PBO 21/22 Program Book-April

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APR

RICHARD EGARR

MUSIC DIRECTOR

Iestyn Davies

Liv Redpath

Aubrey Allicock Ellie Laugharne Morgan Pearse

Wallis Giunta

PBO

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– Handel’s Messiah

S E A S ON

in Grace Cathedral JEFFREY THOMAS music director

WEDNESDAY ~ THURSDAY ~ FRIDAY DECEMBER 14, 15, 16, 2016 at 7:30 P.M.

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BRAVO! DLA Piper proudly supports DLA Piper proudly supports Philharmonia Baroque Philharmonia Baroque Orchestra Orchestra & & Chorale Chorale theirnew magnificent 2016/17 season. and during welcomes Music Director Richard Egarr.

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CONTENTS From the Board President and Executive Director....................................... 6 Board of Directors and Staff ............................. 7 About the Orchestra & Chorale ........................ 8 About Richard Egarr .........................................11

Handel’s Radamisto Overture............................................................. 12 Program.............................................................. 14 About the Artists................................................16 Director’s Notes.................................................25 Program Notes..................................................26 The Players and their Instruments..................34 Donor Recognition............................................36

Cover image by Dennis Bolt © Philharmonia Baroque Orchestra & Chorale / © 2022 Philharmonia Baroque Productions. All Rights Reserved.

From the President of the Board & Executive Director Dear Friends, As we come to the close of the 21/22 season, it is remarkable to reflect on the past year and to realize just how much we accomplished as a community—artists, staff, and you, our loyal audience. This year required serious cooperation and collaboration on and off the stage and we are very proud that PBO was able to present so many concerts throughout the Bay Area and on tour. And just two weeks ago, we finally held our rescheduled Gala, and brought artists and audiences together to toast our Music Director Richard Egarr and to celebrate all that makes Philharmonia so unique.

To cap off a stellar season, we are bringing to you this week Handel’s Radamisto, a fully-staged opera and one that PBO has never tackled before. With a gleaming cast of stars, we are delighted to bring this production to Stanford Live’s Bing Concert Hall and look forward to hearing the beautiful voices of Iestyn Davies, Liv Redpath, Aubrey Allicock and the other cast members for what promises to be a really exciting production. We’d like to acknowledge Chris Lorway and the team at Stanford Live for helping to make this production possible. Once again, this cast reflects PBO’s goal to continuously present new artists and directors. For those of you riding the bus to Palo Alto, I wish you a fun adventure on a comfortable coach.

We hope you’ll consider joining us on tour in July and August, when we head to the Ryedale Festival in Northern England, to St. Martin in the Fields in London and to the Concertgebouw in Amsterdam. Richard, the Orchestra, violinist virtuoso Rachel Podger and stunning countertenor Tim Mead will appear in these very special concerts. We wrap it up in August at Yale’s Norfolk Chamber Music Festival, making our sixth appearance at this very special summer venue. Stay tuned for details on the tour.

If you haven’t renewed your subscription, please do so right away to guarantee your seats—22/23 is going to be fantastic.

We’d like to thank the Orchestra, Chorale, the Board of Directors, staff and all of you—for helping us to get through another challenging year. The beautiful music made it all worthwhile.

With heartfelt thanks and our best wishes for a happy summer,

David Low and Courtney Beck 6

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

Board of Directors & Staff BOARD OF DIRECTORS Officers David Low, President Mark Perry, Vice President Doug Tanner, Vice President Didier LeGall, Vice President Nicolas Elsishans, Vice President David Gross, Secretary Charlotte Gaylord, Treasurer Members Courtney Beck Martin Cohn Marie Bertillion Collins Richard Egarr Kay Sprinkel Grace Peter Hibbard Candace Zander Kahn Anne Katz Michael Marmor Fred Matteson Rebecca Moyle Paul Sugarman Davóne Tines Past Board Presidents Kay Sprinkel Grace (2017–2019) Dr. Ross E. Armstrong (2011–2017) Paul Sugarman (2008–2012) Martin Cohn (2005–2008) Nancy Kivelson (2002–2005) Fred Matteson (2000–2002) Christine Pallatto (1999–2000) Sherry Bartolucci (1997–1999) Grace Hoagland (1995–1997) Richard D. Maltzman (1993–1995) Dexter B. Dawes (1991–1993) Ann W. Vander Ende (1989–1991) Marie Bertillion Collins (1988–1989) Henry Mayer (1984–1988) Peter Strykers, MD (1982–1984)

Richard Egarr, Music Director Nicholas McGegan, Music Director Laureate Administrative Staff Courtney Beck, Executive Director Jacob Dassa, Marketing Associate Myles K. Glancy, General Manager Lisa Grodin, Director of Education Tisa Hamdani, Office Coordinator Michael Imbimbo, Associate Director of Development Naren Larson, Director of Operations & Patron Services William Norris, Marketing Strategist Jeffrey D. Phillips, Director of Artistic Planning Heli Roiha, Bookkeeper William Skeen, Music Librarian Paul Swatek, Director of Finance Sean Waugh, Director of Artistic Strategy & Innovation Concert Production E.J. Chavez, Stage Equipment Coordinator Michael Demeyer, Audio Engineer Arthur Omura, Keyboard Technician Francesco Muscolo, Orchestra Stage Manager Phaedra Strecher, Program Book Designer Frank Wing, Concert Photographer Artistic Partners Tarik O’Regan, Composer in Residence Davóne Tines, Creative Partner

CONTACT US Philharmonia Baroque Orchestra & Chorale 414 Mason Street, Suite 400 | San Francisco, CA 94102 (415) 252-1288 | info@philharmonia.org | philharmonia.org

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About Philharmonia Baroque Orchestra & Chorale

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nder the musical direction of Richard Egarr in his second season as Music Director, Philharmonia Baroque Orchestra & Chorale (PBO) is recognized as “America’s leading historically informed ensemble” (The New York Times). Considered the most versatile ensemble of its kind, and performing on period instruments, PBO presents repertoire ranging from early Baroque to late Romantic, as well as new works and major operatic productions.

The ensemble engages audiences through its signature Bay Area series, national and international tours, recordings, commissions, and education programs. Having celebrated its 40th anniversary last year, PBO was founded

by Laurette Goldberg and led by Music Director Laureate Nicholas McGegan for the past 35 years. Philharmonia is the largest ensemble of its kind in the United States.

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PBO’s musicians are leaders in historical performance and serve on the faculties of The Juilliard School, San Francisco Conservatory of Music, Harvard, and Stanford. It welcomes eminent guest artists including mezzosopranos Susan Graham and Anne Sofie von Otter, countertenors Anthony Roth Costanzo and Aryeh Nussbaum Cohen, violoncellist Steven Isserlis, and maestros Jonathan Cohen and Jeannette Sorrell. PBO enjoys longstanding artistic collaborations with The Juilliard School, the Mark Morris Dance Group, and the American Modern Opera Company (AMOC), and appears regularly at Disney Hall, Lincoln Center, Norfolk Chamber Festival and Tanglewood. In collaboration with Cal Performances in 2017, PBO produced a fully-staged period opera, Rameau’s Le Temple de la Gloire, and produced a fully-staged, reimagined production of Handel’s Aci, Galatea e Polifemo directed

by Christopher Alden and featuring countertenor Anthony Roth Costanzo, bassbaritone Davóne Tines, and soprano Lauren Snouffer in eight sold out performances in January 2020. “Aci” was named Best Operatic Performance in the Bay Area by San Francisco Classical Voice in 2020. PBO also co-produced “Aci” with National Sawdust in

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

Brooklyn, Cath Brittan and Anthony Roth Costanzo in 2017.

Among the most recorded orchestras in the world, PBO boasts a discography of nearly 50 recordings, including a coveted archival performance of mezzostylistic language of the baroque soprano Lorraine Hunt direction of Richard Egarr matched that of Philharmonia Lieberson in Berlioz’s Les Nuits D’été, nder the musicalperiod since 2020, Philharmonia is recognized as Baroque Orchestra. Founded by John “America’s leading historically informed and a GRAMMY®-nominated recording ensemble” (The New York Times). Using authentic Butt, a baroque keyboardist and one of instruments and stylistic conventions from early of Haydn symphonies. The orchestra Baroque to late Romantic periods as well as thetheworld’s leading Bach scholars, the released the world premiere recording commissioned new works, orchestra engages audiences through its signature Bay Area series, Chorale led by Bruce Lamott from of the original version of Rameau’snational Le tours, recordings, commissions,was and education projects of the highest caliber. Founded 1997 toand2020.

In 2019, Handel’s Saul was Temple de la Gloire with the unedited 41 years ago by Laurette Goldberg led by Nicholas McGegan for 35 years, the ensemble is Best of the Bay’s “Best Choral libretto by Voltaire in 2018. In 2020,the largest of its kind innamed the United States.

by San Francisco PBO released three groundbreaking PBO’s musicians are Performance” leaders in historical performance and serve on the faculties of The Classical Voice. recordings: a full collection of Juilliard School, San Francisco Conservatory of Music, Harvard, and Stanford. PBO welcomes commissioned works by Pulitzer Prize Philharmonia is the only major winner Caroline Shaw, a selection orchestra in the United States with a of arias sung by rising star contralto permanent initiative dedicated to Jews & Avery Amereau, and Handel’s Saul with Music. The organization launched one of countertenor Aryeh Nussbaum Cohen. the most successful alternative concert

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Philharmonia was the first orchestra in the San Francisco Bay Area to commission Caroline Shaw. Shaw wrote three works for Anne Sofie von Otter and the Orchestra, as well as a major choral work. The first work premiered at LA’s Disney Hall; the third at Lincoln Center.

