Demons in the Bath: Aci, Galatea e Polifemo

DEMONS IN THE BATH: ACI, GALATEA E POLIFEMO 23 JANUARY 2022

Hello! We are the Orchestra of the Age of Enlightenment (OAE) We play on historic instruments using techniques from the time the composer was writing. This means that every time we perform, you will see a stage of intriguing instruments and hear our passion for making the old feel new.

Welcome to the second concert of our 2021-22 season, The Wilderness Pleases; exploring the Enlightenment fascination with nature and its awe-striking beauty. The title of the series, The Wilderness Pleases is inspired by a book from the Enlightenment era; Shaftesbury’s controversial 'The Moralists.'

In the book, the main character, Theocles, describes the terror of encountering a group of crocodiles in an Egyptian desert. After escaping the monsters, he is overcome with a desire to admire them as wondrous creatures of the natural world.

‘let us fly to the vast deserts of these parts […] ghastly and hideous as they appear they want not their peculiar beauties.

The Wilderness pleases.’

-Anthony Ashley Cooper, the third Earl of Shaftesbury, 1709

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DEMONS IN THE BATH: ACI, GALATEA E POLIFEMO HANDEL CONCERTO GROSSO OP.6 NO.10: OVERTURE HANDEL ACI, GALATEA E POLIFEMO HWV 72 Director Steven Devine Soprano/Aci Zoë Brookshaw Mezzo-Soprano/Galatea Bethany Horak-Hallett Bass/Polifemo Trevor Bowes

Violin I Huw Daniel Daniel Edgar Alice Evans Violin II Rodolfo Richter Andrew Roberts Henry Tong Viola Martin Kelly Marina Ascherson Cello Jonathan Manson Ruth Alford Double bass Cecelia Bruggemeyer Recorder Rachel Beckett Oboe Katharina Spreckelsen

Trumpet David Blackadder Philip Bainbridge Theorbo William Carter Harpsichord Steven Devine

programme notes ACI, GALATEA E POLIFEMO George Frideric Handel (1685-1759) German-born George Frideric Handel (1685-1759) wrote Aci, Galatea e Polifemo in his early twenties during highly formative years spent in Italy. The work from the same era as his famous Dixit Dominus is a dramatic cantata for orchestra and three voices.

The poet and patron Duchess Aurora Sanseverino commissioned the piece for a noble’s wedding celebration in Naples; her private secretary Nicola Giuvo penned a spicy Italian libretto.

The mythical story comes from the Metamorphoses by Ovid, ancient Rome’s celebrated poet. It charts the love between Aci, a shepherd and a mortal, and the nymph Galatea. As they lie beside the sea, the amorous lovers are spotted by the cyclops Polifemo who, in a jealous rage, tears a boulder from the mountainside and hurls it at Aci. The young man tries to flee, but is crushed to death beneath the huge rock. Galatea then turns his blood into sparkling water as it trickles out.

All three vocal roles are demanding, but the range required of the bass who sings the menacing part of Polifemo is truly remarkable, covering two and a half octaves. Handel wrote the male part of Aci for a soprano voice and the female Galatea for a lower mezzo or alto, thereby making for gender neutral casting. Maybe this was because the male singer available at the time was a castrato, while Galatea was sung by a woman. Or possibly Handel cast a female soprano in the male role of Aci and a mezzo-soprano castrato as Galatea.

Full of gorgeous melodies, the music ranges from idyllic beauty to dark, sensual arias as the fates of the three characters unfold. Aci has two especially ravishing arias. The first is 'Qui l'augel da pianta in pianta' with the soprano voice 'competing' with birdsong from oboe and violin solos.

The second is 'Verso già l'alma col sangue', his dying lament.

With Aci, Galatea e Polifemo, Handel was clearly going beyond the constraints of a usual wedding entertainment. Its successful composition began to establish him as an exceptional dramatist, able to create character through music, to give life to poetry and to shape vocal melody.

Ten years later, when the composer lived in London, he returned to the myth to compose Acis and Galatea, an English version with no borrowings from the earlier piece. But Handel, who would go on to write dozens of operas and more than a hundred cantatas over his career, would lift many of the memorable melodies from this early Italian piece and place them pretty much unaltered in other later works.

Victor Smart

PARTE I OUVERTURE

PART 1 OUVERTURE

(1. Duetto) ACI Sorge il dì...

(1. Duet) ACIS The sun is rising...

GALATEA ...spunta l’aurora

GALATEA ...daylight breaks

ACI e tranquillo...

ACIS even more tranquilly...

GALATEA ...e più sereno

GALATEA ...and more serenely

ACI, GALATEA par che brilli ancor il ciel.

ACIS, GALATEA the sky seems to glow.

ACI Scherza l’aura in braccio a Flora

ACIS The breeze plays in Flora’s arms

GALATEA ride il fiore al prato in seno

GALATEA flowers laugh in the meadow’s bosom

ACI, GALATEA e sol pena il cor fedel.

ACIS, GALATEA and only the faithful heart pines.

(Recitativo) ACI Vanti, o cara, il ruscello di fremer gorgogliando, rotto fra sterpi e sassi, finché poi mormorando con gl’argentei suoi passi arrivi a ribaciar del mar l’arene, che sol da te, mio bene, quando lontan son io, misero al par di quello, provo nel fido sen duolo più rio.

(Recitative) ACIS Let the stream boast, dear one, how it trembles, gurgling, breaking between branches and stones, until, murmuring with its silvery steps, it arrives to kiss anew the ocean’s sand, because only I, my darling, when far away from you, as miserable as that stream, feel a greater pain in this faithful breast.

GALATEA Se di perle un tesoro vedi, bell’ idol mio, sparso di Flora ad arriechire il manto, tu rugiada le credi, ed è mio pianto.

GALATEA If you see a treasure of pearls, my dearest, scattered to enrich Flora’s mantle, you take them for dew, but they are my tears.

(2. Aria) Sforzano a piangere con più dolor l’astri ch’arrisero al tuo martir.

E in petto frangere mi sento il cor perché più misero dovrai languir.

(2. Aria) The stars that smiled upon your suffering strain to weep with greater sorrow. And in my breast I feel my heart breaking for you will have to languish even more.

(Recitativo) ACI E qual nuova sventura con violenza ria ti sforza a lagrimar?

(Recitative) ACIS And what new misfortune with cruel violence forces you to weep?

GALATEA Anima mia, di Polifemo irato mi costringe a penar l’empio furore; armato di rigore serba meco sdegnato d’atro velen l’immonde labbra infette; meditando vendette vibra da’ lumi suoi lampi di foco, tuona la voce orrenda, e tende in ogni loco, con empietà tremenda, insidie a fulminar la mia costanza.

GALATEA Dearest one, irate Polyphemus compels me to suffer his wicked fury, armed with hardheartedness he reserves for me his foul lips, infected with dark poison; contemplating revenge, bolts of fire shoot from his eyes; his horrific voice thunders; and everywhere he sets out — with tremendous malice — machinations to strike my constancy.

ACI Ahi, questo è duol ch’ogn’ altro duolo avanza.

ACIS Ah, this is suffering that surpasses all others.

(3.Aria) Che non puo la gelosia quando un core arde d’amore e per gioco amar non sà.

