Handel's Dixit Dominus and Bach's Magnificat by Orchestra of the Age of Enlightenment

HANDEL DIXIT DOMINUS BACH MAGNIFICAT

HANDEL DIXIT DOMINUS AND BACH MAGNIFICAT

HANDEL Dixit Dominus J.S. BACH Magnificat Conductor Graham Ross Soprano soloists Lucy Knight Emilia Morton Countertenor solo James Hall Tenor solo Hugo Hymas Bass solo Andrew Davies Recorded at Clare College, Cambridge December 2021

We are grateful to our friends at Clare College, Cambridge

Orchestra Violin Margaret Faultless Claudia Delago-Norz Daniel Edgar Alice Evans Kati Debretzeni Henry Tong Claire Holden Debbie Diamond (Magnificat) Viola Max Mandel Annette Isserlis Katie Heller Debbie Diamond (Dixit) Cello Catherine Rimer Richard Tunnicliffe Double bass Cecelia Bruggemeyer Flute Lisa Beznosiuk Eva Caballero Oboe Katharina Spreckelsen Katie Lewis Bassoon Joe Qiu Trumpet David Blackadder Phillip Bainbridge Matthew Wells Timpani Adrian Bending

Organ Satoko Doi-Luck Choir Soprano Hannah Ambrose Emma Caroe Emily Coatsworth Hannah Dienes-Williams Jessica Folwell Holly Sewell Maggie Tam Tabitha Tucker Louise Turner Lilly Vadaneaux Emma Williams Alto Emily Beringer Thea Moe Bjøranger Julia De Luca Blandine Jacquet Freddie Lindsey-Coombs Rosina Griffiths Tenor William Harris Samuel Jones Daniel Livermore Victoria Longstaff Gregory May Dominic Wallis Bass Alexander Carter George Gillow Arthur Goggin Robert Jones Julius Kiln Cameron Riley Oscar Simms Derek Sorensen

BIOGRAPHIES

Lucy Knight

Emilia Morton

Praised in Opera magazine for her “exquisite singing and acting”, British soprano Lucy Knight is a Britten-Pears Young Artist and winner of the Making Music Award for Young Concert Artists and the International Opera Awards Foundation. Lucy read Music at Cambridge University and was a member of the Monteverdi Choir before training at Guildhall and English National Opera. In opera, she has sung the roles of Ninfa/L’Orfeo (Bayerisches Staatsoper), Bridesmaid/Freischütz (Opéra Comique & BBC Proms), Tytania/A Midsummer Night’s Dream (Aldeburgh), Sophie/Werther and Yniold/Pelléas (Arcola Theatre) and cover Maketaten/Akhnaten and cover Fifteen Year Old Girl/Lulu (English National Opera).

With performances described as “full of sharp intensity” (Town Topics, Princeton) and “comforting and consoling” (The Herald Scotland), Emilia Morton has growing commitments on the solo platform both in the UK and abroad. Growing up in a musical family, Emilia was a chorister at both Salisbury and Wells Cathedrals. A Specialist Music Scholarship at Wells Cathedral School further helped to nurture a passion for solo singing and whilst at the school she was able to perform the solos in such works as Haydn’s Nelson Mass, Purcell’s Ode for the Birthday of Queen Anne and Monteverdi’s Vespers in and around Wells. Emilia took a Choral Scholarship to Clare College, Cambridge and whilst studying for the music degree performed solos in concert and on the opera stage including Bach’s Mass in B minor in King’s College Chapel and Belinda in Purcell’s Dido and Aeneas. Since her studies Emilia has been singing professionally both on the solo platform and with a number of London’s most prestigious choirs including The Monteverdi Choir, The Sixteen, The Gabrieli Consort and Tenebrae Choir. For Sir John Eliot Gardiner she has performed as a soloist in Schutz’s Musikalisches Exequien and Handel’s Israel in Egypt and most recently in Handel’s Dixit Dominus at Buckingham Palace in the presence of His Royal Highness, the Prince of Wales and in Princeton University, USA. Over the past few years Emilia has returned to Cambridge to perform Bach Cantatas with St John’s College Choir and members of the Orchestra of the Age of Enlightenment and more recently, a pre-dinner recital for benefactors at Clare College. Emilia also returns to Salisbury frequently as a soloist and most recently in Bach’s St John Passion and Handel’s Messiah for the final concert of the Southern Cathedral’s Festival.

