Orfeo ed Euridice by Christoph Willibald Gluck elcome to the Memorial Church at Harvard University, and to this afternoon’s con- cert performance of Christoph Willibald Gluck’s 1762 opera Orfeo ed Euridice, giv- Wen in celebration of the composer’s three-hundredth anniversary year. This seminal work features an abundance of lyrical solo writing, inventive orchestration, and dramatic choruses, and was to prove highly influential on generations of operatic composers, including Wolfgang ­Amadeus Mozart. It has been a true pleasure to explore this fascinating work with such wonderful soloists, the fine players of the period ensemble Grand Harmonie, and the excellent students of the Harvard University Choir.

It continues to be my very great privilege to serve in this church, and to lead a choir of students whose love of singing brings so much joy to the community. Our work would not be possible with- out the support of so many benefactors, and I would like to thank all of our patrons for their ongo- ing generosity. This is indeed an exciting time for music and ministry in the Memorial Church and I encourage you to join our email list by visiting our website, memorialchurch.harvard.edu, where you can also make a contribution to the music program.

My sincere thanks go to my colleagues in the church, and in particular to Professor Jonathan ­Walton, our wonderful new assistant organist and choirmaster, Tom Sheehan, and Carson Cooman, whose friendship and encouragement I cherish. To the Harvard University Choir secre- taries, Emma Dowd, and Joy Wang, I give my endless gratitude for all they do to ensure the group’s smooth-running. Finally, I thank you, the audience, for your support of this afternoon’s concert, and for your continued enthusiasm for the music program here in the Memorial Church.

Edward E. Jones Gund University Organist and Choirmaster The Memorial Church Orfeo ed Euridice Original Vienna version (1762)

Azione teatrale in three acts Music by Christoph Willibald Gluck (1714–1787) Libretto by Ranieri de’ Calzabigi (1714–1795)

Act I Act II Intermission (15 minutes) Act III

Orfeo: Julia Mintzer, mezzo-soprano Euridice: Amanda Forsythe, soprano Amore: Margot Rood, soprano

Chorus of shepherds, nymphs, furies and infernal ghosts, heroes and heroines of the Elysian fields, and followers of Orpheus

Harvard University Choir Grand Harmonie Edward Elwyn Jones, conductor

Synopsis: Nymphs and shepherds perform the funeral rites of Eurydice, assisted by Orpheus, who laments her loss and reproaches the gods with cruelty. Cupid tells him that he may, if he can, bring her back from the dead by the power of music, but must not look at her until she is in the land of the living again. He encounters demons and furies as he descends, calming them with his music, before entering the Elysian fields, where the blessed spirits dance. Eurydice questions him and faints as they try to leave, causing him to look round, at which she dies once more. He laments this turn of events, comforted by Cupid, who, rewarding his obvious fidelity, restores Eurydice to life once more. The opera ends in a celebration at the temple of Cupid.

2 Harvard University Choir

Edward Elwyn Jones, Gund University Organist and Choirmaster Thomas Sheehan, Assistant University Organist and Choirmaster Carson Cooman, Research Associate in Music and Composer in Residence Emma Dowd and Joy Wang, Choir Secretaries

Soprano Alto Tenor Bass Emily Bishai Erin Dahlstrom Ariel Camperi Josh Bean Camille Crossot Emma Dowd Joey Goodknight Sam Brinton Cara Jacobson Samantha Heinle William Jameson Zachary Fletcher Racha Kirakosian David Hughes Steve Klosterman Bobby Flitsch Emma Kromm Tamsin Jones Michael Lesley Rahul Kulka Charlotte McKechnie Randa Melhem Sydney Mukasa Tanmoy Laskar Alice Newkirk Josephin Mosch Arvind Narayanan Max Masuda-Farkas Danielle Solomon Laura Peterson Harrison Phelps Larkin McCann Maggie Vo Emma Woo Drew Sanchez Fred Metzger Joy Wang Andy Troska Michael Paladino Sara Wiant Maxime Rischard Peter Wu Italics denote members of the Choral Fellows. Grand Harmonie

Violin 1: Sarah Darling, Marika Holmqvist, Amy Sims, Lisa Goddard Violin 2: Emily Dahl, Katharina Radlberger, Yi-Li Chang Viola: Zoe Kemmerling, Eve Boltax, Andrew Waid Cello: Phoebe Carrai, Rebecca Shaw, Denise Fan Bass: Nathan Varga, Ben Rechel Flute: Sarah Paysnick, Na’ama Lion Oboe/English Horn: Kristin Olson, William Thauer Clarinet: Thomas Carroll Bassoon: Elizabeth Hardy, Allen Hamrick Horn: Yoni Kahn, Elisabeth Axtell Trumpet: Chris Belluscio, Paul Perfetti Cornetto: Michael Collver, Paul Perfetti Trombone: Liza Malamut, Steve Lundahl, Matthew Groves Timpani: Dave Tarantino Harp: Olivia Lawson Harpsichord and Organ: Thomas Sheehan

3 From the Music Director

Christoph Willibald Gluck’s Orfeo ed Euridice was premiered at Vienna’s Burgtheater on October 5, 1762, in celebration of the name day of the Habsburg Emperor Francis I. It was an auspicious day for opera: Gluck’s revolutionary masterpiece at once looks back to the very beginnings of the artform, sets a new trajectory for Enlightenment opera, and casts enormous influence on dramatic composition from Mozart through Wagner, Debussy, and beyond. Orfeo ed Euridice received 19 performances in Vienna in 1762 alone, and within a decade it could he heard across Europe; admirers included Voltaire and Rousseau, and it catapulted Gluck to international fame. The credit for such an explosion, however, belongs not just to the composer, but to the librettist, Ranieri de’ Calzabigi — a Casanova-esque figure who had already laid out his thoughts on operatic reform in the introduc- tion to his French edition of Metastasio’s libretti. These ideas would become more widely disseminated through the famous preface to Gluck’s opera Alceste (1767): vocal elaboration (and even the da capo aria form itself) would be reduced to a minimum, as would text repetition, and accompanied recitative would replace secco recitative. Organic musical scenes would be favored over delineated individual numbers, and the chorus would feature prominently; such devices were commonplace in the French Tragédie lyrique, whose influence on both Gluck and Calzabigi cannot be overstated.

