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program 

1

VIII 

festival 

KraKOw 

18–25 IV 2011

Photo: UMK 

Ladies and Gentlemen: 

The Misteria Paschalia Festival represents without doubt one of 

the strongest and most valuable programming items in Kraków’s 

wealth of cultural events. We love it for its wonderful music – the 

opportunity to come into contact with the most distinguished 

works created over the centuries for the occasion of Holy Week and 

to grace the Feast of the Resurrection of the Lord – and for the fact 

that it reveals to us the musical treasures of the Renaissance and 

the Baroque. We are proud that, thanks to the Misteria Paschalia 

Festival, Kraków has become a second home for many worldfamous 

artists. Through the Festival, such superb artists as Fabio 

Biondi, Jordi Savall, Marc Minkowski, Ottavio Dantone, Philippe 

Jaroussky and many, many others have become friends of our city 

and continue to enjoy returning here. 

I am immeasurably glad that with this year’s edition, the 

group of musicians already familiar to Kraków has a chance to 

significantly expand. For the Festival has now matured to the point 

of becoming not only a place to meet unquestioned masters, but 

also a center promoting new projects and rising talents in historical 

performance. I am convinced that the new Misteria Paschalia 

Debuts project will be a most compelling experience. I also 

have no doubts that a faithful audience will be won by another 

extraordinary Festival initiative – Misteria Paschalia Trance, the 

essence of which is an unconventional presentation of Passion 

themes from the contemporary perspective of distinguished 

musicians normally active in popular music. 

5 

I wish you unforgettable musical experiences. 

Jacek Majchrowski 

Mayor of Kraków

Holy Monday 

18 April

18 April 

Holy Monday, 8:00 PM 

Karol Szymanowski Philharmonic Hall in Kraków 

ul. Zwierzyniecka 1 

Les Grands Motets 

Claire Debono, soprano 

James Gilchrist, tenor 

Aimery Lefèvre, baritone 

Alain Buet, bass 

Emmanuelle Haïm, conductor 

Xavier Ribes, choirmaster 

The Orchestra of Le Concert d’Astrée 

David Plantier, concertmaster 

Matthieu Camilleri, Céline Martel, Yuki Koike, Pierre-Eric Nimylowycz, 

Giorgia Simbula, violin I 

Johannes Pramsohler, Emmanuel Curial, Cécile Lucas, Isabelle Lucas, 

Agnieszka Rychlik, violin II 

Laurence Duval, Diane Chmela, Marta Paramo, Michel Renard, Delphine Millour, 

Martha Moore, viola 

Atsushi Sakaï, viola da gamba 

Mathurin Matharel, Xavier Richard, Emily Robinson, bass violin 

Ariane Lallemand, ’cello 

Axel Bouchaux, double bass 

Alexis Kossenko, Olivier Benichou, flute 

Yann Miriel, Guillaume Cuiller, oboe 

Philippe Miqueu, bassoon 

Elisabeth Geiger, harpsichord, organ 

The Choir of Le Concert d’Astrée 

Anna Dennis, Elisabeth Baz, Delphine Cadet, Cécile Dalmon, Dorothée Leclair, 

Isabelle Rozier, Virginie Thomas, soprano 

Renaud Tripathi, Daniel Blanchard, Jean-Christophe Clair, Arnaud Le Dû, 

Marcio Soares Holanda, countertenor 

Ben Breakwell, Edouard Hazebrouk, Sébastian Monti, Pascal Richardin, 

Michael Solomon Williams, tenor 

Sydney Fierro, Jean-Gabriel Saint-Martin, Thomas van Essen, Pierre Virly, baritone 

Pierre Bessière, Geoffroy Buffière, Christophe Sam, Jean-Marc Savigny, bass 

8

Jean-Philippe Rameau 1683–1764 

Quam dilecta 

Deus noster refugium 

Jean-Joseph de Mondonville 1711–1772 

Sonata prima op. 3 

Dominus regnavit 

Concert broadcast live by Channel 2 of Polish Radio 

With the support from the French Institute and Lille Métropole Communauté Urbaine 

9

Photo: From the artist’s archives 

Claire Debono This singer from Malta is a graduate of the prestigious 

Guildhall School of Music and Drama, where she 

studied with Laura Sarti. Her repertoire includes 

diverse operatic roles – from the part of Minerva in 

C. Monteverdi’s Baroque opera Il ritorno d’Ulisse in 

patria, through roles in Mozart (Despina in Così fan 

tutte, Zerlina in Don Giovanni), to Anne Trulove in 

I. Stravinsky’s The Rake’s Progress. She has toured 

Europe and Japan, as well as performing at Lincoln 

Center in New York with Les Arts Florissants, and 

also with William Christie and Le Jardin des Voix. 

