Dangerous Liaisons Programme

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Dangerous Liaisons Tuesday 26 June 2018 Queen Elizabeth Hall Southbank Centre 7pm

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Mon 26 March, 7.30pm St John’s Smith Square

Ex Cathedra Consort & Continuo Jeffrey Skidmore conductor Carissimi Jephte Charpentier Le reniement de St Pierre

The agonisingly beautiful lament of Jephte’s daughter concludes this programme, which opens the SJSS Holy Week Festival with glorious Lenten music by Carissimi, Charpentier, Monteverdi, Gesualdo and Anerio – whose Teatro armonico spirituale de madrigali lends the concert its name.

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Contents

Synopsis and repertoire 07 Concert information and soloists 08 Orchestra 09 Characters 10 The theatre of Versailles 12 Choreography Hubert Hazebroucq 14 The science of attraction Professor Viren Swami 16 Support us 18 Biographies 20 OAE team 25 OAE education news 26 Supporters 28 Future concerts 31 OAE news 32

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Dangerous Liaisons

Synopsis and repertoire

All dances without attribution to a source have been choreographed by Hubert Hazebroucq.

ACT ONE Lully: Ouverture from Le Triomphe de l’Amour, 1681

Campra: El esperar en amor es merecer from L’Europe Galante, 1697

Scene I – Idyllic Delight

Campra: Second air, Rondeau from L’Europe Galante, 1697 Choreography: Pécour, 1704

Carefree fancy in the delightful seclusion of shady groves. All is fair game in this idyllic setting far from the noise of society and the jealous gaze of wounded lovers. With the blissful delight of love’s first blush comes the inconstancy and febrile tiffing of shepherd and shepherdess.

Lully: Aimons, tous nous y convie from Thésée, 1675 Choreography: Guillaume-Louis Pécour, c. 1713 Lully: Le Mariée et la Mariée from Les Noces de Village, 1663 Choreography: Pécour, 1700 Lully: Scène de dépit amoureux from Les Amants Magnifiques, 1670 Lully: Quel plaisir d’aimer from Thésée, 1674 Choreography: Ballon, c. 1671-1744 Lully: L’Amour Plait from Thésée, 1674 Lully: Air pour l’Entr’acte from Thésée, 1674

Scene II – Seduction

Now we drink from the heavier cup of infatuation and follow the determined path of seduction. Torment and pain are the price for the ultimate reward, a truth known in every land. Helped by the secret cloak of the night and the darts of Cupid, the lover wins his prize.

Campra: Sommeil qui chaque nuit from L’Europe Galante, 'Deuxième Entrée, L’Espagne ', 1697 Lully: Premier Air des Espagnols from Le Bourgeois Genthilhomme, 1670 Choreography: Feuillet, 1700 Campra: Premier air pour les Espagnols from L’Europe Galante, 1697 Choreography: Pécour, 1704

Campra: Nuit soyez fidelle from L’Europe Galante, 1697 Lully: Premier air des Espagnols from Le Bourgeois Genthilhomme, 1670 Choreography: Favier L’Aîné, c.1648-1719

Scene III – Interlude: Ballet des Fleurs An allegorical interlude. Boreus tries to force Flora to love him, but Zephirus defeats him.

Despite trial and tribulation, all ends happily in this floral divertissement.

Rameau: Gavotte en rondeau from Les Indes Galantes, 1735

Rameau: Air vif pour Zéphire et la Rose from Les Indes Galantes, 1735 Lully: Air pour les nymphes de Flore from Atys, 1676 Choreography: Pécour, c. 1713 Rameau: Air pour Borée et la Rose from Les Indes Galantes, 1735 Rameau: Air pour Zéphire from Les Indes Galantes, 1735 Rameau: Gavotte vive pour les Fleurs from Les Indes Galantes, 1735

Scene IV - Vexation

The course of true love never did run smooth. Armide struggles in vain with the overwhelming passion she feels for her sworn enemy, Renaud. She is bound to strike and kill him, but is undone by her smouldering desire.

Renaud, equally entranced, fights to reconcile love and duty. He feels compelled to abandon Armide but the very thought of separation is too much for her and she faints in despair.

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Lully: Plus j’observe ces lieux from Armide, 1686 Lully: Enfin il est en ma puissance from Armide, 1686 Lully: Passacaille from Armide, 1686 Choreography: Pécour, c. 1713 Lully: Les plaisirs ont choisi pour azile from Armide, 1686

Scene II – Frolics and Mischief

Time for a little merriment far away from the hellish furnace of tormented infatuation. We return to the verdant glades for a parody of Apollo and Daphne and the leafy naughtiness of a seductive Harlequin.

Rameau: Entrée des habitants de la forêt from Hippolyte et Aricie, 1733 Rameau: Air de la Folie from Platée, 1745

Lully: Renaud ? Ciel ! Ô mortelle peine! from Armide, 1686

Mouret: Bourrées 1 et 2 from Les Amours de Ragonde, 1742 Choreography: after Le Roussau, 1720

Marais: Tempête from Alcione, 1706

Mouret: L’Amour chérit nos paisables bocages from Les Amours de Ragonde, 1742

INTERVAL

Lully: Chaconne des Scaramouches, Trivelins et Arlequins from Le Bourgeois Gentilhomme, 1670 Choreography: Feuillet, c.1700-1710

ACT TWO Rameau: Bruit de tonnerre from Hippolyte et Aricie, 1733

Scene I – Loss and Despair

The torment of thwarted passion moves to the fires of the underworld. Dreadful though they are, the hot coals and glowing tongues of Hades are nothing compared to the pain of parted lovers. The unflinching decree of fate yields to the charms of Oprheus. Proserpina gives him the chance to recover his beloved Eurydice.

Meanwhile Vénus sings of love’s empire over her.

The engulfing frenzy of passion drives her to victory for her heart’s desire.

