476 4064

AVE VERUM CORPUS • SANCTA MARIA

MACLIVER • RUSSELL • McMAHON • RHODES

CANTILLATION • ORCHESTRA OF THE ANTIPODES • WALKER

RequiemEXSULTATE, JUBILATE

3

% Ave verum Corpus, KV618 2’24^ Sancta Maria, mater Dei, KV273 2’51

Cantillation

Exsultate, jubilate, KV165 [14’37]& I. Exsultate, jubilate 4’41* II. Fulget amica dies 0’49( III. Tu virginum corona 6’31) IV. Alleluja 2’36

Sara Macliver soprano

Total Playing Time 68’35

Orchestra of the AntipodesAntony Walker conductor

2

WOLFGANG AMADEUS MOZART 1756-1791

Requiem, KV626 [48’26]Completion by Franz Xaver Süssmayr 1766-1803

1 I. Introitus: Requiem aeternam (Chorus and soprano solo) 4’372 II. Kyrie eleison (Chorus) 2’26

III. Sequentia 3 Dies irae (Chorus) 1’454 Tuba mirum (Solo quartet) 3’37

Nigel Crocker trombone5 Rex tremendae (Chorus) 2’076 Recordare (Solo quartet) 5’517 Confutatis (Chorus) 2’168 Lacrimosa (Chorus) 3’12

IV. Offertorium9 Domine Jesu Christe (Chorus and solo quartet) 3’230 Hostias et preces (Chorus) 3’36

V. Sanctus ! Sanctus (Chorus) 1’25@ Benedictus (Solo quartet and chorus) 5’55£ VI. Agnus Dei (Chorus) 3’02$ VII. Communio: Lux aeterna (Soprano solo and chorus) 5’13

Sara Macliver soprano, Sally-Anne Russell mezzo-soprano, Paul McMahon tenor, Teddy Tahu Rhodes bass-baritone, Cantillation

3

% Ave verum Corpus, KV618 2’24^ Sancta Maria, mater Dei, KV273 2’51

Cantillation

Exsultate, jubilate, KV165 [14’37]& I. Exsultate, jubilate 4’41* II. Fulget amica dies 0’49( III. Tu virginum corona 6’31) IV. Alleluja 2’36

Sara Macliver soprano

Total Playing Time 68’35

Orchestra of the AntipodesAntony Walker conductor

2

WOLFGANG AMADEUS MOZART 1756-1791

Requiem, KV626 [48’26]Completion by Franz Xaver Süssmayr 1766-1803

1 I. Introitus: Requiem aeternam (Chorus and soprano solo) 4’372 II. Kyrie eleison (Chorus) 2’26

III. Sequentia 3 Dies irae (Chorus) 1’454 Tuba mirum (Solo quartet) 3’37

Nigel Crocker trombone5 Rex tremendae (Chorus) 2’076 Recordare (Solo quartet) 5’517 Confutatis (Chorus) 2’168 Lacrimosa (Chorus) 3’12

IV. Offertorium9 Domine Jesu Christe (Chorus and solo quartet) 3’230 Hostias et preces (Chorus) 3’36

V. Sanctus ! Sanctus (Chorus) 1’25@ Benedictus (Solo quartet and chorus) 5’55£ VI. Agnus Dei (Chorus) 3’02$ VII. Communio: Lux aeterna (Soprano solo and chorus) 5’13

Sara Macliver soprano, Sally-Anne Russell mezzo-soprano, Paul McMahon tenor, Teddy Tahu Rhodes bass-baritone, Cantillation

5

and they add a rich dark timbre, along with the bassoons and trombones. The orchestra is also mostlyin the background; it adds tone colour, and it plays a very important role in adding a rhythmic dimensionto the music, but it is not ‘featured’ in extended introductions or interludes. The Requiem is a realchorus piece.

Overall, the style is Mozart exploring what he describes as ‘the higher forms of church music’. He isreferring to something called the ‘pathetic style’ – from the Greek word pathos, referring to the abilityof the music to arouse the ‘dark emotions’: fear, terror and sombre sadness, while maintaining dignityand gravity. This was in complete contrast with Mozart’s early mass settings, which tend towards thelight and cheerful. Even tragic opera, said one authority, often strove for this pathos, but rarely reachedthe ideal; it was something associated particularly with sacred music.

The first of Mozart’s studies in this ‘pathetic style’ was the little motet he had written for Stoll in June:Ave verum Corpus. Just 46 bars long, it is utterly exquisite. While obviously on a much smaller scalethan the Requiem, it shares the same underlying Classical refinement and dignified yet powerfulemotional expressiveness, especially its transparent but compact four-part writing.

The traditional model for sacred music was the polyphony of Palestrina. Mozart was familiar with thisstile antico, but for the Requiem he looked closer to home: to the relatively recent music of Bach andHandel. He borrowed two of his themes directly from Handel: the theme and countersubject of theKyrie come from Handel’s oratorio Joseph, and the opening motif of the whole Requiem comes fromhis Anthem for the Funeral of Queen Caroline, reworked in a counterpoint whose complexity shows theinfluence of Bach.

As the Requiem proceeds, however, Bach and Handel recede, and the style becomes moreconventionally Viennese. This, of course, is because the latter parts of the piece are not by Mozart at all.On 20 November 1791 the composer took to his bed with what has been variously explained as acuterheumatic fever and the final stages of kidney disease; fifteen days later, he was dead. The onlymovement which was complete was the opening ‘Requiem aeternam’. The Kyrie, most of the Sequence,and about half of the Offertorium had the vocal parts finished, much of it with basso continuo andoccasionally with indications of the instrumentation. The Sanctus, Benedictus and Agnus Dei hadn’t evenbeen started. This was not a Requiem in a fit state to be exchanged for a commission fee.

Mozart’s widow, Constanze, needed that fee badly. She approached at least three other musicians tocomplete the piece; two of them made an attempt but gave up. Only Franz Süssmayr managed to

4

The summer of 1791 saw Mozart hard at work on not one, but two operas. The Magic Flute wasmostly complete by July when it was elbowed aside by an urgent commission from Prague tocompose a new opera, La clemenza di Tito, in honour of the coronation of the Holy Roman EmperorLeopold as King of Bohemia on 6 September – a mere seven weeks away. It was ridiculously shortnotice but it was an opportunity to win the monarch’s favour. So when yet another commission arrived,this one for a Requiem mass, it was a while before Mozart was able to turn his full attention to thetask. (Even when the operas were finally out of the way, he had a concerto to write for his friend, theclarinettist Anton Stadler, before the end of October.)

It was, nevertheless, an interesting project, because it was a chance for Mozart to get back into writingsacred music. Since the Mass in C minor, eight years earlier, he had composed just one piece of churchmusic, and that had been only a month before: a short motet for his friend Anton Stoll, chorus masterat the parish church in Baden. Mozart had however recently been appointed assistant Kapellmeister at St Stephen’s Cathedral. It was an unpaid position but one which carried the likelihood of a fullKapellmeistership in the near future, as the incumbent was elderly and the position therefore expectedto fall vacant before long. The opportunity to compose a significant piece of sacred music would havebeen welcome.

The commission did however have one rather unusual aspect: it was delivered anonymously. TheMozart legend has made much of the shadowy stranger bearing an unsigned letter, but there is actuallyno mystery about it: the commission was from one Count Walsegg, who wanted it as a memorial for his young wife. (Walsegg also commissioned a marble and granite monument, at a cost of over 3000 florins; Mozart’s fee for the Requiem was to be 225 florins.) The commission was sent through an intermediary because Walsegg wanted it to be a secret. He was something of a musician himself,and it was his habit to engage composers to write music for him, which he would then have performedat his private concerts, asking his guests to guess who the composer might be. To flatter their host,they would of course nominate the Count. Nobody was ever really taken in by the subterfuge, buteveryone played along. It’s even possible that Mozart was well aware of the situation, and agreed forthe sake of the money.

The music Mozart wrote now was very different from the Mass in C minor. Gone are the virtuosic soloarias: there are soloists in the Requiem, of course, but they mostly sing as a quartet, or in shortsnippets. The orchestra is relatively small – there are trumpets and timpani, to lend an air of solemnity,but no flutes or oboes or clarinets; basset horns, a kind of bass clarinet, are the only unusual additions,

5

and they add a rich dark timbre, along with the bassoons and trombones. The orchestra is also mostlyin the background; it adds tone colour, and it plays a very important role in adding a rhythmic dimensionto the music, but it is not ‘featured’ in extended introductions or interludes. The Requiem is a realchorus piece.

Overall, the style is Mozart exploring what he describes as ‘the higher forms of church music’. He isreferring to something called the ‘pathetic style’ – from the Greek word pathos, referring to the abilityof the music to arouse the ‘dark emotions’: fear, terror and sombre sadness, while maintaining dignityand gravity. This was in complete contrast with Mozart’s early mass settings, which tend towards thelight and cheerful. Even tragic opera, said one authority, often strove for this pathos, but rarely reachedthe ideal; it was something associated particularly with sacred music.

The first of Mozart’s studies in this ‘pathetic style’ was the little motet he had written for Stoll in June:Ave verum Corpus. Just 46 bars long, it is utterly exquisite. While obviously on a much smaller scalethan the Requiem, it shares the same underlying Classical refinement and dignified yet powerfulemotional expressiveness, especially its transparent but compact four-part writing.

