Issuu

PAUL O’DETTE & STEPHEN STUBBS, Artistic Directors KATHLEEN FAY, Executive Director

FRIDAY, OCTOBER 16, 2026 at 7:30PM St. Paul Church, Cambridge

STILE ANTICO 26/27 SEASON

BE M F.ORG

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WELCOM E Dear Friends, We are thrilled to welcome you to the opening concert of our 37th Season, featuring the luminous British vocal ensemble Stile Antico. A perennial favorite of BEMF audiences, and among the most accomplished and sought-after Renaissance vocal groups in the world, this dynamic, selfdirected ensemble of twelve singers made their North American début at the 2009 Boston Early Music Festival to great critical acclaim. Renowned for their fresh and vivid interpretations, they have brought their singular blend, impeccable intonation, and deep musicianship to bear in countless performances of Renaissance polyphony. They return to St. Paul Church in Cambridge for their 14th appearance on BEMF’s annual concert series with a program that explores the varied and flourishing cultures of Europe during the Renaissance—from papal Rome to the academies of Paris and cosmopolitan centers of Lisbon and Venice, with works by Monteverdi, Merulo, Palestrina, Lassus, Guerrero, Janequin, and many others. We hope you will again join us on Saturday, November 7 at 7:30pm, in the unparallelled acoustic of NEC’s magnificent Jordan Hall, when we welcome the return of Les Arts Florissants, long regarded as one of Early Music’s definitive ensembles for their pioneering role in the early Baroque revival. Co-directors William Christie and Paul Agnew join forces for their illuminating program of Monteverdi’s greatest madrigals for mixed voices, culminating in a performance of his iconic Il Combattimento di Tancredi e Clorinda. This is an event not to be missed! The BEMF Chamber Opera Series returns to Jordan Hall over the Thanksgiving Weekend with Pyramus & Thisbe: A Mock-Opera by John Frederick Lampe, the composer of The Dragon of Wantley, which thrilled BEMF audiences when we produced it in November 2023. Vibrant staging, lavish costumes, and gorgeous Baroque dance bring to life this satirical play-withina-play adapted from Shakespeare’s A Midsummer Night’s Dream—interwoven with music from Henry Purcell’s The Fairy Queen—performed by an all-star cast of singers, dancers, and instrumentalists led by Musical Directors Stephen Stubbs and Paul O’Dette, Stage Director and Choreographer Marie-Nathalie Lacoursière, and Concertmaster Robert Mealy. All three programs will be made available for online viewing two weeks after the in-person performances. Thank you for joining us for tonight’s performance, whether live or virtually, and as always, please accept our heartfelt thanks for your continued enthusiastic support of the Boston Early Music Festival.

Kathleen Fay Executive Director

TABLE OF CONTENTS

26/27 SEASON

Concer t Program Program Notes Ar tist Profile Texts & Translations A bout BEMF Friends of BEMF

9 11 19 21 33 37 1

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 LEADERSH IP 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 OVERSE E RS

BOARD OF TRUSTE E S Marty Gottron & John Felton, Co-Chairs Deborah Ferro Burke | James A. Glazier | Douglas M. Robbe | Jacob Skowronek † deceased

B O S T ON E A R LY M U SI C F E S T I VA L, INC . 43 Thorndike Street, Suite 302, Cambridge, MA 02141-1764 Telephone: 617-661-1812 | Email: bemf@bemf.org | BEMF.org 26/27 SEASON

BOSTON EAR LY MUSIC FEST IVAL

M EMBER S OF THE BEMF CORP ORAT ION Jon Aaron Debra K.S. Anderson Kathryn Bertelli Mary Briggs Douglas M. Brooks Gregory E. Bulger Julian G. Bullitt Deborah Ferro Burke John A. Carey Bernice K. Chen Linden Chubin Joel I. Cohen† Brit d’Arbeloff† Vivian Day 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

26/27 SEASON

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 David W. Scudder Andrew Sigel Jacob Skowronek Arlene Snyder 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

26/27 SEASON n FRIDAY, OCTOBER 16, 2026 at 7:30PM

V I R T U A L AVA I L A B I LI T Y : October 30 to November 13, 2026

STILE ANTICO n SATURDAY, NOVEMBER 7, 2026 at 7:30PM

V I R T U A L AVA I L A B I LI T Y : November 21 to December 5, 2026

LES ARTS FLORISSANTS

WILLIAM CHRISTIE & PAUL AGNEW, Co-Directors

BOSTON EARLY MUSIC FESTIVAL CHAMBER OPERA SERIES

P R E S EN T S

A Mock-Opera

n SATURDAY, NOVEMBER 28, 2026 at 8PM n SUNDAY, NOVEMBER 29, 2026 at 3PM

V I R T U A L AVA I L A B I L I T Y : December 12 to December 27, 2026

BOSTON EAR LY MUSIC FEST IVAL

n FRIDAY, DECEMBER 4, 2026 at 7:30PM

V IR T U A L AVA I L A B IL I T Y :December 11 to December 27, 2026

THE TALLIS SCHOLARS PETER PHILLIPS, Director

n SUNDAY, DECEMBER 13, 2026 at 4PM

V IR T U A L AVA IL A B IL I T Y : December 20, 2026 to January 3, 2027

ENSEMBLE CORRESPONDANCES SÉBASTIEN DAUCÉ, Director

n FRIDAY, FEBRUARY 19, 2027 at 7:30PM

V IR T U AL AVA I L A B IL I T Y :March 6 to March 20, 2027

RUCKUS n SUNDAY, FEBRUARY 28, 2027 at 4PM

V IR T U A L AVA I L A B IL I T Y : March 14 to March 28, 2027

TRIO MEDIÆVAL n FRIDAY, MARCH 5, 2027 at 8PM

FAUST & BEZUIDENHOUT

n SUNDAY, APRIL 25, 2027 at 4PM

V IR T U A L AVA I L A B IL I T Y : May 9 to May 23, 2027

THE ROYAL WIND MUSIC 26/27 SEASON

Boston Early Music Festival

PAUL O’DETTE & STEPHEN STUBBS, Artistic Directors KATHLEEN FAY, Executive Director

N E W CD R E L E A S E ! T H E T H R E E S OPR ANOS

Earthly Delights for Angelic Voices

FE AT UR ING…

F O R S Y T HE

M IE LDS

DUARTE

AVAIL A BL E I N T HE L OBB Y OR ON BEMF.OR G 12 SEASON

BOSTON EAR LY MUSIC FEST IVAL 11

Boston Early Music Festival

PRESENTS

Paul O’Dette & Stephen Stubbs, Artistic Directors

STILE ANTICO

POLY PHON IC P OSTCA R DS

M U S IC F R O M EUR OP E ’ S G R E AT E S T R E N AIS S A NC E C I T IE S PA R IS

Mater floreat Tant que vivray Les cris de Paris

Pierre Moulu (ca. 1484–ca. 1550) Claudin de Sermisy (ca. 1490–1562) Clément Janequin (ca. 1485–1558)

S E V ILLE

Ave virgo sanctissima Niño Dios d’amor herido O quam suavis est

Francisco Guerrero (1528–1599) Guerrero Alonso Lobo (1555–1617)

MUNIC H

Fratres, sobrii estote a8 Es jagt ein Jäger Das Geläut zu Speyer

Ludwig Daser (ca. 1525–1589) Orlandus Lassus (1530/2–1594) Ludwig Senfl (ca. 1489–1543) m INTERMISSION n

R OM E

Christus factus est Trist’ Amarilli mia Tu es Petrus a6

Felice Anerio (ca. 1560–1614) Philippe Verdelot (1480/5–?1530/2) Giovanni Pierluigi da Palestrina (1525/6–1594)

T HE BOS TON E ARLY MUSIC FES T I VAL T H ANK S DAVID HALSTEAD and JAY SANTOS

for their leadership support of tonight’s concert by Stile Antico

A NDREW SIGEL

for his support of the virtual presentation of Stile Antico

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L IS B O N

Lamentations a6 Vau: Et egressus Zain: Recordata est Jerusalem Jerusalem, Jerusalem Pásame por Dios Panis angelicus

Manuel Cardoso (1566–1650)

Pedro de Escobar (ca. 1465–after 1535) João Rebelo (1610–1661)

V ENIC E

Adoramus te, Christe Vergine madre, figlia del tuo figlio Ecco Vinegia bella a12

Claudio Monteverdi (1567–1643) Claudio Merulo (1533–1604) Andrea Gabrieli (?1532/3–1585)

It Looks Quite Curious*

Christopher Cerrone (b. 1984)

*Commissioned in 2026 by Miller Theatre at Columbia University for Stile Antico LIVE CONCERT Friday, October 16, 2026 at 8pm St. Paul Church in Harvard Square Bow and Arrow Streets, Cambridge, Massachusetts VIRTUAL CONCERT Friday, October 30, 2026 – Friday, November 13, 2026 BEMF.org

STILE ANTICO Helen Ashby, Kate Ashby, Rebecca Hickey, soprano Emma Ashby, Cara Curran, Rosie Parker, alto Andrew Griffiths, Jonathan Hanley, Benedict Hymas, tenor James Arthur, Nathan Harrison, Gareth Thomas, bass

This concert is organized with the cooperation of Knudsen Productions, LLC, exclusive North American artist representative of Stile Antico. Stile Antico records for Decca. Program subject to change.

