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BOARD OF DIRECTORS

Kate Kush PRESIDENTDale Flecker VICE PRESIDENTDavid Vargo TREASUREREric Reustle CLERKElizabeth S. Boveroux Marion Bullitt H. Franklin BunnCoventry Edwards-PittDavid KravitzPatrice MoskowCharles ShermanVincent Stanton, Jr.Dana WhitesideThe Rev. Pamela L. Werntz, ex-officio

Belden Hull DanielsRichard DyerAnthony FoggThe Rt. Rev. Alan M. GatesJohn HarbisonRose Mary HarbisonEllen T. HarrisDavid HooseRichard KniselySara Lawrence-LightfootRobert Levin

Errol MorrisMark MorrisJoan NordellJames OlesenRichard OrtnerEllis L. Phillips, IIIPeter SellarsRussell ShermanSanford SylvanChristoph WolffBenjamin Zander

15 Newbury Street | Boston, MA 02116 | 617.536.3356 | emmanuelmusic.org

ADVISORY BOARD

ARTISTIC DIRECTOR

PRINCIPAL GUEST CONDUCTOR

FOUNDER (1947 - 2007)

EXECUTIVE DIRECTOR

ARTISTIC ADMINISTRATOR

COMMUNITY CONNECTIONS COORDINATOR

Ryan TurnerJohn Harbison

Craig SmithPatricia Krol

Michael Beattie

COMMUNICATIONS MANAGERJoanna SpringerDayla Arabella Santurri

CONTROLLERDonald Firth

Jayne WestPR/MARKETING ASSOCIATE

DIRECTOR OF DEVELOPMENTJude Epsztein

Tonight’s performance is made possible through the generosity of Alan J. and Suzanne W. Dworsky

This project is funded in part by grants from the Massachusetts Cultural Council and the Boston Cultural

Council, a local agency which is funded by the Massachusetts Cultural Council,

administrated by the Mayor’s Office of Arts, Tourism, and Special Events.

THE ABDUCTION FROM THE SERAGLIOSingspiel, 1782

WOLFGANG AMADEUS MOZARTLibretto by Christoph Friedrich Bretzner,

adapted by Gottlieb Stephanie the Younger

Sung in German with English dialogue, adapted from J.D. McClatchy

SATURDAY, MAY 9, 2015 – 8:00 PM

Pre-concert conversation at 6:45 PM with Dr. Elizabeth Seitz

The Orchestra and Chorus of Emmanuel MusicRyan Turner, conductorNathan Troup, director

Chorus of Janissaries

Sponsored by Butler and Lois Lampson

Sponsored by Robert N. Shapiro

SYNOPSIS

Barbara Kilduff, soprano

Charles Blandy, tenor

Teresa Wakim, soprano

Jason McStoots, tenor

Donald Wilkinson, bass

Richard Dyer

Belmonte

Konstanze

Blonde

Pedrillo

Osmin

Pasha Selim

The audience is cordially invited to join Ryan Turner and the musicians at a post-concert reception in the Parish Hall directly following the performance.

THE ABDUCTION FROM THE SERAGLIOSingspiel, 1782

WOLFGANG AMADEUS MOZARTLibretto by Christoph Friedrich Bretzner,

adapted by Gottlieb Stephanie the Younger

Sung in German with English dialogue, adapted from J.D. McClatchy

SATURDAY, MAY 9, 2015 – 8:00 PM

Sponsored by Butler and Lois Lampson

Sponsored by Robert N. Shapiro

SYNOPSIS

ACT I. Turkey, 1700s. Pasha Selim has bought three Europeans from pirates - Konstanze, a Spanish woman of good family; Blonde, her English maid; and Pedrillo, servant of Konstanze’s fiancé, Belmonte. Belmonte has traced them to a seaside palace, where Konstanze has become the pasha’s favorite and Pe-drillo, the gardener. Blonde has been given as a gift by the pasha to his over-seer, Osmin. Having arrived at the palace, Belmonte’s first encounter is with Osmin, who acts polite until Belmonte mentions Pedrillo, his rival for Blonde. He drives Belmonte away and then rails at Pedrillo, who has come in hopes of making peace with him. Belmonte returns to find his former servant, who tells him the pasha loves Konstanze but will not force himself on her. Pedrillo will try to arrange a meeting between Konstanze and Belmonte and an escape by boat with Blonde, if they can get past Osmin. In hiding, Belmonte yearns for Konstanze, who soon appears with Pasha Selim. When the pasha asks her why she is always depressed by his courtship of her, Konstanze replies she cannot forget her love for her fiancé. After she leaves, Pedrillo introduces Belmonte to the pasha as a promising young architect. Pasha Selim welcomes him and, departing, arranges a conference for the next day. Osmin bars the way when Belmonte and Pedrillo try to enter the palace, but he is confused easily, and the two foreigners march him around in circles. Dizzy, Osmin does not notice they have gained access.

BRIEF PAUSE

ACT II. In a garden, Blonde confounds Osmin with her cleverness and faces him down when he threatens her. Konstanze finds Blonde and complains of her sad state, which does not improve when the pasha again asks her to marry him. She proudly refuses, preferring torture, even death. When they have gone, Blonde and Pedrillo dance into the garden, discussing their plan of escape: they will get Osmin drunk, and all four lovers will leave on Belmonte’s ship. Later, Pedrillo goes about his business, finding Osmin cooperative, though drinking wine is against the Muslim religion. Thoroughly inebriated, the fat man weaves away with the bottle, leaving the coast clear for Belmonte to meet Konstanze. Their reunion is shared by Blonde and Pedrillo.

INTERMISSION

ACT III. Just before midnight, Pedrillo places a ladder against the ladies’ win-dow and sings a serenade, the signal for escape. But he wakes Osmin, who is not too hung over to realize what is going on and takes them all to the pasha, who is angry. Belmonte suggests the pasha collect a handsome ransom from his wealthy family, the Lostados. At this, the pasha realizes that Belmonte is the son of an old enemy, the man who exiled him from his own country. But even-tually he decides that rather than take blood for blood he will repay evil with good, freeing Konstanze and Belmonte, even Blonde and Pedrillo. This does not sit well with Osmin, who will lose Blonde, but he is promised other rewards. The grateful lovers praise their benefactor as they prepare to set sail.

- courtesy of Opera News

PROGRAM NOTESPROGRAM NOTES

In January of 1781, the then 25-year-old Wolfgang Amadeus Mozart was enjoy-ing the success of his new opera, Idomeneo, in Munich when he was ordered to Vienna by his employer, the dour Archbishop of Salzburg. Mozart had long had a fraught relationship with the Archbishop, but in Vienna it was particularly tense. It was in June of 1781 when things came to a head, and instead of re-turning with the Archbishop to Salzburg, Mozart decided to quit his job (some would say that he was fired) and stay in Vienna permanently. He chose to re-main in Vienna for several reasons. First and foremost was his desire to write opera. Unlike the more conservative theater audiences in Salzburg, the Vien-nese loved opera. Moreover, Emperor Joseph II not only enjoyed Italian opera, but also had recently inaugurated the German National Theater (Burgtheater)to cater to German singspiel, a genre of musical theater that often included simpler folk-like arias, songs and ensembles as well as spoken dialogue. The other reason for Mozart’s desire to stay in Vienna was more personal. The We-ber family, whom Mozart had met years before in Mannheim, was now living in Vienna, and he had fallen in love with the 19-year-old Constanza Weber. During the remainder of 1781 and the first half of 1782, Mozart busily worked to establish himself as the premiere composer in Vienna. He took on new stu-dents, performed regularly, wrote music at a furious pace and began publish-ing. One of the pieces that took up much of his time was his new singspiel, The Abduction from the Seraglio, commissioned by Joseph II for the German National Theater. The plot of the singspiel tapped into the current fascination that the Viennese had with all things Turkish, as well as providing them with a conventional rescue story, particularly popular in the singspiel genre. The noblewoman, Konstanze, with her maid and man-servant, are captured by a Turkish Pasha and held in his harem. The hero, Belmonte, finds the prisoners and attempts a rescue, but is unfortunately caught in the act. The Pasha, however, forgives all and releases the prisoners. In the final scene, the characters extol the most important virtue of all, that of forgiveness. The subject had been set to music before by Johann André, with a libretto by Christoph Friedrich Bretzner. Mozart, ever the consummate dramatist, worked with his librettist, Gottlob Stephanie, Jr., the stage manager at the Imperial Court Opera in Vienna, to make extensive changes to the original libretto in an attempt to round out the one-dimensional stock characters of the original and to imbue the work with more gravity.

PROGRAM NOTES

For example, Mozart insisted on augmenting the role played by the Pasha’s servant, Osmin. Originally, the part was a small one, but Mozart expanded it considerably to further heighten the theme of forgiveness in the work, thereby creating one of the most memorable characters in all of opera. Osmin is the only character who remains unbending and unchanged even after the Pasha forgives all. He is pitied at the end of the opera, because of his inability to un-derstand the value of love and the importance of compassion. Mozart also changed the story’s ending in a particularly important way. In the original, Bel-monte is saved because the Pasha realizes that Belmonte is his long lost son. In Mozart’s version, Belmonte is the son of the Pasha’s worst enemy. In this way, the Pasha’s act of forgiveness is more magnanimous and surprising.

The music that Mozart wrote for the work still sounds fresh and exuberant to-day. To set the exotic scene, Mozart used Janissary (Turkish) music, complete with cymbals, bass drum and piccolos, in the overture and in various choruses. He also used his versatile style to reflect the new libretto’s well-rounded char-acters. Lesser composers wrote music for singspiels as merely light entertain-ment; Mozart instead gives us music that inhabits the world of both serious drama and the liveliest of comedy. He composed one of the singspiel’s arias in a serious Italianate style, writing to his father that “I tried to be as expressive as an Italian Bravura aria will permit” and that “[I wish to] express the loving, throbbing heart.” But other arias he composed in a more traditional comic buf-fa way, for example, giving simple, folk-like melodies to the character of Osmin. By combining comedic and serious music in this way, the young composer, as Goethe said, “knocked everything else sideways.” In The Abduction, Mozart redefined what a singspiel was and what it could do, for here we see not just a little entertainment for an evening, but a small slice of life with all its jealousies and heartbreaks as well as joys and happiness. The Abduction from the Seraglio was premiered in July of 1782 and was an in-stant success – in fact, it was the largest success that Mozart ever had with any theatrical work. Within a month, he married his own Constanza. The future looked bright, a future that was tragically cut short just nine years later.

©Elizabeth A. Seitz

PROGRAM NOTES

TEXT & TRANSLATIONTHE ORCHESTRA OF EMMANUEL MUSIC

THE CHORUS OF EMMANUEL MUSIC

Violin I Danielle MaddonDianne PettipawHeather BraunRose DruckerLena WongKaren Oosterbaan

Violin IIHeidi Braun-HillJesse IronsEtsuko IshizukaBetsy HinkleMark Oshida

ViolaMark BergerNathaniel FarnyJoan EllersickDaniel Dona

CelloRafael Popper-KeizerCora Swenson LeeMichael Curry

BassRandall ZiglerKatherine Foss

Flute Vanessa HolroydJacqueline DeVoe

PiccoloVanessa Holroyd

OboePeggy PearsonJennifer Slowik

ClarinetRane MooreEran Egozy

BassoonThomas StephensonJensen Ling

HornWhitacre HillAlyssa Daly

TrumpetBruce HallPaul Perfetti

PercussionRobert Schulz

Timpani/PercussionGary DiPerna

Orchestra Personnel ManagerJoan Ellersick

SopranoGail Abbey*Roberta AndersonMargaret JohnsonJaylyn OlivoErika Vogel AltoMary GerbiThea LoboDeborah Rentz-MooreMajie Zeller*

TenorJonas Budris*David McSweeneyEric Christopher Perry

BassBradford GleimBrett JohnsonMark McSweeney*

* soloist

Rehearsal Pianist &Vocal CoachBrett Hodgdon

TEXT & TRANSLATION

ERSTER AUFZUGPlatz vor dem Palast des Bassa Selim am Ufer des Meeres.

