson Herman & Ruth Frankel Irene Hecht & Ron Saroff Jannette & Paul Schuele Erle & Patricia Norman David Gross & Kristina Vassar Tributes Herbert A. Templeton Foundation Paul O’Brien Sara Gabin Kathleen Scanlan Barbara Haga Elizabeth & John Shirley Bill Nelson & Susan Olson Mimi Chitty Intel Employee Matching Gifts Program Robert Reed Paul & Rebecca Gerlach Gary Shaw Jan & Yvonne Hajda Robert & Violet Metzler Judith Rees Laura Stockwell Charles Peterson Katherine Giachetti Kenda & Ralph Shoemaker In memory of Jack Chitty Judy & Michael Stoner Karen Pollach Lynn Harrington Steven Reinisch Lawrence & Susan Rein Lillian Goff Guy Silvestri James & Mary Hearn Allen Dong Dr. Richard Simpson Norm Purdy & Richard Romm Timothy Swain Dee Poujade Sarah Goodlin Annette & James Sisk William Hetzelson & Robert Trotman Elizabeth Ramsey & Donald Ruff Katherine Heilman In memory of William Copenhaver The Standard Matti & Najla Totonchy James F. Grady William Siverly Bruce & Korin Henderson Lewis & Susan Van Winkle Diana Antoniskis & Mark Rarick Becky Dykstra Rose E. Tucker Charitable Trust Richard L. Watkins and Lester I. Lewis Jr. Adrienne Greaves & Ted Stanion Victoria Gunn & Paul Smoland Helen Herner Don Somppi & Jill Warren Georgeanne Reynolds Polly Grose Olivia Solomon In memory of Richard Dykstra John & Pat Zagelow Will Bloch & Dell Rhodes John & Lynda Hill Tina Gryc & Dick Helgeson James & Linda Sommers Marjorie Wazeka $2,500 to $4,999 CONTINUO CIRCLE Rhonda Rizzo Ann Holznagel Christina Gullion David Specht In memory of Charles McCarthy Kay & Roy Abramowitz Larry and Laurel Roberts Barbara Hopfinger Judith & Verle Bechtel $250 to $499 Judith Hadley & Allen Wheeland Edward & Joan Stark Gary & Gretchen Hull $500 to $999 Alysa Zalma, M.D. & Stephen Back, M.D. Joan Hunt Robinson Michelle Hayhurst Don Prather & Holly Stern Anonymous Greg Dermer & Linda Ernst Carol & Steven Sandor Kathleen Hussey In memory of Robert Metzler Anonymous James Baer & Cynthia Dellinger Barbara & Ron Higbee Mary Lou Stewart Hallie Hackenberger Dick Schouten Paul Irvin Angela Allen & Jan Van Santen Linda Besant & Martha Goetsch Fredericka & James Hoeveler Kevin Still Judith & Verle Bechtel Frances Hanckel & Anora Tracy James & Judy Seubert Sophia Jeng Phil Allen and Peny Van Adkoude Naomi & Phillip Beymer Gretchen Holden & Michael Ossar Frances Storrs In memory of Robert Metzler David Kerr Violin Shop James Simpson Sarah & Tony & Tony Johnson Kristin & Richard Angell Amanda Black Carol & Tom Hull Richard Sessions & Julia Surtshin Marlyn Lewis & Dennis Lundahl Robert Z. Smith Leatrice Kaplan Ruth Poindexter Jeffrey Breckel & Melody Teresli Margaret Branson James Jarzabek & Teresa Meyer Richard Swee Steve Lynch Richard Silverman & Phyllis Thompson Richard Katz In memory of Robert Metzler Neil Buist Kathleen Bristow Renee Ferrera & James Johnson Linda & Samuel Talluto Ken & Linda Mantel Richard Toscan & Sharon Walker D.W. Edward & Helen Kerner Chevron Corporation Carol & Charles Brunner Carol Joseph Fred & Jean Thompson Kathleen & Mark Powell Christopher & Michael Mele-Wagner Lyle Tucker Tammie Krisciunas Alison Baker & Roger Chickering Marianne Buchwalter Edward & Elaine Kemp Elizabeth Tierney In memory of Robert Metzler Moyle Family Charitable Trust Fred Dayton & Karen Vincent Thomas Kuntz & Cheri Stuller David & Susanne Christopher Diana Burman Barbara Kim Carol-Lee & Diane Tutch Carl & Ellen Nielsen Janet Warrington & Lawrence Woelfer Judy Kurisu Rhonda Rizzo Alice Bergman & Ralph Cohen Joan Burns & Thomas Seibert Susan Hale & Paul Klemme Edwin & Linda Van Dam Deborah & George Olsen Joella Werlin Miriam Levitt & Michael Sestric In memory of Robert Metzler Scott Combs Monika Butcher Karl Kosydar K.C. and Marilyn Van Natta Susan Matlack Jones & Associates LLC Polly Westover Lynelle Littke Richard & Victoria Corbett Doug Campbell Nancy LaPaglia & Stephen Slusarski George Vranas Marjorie Wazeka Melinda Wilde Caroline Litzenberger Dr. John K. Cox Mary Chalkiopoulos Jane & John Lebens Barbara & R. Bastian Wagner Dorothy Long In memory of Robert Metzler David & Helen Clement Bill Bagnall & Clayton Lloyd Kathleen Ward $1,685 to $2,499 Suzanne & Tim Cusick Sheila Mahan Barbara & Ed Slaughter Carole Alexander Matthew & Roberta Cohen $100 to $249 Barbara Loehr Marjorie Wazeka David Ellis Katherine Kuehn & Richard Mahon In memory of Michael Wells The Autzen Foundation Jane Cummins & Phil Fidler Jan & June Collins Anonymous (4) Henry Louderbough James Whiting Carl & Linda Marschall Marvin and Abby Dawson Stephen Adams & Robert Hodgson 16 17 Linda Fergusson-Kolmes Jeff Payne James Garrison Birgit Miranda In honor of Steven Kolmes Dave and Diane Perkinson Shana Garvey Marcia Mueller The Portland Clinic Carol Gonzalez Margaret Murer BOARD OF DIRECTORS Kathleen Bristow PosterGarden Jeff Hammarlund Coral Natta In honor of Patience Willner Regional Arts & Culture Council Virginia Hancock Sean Nolan Fred Cohen, Chair John K. Cox Ruth Poindexter Tim and Julia Shaughnessy Alice Hardesty Ann Pedersen In-Kind Contributors Susan Matlack Jones and Associates Tarky Hart Nancy Prouser Laura Cunningham, Secretary Aron Faegre Dan Rasay All Classical Public Media Trinity Episcopal Cathedral Clayton Hawkes Rick Prouser Susan Bach, Treasurer Diana Harris David Richardson Arts Consulting Group Byron Will Fran Head Anna Quinn-Smith Baker & Spice Carl Wolfson and Gary Thill Mary Beth Henry Bill Rector Alan Brickley Adam LaMotte, William F. Willingham Jan Betz and Jonathan Brown Randy Zasloff and Fred Cohen Annalisa Hiler Dave Ressler David Brook Orchestra Representative Bette Worcester B Gail Hillyer Emma Riggle Bond Organ Builders Christopher Mele-Wagner Box Office Tickets Inc. Leslie Houston Ruth Robinson Volunteers Don Isaacson Jane Robinson Alan Brickley, First American Title David Abbott David Brook and Susan Campbell Laila Isaacson Heather Rosenwinkel Liz Abbott Gloria Jacobs Diane Rowley Pamela Cogswell M.E. Andre PBO ADMINISTRATION Ralph Cohen and Alice Bergman Sophia Jeng Charles Rowley Malcolm Andrew Barbara Jeppesen Barbara Ruben John K. Cox Robin Bacon-Shone Laura and Tom Cunningham Lisa Keller Catherine Schiedler ARTISTIC DIRECTOR BOOKKEEPING SERVICES Sarah Bailey Jody Kellermann Barbara Schondelmayer David Kerr Violin Shop Katelyn Best Monica Huggett Susan Matlack Jones & Assoc. Mary Davis John Kellermann Charles Shaw Nicholas Bradish Nicole Kephart Jinny Shipman EXECUTIVE DIRECTOR ORCHESTRA LIBRARIANS David Dowler and Sarah Doll Carol Brooks Durham and Bates, Ingo Wittig Heidi Kohne Mimi Siekmann Abigail McKee Toma Iliev & Adaiha MacAdam-Somer Craig Busack Mary Lawrence Tricia Smith Linda Farris and Paul Wilson Bart Butell DIRECTOR OF OPERATIONS STAGE MANAGER Fogo de Chão K.C. Lewis Don Somppi Sue Butell Esther Lindbloom Marco Spritzer Andrea Hess First Baptist Church Gracie Campbell Robin Greenwood Laura Graser Linda Livermore Scott Stephens Marcia Carlson Peter Lynch Liann Strikler DIRECTOR OF PATRON LOYALTY ASSISTANT STAGE MANAGER Robert Hodgson and Stephen Adams Marilee Davies Rachael Smith Desera Frentress Monica Huggett Julia MacNeil Mike Strikler Abby Dawson Rico Mariano Dan Tracy Toma Iliev Marvin Dawson PATRON SERVICES & DONOR RELATIONS MANAGER USHER COORDINATOR David Kerr and Robert Abbott Cynthia Markum Ben Walker Susan Day Anne Mason Katie Walker Matt Eilar Ruth Fredine Adam LaMotte and Janet Coleman Doug Deaton John LaVeille Lisa Masterson Jill Warren Shireen Farrahi Connie McConnell Pat Willner Mark Spencer Hotel Larry Files Kenneth and Nancy Martin Sue McDowell Ingo Wittig PORTLAND BAROQUE ORCHESTRA Margaret Files Frank McGinness Sabina Wohlfeiler Ruth Medak Mollyanne Flemming 1020 SW Taylor Street, Suite 200, Portland, OR 97205 Phone (503) 222-6000 Fax (503) 226-6635 [email protected] www.pbo.org Robert and Violet Metzler Christie McSpadden Tim Yowell Mary Forst Maryanna Meikrantz Martin C. Müller Gerald Fox Nel Centro Celia Meiners-Wilson Ruth Fredine Michael Meo Elizabeth O’Neill Nicholas Garcia