Charpentier: Prélude from Orphée descendant aux enfers, 1684 Lully: Dieux des enfers from Ballet royal de la Naissance de Vénus, 1665 Choreography: after Pécour, c. 1713 Lully: Entrée des Divinités Infernales from Persée, 1682 Choreography: Pécour, c. 1713 Charpentier: Tu ne la perdras point from La descente d’Orphée aux enfers, c. 1686 Campra: Aimable Vainqueur from Hesione, 1700 Choreography: Ballon ,c. 1710 and Pécour, 1701

Campra: Deuxième Air Gayement from L’Europe Galante, 1697 Choreography: Feuillet, c.1700-1710 Marais: Deuxième air des Matelots from Alcione, 1706 Choreography: after Harlequinade, anonymous, c.1706-1720 Corrette: La Furstemberg from Concerto Comique, c. 1760 Choreography: after Pécour, 1702

Scene III - Reconciliation

The joy of reunion and reconciliation: Eglé and Mercure, Zoroaster and Amélite, Terpsichore and her followers. All is well that ends well.

Rameau: Musette from Les Fêtes d’Hébé, 1739 Rameau: Une tendre Bergère from Les Fêtes d’Hébé, 1739 Lully: Qu'une injuste fierté from Acis et Galatée, 1686 Choreography: L'Abbé, c. 1725 Rameau: Mais par les soins from Les Fêtes d’Hébé, 1739 Campra: Gigue from Tancrède, 1702 Choreography: Pécour, 1704 Rameau: Eglé me tient from Les Fetes d’Hebé, 1739 Rameau: Passepieds from Les Fetes d’Hebé , 1739 Rameau: Que ses noeuds sonts charmants from Zoroastre, 1739

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Dangerous Liaisons

Concert information and soloists

Tuesday 26 June 2018 Queen Elizabeth Hall Southbank Centre 7pm The concert will finish at approximately at 9.20pm.

There will be one 20 minute interval.

John Butt – director/harpsichord Hubert Hazebroucq – choreographer Anna Dennis – soprano

Concert supported by Julian and Annette Armstrong

Nick Pritchard – tenor Orchestra of the Age of Enlightenment Les Corps Eloquents are: Hubert Hazebroucq Irène Feste Romain Arreghini

Pre-concert talk with Professor Viren Swami and Nicola Armitage 6pm Queen Elizabeth Hall foyer

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Dangerous Liaisons

Orchestra and dancers

Violin 1 Margaret Faultless Huw Daniel Rodolfo Richter Dominika Feher Silvia Schweinberger Violin 2 Kati Debretzeni Rachel Isserlis Roy Mowatt Debbie Diamond Emilia Benjamin

Flute/Piccolo Lisa Beznosiuk Neil McLaren Oboe/Recorder Katharina Spreckelsen Bethan White Bassoon Joe Qiu

Percussion Nicholas Ormrod Theorbo Eligio Quinteiro Harpsichord Stephen Farr

Viola Simone Jandl Max Mandel Annette Isserlis Martin Kelly Cello Luise Buchberger Catherine Rimer Cello/Viola da gamba Jonathan Manson Emily Ashton Bass violin Andrew Skidmore Bass Cecelia Bruggemeyer

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Dangerous Liaisons

Characters

Crispin Woodhead

Philinte amd Climène

Shepherd and shepherdess, archetypal French pastoral lovers .

Anchise and Vénus

Armide and Renaud

Armide is a magician and niece of the King of Damascus, Hiderot. Although the sworn enemy of Renaud and the knights of the Crusades, she falls in love with him as she moves to strike him. She then casts a spell on Renaud to make him fall in love with her.

Vénus (the goddess of love) tries to thwart the love of Anchise and princess Hésione of Troy. She does this at the request of King Télamon of Salamis who wants Hésione for himself. Vénus tries to split the lovers up with a deception but fails. The god Neptune then intervenes and sends a sea monster to destroy the walls of Troy. Vénus contrives that only King Télamon can defeat the monster and save Troy, but his reward must be princess Hésione. Télemon is victorious, marries Hésione and the Trojans rejoice.

Anchise is given by the gods to Vénus who has her Zephyrs carry her prize away.

Don Pedro

a Spanish Lover from L’Europe Galante, a series of four tales of love from different lands.

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Eglé and Mercure (Mercury)

The shepherdess Eglé, renowned for her charms as a dancer, is to marry.

Mercure, god disguised as man, visits her village, falls promptly in love with her and so piques the jealous attention of the shepherd, Eurilas.

Eglé sets her heart on Mercure and the two lovers celebrate their union, serenaded by Terpsichore, the muse of dance, and her the gods of the forest.

Orphée (Orpheus) and Eurydice

Orpheus of Thrace was the son of Apollo who taught him to play the lyre with such grace and power that neither enemy nor beast could resist. Orpheus falls in love with Eurydice who is bitten by a snake and dies. Orpheus’ lament touches the Gods and Proserpina permits him to descend to Hades to recover Eurydice. He breaks a solemn condition and looks back for Eurydice as he leads her out of Hades and so loses her forever.

Zoroastre and Amélite

Zoroastre, the founder of the Magi, is in a bitter struggle with Abramane, an evil sorcerer. Zoroastre is also in love with Amélite, heir to the throne of Bactria. Abramane is committed to thwarting their union and tries to exile Zoroastre and sends demons to capture Amélite. Twists and turns of fate see Zoroastre prevail with the help of the gods over Abramane who is finally vanquished with thunderbolts. Amidst great rejoicing, Zoroastre and Amélite are crowned

king and queen of Bactria.

Apollon (Apollo) and Daphné (Daphne):

Apollo, a mighty god and warrior, mocks Eros (Cupid) and his arrows.

Eros takes revenge with two arrows, one of gold, which infatuates Apollo with Daphne, one with lead, which fills Daphne with a deep hatred of Apollo.