N. 1 Arie

BELMONTEHier soll ich dich denn sehen,Konstanze, dich mein Glück!Lass, Himmel, es geschehen:Gib mir die Ruh zurück!Ich duldete der Leiden, o Liebe, allzuviel!Schenk’ mir dafür nun FreudenUnd bringe mich ans Ziel.

N. 2 Lied und Duett

OSMINWer ein Liebchen hat gefunden,Die es treu und redlich meint,Lohn’ es ihr durch tausend Küsse,Mach’ ihr all das Leben süsse,Sei ihr Tröster, sei ihr Freund.Tralallera, tralallera!

Doch sie treu sich zu erhalten,Schliess er Liebchen sorglich ein;Denn die losen Dinger haschenJeden Schmetterling, und naschenGar zu gern vom fremden Wein.Tralallera, tralallera!

Sonderlich beim Mondenscheine,Freunde, nehmt sie wohl in acht!Oft lauscht da ein junges Herrchen,Kirrt und lockt das kleine Närrchen,Und dann, Treue, gute Nacht!Tralallera, tralallera!

ACT ONEA square in front of the Pasha’s palace by the sea shore.

No. 1 Aria

BELMONTEHere shall I see you,Konstanze, you my hope!Oh heaven, let it be soAnd restore my peace of mind.Oh love, I have suffered too much!Now bestow happiness upon me insteadAnd lead me to my goal.

No. 2 Song and Duet

OSMINHe who has found a sweetheartWho is faithful and true,Must reward her with a thousand kisses;Must make her life a delight,Must be her comforter and friend.Trallalera, trallalera!

But to ensure that she remains faithfulHe should lock up his sweetheart with care;Since the mischievous young things try to capture every passing butterfly, and gladly sip at other people’s wine.Trallalera, trallalera!

By the light of the moon in particular,Friends, be especially on your guard!There’s often some young gentlemen lurking,Whispering sweet nothings to the little foolsAnd then you can say good night to fidelity!Trallalera, trallalera!

THE ORCHESTRA OF EMMANUEL MUSIC

TEXT & TRANSLATION

N. 3 Arie

OSMINSolche hergelaufne Laffen,Die nur nach den Weibern gaffen,Mag ich vor den Teufel nicht;Denn ihr ganzes Tun und LassenIst, uns auf den Dienst zu passen;Doch mich trügt kein solch Gesicht.

Eure Tücken, eure Ränke,Eure Finten, eure Schwänkesind mir ganz bekannt.Mich zu hintergehen,Müsst ihr früh aufstehen,Ich hab’ auch Verstand.

Drum, beim Barte des Propheten!Ich studiere Tag und Nacht,Dich so mit Manier zu töten,Nimm dich, wie du willst in acht.

Erst geköpft,dann gehangen,dann gespießtauf heiße Stangen;dann vebrannt,dann gebunden,und getaucht;zuletzt geschunden.

No. 3 Aria

OSMINPopinjays sprung up from nowherewith nothing but women on their mindsI can’t put up with them.All they ever doIs to watch our every step,But I’m not duped by types like that!

Your deceit and your plots,Your schemes and your tricks,I know them all.If you’d get the better of meYou’ll have to get up earlier.I’ve got some sense too.

Therefore, by the Prophet’s beard!I study day and night I rack may brains,And I won’t rest until I see you killed,No matter how much care you take.

First you’ll be beheaded,Then you’ll be hanged,Then impaledOn red hot spikes;Then burned,Then manacledAnd drowned;Finally flayed alive.

TEXT & TRANSLATION

TEXT & TRANSLATIONTEXT & TRANSLATION

N. 4 Rezitativ und Arie

BELMONTEKonstanze, dich wiederzusehen, dich!

O wie ängstlich, o wie feurigKlopft mein liebevolles Herz!Und des Wiedersehens ZähreLohnt der Trennung bangen Schmerz.

Schon zittr’ ich und wanke,Schon zag’ ich und schwanke;Es hebt sich die schwellende Brust!

Ist das ihr Lispeln? Es wird mir so bange!War das ihr Seufzen? Es glüht mir die Wange!Täuscht mich die Liebe? War es ein Traum?

N. 5 Chor der Janitscharen

Singt dem großen Bassa Lieder,Töne, feuriger Gesang;Und vom Ufer halle widerUnsrer Lieder Jubelklang!

SOLIWeht ihm entgegen, kühlende Winde,Ebne dich sanfterm wallende Flut!Singt ihm entgegen fliegende Chöre,Singt ihm der Liebe Freuden ins Herz!

No. 4 Recitative and Aria

BELMONTEKonstanze, to see you again, you!

Oh how fearfully, oh how ferventlyMy heart is beating, full of love!And the tears shed at seeing her againAre recompense for the bitter pain of parting.

I tremble, I falter,I hesitate, I shrink,My heart swells and beats faster!

Is that her whisper? Anxiety fills me!Was that her sigh? My cheeks are afire!Did love deceive me? Was it a dream?

No. 5 Janissaries ‘ Chorus

Sing to the mighty Pasha,Resound, fiery song;And let the shore reverberateWith the joyful sound of our songs!

SOLOSWaft towards him, cooling breezes,Flow more gently, billowing waters!Let your song carry towards him, soaring choirs,Let your song implant love’s joy in his heart!

TEXT & TRANSLATION

N. 6 Arie

KONSTANZEAch ich liebte,war so glücklich,Kannte nicht der Liebe Schmerz;Schwur ihm Treue, dem Geliebten,Gab dahin mein ganzes Herz.

Doch wie schnell schwand meine Freude,Trennung war mein banges Los;Und nun schwimmt mein Aug’ in Tränen,Kummer ruht in meinem Schoss.

N. 7 Terzett

OSMINMarsch! Trollt euch fort!Sonst soll die BastonadeEuch gleich zu Diensten stehn!

BELMONTE - PEDRILLOEi, ei! Das wär’ ja schade,Mit uns so umzugehn!

OSMINKommt nur nicht näher,Sonst schlag’ ich drein!

BELMONTE - PEDRILLOWeg von der Türe!Wir gehn hinein!

OSMINMarsch, fort! Ich schlage drein!

BELMONTE - PEDRILLOPlatz, fort! Wir gehn hinein!

No. 6 Aria

KONSTANZEAlas, I loved,I was so happy;I knew nothing of love’s pain.Promised to be true to my beloved,And I gave him all my heart.

But how quickly my joy deserted me,Separation was my unhappy fate.And now my eyes are bathed in tears,Grief resides in my breast.

No. 7 Trio

OSMINAway! Away! Away! Clear off!Or else the bastinadoWill be straightway at your service!

BELMONTE - PEDRILLOMy, wouldn’t it be a pityTo treat us like that!

OSMINDon’t come any closer,Or else I’ll let fly.

BELMONTE - PEDRILLOStand back from the door!We’re going in!

OSMINQuick march! Or I’ll let fly!

BELMONTE - PEDRILLOStand back! We’re going in!

TEXT & TRANSLATION

* * * BRIEF PAUSE * * *


ZWEITER AUFZUGGarten am Palast des Bassa Selim. An der Seite Osmins Wohnung.

N. 8 Arie

BLONDEDurch Zärtlichkeit und Schmeicheln,Gefälligkeit und ScherzenErobert man die HerzenDer guten Mädchen leicht.

Doch mürrisches Befehlen,Und Poltern, Zanken, PlagenMacht, dass in wenig TagenSo Lieb’ als Treu’ entweicht.

N.9 Duett

OSMINIch gehe, doch rate ich dir,den Schurken Pedrillo zu meiden.

BLONDEFort, pack’ dich nicht mit mir,Du weißt ja, ich kann es nicht leiden.

OSMINVersprich mir...

BLONDEWas fällt dir da ein!

OSMINZum Henker!

BLONDEFort, laß mich allein!

ACT TWOA garden in Pasha Selim’s palace; Osmin’s quarters are at the side.

No. 8 Aria

BLONDEWith tenderness and pretty words,Kindness and pleasantries,It is easy to conquerGood girls’ hearts.

But surly commands,Banging about, nagging, tormenting,Will result, in a few days,In love and fidelity departing.

No. 9 Duet

OSMINI’m going, but let me advise youTo keep away from that rascal Pedrillo.

BLONDEBe off, don’t order me about,You know that I can’t abide it.

OSMINPromise me ...

BLONDEHow dare you?

OSMINHang it all!

BLONDEAway, leave me alone!

TEXT & TRANSLATION

OSMINWahrhaftig, kein Schritt von der Schwelle,Bist du zu gehorchen mir schwörst.

BLONDENicht soviel, du armer Geselle,Und wenn du der Großmogul wärst.

OSMINO Engländer! Seid ihr nicht Toren,Ihr laßt euern Weibern den Willen!Wie ist man geplagt und geschoren,Wenn solch eine Zucht man erhält!

BLONDEEin Herz so in Freiheit geborenLäßt niemals sich sklavisch behandeln;Bleibt, wenn schon die Freiheit verloren,Noch stolz auf sie, lachet der Welt!Nun troll’ dich!

OSMINSo sprichst du mit mir?

BLONDENicht anders!

OSMINNun bleib’ ich erst hier!

BLONDEEin andermal! Jetzt mußt du gehen.

OSMINWer hat solche Frechheit gesehen!

OSMINIndeed, I won’t budge an inchUntil you swear to obey me.

BLONDENot a bit, you poor fool,Even if you were the Great Mogul in person.

OSMINO Englishmen, what fools you areTo let your women have their own way!What a bother and nuisance it isTo be landed with such a creature.

BLONDEA heart born to freedomWill never submit to slavery;Even if liberty is lostIt is still proud to be free and laughs at the world!Now be off!

OSMINHow dare you address me like that?

BLONDEJust like that.

OSMINI’ll stay, all the more.

BLONDESome other time! Now you must go.

OSMINWas there ever such impudence!

TEXT & TRANSLATION


BLONDEEs ist um die Augen geschehen,Wofern du noch länger verweilst!

OSMINNur ruhig, ich will ja gern gehen,Bevor du gar Schläge erteilst!

N. 10 Rezitativ und Arie

KONSTANZEWelcher Wechsel herrscht in meiner SeeleSeit dem Tag, da uns das Schicksal trennte.O Belmonte, hin sind die Freuden,Die ich sonst an deiner Seite kannte!Banger Sehnsucht LeidenWohnen nun dafür in der beklemmten Brust.

Traurigkeit ward mir zum Lose,Weil ich dir entrissen bin.Gleich der wurmzernagten Rose,Gleich dem Gras im Wintermoose,Welkt mein banges Leben hin.

Selbst der Luft darf ich nicht sagenMeiner Seele bittern Schmerz,Denn, unwillig ihn zu tragen,Haucht sie alle meine KlagenWieder in mein armes Herz.

BLONDEYour eyes are in perilIf you stay here any longer.

OSMINKeep quiet, I’m going, I’m going,Before you start using your fists!

No. 10 Recitative and Aria

KONSTANZEOh, what changes have been wrought in my heartSince that day when fate parted us!Oh Belmonte! The joys have departedWhich I knew when by your side;The pains of anxious longingNow inhabit my oppressed heart!

Unhappiness has become my lotBecause I have been torn from you.Like the rose, eaten by worms,Like the grass that withers in winterMy wretched life is fading away.

Not even to the air may I confideThe bitter anguish of my soul,Because, unwilling to endure it,The very air blows all my lamentsBack into my afflicted heart.

TEXT & TRANSLATION

N. 11 Arie

KONSTANZEMartern aller ArtenMögen meiner warten,Ich verlache Qual und Pein.Nichts soll mich erschüttern.Nur dann würd’ ich zittern,Wenn ich untreu könnte sein.Lass dich bewegen, verschone mich!Des Himmels Segen belohne dich!Doch du bist entschlossen.Willig, unverdrossen,Wähl ich jede Pein und Not.Ordne nur, gebiete,Lärme, tobe, wüte,Zuletzt befreit mich doch der Tod.