The award-winning Philharmonia Chorale is critically acclaimed for its brilliant sound, robust energy, and sensitive delivery of the text. Formed in 1995, the Chorale provides a vocal complement whose fluency in the

series in the country, “SESSIONS,” in 2015 with fully sold out performances, and launched “In the Office” in 2019 in partnership with the advertising agency Goodby, Silverstein & Partners.

During the pandemic, the organization has presented more than 100 virtual programs, including the popular Live from Amsterdam with Music Director Richard Egarr, and “What’s New and H.I.P.” with Tarik O’Regan and Richard Egarr, focused on notions surrounding new music.

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PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

About Music Director Richard Egarr

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ichard Egarr brings a joyful sense of adventure and a keen, inquiring mind to all his music-making— whether conducting, directing from the keyboard, giving recitals, playing chamber music, or indeed talking about music at every opportunity. After a successful career as Music Director of the Academy of Ancient Music for 15 years, where he succeeded founding director Christopher Hogwood, he joins Philharmonia Baroque Orchestra & Chorale as Music Director. Richard also holds responsibilities as Principal Guest Conductor of Residentie Orkest The Hague and Artistic Partner at The Saint Paul Chamber Orchestra in Minnesota, after having served as Associate Artist with the Scottish Chamber Orchestra. As a conductor, Richard straddles the worlds of historicallyinformed and modern symphonic performance, making him an ideal fit for PBO’s parallel commitments to early and new music. Richard is already well-known to the musicians and patrons of PBO, having guest conducted the orchestra four times since 2012 in both regular season offerings and the PBO SESSIONS series. In addition to his conducting genius, he is a brilliant harpsichordist and is equally skilled on the organ and fortepiano.

Richard is a beloved teacher and has been on the faculty of The Juilliard School for eight years in their Historical Performance division, has conducted major symphonic orchestras such as London Symphony Orchestra, Lincoln Center Festival Orchestra, Seattle Symphony, and The Philadelphia Orchestra, and regularly gives solo harpsichord recitals at The Kennedy Center, Carnegie Hall, the Smithsonian, and elsewhere.

Born in Lincoln, England, Richard trained as a choirboy at York Minster, was organ scholar at Clare College Cambridge, and later studied with Gustav and Marie Leonhardt in Amsterdam, where he makes his home.

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Overture Performance at a Glance Posterity’s most cherished composers are usually those able to deliver inspiringly unconventional music using ostensibly conventional means. George Frideric Handel was one such composer. His operas offer ample proof of Handel’s ability to deliver a horizonbroadening masterpiece while operating within the aesthetic confines of a prescribed stylistic model.

It was public taste that did the prescribing. Like George II, the reigning monarch for much of his life, Handel was a naturalized Englishman born in Germany. It was a curious trend that brought the composer to London: a hunger for ‘serious’ opera sung in Italian—a consciously foreign import catering to metropolitan fashion.

As a roving European composer, Handel had proved himself able to adapt to varying tastes, languages and musical styles. He was headhunted for the London stage by the most powerful impresario of the day. Sir John Vanbrugh had established a new theater on London’s Haymarket fully equipped to satisfy the public demand for mythological stories told in the Italian operatic style.

Vanbrugh had an orchestra. He had singers. He had state-of-the-art stage technology. All he needed was a composer able to furnish his troupe with music—preferably in the Italian style. Handel answered the call in the winter of 1710, probably expecting to remain in England a season or two. He ended up staying for the rest of his life—nearly 50 years.

Synopsis Transcribed from the word-book of Handel’s 1728 production Farasmane, King of Thracia, had two children, Radamisto and Polissena: Radamisto married Zenobia, a princess of noble blood, and nobler virtue. Polissena was given in marriage to Tiridate King of Armenia, who, a little while after, coming to his father-in-law’s court, at a time when Radamisto was absent, saw there his sister-in-law, and fell in love with her. Being returned to his own kingdom, and finding no other way to satisfy his unjust armours, he on a sudden made war against Farasmane, and took from him his whole dominions, the capital only excepted, into which Radamisto and Zenobia were retired, in order to defend it; having before this in a battle made Farasmane a prisoner. He carries his wife with him into the army, lest some insurrection should happen in his absence. The city was at last surrendered, from whence Radamisto and Zenobia had fortunately made their escape; but being discovered by the enemy’s soldiers, Radamisto fearing that his wife might fall into the tyrant’s hands, by her own persuasion, wounded her; and supposing her dead, he flings her into the river, out of which she was taken by the soldiers that pursued her, and conducted to Tiridate. Radamisto, in despair for having killed his wife, enters Tiridate’s camp, with a design to kill him; there he finds his wife, though a prisoner, yet still alive: and after various accidents, it comes to pass, that he recovers both her and his kingdom.

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PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

APR 20–24

Iestyn Davies

Liv Redpath

Aubrey Allicock Ellie Laugharne Morgan Pearse

Wallis Giunta

Handel’s Radamisto HANDEL Radamisto (1728 version) Richard Egarr, conductor Iestyn Davies, countertenor (Radamisto) Liv Redpath, soprano (Zenobia) Aubrey Allicock, 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

2021-2022 • 41st Season

George Frideric Handel (1685–1759) Radamisto, HWV 12 (1728 version) Libretto by Nicola Francesco Haym DRAMATIS Radamisto, son of Farasmane Zenobia, his wife Polissena, Tiridate’s wife, daughter of Farasmane Tigrane, Prince of Pontus Tiridate, king of Armenia Farasmane, king of Thrace

PERSONÆ Iestyn Davies, countertenor Liv Redpath, soprano Ellie Laugharne, soprano Wallis Giunta, mezzo-soprano Aubrey Allicock, bass-baritone Morgan Pearse, baritone

Richard Egarr, conductor Christophe Gayral, stage director George Souglides, set & costume designer Peter van Praet, lighting designer Zenobia’s Servant Anjoli Johnson Polissena’s Servant Celia Maurice Radamisto’s Soldiers Ryan Camou, Chuck Lawson, Logan Schluntz, Asaad Shakur Tiridate’s Soldiers Jack Barr, Dalton Ell, Alexander Frank, Kyle Goldman, Robert Kittler, Mark P. Robinson

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PRODUCTION CREDITS Cath Brittan, production director Edison Vigil, assistant stage director David Belkovski, assistant conductor & repetiteur Samantha Greene, stage manager Kayleigh Laymon, assistant stage manager Lucy Coarsey, assistant stage manager Victoria Bek, costume supervisor Heather Sterling, hair & makeup supervisor Kinsey Thomas, dresser Berenice Gallegos, makeup artist Alessandra Cattani, language diction coach Elliot Figg, rehearsal accompanist Christopher Bergen, supertitles preparation Thomas Soto, supertitles operator Kate Casalino, wig fitter Kyle Pearson, costume fitter Costumes built by das gewand in Düsseldorf Angelika Nowotny, costume builder Tina Carstens, assistant builder STAGE CREW Andre Anderson, Jason Caballero, Brett Cavanaugh, Danielle Kisner, Don Linder, Jeremy Ramsaur STANFORD LIVE Chris Lorway, Executive Director Laura Evans, Director of Music Programs, Education and Engagement Kimberly Pross, Director of Operations and Production Nicola Rees, Director of Development Amanda Wah, Director of Marketing Egan O’Rourke, Production Manager These performances are made possible with generous support from

Grace and Laurance Hoagland

The Ross E. Armstrong Fund for Vocal Arts Wednesday, April 20, 7:30 PM Friday, April 22, 7:30 PM Saturday, April 23, 7:30 PM Sunday, April 24, 2:30 PM

Bing Concert Hall, Stanford Bing Concert Hall, Stanford Bing Concert Hall, Stanford Bing Concert Hall, Stanford

Length of performance is approximately three hours with one intermission.

Latecomers will be seated during suitable intervals in the program.

The use of cameras or recording devices of any kind is strictly prohibited.

Please turn off your cellular telephone or other noisemaking devices before the performance begins.

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Iestyn Davies countertenor

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fter graduating in Archaeology and Anthropology from St John’s College, Cambridge, Iestyn Davies studied at the Royal Academy of Music, London.

An esteemed Handelian, he has astounded audiences globally with his vocal agility in roles such as Orlando, Rinaldo, Ottone in Agrippina and David in Saul. His intelligent and considered interpretations have led to fruitful collaborations with Thomas Adés, George Benjamin and Nico Muhly.

Iestyn received an Olivier Award nomination for singing the role of Farinelli in Farinelli and the King opposite Mark Ryalnce, a Globe Theatre production that had successful runs on the West End and Broadway.

On the opera stage, he has appeared at the Metropolitan Opera, New York; the Lyric Opera of Chicago; Teatro alla Scala Milan; the Royal Opera House, Covent Garden; English National Opera; Glyndebourne Festival Opera; Welsh National Opera; Teatro Real Madrid; Salzburg Festival and in Munich, Vienna and Zurich. In the 2021/2022 season Iestyn sings Arsace in Partenope at Teatro Real Madrid, Ottone in Agrippina at Staatsoper Hamburg and the Bayerische Staatsoper in Munich and Bertarido Rodelinda at the Metropolitan Opera, New York.

Concert engagements have included performances at the Teatro alla Scala, Milan with Dudamel, the Concertgebouw and Tonhalle with Koopman and at the Barbican, Théâtre des Champs-Élysées, Lincoln Centre and at the BBC Proms in the Royal Albert Hall with orchestras that include the New York Philharmonic, Bournemouth Symphony Orchestra, London Philharmonic, English Concert, Britten Sinfonia, Concerto Köln, Concerto Copenhagen, Ensemble Matheus, the Orchestra of the Age of Enlightenment, Academy of Ancient Music and Scottish Chamber Orchestra. Highlights on the concert platform this season include Handel’s Rodelinda at the Tchaikovsky Concert Hall, Moscow, a French tour of Handel Duets with Ensemble Jupiter and Bach’s Mass in B Minor and Handel’s Radamisto with the Philharmonia Baroque in San Francisco, Stanford and Berkley.

