philharmonia baroque orchestra & chorale · sanctus, and the agnus deimust not last longer than...

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THURSDAY, OCTOBER 4, 2018, 8PMSegerstrom Center for the Arts | Renée and Henry Segerstrom Concert Hall

Pre-concert lecture by Bruce Lamott, 7pm

PHILHARMONIA BAROQUEORCHESTRA & CHORALE

Nicholas McGegan, conductorCamille Ortiz, soprano

Meg Bragle, mezzo-sopranoJames Reese, tenor

Dashon Burton, bass-baritonePhilharmonia Chorale, Bruce Lamott, director

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Our understanding of the significance of Salzburg toMozart's musical development has been tainted byhis correspondence and criticism of his birthplacewhile a headstrong and disgruntled employee. Tohear him tell it, Salzburg was a provincial backwatergoverned by an arbitrary clerical tyrant who disrespected both his person and his music, until hisfinal dismissal with a literal kick in the pants by thearchbishop's chamberlain in 1781.

However, as this program will prove, Salzburg wasan incubator of his creativity while under the security of parental protection, particularly that ofhis father/mentor/manager and superego Leopold,the court Vice-Kapellmeister. The principality ofSalzburg was governed by an elected archbishop whoruled over both governmental and ecclesiasticaldomains as a reigning prince in the Holy RomanEmpire of the German Nation and as archbishopPrimas Germaniae, the highest ranking archbishop ofthe whole empire. While the child prodigy Wolfgangenjoyed the generous indulgence and patronage ofArchbishop Sigismund von Schrattenbach, the adolescent and proto-adult Mozart faced almostimmediate conflict with his successor.

The new archbishop, Hieronymus Count Colloredo,a Viennese blue-blood, brought with him theEnlightenment and anti-clerical reforms of EmperorJoseph II, including the streamlining andsimplification of church music, as you will hear in theopening and concluding works on this program.Mozart complains in a letter to the venerable Padre

SPONSORED BYThe Donna L. Kendall Foundation

Litaniae Lauretanae Wolfgang Amadeus MOZARTBMV in D major, K. 195 (1756–1791)

KyrieSancta MariaSalus InfirmorumRegina AngelorumAgnus Dei

Camille Ortiz, sopranoMeg Bragle, mezzo-soprano

James Reese, tenorDashon Burton, bass-baritone

Exsultate, jubilate, K. 165 ExsultateRecitativoTu VirginumAlleluja

Camille Ortiz, soprano

- I N T E R M I S S I O N -

Mass No. 15 in C major, K. 317 “Coronation”

Kyrie GloriaCredoSanctusBenedictusAgnus Dei

Camille Ortiz, sopranoMeg Bragle, mezzo-soprano

James Reese, tenorDashon Burton, bass-baritone

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Martini, his mentor in Bologna, that “our churchmusic is very different from that of Italy, since aMass with the whole Kyrie, the Gloria, The Credo,the Epistle sonata, the Offertory or Motet, theSanctus, and the Agnus Dei must not last longer thanthree-quarters of an hour.” Though Colloredo wasan accomplished violinist who sometimes playedchamber music with court musicians, it's apparentthat he preferred playing music rather than listeningto it.

MOZART: LITANIAE LAURETANAE BMVIN D MAJOR, K. 195

The Loretan Litanies of the Blessed Virgin Mary(Beatae Maria Virginis) are a sequence of prayerswith choral responses. Though proper to no specific holiday, the litanies accompanied churchprocessions for churches and monasteries—one ofseveral practices curtailed by Colloredo. The titlerefers to the Basilica della Santa Casa in Loreto,Italy, believed to be the site where angels relocatedthe Nazareth house of the Virgin Mary to save itfrom the Muslim reconquest of Palestine. The textwas set numerous times by South German andAustrian composers, including Leopold Mozart,this being the second of two settings by Wolfgang.It was scored for the largest orchestra available tohim—two oboes, two horns, with trombones doubling the lower three choral parts, strings (without violas), and organ continuo—likely forperformance in the Salzburg Cathedral in May of1774.

Unlike the five movements of the typical Mass cycle,which are interspersed with readings, prayers, andother music such as motets pertinent to the occasion in the liturgical year, the five movements ofthe Litanies were performed in succession. In thissetting the third movement, Salus infirmorum,becomes a slow introduction to the fourth, ReginaAngelorum.

Mozart’s Litanies are a sampler of the prevailingmusical styles of the period, ranging from theantique “ecclesiastical” or “learned style,” in whichoverlapping voices enter in turn as in a round(canon) or fugue, to the “brilliant style” of the operaaria and concerto. Formally, the Kyrie, SanctaMaria, and Regina Angelorum all show evidence of

the three-part (A-B-A) sonata form, in which themiddle section (development) of shorter phrasesand changing keys (modulation) is framed by theinitial melodic material (exposition) and its restatement at the end (recapitulation). This one-size-fits-all organization (comparable to theintroduction-body-conclusion of the essay) can beheard in all three works on this program.

Instead of the grand gesture that opens the Kyrie ofthe Coronation Mass, the Kyrie of the Litaniesbegins slowly and softly, with voices entering in“ecclesiastical” imitation, but rising in intensity tocreate an introduction to the Allegro which bursts forth in the “brilliant,” concerted style. Theoverlapping polyphonic lines thus give way toshorter, clearly delineated phrases. Both here andin the closing phrase of the Agnus Dei, Mozartunderscores the literal meaning of both the Greek:eleison and its Latin equivalent miserere (havemercy) with unexpected plunges into hushedphrases of penitence.

The complexity of the Kyrie contrasts with thegentle simplicity of the Sancta Maria. The tunefulsoprano melody reveals the balanced phrases of thegalant minuet, reflecting the maternal graciousnessof the text. The sunny G major of the Sancta Mariais clouded by the Salus infirmorum in B minor, withdeep choral chords underscored by restless dottedrhythms in the orchestra. This powerful movementwith its Sturm und Drang, however, evaporatesinconclusively and becomes an introduction to thebrilliant fireworks ahead.