Beyond this, she has had the opportunity to perform 

with Le Concert Spirituel, Orchestre de Paris, 

Concerto Köln, the guitar duo ¡Canto vivo! and the 

London Sinfonietta. She has performed at Théâtre 

Royal de la Monnaie, Théâtre des Champs-Elysées 

in Paris, in Versailles, Lyon, Verona, Madrid, the 

Aix-en-Provence festival and the Peralada Festival. 

The artist’s plans for the immediate future include 

participation in projects with Jean-Christophe 

Spinosi (Mozart’s Die Zauberflöte at Théâtre des 

Champs-Elysées and the Nice Opera), as well 

as William Christie (F. Cavall’s Didone in Caen, 

Luxembourg and Théâtre des Champs Elysées). She 

is planning a recital in Brussels with pianist David 

Lively, the program of which will include works by 

F. Liszt. Debono records for EMI/Virgin Classics. 

10

James Gilchrist 

Before devoting himself completely to singing, 

James Gilchrist worked as a physician. Most often 

engaged for concert projects, he feels right at 

home in Baroque religious music (C. Monteverdi’s 

Vespers, J. S. Bach’s cantatas, masses and passions, 

lead roles in G. F. Handel’s oratorios). He also sings 

newer repertoire, particularly works by B. Britten 

(Serenade at the Sage, War Requiem). Though he 

more rarely works in the opera, Gilchrist has created 

wonderful roles in such operas as Handel’s Acis 

and Galatea (BBC Proms and Berlin Staatsoper), 

H. Purcell’s King Arthur (English National Opera), 

I. Stravinsky’s Oedipus Rex or R. Vaughan Williams’ 

Sir John in Love (Barbican/Radio 3), R. Strauss’ 

Ariadne auf Naxos, Britten’s Turn of the Screw, and 

W. A. Mozart’s Così fan tutte and Zaide. During 

his 15-year career, he has had the opportunity to 

work with the most distinguished conductors, such 

as: John Eliot Gardiner, Andrew Davis, Ton Koopman, 

Paul Goodwin, Philippe Herreweghe, Masaaki 

Suzuki or Roger Norrington, their ensembles (Concert 

Spirituel, Concerto Köln, Collegium Vocale, 

Academy of Ancient Music, The King’s Consort, 

Bach Collegium Japan) as well as symphony orchestras 

all over the world. As an ardent lover and promoter 

of contemporary music, the artist has taken 

active part in the world premières of K. Nystedt’s 

Apocalypsis Joannis (Oslo Philharmonic), J. Tavener’s 

Total Eclipse (Academy of Ancient Music) and 

H. Ottaway’s The Echoing Green (commissioned by 

the Salisbury Festival). His recital programs also 

include new compositions. Gilchrist has performed 

in a duo with Malcolm Martineau, Stephen Varcoe, 

John Constable and Anna Tilbrook (with this last 

pianist, he performed R. Schumann’s Liederkreis, 

G. Finzi’s Till Earth Outwears, and F. Poulenc’s 

Metamorphoses in a concert broadcast on BBC 

Radio 3), as well as with Alison Nicholls, and 

recently with the Nash Ensemble (Wigmore Hall, 

Bury St Edmunds Festival). He records for Chandos 

(B. Britten’s Albert Herring, R. Vaughan Williams’ 

A Poisoned Kiss), EMI (S. Rachmaninov’s Vespers), 

11 

Collins Classics (sacred music by H. Schütz), and 

Hyperion (sacred music by J. Kuhnau). He has 

recently released albums with songs by Finzi (Linn 

Records), When Laura Smiles (vocal works with lute 

accompaniment, composed in the Elizabethan era), 

as well as F. Schubert’s Die schöne Müllerin (Orchid 

Classics). 

