Monteverdi Vespers Program

MARCH 2023

MONTEVERDI

VESPERS

SATURDAY MARCH 4, 2023 8:00PM

Platinum Season Sponsor

Phillip N. and Mary A. Lyons Silver Season Sponsor

Charles and Ling Zhang

MONTEVERDI VESPERS Our Lady Queen of Angels Catholic Church Newport Beach Members of Pacific Chorale Robert Istad, artistic director & conductor Bach Collegium San Diego Ruben Valenzuela, artistic director Tesserae Baroque Ian Pritchard, music director Ruben Valenzuela, organ

2022-23 SEASON

Vespro della Beata Vergine (Vespers of the Blessed Virgin) (1610) Claudio Monteverdi (1567–1643) I. Deus in adjutorium / Domine ad adjuvandum me festina Nicholas Preston, soloist Deus, in adjutorium meum intende: Domine, ad adjuvandum me festina.

Make haste, O God, to deliver me: make haste, O Lord, to help me.

Gloria Patri et Filio et Spiritui Sancto.

Glory be to the Father and to the Son and to the Holy Spirit.

Sicut erat in principio, et nunc, et semper, et in sæcula sæculorum. Amen.

As it was in the beginning, is now, and ever shall be, world without end. Amen.

Alleluja.

Allelujah.

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II. Dixit Dominus Katie Martini, Rebecca Hasquet, Ryan Thomas Antal, Nicholas Preston, Jason Francisco, I-Chin Betty Feinblatt and Matthew Kellaway, soloists Dixit Dominus Domino meo: Sede a dextris meis: donec ponam inimicos tuos scabellum pedum tuorum.

The Lord said to my Lord, sit at my right hand, until I make thine enemies thy footstool.

Virgam virtutis tuæ emittet Dominus ex Sion: dominare in medio inimicorum tuorum.

The Lord shall send out the rod of thy strength from Zion: rule thou in the midst of thine enemies.

Tecum principium in die virtutis tuæ in splendoribus sanctorum: ex utero ante luciferum genui te.

At thy beginning in thy day of glory in the splendor of the holy places, before the first light I begat thee.

Juravit Dominus, et non pœnitebit eum: tu es sacerdos in æternum secundum ordinem Melchisedech.

The Lord hath sworn, and will not repent: thou art a priest for ever after the order of Melchisedech.

Dominus a dextris tuis confregit in die iræ suæ reges.

The Lord at thy right hand shall destroy kings in the day of his wrath.

Judicabit in nationibus, implebit ruinas: conquassabit capita in terra multorum.

He shall judge among the nations, fill them with the dead, and smash heads in many lands.

De torrente in via bibet: propterea exaltabit caput.

He shall drink of the brook in the way: thus shall he raise his head.

Gloria Patri et Filio et Spiritui Sancto.

Glory be to the Father and to the Son and to the Holy Spirit.

Sicut erat in principio, et nunc, et semper, et in sæcula sæculorum. Amen.

As it was in the beginning, is now, and ever shall be, world without end. Amen.

III. Nigra sum Nicholas Preston, soloist Nigra sum sed formosa filia Jerusalem.

I am a black but comely daughter of Jerusalem.

Ideo dilexit me rex et introduxit in cubiculum suum et dixit mihi:

Therefore the king hath delighted in me and brought me to his chamber and said to me:

Surge, amica mea, et veni.

Jam hiems transiit, imber abiit, et recessit.

Arise, my love, and come.

For the winter is passed, the rain is over and gone;

Flores apparuerunt in terra nostra, tempus putationis advenit.

Flowers have appeared in our land, the time of pruning is at hand.

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IV. Laudate pueri Chelsea Chaves, Joslyn Sarshad, Sammy Salvador, Yngwie Zamarippa, Michael Fagerstedt and Jared Daniel Jones, soloists Laudate, pueri, Dominum: laudate nomen Domini.

Praise the Lord, ye servants: praise the name of the Lord.

Sit nomen Domini benedictum, ex hoc nunc, et usque in sæculum.

Blessed be the name of the Lord, from this time forth for evermore.

A solis ortu usque ad occasum, laudabile nomen Domini.

From the rising to the setting of the sun, the Lord’s name be praised.

Excelsus super omnes gentes Dominus, et super cœlos gloria ejus.

The Lord is high above all nations, and his glory above the heavens.

Quis sicut Dominus Deus noster, qui in altis habitat, et humilia respicit in cœlo et in terra?

Who is like the Lord our God, who dwelleth on high, Yet respecteth humbly what is in heaven and earth?

Suscitans a terra inopem, et de stercore erigens pauperem:

He raiseth the simple from the dust, and lifteth the poor from the mire.

Ut collocet eum cum principibus, cum principibus populi sui.

That he may set him with princes, even the princes of his people.

Qui habitare facit sterilem in domo, matrem filiorum lætantem.

Who maketh the barren woman to keep house, a joyful mother of children.

Gloria Patri et Filio et Spiritui Sancto.

Glory be to the Father and to the Son and to the Holy Spirit.

Sicut erat in principio, et nunc, et semper, et in sæcula sæculorum. Amen.

As it was in the beginning, is now, and ever shall be, world without end. Amen

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V. Pulchra es Chelsea Chaves and Stephanie Shepson, soloists Pulchra es, amica mea, suavis et decora filia Jerusalem.

Thou art beautiful, my love, a sweet and comely daughter of Jerusalem.

Pulchra es, amica mea, suavis et decora sicut Jerusalem, terribilis ut castrorum acies ordinata.

Thou art beautiful, my love, sweet and comely as Jerusalem, terrible as an army arrayed for battle.

Averte oculos tuos a me, quia ipsi me avolare fecerunt.

Turn thine eyes from me, for they make me flee away.

VI. Laetatus sum Sammy Salvador, Yngwie Zamarippa, Maria Cristina Navarro, Sarah Thompson, Jane Hyun-Jung Shim and Ryan Thomas Antal, soloists Lætatus sum in his, quæ dicta sunt mihi: in domum Domini ibimus.

I was glad when they said to me: we will go into the house of the Lord.

Stantes erant pedes nostri, in atriis tuis, Jerusalem.

Our feet shall stand in thy gates, O Jerusalem.

Jerusalem, quæ ædificatur ut civitas: cujus participatio ejus in idipsum.

