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Segerstrom Center for the Arts Renée and Henry Segerstrom Concert Hall Pre-concert lecture by Dr. Burton Karson, 7pm

L’ORFEO ENGLISH BAROQUE SOLOISTS & MONTEVERDI CHOIR Sir John Eliot Gardiner, Conductor and Artistic Director Alex Ashworth, baritone Andrew Tortise, tenor David Shipley, bass Esther Brazil, mezzo-soprano Francesca Aspromonte, soprano Francesca Boncompagni, soprano

L'Orfeo, SV 318 Prologue Act I Act II Act III Act IV Act V

Gareth Treseder, tenor Gianlucca Buratto, bass James Hall, countertenor Krystian Adam, tenor Mariana Flores, soprano Nicholas Mulroy, tenor

Claudio MONTEVERDI (1567-1643)

Performance with supertitles This evening’s program will be performed without intermission


Colburn Foundation, The Segerstrom Foundation, Mrs. Sharon McNalley, and Mr. Warren G. Coy. Additional support from the Marcia Kay and Ron Radelet Endowment Fund for Great Orchestras and donors of the Dean Corey Program Fund.

The Monteverdi Choir and the English Baroque Soloists would like to thank and acknowledge the following for their support of this tour: Dunard Fund USA; the Negaunee Foundation; William and Judith Scheide; Michael Cioffi & Monteverdi Tuscany Castiglioncello del Trinoro; and the American Friends of the Monteverdi Choir & Orchestras, Inc. | Exclusive Tour Management: Opus 3 Artists 470 Park Avenue South, 9th Floor North New York, NY 10016 |

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photo: Sim Canetty-Clarke



monteVerDi: l’orFeo, SV. 318 Monteverdi occupies a unique place in the history of western music. He represents a moment when the paradigm in music shifted against a backdrop of social, political, and economic changes that accompanied the transition from the Middle Ages in Europe to the early-modern period. Before Monteverdi, music seems distant, remote, with rules and structures that are far enough from what we know to seem decisively “other.” In Monteverdi, we recognize musical elements that have persisted until our own time—storytelling, strophic songs, dances, antiphony—elements that give his music a more modern feel. There are more points of entry, more ways in, for the contemporary listener, because his music is modern in a way that the music of his predecessors was not. This is not to imply any kind of value judgment, but rather to argue that Monteverdi is, in a sense, a foundational figure for western music. He synthesized, distilled, and developed what he inherited, and in these two concerts, we’ll hear two major works, one sacred, one secular, that represent his achievement. There had, of course, been 15


other works along these lines before him—The Play of Daniel and other Biblical dramatizations with music, countless settings of the mass, secular dances, troubadour songs—but the scope and scale of what Monteverdi created in his Vespers and in his operas, of which L’Orfeo was the first, was really unprecedented. These works established opera and large-scale sacred music as two pinnacles that all subsequent composers had to scale—Haydn, Mozart, and especially Beethoven would add the symphony as a third. Claudio Monteverdi was born in 1567 in Cremona, Italy. Northern Italy was the birthplace of the transition from the medieval to the modern, not only in terms of politics and society, but also with respect to culture. The Renaissance had been underway more than two centuries by the time Monteverdi arrived on the scene. He had gotten a good education as a member of the choir at the local cathedral; there, he would have learned about Renaissance polyphony, and his early works, which were published in his teens, show a thorough grasp of late 16th-century musical style. In 1592, he entered full-time service at the Gonzaga court in Mantua as a string player. The Duke had a small virtuoso band of instrumentalists and singers, and Monteverdi soon became one of its most valued members, writing madrigals for the ensemble and traveling with the Duke. Monteverdi was appointed maestro di capella in 1601, sealing a leading position for him among Italian composers of the time. It was for Mantua that Monteverdi composed L’Orfeo. The work had its premiere under the auspices of the Accademia degli Invaghiti, a Mantuan society for the promotion of music, on February 24, 1607. Monteverdi had, in his role as a court musician, been involved in creating and performing several dramatic works—ballets, intermedi, and incidental music. He was also well aware of contemporary developments in Florence, where through-composed music dra-


mas, the earliest operas, were being created. The Florentine Camerata, a group of humanists devoted to the recreation of ancient Greek drama through a union of visuals, music, and theater, laid the groundwork, and these first operas, with their choice of subjects from Greek mythology and their use of recitative to achieve a heightened form of musical declamation, are the fruits of that undertaking. In L’Orfeo, Monteverdi synthesized all of this into the first music drama that still resonates with our own time. The work opens with an arresting toccata for the full instrumental ensemble, a luxuriant combination of strings, recorders, harp, a variety of plucked instruments, trumpets, cornets, sackbuts (a predecessor of the trombone), percussion, and keyboards. The virtuosity of the instrumental writing, and the demands placed on each individual player, represents another venture into uncharted territory for the composer and testifies to the level of his colleagues in Mantua. The toccata itself was likely a military fanfare associated with the Gonzaga court, a sort of early-modern gloss on the national anthem idea—it turns up as well at the outset of the Vespers. In the prologue, we hear the first of the score’s strophic songs, in which the allegorical figure of Music introduces the drama. The form is simple, with an alternation of instrumental ritornelli (literally, “little returns”) and verses for the singer. The first act, a pastoral celebration of Orpheus and Eurydice’s wedding, combines recitative, chorus, and instrumental dances and ritornelli into a musical-dramatic structure that unfolds over a long arc previously untried in music. The act opens with a recitative in which a shepherd exhorts his compatriots to praise the auspicious day; they duly oblige. A lively ballo alternates between chorus and instruments; this frames another heightened passage of recitative,

