CORO CORO Handel: Handel: Purves, Connolly, Murray, Atherton, Sampson, Wyn-Rogers, Harvey, Dobell, Budd, Young Padmore, Purves “Harry Christophers “What a winning doesn’t disappoint combination: Handel’s with this three-CD set, Messiah, the most showing off a fabulous popular oratorio ever array of vocal talent in written, sung by the cast... The recording The Sixteen, the most is warm and bouncy, richly sonorous of the the notes and libretto early music choirs.” entirely legible. cor16103 cor16062 the daily telegraph Buy with confidence.” (London) Handel the times J.S. Bach Palestrina • Volume 5 Lutheran Masses Vol. II “The Sixteen’s “…there are few Palestrina cycle [recordings] as may just be a classic unassuming and in the making.” natural as this. James Gilchrist gramophone Strongly recommended.” gramophone Susan Bickley Editor's Choice Sophie Bevan cor16124 cor16120 Matthew Brook The Sixteen To find out more about The Sixteen, concert tours, and to buy CDs visit Grace Davidson Harry Christophers www.thesixteen.com cor16121 ephtha was the last oratorio concerns Handel here is not Jephtha’s sins but his suffering. It is the human JHandel wrote and it was a dilemma, the torment of “a mighty man of valour, and he was the son of an harlot” stop-start affair. It took him (as the Bible reminds us), who unthinkingly destroys the emotional dimension of six months to complete the his life in the interests of a victory which will cleanse him of his unworthy origins. score, during which he was in Right from the outset it is about total subservience to our destiny – the first words a lot of pain, his eyesight was uttered are “It must be so”. The simplicity of that utterance is tantamount to weakening and indeed by the Handel’s skill as a dramatist. end he had lost the sight in Borggreve Marco Photograph: his left eye. We recorded Jephtha in January 2014, just after we had done two performances, at the Barbican Hall in London and Bath Abbey. These concerts were notable for an I am sure we all know the exceptional cast for whom text is all important. Handel gives us great insight into story of Jephtha but let me the characters but it is the likes of James Gilchrist, Sophie Bevan, Susan Bickley, just refresh your memory: Robin Blaze, Matthew Brook and Grace Davidson who then have to invest the Jephtha, leader of the Israelites, moments of joy, fateful realization and martyred resignation with dramatic truth. strikes a bargain with God; And this they do. in return for victory against the Ammonites, he vows to sacrifice whoever comes out Harry Christophers in Handel's House in Brook Street, London of his house to greet him after the battle; victory jubilation turns to horror when he must execute his only child, his daughter Iphis. This sequence of events actually only takes one chapter in the Bible and there Iphis is sacrificed. Thankfully with Handel and his librettist Morrell, and a bit of divine intervention, Iphis is spared but consigned to live out her days in a nunnery. This recording was made possible by the generous support of the following:

Jephtha turned out to be the last oratorio Handel composed and in many ways it Rosemary & Adrian Anderson, Simon Haslam, Mark & Lisa Loveday, Roger Mayhew, is his most profound. It is more than just a religious drama; as always, Handel’s Michael & Sally Payton, Lionel Persey QC, Marquess of Salisbury, Timothy & Damaris genius shines through in his portrayal of and insight into the characters. What Sanderson, and several individual donors who wish to remain anonymous.

2 3 Jephtha James Gilchrist tenor Storgè Susan Bickley mezzo-soprano Iphis Sophie Bevan soprano (1685-1759) Hamor Robin Blaze ephtha j An oratorio in three parts Libretto by (1703-1784) Zebul Matthew Brook -baritone

