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
Michael Ellmann | George L. Hardman | Glenn A. KnicKrehm | Robert E. Kulp, Jr.
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
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
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
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
Nancy Netzer
Amy H. Nicholls
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
Paul O’Dette & Stephen Stubbs, Artistic Directors
n VIRTUAL AVAILABILITY
October 31 to November 14, 2025
OPERA PRIMA
CRISTIANO CONTADIN, Director & viola da gamba
AMANDA FORSYTHE, soprano
n FRIDAY, NOVEMBER 7, 2025 | 8PM
VIRTUAL AVAILABILITY: November 22 to December 6, 2025
STILE ANTICO
BOSTON EARLY MUSIC FESTIVAL CHAMBER OPERA SERIES PRESENTS
A courtly love triangle is torn apart by violent passions in this sultry romp!
n SATURDAY, NOVEMBER 29 | 8PM
n SUNDAY, NOVEMBER 30 | 3PM
VIRTUAL AVAILABILITY: December 14 to December 28, 2025
n FRIDAY, DECEMBER 5, 2025 | 8PM
VIRTUAL AVAILABILITY: December 13 to December 27, 2025
THE TALLIS SCHOLARS
PETER PHILLIPS, Director
n SATURDAY, JANUARY 31, 2026 | 8PM
VIRTUAL AVAILABILITY: February 13 to February 27, 2026
PAUL O’DETTE, lute
n SATURDAY, FEBRUARY 14, 2026 | 8PM
VIRTUAL AVAILABILITY: February 28 to March 14, 2026
ACRONYM
n SUNDAY, MARCH 1, 2026 | 3PM
TAFELMUSIK & JUILLIARD415
ROBERT MEALY, Director
CAROLINE COPELAND & JULIAN DONAHUE, dancers
n FRIDAY, MARCH 13, 2026 | 8PM
VIRTUAL AVAILABILITY: March 27 to April 10, 2026
LE CONSORT
n SUNDAY, APRIL 12, 2026 | 4PM
VIRTUAL AVAILABILITY: April 26 to May 10, 2026
JORDI SAVALL & FRIENDS
n SATURDAY, APRIL 25, 2026 | 8PM
VIRTUAL AVAILABILITY: May 9 to May 23, 2026
PHILIPPE JAROUSSKY & ARTASERSE
Boston Early Music Festival
Boston Early Music Festival extends sincere thanks to the following individuals for their leadership support of our 2025/26 Concert Season:
BETTINA A. NORTON
Sponsor of the 2025 Chamber Opera Series production of Provenzale’s Stellidaura’s Revenge
SUSAN L. ROBINSON
Sponsor of the March 2026 performance by Tafelmusik & Juilliard415
ANDREW SIGEL
Sponsor of Richard Pittsinger, Armidoro, and Mara Riley, Armillo, for their November 2025 Chamber Opera Series performances in Provenzale’s Stellidaura’s Revenge Sponsor of Jordi Savall, Director & viol, for his April 2026 appearance with Hespèrion XXI et al. Sponsor of the virtual presentations of Stile Antico, The Tallis Scholars, and Philippe Jaroussky & Artaserse
DAVID HALSTEAD and JAY SANTOS
Sponsors of the October 2025 performance by Opera Prima
JOANNE ZERVAS SATTLEY
Sponsor of Hannah De Priest, Stellidaura, and Aaron Sheehan, Orismondo, for their November 2025 Chamber Opera Series performances in Provenzale’s Stellidaura’s Revenge
BERNICE K. CHEN
Sponsor of Gilbert Blin, Stage Director, for our November 2025 Chamber Opera Series production of Provenzale’s Stellidaura’s Revenge
KENNETH C. RITCHIE and PAUL T. SCHMIDT
Sponsor of Philippe Jaroussky, countertenor, for his April 2026 appearance with Artaserse
REBECCA NEMSER
Sponsor of Amanda Forsythe, soprano, for her October 2025 appearance with Opera Prima
DR. PETER LIBBY
Sponsor of the Pre-Concert video for the April 2026 performance by Philippe Jaroussky & Artaserse
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 PRINCE OF MUSIC
PALESTRINA IN THE ETERNAL CITY
Sicut cervus Giovanni Pierluigi da Palestrina (1525/6–1594)
THE PAPAL CHAPEL
Salve Regina a 5 Josquin des Prez (ca. 1450/5–1521)
Pater noster Jacques Arcadelt (1507–1568)
Tu es Petrus a 6
THE COUNTER-REFORMATION
Nigra sum sed formosa
Palestrina
Palestrina
Trahe me post te Tomás Luis de Victoria (1548–1611)
Missa Papae Marcelli: Credo
