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2014/15 GREAT PERFORMERS
The Program
Sponsored by BNY Mellon
Thursday Evening, April 23, 2015, at 7:30
Chamber Orchestras
Le Jardin des Voix
Les Arts Florissants
William Christie, Musical Director and Conductor
Paul Agnew, Musical Director
Lucía Martín-Cartón, Soprano
Lea Desandre, Mezzo-soprano
Carlo Vistoli, Countertenor
Nicholas Scott, Tenor
Renato Dolcini, Baritone
John Taylor Ward, Bass
Sophie Daneman and Paul Agnew, Semi-Staging
Tougani, Soloist Dresses
(Program continued)
Please make certain all your electronic devices are switched off.
BNY Mellon is a Proud Supporter of Great Performers.
This performance is made possible in part by the Josie Robertson Fund for Lincoln Center.
Alice Tully Hall, Starr Theater
Adrienne Arsht Stage
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Great Performers
BNY Mellon is a Proud Supporter of Great Performers.
Support is provided by Rita E. and Gustave M. Hauser, The Florence Gould Foundation,
Audrey Love Charitable Foundation, Great Performers Circle, Chairman’s Council, and
Friends of Lincoln Center.
Public support is provided by the New York State Council on the Arts.
Endowment support for Symphonic Masters is provided by the Leon Levy Fund.
Endowment support is also provided by UBS.
MetLife is the National Sponsor of Lincoln Center.
Movado is a Supporter of Lincoln Center.
United Airlines is a Supporter of Lincoln Center.
WABC-TV is a Supporter of Lincoln Center.
William Hill Estate Winery is a Supporter of Lincoln Center.
Le Jardin des Voix is co-produced by Les Arts Florissants and the Théâtre de Caen, with the
support of The American Friends of Les Arts Florissants.
Les Arts Florissants receives financial support from the Ministry of Culture and
Communication, the City of Caen, and the Région Basse-Normandie. It is artist-in-residence
at the Théâtre de Caen. Imerys and Alstom are Sponsors of Les Arts Florissants.
Musical editions: Les Arts Florissants (Pascal Duc)
Bernardo Ticci Edizioni, 2012, for Orlando Furioso from Antonio Vivaldi
Gabriele Catalucci, 1992, for L’impresario delle Canarie from Domenico Sarro
UPCOMING CHAMBER ORCHESTRAS EVENT IN ALICE TULLY HALL:
Sunday Afternoon, May 10, 2015, at 5:00
Europa Galante
Fabio Biondi, Conductor and Violin
MOZART: Symphonies Nos. 10, 11, and 13
MONZA: Sinfonia “La Tempesta di Mare”
SAMMARTINI: Sinfonia for string orchestra in G major
SCACCIA: Violin Concerto in E-flat major
BRIOSCHI: Sinfonia in D major
Pre-concert lecture by Peter A. Hoyt at 3:45 in the Stanley H. Kaplan Penthouse
For tickets, call (212) 721-6500 or visit LCGreatPerformers.org. Call the Lincoln Center Info
Request Line at (212) 875-5766 to learn about program cancellations or to request a Great
Performers brochure.
Visit LCGreatPerformers.org for more information relating to this season’s programs and the
2015–16 Chamber Orchestras series.
Join the conversation: #LCGreatPerfs
We would like to remind you that the sound of coughing and rustling paper might
distract the performers and your fellow audience members.
In consideration of the performing artists and members of the audience, those who must
leave before the end of the performance are asked to do so between pieces. The taking
of photographs and the use of recording equipment are not allowed in the building.
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Great Performers I The Program
In an Italian Garden
BANCHIERI Già che ridotti siamo, from Il zabaione musicale:
invention boscareccia, et primo libro di madrigali (1604)
TUTTI
STRADELLA Sinfonia [Lento], from Amanti, olà! (1665)
VECCHI Proemio: Fate silenzio, from Le veglie di Siena (1604)
TUTTI
STRADELLA Excerpts from Amanti, olà!
Sinfonia [Allegro]
Amanti, olà, olà!
Hor non sia chi paventi
D’amore, all’invito
Che sia della Beltà vanto primiero...La beltà d’un vago viso
Chi rese delirante
CARLO VISTOLI, LUCÍA MARTÍN-CARTÓN, LEA DESANDRE
HANDEL Ah Stigie larve! Ah scellerati spettri, from Orlando (1732)
CARLO VISTOLI
WERT Queste non son più lagrime, from Il quinto libro de madrigali
(1571)
TUTTI
VIVALDI Ah sleale, ah spergiura, from Orlando furioso (c. 1713)
RENATO DOLCINI
HANDEL Lascia la spina, cogli la rosa, from Il trionfo del Tempo e
del Disinganno (1707)
LUCÍA MARTÍN-CARTÓN
VIVALDI Gelosia, tu già rendi l’alma mia, from Ottone in villa (1713)
LEA DESANDRE
VIVALDI Care pupille, from La virtù trionfante dell’amore, e dell’odio,
overo Il Tigrane (1724)
NICHOLAS SCOTT
STRADELLA Excerpts from Amanti, olà!
