Segerstrom Center for the Arts Renée and Henry Segerstrom Concert Hall Pre-concert lecture by Dean Corey, 7pm
Donna L. Kendall Classical Series
ORcHestRe RÉVOLutIONNAIRe et ROMANtIQue ANd tHe MONteVeRdI cHOIR sir John eliot Gardiner
conductor and Artistic director Elisabeth Meister, soprano Jennifer Johnston, mezzo-soprano Michael Spyres, tenor Matthew Rose, bass Meeresstille und glückliche Fahrt, Op.112 (Calm Sea and Prosperous Voyage) -
P A U S E
BEETHOVEN (1770-1827) -
Symphony No. 9 in D minor, Op.125
Allegro ma non troppo; un poco maestoso Molto vivace Adagio molto e cantabile Presto - Allegro assai - Allegro assai vivace
The Philharmonic Society gratefully acknowledges the Donna L. Kendall Foundation for the generous sponsorship of tonight’s performance. www.monteverdi.co.uk The Orchestre Révolutionnaire et Romantique and Monteverdi Choir are supported by the American Friends of the Monteverdi Choir and Orchestra, Inc. Sir John Eliot Gardiner appears courtesy of Askonas Holt. Exclusive Tour Management: Opus 3 Artists 470 Park Avenue South, 9th Floor North, New York, NY 10016 www.opus3artists.com Exclusive Print Sponsor Programs, artists and dates subject to change. Photographing or recording this performance without permission is prohibited. Kindly disable pagers, cellular phones and other audible devices.
BeetHOVeN: Meeresstille und glückliche Fahrt, OP. 112 (calM sea and PrOsPerOus VOYage)
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TUESDAY, NOVEMBER 20, 2012, 8PM
Ludwig van Beethoven composed Meersstille und Glückliche Fahrt (Calm Sea and Prosperous Voyage), a choral/orchestral setting of two poems by Johann Wolfgang von Goethe, in 1814-15. Beethoven, a great admirer of the famous poet, published the work with a dedication to Goethe. The score calls for mixed chorus and orchestra consisting of two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, timpani and strings. The performance time is approximately eight minutes. This little-known and seldom performed choral cantata is one of the most overlooked works in Beethoven’s output. Beethoven had known and admired Johann Wolfgang von Goethe since his youth, and he even set several of Goethe’s poems to music, as well as providing incidental music to Egmont in 1810. The two men met in person once in 1812. These poems are contrasting and Beethoven took advantage of the opposing conditions of the poem as he set them to music. In modern time, ships operate under diesel, steam or nuclear power. A tranquil sea may seem ideal for an ocean voyage, but in the days when all ships relied on wind power, a calm, windless sea spelled certain doom for commerce—and, if these conditions lasted long enough, starvation for the crew.
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The beauty of Beethoven’s setting is not its ability to paint a seascape with the rippling scales when the sea starts to stir or the still wind at the opening— but in its understanding of the power of transformation. Beethoven’s sense of theater is evident here as he begins quietly, without movement, and then at the first mention of “weite,” the horizon is far off and distant, the choir cries out in anticipation. Eventually, the wind shifts and the waters begin to churn. Suddenly, climbing in murmuring triplets from low to high in the strings, the wind rises. Beethoven’s tempo changes from sostenuto to allegro vivace. With a burst of energy, the choir describes the winds unleashed by Aeolus, the God of wind. The ship’s captain springs into action, giving commands to this sailors which include his visions of a safe harbor and a successful completion of their journey.
When the work was published in 1822, Beethoven sent a copy to Goethe, which contained the dedication to the poet. Although Goethe noted in his diary that he received the score, he never got around to acknowledging it. Nine months later, without word from Goethe, Beethoven penned a follow-up letter, but alas, he would never receive acknowledgement. -Notes by Jeffrey Mistri
Meeresstille und glückliche Fahrt GeRMAN teXt
calm sea and Prosperous Voyage eNGLIsH tRANsLAtION
Tiefe Stille herrscht im Wasser, Ohne Regung ruht das Meer, Und bekümmert sieht der Schiffer Glatte Fläche ringsumher. Keine Luft von keiner Seite! Todesstille fürchterlich! In der ungeheuern Weite Reget keine Welle sich.