N. 12 Arie

BLONDEWelche Wonne, welche LustRegt sich nun in meiner Brust!Voller Freuden will ich springen,Ihr die frohe Nachricht bringen;Und mit lachet und mit ScherzenIhrem schwachen, kranken HerzenFreud und Jubel prophezeihn.

N. 13 Arie

PEDRILLOFrisch zum Kampfe, frisch zum Streite!Nur ein feiger Tropf verzagt.Sollt’ ich zittern, sollt’ ich zagen?Nicht mein Leben mutig wagen?Nein, ach nein, es sei gewagt!Frisch zum Kampfe! Frisch zum Streite!Nur ein feiger Tropf verzagt.

No. 11 Aria

KONSTANZETortures of every kindMay await me,I scorn agony and pain.Nothing will shake me,Only one thing might make me tremble:If I were to be unfaithful.I implore you, spare me!The blessings of heaven shall be your reward.But you are determined.Willingly, unflinchinglyI choose every pain and grief.Well then, command, coerce me,Roar, fulminate, rage,Death will liberate me in the end.

No. 12 Aria

BLONDEWhat bliss, what delightHolds sway within my heart!I must hasten without delayTo bring her the news straight awayAnd with laughter and pleasantriesI will prophesy to her weak, timid heartHappiness and rejoicing.

No. 13 Aria

PEDRILLONow to battle! Now to arms!Only cowards are afraid.Should I tremble? Should I quake?Rather than valiantly risking my life?No, oh no, I’ll take the risk!Now to battle! Now to arms!Only cowards are afraid.

TEXT & TRANSLATION


N. 14 Duett

PEDRILLOVivat Bacchus! Bacchus lebe!Bacchus war ein braver Mann!

OSMINOb ich’s wage? Ob’s ich trinke?Ob’s wohl Allah sehen kann?

PEDRILLOWas hilft das Zaudern? Hinunter, hinunter!Nicht lange, nicht lange gefragt!

OSMINNun wär’s geschehen, nun wär’s hinunter!Das heiß’ ich, das heiß’ ich gewagt!

BEIDEEs leben die Mädchen,die Blonden, die Braunen!Sie leben noch!

PEDRILLODas schmeckt trefflich!

OSMINDas schmeckt herrlich!

BEIDEAh! das heiß’ ich Göttertrank!Vivat Bacchus!Bacchus lebe!Bacchus, der den Wein erfand!

No. 14 Duet

PEDRILLOVivat Bacchus, long live Bacchus,Bacchus was a fine fellow.

OSMINShall I chance it? Shall I drink it?Can Allah see me?

PEDRILLOWhat’s the use of wavering? down with it, down with it! Don’t delay any longer!

OSMINNow the deed is done, now I have downed it;I do declare, that’s brave!

TOGETHERThree cheers for the girls,The blondes, the brunettes,Three cheers!

PEDRILLOIt tastes lovely!

OSMINIt tastes heavenly!

TOGETHERThat’s what I call a drink for the Gods!Vivat Bacchus,Long live Bacchus,Bacchus who discovered wine!

TEXT & TRANSLATION

N. 15 Arie

BELMONTEWenn der Freude Tränen fliessen,Lächelt Liebe dem Geliebten hold.Von den Wangen sie zu küssenIst der Liebe schönster, grösster Sold.Ach, Konstanze! Dich zu sehen,Dich voll Wonne, voll EntzückenAn mein treues Herz zu drücken.Lohnt fürwahr nicht Kron’ und Pracht!

Ah, dieses sel’ge erst WiederfindenLässt innig läßt innig mich ganz empfinden,Welchen Schmerz die Trennung macht.

N. 16 Quartett

KONSTANZEAch, Belmonte! Ach, mein Leben!

BELMONTEAch, Konstanze! Ach, mein Leben!

KONSTANZEIst es möglich? Welch Entzücken,Dich an meine Brust zu drückenNach so vieler Tage Leid!

BELMONTEWelche Wonne, dich zu finden!Nun muß aller Kummer schwinden!O wie ist mein Herz erfreut!

KONSTANZESieh, die Freudeträne fließen!

BELMONTEHolde! Laß hinweg sie küssen!

KONSTANZEDaß es doch die letzte sei!

No. 15 Aria

BELMONTEWhen tears of joy flow freely,Love kindly smiles upon the lover;To kiss them from her cheeksIs love’s highest reward.Oh, Konstanze! To behold you!Blissfully and full of delightTo hold you close to my faithful heart,Croesus’ treasure could not equal it.

Were we never to be reunited,Better that we were never to knowThe bitter pangs of separation.

No. 16 Quartet

KONSTANZEAh, Belmonte, my beloved!

BELMONTEAh, Konstanze, my beloved!

KONSTANZECan it be? What rapture!To hold you close to my heartAfter so many days of unhappiness!

BELMONTEWhat bliss to find you!Now all grief must vanish!Oh how my heart rejoices!

KONSTANZESee how my tears of joy flow freely.

BELMONTEAngel! Let me kiss them away!

KONSTANZELet them be the last ones.

TEXT & TRANSLATION


BELMONTEJa, noch heute wirst du frei!

PEDRILLOAlso Blondchen, hast’s verstanden?Alles ist zur Flucht vorhanden,Um Schlag Zwölfe sind wir da!

BLONDEUnbesorgt! Es wird nichts fehlen,Die Minuten werd’ ich zählen,Wär’ der Augenblick schon da!

ALLEEndlich scheint die HoffnungssonneHell durchs trübe Firmament!Voll Entzücken, Freud und WonneSehn wir unsrer Leiden End’!

BELMONTEDoch, ach! bei aller LustEmpfindet meine BrustDoch manch’ geheime Sorgen!

KONSTANZEWas ist es Liebster, sprich!Geschwind, erkläre dich!O halt mir nichts verborgen!

BELMONTEMan sagt... man sagt... du seist...

KONSTANZENun weiter?

PEDRILLODoch Blondchen, ach, die Leiter!Bist du wohl soviel wert?

BLONDEHans Narr, schnappt’s bei dir über?Ei, hättest du nur lieberDie Frage umgekehrt.

BELMONTEIndeed, you shall be free this very day.

PEDRILLONow, Blonde, have you understood?Everything is prepared for flight.We will be here on the stroke of midnight.

BLONDEDon’t worry, all will be ready,I shall count the minutes;If only the moment were here already!

ALL FOUR TOGETHERAt last the sun of hopeIlluminates the gloomy skies!Full of rapture, joy and blissWe can see the end of our suffering!

BELMONTEYet, in spite of my happinessMy heart within my breastIs full of secret care.

KONSTANZEWhat is it, dearest? Tell me,Quickly, explain yourself.Conceal nothing from me!

BELMONTEThey say? they say? that you ...

KONSTANZEGo on!

PEDRILLOBut Blonde, oh that ladder!Are you really worth it?

BLONDEYou fool, have you gone mad?It might be betterIf you had turned the question round!

TEXT & TRANSLATION

PEDRILLODoch Herr Osmin...

BLONDELaß hören!

KONSTANZEWillst du dich nicht erklären?

BELMONTEMan sagt...


BELMONTEDu seist...


KONSTANZENun weiter?

BLONDELaß hören!

KONSTANZEWillst du dich nicht erklären?

BELMONTEIch will. Doch zürne nicht,Wenn ich nach dem Gerücht,Das ich gehört, es wage,Dich zitternd, bebend frage,Ob du den Bassa liebst?

PEDRILLOHat nicht Osmin etwan,Wie man fast glauben kann,Sein Recht als Herr probieretUnd bei dir exerzieret?Dann wär’s ein schlechter Kauf!

PEDRILLOBut Master Osmin?

BLONDELet’s hear it!

KONSTANZEWill you not explain yourself?

BELMONTEThey say?


BELMONTEThat you?


KONSTANZEGo on?

BLONDELet’s hear it!

KONSTANZEWill you not explain yourself?

BELMONTEI will. But do not be angryIf, having heard a rumor,I should dare to ask youIn fear and tremblingWhether you love the Pasha?

PEDRILLOHas Master Osmin never,As one might well believe,Exercised his lordly rightsUpon you as your owner?That would be a poor bargain!

TEXT & TRANSLATION


KONSTANZE(zu Belmonte)O wie du mich betrübst!(Sie weint)

BLONDE(zu Pedrillo)Da, nimm die Antwort drauf!(gibt dem Pedrillo eine Ohrfeige)

PEDRILLO(hält sich die Wange)Nun bin ich aufgeklärt!

BELMONTEKonstanze, ach vergib!

BLONDE(geht zornig von Pedrillo)Du bist mich gar nicht wert!

KONSTANZE(seufzend sich von Belmonte wegwendend)Ob ich dir treu verlieb?

BLONDE(zu Konstanze)Der Schlingel fragt gar an,Ob ich ihm treu gelieben.

KONSTANZE(zu Blonde)Belmonte sagte man,Ich soll den Bassa lieben!

PEDRILLO(hält sich die Wange; zu Belmonte)Daß Blonde ehrlich sei,Schwör’ ich bei allen Teufeln!

BELMONTE(zu Pedrillo)Konstanze ist mir treu,Daran ist nicht zu zweifeln!

KONSTANZE(to Belmonte)Oh, how you grieve me!(She weeps)

BLONDE(to Pedrillo)Here’s my reply to you!(slaps Pedrillo’s face)

PEDRILLO(rubbing his cheek)Now I am in the picture.

BELMONTEKonstanze, oh forgive me!

BLONDE(angrily walking away from Pedrillo)You don’t deserve me at all!

KONSTANZE(sighing as she turns away from Bel-monte)Have I remained faithful to you?

BLONDE(to Konstanze)The rogue has dared to askWhether I have remained true to him!

KONSTANZE(to Blonde)And Belmonte has been toldThat I love the Pasha!

PEDRILLO(rubbing his cheek)I’d take my dying oathOn Blonde’s fidelity!

BELMONTE(to Pedrillo)Konstanze is true to me,There can be no doubt about it.

TEXT & TRANSLATION

KONSTANZE - BLONDEWenn unsre Ehre wegenDie Männer Argwohn hegen,Verdächtig auf uns sehn,Das ist nicht auszustehn!

BELMONTE - PEDRILLOSobald sich Weiber kränken,Daß wir sie untreu denken,Dann sind sie wahrhaft treu,Von allem Vorwurf frei!

PEDRILLOLiebstes Bondchen, ach, verzeihe!Sieh, ich bau’ auf deine TreueMehr jetzt ja als auf meinen Kopf!

BLONDENein, das kann ich dir nicht schenken,Mich mit so was zu verdenken,Mit dem alten, dummen Tropf!

BELMONTEAch, Konstanze! Ach, mein Leben!Könntest du mir noch vergehen,Daß ich diese Frage tat?

KONSTANZEBelmonte, wie? Du könntest glauben,Daß man dir dies Herz könnt’ rauben,Das nur dir geschlagen hat?

BELMONTE - PEDRILLOAch, verzeihe!

BELMONTE - PEDRILLOIch bereue!

KONSTANZE - BLONDEIch verzeihe deiner Reue!

ALLEWohl, es sei nun Abgetan!Es lebe die Liebe!Nur sie sei uns teuer;Nichts fache das FeuerDer Eifersucht an.

KONSTANZE- BLONDEWhen men become suspiciousAnd have no faith in our honor,And look upon us with mistrust,It is not to be borne.

BELMONTE - PEDRILLOWhen women are aggrievedBecause we think them fickle,Then they are really trueAnd free from all reproaches.

PEDRILLODearest Blonde, do forgive me!Look, I put more faith in your fidelityThan upon my own head!

BLONDENo, you can’t get away with it.Suspecting me of doing thatWith that foolish old buffer!

BELMONTEOh, Konstanze, my beloved!Can you ever forgive meFor having asked such a question?

KONSTANZEBelmonte! How could you believeThat anyone could steal this heartWhich beats for you alone?

