notes - Emmanuel Music

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emmanuel music
Ryan Turner
John Harbison
Craig Smith
Patricia Krol
Michael Beattie
Jude Epsztein
Donald Firth
Joanna Springer
Dayla Arabella Santurri
Jayne West
ARTISTIC DIRECTOR
PRINCIPAL GUEST CONDUCTOR
FOUNDER (1947 - 2007)
EXECUTIVE DIRECTOR
ARTISTIC ADMINISTRATOR
DIRECTOR OF DEVELOPMENT
CONTROLLER
COMMUNICATIONS MANAGER
PR/MARKETING ASSOCIATE
COMMUNITY CONNECTIONS COORDINATOR
BOARD OF DIRECTORS
ADVISORY BOARD
Kate Kush PRESIDENT
Dale Flecker VICE PRESIDENT
David Vargo TREASURER
Eric Reustle CLERK
Elizabeth S. Boveroux
Marion Bullitt
H. Franklin Bunn
Coventry Edwards-Pitt
David Kravitz
Patrice Moskow
Charles Sherman
Vincent Stanton, Jr.
Dana Whiteside
The Rev. Pamela L. Werntz,
ex-officio
Belden Hull Daniels
Richard Dyer
Anthony Fogg
The Rt. Rev. Alan M. Gates
John Harbison
Rose Mary Harbison
Ellen T. Harris
David Hoose
Richard Knisely
Sara Lawrence-Lightfoot
Robert Levin
Errol Morris
Mark Morris
Joan Nordell
James Olesen
Richard Ortner
Ellis L. Phillips, III
Peter Sellars
Russell Sherman
Sanford Sylvan
Christoph Wolff
Benjamin Zander
15 Newbury Street | Boston, MA 02116 | 617.536.3356 | emmanuelmusic.org
THE ABDUCTION FROM THE SERAGLIO
Singspiel, 1782
WOLFGANG AMADEUS MOZART
Libretto 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
Konstanze
Barbara Kilduff, soprano
Belmonte
Charles Blandy, tenor
Blonde
Teresa Wakim, soprano
Sponsored by Butler and Lois Lampson
Sponsored by Robert N. Shapiro
Pedrillo
Jason McStoots, tenor
Osmin
Donald Wilkinson, bass
PashaSelim
Richard Dyer
Chorus of Janissaries
The Orchestra and Chorus of Emmanuel Music
Ryan Turner, conductor
Nathan Troup, director
Tonight’s performance is made possible through the generosity of
Alan J. and Suzanne W. Dworsky
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.
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.
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 Pedrillo, the gardener. Blonde has been given as a gift by the pasha to his overseer, 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’ window 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 eventually 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 NOTES
In January of 1781, the then 25-year-old Wolfgang Amadeus Mozart was enjoying 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 returning 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 remain in Vienna for several reasons. First and foremost was his desire to write
opera. Unlike the more conservative theater audiences in Salzburg, the Viennese 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 Weber 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 students, performed regularly, wrote music at a furious pace and began publishing. 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 understand the value of love and the importance of compassion. Mozart also
changed the story’s ending in a particularly important way. In the original, Belmonte 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 today. 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 characters. Lesser composers wrote music for singspiels as merely light entertainment; 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 buffa 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 instant 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
THE ORCHESTRA OF EMMANUEL MUSIC
Violin I
Bass
Danielle Maddon
Randall Zigler
Dianne Pettipaw
Katherine Foss
Heather Braun
Rose Drucker
Flute
Lena Wong
Vanessa Holroyd
Karen Oosterbaan
Jacqueline DeVoe
Horn
Whitacre Hill
Alyssa Daly
Violin II
Heidi Braun-Hill
Jesse Irons
Etsuko Ishizuka
Betsy Hinkle
Mark Oshida
Piccolo
Vanessa Holroyd
Percussion
Robert Schulz
Oboe
Peggy Pearson
Jennifer Slowik
Timpani/Percussion
Gary DiPerna
Viola
Mark Berger
Nathaniel Farny
Joan Ellersick
Daniel Dona
Clarinet
Rane Moore
Eran Egozy
Cello
Rafael Popper-Keizer
Cora Swenson Lee
Michael Curry
Trumpet
Bruce Hall
Paul Perfetti
Orchestra Personnel
Manager
Joan Ellersick
Bassoon
Thomas Stephenson
Jensen Ling
THE CHORUS OF EMMANUEL MUSIC
Soprano
Gail Abbey*
Roberta Anderson
Margaret Johnson
Jaylyn Olivo
Erika Vogel
Tenor
Rehearsal Pianist &
Jonas Budris*
Vocal Coach
David McSweeney
Brett Hodgdon
Eric Christopher Perry
Alto
Mary Gerbi
Thea Lobo
Deborah Rentz-Moore
Majie Zeller*
Bass
Bradford Gleim
Brett Johnson
Mark McSweeney*
* soloist
TEXT & TRANSLATION
ERSTER AUFZUG
ACT ONE
N. 1 Arie
No. 1 Aria
BELMONTE
Hier 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 Freuden
Und bringe mich ans Ziel.
BELMONTE
Here shall I see you,
Konstanze, you my hope!
Oh heaven, let it be so
And restore my peace of mind.
Oh love, I have suffered too much!
Now bestow happiness upon me instead
And lead me to my goal.
N. 2 Lied und Duett
No. 2 Song and Duet
OSMIN
Wer 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!
OSMIN
He who has found a sweetheart
Who 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!
Doch sie treu sich zu erhalten,
Schliess er Liebchen sorglich
ein;
Denn die losen Dinger haschen
Jeden Schmetterling, und naschen
Gar zu gern vom fremden Wein.
But to ensure that she remains faithful
He 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.
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!
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
fools
And then you can say good night to
fidelity!
Platz vor dem Palast des Bassa Selim
am Ufer des Meeres.
A square in front of the Pasha’s palace
by the sea shore.
TEXT & TRANSLATION
N. 3 Arie
No. 3 Aria
OSMIN
Solche hergelaufne Laffen,
Die nur nach den Weibern gaffen,
Mag ich vor den Teufel nicht;
Denn ihr ganzes Tun und Lassen
Ist, uns auf den Dienst zu passen;
Doch mich trügt kein solch Gesicht.
OSMIN
Popinjays sprung up from nowhere
with nothing but women on their minds
I can’t put up with them.
All they ever do
Is to watch our every step,
But I’m not duped by types like that!
Eure Tücken, eure Ränke,
Eure Finten, eure Schwänke
sind mir ganz bekannt.
Mich zu hintergehen,
Müsst ihr früh aufstehen,
Ich hab’ auch Verstand.
Your deceit and your plots,
Your schemes and your tricks,
I know them all.
If you’d get the better of me
You’ll have to get up earlier.
I’ve got some sense too.
Drum, beim Barte des Propheten!
Ich studiere Tag und Nacht,
Dich so mit Manier zu töten,
Nimm dich, wie du willst in acht.
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.
Erst geköpft,
dann gehangen,
dann gespießt
auf heiße Stangen;
dann vebrannt,
dann gebunden,
und getaucht;
zuletzt geschunden.
