25/26 Season: Jordi Svall

n SUNDAY, APRIL 12, 2026 4PM | NEC’s Jordan Hall, Boston

WELCOME

Dear Friends,

We’re delighted to welcome you to the penultimate event of our 25/26 Season. Since our very first concert series, the Boston Early Music Festival has proudly presented the incomparable Catalan viola da gambist Jordi Savall both as a soloist and in collaboration with his legendary ensembles Hespèrion XXI, La Capella Reial de Catalunya, and Le Concert des Nations. Long regarded as one of the most inspiring performers in the Early Music field, he is admired for his integrity, his immense musical curiosity, and his creation of countless new musical and cultural projects spanning more than five decades, bringing to light music that would otherwise have remained lost to us. He returns to BEMF with La Capella Reial de Catalunya, Hespèrion XXI, and illustrious guest artists to present an inspiring program exploring the ways in which music has served as a vehicle of faith, resilience, and transformation across the centuries in the Old and New Worlds, from the Medieval troubadours to songs from the African diaspora to Sephardic prayers to indigenous melodies and languages.

We hope you will join us as our series concludes on Saturday, April 25, at St. Paul Church in Cambridge, when we welcome back to BEMF the magnificent French countertenor Philippe Jaroussky, regarded as a supreme interpreter of the Baroque vocal repertoire. He will be joined by his ensemble, Artaserse, for a program of thrilling Italian cantatas exploring the themes of passion, jealousy, and romantic torment. These vocal tours-de-force are by Antonio Vivaldi, Alessandro Scarlatti, Nicola Porpora, and Baldassare Galuppi, with instrumental sinfonias from Domenico Scarlatti and Francesco Durante.

We are also pleased to share the enclosed early announcement of our 26/27 Boston Early Music Festival Season. Join us starting next fall for thrilling débuts, the return of cherished artists and ensembles, and a not-to-be-missed new production from our Grammy-winning BEMF Chamber Opera Series. A full brochure with in-depth descriptions of all nine programs will be released later this spring. Please visit BEMF.org for the latest updates and information.

Thank you for joining us for this afternoon’s performance, whether you are here in person or attending virtually, and please accept our warmest wishes for health and prosperity in the months ahead!

Kathleen Fay

Boston Early Music Festival

MANAGEMENT

Kathleen Fay, Executive Director

Carla Chrisfield, General Manager

Maria van Kalken, Assistant to the Executive Director

Brian Stuart, Director of Marketing and Publicity

Elizabeth Hardy, Marketing and Development Associate & Exhibition Manager

Perry Emerson, Operations Manager

Corey King, Box Office and Patron Services Director

Esme Hurlburt, Patron Services & Advertising Associate

Andrew Sigel, Publications Editor

Julia McKenzie, Director of the BEMF Youth Ensemble

Nina Stern, Community Engagement Advisor

ARTISTIC LEADERSHIP

Paul O’Dette and Stephen Stubbs, Artistic Directors

Gilbert Blin, Opera Director

Robert Mealy, Orchestra Director

Marie-Nathalie Lacoursière, Lucy Graham Dance Director

BOARD OF DIRECTORS

Bernice K. Chen, Chairman | David Halstead, President

Ellen T. Harris, Vice President | Susan L. Robinson, Vice President

Adrian C. Touw, Treasurer | Peter L. Faber, Clerk

Anthony Elitcher | Michael Ellmann | Glenn A. KnicKrehm | Robert E. Kulp, Jr.

Bettina A. Norton | Lee S. Ridgway | Ganesh Sundaram | Christoph Wolff

BOARD OF OVERSEERS

Diane Britton† | Gregory E. Bulger | Brit d’Arbeloff | George L. Hardman

Amanda Pond | Robert Strassler | Andrea Taras | Donald E. Vaughan

BOARD OF TRUSTEES

Marty Gottron & John Felton, Co-Chairs

Deborah Ferro Burke | Mary Deissler† | James A. Glazier

Douglas M. Robbe | Jacob Skowronek † deceased

BOSTON EARLY MUSIC FESTIVAL, INC.

43 Thorndike Street, Suite 302, Cambridge, MA 02141-1764

Telephone: 617-661-1812 | Email: bemf@bemf.org | BEMF.org

THE BOSTON EARLY MUSIC FESTIVAL THANKS THE FOLLOWING INDIVIDUALS AND INSTITUTIONS FOR THEIR LEADERSHIP SUPPORT OF THE NOVEMBER 2025 PERFORMANCES OF

Stellidaura’s REVENGE

BETTINA A. NORTON

Full Production Sponsor

GLENN A. KNICKREHM and CONSTELLATION CHARITABLE FOUNDATION

Sponsors of the BEMF Vocal & Chamber Ensembles Sponsors of Giuseppe Naviglio, Giampetro

JOANNE ZERVAS SATTLEY

Sponsor of Hannah De Priest, Stellidaura Sponsor of Aaron Sheehan, Orismondo

ANDREW SIGEL

Sponsor of Richard Pittsinger, Armidoro Sponsor of Mara Riley, Armillo

BERNICE K. CHEN

Sponsor of Gilbert Blin, Stage Director

HENK ELDERHORST

Sponsor of Grant Sorenson, Intern Assistant to the Stage Director

MEMBERS OF THE BEMF CORPORATION

Jon Aaron

Debra K.S. Anderson

Kathryn Bertelli

Mary Briggs

Diane Britton†

Douglas M. Brooks

Gregory E. Bulger

Julian G. Bullitt

Deborah Ferro Burke

John A. Carey

Anne P. Chalmers†

Bernice K. Chen

Linden Chubin

Joel I. Cohen

Brit d’Arbeloff

Vivian Day

Mary Deissler†

Peter L. DeWolf

JoAnne W. Dickinson

Richard J. Dix

Anthony Elitcher

Michael Ellmann

Peter L. Faber

Emily C. Farnsworth

Kathleen Fay

Lori Fay

John Felton

Frances C. Fitch

Claire Fontijn

James A. Glazier

Marty Gottron

Carol A. Haber

David Halstead

George L. Hardman

Ellen T. Harris

Rebecca Harris-Warrick

Richard Hester

Jessica Honigberg

Jennifer Ritvo Hughes

Thomas F. Kelly

Glenn A. KnicKrehm

Christine Kodis

John Krzywicki

Kathryn Kucharski

Robert E. Kulp, Jr.

Ellen Kushner

Christopher Laconi

Thomas G. MacCracken

William Magretta

Bill McJohn

Nancy Netzer

Amy H. Nicholls

Bettina A. Norton

Scott Offen

Lorna E. Oleck

Henry P.M. Paap

James M. Perrin

Bici Pettit-Barron

Amanda Pond

Melvyn Pond

Paul Rabin

Christa Rakich

Lee S. Ridgway

Michael Rigsby

Douglas M. Robbe

Michael Robbins

Susan L. Robinson

Patsy Rogers

Wendy Rolfe-Dunham

Loretto Roney

Ellen Rosand

Valerie Sarles†

David W. Scudder

Andrew Sigel

Jacob Skowronek

Arlene Snyder

Jon Solins

Robert Strassler

Ganesh Sundaram

Andrea Taras

Adrian C. Touw

Peggy Ueda

Donald E. Vaughan

Nikolaus von Huene

Howard J. Wagner

Benjamin D. Weiss

Ruth S. Westheimer

Allan Winkler

Hal Winslow

Christoph Wolff

Arnold B. Zetcher

Ellen Zetcher

deceased

Boston Early Music Festival

PHILIPPE JAROUSSKY & ARTASERSE

SATURDAY, APRIL 25, 2026

8PM | St. Paul Church, Cambridge, MA

VIRTUAL AVAILABILITY: May 9 to May 23, 2026

LA GELOSIA: Italian Baroque cantatas exploring jealousy

Heralded for performances full of nuance and vocal acrobatics, countertenor Philippe Jaroussky returns to BEMF with his own ensemble, Artaserse, in a brilliant collection of chamber music from 18th-century Italy exploring the passion and anguish of jealousy. Thrill to the captivating theatrics of music exploring this romantic torment by Vivaldi, Scarlatti, Porpora, and more in this program of shimmering melodies and sparkling vocalizations from one of the world’s most singular interpreters of the Baroque vocal repertoire.

Boston Early Music Festival

Boston Early Music Festival extends sincere thanks to the following individuals for their leadership support of our 2025/26 Concert Season:

SUSAN L. ROBINSON

Sponsor of the March 2026 performance by Tafelmusik & Juilliard415

ANDREW SIGEL

Sponsor of Jordi Savall, Director & viol, for his April 2026 appearance with Hespèrion XXI et al.

Sponsor of the virtual presentations of Stile Antico, The Tallis Scholars, ACRONYM, and Philippe Jaroussky & Artaserse

DAVID HALSTEAD and JAY SANTOS

Sponsors of the October 2025 performance by Opera Prima

GLENN A. KNICKREHM and CONSTELLATION CHARITABLE FOUNDATION

Sponsors of the January 2026 performance by Paul O’Dette

KENNETH C. RITCHIE and PAUL T. SCHMIDT

Sponsors of Philippe Jaroussky, countertenor, for his April 2026 appearance with Artaserse

REBECCA NEMSER

Sponsor of Amanda Forsythe, soprano, for her October 2025 appearance with Opera Prima

DR. PETER LIBBY

Sponsor of the Pre-Concert video for the April 2026 performance by Philippe Jaroussky & Artaserse

You can help make this list grow. For more information about investing in BEMF performances with a Named Gift, please email Kathleen Fay at kathy@bemf.org, or call the BEMF office at 617-661-1812. Your support makes a difference. THANK YOU.