Following the premiere, Gluck’s opera was subjected to a number of revisions and reworkings (all of which have their merits), but it is the original 1762 version that we present today, with its taut dramatic narrative and crystal- line musical expression. For while not forgetting the semi-divine status of our protagonist (he is after all the god of song), this Enlightenment drama is about exploring humanity: the dramatic and musical aim is to reach the emotional core with the minimum of frills and fuss. As such, the plot is reduced to the bare essentials (likewise the cast, with just three principals and chorus), and the vocal style is as direct as possible: there is no grand entrance aria for Orfeo, just three heartfelt repetitions of the cry, “Euridice.” The text declamation is mainly syllabic — for ease of comprehension — and generally free of florid vocal embellishment. (It is worth noting, however, that in the Select Collection (1779), the renowned singing teacher Domenico Corri transcribes embellishments of three arias as sung by the original Orfeo, the alto castrato Gaetano Guadagni, some of which we use this afternoon.)

Gluck’s orchestration is richly inventive, utilizing a wide palette of colors: the dark-hued, archaic sounds of the cornetti and trombones in the opening funeral chorus; the howling cries and string glissandi of the underworld scene; and the remarkable evocation of nature (birdsong, flowing water, and shepherds’ pipes) in the delicate brushstrokes of “Che puro ciel.” Echo effects are employed in Act 1, and other forms of spatial and temporal displacement are built into the music for dramatic purpose. The chorus, too, is evocative in all its guises: the mourners in Act 1; the furies and monsters of Hades in Act 2; and the joyful shepherds at the close of Act 3. While there is no dancing in today’s concert performance, the opera’s ballet numbers are critical to the integrity and flow of the scenes, though the lengthy self-contained ballet at the work’s conclusion is omitted. The opera’s second act became particularly famous, and was described by the French dramatist Romain Rolland as the “most moving act in all opera.” Balance and symmetry are evident across its two scenes, contrasting darkness with light, the chorus with solo voice, and the terrifying groans of hell with the natural sounds of the Elysian fields.

Gluck’s Orfeo ed Euridice was to be a major influence on Mozart (Idomeneo and Don Giovanni contain almost di- rect quotations from it), and Berlioz and Debussy would become champions of it (the former preparing a version for the contralto Pauline Viardot in 1859). And it is perhaps not too far-fetched to see pre-echoes of Wagner’s Gesamtkunstwerk in Calzabigi and Gluck’s masterpiece, thus paving the way for a truly new artwork of the future.

Edward E. Jones

4 Orfeo ed Euridice Libretto

ATTO PRIMO ACT ONE Ameno, ma solitario boschetto di allori e cipressi, che, A pleasant but secluded grove of laurel and cypress ad arte diradato, racchiude in un piccolo piano la trees which encloses, in a clearing, the tomb of Eu- tomba di Euridice. rydice on a small dais.

Overtura Overture

SCENA I SCENE I Orfeo ed il Coro Orpheus and Chorus

All’alzar della tenda, al suono di mesta sinfonia, As the curtain rises to the sound of a mournful sinfo- si vede occupata la scena da uno stuolo di Pastori e nia, the stage is occupied by a group of shepherds and Ninfe, seguaci di Orfeo, che portano serti di fiori nymphs, followers of Orpheus, carrying wreaths of e ghirlande di mirto; e, mentre una parte di loro flowers and garlands of myrtle: while some of them arder fa de’ profumi, incorona il marmo e sparge burn incense, adorn the marble and strew flowers fiori intorno alla tomba, intuona l’altra il Seguente round the tomb, the others sing the following chorus, coro, interrotto dai lamenti di Orfeo, che, disteso interrupted by the laments of Orpheus who, lying sul davanti sopra di un sasso va di tempo in tempo prostrate on a rock, from time to time passionately replicando appassionatamente il nome di Euridice. repeats the name of Eurydice.

Coro Chorus CORO CHORUS Ah! se intorno a quest’urna funesta, Ah! If around this funeral urn, Euridice, ombra bella, t’aggiri, Eurydice, sweet spirit, you hover,

ORFEO ORPHEUS Euridice! Eurydice!

CORO CHORUS Odi i pianti, i lamenti, i sospiri Hear the plaints, the laments, the sighs Che dolenti si spargon per te. which we mourners utter for you.

ORFEO ORPHEUS Euridice! Eurydice!

5 CORO CHORUS Ed ascolta il tuo sposo infelice And hearken to your unhappy husband, Che piangendo who, weeping, Ti chiama e si lagna. calls you and makes moan.

ORFEO ORPHEUS Euridice! Eurydice!

CORO CHORUS Come quando As when La dolce compagna the amorous dove Tortorella amorosa perdé. loses her dear companion.

Recitativo Recitative ORFEO ORPHEUS Basta, basta, o compagni! Enough, enough, my friends! Il vostro duolo aggrava il mio! Your grief increases my own! Spargete purpurei fiori, Scatter purple flowers, Inghirlandate il marmo, place garlands on her tomb, Partitevi da me! and leave me! Restar vogl’io solo I would remain alone Fra quest’ombre funebri e oscure among these dark and mournful shades Coll’empia compagnia di mie sventure. with the pitiless company of my misfortunes!

Ballo (Larghetto) Ballet (Larghetto) Coro Chorus CORO CHORUS Ah! se intorno a quest’urna funesta Ah! If around this funeral urn, Euridice, ombra bella, t’aggiri, Eurydice, sweet spirit, you hover, Odi i pianti, i lamenti, i sospiri, hear the plaints, the laments, the sighs Che dolenti si spargon per te. which we mourners utter for you.

Le danze funebri cessano. Tutti si allontanano. At the end of the dance which follows, the Chorus leaves.

Aria Aria ORFEO ORPHEUS Chiamo il mio ben così Thus do I call my love Quando si mostra il dì, when day shows itself Quando s’asconde. and when it disappears. Ma, oh vano mio dolor! But ah! vain is my grief! L’idol del mio cor The idol of my heart Non mi risponde. does not reply. 6 Recitativo Recitative Euridice, Euridice, Eurydice, Eurydice, Ombra cara, ove sei? beloved shade, where are you? Piange il tuo sposo, Your husband weeps, Ti domanda agli Dei, begs the gods for you A’ mortali ti chiede and asks for you among mortals, E sparse a’ venti yet scattered to the wind Son le lagrime sue, are his tears I suoi lamenti! and his laments!

Aria Aria Cerco il mio ben così Thus do I seek my love In queste, ove morì, on these sad shores Funeste sponde. where she died. Ma sola al mio dolor, But to my grief Perché conobbe amor, echo alone replies, L’eco risponde. since it knew our love.