Her concert engagements include soprano soloist in Nielsen’s Third Symphony (Philharmonia Orchestra), the Oxford Lieder Festival with Graham Johnson, Sibelius Kuolema (English Chamber Orchestra), and her solo debuts in Carnegie Hall New York and in Royal Albert Hall with Karl Jenkins. She recently sang the title role in Handel's Theodora for Britten-Pears with Christian Curnyn and Sarah Connolly.

James Hall

Hugo Hymas

Praised by The Arts Desk for his ‘flawless, stand-out’ performances on opera, concert and theatre stages around the world, countertenor James Hall enjoys great success in baroque and contemporary repertoire, and regularly appears with some of the world’s leading ensembles and opera companies.

This season James Hall takes on the title role of Tamerlano for the Theater Bielefeld, HAMOR in Handel’s Jeptha in Bregenz, roles in a new Robert Carsen production of Monteverdi’s Ulisse for the Maggio Musicale and sings in numerous concerts with Collegium Vocale Ghent. Last season saw his first appearance with the Scottish Chamber Orchestra, and debuts at the Deutsche Oper Berlin as OBERON in A Midsummer Night’s Dream as well as the Venice Biennale as THE BOY in Written on Skin. In the UK he sang GOFFREDO in Glyndebourne on Tour’s Rinaldo, and a concert with Sir George Benjamin to mark the composer’s 60th birthday at the Royal Festival Hall.

Andrew Davies

Graham Ross

Andrew read music at Clare College, Cambridge, also singing at St John's College, and studied singing at the Royal Academy of Music.

Graham Ross has established an exceptional reputation as a sought-after conductor and composer of a very broad range of repertoire. His performances around the world and his extensive discography have earned consistently high international praise, including a Diapason d’Or, Le Choix de France Musique, and a Gramophone Award nomination.

Andrew has worked on the operatic stage as a soloist at Berlin Staatsoper, Paris Opera Comique, Glyndebourne, Aix-en-Provence Festival, BAM New York and Innsbruck Festwoche among others, with conductors including Rene Jacobs, William Christie, Christian Curnyn and Laurence Cummings. Other roles include Dandini Cenerentola (OperaUpClose), Giuseppe The Gondoliers (Surrey Opera), Argante Rinaldo, Neto The Yellow Sofa, Hunter Rusalka (Cover, Glyndebourne), Dancairo Carmen (Cover, Royal Albert Hall), Ned Keene Peter Grimes and Aeneas Dido and Aeneas. An experienced concert artist, Andrew has worked extensively in London and across the United Kingdom, as well as in Europe. He recently sang Messiah for New College Oxford and Oxford Philomusica at the Sheldonian Theatre.

Regular guest conducting engagements have included Australian Chamber Orchestra, Aalborg Symfoniorkester, Aurora Orchestra, BBC Concert Orchestra, BBC Singers, DR VokalEnsemblet (Danish National Vocal Ensemble), European Union Baroque Orchestra, London Mozart Players, London Philharmonic Orchestra, Malaysian Philharmonic Orchestra, Orchestra of the Age of Enlightenment, Royal College of Music Symphony Orchestra, and Salomon Orchestra. He is co-founder and Principal Conductor of The Dmitri Ensemble and, since 2010, Fellow and Director of Music at Clare College, Cambridge, where he conducts the internationally-renowned Choir. He studied music at Clare College, Cambridge and conducting at the Royal College of Music, London. He held a conducting scholarship with the London Symphony Chorus, has served as assistant conductor for Sir Roger Norrington, Vladimir Jurowski and Diego Masson, and acted as Chorus Master for Sir Colin Davis, Sir Mark Elder, Ivor Bolton, Edward Gardner, Richard Tognetti and Lars Ulrik Mortensen.

ABOUT THE OAE “Not all orchestras are the same” Over three decades ago, a group of inquisitive London musicians took a long hard look at that curious institution we call the Orchestra, and decided to start again from scratch. They began by throwing out the rulebook. Put a single conductor in charge? No way. Specialise in repertoire of a particular era? Too restricting. Perfect a work and then move on? Too lazy. The Orchestra of the Age of Enlightenment was born. And as this distinctive ensemble playing on period-specific instruments began to get a foothold, it made a promise to itself. It vowed to keep questioning, adapting and inventing as long as it lived. Those original instruments became just one element of its quest for authenticity. Baroque and Classical music became just one strand of its repertoire. Every time the musical establishment thought it had a handle on what the OAE was all about, the ensemble pulled out another shocker: a Symphonie Fantastique here, some conductor-less Bach there. All the while, the Orchestra’s players called the shots. In some small way, the OAE changed the classical music world too. It challenged those distinguished partner organisations and brought the very best from them, too. Symphony and opera orchestras began to ask it for advice. Existing period instrument groups started to vary their conductors and repertoire. New ones popped up all over Europe and America.

