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FOLGER CONSORT 2015/16 season of early music

SHAKESPEARE AND PURCELL Music of The Fairy Queen

APRIL 8 -10

FOLGER SHAKESPEARE LIBRARY Michael Witmore, Director SENIOR DIRECTORS Daniel De Simone, Eric Weinmann Librarian Melody Fetske, Director of Finance and Administration Janet Alexander Griffin, Director of Public Programs Eric M. Johnson, Director of Digital Access Kathleen Lynch, Executive Director, Folger Institute Essence Newhoff, Director of Development Peggy O’Brien, Director of Education DIVISION OF PUBLIC PROGRAMS Janet Alexander Griffin, Director of Public Programs/Artistic Producer Beth Emelson, Assistant Artistic Producer Emily Tartanella, Public Programs Assistant Maegan Clearwood, Public Programs Assistant Charles Flye, Production Manager Rebekah Sheffer, Assistant Technical Director Brandon Roe, Sound Engineer FOLGER CONSORT Jennifer Bowman, Manager PUBLIC RELATIONS/MARKETING Garland Scott, Head of External Affairs Peter Eramo, Events Publicity and Marketing Manager Esther French, Communications Associate Jane Pisano, Publications Consultant SPECIAL TO FOLGER CONSORT Robert Aubry Davis, Host, Pre-Concert Discussions Krohn Design, Graphic Design Barbara Shaw, Typesetting

BOARD OF GOVERNORS Louis R. Cohen, Chair Susan Sachs Goldman, Vice-Chair Roger Millay, Vice-Chair D. Jarrett Arp Simon Russell Beale The Lord Browne of Madingley Rebecca Bushnell Vinton Cerf Philip Deutch Peter Edwards Wyatt R. Haskell Deneen C. Howell Maxine Isaacs Edward R. Leahy May Liang Carol L. Ludwig Ken Ludwig Louisa Newlin Andrew Nussbaum Andrew Oliver Gail Kern Paster Stuart Rose Loren Rothschild James Shapiro Laura J. Yerkovich Ex Officio Michael Witmore

DOCENTS AND VOLUNTEERS are vitally important to our success.

Heartfelt thanks to these generous donors of time and talent.

In 2016, the Folger Shakespeare Library is marking the 400th anniversary of Shakespeare’s death and celebrating his extraordinary legacy with exhibitions and performances, lectures and special events—at the Folger, on the road, and online. Join us!

Shakespeare belongs to you. His world is vast. Come explore.

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THESE PERFORMANCES ARE GENEROUSLY SPONSORED BY ROBERT J. & TINA M. TALLAKSEN

FOLGER CONSORT Robert Eisenstein Christopher Kendall Artistic Directors

SHAKESPEARE AND PURCELL Music of The Fairy Queen with Peter Becker, Risa Browder, Nina Falk, Joseph Gascho, Jason McStoots, Drew Minter, John Moran, and Emily Noël Please hold applause until the end of sets, and turn off cellular phones and electronic devices. Please refrain from the use of photography or any type of recording device during these performances.

NOTES We conclude our season with these concerts of Purcell’s The Fairy Queen in celebration of the Wonder of Will—music inspired by and associated with Shakespeare in the 400th anniversary of his death.

Henry Purcell (1659-1695) was one of the greatest composers of the Baroque and certainly one of the greatest English composers of any era. Although strongly influenced by French and Italian music, he retained throughout his all-too-brief career a style that was unmistakably his own. In the words of Roger North, “He began to shew his great skill before the reform of musicke, al Italiano, and while he was warm in pursuit of it, Dyed, but a greater musical genius England never had.”

Purcell was associated with the court all his life. He began his career as a boy chorister in the Chapel Royal and started composing there. Singing, as he must have, the anthems of Byrd and Tallis, he became steeped in his native musical traditions. In 1677, he succeeded Matthew Locke as composer to the King’s Violins (a group modeled on the violin band of the French court), and in 1679 he succeeded John Blow as organist of

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Westminster Abbey. Upon the accession of William III in 1689, all Purcell’s court appointments were reconfirmed, and he wrote much music for William and Mary including court odes, hymns, and anthems.

