Holiday Pops and The Boston Camerata I Jorgensen Center for the Performing Arts

FOR YOUR INFORMATION

JORGENSEN BOX OFFICE

(860) 486-4226 jorgensen.uconn.edu Hours Mon-Fri, 10-5 pm, and 90 minutes before curtain.

CRT BOX OFFICE (860) 486-2113 crt.uconn.edu Hours Wed-Fri, 2-5 pm, and 60 minutes before curtain.

COVID-19 POLICIES: Please check our website for the latest policies and procedures: jorgensen.uconn.edu crt.uconn.edu

LATE ARRIVALS

Latecomers will be seated at the discretion of the artists’ management.

CAMERAS AND RECORDING DEVICES

Strictly prohibited.

SMOKING

Not permitted within 25 feet of the building.

CHILDREN AND INFANTS

Tickets are required for everyone, no matter how young. Children must be 4 years old to attend CRT productions. Minimum 4 years old recommended for Jorgensen Center events.

REST ROOMS

Located in the upper and lower Jorgensen lobbies and the CRT lobby.

SPECIAL SERVICE

Accessible rest rooms located in the lower Jorgensen & CRT lobbies. Elevator service from the main Jorgensen lobby down to the lower lobby only.

ASSISTIVE LISTENING SYSTEM

Free from the front office for Jorgensen and Katter Theatre productions.

TOO LOUD?

Free hearing protection is available upon request from the front office.

LOST AND FOUND ARTICLES

Can be reported or picked up at each box office.

REFRESHMENT BARS

Enjoy refreshments at your seat. Bars located in the upper Jorgensen and main lobbies of each theater. Food and beverage restrictions may apply due to Covid-19.

GROUP TICKETS

CRT: Call the group sales office for more information (860) 486-2113

BAG POLICY

For the safety of all, bags and backpacks larger than 10” x 10” are prohibited in the theater. Small bags and purses are permitted. An exception will be made for medically necessary items and diaper bags after proper inspection. All bags are subject to search.

PARKING & TRAVEL

Parking is available across from Jorgensen in the North Garage. For a detailed parking map, visit park.uconn.edu

PLEASE NOTE:

The parking fee for Jorgensen events is now included as part of your ticket price. Patrons will no longer have to pay upon entry or exit in the North Garage. All gates have been removed and gateless parking begins one hour prior to showtime through the conclusion of each performance. Please note: this applies to North Garage only.

IMPORTANT UPDATE:

Hillside Road on the UConn Storrs campus will be closed to vehicular traffic between Glenbrook Road and Jim Calhoun Way for the fall semester. This is an effort to enhance safety and make the area friendlier to pedestrians and bicyclists in the center of campus. Motorists who park in North Garage should access the garage by taking Discovery Drive or Glenbrook Road to the garage entrance on north Hillside Road.

Healthy is worth a standing ovation.

We’re proud to support so many award-winning performers. And while it may not be a Tony or Grammy, we’re also proud of own our cast for earning the highest honors in Patient Safety at Manchester Memorial Hospital and 4-Star Quality Care for Medicare and Medicaid patients. From one group of dedicated performers to another, good luck and good health!

Manchester Memorial Hospital Rockville General Hospital John A. DeQuattro Cancer Center ECHN Medical Group

Saturday, December 3, 2022, 8:00 pm University of Connecticut School of Fine Arts Alain Frogley, Interim Dean Jorgensen Center for the Performing Arts Rodney Rock, Director presents

Artists Management Partners Worldwide LLC 150 E. 93rd St, Apt 10B New York, NY 10128 (845) 323-7938 amp-worldwide.com

PROGRAM

On Christmas Night Burton

Christmas Canticles O’Loughlin Ma’oz Tzur (Rock of Ages) arr. Binder/Jacobson Drey Dreydeleh Ellstein/Oysher-Jacobson/Hollenbeck Fantasia on Greensleeves (What Child Is This?) Vaughan Williams Dance of the Tumblers, from The Snow Maiden Rimsky-Korsakov Two Ukrainian Carols

Dobryy vechir tobi (Good Evening to You) arr. Elliott Carol of the Bells arr. Wilhousky/Courage Noche de Posadas (The Night of the Posadas) Rodríguez

Text and images by Tomie dePaola Additional text by Arturo Rodríguez Karina Beleno Carney, narrator — Intermission —

The Twelve Days of Christmas arr. Chase God Rest Ye, Merry Kings arr. Mathes This Is My Wish/Let There Be Peace On Earth Lisa Graham conducting Lauer/Lauer & Miller/Jackson-Ray Sleigh Ride Anderson/Parish-Goldberg/Burton

A Visit from St. Nicholas (’Twas the Night Before Christmas) Reisman

Text by Clement C. Moore | Artwork by Jan Brett A Merry Little Sing-Along arr. Reisman Steve Colby, Sound Designer Pam Smith, Lighting Designer

The Boston Pops Orchestra may be heard on Boston Pops Recordings, RCA Victor, Sony Classical, and Philips Records. Special thanks to Michael Nock.

THE BOSTON POPS ON TOUR

KEITH LOCKHART

Julian and Eunice Cohen Boston Pops Conductor endowed in perpetuity

JOHN WILLIAMS

George and Roberta Berry Boston Pops Conductor Laureate

First Violins

Charles Dimmick

Katherine Winterstein

Lisa Crockett

Sasha Callahan Sarita Uranovsky

Susan Faux

Gregory Vitale Cynthia Cummings Zoya Tsvetkova Judith Lee Mina Lavcheva Zenas Hsu

Second Violins

Clayton Hoener

Jennifer Elowitch Colin Davis Dorothy Han Stacey Alden Krista Buckland-Reisner Rose Drucker David Rubin Tudor Dornescu Yonah Zur Violas

Scott Woolweaver

Abigail Cross

Jean Haig Donna Jerome David Feltner

Kenneth Stalberg Barbara Wright Sharon Bielik

Cellos

Ronald Lowry Andrew Mark William Rounds

Jennifer Lucht Eugene Kim

Leo Eguchi Steven Laven Melanie Dyball

Basses

Susan Hagen John (Bebo) Shiu Elizabeth Foulser Robert Caplin Randall Zigler

Flutes Renée Krimsier Sarah Brady Piccolo Ann Bobo Oboes Andrew Price Amanda Hardy English Horn Andrew van der Paardt

Clarinet Ian Greitzer Ryan Yuré

Bass Clarinet David Martins Bassoons

Ronald Haroutunian Adrian Jojatu

Horns

Kevin Owen Sarah Sutherland Whitacre Hill Kate Gascoigne

Trumpets

Terry Everson Michael Dobrinski

Bruce Hall Phil Snedecor

Trombones Hans Bohn Alexei Doohovskoy

Bass Trombone Angel Subero Tuba Takatsugu Hagiwara

Timpani Richard Flanagan

Percussion

John Tanzer Patrick Hollenbeck Hans Morrison William Manley Ronald Tierno, drums Harp Ina Zdorovetchi

Piano Benjamin Cook Guitar Jonathan Finn Electric Bass Anthony D’Amico

Saturday, December 3, 2022, 8 pm Jorgensen Center for the Performing Arts BIOGRAPHIES

About the Boston Pops

For more than 135 years, the Boston Pops has entertained audiences in Boston and beyond, with Boston Pops Conductor Keith Lockhart leading the orchestra since 1995. In 1881, Civil War veteran Henry Lee Higginson founded the Boston Symphony Orchestra, calling its establishment “the dream of my life.” From the start he intended to present, in the warmer months, concerts of light classics and the popular music of the day. Seventeen Pops conductors, beginning with Adolf Neuendorff, preceded the legendary Arthur Fiedler (1930-1979). The first American-born musician to lead the orchestra, he established the Boston Pops as a national icon. When John Williams (1980-1993) succeeded Fiedler in 1980, he was the most highly acclaimed composer in Hollywood, and today, with 52 Academy Award nominations, he is the most-nominated living person in Academy history. With the Pops, Mr. Williams made a series of best-selling recordings, broadened and updated the Pops repertoire, and entertained audiences with live orchestral accompaniment to memorable movie scenes, many of which featured his own iconic scores. Having led over 2,000 Boston Pops concerts in his tenure to date, Keith Lockhart (1995-present) has created programs that reach out to a broader and younger audience by presenting artists—both established performers and rising stars—from virtually every corner of the entertainment world, all the while maintaining the Pops' core appeal. He has made more than 80 television shows, led 45 national and four overseas tours with the Boston Pops Esplanade Orchestra, led the Pops at several high-profile sports events, and recorded 14 albums. Mr. Lockhart's tenure has been marked by a dramatic increase in touring, the orchestra's first Grammy nominations, the first major network national broadcast of the July 4 Boston Pops Fireworks Spectacular from the Esplanade, and the release of the Boston Pops' first self-produced and self-distributed recordings.

