n FRIDAY, DECEMBER 5, 2025
8PM | St. Paul Church, Cambridge
THE TALLIS SCHOLARS
PETER PHILLIPS, Director
PAUL O’DETTE & STEPHEN STUBBS , Artistic Directors
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Dear Friends,
We are delighted to welcome the incomparable Tallis Scholars directed by Peter Phillips for their 37th annual appearance with BEMF, including specially filmed virtual concerts in 2020 and 2021. From our very first concert season in 1989, they have enchanted Boston audiences with their sublime performances. The Tallis Scholars have long epitomized the gold standard of Renaissance singing with their impeccable intonation, clarity, and distinctive blend, and their BEMF appearances are among the most anticipated events on our concert calendar. Tonight’s glorious program in celebration of the season, titled Mother and Child: English music for the Virgin Mary, features William Byrd’s Votive Mass, Thomas Tallis’s majestic Missa Puer natus est nobis, and other Renaissance masterpieces, as well as Benjamin Britten’s A Hymn to the Virgin and a newly commissioned Salve Regina by Matthew Martin. This performance will be made available for two weeks of online viewing starting December 13 at 8pm.
Our recent Chamber Opera Series production of Stellidaura’s Revenge will also be available for online viewing in parallel with The Tallis Scholars, premiering on December 14 at 8pm for a two-week virtual run.
We hope you will join us in the New Year when our 25/26 Season continues with six additional concerts. The first of these takes place on Saturday, January 31, at First Church in Cambridge, Congregational, with legendary lutenist Paul O’Dette. A regular presence on the BEMF concert and opera stage as Artistic Co-Director, he makes his first solo appearance on our annual concert series in more than 25 years, bringing to life the collection of newly discovered manuscripts transcribed in the 1590s by Orazio Albani da Urbino. A mere two weeks later, back at First Church, we welcome the dynamic musicians of ACRONYM in a program highlighting the music of Adam and Samuel Drese, two cousins who were instrumental in shaping the musical landscape in Weimar into which Johann Sebastian Bach entered. Both concerts will later be available for virtual viewing.
Thank you for attending tonight’s performance by The Tallis Scholars, whether in person or virtually, and please accept our best wishes for a joyful holiday season, and peace in the New Year.
Kathleen Fay Executive Director
Boston Early Music Festival
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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
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BOARD OF TRUSTEES
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Ellen Zetcher † deceased
Paul O’Dette & Stephen Stubbs, Artistic Directors
BOSTON EARLY MUSIC FESTIVAL CHAMBER OPERA SERIES PRESENTS
FRANCESCO PROVENZALE Stellidaura’s REVENGE
A courtly love triangle is torn apart by violent passions in this sultry romp!
VIRTUAL AVAILABILITY: DECEMBER 14 TO DECEMBER 28, 2025
When her beloved is shot by a jealous rival, Stellidaura is out for REVENGE! Join the GRAMMY-winning BEMF CHAMBER OPERA SERIES for this earthy, Shakespearean romp, full of twists and turns and set to one of the most beautiful musical scores of the 17th century. Breathtaking laments combine with lively tarantellas to produce a wildly entertaining cavalcade of romance, murder, and intrigue from the Neapolitan riviera.
PAUL O’DETTE & STEPHEN STUBBS, Musical Directors
GILBERT BLIN, Stage 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:
SUSAN L. ROBINSON
Sponsor of the March 2026 performance by Tafelmusik & Juilliard415
ANDREW SIGEL
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
KENNETH C. RITCHIE and PAUL T. SCHMIDT
Sponsors 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
THE TALLIS SCHOLARS
directed by PETER PHILLIPS
MOTHER AND CHILD
ENGLISH MUSIC FOR THE VIRGIN MARY
Missa Puer natus est nobis Thomas Tallis (ca. 1505–1585)
Gloria
Votive Mass of the Virgin William Byrd (ca. 1540–1623) Ave maris stella
Rorate caeli
Tollite portas
Ave Maria
Ecce virgo concipiet
Salve Regina Matthew Martin (b. 1976)
Missa Puer natus est nobis Tallis Sanctus
Agnus Dei
A Hymn to the Virgin Benjamin Britten (1913–1976)
Mater Christi John Taverner (ca. 1490–1545)
Magnificat John Nesbett (d. 1488)
THE BOSTON EARLY MUSIC FESTIVAL THANKS ANDREW SIGEL for his support of the virtual performance of The Tallis Scholars
LIVE CONCERT
Friday, December 5, 2025 at 8pm St. Paul Church in Harvard Square Bow and Arrow Streets, Cambridge, Massachusetts
VIRTUAL CONCERT
Friday, December 13, 2025 – Friday, December 27, 2025 BEMF.org
THE TALLIS SCHOLARS
directed by Peter Phillips
Amy Haworth, soprano
Daisy Walford, soprano
Sumei Bao-Smith, soprano
Elisabeth Paul, alto
Anna Semple, alto
Simon Ponsford, alto
Steven Harrold, tenor
Tom Castle, tenor
Tim Scott Whiteley, bass
Ben Davies, bass
The Tallis Scholars appear by arrangement with Alliance Artist Management.
