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HARRY CHRISTOPHERS Artistic Director

SOCIETY

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Welcome!

Dear friends,

We are pleased to welcome you to this magnificent musical offering featuring our Chorus and Period Instrument Orchestra in Handel’s Dixit Dominus and Mozart’s Requiem, paired with Mozart’s Ave verum corpus and Per questa bella mano. These Mozart selections will be released as our second CORO recording in September 2011. It is particularly exciting to release Per questa bella mano as this aria has never been recorded on period instruments.

This year marks the 25th Anniversary of our Educational Outreach Program. H&H reaches 10,000 children each season through our educational outreach efforts. We encourage you learn more by viewing the video about the program at handelandhaydn.org/education.

This season featured unparalleled live performances and we are grateful for your active participation in the life of the Handel

and Haydn Society. We hope you will renew or secure your subscription for the 2011-2012 Season. If you subscribe while at today’s concert, you will be entered to win a pair of passes to the Isabella Stewart Gardner Museum.

We look forward to continuing our musical journey together. Again, thank you for supporting us along the way.

Har en ii ease Aol a,

Marie-Hélene Bernard Harry Christophers Nicholas Gfeysteen Executive Director/CEO Artistic Director Chairman, Board of Governors

2010-20I1I SEASON MOZART’S REQUIEM I

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Handel and Haydn Society

Board Officers

Nicholas Gleysteen, Chairman

Deborah S. First, Vice Chair Wat H. Tyler, Vice Chair

Karen S. Levy, Vice Chair Joseph M. Flynn, Treasurer

Mary Nada, Vice Chair Winifred |. Li, Secretary

Susan M. Stemper, Vice Chair Marie-Héléne Bernard, Chief Executive Officer

Board of Governors

Amy S. Anthony W. Carl Kester Michael S. Scott Morton Louise Cashman David H. Knight Jeffrey S. Thomas

Julia D. Cox Laura M. Lucke Elizabeth P. Wax

Willma H. Davis Kathleen McGirr Kathleen W. Weld

David Elsbree Anthony T. Moosey Janet P. Whitla

Todd Estabrook George S. Sacerdote Jane Wilson

John W. Gerstmayr Emily F. Schabacker Ronald N. Woodward Elma S. Hawkins Robert H. Scott Christopher R. Yens

Board of Overseers

William F. Achtmeyer Arline Ripley Greenleaf Winifred B. Parker Martha Hatch Bancroft Nancy Hammer Judith Lewis Rameior Afarin O. Bellisario — Roy A. Hammer Brenda Gray Reny Julian Bullitt Suzanne L. Hamner Alice E. Richmond Edmund B. Cabot Anneliese M. Henderson Timothy C. Robinson Barbara D. Cotta Brenda Marr Kronberg Michael Fisher Sandler Elizabeth C. Davis Peter G. Manson Robert N. Shapiro Thomas B. Draper James F. Millea, Jr. Judith Verhave Howard Fuguet Stephen Morrissey Nancy Whitney

Governors Emeriti

Leo L. Beranek Jerome Preston, Jr. Rawson L. Wood

As of April 1, 2011

2010-2011 SEASON MOZART’S REQUIEM 3

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Handel and Haydn Society

Founded in 1815, the Handel and Haydn Society

is America’s oldest continuously performing arts organization and will celebrate its Bicentennial in

2015. Its Chorus and Period Instrument Orchestra are internationally recognized in the field of Historically Informed Performance, a revelatory style that uses the instruments and techniques of the composer’s time. Under Artistic Director Harry Christophers’ leadership, H&H's mission is to perform Baroque and Classical music at the highest levels of artistic excellence and to share that music with as large and diverse an audience as possible.

Handel and Haydn has an esteemed tradition of innovation and excellence, which began in the 19th century with the U.S: premieres of Handel’s Messiah, Haydn's The Creation, Verdi’s Requiem, and Bach’s Mass in B Minor and St. Matthew Passion. Today, Handel and Haydn is widely known through its subscription concerts, tours, radio broadcasts, and recordings.

Its first recording with Harry Christophers, Mozart’s Mass in C Minor, was released in September 2010, and will be followed by Mozart’s Requiem in September 2011. These are the start of a series of live commercial recordings leading to the Society's Bicentennial.

