Paul O’Dette & Stephen Stubbs, Artistic Directors
Stile Antico
FRIDAY, MARCH 28, 2025
8PM | St. Paul Church, Cambridge, MA
J O HANN CHRISTIAN B A CH
Operas and Dramatic orks
Handel in MALTA
21–27 NOVEMBER 2025
A range of Handel’s best works, from the beloved Rinaldo to the vibrantly descriptive Israel in Egypt , via the virtuosity of Dixit Dominus, and the grand culmination – the Messiah . Three of the leading ensembles performing today: The English Concert, Solomon’s Knot and the Gabrieli Consort & Players. Stay in Valletta, Malta’s delightful, diminutive capital, among the loveliest and most fascinating of cities built in the Age of Baroque.
MARTIN RANDALL FESTIVALS bring together world-class musicians for a sequence of private concerts in Europe’s most glorious buildings, many of which are not normally accessible. We take care of all logistics, from flights and hotels to pre-concert talks. Festivals in 2026 include: Early Music in York (May), The Rhine Piano Festival (22–29 June), Music along the Danube (15–22 August), Music along the Rhine (31 August–7 September), Music in Seville (October) and Monteverdi in Venice (November).
Photograph ©Ben Ealovega
WELCOME
Dear Friends,
We are delighted to welcome you to two cornerstone events of our 35th Anniversary Season: Stile Antico on Friday, March 28, and Les Arts Florissants with superstar violin soloist Théotime Langlois de Swarte on Friday, April 4.
Returning to St. Paul Church in Cambridge for their 12th appearance on the BEMF annual concert series, the luminous British vocal ensemble Stile Antico is regarded as among the most accomplished and sought-after Renaissance vocal groups in the world. Renowned for their fresh and vivid interpretations, they have brought their singular blend, impeccable intonation, and deep musicianship to bear in countless performances of Renaissance polyphony. In celebration of their 20th anniversary, they return to BEMF with “The Golden Renaissance,” sharing their favorite works from two decades of performing, with masterpieces from Josquin to Victoria, Tallis and Byrd to Gibbons and Guerrero, crowned by Allegri’s iconic Miserere.
One week later, in the unparallelled acoustic of NEC’s magnificent Jordan Hall, we are thrilled to welcome Les Arts Florissants once again to the BEMF stage. They return to BEMF alongside the sensational violinist Théotime Langlois de Swarte with a blockbuster program celebrating the 300th anniversary of the original publication of Vivaldi’s Four Seasons in 1725. For the final event of our 24/25 Season on Sunday, April 13 at 3pm in NEC’s Jordan Hall, we present the great Catalan viola da gambist Jordi Savall and his legendary ensemble Hespèrion XXI in a dazzling and eclectic program of folías, variations, improvisations, and more.
All three concerts will be available for virtual viewing starting two weeks after they are performed live.
A full week of spectacular music awaits you in June at our 23rd biennial Boston Early Music Festival—Love and Power—which takes place June 8 to 15, 2025. Subscriptions and single tickets are now on sale for all opera and concert performances. As always, please visit BEMF.org for the latest updates and information.
Thank you for joining us for tonight’s performance, whether live or virtually, and most especially for your patronage and support during this past season.
Boston Early Music Festival
MANAGEMENT
Kathleen Fay, Executive Director
Carla Chrisfield, General Manager
Maria van Kalken, Assistant to the Executive Director
Brian Stuart, Director of Marketing and Publicity
Elizabeth Hardy, Marketing and Development Associate & Exhibition Manager
Perry Emerson, Operations Manager
Corey King, Box Office and Patron Services Director
Esme Hurlburt, Patron Services & Advertising Associate
Andrew Sigel, Publications Editor
Julia McKenzie, Director of the BEMF Youth Ensemble
Nina Stern, Community Engagement Advisor
ARTISTIC LEADERSHIP
Paul O’Dette and Stephen Stubbs, Artistic Directors
Gilbert Blin, Opera Director
Robert Mealy, Orchestra Director
Marie-Nathalie Lacoursière, Lucy Graham Dance Director
BOARD OF DIRECTORS
Bernice K. Chen, Chairman | David Halstead, President
Ellen T. Harris, Vice President | Susan L. Robinson, Vice President
Adrian C. Touw, Treasurer | Peter L. Faber, Clerk
Brit d’Arbeloff | Michael Ellmann | George L. Hardman | Glenn A. KnicKrehm
Robert E. Kulp, Jr. | Miles Morgan† | Bettina A. Norton
Lee S. Ridgway | Ganesh Sundaram | Christoph Wolff
BOARD OF OVERSEERS
Diane Britton | Gregory E. Bulger | Amanda Pond
Robert Strassler | Donald E. Vaughan
BOARD OF TRUSTEES
Marty Gottron & John Felton, Co-Chairs
Deborah Ferro Burke | Mary Deissler | James A. Glazier
Douglas M. Robbe | Jacob Skowronek
† deceased
BOSTON EARLY MUSIC FESTIVAL, INC.
43 Thorndike Street, Suite 302, Cambridge, MA 02141-1764
Telephone: 617-661-1812 | Email: bemf@bemf.org | BEMF.org
“I scheduled a trip from Philadelphia around the Festival. It met all my hopes.” 2024 audience member
OCTOBER 10 - 26
Plan a trip to the UK this fall with 20 concerts of early music in Brighton on England’s South Coast. Join the mailing list to receive full programme info when available at bremf.org.uk
MEMBERS OF THE BEMF CORPORATION
Jon Aaron
Debra K.S. Anderson
Kathryn Bertelli
Mary Briggs
Diane Britton
Douglas M. Brooks
Gregory E. Bulger
Julian G. Bullitt
Deborah Ferro Burke
John A. Carey
Anne P. Chalmers
Bernice K. Chen
Joel I. Cohen
Brit d’Arbeloff
Vivian Day
Mary Deissler
Peter L. DeWolf
JoAnne W. Dickinson
Richard J. Dix
Alan Durfee†
Michael Ellmann
Peter L. Faber
Emily C. Farnsworth
Kathleen Fay
Lori Fay
John Felton
Frances C. Fitch
Claire Fontijn
James A. Glazier
Marty Gottron
Carol A. Haber
David Halstead
George L. Hardman
Ellen T. Harris
Rebecca Harris-Warrick
Richard Hester
Jessica Honigberg
Jennifer Ritvo Hughes
Edward B. Kellogg†
Thomas F. Kelly
Glenn A. KnicKrehm
Christine Kodis
John Krzywicki
Kathryn Kucharski
Robert E. Kulp, Jr.
Ellen Kushner
Christopher Laconi
Thomas G. MacCracken
William Magretta
Bill McJohn
Miles Morgan†
Nancy Netzer
Amy H. Nicholls
James S. Nicolson†
Bettina A. Norton
Scott Offen
Lorna E. Oleck
Henry P.M. Paap
James M. Perrin
Bici Pettit-Barron
Amanda Pond
Melvyn Pond
Paul Rabin
Christa Rakich
Lee S. Ridgway
Michael Rigsby
Douglas M. Robbe
Michael Robbins
Susan L. Robinson
Patsy Rogers
Wendy Rolfe-Dunham
Loretto Roney
Ellen Rosand
Valerie Sarles
David W. Scudder
Andrew Sigel
Jacob Skowronek
Arlene Snyder
Jon Solins
Robert Strassler
Ganesh Sundaram
Adrian C. Touw
Peggy Ueda
Donald E. Vaughan
Nikolaus von Huene
Howard J. Wagner
Benjamin D. Weiss
Ruth S. Westheimer
Allan Winkler
Hal Winslow
Christoph Wolff
Arnold B. Zetcher
Ellen Zetcher
† deceased
Boston Early Music Festival
24/25 NAMED GIFT SPONSORSHIPS
Boston Early Music Festival extends sincere thanks to the following individuals for their leadership support of our 2024/25 Season:
David Halstead and Jay Santos
Sponsors of the October 2024 performance by Vox Luminis
George L. Hardman
Sponsor of the virtual presentation of AGAVE with Reginald Mobley, countertenor
Sponsor of Jordi Savall, Director & treble viol, for his April 2025 appearance with Hespèrion XXI
Andrew Sigel
Sponsor of the virtual presentations of Vox Luminis and The Tallis Scholars
Harold I. Pratt
Sponsor of Sarah Darling, violin, for her February 2025 appearance with the BEMF Chamber Ensemble
Donald E. Vaughan and Lee S. Ridgway
Sponsors of Reginald Mobley, countertenor, for his February 2025 performance with AGAVE
Jean Fuller Farrington
Sponsor of the virtual presentation of Stile Antico
Lorna E. Oleck
Sponsor of the virtual presentation of Francesco Corti, harpsichord & organ, with the BEMF Chamber Ensemble
Not only do Named Gifts help provide the crucial financial support required to present a full season of extraordinary performances, but they are doubly meaningful in that they send a message of thanks to your most beloved artist, musicians, and directors—that their work means something to you.