Jerusalem, that is built as a city that is at one with itself.

Illuc enim ascenderunt tribus, tribus Domini testimonium Isræl ad confitendum nomini Domini.

For thither the tribes go up, the tribes of the Lord, to the testimony of Isræl, to give thanks to the name of the Lord.

Quia illic sederunt sedes in judicio, sedes super domum David.

For there are the seats of judgement, the thrones of the house of David.

Rogate quæ ad pacem sunt Jerusalem: et abundantia diligentibus te.

Pray for the peace of Jerusalem: they shall prosper that love thee.

Fiat pax in virtute tua: et abundantia in turribus tuis.

Peace be within thy walls, and plenty within thy palaces.

Propter fratres meos, et proximos meos, loquebar pacem de te:

For my brethren, and my companions, I will seek peace for thee.

Propter domum Domini Dei nostri, quæsivi bona tibi.

For the house of the Lord our God, I will seek to do thee good.

Gloria Patri et Filio et Spiritui Sancto.

Glory be to the Father and to the Son and to the Holy Spirit.

Sicut erat in principio, et nunc, et semper, et in sæcula sæculorum. Amen.

As it was in the beginning, is now, and ever shall be, world without end. Amen.

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VII. Duo Seraphim Nicholas Preston, Jason Francisco and Matthew Kellaway, soloists Duo Seraphim clamabant alter ad alterum: Sanctus, sanctus, sanctus, Dominus Deus Sabaoth.

Plena est omnis terra gloria ejus.

Two seraphim cried to one another: Holy, holy, holy is the Lord God of Sabaoth.

The whole earth is full of his glory.

Tres sunt, qui testimonium dant in cœlo: Pater, Verbum et Spiritus Sanctus: et hi tres unum sunt.

There are three who bear witness in heaven: the Father, the Word, and the Holy Spirit: and these three are one.

Sanctus, sanctus, sanctus, Dominus Deus Sabaoth.

Plena est omnis terra gloria ejus.

Holy, holy, holy is the Lord God of Sabaoth.

The whole earth is full of his glory.

VIII. Nisi Dominus Nisi Dominus ædificaverit domum, in vanum laboraverunt qui ædificant eum.

Unless the Lord build the house, they labor in vain who build it.

Nisi Dominus custodierit civitatem, frustra vigilat qui custodit eam.

Except the Lord keep the city, he watcheth in vain who keepeth it.

Vanum est vobis ante lucem surgere: surgite postquam sederitis, qui manducatis panem doloris.

It is vain for you to rise before dawn: rise later, ye who have eaten the bread of sorrows;

Cum dederit dilectis suis somnum: ecce, hæreditas Domini filii: merces, fructus ventris.

When he will give sleep to his chosen.

Lo, children are a heritage of the Lord; a reward, the fruit of the womb.

Sicut sagittæ in manu potentis: ita filii excussorum.

As arrows in the hands of the mighty, thus are the children of outcasts.

Beatus vir qui implevit desiderium suum ex ipsis: non confundetur cum loquetur inimicis suis in porta.

Blessed is the man whose quiver is full of them: they shall not be ashamed when they confront their enemies in the way.

Gloria Patri et Filio et Spiritui Sancto.

Glory be to the Father and to the Son and to the Holy Spirit.

Sicut erat in principio, et nunc, et semper, et in sæcula sæculorum. Amen.

As it was in the beginning, is now, and ever shall be, world without end. Amen.

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IX. Audi coelum / Omnes hanc ergo Sammy Salvador and Jason Francisco, soloists Audi, cœlum, audi verba mea plena desiderio et perfusa gaudio.

Dic, quæso, mihi: Quæ est ista quæ consurgens ut aurora rutilat, ut benedicam?

Dic nam ista pulchra ut luna, electa ut sol, replet lætitia terras, cœlos, maria.

Maria virgo illa dulcis prædicta de propheta Ezekiel, porta orientalis?

Illa sacra et felix porta per quam mors fuit expulsa introducta autem vita?

Quæ semper tutum est medium inter homines et Deum pro culpis remedium?

Audio

Dicam

Maria

Talis

Ita

Medium

Hear, O heaven, hear my words full of longing and pervaded by joy.

I hear

Tell me, I pray, who is she that shines like the dawn in her rising, that I might bless her?

I will tell

Tell me, for she, beauteous as the moon, radiant as the sun, fills with joy the earth, heavens and seas.

Mary

Mary, that sweet virgin foretold by the prophet Ezekiel, the gateway to the East?

Even she

That sacred and happy portal through which death was driven out and life brought in?

She who is always a sure intermediary between men and God, the cure for our sins?

Even so

The Mediator

Omnes hanc ergo sequamur qua cum gratia mereamur vitam æternam.

Consequamur.

Sequamur

Let us all therefore follow her through whose grace we may be granted eternal life.

Let us go with her.

Let us follow

Præstet nobis Deus, Pater hoc et Filius et Mater cujus nomen invocamus dulce miseris solamen.

May God help us, God the Father, and the Son, and the Mother on whose sweet name we call as a comfort to the wretched.

Benedicta es, virgo Maria, in sæculorum sæcula.

Amen

Amen

Thou art blessed, virgin Mary, for ever and ever.

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X. Lauda Jerusalem Lauda, Jerusalem, Dominum: lauda Deum tuum, Sion.

Praise the Lord, O Jerusalem; praise thy God, O Zion.

Quoniam confortavit seras portarum tuarum: benedixit filiis tuis in te.

For he hath strengthened the bars of thy gates; he hath blessed thy children within thee.

Qui posuit fines tuos pacem: et adipe frumenti satiat te.

He maketh peace in thy borders, and filleth thee with the finest wheat.

Qui emittit eloquium suum terræ: velociter currit sermo ejus.

He sendeth his commandment to the earth; his word runneth swiftly.

Qui dat nivem sicut lanam: nebulam sicut cinerem spargit.

He giveth snow like wool; he scattereth hoar frost like ashes.

Mittit crystallum suam sicut buccellas: ante faciem frigoris ejus quis sustinebit?

He casteth forth his ice like morsels; before his cold who can stand?

Emittet verbum suum, et liquefaciet ea: flabit spiritus ejus, et fluent aquæ.

He sendeth out his word, and melteth them; his spirit blows, and the waters flow.