Lo puo dir l’anima mia che un momento di contento non sà quando aver potrà.

(3. Aria) What can’t jealousy do when a heart burns with love and knows not how to love lightly?

My soul can attest that, it knows not when it will have a moment’s contentment.

(4.Accompagnato) GALATEA Ma qual orrido suono mi ferisce l’udito?

(4. Accompanied Recitative) GALATEA But what horrendous sound is wounding my ears?

ACI Spaventevol muggito mi circonda di orrore, anzi parmi che in torno faccia tremar de’ monti tutte le spaziose atre caverne.

ACIS A terrifying bellowing surrounds me with its horror, it even seems that all around it is causing all the spacious, dark caverns in the hills to quake.

(Recitativo) GALATEA Ahi, che dall’ ombre eterne quasi uscisse alla luce, sarà l’empio gigante.

Già il mostruoso amante,

(Recitative) GALATEA Ah, as though he emerged from eternal darkness into the light, it is the wicked giant.

Now the monstrous lover,

punto da gelosia, dell’ antro oscuro fa che il cardine strida, e mentre acceso sgrida, il mio cor, malsicuro all’ incontro crudel di sue pupille, par che senta latrar voraci Scille.

pricked by jealousy, makes the hinges of his dark cave squeak, and as he screams, inflamed, my faltering heart, upon meeting his cruel gaze, seems almost to hear the helldogs bark.

ACI Già viene.

ACIS Here he comes.

GALATEA Oh Dio! t’invola al suo barbaro sdegno, e ti consola.

GALATEA Oh Lord! take cover from his barbarous rage, and find relief.

(5. Aria) POLIFEMO Sibilar l’angui d’Aletto e latrar voraci Scille parmi udir d’intorno a me.

Rio velen mi serpe in petto perche a’ rai di due pupille arde il cor senza mercè.

(5. Aria) POLYPHEMUS The hissing of Alecto’s snakes, the voracious barking of Scylla, I seem to hear all around me. Evil venom slithers through my breast because at the sight of her two eyes my heart burns without mercy.

(Recitativo) GALATEA Deh lascia, o Polifemo, di languir sospirando, miserabil trofeo del cieco dio.

(Recitative) GALATEA Oh, Polyphemus, give up this sighing languishing, you wretched trophy of the blind god.

POLIFEMO Se schernito son io, mentre di sdegno fremo, della viperea sferza, prive render sapr le furie ultrici e a rendere infelici l’ore di vita al mio crudel rivale, luttuosa e ferale la scuoter d’intorno, e forse in questo giorno chiamer a vendicarmi arpie, sfingi, chimere e gerioni e spargerà sdegnato il cielo ancor fulmini, lampi e tuoni.

POLYPHEMUS If I’ve been mocked, I will deprive the avenging furies of their viperous whip as I tremble with rage; and I will render wretched the living hours of my cruel rival, I will crack the mournful and funereal whip everywhere, and perhaps on this day, to avenge me, I will call upon harpies, sphinxes, chimeras and geryons and offended heaven will once more scatter lightning, flashes and thunder.

(6. Aria) GALATEA Benché tuoni e l’etra avvampi pur di folgori e di lampi non paventa il sacro alloro.

Come quello anch’ io pur sono che non cedo e m’abbandono a timore di rio martoro.

(6. Aria) GALATEA Though the ether may thunder and flare with thunderbolts and flashes, the sacred myrtle is unafraid. Like the myrtle, I too do not yield or abandon myself to fear of some evil torture.

(Recitativo) POLIFEMO Cadrai depressa e vinta al mio temuto piede; anzi quella mercede che mi nieghi, superba,

(Recitative) POLYPHEMUS You will fall defeated and conquered at my dreaded feet; and that very mercy which you haughtily deny me,

crudel, con pena acerba, piangendo e sospirando, pentita chiederai.

you will seek, cruel one, weeping and gasping with harsh pain, and repentant.

GALATEA Ma dimmi il quando?

GALATEA But tell me the “when.”

POLIFEMO Quando già disperata, lacerando le chiome, col rival non godrai.

POLYPHEMUS When beyond hope, tearing your hair, you will no longer take pleasure in my rival.

GALATEA Ma dimmi il come?

GALATEA But tell me the “how.”

(7. Aria) POLIFEMO Non sempre, no, crudele, mi parlerai così.

Tiranna, un cor fedele si prende a scherzo, a gioco; pentita a poco a poco spero vederti un dì.

(7. Aria) POLYPHEMUS Not forever, no, cruel one, will you speak to me like this.

Tyrant, my faithful heart you take for play, for sport; I hope to see you someday come to repent.

(Recitativo) GALATEA Folle, quanto mi rido di tua vana speranza.

(Recitative) GALATEA Fool, how I laugh at your vain hopes.

POLIFEMO Con orrida sembianza dunque vuoi che ruotando irato il ciglio, renda maggior la tema del tuo grave periglio?

Inerme e tu non sei?

E non son io che posso usar la forza, e non tratar preghiere?

O chi mai dalle fiere furie del cor geloso difenderti potrà?

POLYPHEMUS Do you then wish that, raising my irate brow, with horrid expression, I increase your fear of impending doom? Are you not defenseless?

Am I not one who can use force, and not heed pleas?

And who can ever defend you from the fierce rages of my jealous heart?

ACI Io che non posso, io che stimo assai poco per l’amato mio bene tutto il sangue versar dalle mie vene.

ACIS I, who cannot save her — I who care very little if I pour all the blood from my veins for my dear one.

(8. Aria) Dell’ aquila l’artigli se non paventa un angue, de’ miseri suoi figli pu il nido insanguinar.

Ma se ritorna poi prova gli sdegni suoi, e della prole il sangue attende a vendicar.

(8. Aria) If of an eagle’s clutches a snake is not afraid, then the nest of its unfortunate chicks can get bloodied.

But if the snake returns it will suffer the eagles’ fury: she awaits revenge for the blood of her offspring.

(Recitativo) POLIFEMO Meglio spiega i tuoi sensi.

(Recitative) POLYPHEMUS Explain your meaning better.

ACI Invan, invan pretendi vincer la sua costanza che generosa e franca fa languida mancar la tua speranza; che se mai, lassa e stanca, per me fia che vacilli un sol momento, io sol, che non pavento, come l’aquila invitto difender quel core, quel fido cor ch’è mio, dall’asperio del tuo lascivo amore.

ACIS In vain, in vain you expect to conquer her constancy which, generous and open, causes your flagging hope to fail; so that if ever your weakened hope causes you to hesitate but a moment, I, on my own, who like that undefeated eagle do not fear, will defend that heart, that faithful heart that belongs to me, from the harshness of your lecherous love.

(9. Aria) POLIFEMO Precipitoso nel mar che freme più corre il fiume che stretto fu.

Ho per costume privo di speme anch’ io sdegnoso rendermi più.

(9. Aria) POLYPHEMUS Precipitously into the churning sea runs the river that once was narrow.

I am in the habit when deprived of hope to become even more rabid.

(Recitativo) GALATEA Sì, t’intendo, inumano, pensi macchiar, crudele, dell’ innocenza mia l’alto candore.

A tue meste querele, quanto più divien sordo il fido core; ma tal pensiero in vano sveglia nella tua mente mal fondate speranze, che d’altro amore accesa, più coraggiosa e forte, prima d’amarti incontrer la morte.