The 2010-201] Season marks the 25th Anniversary

of Handel and Haydn's Karen S. and George D. Levy Educational Outreach Program. This award-winning program reaches 10,000 children throughout Greater Boston, mostly in underserved communities.

2010-2011 SEASON | MOZART’S REQUIEM

Leadership

Marie-Helene Bernard Executive Director/CEO

Harry Christophers Artistic Director

John Finney

Associate Conductor/ Chorusmaster

The Cabot Family Chorusmaster Chair

Christopher Hogwood Conductor Laureate

Nicholas Gleysteen Chairman

Supported in part by:

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Harry Christophers, Artistic Director

Harry Christophers was appointed Artistic Director of the Handel and Haydn Society in 2008 and began his tenure with the 2009-2010 Season. He has conducted Handel and Haydn each season since September 2006, when

he led a sold-out performance in the Esterhazy Palace at the Haydn Festival in Eisenstadt, Austria. Christophers and the Society have since embarked on an ambitious artistic journey that begins with the 2010-2011 Season with a showcase of works premiered in the United States by H&H over the last 195 years, and the first release in a series of recordings on the CORO label leading to the 2015 Bicentennial.

Christophers is known internationally as founder and conductor of the UK- based choir and period instrument ensemble The Sixteen. He has directed The Sixteen throughout Europe, America, and the Far East, gaining a distinguished reputation for his work in Renaissance, Baroque, and 20th- century music. In 2000, he instituted the “Choral Pilgrimage,’ a tour of British cathedrals from York to Canterbury. He has recorded close to 100 titles for which he has won numerous awards,

2010-20II SEASON MOZART’S REQUIEM

including a Grand Prix du Disque for Handel Messiah, numerous Preise

der Deutschen Schallplattenkritik (German Record Critics Awards), the coveted Gramophone Award for Early Music, and the prestigious Classical Brit Award (2005) for his disc entitled Renaissance. In 2009 he received one of classical music’s highest accolades, the Classic FM Gramophone Awards Artist of the Year Award. The Sixteen also won the Baroque Vocal Award for Handel Coronation Anthems, a CD that also received a 2010 Grammy Award nomination.

Harry Christophers is also Principal Guest Conductor of the Granada Symphony Orchestra and a regular guest conductor with the Academy of St. Martin in the Fields and the Orquestra de la Comunidad de Madrid.

In October 2008, Harry Christophers was awarded an Honorary Degree of Doctor of Music from the University of Leicester. Most recently, he was elected an Honorary Fellow of Magdalen College, Oxford and also of the Royal Welsh Academy for Music and Drama.

Program

Friday, April 29, 2011 at 8pm Sunday, May 1, 201] at 3pm Symphony Hall

Harry Christophers, conductor

Ave verum corpus, K. 618

Per questa bella mano, K. 612

Eric Owens, bass-baritone Rob Nairn, double bass obbligato

Dixit Dominus, HWV 232

Elizabeth Watts, soprano Phyllis Pancella, mezzo-soprano

Margot Rood, soprano Teresa Wakim, soprano Abigail Levis, mezzo-soprano Randy McGee, tenor

Stefan Reed, tenor Woodrow Bynum, bass

INTERMISSION

Requiem, K. 626

Elizabeth Watts, soprano Phyllis Pancella, mezzo-soprano Andrew Kennedy, tenor

Eric Owens, bass-baritone

Pana

HARRY CHRISTOPHERS Artistic Director

SOCIETY

Wolfgang Amadé Mozart (1756-1791)

Mozart

George Frideric Handel (1685-1759)

Mozart (completed by Franz SUssmayr)

This performance is given as a memorial to Paul Krueger and Charles Mallard

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This program is generously underwritten by Wat & Jane Tyler.

The artists’ appearances are made possible by the generous support of the following individuals:

Julia Cox, sponsor of Harry Christophers, conductor

Christopher R. Yens & Temple V. Gill, sponsors of Elizabeth Watts, soprano Anthony T. Moosey, sponsor of Phyllis Pancella, mezzo-soprano

William & Sally Coughlin, sponsors of Andrew Kennedy, tenor

Nancy & William Whitney, sponsors of Eric Owens, bass-baritone

Allison & William Achtmeyer, sponsors of the Handel and Haydn Society Orchestra

Kathleen McGirr & Keith Carlson and Judy & Menno Verhave, sponsors of the Handel and Haydn Society Chorus

_ ‘

EARLY Mlusic This concert is presented in honor of TELM VEE Early Music America’s 25th Anniversary.

