25/26 Season: Tafelmusik & Juilliard415

n SUNDAY, MARCH 1, 2026

3PM | First Church in Cambridge, Congregational

TAFELMUSIK & JUILLIARD415

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Dear Friends,

We are delighted to welcome you to the seventh event of our 25/26 Season: Tafelmusik Baroque Orchestra and Juilliard415 on Sunday, March 1 presented in the warm acoustic of First Church in Cambridge. For more than four decades, Tafelmusik has been at the forefront of early music in North America, with deeply committed performances that embody dynamism, virtuosity, and artistic integrity. They make their BEMF début in a powerhouse collaboration with the brilliant student musicians of Juilliard415 that celebrates the elegant theatricality of famed French opera composer Jean-Philippe Rameau’s oeuvre. BEMF Orchestra Director and Director of Historical Performance at Juilliard Robert Mealy leads this afternoon’s performance, which includes a quartet of overtures, irresistible chaconnes, and a cornucopia of dances featuring beloved BEMF dancers Caroline Copeland and Julian Donahue, both of whom have created new choreographies for the occasion.

Continuing our 25/26 Season, the thrilling young musicians of Le Consort return to BEMF on Friday, March 13 with “A Trio Sonata Soirée.” This glorious evening is a whirlwind journey through Baroque Europe highlighting the fascinating and virtuosic trio sonata repertoire of composers including Bach, Telemann, Vivaldi, Dandrieu, and Albinoni, alongside other chamber music gems. Our 25/26 Season rounds out in April with two blockbuster events. On Sunday, April 12 at 4pm at NEC’s Jordan Hall, the great Catalan viola da gambist Jordi Savall returns for a monumental performance in collaboration with his veteran ensembles and guest artists. Our series concludes on Saturday, April 25, at St. Paul Church in Cambridge, with the magnificent French countertenor Philippe Jaroussky and his ensemble Artaserse, in a program of fiery Italian cantatas inspired by jealousy.

Our virtual performances are available online: ACRONYM’s concert featuring newly rediscovered music of the Drese cousins and Bach premiered on February 28 and runs through March 14, and Le Consort’s virtual performance premieres on March 27.

We hope you enjoy all of these upcoming events. Thank you for your continued enthusiastic support of the Boston Early Music Festival.

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

Boston Early Music Festival

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

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.

Paul O’Dette & Stephen Stubbs, Artistic Directors

n FRIDAY, MARCH 13, 2026 | 8PM

VIRTUAL AVAILABILITY: March 27 to April 10, 2026

LE CONSORT

Journey through Baroque Europe for a whirlwind program spotlighting the trio sonata

n SUNDAY, APRIL 12, 2026 | 4PM

VIRTUAL AVAILABILITY: April 26 to May 10, 2026

JORDI SAVALL & FRIENDS

International artists present a dialogue with the music of Africa, America, and the Caribbean

n SATURDAY, APRIL 25, 2026 | 8PM

VIRTUAL AVAILABILITY: May 9 to May 23, 2026

PHILIPPE JAROUSSKY & ARTASERSE

Thrill to Italian Baroque cantatas exploring the passion and anguish of jealosy with this superstar countertenor

THE BOARD OF DIRECTORS AND STAFF OF THE BOSTON EARLY MUSIC FESTIVAL WISH TO DEDICATE THIS AFTERNOON’S CONCERT BY TAFELMUSIK BAROQUE ORCHESTRA & JUILLIARD415 TO

CARROLL ANN SHERIDAN BOTTINO

MAY 8, 1938 – SEPTEMBER 23, 2025

OUR THANKS TO THOSE WHO HAVE DONATED TO BEMF IN CARROLL ANN’S MEMORY, INCLUDING:

JUDIE C. TOTI

ANURADHA DESAI AND MICHAEL SHERIDAN

NANCY TURNER AND DAVE CAIN

ALICE BUTLER

DAVID AND BARBARA BURKE

MARY MACKAY AND EDWARD WHEATLEY

ROS AND ANDY ZIMMERMAN

Carroll Ann was one of BEMF’s greatest cheerleaders and she reveled in our successes, attending countless performances and serving as one of our most dedicated Volunteers. A passionate music educator and teacher of classical and early music, when our biennial Festival brochures were hot off the printing press she went to great lengths to hand-deliver them to countless students and young fans! We will miss her very much.

