Program Book — CAMA Presents Les Violons du Roy with Avi Avital — Tuesday, October 19, 2021 — Lobero Theatre, Santa Barbara, 7:30PM

Presenting the world’s finest classical artists since 1919 

CAMA'S 2021/2022 SEASON 

103 rd CONCERT SEASON 

JONATHAN 

COHEN 

Music Director and conductor 

AVI 

AVITAL 

mandolin 

Tuesday, October 19, 2021, 7:30PM 

Lobero Theatre, Santa Barbara 

Photo by Zohar Ron 

Exclusive Concert Sponsor: 

MARTA BABSON 

COMMUNITY ARTS MUSIC ASSOCIATION OF SANTA BARBARA, INC.


2022 SEASON 103 rd CONCERT SEASON 

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WED, 7:30PM 

2022 

JORDI SAVALL 

AND LE CONCERT 

DES NATIONS 

Jordi Savall, Director & bass viol 

MAY 

24 


2022 

JAMES 

EHNES, violin 

ORION 

WEISS, piano 

MARCH 

18 

FRI, 7:30PM 

2022 

APRIL 

23 

SAT, 7:30PM 

2022 

BENJAMIN 

GROSVENOR, piano 

ISABEL 

BAYRAKDARIAN, soprano 

MARK FEWER, violin 

JAMIE PARKER, piano 

Santa Barbara COVID-19 

Live Event Requirement 

Lobero Theatre and Granada Theatre 

For all concerts in our 103rd Season, CAMA will be 

following the Granada Theatre and Lobero Theatre’s 

COVID‐19 Live Event Requirement. All events are 

subject to State, County, and other governmental 

agency COVID‐19 pandemic mandates and regulations 

covering indoor live events. In an effort to create the 

safest possible environment for guests, patrons of all 

ages must show proof of being fully vaccinated or 

supply a negative COVID‐19 medical test result (taken 

within 72 hours prior to the concert), along with an 

official photo identification, before entering the Lobero 

Theatre. Over‐the‐counter COVID‐19 tests will not 

be accepted. Masks are currently required indoors, 

regardless of vaccination status. Protocols are subject 

to change with local, State and national guidelines; 

please check venue websites for up‐to‐date 

information. This policy applies to venue and presenter 

staff, audience members and performers. 

COMMUNITY ARTS MUSIC ASSOCIATION OF SANTA BARBARA


BOARD OF DIRECTORS 

(As of October 1, 2021) 

ROBERT K. MONTGOMERY 

Chairman 

DEBORAH BERTLING 

Vice Chair and President, Women's Board 

Rosalind Amorteguy-Fendon 

Marta Babson 

Bitsy Becton Bacon 

Isabel Bayrakdarian 

Edward E. Birch 

Andy Chou 

Stephen Cloud 

NancyBell Coe 

Bridget Colleary 

Joan Crossland 

Jill Felber 

JAN BOWLUS 

Vice Chair 

WILLIAM MEEKER 

Treasurer 

CHRISTINE EMMONS 

Secretary 

Raye Haskell Melville 

Judith L. Hopkinson 

Elizabeth Karlsberg 

Frank E. McGinity 

George Messerlian 

Patti Ottoboni 

Craig A. Parton 

Carl Perry 

Michele Saltoun 

Judith F. Smith 

Emeritus Directors 


Robert J. Emmons 

Arthur R. Gaudi 

James H. Hurley, Jr. 

