Vancouver Early Music Festival 2012

Vancouver Early Music Festival 2012 

G.F. Handel 

“Orlando” 

August 15, Chan Centre for the Performing Arts at UBC

Early Music Vancouver 

board of directors 

Judith Phanidis 

president 

Sharon Kahn 

vice president 

Susanna Egan 

secretary 

Rick Parnell 

treasurer 

Nicholas Swindale 

past president 

Maurice Copithorne 

Chris Guzy 

Tony Knox 

Jill Orsten 

Mark Vessey 

staff 

José Verstappen cm 

artistic director 

Sarah Ballantyne 

managing director 

Alicia Hansen 

production and summer 

programme & festival coordinator 

Genevieve MacKay 

media & volunteer 

coordinator 

Nathan Lorch 

bookkeeper 

• 

Yolande Gendron-Herndon 

programme & festival 

assistant coordinator 

Keon Birney 


assistant 

Angela Birney 


assistant 

• 

Jan Gates 

event photography 


1254 West 7th Avenue, 

Vancouver BC, V6H 1B6 

[t]: (604) 732-1610 

[f]: (604) 732-1602 

[e]: staff @earlymusic.bc.ca 

[w]: www.earlymusic.bc.ca 

Vancouver Early Music Festival 2012 

The Vancouver Early Music Programme & Festival 

is an annual event, presented by Early Music Vancouver 

in collaboration with the UBC School of Music and 

Green College at the University of British Columbia 

EARLY 

MUSIC 

VANCOUVER 

This performance of Handel’s “Orlando” 

is made possible through the generous assistance of 

the Drance Family Fund, the Mary and Gordon Christopher Foundation, 

the Nemetz Foundation, the John Hardie Mitchell Family Foundation, 

and a number of major anonymous donors. 

Tonight’s performance is an event presented in partnership with 

the Chan Centre for the Performing Arts at UBC, and with the generous 

support of the Chan Endowment Fund at the University of British Columbia. 

We also thank the Department of Canadian Heritage, 

and the Conseil des arts et des lettres Québec. 

Special thanks to St. John’s College at UBC for its generous support 

towards accommodations for many of our visiting artists. 

This event is part of MusicFest Vancouver’s BMO Main Stage Concerts. 


gratefully acknowledges the assistance & support of the Government of Canada through the Department of 

Canadian Heritage and The Canada Council for the Arts; the Government of British Columbia through the 

B.C. Arts Council and Gaming Branch; the City of Van couver; the Conseil des arts et des lettres Québec; 

the Performing Arts Fund NL of The Netherlands; the Chan Centre forthe Performing Arts at UBC; the 

Chan Endowment Fund; the UBC School of Music; MusicFest Vancouver; The Lloyd Carr-Harris Foundation; 

Odlum Brown Limited; Buntain Insurance Agencies; Sutus; GNK Insurance Services; 

and our many Donors, Members & Volunteers. 

UBCMUSIC 

PBO 

PacificBaroqueOrchestra

— THE ORCHESTRA — 

PBO 

PacificBaroqueOrchestra 

Alexander Weimann 

music director 

violin i 

Chloe Meyers 

concert mistress, 

violin & viola d’amore 

Linda Melsted 

violin & viola d’amore 

Christi Meyers 

Chantal Rémillard 

violin ii 

Paul Luchkow 

Louella Alatiit 

Angela Malmberg 

Arthur Neele 

viola 

Glenys Webster 

Ellie Nimeroski 

violoncello 

Nathan Whittaker 

Tulio Rondón 

violone / double bass 

Natalie Mackie 

Curtis Daily 

oboe & recorder 

Matthew Jennejohn 

Curtis Foster 

bassoon 

Katrina Russell 

natural horn 

Andrew Clark 

Steve Denroche 

theorbo 

Sylvain Bergeron 

harpsichord 


harpsichord & chamber organ 

Christopher Bagan 

PBO 


www.pacificbaroque.com 

— PROGRAMME — 

Wednesday 15 August g Chan Centre for the Performing Arts 

Handel’s “Orlando” 

An opera-in-concert performance 

Cover illustration of the 1542 edition of Ludovico Ariosto’s “Orlando furioso” (Gabriele Giolito de’ Ferrari, Venice) 

Alexander Weimann music director 

Tim Mead countertenor Orlando, a knight 

Karina Gauvin soprano Angelica, Queen of Cathay 

Allyson McHardy alto Medoro, an African Prince 

Amanda Forsythe soprano Dorinda, a shepherdess 

Nathan Berg bass Zoroastro, a magician 

Pacific Baroque Orchestra 

This performance of Handel’s “Orlando” 

is made possible through the generous assistance of 

the Drance Family Fund, the Mary and Gordon Christopher Foundation, 

the Nemetz Foundation, the John Hardie Mitchell Family Foundation, 

and a number of major anonymous donors. 

Special thanks to Carol Tsuyuki and to Vancouver Community College 

for the use of the double-manual harpsichords after Taskin, built by Craig Tomlinson, 

and to Hans-Karl Piltz for the use of the violas d ’amore. 

Recordings will be for sale in the lobby during the interval and after the concert 

www.earlymusic.bc.ca — Handel’s “Orlando” - page 1 — Vancouver Early Music Festival 2012

Our Government is proud to support arts and culture in all their forms, because we recognize how 

important they are for the strength of our economy and the development of our communities. This 

is why we are pleased to invest in events like the Vancouver Early Music Festival. Through its eclectic 

performances and other artistic activities, the Festival provides Canadian ensembles and solo musicians 

with the chance to showcase their talent and makes an outstanding contribution to the economic and 

cultural strength of the Vancouver region. 

On behalf of Prime Minister Stephen Harper and the Government of Canada, I would like to thank the 

Vancouver Society for Early Music and all the organizers, performers, and volunteers who helped make 

this Festival a success. I applaud your efforts to foster appreciation and understanding of early music. 

Interested in joining 

our volunteer corps? 

Phone 604 732-1610 

for details. 

The Honourable James Moore, P.C., M.P. 

Minister of Canadian Heritage and Official Languages. 

Our concerts are made possible through the generous assistance of our many volunteers 

who offer their time. At this summer festival, we would like to thank in particular: 

Anonymous | Leslie Bauming | John Burgess | Patricia Canning | Ron Costanzo | Catherine Crouch | Fred Cupido 

Waltraud Dilling | Bill Dovhey | Al Dreher | Susan Edwards | Helen Elfert | Bev Ferguson | Elizabeth Ferguson | Nel Finberg 

Lori Goldman | Robbin Greene | Martha Hazevoet | Bill Herzer | Stuart Hill | Michiko Higgins-Kato | Gene Homel 

Barry Honda | Gigi Huxley | Gerald Joe | Danny Keays | Neil Kennedy | Martin Knowles | Susan Larkin | Jane Latter 

Marlene LeGates | Cindy Ma | Christina MacLeod | Glenys McDonald | Kathy McMullen | Carole Nakonechny 

Shari Nelson | Larry Nelson | Sharon Newman | Gina Page | Jacqueline Peck | Betty Lou Phillips | Judi Rainey 

Selma Savage | Joey Schibild | Traudi Schneider | Julia Schubert | Paulette Stroo | Lynne Taylor | Eleanor Third 

Vancouver Early Music Festival 2012 — Handel’s “Orlando” - page 2 — www.earlymusic.bc.ca

The Background 

The period from January 1730 to June 1735 ushered in a new 

chapter in the saga of Italian opera performed in London. 

While it witnessed the production of one of Handel’s greatest 

operas, Orlando, it also revealed difficulties in maintaining the 

vigorous Italian opera schedule of the previous decade. 

The desire for imported Italian opera among upper class 

Londoners had begun tentatively and chaotically in the first 

decade of the 18th century. Then, when Handel burst upon 

the scene in 1711 with his magnificent spectacle, Rinaldo, the 

desire for such entertainment greatly increased and attempts 

towards opera in English soon disappeared. In 1719 the 

Royal Academy of Music was created, a venture instigated 

by the wealthy and the nobility, and supported by the King. 

The Academy’s mandate was to produce yearly, long seasons 

of Italian operas by Handel and other invited composers.A 

key element was to entice the greatest of the Italian singers 

to come to London and perform in the productions, thereby 

satisfying an audience eager for such vocal treats… as well as 

creating an increasingly heavy financial commitment for the 

Academy. In 1729, financial and other problems had become 

insurmountable and interest in Italian opera was waning. The 

Academy disbanded but gave Handel and the theatre manager, 

Heidegger, a 5-year contract for continuing to produce operas 

in the King’s Theatre until mid-1734. 

With the new contract Handel was no longer beholden to the 

narrow tastes of the Academy’s nobility. While still adhering to 

the opera seria framework, he had more leeway in his choice of 

librettos and experimented with a wider scope of musical form. 

But these measures were not enough to revive significantly the 

faltering interest in Italian opera. There were several causes for 

this. The criticism of literary circles dealt increasingly harshly 

with what was seen as the escapist nature of opera seria. A 

new, alternate theatrical fare was presented by the vigorous 

English-language ballad entertainment, inaugurated by The 

Beggar’s Opera in 1728, a fare which offered biting satire on 

opera seria. Another alternative to Italian opera was Handel’s 

new, English language, unstaged oratorios. And finally, the 

creation of yet another opera company in 1733, the Opera of 

the Nobility, divided the already thinning support for opera 

seria and created ruinous financial situations for both. 

Handel moved away from the previous decade’s typical seria 

librettos based on the deeds and actions of historical kings 

and rulers. In their place he first presented an ironic comedy, 

Partenope, and in 1733-34 created his masterpieces, Orlando 

and Alcina, operas dealing with knights errant, desired 

damsels, a wide range of human emotions, magical potions 

and transformations, and magnificent staging. Particularly 

in Orlando the composer moved furthest away from the 

entrenched opera seria musical style with its dominating 

da capo aria structure. His palate now offered greater 

flexibility with innovative aria forms, especially for Orlando, 

— PROGRAMME NOTES — 

unusual duets and a trio, and audience-engaging ariosi and 

accompagnato recitatives. But while there was a considerable 

measure of rejuvenation from Handel-the-composer’s 

perspective, the reality for Handel-the-producer remained 

harsh. After relatively few performances of Orlando in early 

1733 Handel withdrew the opera. Its next production occurred 

in 1922, in Halle, Germany. From then until 2005 there have 

been 58 known productions, finally vindicating Handel’s 

masterpiece. 

The Opera 

The immediate libretto model for Handel’s Orlando was that 

used by Carlo Sigismondo Capeci for the opera L’Orlando, over 

La gelosa pazzia (Mad jealousy), set to music by Domenico 

Scarlatti for a performance in Rome in 1711 (the music now 

lost). Both librettos were based upon the dazzling Renaissance 

epic poem by Ludovico Ariosto, Orlando furioso, written in 

the early 16th century and influenced by earlier epic tales. 

The main setting of Ariosto’s poem is the clash between the 

Christian paladins and the Saracen invaders of Europe during 

the reign of Charlemagne in the later 8th century. Ariosto was 

much more interested in human interactions than historical 

accuracy and presents greatly exaggerated accounts of such 

interactions gilded with a sense of irony. Handel’s musical 

account was, out of operatic necessity, much more condensed 

but it wonderfully and convincingly explores the range of 

human interactions and contrasting emotions set up by 

Ariosto. 

At the core of Handel’s Orlando is the unrequited love of two 

characters, the hero and Christian knight Orlando and the 

young shepherdess Dorinda. Orlando had fallen in love with 

Angelica, the Cathay princess who, prior to the opera, had 

encouraged his attention to her. But then she met Medoro, 

a badly wounded Saracen prince. He had been taken into 

Dorinda’s cottage where Angelica nursed him back to health. 

At first Medoro had been enamored of Dorinda and she, 

somewhat shyly, of him. But soon he fell in love with Angelica 

who reciprocated his love thereby provoking Orlando to a 

frenzy of jealousy and murderous madness. On the surface, 

these events are seen to be caused and occasioned solely 

by the four human beings. But there is a fifth character, the 

magician/psychologist Zoroastro, a character wholly created 

by Handel and his librettist, one whose role presents a different 

perspective to the human actions. At the outset of the opera 

Zoroastro consults the stars for Orlando’s destiny and advises 

him to abandon his pursuit of love and to keep focused on 

glorious deeds, the hallmarks of a hero. But Orlando has 

already succumbed to Angelica’s charms. In the ensuing 

events Zoroastro is seen giving advice, controlling events, and 

magically causing amazing scene changes. He warns Angelica 

of Orlando’s ensuing anger, hides her and Medoro from 

Orlando’s rampages, scolds them for creating this difficult love 


Proud Media Sponsor for 

Early Music 

Vancouver 

proud sponsor of the 

Vancouver Early Music Festival 

At GNK Insurance 

we are proud to provide coverage for all of your 

personal, professional and commercial needs. 

VANCOUVER BURNABY VICTORIA 

3295 West Broadway 4198 East Hastings Street #2 – 3690 Carey Road 

Vancouver, BC V6K 2H5 Burnaby, BC V5C 2J4 Victoria, BC V8Z 3C2 

Ph: 604-731-4684 Ph: 604-434-8259 Ph: 250-360-1168 

Fax: 604-731-7107 Fax: 604-294-8260 Fax: 250-360-1178 

www.gnkinsurance.ca 

Vancouver's leading arts source. 

Stay connEctEd at Straight.com 

INSURANCE CORPORATION 

BASIC INSURAN 

EFFECTIVE JUN 


situation, and advises them to flee from Orlando’s rage. When 

Orlando almost seizes Angelica, Zoroastro hides her in a cloud, 

and in Act 3, wafts her to a Temple of Mars. And at the end of 

the opera he magically restores Orlando’s sanity. 

At the human level, much of the opera concerns the very 

different reactions of Orlando and Dorinda to their unrequited 

love. Orlando, the chief paladin of Charlemagne and the 

invincible knight who overcomes all military challenges, is 

unable to understand and accept Angelica’s rejection which he 

first discovers at the beginning of the second Act. His reaction 

moves swiftly from disbelief to violence. He chases Angelica 

and Medoro through the forest threatening to kill them and 

himself. At the end of the act he hallucinates, imagining 

himself on the edge of Hades where he sees Medoro in the 

arms of Proserpina, Pluto’s part-time wife. When he imagines 

Proserpina to be weeping he is momentarily calmed and 

observes, “even in Erebus, love calls out tears”, but he soon 

resumes his crazed actions. In Act 3 Orlando vows his love to 

Dorinda whom he thinks to be Venus—until he decides she is 

actually Angelica’s slain brother. In the penultimate scene he 

catches Angelica, tells her that death is her fate, and throws her 

violently into a cave. Thinking her dead, Orlando proclaims 

that the world is now “purged of all its malignant baleful 

monsters.” He seeks oblivion in the river Lethe and declares: 

“…perfidious love, no more, 

with all thy wonton wiles in store, 

shalt, to prolong my date of woes, 

awake me from my sweet repose” . 