Keith Lockhart

Keith Lockhart is the second longest-tenured conductor of the Boston Pops Orchestra since its founding in 1885. He took over as conductor in 1995, following John Williams’s thirteen-year tenure from 1980 to 1993. Keith Lockhart, who occupies the Julian and Eunice Cohen Boston Pops Conductor chair, has conducted more than 2,000 Boston Pops concerts and annual Boston Pops appearances at Tanglewood, as well as 45 national tours and four international tours to Japan and Korea. The annual Boston Pops Fireworks Spectacular conducted by Mr. Lockhart draws a live audience of over half a million to the Charles River Esplanade and millions more who view it on television or live webcast. He has led eight albums on RCA Victor/BMG Classics; recent releases on Boston Pops Recordings include A Boston Pops Christmas–Live from Symphony Hall, The Dream Lives On: A Portrait of the Kennedy Brothers, and Lights, Camera ... Music! Six Decades of John Williams. The list of nearly 300 guest artists with whom Keith Lockhart has collaborated represents performers from virtually every corner of the entertainment world. Following his eight-year tenure as principal conductor, he is now chief guest conductor of the BBC Concert Orchestra in London; he is also artistic director of the Brevard Music Center summer institute and festival in North Carolina. Prior to his BBC appointment, he spent eleven years as music director of the Utah Symphony. He has appeared as a guest conductor with virtually every major symphonic ensemble in North America and many in Asia and Europe. Before coming to Boston, he was the associate conductor of both the Cincinnati Symphony and Cincinnati Pops orchestras, as well as music director of the Cincinnati Chamber Orchestra.

The Metropolitan Chorale Lisa Graham, Music Director

Founded in 1979, The Metropolitan Chorale (metropolitanchorale.org) is an auditioned chorus that is recognized as one of metropolitan Boston’s premier choral ensembles. Since 2004 the ensemble has been under the direction of Dr. Lisa Graham, 2021 winner of the American Prize Dale Warland Award in Choral Conducting. Metropolitan Chorale concerts explore works by many of today’s leading American and British composers, as well as major choral masterworks. In addition to performances at All Saints Parish (Brookline, Massachusetts), the

Chorale has been heard throughout the Boston area. Its Artists in Residence program enables the chorus to work with young professional singers.

Under the leadership of Lisa Graham, The Metropolitan Chorale’s membership has grown to encompass 100 members who hail from communities throughout greater Boston. Dr. Graham has expanded the ensemble’s repertory and has enhanced the reputation and reach of the Chorale. Also the Evelyn Barry Director of Choral Programs at Wellesley College, she conducts the Wellesley College Choir, Chamber Singers, and Choral Scholars and teaches academic courses. Active in the Boston musical scene and as a clinician and festival adjudicator, Dr. Graham prepared a vocal ensemble for this season’s Holiday Pops Kids’ Matinee and Sensory-Friendly concerts at Symphony Hall.

Karina Beleno Carney

Karina Beleno Carney (she/ella) is delighted to join the Holiday Pops family this year! A Massachusetts-based actor, Karina has appeared this year in Central Square Theater's Young Nerds of Color, Apollinaire Theater's Don't Eat the Mangos, and Huntington Theatre’s Breaking Ground Festival of New Work in Rough Magic. A first-generation Colombian American and mother of three, Karina is thrilled to bring the Latine children’s book The Night of Las Posadas to life with the Boston Pops. As always, she is eminently grateful to Elena, Felicidad, Esben, and Sebastián for their support and encouragement.

Tuesday, December 6, 7:30 pm

University of Connecticut School of Fine Arts Alain Frogley, Interim Dean Jorgensen Center for the Performing Arts Rodney Rock, Director presents

The Lenard Chamber Music Series The Boston Camerata

A Medieval Christmas - Hodie Christus Natus Est

Anne Azéma, voice, hurdy gurdy, bells, direction Camila Parias, voice Deborah Rentz-Moore, voice Allison Monroe, vielle, voice Christa Patton, harp, winds

Readings are excerpted from King James Bible. This program can be heard on the Harmonia Mundi CD released last year, available on the Camerata website and most streaming platforms.

Media Sponsors

Seth Cooper Arts Inc. (514) 467-5052 sethcooper.arts@gmail.com

THE BOSTON CAMERATA BIOGRAPHY

The Boston Camerata occupies a unique place in the densely populated universe of European and American early music ensembles. Camerata’s distinguished rank stems partly from its longevity: founded in 1954, when the field of endeavor was in its infancy, as an adjunct to the Boston Museum of Fine Arts’ musical instruments collection, Camerata is now one of the longest-lived groups to be vigorously functioning up to the present day.

But length of service by itself is not sufficient to account for Camerata’s preeminence, nor are its numerous distinctions including the American Critics’ Circle Award, grants from the National Endowment for the Arts, residencies at the Massachusetts Institute of Technology and the University of Tennessee, and the Grand Prix du Disque. The Boston Camerata has achieved its eminence in large part because of its willingness to approach, with consistent success, many kinds of historical repertoires from many centuries, from the early Middle Ages to the nineteenth century, and from many places and cultures, stretching from the Middle East to early New England, with numerous intermediate stops in Renaissance and Baroque Europe and Latin America. Directed from 1969 to 2009 by Joel Cohen, and from 2009 to the present day by Anne Azéma, the Boston Camerata has continued to create, over more than a half-century of activity, a large number of concert and recorded productions. These typically combine scholarship, much of it original, with high performance standards maintained by a distinguished roster of outstanding vocal soloists and instrumentalists. Camerata’s productions regularly combine dramatic flair with a certain humane, overarching perspective on the role music has played in (wo)mankind’s search for meaning and fulfillment. Camerata’s signature approach, as embodied in its touring, pedagogy, and media projects, has won the ensemble many listeners and followers on five continents as the ensemble presents new projects all the while maintaining in active repertoire many of its historic achievements.

Camerata’s diary in recent seasons has reflected intense activity. Borrowed Light, a music and dance production in collaboration with the Tero Saarinen Company of Helsinki, Finland, toured extensively, with over eighty performances from 2004 to 2015 in the United States (Brooklyn Academy, Jacob’s Pillow Festival), Europe, (France, Germany, Italy, Belgium, Scandinavia, Netherlands) the United Kingdom, and Australasia (Australia and New Zealand). The film of this production has been seen over twenty times on European cable television in 2018, 2019, and 2020. The ensemble has appeared in concert at the Théatre de la Ville, Paris (2015), the Alcântara Festival in Brasil (2016), The Metropolitan Museum The Cloisters (2017), Rockefeller Chapel Chicago (2018), La Philharmonie de Paris (2018). Anne Azéma’s innovative staged productions include The Night’s Tale, narrating a medieval tournament in France, which was first presented in France and Luxembourg (2007), then performed in Boston to great acclaim (2016), with further touring

in 2017 and 2018 (Switzerland, Holland, France), and in the US in 2020. Azéma’s reimagining of the Play of Daniel (premièred in 2014) is by now an integral part of the Camerata’s public face to the world. Further tours of Daniel took place in North America (Canada and the US Midwest) in late 2014, continuing in 2017, 2018, 2020. Collaborations with local choirs (both children and adults) and with young professionals-in-training in both Europe and the United States continue to be a distinctive feature of the company (2016-2020 touring seasons).

Two new media projects were released in 2019: Treasures of Devotion: European Spiritual Song ca 1500 (Music & Arts - Naxos); and Free America! Early Songs of Revolt and Rebellion, which renews a collaboration of the ensemble with Harmonia Mundi. In late 2020, Camerata’s trailblazing, made-for-streaming production of Henry Purcell’s Dido and Aeneas earned international acclaim as it was viewed by music lovers on five continents. Camerata’s latest Harmonia Mundi project, A Medieval Christmas – Hodie Christus Natus Est, was issued in 2021.

Tuesday, December 6, 2022, 7:30 pm

Jorgensen Center for the Performing Arts

The

Lenard

Chamber Music Series The Boston Camerata

Anne Azéma, Artistic Director A Medieval Christmas - Hodie Christus Natus Est

BIOGRAPHIES

French-born vocalist, scholar and stage director Anne Azéma has been intensely engaged since her student days with the song repertoire of the Middle Ages. She is also widely admired for her creative skill in building and directing complete musical productions of varied styles and periods. We’ll Be There!: American Spirituals Black and White 1800-1900, premiered in 2021 and touring in 2022, is the seventeenth original program she has led since assuming the directorship of The Boston Camerata in 2008.

Anne Azéma has broadened the ensemble's vision to include widely praised music theater productions. Her 2007 music theater creation (The Night's Tale – Le Tournoi de Chauvency), based on a 14th-century French narrative, is in continued demand. In November 2014, she edited, directed and staged The Play of Daniel to critical and public acclaim; the production was successfully reprised in 2017, 2018 and 2020. In late 2020, in the midst of the pandemic, her trailblazing, made-for-streaming production of Henry Purcell’s Dido and Aeneas earned international attention as it was viewed by music lovers on five continents.

Recent Camerata recordings under her leadership include Treasures of Devotion (2018) for Music and Arts, Free America! (2019) for Harmonia Mundi, and the just-released A Medieval Christmas: Hodie Christus Natus Est, also on Harmonia Mundi.

Ms. Azéma's activity as a recitalist has led her to create several solo CD recordings, and to present her original programs of medieval solo song to audiences in North and South America, Europe, the Middle East and Asia. She is currently collaborating intensively with a Canadian software company on a bilingual, medieval-themed video game for the international market.

Among Anne Azéma's teaching activities are masterclasses, seminars, and residencies at conservatories and universities here and abroad (NYU, Harvard, MIT, Brandeis, Boston University, Schola Cantorum Basel Cini Foundation). Ms. Azéma was the Robert M. Trotter Distinguished Visiting Professor at the University of Oregon Eugene in 2012 and again in 2020. She has contributed articles to scholarly and general audience publications and is currently a faculty member at the Longy School of Music of Bard College. Ms. Azéma was a co-recipient of the Grand Prix du Disque, the Edison Prize and is an Officier des Arts et des Lettres of the French Republic.