Herbert J. Kendall 

Sara Miller McCune 

Nancy Wood 

Russell S. Bock* 

Dr. Robert M. Failing* 

Mrs. Maurice E. Faulkner* 

Léni Fé Bland* 

Stephen Hahn* 

Dr. Melville H. Haskell, Jr.* 

Mrs. Richard Hellmann* 

Dr. Dolores M. Hsu* 

Robert Light* 

Mrs. Frank R. Miller, Jr.* 

Mary Lloyd Mills* 

Mrs. Ernest J. Panosian* 

Kenneth W. Riley* 

Andre Saltoun* 

Jan Severson* 

* Deceased 

Administration 


Mark E. Trueblood 

President 

Elizabeth Alvarez 

Director of Development 

Michael Below 

Office Manager/ 

Subscriber Services 

Justin Rizzo-Weaver 

Director of Operations 

2060 Alameda Padre Serra, Suite 201 Santa Barbara, CA 93103 Tel (805) 966-4324 Fax (805) 962-2014 info@camasb.org

Photo by Nell Campbell 

On behalf of the CAMA Board of Directors, we 

send our deep appreciation to the many steadfast 

subscribers whose ticket donations and financial 

contributions to CAMA have sustained our mission 

through these challenging times. 

Thank you for your support of CAMA!


CAMA Presents 

JONATHAN 

COHEN 

Music Director and conductor 

AVI 

AVITAL 

mandolin 

Tuesday, October 19, 2021, 7:30PM 

Lobero Theatre, Santa Barbara 

ANTONIO VIVALDI (1678–1741) 

Mandolin Concerto in C Major, RV 425 

Allegro 

Largo 

Allegro 

Avi Avital, mandolin 

JOHANN SEBASTIAN BACH (1685–1750) 

(COMPLETED BY BERNARD LABADIE AFTER DAVITT MORONEY) 

The Art of the Fugue, BWV 1080 (excerpts) 

Contrapunctus I 

Contrapunctus IV 

Contrapunctus VII 

Contrapunctus IX 

Contrapunctus XIV 

BACH (ARR. FOR SOLO MANDOLIN BY AVI AVITAL) 

Violin Concerto No.1 in A Minor, BWV 1041 

[Allegro] 

Andante 

Allegro assai 


INTERMISSION 

VIVALDI (ARR. FOR SOLO MANDOLIN BY AVI AVITAL) 

Concerto for Lute and Two Violins in 

D Major, RV 93 

Allegro 

Largo 

Allegro 


VIVALDI 

Concerto Grosso in G minor, Op.3, No. 2, 

RV 578 

Adagio e spiccato 

Allegro 

Larghetto 

Allegro 

BACH (ARR. FOR SOLO MANDOLIN BY AVI AVITAL) 

Harpsichord Concerto No.1 in D Minor, 

BWV 1052 

Allegro 

Adagio 

Allegro 


CAMA’s Exclusive Concert Sponsor: MARTA BABSON 

Les Violons du Roy would like to thank the Conseil des arts et des lettres du Québec, Canada Council 

for the Arts and the Government of Canada for their support. 

North American Management for Mr. Avital and Exclusive Tour Management for Les Violons du Roy: 

Opus 3 Artists, 470 Park Avenue South, 9th Floor North, New York, NY 10019 

www.opus3artists.com 

Harpsichord provided by Curtis Berak 

Program subject to change. 

Please switch off all cellular phones, watch alarms and other signals during the performance. The photographing or 

sound recording of this concert or possession of any device for such photographing or sound recording is prohibited. 

5 CAMA'S 103 RD CONCERT SEASON

Photo by Christoph Kîstlin For DG

“Much as Andrés Segovia 

brought the classical guitar 

into the concert hall, the 

Israeli virtuoso Avi Avital 

is doing the same with 

the mandolin.” 

—Los Angeles Times 

Photo by Christoph Kîstlin For DG 

AVI AVITAL 

mandolin 

The first mandolin soloist to be nominated 

for a classical Grammy ® , Avi Avital has 

been compared to Andres Segovia for his 

championship of his instrument and to 

Jascha Heifitz for his incredible virtuosity. 

Passionate and “explosively charismatic” 

(New York Times) in live performance, he is 

a driving force behind the reinvigoration of 

the mandolin repertory. 