(Recitative) GALATEA Yes, I understand you, inhuman one, you intend to stain, cruel one, the intense white of my innocence. To your sad arguments, my faithful heart grows ever deafer; but such thinking awakens in your mind, in vain, ill-founded hopes, while inflamed by other love; I, more courageous and strong, would rather die than love you.

(10. Aria) S’agita in mezzo all’ onde lontano dalle sponde nel tempestoso mar la navicella.

Scherzo di vento infido corre da lido in lido, né la fa naufragar forza di stella.

(10. Aria) Among the waves far from the shore tosses the dingy in a stormy sea. A game for a faithless wind it runs from beach to beach; even the stars cannot sink it.

(Recitativo) POLIFEMO So che le cinosure che ti chiamano in porto de’ lumi del tuo ben son le due stille; ma non so qual conforto in mezzo alle procelle sperar potrai dal tuo gradito amante, quando destarle sa fiero gigante.

(Recitative) POLYPHEMUS I know that the cynosuras that lead you to port are the twinkles of your beloved’s eyes; but I do not know what comfort you could expect from your pleasing lover in the midst of storms that a fierce giant knows how to cause.

ACI Senti, quando adempire

ACIS Listen, when you desire to

brami le tue vendette, fa che del ciel saette vibri contro di me Giove Tonante; fa che lacero, esangue, cada il mio sen costante; esca di augel rapace, rendi pur, se ti piace, le viscere infelici; e biancheggiar disciolte per quest’ erme pendici fa che miri il pastor l’ossa insepolte; prendi di me la palma; ma non turbar dell’ idol mio la calma.

carry out your revenge, have Jove the Thunderer loose his arrows on me; let them tear me, and bloodless, let fall my faithful breast; if you wish, let my unlucky viscera serve as bait for some rapacious bird; and bleaching, scattered on these lonely slopes let the shepherds see my unburied bones; take victory from me; but do not disturb the calm of my beloved.

(11. Terzetto) POLIFEMO Proverà lo sdegno mio chi da me non chiede amor.

(11. Trio) POLYPHEMUS She will experience my anger who does not seek my love.

GALATEA Perche fiero? Perche, oh Dio, contro me tanto rigor?

GALATEA Why so fierce? Why, oh God, such heartlessness against me?

ACI Idol mio, non temer.

ACIS My beloved, fear not.

POLIFEMO Se disprezzi un cor fedele, gioir voglio al tuo martir.

POLYPHEMUS If you disregard a faithful heart, I will rejoice in your suffering.

GALATEA Empio, barbaro, crudele, ti sapr sempre schernir.

GALATEA Wicked, barbarous, cruel one, I will forever mock you.

ACI Soffri e spera di goder.

ACIS You suffer now, but hope to rejoice.

PARTE 2 SINFONIA

PART 2 SINFONIA

(Recitativo) POLIFEMO Ingrata, se mi nieghi ci che sperar potrei come tuo dono, io che schernito sono ottener lo sapr come rapina.

(Recitative) POLYPHEMUS Ingrate, if you deny me that for which I might hope as your gift, I, who have been made a fool of, know how to obtain it by theft.

GALATEA Poiché il ciel già destina che ti lasci, o mio bene, corro in braccio a Nereo.

GALATEA Since heaven destines that I leave you, my dear one, I shall run into Nereus’s arms.

POLIFEMO Dolci cateni ti faran queste braccia.

POLYPHEMUS My arms will be sweet chains around you!

ACI Empio, t’arresta.

ACIS Villain! Stop!

GALATEA Tormentosa e funesta pria m’accolga la Parca.

GALATEA Tormented and mournful, first I’d greet the Parcae.

POLIFEMO Ecco al mio seno ti stringo.

POLYPHEMUS Look how I squeeze you to my bosom.

GALATEA Ah genitore, col tuo duro tridente corri e svena il tiranno, il traditore.

GALATEA Ah father, with your fierce trident run and disembowel the tyrant, the traitor.

ACI Non ti smarrir, mia vita.

ACIS Do not give up, dearest.

GALATEA In libertà gradita ecco al fin che già sono.

GALATEA In happy freedom, behold, at last!

POLIFEMO Ah, crudo fato! Tu pur fuggi, oh crudel!

POLYPHEMUS Ah, cruel fate! You flee, heartless one!

ACI Respiro.

ACIS I breathe.

GALATEA Addio; precipito nell’ onde, idolo mio!

GALATEA Farewell; I plummet into the waves, beloved!

(12. Aria) POLIFEMO Fra l’ombre e gl’orrori farfalla confusa già spenta la face non sa mai goder.

Così fra timori quest’ alma delusa non trova mai pace ne spera piacer.

(12. Aria) POLYPHEMUS Among the shades and the horrors the dazed moth, already dying, shall never know the pleasure of the flame.

Likewise among its fears, this soul disappointed never finds peace nor hopes for pleasure.

(Recitativo) Ma che? non andrà inulta la schernita mia fiamma.

Io vilipeso, io d’empio sdegno acceso, sapr ben vendicarmi, e del rivale in petto svenar sapr di Galatea l’affetto.

(Recitative) But what? my mocked desire shall not go unavenged.

I, despised, I, lit with wicked rage, know full well how to take revenge: I will cut from my rival’s bosom his love for Galatea.

ACI Purché l’amato bene sol per me non soggiaccia a rio tormento, squarciami ancor il sen, ch’io son contento.

Ma già parte l’ingrato, e solo e disperato io qui rimango. Ah stelle! meco troppo rubelle, se il mio cor tanto adora, fate che un altra volta miri l’idolo mio, e poi ch’io mora.

ACIS Provided that my beloved would not yield to evil torment just for me, tear open my breast, for I am content. But now the ingrate has left, and alone and bereft I remain here. Ah stars! you have rebelled too much against me, if my heart adores so much, make it that once again I might see my beloved, and then let me die.

(13. Aria) Qui l’augel da pianta in pianta lieto vola, dolce canta,

(13. Aria) Here the bird from tree to tree happily flies, sweetly sings to

che langue a lusingar. Ma si fa cagion di duolo sol per me che afflitto e solo pace, oh Dio, non so trovar.

distract the heart that languishes. But it becomes a cause of sadness for me alone who, afficted and alone oh Lord, cannot find peace.

(Recitativo) GALATEA Giunsi al fin, mio tesoro, nelle cupe, a profonde procellose voragini del mare; pensai, caro mio bene, render, per non penare, e l’orche e le balene vendicatrici del mio grave affanno, ma vuol destin tiranno che non speri pietà del mio languire.

(Recitative) GALATEA Here at last, my treasure, into the depths, to the profound, raging abyss of the sea; I thought, my beloved, so as not to suffer, to return to the porpoises and whales, vindicators of my great despair, but tyrranic destiny wants me not to expect pity for my sorrow.

ACI Ahi, che rende più atroce la tua barbara pena il mio martire.

ACIS Ah, your barbarous pain makes my own suffering more atrocious.

(14. Aria) GALATEA Se m’ami o caro, se mi sei fido lasciami sola a sospirar.

Nel duolo amaro così consola chi fa Cupido per te penar.