Allison Monroe performs on vielle, rebec, medieval harp, violin, viola, and sings with such ensembles as The Boston Camerata, the Newberry Consort, Les Délices, Alkemie, Apollo’s Fire, Atlanta Baroque Orchestra, Seattle Baroque Orchestra, and the Washington Bach Consort. She directs the Collegium Musicum at Case Western Reserve University, from which she also holds a D.M.A. in Historical Performance Practice. Allison won Early Music America’s 2017 Barbara Thornton Memorial Scholarship. Her research interests include medieval song accompaniment, self-accompaniment, and early seventeenth-century violin bands. She is also a co-founder of Trobár, a small band of voices and instruments dedicated to bringing medieval music to modern audiences.

Colombia native Camila Parias, a regular collaborator with the Boston Camerata, is also a frequent soloist with La Donna

Musicale and a core member of the Choir of the Church of the Advent, Handel+Haydn Society, and The Broken Consort. In recent seasons she appeared with Rumbarroco, a group focusing on Latin American and Baroque music. Her international appearances include solo performances with Colombian chorus La Escala throughout Italy, France, and Spain, and touring Europe with the Camerata in Borrowed Light. She can be heard on Camerata’s most recent CDs, Free America! and A Medieval Christmas – Hodie Christus Natus Est. She holds a B.M. in Vocal Performance from the Pontificia Universidad Javeriana and a M.M. in Early Music Performance from Longy School of Music of Bard College.

Regular Camerata performer Christa Patton, historical harpist and early wind specialist, has performed throughout the Americas, Europe, and Japan with many of today’s premier early music ensembles including Piffaro the Renaissance Band, The King’s Noyse, Folger Consort, Newberry Consort, Apollo’s Fire, Parthenia and ARTEK. As a baroque harpist specializing in 17th century opera, Christa has performed with New York City Opera, Wolf Trap Opera, Tafelmusik. She is presently on the faculty of Rutgers University and the Graduate Center at CUNY. She is also musical director of the Baroque Opera Workshop at Queens College, specializing in the works of early 17th century composers.

Deborah Rentz-Moore has been performing with the Camerata for over twenty years. She also performs frequently with Emmanuel Music and Aston Magna. She has appeared at Lincoln Center, the Paris Philharmonie, Utrecht Early Music Festival, Prague Spring Festival, and Tanglewood. Her recordings on Musica Omnia and Harmonia Mundi span genres from early to 21st-century works. She is featured in video with The Boston Camerata, Voices of Music, Emmanuel Music and the University of New Hampshire, where she is a Resident Artist. Ms. Rentz-Moore solos on the Camerata’s acclaimed Free America! recording and the new release, Hodie Christus Natus Est.

Tuesday, December 6, 2022, 7:30 pm

Jorgensen Center for the Performing Arts

The Lenard Chamber

Music Series The Boston Camerata

Anne Azéma, Artistic Director

A Medieval Christmas - Hodie Christus Natus Est

PROGRAM HODIE!

Uterus hodie virginis floruit Aquitania, 12th c. Today the belly of the virgin has flourished, and the passion did not overwhelm her as she conceived and became a mother, she who refrained from knowing the man by remaining a virgin. O wonderful birth. This flower of which the writings of David speak, as a bridegroom coming out of the royal brain stem, anointed the world with heavenly balm. O wonderful birth.

SPONSUS

(from the "Sponsus" miracle play, Aquitania, 12th c.)

Adest Sponsus

He is here, the bridegroom is at hand! Prepare for his coming, ye virgins!

Oiet Virgines

Hear ye virgins, you that are present, what I tell you. He is coming, the Bridegroom. Jesus the Savior is his name, therefore sleep not! He was born in Bethlehem, crucified, and rose from the dead, therefore sleep not! I Gabriel, say it unto you; therefore, sleep not!

Nos virgines

Alas, what shall we become? We have neglected the oil in our lamps. Sorrow and mourning, we have slept too long.

Amen dico

Verily, I say, I know you not. Begone, unfortunate ones, to be delivered to eternal pain.

LUX!

Aquitania, 11th c. The word of the father is made man, while a maiden is greeted; the greeted one is fruitful without knowledge of man. Behold, new joys! A new manner of birth, but exceeding in power of nature, when the creator of all things is made creature. Behold, new joys!

Verbum Patris Humanatur, O!

Judea et Jerusalem Chant Judea and Jerusalem, do not fear; tomorrow, you shall stand forth, and the Lord will be with you.

Dominus veniet Chant

The Lord will come; run to meet him, saying, His kingdom is great, and his reign shall be without end. He is God, Wonderful, Counselor, the Prince of Peace. Alleluia, alleluia.

Lux refulget

Aquitania, 12th c. The Light is shining on this day, and the Church resounds with joy. Emmanuel! Emmanuel! The name shines bright in Israel.

PLEINE DE DUÇUR

Aquitania, 12th c. Instrumental

Clara sonent organa

Mainte Chançon ait fait France, 13th c.

I have made many songs, finely wrought, but I was never statisfied until God was as well. And to sing even better, I have to sing of the Queen, pure, who will lead us to the great eternal joy. Mary was pure and a virgin when the archangel approached her to announce that God would take nourishment from her breast. She lowered her eyes, then looked up and said: ‘Friend, how may I give birth when I know no man?’ Gabriel said to her: ‘Friend, do not worry, you will carry God, for nine months!’ And Mary said: ‘Friend, when you will depart from me, tell God that I am his servant, and have great joy of it.’

Veine pleine de duçur England, 13th c. Source full of sweetness, True hope of life, Beloved Mother of the Creator, Help the needy. Ave Maria. You bore Jesus Christ within Yourself, Virgin, utterly pure, Ave Maria.

Edi be thu hevene quene England, 13th c. Happy be thou, Heavenly Queen, man's comfort and angel's bliss. My sweet Lady, hear me. I cry 'merci', I am bound to thee.

THE STORY

Angelus ad virginem – Gabriel fram heven-king England, 13th c.

Instrumental

Dal ciel venne messo novello Italy, 14th c. From the heavens came a new messenger, it was the angel Gabriel... He began well, and saluted her: 'Ave Maria; you have been chosen among all women, and the fruit who came out of your womb will save the world'. The lady was disturbed and said: 'How could this be, I know no man, neither old nor young'. The angel said: 'Do not fear, you have found favor with God; he doesn't want any other mother, but you'. The lady said: 'I am his servant, since he is calling me.'

Maravillosos et piadosos

Instrumental

Based on a Cantiga attributed to King Alfonso X “el Sabio”, 1221-1284

Sancta Maria graciae -- Dou way, Robin England, 14th c. Upper voice: Holy Mother of Grace, to whom Gabriel appeared, be with us.

Lower voice: Dou way, Robin, the child will weep.

In seculum viellatoris France, 13th c. Instrumental

Magi videntes stellam Chant When the magi saw the star, they rejoiced with great joy!

Pois que dos reys nostre Senhor Attributed to King Alfonso X “el Sabio”

After our God descended from heaven To allow the kings to see Him, It was right that he would do them this grace. It was in Bethlehem When he was born of the Virgin Mary, And on the thirteenth day Three kings appeared, Who saw in the star, the coming of the King God. After our God descended...

It was from the islands of Saba and Tarsa Which are in the sea, and from Arabia, Where there are many lands to cross. But however far they might be, He made them arrive quickly to Bethlehem He, who has power on all things. After our God descended...

In the star, He showed them How he was King and God; That is why all of them brought Him presents from their treasures. The star guided them To the land of the Jews, Where Herod asked them: 'Why are you here?" After our God descended...

They answered so: "In the star we saw that a very powerful king was born here Lord of the Jews and of all". Herod said: "Listen to me I shall give you a charge: Go see him and come back here, So I can go and meet him as well". After our God descended...

They went on their way at once and saw the start going rapidly before them, and followed it. And when it reached Bethlehem, it shone directly over where Jesus was lying. After our God descended...

...in the arms of his sorrowing Mother. Then they gave him their gifts: gold, befitting kings; frankincense, which is spiritual; and myrhh, to prevent the body’s decay. After our God descended....

Heu, heu, heu France, 12th c. Alas, alas, alas, how I was rejoicing Before I saw these bodies deprived of life Until I was shaken By the sight of these entrails strewn about, Oh, how these children will make me cry without end. Oh pain! Oh joy! Reduced to the silence of mothers and fathers! Let forth torrents of tears! Add these to affliction! Cry for the flowers of Judea And the pain of your country.

English Dance England, 13th c. Instrumental

Nolite timere Normandy, 13th c. Be not afraid, for behold, I bring to you tidings of great joy, which shall be unto all people; for unto you is born this day in the city of David, the Savior of the world. And this shall be a sign unto you: Ye shall find the babe wrapped in swaddling clothes, and lying in a manger. Glory be to God in the highest, and on earth let there be peace to men of good will.

Quem vidistis Pastores? Chant

Whom did you see, shepherds, say, tell us, who has appeared? We saw the child new-born and choirs of angels praising the Lord, alleluia.

Salve, virgo singularis France, 13th century Hail, wondrous virgin. Let us now adore God incarnate.

BENEDICAT DOMINO

Por nos virgen madre Attributed to King Alfonso X "el Sabio" For us, virgin Mother, pray to your son and friend, Jesus Christ.

Hodie Christus natus est Chant Today, Christ is born; today, a Savior appears; today, angels and archangels rejoice, saying, "Glory be to God in the highest, Alleluia."

Campanis cum cymbalis/Honoremus Dominam England, 14th c. Triplum: With bells and cymbals, Let the whole choir of mankind, praise the Lord with lyres and psalteries, let us praise the Lord of heaven. Duplum: Let us honour the Lady, worthy of the court of heaven, chosen to be the royal mother of the King’s glory, Let there be always jubilation, for the Mother after the son, and devoted prayer for those in weakness.

