2022–2023 Season | Philippe Jaroussky & Le Concert de la Loge

PHILIPPE JAROUSSKY, countertenor & LE CONCERT DE LA LOGE JULIEN CHAUVIN, conductor

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Boson Early Music Fesival MAN AG E M E N T 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 Manager Andrew Sigel, Publications Editor Nina Stern, Director of Community Engagement

AR T IST IC L E AD E R SHIP Paul O’Dette and Stephen Stubbs, Artistic Directors Gilbert Blin, Opera Director Robert Mealy, Orchestra Director Melinda Sullivan, Lucy Graham Dance Director

B OAR D OF D IR E C T OR S Bernice K. Chen, Chairman | David Halstead, President Brit d’Arbeloff, Vice President | Lois A. Lampson, Vice President Susan L. Robinson, Vice President Adrian C. Touw, Treasurer | Peter L. Faber, Clerk Michael Ellmann | George L. Hardman | Ellen T. Harris | Glenn A. KnicKrehm Miles Morgan | Bettina A. Norton | Lee S. Ridgway | Ganesh Sundaram

B OAR D OF OVE R S E E R S Diane Britton | Gregory E. Bulger | Robert E. Kulp, Jr. | James S. Nicolson Amanda Pond | Robert Strassler | Donald E. Vaughan

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M E M B ER S OF T HE B E M F C OR PORATION Jon Aaron Debra K.S. Anderson Kathryn Bertelli Mary Briggs Diane Britton Douglas M. Brooks Gregory E. Bulger Julian G. Bullitt Deborah Ferro Burke John A. Carey Anne P. Chalmers Bernice K. Chen Joel I. Cohen Brit d’Arbeloff Vivian Day Mary Deissler Peter L. DeWolf JoAnne W. Dickinson Richard J. Dix Alan Durfee Michael Ellmann Peter L. Faber Emily C. Farnsworth Dorothy R. Fay† Kathleen Fay John Felton Frances C. Fitch Claire Fontijn Randolph J. Fuller James A. Glazier Marty Gottron Carol A. Haber David Halstead

George L. Hardman Ellen T. Harris Richard Hester Jessica Honigberg Jennifer Ritvo Hughes Edward B. Kellogg Thomas F. Kelly Glenn A. KnicKrehm Christine Kodis John Krzywicki Kathryn Kucharski Robert E. Kulp, Jr. Ellen Kushner Christopher Laconi Lois A. Lampson Thomas G. MacCracken William Magretta Bill McJohn Miles Morgan Nancy Netzer Amy H. Nicholls James S. Nicolson Bettina A. Norton Scott Offen Lorna E. Oleck Henry P.M. Paap James M. Perrin Bici Pettit-Barron Amanda Pond Melvyn Pond Paul Rabin Christa Rakich Lee S. Ridgway

TABLE OF C O N T E N T S

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Michael Rigsby Douglas M. Robbe Michael Robbins Susan L. Robinson Patsy Rogers Wendy Rolfe-Dunham Loretto Roney Thomas 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 Ingeborg von Huene Nikolaus von Huene Howard J. Wagner Benjamin D. Weiss Ruth S. Westheimer Allan Winkler Hal Winslow Christoph Wolff Arnold B. Zetcher Ellen Zetcher

Concert Program Program Notes Artist Profiles Texts & Translations About BEMF Friends of BEMF

† deceased

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Boson Early Music Fesival

Paul O’Dette & Stephen Stubbs, Artistic Directors

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VOX LUMINIS

Lionel Meunier, director MONTEVERDI: THE MORAL AND SPIRITUAL FOREST

SATURDAY, NOVEMBER 26, 2022 SUNDAY, NOVEMBER 27, 2022 NEC’s Jordan Hall, Boston

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FRIDAY, DECEMBER 9, 2022

8PM | St. Paul Church, Cambridge

THE TALLIS SCHOLARS Peter Phillips, director

HYMNS TO THE VIRGIN

FRIDAY, FEBRUARY 10, 2023 8PM | NEC’s Jordan Hall, Boston

BACH COLLEGIUM JAPAN RODERICK WILLIAMS, baritone Masaaki Suzuki, director & harpsichord

ICH HABE GENUG: MUSIC OF BACH AND TELEMANN

FRIDAY, MARCH 10, 2023

8PM | First Church in Cambridge, Congregational

QUICKSILVER

Robert Mealy & Julie Andrijeski, directors THE (VERY) FIRST VIENNESE SCHOOL

SATURDAY, MARCH 25, 2023 8PM | NEC’s Jordan Hall, Boston

CHIAROSCURO QUARTET SHADES OF MINOR: BEETHOVEN, SCHUBERT, AND MENDELSSOHN

SATURDAY, APRIL 22, 2023

8PM | First Church in Cambridge, Congregational

ENSEMBLE CASTOR MIREILLE LEBEL, mezzo-soprano Rodolfo Richter, leader

VIVALDI: FORCES OF NATURE—LOVE OF NATURE

FRIDAY, APRIL 28, 2023

8PM | St. Paul Church, Cambridge

STILE ANTICO ENGLAND’S NIGHTINGALE: MUSIC OF WILLIAM BYRD 2 0 22–20 23 SEASO N

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Boson Early Music Fesival 2 02 2 – 2 02 3 N A M E D GIFT S PON S OR S H IPS

Boston Early Music Festival extends sincere thanks to the following individuals for their leadership support of our 2022–2023 Season:

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David Halstead and Jay Santos

Sponsors of the October 2022 performance by Philippe Jaroussky, countertenor, and Ensemble Artaserse

Joan Margot Smith

Sponsor of the November 2022 performance by Vox Luminis and Lionel Meunier, Artistic Director

David M. Kozak and Anne Pistell

Sponsors of the December 2022 performance by The Tallis Scholars and Peter Phillips, director in memory of their parents

Bernice K. Chen

Sponsor of Gilbert Blin, Stage Director for the November 2022 Chamber Opera Series Production

Donald E. Vaughan and Lee S. Ridgway

Sponsors of Philippe Jaroussky, countertenor, for his October 2022 performance

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Not only do Named Gifts help provide the crucial financial support required to present a full season of extraordinary performances, but they are doubly meaningful in that they send a message of thanks to your most beloved artists—that their work means something to you.

You can help make this list grow. For more information about investing in BEMF performances with a Named Gift, please email Kathleen Fay at kathy@bemf.org, or call the BEMF office at 617-661-1812.

Your support makes a difference. Thank you.