Deepest calm lies on the water, Motionless the idle sea. Anxiously the sailor scans, The glassy surface all around. No breeze stirs in any quarter! Deathly calm, arousing dread! In the vast immobile ocean, Not one ripple moves.
Die Nebel zerreißen, Der Himmel ist helle, Und Äolus löset Das ängstliche Band. Es säuseln die Winde, Es rührt sich der Schiffer. Geschwinde! Geschwinde! Es teilt sich die Welle, Es naht sich die Ferne; Schon seh ich das Land!
The mists start to scatter, The sky grows bright, And Aeolus loosens The knot of our fears. The winds are now whispering, The sailor now stirs. Swiftly! Swiftly! The waters are parting, The distance draws nearer; Land is in sight!
Johann Wolfgang von Goethe
Translation by Mary Whittall
abOuT THE pROGRaM Beethoven
BeetHOVeN: sYMPHONY NO. 9 IN d MINOR, OP. 125 Beethoven had first encountered Schiller’s ode “An die Freude” (To Joy) more than thirty years before completing the Ninth Symphony. From 1792 onward, his papers show occasional toying with musical settings of the poem. When he first came to know Schiller’s ode, Beethoven was an optimistic young artist who had not yet composed his first symphony, yet his last approach to the poem, in 1812, came after the completion of the Eighth Symphony and the onset of profound deafness. Perhaps the professional experience he had gained in those decades led him to consider that a poem of such spiritual power required an equally powerful setting, for he soon embarked on the creation of his Ninth Symphony, the work in which Schiller's words would be given gloriously memorable flight.
cheers that were resounding throughout the hall. The image is deeply moving, so much so that cynical historians would like to discount it; it is, they feel, too perfect to be true. Yet this once, however, the cynics are apparently wrong, for several eyewitnesses related the same story. The fact that the applause passed unheard by Beethoven makes clear that he could never have heard a note of this most magnificent composition. Think about that bitter fact, and then wonder that a man so crossed by fate could still demand a choir to sing rapturously of joy. -Notes by Betsy Schwarm
The night of its premiere, May 7, 1824, at Vienna’s Theater an der Wien, makes a touching tale: an aging Beethoven, ill and deaf, conducting the orchestra and chorus in the premiere of his Ninth Symphony, still conducting even after they had ceased to perform, after the stunning new work had ended, after the audience had already begun to applaud, continuing to conduct until a singer turned him around so that he could see the thunderous 23
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BeetHOVeN NINtH sYMPHONY
O Freunde, nicht diese Töne! Sondern laßt uns angenehmere anstimmen und freudenvollere!
Oh friends, no more of these sounds! Let us sing more cheerful songs, more full of joy!
Freude, schöner Götterfunken, Tochter aus Elysium, Wir betreten feuertrunken, Himmlische, dein Heiligtum! Deine Zauber binden wieder, Was die Mode streng geteilt; Alle Menschen werden Brüder, Wo dein sanfter Flügel weilt.
Joy, bright spark of divinity, Daughter of Elysium, Fire-inspired we tread Thy sanctuary! Thy magic power re-unites All that custom has divided, All men become brothers Under the sway of thy gentle wings.
Wem der große Wurf gelungen, Eines Freundes Freund zu sein, Wer ein holdes Weib errungen, Mische seinen Jubel ein! Ja, wer auch nur eine Seele Sein nennt auf dem Erdenrund! Und wer’s nie gekonnt, der stehle Weinend sich aus diesem Bund.
Whoever has created An abiding friendship, Or has won A true and loving wife, All who can call at least one soul theirs, Join in our song of praise! But any who cannot must creep tearfully Away from our circle.
Freude trinken alle Wesen An den Brüsten der Natur; Alle Guten, alle Bösen Folgen ihrer Rosenspur. Küsse gab sie uns und Reben, Einen Freund, geprüft im Tod; Wollust ward dem Wurm gegeben, Und der Cherub steht vor Gott!
All creatures drink of joy At nature's breast. Just and unjust Alike taste of her gift; She gave us kisses and the fruit of the vine, A tried friend to the end. Even the worm can feel contentment, And the cherub stands before God !