There are several other stunning moments of similar innovation throughout the opera. One of the most breathtaking uses of recitative comes in act two, when, as Orpheus and his nymphs and shepherds are relaxing in the shade, the Messenger arrives to deliver the news that Eurydice is dead. Her dissonant utterance—“Ahi, caso acerbo!” (Ah, bitter blow!)—and subsequent exchange with the shepherds and Orpheus finds Monteverdi using all of the harmonic and wordpainting skill at his disposal to underscore this moment of tragedy. At a similar moment, in act four, when Orpheus makes the fateful turn to see if his beloved is truly following him out of the Underworld, Monteverdi uses similar means to make the dramatic point. Orpheus catches a fleeting glimpse—“O dolcissimi lumi” (O sweetest eyes)—and the music seems to stand still through the simplest means, hushed declamation over a pedal point before an unsettling interruption signals her disappearance.

chorus with more freedom, in the style of his madrigals, for example, in the Chorus of Spirits that closes acts three and four. Monteverdi’s vocal writing in the strophic numbers, as well as in the recitatives, is incredibly expressive. Seldom have words and music been so carefully untied, and with such dramatic purpose. This reaches a peak in Orpheus’ act three “Possente spirito,” his plea to Charon to cross the River Styx. Monteverdi writes music that is increasingly florid, elaborate, for each successive stanza, to reflect Orpheus’ increasing desperation, his heightened emotional state. For the sixth and final stanza, all of the decoration falls away, and we hear Orpheus sing his plea with moving simplicity. It is a wonderful example of the rhetorical bent of Monteverdi’s writing, another instance of a simple gesture employed for maximum impact. It is this accumulation of simple gestures, masterfully deployed over L’Orfeo’s roughly one and three-quarter hours of music, that distinguishes it as a unique and path-breaking masterpiece.


Orpheus’ hymn to his father Apollo, “Rosa del ciel” (Rose of heaven). Here we begin to sense Monteverdi’s unique gift for word-painting and atmosphere. A succession of philosophical reflections offered by the shepherds and nymphs follows, interspersed with ritornelli to create another strophic structure. A brief chorus, capturing perfectly Orpheus’ transformation from sad sack into happy bridegroom, ends the act. It’s a stunning display of mastery of musical architecture on Monteverdi’s part, combining several fairly simple and brief building blocks into a larger and dramatically compelling structure.

— John Mangum

The chorus also plays an important role, appearing as pastoral figures in acts one, two, and five and as spirits in acts three and four. Monteverdi lavishes considerable skill on his choral writing. The monumental mourning scene at the end of act two alternates chorus and soloists in a homophonic setting of the Messenger’s “Ahi, caso acerbo!” music. In other places, Monteverdi treats the 17


Sir john eliiot garDiner

Sir john eliot garDiner ConDUCtor Sir John Eliot Gardiner is one of the most versatile and sought-after conductors of our time. Founder and artistic director of the Monteverdi Choir, the English Baroque Soloists and the Orchestre Révolutionnaire et Romantique, he appears regularly with leading symphony orchestras such as the London Symphony Orchestra, Leipzig Gewandhaus, Royal Concertgebouw, Bayerischer Rundfunk and at the Royal Opera House, Covent Garden. After serving as artistic director of the Opéra de Lyon (1983-88) and chef fondateur of its orchestra, the centre of his opera projects in France moved to the Théâtre du Châtelet in Paris with Gluck’s Orphée and Alceste, Weber’s Oberon, Verdi’s Falstaff and most notably with Berlioz Les Troyens in 2003—and thereafter to the Opéra Comique where he conducted new productions of Carmen, Pelléas et Mélisande Chabrier’s L’Etoile, and the Weber-Berlioz Le Freyschütz with the Monteverdi Choir and Orchestre Révolutionnaire et Romantique. 18

Acknowledged as a key figure in the early music revival of the past four decades, Gardiner has led his own ensembles in a number of ground-breaking projects and international tours, including the year-long Bach Cantata Pilgrimage to mark the 250th anniversary of the composer’s death in the millennium year. Two of Gardiner’s ensembles celebrated momentous anniversaries in 2014: with the Monteverdi Choir he returned to King’s College, Cambridge to perform Monteverdi’s Vespers of 1610, exactly fifty years to the day after their inaugural concert in the famous chapel. The 25th anniversary of the Orchestre Révolutionnaire et Romantique was marked by the filming of a BBC TV documentary on Beethoven, their first visit to Latin America, and culminated in a celebratory European tour. The two ensembles came together in August for a BBC Prom performance of Beethoven's Missa Solemnis, widely acclaimed and hailed by one critic as “the concert of the year.” The extent of Gardiner’s repertoire is illustrated by more than 250 recordings for major record companies and by numerous international awards, including the Gramophone Special Achievement Award for live recordings of the complete church cantatas of J.S. Bach on the Soli Deo Gloria label. In 2013, he won the Critics’ Circle’s Outstanding Musician award. In recognition of his work, Sir John Eliot Gardiner has received several international prizes, and honorary doctorates—from the University of Lyon, the New England Conservatory of Music, the University of Pavia and the University of St. Andrews. In 1992, he became an Honorary Fellow of both King’s College London and the Royal Academy of Music, and in 2007-08 a Visiting Fellow of Peterhouse, Cambridge. In 2014, he was elected to an Honorary Fellowship of his alma mater, King’s College, Cambridge. Awarded a CBE in 1990 he was appointed a Knight Bachelor in the 1998 Queen’s Birthday Honours List. He was nominated Commandeur dans l’Ordre des Arts et