Palestrina
m INTERMISSION n
Super flumina Babylonis Palestrina
A TIME OF TURMOIL
Peccantem me quotidie
Gioia m’abond’al cor
Surge propera, amica mea
IN PRAISE OF MUSIC
Palestrina
Palestrina
Palestrina
Exultate Deo Palestrina
Musica Dei donum Orlande de Lassus (1530/2–1594)
Laudate Dominum a 12 Palestrina
THE BOSTON EARLY MUSIC FESTIVAL THANKS ANDREW SIGEL
for his support of the virtual performance of Stile Antico
Boston Early Music Festival
Boston Early Music Festival
PAUL O’DETTE & STEPHEN STUBBS , Artistic Directors
2025 GRAMOPHONE AWARD SHORTLIST – VOICE & ENSEMBLE
“Exceptional stylish elegance and theatrical vitality.”
—GRAMOPHONE
“Perfect Telemann recording.” —CLASSICS TODAY “Forsythe handles this music with grace and ease.” —FANFARE
KATHY WITTMAN
PROGRAM NOTES
Such was the relentless march of taste in Renaissance times that even the most celebrated composer could expect the next generation to treat them as yesterday’s news. Palestrina is the shining exception to this rule: a figure whose star glowed still more brightly after his death. How was it that he was still feted as “the prince and father of music” by the theorist Angelo Bernardi a full century later, when even the likes of Josquin and Lassus had long faded from memory?
One reason for Palestrina’s enduring stature was the legend of the Missa Papae Marcelli. In 1562, or so the story goes, delegates to the Council of Trent (during which the Catholic
church refocused its beliefs and practices in response to the Reformation) were so fed up with composers basing masses on bawdy songs, or obscuring the sacred texts with intricate textures, that they planned to do away with polyphonic church music altogether. According to Agostino Agazzari (1607) it was Palestrina’s mass which stayed their hand, converting the skeptics and rescuing complex liturgical music from oblivion. It hardly matters that the evidence and chronology are at best vexed: posterity had anointed Palestrina as the savior of church music.
Palestrina’s posthumous reputation was also bolstered by the idea that his music represented the perfection of the stile antico: an exquisitely balanced, strictly controlled, and—above all—highly teachable style of polyphony, epitomized by such motets as Sicut cervus or Super flumina Babylonis. Bach, Beethoven, Schumann, Liszt, and Bruckner all studied Palestrina’s music, and the rules of so-called “species counterpoint,” derived from his style, are still used to instruct undergraduates today. Yet these twin pillars of Palestrina’s fame— historical importance and stylistic perfection— can also make the composer and his music seem rarified or academic. Our program seeks to showcase the astonishing richness of his work, and to reveal the extent of his expressive and emotional world.
GIOVANNI PIERLUIGI DA PALESTRINA
ARTIST PROFILE
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 twenty-five 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. n
TEXTS AND TRANSLATIONS
Sicut cervus — Palestrina
Sicut cervus desiderat ad fontes aquarum, ita desiderat anima mea ad te, Deus.
—Psalm 42:1–2
Salve Regina a 5 — 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. —Compline Antiphon
Like as the hart desireth the water-brooks: so longeth my soul after thee, O God.
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.
Pater noster — Arcadelt
Pater noster, qui es in caelis, sanctificetur nomen tuum; Adveniat regnum tuum. Fiat voluntas tua sicut in caelo et in terra. Panem nostrum quotidianum da nobis hodie, Et dimitte nobis debita nostra, sicut et nos dimittimus debitoribus nostris. Et ne nos inducas in tentationem; sed libera nos a malo.