Froh, wie seine Sonnen fliegen Durch des Himmels prächt’gen Plan, Laufet, Brüder, eure Bahn, Freudig, wie ein Held zum Siegen.
Gladly, like the heavenly bodies Which He set on their courses Through the splendour of the firmament; Thus, brothers, you should run your race, As a hero going to conquest.
Seid umschlungen, Millionen. Diesen Kuß der ganzen Welt! Brüder! Über’m Sternenzelt Muß ein lieber Vater wohnen. Ihr stürzt nieder, Millionen? Ahnest du den Schöpfer, Welt? Such’ ihn über’m Sternenzelt! Über Sternen muß er wohnen.
You millions, I embrace you. This kiss is for all the world! Brothers, above the starry canopy There must dwell a loving Father. Do you fall in worship, you millions? World, do you know your Creator? Seek Him in the heavens! Above the stars must He dwell.
abOuT THE aRTISTS Sir John Eliot Gardiner
sIR JOHN eLIOt GARdINeR One of the most versatile conductors of our time, John Eliot Gardiner appears regularly with leading symphony orchestras such as the London Symphony Orchestra, the Royal Concertgebouw, Bayerischer Rundfunk and Czech Philharmonic. Formerly artistic director of the Opéra de Lyon, since the 2006 season he has conducted new productions of L’Etoile (Chabrier), Carmen, Pelléas et Mélisande and most recently the Weber-Berlioz Le Freyschütz at the Opéra Comique in Paris. His most recent appearance at the Royal Opera House, Covent Garden, was with Rigoletto in April 2012. In July he finished the season with performances of Berlioz Grande Messe des morts at the Festival de Saint-Denis with the Orchestre National de France and the Monteverdi Choir. Acknowledged as a key figure in the early music revival of the past four decades, he is the founder and artistic director of the Orchestre Révolutionnaire et Romantique, the English Baroque Soloists and the Monteverdi Choir, recently voted best choir in the world. With them he has undertaken a number of ambitious large-scale tours. Most recently, he opened the Salzburg Festival 2012 with a performance of The Creation (Haydn) with the Monteverdi Choir and English Baroque Soloists. Their touring engagements in 2013 include perform-
ances of Berlioz La Damnation de Faust in Europe and Buenos Aires, and Bach Christmas Oratorio at the Sydney Opera House and Arts Centre Melbourne. The extent of Gardiner’s repertoire is illustrated by more than 250 recordings he has made for major record companies and by numerous international awards including most recently Gramophone’s Special Achievement Award for live recordings of the complete cantatas of J.S. Bach. In recognition of his work John Eliot Gardiner has received several international prizes, and honorary doctorates from the University of Lyon, the New England Conservatory of Music, and the University of Cremona. 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. He was made a CBE in 1990 and a Knight Bachelor in the 1998 Queen’s Birthday Honours List. In April 2008 he was awarded the Royal Academy of Music/Kohn Foundation's prestigious Bach Prize. He was nominated Commandeur dans l’Ordre des Arts et des Lettres in 1996 and made Chevalier de la Légion d’ Honneur in 2010. For more information, visit www.monteverdi.co.uk/jeg. 25
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ORcHestRe RÉVOLutIONNAIRe et ROMANtIQue Orchestre Révolutionnaire et Romantique was founded by Sir John Eliot Gardiner in 1989 with the aim of bringing to the music of the 19th and early 20th centuries an equivalent stylistic fidelity and intensity of expression characteristic of his renowned period-instrument orchestra, the English Baroque Soloists. From its inception—in performances and a recording of Brahms’ Ein Deutsches Requiem—the ORR won plaudits internationally, notably for its interpretation of the works of Beethoven, which it performed extensively and recorded for DG in the 1990s. In 2011, the orchestra returned to this repertoire for the first time in nearly 20 years, with a successful tour of Beethoven symphonies in Europe and the U.S. In 2012 they continue with a tour of the Missa Solemnis which takes them to 13 venues in 10 countries. The orchestra has been acclaimed for its interpretations of all the major early Romantic composers, starting with Hector Berlioz. They performed and recorded his Symphonie Fantastique in the hall of the old Paris Conservatoire where the very first performance took place in 1830. In 1993, together with the Monteverdi Choir, the orchestra gave the first modern performances of the newly rediscovered Messe Solennelle. Ten years later they joined forces to perform L’Enfance du Christ at the Proms as well the first complete staged performances in France of Berlioz’s masterpiece Les Troyens given at the Théâtre du Châtelet in Paris. Other critically acclaimed initiatives by the Orchestre Révolutionnaire et Romantique have included a project entitled “Schumann Revealed” given at the Barbican in 1997 that led to recordings of the complete Schumann symphonies and Das Paradies und Die Peri. This was followed a decade later by “Brahms: Roots and Memory” given at the Salle Pleyel and the Royal Festival Hall in 2007-08, in which Brahms’ four symphonies were set in the context of his most significant choral works and music of the 16th to 19th centuries that he himself transcribed and conducted. The project was recorded for the ensembles’ own label, Soli Deo Gloria. Operas by Weber (Oberon and Le Freyschütz), Bizet (Carmen), Chabrier (L’Etoile), Verdi (Falstaff) and Debussy (Pelléas et Mélisande) have been performed in new productions in France, Italy and (some) in London.
