44

CARMINA BURANA

Page from the Burana Codex, featuring the Wheel of Fortune, c. 1100–1200

THE DECADESPROJECT 1930–1939

45

CONCERT PROGRAM

Pierre Simard The Bastion: Sesquie for Canada’s 150th (Jun 21 only; WORLD PREMIÈRE/TSO CO-COMMISSION)

Karol Szymanowski Violin Concerto No. 2, Op. 61Moderato molto tranquillo – Andante sostenuto –

Andantino molto tranquillo – Allegro moderato

IntermissionOn June 21 & 24 in the North Lobby, join The Decades Project ancillary events curator Tom Allen in conversation with AGO Assistant Curator of Modern Art Kenneth Brummel for a discussion on the intersection of visual art and music in the 1930s.

Carl OrffCarmina BuranaFortuna Imperatrix Mundi (Fortune, Empress of the World)

I. Primo vere (Springtime)

Uf dem Anger (On the Green)

II. In taberna (In the Tavern)

III. Cour d’amours (The Court of Love)

Blanziflor et Helena (Blanchefleur and Helena)

Fortuna Imperatrix Mundi

Wednesday, June 21, 2017

8:00pm

Thursday, June 22, 2017

8:00pm

Friday, June 23, 2017

7:30pm

Saturday, June 24, 2017

8:00pm

Peter Oundjianconductor

Nicola Benedettiviolin

Aline Kutansoprano

Daniel Taylorcountertenor

Phillip Addisbaritone

Toronto Mendelssohn ChoirNoel Edison

Artistic Director

Toronto Children’s ChorusElise Bradley

Artistic Director

Please note that the performance on June 21 is being recorded for online release at TSO.CA/CanadaMosaic.

JUN 21 PERFORMANCE PRESENTING SPONSOR

PROJECT PARTNER

4646

THE DETAILS

Karol Szymanowski was the most important Polish

composer during the period between the glory days of

the ultra-Romantic Fryderyk Chopin (1810–1849) and

the rise of major modern-day figures such as Witold

Lutosławski, Krzysztof Penderecki, and Henryk Górecki.

At times, the shadows of Wagner, Richard Strauss, and

Debussy fall across his music. Yet his synthesis of these

and many further elements, including Polish folk music

and mystical writings from numerous eras and locales,

resulted in a style uniquely his own.

He composed the first of two violin concertos in 1916,

and the second 16 years later. He worked closely with a

long-time friend, violinist Pavel Kochański, in creating both

of them, to the point of having Kochański contribute the

solo cadenzas. Kochański gave the première of the Second

Concerto in Warsaw, in October 1933.

In the violin concertos, Szymanowski set aside traditional

ideas of form—he replaced the familiar Classical/Romantic

model of separate movements in favour of a single,

continuous entity. In terms of mood and texture, No. 1 is

a dreamy, atmospheric, impressionist-style tone poem

submerged in voluptuous orchestral colours. No. 2 is

considerably leaner in feeling and sound, reflecting the

Polish folk music in which he had recently developed a

much-increased interest.

Despite its uninterrupted structure, Concerto No. 2 may

be readily divided into sections. The first journeys from

a lyrical beginning to a forceful climax and back again,

paving the way for the virtuosic solo cadenza. A brief,

march-like section follows, then a sequence of lyrical

duets between solo violin and the solo winds of the

orchestra. The passionate conclusion reintroduces the

themes of the previous sections.

Program note by Don Anderson

Karol Szymanowski Violin Concerto No. 2, Op. 61

Born: Tymoszówka, Ukraine, Oct 3, 1882Died: Lausanne, Switzerland, Mar 29, 1937Composed: 1932–1933

20min

For a program note to Pierre Simard’s The Bastion: Sesquie

for Canada’s 150th, please turn to page 15 of the Sesquies

Canada Mosaic program.

Peter OundjianMusic Director

Our final Masterworks concert of the season is also our third program exploring the repertoire of the 1930s, one of the most vibrant and creative decades of the 20th century. Nicola Benedetti joins us for the beautiful Second Violin Concerto by Karol Szymanowski. Like many composers of the early 20th century, Szymanowski spent most of his life searching for his own language. Deeply influenced by Debussy, and then by Richard Strauss, he eventually turned away from both to create a style that was uniquely of its time. In this great concerto, it is clear that he is listening to the amazing developments all around him, synthesizing them into one of the most singular voices of the era. Carl Orff’s Carmina Burana was a defining work for the composer—in it, he too discovered a personal language that was spare and rhythmic. Aline Kutan, Daniel Taylor, Phillip Addis, and two of Toronto’s finest choirs join us for this remarkable music.