The traditional model for sacred music was the polyphony of Palestrina. Mozart was familiar with thisstile antico, but for the Requiem he looked closer to home: to the relatively recent music of Bach andHandel. He borrowed two of his themes directly from Handel: the theme and countersubject of theKyrie come from Handel’s oratorio Joseph, and the opening motif of the whole Requiem comes fromhis Anthem for the Funeral of Queen Caroline, reworked in a counterpoint whose complexity shows theinfluence of Bach.

As the Requiem proceeds, however, Bach and Handel recede, and the style becomes moreconventionally Viennese. This, of course, is because the latter parts of the piece are not by Mozart at all.On 20 November 1791 the composer took to his bed with what has been variously explained as acuterheumatic fever and the final stages of kidney disease; fifteen days later, he was dead. The onlymovement which was complete was the opening ‘Requiem aeternam’. The Kyrie, most of the Sequence,and about half of the Offertorium had the vocal parts finished, much of it with basso continuo andoccasionally with indications of the instrumentation. The Sanctus, Benedictus and Agnus Dei hadn’t evenbeen started. This was not a Requiem in a fit state to be exchanged for a commission fee.

Mozart’s widow, Constanze, needed that fee badly. She approached at least three other musicians tocomplete the piece; two of them made an attempt but gave up. Only Franz Süssmayr managed to

4

The summer of 1791 saw Mozart hard at work on not one, but two operas. The Magic Flute wasmostly complete by July when it was elbowed aside by an urgent commission from Prague tocompose a new opera, La clemenza di Tito, in honour of the coronation of the Holy Roman EmperorLeopold as King of Bohemia on 6 September – a mere seven weeks away. It was ridiculously shortnotice but it was an opportunity to win the monarch’s favour. So when yet another commission arrived,this one for a Requiem mass, it was a while before Mozart was able to turn his full attention to thetask. (Even when the operas were finally out of the way, he had a concerto to write for his friend, theclarinettist Anton Stadler, before the end of October.)

It was, nevertheless, an interesting project, because it was a chance for Mozart to get back into writingsacred music. Since the Mass in C minor, eight years earlier, he had composed just one piece of churchmusic, and that had been only a month before: a short motet for his friend Anton Stoll, chorus masterat the parish church in Baden. Mozart had however recently been appointed assistant Kapellmeister at St Stephen’s Cathedral. It was an unpaid position but one which carried the likelihood of a fullKapellmeistership in the near future, as the incumbent was elderly and the position therefore expectedto fall vacant before long. The opportunity to compose a significant piece of sacred music would havebeen welcome.

The commission did however have one rather unusual aspect: it was delivered anonymously. TheMozart legend has made much of the shadowy stranger bearing an unsigned letter, but there is actuallyno mystery about it: the commission was from one Count Walsegg, who wanted it as a memorial for his young wife. (Walsegg also commissioned a marble and granite monument, at a cost of over 3000 florins; Mozart’s fee for the Requiem was to be 225 florins.) The commission was sent through an intermediary because Walsegg wanted it to be a secret. He was something of a musician himself,and it was his habit to engage composers to write music for him, which he would then have performedat his private concerts, asking his guests to guess who the composer might be. To flatter their host,they would of course nominate the Count. Nobody was ever really taken in by the subterfuge, buteveryone played along. It’s even possible that Mozart was well aware of the situation, and agreed forthe sake of the money.

The music Mozart wrote now was very different from the Mass in C minor. Gone are the virtuosic soloarias: there are soloists in the Requiem, of course, but they mostly sing as a quartet, or in shortsnippets. The orchestra is relatively small – there are trumpets and timpani, to lend an air of solemnity,but no flutes or oboes or clarinets; basset horns, a kind of bass clarinet, are the only unusual additions,

7

the Abbot, in the Milanese church dedicated in his honour. Although technically a Christmas text, thereferences to dawn shining forth and dispelling the darkness would not have been inappropriate for acelebration of the saint’s triumph in the desert over torments and temptations.

Italy had offered Mozart enthusiastic admiration and a commission or two, but no permanent job.Vienna and Munich, in 1773 and 1775, similarly failed to produce a suitable appointment. Back inSalzburg, the Prince–Archbishop Hieronymus Colloredo had taken Mozart on as a court musician, butthe relationship was not a particularly happy one: Mozart was frustrated by the poor salary and thelimitations of Salzburg musical life, and Colloredo was infuriated by Mozart’s attitude and his frequentrequests for leave to go looking for a better job. Nevertheless, the position did provide Mozart withsome stability – at one point he managed to clock up two and a half travel-free years, the longestperiod he had spent in one place since the age of six – as well as the opportunity to compose across a range of genres: orchestral and chamber music for the entertainment of the Archbishop’s guests atdinner, and an extensive catalogue of sacred music.

Sancta Maria, mater Dei was written at the very end of this Salzburg period; in fact, it wascomposed in the three weeks between Mozart’s resignation from Colloredo’s service and hisdeparture in search of greener fields (yet again, an unsuccessful quest, and Mozart was forced toaccept another court appointment on his return to Salzburg 16 months later). It may have been writtenas an offertory motet for the Feast of the Blessed Virgin Mary, on 12 September; it has often beensuggested that the work was intended as a votive offering in anticipation of his departure, and that, assuch, it represents something more heartfelt than the rest of Mozart’s Salzburg church music, whichwas to a certain extent constrained by the Archbishop’s ban on long, elaborate, operatic or otherwise‘ostentatious’ sacred works.

Natalie Shea

6

overcome his awe and trepidation and get the job finished. Mozart scholars debate at length over whowrote precisely what, and how much of Mozart’s thoughts and sketches and instructions they hadaccess to – it’s very clear, for example, that Mozart intended to finish the Lacrimosa with a full-scalefugue for the ‘Amen’; we even have the fugue theme he wrote, but Süssmayr opted for just a plagalcadence, two chords. Many people over the years have been critical of Süssmayr’s work (there aresome technical mistakes in the harmony, and the orchestration is rather uninspired) and there havebeen several attempts in recent years to do better, but none has yet displaced the Süssmayrcompletion that we hear in this recording.

The other two works in this recording come from the opposite end of Mozart’s life. Exsultate, jubilatedates from 1773; the composer was a mere 16 years old. The fact that he had written his first piece ofmusic at the age of five can blind us to the genius of the teenager: the infant piano pieces aremiraculously precocious, but they are played today only as teaching pieces, or as curiosities. TheExsultate is an undisputed masterpiece, a prized addition to the repertoire of any concert soloist.

It is also evidence of the young composer’s creative independence: Mozart called the piece a ‘motet’,but though he was in Milan at the time (his third Italian visit), and writing for an Italian congregation, he doesn’t conform meekly to the standard Italian motet form – a five-part structure consisting of twoarias, two recitatives and a closing ‘Alleluia’. Instead, he omits the second recitative, passing directlyfrom the second aria to the bravura ‘Alleluia’, compressing the form and writing something more like aconcerto for voice than a motet. The first movement even has a brief but genuine cadenza.

The virtuosity of the writing was, however, perfectly compatible with the motet genre. Motets wereperformed during the mass, after the Credo, by the cream of the available singers. In the case ofExsultate, jubilate, the singer was the castrato Venanzio Rauzzini, who had just performed the malelead, or primo uomo role – Mozart jokingly refers to him as the primo niun uomo or ‘leading non-male’ –in his opera Lucio Silla. (The dazzling final cadence, soaring to a top C, which has so endeared the workto sopranos is actually transposed up an octave from Mozart’s original.)

The music must have been written in haste, what with the preparations for the opening night of LucioSilla on 26 December (involving much rewriting of parts, as the various soloists arrived and limitationsof their abilities became apparent); it’s assumed there would also have been little time for Rauzzini tolearn it, as the opera in which he was starring had finished its run only a day or so before.Nevertheless, the motet was performed as scheduled on 17 January 1773, the feast day of St Anthony

7

the Abbot, in the Milanese church dedicated in his honour. Although technically a Christmas text, thereferences to dawn shining forth and dispelling the darkness would not have been inappropriate for acelebration of the saint’s triumph in the desert over torments and temptations.

Italy had offered Mozart enthusiastic admiration and a commission or two, but no permanent job.Vienna and Munich, in 1773 and 1775, similarly failed to produce a suitable appointment. Back inSalzburg, the Prince–Archbishop Hieronymus Colloredo had taken Mozart on as a court musician, butthe relationship was not a particularly happy one: Mozart was frustrated by the poor salary and thelimitations of Salzburg musical life, and Colloredo was infuriated by Mozart’s attitude and his frequentrequests for leave to go looking for a better job. Nevertheless, the position did provide Mozart withsome stability – at one point he managed to clock up two and a half travel-free years, the longestperiod he had spent in one place since the age of six – as well as the opportunity to compose across a range of genres: orchestral and chamber music for the entertainment of the Archbishop’s guests atdinner, and an extensive catalogue of sacred music.

Sancta Maria, mater Dei was written at the very end of this Salzburg period; in fact, it wascomposed in the three weeks between Mozart’s resignation from Colloredo’s service and hisdeparture in search of greener fields (yet again, an unsuccessful quest, and Mozart was forced toaccept another court appointment on his return to Salzburg 16 months later). It may have been writtenas an offertory motet for the Feast of the Blessed Virgin Mary, on 12 September; it has often beensuggested that the work was intended as a votive offering in anticipation of his departure, and that, assuch, it represents something more heartfelt than the rest of Mozart’s Salzburg church music, whichwas to a certain extent constrained by the Archbishop’s ban on long, elaborate, operatic or otherwise‘ostentatious’ sacred works.