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Boson Early Music Fesival

PRESENTS

Philippe Jaroussky, countertenor Le Concert de la Loge Julien Chauvin, conductor

Inspiration

Concerto for strings in G minor, RV 156 Allegro — Adagio — Allegro

Antonio Vivaldi (1678–1741)

Nisi Dominus, RV 608

Vivaldi

Sinfonia al Santo Sepolcro, RV 169 Adagio molto — Allegro ma poco

Vivaldi

Infirmata, vulnerata

Alessandro Scarlatti (1660–1725)

From Concerto No. 1 for strings in F minor Poco andante — Allegro Salve Regina

Francesco Durante (1684–1755) Giovanni Battista Pergolesi (1710–1736)

The Boston Early Music Festival thanks DAVID HALSTEAD and JAY SANTOS for their leadership support of this virtual performance by Philippe Jaroussky and Le Concert de la Loge and

DONALD E. VAUGHAN and LEE S. RIDGWAY

for their leadership support of this virtual performance by Philippe Jaroussky 2 022–20 23 SEASO N

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VIRTUAL CONCERT Friday, November 11, 2022 – Friday, November 25, 2022 BEMF.org

L E CO N C E R T D E L A LO GE Julien Chauvin, violin I & conductor Anne Camillo, violin II Pierre-Éric Nimylowycz, viola Julien Barre, violoncello Davide Vittone, double bass Camille Delaforge, organ Thomas Dunford, theorbo PRISMÉDIA, Video Production

Le Concert de la Loge is supported by the Ministère de la Culture, the Ville de Paris, the Region Île-de-France, the Société Générale C’est vous l’avenir Foundation (its main sponsor), the Fonds de dotation Françoise Kahn-Hamm, and the sponsors who are members of Club Olympe.

The ensemble is in residence at the Jean-Baptiste Lully Conservatory in Puteaux and at the Arsenal – Cité musicale-Metz. It is also an associate artist in residence at the Fondation Singer-Polignac, as well as an associate ensemble at the Auditorium du Louvre and the Théâtre Sénart.

In 2021, the ensemble began a four-year cross-residency with the Association pour le Développement des Activités Musicales dans l’Aisne (ADAMA) and the Centre de Musique Baroque de Versailles.

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P RO GRA M NOT E S During the Baroque era, the Italian national identity was much more marked in the artistic than in the political sphere. Italy was divided into principalities established around real citystates, but it celebrated an indisputable unity thanks to the arts, especially music, even though the great musical centers (Naples, Venice, and Rome, mainly) had obvious specificities.

The Italian masters, while asserting strong personalities, all evolved in an immediately recognizable musical universe. In the same way, music for the theater and for the church shared a common rhetoric, even if the sacred repertory could not completely match the virtuosity displayed in the operas. The situation in Rome, in particular, was paradoxical. The papacy imposed important restrictions, even forbidding all lyrical works at the beginning of the eighteenth century, but inside the aristocratic palaces, such prohibitions were skillfully circumvented and the oratorios did not hesitate to display a pyrotechnic vocality— we will take as an example those of Handel at the beginning of the eighteenth century.

A prolific composer at the turn of the seventeenth and eighteenth centuries, the “official” father of Neapolitan opera, oratorio, and chamber cantata, Alessandro Scarlatti (1660–1725) is often mentioned as the founder of the Neapolitan school. However, while there is no question of disputing his immense influence, it should not be forgotten that he held prestigious positions in both Naples and Rome (his wife was Roman, by the way), constantly moving back and forth between the two metropolises, and even to Venice. The chromatic language typical of Naples could not be deployed in all its languorous sensuality in the Eternal City, where the papacy took a dim view of any aesthetic that was too hedonistic, calling for clearer and more honest harmonies.

Sometimes classified as a cantata (it is true that the text, although Latin, does not explicitly mention either God or Christ), the motet Infirmata, vulnerata is part of this quest for relative simplicity. The voice is accompanied by two violins, and takes up the eternal theme 2 022–20 23 SEASO N

of love and its torments. According to the composer’s manuscript, it was composed in October 1702—it is extremely difficult to propose a clear date for much of Scarlatti’s sacred output. His first aria relies on numerous effects illustrating disarray, particularly delays.

Carried by a concentrated, almost bare singing, which does not however renounce delicate modulations, the emotion is palpable but always modest, without exuberant outbursts.

Little by little, the motet evolves toward more light, ending with a lively aria where the unrequited love sung by the soloist seems to give way to hope.

The Neapolitan chromaticism and harmonic rubbing are undoubtedly present in the music of Francesco Durante (1684–1755), who spent his entire career in Naples, with the exception of a stay in Rome around 1718. As his Concerto No. 1 for strings in F minor shows, the skillful distillation of chromatic lines goes hand in hand with a consummate art of counterpoint that is too often ignored when the Neapolitan school is mentioned. One of the few composers of this school to abandon opera for sacred music and instrumental literature, Durante gradually gained the reputation, sometimes negative, of a strange and whimsical composer: this image undoubtedly stemmed in part from his taste for a style that was certainly colorful but largely oriented towards early polyphony. He directed three of the great Neapolitan conservatories: the Conservatorio Poveri di Gesù Cristo from 1728 to 1739, where he counted Giovanni Battista Pergolesi (1710–1736) among his students; the Conservatorio di Santa Maria di Loreto, where he succeeded Nicola Porpora in 1742; and in 1745 added the directorship of the Conservatorio di Sant’Onofrio a Capuana, where he had studied in his youth.

Pergolesi is surrounded by an almost legendary aura due to his premature death at the age of twenty-six and the universal fame of his Stabat Mater for two voices, commissioned by the brotherhood of the Cavalieri de la Vergine dei Dolori to replace the older one

by Alessandro Scarlatti. The beauty of the 11

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Stabat Mater (but also of works such as the intermezzo La serva padrona or the operas Adriano in Siria and L’Olimpiade) makes one dream of “what Pergolesi could have done” if death had not taken him away so soon. He completed his Stabat Mater when he was at the end of his strength, leaving also his Salve Regina for reasons that remain unknown to this day. This score was written in two versions: C minor for a soprano voice, and F minor for an alto. From the very first measures, the similarities with the Stabat Mater, both in the vocal lines and in the harmonic discourse, which obviously gives pride of place to subtle modulations, are undeniable, with an equally striking expressive intensity. This Salve Regina represents a journey toward the light, which we like to think accompanied Pergolesi during his last days. On the manuscripts of these two final compositions, Pergolesi inscribed a moving note: “Finis, Laus Deo” (I have finished, God be praised).

ANTONIO VIVALDI

Engraving by François Morellon la Cave (1725)

At the other end of the Italian boot, Venice radiated a prodigious artistic vitality that brilliantly concealed an irreversible political and economic decline. The cradle of public opera, La Serenissima counted among its greatest impresarios a man of the cloth, the “Prete Rosso” (‘Red Priest’) Antonio Vivaldi (1678–1741). However, for a long time Vivaldi was considered only the father of the concerto.

Whether in string or solo concertos, the acrobatic performances of the “Prete Rosso,” a violin virtuoso of seemingly diabolical skill, earned him the reputation of a musician who composed his music “by the mile” and lovingly knitted pleasant but superficial pages. This negative opinion is, however, undermined by concertos such as the one on this program.

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Vivaldi’s more than forty concertos for strings, i.e., without a soloist, were probably written for the composer’s astounding pupils at the Ospedale della Pietà, the orphanage for girls of which he was music director from 1703. The whole of Europe celebrated the virtuosity of these musicians, and it is not surprising that the Concerto for strings in G minor, RV 156, is both restrained and breathtakingly vital, especially in its finale. We admire here a harmonic frankness and an absolutely irresistible efficiency, but also a masterly art of singing and counter-singing.