Recitativo Recitative Euridice! Euridice! Ah, questo nome Eurydice, Eurydice! Ah, that name San le spiaggie, e le selve the seashore knows, and the woods L’appresero da me! learnt from me! In ogni valle In every valley Euridice risuona: in ogni tronco Eurydice resounds: on every tree Scrisse il misero Orfeo: the wretched Orpheus has written: Orfeo infelice, Unhappy Orpheus, Euridice, idol mio, Eurydice, my love, Cara Euridice! dear Eurydice!

Aria Aria Piango il mio ben così, Thus do I mourn my love, Se il sole indora il dì, whether the sun gilds the day Se va nell’onde. or sinks into the waves. Pietoso al pianto mio The brook, taking pity on my plaints, Va mormorando il rio goes murmuring by E mi risponde. and answers me.

Recitativo Recitative Numi! barbari Numi! Oh gods, cruel gods! D’Acheronte e d’Averno pallido abitator, You, the pale inhabitant of Acheron and Avernus, La di cui mano avida delle morti whose greedy hand was never stayed Mai disarmò, mai tratterner by beauty or youth, 7 Non seppe beltà ne gioventù, nor could keep it from death, Voi mi rapiste la mia bella Euridice, you stole from me my lovely Eurydice, O memoria crudel! sul fior degli anni! oh cruel memory! In the flower of her life. La rivoglio da voi, Numi tiranni! I want her back from you, tyrannous gods! Ho core anch’io per ricercar I too have the courage, in the footsteps Sull’orme de’ più intrepidi Eroi, of the most intrepid heroes, Nel vostro orrore la mia sposa, to search for my wife, Il mio bene! my loved one, in your horror!

SCENA II SCENE II Amore, e detto Amor and Orpheus Recitativo Recitative AMORE AMOR T’assiste Amore! Love will assist you! Orfeo, della tua pena Orpheus, Jove has taken pity Giove sente pietà. on your grief. Ti si concede le pigre It is granted you to pass Onde di Lete vivo varcar! the sluggish waters of Lethe alive! Del tenebroso abisso sei sulla via: Go on your way to the shadowy abyss: Se placar puoi col canto le furie, if with your singing you can placate the Furies, I mostri, e l’empia morte, the monsters, and pitiless death, Al giorno la diletta Euridice you can take back your beloved Eurydice Farà teco ritorno. with you into the light of day.

ORFEO ORPHEUS Ah, come? Ah, quando? But how? and when? E possibil sarà? Can this be possible? Spiegati! Explain!

AMORE AMOR Avrai valor che basti Have you courage enough A questa prova estrema? for this extreme trial?

ORFEO ORPHEUS Mi prometti Euridice, You promise me Eurydice, E vuoi ch’io tema? and you think I could be afraid?

AMORE AMOR Sai però con qual patto Then know on what conditions L’impresa hai da compir. you must complete the task.

8 ORFEO ORPHEUS Parla! Speak!

AMORE AMOR Euridice ti si vieta il mirar Forbidden is the sight of Eurydice Finché non sei fuor dagli antri di Stige! until you are beyond the caves of the Styx! E il gran divieto rivelarle non dei! And of this great prohibition you must not tell her! Se no, la perdi e di nuovo e per sempre; Otherwise, you lose her again, and for ever; E in abbandono al tuo fiero desio and you will live unhappy, Sventurato vivrai! a prey to your fierce desire! Pensaci, addio! Think on this: farewell!

Aria Aria AMORE AMOR Gli sguardi trattieni, Restrain your glances, Affrena gli accenti: refrain from words: Rammenta che peni, recall, if you suffer, Che pochi momenti that you have to suffer Hai più da penar! but a few moments more!

Sai pur che talora Do you not know Confusi, tremanti that sometimes lovers, Con chi gl’innamora confused and trembling, Son ciechi gli amanti, are blind to those they love, Non sanno parlar! and cannot speak?

Parte Exit Recitativo Recitative ORFEO ORPHEUS Che disse! Che ascoltai! What said he? What did I hear? Dunque Euridice vivrà, That Eurydice will live L’avrò presente! and I shall have her here? E dopo i tanti affanni miei, And after all my torments, In quel momento, in that moment, In quella guerra d’affetti, torn by emotions, Io non dovrò mirarla, I must not look at her, Non stringerla al mio sen! not clasp her to my bosom! Sposa infelice! Unhappy wife! Che dirà mai? Che penserà? What will she say? What will she think? Preveggo le smanie sue, I foresee her impatience: Comprendo le angustie mie! I understand my anguish. Nel figurarlo solo At the mere thought

9 Sento gelarmi il sangue, I feel my blood congeal, Tremarmi il cor! my heart falter. Ma lo potrò! Lo voglio! But I can! I will! Ho risoluto! Il grande, I am resolved! The greatest, L’insoffribìl de’ mali è l’esser privo most intolerable of ills is to be deprived Dell’unico dell’alma amato oggetto; of the only being my soul adores. Assistetemi, o Dei! La legge accetto. Be with me, ye gods! I accept your decree.

Si vede un lampo, si sente un tuono, e parte Orfeo A clap of thunder and a flash of lightning. Exit Orpheus.

ATTO SECONDO ACT TWO Orrida caverna al di là del fiume Cocito, offuscata A fearsome cavernous region beyond the river Co- poi in lontananza da un tenebroso fumo, illuminato cytus, darkened from afar by gloomy smoke lit up by dalle fiamme che ingombrano tutta quella orrida flames which envelops that whole dreaded abode. abitazione.

SCENA I SCENE I Orfeo ed il Coro Orpheus and Chorus

Ballo (Maestoso) Ballet (Maestoso) Coro Chorus CORO CHORUS Chi mai dell’Erebo Who is this Fra le caligini, who draws near to us Sull’orme d’Ercole through the gloom of Erebus E di Piritoo in the footsteps of Hercules Conduce il piè? and of Pirithous?

Ballo (Presto) Ballet (Presto) Coro Chorus CORO CHORUS Chi mai dell’Erebo Who is this Fra le caligini, who draws near to us Sull’orme d’Ercole through the gloom of Erebus E di Piritoo in the footsteps of Hercules Conduce il piè? and of Pirithous?

D’orror l’ingombrino May the savage Eumenides Le fiere Eumenidi, overwhelm him with horror, E lo spaventino and the howls of Cerberus

10 Gli urli di Cerbero, terrify him Se un Dio non è. if he is not a god.

Gli Spettri ripigliano le danze, girando intorno ad They dance, whirling round Orpheus, to frighten Orfeo per spaventarlo him.

Ballo (Maestoso) Ballet (Maestoso) ORFEO ORPHEUS Deh! placatevi con me. Oh be merciful to me, Furie, Larve, Ombre sdegnose! ye Furies, ye spectres, ye angry shades!