First you’ll be beheaded,
Then you’ll be hanged,
Then impaled
On red hot spikes;
Then burned,
Then manacled
And drowned;
Finally flayed alive.
TEXT & TRANSLATION
N. 4 Rezitativ und Arie
No. 4 Recitative and Aria
BELMONTE
Konstanze, dich wiederzusehen, dich!
BELMONTE
Konstanze, to see you again, you!
O wie ängstlich, o wie feurig
Klopft mein liebevolles Herz!
Und des Wiedersehens Zähre
Lohnt der Trennung bangen
Schmerz.
Oh how fearfully, oh how fervently
My heart is beating, full of love!
And the tears shed at seeing her again
Are recompense for the bitter pain of
parting.
Schon zittr’ ich und wanke,
Schon zag’ ich und schwanke;
Es hebt sich die schwellende Brust!
I tremble, I falter,
I hesitate, I shrink,
My heart swells and beats faster!
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?
Is that her whisper?
Anxiety fills me!
Was that her sigh?
My cheeks are afire!
Did love deceive me?
Was it a dream?
N. 5 Chor der Janitscharen
No. 5 Janissaries ‘ Chorus
Singt dem großen Bassa Lieder,
Töne, feuriger Gesang;
Und vom Ufer halle wider
Unsrer Lieder Jubelklang!
Sing to the mighty Pasha,
Resound, fiery song;
And let the shore reverberate
With the joyful sound of our songs!
SOLI
Weht ihm entgegen, kühlende Winde,
Ebne dich sanfterm wallende Flut!
Singt ihm entgegen fliegende
Chöre,
Singt ihm der Liebe Freuden ins
Herz!
SOLOS
Waft 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
No. 6 Aria
KONSTANZE
Ach ich liebte,
war so glücklich,
Kannte nicht der Liebe Schmerz;
Schwur ihm Treue, dem Geliebten,
Gab dahin mein ganzes Herz.
KONSTANZE
Alas, 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.
Doch wie schnell schwand meine Freude,
Trennung war mein banges Los;
Und nun schwimmt mein Aug’ in Tränen,
Kummer ruht in meinem Schoss.
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.
N. 7 Terzett
No. 7 Trio
OSMIN
Marsch! Trollt euch fort!
Sonst soll die Bastonade
Euch gleich zu Diensten stehn!
OSMIN
Away! Away! Away! Clear off!
Or else the bastinado
Will be straightway at your service!
BELMONTE - PEDRILLO
Ei, ei! Das wär’ ja schade,
Mit uns so umzugehn!
BELMONTE - PEDRILLO
My, wouldn’t it be a pity
To treat us like that!
OSMIN
Kommt nur nicht näher,
Sonst schlag’ ich drein!
OSMIN
Don’t come any closer,
Or else I’ll let fly.
BELMONTE - PEDRILLO
Weg von der Türe!
Wir gehn hinein!
BELMONTE - PEDRILLO
Stand back from the door!
We’re going in!
OSMIN
Marsch, fort! Ich schlage drein!
OSMIN
Quick march! Or I’ll let fly!
BELMONTE - PEDRILLO
Platz, fort! Wir gehn hinein!
BELMONTE - PEDRILLO
Stand back! We’re going in!
*
*
*
BRIEF PAUSE
*
*
*
TEXT & TRANSLATION
ZWEITER AUFZUG
ACT TWO
N. 8 Arie
No. 8 Aria
BLONDE
Durch Zärtlichkeit und Schmeicheln,
Gefälligkeit und Scherzen
Erobert man die Herzen
Der guten Mädchen leicht.
BLONDE
With tenderness and pretty words,
Kindness and pleasantries,
It is easy to conquer
Good girls’ hearts.
Doch mürrisches Befehlen,
Und Poltern, Zanken, Plagen
Macht, dass in wenig Tagen
So Lieb’ als Treu’ entweicht.
But surly commands,
Banging about, nagging, tormenting,
Will result, in a few days,
In love and fidelity departing.
N.9 Duett
No. 9 Duet
OSMIN
Ich gehe, doch rate ich dir,
den Schurken Pedrillo zu meiden.
OSMIN
I’m going, but let me advise you
To keep away from that rascal Pedrillo.
BLONDE
Fort, pack’ dich nicht mit mir,
Du weißt ja, ich kann es nicht leiden.
BLONDE
Be off, don’t order me about,
You know that I can’t abide it.
OSMIN
Versprich mir...
OSMIN
Promise me ...
BLONDE
Was fällt dir da ein!
BLONDE
How dare you?
OSMIN
Zum Henker!
OSMIN
Hang it all!
BLONDE
Fort, laß mich allein!
BLONDE
Away, leave me alone!
Garten am Palast des Bassa Selim. An
der Seite Osmins Wohnung.
A garden in Pasha Selim’s palace;
Osmin’s quarters are at the side.
TEXT & TRANSLATION
OSMIN
Wahrhaftig, kein Schritt von der
Schwelle,
Bist du zu gehorchen mir schwörst.
OSMIN
Indeed, I won’t budge an
inch
Until you swear to obey me.
BLONDE
Nicht soviel, du armer Geselle,
Und wenn du der Großmogul
wärst.
BLONDE
Not a bit, you poor fool,
Even if you were the Great Mogul in
person.
OSMIN
O Engländer! Seid ihr nicht Toren,
Ihr laßt euern Weibern den Willen!
Wie ist man geplagt und geschoren,
Wenn solch eine Zucht man erhält!
OSMIN
O Englishmen, what fools you are
To let your women have their own way!
What a bother and nuisance it is
To be landed with such a creature.
BLONDE
Ein Herz so in Freiheit geboren
Läßt niemals sich sklavisch behandeln;
Bleibt, wenn schon die Freiheit verloren,
Noch stolz auf sie, lachet
der Welt!
Nun troll’ dich!
BLONDE
A heart born to freedom
Will never submit to slavery;
Even if liberty is lost
It is still proud to be free and laughs at
the world!
Now be off!
OSMIN
So sprichst du mit mir?
OSMIN
How dare you address me like that?
BLONDE
Nicht anders!
BLONDE
Just like that.
OSMIN
Nun bleib’ ich erst hier!
OSMIN
I’ll stay, all the more.
BLONDE
Ein andermal! Jetzt mußt du gehen.
BLONDE
Some other time! Now you must go.
OSMIN
Wer hat solche Frechheit gesehen!
OSMIN
Was there ever such impudence!
TEXT & TRANSLATION
BLONDE
Es ist um die Augen geschehen,
Wofern du noch länger verweilst!
BLONDE
Your eyes are in peril
If you stay here any longer.
OSMIN
Nur ruhig, ich will ja gern gehen,
Bevor du gar Schläge erteilst!
OSMIN
Keep quiet, I’m going, I’m going,
Before you start using your fists!
N. 10 Rezitativ und Arie
No. 10 Recitative and Aria
KONSTANZE
Welcher Wechsel herrscht in meiner
Seele
Seit dem Tag, da uns das Schicksal
trennte.
O Belmonte, hin sind die Freuden,
Die ich sonst an deiner Seite kannte!
Banger Sehnsucht Leiden
Wohnen nun dafür in der beklemmten
Brust.