Fortunately, this opinion, largely inspired by a lack of knowledge of the Vivaldian opus, is no longer really held today. The revolution in the perception of his work over the last few decades has been largely in the methodical exploration of Vivaldi’s vocal music, both secular and sacred. The Sonata al Santo Sepolcro in E-flat major, RV 169, is regularly associated with Vivaldi’s sacred scores.

Knowledge of his sacred production is based essentially on the fame of certain works, such as the Gloria (RV 589), the Stabat Mater (RV 621), and the Nisi Dominus (RV 608).

While the Stabat Mater remains paradoxically shrouded in mystery as to its destination and the circumstances of its creation, it is almost certain that the Nisi Dominus was written for the Pietà, which also had remarkable voices.

Intended for the Feast of the Visitation, this motet is distinguished by the presence of a viola d’amore, which sweetly intertwines its lines with those of the voice in the “Gloria Patri,” and musicologists have not failed to point out the talents of a pupil of the Ospedale, Anna Maria, whom Vivaldi took particular care to train in view of her precocious gifts.

For the rest, Vivaldi shows an undeniable poetic diversity: vocal virtuosity in the opening “Nisi Dominus,” the “Sicut sagittae,” and of course the concluding Amen. Above all, there is the famous “Cum dederit,” one of the great hypnotic pages in the history of music, in which immense note-holding tests the breath of the voice, on the impalpable carpet of muted strings. This is enough to dispel the prejudice that Vivaldi could not write for the voice. n —Yutha Tep 13

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A R TIS T PROFIL E S

Countertenor Philippe Jaroussky has established himself as one of the major singers in the international musical world as confirmed by the French Victoires de la Musique (“Revelation Artiste Lyrique” in 2004, “Artiste lyrique de l’année” in 2007 and 2010) and at the Echo Klassik Awards in Germany in 2008 in Munich (Singer of the Year), in 2009 in Dresden (with L’Arpeggiata), and again in 2016 in Berlin.

An impressive mastery of vocal technique allows performances full of nuance and vocal acrobatics. Philippe Jaroussky’s vast repertoire of the Baroque era ranges from the refinements of the Italian Seicento with Monteverdi, Sances, and Rossi, to the staggering brilliance of Handel and Vivaldi, the latter recently being one of his most performed composers. Philippe is also tirelessly at the forefront of musical research and made strong contributions to the discovery—or rediscovery—of composers such as Caldara, Porpora, Steffani, Telemann, and Johann Christian Bach.

Lately, he has also explored the very different repertoire of French melodies accompanied by pianist Jérôme Ducros. He has recently proposed his own vision of Berlioz’s Les Nuits d’Été with performances at the Auditorio Nacional in Madrid and at the Elbphilharmonie in Hamburg.

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Increasingly captivated by contemporary works, Jaroussky performed a song cycle composed by Marc-André Dalbavie from the sonnets of Louise Labé. He premiered Kaija Saariaho’s opera Only the Sound Remains, specifically written for his voice, at Nederlande Opera Ballet in Amsterdam in March 2016.

Philippe Jaroussky has had the pleasure of collaborating with some of the best Baroque ensembles. He has performed to high acclaim in the most prestigious festivals and concert halls around the world.

In 2002, he founded Ensemble Artaserse, which currently performs throughout Europe and across the globe.

In January 2017, Philippe inaugurated the new Elbphilharmonie in Hamburg. He was invited as its first artist in residence. The 2019–2020 season marked the twentieth anniversary of his career with a number of major events such as the inclusion of his statue at the Musée Grévin in Paris, the publication of the biographical book Seule compte la musique, and the release of the three-CD anthology Passion.

March 2021 saw Philippe Jaroussky’s début as a conductor at the head of his Artaserse ensemble with the production of Alessandro Scarlatti’s oratorio Il primo omicidio. This 15

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program was performed at venues including the Salzburg Festival and Opéra de Montpellier, which will become the residence of Philippe and Artaserse for the next three seasons.

He has continued as a conductor in 2022, with numerous concerts in Paris, Lyon, Montpellier, Budapest, and at the Epau and Halle Festivals.

At the end of May and beginning of June 2022, in Paris and Montpellier, Philippe conducted his first opera from the pit, Handel’s Giulio Cesare, with a superlative cast of singers including Sabine Devieilhe, Gaëlle Arquez, Franco Fagioli, Carlo Vistoli, and Lucile Richardot.

During the 2022–2023 season, Philippe conducts the stage production of Sartorio’s Orfeo at Opéra de Montpellier. He performs the role of Ruggiero in a production of Handel’s Alcina alongside Cecilia Bartoli in Monte Carlo. In addition, Philippe is in recital across the Atlantic with guitarist Thibaut Garcia at the Festival Internacional Cervantino in Guanajuato and at Bellas Artes in Mexico City, and with Les Violons du Roy and MarieNicole Lemieux in Montreal and Quebec City.

He joins Artaserse for concerts in Boston, San Diego, and Toronto, and performs with L’Arpeggiata and Christina Pluhar at Carnegie Hall in New York.

Philippe Jaroussky has been an exclusive artist with Erato/Warner Classics for many years and has received numerous awards for his outstanding discography.

In March 2017, a project dear to his heart came to fruition: the Academy Philippe Jaroussky. In its first five years, the Academy has supported young musicians suffering from cultural isolation, through original, extensive, and demanding teaching.

In 2019, Philippe Jaroussky was appointed Officier des Arts et des Lettres by the French government. n Julien Chauvin was attracted at an early age by the Baroque revolution and the new wave of historically informed performance practice using period instruments and moved to the 2 0 22–20 23 SEASO N

Netherlands to train at the Royal Conservatory of The Hague with Vera Beths, who founded L’Archibudelli with Anner Bylsma.

In 2003, he was a prizewinner at the International Early Music competition in Bruges. Since then he has performed as a soloist in South America, South Africa, and Georgia, while at the same time playing in the leading European Baroque ensembles, before founding in 2005 Le Cercle de l’Harmonie, which he directed jointly with Jérémie Rhorer for ten years.

Realizing his desire to bring back to life a celebrated ensemble of the eighteenth century, in 2015 he formed a new orchestra, Le Concert de la Loge. The ambitions of this modern recreation have been demonstrated by its exploration of forgotten works from the French orchestral and vocal-operatic repertory and concert formats encouraging spontaneous and imaginative reactions from the audience.

In parallel with this, he continues his collaboration with the Quatuor Cambini-Paris, formed in 2007, with which he performs the string quartets of Jadin, David, Gouvy, Mozart, Gounod, and Haydn.

Julien Chauvin has also conducted operatic productions such as Era la notte staged by Juliette Deschamps with Anna Caterina Antonacci, Lemoyne’s Phèdre and Isouard’s Cendrillon staged by Marc Paquien for the Palazzetto Bru Zane, Haydn’s Armida directed

by Mariame Clément, and Sacchini’s Chimène, ou Le Cid staged by Sandrine Anglade.

