PBO's 2021/22 Season

philharmonia.org

Welcome Dear Friends,

I

t is impossible to adequately express our gratitude and appreciation for all that Richard enabled us to accomplish this past year. His goal was to keep the PBO family together, and he achieved that all the way from Amsterdam. Each of us was enriched by Richard’s music, insights, good humor, and a shared belief that we’d find our way back to the concert halls.

As we turn to 21/22, you’ll see the full expression of Richard’s artistic vision. In his first live performances since February 2020, Richard, along with full Orchestra and Chorale, come together for a poignant season opener with Schumann’s rarely-heard Requiem, and from there he carries us through a season that is quintessentially PBO—from Bach’s Christmas Oratorio to the B Minor Mass to Mozart, and a big operatic finish with Handel’s Radamisto. And we’re very excited to bring you SESSIONS, Jews & Music, and New Music for Old Instruments, the kinds of programs that reflect the breadth of a baroque ensemble in the 21st century. We look forward to welcoming in person PBO’s Creative Partner Davóne Tines and Composer in Residence Tarik O’Regan, and rest assured, virtual programming is here to stay with more details to come.

We look forward to finally toasting Richard and all of you. Thank you so much for inspiring us.

With warmest gratitude,

David Low Board President

Courtney Beck Executive Director

Cover and concert illustrations by Dennis Bolt

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PB O 2O21-22 Season Schedule

AUGUST 25–29 The No One’s Rose

OCTOBER 14–17 Schumann’s Reawakened Masterpieces

NOVEMBER 10–14 Something Old, Something New, Something Mad

NOVEMBER 11 Jews & Music: Handel’s Biblical Heroes & Villains

DECEMBER 9–12 Bach’s Christmas Oratorio

FEBRUARY 2–5 Mass in B Minor FEBRUARY 4 THIS is Richard: A Celebration Gala

FEBRUARY 10–13 Mozart the Radical

FEBRUARY 17 SESSIONS: A Meetup with Davóne

MARCH 9–13 From Versailles to the English Court

MARCH 10 Jews & Music: Cantorial (Re)Volutions APRIL 12 SESSIONS: Voice Crossing APRIL 20–24 Handel’s Radamisto

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Julia Bullock

Anthony Roth Costanzo

Paul Appleby

SPECIAL EVENT

Matthew Aucoin

Davóne Tines

Bobbi Jene Smith and Or Schraiber

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featuring music ranging from J.S. Bach to new music

by Matthew Aucoin

The No One’s Rose

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usic, poetry, dance and theatre combine in The No One’s Rose, a new, multifaceted, genre-defying piece.

PBO, in partnership with the American Modern Opera Company and Stanford Live, is heartened to bring this life-affirming work to the stage after more than six years in the making and a reschedule from its original premiere in October 2020.

THURSDAY AUGUST 26 7:30PM Bing Concert Hall, Stanford SUNDAY AUGUST 29 2:30PM Bing Concert Hall, Stanford

A co-production with American Modern Opera Company Co-commissioned by Philharmonia Baroque Orchestra & Chorale and Stanford Live AUCOIN The No One’s Rose

The core of these performances is the poetry of Paul Celan, who wrote some of the most arresting accounts of the Holocaust, set to a new score for period instruments by the award-winning Matthew Aucoin. His score is just one part of a musical collage, embracing music as diverse as Bach, Sam Cooke and songs from popular culture.

Originally envisaged as a meditation on what happens after a catastrophe, The No One’s Rose assumes more significance in the wake of the pandemic, and it seems fitting that these performances strangely and wonderfully align with our return to live performance.

This new creation is realized by a star cast of artists and creatives working in collaboration to bring to life this bold new work for our times, including Davóne Tines, Julia Bullock, Anthony Roth Costanzo, and Paul Appleby, all directed by the visionary Zack Winokur.

