2023/24 Season: Opera Prima

Opera Prima CRISTIANO CONTADIN, Director & viola da gamba AMANDA FORSYTHE, soprano

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8PM | First Church in Cambridge, Congregational, Cambridge, MA

2023/24 SEASON B E M F. OR G

International Baroque Opera • Celebrated Concerts • World-Famous Exhibition

The Packard Humanities Institute is pleased to announce the publication of

The Operas of Johann Christian Bach An Introduction Edited by Jason B. Grant

Contents: Johann Christian Bach: A Life in Opera, by John A. Rice Artaserse, by Margaret R. Butler Catone in Utica and Alessandro nell’Indie, by Lucio Tufano Orione, ossia Diana vendicata and Zanaida, by Michael Burden Adriano in Siria, by John A. Rice Carattaco, by Stephen Roe Temistocle and Lucio Silla, by Paul Corneilson La clemenza di Scipione, by Karl Böhmer Amadis de Gaule, by Beverly Wilcox IsBn 978-1-938325-51-9 (2023; xiii, 160 pp.) $30 Order your copy at jcbach.org or orders@pssc.com

CELEBRATING MUSIC AND PLACE

18–24 OCTOBER 2024

Photograph ©Ben Ealovega

ATOL 3622 | ABTOT 5468 | AITO 5085

The south-east corner of Sicily is blessed with many delights, among them a number of gorgeous 18th- and 19th-century theatres. This festival presents five performances in a selection of these atmospheric buildings, all of which are located amid breathtakingly beautiful Baroque towns and cities. Stay throughout in historic Ortygia, one of the loveliest coastal towns in Italy.

MARTIN RANDALL FESTIVALS bring together world-class musicians for a sequence of private concerts in Europe’s most glorious buildings, many of which are not normally accessible. We take care of all logistics, from flights and hotels to pre-concert talks. Festivals in 2024 also include: Salzburg String Quartet Festival (7–12 May), Mozart Along the Danube (28 July– 4 August) and The Divine Office (30 September– 4 October).

Find out more: martinrandall.com 1-800-988-6168

Exhibitions Medieval Money, Merchants, and Morality Through March 10, 2024

Seen Together: Acquisitions in Photography Through May 26, 2024

Beatrix Potter: Drawn to Nature February 23 through June 9, 2024

Walton Ford: Birds and Beasts of the Studio April 12 through October 6, 2024

Liberty to the Imagination: Drawings from the Eveillard Gift June 7 through October 6, 2024

Music at the Morgan Frisson

Rush Hour Music in J. Pierpont Morgan’s Library Tuesday, February 20, 2024 6:30-7:30 PM

Risa Hokamura, violin Albert Cano Smit, piano Young Concert Artists Wednesday, February 28, 2024 12:00-1:00 PM

Far and Away: Drawings from the Clement C. Moore Collection Boston Early Music Festival Vocal & June 28 through September 22, 2024 Chamber Ensembles A Garden of Earthly Delights at the Papal Court: Marco Marazzoli’s extravagant musical entertainments Sunday, March 3, 2024 3:00-5:00 PM

St. Luke’s Chamber Ensemble

For information visit themorgan.org/programs

The Morgan Library & Museum 225 Madison Avenue at 36th Street New York City

The concert program is made possible by assistance from Cynthia Hazen Polsky and Leon B. Polsky, the Joan and Alan Ades-Taub Family Foundation, the Esther Simon Charitable Trust, the Witherspoon Fund of the New York Community Trust, the Theodore H. Barth Foundation, and the following endowed funds: the Cynthia Hazen Polsky and Leon B. Polsky Fund for Concerts and Lectures; and the Celia Ascher Endowment Fund.

Upper: Risa Hokamura, photography by Sho Yamada. Lower: Leaf of a Register of Creditors of a Bolognese Lending Society, Italy, Bologna, ca. 1390–1400. Single leaf. The Morgan Library & Museum, MS M.1056, fol. 1v detail.

WELCOM E Dear Friends, We are delighted to launch the second half of our 34th Season with two spectacular ensembles making their much-anticipated BEMF débuts, both in the warm and intimate setting of First Church in Cambridge: Opera Prima on Saturday, February 3, and Le Consort on Friday, February 23.

Founded by acclaimed viola da gamba virtuoso Cristiano Contadin, Opera Prima is dedicated to exploring the rich repertoire of the Italian Seicento, in compelling performances overflowing with vitality and elegance. They are joined by superstar soprano Amanda Forsythe, long a favorite of Boston audiences, in a program of stunning masterpieces by over a dozen composers that explore the myriad passions of the human soul, including works by Monteverdi, Rossi, Merula, and Caccini.

Moving later in the Baroque and expanding outward from Italy, the dynamic artists of Le Consort, who have enjoyed acclaim for their sensual and engaging interpretations of the trio sonata repertoire, take the listener on a whirlwind tour of Italy, Germany, England, and France. Their program features the music of Bach, Vivaldi, Corelli, Purcell, Rameau, among others, and includes two fantastic Folias.

We hope you will join us for the final three concerts of our season, beginning on Saturday, March 2 at NEC’s Jordan Hall in Boston with the BEMF Vocal and Chamber Ensembles, in a program featuring the modern premieres of five kaleidoscopic chamber cantatas of Marco Marazzoli. Then, on Friday, April 5, again at NEC’s Jordan Hall, the great Catalan viola da gambist Jordi Savall returns to BEMF with Hespèrion XXI, in a program titled “Le Nuove Musiche: The Baroque Revolution.” The luminous British vocal ensemble Stile Antico rounds out the season on Friday, April 19 at St. Paul Church in Cambridge.

Thank you for joining us for tonight’s performance, whether live or virtually, and as always, please accept our heartfelt thanks for your continued support of and enthusiasm for the Boston Early Music Festival.

Kathleen Fay Executive Director

TA BLE OF C O N T E N T S

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

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Boson Early Music Fesival M AN 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 IS T 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 | Susan L. Robinson, Vice President Adrian C. Touw, Treasurer | Peter L. Faber, Clerk Michael Ellmann | George L. Hardman | Ellen T. Harris | Glenn A. KnicKrehm Robert E. Kulp, Jr. | Miles Morgan | Bettina A. Norton Lee S. Ridgway | Ganesh Sundaram | Christoph Wolff

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

B OAR D OF T R US T E E S Marty Gottron & John Felton, Co-Chairs Deborah Ferro Burke | Mary Deissler | James A. Glazier Edward B. Kellogg | Douglas M. Robbe | Jacob Skowronek

B OSTON E A RLY M U S IC FE S T IVA L , IN C .