ABOUT THE ARTISTS engliSh BaroQUe SoloiStS (maSSimo giannelli)

des Lettres in 1996 and made Chevalier de la Légion d’Honneur in 2010. He received the Order of Merit of the Federal Republic of Germany in 2005. His acclaimed book on Bach, Music in the Castle of Heaven, was published by Penguin in the UK and by Knopf in the U.S. in 2013. He was recently appointed President of the Bach Archive in Leipzig. engliSh BaroQUe SoloiStS Under the patronage of HRH the Prince of Wales The English Baroque Soloists have long been established as one of the world’s leading period instrument orchestras. Throughout their repertoire, ranging from Monteverdi to Mozart and Haydn, they are equally at home in chamber, symphonic and operatic performances and the distinctive sound of their warm and incisive playing is instantly recognizable.

The English Baroque Soloists are regularly involved in joint projects with the Monteverdi Choir, with whom they famously took part in the trail-blazing Bach Cantata Pilgrimage in 2000, performing all of Bach’s sacred cantatas throughout Europe. More recently, the two joined forces again in a “Bach Marathon” event at the Royal Albert Hall (2013), and collaborated on recordings and tours of Bach Motets (2011) and Ascension Cantatas (2012), both of which reached No. 1 in the UK classical charts. The ensemble has performed at many of the world’s most prestigious venues, including La Scala in Milan, the Concertgebouw in Amsterdam and the Sydney Opera House. In the course of the 1990s, they performed Mozart’s seven mature operas and recorded all Mozart’s mature symphonies and his complete piano concerto cycle. Their recent recordings of the Brandenburg Concertos and Mozart Symphonies 39 & 41 were released by the Monteverdi ensemble’s own record label, Soli Deo Gloria. 19


monteVerDi Choir (maSSimo giannelli)

In 2014, the Monteverdi Choir’s 50th anniversary year, they performed with the Choir in tours of Monteverdi Vespers 1610 in Cambridge, Versailles and Barcelona, and Handel Dixit Dominus at several summer festivals. 2015 has already taken the EBS and the Choir to Munich, Frankfurt, Lucerne and Paris to perform Bach’s B minor Mass. Further projects this year include performances at several major summer festivals as well as the orchestra’s first Far East tour in more than a decade, with concerts in Hong-Kong and Shanghai. the monteVerDi Choir Under the patronage of HRH the Prince of Wales The Monteverdi Choir, founded in 1964, is famous for its passionate, committed and virtuosic singing. Over the past 50 years, it has been consistently acclaimed as one of the best choirs in the world, noted for its ability to switch composer, language and idiom with complete stylistic conviction. 20

Among a number of trail-blazing tours, the most ambitious was the Bach Cantata Pilgrimage in 2000, during which the Choir performed all 198 of J.S. Bach’s sacred cantatas in more than 60 churches throughout Europe, to celebrate the 250th anniversary of the composer’s death. The entire project was recorded and released by the company’s record label, Soli Deo Gloria. It was hailed as “one of the most ambitious musical projects of all time” by Gramophone magazine. The Choir is also a fertile training ground for future generations of choral and solo singers: Choir members often step out to sing solo parts and many former members have gone on to enjoy successful solo careers. Since 2007, the Monteverdi Apprentices Programme has added an exciting new dimension to its profile. The Choir has more than 150 recordings to its name and has won numerous prizes. It regularly participates in staged opera productions, including recently Le Freyschütz (Weber), L’Etoile (Chabrier) and Carmen (Bizet) at the Opéra Comique in Paris.

Australia with the Australian Chamber Orchestra in Bach's Christmas Oratorio and performances of Brahms' Requiem in China. Alex's recordings include Monteverdi's Vespers for DVD with John Eliot Gardiner (to be released late 2014), Oedipus Rex, Stravinsky, with the London Symphony Orchestra, and Handel's Giulio Cesare (DVD) for Glyndebourne Festival Opera.

Earlier in 2015, Bach’s B minor Mass tour took the Choir to Munich, Frankfurt, Lucerne and Paris. Further projects this year include performances at several major summer festivals as well as the Choir’s first Far East tour in more than a decade, with concerts in Hong-Kong, Seoul, Beijing and Shanghai.

anDrew tortiSe, tenor

SoloiStS alex aShworth, Baritone Alex Ashworth is a concert and opera singer working across Europe and the United Kingdom. He studied at the Royal Academy of Music and has since made his debut with opera houses including Glyndebourne Festival Opera, Welsh National Opera and Scottish Opera. Abroad he has performed for the Opéra Comique in Paris, Opéra de Lille and the Icelandic Opera. Alex sings regularly in concert and has worked as a soloist for conductors including Sir John Eliot Gardiner, Sir Colin Davis and Paul McCreesh. Recent appearances include the UK première, with the Classical Opera Company, of Telemann's Orfeo as Pluto, Vaughan Williams' Dona Nobis Pacem with the Hallé Orchestra, Messiah with the CBSO and City of Birmingham Choir in Symphony Hall, Birmingham, a tour of

Andrew Tortise was a choral scholar at Wells Cathedral and graduated from Trinity College, Cambridge in 2002.