You can help make this list grow. For more information about investing in BEMF performances with a Named Gift, please email Kathleen Fay at kathy@bemf.org, or call the BEMF office at 617-661-1812. Your support makes a difference. Thank you.
Boston Early Music Festival PRESENTS
Stile Antico
The Golden Renaissance
A journey through Stile Antico’s favorite music
Exsurge Domine William Byrd (ca. 1540–1623)
Audivi vocem de caelo John Taverner (ca. 1490–1545)
A un niño llorando Francisco Guerrero (1528–1599)
Ein Kind geborn Michael Praetorius (ca. 1571–1621)
In manus tuas Thomas Tallis (ca. 1505–1585)
O Praise the Lord Thomas Tomkins (1572–1656)
Hosanna to the Son of David Orlando Gibbons (1583–1625)
I give you a new commandment John Sheppard (ca. 1515–1558)
Recessit pastor noster Tomás Luis de Victoria (1548–1611)
Miserere mei (abbreviated concert version) Gregorio Allegri (1582–1652)
m INTERMISSION n
Jubilate Deo Cristóbal de Morales (ca. 1500–1553)
O clap your hands Gibbons
Retire my soul Byrd
Gaudete in Domino Giaches de Wert (1535–1596)
Ego flos campi Jacobus Clemens non Papa (ca. 1510–ca. 1555)
Salve Regina à 5 Josquin des Prez (ca. 1450–1521)
The Phoenix and the Turtle Huw Watkins (b. 1976)
The Boston Early Music Festival thanks JEAN FULLER FARRINGTON for her support of the virtual presentation of Stile Antico
LIVE CONCERT
Friday, March 28, 2025 at 8pm St. Paul Church in Harvard Square Bow and Arrow Streets, Cambridge, Massachusetts
VIRTUAL CONCERT
Friday, April 11, 2025 – Friday, April 25, 2025 BEMF.org
STILE ANTICO
Helen Ashby, Kate Ashby, Rebecca Hickey, soprano
Emma Ashby, Cara Curran, Rosie Parker, alto
Jonathan Hanley, Matthew Howard, Benedict Hymas, tenor
James Arthur, Nathan Harrison, Gareth Thomas, bass
This concert is organized with the cooperation of Knudsen Productions, LLC, exclusive North American artist representative of Stile Antico.
Stile Antico records for Decca.
Program subject to change.
Ball Square Films & Kathy Wittman, Video Production
Antonio Oliart Ros, Recording Engineer
Boston Early Music Festival
2024 CHAMBER OPERA SERIES
NAMED GIFT SPONSORSHIPS
Boston Early Music Festival extends sincere thanks to the following individuals and organizations for their leadership support of the 2024 performances of Don Quichotte:
Glenn A. KnicKrehm and Constellation Charitable Foundation Principal Production Sponsors
Andrew Sigel
Sponsor of Christian Immler, Don Quichotte, Emily Siar, Quiteria, Richard Pittsinger, Grisostomo, and Julian Donahue, dancer
David Halstead and Jay Santos
Sponsors of Paul O’Dette and Stephen Stubbs, Musical Directors
Lorna E. Oleck
Sponsor of the BEMF Dance Company
Diane and John Paul Britton Sponsors of Gwen van den Eijnde, Costume Designer
Bernice K. Chen
Sponsor of Gilbert Blin, Stage Director
Harriet Lindblom
Sponsor of Michael Sponseller, harpsichord in honor of Daniel Lindblom, harpsichordist and builder
Michael and Marie-Pierre Ellmann
Sponsors of Jason McStoots, Sancho Pansa
Joanne Zervas Sattley
Sponsor of Sarah Darling, viola
Boson Early Music Fesival Boston Early Music Festival
SUNDAY, APRIL 13 AT 3PM NEC’s Jordan Hall, Boston
Jordi Savall & Hespèrion XXI
Baroque music from Peru, Spain, Mexico, England, and more VIRTUAL AVAILABILITY: APRIL 27 – MAY 11
Paul O’Dette & Stephen Stubbs, Artistic Directors
PROGRAM NOTES
Tonight’s concert brings together many of our favorite works, and provides a fascinating window onto the different styles of sacred choral music which flourished around Renaissance Europe.
We begin with music by William Byrd, who was perhaps England’s greatest Renaissance composer. Byrd chose a dangerous course amid the religious turmoil of the Reformation: even as he served in Queen Elizabeth I’s Protestant Chapel Royal, he became the musical mouthpiece of the underground Catholic community, publishing a series of bitter Latin motets whose texts unmistakably respond to the plight of his fellow Catholics. One such work is Exsurge Domine: here the frustrated Psalmist demands that God rouse himself to help his persecuted people. Byrd’s music positively bristles with righteous indignation.
The next three works are all appropriate to the Christmas season. The first is by the pre-Reformation English composer, John Taverner; it alternates passages of plainsong and choral polyphony, and was almost certainly intended for performance by upper voices—perhaps in response to the “wise virgins” mentioned in the text. We follow it
with a villancico (a Spanish-language folklike carol) by Francisco Guerrero, describing the visit of the Magi to the stable in an irrepressible dance meter. A similar spirit is found in Michael Praetorius’s vivacious Ein Kind geborn, whose texture builds progressively from the two voices heard at the opening to six parts in the climactic verses.
Thomas Tallis was William Byrd’s close friend and colleague, even standing as godfather to Byrd’s son, also named Thomas. The two collaborated on the first ever book of music to be printed in England, the Cantiones Sacrae of 1575. Tallis’s In manus tuas appears in that volume; a setting of words appropriate for the late-night service of Compline, it is a perfect example of the older composer’s exquisitely balanced style. A particular highlight is the piquant dissonance at cadence points—once condemned by a horrified Victorian editor as “an intolerably harsh effect.” By contrast, O Praise the Lord by Thomas Tomkins, written for twelve solo voices, is a riot of chaotic energy.
The remaining pieces in the first half of our program are appropriate to Holy Week. Orlando Gibbons’s lively Hosanna to the Son of David captures the exuberance of the crowd which welcomed Christ into Jerusalem on Palm Sunday. John Sheppard’s I give you a new commandment for lower voices sets words from the Last Supper on Maundy Thursday; written in the early stages of the Reformation, its austerity reflects the wishes of Thomas Cranmer that music should not be “full of notes, but, as near as may be, for every syllable a note; so that it may be sung distinctly and devoutly.” The climax of the
WILLIAM BYRD
ORLANDO GIBBONS
FRANCISCO GUERRERO
Holy Week liturgy is the set of Tenebrae services for which the Spanish composer Tomás Luis da Victoria wrote his famous Tenebrae Responsories in 1585. Recessit pastor noster is a key moment in the sequence, simultaneously lamenting the death of Christ and anticipating his eventual triumph.
Allegri’s famous Miserere mei, written in or around 1638, was also intended for use at Tenebrae. Few works have been the subject of so much myth-making; tradition relates that it was so jealously guarded that unauthorized copyists risked excommunication, that its famous ornaments were never notated, but solemnly passed from singer to singer, and that it was finally smuggled out of the Sistine Chapel in the head of the young Mozart. Though most of this is demonstrably untrue, it is clear that the work we have now is far from what Allegri wrote—and in particular, that the famous passage containing the soprano high Cs is a bizarre conflation of different editions and transpositions. The work, then, is inauthentic, but it is precisely its inauthenticity which has become its most enduring feature: this odd hybrid has a hypnotic beauty all of its own. A setting of the penitential Psalm 51, it is based on the plainchant tonus peregrinus. Two separate choirs, one of five voices and one of four, harmonize and elaborate the chant, alternating with verses of unadorned plainchant. When at last the two choirs sing simultaneously in the final verse of the psalm, the effect is truly monumental, even in the slightly abbreviated version of the work that we perform today.
Our second half begins with a festive motet by Cristóbal de Morales. Unlike many pieces of Renaissance music, we can be sure of the occasion for which Jubilate Deo was written: the celebration of a (short-lived) peace treaty between Charles V of Spain and Francis I of France in 1538. The motet was commissioned by Morales’s employer, Pope Paul III, and it is he who is credited in the text with brokering the peace. Morales includes a cantus firmus in the tenor line, consisting of repetitions of the word “Gaudeamus”—“rejoice”—initially in slow notes, and then, toward the end of the piece, at double tempo.
Orlando Gibbons’s irrepressible setting of Psalm 47, O clap your hands, has a strange history: two accounts relate that it was written for his friend William Heyther to present in order to supplicate for his DMus at Oxford in 1622. It seems unlikely that this was intended as genuine subterfuge; rather, Gibbons’s anthem probably served to fulfill a formality, since Heyther’s was an honorary degree. We pair it with a beautiful late work by William Byrd, Retire my soul, whose autumnal text seems highly appropriate for a composer by then in his seventies.
