Alice Tully Hall, Starr TheaterAdrienne Arsht Stage

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Monteverdi: The Birth of Opera is made possible in part by The Gladys Krieble Delmas Foundation.

This performance is made possible in part by the Josie Robertson Fund for Lincoln Center.

Wednesday, October 18, 2017, at 7:00 pm

Pre-concert lecture by Ellen Rosand at 5:45 pm in the Stanley H. Kaplan Penthouse

Monteverdi: The Birth of Opera

L’Orfeo Music by Claudio MonteverdiLibretto by Alessandro Striggio the Younger

Monteverdi ChoirEnglish Baroque SoloistsSir John Eliot Gardiner, Conductor

Krystian Adam, OrfeoHana Blažíková, La Musica / EuridiceLea Desandre, MessaggeraFrancesca Boncompagni, ProserpinaGianluca Buratto, Caronte / PlutoneKangmin Justin Kim, SperanzaFurio Zanasi, ApolloFrancisco Fernández-Rueda, Pastore IGareth Treseder, Pastore II / Spirito I / EcoJohn Taylor Ward, Pastore IV / Spirito IIIMichał Czerniawski, Pastore IIIZachary Wilder, Spirito IIAnna Dennis, Ninfa

John Eliot Gardiner and Elsa Rooke, Co-Directors

(Program continued)

This performance is also part of Great Performers.

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Support for Great Performers is provided by Rita E.and Gustave M. Hauser, Audrey Love CharitableFoundation, Great Performers Circle, Chairman’sCouncil, and Friends of Lincoln Center.

Public support is provided by the New York StateCouncil on the Arts with the support of GovernorAndrew M. Cuomo and the New York StateLegislature.

Endowment support for Symphonic Masters is pro-vided by the Leon Levy Fund.

Endowment support is also provided by UBS.

American Airlines is the Official Airline of LincolnCenter

Nespresso is the Official Coffee of Lincoln Center

NewYork-Presbyterian is the Official Hospital ofLincoln Center

Artist Catering provided by Zabar’s and Zabars.com

The Monteverdi Choir & Orchestras would like tothank and acknowledge the Monteverdi 450thAnniversary Circle supporters for their support ofthis tour.

Regal by Meloni & Farrier Organbuilders

Baroque Keyboards

UPCOMING WHITE LIGHT FESTIVAL EVENTS:

Friday, October 20 at 7:30 pm at Gerald W. LynchTheater at John Jay College

Saturday, October 21 at 3:00 pm and 7:30 pmDancing VoicesMeredith Monk, voice, composer, and directorYoung People’s Chorus of New York CityFrancisco J. Núñez, artistic director Elizabeth Núñez, associate artistic director Katie Geissinger, voiceAllison Sniffin, voice and pianoAmerican Contemporary Music Ensemble

Wednesday–Thursday, November 1–2, at 7:30 pmin the Rose Theater

Stabat mater (New York premiere)Jessica Lang DanceJessica Lang, director and choreographerOrchestra of St. Luke’sSperanza Scappucci, conductorAndriana Chuchman, sopranoAnthony Roth Costanzo, countertenorMOZART: Divertimento in F majorPERGOLESI: Stabat mater

November 1–11 The Psalms Experience (U.S. premiere)Choir of Trinity Wall StreetNetherlands Chamber ChoirTallis ScholarsNorwegian Soloists’ Choir150 psalms. 150 composers. 4 choirs. 12 concerts.Visit PsalmsExperience.org for full concert schedule.

For tickets, call (212) 721-6500 or visitWhiteLightFestival.org. Call the Lincoln Center InfoRequest Line at (212) 875-5766 to learn about pro-gram cancellations or to request a White LightFestival brochure.

Visit WhiteLightFestival.org for full festival listings.

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We would like to remind you that the sound of coughing and rustling paper might distract the performers and your fellow audience members.

In consideration of the performing artists and members of the audience, those who must leavebefore the end of the performance are asked to do so between pieces. The taking of photographsand the use of recording equipment are not allowed in the building.

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L’Orfeo

MONTEVERDI L’Orfeo, SV 318 (1607)PrologueAct IAct IIAct IIIAct IVAct V

This program is approximately 2 hours and 10 minutes long and will be performedwithout intermission.

Please join the artists for a White Light Lounge in the Alice Tully Hall lobby followingthe performance.

Director’s Note: Celebrating Monteverdi 450By John Eliot Gardiner

Fifty years ago, Monteverdi epitomized for me all that was most exotic and alluring aboutItalian music of the early 17th century. His music spoke to audiences so directly: Itdemanded their attention through its glorious palette of colors and the passionate utter-ance in which it was couched, whether composed for the church, the chamber, or thetheater. I became hooked, much in the same way that many people (myself included) aredrawn to the works of his contemporaries: Shakespeare or John Donne, Rubens orCaravaggio—all humanists in the fullest sense of the term. These great creative artistswere of a generation that lived through those turbulent, seminal years either side of1600, a quasi-millennial moment of apocalyptic end-of-times appre hension. It was atheme that surfaces most obviously in Shakespeare’s late plays. Nor was it just the sci-entists and philosophers who contributed to the ferment of ideas that turned the intellec-tual life of Europe upside down.

Now, four centuries later, we have an opportunity to bring about a significant break-through in public awareness of Monteverdi’s part in this revolution. As good a place tostart as any would be by celebrating and recalibrating that astonishing fusion of rich musi-cal beauty with theatrical verisimilitude that is the hallmark of his operas. A fitting 450th-birthday present to Monteverdi, I believe, would then be to put the excitement, and per-haps also the trepidation, back into his music.

—Copyright © by John Eliot Gardiner. Excerpted from the essay “Monteverdi at the Crossroads,”published in the journal Early Music, xlv/3 (August 2017)

Please turn to page 30 for a full interview with John Eliot Gardiner.

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SynopsisBy Ellen Rosand

Following an opening toccata silencing theaudience, La Musica introduces the drama,which will demonstrate her extraordinarypower. It is the tale of Orpheus (Orfeo), thelegendary singer, who can tame beastsand subdue the infernal spirits with hissong and his lyre. Exhorting the audienceto silence, she departs.

Act INymphs and shepherds, after remindingone another of Orpheus’s recent sadness,rejoice at his present happiness, inspiredby his impending marriage to Eurydice(Euridice). They invoke Hymen, the god-dess of marriage, and the Muses to blessthe union. A shepherd then invites Orpheusto express his pleasure in a song, and hecomplies with a hymn to the Sun, thenaddressing Eurydice with words of love, towhich she responds in kind. They all departfor the temple to pray for good fortune.