Qui nnunciate verbum suum Jacob: justitias et judicia sua Isræl.

He sheweth his word unto Jacob, his statutes and judgements to Isræl.

Non fecit taliter omni nationi: et judicia sua non manifestavit eis.

He hath not dealt so with any nation; and his judgments he hath not made manifest.

Gloria Patri et Filio et Spiritui Sancto.

Glory be to the Father and to the Son and to the Holy Spirit.

Sicut erat in principio, et nunc, et semper, et in sæcula sæculorum. Amen.

As it was in the beginning, is now, and ever shall be, world without end. Amen.

XI. Sonata sopra Sancta Maria, ora pro nobis Sancta Maria, ora pro nobis.

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Holy Mary, pray for us.

XII. Hymnus: Ave maris stella Jane Hyun-Jung Shim, Emily Border and Jared Daniel Jones, soloists Ave maris stella, Dei Mater alma Atque semper Virgo Felix cœli porta.

Hail, star of the sea, bountiful mother of God and ever Virgin, happy gate of heaven.

Sumens illud Ave Gabrielis ore, Funda nos in pace, Mutans Evæ nomen.

Taking that Ave from the mouth of Gabriel, preserve us in peace, giving Eve a new name.

Solve vincla reis, Profer lumen cæcis, Mala nostra pelle, Bona cuncta posce.

Loose the chains of the bound, bring light to the blind, drive out our ills, invoke all things good.

Monstra te esse matrem, Sumat per te preces, Qui pro nobis natus, Tulit esse tuus.

Show thyself to be a mother, may he who was born for us receive our prayers through thee.

Virgo singularis, Inter omnes mitis, Nos culpis solutos, Mites fac et castos.

Singular virgin, more gentle than all, absolve us from sin and make us gentle and pure.

Vitam præsta puram, Iter para tutum, Ut videntes Jesum Semper collætemur.

Grant us a pure life, prepare a safe way, that in seeing Jesus we may rejoice for ever.

Sit laus Deo Patri, Summo Christo decus, Spiritui Sancto Trinus honor unus. Amen.

Praise be to God the Father, glory to Christ on high, and with the Holy Spirit one triple honor. Amen

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XIII. Magnificat a 7 1. Magnificat anima mea Alexandria Burdick, soloist Magnificat anima mea Dominum:

My soul doth magnify the Lord,

2. Et exsultavit Nicholas Preston and Jason Francisco, soloists et exultavit spiritus meus in Deo salutari meo.

and my spirit hath rejoiced in God my savior.

3. Quia respexit Quia respexit humilitatem ancillæ suæ: ecce enim ex hoc beatam me dicent omnes generationes.

For he hath regarded the lowliness of his handmaiden: for behold from henceforth all generations shall call me blessed.

4. Quia fecit Jared Daniel Jones and Matthew Kellaway, soloists Quia fecit mihi magna qui potens est: et sanctum nomen ejus.

For he that is mighty hath done great things to me, and holy is his name.

5. Et misericordia Et misericordia ejus a progenie in progenies timentibus eum.

And his mercy is on them that fear him from generation to generation

6. Fecit potentiam I-Chin Betty Feinblatt, soloist Fecit potentiam in brachio suo: dispersit superbos mente cordis sui.

He hath shewed strength with his arm; he hath scattered the proud of heart.

7. Deposuit Deposuit potentes de sede, et exaltavit humiles.

He hath put down the mighty from their seat, and hath exalted the lowly.

8. Esurientes Esurientes implevit bonis: et divites dimisit inanes

He hath filled the hungry with good things, and the rich he hath sent empty away

9. Suscepit Israel Katie Martini and Rebecca Hasquet, soloists Suscepit Isræl puerum suum, recordatus misericordiæ suæ.

He hath sustained Isræl his servant, remembering his mercy.

10. Sicut locutus est icut locutus est ad patres nostros, Abraham et semini ejus in sæcula.

As he promised to our forefathers, Abraham and his seed for ever

11. Gloria Patri Nicholas Preston and Jason Francisco, soloists Gloria Patri et Filio et Spiritui Sancto.

Glory be to the Father and to the Son and to the Holy Spirit.

12. Sicut erat Sicut erat in principio, et nunc, et semper, et in sæcula sæculorum. Amen.

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As it was in the beginning, is now, and ever shall be, world without end. Amen.

PROGRAM NOTES

JOHN KOEGEL PROFESSOR OF MUSICOLOGY | CALIFORNIA STATE UNIVERSITY, FULLERTON

Claudio Monteverdi

Italian composer Claudio Monteverdi’s (15671643) famous Vespro della Beata Vergine, his Vespers of 1610, an elaborate polyphonic setting of the liturgical Vespers evening service, dedicated to the Blessed Virgin Mary, was aptly described by musicologist John Whenham as a “mixture of the splendid and intimate, the sensual and the sublime.” The Vespers was published in individual part books in Venice in 1610 when the composer was employed in Mantua in northern Italy as music director at the court of Duke Vincenzo Gonzaga. It is a compendium of late-Renaissance polyphonic techniques and early Baroque compositional practices, including the use of the (then still fairly new) basso continuo accompaniment practice, and it highlights alternation of sonorities and different combinations of solo vocal, choral, and instrumental textures.

Although commonly performed as a concert work today, it is not definitely known if the Vespers was ever performed during Monteverdi’s lifetime, or if the composer ever intended it to be performed as a complete entity. As with other late-Renaissance and early-Baroque musical publications, the Vespers of 1610 is a multi-purpose collection, with several possible uses. The printed part books that contain Monteverdi’s magnificent Vespers music also include his full-length polyphonic Mass setting (not performed tonight). Together the Mass and Vespers settings represent a gathering of Monteverdi’s work for performance and admiration that can be used in various ways, for large and small musical forces, in both elaborate and simpler contexts; the solo and choral voices can be accompanied by instrumental ensemble or just by organ. Tonight the Pacific Chorale, Bach Collegium San Diego, and members of Tesserae Baroque perform Monteverdi’s entire Vespers in its full arrangement.

Although in 1613 Monteverdi would be appointed to the prestigious post of music director at St. Mark’s in Venice, with its large choral and instrumental ensemble, at the time of the publication of his Vespers in 1610 he was not primarily employed in Mantua as a church musician and details of his involvement with sacred music there are scant.