The Tallis Scholars record for Gimell Records. Please visit their website at www.gimell.com
For more information, please visit www.thetallisscholars.co.uk For 2026 releases onward, The Tallis Scholars will record for Linn Records.
Program subject to change.
Ball Square Films & Kathy Wittman, Video Production
Antonio Oliart Ros, Recording Engineer
THE BOSTON EARLY MUSIC FESTIVAL THANKS
THE FOLLOWING INDIVIDUALS AND INSTITUTIONS FOR THEIR LEADERSHIP SUPPORT OF THE NOVEMBER 2025 PERFORMANCES OF
Stellidaura’s REVENGE
BETTINA A. NORTON
Full Production Sponsor
GLENN A. KNICKREHM and CONSTELLATION CHARITABLE FOUNDATION
Sponsors of the BEMF Vocal & Chamber Ensembles
Sponsors of Giuseppe Naviglio, Giampetro
JOANNE ZERVAS SATTLEY
Sponsor of Hannah De Priest, Stellidaura
Sponsor of Aaron Sheehan, Orismondo
ANDREW SIGEL
Sponsor of Richard Pittsinger, Armidoro
Sponsor of Mara Riley, Armillo
BERNICE K. CHEN
Sponsor of Gilbert Blin, Stage Director
HENK ELDERHORST
Sponsor of Grant Sorenson, Intern Assistant to the Stage Director
Boston Early Music Festival
PROGRAM NOTES
One of the most common types of Orthodox icon features the Theotokos, the “Godbearer,” and depicts the Blessed Virgin Mary, usually with the Christ-child on her lap (or, occasionally, mystically represented in her womb). This program likewise focuses on the heavenly duo of Mother and Child, with music in honor of the Virgin Mary interspersed with a grand mass celebrating the birth of her child, Jesus.
In fact, it was not only the birth of the Christ being celebrated in Thomas Tallis’s mass, but the expectation of another child king. In 1554, Queen Mary had recently married Philip of Spain, in a union designed to strengthen England’s newly restored bond to Roman Catholicism (after the Protestant dalliances of her brother’s short reign). In addition, Mary seemed to most observers to be pregnant. Accordingly, there is a sense of jubilance in Thomas Tallis’s grand, seven-voice mass, which was likely first performed at this time. It is based on the plainsong “Puer natus est nobis”—“A boy is born to us, and a son is given to us whose government shall be upon his shoulders.” Even though the text of the chant is not used, the allusion encoded into the DNA of the music would have been picked up by those who heard it. It was an expression of hope, that the throne of Catholic England might be granted the security of a male heir.
The unusual original scoring of the work— seven voices at low pitch—can probably be attributed to the presence of Philip’s Capilla Flamenca, or “Flemish Chapel Choir,” who would have accompanied their king to England.
It is conceivable that the mass was envisaged for joint performance by the two royal choirs together. Philip’s choir also contained composers of considerable repute, including Philippe de Monte. It’s not inconceivable that Tallis saw an occasion to demonstrate the virtues of English music to his continental rival.
The English composer rose to the challenge, demonstrating virtuosic skill in the assembly of the mass. The plainchant is slowed down, and runs in long notes in the tenor voice. The composer juxtaposes this (by this time somewhat old-fashioned) technique with more modern features which were associated with “continental” composition, such as close imitation between the other voices. This allows him to maintain musical interest while the chant is deployed in such long notes (in the Agnus Dei, one such note sounds for a nearly unbroken stretch of thirty-one bars!). An unusual, even experimental work, the mass must surely have impressed those who heard it, in its skillful composition and fervor.
Around fifty years later, Tallis’s colleague William Byrd embarked on a monumental project: a complete set of compositions for use in the ceremonies of the Catholic Church. The following selection of motets, drawn from the Gradualia collection, mostly belong to the celebration of a Votive Mass for the Blessed Virgin. The strophic, intimate Ave maris stella is for only three voices, providing an immediate textural contrast with Tallis’s mass. Rorate caeli, featuring the powerful imagery of the heavens coming down to earth and
THOMAS TALLIS
WILLIAM BYRD
raining righteousness upon it finds a match in Byrd’s fervent setting. Ever alive to the nuance of the words, the composer characterizes each section carefully, leading to a doxology of awesome solidity. Tollite portas is notable for its frequent rising melodic phrases to musically depict the lifting up of the gates, while Ecce virgo concipiet builds towards ringing repetitions of the name by which the child shall be called: Emmanuel.
For A Hymn to the Virgin, the youthful Benjamin Britten turned to a macaronic carol— that is, one in which the text is in both Latin and the vernacular—originally dating from the thirteenth century. In an early example of the astonishing compositional fecundity he was to display throughout his life, the eighteen-year-old composer divides the choir, allocating the Latin exclamations to a semi-chorus, as if in an angelic, hieratic commentary on the earthly Incarnation.