Recent performances in 2011-12 have included performances of Debussy’s Pelléas et Mélisande at the BBC Proms and works by Brahms, Bruckner (his Mass in E minor) and Stravinsky’s Symphony of Psalms. Touring engagements for 2013 will include Berlioz La Damnation de Faust and Beethoven Symphonies Nos. 2 and 8. For more information, visit www.monteverdi.co.uk/orr
tHe MONteVeRdI cHOIR Monteverdi Choir, founded in 1964, is famous for its passionate, committed and virtuosic singing. Over the past forty-five 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. 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 choristers have gone on to spectacular solo careers. Since 2007, the Monteverdi Apprentice Scheme has added an exciting new dimension to its profile. The choir has undertaken a number of trail-blazing tours, including the ambitious Bach Cantata Pilgrimage in 2000, during which they performed all 198 of J.S. Bach’s sacred cantatas throughout Europe to celebrate the 250th anniversary of the composer’s death. The entire tour was recorded by the company’s own record label, Soli Deo Gloria. Another large scale project in 2004 took the musicians on the road to Santiago de Compostela, where they performed a cappella Spanish polyphony in churches en route. The choir has more than a hundred recordings to its name and has won numerous prizes. It regularly participates in staged opera productions, and is currently involved in a five-year residency at the Opéra Comique in Paris, through which they appeared in Le Freyschütz (Weber), L’Etoile (Chabrier) and Carmen (Bizet). In the past two years, the Choir has sung in several performances of Beethoven’s 9th Symphony with the London Symphony Orchestra under the direction of John Eliot Gardiner, to great critical acclaim. In 2011-12 it took part in a variety of projects across other repertoires—including, together with the Orchestre Révolutionnaire et Romantique, music by Brahms, Bruckner and Stravinsky; tours and recordings of a cappella English renaissance music and Bach Ascension Cantatas along with the English Baroque Soloists. It also began new collaborations
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with the Berlin-based Mahler Chamber Orchestra (Schumann Manfred) and the Orchestre National de France (Berlioz Grande Messe des Morts). Future touring engagements in 2013 include Bach St. John Passion and B Minor Mass in Europe, and the Christmas Oratorio at the Sydney Opera House and Arts Centre Melbourne. The choir’s collaboration with the London Symphony Orchestra continues with performances of Stravinksy’s Oedipus Rex. For more information, visit www.monteverdi.co.uk/choir.
