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Handels Theodora Programme for Web New.Indd G.F. Handel’s Theodora a northwest baroque masterworks project Saturday, 14 February, 2015 Chan Centre for the Performing Arts with the generous support of the the artists programme Alexander Weimann George Frideric Handel music director & harpsichord (1685-1759) vocal soloists: Nathalie Paulin soprano Theodora (1750) Krisztina Szabó mezzo-soprano – AN ORATORIO – Lawrence Zazzo Words by Thomas Morell countertenor Zachary Wilder DRAMATIS PERSONAE tenor Matthew Brook Theodora bass-baritone a Christian of noble birth Nathalie Paulin (soprano) Pacifi c Baroque Orchestra Didymus a Roman Offi cer, converted and in love with Theodora Vancouver Cantata Singers Lawrence Zazzo (Choir prepared by Paula Kremer) (alto) Septimius his friend Zachary Wilder (tenor) Valens This project was made possible in part President of Antioch through the generous support of Matthew Brook (bass) Irene a Christian Krisztina Szabó (mezzo-soprano) Chorus of Christians Chorus of Heathens THE UNAUTHORISED USE OF ANY VIDEO OR AUDIO RECORDING DEVICE IS STRICTLY PROHIBITED 2 | Early Music Vancouver Chan Centre Concert Series 2014-15 [email protected] the musicians Alexander Weimann music director, harpsichord & organ vancouver cantata singers (Choir prepared by Paula Kremer) soprano alto tenor bass Anne Bonnycastle Melanie Adams Dean Edmundson Peter Alexander Rachel Brown Maureen Bennington Kris Fulton Andy Booth Missy Clarkson Brittany Bird Trevor Mangion Derrick Christian Laurie Edmundson Ann Chen Gower Roberts Doug Colpitts Sarah McGrath Tiffany Chen Clinton Stoffberg Chris Doughty Wendy McMillan Liz Hamel Troy Topnik Matthew Fisher Benila Ninan Beth Helsley Jamie Turner Jacob Gramit Madeline Lucy Smith Sarah McNair Orrin Doyle Gerald Harder Joshua Haberman J. Evan Kreider Bernard Lambrechts (Rehearsal accompanist: Christina Hutton) pacific baroque orchestra violin i Chloe Meyers (concertmaster) – unknown builder (Italy, c. 1760) Christi Meyers – Ekhard Seidl (1998), after Giuseppe Guarneri Tekla Cunnigham – Sanctus Seraphin (Venice, 1746) Angela Malmberg – Jason Viseltear & John Young (New York City, 2004), after Pietro Guarneri (Mantua, 1701) Arthur Neele – Hendrick Jacobs and his stepson Pieter Rombouts (Amsterdam, c. 1700) violin ii Linda Melsted – Nicolò Amati (Cremona, 1670) Paul Luchkow – Christopher Dungey (Eugene OR, 1986), after Jacob Stainer Christine Wilkinson Beckman – Jason Viseltear (New York City, 2011) after instruments by Giuseppe Testore Brandon Vance – Jan Pawlikowski (Krakow, Poland, 2007) after Marcin Groblicz I. viola Mieka Michaux – William Forster (English, 18th C.) Glenys Webster – John Newton (Toronto, 1991) Joanna Hood – Edmond Aireton (London, c. 1754) violoncello David Morris - Bohemian, maker unknown (c. 1810) Nathan Whittaker – Gustav Griener (Breitonfeld, Germany, 1875) violone Natalie Mackie – Dominic Zuchowicz (1991), after Gasparo da Salò double bass Curtis Daily – from the atelier of Ignazio Ongaro (Venice, c.1770) oboe Curtis Foster – Sand Dalton (Lopez Island, WA, 2004) after J.H. Eichentopf (Leipzig, c. 1720) Kristen Olson – Joel Robinson (Wilsonville OR, 2011) after Saxon-style oboes, c. 1720 bassoon Katrina Russell – Olivier Cottet (1986) after Eichentopf (Leipzig, early 18th C.) trumpet Kris Kwapis – Frank Tomes (London, 2002), after Johann Leonhard Ehe III (Nuremberg, Germany, 1746) Bruno Lourensetto – Rainer Egger (Basel, 2012) after Johann Wilhelm Hass (Nuremberg, Germany, 1746) natural horn Andrew Clark – Andreas Jungwirth (Vienna, 1996), after Leichnambschneider (Vienna, c. 1720) Steve Denroche – Syhre Parforce (Germany, 2010) after Leichambschneider (Vienna, 18th C.) flute Soile Stratkauskas – Martin Wenner (Singen, Germany, 2004) after Carlo Palanca (Torino, c. 1750) organ Michael Jarvis – baroque-style chamber & continuo organ by Helmuth Wolff (Laval, QC, 1995), from the instrument collection of Early Music Vancouver lute Konstantin Bozhinov – 14-course archlute by Jason Petty (Wellington, NZ, 2011) after Matteo Sellas (Venice, 17th C.) timpani Mark Goodenberger – baroque-style 18th-century"Pauken" in the Viennese tradition by Peter Kogan (Minnesota, 2012), Mark Goodenberger – from the instrument collection of Early Music Vancouver earlymusic.bc.ca Early Music Vancouver Chan Centre Concert Series 2014-15 | 3 programme notes By 1749, George Frideric Handel Love and Religion Demonstrated in (Georg Friedrich Händel) was still the Martyrdom of Theodora, and revered as England’s foremost of Didymus (London: John Taylor, composer, though keeping ahead of 1703), written by the Irish physicist the ever-changing whims of London’s and chemist, Robert Boyle (1627-91, notoriously fickle audiences was an best known for “Boyle’s Law”). ongoing challenge. The 65-year-old’s Settling