Act IIHaving returned from the temple, wherethe wedding took place, Orpheus and thenymphs and shepherds celebrate thebeauties of the Thracian landscape. Oncemore acceding to the shepherds’ request,Orpheus sings a song, this time reflectingon the contrast between his past sufferingand the happiness Eurydice has broughthim. Suddenly the mood changes as amessenger enters with terrible news:Eurydice has been bitten by a snake and isdead. Following the messenger’s passion-ate description of the event, which inspirescries of despair from the shepherds,Orpheus’s reaction is decisive: He willattempt to rescue his beloved from theUnderworld. If he fails, he will remain therewith her forever.

Act IIIAccompanied by Hope (Speranza), Orpheushas reached the gates of the Underworld,but he must now leave her behind in defer-ence to the injunction inscribed on thegates to “abandon all hope, ye who enterhere,” and forge on alone. He is blocked byCharon (Caronte), the Underworld boatman,for no living being is permitted to enter Hell.Orpheus attempts to placate Charon with apassionate prayer, and finally succeeds inlulling him to sleep. He enters the boat andreaches the other shore, where infernalspirits celebrate his courage.

Act IVHaving heard Orpheus’s prayer to Charon,Proserpina is moved, and begs her hus-band Pluto to release Eurydice. He agreesto do so, with the proviso that Orpheus notlook at her until they reach the land of theliving. All too soon, however, Orpheus dis-obeys Pluto’s injunction and, yielding to hisweakness, turns to look at his beloved,whereupon she dies again, this time for-ever. The chorus of spirits celebrates thevirtue that Orpheus sorely lacks: masteryover oneself.

Act VHaving returned alone to the Thracianfields, Orpheus expresses his immensegrief. Only Echo responds; Orpheus con-demns her as well as the entire female sex,promising that he will never love anotherwoman. At that moment, his father, Apollo,appears on a cloud and invites Orpheus toascend with him to heaven, where he canobserve Eurydice’s image in the sun andstars and enjoy eternal delight and peace.Orpheus agrees, and father and sonascend, while the nymphs and shepherdscelebrate the happy ending.

—Copyright © 2017 by Lincoln Center for thePerforming Arts, Inc.

Notes on the ProgramBy Ellen Rosand

L’Orfeo, SV 318 (1607)CLAUDIO MONTEVERDIBorn May 15, 1567, in Cremona, Italy Died November 29, 1643, in Venice

When Monteverdi premiered his firstopera, L’Orfeo, in 1607, he was 40 yearsold. He had been employed by the Duke ofMantua since 1590, and by the time ofL’Orfeo, Monteverdi had risen to the postof maestro di musica. As such, his respon-sibilities extended over the whole musicalactivity of the court. This included maintain-ing the traditional excellence of the per-forming forces and providing music forboth the day-to-day and special needs ofthe court: chapel and chamber music aswell as music for the theater.

La favola d’Orfeo, a full-length theatricalwork on a libretto by Alessandro Striggiothe Younger, was performed before a smallaristocratic audience in a room of the DucalPalace. As a court opera, L’Orfeo followeda precedent established in MediceanFlorence just a few years earlier withL’Euridice, an opera with music by JacopoPeri on a libretto by Ottavio Rinuccini.Touted at the time as the first completelysung drama to appear on the stage,L’Euridice, like most Medici spectacles,was designed to celebrate a particular polit-ical occasion—in this case a royal mar-riage—and thereby add luster to the imageof the ruling dynasty. Both libretto andmusic were published to commemoratethe occasion, which was elaboratelydescribed by the official Medici courtchroniclers. Although L’Orfeo did not cele-brate a particular event, it was alsointended to glorify the Mantuan dynasty, asit was preserved in print; a libretto wasissued by the ducal printer in 1607, andMonteverdi published a commemorativescore two years later, with a fulsome dedi-cation to Francesco Gonzaga.

Monteverdi and his patron, who may haveattended the Florentine celebration, apparentlysought to produce something similar in Man -tua. L’Orfeo indeed recalls Peri’s L’Euridicein many respects. The same subject, theOvidian myth of Orpheus and Eurydice, isaltered to end happily—in L’Euridice, withthe lovers’ wedding; in L’Orfeo with thepromise of their reunion in Heaven.

It is no coincidence that the subject of bothworks is a musical one. In these earliest ofoperas, characters speaking in song wouldhave required justification—unless theywere musicians. In the Orpheus myth,musical speech is not only plausible butnecessary: The hero must use his innatemusical abilities to conquer theUnderworld. L’Euridice introduced the ideaof sung drama as a means of recreating theeffects of ancient tragedy, which manybelieved to have derived its legendaryexpressive power from music. The point ismade by La Tragedia in the Prologue, whoexplains that she takes the stage “not tosing of bloodshed and suffering, but, inhonor of the royal wedding, to bring delightto noble hearts with happier notes,” invit-ing the audience to “listen to ThracianOrpheus’ song.”

In an even more pointed justification ofmusical drama, it is La Musica in L’Orfeowho commands the proceedings in thePrologue, introducing herself by explainingher power: Her song can “quiet every heartand inflame the coldest spirits,” and hercithera “can move mortal ears and inspirethe soul with its sonorous harmony.” Shewill use her gifts to tell the story of Orfeo’smusical accomplishments, he “whocalmed fierce beasts with his song andmade Hell yield to his prayer.”

The power of music to move men’s heartsand minds, then, is the subject ofMonteverdi’s opera, as personified by LaMusica and embodied in Orfeo. This themeis threaded through the opera in a multi-tude of ways.

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Thanks to the published score, whichrecords many aspects of the actual perfor-mance, we know that there were eightcharacters as well as three choruses—ofNymphs and Shepherds, Infernal Spirits,and Shepherds “who performed the finalMoresca.” The score also lists the namesand numbers of the participating instru-ments, an unusually large and varied bandthat included, in addition to the standardstrings and continuo, a number of windsand brass, for a total of 13 different instru-ments. The score helpfully includes manyrubrics indicating which instrumentsplayed in particular passages, and some-times even how they played—softly,loudly. As maestro di musica, Monteverdiwould have had all of these forces at hisdisposal, and the size and variety of theensemble would certainly have reflectedthe image of Mantuan wealth and power.