Flemish musicians were some of the most renowned and sought-after composers of the Renaissance, and often found employment abroad. Giaches de Wert and Josquin des Prez both spent much of their careers working in Italy; de Wert was in charge of music at the court in Ferrara, where a young Claudio Monteverdi was among his employees. His brief Gaudete in Domino unfolds as a single burst of energy. Josquin was the first international superstar composer, working chiefly in Milan and Rome. His five-part Salve Regina was particularly admired by his contemporaries for its technical accomplishment: one of the inner parts is entirely pre-composed, consisting exclusively of ostinato repetitions of the word “Salve” at predetermined intervals, while the highest part is a close paraphrase of a plainsong. Despite these twin constraints—akin to composing with one hand tied behind his back—Josquin manages to create a motet full of variety and color, by turns muscularly rhythmic and tenderly reflective.
Between these two works we sing a particular group favorite: Ego flos campi by Clemens non Papa. It was probably written for a
JOSQUIN DES PREZ
community of nuns at ’s-Hertogenbosch; their motto “sicut lilium inter spinas” is heard clearly, twice over, at the center of the motet. The music is characterized by crystalline, slow-moving harmony, never straying far from the warmth of the tonic chord; the effect is akin to admiring a jewel from every possible angle.
We finish with something completely different: a work commissioned for Stile Antico in 2014 by Huw Watkins. The Phoenix and the Turtle
ARTIST PROFILE
sets words by Shakespeare, and describes the funeral rites of a phoenix and turtle dove, symbols of perfection and devoted love. The poem is clearly intended as an allegory of some sort, and it has been suggested that the two birds might represent two Catholic martyrs, Anne and Roger Line. If that is correct, then the “bird of loudest lay” mentioned in the first stanza might well represent William Byrd. Watkins cloaks Shakespeare’s dense words in music of propulsive drive and lyrical beauty. n —Andrew Griffiths
Stile Antico is firmly established as one of the world’s most accomplished and innovative vocal ensembles. Working without a conductor, its twelve members have thrilled audiences on four continents with their fresh, vibrant, and moving performances of Renaissance polyphony. Its bestselling recordings have earned accolades including the Gramophone Award for Early Music, Diapason d’Or de l’Année, Edison Klassiek Award, and Preis der Deutschen Schallplattenkritik. The group has received three Grammy nominations, and performed live at the 60th Grammy Awards at Madison Square Garden.
Based in London, Stile Antico has appeared at many of the world’s most prestigious venues
and festivals. The group enjoys a particularly close association with Wigmore Hall, and has performed at the BBC Proms, Buckingham Palace, Amsterdam Concertgebouw, the Palais des Beaux-Arts, Cité de la Musique, Luxembourg Philharmonie, Leipzig Gewandhaus, and Madrid’s Auditorio Nacional. Stile Antico is frequently invited to appear at Europe’s leading festivals: highlights include the Antwerp, Bruges, Utrecht, and York Early Music Festivals, the Lucerne Easter Festival, and the SchleswigHolstein Music Festival.
Since its 2009 North American début at the Boston Early Music Festival, Stile Antico has enjoyed frequent tours to the U.S. and Canada. The group performs regularly in Boston and
New York, and has appeared at the Ravinia Festival, Washington’s National Cathedral and Library of Congress, Vancouver’s Chan Centre, and in concert series spanning twentyfive U.S. states. Stile Antico has also appeared in Mexico, Colombia, South Korea, Macau, and Hong Kong.
Stile Antico’s performances are often praised for their immediacy, expressive commitment, and their sensitive and imaginative response to text. These qualities arise from the group’s collaborative working style: members rehearse and perform as chamber musicians, each contributing artistically to the musical results. The group is also noted for its compelling programming, which draws out thematic connections between works to shine new light on Renaissance music. In addition to its core repertoire, Stile Antico has premiered works by Kerry Andrew, Cheryl FrancesHoad, Joanna Marsh, John McCabe, Nico Muhly, Giles Swayne, and Huw Watkins. The group’s diverse range of collaborators includes Fretwork, Folger Consort, Marino Formenti, Lemn Sissay, B’Rock, Rihab Azar, and Sting.
Alongside its concert and recording work, Stile Antico is passionate about sharing its repertoire and working style with the widest possible audience. After many years in residence at Dartington International Summer School, the group now leads courses at the Music Summer School at Gresham’s, and holds regular Come and Sing days open to all. Stile Antico also works extensively with younger singers in university and school settings and with the Rodolfus Foundation, and the support of the charitable Stile Antico Foundation has enabled the group to offer bursaries to talented young ensembles, and to run an annual Youth Consort course. Stile Antico is proud to be a member of the European early music network REMA.
During 2025 Stile Antico celebrates twenty years as a professional ensemble with gala performances at Wigmore Hall, the Boston Early Music Festival, and for AMUZ Antwerpen. The group also marks the five hundredth birthday of Palestrina, the quintessential master of the stile antico, with a series of concerts and the release of a new album for Decca Classics.
TEXTS AND TRANSLATIONS
Exsurge Domine — Byrd
Exsurge Domine, quare obdormis Domine?
Exsurge, et ne repellas me in finem.
Quare faciem tuam avertis?
Oblivisceris inopiae nostrae et tribulationis nostrae?
Exsurge, Domine.
—Psalm 44:23–24
Audivi vocem de caelo — Taverner
Audivi vocem de caelo venientem: Venite omnes virgines sapientissimae; Oleum recondite in vasis vestris, Dum sponsus advenerit.
Media nocte clamor factus est. Ecce sponsus venit.
—Matins responsory for All Saints
A un niño llorando — Guerrero
A un niño llorando al hielo
Van tres Reyes a adorar
Porque el niño puede dar Reinos, vida, gloria y cielo.
Nace con tanta bajeza
Aunque es poderoso Rey
Porque nos da ya por ley Abatimento y pobreza.
Por eo llorando al hielo
Van tres Reyes a adorar
Porque el niño puede dar Reinos, vida, gloria y cielo.
—Anonymous
Ein Kind geborn — Praetorius
Ein Kind geborn in Bethlehem
Des freuet sich Jerusalem, Alleluia!
Hier liegt es in dem Krippelein, Ohn’ Ende ist der Herrschaft sein, Alleluia!
Das Öchslein und das Eselein
Erkannten Gott den Herren Sein. Alleluia!
Arise, why sleepest thou, O Lord?
Arise and cast me not off to the end. Why turnest thou thy face away And forgettest our want and our trouble?
Arise, O Lord.
I heard a voice from heaven saying: Come, all you wise virgins; Lay up the oil in your vessels When the bridegroom cometh. At midnight there was a cry made: Behold the bridegroom cometh.
Three kings go to adore
A child crying in the cold, Because the child can give Kingdoms, life, glory and heaven.
He is born with such lowliness
Although he is a powerful king, Because he is giving us through his law Humbleness and poverty.
To him crying in the cold, Three kings go to adore him, Because the child can give Kingdoms, life, glory and heaven.
A Child is born in Bethlehem, The Joy of all Jerusalem. Alleluia!
The Child who in the manger lies, Forever reigns above the skies. Alleluia!
The ox and donkey bring Him laud, For well they know the Lord their God. Alleluia!
Die König aus Saba kamen dar Gold, Weihrauch, Myrrhen brachten’s dar. Alleluia!
Sein Mutter ist die reine Magd, Die ohn ein Mann geboren hat. Alleluia!
Die Schlang ihn nicht vergiften kunnt, Ist worden unser Blut ohn Sünd. Alleluia!
Er ist uns gar gleich nach dem Fleisch Der Sünden nach ist’r uns nicht gleich. Alleluia!
Damit er uns ihm machet gleich Und wiederbrächt in Gottes Reich. Alleluia!
Für solche gnadenreiche Zeit Sei Gott gelobt in Ewigkeit. Alleluia!
Lob sei der heil’g’n Dreifaltigkeit Von nun an bis in Ewigkeit. Alleluia!
—Attributed to Johann Spangenburg
In manus tuas — Tallis
In manus tuas, Domine, commendo spiritum meum.
Redemisti me Domine, Deus veritatis.
—Psalm 31:6
O Praise the Lord — Tomkins
The eastern kings have journeyed there, Gold, frankincense, and myrrh they bear. Alleluia!
His mother is the virgin maid, Who gave Him birth with no man’s aid. Alleluia!
The Serpent could not poison Him, He’s joined our race, yet without sin. Alleluia!
As to the flesh He is our kin, And yet unlike us as to sin. Alleluia!
Like unto Him we thus are wrought, And back into God’s kingdom brought. Alleluia!
For such a season, rich in grace, To God forevermore be praise! Alleluia!
Praise to the Holy Trinity, From now unto eternity! Alleluia!
Into your hands, O Lord, I commend my spirit. You have redeemed me, O Lord, O God of truth.
O Praise the Lord, all ye heathen, praise him, all ye nations: for his merciful kindness is ever more and more towards us, and the truth of the Lord endureth for ever and ever. Praise ye the Lord, O praise ye the Lord our God.