Photo: Jim Four


Aimery Lefèvre Born 1983 in Bourges. Until 2000, Aimery Lefèvre 

studied piano and organ performance as well as 

singing at the Centre de Musique Baroque in Versailles, 

where he specialized in 17 th - and 18 th -century 

music performance. He continued his education at 

the Conservatoire National Supérieur de Musique 

et de Danse in Lyon under the direction of Brian 

Parsons, and then became a member of the Paris 

Opera’s Atelier Lyrique. Lefèvre has collaborated 

with such artists as Patrick Cohen-Akenine, Martin 

Gester, Jean-Claude Malgoire, Hervé Niquet and 

Christophe Rousset. The first opera role he performed 

was the male title role in H. Purcell’s Dido 

and Aeneas, which he prepared under the direction 

of Kenneth Weith. Beyond this, the artist has taken 

part in the following productions: B. Britten’s The 

Rape of Lucretia (Tours), W. A. Mozart’s Così fan 

tutte (Rennes) and D. Cimarosa’s Il matrimonio 

segreto (MC93 theater in Bobigny). Last season, he 

debuted at the Paris Opera as Fiorello in G. Rossini’s 

Il barbiere di Siviglia under the baton of Bruno 

Campanelli, as well as Momus in J.-P. Rameau’s 

opera Platée, led by Marc Minkowski. Lefèvre has 

performed in his homeland of France, as well as in 

Luxembourg, Italy and Holland (Concertgebouw in 

Amsterdam), with the accompaniment of Les Folies 

Françoises, Les Paladins, Musiciens du Louvre, La 

Simphonie du Marais (J.-B. Lully, Atys, CD) etc.; 

as well as in solo recitals at the Athénée Théâtre 

Louis-Jouvet, Auditorium du Musée du Louvre, 

Villa Medici in Rome, Teatro alla Scala in Milan, 

and Teatro la Fenice in Venice. 

12

Alain Buet 

After graduating from the Conservatoire National de 

Région de Caen (Normandy) and the Conservatoire 

National Supérieur de Musique in Paris, Alain Buet 

honed his vocal technique under the direction of 

Richard Miller. He has developed his solo career 

with such conductors as Robert Weddle, Jean- 

Claude Malgoire, Hervé Niquet, William Christie 

and Martin Gester. Buet is a regular guest at major 

concert halls and international festivals in Beaune, 

La Chaise-Dieu, Nantes, l’Orne, Bonn, Lausanne, 

Fez, Innsbruck, İstanbul, Cremona, Parma, Leipzig, 

and Amsterdam (Concertgebouw). He possesses 

a voice with a bright, warm sound, and performs 

music from the 14 th to the 20 th centuries – both 

secular and religious. The artist’s close collaboration 

with Jean-Claude Malgoire has borne fruit in 

his performances of numerous operatic roles in 

such productions as: G. F. Handel’s Agrippina, 

W. A. Mozart’s Le nozze di Figaro and Bastien und 

Bastienne, and G. Puccini’s Gianni Schicchi. He has 

also performed in M.-A. Charpentier’s opera David 

et Jonathas under the direction of William Christie. 

Alain Buet is the founder and member of the 

ensemble Les Musiciens du Paradis. He presently 

teaches voice at Conservatoire National Supérieur 

de Musique et de Danse in Paris. His recordings 

are to be found in the catalogs of the Glossa, Alpha, 

Arion, K617, Zig-Zag and Opus 111 labels. 