By contrast the naïve young shepherdess Dorinda wonders, at 

the outset of the opera, if the strange new feeling she recently 

has experienced might be love. It becomes clear that the 

interest Medoro has shown for her is the cause of this incipient 

love. But Dorinda soon realizes that Medoro’s attention to her 

has waned, in spite of his claims to the contrary. In a trio at the 

end of the first Act, Medoro and Angelica openly acknowledge 

their mutual love and try to console her. Dorinda remains 

inconsolable and resolves to find some pastoral solitude where 

she will “linger out a life of woe.” In Act 2 she continues to 

pine for Medoro. But in the third act, when she discovers him 

trying to hide from the raging Orlando, she finds she still has 

affection for Medoro and resolves to help him, now simply as 

a friend. In her ensuing meeting with the princess, she listens 

to Angelica’s agitated torment over the depth of responsibility 

she increasingly thinks she must bear for Orlando’s total 

irrationality. After all these contrasting experiences, a more 

mature, cynical Dorinda now considers the myriad of difficult 

problems love can create. In her final aria she sums up: 

Love is a blast that’s often found 

to turn the brain in eddies round: 

I’ve heard it does at first impart 

a secret pleasure to the heart. 

But for one transient joy bestows 

a length of sad succeeding woes. 

In her first appearance of the opera, Angelica, the beautiful 

princess from Cathay, acknowledges that cupid’s arrow has 

finally and firmly bound her to a lover. She also acknowledges 

that, in past relationships, she has acted the coy minx but now 

she renders her heart totally to Medoro and proclaims that she 

will give up her “accustomed trophies”, specifically mentioning 

her most recent one, Orlando. Shortly afterwards when she 

encounters Orlando, she decides not only to hide her new 

love from him but also to test his present attitude towards 

her. She claims he is now in love with Isabella, the damsel 

that he recently rescued from grave difficulties. Denying this 

vigorously, Orlando offers to prove his continuing love for 

Angelica by some knightly, typically macho, undertaking: 

Go bid me combat, in the field, 

the fiercest monsters earth can yield, 

if you, indulgent to my fame, 

new trophies of my valour claim. 

Before Orlando has time to undertake such deeds he discovers, 

inadvertently through Dorinda, the reality of Angelica’s and 

Medoro’s love. In a blind rage he tries to track them down. 

Angelica realizes that she and Medoro must move immediately 

to her father’s kingdom…but they do not move fast enough. 

They linger while Medoro carves their entwined names onto 

trees for all to see (including Orlando) and Angelica sadly 

sings of having to leave behind her beloved forest. She admits 

to herself that she is beholden to Orlando for previously 

having saved her honour and life. Her abandonment of him 

now fuels a sense of guilt that increasingly clouds her joy with 

Medoro. Finally, the news from Dorinda that Orlando has 

killed Medoro reduces Angelica to abject grief. She cries out 

“…Oh unpropitious fate! Thy cruelty has robb’d me of my soul”. 

Confronted by the murderous Orlando she tells him “I mourn 

Medoro’s fate, and not my own. Until you cause my blood to 

flow, enjoy these tears of trickling woe.” 

If a 19th-century Italian composer had set this libretto to music, 

the opera probably would have ended with Angelica’s murder… 

and with Dorinda as the lone mourner. But Handel and his 

audiences were accustomed to the 18th-century conventions 

of resolved endings and deus ex machina. Angelica was not 

murdered after all and Dorinda was mistaken about Medoro’s 

death. And it increasingly appears that Zoroastro may have 

been the controlling factor behind the human madness, 

instigating it to convince Orlando of the folly of love. The 

magician’s final act is the administration of a potion, delivered 

from the heavens in a golden vessel by four genii and an eagle, 

a potion that finally restores Orlando’s wits and erases all his 

infatuation with Angelica. And in conclusion everyone is 

invited to Dorinda’s rustic cabin for a party to reconsider the 

amazing facets of love. 

— John E. Sawyer 

N.B. According to the article “Angelica” in Grove Online, the 

Angelica-Medoro-Orlando story, and the many variations 

thereof, inspired over 50 operatic settings in the 17th and 18th 

centuries including those by Peri, Lully, Vivaldi and Haydn. 

Except for Handel’s Orlando, none were presented in England. 


Subscriptions on-sale now! 

Save up to 25% off the single ticket price. 

A Sound Experience. 

SAT OCT 13 / 8PM: ANGÉLIQUE KIDJO 

FRI NOV 2 / 8PM: CHUCHO VALDÉS QUINTET 

SAT NOV 24 / 8PM: PUNCH BROTHERS 

SAT FEB 16 / 8PM: PABLO ZIEGLER QUARTET WITH 

REGINA CARTER IN “TANGO MEETS JAZZ” 

SUN APR 21 / 7PM: LILA DOWNS 

SAT APR 27 / 8PM: SIMON SHAHEEN IN 

“THE CALL: SONGS OF LIBERATION” 

ORDER TODAY! chancentre.com 

Chan Centre Ticket Office (in person only) TUE to SAT 12PM - 5PM 

Call 604.822.9197 to request a copy of our season brochure 

TICKETMASTER.CA/1.855.985.ARTS (2787) (service charges apply) 

Sponsored by: 


Tim Mead countertenor 

[Orlando] 

Tim Mead was a choral scholar at 

King’s College, Cambridge where 

he read music and studied singing 

with Charles Brett. He went on to 

win a number of scholarships to the 

Royal College of Music, London, 

where he studied with Robin Blaze. 

His distinguished opera engagements 

include the title role in Giulio 

Basja Chanowski photo 

Cesare and Eustazio in Rinaldo 

for Glyndebourne Festival Opera, title role in Admeto for Händel- 

Festspiele Göttingen and the Edinburgh Festival, title role in Orlando 

for Scottish Opera and Chicago Opera Theatre, title role in Rinaldo 

with the Bach Collegium Japan, Gluck’s Orfeo ed Euridice with the 

Akademie für Alte Musik, Ottone in Poppea for English National 

Opera, Opéra de Lyon and Den Norske Opera, Oslo, Endimione in La 

Calisto for the Bayerische Staatsoper, Clearte in Niobe, the première of 

The Minotaur (by Sir Harrison Birtwistle) at the Royal Opera House, 

Tolomeo in Giulio Cesare for the Deutsche Oper am Rhein, and Paggio 

and Ombra di Bussiride in Ercole amante for De Nederlandse Opera. 

He is also internationally known on the concert platform, collaborating 

with ensembles such as Orchestra of the Age of Enlightenment, the 

Academy of Ancient Music, Les Arts Florissants, Le Concert d’Astrée, 

Akademie für Alte Musik, Accademia Bizantina, Bach Collegium 

Japan, the Nederlandse Bachvereniging, Combattimento Consort 

Amsterdam and Kammerorchester Basel under the direction of 

conductors Ivor Bolton, William Christie, Laurence Cummings, 

Stephen Phillips 

April 13, 1954 - May 9, 2012 

At the end of our winter concert season, we were 

saddened by the sudden death of long-time Early Music 

Vancouver board member Steve Phillips. 

Steve, who served as our Treasurer for the many years, 

was a fervent sailor whose life ended unexpectedly and 

all too soon; but he was exactly where he wanted to be 

… racing in the Vancouver harbour he loved so much. 

Sailing was an important part of his life, but Steve also 

loved music, which flowed through his soul. In addition 

to his role on our Board, he was a loyal volunteer at the 

annual Vancouver International Jazz Festival and at the 

West Vancouver Harmony Arts Festival. 

His kind support in all aspects of our organisation, from 

setting up stage lights to working with Board and Staff 

on Early Music Vancouver’s finances, was very much part 

of his generous and caring spirit. 

He will be missed. 

— THE ARTISTS — 

Christian Curnyn, Alan Curtis, Ottavio Dantone, Paul Goodwin, 

Emmanuelle Haim, Thomas Hengelbrock, Vladimir Jurowski, 

Alessandro de Marchi, Nicholas McGegan and Masaaki Suzuki. 

Recordings include: Bach’s Matthäus-Passion, the Handel oratorios 

Saul, Solomon and Israel in Egypt, the Handel operas Admeto, Flavio, 

Riccardo Primo, Rinaldo and Il coronazione di Poppea. He has recorded 

for a variety of labels, including EMI Classics, Deutsche Harmonia 

Mundi, Chandos, Carus, Channel Classics, Linn, Opus Arte, Arthaus 

Musik, Unitel Classica and EuroArts. 

Current season & future plans include Agrippina and Ottone in 

L’incoronazione di Poppea directed by Emmanuelle Haïm in Dijon 

and Lille, Endimione in La Calisto at the Bayerische Staatsoper, 

Tolomeo in Julius Caesar for the English National Opera, Messiah 

with the Orchestra of the Age of Enlightenment and in New York, 

Bertarido in Rodelinda for Mercury Baroque (Houston), Licida in 

L’Olympiade (Vivaldi) for Garsington Opera, and Goffredo in Rinaldo 

for Glyndebourne. 

d www.tim-mead.com 

Karina Gauvin soprano 

[Angelica] 

Canada’s superstar soprano Karina 

Gauvin has impressed audiences 

and critics the world over with 

her luscious timbre, profound 

musicality and wide vocal range. 

The Globe and Mail calls her “one 

of the dream sopranos of our time”. 

The Sunday Times in London 

also wrote: “Her glinting soprano, 

bright-edged yet deliciously 

Michael Slobodian photo 

rounded and sensual, is used with 

rare understanding for character... ” Her repertoire ranges from the 

music of Johann Sebastian Bach to Luciano Berio and she has sung with 

many major orchestras including the Chicago Symphony, Philadelphia 

Orchestra, Los Angeles Philharmonic, Orchestre Symphonique de 

Montréal, Toronto Symphony Orchestra, Orchestre Symphonique 

de Québec, Accademia Bizantina, Il Complesso Barocco, Akademie 

für Alte Musik Berlin, Venice Baroque Orchestra, Musica Antiqua 

Köln, Minnesota Orchestra, St-Paul Chamber Orchestra, Tafelmusik 

Baroque Orchestra, and Les Violons du Roy. 

On the operatic and concert stage, she has performed with conductors 

as diverse as Charles Dutoit, Kent Nagano, Semyon Bichkov, Roger 

Norrington, Alan Curtis, Christopher Hogwood, Helmuth Rilling, 

Andrea Marcon, Bernard Labadie, and Christophe Rousset. Also 

active as a recitalist, she has collaborated with several chamber 

music ensembles and with pianists Marc-André Hamelin, Michael 

McMahon and Roger Vignoles. 

In addition to Karina Gauvin’s solo discs produced by the ATMA 

label, many of her recordings have been nominated for a Grammy 

and have won prizes at the Juno and Opus awards. More recently, her 

characterization of Manlio in Vivaldi’s opera Tito Manlio on the Naïve 

label with the Accademia Byzantina was called “riveting” by Opera 

News. With Il Complesso barocco under Alan Curtis, she has sung 

in concert and recorded Handel’s Ezio, Tolomeo and Alcina for the 

Deutsche Grammophon label. 

d www.karinagauvin.com 


Photo credit: 

Autumn de Wilde 

Applauding great 

performances. 

BMO ® Financial Group is proud to support MusicFest Vancouver, 

August 10 – 19, 2012. Enjoy listening to internationally acclaimed musicians 

at the festival’s six BMO Main Stage concerts. 

And join us for a fun-filled afternoon of music themed activities and 

entertainment at Music in the Garden: BMO Family Day, followed by an evening 

performance by world-class musicians at VanDusen Botanical Garden. 

Sunday, August 19, 2012 

11 a.m. to 3 p.m. Music in the Garden: BMO Family Day 

7 p.m. to 9 p.m. World at the Garden: New York Voices 

For more details, visit musicfestvancouver.ca 

® Registered trade-mark of Bank of Montreal. 

Vancouver Early Music Festival 2012 — Handel’s “Orlando” - page 8 — www.earlymusic.bc.ca 

Docket #: 12-943 

Trim Size: 7.5" x 10" 

rvices 

FILE COLOURS:

Amanda Forsythe soprano 

[Dorinda] 

Amanda Forsythe has been a winner 

of the George London Foundation 

Awards and was sponsored by them 

in her New York recital début. She 

has also received prizes from the 

Liederkranz Foundation and the 

Walter W. Naumburg Foundation. 

Amanda Forsythe made her 

European operatic début in the role 

of Corinna in Il viaggio a Reims at 

the Rossini Opera Festival in Pesaro which led to an immediate 

invitation to make her début at the Grand Théâtre de Genève as 

Dalinda in Ariodante. She returned to the Rossini Opera Festival to 

perform the role of Rosalia in Equivoco stravagante and Bellini duets 

in the ‘Malibran’ recital with Joyce di Donato. She made her débuts 

at the Bavarian State Opera, Munich as Dalinda in Ariodante and as 

Barbarina in Le nozze di Figaro at the Theâtre des Champs-Elysées, 

Paris and at the Royal Opera House, Covent Garden. She returned 

to Covent Garden to perform the role of Manto in Niobe, regina di 

Tebe under Thomas Hengelbrock with subsequent performances at 

the Grand Theatre de Luxembourg. 

Amanda Forsythe made her USA stage début at the Boston Early Music 

Festival (BEMF), with whom she is now a regular soloist. Her roles 

for BEMF have included Aglaure in Lully’s Psyché, Venus in Venus and 

Adonis (John Blow), Drusilla in L’incoronazione di Poppea, and Pallas 

in Eccles’ The Judgment of Paris. With Boston Baroque she has sung 

PACIFIC MUSICWORKS 2012/13 SEASON 

Stephen Stubbs, Artistic Director 

MONTEVERDI VESPERS OF 1610 

Oct. 20, 2012 8:00pm 

St. James Cathedral 

804 9th Avenue, Seattle, WA 98104 

Oct 21, 2012 2:00pm 

Trinity Episcopal Cathedral, Portland 

147 Northwest 19th Avenue, Portland, OR 97209 

ANGELS AND SHEPHERDS – BACH 

Cantatas for the Holiday Season 

Dec. 1, 2012 8:00pm 

St. James Cathedral 

804 9th Avenue, Seattle, WA 98104 

WAYWARD SISTERS 

a special collaboration with Seattle Dance Project 

February 22, 23, 2013 8:00pm 

Langston Hughes Performing Arts Center 

104 17th Avenue South, Seattle, WA 98144 

G.F. HANDEL’S APOLLO E DAFNE AND GLORIA 

April 5, 2013 8:00pm 

Nordstrom Recital Hall, Benaroya Hall 

200 University Street, Seattle, WA 98101 

pacificmusicworks.org Seattle, WA 

Bastienne in Mozart’s Bastien und Bastienne, Serpina in Pergolesi’s 

La Serva Padrona, Ninfa/Proserpina in Monteverdi’s L’Orfeo, Amore 

in Il ritorno d’Ulisse in patria, Oberto in Handel’s Alcina, Lieschen in 

Bach’s Coffee Cantata and Wedding Cantata, Purcell’s The Fairy Queen, 

Vivaldi’s Juditha triumphans and Handel’s Messiah. 

Recent operatic engagements include the title role in Niobe, regina 

di Tebe (Steffani) for the Boston Early Music Festival. She will sing 

Pamina in Die Zauberflöte in her debut at Vlaamse Opera in 2012/13. 