Hosanna to the Son of David — Gibbons
Hosanna to the Son of David.
Blessed be he that cometh in the name of the Lord; blessed be the King of Israel; blessed be the Kingdom that cometh in the name of the Lord. Peace in heaven and glory in the highest places. Hosanna in the highest heavens.
—Psalm 117
—Matthew 21:9
I give you a new commandment — Sheppard
I give you a new commandment: that ye love one another e’en as I have loved you. By this all men shall know that ye are my disciples.
—John 13:34–35
Recessit pastor noster — Victoria
Recessit pastor noster fons aquae vivae
ad cuius transitum sol obscuratus est:
Nam et ille captus est, qui captivum tenebat primum hominem: hodie portas mortis et seras pariter Salvator noster disrupit.
Destruxit quidem claustra inferni et subvertit potentias diaboli.
Nam et ille captus est…
—Responsory for Tenebrae
Miserere mei — Allegri
Miserere mei, Deus: secundum magnam misericordiam tuam. Et secundum multitudinem miserationum tuarum, dele iniquitatem meam.
Amplius lava me ab iniquitate mea: et a peccato meo munda me.
Quoniam iniquitatem meam ego cognosco: et peccatum meum contra me est semper.
Tibi soli peccavi, et malum coram te feci: ut justificeris in sermonibus tuis, et vincas cum judicaris.
Ecce enim in iniquitatibus conceptus sum: et in peccatis concepit me mater mea.
Ecce enim veritatem dilexisti: incerta et occulta sapientiae tuae manifestasti mihi.
Domine, labia mea aperies: et os meum annuntiabit laudem tuam.
Quoniam si voluisses sacrificium, dedissem utique: holocaustis non delectaberis.
Our Shepherd is departed, the fount of living water, at whose passing the sun was darkened. For he is captured, who took captive the first man: today our Savior has burst both the doors and bolts of hell.
He destroyed the gates of hell and overthrew the powers of the devil. For he is captured…
Have mercy on me, O God, according to Thy great mercy. According unto the multitude of Thy tender mercies remove my transgressions.
Wash me thoroughly from my iniquities, and cleanse me from my sin. I knowingly confess my transgressions: and my sin is ever before me.
Against Thee only have I sinned, and done evil before Thee: that they may be justified in Thy sayings, and might they overcome when I am judged. But behold, I was formed in iniquity: and in sin did my mother conceive me.
Behold, Thou desirest truth in my innermost being: and shalt make me to understand wisdom secretly. O Lord, open my lips: and my mouth shall spring forth Thy praise.
For Thou desirest no sacrifice, where others would: with burnt offerings Thou wilt not be delighted.
Sacrificium Deo spiritus contribulatus: cor contritum, et humiliatum, Deus, non despicies.
Benigne fac, Domine, in bona voluntate tua Sion: ut aedificentur muri Ierusalem. Tunc acceptabis sacrificium justitiae, oblationes, et holocausta: tunc imponent super altare tuum vitulos.
—Psalm 51
Sacrifices of God are broken spirits: dejected and contrite hearts, O God, Thou wilt not despise.
Deal favorably, O Lord, in Thy good pleasure unto Zion: build Thou the walls of Jerusalem. Then shalt Thou be pleased with the sacrifices of righteousness, with small and large burnt offerings: then shall they lay calves upon your altar.
m INTERMISSION n
Jubilate Deo — Morales
Jubilate Deo omnis terra cantate omnes jubilate et psallite, quoniam suadente Paulo, Carolus et Franciscus, principes terrae, convenerunt in unum et pax de caelo descendit.
O felix aetas
O felix Paule
O vos felices principes qui christiano populo pacem tradidistis
Vivat Paulus!
Vivat Carolus!
Vivat Franciscus!
Vivant simul, et pacem nobis donent in aeternum!
Tenor: Gaudeamus!
—Text written for the Truce of Nice, 1538
O clap your hands — Gibbons
Rejoice in the Lord, all ye lands, sing everyone, rejoice and play the psaltery, because persuaded by Paul, Charles, and Francis, the princes of the earth have united, and peace has descended from Heaven.
O happy age, O happy Paul, O ye happy princes who have delivered peace to the Christian people. Long live Paul! Long live Charles! Long live Francis! Long may they live together, and may they give us peace for ever!
Tenor: Rejoice!
O clap your hands together, all ye people; O sing unto God with the voice of melody. For the Lord is high and to be feared; he is the great king upon all the earth. He shall subdue the people under us, and the nations under our feet. He shall choose out an heritage for us, even the worship of Jacob, whom he loved.
God is gone up with a merry noise, and the Lord with the sound of the trumpet.
O sing praises, sing praises unto our God; O sing praises, sing praises unto the Lord our king. For God is the king of all the earth; sing ye praises with the understanding. God reigneth over the heathen; God sitteth upon his holy seat. For God, which is highly exalted, doth defend the earth as it were with a shield. Glory be to the Father, and to the Son, and to the Holy Ghost; As it was in the beginning is now and ever shall be, world without end. Amen. —Psalm 47
Retire my soul — Byrd
Retire my soul, consider thine estate, And justly sum thy lavish sin’s account. Time’s dear expense, and costly pleasures rate, How follies grow, how vanities amount.
Write all these down, in pale Death’s reckoning tables, Thy days will seem but dreams, thy hopes but fables.
Gaudete in Domino — Wert
Gaudete in Domino semper, iterum dico, Gaudete.
—Philippians 4:4
Ego flos campi — Clemens
Ego flos campi et lilium convalium; sicut lilium inter spinas, sic amica mea inter filias: fons hortorum et puteus aquarum viventium; quae fluunt impetu de Libano.
— Song of Songs 2:1–2, 4:15
Salve Regina — Josquin
Salve Regina, misericordiae, Vita, dulcedo, et spes nostra, Salve!
Ad te clamamus, exsules filii Hevae, Ad te suspiramus, gementes et flentes, In hac lacrimarum valle.
Eja ergo, Advocata nostra, Illos tuos misericordes oculos ad nos converte.
Et Jesum, benedictum fructum ventris tui, Nobis, post hoc exilium, ostende, O clemens, O pia, O dulcis Maria.
—Marian Antiphon
—William
Byrd
Rejoice in the Lord always; again I say, Rejoice.
I am a flower of the field and a lily of the valley; as a lily among the thorns, so is my beloved among the daughters: a garden fountain and a well of living water, flowing streams from Lebanon.
Hail, queen of mercy, Our life, our sweetness, and our hope, hail! To you we cry, exiled children of Eve, To you we sigh, groaning and weeping In this vale of tears.
Therefore, as our advocate, Turn your merciful eyes towards us.
And after this exile show us Jesus, The blessed fruit of your womb. O clement, O loving, O sweet Mary.
The Phoenix and the Turtle — Watkins
Let the bird of loudest lay, On the sole Arabian tree, Herald sad and trumpet be, To whose sound chaste wings obey.
But thou shrieking harbinger, Foul precurrer of the fiend, Augur of the fever’s end, To this troop come thou not near?
From this session interdict
Every fowl of tyrant wing, Save the eagle, feather’d King: Keep the obsequy so strict.
Let the priest in surplice white, That defunctive music can, Be the death-divining swan, Lest the requiem lack his right.
And thou, treble-dated crow
That thy sable gender mak’st With the breath thou giv’st and tak’st, ’Mongst our mourners shalt thou go.
Here the anthem doth commence:
Love and constancy is dead; Phoenix and the turtle fled In a mutual flame from hence.
So they loved, as love in twain Had the essence but in one; Two distincts, division none: Number there in love was slain.
Hearts remote, yet not asunder; Distance, and no space was seen ’Twixt the turtle and his queen: But in them it were a wonder.
So between them love did shine, That the turtle saw his right Flaming in the phoenix’ sight; Either was the other’s mine.
Property was thus appalled, That the self was not the same; Single nature’s double name Neither two nor one was called.
Reason, in itself confounded, Saw division grow together, To themselves yet either neither, Simple were so well compounded,
That it cried, how true a twain Seemeth this concordant one!
Love hath reason, reason none, If what parts can so remain.
Whereupon it made this threne
To the phoenix and the dove, Co-supremes and stars of love, As chorus to their tragic scene.
Threnos
Beauty, truth, and rarity, Grace in all simplicity, Here enclosed in cinders lie.
Death is now the phoenix’ nest; And the Turtle’s loyal breast
To eternity doth rest,
Leaving no posterity: ’Twas not their infirmity, It was married chastity.
Truth may seem, but cannot be; Beauty brag, but ’tis not she; Truth and beauty buried be.
To this urn let those repair That are either true or fair; For these dead birds sigh a prayer.
—William Shakespeare
Make a Difference
Boston Early Music Festival PLANNED GIVING
Play a vital and permanent role in BEMF’s future with a planned gift. Your generous support will create unforgettable musical experiences for years to come, and may provide you and your loved ones with considerable tax benefits.