Monteverdi’s music displays its own kindof opulence: Speech-like declamation (thecomposer’s famous stile recitativo), solosongs, duets, and choruses in madrigalstyle, dances, as well as numerous instru-mental ritornellos are carefully de ployed toenhance the structure and communicatethe meaning of Striggio’s text.

Borrowing from the traditional form ofancient drama, L’Orfeo is in five acts. Theyare arranged symmetrically around thecenterpiece, Act 3. Each act, framed by anintroductory instrumental ritornello and aconclusive choral commentary, is builtaround a single main action: the marriage

of Orfeo and Euridice in Act 1; Euridice’sdeath in Act 2; Orfeo’s entry into theUnderworld in Act 3; Orfeo’s failure to savethe liberated Euridice in Act 4; Orfeo’s sal-vation by Apollo in Act 5. The third act, isolated from its surroundings by a somberfive-part ritornello for wind (or “under-world”) instruments, features at its owncenter Orfeo’s musical masterwork,“Possente spirto.” This extended tour-de-force for both singer and composer com-prises a set of increasingly elaborate stan-zas separated by equally elaborate ritornel-los, each for a different set of instruments:strings, cornetti, double harp, and stringsagain. Orfeo’s successful prayer toCaronte to ferry him across the river Styxdemonstrates the legendary power of his(and Monteverdi’s) music to achieve theimpossible: to breach the Underworld, andperhaps just as impossible, to establish thelegitimacy of sung drama.

Ellen Rosand, professor of music emeritusat Yale University, founded the YaleBaroque Opera Project, which has pre-sented a 17th-century Venetian operaevery spring for the past decade. She isthe author of Opera in Seventeenth-Century Venice (1991) and Monteverdi’sLast Operas (2007), and is the general edi-tor of Cavalli Opere, a critical edition of theoperas of Francesco Cavalli being pub-lished by Baerenreiter Verlag.

—Copyright © 2017 by Lincoln Center for thePerforming Arts, Inc.

—“Orfeo” from Collected Poems by James Merrill, copyright © 2001 bythe Literary Estate of James Merrill at Washington University. Used by permission of Alfred A. Knopf, an imprint of the Knopf Doubleday PublishingGroup, a division of Penguin Random House LLC. All rights reserved.

For poetry comments and suggestions, please writeto programming@LincolnCenter.org.

Ah downward through the dark coulisse,Impelled to walk the stage of hell,Unwind as in a theater gilt and puceHis opulence of pain until

Each damned soul dropped its trembling fan(Which in the gusts of wooing trembled still)And wept to hear him: it was thenSickeningly he divined, but with an odd thrill,

Among the shadows of a boxThat brow, that hand outspread uponThe plush worn bare, a white peacock’sGenius at dusk on a dissolving lawn,

Her loss within his music’s rise and fallHaving become perpetual.

Illumination

OrfeoBy James Merrill

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Meet the Artists

Founder and artistic director of theMonteverdi Choir, the English BaroqueSoloists, and the Orchestre Révolutionnaireet Romantique, John Eliot Gardiner is one ofthe most versatile conductors of our time.He appears regularly with leading sym-phony orchestras such as the London Sym -phony Orchestra, Gewandhaus Orchestraof Leipzig, Royal Concertgebouw, Bayer -ischer Rundfunk, and at the Royal OperaHouse, Covent Garden. Formerly artisticdirector of the Opéra de Lyon (1983–88)and founding music director of its orches-tra, his opera projects included Gluck’sOrphée and Alceste, Verdi’s Falstaff, andBerlioz’s Les Troyens at the Théâtre duChâtelet in Paris. At Opéra Comique heconducted new productions that includedCarmen, Pelléas et Mélisande, andWeber/Berlioz’s Le Freischütz.

Acknowledged as a key figure in the earlymusic revival of the past five decades, Mr.Gardiner has led his own ensembles in anumber of large-scale tours, including ayear-long Bach Cantata Pilgrimage in 2000to celebrate the 250th year of the com-poser’s death. This past year he has led aseven-month tour celebrating the 450thanniversary of Claudio Monteverdi’s birth,culminating in these performances of thecomposer’s three surviving operas at AliceTully Hall.

The extent of Mr. Gardiner’s repertoire isillustrated by over 250 recordings for majorrecord companies and by numerous interna-tional awards including Gramophone’s SpecialAchievement Award for live recordings of

Bach’s complete church cantatas on thelabel Soli Deo Gloria. In recognition of hiswork, Mr. Gardiner has received severalinternational prizes and honorary doctor-ates from the University of Cambridge,University of Lyon, New England Con -servatory of Music, University of Pavia,and the University of St. Andrews. He is anhonorary member of the Royal Academy ofMusic, and an honorary fellow of King’sCollege, London, of the British Academy,and of King’s College, Cambridge. In 2008Mr. Gardiner received the prestigious RoyalAcademy of Music Bach Prize. He wasmade Chevalier de la Légion d’honneur in2011 and was given the Order of Merit ofthe Federal Republic of Germany in 2005. Inthe U.K., he was made a Commander of theBritish Empire in 1990 and awarded aknighthood for his services to music in the1998 Queen’s Birthday Honours List.

In 2013, following the publication of hislong-awaited book on Bach, Music in theCastle of Heaven (Allen Lane), he won theCritics’ Circle’s Outstanding Musicianaward. In 2014 Mr. Gardiner became thefirst ever President of the Bach Archive inLeipzig. He became the inaugural Chris -toph Wolff Distinguished Visiting Scholarat Harvard University in 2014–15 and wasrecently awarded the Amsterdam Con cert -gebouw Prize.

Polish tenor Krystian Adam (Orfeo) studiedat the Karol Lipiński Academy of Music inWrocław and at the Conservatorio diMusica Giuseppe Verdi in Milan. In 2007he made his debut at La Scala in the worldpremiere of Fabio Vacchi’s Teneke. Othercredits include Mozart’s Le nozze di Figaroand Cilea’s Adriana Lecouvreur at Royal

John EliotGardiner

Krystian Adam

SIM CANETTY-CLARKE

Opera House, Covent Garden, andMozart’s Idomeneo at Teatro La Fenice inVenice. In addition, Riccardo Chaillyengaged him for performances of Puccini’sLa fanciulla del West at Teatro Alla Scala,and Claudio Abbado invited him to appearin concerts with the Orchestra Mozart.