Gregis pastor Aquitania, 12th c. Tityrus, shepherd of the flock, herds asses too; he is a shepherd and an ass himself. Ah, ah, Tityrus has invited us to a rich feast. Croziers and officials and satyrs attend the feast given in honor of Tityrus. Ah, ah... Praises indeed to Tityrus with melodies on instruments and the resounding drum. Ah, ah... Now all of us give thanks to shepherd Tityrus and bless the Lord! Ah, ah...

PROGRAM NOTES

The deepest Christmas message, of good tidings and of peace on earth, is joyful. But regretfully, in modern times, the social pressures around the season, made ever more intense by the strictures of the consumer society and our pandemic times, can lead to a sense of forced and inauthentic celebration. Was the Christmas holiday in earlier times more organic, and less stressful? None of us were there to bear witness; but the magnificent seasonal music of the Middle Ages would at least suggest that something profound and eternal accompanied that time of year.

The season was never, however, entirely pacific and serene. In Christ's advent there is a measure of fear and anxiety. This waiting period is given musical and gestural form in the liturgical drama “Sponsus.” The medieval persona of the Bridegroom, supreme Judge who will arrive at the moment known only to Him, selecting those chosen to receive salvation and rejecting those who are not ready to follow, is indeed intended to make the believer tremble (“Amen dico”). As the angel Gabriel warns (“Oiet virgines”) we need to remain vigilant, and we must not fall asleep. Both performers and audience understand what is at stake: the salvation of the human soul, or its damnation.

The season's joy flows from the hope of redemption and eternal peace (“Dominus veniet”), of desire for light (“Lux refulget”). Above all, it was nourished by the presence of Mary, the loving mother, the advocate next to God for suffering humanity, and even an object of amorous desire. Others may discuss and re-discuss the theological question of her virginity. We as musicians, however, are obliged to honor the unique and hopeful place she holds in twelfth and thirteenth century art, poetry, and song, as we construct this program of medieval music for Christmas.

The works we present to you today are drawn from different sources, varied both in style and geographical origin. The plethora of available material means that this particular program represents only one possibility, among a myriad of others. In any case, Christmas is a moment when different tastes and manners come together, and, when tongues loosen, so that different languages can be heard, macaronically, in the same piece – Latin and medieval Provençal, for example. The art of storytelling becomes important, staged in a real space as in the “Sponsus” play, or in the mind's eye and ear, in “Dal ciel vene messo novello”, or in “Por que dos reyes”.

At the root of all this varied creation is the liturgical song of the Church, even though this body of song in Latin could and did vary from region to region. Liturgical chant provided the backbone and the musical grammar of medieval musical creation. Progressively, medieval music will take on other stylistic aspects, thus giving birth to other forms and other kinds of discourse.

The Aquitanian polyphonic works from the South of France (“Verbum Patris Humanatur”) are prime examples of these new developments. These works, on the surface quite simple, are in fact full of energy and very innovative. In "Lux refulget," a virtuosic and energetic composition, the upper part dialogues with the lower line, which in turn, becomes dynamic and active. The exuberant polyphony of the processional “Gregis Pastor” evokes a spontaneous improvisation, one that some scribe had thought good enough to be written down. With such happy song we are far from the severe and terrifying vision of Christ the Judge.

Other polyphonic songs you will hear are soft and tender, via the sweetening presence of thirds, much appreciated in the British Isles: “Veine pleine de duçur,” for instance, is an English piece despite its French text. Some pieces appear to invoke a different ethos, of which we know very little, that of medieval popular and folk music. When taken at a rapid clip, as we do, “Edi be thu, heven queene,” a melodic tenor line with simple accompanying second part, appears to evoke a dance on the village square more than a monastic meditation.

From the Iberian peninsula, and the court of King Alfonso X, “The Wise One,” comes a large collection of sacred songs, all in honor of the Virgin. The cantiga “Por Nos Virgen Madre,” whose melody is derived from a Galician/Portuguese love song, describes the deep bonds of love among the Virgin, her Son, and his Father. Through the repetitions and subtle modifications of the short phrases, we experience a moving moment of prayer.

These works come down to us with the singing lines and texts notated. Concerning the possible participation of instruments in this repertoire, we know, simultaneously, quite a bit – and almost nothing. From medieval literary and visual sources we know that, outside of the church liturgy, some singing was preluded, accompanied, sustained, and commented on by instrumental playing. A handful of purely instrumental pieces have

been preserved, but apart from their structure, almost everything needs to be imagined concerning their interpretation.

Together, singer and instrumentalist of today imagine what might have been. We are, of course, products of our own time and place. But by embracing the eternal freshness and energy of these repertoires, so distant from us in time, we discover the constancy, across the centuries, of human emotion, and we re-experience, as new, a profound joy. Nova gaudia! Merry Christmas!

Anne Azéma (translation: Joel Cohen, 2021)

About this program

The roots of this production go back to 1974-75, when the Boston Camerata and its director (now Director Emeritus) Joel Cohen performed in concert and then recorded, for the Nonesuch label, a new production entitled A Medieval Christmas. That vinyl LP quickly became a best seller, confirming Camerata's status as a leading ensemble in the early music world. In the years following, the program remained in Camerata's repertoire, touring extensively in North America and Europe, including one particular appearance at a festival in the Languedoc. There, Camerata's present director, Anne Azéma, still a student and aspiring professional, first succumbed as an audience member to the charm of the repertoire, and in particular of the Aquitanian polyphonic pieces! Later, as a Camerata singer, she performed this program many times, as, over the course of the years, it has been re-imagined, augmented, and re-evaluated.

We propose to you now a new version of A Medieval Christmas, quite different in many ways from the 1970s production, but, with its pluridisciplinarity and diversity of sources, still close to the original in its underlying spirit. Three female voices and two instrumentalists, each with many years of experience performing medieval music, place themselves at the service of these works. This five-person core group has recently recorded the program and presented it in concert on the East and West coasts of the United States, and in Canada.

Tuesday, December 6, 2022, 7:30 pm

Jorgensen

Center for the Performing Arts

The Lenard Chamber Music Series The Boston

Camerata

Anne Azéma, Artistic Director A Medieval Christmas - Hodie Christus Natus Est

TEXTS AND TRANSLATIONS

Uterus hodie virginis floruit

Nec matrem dum gignit libido torruit

Que virgo permanens virum aborruit

O partus mirabilis

De radice lesse virga progreditur

Et de virgule flos Christus exoritus Cuius in Libano cedrus extollitur

O partus mirabilis

Hic flos davitico signatus calamo

Et sponsus regio procedens talamo

Celesti seculum perunxit balsamo

O partus mirabilis

Hic flos est in Syon rosa nec aruit

Et in lerusalem lilium conduit Utrisque genera cruce composuit

Today the womb of the virgin has flourished, she conceived and became a mother without lust, she who refrained from knowing man by remaining a virgin.

O wonderful birth.

From the root of Jesse a shoot has sprouted and from that small shoot is born a flower, Christ, which prospers like a cedar in Lebanon.

O wonderful birth.

This flower, spoken of in the writings of David, is as a bridegroom coming out of the royal brainstem, anointing the world with heavenly balm.

O wonderful birth.

This lily-white flower is the flower of Zion, a rose that does not fade, which illuminates Jerusalem, and brings both natures on the Cross.

O wonderful birth.

(Translation: Anne Azéma)

Adest Sponsus qui est Christus vigilate, virgines! pro adventu cuius gaudent et gaudebunt homines.

Venit enim liberare gentium origins, quas per primam sibi matrem subjugarunt demones.

Hic est Adam qui secundus per prophetam dicitur, Per quem scelus primi Ade a nobis diluitur.

Hie pependit ut celesti patrie nos redderet ac de parte inimici liberos nos traheret.

Venit sponsus, qui nostrorum scelerum piacula morte lavit atque crucis sustulit patibula.

The bridegroom is here. He is Christ. - Stay awake, you maidens! Mankind rejoices, and shall rejoice, at his coming.

He comes to free the sources of nations, which the devils had enslaved by our first mother.

He is the one whom the prophet calls the second Adam, by whom the first Adam’s crime is cleansed from us.

He hung on the cross to return us to our heavenly home, and to lead us away free from the faction of the adversary.

The bridegroom is coming who by death washed away the penalty of our sins and endured the cross. (Translation by permission, Lawrence Rosenwald)

Oiet Virgines, aiso que vos dirum: aiseet presen que vos comandarum –atendet un espos, Iesu salvaire a nom: Gaire noi dormet! Aisel espos que vos attendet!

Listen, maidens, to what we shall tell you: and do at once what I shall command you!

Wait for the bridegroom, Jesus the Saviour is his name. Don’t fall asleep!

The bridegroom whom you await is here!

Aisel espos que vos hor atendet venit en terra per los vostres pechet, de la virgine en Betleem fo net, e flum Iorda lavet e bateet. Gaire noi dormet! Aisel espos que vos hor attendet!

Eu fu batut, gablet e laideniet, sus e la crot batut e claufiget, eu monumen desoentre pauset. [Gaire noi dormet! Aisel espos que vos hor attendet!]

He came on earth for your sins, was born of the Virgin in Bethlehem, was washed and baptized in the Jordan River. Don’t fall asleep!

The bridegroom whom you await is here!

He was beaten, mocked, abused, Lifted up on the cross and crucified; he was placed in the tomb.

Don’t fall asleep!

The bridegroom whom you await is here!

E resors es! la scriptura o dii. Gabriels soi, eu [m’a] trames aici; atendet lo, que ia venra praici! Gaire noi dormet! Aisel espos que vos hor attendet!