Benché ascritto non sia...Si guardi dai dardi d’Amor
Unito il Disinganno a la Ragione
Dotto Maestro è Amore
JOHN TAYLOR WARD, CARLO VISTOLI
Intermission
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Great Performers I The Program
CIMAROSA Vé che matta maledetta, from L’impresario in
angustie (1786)
LUCÍA MARTÍN-CARTÓN, LEA DESANDRE, NICHOLAS SCOTT,
RENATO DOLCINI
HAYDN Excerpts from La canterina (1766)
Donne belle!
Che mai far deggio?
Che dici?
NICHOLAS SCOTT, LUCÍA MARTÍN-CARTÓN, LEA DESANDRE
SARRO Excerpts from L’impresario delle Canarie
Intermezzo Secondo
Intermezzo Primo
LEA DESANDRE, JOHN TAYLOR WARD
MOZART Un bacio di mano (1788)
RENATO DOLCINI
HAYDN Scellerata! mancatrice! traditrice!, from La canterina (1766)
LUCÍA MARTÍN-CARTÓN, LEA DESANDRE, NICHOLAS SCOTT,
RENATO DOLCINI
PORPORA Excerpts from Oh se fosse il mio core
Oh se fosse il mio core…Se lusinga il labro e ‘l ciglio
CARLO VISTOLI
HAYDN Son confuso e stupefatto, from Orlando paladino (1782)
TUTTI
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Note from the Co-Director
Great Performers
By Paul Agnew
For our seventh edition of Le Jardin des Voix, we look toward the
language in which Baroque music was born—Italian. It would be
tempting to turn exclusively to Italian composers, but Italian was
not exclusive to Italy. It was the dominant language of the epoch’s
music, from Monteverdi and his teachers in Cremona and Mantua
to Handel in Rome and London and Mozart in Salzburg and Vienna.
And so our seventh edition is an exploration of this most musical of
languages, from the very birth of the Baroque, in the music of Wert,
Vecchi, and Banchieri, through the establishment of the solo protagonist, Stradella to the mature operatic voices of Handel and
Vivaldi, then on into the Rococo with Cimarosa, and finally to the
Classical realm with Haydn and Mozart.
The concert opens with the assembling of our ensemble in
Banchieri’s comic madrigal Il zabaione musicale. Then the works of
Stradella and Vecchi introduce one of the fundamental elements in
the aesthetic of the Baroque, the affect. It could be described as the
emotional color of the text, which determines and drives the character of the music. Vecchi demands that we mount a competition
between the various emotions or humors in music, and Stradella,
through the voice of Amore, challenges the singers to champion different emotional states in their singing. The first part is therefore a
voyage into the power of music to describe and amplify emotions.
Love, hate, jealousy, disenchantment, and fury are expressed
through the vehicle of Ariosto’s great Orlando furioso, perhaps the
most influential text of the period.
If the first half describes the essential ingredients of Baroque music,
the second part examines, in a light-hearted way, how music was
practiced at the time. We open with Cimarosa’s L’impresario in
angustie. An anxious composer is attempting to write an opera to the
impossibly exacting demands of his various divas. From Cimarosa we
move to Haydn’s comic opera La canterina, in which the young composer, our bass-baritone, attempts to seduce the innocent soprano
with amorous music. Enter the bass Impresario in Sarro’s scathing critique of the music business. His ambition is to become an agent to
our young mezzo-soprano, with whom he has fallen in love, and in
doing so to bring her (and of course himself) fame and fortune. To the
fury of these ambitious suitors, it requires only a few notes of Mozart,
sung by the newly arrived baritone, to soften our ambitious divas. And
our concert ends with a return to the Orlando tale, this time in
Haydn’s music, where all is resolved for the good.
—Copyright © 2015 by Paul Agnew
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Notes on the Program
Great Performers I Notes on the Program
By Paul Schiavo
Approximate length of first half: 50 minutes
Già che ridotti siamo, from Il zabaione musicale: invention boscareccia, et primo libro di madrigali (1604)
ADRIANO BANCHIERI
Born September 3, 1568, in Bologna, Italy
Died in 1634 in Bologna
We begin our program in an Italian garden of vocal music with a work by
Adriano Banchieri. “Già che ridotti siamo” acknowledges our assembled
presence and strikes a humorous tone. “Now that we are all together,” it
begins, “let us sing merrily.” The merry singing that ensues even calls animal voices comically into play. This piece is from a collection of madrigals
published in 1604 under the title Il zabaione musicale. Zabaione is an Italian
wine custard, and this music is appropriately light and delicious.