KONSTANZE
Oh, what changes have been wrought
in my heart
Since that day when fate
parted us!
Oh Belmonte! The joys have departed
Which I knew when by your side;
The pains of anxious longing
Now inhabit my oppressed
heart!
Traurigkeit ward mir zum Lose,
Weil ich dir entrissen bin.
Gleich der wurmzernagten Rose,
Gleich dem Gras im Wintermoose,
Welkt mein banges Leben hin.
Unhappiness has become my lot
Because I have been torn from you.
Like the rose, eaten by worms,
Like the grass that withers in winter
My wretched life is fading away.
Selbst der Luft darf ich nicht sagen
Meiner Seele bittern Schmerz,
Denn, unwillig ihn zu tragen,
Haucht sie alle meine Klagen
Wieder in mein armes Herz.
Not even to the air may I confide
The bitter anguish of my soul,
Because, unwilling to endure it,
The very air blows all my laments
Back into my afflicted heart.
TEXT & TRANSLATION
N. 11 Arie
No. 11 Aria
KONSTANZE
Martern aller Arten
Mögen 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.
KONSTANZE
Tortures of every kind
May 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, unflinchingly
I choose every pain and grief.
Well then, command, coerce me,
Roar, fulminate, rage,
Death will liberate me in the end.
N. 12 Arie
No. 12 Aria
BLONDE
Welche Wonne, welche Lust
Regt sich nun in meiner Brust!
Voller Freuden will ich springen,
Ihr die frohe Nachricht bringen;
Und mit lachet und mit Scherzen
Ihrem schwachen, kranken Herzen
Freud und Jubel prophezeihn.
BLONDE
What bliss, what delight
Holds sway within my heart!
I must hasten without delay
To bring her the news straight away
And with laughter and pleasantries
I will prophesy to her weak, timid heart
Happiness and rejoicing.
N. 13 Arie
No. 13 Aria
PEDRILLO
Frisch 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.
PEDRILLO
Now 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
No. 14 Duet
PEDRILLO
Vivat Bacchus! Bacchus lebe!
Bacchus war ein braver Mann!
PEDRILLO
Vivat Bacchus, long live Bacchus,
Bacchus was a fine fellow.
OSMIN
Ob ich’s wage? Ob’s ich trinke?
Ob’s wohl Allah sehen kann?
OSMIN
Shall I chance it? Shall I drink it?
Can Allah see me?
PEDRILLO
Was hilft das Zaudern? Hinunter,
hinunter!
Nicht lange, nicht lange gefragt!
PEDRILLO
What’s the use of wavering? down with
it, down with it!
Don’t delay any longer!
OSMIN
Nun wär’s geschehen, nun wär’s
hinunter!
Das heiß’ ich, das heiß’ ich gewagt!
OSMIN
Now the deed is done, now I have
downed it;
I do declare, that’s brave!
BEIDE
Es leben die Mädchen,
die Blonden, die Braunen!
Sie leben noch!
TOGETHER
Three cheers for the girls,
The blondes, the brunettes,
Three cheers!
PEDRILLO
Das schmeckt trefflich!
PEDRILLO
It tastes lovely!
OSMIN
Das schmeckt herrlich!
OSMIN
It tastes heavenly!
BEIDE
Ah! das heiß’ ich Göttertrank!
Vivat Bacchus!
Bacchus lebe!
Bacchus, der den Wein erfand!
TOGETHER
That’s what I call a drink for the Gods!
Vivat Bacchus,
Long live Bacchus,
Bacchus who discovered wine!
TEXT & TRANSLATION
N. 15 Arie
No. 15 Aria
BELMONTE
Wenn der Freude Tränen fliessen,
Lächelt Liebe dem Geliebten hold.
Von den Wangen sie zu küssen
Ist der Liebe schönster, grösster Sold.
Ach, Konstanze! Dich zu sehen,
Dich voll Wonne, voll Entzücken
An mein treues Herz zu drücken.
Lohnt fürwahr nicht Kron’ und Pracht!
BELMONTE
When tears of joy flow freely,
Love kindly smiles upon the lover;
To kiss them from her cheeks
Is love’s highest reward.
Oh, Konstanze! To behold you!
Blissfully and full of delight
To hold you close to my faithful heart,
Croesus’ treasure could not equal it.
Ah, dieses sel’ge erst Wiederfinden
Lässt innig läßt innig mich ganz
empfinden,
Welchen Schmerz die Trennung
macht.
Were we never to be reunited,
Better that we were never
to know
The bitter pangs
of separation.
N. 16 Quartett
No. 16 Quartet
KONSTANZE
Ach, Belmonte! Ach, mein Leben!
KONSTANZE
Ah, Belmonte, my beloved!
BELMONTE
Ach, Konstanze! Ach, mein Leben!
BELMONTE
Ah, Konstanze, my beloved!
KONSTANZE
Ist es möglich? Welch Entzücken,
Dich an meine Brust zu drücken
Nach so vieler Tage Leid!
KONSTANZE
Can it be? What rapture!
To hold you close to my heart
After so many days of unhappiness!
BELMONTE
Welche Wonne, dich zu finden!
Nun muß aller Kummer schwinden!
O wie ist mein Herz erfreut!
BELMONTE
What bliss to find you!
Now all grief must vanish!
Oh how my heart rejoices!
KONSTANZE
Sieh, die Freudeträne fließen!
KONSTANZE
See how my tears of joy flow freely.
BELMONTE
Holde! Laß hinweg sie küssen!
BELMONTE
Angel! Let me kiss them away!
KONSTANZE
Daß es doch die letzte sei!
KONSTANZE
Let them be the last ones.
TEXT & TRANSLATION
BELMONTE
Ja, noch heute wirst du frei!
BELMONTE
Indeed, you shall be free this very day.
PEDRILLO
Also Blondchen, hast’s verstanden?
Alles ist zur Flucht vorhanden,
Um Schlag Zwölfe sind
wir da!
PEDRILLO
Now, Blonde, have you understood?
Everything is prepared for flight.
We will be here on the stroke of
midnight.
BLONDE
Unbesorgt! Es wird nichts fehlen,
Die Minuten werd’ ich zählen,
Wär’ der Augenblick schon da!
BLONDE
Don’t worry, all will be ready,
I shall count the minutes;
If only the moment were here already!
ALLE
Endlich scheint die Hoffnungssonne
Hell durchs trübe Firmament!
Voll Entzücken, Freud und Wonne
Sehn wir unsrer Leiden End’!
ALL FOUR TOGETHER
At last the sun of hope
Illuminates the gloomy skies!
Full of rapture, joy and bliss
We can see the end of our suffering!
BELMONTE
Doch, ach! bei aller Lust
Empfindet meine Brust
Doch manch’ geheime Sorgen!
BELMONTE
Yet, in spite of my happiness
My heart within my breast
Is full of secret care.
KONSTANZE
Was ist es Liebster, sprich!
Geschwind, erkläre dich!
O halt mir nichts verborgen!
KONSTANZE
What is it, dearest? Tell me,
Quickly, explain yourself.
Conceal nothing from me!
BELMONTE
Man sagt... man sagt... du seist...
BELMONTE
They say? they say? that you ...