And he rose – the scripture tells it! I am Gabriel: he sent me here. Wait for him: he shall come soon. Don’t fall asleep!

The bridegroom whom you await is here!

(Translation, by permission, Lawrence Rosenwald)

Nos virgines que ad vos venimus negligenter oleum fudimus: ad vos orare, sorores, cupimus ut ad illas quibus nos credimus – dolentas, chaitivas, trop i aven dormit!

Nos comites huius itineris et sorores eiusdem generis; quamvis male contigit miseris potestis nos reddere superis! dolentas, chaitivas, trop i aven dormit!

We maidens who are approaching you have spilt our oil carelessly: sisters, we want to appeal to you as the ones in whom we trust - we, wretched in our grief, have slept too long!

We are your companions on this journey and sisters of the same blood; though things have turned out badly for us, pitiful, you can restore us to the place on high! we, wretched in our grief, have slept too long!

Partimini lumen lampadibus, pie sitis insipientibus, pulse ne nos simus a foribus cum vos sponsus vocet in sedibus. dolentas, chaitivas, trop i aven dormit!

[...] Amen dico vos ignosco Nam caretis lumine. Quo qui pergunt procul pergunt hujus aule limine. Alet chaitivas! Alet malaureas! A tot jorns mais vos so penas livreas en en enfer ora seret menais. Dolentas, chaitivas! Trop i avetz dormit. [...] Verbum Patris Humanatur, O, O! dum puella salutatur, O, O! salutata fecundatur viri nescia. Ey, ey, eya, nova gaudia!

Novus modus geniture, O, O! sed excedens vim nature, O, O! dum unitur creature creans omnia. Ey, ey, eya, nova gaudia!

Share with us the light from your lamps, take pity on us – we have been foolish - lest we be driven from the gates when the bridegroom calls you to your places. we, wretched in our grief, have slept too long! [...]

(Translation: Peter Dronke)

Amen I say, I know you not, for you have no light: those who lose it must go far from the threshold of this court. Away with you, wretches, away with you, luckless ones: for ever more suffering shall be your lot! Into hell you shall now be led! Wretches in your grief, You have slept too long [...] (Translation: Peter Dronke, Anne Azéma)

The word of the father is made man, while a maiden is greeted; the greeted one is fruitful without knowledge of man. Behold, new joys!

A new manner of birth, but exceeding in power of nature, when the creator of all things is made creature. Behold, new joys!

Audi partem preter morem, O, O! virgo parit salvatorem, O, O! creatura creatorem, patrem filia. Ey, ey, eya, nova gaudia!

In parente salvatoris, O, O! non est parens nostri moris, O, O! virgo parit, nec pudoris marcent lilia. Ey, ey, eya, nova gaudia!

Homo Deus nobis datur, O, O! datus nobis demonstratur, O, O! dum pax terris nuntiatur, celis gloria. Ey, ey, eya, nova gaudia!

Judea et Jerusalem nolite timere: cras egrediemini, et Dominus erit vobiscum, alleluia

Gloria Patri et Filio, et Spiritui Sancto. Sicut erat in principio, et nunc, et semper, Et in saecula saeculorum. Amen.

Dominus veniet, occurite illi, dicentes: Magnum principium, et regni ejus non erit finis: Deus, fortis, dominator, principes pacis, alleluia, alleluia

Hear of a birth beyond precedent: a virgin hath given birth to the savior, the creature bears the Creator, the daughter, the Father. Behold, new joys!

In the savior’s birth there is no parent of our kind: a maiden gives birth, nor do the lilies of her chastity wither. Behold, new joys!

The God-Man is given us, the given one is shown to us, while peace is announced to the nations and glory to the heavens. Behold, new joys!

Judea and Jerusalem be not afraid. Set out tomorrow and the Lord shall be with you, alleluia. Glory to the Father and to the Son, and to the Holy Ghost As it was in the beginning, is now and ever shall be, World without end. Amen.

The Lord will come, go to meet him, saying: His kingdom is great and will never end; He is God the Mighty One, the ruler, the prince of Peace, Alleluia, alleluia

Lux refulget de supernis edita

Adest dies a prophetis edita Gaudeat ecclesia

Resonantes inclita preconia Resonando clara natalicia Emmanuel! Emmanuel!

Cuius nomen claruit in Israel.

The light shines forth from above; Here is the day that the prophets foretold. Let the Church rejoice, Singing forth humble entreaties, Resounding out the brilliant birth. Emmanuel, Emmanuel! Whose name rings forth loudly in Israel.

Mainte chançon ai fait de grant ordure

Més, se Dieu plaist, jamés n'en avrai cure.

En moi a petit eu Bien et sens et mesure Or me tieng a deceu Quant si lonc tens me dure.

Bien ai mon cuer esmeu, Car por chanter l'ai meu De la roïne pure Par qui somes esleu En grant joie et receu Et fors de grant ardure:

C'est la douce mere Dieu, Qui de dolor nos cure, Rendu nos a le bon lieu Ou joie toz jors dure.

Mout fu Marie et preciouse et bele Certes, mout fu fine et nete pucele. L'angre li fu envoiés Qui li dist la novele Que Dex seroit alaitiés Dou lait de sa mamele.

I have composed many songs beautifully made, but if it please God, I shall never again care about them. In me there has been little good or sense or control. Now I think I was deceived that it lasted so long.

My heart is certainly stirred, for I have begun to sing about the pure queen by whom we are chosen and received in great joy and kept from burning.

She is the sweet mother of God who cures our sorrow, who brought us to the good place where joy lasts forever.

Mary was very precious and beautiful, certainly a pure and spotless maiden. The angel was sent to her to give her the news that God would be fed on the milk from her breast

Ne fu mie desvoiés L'angre, mes bien avoiés, Qui li dist: "Damoisele, Ave Marie, or m'oiez: Dex c'est a vos avoiés, Car mere vos apele."

Marie a ses euz baissiés, Quant entent la novele, Et puis les a rehauciés, Saint Gabrïel apele:

"Amis, di moi coment enfanteroie Ne coment fruit en mes flans porteroie, Quant nul home ne conois Ne nul n'en prenderoie. Mout sembleroit grant ennuis Se sanz home engendroie."

"Douce Marie, entent moi: Tu porteras Dieu .IX. mois, Ne pas ne t'en esfroie”. “Amis, quant vos en iroiz, A Dieu de par moi dirois Que je sui toute soie; De moi face li douz rois Ses voloirs, je l'otroie. S'ancele sui, car c'est drois, Et si en ai grant joie."

Veine pleine de duçur, Veir espeir de vie Chere mere al creatur De tuz biens garnie. Duz confort En doel eplur, Al besoigne aye, Veir sucur al peccheur,

The angel was not wrong, but very right, who said to her: "Young lady, hail, Mary, listen to me: God has come to you, for he calls you mother."

Mary lowered her eyes when she heard the news and then raised them and asked St. Gabriel:

"Friend, tell me how I shall give birth or bear fruit in my body, when I have known no man and shall never take one. It would be very distressing that I could be pregnant without a man."

"Sweet Mary, listen to me: You will bear God for nine months, do not be afraid." "Friend, when you leave, tell God for me that I am completely his; let the sweet king do his will with me, I grant it. I am his handmaid, for that is right, and I have great joy from that.

Source full of sweetness, True hope of life, Beloved Mother of the Creator, Filled with all good. Gentle consolation In pain and anguish, Help for those in need, True salvation for the sinner,

Ki laist sa folie. Ave Maria.

Wus portastes Jhesu Crist, Virgne entere pure. Cil ki ciel e terre fist E toute creature Char e sanc dedenz vus prist Sanz point de blesure, K’il pur nous en la croiz mist Amort aspre e dure. Ave Maria.

Priez pur nus ton enfant, Virgne sule mere, Ki nus soit verray guarant Vers l’enfernal lere. Sucurables e aydant A la mort amere E nus doinst la joie grant Du ciel par ta proiere, Ave Maria.

Who repents of his foolishness. Hail Mary.

You bore Jesus Christ Virgin, most pure, The One Who made heaven and earth and all creatures, [became] Flesh and blood in Your body Without any injury, He Who was put on the cross for us and died brutally and painfully. Hail Mary. Pray Your child for us, Only Virgin Mother, That He may be for us a true protector Against the robber from hell. That He may help and save us At the bitter death, And grant us the full joy Of heavenly bliss, through Your prayer, Hail Mary.

(Translation: Anne Azéma)

Edi be thu hevne queen

Folkes froure and engles blis, Moder unwemmed and maiden clene, Swich in world non other nis. On thee hit is wel eth sene, Of all wimmen thu havest thet pris; Mi swete levedi, her mi bene And reu of me yif thi wille is.

Blessed be thou, queen of heaven, people’s comfort and angels’ bliss, maid unblemished, mother pure, such as no other is in the world. In thee it is very evident that of all women thou hast the highest place. My sweet lady, hear my prayer And show pity on me if it is thy will.

Spronge blostme of one rote, The Holi Gost thee reste upon; Thet wes for monkunnes bote

And heore soule to alesen for on. Levedi milde, softe and swote, Ic crie thee merci, ic am thi mon, Bothe to honde and to fote, On alle wise that ic kon.

Thu ert eorthe to gode sede; On thee lighte the heovene deugh, Of thee sprong theo edi blede the Holi Gost hire on thee seugh. Thu bring us ut of kare of drede that Eve bitterliche us breugh. Thu sschalt us into heovene lede; Welle swete is the ilke deugh.

Moder, ful of thewes hende, Maide dreigh and wel itaucht, Ic em in thine love bende, And to thee is al mi draucht. Thu me sschildghe from the feonde, Ase thu ert freo, and wilt and maucht; Help me to mi lives ende, and make me with thin sone isaught.