—The Lord’s Prayer
Tu es Petrus a 6 — Palestrina
Tu es Petrus et super hanc petram aedificabo Ecclesiam meam, et portae inferi non praevalebunt adversus eam. Et tibi dabo claves regni caelorum.
Quodcumque ligaveris super terram, erit ligatum et in caelis, et quodcumque solveris super terram, erit solutum et in caelis. Et tibi dabo claves regni caelorum.
—Matthew 16:18–19
Nigra sum sed formosa — Palestrina
Nigra sum sed formosa, filiae Jerusalem, sicut tabernacula Cedar, sicut pelles Salomonis. Nollite me considerare, quod fusca sim, quia decoloravit me sol.
Filii matris meae pugnaverunt contra me; posuerunt me custodem in vineis.
—Song of Songs 1:5–6
Trahe me post te — Victoria
Trahe me post te, et curremus in odorem unguentorum tuorum. Alleluia.
—Adapted from Song of Songs
Missa Papae Marcelli — Palestrina
Credo in unum Deum. Patrem omnipotentem, factorem caeli et terrae, visibilium omnium et invisibilium.
Our Father, which art in heaven, hallowed be thy name; thy kingdom come; thy will be done, in earth as it is in heaven.
Give us this day our daily bread. And forgive us our trespasses, as we forgive them that trespass against us. And lead us not into temptation; but deliver us from evil.
You are Peter, and upon this rock I will build my Church, and the gates of hell shall not overcome it. And I will give you the keys to the kingdom of heaven.
Whatever you bind upon earth shall be bound in heaven, and whatever you release upon earth shall be released in heaven. And I will give you the keys to the kingdom of heaven.
I am black but beautiful, daughters of Jerusalem, like the tents of Kedar and the curtains of Solomon. Do not think of me that I am dark, for the sun has discolored me.
My mother’s sons have fought against me, and put me to mind the vineyards.
Draw me after you, and we will run after the fragrance of your ointments. Alleluia.
I believe in one God, the Father almighty, Maker of heaven and earth, and of all things visible and invisible.
Et in unum Dominum Jesum Christum, Filium Dei unigenitum, Et ex Patre natum ante omnia saecula.
Deum de Deo, lumen de lumine, Deum verum de Deo vero. Genitum, non factum, consubstantialem Patri: per quem omnia facta sunt.
Qui propter nos homines et propter nostram salutem descendit de caelis.
Et incarnatus est de Spiritu Sancto, ex Maria Virgine: et homo factus est. Crucifixus etiam pro nobis sub Pontio Pilato: passus, et sepultus est.
Et resurrexit tertia die secundum Scripturas. Et ascendit in caelum, sedet ad dexteram Patris. Et iterum venturus est cum gloria judicare vivos et mortuos: cuius regni non erit finis.
Et in Spiritum Sanctum, Dominum et vivificantem: qui ex Patre Filioque procedit; qui cum Patre et Filio simul adoratur et conglorificatur: qui locutus est per prophetas.
Et unam sanctam, catholicam et apostolicam Ecclesiam.
Confiteor unum baptisma in remissionem peccatorum. Et exspecto resurrectionem mortuorum, et vitam venturi saeculi. Amen.
—Mass Ordinary
Super flumina Babylonis — Palestrina
Super flumina Babylonis, illic sedimus et flevimus dum recordaremur tui, Sion. In salicibus in medio eius suspendimus organa nostra.
—Psalm 137:1–2
And in one Lord, Jesus Christ, only begotten Son of God, Begotten of his Father before all worlds. God of God, light of light, Very God of very God. Begotten, not made, being of one substance with the Father: by whom all things were made.
Who for us men and for our salvation came down from heaven.
And was incarnate by the Holy Ghost of the Virgin Mary: and was made man. And was crucified also for us under Pontius Pilate: he suffered, and was buried.
