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Home , Alcina, Alessandro (opera), Anna Maria Strada, Antonio Salvi, Ariodante, Christiane Karg

Handel’s

George Frideric Handel /

The English Concert / Conductor and

Joyce DiDonato / Mezzo- (Ariodante) Christiane Karg / Soprano (Ginevra) Joélle Harvey / Soprano (Dalinda) / (Polinesso) Portillo / (Lucanio) Matthew Brook / (King of Scotland) Tyson Miller / Tenor (Odoardo)

Tuesday Evening, April 25, 2017 at 7:30 Hill Auditorium Ann Arbor

61st Performance of the 138th Annual Season 138th Annual Choral Union Series Tonight’s supporting sponsors are Mr. and Mrs. Donald L. Morelock. Media partnership provided by WGTE 91.3 FM and WRCJ 90.9 FM. Special thanks to Tom Thompson of Tom Thompson Flowers, Ann Arbor, for his generous contribution of lobby floral art for this evening’s concert. The edition of Ariodante used in these performances is published by Bärenreiter-Verlag, Kassel, edited by Donald Burrows. Performed by arrangement with Faber Ltd. . The English translation of the is used with permission by Kenneth Chalmers, courtesy of the . In consideration of the artists and the audience, please refrain from the use of electronic devices during the performance. The photography, sound recording, or videotaping of this performance is prohibited. PROGRAM

George Frideric Handel Ariodante

Act I

Intermission

Act II

Intermission

Act III

This evening’s performance is approximately three and a half hours in duration including two intermissions. Each act is approximately one hour in duration.

3 ARIODANTE (1735)

George Frideric Handel Born February 23, 1685 in , Died April 14, 1759 in London

UMS premiere: This has never been performed under UMS auspices.

Snapshots of History…In 1735: · The King’s Highway (from Charleston to Boston) is completed · The first successful appendectomy is performed in London · The New York Weekly Journal writer John Peter Zenger is acquitted of seditious libel against the royal governor of New York, on the basis that what he published was true

Italian opera in the first half of the 18th have seen this opera while he was century had conquered all the major in as a young man. Salvi’s work musical centers of Europe. It became was in turn based on an episode from an international genre — and George Lodovico Ariosto’s 16th-century epic Frederic Handel, German-born, Italian- furioso (canto 5). According trained, and English by adoption, to the story, Ginevra, the daughter of found in it both his livelihood and a the King of Scotland, is about to marry most productive outlet for his genius. her fiancé Ariodante, who is the heir Between 1710 and 1740, Handel to the throne. Their union, however, composed more than 30 Italian is threatened by the intrigues of the for London stages. villainous Polinesso, Duke of Albany. Ariodante dates from Handel’s last Polinesso manages to create the false years of operatic activity. It was first impression that Ginevra has been performed on January 8, 1735, with the unfaithful to Ariodante. She comes celebrated within a hair’s breadth of being put to in the title role. , death for a sin she never committed; whom Handel had discovered on a Ariodante is driven to despair by talent-hunting expedition to Italy and the accusations to which he gives trained to become one of his stars, was credence. In addition, due to another Ginevra. The rest of the singers were tragic misunderstading, he is also English (a novelty for Handel), including believed to have died. In the end, the virtuoso bass Gustavus Waltz in Polinesso’s ploy is exposed, and the the role of the King of Scotland. Waltz lovers are reunited. The wedding may inspired Handel to write a particularly proceed, and the kingdom of Scotland demanding bass role, which was a great is saved. rarity at the time. This crude outline, however, says The libretto, by , had little about the essence of the opera. already been set to music by Giacomo The relatively simple plot allowed Perti (, 1708). Handel may Handel to portray a very wide range