KONSTANZE
Nun weiter?
KONSTANZE
Go on!
PEDRILLO
Doch Blondchen, ach, die Leiter!
Bist du wohl soviel wert?
PEDRILLO
But Blonde, oh that ladder!
Are you really worth it?
BLONDE
Hans Narr, schnappt’s bei dir über?
Ei, hättest du nur lieber
Die Frage umgekehrt.
BLONDE
You fool, have you gone mad?
It might be better
If you had turned the question round!
TEXT & TRANSLATION
PEDRILLO
Doch Herr Osmin...
PEDRILLO
But Master Osmin?
BLONDE
Laß hören!
BLONDE
Let’s hear it!
KONSTANZE
Willst du dich nicht erklären?
KONSTANZE
Will you not explain yourself?
BELMONTE
Man sagt...
BELMONTE
They say?
PEDRILLO
Doch Herr Osmin...
PEDRILLO
But Master Osmin?
BELMONTE
Du seist...
BELMONTE
That you?
PEDRILLO
Doch Herr Osmin...
PEDRILLO
But Master Osmin?
KONSTANZE
Nun weiter?
KONSTANZE
Go on?
BLONDE
Laß hören!
BLONDE
Let’s hear it!
KONSTANZE
Willst du dich nicht erklären?
KONSTANZE
Will you not explain yourself?
BELMONTE
Ich will. Doch zürne nicht,
Wenn ich nach dem Gerücht,
Das ich gehört, es wage,
Dich zitternd, bebend frage,
Ob du den Bassa liebst?
BELMONTE
I will. But do not be angry
If, having heard a rumor,
I should dare to ask you
In fear and trembling
Whether you love the Pasha?
PEDRILLO
Hat nicht Osmin etwan,
Wie man fast glauben kann,
Sein Recht als Herr probieret
Und bei dir exerzieret?
Dann wär’s ein schlechter Kauf!
PEDRILLO
Has Master Osmin never,
As one might well believe,
Exercised his lordly rights
Upon you as your owner?
That would be a poor bargain!
TEXT & TRANSLATION
KONSTANZE
(zu Belmonte)
O wie du mich betrübst!
(Sie weint)
KONSTANZE
(to Belmonte)
Oh, how you grieve me!
(She weeps)
BLONDE
(zu Pedrillo)
Da, nimm die Antwort drauf!
(gibt dem Pedrillo eine Ohrfeige)
BLONDE
(to Pedrillo)
Here’s my reply to you!
(slaps Pedrillo’s face)
PEDRILLO
(hält sich die Wange)
Nun bin ich aufgeklärt!
PEDRILLO
(rubbing his cheek)
Now I am in the picture.
BELMONTE
Konstanze, ach vergib!
BELMONTE
Konstanze, oh forgive me!
BLONDE
(geht zornig von Pedrillo)
Du bist mich gar nicht wert!
BLONDE
(angrily walking away from Pedrillo)
You don’t deserve me at all!
KONSTANZE
(seufzend sich von Belmonte
wegwendend)
Ob ich dir treu verlieb?
KONSTANZE
(sighing as she turns away from Belmonte)
Have I remained faithful to you?
BLONDE
(zu Konstanze)
Der Schlingel fragt gar an,
Ob ich ihm treu gelieben.
BLONDE
(to Konstanze)
The rogue has dared to ask
Whether I have remained true to him!
KONSTANZE
(zu Blonde)
Belmonte sagte man,
Ich soll den Bassa lieben!
KONSTANZE
(to Blonde)
And Belmonte has been told
That I love the Pasha!
PEDRILLO
(hält sich die Wange; zu Belmonte)
Daß Blonde ehrlich sei,
Schwör’ ich bei allen Teufeln!
PEDRILLO
(rubbing his cheek)
I’d take my dying oath
On Blonde’s fidelity!
BELMONTE
(zu Pedrillo)
Konstanze ist mir treu,
Daran ist nicht zu zweifeln!
BELMONTE
(to Pedrillo)
Konstanze is true to me,
There can be no doubt about it.
TEXT & TRANSLATION
KONSTANZE - BLONDE
Wenn unsre Ehre wegen
Die Männer Argwohn hegen,
Verdächtig auf uns sehn,
Das ist nicht auszustehn!
KONSTANZE- BLONDE
When men become suspicious
And have no faith in our honor,
And look upon us with mistrust,
It is not to be borne.
BELMONTE - PEDRILLO
Sobald sich Weiber kränken,
Daß wir sie untreu denken,
Dann sind sie wahrhaft treu,
Von allem Vorwurf frei!
BELMONTE - PEDRILLO
When women are aggrieved
Because we think them fickle,
Then they are really true
And free from all reproaches.
PEDRILLO
Liebstes Bondchen, ach, verzeihe!
Sieh, ich bau’ auf deine Treue
Mehr jetzt ja als auf meinen Kopf!
PEDRILLO
Dearest Blonde, do forgive me!
Look, I put more faith in your fidelity
Than upon my own head!
BLONDE
Nein, das kann ich dir nicht schenken,
Mich mit so was zu verdenken,
Mit dem alten, dummen Tropf!
BLONDE
No, you can’t get away with it.
Suspecting me of doing that
With that foolish old buffer!
BELMONTE
Ach, Konstanze! Ach, mein Leben!
Könntest du mir noch vergehen,
Daß ich diese Frage tat?
BELMONTE
Oh, Konstanze, my beloved!
Can you ever forgive me
For having asked such a question?
KONSTANZE
Belmonte, wie? Du könntest glauben,
Daß man dir dies Herz könnt’ rauben,
Das nur dir geschlagen hat?
KONSTANZE
Belmonte! How could you believe
That anyone could steal this heart
Which beats for you alone?
BELMONTE - PEDRILLO
Ach, verzeihe!
BELMONTE - PEDRILLO
Oh, forgive me!
BELMONTE - PEDRILLO
Ich bereue!
BELMONTE - PEDRILLO
I am repentant!
KONSTANZE - BLONDE
Ich verzeihe deiner Reue!
KONSTANZE - BLONDE
I forgive your remorse.
ALLE
Wohl, es sei nun Abgetan!
Es lebe die Liebe!
Nur sie sei uns teuer;
Nichts fache das Feuer
Der Eifersucht an.
ALL FOUR
Well, let this be the end of the matter!
Long live love
Let us value nothing else!
Let nothing kindle
The fire of jealousy.
TEXT & TRANSLATION
*
*
*
INTERMISSION
DRITTER AUFZUG
Platz vor dem Palast des Bassa Selim.
Auf einer Seite der Palast des
Bassa; gegenüber die Wohnung des
Osmin; hinten Aussicht auf das Meer.
Es ist Mitternacht.
*
*
*
ACT THREE
In 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.
N. 17 Arie
No. 17 Aria
BELMONTE
Ich baue ganz auf deine Stärke,
Vertrau’, o Liebe, deiner Macht,
Denn ach! Was wurden nicht für Werke
Schon oft durch dich zustand’ gebracht!
Was aller Welt
unmöglich scheint,
Wird durch die Liebe doch vereint.
BELMONTE
Oh love, I build upon your strength,
I rely upon your power;
Consider what works
Have been achieved by you!