13 

Photo: From the artist’s archives

Emmanuelle Haïm 

After completing her degree in piano and organ 

performance, Emanuelle Haïm took up instruction 

in harpsichord performance in the studio of 

Kenneth Gilbert and graduated at the top of her 

class from the Conservatoire National Supérieur 

de Musique et de Danse in Paris. A fascination 

with vocal music induced her to make her first 

attempts to lead choral ensembles at the Centre 

de Musique Baroque de Versailles. Her talent was 

quickly noticed, and Haïm soon began to take 

part in projects of well-known artists, both as a 

harpsichordist and as a conductor. She achieved 

significant success with the Glyndebourne Touring 

Opera, leading Handel’s opera Rodelinda in 2001, 

as well as his oratorio Theodora two years later. It 

is from this moment that her regular collaboration 

with the Glyndebourne festival dates (including 

C. Monteverdi’s L’Incoronazione di Poppea in 

2008). The artist was the first woman to direct 

the Chicago Lyric Opera (Handel’s Giulio Cesare, 

2007). She has also collaborated with the City 

of Birmingham Symphony Orchestra, Scottish 

Chamber Orchestra, Deutsche Sinfonie-Orchester 

Berlin, Hessischer Rundfunk in Frankfurt and 

Berliner Philharmoniker. In 2000, she founded the 

ensemble Le Concert d’Astrée, which specializes in 

Baroque music performance. In the course of three 

years, the ensemble gained the favor of audiences 

around the world, from Paris to New York, and its 

crowning achievement was the title of ensemble 

of the year, granted by the jury of Victoires de la 

Musique Classique. Since 2004, Le Concert d’Astrée 

has been in residence at the opera theater in Lille, 

where it presents concert versions of operatic works. 

Emanuelle Haïm has collaborated with such artists 

as Robert Carsen, Jean-François Sivadier, Jean- 

Louis Martinoty, Robert Wilson, David McVicar, 

Giorgio Barberio Corsetti, and Sandrine Anglade. In 

2001, she signed an exclusive contract with Virgin 

Classics; her albums Lamenti and Carestini received 

Victoires de la Musique Classique distinctions 

(2008, 2009), and her recording of Purcell’s Dido 

14 

and Aeneas won the Echo Deutscher Musikpreis. 

The artist is an honorary member of the Royal 

Academy of Music; she has also received the titles 

of Chevalier des Arts et des Lettres and, in 2009, 

Chevalier de la Légion d’honneur.

15 

Photo: Simon Fowler Virgin Classics

Photo: Frédéric Iovino 

Le Concert d’Astrée 

This group of superb singers and instrumentalists, 

linked since 2000 by passion, common artistic 

aims and temperament, is led by Emmanuelle 

Haïm. Under her direction, the Baroque ensemble 

has achieved international success in the course 

of a mere three years. Aside from concerts in its 

homeland of France (Opéra National du Rhin, 

Théâtre de Caen, Bordeaux Opéra, Théâtre du 

Châtelet, and Théâtre des Champs-Élysées in Paris), 

the ensemble has performed at among other venues, 

the Concertgebouw in Amsterdam, Barbican 

Centre in London, Lincoln Center in New York and 

Konzerthaus in Vienna, as well as at the Potsdam 

festival and the Salzburger Festspiele. Le Concert 

d’Astrée’s permanent headquarters are at the Lille 

Opera, where the ensemble has presented concert 

versions of such operas as G. F. Handel’s Tamerlano 

(2004) and C. Monteverdi’s L’Orfeo (2005), as well 

as oratorio and cantata works (Handel’s Il trionfo del 

16 

Tempo e del Disinganno, Pergolesi’s Stabat Mater, 

W. A. Mozart’s Mass in C minor etc.). The choir, 

led by Denis Comtet, takes part in large projects 

or appears as a chamber ensemble; individual 

vocalists also sing solo parts (madrigals in L’Orfeo). 

In preparing staged productions, the ensemble has 

collaborated with the following directors: Robert 

Wilson, David McVicar, and Jean-Louis Martinoty. 

A permanent contract with Virgin Classics, with 

which the group has been associated for ten years, 

has borne fruit in numerous recordings of Baroque 

repertoire. For its recording achievements, the 

ensemble has received prestigious awards and several 

Victoires de la Musique Classique distinctions, 

together with the title of best ensemble of the year. 

Since 2001, Le Concert d’Astrée’s activity has been 

supported by France Télécom Foundation; starting 

in 2007, patronage of the group’s activity was taken 

over by Mécénat Musical Société Générale. Its 

further development is facilitated by the sponsorship 

of the French government.