BELMONTE - PEDRILLOOh, forgive me!

BELMONTE - PEDRILLOI am repentant!

KONSTANZE - BLONDEI forgive your remorse.

ALL FOURWell, let this be the end of the matter!Long live loveLet us value nothing else!Let nothing kindleThe fire of jealousy.

TEXT & TRANSLATION


ACT THREEIn front of the Pasha Selim’s palace. On the side of the palace of the Pasha, across from Osmin’s dwelling; behind a view to the sea. It is midnight.

No. 17 Aria

BELMONTEOh love, I build upon your strength,I rely upon your power;Consider what worksHave been achieved by you!What all the world thinks impossible.Will yet be brought about through love.

No. 18 Romance

PEDRILLOIn Moorish lands imprisoned layA girl, pretty and delicate;Rosy cheeks, white skin, black hair,She sighed day and night, she even wept,Longing to be rescued.

Then came from foreign landsA young knightWho took pity on the maiden.Hey, he cried, I’ll risk my life and honorIf only I can rescue her.

I’ll come to you at dead of night,Dearest, let me in quickly;I fear neither padlocks nor watchmen,Hey ho, take heed, at midnightYou shall be saved.

No sooner said than done, on the strokeOf midnight the brave knight was there;Gently she gave him her white hand,Next morning her cell was found to be empty; She was gone, up and away!

DRITTER AUFZUGPlatz vor dem Palast des Bassa Selim. Auf einer Seite der Palast desBassa; gegenüber die Wohnung des Osmin; hinten Aussicht auf das Meer. Es ist Mitternacht.

N. 17 Arie

BELMONTEIch baue ganz auf deine Stärke,Vertrau’, o Liebe, deiner Macht,Denn ach! Was wurden nicht für WerkeSchon oft durch dich zustand’ gebracht!Was aller Welt unmöglich scheint,Wird durch die Liebe doch vereint.

N. 18 Romanze

PEDRILLOIn Mohrenland gefangen warEin Mädel hübsch und fein;Sah rot und weiss, war schwarz von Haar,Seufzt Tag und Nacht und weinte gar,Wollt’ gern getröstet sein.

Da kam aus fremdem Land daherEin junger Rittersmann;Den jammerte das Mädchen sehr,Ha, rief er, wag’ ich Kopf und Ehr’,Wenn ich sie retten kann.

Ich komm’ zu dir in finstrer Nacht,Lass, Liebchen, husch mich ein!Ich fürchte weder Schloss nach Wacht,Holla, horch auf, um MitternachtSollst du erlöset sein.

Gesagt, getan; Glock’ Zwölfe standDer tapfre Ritter da;Sanft reicht sie ihm die weiche Hand,Früh man die leere Zelle fand;Fort war sie Hopsasa!

* * * INTERMISSION * * *

TEXT & TRANSLATION TEXT & TRANSLATION

N. 19 Arie

OSMINHa, wie will ich triumphieren,Wenn sie euch zum Richtplatz führenUnd die Hälse schnüren zu!

Hüpfen will ich, lachen, springenUnd ein Freudenliedchen singen,Denn nun hab’ ich vor euch Ruh.

Schleicht nur säuberlich und leise,Ihr verdammten Haremsmäuse,Unser Ohr entdeckt euch schon,Und eh’ ihr uns könnt entspringen,Seh ich euch in unsern Schlingen,Und erhaschet euren Lohn.

N. 20 Rezitativ und Duett

BELMONTEWelch ein Geschick! O Qual der Seele!Hat sich denn alles wider mich verschworen!Ach, Konstanze! Durch mich bist du verloren!Welch eine Pein!

KONSTANZELaß, ach Geliebter, laß dich das nicht quälen.Was ist der Tod? Ein Übergang zur Ruh!Und dann, an deiner Seite,Ist er Vorgefühl der Seligkeit.

No. 19 Aria

OSMINOh, how I shall triumphWhen they conduct you to the place of executionAnd put the garrote round your throats!

I shall gambol, laugh and jump aboutAnd sing a song of delight,Since I am rid of you at last.

No matter how softly and carefully you prowl,You confounded harem mice,Our ear is bound to detect you!And ere you can escape usYou find yourselves caught in our snaresAnd will get your just deserts.

No. 20 Recitative and Duet

BELMONTEWhat cruel fate! What grief!Has everything conspired against me?Oh, Konstanze! Through my fault you are in peril!What agony!

KONSTANZEBeloved, do not let it trouble you.What is death? It leads to peace.And furthermore, by your side,It is a foretaste of bliss.


BELMONTEEngelseele! Welch holde Güte!Du flößest Trost in mein erschüttert Herz,Du linderst mir den TodesschmerzUnd ach, ich reiße dich ins Grab.

Meinetwegen willst du sterben!Ach, Konstanze! Darf ich’s wagen,Noch die Augen aufzuschlagen?IIch bereite dir den Tod!

KONSTANZEBelmonte, du stirbst meinetwegen!Ich nur zog dich ins VerderbenUnd ich soll nicht mit dir sterben?Wonne ist mir dies Gebot!

BEIDEAch, Geliebte, dir zu lebenIst mein Wunsch und all mein Streben;Ohne dich ist mir’s nur Pein,Länger auf der Welt zu sein.

BELMONTEIch will alles gerne leiden.

KONSTANZERuhig sterb’ ich dann mit Freuden,

BEIDEWeil ich dir zu Seite bin.Um dich Geliebte,Gäb’ ich gern mein Leben hin!O welche Seligkeit!Mit dem Geliebten sterbenIst seliges Entzücken!Mir wonnevollen BlickenVerläßt man da die Welt.

BELMONTEAngelic being! What sweet perfection!You bring comfort to my distracted heart.You ease the mortal pain,And I, alas, take you into the grave with me.

You must die on my behalf!O, Konstanze, how dare ILift my eyes to you?I am the cause of your death!

KONSTANZEBelmonte, you die because of me!It is I who brought about your ruin,And should I not die with you?This precept is bliss for me.

TOGETHERNoble soul, to live for youIs my desire and all I strove for.Without you, to live on in this worldBrings me nothing but pain.

BELMONTEGladly will I suffer everything,

KONSTANZEPeacefully and joyfully will I die,

TOGETHERBecause you will be by my side.For you beloved,I would gladly give my life.Oh what delight!To die with the belovedIs enchanted bliss!With radiant looksWe shall depart this world.


N. 21a Vaudeville

BELMONTENie werd’ ich deine Huld verkennen;Mein Dank sei ewig dir geweiht;An jedem Ort zu jeder ZeitWerd’ ich dich groß und edel nennen.

ALLEWer so viel Huld vergessen kann,Den seh’ man mit Verachtung an!

KONSTANZENie werd’ ich im Genuß der LiebeVergessen, was der Dank gebeut,Mein Herz, der Liebe nur geweiht,Hegt auch dem Dank geweihte Triebe.


PEDRILLOWenn ich es je vergessen könnte,Wie nah’ ich am Erdrosseln war.Und all der anderen Gefahr;Ich lief’, als ob der Kopf mir brennte


No. 21a Vaudeville

BELMONTENever will I forget your benevolence;Forever shall I sing your praises.In every place, at every timeI shall proclaim you great and noble.

ALLAnyone who can forget such graciousnessDeserves to be looked upon with scorn.

KONSTANZENever, even while rejoicing in love,Shall I forget what gratitude commands;My heart, devoted to love from now on,Feels emotions inspired by gratitude as well.


PEDRILLOIf ever I were to forgetHow close I came to being strangled,And all the other perils?I’d run as though my head were on fire.



BLONDEHerr Bassa, ich sag’ recht mit FreudenViel Dank für Kost und Lagerstroh.Osmin, das Schicksal will es so,Ich muß von dir auf ewig scheiden.Denn seh’ er nur das Tier dort an,ob man so was ertragen kann.

OSMINVerbrenne sollte man die Hunde,Die uns so schändlich hintergehn,Es ist nicht länger anzusehn.Mir stockt die Zunge fast im Munde,Um ihren Lohn zu ordnen an:Erst geköpft,dann gehangen,dann gespießtauf heiße Stangen;dann vebrannt,dann gebunden,und getaucht;zuletzt geschunden.

KONSTANZE - BELMONTE - BLONDE - PEDRILLONichts ist so häßlich als die Rache;Hingegen menschlich gütig sein,Und ohne Eigennutz verzeihn,Ist nur der großen Seelen Sache!Wer dieses nicht erkennen kann,Den seh’ man mit Verachtung an!

N. 21b Chor der Janitscharen

CHORBassa Selim lebe lange,Ehre sei sein Eigentum!Seine holde Scheitel prangeVoll von Jubel, voll von Ruh.

BLONDEMy Lord Pasha, full of joy I thank youMost heartily for board and lodging.But I am truly gladThat you allow me to depart from here.Just look upon that beast there,Is that to be endured?

OSMINThese dogs, we ought to burn them,Who tricked us so shamefully!I can bear it no longer;My tongue is almost paralyzedThrough not being able to order their reward:First you’ll be beheaded,Then you’ll be hanged,Then impaledOn red hot spikes,Then burned,Then manacledAnd drowned;Finally flayed alive.

KONSTANZE - BELMONTE - BLONDE - PEDRILLONothing is as loathsome as revenge;But to be humane and kindAnd to forgive without self-interest –Only a great soul is capable of that.Anyone who can forget such graciousnessDeserves to be looked upon with scorn.

No. 21b Janissaries ‘ Chorus

CHORUS Long live Pasha Selim!Let him be honored!Let his exalted brow be wreathedWith rejoicing and renown.

German ©Gottlob Stephanie, Jr. English Translations ©Opera Folio.com

The audience is cordially invited to join Ryan Turner and the musicians at a post-concert reception in the Parish Hall directly following the performance.

Get Involved

There are many ways to get involved behind the scenes and increase your engagement as a member of the Emmanuel Music community.

support our missionWhen you make a gift to Emmanuel Music you directly support our mission of enriching the life of the community through the transformative power of music. Every gift plays a role in our success: you can underwrite a cantata or a soloist or make a gift to support the Annual Fund, students of the Bach Institute program, or the Hercules Society. Our donors make the exceptional work of our talented musicians happen, both on the stage and in education and outreach programs.

Members of the Emmanuel Music donor family enjoy a variety of privileges and benefits to enhance the concert-going experience.

become a board memberAre you interested in making a difference in your community, in expanding your leadership opportunities, and in becoming an insider in the region’s nonprofit arts and cultural scene? Emmanuel Music Board members are part of the inner circle responsible for oversight, planning, and serving as ambassadors for our wonderful musical mission.

If you love the music we present you may find a satisfying role as a member of our Board. Useful experience and skills include finance and accounting, media technology, advocacy, fundraising, human resources, government relations, legal, management, marketing, develop-ment, public relations, and strategic planning. We seek a diverse Board in terms of race, age, and gender.

volunteerHelp one of Boston’s cherished music organizations by becoming a volunteer. Emmanuel Music currently offers a broad range of activities for volunteers: from general office work like filing and helping with mailings to concert support such as ushering or working the box office and concessions. All of our volunteers are valued partners in helping Emmanuel Music main-tain its legacy of musical excellence.

For more information, visit www.emmanuelmusic.org or contact us at [email protected] or 617.536.3356 to discuss how you would like be involved.

ABOUT EMMANUEL MUSIC

ABOUT EMMANUEL MUSIC

Emmanuel Music, a collective group of singers and instrumentalists, was founded in 1970 by Craig Smith to perform the complete cycle of over 200 sacred cantatas of J. S. Bach in the liturgical setting for which they were intended, an endeavor twice completed and a tradition which continues today. Artistic Director Ryan Turner has led the ensemble since 2010.

Over the years, Emmanuel Music has garnered critical and popular acclaim through its presentations of large-scale and operatic works by Bach, Handel, Schubert, and Mozart as well as its in-depth exploration of the complete vocal, piano, and chamber works of Debussy, Brahms, Schubert, and Schumann. A recent highlight was the Boston and Tanglewood premiere of John Harbison’s opera The Great Gatsby.