Natalie Shea

6

overcome his awe and trepidation and get the job finished. Mozart scholars debate at length over whowrote precisely what, and how much of Mozart’s thoughts and sketches and instructions they hadaccess to – it’s very clear, for example, that Mozart intended to finish the Lacrimosa with a full-scalefugue for the ‘Amen’; we even have the fugue theme he wrote, but Süssmayr opted for just a plagalcadence, two chords. Many people over the years have been critical of Süssmayr’s work (there aresome technical mistakes in the harmony, and the orchestration is rather uninspired) and there havebeen several attempts in recent years to do better, but none has yet displaced the Süssmayrcompletion that we hear in this recording.

The other two works in this recording come from the opposite end of Mozart’s life. Exsultate, jubilatedates from 1773; the composer was a mere 16 years old. The fact that he had written his first piece ofmusic at the age of five can blind us to the genius of the teenager: the infant piano pieces aremiraculously precocious, but they are played today only as teaching pieces, or as curiosities. TheExsultate is an undisputed masterpiece, a prized addition to the repertoire of any concert soloist.

It is also evidence of the young composer’s creative independence: Mozart called the piece a ‘motet’,but though he was in Milan at the time (his third Italian visit), and writing for an Italian congregation, he doesn’t conform meekly to the standard Italian motet form – a five-part structure consisting of twoarias, two recitatives and a closing ‘Alleluia’. Instead, he omits the second recitative, passing directlyfrom the second aria to the bravura ‘Alleluia’, compressing the form and writing something more like aconcerto for voice than a motet. The first movement even has a brief but genuine cadenza.

The virtuosity of the writing was, however, perfectly compatible with the motet genre. Motets wereperformed during the mass, after the Credo, by the cream of the available singers. In the case ofExsultate, jubilate, the singer was the castrato Venanzio Rauzzini, who had just performed the malelead, or primo uomo role – Mozart jokingly refers to him as the primo niun uomo or ‘leading non-male’ –in his opera Lucio Silla. (The dazzling final cadence, soaring to a top C, which has so endeared the workto sopranos is actually transposed up an octave from Mozart’s original.)

The music must have been written in haste, what with the preparations for the opening night of LucioSilla on 26 December (involving much rewriting of parts, as the various soloists arrived and limitationsof their abilities became apparent); it’s assumed there would also have been little time for Rauzzini tolearn it, as the opera in which he was starring had finished its run only a day or so before.Nevertheless, the motet was performed as scheduled on 17 January 1773, the feast day of St Anthony

98

RequiemIntroit

1 Requiem aeternam dona eis, Domine, Grant them eternal rest, O Lord,et lux perpetua luceat eis. and let light perpetual shine upon them.Te decet hymnus Deus in Sion, To you, O God, praise is given in Zion,et tibi reddetur votum in Jerusalem: and prayer shall go up to you in Jerusalem.Exaudi orationem meam, Give ear to my supplication;ad te omnis caro veniet. to you shall all flesh come.Requiem aeternam dona eis, Domine, Grant them eternal rest, O Lord,et lux perpetua luceat eis. and let light perpetual shine upon them.

Kyrie2 Kyrie eleison. Lord, have mercy.

Christe eleison. Christ, have mercy.Kyrie eleison. Lord, have mercy.

Sequence3 Dies irae, dies illa, That day, the Day of Wrath,

Solvet saeclum in favilla: shall dissolve the world in ashes,Teste David cum Sibylla. as David and the Sibyl testify.

Quantus tremor est futurus, What trembling there shall beQuando judex est venturus, when the Judge comesCuncta stricte discussurus! to thresh out all thoroughly!

4 Tuba mirum spargens sonum The trumpet, scattering a wondrous soundPer sepulchra regionum, through the tombs of all lands,Coget omnes ante thronum. shall drive all before the throne.

Mors stupebit et natura Death and nature shall be astoundedCum resurget creatura when all creation rises againJudicanti responsura. to answer the judge.

Liber scriptus proferetur A written book shall be brought forthIn quo totum continetur containing everythingUnde mundus judicetur. for which the world is to be judged.

Judex ergo cum sedebit Therefore when the Judge sits,Quidquid latet apparebit: whatsoever is hidden shall be manifest:Nil inultum remanebit. nothing shall remain unavenged.

Quid sum miser tunc dicturus? What shall I say in my misery?Quem patronum rogaturus? Whom shall I ask to be my advocate,Cum vix justus sit securus. when scarcely the righteous may be without fear?

5 Rex tremendae majestatis, King of awful majesty,Qui salvandos salvas gratis, you who freely save the redeemed,Salva me, fons pietatis. save me, O Fount of Pity.

6 Recordare, Jesu pie, Remember, merciful Jesus,Quod sum causa tuae viae: that I am the reason for your journey:Ne me perdas illa die. let me not be lost on that day.

Quaerens me, sedisti lassus: You wearied yourself in seeking me.Redemisti crucem passus: You redeemed me, suffering the Cross:Tantus labor non sit cassus. let not such labour have been in vain.

Juste judex ultionis, O just Judge of Vengeance,Donum fac remissionis give the gift of redemptionAnte diem rationis. before the day of reckoning.

Ingemisco tamquam reus: I groan as one guilty;Culpa rubet vultus meus. my face blushes at my sin.Supplicanti parce, Deus. Spare the supplicant, O God.

Qui Mariam absolvisti, You who absolved MaryEt latronem exaudisti, and heard the prayer of the thief,Mihi quoque spem dedisti. you have also given hope to me.

98

RequiemIntroit

1 Requiem aeternam dona eis, Domine, Grant them eternal rest, O Lord,et lux perpetua luceat eis. and let light perpetual shine upon them.Te decet hymnus Deus in Sion, To you, O God, praise is given in Zion,et tibi reddetur votum in Jerusalem: and prayer shall go up to you in Jerusalem.Exaudi orationem meam, Give ear to my supplication;ad te omnis caro veniet. to you shall all flesh come.Requiem aeternam dona eis, Domine, Grant them eternal rest, O Lord,et lux perpetua luceat eis. and let light perpetual shine upon them.

Kyrie2 Kyrie eleison. Lord, have mercy.

Christe eleison. Christ, have mercy.Kyrie eleison. Lord, have mercy.

Sequence3 Dies irae, dies illa, That day, the Day of Wrath,

Solvet saeclum in favilla: shall dissolve the world in ashes,Teste David cum Sibylla. as David and the Sibyl testify.

Quantus tremor est futurus, What trembling there shall beQuando judex est venturus, when the Judge comesCuncta stricte discussurus! to thresh out all thoroughly!

4 Tuba mirum spargens sonum The trumpet, scattering a wondrous soundPer sepulchra regionum, through the tombs of all lands,Coget omnes ante thronum. shall drive all before the throne.

Mors stupebit et natura Death and nature shall be astoundedCum resurget creatura when all creation rises againJudicanti responsura. to answer the judge.

Liber scriptus proferetur A written book shall be brought forthIn quo totum continetur containing everythingUnde mundus judicetur. for which the world is to be judged.

Judex ergo cum sedebit Therefore when the Judge sits,Quidquid latet apparebit: whatsoever is hidden shall be manifest:Nil inultum remanebit. nothing shall remain unavenged.

Quid sum miser tunc dicturus? What shall I say in my misery?Quem patronum rogaturus? Whom shall I ask to be my advocate,Cum vix justus sit securus. when scarcely the righteous may be without fear?

5 Rex tremendae majestatis, King of awful majesty,Qui salvandos salvas gratis, you who freely save the redeemed,Salva me, fons pietatis. save me, O Fount of Pity.

6 Recordare, Jesu pie, Remember, merciful Jesus,Quod sum causa tuae viae: that I am the reason for your journey:Ne me perdas illa die. let me not be lost on that day.

Quaerens me, sedisti lassus: You wearied yourself in seeking me.Redemisti crucem passus: You redeemed me, suffering the Cross:Tantus labor non sit cassus. let not such labour have been in vain.

Juste judex ultionis, O just Judge of Vengeance,Donum fac remissionis give the gift of redemptionAnte diem rationis. before the day of reckoning.

Ingemisco tamquam reus: I groan as one guilty;Culpa rubet vultus meus. my face blushes at my sin.Supplicanti parce, Deus. Spare the supplicant, O God.

Qui Mariam absolvisti, You who absolved MaryEt latronem exaudisti, and heard the prayer of the thief,Mihi quoque spem dedisti. you have also given hope to me.

1110

Preces meae non sunt dignae: My prayers are not worthy,Sed tu, bonus, fac benigne, but you who are good, show mercy,Ne perenni cremer igne. lest I burn in everlasting fire.

Inter oves locum praesta, Give me a place among the sheep,Et ab haedis me sequestra, and separate me from the goats,Statuens in parte dextra. setting me at your right hand.

7 Confutatis maledictis, When the damned are confoundedFlammis acribus addictis, and consigned to sharp flames,Voca me cum benedictis. call me with the blessed.