Continuing to investigate the question of direction in the eighteenth-century opera, he recently directed Mozart’s Die Entführung aus dem Serail from the violin in a production by Christophe Rulhes.

He has appeared as guest conductor with orchestras and ensembles including the Esterházy Hofkapelle, the Orchestre Régional d’Avignon-Provence, the Orchestre national de Metz, the Orchestre de Chambre de Paris, the Orchestre de l’Opéra de Limoges, the Orkiestra Historyczna of Katowice, the Folger Consort 17

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in Washington D.C., Les Violons du Roy, the Kammerorchester Basel, and the GürzenichOrchester Köln.

programs directed from the violin or the baton and champions a wide repertory ranging from the Baroque era to the early twentieth century.

Julien Chauvin’s discography includes concertante works by Haydn, Beethoven, and Berlioz for the Eloquentia and AmbroisieNaïve labels. With his ensemble Le Concert de la Loge, he recorded the Haydn’s complete “Paris” Symphonies, which he compared with other works created in Paris in the 1780s.

Passionate about the rediscovery of forgotten French repertoire, he recorded the disc Si j’ai aimé with Sandrine Piau for the Alpha label.

As a soloist, he recorded in 2020 an album of violin concertos for the Vivaldi Edition of the Naïve label which was awarded a Diapason d’Or.

The aim of this recreation project is also to explore new forms of concerts, harking back to the spontaneity of late-eighteenth-century practice, which intermingled different genres and artists in a single program, and to establish links with other artistic disciplines.

He regularly appears in recital with Alain Planès, Christophe Coin, Andreas Staier, JeanFrançois Heisser, Justin Taylor, and Olivier Baumont. He and Baumont recorded the disc À Madame at the Château de Versailles.

In addition to his concert activities, Julien Chauvin also devotes himself to teaching in orchestral sessions or masterclasses at the Conservatoires Nationaux de Musique et de Danse of both Paris and Lyon, the École Normale de Paris, the Opéra national de Paris Academy, and the Orchestre Français des Jeunes. n In January 2015, violinist Julien Chauvin founded a new period-instrument orchestra with the ambition of reviving an essential component of French musical history: the Concert de la Loge Olympique.

That orchestra, founded in 1783 by the Comte d’Ogny, was then considered one of the finest in Europe and has remained famous for commissioning the “Paris” Symphonies of Joseph Haydn. At that time, a substantial majority of musicians were Freemasons, and many concert associations were linked to Masonic Lodges such as the Loge Olympique de la Parfaite Estime.

The modern, flexibly sized ensemble presents chamber, symphonic, and vocal-operatic 2 022–20 23 SEASO N

Since it was founded, the ensemble has toured many venues with operas including Haydn’s Armida directed by Mariame Clément, Sacchini’s Chimène, ou Le Cid directed by Sandrine Anglade, Lemoyne’s Phèdre and Isouard’s Cendrillon staged by Marc Paquien for the Palazzetto Bru Zane, and Mozart’s Die Entführung aus dem Serail staged by Christophe Rulhes. It also enjoys regular collaborations with such renowned soloists as Karina Gauvin, Sandrine Piau, Philippe Jaroussky, and Justin Taylor.

On disc, the orchestra has recorded six volumes of Haydn’s complete “Paris” Symphonies for the Aparté label with works from the same period performed at the Concert de la Loge Olympique. In addition, the ensemble has devoted itself to rediscovering other repertoires: the French melodies orchestrated in Si j’ai aimé with Sandrine Piau on the Alpha label, the Symphonies de Salons for Aparté, and violin concerti with the release in 2020 of the 63rd volume of the Vivaldi Edition on the Naïve label, Concerti per violino III: ‘Il teatro’.

In 2021, Le Concert de la Loge began a new collaboration with the Alpha label around Mozart’s last three symphonies.

Its recordings have received critical acclaim, earning such distinctions as the Diamant d’Opéra Magazine, Choc de Classica, Sélection Le Monde, ffff Télérama, and the Grand Prix du Disque Charles Cros.

Since the French National Olympic and Sports Committee opposed the ensemble’s use of the adjective “Olympic,” it was forced to truncate its historical name and adopt the designation “Le Concert de la Loge” in June 2016. n 19

TEXTS AND TRANSLATIONS Nisi Dominus — Vivaldi Nisi Dominus aedificaverit donum, in vanum laboraverunt, qui aedificant eam.

Nisi Dominus custodierit civitatem frustra vigilat qui custodit eam.

If the Lord has not built the house, in vain will those who build it toil.

If the Lord does not protect the city, those who keep it watch in vain.

Vanum est vobis ante lucem surgere.

It is vain for you to rise before light.

Surgite postquam sederitis, qui manducatis panem doloris.

Get up after you sit down, you who eat the bread of pain.

Cum dederit dilectis suis somnum: ecce haereditas Domini, filii: merces, fructus ventris.

The Lord will give sleep to his beloved.

The Lord’s inheritance are the children, His grace is the fruit of the womb.

Sicut sagittae in manu potentis, ita filii excussorum.

Like arrows in the hand of the mighty, so are the children of exiles.

Beatus vir qui implevit desiderium suum ex ipsis: non confundetur cum loquetur inimicis suis in porta.

Blessed is the man who met his wish of them.

He will not be muddled when he treats with his enemies at the gate.

Gloria Patri et Filio et Spiritui Sancto.

Glory to the Father, and to the Son, and to the Holy Spirit.

Sicut erat in principio et nunc et semper et in saecula saeculorum. Amen.

—Psalm 126 (127)

As it was in the beginning, and now, and ever shall be, and unto the ages of ages. Amen.

Infirmata, vulnerata — Scarlatti Infirmata, vulnerata puro deficit amore et liquescens gravi ardore languet anima beata.

Weak and wounded for want of pure love, my heart is melting with the pain of love, my happiness dwindling away.

O care, o dulcis amor, quomodo mutatus es mihi in crudelem, quem numquam agnovisti infidelem?

O sweet and precious love, how is it that you have turned so cruel to me?

Never before have you failed me.

Vulnera percute, transfige cor.

Tormenta pati non timeo.

Strike your blows, pierce my heart!

To suffer torments does not daunt me.

Cur, quaeso, crudelis es factus es gravis?

Sum tibi fidelis, sis mihi suavis.

Why, O why have you become so cruel, so harsh?

I remain loyal to you; be kind to me.

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Vicisti, amor vicisti, et cor meum cessit amori.

Love, the victory is yours; my heart yields to you.

Semper gratus, desiderabilis, semper eris in me.

Veni, o care, totus amabilis, in aeternum diligam te.

Forever welcome, forever longed for, you will always be within me.

Come, beloved, O wholly exquisite, I shall love you for evermore.

—Anonymous

Salve Regina — Pergolesi

Salve Regina — Pergolesi

Salve Regina, mater misericordiae: vita, dulcedo, et spes nostra, salve.