Boston Early Music Festival PRESENTS

LA CAPELLA REIAL DE CATALUNYA HESPÈRION XXI

JORDI SAVALL, Director & treble viol

SONGS, BATTLES, AND DANCES FROM THE OLD AND THE NEW WORLD

1100–1780

Fanfare: Pax in nomine Domini (instrumental)

Crusader song – Planctus: Pax in nomine Domini Marcabru (ca. 1110–ca. 1150)

Missa Da pacem: Agnus Dei / Da pacem Domine Josquin des Prés (ca. 1450/5–1521)

Aramaic prayer: El pan de la aflicción (in Ladino) Sephardic tradition

Canzon alla villota: La tricotea Samartín la vea (CMP, No. 247) Alonso

Slave song: Another man done gone

Pavane La Guerre (instrumental) Pierre Attaingnant (ca. 1494–1552)

Ricercare XIV: Da pacem Domine Girolamo Parabosco (ca. 1524–1557)

La Negrina: San Sabeya gugurumbé Mateo Flecha, the elder (ca. 1481–ca. 1553)

Jarocho son: Los Negritos / Gurumbé Traditional

Slave song: Look over yonder

Tiento de Batalla (instrumental) Sebastián Aguilera de Heredia (1561–1627)

Four-note Pavan: Hear me, O God Alfonso Ferrabosco (ca. 1575–1628)

Mestizo and Indian: Tleycantimo choquiliya Gaspar Fernandes (ca. 1570–1629)

THE BOSTON EARLY MUSIC FESTIVAL THANKS ANDREW SIGEL

for his leadership support of this afternoon’s performance by Jordi Savall, Director & treble viol

Slave song: You gonna reap what you sow

Psalm 137: Al naharot Bavel (By the rivers of Babylon) Salomone Rossi (1570–ca. 1630)

The Kings Morisco (instrumental)

Robert Johnson (ca. 1583–1633) / William Brade (1560–1630)

Villancico: Xicochi conetzintlé / Xochipitzahuatl

Fernandes / Anonymous Nahuatl

Guaracha: Ay, que me abraso, ay / Juan García de Zéspedes (ca. 1619–1678)

Traditional son from Tixtla / Improvisations: El Arrancazacate Traditional

Traditional isiXhosa, Spiritual song and prayer: Indodana

In Nomine a 4 (instrumental)

Orlando Gibbons (1583–1625)

From Codex Trujillo del Perú (Lima, ca. 1780) Anonymous

Tonada El Congo: A la mar me llevan (No. 3, E 178)

Tonada de El Chimo: Jaya llûnch, jaya llôch (in Mochica language) (No. 6, E 180)

Cachua serranita, nombrada El Huicho Nuebo: No ay entendimiento humano (No. 19, E 192)

LIVE CONCERT

Sunday, April 12, 2026 at 4pm

New England Conservatory’s Jordan Hall

30 Gainsborough Street, Boston, Massachusetts

VIRTUAL CONCERT

Sunday, April 26, 2026 – Sunday, May 10, 2026

BEMF.org

PERFORMERS

GUEST MUSICIANS

CANADA

Neema Bickersteth, slave songs of Afro-American origin

GUADELOUPE

Yannis François, baritone & dance

MEXICO

TEMBEMBE ENSAMBLE CONTINUO

Ada Coronel, voice & dance

Ulises Martínez, violin, vihuela, leona & voice

LA CAPELLA REIAL DE CATALUNYA

Anna Piroli, soprano

Maëlys Robinne, soprano

David Sagastume, countertenor

Víctor Sordo, tenor

Lluís Vilamajó, tenor

Pieter Stas, bass

HESPÈRION XXI

Pierre Hamon, flutes

Lluís Coll, cornett

Béatrice Delpierre, flute & shawm

Daniel Lassalle, sackbut

Josep Borràs, dulcian

Jordi Savall, treble viol

Juan Manuel Quintana, tenor viol

Philippe Pierlot, bass viol

Xavier Puertas, violone

Paul Holmes Morton, theorbo & guitar

Andrew Lawrence-King, Spanish Baroque harp

David Mayoral, bells & percussion

JORDI SAVALL

Direction

Program concept and selection of music: Jordi Savall

Exclusive North American management for Jordi Savall, La Capella Reial de Catalunya, and Hespèrion XXI: Alliance Artist Management.

Program subject to change.

Ball Square Films & Kathy Wittman, Video Production

Antonio Oliart Ros, Recording Engineer

This program is presented with the support of the Departament de Cultura de la Generalitat de Catalunya and the consortium Institut Ramon Llull.

Since its formation in 1998, Alia Vox has become established as one of the foremost labels specializing in high-quality early music. It is the exclusive producer of recordings by Jordi Savall and his ensembles. https://alia-vox.com/

PROGRAM NOTES

This program is a sound journey that traces the map of the influences crossed between the Old and the New World. Through three axes—song, battle, and dance—the repertoire explores how music served as a tool of faith, resistance, and survival during seven centuries of global transformations.

I. FAITH AND WAR IN MEDIEVAL AND RENAISSANCE EUROPE

The concert opens with the voice of Marcabru, one of the first troubadours, whose song personifies the spirit of the Crusades. This European spirituality evolves toward the polyphony of Josquin des Prés, where the plea for peace (Dona nobis pacem) contrasts with the realism of the musical “battles” of Mateo Flecha and Pierre Attaingnant, who imitated the sounds of war with great rhythmic richness.

II. THE DIALOGUE OF CULTURES IN THE NEW WORLD

With the arrival in America, the European tradition encounters native and African languages and rhythms. The works of Gaspar Fernandes are the best example of this syncretism: villancicos that use Nahuatl or Afro-Hispanic dialects (such as Flecha’s Negrina or the Guaracha of Zéspedes). These pieces not only sought evangelization, but also welcomed the pulse of popular celebrations and the identity of mestizos and slaves.

III. THE SPIRITUALITY OF SLAVERY

Interspersed in the program, the Slave songs and Spirituals (such as Another man done gone or Indodana) act as a mirror of pain and hope. These melodies, born of the African diaspora, dialogue with the psalms of the Jewish tradition of Salomone Rossi and Sephardic prayers, reminding us that music has always been the refuge of oppressed communities.

IV. THE TRUJILLO CODEX: THE LAST REFLECTION

The concert concludes with pieces from the Trujillo Codex (ca. 1780), an exceptional document that collects the music of colonial Peru. The Tonada de El Chimo is a unique testimony, as it preserves the only musical trace of the Yunga language, from the Mochica / Yunga language (the Mochica language, chimú, yunga or yunka (muchik) is one of the languages spoken on the coast and part of the northern mountains of Peru), closing the circle of this dialogue between scholarship and oral tradition, between the European past and the birth of a new American identity. n

—Jordi Savall Bellaterra, February 2026

ARTIST PROFILES

“Jordi Savall testifies to a common cultural inheritance of infinite variety. He is a man for our time.” (The Guardian)

Jordi Savall is one of the most versatile musical personalities of his generation. For more than fifty years, he has rescued musical gems from the obscurity of neglect and oblivion and given them back for all to enjoy. A tireless researcher into early music, he interprets and performs the repertory both as a gambist and a conductor. His activities as a concert performer, teacher, researcher, and creator of new musical and cultural projects have made him a leading figure in the reappraisal of historical music. Together with Montserrat Figueras, he founded the ensembles Hespèrion XXI (1974), La Capella Reial de Catalunya (1987), and Le Concert des Nations (1989), with whom he explores and creates a world of emotion and beauty shared with millions of early music enthusiasts around the world. Then, in 2017, he founded the Jove Capella de Catalunya, and in 2020, La Capella Nacional de Catalunya, with the aim of creating a new generation of international singers for La Capella Reial de Catalunya and making both historical and contemporary music accessible to all audiences. In 2018, he created Orpheus 21,

a musical ensemble made up of professional musicians, migrants, and refugees from the Mediterranean region. Five years later, in 2023, he founded Les Musiciennes du Concert des Nations, an all-female orchestra specializing in Baroque repertoire, inspired by the women’s orchestras of the 18th century, particularly in Italy.

With his key participation in Alain Corneau’s film Tous les Matins du Monde (awarded the César Cinema Prize for the best soundtrack), his intense concert activity (about 140 concerts per year), his record releases (six recordings per year), and the creation in 1998, together with Montserrat Figueras, of his own record label, Alia Vox, Jordi Savall has shown that early music does not have to be elitist, but rather that it appeals to an increasingly wide and diverse audience of all age groups.

Jordi Savall has recorded and released more than 230 discs covering the Medieval, Renaissance, Baroque, and Classical music repertories, with a special focus on the Hispanic and Mediterranean musical heritage, receiving many awards and distinctions such as the Midem Classical Award, the International Classical Music

Award, and the Grammy Award. His concert programs have made music an instrument of mediation to achieve understanding and peace between different and sometimes warring peoples and cultures. Accordingly, guest artists appearing with his ensembles include Arab, Israeli, Turkish, Greek, Armenian, Afghan, Mexican, and North American musicians. In 2008, Jordi Savall was appointed European Union Ambassador for intercultural dialogue and, together with Montserrat Figueras, was named “Artist for Peace” under the UNESCO “Good Will Ambassadors” program.

Between 2020 and 2021, to mark Ludwig van Beethoven’s 250th anniversary, he conducted the complete symphonies with Le Concert des Nations and recorded them in two volumes entitled Beethoven Révolution. The impact they have had in the record market worldwide has been defined as “a miracle” (Fanfare), and volume II has been distinguished with the Preis der Deutschen Schallplattenkritik for the best orchestral record.

Jordi Savall’s prolific musical career has brought him the highest national and international distinctions, including honorary doctorates from the Universities of Evora (Portugal), Barcelona (Catalonia), Louvain (Belgium), and Basel (Switzerland), the order of Chevalier de la Légion d’Honneur (France), the Praetorius Music Prize awarded by the Ministry of Culture and Science of Lower Saxony, the Gold Medal of the Generalitat of Catalonia, the Helena Vaz da Silva Award, and the prestigious Léonie Sonning Prize, which is considered the Nobel prize of the music world. He has recently been elected Honorary Member by the Royal Philharmonic Society, the Royal Swedish Academy of Music, and the Accademia Nazionale di Santa Cecilia. n

Following the model of the famous Medieval “royal chapels” for which the great masterpieces of both religious and secular music were composed on the Iberian

Peninsula, in 1987 Montserrat Figueras and Jordi Savall founded La Capella Reial, one of the first vocal groups devoted to the performance of Golden Age music on historical principles and consisting exclusively of Hispanic and Latin voices. In 1990, when the ensemble received the regular patronage of the Generalitat of Catalonia, it changed its name to La Capella Reial de Catalunya.

The newly formed ensemble specialized in the recovery and performance on historical principles of the polyphonic and vocal music of Spain and Europe from the Middle Ages and Golden Age up to the 19th century. La Capella Reial de Catalunya shares with Hespèrion XXI the same artistic outlook and goals, rooted in respect for the profoundly spiritual and artistic dimension of each work, combining quality and authenticity regarding the style of the period with a careful attention to the declamation and expressive projection of the poetic text.

The ensemble’s extensive repertory ranges from the Medieval music of the various cultures of the Mediterranean to the great masters of the Renaissance and the Baroque. Some of their most celebrated concert programs are the Missa de Batalla by Joan Cererols, Vespro della Beata Vergine by Claudio Monteverdi, the Cantigas of Alfonso X (the Wise), El Llibre Vermell of Montserrat, Sephardic songs, the music of The Elche Mystery Play, the ballads from Miguel de Cervantes’s Don Quijote, the Cancioneros del Siglo de Oro (the Songbooks of the Golden Age), and Mozart’s Requiem. Recently, the group has also performed and recorded J. S. Bach’s St. Mark Passion, Handel’s Messiah, Vivaldi’s oratorio Juditha Triumphans, Bach’s Christmas Oratorio, and Joseph Haydn’s The Creation, which has won international critical acclaim.

The group has distinguished itself in various Baroque and Classical opera repertories, as well as in contemporary works by Arvo

Pärt. La Capella Reial de Catalunya played on the soundtrack of Jacques Rivette’s film Jeanne La Pucelle (1993) on the life of Joan of Arc.