CORO CHORUS No! — No! — No! No! — No! — No!

ORFEO ORPHEUS Vi renda almen pietose May my cruel grief Il mio barbaro dolor! at least earn your pity!

Coro Chorus CORO CHORUS Misero giovane! Wretched youth, Che vuoi, che mediti? what seek you? What is your purpose? Altro non abita Here dwell naught Che lutto e gemito but grief and lamenting In queste orribili in these fearful, Soglie funeste! mournful regions!

Aria Aria ORFEO ORPHEUS Mille pene, ombre moleste, A thousand pangs I too suffer, Come voi sopporto anch’io; like you, o troubled shades; Ho con me l’inferno mio, my hell lies within me, Me lo sento in mezzo al cor. in the depths of my heart.

Coro Chorus CORO CHORUS Ah, quale incognito Ah! What unknown Affetto flebile, feeling of pity Dolce a sospendere sweetly comes Vien l’implacabile to soften Nostro furor? our implacable rage?

11 Aria Aria ORFEO ORPHEUS Men tiranne, ah! voi sareste Ah! You would be less harsh Al mio pianto, al mio lamento, to my weeping and lamenting Se provaste un sol momento if for but a moment you could know Cosa sia languir d’amor. what it is to languish for love.

Coro Chorus CORO CHORUS Ah quale incognito Ah! What unknown Affetto flebile, feeling of pity Dolce a sospendere sweetly comes Vien l’implacabile to soften Nostro furor? our implacable rage?

Le porte stridano Let the gates creak Su i neri cardini on their black hinges, E il passo lascino and let the victor, Sicuro e libero safe and free, Al vincitor. be allowed to pass.

Le Furie e gli Spettri cominciano a ritirarsi, e dile- The Furies and monsters begin to withdraw, and as guandosi per entro le scene, ripetono l’ultima strofa they disperse from the stage they repeat the last stro- del coro; il quale, continuando sempre, frattanto che phe of the chorus, which continues until they finally si allontanano, finisce in un confuso mormorio. disappear. When they have gone, Orpheus advances into the infernal regions.

SCENA II SCENE II Recesso delizioso per i boschetti che verdeggiano, i A delightful region with verdant groves and flow- fiori, che rivestono i prati, i ritiri ombrosi che vi si erfilled meadows, extensive shady spots, and rivers scoprono, i fiumi ed i ruscelli che lo bagnano. and streams flowing through it.

Euridice, seguita da Ombre celesti di Eroi e di Orpheus, then Chorus of heroes and heroines, later Eroine. Eurydice.

Ballo (Andante) Ballet (Andante) Arioso Arioso

12 ORFEO ORPHEUS Che puro ciel, che chiaro sol, How clear the sky! How bright the sun! Che nuova serena luce è questa mai! How new and serene is this light! Che dolce lusinghiera armonia What sweet, enchanting harmony Formano insieme do the song of the birds, Il cantar degli augelli, the purling of the streams, Il correr de’ ruscelli, the murmur of the breezes Dell’aure il sussurrar! make together! Questo è il soggiorno This is the abode De’ fortunati Eroi. of the blessed heroes. Qui tutto spira un tranquillo contento, Here everything breathes peace and contentment, Ma non per me. but not for me. Se l’idol mio non trovo, If I cannot find my idol, Sperar nol posso! there is no hope for me! I suoi soavi accenti, Her sweet voice, Gli amorosi suoi sguardi, il suo bel riso, her loving glances, her tender smile, Sono il mio solo, il mio diletto Eliso! are my only, my blissful Elysium! Ma in qual parte sarà? But where can she be? (si guarda intorno) (gazing round the scene) Chiedesi a questo Let me ask this happy crowd Che mi viene a incontrar stuolo felice. which comes to meet me. (inoltrandosi verso il Coro) (advancing towards the Chorus) Euridice dov’è? Where is Eurydice?

CORO CHORUS Giunge Euridice! Eurydice is coming!

Coro Chorus CORO CHORUS Vieni a’ regni del riposo, Come to the realms of bliss, Grand’eroe, tenero sposo great hero, tender husband, Raro esempio in ogni età! rare example in any age! Euridice Amor ti rende; Amor returns Eurydice to you; Già risorge, già riprende already she revives and recovers La primiera sua beltà. all the flower of her beauty.

Ballo (Andante) Ballet (Andante) Recitativo Recitative ORFEO ORPHEUS Anime avventurose, Kind spirits, Ah, tollerate in pace le impazienze mie! ah! suffer my impatience in peace! Se foste amanti, If you were lovers

13 Conoscereste a prova you would know for yourselves Quel focoso desio, the burning desire Che mi tormenta, which torments me, Che per tutto è con me. which goes with me everywhere. Nemmeno in questo Not even in this Placido albergo peaceful haven Esser poss’io felice, can I be happy Se non trovo il mio ben. if I do not find my love.

CORO CHORUS Viene Euridice! Here is Eurydice!

Coro Chorus CORO CHORUS Torna, o bella, al tuo consorte. Return, fair one, to your husband, Che non vuol che più diviso from whom merciful heaven Sia da te, pietoso il ciel. wishes you never more to be parted. Non lagnarti di tua sorte, Do not lament your lot, Che può dirsi un altro Eliso for a husband so true Uno sposo sì fedel. can be called another Elysium.

Da un coro di Eroine vien condotta Euridice vicino Eurydice is led by a Chorus of heroines towards Or- ad Orfeo, il quale, senza guardarla e con un atto di pheus, who, without looking at her and acting with somma premura, la prende per mano e la conduce great urgency, takes her by the hand and quickly subito via. Seguita poi il ballo degli Eroi ed Eroine, leads her away. Then follows the dance of heroes and e si ripiglia il canto del Coro supposto continuarsi heroines, and the Chorus resumes its chant, which sino a tanto che Orfeo ed Euridice siano affatto fuori should continue until Orpheus and Eurydice are in dagli Elisi. fact outside the Elysian Fields.

ATTO TERZO ACT THREE Oscura spelonca che forma un tortuoso laberinto in- A dark cave that forms a tortuous labyrinth, gombrato di massi staccati dalle rupi, che sono tutti obstructed by boulders separated by rocks completely coperti di sterpi e di piante selvaggie. covered with brushwood and wild plants.

SCENA I SCENE I Orfeo ed Euridice Orpheus and Eurydice

Recitativo Recitative ORFEO ORPHEUS ad Euridice, Orfeo conduce per mano Euridice, to Eurydice, whom he leads by the hand, sempre senza guardarla still without looking at her Vieni, segui i miei passi, Come, follow my steps,

14 Unico, amato oggetto dearest, only object Del fedele amor mio. of my faithful love.

EURIDICE EURYDICE Sei tu! M’inganno? Is it you? Am I deceived? Sogno? Veglio? O deliro? Am I dreaming or awake? Or delirious?