Such hymns to the Virgin Mary have a long history. When John Taverner was employed at the new Cardinal College in the early sixteenth
COMPOSER’S NOTE
The Latin Salve Regina is one of four seasonal Marian Antiphons traditionally sung at the end of Compline in monastic institutions and elsewhere. It has, however, become wellknown in its own right as a plea for Mary’s intercession on behalf of all believers, and has been set to music many times over the centuries. This setting, commissioned especially for The Tallis Scholars and this concert, aims to reflect something of that yearning—while also responding to the structure of the text and the particular configuration of voices in the group (SSSSAATTBB). The work is divided into two main sections with a coda (smaller third section) where the opening material reappears in a modified form.
We begin in darkness with a solemn—almost chorale-like—statement of the opening few
century, its statutes included a direction that antiphons to her be sung daily. Mater Christi sanctissima is a confident work of polyphony, making full use of the five-voice texture by alternating statements for upper and lower voices. In this case, the opening invocation to Mary is really a sort of preamble to the true prayer. In the first part, Mary is asked to pray her son to listen to our pleas. This done, in the second part we may pray directly to Jesus for the gift of grace and his Holy Spirit.
Of John Nesbett’s life we know little, save that he worked for a time at Canterbury Cathedral. His Magnificat, an attractive and useful setting, is found in the Eton Choirbook, one of the most important sources of early Tudor polyphony to have survived. The piece alternates chanted verses of the canticle with full polyphony, exhibiting the unhurried and virtuosic style common to the pieces in this collection, and concludes with a ringing final “Amen.” n
—© James M. Potter, 2025
words in the lower voices, growing into something of a musical illuminated initial before the first subjects (or themes) are heard. Here, the four sopranos embark on a distant repetitive canonic motif as angels (“vita dulcedo”). Meanwhile, the lower voices burst through into a more impassioned setting of the opening illumination which juxtaposes upper and lower voices. Distant trumpet calls from the sopranos on “ad te suspiramus” then develop into a more urgent and contrapuntal call to prayer, building from the bass up into an anguished repetition of the opening “Salve”—the whole choir desperately pleading together for Mary’s intercession for our sins. As we fall into the “valley of tears” (“gementes et flentes in hac lacrimarum valle”), the lines disintegrate and crush together, sighing, and land on a low and questioning E-minor chord. The end of the first section.
“Eia ergo” (another musical illumination) signals the start of the secunda pars as an echo— distantly—but then suddenly and urgently imploring her to turn her eyes of mercy towards us in two-part counterpoint, using a simpler SATB texture. The music is nervous and continues to juxtapose flashes of violent desperation with darker echoes of our sinful past (“misericordes oculus ad nos converte”). The soprano angels appear again at “et Iesum, benedictum fructum ventris tui,” leading us to a first sign of hope at “nobis post hoc exsilium ostende”—offering the possibility of freedom from our own sinful exile. Here, the whole choir speaks softly and comfortingly together as one voice.
ARTIST PROFILES
The third section, or coda, begins more reassuringly with a restatement of the opening chorale-like “Salve” with angels echoing “O clemens, O pia” appearing over the top of the lower voices (using other material from the second section). Mary’s head is only turned towards us during the final few bars of the piece (“O dulcis Virgo Maria”) and, as she smiles, the music transitions from twisted uncertainty to a joyful glow, assuring us that she will indeed grant our request and give us hope. n
—Matthew Martin
The Tallis Scholars were founded in 1973 by their director, Peter Phillips. Through their recordings and concert performances, they have established themselves as the leading exponents of Renaissance sacred music throughout the world. Peter Phillips has worked with the ensemble to create, through good tuning and blend, the purity and clarity of sound which he feels best serves the Renaissance repertoire, allowing every detail of the musical lines to be heard. It is the resulting beauty of sound for which The Tallis Scholars have become so widely renowned.
The Tallis Scholars perform in both sacred and secular venues, giving around 80 concerts
each year. In 2013, the group celebrated their 40th anniversary with a world tour, performing 99 events in 80 venues in 16 countries. In 2020, Gimell Records celebrated 40 years of recording the group by releasing a remastered version of the 1980 recording of Allegri’s Miserere. In 2023/24, as they celebrated their 50th birthday, the desire to hear this group in all corners of the globe was as strong as ever. They have now performed well over 2,500 concerts.
Highlights of the 2024/25 season included performances in Japan, the United States, East Asia, and a number of appearances in London as well as their usual touring schedule in Europe and the UK.
Recordings by The Tallis Scholars have attracted many awards throughout the world. In 1987, their recording of Josquin’s Missa La sol fa re mi and Missa Pange lingua received Gramophone magazine’s Record of the Year award, the first recording of early music ever to win this coveted award. In 1989 the French magazine Diapason gave two of its Diapason d’Or de l’Année awards for the recordings of a mass and motets by Lassus and for Josquin’s two masses based on the chanson L’Homme arme. Their recording of Palestrina’s Missa Assumpta est Maria and Missa Sicut lilium was awarded Gramophone’s Early Music Award in 1991; they received the 1994 Early Music Award for their recording of music by Cipriano de Rore, and the same distinction again in 2005 for their disc of music by John Browne. The Tallis Scholars were nominated for Grammy Awards in 2001, 2009, and 2010. In November 2012, their recording of
Peter Phillips has dedicated his career to the research and performance of Renaissance polyphony, and to the perfecting of choral sound. He founded The Tallis Scholars in 1973, with whom he has now appeared in over 2,500 concerts worldwide, and made over 60 discs in association with Gimell Records. As a result of this commitment, Peter Phillips and The Tallis Scholars have done more than any other group to establish the sacred vocal music of the Renaissance as one of the great repertoires of Western classical music.