47

Carl OrffCarmina Burana

Baptized: Munich, Germany, Jul 10, 1895 Died: Munich, Germany, Mar 29, 1982Composed: 1936

At the beginning of the 1930s, while serving as

conductor of the Munich Bach Society, Carl Orff

produced a number of arrangements of early

music. His research in this area eventually led

to the creation of Carmina Burana, his first (and

greatest) success. The texts were what give the

score its name. In 1803, at the monastery of

Benediktbeuern in Upper Bavaria, musicologist

J.A. Schmeller discovered a manuscript

collection of lyrics, dating from the 12th and

13th centuries. When it was published in 1847,

Schmeller dubbed it Carmina Burana (Songs

from the beuern, or in Latin, Burana district).

Probably the work of wandering scholars and

defrocked priests, its texts are mostly in Latin,

with a sprinkling of old German. The earthier part

of the collection contains some 200 drinking

songs, love lyrics, and recruiting songs.

When Orff came across the manuscript in

1935, it captivated him immediately. He saw in

it the ideal vehicle to express the kind of basic,

uncomplicated human emotions that appealed

to him. Choosing two dozen poems from the

collection, he matched them with equally direct

music, featuring simple yet striking rhythms,

melodies, and harmonies.

He began his Carmina Burana with a grandiose

hymn, “Fortuna Imperatrix Mundi” (Fortune,

Empress of the World), saluting this inscrutable,

unpredictable concept. “Primo vere” (Spring),

follows. It deals, mostly in a quiet, mysterious

fashion, with the anticipated arrival of that

season. Joy eventually breaks forth as Spring

itself appears. It is celebrated in the section

entitled “Uf dem Anger” (On the Green).

The next segment, “In taberna” (In the Tavern),

salutes the juice of the grape in riotous fashion.

The tenor soloist, singing in falsetto, takes the

role of a swan roasting slowly and sadly on a spit.

The baritone portrays an abbot who launches

the men of the choir into a rollicking ode to drink.

“Cour d’amours” (The Court of Love) brings

several of Orff’s loveliest, most lyrical moments.

After the ecstatic fervour of “Blanziflor et Helena”

(Blanchefleur and Helen, the principal characters

in a medieval romance), Orff’s ode to Fortune

returns to close Carmina Burana as majestically

as it began.

Program note by Don Anderson

For the text and translation to Carmina Burana, please turn to pages 48 to 54.

60min

47

Fortune smiled on me when she put into my

hands a Würzburg second-hand bookshop’s

catalogue, in which I found a title that

drew me in with magical force: Carmina

Burana.... I obtained the book on Maundy

Thursday 1934....Right when I opened it,

on the very first page, I found the long-

famous illustration of ‘Fortune with the

Wheel’, and under it the lines: ‘O Fortuna

velut Luna statu variabilis…’ The picture and

the words took hold of me.... That very day I

had sketched the first chorus, ‘O Fortuna’, in

short score.

—Carl Orff on discovering the poems of

Carmina Burana and the effect they had on him

48

THE DETAILSText and Translation

FORTUNA IMPERATRIX MUNDI 1. O Fortuna

O Fortuna, velut luna statu variabilis,semper crescis aut decrescis;vita detestabilis nunc obduratet tunc curat ludo mentis aciem,egestatem, potestatemdissolvit ut glaciem.

Sors immanis et inanis,rota tu volubilis, status malus,vana salus semper dissolubilis,obumbrata et velata michi quoque niteris; nunc per ludum dorsum nudumfero tui sceleris.

Sors salutis et virtutis michi nunc contraria,est affectus et defectus semper in angaria.Hac in hora sine moracorde pulsum tangite;quod per sortem sternit fortem,mecum omnes plangite!

2. Fortune plango vulnera

Fortune plango vulnera stillantibus ocellis quod sua michi munera subtrahit rebellis. Verum est, quod legitur, fronte capillata, sed plerumque sequitur Occasio calvata.

In Fortune solio sederam elatus, prosperitatis vario flore coronatus;quicquid enim florui felix et beatus, nunc a summo corrui gloria privatus.

Fortune rota volvitur: descendo minoratus; alter in altum tollitur; nimis exaltatusrex sedet in vertice caveat ruinam! nam sub axe legimus Hecubam reginam.

FORTUNE, EMPRESS OF THE WORLD1. O Fortune

O Fortune,like the moon you are changeable,ever waxing and waning;hateful life first oppressesand then soothes as fancy takes it;poverty and powerit melts them like ice.

Fate – monstrous and empty,you whirling wheel, you are malevolent,well-being is vain and always fades to nothing, shadowed and veiled you plague me too;now through the game I bring my bare backto your villainy.