Boston Early Music Festival PRESENTS

TAFELMUSIK BAROQUE

ORCHESTRA & JUILLIARD415

ROBERT MEALY, Director

CAROLINE COPELAND & JULIAN DONAHUE, dancers & choreographers

RAMEAU AND THE ART OF DANCE

JEAN-PHILIPPE RAMEAU (1683–1764)

Overture from Zoroastre (1749)

Dances from Castor et Pollux (1737)

Déscente de Venus et de Mars

Premier Air pour les Athlètes

Air très gai pour les Athlètes

Air pour les Ombres heureuses [for the happy shades]

Gavotte pour trois Ombres heureuses

Loure pour trois Ombres heureuses

Passepieds I & II pour deux Ombres heureuses

Chaconne pour les Génies

Overture from Les fêtes de Polymnie (1745)

Dances from Dardanus (1739)

Air gracieux pour les Plaisirs et la Jalousie [for the Pleasures and Jealousy]

Air vive pour les Plaisirs

Air gracieux pour les Peuples de différents nations

Menuets I & II pour les Phrygiens et Phrygiennes

Tambourins I & II pour les Peuples de différents nations

Chaconne pour les Jeux et les Plaisirs [for the Games and the Pleasures]

Caroline Copeland, choreographer

m INTERMISSION n

THE BOSTON EARLY MUSIC FESTIVAL THANKS

SUSAN L. ROBINSON for her leadership support of tonight’s performance by Tafelmusik Baroque Orchestra & Juilliard415

Overture from Zaïs (1748)

Dances from Les Indes galantes (1735)

Menuets I & II pour la suite d’Hébé [for the followers of Hebe]

Musette pour la suite d’Hébé

Rigaudons I & II pour les Matelots provençaux [for the Provençal sailors]

Orage [Storm]

Tambourins I & II pour les Matelots provençaux

Chaconne

Overture from Naïs (1749)

Dances from Naïs (1749)

Gavotte pour les Zéphyres

Air gai pour les Divinités de la mer [for the Deities of the sea]

Sarabande pour les Dieux et Déesses de la mer [for the Gods and Goddesses of the sea]

Menuets I & II pour les Divinités de la mer déguisées [for the Deities of the sea in disguise]

Tambourins I & II pour les Divinités de la mer déguisées

Entrée des lutteurs [Entrance of the wrestlers] Chaconne Air de triomphe

Julian Donahue, choreographer

SUNDAY, MARCH 1, 2026 AT 3PM

First Church in Cambridge, Congregational 11 Garden Street, Cambridge, Massachusetts

TAFELMUSIK BAROQUE ORCHESTRA & JUILLIARD415

Robert Mealy◊, Cristina Zacharias, Julia Wedman, Eliana Estrada*, Kiyoun Jang*, violin I

Johanna Novom, Ian Jones*, Constance Wu*, Grace McKenzie*, violin II

Brandon Chui, Epongue Ekille*, haute-contre

Patrick Jordan, Christopher Verrette, taille

Michael Unterman, Cordelia Mutter*, Maya Ridenour*, violoncello

Jussif Barakat Martínez, Josue Reyes*, double bass

Sandra Miller◊, Evan Fraser*, flute & piccolo

Daniel Ramírez Escudero, Marco Cera, Remy Libbrecht*, oboe

Dominic Teresi◊, Ashley Mania*, Lev Meniker*, Austin Wegener*, bassoon

Vincent Yim*, Tianyu Wang*, trumpet

Ed Reifel, timpani & percussion

* Juilliard415

◊ Juilliard faculty

Program subject to change.

Ball Square Films & Kathy Wittman, Video Production

Antonio Oliart Ros, Recording Engineer

We acknowledge the support of the Canada Council for the Arts.

Tafelmusik Season Presenting Sponsor

Tafelmusik Season Partners

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

PROGRAM NOTES

Jean-Philippe Rameau’s life had one of the most remarkable second acts of any composer. After a modest career in the provinces, he moved to Paris at the age of forty and astonished his contemporaries with his first opera, Hippolyte et Aricie, in 1733, which premiered when he was fifty. Critics exclaimed that there was enough invention for ten operas in its score. Rameau went on to write more than thirty large-scale theatrical works over the next three decades; he died just before his eighty-first birthday.

Rameau brought a unique mix of theoretical and practical experience to his opera scores. In the decade before Hippolyte was premiered, he had been busy publishing enormous harmonic treatises and working as a composer for the Théatre de la Foire, the street fairs of Paris. (It’s a little as if Milton Babbitt, after teaching music theory at Princeton and writing

Broadway shows, had started a new career writing hugely popular full-length operas for the Met.)