Hail, Queen, mother of mercy: our life, sweetness, and hope, hail.

Ad te clamamus exsules filii Hevae.

Ad te suspiramus, gementes et flentes in hac lacrimarum valle.

To thee do we cry, poor banished children of Eve. To thee we sigh, mourning and weeping in this valley of tears.

Eia, ergo, advocata nostra, illos tuos misericordes oculos ad nos converte.

Et Iesum, benedictum fructum ventris tui, nobis post hoc exsilium ostende.

Turn then, our advocate, those merciful eyes toward us.

And Jesus, the blessed fruit of thy womb, show us him after our exile.

O clemens, O pia, O dulcis Virgo Maria.

—Marian antiphon

O clement, O loving, O sweet Virgin Mary.

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2019 | Orlando generoso

Make a Difference

Boson Early Music Fesival PLANNED GIVING

Play a vital and permanent role in BEMF’s future with a planned gift. Your generous support will create unforgettable musical experiences for years to come, and may provide you and your loved ones with considerable tax benefits.

Join the BEMF ORPHEUS SOCIETY by investing in the future of the Boston Early Music Festival through a charitable annuity, bequest, or other planned gift. With many ways to give and to direct your gift, our staff will work together with you and your advisors to create a legacy that is personally meaningful to you.

To learn more, please call us at 617-661-1812, email us at kathy@bemf.org, or visit us online at BEMF.org/plannedgiving.

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AMANDA FORSYTHE IN BEMF’S 2013 PRODUCTION OF HANDEL’S ALMIRA PHOTO: KATHY WITTMAN

Boson Early Music Fesival International Baroque Opera • Celebrated Concerts • World-Famous Exhibition

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).

IN TER NATI ONA L BA RO QU E O PE RA 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.

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The twenty-first biennial Boston Early Music Festival in June 2021 took place virtually, and featured a video presentation of André Campra’s extraordinary Le Carnaval de Venise from the June 2017 Festival. The twenty-second Festival, in June 2023, will have as its centerpiece Henry Desmarest’s 1694 opera Circé from a libretto by Louise-Geneviève Gillot de Saintonge, which will feature the Boston Early Music Festival Dance Company, a troupe of dancers under the guidance of BEMF Dance Director Melinda Sullivan.

BEMF introduced its Chamber Opera Series during its annual concert season in 25

November 2008, with a performance of John Blow’s Venus and Adonis and MarcAntoine Charpentier’s Actéon. The series 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 Lully, Francesca Caccini’s Alcina, the first opera written by a woman, and most recently a combination of Telemann’s Pimpinone and Ino. 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.

DANIELLE REUTTER-HARRAH IN BEMF’S 2021 PRODUCTION OF TELEMANN’S PIMPINONE PHOTO: KATHY WITTMAN

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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; Jean-Baptiste Lully’s Thésée; and the 2007 Festival opera, Lully’s Psyché, which was hailed by BBC Music Magazine as “superbly realized…magnificent.” In addition, the BEMF recordings of Lully’s Thésée and Psyché received Gramophone Award Nominations in the Baroque Vocal category in 2008 and 2009, respectively.

BEMF’s next three recordings on the German CPO label were drawn from its Chamber Opera Series: Charpentier’s Actéon, Blow’s Venus and Adonis, and a release of Charpentier’s La Descente d’Orphée aux Enfers and La Couronne de Fleurs, which won the 2015 Grammy Award for Best Opera Recording and the 2015 Echo Klassik Opera Recording of the Year (17th/18th Century Opera).

Agostino Steffani’s Niobe, Regina di Tebe, featuring Philippe Jaroussky and Karina Gauvin, which was released in January 2015 on the Erato/Warner Classics label in conjunction with a seven-city, four-country European concert tour of the opera, has been nominated for a Grammy Award, was named Gramophone’s Recording of the Month for March 2015, is the 2015 Echo Klassik World Premiere Recording of the Year, and has received a 2015 Diapason d’Or de l’Année and a 2015 Preis der Deutschen Schallplattenkritik. Handel’s Acis and Galatea was released in November 2015. In 2017, while maintaining the focus on 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 B OST ON E AR LY M US I C F E ST I VAL

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.

C E LEB R ATE D C ON CE RT S

Some of the most thrilling musical moments at the biennial Festival occur during one of the dozen or more concerts presented around the clock, which always include the acclaimed Boston Early Music Festival Orchestra led by Orchestra Director Robert Mealy, and 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 early-music scene” (New York Times).

WORL D - FA MOUS E XH IBIT ION

The nerve center of the biennial Festival, the Exhibition is the largest event of its kind in the United States, showcasing nearly one hundred early instrument makers, music publishers, service organizations, schools and universities, and associated colleagues. In 2013, Mozart’s own violin and viola were displayed at the Exhibition, in their first-ever visit to the United States.

Every other June, hundreds of professional musicians, students, and enthusiasts come from around the world to purchase instruments, restock their libraries, learn about recent musicological developments, and renew old friendships. For four days, they visit the Exhibition booths to browse, discover, and purchase, and attend the dozens of symposia, masterclasses, and demonstration recitals, all of which encourage a deeper appreciation of early music, and strengthen relationships between musicians, participants, and audiences. n

A STANDING OVATION FOR LA STORIA DI ORFEO IN NOVEMBER 2019 PHOTO: KATHY WITTMAN

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BECOME A FRIEND OF THE

Boson Early Music Fesival Revenue from ticket sales, even from a sold-out performance, accounts for less than half of the total cost of producing BEMF’s operas and concerts; the remainder is derived almost entirely from generous friends like you. With your help, we will be able to build upon the triumphs of the past, and continue to bring you thrilling performances by today’s finest Early Music artists.

Our membership organization, the FRIENDS OF THE BOSTON EARLY MUSIC FESTIVAL, includes donors from around the world. These individuals recognize the Festival’s need for further financial support in order to fulfill its aim of serving as a showcase for the finest talent in the field.

PLEASE JOIN THE FRIENDS OF THE BOSTON EARLY MUSIC FESTIVAL

BY DONATING AT ONE OF SEVERAL LEVELS: • • • • • • • • •

Friend Partner Associate Patron Guarantor Benefactor Leadership Circle Artistic Director’s Circle Festival Angel

$45 $100 $250 $500 $1,000 $2,500 $5,000 $10,000 $25,000

T HR E E WAY S TO G IVE :

• 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

OT H E R WAY S TO SHOW Y OUR SUPPOR T:

• 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!