soloists Angel Grace Davidson soprano CD1: ACT ONE soprano alto tenor Bass 1 Overture 7.31 Julie Cooper Ian Aitkenhead Simon Berridge Grace Davidson David Clegg Jeremy Budd Eamonn Dougan Scene 1 Katy Hill Daniel Collins Mark Dobell Tim Jones 2 Accompagnato Zebul It must be so, or these vile Ammonites 4.18 Kirsty Hopkins Christopher Royall Tom Raskin Stuart Young Alexandra Kidgell Air Zebul Pour forth no more unheeded pray’rs Charlotte Mobbs 3 Chorus of Israelites no more to Ammon’s god and king 2.44 SCENE 2 VIOLIN I VIOLIN II VIOLA violone the sixteen 4 Sarah Sexton (leader) Daniel Edgar Martin Kelly Jan Spencer Zebul, Jephtha But Jephtha comes. Kind Heav’n, assist our plea 4.45 Huw Daniel Jane Gordon Stefanie Heichelheim Air Jephtha Virtue my soul shall still embrace Graham Cracknell Theresa Caudle VIOLONCELLO 5 Recitative Storgè ’Twill be a painful separation, Jephtha 5.01 Ellen O’Dell Henrietta Wayne Andrew Skidmore Air Storgè In gentle murmurs will I mourn Jean Paterson Rebecca Miles Imogen Seth-Smith Nia Lewis SCENE 3 6 flute horn harpsichord Recitative Hamor Happy this embassy, my charming Iphis 3.44 Christine Garratt Anneke Scott Alastair Ross Air Hamor Dull delay, in piercing anguish Joseph Walters 7 OBOE THEORBO Recitative Iphis Ill suits the voice of love when glory calls 3.37 Hannah McLaughlin trumpet David Miller Air Iphis Take the heart you fondly gave Catherine Latham Robert Farley HARP 8 Recitative Hamor I go; my soul, inspir’d by thy command 6.40 Lars Henriksson Christopher Pigram Frances Kelly Duet Iphis, Hamor These labours past, how happy we! BASSOON ORGAN Jeremy Ward Julian Perkins Zoë Shevlin 4 5 SCENE 4 Scene 3 9 Recitative Jephtha What mean these doubtful fancies of the brain? 2.00 7 Symphony 1.08 Accompagnato Jephtha If, Lord, sustain’d by Thy almighty pow’r 8 Recitative Iphis Hail, glorious conqueror! Much lov’d father, hail! 4.19 Recitative Jephtha ’Tis said Air Iphis Welcome as the cheerful light bl Chorus of Israelites o God, behold our sore distress 4.17 Chorus of Virgins Welcome thou, whose deeds conspire 9 Recitative Jephtha Horror! Confusion! Harsh this music grates 4.52 SCENE 5 Air Jephtha Open thy marble jaws, O tomb bm Recitative Storgè Some dire event hangs o’er our heads 4.57 bl Recitative Zebul, Jephtha Why is my brother thus afflicted? 1.08 Air Storgè Scenes of horror, scenes of woe bm Accompagnato & Air First perish thou, and perish all the world! 2.19 SCENE 6 Storgè bn Recitative Iphis, Storgè Say, my dear mother, whence these piercing cries 3.43 bn Recitative Hamor If such thy cruel purpose, lo, your friend 2.10 Air Iphis The smiling dawn of happy days Air Hamor On me let blind mistaken zeal bo Quartet Storgè, Hamor, O spare your daughter 3.12 SCENE 7 Jephtha, Zebul bo Recitative Zebul, Jephtha Such, Jephtha, was the haughty king’s reply 5.14 Chorus of Israelites When his loud voice in thunder spoke Scene 4 bp Recitative Iphis Such news flies swift. I’ve heard the mournful cause 1.16 CD2: ACT TWO Accompagnato Iphis for joys so vast too little is the price bq Scene 1 Air Iphis Happy they; This vital breath 3.51 br 1 Recitative Hamor Glad tidings of great joy to thee, dear Iphis 1.19 Accompagnato Jephtha Deeper and deeper still, thy goodness, child 3.17 bs 2 Chorus of Israelites Cherub and seraphim, unbodied forms 3.17 Chorus of Israelites How dark, O Lord, are Thy decrees 7.27 3 Air Hamor Up the dreadful steep ascending 4.08 CD3: ACT THREE 4 Recitative Iphis ’Tis well 5.13 Air Iphis Tune the soft melodious lute Scene 1 1 Air Jephtha Hide thou thy hated beams, O sun, in clouds 2.43 Scene 2 2 5 Recitative Jephtha Heav’n smiles once more on His repentant people 5.56 Accompagnato Jephtha A father, off’ring up his only child 5.18 Air Jephtha His mighty arm, with sudden blow Air Jephtha Waft her, angels, through the skies 6 Chorus of Israelites In glory high, in might serene 2.31 6 7 3 Accompagnato Iphis Ye sacred priests, whose hands ne’er yet were stain’d 5.33 Air Iphis Farewell, ye limpid springs and floods 4 Chorus of Priests Doubtful fear and rev’rent awe 3.56 ephtha Notes 5 Sinfonia 2.40 j 6 Recitative Angel Rise, Jephtha, and ye rev’rend priests, withhold 5.15 Justifying the ways of God to man would still have been ready to launch the Air Angel Happy, Iphis, shalt thou live It has been reckoned that Handel put more new work, as usual, mid-season (after all, 7 Air Jephtha For ever blessed be Thy holy name 1.01 notes on paper than any other composer he wrote Messiah in three weeks). But 8 Chorus of Priests Theme sublime of endless praise 3.16 before or since. When he undertook on 13 February, part-way through the Jephtha, the last new oratorio he was concluding chorus of Act 2, he broke Scene 2 9 to write, he had composed over forty off, writing on the score (in German, an Recitative Zebul Let me congratulate this happy turn 2.39 , over thirty odes, oratorios and indication of his disturbance), ‘unable to Air Zebul Laud her, all ye virgin train bl serenatas, over a hundred cantatas, over continue because the sight of my left eye Recitative Storgè oh, let me fold thee in a mother’s arms 2.47 forty pieces of church music, and over a is so weakened’. Poignantly, he was in the Air Storgè Sweet as sight to the blind bm hundred instrumental works. Jephtha is middle of setting the words ‘all hid from Recitative Hamor With transport, Iphis, I behold thy safety 5.26 the harvest of his decades of penetration mortal sight’. He resumed work (‘a little Air Hamor ’Tis Heav’n’s all-ruling pow’r bn and expression of individual character, the better’) on 23 February, his 66th birthday, Recitative Iphis My faithful Hamor, may that Providence 3.51 human condition, the natural world and but his writing was shaky and he only Quintet Iphis, Hamor, All that is in Hamor is mine the nature of God, and for many listeners reached the end of the chorus. By now his Storgè, Jephtha, Zebul bo it is the masterpiece among his oratorios. season had opened and Jephtha was not Chorus of Israelites Ye house of Gilead, with one voice 3.50 ready. Fortunately for Handel his public did not discover this, because the season Writing Jephtha was curtailed when the Prince of Wales Handel customarily composed major new died on 20 March. Appendix: see note on page 17 works during the long daylight hours bp Recitative Zebul Again Heav’n smiles 4.01 of summer. But for his 1751 season he Handel’s way of dealing with ill health Air Zebul Freedom now started Jephtha only on 21 January, having was to visit a spa. According to modern spent the summer abroad. In the past he science, his symptoms were often those

8 9 of lead-poisoning (probably derived from and (both from the a copy was ceremoniously presented to gives him success in battle he will sacrifice imported wine), which a spa detox regime Apocrypha) and (about an early British monarchs at their coronation, with to God the first thing he meets on his could reverse. During summer 1751 he Christian martyr). Of these only Judas exhortations to obey its precepts. return; it is his daughter; and ‘he did with visited Bath and Cheltenham, and he was had been successful at the box office, her according to his vow’. This was perfect able to complete Jephtha, but with an effort, and with Jephtha Morell returned to the But Enlightenment scepticism and new material for the sceptics, and they made as his writing shows, for he had now lost Bible for another story about a heroic standards of textual criticism challenged full use of it. Horrific by any standards, it the sight of his left eye. The composition Jewish leader. Handel’s biblical oratorios the Bible’s validity as the revealed word of implicated God as a sadist, showed God had taken him fourteen weeks spread over offered his listeners moral and religious God. Freethinkers widened the breach to and man fully accepting human sacrifice seven months, and he premiered Jephtha guidance, political comment, and attack the accepted bases of Christianity, as the seal of a religious vow, and proved in his 1752 season. The great actor-singer patriotic encouragement, conveyed with in particular the history, laws and often that Christianity was contaminated at its created the title role; Giulia psychological depth and stirring emotion. ethically abhorrent customs of the source, in that the Jews adopted barbarous Frasi, who had created Theodora, sang Using Old Testament stories to do all this Israelites. And if the Old Testament was rites such as child sacrifice. his daughter; and , who had would have seemed entirely natural to not beyond question, then Christianity created Irene, sang Jephtha’s wife. his audiences. itself – the national religion, the national Morell was not the first to address identifier – was questionable. Ministers so glaring a challenge to mainstream By 1753 Handel was completely blind, but Like many nations before and since, the of religion fought back, generating an belief. Previous settings of the Jephtha he continued to supervise his oratorio British people of Handel’s time identified enormous volume of published debate, story included the oratorio by Carissimi performances, reviving Jephtha several with the ancient Israelites, claiming both scholarly and journalistic. The (which Handel knew: he drew on it for his times, with amendments by himself and that they themselves were God’s chosen concern and contention aroused was at a ), and Pellegrin’s and Montéclair’s by his assistant J.C. Smith. people now, as the Israelites had been level comparable in our own time to the (1732 and often revived), which then. Sermons – the main public address anxiety generated by global warming or anticipates incidents in several of system – repeatedly took messages for fanatic fundamentalism. Handel’s oratorios. Verbal parallels The Biblical challenge their congregations from Old Testament indicate that Morell knew John Hoadly’s For Handel’s immediately preceding history, especially in time of war (and In choosing the Old Testament story of oratorio libretto (1737, set by Maurice oratorios the Rev. Thomas Morell (1703- Handel’s oratorio-writing years were Jephtha, well known in Handel’s day, Morell Greene). Another of his sources, George 84), classical and biblical scholar, had mainly times of war and rebellion). The was grasping one of the controversy’s Buchanan’s Latin play Jephthes, sive Votum provided the librettos: Judas Maccabaeus Bible was central to British political life; prickliest nettles. Jephtha vows that if God (1554), provided the character and name