Selections from Amanti, olà! (L’accademia d’Amore) (1665)
ALESSANDRO STRADELLA
Born April 3, 1639, in Nepi, Italy
Died February 25, 1682, in Genoa
The madrigal flourished throughout the 16th century as the principal genre
of Italian secular music. Thereafter, these songs for small vocal ensembles
gave way to larger dramatic forms: the cantata, oratorio, and opera.
Among the composers responsible for establishing the new formats was
Alessandro Stradella. Stradella wrote many works inspired by romantic
love, and he did so from personal experience. Stradella enjoyed many
amorous dalliances, one of which led to his untimely and violent death at
the hands of a jealous rival. Stradella wrote his first important work,
L’accademia d’Amore, in 1665. Also known by the first line of its text,
“Amanti, olà!” this cantata offers a wide-ranging examination of love
through songs and ensembles, several of which we hear during the initial
half of this evening’s concert. First, however, we have the Sinfonia that
Stradella wrote as an overture to the cantata. Here the composer effectively contrasts full and lean ensembles within the string orchestra.
Proemio: Fate silenzio, from Le veglie di Siena (1604)
ORAZIO VECCHI
Born December 6, 1550, in Modena, Italy
Died February 19, 1605, in Modena
Love in its various aspects also finds reflection in the work of Orazio
Vecchi. His amusement Le veglie di Siena (The Night Parties of Siena), a
book of madrigals published in 1604, concludes with a set of songs col-
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Great Performers I Notes on the Program
lectively titled L’humore musicale (The Musical Humors). While this title suggests different musical moods, the madrigals themselves, including this
evening’s “Proemio: Fate silenzio,” more patently concern the diverse temperaments of love.
Ah Stigie larve! Ah scellerati spettri, from Orlando, HWV 31 (1732)
GEORGE FRIDERIC HANDEL
Born February 23, 1685, in Halle, Germany
Died April 14, 1759, in London
Several love stories achieved renown during the Renaissance, the most
famous being Orlando furioso, by the Italian writer Ludovico Ariosto.
Completed in 1532, this epic poem recounts how the hero Orlando (known in
French and English as Roland) fell desperately in love with a Saracen princess,
and how her betrayal of him drove him to madness. Ariosto’s story inspired
many musical compositions. Of them, pride of place belongs to Orlando, the
opera by George Frideric Handel. Composed in 1732, this work uses a libretto
only loosely based on Ariosto’s poem, though it retains the essential outlines
of the story.
In the second act, the deranged Orlando believes his beloved princess to have
been abducted to the underworld. Determined to follow her there, he imagines himself a ghost crossing the River Styx on the boat of the mythic ferryman Charon, then confronting the hell-hound Cerebus and the god of darkness, Erebus, in the kingdom of Pluto. Handel conveys his ravings in a dramatic recitative and plaintive aria. The first Orlando, in 1733, was the famous
male soprano Senesino. Today the music can be performed by a woman or a
male countertenor.
Queste non son più lagrime, from Il quinto libro de madrigali (1571)
GIACHES DE WERT
Born in 1535 in Flanders
Died May 6, 1596, in Mantua, Italy
Handel was by no means the first composer to set verses from Orlando
furioso to music. More than a century before his operatic treatment of the
story, Giaches de Wert, a Flemish musician active in Italy, used portions of
Ariosto’s poem as texts for some of his many madrigals. Perhaps the most
beautiful of these is “Queste non son più lagrime,” part of a book of madrigals
Wert published in 1571. The verses speak of a sorrow that has exhausted
Orlando’s supply of tears, and Wert’s harmonies capture the deep poignancy
of the hero’s lament.
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Great Performers I Notes on the Program
Ah sleale, ah spergiura, from Orlando furioso, RV Anh.84 (c. 1713)
ANTONIO VIVALDI
Born March 4, 1678, in Venice
Died July 27/28, 1741, in Vienna
Handel’s slightly older contemporary Antonio Vivaldi wrote not one but two
operatic versions of Orlando furioso, one in 1727, the other in 1713 or 1714.
From the earlier work we hear the opera’s mad scene “Ah sleale, ah
spergiura,” which takes the familiar form of recitative and ensuing aria.