In 1992, La Capella Reial de Catalunya made their opera début accompanying all the performances of Le Concert des Nations. They have received various awards and distinctions in recognition of their more than 40 CDs, notably the Midem Classical Award and the Grammy Award. Under the direction of Jordi Savall, La Capella Reial de Catalunya pursues an intense program of concerts and recordings all over the world, and since the ensemble’s creation it has regularly performed at the major international early music festivals. n

Early music’s most important value stems from its ability as a universal artistic language to transmit feelings, emotions, and ancestral ideas that even today can enthrall the contemporary listener. With a repertoire that encompasses the period between the 10th and 18th centuries,  Hespèrion XXI  searches continuously for new points of union between the East and West, with a clear desire for integration and for the recovery of international musical heritage, especially that of the Mediterranean basin and with links to the New World.

In 1974, Jordi Savall and Montserrat Figueras, together with Lorenzo Alpert and Hopkinson Smith, founded the early music ensemble Hespèrion XX in Basel as a way of recovering and disseminating the rich and fascinating musical repertoire prior to the 19th century on the basis of historical criteria and the use of original instruments. The name Hespèrion means “an inhabitant of Hesperia,” which in ancient Greek referred to the two most westerly peninsulas in Europe: the Iberian and the Italian. It was also the name given to the planet Venus as it appeared in the west. At the turn of the 21st century, Hespèrion XX became known as Hespèrion XXI.

Today Hespèrion XXI is central to the understanding of the music of the period between the Middle Ages and the Baroque. Their labors to recover works, scores, instruments, and unpublished documents have a double and incalculable value. On one hand, their rigorous research provides new information and understanding about the historical knowledge of the period, and on the other hand, the exquisite performances enable people to freely enjoy the aesthetic and spiritual delicacy of the works of this period.

Right from the beginning, Hespèrion XXI set out on a clearly innovative and artistic course that would lead to the establishment of a school in the field of early music because they conceived, and continue to conceive, early music as an experimental musical tool and with it they seek the maximum beauty and expressiveness in their performances. Any musician in the field of early music will have a commitment to the original spirit of each work and has to learn to connect with it by studying the composer, the instruments of the period, the work itself, and the circumstances surrounding it. But as a craftsman in the art of music, he is also obliged to make decisions about the piece being played: a musician’s capacity to connect the past with the present and to connect culture with its dissemination depends on his skill, creativity, and capacity to transmit emotions.

Hespèrion XXI’s repertoire includes, among others, the music of the Sephardi Jews, Castilian romances, pieces from the Spanish Golden Age, and Europa de les Nacions. Some of their most celebrated concert programs are Les Cantigues de Santa Maria d’Alfons X El Savi, La Diàspora Sefardí, the music of Jerusalem, Istanbul, Armenia, and the Folías Criollas. Thanks to the outstanding work of numerous musicians and collaborators who have worked with the ensemble over all these years, Hespèrion XXI still plays a key role in the recovery

and reappraisal of the musical heritage, and one that has great resonance throughout the world. The group has released more than 60 CDs and performs concerts for the whole world, appearing regularly at the great international festivals of early music. n

Canadian soprano Neema Bickersteth was born and raised in Canada to parents from Sierra Leone. She is known for her skills as a singer, an actor, and a maker and dramaturge of cross-disciplinary performance. In recent years, she has specialized in contemporary projects in opera, theater, and music. These include the title role in Scott Joplin’s Treemonisha – A Musical Reimagining, at the Luminato Festival; the lead role in The Ritual of Breath is the Rite to Resist (Hopkins Center/Stanford Live), an opera in seven movements by poet Vievee Francis and composer Jonathan Berger, responding to the murder of Eric Garner; Aportia Chryptych, A Black opera for Portia White, created by mixed media artist Haui (Canadian Opera Company); multiple tours in the U.S. and Europe with Catalonian conductor and viol maestro Jordi Savall; and Century Song, a virtuosic work she co-created with Volcano Theatre, which has toured to twelve cities in Canada, Europe, and East Africa to critical acclaim. n

Born in Guadeloupe, Franco-Swiss baritone Yannis François was a dancer with the Maurice Béjart company before graduating from the Conservatoire HEM in Lausanne, Switzerland. A versatile performer, his upcoming engagements include solo roles in Stravinsky’s Les Noces with the Cincinnati Symphony Orchestra, Handel’s Acis and Galatea at the Blackwater Valley Opera Festival, and  The Rake’s Progress at Nouvel Opéra Fribourg. Recent highlights include world premieres at the Dutch National Opera and Barbican Hall, as well as performances at the Salzburg Festival, Berliner Philharmonie, and Philharmonie de Paris. Mentored by Barbara Hannigan through the Equilibrium

Young Artists program, François has collaborated with esteemed conductors such as Leonardo García Alarcón, Jordi Savall, and Philippe Jaroussky. Beyond the stage, he is the founder of Editions Charybde & Scylla and a respected musicologist, frequently researching and curating album programs for acclaimed artists such as Jakub Józef Orliński, Lea Desandre, and Michael Spyres. n

Tembembe Ensamble Continuo is a group that aims to investigate, recreate, and disseminate the intrinsic relationship between Baroque music and traditional Mexican and Latin American music, breaking down the imaginary historical barrier that has been placed between them and offering new possibilities for the enjoyment, understanding, interpretation, and development of this music today.

Tembembe’s approach consists of bringing together the music of the Hispanic Baroque guitar with contemporary Mexican and Latin American son. The group explores the similarities between the instruments and practices of each of these musical traditions, recreating them on stage in a performance of music, song, and dance that revives the festive spirit of the 18th-century New Spanish fandango and the traditional fandango of today.

The Ensemble has been invited to perform in the most important concert halls in Mexico, Latin America, Europe, Asia, the United States, and Australia.

The members of the Ensemble are Eloy Cruz, Ada Coronel, Ulises Martínez, Enrique Barona, and Leopoldo Novoa. They studied music at the National Autonomous University of Mexico (UNAM) and the National Conservatory of Music of Mexico, in addition to studies in Colombia, the United States, and France. They currently teach at UNAM, the Morelos Center for the Arts, and the Ollin Yoliztli Center.

“Tembembe” is the name of a river that flows through canyons near where we rehearse, formed by small tributaries; so is our culture…so is our work. n

From a very young age, Ada Coronel showed a keen interest in traditional Mexican music. At fifteen, she received an award in a dance competition as the best solo dancer. At seventeen, she joined the group Semilla, dedicated to performing Latin American music. She is a founding member of the Yolotecuani ensemble, exclusively dedicated to the son de tarima of Tixtla, Mexico. She is also a member of Tembembe Ensamble Continuo. She has given lectures on son tixtleco at various educational institutions in Mexico City and taught music and dance at Fine Arts schools and cultural centers throughout the country. She has performed concerts in Mexico and abroad and has collaborated on five recordings for Mexican labels. n

Ulises Martínez is a Mexican multiinstrumentalist with a wide range of musical interests, including Mexican traditional music, flamenco, blues, Baroque music, and fusion. Born in Mexico City in 1983 to a family of musicians from the town of Charapan, Michoacán, Ulises studied violin at the National Conservatory with Espín Yépez and Boris Klepov. He has developed an intense concert career in America, Europe, and Asia, performing with international groups and soloists from Mexico, Colombia, and Spain, including Tembembe Ensamble Continuo and Hespèrion XXI. His recordings include a dozen CDs for labels in Mexico and Europe, and he has composed music for the stage with the Compañía Nacional de Teatro, Mexico. Ulises teaches at workshops on Mexican traditional music and dance for professional institutions in Mexico and Colombia. n

TEXTS AND TRANSLATIONS

Pax in nomine Domini

Marcabru (ca. 1110–ca. 1150)

Crusader song

Pax! In nomine Domini!

Fetz Marcabrus los vers e·l so.

Aujatz que di: cum nos a fait, per sa doussor, lo seingnorius celestiaus probet de nos un lavador, c’anc, fors outramar, no·n fo taus, en de lai deves Josaphas; e d’aqest de sai vos conort.

Lavar de ser e de maiti nos deuriam, segon razo: ie·us o afi.

Chascus a del lavar legor: domentre q’el es sas e saus, deuria anar al lavador, que·ns es verais medicinaus; que s’abans anam a la mort, d’aut desus aurem alberc bas.

Mas escarsedatz e no-fes part joven de son compaigno.

A! cals dols es que tuich volon lai li plusor, don lo gazains es enfernaus!

S’anz non correm al lavador c’aiam la bocha ni·ls huoills claus, non i a un d’orguoill tant gras c’al morir non trob contrafort.

Pax! In nomine Domini!

Missa Da pacem:

Agnus Dei / Da pacem Domine

Josquin des Prés (ca. 1450/5–1521)

Da pacem Domine in diebus nostris quia non est alius qui pugnet pro nobis nisi tu Deus noster.

Agnus Dei qui tollis peccata mundi, miserere nobis.

Peace in the Name of the Lord

Marcabru (ca. 1110–ca. 1150)

Crusader song

Peace! In the name of the Lord!

Marcabru wrote the words and the tune. Listen to what he says: In his great goodness the heavenly king, our Lord, has made for us a cleansing-place the like of which was never seen, save far away in the vale of Josaphat; but it is to this one that I summon you now.

Let’s wash ourselves both morning and night, for so we should, there’s no denying, and this I would have you know.

Let each one wash while he has the chance while he is sound of life and limb; and this I therefore recommend, as the very remedy to our ills.

If we die before we are cleansed we shall not enter heaven, but stay here below.

But meanness of spirit and faithlessness part young men from their comrades.

Alas, how sad it is to see so many rush towards the place where nought but hell awaits them! If we do not hurry to cleanse ourselves before our mouths and eyes are shut, there is none of us, for all our lofty pride, who shall not be conquered by death.

Peace! In the name of the Lord!

Missa Da pacem:

Agnus Dei / Lord, Grant Us Peace

Josquin des Prés (ca. 1450/5–1521)

Lord, grant us peace in our day, for we have no other champion to fight on our behalf but You, our God.

Lamb of God, who takes away the sins of the world, have mercy on us.

Agnus Dei qui tollis peccata mundi, miserere nobis.

Agnus Dei qui tollis peccata mundi, dona nobis pacem.

El pan de la aflicción

Tradicional sefardí

Oración aramea de la Hagadá de Pascua judía (en ladino)

Este es el pan de la aflicción que comieron nuestros padres en tierra de Ayifto. Todo el que tiene hambre venga y coma, y todo el que tiene de menester venga y pascue.

Este año aquí, a el año el vinien en tierra de Yisraél, Este año aquí siervos, a el año el vinien en tierra de Yisraél.

La tricotea Samartín la vea

Alonso (Cancionero Musical de Palacio, No. 247)

Canzon alla villota

La tricotea

Samartín la vea; abres un poc al agua y señalea.

La bota sembra tuleta, la señal d’un chapiré. Ge que te gus per mundo spesa.

La botilla plena, dama, qui mayna, cerrali la vena. Orli, çerli, trum madama, çerliçer, cerrarli ben, votr’ami contrari ben. Niqui, niquidon, formagidón, formagidón. Yo soy monarchea de grande nobrea.

Dama, por amor, dama, bel se mea; dama, yo la vea.

Lamb of God, who takes away the sins of the world, have mercy on us.

Lamb of God, who takes away the sins of the world, grant us peace.