4 of emotions and states of mind, from why the score contains such a large ecstatic joy to deepest despondency, number of French dances, and in jealousy, rage, treachery, and more. particular, a dream sequence at the Because serious opera end of Act II, with the appearance of — — tends to reduce “good” and “bad” dreams — exactly stage situations to a few basic as in Lully’s Atys (1676). To Lully’s types of scenarios, emotions may be sequence, Handel added a section presented in their purest state, with for songes agréables effrayés (the a clarity that is made even greater pleasant dreams frightened by the by the structural constraints of the dark ones), writing the words in genre. An opera seria essentially French. First composed for Ariodante, consists of a succession of this scene was not included in the and . The plot moves forward in first performance and transferred to the secco (dry) recitatives, which are Handel’s next opera, , instead. accompanied only by a harpsichord Recent performances of Ariodante, and a string bass. Exceptional however, tend to restore the ballet to situations will warrant a recitativo its original place. accompagnato, in which the also participates. The arias that follow the recitatives offer reflections on what has just transpired. Each is like a psychological snapshot conveying how a person feels at a given moment. Practically all the arias are in da capo form, which means that the main section (A) is followed by a contrasting middle section (B), after which A is repeated in full, with (unnotated) embellishments and other changes in the vocal line, added by the singer. Commentators have often noted that Ariodante stands apart from Handel’s operas in many ways. They have pointed to the relatively important part played by the chorus and the ballet. Ariodante was Handel’s first opera to be performed at the recently opened Theatre; the new venue made it possible for Handel to collaborate with the famous French dancer Marie Sallé (the first-ever female choreographer of note), who worked in for most of the . This is probably

5 SYNOPSIS

ACT I The scene moves to a valle deliziosa Ginevra, the daughter of the King of (lovely valley) where Ariodante and Scotland, rejoices at her impending Ginevra continue to celebrate in a wedding to Prince Ariodante and setting. Their second duet, in angrily rejects the advances of the rhythm of a French dance, Polinesso, the Duke of Albany. is amplified by the chorus. In lieu of a Ginevra’s friend Dalinda, for her part, “B” section, we hear a four-movement is in love with Polinesso, unaware of ballet, after which the duet and chorus his evil intentions. are repeated. Ariodante, enjoying the beauties of the royal gardens, reflects on ACT II his happiness. He is soon joined by Moonlit night. Polinesso tells Ariodante Ginevra in a duet — one of only a that Ginevra has bestowed upon him handful in the opera. The King arrives (Polinesso) her favors, and he is ready to bless his daughter’s marriage to to prove it, too. Both Ariodante and this excellent young man to whom his brother Lurcanio fall for this lie. In he is ready to bequeath his throne. his next aria, Ariodante threatens to In a rather unusual move, the King’s kill Polinesso if his accusation proves interrupts the lovers’ duet, to be untrue, but in an unusually long not allowing it to conclude with a and unusually slow “B” section, he typical . Each of the three anticipates the despair he will feel if characters then sings a celebratory the opposite turns out to be the case. aria, each ornamented with lavish He then goes into hiding to watch what , to express their joyful is about to transpire. anticipation of a grand wedding. Having been let into the palace by Enter Polinesso and Dalinda. Taking the all-too-gullible Dalinda, Polinesso advantage of the young girl’s devotion addresses her as “Ginevra.” Fooled by and naïveté, the villain enlists her in the appearances, Ariodante is ready to his diabolical plan: he asks her to put stab himself to death but his brother on Ginevra’s clothes after the princess Lurcanio holds him back, urging him has gone to bed, and let him into the to live and punish the breach of honor. palace. He wants Ariodante to see The title character now sings his him with someone who will look like greatest aria, “Scherza infida” (Just Ginevra from a distance, thus arousing frolic, faithless one), a long, heart- his rival’s jealousy and dragging wrenching that is one of the the Princess who has rejected him opera’s high points. through the mud. The starry-eyed Polinesso promises Dalinda that Dalinda agrees to everything. he is going to love her for the service Enter Lurcanio, Ariodante’s brother. she has rendered him. The poor He declares his love for Dalinda who, girl rejoices; yet the villain, once however, rejects him as she is under left alone, shows the audience his Polinesso’s spell. true colors, declaring eternal war on honesty and virtue.