A committed recitalist, his repertoire ranges from Dowland to Clapton and he has performed at Carnegie Hall, New York and enjoys a successful relationship with the Wigmore Hall and King’s Place in London where he has curated residencies.

He has won a Grammy Award, 3 Gramophone Awards for recital recordings, the Royal Philharmonic Society Young Artist of the Year, and the 2013 Critics’ Circle Awards for Exceptional Young Talent (Singer). In 2017 he was awarded an MBE by the Queen for his services to music.

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Liv Redpath soprano

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iv Redpath is quickly becoming a leading soprano leggero on the opera and concert stage today. During the 2021-22 season, Ms. Redpath returns to the Deutsche Oper Berlin to make her debut in the title role of Donizetti’s Lucia di Lammermoor as well as the Metropolitan Opera where she covers the title role in Aucoin’s Eurydice conducted by Yannick Nézet-Séguin with staging by Mary Zimmerman. She will make her Bayerische Staatsoper house debut singing the role of Sophie in Der Rosenkavalier under the baton of Vladimir Jurowski in a production by Barrie Kosky.

Ms. Redpath’s concert performances include double appearances at Tchaikovsky Hall in Moscow: Lisette in La Rondine with the Moscow Philharmonic Orchestra and Michal in Saul for the Handel Festival led by Christopher Moulds, in addition to Weill Recital Hall at Carnegie Hall: singing a new arrangement of arias from Aucoin’s Eurydice with the MET Orchestra Chamber Ensemble conducted

by Maestro Nézet-Séguin and an all-Schubert program of chamber ensembles and songs with members of the Orchestra of St. Luke’s with guest pianist Pedja Mužijević; as well as a return to the Edinburgh Festival for Handel’s Saul with The English Concert at the Edinburgh Festival led

by Bernard Labadie, a chamber music gala concert in honor of Martin Chalifour’s 25th anniversary organized by the Los Angeles Philharmonic, and a Mozart Requiem with the Long Beach Symphony. Next season, she will reprise her role in Lucia di Lammermoor for a new Simon Stone production at the LA Opera under the baton of James Conlon and makes her Utah Symphony debut as the soprano soloist in Carmina Burana with Fawzi Haimor on the podium.

She has been engaged by numerous opera companies and leading orchestras including Lyric Opera of Chicago, Bregenzer Festspiele, Seattle Symphony, The Santa Fe Opera, Opera Theatre of Saint Louis, Aspen Music Festival, and Scottish Opera, among others, and has collaborated with conductors Gustavo Dudamel, Vasily Petrenko, Andrés Orozco-Estrada, William Christie, Emmanuel Villaume, Barbara Hannigan, and Christophe Rousset. Ms. Redpath is a graduate of Harvard University and The Juilliard School.

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Ellie Laugharne soprano

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ritish soprano Ellie Laugharne is a graduate of the Guildhall School of Music & Drama, she began her career as a Jerwood Young Artist at the Glyndebourne Festival and more recently was an Associate Artist for Opera North.

Recent operatic engagements include: Susanna Le nozze di Figaro (The Grange Festival); Eliza Doolittle My Fair Lady (The Grange Festival and Gran Teatro del Liceu, Barcelona); Gianetta The Gondoliers, Princess Zara Utopia Limited, Adina L’elisir d’amore, Frasquita Carmen, Mabel The Pirates of Penzance (Scottish Opera); Frasquita Carmen, Cupid Orpheus in the Underworld, Phyllis Iolanthe, Barbarina Le nozze di Figaro (English National Opera); Pamina The Magic Flute, Despina Cosí fan tutte, Gretel Hänsel und Gretel, Susanna Le nozze di Figaro (Opera North); Polissena Radamisto (English Touring Opera); Susanna Le nozze di Figaro, Lucia The Rape of Lucretia (Glyndebourne on Tour); Governess The Turn of the Screw, Tina Flight, Zerlina Don Giovanni (Opera Holland Park); Bastienne Bastien&Bastienne, Zerlina Don Giovanni, Temperantia Applausus, Emirena Adriano in Siria (The Mozartists); Helene La Belle Helene (Blackheath Halls); Sandrina La Finta Giardiniera, Edna Tobias and the Angel (Buxton Festival); Valencienne The Merry Widow (International Gilbert and Sullivan Festival).

On the concert platform, Ellie has worked with The Royal Philharmonic Orchestra, both the Ulster and Bournemouth Symphony Orchestras, the Edinburgh International Festival, the London Mozart Players and has sung recitals at The Wigmore Hall.

Future engagements include a return to The Grange Festival to perform the role of Elsie Maynard in The Yeoman of the Guard, a new production of Tamerlano in which she will sing the role of Asteria (English Touring Opera), she will also return to English National Opera.

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Wallis Giunta mezzo-soprano

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ezzo-soprano Wallis Giunta was the winner of the ‘Young Singer’ category at the 2018 International Opera Awards and ‘Breakthrough Artist in UK Opera’ in the 2017 WhatsOnStage Awards. Highlights of the 2021/22 season include Maria in Maria de Buenos Aires for Opera de Lyon following a recent run of performances at the festival Les Nuits de Fourvière, Angelina in La Cenerentola for Opera Montpellier, and Rosina in Il barbiere di Siviglia for Dallas Opera.

Operatic highlights for Giunta include Anna 1 in Seven Deadly Sins for Opera North, Dodo in Missy Mazzoli’s Breaking the Waves for the Edinburgh International Festival and the Adelaide Festival, house debuts for Seattle Opera as Angelina in La Cenerentola and for Deutsche Oper am Rhein as Bradamante in Alcina, role debuts as the title role Carmen, Rosina in The Barber of Seville, and Octavian in Der Rosenkavalier at Oper Leipzig, Idamante in Idomeneo at Opera Atelier, Toronto, and Flora in La Traviata with Placido Domingo at the Royal Opera House, Muscat.

On the concert platform, recent highlights include The Sound of Argentina and a critically acclaimed solo recital at the BBC Proms in Cadogan Hall, a return to the Münchner Rundfunkorchester for Mozart’s Die Schuldigkeit des Ersten Gebots, a return to Koerner Hall, Toronto, for a Bernstein Centenary gala following her acclaimed performances as Anna in Weill’s Seven Deadly Sins with the Toronto Symphony Orchestra, Mozart’s Grosse Messe with the Gewandhaus Orchester and Beethoven’s Symphony No.9 with the National Arts Centre Orchestra in Ottawa.

Giunta is a recipient of a 2013 Novick Career Advancement Grant and the Sylva Gelber Music Foundation Career Development Award, and has been supported by the Canada Council for the Arts. She is a 2013 graduate of both the Metropolitan Opera Lindemann Young Artist Development Program, and the Juilliard School’s Artist Diploma in Opera Studies, and was a member of the Canadian Opera Company Ensemble Studio 2009 to 2011.

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Aubrey Allicock bass-baritone

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aking his debut with Philharmonia Baroque Orchestra and hailed by the New York Times as “sturdy,” “dynamic,” and “excellent,” Aubrey Allicock continues to make his mark among important opera companies and symphonies both at home and abroad.

A Grammy nominee for his role in John Adams’s Doctor Atomic as General Groves, Mr. Allicock adds to that nominee list a BBC Music Magazine Award for Opera.

Recent and upcoming: Engagements have included Bernstein Songfest in Carnegie Hall conducted by Marin Alsop; a debut with Opéra de Montréal in Champion; a reprise in the title role of Le nozzze di Figaro with Opera Theatre of Saint Louis; and a returned to Glyndebourne as Argante in Rinaldo. Now in his third season with the Seattle Opera he was Minskman in Flight in and Alberich in Das Rheingold with Virginia Opera. This season Aubrey Allicock made his role debut as Yusef Salaam with Portland Opera in Central Park Five; records John Henry in Daniel Roumain’s We Shall Not Be Moved, a role he created with Opera Philadelphia; and, participates in the exploration of a new work, Robeson/Moscow with Cincinnati Opera.

Additionally, he is the Pirate King in Pirates of Penzance with Virginia Opera next season along with a role debut of Dick Hallorann in The Shining with Lyric Opera Kansas City.

As Young Emile, he debuted Champion with Opera Theatre of Saint Louis with ensuing productions at Washington National Opera, New Orleans Opera, Dutch National Opera and the Apollo Theater. He was guest artist at the Los Angeles Philharmonic under the baton of Gustavo Dudamel in works by Mozart; debuted with the Concertgebouw in John Adams’s El Niño and returned to Europe to make his BBC debut as General Groves in Doctor Atomic recording the work for Nonesuch Records. Mr. Allicock has also performed with the Wexford Festival, Opera Omaha, the Bard Music Festival, Ojai Festival, Salzburger-landestheater and the Komische Oper Berlin.

He made his Metropolitan Opera debut as Mamoud in The Death of Klinghoffer bringing him world-wide recognition that season.

Mr. Allicock received his Artist Diploma from The Juilliard School; M.M. from Indiana University; holds a B.M. from Grand Canyon University and was a Gerdine Young Artist with Opera Theatre of St. Louis.