Ball Square Films & Kathy Wittman, Video Production Antonio Oliart Ros, Recording Engineer 10

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PROGRAM NOTE S

VIEW OF PARIS FROM THE NUREMBERG CHRONICLE (1493) Europe’s Renaissance cities not only competed in the magnificence of their architecture and the opulence of their visual arts, but also in the richness of their music. Our program assembles musical postcards from six of these great centers, the date of each chosen to showcase a city at the peak of its cultural achievement. Our first postcard arrives from Paris—a thriving university city, given new confidence in the early sixteenth century by the return of the Kings of France from the Loire. Pierre Moulu (ca. 1484–ca. 1550) was probably associated with the court; the text of his Mater floreat includes a long list of composers, many of them active in the city. It may have been performed in 1517 to mark the entry into Paris of Francis I’s wife, Queen Claude. The most distinctive musical genre of Renaissance Paris was the secular chanson. Less contrapuntal than its Flemish and Burgundian ancestors, it drew heavily on the elegant poetry of Clément Marot, as in the charming Tant que vivray by Claudin de Sermisy (ca. 1490–1562), whose simple textures allow the singers great opportunities to characterize the text. Clément Janequin (ca. 1485–1558) was famed for his programmatic chansons depicting the sounds 26/27 SEASON

of battle, birdsong, or—in Les cris de Paris— the chaos of a Parisian market. Few musical works evoke a sense of time and place more vividly than this, as we hear the competing cries and mots justes of the street-sellers echoing between the voices.

SEVILLE (1565) In 1503, the city of Seville was granted a trading monopoly with Las Indias—Spain’s American possessions. For the next century, the quayside on the River Guadalquivir buzzed with activity as fleets arrived laden with precious metals and exotic goods, and the city’s population was swelled by merchants from all over Europe. Seville’s prestige was reflected in an explosion of building work, including the completion and lavish decoration of its cathedral, whose musical tradition was equally opulent. 11

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Francisco Guerrero (1528–1599) spent most of his career at Seville Cathedral. Ave virgo sanctissima epitomizes his fervent style, crowned by a canon between the two highest parts. Alonso Lobo (1555–1617) sang as a choirboy under Guerrero before being appointed to his teacher’s post early in the seventeenth century; his luscious motet O quam suavis est would have been performed during the Eucharist. However, not all Spanish church music was so ornate and devotional. Vernacular Spanish villancicos often replaced Latin music on important feast days—especially at Christmas and Epiphany. The gently lilting Niño Dios d’amor herido shows that Guerrero was equally adept in this attractive genre.

continued to be sung in Munich; his sonorous double-choir motet Fratres, sobrii estote likely dates from this period. It was the 1555 arrival of the Franco-Flemish composer Orlandus Lassus (1530/2–1594) which cemented Munich’s status as one of Europe’s foremost centers. Employed first as a court composer, Lassus succeeded Daser as Kapellmeister, remaining in post until his death. Such was his fame that other eminent composers such as Andrea and Giovanni Gabrieli travelled to study with him. His lighthearted song Es jagt ein Jäger was first published in 1572, and reflects the court’s obsession with hunting—even if in the end the poem turns out to be about the pursuit of love. Lassus was famously encouraged to write short masses, so that Albrecht could spend more of the day indulging his passion for the chase!

MUNICH (1493) Our next postcard comes from Munich, which became capital of a reunited Bavaria in 1506. In the early 1520s Duke Wilhelm I decided to establish his own court music, recruiting the composer Ludwig Senfl (ca. 1489–1543) to his service. Alongside his new master, Senfl may have attended the 1529 Diet of Speyer, where he would have heard the cathedral bells so memorably depicted in his most famous work, Das Geläut zu Speyer. Although Wilhelm was a staunch Catholic, Senfl corresponded with Luther, even exchanging gifts—a motet in return for a chest of books. His Protestant sympathies seem to have caused him little trouble, but his pupil Ludwig Daser (ca. 1525–1589) fared less well: he was removed from his position as Kapellmeister to Wilhelm’s successor Duke Albrecht V after an inquisition, though the official reason given was ill health, and he retained a pension. While Daser later worked at the Protestant court in Stuttgart, his music 26/27 SEASON

ROME (1493) The first years of the sixteenth century saw Renaissance Rome at its apogee. Under the papacy of Julius II, building work began on the new St. Peter’s Basilica, Raphael painted the Vatican rooms, and Michelangelo the ceiling of the Sistine Chapel. The Eternal City and the Catholic Church must have seemed untouchable—and yet in 1527, barely two decades later, Rome had been sacked by the illdisciplined troops of Charles V, their ferocity fueled by Lutheran iconoclasm. Slaughter, flight, famine, and disease reduced the city’s population by more than eighty percent. The French composer Philippe Verdelot (1480/5– ?1530/2), then working in Florence, reflected on these events in Trist’ Amarilli mia, an allegorical madrigal in which the shepherd Tityrus (representing Pope Clement VII) leaves the Vatican and the Tiber, while his pasture (Rome) lies in ruins. 13

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Though the city slowly recovered, the era of ostentatiously powerful Renaissance Popes was over, and the Church embarked on a long period of reform in response to the Lutheran threat. This was the background to the career of Giovanni Pierliugi da Palestrina (1525/6–1594), who devoted virtually his entire working life to the city. The assurance of his motet Tu es Petrus, written shortly after he returned to Papal service, perhaps reflects the returning confidence of both city and Church. Felice Anerio (ca. 1560–1614) was Palestrina’s successor as composer to the Papal Choir; his Passiontide motet Christus factus est is both simpler and more frankly expressive.

LISBON (1572) Despite standing on the fringes of Europe, Renaissance Lisbon became immensely wealthy thanks to Portugal’s daring maritime voyages, burgeoning overseas empire, and virtual monopoly on the spice trade from the East Indies. These huge revenues were used to finance grandiose buildings, and to patronize artists, writers, and musicians. The so-called Cancioneiro de Lisboa (Lisbon Songbook) dates from the mid-sixteenth century and includes Pásame por Dios, a three-voiced secular song by Pedro de Escobar (ca. 1465– after 1535), a native of Porto who spent much of his career working in Seville. The Succession Crisis of 1580 led to the union of the crowns of Spain and Portugal under Philip II, though Portugal retained considerable autonomy in both administrative and cultural matters. Manuel Cardoso (1566–1650) was mestre de capela at Lisbon’s Convento do Carmo for six decades. His dramatic Lamentations contain some of his finest surviving music, full of unexpected dramatic turns. The text, reflecting on the loss 26/27 SEASON

of Jerusalem, is resonant given the political situation, but also seems prophetic of the 1755 earthquake that devastated old Lisbon; the ruins of the Carmo still stand as witness to the calamity. Much of the music of João Rebelo (1610–1661), who led the Chapel Royal of John IV’s restored Portuguese monarchy, was lost at this time. What survives, including the wonderful seven-part Panis angelicus, presents a fascinating fusion of Renaissance counterpoint and Baroque expression, characteristic of late-period Portuguese polyphony.

VENICE (1491) Our sixth postcard comes from the proud citystate of Venice. Though its trading position was seriously threatened by Lisbon in the sixteenth century, its status as an artistic center was without rival—particularly after the Sack of Rome, as displaced artists, composers, and printers flocked in search of patronage. The most famous composer associated with Venice is of course Claudio Monteverdi (1567–1643), maestro di cappella at San Marco for the last thirty years of his life. His richly devotional Adoramus te, Christe, with its spacious pauses between lines, exploits the famous acoustics to the full. We continue with two contrasting madrigals. Vergine madre, figlia del tuo figlio is an intense setting of lines from the final canto of Dante’s Paradiso by Claudio Merulo (1533–1604). Merulo’s successor as first organist at San Marco was Andrea Gabrieli (?1532/3–1585), who did more than any other to establish the grand polychoral style—heard to great effect in Ecco Vinegia bella, scored for two choirs of six voices. Its elaborate and obsequious text welcomes Henry III, King of France, who 15

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passed through Venice in 1574; it praises the merits of both monarch and city with equal hyperbole. Our final postcard comes from Washington, D.C., in the shape of Christopher Cerrone’s It Looks Quite Curious, commissioned especially for this program by the Miller Theatre in New York City. The composer writes: I grew up in Huntington, New York, the birthplace of Walt Whitman. His name was everywhere: my high school, the roads, most ironically, the mall. But I long struggled to connect with his poetry. Whitman’s verse tends toward the expansive, and I’ve always been drawn to adapting more economical language in my music. I found my way back to him indirectly, through George Oppen’s Of Being Numerous, a poem I recently set for voices that quotes an 1864 letter Whitman wrote to his mother from Washington, D.C. The fact that it was a letter and not a poem seemed to unlock something for me: the grandiosity of Whitman’s

verse gives way to something honest and unguarded. Phrases like “I suppose” appear where optimism might otherwise reign, and I set those words in imitation through the ensemble, letting the uncertainty ripple outward. Like me, Whitman is dazzled by the Capitol and bemused by the mediocrity of its inhabitants. He calls it all “curious,” and Oppen’s isolation of that word in his own poem invited me to build a polyphonic web of ambivalence around it, with a gleeful nod to Lewis Carroll: Whitman’s “curious” becomes “curiouser and curiouser,” because more often than not I do feel rather Through the Looking-Glass in this strange American moment. For Stile Antico’s Polyphonic Postcards program, this piece offers a postcard from Washington, D.C., written by our great American poet, and a reminder that ambivalence toward one’s own capital is among our oldest national traditions. n —Andrew Griffiths