Oro supplex et acclinis, I pray, kneeling in supplication,Cor contritum quasi cinis: heart contrite as ashes:Gere curam mei finis. take my ending into your care.

8 Lacrimosa dies illa That day shall be one of weeping,Qua resurget ex favilla the day when guilty humankind rises again Judicandus homo reus: from the ashes, to be judged.Huic ergo parce, Deus. Therefore spare this person, O God.Pie Jesu Domine, Merciful Lord Jesus:Dona eis requiem. Amen. grant them rest. Amen.

Offertory9 Domine Jesu Christe, Rex gloriae, O Lord Jesus Christ, King of glory,

libera animas omnium fidelium deliver the souls of all the departed faithfuldefunctorum de poenis inferni, from the torments of Hell,et de profundo lacu: and from the deep pit.libera eas de ore leonis, Deliver them from the mouth of the lion,ne absorbeat eas Tartarus, that Hell may not swallow them up,ne cadant in obscurum. and that they may not fall into darkness.Sed signifer sanctus Michael Rather may the holy standard-bearer Michaelrepraesentet eas in lucem sanctam: bring them into the holy light;quam olim Abrahae promisisti, as once you promised to Abrahamet semini ejus. and his seed.

0 Hostias et preces tibi, Domine, We offer you, O Lord,laudis offerimus: sacrifices and prayers of praise.tu suscipe pro animabus illis, Receive them on behalf of those soulsquarum hodie memoriam facimus. whom we commemorate today.Fac eas, Domine, Make them, O Lord,de morte transire ad vitam. to cross over from death to life,Quam olim Abrahae promisisti, as once you promised to Abrahamet semini ejus. and his seed.

Sanctus! Sanctus, sanctus, sanctus, Holy, holy, holy,

Dominus Deus Sabaoth. Lord God of Hosts.Pleni sunt coeli et terra gloria tua. Heaven and earth are full of your glory.Hosanna in excelsis. Hosanna in the highest.

@ Benedictus qui venit Blessed is the one who comes in nomine Domini. in the name of the Lord.Hosanna in excelsis. Hosanna in the highest.

Agnus Dei£ Agnus Dei Lamb of God,

qui tollis peccata mundi: you who take away the sins of the world,dona eis requiem sempiternam. give them eternal rest.

Communion$ Lux aeterna luceat eis, Domine: Let everlasting light shine on them,

cum sanctis tuis in aeternum, O Lord, with your saints for ever:quia pius es. for you are good.Requiem aeternam dona eis, Domine, Grant them eternal rest, O Lord,et lux perpetua luceat eis. and let light perpetual shine upon them,Cum sanctis tuis in aeternum: with your saints forever,quia pius es. for you are good.

1110

Preces meae non sunt dignae: My prayers are not worthy,Sed tu, bonus, fac benigne, but you who are good, show mercy,Ne perenni cremer igne. lest I burn in everlasting fire.

Inter oves locum praesta, Give me a place among the sheep,Et ab haedis me sequestra, and separate me from the goats,Statuens in parte dextra. setting me at your right hand.

7 Confutatis maledictis, When the damned are confoundedFlammis acribus addictis, and consigned to sharp flames,Voca me cum benedictis. call me with the blessed.

Oro supplex et acclinis, I pray, kneeling in supplication,Cor contritum quasi cinis: heart contrite as ashes:Gere curam mei finis. take my ending into your care.

8 Lacrimosa dies illa That day shall be one of weeping,Qua resurget ex favilla the day when guilty humankind rises again Judicandus homo reus: from the ashes, to be judged.Huic ergo parce, Deus. Therefore spare this person, O God.Pie Jesu Domine, Merciful Lord Jesus:Dona eis requiem. Amen. grant them rest. Amen.

Offertory9 Domine Jesu Christe, Rex gloriae, O Lord Jesus Christ, King of glory,

libera animas omnium fidelium deliver the souls of all the departed faithfuldefunctorum de poenis inferni, from the torments of Hell,et de profundo lacu: and from the deep pit.libera eas de ore leonis, Deliver them from the mouth of the lion,ne absorbeat eas Tartarus, that Hell may not swallow them up,ne cadant in obscurum. and that they may not fall into darkness.Sed signifer sanctus Michael Rather may the holy standard-bearer Michaelrepraesentet eas in lucem sanctam: bring them into the holy light;quam olim Abrahae promisisti, as once you promised to Abrahamet semini ejus. and his seed.

0 Hostias et preces tibi, Domine, We offer you, O Lord,laudis offerimus: sacrifices and prayers of praise.tu suscipe pro animabus illis, Receive them on behalf of those soulsquarum hodie memoriam facimus. whom we commemorate today.Fac eas, Domine, Make them, O Lord,de morte transire ad vitam. to cross over from death to life,Quam olim Abrahae promisisti, as once you promised to Abrahamet semini ejus. and his seed.

Sanctus! Sanctus, sanctus, sanctus, Holy, holy, holy,

Dominus Deus Sabaoth. Lord God of Hosts.Pleni sunt coeli et terra gloria tua. Heaven and earth are full of your glory.Hosanna in excelsis. Hosanna in the highest.

@ Benedictus qui venit Blessed is the one who comes in nomine Domini. in the name of the Lord.Hosanna in excelsis. Hosanna in the highest.

Agnus Dei£ Agnus Dei Lamb of God,

qui tollis peccata mundi: you who take away the sins of the world,dona eis requiem sempiternam. give them eternal rest.

Communion$ Lux aeterna luceat eis, Domine: Let everlasting light shine on them,

cum sanctis tuis in aeternum, O Lord, with your saints for ever:quia pius es. for you are good.Requiem aeternam dona eis, Domine, Grant them eternal rest, O Lord,et lux perpetua luceat eis. and let light perpetual shine upon them,Cum sanctis tuis in aeternum: with your saints forever,quia pius es. for you are good.

13

Ave verum Corpus% Ave verum Corpus Hail, true Body,

natum de Maria Virgine: born of the Virgin Mary.Vere passum, immolatum Truly you suffered, sacrificedin cruce pro homine: on the cross for humankind:Cujus latus perforatum from your pierced sideunda fluxit et sanguine: flowed water and blood.Esto nobis praegustatum Be for us a foretaste [of the heavenly banquet]in mortis examine. when we undergo the ordeal of death.

Sancta Maria, mater Dei^ Sancta Maria, mater Dei, Holy Mary, mother of God

ego omnia tibi debeo, I owe everything to you,sed ab hac hora singulariter but from this moment forthme tuis servitiis devoveo, I devote myself to your service alone:te patronam, te sospitatricem eligo. I choose you as my patron, my saving protectress.Tuus honor et cultus aeternum For ever shall I revere and worship youmihi cordi fuerit, in my heart.quem ego nunquam deseram Never shall I abandon you,neque ab aliis mihi subditis nor suffer you to be offended by any within verbo factoque violari patiar. my authority, in word or deed.Sancta Maria, tu pia me perdibus tuis Holy Mary, kind and noble, receive meadvolutum recipe, as I kneel before you,in vita protege, protect me all the days of my lifein mortis discrimine defende. Amen. and defend me in the hour of my death. Amen.

12

Exsultate, jubilate& Exsultate, jubilate, Rejoice, exult,

o vos animae beatae, you blessed souls,dulcia cantica canendo; singing sweet songs.cantui vestro respondendo In response to your singing,psallant aethera cum me. let the heavens make music with me.

* Fulget amica dies, The friendly day shines forth;jam fugere et nubila et procellae; clouds and storms now flee away.exorta est justis inexspectata quies. For the righteous, an unexpected calm has begun.Undique obscura regnabat nox, Where once dark night reigned,surgite tandem laeti, qui timuistis adhuc, let those who once were afraid now arise at last,et jucundi aurorae fortunatae rejoicing at the blessed dawn,frondes dextera plena et lilia date. to offer lilies and green branches with full right hand.

( Tu virginum corona, O crown of virgins,tu nobis pacem dona, grant us peace.tu consolare affectus, Our hearts pour themselves out in sighing;unde suspirat cor. be our consolation.

) Alleluja. Alleluia.

13

Ave verum Corpus% Ave verum Corpus Hail, true Body,

natum de Maria Virgine: born of the Virgin Mary.Vere passum, immolatum Truly you suffered, sacrificedin cruce pro homine: on the cross for humankind:Cujus latus perforatum from your pierced sideunda fluxit et sanguine: flowed water and blood.Esto nobis praegustatum Be for us a foretaste [of the heavenly banquet]in mortis examine. when we undergo the ordeal of death.

Sancta Maria, mater Dei^ Sancta Maria, mater Dei, Holy Mary, mother of God

ego omnia tibi debeo, I owe everything to you,sed ab hac hora singulariter but from this moment forthme tuis servitiis devoveo, I devote myself to your service alone:te patronam, te sospitatricem eligo. I choose you as my patron, my saving protectress.Tuus honor et cultus aeternum For ever shall I revere and worship youmihi cordi fuerit, in my heart.quem ego nunquam deseram Never shall I abandon you,neque ab aliis mihi subditis nor suffer you to be offended by any within verbo factoque violari patiar. my authority, in word or deed.Sancta Maria, tu pia me perdibus tuis Holy Mary, kind and noble, receive meadvolutum recipe, as I kneel before you,in vita protege, protect me all the days of my lifein mortis discrimine defende. Amen. and defend me in the hour of my death. Amen.