Music scholars have suggested that one reason for the composition of his Vespers may have been that he wished to demonstrate his mastery of sacred music composition in hopes of finding more lucrative and regular employment as a church musician; he felt he was underappreciated and overworked in Mantua in producing theatrical music and with other duties. (His early operatic masterpiece L’Orfeo was performed in Mantua in 1607 and his now almost entirely lost opera Arianna was produced there in 1608.)

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Monteverdi dedicated his published Mass and Vespers in honor of the Virgin Mary to Pope Paul V, and the individual printed part books— arranged by voice and instrument type and range—include a dedicatory letter to the Pope with the usual compliments but also with a surprising section suggesting at least one reason he wrote the set was to invoke the protection of the dedicatee: “So that the mouths of Claudio’s wicked detractors might be closed, I bring and offer at Your most holy feet these things of mine, such as they are, the fruits of my nocturnal labor.”

(The theorist Giovanni Maria Artusi had attacked Monteverdi in print by 1610, reacting negatively to the new expressive compositional styles that the composer favored.)

Monteverdi traveled to Rome in October 1610 hoping to be able to present his music to the Pontiff. Although no copies of the printed music are preserved in the Vatican collections, one part book with the Pope’s coat of arms survives in a Roman archive, suggesting that the composer was able to present his music collection to Paul V. His trip to Rome also brought him to the attention of influential cardinals and other prelates. Although he had stated to his employer that one of the purposes of his trip was to obtain a place at the Roman Seminary for his son, his activities caused Duke Vincenzo Gonzaga to doubt his loyalty and suspect that he was seeking another position— which indeed may have been the case.

Duke Vincenzo died in 1612 and his successor, his son Francesco Gonzaga, seeking to reduce expenses for his court, dismissed Monteverdi. The composer remained unemployed until 1613, when with good fortune he was appointed chapelmaster at St. Mark’s Basilica in Venice, one of Italy’s and Europe’s grandest churches and musical establishments. Although the Vespers did not play a role in his audition for this well-paid position, his new employers took into account his reputation and published works, likely also including the Vespers.

The Vespro della Beata Vergine opens with the soloist’s chant recitation on “Deus in adiutorium meum intende” (O God, come to my assistance) followed by a choral response “Domine ad adiuvandum me festina” (O Lord, make haste to help me) supported by the full complement of instruments playing the fanfare-like music taken from the instrumental opening of Monteverdi’s opera L’Orfeo. Following this dramatic beginning are nine alternating movements of motets and psalm settings, a movement for solo soprano and instrumental ensemble, a hymn in honor of Mary, and a concluding Magnificat, also in honor of Mary. The motets with prose texts—also called “sacred concertos”—alternate with the psalm

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settings and provide a Christian context for the singing of poetic texts from the Hebrew Book of Psalms. The composer indicated that these were “suitable for the chapel or a princely chamber,” and they can be performed separately from the complete Vespers. The prose texts of these sacred motets offered the composer many possibilities for musical settings and could be adapted, whereas the texts of the psalms could not altered. For example, two movements set texts adapted from the Songs of Songs (Song of Solomon), “Nigra sum” and “Pulchra es.”

Monteverdi used his extensive experience as a madrigalist to write expressive musical settings that evocatively enhance the meaning of the texts, especially during the highly ornate vocal solos, duos, and trios. Solo singers were expected to embellish the vocal line according to accepted good taste while also clearly stressing important words or syllables, all while singing highly melismatic (melodically elaborate) music. A good example is the “Duo Seraphim” movement for three tenors, one of the most stirring sections of the Vespers, in which vocal virtuosity and sensitivity to the text are needed. In this movement the angels’ call is heard throughout the heavens with the use of elaborate vocal lines and expressive dissonance.

Monteverdi consistently uses the cantus firmus technique throughout his psalm settings and in the concluding Magnificat—the practice of quoting and paraphrasing the original chant melody on which the polyphonic work is constructed.

And in some movements, he uses the common Italian practice of falsobordone, a chordal and recitational setting of the text, often a harmonized chant melody, especially for the psalm settings. This simple treatment was in line with the dictates of the Counter-Reformation Council of Trent (1545-1563), which stipulated the use of simpler musical settings so that the “words might be comprehended by all and that the hearts of the listeners might by joyful contemplation be seized with a desire of heavenly harmony and blessed things.”

Pope Paul the V

In some movements Monteverdi juxtaposes a simple melodic treatment in certain voices with an intricate, polyphonic web of majestic vocal and instrumental sound. In the “Sonata sopra Sancta Maria,” for solo soprano and eight instruments (two violins, two cornetti, three trombones, and basso continuo), the vocalist sings the chant melody in long notes over an otherwise instrumental movement. After the Marian hymn “Ave maris stella” (Hail, star of the sea), Monteverdi concludes his Vespers with a seven-voice Magnificat, setting the Canticle of Mary that reflects her joy on receiving the news that she will give birth to the Christ child. The composer set each verse of this extensive text in inventive, moving ways that show his mastery of the late-Renaissance and earlyBaroque compositional styles.

Monteverdi’s Vespers of 1610 is a magnificent compendium of compositional techniques that not only demonstrates his devotion to Mary, sensitivity to text, and prodigious artistic talents, but also represents an important milestone in the composer’s life story. It moves us deeply today with its beautiful music and expert employment of contrasting and complementary choral, solo vocal, and instrumental forces. The Vespers of 1610 has firmly and definitively entered the choral repertory as one of the great masterpieces, a position it surely will hold far into the future.