A unique aspect of Emmanuel performances is its selection of vocal and instrumental soloists from a corps of musicians who have long been associated with the group. Emmanuel Music has given rise to renowned musicians at the local, national, and international level; its long-standing association with Principal Guest Conductor John Harbison has also yielded a wealth of creative artistry.

Emmanuel Music has achieved international recognition from audiences and critics alike in its innovative collaborations with leading visionaries among the other arts, including the Mark Morris Dance Group and stage director Peter Sellars. Emmanuel Music made its European debut in 1989 in Brussels at the Théâtre Royal de la Monnaie, and its New York City debut at Lincoln Center in 2001.

In a schedule that totals over fifty performances per year, guest conductors have included Seiji Ozawa, Christopher Hogwood, Christoph Wolff, Robert Levin, Julian Kuerti, David Hoose, and Christopher Shepard.

Emmanuel Music has been the subject of numerous national radio and television specials, and has completed ten recording projects featuring works of Heinrich Schütz, John Harbison, and J. S. Bach, including the critically acclaimed bestseller Bach Cantatas BWV 82 and 199 featuring Lorraine Hunt Lieberson on the Nonesuch label (hailed as one of the Top CDs of the Year by The New York Times), Mozart Piano Concertos and Fantasies, with Russell Sherman on the Emmanuel Music label, and the latest release on the AVIE label, Lorraine at Emmanuel.

Ryan Turner conducts Handel’s Susanna, April 5, 2014. Photo by Julian Bullitt.

ABOUT THE ARTISTSABOUT THE ARTISTS

Ryan Turner, now in his fifth year as Artistic Director of Emmanuel Music, brings both talent and heart to his music-making as a conductor, a programmer, and singer. Praising his most recent performance of John Harbison’s The Great Gatsby, critics described him as “a thinking man’s conductor” and remarked on his, “supple, even liquid shaping of phrase, impeccable technique and truly refreshing communication of the intimacy of ensemble playing.” Born in 1972 and raised in

El Paso, Texas, Mr. Turner attended Southern Methodist University in Dallas. He arrived in Boston in 1995 to continue his studies at the Boston Conservatory. He joined Emmanuel Music in 1997 as a tenor soloist and chorus member, making his debut as a guest conductor in 2006. Since his appointment as Artistic Director, Mr. Turner has programmed and conducted over one hundred fifty Bach cantatas, the Bach St John Passion, B Minor Mass and Christmas Oratorio, and major works and operas by Stravinsky, Mozart, Handel, and John Harbison. A champion of new music, Ryan Turner has programmed and premiered the works of composers John Harbison, James Primosch, Brett Johnson, and Ben Hogue. As an opera conductor, Mr. Turner’s repertoire ranges from Handel to Mozart to Martin. He has made guest appearances with the Boston Lyric Opera, Longy School of Music and Boston College. He returns to the Boston Lyric Opera in the Fall of 2015 to conduct Philip Glass’ In the Penal Colony. Turner teaches on the voice and early music faculty at the Longy School of Music of Bard College. He was the Director of Choral Activities at Phillips Exeter Academy from 2006 to 2012. From 2006 to 2009 he served as the Acting Director of the SongFest Bach Institute in California, founded by Craig Smith. From 2001 to 2010 Mr. Turner presided as Music Director of the Concord Chorale and Chamber Orchestra. He has also served as Assistant Director of Choral Activities at the University of Rhode Island, as Interim Director of Choral Activities at Plymouth State University, and as Music Director of the Concord Chorus.

Ryan Turner has appeared as tenor soloist in oratorio, recital, and opera. Some highlights include his appearances with the Mark Morris Dance Group in Handel’s L’Allegro, il Penseroso ed il Moderato, six seasons with the Carmel Bach Festival, and singing the role of Ferrando in Cosi fan tutte with Opera Aperta. Mr. Turner made his Carnegie Hall debut as the tenor soloist in Handel’s Messiah in 2008. He has sung solos in over forty Bach cantatas with Emmanuel Music. His discography includes Bach BWV 67 with Emmanuel Music, Praetorius’ Christmas Vespers with Apollo’s Fire, and Kapsberger Apotheosis with Ensemble Abendmusik.

Ryan Turner lives north of Boston with his wife, soprano Susan Consoli, and their two children, Aidan and Caroline.

ABOUT THE ARTISTS

Charles Blandy has been praised as “unfailingly, tirelessly lyrical” (Boston Globe); “a versatile tenor with agility, endless breath, and vigorous high notes” (Goldberg Early Music Magazine). This season he performs Bach’s Mass in B Minor with the American Classical Orchestra (NYC) at Lincoln Center and St. Matthew Passion with the American Bach Soloists (San Francisco). He appears with Boston Early Music Festival in works of Monteverdi: Il Ritorno d’Ulisse, Vespers, and L’Orfeo. With Emmanuel Music he will sing the role of

Belmonte in Mozart’s Abduction from the Seraglio. He is a regular in Emmanuel’s Bach cantata series and has appeared in John Harbison’s The Great Gatsby; as the Evangelist in the Bach Passions; and in Stravinsky’s Rake’s Progress, Mozart’s Magic Flute, and Handel’s Ariodante. In recent years he has sung with the Portland Baroque Orchestra, the National Chorale, Bach Choir of Bethlehem, Handel and Haydn Society, Boston Baroque, Charlotte Symphony, Berkshire Choral Festival, and Pittsburgh Bach and Baroque. He is adept in contemporary music: He appeared in the world premiere of Osvaldo Golijov’s Ainadamar starring Dawn Upshaw; premiered Rodney Lister’s chamber song cycle Friendly

Boston-based director Nathan Troup maintains a body of work that spans standard operatic repertoire, premieres of new works of music theatre, and his uniquely curated projects of multidisciplinary theatre. Recent engagements include mu-sical assistant to choreographer Jessica Lang on her compa-ny’s story ballet The Wanderer set to Schubert’s Die Schöne Müllerin at the NextWave Festival at the Brooklyn Academy of Music; The Song of the Mud: Music of World War I for the Mu-seum of Fine Arts, Boston; and his recent productions of The

Rape of Lucretia and Mohamed Fairouz’s Sumeida’s Song garnered recognition as Best of Boston 2014 by ArtsImpulse for direction, design and overall produc-tion. He’s worked with the companies of Guerrilla Opera, Emmanuel Music, The Glimmerglass Festival, Wolf Trap Opera, Fort Worth Opera, Boston Lyric Opera, the Castleton Festival, and Des Moines Metro Opera. He has served on the facul-ties of the New England Conservatory and Boston University’s Opera Institute, and as artist-inresidence at Webster University and Viterbo University. Mr. Troup recently directed Stravinsky’s The Rake’s Progress at The Boston Conservatory where he currently serves as Associate Director of Opera Studies, and is on the directing staff of the Des Moines Metro Opera Apprentice Artist Program. From 2004-2007, he was a staff member at Emmanuel Music, in addition to singing in the choir. More recently, he assisted on the group’s 2014 production of A Little Night Music. nathantroup.com

ABOUT THE ARTISTS

ABOUT THE ARTISTSABOUT THE ARTISTS

Richard Dyer’s most recent appearance in musical theater was when he performed, with a few helpful transpositions, the role of Nanki-Poo in The Mikado in 1959. In between those performances and this one his principal occupation was writ-ing about music in The Boston Globe and many other news-papers and magazines, as well as the New Grove Dictionaries of Music, Opera, and American Music, the Encyclopedia Americana, and the Metropolitan Opera Encyclopedia of Op-

era; he was twice the winner of the Deems Taylor/ASCAP award for distinguished music criticism. Since his retirement from The Globe in 2006 after 33 years there, he has remained active as a teacher (at the Tanglewood Music Center, Aspen, the Bard Graduate Vocal Arts Program); he has written program notes and interviews or given talks for the Boston Symphony, Opera Boston, the Bos-ton Lyric Opera, and Boston Midsummer Opera and several other organizations and spent four seasons on the board of Emmanuel Music. He has covered Euro-pean and Asian tours by the Boston Symphony, the Opera Company of Boston, and the Boston Philharmonic Youth Orchestra. He has served on the eight differ-ent juries of four international piano competitions as well as at the Miss America Pageant. He is delighted to have been invited to perform a speaking role in Die Entfuhrung aus dem Serail, and is even more relieved than the audience tonight that he won’t have to sing.

Coloratura soprano Barbara Kilduff began her career as a national winner of the Metropolitan Opera auditions, going from there to win first prize in the famed Munich International Competition and the silver medal in the Tchaikovsky Competition in Moscow. Within a year of these competitions, Ms. Kilduff made favorable debuts with the Bavarian, Vienna and Hamburg State Operas, all in the demanding role of Zerbinetta in Richard Strauss’ Ariadne auf Naxos, a role she

went on to sing in Basel, Vancouver, Athens and Cologne. Zerbinetta was also the role in which she made her 1987 Metropolitan Opera debut with Jessye Norman, conducted by James Levine. In the same season Ms. Kilduff also appeared as Adele in Die Fledermaus. The following season she appeared as Cleopatra in Julius Caesar under Trevor Pinnock, and as Blondchen in Die Entfuehrung aus dem Serail under James Levine. Her La Scala debut was in the role of Blondchen,

Fire with Collage New Music; appeared with Boston Modern Orchestra Project in Thomson’s Four Saints in Three Acts; and is on a Naxos CD of Scott Wheeler’s Construction of Boston. His studies have been at Tanglewood, Indiana University, and Oberlin College. He is originally from Troy, NY. His website is at charlesblandy.com.

ABOUT THE ARTISTS

Described by critics as “a gifted young tenor with wonderful comedic talents” and as having an “alluring tenor voice” and “bright, clear and fully-fledged tenor sonority,” Jason McStoots has performed around the world as well as in the US. His recent appearances include Boston Early Music Festival’s production of Handel’s Almira (Tabarco), his European debut in Bach’s Christmas Oratorio and a Japanese tour of the St. Matthew Passion under the direction of Joshua

Rifkin, Monteverdi’s Vespers in Seattle and Portland under Stephen Stubbs, and Mozart’s Abduction from the Seraglio. He has appeared with such groups as Boston Lyric Opera, Pacific MusicWorks, Boston Camerata, New Haven Symphony, Tragicomedia, and the Tanglewood Music Center. He can be heard on recordings with Blue Heron as well as on the Grammy-nominated recording of Lully’s Pysché and on recordings of Charpentier, John Blow, and Handel with the Boston Early Music Festival on the CPO label.

this time under Wolfgang Sawallisch. Further performances throughout Europe and America include Sophie in Der Rosenkavalier at the Bavarian State Opera, in New York, San Diego and Vienna; Queen of Shemakhan in Rimsky-Korsakov’s The Golden Cockerel under Mistislav Rostropovich; the Nightingale and Fire in Ravel’s L’Enfant et les Sortileges under Charles Dutoit; Orff’s Carmina Burana with the St Louis Symphony under Leonard Slatkin; and Schoenberg’s Von Heute auf Morgen under Pierre Boulez in Ludwigshafen, Milan, Rome and Vienna. Opera performances in the Boston area include Norina (Don Pasquale) with the Newton Symphony Orchestra under Geoffrey Rink and Lucia in Lucia di Lammermoor with Granite State Opera under Phillip Lauriat, as well as Queen of the Night in The Magic Flute and Morgana in Alcina with Emmanuel Music under Craig Smith. Ms. Kilduff has appeared often in concert with Dedham Choral Society under Jonathan Barnhart, with Coro Allegro under David Hodgkins, and with Masterworks Chorale under Steven Karidoyanes. She sang Beethoven’s Missa Solemnis with the New Bedford Symphony under David MacKenzie and with Masterworks Chorale under Steven Karidoyanes. She performed the world premiere of Luis Bacalov’s Cantos para Nuestros Tiempos (Psalms for Our Times) under William Thomas, Haydn’s Creation with the National Symphony Orchestra of Costa Rica and an Opera Gala Concert with the Charleston Symphony Orchestra conducted by Jeffrey Rink. She was Isabella in Robert Smith’s A Place of Beauty, a celebration of the life of Isabella Stewart Gardner, David Feltner conducting, and she was Miss Havisham in Miss Havisham’s Wedding Night—both productions of John Whittlesey’s Boston Intermezzo. Ms. Kilduff has made many recordings of both opera and oratorio, and has given recitals in artists’ series across the United States. She has been a visiting faculty member at Boston University’s College of Fine Arts and the New England Conservatory of Music, and is currently a faculty member at Phillips Academy in Andover.