Made possible with support from The Koret Foundation and The Ross E. Armstrong & Jonas (Jay) K. Stern Jews & Music Fund

AUGUST

WORLD PREMIERE

WEDNESDAY AUGUST 25 7:30PM Bing Concert Hall, Stanford

Matthew Aucoin, conductor Julia Bullock, soprano Anthony Roth Costanzo, countertenor Paul Appleby, tenor Davóne Tines, bass-baritone Julia Eichten, Yiannis Logothetis, Or Schraiber, and Bobbi Jene Smith, dancers Keir Gogwilt, violin Coleman Itzkoff, cello Jonny Allen, percussion Philharmonia Baroque Orchestra Zack Winokur, director Bobbi Jene Smith, choreographer and dancer John Torres, lighting designer Carlos Soto, costume designer Cath Brittan, producer

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Shunske Sato

Richard Egarr

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OCTOBER

Schumann’s reawakened masterpieces

THURSDAY OCTOBER 14 8:00PM Herbst Theatre, San Francisco FRIDAY OCTOBER 15 7:30PM First United Methodist Church, Palo Alto SATURDAY OCTOBER 16 8:00PM First Congregational Church, Berkeley SUNDAY OCTOBER 17 4:00PM First Congregational Church, Berkeley

e return to live performance in grand style with music from one of the greatest composers of the Romantic era, and finally welcome Music Director Richard Egarr for his first in-person performances since his appointment. Added to all this joy, we welcome the distinctive and engaging violinist Shunske Sato as he makes his PBO debut.

SCHUMANN Concerto for Violin in D minor, WoO 23 SCHUMANN Requiem, Op. 148

We’ve all read about music that’s been rediscovered thanks to a find on a dusty forgotten shelf, but how about music that has been re-found thanks to a…seance? That’s the alleged story of how Schumann’s forgotten concerto came to be discovered in 1933, with the Swedish Ambassador to London apparently receiving a series of psychic messages as to its whereabouts.

Richard Egarr, conductor Shunske Sato, violin Amanda Forsythe, soprano Kelley O’Connor, mezzo-soprano Brenden Gunnell, tenor Joshua Bloom, bass Philharmonia Baroque Orchestra & Chorale

Thanks to their efforts today we can appreciate this work as a fascinating ‘missing link’ between the Beethoven and Brahms concertos, as well for its satisfyingly rich melodies and noble grandeur.

The concerto is accompanied here by a further rarity, Schumann’s hauntingly beautiful Requiem, a fantastic showcase for our beloved Philharmonia Chorale of 24 voices as we welcome them back to the stage.

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Paul Stanhope

Jonathan Cohen

Keiran Campbell

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thrilling potpourri of baroque, classical and modern sounds make up this program.

CPE Bach (one of the many children of JS) was a daringly different composer, who liked to shock his audiences with unexpected twists and turns, and this concerto is no exception— a mix of playful, sad and hyperactive. This distinctive piece is realized by Keiran Campbell —something of a ‘PBO alum,’ having been part of our collaboration with The Juilliard School, and also recently appointed Principal Cello of our Canadian counterpart, Tafelmusik.

Capping off the program is Geminiani’s take on the ancient European folk tune of La Folia. True to its translated title of ‘madness,’ this is a dizzying whirlwind of a piece that will remain lodged in your head for days afterwards. You have been warned…

Prior to this is a world premiere from composer Paul Stanhope. His music is full of drama and warmth, reflective of the character of his home country, Australia, and here he gives us his own, distinctive take on that same La Folia folk melody.

This co-commission with the Australian Baroque Orchestra marks our first partnership with our friends Down Under.

Joining us to direct this eclectic evening is Jonathan Cohen, an electrifying presence in the Baroque world whom we’re very excited to welcome back to PBO.

NOVEMBER

Something Old Something New Something Mad

WEDNESDAY NOVEMBER 10 7:30PM First United Methodist Church, Palo Alto FRIDAY NOVEMBER 12 8:00PM Herbst Theatre, San Francisco SATURDAY NOVEMBER 13 8:00PM First Congregational Church, Berkeley SUNDAY NOVEMBER 14 4:00PM First Congregational Church, Berkeley

LOCATELLI Concerto grosso in E-flat major, Op.7 No.6, Il pianto d’Arianna JS BACH The Art of Fugue, BWV 1080: Contrapunctus 8 HANDEL Concerto Grosso Op. 6 No. 4 in A minor MOZART Fugue in E-flat major, K.405, No.2 (after Bach’s BWV 876) VIVALDI Concerto for Strings in G minor, RV 156 JS BACH Sinfonia Trio BWV 76 CPE BACH Concerto for Violoncello in A major, Wq.172 JS BACH The Art of Fugue, BWV 1080: Contrapunctus 9 PAUL STANHOPE Giving Ground (world premiere) GEMINIANI Concerto Grosso in D minor, H.143, La Folia Jonathan Cohen, conductor Keiran Campbell, violoncello Philharmonia Baroque Orchestra SUBSCRIBE (415) 295-1900 philharmonia.org