Mozart sets the Regina Angelorum with the ebullience of an opera finale. Young Mozart’s penchant for gymnastic leaps to the extremities ofthe vocal range creates a tortuous tenor line thatspans nearly two octaves, leading us to questionthis complaint four years later: “Salzburg is no place for my talent. In the first place, professional musicians there are not held in muchconsideration; and, second, one hears nothing,there is no theater, no opera, and even if they reallywanted one, who is there to sing?” Did he write thisfor an extraordinary—now unknown—singer, orwas he deliberately setting the bar too high?

The same can be said about the solo soprano line inthe concluding Agnus Dei. Mozart especially

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somewhere within the liturgy of a church service thatis often pertinent (therefore called the Proper) to thespecific occasion of the liturgical calendar as opposedto the five-movement Ordinary cycle of Kyrie-Gloria-Credo-Sanctus/Benedictus-Agnus Dei, as in theCoronation Mass. The author of the psalm-likehymn of praise in the first movement and the prayerto the Virgin Mary in the second is unknown, buttogether with the concluding “Alleluia,” the text issufficiently un-seasonal enough that it could besuitable for many festive occasions.

Exsultate jubilate is essentially a three-movement“soprano concerto” accompanied by strings withhorns and oboes, tailor-made for Raunzzini’s agilevoice and wide range, with extended virtuosic running passages (coloraturas) in the outer movements. Just as leading operatic charactersreceived a variety of arias to exploit both their technique and expressivity, the second movement is written in the sensitive (Empfindsamer) style. A lyrical melody inflected with expressive chromaticism soars over a gently throbbing bass,with two-note sigh figures in the strings depictingthe sighing heart (unde suspirat cor) consoled by theVirgin.

Sonata form (A-B-A) is used in the first two movements, while the final Alleluia begins with atuneful melody recurring in the pattern A-B-A-C-A,as the rondo-finale of a concerto. If the final repeated phrases seem familiar, it's because they alsoappear at the end of Haydn’s famous Emperor'sHymn, written in 1797, six years after his dear friendMozart’s death.

MOZART: MASS IN C MAJOR, K. 317,“CORONATION”

The Mass in C major is generally regarded asMozart's greatest complete Mass setting, one of fifteen he wrote in Salzburg. Those which he startedin Vienna after leaving the employ of ArchbishopColloredo remained incomplete. Although his C-minor Mass (1782) and Requiem (1791) are indisputably his finest achievements in sacred music,both were left unfinished—the former for unknownreasons, and the latter, interrupted at first by thecommission of the opera La clemenza di Tito for the

delights in the change of tone color between theregisters of the soprano voice (sometimes called“head” and “chest” voice), writing a line that leapsdown an octave to A below the treble staff, then up to G above it. The hushed closing of the Litany show Mozart’s careful reading of the penitential text, miserere nobis, as the choirdescends chromatically as in a musical genuflection.

MOZART: EXSULTATE, JUBILATE

Many listeners may not realize that this, the mostoften-performed of Mozart’s solo motets, was written for a castrato, the Italian virtuoso VenanzioRauzzini. Young Mozart was very familiar with thecastrato voice, which sang the heroic leading rolesin the serious opera (opera seria) of the type he was composing for Milan. It’s clear that he considered their presence as evidence of musicalsophistication, as he sarcastically quips in a letter:“As for the theater [in Salzburg], we are in a badway for lack of singers. We have no castrati, and weshall never have them, because they insist on beinghandsomely paid; and generosity is not one of ourfaults.”

No sacred work of Mozart better typifies the liturgical extravagance abhorred by ArchbishopColloredo than this three-movement solo motetwith connecting recitatives. But it was written forMilan—beyond his jurisdiction—where Mozarthad been commissioned by the Royal DucalTheater to write Lucio Silla, in which Rauzzini wassinging the role of Cecilio.

In playful garbled German, the sixteen-year-oldWolfgang writes to his sister Nannerl: “I for havethe primo a uomo [Rauzzini] motet composewhich to tomorrow at Church the Theatine performed be will.” Its first performance onSunday, January 17, 1773, was presumably sungduring Mass as a fifteen-minute musical interludebetween the Epistle and Gospel reading or in lieu ofthe Offertory. In addition, the service would haveincluded works not by Mozart: the five choralmovements of the Mass of the day as well as othermusic (Introit, Gradual, etc.).

Motet is a general term for such a work, applied to vocal music—choral or solo—performed

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trumpets and timpani, play forte/piano/crescendo,while the chorus declaims "Ky-(rie)."

Mozart takes advantage of symmetries in the textto create variants of sonata form. The music ofGloria in excelsis is recapitulated in Quoniam tusolus, and the bustling Credo in unum Deum returnsas Et resurrexit, framing a muted episode in minorthat focuses the central mystery of faith, Et incarnatus est. The soprano solo in the Agnus Deiis an unmistakable precursor to the aria “Dovesono” from The Marriage of Figaro (1786). Thecomposer creates an even larger symmetry when heconcludes the movement (Dona nobis pacem) withthe music of the opening Kyrie, but this time sungon the double. This certainly creates a theatricalfinale, but also raises the possibility that HisExcellency the Archbishop was looking at hiswatch.

—Bruce Lamott

coronation of Emperor Leopold II in Prague, andthereafter by his untimely death in 1791. It is likelythat it was this coronation, whose festivities includeda performance of the C major Mass conducted bySalieri, that attached “Coronation” to its name.

The Mass was first performed in the SalzburgCathedral on Easter Sunday, April 4, 1779, composed in Mozart’s new capacity as salaried courtorganist for the archbishop. It is appropriately grand,with pairs of oboes, horns, trumpet, timpani, andthree trombones doubling the alto, tenor, bass partsof the chorus. It is a masterpiece of concise and vigorous expression. Notably sparing of passages inthe imitative “ecclesiastical style,” Mozart avoidswriting time-consuming fugues where they traditionally occur, such as the Cum Sancto Spirito atthe end of the Gloria.