And so the story continues, with ever more momentum and vision. The OAE’s series of nocturnal Night Shift performances have redefined concert parameters. Its association at London’s Kings Place has fostered further diversity of planning and music-making. The ensemble has formed the bedrock for some of Glyndebourne’s most ground-breaking recent productions. In keeping with its values of always questioning, challenging and trailblazing, in September 2020, the OAE became the resident orchestra of Acland Burghley School, Camden. The residency – a first for a British orchestra – allows the OAE to live, work and play amongst the students of the school. Of the instrumentalists, many remain from those brave first days; many have come since. All seem as eager and hungry as ever. They’re offered ever greater respect, but continue only to question themselves. Because still, they pride themselves on sitting ever so slightly outside the box. They wouldn’t want it any other way. ©Andrew Mellor

OAE TEAM Chief Executive Crispin Woodhead

Projects Officer Ed Ault

Life President Sir Martin Smith

Finance and Governance Director Pascale Nicholls

Orchestra Consultant Philippa Brownsword

Board of Directors Imogen Overli [Chairman] Daniel Alexander Steven Devine Denys Firth Adrian Frost Max Mandel David Marks Rebecca Miller Andrew Roberts Katharina Spreckelsen Matthew Shorter Dr. Susan Tranter Crispin Woodhead

Development Director Emily Stubbs Projects Director Jo Perry Education Director Cherry Forbes Communications Director Elle Docx General Manager Edward Shaw Head of Individual Giving and Digital Development Marina Abel Smith Education Officer Andrew Thomson Projects Manager Sophie Adams Finance Officer Fabio Lodato Digital Content Officer Zen Grisdale Marketing and Press Officer Anna Bennett Box Office and Data Manager Paola Rossi Development Manager Kiki Betts-Dean Development Officer Luka Lah

Choir Manager David Clegg Librarian Roy Mowatt Leaders Huw Daniel Kati Debretzeni Margaret Faultless Matthew Truscott Players’ Artistic Committee Adrian Bending Steven Devine Max Mandel Andrew Roberts Katharina Spreckelsen Principal Artists John Butt Sir Mark Elder Iván Fischer Vladimir Jurowski Sir Simon Rattle Sir András Schiff Emeritus Conductors William Christie Sir Roger Norrington

OAE Trust Adrian Frost [Chairman] Mark Allen Paul Forman Steven Larcombe Alison McFadyen Caroline Noblet Imogen Overli Rupert Sebag-Montefiore Maarten Slendebroek Sir Martin Smith Caroline Steane Honorary Council Sir Victor Blank Edward Bonham Carter Cecelia Bruggemeyer Nigel Jones Stephen Levinson Marshall Marcus Julian Mash Greg Melgaard Susan Palmer OBE Jan Schlapp Diane Segalen Susannah Simons Lady Smith OBE Rosalyn Wilkinson Mark Williams

TECHNICAL TEAM Technical Director and Post Production Zen Grisdale Camera Operator Sophie Adams Ed Ault Vision Mix Crispin Woodhead Audio Engineer David Hinnit Music Producer Andrew Roberts Grip Adrian Bending Venue St John’s College Chapel, Cambridge

THANK YOU OAE Experience scheme Ann and Peter Law Corporate Partners Champagne Deutz Mark Allen Group Marquee TV Swan Turton Corporate Associates Gelato Season Patrons John Armitage Charitable Trust Julian and Annette Armstrong Denys and Vicki Firth Adrian Frost Nigel Jones and Françoise Valat-Jones Selina and David Marks Haakon and Imogen Overli Sir Martin and Lady Smith OBE Philip & Rosalyn Wilkinson Mark and Rosamund Williams Project Patrons Bruce Harris Ian S Ferguson CBE and Dr Susan Tranter Aria Patrons Madeleine Hodgkin Steven Larcombe Peter and Veronica Lofthouse Stanley Lowy Gary and Nina Moss Rupert Sebag-Montefiore Maarten and Taina Slendebroek Caroline Steane Eric Tomsett Chair Patrons Mrs Nicola Armitage - Education Director Victoria and Edward Bonham Carter - Principal Trumpet Katharine Campbell - Violin Anthony and Celia Edwards - Principal Oboe