ORFEO ORPHEUS Amata sposa, Beloved wife, Orfeo son io, e vivo ancor. I am Orpheus, Ti venni fin negli Elisi a ricercar. and I am still alive. Fra poco il nostro cielo, I came to search for you even in Elysium. Il nostro sole, il mondo Soon you will see our sky, our sun, Di bel nuovo vedrai. our dear world once again!

EURIDICE EURYDICE Tu vivi? Io vivo? You are alive? I am living? Come! Ma con qual arte? Ma per qual via? How? But by what art, by what means?

ORFEO ORPHEUS Saprai tutto da me. I will tell you all, Per ora non chieder più! but do not ask more now! Meco t’affretta, Hasten with me, E il vano importuno timor dall’alma sgombra! and banish vain importunate fear from your soul! Ombra tu più non sei, You are no longer a shade, Io non son ombra. and I am not a shade.

EURIDICE EURYDICE Che ascolto! E sarà ver? What do I hear? Can it be true? Pietosi Numi Merciful gods, Qual contento è mai questo! what joy this is! Io dunque in braccio all’idol mio In my love’s arms, Fra’ più soavi lacci in the sweet nets D’Amore e d’Imeneo of Love and Hymen, Nuova vita vivrò! I will live life anew!

ORFEO ORPHEUS Sì, mia speranza! Yes, my dearest! Ma tronchiam le dimore, But let us delay no more Ma seguiamo il cammin. and follow our road. Tanto è crudele la fortuna con me, So cruel has fortune been with me Che appena io credo di possederti, that I hardly can believe that I possess you. Appena so dar fede a me stesso. I can scarcely believe myself. 15 EURIDICE EURYDICE E un dolce sfogo del tenero amor mio Yet a soft pledge of my tender love Nel primo istante che tu ritrovi me, in the first moment that you find me again, Ch’io ti riveggo that I see you again, T’annoja, Orfeo! annoys you, Orpheus!

ORFEO ORPHEUS Ah, non è ver, ma... Ah, that is not true, but ... Sappi... senti... know that ... listen ... (Oh legge crudel!) (O cruel decree!) Bella Euridice, Dear Eurydice, Inoltra i passi tuoi! quicken your steps!

EURIDICE EURYDICE Che mai t’affanna But what distresses you Il si lieto momento? in this happy moment?

ORFEO ORPHEUS (Che dirò? (What can I say? Lo preveddi! I foresaw it! Ecco il cimento!) This is the moment of danger!)

EURIDICE EURYDICE Non m’abbracci? Non parli? You do not embrace me? Nor speak? Guardami almen. At least look at me. (tirandolo, perché la guardi) (pulling him so as to make him look at her) Dimmi, son bella ancora, Say, am I still beautiful Qual era un di? as I was once before? Vedi, che forse è spento Look, has the color in my cheeks Il roseo del mio volto? perhaps faded? Odi, che forse s’oscurò Listen, has the splendor of my eyes Quel che amasti, that you loved, E soave chiamasti, and you called sweet, Splendor de’ sguardi miei? perhaps dimmed?

ORFEO ORPHEUS (Più che l’ascolto (The more I listen, Meno resisto. the less can I resist. Orfeo, corragio!) Courage, Orpheus!) Andiamo, mia diletta Euridice! Come, my beloved Eurydice! Or non è tempo Now is not the time Di queste tenerezze, for these tendernesses; Ogni dimora è fatale per noi. any delay is fatal for us. 16 EURIDICE EURYDICE Ma... un sguardo solo... One single look!

ORFEO ORPHEUS È seventura il mirarti. To look at you would be disastrous.

EURIDICE EURYDICE Ah, infido! Ah, faithless one! E queste son l’accoglienze tue! And this is your welcome! Mi nieghi un sguardo, You deny me a glance Quando dal caro amante when I should expect E dal tenero sposo from a true lover Aspettarmi io dovea and tender husband Gli amplessi e i baci! embraces and kisses.

ORFEO ORPHEUS (Che barbaro martir!) (Cruel torture!) Ma vieni e taci! Do come, and be silent!

Sentendola vicina prende la sua mano e vuol con- Seeing her close, he takes her hand and tries to lead durla. her forward.

EURIDICE EURYDICE (ritira la mano con sdegno) (angrily withdrawing her hand) Ch’io taccia! E questo ancora I be silent! Did I have Mi restava a soffrir? to suffer this too? Dunque hai perduto Have you then forgone La memoria, l’amore, memory, love, La costanza, la fede? faith and constancy? E a che svegliarmi dal mio dolce riposo For what was I awakened from my soft repose, Or ch’hai pur spente now that you have extinguished Quelle a entrambi si care d’Amore those chaste torches E d’Imeneo pudiche faci! so dear to both Love and Hymen? Rispondi, traditor! Reply, traitor!

ORFEO ORPHEUS Ma vieni, e taci! Do come, and be silent!

Duetto Duet ORFEO ORPHEUS Vieni, appaga il tuo consorte! Come, do your husband’s bidding!

17 EURIDICE EURYDICE No, più cara è a me la morte, No, death is dearer to me Che di vivere con te! than life with you!

ORFEO ORPHEUS Ah, crudel! Cruel one!

EURIDICE EURYDICE Lasciami in pace! Leave me in peace!

ORFEO ORPHEUS No, mia vita, ombra seguace No, my life, I will always come after you Verrò sempre intorno a te! like a haunting shadow.

EURIDICE EURYDICE Ma perché sei si tiranno? Then why are you so harsh?

ORFEO ORPHEUS Ben potrò morir d’affanno, I well could die of sorrow, Ma giammai dirò perché! but I will never tell you why.

EURIDICE, ORFEO EURYDICE, ORPHEUS Grande, o Numi è il dono vostro! Great is your gift, ye gods! Lo conosco e grata/grato io sono! I recognise it and am grateful! Ma il dolor, che unite al dono, But the grief which accompanies È insoffribile per me! your gift is past all bearing!