Last year, the Choir celebrated its 50th anniversary with performances of Monteverdi’s Vespers of 1610 in Cambridge, Barcelona and Versailles and an extensive European and U.S. tour of Handel’s Dixit Dominus. It collaborated with the Leipzig Gewandhaus Orchestra in a performance of Schumann’s Manfred under the direction of Sir John Eliot Gardiner; and released an acclaimed new album of English polyphony, Vigilate!

He has appeared on tours with Sir John Eliot Gardiner singing Purcell, Bach and Monteverdi, and with ensembles such as the Orchestra of the Age of the Enlightenment, Le Concert Spirituel and Combattimento Consort, Amsterdam, among others. He has given recitals at the Aldeburgh Festival with Malcolm Martineau and in Bruges with Richard Egarr. Recent highlights include The Spirit of the Masque in a new production of Britten Gloriana for the Royal Opera, Covent Garden; Peter Quint in The Turn of the Screw for Lyon Opera; Novice in Billy Budd and Janek in The Makropulos Case for Netherlands Opera; David in Die Meistersinger von Nürnberg and Ferrando in Così fan tutte for Welsh National Opera. Concert plans this season include Monteverdi L’incoronazione di Poppea with Academy of Ancient Music; Elijah with the Bach Choir; Ode to St Cecilia and Brockes Passion for the Bilbao Handel Festival. Opera plans include returning to Covent Garden to sing Marzio in Mozart’s Mitridate and Vogelgesang in Die Meistersinger von Nürnberg; and his debut at Theater an der Wien in a staged Bach Christmas Oratorio. 21


DaViD Shipley, BaSS David Shipley has performed as a soloist with the London Symphony Orchestra, the Monteverdi Choir, the Classical Opera Company, Sir John Eliot Gardiner, Sir Andrew Davis and Sir Mark Elder, at venues including Paris’s Salle Pleyel, Barcelona’s L’Auditori, the Kölner Philharmonie, Kings Place, the Cadogan Hall, the Barbican, Christ Church Spitalfields and the Royal Albert Hall. In concert, Shipley has appeared regularly as a soloist with the Monteverdi Choir under Sir John Eliot Gardiner, including in Monteverdi’s Vespers and Handel’s Dixit Dominus at the Salzburg Festival to mark the Choir’s fiftieth anniversary. He recently performed the role of Tiresias on the London Symphony Orchestra’s critically acclaimed LSO Live recording of Stravinsky’s Oedipus Rex, conducted by Sir John Eliot Gardiner. Operatic highlights include Britten’s Billy Budd conducted by Sir Mark Elder at the Glyndebourne Festival, BBC Proms, and Brooklyn Academy of Music; Sarastro in Die Zauberflöte for Royfal Academy Opera; Bartolo in Le Nozze di Figaro at the Amersham Music Festival. Shipley is currently a scholar on the opera course at the Guildhall School of Music and Drama. From September 2015, he will take up a position on the Jette Parker Young Artists Programme at the Royal Opera House, Covent Garden. eSther Brazil, mezzo-Soprano Hailed as “truly exceptional” by The Observer for her performance of Bach at the Royal Albert Hall,


Esther Brazil is in great demand as a concert soloist. After graduating from Oxford, where she was a choral scholar at The Queen’s College, she studied at the Royal Academy of Music, receiving generous support in the form of full scholarships in both years from the Lucille Graham Trust and Kohn Foundation, and graduated with an MA with Distinction. Esther has just completed a tour with the English Baroque Soloists and Sir John Eliot Gardiner, performing Bach’s solo cantata “Mein Herze Schwimmt im Blut” (BWV 199). She has been a member of the Monteverdi Choir since 2009. A finalist in the London Bach Society’s Bach Singers Prize, she has also appeared as a soloist with the Mahler Chamber Orchestra, Leipzig Gewandhaus Orchestra, Orchestra of the Age of Enlightenment, London Handel Orchestra, and the Brook Street Band. Operatic roles have included Dido (Dido and Aeneas), Alcina (Alcina), Rosina (Barber of Seville), Sorceress (Dido and Aeneas), Euridice (L’Orfeo), Mrs. Slender (Salieri’s Falstaff), Lauretta (Gianni Schicchi), Juno (The Judgment of Paris), Grand Duchess of Monteblanco (A Dinner Engagement), and Ninfa/Proserpina (L’Orfeo) with La Nuova Musica at King’s Place. Other recent highlights have included a criticallyacclaimed recording of Handel’s Dixit Dominus with the Brook Street Band, Ninfa/Proserpina in Monteverdi’s L’Orfeo at King’s Place, Erster Geist in Schumann’s Manfred with the Leipzig Gewandhaus Orchestra, and solo appearances in Vivaldi’s Gloria and Handel’s Dixit Dominus with the Orchestra of the Age of Enlightenment. She studies with Susan Roberts.