(14. Aria) GALATEA If you love me, dearest, if you are faithful to me, leave me alone to sigh.

In bitter pain thus console her, whom Cupid makes suffer for you.

(Recitativo) POLIFEMO Qui sull’ alto del monte attender l’empio rivale al varco.

(Recitative) POLYPHEMUS Here atop the mountain I shall lie in wait for my wicked rival.

ACI Cara, poiché dall’ arco discolse Amore alla saetta il volo: poiché, ferito, io solo son degl’ affetti tuoi l’unico erede; come, oh Dio, come mai con esempio di fede, vagheggiando i tuoi rai, lieto posso gioire, quando solo per me dei tu languire?

ACIS My love, because from his bow Cupid loosed his arrow to flight, and because, thus wounded, I alone am the sole beneficiary of your affection.

How, oh God, how can I ever be happy, given such a sign of devotion as the way your eyes gaze upon me, when only for me you must languish?

POLIFEMO Stelle! Numi! Che ascolto?

POLYPHEMUS Stars! Gods! What do I hear?

GALATEA Dove più spesso e folto il numero sarà de’ miei tormenti, mi sembrerà pur poco passar, mio ben, per te.

GALATEA Where always one atop the other the number of my torments will be, it will seem a trifle to die, for you, my dear.

ACI Sì molli accenti di costanza, e d’amore pegni veraci, lascia, bocca gradita, che riscuotano omai premio di baci.

ACIS With such soft words of constancy, and true pledges of love, let your pleasing mouth, draw the prize of kisses.

POLIFEMO Ah! prima il fil’ recider di vita.

POLYPHEMUS Ah! First I’d cut the thread of his life.

(15. Terzetto) ACI Dolce amico amplesso al mio seno

(15. Trio) ACIS Sweet, loving embrace to my breast

GALATEA Caro amico amplesso al core oppresso

GALATEA Dear, loving embrace to my oppressed heart

ACI, GALATEA tu dai vita e fai goder.

ACIS, GALATEA you give life and pleasure.

POLIFEMO In seno dell’ infida e chi un fulmine m’offre accio l’uccida?

POLYPHEMUS In the bosom of that ingrate, and who offers me a bolt to kill her with?

ACI Tuo mi rendo,

ACIS I make myself yours

GALATEA A te mio dono

GALATEA I give myself to you

ACI idol mio, fedel ti sono

ACIS my beloved, I am yours alone.

POLIFEMO Né a far le mie vendette tuona Giove immortal?

Né del profondo si sconvolge l’abisso?

Né da’ cardini suoi si scuote il mondo?

POLYPHEMUS Thunders not immortal Jove to carry out my vengence?

Does no spasm arise from the depths?

Trembles not the earth from its core?

GALATEA Son per te costante e forte,

GALATEA I am constant and strong for you,

ACI teco voglio e vita e morte,

ACIS I wish to be with you in life and death,

ACI, GALATEA spera, o bella/caro, e non temer.

ACIS, GALATEA be hopeful, beloved, and fear not.

POLIFEMO Né di Cocito l’onda velenosa e funesta toglie all’ empio il respiro?

Dal gorgone insassito e ancor non resta?

POLYPHEMUS Neither do the waves of Cocytus, poisonous and mournful, take away the wicked man’s breath? Petrified by the Gorgon, yet he recovers?

ACI, GALATEA Dolce/Caro amico amplesso....

ACIS, GALATEA Sweet/Dear loving embrace....

(Recitativo) POLIFEMO Or poiché sordi sono del cielo e dell’ abisso i paventati Numi, perche non mi consumi, precipiti, e ruini sopra il capo del reo sasso sì grave? Del tenero e soave amplesso, che il mio cor colm

(Recitative) POLYPHEMUS Now, since those fearful gods of sky and abyss have turned a deaf ear, why do I not end him myself, throw and ruin him atop the evil boulder far below?

Let such horrid pain be the just dessert for their tender soft embrace,

sdegno, sia pena così ria premio condegno.

that filled my heart with hatred.

(Accompagnato) Già va di balza in balza, già la gravezza aggiunge l’ali al corso, già l’atterra.

(Accompanied Recitative) There: he goes from cliff to cliff; there: the depths approach his fall; there: he lands.

(Recitativo) ACI Oh Dio, mio ben, soccorso.

(Recitative) ACIS Oh God! My beloved! Help!

(16. Aria) Verso già l’alma col sangue lento palpita il mio cor.

Già la vita manca e langue per trofeo d’empio rigor.

(16. Aria) Now I pour out my soul with my blood slowly beats my heart.

Now my life fades and languishes as a trophy for evil heartlessness.

(Recitativo) GALATEA Misera, e dove sono? In successo sì rio la ragion m’abbandona, non ha lume la mente; e quel sangue innocente, sangue dell’ idol mio, mentre beve la terra, torpida, e semiviva, io spargo intanto caldi rivi di pianto; soffogano i sospiri la tremante mia voce, e in tormento si atroce con fievoli respiri manca la lena a l’alma, quasi giunta sui labbri, afflitta esclama: "così misero more cuor che fedel non sa cangiar mai brama."

(Recitative) GALATEA Miserable me, where am I? With such an awful outcome reason abandons me, there is no light in my mind.

And while the earth drinks that innocent blood, blood of my beloved, I, numb, only half alive, shed hot streams of tears; my heaving sighs muffle my trembling voice, yet amid such dreadful torment, with feeble breaths almost to my lips, as his life fails to retain his soul, my tormented voice exclaims: “Thus wretched dies the constant heart that cannot change what it desires.”

(17. Aria) POLIFEMO Impara, ingrata, che fa l’esser tiranna con chi ti chiede amor.

Il tuo rigor condanna e in pena così amara lagnati del tuo cor.

(17. Aria) POLYPHEMUS Learn, ungrateful woman, what your tyrannical behaviour does to one who seeks your love.

Your stubbornness condemns him, so with such bitter sorrow bewail your own heart.

(Recitativo) GALATEA Ah, tiranno inumano! Da quel sangue adorato apprendi almen rossore del cieco tuo rigore, ch’io con barbare tempre, del mio bene in vendetta ti abborrir, ti fuggir per sempre.

(Recitative) GALATEA Ah, inhuman tyrant! From that adored blood learn at least some shame for your blind severity for I, with enraged hardness, shall abhor you in revenge for my beloved, I will flee you to the end.

E tu, mio genitore, quell’ infelice salma, trofeo di cruda morte, deh, fa che si converta in fresco rio; che quando al mar che freme, con tenero d’amor dolce desio, fia che

And you, my father: take that unhappy corpse, trophy of a cruel death, and transform it into a fresh brook, let it join the heaving ocean in tribute to the sweet desire of our tender love;

giunga in tributo, poiché per mio dolore sopra le nude arene estinto giacque, lo goder, lo stringer fra l’acque.

let me savour and hold him among the waters; for, to my sorrow, he now lies extinct on the naked sand.

POLIFEMO Né fia che a tuoi pensieri passa a regnar la pace.

POLYPHEMUS Let peace never come to reign over thoughts.

GALATEA Invan lo speri.

GALATEA You wish it in vain.

(18. Aria) Del mar fra l’onde per non mirarti fiero tiranno mi spinge il duol.