On the concert platform Amanda Forsythe’s major engagements 

have included Alexander’s Feast with the Ulster Orchestra and 

L’allegro, il perseroso, ed il moderato with the Netherlands Radio 

Chamber Philharmonic, both under Kenneth Montgomery. She 

has also sung Rossini Arias at Teatro la Fenice in Venice, Cendrillon in 

Viardot’s Cendrillon with the Caramoor Festival, Mozart’s Exsultate 

Jubilate and Vivaldi’s Nulla in Mundo pax sincera with the Omaha 

Symphony, Carmina Burana with the Rhode Island Philharmonic, 

Mozart’s Mass in C Minor with the Handel and Haydn Society, 

Handel’s Israel in Egypt with Emmanuel Music, and Haydn’s 

Creation with the Charlotte Symphony. Her other appearances 

include concerts with the Hartford Symphony Orchestra, 

Louisiana Philharmonic Orchestra, the Boston Chamber Music 

Society, and Apollo’s Fire 

Amanda Forsythe’s recordings with BEMF on the German CPO label 

include Aglaure in Lully’s Psyché and Venus in Venus and Adonis, as 

well as Minerve and La Grande Pretresse in Lully’s Thésée which was 

nominated for the 2008 Grammy Awards. Her recordings include 

Handel’s Messiah with Apollo’s Fire on the Avie label. 

Allyson McHardy alto 

[Medoro] 

d www.amandaforsythe.com 

Toronto-based mezzo-soprano 

Allyson McHardy’s voice has 

been described as radiant, dusky, 

incandescent, and sumptuous; 

her presence on stages in Canada, 

the United States and France 

have drawn comments such as 

noble, spellbinding, charming 

and seductive. Allyson’s varied 

repertoire encompasses roles from 

Rossini’s l’Italiana in Algeri, Cenerentola and Il Barbiere di Siviglia, 

to Handel’s Alcina, Ariodante and Semele, Caldara’s La Converzione 

di Clodoveo Rè di Francia, to Verdi’s Nabucco and Falstaff, Mozart’s 

La Clemenza di Tito, to Bizet’s Carmen. Her orchestral repertoire 

includes Das Lied von der Erde, Mozart’s Requiem, Bach’s Magnificat, 

Beethoven’s Missa Solemnis, and Elgar’s Dream of Gerontius, among 

many other works. 

Following a busy summer of recitals in 2011, including a national 

tribute to Maureen Forrester at Stratford Summer Music, Allyson 

opened her current season with two role and house debuts: in 

September she took on the role of Annio in the Opéra national 

de Paris production of Mozart’s La Clemenza di Tito followed by 

the role of Arcabonne in J.C. Bach’s Amadis de Gaule at the Opéra 

Comique in Paris and at the Château de Versailles. In January 

she performed Dijanira in Handel’s Hercules with Tafelmusik 

in Toronto and in February she made her debut in the title role 

of Carmen with Pacific Opera Victoria. She also appeared in 

Québec City for Mozart’s Requiem with l’Orchestre symphonique 


A Special Thank -You to our Scholarship Donors 

The performances of the Vancouver Early Music Festival are part of the Vancouver Early Music Programme, 

one of North America’s most extensive series of early music summer courses & workshops. 

Many talented young musicians from across Canada and the USA, and from other continents, are gathered here to study 

with internationally acclaimed artists and ensembles. Several of these participants will be able to attend thanks to the ongoing support 

of our contributors to the annual Scholarship Campaign, which are acknowledged at the end of this programme. 

Vancouver Early Music Festival 

Early Music in Context 

The final event in our series of 

Free Early-Evening Lecture/Presentations: 

— Tomorrow, Thursday August 16 — 

Ton Amir: 

Dutch Painting of the Baroque: 

Photographical or Phantasmagorical? 

The sumptuous still lifes of Heda, de Heem and Coorte, the 

intimate interiors of Vermeer, Saenredam and Terborch, the 

merry musical scenes of Honthorst, Codde and Hals are always 

appreciated as being highly realistic. But are these paintings 

really like windows that grant us a look into the daily reality 

of 17th-century Dutch life? What did ‘realism’ mean in the 

Baroque? Should we trust what we see? 

Ton Amir, harpsichord maker, started his training in 1982 as an 

apprentice in the workshop of Joop Klinkhamer in Amsterdam, 

Holland, which he now leads. He also is a sworn Spanish translator 

and studied Dutch Language and Literature at the University of 

Amsterdam. He specialized on Baroque Theatre and published 

several articles on Dutch 17th-century literature and the use of stage 

machinery in Europe. 

UBC School of Music, 5:30 - 6:30 pm 

Thank you for your generosity! 

The Early Music America Scholarship Fund 

We are pleased to announce that Early Music America has awarded two scholarships to enable students to take part in this year’s courses. 

For more details on Early Music America and its programmes and activities, please visit www.earlymusic.org 

Hear “the foremost 

proponent of Bach’s 

keyboard music on the 

modern piano since 

Glenn Gould.” 

The New York Observer 

András schiff 

performs Bach’s Well- 

Tempered Clavier, Book 1 

Chan Centre 

Friday, October 5 at 8pm 

A musical chance of a lifetime. 

TICKETS START AT $25. 

Call the Vancouver Recital Society 

box office: 604-602-0363 

VANCOUVER 

RECITAL SOCIETY 

2012-2013 Season 

Season Sponsor 

In association with 

The Chan Endowment Fund 

of the University of 

British Columbia 

This concert is sponsored 

by the Martha Lou Henley 

Charitable Foundation 


de Québec and in Toronto for an appearance as Juno in Handel’s 

Semele with the Canadian Opera Company. 

In March 2011, Allyson released Caldara’s La Conversione di Clodoveo, 

Re di Francia (ATMA) in which she performed the title role, 

having previously performed it in Berlin, Montreal and at the 2005 

Vancouver Early Music Festival with Le Nouvel Opéra. She has also 

recorded Bellini’s Norma (Philharmonia Narodowa) with the Warsaw 

Philharmonic, two works by Harry Somers - Serinette and A Mid- 

Winter Night’s Dream (Centrediscs) and is featured on the Musica 

Leopolis label in Ukrainian music by composer Mykola Lysenko. 

Nathan Berg bass 

[Zoroastre] 

d www.allysonmchardy.com 

Canadian bass-baritone Nathan 

Berg has had a wide ranging career 

alternating from his love of song to 

concert and opera in a vast range of 

styles and time periods. In recital he 

has appeared at the Wigmore Hall 

in London, Lincoln Center in New 

York and many other prestigious 

venues around the world with 

pianists such as Graham Johnson, 

Julius Drake, Roger Vignoles and Martin Katz. Much of Mr. Berg’s 

early work in concert and opera concentrated largely on the Baroque 

and Classical with many collaborations with groups such as William 

Christie’s Les Arts Florissants. He has since delved in Romantic and 

later with recent debuts as Wagner’s Dutchman, Puccini’s Scarpia and 

Bartok’s Bluebeard. 

An in-demand, “first-class” (Boston Globe) and versatile bass-baritone, 

he has worked with many distinguished conductors including Masur, 

Salonen, Christie, Herreweghe, Tortelier, Norrington, Leppard, Rilling, 

Haenchen, and Tilson Thomas with most of the world’s great orchestras 

such as New York, Berlin, Cleveland and Chicago. Among his operatic 

work he has appeared in roles ranging from Mozart’s Figaro, Leporello, 

Don Giovanni and Guglielmo, Puccini’s Scarpia, Marcello, Coline, 

Wagner’s Dutchman, Verdi’s Ferrando, Rossini’s Alidoro, Rameau’s 

Huascar and numerous Handel roles in such places as Glyndebourne, 

Paris National Opera, Netherlands Opera, La Monnai, New York City 

Opera, English National Opera, Welsh National Opera, Trieste and 

Bavarian State Opera to name just a few. 

A Grammy nominated and Juno Award winning artist, some 

recording highlights include numerous cds with Les Arts Florissants 

including Messiah and the Mozart Requiem, various song recordings 

including songs by Othmar Schoeck and a Lieder Recital recording 

with Julius Drake, Dvorak’s Stabat Mater with the Atlanta Symphony 

and Robert Shaw, and recent DVD releases of Lully’s Armide (Théâtre 

des Champs-Elysees) and Rossini’s Cenerentola (Glyndebourne). 

Highlights from his 2011/2012 seasons included Scarpia (Tosca) 

with Edmonton Opera, Beethoven’s 9th Symphony with the Atlanta 

Symphony, Houston Symphony and San Fransisco Symphony, 

Dvorak Te Deum with Cleveland Symphony, Huascar in Les Indes 

Galantes with Théâtre Capitole; Valens in Handel’s Théodora with 

Le Concert Spirituel and his debut with the Seattle Symphony 

in performances of Mahler’s Kindertotenlieder. A few hightlights 

from 2012/2013 include returns to Houston Symphony, Singapore 

Symphony, and Carnegie Hall. 

d www.nathanberg.com 


music director 

Alexander Weimann is one of the 

most sought-after harpsichordists, 

ensemble directors, soloists, 

and chamber music partners of 

his generation. He has traveled the 

world as a member of the ensemble 

Tragicomedia; as a frequent 

guest of ensembles such as Les 

Boréades, Cantus Cölln, Freiburger 

Barockorchester, Tafelmusik, and 

Julien Faugère photo 

the Gesualdo Consort Amsterdam; 

and as musical director of Les Voix Baroques and Le Nouvel Opéra. He 

led the Portland Baroque Orchestra in Handel’s Messiah, conducted 

the Pacific Baroque Orchestra on a tour of Canada and the USA, and 

performed Bach’s Harpsichord Concertos as soloist with Les Violons 

du Roy. Both the Orchestre Symphonique de Québec and the Montreal 

Symphony Orchestra regularly invite him to play as soloist. 

After working as an assistant conductor at the Amsterdam, Basel, and 

Hamburg opera houses, he began directing on his own. A cross section 

of his opera’s include: Pergolesi’s La Serva Padrona and Handel’s 

Orlando Furioso in Munich; Telemann’s Passion oratorio Seliges 

Erwägen at the Europäischen Wochen festival at Passau; Caldara’s 

Clodoveo (2005) and the multipart opera event Mozart à Milano 

(2006), both of which were Canadian-German co-productions 

mounted at festivals in Montreal and Vancouver, and at the Sanssouci 

Palace Theatre in Berlin. For the Vancouver Early Music Festival, he 

has directed Handel’s Resurrection (2007), Rameau’s Pygmalion (2008), 

Purcell’s The Faerie Queene (2009), Monteverdi’s Vespers of 1610 

(2010) and King Arthur (2011). He can be heard on over 100 CDs and, 

frequently, on the radio in many countries. 

Weimann was born in 1965 in Munich, where he studied the organ, 

church music, musicology (his M.A. thesis was on Bach’s recitatives), 

theatre, mediæval Latin, and jazz piano. To ground himself further in the 

roots of western music, he became intensively involved with Gregorian 

chant. In 1997, his group Le Nuove Musiche won first prize at the Premio 

Bonporti music competition in Rovereto. Weimann has taught music 

theory, improvisation, and jazz at the Munich Musikhochschule. 

Since 1998, he has been giving master classes in harpsichord and 

historical performance practice at institutions such as Lunds University 

in Malmö and the Bremen Musikhochschule, and also at North 

American universities such as Berkeley (University of California), 

Dartmouth College in New Hampshire, McGill in Montreal, and 

Mount Allison in New Brunswick. For several years, he has been 

teaching early music performance practice to voice and instrumental 

students at the Université de Montréal, as well as conducting the 

Baroque opera that is produced there once every two years. 

After some years in Berlin, he now spends as much time as possible 

with his family — which includes three children as well as several pets 

— in his adopted home, Montreal, and is active in both his kitchen 

and his garden. 

Chloe Meyers 

Pacific Baroque Orchestra concert mistress, violin & viola d’amore 

Heralding her beginnings as a true northern Albertan, violinist 

Chloe Meyers began her training at the age of three, with the full 

intention of catching up to her older sister. Her training continued 


Bach Mass In B Minor Ultimate Baroque 

8 pm Friday, March 29, 2013 Orpheum Theatre 

Shannon Mercer, soprano | Allyson McHardy, alto | Lawrence Wiliford, tenor 

Brett Polegato, bass | Vancouver Chamber Choir | Pacifica Singers 

Vancouver Chamber Orchestra | Jon Washburn, conductor 

JS Bach’s towering choral masterpiece, the Mass in B minor is one 

of the great monuments of all music, plumbing the depths of musical 

and spiritual experience for performers and audience alike. Conductor 

Jon Washburn leads the outstanding soloists, choirs and orchestra to 

present this musical highlight of the season. 

PBO 


Alexander Weimann, Artistic Director 

www.pacificbaroque.com 

TICKETS ON SALE NOW! 

1-855-985-ARTS (2787) 

www.vancouverchamberchoir.com 

odlumbrown.com 

Mozart à Milano 

with Michael Maniaci 

Arias from Lucio Silla, and early Mozart symphonies 

odlum brown applauds 

Early Music Vancouver’s 

2012 Summer Festival. 

Odlum Brown Limited is a proud sponsor of Early 

Music Vancouver’s Festive Bach Cantatas for Christmas 

at the Chan Centre. 

Member-Canadian Investor Protection Fund 

n Friday September 28, 8pm at Christ Church Cathedral, Vancouver 

n Saturday September 29, 8pm at West Vancouver United Church 

lux/nox 

PBO and musica intima 

Advent and Christmas music with two of Vancouver’s most cherished ensembles 

n Saturday November 17, 7:30pm at St. John’s Shaughnessy, Vancouver 

n Sunday November 18, 2:30pm at St. Andrew’s United Church, North Vancouver 

Purcell & Friends 

with Marc Destrubé, music director 

Radiant sonatas and fantasias by Henry Purcell and his contemporaries 

n Saturday March 2, 2013, 7:30pm at St. Mark’s Church, Kitsilano 

n Sunday March 3, 2013, 2:30pm at West Vancouver United 

Handel/Bach Organ Concerti 

with Alexander Weimann, soloist 

A potpourri of concerti for organ, oboes and violin, featuring PBO’s music director, 

Alexander Weimann, playing the splendid West Vancouver United organ. 

One performance only, so buy your tickets early! 

n Saturday June 1, 7:30pm at West Vancouver United Church 

2012 /13 


through the University of Victoria, and then McGill University, 

where she was introduced to, and fell in love with, the baroque violin. 

Chloe now plays a major role in the Montreal and North American 

early music scene. 

She is the concert mistress of Vancouver’s prestigious Pacific 

Baroque Orchestra, the presiding concertmaster of Montreal’s Le 

Nouvel Opera, Tempo Rubato, and the first violinist and founding 

member of Les Voix Baroques. With countless tours, concerts, and 

CDs behind her, Chloe can be heard with record labels ATMA, 

Deutschland Funk, Analekta, CBC Records, earlymusic.com and on 

Bravo television. 