Peter Phillips also conducts other specialist ensembles. He is currently working with the BBC Singers (London), the Netherlands Chamber Choir (Utrecht), the Estonian Philharmonic Chamber Choir (Tallinn), The
Josquin’s Missa De beata virgine and Missa Ave maris stella received a Diapason d’Or de l’Année and in their 40th anniversary year they were welcomed into the Gramophone Hall of Fame by public vote. In a departure for the group, in spring 2015 The Tallis Scholars released a disc of music by Arvo Part called Tintinnabuli, which received great praise across the board.
A 2020 release including Missa Hercules Dux Ferrarie was the last of nine albums in The Tallis Scholars’ project to record and release all of Josquin’s masses before the 500th anniversary of the composer’s death. It was the winner of the BBC Music Magazine’s much-coveted Recording of the Year Award in 2021 and the 2021 Gramophone Early Music Award. Their latest Gimell release in November 2024 is of music by Robert Fayrfax and was made Editor’s Choice in Gramophone. n
Danish Radio Choir (Copenhagen), and El Leon de Oro (Oviedo). He is Patron of the Chapel Choir of Merton College, Oxford. In addition to conducting, Peter Phillips is well known as a writer. For thirty-three years he contributed a regular music column to The Spectator. In 1995, he became the publisher of The Musical Times, the oldest continuously published music journal in the world. His first book, English Sacred Music 1549–1649, was published by Gimell in 1991, while his second, What We Really Do, appeared in 2003, and again in 2013. During 2018, BBC Radio 3 broadcast his view of Renaissance polyphony in a series of six hour-long programs entitled The Glory of Polyphony. He is a regular reviewer on music for the London Review of Books.
In 2005, Peter Phillips was made a Chevalier de l’Ordre des Arts et des Lettres by the French Minister of Culture. In 2008, Peter helped to found the chapel choir of Merton College, Oxford, where he is a Bodley Fellow, and in 2021 he was elected an Honorary Fellow of St John’s College, Oxford. n
TEXTS AND TRANSLATIONS
Missa Puer natus est nobis — Tallis
Gloria in excelsis Deo, et in terra pax hominibus bonae voluntatis.
Laudamus te. Benedicimus te. Adoramus te. Glorificamus te. Gratias agimus tibi propter magnam gloriam tuam, Domine Deus, Rex caelestis, Deus Pater omnipotens.
Domine Fili unigenite, Jesu Christe; Domine Deus, Agnus Dei, Filius Patris, qui tollis peccata mundi, miserere nobis; qui tollis peccata mundi, suscipe deprecationem nostram; qui sedes ad dexteram Patris, miserere nobis.
Quoniam tu solus Sanctus, tu solus Dominus, tu solus altissimus, Jesu Christe. Cum Sancto Spiritu, in gloria Dei Patris. Amen.
Votive Mass of the Virgin — Byrd
Ave, maris stella, Dei Mater alma, Atque semper Virgo, Felix caeli porta.
Sumens illud Ave Gabrielis ore, Funda nos in pace, Mutans Evae nomen.
Solve vincla reis, Profer lumen caecis, Mala nostra pelle, Bona cuncta posce
Monstra te esse matrem Sumat per te preces, Qui pro nobis natus Tulit esse tuus.
Glory be to God on high, and in earth peace, goodwill toward men. We praise thee. We bless thee. We worship thee. We glorify thee. We give thanks to thee for thy great glory, O Lord God, heavenly king, God the Father almighty.
O Lord the only-begotten Son, Jesus Christ; O Lord God, Lamb of God, Son of the Father, that takes away the sins of the world, have mercy upon us; that takes away the sins of the world, receive our prayer; that sits at the right hand of God the Father, have mercy upon us.
For thou only art holy; thou only art the Lord; thou only, O Christ, with the Holy Ghost, art Most High in the glory of God the Father. Amen.
Hail, star of the sea, Loving Mother of God, And also always a virgin, Happy gate of heaven.
Receiving that Ave From Gabriel’s mouth Confirm us in peace, Reversing Eva’s name.
Break the chains of sinners, Bring light to the blind, Drive away our evils, Ask for all good.
Show yourself to be a mother, May he accept prayers through you, He who, born for us, Chose to be yours.
Virgo singularis, Inter omnes mitis, Nos culpis solutos, Mites fac et castos.
Vitam praesta puram, Iter para tutum, Ut videntes Jesum, Semper collaetemur.
Sit laus Deo Patri, Summo Christo decus
Spiritui Sancto, Tribus honor unus. Amen.
Rorate caeli desuper, et nubes pluant justum: aperiatur terra, et germinet salvatorem. Benedixisti, Domine, terram tuam: avertisti captivitatem Jacob.
Gloria Patri, et Filio, et Spiritui Sancto.