12

Exsultate, jubilate& Exsultate, jubilate, Rejoice, exult,

o vos animae beatae, you blessed souls,dulcia cantica canendo; singing sweet songs.cantui vestro respondendo In response to your singing,psallant aethera cum me. let the heavens make music with me.

* Fulget amica dies, The friendly day shines forth;jam fugere et nubila et procellae; clouds and storms now flee away.exorta est justis inexspectata quies. For the righteous, an unexpected calm has begun.Undique obscura regnabat nox, Where once dark night reigned,surgite tandem laeti, qui timuistis adhuc, let those who once were afraid now arise at last,et jucundi aurorae fortunatae rejoicing at the blessed dawn,frondes dextera plena et lilia date. to offer lilies and green branches with full right hand.

( Tu virginum corona, O crown of virgins,tu nobis pacem dona, grant us peace.tu consolare affectus, Our hearts pour themselves out in sighing;unde suspirat cor. be our consolation.

) Alleluja. Alleluia.

15

Sara Macliver

Sara Macliver is a regular performer with all the Australian symphony orchestras as well as the Perth,Melbourne and Sydney Festivals, Pinchgut Opera, Musica Viva, Australian Chamber Orchestra,Australian String Quartet, Australian Brandenburg Orchestra and West Australian Opera, among others,as well as a number of international companies. She is regarded as one of Australia’s leadingexponents of Baroque repertoire.

Engagements in 2008 included concerts with the Melbourne, Adelaide, West Australian and TasmanianSymphony Orchestras, the New Zealand and Musica Viva Festivals, and the role of Jonathan inPinchgut Opera’s performances of Charpentier’s David and Jonathan.

In 2009 Sara Macliver appeared as Susanna in The Marriage of Figaro with West Australian Opera; onthe concert platform, her many engagements included The Creation, with the Auckland Philharmoniaand again with the Sydney Symphony, Elijah with the Tasmanian Symphony Orchestra, a concert ofHaydn with Steve Davislim for the Australian National Academy of Music (ANAM) and a Mozartprogram with the Sydney Symphony.

In 2010 she tours nationally with the Australian Chamber Orchestra, and sings with the Adelaide,Sydney, West Australia and New Zealand Symphony Orchestras, Melbourne Chamber Orchestra and ANAM.

Forthcoming engagements include a national tour with the Australian String Quartet, Songs of theAuvergne in Auckland, and Bach’s St John Passion and Magnificat, Mozart’s Mass in C minor and theFauré Requiem in Adelaide, Perth and Sydney. She will also take a central role in the contemporarychamber opera Into the Shimmer Heat with Nova Ensemble in Perth.

Sara Macliver records for ABC Classics, with more than 30 CDs and many awards to her credit. Shehas been awarded an honorary doctorate from the University of Western Australia in recognition of herservices to singing.

14

Antony Walker

Born in Sydney and now resident in Washington, USA, Antony Walker is at the forefront of a newgeneration of Australian musicians, having established a reputation for artistic excellence in directionand performance both in Australia and internationally. He is equally at home with operatic, symphonic,choral and chamber repertoire of all periods.

Antony Walker studied at the University of Sydney, was an Opera Australia Young Artist, and becameMusical Director of both The Contemporary Singers and Sydney Philharmonia Choirs; after an engagementas chorusmaster and staff conductor at Welsh National Opera, he relocated to the United States.

He is Music Director of Pittsburgh Opera and Washington Concert Opera and Co-Artistic Director of Pinchgut Opera. He is also Music Director of Cantillation, Orchestra of the Antipodes and Sinfonia Australis.

Engagements have included the North American premieres of The Handmaid’s Tale and The ElephantMan, Nixon in China (Minnesota Opera), Handel’s Orlando and Semele (New York City Opera), Così fantutte and Tosca (Hawaii Opera Theatre), Il ritorno d’Ulisse in patria (Pittsburgh Opera), Roméo etJuliette, La Cenerentola (Sugar Creek Festival), Vanessa (Chautauqua Opera), Orlando, Tancredi, Il tabarro, Cavalleria rusticana, Esclarmonde, Béatrice et Bénédict, Stiffelio, Roberto Devereux and La donna del lago (Washington Concert Opera), and Orfeo ed Euridice (Glimmerglass Opera).

His discography is extensive, with over 20 recordings including Idomeneo, Dardanus and David andJonathan (Pinchgut Opera), the complete Beethoven Piano Concertos with Gerard Willems and SinfoniaAustralis, and many discs with Cantillation. He is also featured on DVDs of Messiah and Beethoven’sEmperor Concerto.

Recent performance highlights have included Aida, Samson and Dalila, La bohème, The Italian Girl inAlgiers, Eugene Onegin and Falstaff (Pittsburgh Opera), Troilus and Cressida (Opera Theatre of StLouis), Carmen (Vancouver Opera), David and Jonathan (Pinchgut Opera), Dido and Aeneas / Acis andGalatea (Opera Australia) and concerts for Orchestra Victoria.

Engagements in 2010 include Lucia di Lammermoor for English National Opera, Carmen and TheBarber of Seville for Pittsburgh Opera, Maria Stuarda for the Canadian Opera Company, La Cenerentolafor Washington Concert Opera, Madama Butterfly for Santa Fe Opera and Haydn’s L’anima del filosofofor Pinchgut Opera.

15

Sara Macliver

Sara Macliver is a regular performer with all the Australian symphony orchestras as well as the Perth,Melbourne and Sydney Festivals, Pinchgut Opera, Musica Viva, Australian Chamber Orchestra,Australian String Quartet, Australian Brandenburg Orchestra and West Australian Opera, among others,as well as a number of international companies. She is regarded as one of Australia’s leadingexponents of Baroque repertoire.

Engagements in 2008 included concerts with the Melbourne, Adelaide, West Australian and TasmanianSymphony Orchestras, the New Zealand and Musica Viva Festivals, and the role of Jonathan inPinchgut Opera’s performances of Charpentier’s David and Jonathan.

In 2009 Sara Macliver appeared as Susanna in The Marriage of Figaro with West Australian Opera; onthe concert platform, her many engagements included The Creation, with the Auckland Philharmoniaand again with the Sydney Symphony, Elijah with the Tasmanian Symphony Orchestra, a concert ofHaydn with Steve Davislim for the Australian National Academy of Music (ANAM) and a Mozartprogram with the Sydney Symphony.

In 2010 she tours nationally with the Australian Chamber Orchestra, and sings with the Adelaide,Sydney, West Australia and New Zealand Symphony Orchestras, Melbourne Chamber Orchestra and ANAM.

Forthcoming engagements include a national tour with the Australian String Quartet, Songs of theAuvergne in Auckland, and Bach’s St John Passion and Magnificat, Mozart’s Mass in C minor and theFauré Requiem in Adelaide, Perth and Sydney. She will also take a central role in the contemporarychamber opera Into the Shimmer Heat with Nova Ensemble in Perth.

Sara Macliver records for ABC Classics, with more than 30 CDs and many awards to her credit. Shehas been awarded an honorary doctorate from the University of Western Australia in recognition of herservices to singing.

14

Antony Walker

Born in Sydney and now resident in Washington, USA, Antony Walker is at the forefront of a newgeneration of Australian musicians, having established a reputation for artistic excellence in directionand performance both in Australia and internationally. He is equally at home with operatic, symphonic,choral and chamber repertoire of all periods.

Antony Walker studied at the University of Sydney, was an Opera Australia Young Artist, and becameMusical Director of both The Contemporary Singers and Sydney Philharmonia Choirs; after an engagementas chorusmaster and staff conductor at Welsh National Opera, he relocated to the United States.

He is Music Director of Pittsburgh Opera and Washington Concert Opera and Co-Artistic Director of Pinchgut Opera. He is also Music Director of Cantillation, Orchestra of the Antipodes and Sinfonia Australis.

Engagements have included the North American premieres of The Handmaid’s Tale and The ElephantMan, Nixon in China (Minnesota Opera), Handel’s Orlando and Semele (New York City Opera), Così fantutte and Tosca (Hawaii Opera Theatre), Il ritorno d’Ulisse in patria (Pittsburgh Opera), Roméo etJuliette, La Cenerentola (Sugar Creek Festival), Vanessa (Chautauqua Opera), Orlando, Tancredi, Il tabarro, Cavalleria rusticana, Esclarmonde, Béatrice et Bénédict, Stiffelio, Roberto Devereux and La donna del lago (Washington Concert Opera), and Orfeo ed Euridice (Glimmerglass Opera).

His discography is extensive, with over 20 recordings including Idomeneo, Dardanus and David andJonathan (Pinchgut Opera), the complete Beethoven Piano Concertos with Gerard Willems and SinfoniaAustralis, and many discs with Cantillation. He is also featured on DVDs of Messiah and Beethoven’sEmperor Concerto.

Recent performance highlights have included Aida, Samson and Dalila, La bohème, The Italian Girl inAlgiers, Eugene Onegin and Falstaff (Pittsburgh Opera), Troilus and Cressida (Opera Theatre of StLouis), Carmen (Vancouver Opera), David and Jonathan (Pinchgut Opera), Dido and Aeneas / Acis andGalatea (Opera Australia) and concerts for Orchestra Victoria.