But for most of his career he was equally concerned with writing for the stage. Dido and Aeneas, composed in 1689, is Purcell’s only true opera; it is the first such work in English, and many would still say it is the best. But he composed many other works for the theater as well. According to the music publisher Playford, “The Author’s extraordinary talent in all sorts of music is sufficiently known, but he was especially admired for the Vocal, having a peculiar Genius to express the energy of English words, whereby he moved the passions of his auditors.”

Early in the 17th century, the court frequently presented grand masques.

These were splendid entertainments, with lavish costumes and sets, large vocal and instrumental forces, and elaborate dances. The masques had allegorical themes glorifying a monarch or prince and were always perceived as instruments of state with the political purpose of demonstrating English wealth, power, and generosity. While the masques and popular spoken theater were banned during the Commonwealth, the Restoration of the monarchy saw a revival in the 1660s of masques both public and private, and of the popular theater, which required incidental music and songs as well as accompaniment for dancing. Purcell himself was active in the London theater, writing incidental music, both songs and instrumental pieces, for many plays. When the music became at least as important as the spoken word, as happens in Purcell’s collaborations with John Dryden called King Arthur and Diocletian, we move into a form which began to be called semi-opera. The Fairy Queen is another such work.

The Fairy Queen contains some of Purcell’s most inspired music for theater, and it is his longest and most ambitious stage work as well. This semi-opera was adapted from A Midsummer Night’s Dream. We cannot name with any certainty the author who adapted Shakespeare’s play, although some think the actor Thomas Betterton is a likely suspect. This version keeps as much of Shakespeare’s language as was practical for an audience in the time of William and Mary. It is probably a good thing the entire play is not present; with all of the added music and dance, the first performances of The Fairy Queen in 1692 at the Queen’s Theater (Dorset Garden) were probably well over three and a half hours long. Purcell wisely refrained from setting any of Shakespeare’s lines and contented himself with five separate and independent Fairy Masques, one for each of Shakespeare’s acts. These masques entertain Titania, and in the later acts, Duke Theseus and the other mortals as well, and contain songs sung by many characters (Juno, Night, Hymen, a Chinese Man and Lady, the Seasons, and so on), as well as much instrumental music for splendid and elaborate dances. They have only slight connections to Shakespeare’s story for the most part.

Our performance is not of the complete music, although we have omitted surprisingly little. For practical reasons in this space, we are presenting what is essentially a chamber version of Purcell’s score, and we are using four singers, string quartet, and a continuo section of harpsichord and theorbo.

This is not an inauthentic thing to do. While the big commercial theaters and, of course, the Court in Purcell’s London would have had a full orchestra, there were certainly performances “on tour” of this sort of piece with much smaller forces. Although we have omitted the numbers which really require the missing winds, we have preserved, for the most part, the sequence and general outlines of the five Fairy Masques.

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So, this evening we will have an opportunity to hear Purcell’s “extraordinary talent in all sorts of music.” We begin with the First and Second Musicks— orchestral suites to entertain the audience before the play begins. We will continue with the first song from the first masque, “Come let us leave the town,” then launch into the hilarious scene of the Drunken Poets, and move on from there.

First, the Prologue from the 1692 printing: What have we left untry’d to please this Age, To bring it more in liking with the Stage?

We sunk to Farce, and rose to Comedy; Gave you high Rants, and well-writ Tragedy.

Yet Poetry, of the Success afraid, Call’d in her Sister Musick to her aid.

And, lest the Gallery should Diversion want, We had Cane Chairs to dance ‘em a Courant.

[Editor note: there was a chair dance in Diocletian] But that this Play may in its Pomp appear; Pray let our Stage from thronging Beaux be clear.

For what e’re cost we’re at, what e’re we do, In Scenes, Dress, Dances; yet there’s many a Beau, Will think himself a much more taking Show.

How often have you curs’d thee new Beau-skreens, That stand betwixt the Audience and the Scenes?

I ask’d one of ‘em t’other day – Pray, Sir, Why d’ye the Stage before the Box prefer?