Mr. Adam is also intensively devoted to themusic of the 17th and 18th centuries, andhas worked in historically-informed practicewith such conductors as Giovanni Antonini,Rinaldo Alessandrini, Ottavio Dantone,Fabio Biondi, Jean-Christophe Spinosi,Václav Luks, and Teodor Currentzis. He hasalso collaborated with John Eliot Gardinerin touring performances of Monteverdi’sVespers and L’Orfeo.

Soprano Hana Blažíková (La Musica/Euridice) specializes in the interpretation ofBaroque, Renaissance, and medieval music,performing with ensembles and orchestrasaround the world, including CollegiumVocale Gent, Bach Collegium Japan, SetteVoci, Amsterdam Baroque Orchestra &Choir, L’Arpeggiata, Gli Angeli Genève,Nederlandse Bachvereniging, Tafelmusik,Collegium 1704, Collegium Marianum,Musica Florea, and L’Armonia Sonora,among others. She has performed at manyworld festivals, including EdinburghInternational Festival, Festival Oude MuziekUtrecht, Tage Alter Musik Regensburg,Resonanzen, Festival de Sablé, Hong KongArts Festival, Chopin i jego Europa, BachfestLeipzig, and Festival de Saintes.

In 2010 and 2013, Ms. Blažíková took part ina highly acclaimed world tour of Bach’s St.Matthew Passion under the direction ofPhilippe Herreweghe, and in 2011 made herCarnegie Hall debut performing with

Masaaki Suzuki’s Bach Collegium Japan.Other performance highlights include Bach’sSt. John Passion with the Boston Sym -phony Orchestra (2011) and the stage pro-duction Orfeo Chamán with L’Arpeggiata inBogota (2014). Ms. Blažíková also appearson more than 30 CDs, including a well-known series of Bach cantatas with BachCollegium Japan.

Born in Prague, Ms. Blažíková sang in thechildren’s choir Radost Praha and playedthe violin before turning to solo singing. In2002 she graduated from the PragueConservatory under the tutelage of JiříKotouč, and later undertook further studywith Poppy Holden, Peter Kooij, MonikaMauch, and Howard Crook. Ms. Blažíkováadditionally presents concerts in which sheaccompanies herself on Gothic andRomanesque harp and is also a member ofTiburtina Ensemble, a vocal ensemble thatspecializes in Gregorian chant and earlymedieval polyphony.

Born in 1993, mezzo-soprano Lea Desandre(Messaggera) won the Young Hope awardof the Opéra National de Bordeaux in 2013before joining Opera Fuoco in 2014. Havingstudied with Sara Mingaro, VéroniqueGens, Vivica Genaux, Esthel Durand,Malcolm Walker, and Christine Schweitzer,Ms. Desandre became an HSBC Laureateat the Festival d’Aix-en-Provence in 2016,and was named winner in the category ofLyric Revelation of Les Victoires de laMusique Classique in 2017.

A winner at the seventh edition of the Jardindes Voix, L’Académie des Arts Florissants,Ms. Desandre has performed worldwideunder the baton of William Christie at suchvenues as Alice Tully Hall, the Sydney Opera

Hana Blažíková

Lea Desandre

House, Melbourne Recital Center,Philharmonie de Paris, Tchaikovsky ConcertHall, Opéra National de Bordeaux, HongKong City Hall, and the Théâtre de Caen.During the 2016–17 season, she performedher first leading role at the Opéra Comiquein Marin Marais’s Alcyone under the batonof Jordi Savall. This season also saw herdebut as Messaggera in Monteverdi’sL’Orfeo with Les Arts Florissants at thePhilharmonie de Paris and elsewhere,alongside revivals of Rameau’s Zoroastre atTheater an der Wien and Opéra deVersailles; a final tour with Le Jardin desVoix to Asia; and her return to the Festivald’Aix-en-Provence as Flerida in Cavalli’sErismena.

Recital engagements this season includeFrench mélodies with pianist SarahRistorcelli at the Petit Palais (Paris); duorecitals of French music with lutenistThomas Dunford at the Opéra Comique;Vivaldi motets with Les Accents Ensembleat the Théâtre de Grévin (Paris); a Handelrecital with Le Concert d’Astrée at theOpéra de Lille; as well as a recital inGrenoble with Les Musiciens du Louvre ina program of cantatas.

Soprano Francesca Boncompagni (Proser -pina) works with prestigious Baroqueensembles such as Les Arts Florissants,Collegium Vocale Gent, Modo Antiquo, LaVenexiana, Accademia Bizantina, DeLabyrintho, and Cappella della Pietà deiTurchini, and has been a permanent mem-ber of the ensemble RossoPorpora since2013. She has worked with such conduc-tors as Claudio Cavina, Federico MariaSardelli, Walter Testolin, Antonio Florio,Ottavio Dantone, Paul Agnew, WilliamChristie, Philippe Herreweghe, and Frans

Brűggen, and has sung in distinguished con-cert halls that include Palazzetto Bru Zane(Venice), Tonhalle Zurich, Cité de laMusique, Théâtre des Champs-Élysées,Alte Oper (Frankfurt), Tokyo Bunka Kaikanand Tokyo Opera City Concert Hall, andBerlin’s Philharmonie. Recent highlightsinclude a production of Monteverdi’s Orfeoand Il Vespro della Beata Vergine con-ducted by John Eliot Gardiner, with perfor-mances in the U.S., London, and Versailles,as well as the current tour celebrating the450th anniversary of Monteverdi’s birth.

Ms. Boncompagni has recorded forPentatone, Phi, Virgin Classics, BrilliantClassics, France Musique, Stradivarius, andDeutsche Harmonia Mundi. Born in Arezzo,Italy, she studied violin, graduating with dis-tinction in 2005 from the Istituto Superioredi Studi Musicali “Rinaldo Franci” in Siena,and the same year, began her formal vocaltraining with Donatella Debolini. In 2007 Ms.Boncompagni attended William Christie’s LeJardin des Voix academy for young singers,and took part in the documentary BaroqueAcadémie, produced and broadcast byFrance 3. In 2008 she won first prize in theBaroque singing competition F. Provenzalein Naples. Ms. Boncompagni now attendsthe Advanced Vocal Ensemble Studies pro-gram with Evelyn Tubb and Anthony Rooleyat the Schola Cantorum Basiliensis in Basel.