Avital’s wide-ranging repertoire and 

inventiveness have led to collaborations 

with musicians including Ksenija Sidorova, 

Giovanni Sollima, Mahan Esfahani, Kristian 

Bezuidenhout, Alice Sara Ott, Andreas 

Scholl, Dover Quartet, New Danish Quartet, 

Brooklyn Rider, Omer Klein (jazz piano), 

Omer Avital (oud/bassist), actress Martina 

Gedeck and Georgian puppet theatre, Budrugana 

Gagra. He has been showcased 

as a “Portrait Artist” with residencies at the 

Schleswig-Holstein Music Festival, BOZAR 

in Brussels and the Dortmund Konzerthaus 

(Zeitinsel) and is a regular presence at major 

festivals such as Aspen, Salzburg, Tanglewood, 

Spoleto, Ravenna, MISA Shanghai, 

Cheltenham, Verbier and Tsinandali. 

Avital has commissioned over 100 

new works for the mandolin adding new 

concertos to the repertoire by Anna Clyne, 

Avner Dorman and Giovanni Sollima and 

chamber pieces by David Bruce and Elena 

Kats-Chernin amongst others. Last season 


he gave the world premiere of Jennifer Higdon’s 

Mandolin Concerto with the Munich 

Philharmonic Orchestra under the baton of 

Krzysztof Urbanski. 

An exclusive Deutsche Grammophon 

artist, his sixth album for the label The Art 

of the Mandolin was released this season 

and follows recordings of solo Bach (2019), 

Avital meets Avital (2017) with oud/bassist 

Omer Avital, Vivaldi (2015), an album of 

Avital’s own transcriptions of Bach concertos 

and Between Worlds (2014), a crossgeneric 

chamber collection exploring the 

nexus between classical and traditional 

music. He has also recorded for Naxos and 

SONY Classical. 

Avital is highly in demand also as a 

concerto soloist and has performed with 

orchestras all over the world working with 

conductors such as Zubin Mehta, Kent Nagano, 

Osmo Vänskä, Yutaka Sado, Jonathan 

Cohen, Nicholas McGegan, Omer Meir 

Wellber, Ton Koopman and Giovanni Antonini. 

Engagements include the Zurich Tonhalle 

Orchestra, BBC Symphony Orchestra, 

Orchestra dell’Accademia Nazionale di Santa 

Cecilia, Deutsche Symphonie Orchester 

Berlin, Orchestre National de Lyon, Maggio 

Musicale Fiorentino, Israel Philharmonic, 

Yomiuri Nippon Symphony, Residentie Orkest 

and the Norwegian Radio Orchestra. 

He tours 2-3 times each season in the USA 

working with orchestras including the Chicago 

Symphony Orchestra, Los Angeles 

Chamber Orchestra, Seattle Symphony, Baltimore 

Symphony, Les Violons du Roy, Orpheus 

Chamber Orchestra and The Knights. 

“The words 'superstar' 

and 'mandolinist' still 

look odd next to each 

other. Yet in the classical 

world they are starting 

to be joined with some 

frequency…. Avi Avital 

was nothing short 

of electric.” 

—The New York Times 

Born in Be’er Sheva in southern Israel, 

Avital began learning the mandolin at the 

age of eight and soon joined the flourishing 

mandolin youth orchestra founded and 

directed by his charismatic teacher, Russian-born 

violinist Simcha Nathanson. He 

studied at the Jerusalem Music Academy 

and the Conservatorio Cesare Pollini in 

Padua with Ugo Orlandi. Winner of Israel’s 

prestigious Aviv Competition in 2007, 

Avital is the first mandolinist in the history 

of the competition to be so honored. He 

plays on a mandolin made by Israeli luthier 

Arik Kerman. 