43 Thorndike Street, Suite 302, Cambridge, MA 02141-1764 Telephone: 617-661-1812 | Email: bemf@bemf.org | BEMF.org

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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 Kathleen Fay Lori Fay John Felton Frances C. Fitch Claire Fontijn James A. Glazier Marty Gottron Carol A. Haber David Halstead George L. Hardman

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Ellen T. Harris Rebecca Harris-Warrick Richard Hester Jessica Honigberg Jennifer Ritvo Hughes Edward B. Kellogg Thomas F. Kelly Glenn A. KnicKrehm Christine Kodis John Krzywicki Kathryn Kucharski Robert E. Kulp, Jr. Ellen Kushner Christopher Laconi 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

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

† deceased

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Boson Early Music Fesival

Paul O’Dette & Stephen Stubbs, Artistic Directors

2023/24 SEASON Opera Prima

CRISTIANO CONTADIN, Director & viola da gamba AMANDA FORSYTHE, soprano

SATURDAY, FE B R U A RY 3 | 8 P M

First Church in Cambridge, Congregational, Cambridge, MA Founded by famed viola da gamba virtuoso Cristiano Contadin, Opera Prima explores the Italian repertoire of the 17th century with technical mastery and buoyant enthusiasm. They make their BEMF début alongside superstar soprano Amanda Forsythe in a program of stunningly evocative masterpieces by Monteverdi, Rossi, Merula, Caccini, and others that explore the passions of the human soul.

VIRTUAL AVAILABILITY: FEBRUARY 17 – MARCH 3

Le Consort F RIDAY, FE B R U A RY 2 3 | 8 P M

First Church in Cambridge, Congregational, Cambridge, MA The captivating musicians of Le Consort interpret the trio sonata repertoire with enthusiasm, sincerity, and modernity. Their performances have won accolades around the world for their dynamic and sensual virtuosity. Join them for a whirlwind tour through Baroque Europe, illustrating the immense expressive range and creativity of Bach, Vivaldi, Corelli, Purcell, Rameau, and others.

VIRTUAL AVAILABILITY: MARCH 8 – MARCH 22

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BEMF Vocal & Chamber Ensembles S AT U R DAY, M A RC H 2 | 8P M NEC’s Jordan Hall, Boston, MA

Marco Marazzoli’s extravagant musical entertainments, with a kaleidoscopic variety of vocal music, are brought to life by an all-star roster of singers and instrumentalists in the modern premiere of these magnificent works.

VIRTUAL AVAILABILITY: MARCH 16 – MARCH 30

Jordi Savall & Hespèrion XXI F R IDAY, A PRI L 5 | 8PM NEC’s Jordan Hall, Boston, MA

Early Music superstar Jordi Savall returns to Boston to bring life to the “new music” that took Europe by storm at the start of the Baroque period from 1560 to 1660.

VIRTUAL AVAILABILITY: APRIL 20 – MAY 4

Stile Antico F R IDAY, A P R I L 19 | 8PM St. Paul Church, Cambridge, MA

One of the world’s most vibrant and expressive vocal ensembles tells the story of Dante’s Divine Comedy and the journey from inferno to paradise with breathtaking Renaissance music.

VIRTUAL AVAILABILITY: MAY 3 – MAY 17

ORDER TODAY | BEMF.ORG | 617-661-1812 2 0 23/20 2 4 SEASON

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Boson Early Music Fesival 2023/24 Named Gift Sponsorships

Boston Early Music Festival extends sincere thanks to the following individuals for their leadership support of our 2023/24 Season:

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Bernice K. Chen

Sponsor of the April 2024 performance by Hespèrion XXI and Jordi Savall, Director Sponsor of the Virtual performance by Hespèrion XXI

David M. Kozak and Anne Pistell

Sponsors of the December 2023 performance by The Tallis Scholars and Peter Phillips, Director

David Halstead and Jay Santos

Sponsors of the October 2023 performance by Le Poème Harmonique

Susan L. Robinson

Sponsor of the November 2023 performance by I Gemelli

Andrew Sigel

Sponsor of James Reese, tenor, and Jesse Blumberg, baritone, for the March 2024 performance by the BEMF Vocal & Chamber Ensembles

Diane and John Paul Britton

Sponsors of Amanda Forsythe, soprano, for her February 2024 performance with Opera Prima

Donald E. Vaughan and Lee S. Ridgway

Sponsors of Zachary Wilder, tenor, for his November 2023 performance with I Gemelli

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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 artist, musicians, and directors—that their work means something to you.

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

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Boson Early Music Fesival

PRESENTS

Opera Prima Cristiano Contadin, Director & viola da gamba Amanda Forsythe, soprano

Tormento Seicento Sinfonia from Madrigali…libro ottavo Mio ben (from L’Orfeo) Ballo detto Eccardo Sdegno, campion audace

Claudio Monteverdi (1567–1643) Luigi Rossi (ca. 1597–1653) Tarquinio Merula (1594/95–1665) Virgilio Mazzocchi (1597–1646)

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Anchor che col partire

Che si può fare Perché quando apersi a l’aure vitali Dammi morte (from Artemisia)

Canario Queste pungenti spine

Voglio di vita uscire Ballo detto Pollicio

Cipriano de Rore (1515/16–1565) diminutions by Girolamo Dalla Casa (d. 1601) Barbara Strozzi (1619–1677) Antonio Sartorio (1630–1680) Francesco Cavalli (1602–1676)

P Giovanni Girolamo Kapsberger (ca. 1580–1651) Benedetto Ferrari (ca. 1603–1681)

P Monteverdi Merula

P The Boston Early Music Festival thanks DIANE and JOHN PAUL BRITTON for their leadership support of tonight’s performance

by Amanda Forsythe, soprano

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Arpeggiata Amarilli, mia bella Amarilli, mia bella Ciaccona a 3 con il suo balletto

La bella più bella Passacalle a 3 Amanti io vi so dire

Kapsberger Giulio Caccini (1551–1618) Anonymous English (17th c.)

Maurizio Cazzati (1616–1678)

P Rossi Andrea Falconieri (1585–1656) Ferrari

LIVE CONCERT Saturday, February 3, 2024 at 8pm First Church in Cambridge, Congregational 11 Garden Street, Cambridge, Massachusetts VIRTUAL CONCERT Saturday, February 17, 2024 – Sunday, March 3, 2024 BEMF.org

O P E R A P R IMA

Amanda Forsythe, soprano Andrea Inghisciano, cornetto Mauro Spinazzè, violin Marta Graziolino, triple harp Gianluca Geremia, chitarrone Cristiano Contadin, Director & viola da gamba

Program subject to change.