With a noble and rounded voice, GianlucaBuratto (Caronte/Plutone) is rapidly estab-lishing himself as one of the most versatilebasses of his generation. His recentengagements include performances inMonteverdi’s L’Orfeo and Vespers on tourin the U.S., as well as at Wigmore Hall andin Versailles under the baton of John EliotGardiner; Guglielmo Ratcliff at the Wexford

FrancescaBoncompagni

Gianluca Buratto

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GIANANDREA UGGETTI

Festival Opera; Sarastro in Die Zauberflöte inLiège; and a solo recital at Wigmore Hall.Future engagements include I due Foscari inAmsterdam, Faccio’s Amleto and Tur andotat the Bregenzer Festspiele, Semiramidein London for Opera Rara, Berlioz’s Roméoet Juliette in Beirut, Le nozze di Figaro inZurich, and Don Giovanni in Bilbao.

Mr. Buratto’s other recent highlights includeBach’s B-minor Mass with Jordi Savall inMadrid and Barcelona; both Mozart’s andJommelli’s Betulia liberata with RiccardoMuti in Salzburg and Ravenna, and inWrocław under Corrado Rovaris; Bach’s St.John Passion with Eduardo López Banzo inSpain and Germany; Macbeth at theSalzburg Festival, Rome, and Chicago withRiccardo Muti, and at La Scala; Le nozze diFigaro in Barcelona with ChristopheRousset; and La bohème with RiccardoChailly. He has also performed in Monte -verdi’s L’Orfeo with Christophe Roussetand Les Talens Lyriques in Nancy and Paris;La bohème in Rome, Palermo, andAmsterdam; I Puritani in Florence; Rigolettoat the Macerata Opera Festival; and Verdi’sRequiem in Manchester under Mark Elder.

Countertenor Kangmin Justin Kim(Speranza) recently made his Paris debutas Prince Orlofsky in Die Fledermaus atOpéra Comique under Marc Minkowsi.Other recent engagements include Orestein La belle Hélène at Théâtre du Châtelet;Sesto in La clemenza di Tito (Montpellier);Cherubino in Le nozze di Figaro and thetitle role in the world premiere of Pym(Heidelberg); Idamante in Idomeneo(Giessen); Sesto in Giulio Cesare at theHandel Week Festival (Oak Park, Illinois);Menelao in Cavalli’s Elena (Montpellier,Angers, Nantes, Rennes); Enea in Vinci’s

Didone abbandonata along with his solorecital Gelosia at the Rococo Theatre atSchloss Schwetzingen; and a Handel con-cert at Styriarte in Graz.

Mr. Kim will perform Nerone in the upco-ming L’incoronazione di Poppea, and hasplayed Speranza in L’Orfeo during the cur-rent tour under the baton of John EliotGardiner. Other upcoming engagementsinclude Giulio Cesare in Glyndebourne underthe musical direction of William Christie, andArsilda in Bratislava, Caen, Lille, Luxem -bourg, Versailles, and Dijon.

Mr. Kim was born in South Korea and grewup in Chicago. He studied voice, opera, andmusical theater at Northwestern Universityand at the Royal Academy of Music inLondon. He is a winner of the MetropolitanOpera‘s National Council Auditions, the LesAzuriales prize, the International SingingCompetition for Baroque Opera PietroAntonio Cesti (Innsbruck), Oxford Lieder‘sYoung Artist Platform Award, the MichaelHead English song prize, the Prix ThierryMermod, and the Stuart BurrowsInternational Voice Award.

Baritone Furio Zanasi (Apollo) began hismusical activity devoting himself to earlymusic, with a repertoire spanning madri-gals and oratorios to cantatas and Baroqueopera. He has appeared at major operahouses and at prestigious festivals in Italyas well as all over Europe, the U.S., andJapan, singing under renowned conduc-tors. His operatic roles have includedOrfeo in Monteverdi’s opera, recorded byNaive, in which he appeared on tour aswell as in a new production at Den NorskeOpera & Ballett in Oslo. Mr. Zanasi has alsoperformed Ulisse in Il ritorno d’Ulisse in

Furio ZanasiKangmin JustinKim

patria at La Scala in Milan, where he tookpart in the Monteverdi trilogy directed byRobert Wilson, under the baton of RinaldoAlessandrini. Additionally, Mr. Zanasi hasrecorded more than 60 CDs for variousrecord labels as well as for many of themain European radio stations.

Tenor Francisco Fernández-Rueda (PastoreI) has worked with such conductors as JohnEliot Gardiner, William Christie, Jordi Savall,Fabio Biondi, Enrico Onofri, Raphaël Pichon,Konrad Junghänel, Alexis Kossenko, Wolf -gang Katschner, Alessandro Quarta, andRyan Brown, and with orchestras includingLes Arts Florissants, Concerto Köln, EuropaGalante, Concertgebouw Kamerorkest, LesAmbassadeurs, Capella Reial de Catalunya,Ensemble Pygmalion, and PhilharmonischeOrchester Heidelberg. He has appeared insuch venues as Opéra Comique de Paris,Cité de la musique, Opéra Royal deVersailles, Opéra de Bordeaux, TheaterWinterthur, Festspiel haus Baden-Baden,BAM, and the Kennedy Center.

In the operatic field, Mr. Fernández-Ruedahas performed Don Ottavio in Mozart’s DonGiovanni, Bajazet in Handel’s Tamerlano,Orfeo in Monteverdi’s L’Orfeo, Narete inHasse’s Leucippo, Toante in Traetta’sIfigenia in Tauride, Clotarco in Haydn’sArmida, and Sir Hervey in Donizetti’s AnnaBolena. He has taken part in the legendaryrecreation of Lully’s Atys with WilliamChristie and Les Arts Florissants. In theoratorio field, Mr. Fernández-Rueda hassung Mozart’s Requiem and Krönungs -messe; Handel’s Messiah; Bach’s St.Matthew Passion, Mass in B minor, andWeihnacht sora torium; Monteverdi’s Vesprodella Beata Vergine; and C.P.E. Bach’sMagnificat.

Born in Seville, Mr. Fernández-Rueda holdsa degree in French studies from theUniversity of Seville. He studied singing atthe Escola Superior de Música deCatalunya in Barcelona. In 2011 Mr.Fernández-Rueda took part in the fifth edi-tion of Les Arts Florissants’ Jardin desVoix. He has recorded for such labels as FraMusica, Accent, Naxos, and MercuryRecords, and for radio stations such asWDR, BR Klassik, Radio Nacional deEspaña (RNE), and BBC Radio.