ABOUT THE ARTISTS

ABOUT THE ARTISTS

ABOUT THE PRE-CONCERT SPEAKER

ABOUT THE ARTISTS

American bass-baritone Donald Wilkinson is celebrating his 31st year as a professional singer and member of Emmanuel Music and the Handel and Haydn Society. For 25 years he has been a soloist and ensemble member of The Boston Camerata, under the direction of Joel Cohen and Anne Azéma. He has enjoyed a distinguished career in concert, opera, oratorio, recital, and contemporary music, and has appeared throughout the US and Canada. He made his European debut

performing the role of Dionysos in the world premiere of Theodore Antoniou’s opera The Bacchae at the Acropolis in Athens, Greece. Since that debut, he has appeared in Australia, New Zealand, Finland, Sweden, Germany, France, England, and Holland. He has performed under such acclaimed conductors as Seiji Ozawa, Craig Smith, Michael Tilson Thomas, Gunther Schuller, John Harbison, Ryan Turner, Grant Llewellyn, Christopher Hogwood, Gil Rose, and

Praised for her “bejeweled lyric soprano” (Boston Globe), as “a marvel of perfect intonation and pure tone” (New York Arts), and with a voice of “extraordinary suppleness and beauty” (New York Times), soprano Teresa Wakim was first prize winner of the 2010 International Soloist Competition for Early Music in Brunnenthal, Austria. Much sought after in Europe and North America for her interpretations of concerted repertoire, she has performed under the batons

of such conductors as Roger Norrington, Harry Christophers, Laurence Cum-mings, Martin Haselböck, Ton Koopman, and Nicholas McGegan. Noted solo engagements include Bach’s Mass in B Minor, St. John Passion, and Magnificat with the Amsterdam Baroque Orchestra, Bach’s Wedding Cantata and Men-delssohn’s Hear My Prayer with the Cleveland Orchestra, Bach’s Missa Brevis with the San Francisco Symphony, Monteverdi’s Vespers with Boston Baroque, Bach’s Magnificat with Wiener Akademie Orchester, Brahms’s Ein Deutsches Requiem with the Omaha Symphony, Bach’s Mass in B Minor with Louisiana Philharmonic, Mozart’s Exsultate Jubilate with New World Symphony and the Handel and Haydn Society, Handel’s Messiah with the Charlotte, San Antonio, Alabama, and Tucson symphonies, and Orff’s Carmina Burana with Boston Landmarks Orchestra. In addition, she performs with many of North America’s top early music ensembles, including Mercury Baroque Orchestra, Apollo’s Fire, Vancouver Early Music, Dallas Bach Society, and Atlanta Baroque Orchestra. She has portrayed and recorded operatic roles from Monteverdi to Mozart, in-cluding the roles of Flore, Aréthuse, and Daphne on the 2015 Grammy-winning Best Opera Recording of Charpentier’s La Descente d’Orphée aux Enfers and La Couronne de Fleurs with the Boston Early Music Festival.

ABOUT THE ARTISTS

Oliver Knussen. Mr. Wilkinson’s discography includes Ned Rorem’s soon-to-be-released Our Town on BMOP Sound; the role of President Abraham Lincoln in the world premiere recording of Eric Sawyer’s Our American Cousin, also on BMOP Sound; the title role in the internationally acclaimed Johnny Johnson by Kurt Weill on Erato Disques; and John Harbison’s Recordare on Koch International Classics. Mr. Wilkinson was a recipient of a Tanglewood fellowship. He teaches voice at Phillips Exeter Academy, Andover, and currently resides in Nahant, MA. In 2014, Mr. Wilkinson created and produced the first Nahant Music Festival (nahantmusicfestival.org).

ABOUT THE PRE-CONCERT SPEAKER

Elizabeth Seitz received her doctorate from Boston University with a dissertation on the early works of Manuel de Falla and his relationship to the Impressionist movement. She is a full-time faculty member at the Boston Conservatory, where she teaches a wide range of undergraduate and graduate musicology courses, including seminars on J. S. Bach, Schubert, Berlioz, Britten, and Mozart, among others. She has also taught at New England Conservatory of Music,

and Boston, Tufts, Northeastern, Washington, and Brown universities. In addition to teaching, Ms. Seitz participates in a variety of community outreach programs. She has lectured on topics ranging from Machaut to MTV for audiences of varying ages; she lectures at the Boston Symphony Orchestra, the New York Philharmonic, the San Francisco Symphony, Boston Museum of Fine Arts, Tanglewood, and the Rockport Chamber Music Festival. Elizabeth Seitz is the author of the musicological murder mystery Dissertation Most Deadly and is currently working on a sequel, Murder Most Melodious.

ABOUT THE ARTISTS

COMMUNITY CONNECTIONSEMMANUEL MUSIC THANKS ALL MUSICIANS WHO HAVE SHARED THEIR ART IN 2014-15

Gail AbbeyMatthew Anderson Roberta Anderson Sarah AtwoodSteve BanzaertMichael Beattie Christopher Belluscio Mark Berger Sylvia Berry Cheryl Bishkoff Anne Black Charles Blandy Hans Bohn Mary-Lynne Bohn Andrea Bonsignore Heather BraunHeidi Braun-Hill Lila Brown Jonas Budris Abra Bush Robert Byrd Sasha CallahanSarah Cantor Sebastian ChavesCarrie Cheron Ya-Fei Chuang Brian Church Peter Cirelli Kendra Colton Susan Consoli Jacob Cooper Robert Couture Michael Curry Anthony D’Amico Sarah Darling Colin Davis Carley DeFranco Heloise DegrugillierPamela Dellal Jacqueline DeVoe Gabriela Diaz Charles Dimmick Gary DiPerna Daniel Dona

Rose Drucker Eran EgozyJoan Ellersick Carola Emrich-Fisher Terry EversonCassandra Extavour Nathaniel Farny David Feltner Neal Ferreira Kathleen Flynn Katherine Foss Benjamin Fox Sarah Freiberg Ellison Peggy Friedland Mary Gerbi Bradford Gleim Joshua Gordon Katherine Growdon Paul Guttry John Harbison Rose Mary Harbison Amanda Hardy Jane HarrisonOlav Chris Henriksen Noriko Herndon Daniel Hershey Whitacre Hill Randy Hiller Betsy Hinkle Brett Hodgdon Vanessa Holroyd Joseph Holt Jesse Irons Etsuko Ishizuka Laura Jeppesen Brett Johnson Margaret Johnson Frank Kelley Richard Kelley Barbara KilduffAgnes Kim David Kravitz Barbara La Fitte Gabriel Langfur

Roxanne Layton Robert Levin Margaret Lias Jensen Ling Thea Lobo Lisa Lynch Danielle Maddon Liza Malamut Emily Marvosh Clark Matthews David McFerrin Julia McKenzie Hannah McMeans Clare McNamara Jason McStoots David McSweeney Mark McSweeney Pamela Mindell Reggie Mobley Vincent Monaco Adrian MorehanRane Moore Sachiko Murata Martin Near Esther Ning Yau Lynn Nowels Jaylyn Olivo Karen Oosterbaan Mark OshidaCamila Parias Peggy Pearson Paul Perfetti Eric Perry Dianne Pettipaw Rafael Popper-Keizer William Prapestis Anne Rabbat Arthur Rawding Deborah Rentz-Moore Krista River Margaret Rood David Russell Karyl Ryczek Jason Sabol

Roy Sansom Dylan Sauerwald Robert Schulz Kristen Severson Charles Sherman Bebo Shiu Jennifer SlowikKamala Soparkar Michael Sponseller Timothy Steele Thomas StephensonDaniel Stepner Roksana Sudol Cora Swenson Lee Paul Max Tipton Nicholas Tolle Lynn Torgove Seth Torres Giomar TurgeonRyan Turner Erik Van Heyningen Erika Vogel Lee Wadenpfuhl Jason Wang Brenna Wells Gregory Whitaker Dana Whiteside Donald Wilkinson Shari Alise Wilson Lauren Winter Katherine WintersteinHeather Wittels Martin Wittenberg Lena Wong Majie Zeller Randall Zigler

COMMUNITY CONNECTIONS

Community Connections ProgramEmmanuel Music is grateful to The Rowland Foundation for its support of this program.

Community Collaborations

Emmanuel Music works in partnership with staff and faculty at a variety of Boston-area schools and performing arts organizations to develop in-depth opportunities for young musicians. Partner organizations include the Boston Arts Academy; the Perkins School for the Blind; the Boston Children’s Chorus; and the Dever, Murphy, and McCormick public schools in Dorchester. Each year instrumentalists and vocalists from Emmanuel Music’s core ensemble work with over 1000 young student musicians through collaborative performances, master classes, workshops, and recitals. Through their intense engagement with professional musicians at the highest

level, these young students are given an extraordinary opportunity to experience inspiration, fulfillment, and joy from music-making. Several students who have participated in Emmanuel Music’s Community Connections programs have gone on to study music at the college level. Countless others have pursued other careers, yet kept music as an important part of their lives.

Subsidized Tickets

Emmanuel Music, through its Community Connections Program, offers numerous Boston-area schools and organizations working with underserved populations access to subsidized tickets for Emmanuel Music concerts. Students, their families, and staff from the Boston Children’s Chorus, Project STEP, the Boston Arts Academy, and other Boston public schools benefit from this exceptional opportunity.

Daniel Doña, violist with the Arneis Quartet, works with a student at Boston’s Dever-McCormack School as part of Emmanuel Music’s Community Connections Program.

greater bostonchoral consortium

EMMANUEL MUSIC THANKS ALL MUSICIANS WHO HAVE SHARED THEIR ART IN 2014-15

Roy Sansom Dylan Sauerwald Robert Schulz Kristen Severson Charles Sherman Bebo Shiu Jennifer SlowikKamala Soparkar Michael Sponseller Timothy Steele Thomas StephensonDaniel Stepner Roksana Sudol Cora Swenson Lee Paul Max Tipton Nicholas Tolle Lynn Torgove Seth Torres Giomar TurgeonRyan Turner Erik Van Heyningen Erika Vogel Lee Wadenpfuhl Jason Wang Brenna Wells Gregory Whitaker Dana Whiteside Donald Wilkinson Shari Alise Wilson Lauren Winter Katherine WintersteinHeather Wittels Martin Wittenberg Lena Wong Majie Zeller Randall Zigler


Lorraine Hunt Lieberson Fellows

The Lorraine Hunt Lieberson Fellowship honors young artists who have enthusiastically participated within the Emmanuel community of musicians and demonstrated exceptional artistic talent.

The Fellowship honors Lorraine Hunt Lieberson (1954-2006) who began her musical career as a violist in the Orchestra of Emmanuel Music under the direction of Craig Smith. By the mid-1980s, she had become a full-time singer and moved into the ranks of the Emmanuel Chorus, honing her craft both as an ensemble musician and soloist in the environment of intellectual rigor and collegial support unique to Emmanuel. Her association with Emmanuel Music continued throughout her highly acclaimed career and included legendary accounts of Bach cantata arias, the role of Dejanira in Handel’s Hercules, and a riveting performance of Bach Cantatas BWV 82 and 199 staged by Peter Sellars and performed in major international venues. (Celebrated recordings of these performances are available through Emmanuel Music). Lieberson’s talent was nurtured and developed within the Emmanuel Music community of musicians, and in particular, the weekly Bach Cantata performances. It is in this spirit that we celebrate and support the young musicians identified each year as Lorraine Hunt Lieberson Fellows.