eLIsABetH MeIsteR, sOPRANO The 2011-12 season saw British soprano Elisabeth Meister in the title roles of Aïda and Lucrezia Borgia, as well as Elisabeth in Tannhäuser, for Teatro Municipal Santiago. In addition, she performed First Lady in Die Zauberflöte and Ariadne in Ariadne auf Naxos for Chicago Lyric Opera. The 2012-13 season includes Helmwige and cover Sieglinde in Die Walküre and Third Norn in Götterdämmerung, Kera in The Minotaur, also the title covers in Gloriana and Turandot for the Royal Opera House, Covent Garden. A former member of the Jette Parker Young Artists Programme, Miss Meister’s roles for the Royal Opera include Pale Lady in The Gambler, Fox in The Cunning Little Vixen (a cover role in which she unexpectedly went on for the complete run of performances, under the baton of Sir Charles Mackerras), High Priestess in Aïda, Costanza L’isola in Disabitata, First Lady in Die Zauberflöte and Dama in Macbeth. In addition, she covered the title roles in Der Rosenkavalier, Aïda and Anna Nicole, as well as Polina in The Gambler and Ellen Orford in Peter Grimes. Other operatic roles include Fiordiligi in Cosí fan tutte and Elisabetta in Maria Stuarda (cover) for English Touring Opera, Countess in Le Nozze di Figaro for Amici Opera, Mimi in La Bohème for Opera Barga in Tuscany, and Woglinde in Das Rheingold in concert in Oxford. A well-established concert artist in the British Isles, her repertoire includes Dvořák’s Stabat Mater, Elgar’s Caractacus, The Dream of Gerontius and The Kingdom, Haydn’s Creation and Nelson Mass, Jenkins’ A Mass for Peace, Mendelssohn’s Elijah, Mozart’s C Minor Mass, Orff’s Carmina Burana, Rossini’s Petite Messe Solennelle and Stabat Mater, Tippett’s A Child of our Time, Vaughan Williams’ A Sea Symphony and Verdi’s Requiem, among many other works.
As a recitalist for the Royal Opera, Miss Meister has performed Britten’s Cabaret Songs, Grieg’s Opus 48, Strauss’ Opus 48, Ebel’s As I Walk From Her Grave (world premiere), Wagner’s Wesendonck Lieder, Csanyi-Wills’ The Last Letter (world premiere) and Berg’s Sieben Frühe Lieder. At the Royal Albert Hall Miss Meister has performed Mozart’s Requiem under Sir David Willcocks and Mahler’s Eighth Symphony under Jeremy Backhouse; Verdi’s Requiem at Canterbury Cathedral under Richard Cooke and at Cadogan Hall under Dominic Grier. She has recorded Bernstein’s Chichester Psalms with Bournemouth Symphony Orchestra under Marin Alsop for Naxos and Mozart’s Requiem under Jeremy Summerly for Hyperion. Recent successes include her debut at the Royal Festival Hall in the UK premiere of Torsten Rasch’s song cycle Mein Herz Brennt, with Rene Pape and the London Philharmonic Orchestra conducted by Vladimir Jurowski. Miss Meister was born in Bristol and was educated at Backwell School before moving to London to train at the Royal Academy of Music and the Guildhall School of Music and Drama. She sang with the Glyndebourne Festival Opera and Welsh National Opera choruses before continuing her development at the Cardiff International Academy of Voice, where she studied with Dennis O’Neill CBE. She continues her studies at the Royal Opera with Paul Farrington and Andrew Watts.
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A noted recitalist, she has appeared at the Cheltenham, City of London, Perth and Aldeburgh Festivals and broadcasts regularly on Radio 3, partnered by Graham Johnson, Malcolm Martineau, Alisdair Hogarth and Joseph Middleton. Her growing discography includes Britten songs with Martineau for Onyx Classics (2011) and Thuille songs with Middleton for Champs Hill Records (due for release in 2013).