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FRIENDS OF THE

Boson Early Music Fesival

This list reflects donations received from July 1, 2021 to September 23, 2022 FESTIVAL ANGELS ($25,000 or more) Anonymous (3) Bernice K. & Ted† Chen Brit d’Arbeloff David R. Elliott† Peter L. & Joan S. Faber David Halstead & Jay Santos George L. Hardman Glenn A. KnicKrehm David M. Kozak & Anne Pistell, in memory of their parents Miles Morgan Susan L. Robinson Andrew Sigel, in memory of Richard Sigel & Carol Davis Joan Margot Smith Piroska Soos† ARTISTIC DIRECTORS’ CIRCLE ($10,000 or more) Anonymous, in memory of Ted Chen Katie & Paul Buttenwieser Susan Denison Susan Donaldson Tony Elitcher & Andrea Taras Donald Goldstein Ellen T. & John T. Harris Barbara & Amos Hostetter Ruth McKay & Don Campbell Lorna E. Oleck Nina & Timothy Rose Karen Tenney & Thomas Loring Donald E. Vaughan & Lee S. Ridgway LEADERSHIP CIRCLE ($5,000 or more) Anonymous (4) Annemarie Altman Mary Briggs & John Krzywicki Diane & John Paul Britton 2 022–20 23 SEASO N

Douglas M. & Aviva A. Brooks Marie-Pierre & Michael Ellmann Lori Fay & Christopher Cherry James A. Glazier Mr. & Mrs. Thomas G. MacCracken Heather Mac Donald & Erich Eichman Victor & Ruth McElheny Bill McJohn Kenneth C. Ritchie & Paul T. Schmidt David Scudder, in memory of Marie Louise Scudder Will & Alexandra Watkins Christoph & Barbara† Wolff BENEFACTORS ($2,500 or more) Alan Brener Beth Brown, in memory of Walter R.J. Brown Joan & Frank Conlon Linzee Coolidge Jean Fuller Farrington Kathleen Fay Dr. Katherine Goodman John Felton & Marty Gottron Maarten Janssen & Rosan Kuhn-Daalmeijer Robert E. Kulp, Jr. Stephen Moody Keith S. Tóth & John B. Herrington III Maria van Kalken & Hal Winslow GUARANTORS ($1,000 or more) Anonymous (6) Dee Dee & John Brinkema, in memory of Bobby Brinkema Pamela & Lee Bromberg James Burr Shannon Canavin & Kevin Goodrich John A. Carey Carla Chrisfield & Benjamin D. Weiss J. R. Colofiore Mary Cowden Richard & Constance Culley

The Cusack Family, in memory of J. Howland Auchincloss Belden & Pamela Daniels Peter & Katie DeWolf Dorothy Ryan Fay† Michael E. Fay Peter B. & Harriette Griffin Phillip Hanvy H. Jan & Ruth H. Heespelink Michael Herz & Jean Roiphe Jane Hoover Alan M. King Fran & Tom Knight Amelia J. LeClair & Garrow Throop Drs. Peter Libby & Beryl Benacerraf† Catherine Liddell Harriet Lindblom, in memory of Daniel Lindblom Mark & Mary Lunsford William & Joan Magretta John S. Major & Valerie Steele David McCarthy Marilyn Miller John M. & Bettina A. Norton Clara M. & John S. O’Shea Alice Robbins & Walter Denny, in honor of Kathy Fay Michael Robbins Jose M. Rodriguez & Richard A. Duffy Michael & Karen Rotenberg Kevin Ryan & Ozerk Gogus Irwin Sarason, in memory of Suzanne Sarason Joanne Zervas Sattley Lynne & Ralph Schatz Arah Schuur Cynthia Siebert Raymond A. & Marilyn Smith Elizabeth Snow Kerala & Richard Snyder Murray & Hazel Somerville, in honor of Robert Mealy David & Jean Stout Lisa Teot Adrian & Michelle Touw Kathy H. Udall 29

Patrick Wallace & Laurie McNeil Peter J. Wender Allan & Joann Winkler PATRONS ($500 or more) Anonymous (5) Morton Abromson & Joan Nissman Barry & Sarita Ashar Louise Basbas John Birks Tracey Blueman & Brandon L. Bigelow Elizabeth A.R. & Ralph S. Brown, Jr., in honor of Kathleen Fay Julie Brown & Zachary Morowitz Carolyn Bryant-Sarles Robert Burton & Karen Peterson Robert & Elizabeth Carroll David J. Chavolla Sherryl & Gerard Cohen Dr. & Mrs. Franklyn W. Commisso Geoffrey Craddock Eric & Margaret Darling Carl E. Dettman JoAnne Walter Dickinson Diane L. Droste Ross Duffin & Beverly Simmons, in honor of Kathleen Fay Alan Durfee Charles & Elizabeth Emerson Thomas G. Evans Martin & Kathleen Fogle Claire Fontijn, in memory of Dr. Arthur Fontijn Elizabeth French Frederick & Barbara Gable Bruce A. Garetz Sarah M. Gates David & Harriet Griesinger Elizabeth Hardy, in memory of Renate Wolter-Seevers Dr. Robert L. Harris Sally Hodges Linda Hodgkinson Thomas & Sonja Ellingson Hout George Humphrey Robert & MaryEllen James Paul & Alice Johnson Judith L. Johnston & Bruce L. Bush, in memory of Daniel Lindblom Ronald Karr Barry Kernfeld & Sally McMurry Jason Knutson 30

Kathryn Mary Kucharski Robert & Mary La Porte Frederick V. Lawrence, in memory of Rosemarie Lawrence Sarah Leaf-Herrmann Joanne & Carl Leaman John Leen & Eileen Koven Rob & Mary Joan Leith Lawrence & Susan Liden Marcia & Philip Lieberman Roger & Susan Lipsey James Liu & Alexandra Bowers Dr. Gary Ljungquist Kenneth S. Loveday MAFAA Jeffrey & Barbara Mandula June Matthews Amy & Brian McCreath Alan & Kathy Muirhead Robert Neer & Ann Eldridge Keith Ohmart & Helen Chen Richard & Lois Pace, in honor of Peter Faber William J. Pananos Henry Paulus Kitty Pell Gene & Margaret Pokorny Amanda & Melvyn Pond Tracy Powers Harold I. Pratt Paul Rabin & Arlene Snyder Martha J. Radford Arthur & Elaine Robins Phil & Catherine Saines Suzanne Sarason† Sharon Scaramozza Len & Louise Schaper Wendy Shattuck & Sam Plimpton Laila Awar Shouhayib Bettina Siewert, M.D. & Douglas L. Teich, M.D., in memory of David Elliott Catherine & Keith Stevenson Campbell Steward Theresa & Charles Stone Carl Swanson Peter Tremain Reed & Peggy Ueda Michael Wise & Susan Pettee Kathleen Wittman & Melanie Andrade Louisa Woodville