Holy Tuesday 

19 April 

19

19 April 

Holy Tuesday, 8:00 PM 



Oratorio I 

S. Elena: Gemma Bertagnolli, soprano 

S. Macario: Vivica Genaux, soprano 

Eustazio: Anna Chierichetti, soprano 

Eudossa: Helena Rasker, alto 

Draciliano: Roberto Abbondanza, bass 

Fabio Biondi, concertmaster, conductor 

Europa Galante 

Fabio Ravasi, Carla Marotta, Elin Gabrielsson, violin I 

Andrea Rognoni, Marino Lagomarsino, Silvia Falavigna, violin II 

Stefano Marocchi, viola 

Maurizio Naddeo, ’cello 

Patxi Montero, double bass 

Giangiacomo Pinardi, theorbo 

Paola Poncet, harpsichord, positive organ 


20

21 

St. Helena, Cima de Conegliano

Leonardo Leo 1694–1744 

Sant’Elena al Calvario 

PARTE PRIMA 

Sinfonia 

Recitativo: Ecco, o pietosa Augusta 

S. Macario 

Recitativo: Fortunato terreno 

S. Elena 

Aria: Sacri orrori, ombre felici 

S. Elena 

Recitativo: Volgiti, Augusta, e mira 

Draciliano, S. Elena 

Coro: Di quanta pena è frutto 

Recitativo: Qui chi governa il tutto 

Eudossa, Eustazio 

Coro: Di quanta pena è frutto 

Recitativo: Anime elette, ah chi di voi m’addita 

S. Elena, Eustazio 

Recitativo: Alla barbarie altrui 

Eudossa 

Aria: Veggo ben io perché 

Eudossa 

22 

Recitativo: Oh come, amici, oh come 

S. Macario 

Aria: Amor, speranza, e fede 

S. Macario 

Recitativo: Oh di qual zelo ardente 

S. Elena 

Aria: Raggio di luce 

S. Elena 

Recitativo: Forse l’ora è vicina, in cui s’avveri 

Eustazio 

Recitativo: Forse al tuo braccio 

Draciliano 

Aria: Del Calvario già sorger le cime 

Draciliano 

Recitativo: Non è, non è, compagni 

S. Elena 

Recitativo: Sarà vero il presagio 

Eustazio 

Aria: In te s’affida e spera 

Eustazio 

Recitativo: Elena, che si tarda? 