Fate is against me in health and virtue,driven on and weighted down, always enslaved.So at this hour without delaypluck the vibrating strings;since Fate strikes down the strong man,everyone weep with me!

2. I bemoan the wounds of Fortune

I bemoan the wounds of Fortunewith weeping eyes, for the gifts she made meshe perversely takes away.It is written in truth,that she has a fine head of hair,but, when it comes to seizing an opportunityshe is bald.

On Fortune’s throne I used to sit raised up,crowned with the many-coloured flowers of prosperity; though I may have flourishedhappy and blessed, now I fall from the peakdeprived of glory.

The wheel of Fortune turns;I go down, demeaned;another is raised up; far too high upsits the king at the summit—let him fear ruin!for under the axis is written Queen Hecuba.

49

I – PRIMO VERE3. Veris leta facies

Veris leta facies mundo propinatur, hiemalis acies victa iam fugatur, in vestitu varioFlora principatur, nemorum dulcisonoque cantu celebratur. Ah!

Flore fusus gremio Phebus novo morerisum dat, hac vario iam stipate flore. Zephyrus nectareo spirans in odore.Certatim pro bravio curramus in amore. Ah!

Cytharizat cantico dulcis Philomena, flore rident vario prata iam serena,salit cetus avium silve per amena,chorus promit virginumiam gaudia millena. Ah!

4. Omnia sol temperat

Omnia sol temperat purus et subtilis,novo mundo reserat faciem Aprilis, ad amorem properat animus herilis et iocundis imperat deus puerilis.

Rerum tanta novitas in solemni vereet veris auctoritas jubet nos gaudere; vias prebet solitas, et in tuo vere fides est et probitas tuum retinere.

Ama me fideliter, fidem meam noto: de corde totaliter et ex mente tota sum presentialiter absens in remota,quisquis amat taliter, volvitur in rota.

5. Ecce gratum

Ecce gratum et optatum ver reducit gaudia, purpuratum floret pratum, sol serenat omnia.Iamiam cedant tristia! Estas redit, nunc receditHyemis sevitia. Ah!

Iam liquescit et decrescit grando, nix et cetera;bruma fugit, et iam sugit Ver Estatis ubera; illi mens est misera,qui nec vivit, nec lascivit sub Estatis dextera. Ah!

I – SPRING3. The merry face of spring

The merry face of spring turns to the world,sharp winter now flees, vanquished;bedecked in various coloursFlora reigns, the harmony of the woodspraises her in song. Ah!

Lying in Flora’s lap Phoebus once moresmiles, now covered in many-coloured flowers,Zephyr breathes nectar-scented breezes.Let us rush to compete for love’s prize. Ah!

In harp-like tones sings the sweet nightingale,with many flowers the joyous meadows are laughing,a flock of birds rises up through the pleasant forests,the chorus of maidensalready promises a thousand joys. Ah!

4. The sun warms everything

The sun warms everything, pure and gentle,once again it reveals to the world April's face, the soul of man is urged towards love and joys are governed by the boy-god.

All this rebirth in spring’s festivity and spring's power bids us to rejoice; it shows us paths we know well, and in your springtime it is true and right to keep what is yours.

Love me faithfully! See how I am faithful: with all my heart and with all my soul, I am with you even when I am far away.Whosoever loves this much turns on the wheel.

5. Behold, the pleasant spring

Behold, the pleasant and longed-forspring brings back joyfulness, violet flowers fill the meadows, the sun brightens everything,sadness is now at an end!Summer returns, now withdrawthe rigours of winter. Ah!

Now melts and disappearsice, snow and the rest,winter flees, and now spring sucks at summer’s breast: a wretched soul is hewho does not live or lustunder summer’s rule. Ah!

50

THE DETAILSGloriantur et letantur in melle dulcedinis, qui conantur, ut utantur premio Cupidinis: simus jussu Cypridis gloriantes et letantes pares esse Paridis. Ah!

UF DEM ANGER6. Tanz

7. Floret silva nobilis

Floret silva nobilis floribus et foliis.

Ubi est antiquus meus amicus? Ah!Hinc equitavit, eia, quis me amabit? Ah!

Floret silva undique,nah min gesellen ist mir we.

Gruonet der walt allenthalben,wa ist min geselle alse lange? Ah!Der ist geriten hinnen,o wi, wer sol mich minnen? Ah!

8. Chramer, gip die varwe mir

Chramer, gip die varwe mir,die min wengel roete,damit ich die jungen manan ir dank der minnenliebe noete.

Seht mich an, jungen man! lat mich iu gevallen!

Minnet, tugentliche man, minnecliche frouwen!minne tuot iu hoch gemoutunde lat iuch in hohen eren schouwen.

Seht mich an, usw.