And the third day He rose again according to the scriptures. And ascended into heaven, and sitteth at the right hand of the Father. And He shall come again with glory to judge the living and the dead: His kingdom shall have no end.
And [I believe] in the Holy Ghost, Lord and giver of life: Who proceedeth from the Father and the Son. Who with the Father and the Son together is worshipped and glorified: Who spake by the Prophets.
And in one holy, catholic and apostolic Church.
I acknowledge one baptism for the remission of sins.
And I look for the resurrection of the dead and the life of the world to come. Amen.
By the streams of Babylon, there we sat and wept when we remembered you, Sion. On the willows in its midst we hung up our harps.
Peccantem me quotidie — Palestrina
Peccantem me quotidie et non me paenitentem, timor mortis conturbat me.
Quia in inferno nulla est redemptio.
Miserere mei, Deus, et salva me.
—Responsory for the Office of the Dead
Gioia m’abond’al cor — Palestrina
Gioia m’abond’al cor tanta e sì pura, tosto che la mia donna scorgo e miro, ch’in un momento ad ogni aspro martiro, in ch’ei giacesse, lo ritoglie e fura. E s’io potessi un dì, per mia ventura, queste due luci desiose in lei fermar quant’io vorrei, su nel ciel non è spirto sì beato, con ch’io cangiassi il mio felice stato.
—Pietro Bembo
Surge propera, amica mea — Palestrina
Surge propera, amica mea, columba mea, formosa mea, et veni. Iam enim hiems transiit, imber abiit et recessit.
Flores apparuerunt in terra nostra, tempus putationis advenit.
Vox turturis audita est in terra nostra; ficus protulit grossos suos; vineae florentes dederunt odorem suum.
—Song of Songs 2:10–13
Exultate Deo — Palestrina
Exultate Deo adjutori nostro.
Jubilate Deo Jacob.
Sumite psalmum, et date tympanum, psalterium jucundum cum cithara. Buccinate in neomenia tuba, insigni die solemnitatis vestrae.
—Psalm 81:1–3
Musica Dei donum — Lassus
Musica Dei donum optimi trahit homines, trahit deos: Musica truces mollit animos tristesque mentes erigit. Musica vel ipsas arbores et horridas movet feras.
—Anonymous
I who sin every day and am not penitent, the fear of death troubles me:
For in hell there is no redemption.
Have mercy upon me, O God, and save me.
My heart overflows with such pure joy,
As soon as I see my lady and gaze upon her, That in an instant all the bitter pain, Which weighed my heart down, is taken away. And if one day my destiny could be
To rest my desiring eyes on her
For as long as I would like,
Up in heaven there is no spirit so blessed
With whom I would be willing to exchange my happy state.
—Translation: Jennifer Rushworth
Arise, my love, my dove, my fair one, and come. For now the winter is past, the rain is over and gone.
The flowers appear in our land, and the time of pruning is nigh.
The voice of the turtle dove is heard in our land; the fig tree brings forth its figs, the flowers of the vine give forth their smell.
Sing we merrily unto God our strength. Make a cheerful noise unto the God of Jacob. Take the psalm, bring hither the tabret, the merry harp with the lute.
Blow up the trumpet in the new moon, and upon our solemn feast-day.
Music, gift of the most high God, draws men, draws gods. Music soothes savage souls and raises up sorrowful minds. Music moves even the trees themselves and fearsome wild beasts.
Laudate Dominum a 12 — Palestrina
Laudate Dominum in tympanis, cantate Domino in cymbalis.
Modulamini illi psalmum novum.
Exsultate, et invocate nomen eius, quoniam magnus est Dominus et praeclarus in virtute sua. Dominus conterens bella; Dominus nomen est illi.
Hymnum cantemus Domino Deo nostro.
—Judith 16:1–2, 13
Christus factus est — Anerio
Christus factus est pro nobis obediens usque ad mortem, mortem autem crucis.
Propter quod et Deus exaltavit illum, et dedit illi nomen, quod est super omne nomen.
—Antiphon for Holy Saturday
Christus resurgens — Allegri
Christus resurgens ex mortuis, iam non moritur, mors illi ultra non dominabitur.