Pacific Baroque Orchestra 

The Pacific Baroque Orchestra (PBO) is recognized as one of 

Canada’s most exciting and innovative ensembles performing “early 

music for modern ears”. As the only professional period-instrument 

orchestra west of Toronto, this ensemble of professional musicians 

brings the music of the past up to date by performing with cutting 

edge style and enthusiasm. Formed in 1990 by a group of dedicated 

musicians who shared a passion for performing baroque and 

early classical music, the PBO invited prominent early music 

violinist Marc Destrubé to lead the ensemble from 1992 to 2007. 

The Orchestra quickly established itself as a force in Vancouver’s 

burgeoning music scene, becoming a registered charity in 1992 

and acting under the auspices of other organizations, such as 

Early Music Vancouver. In 1996 the PBO created its own annual 

concert series of engaging programmes, innovative collaborations, 

and international soloists that have become hallmarks of Pacific 

Baroque Orchestra concerts. 

In 2009/10 PBO welcomed Alexander Weimann as our new Artistic 

Director, and his wife Chloe Meyers as concert mistress. Weimann is 

a world-renowned harpsichordist/organist/fortepianist who brings 

an intoxicating mixture of joy, scholarly insight and sensitivity to his 

music-making and direction. 

The relationships formed over the last 20 years have established 

the Orchestra as an integral part of the artistic community in 

Vancouver while providing ongoing collaborative opportunities. 

Past collaborations have included baroque dance specialists Thomas 

Baird and Paige Whitley-Bauguess, fencing master Bac Tau and the 

Squamish Nation Eagle Song Dancers. 

The musicians of Pacific Baroque Orchestra have been at the core of 

many large-scale productions by Early Music Vancouver in past years — 

such as the annual Bach Cantata Project Christmas Concerts, directed 

by Marc Destrubé at the Chan Centre. They have also been involved 

in summer Festival productions, directed by Alexander Weimann, also 

at the Chan Centre – including Handel’s La Resurrezione, Rameau’s 

Pygmalion, and Purcell’s The Faerie Queene and King Arthur. 

d www.pacificbaroque.com 

In the coming days, this production of Handel’s “Orlando” 

will be recorded on CD for future release 

on the Canadian ATMA label. 

Pacific Baroque Orchestra is delighted that the Ministry of 

Community, Sport and Culture has granted support towards 

this project through its Community Gaming Grants program. 

Our Donors did it! 

Running a series of highly-regarded summer courses 

and a summer festival of this calibre is a costly affair; our 

acknowledgements on page 3 list the many agencies who 

have contributed to making this possible. On the final 

pages of this programme, we recognise in particular our 

many individual Annual Donors and our Scholarship 

Fund Donors, who are so crucial in our achievements! 

You too can be part of our ongoing achievements, and 

help us make future festivals, educational programmes 

& concert series even more successful! All donations are 

fully tax-deductible; and making a donation is easy. 

Here’s all you need to do: 

Go to our Home Page < www.earlymusic.bc.ca > 

and click on the “Donate on-line” button: 

This takes you to our secure Donation section, 

where you can caculate immediately what 

the level of your tax deduction will be! 

This final step will let you, hassle-free and secure, 

make your donation. Your contribution will 

be acknowledged and a tax receipt will be 

sent within the next few days. 

You can do it too! 

www.earlymusic.bc.ca — Handel’s “Orlando” - page 13 — Vancouver Early Music Festival 2012 

� 

�

Michael Maniaci in Performance 

A stunning season opener, with two performances featuring international 

vocal sensation, male sopranist Michael Maniaci, in a very special event 

with Vancouver’s own Pacific Baroque Orchestra directed by Alexander 

Weimann. A programme of bravura arias from Mozart’s early opera “Lucio 

Silla”, two youthful symphonies, and the joyous motet “Exsultate Jubilate”. 

Don’t miss it! Order your tickets now at www.earlymusic.bc.ca or 

by phone through the Early Music Vancouver office: 604 732-1610. 


& Pacific Baroque Orchestra: 

A stunning Season Opener! 

Mozart 

à Milano 

Friday evening, 28 September Saturday evening, 29 September 

Pre-concert introduction at 7:15 | Concert at 8:00 pm Pre-concert introduction at 7:15 | Concert at 8:00 pm 

Christ Church Cathedral West Vancouver United Church 

690 Burrard at West Georgia, downtown Vancouver 2062 Esquimalt Avemue at 21st Street, West Vancouver 

For details: Early Music Vancouver, 604 732-1610 or www.earlymusic.bc.ca 


Act 1 

n Scene 1 

Ouverture 

G.F. Handel: 

“Orlando” 

Unknown librettist, based on a text by Carlo Sigismondo Capece after Ludovico Ariosto 

Zoroastro, the sorcerer, is worried. Orlando, a great warrior, has fallen in love with the foreign princess, Angelica, who has been 

living in Dorinda’s house for some time. Since falling in love, Orlando has shown little inclination to perform deeds of valour 

and refuses outright to listen to Zoroastro’s demands that he should again take a greater interest in his military duties. Dorinda 

has also noticed that Orlando lives only for love at the moment. Angelica, however, does not return Orlando’s love; her heart 

belongs to a mysterious hero called Medoro whom she nursed to health when he was wounded. She was helped in this by 

Dorinda, who is now also in love with Medoro. 

Orlando tries in vain to win Angelica’s affection with proof of his love. Dorinda discovers Angelica’s and Medoro’s so far wellkept 

secret of their love for each other and her hopes of finding happiness with Medoro are thus dashed. Angelica and Medoro 

thank Dorinda for all her help by giving her a piece of jewelry and try to comfort her in her love-lorn state with assurances 

that she will one day also find true love. 

(Notte. Campagna con monte in prospetto; (Night. A country with a mountain in prospect; 

Atlante sopra la coma del monte, che sostiene il Atlas, on the summit of the mountain, sustaining 

cielo sopra le spalle. Molti Geni piede del monte: the heavens on his a shoulders. Several genii at the 

Zoroastro appoggiato sopra ad un sasso foot of the mountain: Zoroastro leaning on a 

contemplando i motti delle stelle.) stone, and contemplating the motion of the stars.) 

Recitativo zoroastro Geroglifici eterni, Eternal emblems of mysterious meaning, 

Accompagnato Che in zifre luminose ogn’or splendete the shine in characters of radiant light, 

Ah! Che alla mente umana what a pity ’t is that ye should only seem 

Altro che belle oscurità non siete. a fair obscurity to mortal minds! 

Recitativo zoroastro Pure il mio spirto audace But my advent’rous soul by deep research, 

Crede veder scritto là su in le stelle thinks she now sees, recorded in the stars, 

Che Orlando, eroe sagace, the great Orlando, fam’d for arms and wisdom, 

Alla gloria non fia sempre ribelle. will not, for ever, be a foe to glory – 

Ecco, sen vien. Su, miei consigli, all’opra! but see he comes – be prevalent, my counsels. 

n Scene 2 (Orlando e Zoroastro) 

Aria di Orlando orlando Stimolato dalla gloria 

Agitato dall’amore 

Che farai, misero core? 

Recitativo zoroastro Purgalo ormai da effeminati sensi. 

orlando Chi sei? Che parli? Che vuoi tu? Che pensi? 

zoroastro Di tua gloria custode 

Ti stimolo a seguirla. 

Ergi ‘l core 

Alle grandi opre. 

orlando Ah! Me lo tolse amore! 

zoroastro Te lo renda il valore 

orlando Languisce in petto 

zoroastro Scherno esser vuoi d’un vile pargoletto? 

Aria di Zoroastro zoroastro Lascia Amore, e segui Marte! 

Va, combatti per la gloria. 

Sol oblio que l ti comparte 

Questo sol bella memoria. 

Lascia, etc. 

(Orlando and Zoroastro) 

How wilt thou act the proper part? Determine 

now, my wretched heart, whom glory’s mighty call 

inspires, and love consumes with all its fires. 

Refine that heart from each unmanly passion. 

Who art thou? Say, and what may be thy meaning? 

I am the watchful guardian of thy glory, 

and stimulate thee to pursue it now: 

rouse then thy heart to deeds 

that mark the hero. 

That heart, alas! is love’s unhappy captive. 

But active valour will regain its freedom. 

Valour is now grown languid in my breast. 

And canst though then determine to sustain 

the haughty scorn of an inglorious boy? 

Flee Cupid, and his wanton cares, 

and follow Mars to fields of fame: 

for thee, oblivion Love prepares, 

but war’s bright god will crown thy name. 

Flee Cupid … 

Please turn page quietly 


n Scene 3 (Orlando solo) 

Recitativo orlando Immagini funeste 

Accompagnato Che turbate quest’alma! 

E non avrò sopra di voi la palma? 

Sì, già vi fuggo, e corro 

A innalzar col valor novi trofei: 

Ti rendo o bella gloria gli affetti miei. 

Ma che parlo? E non moro? 

E lascerò quell’idolo che adoro! 

No: parto, e fia mia gloria, 

Più servir ad amor, ch’aver vittoria. 

Aria di Orlando orlando Non fu già men forte Alcide 

Benché in sen d’Onfale bella 

Spesso l’armi egli posò! 

Né men fiero il gran Pelide 

Sotto spoglie di donzella 

D’Asia i regni minacciò! 

Non fu, etc. 

(Parte) 

n Scene 4 (Boschetto con capanne di pastori. 

Dorinda, poi Orlando) 

Arioso di Dorinda dorinda Quanto diletto avea tra questi boschi 

A rimirar quegli innocenti scherzi 

E di capri, e di cervi? 

Nel serpeggiar dei limpidi ruscelli 

Brillar i fior, ed ondeggiar le piante; 

Nel garrir degli augelli 

Nello spirar di zeffiretto i fiati. 

Oh giorni allor beati! 

Ora per me funesti. 

Recitativo dorinda Io non so che sian questi moti 

Che sento adesso entro il mio core. 

Ho inteso dir, che ciò suol fare amore. 

(Si sente di dentro strepito d’armi: 

Orlando con la spada alla mano conducendo seco 

una Principessa) 

Recitativo orlando Itene pur tremendo anime vili 

Concitato Ite d’abisso a popolare i regni. 

Tu illustre Principessa 

Libera sei, e reco più a mia gloria 

Il tuo bello servir, ch’ogni vittoria. 

(Partono) 

(Orlando solo) 

Ye fatal forms 

whose sight confounds my soul! 

Shall not I prove triumphant over ye now? 

Yes, I renounce ye all, and fly with ardour 

to raise new trophies of renown by valour. 

To thee, bright glory, I resign my passions. 

But ah! what words are these? Do I yet live! 

How can I leave the charmer I adore! 

No, I’ll away, and count my glory greater 

in love’s soft service, than in laurelled conquests. 

Less brave Alcides did not prove, 

tho’ oft his arms, in hours of love, 

in Omphale’s soft lap he cast: 

Nor did Pelide’s rage decay, 

when in a damsel’s soft array 

he threaten’d Asia’s realms to blast. 

Less brave Alcides … 


(Exit) 

(A little wood, interspersed with the cots of 

shepherds. Dorinda, and afterwards Orlando) 

How pleasing ‘tis, amidst these woods, 

to view the harmless play 

of bounding goats and fawns! 

To see the streams in crystal windings roll, 

to gaze on blooming flowers and waving plants, 

to hear the warbling of the feather’d choirs 

and smell the breathing of the balmy gales! 

O, blessed days, that then I thought my bliss! 

Tho’ now they prove the source of all my woe! 

I know not what these strange impressions mean, 

that I now feel within my flutt’ring heart: 

I’ve heard indeed that love thus acts his part. 

(A clashing of arms within is heard, after which 

Orlando enters, with his drawn sword, leading a 

princess) 

Away, ye impious slaves! In spite of all your 

murmuring vain reluctance, haste! away! 

And people the dark realms of hell’s abyss. 

But freedom, lovely princess, now is yours; 

and I esteem your service more my glory 

than all the trophies I could raise by conquest. 

(Exeunt)

Recitativo dorinda Quegli è il famoso Orlando 

Che vive, a quel ch’io vedo 

Anch’esso amando. 

Aria di Dorinda dorinda Ho un certo rossore 

Di dir quel sento 

S’è gioia o tormento 

S’è gelo o un ardore 

S’è al fine – nol so. 

Pur picciolo meco 

Bisogna che sia 

Piacere o dolore 

Se l’anima mia 

Rinchiudere lo può. 

Ho un certo, etc. 

(Parte) 

n Scene 5 (Angelica e poi Medoro a parte) 

Recitativo angelica M’hai vinto al fin, m’hai vinto, o cieco Nume! 

Deh, mira al fin, che l’idolo mio, che adoro 

E’ l’amabil Medoro 

Io lo vidi ferito; 

(Medoro ascolta a parte) 

angelica Sanarlo procurai, ma le sue piaghe 

Saldando nel suo petto: ah! Nel mio core 

Per lui apriva Amor una maggiore. 

Arioso di Angelica angelica Ritornava al suo bel viso 

Fatto già bianco e vermiglio 

Con la rosa unito il giglio 

Dal pallor delle viole. 

Arioso di Medoro medoro (Accostandosi) 

E il mio cor da me diviso 

Si struggeva in fiamma lieve 

Come suol falda di neve 

Discoperta ai rai del sole. 

Recitativo angelica Spera, mio ben, che presto 

Con più tranquilla sorte 

D’esser a me nel regno 

Come già reso sei in amor, consorte. 

medoro Di tanto onor mi scorgo indegno. 

Aria di Angelica angelica Chi possessore è del mio core 

Può senza orgoglio chiamarsi Re. 

Io ch’ho spezzato più d’un impero 

Ho a te piagato l’animo altero 

E più d’un soglio val la mia fe’. 

(Parte) 

This hero is much the renowned Orlando, 

who, to my apprehension, also seems 

to live subjected to the laws of love. 

A strange confusion I reveal 

when would I utter what I feel. 

Whether ‘tis thrilling joy or woe, 

or frost or flame that moves me so; 

or whether—but whate’er it be, 

‘tis totally unknown to me. 

But be it thrilling joy or woe, 

yet with this certainty I know, 

my share of either is but small, 

since thus my soul conceals it all. 

A strange confusion… 



(Exit) 

(Angelica, and afterwards Medoro, apart) 

At length blind god, at length thou art my victor. 

Ah! behold the strange event, the charmer I adore 

is now the dear Medoro, formed for love 

I saw him bleed, and I procured relief. 

(Medoro listens) 

But as the wound in his fair bosom closed 

resistless Love, ah me! with one more fatal 

transfixed my soul beyond the aid of art. 

New blooming health did soon restore 

the lily mingled with all the rose, 

to that fair face which did before 

the violet’s pale hue disclose. 

(Approaching her) 

Then my lost heart began to glow, 

and in soft flames consumed away 

as tender flakes of falling snow 

are melted in the sunny ray. 

Dear youth, indulge the pleasing hope that you, 

e’er long, befriended by a kinder fate, 

shall share my empire, 

as you share my heart. 

I’m all unworthy of so great a glory. 

My heart’s possessor well may claim, 

guiltless of pride, a monarch’s name, 

since I, who often did disdain, 

o’er many a proffered realm to reign; 

for thee my haughty scorn disown 

and sure my constancy alone 

transcends the worth of many a throne 

(Exit)

n Scene 6 (Dorinda e Medoro) 

Recitativo medoro Ecco Dorinda, né sfuggirla io posso. 

dorinda Medoro, al fin ti ritrovo 

Pure una volta solo; perché poche 

Son quelle che lontana da te stia 

La tua bella parente; ed ho timore 

Che più del sangue a lei t’unisca amore. 

dorinda Vorrei gentil Medoro 

Poterti prestar fede; 

Ma il core non ti crede, e che ingannarmi 

Dice, che vuoi. Non posso consolarmi. 