6 The King receives the news from The King has decided that the only his servant Odoardo that Ariodante way to prove his daughter’s chastity has died, allegedly having drowned is to have a trial by ordeal, that is, himself in the sea. He sings a moving have two knights fight a duel, one lament for the young man he loved representing Ginevra and the other like a son; the lilting rhythm of the her accusers. The winner’s side of the siciliano, combined with the dark key story will be believed. Polinesso (in of f minor, gives his words a particularly what is really the height of hypocrisy) poignant character. Ginevra enters, presents himself to fight on Ginevra’s unaware of the news but full of behalf. The princess protests her forebodings. In his comprehensive innocence in a stunning short aria book on Handel’s operas, Winton where her voice, doubled only by Dean writes: “The hesitant rhythms, , enters without any harmonic contrasted with the heavily stressed support; the accompanying harmony third bar, communicate both anxiety begins on a completely unexpected and puzzlement.” Upon receiving chord. Ginevra resolutely rejects the news of Ariodante’s death, she Polinesso as her champion, but the faints. As the servants carry her out, King insists on going ahead with the Lurcanio appears and claims that it duel. He is heartbroken as he has to was Ginevra’s infidelity that has driven send his daughter to her death; but he his brother to his death. Ginevra is has no choice since he still believes confronted with the charges in the first her to be guilty and he must obey the recitativo accompagnato in the opera. law. Ginevra’s next aria, in which she She pours out her despair in a tragic accepts the sentence, dispenses with aria. When she finally falls asleep, her the typical da capo form, as it consists dreams and nightmares are manifested merely of a short introduction, a fiery by the above-mentioned ballet allegro, and an orchestral postlude. sequence that closes the act. Lurcanio now appears to fight Polinesso in the trial by ordeal and ACT III kills the villain. Then Ariodante enters Meanwhile Ariodante, who has not in full armor, with the visor closed died but has been wandering aimlessly, so that no one can see his face at comes upon Dalinda who has been first. When he opens his visor, there attacked by a gang of robbers. is general consternation at seeing He saves her life. In their ensuing him alive. Ariodante tells everyone conversation, Dalinda is shocked to how Dalinda was manipulated into learn about the charges against her committing this fraud, but she is best friend; only now does she begin forgiven because she never meant to understand her own unwitting role in any harm. In an exuberant aria, more the intrigue. Ariodante, unsettled by so richly ornamented than any other much deceit, hurries off to clear up the we have heard before, Ariodante situation, while Dalinda, who now sees rejoices at seeing all obstacles to his everything clearly, vows to turn against happiness removed. Dalinda, whose the villain she has loved so blindly. eyes are now open, finally accepts Lurcanio’s love.

7 Ginevra has resigned herself to being executed when her final, sad arioso is interrupted, after only five measures, by a brilliant orchestral fanfare. The King arrives, delivering the final acquittal. In a splendid final duet, Ariodante and Ginevra confirm their love for each other, and the opera concludes with a sumptuous chorus and ballet, celebrating the long-delayed royal nuptials.

Program notes by Peter Laki.

8 ARTISTS

With an unsurpassed reputation for Vic through director Tom Morris’s dramatic inspiring performances of baroque and vision whilst the musical treasures of , ranks Jewish communities are put on show at among the finest chamber in the next summer. The new the world. Such standing is the result of season is also profoundly influenced by tireless work at home, on the road, and literature as The English Concert celebrates in the studio since 1973, guided along the 400th anniversary of the deaths of both the way by founder , his William Shakespeare and Miguel Cervantes. successor , and current The adventures of the misguided hero Don artistic director Harry Bicket. The Quixote are recounted through the music ensemble’s award-winning discography of of Purcell and Telemann, while musical over 100 recordings features masterworks representations of the Bard’s A Midsummer from Bach to Purcell and Handel to Mozart, Night’s Dream and set sail on a as well as some of the most renowned tour to the Far East. Completing the round- artists in recent history. ’s the-world trip, The English Concert’s series debut solo recital Il Caro Sassone, Alison of Handel operas-in-concert, commissioned Balsom’s Sound the Trumpet, and Elizabeth by New York’s , continues to Watts’ recent exploration of virtuosic arias flourish after the success ofRadamisto by Scarlatti are but the latest of in 2013, and Alcina in 2014, and The English Concert’s endeavors. in 2015 and 2016. The present The ensemble also enjoys working with season sees the much-anticipated return several distinguished guest directors, of the ever-effervescent Joyce DiDonato in including Laurence the title role of Ariodante alongside an all- Cummings, , and star cast. fortepianist Kristian Bezuidenhout. This season, violinist returns Internationally renowned as an opera with a typically flamboyant program and concert conductor of distinction, centered on the family affair of J.S. Bach, Harry Bicket (conductor and harpsichord) C.P.E. Bach, and his godfather Telemann. is especially noted for his interpretation Groundbreaking collaborations in of baroque and classical repertoire and musical theater and opera are also at in 2007 became artistic director of The the forefront of The English Concert’s English Concert, one of the UK’s finest thinking and form part of its longstanding period orchestras. He became chief relationships with exceptional artists and conductor of in 2013 and venues. From the Buxton Festival or the opened the 2014 season with a critically Elizabethan settings of Shakespeare’s acclaimed Fidelio. Born in Liverpool, he Globe, and the Sam Wanamaker Playhouse studied at the and to challenging perceptions of gender University and is an accomplished through the music of Handel, they . fearlessly step outside of the traditional Plans for the 2016–17 season include his concert hall to reach new audiences. This firstCarmen with season sees Handel’s much-loved and Alcina with Santa Fe Opera. Symphonic brought to life on stage at the Bristol Old work includes visits to Cleveland Orchestra