ASSOCIATES ($250 or more) Anonymous (8) Nicholas Altenbernd Debra K.S. Anderson Margaret Angelini & John McLeod Neil R. Ayer, Jr. & Linda Ayer Mary Baughman William & Ann Bein Michael & Sheila Berke Peter Bronk & Susan Axe-Bronk Caroline Bruzelius Carlo Buonomo Robert Burger Frederick Byron Elizabeth Canick Anne Chalmers & Holly Gunner Mary Chamberlain JoAnne Chernow Floyd & Aleeta Christian John K. Clark & Judith M. Stoughton Derek Cottier & Lauren Tilly Donna Cubit-Swoyer Warren R. Cutler Elizabeth C. Davis Carl & May Daw Leigh Deacon Ellen R. Delany Jeffrey Del Papa Katharine B. Desai Ellen Dokton & Stephen Schmidt Charles & Sheila Donahue Ms. Helen A. Edwards David Emery & Olimpia Velez David & Noel English Susan Fairchild & Jeff Buxbaum Austin & Eileen Farrar Lori Fay & Christopher Cherry, in memory of Gerry Weber Gregg, Abby & Max Feigelson Charles Fisk & Louis Risoli Kent Flummerfelt, in memory of Jane Flummerfelt Jonathan Friedes & Qian Huang Sandy Gadsby & Nancy Brown The Goldsmith Family The Graver Family Laury Gutierrez & Elsa Gelin Eric & Dee Hansen G. Neil & Anne Harper Joan E. Hartman Jasjit & Donald L. Heckathorn Diane Hellens B OS T ON E AR LY M US I C F E ST I VAL

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Wes Bockley & Amy Markus Deborah Boldin & Gabriel Rice Richard Borts Sally & Charlie Boynton David Breitman & Kathryn Stuart Joel Bresler Laura Brewer & Neil Gershenfeld Derick & Jennifer Brinkerhoff Catherine & Hillel Shahan Bromberg David C. Brown Robert Brown Susan Bryant Andrew J. Buckler Russell & Dee Burgett Jean C. Burke John H. Burkhalter III Judi Burten, in honor of Phoebe Larkey Joseph Cantey Pamela Carley & Lawrence Zukof Eleanor Anne Carlson Richard & Lois Case Robert B. Christian Daniel Church & Roger Cuevas Edward Clark & Joan Pritchard John Clark Joel I. Cohen, in honor of Anne Azéma Dr. Martin Cohen & Dr. Rae Jacobs Cohen Saul B. & Naomi R. Cohen Carol & Alex Collier Lois Evelyn Conley Joseph & Françoise Connors Mary C. Coward & John Empey Dan & Sidnie Crawford Martina Crocker Matthew & Ellen Cron Gray F. Crouse Christopher Curdo James Cyphers Ruta Daugela Mr. & Mrs. Patrick J. Day Kate Delaney Richard DesRosiers Mr. & Mrs. Dennis Dewitt Deborah & Forrest Dillon Michael DiSabatino, in honor of Nancy Olson Kathryn Disney Tamar & Jeremy Kaim Doniger Priscilla Drucker Laura Duffy 31

John W. Ehrlich Karen M. El-Chaar, Esq. Mark Elenko Anne Engelhart & Douglas Durant Charles Epstein Jane Epstein Paula Erikson Jake Esher Richard Fabian Lila M. Farrar Marilyn Farwell Nicole Faulkner Grace A. Feldman, in honor of Bernice Chen Kevin Feltz Annette Fern Janet G. Fink Carol L. Fishman Dr. Jonathan Florman Patrick Joseph Fox, in honor of Dr. Nancy Olson Gary Freeman Peter Frick Friends Ronald & Gisela Geiger Stephen L. Gencarello Monica & David Gerber Hans Gesell Barbara Godard Michael Goldberg Diane Goldsmith Jeffrey Goldsmith Lisa Goldstein Nancy L. Graham Kim T. Grant Lorraine & William Graves Winifred Gray Mary Greer Thomas H. & Lori B. Griswold John Gruver & Lynn Tilley Peter F. Gustafson Suzanne & Easley Hamner Barbara & Markos Hankin David J. Harris, MD Elizabeth Harris Barbara & Samuel L. Hayes III Donatus Hayes Elwood Headley Karin Hemmingsen Catherine & John Henn Katherine A. Hesse Peter & Peg Hewitt Raymond Hirschkop 32

John & Olivann Hobbie Sterling & Margaret Hopkins Valerie Horst & Benjamin Peck Beth F. Houston David Howlett Wayne & Laurell Huber Judith & Alan Hudson Keith & Catherine Hughes Joe Hunter & Esther Schlorholtz Francesco Iachello Deborah L. Jameson Donna Jeker Gayle Johnson Robert & Mary Johnson Robert & Selina Johnson Robin Johnson David K. Jordan Marietta B. Joseph June Kagdis Lorraine Kaimal David Keating Seamus & Marjorie Kelly Roger & Mary Jane Kelsey Joseph J. Kesselman, Jr. David P. Kiaunis John N. Kirk Rebecca Klein Pat Kline Kathryn Kling George Kocur Crystal Komm & Christopher Potter Ellen Kranzer Benjamin Krepp & Virginia Webb Lisa Kugelman Bob Kunzendorf & Liz Ritvo Peter A. Lans Tom Law David A. Leach & Laurie J. LaChapelle William Lebow Alison Leslie Ricardo & Marla Lewitus Rebecca Lightcap Laura Loehr Mary Maarbjerg Dr. & Mrs. Bruce C. MacIntyre Dr. Arnold Matlin & Dr. Margaret Matlin, Ph.D. Sally Mayer Lee McClelland George McKee Mr. Daniel P. Melish, in memory of William Paul Melish Gerald & Susan Metz

Amy Meyer Margo Miller Nathaniel & Judith Mishkin Richard Molitor Jennifer Moxley & Steve Evans Rodney & Barbara Myrvaagnes Myrna Nachman Debra Nagy, in honor of Robert Mealy Paul & Rebecca Nemser Jeffrey Nicolich Caroline Niemira Lyle & Patricia Nordstrom Nancy Nuzzo Karen Oakley & John Merrick David & Claire Oxtoby Cosmo & Jane Papa Faith Parker Susan Patrick, in memory of Don Partridge Pauline & Mark Peters Phillip Petree John Petrowsky Bici Pettit-Barron Elizabeth V. Phillips Susan Porter David Posson Stephen Poteet & Anne Kao Susan Pundt Christa Rakich & Janis Milroy Sandra Ray Susan Reutter-Harrah Julia & Stephen Roberts Liz & David Robertson Randy Robinson Sue Robinson Sue Robinson Dennis & Anne Rogers Philip W. Rosenkranz Lois Rosow Peter & Linda Rubenstein, in memory Malcolm Cole Gregory Salzman R.F. Scholz & M.B. Kempers Richard Schroeder & Jane Burns Lynn & Mary Schultz Joyce Schwartz Melbert Schwartz Jean Seiler Miriam N. Seltzer Terry Shea & Seigo Nakao Aaron Sheehan & Adam Pearl Michael Sherer B OS T ON E AR LY M US I C F E ST I VAL