UNITED STATES CAPITOL BUILDING (1865) 26/27 SEASON

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ARTIST PROF I LE

Stile Antico is one of the world’s most accomplished and innovative vocal ensembles. Working without a conductor, its twelve members have thrilled audiences on four continents with their fresh, vibrant, and moving performances of Renaissance polyphony. Its bestselling recordings for Harmonia Mundi and Decca Classics have earned accolades including the Gramophone Award for Early Music, Diapason d’Or de l’Année, Edison Klassiek Award, and Preis der Deutschen Schallplattenkritik. The group has received three Grammy nominations, and performed live at the 60th Grammy Awards at Madison Square Garden. Based in London, Stile Antico has appeared at many of the world’s most prestigious venues and festivals. The group enjoys a particularly close association with Wigmore Hall, and has performed at the BBC Proms, Buckingham Palace, Amsterdam Concertgebouw, Palais des Beaux-Arts, Cité de la Musique, Musée du Louvre, Luxembourg Philharmonie, Leipzig Gewandhaus, and Madrid’s Auditorio Nacional. Stile Antico is regularly invited to the Antwerp, Utrecht, and York Early Music Festivals; other festival highlights include the BBC Proms, Lucerne Easter Festival, and the Schleswig-Holstein Music Festival. 26/27 SEASON

Since its 2009 North American début at the Boston Early Music Festival, Stile Antico has frequently toured to the U.S. and Canada. The group performs annually in Boston and New York, and has appeared at the Ravinia Festival, Washington’s National Cathedral and Library of Congress, Vancouver’s Chan Centre, and in concert series spanning twenty-five U.S. states. Stile Antico has also appeared in Mexico, Colombia, South Korea, Macau, and Hong Kong, and enjoys regular collaborations with Martin Randall Travel. Stile Antico’s performances are often praised for their immediacy, expressive commitment, and imaginative response to text. These qualities arise from the group’s collaborative working style: members rehearse and perform as chamber musicians, each contributing artistically to the musical results. The group is also noted for its compelling thematic programming, which helps bring Renaissance music to life. In addition to its core repertoire, Stile Antico has premiered works by Kerry Andrew, Cheryl Frances-Hoad, Joanna Marsh, John McCabe, Nico Muhly, Giles Swayne, and Huw Watkins. The group’s diverse range of collaborators includes Fretwork, Folger Consort, Marino Formenti, Lemn Sissay, B’Rock, Rihab Azar, and Sting. 19

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Alongside its concert and recording work, Stile Antico is passionate about sharing its repertoire and working style with the widest possible audience. The group taught regularly at Dartington and now leads courses for its successor, the Music Summer School at Gresham’s School, and for Zenobia Música in Ávila, alongside its own “Come and Sing” days and workshops for choirs. The support of the charitable Stile Antico Foundation has enabled the group to expand its work with school-age children, to

offer bursaries to talented young ensembles, and to run an annual Youth Consort course. Stile Antico is proud to be a member of the European early music network REMA. Highlights of Stile Antico’s 2026–2027 season include two visits to the U.S., the premiere of a new commission by Christopher Cerrone, and the release of the group’s eighteen album, Toward the Dawn. n

TEXTS AND TRA NSLATIONS Mater floreat — Pierre Moulu Mater floreat; florescat modulata musicorum melodia. Crescat celebris Du Fay cadentia. Prosperetur preclarus Regis. Busnoys, Baziron subtiles glorientur. Triumphet Alexander magnificus. Congaudeat Obreth, Compere, Eloy, Hayne, La Rue memorabiles. Josquin incomparabilis bravium accipiat.

May the mother flourish; may the formed melody of musicians flower. May Du Fay’s famous fall grow. May eminent Regis prosper. May subtle Busnois and Basiron glory. May Alexander the great triumph. May memorable Obrecht, Compère, Eloy, Hayne, La Rue rejoice. May incomparable Josquin receive the prize.

Rutilet Delphicus de Longueval tanquam sol inter stellas. Lourdault; Prioris amenus. Nec absint decori fratres de Fevin, Hilaire hilaris, Divitis felix, Brumel, Isaac, Nynot, Mathurin Forestier, Bruhier facundi, Mouton cum vellere aureo. Date gloriam regi et regine in cordis et organo. —Text written by the composer

May Delphic de Longueval shine like the sun among stars. Lourdault; charming Prioris. Let the fair brothers of Fevin not be absent, merry Hilaire, happy Divitis, Brumel, Isaac, Nynot, Mathurin Forestier, Bruhier, eloquent ones. Mouton with the golden fleece. Give honor to the king and queen with strings and organ.

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Tant que vivray — Claudin de Sermisy Tant que vivray en aage florissant, Je serviray Amour le Dieu puissant, En faict, et dictz, en chansons, et accords. Par plusieurs jours m’a tenu languissant, Mais apres dueil m’a faict resjouyssant, Car j’ay l’amour de la belle au gent corps.

As long as I live in my prime, I shall serve the mighty king of Love In deeds, in words, in songs, in harmonies. That king made me languish a while; But afterwards he made me rejoice, Since now I have the love of the sweet-bodied beauty.

Son alliance Est ma fiance : Son cueur est mien, Mon cueur est sien : Fy de tristesse, Vive lyesse, Puis qu’en Amours a tant de bien.

In her friendship Is my trust, Her heart is mine, Mine hers. Away with sadness, Long live gladness! Since there are so many good things in love.

Quand je la veulx servir, et honnorer, Quand par escriptz veulx son nom decorer, Quand je la voy, et visite souvent, Les envieulx n’en font que murmurer, Mais nostre Amour n’en sçauroit moins durer : Aultant ou plus en emporte le vent. Maulgré envie Toute ma vie Je l’aymeray, Et chanteray :

When I seek to serve and honor her, When I seek to adorn her name with my words, When I see and visit her— Her enviers only gossip. But our love doesn’t last any less long for that; The wind carries their gossip and more away. Despite their envy, I shall serve her And sing of her All my life.

C’est la premiere, C’est la derniere, Que j’ay servie, et serviray.

She is the first, She is the last, Whom I have served and shall serve. —Translation by Lawrence Rosenwald

—Clément Marot

Les cris de Paris — Clément Janequin Voulez ouir les cris de Paris ? Où sont-ils ces petits pions ? Pâtes trèstous chauds, qui l’aira ? Je les donne, je les vends pour un petit blanc. Vin blanc vin clairet vin vermeil a six deniers et est à l’enseigne du Berceau qui est en la rue de la Harpe. Tartelettes friandes a la belle gaufre. Casse-museaux tous chauds. Ça à boire ça. Vinaigre. Hareng blanc, hareng de la nuit. Faut-il point de sauce vert ? Moutarde fine. Cotrets secs. Souliers vieux. Choux gelés. Ardre bûche. Haut et bas ramonez les caminades. 22

Do you want to hear the cries of Paris? Where are they, these small tokens? Very hot dumplings; who wants ’em? I’m giving them away; I’m selling them for next to nothing. White wine, pink wine, ruby wine at six deniers from at the sign of Aquarius, which is in Rue de la Harpe. Waffles. Snout cakes, all hot. It’s for drinking, this. Vinegar. White herring, night-caught herring. Who needs green liquor? Fine mustard. Dried firewood. Old shoes. Wintered cabbages. Warming woodchips. Sweep your chimblies top to bottom. BOSTON EAR LY MUSIC FEST IVAL

Qui veut du lait ? C’est moi, je meurs de froid. Pois verts. Mes belles laitues, mes beaux cibots. Guigne douce. Verres jolis. Lie, lie. Fault il point de sablon ? Argent m’y faut, argent m’y duit. Gaigne petit. Allumette. Houseaux vieux. Fèves de Maretz. Pruneaux de Saint Julien. Je fais le coucou, moi. Ma belle poirée, mon beau persil, ma belle oseille, mes beaux épinards. Pêches de Corbeil, orange, pignes vides. Charlotte m’amie a petit naveau, appétit nouveau. Amendez vous dames, amendez. Amandes nouvelles, Allemandes nouvelles. Navets. Mes beaux balais. Rave douce. Feurre. Brie. À un tournoi le chapelet. Chervis. Marrons de Lyon. À mes beaux poissons. Allumettes seches. Vin nouveau. Fault il point de grais ? Choux, petit choux, tous chauds. Et qui l’aura, le moule de gros bois ? Échaudés chauds. Seiche bourée, Serceau, beau serteau. Ardre chandelle. Falourde. À Paris sur Petit-Pont, gelines de feurres. Si vous en voulez plus ouir allez les donc quérir. —Anonymous

Who wants milk? I do, I’m dying of cold. Green peas. Lovely lettuces, onion sets. Sweet cherries. Pretty glasses. Lees of wine. Who needs some sand? I need money; that’s what I want. On a small margin. Tinder. Vintage gaiters. Broad beans from Moretz, prunes from Saint Julien, I’m going cuckoo, I am. My choice amaranth, my choice parsley, my choice sorrel, my choice spinach. Peaches from Corbeil, oranges, empty pinecones. My girlfriend Charlotte’s got a small navel, and a new appetite. Amend yourselves, ladies, amend yourselves. New almonds; new almains. Turmuts. My lovely besoms. Sweet beets. Straw. Brie. A rosary for a tourney. Skirret. Lyon chestnuts. My lovely fishes. Dry spills. Vin nouveau. Who wants grease? Sprouts or small buns, sweetheart, all hot; and who will have this bundle of logs? Hot pastries. Stuffed squid. Handsome hoops and what a nice pear! Bright candles. Plump meatballs. Dunghill hens at Petit-Pont in Paris. If you want to hear any more, go there and seek them out.