JeNNIFeR JOHNstON, MezzO-sOPRANO The young dramatic mezzo-soprano is a BBC New Generation Artist, and was named by BBC Music Magazine as a Rising Star, and the Financial Times as the “Face to Watch in Opera.” She is the recipient of numerous awards including Second Prize in the Montserrat Caballé International Singing Competition, two Susan Chilcott Scholarships and a Wingate Scholarship. She has appeared in opera at the Salzburg Festival, the Edinburgh International Festival, the Festival d’Aix-en-Provence, Opera de Lille, the Aldeburgh Festival, Scottish Opera and Opera North and her roles include Fricka, Waltraute, Suzuki, Dido, Hänsel, Mrs. Herring, Giovanna Seymour, Lucretia and Agrippina. She has performed with many of the world’s greatest orchestras, including BBCSO, RPO, Philhamonia, BBCNOW, Hallé, English Concert, Akademie für Alte Musik, Bournemouth Symphony, Dallas Symphony, OSESP and BBCSSO under the batons of conductors including Haitink, Van Zweden, Bicket, Spano, Slatkin, Dausgaard, Brabbins and de la Parra. Her repertoire spans the centuries, from Bach’s St. Matthew Passion and Handel’s Messiah to Verdi’s Requiem, Mahler’s 2nd and 3rd Symphonies, Beethoven’s 9th Symphony and Elgar’s The Dream of Gerontius, to Berio’s O King, Andriessen’s De Staat and Stravinsky’s Pulcinella. 28
Her engagements in 2012-13 season include Second Norn in Götterdämmerung at the Bayerische Staatsoper and at the Munich Festival, Jocasta in Oedipus Rex with the LSO for Sir John Eliot Gardiner’s 70th birthday in London and Paris, a tour of Europe and the USA, including her debut at New York’s Carnegie Hall, of Beethoven’s Missa Solemnis and Symphony No. 9 with Sir John Eliot Gardiner, Haydn’s Paukenmesse (BBCSSO/Labadie), Handel’s Messiah (RLPO/Cummings), Britten’s Spring Symphony (BBCNOW/Atherton), Beethoven’s Symphony No. 9 (BSO/Karabits), Bach’s B Minor Mass (Northern Sinfonia) and her solo recital debut at the Wigmore Hall with Joseph Middleton broadcast live on BBC Radio 3.
MIcHAeL sPYRes, teNOR Michael Spyres was born in Mansfield, Missouri, where he grew up in a family of musicians. He began his studies in the U.S. and continued them at the Vienna Conservatory, Austria. He was a Young Artist with Opera Theatre Saint Louis, where he made his main stage operatic debut in a touring production as Rodolfo in Puccini’s La Bohème. Prior to his international breakthrough, he also performed such operatic roles as Guglielmo in Donizetti’s Viva la mamma, Lindoro in Rossini’s L’italiana in Algeri and Hoffmann in Offenbach’s Les Contes d’Hoffmann as well as oratorio works like Händel’s Messiah, Bach’s Weihnachtsoratorium and Mozart’s Requiem. After his debut at Teatro San Carlo of Naples in 2006 as Jaquino in Beethoven’s Fidelio, Spyres performed the role of Alberto from Rossini’s La Gazzetta at the Bad Wildbad Rossini Festival and toured Japan as Alfredo in Verdi’s La Traviata. He returned to Bad Wildbad in July 2008 for his role debut as Rossini’s Otello. For the 2008-09 season, Michael Spyres became a member of the Deutsche Oper Berlin, where he performed roles such as Tamino in Mozart’s Die Zauberflöte and Steuermann in Wagner’s Der fliegende Holländer. Other important engagements in
Important engagements of the 2009-10 season were the title role in Bernstein’s Candide for his debut with the Vlaamse Opera in Ghent and Antwerp, a new production of Britten’s Billy Budd (role of Novice) for Bilbao, his debut with Opera Ireland as Roméo in Gounod’s Roméo et Juliette, Néocle in Rossini's Le siège de Corinthe in concert performances at the Wildbad Rossini Festival as well as Tybalt in Roméo et Juliette for the Salzburg Festival 2010. In May 2010, Spyres performed the role of Ozìa in Mozart’s Betulia Liberata with Riccardo Muti at the Salzburg Whitsun Festival and subsequently at the Ravenna Festival. Roles in 2010-11 included Tamino in a new production of Die Zauberflöte at the Opéra de Wallonie in Liège, the title role in the first modern staged performances of Steffani's Antigono in Lisbon, Gianetto in Rossini's La gazza ladra for Semperoper Dresden, Ramiro in Rossini's La Cenerentola for the Teatro Comunale di Bologna and Arnold in Rossini's Guillaume Tell at the Caramoor Festival, conducted by Will Crutchfield. Under the baton of Riccardo Muti, he will be participating within a series of concert performances of Verdi’s Otello with the Chicago Symphony Orchstra. These concerts will also lead to his debut at the Carnegie Hall in New York. Also on the concert platform, he could be heard recently in Schumann’s Faust Szenen with the American Symphony Orchestra and at Tchaikovsky Conservatory in Moscow for an aria concert. In October 2011, he returned to La Scala di Milano as Rodrigo in Rossini’s La donna del lago, conducted by Roberto Abbado. Further engagements during the 2011-12 season included a concert tour of Beethoven's 9th Symphony with the London Symphony Orchestra and John Eliot Gardiner in London, Birmingham, Munich, Hannover and Hamburg, Candide for his debut at the Opera di Roma, his first Edgardo in Lucia di Lammermoor with Minnesota Opera, Masaniello in Auber’s La Muette de Portici in Paris (Opéra Comique in coproduction with La Monnaie in Brussels), Liszt’s Faust-Symphonie in Liège, Berlioz’ Requiem with
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2008-09 were his UK debut in London as Fernand in a concert performance of La Favorite, Duca in a production of Rigoletto for Springfield,Missouri, an opera gala concert in the Tchaikovsky Conservatory Moscow, his debut at the Teatro alla Scala di Milano as Belfiore in Rossini’s Il viaggio a Reims as well as the role of Raoul in the uncut version of Meyerbeer’s Les Huguenots for the SummerScape Festival in New York.