Aria di Medoro medoro Se il cor mai ti dirà 

Ch’io mi scordi di te, 

Rispondigli per me, 

Ch’è menzognero 

Memoria sì gradita 

Altro che con la vita 

Mai non si partirà 

Dal mio pensiero. 

Se il cor mai ti dirà, etc. 

(Parte) 

n Scene 7 (Dorinda sola) 

Recitativo dorinda Povera me! Ben vedo che m’alletta 

Con un parlar fallace; 

Ma così ancor mi piace, 

E ogni sua pargoletta 

Mi fa all’udito certa consonanza 

Che accorda col desio pur la speranza. 

Aria di Dorinda dorinda O care parolette, o dolci sguardi 

Sebbene siete bugiardi 

Tanto vi crederò. 

Ma poi che far potrò 

Allor che troppo tardi 

Io vi conoscerò. 

O care parolette, etc. 

(Parte) 

(Dorinda and Medoro) 

But see Dorinda comes, 

nor can I now fly from her presence. 

I at least, Medoro, 

have found thee once along, for ‘tis but seldom 

when thou art present that thy fair relation 

is severed from thy side, and much I fear 

that ye are both so tenderly united 

less by affinity than mutual love. 

Lovely Medoro, I would fain believe thee, 

but still my heart suspects thy truth, and whispers, 

that thou art still determined to deceive me, and 

this deprives me of consolation. 

If then thy heart, with vain alarms, 

tells thee that I forget thy charms, 

O answer it for me, my fair, 

that it, indeed, deceives thee there. 

The soft remembrance of thy love 

I cherish with such fond desire, 

that it, as the event will prove, 

can only with my life expire. 

If then thy heart… 

(Exit) 

Sign up for our E-mail Reminder Service! 

Unhappy me! Too well I am convinced, 

that he allures me with fallacious language; 

but he retains the power to charm me still, 

and each soft accent that he fondly utters, 

with so much harmony enchants my ear 

that all my hopes accord with my desires. 

O charming sounds, O looks relieving, 

though ye appear but too deceiving, 

I’ll trust you still with my repose. 

But what can sooth my sad confusion, 

when I discover the delusion 

too late to ease me of my woes! 

O charming sounds … 

(Exit) 

You don’t have to miss our performances anymore, simply because you misplaced our 

concert schedule. Subscribe to our E-mail Reminder Service, and you will receive a 

reminder one week before each concert. Just send us an e-mail with the word “subscribe” 

in the subject line, and also include your post address and telephone number in the body 

of the message. Simple! 

This will also help us save postage costs – but we promise that we will continue to mail 

you our annual colourful Season and Festival brochures. 

We do make it easy to “unsubscribe”; and we won’t pass your e-mail address on to others. 

staff@earlymusic.bc.ca 


n Scene 8 (Zoroastro, Angelica e poi Orlando) 

Recitativo zoroastro Noti a me sono i tuoi fatali amori 

Con Medoro. E non temi 

La vendetta d’Orlando? 

angelica E’ ver, che devo 

Molto all’eroe; ma … 

zoroastro Già sen vien. Celato 

Mi terrò per vegliar d’ognuno il fato 

(Si ritira in disparte) 

angelica (Si presenta ad Orlando) 

Orlando, è pur vero 

Ch’io qui ti veda! 

orlando Oh Cieli! O cara, e come 

Potevo mai sperar sì lieta sorte! 

Angelica mio bene. 

angelica (Vedendo Medoro da lontano) 

(Ma, oh Dei! Vedo Medor! 

Convien che Orlando allontani di qua) 

(Esce il mago facendo segno colla verga, 

sorge di sotterra una gran fontana, 

che copre Medoro, la scena cangiandosi 

in un delizioso giardino.) 

orlando Chiedimi o bella 

Nuove prove d’amore 

angelica (O soccorso opportun!) 

Sentimi Orlando 

Se pur vuoi, ch’io ti creda 

A me fedel, pronto da te allontana 

La dama, che a color di mano hai tolto 

O non vedrai d’Angelica più il volto. 

Aria di Angelica angelica Se fede vuoi, ch’io ti creda 

Fa che veda la tua fedeltà 

Finchè regni nel mio petto il sospetto 

Mai l’amor vi regnerà 

Se fedel, etc. 

(Parte) 


Recitativo orlando T’ubbibirò, crudele, 

E vedrai in questo istante 

Che della Principessa 

Fui solo difensore, ma non amante. 

Aria di Orlando orlando Fammi combattere 

Mostri e tifei 

Nuovi trofei 

Se vuoi dal mio valor. 

Muraglie abbattere 

Disfare incanti 

Se vuoi ch’io vanti 

Darti prove d’amor. 

Fammi combattere, etc. 

(Parte) 

(Zoroastro, Angelica, and afterwards, Orlando) 

I know thy fatal passion 

for Medoro; and art thou fearless 

of Orlando’s vengeance? 

’Tis true, I’m much indebted 

to the hero; but still … 

He comes – I’ll keep myself concealed 

and will be watchful o’er your various fates. 

(Retires) 

(She stands before Orlando) 

Orlando, is it then true 

that I behold thee here? 

Oh heavens! My charmer! 

Could I e’er expect a joy like this! 

Angelica, my fair! 

(seeing Medoro at a distance) 

(Ah me! Ye gods! I see Medoro and it now 

behooves me to cause Orlando to retire from here.) 

(The magician comes forth and waves his wand, 

at which a large fountain rises out of the earth 

and conceals Medoro, the scene changing to a 

delightful garden) 

Demand, my fair 

new proofs of my affection. 

(O timely succour!) 

Hear me then, Orlando 

would you that I should think you faithful to me 

far from your presence then dismiss, forever 

the lady that you rescued from that band 

or ne’er behold Angelica again. 

Wouldst thou be thought by me sincere? 

Let that sincerity appear. 

Whilst doubts within my bosom reign, 

love, there, his empire can’t maintain. 

Wouldst thou be … 



(Exit) 


Yes I’ll obey thee, cruel as thou art 

and thou shalt, from this instant 

be convinced, I but defended 

and never loved the princess. 

Go bid me combat, in the field, 

the fiercest monsters earth can yield, 

if you, indulgent to my fame, 

new trophies of my valor claim. 

Bid me o’erturn some hostile tower 

or quell a dire magician’s power, 

if ‘tis thy pleasure I could prove, 

by dauntless deeds, how much I love. 

Go bid me combat … 

(Exit)

n Scene 10 (Medoro, ed Angelica trattenendolo) 

Recitativo medoro Angelica, deh lascia… 

angelica Fermati, oh Dei! 

Che pensi far, Medoro? 

medoro Riconosco chi sia 

Chi teco favellar fin’ora ho visto. 

angelica Fermati, a morir vai 

Che quello è Orlando 

medoro Alla gloria mi togli 

angelica Ma ti serbo all’affetto 

medoro Ubbidir devo … 

angelica Forza è partir pria che qui torni Orlando 

Va al fonte degli allori, ivi m’attendi. 

angelica E del mio amor un novo pegno or prendi 

& medoro 

(S’abbracciano, quando viene Dorinda, 

che trattiene Medoro) 

n Scene 11 (Dorinda e detti) 

Recitativo dorinda O Angelica, o Medoro; il vostro amore 

Indarno ormai si cela. 

angelica Dorinda, il ver dicesti; è tempo ormai 

Di non tener più ascoso 

Che Medoro è il mio sposo. 

Prendi, e conserva questa 

Grata memoria d’un sincero affetto. 

(Le dà un gioiello) 

dorinda Lo prendo, ma speravo 

Gioie più care aver dal tuo Medoro, 

Perché ancor io l’amavo. 

medoro Vaga Dorinda, perdonar mi dei. 

dorinda Il ciel te lo perdoni; che m’hai fatto 

Più mal di quel che sai con questo tratto. 

Terzetto angelica 

& medoro 

Consolati o bella 

Gentil pastorella 

Ch’al fine il tuo core 

E’ degno d’amore 

E amor troverà. 

dorinda Non so consolarmi 

Non voglio sperare 

Più amor non può darmi 

L’oggetto da amare 

Che perder mi fa. 

angelica Non perder la speme 

Ch’è l’unico bene 

medoro Hai l’alma costante 

Per esser amante 

dorinda No, solo fra pene 

Il cor viverà 

angelica Consolati o bella, etc. 

& medoro 

(Medoro, and Angelica detaining him) 

Ah! Leave me here, Angelica! 

O stay! 

What is the purpose of thy soul, Medoro? 

To know who is that bold, intruding stranger 

Whom I, til now, beheld in conversation with you. 

Stay, I entreat you, for you rush on death: 

the stranger you beheld was great Orlando. 

You now detain me from a glorious prize. 

I but preserve thee for love’s softer joys. 

I’m all obedience … 

We must needs part before Orlando returns. 

Haste to the fountain, and there expect me. 

Now take a new soft pledge of my soft affection. 

(They embrace, and then enters Dorinda, 

who detains Medoro) 

(Dorinda and the aforementioned) 

In vain, Angelica, in vain Medoro, 

you labour to conceal your mutual flame,. 

’Tis true, Dorinda, and indeed I own 

‘tis time, at last, no longer to conceal 

the secret that Medoro is my spouse. 

Receive from me, and be inclined to keep 

this grateful pledge of a sincere affection. 

(Gives her a jewel) 

I take it, but I hoped I should possess 

a dearer gem from thy Medoro’s gift, 

for in reality I fondly loved him. 

You ought to pardon me, my fair Dorinda. 

Heaven pardon thee, for thou 

hast injured me much more than thou dost know. 

Lovely shepherdess, at last, 

be comforted by what is past; 

thy heart, wherein such virtues reign, 

well merits love, 

and love shall gain. 

No consolation can I know, 

I will not hope to end my woe, 

for love, alas! has now no more a future joy 

for me in store since its hard law my hope denies 

the only object I could prize. 

Resolve not rashly to destroy 

kind hope that is our only joy. 

The shining constancy does prove 

thy soul was formed for happy love. 

No; to some solitude I’ll go 

and linger out a life of woe. 

Lovely shepherdess … 

u There will be a brief tuning break; please remain seated. The interval is scheduled following Act 2 w 


Act 2 

Orlando learns from Dorinda of Angelica’s love for Medoro; the piece of jewelry the lovers gave Dorinda had been a present 

to Angelica from Orlando. Beside himself with jealousy and rage, Orlando is torn between thoughts of revenge and suicide. 

Zoroastro warns Angelica and Medoro of Orlando’s fury and promises to help them when they decide to flee from Orlando. 

While Medoro is making the necessary arrangements for their flight, Orlando discovers Angelica, who just manages to escape 

from him. Tormented by anger and jealousy, Orlando becomes unhinged. 

n Scene 1 (Bosco, Dorinda sola) 

Arioso di Dorinda dorinda Quando spieghi i tuoi tormenti 

Amoroso rosignolo 

Par che canti e piangi allor 

E accompagni il mio dolor. 

n Scene 2 (Orlando e Dorinda) 

Recitativo orlando Perché, gentil donzella 

Così vai pubblicando 

Ch’ha rapito Isabella, e l’alma Orlando? 

dorinda Io? Signor, mal intese 

Ch’il ferì, d’Angelica parlai… 

orlando Dimmi, di quale Angelica tu intendi? 

dorinda Di quella, ch’era meco. 

E poi sen è partita 

Col suo Medoro, da lei tanto amato 

Ch’amavo pure anch’io 

Ch’era l’idol mio 

E me lasciò schernita 

Sebben questo gioiello m’ha donato 

(Gli fa vedere il gioiello) 

orlando Che miro, oh ciel! 

Questo è il maniglio appunto 

Che già di Ziliante a me fu dono 

E ch’io dopo a lei diedi. 

Ah! Più non posso 

Dubitar ch’ella sia, che me tradisce. 

Ma chi è costui, che ardisce 

D’esser a me rivale? 

E’ il Re Circasso? O Ferraguto il Moro? 

dorinda Già v’ho detto, che chiamassi Medoro 

Ed è giovane e bello 

D’una bona struttura. Ahi! Che non posso 

Scordarlo! Ed ora tutto quel che miro 

Parmi che sia Medoro e ognor sospiro. 

Aria di Dorinda dorinda Se mi rivolgo al prato 

Veder Medoro mio 

In ogni fior mi fa. 

Se miro il bosco, o ‘l rio 

Mi par che mormorando 

Or l’onde, ora le fronde 

Dicano sì ch’amando 

Qui ‘l tuo Medoro sta. 

Se mi rivolgo, etc. 

(A wood, Dorinda alone) 

When you, your soft resounding woes, 

O amorous Philomel disclose, 

you seem to sing in mournful strains, 

and suit your warbling to my pains. 

(Orlando and Dorinda) 

Why, fair Dorinda, dost thou thus proclaim, 

that by rude violence Orlando lately 

seized Isabella, and adores her now? 

I, my Lord? –Whoever related this 

ill understood the meaning of my heart. 

’Twas of Angelica I held discourse. 

Say, what Angelica? 

The very same 

who late resided at my rural cot, 

and since has left it with her dear Medoro 

a youth whom I too saw with love-sick eyes 

and doted on to fond idolatry 

yet he neglected and forsook me too: 

‘tis true this jewel he vouchsafed to give me. 

(She shows him the jewel) 

Heavens, what do I behold! 

The very bracelet that Ziliante once 

bestowed on me, and which I gave 

to this ungrateful woman. 

Ah! tis too certain that she has betrayed me. 

But who’s this minion that dares 

prove my rival? 

Is it Circassia’s monarch, 

or the Moor called Feragutus? 

I’ve already told you he’s named Medoro, 

and is young and lovely, graced with a harmony 

of shape. Ah, me! I never can banish him from my 

memories! Methinks even now, wherever I cast 

my eyes, I see his image all around me rise. 

If to the meads I take my way 

or through the verdant valleys stray 

methinks I see each flower assume 

my dear Medoro’s lovely bloom: 

if to the rolling streams I rove, 

or wander in the waving grove, 

methinks both streams and grove resound 

these vocal murmurs all around, 

behold your fond Medoro here, 

who languishes till you appear. 

If to the meads … 

(Parte) (Exit) 




Recitativo orlando E’ questa la mercede 

Angelica spietata! 

Del mio amor, di mia fede? 

Ah! Non vi gioverà da me fuggire 

Che sino d’Acheronte sulla strada 

Vi giungerà il mio sdegno, e la mia spada! 

Aria di Orlando orlando Cielo! Se tu il consenti 

Deh! Fa che nel mio seno 

Possa anche il ferro entrar; 

Perché a un sì rio dolore 

Dal misero mio core 

Sappia col ferro almeno 

L’uscita ritrovar. 

Cielo! Se tu il consenti, etc. 

(Parte) 

n Scene 4 (Deliziosa. Da una parte boschetto di lauri, 

e dall’altra una bocca di grotta.) 