Ball Square Films & Kathy Wittman, Video Production Antonio Oliart Ros, Recording Engineer

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Boson Early Music Fesival

2023 Chamber Opera Series Named Gift Sponsorships Boston Early Music Festival extends sincere thanks to the following individuals and institutions for their leadership support of the November 2023 performances of The Dragon of Wantley:

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Glenn A. KnicKrehm and Constellation Charitable Foundation Principal Production Sponsors

Lorna E. Oleck

Sponsor of Robert Mealy, Concertmaster, Melinda Sullivan, Choreographer, and Teresa Wakim, Margery

Andrew Sigel

Sponsor of Hannah De Priest, Mauxalinda, Aaron Sheehan, Moore, and John Taylor Ward, The Dragon

Bernice K. Chen

Sponsor of Gilbert Blin, Stage Director

Tony Elitcher and Andrea Taras

Sponsors of Kathleen Fay, Executive Producer

James A. Glazier

Sponsor of Stephen Stubbs, Musical Co-Director

David Halstead and Jay Santos

Sponsors of Paul O’Dette, Musical Co-Director

George L. Hardman

Sponsor of Gonzalo X. Ruiz, oboe

Harriet Lindblom

Sponsor of Michael Sponseller, harpsichord

Harold I. Pratt

Sponsor of Sarah Darling, viola

Donald E. Vaughan and Lee S. Ridgway Sponsors of Douglas Williams, Gubbins

Kenneth C. Ritchie and Paul T. Schmidt Sponsors of the pre-opera talks by Ellen T. Harris

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WELCOME FR O M T HE A R T IST S In many ways, the music of the early Baroque period bears a stronger relationship to jazz improvisation than to the late Baroque composers, such as Handel and Bach, that still dominate the early music scene. If you were to glance at a score for any one of the pieces we will perform tonight, you would most likely see nothing but a ground bass—a short, repeating melody, which serves as the structure upon which the song is built.

THE OPENING of Che si può fare by Barbara Strozzi Perhaps a few chords would be suggested by numbers or accidentals over the ground bass line. There would be no indication as to which instruments should be used, and if we were to play only the notes on the page, you would have a very long evening ahead of you. But musicians of the early Baroque were masters of improvisation, and they invented melodies and harmonies with skill and confidence, augmenting the textual moods. The goal of this period in music was expression—the singer was at an advantage, with the text and melody notated, but the heart of this operation was the basso continuo, the musicians that interpreted the figured bass line. In our sextet, the viola da gamba, chitarrone, and harp provide the harmonic structure, but also join the violin and cornetto in improvising dazzling riffs on the theme, in an attempt to move the heart of the listener.

The texts for our program are based on tormented love, both romantic and spiritual, that promote the idea that love and pain are two sides of one coin. The repetitive nature of the ground bass, often disrupted by short recitatives, allows the musicians to play with rhythms and harmonies to further the emotional connection. For the singer, in addition to rhythmic and melodic variation, the tools of emotional contrast include the use of vibrato and chest voice, the breathiness or “ugliness” of the sound, the choice of legato, staccato, marcato, or rubato, and of course, dynamics. In the band, choices are made regarding tempo, bowing versus plucking, how to fill in the harmonies, which combinations of instruments to use, and the number of repeats needed to effectively balance the music. In short, there are hundreds of choices to make for each piece. Though some are planned in advance, knowing that the cornetto will have an eight-measure solo is different than knowing exactly what he will play. Before we arrived on “Tormento Seicento,” the working title of this program was “Once more, with feeling!”, and we hope that our improvisations tonight fill you with an appreciation of the inventive spirit of the early Baroque. n

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NOTES ON THE COMPOSERS AND PROGRAM We are all familiar with Monteverdi, whose 1607 masterpiece Orfeo is the earliest opera still regularly performed. Maybe you have seen a Cavalli opera at your local Conservatory, or delved further into the Orpheus myth with operas by Rossi or Sartorio. The immense wealth of music from the early Italian Baroque (Seicento) period would require several lifetimes to fully appreciate, and is continuously being explored and rediscovered. In fact, one piece on our program (Sartorio’s Perché quando apersi) is a modern premiere, one of many unpublished arias that we found in the treasure vault that is the Venice Conservatory library.

MANUSCRIPT EXCERPT from Perché quando apersi by Antonio Sartorio

Made available by the kind courtesy of the Library of Venice’s Conservatorio “Benedetto Marcello”, Ms B 2.34 “ff. 149–152” from the Museo Correr Collection

I am not in any way a musicologist, so I will only say that the composers on this program were mostly based around Venice and Rome, and were all connected in some way. Cavalli was a student of Monteverdi, Strozzi was a student of Cavalli. Kapsberger and Mazzocchi, living in Rome, both enjoyed the patronage of the influential Cardinal Barberini. Caccini trained the castrato who premiered Monteverdi’s Orfeo. Ferrari possibly authored the most famous duet of the Baroque: “Monteverdi’s” Pur ti miro from L’incoronazione di Poppea. For the scholars in the audience, yours must be a fascinating and rewarding work!

A quick word on ornamentation—while much is left to the imagination of the performers, there are two pieces on the program where the composers have written out their variations, which provide an incredible insight into how a melodic line, historically, could be ornamented. The popular madrigal

by Cipriano de Rore, Anchor che col partire, whose text exemplifies the sweet pain of love (“Even though with departing I feel like dying, I would want to leave every hour, every moment—so sweet are my returns”) was given an elaborate treatment by Girolamo Dalla Casa in a virtuosic viola da gamba solo.

Our pairing of the two Amarilli settings, (the familiar one by Caccini and the anonymous version I’ve mentally been referring to as “the fancy Amarilli”) gives us a clear idea of the athleticism that singers of that era must have possessed.

We are happy to bring this program to you, and hope that you can share our passion for the colorful and expressive music of the Seicento! n

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ARTIS T PROF IL E S

Opera Prima, an ensemble directed by Cristiano Contadin, was created to bring historically informed concerts and recordings of the Renaissance and Baroque period to life. The heart of the project lies in exploring the repertoire of the viola da gamba in its various styles, and approaching all music with pleasure and enthusiasm, as if each work for this instrument was newly composed. If, through passionate communication, we can touch the hearts of the public, then the language of early music will be easy to understand.