This afternoon’s program celebrates Rameau’s spectacularly theatrical overtures and his dances, which are some of the most addictively kinetic music written before Stravinsky. No other Baroque dance music seems so clearly to invite its own choreography. As the famous ballet-master Claude Gardel admitted, “Rameau perceived what the dancers themselves were unaware of; we thus rightly regard him as our first master.” In today’s concert we’ll see the same pair of dancers interpret Rameau’s music using Baroque choreography in Dardanus and modern choreography in Naïs.

Rameau often uses some of the most straightforward Baroque dance-forms

to create his endlessly inventive effects. The simple menuet, for example, is full of surprising textures in his hands, while the tambourin and the rigaudon offer other, earthier pleasures of sheer rhythmic propulsion. The great chaconnes that end each opera, with their repeating phrases conveying a sense of order restored, become occasions for displays of theatrical gesture in the music. Note the amazing scale that disappears into nothing at the end of the chaconne in Castor et Pollux, for example, or the moment when time simply stops in the one from Dardanus, with everyone silent for several beats at a time.

Along with the classic French dance forms, Rameau also exploited the new possibilities of ballets d’action, where actions could be depicted in pantomime, an art he had learned at the Foire. This gave him the opportunity to explore quirky and irregular phrasing with moments that could be comic, or charming, or violently dramatic—sometimes all in the same dance.

Rameau’s orchestral effects in these operas are achieved with the most economical of means, using only the usual strings and winds, with occasional appearances by trumpets and percussion. One of his favorite instruments was the bassoon, which he often uses for high tenor obbligatos. A contemporary remarked that “thanks to Rameau, an instrument formerly appreciated only for its force has become pleasant and touching, capable both of pleasing the ear and affecting the heart.”

We open our program with the ferocious overture from Rameau’s great magic opera of 1749, Zoroastre. Rameau was constantly exploring how to rework the traditional slowfast overture of Lully, and in the 1740s, he began making its music part of the plot. Here, as one eighteenth-century score explains, “the first part is a vivid picture of King Abramane’s barbarous rule and the groans of his oppressed people. A gentle calm follows, as hope is born again.” The overture ends with “a bright and joyous image of Zoroastre’s powers of

good, and the happiness of people freed from oppression.”

We follow this with a suite of dances from Castor et Pollux. Written in 1737, this was Rameau’s second big tragédie lyrique after Hippolyte, and became his most popular opera. According to one contemporary, Rameau was overwhelmed by the applause at its revival in 1754, “weeping for joy and drunk with the welcome that the public had given him.” It continued to be revived as late as 1792, during the Revolution.

Our first air encapsulates the story of its Prologue: the flutes and violins of Venus subdue the warlike trumpet of Mars. After two dances for some very elegant athletes, we move to the Underworld. French operas almost always went to Hell at some point, to show off the Opéra’s excellent grotesque stage sets. In this case we visit Hell’s pleasant suburbs, the Elysian Fields (literally the Champs-Élysées), where the Happy Spirits attempt to console Castor. The opera’s final chaconne celebrates “la fête de l’Univers”— the party of the universe—where the stars and planets all dance together.

The overture to Les fêtes de Polymnie of 1745 is another of Rameau’s striking conceptions. The Rameau scholar Graham Sadler commented that “the piled-up dissonances of the first section have the character of a magnificent organ improvisation”—in fact, Balbastre later arranged it for organ—“while the second section would not seem out of place in a contemporary German symphony.” Next come a series of dances from 1739’s Dardanus in Baroque choreography, ending with its great chaconne, where time itself stands still.

Our second half begins with the dramatic overture of Zaïs from 1748. Rameau declared that he wanted to “paint the unravelling of chaos” and the creation of the world, as the various elemental spirits are awoken. Its striking opening proved too much for some contemporaries, and Rameau’s original version

(which we play tonight) quickly got revised during rehearsals. Even so, one reviewer wrote that Rameau made such an effective depiction of chaos “that it was unpleasant…happily Adam was not around to hear the creation of the world, and God spared the first man from an overture which would have burst his ear drums.” Today we can revel in Rameau’s vision of radical disorganization.

Rameau followed up his first tragedy, Hippolyte, with a lighter work. Les Indes galantes from 1735 is an opéra-ballet, an exploration of international love through a series of unconnected scenes. Its very name reveals its fashionably up-to-date agenda. Galant is a difficult word to translate, meaning about as much (and as little) as “cool” does today: chic and sophisticated, but also simple and direct—and above all, elegant. It was the word that marked the Régence after Louis XIV’s death in 1714, when the Duc d’Orléans, regent to the young Louis XV, moved the court from Versailles back to Paris, and a light urban style replaced the elaborate rituals of the previous regime.