The 2014-2015 Lorraine Hunt Lieberson Fellows:

Critics have praised Brenna Wells for her “angelic,” “soaring,” and “captivating” soprano voice. Her operatic roles include Galatea in Acis and Galatea, First Witch Purcell’s Dido and Aeneas, La Musique in Charpentier’s Les Plaisirs de Versailles, and she was Première Nymphe de l’Acheron in the Boston Early Music Festival’s production and Grammy-nominated recording

of Lully’s Psyché. Ms. Wells has sung and recorded with such acclaimed ensembles as the BEMF Orchestra, Blue Heron, Britten-Pears Baroque Orchestra, Boston Baroque, Opera Boston, L’Académie, Seraphic Fire, and the Handel and Haydn Society. She has appeared in many festivals world-wide including the London Handel Festival, Aldeburgh Festival, Amherst Early Music Festival, and BBC Proms, and in both 2008 and 2009, she was selected to perform in the Early Music Seminars, at the Fondazione Giorgio Cini in Venice, Italy. Highlights from recent seasons include her soloist debut

COMMUNITY CONNECTIONSat Symphony Hall under the direction of Harry Christophers, as well as soloist debuts with Emmanuel Music, Boston Baroque, Ensemble VIII, and Boston Cecilia among others. She performed in the Yale Choral Artists’ inaugural season, under the baton of William Christie, and returned as a soloist in their performance of Mozart’s Mass in C Minor under director Jeffrey Douma. The 2013-2014 season included solo appearances with the Handel and Haydn Society, Boston Baroque, Collage New Music, Connecticut Early Music Festival, and with the Boston Early Music Festival’s tour of the Charpentier Opera Double Bill: La Descente d’Orphée aux Enfers and La Couronne de Fleurs to Victoria, British Columbia and New York. This season’s highlights include appearances with Emmanuel Music as their Lorraine Hunt Lieberson Fellow, Seraphic Fire, Handel and Haydn Society, Boston Baroque, Ensemble Viii, and the Yale Choral Artists.

Boston based cellist and baroque cellist praised for playing “with maturity and panache,” Cora Swenson Lee began her studies in Chicago at the age of four. Her most influential teachers have been Eastman School of Music professor Alan Harris, Chicago Symphony member Richard Hirschl, and long-time cellist of the renowned Vermeer Quartet, Marc Johnson.

Ms. Swenson Lee holds a Bachelor Degree in Cello Performance with highest distinction from the Eastman School of Music (2010) and a Masters Degree in Cello Performance from Boston University College of Fine Arts (2012). An avid chamber musician, Ms. Swenson Lee performs regularly as a member of Boston Baroque and Trio Speranza. She has performed in venues across the United States and internationally, including appearances at the San Francisco Early Music Society, Trinity Church and Jordan Hall in Boston, Quigley Chapel and DePaul University in Chicago, and Odori Park in Sapporo, Japan, with former Vienna Philharmonic concertmaster Werner Hink and principal clarinetist Peter Schmiedl. A passionate educator, Ms. Swenson Lee runs a small private studio in Boston, and along with her colleagues in the Boston Public Quartet, is part of the new Celebrity Series of Boston initiative Artists in Community, which brings free concerts and school presentations to several Boston communities. Ms. Swenson Lee has participated in master classes by musicians including Steven Isserlis, Malcolm Bilson, and Pamela Frank. She has performed under conductors including David Zinman, Fabio Luisi, Leonard Slatkin, and Nicholas McGeegan. She has also worked with artists such as James Dunham, Rachel Barton Pine, Larry Combs, the Vermeer Quartet, the Ying Quartet, Pacifica Quartet and members of the Metropolitan Opera Orchestra.


HERCULES SOCIETY

NEMEAN LION$1,000 to $2,499

Richard and Mahala BeamsHarold J. Carroll

Victoria Cowling Chu and Michael ChuDavid Cook and Annemarie Altman

Sarah M. Gates*Rachel Jacoff

Margaret and Peter JohnsonPaul E. Keane and Linda Baron Davis

Kathryn and Edward KravitzDrs. Peter Libby and Beryl Benacerraf

Edward and Joan Mark*Ruth and Victor McElheny

Robert MeyersGeorge and Martha MutrieJoan and Roderick Nordell

Jaylyn Olivo and Dale FleckerSheila D. Perry

William and Lia PoorvuJohn Pratt*

David and Marie Louise ScudderRobert N. Shapiro

Jeffrey Thomson and David JaneroM. T. TostesonPeter Wender

*Hercules Society Founder

The Hercules Society was established in 1999 to support the performance of Handel’s Hercules, featuring Lorraine Hunt Lieberson in the role of Dejanira. In subsequent years, the Society has underwritten major operas, oratorios, and performances in the Evening Concert Series. We gratefully acknowledge Hercules Society members who made gifts between April 16, 2014 and April 15, 2015. For information on becoming a member, please contact Jude Epsztein Bedel, Director of Development, at [email protected] or call 617-536-3356.

Hercules Society

AUGEAN STABILIZER$2,500 to $4,999

Paul and Katie Buttenwieser*Belden and Pamela Daniels*

Mary Eliot Jackson*Butler and Lois Lampson

Vincent and Mary Alice Stanton

PILLAR OF HERCULES$5,000 and above

The Barrington FoundationJulian and Marion Bullitt*

Kate and Tom Kush

CONCERT UNDERWRITING

Emmanuel Music Concert Underwriting 2014-2015

Timely, generous support is critical for artistic planning. We are especially grateful to the fol-lowing individuals for helping us underwrite the 2014-2015 season.

The Cantata Series

Support of the Artistic SeasonThe Klarman Family Foundation

The Position of Artistic DirectorH. Franklin and Betsy BunnBelden and Pamela Daniels

Evening Concert SeriesAlan J. and Suzanne W. Dworsky

The Mattina R. Proctor FoundationJoan Margot Smith

Soloist UnderwritingCharles L. Felsenthal

Butler and Lois LampsonDrs. Peter Libby and Beryl Benacerraf

Robert N. Shapiro

Community Connections ProgramThe Rowland Foundation

The Bach InstituteDrs. Peter Libby and Beryl Benacerraf

Oberlin College and Conservatory

Lindsey Chapel SeriesCynthia Livingston and Richard Shader

Chamber Music SeriesSarah M. Gates

Kate and Tom KushJohn Pratt

Anonymous (5)Gail and Darryl Abbey

The Barrington FoundationHanna and James BartlettH. Franklin and Betsy Bunn

Donald David and Margaret Hornady-DavidCoventry Edwards-Pitt and

Matthew WeinzierlCharles L. Felsenthal

Sarah M. Gates

Mary Eliot JacksonErrol Morris and Julia SheehanJaylyn Olivo and Dale FleckerParish of Emmanuel ChurchRuth Tucker and Dan Hazen

David Vargo and Sheila CollinsEstate of F. Blair Weille

Young Music Fund, Emmanuel Church

We welcome the opportunity to discuss additional underwriting opportunities for the 2014-2015 artistic season and beyond. For more information, please contact Jude Epszten Bedel, Director of Development, at [email protected] or call 617.536.3356.

CUMULATIVE GIVINGCUMULATIVE GIVING

Emmanuel Music Cumulative GivingApril 16, 2014 – April 15, 2015

We gratefully acknowledge gifts to Emmanuel Music received between April 16, 2014 and April 15, 2015. Contributions to Emmanuel Music provide support essential to achieving our mission of enriching the life of the community through the transformative power of music. With over 40 free concerts a season, our ticket sales cover less than 20% of our operating budget. Financial support is essential to our continuing success. For questions or comments, please contact Jude Epsztein Bedel, Director of Development, at [email protected] or call 617.536.3356.$50,000+

Anonymous

Joan Margot Smith

Young Music Fund, Emmanuel Church

$10,000+

Anonymous

The Barrington Foundation

Elizabeth Boveroux

Julian and Marion Bullitt

H. Franklin and Betsy Bunn

Pamela and Belden Daniels

Eran Egozy and Yukiko Ueno-Egozy

Drs. Peter Libby and

Beryl Benacerraf

The Klarman Family Foundation

Kate and Tom Kush

Butler and Lois Lampson

Cynthia Livingston and

Richard Shader

Mattina R. Proctor Foundation

Rowland Foundation

David Vargo and Sheila Collins

F. Blair Weille^

$5,000+

Anonymous (2)

Hanna and James Bartlett

Charles L. Felsenthal

Dale Flecker and Jaylyn Olivo

Sarah M. Gates

Timothy and Jane Gillette

Margaret Hornady-David and Don David

Mary Eliot Jackson

Massachusetts Cultural Council

Oberlin Conservatory and College

John Pratt

Ruth Tucker and Dan Hazen

$2,500+

Gail and Darryl Abbey

Paul and Katie Buttenwieser

David Cook and Annemarie Altman

Coventry Edwards-Pitt and

Matthew Weinzierl

Patricia Krol and

Stephen Chiumenti

Errol Morris and Julia Sheehan

Olive Bridge Fund

Robert M. Shaprio

Charles Sherman and

Amy Poliakoft

Vincent Stanton, Jr. and Viva Fisher

Vincent and Mary Alice Stanton

David Stevens and

Marjorie Albright

$1,000+

Anonymous (2)

The Atlantic Philanthropies

Richard and Mahala Beams

Willa and Taylor Bodman

Thomas Burger and Andrée Robert

Pauline Ho Bynum

Harold J. Carroll

Victoria Cowling Chu and

Michael Chu

Pamela Dellal and Roy Sansom

Arnold H. and

Dianne B. Gazarian

John and Rose Mary Harbison

Ann S. Higgins

John Hsia

Rachel Jacoff

Margaret and Peter Johnson

Paul E. Keane and

Linda Baron Davis

Kathryn and Edward Kravitz

David Kravitz and Majie Zeller

Robert Levin and Ya-Fei Chuang

Camille^ and William Malamud

Edward and Joan Mark

Ruth and Victor McElheny

Robert Meyers

Mark Morris

George and Martha Mutrie

Joan and Roderick Nordell

Perkins School for the Blind

Sheila D. Perry

William and Lia Poorvu

Diana Post and Hal Churchill

Frank and Denise Quattrone

Foundation

Eric Reustle

David Rockefeller, Jr.

David and Marie Louise Scudder

Robert N. Shapiro

M. T. Tosteson

Debra and Ian Wallace

Peter Wender

Dana Whiteside

Robert Zevin

$500+

Anonymous (5)

Roberta Anderson

and David Dysert

Beth Baiter

The Barton Family Trust

Olivier Bedel and

Jude Epsztein Bedel

James and Margaret Bradley

Jean Brenner

Mary and Kenneth Carpenter

Fay Chandler^

Scott Corey Dunbar

CUMULATIVE GIVINGChristine Coughlin

Robert and Margaret Faulkner

Tom and Jody Gill

Robert and Anne Goble

Phillip M. Henry

Deborah A. Hoover

Samuel Clowes Huneke

Willie Lockeretz

William A. Lokke

Christopher Lydon

Danielle Maddon and

Geoffrey Steadman

Bill Nigreen and

Kathleen McDermott

Eric and Anne Nordell

Winifred and Leroy Parker

Peggy Pearson

Plimpton-Shattuck Fund at

Boston Foundation

Ellis L. Phillips, III

Bernie and Sue Pucker

David Satz

Mr. Robert A. Schuneman

Schwab Charitable Fund

Ute and Roy Tellini

Mr. Cyril Yansouni

Winsor Music Inc.