He answer’d – Oh! there I Ogle the whole Theatre, My Wig – my Shape, my Leg, I there display, They speak much finer things than I can say.

These are the Reasons why they croud the Stage; And make the disappointed Audience rage.

Our Business is, to study how to please, To Tune the Mind to its expected ease.

And all that we expect, is but to find, Equal to our Expence, the Audience kind.

—Robert Eisenstein

We are pleased to announce that we will continue with Purcell in the fall. The Restoration playwright Charles Gildon had his version of Measure for Measure performed at Lincoln Inn Fields in 1700, and that play contained within it the entire Dido and Aeneas by Purcell.

Watch for news of Folger Consort’s concert performances of Gildon’s Measure plus Purcell’s Dido featuring Derek Jacobi and Richard Clifford in October.

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THE FAIRY QUEEN Act I Prelude – Hornpipe Second Music: Aire – Rondeau First Act Musick Song in Two Parts: Come, come, come, let us leave the Town And in some lonely place, Where Crouds and Noise were never known, Resolve to spend our days.

In pleasant Shades upon the Grass At Night our selves we’ll lay; Our Days in harmless Sport shall pass, Thus Time shall slide away.

Scene of the Drunken Poet: Enter Fairies leading in three Drunken Poets, one of them Blinded.

Poet: Fi-fi-fi-fill up the Bowl, then.

Fairy and Chorus: Trip it, trip it in a ring; Around this Mortal Dance and Sing.

Poet: Enough, enough, We must play at Blind Man’s Buff.

Tu-tu-turn me round and stand away; I’ll catch whom I may, catch catch whom I may.

Fairy and Chorus: About him go, so, so so, Pinch the wretch from Top to Toe; Pinch him forty times, Pinch till he confess his Crimes.

Fairies: What, what, what?

Poet: I’m Drunk, as I live, Boys, Drunk!

Fairies: What are thou, speak?

Poet: If you must know it, I am a scu-scu-scu-scurvy Poet.

Chorus: Pinch him for his Crimes His Nonsense, and his Dogrel Rhymes.

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Fairies: Confess, confess, more, more, more!

Poet: I confess, I confess, I’m very, very poor.

Now prithee do not pinch me so.

Go-go-good dear Devil, let me go; And as I hope to wear the Bays, I’ll write a Sonnet in thy Praise.

Chorus: Drive ‘em hence, Away away, Let ‘em sleep till break of Day. First Act Tune: Jig Act II The Scene changes to a Prospect of Grottos, Arbors, and delighted Walks.

Prelude Song: Come all ye Songsters of the Sky, Wake, and Assemble in this Wood; But no ill-boding Bird be nigh, None but the Harmless and the Good.

Chorus: May the God of Wit inspire, The Sacred Nine to bear a part; And the Bless’d Heav’nly Quire, Shew the utmost of their Art. While Echo shall in sounds remote, Repeat each note.

Chorus: Now joyn your Warbling Voices all, Sing while we trip it upon the Green; But no ill Vapours rise or fall, No, nothing to offend our Fairy Queen.

Fairies Dance Enter Night, Mystery, Secresie, Sleep and their Attendants.

Night: See, even Night herself is here, To favour your Design, And all her Peaceful Train is near, That Men to Sleep incline.

Let Noise and Care Doubt and Despair, Envy and Spite, (the Fiend’s delight) 8

Be ever Banish’d hence.

Let soft Repose Her Eyelids close, And murm’ring Streams Bring pleasing Dreams.

Mystery: I am come to lock all fast Love without me cannot last.

Love, like Counsels of the Wise, Must be hid from Vulgar Eyes.

‘Tis holy and we must conceal it; They profane it who reveal it.

Secresy: One charming night Gives more delight Than a hundred lucky Days.

Night and I improve the taste, Make the pleasure longer last, A thousand, thousand sev’ral ways.

Sleep and Chorus: Hush, no more, be silent all, Sweet Repose has clos’d her Eyes.

Soft as feather’d snow does fall!

Softly steal from hence.

No noise disturbing her sleeping sense.

A Dance of the Followers of Night Second Act Tune: Aire Act III The Scene changes to a great Wood; a long row of large Trees on each side.