Blossom sprung from a single root, the Holy Ghost rested upon thee; that was for mankind’s salvation, and to free their souls in exchange for one.

Gentle lady, soft and sweet, I beg forgiveness, I am thy man, both hand and foot, in every way that I can be.

Thou art soil for good seed, on thee the heavenly dew alighted; from thee sprang that blessed fruit - the Holy Ghost sowed it in thee. Bring us out of the misery and fear that Eve bitterly brewed for us; thou shalt lead us into heaven - very sweet to us is that same dew.

Mother full of gracious virtues, maiden patient and wellinstructed, I am in the bonds of thy love and all my attraction is towards thee. Shield thou me, yes from the fiend, as thou art generous and art willing and able, and help me to my life’s end and reconcile [me] with thy son.

(Translation: E.J. Dobson)

Dal ciel venne messo novello ciò fo l'angel Gabriello, nella cità di Galilea (là 'v'era la gente iudea; favellavano in lengua ebrea in cità et in castello)

From heaven came a new messenger which was the angel Gabriel, to a city of Galilee — where lived Jewish folk speaking in the Hebrew tongue in town and castle—,

ch'è chiamata Naçarèth(e), là u' la vergene nacque et stette. Sponsata era a Iosephe secondo la legge, coll'anello.

Dal ciel venne messo novello ciò fo l'angel Gabriello.

L'angelo fo messo da Dio, ben començò et ben finio: saviamente, sença rio, annuntiò lo suo libello:

“Ave Maria, gratia plena, Dio ti salvi, stella serena! Dio è con teco che ti mena enn-el paradiso bello.

Dal ciel venne messo novello ciò fo l'angel Gabriello.

Del tuo ventre uscirà tal fructo ke salvirà lo mundo tutto unde ’l diavolo avirà corocto sì parrà grande ’l flagello”

“Come fie quel che tu ài decto? Nol credo a torto né a dritto, e ben ne posso far disdetto: non cognosco hom, vecchio né fancello.”

Dal ciel venne messo novello ciò fo l'angel Gabriello.

which was called Nazareth, where the Virgin was born and lived; she was promised to Joseph according to the law, with a ring.

From heaven came a new messenger which was the angel Gabriel.

The angel was a messenger from God, he started and finished his message well, wisely, flowingly, he made his announcement:

“Hail Mary, full of grace! God save you, star serene!

God is with you, leading into the beautiful Paradise.

From heaven came a new messenger which was the angel Gabriel.

“From your womb will come such fruit which will save the whole world; the Devil will have reason to weep, yes, he shall be whipped smartly.”

“How could this be, Rightly or wrongly, I can rightfully doubt it, as I do not know any man, young or old.”

From heaven came a new messenger which was the angel Gabriel.

L'angelo disse “Non temere, tu se' a Dio sì a piacere, altra madre non vole avere se non voi, con k'io favello.

Filiol di l'Altissimo fie chiamato, Iesù Cristo in oni lato: per lui fi' 'l mondo salvato et tracto de le man del fello.

Dal ciel venne messo novello ciò fo l'angel Gabriello.

Respose la kiara stella: “Io son qui ke so' su' ancella, sia secundo la sua favella: cusì mi chiamo et apello!”

Dal ciel venne messo novello ciò fo l'angel Gabriello.

Sancta Maria graciae –Dou way, Robin Duplum: Sancta mater gratiae, stella claritatis visita nos hodie plena pietatis.

Veni, vena veniae mox incarceratis, solamen angustiae, fons suavitatis.

Recordare, mater Christi, quam amare tu flevisti; juxta crucem tu stetisti, suspirando viso tristi

The angel said: “Do not be afraid, you have pleased God, he does not want any other mother, if not you, with whom I speak. Little Son of the Most High, he will be called Jesus Christ, through him the world will be saved and freed from the hand of the wicked.”

From heaven came a new messenger which was the angel Gabriel. Then the bright star, answered: “Here am I, Your handmaiden, let it be according to your word, Since he called upon me.”

From heaven came a new messenger which was the angel Gabriel.

Sancta Maria graciae –Dou way, Robin Duplum: Holy mother of grace, star of brightness, visit us today, full of compassion.

Come soon, channel of pardon, to those in prison, as a solace of misery, a source of sweetness.

Remember, mother of Christ, how bitterly thou didst weep; thou didst stand beside the cross sighing at the sad sight.

O, Maria, flos regalis, inter omnes nulla talis; Tuo nato specialis nostrae carnis parce malis

O, quam corde supplici locuta fuisti, Gabrielis nunci i cum verba cepisti. 'En ancilla Domini', propere dixisti; vernum vivi gaudii post hoc perperisti.

Gaude, digna, tam benigna caeli solio; tuos natos, morbo stratos, redde filio.

Tenor: Dou way, Robyn, the child wile weepe; dou way Robyn.

Magi videntes stellam, dixerunt ad invicem: Hoc signum magni regis est: eamus et inquiramus eum, et offeramus ei munera, aurum thus et myrrham. [Alleluia]

Pois que dos reys nostre Senhor quis de seu linage decer, con razon lles fez est' amoren que lles foi apareçer.

O Mary, royal flower, among all women nonesuch, in thy son unequalled, forgive the sins of our flesh.

O, with how humble a heart thou didst speak when thou didst receive the words of Gabriel the messenger.

‘Behold the handmaid of the Lord’ thou didst quickly say; thereafter thou didst bear the springtime of living joy.

Rejoice, worthy lady, so gracious, in the throne of heaven; restore thy children, brought low by vice, to the Son.

Tenor: Stop it, Robin, the child will weep; stop it Robin. (Translation: E. J. Dobson)

The magi, seeing the star, said, each in turn: “This is the sign of a great king! Let us go and look for him and offer him gifts, gold, frankincense and myrrh.” [Alleluia]

Since our Lord chose to descend from the line of kings, it is only right that He should show his love for them by appearing to them.

Esto foi quand' en Beleen de Santa Maria naçeu e a treze dias des en aos tres Reys apareçeu, que cada u per seu sen ena estrela connoçeu com' era Deus Rey; e poren de longe o foron veer,

Pois que dos Reys Nostro Sennor quis de seu linage decer, con razon lles fez est' amor en que lles foi apareçer.

Ben das insoas de Sabá e de Tarsso, que son no mar, e d'Arabia, u gran gent' á e muitas terras de passar. Mas pero eran lonj' alá mui toste os fezo chegar a Beleen aquel que á sobre todas cousas poder.

Pois que dos Reys Nostro Sennor quis de seu linage decer, con razon lles fez est' amor en que lles foi apareçer.

Ena estrela lles mostrou com' era om' e Rey e Deus; poren cada u lle levou... oferta dos tesouros seus. E a estrela os guyou ate ena terra dos judeus, u Erodes lles demandou: Que vestes aqui fazer?

This occurred when He was born in Bethlehem to Holy Mary, and thirteen days later, He appeared to the Three Kings, and each one in his wisdom recognized by the star that He was God the King. Therefore, they came from afar to see Him,

Since our Lord chose to descend from the line of kings, it is only right that He should show his love for them by appearing to them.

From as far as the islands Sheba and Tarshish, which are in the sea, and from Arabia, where there are many people and vast lands to cross. However, although they were there far away, He who has power over all things quickly brought them to Bethlehem.

Since our Lord chose to descend from the line of kings, it is only right that He should show his love for them by appearing to them.

By the star He showed them how He was man and King and God. Therefore, each one took Him an offering of his treasures. And the Star guided them to the land of the Jews where Herod asked them: “On what business did you come?”

Pois que dos Reys Nostro

Sennor quis de seu linage decer, con razon lles fez est' amor en que lles foi apareçer.

Eles responderon-ll' assi: Na estrela vimos que Rey mui nobre naçera aqui, Sennor dos judeus e da lei.» Diss' Erodes: Creed' a mi, ca bon conssello vos darei: id', e pois tornardes des i, ar y-lo-ei eu connoçer.

Pois que dos Reys Nostro

Sennor quis de seu linage decer, con razon lles fez est' amor en que lles foi apareçer.

Eles foron-sse logu' enton e viron a estrela yr ante ssi de mui gran randon, e começárona seguyr; mas quand' en Beleen foi, non se quis de sobr' ela partir, ata que entraron u Don Jesu-Cristo viron seer

Pois que dos Reys Nostro

Sennor quis de seu linage decer, con razon lles fez est' amor en que lles foi apareçer. Nos braços da que muit' afan sofreu con el e muito mal.

Since our Lord chose to descend from the line of kings, it is only right that He should show his love for them by appearing to them.

They answered him thus: “By the star we saw that a very noble king had been born here, lord of the Jews and the law. Said Herod: “Believe me, for I shall give you good counsel. Go, and when you return, I shall go also to meet him.”

Since our Lord chose to descend from the line of kings, it is only right that He should show his love for them by appearing to them.

They went on their way at once and saw the star going rapidly before them and began to follow it. However, when it reached Bethlehem, it shone directly over it and would not move until they entered where they saw Jesus Christ lying

Since our Lord chose to descend from the line of kings, it is only right that He should show his love for them by appearing to them. in the arms of Her who suffered much sorrow and grief with Him.

E eles logo manaman deron-lle sa oferta tal: ouro de que aos reis dan, encensso por espirital, mirra de que os mortos van ungir por nunca podreçer.

Pois que dos Reys Nostro Sennor quis de seu linage decer, con razon lles fez est' amor en que lles foi apareçer.