Lascia la spina, cogli la rosa, from Il trionfo del Tempo e del Disinganno,
HWV 46a (1707)
GEORGE FRIDERIC HANDEL
The first half of this evening’s concert concludes with three other arias by
Handel and Vivaldi. The first is from an oratorio Handel composed in 1707, during the four-year sojourn to Italy he undertook early in his career. Il trionfo del
Tempo e del Disinganno (The Triumph of Time and Wisdom) presents an allegorical story in which embodiments of Pleasure and the virtues named in the
title compete for the soul of Beauty. (The Italian word disinganno usually means
disenchantment or disillusion, though its use here indicates a desirable freedom from error or falsehood.) Although the allies Time and Wisdom eventually
persuade Beauty to accept the transitory nature of her charms and embrace
righteousness, Pleasure tries to persuade her to ignore their calls to virtue and
instead use her attributes to obtain love and sensual gratification. In the aria
“Lascia la spina, cogli la rosa,” Pleasure pleads with Beauty to “leave the thorn”
of self-denial and instead “pluck the rose” of worldly enjoyment, lest she find
only sorrow. The music to which Handel sets these words is simple and exquisite—so much so that he reused it 25 years later in Orlando to verses that begin
“Lascia ch’io pianga.” In that form the aria has found deserved fame.
Gelosia, tu già rendi l’alma mia, from Ottone in villa, RV 729 (1713)
Care pupille, from La virtù trionfante dell’amore, e dell’odio, overo Il
Tigrane, RV 740 (1724)
ANTONIO VIVALDI
Shortly before composing Orlando furioso, Vivaldi wrote a very different
opera. Ottone in villa is a comedy of romantic infatuations, disguises and mistaken identities, jealousies, and other complications that eventually sort themselves out. The aria “Gelosia, tu già rendi l’alma mia” (Jealousy, you already
tear my soul) features the kind of vigorous figuration familiar from Vivaldi’s
concertos and, in its central episode, highly expressive harmonies.
In 1724 Vivaldi collaborated with two other composers in creating La virtù trionfante dell’amore, e dell’odio, or Il Tigrane. Each musician composed one of
this opera’s three acts. Vivaldi’s contribution includes the aria “Care pupille”
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Great Performers I Notes on the Program
(Dear Pupils) for the character of Mitridate, ruler of the ancient kingdom of
Pontus. Having agreed to pardon a prisoner who is, unbeknownst to him, in
love with his daughter, Mitridate sings of the wisdom of his decision.
Intermission
Approximate length of second half: 40 minutes
Vé che matta maledetta, from L’impresario in angustie (1786)
DOMENICO CIMAROSA
Born December 17, 1749, in Aversa, Italy
Died January 11, 1801, in Venice
The second half of this evening’s concert takes us from the Renaissance
and Baroque eras to music’s Classical period. The pre-eminent composers
of the time were Haydn and Mozart, and we shall hear from both of them.
But the little comedy presented in this portion of the program begins with
music by their Italian contemporary Domenico Cimarosa. First performed in
1786, his one-act opera L’impresario in angustie (The Beleaguered
Impresario) is a comic opera about opera. In it, an impresario oversees a
composer, a librettist, and three sopranos as they attempt to create a new
work for his theater. Professional rivalries and amorous intrigues complicate
the already difficult situation. In the opening scene, two of the sopranos
pepper the impresario with demands, while the composer desperately tries
to finish writing the overture.
Excerpts from La canterina, Hob. XXVIII:2 (1766)
JOSEPH HAYDN
Born March 31, 1732, in Rohrau, Austria
Died May 31, 1809, in Vienna
Excerpts from L’impresario delle Canarie
DOMENICO NATALE SARRO
Born December 24, 1679, in Trani, Apulia, Italy
Died January 25, 1744, in Naples
The foibles of sopranos also provide comic fodder for operas by Joseph
Haydn and Domenico Sarro. Composed in 1766, Haydn’s La canterina (The
Little Singer) tells of the wily Gasparina, an aspiring opera star. She plays her
wealthy young suitor off against her elderly singing teacher, who showers
her with gifts. In the end, both men realize how Gasparina manipulates them
to her own advantage, but they can’t stop gratifying her desires. In Sarro’s
L’impresario delle Canarie (The Impresario from the Canary Islands), the
soprano Dorina plays the temperamental diva to Nibbio, an opera producer
and lamentably inept composer from the tropical islands of the opera’s title.
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Great Performers I Notes on the Program
Un bacio di mano, K.541 (1788)
WOLFGANG AMADEUS MOZART
Born January 27, 1756, in Salzburg
Died December 5, 1791, in Vienna
The mature operas of Wolfgang Amadeus Mozart remain staples of the operatic repertory. In addition to those works, Mozart often wrote arias for insertion into the operas of other composers, usually to satisfy the demand of a
singer for more gratifying music, or simply more stage time. Mozart composed the aria “Un bacio di mano” (A Kiss on the Hand) in 1788 as an addition
to an opera by Pasquale Anfossi. In it Girò, a man of the world, advises a friend
on the fine art of wooing a lady.