Engagements in 2010 include Lucia di Lammermoor for English National Opera, Carmen and TheBarber of Seville for Pittsburgh Opera, Maria Stuarda for the Canadian Opera Company, La Cenerentolafor Washington Concert Opera, Madama Butterfly for Santa Fe Opera and Haydn’s L’anima del filosofofor Pinchgut Opera.

17

Paul McMahon

A graduate of the University of Southern Queensland, Queensland Conservatorium and SydneyConservatorium of Music (Master of Music Performance), Paul McMahon began his career with theLyric Opera of Queensland. Now highly regarded for his interpretation of Baroque repertoire,particularly the Evangelist in the Passions of J.S. Bach, his career includes many performances fromthe operatic and concert repertoire of the 17th and 18th centuries.

Highlights include appearances with the Australian Chamber Orchestra, Australian BrandenburgOrchestra and Ensemble, Australia Ensemble, all the state symphony orchestras of Australia, PinchgutOpera, Sydney Philharmonia Choirs, Royal Melbourne Philharmonic Choir, Auckland Philharmonia,Christchurch Symphony and Christchurch City Choir. A Churchill Fellowship in 2002 enabled him toundertake intensive study in Baroque repertoire at the Royal Conservatoire in The Hague, Netherlands.

In 2005, Paul McMahon was appointed Lecturer in Voice at the University of Newcastle. Hisdiscography includes the solo album A Painted Tale (English, French and Italian lute songs), Handel’sMessiah (CD and DVD recording broadcast nationally by ABC Television), Handel’s Semele,Monteverdi’s L’Orfeo, Purcell’s The Fairy Queen, Mozart’s Idomeneo, Orff’s Carmina burana and Fauré’sLa naissance de Vénus. He is featured on Swoon – A Visual and Musical Odyssey and The SwoonCollection Gold Edition, the Christmas discs Perfect Day, Silent Night and Glorious Night, Prayer forPeace, Eternity, Danny Boy, Ye Banks and Braes, Praise II and the soundtrack to the feature film The Bank.

Recent engagements include concerts with the Sydney, Melbourne, Adelaide and QueenslandSymphony Orchestras, Auckland Philharmonia Orchestra, Sydney Philharmonia Choirs, AustraliaEnsemble, Festival Baroque Perth, Royal Melbourne Philharmonia and Sydney Chamber Choir. In 2010Paul McMahon appears with the Melbourne Bach Choir, Christchurch City Choir, Orpheus Choir,Dunedin Choir and Auckland Philharmonic; he also returns to Sydney Philharmonia Choirs for Purcell’sKing Arthur and Monteverdi Vespers, and performs Messiah with Auckland Choral.

16

Sally-Anne Russell

Sally-Anne Russell is a principal guest mezzo-soprano with Opera Australia. She is frequently engagedby all the major Australian symphony orchestras and also appears as a recitalist and recording artist.She has sung in ten countries and has over 40 operatic roles to her credit.

Those roles include Isabella (The Italian Girl in Algiers), Angelina (La Cenerentola), Rosina (The Barber ofSeville), Jo (Little Women – Australian premiere), Second and Third Ladies (The Magic Flute), Dorabella(Così fan tutte), Bradamante (Alcina), Sesto (Julius Caesar), Amastris (Xerses), Juno/Ino (Semele),Lucienne (Die tote Stadt), Mistress Quickly (Falstaff), Suzuki (Madama Butterfly), Dido (Dido andAeneas), Stephano (Romeo and Juliet), Mallika (Lakmé), Hansel (Hansel and Gretel) and Cherubino (TheMarriage of Figaro), for which she was nominated for a Green Room Award.

Sally-Anne Russell’s recordings for ABC Classics include Enchanting (a solo disc of operatic arias), theClassic 100 Opera Gala Concert (recorded live in the Sydney Opera House), the DVD Swoon – A Visualand Musical Odyssey and Opera Australia’s Golden Jubilee and 50th Birthday Gala Concert DVDs. Shehas recorded two albums with soprano Sara Macliver: Bach Arias and Duets (nominated for an ARIAaward) and Baroque Duets (2005 Classic FM Listeners’ Choice Award). She also appears on theChandos recording of Prokofiev’s The Love for Three Oranges and Decca’s The No.1 Classical Album2007 and 2009.

Recent appearances include Suzuki for Opera Australia in Melbourne, Nicklausse and The Muse in The Tales of Hoffmann for State Opera of South Australia, Rosina with Melbourne Opera, concerts with Musica Viva, Australian String Quartet, Sydney Philharmonia Choirs, Melbourne Recital Centre andthe Melbourne, West Australian and Adelaide Symphony Orchestras, performances at the CorioleFestival and Opera in the Vineyards, the world premiere of Tobin Stoke’s Nootka and Bacalov’s MisaTango in Canada, and an eighth season as resident mezzo-soprano soloist at the Carmel Bach Festival in California.

17

Paul McMahon

A graduate of the University of Southern Queensland, Queensland Conservatorium and SydneyConservatorium of Music (Master of Music Performance), Paul McMahon began his career with theLyric Opera of Queensland. Now highly regarded for his interpretation of Baroque repertoire,particularly the Evangelist in the Passions of J.S. Bach, his career includes many performances fromthe operatic and concert repertoire of the 17th and 18th centuries.

Highlights include appearances with the Australian Chamber Orchestra, Australian BrandenburgOrchestra and Ensemble, Australia Ensemble, all the state symphony orchestras of Australia, PinchgutOpera, Sydney Philharmonia Choirs, Royal Melbourne Philharmonic Choir, Auckland Philharmonia,Christchurch Symphony and Christchurch City Choir. A Churchill Fellowship in 2002 enabled him toundertake intensive study in Baroque repertoire at the Royal Conservatoire in The Hague, Netherlands.

In 2005, Paul McMahon was appointed Lecturer in Voice at the University of Newcastle. Hisdiscography includes the solo album A Painted Tale (English, French and Italian lute songs), Handel’sMessiah (CD and DVD recording broadcast nationally by ABC Television), Handel’s Semele,Monteverdi’s L’Orfeo, Purcell’s The Fairy Queen, Mozart’s Idomeneo, Orff’s Carmina burana and Fauré’sLa naissance de Vénus. He is featured on Swoon – A Visual and Musical Odyssey and The SwoonCollection Gold Edition, the Christmas discs Perfect Day, Silent Night and Glorious Night, Prayer forPeace, Eternity, Danny Boy, Ye Banks and Braes, Praise II and the soundtrack to the feature film The Bank.

Recent engagements include concerts with the Sydney, Melbourne, Adelaide and QueenslandSymphony Orchestras, Auckland Philharmonia Orchestra, Sydney Philharmonia Choirs, AustraliaEnsemble, Festival Baroque Perth, Royal Melbourne Philharmonia and Sydney Chamber Choir. In 2010Paul McMahon appears with the Melbourne Bach Choir, Christchurch City Choir, Orpheus Choir,Dunedin Choir and Auckland Philharmonic; he also returns to Sydney Philharmonia Choirs for Purcell’sKing Arthur and Monteverdi Vespers, and performs Messiah with Auckland Choral.

16

Sally-Anne Russell

Sally-Anne Russell is a principal guest mezzo-soprano with Opera Australia. She is frequently engagedby all the major Australian symphony orchestras and also appears as a recitalist and recording artist.She has sung in ten countries and has over 40 operatic roles to her credit.

Those roles include Isabella (The Italian Girl in Algiers), Angelina (La Cenerentola), Rosina (The Barber ofSeville), Jo (Little Women – Australian premiere), Second and Third Ladies (The Magic Flute), Dorabella(Così fan tutte), Bradamante (Alcina), Sesto (Julius Caesar), Amastris (Xerses), Juno/Ino (Semele),Lucienne (Die tote Stadt), Mistress Quickly (Falstaff), Suzuki (Madama Butterfly), Dido (Dido andAeneas), Stephano (Romeo and Juliet), Mallika (Lakmé), Hansel (Hansel and Gretel) and Cherubino (TheMarriage of Figaro), for which she was nominated for a Green Room Award.

Sally-Anne Russell’s recordings for ABC Classics include Enchanting (a solo disc of operatic arias), theClassic 100 Opera Gala Concert (recorded live in the Sydney Opera House), the DVD Swoon – A Visualand Musical Odyssey and Opera Australia’s Golden Jubilee and 50th Birthday Gala Concert DVDs. Shehas recorded two albums with soprano Sara Macliver: Bach Arias and Duets (nominated for an ARIAaward) and Baroque Duets (2005 Classic FM Listeners’ Choice Award). She also appears on theChandos recording of Prokofiev’s The Love for Three Oranges and Decca’s The No.1 Classical Album2007 and 2009.

Recent appearances include Suzuki for Opera Australia in Melbourne, Nicklausse and The Muse in The Tales of Hoffmann for State Opera of South Australia, Rosina with Melbourne Opera, concerts with Musica Viva, Australian String Quartet, Sydney Philharmonia Choirs, Melbourne Recital Centre andthe Melbourne, West Australian and Adelaide Symphony Orchestras, performances at the CorioleFestival and Opera in the Vineyards, the world premiere of Tobin Stoke’s Nootka and Bacalov’s MisaTango in Canada, and an eighth season as resident mezzo-soprano soloist at the Carmel Bach Festival in California.