Welsh tenor Gareth Treseder (PastoreII/Spirito I/Eco) became an apprentice forJohn Eliot Gardiner’s Monteverdi Choirupon graduating from the University ofBristol and the Royal Welsh College ofMusic & Drama. Solo engagements duringhis apprenticeship included Bach’sCantatas BWV 61 and BWV 70 at the Citéde la musique in Paris, Berlin’s Philhar -monie, and at London’s Cadogan Hall. Mr.Treseder has since performed as a concertsoloist in the Soli Deo Gloria (SDG) record-ings Live at Milton Court: Handel BachScarlatti and J.S. Bach: Motets. He also per-formed the role of the Shepherd inStravinsky’s Oedipus Rex alongside theLondon Symphony Orchestra at the Bar -bican and for the orchestra’s CD release.

Recent solo performances include Handel’sDixit Dominus for the Prince of Wales atBuckingham Palace; Monteverdi’s Vespersat Carnegie Hall, King’s College, Cambridge,and the Château de Versailles; Mozart’sRequiem at Royal Albert Hall; Handel’sMessiah at Colston Hall (Bristol); Men -delssohn’s Elijah at St. John’s Smith Square(London); Schumann’s Paradies und die Perias the Jüngling at Gewandhaus (Leipzig);Scarlatti’s Stabat Mater at Cologne’s

FranciscoFernández-Rueda

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Philharmonie and Vienna’s Konzerthaus;Elgar’s The Dream of Gerontius at TrinityCollege, Cambridge; Bach’s Cantata BWV198, “Trauer Ode,” at Duomo di Pisa; andOrff’s Carmina Burana at the GloucesterCathedral.

Mr. Treseder also composes sacred choralworks, which have been performed andrecorded across the U.K., North America,and Australia. A Song Was Heard at Christ -mas and Blessed be that Maid Marie wererecently recorded by the BBC Singers, andseveral works have since been publishedby Boosey & Hawkes.

Baritone John Taylor Ward (PastoreIV/Spirito III) is highly acclaimed for hisdynamic expressiveness and tone, along-side an impressive sense of clarity and pre-cision. This season, he has appeared as aprincipal artist on five continents, joiningensembles such as Les Arts Florissants (asa laureate of Le Jardin des Voix), CollegiumVocale Ghent, the Boston Camerata, andthe Grammy Award–winning ensembleRoomful of Teeth. Other recent creditsinclude several roles in the Boston EarlyMusic Festival’s cycle of Monteverdioperas, the premiere staging of OrfeoChamán with L’Arpeggiata, and perfor-mances of Vivier’s Kopernikus and KaijaSaariaho’s La Passion de Simone under thedirection of Peter Sellars.

Mr. Taylor is a graduate of the EastmanSchool of Music and holds two advanceddegrees from Yale University. He is a recip-ient of the Yale School of Music AlumniAssociation Prize (2013), the Harriet HaleWoolley Scholarship (2013), the CarmelBach Festival’s Virginia Best Adams VocalMaster Class Fellowship (2014), and the

Helpmann Award for Best ChamberEnsemble Concert (Australia, 2015). He isthe co-founder and associate artistic direc-tor of the Lakes Area Music Festival inMinnesota, as well as a founding coremember of Cantata Profana, which wasrecognized with Chamber Music America’s2015 award for Adventurous Programming.

Polish countertenor Michał Czerniawski(Pastore III) studied singing at theStanislaw Moniuszko Music Academy inGdansk and the Guildhall School of Musicand Drama in London. He has workedextensively with such performers and con-ductors as Masaaki Suzuki, Mark Padmore(Aldeburgh Music), and William Christie(Le Jardin des Voix, on world tour, and forLes Arts Florissants’ 30th anniversary con-cert at Opéra Comique).

Mr. Czerniawski’s concert repertoireincludes Handel’s Messiah and Solomonwith Solomon’s Knot; Pergolesi’s Stabatmater with Krákow Chamber Opera; SalveRegina at the London Handel Festival; andScarlatti’s Il primo omicidio at theInternational Wratislavia Cantans Festival.His opera engagements have includedCorrindo in Cesti’s L’Orontea atInnsbrucker Festwochen der alten Musikand Wigmore Hall with David Bates and LaNuova Musica; Purcell’s The Fairy Queen atTeatr Wielki w Poznaniu and Opera naZamku w Szczecin; Handel’s Acis andGalatea and Gassmann’s L’Opera Seriawith the New European Opera; Peri’sEuridice with the British Youth Opera;Steffani’s Orlando Generoso at the BarberInstitute of Fine Arts at the University ofBirmingham; and The Fairy Queen,Monteverdi’s L’incoronazione di Poppea,Cavalli’s Giasone, and Handel’s Agrippina

John TaylorWard

MichałCzerniawski

with the English Touring Opera. Futureengagements include performances atGöttingen International Handel Festival andat Bachfest Leipzig.

A former member of William Christie’s LeJardin des Voix, tenor Zachary Wilder(Spirito II) has performed throughoutEurope and the U.S. with groups such asLes Arts Florissants, Collegium VocaleGent, Orchestre de Chambre de Paris, SanAntonio Symphony, Cappella Mediter -ranea, American Bach Soloists, and EarlyOpera Company, with appearances at theBoston Early Music Festival and Festivald’Aix-en-Provence.

A keen performer of Baroque repertoire,Mr. Wilder has performed Un sylphe inRameau’s Zaïs in France and Amsterdamwith Les Talens Lyriques (CD released onAparté); Tirsi in Gagliano’s La Dafne inBruges with Leonardo García Alarcón andCappella Mediterranea; and St. JohnPassion (Brussels, Barcelona, Seville) withPhilippe Herreweghe. Other performancehighlights have included Damon in Acis andGalatea with the American Bach Soloists;Septimius in Handel’s Theodora with EarlyMusic Vancouver; Haydn’s Die sieben let-zten Worte unseres Erlösers am Kreuzewith Orchestre de Chambre de Paris underLeonardo García Alarcón; Bach’s Mass in Bminor with the Grand Rapids Symphony;and Lucano in L’incoronazione di Poppeaand Telemaco in Il ritorno d’Ulisse in patria,both for the Boston Early Music Festival.