Sicut erat in principio, et nunc, et semper, et in saecula saeculorum. Amen.
Tollite portas, principes, vestras, et elevamini, portae aeternales, et introibit rex gloriae.
Quis ascendet in montem Domini?
Aut quis stabit in loco sancto eius? Innocens manibus et mundo corde. Alleluia.
Ave Maria, gratia plena, Dominus tecum; benedicta tu in mulieribus et benedictus fructus ventris tui. Alleluia.
Ecce virgo concipiet et pariet filium et vocabitur nomen eius Emmanuel. Alleluia.
O unique virgin, Meek above all, Make us, absolved from sin, Gentle and chaste.
Keep life pure, Make the journey safe, So that, seeing Jesus, We may always rejoice together.
Let there be praise to God the Father, Glory to Christ in the highest, To the Holy Spirit, One honor to all three. Amen.
Drop down ye heavens, from above, and let the skies pour down righteousness: Let the earth open and bring forth a Savior. Lord, thou hast blessed thy land: Thou hast turned away the captivity of Jacob. 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.
Lift up your heads, O ye gates, and be ye lift up, ye everlasting doors: and the King of glory shall come in. Who shall ascend into the mount of the Lord? Or who shall stand in his holy place? He that hath clean hands, and a pure heart. Alleluia.
Hail Mary, full of grace, the Lord is with thee; blessed art thou among women, and blessed is the fruit of thy womb. Alleluia.
Behold, a virgin shall conceive and bear a son, and shall call his name Emmanuel. Alleluia.
Salve Regina — Martin
Salve Regina mater misericordiae vita dulcedo et spes nostra, salve.
Ad te clamamus, exsules filii Evae. Ad te suspiramus, gementes et flentes in hac lacrimarum valle.
Eia ergo advocata nostra, illos tuos misericordes oculos ad nos converte.
Et Iesum, benedictum fructum ventris tui, nobis post hoc exsilium ostende.
O clemens, O pia, O dulcis Virgo Maria. m
Missa Puer natus est nobis — Tallis
Sanctus, Sanctus, Sanctus Dominus Deus Sabaoth. Pleni sunt caeli et terra gloria tua. Hosanna in excelsis.
Benedictus qui venit in nomine Domini. Hosanna in excelsis.
Agnus Dei, qui tollis peccata mundi, miserere nobis
Agnus Dei, qui tollis peccata mundi, miserere nobis.
Agnus Dei, qui tollis peccata mundi, dona nobis pacem.
A Hymn to the Virgin — Britten
Of one who is so fair and bright Velut maris stella, Brighter than the day is light, Parens et puella:
I cry to thee, thou see to me, Lady, pray thy Son for me, Tam pia, That I may come to thee. Maria!
Hail, Queen, mother of pity; our life, sweetness, and hope, hail.
To thee we cry, the exiled sons of Eve. To thee we sigh, lamenting and weeping in this vale of tears. Therefore, our advocate, turn thy pitiful eyes upon us. And, show us this exile, Jesus, the blessed fruit of thy womb.
O merciful, O holy, O sweet Virgin Mary.
INTERMISSION n
Holy, Holy, Holy, Lord God of hosts. Heaven and earth are full of thy glory. Hosanna in the highest. Blessed is he that comes in name of the Lord. Hosanna in the highest.
O Lamb of God, that takes away the sins of the world, have mercy upon us.
O Lamb of God, that takes away the sins of the world, have mercy upon us.
O Lamb of God, that takes away the sins of the world, grant us thy peace.
Of one who is so fair and bright Like a star of the sea, Brighter than the day is light, Both mother and maiden: I cry to thee, thou see to me, Lady, pray thy Son for me, So pure, That I may come to thee.
Mary!
All this world was forlorn, Eva peccatrice, Till our Lord was yborn, De te genetrice. With ave it went away, Darkest night, and comes the day Salutis;
The well springeth out of thee. Virtutis.
Lady, flower of everything, Rosa sine spina, Thou bare Jesu, heaven’s king, Gratia divina:
Of all thou bearest the prize, Lady, queen of paradise
Electa:
Maid mild, mother es effecta.
Mater Christi — Taverner
Mater Christi sanctissima, Virgo sacrata Maria, tuis orationibus benignum redde Filium, unica spes nostra Maria; nam precibus nitentes tuis rogare audemus Filium. Ergo, Fili, decus Patris, Jesu, fons fecundissime a quo vivae fluunt aquae rigantes fida pectora, O Jesu, vitalis cibus te pure manducantibus, salutari potu et cibo pavisti nostra corpora. Tua pasce animam gratia; tibi consecratos Spiritu tuo fove munere.
Quin et nostras, Jesu bone, mentes illustra gratia, et nos pie fac vivere ut dulci ambrosia tuo vescamur in palatio. Amen.
Magnificat — Nesbett
Magnificat anima mea Dominum. Et exultavit spiritus meus in Deo salutari meo.
All this world was forlorn, Because of Eve, a sinner, Till our Lord was born, Through you, his mother. With “hail” it went away, Darkest night, and comes the day Of salvation; The well springeth out of thee. Of virtue.