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Morgan Pearse baritone

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organ Pearse is already established as one of the most exciting baritones of his generation. In 2015/16 he made his debut at English National Opera singing Figaro Barber of Seville and returned to sing the role again in 2017/18. Recent and future opera highlights include Figaro Le nozze di Figaro, Papageno Die Zauberflöte and Araspe Tolomeo in Karlsruhe, Sid Albert Herring for the Buxton Festival, Belcore L’Elisir d’Amore and Figaro Barbiere for New Zealand Opera and the State Opera of South Australia, Ned Keene Peter Grimes in a concert performance with the Auckland Philharmonia, Figaro nozze in a new production for the Opernhaus Zurich, Papageno in a concert performance with the Russian National Orchestra as well as covering the role of Billy Budd for the Bolshoi.

Concert highlights include a solo recital at Wigmore Hall, appearances as soloist with the Birmingham Philharmonic, Moscow Musica Viva Chamber Orchestra, the orchestra of the Opernhaus, Zurich, Netherlands Radio Philharmonic Orchestra, Hallé Orchestra, Gabrieli Consort, Academy of Ancient Music, Israel Philharmonic Orchestra, Bournemouth Symphony Orchestra at the Newbury Festival, Huddersfield Choral Society, King’s College Choir Cambridge and Messiah with the Tasmanian, West Australian and Adelaide Symphony Orchestras. After his studies Morgan was a member of the Houston Grand Opera Studio where his roles included Papageno (The Magic Flute), Yamadori (Madame Butterfly), Anthony (Sweeney Todd) and the cover of Guglielmo (Cosi fan tutte). He went on to perform Figaro in Corigliano’s Ghosts of Versailles for Wolftrap Opera in Virginia.

Morgan Pearse studied at the Royal College of Music International Opera School, where he won the prestigious Lies Askonas Prize. He was selected by YCAT in 2013 and won the Gold Medal at the Royal Over-Seas League Competition. He won the Cesti competition in 2016 and has since appeared regularly at the Innsbruck Festival for Early Music.

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George Souglides George Souglides set and costume designer

G

George was born in Cyprus but has liv

eorge Souglides was born in Cyprus and was in in Greece England before moving brought up Nigeria, and Cyprus and Greece.

He moved to London where he studied Art at Middlesex Heastudied design at Polytechnic and France. then received Bachelor’s3-D Degree in Interior/3D design at Kingston Polytechnic. He studied Kingston University and Theatre Desi Theatre Design at Motley under Percy Harris at Riverside Studios. He nowMotley. lives in theGeorge South of was France. part of the British

He has worked extensively in Opera, Theater and Dance in Theatre Design exhibition Collaborat Britain, Europe and the USA. Recent projects the include A Flowering Tree at Gothenburg Victoria and Albert Museum and Opera in February 2015, Boris Godunov (Sets) at Savonlinna of the Greek the Opera in June 2015 and in Orangeentry in July at 2017 andPrague Lohengrin at The Royal Theatre, Copenhagen in January 2016, all Quadrennial directed by Nicola Raab, L’Italianain In 2007.

Algeri at Garsington Opera in the summer of 2016, directed by Will Tuckett.

georgesouglides.com)

Recent opera productions include The Golden Cockerel at the Bergen National Opera, dir. Mark Lamos, Cosi Fan Tutte at the Greek National Opera, dir. Rodula Gaitanou, Le Nozze di Figaro at Gothenburg Opera, dir. Stephen Langridge, La Dispute at the National Theatre of Cyprus dir.

by Constantinos Arvanitakis and Tristan and Isolde for the Novaya Opera in Moscow directed by Nicola Raab.

Designer p://georgesouglid es.com)

He designed his first Musical, The Light in the Piazza by Adam Guettel at the Curve theatre directed by Paul Kerryson, as well as the costumes for 42nd Street at Chichester festival’s acclaimed production which was revived at the Curve Leicester.

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PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

p

Peter van Praet lighting designer

P

eter van Praet was the lighting director at the Flanders Opera for several years during which time he began working with Robert Carsen. He then went on to collaborate with Carsen on the revivals of Semele in London (ENO), Graz and Cologne, La Bohème in Mannheim and Japan, and Tosca at the Liceu in Barcelona.

Since then, and again in collaboration with Robert Carsen, he created the lighting for Kátia Kabanová and The Cunning Little Vixen at the Flanders Opera, Jenůfa at the Saito Kinen Festival, Fidelio at the Amsterdam Opera and the Maggio Musicale Fiorentino, Rusalka, Capriccio, Tannhäuser, Die Zauberflöte and Elektra at the Paris Opera, Les Boréades in Paris, Caen and New York (BAM), Der Rosenkavalier at the Salzburg Festival, La Traviata at La Fenice in Venice, Elektra at the New National Theatre in Tokyo, A Midsummer Night’s Dream at the Liceu in Barcelona, Iphigénie en Tauride at the Chicago Opera, London’s Royal Opera House, Madrid’s Teatro Real and the Canadian Opera Company of Toronto, Candide at Milan’s La Scala, the English National Opera and Japan, Don Giovanni at Milan’s La Scala, The Cunning Little Vixen, The Makropulos Affair, From the House of the Dead and Don Carlo at the Rhine Opera in Strasbourg, Falstaff at Milan’s La Scala and London’s Royal Opera House, Philippe Fénelon’s JJR, Citoyen de Genève at the Grand Théâtre in Geneva, The Love for Three Oranges at the Deutsche Oper in Berlin, the world premiere production of Giorgio Battistelli’s CO2 at Milan’s La Scala, Campra’s Les Fêtes vénitiennes at the Théâtre du Capitole in Toulouse, Handel’s Agrippina at the Theater an der Wien, L’Orfeo at the Lausanne Opera, a new production of Der Rosenkavalier at London’s Royal Opera House, and The Beggar’s Opera at the Bouffes du Nord.

Peter Van Praet also created the lighting for the Pierre Audi productions of Les Troyens in Amsterdam and Alcina in Drottningholm. He has also worked with the La Fura dels Baus for the Ring Cycle and Les Troyens in Valencia (Carlus Padrissa), Enesco’s Oedipe and Ligeti’s Le Grand Macabre in Brussels (Alex Ollé and Valentina Carrasco), and the Ring Cycle in Buenos Aires (Valentina Carrasco).

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Christophe Gayral stage director

C

hristophe Gayral studied as an actor at the Ecole Nationale de la Rue Blanche in Paris, and worked as an actor for many years with many French directors including: Yannis Kokkos, Hans Peter Cloos, Catherine Anne, Stuart Seide, Brigitte Jaques, Pierre Tabard, Laurent Gutmann, Pierre Santini, Stanislas Nordey.

Gayral co-wrote Le Grand Carrousel, an equestrian opera, for the city of Brussels. He wrote and directed Jai mata di, an Indo-French co-production which toured India.

For the Alden Biesen Festival in Belgium he has directed Die Lustigen Weiber von Windsor by Nicolaï and the world premiere of La Fable de Ooh et Aah by Wise.

He has worked regularly on training young opera singers, particularly in Belgium, directing them in l’Enfant et les Sortilèges by Poulenc, The Telephone by Menotti and La Serva Padrona by Pergolese.

In 2010 Christophe Gayral directed Cimarosa’s Il Matrimonio segreto for the Opéra du Rhin and his production was revived in Rennes in 2011 and 2015 again in Strasbourg.

He directed Owen Wingrave by Britten in 2013, and the show was revived in Besançon in 2014. He staged a new production of Mozart’s Idomeneo for Strasbourg Opera in 2016 and Così fan tutte in 2019 for St Etienne Opera which was revived in 2021 in Toulon.

He was invited to stage a new production of La Traviata in September 2020 and premiered a new production of Vivaldi’s Farnace for La Fenice in 2021.

Director’s Notes

by Christophe Gayral My overall idea for staging Radamisto came naturally from our use of Stanford Live’s Bing Concert Hall.

When PBO presented the challenge of staging a Handel opera in a concert hall, I thought it was absolutely necessary to take full advantage of the possibilities this magnificent venue affords.

I therefore imagined using the technical aspects of this hall—specifically the adjustable risers built into the stage— to create different spaces representing geographical locations from the libretto as the story evolves.

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PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

I want to present a minimalist and uncluttered approach to the staging. The various spaces utilize symbolic props to represent places and characters while keeping a purified and visually graphic aesthetic. For example, thematically colored costumes for the two armies in front of light backgrounds combined with sculptural lighting effects achieve an aesthetically bold presentation that is “made to measure” with this beautiful Hall.

Having an extensive background in theater (I was an actor for 20 years), my priority in staging an opera is always to make the text heard and understood. My job is to refresh the text, and above all to create something that resonates with the singers and audience.

To do this, I begin with creating a proper dramaturgy that serves as a reference point for the singers and I to build a convincing story for the audience. Clarity and logic in the staging are essential to me in maintaining coherence in the narrative and a dialogue between words and music.

Because for me, opera is above all...sung theater!

Regarding the choice of time period, I believe that an opera must be a true reflection of our current lives and time. This resonance is found in the show through the set and choice of costumes. Here they will be deliberately contemporary.

This does not necessarily mean costumes from 2022, but costumes that are modern enough to mirror our current selves in this story and its characters (which may be a little dated). Radamisto is about love, but also about rivalries, jealousy, betrayal, and alas wars of power. A bit like real life…

About Stanford Live Stanford Live presents a wide range of fine performances from around the world, fostering a vibrant learning community and providing distinctive experiences through the performing arts. From its home at Bing Concert Hall and Frost Amphitheater, Stanford Live functions simultaneously as a public square, a sanctuary and a lab, drawing from all Stanford University has to offer to connect performance to the most significant issues, ideas and discoveries of our time.

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Program Notes George Frideric Handel (1685-1759) Radamisto (1728 version) For over two decades, Handel got on fine writing ‘opera seria’ for the King’s Theater—staged stories in which the Italian narrative was moved along by snippets of speech-song known as ‘recitative’, itself alternating with anguished soliloquies in which characters would reflect on their conflicted emotional states. The latter took the form of ‘da capo arias’—songs in three parts, with the opening music repeated after a contrasting middle section.