What all the world
thinks impossible.
Will yet be brought about through love.
N. 18 Romanze
No. 18 Romance
PEDRILLO
In Mohrenland gefangen war
Ein Mädel hübsch und fein;
Sah rot und weiss, war schwarz von Haar,
Seufzt Tag und Nacht und weinte gar,
Wollt’ gern getröstet sein.
PEDRILLO
In Moorish lands imprisoned lay
A girl, pretty and delicate;
Rosy cheeks, white skin, black hair,
She sighed day and night, she even wept,
Longing to be rescued.
Da kam aus fremdem Land daher
Ein junger Rittersmann;
Den jammerte das Mädchen sehr,
Ha, rief er, wag’ ich Kopf und Ehr’,
Wenn ich sie retten kann.
Then came from foreign lands
A young knight
Who took pity on the maiden.
Hey, he cried, I’ll risk my life and honor
If only I can rescue her.
Ich komm’ zu dir in finstrer Nacht,
Lass, Liebchen, husch mich ein!
Ich fürchte weder Schloss nach Wacht,
Holla, horch auf, um Mitternacht
Sollst du erlöset sein.
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 midnight
You shall be saved.
Gesagt, getan; Glock’ Zwölfe stand
Der tapfre Ritter da;
Sanft reicht sie ihm die weiche Hand,
Früh man die leere Zelle fand;
Fort war sie Hopsasa!
No sooner said than done, on the stroke
Of 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!
TEXT & TRANSLATION
N. 19 Arie
No. 19 Aria
OSMIN
Ha, wie will ich triumphieren,
Wenn sie euch zum Richtplatz
führen
Und die Hälse schnüren zu!
OSMIN
Oh, how I shall triumph
When they conduct you to the place of
execution
And put the garrote round your throats!
Hüpfen will ich, lachen, springen
Und ein Freudenliedchen singen,
Denn nun hab’ ich vor euch Ruh.
I shall gambol, laugh and jump about
And sing a song of delight,
Since I am rid of you at last.
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.
No matter how softly
and carefully you prowl,
You confounded harem mice,
Our ear is bound to detect you!
And ere you can escape us
You find yourselves caught in our
snares
And will get your just deserts.
N. 20 Rezitativ und Duett
No. 20 Recitative and Duet
BELMONTE
Welch ein Geschick! O Qual der Seele!
Hat sich denn alles wider mich
verschworen!
Ach, Konstanze!
Durch mich bist du verloren!
Welch eine Pein!
BELMONTE
What cruel fate! What grief!
Has everything conspired
against me?
Oh, Konstanze!
Through my fault you are in peril!
What agony!
KONSTANZE
Laß, 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.
KONSTANZE
Beloved,
do not let it trouble you.
What is death?
It leads to peace.
And furthermore, by your side,
It is a foretaste of bliss.
TEXT & TRANSLATION
BELMONTE
Engelseele! Welch holde Güte!
Du flößest Trost in mein erschüttert
Herz,
Du linderst mir den Todesschmerz
Und ach, ich reiße dich ins
Grab.
BELMONTE
Angelic 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.
Meinetwegen willst du sterben!
Ach, Konstanze! Darf ich’s wagen,
Noch die Augen aufzuschlagen?
IIch bereite dir den Tod!
You must die on my behalf!
O, Konstanze, how dare I
Lift my eyes to you?
I am the cause of your death!
KONSTANZE
Belmonte, du stirbst meinetwegen!
Ich nur zog dich ins Verderben
Und ich soll nicht mit dir sterben?
Wonne ist mir dies Gebot!
KONSTANZE
Belmonte, 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.
BEIDE
Ach, Geliebte, dir zu leben
Ist mein Wunsch und all mein Streben;
Ohne dich ist mir’s nur Pein,
Länger auf der Welt zu sein.
TOGETHER
Noble soul, to live for you
Is my desire and all I strove for.
Without you, to live on in this world
Brings me nothing but pain.
BELMONTE
Ich will alles gerne leiden.
BELMONTE
Gladly will I suffer everything,
KONSTANZE
Ruhig sterb’ ich dann mit Freuden,
KONSTANZE
Peacefully and joyfully will I die,
BEIDE
Weil ich dir zu Seite bin.
Um dich Geliebte,
Gäb’ ich gern mein Leben hin!
O welche Seligkeit!
Mit dem Geliebten sterben
Ist seliges Entzücken!
Mir wonnevollen Blicken
Verläßt man da die Welt.
TOGETHER
Because you will be by my side.
For you beloved,
I would gladly give my life.
Oh what delight!
To die with the beloved
Is enchanted bliss!
With radiant looks
We shall depart this world.
TEXT & TRANSLATION
N. 21a Vaudeville
No. 21a Vaudeville
BELMONTE
Nie werd’ ich deine Huld verkennen;
Mein Dank sei ewig dir geweiht;
An jedem Ort zu jeder Zeit
Werd’ ich dich groß und edel nennen.
BELMONTE
Never will I forget your benevolence;
Forever shall I sing your praises.
In every place, at every time
I shall proclaim you great and noble.
ALLE
Wer so viel Huld
vergessen kann,
Den seh’ man mit Verachtung an!
ALL
Anyone who can forget such
graciousness
Deserves to be looked upon with scorn.
KONSTANZE
Nie werd’ ich im Genuß der Liebe
Vergessen, was der Dank
gebeut,
Mein Herz, der Liebe nur geweiht,
Hegt auch dem Dank geweihte
Triebe.
KONSTANZE
Never, 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.
ALLE
Wer so viel Huld vergessen
kann,
ALL
graciousness
PEDRILLO
Wenn ich es je vergessen könnte,
Wie nah’ ich am Erdrosseln war.
Und all der anderen Gefahr;
Ich lief’, als ob der Kopf mir brennte
PEDRILLO
If ever I were to forget
How close I came to being strangled,
And all the other perils?
I’d run as though my head were on fire.
ALLE
Wer so viel Huld vergessen kann,
ALL
graciousness
TEXT & TRANSLATION
BLONDE
Herr Bassa, ich sag’ recht mit Freuden
Viel 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.
BLONDE
My Lord Pasha, full of joy I thank you
Most heartily for board and lodging.
But I am truly glad
That you allow me to depart from here.
Just look upon that beast there,
Is that to be endured?
OSMIN
Verbrenne 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 gespießt
auf heiße Stangen;
dann vebrannt,
dann gebunden,
und getaucht;
zuletzt geschunden.
OSMIN
These dogs, we ought to burn them,
Who tricked us so shamefully!
I can bear it no longer;
My tongue is almost paralyzed
Through not being able to order their
reward:
First you’ll be beheaded,
Then you’ll be hanged,
Then impaled
On red hot spikes,
Then burned,
Then manacled
And drowned;
Finally flayed alive.
KONSTANZE - BELMONTE - BLONDE
- PEDRILLO
Nichts 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,
KONSTANZE - BELMONTE - BLONDE PEDRILLO
Nothing is as loathsome as revenge;
But to be humane and kind
And to forgive without self-interest –
Only a great soul is capable of that.