Lady, flower of everything, Rose without thorn, Thou bare Jesu, heaven’s king, By divine grace: Of all thou bearest the prize, Lady, queen of paradise
Chosen:
Maid mild, mother You are made.
Most holy Mother of Christ, blessed Virgin Mary, through you prayers move your Son to kindness, Mary, our only hope, for, depending on your prayers, we dare to entreat your Son. Therefore O Son, the Father’s glory, Jesus, most plenteous fountain from which flow living waters refreshing the hearts of the faithful, O Jesus, food of life for those who purely feed on you, you have nourished our bodies with the food and drink that brings salvation. Nourish the soul with your grace, support with your gift those who are consecrated to you by the Spirit. Even more, good Jesus, illuminate our minds with grace, and make us live so piously that we may feast upon the sweet food of heaven in your palace. Amen.
My soul doth magnify the Lord: and my spirit has rejoiced in God my Savior.
(Please turn page quietly)
Quia respexit humilitatem ancillae suae:
Ecce enim ex hoc beatam me dicent omnes generationes.
Quia fecit mihi magna qui potens est: et sanctum nomen eius.
Et misericordia eius a progenie in progenies: timentibus eum.
Fecit potentiam in brachio suo: dispersit superbos mente cordis sui.
Deposuit potentes de sede, et exaltavit humiles.
Esurientes implevit bonis: et divites dimisit inanes.
Suscepit Israel puerum suum, recordatus misericordiae suae.
Sicut locutus est ad patres nostros: Abraham et semini eius in saecula.
Gloria Patri, et Filio, et Spiritui Sancto.
Sicut erat in principio, et nunc, et semper, et in saecula saeculorum. Amen.
For he has looked with favor on the lowliness of his handmaiden.
For behold, from henceforth: all generations shall call me blessed.
For he that is mighty has done wondrous things for me, and holy is his Name.
And his mercy is on them that fear him: throughout all generations.
He has shown the strength of his arm: he has scattered the proud in their conceit.
He has put down the mighty from their seat and has exalted the humble and meek.
He has filled the hungry with good things and the rich he has sent empty away.
He has sustained his servant, Israel, in remembrance of his mercy, which he promised to our forefathers, Abraham and his seed, forever.
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.
Invest in the music you love.
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.
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Boston Early Music Festival PLANNED GIVING
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, Telemann’s Don Quichotte, and most recently Francesco Provenzale’s Stellidaura’s Revenge. 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, fourcountry European concert tour of the opera, has been nominated for a Grammy Award, was named Gramophone’s Recording of the
SCENE FROM BEMF’S 2023 PRODUCTION OF LAMPE’S THE DRAGON OF WANTLEY
PHOTO: KATHY WITTMAN
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 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, Telemann’s Ino and opera arias for soprano, featuring Amanda Forsythe, was released in October 2024 and has been nominated for a Grammy, 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 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 earlymusic 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 November 7, 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.
Barbara & Amos Hostetter
Edward B. Kellogg†
Robert E. Kulp, Jr., in memory of Diane Britton
Joanne Zervas Sattley
Karen Tenney & Tom Loring
Donald E. Vaughan & Lee S. Ridgway
Christoph Wolff
LEADERSHIP CIRCLE
($5,000 or more)
Anonymous (2)
Douglas & Aviva Brooks
Beth Brown, in memory of Walter R.J. Brown
Peter & Katie DeWolf
Susan Donaldson
Jean Fuller Farrington
Mei-Fung Kerley, in memory of Ted Chen
Alan M. King
Marianne & Terry Louderback
Mr. & Mrs. Thomas G. MacCracken
Heather Mac Donald & Erich Eichman
Bill McJohn
Neal J. Plotkin & Deborah Malamud
Harold I. Pratt
Paul Rabin & Arlene Snyder
Kenneth C. Ritchie & Paul T. Schmidt
David Scudder & Betsy Ridge, in memory of Diane Britton
Maria van Kalken & Hal Winslow
BENEFACTORS
($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