Wol dir, werit, daz du bist also freudenriche!ich will dir sin undertandurch din liebe immer sicherliche.

Seht mich an, usw.

9. Reie

Swaz hie gat umbe, daz sint alles megede,die wellent an man allen disen sumer gan. Ah! Sla!

Chume, chum, geselle min, ih enbite harte din,ih enbite harte din, chume, chum, geselle min.Suzer rosenvarwer munt,

They glory and rejoice in honeyed sweetnesswho strive to make use of Cupid’s prize;at Venus’s command let us glory and rejoicein being Paris’s equals. Ah!

ON THE GREEN6. Dance

7. The woods are burgeoning

The noble woods are burgeoningwith flowers and leaves.

Where is the lover I knew? Ah!He has ridden off! Oh! Who will love me? Ah!

The woods are burgeoning all over,I am pining for my lover.

The woods are turning green all over,why is my lover away so long? Ah!He has ridden off,Oh woe, who will love me? Ah!

8. Shopkeeper, give me colour

Shopkeeper, give me colourto make my cheeks red,so that I can make the young menlove me, against their will.

Look at me, young men! Let me please you!

Good men, love women worthy of love!Love ennobles your spiritand gives you honour.

Look at me, etc.

Hail, world, so rich in joys!I will be obedient to youbecause of the pleasures you afford.

Look at me, etc.

9. Round Dance

Those who go round and round are all maidens,who want to do with a man all summer long. Ah! Sla!

Come, come, my love, I long for you,I long for you, come, come, my love.Sweet rose-red lips,

51

chum un mache mich gesunt chum un mache mich gesunt, suzer rosenvarwer munt.

Swaz hie gat umbe, usw.

10. Were diu werlt alle min

Were diu werlt alle min von deme mere unze an den Rin des wolt ih mih darben, daz diu chunegin von Engellantlege an minen armen. Hei!

II – IN TABERNA11. Estuans interius

Estuans interius ira vehementiin amaritudine loquor mee menti: factus de materia, cinis elementisimilis sum folio, de quo ludunt venti.

Cum sit enim proprium viro sapientisupra petram ponere sedem fundamenti,stultus ego comparor fluvio labenti,sub eodem tramite nunquam permanenti.

Feror ego veluti sine nauta navis, ut per vias aeris vaga fertur avis;non me tenent vincula, non me tenet clavis,quero mihi similes et adiungor pravis.

Mihi cordis gravitas res videtur gravis; iocis est amabilis dulciorque favis; quicquid Venus imperat, labor est suavis,que nunquam in cordibus habitat ignavis.

Via lata gradior more iuventutis inplicor et vitiis immemor virtutis, voluptatis avidus magis quam salutis, mortuus in animacuram gero cutis.

12. Cignus ustus cantat

Olim lacus colueram, olim pulcher extiteram,dum cignus ego fueram.

Miser, miser! modo niger et ustus fortiter!

Girat, regirat garcifer;

come and make me better,come and make me better,sweet rose-red lips.

Those who go round and round, etc.

10. If all the world were mine

If all the world were minefrom the sea to the Rhine,I would starve myself of itso that the queen of Englandmight lie in my arms. Hey!

II – IN THE TAVERN11. Burning inside

Burning inside with violent anger,bitterly I speak to my heart:created from matter, of the ashes of the elements,I am like a leaf played with by the winds.

If it is the way of the wise manto build foundations on stone,then I am a fool, like a flowing stream,which in its course never changes.

I am carried along like a ship without a steersman,and in the paths of the air like a light, hovering bird;chains cannot hold me, keys cannot imprison me,I look for people like me and join the wretches.

The heaviness of my heart seems like a burden to me;it is pleasant to joke and sweeter than honeycomb;whatever Venus commands is a sweet duty, she never dwells in a lazy heart.

I travel the broad pathas is the way of youth,I give myself to vice,unmindful of virtue,I am eager for the pleasures of the fleshmore than for salvation,my soul is dead,so I shall look after the flesh.

12. The Roast Swan Sings

Once I lived on lakes, once I looked beautifulwhen I was a swan.

Misery me! Now black and roasting fiercely!

The servant is turning me on the spit;

52

THE DETAILSme rogus urit fortiter; propinat me nunc dapifer.

Miser, miser! usw. Nunc in scutella iaceo, et volitare nequeo dentes frendentes video:

Miser, miser! usw.

13. Ego sum abbas

Ego sum abbas Cucaniensis et consilium meum est cum bibulis, et in secta Decii voluntas mea est,et qui mane me quesierit in taberna,post vesperam nudus egredietur, et sic denudatus veste clamabit:

Wafna, wafna! quid fecisti sors turpissima?Nostre vite gaudia abstulisti omnia! Haha!