9 including Rameau’s Suite from Les of Fame, and “Best Female Singer of the Boréades, and a visit to the Cincinnati May Year” at the 2016 Spanish Opera Awards Festival with Bach’s . Plans Premios Líricos Teatro Campoamor. with The English Concert include UK and Highlights of Ms. DiDonato’s 2016–17 international touring within Europe, the season include her debut in the title role US (Handel’s Ariodante featuring Joyce of at the DiDonato, including Carnegie Hall), and the under ; Dido () Far East (Shanghai, Beijing, Wuhan, and under John Nelsons in Strasbourg; Sesto Hong Kong). () under Yannick Nézet- Highlights of recent seasons include Séguin in Baden-Baden; concerts with acclaimed productions in the US and the Chicago Symphony Orchestra under Canada for (Le and the Philharmonic Nozze di Figaro, Rusalka), Canadian Opera under Nézet-Séguin; and a 20-city Company (Maometto, Hercules), international tour alongside the release of Opera (Orfeo), Santa Fe Opera (Fidelio, her latest recording released this season Finta) (, entitled In War & Peace, a project which Clemenza, Cesare), Chicago Lyric Opera poses the question: “In the midst of chaos, (), and guest with how do you find peace?” , Los Angeles Chamber Orchestra, Born in Feuchtwangen, Bavaria, Christiane Symphony, Detroit Symphony, Houston Karg (soprano/Ginevra) studied singing at Symphony, , St. Paul the Salzburg Mozarteum and at the Music Chamber Orchestra, NACO , Conservatory in Verona. She was a member Indianapolis Symphony, of the International Opera Studio at the Orchestra, Boston Symphony Orchestra, and State Opera before joining the Messiah with the . ensemble of the Frankfurt Opera in 2008 where her roles include , Musetta, Multi-Grammy Award-winner of the 2016 Pamina, Servilia, Zdenka (), Adèle “Best Classical Solo Vocal Album” (Joyce (), the title role of , and Tony: Live at Wigmore Hall) and the Sophie (), and Melisande 2012 “Best Classical Vocal Solo,” Kansas- (Pelleas et Melisande). born Joyce DiDonato (mezzo-soprano/ In 2006 she made an auspicious debut Ariodante) entrances audiences and at the and has returned critics across the globe in operas by to sing Amor (Orfeo ed Euridice) with Rossini, Handel, and Mozart, and as a fierce Riccardo Muti and Zerlina () advocate for the arts. with Yannick Nézet-Séguin. She is a Ms. DiDonato’s acclaimed discography regular guest at the also includes the Grammy Award-winning where she has sung Ismene (Mitridate), Diva Divo, Drama Queens, ReJoyce!, and Telaire (Castor and Pollux), and Hero Stella di Napoli (Erato/). (Béatrice et Bénédict). At the Bayerische Other honors include the Gramophone Staatsoper she has sung Ighino “Artist of the Year” and “Recital of the (Palestrina); Musetta (La Bohème) and Year” Awards, three German Norina () at the Komische Awards for “Female Singer of the Year,” Oper Berlin; and Anne Trulove (The Rake’s an induction into the Gramophone Hall Progress) at the Opera de Lille. In 2015 she