Mozart’s recent visits to Mannheim had broughthim in contact with one of the greatest orchestras inEurope. The Mannheimers were noted not only for their virtuoso wind players, but for emphaticdynamic contrasts of forte and piano. (Its crescendoswere said to cause the audience to rise up in theirseats.) The Mannheim style here is evident from thevery first note, as the woodwinds, punctuated by

(SUZANNE KARP)


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TEXT AND TRANSLATIONS

MOZART: LITANIAE LAURETANAE BMV IN D MAJOR, K. 195(Litanies of Loreto (or Loretan Litanies) of the Blessed Virgin Mary)

KYRIEKyrie eleison.Christe eleison.

Kyrie eleison.Christe audi nos.Christe exaudi nos.

Pater de caelis, Deus,miserere nobis.

Fili Redemptor mundi Deus,miserere nobis.

Spiritus Sancte Deus,miserere nobis.

Sancta Trinitas, unus Deus,miserere nobis.

SANCTA MARIASancta Maria,ora pro nobis.

Sancta Dei Genetrix,Sancta Virgo virginum,ora pro nobis.

Mater Christi,Mater Divinae gratiae,ora pro nobis.

Mater purissima,Mater castissima,Mater inviolata,Mater intemerata,ora pro nobis.

Mater amabilis,Mater admirabilis,Mater creatoris,Mater salvatoris,ora pro nobis.

Virgo prudentissima,ora pro nobis.

KYRIELord, have mercy on us.Christ, have mercy on us.

Lord, have mercy on us.Christ, hear us.Christ, answer us.

God the Father of heaven,Have mercy on us.

God the Son, Redeemer of the world,Have mercy on us.

God the Holy Spirit,Have mercy on us.

Holy Trinity, one God,Have mercy on us.

SANCTA MARIAHoly Mary,Pray for us.

Holy Mother of God,Holy Virgin of virgins,Pray for us.

Mother of Christ,Mother of divine grace,Pray for us.

Mother most pure,Mother most chaste,Mother inviolable,Mother undefiled,Pray for us.

Mother most amiable,Mother most admirable,Mother of our Creator,Mother of our Savior,Pray for us.

Virgin most prudent,Pray for us.


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SVirgo veneranda,ora pro nobis.

Virgo praedicanda,ora pro nobis.

Virgo potens,Virgo clemens,Virgo fidelis,ora pro nobis.

Speculum justitiae,Sedes sapientiae,Causa nostrae laetitiaeora pro nobis.

Vas spirituale,Vas honorabile,Vas insigne devotionis,ora pro nobis.

Rosa mystica,ora pro nobis.

Turris Davidica,Turris eburnea,ora pro nobis.

Domus aurea,Foederis arca,Janua caeli,Stella matutina,ora pro nobis.

SALUS INFIRMORUMSalus infirmorum,ora pro nobis.

Refugium peccatorum,ora pro nobis.

Consolatrix afflictorum,Auxilium Christianorumora pro nobis.

REGINA ANGELORUMRegina angelorum,Regina patriarcharum,

Virgin most venerable,Pray for us.

Virgin most renowned,Pray for us.

Virgin most powerful,Virgin most merciful,Virgin most faithful,Pray for us.

Mirror of justice,Seat of wisdom,Cause of our joy,Pray for us.

Spiritual vessel,Vessel of honor,Vessel, sign of devotion,Pray for us.

Mystical rose,Pray for us.

Tower of David,Tower of ivory,Pray for us.

House of gold,Ark of the covenant,Gate of heavenMorning star,Pray for us.

SALUS INFIRMORUMHealer of the sick,Pray for us.

Refuge of sinners,Pray for us.

Comforter of the afflicted,Help of Christians,Pray for us.

REGINA ANGELORUMQueen of Angels,Queen of Patriarchs,


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Regina prophetarum,ora pro nobis.

Regina Apostolorum,ora pro nobis.

Regina Martyrum,Regina Confessorum,ora pro nobis.

Regina Virginum,ora pro nobis.

Regina Sanctorum omnium,ora pro nobis.

AGNUS DEIAgnus Dei, qui tollis peccata mundi,

parce nobis Domine.

Agnus Dei, qui tollis peccata mundi,exaudi nos Domine.

Agnus Dei, qui tollis peccata mundi,miserere nobis.

Exsultate, jubilate,o vos animae beatae,dulcia cantica canendo,cantui vestro respondendo,psallant aethera cum me.

Fulget amica dies,jam fugere et nubila et procellae;exorta est justisinexspectata quies.

Undique obscura regnabat nox,surgite tandem laetiqui timuistis adhuc,et jucundi aurorae fortunataefrondes dextera plena et lilia date.

Tu virginum corona,tu nobis pacem dona,tu consolare affectus,unde suspirat cor.

Alleluja, alleluja!

Queen of Prophets,Pray for us.

Queen of Apostles,Pray for us.

Queen of Martyrs,Queen of Confessors,Pray for us.

Queen of Virgins,Pray for us.

Queen of all Saints,Pray for us.

AGNUS DEILamb of God, who takes away the sins of the

world, Spare us, O Lord.

Lamb of God, who takes away the sins of the world, Hear us, O Lord.

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

Rejoice, resound with joy,O you blessed souls,Singing sweet songs,In response to your singing,Let the heavens sing forth with me.

The friendly day shines forth,Now both clouds and storms have fled,For the righteous there has arisenAn unexpected calm.

Dark night reigned everywhere [before];Arise, happy at last,You who feared till now,And joyful for this lucky dawn,Give garlands and lilies with full right hand.

You, o crown of virgins,Grant us peace,Console our feelings,From which our hearts sing.

Alleluia, alleluia!

MOZART: EXSULTATE, JUBILATE, K. 165(Rejoice, resound with joy) [author unknown]


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KYRIEKyrie eleison.Christe eleison.Kyrie eleison.