(Angelica, Medoro e Zoroastro.) 

Recitativo zoroastro A qual rischio vi espone 

Incauti amanti un cieco amor?! 

angelica E’ d’uopo lontanarsi da Orlando 

zoroastro E s’ei vi giunge? 

medoro Ho core anch’io nel petto 

angelica Forse per me non sarà mai crudele 

zoroastro E avrà pietà di chi gli fu infedele? 

Affrettatene i passi per fuggir il suo sdegno 

E l’opra mia per vostro aiuto impegno 

Aria di Zoroastro zoroastro Tra caligini profonde 

Erra ognor la nostra mente 

S’ha per guida un cieco Nume. 

Di rovina sulle sponde 

E’ in pericolo imminente 

Se ragion non le dà il lume. 

Tra caligini, etc. 

(Parte) 

n Scene 5 (Angelica e Medoro) 

Recitativo angelica Da queste amiche piante 

Dovermi allontanar, quanto mi spiace! 

medoro Conserveranno ogn’ora, o mio bel core 

La memoria fedel del nostro amore 

angelica Ma del nostro cammino 

E tempo ormai di seguitarne il corso 

Vanne ed appresta a’ corridori ‘l morso 

Ch’io qui t’attendo. 


Is this the recompense for all my love, 

cruel Angelica, is this the prize 

of all my firm fidelity to thee? 

Ah, tis not flight that shall avail thee now! 

Even to the dreary banks of Acheron, my 

vengeance and my sword shall soon pursue thee! 

Heaven! if such wrongs are your decree, 

grant but this one request to me, 

that now my bosom may afford 

a passage to my plunging sword 

for such uncommon pangs of woe 

as are combined to rack me so 

may by my friendly blade at least 

be quickly banished from my breast. 

Heaven! if such wrong … 


(Exit) 

(A garden. On one side a grove of laurels, and on 

the other an opening into a grotto.) 

(Angelica, Medoro, and Zoroastro) 

Incautious pair, to what a threatening danger 

ye stand exposed by your imprudent passion! 

We ought to hasten far from fierce Orlando 

Should he surprise ye in your flight? 

My breast can boast a dauntless heart as well 

as his. 

He, for my sake, perhaps will not be cruel. 

Can he be kind to one that has betrayed him? 

Precipitate your flight from his revenge 

and I, to aid ye, will employ my art. 

Through unending dark meanders 

each unwary mortal wanders, 

when a sightless god is the guide 

still the fatal path pursuing 

to inevitable ruin 

when with reason unsupplied. 

Through unending dark … 

(Exit) 

(Angelica and Medoro) 

With what reluctance I’m compelled to leave 

the verdure of these hospitable shades! 

They will, my fairest, faithfully retain 

the dear memorial of our tender love. 

The time now urges 

us to haste away; go and prepare 

the steeds for our departure, 

and here I will await your wished return.

medoro Pronto d’ogni tuo cenno esecutor son io. 

Addio prati, addio fonti, allori addio 

(Scolpisce il loro nomi nella scorza degli alberi) 

Aria di Medoro medoro Verdi allori sempre unito 

Conservate il nostro nome 

Come unito sarà il cor. 

E poi dite a chi lo miri 

Da qual mano, quando, e come 

Fosse in voi sì ben scolpito 

Se volete, che sospiri 

Invidiando il nostro amore. 

Verdi allori, etc. 

(Parte) 

n Scene 6 (Angelica sola) 

Aria di Angelica angelica Non potrà dirmi ingrata 

Perché restai piagata 

Da un così vago stral. 

Se quando amor l’offese 

Ei pur mal si difese 

Dall’arco suo fatal. 

Non potrà dirmi ingrata, etc. 

(Parte) 


Recitativo orlando Legge sopra la scorza degli alberi 

Ma che rimiro? Oh Dei!? 

Scolpiti in queste piante 

I nomi rei d’Angelica e Medoro 

E ‘l lor perfido amore, e pur non moro! 

Ma dov’è quella man, che li ha scolpiti? 

Forse che in questo speco 

Del loro amor ricetto, ella s’asconde; 

Ne cercherò ben tutte 

Le più cieche voragini profonde. 

(Entra nella grotta) 

Your will, forever, I with joy obey. 

Farewell ye meads, ye springs and shades! 

(Carves their names in the bark of the trees) 

Ye trees, whilst ye adorn the plain 

our names united thus retain 

carved in the form that well imparts 

the constant union of our hearts; 

and then to each beholder tell 

what hand first traced them out so well 

and for what happy cause they were 

committed to your faithful care, 

if you desire our matchless love 

should each beholder’s envy prove. 

Ye trees … 



(Exit) 

(Angelica sola) 

Had reason power to rule his hate 

he never could call me an ingrate; 

because my soft, resistless heart 

was pierced by such a lovely dart: 

for he is conscious in his turn, 

that when love doomed him first to burn, 

all the resistance he could show 

could never elude the fatal blow. 

Had reason power to rule … 

(Exit) 


(Reads the engravings on the bark of the trees) 

But ha! What do I see! O righteous Gods! 

These trees discover the engraved names 

Of false Angelica, and cursed Medoro, 

and show too legible their impious love! 

Can I behold this baleful sight and live! 

But where’s the hand that marked 

these characters? 

Perhaps she’s hid in this sequestered cavern, 

the dark reception of their wanton loves! 

Yes, I will search them out, 

though I should plunge 

in every gulf that yawns in the deepest shadows. 

(Rushes into the grotto)

n Scene 8 (Angelica e poi Orlando) 

Recitativo angelica Tutto a poter partire 

Ha già disposto il mio gradito amante. 

Addio, dunque vi lascio, amiche piante. 

Aria di Angelica angelica Verdi piante, erbette liete 

Vago rio, speco frondoso 

Sia per voi benigno il ciel. 

Delle vostre ombre segrete 

Mai non turbi ‘l bel riposo 

Vento reo, nembo crudel. 

Verdi piante, etc. 


Recitativo orlando Ah Stigie larve! 

Accompagnato Ah scellerati spettri 

Che la perfida donna ora ascondete 

Perché al mio amor offeso 

Al mio giusto furor non la rendete? 

Ah misero e schernito! 

L’ingrata già m’ha ucciso; 

Sono lo spirto mio da me diviso 

Sono un’ombra, e qual ombra adesso io voglio 

Varcar là giù ne’ regni del cordoglio. 

Ecco la Stigma barca. 

Di Caronte a dispetto 

Già solco l’onde nere: con Pluto 

Le affumicate soglie, e l’arso tetto. 

Aria di Orlando orlando Già latra cerbero 

E già dell’Erebo 

Ogni orribile 

Squallida furia sen viene a me. 

Ma la Furia, che sol mi diè martoro 

Dov’è? Questa è Medoro. 

A Proserpina in braccio 

Vedo che fugge. Or a strapparla io corro. 

Ah! Proserpina piange! 

Vien meno il mio furore 

Se si piange all’inferno anco d’amore. 

INTERVAL 

Vaghe pupille, non piangete, no 

Che del pianto ancor nel regno 

Può in ognun destar pietà; 

vaghe pupille, non piangete, no 

ma sì, pupille, sì piangete sì 

che sordo al vostro incanto 

ho un core d’adamanto 

né calma il mio furor 

ma sì, pupille sì piangete sì. 

(Si getta furiosamente dentro alla grotta, 

che scoppia, vedendosi il Mago nel suo caro, 

che tiene fra le braccia Orlando, 

e fugge per aria.) 

(Angelica, and afterwards Orlando) 

All things are now, by my dear lovely youth, 

prepared for our departure. Friendly shadows 

I now salute you with my last farewell. 

Blooming thickets, bowery scene 

lovely rill and grotto green 

ever my serenest skies 

cheer you with their kind supplies 

Never may destructive storm 

your delicious sweets deform, 

or the soft repose invade 

of your ever secret shade. 

Blooming thickets … 


Ah Stygian monsters! Ah, ye impious spectres! 

Who hide that faithless woman from my view! 

Why render ye not up your guilty charge 

to my just vengeance and offended love! 

Wretch that I am! Abandoned and betrayed! 

The proud ingrate has robbed me of my life! 

I’m now a shade divided from my self 

a fleeting shade, and I as such determine 

to sink into the gloomy realms of woe! 

This is the Stygian bark! In spite of Charon 

I navigate the dark and dreary waves! 

There the throne rises of tremendous Pluto. 

Black with resounding smoke! Behold the God! 

How dreadfully he nods his flaming head! 

Now Cerberus begins to howl 

and hideous Furies grimly scowl; 

from each dark quarter of the dead, 

the haggard forms around me spread. 

But where the Fury is that lone torments me! 

This is Medoro in the guilty arms 

of Proserpine, who skims from my revenge! 

I fly to rend him from her wanton clasp! 

But ah, she weeps! Even Proserpine can weep! 

My fury softens, and I am calm again, 

since even in Erebus, love calls out tears. 

O lovely eyes, no longer flow! 

For, even in these realms of woe, 

a sight so moving will engage 

each Fury to renounce his rage. 

O lovely eyes, no longer flow! 

-Yes rather weep, forever, so! 

For I to your enchanting woes 

a heart like diamond I possess 

No softness shall my fury know 

Yes rather weep, forever, so. 

(Rushes furiously into the grotto, which bursts 

open, and discovers the Magician, seated in his 

chariot, who clasps Orlando in his arms, and 

flies through the air.) 


Act 3 

Dorinda is worried about Medoro’s safety. To her utter amazement, Orlando suddenly declares his love for her, but she then 

realizes that he does not really know who she is in his madness. He first sees in her his beloved, then an enemy whom he has 

to attack and destroy. Angelica realizes that Orlando’s unrequited love for her has brought on this fever of the brain. While she 

expresses her hope that Orlando will come to his senses, Dorinda is lost in her own thoughts about love. 

Zoroastro is convinced that his theory, namely that lovers all too often lose their minds, has been confirmed. He is determined 

to restore Orlando to his senses and set him back on the path to fame. 

In his madness, Orlando destroys everything that crosses his path. He first kills Medoro and then Angelica. When he finally 

falls asleep, exhausted, Zoroastro magically heals him. Orlando comes to and learns what he has done in his madness. In 

despair, he wants to kill himself – and is prevented from doing so by Angelica and Medoro, who had merely appeared to fall 

victim to his rage and had been saved by Zoroastro. Orlando overcomes his despair, accepts the betrothal of Angelica and 

Medoro and announces that from now on he intends to devote himself to his task of seeking glory as a war hero. Zoroastro 

has achieved his goal. 

n Scene 1 (Recinto di Palme. Medoro solo) 

Sinfonia 

Aria di Medoro medoro Vorrei poterti amar 

Il cor ti vorrei dar 

Ma sai che mio non è. 

E s’io ti dessi ‘l cor 

A un cor, ch’è traditor, 

Tu non daresti fe’. 

Vorrei poterti amar, etc. 

(Parte) 


Recitativo dorinda Più obbligata gli sono 

Or che mi dice il vero 

Son contenta, è sincero. 

(Parte ma viene trattenuta da Orlando) 

(A grove of palm trees, Medoro solo) 

My soul to love thee does incline 

I wish I had a heart to give 

but that is now no longer mine, 

and for another fair I live 

And you, sweet maid, would never believe 

a heart you knew could once deceive. 

My soul … 



(Exit) 

(Dorinda sola) 

He makes my obligation greater to him 

since he so freely now unfolds the truth 

and I’m contented since he proves sincere. 

(As she retires Orlando detains her) 

Don’t miss the Festival finale: a recital by acclaimed Dutch vocalist 

Harry van der Kamp 

bass 

with 


harpsichord 

Love’s Lament: Solo Cantatas Circa 1700 

D’India, Purcell, Bach & more 

This Friday, 17 August at 8:00 pm 

Roy Barnett Recital Hall, UBC

n Scene 3 (Orlando e Dorinda) 

Recitativo orlando Pur ti trovo, o mio bene 

E dopo tante pene 

Pur giungo a riveder il tuo sembiante! 

Tu non rispondi? 

dorinda Se mi vuole in consorte 

Saria per me di questo Eroe la preda: 

Chi sa? Giove altre volte arse per Leda. 

orlando E tu non parli ancora? 

Dimmi crudel, se vuoi, ch’io viva o mora 

orlando Unisca amor in noi 

Gli miei, gli affettituoi 

Venere bella. 

dorinda Ed innestar tu vuoi 

Al sangue degli eroi 

Me pastorella? 

dorinda Io son Dorinda. 

(Addio speranze! Per mia fe’ delira) 

orlando Per Angelica mia se tu sei morto 

Ora ne vuò vendetta. 

(Vuol tira r la spada, e mettersi in postura 

di battaglia) 

dorinda Signor aspetta … 

orlando Sì, sì, v’intendo ben. 

Or ch’io ho lasciato l’armi 

Son pronto a vendicarmi 

(Getta l’elmo e la spada) 

(Orlando and Dorinda) 

Ah! have I found thee then at last, my fairest? 

And after such vicissitudes of woe 

do I once more behold they lovely face? 

Wilt thou not answer me? 

The conquest of this hero will be glorious, 

should he determine to espouse me now; 

and who can tell how the event may prove? 

The breast of Jove once glowed for lovely Leda. 

Still art thou silent? Tell me, I entreat thee, 

thou cruel fair one, must I live or die? 

My charming Venus, hear my prayer 

let all-propitious Love prepare 

to join with his endearing bands 

our corresponding hearts and hands. 

And can you condescend to join 

the blood of heroes thus with mine, 

and rank with one of your degree 

a humble shepherdess like me? 

I am Dorinda. 

Farewell my hopes! For by my truth he raves. 

If for my dear Angelica you died 

I now determine to avenge your fall, 

(Draws his sword, and puts himself into a 

posture for combat) 

Ah hold, my Lord! 

I understand you well. 

I without arms 

am ready for my vengeance. 

(Casts away his sword and helmet) 

Aria di Orlando orlando Già lo stringo, già l’abbraccio 

Now I clasp my foe in fight 

Con la forza del mio braccio 

with my arms’ unerring might 

Nuovo Anteo l’alzo da terra: 

and raise with a resistless bound 

E se vinto non si 

SIKORA’S 

rende 

a new Antæus from the ground. 

Perché Marte lo difende 

If he scorns now to surrender 

Marte ancor io sfido a guerra. 

having Mars for his defender 

Son morto, a caro 

CLASSICALSIKORA’S 

bene, 

even Mars, the god of battles, 

Trafitto da rie pene 

I to mortal combat now defy. 

Languente cado a terra. 

Ah! I’m dad, my charming fair 

SIKORA’S RECORDS CLASSICAL 

pierced by pangs of pale despair 

(Parte) 

that my defenceless soul confound 

and lay me languid on the ground. 