$250+

Anonymous (2)

Alchemy Foundation

Lois Beattie

Michael Beattie

Mr. J. Buffington

Penelope Caponigro

Bill Chapman

David Chavolla

John and Cindy Coldren

Warren Cutler

Marie-Pierre and

Michael Ellmann

Wendy and Clark Grew

Frank and Susan Kelley

J.B. Kittredge and

Winand van Eeghen

Susan Larson and Jim Haber

Rebecca A. Lee

Charles and Pauline Maier

Pierre de St. J. Macbeth and

Ann Boomer Milligan

Lynn Nowels and James Olesen

William J. Pananos

Dianne Pettipaw

Rosemary Reiss and Avner Ash

Dayla Arabella Santurri and

Stephen E. Gobish

Micho and William Spring

William and Lisa Strouss

Elizabeth and Peter Thomson

Grenny Thoron

Ryan Turner and Susan Consoli

Robert and Binney Wells

The Rev. Pamela L. Werntz and

Ms Joy Howard

Marilee Wheeler

James White

Edith and Leon Lamont Wiltsee

$100+

Anonymous (4)

Michael and Serafin Anderson

Thomas W. Barber

Ann Marie Barone

Linda Cabot Black

Tom and Susan Blandy

Marie-Paule Bondat and

Michael Karr

Esther Breslau

Alan Brock and James D. Baleja

The Budris Family

Mary Chamberlain

Lynn Cohen

Dr. John D. Constable

Sally R. Coughlin

Charles and Carol Cox

Bruce and Susan Creditor

Fay Dabney

John and Sally Davenport

Mary-Catherine Deibel and

Reid Fleming

Barbara DeVries

Charles and Sheila Donahue

Elsa Dorfman and

Harvey Silverglate

Ursula Ehret-Dichter

Michel and Françoise Epsztein

Jane Farber and Jeffrey Tarter

Harriet Feinberg

Charles Freifeld and Marilyn Ray Smith

Salome Fung

GE Foundation*

David Getz

Kitty Gladstone

Ron and Elizabeth Goodman

Nadja Gould

Winifred P. Gray

Mary Jewett Greer

Jane Günter-McCoy and Seth T. McCoy

The Rev. Constance A. Hammond

Suzanne and Easley Hamner

Margaret Hanni

John Heiss

Randy Hiller

Ellen Hinkle

Leslie M. Holmes

Margot Dennes Honig

Ben and Mary Jaffee

Ann G. Johnson

E. Dolores Johnson

Brett Johnson and David McSweeney

Rosemary S. Kean

Sutti and Ehud Koch

Dr. A.A. Koeller

Jane Bryden and Chris Krueger

Sara and Eben Kunz

Terry Kutolowski and Rick Muth

Debroah Lemont

Fred and Jean Leventhal

James C. Liu and Alexandra G. Bowers

Peter and Elisabeth Loizeaux

Frederick MacArthur

Barbara T. Martin

Jane Roland Martin

Susan Maycock and Charles M. Sullivan

Ellen Mayo

Suzanne McAllister and Ralph Engstrom

Knox and Carlotta Mellon

Carol Monica

Roslin P. Moore

Donna and Alec Morgan

Peggy Morrison

Nancy Mueller

Ellen and John O’Connor

Henry Paulus

Bonnie Payne and Roger Tobin

Nancy Peabody

John Petrowsky

CUMULATIVE GIVING

ACKNOWLEDGEMENTSCUMULATIVE GIVING

Harold I. Pratt

Deborah and Caesar Raboy

Janice Randall

Pauline Ratta

Kelly Reed and Kenneth Williams

Adam Reeves and Anne Kelly

Margo Risk

Allan Rodgers

Virginia Rogers and William Hobbie

David Roochnik and

Gina Marie Crandell

Lee and Shirley Rosen

Frank Sander

Linda Abbey Saripalli and

Cedric Saripelli

Michael J. Scanlon

Nancy Shafman and Mark Kagan

Joseph Shandling

Andrew Sigel

Jill and David Silverstein

Jean Chapin Smith

Mr. and Mrs. Richard Southgate

Joel Stein

Alan Strauss

Ann B. Teixeira

Erin E.M. Thomas

Allen R. and Karen L. Thompson

Tyler and Marcia Tingley

Doris Tsao

Victor and Mary Tyler

William L. Vance

Charles Warren

Joel and Bonni Weinstein

Michael Welsh

Ed and Amy Wertheim

T. Walley Williams, III

Katherine B. Winter

Heather Wittels

Carl Woodbury

Carol P. Woodworth

Evelyn S. Wyman

$50+

Anonymous (4)

Helen Glikman and Dan Bartley

Timothy E. Blackburn

Christopher Buckley

Mike Budreski

Suzanne Carleo

Paul H. Carr

Paula Chasan

Suzanne Colburn

Gretchen Conklin

Allan and Grace Dibiase

Allison Donelan

Jessi Eisdorfer

Brenda and Monroe Engel

Jean Fuller Farrington

William Faucon

Gaby Friedler

Keith Glavash and Marylène Altieri

Dave and Lynne Harding

Linda Heffner

Winifred Hentschel

Edwin and Mary Hiller

Marcia Jacob

John Hancock Financial Services*

Walter S. Jonas

Peter and Cornelia Keenan

John and Jonell Kenagy

Michael Kerpan and Patricia Suhrcke

Donald Langbein

Peter A. Lans

Mary Lincoln

Carol Marshall

Ralph and Sylvia Memolo

Barbara B. Merrifield

Jeffrey and Mary Mitchell

Tim Montgomery

Martha Moor

Eileen and Lawrence Moyer

Cornelius and Elizabeth Moynihan

Elizabeth Nordell and Rudy Perrault

Hazel O’Donnell

Eugene Papa

POD LLC*

Carmen Puopolo

Peter and Linda Rubenstein

Nancy and Ronald Rucker

Jo Sandman

Stephen and Toby Schlein

Effie A. Shumaker

Rena and Michael Silevitch

Diane Sokal and Randolph Meiklejohn

Robert Solonche

Susan Swan

Barbara and Robert Tinker

Cornelis L. Thieme

Lynn Torgove

Stewart and Sondra Vandermark

Martin and Phyllis Wilner

Robert Wyckoff and Maya Hasegawa

^Deceased

*Matching Gift

mozartmozartEMMANUEL MUSIC ACKNOWLEDGES

GENEROUS IN-KIND CONTRIBUTIONS:• Musicians of Emmanuel Music who share their artistry with us on a

weekly basis throughout the season

• The clergy, vestry, and staff of Emmanuel Church

• Julian Bullitt for sharing his technical and photographic expertise

• Jim Bradley for his ongoing operational support

• Bill Prokipchak and Jaiyi Li for weekend administrative and operations support

• Pamela Dellal, for her magnificent texts and translations

• Lois Beattie for her ongoing administrative support

• Taj Boston for offering special dinners for concertgoers

• Patrice Moskow for her invaluable editorial and administrative support

• Ellen Mayo, for coordinating our volunteer activities

• Volunteers for this evening’s concert: Beth Baiter, Catherine-Mary Donovan, Gabby Friedler, Galen Gilbert, Ron Johns, Walter Jonas, Mary Kingsley, Ellen Mayo, Patrice Moskow, and Bill Prokipchak.

• Susan Larson, for her “way with words”

• Members of the Boston Musician’s Association, Local 9-535 of the American Federation of Musicians

ACKNOWLEDGEMENTSCUMULATIVE GIVING

Shannon Canavin, Artistic Director

Exquisite voices… Exhilarating performances.

“Creamy tone and pristine blend.” – Boston Classical Review

“An intimate and joyful musical experience.”

– Boston Musical Intelligencer

Cantigas de Santa Maria and Cantigas d’Amigo

Written in the 13th century, these gorgeous

Galician-Portuguese songs of miracles and love bridge the gap of time and space to capture the

imagination and transport us to unearthly realms. Performed by a trio of female voices and a consort of medieval instruments, this program

is sure to captivate your mind and soul.

Shannon Canavin, Elise Groves & Thea Lobo, voices Laura Jeppesen, vielle

Daniel Meyers, Medieval winds & percussion

Tuesday, May 26, 2015 at 7:30pm St. Anthony’s Portuguese Church

400 Cardinal Medeiros Way, Cambridge

Freewill offering gratefully accepted

857-998-0219 • www.exsultemus.org

LONGY SCHOOL OF MUSIC OF BARD COLLEGE

CELEBRATING 100 YEARS OF MUSICAL EXCELLENCE

Join us in September as we launch our 100th year with a season full of exciting performances and celebratory events.

longy.edu/longy100

Founded in 1915. Progressive then, progressive today.

Innovation & Tradition in Concert

www.NEPhilharmonic.org 855-463-7445

Stepping Stones of the 20th Century: Celebrating Gunther Schuller at 90SuNday, OctObEr 25, 2015, 3 Pm

MauriCe ravel Shéhérazade (1903)anton von Webern Six Pieces for Orchestra (1909)

irvinG Fine Toccata Concertante (1947)

DMitri ShoStakoviCh October (1967)

Gunther SChuller The Past Is in the Present (1994)

neP’s annual Family Concert: Musical Characters SuNday, dEcEmbEr 13, 2015, 3 Pm

John aDaMS The Chairman Dances (1985)

GeorGe antheil Tom Sawyer Overture (1949)

ConCerto With neP YounG artiSt CoMPetition Winnerrob kaPiloW Elijah’s Angel (1998) boston city Singers, Jane money, director

Miracles and rhapsodies Saturday, FEbruary 27, 2016, 8 Pm

brian robiSon In Search of the Miraculous (2002)

SerGei raChManinoFF Rhapsody on a Theme of Paganini, op. 43 (1934)

bernarD hoFFer MacNeil/Lehrer Variations (2009) bOStON PrEmiErE

roY harriS Symphony no. 3 (1939)

From the Seas to the heavens Saturday, aPril 30, 2016, 8 Pm

Daniel hertzberG Spectre of the Spheres (2012) NEP call FOr ScOrES wiNNEr, bOStON PrEmiErE

alban berG Violin Concerto (“To the Memory of an Angel”) (1935) danielle maddon, soloistJean SibeliuS The Oceanides (1914)

DaviD rakoWSki Symphony no. 6 (2016) NEP cOmmiSSiON, wOrld PrEmiErE

MasterworksChorale.org ¥ (617) 858-6785Steven Karidoyanes, conductor

75th Diamond Anniversary Season

Let's Celebrate Together!

Crowning AchievementsHANDEL HAYDNCoronation Anthems Coronation MassTOM VIGNIERI ~ commissioned world premiere ~

Fri, May 8, 2015 at 8PM ¥ Sanders Theatre, CambridgeFree Parking ¥ Special Dining Offers ¥ Check website for details

MasterworksChorale.org ¥ (617) 858-6785Steven Karidoyanes, conductor

75th Diamond Anniversary Season

Let's Celebrate Together!

Crowning AchievementsHANDEL HAYDNCoronation Anthems Coronation MassTOM VIGNIERI ~ commissioned world premiere ~

Fri, May 8, 2015 at 8PM ¥ Sanders Theatre, CambridgeFree Parking ¥ Special Dining Offers ¥ Check website for details

the british

are coming

RALPH VAUGHAN WILLIAMS SIR JOHN IN LOVEWILLIAM WALTON THE BEARARTHUR SULLIVAN THE ZOO

KINGS, QUEENS, SAINTS AND SINNERS FIVE MONODRAMAS

THOMAS ADÈS POWDER HER FACE

THE BRITISH INVASION MAY–JUNE 2015 Learn more and buy tickets at

ODYSSEYOPERA.ORG

If you like what you hear tonight, you’ll love Sunday mornings at Emmanuel Church. Sacred music gains tremendous resonance from being heard in the context for which it was intended. Come experience worship in our Sanctuary, where Christian tradition meets thoughtful progressive perspectives. As the ensemble-in-residence at Emmanuel Church, Emmanuel Music enhances our worship with sacred motets and Bach cantatas during our weekly service of Holy Eucharist, September to May.

Join us Sundays at 10:00am at 15 Newbury Street.

Believing is not a condition of beloving or belonging here.

Emmanuel Church in the City of Boston - 15 Newbury St., Boston MA 02116 - www.emmanuelboston.org

Play a Role today.

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View the program here.

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