Handel and Haydn Society is funded in part by the Massachusetts Cultural Council,

a state agency, and the National Endowment for the Arts.

The program runs for approximately two hours, including intermission.

Today’s performance is being recorded for commercial release. We ask for your help in maintaining a quiet concert experience. Please turn off all cell phones and other audible devices.

2010-2011 SEASON MOZART'S REQUIEM

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Conductor’s Note

We opened the season with Mozart and now we close the season not with works from his early years of European travel but with contrasting works from his final year. Having absorbed all styles and traditions of music, he was at the peak of his career, which, sadly, was to be cut all too short. Ave verum corpus shows Mozart in miniature — a gem of simplicity and sonority — while the Requiem brings us drama and poignancy. The story of its composition has so often been told; whatever we believe, this hybrid work has transcended history to become one of the most famous pieces of music ever written. As so often in our programmes, our

concert delivers you a surprise — the bass concert WATCH ONLINE aria Per questa bella mano — which is more a bass duet with the glorious voice of Eric Owens in See Artistic Director Harry

Christophers talk about Mozart’s Requiem at www.handelandhaydn.org.

conversation with the virtuosic double-bass solo of our very own Rob Nairn.

The Requiem could not be more different from the almost crazy effervescence of the youthful Handel’s Dixit Dominus. Unlike Mozart, here depicted in

his final year, Handel was about to embark on his European travel taking him to Rome where he clearly revelled in writing what | can only describe as a roller coaster of vocal exuberance — | look forward to our chorus sparkling in this extraordinary piece.

This is such an exciting project for me. Not only does it bring me together again with Eric Owens (Eric and | met back in 2000 when he performed Seneca for me at English National Opera and we have been great friends ever since) — his renditions of Per questa bella mano and Tuba mirum (from the Requiem) are going to be memorable — but also we are recording the Mozart works in these concerts live for release later in the year.

—Harry Christophers

2010-20II SEASON | MOZART’S REQUIEM II

Program Notes

Masters of Expression

Dixit Dominus by George Frideric Handel (1685-1759) and Requiem by Wolfgang Amadé Mozart (1756-1791) mark the beginning and end of the eighteenth century. Both are extended works for chorus, soloists, and orchestra; the former marks the beginning of Handel’s illustrious compositional career and the latter was left unfinished at the time of Mozart's death.

As a young musician, Handel traveled from his native Halle to Hamburg where he gained invaluable experience with opera. His first opera, Almira, premiered there in 1705. While in Hamburg, Handel met Gian Gastone de’ Medici, Prince

of Tuscany, who suggested that Handel visit Italy. Although the precise date of his arrival in Italy cannot be determined, Handel was in Rome in January 1707. He was young (in his twenties), understood his abilities and potential as a composer,

and was eager to make his mark in

WATCH ONLINE ‘Seel

this important musical center. He immediately gained the attention of patrons such as Cardinal Carlo Colonna, who may have commissioned Dixit Dominus and settings of two other psalms for Vespers (evening prayer service in the Roman Catholic Church).

The text for Dixit Dominus comes from Psalm 110; it describes God's strength and faithfulness to his people and has been associated with Simon Maccabee, a story that Handel set as an oratorio

in 1746. Handel's treatment of this psalm, from its large-scale structure

to the details of text painting, is a

bold, imaginative blend of vocal and instrumental writing. Handel expands the common division of four vocal parts plus four string parts into five vocal parts (two soprano, alto, tenor, and bass) accompanied by five string parts (two violin, two viola, cello, and bass).

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The instrumental introduction, reminiscent of Handel’s Italian contemporary Arcangelo Corelli (1653-1713), pulsates with energy; the lower strings keep a steady pace while the upper strings play a descending line. The chorus declaims “Dixit Dominus” (“The Lord has spoken”) first together and then in imitation. With the next phrase, individual lines are featured

like the soloist of a concerto, with

the rest of the chorus proclaiming the opening lines like a ritornello. Further on, at the line “I shall make of your enemies a footstool for you,” Handel sets the soprano line in long note values while the lower voices move more quickly in support. This resembles an older compositional technique known as “cantus firmus” in which one line, often borrowed from another work, becomes the foundational material of a movement.