10 11 of Jephtha’s wife, and the name of his preferable version of the bible story, so he Testament, and that list, as defenders of he appreciates this pronouncement to be daughter. Buchanan also used a chorus, ‘improves’ the characters of Iphigenia in Christianity often pointed out, includes misplaced self-confidence, and dreadful and Morell took over several details of his Aulis, making both Jephtha and Iphis far Jephtha. Morell has to accommodate this dramatic irony, since we know the story dramatisation. Behind Buchanan’s play, more glowing examples of patriotism and New Testament approval of Jephtha, and and we know what is in store for Jephtha. and prominent in the mind of Morell the faith than their Euripidean counterparts. so the angel’s message to Jephtha ends classicist, was the story of another father with assurance that God approves his faith When disaster appears to strike, Jephtha who sacrificed his daughter in the cause of in making the vow and trying to keep to it. interprets it as an ‘event of fate’ and, military success and in requital of a vow to It must be so? echoing the opening words of the oratorio, a deity: Agamemnon, leader of the Greeks, Morell, a committed priest, justifies But we may ask: having phrased his vow insists ‘it must be so’. The great chorus who sacrificed his daughter, Iphigenia, to God’s ways to man by adopting an to allow for a humane interpretation, why ‘How dark, O lord, are thy decrees’ which achieve military success at Troy. interpretation of Jephtha’s vow which does Jephtha apparently forget or fail to follows his collapse, one of Handel’s finest had been current since medieval times understand his own words and insist on creations, similarly subscribes to belief in Morell knew Euripides’ plays, and two of (and which survives in modern biblical his daughter’s destruction? implacable fate: Handel changed Morell’s them on Iphigenia’s story, Iphigenia in Aulis apologetics.) The Hebrew of the vow ‘what God ordains is right’ to ‘Whatever and Iphigenia in Tauris, contributed as can be read to allow for the dedication, This may be exactly what Morell wants is, is right’ (from Alexander Pope’s much as the Old Testament to his libretto. rather than the sacrifice, of Jephtha’s us to ask. At no point in his despair does rationalist Essay on Man). Jephtha and Mirroring Iphigenia in Aulis, he helpfully daughter to God. In Morell’s libretto Jephtha (or anyone else in the oratorio) his fellow Israelites are living in the Old enlarged the two-hander of the Bible to a the father who is seemingly required by turn to God for help, until the chorus Testament, pre-Christian, dispensation, cast which would enable Handel to deploy God to kill his child is restrained at the last of priests prays for guidance – and then, and, accustomed to the Old Testament each voice type he had at his disposal: moment by an angel, who points out the immediately, the angel answers them with Jehovah, they do not understand the true Iphigenia = Iphis, soprano; Clytemnestra alternative. a message of salvation. Jephtha is a hero, extent of God’s mercy – which they learn, = Storgè (Greek for the love between but he needs to learn, like all of us, that and which we learn alongside them. parents and children), mezzo; Achilles We are reminded of Abraham and Isaac. he is not self-sufficient and need not try = Hamor, counter-tenor; Agamemnon = Morell probably intended the connection. to be entirely self-reliant. In his first aria Morell’s libretto exonerates God from Jephtha, tenor; Menelaus = Zebul, bass; Abraham heads the list in the New he declares that, secure in his own virtue, crimes against humanity. But the whole plus a chorus. But his treatment criticises Testament’s Epistle to the Hebrews of the he ‘dreads no event of fate’. Handel’s play family which Morell has created has Euripides too. Just as he gives an ethically exemplary faithful characters of the Old with an unstable pedal note shows that been made to experience the anguish

12 13 of bereavement before being reprieved, 45 years before in his Italian cantatas. of choral expressiveness – chromatic world. Morell was perhaps more successful and then their loss is not minimised: Jephtha’s rise from blinkered confidence anxiety, hymnal ardour, ‘devout’ orthodox than he intended in providing Handel the pain of adjustment to their new lives through inexpressible torment to true counterpoint, word-painting of sublime with a text that would elicit his emotive is evident in their words, if not in courage and faith is unerringly explored effects of untrammelled nature and the power; it is this moment of profound Handel’s music. We may ask why God in the progress from his pat ‘Virtue my supernatural – and he extends it for ‘How disturbance which remains most vividly did not intervene sooner and spare the soul’, through his heart-stopping ‘Open dark, O Lord’, developing five distinct in the listener’s mind. innocent such suffering. One answer is thy marble jaws, O tomb’ (a heroic effort ideas within 183 bars as the chorus casts that Morell is providing for his audience’s to keep a grip on sanity by means of the around for a way to make sense of the © Ruth Smith 2014 love of Handel’s power to evoke human formal conventions of a da capo air) and emotion. By making his characters and his agonised ‘Deeper and deeper still’, to audience expect Iphis’ death, he enables his soaring apprehension of Iphis’ afterlife Handel to arouse and explore all the pain in heaven, ‘Waft her, angels’. of tragic loss. Synopsis Handel’s score is marked by fertility and jephtha Iphis’ terrible situation gives Handel scope concision; by formal innovation (for to create again (as in Theodora) a heart- example the quartet, exceptional in his Act one rendingly tender, self-denying and brave output); by mastery of structure – notably After the Exodus from Egypt the Israelites rituals – including child sacrifice – the heroine – one of the favourite character the tonal organisation of the central are establishing themselves in the Israelites foreswear idolatry (‘Nor more to types of the eighteenth-century stage. In section of the work, which constitutes one Promised Land. Harried for eighteen years Ammon’s god and king’). moving from radiant, dancing girlhood to of Handel’s most original compositional by the hostile Ammonite tribe, they are at inspired nobility Iphis is the culmination spans; by range, intensity and inwardness their last gasp. Zebul, one of their leaders, Jephtha accepts their invitation to return of Handel’s lifelong portrayals of blameless of emotion. There are seven accompanied suggests that they recall from exile his and lead them, confident in his virtue women whose predicament brings out , Handel’s most intimately half-brother Jephtha, outstanding warrior and goodness (‘Virtue my soul shall still their heroism (a line begun in English impassioned vocal form. Jephtha’s ‘Deeper and patriot (‘It must be so’ / ‘Pour forth embrace’). Jephtha’s wife, Storgè, confides oratorio with the very first, ). Her and deeper still’ passes through 15 keys no more’). Recognising that their parlous that she will sorely miss him, but will mother Storgè is the last of Handel’s long in 44 bars before staggering into silence. state results from their faithlessness to subdue her feelings to the national cause line of passionate wronged women, begun Handel harvests his whole repertory God and adoption of hideous Ammonite (‘In gentle murmurs will I mourn’).