The Bread of Affliction

Sephardic tradition

The Haggadah, an Aramaic prayer for Passover (in Ladino)

This is the bread of affliction which our forefathers ate in the land of Egypt. All who are hungry, come and eat. All who are needy, come and share our Passover. Now we are here, the redeemed children of Israel. Next year, all the People of Israel shall be redeemed. This year we are slaves, next year we shall be free.

Tricotea, Time for St. Martin

Alonso (Cancionero Musical de Palacio, No. 247) Canzon alla villota

Tricotea, Time for St. Martin to have his day! Open it a bit And the water flows out.

The wineskin looks dried up, damn it!

Everyone likes a plump one.

A skin that’s full, my lady, one that spurts… Orli, cerli, trun, my lady, Shut it up tight, your friend feels good.

Niqui, niquidón, Formagidón, formagidón.

I am a king of great nobility.

Lady, for love’s sake, fair lady, be mine; lady, let me take a look.

Translator’s note: The original text is nonsense verse in a mixture of languages and possible misspellings, although its bawdy implications and drinking-song style are clear enough.

Another Man Done Gone

Slave song

Another man done gone… Boy

Another man done gone

Another man done gone

Another man done gone

Another man done gone… Boy

I don’t know where he’s gone… Boy

I don’t know where he’s gone

I don’t know where he’s gone

I don’t know where he’s gone

But boy that man sho’ gone… Boy

Da pacem Domine

Girolamo Parabosco (ca. 1524–1557)

Ricercare XIV

Da pacem Domine in diebus nostris quia non est alius qui pugnet pro nobis nisi tu Deus noster.

La Negrina: San Sabeya gugurumbé

Mateo Flecha, el viejo (ca. 1481–ca. 1553)

Ensalada

Florida estava la rosa, que ô vento le volvía la folla. Caminemos y veremos a Dios hecho ya mortal.

¿Qué diremos que cantemos al que nos libró del mal y al alma de ser cativa?

¡Viva, viva, viva! ¡Viva! Canta tú y responderé. – San Sabeya, gugurumbé, alangandanga, gugurumbé, gurumbé... mantenga, señor Joan Branca, mantega vossa meçè.

¿Sabé como é ya nacido, ayá em Berem un Niño muy garrido?

– Sa muy ben. Vamo a ver su nacimento. Dios, pesebre echado está. – Sa contento. Vamo ayá.

¡Su!, vení, que ye verá. Bonasa, bonasa,

He killed another man… Boy

He killed another man

He killed another man I don’t know where he’s gone But boy that man’s done gone… Boy

Lord, Grant Us Peace

Girolamo Parabosco (ca. 1524–1557)

Ricercare XIV

Lord, grant us peace in our day, for we have no other champion to fight on our behalf but You, our God.

La Negrina: San Sabeya gugurumbé

Mateo Flecha, the elder (ca. 1481–ca. 1553)

Ensalada

The rose was in bloom,

In the wind its leaves were stirring. Let us go and see God In mortal flesh appearing.

What shall we say, what shall we sing To him who delivered us from evil, To him who set our souls free?

Long may he live! Long may he live! Sing first and I’ll answer.

“May Saint Sabeya, Gugurumbé, alangandanga, Gugurumbé, gugurumbé…

Protect you, Mr. John Branca, And keep you always.

Did you know that in yonder Bethlehem a fine baby boy

Has been born?”

“That’s great news,

Let’s go there,

Let’s visit the crib where God lies.”

“Gladly, let’s go there.

Come, let’s go and see him.

He is gentle and good,

su camisoncico rondaro; çagarano, çagarano, su sanico coyo roso, sa hermoso, sa hermoso, çucar miendro ye verá. –Alangandanga, gugurumbé, San Sabeya gugurumbé, alangandanga, gugurumbé, gurum-gurumbé... Alelluia, alleluia, alleluia!

Los Negritos / Gurumbé

Son jarocho (tradicional)

Jesú María que m’espanta como hacen los negros pa trabajá moliendo caña sin descansá ja, ja, ja, ja, ja, ja, ja, ja.

Gurumbé, gurumbé, gurumbé, gurumbé, Que jaze nublao y quere llové.

Gurumbé, gurumbé, gurumbé, gurumbé. Que teque maneque chuchú mayambé.

Qué bonitos son los negros bailando la contradanza, bailando la contradanza qué bonitos son los negros.

Con sus zapatitos nuevos haciendo tanta mudanza, o bailando bien sosiego pegados panza con panza.

Jesú María que m’espanta...

Look Over Yonder

Slave song

Look over yonder Hot sun really turning over And it won’t go down, oh lord it won’t go down.

My little sister wrote me last December Crying all the time, oh lord crying all the time.

Lying there wrapped in his smock. So beautiful and sweet In his little red cot. He is lovely, lovely, Sweet as sugar, you’ll see.”

Alangandanga, Gugurumbé, Saint Sabeya Gugurumbé, alangandanga, Gugurumbé, gurum-gurumbé… Alleluya, alleluya, alleluya!

Negritos / Gurumbé

Jarocho son (traditional)

Jesus and Mary, I can’t believe my eyes! Look how hard the Negritos are working, Tirelessly grinding the sugar cane. Ha, ha, ha, ha, Ha, ha, ha, ha.

Gurumbé, gurumbé, Gurumbé, gurumbé, The sky’s clouding over And it’s going to rain.

Gurumbé, gurumbé, Gurumbé, gurumbé. What hustle and bustle! Chuchú mayambé.

Don’t the negritos look fine

As they dance the quadrille, As they dance the quadrille, Don’t the negritos look fine!

With their new shoes, And their complicated moves, Or dancing a slow dance Pressed close together.

Jesus and Mary, I can’t believe my eyes!

Look over yonder Hot sun really turning over And it won’t go down, oh my lord it won’t go down.

Hear Me, O God

Alfonso Ferrabosco (ca. 1575–1628)

Four-note Pavan

Text: Ben Jonson (1572–1637)

Hear me, O God, a broken heart is my best part; Use still Thy rod, that I may prove there-in Thy love.

If Thou had’st not been stern to me, but let me free, I had forgot my self and Thee.

For sin’s so sweet as minds ill bent cannot repent until they meet their punishment.

Tleycantimo choquiliya

Gaspar Fernandes (ca. 1570–1629)

Mestizo e Indio

Tleycantimo choquiliya mis prasedes mi apission. Tleycantimo choquiliya mis prasedes mi apission. Alleloya, alleloya, alleloya.

Coplas

Dejalto el llando creçida mizalto el mulo y el guey. Jimoiol lali mi rey tleinmir tolinia mi lada.

No se porque de meis pena tan lindo cara de rosa, mor pihol lochin miño hermosa nochalchiuh asojena. Jesos de mi goraçon no lloreis mi pantasia.

Who more can crave? That Thou hast done? Thou gav’st a Son to free a slave first made of nought; With all since bought.

Sin, Death and Hell His glorious Name quite overcame, yet I rebel and slight the same.

But I’ll come in before my loss me further toss as sure to win Under His Cross.

To You We Sing, Oh Little Flower

Gaspar Fernandes (ca. 1570–1629)

Mestizo and Indian

To you we sing, oh little flower my joy, my heart’s desire. To you we sing, oh little flower my joy, my heart’s desire. Alleluya, alleluya, alleluya!

Verse

Suddenly, his crying grew as the mule and the ox looked on. There my king lay moaning my love.

Why you are sad I cannot tell, oh lovely, rosy-faced child, my beautiful boy, my lily.

Oh, Jesus of my heart, don’t cry, my fantasy.

You Gonna Reap What You Sow

Slave song

You gonna reap what you sow

You gonna reap what you sow

Sowing on the mountain Sowing in the valley

You gonna reap just what you sow.

Imma tell you brother, keep right on fighting

Tellin’ you sister, keep right on fighting Fighting on the mountain Fight harder in the valley

You gonna reap what you sow.

Al naharot Bavel

Salomone Rossi (1570–ca. 1630)

Psalm 137

Al naharot Bavel, sham yashavnu gam bachinu, bezochrenu et Tsiyon.

Al aravim betochah talinu kinoroteinu.

Ki sham she’elunu shoveinu divrei shir, vetolaleinu simcha: Shiru lanu mishir Tsiyon.

Ech nashir et shir Adonai al admat nechar?

Im eshkachech Yerushalayim, tishkack yemini.

Tidbak l’shoni l’chiki im lo ezkerechi, im lo a’aleh et Yerushalayim al rosh simchati.

Zechor, Adonai, livnei Edom et yom Yerushalayim; ha’omerim: aru, aru ad hay’sod ba!

Bat Bavel hashedudah, ashrei sheyeshalem lach et gemulech shegamalt lanu.

Ashrei sheyochez venipets et olalayich et hasala.

You gonna reap what you sow

You gonna reap what you sow

Sowing on the mountain Sowing in the valley

You gonna reap what you sow.

By the Rivers of Babylon

Salomone Rossi (1570–ca. 1630)

Psalm 137

By the rivers of Babylon we sat and wept when we remembered Zion.

There on the poplars we hung our harps.

For there our captors asked us for songs, our tormentors demanded songs of joy; they said, “Sing us one of the songs of Zion!”

How can we sing the songs of the Lord while in a foreign land?

If I forget you, Jerusalem, may my right hand forget its skill.

May my tongue cling to the roof of my mouth if I do not remember you, if I do not consider Jerusalem my highest joy.

Remember, Lord, what the Edomites did on the day Jerusalem fell.

“Tear it down,” they cried, “tear it down to its foundations!”

Daughter of Babylon, doomed to destruction, happy is the one who repays you according to what you have done to us.

Happy is the one who seizes your infants and dashes them against the rocks.

Xicochi conetzintlé

Gaspar Fernandes

Villancico (texto náhuatl)

RBMSA, 202 (Catedral de Oaxaca, México)

Xicochi, xicochi, xicochi conetzintlé ca omie hui, hui, yoco angelosme: Aleluya, aleluya.

Xochipitzahuatl

Anónimo náhuatl

Tiata compañero

Ti paxalo te María Timiyehualotzin pa Tonantzin

Santa María Guadalupe.

Ay, que me abraso, ay

Juan García de Zéspedes (ca. 1619–1678)

Guaracha

El Arrancazacate

Son tradicional de Tixtla

¡Ay, que me abraso, ay! divino dueño, ¡ay! en la hermosura, ¡ay! de tus ojuelos, ¡ay!

¡Ay, cómo llueven, ay! ciento luceros, ¡ay! rayos de gloria, ¡ay! rayos de fuego, ¡ay!

¡Ay, que la gloria, ay! del portaliño, ¡ay! ya viste rayos, ¡ay! si arroja hielos, ¡ay!

¡Ay, que su madre, ay! como en su espero, ¡ay! mira en su luna, ¡ay! sus crecimientos, ¡ay!

¡En la guaracha, ay! le festinemos, ¡ay! mientras el niño, ¡ay! se rinde al sueño, ¡ay!

¡Toquen y bailen, ay! porque tenemos, ¡ay! fuego en la nieve, ¡ay! nieve en el fuego, ¡ay!