The next two movements feature soloists, alto and soprano, respectively. In Virgam virtutis, for alto and cello, a melisma highlights the word “Domini” (“Lord”) and the intricate melody continues into the next text phrase. A musical conversation occurs in the third movement (Tecum principium) as the soloist and orchestra exchange melodic lines. The next chorus (Juravit Dominus) begins with a declamation, “The Lord has sworn,” which then alternates between sections of imitation and homophony.

Handel returns to a cantus firmus inspired setting of one sustained voice and three faster-moving lines in the fifth movement (Tu es sacredos), while

2010-2011 SEASON MOZART'S REQUIEM

Ave verum corpus

Mozart composed the motet Ave verum corpus (K.618) in June 1791 for his friend and choir director in Baden, Anton Stoll. This setting of the 14th-century hymn text was some of the first church music Mozart composed since the early 1780s.

Mozart's setting of this text is absolutely poignant in its restraint. The first three phrases are set ina homophonic, four-part texture; Mozart changes the texture to voice pairs for the first statement of the last phrase. The whole motet is connected through the held note in the soprano line in three different places: first at “in cruce” and at both iterations of “in mortis.” The starkness of these words is transcended

as Mozart sets them as high points of the musical phrase that is gently brought to a close.

Per questa bella mano

Mozart composed this stand-alone concert aria for bass voice, double bass obbligato, and orchestra in March 1791; it was premiered by Franz Xaver Gerl (voice) and Friedrich Pichelberger (bass), two members of Emil Schikaneder’s theater company for whom Mozart composed Die Zauberflote (The Magic Flute). The aria clearly highlights the voice, while the bass part complements the vocal line and, at times, seems to become the soloist of a concerto. Mozart pays close attention to the text, reflecting both the lighter mood of the first two stanzas and the turn to something more urgent in the final one.

13

1685 1707

1724

1740

1742 1745 1750 1755

1756 1759 1767

1768 1775 1787

1789 1791

A Century at a Glance

Handel born in Halle Handel composes Dixit Dominus

England and Scotland become one country j

Gabriel Fahrenheit (1686-1736) publishes his specifications for the first mercury thermometer

Reigns of Frederick the Great of Prussia and Maria Theresa of Austria begin

Faneuil Hall built Princeton University founded J. S. Bach dies in Leipzig

Samuel Johnson publishes the first English-language dictionary

Mozart born in Salzburg Handel dies in London

Joseph Priestly (1733-1804) invents carbonated water

British Royal Academy founded Battle of Lexington and Concord

Sir Joshua Reynolds (1723-1792) paints the portrait, Lord Heathfield

French Revolution Requiem begun; Mozart dies in Vienna

Ratification of the US Bill of Rights

the next chorus begins with voice pairs in imitation and concludes with all the parts joining in a tour de force of choral writing. In De torrente, Handel uses two different techniques to set two different lines of text. For the first line, sung by sopranos, Handel uses imitation and counterpoint; the tenors and basses intone the second line while the strings provide a rich accompaniment to both.

Handel weaves melismas, voice pairings, imitation, and cantus firmus techniques into the final movement, the Doxology. In this monumental summation of the previous movements, Handel refers to music from the first movement.

Handel combined numerous compositional techniques in his

setting of Dixit Dominus and with the luxury of hindsight we can hear the foreshadowing of the great choral writing of his later years. Dixit Dominus was a departure for Handel; he had come from Hamburg where his work centered on opera productions and now undertook the task of writing large-scale sacred music with Latin texts. Similarly, Mozart returned to sacred composition while also writing opera; he also used a variety of compositional techniques in his Requiem (1791), for chorus, soloists and orchestra.

A requiem is a musical setting of

the texts of the Mass for the Dead. Originally sung in chant, these funeral texts have been set by many composers throughout history. Mozart received his commission for a requiem in the summer of 1791. The person who delivered the offer did

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not identify himself or the source of the commission. Constanze, Mozart's wife, said that she did not discover

the identity of this patron until 1800. The mysterious patron was actually a wealthy nobleman, Franz Count Walsegg (1763-1827), who was in the habit of commissioning works anonymously. When sponsoring a private performance of a musical composition he commissioned, Count Walsegg often copied it out in his own handwriting and removed the composer’s name, becoming the “composer” of the work himself. The specific commission of a requiem was in honor of the count’s wife who had died earlier that year.