A River in the middle.

Enter a Troop of Fawns, Dryades, and Naiades.

While a Symphony is Playing, the two Swans come Swimming on through the Arches to the bank of the River as if they would Land; there turn themselves into Fairies, and Dance.

Symphony While the Swans Came Forward Dance for the Fairies Four Savages Enter, fright the Fairies away, and Dance an Entry.

Dance for the Green Men Enter Coridon and Mopsa.

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Coridon: Now the Maids and the Men are making of Hay, We’ve left the dull Fools, and are stolen away.

Then Mopsa no more Be Coy as before, But let us merrily Play, And kiss the sweet time away.

Mopsa: Why, how now, Sir Clown, what makes you so bold?

I’d have ye to know I’m not made of that mold.

I tell you again, Maids must never Kiss no Men. No, no: no Kissing at all; I’ll not Kiss, till I Kiss you for good and all.

Coridon: Not Kiss you at all?

Mopsa: No, no, no Kissing at all!

Coridon: Why no Kissing at all?

Mopsa: I’ll not Kiss, till I Kiss you for good and all.

Coridon: Should you give me a score, ‘Twould not lessen your store, Then bid me chearfully, chearfully Kiss, And take, and take, my fill of your Bliss.

Mopsa: I’ll not trust you so far, I know you too well; Should I give you an inch, you’d soon take an Ell. The Lord like you Rule, And laugh as the Fool, No, no, &c.

Coridon: So small a Request, You must not, you cannot, you shall not deny, Not will I admit of another Reply.

Mopsa: Nay, what do you mean?

O fie, fie, fie!

Prelude and a Song by a Nymph: When I have often heard young Maids complaining, That when Men promise most they most deceive, Then I thought none of them worthy my gaining; And what they Swore, I would never believe.

Should he employ all his wit in deceiving, 10

Stretch his Invention, and artfully feign; I find such Charms, such true Joy in believing, I’ll have the Pleasure, let him have the Pain.

But when so humbly one made his Addresses, With Looks so soft, and with Language so kind, I thought it Sin to refuse his Caresses; Nature o’ercame and I soon chang’d my Mind.

If he proves Perjur’d, I shall not be Cheated, He may deceive himself, but never me; ‘Tis what I look for, and shan’t be defeated; For I’ll be as false and inconstant as he.

Dance for the Haymakers Song and Chorus: A Thousand, Thousand ways we’ll find To Entertain the Hours; No Two shall e’re be known so kind, No Life so Blest as ours.

Third Act Tune: Hornpipe INTERMISSION Act IV The Scene changes to a Garden of Fountains. A Sonata plays while the Sun rises. In the middle of the Stage is a very large Fountain, where the Water rises about twelve Foot.

The four Seasons enter, with their several Attendants. One of the Attendants begins: Song: Now the Night is chased away, All salute the rising Sun ‘Tis that happy happy Day, The Birth-Day of King Oberon.

Song: Here’s the Summer, Sprightly, Gay, Smiling, Wanton, Fresh and Fair; Adorn’d with all the Flow’rs of May, Whose various Sweets perfume the Air. Song: See, see my many Colour’d Fields, And loaded Trees my Will obey; All the Fruit that Autumn yields, I offer to the God of Day. Song: Next, Winter comes Slowly, Pale, Meager and Old, First trembling with age, And then quiv’ring with Cold; Benumb’d with hard Frosts and with Snow cover’d o’er, Prays the Sun to restore him, and Sings as before.

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Fourth Act Tune: Air Act V Juno appears in a Machine drawn by Peacocks. While a Symphony Plays, the Machine moves forward, and the Peacocks spread their Tails, and fill the middle of the Theater. Juno sings.

Prelude Entry Dance Symphony A Chinese Woman: Thus Happy and Free, Thus treated are we With Nature’s chiefest Delights.

We never cloy, But renew our Joy, And one Bliss another Invites.

Chorus: Thus wildly we live, Thus freely we give, What Heaven as freely bestows.

We were not made For Labour and Trade, Which Fools on each other impose.