Sleep Softly, Little Baby

Gaspar Fernandes

Villancico (Nahuatl lyrics)

RBMSA, 202 (Oaxaca Cathedral, Mexico)

Sleep softly, little baby, softly, softly sleep. Oh, hear the angels’ chorus as over you their watch they keep. Alleluya, alleluya!

Xochipitzahuatl

Anonymous Nahuatl

Come, all my friends, come, let us visit Mary, and gather around Tonantzin, the Virgin of Guadalupe.

Oh, How I Burn

Juan García de Zéspedes (ca. 1619–1678)

Guaracha

El Arrancazacate

Traditional son from Tixtla

Oh, how I burn, oh, master divine, in the beauty of your eyes!

Oh, how they shed a thousand stars of glorious fiery tears!

Oh, the glory of Bethlehem, bright with beams of sunlight and shafts of ice!

Oh, how His mother, in the glass as she gazes, watches Him grow in her mirror reflected!

As the child yields to slumber, with a guaracha we’ll fête Him.

So play, then, and dance, as now we admire the fire in the snow and the snow in the fire!

Quereré, quereré

Quereré, quereré, quereré.

Cuatro naranjas corté y las puse a madurar; Si tu no las amancuernas, yo sí las se amancornar. Déjala que vaya, que ya volverá; Si amores la llevan, celos la traerán.

Quereré, quereré.

¡Pero el chicote, ay! a un mismo tiempo, ¡ay! llora y se ríe, ¡ay! qué dos extremos, ¡ay!

¡Paz a los hombres, ay! dan de los cielos, ¡ay! a Dios las gracias, ¡ay! porque callemos, ¡ay!

Indodana

Traditional isiXhosa (South Africa)

Spiritual song and prayer

Ngob’umthatile eh umtwana wakho

Uhlale nathi hololo helele

Indodana ka Nkulunkulu

Bayi’bethelela hololo helele

Oh Baba!, Baba, Baba Yehova! Baba, hololo, helele

Tonada El Congo:

A la mar me llevan

A voz y bajo, para baylar cantando Anónimo

Códice “Trujillo del Perú”, No. 3 (E 178) Baltazar [Baltasar] Martínez Compañón

Catedral de Lima (Perú), ca. 1780

Real Biblioteca, Palacio Real (Madrid)

A la mar me llevan sin tener razón, dejando a mi madre de mi corazón.

Ay que dice el congo lo manda el congo!

Cusucuvan* ve estan cusucuva ya esta.

Quereré, quereré

Quereré, quereré, quereré.

I picked four oranges And left them to ripen; If you don’t tie them with a knot, I’ll tie them up myself. Let her go, She’ll be back soon enough; Love may take her away, But jealousy will bring her back. Quereré, quereré.

But oh, how the Little One, laughing and crying, unites two extremes at the very same time!

Peace to all men from heaven is given, and thanks be to God, for now we’ll be quiet!

The Son

Traditional isiXhosa (South Africa)

Spiritual song and prayer

The Lord has taken his son who lived among us.

The son of the Lord God was crucified.

Oh Father Jehovah.

Tonada El Congo:

They Are Taking Me Away to the Sea

For voices and bass, sung while dancing Anonymous

Codex “Trujillo del Perú,” No. 3 (E 178)

Baltazar [Baltasar] Martínez Compañón Lima Cathedral (Peru), ca. 1780

Real Biblioteca, Palacio Real (Madrid)

They are taking me away to the sea, Although they have no right, And my beloved mother I must leave behind.

Ah, the Congo speaks, The Congo commands! Cusucuvan* ve estan Cusucuva ya esta.

No ay nobedad, no ay nobedad.

Quel palo de la geringa derecho va a su lugar.

* Cusucuvan: idioma de fantasía imitando el hablar africano.

Tonada de El Chimo:

Jaya llûnch, jaya llôch

A dos voces, Bajo y tamboril, para baylar cantando

Anónimo (en lengua antigua mochica, considerada extinta)

Códice “Trujillo del Perú”, No. 6 (E 180)

Baltazar [Baltasar] Martínez Compañón

Catedral de Lima (Perú), ca. 1780

Real Biblioteca, Palacio Real (Madrid)

Jaya llûnch, jaya llôch, jaya llûnch, jaya llôch.

In poc cha tan muisle pecan muisle pecan enecam.

Jaya llûnch, jaya llôch.

Emens poc chi famalequi tenque ans muisle Cuerpo lens.

Jaya llûnch, jaya llôch.

Emens lo cunmunon chi perdonar moitin Rocchondo colo mec chec Jesuchristo.

Jaya llûnch, jaya llôch.

Poque si famali muisle cuerpolem lo que es mucho perdonar meñefe chètas.

Jaya llûnch, jaya llôch.

Cachua serranita, nombrada El Huicho

Nuebo: No ay entendimiento humano

Que cantaron y baylaron “8” pallas del Pueblo de Otusco a Nuestra Señora del Carmen de la ciudad de Trux[ill]o

Anónimo

Códice “Trujillo del Perú”, No. 19 (E 192)

Baltazar [Baltasar] Martínez Compañón

Catedral de Lima (Perú), ca. 1780

Real Biblioteca, Palacio Real (Madrid)

Nothing new, Nothing new, The moringa** stick Delivers its load.

* Cusucuvan: made-up word imitating African speech. ** geringa: the moringa shrub.

Tonada de El Chimo:

Jaya llûnch, jaya llôch

For two voices, bass, and tabor, sung while dancing

Anonymous (in Mochica, a language now considered extinct)

Codex “Trujillo del Perú,” No. 6 (E 180)

Baltazar [Baltasar] Martínez Compañón Lima Cathedral (Peru), ca. 1780

Real Biblioteca, Palacio Real (Madrid)

Jaya llûnch, jaya llôch, jaya llûnch, jaya llôch.

Whoever speaks with you in their soul touches [me] Touches [me] in the soul, they say.

Jaya llûnch, jaya llôch.

And (as you say) if they speak weeping You come to their soul and are bodily present.

Jaya llûnch, jaya llôch.

As you say, communion is forgiveness, The blood of our Lord Jesus Christ was shed for me.

Jaya llûnch, jaya llôch.

Which means weeping in body and soul, And that is great forgiveness, you have been my Father.

Jaya llûnch, jaya llôch.

—English translation based on Rita Eloranta’s translation of the Moche to Spanish.

Cachua serranita, called El Huicho

Nuebo: No Human Understanding

Sung and danced by 8 palla dancers of the village of Otusco in honor of Our Lady of Carmel of the city of Trujillo

Anonymous

Codex “Trujillo del Perú,” No. 19 (E 192)

Baltazar [Baltasar] Martínez Compañón

Lima Cathedral (Peru), ca. 1780

Real Biblioteca, Palacio Real (Madrid)

[Cantan dos]

No ay entendimiento humano que diga tus glorias hoy y solo basta desir qu’ eres la Madre de Dios.

[Respondes todas]

Anananana…

En la mente de Dios Padre, fuiste Electa para Madre, del Bervo que se humanó, tomando en ti nuestra carne.

Anananana…

Una eres en la substancia, y en advocaciones barias; pero en el Carmen, Refugio, y consuelo de las Almas.

Anananana…

Tu manto en el Purgatorio es con qu’ el fuego le aplacas a el porque Madre te clama, y en Sábado lo rescatas.

Anananana…

No tiene la criatura otro auxilio si no clama, pues por tus Ruegos se libra de la Sentencia más Santa. Anananana…

Más y más misericordia, le muestras al que te clama; y pues que somos tus hijos llevanos a buestra Patria.

Anananana…

El devoto fervoroso, que a selebrarte se inclina, lleba el premio más seguro como qu’ eres madre pia. Anananana…

Pues no habrá quien siendo esclavo al fin no se vea libre de las penas d’ esta vida si con acierto te sirve. Anananana…

[Two voices]

No human understanding Today can sing your glories And so suffice it to say That you are the Mother of God.

[All]

A na na na na…

In the mind of God the Father You were chosen to be Mother Of the Word that was made Man, Who in you took on human flesh.

A na na na na…

You are one being, With diverse holy names; But as Carmel you are the Refuge And Consolation of souls.

A na na na na…

In purgatory it is your cloak That appeases the fire For him who calls on you as Mother; And on Saturday* you save him.

A na na na na…

As man gets no help Unless he asks for it, By your intercession he is spared The judgment of the Holiest One.

A na na na na…

You show endless mercy

To those who call upon you; Since we are your sons, Lead us to your Father.

A na na na na…

The devout man in his fervor Who bows to honor you Reaps certain reward From his merciful mother.

A na na na na…

For there is no slave Who will not at last be freed From the sorrows of this life, If he serves you faithfully.

A na na na na…

* Allusion to the “Sabbatine Privilege,” by which the Virgin Mary liberates pious souls from Purgatory.

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PAUL O’DETTE & STEPHEN STUBBS , Artistic Directors

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One of BEMF’s main goals is to unearth and present lesser-known Baroque operas performed by the world’s leading musicians armed with the latest information on period singing, orchestral performance, scenic design, costuming, dance, and staging. BEMF operas reproduce the Baroque’s stunning palette of sound by bringing together today’s leading operatic superstars and a wealth of instrumental talent from across the globe to one stage for historic presentations, all zestfully led from the pit by the BEMF Artistic Directors Paul O’Dette and Stephen Stubbs, and creatively reimagined for the stage by BEMF Opera Director Gilbert Blin. Biennial centerpiece productions feature both the Boston Early Music Festival

Orchestra, led by BEMF Orchestra Director Robert Mealy, and the Boston Early Music Festival Dance Company, led by BEMF’s newly appointed Dance Director, MarieNathalie Lacoursière.

The twenty-third biennial Boston Early Music Festival, Love & Power, was held in June 2025 and featured Reinhard Keiser’s 1705 opera Octavia. The twenty-fourth Festival, in June 2027, will have as its centerpiece Georg Philipp Telemann’s 1728 opera Emma und Eginhard.

BEMF introduced its Chamber Opera Series during its annual concert season in November 2008, with a performance of

John Blow’s Venus and Adonis and MarcAntoine Charpentier’s Actéon. The series features the artists of the Boston Early Music Festival Vocal and Chamber Ensembles and focuses on the wealth of chamber operas composed during the Baroque period, while providing an increasing number of local opera aficionados the opportunity to attend one of BEMF’s superb offerings. Subsequent annual productions include George Frideric Handel’s Acis and Galatea, Henry Purcell’s Dido and Aeneas, combined performances of Charpentier’s La Descente d’Orphée aux Enfers and La Couronne de Fleurs, Monteverdi’s Orfeo, a double bill of Pergolesi’s La serva padrona and Livietta e Tracollo, a production titled “Versailles” featuring Les Plaisirs de Versailles by Charpentier, Les Fontaines de Versailles by Michel-Richard de Lalande, and divertissements from Atys by Jean-Baptiste Lully, Francesca Caccini’s Alcina, the first opera written by a woman, a combination of Telemann’s Pimpinone and Ino, joint performances of Lully’s Idylle sur la Paix and Charpentier’s La Fête de Rueil, John Frederick Lampe’s The Dragon of Wantley, Telemann’s Don Quichotte, and most recently Francesco Provenzale’s Stellidaura’s Revenge. Acis and Galatea was revived and presented on a four-city North American Tour in early 2011, which included a performance at the American Handel Festival in Seattle, and in 2014, BEMF’s second North American Tour featured the Charpentier double bill from 2011. In summer 2025, The Dragon of Wantley was performed at Confidencen in

Stockholm, Sweden, and at Oldenburgisches Staatstheater in Oldenburg, Germany, as part of Musikfest Bremen.