19

CantillationAntony Walker music directorAlison Johnston manager

SopranoAnna Fraser 1-3, 5, 7-$Louisa Hunter Bradley %-)Belinda Montgomery 1-3, 5,

7-$Alison MorganElizabeth Scott %-)Jane SheldonNicole ThomsonEmma Zampieri

Mezzo-SopranoJenny Duck-Chong %-)Joanne Goodman %-)Anne Farrell 1-3, 5, 7-$Kerith Fowles 1-3, 5, 7-$Judy HerskovitsNatalie SheaNicole SmeuldersAnna Zerner

TenorPhilip ChuGeorge Liakatos 1-3, 5, 7-$Eric PetersonJohn PitmanJames Renwick 1-3, 5, 7-$Joseph Toltz %-)Brett Weymark 1-3, 5, 7-$Raff Wilson

BassPeter Alexander 1-3, 5, 7-$Daniel BeerCorin BoneMark DonnellyCraig Everingham %-)David GrecoSam Piper 1-3, 5, 7-$David Russell 1-3, 5, 7-$

Orchestra of the AntipodesAntony Walker music directorAlison Johnston manager

Violin 1Anna McDonaldSimon Brown, Sydney, Australia, 2006,after Guarneri del Gesù

Elizabeth Pogson 1-$Anonymous, after Sebastian Klotz

Myee Clohessy Anonymous, Mittenwald, Germany, c.1790

Matthew Bruce Mark Pengilley, Melbourne, Australia, 1986,after Giovanni Paolo Maggini

Bridget Crouch %-)Anonymous, Germany, early 18th century

Catherine Shugg %-)Paul Alletsee, Munich, Germany, c.1710

Violin 2Alice EvansSebastian Klotz, Mittenwald, Germany,c.1750

Leigh Middenway 1-$Peter Walmsley, London, England, c.1740

Sarah Dunn Roderick Smith, Sydney, Australia, 1986,converted by Simon Brown

Matthew Greco David Christian Hopf, Quittenbach,Germany, 1760

Julia Fredersdorff 1, 4, 6, 9, @, $

Anonymous, Mittenwald, Germany, early 18th century

Lathika Vithanage %-)Simon Brown, Sydney, Australia, 2001

18

Teddy Tahu Rhodes

Teddy Tahu Rhodes has established an international career on the opera stage and the concertplatform. His wide-ranging repertoire is notable for several world and Australian premiere performancesincluding Bendrix (The End of the Affair), Joe (Dead Man Walking), The Pilot (The Little Prince),Butterley’s Spell of Creation and Conyngham’s Fix.

Recent and forthcoming opera engagements include Al Kasim (L’Upupa) in Hamburg, Ned Keene (PeterGrimes) for the Metropolitan Opera, Escamillo (Carmen) in Hamburg, Munich, Bilbao and for theMetropolitan Opera, Stanley (A Streetcar Names Desire) for Opera Australia, The Count (The Marriageof Figaro) in Cincinnati and Washington, Lescaut (Manon Lescaut) in Leipzig and for Opera Australia,and the title role in Billy Budd (Santa Fe/Opera Australia), as well as three important role debuts in2010: the title role in Mozart’s The Marriage of Figaro for Opera Australia, Zurga (The Pearl Fishers) forState Opera of South Australia and Scarpia (Tosca) for Southern Opera, New Zealand.

A regular guest with all the major orchestras in Australasia, recent and forthcoming concertengagements include recitals at the Sydney Opera House and in Washington, national tours with theAustralian Chamber Orchestra and the New Zealand Symphony Orchestra, appearances at the BBCProms, concerts with the London Philharmonic Orchestra, West Australian and Tasmanian SymphonyOrchestras and the Auckland Philharmonia, and a sell-out Australia-wide tour with David Hobson. Hemade his debut in New York’s Carnegie Hall in 2009.

Teddy Tahu Rhodes’ discography on the ABC Classics label includes Faure’s Requiem, Handel’sMessiah (CD and DVD), Musical Renegades, Mozart Arias, The Voice, Vagabond, Bach Arias and, withDavid Hobson, You’ll Never Walk Alone. Other releases include The Little Prince (BBC/SonyInternational) and the DVD Hayley Westenra Live.

Awards include an ARIA Award (Best Classical Record, for The Voice), two Helpmann Awards (BestMale Operatic Performer), a ‘MO’ Award (Operatic Performer of the Year) and a Green Room Award forhis performance as Don Giovanni with Opera Australia.

19

CantillationAntony Walker music directorAlison Johnston manager

SopranoAnna Fraser 1-3, 5, 7-$Louisa Hunter Bradley %-)Belinda Montgomery 1-3, 5,

7-$Alison MorganElizabeth Scott %-)Jane SheldonNicole ThomsonEmma Zampieri

Mezzo-SopranoJenny Duck-Chong %-)Joanne Goodman %-)Anne Farrell 1-3, 5, 7-$Kerith Fowles 1-3, 5, 7-$Judy HerskovitsNatalie SheaNicole SmeuldersAnna Zerner

TenorPhilip ChuGeorge Liakatos 1-3, 5, 7-$Eric PetersonJohn PitmanJames Renwick 1-3, 5, 7-$Joseph Toltz %-)Brett Weymark 1-3, 5, 7-$Raff Wilson

BassPeter Alexander 1-3, 5, 7-$Daniel BeerCorin BoneMark DonnellyCraig Everingham %-)David GrecoSam Piper 1-3, 5, 7-$David Russell 1-3, 5, 7-$

Orchestra of the AntipodesAntony Walker music directorAlison Johnston manager

Violin 1Anna McDonaldSimon Brown, Sydney, Australia, 2006,after Guarneri del Gesù

Elizabeth Pogson 1-$Anonymous, after Sebastian Klotz

Myee Clohessy Anonymous, Mittenwald, Germany, c.1790

Matthew Bruce Mark Pengilley, Melbourne, Australia, 1986,after Giovanni Paolo Maggini

Bridget Crouch %-)Anonymous, Germany, early 18th century

Catherine Shugg %-)Paul Alletsee, Munich, Germany, c.1710

Violin 2Alice EvansSebastian Klotz, Mittenwald, Germany,c.1750

Leigh Middenway 1-$Peter Walmsley, London, England, c.1740

Sarah Dunn Roderick Smith, Sydney, Australia, 1986,converted by Simon Brown

Matthew Greco David Christian Hopf, Quittenbach,Germany, 1760

Julia Fredersdorff 1, 4, 6, 9, @, $

Anonymous, Mittenwald, Germany, early 18th century

Lathika Vithanage %-)Simon Brown, Sydney, Australia, 2001

18

Teddy Tahu Rhodes

Teddy Tahu Rhodes has established an international career on the opera stage and the concertplatform. His wide-ranging repertoire is notable for several world and Australian premiere performancesincluding Bendrix (The End of the Affair), Joe (Dead Man Walking), The Pilot (The Little Prince),Butterley’s Spell of Creation and Conyngham’s Fix.

Recent and forthcoming opera engagements include Al Kasim (L’Upupa) in Hamburg, Ned Keene (PeterGrimes) for the Metropolitan Opera, Escamillo (Carmen) in Hamburg, Munich, Bilbao and for theMetropolitan Opera, Stanley (A Streetcar Names Desire) for Opera Australia, The Count (The Marriageof Figaro) in Cincinnati and Washington, Lescaut (Manon Lescaut) in Leipzig and for Opera Australia,and the title role in Billy Budd (Santa Fe/Opera Australia), as well as three important role debuts in2010: the title role in Mozart’s The Marriage of Figaro for Opera Australia, Zurga (The Pearl Fishers) forState Opera of South Australia and Scarpia (Tosca) for Southern Opera, New Zealand.

A regular guest with all the major orchestras in Australasia, recent and forthcoming concertengagements include recitals at the Sydney Opera House and in Washington, national tours with theAustralian Chamber Orchestra and the New Zealand Symphony Orchestra, appearances at the BBCProms, concerts with the London Philharmonic Orchestra, West Australian and Tasmanian SymphonyOrchestras and the Auckland Philharmonia, and a sell-out Australia-wide tour with David Hobson. Hemade his debut in New York’s Carnegie Hall in 2009.

Teddy Tahu Rhodes’ discography on the ABC Classics label includes Faure’s Requiem, Handel’sMessiah (CD and DVD), Musical Renegades, Mozart Arias, The Voice, Vagabond, Bach Arias and, withDavid Hobson, You’ll Never Walk Alone. Other releases include The Little Prince (BBC/SonyInternational) and the DVD Hayley Westenra Live.

Awards include an ARIA Award (Best Classical Record, for The Voice), two Helpmann Awards (BestMale Operatic Performer), a ‘MO’ Award (Operatic Performer of the Year) and a Green Room Award forhis performance as Don Giovanni with Opera Australia.

21

Executive Producers Martin Buzacott, Robert Patterson, Lyle Chan 1-$

Recording Producer and Engineer Virginia ReadEditing and Mastering Thomas GrubbEditorial and Production Manager Hilary ShrubbPublications Editor Natalie SheaBooklet Design Imagecorp Pty LtdCover Photo Kari Liimatainen (http://karil.deviantart.com/)Keyboard Tuning and Maintenance Manuel da Costa (Fleig), Carey Beebe (Klop)

Recorded 15-17 June 1-3, 5, 7-$ and 16 December 2006 1, 4, 6, 9, @, $, and 25 and 27 August 2008

%-) in the Eugene Goossens Hall of the Australian Broadcasting Corporation’s Ultimo Centre, Sydney.