Excerpts from Oh se fosse il mio core
NICOLA PORPORA
Born August 17, 1686, in Naples, Italy
Died March 3, 1768, in Naples
Nicola Porpora was active in Italy but came to Vienna in the early 1750s. There
he composed and taught, one of his students being the young Haydn, who
credited Porpora with imparting to him “the true foundations of composition.”
Among Porpora’s compositions are over 100 chamber cantatas, mostly for a
single voice and small instrumental ensemble. Oh se fosse il mio core (Ah, if
only my heart) was published in 1735 but probably was written years earlier.
Scored for solo alto with cello and harpsichord, and consisting of three arias
and a recitative, the work documents the trials of love betrayed, the singer’s
emotions moving through sorrow, scorn, rage, and pity.
Son confuso e stupefatto, from Orlando paladino, Hob. XXVIII:11 (1782)
JOSEPH HAYDN
The concert concludes by returning to the story of the distraught Orlando.
Haydn addressed this theme is his opera Orlando paladino (Orlando, the KnightErrant). Composed in 1782, this was one of the last major works based on
Ariosto’s tale. Haydn called this very loose adaptation of Orlando furioso a
dramma eroicomico, a heroic-comic drama, in acknowledgment of its unusual
fusion of serious and humorous elements. At its conclusion, Orlando is magically cured of his madness, various lovers are properly united, and all ends well.
The title character is perplexed by what has happened, but he joins the other
principals in singing a joyful chorus. As it happens, this also provides a suitable
conclusion to the little comedy that shapes the second half of our program.
Paul Schiavo serves as program annotator for the St. Louis and Seattle
Symphonies, and writes frequently for concerts at Lincoln Center.
—Copyright © 2015 by Paul Schiavo
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William Christie
JEAN-BAPTISTE MILLOT
Meet the Artists
Great Performers I Meet the Artists
William Christie is the musical director and founder of Les Arts
Florissants. A harpsichordist, conductor, musicologist, and teacher,
Mr. Christie is the inspiration behind
one of the most exciting musical
adventures of the last 30 years. His
pioneering work has led to a
renewed appreciation of Baroque
music in France, notably of 17thand 18th-century French repertoire,
which he has introduced to a wide
audience. Mr. Christie studied at
Harvard and Yale Universities and has lived in France since 1971. The turning
point in his career came in 1979, when he founded Les Arts Florissants. As
director of this ensemble, he brings new interpretations of largely neglected
or forgotten repertoire to fruition. He is greatly in demand as a guest conductor at festivals including Glyndebourne and opera houses such as the
Metropolitan Opera.
Mr. Christie is equally committed to the training and professional integration
of young artists, and he has brought to the limelight several generations of
singers and instrumentalists over the last 25 years. Wishing to further
develop his work as a teacher, in 2002 he created an academy for young
singers in Caen called Le Jardin des Voix. Each session generates a huge
amount of interest in France, Europe, and the U.S., and the laureates rapidly
embark on brilliant international careers. Since 2007 Mr. Christie has been
artist-in-residence at The Juilliard School, where he gives master classes
twice a year along with the musicians of Les Arts Florissants. A true garden
enthusiast, in August 2012 Mr. Christie launched the first edition of the festival Dans les Jardins de William Christie. These “musical encounters in the
Vendée” bring together Les Arts Florissants, his pupils from Juilliard, and the
alumni of Le Jardin des Voix for concerts and promenades in the gardens he
has created at Thiré. In 2008 Mr. Christie was elected to the Academie des
Beaux-Arts.
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Great Performers I Meet the Artists
PHILIPPE DELVAL
Paul Agnew
Born in Glasgow, Paul Agnew is an
artist of international renown and an
accomplished teacher. He was auditioned by William Christie in 1992, and
with Les Arts Florissants Mr. Agnew
became the performer of choice for
high-tenor roles in the French Baroque
repertoire. His career took a new turn
in 2007, when he began conducting
projects for Les Arts Florissants. In
2010 he was appointed the ensemble’s associate conductor and during
the 2013–14 season, associate musical director. In 2011 he undertook the complete cycle of Monterverdi’s madrigals, a project for which he will have conducted over 100 concerts by the end
of this year. The 2014–15 season also includes the release of two of the three
volumes of the complete madrigal cycle: Cremona (volume 1) and Mantova
(volume 2). Mr. Agnew is also co-director of the Jardin des Voix, Les Arts
Florissants’ academy for young singers.