Lacrimae (awarded “Disc of the Month”

by Musica and praised by Fanfare as “a fabulous performance”), Torna Vincitor, an all-Graun disc of cantatas and viol concerto with soprano Amanda Forsythe (chosen by Opera News as the Critic’s Choice in March 2021), and most recently, a 2023 recording of Tartini (Klassik Heute claims Opera Prima “deliver[s] a buoyant orchestral sound with sensitively executed solos and decisive ensemble direction by Contadin, who also captivates as a soloist with temperament, empathy and sensitivity”). n

The first recording by Opera Prima, The Complete Telemann Trio Sonatas and Concertos for the Brilliant Classics label, received critical acclaim at the national and international level, and was proclaimed

by Classic Voice magazine as CD of the month in February 2015, while Musica magazine confirmed Cristiano Contadin as “a first-rate artist for the sweetness of the sound, the stylistic relevance and the absolute mastery of the instrument.” Opera Prima has performed concerts at festivals in Italy, Greece, Slovenia, and Estonia, and is currently preparing for a tour in the United States with the American soprano Amanda Forsythe, dedicated to the Italian repertoire of the Seicento. Recent Opera Prima recordings include Dowland’s

Cristiano Contadin is an Italian viola da gamba player and the founder of the Opera Prima ensemble, a chamber music group of internationally acclaimed soloists devoted to the Baroque repertoire. As a gamba soloist and continuo player, he collaborates with ensembles in Italy and abroad, including I Barocchisti, Il Suonar Parlante, Akademie für Alte Musik Berlin, Accademia Bizantina,

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La Venexiana, Les Musiciens du Prince, Odhecaton, Orchestra Sinfonica di Milano Giuseppe Verdi, Orchestra Filarmonica della Scala (Milan), Cantar Lontano, and the Boston Early Music Festival.

With the Quartetto Italiano di Viole da Gamba, Il Suonar Parlante, and as a soloist, he aims to cultivate a repertoire that embraces ancient as well as modern viol consort music. He has performed works by contemporary composers and jazz artists such as Kenny Wheeler, Uri Caine, Don Byron, Ernst Reijseger, Vanni Moretto, Markus Stockhausen, Francesco Hoch, Henry Bartholomée, and Lucio Garau, and performed in the Italian premiere of George Benjamin’s Written on Skin with the Orchestra Haydn di Bolzano.

In addition to his activities as a performer, Mr. Contadin wrote the Italian translation of The Early History of the Viol by Ian Woodfield, published by EDT - Turin. He is also the coordinator of the viola da gamba catalogue La Voce Dell’Ambasciatore for the Italian publishing house Musedita.

Mr. Contadin teaches viola da gamba at the Conservatorio Benedetto Marcello in Venice, and has also held teaching positions at the Academy of Music in Esbjerg, Denmark, the Conservatorio Stanislao Giacomantonio in Cosenza, and the Conservatorio Vincenzo Bellini in Palermo, Sicily. He is the summer director of L’Instituto Laboratorio di Music Antica (ILMA) in San Vito al Tagliamento. Mr. Contadin plays an anonymous Venetian bass viol from the 18th century. n

Soprano Amanda Forsythe sang Eurydice on Boston Early Music Festival’s 2015 Grammy-winning recording of Charpentier’s La Descente d’Orphée aux Enfers, and earned widespread acclaim for her albums of Handel arias with Apollo’s Fire on the Avie label and Gluck’s Orfeo with Philippe Jaroussky on the Erato label. With BEMF, she has performed operas by Campra, Steffani, Pergolesi, Handel, Charpentier, Desmarest, and Monteverdi, many of which are available on recording. Other opera engagements have included roles for the Royal Opera House, Covent Garden; Rossini Opera Festival, Pesaro; and the major houses of Geneva, Munich, Seattle, Rome, Berlin, and Philadelphia.

In recent seasons, Amanda Forsythe’s major concert engagements have included performances with the Boston Symphony, the Los Angeles Philharmonic, The Philadelphia Orchestra, the Chicago Symphony Orchestra, The Hong Kong Philharmonic, The New York Philharmonic, the Houston Symphony, the Orchestra Sinfonica Accademia Nazionale di Santa Cecilia, the Moscow Philharmonic, the Orchestra of St. Luke’s, Orchestra Sinfonica di Milano, The Academy of Ancient Music, The St. Louis Symphony, Music of the Baroque, and the Lucerne Symphony Orchestra.

Upcoming events include returns to the New York Philharmonic, the Chicago Symphony, Tafelmusik, and Boston Baroque, débuts with NDR Radiophilharmonie and the Los Angeles Chamber Orchestra, and the releases of two albums: Handel’s Roman cantatas with Opera Prima, and a solo Telemann disc with the Boston Early Music Festival. n

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TEXTS AND TRANSLATIONS Mio ben — Luigi Rossi Mio ben, teco il tormento Più dolce io troverei, Che con altri il contento, Ogni dolcezza è sol dove tu sei.

E per me, Amor aduna, Nel girar de’ tuoi sguardi ogni fortuna.

My love, with you, I would find torment sweeter Than contentment with others.

Every sweetness is only where you are.

And for me, Love gathers, In the turning of your glances, all fortune.

Sdegno, campion audace — Virgilio Mazzocchi Sdegno, campion audace Della ragion guerriera Spiegando sua bandiera Non vuol più tregua, no, non vuol più pace.

Se t’invita lo sdegno, Arma col suo furore, Rompi quel giogo indegno, Ah, non ha core il core Hor che sdegno l’avviva, Viva lo sdegno, viva!

Ch’innalzando la face Non vuol più tregua, no, non vuol più pace.

Disdain, bold champion, Warrior of reason, Unfurling its banner, Wants no more truce, no, and no more peace.

If disdain invites you, O soul, armed with its fury, Break that unworthy yoke; Alas, the heart has no heart Once disdain has enlivened it.

Long live disdain!

Which, raising its torch, Wants no more truce, no, and no more peace.

Che si può fare — Barbara Strozzi Che si può fare?

Le stelle rubelle Non hanno pietà.

Se il cielo non dà Un influsso di pace al mio penare, Che si può fare?

What can be done?

The rebel stars Have no pity.

Since heaven doesn’t give A measure of peace to my suffering, What can be done?

Che si può dire?

Da gl’astri disastri Mi piovano ogn’hor; Le perfido amor Un respiro diniega al mio martire, Che si può dire?

What can be said?

From the heavens disasters Rain down on me every hour; Since that treacherous Cupid Denies respite to my torture, What can be said?

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Perché quando apersi — Antonio Sartorio Perché quando apersi à l’aure vitali le labbra infelici, non erano aspersi di fiati letali i giorni nemici per farmi perir?

Che d’un lungo penar meglio è ’l morir.

S’ogn’ora stancarmi con aspri tormenti la sorte dovea più tosto negarmi i primi alimenti benigna potea, e farmi perir, che d’un lungo penar meglio è ’l morir.

Why, when I opened my unhappy lips to the vital air, were they not sprinkled with lethal breaths to make me perish?

For dying is better than long suffering.

If fate has to tire me out with harsh torments every hour, rather it should have denied me the first nourishments as benignly as it could, and made me perish, for dying is better than long suffering.