Quod enim mortuus est peccato, mortuus est semel, quod autem vivit, vivit Deo, Alleluia.
Mortuus est semel propter delicta nostra: et resurrexit propter justificationem nostram, Alleluia.
Quod enim mortuus est peccato, mortuus est semel, quod autem vivit, vivit Deo, Alleluia.
— Romans 6:9–19, 4:25
A Gift of Heaven — Frances-Hoad
Praise the Lord with drums, sing to the Lord with cymbals.
Let us sing a new psalm to Him. Rejoice and call upon His name, for great is the Lord and excellent in His virtues. The Lord puts an end to wars; His name is “the Lord.”
Let us sing a hymn to our God.
Christ became obedient for us unto death, even to the death, death on the cross. Therefore God exalted Him and gave Him a name which is above all names.
Christ, rising from the dead, now dieth not. Death shall have no dominion over him; for that he died, he died once unto sin, but that he lives, he lives to God. Alleluia. He died once for our sins and arose for our salvation. Alleluia.
For that he died, he died once unto sin; but that he lives, he lives to God. Alleluia.
To Philip of Austria, Catholic and Invincible King: Since the pleasure afforded by the art of music is a gift of heaven greater than all human teachings, and since it is particularly valued by the Holy Scripture, so it appears that this art can be properly exercised upon divine subjects. I, therefore, who have been engaged in this art for many years, not wholly unsuccessfully, have considered it my task to bend all my knowledge and industry to that which is the most divine of all things—that is, to adorn the Mass in a new manner. Laudamus te, benedicimus te, adoramus te, glorificamus te. Accept then, most mighty and God-fearing king, these labors as testimony of my perpetual loyalty toward your Majesty, magnanimous and noble king. Farewell, ornament and bulwark of all who bear the name of Christians.
—Text from Pope Marcellus Mass by Giovanni Pierluigi da Palestrina
Translated by Lewis Lockwood
Copyright © 1975 by W. W. Norton & Company, Inc.
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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 BEMF Orchestra Director Robert Mealy, and the Boston Early Music Festival Dance Company, led by BEMF’s newly appointed Dance Director, MarieNathalie Lacoursière.
The twenty-third biennial Boston Early Music Festival, Love & Power, was held in June 2025 and featured Reinhard Keiser’s 1705 opera Octavia. The twenty-fourth Festival, in June 2027, will have as its centerpiece Georg Philipp Telemann’s 1728 opera Emma und Eginhard.
BEMF introduced its Chamber Opera Series during its annual concert season in November 2008, with a performance of
International Baroque Opera • Celebrated Concerts • World-Famous Exhibition
PHOTO: KATHY WITTMAN
John Blow’s Venus and Adonis and MarcAntoine Charpentier’s Actéon. The series features the artists of the Boston Early Music Festival Vocal and Chamber 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 four-city 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 was 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
SCENE FROM BEMF’S 2023 PRODUCTION OF LAMPE’S THE DRAGON OF WANTLEY
PHOTO: KATHY WITTMAN
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 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 sixcity 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, Telemann’s Ino and opera arias for soprano featuring Amanda Forsythe, was released in October 2024, Lully’s Idylle sur la Paix and Charpentier’s La Fête de Reuil was released in May 2025, and the newest recording, Marazzoli’s Cantatas of Peace and Pleasure, was released in October 2025.
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, once-in-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 worldclass 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 firstever 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
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:
•
•
•
•
•
•
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!
FRIENDS OF THE Boston Early Music Festival
This list reflects donations received from April 1, 2024 to October 20, 2025
FESTIVAL ANGELS
($25,000 or more)
Diane† & John Paul Britton
Bernice K. Chen
Peter L. Faber
Lori Fay & Christopher Cherry
David Halstead & Jay Santos
George L. Hardman
Ellen T. & John T. Harris
Glenn A. KnicKrehm
Jeffrey G. Mora, in memory of Wendy Fuller-Mora
Miles Morgan†
Bettina A. Norton
Lorna E. Oleck
Susan L. Robinson
Andrew Sigel
Joan Margot Smith
Piroska Soos†
Marilee Wheeler Trust
ARTISTIC DIRECTORS’ CIRCLE
($10,000 or more)
Anonymous (3)
James C. Busby
Katie & Paul Buttenwieser
Brit d’Arbeloff
Susan Denison
Tony Elitcher & Andrea Taras
Marie-Pierre & Michael Ellmann
James A. Glazier
Donald Peter Goldstein, M.D.