Instrument: Arik Kerman (1998) 

Strings: Thomastik-Infeld (154, Medium) 


Photo by Atwood Photographie 

LES VIOLONS DU ROY 

Les Violons du Roy takes its name from the 

celebrated court orchestra of the French 

kings. It was founded in 1984 by Bernard 

Labadie, now styled founding conductor, 

and continues under music director Jonathan 

Cohen to explore the nearly boundless 

repertoire of music for chamber orchestra 

in performances matched as closely 

as possible to the period of each work’s 

composition. Its minimum fifteen-member 

complement plays modern instruments, 

albeit with period bows for Baroque and 

Classical music, and its interpretations are 

deeply informed by the latest research on 

seventeenth- and eighteenth-century performance 

practice. The repertoire of the 

nineteenth and twentieth centuries receives 

similar attention and figures regularly on 

the orchestra’s programs. 

Les Violons du Roy has been a focal 

point of Québec City’s musical life since it 

was founded in 1984, and in 1997 it reached 

out to enrich the cultural landscape of Montréal 

as well. In 2007, the orchestra moved 

into its permanent home base in Québec 

City’s Palais Montcalm while continuing 

to build on the worldwide reputation it has 

acquired in countless concerts and recordings 

carried by medici.tv, Radio-Canada, 

CBC, and NPR along with regular appearances 

on the festival circuit. Les Violons 

du Roy has performed dozens of times 


throughout Canada as well as in Germany, 

the U.K., Austria, Belgium, Brazil, China, 

Colombia, Ecuador, South Korea, Spain, 

the United States, France, Israel, Morocco, 

Mexico, Norway, the Netherlands, Slovenia, 

and Switzerland, in collaboration with 

such world-renowned soloists as Magdalena 

Kožená, David Daniels, Vivica Genaux, 

Alexandre Tharaud, Ian Bostridge, Emmanuel 

Pahud, Stephanie Blythe, Marc-André 

Hamelin, Philippe Jaroussky, Anthony Marwood, 

Isabelle Faust, Julia Lezhneva and 

Anthony Roth Costanzo. The orchestra has 

performed at the Berlin Philharmonie and 

iconic venues in London, Paris, and Brussels, 

with two performances on invitation 

at the Concertgebouw in Amsterdam. 

Since Les Violons du Roy’s first trip to 

Washington, D.C., in 1995, its U.S. travels 

have been enriched with numerous and 

regular stops in New York, Chicago, and 

Los Angeles. Its ten appearances at Carnegie 

Hall include five with La Chapelle de 

Québec featuring the Messiah, the Christmas 

Oratorio, and the St. John Passion under 

Bernard Labadie, founder and music 

director of the choir, and another featuring 

Dido and Aeneas under Richard Egarr. 

Walt Disney Concert Hall in Los Angeles 

has hosted the orchestra three times, once 

with La Chapelle de Québec in the Messiah, 

again under Bernard Labadie. Les Violons 

du Roy is represented by Opus 3 Artists and 

Askonas Holt. 

The thirty-six recordings released 

thus far by Les Violons du Roy have been 

met with widespread critical acclaim. The 

twelve released on the Dorian label include 

Mozart’s Requiem with La Chapelle de Québec 

(Juno Award 2002) and of Handel’s 

Apollo e Dafne with soprano Karina Gauvin 

(Juno Award 2000). Since 2004, a dozen 

more have appeared through a partnership 

between Les Violons du Roy and Quebec’s 

ATMA label, including Water Music (Félix 

Award 2008), and Piazzolla (Juno Award 

2006). Further recordings on Erato, Naïve, 

Hyperion, Analekta, and Decca Gold 

include Vivica Genaux, Truls Mørk, Marie- 

Nicole Lemieux, Alexandre Tharaud, Marc- 

André Hamelin, Valérie Milot, Anthony Roth 

Costanzo (Grammy Award 2019 nomination) 

and Charles Richard-Hamelin (Juno 

Award 2020 nomination). 

Photo by Atwood Photographie 


Photo by Marco Borggreve 

JONATHAN COHEN 

Music Director, Les Violons du Roy 

Jonathan Cohen has forged a remarkable 

career as a conductor, cellist and keyboardist. 