14 15 Iphis, daughter and only child of Jephtha Act two break his pledge to God (‘Oh, spare your Jephtha was not wrong to hold to his sense and Storgè, enjoys an encounter with Hamor and his companions bring joyful daughter’). Iphis returns, having learned of his vow: the Holy Spirit dictated it, and her suitor Hamor, but when he asks her news of a divinely assisted Israelite victory her fate. She accepts it, content that the approves his faith. Jephtha expresses his to name the day (‘Dull delay, in piercing (‘Cherub and seraphim’, ‘Up the dreadful vow resulted in her country’s salvation gratitude (‘For ever blessed be Thy holy anguish‘) she requires him first to join up steep ascending’). Iphis prepares a hero’s (‘For joys so vast’ / ‘Happy they’). Jephtha name’). The community hymns God’s and help save their people (‘Take the heart greeting for her father (‘Tune the soft is overcome by her goodness and his justice and mercy (‘Theme sublime’). you fondly gave’). They look forward to melodious lute’). terrible predicament (‘Deeper and deeper mutual happiness (‘These labours past’). still’). In one of Handel’s most deeply felt Zebul, Storgè and Hamor in turn voice Jephtha congratulates his comrades, and disturbing choruses (‘How dark, O their gratitude for Iphis’ reprieve, and, Jephtha feels inspired by God and vows acknowledging that the victory was God’s Lord’), the Israelites attempt to come to for Storgè and Hamor, their loss (‘Laud that, if granted victory, he will sacrifice (‘His mighty arm’). The Israelites hymn terms with God’s apparent will. her’, ‘Sweet as sight’, ‘’Tis Heav’n’s all- or devote to God whatever or whomever God’s immanent power (‘In glory high’). ruling pow’r’). Iphis again sets a pattern he first sees on returning home (‘If, Lord, Act three of acceptance, as she and Hamor face their sustain’d by Thy almighty pow’r’). The On his return, the first being Jephtha meets The sacrifice is prepared. Jephtha prays future apart (‘All that is in Hamor mine’). nation implores God’s aid (‘O God, behold is Iphis, welcoming him with a festive that angels will waft Iphis to heaven (‘Hide Their duet of love and resignation becomes our sore distress‘). procession (‘Welcome as the cheerful thou thy hated beams’ / ‘Waft, her, angels, a quintet celebrating Iphis’ courage and light’). Distraught, he sends her away through the skies’). Iphis encourages the faith (‘Joys triumphant’). The final chorus Storgè is frightened by nightmares of danger (‘Horror! Confusion!’ / ‘Open thy marble hesitant priests to carry out the vow and (‘Ye house of Gildead’) rejoices in God’s threatening Iphis (‘Scenes of horror’), who jaws, O tomb’), and, to his dumbfounded prepares to die, looking toward a brighter preservation of His people. reassures her mother, anticipating a happy brother, wife, and prospective son in world (‘Farewell’). The priests ask God to future (‘The smiling dawn of happy days’). law, explains that this beloved only child direct them (‘Doubtful fear’). Appendix: additional air for Zebul must die because of his vow, which God In his 1753 revival Handel inserted an An embassy to the Ammonites having has sealed by giving them victory. Storgè An angel appears and explains that the vow additional air for Zebul at the beginning of been rebuffed, Jephtha encourages the invokes universal chaos (‘First perish did not require Iphis’ death, which God Act II scene 2 (‘Freedom now once more Israelites, who declare their trust in God thou’ / ‘Let other creatures die’); Hamor would abhor (‘Rise, Jephtha’). She is to be possessing’), making over to Zebul the prior to battle (‘When his loud voice in offers to die instead (‘On me’); all join in devoted to God, as a perpetual virgin, and first part of Jephtha’s Recitative. thunder spoke’). an anguished quartet, Jephtha refusing to will be eternally honoured (‘Happy, Iphis’). © Ruth Smith 2014

16 17 Jephtha SCENE 3 An oratorio in three parts I will: so please it Heav’n; and these the terms. Enter Hamor and Iphis. ephtha If I command in war, the like command j (Should Heav’n vouchsafe us a victorious peace) 6 Recitative Shall still be mine. Hamor CD1 ACT ONE Happy this embassy, my charming Iphis, Zebul Which once more gives thee to my longing eyes, 1 Overture Air Agreed; be witness, Heav’n. As Cynthia, breaking from th’involving clouds Zebul On the benighted traveller. The sight SCENE 1 Pour forth no more unheeded pray’rs Air Of thee, my love, drives darkness and despair. Zebul, with his brethren and Chorus. To idols deaf and vain. Jephtha Again I live, in thy sweet smiles I live, No more with vile unhallow’d airs Virtue my soul shall still embrace, As in thy father’s ever-watchful care 2 Accompagnato The sacred rites profane. And goodness shall make me great. Our wretched nation feels new life, new joy. Zebul Who builds upon this steady base Oh haste, and make my happiness complete! It must be so, or these vile Ammonites, 3 Chorus of Israelites Dreads no event of fate. Air Our lordly tyrants now these eighteen years, No more to Ammon’s god and king, 5 Will crush the race of Israel. Fierce Moloch, shall our cymbals ring, Recitative Hamor Since Heav’n vouchsafes not, with immediate choice, In dismal dance around the furnace blue. Storgè Dull delay, in piercing anguish, To point us out a leader, as before, Chemosh no more will we adore ’Twill be a painful separation, Jephtha, Bids thy faithful lover languish, Ourselves must choose. And who so fit a man With timbrell’d anthems to Jehovah due. To see thee harness’d for the bloody field. While he pants for bliss in vain. As Gilead’s son, our brother, valiant Jephtha? But ah! how trivial are a wife’s concerns Oh! with gentle smiles relieve me. True, we have slighted, scorn’d, expell’d him hence, When a whole nation bleeds, and grov’ling lies, Let no more false hopes deceive me, As of a stranger born, but well I know him: SCENE 2 Panting for liberty and life. Nor vain fears inflict a pain. His gen’rous soul disdains a mean revenge Enter Jephtha and Storgè. 7 When his distressful country calls his aid. Air Recitative And perhaps Heav’n may favour our request 4 Recitative Storgè Iphis If with repentant hearts we sue for mercy. Zebul In gentle murmurs will I mourn, Ill suits the voice of love when glory calls, But Jephtha comes. Kind Heav’n, assist our plea. As mourns the mate-forsaken dove, And bids thee follow Jephtha to the field. O Jephtha, with an eye of pity look And sighing wish thy dear return There act the hero, and let rival deeds On thy repentant brethren in distress. To liberty and lasting love. Proclaim thee worthy to be call’d his son, Forgetful of thy wrongs, redress thy sire, And Hamor shall not want his due reward. Thy friends, thy country, in extreme despair. Exeunt