In 2016 Mr. Wilder debuted with the SanFrancisco Symphony performing Handel’sMessiah. Other recent engagementsinclude Everardo in Zingarelli’s Giulietta eRomeo with Theater und Orchester

Heidelberg; Mozart’s Requiem at St. Paul’sCathedral under John Rutter; performancesand a recording of Bach’s Magnificat withArion Baroque Orchestra in Montreal;Trasimede and L’Interesse in Cavalli’sL’Oristeo in Marseille; Euryale in Lully’sPersée in Paris and Versailles (alsorecorded); Beethoven’s Ninth Symphonywith the Mercury Orchestra in Houston;and Zadok in Handel’s Solomon in Hanover.

Soprano Anna Dennis (Ninfa) studied at theRoyal Academy of Music with NoelleBarker. Her concert performances haveincluded Britten’s War Requiem at theBerlin Philharmonie, Thomas Adès’s LifeStory accompanied by the composer atLincoln Center’s White Light Festival, a pro-gram of Russian operatic arias withPhilharmonia Baroque Orchestra & Chorale(San Francisco), Orff’s Carmina Buranawith the Orquestra Gulbenkian (Lisbon),Bach’s Christmas Oratorio with theAustralian Chamber Orchestra at theSydney Opera House, and Haydn’s DieSchöpfung with Orchestra EnsembleKanazawa (Japan). Ms. Dennis’s BBCProms appearances include performanceswith the City of Birmingham SymphonyOrchestra, BBC Symphony Orchestra,Britten Sinfonia, and the Orchestra of theAge of Enlightenment.

In 2016 Ms. Dennis performed Rosmene inHandel’s Imeneo at the InternationaleHändel-Festspiele Göttingen; Despina at theLichfield Festival; Iphigénie en Tauride at theInternationale Gluck Opern Festspiele inNuremberg; and Pergolesi’s Stabat materwith the Orquestra Gulbenkian in Lisbon.Other recent operatic roles include Paride inGluck’s Paride ed Elena (Nuremberg OperaHouse); Katherine Dee in Damon Albarn’s Dr

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Dee (English National Opera); Emira inHandel’s Siroe with Laurence Cummings(Internationale Händel-Festspiele Göttingen);Bersi in Andrea Chénier (Opera North); andIlia in Mozart’s Idomeneo, directed byGraham Vick (Birmingham Opera Com -pany). A keen interpreter of contemporarymusic, Ms. Dennis has created roles in pre-mieres of Francisco Coll’s Café Kafka (RoyalOpera House, Opera North), JonathanDove’s The Walk From The Garden(Salisbury Festival), Edward Rushton’s TheShops (Bregenz Festspiele), Will Tuckett’sPleasure’s Progress (Royal Opera House),and Yannis Kyriakides’s An Ocean of Rain(Aldeburgh Festival).

Ms. Dennis’s recordings include Rameau’sAnacréon of 1754 with the Orchestra ofthe Age Enlightenment, Handel’s Siroe, redi Persia and Joshua with LaurenceCummings and FestspielOrchesterGöttingen, and a CD of Russian composerElena Langer’s chamber works, Landscapewith Three People, on Harmonia Mundi.

Elsa RookeElsa Rooke (co-director) has worked as astage manager, assistant director, dra-maturge, and director throughout Europe.Trained by drama coach Alain Garichot, shehas taught acting to young singers, includ-ing William Christie’s Académie des ArtsFlorissants, and was appointed director ofone of France’s major drama schools (Saint-Étienne). A long-term collaborator withAdrian Noble, she has revived many operaproductions for him over the past 15 years.

Ms. Rooke directed the European pre-mieres of both Dominick Argento’sPostcard from Morocco and Conrad Susaand Anne Sexton’s Transformations for theOpéra de Lausanne. Other credits as stagedirector include productions for the OpéraNational de Bordeaux, Opéra National deLyon, Théâtre des Champs Élysées, andGrand Théâtre de Genève (The Turn of theScrew, A Midsummer Night’s Dream,

Cener entola, Idomeneo, Hansel und Gretel,Dialogues des Carmélites, Comédie sur lePont). More recently, Ms. Rooke wrote thelibretto (in English, French, and German) fora new opera based on the life and works ofAnnemarie Schwarzenbach: Le ruisseaunoir, composed by Guy-François Leuen -berger. The production, which she alsodirected, was commissioned by the HauteÉcole de Musique de Genève and con-ducted by Michael Wendeberg (Théâtre duGrütli, Geneva). She also worked in partner-ship with Gwenaël Morin on PeterHandke’s Introspection (Théâtre de laBastille, Paris), and on four plays by RainerWerner Fassbinder in which she also per-formed (Théâtre du Point du Jour, Lyon).

Born in Paris, Ms. Rooke completed herPhD in literature and music on 20th-cen-tury opera at the Sorbonne. Invited to pub-lish papers and give talks on this subject,she has also translated novels, essays,and opera librettos from English and Italianinto French.

Monteverdi ChoirFounded by John Eliot Gardiner as part ofthe breakaway period instrument move-ment of the 1960s, the Monteverdi Choirhas always focused on bringing a new per-spective to its repertoire. With a combina-tion of consummate choral technique andhistorically-informed performance practice,the choir has been consistently acclaimedover the past 50 years as one of the bestchoirs in the world.

Among a number of trailblazing tours wasthe Bach Cantata Pilgrimage in 2000, dur-ing which the choir performed all 198 ofBach’s sacred cantatas in more than 60churches throughout Europe and America.The entire project, recorded by the com-pany’s record label Soli Deo Gloria, wascritically hailed. The Monteverdi Choir hasover 150 recordings to its name and haswon numerous prizes.

The choir is also committed to trainingfuture generations of singers through theMonteverdi Apprentices Programme.Many apprentices go on to become fullmembers of the choir, and former choirmembers have also gone on to enjoy suc-cessful solo careers.

Last season the choir took part in a varietyof projects across different repertoires,from an extensive tour of Bach’s St.Matthew Passion (performed from mem-ory) with the English Baroque Soloists, toBerlioz’s Roméo et Juliette at the BBCProms, to the Festival Berlioz with theOrchestre Révolutionnaire et Romantique.Under the direction of Gardiner, the choiralso collaborated with both the LondonSymphony Orchestra on Mendelssohn’sEin Sommernachtsrtaum and the ZurichTonhalle Orchestra on Janáček’s GlagoliticMass. The Monteverdi Choir has also par-ticipated in several staged opera produc-tions, including Le Freischütz (2010) andCarmen (2009) at the Opéra Comique inParis, and Les Troyens at the Théâtre duChâtelet. Most recently, the choir per-formed Gluck’s Orphée et Eurydice at theRoyal Opera House, Covent Garden, work-ing in collaboration with the HofeshShechter Dance Company.