Mozart died on December 5, 1791, leaving the work unfinished. In order to satisfy the terms of the commission, Mozart's widow asked Joseph Eybler to

2010-2011 SEASON | MOZART’S REQUIEM

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complete the work; he returned it to Constanze incomplete. She then asked Franz Sussmayr (1766-1803) to undertake the task of completing the Requiem. Just ten years younger than Mozart, Sussmayr, who had also studied law and philosophy, moved to Vienna in July 1788 and became a private music teacher. He probably met Mozart in 1790 or 1791 and began studying composition with him. In 1792, Sussmayr was appointed acting Kapellmeister at the National Theater

in Vienna and became well known for his operas. Beethoven, and later Nicolo Paganini, used themes by Sussmayr in their variations. Two years later, he was appointed Kapellmeister for German opera at the National Theater.

Mozart had completed the opening movements of the Requiem (through

the Kyrie plus eight measures of the

15

Instrument Profile: Basset Horn

The basset horn, a low-sounding member of the clarinet family pitched in the key of F, appeared in Europe as early as the 1750s. Various myths regarding the origin of the instrument’s name have emerged, ranging from the inventor being a man named Mr. Horn, to the suggestion that the instrument sounds similar to a basset hound. In all probability the name, basset horn (English), or Bassetthorn (German), or cor de basset (French), or corno di bassetto (Italian), is simply derived from the diminutive form of bass, i.e. “small bass” = “basset”, together with “horn’, referring to the early instruments’ curved shape and brass bell. Interestingly, the earliest known reference can be found in Leopold Mozart's catalogue of his son’s compositions where he refers to young Wolfgang's duets for “Corno di BaBetto” in 1768. An important feature which, other than its low pitch, sets the basset horn apart from the clarinet, is its range, which extends

a third the below the E of a normal, soprano clarinet, down to written C, or sounding F. It is this extended length which helps to create the instrument's hauntingly veiled sound.

Mozart grew up more or less surrounded by the basset horn in its nascent stage. By the time Mozart reached Vienna, locally-made instruments had not only improved, but were expertly played by the best clarinettists. Mozart clearly loved writing for the basset horn which he used not only for solemn moments such as the aria “Traurigkeit”, from Die Entfuhrung aus dem Serail and the Masonic Funeral Music, but also in some lively trios for three basset horns and the lovely “Notturni” for three singers and a trio of basset horns. But clearly the instrument was at its most expressive in more solemn works such as Vitellia’s aria “Non piu di fori” from La Clemenza di Tito and the Requiem.

-Eric Hoeprich, principal clarinet

16 WW W.HANDELANDHAYDN,ORG

Lacrymosa) and sketched vocal and instrumental parts for the rest of the work. Working from Mozart's sketches, Sussmayr completed the Requiem

in February 1792. It was premiered at

a benefit concert sponsored by the Gesellschaft der Associierten Cavalerie (Society of Associated Gentlemen)

on January 2, 1793. This group of noblemen, led by Gottfried Baron van Swieten, paid for all performance- related expenses and Constanze Mozart received all of the profits from the performance. Count Walsegg held a private performance of the completed Requiem as part of a memorial service for his wife on December 14, 1793; the score was written in his handwriting and named him as the composer. Portions of the Requiem were performed at

a memorial liturgy for Mozart on December 10, 1791.

Mozart had studied and arranged Handel oratorios in the late 1780s as part of a commission from the same society that sponsored the premiere

of the completed Requiem in 1793. Handel's influence can be heard in the choral sections of the Requiem, infused with Mozart’s own sense of drama

and solemnity. We hear this in the first movement as Mozart layers the sounds of the winds, strings, and voices into a supplication for the deceased. The use of chant in the second section and then the combining of the first two sections in the final part intertwine old and new into a prayer for eternal rest.