Anyone who can forget such graciousness
N. 21b Chor der Janitscharen
No. 21b Janissaries ‘ Chorus
CHOR
Bassa Selim lebe lange,
Ehre sei sein Eigentum!
Seine holde Scheitel prange
Voll von Jubel, voll von Ruh.
CHORUS
Long live Pasha Selim!
Let him be honored!
Let his exalted brow be wreathed
With rejoicing and renown.
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.
German ©Gottlob Stephanie, Jr.
English Translations ©Opera Folio.com
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ABOUT EMMANUEL MUSIC
Ryan Turner conducts Handel’s Susanna, April 5, 2014. Photo by Julian Bullitt.
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.
ABOUT THE ARTISTS
Ryan Turner, now in his fifth year as Artistic Director of
Emmanuel Music, brings both talent and heart to his musicmaking 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
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 musical assistant to choreographer Jessica Lang on her company’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 Museum 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 production. 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 faculties 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
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
ABOUT THE ARTISTS
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.
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 writing about music in The Boston Globe and many other newspapers and magazines, as well as the New Grove Dictionaries
of Music, Opera, and American Music, the Encyclopedia
Americana, and the Metropolitan Opera Encyclopedia of Opera; 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 Boston Lyric Opera, and Boston Midsummer Opera and several other organizations
and spent four seasons on the board of Emmanuel Music. He has covered European and Asian tours by the Boston Symphony, the Opera Company of Boston,
and the Boston Philharmonic Youth Orchestra. He has served on the eight different 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,
ABOUT THE ARTISTS
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.
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.
ABOUT THE ARTISTS
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 Cummings, 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 Mendelssohn’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, including 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.
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
ABOUT THE ARTISTS
Oliver Knussen. Mr. Wilkinson’s discography includes Ned Rorem’s soon-to-bereleased 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.
EMMANUEL MUSIC THANKS ALL MUSICIANS WHO HAVE SHARED THEIR ART IN 2014-15
Gail Abbey
Matthew Anderson
Roberta Anderson
Sarah Atwood
Steve Banzaert
Michael Beattie
Christopher Belluscio
Mark Berger
Sylvia Berry
Cheryl Bishkoff
Anne Black
Charles Blandy Hans Bohn
Mary-Lynne Bohn
Andrea Bonsignore
Heather Braun
Heidi Braun-Hill
Lila Brown
Jonas Budris
Abra Bush
Robert Byrd
Sasha Callahan
Sarah Cantor
Sebastian Chaves
Carrie 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 Degrugillier
Pamela Dellal
Jacqueline DeVoe
Gabriela Diaz
Charles Dimmick
Gary DiPerna
Daniel Dona
Rose Drucker
Eran Egozy
Joan Ellersick
Carola Emrich-Fisher
Terry Everson
Cassandra 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
AmandaHardy
Jane Harrison
Olav Chris Henriksen
Noriko Herndon
Daniel Hershey
Whitacre Hill
Randy Hiller
Betsy Hinkle
Brett Hodgdon
VanessaHolroyd
Joseph Holt
Jesse Irons
Etsuko Ishizuka
Laura Jeppesen
Brett Johnson
Margaret Johnson
Frank Kelley
Richard Kelley
Barbara Kilduff
Agnes Kim
David Kravitz
BarbaraLa 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 Morehan
Rane Moore
Sachiko Murata
Martin Near
Esther Ning Yau
Lynn Nowels
Jaylyn Olivo
Karen Oosterbaan
Mark Oshida
Camila 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
JenniferSlowik
Kamala Soparkar
Michael Sponseller
Timothy Steele
Thomas Stephenson
Daniel Stepner
Roksana Sudol
Cora Swenson Lee
Paul Max Tipton
Nicholas Tolle
Lynn Torgove
Seth Torres
Giomar Turgeon
Ryan Turner
Erik Van Heyningen
Erika Vogel
Lee Wadenpfuhl
Jason Wang
Brenna Wells
Gregory Whitaker
Dana Whiteside
Donald Wilkinson
Shari Alise Wilson
Lauren Winter
Katherine Winterstein
Heather Wittels
Martin Wittenberg
Lena Wong
Majie Zeller
Randall Zigler
COMMUNITY CONNECTIONS
Community Connections Program
Emmanuel 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
Daniel Doña, violist with the Arneis
Emmanuel Music’s core ensemble work
Quartet, works with a student at
with over 1000 young student musicians
Boston’s Dever-McCormack School
through collaborative performances,
as part of Emmanuel Music’s
master classes, workshops, and recitals.
Community Connections Program.
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.
greater boston
choral consortium
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
at 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 longtime 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
Hercules Society
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.
PILLAR OF HERCULES
AUGEAN STABILIZER
$5,000 and above
The Barrington Foundation
Julian and Marion Bullitt*
Kate and Tom Kush
$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
NEMEAN LION
$1,000 to $2,499
Richard and Mahala Beams
Harold J. Carroll
Victoria Cowling Chu and Michael Chu
David Cook and Annemarie Altman
Sarah M. Gates*
Rachel Jacoff
Margaret and Peter Johnson
Paul E. Keane and Linda Baron Davis
Kathryn and Edward Kravitz
Drs. Peter Libby and Beryl Benacerraf
Edward and Joan Mark*
Ruth and Victor McElheny
Robert Meyers
George and Martha Mutrie
Joan and Roderick Nordell
Jaylyn Olivo and Dale Flecker
Sheila D. Perry
William and Lia Poorvu
John Pratt*
David and Marie Louise Scudder
Robert N. Shapiro
Jeffrey Thomson and David Janero
M. T. Tosteson
Peter Wender
*Hercules Society Founder
CONCERT UNDERWRITING
Emmanuel Music Concert Underwriting 2014-2015
Timely, generous support is critical for artistic planning. We are especially grateful to the following individuals for helping us underwrite the 2014-2015 season.
Support of the Artistic Season
Community Connections Program
The Klarman Family Foundation
The Rowland Foundation
The Position of Artistic Director
The Bach Institute
H. Franklin and Betsy Bunn
Belden and Pamela Daniels
Oberlin College and Conservatory
Evening Concert Series
Lindsey Chapel Series
Alan J. and Suzanne W. Dworsky
The Mattina R. Proctor Foundation
Joan Margot Smith
Cynthia Livingston and Richard Shader
Soloist Underwriting
Charles L. Felsenthal
Robert N. Shapiro
Chamber Music Series
Sarah M. Gates
Kate and Tom Kush
John Pratt
The Cantata Series
Anonymous (5)
Gail and Darryl Abbey
Hanna and James Bartlett
Donald David and Margaret Hornady-David
Coventry Edwards-Pitt and
Matthew Weinzierl
Sarah M. Gates
Mary Eliot Jackson
Errol Morris and Julia Sheehan
Jaylyn Olivo and Dale Flecker
Parish of Emmanuel Church
Ruth Tucker and Dan Hazen
David Vargo and Sheila Collins
Estate 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 GIVING
Emmanuel Music Cumulative Giving
April 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 Jude@emmanuelmusic.
org or call 617.536.3356.