Join the BEMF ORPHEUS SOCIETY by investing in the future of the Boston Early Music Festival through a charitable annuity, bequest, or other planned gift. With many ways to give and to direct your gift, our staff will work together with you and your advisors to create a legacy that is personally meaningful to you.
To learn more, please call us at 617-661-1812, email us at kathy@bemf.org, or visit us online at BEMF.org/plannedgiving.
BEMF’S 2023 PRODUCTION OF DESMAREST’S CIRCÉ
Boston Early Music Festival
The Boston Early Music Festival (BEMF) is universally recognized as a leader in the field of early music. Since its founding in 1980 by leading practitioners of historical performance in the United States and abroad, BEMF has promoted early music through a variety of diverse programs and activities, including an annual concert series that brings early music’s brightest stars to the Boston and New York concert stages, and the biennial weeklong Festival and Exhibition, recognized as “the world’s leading festival of early music” (The Times, London). Through its programs BEMF has earned its place as North America’s premier presenting organization for music of the Medieval, Renaissance, and Baroque periods and has secured Boston’s reputation as “America’s early music capital” (Boston Globe).
INTERNATIONAL BAROQUE OPERA
One of BEMF’s main goals is to unearth and present lesser-known Baroque operas performed by the world’s leading musicians armed with the latest information on period singing, orchestral performance, scenic design, costuming, dance, and staging. BEMF operas reproduce the Baroque’s stunning palette of sound by bringing together today’s leading operatic superstars and a wealth of instrumental talent from across the globe to one stage for historic presentations, all zestfully led from the pit by the BEMF Artistic Directors Paul O’Dette and Stephen Stubbs, and creatively reimagined for the stage by BEMF Opera Director Gilbert Blin. Biennial centerpiece productions feature both the Boston Early Music Festival Orchestra, led by Orchestra Director Robert Mealy, and the
Boston Early Music Festival Dance Company, led by BEMF’s newly appointed Dance Director, Marie-Nathalie Lacoursière.
The 22nd biennial Boston Early Music Festival, A Celebration of Women, was held in June 2023 and featured Henry Desmarest’s 1694 opera Circé from a libretto by Louise-Geneviève Gillot de Saintonge. The 23rd Festival, in June 2025, will have as its centerpiece Reinhard Keiser’s 1705 opera Octavia.
BEMF introduced its Chamber Opera Series during its annual concert season in November 2008, with a performance of John Blow’s Venus and Adonis and Marc-Antoine Charpentier’s Actéon. The series features the artists of the Boston Early Music Festival Vocal and Chamber
International Baroque Opera • Celebrated Concerts • World-Famous Exhibition
PHOTO: KATHY WITTMAN
Ensembles and focuses on the wealth of chamber operas composed during the Baroque period, while providing an increasing number of local opera aficionados the opportunity to attend one of BEMF’s superb offerings. Subsequent annual productions include George Frideric Handel’s Acis and Galatea, Henry Purcell’s Dido and Aeneas, combined performances of Charpentier’s La Descente d’Orphée aux Enfers and La Couronne de Fleurs, Monteverdi’s Orfeo, a double bill of Pergolesi’s La serva padrona and Livietta e Tracollo, a production titled “Versailles” featuring Les Plaisirs de Versailles by Charpentier, Les Fontaines de Versailles by Michel-Richard de Lalande, and divertissements from Atys by Jean-Baptiste Lully, Francesca Caccini’s Alcina, the first opera written by a woman, a combination of Telemann’s Pimpinone and Ino, joint performances of Lully’s Idylle sur la Paix and Charpentier’s La Fête de Rueil, John Frederick Lampe’s The Dragon of Wantley, and most recently Telemann’s Don Quichotte. Acis and Galatea was revived and presented on a fourcity North American Tour in early 2011, which included a performance at the American Handel Festival in Seattle, and in 2014, BEMF’s second North American Tour featured the Charpentier double bill from 2011. In summer 2025, The Dragon of Wantley will be performed at Confidencen in Stockholm, Sweden, and at Oldenburgisches Staatstheater in Oldenburg, Germany, as part of Musikfest Bremen.
BEMF has a well-established and highly successful project to record some of its
groundbreaking work in the field of Baroque opera. The first three recordings in this series were all nominated for the Grammy Award for Best Opera Recording, in 2005, 2007, and 2008: the 2003 Festival centerpiece Ariadne, by Johann Georg Conradi; Lully’s Thésée; and the 2007 Festival opera, Lully’s Psyché, which was hailed by BBC Music Magazine as “superbly realized…magnificent.” In addition, the BEMF recordings of Lully’s Thésée and Psyché received Gramophone Award Nominations in the Baroque Vocal category in 2008 and 2009, respectively. BEMF’s next three recordings on the German CPO label were drawn from its Chamber Opera Series: Charpentier’s Actéon, Blow’s Venus and Adonis, and a release of Charpentier’s La Descente d’Orphée aux Enfers and La Couronne de Fleurs, which won the 2015 Grammy Award for Best Opera Recording and the 2015 Echo Klassik Opera Recording of the Year (17th/18th Century Opera). Agostino Steffani’s Niobe, Regina di Tebe, featuring Philippe Jaroussky and Karina Gauvin, which was released in January 2015 on the Erato/ Warner Classics label in conjunction with a seven-city, four-country European concert tour of the opera, has been nominated for a Grammy Award, was named Gramophone’s Recording of the Month for March 2015, is the 2015 Echo Klassik World Premiere Recording of the Year, and has received a 2015 Diapason d’Or de l’Année and a 2015 Preis der Deutschen Schallplattenkritik. Handel’s Acis and Galatea was released in November 2015. In 2017, while maintaining the focus on
SCENE FROM BEMF’S 2023 PRODUCTION OF LAMPE’S THE DRAGON OF WANTLEY
PHOTO: KATHY WITTMAN
Baroque opera, BEMF expanded the recording project to include other select Baroque vocal works: a new Steffani disc, Duets of Love and Passion, was released in September 2017 in conjunction with a six-city North American tour, and a recording of Johann Sebastiani’s St. Matthew Passion was released in March 2018. Four Baroque opera releases followed in 2019 and 2020: a disc of Charpentier’s chamber operas Les Plaisirs de Versailles and Les Arts Florissants was released at the June 2019 Festival, and has been nominated for a Grammy Award; the 2013 Festival opera, Handel’s Almira, was released in late 2019, and received a Diapason d’Or. Lalande’s chamber opera Les Fontaines de Versailles was featured on a September 2020 release of the composer’s works; Christoph Graupner’s opera Antiochus und Stratonica was released in December 2020. BEMF’s recording of Desmarest’s Circé, the 2023 Festival opera, was released concurrently with the opera’s North American premiere, Pergolesi’s La serva padrona and Livietta e Tracollo was released in December 2023, and the newest recording, Telemann’s Ino and opera arias for soprano featuring Amanda Forsythe, was released in October 2024.
CELEBRATED CONCERTS
Some of the most thrilling musical moments at the biennial Festival occur during one of the dozen or more concerts presented around the clock, among them a program by the acclaimed Boston Early Music Festival Orchestra, which often feature unique, oncein-a-lifetime collaborations and programs by the spectacular array of talent assembled for
the Festival week’s events. In 1989, BEMF established an annual concert series bringing early music’s leading soloists and ensembles to the Boston concert stage to meet the growing demand for regular world-class performances of early music’s beloved classics and newly discovered works. BEMF then expanded its concert series in 2006, when it extended its performances to New York City’s Gilder Lehrman Hall at the Morgan Library & Museum, providing “a shot in the arm for New York’s relatively modest early-music scene” (New York Times).
WORLD-FAMOUS EXHIBITION
The nerve center of the biennial Festival, the Exhibition is the largest event of its kind in the United States, showcasing nearly one hundred early instrument makers, music publishers, service organizations, schools and universities, and associated colleagues. In 2013, Mozart’s own violin and viola were displayed at the Exhibition, in their first-ever visit to the United States. Every other June, hundreds of professional musicians, students, and enthusiasts come from around the world to purchase instruments, restock their libraries, learn about recent musicological developments, and renew old friendships. For four days, they visit the Exhibition booths to browse, discover, and purchase, and attend the dozens of symposia, masterclasses, and demonstration recitals, all of which encourage a deeper appreciation of early music, and strengthen relationships between musicians, participants, and audiences. n
THE BEMF ORCHESTRA AT THE JUNE 2023 FESTIVAL PHOTO: KATHY WITTMAN
BECOME A FRIEND OF THE
Boston Early Music Festival
Revenue from ticket sales, even from a sold-out performance, accounts for less than half of the total cost of producing BEMF’s operas and concerts; the remainder is derived almost entirely from generous friends like you. With your help, we will be able to build upon the triumphs of the past, and continue to bring you thrilling performances by today’s finest Early Music artists.