Ave virgo sanctissima — Francisco Guerrero Ave virgo sanctissima Dei mater piisima Maris stella clarissima Salve semper gloriosa Margarita pretiosa Sicut lilium formosa Nitens olens velut rosa.

Hail, Holy Virgin, most blessed Mother of God, bright star of the sea. Hail, ever glorious, precious pearl, lovely as the lily, beautiful and perfumed as the rose. —Marian antiphon

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Niño Dios de amor herido — Francisco Guerrero Niño Dios de amor herido, tan presto os enamoráis, que apenas habéis nacido, cuando de amores lloráis.

Son of God, wounded with love So quickly you are filled with love, You had only just been born When you cried with love.

En esa mortal divisa, nos mostráis bien el amar, pues siendo hijo de risa, lo trocáis por el llorar.

In that mortal frame You showed us well your love, For, being a child of joy, You exchanged it for sorrow.

La risa nos á cabido, el llorar vos lo aceptáis, y apenas habéis nacido, cuando de amores lloráis.

You gave us the joy And you took the sorrow And you had only just been born When you cried with love. —Anonymous

O quam suavis est — Alonso Lobo O quam suavis est, Domine, spiritus tuus, qui ut dulcedinem tuam in filios demonstrares pane suavissimo de caelo praestito, esurientes reples bonis, fastidiosos divites dimittens inanes. —Thomas Aquinas (1225–1274), Antiphon at First Vespers at Corpus Christi

O how sweet is thy spirit, Lord, thou who, in order to demonstrate thy sweetness to thy children, send down from heaven the sweetest bread unsurpassed, filling the hungry with good things, sending away empty the disdainful rich!

Fratres, sobrii estote a8 — Ludwig Daser Fratres, sobrii estote et vigilate, quoniam adversarius vester diabolus tamquam leo rugiens obambulate quaerens quem devoret: cui resistite solidi in fide. —1 Peter 5:8–9

Brothers, be sober and keep watch, for your enemy the devil, roaring as a lion, prowls about seeking whom he might devour: resist him, solid in faith.

Es jagt ein Jäger — Orlandus Lassus Es jagt ein Jäger vor dem Holz ein schöne braune Hinden, Ei Jäger, liebster Jäger mein, du kannst noch höflich springen, der Jäger spürt wohl nach dem Wild, er tät sein Hörnlein blasen, er fand ein Hinden, die war stolz, mit der da konnt er kosen, hast du ’sWild? Ei nein du, ei ja ich, ei nein du, ei ja ich, das Wild hab ich geschossen und hab’s auch redlich troffen, 24

A huntsman chases a fine brown hind in front of the woods; “Oh huntsman, my dearest huntsman, you still leap so gracefully.” The huntsman tracks the game; he blows his little horn. He finds a hind—a proud one— with whom he could dally. “Have you got the game?” “Oh no, not I; oh yes, ’twas I; oh no, not I; oh yes, ’twas I; I shot the game and struck it true.” BOSTON EAR LY MUSIC FEST IVAL

der Jägermeister ist zornig, er zürnet nit, es gilt, es gilt wohl um die Braune Hinden, er zürnet sehr, er schilt, er schilt wohl um die Braune Hinden, er mag sie nit überwinden.

The master huntsman is angry; he is no longer angry— it is all about the brown hind. He is furious—he curses that brown hind; he cannot win her over. —Anonymous

Das Geläut zu Speyer — Ludwig Senfl [Primus discantus] Nun kumbt hierher all und helft mir einmal, in diesem Saal, wem’s Läuten g’fall’ und siecht an bald, treibt wenig G’schall, Gling, glang… Nit irret mich, sunst hör’ auf ich. Flux fu der dich. Gling, glang… Ich mag nicht läuten lang. Gling, glang… Bitt’ ich mir sag’, was ist für Tag, daß man so läut’. Gling, glang… Solch’s G’läut macht mich betör’n, ich mag mich selbst nit hörn. Schau’ eben auf, zeuch gleich mit auf. Gling, glang… Nun läut’ zam in Gottes Nam. Wer kommen will, darf G’läuts nit viel, mag hertreten ungebeten zue der Metten.

[Primus discantus] Now come here, one and all, and help me once again in this hall, whoever likes to ring and starts soon, doesn’t ring too loudly, Gling, glang… Don’t fool me, otherwise I shall stop, hurry, hurry up! Gling, glang… I don’t like to ring long, Gling, glang… Please tell me what kind of day we have today, that there is so much ringing, Gling, glang… Such ringing makes me confused, I don’t like to hear myself, so I just look up and pull on the rope, Gling, glang… Now ring in God’s name. Whoever wants to come doesn’t need much ringing to prompt them; let them come unbidden to the matin.

[Secundus discantus] Gling, glang… Laßt mehr angeh’n, da müeßt ihr zue mir herstehn, Gling, glang… Mit unsern Glocken laßt zammenlocken, ziecht unerschrocken.

[Secundus discantus] Gling, glang… More must be done, you must help me. Gling, glang… With our bells let us call our people together, pull the ropes without fear.

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Gling, glang… Wiewohl zwar Andacht bloß Gott’sdienst ist groß geet über ’s G’läut’ am Kirchtag heut’. Gling, glang… Die Schuler kommen schon, Glocken brummen habt viel Singens, gilt Anbringens, so Pfarrer aufsteht, gen Opfer geht.

Gling, glang… Although ours is merely devotion, the church service is great, is more important than the bells at the church day today. Gling, glang… The schoolchildren are already coming, the bells are murmuring, there will be much singing, we must ring properly for the occasion so that the priest gets up and goes toward the sacrament.

[Altus] Kumbt her all, kumbt her, und helft mir, Meßner. Ziecht an, ziecht an, wehr mag und kann. Zue dem Fest, tue das Best’. Drumb ich bitt’, spar euch nit. Jedermann soll hergon. Laßt aufgahn, nicht klagt’ an, noch nicht fliecht, ziecht an, ziecht, streckt die Arm’, macht euch warm. Gling, glang… So Hans und Paul, ziecht seid nit faul. Wie schnauft ihr mit dem Maul? Gling, glang… Nit ziecht so schnell, so klingt’s baß hell. So fein greift drein. Gling, glang, mar mir maun, bum… Nun läut’ zammen in Gott’s Namen, Wer will kummen, hat’s vernummen. An dem Fest heut’ hab’ wir lang g’läut. Mur maun.

[Altus] Come here, one and all, come and help me, the sexton. Start to pull, start to pull, whoever likes to and can. For the feast do your best. Therefore I beg, spare yourself not, every one ought to come. Let the bells ring, do not complain, don’t flee yet, pull, pull, stretch your arm, work till you’re warm. Gling, glang… So, Hans and Paul, don’t be lazy, why are you panting so? Gling, glang… Don’t pull so fast, then it will sound more clearly, that’s fine, put yourself into it! Gling, glang, mar mir maun, bum… Now ring together in God’s name. Whoever wants to come has heard it. For the feast we have run a long time. Mur maun.

[Tenor] Mur, maun… Nun kumbt, ihr Knaben all,

[Tenor] Mur, maun… Now come, all you boys,

BOSTON EAR LY MUSIC FEST IVAL

greift an und läut’ einmal, daß Glockschall’. Mar mir mur maun… Streck’ an, streck’ an, was ein jeder mit der Macht kann. Mar mer mur maun, gling, glang… Seht zue mit und klenkt mit. Mur maun, gling glang… So läut’ guet Ding, daß’s tapfer kling’, Maus, her an Ring, das Opfer bring’, weil man das Amt singt. Mar mer mur maun.

go to work and ring so that the bells will ring out. Mar mir mur maun… Stretch, stretch, every one, with all your might. Mar mer mur maun, gling, glang… Watch with us and ring with us. Mur maun, gling glang… Ring boldly so that it sounds well. Bend your muscles to the task, bring the sacrament because they are singing the mass. Mar mer mur maun.