A Chinese Man: Yes, Xansi, in your Looks I find, The Charms by which my Heart’s betray’d; Then let not your Disdain unbind The Pris’ner that your Eyes have made.

She that in Love makes least Defence Wounds ever with the surest Dart; Beauty may captivate the Sence, But Kindness only gains the Heart.

Monkey’s Dance Prelude and Song: Hark! How all Things in one Sound rejoyce And the World seems to have one Voice.

Song: Hark! The Echoing air a Triumph Sings, And all around pleas’d Cupids clap their Wings.

The Pedestals move toward the Front of the Stage, and the Grand Dance begins of Twenty four Persons.

Chaconne: Dance for a Chinese Man and Woman

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Trio and Chorus:

JOIN US!

They shall be as happy as they’re fair; Love shall fill all the Places of Care: And every time the Sun shall display his Rising Light, It shall be to them a new Wedding-Day; And when he sets, a new Nuptial-Night.

BECOME A FRIEND OF FOLGER CONSORT Enjoy the benefits of membership—exclusive programs, behind-the-scenes events, and discounts—by giving to the Folger in one of these three ways: FRIENDS OF FOLGER CONSORT with a gift of $75 THE RENAISSANCE CIRCLES with a gift of $1,500 FIRST FOLIO SOCIETY with a legacy gift

For more information, call 202.675.0359 or visit folger.edu/members

Folger SHAKESPEARE LIBRARY

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FOLGER CONSORT

Engaging Washington-area audiences since 1977, Folger Consort is the early music ensemble-in-residence at the Folger Shakespeare Library.

Founding Artistic Directors Robert Eisenstein and Christopher Kendall create programs that offer opportunities to discover and enjoy music from the Medieval, Renaissance, and Baroque periods. Whether presenting concerts in the ensemble’s intimate home, the Folger’s Elizabethan-styled theater, or in the splendid reaches of Washington National Cathedral, the Folger Consort continues its tradition of bringing internationally noted guest artists to Washington, DC to join in its “early music chamber society.” Beyond its concert series, Folger Consort strives to deepen audiences’ understanding and appreciation of early music through seminars, discussions, recordings, radio programs, and unique collaborations with other programs of the Folger Shakespeare Library. Folger Consort has received five awards for Best Classical Chamber Ensemble by the Washington Area Music Awards.

For more information, visit folger.edu/consort.

Robert Eisenstein—violin—is a founding member and program director of the Folger Consort. In addition to his work with the Consort, he is the director of the Five College Early Music Program in Massachusetts, where he teaches music history, performs regularly on viola da gamba, violin, and medieval fiddle, and coordinates and directs student performances of medieval, Renaissance, and Baroque music. He is an active participant in Five College Medieval Studies and served as Music Director for the Five College Opera Project production of Francesca Caccini’s La Liberazione di Ruggiero. He has a particular interest in the use of computer technology in the service of music and enjoys teaching at Mount Holyoke College a course called Fun with Music and Technology. Mr. Eisenstein is the recipient of Early Music America's Thomas Binkley Award for outstanding achievement in performance and scholarship by the director of a college early music ensemble.

Christopher Kendall—theorbo, lute—is founder of the Folger Consort. He served from 2005-2015 as Dean of the University of Michigan School of Music, Theatre & Dance, where he was responsible for establishing the University of Michigan Gershwin Initiative, for re-instituting international touring, for the funding and design of a $30M expansion/renovation of the music building, and for launching the interdisciplinary enterprise ArtsEngine and its national initiative a2ru (Alliance for the Arts at Research Universities). In Washington, DC, in addition to his work with Folger Consort, since 1975 he has been Artistic Director and conductor of the 21st Century Consort, new music ensemble-in-residence at the Smithsonian Institution. He served as 14

Director of the University of Maryland School of Music from 1996 to 2005, and was Director of the Music Division and Tanglewood Institute of the Boston University School for the Arts from 1993 to 1996. Associate Conductor of the Seattle Symphony from 1987 to 1992, Mr. Kendall has guest conducted many orchestras and ensembles in repertoire from the 18th to the 21st centuries. His recordings can be heard on the Arabesque, ASV, Bard, Bridge, Centaur, Delos, Innova, Nonesuch, and Smithsonian Collection labels.