Well known for his passion and 

commitment to chamber music Jonathan 

is equally at home in such diverse activities 

as baroque opera and the classical 

symphonic repertoire. He is Artistic Director 

of Arcangelo, Music Director of Les 

Violons du Roy, Artistic Director of Tetbury 

Festival and Artistic Partner of Saint Paul 

Chamber Orchestra. 

During the 20-21 season he returned 

to Orchestra of the Age of Enlightenment 

(BBC Proms) and Handel and Haydn Society. 

He makes his debut at Staatsoper 

Berlin performing Orfeo with Freiburger 

Barockorchester and Vocalconsort Berlin 

in a production by Sasha Waltz Company. 

Other debuts include Kobe City Chamber 

Orchestra and Barcelona Symphony Orchestra 

and he continues his fruitful collaboration 

in Quebec with Les Violons du Roy. 

Jonathan founded Arcangelo in 2010, 

who strive to perform high quality and specially 

created projects. He has toured with 

them to exceptional halls and festivals 

including Wigmore Hall London, Philharmonie 

Berlin, Kölner Philharmonie, Vienna 

Musikverein, Salzburg Festival and Carnegie 

Hall New York. They made their Proms 

debut at the Sam Wanamaker Playhouse in 

2016 and returned to the Proms in 2018 to 

present Theodora to a sold-out Royal Albert 

Hall. They continue with a busy recording 

schedule to continued acclaim with recent 

releases such as Arianna with Kate Lindsey 

on Alpha records and Grammy nominated 

Buxtehude trio sonatas. 


An historic treasure 

with contemporary comforts 

in the heart of Santa Barbara 

50 Guest Rooms & Suites

Photo by Vladimir Ovchinnikov 

Bach Monument, Leipzig, created by Carl Seffner in 1908 

NOTES ON THE PROGRAM 

By Howard Posner 

Antonio VIVALDI: 

Mandolin Concerto in C Major, RV 425 

In Vivaldi’s day the word mandolino referred 

to two different instruments. One was a soprano 

lute, with pairs of gut strings tuned 

more or less in fourths and played with the 

right-hand fingers, and gut frets tied onto 

the neck like a lute’s. The other was essentially 

the modern mandolin, with four 

pairs of metal strings tuned to the same 

pitches as the violin’s four strings and 

played with a plectrum, and metal frets set 

into the neck like the modern guitar’s. We 

don’t know which instrument Vivaldi meant 

when he mandolino, and these days both 

instruments are used for Vivaldi’s mandolin 

music. It’s possible that Vivaldi himself regarded 

the two instruments as interchangeable. 

It’s also possible that Vivaldi played 

the metal-strung instrument; the similarity 

in tuning makes it a natural second instrument 

for violinists, and nearly every large 

orchestra has someone in the violin section 

who can play the mandolin part in Mahler’s 

Seventh Symphony. 


Vivaldi’s concerto for solo mandolin 

and strings probably dates from the 1720’s, 

when Vivaldi was travelling constantly, performing 

concerts and producing his operas. 

He had left his position as violin teacher at 

the orphanage/convent/music school/concert 

venue Ospedale della Pietà, but was 

still under contract to send back two concertos 

a month for one gold ducat apiece. 

Beneath the title on Vivaldi’s manuscript, 

there is a note that the bowed strings 

can play pizzicato throughout (“Si può ancor 

fare con tutti gli violini pizzicati”). Playing 

without bows, which seems to be the 

most popular way to play it these days, 

gives the concerto a delicate texture that 

the mandolin can dominate. 