The new century had been inaugurated with André Campra’s L’Europe galante, and now Rameau and his librettist provided an

international response. The setup is simple: since all the young men of Europe want to go to war, Love himself has decided it’s time to emigrate. (“Les Indes” really just means anywhere far away: the Ottoman Empire, Peru, North America…). Our suite tonight focuses on the Prologue’s dances for Hebe, the goddess of youth, and the festivities of young Europeans before the Goddess of War takes them over. The opera’s final chaconne, set in an arcadian America, celebrates the victory of love over war: you can hear the warlike trumpets and drums gradually being overtaken by the sweeter sounds of strings and winds.

We close with a suite from Naïs, the 1749 opéra pour la Paix (opera for Peace) which celebrated the end of seven years of European war. Its prologue recasts the war as the assault of the Titans on Olympus, and the overture depicts this literally titanic battle: a bruit de guerre (noise of war) with drums thundering and trumpets blaring in ferocious offbeat syncopations. After a suite of colorful dances, we finish our celebration of Rameau with a huge and virtuosic chaconne for the Ithsmian Games, a slightly unpronounceable version of the Olympic Games in honor of Neptune. n —Robert Mealy

NOTES ON THE DANCES

Dardanus Suite of Dances:

Notes by choreographer Caroline Copeland

There are no extant dance notations from the opera-ballets of Jean-Philippe Rameau. The surviving theatrical dance repertoire closest to this period are notated choreographies for the operas of Jean-Baptiste Lully, whose ballet music, its phrasing and character, are completely different from Rameau, and thus not interchangeable.

For me, the ballet music of Rameau signals a change of ballet technique. Perhaps this is one of the reasons why there are no extant theatrical dance notations: the notation system created by Pierre Beauchamps in the late seventeenth century did not adapt to the new style of ballet emerging that blended pantomime and pure dance virtuosity. We do know that in the latter half of the eighteenth century the Italian “grotesque” style of ballet became dominant. Similar to our current ballet practices, the Italian style of ballet was athletic and virtuosic, and included a lot of jumping, “batterie” of the legs, higher leg gestures, and endless amounts of pirouettes.

For these choreographies, I took advantage of the long lens of history to create a hybrid of the known and the speculative. Inspired by the writings and engravings of the English dancing master Kellom Tomlinson, I exaggerated the spiral and bend of the torso, utilized higher and more dynamic arm movements, and finished each gesture with the delicate gathering of the fingertips. The existing costume designs and paintings of professional dancers from this era support this aesthetic approach. As for the steps, we used the theatrical choreographies of Louis Pécour and Anthony L’Abbé as guides, and from that base we manipulated, ornamented, and expanded the technique in the hopes of achieving a blend of the earlier ballet technique with what we know is coming later in the eighteenth century, a more galant-style ballet. n

Naïs Suite of Dances: Notes by choreographer Julian Donahue

Approaching contemporary choreography to Baroque music for a Baroque program can feel like a conundrum. There are certain expectations, in style and in form, that one associates with Baroque dance that we might not follow in contemporary choreography. Throughout the contemporary dance suite I try to stay true to one important Baroque dance tenet: to provide a visualization of the music, to treat the body like a musical instrument that appeals to the kinesthetic senses, visually keeping time while describing and deepening the music for the audience.

I decidedly did not strictly adhere to symmetry conventions, but I did play with symmetry as a way to recall the Baroque style and show my departure from it. As the piece goes on, I play more with counterpoint, which ironically, is an essential concept in Baroque music, but is not common in Baroque dance. Counterpoint in dance means that two dancers are doing completely different phrases of movement that hold similar attentional and compositional weight. The last tambourin is almost completely in counterpoint: Caroline and I don’t do any of the same steps at the same time until the very end. Additional ideas that guided me were the use of pedestrian movement typical of contemporary dance, and different body parts leading movement instead of always being led by the feet as in Baroque dance. n

ARTIST PROFILES

Every now and then a group of musicians comes along and changes the way we think about music. For over four decades, Tafelmusik has been synonymous worldwide with dynamic, engaging, and soulful performances informed by scholarship, passion, and artistic excellence. Performing on instruments and in styles appropriate to the era, Tafelmusik has performed in more than 350 cities in 32 countries. Its extensive discography on the Sony, CBC Records,

Analekta, and Tafelmusik Media labels has garnered ten JUNOs and numerous international recording prizes. From a vibrant home season in Toronto, to international tours, award-winning recordings, and inspiring education programs, Tafelmusik is a musical powerhouse with a reputation for thrilling and delighting audiences. Tafelmusik’s Artistic CoDirectors are Brandon Chui, Dominic Teresi, and Cristina Zacharias. tafelmusik.org n