[Tenor secundus] Mir, mur, maun… Ziecht an, lieben gesellen, die mit mir läuten wöllen. Mir, mur, maun, Nu zue diesem Fest tuet allsambt das Best’, nehmt hin Strick’ und Seil, zeicht an resch, mit Eil’. Mur maun… So tuet zammsteh’n, last’s wohl aufgeh’n, daß so viel zwen. Gling glang… Jan’s auch anfang’s. Jetzt klingt’s wohl und geht ganz recht. So, so mein Knecht. Mur maun… Hui, nun läut’ zusamm in Gottes Nam’. Wer kumbt, der kumbt, Hans, tue dich munter umb, daß Glock’ entbrumm und schau’ mit zue, daß’s Seil nit brechen tue. Mur maun…

[Tenor secundus] Mir, mur, maun… Start to pull, dear fellows, who want to ring with me. Mir, mur, maun. Now for this festival, all of you do your best. Take your ropes and pull quickly. Mur maun… So stand together, let it ring out as if there were two. Gling glang… Hans, start also. Now it sounds find and just right. There, there, my boy. Mur maun… Hui! Now ring together in God’s name. Whoever is coming will come. Hans, work hard so the bell will boom, and see to it that the rope does not break. Mur maun…

[Bassus] Mur maun bom…

[Bassus] Mur maun bom… —Anonymous

m INTERMISSION n

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Christus factus est — Felice Anerio Christus factus est pro nobis obediens usque ad mortem, mortem autem crucis. Propter quod et Deus exaltavit illum, et dedit illi nomen, quod est super omne nomen. —Antiphon for Holy Saturday

Christ became obedient for us unto death, even to the death, death on the cross. Therefore God exalted Him and gave Him a name which is above all names.

Trist’ Amarilli mia — Philippe Verdelot Trist’ Amarilli mia: dunqu’è pur vero Che di Titiro tuo sì stranamente Vada la gregg’ errand’ ed ei dolente Lasc’il bel Tebro e Vaticano altero. Oimè ch’io veggio dentro nel pensiero Le frond’a terra spars’onde sovente S’udian Pastori all’ombra dolcemente Di te cantar il che mai più non spero Ben saria meglio haver da te la fame Cacciat’in mezz’i campi scalz’e scinta Povera sol con le castagn’amate Ch’i pomi ond’ Athalant’anchor fu vinta Ti spoglian duramente libertade E’l tuo soccorso non è pur chi chiami. —Anonymous

Poor Amaryllis, it is thus true indeed that the flock of your Tityrus wanders away so strangely, and that he sadly leaves the beautiful Tiber and mighty Vatican. Alas, in my thoughts I see the leaves strewn on the ground where often one could hear shepherds in the shade singing sweetly about you, which I can no longer hope for. It would be better to have you hunger, chased into the middle of fields, barefoot and undressed, poor save for the beloved chestnuts, rather than have the apples that conquered Atalanta strip you of your freedom; for those whom you call for help are not your succor.

Tu es Petrus a6 — Giovanni Pierluigi da Palestrina Tu es Petrus et super hanc petram aedificabo Ecclesiam meam, et portae inferi non praevalebunt adversus eam. Et tibi dabo claves regni caelorum. —Matthew 16:18

You are Peter, and upon this rock I will build my Church, and the gates of hell shall not overcome it. And I will give you the keys to the kingdom of heaven.

Lamentations a6 — Manuel Cardoso VAU. Et egressus est a filia Sion omnis decor ejus; facti sunt principes ejus velut arietes non invenientes pascua, et abierunt absque fortitudine ante faciem subsequentis.

VAU. From the daughter of Zion has departed all her majesty. Her princes have become like harts that find no pasture; they fled without strength before the pursuer.

ZAIN. Recordata est Jerusalem dierum afflictionis suae, et praevaricationis, omnium desiderabilium suorum quae habuerat a diebus antiquis, cum caderet populus ejus in manu hostili, et non esset auxiliator; viderent eam hostes, et deriserunt sabbata ejus.

ZAIN. Jerusalem remembered in the days of her affliction and wandering, all her precious things that she had from ancient days, when her people fell into the hand of the foe, and there was none to help her; enemies saw her and derided her Sabbaths.

Jerusalem, Jerusalem, convertere ad Dominum Deum tuum. —Lamentations 1:6–7

Jerusalem, Jerusalem, turn to the Lord your God.

BOSTON EAR LY MUSIC FEST IVAL

Pásame por Dios — Pedro de Escobar Pásame por Dios barquero Daquella parte del rio Duélete del dolor mio

For God’s sake pass me, boatman, To that bank of the river Have mercy of my pain.

Que se puenes dilación En venir a socorrerme No podrás despues valerme Según cresce mi passion

If you delay In coming to rescue me You will not be able to help me As my passion grows.

No queras mi perdiçión Pues en tu bondad confio Duélete del dolor mio.

Wish not my perdition Because I trust in your goodwill Have mercy of my pain. —Anonymous

Panis angelicus — João Rebelo Panis angelicus, fit panis hominum; dat panis coelicus, figuris terminum; O res mirabilis; manducat Dominum pauper servus et humilis.

The bread of angels becomes the bread of man; this heavenly bread gives a reality beyond symbols. O marvelous thing: the poor, lowly and humble now eats his lord. —Thomas Aquinas

Adoramus te, Christe — Claudio Monteverdi Adoramus te, Christe, et benedicimus tibi: quia per sanguinem tuum pretiosum redemisti mundum, miserere nobis. —Antiphon for Good Friday

We adore you, O Christ, and we bless thee, because through your precious blood you have redeemed the world, have mercy on us.

Vergine madre, figlia del tuo figlio — Claudio Merulo Vergine madre, figlia del tuo figlio, Reparatrice de l’umana gente, Eletta ne l’eterno alto glorioso Fra quant’esser dovean eternamente. Tu sola hai posto fine al lungo esiglio Al qual già ne dannò ’l primo parente. Tu, se dir lice, Dea, tu chiara luce Ne mostrasti la via ch’al ciel conduce. —Paraphrase of Dante’s Paradiso XXXIII

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Virgin mother, daughter of your son, Reparatrix of the human people, Chosen in the eternal high council Among those who were eternally destined to be. You alone have put an end to the long exile to which the first relative already gave. You, if it’s right to say, Goddess, you clear light Showed us the path that leads to heaven.

BOSTON EAR LY MUSIC FEST IVAL

Ecco Vinegia bella a12 — Andrea Gabrieli Ecco Vinegia bella Che chi domò tant’ hidre E tanti estinse mostri, E fe’ tanti e sì notabil prove; Sol per piacer al suo gran padre Giove, Ch’ancor fanciul lo spinse, Ad alt’imprese, ov’egli sempre vinse: In gremb’a te, che sua fida sorella Con puro affett’appella, S’acqueta; e ’l mal de la passata via, Ne le tue bracci’accolto, homai s’oblia. Tu, scopr’in tanto le tue gioie, E mostra quanto gradir t’aggrada A lui, che vene a te, per lunga strada.

Behold beautiful Venice! For he who tamed so many hydras, And vanquished so many monsters, And accomplished feats both numerous and remarkable, Only to please his great father Jupiter Who encouraged him, while still a child, To great exploits, in which he was always victorious: He rests in your embrace, you whom with unalloyed affection He called his faithful sister; Now held in your arms, he forgets The suffering of his past life. You meanwhile reveal your delights, and show How pleased you are to please him Who came to you after a long journey.

E come vibra il ciel via più che mai, De la stellata chiostra I suoi lucenti rai, Quasi che si gran Re, tant’a Dio caro Voglia honorar col suo bel lume chiaro. Così tu spiega le tue pomp’ e ’n mille Modi, e col dolce suon, col dolce canto Col ribombar di squille, E col tuonar de’ cavi bronzi, segno Porgi pront’e amico Ch’al suo paterno Regno Godi ch’ascenda il glorioso Henrico. —Text written by the composer

Behold how the sky shimmers more than ever Sending forth shining beams From its starry cloister, As if with its beautiful limpid light It sought to honor such a great King, to God most dear. Thus you unfurl your splendors and in a thousand Different ways, with sweet sound, and sweet song, With the ringing of bells, And the thunder of cymbals, You give a ready and amicable sign Of how you rejoice in the ascension To his Father’s realm of glorious Henry.

It Looks Quite Curious — Christopher Cerrone …the Capitol grows upon one in time…as they have got the great figure on top of it now, and you can see it very well, it is a great bronze figure, the Genius of Liberty I suppose—it looks wonderful towards sundown. I love to go…and look at it, the sun when it is nearly down shines on the headpiece and it dazzles and glistens like a big star, it looks quite curious [curious and curiouser] —Excerpt from a letter from Walt Whitman to Louisa Van Velsor Whitman, April 19, 1864

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INVEST IN THE MUSIC YOU LOVE Play a vital and permanent role in BEMF’s future with a planned gift. Your generous support will create unforgettable musical experiences for years to come and may provide you and your loved ones with considerable tax benefits. Join the BEMF ORPHEUS SOCIETY by investing in the future of the Boston Early Music Festival through a charitable annuity, bequest, or other planned gift. With many ways to give and to direct your gift, our staff will work together with you and your advisors to create a legacy that is personally meaningful to you. To learn more about Planned Giving with BEMF, please call us at 617-661-1812, email us at kathy@bemf.org, or visit us online at BEMF.org/plannedgiving/

Boston Early Music Festival PLA N N E D GI V I NG PLANNED GIVING

PHOTO: KATHY WITTMAN

BOSTON EAR LY MUSIC FEST IVAL

Boston Early Music Festival

International Baroque Opera • Celebrated Concerts • World-Famous Exhibition

2025 | Octavia PHOTO: KATHY WITTMAN

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).