Ma in queste sponde torno all’ affanno nel vagheggiarti spento mio sol.

(18. Aria) Into the ocean’s waves, so as not to see you, fierce tyrant, my pain drives me.

But to these shores I return to the anguish of beholding you, my expired sun.

(Recitativo) POLIFEMO Ferma ma! già nel mare con l’algose sue braccia Nettun l’accoglie, e nel suo sen l’allaccia.

Stupido, ma che veggio? Aci, disciolto in fiume, siegue l’amato bene, e mormorando così si va lagnando.

(Recitative) POLYPHEMUS But wait! Already in the ocean, Neptune, with his seaweed-covered arms, greets and takes her to his bosom.

Idiot! But what do I see?

Acis, dissolved into a river, follows his beloved, and murmuring thus he pines:

(19. Accompagnato) "Vissi fedel, mia vita, e morto ancor t’adoro, e de’ miei chiari argenti col mormorio sonoro non lascio di spiegare i miei tormenti.

Or, dolce mio tesoro, con labbro inargentato, forse più fortunato, ti bacer del tuo Nereo fra l’onde; a l’arenose sponde, che imporporai col sangue, mentre d’empio destin solo mi lagno co’ miei puri cristalli, e lavo e bagno."

(19. Accompanied Recitative) “I lived faithfully, love of my life, and even dead I’ll adore you, and from my clear silvery stream with its sonorous murmuring I never cease to recount my torments.

Now, my sweet treasure, with lips turned to silver, perhaps happier, I will kiss you in the waves of your Nereus; at the sandy shores, which I’d reddened with my blood, though I complain only of my evil fate, I’ll wash and bathe you with my pure crystal.”

(Recitativo) Ed io che tanto ascolto, cieli, come non moro? Ah, la costanza di chi ben ama un giorno non sa ne pu mai variar sembianza.

(Recitative) And I, upon hearing such things, heavens, why do I not die? Ah, the constancy of one who has loved well for a day can never change its appearance.

(20. Terzetto) ACI, GALATEA, POLIFEMO Chi ben ama ha per oggetti fido amor, pura costanza.

Che se mancano i diletti poi non manca la speranza.

(20. Trio) ACIS, GALATEA, POLYPHEMUS Who loves well has the goals of faithful love, pure steadfastness. Even if pleasures are lacking at least there is hope.

Libretto: Nicola Giuvo Translation: Susan Gould and Richard Stone, 2009

BEETHOVEN OCTET IN E FLAT

BACH ST JOHN PASSION

HANDEL MESSIAH

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TREVOR BOWES ON ACI, GALATEA E POLIFEMO When Handel wrote Aci, Galatea e Polifemo he was in his mid-twenties and living in Italy. It would be wrong, however, to imagine that he was learning his craft patiently.

In fact he penned such stunning melodies for the dramatic cantata that he was able to lift them and place them pretty much unaltered in his other later works. And the young composer also took some remarkable risks; each of the singing roles is demanding and the bass part of Polifemo, sung in today's performance by Trevor Bowes, is one of the most challenging in the repertoire.

Handel penned the role of Polifemo, a cyclops whose jealousy brings tragedy to Aci (a shepherd) and Galatea (a nymph), for an exceptional contemporary bass called Antonio Manna. The part ranges from the D below the bass staff to the A above it.

It requires both a vast range and singular vocal agility, most notably in the aria “Fra l’ombre e gl’orrori”.

Mr Bowes explains: “Handel was young and very impetuous, quite unrefined. But because of that, he was much more adventurous than he was later when he was writing his great English oratorios. He was writing for a specific singer who had that ability and he decided to be very daring.”

Inevitably, perhaps, the score has been used as a party piece for basses wanting a chance to display their bravura skills. And sometimes the cyclops is played for comic effect as opera buffa.

But for Canadian-born Mr Bowes the aim is rather to explore this exceptional music and bring out the full force of its emotional impact. The challenging vocal range matches Polifemo’s erratic mood swings. The character is by turns aggressive, violent and threatening. But towards the end, Polifemo has a genuinely mournful moment: he sings the words of Aci (who has been turned into a stream) in Aci’s own voice. A tender declaration of love, it expresses that idea that love can purify Galatea even in death.

“With my voice type and the qualities it has, it’s really important to me that the beauty of the music shines through. It must maintain the quality of Handel’s music and the emotion that lies underneath. So there should be no sense that the singing is done for the sake of trying to impress. I will have succeeded if I create an illusion that it’s not that hard.”

The singer has spent a decade slowly experimenting with his technique to perform the piece. He concludes, “With Aci, Galatea e Polifemo, we see a side of Handel that we don’t normally see. We see an unencumbered Handel. It’s his pure creativity and he’s very bold. So this period of his music, which is a bit neglected, really helps us understand more about who he was as a composer and how to see his journey from this period right through to the likes of the Messiah.”

Victor Smart.

BIOGRAPHIES

ZOË BROOKSHAW

British soprano Zoë Brookshaw read Theology at Cambridge University where she was a choral Scholar at Trinity College. She was a member of the Monteverdi Choir Apprentice Scheme and is currently a Rising Star of the Enlightenment.

Her opera engagements include Euridice and La Musica L’Orfeo with I Fagiolini; Aerial Spirit The Indian Queen with Le Concert d’Astrée / Emmanuelle Haïm, roles in The Fairy Queen with The Gabrieli Consort / Paul McCreesh and Rameau Pygmalion with The Dunedin Consort / John Butt. On the concert platform Zoë has sung Bach and Handel with the Monteverdi Choir / John Eliot Gardiner, Handel Israel in Egypt with at the BBC Proms with the Orchestra of the Age of Enlightenment / William Christie plus Bach and Vivaldi with the group and Steven Devine as well as Monteverdi Ball dell’Ingrate with Christian Curnyn; Handel with the Gabrieli Consort / Paul McCreesh, Monteverdi & Vivaldi with Arcangelo / Jonathan Cohen, the St John Passion with the Britten Sinfonia/ Eamonn Dougan and Dixit Dominus with Collegium Vocale Gent / Pieter-Jan Belder. She is a member of the baroque ensemble Solomon’s Knot with whom she performs and records widely. Zoë has recorded Bach, Blow, Lennox & Michael Berkeley, Charpentier, on the Delphian, Hyperion, Resonus, Signum Classics, Soli dei Gloria and Sony labels. Soon to be released on OAE Player is the video of Zoë singing Strozzi Che si puo fare. Her plans include Purcell and Blow with the OAE / Steven Devine in London and Oslo and Galatea in Handel Aci, Galatea e Polifemo with the same forces in London.

BETHANY HORAK-HALLETT British mezzo-soprano Bethany Horak-Hallett read Music at Leeds University and went on to gain a Masters in Music Performance followed by a Masters in Vocal Studies at Trinity Laban Conservatoire. She currently studies with Sherman Lowe. Bethany is a Rising Star of the Enlightenment, was a finalist in the 2020 Cesti Competition at the Innsbruck Festival of Early Music and recently won Second Prize in the 2021 International Handel Singing Competition.