$50,000+
Kathryn and Edward Kravitz
Anonymous
$2,500+
David Kravitz and Majie Zeller
Joan Margot Smith
Gail and Darryl Abbey
Robert Levin and Ya-Fei Chuang
Young Music Fund, Emmanuel Church
Paul and Katie Buttenwieser
Camille^ and William Malamud
David Cook and Annemarie Altman
Edward and Joan Mark
Coventry Edwards-Pitt and
Ruth and Victor McElheny
$10,000+
Anonymous
Elizabeth Boveroux
Matthew Weinzierl
Patricia Krol and
Stephen Chiumenti
Robert Meyers
Mark Morris
George and Martha Mutrie
Julian and Marion Bullitt
Errol Morris and Julia Sheehan
Joan and Roderick Nordell
Olive Bridge Fund
Perkins School for the Blind
Pamela and Belden Daniels
Robert M. Shaprio
Sheila D. Perry
Eran Egozy and Yukiko Ueno-Egozy
Charles Sherman and
William and Lia Poorvu
Drs. Peter Libby and
Beryl Benacerraf
Amy Poliakoft
Vincent Stanton, Jr. and Viva Fisher
The Klarman Family Foundation
Vincent and Mary Alice Stanton
Kate and Tom Kush
David Stevens and
Marjorie Albright
Cynthia Livingston and
Diana Post and Hal Churchill
Frank and Denise Quattrone Foundation
Eric Reustle
David Rockefeller, Jr.
David and Marie Louise Scudder
$1,000+
Robert N. Shapiro
Mattina R. Proctor Foundation
Anonymous (2)
M. T. Tosteson
Rowland Foundation
The Atlantic Philanthropies
Debra and Ian Wallace
David Vargo and Sheila Collins
Richard and Mahala Beams
Peter Wender
F. Blair Weille^
Willa and Taylor Bodman
Dana Whiteside
Thomas Burger and Andrée Robert
Robert Zevin
Richard Shader
$5,000+
Pauline Ho Bynum
Anonymous (2)
Harold J. Carroll
$500+
Hanna and James Bartlett
Victoria Cowling Chu and
Anonymous (5)
Michael Chu
Dale Flecker and Jaylyn Olivo
Pamela Dellal and Roy Sansom
Sarah M. Gates
Arnold H. and
Timothy and Jane Gillette
Dianne B. Gazarian
Roberta Anderson
and David Dysert
Beth Baiter
The Barton Family Trust
Margaret Hornady-David and Don David
John and Rose Mary Harbison
Mary Eliot Jackson
Ann S. Higgins
Massachusetts Cultural Council
John Hsia
James and Margaret Bradley
Oberlin Conservatory and College
Rachel Jacoff
Jean Brenner
John Pratt
Margaret and Peter Johnson
Mary and Kenneth Carpenter
Ruth Tucker and Dan Hazen
Paul E. Keane and
Fay Chandler^
Linda Baron Davis
Olivier Bedel and
Jude Epsztein Bedel
Scott Corey Dunbar
CUMULATIVE GIVING
Christine Coughlin
Ann Boomer Milligan
Charles Freifeld and Marilyn Ray Smith
Robert and Margaret Faulkner
Lynn Nowels and James Olesen
Salome Fung
Tom and Jody Gill
William J. Pananos
GE Foundation*
Robert and Anne Goble
Dianne Pettipaw
David Getz
Phillip M. Henry
Rosemary Reiss and Avner Ash
Kitty Gladstone
Deborah A. Hoover
Dayla Arabella Santurri and
Ron and Elizabeth Goodman
Samuel Clowes Huneke
Stephen E. Gobish
Nadja Gould
Willie Lockeretz
Micho and William Spring
Winifred P. Gray
William A. Lokke
William and Lisa Strouss
Mary Jewett Greer
Christopher Lydon
Elizabeth and Peter Thomson
Jane Günter-McCoy and Seth T. McCoy
Danielle Maddon and
Grenny Thoron
The Rev. Constance A. Hammond
Ryan Turner and Susan Consoli
Suzanne and Easley Hamner
Robert and Binney Wells
Margaret Hanni
The Rev. Pamela L. Werntz and
John Heiss
Geoffrey Steadman
Bill Nigreen and
Kathleen McDermott
Eric and Anne Nordell
Ms Joy Howard
Randy Hiller
Winifred and Leroy Parker
Marilee Wheeler
Ellen Hinkle
Peggy Pearson
James White
Leslie M. Holmes
Plimpton-Shattuck Fund at Edith and Leon Lamont Wiltsee
Margot Dennes Honig
Boston Foundation
Ben and Mary Jaffee
Ellis L. Phillips, III
$100+
Ann G. Johnson
Bernie and Sue Pucker
Anonymous (4)
E. Dolores Johnson
David Satz
Michael and Serafin Anderson
Brett Johnson and David McSweeney
Mr. Robert A. Schuneman
Thomas W. Barber
Rosemary S. Kean
Schwab Charitable Fund
Ann Marie Barone
Sutti and Ehud Koch
Ute and Roy Tellini
Linda Cabot Black
Dr. A.A. Koeller
Mr. Cyril Yansouni
Tom and Susan Blandy
Jane Bryden and Chris Krueger
Winsor Music Inc.