14. In taberna quando sumus

In taberna quando sumus non curamus quid sit humus, sed ad ludum properamus, cui semper insudamus. Quid agatur in taberna ubi nummus est pincerna,hoc est opus ut queratur, si quid loquar, audiatur.

Quidam ludunt, quidam bibunt, quidam indiscrete vivunt. Sed in ludo qui morantur,ex his quidam denudantur quidam ibi vestiuntur, quidam saccis induuntur. Ibi nullus timet mortemsed pro Baccho mittunt sortem.

Primo pro nummata vini, ex hac bibunt libertini; semel bibunt pro captivis, post hec bibunt ter pro vivis, quater pro Christianis cunctis quinquies pro fidelibus defunctis,sexies pro sororibus vanis, septies pro militibus silvanis.

Octies pro fratribus perversis,nonies pro monachis dispersis,

I am burning fiercely on the pyre:the steward now serves me up.

Misery me! etc. Now I lie on a plate,and cannot fly anymore, I see bared teeth:

Misery me! etc.

13. I am the abbot

I am the abbot of Cockaigneand my assembly is one of drinkers,and I wish to be in the order of Decius,and whoever searches me out at the tavern in the morning,after Vespers he will leave naked,and thus stripped of his clothes he will call out:

Woe! Woe! what have you done, vilest Fate?the joys of my life you have taken all away! Haha!

14. When we are in the tavern

When we are in the tavern,we do not think how we will go to dust,but we hurry to gamble,which always makes us sweat.What happens in the tavern, where money is host,you may well ask, and hear what I say.

Some gamble, some drink,some behave loosely.But of those who gamble,some are stripped bare,some win their clothes here,some are dressed in sacks.Here no-one fears death,but they throw the dice in the name of Bacchus.

First of all it is to the wine-merchantthe libertines drink,one for the prisoners,three for the living,four for all Christians,five for the faithful dead,six for the loose sisters,seven for the footpads in the wood,

Eight for the errant brethren,nine for the dispersed monks,

53

decies pro navigantibus undecies pro discordaniibus,duodecies pro penitentibus, tredecies pro iter agentibus.Tam pro papa quam pro regebibunt omnes sine lege.

Bibit hera, bibit herus,bibit miles, bibit clerus,bibit ille, bibit illa,bibit servis cum ancilla,bibit velox, bibit piger,bibit albus, bibit niger,bibit constans, bibit vagus,bibit rudis, bibit magnus.

Bibit pauper et egrotus,bibit exul et ignotus,bibit puer, bibit canus, bibit presul et decanus,bibit soror, bibit frater, bibit anus, bibit mater,bibit ista, bibit ille, bibunt centum, bibunt mille.

Parum sexcente nummatedurant, cum immoderatebibunt omnes sine meta.Quamvis bibant mente leta,sic nos rodunt omnes gentes et sic erimus egentes. Qui nos rodunt confundantur et cum iustis non scribantur.

Io io io io io io io io - Io!

III – COUR D’AMOURS15. Amor volat undique

Amor volat undique, captus est libidine. Iuvenes, iuvencule coniunguntur merito.

Siqua sine socio, caret omni gaudio; tenet noctis infima sub intimo cordis in custodia: fit res amarissima.

16. Dies, nox, et omnia

Dies, nox, et omnia michi sunt contraria;virginum colloquia me fay planszer,oy suvenz suspirer, plu me fay temer.

ten for the seamen,eleven for the squabblers,twelve for the penitent,thirteen for the wayfarers.To the Pope as to the kingthey all drink without restraint.

The mistress drinks, the master drinks,the soldier drinks, the priest drinks,the man drinks, the woman drinks,the servant drinks with the maid,the swift man drinks, the lazy man drinks,the white man drinks, the black man drinks,the settled man drinks, the wanderer drinks,the stupid man drinks, the wise man drinks.

The poor man drinks, the sick man drinks,the exile drinks, and the stranger,the boy drinks, the old man drinks,the bishop drinks, and the deacon,the sister drinks, the brother drinks,the old lady drinks, the mother drinks,this man drinks, that man drinks,a hundred drink, a thousand drink.

Six hundred pennies would hardlysuffice, if everyone drinks immoderately and immeasurably.However much they cheerfully drinkwe are the ones whom everyone scolds,and thus we are destitute.May those who slander us be cursed and may their names not be written in the book of the righteous.

Io io io io io io io io - Io!

III – THE COURT OF LOVE15. Cupid flies everywhere

Cupid flies everywhere seized by desire.Young men and women are rightly coupled.

The girl without a lover misses out on all pleasures;she keeps the dark night hidden in the depth of her heart: it is a most bitter fate.