James Flynn QC - Co-Principal Lute/Theorbo Jonathan and Tessa Gaisman – Viola Michael and Harriet Maunsell - Principal Keyboard Jenny and Tim Morrison - Second Violin Caroline Noblet – Oboe Professor Richard Portes - Principal Bassoon Christina – Flute John and Rosemary Shannon - Principal Horn Sue Sheridan OBE – Education Roger and Pam Stubbs - Clarinet Crispin Woodhead and Christine Rice - Principal Timpani Associate Patrons Charles and Julia Abel Smith Noël and Caroline Annesley Sir Richard Arnold and Mary Elford Hugh and Michelle Arthur David and Marilyn Clark Damaris Albarrán David Emmerson Jonathan Parker Charitable Trust Elisabeth Green in memory of June Mockett Roger Heath MBE and Alison Heath MBE Peter and Sally Hilliar Moira and Robert Latham Sir Timothy and Lady Lloyd Roger Mears and Joanie Speers Rebecca Miller David Mildon in memory of Lesley Mildon John Nickson and Simon Rew Andrew and Cindy Peck Stephen and Penny Pickles Peter Rosenthal Emily Stubbs and Stephen McCrum Shelley von Strunckel Mr J Westwood

Education Patrons Mrs Nicola Armitage Sir Victor Blank Stephen and Patricia Crew John and Sue Edwards Sir Timothy and Lady Lloyd Andrew and Cindy Peck Professor Richard Portes Sue Sheridan OBE Rising Stars Supporters Annette and Julian Armstrong Denys and Vicki Firth Bruce Harris Ms Madeleine Hodgkin Mrs Sarah Holford Nigel Jones and Francoise Valat-Jones Peter & Veronica Lofthouse Mr Andrew Nurnberg Old Possum's Practical Trust Imogen and Haakon Overli Gold Friends Michael Brecknell Gerard Cleary Mr and Mrs C Cochin de Billy Chris Gould Michael Spagat Silver Friends Dennis and Sheila Baldry Haylee and Michael Bowsher Tony Burt Christopher Campbell Mr and Mrs Michael Cooper David Cox Anthony and Jo Diamond Suzanne Doyle Rachel and Charles Henderson Malcolm Herring Patricia Herrmann Stephen Hodge Rupert and Alice King Alison and Ian Lowdon Anthony and Carol Rentoul Bridget Rosewell David and Ruth Samuels Leslie Scott Susannah Simons Victor Smart Her Honour Suzanne Stewart Simon and Karen Taube

Bronze Friends Tony Baines Penny & Robin Broadhurst Graham and Claire Buckland Dan Burt Michael A Conlon Roger Easy Mrs SM Edge Mrs Mary Fysh Simon Gates Stephen and Cristina Goldring Martin and Helen Haddon Ray and Liz Harsant The Lady Heseltine Mrs Auriel Hill Val Hudson Stuart Martin Patricia Orwell Paul Rivlin Alan Sainer Matthew and Sarah Shorter Mr and Mrs Tony Timms John Truscott Mrs Joy Whitby David Wilson Young Patron Ed Abel Smith David Gillbe Elizabeth George Henry Mason Peter Yardley-Jones Young Ambassador Patron Marianne and William Cartwright-Hignett Jessica and Alex Kemp Breandán Knowlton Trusts & Foundations Apax Foundation Arts Council England Ashley Family Foundation Boshier-Hinton Foundation Brian Mitchell Charitable Settlement CAF Resilience Fund The Charles Peel Charitable Trust Chivers Trust Derek Hill Foundation Dreamchasing Dyers Company Ernest Cook Trust Esmee Fairbairn Foundation Fidelio Charitable Trust Foyle Foundation

Garfield Weston Foundation Garrick Charitable Trust Geoffrey Watling Charity Henocq Law Trust John Lyon’s Charity Linbury Trust Lord and Lady Lurgan Trust Michael Marks Charitable Trust National Foundation for Youth Music Old Possum’s Practical Trust Orchestras Live Paul Bassham Charitable Trust The Patrick Rowland Foundation Peter Cundill Foundation Peter Stebbings Memorial Charity Pitt-Rivers Charitable Trust Radcliffe Trust Rainbow Dickinson Trust Stanley Picker Trust The 29th May 1961 Charitable Trust The Loveday Charitable Trust The R&I Pilkington Charitable Trust The Shears Foundation The Vernon Ellis Foundation

APPEAL DONORS We have been overwhelmed by the support of our audiences since the beginning of the pandemic. Many of you have generously helped us tackle this challenging time by donating to our Regeneration Appeal. The Appeal runs to 31st December 2021 and every donation will be matched. If you would like to contribute, please contact: Emily.Stubbs@oae.co.uk Charles and Julia Abel Smith Mark and Sue Allen Deborah Anthony Julian and Annette Armstrong Hugh and Michelle Arthur John Birks Sir Victor Blank Bob and Elisabeth Boas A & FDW Boettcher William Bordass Mr Roger Bowerman Ms Susan Bracken Neil Brock