GLORIAGloria in excelsis Deo.Et in terra pax hominibus bonae voluntatis.Laudamus te. Benedicimus te.Adoramus te. Glorificamus te.Gratias agimus tibi

propter magnam gloriam tuam.Domine Deus, Rex caelestis,

Deus Pater omnipotens.Domine Fili unigenite Jesu Christe.et propter nostram salutemdescendit de caelis.Et incarnatus est de Spiritu Sanctoex Maria Virgine:Et homo factus est.Crucifixus etiam pro nobissub Pontio Pilato,passus et sepultus est.Et resurrexit tertia die,secundum scripturas.Et ascendit in caelum:sedet ad dexteram Patris.Et iterum venturus est cum gloriajudicare vivos et mortuos:Cujus regni non erit finis.Et in Spiritum sanctumDominum et vivificantem:Qui ex Patri, Filioque procedit.Qui cum Patre, et Filio simuladoratur et conglorificatur:Qui locutus est per Prophetas.Et unum sanctum, catholicamet apostolicam Ecclesiam.Confiteor unum baptismain remissionem peccatorum.Et expecto resurrectionem mortuorumet vitam venturi saeculi. Amen.

SANCTUSSanctus, Sanctus, Sanctus,Dominus Deus Sabaoth.

KYRIELord, have mercy upon us.Christ, have mercy upon us.Lord, have mercy upon us.

GLORIAGlory be to God on high.And on earth peace to men of good will.We praise Thee. We bless Thee.We worship Thee. We glorify Thee.We give thanks to Thee

For Thy great glory.O Lord God, heavenly King,

God the Father almighty.O Lord, the only begotten Son, Jesus Christ.And for our salvationCame down from heaven.And was incarnate by the Holy SpiritOf the Virgin Mary:And was made man.And was crucified also for usUnder Pontius Pilate,Suffered and was buried.And the third day He rose againAccording to the scriptures.And ascended into heaven,And sits at the right hand of the Father.And He shall come again with gloryTo judge the living and the dead:Whose kingdom shall have no end.And I believe in the Holy Spirit,Lord and giver of life:Who proceeds from the Father and Son.Who with the Father and Son togetherIs worshipped and glorified:Who spoke by the Prophets.And in one holy, catholicAnd apostolic church.I acknowledge one baptismFor the remission of sins.And I look for the resurrection of the deadAnd the life of the world to come. Amen.

SANCTUSHoly, holy, holy,Lord God of hosts.

MOZART: MASS NO. 15 IN C MAJOR, K. 317, “CORONATION”[traditional Mass text]


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Pleni sunt caeli et terra gloria tua.Hosanna in excelsis.

BENEDICTUSBenedictus qui venitin nomine Domini.Hosanna in excelsis.

AGNUS DEIAgnus Dei, qui tollis peccata mundi,

miserere nobis.

Agnus Dei, qui tollis peccata mundi,miserere nobis.

Agnus Dei, qui tollis peccata mundi,dona nobis pacem.

Heaven and earth are full of Thy glory.Hosanna in the highest.

BENEDICTUSBlessed is HeWho comes in the name of the Lord.Hosanna in the highest.

AGNUS DEILamb of God who takes away the sins of the

world,Have mercy on us.

Lamb of God who takes away the sins of theworld,Have mercy on us.

Lamb of God who takes away the sins of theworld, Grant us peace.

Principal Guest Conductor at Scottish Opera in the1990s.

His 2018-19 guest appearances in North Americainclude his annual return to St. Louis Symphony aswell as engagements with Baltimore, Detroit,Calgary, National and Pasadena Symphonies.Abroad, McGegan makes returns to the NewZealand Symphony, Bournemouth SymphonyOrchestra, and appears with the Stuttgart RadioSymphony Orchestra for a performance and recording. A frequent guest lecturer and conductorat Yale, McGegan returns in Fall 2018 for a residency and performance with the Institute ofSacred Music. Summer Festivals include Aspen, Music Academy of the West, and MDRMusiksommer in Germany. In the summer of 2017,McGegan conducted the Royal Northern Sinfoniafor the BBC Proms in Hull, marking 300 years sinceHandel's Water Music was first famously performedon the River Thames. It was the first time since the1930s a festival performance had been moved outsideLondon.

One of Philharmonia Baroque Orchestra’s greatestsuccesses was the recent fully-staged modern-day premiere of Jean-Philippe Rameau’s 1745 opera-ballet Le Temple de la Gloire. HighlightingPBO’s 2018-19 season is the completion of a PBO-

NICHOLAS MCGEGANWAVERLEY FUND MUSIC DIRECTOR

As he embarks on his sixthdecade on the podium,Nicholas McGegan—longhailed as “one of the finestbaroque conductors of his generation” (TheIndependent) and “an expertin 18th-century style” (The New Yorker)—is recognized for his probingand revelatory explorations

of music of all periods. The 2018-19 season markshis 33rd year as music director of PhilharmoniaBaroque Orchestra and Chorale and he is alsoPrincipal Guest Conductor of the PasadenaSymphony.

Best known as a baroque and classical specialist,McGegan’s approach—intelligent, infused with joyand never dogmatic—has led to appearances withmany of the world’s major orchestras. At home inopera houses, McGegan shone new light on closeto twenty Handel operas as the Artistic Directorand conductor at the Göttingen Handel Festivalfor 20 years (1991-2001) and the Mozart canon as


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(OBE) “for services to music overseas.” Most recently, McGegan was invited to join the board ofEarly Music America. Other awards include theHalle Handel Prize; the Order of Merit of the Stateof Lower Saxony (Germany); the Medal of Honourof the City of Göttingen, and a declaration ofNicholas McGegan Day, by the Mayor of SanFrancisco in recognition of his work withPhilharmonia.

For more information, visit Nicholas McGegan onthe web at www.nicholasmcgegan.com.

PHILHARMONIA BAROQUE ORCHESTRA

Under the musical direction of Nicholas McGegan,O.B.E., for 33 years, Philharmonia BaroqueOrchestra & Chorale (PBO) is recognized as America’s leading historically informed ensemble.Using authentic instruments and stylistic conventions of the Baroque, Classical, and earlyRomantic periods, PBO engages audiences throughperformance, tours, recordings, new works, and education of the highest caliber.