Dr. Peter Libby
Harriet Lindblom
Rebecca Nemser
Keith Ohmart & Helen Chen
Brian Pfeiffer
Nina & Timothy Rose
Paul L. Sapienza PC CPA
Raymond A. & Marilyn Smith
Adrian & Michelle Touw
John C. Wiecking
GUARANTORS
($1,000 or more)
Anonymous (8)
Annemarie Altman, in memory of Dave Cook
A.M. Askew
Ann Beha & Robert Radloff
Mary Briggs & John Krzywicki
The Honorable Leonie M. Brinkema & Mr. John R. Brinkema
Pamela & Lee Bromberg
Julie Brown & Zachary Morowitz
James Burr
Betty Canick
Robert & Elizabeth Carroll
David J. Chavolla
Carla Chrisfield & Benjamin D. Weiss
Charles E. Clark, in memory of Diane Britton
Dr. & Mrs. Franklyn Commisso
Mary Cowden
Richard & Constance Culley
The Davison-Twomey Family
Jeffrey Del Papa
John W. Ehrlich
Henk Elderhorst
Charles & Elizabeth Emerson
David Emery & Olimpia Velez
Michael E. Fay
Claire Fontijn, in memory of Arthur Fontijn & Sylvia Elvin
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
Thomas F. Kelly & Peggy Badenhausen
Art & Linda Kingdon
Jason Knutson & Eleena Zhelezov
Neal & Catherine Konstantin
Amelia J. LeClair & Garrow Throop
Lawrence & Susan Liden
James Liu & Alexandra Bowers
Mark & Mary Lunsford
William & Joan Magretta
John S. Major & Valerie Steele
David McCarthy & John Kolody
Michael P. McDonald
Victor & Ruth McElheny
Kati Mitchell
Louise Oremland
Richard & Julia Osborne
William J. Pananos
Amanda & Melvyn Pond, in honor of everything that BEMF does
Tracy Powers
Susan Pundt
Martha J. Radford
Christa Rakich & Janis Milroy
Arthur & Elaine Robins
Jose M. Rodriguez & Richard A. Duffy
Patsy Rogers
Lois Rosow
Michael & Karen Rotenberg
Carlton & Lorna Russell
Kevin Ryan & Ozerk Gogus
Lynne & Ralph Schatz
Richard Schroeder & Dr. Jane Burns
Laila Awar Shouhayib
Cynthia Siebert
Richard K. & Kerala J. Snyder
Murray & Hazel Somerville
Louisa C. Spottswood
Ted St. Antoine
Paola Stone, in memory of Edmondo Malanotte
Lisa Teot
Lonice Thomas
Paula & Peter Tyack
Prof. Van Orden
Patrick Wallace & Laurie McNeil
Louella Krueger Ward, in memory of Dr. Alan J. Ward, PhD, ABPP
Peter J. Wender
PATRONS
($500 or more)
Anonymous (5)
Morton Abromson & Joan Nissman
Jonathan B. Aibel & Julie I. Rohwein, in honor of James Glazier
Tom & Judy Anderson Allen
Nicholas Altenbernd
Susan P. Bachelder
Noel & Paula Berggren
Michael & Sheila Berke
Frederick Byron
John Campbell & Susanna Peyton
Mary Cook, in memory of Diane Britton
David Cooke
Nancy Coolidge
Geoffrey Craddock
Elizabeth & David Cregger
Warren R. Cutler
Belden & Pamela Daniels
Eric & Margaret Darling
Ross Duffin & Beverly Simmons
Austin & Eileen Farrar
Elizabeth Forman
Bruce A. Garetz
Alexander Garthwaite
Sarah M. Gates
Ian Hinchliffe & Marjorie Shapiro
Linda Hodgkinson
Wayne & Laurell Huber
Jean & Alex Humez
Jean Jackson, in memory of Louis Kampf
Paul & Alice Johnson
Richard Johnson & Annmarie Linnane
Barry D. Kernfeld & Sally A. McMurry
Fran & Tom Knight
Barbara & Paul Krieger
Kathryn Mary Kucharski
Tom & Kate Kush, in honor of Michael Ellmann
Robert & Mary La Porte
John Leen & Eileen Koven
Catherine Liddell
Roger & Susan Lipsey
Quinn MacKenzie
Carol Marsh
Sarah P. Marsh
Carol & Pedro Martinez
Amy & Brian McCreath
Marilyn Miller
Nancy Morgenstern, in memory of William & Marjorie Pressman
Nancy Nuzzo
John Parisi
Hon. W. Glen Pierson & Hon. Charles P. Reed
Gene & Margaret Pokorny
Brandon Qualls
Virginia Raguin, in honor of Kathy Fay
Mahadev & Ambika Raman
Sandy Reismann & Dr. Nanu Brates
Hadley Reynolds
Alice Robbins & Walter Denny
Phil & Catherine Saines
Mary Ann & Charles Schultz
Susan Schuur
Wendy Shattuck & Sam Plimpton
Harvey A. Silverglate, in memory of Elsa Dorfman
Elizabeth Snow
Catherine & Keith Stevenson
Theresa & Charles Stone
Carl Swanson
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
Larry & Sara Mae Berman
Barbara R. Bishop
James Bowman
Sally & Charlie Boynton
C. Anthony Broh & Jennifer L. Hochschild
Jane K. Brown
Robert Burger
Deborah & Richard Burke
Derek Campbell
Anne Chalmers† & Holly Gunner
Mary Chamberlain
Peter Charig & Amy Briemer
JoAnne Chernow
Carol & Alex Collier
Linzee Coolidge
Gray F. Crouse
Tekla Cunningham & David Sawyer
William Depeter
Michael DiSabatino, in honor of Nancy Olson
Kathryn Disney
Ellen Dokton & Stephen Schmidt