Recitativo Recitative EURIDICE EURYDICE Qual vita è questa mai, What life is this now Che a vivere incomincio! which I am about to lead? E qual funestro, And what fatal, Terribile segreto terrible secret Orfeo m’asconde! does Orpheus hide from me? Perché piange, e s’affligge? Why does he weep and grieve? Ah, non ancora troppo Ah, I am as yet unaccustomed Avvezza aglia affanni, to the sorrows Che soffrono i viventi, suffered by the living! A si gran colpo Beneath so great a blow Manca la mia costanza; my constancy fails, Agli occhi miei the light fades Si smarrisce la luce, before my eyes; Oppresso in seno, my breath, locked in my bosom, 18 Mi diventa affannoso il respirar. becomes laboured. Tremo, vacillo, I tremble, I sway E sento fra l’anguiscia e il terrore and feel my heart wildly beating Da un palpito crudel vibrarmi il core. with anguish and terror.

Aria Aria EURIDICE EURYDICE Che fiero momento! Oh bitter moment! Che barbara sorte! Oh cruel fate! Passar dalla morte To pass from death A tanto dolor! to such sorrow!

Avvezzo al contento I was used to the peace D’un placido oblio, of a tranquil oblivion; Fra queste tempeste but in these tempests Si perde il mio cor. my heart is shattered.

Vacillo, tremo... I sway, I tremble ...

Recitativo Recitative ORFEO ORPHEUS Ecco un nuvo tormento. Here is a new torment.

EURIDICE EURYDICE Amato sposo, Beloved husband, M’abbandoni cosi? will you leave me thus? Mi struggo in pianto; I am consumed with grief; Non mi consoli? will you not console me? Il duol m’opprime i sensi, Sorrow overwhelms my senses; Non mi soccorri? will you not aid me? Un’altra volta, oh stelle, O stars, must I then die Dunque morir degg’io once more Senza un amplesso tuo< without an embrace from you, Senza un addio? without a farewell?

ORFEO ORPHEUS Più frenarmi non posso, I can restrain myself no longer; A poco a poco little by little La ragion m’abbandona, my reason is forsaking me. Oblio la legge, Eurydice, I forget the decree Euridice, a me stesso! E... and myself! And …

19 in atto di voltarsi e poi pentito He is about to turn but changes his mind.

EURIDICE EURYDICE Orfeo, consorte! Orpheus, husband! (si getta a sedere sopra un sasso) (She falls to the stony ground.) Ah... mi sento... languir. Ah! ... I feel ... faint.

ORFEO ORPHEUS No, sposa! Ascolta! No, beloved! Listen! (in atto di voltarsi a guardarla) (about to turn and look at her) Se sapessi... If you knew ... A che fo’? ah, what am I doing? Ma fino a quando How long In questo orrido inferno must I suffer Dovrò penar? in this fearful hell?

EURIDICE EURYDICE Ben mio, ricordati... di...me! Dearest, remember ... me!

ORFEO ORPHEUS Che affanno! Oh, come What torment! Mi si lacera il cor! Oh how my heart is torn! Più non resisto... I can resist no more ... Smanio... fremo ... delirio ... I rant ... I tremble ... I rave ... (si volta con impeto e la guarda) (Impulsively he turns and looks at her.) Ah! Mio tesoro! Ah! My treasure!

EURIDICE EURYDICE Giusti Dei, che m’avenne? Merciful gods, what is happening? Io manco, io moro. I faint ... I die. muore She dies.

ORFEO ORPHEUS Ahimè! Dove trascorsi Alas! What have I done? Ove mi spinse Where has love’s frenzy Un delirio d’amor? driven me? (le s’accosta con fretta) (He rushes to her) Sposa! Euridice! Beloved Eurydice! (la scuote) (He shakes her) Euridice! Consorte! Eurydice! My wife! Ah più non vive, Ah! She lives no longer, La chiamo invan! I call her in vain! 20 Misero me! Woe is me! La perdo, e di nuovo e per sempre! I have lost her again, and for ever. Oh legge! Oh morte! Cruel decree! Oh death! Oh ricordo crudel Oh bitter reminder! Non ho soccorso, There is no help, Non m’avanza consiglio! no counsel for me! Io veggo solo – a fiera vista – I see only ? ah, cruel sight! – Il luttuoso aspetto the mournful signs Dell’orrido mio stato! of my terrible plight. Saziati, sorte rea! Be satisfied, malevolent fate! Son disperato! I am in despair!

Aria Aria ORFEO ORPHEUS Che farò senza Euridice? What shall I do without Eurydice? Dove andrò senza il mio ben? Where shall I go without my love? Euridice! Euridice! Eurydice! Eurydice! Oh Dio! Rispondi! O heavens! Answer! lo son pure il tuo fedel! I am still true to you! Euridice! Euridice! Eurydice! Eurydice! Ah! non m’avanza Ah, there is no help, Più soccorso più speranza, no hope for me Né dal mondo, né dal ciel either on earth nor in heaven!

Recitativo Recitative

ORFEO ORPHEUS Ah finisca e per sempre Ah! May grief end my life, Colla vita il dolor! and for ever! Del nero Averno I am already upon the path Già sono insù la via! to black Avernus! Lungo cammino non è It is not a long road Quel che divide il mio bene da me. which divides me from my love. Si, aspetta, o cara ombra dell’idol mio! Yes, wait, dear shade of my beloved! Aspetta, aspetta! Wait, wait! No, questa volta senza lo sposa tuo No, this time you shall not cross Non varcherai l’onde lente di Lete. Lethe’s sluggish waters without your husband. vuol ferirsi He tries to kill himself.

21 SCENA II SCENE II

Amore e detto Amor and the previous Recitativo Recitative AMORE AMOR (lo disarma) (disarming him) Orfeo, che fai? Orpheus, what are you doing?

ORFEO ORPHEUS E chi sei tu, And who are you Che trattenere ardisci who dare to restrain Le dovute a miei casi my last fury, Ultime furie mie? which my plight justifies?

AMORE AMOR Questo furore calma, Calm your anger, lay down your weapon, Deponi, e riconosci Amore! and recognise Love!

ORFEO ORPHEUS Ah sei tu? Ti ravviso! Ah, is it you? I recognise you! Il duol finora tutti i sensi m’oppresse. Grief clouded all my senses before. A che venisti Why have you come In sì fiero momento? in this bitter moment? Che vuoi da me? What do you want with me?

AMORE AMOR Farti felice! To make you happy! Assai per gloria mia soffristi, Orfeo, Orpheus, you have suffered enough for my glory; Ti rendo Euridice il tuo ben. I give you back your beloved Eurydice. Di tua costanza maggior prova non chiedo I seek no greater proof of your fidelity. Ecco: risorge Here she is: she rises A riunirsi con te. to be reunited with you.

Si alza Euridice come svegliandosi da un profondo Eurydice rises as if waking from a deep sleep. sonno.