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Christoph Wolff
LEADERSHIP CIRCLE
($5,000 or more)
Anonymous (2)
Douglas & Aviva Brooks
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Peter & Katie DeWolf
Susan Donaldson
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Harold I. Pratt
Kenneth C. Ritchie & Paul T. Schmidt
David Scudder & Betsy Ridge
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($2,500 or more)
Anonymous (4)
Dr. Alan & Mrs. Fiona Brener
Amy Brown & Brian Carr
Gregory E. Bulger & Richard J. Dix
John A. Carey
Peter & Jane Coleman
Elizabeth Davidson†, in honor of David Morris
Mary Deissler
Carl E. Dettman
Kathleen Fay, in memory of Dorothy Ryan Fay
John Felton & Marty Gottron, in honor of Paul O’Dette
Phillip Hanvy
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($1,000 or more)
Anonymous (8)
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A.M. Askew
Ann Beha & Robert Radloff
Mary Briggs & John Krzywicki
The Honorable Leonie M. Brinkema & Mr. John R. Brinkema
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James Burr
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David J. Chavolla
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Dr. & Mrs. Franklyn Commisso
Mary Cowden
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The Davison-Twomey Family
Jeffrey Del Papa
John W. Ehrlich
Henk Elderhorst
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Michael E. Fay
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H. Jan & Ruth H. Heespelink
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Jessica Honigberg
Jane Hoover
Thomas M. Hout
& Sonja Ellingson Hout
Thomas F. Kelly & Peggy Badenhausen
Art & Linda Kingdon
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Lisa Teot
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($500 or more)
Anonymous (5)
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Tom & Kate Kush, in honor of Michael Ellmann
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Quinn MacKenzie
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Sarah P. Marsh
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Nancy Nuzzo
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Mahadev & Ambika Raman
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Harvey A. Silverglate, in memory of Elsa Dorfman
Elizabeth Snow
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Reed & Peggy Ueda
Robert Warren
Polly Wheat & John Cole
Michael & Margery Whiteman
Allan & Joann Winkler
Scott & Barbara Winkler
Janet Zander & Mark Ellenberger
ASSOCIATES
($250 or more)
Anonymous (6)
Brian P. & Debra K. S. Anderson
Carl Baker & Susan Haynes
Tim Barber & Joel Krajewski
Louise Basbas
William & Ann Bein
Lawrence Bell
Helen Benham
Judith Bergson
Barbara R. Bishop
FRIENDS OF THE BOSTON EARLY MUSIC FESTIVAL
James Bowman
Sally & Charlie Boynton
C. Anthony Broh & Jennifer L. Hochschild
Jane K. Brown
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Derek Campbell
Anne Chalmers† & Holly Gunner
Mary Chamberlain
Peter Charig & Amy Briemer
JoAnne Chernow
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William Depeter
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The Rev’d Richard Fabian
Deborah Fegan
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Fred Franklin, in memory of Kaaren Grimstad
Elizabeth French
Jonathan Friedes & Qian Huang
Fred & Barbara Gable
Sandy Gadsby & Nancy Brown
Barbara Gauditz
Tom Golden
The Graver Family
Thomas H. & Lori B. Griswold
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Eric Haas, in memory of Janet Haas
Eric & Dee Hansen
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Joan E. Hartman
Diane Hellens
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David Hoglund
Charles Bowditch Hunter
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Robin Johnson
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Jasper Lawson
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Ray Mitzel