BEMF has a well-established and highly successful project to record some of its groundbreaking work in the field of Baroque opera. The first three recordings in this series were all nominated for the Grammy Award for Best Opera Recording, in 2005, 2007, and 2008: the 2003 Festival centerpiece Ariadne, by Johann Georg Conradi; Lully’s Thésée; and the 2007 Festival opera, Lully’s Psyché, which was hailed by BBC Music Magazine as “superbly realized…magnificent.” In addition, the BEMF recordings of Lully’s Thésée and Psyché received Gramophone Award Nominations in the Baroque Vocal category in 2008 and 2009, respectively. BEMF’s next three recordings on the German CPO label were drawn from its Chamber Opera Series: Charpentier’s Actéon, Blow’s Venus and Adonis, and a release of Charpentier’s La Descente d’Orphée aux Enfers and La Couronne de Fleurs, which won the 2015 Grammy Award for Best Opera Recording and the 2015 Echo Klassik Opera Recording of the Year (17th/18th Century Opera). Agostino Steffani’s Niobe, Regina di Tebe, featuring Philippe Jaroussky and Karina Gauvin, which was released in January 2015 on the Erato/Warner Classics label in conjunction with a seven-city, fourcountry European concert tour of the opera, has been nominated for a Grammy Award, was named Gramophone’s Recording of the

Month for March 2015, is the 2015 Echo Klassik World Premiere Recording of the Year, and has received a 2015 Diapason d’Or de l’Année and a 2015 Preis der Deutschen Schallplattenkritik. Handel’s Acis and Galatea was released in November 2015. In 2017, while maintaining the focus on Baroque opera, BEMF expanded the recording project to include other select Baroque vocal works: a new Steffani disc, Duets of Love and Passion, was released in September 2017 in conjunction with a sixcity North American tour, and a recording of Johann Sebastiani’s St. Matthew Passion was released in March 2018. Four Baroque opera releases followed in 2019 and 2020: a disc of Charpentier’s chamber operas Les Plaisirs de Versailles and Les Arts Florissants was released at the June 2019 Festival, and has been nominated for a Grammy Award; the 2013 Festival opera, Handel’s Almira, was released in late 2019, and received a Diapason d’Or. Lalande’s chamber opera Les Fontaines de Versailles was featured on a September 2020 release of the composer’s works; Christoph Graupner’s opera Antiochus und Stratonica was released in December 2020. BEMF’s recording of Desmarest’s Circé, the 2023 Festival opera, was released concurrently with the opera’s North American premiere, Pergolesi’s La serva padrona and Livietta e Tracollo was released in December 2023, Telemann’s Ino and opera arias for soprano, featuring Amanda Forsythe, was released in October 2024 and won the 2026 Grammy Award for Best Classical Solo Vocal Album, Lully’s Idylle sur la Paix and Charpentier’s La Fête de Reuil was released in May 2025, and the newest recording, Marazzoli’s Cantatas of Peace and Pleasure, was released in November 2025.

CELEBRATED CONCERTS

Some of the most thrilling musical moments at the biennial Festival occur during one of the dozen or more concerts presented around the clock, among them a program by

the acclaimed Boston Early Music Festival Orchestra, which often feature unique, oncein-a-lifetime collaborations and programs by the spectacular array of talent assembled for the Festival week’s events. In 1989, BEMF established an annual concert series bringing early music’s leading soloists and ensembles to the Boston concert stage to meet the growing demand for regular world-class performances of early music’s beloved classics and newly discovered works. BEMF then expanded its concert series in 2006, when it extended its performances to New York City’s Gilder Lehrman Hall at the Morgan Library & Museum, providing “a shot in the arm for New York’s relatively modest earlymusic scene” (New York Times).

WORLD-FAMOUS EXHIBITION

The nerve center of the biennial Festival, the Exhibition is the largest event of its kind in the United States, showcasing nearly one hundred early instrument makers, music publishers, service organizations, schools and universities, and associated colleagues. In 2013, Mozart’s own violin and viola were displayed at the Exhibition in their firstever visit to the United States. Every other June, hundreds of professional musicians, students, and enthusiasts come from around the world to purchase instruments, restock their libraries, learn about recent musicological developments, and renew old friendships. For four days, they visit the Exhibition booths to browse, discover, and purchase, and attend the dozens of symposia, masterclasses, and demonstration recitals, all of which encourage a deeper appreciation of early music, and strengthen relationships between musicians, participants, and audiences. n

BECOME A FRIEND OF THE

Boston Early Music Festival

Revenue from ticket sales, even from a sold-out performance, accounts for less than half of the total cost of producing BEMF’s operas and concerts; the remainder is derived almost entirely from generous friends like you. With your help, we will be able to build upon the triumphs of the past, and continue to bring you thrilling performances by today’s finest Early Music artists.

Our membership organization, the FRIENDS OF THE BOSTON EARLY MUSIC FESTIVAL, includes donors from around the world. These individuals recognize the Festival’s need for further financial support in order to fulfill its aim of serving as a showcase for the finest talent in the field.

PLEASE JOIN THE FRIENDS OF THE BOSTON EARLY MUSIC FESTIVAL BY DONATING AT ONE OF SEVERAL LEVELS:

•

•

•

THREE WAYS TO GIVE:

• Visit BEMF.org and click on “Give Now”.

• Call BEMF at 617-661-1812 to donate by telephone using your credit card

• Mail your credit card information or a check (payable to BEMF) to Boston Early Music Festival, 43 Thorndike Street, Suite 302, Cambridge, MA 02141-1764

OTHER WAYS TO SHOW YOUR SUPPORT:

• Increase your philanthropic impact with a Matching Gift from your employer.

• Make a gift of appreciated stocks or bonds to BEMF.

• Planned Giving allows you to support BEMF in perpetuity while achieving your financial goals.

• Direct your gift to a particular area that interests you with a Named Gift

QUESTIONS? Please e-mail Kathleen Fay at KATHY@BEMF.ORG, or call the BEMF office at 617-661-1812. THANK YOU FOR YOUR SUPPORT!

FRIENDS OF THE Boston Early Music Festival

This list reflects donations received from April 1, 2024 to February 13, 2026

FESTIVAL ANGELS

($25,000 or more)

Diane† & John Paul Britton

Bernice K. Chen

Marie-Pierre & Michael Ellmann

Peter L. Faber

Lori Fay & Christopher Cherry

David Halstead & Jay Santos

George L. Hardman

Ellen T. & John T. Harris

Glenn A. KnicKrehm

Mr. & Mrs. Thomas G. MacCracken

Jeffrey G. Mora, in memory of Wendy Fuller-Mora

Miles Morgan†

Bettina A. Norton

Lorna E. Oleck

Susan L. Robinson

Andrew Sigel

Joan Margot Smith

Piroska Soos†

Marilee Wheeler Trust

ARTISTIC DIRECTORS’ CIRCLE

($10,000 or more)

Anonymous (5)

Beth Brown, in memory of Walter R.J. Brown

James C. Busby

Katie & Paul Buttenwieser

Brit d’Arbeloff

Susan Denison

Thomas G. Evans†

Jean Fuller Farrington

James A. Glazier

Donald Peter Goldstein, M.D.

Barbara & Amos Hostetter

Edward B. Kellogg†

Mei-Fung Kerley, in memory of Ted Chen

Robert E. Kulp, Jr., in memory of Diane Britton

Heather Mac Donald & Erich Eichman

Bill McJohn

Rebecca Nemser, in memory of Paul Nemser

Caroline Rutherfurd, in memory of John Rutherfurd, Jr.

Joanne Zervas Sattley

Andie Taras & Tony Elitcher

Karen Tenney & Tom Loring

Maria van Kalken & Hal Winslow

Donald E. Vaughan & Lee S. Ridgway

Christoph Wolff

LEADERSHIP CIRCLE

($5,000 or more)

Anonymous (4)

Douglas & Aviva Brooks

Gregory E. Bulger & Richard J. Dix

Peter & Katie DeWolf

Susan Donaldson

Kathleen Fay, in memory of Dorothy Ryan Fay

John Felton & Marty Gottron, in honor of Paul O’Dette

Phillip Hanvy

Alan M. King

Neal J. Plotkin & Deborah Malamud

Harold I. Pratt

Paul Rabin & Arlene Snyder

Kenneth C. Ritchie & Paul T. Schmidt

Nina & Timothy Rose

David Scudder & Betsy Ridge

BENEFACTORS

($2,500 or more)

Anonymous (4)

Dr. Alan & Mrs. Fiona Brener

Mary Briggs & John Krzywicki, in honor of Paul O’Dette

Amy Brown & Brian Carr

John A. Carey

Peter S. Coleman

Elizabeth Davidson†, in honor of David Morris

Mary Deissler†

Carl E. Dettman

David Emery & Olimpia Velez

Michael E. Fay, in memory of Theresa Fay

Jane Hoover

Dr. Peter Libby & Ms. Helyn Oatis

Harriet Lindblom

Keith Ohmart & Helen Chen

Brian Pfeiffer

Martha J. Radford

Jose M. Rodriguez & Richard A. Duffy

Paul L. Sapienza, PC, CPA

Raymond A. & Marilyn Smith

Richard K. & Kerala J. Snyder

Adrian & Michelle Touw

Paula & Peter Tyack

John C. Wiecking

GUARANTORS

($1,000 or more)

Anonymous (5)

Jonathan B. Aibel & Julie I. Rohwein, in honor of James Glazier

Annemarie Altman, in memory of Dave Cook

A.M. Askew

Ann Beha & Robert Radloff

The Honorable Leonie M. Brinkema & Mr. John R. Brinkema

Pamela & Lee Bromberg

Julie Brown & Zachary Morowitz

James Burr

Betty Canick

Robert & Elizabeth Carroll

David J. Chavolla

Carla Chrisfield & Benjamin D. Weiss

Peter Ciampi, in memory of John Rutherfurd, Jr.