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Avery Amereau Ashley Riches Gwilym Bowen

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DECEMBER

THURSDAY DECEMBER 9 7:00PM Herbst Theatre, San Francisco FRIDAY DECEMBER 10 7:30PM Bing Concert Hall, Stanford SATURDAY DECEMBER 11 7:00PM First Congregational Church, Berkeley SUNDAY DECEMBER 12 4:00PM First Congregational Church, Berkeley

Lydia Teusch

er

Bach’s Christmas Oratorio

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he perfect start to the holiday season, Bach’s Christmas Oratorio combines the drama of an oratorio with the religiosity of a cantata, resulting in a piece of astonishingly vivid musical color and intensity of emotion—and sure to be thrillingly realized by the award-winning Philharmonia Chorale.

A top-drawer cast, many making their PBO debuts, is led by Music Director Richard Egarr for an unmissable highlight of PBO’s season.

JS BACH Christmas Oratorio Richard Egarr, conductor Lydia Teuscher, soprano Avery Amereau, contralto Gwilym Bowen, tenor Ashley Riches, bass-baritone Philharmonia Baroque Orchestra & Chorale

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Mary Bevan

Iestyn Davies

Roderick Williams

James Gilchrist

Musicians from Juilliard415 12 PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

Mass in B Minor

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ach’s B Minor Mass is one of the towering achievements of the Baroque, and indeed of all classical music. It is the summation of Bach’s creative output, but likely never performed in his lifetime.

As we continue our partnership with The Juilliard School’s Historical Performance program, we come together with Juilliard415, the conservatory’s premiere ensemble, for these performances. These concerts promise to be powerful and visceral, as impactful now as when Bach completed it in 1749. As we officially celebrate Music Director Richard Egarr, put this concert on your bucket list!

FEBRUARY

SPECIAL EVENT

WEDNESDAY FEBRUARY 2 7:30PM Bing Concert Hall, Stanford SATURDAY FEBRUARY 5 8:00PM First Congregational Church, Berkeley

JS BACH Mass in B Minor Richard Egarr, conductor Mary Bevan, soprano Iestyn Davies, countertenor James Gilchrist, tenor Roderick Williams, baritone Musicians from Juilliard415 Philharmonia Baroque Orchestra & Chorale PBO and J415 will perform the B Minor Mass at Lincoln Center on January 29, 2022.

If you would like to join us on tour, please contact development@philharmonia.org.

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Richard Egarr Davóne Tines

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Gala

2022

THIS is Richard

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oin us when we finally toast our new Music Director Richard Egarr in proper style with the Bach B Minor Mass in all its glory. We’ve pulled out all the stops with the Philharmonia Chorale and full Orchestra—and a starry cast including Mary Bevan, Iestyn Davies, Roderick Williams and James Gilchrist. And if the sound weren’t big enough, we join forces with members of Juilliard415 in this side-by-side performance.

This elegant and festive evening will be hosted by PBO Creative Partner Davóne Tines. Let’s celebrate Richard at San Francisco’s War Memorial for an evening of unforgettable music, dining, toasts and togetherness.

Concert details page 12

FRIDAY FEBRUARY 4, 2022 San Francisco War Memorial

Cocktail Party

Bryan Education Studio, Wilsey Center For Opera

Formal Dinner

The Green Room, San Francisco War Memorial

Performance

Herbst Theatre, San Francisco War Memorial

After Party

Bryan Education Studio, Wilsey Center For Opera

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Richard Egarr

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Elizabeth Watts

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ozart was a composer who loved to test boundaries, and in his Symphony No. 38 you hear him pushing the orchestra of the day to the limit, expanding the horizons of the symphony. It’s a veritable smorgasbord of invention, a riot of creativity.

At the start of the finale, Mozart cheekily squeezes in a little snippet of music from The Marriage of Figaro, so it’s only appropriate that we showcase some of his operatic writing too, including the concert aria “Will I forget you? ... Fear not, beloved,” here with Elizabeth Watts in her PBO debut.

Dark, tragic and passionate, Mozart’s Concerto No. 24 was admired by none other than Beethoven, and for this concert the original textures and sounds of the work are revealed with Richard Egarr performing it on a fortepiano, the instrument for which it was written.