Bethany’s opera engagements have included Kitchen Boy Rusalka for Glyndebourne Festival Opera and the Deutsches Symphonie-Orchester / Robin Ticciati; Woman Katya Kabanova at Glyndebourne; Cupid Venus and Adonis, Venere Il Ballo delle Ingrate and Enchanted Lady in Caccini La Liberazione di Ruggiero at the Brighton Early Music Festival; Cherubino Le Nozze di Figaro with the Merry Opera Company, Dorabella Cosi fan Tutte with London Young Sinfonia, Second Witch Dido & Aeneas at the Milton Abbey International Music Festival, Taa in Lewis Coenen-Rowe Collision at the Grimebourne Festival and Nerone L’Incoronazione di Poppea at Trinity Laban Conservatoire. On the concert platform Bethany has appeared with the Orchestra of the Age of Enlightenment singing Bach cantatas directed

by Steven Devine, the St John Passion with Mark Padmore and Elijah with Masaaki Suzuki. She recently made her BBC Proms début with the Monteverdi Choir / Sir John Eliot Gardiner singing Handel Dixit Dominus and appeared with the English Chamber Orchestra / James Sherlock.

Bethany recorded Cupid in John Eccles Semele with the Academy of Ancient Music / Julian Perkins.

Her recent and future engagements include a tour with Holland Baroque, Bach and Handel with the Academy of Ancient Music and City of London Sinfonia, filming Messiah for the Voces8 Foundation Live from London festival plus Bach Cantatas and Aci in Handel Aci, Galatea e Polifemo with the OAE in London.

TREVOR BOWES

STEVEN DEVINE

Lyric bass Trevor Eliot Bowes was born in Victoria, Canada and studied at the University of Toronto, the Banff Centre for the Arts and the Royal Scottish Academy of Music and Drama.

He is a former Britten-Pears Young Artist and an alumnus of Barbara Hannigan’s Equilibrium Young Artists programme. Highlights in recent seasons include Sergeant of Police in The Pirates of Penzance and Ein Lakai Ariadne auf Naxos (Opera Holland Park); Benoît La bohème Drive & Live, Ben Benny Paul Bunyan, A Cappadocian Salome (English National Opera); Father Trulove The Rake’s Progress (Münchner Philharmoniker); Silvano Un ballo in maschera (Grange Park Opera); and Boots and Footman Der Rosenkavalier (Glyndebourne).

In the current season he makes his debut with English Touring Opera as Colline La bohème. His operatic roles include Figaro Le nozze di Figaro, Leporello Don Giovanni, Don Alfonso Così fan tutte, Death Savitri, Cadmus and Somnus Semele, Léandre L'amour des trois Oranges, Don Inigo L’heure espagnole, Simone Gianni Schicchi and Sarastro Die Zauberflöte. As a full-time member of Opera North, in Leeds, roles included Talbot Maria Stuarda opposite Sarah Connolly and the Drum-maker in Jonathan Dove's The Adventures of Pinocchio. He also performed in St. Petersburg, Moscow and Hamburg as Fedro in Early Music Russia's production of Boris Goudenow (Johann Mattheson's 1710 version) and as Nanni in Haydn's L'infedeltà delusa with Le Parlement de Musique, in Strasbourg. Concert appearances include Mozart Requiem (Toronto Symphony Orchestra / Sir Andrew Davis); Handel Messiah (London Handel Festival); Vaughan Williams Fantasia on Christmas Carols (Orchestra of English National Opera); Bach Cantata 71 (Toronto International Bach Festival); Thief in Grieg’s Peer Gynt (Royal Scottish National Orchestra); and Mendelssohn Elijah, Vaughan Williams Hodie and Handel Messiah in cities across Canada.

Steven Devine enjoys a busy career as a music director and keyboard player working with some of the finest musicians. He is the Principal Keyboard Player with the Orchestra of the Age of Enlightenment and also the principal keyboard player for The Gonzaga Band, The Mozartists and performs regularly with many other groups around Europe. He has recorded over thirty discs with other artists and ensembles and made six solo recordings. His recording of Bach’s Goldberg Variations (Chandos Records) has received critical acclaim – including Gramophone magazine describing it as “among the best”. The complete harpsichord works of Rameau (Resonus) has received five-star reviews from BBC Music Magazine. Steven has recently released Bach’s Well-Tempered Clavier (“it’s the one of all I’ve heard in the past ten years that I am happiest to live with.” Early Music Review) – available on this site. He made his London conducting debut in 2002 at the Royal Albert Hall and is now a regular performer there – including making his Proms directing debut in August 2007 with the Orchestra of the Age of Enlightenment. He has conducted the Mozart Festival Orchestra in every major concert hall in the UK and also across Switzerland. Steven is Music Director for New Chamber Opera in Oxford and with them has performed repertoire from Cavalli to Rossini. For the Dartington Festival Opera he has conducted Handel’s Orlando and Purcell’s Dido and Aeneas. He is currently conductor and Artistic Advisor for the English Haydn Festival in Bridgnorth. Steven works regularly with the Norwegian Wind Ensemble, Trondheim Barokk, the Victoria Baroque Players (BC, Canada) and Arion Baroque Ensemble (Montreal). He is Early Keyboard Consultant to the Royal Birmingham Conservatoire and Royal Welsh Colleges, and teaches fortepiano at the Royal Academy of Music. Finally, Steven is thrilled to be a member of the ground-breaking Art of Moog: an electronic music group specialising in the performance of Bach.

ABOUT THE ORCHESTRA “Not all orchestras are the same” Over three decades ago, a group of inquisitive London musicians took a long hard look at that curious institution we call the Orchestra, and decided to start again from scratch. They began by throwing out the rulebook. Put a single conductor in charge? No way. Specialise in repertoire of a particular era? Too restricting. Perfect a work and then move on? Too lazy. The Orchestra of the Age of Enlightenment was born.

And as this distinctive ensemble playing on period-specific instruments began to get a foothold, it made a promise to itself. It vowed to keep questioning, adapting and inventing as long as it lived. Those original instruments became just one element of its quest for authenticity. Baroque and Classical music became just one strand of its repertoire. Every time the musical establishment thought it had a handle on what the OAE was all about, the ensemble pulled out another shocker: a Symphonie Fantastique here, some conductor-less Bach there. All the while, the Orchestra’s players called the shots.

In some small way, the OAE changed the classical music world too. It challenged those distinguished partner organisations and brought the very best from them, too.

Symphony and opera orchestras began to ask it for advice. Existing period instrument groups started to vary their conductors and

repertoire. New ones popped up all over Europe and America.

And so the story continues, with ever more momentum and vision. The OAE’s series of nocturnal Night Shift performances have redefined concert parameters. Its association at London’s Kings Place has fostered further diversity of planning and music-making. The ensemble has formed the bedrock for some of Glyndebourne’s most ground-breaking recent productions.

In keeping with its values of always questioning, challenging and trailblazing, in September 2020, the OAE became the resident orchestra of Acland Burghley School, Camden. The residency – a first for a British orchestra – allows the OAE to live, work and play amongst the students of the school.

Of the instrumentalists, many remain from those brave first days; many have come since. All seem as eager and hungry as ever. They’re offered ever greater respect, but continue only to question themselves.