ORFEO ORPHEUS Che veggo! Oh Numi! What do I see? Ye gods! Sposa! My wife! corre ad abbracciare Euridice He runs to embrace Eurydice.

22 EURIDICE EURYDICE Consorte! My husband!

ORFEO ORPHEUS E pur t’abbraccio? Can I really embrace you?

EURIDICE EURYDICE E pure al sen ti stringo! Can I clasp you to my bosom?

ORFEO ORPHEUS ad Amore to Amor Ah, quale riconoscenza mia... My gratitude to you.

AMORE AMOR Basta! Enough! Venite! Avventurosi amanti, Come, happy lovers, Usciamo al mondo, let us go back to earth: Ritornate a godere! return to enjoy it!

ORFEO ORPHEUS Oh fausto giorno, Oh happy day! Oh Amor pietoso! Oh merciful Amor!

EURIDICE EURYDICE Oh lieto, fortunato momento! Oh joyful, blissful moment!

AMORE AMOR Compensa mille pene My contentment compensates Un mio contento! for a thousand woes!

SCENA III SCENE III

Magnifico Tempio dedicato ad Amore. A magnificent temple dedicated to Amor. Amore, Orfeo ed Euridice, preceduti da numeroso Orpheus and Eurydice, preceded by a large number drappello di Eroi ed Eroine che vengono a festeg- of shepherds and shepherdesses, who have come to giare il ritorno d’Euridice; e cominciano un allegro celebrate Eurydice’s return and begin a lively dance. ballo, si interrompe da Orfeo, che intuona il seguente coro:

Coro Chorus ORFEO, CORO ORPHEUS, CHORUS Trionfi Amore, Let Amor triumph, E il mondo intero and all the world 23 Serva all impero serve the empire Della beltà! of beauty!

Di sua catena Never was sweeter Talvolta amara the liberty Mai fu più cara of her sometimes La libertà! bitter chains!

AMORE AMOR Talor dispera, The cruelty Talvolta affanna of a tyrant D’una tiranna, causes now despair, La crudeltà! now distress.

Ma poi la pena But the lover Oblia l’amante forgets his pains Nel dolce instante in the sweet moment Della pietà! of mercy.

CORO CHORUS Trionfi Amore, Let Amor triumph, E il mondo intero and all the world Serva all’impero serve the empire Della beltà! of beauty!

EURIDICE EURYDICE La gelosia Jealousy consumes Strugge e divora; and devours, Ma poi ristora but faith La fedeltà. restores. E quel sospetto And that suspicion Che il cor tormenta, which torments the heart Al fin diventa at last turns Felicità. to delight.

CORO CORO Trionfi Amore, Let Amor triumph, E il mondo intero and all the world Serva all’impero serve the empire Della beltà! of beauty!

24 About the Performers

For over 175 years the Harvard University Choir has provided a unique opportunity for student singers to perform choral literature at the highest level, both in concert and during the services of the Memorial Church. Its program of daily choral services, broadcasts, tours, commissions, and recordings make it one of the premiere college chapel ensembles in the United States. Highlights of recent seasons include concert performances of Bach’s St. John Passion and Mass in B Minor, Handel’s Saul and Messiah, Mozart’s Requiem and Mass in C Minor (in completions by Harvard Professor Robert Levin), Roxanna Panufnik’s Westminster Mass, Alice Parker’s Melodious Accord, Stephen Paulus’s The Three Hermits, Benjamin Britten’s St. Nicolas, and the world premiere of composer-in-residence Carson Cooman’s The Acts of the Apostles. Committed to the presentation of new works, the group has premiered works by today’s most prominent composers, in- cluding David Conte, Tarik O’Regan, Alice Parker, Daniel Pinkham, Craig Phillips, and John Rutter. The choir’s many recordings have received critical acclaim and its newest album, Spring Bursts Today: A Celebra- tion of Eastertide—is available as a free digital download from www.memorialchurch.harvard.edu.

A wind band, a mixed chamber group, a string quartet, and a full orchestra: Grand Harmonie is all of these things at once. At its core, the wind section of this unique ensemble forms a Harmonie. This ar- rangement of wind instruments was wildly popular around the turn of the 19th century, with new works and contemporary arrangements of operas and symphonies being performed for diverse functions, both in- doors and outdoors. Inspired by the Harmonie bands of the past but eager to play music from many genres, Grand Harmonie was created in 2012 by a group of principal wind players excited to explore 19th-century music and beyond on period instruments. With the inclusion of a core group of string players shortly after, the ensemble gained the power and flexibility to play everything from salon concerts with fortepiano to full-scale symphony orchestra with brass, percussion, and more. Each season brings a delightful mix of instruments, styles, composers, and venues. Performing everywhere from the galleries of the Metropolitan Musuem of Art to Harvard’s Paine Hall, Grand Harmonie is based out of both New York and Boston. Now in their third season, their sound has been described as “delicate, gauzy,” (The New York Times) and “tight and energetic” (Boston Globe). Grand Harmonie aims to bring a fresh, spontaneous voice to the world of period music performance on the East Coast. For more information visit www.grandharmonie.com and join the mailing list.

Edward Elwyn Jones is the Gund University Organist and Choirmaster at Harvard University, where he directs the music in the Memorial Church. He conducts the Harvard University Choir in its program of daily choral services, broadcasts, tours, commissions, and recordings, as well as playing the organ for uni- versity services and events. During his time at Harvard he has overseen the publication of a new university hymnal (of which he was an editor), and the installation of two new pipe organs in the Memorial Church; in addition, he has commissioned works from some of America’s most prominent contemporary compos- ers. He studied music at Cambridge University, where he was the Organ Scholar of Emmanuel College, and the conductor of three university orchestras. He pursued graduate studies in orchestral conducting at the Mannes College of Music in New York City, where he was the recipient of the Felix Salzer Memorial

25 Award. He has focused particularly on conducting opera, which he has practiced with the Harvard Early Music Society, Mannes Opera, Lowell House Opera, the Reykjavic Summer Opera Festival in Iceland, Opera Boston, and New England’s Intermezzo Opera. He is the Music Director of the Harvard Radcliffe Chorus, and a frequent collaborator with Yale’s Schola Cantorum.