18 19 Air Strange ardour fires my breast; SCENE 5 Storgè Iphis my arms seem strung Storgè, alone. For thee I fear, my child; Take the heart you fondly gave, With tenfold vigour, and my crested helm Such ghastly dreams last night surpris’d my soul. Lodg’d in your breast with mine. To reach the skies. Be humble still, my soul! bm Recitative Thus with double ardour brave, It is the Spirit of God, in whose great name Storgè Iphis Sure conquest shall be thine. I offer up my vow. Some dire event hangs o’er our heads, Heed not these black illusions of the night, Some woeful song we have to sing The mocking of unquiet slumbers, heed them not. 8 Recitative Accompagnato In misery extreme. Oh never, never My father, touch’d with a diviner fire, Hamor Jephtha Was my foreboding mind disturb’d before Already seems to triumph in success, I go; my soul, inspir’d by thy command, If, Lord, sustain’d by Thy almighty pow’r, With such incessant pangs. Nor doubt I but Jehovah hears our pray’rs. Thirsts for the battle. I’m already crown’d Ammon I drive, and his insulting bands, With the victorious wreath, and thou, fair prize, From these our long-uncultivated lands, Air Air More worth than fame or conquest, thou art mine. And safe return the glorious conqueror, Storgè Iphis What, or whoe’er shall first salute mine eyes, Scenes of horror, scenes of woe, The smiling dawn of happy days Duet Shall be forever Thine, or fall a sacrifice. Rising from the shades below, Presents a prospect clear, Iphis and Hamor Add new terror to the night; And pleasing hope’s all-bright’ning rays These labours past, how happy we! Recitative While in never-ceasing pain, Dispel each gloomy fear; How glorious will they prove. Jephtha That attends the servile chain, While ev’ry charm that peace displays When gath’ring fruit from conquest’s tree, ‘Tis said. Joyless flow the hours of light. Makes spring-time all the year. We deck the feast of love. Enter Israelites. Exeunt Exeunt SCENE 6 Attend, ye chiefs, and with united voice Enter Iphis. Invoke the holy name of Israel’s God. SCENE 7 SCENE 4 bn Recitative Enter Zebul, Jephtha and Chorus of Israelites. Jephtha, alone. bl Chorus of Israelites Iphis O God, behold our sore distress, Say, my dear mother, bo Recitative 9 Recitative Omnipotent to plague or bless! whence these piercing cries Zebul Jephtha But turn thy wrath, and bless once more That force me, like a frighted bird, to fly Such, Jephtha, was the haughty king’s reply: What mean these doubtful fancies of the brain? Thy servants, who thy name adore. My place of rest? No terms, but ruin, slavery and death. Visions of joy rise in my raptur’d soul, There play awhile, and set in darksome night. Exeunt

20 21 Jephtha Observant of his dread command. 4 Recitative Air Sound, then, the last alarm; and to the field, In vain they roll their foaming tide, Iphis Jephtha Ye sons of Israel, with intrepid hearts, Confin’d by that great pow’r ’Tis well. His mighty arm, with sudden blow, Dependent on the might of Israel’s God. That gave them strength to roar. Haste, haste, ye maidens, and in richest robes Dispers’d and quell’d the haughty foe. They now contract their boist’rous pride, Adorn me, like a stately bride, They fell before him, as when through the sky Chorus of Israelites And lash with idle rage the laughing strand. To meet my father in triumphant pomp. He bids the sweeping winds in vengeance fly. When his loud voice in thunder spoke, And while around the dancing banners play. With conscious fear the billows broke, 6 Chorus of Israelites Air In glory high, in might serene, Iphis He sees, moves all, unmov’d, unseen. CD2 ACT two Tune the soft melodious lute, His mighty arm, with sudden blow, Pleasant harp and warbling flute, Dispers’d and quell’d the haughty foe. SCENE 1 2 Chorus of Israelites To sounds of rapt’rous joy; Enter Hamor, Iphis and Chorus of Israelites. Cherub and seraphim, unbodied forms, Such as on our solemn days, The messengers of fate, Singing great Jehovah’s praise, SCENE 3 1 Recitative His dread command await; The holy choir employ. Hamor Of swifter flight, and subtler frame 7 Symphony Glad tidings of great joy to thee, dear Iphis, Than lightning’s winged flame, Exeunt And to the house of Israel I bring. They ride on whirlwinds, directing the storms. Enter Iphis, Storgè and Chorus of Virgins. Thus then, in brief. Both armies in array Of battle rang’d, our general stept forth 3 8 Air SCENE 2 Recitative And offer’d haughty Ammon terms of peace, Hamor Enter Zebul, Jephtha, Hamor and Chorus. Iphis Most just and righteous; these with scorn refus’d, Up the dreadful steep ascending, Hail, glorious conqueror! He bade the trumpet sound. But scarce a sword While for fame and love contending, 5 Recitative Much lov’d father, hail! Was ting’d in hostile blood, ere all around Sought I thee, my glorious prize. Jephtha Behold thy daughter, and her virgin train, The thund’ring heavens open’d and pour’d forth And now happy in the blessing, Heav’n smiles once more on Come to salute thee with all duteous love. Thousands of armed cherubim, when straight Thee, my sweetest joy, possessing, His repentant people, Our general cried: “This is thy signal, Lord, Other honours I despise. And victory spreads wide her silver wings Air I follow Thee, and Thy bright heav’nly host.” To soothe our sorrows with a peaceful calm. Iphis Then rushing on proud Ammon, all aghast, Zebul, thy deeds were valiant, Welcome as the cheerful light, He made a bloody slaughter, and pursu’d Nor less thine, my Hamor; Driving darkest shades of night; The flying foe, till night bade sheathe the sword, But the glory is the Lord’s. Welcome as the spring that rains And taste the joys of victory and peace. 22 23 Peace and plenty o’er the plains. bl Recitative bn Recitative SCENE 4 Not cheerful day, Zebul Hamor Enter Iphis. Nor spring so gay, Why is my brother thus afflicted? Say, If such thy cruel purpose, lo, your friend Such mighty blessings brings Why didst thou spurn thy daughter’s gratulations, Offers himself a willing sacrifice, bp Recitative As peace on her triumphant wings. And fling her from thee with unkind disdain? To save the innocent and beauteous maid. Iphis Such news flies swift. I’ve heard the mournful cause Chorus of Virgins Jephtha Air Of all your sorrows. Of my father’s vow Welcome thou, whose deeds conspire O Zebul, Hamor, and my dearest wife, Hamor Heav’n spoke its approbation by success: To provoke the warbling lyre, Behold a wretched man, On me let blind mistaken zeal Jephtha has triumph’d. Israel is free. Welcome thou, whom God ordain’d Thrown from the summit of presumptuous joy, Her utmost rage employ. Guardian angel of our land! Down to the lowest depth of misery. ’Twill be a mercy there to kill Accompagnato Thou wert born His glorious name Know, then, I vow’d the first I saw should fall Where life can taste no joy. Iphis And great wonders to proclaim. A victim to the living God. My daughter, For joys so vast too little is the price Alas, it was my daughter, and she dies. bo Quartet Of one poor life; but oh! accept it, Heav’n, 9 Recitative Zebul A grateful victim, and thy blessing still Jephtha bm Accompagnato and Air Oh, spare your daughter – Pour on my country, friends, and dearest father! Horror! Confusion! Harsh this music grates Storgè Storgè bq Upon my tasteless ears – be gone, my child, First perish thou, and perish all the world! Spare my child, Air Thou hast undone thy father! Fly, be gone, Hath Heav’n then bless’d us with this only pledge Iphis And leave me to the rack of wild despair. Of all our love, this one dear child, for thee Hamor Happy they; this vital breath To be her murderer? No, cruel man; My love. With content I shall resign; Exit Iphis. Let other creatures die; Jephtha And not murmur or repine, Or Heav’n, earth, seas and sky Recorded stands my vow in Heav’n above. Sinking in the arms of death. Air In one confusion lie, Storgè br Jephtha Ere in a daughter’s blood, Recall the impious vow, ere ‘tis too late. Accompagnato Open thy marble jaws, O tomb, So fair, so chaste, so good, Jephtha Hamor, Zebul, Storgè And hide me, earth, in thy dark womb, A father’s hand’s embrued. Deeper and deeper still, thy goodness, child, Ere I the name of father stain, And think not Heav’n delights Pierceth a father’s bleeding heart, and checks And deepest woe from conquest gain. In Moloch’s horrid rites. The cruel sentence on my falt’ring tongue. Jephtha Oh, let me whisper it to the raging winds, I’ll hear no more; her doom is fix’d as fate. Or howling deserts; for the ears of men It is too shocking. Yet – have I not vow’d?