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JOSEPH HAYDN Missa in angustiis, “Nelson Mass”

ROBERT ISTAD PHILLIP N. AND MARY A. LYONS ARTISTIC DIRECTOR CHAIR

ROBERT ISTAD, a Grammy Award-winning conductor who “fashions fluent and sumptuous readings” (Voice of OC) with his “phenomenal” artistry (Los Angeles Times), was appointed Pacific Chorale’s Artistic Director in 2017. Under his leadership, the chorus continues to expand its reputation for excellence for delivering fresh, thought-provoking interpretations of beloved masterworks, rarely performed gems and newly commissioned pieces. His artistic impact can be heard on two recent recordings featuring Pacific Chorale, including the 2020 Grammy Award-

winning “Mahler’s Eighth Symphony” with the Los Angeles Philharmonic Orchestra conducted

by Gustavo Dudamel on Deutsche Grammophon (2021), for which he prepared the chorus. It won Best Choral Performance and also garnered a Grammy nomination for Best Engineered Album, Classical. Additionally, Istad conducted the Pacific Chorale’s recording “All Things Common: The Music of Tarik O’Regan” released on Yarlung Records (2020). Istad has prepared choruses for such renowned conductors as Esa-Pekka Salonen, John Williams, John Mauceri, Keith Lockhart, Nicholas McGegan, Vasilly Sinaisky, Sir Andrew Davis, Bramwell Tovey, Carl St.Clair, Eugene Kohn, Giancarlo Guerrero, Marin Alsop, George Fenton, and Robert Moody. He regularly conducts and collaborates with Pacific Symphony, Musica Angelica Baroque Orchestra, Sony Classical Records, Yarlung Records, Berkshire Choral International, and Long Beach Symphony Orchestra. An esteemed educator, Istad is Professor of Music and Director of Choral Studies at California State University, Fullerton, where he was recognized as CSUF’s 2016 Outstanding Professor of the Year. He conducts the University Singers and manages a large graduate conducting program, in addition to teaching courses on conducting and performance practice. Istad, who is on the Executive Board of Directors of Chorus America and serves as Dean of Chorus America’s Conducting Academy, is in demand as guest conductor, lecturer, and clinician.

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PACIFIC CHORALE SOPRANO Rebecca Hasquet, section leader Lauren Adaska Alexandria Burdick Chelsea Chaves Katie Martini Maria Cristina Navarro Joslyn Sarshad Sarah Thompson ALTO Jane Hyun-Jung Shim, section leader Emily Border Denean R. Dyson I-Chin Betty Feinblatt Stacey Y. Kikkawa Laurel Sanders Stephanie Shepson Alison Stickley TENOR Nicholas Preston, section leader roger w. johnson memorial chair Abraham Cervantes Kibsaim Escarcega Jason Francisco Alan Garcia David Melendez Sammy Salvador Yngwie Zamarippa BASS Ryan Thomas Antal, section leader ron gray legacy chair

Michael Fagerstedt Jared Daniel Jones Matthew Kellaway Emmanuel Miranda Jason Pano Raphael Poon Malek Sammour

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PACIFIC CHORALE The Grammy Award-winning PACIFIC CHORALE, an Orange County “treasure” with a “fresh viewpoint” that “can sing anything you put in front of it, with polish, poise and tonal splendor” (Orange County Register) has “risen to national prominence” (Los Angeles Times) since its inception in 1968. Hailed for delivering “thrilling entertainment” (Voice of OC), the resident choir at Segerstrom Center for the Arts is noted for its artistic innovation and commitment to expanding the choral repertoire. It has given the world, U.S., and West Coast premieres of more than 35 works, including numerous commissions, by such lauded composers as John Adams, Jake Heggie, James Hopkins, David Lang, Morten Lauridsen, Tarik O’Regan, Karen Thomas, Frank Ticheli, András Gábor Virágh, and Eric Whitacre. Among other artistic highlights, Pacific Chorale’s “The Wayfaring Project,” a stunning original concert film conceived and conducted

by Istad and produced during the pandemic, was picked up by PBS SoCal and KCET and will be streamed through December 1, 2024 on pbssocal.org, kcet.org and the PBS app, reaching audiences across the Southland and around the globe. In addition to presenting its own concert series each season, Pacific Chorale enjoys a longstanding partnership with Pacific Symphony, with whom the choir made its highly anticipated Carnegie Hall debut in 2018. The chorus also regularly appears with the Los Angeles Philharmonic, with which it won the 2022 Grammy Award for Best Choral Performance as well as a Grammy nomination for Best Engineered Album, Classical, for its contribution to the live classical recording of “Mahler:

Symphony No. 8, ‘Symphony of A Thousand’” conducted by Gustavo Dudamel, featuring Los Angeles Philharmonic, Los Angeles Children’s Chorus, Los Angeles Master Chorale, National Children’s Chorus and Pacific Chorale. The choir has performed with such leading orchestras as the Boston Symphony, National Symphony, Los Angeles Chamber Orchestra, Philharmonia Baroque Orchestra, San Diego Symphony, and Musica Angelica, among others. Pacific Chorale has garnered international acclaim as well, having toured extensively to more than 19 countries in Europe, South America, and Asia, and through collaborations with the London Symphony, Munich Symphony, L’Orchestre Lamoureux and L’Orchestre de St-Louis-en-l’Île of Paris, National Orchestra of Belgium, China National Symphony, Hong Kong Sinfonietta, Estonian National Symphony, and Orquesta Sinfonica Nacional of Argentina, among others.

Deeply committed to making choral music accessible to people of all ages, the organization, which has a discography of 14 self-produced recordings and an extensive collection of exceptional free digital offerings, places a significant emphasis on choral music education, providing after-school vocal programs for elementary school students, a choral summer camp for high school students, and an annual community-wide singing event at Segerstrom Center for the Arts. www.pacificchorale.org

BACH COLLEGIUM SAN DIEGO

BACH COLLEGIUM SAN DIEGO (BCSD) was founded in 2003 by Artistic Director Ruben Valenzuela to bring dynamic historically informed performances to the greater San Diego area. Over the last twenty seasons the ensemble has garnered international and national recognition through its exemplary talent and creative programming. The ensemble engages many of the country’s finest vocalists and instrumentalists, making it one of the premier early music ensembles in the United States. Recently, the ensemble has gained national attention through its El Mesías: Messiah for a New World project which yielded an original complete Spanish libretto of Handel’s iconic oratorio, which included a performance at Centro Cultural, Tijuana. Additionally, BCSD has been invited to make its BachFest, Leipzig debut in June 2024.

TESSERAE BAROQUE Described as ‘mighty yet nimble’ (San Diego Story), Tesserae Baroque is quickly emerging as one of the most exciting and versatile period instrument ensembles in the US, receiving invitations to perform across the US. Past highlights include Tesserae’s performance of Handel and Rameau under the direction of Christophe Rousset, performances of Palestrina with Folger Consort and Stile Antico at the National Cathedral, a performance of the Monteverdi Vespers under the direction of Stephen Stubbs, a 27-person performance of works by Giovanni Gabrieli, featuring Bruce Dickey, and most recently a performance in Zipper Hall of Dresden orchestral music, directed by Rachel Podger. Tesserae has performed for San Francisco Early Music Society, Arizona Early Music Festival, and the Corona del Mar Baroque Festival. Tesserae is the resident ensemble for Cal Poly Bach Week.