Born in 1991, Francesca studied the piano and harpsichord before entering the singing class of Maria Pia Piscitelli. She has since studied at the Accademia Nationale di Santa Cecilia and the Mozarteum in Salzburg. In 2009, she won the 1st prize at the “Città di Paola” Singing Competition (Italy). She furthered her interpretation of the 18th century repertoire by taking part at the Academie Baroque d’Ambronay, where she sang La Musica in Monteverdi’s L’Orfeo under the baton of Leonardo García Alarcón. She has sung at the Opéra Royal de Versailles, Opéra de Vichy, Parco della Musica (Rome), Bozar de Bruxelles, Opéra National de Montpellier, and appeared in renowned festivals such as Ambronay Festival, Aix-en-Provence Festival, and Musikfest Bremen, under the direction of such renowned conductors as Sir John Eliot Gardiner, Leonardo García Alarcón, Stefano Montanari, Alessandro Quarta, and Stefano Demicheli. Recent engagements include Falvetti’s Il Diluvio Universale in Bremen and Cavalli’s Elena in Montpellier and Versailles, both with Cappella Mediterranea under Leonardo Garcia Alarcón, and the modern premiere of Cavalli’s L’Eritrea in La Fenice in Venice, conducted by Stefano Montanari. FranCeSCa BonCompagni, Soprano Born in Arezzo in 1984, Francesca Boncompagni graduated in violin with distinction in 2005 from the R. Franci Conservatoire in Siena. In the same year she began her formal vocal training with

Donatella Debolini. In 2007 she attended William Christie’s Academy “Le Jardin des Voix”, and took part in the documentary “Baroque Académie” produced and broadcast by France 3. She now studies at the Schola Cantorum Basiliensis in Basel. She works with prestigious baroque ensembles such as Les Arts Florissants, Collegium Vocale Gent, Modo Antiquo, La Venexiana, Accademia Bizantina, De Labyrintho and Cappella della Pietà dei Turchini, and with conductors including Claudio Cavina, Federico Sardelli, Walter Testolin, Antonio Florio, Ottavio Dantone, Paul Agnew, William Christie, Philippe Herreweghe and Frans Brűggen. She has been a permanent member of the young ensemble RossoPorpora since 2013.


FranCeSCa aSpromonte, Soprano

She has performed in venues such as Palazzetto Bru Zane in Venice, Tonhalle in Zurich, Salle Pleyel, Cité de la Musique and Théâtre des Champs-Élysées in Paris, Alte Oper in Frankfurt, Bunka Kaikan and Opera City in Tokyo, Philharmonie in Berlin, and Lincoln Center in New York. She has recorded for Pentatone, Phi, Virgin Classics, Brilliant Classics, France Musique, Stradivarius and Deutsche Harmonia Mundi. gareth treSeDer, tenor After graduating from both the University of Bristol and the Royal Welsh College of Music and Drama, Welsh tenor Gareth Treseder was selected to become an Apprentice for the Monteverdi Choir. Solo engagements during his 23


Apprenticeship included Bach’s Cantatas 61 and 70 in Paris’ Cité de la Musique, Berlin’s Philharmonie and London’s Cadogan Hall (broadcast on BBC Radio 3). He has since performed as a concert soloist on Soli Deo Gloria recordings Handel Bach Scarlatti and J.S. Bach: Motets, winner of the 2013 Baroque Vocal Gramophone Award. He performed The Shepherd in Stravinsky’s Oedipus Rex on a recent recording by the London Symphony Orchestra. Recent solo performances include Handel’s Dixit Dominus for the Prince of Wales in Buckingham Palace; Mozart’s Requiem in the Royal Albert Hall; Mendelssohn’s Elijah in St. John’s Smith Square; Bach’s Mass in B minor in Pisa’s Cathedral Duomo; Scarlatti’s Stabat Mater in Cologne’s Philharmonie and Vienna’s Konzerthaus, Monteverdi’s Vespers in King’s College, Cambridge, Barcelona’s Palau de la Música Catalana and Château de Versailles. Gareth also composes sacred choral works, many of which have been performed and recorded across the UK, America and Australia.

gianlUCa BUratto, BaSS Gianluca Buratto started his music career as a saxophone and clarinet student, before studying voice at the Giuseppe Verdi Conservatoire, Milan. Gianlucca has collaborated with the Coro Claudio Monteverdi, thus enjoying a vast activity in 17th and 18th century repertoire: Rossi’s Oratorio della Settimana Santa with L’Aura Soave/Diego Cantalupi; Bach’s Unser Mund sei voll Lachens with Capella Savaria/Christophe Coin; Buxtehude’s Membra Jesu Nostri with the ensemble Il Suonar Parlante/Vittorio Ghielmi. 24

He made his operatic debut in 2009, since then he has performed in numerous performances, including Donizetti’s Maria Stuarda at the Teatro Verdi in Trieste; Mercadante’s Virginia and Puccini’s La Bohème and Verdi’s Rigoletto at the Teatro La Fenice in Venice; Mozart’s Mass in C minor at the Accademia Nazionale di Santa Cecilia in Rome under Kent Nagano; Macbeth at the Teatro alla Scala in Milan and in Chicago with the Chicago Symphony Orchestra/Riccardo Muti; Il Ritorno d'Ulisse in Patria at the Zurich Opera House and Le Nozze di Figaro with Christophe Rousset in Barcelona. Future engagements include La Bohème at the Dutch National Opera, Rigoletto at the Festival Internacional de musica de Bogotà and I due Foscari (Jacopo Loredano) at the Concertgebouw in Amsterdam.