24 25 And can I think the great Jehovah sleeps, bs Chorus of Israelites Air Air Like Chemosh and such fabled deities? How dark, O Lord, are Thy decrees, Iphis Angel Ah no; All hid from mortal sight! Farewell, ye limpid springs and floods, Happy, Iphis, shalt thou live, Heav’n heard my thoughts, and wrote them down. All our joys to sorrow turning, Ye flow’ry meads and mazy woods; While to thee the virgin choir It must be so. And our triumphs into mourning, Farewell, thou busy world, where reign Tune their harps of golden wire, ’Tis this that racks my brain, As the night succeeds the day. Short hours of joy and years of pain. And their yearly tribute give. And pours into my breast a thousand pangs No certain bliss, Brighter scenes I seek above, Happy, Iphis, all thy days, That lash me into madness. Horrid thought! No solid peace, In the realms of peace and love. Pure, angelic, virgin-state, My only daughter! So dear a child, We mortals know Shalt thou live, and ages late Doom’d by a father! Yes, the vow is past, On earth below: 4 Chorus of Priests Crown thee with immortal praise. And Gilead hath triumph’d o’er his foes. Yet on this maxim still obey: Doubtful fear and rev’rent awe Therefore, tomorrow’s dawn – I can no more. “Whatever is, is right.” Strike us, Lord, while here we bow, 7 Air Check’d by Thy all-sacred law, Jephtha Yet commanded by the vow. For ever blessed be Thy holy name, Hear our pray’r in this distress, Lord God of Israel! CD3 ACT THREE And Thy determin’d will declare. 8 Chorus of Israelites SCENE 1 Air 5 Sinfonia Theme sublime of endless praise, Jephtha, Iphis, Priests and Israelites. Jephtha Just and righteous are thy ways; Waft her, angels, through the skies, 6 Recitative And thy mercies still endure, 1 Air Far above yon azure plain; Angel Ever faithful, ever sure. Jephtha Glorious there, like you, to rise, Rise, Jephtha, and ye rev’rend priests, withhold Hide thou thy hated beams, O sun, in clouds There, like you, for ever reign. The slaught’rous hand. No vow can disannul And darkness, deep as is a father’s woe; 3 The law of God. Nor such was its intent SCENE 2 Accompagnato When rightly scann’d; yet still shall be fulfill’d. Enter Zebul, Storgè, Hamor and 2 Accompagnato Iphis Thy daughter, Jephtha, thou must dedicate Chorus of Israelites. Jephtha Ye sacred priests, whose hands ne’er yet were stain’d To God, in pure and virgin state forever, A father, off ’ring up his only child With human blood, why are ye thus afraid As not an object meet for sacrifice, 9 Recitative In vow’d return for victory and peace. To execute my father’s will? The call of Heav’n Else had she fall’n an holocaust to God. Zebul With humble resignation I obey. The Holy Sp’rit, that dictated thy vow, Let me congratulate this happy turn, Bade thus explain it, and approves thy faith. My honour’d brother, judge of Israel!

26 27 Thy faith, thy courage, constancy and truth bm Recitative Iphis bo Chorus of Israelites Nations shall sing, and in their just applause, Hamor Duteous to the Will Supreme, Ye house of Gilead, with one voice, All join to celebrate thy daughter’s name. With transport, Iphis, I behold thy safety, Still my Hamor I’ll esteem. In blessings manifold rejoice, Freed from war’s destructive sword: But must forever mourn so dear a loss, Hamor Air Peace her plenty round shall spread, Dear, though great Jephtha were to honour me Duteous to Almighty Pow’r, Zebul While in virtue’s path you tread; Still with the name of son. Still my Iphis I’ll adore. Laud her, all ye virgin train So are they blest who fear the Lord. In glad songs of choicest strain. Air Storgè, Jephtha, Zebul Amen. Ye blest angels all around, Hamor Joys triumphant crown thy days, Hallelujah. Laud her in melodious sound. ’Tis Heav’n’s all-ruling pow’r And thy name eternal praise. Amen. Virtues that to you belong, That checks the rising sigh; Iphis, Hamor, Storgè, Jephtha, Zebul Love and truth demand the song. Yet let me still adore Joys triumphant crown thy days, And think an angel by, And thy name eternal praise. bl Recitative While thus each charm and beauteous line Storgè With more than human lustre shine. Oh, let me fold thee in a mother’s arms, And with submissive joy, my child, bn Recitative Receive thy designation to the life of Heav’n. Iphis My faithful Hamor, may that Providence Appendix: see note on page 17 Air Which gently claims, or forces, our submission, bp Recitative Air Storgè Direct thee to some happier choice. Zebul Zebul Sweet as sight to the blind, Again Heav’n smiles on His repentant people, Freedom now once more possessing, Or freedom to the slave, Quintet And victory spreads wide her silver wings Peace shall spread with ev’ry blessing Such joy in thee I find, Iphis To soothe our sorrows with a peaceful calm. Triumphant joy around. Safe from the grave. All that is in Hamor is mine Sion now no more complaining, Still I’m of thee possess’d, Freely I to Heav’n resign. Shall, in blissful plenty reigning, Such is kind Heav’n’s decree Thy glorious praise resound. Hamor That hath thy parents bless’d All that is in Iphis mine In blessing thee. Freely I to Heav’n resign. •