Eudossa, S. Elena, tutti

PARTE SECONDA 

Recitativo: Cessate, olà, cessate 

S. Elena, S.Macario, Draciliano, Eudossa 

Aria: Nel mirar quel sasso amato 

S. Elena 

Recitativo: O marmo glorioso, emulo al seno 

S. Macario 

Aria: In te s’ascose 

S. Macario 

Recitativo: Ceda, ceda una volta 

S. Elena, S. Macario, Eudossa 

Recitativo: Ma qual de’ tronchi 

Eustazio, S. Macario, S. Elena 

Duetto: Dal tuo soglio luminoso 

S. Elena, Eudossa 

Recitativo: Signor, de’ falli nostri 

Draciliano 

Aria: Si scuoteranno i colli 

Draciliano 

23 

Recitativo: Chi mai con tante prove 

Eudossa 

Aria: Sul terren piagata a morte 

Eudossa 

Recitativo: Elena augusta, amici 

Eustazio, S. Elena, Draciliano, Eudossa 

Recitativo: Fermati, a noi 

Eustazio 

Aria: Dal nuvoloso monte 

Eustazio 

Recitativo: Al Ciel diletta Augusta 

S. Macario 

Aria: Al fulgor di questa face 

S. Macario 

Recitativo: Questo è pur dunque il sacrosanto 

Legno 

S. Elena 

Recitativo: Lasciami solo 

S. Elena 

Coro: Fedeli, ardire


Gemma Bertagnolli The path to an international career was opened for 

Gemma Bertagnolli by successes at the AsLiCo and 

Francesco Viñas competitions. She has performed 

on the stages of opera theaters and at festivals all over 

the world, including: Teatro alla Scala, Teatro La 

Fenice, Théâtre des Champs-Élysées, opera houses in 

Turin, Rome and Zürich, the Accademia Nazionale 

di Santa Cecilia, Concertgebouw in Amsterdam, 

the Maggio Musicale Fiorentino, Musikfestspiele 

in Potsdam, Salzburger Festspiele and Festival 

Pergolesi in Jesi. Bertagnolli performs parts in 

operatic works from the Classical era as well as the 

Italian bel canto; most often, however, she draws 

upon the Baroque repertoire. She has collaborated 

with such artists as Rinaldo Alessandrini, Marc 

Minkowski, René Jacobs, Ivor Bolton, Ottavio 

Dantone, Giovanni Antonini, Fabio Biondi and their 

ensembles. Beyond this, she performs solo parts in 

oratorio and cantata works, from the Baroque era 

as well as the late 19 th and early 20 th centuries. She 

has sung under the direction of the following artists: 

Roberto Abbado, Bruno Bartoletti, Maurizio Benini, 

Semyon Bychkov, Diego Fasolis, Gabriele Ferro, 

Danielle Gatti, Gianandrea Gavazzeni, Gianluigi 

Gelmetti, Fabio Luisi, Lorin Maazel, Zubin Mehta, 

Riccardo Muti, Daniel Oren, Wolfgang Sawallisch, 

Andreas Spering, and Simone Young. Bertagnolli 

has taken part in several recordings of works by 

A. Vivaldi (Orlando finto pazzo with the Academia 

Montis Regalis under the direction of Alessandro 

de Marchi, La verità in cimento with Ensemble 

Matheus and Jean-Christophe Spinosi, Vespri 

per l’Assunzione di Maria Vergine with Concerto 

Italiano under the direction of Rinaldo Alessandrini 

etc.), which were released in a special edition 

on the Naïve label; and also in recordings of solo 

parts from V. Bellini’s La Sonnambula with Cecilia 

Bartoli and Juan Diego Florez (Decca), Pergolesi’s 

Stabat Mater with Concerto Italiano (Naïve), 

E. Cavalieri’s Rappresentazione di Anima e di Corpo 

and O. Respighi’s Liriche da camera (Stradivarius), 

as well as F. Mendelssohn’s Symphony no. 2 (RS). 

25

Photo: Christian Steiner, Virgin Classics 

Vivica Genaux 

Regardless of the recognition she has enjoyed for 

upwards of dozen years, Vivica Genaux continues 

to hone her skills with Claudia Pinza. She is active 

in the Ezio Pinza Council for American Singers of 

Opera. In 1997, she won the prestigious Aria award; 

and two years later, at the Dresden Music Festival, 

was acclaimed as artist of the year. Genaux is gifted 

26 

not only with a beautiful voice, but also with acting 

talent, which means that she specializes in opera 

repertoire, with particular emphasis on Italian bel 

canto. She has over 30 roles to her credit. Among 

her favorite characters are Rosina, Angelina and 

Isabella, all from Rossini’s operas. In the last of 

these roles, she debuted successfully on the opera 

stage in 1994 at Opera Florentine, which resulted 

in propositions to appear in the role of Isabella at 

the Opéra National de Paris and the San Francisco 

Opera. The artist has been hosted by the Bayerische 

Staatsoper, Théâtre des Champs-Elysées, Carnegie 

Hall and the Teatro Municipal in Santiago. In 2007, 

she debuted at the New York City Opera and was 

presented with the Christopher Keene Award; the 

next year, the Pittsburgh Opera honored her with 

the Mecenas Award. Thereby, Genaux joined the 

company of such distinguished artists as Dame 

Joan Sutherland, Beverly Sills, Marilyn Horne, 

Stephanie Blythe, Shirley Verrett, Jake Heggie and 

Terrence McNally. She often performs accompanied 

by such early music ensembles as: Akademie für 

Alte Musik, Europa Galante, La Cetra, Les Talens 

Lyriques, Orchestra Barocca Modo Antiqua, 

Concerto Köln. Vivica Genaux records for Virgin 

Classics: Bel Canto Arias – Rossini, Donizetti with 

John Nelson and Ensemble Orchestral de Paris; 

Vivaldi’s La Santissima Trinità, Bajazet and Ercole 

su’l Termodonte (most recent, 2010/2011) with 

Fabio Biondi and Europa Galante; Handel & Hasse 

Arias and Cantatas with Les Violons du Roy; as 

well as for Harmonia Mundi (among other works, 

Handel’s Rinaldo with René Jacobs); many discs 

featuring her voice have won Grammy nominations. 