Julia Mintzer is a dynamic young mezzo with fine dramatic and musical instincts. A young artist at the Washington National Opera for season 2012–13, she is currently a company member at the Semperoper Dresden. Her repertoire includes: Carmen; Dorabella; Donna Elvira; Sesto (La Clemenza di Tito); Giovan- na (Anna Bolena); Hansel; Maddalena (Rigoletto); Meg Page and Ottavia (L’incoronazione di Poppea). Julia Mintzer graduated from The Juilliard School and the Boston University Opera Institute. In 2012, she sang the title role in La Tragédie Carmen and Stephano in Roméo et Juliette with Dayton Opera before joining the Apprentice Program at Santa Fe Opera, where her roles included Donna Elvira. At Washington National Opera, her roles included Hansel (Hansel und Gretel), Clotilde (Norma) and Giovanna Seymour (Anna Bolena — WNO Opera Insight, Kennedy Center). Julia Mintzer made her debut at the Glimmerglass Festival in 2013 in David Lang’s Little Match Girl Passion. In August 2013, Julia Mintzer became a member of the company at the Semperoper Dresden. Her roles for season 2013/14 include: Zweite Dame (Die Zauberflöte); Mercédès (Carmen); Flora (La Traviata); Dryade (Ariadne auf Naxos); Page (Salome) and leading roles in two premieres: Der Teufel mit den drei goldenen Haaren and Karl May, Raum der Wahrheit. Ms Mintzer’s concert engagements include: Handel’s Messiah with Boston Ba- roque, Washington National Cathedral, the Toledo Symphony and Seraphic Fire, and Mozart’s Requiem at Washington National Cathedral.

Amanda Forsythe’s opera roles include Jemmy in Guillaume Tell, Corinna in Il viaggio a Reims, Rosalia in L’equivoco stravagante (Rossini Opera Festival), Dalinda in Ariodante (Geneva and Munich), Manto in Niobe, regina di Tebe (Royal Opera House–Covent Garden and Luxembourg), Amenaide in Tancredi (Opera Boston), and Nannetta in Falstaff (Angers-Nantes Opéra and Royal Opera House–Covent Garden). Her major concert engagements have included Handel’s L’Allegro, il Penseroso, ed il Moderato (Netherlands Radio Philharmonic Orchestra), Messiah (Seattle Symphony Orchestra, Boston Baroque, Apollo’s Fire, and Balti- more Symphony Orchestra), Dorinda in Orlando and Il Trionfo del Tempo (Vancouver Early Music Festival), Dafne in Apollo e Dafne (Pacific MusicWorks), and the title role in Teseo (Philharmonia Baroque Orches- tra). Her recordings include Mozart’s “In un istante… Parto, m’affretto” from Lucio Silla and Handel’s Mes- siah with Apollo’s Fire (Avie); Aglaure in Lully’s Psyché, Venus in Venus and Adonis, Manto in Niobe, regina di Tebe, and Euridice in La descente d’Orphée with Boston Early Music Festival (CPO); Dorinda in Orlando with Early Music Vancouver (ATMA); and Haydn’s Die Schöpfung with the Boston Baroque (Linn). Forth- coming engagements include Iris in Semele (Seattle Opera), Amour in Gluck’s Orfeo (Royal Opera House, Covent Garden, and Monteverdi Choir and Orchestra), both under Sir John Eliot Gardiner, Poppea in L’incoronazione di Poppea and Serpina in La serva padrona (Boston Early Music Festival), Poppea in Agrip- pina and Vagaus in Juditha Triumphans (Boston Baroque), and Bach Magnificat and Brahms Requiem (Ac- cademia Nazionale di Santa Cecilia in Rome and Moscow) under Sir Antonio Pappano.

26 Margot Rood, hailed for her “luminosity and grace” by The New York Times, performs a wide range of repertoire across American stages. Ms. Rood has appeared as soloist with some of the United States’ pre- miere new music ensembles. Notable recent engagements include her Carnegie Hall debut in the world pre- miere of Shawn Jaeger’s Letters Made with Gold under the direction of Dawn Upshaw and Donnacha Den- nehy, Kati Agocs’ Vessel and Soprano Evangelist in Arvo Pärt’s Passio Domini Nostri Jesu Christi secundum Joannemwith the Boston Modern Orchestra Project, as well as the world premiere of Christopher Trapani’s Past All Deceiving in New York City with Argento Ensemble. Ms. Rood is a core member of Boston’s Lo- relei Ensemble, an all-female vocal ensemble dedicated to the performance of new music, and is a founding member of the Michigan Recital Project, which features commissions by emerging composers. Also sought after as a collaborator, Ms. Rood has been invited by composers at Columbia University, University of Penn- sylvania and Keene State College for performances and masterclasses. Other recent stage performances include Emily Webb in Rorem’s Our Town with Monadnock Music, Johanna in Sweeney Todd with St. Petersburg Opera, Ramiro in Helios Early Opera’s production of Ca- valli’s Artemisia, and God of Dreams in Purcell’s The Indian Queenwith Handel and Haydn Society. Also an accomplished and sensitive ensemble singer, Ms. Rood performs regularly with top ensembles around the country including Seraphic Fire, Tucson Chamber Artists, Santa Fe Desert Chorale, Skylark Ensemble, Emmanuel Music, Music at Marsh Chapel, and Handel and Haydn Society.

27 Upcoming Performances

Harvard Baroque Chamber The 105th Annual Orchestra Concert Christmas Carol Services Sunday, November 16, 7:00 p.m. Sunday, December 14, 5:00 p.m. The Memorial Church Monday, December 15, 8:00 p.m. Phoebe Carrai, Director. Featuring the Choral The Memorial Church Fellows of the Harvard University Choir. These services feature seasonal music performed by the Harvard University Choir. Doors open one hour before the services. Admission is free; an of- Organ Recitals fering for charity is collected. in The Memorial Church Tuesday, October 21, 7:30 p.m. Drumrolls & Drama Christopher Marks, Assistant Professor of Organ, Saturday, November 22, 4:00 p.m. University of Nebraska-Lincoln Saint Paul’s Chapel, New York City Tuesday, November 4, 7:30 p.m. Sunday, November 23, 7:30 p.m. Anthony Hammond, English Concert Organ- Paine Hall, Harvard University ist and Cochereau Biographer presents a lecture- Grand Harmonie and conductor Edward Elwyn recital on the life and music of Pierre Cochereau Jones bring a dashing program of C.P.E. Bach, Tuesday, November 18, 7:30 p.m. Mozart, and Haydn to New York and Boston, with up-and-coming oboe soloist Kristin Olson. Crista Miller, Director of Music and Cathedral Organist, Co-Cathedral of the Sacred Heart, Houston, Texas

Cover Image: “Orpheus Leading Eurydice from the Underworld” by Jean-Baptiste-Camille Corot (1796–1875)

28 The Memorial Church † Harvard University One Harvard Yard , Cambridge, MA 02138 www.memorialchurch.harvard.edu