ABC Classics thanks Alison Johnston, Alexandra Alewood, Claudia Crosariol, Laura Bell and Katherine Kemp.

� 2010 Australian Broadcasting Corporation. � 2010 Australian Broadcasting Corporation. Distributed in Australia and New Zealand byUniversal Music Group, under exclusive licence. Made in Australia. All rights of the owner of copyright reserved. Any copying, renting,lending, diffusion, public performance or broadcast of this record without the authority of the copyright owner is prohibited.

20

ViolaNicole Forsyth Tenor viola by Ian Clarke, Biddeston,Australia, 1998, after Giovanni PaoloMaggini, ‘Dumas’, c.1680

Heather Lloyd 1-$Ian Clarke, Biddeston, Australia, 1998, after Andrea Guarneri, Cremona, Italy

John Ma 1-$Simon Brown, Sydney, Australia, 2001

Valmai Coggins 1, 4, 6, 9, @, %-)

Beardsmore and Coggins, Blackheath,Australia, 2006, after Andrea Guarneri, 1676

Isidore Tilliers %-)Matthew Charles Bolliger, Australia, 1992after David Tecchler, 18th century

CelloDaniel Yeadon 1-$Michael Watson, England, 1991, after Guarnerius

Rosemary Quinn Simon Brown, Sydney, Australia, 2004,after Stradivarius

Jamie Hey %-)Italian (Brescia school), early 17th century

Anthea Cottee %-)Peter Walmsley, London, England, c.1735

BassKirsty McCahon 1-$Giuseppe Abbati, Modena, Italy, c.1750

Helen Cosgrove %-)Anonymous

KeyboardNeal Peres Da Costa 1-^Chamber organ by Bernhard Fleig,Switzerland, 1996 1-$, used courtesy ofSydney Grammar School Continuo organ by Henk Klop, Garderen,Netherlands, 2007 %, ^

Benjamin Bayl &-)Continuo organ by Henk Klop, Garderen,Netherlands, 2007 &-)

OboeKirsten Barry %-)Marcel Ponseele, 2001, after JakobGrundmann, c.1775

Adam Masters %-)Marcel Ponseele, 2003, after JakobGrundmann, c.1775

Basset HornCraig Hill 1-$Peter van der Poel, Bunnik, Netherlands,after Theodor Lotz, c.1780

Christopher Woods 1-$Andreas Schöni, Bern, Switzerland, afterTheodor Lotz, Vienna, Austria, late 18th century

HornDarryl Poulsen %-)Webb/Halstead, London, UK, 1993, after Franz Stohr, Vienna, Austria, c.1800

James McCrow %-)Webb/Halstead, London, UK, 1992, after Franz Stohr, Vienna, Austria, c.1800

BassoonSimon Rickard Mathew Dart, London, UK, 1996, after J.F. Grundmann, 1792

Joanne Brown 1-$Classical bassoon after J.F. Grundmann(1727-1800), Dresden, Germany

Lisa Goldberg 1, 4, 6, 9, @, $Jacques François Simiot, Lyon, France,c.1820

TrumpetLeanne SullivanRainer Egger, Basel, Switzerland, bell afterJohann Leonhard Ehe II (1664-1724),Nuremburg, Germany

Samantha Robinson 1-$Rainer Egger, Basel, Switzerland, bell after Johann Leonhard Ehe II, Nuremburg, Germany

Helen Gill %-)Rainer Egger, Basel, Switzerland, bell after Johann Leonhard Ehe II, Nuremburg, Germany

TromboneWarwick Tyrrell 1-$Alto sackbut by John Webb, London, UK, 1995

Nigel Crocker 1-$Tenor sackbut by Meinl & Lauber,Geretsried, Germany, after AntonDrewelwecz, 1595

Brett Page 1-$Bass sackbut in F by Rainer Egger, Basel,Switzerland, 2006

TimpaniBrian Nixon 1-$Lefima Baroque-styled belt-driven calf-headed copper timpani, Germany, 1999

A=430Temperament: Vallotti

21

Executive Producers Martin Buzacott, Robert Patterson, Lyle Chan 1-$

Recording Producer and Engineer Virginia ReadEditing and Mastering Thomas GrubbEditorial and Production Manager Hilary ShrubbPublications Editor Natalie SheaBooklet Design Imagecorp Pty LtdCover Photo Kari Liimatainen (http://karil.deviantart.com/)Keyboard Tuning and Maintenance Manuel da Costa (Fleig), Carey Beebe (Klop)

Recorded 15-17 June 1-3, 5, 7-$ and 16 December 2006 1, 4, 6, 9, @, $, and 25 and 27 August 2008

%-) in the Eugene Goossens Hall of the Australian Broadcasting Corporation’s Ultimo Centre, Sydney.

ABC Classics thanks Alison Johnston, Alexandra Alewood, Claudia Crosariol, Laura Bell and Katherine Kemp.

� 2010 Australian Broadcasting Corporation. � 2010 Australian Broadcasting Corporation. Distributed in Australia and New Zealand byUniversal Music Group, under exclusive licence. Made in Australia. All rights of the owner of copyright reserved. Any copying, renting,lending, diffusion, public performance or broadcast of this record without the authority of the copyright owner is prohibited.

20

ViolaNicole Forsyth Tenor viola by Ian Clarke, Biddeston,Australia, 1998, after Giovanni PaoloMaggini, ‘Dumas’, c.1680

Heather Lloyd 1-$Ian Clarke, Biddeston, Australia, 1998, after Andrea Guarneri, Cremona, Italy

John Ma 1-$Simon Brown, Sydney, Australia, 2001

Valmai Coggins 1, 4, 6, 9, @, %-)

Beardsmore and Coggins, Blackheath,Australia, 2006, after Andrea Guarneri, 1676

Isidore Tilliers %-)Matthew Charles Bolliger, Australia, 1992after David Tecchler, 18th century

CelloDaniel Yeadon 1-$Michael Watson, England, 1991, after Guarnerius

Rosemary Quinn Simon Brown, Sydney, Australia, 2004,after Stradivarius

Jamie Hey %-)Italian (Brescia school), early 17th century

Anthea Cottee %-)Peter Walmsley, London, England, c.1735

BassKirsty McCahon 1-$Giuseppe Abbati, Modena, Italy, c.1750

Helen Cosgrove %-)Anonymous

KeyboardNeal Peres Da Costa 1-^Chamber organ by Bernhard Fleig,Switzerland, 1996 1-$, used courtesy ofSydney Grammar School Continuo organ by Henk Klop, Garderen,Netherlands, 2007 %, ^

Benjamin Bayl &-)Continuo organ by Henk Klop, Garderen,Netherlands, 2007 &-)

OboeKirsten Barry %-)Marcel Ponseele, 2001, after JakobGrundmann, c.1775

Adam Masters %-)Marcel Ponseele, 2003, after JakobGrundmann, c.1775

Basset HornCraig Hill 1-$Peter van der Poel, Bunnik, Netherlands,after Theodor Lotz, c.1780

Christopher Woods 1-$Andreas Schöni, Bern, Switzerland, afterTheodor Lotz, Vienna, Austria, late 18th century

HornDarryl Poulsen %-)Webb/Halstead, London, UK, 1993, after Franz Stohr, Vienna, Austria, c.1800

James McCrow %-)Webb/Halstead, London, UK, 1992, after Franz Stohr, Vienna, Austria, c.1800

BassoonSimon Rickard Mathew Dart, London, UK, 1996, after J.F. Grundmann, 1792

Joanne Brown 1-$Classical bassoon after J.F. Grundmann(1727-1800), Dresden, Germany

Lisa Goldberg 1, 4, 6, 9, @, $Jacques François Simiot, Lyon, France,c.1820

TrumpetLeanne SullivanRainer Egger, Basel, Switzerland, bell afterJohann Leonhard Ehe II (1664-1724),Nuremburg, Germany

Samantha Robinson 1-$Rainer Egger, Basel, Switzerland, bell after Johann Leonhard Ehe II, Nuremburg, Germany

Helen Gill %-)Rainer Egger, Basel, Switzerland, bell after Johann Leonhard Ehe II, Nuremburg, Germany

TromboneWarwick Tyrrell 1-$Alto sackbut by John Webb, London, UK, 1995

Nigel Crocker 1-$Tenor sackbut by Meinl & Lauber,Geretsried, Germany, after AntonDrewelwecz, 1595

Brett Page 1-$Bass sackbut in F by Rainer Egger, Basel,Switzerland, 2006

TimpaniBrian Nixon 1-$Lefima Baroque-styled belt-driven calf-headed copper timpani, Germany, 1999

A=430Temperament: Vallotti

2322

2322

476 4064

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1-$ Requiem, KV626 48’26

% Ave verum Corpus, KV618 2’24

^ Sancta Maria, mater Dei, KV273 2’51

&-) Exsultate, jubilate, KV165 14’37

Total Playing Time 68’35

Sara Macliver sopranoSally-Anne Russell mezzo-sopranoPaul McMahon tenorTeddy Tahu Rhodes bass-baritoneCantillationOrchestra of the AntipodesAntony Walker conductor