In a mode of storytelling almost entirely dependent on singing, Handel had the edge. Not only did his music plumb far greater emotional and psychological depths than that of his competitors, he was also able to tailor it to the specific strengths of the star Italian singers who pulled in the crowds. But those singers, and the impresarios who controlled the industry, were subject to fierce commercial rivalries and were often lured to rival companies for big bucks. A composer who could stay ahead of that particular game or even adapt to it—like Handel could—was worth his weight in gold.

Composers, however, were not immune from the variables of a London theater district powered by these rivalries. In 1719, a new company was established under the name the Royal Academy of Music. It wanted Handel as its chief composer and head of its orchestra, and soon secured him in both roles. The Royal Academy wasn’t averse to stoking rivalries even among its own house composers, who included Attilio Ariosto and Giovanni Bononcini. Handel surely knew that and accepted it as part of the rough and tumble of the West End. He knew how the game worked, and would prove as much in the first piece he wrote for the Royal Academy—Radamisto.

Handel was on familiar territory for this new opera— literally, as the Royal Academy had taken up residence in the King’s Theater where the composer had worked on and off for the previous decade. On 27 April 1720, Radamisto was first performed, in the presence of King George I and his son the Prince of Wales (the future George II).

For this particular adventure, they and the rest of the audience were taken to Armenia, around half way 26

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

Program Notes through the first century, where the tyrant King Tiridate wages war on the people of Thrace. The Thracians are led by King Farasmane and his son Radamisto. Tiridate also has designs on Radamisto’s wife Zenobia. Eventually a rebellion confounds Tiridate, who sees the error of his ways. Justice prevails and general rejoicing ensues.

The plot—a story from Tacitus’s Annals of Ancient Rome filtered through plays by Domenico Lallo and Georges de Scudéry and distilled into a libretto attributed to Nicola Francesco Haym—was not chosen by accident. As the late conductor Christopher Hogwood observed, Handel tended to favor stories in which the virtues of stability, hierarchy and orderly succession were underlined.

Those preferences did the composer no harm at the Royal Academy of Music, which was patronized by his own Hanoverian friends who doubled as the Kings of England and was bankrolled by a cabal of aristocrats.

The composer dedicated the opera to King George I, thanking the monarch for his encouragement ‘not so much as it is the Judgment of Great Monarch, as of one of a most refined Taste in Art.’ Handel knew how to play a King.

When Radamisto proved a hit, it must have seemed like there was no pressing need to stray from the winning formula; all but one of the Royal Academy operas that followed would be dynastic epics like this one. It helped that Radamisto was lavishly produced and fairly well cast. In the first instance that cast was led by the Italian soprano Margherita Durastanti, known to Handel from his days in Italy. Durastanti wasn’t a household name but would probably have proved a draw by dint of her Italian nationality (society figures in London really liked their Italian music, literature, painting—and visitors).

Still, in its second season the Royal Academy set its sights higher. Subsequent to the first run of Radamisto in April 1720, the company signed the castrato Francesco Bernardi, known to the public as ‘Senesino’ (he was reportedly paid £2000 per year, around $300,000 in today’s money). A revival of Radamisto was scheduled for December of 1720 with Senesino in the title role—a singer with a different vocal range to that of the soprano Durastanti, for whom the role was written.

In fact, at least three of the opera’s roles changed voice-type for the December 1720 revival. Durastanti, a soprano, now took on the role of Zenobia, originally 2021-22 SEASON

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Program Notes written for a lower-voiced mezzo-soprano. The role of Tiridate slid down from tenor to that of a bass, to accommodate the new singer Giuseppe Boschi. Handel scrapped the ballets that had closed each act, inserted a novel vocal quartet into Act III (‘o ceder, o perir!’) and deleted eight arias in total while adding ten more (mostly for Senesino).

For the revival of 1728—the model for today’s performance—the singer Faustina Bordoni arrived in London to snatch the part of Zenobia off Durastanti, thus taking it back down to the range of a mezzosoprano. Meanwhile, Bordoni’s great rival Francesca Cuzzoni sang the part of Polissena (one role that stayed a soprano the whole time). The character of Fraarte, Tiridate’s brother, was jettisoned altogether.

Handel didn’t simply transpose his music for these new singers, or crowbar it into new shapes to fit their vocal preferences. On the contrary: he saw such cast changes as opportunities for improvement and reinvention.

Every fine voice fascinated Handel, and he reacted to its individual capabilities acutely—re-writing music accordingly, yes, but always to further and advance the drama rather more than to indulge the singer (even as that singer’s characteristics were taken fully into account).

This handed a commercial advantage to whichever company Handel found himself writing for. But it also proved a potent musical tool. Handel mined extra layers of psychological and dramatic depth using a combination of his mind’s ear and his knowledge of the particular artistry of the singers he knew. Always in a Handel aria, there are subliminal meanings or byways into new forms of expression—whether in the voice or in the accompanying instruments. The voice in question was often the inspiration, which gives the music a naturalness that supercharges its dramatic effect.

Handel’s colleague, the flute player and composer Johann Joachim Quantz, described Senesino’s voice as ‘powerful, clear, equal and sweet’, and ‘with a perfect intonation and an excellent shake [trill].’ The castrato, according to Quantz, ‘sang allegros with great fire, and marked rapid divisions, from the chest, in an articulate and pleasing manner.’ Of Bordoni, he wrote of a vocal execution ‘articulate and brilliant,’ drawing attention to

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Program Notes her fine articulation, and describing her as a vocalist who ‘sang adagios with great passion and expression.’

Those words were written, in fact, to the critic and contemporary of Handel Charles Burney, who concluded on seeing Radamisto in 1720 that ‘the composition of this opera is more solid, ingenious and full of fire than any drama which Handel had yet produced in this country.’ It was the most fully-scored of any of Handel’s stage works thus far, including parts for two horns, which accompany the bravura aria for the tyrant Tiridate, ‘Alzo al volo’.

The sort of sadistic threats levied in that aria were a standard feature of baroque opera, which reached for stories from ancient history precisely because they pit lust and violence against heroism and virtue; the allegorical implications were clear. Handel always sought more subtlety, as if to reflect on the nuances that characterize every human being; the predicament of those for whom heroism is more a matter of inner resolve or self-sacrifice.

We hear (and see) this personified in Tiridate’s unfortunate wife Polissena, who has the opera’s first word in the form of the cavatina ‘Sommi Dei’—a reminder, as a betrayed wife prays to the gods for guidance, that a domestic marital breakdown lies at the core of this opera of grand political machinations. This first piece of vocal music establishes a tension bordering on tragedy that propels the opera towards its conclusion.

The character who delivers it appears to be the one human we meet willing to ask the most salient question: where, ultimately, will anger and greed of men lead?

Polissena channels her own frustrations into meaningful change, but not before she has harnessed them. In the furious aria ‘Barbarò, partirò’, she takes ownership of the jagged strings that lay underneath her opening prayer as she rails against her husband’s treachery and threatens to see him punished for it (faithful and wise, it is she who will eventually turn him onto the path of righteousness).

Polissena also wraps up Act I with the hopeful ‘Dopo l’orride procelle’, dreaming of happier times with an upward-pining orchestra.

We first meet the character of Radamisto in the court of Tiridate, where he has travelled to try to appease the enemy King and secure the release of his father. The aria ‘Cara sposa’ was described by Burney as ‘elegantly 2021-22 SEASON

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Program Notes simple’—a disarming expression of anguish whose conscious dramatic inertia demands a certain purity of expression. In the following act the character sings the darker and more mobile ‘Ombre cara di mia sposa’ assuming his lover Zenobia dead (she has in fact been rescued from the river into which she was flung). Burney considered this aria one of the best in all Handel, admiring the pained chromaticism in the accompanying strings that contextualizes a deceptively simple melody.

For Zenobia, Handel writes particularly evocative music. She sings the multi-layered ‘Son contenta di moire’ in Act I, movingly resolute in the face of death as she negotiates an aria whose considerable agility might paint a picture of Bordoni’s strengths as a singer. In the following act Zenobia has the theatrically fascinating ‘Empio, perverso cor!’ in which she alternately admonishes Tiridate with vehemence and sends concealed messages of affection to her disguised husband. When she and Radamisto must part in Act III, Zebobia’s desperate ‘Deggio dunque, oh Dio, lasciarti’, with its obbligato cello, rubs up against his doleful ‘Qual nave smarrita’. Their tripping reunification duet ‘Non ho più affanni’ prefaces the unusual, extended final chorus ‘Un di più felice’ which appears almost like a concerto grosso with voices in its ritornello verse structure.

So, all ends in rejoicing. Alas, there was no such triumph for the Royal Academy, which folded in 1728 shortly after the revival of the very Handel opera with which it had launched. Tastes had moved on; across town, John Gay’s The Beggar’s Opera, with music and story a world away from Radamisto, was packing in the crowds. The financial backers behind the Academy pulled the plug.

Ever tenacious, Handel immediately set up his own replacement: the New Royal Academy. This Germanborn Londoner wasn’t done with Italian opera.

Rival Queens: Bordoni v Cuzzoni The 1728 revival of Radamisto was one occasion on which Faustina Bordoni and Francesca Cuzzoni shared a stage. These days, the two Italian singers are known for a rivalry bordering on the explosive. Plenty of albums from contemporary female singers have taken this rivalry as their theme, extending the aura and mystery around an irresistible tale of two squabbling divas.

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Program Notes In fact, Bordoni and Cuzzoni knew each other long before they arrived in London from Italy, and had shared a stage several times before. The label ‘Rival Queens’ was invented by the London press, who lapped up the story and stoked the idea of a confrontation between the two women for its own advantage. Naturally, the opera companies saw the benefits too.