Without delay, they gave Him their offerings: gold which befits kings; incense because it is spiritual; myrrh, with which they anoint the dead so that they will never decay.

Since our Lord chose to descend from the line of kings, it is only right that He should show his love for them by appearing to them.

(Translation: Kathleen Kulp-Hill)

Heu, heu, heu! Quomodo gaudebo dum mortua membra videbo; Dum sic commota fuero per viscera tota? Me facient vere pueri sine fine dolore. O dolor! O patrum mutaque gaudia matrum! Ad lugubres luctus lacrymarum fundite fluctus Jedee florem, patrie lacrymando dolorem.

Alas, alas, alas! How shall I rejoice, when I see the dead limbs; when I have been so distressed through all my heart? Verily, the Children will make me grieve without end. O grief! O altered joys of fathers and mothers, mournful lamentations. Pour out floods of tears in weeping for our sorrow for the flower of the land of Judea.

Nolite timere ecce enim evangelizo vobis gaudium magnum quod erit omni populo quia natus est vobis hodie salvator qui est Christus Dominus in civitate David et hoc vobis signum invenietis infantem pannis involutum et positum in praesepio gloria in excelsis Deo et in

(And the angel said unto them,) Fear not, for behold, I bring you good tidings of great joy, which shall be to all people. For unto you is born this day in the city of David a Saviour, which is Christ the Lord. And this shall be a sign unto you; You shall find the babe wrapped in swaddling clothes and lying in a manger. Glory to God in the highest, and on earth peace, good will

terra pax in hominibus bonae voluntatis.

Quem videstis, Pastores dicite, annuntiate nobis in terris quis apparuit? Natum vidimus et choros angelorum collaudantes Dominum. Alleluia.

Salve, virgo singularis Vírgo manens Deum paris, Ante saecla generatum Corde Patris: Adoremus nunc creatum Carne Matris.

Nos, Maria, tua prece A pecati purga foece; Nostri cursum incolatus Sic dispone Ut det sua frui natus Visiione.

Por nos virgen madre rog’ a Deus teu Padre Et Fill’e amigo. Rog a Deus, teu Padre Et Fill’e amigo.

A deus que nos preste Rogalle Pois este Teu Fill’e amigo. Rogalle Pois este Teu Fill’e amigo.

Roga, que nos valla, Pois el é sen falla Teu Fill’e amigo.

toward men. (Translation: King James Bible)

Whom did you see, shepherds, say, tell us who has appeared? We saw the new-born child and choirs of angels praising the Lord, alleluia. (Translation: Anne Azéma)

Hail, Virgin most marvellous Who, remaining Virgin, bearest God begotten before the ages In the heart of the Father: Let us adore Him Who took flesh From the Mother.

O Mary, by your prayers Set us free from our Sins; And so dispose the course of our life that we may be made worthy To enjoy His birth, The Vision.

For us, Virgin Mother, pray to God your Father and Son and friend, pray to God your Father and Son and friend.

Pray to God that he help us, pray to Him, since He is your Son and friend, pray to Him since He is your Son and friend.

Pray that he protect us because He is without fault your Son and friend,

Pois el é sen falla Teu Fill’e amigo.

Por nos virgen madre rog’ a Deus teu Padre Et Fill’e amigo. Rog a Deus, teu Padre Et Fill’e amigo.

Hodie Christus natus est hodie Salvator apparuit: hodie in terra canunt Angeli, laetantur Archangeli: hodie exsultant justi, dicentes: Gloria in excelsis Deo, alleluia.

Triplum: Campanis cum cymbalis

omnis chorus hominum liris et psalteriis laudent celi dominum organis ac singulis modis dando iubilum cum iocosis notulis laudetur per seculum.

Duplum: Honoremus dominam dignam celi curie electam regiam matrem Regis glorie semper iubilacio sit matri post filium devota oracio pro statu fragilium.

Tenors (untexted)

since he is without fault, your Son and friend.

For us, Virgin Mother, pray to God your Father and Son and friend, pray to God your Father and Son and friend. (Translation: John Sidwick)

Today Christ is born; today the Savior has appeared; today the Angels sing, the Archangels rejoice; today the righteous rejoice, saying: Glory to God in the highest. Alleluia!

Triplum: With bells and cymbals, Let the whole choir of mankind praise the Lord with lyres and psalteries, let us praise the Lord of heaven Let Him be praised joyfully each to their own ways of singing notes, praising forever.

Duplum: Let us honour the Lady, worthy of the court of heaven, chosen to be the royal mother of the King’s glory, Let there be always jubilation for the Mother after the son, and devoted prayer for those in weakness.

Tenors (untexted) (Translation: Anne Azéma)

Gregis pastor Tityrus

Asinorum Dominus Pastor est et Asinus. Eya, eya, eya, Vocat nos ad varia Titirus Cibaria [...]

Ad onorem Titiri Festa colunt baculi Satrape et satiri. Eya...

Laudes demus Titiro Cum melodis organo Resonante timpano. Eya...

Veneremus Titirum Qui nos propter baculum Invitat ad epulum. Eya...

Digna laudes congrua Deduc nos ad Pascua Titire melliflua Eya...

De pastore Titiro Gratulans hec concio Benedicat domino ! Eya...

All translations ©

Tityrus, shepherd of the flock, herds asses too; he is a shepherd and an ass himself. Yo, ho, ho! Tityrus has invited us to a rich feast. Croziers and officials and satyrs attend the feast given in honour of Tityrus. Yo, ho, ho...

Praises indeed to Tityrus with melodies on instruments and the resounding drum. Yo, ho, ho...

We honour Tityrus who on account of his crook invites us to the banquet. Yo, ho, ho...

With worthy and appropriate praise O Tityrus lead us to the sweet pastures. Yo, ho, ho...

Now all of us give thanks to the shepherd Tityrus and bless the Lord! Yo, ho, ho...

(Translation: John Sidwick and Anne Azéma)

Jorgensen Outreach for Youth

Funded through private contributions as well as corporate support, JOY! provides school-age children, many from economically disadvantaged backgrounds, with access to live performances and special enrichment programs. Now in its 15th season, the JOY! Conservatory program offers instrumental and vocal students in grades 9-12 the opportunity for a rigorous course of study including private lessons, ensemble rehearsals and coaching, and basic musicianship courses. For more information, contact Jorgensen director Rodney Rock at 860-486-1983.

Corporate / Foundation Sponsors

SBM Charitable Foundation

Diamond / $1000+

Carol Colombo Nancy & John Silander

Ruby / $300+

Becky & Scott Lehmann

The University of Connecticut League, Inc.

Sapphire / $100+

Shingo Goto

Carol & David Jordan James Knox

Pearl / up to $99

Irwin Krieger & John Mayer

Pamela Paine

Peter Polomski

Bonnie Ryan

Marti & Tom Smith

Dale Swett

Joanne Todd

Lenard Chamber Music Endowment Fund

The Lenard Chamber Series is made possible through the generosity of longtime patrons Jean and John Lenard and the Lenard Chamber Music Endowment.

Thanks to the generous philanthropy of patrons Jean and John Lenard, chamber music, one of the hallmarks and most dearly loved elements of the programming at Jorgensen, is secure well into the future. Also thanks to the Lenard Endowment, UConn students, non-UConn students, and area youth are invited to attend all chamber music events for free.

Please join this giving community and make your contribution today. To make a gift, contact Jorgensen Director Rodney Rock at rodney.rock@uconn.edu or 860-486-1983,

Jean & John Lenard

Elena Sevilla & Paul Aho

Greg & Mona Anderson

Deborah Walsh Bellingham

Ruth Buczynski

Carol Colombo Anne D’Alleva

Kenneth Doeg

Judy & Peter Halvorson Patricia Hempel

George & Janet Jones

Carol & David Jordan

Lin & Waldo Klein

James Knox

June & Henry Krisch

Becky & Scott Lehmann Shoshana Levinson & Chris Crossgrove

Julia J. & Carl W. Lindquist, MD

Joan & Austin McGuigan

Jane & Robert Moskowitz

Lauren & Eric Prause

Donald Shankweiler & Ruth Garrett Millikan John & Nancy Silander Beverly Sims & William Okeson Marilyn & Arthur Wright

C oSt rs★

Jorgensen Center for the Performing Arts

2022 - 2023 Co-Chairs: Lin Klein & Jane Moskowitz $500 per person, $1,000 per couple

Elena Sevilla & Paul Aho Mona & Greg Anderson Marianne Barton Deborah Walsh Bellingham

In Memory of Dr. Bruce A. Bellingham Honey & Harry Birkenruth Ruth Buczynski Carol Colombo

In Memory of Paul Colombo Anne D’Alleva

Madison & Bob Day Susan & John DeWolf Stan & Sandy Hale Judy & Peter Halvorson

Patricia Hempel

Shareen Hertel & Donald Swinton

Jan Huber

Tina & Bryan Huey Blair T. Johnson & Blanche Serban

Lynn & Harry Johnson Janet & George Jones Lin & Waldo Klein

James Knox Ann Kouatly Becky & Scott Lehmann

Jean & John Lenard Gene Likens & Leola Spilbor Margarethe & Matthew Mashikian Antonia Moran

Jane & Robert Moskowitz Constance & Rodney Rock Nancy & John Silander Beverly Sims & William Okeson Anne & Winthrop Smith Maurice Thompson Karen Zimmer Susan Zito

Join the CoStars, Jorgensen’s Active Volunteers!