28 29 Harry Christophers is known internationally as founder After three decades of world-wide performance and conductor of The Sixteen as well as a regular guest conductor and recording, The Sixteen is recognised as one for many of the major symphony orchestras and opera companies of the world’s greatest ensembles. Its special worldwide. He has directed The Sixteen choir and orchestra reputation for performing early English polyphony, throughout Europe, America and Asia Pacific gaining a masterpieces of the Renaissance, Baroque and early distinguished reputation for his work in Renaissance, Baroque and Classical periods, and a diversity of 20th- and 21st-century music, all stems from the 20th- and 21st-century music. In 2000 he instituted The Choral passions of conductor and founder, Harry Christophers.

Pilgrimage, a national tour of English cathedrals from York to Borggreve Marco Photograph: Canterbury in music from the pre-Reformation, as The Sixteen’s The Sixteen tours internationally giving regular performances at the major concert halls contribution to the millennium celebrations. The Pilgrimage in and festivals. At home in the UK, The Sixteen are ‘The Voices of Classic FM’ as well as the UK is now central to The Sixteen’s annual artistic programme. Associate Artists of The Bridgewater Hall, Manchester. The group also promotes The Choral Pilgrimage, an annual tour of the UK’s finest cathedrals. In 2008 Harry Christophers was appointed Artistic Director of Boston’s Handel and Haydn Society; he is also Principal Guest Conductor of the Granada Symphony The Sixteen’s period-instrument orchestra has taken part in acclaimed semi-staged Orchestra. As well as enjoying a partnership with the BBC Philharmonic, with whom performances of Purcell’s The Fairy Queen in Tel Aviv and London, a fully-staged he won a Diapason d’Or, he is a regular guest conductor with the Academy of St Martin production of Purcell’s King Arthur in Lisbon’s Belem Centre, and new productions of in the Fields. With The Sixteen he is an Associate Artist at The Bridgewater Hall in Monteverdi’s Il ritorno d’Ulisse at Lisbon Opera House and The Coronation of Poppea at Manchester and features in the highly successful BBC television series, Sacred Music, English National Opera. presented by Simon Russell Beale. Over 100 recordings reflect The Sixteen’s quality in a range of work spanning the music Harry has conducted numerous productions for Lisbon Opera and English National of 500 years. In 2009 they won the coveted Classic FM Gramophone Artist of the Year Opera as well as conducting the UK premiere of Messager’s opera Fortunio for Grange Park Award and the Baroque Vocal Award for Handel’s Coronation Anthems. The Sixteen Opera. He is a regular conductor at Buxton Opera where he initiated a very successful cycle also features in the highly successful BBC television series, Sacred Music, presented by of Handel’s operas and oratorios including , Samson, Saul and Jephtha. Simon Russell Beale.

Harry Christophers is an Honorary Fellow of Magdalen College, Oxford, as well as the In 2011 the group launched a new training programme for young singers called Royal Welsh College of Music and Drama and has been awarded the Honorary Degree Genesis Sixteen. Aimed at 18 to 23 year-olds, this is the UK’s first fully-funded choral of Doctor of Music from the University of Leicester. He was awarded a CBE in the 2012 programme for young singers designed specifically to bridge the gap from student to Queen’s Birthday Honours. professional practitioner.

30 31 James Gilchrist began his working life as a doctor, turning Susan Bickley is firmly established as to a full-time music career in 1996. James’ numerous concert one of the most accomplished mezzo-

appearances include Britten’s Serenade for Tenor, Horn and pera O mnia sopranos of her generation, with a wide Strings (Manchester Camerata, Amsterdam Sinfonietta), repertory encompassing the Baroque, the Haydn’s The Seasons (BBC Proms, St Louis Symphony), great 19th- and 20th-century dramatic Tippett’s The Knot Garden (BBC SO, Sir Andrew Davis), Bach’s roles as well as contemporary repertoire. Kim Julie Photograph:

Christmas Oratorio (Tonhalle Orchestra Zurich), Handel’s O Photograph: In May 2011 she received the prestigious Messiah (San Francisco, Detroit and St Louis, Washington, Singer Award at the Royal Philharmonic Handel and Haydn Society in Boston), Britten’s Les Illuminations Society Awards, the highest recognition (Aldeburgh Festival) and War Requiem (Dresden Philharmonie), Handel’s for live classical music in the UK. (Philharmonia Baroque, Nicholas McGegan), Stravinsky’s La Pulcinella (Orchestre National de Paris, Thierry Fischer), Handel’s (Concerto Köln, Ivor Bolton) and Bickley has performed for many Bach’s St Matthew Passion and St John Passion (Royal Concertgebouw Orchestra). of the world’s major opera houses, orchestras and festivals including Royal As a recitalist, he has appeared at many venues throughout the UK, in New York and Opera House, Glyndebourne, Oper at the Amsterdam Concertgebouw. His partnership with the pianist Anna Tilbrook Frankfurt, Salzburg Festival, Accademia includes many broadcasts for BBC Radio 3, performing Schumann cycles and Schubert Nazionale di Santa Cecilia, Rotterdam songs, as well as demonstrating a special interest in English song, with performances of Philharmonic, Berlin Staatsoper, Opéra Finzi, Vaughan Williams, Tippett and Britten. James is also partnered regularly by the de Paris, San Francisco Opera, Hallé pianist Julius Drake and the harpist Alison Nicholls. Orchestra, BBC Proms, BBC Symphony Orchestra and English National Opera; James’ many recordings include songs by Gerald Finzi Oh Fair To See; Kenneth with such conductors as Sir Mark Elder, Leighton and Benjamin Britten Earth Sweet Earth and Winter Words; and Vaughan Ingo Metzmacher, Trevor Pinnock, Sir Andrew Davis, Christian Curnyn, Sir Antonio Williams, Warlock, Bliss and Gurney On Wenlock Edge (with the Fitzwilliam String Pappano, Daniel Baremboim and Mark Wigglesworth. She has created roles for several Quartet), all with Anna Tilbrook for Linn records. He has also recorded Songs of Muriel world premieres, including Virgie Anna Nicole at ROH, Detective Two Boys at ENO and Herbert accompanied by David Owen for Linn records. For Orchid Classics, James and in Andriessen’s Writing to Vermeer at Netherlands Opera, and has recorded for leading Anna Tilbrook have recorded their critically acclaimed Schubert song cycles Die schöne labels including EMI, DG and Hyperion. Müllerin, Schwanengesang and Winterreise.