Our membership organization, the FRIENDS OF THE BOSTON EARLY MUSIC FESTIVAL, includes donors from around the world. These individuals recognize the Festival’s need for further financial support in order to fulfill its aim of serving as a showcase for the finest talent in the field.
PLEASE JOIN THE FRIENDS OF THE BOSTON EARLY MUSIC FESTIVAL BY DONATING AT ONE OF SEVERAL LEVELS:
• Friend
$45
• Partner $100
• Associate $250
• Patron $500
• Guarantor $1,000
• Benefactor $2,500
• Leadership Circle $5,000
• Artistic Director’s Circle $10,000
• Festival Angel $25,000
THREE WAYS TO GIVE:
• Visit BEMF.org and click on “Give Now”.
• Call BEMF at 617-661-1812 to donate by telephone using your credit card
• Mail your credit card information or a check (payable to BEMF) to Boston Early Music Festival, 43 Thorndike Street, Suite 302, Cambridge, MA 02141-1764
OTHER WAYS TO SHOW YOUR SUPPORT:
• Increase your philanthropic impact with a Matching Gift from your employer.
• Make a gift of appreciated stocks or bonds to BEMF.
• Planned Giving allows you to support BEMF in perpetuity while achieving your financial goals.
• Direct your gift to a particular area that interests you with a Named Gift.
QUESTIONS? Please e-mail Kathleen Fay at kathy@bemf.org, or call the BEMF office at 617-661-1812. Thank you for your support!
Boston Early Music Festival
This list reflects donations received from June 1, 2023 to March 12, 2025
FESTIVAL ANGELS
($25,000 or more)
Anonymous (2)
Bernice K. Chen
Brit d’Arbeloff
Peter L. Faber
David Halstead & Jay Santos
George L. Hardman
Glenn A. KnicKrehm
Jeffrey G. Mora, in memory of Wendy Fuller-Mora
Miles Morgan†
Lorna E. Oleck
Susan L. Robinson
Andrew Sigel
Joan Margot Smith
Piroska Soos†
Donald E. Vaughan & Lee S. Ridgway
Marilee Wheeler Trust
ARTISTIC DIRECTORS’ CIRCLE
($10,000 or more)
Anonymous (4)
Katie & Paul Buttenwieser
Susan Denison
Tony Elitcher & Andrea Taras
Marie-Pierre & Michael Ellmann
Jean Fuller Farrington
Lori Fay & Christopher Cherry
Clare M. S. Fewtrell†
James A. Glazier
Donald Peter Goldstein, M.D., in memory of Constance Kellert Goldstein
Ellen T. & John T. Harris
Barbara & Amos Hostetter
David M. Kozak & Anne Pistell, in memory of their parents
Robert E. Kulp, Jr., in memory of James Nicolson, Miles Morgan & Ned Kellogg
Mr. & Mrs. Thomas G. MacCracken
Heather Mac Donald & Erich Eichman
Bill McJohn
Joanne Zervas Sattley
David Scudder, in memory of Marie Louise Scudder
Karen Tenney & Thomas Loring
Maria van Kalken & Hal Winslow
Christoph Wolff
LEADERSHIP CIRCLE
($5,000 or more)
Anonymous (2)
Diane & John Paul Britton
Beth Brown, in memory of Walter R.J. Brown
Gregory E. Bulger & Richard J. Dix
Peter & Katie DeWolf
Susan Donaldson
Kathleen Fay, in memory of Dorothy Ryan Fay
John Felton & Marty Gottron, in honor of Paul O’Dette
Mei-Fung Kerley, in memory of Ted Chen
Alan M. King
Harriet Lindblom, in memory of Daniel Lindblom
Victor & Ruth McElheny
Bettina A. Norton
Harold I. Pratt
Kenneth C. Ritchie & Paul T. Schmidt
Nina & Timothy Rose
BENEFACTORS
($2,500 or more)
Anonymous (3)
Annemarie Altman
Dr. Alan & Mrs. Fiona Brener
Douglas M. & Aviva A. Brooks
Amy Brown & Brian Carr
Carla Chrisfield & Benjamin D. Weiss
Jeffrey Del Papa
David Emery & Olimpia Velez
Phillip Hanvy
Dr. Peter Libby, in memory of Dr. Beryl Benacerraf
Lawrence & Susan Liden
John S. Major & Valerie Steele
Rebecca Nemser, in memory of Paul Nemser
Brian Pfeiffer
Paul Rabin & Arlene Snyder
Catherine & Phil Saines, in honor of Barbara K. Wheaton
Paul L. Sapienza, PC, CPA
Raymond A. & Marilyn Smith
Richard K. & Kerala J. Snyder
Adrian & Michelle Touw
Will & Alexandra Watkins
Allan & Joann Winkler
Ellen & Arnold Zetcher
GUARANTORS
($1,000 or more)
Anonymous (11)
A.M. Askew
Ann Beha & Robert Radloff
Mary Briggs & John Krzywicki
The Honorable Leonie M. Brinkema & Mr. John R. Brinkema
Pamela & Lee Bromberg
James Burr
Betty Canick
John A. Carey
Robert & Elizabeth Carroll
David J. Chavolla
Bernice Chen & Mimi Kerley, in memory of Ted Chen
Peter S. Coleman
Dr. & Mrs. Franklyn Commisso
Mary Cowden
Geoffrey Craddock
Richard & Constance Culley
Belden & Pamela Daniels
Mary Deissler
Carl E. Dettman
John W. Ehrlich
Charles & Elizabeth Emerson
Claire Fontijn, in memory of Arthur Fontijn & Sylvia Elvin
Bruce A. Garetz
Alexander Garthwaite
Sarah M. Gates
George & Marla Gearhart
Dr. Robert L. Harris
Rebecca & Ronald Harris-Warrick
H. Jan & Ruth H. Heespelink
Michael Herz & Jean Roiphe
James & Ina Heup
Jessica Honigberg
Jane Hoover
Thomas M. Hout & Sonja Ellingson Hout
Jean & Alex Humez
Thomas F. Kelly & Peggy Badenhausen
Barry D. Kernfeld & Sally A. McMurry
Art & Linda Kingdon
Fran & Tom Knight
Neal & Catherine Konstantin
Kathryn Mary Kucharski
Robert & Mary La Porte
Amelia J. LeClair & Garrow Throop
John Leen & Eileen Koven
Mark & Mary Lunsford
MAFAA
William & Joan Magretta
Carol Marsh
David McCarthy & John Kolody
Amy & Brian McCreath
Michael P. McDonald
Keith Ohmart & Helen Chen
Louise Oremland
Richard & Julia Osborne
Neal J. Plotkin & Deborah Malamud
Gene & Margaret Pokorny
Amanda & Melvyn Pond, in honor of everything that BEMF does
Tracy Powers
Susan Pundt
Christa Rakich & Janis Milroy
Alice Robbins & Walter Denny
Arthur & Elaine Robins
Sue Robinson
Jose M. Rodriguez & Richard A. Duffy
Patsy Rogers
Lois Rosow
Michael & Karen Rotenberg
Carlton & Lorna Russell
Kevin Ryan & Ozerk Gogus, in memory of Dorothy Fay
Lynne & Ralph Schatz
Susan Schuur
Wendy Shattuck & Sam Plimpton
Laila Awar Shouhayib
Cynthia Siebert
Elizabeth Snow
Murray & Hazel Somerville
Catherine & Keith Stevenson
Paola Stone, in memory of Edmondo Malanotte
Theresa & Charles Stone
Carl Swanson
Lisa Teot
Paula & Peter Tyack
Reed & Peggy Ueda
Louella Krueger Ward, in memory of Dr. Alan J. Ward, PhD, ABPP
Peter J. Wender
PATRONS
($500 or more)
Anonymous (3)
Morton Abromson & Joan Nissman
Nicholas Altenbernd
Brian P. & Debra K. S. Anderson
Eric Hall Anderson
Tom & Judy Anderson Allen
Louise Basbas
William & Ann Bein
Michael & Sheila Berke
Susan Bromley
Julie Brown & Zachary Morowitz
Robert Burger
Frederick Byron
John Campbell & Susanna Peyton
Anne Chalmers & Holly Gunner
Mary Chamberlain
JoAnne Chernow
Joseph Connors
David Cooke
Elizabeth & David Cregger
Eric & Margaret Darling
Kathryn Disney
Ellen Dokton & Stephen Schmidt
Ross Duffin & Beverly Simmons, in honor of Kathleen Fay
Austin & Eileen Farrar
Mary Fillman & Mary Otis Stevens
Martin & Kathleen Fogle
Elizabeth French
Jonathan Friedes & Qian Huang
Fred & Barbara Gable
Sandy Gadsby & Nancy Brown
David & Harriet Griesinger
Laury Gutierrez & Elsa Gelin
Joan E. Hartman
Catherine & John Henn
Ian Hinchliffe & Marjorie Shapiro
Phyllis Hoffman
Wayne & Laurell Huber
Charles Bowditch Hunter
Jean Jackson, in memory of Louis Kampf
Paul & Alice Johnson
Richard Johnson & Annmarie Linnane
Robin Johnson
Patrick G. Jordan
Barbara & Paul Krieger
Tom & Kate Kush, in honor of Michael Ellmann
Frederick V. Lawrence, in memory of Rosemarie Maag Lawrence
Susan Lewinnek
Catherine Liddell
Roger & Susan Lipsey
James Liu & Alexandra Bowers
Mary Maarbjerg
Quinn MacKenzie
Marietta Marchitelli
Carol & Pedro Martinez
Anne H. Matthews
June Matthews
Marilyn Miller
Ray Mitzel
Nancy Morgenstern, in memory of William & Marjorie Pressman
Alan & Kathy Muirhead
Robert Neer & Ann Eldridge
Clara M. & John S. O’Shea
Richard† & Lois Pace, in honor of Peter Faber
William J. Pananos
Henry Paulus
David & Beth Pendery
Joseph L. Pennacchio
Phillip Petree
Hon. W. Glen Pierson & Hon. Charles P. Reed
Martha J. Radford
Mahadev & Ambika Raman
Sandy Reismann & Dr. Nanu Brates
Michael Rogan & Hugh Wilburn
Ellen Rosand
Rusty Russell, in honor of Kathy Fay
Cheryl K. Ryder
David Schneider & Klára Móricz
Richard Schroeder & Dr. Jane Burns
Charles & Mary Ann Schultz
Harvey A. Silverglate, in memory of Elsa Dorfman
Mark Slotkin
Lynne Spencer
Louisa C. Spottswood
Ted St. Antoine
Ann Stewart
Ronald W. Stoia
David & Jean Stout, in honor of Kathy Fay
Ralph & Jeanine Swick, in memory of Alan & Judie Kotok
Douglas L. Teich, M.D.