The CoStars is a special group of volunteers who generously donate not only $500 per person, but also their talent and time. The invaluable CoStars support Jorgensen through community advocacy by creative fund-raising activities, and by hosting pre- and post-concert receptions that often feature world-class luminaries. The CoStars have been instrumental in the purchase of the new portable chamber stage and acoustical shell, a new Steinway Model D Concert Grand Piano, funding the JOY! Conservatory Program, the installation of the exterior Jorgensen message center, the renovation of the Jorgensen Gallery, and continued support of Jorgensen programming. By becoming a CoStar, you’ll join with other vibrant, thoughtful and devoted arts lovers who have made Jorgensen’s success a priority.

CoStars receive an honorary membership in the Jorgensen Circle of Friends at the Producers Circle level. Benefits include early ticket ordering privileges for one full year from the date of enrollment; reserved lower-level parking in the North Garage, providing a speedier exit after each Jorgensen event; and recognition in the Jorgensen playbill.

As a Special Thank You... An Invitation to the CoStars

CoStar members receive an exclusive invitation to attend the Annual Sneak Peek hosted by Jorgensen Director Rodney Rock. This party offers attendees an exciting preview of the coming season – prior to the public announcement. Join the CoStars and be the first to know what’s new!

If you are interested in becoming a CoStar, please contact Rodney Rock at 860-486-1983, or by e-mail at rodney.rock@uconn.edu.

Circle of Friends 2022-2023 Jorgensen

Become a Friend of Jorgensen!

We invite you to join Jorgensen’s Circle of Friends, a group of generous arts supporters who over the years have made vital contributions to Jorgensen’s special projects, commissioned works, and interior restorations. Your membership in the Circle of Friends entitles you to early ticket ordering privileges for one full year from the date of your enrollment; you will be recognized in the Jorgensen Playbill; and if you contribute at the Directors or Producers Circle levels, you will enjoy reserved parking in the North Campus Parking Garage for each Jorgensen performance you attend.

Please consider making your tax-deductible donation and become a Circle of Friends member today. Simply call 860-486-4226 for more information.

Jorgensen Center for the Performing Arts gratefully acknowledges the support of its Friends.

Producers Circle

$500/person $1,000 & above/couple Elena Sevilla & Paul Aho* Mona & Greg Anderson* Marianne Barton* Deborah Walsh Bellingham* In Memory of Dr. Bruce A. jjjjjjjjjjjjjjj jBellingham* Honey & Harry Birkenruth* Ruth Buczynski* Carol Colombo* In Memory of Paul Colombo* Anne D’Alleva* Madison & Bob Day* Susan & John DeWolf* Ms. Joan N. jjjjjjjjjjjjjjj jGionfriddo

In Memory of Elaine D. Neiswanger, Robert Neiswanger, jj& Thomas Neiswanger Stan & Sandy Hale* Judy & Peter Halvorson* Patricia Hempel* Shareen Hertel & jjDonald Swinton* Jan Huber* Tina & Bryan Huey* Blair T. Johnson & jjBlanche Serban* Lynn & Harry Johnson* Janet & George Jones* Lin & Waldo Klein* James Knox* Ann Kouatly* Becky & Scott Lehmann* Jean & John Lenard* Gene Likens & Leola Spilbor* Margarethe & Matthew Mashikian*

Antonia Moran* Jane & Robert Moskowitz* Craig & Karen Nass Barbara Rhein & Stan Shaw Constance & Rodney Rock* Nancy & John Silander* Beverly Sims & William Okeson* Anne & Winthrop Smith* Maurice Thompson* Karen Zimmer* Susan Zito* *Members of the Jorgensen CoStars

Directors Circle $250/person, $500/couple Kenneth A. Doeg Mona & Todd Friedland In honor of Jane Moskowitz Mr. David Johnson David & Carol Jordan

Tom Martin & Susan Spiggle

Carl Nawrocki Cheryl A. & Mark J. Roy Bonnie Ryan Ms. Nancy Swiacki Keith Wilson & Marjorie Hayes

Artists Circle

$125/person, $250/couple Patricia Anderson M. Kevin & Jeanne Fahey Betty & Kenneth Hanson Rob & Mary Hoskin Ms. Cathy Jameson & jjMs. Renee Fournier Mr. & Mrs. Gerald Leibowitz Len Oberg Mrs. Kristin Santini Susan Stoppelman Harriet Walker

Patrons Circle

$50/person, $100/couple Anonymous Cynthia & Roger Adams Dorothy Blocker Susan & John Boland Irene & Richard Brown Ms. Joyce Donohoo Richard & Karin James Col. & Dr. Leonard & jjJudith Kaplan Dr. & Mrs. Uwe & jjHelen Koehn Yves & Carol Kraus Donna Matulis Pamela Paine Jacqueline Seide Adeline Theis Susanna Thomas George Thompson Dr. & Mrs. Joel Zuckerbraun

Critics Circle

$25/person, $50/couple

Anonymous Ms. Kathleen Donahue Mrs. Audrey Gough Dr. & Mrs. Ed Susan Grace John H. Mayer & Irwin M. Krieger Linda Pelletier Mr. & Mrs. Ettore & Laura Raccagni Sari & James Rosokoff John & Marilyn Shirley Dr. Jay S. Shivers Mrs. Pamela Sutkaitis

Director’s Fund Mona & Greg Anderson Diane & Joseph Briody Carol Colombo David & Marilyn Foster NICABM

Jennifer Person Mr. Allen Schmied & Ms. Tina Polttila-Schmied Nancy & John Silander Ms. Joanne Sousa In Memory of John P. Sousa

Endowed Sponsorship Program

rodney.rock@uconn.edu for further information.

Hello,

Dine With Us

Coyote Flaco

50 Higgins Highway, Mansfield • 860.423.4414

Coyote Flaco is a family owned & operated restaurant. We invite you to try some of our favorite dishes such as our churrasco or one of our home-made tamales. Please try our many “Fresh-Lime Juice” margaritas, our full menu can be found at www.coyoteflacoct.comcoyoteflacomansfield.com

Dog Lane Cafe

One Dog Lane, Storrs • 860.429.4900

Northeastern Connecticut’s European/American cafe, offering something for everyone from early morning to late at night. Our menu and our daily specials emphasize seasonal, local and freshly-pre pared food, all made to order. Offering a wide variety of sandwiches, grilled items and freshly tossed salads or help yourself to coffee at our self-service coffee bar. Offering indoor and outdoor seating. Whether you are in a hurry or want to take some time and relax with friends, our style of service lets you set your own pace. Serving beer & wine. doglanecafe.com

Fresh Fork

Rte 195, Storrs Center • 860.477.0200

“The Fresh Fork Café is a fast casual restaurant owned by a University of Connecticut Alum. Their menu includes many Vegan and Gluten Free items alongside traditional café fare. All fruit smoothies, coffee, tea, beer, wine, and craft cocktails accompany the eclectic and inclusive menu. Breakfast served all day and a late night menu available on weekends. Catering available www.freshforkcafe.com

Hilltop

39 Adamec Rd., Willington• 860.477.1054

Come and visit Hilltop Restaurant, Bar & Banquet to experience a delicious meal, live entertainment, full bar with flat screen TVs, and more, stop in today. If you’re looking for a place to hold a party or event, call and talk to us about our banquet rooms, Make sure that you call ahead to find out what our Chef’s Specials are. They change daily. hilltopct.net

Hops 44

625 Middle Tpke., Storrs • 860.477.1174

Local Gastropub less than 1 mile from campus featuring local craft beer, cocktails and a full bar. Smoked BBQ, Burgers, Award Winning Wings, Salad and Lighter American Fare. Open Wed-Thurs 3-9, Fri 3-10, Sat 1-10, Sun 1-7. Enter as a stranger and leave as a friend, there is something for everyone. Indoor and Outdoor seating, dogs are welcome on the patio.

WWW.Hops44.com 10 % off the day of performance with ticket

Willimantic Brewing Co. Main Street Café

967 Main Street, Willimantic • 860.423.6777

The Willimantic Brewing Co./Main Street Café is a living landmark restaurant & pub brewery located in Willimantic, in the heart of rural northeastern Connecticut. We offer an extensive menu from fun appetizers, daily specials, gluten free, vegetarian and so much more. Fresh craft beers brewed on site, ciders, cocktails, and guest beers we have some thing to please everyone. Visit us at www.willibrew.com for more information.

Willington Pizza

Rte 32, Willington Center • 860.429.7433

Italian Cuisine served in a 200-year-old home with lovely antique decor. Seating for 200. National award-winning pizza featured on CBS This Morning and ABC Good Morning America. Desserts. Open Mon-Thurs 11am–11pm; Fri & Sat 11am–12am; Sun 11am–10pm. Casual attire. Entrées $6–$13. No reservations. (MC, V, D, AE) Best Pizza, Tolland County by Connecticut Magazine.

Box Office: 860.486.2113 802 Bolton Road, Unit 1127 Storrs, CT 06269-1127 crt.uconn.edu

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SCHOOL OF FINE ARTS

Alain Frogley

CRT ADMINISTRATION

Megan Monaghan Rivas

Interim Dean

Artistic Director & Head, Department of Dramatic Arts

Michelle S. Polgar Managing Director

Vince Tycer Associate Artistic Director

Panagiota Capaldi Box Office Manager Alana Conti Company/House Manager

CRT PRODUCTION

Robert Copley Production Manager

Tom Kosis Production Stage Manager

Michael Beschta Technical Director

John Parmelee Associate Technical Director

Daniela Weiser

Scenic Charge Artist

Susan Tolis Costume Shop Supervisor

Michael Demers Production Master Electrician

Paul Spirito Puppet Arts Technical Supervisor

Jake Neighbors Sound Supervisor

Gino Costabile Interim Properties Manager