GUEST ARTISTS Peter Becker—bass-baritone—began his musical training in Bombay, India at the Kinnara School of Music, where he studied tablas at the feet of Ravi Shankar. He began his professional singing career in Chevy Chase, MD as a paid boy soprano, thereby supplementing the income from his paper route. Since then he has performed on stages throughout the US, Europe, Asia, and South America in repertoire ranging from medieval to contemporary. Theater credits include performances with the Canadian Opera Company, Glimmerglass Opera, Teatro Opera di Roma, New York Shakespeare Festival, 21th Century Consort, Metropolitan Opera Education Program, Eugene O’Neill Center, and New York’s Lyric Theater. He has been a featured guest artist with Tafelmusik, Smithsonian Chamber Players, Magnificat, Newberry Consort, and at a number of festivals including Spoleto, Caramoor, Aldeburgh, Utrecht, Hong Kong, Jerusalem, and Lille. He has recorded for the Decca-London, New Albion, Dorian, and Bard labels.

Risa Browder—violin—was born in Princeton, NJ and studied at Oberlin Conservatory, the Royal College of Music in London, and the Schola Cantorum in Basel, Switzerland. Her work as a violinist and violist has taken her all over Europe, Japan, Australia, and the US. She has performed with many orchestras including Academy of Ancient Music, the English Concert, London Classical Players, Les Musiciens du Louvre, Smithsonian Chamber Orchestra, Washington Bach Consort, National Cathedral Baroque Orchestra, and the Bach Sinfonia, and with the chamber ensembles London Baroque, Purcell Quartet, REBEL, and Folger Consort. With her husband, cellist John Moran, she co-directs Modern Musick, in residency at Georgetown University. Ms. Browder is the orchestra director at H-B Woodlawn Secondary Program in Arlington and teaches baroque violin and viola at Peabody Conservatory in Baltimore, where she also co-directs their period instrument orchestra, the Baltimore Baroque Band. She and her husband have two sons, one an artist and one a cellist. She plays a violin made by Jacob Stainer in 1641.

Nina Falk—viola—attended the Juilliard Preparatory Division, where she studied with the late Christine Dethier. She holds Bachelors and Masters degrees from the Oberlin Conservatory and the University of Iowa. She received a Fulbright fellowship to study in London and Rome and received a diploma with honor from the Accademia Chigiana in Siena, Italy as part of that study. She has attended the Tanglewood, Aspen, and Marlboro Festivals (including recorded performances conducted by Pablo Casals). Ms. Falk performs, tours, and records with Boston’s Handel and Haydn Society, the Smithsonian Chamber Orchestra, Smithsonian Chamber Players, Brandywine Baroque, Violins of Lafayette, Carmel Bach Festival, New England Bach Festival, Washington Bach Consort, Bethlehem Bach Festival, Apollo’s Fire, Folger Consort, Four Nations Ensemble, and the Apollo Ensemble.

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Joseph Gascho—harpsichord—enjoys a multifaceted musical career as a solo and collaborative keyboardist, conductor, teacher, and recording producer. Recent performance highlights include the National Symphony at Carnegie Hall, Mark Morris Dance Group, and the Kennedy Center Opera Orchestra, and conducting Idomeneo for the Maryland Opera Studio. He has also conducted numerous operas, from Monteverdi to Mozart, for Opera Vivente. At the Oberlin Conservatory’s Baroque Performance Institute, Mr. Gascho conducts the student orchestra, coaches chamber music, and teaches basso continuo. A strong proponent of technology in the arts, he has used computer-assisted techniques in opera productions, including in a recent recording with the ensemble Harmonious Blacksmith and percussionist Glen Velez, and in his basso continuo classes.