Apollo pursues Daphne and, just as he is about to grasp her, she calls to her father, Perneus, who then rescues her from Apollo’s clutches, transforming her into a Laurel tree.

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Dangerous Liaisons

The theatre of Versailles Tom Short

The Palace of Versailles may have lost its status as an official royal residence centuries ago, but it has remained in the public imagination as a byword for intrigue, hedonism, and spectacle.

Much of the entertainment which you will encounter tonight emerged during the reign of Louis XIV. In his court, the ability to entertain was power. Having experienced threats to his crown as a young man during a series of aristocratic uprisings known as the Fronde, the King became obsessed with shoring up his absolute sovereignty, and used artistic performance as one of the chief methods of staging his omnipotence.

From dawn to dusk, highly choreographed rituals of court became a means of displaying Louis' divine authority - even his first waking moments of the day had an audience (the levee). However, the greatest entertainments featured at Versailles were the ballets de cours. This art form was introduced from Italy by Catherine de Medici, whose marriage to King Henry II led to a flowering of the arts in France. The young Louis was encouraged to practice ballet and took to it with gusto, making his stage debut at the age of 13, and taking lessons for over twenty years before he hung up his heeled shoes in 1670.

Under Louis' influence, the dances became lengthy, fast-moving displays of athleticism and technical skill - the apt demonstration of his godlike perfection. Since the royal palaces did not have dedicated theatres at this point, temporary stages were set up in their grounds, with views of the lavish scenery in the background. Elaborate sets were constructed, and fantastical symbolic costumes created to give audiences clues as to which mythological character the dancers represented. Louis' most famous role came in the Ballet de la Nuit, a thirteen-hour long production in which the king appeared with the coming of the day as the God Apollo, representing reason, the sun and the arts.

The role reportedly inspired him to later declare himself the Sun King (Roi Soleil).

The palace in 1668 (painting by Pierre Patel)

The King's Composer Louis XIV received his education in music and his first lessons in dance by an Italian, the Florentine Giovanni Battista Lulli. After being brought to France as a chamber-boy, Lulli attracted the attention of the young Louis XIV while dancing with him in the Ballets de la Nuit. By 1653 Lulli had been made the royal composer, and went on to develop the distinctive french Baroque style which you hear this evening. He was later naturalised as a French citizen (becoming Jean-Baptiste Lully) and collaborated frequently with the influential playwright Molière.

Lully eventually directed the AcadĂŠmie Royale de Musique, where he exerted a fierce control over the performance and production of this emerging genre. Lully met an unfortunate end - dying of gangrene after striking himself overenthusiastically with the long cane he used to conduct.

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One of the intentions of this new discipline was to exert control on the nobility, whose thoughts could hardly turn to rebellion if they were preoccupied with learning fancy footwork. Baroque dance specialist Wendy Hilton reports that courtiers could expect to learn between two to four dances a year, while retaining knowledge of some twelve dances. The trend also had a transformative effect on France's international reputation.

As French courtly fashion, manners and dance spread across Europe, the nation's status as a major cultural force became a source of envy.

Alongside the ballet, another art form developed in great strides during the Louis XIV's reign which was also an Italian import - the opera. This emerging art form had been deeply unpopular in France thanks to it's association with Cardinal Mazarin, the much-loathed first minister who served during the early years of Louis XIV's reign.

Ironically, it was an Italian who transformed this style into a uniquely French tradition.

Following an early attempt by the poet Pierre Perrin to create the first French opera, the privilege of producing this form was transferred by the King in 1671 to his official composer, the Florence-born Jean-Baptiste Lully. Lully already had substantial experience composing for the stage thanks to his comédie-ballet productions with the celebrated playwright Molière, which combined spoken word with interludes of music and dance. By 1671, Lully had fallen out with Molière, and had found a more pliable collaborator in the dramatist Phillipe Quinault. Together they created a new style of opera known as tragédie en musique with the premiere of Cadmus and Hermione in 1673.

Early examples of tragédie en musique contained allegorical prologues which sang Louis' praises, and plots which often featured thinly-disguised representations of the King. The form was truly multidisciplinary, combining Lully's inimitable compositions, Quinault's verse, the choreography of Beauchamp and highly sophisticated stage effects and set design.

Lully produced new operas on an almost yearly basis until his death in 1687.

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Louis XIV's costume from the Ballet de la Nuit, in which he performed as Apollo.

Until this moment, operas had generally premiered first at court, before showing in the Spring in Paris. Yet between 1687 and the end of Louis' reign, the reverse became true - operatic production increasingly took place at the newly founded Paris Opéra.

Public tastes had begun to shift away from art which focused on monarchical praise, in favour of new lighter genres such as opéra-ballet, an example of which can be heard tonight in Campra's L'Europe Galante.

Versailles' position as the nation's cultural taste-maker had been lost to Paris.

Despite this trend, many of Lully's successors (Charpentier, Marais and Campra among others) had largely stayed true to the template Lully created. The emergence of Jean-Phillipe Rameau's opera Hippolyte et Aricie instantly divided opinion, thanks to his harmonic innovations, daring use of full orchestrations and greater emphasis on music in dramatic scenes, which the public decried as a violation of the genre. Rameau's ground-breaking works can be seen as part of the same current of revolutionary Enlightenment thought as Diderot and Voltaire, who was the librettist for two of his operas.

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Dangerous Liaisons

Choreography Hubert Hazebroucq

Most of the dances featured tonight are original choreographies, on the original music, as they were composed around 1700. We can reconstruct them thanks to a specific system of dance notation, named, from its inventors, the "Beauchamp-Feuillet" notation. The presentation and explanation of this choreographic writing is first published in 1700, in the book La Chorégraphie ou l'art de décrire la danse, with some examples of well-known dances.