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Antonia L. Banducci Iris Bass George Beach Elliot Beraha Nadine Berenguier & Bernd Widdig John C. Berg & Martha E. Richmond Noel & Paula Berggren Lawrence M. Berman Elaine Bianco Keith Binka Meredith Birdsall Fred Blair Dr. Emile L. Boulpaep, in memory of Elisabeth Boulpaep Dr. Edmund A. Bowles Katherine Bracher, in memory of Margriet Tindemans Jill Brand Peter Brase Todd A. Breitbart Andrew Brethauer Stuart & Nina Brown Sally & Harold Burman Pauline Ho Bynum John Caldwell Pamela Cameron Nancy L. Cantelmo Marie M. Carter R. Cassels-Brown Maria A. Cervone Cynthia Cetlin Antonia H. Chayes Jeanne Conner Marjorie & Andrew Cooke Steve & Suzanne Cooper Robert B. Crane Frank Cunningham & Anne Black William David Curtis Ms. Ann Daiber Dan Danielsen William Depeter Peter A. Douglas Duane R. Downey Ben Dunham & Wendy Rolfe-Dunham John Dunton & Carol McKeen Jane Edwards Jan Elliott Janet Fagan Noel & Amy Fagan Ellen Feingold Suzanne Ferguson Carlos Fittante Tamzen Flanders

Denise Fox-Barber Elizabeth Fraser Robert Freeman Marica & Jeff Freyman Carole Friedman Rebecca Gifford Dr. Paul Goldberg Robert & Day Gotschall Joseph Grafwallner Deborah Grose Richard & Les Hadsell Gregory Hagan & Leslie Brayton Jimmy Hamamoto John & Nancy Hammond Patrick & Judith Hanlon Joseph & Elizabeth Hare Charles Haverty & Alexandra Glucksmann Rebecca Hecht Joseph Heise Carole Hilton Diane Hobbs Patricia G. Hoffman David Hoglund Kay Holloway Margaret Hornick Connie Huff DeeAnne Hunstein Robert Hunt & Irene Winter Rt. Rev. & Mrs. Ihloff Harold & Elaine Isaacson Checker Ives Susan L. Jackson Michele Jerison Carol Kalinoski Joanne Keesey Martha Keith Sharon Kennedy Leslie & Kimberly King Gerhart & Brigitte Klein Nancy Koch Christine Kodis Beatrice Kovasznay Betty Landesman Charles E. Larmore Susan Larsen & James Haber Alan LaRue, Pam Wolfson & Therese LaRue Stephen J. Leahy Donna Letteriello Jo-Lin Liang Diane Luchese Edward & Carol Lundergan 33

Daniel Lynch & Elaine Dow Sandra & David Lyons Ted MacDonald & Yuan Wang Peter Marton Jameson & Maria Marvin Heidi & George McEvoy Barbara McGuire Jeffrey Meese Heidi Meyer Dennis Lee Milford Mary Lou Miller Robert Milne Susan Miron & Burton D. Fine Kathleen Moore Randall E. & Karen Moore Dr. John D. Moores Michael J. Moran Stefanie Moritz Holly & Jimmy Morris Martha Morton Herbert Motley Peter & Mary Muncie Elizabeth Murray Roger E. Nelson Howard Nenner & Pamela White Nancy Nicholson Barbara Noble Charlotte Nolan Patricia O’Brien Clifford & Frances Olsen Louise Oremland Michael Orlansky John & Sandra Owens Gene & Cheryl Pace Karen Payton Jonah Pearl Andrea Phan Larry Pratt & Rosalind Forber Marian Rambelle Marjorie Randell-Silver Dave Regan John Regier Norm Rehn Sandy Reismann & Dr. Nanu Brates Nancy Roberts Julia W. Robinson Paul Rosenberg & Harriet Moss Barbara Roth Cheryl K. Ryder Brian Sands, in honor of James Glazier David Schneider & Klára Móricz Raymond Schneider 34

Elin Schran Michael Schreiner Judith Arlene Schwantes Kathryn Scott David Seitz & Katie Manty Maria T. Sensale Craig D. Shaw Chuck Sheehan Michael & Rena Silevitch Susan & Joseph Silverman John & Carolyn Skelton Karen P. Smith Ruth L. Smith William & Barbara Sommerfield Douglas H. Steely & Palma A. Bickford Esther & Daniel Steinhauer Joseph Steinkrauss William Stewart Martin Sullivan Robert G. Sullivan & Meriem Pages Paul Sweeny & Barbara Kaufman Rick Tagliaferri Roy W. & Ute Tellini Rita Teusch Meghan K. Titzer Troy Tomilonus John & Anne Turtle Neil Umbreit Barbara & John VanScoyoc Nathaniel Wallace Sonia Wallenberg Phil & Mary Warbasse Tracy & Rich Weeks, in honor of Kathy Udall Karen Wilkin Renate M. Winter Jan Wojcik G. Mead Wyman John & Emily Zimmatore † deceased FOUNDATIONS & CORPORATE SPONSORS Anonymous (2) Aequa Foundation American Endowment Foundation Applied Technology Investors BNY Mellon Charitable Gift Fund Bank of America Charitable Gift Fund The Barrington Foundation, Inc. The Bel-Ami Foundation The Boston Foundation

Boston Private Bank & Trust Company Lynde and Harry Bradley Foundation, Inc. Gregory E. Bulger Foundation Burns & Levinson LLP The Catherine and Paul Buttenwieser Foundation Cabot Family Charitable Trust Cambridge Community Foundation Cambridge Trust Company Cedar Tree Foundation Cembaloworks of Washington City of Cambridge The Columbus Foundation Combined Jewish Philanthropies Community Foundation of Western MA Connecticut Community Foundation Constellation Charitable Foundation The Fannie Cox Foundation The Crawford Foundation CRB Classical 99.5, a GBH station The Dusky Fund at Essex County Community Foundation Eastern Bank Charitable Foundation Fidelity Charitable Fiduciary Trust Charitable French Cultural Center / Alliance Française of Boston Ann and Gordon Getty Foundation GlaxoSmithKline Foundation Goethe-Institut Boston The Goldman Sachs Philanthropy Fund The Florence Gould Foundation GTC Law Group Haber Family Charitable Foundation Hausman Family Charitable Trust The High Meadow Foundation Houghton Mifflin Harcourt The Isaacson-Draper Foundation The Richard and Natalie Jacoff Foundation, Inc. Jewish Communal Fund Key Biscayne Community Foundation Konstantin Family Foundation Maine Community Foundation Makromed, Inc. Massachusetts Cultural Council Mastwood Foundation Morgan Stanley National Endowment for the Arts Newstead Foundation Barbro Osher Pro Suecia Foundation

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That Feeling You Get

classical.org | on-air • online • in the app

Boson Early Music Fesival A Celebration of Women

Join us in Boston for our 22nd biennial extravaganza | JUNE 4 –11, 2023

HENRY DESMAREST’S

After the divine sorceress Circé welcomes Ulisse and his weary companions to her island home, the forces of love, magic, and fate clash and threaten to ensare them all.

CENTERPIECE OPERA

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CHAMBER OPERA

n JUNE 10, 2023 | Boston, MA n JUNE 23 & 24, 2023 | The Berkshires, MA

OPERA • CONCERTS • EXHIBITION A weeklong celebration of Early Music with Opera, Concerts, the world-famous Exhibition, and so much more.

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