jameS hall, CoUntertenor Countertenor James Hall graduated with distinction from the Royal College of Music in 2012; he was awarded several prizes including the Sir Geraint Evans Prize in both 2009 and 2010. Solo performance highlights have included Bach’s Weihnachts-Oratorium with Solomon’s Knot, Bach's St. John Passion with Lavenham Sinfonia and St. Matthew Passion in London, Bach's B Minor Mass at St. Alban's Abbey, Monteverdi Vespers in St. John’s Smith Square, Handel's Messiah with Ars Eloquentiae and Bach Motets with La Nuova Musica. Opera highlights include Spirit and Second Witch in Dido & Aeneas (Dartington Hall, Vignette Productions, and OperaUpClose), Soloist in Purcell’s The Fairy Queen (Temple Ensemble), Osmida in Jommelli’s La Didone

James' contemporary music projects have also included the Military Governor in A Night at the Chinese Opera (British Youth Opera), the premiere of Nathaniel in Na'ama Zisser's Black Sand (Grimeborn and Tete-a-Tete), soloist in Unsuk Chin’s Cantatrix Sopranica in Utrecht, Holland (Silbersee & Asko|Schönberg), Hamlet (cover) in David Bruce's The Firework Maker's Daughter with The Opera Group (an OperaNorth/ROH2 co-production). kryStian aDam, tenor Krystian Adam graduated with honors in Voice and Music Education in Wroclaw, his hometown in Poland. He then continued his studies at the G. Verdi Music Conservatory in Milan. He made his debut as Conte d'Almaviva in Il Barbiere di Siviglia, followed by La Clemenza di Tito (title role) and Il Matrimonio Segreto (Paolino). Mr. Adam regularly collaborates with prestigious conductors and ensembles, including: Claudio Abbado/Orchestra Mozart; Ian Adamus/Capella Cracoviensis; Giovanni Antonini/Il Giardino Armonico; Fabio Bonizzoni/La Risonanza; Theodor Currentzis/Musica Aeterna; Alan Curtis/Il Complesso Barocco; Ottavio Dantone/Accademia Bizantina; L'arte del mondo/Werner Ehrhardt; Diego Fasolis/I Barocchisti; Federico Guglielmo/L'Arte dell'Arco; Vaclav Luks/Collegium 1704; Federico Maria Sardelli/Modo Antiquo. Highlights of his successful career are Handel's Rodelinda (Grimoaldo) with Ian Adamus/Capella

Cracoviensis; the world première of Fabio Vacchi's Teneke for his stage debut in 2007 at the Teatro alla Scala, conducted by Roberto Abbado; Handel's Israel in Egypt with Diego Fasolis; Handel's Il Trionfo del Tempo e del Disinganno (Tempo) with Fabio Bonizzoni; the modern première of Piccinni's Il Finto Turco with Federico Guglielmo; Ariodante (Lurcanio) in Beaune and in Santiago de Compostela with Federico Maria Sardelli; the modern premiere of Salieri's Il Mondo alla Rovescia at the Teatro Filarmonico in Verona; Purcell's Dido and Aeneas at the Teatro La Fenice in Venice, conducted by Attilio Cremonesi; Pergolesi's Dixit Dominus under Claudio Abbado with Orchestra Mozart (recorded for Deutsche Grammophon); Gluck's Le Cinesi at the Musikfestspiele in Potsdam and at the Winterthur Theatre with Werner Erhardt and L'Arte del Mondo; Ottone in Villa at the Innsbruck Festival with Giovanni Antonini; M. Haydn's Requiem MH559 in Leverkusen; Alessandro Scarlatti's La Giuditta in Rotterdam and Il Novello Giasone by Cavalli/Stradella at the Festival della Valle d'Itria in Martina Franca.


(Ensemble Serse), Endymion in Cavalli’s La Calisto (Hampstead Garden Opera), Oronte in Handel’s Riccardo Primo (London Handel Festival).

Among Mr. Adam's engagements, it is worth mentioning L'Incoronazione di Poppea (Arnalta) at the Maggio Musicale Fiorentino with Alan Curtis; Il Ritorno d'Ulisse in Patria at the Teatro alla Scala under Rinaldo Alessandrini, Robert Wilson directing; Die Entführung aus dem Serail (Pedrillo) at the Opera Company in Philadelphia under Corrado Rovaris and in several Italian houses (Trento, Rovigo, Treviso and Pisa); Mozart's Great Mass in C minor with the Oslo Philharmonic Orchestra under Manfred Honeck; Anfossi's La Finta Giardiniera (concert and recording for Sony) and Bach's Christmas Oratorio in Leverkusen with L'arte del Mondo; Handel's Solomon in Krakow with Ian Adamus; Handel's Rinaldo (Goffredo) with Ottavio Dantone in Ravenna, Reggio Emilia and Ferrara; Le Nozze di Figaro in Cagliari and Perm (followed by a new studio recording for Sony under Theodor Currentzis); a revival of Gluck's Le Cinesi in Leverkusen and on tour in China; Scarlatti's Cain, ovvero il primo omicidio in Herne with Bonizzoni; 25