Founded 38 years ago, the ensemble is the largest ofits kind in the United States. PBO’s musicians areleaders in period performance and serve on thefaculties of The Juilliard School, San FranciscoConservatory of Music, Harvard, and Stanford,among others. It welcomes eminent guest artistsincluding mezzo-sopranos Susan Graham and AnneSofie von Otter, countertenor Andreas Scholl,fortepianist Kristian Bezuidenhout, violoncellistSteven Isserlis, and maestro Richard Egarr.

The Orchestra enjoys numerous collaborations,including a regular partnership with the MarkMorris Dance Group and Cal Performances.PBO gave the U.S. premieres of Morris’ highly-acclaimed productions of Rameau’s ballet-operaPlatée and Handel’s Acis and Galatea andL’Allegro, il Penseroso ed il Moderato. In 2017, PBOproduced its first fully staged opera, Rameau’s Le Temple de la Gloire, in collaboration with CalPerformances, Centre de musique de Versailles, and New York Baroque Dance Company, and co-produced a critically-acclaimed modern dramatization of Handel’s Aci, Galatea, e Polifemowith National Sawdust in New York.

commissioned song cycle by Caroline Shaw featuring mezzo Anne Sofie von Otter. The program will be toured to Alice Tully Hall at New York’s Lincoln Center. McGegan and PBOalso brought Handel’s Atalanta to CaramoorMusic Festival in addition to presenting Saul, oneof the composer’s most inventive and popular oratorios, on their west coast subscription series.

McGegan’s prolific discography includes morethan 100 releases spanning five decades. Havingrecorded more than 50 albums of Handel,McGegan has explored the depths of the composer’s output with a dozen oratorios and closeto twenty of his operas. Under its own label,Philharmonia Baroque Productions (PBP),Philharmonia has recently released almost a dozenacclaimed albums of Handel, Scarlatti, Vivaldi,Brahms, Haydn, Beethoven, and more. McGegan’slatest release with PBO is the first-ever recording ofthe recently rediscovered 300-year-old work LaGloria di Primavera by Alessandro Scarlatti,recorded live at the U.S. premiere. Since the 1980s,Nic has released more than 20 recordings withHungary’s Capella Savaria on the Hungarotonlabel, including groundbreaking opera and oratoriorecordings of repertoire by Handel, Monteverdi,Scarlatti, Telemann and Vivaldi. Most recently,thecollaboration has produced releases of Haydn,Kraus, Mendelssohn, Schubert, and a 2-CD set ofthe complete Mozart violin concerti.

Mr. McGegan is committed to the next generationof musicians, frequently conducting and coachingstudents in residencies and engagements at Yale University, the Juilliard School, HarvardUniversity, the Colburn School, Aspen MusicFestival and School, Sarasota Music Festival, andthe Music Academy of the West. He has beenawarded the honorary degree of Doctor of Musicby the San Francisco Conservatory of Music; an honorary professorship at Georg-AugustUniversity, Göttingen; and in 2016 was theChristoph Wolff Distinguished Visiting Scholar atHarvard. McGegan’s fun and informative lectureshave delighted audiences at Juilliard, Yale Centerfor British Arts, American Handel Society, andSan Francisco Conservatory.

English-born Nicholas McGegan was educated atCambridge and Oxford. He was made an Officer ofthe Most Excellent Order of the British Empire


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As a leading steward of historical legacy, PBO alsoinvests in the future by commissioning new worksby prominent composers such as Jake Heggie andCaroline Shaw, to illuminate the influence of 17th-and 18th-century music on contemporary creation.

PHILHARMONIA CHORALE

Philharmonia Chorale has been critically acclaimedfor its brilliant sound, robust energy, and sensitivedelivery of the text since its founding in 1995.Under the direction of Chorale Director and PBO Scholar-in-Residence Bruce Lamott since 1997,the Chorale was formed to provide a vocal complement whose fluency in the stylistic languageof the Baroque period matched that ofPhilharmonia Baroque Orchestra. Members of theChorale are professional singers with distinguishedsolo and ensemble careers. They appear in roleswith regional opera companies and have beenmembers and founders of some of the country’spremier vocal ensembles.

The Chorale’s repertoire has included oratorios byHandel and Bach, masses by Beethovenand Mozart. The singers have appeared on tourwith Philharmonia Baroque Orchestraat Walt Disney Concert Hall in Los Angeles, andat New York City’s Lincoln Centerand Carnegie Hall. The Chorale appears on theOrchestra’s recordings of Arne’s Alfred,Beethoven’s Symphony No. 9, and the world premiere recording of Rameau’s original 1745 version of Le Temple de la Gloire.

MEG BRAGLE, MEZZO-SOPRANO

A frequent featured soloistwith Sir John EliotGardiner and the EnglishBaroque Soloists, she hasmade four recordings withthe group, including Bach’s Easter andAscension Oratorios—the vehicle for her BBC Promsdebut—and the October2015 release of Bach’s Mass

in B Minor. As a gifted early music specialist, Ms. Bragle has sung in North America

and Europe with the Music of the Baroque,Orpheus Chamber Orchestra, the Orchestra of St.Luke’s, Orchestre Révolutionnaire et Romantique,Tafelmusik Baroque Orchestra, Orchestra of theAge of Enlightenment, Les Violons du Roy,Apollo’s Fire, and the Dunedin Consort.

Ms. Bragle has appeared with many symphonyorchestras in the U.S. and Canada including theHouston (Beethoven’s Mass in C Minor),Indianapolis (Mozart’s Requiem), Milwaukee(Mozart’s Requiem), Cincinnati (Bach’s Mass in BMinor), Pacific (Handel’s Judas Maccabeus), andColorado (Mendelssohn’s Elijah) Symphonies; theNational Arts Center Orchestra (Messiah) and aseries of concerts with the Calgary Philharmonicincluding Handel’s Messiah and Beethoven’sSymphony No. 9.