In London, the two women appeared together for the first time in a 1726 performance of Handel’s opera Alessandro. The flashpoint came a year later, when the two were both in the cast of Astianatte—an opera by Handel’s Royal Academy colleague Giovanni Bononcini.

At the show on 6 June 1727, it is said that a fight broke out between the two singers on stage, each pulling at the other’s wig. That fit the narrative of two women said to be so egotistical and demanding that they struck fear into the composers who wrote for them.

These days, musicologists and historians question that version of events (it certainly seems unlikely that Handel, a big character in every sense, would have allowed himself to be compromised by a singer). It is now believed that it was the audience fighting on the night in question, not the singers. So partisan were the supporters of Cuzzoni and Bordoni that they themselves had initiated the riot of 6 June 1727, referred to by the satirist John Arbuthnot as ‘a most horrid and bloody battle.’ There can’t have been too much harm done between the women themselves, as they were back on stage together for Radamisto a year later.

Programme notes by Andrew Mellor © 2022

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Glossary of Terms RECITATIVE A form of speech-song that emerged in the Baroque era, in which text (usually explanatory prose or conversational patter) is sung at a natural rhythm approximating speech over a bare harmonic chassis provided by one or more instruments. In Italian ‘opera seria’ the recitative tends to provide the information vital to the plot.

CHROMATICISM Music that uses ‘chromatic notes’: half notes, or ‘notes between the notes’—most obviously those represented by the black notes on a piano. In the Baroque and Classical eras, chromatic music was rare—used for phraseology, effect and harmonic tension. The bolder the composer, the more their music would tend towards chromaticism.

LIBRETTO The words to an opera or oratorio, usually written specifically for musical setting by a ‘librettist’ CASTRATO A male singer who, as a result of castration, could sing with the high range of a female soprano or mezzo-soprano. Castrating talented singers was common practice in Europe, particularly Italy, in Handel’s day but was in decline by the end of the eighteenth century.

SOPRANO The female voice type with the highest available range of notes.

MEZZO-SOPRANO A female voice with a slightly lower range of available notes than a soprano.

TENOR The male chest voice with the highest available range of notes.

BASS The male voice with the lowest available range of notes.

TRILL The ornamenting of a single note, by rapidly alternating it with an adjacent note.

ALLEGRO A speed indication, often used as a movement title. Literally translates from the Italian as ‘cheerfully’ or ‘with life’, usually manifested by a speed of between 120 and 150 beats per minute.

ADAGIO A speed indication, referring to music both slow and usually highly expressive, usually manifested by a speed of between 66 and 76 beats per minute.

CAVATINA A short song usually consisting of a single melody, without a contrasting section or countermelody.

ARIA At its simplest, the word ‘aria’ refers to a song or ‘air’. Usually used to refer to a song in an opera or vocal work sung by one character or voice with instrumental accompaniment.

CONCERTO GROSSO A particular form of multi-movement orchestral work that emerged in the Italian baroque. In a Concerto Grosso, the soloists are also the ensemble, with individual members stepping out to play alone.

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cantata collective at BFX Festival Opening Night! • June 5, 2022 • 7pm First Congregational Church of Berkeley, 2330 Durant Avenue

Beloved solo cantatas BWV 82 Ich habe genug, BWV 199 Mein Herze schwimmt in Blut, BWV 49 Ich geh und suche mit Verlangen (Dialogue cantata) Featuring Sherezade Panthaki and Paul Max Tipton Tipton

Tickets available through

Players & Instruments Philharmonia’s musicians perform on historically accurate instruments.

Below each player’s name is information about his or her instrument’s maker and origin.

VIOLIN

VIOLA

Elizabeth Blumenstock, concertmaster

Jessica Troy *

Andrea Guarneri, Cremona, 1660; on loan from Philharmonia Baroque Orchestra Period Instrument Trust Egon & Joan von Kaschnitz Concertmaster Chair

Karen Dekker

Leopold Widhalm, Germany, 1792

Jolianne von Einem

Mathias Knilling, Mittenwald, 1835

Lisa Grodin

Paulo Antonio Testore, Contrada, Larga di Milano, Italy, 1736

Chloe Kim

Anonymous Anglo-Saxon make, Germany, late 19th century

Katherine Kyme †

Carlo Antonio Testore, Milan, Italy, 1720

Timothy Johnson, Hewitt, Texas, 2006; after Andrea Guarneri, Cremona, Italy c. 1676

Maria Ionia Caswell

Anonymous, Mittenwald, Germany, c. 1800

Stephen Goist

André Mehler, Leipzig, Germany, 2018; after Matteo Goffriller, Venice, Italy, 1720

Ellie Nishi

Anonymous, Germany, 18th Century

VIOLONCELLO Phoebe Carrai bc

Anonymous, Italy, c. 1690

Paul Hale

Tyler Lewis

Anonymous, Italy, c. 1800

Dominik Zuchowicz, Ottawa, Canada, 1997; after Montagnana Zheng Cao Memorial Cello Chair

Anthony Martin

Ezra Seltzer

Thomas Oliver Croen, Walnut Creek, California, 2005; after F. Gobetti, Venice, Italy, 1717

Carla Moore

Johann Georg Thir, Vienna, Austria, 1754

Maxine Nemerovski

Jason Viseltear, New York, New York, 2010; after Giuseppe Giovanni Battista Guarneri, Cremona, 1697

William Skeen

Anonymous, Northern Italy, ca. 1680 Osher Cello Chair Endowment

David Tecchler, Rome, Italy, 1733

Noah Strick

Celia Bridges, Cologne, Germany, 1988

Shelby Yamin

Sebastian Klotz, (Mittenwald) Germany, 1721

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PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

Players & Instruments DOUBLE BASS

TRUMPET

Anthony Manzo bc

John Thiessen *

Wen Yang

Kathryn Adduci

FLUTE

TIMPANI

Stephen Schultz *

Allen Biggs *

Tom Wolf, 2007; after Carlo Fernando Landolfi, Tanegia, 1766 G. A. Pfretzschner, 1930; after Joseph Hill, London, 1770

Martin Wenner, Singen, Germany, 2012; after Carlo Palanca, Turin, Italy, c. 1750

OBOE Gonzalo X. Ruiz *

Joel Robinson, New York, 1990; after Saxon models, c. 1720 Principal Oboe Chair in Memory of Clare Frieman Kivelson and Irene Valente Angstadt

David Dickey

Randy Cook; Basel, Switzerland; 2008 after Jonathan Bradbury, London, circa 1720

BASSOON

Rainer Egger, Basel, Switzerland, 2003; after Ehe, 1746 Rainer Egger, Basel, Switzerland, 2006; after L. Ehe, Nuremburg, Germany, 1748

England, c. 1847

THEORBO David Tayler bc

Andreas von Holst, Munich, Germany, 2004; after Magno Tieffenbrucker, Venice, Italy, 1610

HARPSICHORD Richard Egarr bc

John Phillips, Berkeley, 2010; after Johann Heinrich Gräbner, Dresden, 1722 Generously lent by Peter & Cynthia Hibbard

Hanneke van Proosdij bc

Danny Bond bc

John Phillips, Berkeley; after Nicholas Dumont, 1707

HORN

* Principal † Principal 2nd Violin bc Continuo

Peter de Koningh, Hall, Holland, 1978; after Prudent, Paris, France, c. 1760

Todd Williams *

Rick Seraphinoff, Bloomington, Indiana, 2006; after Leichnambschneider, Vienna, ca. 1720

Sadie Glass

Richard Seraphinoff, 2015; after J.W. Haas

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BUILDING PHILHARMONIA’S FUTURE LAURETTE GOLDBERG SOCIETY

The Laurette Goldberg Society, named after the founder of Philharmonia Baroque Orchestra & Chorale, honors those individuals who have named the Orchestra in their estate plans.

Anonymous (2)

The Estate of Norman T. Larson

The Estate of Dr. Ross E. Armstrong

Clifford Leventhal

Corey & Tim Benjamin

The Estate of Susan B. Levy

Linda Brewer

William Lokke

Donald Buhman & Wray Humphrey

Dr. Terri McGinnis

William Bush

The Estate of Mrs. A. P. Morse

The Estate of Donald E. Casey

Mark Perry & Melanie Peña

The Estate of Marie Mendenhall Cleasby

Barbara & Nigel Renton

Kathleen & Martin Cohn

Maxine & James Risley

Hon. Marie Bertillion Collins &

The Estate of Maxine Rosston

Leonard Collins Steven A.R. Edwards The Phillip M. Eisenberg Trust Nicolas Elsishans & Christopher Hayes

The Estate of Shirley Sarvis Adrienne & Theodore Savetnick Sondra & Milton Schlesinger The Estate of Carol Seitz

Dr. Harvey & Deana Freedman The Estate of Dr. Alper A. Garren The Estate of Rudolf & Nellie Glauser

Ross Smith Robert Speer & John Wong The Estate of Frances C. Strauss

The Estate of Eva & James Goodwin

Linda & Paul Swatek

Kay Sprinkel Grace Margaret Hegg Steve John & Jason Snyder The Estate of Marie Kieraldo

Anita L. Velazquez Lawrence K. Wallace & Portia H. Leet The Estate of Theodore Weber, Jr. The Estate of Michael J. Weller

Kathy & Bill Korbholz Gillian Kuehner & Norman Bookstein The Estate of Elmira Lake

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BUILDING PHILHARMONIA’S FUTURE ENDOWED FUNDS AND NAMED CHAIRS Contributing to the Endowment Fund or naming a chair creates a legacy that will preserve the unique sound of Philharmonia for generations to come. Philharmonia Baroque Orchestra & Chorale gratefully recognizes the following named chairs and donors to the Philharmonia Endowment

NAMED CHAIRS The Robert and Laura Cory Chorale Director Chair Egon & Joan von Kaschnitz Concertmaster Chair Michael F. and Jane B. Marmor Principal Clarinet Chair Zheng Cao Memorial Cello Chair Clare Frieman Kivelson and Irene Valente Angstadt Memorial Principal Oboe Chair Susan B. Levy Violin Chair Osher Cello Chair Endowment

THE PHILHARMONIA CHORALE ENDOWMENT FUND Anonymous

ENDOWMENT SUPPORTERS Anonymous Susan & Paul Sugarman Linda & Paul Swatek Donna Williams

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GIFTS TO THE ANNUAL FUND Philharmonia expresses its deepest appreciation to those individuals, foundations, corporations and government agencies, whose loyal support of the Annual Fund makes possible our artistic vision, innovation, and educational programs. Thank you for providing the resources to bring music to concert halls, classrooms and communities throughout the Bay Area and beyond. We are truly grateful to the following donors, whose gifts were received between January 1, 2021 and April 12, 2022.