Dammi morte — Francesco Cavalli Dammi morte o libertà, cieco Amor, che tante pene, tanti guai, tante catene, sostener il cor non sa.

Dammi morte o libertà,

Let me die, or set me free, blind Cupid, for the heart cannot endure such sorrow, such agony, such captivity.

Let me die, or set me free.

Troppo è dura servitù e martir troppo severo, adorar un idol fiero, una rigida beltà.

Dammi morte o libertà.

’Tis too harsh a servitude, too painful a torment to be in love with a proud and unfeeling man.

Let me die, or set me free.

Queste pungenti spine — Benedetto Ferrari Queste pungenti spine Che ne’boschi d’abisso Nodrite ed allevate Affliggono, trafiggono O crudeltate Il mio Signor e Dio

These stinging thorns That in the deep woods Are nourished and bred They afflict, they pierce (O cruelty!)

My Lord and God

Son saette divine Che col foco del cielo Addolcite e temprate Allettano, dilettano O, gran pietate Il cor divoto e pio

They are divine bolts That with the fire of heavens Are softened and tempered They entice, they delight (O, great compassion!)

The devout and pious heart

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E tu, anima mia Non sai che sia dolore Ancor non senti amore?

And you, my soul You don’t know its pain Still don’t feel love?

Così dunque vivrai Senz’amor, senza duolo, Nò, nò, rivolgi il core Pieghevole, piacevole, O buon fervore À si gravi martiri

So then you will live Without love, without pain, No, no, turn your heart Pliable, pleasurable, (O good fervor!)

To such grave martyrs

E riverente homai Pentita e lagrimosa Manda dal petto fuore Caldissimi, dolcissimi D’amor sensi e sospiri.

And reverent now Repentant and tearful Send out from your breast Very hot, very sweet Feelings and sighs of love.

Così, anima mia, Saprai che sia dolore, Intenderai amore.

So, my soul, You will know that it is pain, You will understand love.

Voglio di vita uscir — Claudio Monteverdi Voglio di vita uscir, voglio che cadano Quest’ossa in polve e queste membra in cenere, E che i singulti miei tra l’ombre vadano, Già che quel piè ch’ingemma l’herbe tenere Sempre fugge da me, ne lo trattengono I lacci, ohimè, del bel fanciul di Venere.

Vo che gl’abissi il mio cordoglio vedano, E l’aspro mio martir le furie piangano, E che i dannati al mio tormento cedano.

Addio crudel, gl’orgogli tuoi rimangano A incrudelir con altri a te rinunzio, Né vo’ più che mie speme in te si frangano.

S’apre la tomba, il mio morir t’annuntio.

Una lagrima spargi, et alfin donami Di tua tarda pietade un solo nuntio, E s’amando t’offesi, homai perdonami.

2 023/ 20 2 4 SEASON

I want to depart this life, I want my bones to turn to dust, and my limbs to ashes, and my sobs to disappear among the shadows, for that foot which adorns the tender grass, is always fleeing from me; nor is it restrained, (alas!) by the bonds of the lovely son of Venus.

I want the depths of hell to see my sorrow, and the Furies to weep for my harsh agony, and the damned to cede to my torment.

Farewell, cruel one, let your pride remain to torture others; I renounce you!

I no longer want you to dash my hopes to pieces.

The tomb opens: I announce my death to you.

Shed but one tear, and at last give me a belated sign of your pity.

And if by loving I offended you, now forgive me.

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Amarilli, mia bella — Giulio Caccini Amarilli, mia bella Non credi o del mio cor Dolce desio D’esser tu l’amor mio?

Credilo pur E se timor t’assale Prendi questo mio strale Aprimi il petto e vedrai scritto in core Amarilli, Amarilli, Amarilli è il mio amore.

Amaryllis, my beauty, You don’t believe me, You are the sweet desire of my heart, You are my Love.

Believe it, And if fear overcomes you Take this arrow of mine Open my chest and you will see it written on the heart: Amaryllis, Amaryllis, Amaryllis is my Love.

La bella più bella — Luigi Rossi La bella più bella ch’il cor mi ferì, in sogno m’apparve dicendo così:

The most beautiful beauty that wounded my heart, appeared to me in a dream saying like this:

“Felice quel core ch’adora il martire e senza gioire trionfa in amore.

“Happy that heart who adores the martyr and without rejoicing triumphs in love.

Le pene son quelle che fanno immortale, chi gode nel male comanda alle stelle!” e con questo sparì.

“Those are the pains that make you immortal, he who enjoys evil commands the stars!” and with that she disappeared.

Deh ferma! – rispondo – che d’arder mi vanto Più stimo il mio pianto ch’aver tutto il mondo!

Ogni duol è poco al ardor ch’io sento, Ne trovo tormento egual al mio foco: Sol amo chi soffri.

Oh stop! – I answer – I am proud of my desire I value my tears more than all the world!

Each ache is less than the desire that I feel, nor do I find the torment equal to my ardor.

Since one who loves is one who suffers.

La bella più bella ch’il cor mi ferì, in sogno m’apparve ma presto sparì.

The most beautiful beauty that wounded my heart, appeared to me in a dream but she soon disappeared.

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B OS T ON E AR LY M US I C F E ST I VAL

Amanti io vi so dire — Benedetto Ferrari Amanti, io vi so dire ch’è meglio assai fuggire bella donna vezzosa ò sia cruda ò pietosa ad ogni modo e via il morir per amor è una pazzia.

Lovers, I can tell you it’s much better to flee a fair and charming woman.

Whether she’s cruel or merciful, by all means, and in any way, dying for love is folly!

Non accade pensare di gioir in amare, amoroso contento dedicato è al momento e bella donna al fine rose non dona mai senza le spine.

The thought of rejoicing never occurs when loving.

A happy lover lives for the moment.

In the end, a beautiful woman never gives you roses without thorns.

La speme del gioire fondata è sù’l martire, bellezza e cortesia non stanno in compagnia, sò ben dir con mio danno che la morte ed’amor insieme vanno.

The hope of rejoicing is founded on the martyr, beauty and courtesy don’t stay well together, I can confidently say, to my detriment, that death and love go together.

Vi vuol pianti a diluvi per spegner i vesuvi d’un cor innamorato, d’un spirito infiammato; pria che si giunga in porto, quante volte si dice: ohimè son morto.

It takes a flood of tears to quench the volcanic blasts of a heart in love, of a spirit on fire; before reaching the harbor, how many times we say: Alas! I’m dead!

Credete’l à costui che per prova può dir: io vidi, io fui. Se creder no’l volete lasciate star che poco importa à me.

Seguitate ad’amar ad’ogni modo, chi dè rompersi il collo.