PHILIPPE DELVAL
Lucía Martín-Cartón
Born in Valladolid, Spain, Lucía MartínCartón studied at the Conservatory of
Valencia with Patricia Llorens, Ana
Luisa Chova, Carles Budó, and Husan
Park. She also received vocal lessons
from Pilar Moral. Ms. Martín-Cartón
has performed in such European
venues as the Palau de la Música in
Valencia, Teatro Calderón in Valladolid,
Museu de la Música in Barcelona, and
Kulturkirche St. Stephani in Bremen,
Germany. She has participated in the
Academia de Formación Profesional
conducted by Jordi Savall, performing in Barcelona and at the Château de
Versailles. Ms. Martín-Cartón has recorded several CDs, highlighting the vocal
works of Cabanilles on the Brilliant label. Her performances include Orfeo ed
Euridice (Amore), Die Zauberflöte (Pamina), and Venus and Adonis (Venus).
Earlier this year she appeared in Falvetti’s Nabucco (Misaele) with Capella
Mediterranea, conducted by Leonardo García Alarcón.
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Great Performers I Meet the Artists
PHILIPPE DELVAL
Lea Desandre
Mezzo-soprano Lea Desandre began
singing in the children’s choir of the
National Opera of Paris, continuing her
studies at the Conservatoire à
Rayonnement Regional in BoulogneBillancourt, the Ecole Normale de
Musique in Paris, and the Conservatorio di Musica Benedetto Marcello in
Venice. She has studied with Sara
Mingardo since 2013. That year Ms.
Desandre won the Young Hope award
of the Opéra National de Bordeaux.
She has performed the roles of Abra
(Juditha triumphans), Second Lady (Dido and Aeneas) at the Invalides in Paris,
Cleofe (La resurrezione), the Squirrel (L’enfant et les sortilèges) at the
Edinburgh Festival, and Dorabella (Cosi fanciulli) at the Théâtre des ChampsÉlysées conducted by David Stern. Future projects include Idomeneo at the
Opéra de Lille with Emmanuelle Haïm and her Concert d’Astrée ensemble,
recitals at the Opéra National de Bordeaux and the Théâtre de St-Quentin-enYvelines (France), and a concert at the Palazzo Pisani (Venice). Last December,
she made her Chinese debut in Shanghai in the role of Sesto in Giulio Cesare
in Egitto and as the Second Witch in Dido and Aeneas with Stern and his Opera
Fuoco ensemble.
PHILIPPE DELVAL
Carlo Vistoli
Born in Lugo, Italy, countertenor Carlo
Vistoli began studying piano and classical guitar before he started singing.
He has taken private lessons with
tenor William Matteuzzi since 2007,
while also studying musicology at the
University of Bologna. A finalist of
the 2012 International Singing Competition for Baroque Opera Pietro
Antonio Cesti in Innsbruck and the
2013 “Sacred Music” International
Competition in Rome, he has won first
prize at the 2012 Cleto Tomba competition in Castel San Pietro Terme (Bologna) and the 2013 Renata Tebaldi
International Voice Competition (Baroque section) in San Marino, among other
awards. Mr. Vistoli has sung with Baroque ensembles such as Cappella
Musicale di San Giacomo Maggiore di Bologna (Roberto Cascio), Ensemble Les
Nations (Maria Luisa Baldassari), and Ensemble Sans Souci (Giuseppe Nalin).
His operatic performances include the Sorceress in Dido and Aeneas and
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Great Performers I Meet the Artists
Ottone in L’incoronazione di Poppea at the New Belgrade Opera, the title role
in a concert version of Tamerlano in Pozna (Poland), conducted by Alexis
Kossenko, and Tolomeo in a concert version of Giulio Cesare in Egitto in
Shanghai, conducted by David Stern.
Nicholas Scott
PHILIPPE DELVAL
Tenor Nicholas Scott studied at the
Royal Academy of Music under Mark
Wildman and Iain Ledingham. Performance credits include the leading
role in the New Chamber Opera’s production of The Judgment of Paris,
Britten’s Serenade with the St. Cecilia
Orchestra in Ripon, England, Bach’s
Cantata BWV 61 in Canterbury
Cathedral, Haydn’s Creation in
Guildford Cathedral, and Mozart’s
Requiem in St. Martin in the Fields
with the Brandenburg Sinfonia.
Mr. Scott’s operatic roles include Castor in Castor et Pollux with the Yorke Trust,
the eponymous The Wandering Scholar, and Don Basilio in Le nozze
di Figaro under the musical direction of Ledingham. He was also recently given
the cover roles of Un suivant de I’ Amour and Première Parque in Glyndebourne
Festival Opera’s production of Hippolyte et Aricie under William Christie. Mr.