Highlights of her 2017-18 season included a returnto Netherlands Bach Society for a tour of Bach’sChristmas Oratorio and performances with Musicof the Baroque (St. John Passion), MercuryHouston Orchestra (St. Matthew Passion), ArionBaroque Orchestra, and Tempesta di Mare. Otherrecent highlights include performances with theWinter Park and Carmel Bach Festivals, St. PaulChamber Orchestra, Early Music Vancouver, multiple appearances as vocal soloist with NewYork City Ballet, and American Bach soloists.

Her opera roles include Idamante in Idomeneo,Dido and the Sorceress in Purcell’s Dido andAeneas, Dardano in Handel’s Amadigi, Amastre inHandel’s Serse, Speranza in Monteverdi’s L’Orfeo,Ippolita in Cavalli’s Elena, and Elpina in Vivaldi’sLa Fida Ninfa.

Ms. Bragle is an accomplished recording artist. Inaddition to those with the English BaroqueSoloists, she has made several recordings withApollo’s Fire: Mozart’s Requiem (Koch), Handel’sDixit Dominus and Ode for the Birthday of QueenAnne (Avie), and Monteverdi’s Vespro della BeataVergine (Avie), and L’Orfeo (Eclectra). Otherrecordings include Bach’s St. John Passion withArion Baroque (ATMA Classique).


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DASHON BURTON, BASS-BARITONE

Praised for his "nobility andrich tone," (The New YorkTimes) and his "enormous,thrilling voice seeminglycapable...[of] raising thedead;" (Wall Street Journal),bass-baritone DashonBurton has appeared in the Brahms Requiem andBeethoven 9 with FranzWelser-Möst and the

Cleveland Orchestra in the last two seasons; also the Mozart Requiem in the summer season atSeverance Hall. He joined forces with Cleveland and Welser-Möst again in 2017-18 for reprise performances of their groundbreaking production ofJanacek’s Cunning Little Vixen and for performancesof Beethoven 9 in their Prometheus Project, at homeand abroad in Vienna and Japan.

This season, Burton also sings BeethovenSymphony No. 9 with the Handel & Haydn Societyin Boston, in Sweden with the Royal StockholmPhilharmonic, and with the Orlando Philharmonic.He appears twice at Carnegie Hall with the OratorioSociety of NY for Handel’s Messiah and in theworld premiere of Paul Moravec’s Sanctuary Road,and performs in David Lang’s The Little Match GirlPassion at the Metropolitan Museum of Art.Dashon revisits the role of Sarastro in DieZauberflöte on tour with Opera de Dijon in Limogesand Caen and sings recitals with Lindsay Garritson,and with Craig Hella Johnson for Conspirare inAustin. Throughout the season he continues to tourwith the Grammy-winning contemporary vocalensemble Roomful of Teeth, and ends the season atGrant Park Music Festival singing Walton'sBelshazzar’s Feast.

In key elements of his repertoire—Bach’s St. Johnand St. Matthew Passions and the B minor Mass, Mendelssohn’s Elijah, Beethoven 9, theBrahms Requiem, Handel’s Messiah and Mozart’sRequiem—Dashon is a frequent guest with ensembles such as Philharmonia Baroque Orchestra& Chorale, the Handel & Haydn Society andBoston Baroque; the Carmel and Bethlehem BachChoir Festivals, and the symphony orchestras ofBaltimore, Cincinnati, Cleveland, Indianapolis,Kansas City, New Jersey, Oregon, and the St. Paul

Chamber Orchestra. Forays into more varied repertoire in the last seasons have included his performances of Michael Tippet’s A Child of ourTime at Harvard, Barber’s Dover Beach and HansEisler’s Ernste Gesaenge with A Far Cry chamberorchestra in Boston, Copland’s Old American Songswith the Kansas City Symphony, Schubert’s DieWinterreise with Diderot String Quartet, and performances and the recording of Craig HellaJohnson’s Considering Matthew Shepard with thevocal group Conspirare.

Burton’s opera engagements include singingSarastro in Die Zauberflöte in Dijon and Paris, andthe role of Jupiter in Rameau’s Castor and Polluxwith Christoph Rousset and Les Talens Lyriques.He has toured Europe in the St. John Passion withChristoph Prégardien’s Le Concert Lorraine, and inItaly with Maaski Suzuki and the Yale ScholaCantorum in the St. Matthew Passion, a work healso sang on tour in the Netherlands with theNNSO. Dashon Burton’s Ravinia recital, based onhis recent recording, Songs of Struggle andRedemption: We Shall Overcome, led off his 2016-17season, followed by his performance of works byAperghis and Stockhausen—as well as his owncomposition, Light Year,—in the 2016 ResonantBodies Festival at National Sawdust in Brooklyn.With Ensemble ACJW, he appeared in Arvo Pärt’sPassion in Carnegie’s Zankel Hall.

In 2012 Burton brought home prizes from theARD International Music Competition in Munichand the 49th International Vocal Competition in ‘s-Hertogenbosch, Netherlands. These awards followed his First Place wins in both the 2012Oratorio Society of New York's Competition andthe Bach Choir of Bethlehem's Competition forYoung American Singers.

He began his professional studies at Case WesternReserve University and graduated from the OberlinCollege Conservatory of Music. Upon graduation,he was invited to join Cantus, a professional men'sclassical vocal ensemble based in Minneapolis, andtoured with them for four years. In 2009, Burtonentered Yale University's Institute of Sacred Music,where he studied vocal literature includingMonteverdi's Vespers of 1610, Bach's St. MatthewPassion, and Mendelssohn's Elijah under tenorJames Taylor. He received his Master of Musicdegree in 2011.


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CAMILLE ORTIZ, SOPRANO

Internationally recognizedfor her compelling performances of baroqueand concert repertoire,native Puerto Rican soprano Camille Ortiz isquickly establishing herselfas a leading artist in standard operatic roles.Recent 2018 season appearances include Gilda

in Rigoletto, Micaela in Carmen, Valencienne inThe Merry Widow, Marguerite in Faust, Christinein The Phantom of the Opera, and Maria in WestSide Story as the resident soprano with Gulfshore Opera in Naples, FL. Recent concert performances included appearances in Florence,Paris, Leipzig, and Syros, Greece, includingVivaldi's Gloria with the International Festival ofthe Aegean. This fall, she will make her Houstondebut as Poppea in Handel's Agrippina with ArsLyrica Houston.