John Eliot Gardiner at the St. Denis Festival as well as Baldassare in Rossini’s Ciro in Babilonia at the Caramoor Festival and for his debut at the Rossini Festival in Pesaro. In 2012-13, Michael Spyres will give his role debut as Faust in Berlioz’ La damnation de Faust at the Vlaamse Opera, directed by Terry Gilliam, will be heard in Missa Solemnis and Beethoven's 9th Symphony at the New York Carnegie Hall, in Orange County, Valencia and Madrid (under the baton of John Eliot Gardiner), as Don Ramiro in La Cenerentola at Palm Beach Opera, as Masaniello in La Muette de Portici in Bari, in Verdi's Messa da Requiem in Porto, as Candide at the Vlaamse Opera, as Rodrigo in Rossini’s La donna del lago for his debut at the Royal Opera Covent Garden in London, and as Arnold in Guillaume Tell at the Bad Wildbad Festival (including a CD recording for Naxos). He will also sing a concert in Moscow in February 2013. In 2013-14, he will debut at Lyric Opera Chicago as Alfred in Strauss’ Die Fledermaus and in 2014-15 he will return to Covent Garden in a new production of Mozart’s Idomeneo and to Opéra Comique de Paris as Berlioz’ Benvenuto Cellini under the baton of John Eliot Gardiner. Michael Spyres has recorded Rossini’s La Gazzetta, Otello and Le siège de Corinthe for Naxos. His first recital CD, including arias by, among others, 29
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His future engagements include returns to the Metropolitan Opera, the Royal Opera, the Glyndebourne Festival and his debut at the Deutsche Oper, Berlin.
Mozart, Donizetti, Verdi, Meyerbeer, Bizet and Puccini was released in 2011. Rossini’s Otello from Bad Wildbad will also be released on DVD.
MAttHew ROse, BAss British bass Matthew Rose studied at the Curtis Institute of Music before becoming a member of the Young Artist Programme at the Royal Opera House, Covent Garden. For the Royal Opera his roles have included Polyphemus (Acis and Galatea), Masetto (Don Giovanni), Haraschta (The Cunning Little Vixen) and Colline (La bohème). In 2006 he made an acclaimed debut at the Glyndebourne Festival as Bottom (A Midsummer Night’s Dream)—for which he received the John Christie Award—and he has since sung the role at La Scala, Milan; the Royal Opera; the Opéra National de Lyon and at the Houston Grand Opera. Other roles include Nick Shadow (The Rake’s Progress) at the Glyndebourne Festival and for the Gothenburg Opera; Leporello at the Glyndebourne Festival and in Santa Fe and Mozart’s Figaro for the WNO, at the Opéra de Lille and at the Bayerische Staatsoper, Munich. His engagements this season include his debut at the Metropolitan Opera, New York as Colline; Sparafucile (Rigoletto) for the Royal Opera and Claggart (Billy Budd) at the English National Opera. 30
In concert, he has appeared at the Edinburgh Festival, the BBC Proms and at the Mostly Mozart Festival in New York and his engagements include the LSO with Sir Colin Davis Harding and Tilson Thomas; the Los Angeles Philharmonic with Dudamel; the Dresden Staatskapelle with Mackerras; the BBC Symphony Orchestra with Sir Andrew Davis, Belohlávek and Minkowski; the LPO with Nézet-Séguin; L’Orchestre Révolutionnaire et Romantique with Gardiner, the Boston Symphony Orchestra with Dutoit and the Accademia Nazionale di Santa Cecilia with Pappano. His recital appearances include the Brighton, Chester and Cheltenham International Festivals, the Concertgebouw in Amsterdam and London’s Wigmore Hall. Already a prolific recording artist, his recordings include Walter (Guillaume Tell) and Der Steuermann (Tristan und Isolde) with Pappano; Ratcliffe (Billy Budd) with Harding (winner of a Grammy Award for Best Opera Recording); Bel Canto arias with Natalie Dessay and Evelino Pido and Handel’s Messiah with Stephen Cleobury and the Choir of King’s College, Cambridge all for EMI; Tippett's A Child of our Time and Berlioz’ L’enfance du Christ with Sir Colin Davis for LSO Live and Liszt lieder with Iain Burnside for Signum. His roles on DVD include Nick Shadow (The Rake’s Progress) and Mr. Flint (Billy Budd) from Glyndebourne and Polyphemus (Acis and Galatea) from Covent Garden, all on Opus Arte.