Mark S. Thurber & Susan M. Galli
John & Dorothy Truman
Richard Urena
Patrick Wallace & Laurie McNeil
Robert Warren
Thomas & LeRose Weikert
Polly Wheat & John Cole
Scott & Barbara Winkler
Kathleen Wittman & Melanie Andrade, in memory of John Wittman
Beverly Woodward & Paul Monsky
ASSOCIATES
($250 or more)
Anonymous (11)
Jonathan B. Aibel & Julie I. Rohwein, in honor of James Glazier
Elizabeth Alexander
Julie Andrijeski & J. Tracy Mortimore
Carl Baker & Susan Haynes
Lawrence Bell
Helen Benham
Susan Benua
Noel & Paula Berggren
Barbara R. Bishop
Wes Bockley & Amy Markus
Deborah Boldin & Gabriel Rice
James Bowman
David Breitman & Kathryn Stuart
C. Anthony Broh & Jennifer L. Hochschild
David C. Brown
Darcy Lynn Campbell
Joseph Cantey
Peter Charig & Amy Briemer
Floyd & Aleeta Christian
Daniel Church & Roger Cuevas
Priscilla H. Claman
John K. Clark & Judith M. Stoughton
Sherryl & Gerard Cohen
Derek Cottier & Lauren Tilly
Tekla Cunningham & David Sawyer
Warren R. Cutler
Leigh Deacon
William Depeter
Michael DiSabatino, in honor of Nancy Olson
Charles & Sheila Donahue
Alan Durfee†
Chuck Epstein & Melia Bensussen
The Rev’d Richard Fabian
Lila M. Farrar
Gregg, Abby & Max Feigelson
Charles Fisk
Fred Franklin, in memory of Kaaren Grimstad
Gisela & Ronald Geiger
Monica & David Gerber
The Graver Family
Mary Greer
Thomas H. & Lori B. Griswold
Sonia Guterman, in memory of Martin Guterman
Dr. Joanna Haas
Eric & Dee Hansen
Deborah Haraldson
Rebecca & Richard Hawkins
Diane Hellens
Katherine A. Hesse
David Hoglund
Amy & Seamus Hourihan
Keith L. & Catherine B. Hughes
Brian Hussey
Francesco Iachello
Chris & Klavs Jensen
Michele Jerison
Kathleen O’Dea Kelly
David P. Kiaunis
Robert L. Kleinberg
Forrest Knowles
Tim Barber & Joel Krajewski
Jay Carlton Kuhn, Jr.
Christopher Larossa
Jasper Lawson
David A. Leach & Laurie J. LaChapelle
William Leitch
Rob & Mary Joan Leith
Robert & Janice Locke
William Loutrel & Thomas Fynan
Sally Mayer
Donna McCampbell
Anne McCants
Andrew Modest & Beth Arndtsen
Stephen Moody
Agatha Morrell
Gene Murrow
Michael J. Normile
Nancy Nuzzo
Nancy Olson
Eugene Papa
Jane P. Papa
John Parisi
Susan Pettee & Michael Wise
Elizabeth V. Phillips
Stephen Poteet
Anne & François Poulet
Lawrence Pratt & Rosalind Forber
Brandon Qualls
Virginia Raguin
Julia M. Reade & Robert A. Duncan
Rodney J. Regier
David Rehm
Hadley & Jeannette Reynolds
Marge Roberts
Paul Rutz
Susan Sargent
Richard L. Schmeidler
Miriam N. Seltzer
Mr. Terry Shea & Dr. Seigo Nakao
Jacob & Lisa Skowronek
David Snead & Kate Prescott
Jon Solins
Jeffrey Soucy
Victoria Sujata
Jonathan Swartz
Ken & Margo Taylor
Kenneth P. Taylor
Elizabeth Trumpler, in memory of Donald Trumpler
Peter & Kathleen Van Demark
Robert Viarengo
Robert & Therese Wagenknecht
Juanita H. Wetherell
Sarah Whittaker
Susan Wyatt
J. Yavarkovsky & C. Lowe
The Zucker Family
PARTNERS
($100 or more)
Anonymous (10)
Anonymous, in memory of Dorothy Ryan Fay
Anonymous, in memory of Thomas Roney
Vilde Aaslid
Anne Acker
Joseph Aieta III
Mr. Neale Ainsfield & Dr. Donna Sieckmann
Joanne Algarin
Druid Errant D.T. Allan-Gorey
Ken Allen
Gene Arnould
Neil R. Ayer, Jr. & Linda Ayer
Susan P. Bachelder
Eric & Rebecca Bank
Dr. David Barnert & Julie Raskin
Rev. & Mrs. Joseph Bassett
Alan Bates & Michele Mandrioli
Elaine Beilin
Alan Benenfeld
Judith Bergson
Larry & Sara Mae Berman
John Birks
Sarah Bixler & Christopher Tonkin
Katharine C. Black
Moisha Blechman
Dan Bloomberg & Irene Beardsley
Claire Bonfilio
Sally & Charlie Boynton
Sibel Bozdogan
James Bradley
Joel Bresler
Andrew Brethauer
Derick & Jennifer Brinkerhoff
Catherine & Hillel Shahan Bromberg
David L. Brown
Lawrence Brown
Margaret H. Brown
John H. Burkhalter III
Judi Burten, in memory of Phoebe Larkey
William Carroll
Bonnie & Walter Carter
Robert B. Christian
Deborah J. Cohen
Carol & Alex Collier
Anne Conner
Peter B. Cook
Robert B. Crane
Martina Crocker
Katherine Crosier, in memory of Carl C. Crosier
Gray F. Crouse
Donna Cubit-Swoyer
Alicia Curtis & Kathy Pratt
Ruta Daugela
Carl & May Daw
Jim Diamond
Deborah & Forrest Dillon
Paul Doerr
Tamar & Jeremy Kaim Doniger
Ben Dunham & Wendy Rolfe-Dunham
John Dunton & Carol McKeen
Peter A. Durfee & Peter G. Manson
Michael Durgin, in memory of Lisle Kulbach
Jane Edwards
Mark Elenko
Thomas Engel
Anne Engelhart & Douglas Durant
David English
Jake Esher
Marilyn Farwell
Margot Fassler
Ellen Feingold
Grace A. Feldman, in honor of Bernice Chen
Annette Fern
Janet G. Fink
Carol L. Fishman
Dr. Jonathan Florman
Howard C. Floyd
Gary Freeman
Marica & Jeff Freyman
Friends
Michael Gannon
R. Andrew Garthwaite
Stephen L. Gencarello
William Glenn
Tom Golden
The Goldsmith Family
Lisa Goldstein
Nancy L. Graham
Lorraine & William Graves
Winifred Gray
Judith Green & James Kurtz
Deborah Grose
John Gruver & Lynn Tilley
Peter F. Gustafson
Eric Haas, in memory of Janet Haas
Richard & Les Hadsell
Suzanne & Easley Hamner
Judith & Patrick Hanlon
Joyce Hannan
David J. Harris, MD
Sam & Barbara Hayes
Karin Hemmingsen
Marie C. Henderson, in memory of A. Brandt Henderson
Rebecca Henderson
Roderick J. Holland
Jackie Horne
Valerie Horst & Benjamin Peck
John Hsia
Judith & Alan Hudson
Constance Huff
Joe Hunter & Esther Schlorholtz
Susan L. Jackson
Karen Johansen & Gardner Hendrie
M. P. Johnson
Robert & Selina Johnson
Tim Johnson, in memory of Bill Gasperini
Judith L. Johnston & Bruce L. Bush, in memory of Daniel Lindblom
David K. Jordan
Marietta B. Joseph
George Kaminsky
David Keating
Thomas Keirstead
Mr. & Mrs. Seamus C. Kelly
Louis & Susan Kern
Joseph J. Kesselman, Jr.