Because still, they pride themselves on sitting ever so slightly outside the box. They wouldn’t want it any other way. ©Andrew Mellor orchestraoftheageofenlightenment theoae oae_photos YouTube.com/OrchestraEnlighten

OAE TEAM Chief Executive Crispin Woodhead Finance and Governance Director Pascale Nicholls Development Director Emily Stubbs Projects Director Jo Perry Education Director Cherry Forbes Marketing Director Doug Buist General Manager Edward Shaw Head of Individual Giving and Digital Development Marina Abel Smith Education Officer Andrew Thomson Projects Manager Sophie Adams Finance Officer Fabio Lodato Digital Content Officer Zen Grisdale Marketing and Press Officer Anna Bennett Box Office and Data Manager Paola Rossi Development Manager Kiki Betts-Dean Development Officer Luka Lah Projects Officer Ed Ault

Operations Assistant Henry Ashmall Nathanael Jordine Orchestra Consultant Philippa Brownsword Choir Manager David Clegg Librarian Roy Mowatt Leaders Huw Daniel Kati Debretzeni Margaret Faultless Matthew Truscott Players’ Artistic Committee Adrian Bending Steven Devine Max Mandel Andrew Roberts Katharina Spreckelsen Principal Artists John Butt Sir Mark Elder Iván Fischer Vladimir Jurowski Sir Simon Rattle Sir András Schiff Emeritus Conductors William Christie Sir Roger Norrington

Life President Sir Martin Smith Board of Directors Imogen Overli [Chairman] Daniel Alexander Steven Devine Denys Firth Adrian Frost Max Mandel Alison McFadyen David Marks Rebecca Miller Andrew Roberts Katharina Spreckelsen Matthew Shorter Dr. Susan Tranter Crispin Woodhead OAE Trust Adrian Frost [Chairman] Mark Allen Paul Forman Steven Larcombe Alison McFadyen Caroline Noblet Imogen Overli Rupert Sebag-Montefiore Maarten Slendebroek Sir Martin Smith Caroline Steane Honorary Council Sir Victor Blank Edward Bonham Carter Cecelia Bruggemeyer Nigel Jones Stephen Levinson Marshall Marcus Julian Mash Greg Melgaard Susan Palmer OBE Jan Schlapp Diane Segalen Susannah Simons Lady Smith OBE Rosalyn Wilkinson Mark Williams

CADOGAN HALL ETIQUETTE AND INFORMATION Smoking: All areas of Cadogan Hall are non-smoking areas. Please note this includes all smoking materials including vapes and electronic cigarettes.

Food & beverages: You are kindly requested not to bring food and other refreshments into Cadogan Hall. A small selection of sandwiches, confectionary and snacks are available from the bars. Concert goers may also enjoy a wide selection of champagnes, spirits, red and white wines, beers and soft drinks from the Culford Room bar.

Cameras and electronic devices: Video equipment, cameras and tape recorders are not permitted. Please ensure all mobile phones and pagers are switched off before entering the auditorium.

Interval and timings: Intervals vary with each performance. Some performances may not have an interval. Latecomers will not be admitted until a suitable break in the performance.

Consideration: We aim to deliver the highest standards of service. Therefore, we would ask you to treat our staff with courtesy and in a manner in which you would expect to be treated.

Cadogan Hall 5 Sloane Terrace London SWIX 9DQ Box Office: 020 7730 4500 Book online: cadoganhall.com

THANK YOU OAE Experience scheme Ann and Peter Law Corporate Partners Champagne Deutz Mark Allen Group Marquee TV Swan Turton Corporate Associates Gelato Season Patrons John Armitage Charitable Trust Julian and Annette Armstrong Denys and Vicki Firth Adrian Frost Nigel Jones and Françoise Valat-Jones Selina and David Marks Haakon and Imogen Overli Sir Martin and Lady Smith OBE Philip & Rosalyn Wilkinson Mark and Rosamund Williams Project Patrons Bruce Harris Ian S Ferguson CBE and Dr Susan Tranter Aria Patrons Madeleine Hodgkin Steven Larcombe Peter and Veronica Lofthouse Stanley Lowy Gary and Nina Moss Rupert Sebag-Montefiore Maarten and Taina Slendebroek Caroline Steane Eric Tomsett Chair Patrons Mrs Nicola Armitage - Education Director Victoria and Edward Bonham Carter - Principal Trumpet Katharine Campbell - Violin Anthony and Celia Edwards - Principal Oboe

James Flynn QC - Co-Principal Lute/Theorbo Jonathan and Tessa Gaisman – Viola Michael and Harriet Maunsell - Principal Keyboard Jenny and Tim Morrison - Second Violin Caroline Noblet – Oboe Professor Richard Portes - Principal Bassoon Christina – Flute John and Rosemary Shannon - Principal Horn Sue Sheridan OBE – Education Roger and Pam Stubbs - Clarinet Crispin Woodhead and Christine Rice - Principal Timpani Associate Patrons Charles and Julia Abel Smith Noël and Caroline Annesley Sir Richard Arnold and Mary Elford Hugh and Michelle Arthur David and Marilyn Clark Damaris Albarrán David Emmerson Jonathan Parker Charitable Trust Elisabeth Green in memory of June Mockett Roger Heath MBE and Alison Heath MBE Peter and Sally Hilliar Moira and Robert Latham Sir Timothy and Lady Lloyd Roger Mears and Joanie Speers Rebecca Miller David Mildon in memory of Lesley Mildon John Nickson and Simon Rew Andrew and Cindy Peck Stephen and Penny Pickles Peter Rosenthal Emily Stubbs and Stephen McCrum Shelley von Strunckel Mr J Westwood

Education Patrons Mrs Nicola Armitage Sir Victor Blank Stephen and Patricia Crew John and Sue Edwards Sir Timothy and Lady Lloyd Andrew and Cindy Peck Professor Richard Portes Sue Sheridan OBE Rising Stars Supporters Annette and Julian Armstrong Denys and Vicki Firth Bruce Harris Ms Madeleine Hodgkin Mrs Sarah Holford Nigel Jones and Francoise Valat-Jones Peter & Veronica Lofthouse Mr Andrew Nurnberg Old Possum's Practical Trust Imogen and Haakon Overli Gold Friends Michael Brecknell Gerard Cleary Mr and Mrs C Cochin de Billy Chris Gould Michael Spagat Silver Friends Dennis and Sheila Baldry Haylee and Michael Bowsher Tony Burt Christopher Campbell Mr and Mrs Michael Cooper David Cox Anthony and Jo Diamond Suzanne Doyle Rachel and Charles Henderson Malcolm Herring Patricia Herrmann Stephen Hodge Rupert and Alice King Alison and Ian Lowdon Anthony and Carol Rentoul Bridget Rosewell David and Ruth Samuels Leslie Scott Susannah Simons Victor Smart Her Honour Suzanne Stewart Simon and Karen Taube