16. Day, night, and everything

Day, night, and everything is against me;the chattering of maidens makes me weep,and often sigh, and, most of all, scares me.

54

THE DETAILSO sodales, ludite,vos qui scitis dicitemichi mesto parcite,grand ey dolur, attamen consulite per voster honur.

Tua pulchra facies me fay planszer milies, pectus habet glacies.A remender statim vivus fierem per un baser.

17. Stetit puella

Stetit puella rufa tunica; si quis eam tetigit, tunica crepuit. Eia!

Stetit puella tamquam rosula:facie splenduit os eius fioruit. Eia!

18. Circa mea pectora

Circa mea pectora multa sunt suspiriade tua pulchritudine, que me ledunt misere. Ah!

Manda liet, manda liet,min geselle chumet niet.

Tui lucent oculi sicut solis radii,sicut splendor fulguris lucem donat tenebris. Ah!

Manda liet, usw.

Vellet deus, vallent diiquod mente proposui:ut eius virginea reserassem vincula. Ah!

Manda liet, usw.

19. Si puer cum puellula

Si puer cum puellula moraretur in cellula,felix coniunctio.Amore suscrescente pariter e medioavulso procul tedio, fit ludus ineffabilismembris, lacertis, labii.

20. Veni, veni, venias

Veni, veni, venias, ne me mori facias,hyrca, hyrca, nazaza, trillirivos!

Pulchra tibi facies oculorum acies,capillorum series, o quam clara species!

O friends, you are making fun of me,you do not know what you are saying,spare me, sorrowful as I am,great is my grief, advise me at least,by your honour.

Your beautiful face makes me weep a thousand times, your heart is of ice.As a cure, I would be revived by a kiss.

17. A girl stood

A girl stood in a red tunic;if anyone touched it, the tunic rustled. Eia!

A girl stood like a little rose:her face was radiant and her mouth in bloom. Eia!

18. In my heart

In my heart there are many sighsfor your beauty, which wound me sorely. Ah!

Manda liet, manda liet,my lover does not come.

Your eyes shine like the rays of the sun,like the flashing of lightningwhich brightens the darkness. Ah!

Manda liet, etc.

May God grant, may the gods grantwhat I have in mind:that I may loose the chains of her virginity. Ah!

Manda liet, etc.

19. If a boy with a girl

If a boy with a girl tarries in a little room,happy is their coupling.Love rises up, and between themprudery is driven away, an ineffable game beginsin their limbs, arms, and lips.

20. Come, come, O come

Come, come, O come, do not let me die,hycra, hycra, nazaza, trillirivos!

Beautiful is your face, the gleam of your eye,your braided hair, what a glorious creature!

55

Rosa rubicundior, lilio candidioromnibus formosior, semper in te glorior!

21. In truitina

In truitina mentis dubia fluctuant contrarialascivus amor et pudicitia.Sed eligo quod video, collum iugo prebeo;ad iugum tamen suave transeo.

22. Tempus es iocundum

Tempus es iocundum, o virgines,modo congaudete, vos iuvenes!

Oh, oh, oh!totus floreo!iam amore virginali totus ardeo!novus, novus amor est, quo pereo!

Mea me confortat promissio,mea me deportat negatio.

Oh, oh, oh! usw.

Tempore brumali vir patiens,animo vernali lasciviens.

Oh, oh, oh! usw.

Mea mecum ludit virginitas,mea me detrudit simplicitas.

Oh, oh, oh! usw.

Veni, domicella, cum gaudio, veni, veni, pulchra, iam pereo!

Oh, oh, oh! usw.

23. Dulcissime

Dulcissime, Ah! totam tibi subdo me!

BLANZIFLOR ET HELENA 24. Ave, formosissima

Ave, formosissima, gemma pretiosa, Ave, decus virginum, virgo gloriosa,Ave, mundi luminar, Ave, mundi rosa,Blanziflor et Helena, Venus generosa!

FORTUNA IMPERATRIX MUNDI25. O Fortuna

O Fortuna, velut luna statu variabilis, ...(No. 1 repeated)

redder than the rose, whiter than the lily,lovelier than all others, I shall always glory in you!

21. In the balance

In the balance of my feelings set against each otherlascivious love and modesty.But I choose what I see, and submit my neck to the yoke;I yield to the sweet yoke.

22. This is the joyful time

This is the joyful time, O maidens,rejoice with them, young men!

Oh! Oh! Oh!I am bursting out all over!I am burning all over with first love!New, new love is what I am dying of!

I am heartened by my promise,I am downcast by my refusal.

Oh! Oh! Oh! etc.

In the winter man is patient,the breath of spring makes him lust.

Oh! Oh! Oh! etc.

My virginity makes me frisky,my simplicity holds me back.