CLASSICAL RECORDS SIKORA’S 

(Exit) 

RECORDS New & SIKORA’S 

Used CDs, DVDs & Vinyl CLASSICAL 

SIKORA’S 

Classical, 

CLASSICAL 

Jazz & more 

New & RECORDS 

Used CDs, DVDs & Vinyl 

432 W. Hastings St., Vancouver 

CLASSICAL 

New 

New 

& 

Used 

Used 

CDs, 

CDs, 

DVDs 

DVDs 

& 

Vinyl 

Vinyl RECORDS 

Classical, Jazz & more 

604.685.0625 

Classical, 

Classical, 

Jazz 

Jazz 

RECORDS 

& 

more 

more www.sikorasclassical.com 



604.685.0625 New & Used CDs, DVDs & Vinyl 


604.685.0625 

604.685.0625 

www.sikorasclassical.com 

www.sikorasclassical.com 

Classical, Jazz & more 

New & Used CDs, DVDs & Vinyl 432 W. Hastings St., Vancouver 



Recitativo dorinda S’è corrisposto un core 

Teme ancor del suo amore. 

Se un altro è mal gradito 

Prova il martir del barbaro Cocito. 

Nel mar d’amor per tutto v’è lo scoglio 

E vedo ben, che amare è un grand’imbroglio. 

Aria di Dorinda dorinda Amor è qual vento 

Che gira il cervello 

Ho inteso che a cento 

Comincia bel bello 

A farli godere. 

Ma a un corto piacere 

Dà un lungo dolor 

Se uniti due cori 

Si credon beati 

Gelosi timori 

Li fan sfortunati 

Se un core è sprezzato 

Divien arrabbiato 

Così fa l’Amor. 

Amore è qual vento, etc. 

(Parte) 

Scene 5 (Zoroastro accompagnato da’ Geni) 

Aria di Zoroastro zoroastro Sorge infausta una procella 

Che oscurar fa il cielo e il mare 

Splende fausta poi la stella 

Che ogni cor ne fa goder. 

Può talor il forte errare 

Ma risorto dall’errore 

Quel che pria gli diè dolore 

Causa immenso il suo piacer. 

Sorge infausta, etc. 

(Parte e li Geni entrano nella spelonca) 

Scene 6 (Dorinda e Angelica) 

Recitativo dorinda Il furioso Orlando 

Ha distrutto il mio albergo; eh Oh Dei non moro! 

Ed ha sepolto vivo il tuo Medoro 

(Parte piangendo) 

angelica Che intendo! Oh sorte ria! 

Crudel pur tolto m’hai l’anima mia! 

(Dorinda sola) 

If a successful passion warms her heart, 

intruding doubts will cloud that scene of joy; 

but if the lover sees his suit rejected 

he feels the horrors of infernal pangs, 

The sea of love is filled with rugged rocks; 

and now it seems most evident to me 

that love is all perplexity and care. 

Love is a blast that’s often found 

to turn the brain in eddies round: 

I’ve heard it does at first impart 

a secret pleasure to the heart, 

But for one transient joy bestows 

a length of sad succeeding woes 

If love two gentle hearts unites 

they fondly hail their soft delights: 

if jealous fears should then prevail 

the sources of their transports fail; 

but when a heart is once disdained 

the pang’s too great to be sustained 

and soon will fatal frenzy prove: 

these are the strange effects of love. 

Love is a blast … 



(Exit) 

(Zoroastro attended by genii) 

Pernicious tempests often rise 

and shed a gloom o’er seas and skies, 

some beamy star does then impart 

its rays and gladdens every heart. 

The brave may often err, tis true 

but when that error once they view 

what proved before a scene of woe, 

now bids unbounded pleasures flow. 

Pernicious tempests … 

(Exit, and the genii enter the cave) 

(Dorinda and Angelica) 

The wild Orlando has destroyed my mansion, 

and – oh ye gods, do I then live to tell it! – 

has in the ruins buried thy Medoro. 

(Exit weeping) 

What do I hear? Oh unpropitious fate! 

Thy cruelty has robbed me of my soul.

Scene 7 (Orlando e Angelica) 

Recitativo orlando Più non fuggir potrai 

Perfida Falerina…. 

angelica In me ravvisa 

Angelica da te già un tempo amata 

Ora da te aborrita. Aprimi ‘l petto 

Levane pur il core 

Come l’alma m’hai tolta 

E con Medoro l’hai sepolta viva. 

orlando Sì, sì, devi morir, o core ingrato. 

angelica Non piango il mio, ma di Medoro il fato 

Aria di Angelica angelica Finchè prendi ancora il sangue 

Godi intanto 

De’ miei lumi al mesto umor. 

orlando Sol ha sete di sangue il mio cor 

angelica Che dell’alma mia, che langue 

Questo pianto 

E’ sangue ancor 

Recitativo orlando Vieni…. 

orlando Ma non placa il mio giusto rigor 

(La prende per forza) 

angelica Numi, pietà! 

Vanne precipitando 

Di queste rupi al barbaro profondo 

(La getta furiosamente nella spelonca, che 

subito si cangia in un bellissimo 

Tempio di Marte) 

Concitato orlando Già per la man d’Orlando 

D’ogni mostro più rio purgato è il mondo 

Ora giunge la notte delle Cimerei grotte 

Ed è seco Medoro 

Che i papaveri suoi sul crin mi sfronda 

Porgendomi a gustar di Lete l’onda? 

Aria di Orlando orlando Già l’ebro mio ciglio 

Quel dolce liquore 

Invita a posar. 

Tu perfido amore 

Volando o scherzando 

Non farmi destar. 

(Si addormenta sopra di un sasso) 

(Orlando and Angelica) 

Ah faithless Falerina, thou no more 

shalt now elude my rage. 

Behold in me 

Angelica, whom once you loved so well, 

but whom you now pursue with detestation. 

Open my breast, and rend away my heart, 

as you’ve already torn from me my soul, 

and laid it low in poor Medoro’s grave. 

Death is thy due, O most perfidious woman. 

I mourn Medoro’s fate, and not my own. 

Until you cause my blood to flow, 

enjoy these tears, 

of trickling woe. 

My fury thirsts for blood alone. 

The tears with which I now bemoan 

my fatal fortune are a flood that 

issues with my vital blood. 

But these no soothing calm convey, 

to my just rage – 

away, away! 

(Seizes her by force) 

Down from these rocks 

to gulfs of deep perdition. 

Save me, ye gods, with your propitious pity! 

(He throws her furiously into the cave that 

immediately changes to a very beautiful 

temple of Mars) 

Now by Orlando’s hand the world I purged 

of all its most malignant baleful monsters. 

And now the darkness of Cimmerian dens gloom 

all around me, and the god of sleep invests my 

temples with his drowsy poppies, and makes me 

taste the oblivious streams of Lethe. 

Intoxicated with the draught 

of this pure liquor I have quaffed 

I feel its influences now 

lull to soft sleep my languid brow. 

And thou, perfidious love, no more, 

with all thy wanton wiles in store, 

shalt, to prolong my date of woes, 

awake me from my sweet repose. 

(Sleeps on a stone) 


Scene 8 (Orlando, che dorme, Zoroastro 

e poi Dorinda) 

Recitativo zoroastro Ecco il tempo prefisso! 

Amor, fa quanto puoi 

Che Orlando schernirà gl’inganni tuoi. 

Recitativo zoroastro Tu che del gran tonante 

Accompagnato Coll’artiglio celeste 

Il folgore sostieni 

Le mie leggi son queste 

(Rimirando il Cielo) 

Dalla region stellante 

Che rapida a me vieni 

Reca il divin liquore 

Per risanar dell’egro Orlando il core. 

Sinfonia (Zoroastro getta il liquore sopra il volto 

d’Orlando; poi si ritira. Orlando 

si sveglia sano) 

Recitativo orlando Dormo ancora, o son desto? 

Come qui mi ritrovo 

Senz’elmo e senza ‘l mio famoso brando? 

Chi disarmarmi osò? Parla Dorinda! 

dorinda Ve lo direi: ma temo che torniate 

Alla vostra follia 

E che lo paghi poi la mia vita 

Come pure faceste 

Ad Angelica e Medor, che voi uccideste. 

orlando Pur troppo hai detto, ed ho pur troppo udito. 

E non m’inghiotte il suolo? 

Non mi folgora il Cielo? 

Aria di Orlando orlando Per far mia diletta 

Per te la vendetta 

Orlando si mora. 

(Corre per andare a precipitarsi, quando rincontra 

Angelica, che lo trattiene) 

(Orlando asleep, Zoroastro, 

and afterwards Dorinda) 

The destined period is at last arrived 

and now vain Love oppose thy utmost power, 

Orlando shall despise they feeble wiles. 

And thou whose strong celestial grasp sustains 

the flaming bolt of heaven’s great thunderer, 

fly swiftly to me (for my laws are such) 

(surveying the skies) 

Down from the region of the radiant stars, 

and with thee bring the heavenly healing liquor 

to cure Orlando’s love-distempered soul! 

(Zoroastro sprinkles the liquor o’er the face of 

Orlando, and then retires, after which Orlando 

rises restored to his senses) 

Do I yet sleep, or am I now awake? 

And by what strange adventure came I here 

without my helmet and my famous sword? 

Who dared then to disarm me? Speak, Dorinda! 

I would inform you, but alas! I fear you will 

relapse into your former frenzy, and then 

repay me with the loss of life, as you have 

treated fair Angelica and her Medoro, whom 

you’ve lately murdered. 

Too much thou’st told me, and too much I’ve 

heard and will the earth not open to receive me? 

Or will not heaven now blast me 

with its thunder? 

That he may now at least prepare 

some vengeance for thy death, my fair, 

Orlando dies by his despair. 

(Runs to throw himself from a precipice, when 

he meets Angelica, who stops him) 



Concert Season n 2012-13 

Pick up your copy of our 

Season Brochure in the lobby tonight! 


n Scene 9 (Angelica, Orlando, Medoro, Zoroastro e Dorinda) 

Recitativo angelica Dei vive ancor. 

orlando Che vedo oh Dei! 

Angelica tu vivi? 

angelica Vivo sì, e vive ancora 

Chi amandomi t’offende, e vol la mia sorte…. 

medoro Signor, dammi la morte 

Non ti chiedo la vita 

Senza colei, per cui m’è sol gradita 

zoroastro Orlando, al tuo furore 

Geloso di tua gloria 

Io fui custode, e dalla morte 

Io trassi Angelica e Medoro 

E per ambo da te la grazia imploro. 

dorinda Signor vi prego anch’io 

Sebben perdo (ho un gran cor!) 

Medoro mio. 

orlando Non più! Uditte tutti, 

Quando sia d’Orlando la più bella gloria. 

(In questo punto sorge di sotterra in mezzo 

al tempio il simulacro di Marte col foco acceso 

sopra l’ara) 

Recitativo orlando Vinse incanti, battaglie,e fieri mostri 

Accompagnato Di se stesso, e d’amor oggi ha vittoria. 

Angelica a Medoro unita godi. 

gli altri Chi celebrar potrà mai le tue lodi? 

Soli & Coro orlando (Verso Angelica e Medoro) 

angelica 

& medoro 

Trionfa oggi ‘l mio cor 

E da sì bell’aurora 

Avrò più bello ancora 

Un giorno il vostro amor. 

Trionfa oggi ‘l mio cor 

E con più lieta face 

La fedeltà, la pace 

Risplenderà d’ognor! 

dorinda Mi scordo ogni dolor 

Oblio quel che m’affanna 

V’invito alla capanna 

Per festeggiar ancor. 

tutti Con un diverso ardor 

Giacchè ciascun è pago 

Dar lodi sol sia vago 

A gloria ed all’amor. 

w s u 

w s u 

(Angelica, Orlando, Medoro, Zoroastro & Dorinda) 

Ah, deign to live! 

What do my eyes behold? 

Ye gods! Angelica, dost thou yet live? 

I do indeed, and he is also living 

whose love so much offends you; but my fate – 

Give me my death, my Lord 

I ask not life 

if I must lose her, who alone can charm me. 

Orlando, jealous for thy future glory 

I, from thy fury and impending death 

have saved Angelica and her Medoro, 

and for them both 

thy favour I implore. 

My humble prayer I add, 

and though I lose my dear Medoro, 

yet my heart is noble. 

No more, no more, be now attentive all 

to what shall prove Orlando’s brightest glory. 

(At this instant the statue of Mars rises in the 

middle of the temple, with a fire kindled on the 

altar) 

He quelled enchantments and in combat 

conquered, and often laid the fiercest monsters 

low; now he’s victorious over himself, and Love – 

Angelica, be joined to thy Medoro 

Who can ever celebrate thy matchless praise? 

(To Angelica and Medoro) 

My heart now triumphs over each care, 

and this soft dawn that shines so fair, 

will now a beamy prelude prove 

to your brighter day of love. 

My heart now triumphs over each care, 

and constancy and peace shall share 

a fairer series than before 

of sweet succeeding joys in store. 

I remember now no more 

the former woes I did deplore, 

but to my home invite you now to prove 

the joys of such a festival of love. 

Since every breast has gained repose, 

and now with varied transports glows, 

let each the praise alone impart 

of love and glory, from the heart. 


Early Music at the Cellar 

A series of five intimate Tuesday evening recitals 

at the Cellar Restaurant & Jazz Club, offering a 

wide range of repertoire, with outstanding 

performers on early instruments. 

1 

2 

3 

4 

5 

Tuesday evening, October 23 at 8:00 pm 

Bach Cello Suites 

Suites 1, 4 & 5 for Unaccompanied Cello 

n Tanya Tomkins baroque cello 

– Generously sponsored by Tony & Margie Knox 

Tuesday evening, November 13 at 8:00 pm 

Ingenious Jesting 

Domenico Scarlatti & Joseph Haydn 

n Byron Schenkman harpsichord 

Tuesday evening, February 12 at 8:00 pm 

Beethoven’s Circle 

Sonatas by Dušek, Hummel & Beethoven 

n Michael Jarvis fortepiano 

In cooperation with 

n Paul Luchkow violin 

– Generously sponsored by Chris Guzy & Mari Csiemi 

Tuesday evening, February 26 at 8:00 pm 

Land’s End 

Music from the Western Edge of Europe 

n Maxine Eilander baroque harp 

n Stephen Stubbs lute & baroque guitar 

Tuesday evening, March 5 at 8:00 pm 

The Dawn of Virtuosity 

Recreating the First Trumpet & Keyboard Recital 

n Kris Kwapis baroque trumpet 

n Mahan Esfahani harpsichord 

– Generously sponsored by Sharon Kahn 

The Cellar Restaurant & Jazz Club 

3611West Broadway at Dunbar 

Doors open at 6:30 pm - Come for a drink, or a meal! 

All ages welcome. Music starts around 8:00 pm. 

Tickets: $ 25 per concert; all 5 Concerts for $ 100. 

Information & Ticket Orders: 

Early Music Vancouver, 604 732-1610 

or www.earlymusic.bc.ca 

Craig C. Tomlinson 

Craig C. Tomlinson 

HarpsicHords & Fortepianos 

HARPSICHORDS & FORTEPIANOS 


Treasurer position 

Craig Craig C. C 

Tomlinso 

Tomlinson 

HARPSICHOR 

& FORTEPIAN 

HARPSICHORDS 

& FORTEPIANOS 

1282 Jefferson Avenue 

West Vancouver BC, Canada V7 

1282 Jefferson 604 Avenue 

922-9471 craigtomlinson@te 

West Vancouver BC, www.tomlinsonharpsichord 

Canada V7T 2B1 

604 922-9471 craigtomlinson@telus.net 

1282 1282 Jefferson Jefferson Avenue, Avenue, West West Vancouver BC, BC, Canada Canada V7T V7T 2B1 2B1 

604 604 922-9471 www.tomlinsonharpsichords.com 

craigtomlinson@telus.net 

www.tomlinsonharpsichords.com 

Early Music Vancouver (“EMV”) is a British Columbia 

society registered as a charity. It has supported excellence 

in musical performance and education in Vancouver for 

over forty years. 