2010-2011 SEASON MOZART'S REQUIEM

The Kyrie is a fugue in which the imitation in the voices can be heard in the melding of the text so that

“Kyrie” and “eleison” often sound

simultaneously. Mozart’s dramatic choral writing continues in movements such as Dies irae and Rex tremendae. In the latter movement, layers of voices, strings, and winds flow from a homophonic opening; however, at

“Salve me” the vocal and orchestral

layers are separated to release the tension, musically underscoring this text.

One of the most recognizable movements, Lacrymosa, opens as a lyrical aria for chorus. The Lux aeterna musically unites the prayer for eternal rest (“requiem”) and perpetual light (“lux aeterna’). This final movement was composed by Stssmayr; he brought back the music of the first movement, rounding out the Requiem with a direct reference to the only movement completed by Mozart.

Incorporating chant, using older styles of writing, and suffusing both with

his own compositional style, Mozart’s Requiem is stunningly beautiful. The same can be said of Handel’s Dixit Dominus; both are masterpieces of old and new and offer us a picture of sorrow mixed with hope and endings combined with beginnings.

Program notes prepared by Teresa M. Neff, Ph.D. 2010-2011 Historically Informed Performance Fellow

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Bicentennial Beat: From the Archives

“While in our country almost every institution, political, civil, and moral, has advanced with rapid steps, while every other science and art is cultivated with a success flattering to its advocates, the admirers of music find their beloved science far from exciting the feelings or exercising the powers to which it is accustomed in the Old World. Too long those whom heaven has given a voice to perform and an ear that can enjoy music neglected a science which has done much towards subduing the ferocious passions of men and giving innocent pleasure to society; and so absolute has been their neglect, that most of the works of the great composers of sacred music have never found those in our land who have even attempted their performance. Impressed with these sentiments, the undersigned do hereby agree to form themselves into a society, by the name of the Handel and Haydn Society, for the purpose of improving the style of performance of sacred music, and introducing into more general use the works of Handel and Haydn and other eminent composers...

—Preamble to Handel and Haydn Society constitution, adopted and signed by 44 members on April 26, 1815

BOSTON MUSIC HALL,

Sunday Evening, March 29th, 1857,

aHosart’s Requiem!

HANDEL & HAYDN SOCIETY, MR, S. THALBERG,

MADAME D’ANGRI, | MADAME JOHANNSEN, MRS. LONG, MR. WEINLICH,

MR. ARTHURSON.

Gonductoy, 2 cee ey Carl Serrahn, AY A Se ao ay oh ee eae £. F. Baller.

TO COMMENCE AT 7 1-2 O'CLOCK.

4, & POTTER'S PRINTING ESTABLIVBMENT, ¢ SPRING LAXE, BOSTON.

Because of its dedication to sacred music, the music of Mozart did not figure prominently in the early days

of the Handel and Haydn Society. Selections from Mozart’s Requiem were first performed on January 18, 1857. This concert was reprised on March 29 in honor of Sigismund Thalberg, one of the greatest pianists of the nineteenth century. Mozart's Requiem comprised the first half of the concert while Thalberg’s compositions, collaborations with soloists, and his infamous improvisations were featured in the second part of the performance.

SEE IT ONLINE

Learn more about the Society’s rich history through an

interactive Bicentennial timeline at www.handelandhaydn.org.

201IO-20I1I SEASON MOZART’S REQUIEM

Artist Profiles

Elizabeth Watts, soprano

Elizabeth Watts won the Rosenblatt Recital Song Prize at the BBC Cardiff Singer of the World competition in 2007. In the same year she was awarded the Outstanding Young Artist Award at the Cannes MIDEM Classique Awards and the previous year the Kathleen Ferrier Award. She is currently an

Artist in Residence at the Southbank Centre, and a former BBC Radio 3

New Generation Artist. Her critically acclaimed debut recording of Schubert Lieder for SONY Red Seal was followed in 2011 by an equally successful disc of Bach Cantatas for Harmonia Mundi, with whom she has an exclusive contract.

Current and future plans include Marzelline in Fidelio for the Royal Opera House, Covent Garden; Susanna in Le Nozze di Figaro and Pamina in Die Zauberflote for Welsh National Opera; Alminera in Rinaldo for Glyndebourne on Tour; Serpetta in

La Finta Giardiniera with the Academy

of Ancient Music and Richard Egarr; Mahler Symphony No. 2 with the Netherlands Philharmonic Orchestra; Mozart Exsultate jubilate with Donald Runnicles and BBC Scottish Symphony Orchestra; and tours with the English Concert and Orchestra of the Age of the Enlightenment.