I NT ERNATIONA L BA ROQUE OPE R A 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 26/27 SEASON

Director Gilbert Blin. Biennial centerpiece productions feature both the Boston Early Music Festival Orchestra, led by Orchestra Director Robert Mealy, and the Boston Early Music Festival Dance Company, led by Dance Director Marie-Nathalie 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 as part of the 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 BEMF Vocal and Chamber Ensembles and focuses on the wealth of smaller operas composed during the Baroque period. Subsequent annual productions include Handel’s Acis and Galatea and Monteverdi’s Orfeo, alongside gems by Charpentier, Purcell, Lully, Pergolesi, Michel-Richard de Lalande, and Francesca Caccini. Recent highlights include John Frederick Lampe’s The Dragon of Wantley, Telemann’s Don Quichotte, and Francesco Provenzale’s La Stellidaura Vendicata. A number of these productions have been presented on tour, with stops including New York City, Seattle, Miami, Kansas City, and the Berkshires. BEMF’s first staged European tour saw The Dragon of Wantley at the historic Confidencen theater in Stockholm, Sweden, and in Oldenburg, Germany, as part of Musikfest Bremen in August 2025. Seven months later, Don Quichotte was presented at the Magdeburg Telemann Festival. In 2005, BEMF initiated a highly successful effort to record its acclaimed Baroque Operas. After receiving nominations for the Grammy Award for Best Opera Recording for the first three offerings in the series, the release of Charpentier’s La Descente d’Orphée aux Enfers and La Couronne de Fleurs became, in 2015, the first historically informed Baroque Opera to win the Grammy Award. Other releases have been honored by Gramophone and Echo Klassik, received the Diapason d’Or de l’Année and the Preis der Deutschen Schallplattenkritik, and garnered two further Grammy nominations. In 2017, BEMF expanded the recording project to include other Baroque vocal works. The latest additions to the discography—now at 21 titles—include Telemann’s Ino and opera arias for soprano featuring Amanda Forsythe, which in 2026 won the Grammy Award for Best Classical Solo Vocal Album, Desmarest’s Circé, Pergolesi’s La serva padrona and Livietta e 34

2025 | Stellidaura’s Revenge PHOTO: KATHY WITTMAN

Tracollo, a double-bill of Lully’s Idylle sur la Paix and Charpentier’s La Fête de Rueil, a world premiere recording of cantatas by Marco Marazzoli, a recording of Carissimi’s oratorios Jephte, Judicium Salomonis, and motets, and The Three Sopranos: Earthly Delights for Angelic Voices. BOSTON EAR LY MUSIC FEST IVAL

CELEBRATED CONCERTS

WORLD -FA MOUS E X H I BI T ION

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).

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 first-ever 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

BEMF Orchestra at the 2023 Festival PHOTO: KATHY WITTMAN

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BECOME A F RI E N D OF T H E

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: • F RI E N D • PA RTNE R • AS SOC I AT E • PATRON • GUA RA N TOR • BE N E FAC TOR • LE A DE R SH I P CI RC LE • A RTIST IC DI R ECTOR S ’ C I RCLE • F E STI VA L A NGE L

$45 $100 $25 0 $5 00 $1,000 $2,5 00 $5 ,000 $10,000 $25 ,000

T HREE WAYS TO GI V E :

• 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 YOU R SUPP ORT:

• 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.

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

BOSTON EAR LY MUSIC FEST IVAL

FR I ENDS OF THE

Boston Early Music Festival

This list reflects donations received from April 1, 2025 to October 1, 2026 FESTIVAL ANGELS ($25,000 or more) Anonymous Bernice K. Chen Marie-Pierre & Michael† Ellmann Peter L. Faber David Halstead & Jay Santos Ellen T. & John T. Harris Glenn A. KnicKrehm Mr. & Mrs. Thomas G. MacCracken Jeffrey G. Mora Miles Morgan† Bettina A. Norton Lorna E. Oleck Susan L. Robinson Andrew Sigel Joan Margot Smith Marilee Wheeler Trust ARTISTIC DIRECTORS’ CIRCLE ($10,000 or more) Anonymous, in memory of John Rutherfurd, Jr. Diane† & John Paul Britton Beth Brown, in memory of Walter R.J. Brown James C. Busby† Katie & Paul Buttenwieser Brit d’Arbeloff† Susan Denison Thomas G. Evans† Lori Fay & Christopher Cherry James A. Glazier Donald Peter Goldstein, M.D., in memory of Constance Goldstein George L. Hardman Barbara & Amos Hostetter Edward B. Kellogg† Rebecca Nemser Lee Ridgway & Donald Vaughan 26/27 SEASON

Andie Taras & Tony Elitcher Karen Tenney & Tom Loring Christoph Wolff

LEADERSHIP CIRCLE ($5,000 or more) Douglas & Aviva Brooks Shannon Canavin & Kevin Goodrich Peter & Katie DeWolf Susan Donaldson Jean Fuller Farrington Kathleen Fay Michael E. Fay, in memory of Theresa Fay Mei-Fung Kerley, in memory of Ted Chen Robert E. Kulp, Jr., in memory of Diane Britton Heather Mac Donald & Erich Eichman Bill McJohn Neal J. Plotkin & Deborah Malamud Harold I. Pratt Kenneth C. Ritchie & Paul T. Schmidt Joanne Zervas Sattley David Scudder & Betsy Ridge, in memory of Diane Britton Maria van Kalken & Hal Winslow BENEFACTORS ($2,500 or more) Anonymous (5) Amy Brown & Brian Carr Gregory E. Bulger & Richard J. Dix Peter S. & Jane Coleman Elizabeth Davidson†, in honor of David Morris Jeffrey Del Papa David Emery & Olimpia Velez John Felton & Marty Gottron, in honor of Paul O’Dette Phillip Hanvy Bonnie R. Hardy† Dr. Peter Libby & Ms. Helyn Oatis

Keith Ohmart & Helen Chen Tracy Powers Paul Rabin & Arlene Snyder Nina & Timothy Rose Paul L. Sapienza PC CPA Raymond A. & Marilyn Smith Adrian & Michelle Touw Paula & Peter Tyack John C. Wiecking

GUARANTORS ($1,000 or more) Anonymous (6) Annemarie Altman, in memory of Dave Cook A. M. Askew Ann Beha & Robert Radloff Mary Briggs & John Krzywicki The Honorable Leonie M. Brinkema & Mr. John R. Brinkema Pamela & Lee Bromberg James Burr Betty Canick John A. Carey 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 Sherryl & Gerard Cohen Dr. & Mrs. Franklyn Commisso Mary Deissler† Charles Durfee, Elizabeth Durfee Hengen & William Durfee, in memory of Alan Durfee Helen Edwards Henk Elderhorst Claire Fontijn, in memory of Arthur Fontijn & Sylvia Elvin Dr. Robert L. Harris 37

FRIENDS OF THE BOSTON EARLY MUSIC FESTIVAL Rebecca & Ronald Harris-Warrick H. Jan & Ruth H. Heespelink Michael Herz & Jean Roiphe James & Ina Heup Jessica Honigberg Jane Hoover Thomas M. Hout & Sonja Ellingson Hout Wayne & Laurell Huber Thomas F. Kelly & Peggy Badenhausen Art & Linda Kingdon Jason Knutson & Eleena Zhelezov Claire Laporte Robert & Mary La Porte Amelia J. LeClair & Garrow Throop John Leen & Eileen Koven Catherine Liddell Harriet Lindblom James Liu & Alexandra Bowers Kenneth Loveday & Ellen Hoffman Mark & Mary Lunsford William & Joan Magretta John S. Major & Valerie Steele Paola Malanotte David McCarthy & John Kolody Marilyn Miller Kati Mitchell Richard & Julia Osborne William J. Pananos Amanda† & Melvyn Pond Susan Pundt Martha J. Radford Christa Rakich & Janis Milroy Lois & Quentin Regestein, in memory of Jim Nicolson Arthur & Elaine Robins Jose M. Rodriguez & Richard A. Duffy Lois Rosow Carlton & Lorna Russell Kevin Ryan & Ozerk Gogus Susan Sargent Lynne & Ralph Schatz Richard Schroeder & Dr. Jane Burns Richard K. & Kerala J. Snyder Murray & Hazel Somerville Louisa Hill Spottswood Lisa Teot Lonice Thomas Judie C. Toti, in memory of Carroll Ann Bottino 38

