Vancouver Early Music Festival 2012

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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 Vancouver Early Music Festival 2012 — Handel’s “Orlando” - page 10 — www.earlymusic.bc.ca
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 Alexander Weimann 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 www.earlymusic.bc.ca — Handel’s “Orlando” - page 11 — Vancouver Early Music Festival 2012
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Page 3 and 4: — THE ORCHESTRA — PBO PacificBa
Page 5 and 6: The Background The period from Janu
Page 7 and 8: situation, and advises them to flee
Page 9 and 10: Tim Mead countertenor [Orlando] Tim
Page 11: Amanda Forsythe soprano [Dorinda] A
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Vancouver Early Music Festival 2012

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