Marie-Paule Bondat and
Sara and Eben Kunz
Michael Karr
Terry Kutolowski and Rick Muth
$250+
Esther Breslau
Debroah Lemont
Anonymous (2)
Alan Brock and James D. Baleja
Fred and Jean Leventhal
Alchemy Foundation
The Budris Family
James C. Liu and Alexandra G. Bowers
Lois Beattie
Mary Chamberlain
Peter and Elisabeth Loizeaux
Michael Beattie
Lynn Cohen
Frederick MacArthur
Mr. J. Buffington
Dr. John D. Constable
Barbara T. Martin
Penelope Caponigro
Sally R. Coughlin
Jane Roland Martin
Bill Chapman
Charles and Carol Cox
Susan Maycock and Charles M. Sullivan
David Chavolla
Bruce and Susan Creditor
Ellen Mayo
John and Cindy Coldren
Fay Dabney
Suzanne McAllister and Ralph Engstrom
Warren Cutler
John and Sally Davenport
Knox and Carlotta Mellon
Marie-Pierre and
Mary-Catherine Deibel and
Carol Monica
Michael Ellmann
Reid Fleming
Wendy and Clark Grew
Barbara DeVries
Donna and Alec Morgan
Frank and Susan Kelley
Charles and Sheila Donahue
Peggy Morrison
J.B. Kittredge and
Elsa Dorfman and
Nancy Mueller
Winand van Eeghen
Harvey Silverglate
Roslin P. Moore
Ellen and John O’Connor
Susan Larson and Jim Haber
Ursula Ehret-Dichter
Henry Paulus
Rebecca A. Lee
Michel and Françoise Epsztein
Bonnie Payne and Roger Tobin
Charles and Pauline Maier
Jane Farber and Jeffrey Tarter
Nancy Peabody
Pierre de St. J. Macbeth and Harriet Feinberg
John Petrowsky
CUMULATIVE GIVING
Harold I. Pratt
Paul H. Carr
Cornelis L. Thieme
Deborah and Caesar Raboy
Paula Chasan
Lynn Torgove
Janice Randall
Suzanne Colburn
Stewart and Sondra Vandermark
Pauline Ratta
Gretchen Conklin
Martin and Phyllis Wilner
Kelly Reed and Kenneth Williams
Allan and Grace Dibiase
Robert Wyckoff and Maya Hasegawa
Adam Reeves and Anne Kelly
Allison Donelan
^Deceased
Margo Risk
Jessi Eisdorfer
*Matching Gift
Allan Rodgers
Brenda and Monroe Engel
Virginia Rogers and William Hobbie
Jean Fuller Farrington
David Roochnik and
William Faucon
Gina Marie Crandell
Gaby Friedler
Lee and Shirley Rosen
Keith Glavash and Marylène Altieri
Frank Sander
Dave and Lynne Harding
Linda Abbey Saripalli and
Linda Heffner
Cedric Saripelli
Winifred Hentschel
Michael J. Scanlon
Edwin and Mary Hiller
Nancy Shafman and Mark Kagan
Marcia Jacob
Joseph Shandling
John Hancock Financial Services*
Andrew Sigel
Walter S. Jonas
Jill and David Silverstein
Peter and Cornelia Keenan
Jean Chapin Smith
John and Jonell Kenagy
Mr. and Mrs. Richard Southgate
Michael Kerpan and Patricia Suhrcke
Joel Stein
Donald Langbein
Alan Strauss
Peter A. Lans
Ann B. Teixeira
Mary Lincoln
Erin E.M. Thomas
Carol Marshall
Allen R. and Karen L. Thompson
Ralph and Sylvia Memolo
Tyler and Marcia Tingley
Barbara B. Merrifield
Doris Tsao
Jeffrey and Mary Mitchell
Victor and Mary Tyler
Tim Montgomery
William L. Vance
Martha Moor
Charles Warren
Eileen and Lawrence Moyer
Joel and Bonni Weinstein
Cornelius and Elizabeth Moynihan
Michael Welsh
Elizabeth Nordell and Rudy Perrault
Ed and Amy Wertheim
Hazel O’Donnell
T. Walley Williams, III
Eugene Papa
Katherine B. Winter
POD LLC*
Heather Wittels
Carmen Puopolo
Carl Woodbury
Peter and Linda Rubenstein
Carol P. Woodworth
Nancy and Ronald Rucker
Evelyn S. Wyman
Jo Sandman
Stephen and Toby Schlein
$50+
Effie A. Shumaker
Anonymous (4)
Rena and Michael Silevitch
Helen Glikman and Dan Bartley
Diane Sokal and Randolph Meiklejohn
Timothy E. Blackburn
Robert Solonche
Christopher Buckley
Susan Swan
Mike Budreski
Barbara and Robert Tinker
Suzanne Carleo
mozart
mozart
ACKNOWLEDGEMENTS
EMMANUEL 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
Cantigas de Santa Maria
and Cantigas d’Amigo
Shannon Canavin, Artistic Director
Exquisite voices…
Exhilarating performances.
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
“Creamy tone and pristine blend.”
– Boston Classical Review
“An intimate and joyful
musical experience.”
– Boston Musical Intelligencer
St. Anthony’s Portuguese Church
400 Cardinal Medeiros Way, Cambridge
Freewill offering gratefully accepted
857-998-0219 • www.exsultemus.org
www.NEPhilharmonic.org
855-463-7445
Innovation & Tradition in Concert
Stepping Stones of the 20th Century:
Celebrating Gunther Schuller at 90
SuNday, OctObEr 25, 2015, 3 Pm
MauriCe ravel Shéhérazade (1903)
Miracles and rhapsodies
Saturday, FEbruary 27, 2016, 8 Pm
brian robiSon
In Search of the Miraculous (2002)
anton von Webern
SerGei raChManinoFF
irvinG Fine Toccata Concertante (1947)
DMitri ShoStakoviCh October (1967)
Gunther SChuller
bernarD hoFFer
Six Pieces for Orchestra (1909)
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 Winner
rob kaPiloW Elijah’s Angel (1998)
boston city Singers, Jane money, director
Rhapsody on a Theme of Paganini, op. 43 (1934)
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, soloist
Jean SibeliuS The Oceanides (1914)
DaviD rakoWSki Symphony no. 6 (2016)
NEP cOmmiSSiON, wOrld PrEmiErE
LONGY SCHOOL OF MUSIC OF BARD COLLEGE
CELEBRATING 100 YEARS
OF MUSICAL EXCELLENCE
Founded in 1915.
Progressive then,
progressive today.
Join us in September as we launch
our 100th year with a season full
of exciting performances and
celebratory events.
longy.edu/longy100
75th Diamond Anniversary Season
Let's Celebrate Together!
Crowning Achievements
HANDEL
Coronation Anthems
HAYDN
Coronation Mass
TOM VIGNIERI ~ commissioned world premiere ~
Fri, May 8, 2015 at 8PM ¥ Sanders Theatre, Cambridge
Free Parking ¥ Special Dining Offers ¥ Check website for details
MasterworksChorale.org ¥ (617) 858-6785
Steven Karidoyanes, conductor
h
s
i
t
i
g
r
n
b
i
there com
a
THE
BRITISH
INVASION
MAY–JUNE 2015
Learn more and buy tickets at
ODYSSEYOPERA.ORG
RALPH VAUGHAN WILLIAMS
SIR JOHN IN LOVE
WILLIAM WALTON
THE BEAR
ARTHUR SULLIVAN
THE ZOO
KINGS, QUEENS,
SAINTS AND SINNERS
FIVE MONODRAMAS
THOMAS ADÈS
POWDER HER FACE
Believing is not a condition of beloving or belonging here.
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 ensemblein-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.
Emmanuel Church in the City of Boston - 15 Newbury St., Boston MA 02116 - www.emmanuelboston.org
Play a Role today.
Support over 200 of Boston’s most outstanding musicians and over 50 performances
each year. Ensure that most of our concerts remain free and open to the public, while enjoying special benefits to enhance your concert-going experience.
I would like to make a gift to Emmanuel Music’s ANNUAL FUND of:
$50 (Associate)
$100 (Partner)
$1,000 (Benefactor)
$250 (Friend)
$2,500 (Bravo)
$500 (Sustainer)
Other $_________
I would like to join the HERCULES SOCIETY to support Evening Concerts with a gift of:
$1,000 (Nemean Lion)
$2,500 (Augean Stabilizer)
$5,000 (Pillar of Hercules)
Other $_________
Please charge my gift to the following credit card:
Visa
MasterCard
American Express
Credit Card number:_______________________________ Exp. Date _________________
Security Code (3-4 digits): __________
Enclosed is a check payable to Emmanuel Music.
Name__________________________________________________________________________
Address________________________________________________________________________
Phone __________________________Email______________________
Please list me in program books as follows:
____________________________________________________________________________
I/We wish to remain anonymous.
Please complete this form and return to:
Emmanuel Music, 15 Newbury Street, Boston, MA 02116 or make your gift online at
www.emmanuelmusic.org.
Thank you for your support!
To discuss other giving opportunities, please contact Jude Epsztein Bedel, Director of
Development, at 617.536.3356.
Your gift is tax-deductible to the fullest extent of the law.

notes - Emmanuel Music

Transcription

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