Charles E. Clark, in memory of Diane Britton

Dr. & Mrs. Franklyn Commisso

Mary Cowden

Geoffrey Craddock

Richard & Constance Culley

FRIENDS OF THE BOSTON EARLY MUSIC FESTIVAL

Eric & Margaret Darling

The Davison-Twomey Family

Jeffrey Del Papa

Charles Durfee, Elizabeth Durfee Hengen & William Durfee, in memory of Alan Durfee

Helen Edwards

John W. Ehrlich

Henk Elderhorst

Charles & Elizabeth Emerson

Claire Fontijn, in memory of Arthur Fontijn & Sylvia Elvin

Bruce A. Garetz

Alexander Garthwaite & Julie Brown-Garthwaite

Dr. Robert L. Harris

Rebecca & Ronald Harris-Warrick

H. Jan & Ruth H. Heespelink

Michael Herz & Jean Roiphe

James & Ina Heup

Jessica Honigberg

Thomas M. Hout & Sonja Ellingson Hout

Wayne & Laurell Huber

Alex & Jean Humez

Jean Jackson, in memory of Louis Kampf

Thomas F. Kelly & Peggy Badenhausen

Barry D. Kernfeld & Sally A. McMurry

Art & Linda Kingdon

Fran & Tom Knight

Jason Knutson & Eleena Zhelezov

Neal & Catherine Konstantin

Kathryn Mary Kucharski

Robert & Mary La Porte

Amelia J. LeClair & Garrow Throop

John Leen & Eileen Koven

Lawrence & Susan Liden

James Liu & Alexandra Bowers

Kenneth Loveday & Ellen Hoffman

Mark & Mary Lunsford

William & Joan Magretta

John S. Major & Valerie Steele

Carol Marsh

David McCarthy & John Kolody

Amy & Brian McCreath

Michael P. McDonald

Victor† & Ruth† McElheny

Kati Mitchell

Louise Oremland

Richard & Julia Osborne

William J. Pananos

Gene & Margaret Pokorny

Amanda & Melvyn Pond, in honor of everything that BEMF does

Tracy Powers

Susan Pundt

Christa Rakich & Janis Milroy

Lois & Quentin Regestein, in memory of Jim Nicolson

Sandy Reismann & Dr. Nanu Brates

Alice Robbins & Walter Denny

Arthur & Elaine Robins

Patsy Rogers

Lois Rosow

Michael & Karen Rotenberg

Carlton & Lorna Russell

Kevin Ryan & Ozerk Gogus, in memory of Dorothy Fay

Susan Sargent

Lynne & Ralph Schatz

Richard Schroeder & Dr. Jane Burns

Maryann & Charles Schultz

Susan Schuur

David Scudder & Betsy Ridge, in memory of Diane Britton

Wendy Shattuck & Sam Plimpton

Laila Awar Shouhayib

Cynthia Siebert

Murray & Hazel Somerville

Louisa C. Spottswood

Ted St. Antoine

Catherine & Keith Stevenson

Paola Stone, in memory of Edmondo Malanotte

Theresa & Charles Stone

Lisa Teot

Lonice Thomas

Judie C. Toti, in memory of Carroll Ann Bottino

Prof. Van Orden

Patrick Wallace & Laurie McNeil

Louella Krueger Ward, in memory of Dr. Alan J. Ward, PhD, ABPP

Peter J. Wender

PATRONS

($500 or more)

Anonymous (6)

Morton Abromson & Joan Nissman

Tom & Judy Anderson Allen

Nicholas Altenbernd

Mrs. Debra K.S. Anderson & Mr. Brian P. Anderson

Susan P. Bachelder

Carl C. Baker & Susan R. Haynes

Louise Basbas

William & Ann Bein

Lawrence Bell

Michael & Sheila Berke

Barbara R. Bishop

Robert Burger

Frederick Byron

John Campbell & Susanna Peyton

JoAnne Chernow

Sherry & Gerry Cohen

Mary Cook, in memory of Diane Britton

David Cooke

Linzee Coolidge

Nancy Coolidge

Elizabeth & David Cregger

Tekla Cunningham & David Sawyer

Warren R. Cutler

Belden & Pamela Daniels

Anuradha Desai & Michael Sheridan, in memory of Carroll Ann Bottino

Kathryn Disney

Ross Duffin & Beverly Simmons

Austin & Eileen Farrar

Elizabeth Forman

Jonathan Friedes & Qian Huang

Sandy Gadsby & Nancy Brown

Sarah M. Gates

Tom Golden

Thomas & Lori Griswold

Laury Gutierrez & Elsa Gelin

Deborah Haraldson

Joan E. Hartman

Catherine & John Henn

Ian Hinchliffe & Marjorie Shapiro

Linda Hodgkinson

Phyllis Hoffman, in memory of Robert J. Hoffman

Charles Bowditch Hunter

Paul & Alice Johnson

Richard Johnson & Annmarie Linnane

Patrick Jordan & Margaret Gay

Barbara & Paul Krieger

Tom & Kate Kush, in honor of Michael Ellmann

Jasper Lawson

Susan Lewinnek

Catherine Liddell

Roger & Susan Lipsey

Mary Maarbjerg

Quinn MacKenzie

Sarah P. Marsh

Carol & Pedro Martinez

Anne H. Matthews

Marilyn Miller

Ray C. Mitzel, Jr.

Nancy Morgenstern, in memory of William & Marjorie Pressman

Gene Murrow

Debra Nagy

Nancy Nicholson

Nancy Nuzzo

John Parisi

David & Beth Pendery

Joseph L. Pennacchio

Hon. W. Glen Pierson & Hon. Charles P. Reed

Brandon Qualls

Virginia Raguin, in honor of Kathy Fay

Mahadev & Ambika Raman

Julia M. Reade & Robert A. Duncan

Hadley Reynolds

Michael J. Rogan & Hugh Wilburn

Ellen Rosand

Rusty Russell, in memory of Alan Durfee

Phil & Catherine Saines

Harvey A. Silverglate, in memory of Elsa Dorfman

Mark Slotkin

Elizabeth Snow

Ronald W. Stoia

Carl Swanson

Michael Frazier Thompson

Mark S. Thurber & Susan M. Galli

Reed & Peggy Ueda

Robert Warren

The Westner Family

Polly Wheat & John Cole

Michael & Margery Whiteman

Allan & Joann Winkler

Scott & Barbara Winkler

Janet Zander & Mark Ellenberger

The Zucker Family

ASSOCIATES

($250 or more)

Anonymous (9)

Karen Atkinson, in honor of Gretchen Atkinson

Tim Barber & Joel Krajewski

Helen Benham

Judith Bergson

Larry & Sara Mae Berman

Jesse Blumberg & Johanna Novom

Deborah Boldin & Gabriel Rice

James Bowman

Sally & Charlie Boynton

C. Anthony Broh & Jennifer L. Hochschild

Jane K. Brown

Deborah & Richard Burke

Derek Campbell

Joseph Cantey

Anne Chalmers† & Holly Gunner

Mary Chamberlain

Peter Charig & Amy Briemer

Floyd & Aleeta Christian

Linden Chubin

John K. Clark & Judith M. Stoughton

Derek Cottier & Lauren Tilly

Gray F. Crouse

Alicia Curtis & Kathy Pratt

Steven C. & Shirley A. Davis

William DePeter

Deborah & Forrest Dillon

Michael DiSabatino, in honor of Nancy Olson

Ellen Dokton & Stephen Schmidt

Charles & Sheila Donahue

Chuck Epstein & Melia Bensussen

The Rev’d Richard Fabian

Deborah Fegan

Gregg & Abby Wolf Feigelson

Mary Fillman & Mary Otis Stevens

Janet G. Fink

Dr. Patrick J. Fox, in honor of Nancy Olson, M.D.

Fred Franklin, in memory of Kaaren Grimstad

Robert Freeman

Elizabeth French

Fred & Barbara Gable

Barbara Gauditz

George & Marla Gearhart

Gisela & Ronald Geiger

The Graver Family

Mary Greer

Eric Haas, in memory of Janet Haas

Eric & Dee Hansen

Diane Hellens

Rebecca Herter

David Hoglund

Keith L. & Catherine B. Hughes

Chris & Klavs Jensen

Karen Johansen & Gardner Hendrie

Robin Johnson

David K. Jordan

David P. Kiaunis

Peggy Kimball

Robert L. Kleinberg

George Kocur

Christopher Larossa

Frederick V. Lawrence, in memory of Rosemarie Maag Lawrence

Dr. Bruce C. MacIntyre

Marietta Marchitelli

June Matthews

Donna McCampbell

Anne McCants

Andrew Modest & Beth Arndtsen

Agatha Morrell

Kathy & Alan Muirhead

Michael J. Normile

Eugene Papa

Jane P. Papa

Henry Paulus

Phillip Petree

John Petrowsky

Bici Pettit-Barron

Elizabeth V. Phillips

Stephen Poteet

Anne & François Poulet

Lawrence Pratt & Rosalind Forber

Rod Regier

David Rehm

Marge Roberts

Sherry & William Rogers

Paul Rutz

Cheryl K. Ryder

Richard L. Schmeidler

David Schneider & Klára Móricz

Clem Schoenebeck, in memory of Bill Schoenebeck

Maria Schreiber

Alison M. Scott

FRIENDS OF THE BOSTON EARLY MUSIC FESTIVAL

Miriam N. Seltzer

Mr. Terry Shea & Dr. Seigo Nakao

Michael & Judy Sherer

Jon Solins & Mary Peterson

Jeffrey Soucy

Daniel Stepner & Laura Jeppesen

Ann Stewart

Richard Stumpf

Victoria Sujata

Jonathan Swartz

Ralph & Jeanine Swick, in memory of Alan & Judie Kotok

Tim & Ann Szczesuil

Ken & Margo Taylor

Shelburne Thurber, in honor of Mark Pevsner

Edward Todd

John & Dorothy Truman

Elizabeth Trumpler, in memory of Donald Trumpler

Peter & Kathleen Van Demark

Robert & Therese Wagenknecht

Juanita H. Wetherell

Sarah Whittaker

Beverly Woodward & Paul Monsky

J. Yavarkovsky & C. Lowe

PARTNERS

($100 or more)

Anonymous (14)