on the more manageable title obligations for the coming season Theodora, Morell created a libretto were daunting. He was to provide which he felt would both stimulate Fireworks Music in celebration of Handel’s creativity and appeal to the recent Treaty of Aix-la-Chapelle, English audiences. Rather than inspect and inaugurate the new another story from Hebrew scripture pipe organ he was donating to the (Deborah, Saul, Israel in Egypt, Foundling Hospital (his favourite Joseph and his Brethren, Joshua, charity), write several more organ Solomon) or the Apocrypha (Judas concerti, and contract soloists Maccabaeus), Morell turned to this and instrumentalists for multiple legendary story of two martyred performances of several earlier saints set in the societal and political oratorios. Finding time to write even struggles between the established a single new oratorio for the coming Roman state religion and the new Lenten Season would be difficult. faith becoming known as Only 38 years earlier, this young German’s Italian opera Christianity. This offshoot of Judaism was increasingly Rinaldo had been so successful that the king and others attracting slaves and women – the marginalized who had persuaded Handel to move to London. But by 1741 and 37 little to lose by exploring the ideals of equality and economic operas later, ticket receipts were no longer covering costs. charity advocated by Jesus and St Paul. By the third century, The Londoners’ former thirst for Italian opera had been Christianity was beginning to infiltrate certain isolated well-quenched. Fortunately, the enterprising Handel had circles of Roman noble women, occasionally an entire Roman already begun offering entertaining oratorios in English in household, and even individual Roman soldiers secretly 1732 for the austere weeks of Lent, when society’s upper converted. The oratorio’s opening pages reveal the growing classes felt obliged to submit to ecclesiastical admonitions opposition to the old religious thinking. Constantine’s Edict to forego secular theatrical performances during the season of Milan would decriminalize Christianity in 313, but our of repentance. Handel realized how readily texts extolling story takes place 302-305, in Antioch during the reign of heroic biblical figures could supplant those about ancient Diocletian. deities and Roman politicians. Omitting stage sets and Morell saw how a story focusing on two individuals in this staging helped to quiet uneasy consciences even further, environment could give expression to profound conflicts of and yet the oratorio libretti, operatic soloists, choir and loyalties between friends, the struggle between the status orchestra could remain as dramatic as in any opera. Being quo and new ideas, and the inner anguish over whether to sung in English also worked, as Handel learned when he remain a secret Christian, recant Christianity or die for your presented Esther in London (1732, libretto by Alexander faith. Add to this the tension between physical and platonic Pope – not to be confused with Pope Alexander). By the love, and Theodora’s inner struggle (as a Christian virgin of 1740s, Handel was managing to write one, and sometimes noble birth) between the expediency of escaping a sentence two new oratorios for the coming Lenten season’s concerts. of enforced prostitution (occasionally associated with Yes, his audiences still adored Messiah year after year, but certain religious festivals) and the agony of renouncing her they wanted other oratorios as well – annually. faith – there is more than enough dramatic fodder for each Thus it was that in 1749, when Handel turned his attention aria and recitative. In all this turmoil, Morell found ways to to the coming 1750 Lenten season, he quite naturally asked insert subtle pleas for freedom of thought and even religious his latest favourite librettist, the Rev. Thomas Morell (1703- freedom, topics of contemporary interest as Methodism 84) to create something special. Morell had been reading gained adherents at the expense of the established national 4 | Early Music Vancouver Chan Centre Concert Series 2014-15 [email protected] church in the midst of an increasingly secular society. Whatever its merits, this story about two Roman Christian theodora martyrs was far removed from the previous year’s oratorios featuring the magnificent pageantry of Solomon or the charming rural comedy of Susanna. Handel considered the libretto for Theodora to be the best ACT ONE and most stimulating he had ever encountered. Indeed, the role of Theodora is generally considered his best for soprano. Overture Successful oratorios, like all theatrical works set to music, require emotive texts which encourage the composer to SCENE 1 create music supporting each distinct emotion through the Valens,
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