In demand as a recording producer, he has recently produced sessions and recordings for Pomerium, Folger Consort, Trio Pardessus, 21st Century Consort, Ensemble Gaudior, Three Notch’d Road, pianist/composer Haskell Small, Cantate Chamber Singers, and Washington Master Chorale. In 2002, he won first prize in the Jurow International Harpsichord Competition, and his recent debut solo recording of his own transcriptions of Bach, Handel, and Charpentier was received with critical acclaim. Mr. Gascho joined the University of Michigan School of Music, Theatre, & Dance’s Department of Organ in September 2014 as Assistant Professor.

Jason McStoots—tenor—has performed around the world and the US. Recent appearances include Tabarco in Handel’s Almira and Apollo in Monteverdi’s Orfeo with the Boston Early Music Festival, Pedrillo in Abduction from the Seraglio by Mozart with the Connecticut Early Music Festival, soloist for Monteverdi’s Vespers of 1610 with the Green Mountain Project, soloist for Bach’s Christmas Oratorio with Emmanuel Music and with Cape Cod Symphony for Handel’s Messiah. He garnered critical acclaim in recent performances with the Cleveland-based ensemble Les Délices.

Drew Minter—countertenor—debuted nearly four decades ago and has been regarded as one of the world’s most renowned countertenors ever since. He appeared in leading roles with the opera companies of Brussels, Toulouse, Boston, Washington, Santa Fe, Wolf Trap, Glimmerglass, and Nice, among others. A recognized specialist in the works of Handel, he has performed at the Handel festivals of Göttingen, Halle, Karlsruhe, and Maryland and sung with many of the world’s leading baroque orchestras, including Les Arts Florissants, the Handel and Haydn Society, Philharmonia Baroque Orchestra, Freiburger Barockorchester, and as a guest at festivals such as Tanglewood, Ravinia, Regensburg, BAM’s Next Wave, Edinburgh, Spoleto, and Boston Early Music. Other orchestra credits include the Philadelphia Orchestra, San Francisco Orchestra, and St. Paul Chamber Orchestra. Mr. Minter was a founding member of the Newberry Consort and My Lord Chamberlain’s Consort, and he has sung and played early harps often with ARTEK, Folger Consort, and Trefoil, the medieval trio he cofounded in 2000. He teaches voice, choir, and opera workshop at Vassar College. For over two decades, he has directed opera and was founding artistic director of Boston Midsummer Opera from 2006 to 2011. His production of The Play of Daniel has become an annual event of the New York Christmas season as part of the Twelfth Night Festival at Trinity Church Wall Street.

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John Moran—cello—appears regularly as soloist and chamber musician on baroque and classical cello and viola da gamba on both sides of the Atlantic. He received his professional training at the Oberlin Conservatory and the Schola Cantorum in Basel, Switzerland. After a decade in Europe where he appeared regularly with groups such as The Consort of Musicke, English Baroque Soloists, Les Musiciens du Louvre, and Ex Cathedra, he returned to the US where he has played with the Violins of Lafayette, Capriole, Trio Riot, Smithsonian Chamber Players, New York Collegium, Boston Early Music Festival, and Washington Bach Consort, among others. He is Artistic Director of the Washington, DC-based period instrument orchestra Modern Musick and is on the faculty of the Peabody Conservatory in Baltimore. Recording credits include Dorian Recordings, Bridge Records, Virgin Classics, Deutsche Grammophon, ERATO, ATMA Classique, Hänssler Classic, Deutsche Harmonia Mundi, and Musica Oscura. Also a musicologist, he is a contributor to the revised New Grove Dictionary of Music (2001) and reviews books on musical topics for various journals. He is writing a historical monograph on the cello for Yale University Press. He is the president of the Kindler Cello Society of Washington.

Emily Noël—soprano—earned her Master of Music in voice from The Peabody Conservatory of Music and her Bachelor of Music from the University of Maryland, College Park. Ms. Noël has appeared as a soloist with Washington National Cathedral, Washington Bach Consort, 21st Century Consort, Orchestra of the 17th Century, Bach Sinfonia, Indiana University New Music Ensemble, and Santa Fe Desert Chorale, and she was featured as the soprano soloist in CPE Bach’s Magnificat at the 2014 American Bach Society Annual Meeting. In recent seasons she has sung a wide range of operatic roles, notably Gilda in Verdi’s Rigoletto with Ente Concerti Città di Iglesias (Sardinia, Italy); Nora in Vaughn Williams’ Riders to the Sea at the Amsterdam Grachtenfestival (Netherlands); and selections from Guglielmi’s Debora e Sisara with Modern Musick at the Italian Embassy as part of the 2013 Anno Della Cultura Italiana. Ms. Noël serves as an Assistant Professor of Music at the Community College of Rhode Island.