VIOLIN Janet Strauss Sue Feldman VIOLA Andrew Waid Lindsey Strand-Polyak CELLO Alex Greenbaum BASS Shanon Zusman THEORBO Matthew Xie CORNETTI Alex Opsahl Kiri Tollaksen SACKBUT Spencer Schaffer Rebecca Burrington Noah Gladstone KEYBOARD Ruben Valenzuela

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RUBEN VALENZUELA Internacional de Música Renacentista y Barroca Misiones de Chiquito in Bolivia. In addition to his work with BCSD, Valenzuela is regularly called upon as a guest director and keyboardist.

Notable guest engagements include Bach Vespers at Holy Trinity, New York City, Marsh Chapel Choir and Collegium at Boston University, Bach at Emmanuel Church, Boston, Juilliard415 at Lincoln Center, New York City, and the Washington Bach Consort. Upcoming invitations include Westminster Choir College with the Orchestra of St. Luke’s, Seraphic Fire, Handel+Haydn Society, and BachFest, Leipzig.

RUBEN VALENZUELA is the Founder and Artistic Director of Bach Collegium San Diego (BCSD). As a conductor, keyboardist, and musicologist, he has led BCSD in notable performances of music of the Renaissance, early and high Baroque, early Classical period, as well as music of the twentieth century. Valenzuela’s performances have been described as ‘dramatic’ and ‘vibrant’ and ‘able to unlock the true power of Baroque music’ (SanDiegoStory.com). Under Valenzuela’s leadership, BCSD has achieved international acclaim through virtuosic performances of iconic repertoire, in addition to lesser-known works.

With BCSD he has toured to the Festival Internacional del Órgano Barroco in Mexico City and Zamora, Michoacán, and to the Festival

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As a musicologist Valenzuela has undertaken research at the Centro Nacional de Investigación, Documentación e Información Musical, Carlos Chavez (CENEDIM, Mexico City), and at the Archivo del Cabildo of Mexico City Cathedral.

In 2016, he presented a paper titled: Mexican Religious Iconography (Angels musicians and the Basso Continuo in Mexico City Cathedral) for the inaugural Historical Performance Institute of the Jacobs School of Music, Indiana University.

Valenzuela’s musical interests are wide ranging to include the life and music of Anglo-Canadian composer Healey Willan, which led to the creation of the year-long Willan West 2018 festival. Additionally, Valenzuela maintains a lifelong interest in Jamaican popular music of the late ‘50s and 1960s, and in particular Mento, Ska, Rocksteady, and early Reggae.

Valenzuela holds a PhD in Musicology from Claremont Graduate University and is also the Director of Music & Organist of All Souls’ Episcopal Church, San Diego.

PACIFIC CHORALE GOES ON TOUR In July 2023, Pacific Chorale flies across the pond for our first international tour in seven years, with appearances planned in Germany, Austria, and England, including collaborations with regional European orchestras.

Local Pacific Chorale fans will have the opportunity to hear the choir perform this concert at the Renée and Henry Segerstrom Concert Hall on May 20, 2023.

Robert Istad, conductor Pacific Chorale Aundi Marie Moore, soprano I-Chin Feinblatt, mezzo-soprano Nicholas Preston, tenor Michael Sumuel, bass-baritone Joseph Haydn Missa in Angustiis “Nelson Mass” Florence Price Abraham Lincoln Walks at Midnight

THANK YOU TO OUR TOUR SPONSORS! Dennis and Marcía O’Hern Phillip N. and Mary A. Lyons Jan Landstrom Pat and Craig Newton John and Marcia Cashion Lenora Meister Mary Ester Blakley Wanlyn Bejach Tom and Anne Henley Dr. Andrei Novac and Dr. Bonita Jaros George Reiss Peter and Martha Wetzel James and Karen McBride

Diana Hensley Michael and Susan Jacobs Brian D. Bates, CPA Craig Davis Craig and Deborah Kistler Randi W. Larsen Michael Lawler Ryan McSweeney Forrest Suchey Amanda and Andrew Whiting Raymond and Lois Helm Beeman Barbara Kingsbury

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SAVE THE DATE

A NIGHT IN SALZBURG!

MAY 20, 2023 at Avenue of the Arts Hotel in Costa Mesa immediately following our closing concert

JOIN THE GRAMMY-WINNING PACIFIC CHORALE, ORANGE COUNTY’S PREMIER CHORAL ENSEMBLE, FOR OUR ANNUAL GALA! Presenting RICHARD STEIN with the Entrepreneur in the Arts Lifetime Achievement Award, in recognition of his tenacious leadership and rallying of the entire Orange County arts community during the pandemic, and for his 14 years of service to our community, this one-ofa-kind evening is expected to sell out quickly.

RICHARD STEIN President & CEO of Arts Orange County TOP: Jane Fujishige Yada with the winning bid at the live auction for Pacific Chorale’s 2022 Gala.

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Featuring a dining experience that will transport you to Austria, live entertainment, raffle, live auction, and a special surprise, all proceeds will fund Pacific Chorale’s 2023 international tour and its artistic and free music education and outreach programs throughout Orange County.

For information on sponsorships and other opportunities, contact Thelma@PacificChorale.org.

For more details visit: pacificchorale.org/gala

PACIFIC CHORALE DONORS Pacific Chorale gratefully acknowledges the following donors for their generous contributions since December 2021. These contributions enable Pacific Chorale to continue serving the community with performances of the highest artistic quality, and providing exceptional educational programs designed to continue the tradition of choral artistry in Orange County.

GIFTS OF DISTINCTION We gratefully acknowledge the following donors, whose total gifts are in excess of $1 million, for their exceptional generosity and commitment to the success of the nationally recognized Pacific Chorale.