SIR JOHN ELIOT GaRdINER, CONduCTOR VIOLINS Peter Hanson Kati Debretzeni Alida Schat Joanne Quigley Miranda Playfair Martin Gwilym-Jones Maddy Easton Catherine van der Geest Fiona Stevens Judith Templeman Sarah Streatfield Mai Kunstovny Roy Mowatt Jayne Spencer Iona Davies Jean Patterson Anne Schumann Nancy Elan Emily Dupere Hakan Wikstrom Hetty Wayne Hildburg Williams
CELLOS Robin Michael Catherine Rimer Ruth Alford Olaf Reimers Aoife Nic Athlaoich Lucile Perrin
VIOLAS Judith Busbridge Oliver Wilson Lisa Cochrane Kate Musker Sophie Renshaw Sascha Bota Mark Braithwaite Jessica Beeston
OBOES Michael Niesemann Mark Baigent
DOUBLE BASS Valerie Botwright Cecelia Bruggemeyer Markus van Horn Elizabeth Bradley FLUTES Marten Root Lina Leon PICCOLO Neil McLaren
CLARINETS Nicola Boud Fiona Mitchell
HORNS Anneke Scott Joe Walters Jorge Renteria Campos Martin Lawrence TRUMPETS Neil Brough Robert Vanryne Michael Harrison TROMBONES Adam Woolf Abigail Newman Stephen Saunders TIMPANI Robert Kendell ORGAN (For Missa Solemnis) James Johnstone
Monteverdi Choir and Orchestra Administration Gill Dixon Artistic Administrator Julian Clarkson Choir Manager James Halliday Librarian Riitta Hirvonen General Manager Sophie Palent Tour and Project Manager
ORCHESTRE RĂŠVOLuTIONNaIRE ET ROMaNTIquE
Cecile Pauty Record Label and Marketing Manager Caroline Smith Development Manager Philip Turbett Orchestra Manager For Opus 3 Artists
PERCUSSION (For Ninth Symphony) Nigel Shipway Tim Palmer Glyn Matthews
David V. Foster President & CEO Leonard Stein Senior Vice President, Director, Touring Division Bill Bowler Manager, Artists Attractions
BASSOONS Jane Gower Gyoergyi Farkas Contrabassoon David Chatterton
John C. Gilliland III Associate, Touring Division John Pendleton Tour Manager
THE MONTEVERdI CHOIR SOPRANOS Charmian Bedford Zoe Brown Susanna Fairbairn Alison Hill Angela Kazimierczuk Gwen Martin Eleanor Meynell Lucy Page Robyn Allegra Parton Katie Thomas Emma Walshe Belinda Yates
ALTOS Lucy Ballard Esther Brazil Heather Cairncross Vanessa Heine Polly Jeffries Frances Jellard Susanna Spicer Kate Symonds Joy
TENORS Andrew Busher Peter Davoren Benedict Quirke Graham Neal Nicolas Robertson Richard Rowntree Gareth Treseder David de Winter
BASSES Thomas Appleton Alexander Ashworth Christopher Borrett Robert Davies George Dye Rupert Reid Edmund Saddington Lawrence Wallington