10 made her house debut at Das klagende Lied, and joins the London House, Covent Garden singing Pamina Symphony Orchestra and (The Magic ) and in 2016 made her for ’ El Niño. She also appears house debut at the Teatro alla Scala, , in concert with the LA Chamber Orchestra singing Sophie (Der Rosenkavalier) and and the North Carolina Symphony. her US operatic debut singing Susanna Ms. Harvey received her bachelor’s and (Marriage of Figaro) at the Lyric Opera, master’s degrees in vocal performance Chicago. In concert she has worked with from the College-Conservatory of Music in conductors such as , Cincinnati, where she performed the roles Daniel Harding, Yannick Nézet-Séguin, of Amor in Cavalli’s L’Egisto, Emmie and , and . Flora in Britten’s Albert Herring and The Turn of the Screw, Poppea in L’Incoronazione di A native of Bolivar, New York, Joélle Harvey Poppea, Sophie in Massenet’s , and (soprano/Dalinda) has quickly established Nannetta in Falstaff. herself as a noted interpreter of a broad range of repertoire, specializing in Sonia Prina (contralto/Polinesso) is Handel, Mozart, and new music. She is the recognized worldwide as one of the recipient of a 2011 First Prize Award from leading of her generation. the Gerda Lissner Foundation, a 2009 Sara Highlights of her career include the title Tucker Study Grant from the Richard Tucker role of Handel’s Rinaldo at Teatro alla Foundation, and a 2010 Encouragement Scala, Zurich Opera, and the Glyndebourne Award (in honor of Newton) from Festival; the title role in Mozart’s Ascanio the George London Foundation. in Alba at the Salzburg Festival; Clarice During the summer of 2016, Joélle in Rossini’s La Pietra di Paragone at Harvey returned to the Cleveland Orchestra Théâtre du Châtelet in ; the title role for a program of Bach and Handel, of Handel’s Orlando at the Sydney Opera conducted by Bernard Labadie. The current House; and the title role of at season also includes appearances with the Munich Staatsoper. the Milwaukee Symphony under Edo de Alongside her usual baroque repertoire, Waart as Susanna in Le nozze di Figaro, she will soon perform the great contralto the Los Angeles Philharmonic under John roles of the and romantic Adams as Pat Nixon in Nixon in China, The repertoire including Quickly in Falstaff in English Concert under Harry Bicket as Parma and with , Dalinda in Ariodante, and a return to the Federica in at the , and Glyndebourne Festival Opera as Servilia in Beethoven’s Ninth Symphony at the Royal La clemenza di Tito, conducted by music Albert Hall for the BBC Proms. Particularly director Robin Ticciati. In concert, she fond of Handel work, she has performed appears with the Mostly Mozart Festival the title roles of Giulio Cesare and Orlando for Mozart’s Mass in c minor and , in Paris; Amadigi in ; Rinaldo in which she also sings for the Kansas Zurich, , and Glyndebourne; in City Symphony and the Utah Symphony. ; Tamerlano in Munich; Bertarido in Additionally, she sings Handel’s Messiah Rodelinda in London and ; Goffredo with the Handel & Haydn Society and in Rinaldo at the Lyric Opera of Chicago; the National Symphony, appears with the and Amastre in in San Francisco and for Mahler’s Houston. The Glossa label will soon release

11 three new albums: Handel’s Catone (title Andres in Wozzeck in a new production role), Handel’s Silla (title role), and a new by Sir David McVicar, conducted by Sir solo album with several of Gluck’s world- , and to Palm Beach Opera in premiere recordings. a role debut as Ernesto in Don Pasquale. European engagements included his Praised by for “high notes with debut at the Théâtre des Champs- ease, singing with a luxuriant warm glow Élysées as Pedrillo, and the tenor soloist that seduced the ear as he bounded about in Schumann’s Das Paradies und die Peri the stage with abandon,” David Portillo with the Netherlands Radio Orchestra. Mr. (tenor/Luciano) has established himself as Portillo concluded the season with a return one of the leading artists of his generation. to the Glyndebourne Festival as David In the 2016–17 season, Mr. Portillo will in Sir David McVicar’s production of Die make his Australian debut singing Ferrando Meistersinger von Nürnberg. in Così fan tutte with , in a new production by Sir David McVicar, Matthew Brook (bass/King of Scotland) has conducted by Jonathan Darlington. appeared as a soloist throughout Europe, Other roles include a return to the Australia, North and South America, and the Metropolitan Opera as Jacquino in Fidelio Far East, and has worked extensively with conducted by , Tamino conductors such as Sir , in Die Zauberflöte for his debut with Oper , Sir , Frankfurt, Pedrillo in Die Entführung aus , , dem Serail for a debut with Dutch National Paul McCreesh, and Sir Mark Elder; and Opera, Don Ramiro in with many orchestras and groups including San Diego Opera, and Dr. Richardson the Philharmonia, London Symphony, in the world-premiere performances of the St. Petersburg Philharmonic, the Breaking the Waves at Opera Philadelphia, Royal Philharmonic Orchestra, Freiburg composed by Missy Mazzoli with libretto , Orchestra of the Age by Royce Vavrek, based on the film of Lars of Enlightenment, the English Baroque von Trier. Concert performances include Soloists, the Gabrieli Consort & Players, an international tour of Handel’s Ariodante , the Royal Northern , in the role of Lurcanio, conducted by Harry Orchestre National de Lille, Orchestre de Bicket. Tour stops include Carnegie Hall, Chambre de Paris, Orchestre des Champs- Theater an der Wien, Théâtre des Champs- Élysées, the Hallé Orchestra, the Melbourne Élysées, The Barbican, Elbphilharmonie Symphony Orchestra, the Tonhalle- in Hamburg, Kansas City, Chapel Hill, and Orchester Zurich, , Ann Arbor. Mr. Portillo will also perform and the . selected classical works with organ with Recent and future highlights include the Madison Symphony. Zoroastro in Orlando with The English In the 2015–16 season, Mr. Portillo made Concert, Fauré’s Requiem with the his Metropolitan Opera debut as Count Orchestre de Chambre de Paris, Tippett’s A Almaviva in Il barbiere di Siviglia opposite Child of Our Time with the Hallé Orchestra, Isabel Leonard. Of the performance, the Handel’s Messiah with the Danish National New York Times said that he “displayed Symphony Orchestra and with the Los a warm, nuanced tone.” Mr. Portillo also Angeles Philharmonic, the King of Scotland returned to Lyric Opera of Chicago as in Ariodante with the Staatstheater