William J. Gillespie*

$50,000 AND ABOVE Phillip N. and Mary A. Lyons Lenora Meister Charles and Ling Zhang $25,000 TO $49,999 Hans and Valerie Imhof John and Lori Loftus Trish O’Donnell Dennis and Marcía O’Hern $10,000 TO $24,999

Phillip N. and Mary A. Lyons

Michael Vantrease

Brooks Firestone

Li Hong Wang and

George and Deborah Foster

Christopher Zhao Jane Fujishige Yada $2,500 TO $4,999 Brian D. Bates, CPA Susan Loonan Doan and Heidi Dill Randall and Kathleen Gremillion Donna Janes Barbara Leochner Terry and Toni McDonald

Karl and Marilyn Forsstrom

Pat and Craig Newton

Janice Johnson

Peter and Martha Wetzel

Kenneth and Carla Neeld

Faulkner White and Sandy Grim

Loraine Reed Elizabeth Segerstrom $5,000 TO $9,999

$1,000 TO $2,499 John Alexander Chris and Susan Anderson

Margaret Gates

David L. Bates

Peter and Bonnie Kremer

Dennis and

Lawrence and Dulcie Kugelman

Kathryn Gibson Tom and Anne Henley Diana Hensley

Mary Ester Blakley

Thomas and Bonnie Pridonoff

Lenora Meister

Stephanie Blanchard

Jan Landstrom

John and Marcia Cashion

Chris and Susan Lindley

Terry and Phyllis Clark

Deborah Pasarow

Warren Coy

Kirsten and Craig Springer

Harriet C. Edwards

Mark and Donna Hoover Dr. Robert Istad and David Navarro Mike and Susan Jacobs Shipine Jiang Norm and Sandy Johnson Randi W. Larsen Nancy Lyons John and Elaine McClintic Arnold Meister David and Darrellyn Melilli Jeanette Moon Jerry and Betsy Moulton Robert and Christie Narver Dr. Andrei Novac and Dr. Bonita Jaros Kris Oca Coy E. Purkey Ryan Ratcliff Carl and Susan St.Clair Diane Stovall Dr. Robert M. Stroup M.D. Beth Varney Susan H. White Karen Zfaty

$100 TO $999 Dennis Aigner and Camille Bertolet Andrea Alexander Brien Amspoker and Ellen Breitman Donald Anderson Joyce Anne Antal Ryan and Adrianna Antal Deborah and Jim Babcock Bruce Bahneman Mary Ellen Baker Raymond and Lois Helm Beeman Wanlyn Bejach Richard H. Bigelow Kenneth Blair Carl and Regina Blankenorn Michelle Brouwer Andrew Brown and Karen Hogle Brown Christine Browne Leonard and Susie Buchan Marshall Bull Cheryl Carlson Charles and Susan Champion Joseph and Julie Chien Denise B. Chilcote Mikki Cichocki

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David Clemensen

James and Lidia Klingler

Alex Rodriguez

Mark and Sharon Cole

Nels and Andrea Klyver

Jim Rogers

Oliver Crary

Curtis and Varla Knauss

David Ross

Craig Davis

Tommie Kozlov

Ron Rudderow

$25,000 AND ABOVE

Marjorie Davis

Jonathan Krauss

Kathryn Ryan

California Nonprofits

Michelle Dela Cruz

Dr. John and Patricia Lamb

John Schlegel

Charles and Darlette Dexter

Wayne Langford

P. A. Sefton

The Capital Group

Jerry and Kathy Dunlap

Michael D. Lawler

Nicole Shirilla

Salt-Away Products, Inc

Lucy Dunn

Joann Leatherby

Wendy Sobeski

The Segerstrom Foundation

Denean R. Dyson

Dr. Michael Hugh Lloyd

Rick Stamps

Robert and Elaine Elliott

Lenora Lockwood

Forrest Suchey

$10,000 TO $24,999

Judi Elterman

Robert and Nancy Loughrey

Guoxian Sun

Colburn Foundation

Howard and Janet Emery

Suzi Lyons

Daphne Sykes

National Endowment for the Arts

Phil and Jan Enns

Amira Mansour

Mary Sylvester

Pacific Life Foundation

David and Jacline Evered

Wayde Masuko

Joseph and Kathryn Tillotson

Richard H. and Sharon Fair

Goran Matijasevic

Gary and Marjie Toops

David Falconer

Deb Matsumoto

Daniel R. Tremblay and

Dr. Betty Ferrell

James and Karen McBride

Drs. Herb and Cheryl Fischer

Dianne and John McGinnis

Tom Unvert

DeAnn Forbes

Dr. William C. and

Beth Varney

John Forsyte and

Lynn McMaster

Steve Vegh

Linda L. Kirchner

GOVERNMENT, CORPORATE & FOUNDATION SUPPORT

Performing Arts Relief Fund

$5,000 TO $9,999 City of Newport Beach Lon V. Smith Foundation Robert & Doreen Marshall Fund of the Orange County Community Foundation

Ryan McSweeney

Ernest and Diane Velarde

$1,000 TO $4,999

Philip Friedel

Joyce Medford

Fram and Julie Virjee

American Feel Young Chorus

Christopher and

Ned and Darla Meister

Briana and Tom Watson

California Arts Council

Shelley Meister

Terri Wedell

Quinn & Dworakowski LLP

Nancy Gerhard

Welcome and Addie Meister

Joshua Wentlandt and

Rhona Gewelber

Richard Montgomery

James and Sharon Givens

Barbara and Steve Morihiro

Clark and Kim Whitaker

Keith Goode

Ann and Steve Morris

Dr. Stanley White

Joseph Gregorio

Kimberly Nason

Dorothy Whitham

Jane Groover

Tom Neeld

Amanda and Andrew Whiting

Edward Gutierrez

Mark J. Nielsen

Linda Widdowson

William D. and

Kris Oca

Kent and Carol Wilken

Michele Moe-Forsyte

Mary Galloway

Bonnie Brittain Hall

Eleen Hsu-Wentlandt

Wendy Okeil

Vina Williams and Tom Slattery

Joan Halvajian

James Owens

Gregory Woll and

Vincent Hans

Dorothy A. Peralta

Michael and Janet Hards

Christina Peterson

Susie Xie

Richard Hart

Tina and Chris Peterson

Mr. and Mrs. Richard Zevnik

Carol and William Hatton

Joan S. Petty

Bill Helm

Sandy Possehl

Will and Natalie Hunter

Dorcas Preston

William and Katie Hunter

Kathleen and Nicholas Preston

Wendy Isbell

Laurel Preston

Lynne and Mike Istad

Donald Rabe

Eileen Jeanette

Karyn Rashoff

Kelleher Family

Chikayo Rattee

Barbara Kingsbury

George H.I. Reiss

Craig and Deborah Kistler

Casey and Naomi Reitz

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Kathryn Cobb-Woll

$100 TO $999 AmazonSmile Foundation Farmers & Merchants Bank The Kroger Co.