Johann Sebastian BACH: 

Excerpts from The Art of Fugue, BWV 1080 

The Art of Fugue was Bach’s last major 

project, and he didn’t quite finish it. The 

idea was to compose a series of fugues 

and canons all based on the same thematic 

subject, which could be varied through all 

the devices that were part of every composer’s 

education in counterpoint, such 

as turning it upside down or backward, or 

augmenting or diminishing the length of its 

notes. Bach wrote most of them in “open 

score,” with each voice given its own staff, 

making it look like music for an ensemble, 

although it was not unusual in Bach’s day 

to write keyboard or organ music in open 

score. Today the Art of Fugue is performed 

on all sorts of keyboards and by all sorts of 

instrumental combinations. 

Bach never finished the fugue called 

Contrapunctus XIV (the word “contrapunctus” 

does not appear in Bach’s manuscript, 

in which most of the fugues are untitled; 

the labels may have been added by his son 

Carl Phillipp Emanuel, or by the publisher of 

the posthumous 1751 edition). It is a Fuga 

a 3 Soggetti ("fugue in three subjects") that 

stops after 238 measures, at which point 

in the manuscript Carl Phillipp Emanuel 

wrote, “At the point where the composer 

introduces the name BACH [BH–A–C–BJ 

for non-Germans] in the countersubject to 

this fugue, the composer died.” The image 

of Bach dropping dead over the score, quill 

in hand, is dramatic, but probably fantasy. 

Carl Phillipp Emanuel was more than 100 

miles away in Berlin, where he worked for 

Frederick the Great, when his father died, 

and would have had no particular knowledge 

about what happened. 

There have been numerous completions 

of the unfinished triple fugue over the 

centuries, so many that one scholar wrote 

a thesis arguing that Bach deliberately left 

it unfinished as a sort of final exercise in a 

counterpoint textbook. 

BACH, arr.AVITAL: 

Violin Concerto in A Minor, BWV 1041 

The only extant evidence for the A minor Violin 

Concerto in Bach’s handwriting is a set 

of parts from around 1730, when he was director 

of music in the churches of Leipzig, 

and had recently taken over the directorship 


Vivaldi c.1723, Anonymous Painter 

of a Collegium Musicum that gave concerts 

in a local coffeehouse. But the concerto 

may have been composed a decade earlier, 

when Bach was Capellmeister at the court 

of the Duke of Anhalt-Cöthen, the only time 

in his half-century professional career that 

he was not employed in making music for 

Lutheran church services. 

Most concertos are a bit like a conversation 

between soloist and orchestra, with 

the soloist elaborating on thoughts the orchestra 

introduces. This one is remarkable 

for how the soloist and orchestra talk almost 

entirely about different things, without 

sharing thematic material. The assertive 

theme that starts the first movement never 

appears in the solo episodes. Nor does the 

orchestra ever play the yearning theme that 

the first solo introduces. The rolling theme 

in the bass, cello, and continuo that begins 

the slow movement, and recurs throughout 

it, disappears during the solo episodes, 

as do the bass, cello, and continuo themselves, 

leaving the violas as the bottom of 

the ensemble. Not until the last phrase of 

the movement do all the elements come together 

and all the instruments play at the 

same time. The finale combines the rhythm 

and feel of the jig (the traditional last movement 

of the Baroque suite) with the fugue, 

the tutti passages corresponding to the fugal 

expositions. 

VIVALDI, arr.AVITAL: 

Lute Concerto in D Major, RV 93 

Vivaldi’s Concerto in D, RV 93, for lute, two 

violins and continuo, became one of his biggest 

hits in the 20th century when guitarists 

appropriated it, the dreamlike slow movement 

becoming a particular radio favorite. 

On the mandolin it has to be played an octave 

higher than it would sound on a lute, so 

that the solo part is often in unison with the 

first violin part. Oddly enough, there was a 

time (mostly the 1980s) when cutting-edge 

lute scholarship held that playing the solo 

part in the upper octave pitch was precisely 

what Vivaldi intended, and indeed the visual 

evidence of the music on the page suggested 

a solo instrument—the gut-strung 

mandolino—sounding at violin pitch. Opinion 

changed when the tradition of concerted 

music with lute, in which the lute often 

doubled the violin part an octave down in 

tutti passages, became better understood. 