This system - mostly used for ballroom dances - lasted until the Revolution and was widespread in Europe, particularly England, in the first quarter of the 18th century. We also have a few publications of theatrical dances, for ballets on stage, with pieces composed by renowned composers like Pécour, in charge of the dance at the Paris Opera since 1687, or Anthony L'Abbé, dancing-master, or the English Royal family. Some of these dances have even been performed on the stage of the Paris Opera (Académie Royale de Musique) by the most famous dancers, like M.Ballon or Mlle Subligny, who both also toured in London.

The choreographic notation is a conventional design of the space ("chemin"), often symmetrical, seen from above, and on which are inscribed the steps, with indications for the movements associated (bending, rising, jumping, turning, etc.). The page also contains a musical stave, which provides the musical source, and allows a precise connection between each bar and each step. The arm movements are described in other treatises, and documented by the iconography. Even if some steps are similar, each type of character (shepherd, Spaniard, god, peasant...), performs in a specific way, the steps, the arms and the ornaments, according to classical aesthetic principles of proportion linking genre, form and expressivity.

Where we have no notated dances, I have recreated the choreographies on the music. In particular I have recreated the later ones by Rameau using the latest research on mid-18th century style, which significantly differs from 1700.

They are inspired by earlier sources, but even more by later notations, and many descriptions and treatises, in order to be as close as possible to the compositions of that period, reviviving the "galant" expressivity which developed at that time.

Hubert Hazebroucq

The King's dance teacher Born and bred in Versailles, Pierre Beauchamp spent his life serving Louis XIV, teaching him dance for over twenty years. He was then made director of the Académie Royale de Danse, which the king founded in 1662 with the intention to bring together the best ballet masters of the time to codify ballet technique.

Beauchamp is also credited with formalising the five positions of the feet, still used to this day by classical ballet dancers all over the world.

Tom Short

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A Beauchamp-Feuillet style choreographic notation by Mr. Isaac, a choreographer who taught Queen

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Dangerous Liaisons

The science of attraction Professor Viren Swami

Is seeing believing?

Dangerous Liaisons tells a classic love story. But when Rameau and others were writing the music featured in tonight’s spectacle, people used very different theories to speculate why people fall in love.

Psychologist Professor Viren Swami is an expert on the science of attraction. He explains: Attraction through the ages "Philosophers have longed puzzled over the attraction question.

One of the earliest theories was the Cupid theory. Cupid would float about shooting his arrows at random people, and if you happened to be struck by one you would instantly fall in love with the first object or person that you saw.

There are lots of stories in the ancient Greek texts about people falling in love with statues and animals. By the 17th century the idea had shifted based on developments in optical theory.

People believed light would speed from a person into your eyes and down to your beating heart, which would make a decision about whether you found that person attractive.

By the 19th century that had changed slightly so the heart was replaced by the brain. They still thought light would speed from a person, through your eyes and up to your brain, which would make the final decision. Over the years there have been lots of different theories about attraction, and by the 20th century scientists had begun to get interested in why people find each other attractive and how we explain the process.

Body ideals in the Baroque era Body type ideals haven’t always remained constant. The best idea we have to explain why they change is resource security theory. This predicts that we find people attractive if they have resources. One idea is that people who have resources tend to psput on more body fat, because they have more access to food. If you are living in a culture or time where resources tend to be scarce, such as the 17th century, you tend to idealise someone who is heavier.

Also contemporary societies that lack resources, particularly rural societies, tend to idealise a heavier body size compared to urban societies.

Is love what you think it is?

We don’t always make good relationship decisions. One reason is that we carry a lot of emotional baggage. Past relationships, and relationships with our family and parents all influence who we find attractive. Sometimes that isn’t a good thing. We also carry a lot of information from society telling us what the ideal relationship is.

We often make decisions in the early part of relationships when we are stressed, sitting at home waiting for a text from someone and it’s not coming through. A lot of the time we don’t actually make good, informed judgements about who is attractive or who would make a good partner for us."

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To find out more visit oae.co.uk/support or contact: Catherine Kinsler Development Manager catherine.kinsler@oae.co.uk Telephone 020 7239 9370

OAE Patrons OAE Patrons [from £1,000] enjoy unrivalled access to our artistic activity, with opportunities for involvement including invitations to Glyndebourne dress rehearsals, dinner with OAE players and guest artists, Patron trips, and the chance to select a concert in our Southbank Centre season, gaining special insight into the artistic process through backstage and rehearsal access.

OAE Young Patrons We’re committed to enthusing the next generation of philanthropists through our Young Patrons programme. Aimed at people under 45, this membership scheme includes the opportunity to socialise with our musicians, 2 for 1 tickets to The Night Shift and a chance to meet like-minded people at networking events.

Leaving a legacy to the OAE Legacies are crucial to our fundraising and help to sustain and increase the scope of our work.

By leaving a legacy to the OAE you will be helping to shape the Orchestra’s future ensuring we can continue to inspire, enthuse and challenge audiences for years to come.

To find out more visit oae.co.uk/support or contact: Marina Abel Smith Head of Individual Giving marina.abelsmith@oae.co.uk Telephone 020 7239 9380

Images opposite, left to right: Steven Devine – Co-Principal Keyboard Roger Montgomery – Principal Horn Simone Jandl – Co-Principal Viola

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Dangerous Liaisons

Biographies

John Butt John Butt, FBA, FRSE is Gardiner Professor of Music at the University of Glasgow and Musical Director of Scotland's Dunedin Consort. From his time at Cambridge where he was organ scholar at King's College and also received a PhD, he has been successful in remaining at the top of his field in both academia and performance.

Having recorded eleven solo recordings on organ and harpsichord for Harmonia Mundi he has also numerous academic publications, notably Playing with History (2002 CUP), a study of the broad culture of historically informed performance, and Bach's Dialogue with Modernity (2010 CUP), an exploration of the ways in which Bach's passion settings relate to some if the broader concepts of modernity, such as subjectivity and time consciousness.