CORPORATE, FOUNDATION & GOVERNMENT GRANTS $100,000 & ABOVE

Grants for the Arts/ San Francisco Hotel Tax Fund

$75,000 - $99,999

MATCHING GIFTS

AMAT Community Bank of the West Chevron Humankind Matching Gift Program Genentech Johnson&Johnson Salesforce, Inc.

The William & Flora Hewlett Foundation

$25,000 - $74,999

SPECIAL PANDEMIC SUPPORT

Ann & Gordon Getty Foundation The Koret Foundation The Bernard Osher Foundation

The Bernard Osher Foundation National Endowment for the Arts

$10,000 - $24,999

We gratefully acknowledge the support we receive from:

National Endowment for the Arts The Bob Ross Foundation

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We gratefully acknowledge the support we receive from:

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Philharmonia Baroque Orchestra & Chorale is supported in part by a grant from the National Endowment for the Arts in response to the COVID-19 pandemic 9

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PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

WITH GRATITUDE FOUNDER’S CIRCLE ($1,000,000+) The Estate of Dr. Ross E. Armstrong The Estate of Norman T. Larson BENEFACTOR ($250,000-999,999) The Estate of Daniel E. Offutt III The Estate of Theodore S. Weber Jr GUADAGNINI ($100,000-249,000) The AAG Trust The Waverley Fund Mark Perry & Melanie Peña CONDUCTOR’S CIRCLE ($50,000-99,999) Anonymous Grace & Laurance Hoagland David Low & Dominique Lahaussois Gladyne Kenderdine Mitchell STRADIVARI ($25,000-49,999) Hon. Marie Bertillion Collins & Leonard Collins Mrs. Jonathan B. Gifford Richard E. Healey Candace Zander Kahn Anne & Jeffrey Katz Didier LeGall Brian M. Kincaid & Elizabeth C. Theil Frederick Matteson & Anne Davidson Barr Carol & Douglas Tanner John A. Taylor & Mary Courtney Tall CRISTOFORI ($15,000-24,999) Kathleen & Martin Cohn Nicolas Elsishans & Christopher Hayes Charlotte Gaylord & Barrie Cowan Kay Sprinkel Grace Kate & David Gross Nancy & Richard Heath

Paola & Richard Kulp David Morandi Michael Sack Paul and Susan Sugarman Family Philanthropic Fund GUARNERI ($11,500-14,999) John & Joan Goddard, The Goddard Foundation Christina & Kenneth Hecht The TL Trust The Marmor Foundation; Drs. Michael & Jane Marmor Rebecca Moyle & Tyler Lange ARCANGELI ($5,500-11,499) Mary & Roger Ashley Corey & Tim Benjamin Carol & Peter Berkenkotter Richard Caplin, M.D. Holly Hartley Jack Levin Kim & Judy Maxwell Elizabeth Anderson Mayer Erik Moga Kathryn & Donley Parmentier Marcia & Robert Popper Pamela Rigg Jean Shuler Evelyn Wegienka Donna Williams AMATI ($3,000-5,499) Five Arts Foundation/ Helen Berggruen Linda Brewer Kyra & Ken Carson Jacqueline Desoer Marta Falicov Sally & Craig Falkenhagen Sarah FitzGerald & Quincy Bragg Lynn Gotchall Ian Hinchliffe & Marjorie Shapiro Anonymous Maureen & David Kennedy Joan Mansour Paul McMillan & Suzanne Long Doug Miller William Perry Betty & Jack Schafer Sylvia J. Spengler Linda & Paul Swatek Mr. David Thompson

Melanie & Ron Wilensky Wendy & Mason Willrich Cathe & Gavin Wright Jane H. Zuckert COGNOSCENTI ($1,600-2,999) Jane & Christopher Adams Kendall & Claire Allphin Barbara Barkovich Ari & Kristin Baron Janet & Chris Bensick Craig Bowman & Susan Schoenung Prudence Breitrose Paul Chrzanowski Patricia Clemo & Robert Cooley Joan & Edward Conger Corinne Cooley Derringer Tom & Ronnie Devitt Jerome & Thao Dodson The Rev’d Richard Fabian Shirley George Pamela J. George Blechman Goldberg Family Fund Joyce & Douglas Hamilton Hank Hanig MacInnis-Heinle Trust A Shelley & Solon Holstein Lili Jensen Steve John & Jason Snyder Kathy & Bill Korbholz Sheila & Michael Lagios Lila LaHood Robert Larson Kit & Hayne Leland Ellen & Barry Levine Pierre-Alexander Low Riley Maddox & Haley Tone C.R. Gus Manning & Rena Kirkpatrick Richard Meiss & Peter Rudy Robert B. Mison Janet & Bill Nicholls Brenda & James Nirenstein James Noe III Judith & Stuart Offer Phillip Phythian & Ann Hardham Lynn & Olivier Pieron William Quackenbush Maxine Risley Louise Adler Sampson Adrienne & Theodore Savetnick 2021-22 SEASON

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WITH GRATITUDE David A. Shapiro, M.D. & Sharon L. Wheatley Tobie Shapiro Lawrence & Grace Smith Susan LeRoy Stewart & Michael Stewart Claire Taylor & Charles G. Schulz John Tibbetts & Barbara Bernstein Ruth Tobey CAMERATA ($1,000-1,599) Linda E. Anderson John Anderson & Jimmy Kansau Shirley Armitano Zachary Baker Bonnie & Jim Bell Roy Bergstrom Adam Arthur Bier & Rachel Bier Lem Linda Blum Marlene Bollhoffer Andre & Beverly Brewster Suzanne & Italo Calpestri Virginia Lee Chen Annelle Clute Glyde Cooper Peter & Jayne Davis Bonnie Demergasso Jeanette & Peter Dunckel Fred & Dinna Eisenhart Mary & Jurgen Exner Jennifer Finger & Scott Bucey Hank Fuchs Margaret E. Garms Paul Garrison Edith Gladstone Anonymous Ms. Dorothy D. Gregor Carol Handelman Allen Hardy & Claudia Eckelmann Margaret Hegg Mr. Frederick Hertz Susan & David Hodges Karen Ivy & James Ringland Tim Kahn Julia Katz The Kenyon-Lipsky Charitable Fund The Ketcham Family Fund Thomas King Toby Langen Carlene Laughlin James Leak 40

Tom Lee Harvey L. Lynch Richard Martin Victoria & James Merchant Neanna & Allan Miles Charles & Honor Morehouse Julius Moshinsky & Suzanne Renne Alice Nadler Diana & Martin Neiman Jeanne Newman Kirk Patterson Sandra & George Petty Jan Willem Prak & Karen Burtness Prak Mathew Quilter Ray & Bill Riess Janet Rodriguez Valerie & Peter Samson Anonymous Susanna & Dave Singer Anonymous Tricia Tanoury John Thorpe & Raymond Lee Susan & Jim Tighe Anonymous Anonymous Martha Doerr Toppin Dr. David L. White & Martha Truett Ellen & Mike Turbow Analee Weaver John & Marilyn Whitcher David Wollenberg Susan & David Young CAMERATA ($650-999) Marcia & Richard Baugh Laura Becker & Joel Parrott Judith & Kim Bishop George & Phyllis Brown Sandra Church Patricia & Peter Coffin Robert Cooley & Barbara Cooley Ms. Jacqueline Craig Robert Cronin & Anne Woodhouse Ms. Patricia Cross Ann & Loring Dales Karel & Mark Detterman Viola & Jerald Evans Jessena Finn Ms. Judith Frankel Karen Gabrielson Ms. Laura Hill Andrea Julian

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

Chrystal & James Kafka Richard McKee Robert Meyers Ann Morales Judy Nelson Pat & Larry Pagendarm Stephen Pegors & Trista Berkovitz Helen & Dan Quinn David H. Reemer & M. Louise RothmanReemer Leslie & William Rupley Paul J. Schmidt Anonymous Emily Sparks & Vincent Fogle Gayle & George Staehle Karen Streicher Judith Tate Bill & Judy Botsford Warren James & Cheryl Weaver CAMERATA ($400-649) Frank Adams & Susan Bryan Mr. Takeshi and Mrs. Yoshiko Amemiya Brigid Barton & Orrin Robinson Rick & Rickie Ann Baum Mr. James Bays Patricia & Edwin Berkowitz Amy & Peter Bernstein Allen & Jacqueline Bertillion Nancy & Peter Bickel Christel Bieri Mr. Robert Wilder Blue John Blum Melinda & Bob Buchanan Belle Bulwinkle & Michael Dukes Lynne Carr Dr. Bruce & Susan Carter Roseanne Chambers Bernard Choden & Lois Scott Carol & Orlo Clark Sheri & George Clyde Michael Condie Margaret Conkey Robert Cook & Blanca Haendler Jane Coulter Charles Crane Diane DeForest Susan & Harry Dennis Margaret DeStaebler Sheila Dillman Elaine & Greg Dunlap