EMV has a fortunate history of strong collegial 

governance and fiscal responsibility, founded on sound 

accounting advice. In order to maintain that high 

standard, we are interested in having an experienced 

Chartered Accountant or Certified General Accountant 

join our Board to assume the role of Treasurer. EMV has 

an annual budget of around $ 1,000,000 and employs a 

professional bookkeeper who supports our Treasurer. 

If you are interested, or know of some qualified person 

who may be interested in volunteering for such a role, 

please send, or have such person send a brief resume 

to our Managing Director, Sarah Ballantyne, by email at 

staff@earlymusic.bc.ca . She can also be contacted by 

telephone at 604 732-1610. 

“Early Music” takes in a wide range of music peformed as 

originally composed, on period instruments. The result is both 

surprising and exhilarating. It provides a new perspective on 

all music. 

For more information, visit our website www.earlymusic.bc.ca 


n Archangels ( $ 10,000+): 

Elaine Adair * 

Dr Stephen & Mrs Betty Drance * 

José Verstappen * 

n Angels ( $ 5,000- $ 9,999): 

The August 15, 2012 performance 

of Handel’s “Orlando” was made 

possible through the generosity of 

a group of anonymous donors. * 

n Patrons ( $ 1,000- $ 4,999): 

Maurice & Tama Copithorne * 

Helen & Frank Elfert * 

Heather Franklyn * 

Dr Val Geddes * 

Ursula Graf * 

Chris Guzy & Mari Csiemi * 

Sharon Kahn * 

D. A. Knox Law Corporation 

Rick Parnell 

Dr Katherine E Paton * 

Nicholas Swindale * 

Jo & Bob Tharalson * 

Gordon Young * 

3 Anonymous Patrons * 

n Sponsors ( $ 500- $ 999): 

Kieran & Susanna Egan 

Patrick & Linda Gilligan-Hackett * 

Tony & Margie Knox * 

Dr Gerald & Audrey Korn 

Harry Locke * 

Yvonne McLean * 

Lucie McNeill * 

Patricia Merivale * 

Hans-Karl Piltz * 

Dr Robert S Rothwell * 

James & Wendy Russell * 

James & Jean Simpson * 

Anona Thorne & Takao Tanabe * 

Mark Vessey 

Dr James Whittaker * 

A donation in memory of 

Mrs Eve Farson 


Waldemar Windsson * 

3 Anonymous Sponsors * 

— OUR ANNUAL DONORS & SUPPORTERS — 

Early Music Vancouver gratefully acknowledges our many contributors & donors, who play a vital role 

in supporting the well-being of our organisation, and ensuring our continuing success. Thank you! 

n Benefactors ( $ 300- $ 499): 

Charles Flavelle * 

Beverley Green * 

Quentin Lake * 

John Leighton * 

David W McMurtry 

Margaret O’Brien * 

Tom & Margaret Taylor * 

5 Anonymous Benefactors * 

n Donors ( $ 100- $ 299): 

Evelyn Anderson * 

Dr Patricia Baird * 

Alan & Elizabeth Bell * 

Lesley Bohm * 

Janine Bond * 

Len & Carla Bosman * 

Mary Brown * 

Karl Brunner * 

Larry & Maggie Burr * 

Mr & Mrs Clark 

Gordon Cool * 

Ron Costanzo * 

Elisabeth de Halmy * 

Beatrix Degroot * 

Stephane Deseau 

Marc Destrubé & Anna Goren * 

Kenneth Dobell 

Robert & Marthena Fitzpatrick * 

Arlene Gladstone 

Douglas & Catherine 

MacLaughlin 

Gordon & Kathleen Gray 

Lyman & Penelope Gurney 

Evelyn Harden * 

Don Harder 

Beryl Hardstaff * 

Ada Ho & Doug Vance * 

John & Leni Honsaker * 

Hanna & Anne Kassis * 

Judy Killam 

Elizabeth Klassen * 

Harold & Simone Knutson * 

Michael Kobald * 

Graeme & Paddy Macleod * 

Marta & Nicolas Maftei 

Catherine Manning 

Melody Mason 

* A Special Thank-You 

* to our Loyal Long-Time Donors 

The names in these listings which are marked with an asterisk [*] indicate 

donors who have supported Early Music Vancouver annually for five years 

or more. Their loyal and ongoing generosity has been especially valued, 

and has helped ensure that we can plan our annual projects & seasons with 

confidence and with a solid sense of security. Thank you! 

Antoinette Massey 

Glenys McDonald * 

Barb Murray * 

Shari & Larry Nelson * 

Wilfried Ortlepp * 

Subramanian Paliappa 

Jane Papageorgis * 

Stephen & Elise Partridge 

David Pay 

David M Phillips 

Anne Piternick 

C. Rafferty 

Stefanie Reuter 

Barb Robertson * 

Wendy & Stuart Scholefield * 

Shirley Sexsmith * 

Mr Paris Simons * 

Gail & Robert Paul Stevens 

David & Eileen Tamblin * 

Barbara & Howard Teasley 

Will Tessier 

Raymond M Thompson 

Jan Rooks & Grant Tomlinson 

Leslie Uyeda 

Nicholas Voss 

Barbara M Walker * 

Karen Wilson * 

Audrey E Winch * 

Nancy Wong * 

Michael & Jane Woolnough * 


Roy Joseph Grothe 


Dr Jim Farmer 


Stephen Phillips 

9 Anonymous Donors * 

n Friends (up to $ 100): 

Jeremy Berkman 

Carolyn Birchall 

Pat Blunden * 

John & Marilyn Boston * 

Norma Chatwin * 

Marylin Clark * 

Michael Collins 

Greg Cross 

Catherine Crouch * 

Elizabeth Davies * 

Ruth Enns * 

Daniela Esparo 

Ann Ferries 

Jane Flick & Robert Heidbreder 

Judith Forst * 

Keith Freer * 

Lorraine Goldman 

Annie Hess * 

Agnes Hohn * 

Ralph Huenemann 

& Deirdre Roberts * 

Tasos & Joy Kazepides * 

Louise Klaassen 

Gayel Knott * 

Joslin Kobylka * 

Robert Koepke * 

Michael Lam 

Elizabeth Lamberton * 

Fiona MacKay * 

Mary McKinney * 

Nina Moser * 

Alfred & Jennifer Muma 

William & Jean Norquist * 

J Pemberton * 

Jane L Perry 

Thomas Querner 

Drs P Ratner & J Johnson 

Carole J Ruth 

David Ryeburn * 

Marguerite Sawyer * 

Linda Spratley 

Ronald Sutherland * 

Pat Unruh * 

James Walsh 

William H. Walsh 

Steven & Deborah Weiner 

John Wright 

Tessa Wright 


Bob Tharalson 

14 Anonymous Friends * 

These listings include donations received prior to July 28, 2012 

This listing acknowledges those who have supported us this past year, including 

donors who contributed to our Fall Campaign. Donations towards our 2012 

Scholarship Fund campaign are acknowledged separately on the following page. 

— SPECIAL THANKS TO — 

Brer Rabbit Printing Co. Ltd. | The Rosedale on Robson 

Sikora’s Classical Records | Urban Impact Recycling 


— SCHOLARSHIP DONORS — 

Early Music Vancouver also acknowledges the many donors to our 

annual Scholarship Campaign who, often in addition to their annual 

contributions to Early Music Vancouver, have contributed so generously 

to enable many young musicians and music students to take part in the 

annual summer courses of the Vancouver Early Music Programme. 

n Multiple Scholarships 

( $ 5,000+) 

Elaine Adair * 

The Lloyd Carr-Harris Foundation * 

n Two-Week Scholarships 

( $ 1,200+) 

Peter Ajello 

Vic & Joan Baker * 

Early Music America 

Dr Edward & Marianne Gibson 

José Verstappen * 

Gordon Young * 

n One-Week Scholarships 

( $ 650- $ 1,199) 

Etsuko Fuseya Jennings * 

John Leighton * 

James & Jean Simpson * 

The Hamber Foundation 


Tom Blom * 

Anonymous 

n Other Contributions 

(up to $ 600): 

Mary Brown * 

Judith Davis * 

Dr Gaelan de Wolf * 

Beatrix Degroot * 

Martina Farmer 

Keith Farquhar & Koji Ito * 

Heather Franklyn * 

Hannah & Ian Gay * 

Martha Hazevoet * 

William Herzer * 

Hanna & Anne Kassis * 

Judy Killam 

Gayel Knott * 

Brenda Lohrenz 

Patricia Merivale * 

Barb Murray * 

Shari & Larry Nelson * 

Scott Paterson * 

Joan Rike * 

Barb Robertson 

Dr Robert S Rothwell * 

Traudi Schneider * 

Celeste W Shannte * 

Tom & Margaret Taylor * 

Jo & Bob Tharalson * 

Barbara M Walker * 


Mrs Eve Farson 

9 Anonymous Donors* 

* The names in these listings which are marked with an asterisk [*] 

indicate donors who have supported Early Music Vancouver annually 

for five years or more. Their loyal and ongoing generosity has been 

especially valued, and has helped ensure that we can plan our summer 

courses & projects with confidence and with a solid sense of security. 

Thank you, especially also on behalf of the Scholarship recipients! 

— ENDOWMENT FUND DONORS — 

n ( $ 100,000+) 

The Drance Family 

Early Music 

Vancouver Fund 

n ( $ 20,000+) 

Vic & Joan Baker 

Ralph Spitzer & 

Hisako Kurotaki 

José Verstappen 

2 Anonymous 

Donors 

n ( $ 5,000+) 

Marcia Sipes 

n ( $ 2,500+) 

Maurice & 

Tama Copithorne 

n ( $ 1,000+) 

Frank & Helen Elfert 

Heather Franklyn 

Martha Hazevoet 

Ottie Lockey & 

Eve Zaremba 

Glenys McDonald 

Nicholas Swindale 

1 Anonymous Donor 

n (up to $1,000) 

Alan & Elizabeth Bell 

Meo Beo 

Jeffrey Black & 

Mary Chapman 

L & C Bosman 

Judith Davis 

J Flick & 

R Heidbreder 

Dr Val Geddes 

Margot Guthrie 

Linda Johnston 

Peter Kwok 

Susanne J Lloyd 

Janette McMillan & 

Douglas Graves 

Alberto Mondani 

— A LEGACY FOR EARLY MUSIC VANCOUVER — 

This past year, Early Music Vancouver received a generous contribution from a bequest of one of our donors: 

two keyboard instruments (a clavichord and a harpsichord) that have become a valuable addition to our 

collection, especially during the educational activities at our summer Vancouver Early Music Programme & 

Festival. 

An estate gift to the Early Music Vancouver (the “Vancouver Society for Early Music”) helps ensure that 

future generations will experience the same outstanding concerts & programmes that you enjoy now. Estate 

gifts provide donors with tax benefits while ensuring the long-term health of Early Music. 

It is simple to support us with a gift in your will or by designating the Vancouver Society for Early Music as the beneficiary of your RRSP, RRIF or 

life insurance. If you are considering such a gift, we encourage you to have your plans reviewed by your professional advisors and by Early Music 

Vancouver. To find out more, or for draft will wording, please contact José Verstappen or Sarah Ballantyne at . 


1254 West 7th Avenue, Vancouver BC, V6H 1B6 

A select group of donors has, in addition to their annual donations, 

generously contributed to Early Music Vancouver’s Endowment Fund 

which is administered by the Vancouver Foundation, and which 

currently stands at over half a million dollars. Interest from this Fund 

will continue to support our performances & activities in perpetuity. 

Barbara Murray 

Judith & Greg 

Phanidis 

Joan Rike 

Jo & Bob Tharalson 

Anona Thorne & 

Takao Tanabe 

Glenys Webster & 

Paul Luchkow 

A donation 

in memory of 

Tom Blom 

A donation 

in memory of 

C Y Chiu 

4 Anonymous 

Donors 

It is possible to contribute to the Early Music Vancouver Endowment Fund 

with a current gift, which can be pledged over time, or through a gift in your 

will. Matching funds for current gifts are available from Canadian Heritage. All 

donors to the Fund, whether their gift is current or planned, will be recognised 

in our programmes, with the donor’s permission. 

To find out more, please contact José Verstappen or Sarah Ballantyne at 

. 

Early Music Vancouver is pleased to accept gifts of publicly traded securities. 

When you donate securities traded on a designated stock exchange directly 

to Early Music Vancouver, you benefit from the donation tax credit, and the 

complete elimination of the capital gains tax. As a result, the combined tax 

savings can be quite impressive. 

[t]: (604) 732-1610 g [f]: (604) 732-1602 g [e]: staff @earlymusic.bc.ca g [w]: www.earlymusic.bc.ca

Early Music at the Chan Centre b 2012-2013 

Tallis Scholars’ 

Christmas 

Concert 

Thursday, 6 December 2012 

at 8:00 pm 

Three superb concerts at the Chan Centre for the Performing Arts at UBC 

Single Tickets for each performance, at $ 63, $ 48 and $ 32 (students & seniors $ 3 discount), 

or Series Tickets for all 3 concerts at $ 189 $ 151, $ 144 $ 115 and $ 96 $ 77 (students & seniors $ 180 $ 144, $ 135 $ 108 and $ 87 $ 70), including HST, 

are only available at the Chan Centre Ticket Office, or through Ticketmaster: 1-855-985-ARTS (2787) or www.ticketmaster.ca 

CIRQUE DU SOLEIL ® IS SEEKING PROFESSIONAL 

MUSICIANS FOR LIVE PERFORMANCES IN ITS 

CURRENT SHOWS AND UPCOMING CREATIONS. 

INSTRUMENTALISTS 

RECORDERS AND EARLY WIND INSTRUMENTS 

OBOE – LYRA PERCUSSION – VIOLA DA GAMBA 

AND EARLY STRING INSTRUMENTS – VIOLIN 

MULTI-INSTRUMENTALISTS 

SINGERS 

ALL VOICE TYPES INCLUDING COUNTERTENOR 

VERSATILE WITH STRONG TECHNIQUE 

ABILITY TO SING WITHOUT VIBRATO 

facebook.com/cirquedusoleilcasting 

myspace.com/cirquedusoleilmusicians 

Festive 

Bach Cantatas 

for Christmas 

Sunday, 23 December 2012 

at 3:00 pm 

Stile Antico: 

The Passion of 

the Renaissance 

Friday, 12 April 2013 

at 8:00 pm 

Tickets & Series Tickets are for sale at the Chan Centre Ticket Office in the lobby tonight! 

Photo: OSA Images Costume: Kym Barrett 

© 2010 Cirque du Soleil

Vancouver Early Music Festival 2012

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?