Since 2003, John has been musical director of Dunedin Consort and their recordings of Bach and Handel have received great critical acclaim, including awards from Gramophone and Midem.

Indeed, Dunedin Consort were placed 11th by Gramophone in their list of 'The 20 Greatest Choirs'.

Forthcoming releases include Bach's St John Passion, Bach's Brandenburg Concertos and Mozart Requiem. On the rare occasion that he is not at work, John can most often be found listening to Bruckner, watching Hitchcock films, walking his lurcher or driving his beloved Triumph Stag.

Hubert Hazebroucq Hubert Hazebroucq is a French dancer, choreographer and independent researcher specialising in Baroque and Renaissance dances.

Formerly a contemporary dancer in Lyon, he discovered historical dancing in 1998 and has been performing for several choreographers: Christine Bayle (L’Éclat des Muses), for whom he has been assistant (in Le Ballet de la Merlaison, 2011), Marie-Geneviève Massé (L’Éventail), Sigrid T’Hooft (Händel Festspiele, Göttingen, 2016).

As a choreographer, Hubert Hazebroucq is in demand with many musical ensembles. Among others, he has created with Doulce Memoire (Denis Raisin-Dadre) a Renaissance dance show, Magnificences à la cour de François 1er, which premiered in Hong Kong and in Chambord in 2015.

As the artistic director of the dance company Les Corps Éloquents, founded in 2008, he aims to show and promote early repertoire with live music, like the recreation of intèrmedes for the Parisian Comédie Italienne (Banque de France / CMBV, 2016), or the divertissements in Le Devin de Village (Théâtre de la Reine of Trianon, Versailles, 2017). The company has performed at international festivals, like the Festival Oude Muziek Utrecht (War in the Ballroom, 2013, Dancing for the Duke of Montagu, 2015). His last creation, La Flûte d’Arlequin, is a solo performance choreographed on the solo flute Fantasias by Telemann. He also collaborates with contemporary artists (Kunsthalle, Baden-Baden 2009), and his production Händel at Boughton (Boughton House, Northamptonshire, 2016) includes a choreography for the world Premiere of Passacaille by contemporary composer Luke Styles.

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Recent operatic roles include: Paride/Gluck’s Paride ed Elena (Nuremberg Opera House), Katherine Dee/ Damon Albarn’s Dr Dee (English National Opera), Emira/Handel’s Siroe (with Laurence Cummings, Göttingen Händel Festspiele), Bersi/Andrea Chenier (Opera North), Ilia/Mozart’s Idomeneo directed

by Graham Vick (Birmingham Opera Company), Pamina/ The Magic Flute (Lichfield Festival) and Strawberry Seller and Strolling Player/Britten’s Death in Venice (La Scala, Milan). A keen interpreter of contemporary music, Anna has created roles in premieres of Francisco Coll’s Café Kafka (Royal Opera House/Opera North/Aldeburgh), Jonathan Dove’s The Walk From The Garden (Salisbury Festival) and The Enchanted Pig (Young Vic), Edward Rushton’s The Shops (Bregenz Festspiele/Royal Opera House) and others. Her recordings include Rameau’s Anacreon of 1754 with the Orchestra of the Age of Enlightenment, Handel’s Siroe and Joshua with Laurence Cummings and Festspiel Orchester Göttingen, and a CD of Russian composer Elena Langer’s chamber works, Landscape with Three People on the Harmonia Mundi label.

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Nick James

Sebastian Xander

Anna Dennis Described by the Times as a “delectable soprano and a serene, ever-sentient presence”, Anna studied at the Royal Academy of Music with Noelle Barker.

Notable concert performances have included Britten’s War Requiem at the Berlin Philharmonie, a programme of Russian operatic arias with Philharmonia Baroque in San Francisco, Thomas Adès’ Life Story accompanied by the composer at the Lincoln Centre’s White Light Festival in New York, Orff ’s Carmina Burana with the Orquestra Gulbenkian in Lisbon, Bach’s Christmas Oratorio with the Australian Chamber Orchestra in Sydney Opera House and with Concerto Copenhagen in Amsterdam, and Haydn’s Schöpfung with Orchestra Ensemble Kanazawa in Japan. Her BBC Proms appearances include performances with the City of Birmingham Symphony Orchestra, the BBC Symphony Orchestra, the Britten Sinfonia and the Orchestra of the Age of Enlightenment.

Nick Pritchard Nick Pritchard read music as a choral scholar at New College, Oxford and studied at the Royal College of Music International Opera School. Last year, he won the 2017 Whatsonstage Opera Poll award for Breakthrough Artist in UK Opera.

Highlights to date include King Arthur for the Early Opera Company (Christian Curnyn), Bach's Mass in B minor with the Monteverdi Choir (Sir John Eliot Gardiner), Bach’s St Matthew Passion with the St Paul Chamber Orchestra (Paul McCreesh), Bach Cantatas with Ensemble Pygmalion (Raphaël Pichon), Matthew in Mark Simpson’s Pleasure for Opera North, and Prologue The Turn of the Screw for Opera Holland Park Recent and future engagements include Lysander A Midsummer Night’s Dream for the Aldeburgh Music Festival, Amphinomus Il ritorno d’Ulisse in patria for the Royal Opera House, Ferrando Così fan tutte for Opera Holland Park, Henry Crawford Mansfield Park for The Grange Festival, Acis Acis and Galatea for the London Handel Festival (Laurence Cummings), John/Angel 3 Written on Skin with Melos Sinfonia (Oliver Zeffman), Britten’s Les Illuminations and Serenade with L’Orchestre de Chambre de Paris (Adrien Perruchon), Charpentier’s Te Deum with the Early Opera Company at Wigmore Hall, Bach’s St John Passion arias/Evangelist with the BBC National Orchestra of Wales (John Butt), Polyphony (Stephen Layton), and in New York with the Choir of New College, Oxford. Nick was appointed by the OAE in 2017 as a Rising Star of the Enlightenment.