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) Jonathan B. Aibel & Julie I. Rohwein Tom & Judy Anderson Allen Karen Atkinson, in honor of Gretchen Atkinson Lawrence Bell Noel & Paula Berggren Michael & Sheila Berke Susan Bromley Julie Brown & Zachary Morowitz Robert Burger Frederick Byron Mary Cook, in memory of Diane Britton Linzee Coolidge Nancy Coolidge Geoffrey Craddock Richard & Constance Culley Warren R. Cutler Belden & Pamela Daniels Chris Davies & Clare McKeown Davies, in memory of Carroll Ann Sheridan Bottino Anuradha Desai & Michael Sheridan, in memory of Carroll Ann Bottino John W. Ehrlich Charles & Elizabeth Emerson Elizabeth Forman Thomas Fynan Bruce A. Garetz Alexander Garthwaite & Julie Brown-Garthwaite Tom Golden Karen D. Halstead Deborah Haraldson Linda Hodgkinson Alex & Jean Humez Charles Bowditch Hunter Jean Jackson Paul & Alice Johnson Barry D. Kernfeld & Sally A. McMurry

Fran & Tom Knight Neal & Catherine Konstantin Kathryn Mary Kucharski Lawrence & Susan Liden Quinn MacKenzie Carol Marsh Sarah P. Marsh Amy & Brian McCreath Thomas Michie Nancy Nicholson Nancy Nuzzo Louise Oremland John Parisi Henry Paulus David & Beth Pendery Gene & Margaret Pokorny Virginia Raguin Sandy Reismann & Dr. Nanu Brates Alice Robbins & Walter Denny Patsy Rogers Phil & Catherine Saines Maryann & Charles Schultz Susan Schuur Alison M. Scott Wendy Shattuck & Sam Plimpton Singers Happy Hour Club Marblehead, in memory of Louise van Kalken Ted St. Antoine Catherine & Keith Stevenson Theresa & Charles Stone Sharon Summer, in memory of Louise A. van Kalken Carl Swanson Gordon Neelands Teague, Jr. & Diane Elizabeth Hellens Michael Frazier Thompson Reed & Peggy Ueda Robert Warren The Westner Family Michael & Margery Whiteman ASSOCIATES ($250 or more) Anonymous (4) Nicholas Altenbernd Mrs. Debra K.S. Anderson & Mr. Brian P. Anderson Eric Hall Anderson Susan P. Bachelder

BOSTON EAR LY MUSIC FEST IVAL

Carl C. Baker & Susan R. Haynes Louise Basbas William & Ann Bein Larry & Sara Mae Berman Jane Bestor Barbara R. Bishop Jesse Blumberg & Johanna Novom Sally & Charlie Boynton C. Anthony Broh & Jennifer L. Hochschild Jane K. Brown Deborah & Richard Burke Derek Campbell Joseph Cantey Mary Chamberlain JoAnne Chernow Linden Chubin Carol Coe David Cooke Derek Cottier & Lauren Tilly Tekla Cunningham & David Sawyer Alicia Curtis & Kathy Pratt James Cyphers Eric & Margaret Darling Steven C. & Shirley A. Davis William DePeter Carl E. Dettman Kathryn Disney Paul & Lois Doerr Duane R. Downey Chuck Epstein & Melia Bensussen Deborah Fegan Mary Fillman & Mary Otis Stevens Charles Fisk Robert Freeman Elizabeth French Jonathan Friedes & Qian Huang Sarah Fuller-Lessard, in honor of Jean Farrington Sandy Gadsby & Nancy Brown Sarah M. Gates Barbara Gauditz Ronald & Gisela Geiger Thomas & Lori Griswold Laury Gutierrez & Elsa Gelin Joan E. Hartman Catherine & John Henn Rebecca Herter Phyllis Hoffman, in memory of Robert J. Hoffman 26/27 SEASON

Michelle Humphreys Robin Johnson David K. Jordan Patrick Jordan & Margaret Gay Peggy Kimball Robert L. Kleinberg George Kocur Tom & Kate Kush, in honor of Michael Ellmann Jasper Lawson Susan Lewinnek Roger & Susan Lipsey Mary Maarbjerg Marietta Marchitelli Anne H. Matthews Jennifer McGrath & Family, in memory of Louise van Kalken Ray C. Mitzel, Jr. Jenny Morton, in memory of Louise van Kalken Kathy & Alan Muirhead Gene Murrow Debra Nagy Gerald & Carol Neuman Leslie Nyman Gene & Cheryl Pace Joseph L. Pennacchio Bici Pettit-Barron Prof. & Mrs. D.T. Potts Lawrence Pratt & Rosalind Forber Brandon Qualls Julia M. Reade & Robert A. Duncan Hadley Reynolds Michael J. Rogan & Hugh Wilburn Sherry & William Rogers Ellen Rosand Rusty Russell, in memory of Alan Durfee Cheryl K. Ryder Clem Schoenebeck Maria Schreiber Miriam N. Seltzer Michael & Judy Sherer Laila Awar Shouhayib Harvey A. Silverglate Mark Slotkin Fergus Smail, in memory of Amanda Pond

Scott Sprinzen & Lucy Marks Daniel Stepner & Laura Jeppesen Ann Stewart Ronald W. Stoia Ralph & Jeanine Swick, in memory of Alan & Judie Kotok Tim & Ann Szczesuil Mark S. Thurber & Susan M. Galli Shelburne Thurber, in honor of Mark Pevsner Edward Todd The Rev. Roger B. White, in memory of Joseph P. Hough Sarah Whittaker Janet Zander & Mark Ellenberger The Zucker Family PARTNERS ($100 or more) Anonymous (14) Susan Adams & Michael McFarland, in memory of Louise van Kalken Joanne Algarin Druid Errant D. T. Allan-Gorey Ken Allen & Hugh Russell Kathryn Angle, in memory of Louise van Kalken Gene Arnould Neil R. Ayer, Jr. & Linda Ayer Dr. David Barnert & Julie Raskin Anna Baron Elaine Beilin Alan Benenfeld Judith Bergson Larry & Sara Mae Berman Katharine C. Black Wes Bockley & Amy Markus John Boesen & Janne Hellgren Deborah Boldin & Gabriel Rice Joel Bresler Elizabeth Breuhaus, in memory of Louise van Kalken Derick & Jennifer Brinkerhoff David C. Brown Lawrence Brown David & Barbara Burke, in memory of Carroll Ann Sheridan Bottino John H. Burkhalter III 39

FRIENDS OF THE BOSTON EARLY MUSIC FESTIVAL Judi Burten, in memory of Phoebe Larkey Alice Butler, in memory of Carroll Ann Sheridan Bottino Pamela Carley & Lawrence Zukof Bonnie Carter, in memory of Walter Carter Floyd & Aleeta Christian Robert B. Christian Daniel Church & Roger Cuevas Edward Cipullo John K. Clark & Judith M. Stoughton Melanie Clarke Alan Clayton-Matthews Laurie & Bob Cleveland Robert B. Crane Francine Crawford Elizabeth & David Cregger Gray F. Crouse Donna Cubit-Swoyer Carl & May Daw Alison Desimone Deborah & Forrest Dillon Michael DiSabatino, in honor of Nancy Olson Sheila & Charles Donahue Diane L. Droste Priscilla Drucker Ms. Edwards-Pitt & Mr. Weinzierl Karen M. El-Chaar, Esq. Mark Elenko Edward Eliot Thomas R. Engel Anne Engelhart & Douglas Durant David English Jake Esher Seth Estrin Lila M. Farrar Marilyn Farwell Gregg & Abby Wolf Feigelson Annette Fern Catherine Feuillet Mary B. Findley Janet G. Fink Angela B. Fischer Frances Conover Fitch, in memory of James Nicolson Howard C. Floyd 40

Martin & Kathleen Fogle David & Donna Follansbee, in memory of Louise van Kalken Dr. Patrick J. Fox, in honor of Nancy Olson, M.D. Frederick S. Frank Fred Franklin, in memory of Kaaren Grimstad Gary Freeman Marica & Jeff Freyman Fred & Barbara Gable Mathiew Gagne & Lucas Rogers Mario Garza Barbara Godard The Goldsmith Family Lisa Goldstein The Graver Family Mary Greer Janet Grogan Deborah Grose Peter F. Gustafson Quang Ha Eric Haas, in memory of Janet Haas Peter Hainer Tunie Hamlen Suzanne & Easley Hamner Donald Hancock, in memory of Louise van Kalken Eric & Dee Hansen Jasjit & Donald L. Heckathorn Martin Herbordt Katherine A. Hesse Margaret Higonnet Carole Hilton Patricia G. Hoffman David Hoglund Valerie Horst & Ben Peck Constance Huff Keith L. & Catherine B. Hughes Francesco Iachello Rt. Rev. & Mrs. Ihloff Susan L. Jackson Ruth Jaffe & Paul Horowitz, in memory of Michael Ellmann Chris & Klavs Jensen Karen Johansen & Gardner Hendrie Lucy Johnston Jim Kaddaras