The 2017 season saw her appearance as a leadingsoprano soloist in the award-winning revival ofRameau’s Le Temple de la Gloire, a co-productionof the Centre de Musique Baroque de Versaillesand the San Francisco based PhilharmoniaBaroque Orchestra conducted by NicholasMcGegan and directed by Catherine Turocy. Sheperformed the roles of Une bergère, Érigone, Junie,and Une dame romaine and appears in the recently released recording under the PBO label.Additional 2017 performances include Orchestraof New Spain’s Misa Flamenca, Mozart'sCoronation Mass in C major for the InternationalFestival of the Aegean in Syros, Greece and a fullrecital for the Dallas Bach Society titled"Coloratura Furiosa," including works by Vivaldi,Rameau, Purcell, Bach and Handel.

2016 appearances included the roles of LaMusique in Charpentier’s Les Arts Florissants withthe Dallas Bach Society; Quiteria in Telemann’sDon Quichotte with Orchestra of New Spain;Belinda in Purcell’s Dido and Aeneas and Paminain Die Zauberflöte with the Fillmore Opera Studio.She appeared in two solo recitals at University ofNorth Texas of baroque and Spanish/LatinAmerican repertoire, consecutively.

The 2014 season included her Carnegie Hall debutas the soprano soloist for Dan Forrest’s Requiem forthe Living; the soprano solo in John Rutter’s Mass ofthe Children under Rutter’s baton, and Gilda (cover)in Rigoletto for the Greek Opera Studio with theInternational Festival of the Aegean in Syros,Greece; Musetta in La Bohème as well as art songconcerts for the Berlin Opera Studio with theFestival junger Künstler Bayreuth, Germany. Sheappeared as a featured artist of the “Buena Gente”section of El Diario NY.

Other performed roles include Antonia in Les Contesd'Hoffmann at UNT Opera, Lucia (Rape of Lucretia)at Manhattan School of Music, Blondchen (DieEntführung aus dem Serail) for the Martina ArroyoRole Learning Class, Oscar (Un Ballo in Maschera)for Martina Arroyo’s Prelude to Performance,Fire/Nightingale (L’enfant et les sortilèges) forCoópera: Project Opera of Manhattan, SusanHoerschner (Clarence and Anita) for the Center ofContemporary Opera NY, Adina, Norina, andMusetta for Centro Studi Lirica in Italy, andFrasquita in Carmen with Dell’Arte Opera.

Notable engagements include directing and performing for Opera Hispánica NY; sopranosoloist with Zipoli Ensemble NY; appearing in venues such as the Sala Manuel de Falla in Granada,Spain under the tutelage of Teresa Berganza, theCarlos Chávez Hall of the Universidad NacionalAutónoma de Mexico, D.F., Avery Fischer Hall atthe Lincoln Center, the Heckscher Theater at ElMuseo del Barrio, Steinway Hall NY, The KayePlayhouse, the America’s Society, the Museum ofthe City of New York, as well as on national television broadcast network Telemundo and HBOlive.

Ms. Ortiz completed a DMA at University of NorthTexas, a Master’s degree at Manhattan School ofMusic, a Bachelor's at Oral Roberts Universitywhere she double-majored in voice and violin, and isa graduate of the pre-college division of the PuertoRico Conservatory. She is the winner of the Gerda Lissner Foundation 2008 Encouragement Award and a finalist in both the Liederkranz 2009competition, lieder division, and the Sergei and OlgaKoussevitzky 2010 Young Artists Competition. Sheis on the faculty of the Greek Opera Studio and is aclinician at Florida Gulf Coast University and AveMaria University in Southwest Florida.

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JAMES REESE, TENOR

James Reese is an avidensemble, chamber, and solomusician whose singing hasbeen praised for its “intensityand sensitivity...spiritualityand eloquence.” (ChestnutHill Local).

James' 2018-19 season seesdebuts with the CalgaryPhilharmonic Orchestra,

TENET Vocal Artists, Gallicantus, BourbonBaroque Orchestra, and the Sun Valley Symphony,as well as return performances with Lyric Fest,Philadelphia's Bach @ 7 series, and Bach Vespers @Holy Trinity Lutheran NYC. In addition, Jameswill appear with The Crossing, Santa Fe DesertChorale, True Concord Voices and Orchestra, andVariant 6.

Previously, James has appeared in concerts withMasaaki Suzuki and Juilliard415; the AmericanClassical Orchestra; and at the Ad Astra MusicFestival.

In May 2018, he made his Carnegie Hall solo debutin Bach's B Minor Mass with the New York Choral Society, directed by David Hayes. Of thatperformance, the New York Classical Review wrote,"the high, easy tenor of James Reese...floated beautifully on its own over the long, gentle lines ofthe Benedictus." In June 2018, he made his Europeandebut with ensemble Seconda Prat!ca, in a recitalwith soprano Lucía Caihuela at SplendorAmsterdam.

An advocate for new music, James is a foundingmember of Philadelphia vocal sextet Variant 6 (variantsix.com). He has premiered works by Ted Hearne, John Luther Adams, Judd Greenstein,Joel Puckett, Gabriel Jackson, and others. Jamessings frequently with leading American choruses,including The Crossing, Santa Fe Desert Chorale,Seraphic Fire, True Concord, and The Thirteen. Hehas recorded on the ECM, Innova, and Albanylabels; including The Crossing's release of GavinBryars' The Fifth Century, which won a Grammy forBest Choral Performance in 2018. He also sang on2016 Grammy-nominated Bonhoeffer, released bythe Crossing.

James is a graduate of Northwestern University’sBienen School of Music, where he studied withKurt R. Hansen, Alan Darling, and Donald Nally.He is a recent graduate of Yale University'sInstitute of Sacred Music, where he studied withJames Taylor as part of the Yale Voxtet.