Non accade che schivi.

Od’erta ò fondo che per proverbio senti sempre dire dal destinato non si può fuggire.

Believe those who’ve been there and can say: “I saw it, I was there.” If you don’t want to believe, don’t bother! – it doesn’t matter to me.

Go on with loving then. In any case, if you break your neck while trying to scale the heights or descend to the depths, just remember the old proverb – “You can’t escape from fate.”

Donna so chi tu sei, amor so i fatti miei.

Non tresco più con voi, alla larga ambi doi.

S’ogn’un fosse com’io saria un balordo Amor e non un Dio.

Woman, I know who you are.

Cupid, I know my stuff.

You’ll fool me no more.

Stay away, both of you!

If all were like me, Cupid would be considered a fool not a god!

2 023/ 20 2 4 SEASON

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2023 | The Dragon of Wantley

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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B OST ON E AR LY M US I C F E ST I VAL

BEMF’S 2023 PRODUCTION OF DESMAREST’S CIRCÉ 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).

I N 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.

The twenty-second biennial Boston Early Music Festival, A Celebration of Women, 2 023/ 20 2 4 SEASON

was held in June 2023 and featured Henry Desmarest’s 1694 opera Circé from a libretto

by Louise-Geneviève Gillot de Saintonge, which saw the return of the Boston Early Music Festival Dance Company, a troupe of dancers under the guidance of BEMF Dance Director Melinda Sullivan. The twenty-third Festival, in June 2025, will have as its centerpiece Reinhard Keiser’s 1705 opera Octavia.

BEMF introduced its Chamber Opera Series during its annual concert season in November 2008, with a performance of John Blow’s Venus and Adonis and 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 27

SCENE FROM BEMF’S 2022 PRODUCTION OF LULLY’S IDYLLE SUR LA PAIX PHOTO: KATHY WITTMAN

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, and most recently John Frederick Lampe’s The Dragon of Wantley. 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 DANIELLE REUTTER-HARRAH IN BEMF’S 2021 PRODUCTION OF TELEMANN’S PIMPINONE PHOTO: KATHY WITTMAN

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in Seattle, and in 2014, BEMF’s second North American Tour featured the Charpentier double bill from 2011.

BEMF has a well-established and highly successful project to record some of its groundbreaking work in the field of Baroque opera. The first three recordings in this series were all nominated for the Grammy Award for Best Opera Recording, in 2005, 2007, and 2008: the 2003 Festival centerpiece Ariadne, by Johann Georg Conradi; Lully’s Thésée; and the 2007 Festival opera, Lully’s Psyché, which was hailed by BBC Music Magazine as “superbly realized…magnificent.” In addition, the BEMF recordings of Lully’s Thésée and Psyché received Gramophone Award Nominations in the Baroque Vocal category in 2008 and 2009, respectively. BEMF’s next three recordings on the German CPO label were drawn from its Chamber Opera Series: Charpentier’s Actéon, Blow’s Venus and Adonis, and a release of Charpentier’s La Descente d’Orphée aux Enfers and La Couronne de Fleurs, which won the 2015 Grammy Award for Best Opera Recording and the 2015 Echo Klassik Opera Recording of the Year (17th/18th Century Opera). Agostino Steffani’s Niobe, Regina di Tebe, featuring Philippe Jaroussky and Karina Gauvin, which was released in January 2015 on the Erato/ Warner Classics label in conjunction with a seven-city, four-country European concert tour of the opera, has been nominated for a Grammy Award, was named Gramophone’s Recording of the Month for March 2015, is the 2015 Echo Klassik World Premiere Recording of the Year, and has received a 2015 Diapason d’Or de l’Année and a 2015 Preis B OS T ON E AR LY M US I C F E ST I VAL

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, and the newest recording, Pergolesi’s La serva padrona and Livietta e Tracollo, was released in December 2023.

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

THE BEMF ORCHESTRA AT THE JUNE 2023 FESTIVAL PHOTO: KATHY WITTMAN 2 023/ 20 2 4 SEASON

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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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B OS T ON E AR LY M US I C F E ST I VAL

FRIENDS OF THE

Boson Early Music Fesival

This list reflects donations received from June 1, 2022 to January 15, 2024 FESTIVAL ANGELS ($25,000 or more) Anonymous (3) Bernice K. Chen Brit d’Arbeloff Peter L. & Joan S.† Faber Dorothy Ryan Fay† David Halstead & Jay Santos George L. Hardman Glenn A. KnicKrehm David M. Kozak & Anne Pistell, in memory of their parents Miles Morgan Lorna E. Oleck Susan L. Robinson Andrew Sigel Joan Margot Smith Piroska Soos† Donald E. Vaughan & Lee S. Ridgway ARTISTIC DIRECTORS’ CIRCLE ($10,000 or more) Diane & John Paul Britton Katie & Paul Buttenwieser Susan Denison Susan Donaldson Tony Elitcher & Andrea Taras Marie-Pierre & Michael Ellmann Jean Fuller Farrington Lori Fay & Christopher Cherry, in memory of Dorothy Ryan Fay Clare M. S. Fewtrell† James A. Glazier Donald Peter Goldstein, M.D., in memory of Constance Kellert Goldstein Ellen T. & John T. Harris Barbara & Amos Hostetter Robert E. Kulp, Jr. Mr. & Mrs. Thomas G. MacCracken Heather Mac Donald & Erich Eichman Bill McJohn 2 0 23/ 20 2 4 SEASON

Kenneth C. Ritchie & Paul T. Schmidt Karen Tenney & Thomas Loring Christoph Wolff LEADERSHIP CIRCLE ($5,000 or more) Anonymous (4) Mary Briggs & John Krzywicki Douglas M. & Aviva A. Brooks Kathleen Fay, in memory of Dorothy Ryan Fay Marie C. Henderson, in memory of A. Brandt Henderson Mei-Fung Kerley, in memory of Ted Chen Harriet Lindblom, in memory of Daniel Lindblom Marianne & Terry Louderback Victor & Ruth McElheny Ruth McKay & Don Campbell Harold I. Pratt Joanne Zervas Sattley David Scudder, in memory of Marie Louise Scudder Maria van Kalken & Hal Winslow, in memory of Adrian van Kalken BENEFACTORS ($2,500 or more) Anonymous (2) Anonymous, in honor of Bernice K. Chen Annemarie Altman Pamela & Lee Bromberg Beth Brown, in memory of Walter R.J. Brown Gregory E. Bulger & Richard Dix John A. Carey Carla Chrisfield & Benjamin D. Weiss Elizabeth Davidson, in honor of David Morris Peter & Katie DeWolf John Felton & Marty Gottron Alan M. King Dr. Peter Libby, in memory of Dr. Beryl Benacerraf