Scott is generously supported by the Josephine Baker Trust and is the recipient
of an ABRSM Scholarship at the Royal Academy of Music.
PHILIPPE DELVAL
Renato Dolcini
Baritone Renato Dolcini graduated
magna cum laude with a degree in
musicology from the University of
Pavia in Cremona, Italy, and studies
with Vincenzo Manno. He has been
admitted twice at Gstaad Vocal
Academy (2009 and 2010), where he
specialized with Cecilia Bartoli. He
has also collaborated with soprano
Roberta lnvernizzi. He has sung in
such choral ensembles as II canto di
Orfeo under the direction of Gianluca
Capuano and the choir of the
Accademia del Teatro alla Scala. As a soloist he has sung the roles of Death in
Holst’s Savitri, Conte Robinson in Cimarosa’s Il matrimonio segreto, and Don
Alfonso in Così fan tutte. Concert performances include cantatas by Handel and
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Great Performers I Meet the Artists
Vivaldi in Italy (Cremona, Trento, and Lodi) and at the BaRoMus Festival in Rovinj,
Croatia, as well as a concert program of 17th-century Italian music for lute and
voice. Recordings include some of Steffani’s chamber duets with Roberto
Balconi and the ensemble Fantazyas.
PHILIPPE DELVAL
John Taylor Ward
Bass John Taylor Ward’s musical life
fuses performance, scholarship, and
entrepreneurship. In addition to his
appearance in Le Jardin des Voix, this
season includes Mr. Ward’s debuts at
Avery Fisher Hall, Carnegie Hall, and
the Ravinia and Boston Early Music
Festivals, and with L’Arpeggiata, Bach
Collegium Japan, and Collegium Vocale
Gent. A noted interpreter of music
from the 17th and 18th centuries, he
also collaborates frequently with contemporary composers and artists such
as Merrill Garbus of tUnE-yArDs, Pulitzer Prize winner Caroline Shaw, and the
Grammy Award–winning Roomful of Teeth. Mr. Ward is a graduate of the
Eastman School of Music and the Yale School of Music, where his doctoral
research focused on the performance practice of shape-note music.
Sophie Daneman
Sophie Daneman (semi-staging) studied at the Guildhall School of Music and
Drama and has established an international reputation in a wide range of music.
Best known for her work in the Baroque repertoire, she has been highly
acclaimed for performances and recordings with many of the leading conductors
in this field, and in particular William Christie and Les Arts Florissants. In recent
years Ms. Daneman has also been engaged as a stage director. Following her
stagings of the 2011 and 2013 Jardin des Voix programs, Ms. Daneman directed
a double bill of Rameau’s La naissance d’Osiris and Daphnis et Églé with Les
Arts Florissants and Christie. Other engagements include staging the 2015 tour
for Le Jardin des Voix, a Schumann recital at the Holywell Music Room at Oxford
University, and a recording project of 17th-century music. In addition to her
singing engagements, Ms. Daneman will assist Stephen Langridge next season
on his production of Theodora.
Les Arts Florissants
The vocal and instrumental ensemble Les Arts Florissants is one of the most
renowned and respected early-music groups in the world. Dedicated to the per-
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Great Performers I Meet the Artists
formance of Baroque music on original instruments, the ensemble was
founded in 1979 by harpsichordist and conductor William Christie, who directs
it to this day, and takes its name from a short opera by Marc-Antoine
Charpentier. Les Arts Florissants played a pioneering role in the resurgence of
interest in the French musical world for a repertoire that had up until then been
neglected (in particular unearthing many treasures from the collections of the
Bibliothèque nationale de France) but is now widely performed and admired—
not only 17th-century French repertoire but also European music of the 17th
and 18th centuries more generally.
Each year Les Arts Florissants presents a season of concerts and opera performances in France at the Théâtre de Caen, where they are artists in residence, the Salle Pleyel, the Cité de la Musique, the Opéra Comique, the
Théâtre des Champs-Élysées, and the Château de Versailles, as well as at festivals including Septembre Musical de l’Orne, Beaune, Ambronay, and Aix-enProvence. The ensemble is an active ambassador for French culture abroad,
being regularly invited to New York, London, Edinburgh, Brussels, Vienna,
Salzburg, Madrid, Barcelona, Moscow, and elsewhere.
Lincoln Center’s Great Performers
Initiated in 1965, Lincoln Center’s Great Performers series offers classical and
contemporary music performances from the world’s outstanding symphony
orchestras, vocalists, chamber ensembles, and recitalists. One of the most significant music presentation series in the world, Great Performers runs from
October through June with offerings in Lincoln Center’s Avery Fisher Hall, Alice
Tully Hall, Walter Reade Theater, and other performance spaces around New
York City. From symphonic masterworks, lieder recitals, and Sunday morning
coffee concerts to films and groundbreaking productions specially commissioned by Lincoln Center, Great Performers offers a rich spectrum of programming throughout the season.