BRUCE LAMOTT, CHORALE DIRECTOR

Bruce Lamott has beenDirector of thePhilharmonia Choralesince 1997 and also serves as Philharmonia’s Scholar-in-Residence. Hefirst performed with the Orchestra in 1989 ascontinuo harpsichordistfor Handel’s Giustino. In his 30-year tenure

with the Carmel Bach Festival, he served as a harpsichordist, lecturer, choral director, and conductor of the Mission Candlelight Concerts.As the founding director of the SacramentoSymphony Chorus, he conducted annual choralconcerts of major symphonic choral works and prepared the Symphony Chorus for their subscription seasons.

Lamott received a bachelor’s degree from Lewisand Clark College, and an M.A. and Ph.D. inmusicology from Stanford. His teaching careerbegan on the musicology faculty at UC Davis,where he directed the Early Music Ensemble. Herecently retired from San Francisco UniversityHigh School, where he has directed the choir andorchestra and taught Western Civilization for 36years. As a professor of music history at the San Francisco Conservatory of Music since 2001, Dr. Lamott specializes in the vocal and instrumental repertoire of the 18th century. He teaches continuo-playing for the coach-accompanists in the San Francisco Opera’s MerolaOpera Program and lectures for the Opera andOpera Guild’s education programs.

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VIOLINKatherine Kyme

concertmaster Johann Gottlob Pfretzschner,

Mittenwald, Germany, 1791Egon & Joan von Kaschnitz

Concertmaster ChairElizabeth Blumenstock ✝Andrea Guarneri, Cremona,

1660; on loan from PBOPeriod Instrument Trust

Susan B. Levy ChairJolianne von EinemRowland Ross, Guildford,

England, 1979; after A.Stradivari

Lisa GrodinLaurentius Storioni, Cremona,

Italy, 1796Tyler LewisAnonymous, Italy, c. 1800Carla MooreJohann Georg Thir, Vienna,

Austria, 1754Maxine NemerovskiDavid Tecchler, Rome, Italy,

1733Linda QuanJacob Stainer, Absam, Tyrol,

1655Noah StrickCelia Bridges, Cologne,

Germany, 1988Sara UsherDesiderio Quercetani, Parma,

Italy, 2001; after A. StradivariAnna WashburnAnonymous, Tyrol, Italy, c.

1760

Lisa WeissAnonymous, London; after

TestoreVIOLAAnthony Martin *Aegidius Klotz, Mittenwald,

Germany, 1790Maria Ionia CaswellAnonymous, Mittenwald,

Germany, c. 1800Stephen GoistAndré Mehler, Leipzig,

Germany, 2018; after MatteoGoffriller, Venice, Italy, 1720

Ellie NishiAegidius Klotz, Mittenwald,

Germany, 1790

VIOLONCELLOPhoebe Carrai *Anonymous, Italy, c. 1690Paul HaleJoseph Grubaugh & Sigrun

Seifert, Petaluma, California,1988; after A. Stradivari

Osher Cello Chair EndowmentRobert HowardAnonymous, Venice, Italy, 1750Zheng Cao Memorial ChairWilliam SkeenGiovanni Grancino, Milan, Italy,

1725

DOUBLE BASSKristin Zoernig *Joseph Wrent, Rotterdam,

Holland, 1648Anthony ManzoTom Wolf, 2007; after Carlo

Fernando Landolfi, Tanegia,1766

OBOEGonzalo X. Ruiz *H. A. Vas Dias, Decatur,

Georgia, 1988; after C. A.Grenser, Dresden, Germany,c. 1780

Principal Oboe Chair InMemory of Clare FriemanKivelson and Irene ValenteAngstadt

Marc SchachmanSand Dalton, Lopez Island,

Washington, 1993; afterFloth, c. 1800

BASOONDanny Bond *Peter de Koningh, Hall,

Holland, 1985; after Grenser,Dresden, Germany, c. 1800

HORNR. J. Kelley *M. A. Raoux, Paris, France,

1850Paul AvrilRichard Seraphinoff,

Bloomington, Indiana, 1998;after A. Halari, Paris, 1825

TRUMPETJohn Thiessen *Rainer Egger, Basel, 2015; after

Adam Bauer, Prague, c.1811–1835

Fred HolmgrenFred Holmgren, Massachusetts,

2005; after J. L. Ehe III, 1746

TROMBONEGreg Ingles *Adolf Egger, Basel,

Switzerland, 2001; afterJohann Joseph Schmied

Erik SchmalzRainer Egger, Basel,

Switzerland, 2005; afterJohann Joseph Schmied, 1778

Mack RamseyEwald Meinl, Geretsried,

Germany, 2005; after late18th century originals

TIMPANIKent Reed *Anonymous, England, c. 1840

ORGANHanneke van Proosdij *Chamber organ by

Bennett-Giuttari, 1999

* Principal† Principal 2nd Violin_________________________

PHILHARMONIATOUR STAFF

Courtney BeckExecutive Director

Jeff PhillipsDirector of Artistic Planning

Myles K. GlancyDirector of Concert Production

Hiro MatsuoStage Manager

E.J. ChavezEquipment Coordinator

PHILHARMONIA BAROQUE ORCHESTRA & CHORALENicholas McGegan | Waverley Fund Music Director

Philharmonia’s musicians perform on historically accurate instruments. Below each player’s name is information about his or her instrument’s maker and origin.

SOPRANOJennifer AshworthTonia d’AmelioRadoslava BiancalanaCheryl CainLisa MayChrista PfeifferBarbara RowlandHelene Zindarsian

ALTOTerry AlvordDaniel CromeenesKatherine McKeeSusan ThampiCasie WalkerHeidi WatermanCeleste WinantJacque Wilson

TENORKevin BaumKevin GibbsCorey HeadMichael JankoskyDavid KurtenbachRyan MatosMark MuellerJonathan Smucker

BASSPaul BoyceJeffrey FieldsSepp HammerTom HartJames MoniosJess G. PerryChad RunyonIan Walker

PHILHARMONIA CHORALEBruce Lamott, Chorale Director | Robert & Laura Cory Chorale Director Chair


philharmonia baroque orchestra & chorale · sanctus, and the agnus deimust not last longer than...

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