John S. Major & Valerie Steele Keith Ohmart & Helen Chen Nina & Timothy Rose Catherine & Phil Saines, in honor of Barbara K. Wheaton Raymond A. & Marilyn Smith Richard K. & Kerala J. Snyder Keith S. Tóth & John B. Herrington III Adrian & Michelle Touw Will & Alexandra Watkins Ellen & Arnold Zetcher GUARANTORS ($1,000 or more) Anonymous (11) Eric Hall Anderson, in memory of William Wolk Susan Bromley Amy Brown & Brian Carr David L. Brown, in memory of Larry Phillips James Burr Betty Canick Robert & Elizabeth Carroll Bernice Chen & Mimi Kerley, in memory of Ted Chen Dr. & Mrs. Franklyn Commisso Joseph Connors Joseph E. Coppola Richard & Constance Culley Jeffrey Del Papa Ross Duffin & Beverly Simmons, in honor of Kathleen Fay Henk Elderhorst David Emery & Olimpia Velez Peter L. Faber, in memory of Joan S. Faber Michael E. Fay Bruce A. Garetz Sarah M. Gates David & Harriet Griesinger Phillip Hanvy Dr. Robert L. Harris Rebecca & Ronald Harris-Warrick Michael Herz & Jean Roiphe James & Ina Heup 31

Sally Hodges Jessica Honigberg Jane Hoover Thomas M. Hout & Sonja Ellingson Hout, in honor of Kathy Fay for her hard work Barry Kernfeld & Sally McMurry Art & Linda Kingdon Fran & Tom Knight Kathryn Mary Kucharski Robert & Mary La Porte Frederick V. Lawrence, in memory of Rosemarie Lawrence Amelia J. LeClair & Garrow Throop John Leen & Eileen Koven Lawrence & Susan Liden Mark & Mary Lunsford MAFAA William & Joan Magretta Carol Marsh David McCarthy & John Kolody Amy & Brian McCreath Michael P. McDonald Marilyn Miller Stephen Moody Jeffrey G. Mora, in memory of Wendy Fuller-Mora Sheila A. Murphy Robert Neer & Ann Eldridge Rebecca Nemser, in memory of Paul Nemser John M.† & Bettina A. Norton Louise Oremland Richard & Julia Osborne Richard & Lois Pace, in honor of Peter Faber Brian Pfeiffer Neal J. Plotkin & Deborah Malamud Gene & Margaret Pokorny Amanda & Melvyn Pond Tracy Powers Susan Pundt Paul Rabin & Arlene Snyder Christa Rakich & Janis Milroy Alice Robbins & Walter Denny, in honor of Kathy Fay Michael Robbins Jose M. Rodriguez & Richard A. Duffy Patsy Rogers Ellen Rosand Michael & Karen Rotenberg Carlton & Lorna Russell 32

Kevin Ryan & Ozerk Gogus, in memory of Dot Fay Lynne & Ralph Schatz Susan Schuur Laila Awar Shouhayib Alexander & Kathy Silbiger Elizabeth Snow Catherine & Keith Stevenson David & Jean Stout, in honor of Kathy Fay Carl Swanson Lisa Teot Elizabeth W. Thompson Paula & Peter Tyack Peter J. Wender Allan & Joann Winkler PATRONS ($500 or more) Anonymous (8) Morton Abromson & Joan Nissman Nicholas Altenbernd Debra K. S. & Brian Anderson, in honor of Kathleen M. Fay Tom & Judy Anderson Allen, in memory of Dorothy Fay Tom & Judy Anderson Allen, in memory of Adrian van Kalken Julie Andrijeski & J. Tracy Mortimore Louise Basbas William & Ann Bein Michael & Sheila Berke Dee Dee & John Brinkema, in memory of Bobby Brinkema Robert Burton & Karen Peterson Frederick Byron Anne Chalmers & Holly Gunner Mary Chamberlain David J. Chavolla JoAnne Chernow Sherryl & Gerard Cohen Linzee Coolidge Geoffrey Craddock Belden & Pamela Daniels Eric & Margaret Darling Leigh Deacon Carl E. Dettman Kathryn Disney Alan Durfee Helen Edwards Gabriel Ellsworth Charles & Elizabeth Emerson

Thomas G. Evans Austin & Eileen Farrar Nicole Faulkner Daniel & Paula Fay Mary Fillman & Mary Otis Stevens Charles Fisk Martin & Kathleen Fogle Claire Fontijn, in memory of Arthur Fontijn & Sylvia Elvin Elizabeth French Jonathan Friedes & Qian Huang Fred & Barbara Gable Sandy Gadsby & Nancy Brown Christopher K. Gaffney, in memory of Bill Crocker Alexander Garthwaite George & Marla Gearhart Elizabeth Hardy, in memory of Renate Wolter-Seevers David J. Harris, MD Joan E. Hartman Linda Hodgkinson Phyllis Hoffman Charles Bowditch Hunter Laura Jeppesen & Daniel Stepner Paul & Alice Johnson Robert L. Kleinberg Neal & Catherine Konstantin Jasper Lawson William Leitch Susan Lewinnek Catherine Liddell Roger & Susan Lipsey James Liu & Alexandra Bowers Jeffrey & Barbara Mandula Marietta Marchitelli Carol & Pedro Martinez Anne H. Matthews June Matthews Sally Mayer Ray Mitzel Alan & Kathy Muirhead John R. Palys William J. Pananos Joseph L. Pennacchio Phillip Petree Susan Pettee & Michael Wise Hon. W. Glen Pierson & Hon. Charles P. Reed Pamela Posey Mahadev & Ambika Raman B OS T ON E AR LY M US I C F E ST I VAL

Sandy Reismann & Dr. Nanu Brates Sue Robinson Rusty Russell Cheryl K. Ryder Susan Sargent & Tom Peters Richard Schroeder & Dr. Jane Burns Charles & Mary Ann Schultz Wendy Shattuck & Sam Plimpton Mark Slotkin Lynne Spencer Louisa C. Spottswood Campbell Steward Ronald W. Stoia Paola Stone, in memory of Edmondo Malanotte Theresa & Charles Stone Ralph & Jeanine Swick, in memory of Alan & Judie Kotok Lonice Thomas Mark S. Thurber & Susan M. Galli Reed & Peggy Ueda Richard Urena Louella Krueger Ward, in memory of Dr. Alan J. Ward, PhD, ABPP Thomas & LeRose Weikert John C. Wiecking Kathleen Wittman & Melanie Andrade, in memory of John Wittman ASSOCIATES ($250 or more) Anonymous (7) Anonymous, in memory of Dorothy Ryan Fay Anonymous, in honor of Marco Horvat & Faenza Joseph Aieta III Elizabeth Alexander Margaret Angelini & John McLeod† Barry & Sarita Ashar Carl Baker & Susan Haynes Noel & Paula Berggren Deborah Boldin & Gabriel Rice Todd A. Breitbart David Breitman & Kathryn Stuart David C. Brown Elizabeth A.R. Brown & Ralph S. Brown, Jr., in honor of Kathleen Fay Robert Burger Joseph Cantey Floyd & Aleeta Christian Priscilla H. Claman 2 0 23/20 2 4 SEASON