12 Stuttgart, Bach’s Lutheran Masses with the , and performances of Bach’s Mass in b minor and with the Cincinnati Symphony Orchestra.

Praised by Opera News for his “enormous charm and ringing tenor,” Tyson Miller (tenor/Odoardo) was recently with the Santa Fe Opera for productions of La fille du régiment, , La fanciulla del West, and Capriccio. Additional recent engagements include his El Paso Opera debut as Remendado in Bizet’s , preceded by a return to Utah Opera as Raoul de St. Brioche in The Merry Widow, and Acis in Handel’s with Opera Piccola of San Antonio. Other recent operatic highlights include Gastone in La Traviata, the voice of the prince of Persia in Turandot, Pedrillo in Die Entführung aus dem Serail, the Registrar in Madame Butterfly, and Sellem in The Rake’s Progress with Utah Opera. Mr. Miller made his Utah Symphony debut as the tenor soloist in Handel’s Messiah, followed by a return engagement for the same piece during the 2014–15 season. Additional debut performances have included Dorvil in La scala di seta and Florville in Il signor Bruschino with Lone Star Lyric Opera. A native of Belton, Texas, Mr. Miller received a BM in vocal performance from Baylor University, and holds a MM in vocal performance from Rice University.

13 UMS ARCHIVES

This evening’s performance marks The English Concert’s fourth appearance under UMS auspices following its UMS debut in January 1986 in Rackham Auditorium with Trevor Pinnock serving as a conductor and harpsichordist. Harry Bicket and Joélle Harvey make their second UMS appearances this evening following their UMS debuts in February 2013 at Hill Auditorium in a concert performance of Handel’s with The English Concert. UMS welcomes Joyce DiDonato, Christiane Karg, Sonia Prina, David Portillo, Matthew Brook, and Tyson Miller, who make their UMS debuts this evening.

14 THE ENGLISH CONCERT

Harry Bicket / Director and Harpsichord

Violin I Nadja Zwiener, Leader Alice Evans George Clifford Thérèse Timoney Persephone Gibbs

Violin II Tuomo Suni Kinga Ujszászi Diana Lee Jacek Kurzydło

Viola Alfonso Leal del Ojo Wilson

Cello Crouch Jonathan Byers Gavin Kibble

Double Bass Philippa Macmillan

Lute William Carter

Oboe Hannah McLaughlin (and recorder) Sarah Humphrys (and recorder)

Bassoon Alberto Grazzi

Horn Ursula Paludan Monberg Martin Lawrence

Staff Gijs Elsen / Chief Executive Sarah Fenn / Orchestra Manager Nick Hardisty / Production Coordinator Rebecca Kite / Digital Marketing Gill Rees / Accountant Nicky Thomas Media / PR Consultants

15 TONIGHT’S VICTORS FOR UMS:

Mr. and Mrs. Donald L. Morelock

Supporters of this evening’s performance of Handel’s Ariodante.

The UMS 2017-18 Season is announced!

Please visit ums.org to learn more.