Lincoln Center for the Performing Arts, Inc.
Lincoln Center for the Performing Arts (LCPA) serves three primary roles: presenter of artistic programming, national leader in arts and education and community relations, and manager of the Lincoln Center campus. A presenter of
more than 3,000 free and ticketed events, performances, tours, and educational
activities annually, LCPA offers 15 programs, series, and festivals including
American Songbook, Great Performers, Lincoln Center Festival, Lincoln Center
Out of Doors, Midsummer Night Swing, the Mostly Mozart Festival, and the
White Light Festival, as well as the Emmy Award–winning Live From Lincoln
Center, which airs nationally on PBS. As manager of the Lincoln Center campus,
LCPA provides support and services for the Lincoln Center complex and the 11
resident organizations. In addition, LCPA led a $1.2 billion campus renovation,
completed in October 2012.
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PHILIPPE DELVAL
Great Performers I Meet the Artists
Les Arts Florissants
William Christie, Musical Director and Founder
Paul Agnew, Associate Musical Director and Associate Conductor
William Christie and Paul Agnew, Co-directors of the Jardin des Voix Academy
Jacqui Howard, Artistic Director
Violin I
Florence Malgoire,
Solo Violin
Myriam Gevers
Christophe Robert
Isabel Serrano
Tami Troman
Violin II
Catherine Girard,
Section Leader
Paul-Marie Beauny
Sophie GeversDemoures
Emmanuel Resche
Viola
Galina Zinchenko,
Section Leader
Deirdre Dowling
Simon Heyerick
Cello
Alix Verzier, Section
Leader and Basso
Continuo
David Simpson
Damien Launay
For Le Jardin des Voix
Richard Neel, Supertitle Creator
Megan Young, Supertitle Operator
Rita De Letteriis, Language Coach
Benoît Hartoin, Chef de chant/Répétiteur
Paolo Zanzu, Chef de chant/Répétiteur
Bass
Jonathan Cable,
Basso Continuo
Joseph Carver
Oboe
Pier Luigi Fabretti,
Section Leader
Michel Henry
Flute
Serge Saitta
Charles Zebley
Bassoon
Claude Wassmer
Harpsichord
Benoît Hartoin,
Basso Continuo
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Great Performers
Lincoln Center Programming Department
Jane Moss, Ehrenkranz Artistic Director
Hanako Yamaguchi, Director, Music Programming
Jon Nakagawa, Director, Contemporary Programming
Jill Sternheimer, Acting Director, Public Programming
Lisa Takemoto, Production Manager
Charles Cermele, Producer, Contemporary Programming
Kate Monaghan, Associate Director, Programming
Claudia Norman, Producer, Public Programming
Mauricio Lomelin, Associate Producer, Contemporary Programming
Julia Lin, Associate Producer
Nicole Cotton, Production Coordinator
Regina Grande, Assistant to the Artistic Director
Luna Shyr, Programming Publications Editor
Olivia Fortunato, House Seat Coordinator
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Spring Fling
A free fun-filled day of performances,
crafts, and activities for kids
oin Lincoln Center on May 9 for
also relax on the Laurie M. Tisch
“Spring Fling,” a free fun-filled day
Illumination Lawn.
designed for families. From 11:00–2:00, “Spring Fling” will launch the new
on Josie Robertson Plaza, at Damrosch Lincoln Center Kids (LC Kids), an
Park, and in the David Rubenstein
exciting program that invites families
Atrium, enjoy free performances, a
to make Lincoln Center their own by
dance lesson for kids, a scavenger
offering access to a wide range of
hunt, an interactive Dance-Along Story
events and enhancing the experience
Time event with Angelina Ballerina™
of a visit. LC Kids will offer new
and author Katharine Holabird from
memberships (including a free level),
WNET, craft activities, a sing-along at
additional events and performances
the Revson Fountain featuring singer/
year round for children of all ages,
songwriter Dan Zanes, and more
and a new and improved website
with the New York Philharmonic,
(Kids.LincolnCenter.org) with features
the Film Society of Lincoln Center,
such as, tips for parents, detailed
Children’s Museum of Manhattan,
show descriptions, and more to make
The Little Orchestra Society, and
a visit to Lincoln Center an enjoyable,
Big Apple Circus. Families can
unforgettable experience.
J
Learn more about LC Kids and enjoy “Spring Fling,” on Saturday, May 9. Visit Kids.LincolnCenter.org