Portland Baroque Orchestra programs are supported by the Oregon Arts Commission, a state agency funded by the state of Oregon, and the National Endowment for the Arts. PBO is also funded in part by the Regional Arts & Culture Council, including support from the City of Portland and Multnomah County and Work for Art, including contributions from more than 75 companies and 2000 employees in the region. The Mark Spencer Hotel is the official sponsor hotel of Portland Baroque Orchestra.

Trinity Music & Portland Baroque Orchestra J.S. BACH: CHRISTMAS ORATORIO Cantatas 1-3: Friday, December 14 – 7:00 pm Cantatas 4-6: Saturday, December 15 – 7:00 pm

Guest Conductor MATTHEW DIRST, Artistic Director of Ars Lyrica Houston Cathedral Choir of Girls, Boys and Adults Arwen Myers, soprano | Aryeh Nussbaum-Cohen, countertenor | Nils Neubert, tenor | Brian Chu, bass Tickets available now at www.trinity-episcopal.org/events

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because we know that when you work together as a team, you can create beautiful results.

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We believe in the power of music. The Standard is an insurance and financial services company founded in Portland, Oregon, in 1906. We provide the products and services more than 6 million people rely on to achieve financial well-being and peace of mind. We’re in the business of caring about people, and that guides our efforts to strengthen the communities where we live and work. From thousands of volunteer hours to millions of dollars donated to schools and nonprofits each year, we find ways to give back. That’s why we’re especially proud to support Portland Baroque Orchestra.

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