As a recitalist, Elizabeth has performed at the UK's leading venues, including Wigmore Hall and the Purcell Room, London, Bridgewater Hall, Manchester, and at the Aldeburgh and Cheltenham Festivals, and future plans include returning to the Wigmore Hall and her debut recital at the Concertgebouw, Amsterdam.

Elizabeth was a chorister at Norwich Cathedral and studied archaeology at Sheffield University before studying singing at the Royal College of Music in London.

Elizabeth last appeared with Handel and Haydn in 2006 (Monteverdi's Orfeo).

Phyllis Pancella, mezzo-soprano

In the 2010-2011 season Phyllis Pancella returns to Music of the Baroque Orchestra and Chorus to sing the Sorceress in Dido and Aeneas, to Louisiana Philharmonic Orchestra

as a soloist in Handel's Messiah and Bach's Christmas Oratorio, and sings

as a soloist in Mozart’s Requiem with Alabama Symphony. Recent highlights include Dejanira in Handel's Hercules (Music of the Baroque); soloist in

Bach's St. Matthew Passion (Brooklyn Academy of Music); the title roles in Handel's Rinaldo and Britten’s The Rape of Lucretia (Central City Opera); Sesto in La clemenza di Tito (Opera Boston); Mrs. Noye in Britten's Noye’s Fludde (Los Angeles Opera); and Dolores in Davis’

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Wakonda’s Dream (world premiere, Opera Omaha).

Concert highlights include Holofernes in Juditha Triumphans (Boston Baroque); soloist in Argento’s Casa Guidi (Charleston Symphony Orchestra); Mozart’s Requiem (Milwaukee Symphony Orchestra, Cincinnati, San Diego and Detroit symphonies, and Berkshire Choral Festival): Berlioz’ Les Nuits déte (Alabama Symphony); Mahler's Symphony

No. 2 (Utah Symphony); Bach’s Mass in B Minor (Chicago’s Music of the Baroque); Beethoven's Symphony No. 9 (National Symphony Orchestra); Bach's Magnificat (Baltimore Symphony and Cleveland orchestras); Berio’s Folk Songs and Berlioz’ La Mort de Cleopatre (New World Symphony Orchestra); Szymanowski’s Stabat Mater (Milwaukee Symphony); and Messiah (Boston Baroque, National Symphony and Minnesota orchestras).

Internationally, she has performed the title role of Carmen at Teatro San Carlo, New Israeli, and English National operas; Britten's Phaedra with Orchestra della Toscana; Beethoven's Symphony No. 9 with Ensemble Orchestral de Paris; and Verdi's Messa per Rossini with Opéra de Lyon.

This appearance marks Phyllis’ Handel and Haydn Society debut.

2010-2011 SEASON MOZART'S REQUIEM

Andrew Kennedy, tenor

Andrew Kennedy studied at King’s College, Cambridge and the Royal College of Music in London. He was a member of the Young Artists Programme at the Royal Opera House, Covent Garden, where he performed many solo principal roles. In 2005 he won the BBC Cardiff Singer of the World Rosenblatt Recital Prize. He is a Borletti-Buitoni Trust Award winner and won the prestigious Royal Philharmonic Society Young Artists’ Award in 2006. He was also a member of BBC Radio 3 New Generation Artists Scheme. His discography includes four solo albums, and his most recent release is his first orchestral album of Gluck, Berlioz, and Mozart arias for Signum Classics.

Concert engagements include Mozart’s Requiem (LSO/Sir Colin Davis); Finzi's Intimations of Immortality (BBCSO/Daniel); Mozart’s Mass in C Minor (Hallé Orchestra/Elder); Bach's St. Matthew Passion (Netherlands Philharmonic/Colin Davis); and Elgar Spirit of England at the 2007 Last Night of the BBC Proms.