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Orchestra of the Age of Enlightenment “Not all orchestras are the same”.

Romain Arreghini After completing his studies at the ESDC Rosella Hightower, Romain Arreghini has studied at the École-Atelier Rudra Béjart in Lausanne. In 2009, he danced for the choreographer Redha (Pour la Beauté du Geste) and joined the Jeune Ballet d’Aquitaine. Since 2010, he has been performing Baroque Dance, mostly with Marie-Geneviève Massé and her company L’Éventail, but also with Françoise Denieau (Rameau, Maître à danser, 2014), and with Les Corps Eloquents in 2016 (Händel at Boughton). He also appears in contemporaneous pieces (as Lancelot in the Rogue Theater play King Arthur, the Wild Hunt, 2012; in Beldurra by Christine Hassid, 2015), and has been a member of Tarek Assam Tanzcompagnie (Giessen, Germany) for 2015-2016. He has choreographed for the musical play Bouteille(s) à la mer (2016), and has been directing the Laboratoire chorégraphique Dhyana Dance Lab since 2017.

Irène Feste Trained in Classical Ballet since the age of 3, holding the French state diploma of dance teacher, but also of engineer, Irène Feste discovers Baroque Dance and Eloquence in 2006 with Christine Bayle, and soon integrates her company L'Eclat des Muses (Médianoche, Le Ballet de la Merlaison...).

In 2007 she founded, with Pierre-François Dollé the Company Fantaisies Baroques, for which she choreographes, dances and offers educational activities in schools and conservatories, for amateurs and professionnals. She has been dancing in most of the repertoire demonstrations and creations by Les Corps Eloquents since 2013, and she featured in the BBC documentary The King who invented Ballet (2015). She has twice received a grant from the Centre National de la Danse for researches about Ballroom dances at the beginning of the XIXth Century (2014-2016).

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 and inventing as long as it lived. Residencies at the Southbank Centre and the Glyndebourne Festival didn’t numb its experimentalist bent. A major record deal didn’t iron out its quirks. Instead, the OAE examined musical notes with ever more freedom and resolve.

That creative thirst remains unquenched. Informal night-time performances are redefining concert formats. New generations of exploratory musicians are encouraged into its ranks. Great performances now become recordings on the Orchestra’s own CD label. It thrives internationally: New York and Amsterdam court it; Oxford and Bristol cherish it.

In its 32nd year, the OAE is part of our musical furniture. But don’t ever think the ensemble has lost sight of its founding vow. Not all orchestras are the same. And there’s nothing quite like this one.

By Andrew Mellor © 2018

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Development Director Emily Stubbs Director of Marketing and Audience Development John Holmes Director of Press Katy Bell Projects Director Jo Perry Orchestra Manager Philippa Brownsword Choir Manager David Clegg Projects Officer Ella Harriss Librarian Colin Kitching Education Director Cherry Forbes Education Officer Andrew Thomson

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Marketing and Press Officer Thomas Short Head of Individual Giving Marina Abel Smith Development and Events Administrator Helena Wynn Development Manager Catherine Kinsler Trusts and Foundation Manager Andrew Mackenzie Development Coordinator Andrea Jung

Board of Directors Sir Martin Smith [Chairman] Luise Buchberger Steven Devine Denys Firth Nigel Jones Max Mandel David Marks Rebecca Miller Roger Montgomery Imogen Overli Olivia Roberts Susannah Simons Katharina Spreckelsen Mark Williams Crispin Woodhead OAE Trust Sir Martin Smith [Chair] Edward Bonham Carter Paul Forman Julian Mash Imogen Overli Rupert Sebag-Montefiore Diane Segalen Leaders Kati Debretzeni Margaret Faultless Matthew Truscott Players’ Artistic Committee Luise Buchberger Steven Devine Max Mandel Roger Montgomery (Chair) Katharina Spreckelsen

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oth you the of

The OAE is a registered charity number 295329 and a registered company number 2040312 Registered office: Kings Place, 90 York Way, London N1 9AG Telephone 020 7239 9370 info@oae.co.uk Design and art direction –LucienneRoberts+ Photography – Angela Moore 025

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OAE Education news

Wondrous Machine at the Royal Albert Hall

Vision 4 Music Our work focused in London in March and April with over 2,000 pupils receiving workshops and attending schools concerts. Early years' pupils took part in our Apple Tree TOTS project learning about the seasons and KS1 students participated in our retelling of Purcell’s The Fairy Queen.

Our Music is Special project culminated with a performance of Wondrous Machine at the Royal Albert Hall as part of the Camden Music Festival which was truly wonderful.

A programme to involve, empower and inspire So far this season we have undertaken

165 workshops 30 concerts With over 12,000 people across the country Support our education programme

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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 marina.abelsmith@oae.co.uk Telephone 020 7239 9380

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The Paston Papers

The Paston Papers are a collection of hundreds of letters dating back to 15th century Norfolk and are a fascinating record of the life and times of the Paston family who lived there. The earliest known Paston letter was written in 1408, and, to mark the 600th anniversary, our Education team were involved in a weekend of musical events including TOTS workshops and concerts, care home visits, a pub gig and a musical adventure walk around Holt Country Park. These events are being followed by a concert designed by Rob Howarth with the Orchestra at St Nicholas Church in North Walsham on Sunday 1 July.

The concert will feature a specially-commissioned piece titled Agnes – a pocket oratorio by composer Sarah Rodgers featuring soprano Julia Doyle and the boys, girls, and men of the Choir of St Nicholas, North Walsham, directed by David Ballard.