Holly Ketron
Leslie & Kimberly King
Maryanne King
Pat Kline
Valerie & Karl KnicKrehm
George Kocur
Leslie Kooyman
Valerie Krall
Ellen Kranzer
Benjamin Krepp & Virginia Webb
Robert W. Kruszyna
Peter A. Lans
Claire Laporte
Bruce Larkin & Donna Jarlenski
Diana Larsen
Joanne & Carl Leaman
Alison Leslie
Drs. Sidney & Lynne Levitsky
Ellen R. Lewis
Laura Loehr
Sandra & David Lyons
Desmarest Lloyd MacDonald, in memory of Ned Kellogg
Dr. Bruce C. MacIntyre
Louise Malcolm, in memory of W. David Malcolm, Jr.
Jeffrey & Barbara Mandula
Anna Mansbridge
Robert Marshall
Timothy Masters
Dr. Arnold Matlin & Dr. Margaret Matlin, Ph.D.
Mary McCallum
Lee McClelland
Heidi & George McEvoy
George McKee
Dave & Jeannette McLellan
Cynthia Merritt
Susan Metz, in memory of Gerald Metz
Eiji Miki†
Marg Miller
Nicolas Minutillo
Rosalind Mohnsen
David Montanari & Sara Rubin
Michael J. Moran, in memory of Francis D. & Marcella A. Moran
Stefanie Moritz
Rodney & Barbara Myrvaagnes
Debra Nagy
Cindy K. Neels
Arthur & Charlotte Ness, in memory of Ingolf Dahl
Nancy Nicholson
Jeffrey Nicolich
Caroline Niemira
Lee Nunley
Leslie Nyman
Michael & Jan Orlansky
Patricia T. Owen
David & Claire Oxtoby
John R. Palys
Theodore Parent, in memory of Ruth Parent
Susan Patrick, in memory of Don Partridge
Jonah Pearl
Elizabeth Pearson-Griffiths
John Percy
John Petrowsky
Bici Pettit-Barron
Susan Porter & Robert Kauffman
Thomas & Barbara Prescott
Klaus Radebold
George Raff
Deborah M. Reisman
Melissa Rice
Dennis & Anne Rogers
Sherry & William Rogers
Stephanie L. Rosenbaum
Paul Rosenberg & Harriet Moss
Peter & Linda Rubenstein
Charlotte Rutherfurd
Patricia & Roger Samuel
Mike Scanlon
Robert & Barbara Schneider
Clem Schoenebeck, in memory of Bill Schoenebeck
R. Scholz & M. Kempers
Lynn & Mary Schultz
Michael Schwartz
Alison M. Scott
David Sears
Jean Seiler
David Seitz & Katie Manty
Aaron Sheehan & Adam Pearl
Michael Sherer
Kathy Sherrick
Susan Shimp
Rena & Michael Silevitch
Hana Sittler
John & Carolyn Skelton
Elliott Smith & Wendy Gilmore
Jennifer Farley Smith & Sam Rubin
Richard Snow
William & Barbara Sommerfield
Scott Sprinzen
Gail St. Onge
Esther & Daniel Steinhauer
Barbara Strizhak, in memory of Elliott Strizhak
Richard Stumpf
Jacek & Margaret Sulanowski
Robert G. Sullivan & Meriem Pages
Richard Tarrant
John & Barbara Tatum
Lisa Terry
Meghan K. Titzer
Janet Todaro, in honor of Kathy Fay
Edward P. Todd
Peter Townsend
Pierre Trepagnier & Louise Mundinger
Ruth W. Tucker
Konstantin & Kirsten Tyurin
Barbara & John VanScoyoc
Richard & Virginia von Rueden
Susan Walters
Cheryl S. Weinstein
The Westner Family
The Rev. Roger B. White, in memory of Joseph P. Hough
John C. Wiecking
Susan & Thomas Wilkes
David L. Williamson
Phyllis S. Wilner
John Wolff & Helen Berger
Paulette York & Richard Borts
David Yutzler
Ellen L. Ziskind
Lawrence Zukof & Pamela Carley
† deceased
FOUNDATIONS & CORPORATE SPONSORS
Anonymous (2)
Aequa Foundation
American Endowment Foundation
Appleby Charitable Foundation
Applied Technology Investors
BNY Mellon Charitable Gift Fund
Bank of America Charitable Gift Fund
The Barrington Foundation, Inc.
The Bel-Ami Foundation
The Boston Foundation
Boston Private Bank & Trust Company
Lynde and Harry Bradley Foundation, Inc.
Gregory E. Bulger Foundation
Burns & Levinson LLP
The Catherine and Paul Buttenwieser Foundation
Cabot Family Charitable Trust
Cambridge Community Foundation
Cambridge Trust Company
Cedar Tree Foundation
Cembaloworks of Washington
City of Cambridge
The Columbus Foundation
Combined Jewish Philanthropies
Community Foundation of Western Massachusetts
Connecticut Community Foundation
Constellation Charitable Foundation
The Fannie Cox Foundation
The Crawford Foundation
CRB Classical 99.5, a GBH station
Daffy Charitable Fund
The Dusky Fund at Essex County Community Foundation
Eastern Bank Charitable Foundation
Fidelity Charitable
Fiduciary Trust Charitable
French Cultural Center / Alliance Française of Boston
Ann and Gordon Getty Foundation
GlaxoSmithKline Foundation
Goethe-Institut Boston
The Goldman Sachs Philanthropy Fund
The Florence Gould Foundation
GTC Law Group
Haber Family Charitable Foundation
Hausman Family Charitable Trust
The High Meadow Foundation
Houghton Mifflin Harcourt
The Isaacson-Draper Foundation
The Richard and Natalie Jacoff Foundation, Inc.
Jewish Communal Fund
Key Biscayne Community Foundation
Konstantin Family Foundation
Maine Community Foundation
Makromed, Inc.
Massachusetts Cultural Council
Mastwood Foundation
Morgan Stanley
National Endowment for the Arts
Newstead Foundation
Barbro Osher Pro Suecia Foundation
The Packard Humanities Institute
Plimpton-Shattuck Fund at The Boston Foundation
The Mattina R. Proctor Foundation
REALOGY Corporation
Renaissance Charitable
The Saffeir Family Fund of the Maine Community Foundation
David Schneider & Klára Móricz Fund at Community Foundation of Western Massachusetts
Schwab Charitable
Scofield Auctions, Inc.
The Seattle Foundation
Shalon Fund
Kathy & Alexander Silbiger Fund of the Triangle Community Foundation
TIAA Charitable Giving Fund Program
The Trust for Mutual Understanding
The Tzedekah Fund at Combined Jewish Philanthropies
The Upland Farm Fund
U.S. Small Business Administration
U.S. Trust/Bank of America
Private Wealth Management
Vanguard Charitable
Walker Family Trust at Fidelity Charitable
Archie D. & Bertha H. Walker Foundation
Marian M. Warden Fund of The Foundation for Enhancing Communities
The Windover Foundation
Women On The Move LLC
MATCHING CORPORATIONS
21st Century Fox
Allegro MicroSystems
Amazon Smile
AmFam
Analog Devices
Aspect Global
Automatic Data Processing, Inc.
Biogen
Carrier Global
Dell, Inc.
Exelon Foundation
FleetBoston Financial Corporation
Genentech, Inc.
Grantham, Mayo, van Otterloo & Co. LLC
John Hancock Financial Services, Inc.
Community Gifts Through Harvard University
Houghton Mifflin Harcourt
IBM Corporation
Intel Foundation
Investment Technology Group, Inc. (ITG)
Microsoft Corporation
MLE Foundation, Inc.
Natixis Global Asset Management
Novartis US Foundation
NVIDIA
Pfizer
Pitney Bowes
Salesforce.org
Silicon Valley Community Foundation
Takeda
Tetra Tech
United Technologies Corporation
Verizon Foundation
Vertex Pharmaceuticals
Xerox Foundation
That Feeling You Get
The virtuous Empress Octavia is betrayed by her increasingly erratic husband, Nero, putting all of Rome on the brink of rebellion in Keiser’s monumental work for the famed Hamburg Opera in 1705.