32 33 Sophie Bevan graduated from the Robin Blaze works with some of the most Benjamin Britten International Opera distinguished conductors in the early music School where she was awarded the field including Christophers, Gardiner, Haïm, Queen Mother Rose Bowl Award. Herreweghe, Hogwood, Koopman, Goodwin, King, Kraemer, Pinnock, McGegan and Suzuki. Conductors she works with include Photograph: Sussie Ahlburg Sussie Photograph:

Sir Antonio Pappano, Daniel Harding, He regularly appears with The Academy of Ancient Heise Dorothea Photograph: Andris Nelsons, Edward Gardner, Music, Bach Collegium Japan, Collegium Vocale, Laurence Cummings, Sir Mark Elder, The English Concert, The Gabrieli Consort, The Sir Neville Marriner and Sir Charles King’s Consort, Florilegium, Orchestra of the Age of Mackerras. She is a noted recitalist and Enlightenment and The Sixteen. Other engagements has performed at the Concertgebouw have included the Berlin Philharmonic, the Kleine Zaal with Malcom Martineau National Symphony Orchestra, Washington, Royal and made her Wigmore Hall recital Flanders Philharmonic, BBC Philharmonic, Royal debut with Sebastian Wybrew to critical acclaim. Sophie has also appeared at the BBC Philharmonic Orchestra, Royal Northern Sinfonia Proms and the Edinburgh and Aldeburgh Festivals. and the Philharmonia Orchestra.

Her operatic roles for English National Opera include Despina Cosi fan tutte, soprano Robin Blaze’s opera engagements have included Athamas Semele at Covent Garden solos Messiah, Polissena , Yum Yum Mikado, Telair in Rameau’s Castor and and English National Opera; Didymus Theodora for Glyndebourne Festival Opera; Pollux and her first Sophie Der Rosenkavalier. For Garsington Opera she has performed Arsamenes Xerxes, Oberon A Midsummer Night’s Dream and Hamor Jephtha for Pamina and her first and for Welsh National Opera she has sung the title role in ENO; and Bertarido for Glyndebourne Touring Opera and at the Göttingen The Cunning Little Vixen. For the , Covent Garden, she has appeared Handel Festival where he has also appeared as Arcane . as Waldvogel Siegfried and Pamina. Robin’s many recordings include the complete Bach Cantata Cycle with Bach Collegium Sophie was the recipient of the 2010 Critics’ Circle Award for Exceptional Young Talent. Japan, Handel Oratorio Duets (OAE/Kraemer), several recital discs of lute songs with She was nominated for the 2012 Royal Philharmonic Society Awards and was the Elizabeth Kenny, Didymus Theodora (The Gabrieli Consort/McCreesh), Vivaldi, recipient of The Times Breakthrough Award at the 2012 South Bank Sky Arts Awards Kuhnau and Knüpfer (The King’s Consort), Purcell Odes (Collegium Vocale Gent/ and the Young Singer Award at the 2013 inaugural International Opera Awards. Herreweghe), and Thomas Adès’ song cycle The Lover in Winter.

34 35 Matthew Brook has appeared as a soloist Grace Davidson began her musical throughout Europe, Australia, North and South studies with a scholarship at The America and the Far East, working extensively Royal Academy of Music where she ernandez as a recitalist and concert artist with Gardiner, won the Early Music prize. Christophers, Rousset, McCreesh, Nelson and Elder, and many orchestras and ensembles Grace has recorded the ‘Pie Jesu’ including the Philharmonia, London Symphony from Fauré’s Requiem with the LSO, Photograph: David F David Photograph:

and Royal Philharmonic Orchestras, St Petersburg Shymansky Richard Photograph: Tenebrae and conductor Nigel Short, Philharmonic, Freiburger Barockorchester, BBC Paul Mealor’s Stabat Mater with National Orchestra of Wales, Orchestra of the the RPO for Decca Records, Bach’s Age of Enlightenment, Hallé Orchestra, Royal St Matthew Passion for Ex Cathedra/ Northern Sinfonia, English Baroque Soloists, Jeffrey Skidmore, Monteverdi’s Collegium Vocale Gent, The Gabrieli Consort, Vespers with Orchestra of the Age of The Sixteen, Melbourne Symphony Orchestra, Enlightenment, for Dresden Staatskapelle, Orchestre des Champs- Harry Christophers and The Sixteen, Élysées, Orchestre de Chambre de Paris, Salzburg as well as her debut solo album Mozarteum Orchester, Orchestre Philharmonique released back in 2007. de Strasbourg and Orchestra National de Lille. Recent releases include Monteverdi’s Matthew’s recordings include Counsel Trial By Jury and Friar Tuck in Sullivan’s Ivanhoe Pianto Della Madonna as part of a disc with the BBC National Orchestra of Wales (Chandos Records); Bach’s Christmas of Monteverdi on the Coro label for Oratorio and Rameau’s Anacreon with the Orchestra of the Age of Enlightenment; a Harry Christophers and The Sixteen. Gramophone Award-winning recording of Handel’s original Dublin score of Messiah, Bach’s St Matthew Passion and B Minor Mass, Polyphemus in Handel’s Acis and Galatea Recent concert performances include Bach’s St Matthew Passion for Philippe and Haman Esther, all with the Dunedin Consort (Linn Records); and Il Re di Scozia Herreweghe and Collegium Vocale in Europe and America, Belinda in Dido and in Handel’s with Il Complesso Barocco and Joyce DiDonato in the title role Aeneas for The King’s Consort and the Monteverdi Vespers with Emanuelle Haïm and (EMI/Virgin). Le Concert d’Astrée.

36 37 Photograph © MolinaVisuals

Recording Producer: Mark Brown Recording Engineer: Mike Hatch (Floating Earth) Production assistants: Robin Hawkins and Hugo Long (Floating Earth) Recorded at: St Augustine’s Church, Kilburn, London, January 2014 Cover image: Jephtha (detail) Sir John Everett Millais (1829-96); national Museum Wales/Bridgeman Images Design: Andrew Giles: [email protected]

the voi ces of 2014 The Sixteen Productions Ltd. © 2014 The Sixteen Productions Ltd. Made in Great Britain For further information about recordings on CORO or live performances and tours by The Sixteen, call: +44 (0) 20 7936 3420 or email: [email protected]

Also available as a studio master quality download at www.thesixteendigital.com 38 39