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Thank you to the sponsors of FOLGER CONSORT’s 2015/16 Season D. James Baker & Emily Lind Baker Andrea Kasarsky Karl K. & Carrol Benner Kindel Gail Orgelfinger & Charles C. Hanna Robert J. & Tina M. Tallaksen To learn more about sponsorship, please call 202.548.8777.

Additional Support for the Folger Consort comes from Early Music Endowment Fund Eunice & Mones E. Hawley Early Music Endowment Fund The Estate of Pamela L. Kopp

Corporate, Foundation, and Government Support to Folger Shakespeare Library The list below includes gifts of $1,000 or more received between March 1, 2015 and February 29, 2016.

Anonymous AARP William S. Abell Foundation, Inc. British Council The Morris & Gwendolyn Cafritz Foundation Capitol Hill Community Foundation Anthony & Anna L. Carozza Foundation Clark-Winchcole Foundation Council on Library and Information Resources Marshall B. Coyne Foundation* D.C. Commission on the Arts & Humanities, an agency supported in part by the National Endowment for the Arts The Gladys Krieble Delmas Foundation Dimick Foundation Geraldine R. Dodge Foundation The Max and Victoria Dreyfus Foundation, Inc. The Lee & Juliet Folger Fund The Samuel Freeman Charitable Trust The Ann and Gordon Getty Foundation

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Graham Holdings Heinz Family Foundation Holland & Knight LLP Humanities Council of Washington, D.C. Mark and Carol Hyman Fund KieranTimberlake Lannan Foundation MARPAT Foundation The Nancy Peery Marriott Foundation Mars Foundation The Mosaic Foundation (of R. & P. Heydon) National Capital Arts & Cultural Affairs Program & the U.S. Commission of Fine Arts National Endowment for the Arts National Endowment for the Humanities National Recreation Foundation Nepeni Foundation Overseas Hardwoods Company Pine Tree Foundation of New York The Nora Roberts Foundation Shakespeare in American Communities Share Fund The Shubert Foundation United Technologies Weissberg Foundation

Individual Donors to Folger Shakespeare Library The list below includes gifts and pledges of $250 or more received between March 1, 2015 and February 29, 2016.

$50,000 + J. May Liang & James Lintott The McKee family in loving memory of Lily St. John McKee Stuart & Mimi Rose

$25,000+ Anonymous Susan Sachs Goldman The Honorable Eugene A. Ludwig & Dr. Carol Ludwig Roger & Robin Millay Herman J. Obermayer Gail Kern Paster Mark Pigott KBE & Cindy Pigott

$15,000 -$24,999 Louis & Bonnie Cohen Neal & Florence Cohen Helen & David Kenney & Family The Honorable John D. Macomber

Ann K. Morales William & Louisa Newlin © Andrew Oliver & Melanie Du Bois Loren & Frances Rothschild Mr. & Mrs. B. Francis Saul, II Neal T. Turtell Scott & Liz Vance

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FOLGER CONSORT announces its 40th anniversary season of early music

Measure+ Dido

Selections from Shakespeare’s play in concert with Purcell’s Dido and Aeneas Featuring Derek Jacobi and Richard Clifford At The Kennedy Center

October 1, 2016

The Second Shepherds' Play A medieval mystery play for the yuletide season November 27-December 18, 2016

Dramatic Musicke l

Medieval l lluminations Music of 14th- and 15th-century England from the Old Hall Manuscript With Orlando Consort At Washington National Cathedral

January 6-7, 2017

Starry Messenger

Galileo’s Florence revealed through the works of the Italian masters March 31-April 2, 2017

The Play of Love

Music and chansons d'amour from the troubadours and trouvères April 28-30, 2017

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