Charles & Sheila Donahue
The Rev’d Richard Fabian
Deborah Fegan
Mary Fillman & Mary Otis Stevens
Dr. Patrick J. Fox, in honor of Nancy Olson
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
Laury Gutierrez & Elsa Gelin
Eric Haas, in memory of Janet Haas
Eric & Dee Hansen
Deborah Haraldson
Joan E. Hartman
Diane Hellens
Catherine & John Henn
Phyllis Hoffman
David Hoglund
Charles Bowditch Hunter
Chris & Klavs Jensen
Karen Johansen & Gardner Hendrie
Robin Johnson
Patrick G. Jordan
David P. Kiaunis
George Kocur
Christopher Larossa
Frederick V. Lawrence, in memory of Rosemarie Maag Lawrence
Jasper Lawson
Susan Lewinnek
Mary Maarbjerg
Dr. Bruce C. MacIntyre
Marietta Marchitelli
Anne H. Matthews
June Matthews
Donna McCampbell
Ray Mitzel
Andrew Modest & Beth Arndtsen
Agatha Morrell
Gene Murrow
Debra Nagy, in honor of Kathy Fay
Michael J. Normile
Eugene Papa
Jane P. Papa
Henry Paulus
David & Beth Pendery
Joseph L. Pennacchio
Phillip Petree
Bici Pettit-Barron
Stephen Poteet
Anne & François Poulet
Lawrence Pratt & Rosalind Forber
Julia M. Reade & Robert A. Duncan
David Rehm
Marge Roberts
Michael Rogan & Hugh Wilburn
Sherry & William Rogers
Ellen Rosand
Rusty Russell, in memory of Alan Durfee
Richard L. Schmeidler
David Schneider & Klára Móricz
Clem Schoenebeck, in memory of Bill Schoenebeck
Maria Schreiber
Alison M. Scott
Miriam N. Seltzer
Mr. Terry Shea & Dr. Seigo Nakao
Michael Sherer
Mark Slotkin
Jeffrey Soucy
Ann Stewart
Ronald W. Stoia
Victoria Sujata
Jonathan Swartz
Tim & Ann Szczesuil
Ken & Margo Taylor
Mark S. Thurber & Susan M. Galli
John & Dorothy Truman
Elizabeth Trumpler, in memory of Donald Trumpler
Peter & Kathleen Van Demark
Robert & Therese Wagenknecht
Beverly Woodward & Paul Monsky
J. Yavarkovsky & C. Lowe
The Zucker Family
PARTNERS
($100 or more)
Anonymous (15)
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
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
David & Barbara Burke, in memory of Carroll Ann Sheridan Bottino
John H. Burkhalter III
Judi Burten in memory of Phoebe Larkey
Alice Butler
Joseph Cantey
Verne & Madeline Caviness
Floyd & Aleeta Christian
Robert B. Christian
Daniel Church & Roger Cuevas
John K. Clark & Judith M. Stoughton
Alan Clayton-Matthews
Derek Cottier & Lauren Tilly
Robert B. Crane
Francine Crawford
Donna Cubit-Swoyer
James Cyphers
Ruta Daugela
Carl & May Daw, in memory of Ned Kellogg
Leigh Deacon
Alison Desimone
Jim Diamond
Forrest Dillon
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 Wolf Feigelson
Annette Fern
Mary B. Findley
Janet G. Fink
Carol L. Fishman
Dr. Jonathan Florman
Howard C. Floyd
Frederick S. Frank
Gary Freeman
Robert Freeman
R. Andrew Garthwaite
George & Marla Gearhart
Gisela & Ronald Geiger
Stephen L. Gencarello
Monica & David Gerber
The Goldsmith Family
Lisa Goldstein
Nancy L. Graham
Winifred Gray
Judith Green & James Kurtz
Mary Greer
Janet Grogan
Deborah Grose
John Gruver & Lynn Tilley
Peter F. Gustafson
Sonia Guterman, in memory of Martin Guterman
Quang Ha
Peter Hainer
Tunie Hamlen
Suzanne & Easley Hamner
Joyce Hannan
Jasjit & Donald L. Heckathorn
Karin Hemmingsen
Katherine A. Hesse
Patricia G. Hoffman
Valerie Horst & Benjamin Peck
Judith & Alan Hudson
Keith L. & Catherine B. Hughes
Joe Hunter & Esther Schlorholtz
Francesco Iachello
Willemien Insinger
Susan L. Jackson
Michele Jerison
Mary Parke Johnson
Judith L. Johnston & Bruce L. Bush
Lucy Johnston
David K. Jordan
George Kaminsky
David Keating
Patricia Keating
Thomas Keirstead
Mr. & Mrs. Seamus C. Kelly
Louis & Susan Kern
Joseph J. Kesselman, Jr.
David & Alice Kidder
Maryanne King
Pat Kline
Valerie & Karl KnicKrehm
Ellen Kranzer
Benjamin Krepp & Virginia Webb
Robert W. Kruszyna
Jay Carlton Kuhn, Jr.
Claire Laporte
Bruce Larkin & Donna Jarlenski
David A. Leach & Laurie J. LaChapelle
William Lebow
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Sarah Whittaker
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PAUL O’DETTE & STEPHEN STUBBS , Artistic Directors
2026 GRAMMY NOMINEE BEST CLASSICAL SOLO VOCAL ALBUM
“Exceptional stylish elegance and theatrical vitality.” —GRAMOPHONE
“Perfect Telemann recording.” —CLASSICS TODAY “Forsythe handles this music with grace and ease.” —FANFARE
KATHY WITTMAN