John K. Clark & Judith M. Stoughton Christopher Curdo Warren R. Cutler Carl & May Daw Michael DiSabatino, in honor of Nancy Olson Charles & Sheila Donahue Tamar & Jeremy Kaim Doniger Chuck Epstein & Melia Bensussen Lila M. Farrar Gregg, Abby & Max Feigelson Grace A. Feldman, in honor of Bernice Chen Patrick Joseph Fox, in honor of Charles A. DiSabatino, Jr. & Nancy Olson Gisela & Ronald Geiger Joseph Glenmullen, M.D. Philip Glynn The Goldsmith Family Lisa Goldstein Nancy L. Graham Mary Greer Laury Gutierrez & Elsa Gelin Eric Haas, in memory of Janet Haas Joanna Haas Eric & Dee Hansen Rebecca & Richard Hawkins Catherine & John Henn Mary Hepburn, in honor of Laura Jeppesen Katherine A. Hesse David Hoglund Amy & Seamus Hourihan Wayne & Laurell Huber Keith L. & Catherine B. Hughes Brian Hussey Francesco Iachello Jean Jackson, in memory of Louis Kampf Robin Johnson Patrick G. Jordan David Keating Thomas F. Kelly & Peggy Badenhausen David P. Kiaunis George Kocur Katharine & Tom Kush, in honor of Michael Ellmann Rob & Mary Joan Leith

Robert & Janice Locke William Loutrel & Thomas Fynan Kenneth S. Loveday Mary Maarbjerg Rodolfo Machado & Jorge Silvetti Quinn MacKenzie James McBride Lee McClelland John & Marianne Nelson Clara M. & John S. O’Shea Patricia T. Owen Henry & Judy Paap Eugene Papa Cosmo & Jane P. Papa Henry Paulus Kitty Pell David & Beth Pendery Elizabeth V. Phillips Stephen Poteet Anne & François Poulet Lawrence Pratt & Rosalind Forber Rodney J. Regier Hadley & Jeannette Reynolds Marge Roberts Arthur & Elaine Robins Michael Rogan & Hugh Wilburn Nancy & Ronald Rucker Paul Rutz David Sears Harvey A. Silverglate, in memory of Elsa Dorfman David Snead & Kate Prescott Mary Stevens Ann Stewart Victoria Sujata Melinda Sullivan & Larry Friedman Kenneth P. Taylor Nancy M. Tooney John & Dorothy Truman Peter & Kathleen Van Demark Mark Vangel, in memory of Monica Strauss Delores† & Robert Viarengo Richard & Virginia von Rueden Patrick Wallace & Laurie McNeil Scott & Barbara Winkler Beverly Woodward & Paul Monsky Michael Wyatt Susan Wyatt Ellen L. Ziskind The Zucker Family 33

PARTNERS ($100 or more) Anonymous (17) Anonymous, in memory of Dorothy Ryan Fay Anonymous, in honor of Kathy Fay Anonymous, in memory of Adrian van Kalken Vilde Aaslid Anne Acker Maria Adams Mr. Neale Ainsfield & Dr. Donna Sieckmann Druid Errant D.T. Allan-Gorey Kenneth Allen & Hugh Russell Cathy & William Anderson Margarete Arndt Neil R. Ayer, Jr. & Linda Ayer Antonia L. Banducci Dr. David Barnert & Julie Raskin Rev. & Mrs. Joseph Bassett Alan Bates & Michele Mandrioli George Beach Lawrence Bell Alan Benenfeld Susan Benua Judith Bergson Larry & Sara Mae Berman Ann & Richard Bingham, in honor of Kathy Udall John Birks Sarah Bixler & Christopher Tonkin Katharine C. Black Moisha Blechman Wes Bockley & Amy Markus Patricia Boyd Sally & Charlie Boynton Joel Bresler Catherine & Hillel Shahan Bromberg Lawrence Brown Robert Brown Caroline A. Bruzelius, in memory of Kristin Mortimer John H. Burkhalter III Judi Burten, in memory of Phoebe Larkey Kevin J. Bylsma John Campbell Eleanor Carlson William Carroll Bonnie & Walter Carter Richard & Lois Case 34

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Nancy L. Cantelmo R. Cassels-Brown Maria A. Cervone Jeanne Conner Jane Connolly Peter B. Cook Marjorie & Andrew Cooke Steve & Suzanne Cooper David Cronin Mary & Jeremy Curtis Ms. Ann Daiber Robert Dennis Nichalas A. Deutsch Jim Diamond Mary Dill Sarah Dillon & Peter Kantor David Doolittle Duane R. Downey Diane L. Droste Jan Elliott John Empey Jane & Robert Evans Noel Fagan, in honor of Amy Fagan Russel Feldman & Anne Kane Martha Ferko Robert & Janeth Filgate Janet G. Fink Paul Finnegan Frances Conover Fitch Virginia Fitzgerald Louise Forrest-Bowes Christopher Fox Peter Frick Hans Gesell Rebecca Gifford Edward Ginsberg & Alice Adler John & Nancy Hammond Margaret Hanley Laurence Hannan Joseph & Elizabeth Hare Charles Haverty & Alexandra Glucksmann Paula Henderson Peter & Peg Hewitt Patricia G. Hoffman Kay Holloway Ellsworth Hood, in memory of Margaret Hood Margaret Hornick Beth F. Houston Constance Huff Deborah L. Jameson 36

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Analog Devices Aspect Global Automatic Data Processing, Inc. Biogen Carrier Global Dell, Inc. Exelon Foundation FleetBoston Financial Corporation Genentech, Inc. Google Grantham, Mayo, van Otterloo & Co. LLC John Hancock Financial Services, Inc. Community Gifts Through Harvard University Houghton Mifflin Harcourt IBM Corporation Intel Foundation Investment Technology Group, Inc. (ITG) Microsoft Corporation MLE Foundation, Inc. Natixis Global Asset Management Novartis US Foundation NVIDIA Pfizer Pitney Bowes Salesforce.org Silicon Valley Community Foundation Takeda Tetra Tech United Technologies Corporation Verizon Foundation Vertex Pharmaceuticals Xerox Foundation

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