FEBRUARY

Mozart the Radical

THURSDAY FEBRUARY 10 8:00PM Herbst Theatre, San Francisco FRIDAY FEBRUARY 11 7:30PM First United Methodist Church, Palo Alto SATURDAY FEBRUARY 12 8:00PM First Congregational Church, Berkeley SUNDAY FEBRUARY 13 4:00PM First Congregational Church, Berkeley

MOZART Concerto for Fortepiano No. 24 in C minor, K. 491 MOZART “Ch’io mi scordi di te? …

Non temer, amato bene,” K. 505 MOZART “Bella mia fiamma, addio,” K. 528 MOZART Symphony No. 38 in D major, K. 504, Prague Richard Egarr, conductor and fortepiano Elizabeth Watts, soprano Philharmonia Baroque Orchestra

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Skip Sempé

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MARCH

From Versailles to the English Court

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ngland and France might be separated by just 20 miles of water, but their musical traditions are utterly distinct, and never more so than during the Baroque era, as demonstrated by this concert showcasing music from each.

The French side here is made up of Lully (actually Italian!), Couperin and Marais, all of whom reflect the opulence of the French Court and the lavishness of Versailles in their highly ornamented music.

Muffat and Purcell make up the English side, with Purcell in particular having an eye on success both at Court but also commercially. His music has an immediate appeal, achieved through infectious tunes (Abdelazar) and through a very un-English emotional directness.

Completing our program is a diversion to Italy, where Albinoni, like Purcell, knew how to compose music of almost visceral appeal.

Favoring melody and rhythm over technical display, his Oboe Concerto No. 2 is best known for its Adagio of almost haunting beauty.

We welcome another PBO debutant, conductor Skip Sempé, for these performances.

WEDNESDAY MARCH 9 7:30PM First United Methodist Church, Palo Alto FRIDAY MARCH 11 8:00PM Herbst Theatre, San Francisco SATURDAY MARCH 12 8:00PM First Congregational Church, Berkeley SUNDAY MARCH 13 4:00PM First Congregational Church, Berkeley

LULLY Ouverture to Atys Suite from Les Plaisirs de L’Ile Enchante Passacaille from Armide COUPERIN Concert dans le goût théâtral

MARAIS Suite from Alcione ALBINONI Concerto for oboe in D minor, Op. 9, No. 2 MUFFAT Chaconne from Armonico tributo Suite No. 5 in G major PURCELL Sinfonia “Now does the glorious day appear” (Ode for the Birthday of Mary II) Round O from Abdelazar Ouverture en sol mineur, Z. 762 Sinfonia “My heart is inditing” Suite from The Fairy Queen

Skip Sempé, conductor Marc Schachman, oboe Philharmonia Baroque Orchestra

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Iestyn Davies

Stefanie True

Neal Davies

Ellie Laugharne

Wallis Giunta

Morgan Pearse

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ondon’s West End is nowadays all about blockbuster musicals by a few household names, and in many ways that’s nothing new. Back in the 1700s it was dominated by none other than George Frideric Handel, the preeminent musical impresario of his day, notching up 50 operas, and always adapting his music and casting to ensure popular appeal.

Radamisto was a hit upon its 1720 premiere, and went on to even greater success in a 1728 rewrite, which starred Italian castrato Senesino, rumored to be paid the huge sum of £2,000 for the engagement, over $300,000 in today’s money!

As an ‘opera seria,’ Handel focused on giving famed virtuoso singers opportunities to shine via complex showy arias, and for these performances we haven’t skimped on those virtuosos, with star countertenor Iestyn Davies (former star of Farinelli on Broadway), joining us alongside a cast of truly exquisite voices.

We honor Handel’s intended ‘wow factor’ of Radamisto with a new staging by Christophe Gayral, a familiar name in some of Europe’s most prestigious opera houses, giving us a fitting close to our 21/22 season.

APRIL

Handel’s Radamisto

WEDNESDAY APRIL 20 7:30PM Bing Concert Hall, Stanford FRIDAY APRIL 22 7:30PM Bing Concert Hall, Stanford SATURDAY APRIL 23 7:30PM Bing Concert Hall, Stanford SUNDAY APRIL 24 2:30PM Bing Concert Hall, Stanford

HANDEL Radamisto (1728 version) Richard Egarr, conductor Iestyn Davies, countertenor (Radamisto) Stefanie True, soprano (Zenobia) Neal Davies, bass-baritone (Tiridate) Ellie Laugharne, soprano (Polissena) Morgan Pearse, baritone (Farasmane) Wallis Giunta, mezzo-soprano (Tigrane) Philharmonia Baroque Orchestra Christophe Gayral, stage director George Souglides, set and costume designer Peter van Praet, lighting designer

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Jews & Music

Since 2015, PBO’s Jews & Music (JAM) has taken audiences on explorations that connect people, history, politics, and social milieus that inform the creation of music. Philharmonia is the only major American orchestra with a permanent and dedicated program that seeks to unpack the complexities behind music and the human condition.