Myslivecek's L'Olimpiade at the National Theatre in Prague with Vaclav Luks and Collegium 1704 and then on tour in Dijon and Luxembourg; Mozart’s Requiem (Levin ed.) in Altenberg and Dortmund; Haydn’s La Vera Costanza with Andreas Spering at the Haydn Festival Augustusburg (recorded by WDR); Bach’s Cantata BWV 131 in Wroclaw (Wratislavia Cantans) under Giovanni Antonini; Myslivecek’s Sub olea pacis et palma virtutis with Collegium 1704 and Václav Luks in Prague and Herne. Mr. Adam recently performed Rossini’s La pietra del paragone (Giocondo) at the Théâtre du Châtelet in Paris under Jean-Christophe Spinosi; Monteverdi’s Vespro della Beata Vergine with the Monteverdi Choir and John Eliot Gardiner in Cambridge, Versailles and Barcelona; Haydn’s Philemon und Baucis in Montecarlo with Europa Galante and Fabio Biondi; Myslivecek’s L’Olimpiade, with Collegium 1704 and Václav Luks at the Theater an der Wien; Bach’s Matthäus-Passion with the Akademie für Alte Musik in Berlin and Munich; Zelenka’s Te Deum at the Wratislavia Cantans Festival and on tour with Václav Luks; Il Trionfo del Tempo e del Disinganno in Versailles with La Risonanza and Fabio Bonizzoni. Future plans include: include L’Orfeo (title role and Pastore I) and Vespro della Beata Vergine with the Monteverdi Choir and John Eliot Gardiner on tour in the U.S. (New York, San Francisco, Washington, Costa Mesa, Chapel Hill) and then in London (BBC Proms) and Versailles; Le nozze di Figaro (under Antonio Pappano) at the Covent Garden; Il Re Pastore at the Théâtre du Châtelet under Jean-Christophe Spinosi and L’occasione fa il ladro at the Théâtre des Champs-Elysées under Enrique Mazzola; Die Zauberflöte at the Opéra Royal de Wallonie in Liège; Bach’s B-minor Mass at the Maggio Musicale in Florence under Stefano Montanari; Respighi’s Lauda per la natività del Signore with the Rundfunk Sinfonie Orchester in Berlin.


mariana FloreS , Soprano Argentinian soprano Mariana Flores studied lyric arts at the University of Cuyo and the Schola Cantorum; she has since established herself as a renown interpret of Baroque repertoire. Mariana has performed in staged productions of Cavalli’s Ercole Amante (Bourg en Bresse, Reims, Vichy, Paris), Vivaldi’s Montezuma (Ciudad de Teatro de México), Jacquet de la Guerre’s Céphale et Procris (Markgräfliches Opernhaus Bayreuth), Monteverdi's Orfeo (Sarrebourg Festival, Festival of Kloster Eberbach), Purcell’s Dido and Aeneas (Grand Théâtre de Genève), Antonia Bembo’s Ercole Amante (Stadt Casino Basel), Bontempi’s Paride (Musikfestspiele Potsdam/Innsbrucker Festwochen der Alten Musik), Zamponi’s Ulisse (Liège), Cavalli’s Egisto (Opera Comique, Paris and Rouen Opera), Cavalli’s Elena (Aix-enProvence Festival, Lille Opera, Gulbenkian Foundation in Lisbon, Angers-Nantes Opera, Opéra de Rennes) She works regularly with Leonardo García Alarcón, and has previously worked with Daniela Dolci, Gabriel Garrido, Michael Form, Manfred Kraemer, Martin Gester, Andreas Stoehr, Christina Pluhar, Vincent Dumestre, Teodor Currentzis. With them, Mariana has made a number of acclaimed recordings, and performed in festivals such as Ambronay Festival, Barcelona Greek Festival, Festival de Ubeda y Baeza, Sablé Festival and Festival of Saint-Michel in Thiérache, among others. Mariana also regularly performs in recital with lutenist Hopkinson Smith. niCholaS mUlroy, tenor Nicholas Mulroy studied Modern Languages at Clare College Cambridge and Music at the Royal

Opera highlights include Rameau Hippolyte et Aricie and Dardanus with Emmanuelle Haïm in Toulouse, Paris, Lille, Caen and Dijon; L’incorronazione di Poppea for Glyndebourne on Tour, Opera de Lille and Opera de Dijon, and Handel Theodora with Trevor Pinnock. A committed recitalist, he performed Janáček’s Diary of one who Vanished with the Prince Consort in the Oxford Lieder Festival, Vaughan Williams’ On Wenlock Edge in Edinburgh; and regular appearances with pianist John Reid. Recordings include a Gramophone Award-winning Messiah, Acis in Acis and Galatea (Dunedin Consort/ John Butt /Linn), Monteverdi Vespers 1610 (Robert King/King’s Consort/Hyperion) and a series of Monteverdi (I Fagiolini /Chandos). Current plans include concerts wirh the Auckland Philharmonia, Melbourne Symphony Orchestra, and collaborations with Jordi Savall in Europe.

roBert DaVieS, Baritone Born in Colchester, Robert studied at the University of Sheffield and the Guildhall School of Music and Drama, London. He was awarded the Erich Vietheer Memorial Award at Glyndebourne and went on to appear in a number of productions on their Festival Tour (Mr Gedge

Albert Herring, Marcello La Bohème, Count Almaviva Le Nozze di Figaro and Doctor Falke Die Fledermaus). Other notable roles at Glyndebourne include Curio Giulio Cesare, Indian The Bartered Bride, Guccio Gianni Schicchi and Shepherd Pellèas. Roles elsewhere include Ottoker in Der Freischutz at the Opera Comique, Paris and the BBC Proms; Verdi's Rigoletto for Bury Court Opera; the title role in Le Nozze di Figaro, Demetrius A Midsummer Night’s Dream, Kuligin Katya Kabanova and Papageno in The Magic Flute for English Touring Opera; Greek Captain Les Troyens in the Gramophone Award-winning production at the Châtelet Theatre, Paris. In 2007, Robert was shortlisted for the prestigious Jette Parker Young Artists Programme at the Royal Opera House, Covent Garden.