Juilliard415, the school’s primary periodinstrument ensemble, provides students with the chance to work at the highest professional level in terms of excellence, breadth of experience, repertoire, and associations with guest artists. Juilliard415 musicians work with an unrivaled roster of resident and guest artists, including Rachel Podger, Nicholas McGegan, Ton Koopman, William Christie, Masaaki Suzuki, Jordi Savall, Leila Schayegh, Laurence

Equilbey, Harry Bicket, and many others. The ensemble performs a dynamic programming of repertoire from the late 16th through the early 19th centuries on period instruments. National and international tours have brought Juilliard415 to Japan, Italy, the Netherlands, Southeast Asia, France, Great Britain, India, and New Zealand, as well as appearances at the Boston Early Music Festival, MA Festival Bruges, and the Leipzig Bachfest. n

Robert Mealy is one of America’s most prominent Baroque violinists. The New York Times commented that “Mr. Mealy seems to foster excellence wherever he goes.” He joined Tafelmusik as a violinist in 1983 while still an undergraduate at Harvard College, and after graduating began to perform with Les Arts Florissants. Since then, he has recorded and toured with a wide range of distinguished early music ensembles both in America and Europe. As Orchestra Director for the Boston Early Music Festival, he has led the BEMF Orchestra in festival productions, international tours, and Grammy Award–winning recordings for over a decade. In New York City, he is principal concertmaster at Trinity Wall Street, where he has led all of Bach’s cantatas and many Handel oratorios. A devoted chamber musician, he co-directs Quicksilver, an ensemble exploring the virtuosic music of the 17th century. Their recordings and festival appearances have delighted audiences across America. Robert is Director of Historical Performance at Juilliard. n

Caroline Copeland is an embodied dance historian, choreographer, and educator. In the field of early ballet she has performed in over seventy productions and has fifty choreographic credits in film, opera, theater, and concert dance. Caroline has worked with prestigious festivals and performing institutions across the U.S. and Europe,

including the Boston Early Music Festival and New York Baroque Dance Company. Appearances include performances at Lincoln Center, Kennedy Center, Drottningholm Palace, the International Handel Festival in Göttingen, and the Innsbruck Festival of Early Music. Her creative collaborations in opera and concert dance include projects with Musica Angelica, Cantata Profana, Merz Trio, and Juilliard415, and her choreography has been presented at Alice Tully Hall, Metropolitan Museum of Art, Public Theater, and Philipzaal Den Haag. Caroline is currently on the dance faculties of Hofstra University and SUNY Purchase Conservatory of Dance, and is a guest lecturer for Juilliard’s Historical Performance Program. n

Julian Donahue is a choreographer and dancer based in Brooklyn. Julian danced with New York Theatre Ballet from 2018 to 2024, performing masterworks by Antony Tudor, Merce Cunningham, Jerome Robbins, José Limón, and many others. Julian started dancing with Ellen Cornfield in October 2024. Julian also specializes in Baroque, Renaissance, and folk-dance forms, performing with New York Baroque Dance Company and Boston Early Music Festival. He has performed Baroque dance at Lincoln Center and at the Kennedy Center. Julian was recently awarded a 2025 Support for Artists Grant from the New York State Council on the Arts. His choreography has been presented at the Kennedy Center, Tanglewood, Battery Dance Festival, Florence Gould Hall, Judson Church, Lincoln Center, and more. In April 2025, Julian’s one man show  With Violets in Her Lap  premiered at the Lesbian, Gay, Bisexual, and Transgender Center. juliandonahuedance.com n

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Boston Early Music Festival

The Boston Early Music Festival (BEMF) is universally recognized as a leader in the field of early music. Since its founding in 1980 by leading practitioners of historical performance in the United States and abroad, BEMF has promoted early music through a variety of diverse programs and activities, including an annual concert series that brings early music’s brightest stars to the Boston and New York concert stages, and the biennial weeklong Festival and Exhibition, recognized as “the world’s leading festival of early music” (The Times, London). Through its programs BEMF has earned its place as North America’s premier presenting organization for music of the Medieval, Renaissance, and Baroque periods and has secured Boston’s reputation as “America’s early music capital” (Boston Globe).

INTERNATIONAL BAROQUE OPERA

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

PAUL O’DETTE & STEPHEN STUBBS , Artistic Directors

2026 GRAMMY WINNER

BEST CLASSICAL SOLO VOCAL ALBUM

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