Suzanne Kahl Patricia Keating Seamus & Marjorie Kelly Joseph J. Kesselman, Jr. David P. Kiaunis David & Alice Kidder Maryanne King Pat Kline Valerie & Karl KnicKrehm Ellen Kranzer Benjamin Krepp & Virginia Webb Christopher LaRossa David A. Leach & Laurie J. LaChapelle William Lebow Rebecca Lightcap Robert & Janice Locke John Longstreth Sandra & David Lyons Dr. Bruce C. MacIntyre Mary Mackay & Edward Wheatley, in memory of Carroll Ann Sheridan Bottino Frank & Lucy Manheim Peter Martin June Matthews Barbara Mauer Ms. Sally Mayer Anne McCants Lee McClelland Heidi & George McEvoy George McKee Dave & Jeannette McLellan Karen Metcalf Susan Metz Julie Middleton Marg Miller Randall E. & Karen Moore Nancy Morgenstern Rodney & Barbara Myrvaagnes David Nadvorney Amelia Nagoski Jennie Needleman Robert Neer & Ann Eldridge Jeffrey Nicolich William Packard Valerie Palms John R. Palys Eugene Papa Jane P. Papa

BOSTON EAR LY MUSIC FEST IVAL

Theodore Parent Mary A. Stokey Susan Patrick John Strasswimmer John Petrowsky Richard Stumpf Elizabeth V. Phillips Victoria Sujata Sheehan Phinney, Jonathan Swartz in memory of Louise van Kalken Jeffrey & Boryana Tacconi Susan Porter & Robert Kauffman Lee & Judith Talner Pamela Posey Richard Tarrant Stephen Poteet Kevin Tisdall, Helen Powell in memory of Amanda M. Pond Shirely Prescott Janet Todaro Thomas & Barbara Prescott Elizabeth Trumpler, Annette & Michael Pringle in memory of Donald Trumpler Rod Regier Lynette Tsiang, Barbara Restle in memory of Joel van Lennep Susan Reutter-Harrah Ruth W. Tucker Douglas Riis Nancy Turner, Barbara Roberge & Larry McCargar in memory of Carroll Ann Bottino Nancy Roberts John Tyler Richard Rodgers Konstantin & Kirsten Tyurin Paul Rosenberg & Harriet Moss Nancy E. Van Baak, Michael & Karen Rotenberg in memory of Edward B. Kellogg Barbara Roth Richard & Virginia von Rueden Paul Rutz Stephen Wallace Gregory Salzman Sonia Wallenberg RELEASING THIS FALL FROM Irene Schaperdoth John &THE Beverly Wand Robert & Barbara Schneider Terry Ward Dr. Jeffrey Schpero, Juanita H. Wetherell in memory of Amanda Pond Patrick Weyer & Ling Zhang Fred Schulze Susan & Charles Wilkes Mahew D. Seavey David L. Williamson Jean Seiler Michael Winter Mr. Terry Shea & Dr. Seigo Nakao Susan Wyatt Rena & Michael Silevitch J. Yavarkovsky & C. Lowe John & Carolyn Skelton Paulette York & Richard Borts Jacob & Lisa Skowronek David Yutzler Elliott Smith & Wendy Gilmore Ros & Andy Zimmerman, Dr. Karen Patricia Smith in memory of Carroll Ann Sheridan Thomas Smith FRIENDS Jon Solins & Mary Peterson ($45 or more) William & Barbara Sommerfield Anonymous (4) Jayne Sportelli Neale Ainsfield & Dr. Donna Sieckmann Amy Springer & Aaron Hayden Claudia Amodeo & Roberto Collao Scott Stansbury Spiros V. Antoniadis Esther & Daniel Steinhauer MARCO MARAZZOLI Lois Banta Steve Stelovich Alan Bates & Michele Mandrioli Donna Stevens, of Peace and Pleasure Cantatas Jonathan & Karla Bays in memory of Louise van Kalken Leslie Becker & William Loomis Francine Stieglitz

Boston Early Music Festival

LEARN MORE AT BEMF.ORG

26/27 SEASON

Lawrence Berman Sarah Bixler & Christopher Tonkin Sandy Bodmer-Turner Kim Bolling Jordan S. Boss Dr. Emile L. Boulpaep Andrew Brethauer John Brown Colleen Bryant Carolyn Bryant-Sarles Stephanie Cabell Ethelbert Carter Mitchell Charap Joan Christison-Lagay Betsy Cogswell Lois Evelyn Conley Joan & Frank Conlon Peter B. Cook Jerrold Cooper Kathleen Corcoran Rita & Norman Corey Martina Crocker Matthew & Ellen Cron David Cronin David Davis Leigh Deacon Linda Delfs Laurie M. Deredita Jim Diamond Susan Dillon Norman Dobbs Charles & Beverly Donohue Francois Decroux John Dunton & Carol McKeen Jonathan Duval Wendy Ebeling Jane Edwards Mark Farber & Sherry Katz Russel Feldman & Anne Kane Louise Forrest-Bowes Edward W. Freedman R. Andrew Garthwaite George & Marla Gearhart Thatcher Lane Gearhart Josiah George Hans Gessel Alison Gottlieb Richard & Les Hadsell Jimmy M. Hamamoto 41

FRIENDS OF THE BOSTON EARLY MUSIC FESTIVAL Judith & Patrick Hanlon Laurence Hannan Karin Hemmingsen Dr. Marie C. Henson, in memory of Dr. Donald Henson Roderick J. Holland William Bret Holloway Margaret Hornick Eleonore Huet Joe Hunter & Esther Schlorholtz Wes Jaeger Floyd Jenkins Hadine Joffe Grace Jones Garry Kalajian Sarah Kalkert Dorothy L. Kaulbach, in memory of Louise van Kalken Lynn Kearny Robert M. Kelly Martha Klein & David Hurvitz Lukasz Kowalik Valerie Krall & Ralph Lieberman Robert Kunzendorf & Elizabeth Ritvo Bruce Larkin & Donna Jarlenski Charles E. Larmore Michael Laven Ellen R. Lewis Jo-lin Liang Liz Loveland Ky Lowenhaupt & Daniel Sullivan Harold MacCaughey

Robert Marshall Dr. Arnold Matlin & Dr. Margaret Matlin, Ph.D. Stephen J. McCarthy Michael P. McDonald Elizabeth McNab William E. Mierse Dennis Lee Milford Laurence Mini Rosalind Mohnsen Michael Moodie Kathleen Moore William Moore Michael J. Moran, in memory of Francis D. & Marcella A. Moran Stefanie Moritz David Morris Lance Murty Marian Nakada Avi Nelson Arthur J. Ness, in memory of Frank Fragale Monica Nevius Christina Nicolson, in honor of Gilbert Blin Daniel Oruzio Drs. Arthur & Athena Papas Robert Penny & Erica Penny Andrea Phan Vinay & Rachel Prabhakar Professor Julia Williams Robinson Wendy Rolfe & Benjamin Dunham

Lisa & Gary Rucinski Nancy & Ronald Rucker Polly Scannell Richard L. Schmeidler Jan Schochet R. Scholz & M. Kempers Michael Schwartz Kathryn Shohl Scott Maureen Scully David Sears F. Dan Seger Aaron Sheehan & Adam Pearl Andrei & Irina Shishov Susan & Joseph Silverman Roger Skarsten Jennifer Farley Smith† & Sam Rubin Joan Steinberg & Russell Clift Sarah Stephens Imogene A. Stulken & Bruce Brolsma Benjamin Tocchi Charles Tracy David & Susan Udin Mr. & Mrs. Charles Vail Barbara & John VanScoyoc Phillip Volland Ruth Ann Weidner & Ralph Wallace, in memory of Louise van Kalken Dawn Stuart Weinraub Phyllis S. Wilner Pamela Wilson † deceased

BOSTON EAR LY MUSIC FEST IVAL

FOUNDATIONS & CORPORATE SPONSORS Anonymous (2) Aequa Foundation American Endowment Foundation Appleby Charitable Foundation Applied Technology Investors Bank of America Charitable Gift Fund The Barrington Foundation, Inc. The Bel-Ami Foundation Blue Grass Community Foundation BNY Mellon Charitable Gift Fund 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

26/27 SEASON

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 Newton Cultural Council 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 KATHLEEN FAY, Executive Director

2 0 2 6 G R A MM Y W INNER BEST CLASSICAL SOLO VOCAL ALBUM

“Exceptional stylish elegance and theatrical vitality.” — GR AMO PH O NE

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M OR E B E M F C D S FE AT UR I NG A M A N D A F OR S Y T HE…

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BOSTON EAR LY MUSIC FEST IVAL

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S AT UR D AY, NO V E M B E R 7 I N B O S T ON

LES ARTS FLORISSANTS WILLIAM CHRISTIE & PAUL AGNEW, Co-Directors

Boston Early Music Festival CHAMBER OPERA SERIES

LEARN MORE AT

BEMF.org

A Mock-Opera

Shakespeare WORDS BY

SET TO MUSIC BY

John Frederick Lampe WITH A LITTLE HE LP F ROM

PAUL O’DETTE & STEPHEN STUBBS Musical Directors MARIE-NATHALIE LACOURSIÈRE Stage Director & Choreographer ROBERT MEALY Concertmaster

SHEEHAN

RICHARDSON

Purcell’s A Fairy Queen THA NKSGI VI NG WE E KE ND!

NOVEMBER 28 & 29 NEC’S JORDAN HALL, BOSTON, MA

WARD

GIEBLER

McSTOOTS

26/27 Season: Stile Antico