Joseph Aieta III

Neale Ainsfield & Dr. Donna Sieckmann

Joanne Algarin

Ken Allen & Hugh Russell

Gene Arnould

Neil R. Ayer, Jr. & Linda Ayer

Judith Bairstow

Eric & Rebecca Bank

Dr. David Barnert & Julie Raskin

Rev. & Mrs. Joseph Bassett

Alan Bates & Michele Mandrioli

Alan Benenfeld

Susan Benua

Noel & Paula Berggren

John Birks

Sarah Bixler & Christopher Tonkin

Dan Bloomberg & Irene Beardsley

Wes Bockley & Amy Markus

John Boesen & Janne Hellgren

Claire Bonfilio

Louise Bourgault

Sibel Bozdogan

James Bradley

David Breitman & Kathryn Stuart

Joel Bresler

Andrew Brethauer

Derick & Jennifer Brinkerhoff

David C. Brown

David L. Brown

Lawrence Brown

David & Barbara Burke, in memory of Carroll Ann Sheridan Bottino

John H. Burkhalter III

Judi Burten, in memory of Phoebe Larkey

Alice Butler, in memory of Carroll Ann Sheridan Bottino

Pamela Carley & Lawrence Zukof

Verne & Madeline Caviness

Robert B. Christian

Daniel Church & Roger Cuevas

Melanie Clarke

Alan Clayton-Matthews

Carol & Alex Collier

Robert B. Crane

Francine Crawford

Donna Cubit-Swoyer

James Cyphers

Carl & May Daw, in memory of Ned Kellogg

Leigh Deacon

Alison Desimone

Jim Diamond

Paul Doerr

Duane R. Downey

Diane L. Droste

John Dunton & Carol McKeen

Peter A. Durfee & Peter G. Manson

Michael Durgin, in memory of Lisle Kulbach

Jane Edwards

Mark Elenko

Thomas Engel

Anne Engelhart & Douglas Durant

David English

Jake Esher

Seth Estrin

Lila M. Farrar

Marilyn Farwell

Russel Feldman & Anne Kane

Annette Fern

Mary B. Findley

Carol L. Fishman

Frances Conover Fitch, in memory of James Nicolson

Dr. Jonathan Florman

Howard C. Floyd

Frederick S. Frank

Gary Freeman

Marica & Jeff Freyman

R. Andrew Garthwaite

Stephen L. Gencarello

Barbara Godard

The Goldsmith Family

Lisa Goldstein

Nancy L. Graham

Winifred Gray

Judith Green & James Kurtz

Janet Grogan

Deborah Grose

John Gruver & Lynn Tilley

Peter F. Gustafson

Sonia Guterman, in memory of Martin Guterman

Quang Ha

Richard & Les Hadsell

Peter Hainer

Jimmy M. Hamamoto

Tunie Hamlen

Suzanne & Easley Hamner

Judith & Patrick Hanlon

Jasjit & Donald L. Heckathorn

Karin Hemmingsen

Katherine A. Hesse

Carole Hilton

Patricia G. Hoffman

Margaret Hornick

Valerie Horst & Ben Peck

Judith & Alan Hudson

Constance Huff

Joe Hunter & Esther Schlorholtz

Francesco Iachello

Willemien Insinger

Susan L. Jackson

Michele Jerison

Mary Parke Johnson

Judith L. Johnston & Bruce L. Bush

Lucy Johnston

James Kaddaras

George Kaminsky

David Keating

Patricia Keating

Thomas Keirstead

Kathleen O’Dea Kelly

Seamus & Marjorie Kelly

Louis & Susan Kern

Joseph J. Kesselman, Jr.

David & Alice Kidder

Maryanne King

Pat Kline

Valerie & Karl KnicKrehm

Ellen Kranzer

Benjamin Krepp & Virginia Webb

Robert W. Kruszyna

Jay Carlton Kuhn, Jr.

Claire Laporte

Bruce Larkin & Donna Jarlenski

David A. Leach & Laurie J. LaChapelle

William Lebow

Ellen R. Lewis

Robert & Janice Locke

Laura Loehr

John Longstreth

William Loutrel & Thomas Fynan

Sandra & David Lyons

Desmarest Lloyd MacDonald, in memory of Ned Kellogg

Michael J. Moran, in memory of Francis D. & Marcella A. Moran

Stefanie Moritz

Rodney & Barbara Myrvaagnes

David Nadvorney

Amelia Nagoski

Jennie Needleman

Cindy Hannig Neels

Avi Nelson

Arthur J. Ness

Gerald & Carol Neuman

Jeffrey Nicolich

Caroline Niemira

Leslie Nyman

Clara M. & John S. O’Shea

David & Claire Oxtoby

Gene & Cheryl Pace

William Packard

Valerie Palms

John R. Palys

Theodore Parent, in memory of Ruth Parent

Susan Patrick

John Percy

Andrea Phan

Susan Porter & Robert Kauffman

Helen Powell

RELEASING THIS FALL FROM THE

Mary Mackay & Edward Wheatley, in memory of Carroll Ann Sheridan Bottino

Anna Mansbridge

Robert Marshall

Peter Martin

Barbara Mauer

Ms. Sally Mayer

Mary McCallum

Lee McClelland

Heidi & George McEvoy

George McKee

Dave & Jeannette McLellan

Cynthia Merritt

Karen Metcalf

Susan Metz, in memory of Gerald Metz

Julie Middleton

Dennis Lee Milford

Thomas & Barbara Prescott

Annette & Michael Pringle

Jacob & Lisa Skowronek

Elliott Smith & Wendy Gilmore

Jennifer Farley Smith & Sam Rubin

Dr. Karen Patricia Smith

David Snead & Kate Prescott

William & Barbara Sommerfield

Jayne Sportelli

Scott Sprinzen

Scott Stansbury

Esther & Daniel Steinhauer

Steve Stelovich

Francine Stieglitz

John Strasswimmer

Barbara Strizhak, in memory of Elliott Strizhak

Jacek & Margaret Sulanowski

Jeffrey & Boryana Tacconi

Lee & Judith Talner

Richard Tarrant

John & Barbara Tatum

Pierre Trepagnier & Louise Mundinger

Carol Tsang

Lynette Tsiang, in memory of Joel van Lennep

Ruth W. Tucker

Nancy Turner, in memory of Carroll Ann Bottino

John Tyler

Konstantin & Kirsten Tyurin

Richard Urena

Barbara R & Larry M

George Raff

Susan Reutter-Harrah

Sue Robinson

Richard Rodgers

Wendy Rolfe & Benjamin Dunham

Paul Rosenberg & Harriet Moss

Barbara Roth

Sara Rubin & David Montanari

Charlotte Rutherfurd

Gregory Salzman

Robert & Barbara Schneider

R. Scholz & M. Kempers

Lynn & Mary Schultz

Fred Schulze

Boston Early Music Festival MARCO

Marg Miller

Deborah Mintz

Nicolas Minutillo

Rosalind Mohnsen

Michael Schwartz

David Sears

Jean Seiler

Aaron Sheehan & Adam Pearl

Kathy Sherrick

Hana Sittler

John & Carolyn Skelton

Nancy E. Van Baak, in memory of Edward B. Kellogg

Richard & Virginia von Rueden

Stephen Wallace

Sonia Wallenberg

Susan Walters

Terry Ward

Thomas & LeRose Weikert

The Rev. Roger B. White, in memory of Joseph P. Hough

Susan & Charles Wilkes

David L. Williamson

Michael Winter

John Wolff & Helen Berger

Susan Wyatt

Paulette York & Richard Borts

David Yutzler

Ros & Andy Zimmerman, in memory of Carroll Ann Sheridan

† deceased

FRIENDS OF THE BOSTON EARLY MUSIC FESTIVAL

FOUNDATIONS & CORPORATE SPONSORS

Anonymous (2)

Aequa Foundation

American Endowment Foundation

Appleby Charitable Foundation

Applied Technology Investors

BNY Mellon Charitable Gift Fund

Bank of America Charitable Gift Fund

The Barrington Foundation, Inc.

The Bel-Ami Foundation

Blue Grass Community Foundation

The Boston Foundation

Boston Private Bank & Trust Company

Lynde and Harry Bradley Foundation, Inc.

Gregory E. Bulger Foundation

Burns & Levinson LLP

The Catherine and Paul Buttenwieser Foundation

Cabot Family Charitable Trust

Cambridge Community Foundation

Cambridge Trust Company

Cedar Tree Foundation

Cembaloworks of Washington

City of Cambridge

The Columbus Foundation

Combined Jewish Philanthropies

Community Foundation of Western Massachusetts

Connecticut Community Foundation

Constellation Charitable Foundation

The Fannie Cox Foundation

The Crawford Foundation

CRB Classical 99.5, a GBH station

Daffy Charitable Fund

The Dusky Fund at Essex County Community Foundation

Eastern Bank Charitable Foundation

Fidelity Charitable

Fiduciary Trust Charitable

French Cultural Center / Alliance Française of Boston

Ann and Gordon Getty Foundation

GlaxoSmithKline Foundation

Goethe-Institut Boston

The Goldman Sachs Philanthropy Fund

The Florence Gould Foundation

GTC Law Group

Haber Family Charitable Foundation

Hausman Family Charitable Trust

The High Meadow Foundation

Houghton Mifflin Harcourt

The Isaacson-Draper Foundation

The Richard and Natalie Jacoff Foundation, Inc.

Jewish Communal Fund

Key Biscayne Community Foundation

Konstantin Family Foundation

Maine Community Foundation

Makromed, Inc.

Massachusetts Cultural Council

Mastwood Foundation

MLE Foundation, Inc.

Morgan Stanley

National Endowment for the Arts

Newstead Foundation

Barbro Osher Pro Suecia Foundation

The Packard Humanities Institute

Plimpton-Shattuck Fund at The Boston Foundation

The Mattina R. Proctor Foundation

REALOGY Corporation

Renaissance Charitable

The Saffeir Family Fund of the Maine Community Foundation

David Schneider & Klára Móricz Fund at Community Foundation of Western Massachusetts

Schwab Charitable

Schwalbe & Partners, Inc.

Scofield Auctions, Inc.

The Seattle Foundation

Shalon Fund

Kathy & Alexander Silbiger Fund of the Triangle Community Foundation

TIAA Charitable Giving Fund Program

The Trust for Mutual Understanding

The Tzedekah Fund at Combined Jewish Philanthropies

The Upland Farm Fund

U.S. Small Business Administration

U.S. Trust/Bank of America

Private Wealth Management

Vanguard Charitable

Walker Family Trust at Fidelity Charitable

Archie D. & Bertha H. Walker Foundation

Marian M. Warden Fund of The Foundation for Enhancing Communities

The Windover Foundation

Women On The Move LLC

MATCHING CORPORATIONS

21st Century Fox

Allegro MicroSystems

Amazon Smile

AmFam

Analog Devices

Aspect Global

Automatic Data Processing, Inc.

Biogen

Carrier Global

Dell, Inc.

Exelon Foundation

FleetBoston Financial Corporation

Genentech, Inc.

Google

Grantham, Mayo, van Otterloo & Co. LLC

John Hancock Financial Services, Inc.

Community Gifts Through Harvard University

Houghton Mifflin Harcourt

IBM Corporation

Intel Foundation

Investment Technology Group, Inc. (ITG)

Microsoft Corporation

Natixis Global Asset Management

Novartis US Foundation

NVIDIA

Pfizer

Pitney Bowes

Salesforce.org

Silicon Valley Community Foundation

Takeda

Tetra Tech

United Technologies Corporation

Verizon Foundation

Vertex Pharmaceuticals

Xerox Foundation

Boston Early Music Festival

JEAN-BAPTISTE LULLY

Idylle sur la Paix

MARC-ANTOINE CHARPENTIER La Fête de Rueil

Boston Early Music Festival

PAUL O’DETTE & STEPHEN STUBBS , Artistic Directors 26/27

SEASON

n FRI, OCTOBER 16, 2026

STILE ANTICO

n SAT, NOVEMBER 7, 2026

LES ARTS FLORISSANTS

n SAT, NOVEMBER 28, 2026

n SUN, NOVEMBER 29, 2026

BEMF CHAMBER OPERA SERIES

n SUN, DECEMBER 13, 2026

ENSEMBLE

CORRESPONDANCES

n FRI, FEBRUARY 19, 2027 RUCKUS

n SUN, FEBRUARY 28, 2027 TRIO MEDIÆVAL

n FRI, MARCH 5, 2027 FAUST & BEZUIDENHOUT

n SUN, APRIL 25, 2027

THE ROYAL WIND

MUSIC

Programs subject to change

n FRI, DECEMBER 4, 2026

THE TALLIS SCHOLARS