Learn more at philharmonia.org/jews-music WITH JEWS & MUSIC SCHOLAR IN RESIDENCE FRANCESCO SPAGNOLO

Handel’s Biblical Heroes & Villains

Cantorial (Re)Volutions

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rawing from Handel’s popular renditions of biblical narratives in the historically ubiquitous format of the oratorio— somewhere between off-stage opera and a Jonathan Cohen secular meditation on the role of the Bible in the age of enlightenment— PBO continues its exploration of key characters, their changing ‘roles’ throughout history, and the hidden relations between the Hebrew Bible, the librettos, and the composer’s blisteringly brilliant music. Join us for an evening of great music and conversation!

Francesco Spagnolo, Scholar in Residence Jonathan Cohen, conductor Vocal Soloists TBA Philharmonia Chamber Players THURSDAY, NOVEMBER 11, 8:00PM

Kanbar Hall, Jewish Community Center of San Francisco

tar countertenor Aryeh Nussbaum Cohen, San Francisco’s Temple Emanu-El Cantor Emeritus Roslyn Barak, and others will join Francesco in an evening of Aryeh Nussbaum Cohen song and dialogue, exploring synagogue repertoires — ancient, old, and new as well as repertoire from the Baroque to modern.

Our guests will discuss the evolution of the cantorial soloist, Roslyn Barak changes in gender perception and roles, and how they bridge the worlds of the sacred, operatic and other repertoire.

Francesco Spagnolo, Scholar in Residence Aryeh Nussbaum Cohen, countertenor Roslyn Barak, Cantor Emeritus, Temple Emanu-El THURSDAY, MARCH 10, 8:00PM

Kanbar Hall, Jewish Community Center of San Francisco

Jews & Music is made possible with generous support from The Ross E. Armstrong & Jonas (Jay) K. Stern Jews & Music Fund, The Koret Foundation, and The Marmor Foundation.

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PBO SESSIONS

SESSIONS is a guided and deconstructed tour of music, social and political history, and art. Each 90-minute program includes multimedia, illuminating dialogue from the stage, and incredible orchestral and vocal performances.

Tickets are always $25 and include complimentary wine and a chance to meet the artists.

Learn more at philharmonia.org/pbo-sessions CREATIVE PARTNER DAVÓNE TINES

COMPOSER IN RESIDENCE TARIK O’REGAN

A Meetup with Davóne

Voice Crossing

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reative Partner Davóne Tines will curate and perform in a dynamic program that highlights members of the Orchestra, Chorale and special guest artists. Davóne will also Davóne Tines “feature” the audience —to be a part of this concert experience and to engage deeply in topics ranging from why we go to concerts, why baroque music, and how together we set the tone for the future of classical music.

Details to be announced later.

THURSDAY, FEBRUARY 17, 8:00PM Bing Studio, Stanford University Davóne Tines was named PBO Creative Partner in May 2021. In his immersive role with the organization, Davóne will work closely with stakeholders across the organization to help answer some of the most fundamental questions that face classical music organizations today. In addition to performance, Davóne looks forward to getting to know the audience in ways that push beyond the traditional artist/audience relationship.

sing striking examples from his own output and those of his contemporaries, as well as some vivid gems from as far back as the 14th century, Tarik O’Regan explores Tarik O’Regan the role of the human voice from a composer’s perspective. Beginning with a solitary singer and culminating in the combined forces of PBO’s Chamber Players and Chorale, Tarik will trace a unique journey across centuries and cultures to arrive at the very music he is writing today, here in San Francisco, as PBO’s Composer in Residence.

Tarik O’Regan, Composer in Residence Richard Egarr, Music Director Philharmonia Chamber Players Philharmonia Chorale TUESDAY, APRIL 12, 8:00PM ODC Theater, San Francisco Tarik O’Regan was named PBO Composer in Residence in March 2021. This multi-year partnership with prolific composer and thought partner will bring three new commissions - an opera, a piece for oud an orchestra and a choral work. In his role, Tarik seeks to break down barriers that divide new and old music and build pathways to encourage all kinds of composers to write music for period instruments.

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