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Maria Schreiber
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Mark S. Thurber & Susan M. Galli
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Beverly Woodward & Paul Monsky
J. Yavarkovsky & C. Lowe
The Zucker Family
PARTNERS
($100 or more)
Anonymous (14)
Joseph Aieta III
Joanne Algarin
Karen Atkinson
Neil R. Ayer, Jr. & Linda Ayer
Judith Bairstow
Eric & Rebecca Bank
Dr. David Barnert & Julie Raskin
Rev. & Mrs. Joseph Bassett
Alan Bates & Michele Mandrioli
Alan Benenfeld
Susan Benua
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John Birks
Sarah Bixler & Christopher Tonkin
Dan Bloomberg & Irene Beardsley
Wes Bockley & Amy Markus
Deborah Boldin & Gabriel Rice
Claire Bonfilio
Richard Borts & Paulette York
Sibel Bozdogan
James Bradley
David Breitman & Kathryn Stuart
Joel Bresler
Andrew Brethauer
Derick & Jennifer Brinkerhoff
David C. Brown
David L. Brown
Lawrence Brown
John H. Burkhalter III
Judi Burten, in memory of Phoebe Larkey
Joseph Cantey
Verne & Madeline Caviness
Floyd & Aleeta Christian
Robert B. Christian
Daniel Church & Roger Cuevas
FRIENDS OF THE BOSTON EARLY MUSIC FESTIVAL
John K. Clark & Judith M. Stoughton
Alan Clayton-Matthews
Linzee Coolidge
Derek Cottier & Lauren Tilly
Robert B. Crane
Francine Crawford
Gray F. Crouse
Donna Cubit-Swoyer
James Cyphers
Ruta Daugela
Carl & May Daw, in memory of Ned Kellogg
Leigh Deacon
Alison Desimone
Jim Diamond
Forrest Dillon
Michael DiSabatino, in honor of Nancy Olson
Paul Doerr
Duane R. Downey
Diane L. Droste
John Dunton & Carol McKeen
Peter A. Durfee & Peter G. Manson
Michael Durgin, in memory of Lisle Kulbach
Jane Edwards
Mark Elenko
Thomas Engel
David English
Chuck Epstein & Melissa Bensussen
Seth Estrin
Lila M. Farrar
Marilyn Farwell
Gregg, Abby & Max Feigelson
Annette Fern
Mary B. Findley
Janet G. Fink
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Dr. Jonathan Florman
Howard C. Floyd
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Robert Freeman
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Quang Ha
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Amelia Nagoski
Jennie Needleman
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Avi Nelson
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David & Claire Oxtoby
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Valerie Palms
FRIENDS OF THE BOSTON EARLY MUSIC FESTIVAL
John R. Palys
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Stephen Wallace
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The Westner Family
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Sarah Whittaker
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John Wolff & Helen Berger
Susan Wyatt
David Yutzler
Ros & Andy Zimmerman, in memory of Carroll Ann Sheridan
RELEASING THIS FALL FROM THE
Alison M. Scott
David Sears
Lawrence Zukof & Pamela Carley
† deceased
Boston Early Music Festival
Jean Seiler
Mr. Terry Shea & Dr. Seigo Nakao
Aaron Sheehan & Adam Pearl
Kathy Sherrick
Hana Sittler
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FOUNDATIONS & CORPORATE SPONSORS
Anonymous (2)
Aequa Foundation
American Endowment Foundation
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Applied Technology Investors
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The Barrington Foundation, Inc.
The Bel-Ami Foundation
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Lynde and Harry Bradley Foundation, Inc.
Gregory E. Bulger Foundation
MARCO MARAZZOLI Cantatas of Peace and Pleasure
Jeffrey & Boryana Tacconi
Richard Tarrant
Burns & Levinson LLP
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Jewish Communal Fund
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The Mattina R. Proctor Foundation
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Xerox Foundation
Boston Early Music Festival
PAUL O’DETTE & STEPHEN STUBBS, Musical Directors
GILBERT BLIN, Stage Director
ROBERT MEALY, Concertmaster
MARIE-NATHALIE LACOURSIÈRE, Movement Director
KATHLEEN FAY, Executive Producer