The concerto works with the solo part at 

either octave. 


VIVALDI: 

Concerto Grosso in G Minor, Op.3, No.2, 

RV 578 

The 1711 publication of his 12-concerto 

opus 3, L'Estro Armonico, confirmed Vivaldi 

as an international star, and established 

the three-movement Vivaldi concerto as 

a competitor, and eventual supplanter, of 

the multi-movement Corellian concerto 

grosso. Vivaldi was cutting-edge, and other 

prominent composers, most notably Bach, 

studied and adopted Vivaldi's techniques. 

Bach was particularly enamored of the concertos 

in L'Estro Armonico, getting inside the 

music by arranging them for harpsichord(s) 

and organ. 

The G minor concerto, with two solo 

violins and a cello that occasionally takes 

a soloistic turn, offered plenty of headturning 

moments for his contemporaries: 

the vigorous chains of dissonances that begin 

it, the surprising turns of harmony, and 

the brusque chords and dramatic silences 

of the second movement would have been 

startling in 1711. 

BACH, arr.AVITAL: 

Keyboard Concerto in D Minor, BWV 1052 

As a rule, Bach did not compose concertos 

for keyboard instruments. With only two 

likely exceptions his 15 concertos for harpsichord, 

alone or with other instruments, are 

thought to be reworkings of works for other 

instruments. His purpose in refashioning 

them is not clear, but he likely used them 

as training and performance vehicles for 

his own children and young players in the 

Leipzig Collegium Musicum. 

Some of the models from which Bach 

fashioned his harpsichord concertos are 

available: extant concertos by Vivaldi, or 

concerto and cantata movements by Bach 

himself. In other cases the original is lost. 

Where a harpsichord concerto is from a 

known model, scholars have observed that 

Bach used the entire range of the original 

solo instrument, and turned the original solo 

part into right‐hand harpsichord part without 

changing its range or key. This makes it 

easy to deduce the original solo instrument 

for a concerto that now exists only in keyboard 

form. In the D‐minor harpsichord concerto 

the right hand descends consistently 

to G below middle C and no lower, which is 

a fairly solid indication that it is a converted 

violin part. This makes it doubly natural for 

the mandolin, an instrument tuned like a 

violin but with wire strings plucked with a 

plectrum like a harpsichord. 

The D‐minor concerto is Bach doing 

Vivaldi: the statements of the theme in 

unharmonized octaves that begin the first 

two movements, the aggressive cast of the 

themes in the outer movements, and the 

solo episodes accompanied without bass, 

are typical Vivaldi touches. 


US Tour with Avi Avital 

Conductor and 

Harpsichord 

Jonathan Cohen 

1st Violin 

Pascale Giguère 

Nicole Trotier 

Pascale Gagnon 

Noëlla Bouchard 

2nd Violin 

Marie Bégin 

Angélique Duguay 

Michelle Seto 

Maud Langlois 

Viola 

Isaac Chalk 

Annie Morrier 

Jean-Louis Blouin 

Cello 

Benoît Loiselle 

Raphaël Dubé 

Double Bass 

Raphaël McNabney 

MANAGEMENT 

Joint Executive 

Director and Artistic 

Administrator 

Laurent Patenaude 

Joint Executive 

Director – Director 

of Administration 

Patrice Savoie 

FOR OPUS 3 

ARTISTS 

President & CEO 

David V. Foster 

Manager, Artists 

& Attractions 

Sarah Gordon 

Associate & 

Company Manager 

Grace Hertz 

www.violonsduroy.com 

www.facebook.com/violonsduroy 

Photo by Atwood Photographie

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Program Book — CAMA Presents Les Violons du Roy with Avi Avital — Tuesday, October 19, 2021 — Lobero Theatre, Santa Barbara, 7:30PM

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