Sir Anthony Cleaver Professor Susan Cooper Ms Harriet Copperman Dr David Cox Gill Cox Stephen and Patricia Crew Mrs Melanie Edge Esmee Fairbairn Foundation Ms Margaret Faultless Denys and Vicki Firth Adrian Frost Jennifer Frost Jonathan N Gaisman, QC Dr David Glynn Roy Greenhalgh David Guthrie Martin Haddon Ray Harsant Roger Heath MBE and Alison Heath MBE Peter and Sally Hilliar Nigel Jones and Françoise Valat-Jones Jerome Karter Sue Lamble Steven Larcombe Sir Timothy Lloyd and Lady Lloyd Dr Alan Lord Stanley Lowy, MBE Ellie Makri Michael and Harriet Maunsell Tim and Jenny Morrison Mr Clive Murgatroyd, MBE Robert Nash John Nickson & Simon Rew Andrew Nurnberg Johanna Nusselein Imogen and Haakon Overli Andrew and Cindy Peck Mike Raggett Ruth and David Samuels Laura Sheldon Sue Sheridan OBE Maarten and Taina Slendebroek Sir Martin Smith and Lady Smith OBE Michael Spagat Caroline Steane Para Sun Iain Taylor Christopher Tew Lady Marina Vaizey, CBE Eva Maria Valero Mark and Rosamund Williams Peter Williams

WE MOVED INTO A SCHOOL A little over a year ago we took up permanent residence at Acland Burghley School in Camden, North London. The residency – a first for a British orchestra – allows us to live, work and play amongst the students of the school. Three offices have been adapted for our administration team, alongside a recording studio and library. We use the Grade II listed school assembly hall as a rehearsal space, with plans to refurbish it under the school’s ‘A Theatre for All’ project. The school isn't just our landlord or physical home. Instead, it allows us to build on twenty years of work in the borough through OAE’s long-standing partnership with Camden Music. Having already worked in eighteen of the local primary schools that feed into ABS, the plans moving forward are to support music and arts across the school into the wider community. Our move underpins our core ‘enlightenment’ mission of reaching as wide an audience as possible. A similar project was undertaken in 2015 in Bremen, Germany. The Deutsche Kammerphilharmonie moved into a local comprehensive school in a deprived area and the results were described as “transformational”, with improved academic performance, language skills, mental health and IQ scores; reputational benefits; greater interest in and engagement with music among pupils; strengthened links between school, orchestra and community; and even, according to some of the musicians who took part, an improvement in the Kammerphilharmonie’s playing. Margaret Faultless, OAE leader and violinist, said: “The members of the Bremen Kammerphilharmonie said their experience actually improved them as an orchestra and I think the same will happen to us over the next five or so years, and it will remind all of us of the reasons we make music, which are sometimes easy to forget, especially in our strange and troubled times.” Continues Margaret: “I am certainly looking forward to learning from the young people at Acland Burghley and in turn introducing them to the joys of our music and music-making.” The move has been made possible with a leadership grant of £120,000 from The Linbury Trust, one of the Sainsbury Family Charitable Trusts.

OAE EDUCATION A PROGRAMME TO INVOLVE, EMPOWER AND INSPIRE Over the past twenty years OAE Education has grown in stature and reach to involve thousands of people nationwide in creative music projects. Our participants come from a wide range of backgrounds and we pride ourselves in working flexibly, adapting to the needs of local people and the places they live. The extensive partnerships we have built up over many years help us engage fully with all the communities where we work to ensure maximum and lasting impact. We take inspiration from the OAE's repertoire, instruments and players. This makes for a vibrant, challenging and engaging programme where everyone is involved; players, animateurs, composers, participants, teachers, partners and stakeholders all have a valued voice.

SUPPORT OUR EDUCATION PROGRAMME The work we do could not happen without the support of our generous donors. If you would like to support our education programme please contact Marina Abel Smith, Head of Individual Giving and Digital Development marina.abelsmith@oae.co.uk 0208 159 9319

orchestraoftheageofenlightenment theoae oae_photos YouTube.com/OrchestraEnlighten The OAE is a registered charity number 295329. Registered company number 2040312. Acland Burghley School, 93 Burghley Road, London NW5 1UH 0208 159 9310 | info@oae.co.uk