Oh! Oh! Oh! etc.

Come, my mistress, with joy,come, come, my pretty, I am dying!

Oh! Oh! Oh! etc.

23. Sweetest one

Sweetest one, Ah! I give myself to you totally!

BLANCHEFLEUR AND HELEN24. Hail, most beautiful one

Hail, most beautiful one, precious jewel,Hail, pride among virgins, glorious virgin,Hail, light of the world, Hail, rose of the world,Blanchefleur and Helen, noble Venus!

FORTUNE, EMPRESS OF THE WORLD25. O Fortune

O Fortune, like the moon you are changeable, …(No. 1 repeated)

56

Nicola BenedettiviolinNicola Benedetti made her TSO début in March 2010.

Nicola Benedetti is one of the most sought-after violinists

of her generation. Her ability to captivate audiences with

her innate musicianship and dynamic presence, coupled

with her wide appeal as a high-profile advocate for classical

music, has made her one of the most influential classical

artists of today. With concerto performances at the heart of her career, Nicola is in

much demand with major orchestras and conductors across the globe. Highlights

of the 2016/17 season include performances with the London Philharmonic, Israel

Philharmonic Orchestra, Frankfurt Radio Symphony, San Francisco Symphony,

and Toronto Symphony Orchestra, amongst many others. This season will see the

continuation of the première performance circuit of the Wynton Marsalis Violin

Concerto written for Nicola with the Leipzig Gewandhausorchester, Netherlands Radio

Philharmonic, and National Symphony Orchestra of Washington, DC.

Winner of Best Female Artist at both the 2012 and 2013 Classical BRIT Awards, Nicola

records exclusively for Decca (Universal Music). Nicola plays the Gariel Stradivarius

(1717), courtesy of Jonathan Moulds.

THE ARTISTS

Aline KutansopranoAline Kutan made her TSO début in January 2009.

Canadian soprano of Armenian origins, Aline Kutan has

emerged as one of the most magnificent artists and vibrant

personalities of the day. Since her débuts, Aline Kutan has

been regularly invited to major European and American

opera houses: she sang Semele from Salieri’s Europa

Riconosciuta in La Scala Milan; and the Queen of the Night in France (Opéra National

de Paris-Bastille, Chorégies d’Orange, Opéra de Marseille, Capitole de Toulouse),

England (Glyndebourne Festival), Spain (Valencia), and Germany (Karlsruhe), as well

as in New York (New York City Opera), Montréal, Toronto, Québec, and more recently

in Santiago, Chile, and in Teatro Colón Buenos Aires. She was also acclaimed for her

Lakmé in Avignon, Toulon, Karlsruhe, Montréal, Calgary, and Detroit.

Her repertoire also includes Zerbinetta (Capitole de Toulouse, San Carlo di Napoli,

Montréal), Anne Trulove, Olympia (Grand Théâtre de Genève), Le Comte Ory, and

Constanze, as well as the contemporary repertoire (Philippe Fenelon's Les Rois in

Opera de Bordeaux) that has brought her great critical acclaim. In concert, Aline Kutan

is regularly invited by major orchestras in Canada and Europe.

For biographies of Peter Oundjian and the Toronto Mendelssohn

Choir, please turn to pages 37 and 19, respectively.

Daniel TaylorcountertenorDaniel Taylor made his TSO début in December 1998.

An exclusive recording artist for Sony Classical Masterworks,

Daniel Taylor’s discography of more than 100 recordings

includes the 2017 JUNO Award–nominated Four Thousand

Winter with the Trinity Choir, and its companion release, The

Tree of Life. Other recorded highlights include Bach Cantatas

with Monteverdi Choir (DG Archiv and SDG), Handel’s Rinaldo with the Academy of Ancient

Music (Decca), a CD/DVD of Bach’s Mass in B Minor with the Ensemble Orchestral de Paris

(EMI Virgin), and Handel’s Messiah with The Handel and Haydn Society (CORO) and the

Orchestre symphonique de Montréal (Universal).

Recognized as “Canada’s star countertenor” and “Canada’s most prolific recording artist”,

Daniel has received invitations from the world’s preeminent early and contemporary

music ensembles, appearing in opera (Metropolitan Opera, Glyndebourne, San

Francisco), oratorio (Gabrieli Consort, Monteverdi Choir/English Baroque Soloists, Bach

Collegium Japan, Les Arts Florissants), and symphonic works (Cleveland, St. Louis, Lisbon,

Philadelphia, Tonhalle Zurich, Toronto, Gothenburg, Rotterdam, Montréal). Mr. Taylor is

Head of Early Music and Professor of Voice at the University of Toronto, and is Artistic

Director and Conductor of the Choir and Orchestra of the Theatre of Early Music, which

he founded in 2002.