ENDOWMENT FUND Contributions to Pacific Chorale’s Endowment Fund are invested in perpetuity. The interest generated from the Endowment helps to provide the Chorale with long-term financial stability. The Chorale is delighted to acknowledge its generous Endowment Fund donors. We are deeply grateful to them for their belief and investment in the organization’s future.

COMMITMENTS OF $1,000,000+ William J. Gillespie* Phillip N. and Mary A. Lyons, Artistic Director Chair

COMMITMENTS OF $100,000 & UP Ron Gray* James and Karen McBride COMMITMENTS OF $50,000 & UP Mike Andrews Janice Johnson

in memory of Roger W. Johnson

John* and Jan Landstrom John* and Elizabeth Stahr COMMITMENTS OF $25,000 & UP Marilyn and Tom Nielsen George H. I. Reiss COMMITMENTS OF $10,000 & UP Wells Fargo Bank Greg and MarJane* Christofferson Dr. Edward and Mrs. Helen Shanbrom* in memory of David Lee Shanbrom

Vina and Barry Williams* COMMITMENTS OF $5,000 & UP Anne B. Nutt

Dennis V. Menke

Loraine Reed

Richard Messenger

George H. I. Reiss

Richard McNeil

Ron Rudderow

Jeanette Moon

Jane Shepherd

Donna Morse

Susan Van Wig

Carl and Susan St.Clair

Martha and Peter Wetzel

in celebration of Cole Carsan St.Clair

Vina Williams* * deceased

ENCORE SOCIETY The Encore Society recognizes and honors those who have included Pacific Chorale as part of their estate planning. Pacific Chorale gratefully acknowledges the following benefactors for their visionary support, ensuring the preservation of quality choral music and education.

Anonymous Mark E. Aldrich John Alexander Percy Brotherton* Dr. and Mrs. Thomas C. Campbell Phyllis and Terry Clark Warren Coy Jacline R. Evered Roger and Geri Gibb* Ron Gray* George W. Haas* George Hatchard* Tom and Anne Henley Mark and Donna Hoover Dennis L. Houser Michael and Susan Jacobs Barbara Kingsbury John* and Jan Landstrom Randi W. Larsen Phillip N. and Mary A. Lyons Karen M. and James S. McBride Richard Messenger Jeanette Moon Thomas C. Moore Trust*

COMMITMENTS OF $1,000 & UP

Ann and Steve Morris

Michael Carroll

Betsy and Jerry Moulton

Dr. James* and Yuko Kawai Dunning

Patricia Newton

Margaret Gates

Elizabeth Pearson

Michael and Eleanor Gordon

Sandy and Val Policky

John and Lori Loftus

Thomas A. and Bonnie J. Pridonoff

If you have already remembered Pacific Chorale in your estate plan, or are interested in doing so, please contact us at (714) 662-2345. All inquiries will be strictly confidential.

IN-KIND GIFTS Pacific Chorale wishes to thank the following business and individuals for their generous in-kind donations of goods and services over the last year.

Avenue of the Arts Hotel Phyllis Clark Shari Cole Joan Flax Giorgio Armani Barbara Kingsbury Jan Landstrom Susan and Chris Lindley Phillip N. and Mary A. Lyons Carla and Kenneth Neeld Pat Newton Marcia and Dennis O’Hern Carl Porter David Lomakin & Regency Air Lenora Meister & Salt-Away Products, Inc. Segerstrom Center for the Arts Silver Trumpet Restaurant & Bar South Coast Plaza Michael Vantrease Very special care has been given to the preparation of donor listings. This list is current as of February 1, 2023. We deeply regret any errors and omissions, and appreciate your phone call to Pacific Chorale at (714) 662-2345 or email to Thelma@PacificChorale.org with needed corrections.

Thank you for your support of Pacific Chorale.

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PACIFIC CHORALE BOARD OF DIRECTORS

PACIFIC CHORALE PERSONNEL

Craig Springer, board chair

Robert Istad

executive committee

Andrew Brown

Amanda Whiting vice chair

Susan Lindley

artistic director & conductor president & ceo

John Alexander artistic director emeritus

secretary

Brian D. Bates, CPA treasurer

Andrew Brown president & ceo

Mary A. Lyons Thomas A. Pridonoff immediate past chair

Administration Molly Buzick Pontin, DMA vice president, director of education

Consultants & Support Ad Lib Communications, Libby Huebner Arts Laureate Studio Fuse

controller

Ryan McSweeney

directors

Alex Nelson

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Ryan Ratcliff artists’ council president

Abby Manaye director of patron services

Distinguished Emeritus Directors Mary A. Lyons, chairman emeritus Michael J. Carroll Stanley Cochran Bonnie Brittain Hall Janice M. Johnson Karen Johnson Jan Landstrom Marcus Lussier Thomas H. Nielsen Anne B. Nutt George Reiss Elizabeth D. Stahr

historian

& community programs

Charles Zhang David Bunker Maria Hall-Brown Christopher Lindley Rick McNeil Marcia O’Hern Stephane Quinn Ryan Ratcliff artists’ council representative Michael Vantrease Julie Virjee Li Hong Wang Christopher Zhao

Volunteer Administration Barbara Kingsbury

director of artistic production

Natalie Hunter director of marketing

Thelma Valenzuela

www.PacificChorale.org

director of development

Michaela Teissere administrative assistant

Artistic Staff Kibsaim Escarcega assistant conductor

David Clemensen, DMA collaborative pianist

Rebecca Hasquet soprano section leader

Jane Hyun-Jung Shim alto section leader

Nicholas Preston tenor section leader

Ryan Thomas Antal bass section leader

Zoe Hyunjin Kwak teaching artist

MISSION STATEMENT We inspire our community through artistry and innovation in choral music performances and education programs.

PACIFIC CHORALE 3303 Harbor Blvd., Suite E5 Costa Mesa, CA 92626 (714) 662-2345 ContactUs@PacificChorale.org Pacific Chorale is a member of Arts Orange County and Chorus America.