Operatic engagements include

include Tamino in The Magic Flute (English National Opera); Flute in A Midsummer Night’s Dream (Royal Opera Covent Garden); Jaquino in Fidelio

(Glyndebourne Festival); Ferrando in Cosi fan tutte (Glyndebourne Touring Opera); Nemorino in Lelisir damore (Opera North); Vere in Billy Budd and Peter Quint in The Turn.of the Screw (Houston Grand Opera); Tito in La Clemenza di Tito (Opéra de Lyon and Frankfurt Opera); Don Ottavio in Don Giovanni (Opera de Lyon); his La Scala debut as Tom Rakewell in The Rake’s Progress; Belmonte in Die Entfuhrung aus dem Serail (Welsh National Opera); Male Chorus in The Rape of Lucretia (Den Norske Opera); and Max in Der Freischutz (Opera Comique, Paris) under Sir John Eliot Gardiner.

Future engagements include Almaviva in Il barbiere di Seviglia (Welsh National Opera).

Andrew last appeared with Handel and Haydn in 2009 (Haydn's Orfeo).

Eric Owens, bass-baritone

Acclaimed for his commanding stage presence and inventive artistry, American bass-baritone Eric Owens has carved a unique place in the contemporary opera world as both an esteemed interpreter of classic works and a champion of new music. Equally at home in concert, recital, and opera

performances, Owens continues to bring

his powerful poise, expansive voice,

and instinctive acting faculties to stages

around the world.

Eric Owens opened the 2010-2011 season of the Metropolitan Opera

as Alberich in Das Rheingold ina

new production by Robert Lepage, conducted by James Levine. He essayed the title role in Peter Sellars’ new production of Handel’s Hercules, conducted by Harry Bicket at Lyric Opera of Chicago; returned to San Francisco Opera as Ramfis in Aida, conducted by Giuseppe Finzi; and joined Riccardo Muti and the Chicago Symphony as Lodovico

in concert performances of Verdi's Otello both in Chicago and at Carnegie Hall.

His concert calendar | includes Beethoven's Missa Solemnis with Donald Runnicles and the Atlanta | Symphony; Elgar’s The Dream of Gerontius with Jaap van Zweden and

the Netherlands Radio Philharmonic; | Brahms’ Ein deutsches Requiem at Carnegie Hall with James Bagwell and the Collegiate Chorale; and Berlioz’ Roméo et Juliette with the Utah Symphony, conducted by Thierry Fischer. |

Eric last appeared with Handel and | Haydn in 1997 (Handel's Messiah). | | |

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The Packard Humanities Institute

CARL PHILIPP EMANUEL BACH

The (Complete Works

Passion according to St. Luke (1775) Edited by Randall E. Goldberg and Daniel R. Melamed ISBN 978-1-933280-41-7 (xxx, 153 pp.) $20.00*

Die Israeliten in der Wiiste Edited by Reginald L. Sanders ISBN 978-1-933280-34-9 (xxxiv, 138 pp.) $20.00*

Works for Special Occasions I Edited by Ulrich Leisinger ISBN I-933280-06-9 (xxx, 143 pp-) $20.00”

Please see our website for other available and forthcoming volumes, all handsomely cloth-bound, at prices intended to encourage

acquisition by music lovers of all kinds.

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2010-2011 SEASON MOZART’S REQUIEM 23

Handel and Haydn Society Orchestra

Violin | * Aisslinn Nosky

Joan & Remsen Kinne Chair

Christina Day Martinson

Susanna Ogata Lena Wong Abigail Karr Guiomar Turgeon Clayton Hoener Adriane Post

Violin II

t Linda Quan Dr. Lee Bradley III Chair

Julie Leven

Krista Buckland Reisner Tatiana Chulochnikova Jane Starkman

Fiona Hughes

Viola t David Miller

Chair funded in memory of Estah & Robert Yens

Anne Black Jenny Stirling Laura Jeppesen

Cello

t Guy Fishman

Candace & William Achtmeyer Chair

Sarah Freiberg Reinmar Seidler Alice Robbins

Bass

t Robert Nairn

Amelia Peabody Chair Anne Trout

Basset Horn

t Eric Hoeprich

Diane Heffner

Bassoon

t Andrew Schwartz

Stephanie Corwin

Horn

t Richard Menaul

Grace & John Neises Chair

John Aubrey

The Handel and Haydn Society is proud to be a Principal Sponsor

of the Boston Singers’ Relief Fund. www.provocal.org

Trumpet t Jesse Levine Paul Perfetti

Trombone

t Gregory Spiridopoulos Hans Bohn