OAE Special Needs – ‘Our Band’ ‘Our Band’ is our large-scale Special Educational Needs project which is taking place between 2017-2019. We have created five student bands across the country with a variety of groups from Plymouth, Southampton, London and King’s Lynn. In the first year of this project all groups have been inspired by Purcell’s Dido and Aeneas and have been creating new pieces of music to sit alongside original music from Purcell to create their own twist on this classic story. This term students will be sharing their work with friends and family.

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Supporters

The OAE continues to grow and thrive through the generosity of our supporters.

We are very grateful to our sponsors and Patrons and hope you will consider joining them. We offer a close involvement in the life of the Orchestra with many opportunities to meet players, attend rehearsals and even accompany us on tour.

OAE Thirty Circle The OAE is particularly grateful to the following members of the Thirty Circle who have so generously contributed to the re-financing of the Orchestra through the OAE Trust.

Thirty Circle Patrons Bob and Laura Cory Sir Martin Smith and Lady Smith OBE Thirty Circle Members Victoria and Edward Bonham Carter Nigel Jones and Françoise Valat-Jones Selina and David Marks Julian and Camilla Mash Mark and Rosamund Williams Our Supporters Ann and Peter Law OAE Experience scheme Ann and Peter Law Principal Sponsor

Corporate Partners Apax Partners E.S.J.G. Limited Lubbock Fine Chartered Accountants Mark Allen Group Parabola Land Stephen Levinson at Keystone Law Swan Turton

Season Patrons Julian and Annette Armstrong Bob and Laura Cory Adrian Frost Bruce Harris John Armitage Charitable Trust Nigel Jones and Françoise Valat-Jones Selina and David Marks Sir Martin Smith and Lady Smith OBE Mark and Rosamund Williams Project Patrons JMS Advisory Limited Julian and Camilla Mash Haakon and Imogen Overli Philip and Rosalyn Wilkinson Aria Patrons Denys and Vicki Firth Madeleine Hodgkin Stanley Lowy Gary and Nina Moss Rupert Sebag-Montefiore Caroline Steane Eric Tomsett Chair Patrons Felix Appelbe and Lisa Bolgar Smith – Co-principal Cello Mrs Nicola Armitage – Education Director Hugh and Michelle Arthur – Viola Victoria and Edward Bonham Carter – Principal Trumpet Anthony and Celia Edwards – Principal Oboe Sir Vernon and Lady Ellis – Co-Principal Viola James Flynn QC – Co-Principal Lute/Theorbo Paul Forman – Co-Principal Cello, Co-Principal Bassoon and Co-Principal Horn Su Li and Stephen Gibbons – Violin The Mark Williams Foundation – Co-Principal Bassoon

Jenny and Tim Morrison – Second Violin Andrew Nurnberg – Co-Principal Oboe Professor Richard Portes CBE FBA – Co-Principal Bassoon Olivia Roberts – Violin John and Rosemary Shannon – Principal Horn Christopher Stewart Roger and Pam Stubbs – Sub-Principal Clarinet Crispin Woodhead and Christine Rice – Principal Timpani Education Patrons John and Sue Edwards – Principal Education Patrons Mrs Nicola Armitage Patricia and Stephen Crew The Nigel Gee Foundation Venetia Hoare Rory and Louise Landman Professor Richard Portes CBE FBA Associate Patrons Julia Abel Smith Noël and Caroline Annesley David and Marilyn Clark Christopher and Lesley Cooke David Emmerson Ian S Ferguson and Dr Susan Tranter Jonathan and Tessa Gaisman Peter and Sally Hilliar Jonathan Parker Charitable Trust Noel De Keyzer Marc-Olivier and Agnes Laurent Madame M Lege-Germain Sir Timothy and Lady Lloyd Michael and Harriet Maunsell John Nickson & Simon Rew Roger Mears and Joanie Speers David Mildon in memory of Lesley Mildon Andrew and Cindy Peck Ivor Samuels and Gerry Wakelin Emily Stubbs and Stephen McCrum Shelley von Strunckel Rev’d John Wates OBE and Carol Wates

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We are also very grateful to our anonymous supporters and OAE Friends for their ongoing generosity and enthusiasm.

Mr J Westwood Young Ambassador Patrons William Norris Young Patrons Josh Bell and Adam Pile Nina Hamilton Marianne and William Cartwright-Hignett Sam Hucklebridge Joseph Cooke and Rowan Roberts Natalie Watson Gold Friends Michael Brecknell Mr and Mrs C Cochin de Billy Geoffrey Collens Hugh Courts Silver Friends Dennis Baldry Mrs A Boettcher Haylee and Michael Bowsher Tony Burt Christopher Campbell Michael A Conlon Mr and Mrs Michael Cooper Norman and Sarah Fiore Malcolm Herring Patricia Herrmann Rupert and Alice King Stephen and Roberta Rosefield David and Ruth Samuels Susannah Simons Her Honour Suzanne Stewart Bronze Friends Tony Baines Keith Barton Mr Graham Buckland Dan Burt Anthony and Jo Diamond Mrs SM Edge Mrs Mary Fysh Ray and Liz Harsant The Lady Heseltine Auriel Hill Nigel Mackintosh Angus Macpherson Stephen & Penny Pickles Anthony and Carol Rentoul Paul Rivlin Alan Sainer

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For more information on supporting the OAE please contact: Emily Stubbs Development Director emily.stubbs@oae.co.uk Telephone 020 7239 9381