English Baroque SoloistsThe English Baroque Soloists have longbeen established as one of the world’sleading period instrument orchestras.Throughout their repertoire, ranging fromMonteverdi to Mozart and Haydn, they areequally at home in chamber, symphonic,and operatic performances, and the distinc-tive sound of their warm and incisive play-ing is instantly recognizable.

The ensemble has performed at many ofthe world’s most prestigious venues, includ-ing La Scala in Milan, the Concertgebouwin Amsterdam, and the Sydney OperaHouse. During the 1990s, the EnglishBaroque Soloists performed Mozart’sseven mature operas and recorded all of

his piano concertos and mature sym-phonies. The English Baroque Soloists areregularly involved in joint projects with theMonteverdi Choir, with whom theyfamously took part in the trailblazing BachCantata Pilgrimage in 2000, performing all ofBach’s sacred cantatas throughout Europe.They also toured Gluck’s Orphée et Eurydicein Hamburg and Versailles, following astaged production at the Royal OperaHouse, Covent Garden, in collaboration withthe Hofesh Shechter Dance Company.

Highlights in 2016 included tours of Bach’sMagnificat in E-flat major, Lutheran Mass inF major, and Cantata “Sü�er Trost” with theMonteverdi Choir in venues aroundEurope, as well as Bach’s St. MatthewPassion and a mixed program of Mozart’sSymphonies Nos. 39–41, Requiem, andGreat Mass in C minor.

The most recent recording by the EnglishBaroque Soloists is of Bach’s St. MatthewPassion, released by Soli Deo Gloria inMarch 2017.

White Light Festival I could compare my music to white light,which contains all colors. Only a prism candivide the colors and make them appear;this prism could be the spirit of the listener.—Arvo Pärt. Now in its eighth year, theWhite Light Festival is Lincoln Center’sannual exploration of music and art’s powerto reveal the many dimensions of our inte-rior lives. International in scope, the multidis-ciplinary festival offers a broad spectrum ofthe world’s leading instrumentalists, vocal-ists, ensembles, choreographers, dancecompanies, and directors, complementedby conversations with artists and scholarsand post-performance White Light Lounges.

Lincoln Center’s Great PerformersInitiated in 1965, Lincoln Center’s GreatPerformers series offers classical and con-temporary music performances from theworld’s outstanding symphony orchestras,vocalists, chamber ensembles, and recitalists.

WhiteLightFestival.org

One of the most significant music presen-tation series in the world, Great Per -formers runs from October through Junewith offerings in Lincoln Center’s DavidGeffen Hall, Alice Tully Hall, Walter ReadeTheater, and other performance spacesaround New York City. From symphonicmasterworks, lieder recitals, and Sundaymorning coffee concerts to films andgroundbreaking productions specially com-missioned by Lincoln Center, GreatPerformers offers a rich spectrum of pro-gramming throughout the season.

Lincoln Center for the PerformingArts, Inc.Lincoln Center for the Performing Arts(LCPA) serves three primary roles: presen-ter of artistic programming, national leader

in arts and education and community rela-tions, and manager of the Lincoln Centercampus. A presenter of more than 3,000free and ticketed events, performances,tours, and educational activities annually,LCPA offers 15 programs, series, and fes-tivals including American Songbook, GreatPerformers, Lincoln Center Festival,Lincoln Center Out of Doors, MidsummerNight Swing, the Mostly Mozart Festival,and the White Light Festival, as well as theEmmy Award–winning Live From LincolnCenter, which airs nationally on PBS. Asmanager of the Lincoln Center campus,LCPA provides support and services forthe Lincoln Center complex and the 11 res-ident organizations. In addition, LCPA led a$1.2 billion campus renovation, completedin October 2012.

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Monteverdi Choir

SopranoCharlotte AshleyAmy CarsonAngela HicksAlison HillEleanor MeynellAngharad Rowlands

CountertenorRory McCleerySimon PonsfordRichard WilberforceMatthew Venner

TenorHugo HymasGraham Neal

BassAlex Ashworth Daniel D’SouzaSamuel EvansLawrence Wallington

MASSIMO GIANNELLI

English Baroque Soloists

ViolinKati Debretzeni, LeaderIona DaviesHenry Tong Anne Schumann,

Second PrincipalHenrietta WayneDavina Clarke

ViolaFanny PaccoudLisa Cochrane Małgorzata ZiemkiewiczAliye Cornish

CelloMarco Frezzato

Gamba/LironeKinga Gáborjáni

BassValerie Botwright

HarpsichordAntonio GrecoPaolo Zanzu

Chitarrone/LuteDavid MillerAlex McCartneyJosías RodríguezGándara

Jørgen Skogmo

DulcianGyörgyi Farkas

RecordersRachel BeckettCatherine Latham

CornettiFrithjof SmithRichard ThomasDarren Moore

SackbutsAdam WoolfMiguel Tantos SevillanoMartyn SandersonAbigail NewmanStephen Saunders

HarpGwyneth Wentink

MASSIMO GIANNELLI

Lincoln Center Programming DepartmentJane Moss, Ehrenkranz Artistic DirectorHanako Yamaguchi, Director, Music ProgrammingJon Nakagawa, Director, Contemporary ProgrammingJill Sternheimer, Director, Public ProgrammingLisa Takemoto, Production ManagerCharles Cermele, Producer, Contemporary ProgrammingMauricio Lomelin, Producer, Contemporary ProgrammingAndrew C. Elsesser, Associate Director, ProgrammingLuna Shyr, Senior EditorRegina Grande Rivera, Associate ProducerDaniel Soto, Associate Producer, Public ProgrammingWalker Beard, Production CoordinatorNana Asase, Assistant to the Artistic DirectorOlivia Fortunato, Programming AssistantDorian Mueller, House Program CoordinatorJanet Rucker, Company Manager

For the White Light FestivalSupertitles created by Kenneth Chalmers, adapted by James HallidaySupertitles operated by Megan Young

For L’OrfeoRick Fisher, Lighting DesignerIsabella Gardiner, Patricia Hofstede, CostumesMatthew Muller, Production ManagerNoel Mann, Stage ManagerPaolo Zanzu, Antonio Greco, Music AssistantsMatteo Dalle Fratte, Language Coach