Phillip AddisbaritoneThese performances mark Phillip Addis’s TSO début.

Phillip Addis has established himself as a leading performer

in opera, concert, and recital with his daring, yet sensitive

interpretations. Recently, he starred as Il Conte Almaviva

in Le nozze di Figaro at the Semperoper Dresden and the

Vancouver Opera Festival, as Papageno in Die Zauberflöte at

the Canadian Opera Company, and as Pelléas in the Hamburgische Staatsoper’s Pelléas et

Mélisande. The latter is a role he will sing again next season with the Cincinnati Symphony

Orchestra. In 2018, he will sing his first Eugene Onegin, with the Calgary Opera, as well

as Don Giovanni with the Edmonton Opera. His concert repertoire includes Lieder eines

fahrenden Gesellen, Elijah, Messiah, Ein deutsches Requiem, and, most notably, Britten’s

War Requiem, which he has sung at the Cincinnati May Festival and LA Opera Britten 100

Festival, and with the Nashville Symphony. In recital with pianist Emily Hamper, Phillip has

performed many of the great works of the art song tradition to audiences worldwide.

Together they are the Artistic Directors of the Stratford Summer Music Vocal Academy,

where they teach and prepare the next generation of singers for careers on the main stage.

57

THE ARTISTS

58

Toronto Children’s Chorus

Elise BradleyArtistic Director

Matthew OttoAssociate Conductor

The Toronto Children’s Chorus made its TSO debut

in October 1978.

Now completing its 10th season under Artistic

Director Elise Bradley, the Toronto Children’s Chorus

has won many competitions, recorded professionally,

and represented Toronto on 29 international and four national tours since its

founding in 1978 by Conductor Laureate Jean Ashworth Bartle, C.M., O.Ont. This

year, the Chorus has appeared in Opera Atelier’s production of Dido and Aeneas and

is privileged to return to the TSO stage for four performances of Carmina Burana.

The Toronto Children’s Chorus is internationally recognized for its high standard of

performance and its uniquely challenging and eclectic treble repertoire that spans

diverse cultures, languages, and traditions. Its latest CD, Sounzscapes: From Our

Lands, was named Outstanding Choral Recording by Choral Canada in 2014.

Artistic Director Elise Bradley is a passionate musician, award-winning teacher and

conductor, and internationally respected adjudicator and clinician. She receives many

invitations to work with choirs and present at conferences around the world, most

recently with Gondwana Voices (Sydney, Australia), Kokopelli Choirs (Edmonton,

Alberta), the IFCM World Choral Expo (Macau, China), the inaugural New Zealand

National Children’s Choir (Auckland), and the Dozan wa Awtar children’s choir

(Amman, Jordan). In July, Ms. Bradley will travel to Brisbane to present at Choralfest

2017, hosted by the Australian National Choral Association, and will also lead the

Toronto Children’s Chorus Chamber Choir on its 30th international tour to perform

at the World Symposium on Choral Music in Barcelona, Spain.

Toronto Children’s Chorus Chorale Choir

Alexander Annosantini *∞

Shira Aronson *∞

Erika BrandAriel Brookes *∞

Zachary Brookes *Giulia Brown *∞

Tatjana BuczynskyjErin Case *∞

Simone ChengNicole Cheung *∞†Jonathan Chung *Aramea Copeman *∞

Sophie DaumDean Ebona *∞

Jordan Edwards *∞

Summer Figueroa *∞

Fiona Fisher *∞

Renee Fishman

Julia FlagalBarbora Frynta *Elizabeth Frynta *Julie Frynta *∞

Catherine FullertonLaura FullertonCharmaine Handojo *Katherine HarrisonLeandrae Henry-Da Costa *Hendry HuVivien Illion *∞†Taira Kajiwara *∞

Madeleine Kerbler *Lauren Kidd *Lauren KimCassandra KingMolly Klebanoff *Grace Kos

Alexandra Koukarina *∞

Victoria KungYoojin Lee *Andrew Lowe *∞

Faith Lum *Max MacNaughtonGabriela MartinsKeera McNalty *Jessica MoonGabrielle Moreau *Jessica-Marie Nigli *∞†Tal Ohana *Alice PengAnne Marie PongontharaNora Popescu *∞

Kirsten Read *∞

Ellen Reid *Jamie Rokin *∞

Katrina Skuterud *Alisha Suri *∞†Ania Suri *∞

Clara-Maria ThautRuth WangJamie WhiteJim WuNathan YankechHannah ZeidmanSerena ZhangSelina ZhaoCatherine Ziabko

* Chamber Tour Choir ∞ Choral Scholar † Head Chorister