WITH GRATITUDE Elizabeth & Norman Edelstein Lynette Francis Dr. Harvey & Deana Freedman Stuart Alexander & Kendy Genovese Carol Ghinger Jonathan Gifford Ms. Steven Goldberg Robert & Sally Goldman Dr. Anna Gonosova Anonymous Patricia Granberg Robert J. Green Anonymous Alan Harper & Carol Baird Shelley Harrison Stefan Hastrup & Gary Schilling Nina Hemenway & Chesley Herbert Natalie Henderson Marlies Hensel Joan Herron Mary-Lawrence Hicks Curt Hill Kelley Hinds Richard Holden & Mary Artist Joan & David Hollinger Arlene & David Holloway Carolyn Holm Susan & Ernst Hoyer David Hyman Gary W. Jennings Sal Kadri Elizabeth Kaplan Adela & Joel Karliner Carol & Howard Kirk Mary Kneip Elaine Fischer Kohn & James Kohn Ms. Marcia Kolb Barbara Kosnar & Tom Goldman Thomas Koster Alice & Richard Kulka Leslie Kurke David Lieberman & Carol Brownstein Malcolm Litwiller Carol Lokke Marilyn & Richard Lonergan Carol & Hal Louchheim Carolyn & David Lougee Elisabeth Lubliner Merritt & Candy Lutz

Garth McCune Kathleen McGreevy Steven Menzel Thea & Steve Merrill Barbara & Thomas Metcalf Evelyn Mickevicius Mia & Robert Morrill Margaret & Frank Morrow Frances & John Morse Anne Morton Michael & Melissa Mulcahy William Neilson Bari & Stephen Ness John Newmeyer Tes Norlin Georgia Heid & Mary Belle O’Brien Elizabeth & Michael O’Malley Gerald W. Greer & J. Luis Perez Anonymous Michael Poremba & Anna Moniuszka Steve Powell Diana Quon Glenn Reid John & Susan Richmond Robert Ripps and Steven Spector Christine Ritter Kenneth Robin Ms. Jo-Ann Rose Mr. Glen A. Roycroft Randy Schekman Reed Schmidt George Sensabaugh, Jr. Anne Shortall Anne Simons Linda & Fred Sondheimer, MD Alan Sparer & Charlotte Fishman Blanche Germain Streeter Eleanor Swent Lauren Tanner Joseph & Donna Terdiman Michael F. Thompson Marta Tobey Elizabeth Tynan John & Ann Varady Maura FitzGerald & Tom Walsh Mary Wildavsky Patricia Wilkinson Avril & Kenneth Wilsher Laura & Steve Yecies

John Zimmermann & Diana Graham Janet & Stephen Zovickian PATRONS ($150-399) Anonymous Sandra Adams Mary Ager Jeffrey & Joan Angell Anonymous Anonymous Arthur Aron Marilyn Bardet Ellen & Gunther Barth Ms. Joyce E. Bartlett Darla & Richard Bastoni Christine A. Beckstrom Jeannie Berest Linda Berti Stephen Bischoff Irene Beardsley & Dan Bloomberg Ms. Alison Boeckmann Ene & Laszlo Bonnyay Susan & Robert Borton Emily Brewer Ann & Steve Brick Carolyn Broadus Robert Bromfield Marda Buchholz Christa Burgoyne Patricia & Richard Campbell Kenneth Clark & Hasmig Seropian Douglas B. Clarke & Sally Jo Rosenbusch-Clarke David Clay Joseph Coha Ms. Susan Cohen Zipporah Collins Jane Colman James Conmy Ms. Sonja Cook Jerrold Cooper Rosemary Corbin Justin Cosentino L. William Countryman Ms. Teresa Countrymen Dr. & Mrs. Stanley Davis Dexter & Jean Dawes Lisa Dearborn Dorothy & Peter Denning Ann Dewart John Dickerman Anonymous Mariko Eastman Charles Edens 2021-22 SEASON

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WITH GRATITUDE Holly Eger Mary Williams & Peter M. Elias Gretchen Elliott George England Maria Erdi Mary Falvey Carolynne Farrell Brent Field Karen & Peter Filice James Fousekis Elliot Franks Bruce Garetz Carol B. Glanville James Glazier Mr. Karl Goldstein Beatrice & Paul Gomory Elizabeth Grant Julie & Howard Graves Elizabeth Green-Sah Bernice Greene Michael Greene & Gail Chadell Nanao Anne and Peter Griffes Janet & Joseph Grodin Erich & Joan Gruen Mr. James W. Haas Nicolas Hamatake Ann & Roy G. Hammonds, Jr. Ulrike & Michael Hanley Susan & Chuck Hanson Kurt & Brooke Hauch Sandra Hearn Henry Heetderks Daniel Hersh Philip Hicks Janet & Robert Hines Judy Hodkiewicz Donna Horn Karen Houck Ms. Elisabeth Houseman Hing On Hsu Charles & Trish Hulley Michael Irving Phyllis Isaacson Leila & Daniel Javitch Harley Jensen Stephen Kahl Robert & Kathleen Kaiser David Kalins Jonathan Kaner Robert Kattenburg Robert Kessler Sally Ketchum

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Mr. Michael A. Kimbell Susan Klee & David Stoloff Barbara Koerber Ileana Krumme Margaret LaFrance & William Caruthers Sharon Lambie May & Larry Lamoreux Pat Lee Rowen Leigh Lannon Leiman Howard Logan May Loo Martha & Arthur Luehrmann Mr. Kenneth Lum Mr. & Mrs. Michael Lyon Gail MacGowan Roger Mann Eugene Mannacio Charles Martell Willinda & Peter McCrea Sylvia Rose Ellen & Paul McKaskle James Mcmurtry Chris & Gail Mead Robert Messick Dieter Meyerhoff & Ursula Simonis Samuel Miller & Maude Pervere David & Carrie Milnes Merla Murdock Elizabeth & Richard Murphy Rachael Myrow Anita Navon Gary Nielsen & Elizabeth Nielsen Ms. Helmtrud Nock George Norall Alex Norton Ms. Susan Osova Nancy Ostrom Christine & Anthony Pagano Barbara Paschke Charles Pearson Stephanie Peek Helen Pellegrin & Peter Smith Karen & Mark Perlroth Robin Perry Michael Peskin Trond Petersen Anne Peterson & Tim Gasser Paula Polley Peggy Radel & Joel Myerson

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

Katalin Rader Dan & Sue Raybin Patricia & John Rea Carlene & Bruce Reeves Nancy Reier Ellen Reier Phyllis Rice Helen & Allan Ridley Pam & Jim Robson Sharon Shepherd & Laird Rodet Mr. & Mrs. Ronald Romano Mr. William Rosenthal Georgene & John Rostkowski Jean Rowan Charles Ruppert Mr. & Mrs. Jay Ruskin June & Robert Safran Albert Sammons Carl Schaper Carol Schneider Marcia Settel & David Gilson Brenda Shank Hiram Simon Linda Skory Yoram Sorokin Pam Speich E. Steefel David Stein & Bill Stewart Miriam Steinbock Anni & Mark Stroh Elizabeth Swarthout Carolyn Sweeney Carol Takaki Teters Lance Toma & Erik Webb Rebecca Tracy Jennifer Trainor Stephen Van Meter Carlos Velez-Ibanez Robert Visser Ann & Thomas Watrous Yenny Webb Vargas Louise & Daniel Weiler David Weinstein Roy West Gayle Wiesner Mary Anne & Hugh Winig William Wisniewski Fleur Yano Marjorie Yasueda & W. Dale Knutsen Gail & Peter Yessne Robina Young

LIFETIME BENEFACTORS

Philharmonia Baroque Orchestra & Chorale thanks the following visionary supporters whose cumulative giving totals $100,000 or more.

Anonymous (2) Ross E. Armstrong Nicholas Bez Kathleen & Martin Cohn Richard Colburn Hon. Marie Bertillion Collins & Leonard Collins Laura & Robert Cory Quincy Bragg & Sarah Fitzgerald Alper Garren Mona Geller Mrs. Jonathan B. Gifford John & Joan Goddard, The Goddard Foundation Kay Sprinkel Grace Kate & David Gross

Christina & Kenneth Hecht Grace & Laurance Hoagland Marie & Palmer Hotz Brian M. Kincaid & Elizabeth C. Theil The Kivelstadt Family Trust Norman T. Larson Kit & Hayne Leland John B. Levy The Estate of Susan B. Levy, in honor of Fred Sondheimer David Low & Dominique Lahaussois Didier LeGall The Marmor Foundation; Drs. Michael & Jane Marmor

Frederick Matteson & Anne Davidson Barr Elizabeth Anderson Mayer Gladyne K. Mitchell Holbrook T. Mitchell Mark Perry & Melanie Peña Maxine Rosston Sondra & Milton Schlesinger Jane & Jack Stuppin Paul and Susan Sugarman Family Philanthropic Fund Linda & Paul Swatek Carol & Douglas Tanner Claudine Torfs Joan & Egon von Kaschnitz The Waverley Fund

Join the Philharmonia Family!

Friends of Philharmonia make our music possible! Gifts to the Annual Fund support PBO’s performances, recordings, tours, educational programs, and so much more. Sustain the music you love and enjoy unique benefits by joining the Friends of Philharmonia today.

Visit philharmonia.org or call (415) 295-1288 to support PBO!

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