Bronze Friends Tony Baines Penny & Robin Broadhurst Graham and Claire Buckland Dan Burt Michael A Conlon Roger Easy Mrs SM Edge Mrs Mary Fysh Simon Gates Stephen and Cristina Goldring Martin and Helen Haddon Ray and Liz Harsant The Lady Heseltine Mrs Auriel Hill Val Hudson Stuart Martin Patricia Orwell Paul Rivlin Alan Sainer Matthew and Sarah Shorter Mr and Mrs Tony Timms John Truscott Mrs Joy Whitby David Wilson Young Patron Ed Abel Smith David Gillbe Elizabeth George Henry Mason Peter Yardley-Jones Young Ambassador Patron Marianne and William Cartwright-Hignett Jessica and Alex Kemp Breandán Knowlton Trusts & Foundations Apax Foundation Arts Council England Ashley Family Foundation Boshier-Hinton Foundation Brian Mitchell Charitable Settlement CAF Resilience Fund The Charles Peel Charitable Trust Chivers Trust Derek Hill Foundation Dyers Company Ernest Cook Trust Esmee Fairbairn Foundation Fidelio Charitable Trust Foyle Foundation

Garfield Weston Foundation Garrick Charitable Trust Geoffrey Watling Charity Henocq Law Trust John Lyon’s Charity Linbury Trust Lord and Lady Lurgan Trust Michael Marks Charitable Trust National Foundation for Youth Music Old Possum’s Practical Trust Orchestras Live Paul Bassham Charitable Trust The Patrick Rowland Foundation Peter Cundill Foundation Peter Stebbings Memorial Charity Pitt-Rivers Charitable Trust Radcliffe Trust Rainbow Dickinson Trust Stanley Picker Trust The 29th May 1961 Charitable Trust The Loveday Charitable Trust The R&I Pilkington Charitable Trust The Shears Foundation The Vernon Ellis Foundation

APPEAL DONORS We have been overwhelmed by the support of our audiences since the beginning of the pandemic.

Many of you have generously helped us tackle this challenging time by donating to our Regeneration Appeal. The Appeal runs to 31st December 2021 and every donation will be matched.

If you would like to contribute, please contact: Emily.Stubbs@oae.co.uk Charles and Julia Abel Smith Mark and Sue Allen Deborah Anthony Julian and Annette Armstrong Hugh and Michelle Arthur John Birks Sir Victor Blank Bob and Elisabeth Boas A & FDW Boettcher William Bordass Mr Roger Bowerman Ms Susan Bracken Neil Brock

Sir Anthony Cleaver Professor Susan Cooper Ms Harriet Copperman Dr David Cox Gill Cox Stephen and Patricia Crew Mrs Melanie Edge Esmee Fairbairn Foundation Ms Margaret Faultless Denys and Vicki Firth Adrian Frost Jennifer Frost Jonathan N Gaisman, QC Dr David Glynn Roy Greenhalgh David Guthrie Martin Haddon Ray Harsant Roger Heath MBE and Alison Heath MBE Peter and Sally Hilliar Nigel Jones and Françoise Valat-Jones Jerome Karter Sue Lamble Steven Larcombe Sir Timothy Lloyd and Lady Lloyd Dr Alan Lord Stanley Lowy, MBE Ellie Makri Michael and Harriet Maunsell Tim and Jenny Morrison Mr Clive Murgatroyd, MBE Robert Nash John Nickson & Simon Rew Andrew Nurnberg Johanna Nusselein Imogen and Haakon Overli Andrew and Cindy Peck Mike Raggett Ruth and David Samuels Laura Sheldon Sue Sheridan OBE Maarten and Taina Slendebroek Sir Martin Smith and Lady Smith OBE Michael Spagat Caroline Steane Para Sun Iain Taylor Christopher Tew Lady Marina Vaizey, CBE Eva Maria Valero Mark and Rosamund Williams Peter Williams

WE MOVED INTO A SCHOOL

A little over a year ago we took up permanent residence at Acland Burghley School in Camden, North London. The residency – a first for a British orchestra – allows us to live, work and play amongst the students of the school.

Three offices have been adapted for our administration team, alongside a recording studio and library.

We use the Grade II listed school assembly hall as a rehearsal space, with plans to refurbish it under the school’s ‘A Theatre for All’ project. The school isn't just our landlord or physical home. Instead, it allows us to build on twenty years of work in the borough through OAE’s long-standing partnership with Camden Music. Having already worked in eighteen of the local primary schools that feed into ABS, the plans moving forward are to support music and arts across the school into the wider community. Our move underpins our core ‘enlightenment’ mission of reaching as wide an audience as possible.

A similar project was undertaken in 2015 in Bremen, Germany. The Deutsche Kammerphilharmonie moved into a local comprehensive school in a deprived area and the results were described as “transformational”, with improved academic performance, language skills, mental health and IQ scores; reputational benefits; greater interest in and engagement with music among pupils; strengthened links between school, orchestra and community; and even, according to some of the musicians who took part, an improvement in the Kammerphilharmonie’s playing.

Margaret Faultless, OAE leader and violinist, said: “The members of the Bremen Kammerphilharmonie said their experience actually improved them as an orchestra and I think the same will happen to us over the next five or so years, and it will remind all of us of the reasons we make music, which are sometimes easy to forget, especially in our strange and troubled times.” Continues Margaret: “I am certainly looking forward to learning from the young people at Acland Burghley and in turn introducing them to the joys of our music and music-making.”

The move has been made possible with a leadership grant of £120,000 from The Linbury Trust, one of the Sainsbury Family Charitable Trusts.

OAE EDUCATION A PROGRAMME TO INVOLVE, EMPOWER AND INSPIRE

Over the past twenty years OAE Education has grown in stature and reach to involve thousands of people nationwide in creative music projects. Our participants come from a wide range of backgrounds and we pride ourselves in working flexibly, adapting to the needs of local people and the places they live.

The extensive partnerships we have built up over many years help us engage fully with all the communities where we work to ensure maximum and lasting impact. We take inspiration from the OAE's repertoire, instruments and players.

This makes for a vibrant, challenging and engaging programme where everyone is involved; players, animateurs, composers, participants, teachers, partners and stakeholders all have a valued voice.

SUPPORT OUR EDUCATION PROGRAMME

The work we do could not happen without the support of our generous donors.

If you would like to support our education programme please contact Marina Abel Smith, Head of Individual Giving and Digital Development marina.abelsmith@oae.co.uk 0208 159 9319

NEXT CONCERT

FAUST PLAYS SCHUMANN

Tuesday 15 February 2022, 7pm

Royal Festival Hall, Southbank Centre Soloist: Isabelle Faust Conductor: Antonella Manacorda MENDELSSOHN The Hebrides Overture SCHUMANN Violin Concerto in D minor SCHUMANN Symphony in No.2 in C major We are delighted to be joined by guest artist Isabelle Faust for Schumann’s Violin Concerto. The enigmatic piece was purportedly uncovered during a seance and then followed a turbulent, international fiasco as world leaders fought over who should play it first. However, the drama surrounding this work pales in comparison to the evocative power of the music itself. The slow second movement is regarded as one of the most beautiful moments in all of Schumann’s music, giving way to a soundscape of romance, adventure and curiosity.

TICKETS FROM £10 - 80 OAE.CO.UK/EVENT/FAUST-PLAYS-SCHUMANN/ or scan the QR code 020 815 9323 | boxoffice@oae.co.uk

The OAE is a registered charity number 295329. Registered company number 2040312.

Acland Burghley School, 93 Burghley Road, London NW5 1UH | 0208 159 9310 | info@oae.co.uk We are grateful for the support of our environmental partner Oxford Botanic Garden and Arboretum who generously allowed us to conduct our season photoshoot in their grounds.

Photo credit Emma-Jane Lewis.