Gillian Threlfall Mr and Mrs Tony Timms Mrs Joy Whitby David Wilson Trusts and foundations AMK Angus Allnatt Charitable Foundation Apax Foundation Arts Council England Catalyst Fund Arts Council England Small Capital Grants Arts Council England Strategic Touring Fund Barbour Foundation Boltini Trust Boshier-Hinton Foundation Brian Mitchell Charitable Settlement Catherine Cookson Charitable Trust The Charles Peel Charitable Trust Chapman Charitable Trust Chivers Trust Cockayne – London Community Foundation John S Cohen Foundation Derek Hill Foundation D’Oyly Carte Charitable Trust Dunard Fund Ernest Cook Trust Esmee Fairbairn Foundation Fenton Arts Trust Foyle Foundation Garfield Weston Foundation Geoffrey Watling Charity The Golden Bottle Trust Goldsmiths’ Company Charity Idlewild Trust Jack Lane Charitable Trust JMCMRJ Sorrell Foundation J Paul Getty Jnr General Charitable Trust John Lyon’s Charity Lord and Lady Lurgan Trust The Mark Williams Foundation Michael Marks Charitable Trust National Foundation for Youth Music Nicholas Berwin Charitable Trust Old Possum’s Practical Trust Orchestras Live Palazzetto Bru-Zane Paul Bassham Charitable Trust The Patrick Rowland Foundation

PF Charitable Trust PRS Foundation Pye Charitable Settlement RK Charitable Trust RVW Trust Schroder Charity Trust Sir James Knott Trust The Loveday Charitable Trust The R&I Pilkington Charitable Trust The Shears Foundation The Sobell Foundation Valentine Charitable Trust Violet Mauray Charitable Trust

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OAE Advert 14.5x10.5cm_2012_v2_PRESS.pdf

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Lubbock Fine is proud to be associated with The Orchestra of the Age of Enlightenment and wishes it every success.

LF Creative, the dedicated arts and music division of Lubbock Fine, provides specialist accounting and tax advice for musicians.

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Contact Clive Patterson clivepatterson@lubbockfine.co.uk

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Russell Rich russellrich@lubbockfine.co.uk Russell Bedford House, City Forum, 250 City Road, London EC1V 2QQ

www.lfcreative.co.uk

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020 7549 2333

Member of Russell Bedford International - with affiliated offices worldwide

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Upcoming concerts

Like what you heard tonight? There are plenty of opportunities to hear us throughout the year...

What's next?

Handel's spectacular oratorio returns

Schiff's Surprise

Saul

Wednesday 4 July 2018 Queen Elizabeth Hall 7pm

19 July - 25 August 2018 Glyndebourne Various times

Take a whirlwind tour of the music of Austrian master, Joseph Haydn, in the hands of one of the world’s greatest musicians, Sir András Schiff.

Barrie Kosky’s blazingly original and visually spectacular staging of Handel’s oratorio returns for a first revival.

This concert rounds off our Visions, Illusions & Delusions season with a varied programme of music by Haydn, who as much as any other composer redefined what orchestral music came to be during the Enlightenment period.

‘I was interested in surprising the public with something new,’ Haydn said about his Symphony No. 94, now nicknamed the Surprise Symphony because of its breathless invention and numerous musical jokes. It’s paired with Haydn’s Piano Concerto No.11, which is an opportunity to hear Schiff’s playing at its magical best.

Handel’s vision of a Lear-like king is astonishing in its psychological complexity, offering a musical portrait of mental collapse few have since matched.

Combined with thrilling choruses , exquisite arias and bold orchestration filled with unusual instruments, it creates a Biblical drama of truly Shakespearean scope.

Handel expert Laurence Cummings conducts an all-star cast, including Festival favourites Iestyn Davies and Allan Clayton.

Laurence Cummings – Conductor Barrie Kosky – Director

Visit oae.co.uk for more details on all upcoming concerts.

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OAE news

Nadia F Romanini

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Sir András has been awarded many international honours, including the Wigmore Hall Medal, the Schumann Prize, the Golden Mozart-Medaille by the Mozarteum and the Grosses Verdienstkreuz mit Stern in Germany, The Royal Philharmonic Society’s Gold Medal and an Honorary Doctorate by the University of Leeds. He has established a prolific discography and since 1997 has been an exclusive artist for ECM. The conductor says,“The OAE combines exemplary musicianship with a commitment to faithfully representing the composer’s intentions, style and spirit.

These principles are important to me, and I’m delighted and honoured to accept a position with this wonderful orchestra.”

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Kinga Ujszászi

Sir András Schiff is our new principal artist We're thrilled to announce the distinguished pianist and conductor Sir András Schiff as our new Principal Artist. Sir András has worked with numerous international orchestras and conductors. In 1999 he created his own chamber orchestra, the Cappella Andrea Barca. Recitals and special cycles including the major keyboard works of JS Bach, Haydn, Mozart, Beethoven, Schubert, Schumann and Bartók form an important part of his activities.

Our section violin appointments It's always very exciting to have new player members joining the orchestra.

Our six new violinists have already been playing with us for over 18 months and we look forward to having them perform with us over the course of many more seasons. They are: Iona Davies Dan Edgar Alice Evans Julia Kuhn Henry Tong Kinga Ujszászi

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Photo: Elena Lekhova

Dancing with the Stars

2018

Students 12+ yrs

Faculty Sarah Lamb Yasmine Naghdi Federico Bonelli Begoña Cao Roberta Marquez Stephen Beagley Vanessa Fenton Susan Robinson Andrew Ward

4 Day Easter Ballet Course

30 March – 02 April

Venue: RAD Studios London

BOOK NOW Call 020 8480 7118 or book online Quote “GOOD” and get £10 off!

danceforward.co.uk

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What is a theatre Angel?

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The lifeblood of Commercial Theatre are the investors. The ordinary people who invest the money through Producers to make the Shows Happen.

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Industry insider status, recommendations, and information.

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By doing so they join a select club of individuals who are an integral part of the producing process, and enjoy the insider benefits of glamorous press night parties, priority booking and of course if the production is successful, the financial rewards.

“Go on, be an angel” www.theatreangels.com

Cecelia Bruggemeyer – Double Bass [above] Steven Devine [front cover] – Co-Principal Keyboard

Principal sponsor oae.co.uk orchestraoftheageofenlightenment theoae oae_photos

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