Academy. He has sung in concert in Bach’s St John Passion with Les Musiciens du Louvre/ Marc Minkowski, St. John Passion with the Gabrieli Consort/Paul/ McCreesh, Messiah with Royal Scottish National Orchestra/Nicholas McGegan. He sang the parts of Evangelist in Bach Christmas Oratorio with Sir John Eliot Gardiner and Récitant in Berlioz L’Enfance du Christ with Sir Colin Davis.

Robert has sung under the baton of such distinguished conductors as Sir Simon Rattle, Vladimir Jurowski, Sir John Eliot Gardiner, Emanuelle Haim, Sir Mark Elder, Richard Hickox, Edward Gardner and Robin Ticciati. With a wide concert repertoire, performances include Monteverdi Vespers in St Mark’s, Venice; Handel Messiah in St. David’s Hall, Cardiff; Orff Carmina Burana in the Barbican, London; Haydn Creation in Cadogan Hall, London; Brahms Requiem in Coventry, Westminster and Worcester Cathedrals; Mozart Mass in B Minor in Duomo, Pisa; Bach St John Passion in St John's, Smith Square and Theatre des Champs-Elysees. As well as his opera and concert work, Robert is in demand as a consort singer. He regularly performs with the Dunedin Consort, the Gabrieli Consort, the Orchestra of the Age of Enlightenment and the Derby based orchestra, Sinfonia Viva.


v ES P E R S A R T I S T R O S T E R


SOLOISTS Francesca Aspromonte, soprano Francesca Boncompagni, soprano Mariana Flores, soprano Krystian Adam, tenor Nicholas Mulroy, tenor Andrew Tortise, tenor Alex Ashworth, baritone Gianluca Buratto, bass Robert Davies, baritone

ENGLISH BAROQUE SOLOISTS VIOLIN Kati Debretzeni Anne Schumann VIOLA Fanny Paccoud Lisa Cochrane CELLO Robin Michael Kinga Gáborjáni

DOUBLE BASS Valerie Botwright RECORDER Rachel Beckett Catherine Latham Marion Scott DULCIAN Györgyi Farkas

CORNETTI Helen Roberts Richard Thomas Michael Harrison SACKBUTS Adam Woolf Abigail Newman Stephen Saunders ORGAN James Johnstone


Evangelina Mascardi David Miller Benjamin Narvey Josías Rodríguez Gándara HARP Gwyneth Wentink

MONTEVERDI CHOIR SOPRANO Emily Armour Charlotte Ashley Francesca Aspromonte Francesca Boncompagni Esther Brazil ‘Jessica Cale * Mariana Flores Angela Hicks * Alison Hill Gwendolen Martin Eleanor Meynell Katie Thomas

ALTO Katie Bray Sarah Denbee James Hall Simon Ponsford Richard Wyn Roberts Kate Symonds Joy



Krystian Adam Peter Davoren Peter Harris Nicholas Mulroy Graham Neal Nicolas Robertson Andrew Tortise Gareth Treseder

Alex Ashworth Gianluca Buratto Robert Davies Samuel Evans Jake Muffett * Rupert Reid David Shipley Lawrence Wallington

* Members of the Monteverdi Apprenticeship Program 2014/15 28



SOLOISTS Alex Ashworth, baritone Andrew Tortise, tenor David Shipley, bass Esther Brazil, soprano Francesca Aspromonte, soprano Francesca Boncompagni, soprano Gareth Treseder, tenor Gianlucca Buratto, bass James Hall, countertenor Krystian Adam, tenor Mariana Flores, soprano Nicholas Mulroy, tenor

ENGLISH BAROQUE SOLOISTS VIOLIN Kati Debretzeni (doubling violino piccolo) Catherine Martin Iona Davies Anne Schumann (doubling violino piccolo) Oliver Webber Davina Clarke VIOLA Fanny Paccoud Lisa Cochrane Malgorzata Ziemkiewicz John Crockatt

CELLO Robin Michael

DULCIAN Györgyi Farkas


CORNETTI Helen Roberts Richard Thomas (doubling natural trumpet) Michael Harrison (doubling natural trumpet)

Kinga Gáborjáni BASS Valerie Botwright RECORDER Rachel Beckett Catherine Latham Marion Scott

SACKBUTS Adam Woolf Abigail Newman Stephen Saunders Miguel Tantos Sevillano Martyn Sanderson

ORGAN James Johnstone HARPSICHORD Oliver-John Ruthven CHITTARRONE Alex McCartney David Miller Benjamin Narvey Josías Rodríguez Gándara HARP Gwyneth Wentink

MONTEVERDI CHOIR SOPRANO Emily Armour Charlotte Ashley Francesca Aspromonte Francesca Boncompagni Esther Brazil Jessica Cale * Angela Hicks * Alison Hill Gwendolen Martin Eleanor Meynell Katie Thomas




Katie Bray Sarah Denbee James Hall Simon Ponsford Richard Wyn Roberts Kate Symonds Joy

Krystian Adam Peter Davoren Peter Harris Nicholas Mulroy Graham Neal Nicolas Robertson Andrew Tortise Gareth Treseder

Alex Ashworth Gianluca Buratto Robert Davies Samuel Evans Jake Muffett * Rupert Reid David Shipley Lawrence Wallington

* Members of the Monteverdi Apprenticeship Program 2014/15 29

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