In 2004, she was the subject of Stefan Pannen and 

Claus Wischmann’s documentary film A Voice out 

of the Cold, which has been available on DVD since 

2007. In 2009, Genaux appeared at Theater an der 

Wien, where for the first time she sang the title role 

in Rossini’s Tancredi (under the direction of René 

Jacobs) as well as the part of Ernesto in Haydn’s 

Il mondo della luna (with Nikolaus Harnoncourt) – 

the concert was recorded and released on DVD in 

October 2010 by the Unitel Classica/C major label.

Anna Chierichetti 

At age five, Anna Chierichetti began instruction 

in piano performance. She studied singing and 

chamber music in Milan at the Verdi Conservatory, 

from which she graduated at the top of her class. 

Du ring her studies, Chierichetti took part in master 

classes (E. Battaglia, S. Tuzzi, R. Celletti, L. Gencer, 

R. Scotto, E. Ameling), as well as voice competitions, 

reaching the final many times and winning 1 st Prizes 

at the Festival della Lirica in Sanremo and the 

AsLiCo. She debuted in 1995 as Adina in G. Donizetti’s 

L’Elisir d’amore at Circuito Lombardo, where 

she later appeared in productions of G. Verdi’s Rigoletto 

and Falstaff, as well as W. A. Mozart’s Così fan 

tutte. This artist has been hosted by opera theaters 

and festivals all over the world, presenting roles in 

operatic works from the Baroque to the expressive 

works of R. Strauss and R. Wagner. Among her 

more important achievements are performances at 

Teatro alla Scala (R. Strauss’s Die Frau ohne Schatten, 

A. Salieri’s Europa riconosciuta and H. Purcell’s 

Dido and Aeneas, and F. Vacchi’s Teneke under the 

direction of Roberto Abbado) and the Paris Opera 

(G. F. Handel’s Alcina); along with her debuts at the 

Salzburger Festspiele under the direction of Fabio 

Biondi, as well as at Teatro Real in Madrid and Covent 

Garden as part of a tour with John Eliot Gardiner 

and his ensemble. Chierichetti has also collaborated 

with Rafael Frühbeck de Burgos, Christopher Hogwood 

and Riccardo Muti. For the audience at Festival 

d’Aix-en-Provence, she prepared madrigals by 

C. Monteverdi; at the Accademia Nazionale di Santa 

Cecilia in Rome, she sang J. S. Bach’s Magnificat; 

and at the Concertgebouw in Amsterdam, she took 

part in a concert performance of the opera Falstaff. 

The artist became known to Kraków music lovers in 

2009, when she appeared as a guest artist in a production 

of W. A. Mozart’s Don Giovanni. 

27 



Helena Rasker After graduating with honors from the Royal 

Conservatory of Music in The Hague, Helena 

Rasker honed her technique at the Tanglewood 

Music Center in the United States. Presently 

supervising the development of her talent is Diane 

Forlano, with whom Rasker studies in London. 

The singer’s repertoire is diverse and extensive – 

from Baroque to contemporary. She has sung solo 

parts in J. S. Bach’s Mass in B minor and Passion 

According to St. Matthew, as well as in oratorios by 

A. Vivaldi, G. F. Handel, F. J. Haydn, W. A. Mozart, 

F. Mendelssohn, A. Dvořák and K. Szymanowski, 

as well as operatic roles in A. Schönberg’s Moses 

und Aron (co-produced by the Netherlands Opera 

and the Salzburger Festspiele, under the direction 

of Pierre Boulez), Mozart’s Die Zauberflöte and 

C. W. Gluck’s Orfeo ed Euridice in a concert 

version directed by Christian Zacharias at the 

Mozartfest in Würzburg, as well as H. Purcell’s 

Dido and Aeneas at the Amsterdam Bach Festival. 

The artist has also performed, among other works, 

M. Mussorgsky’s Songs and Dances of Death with 

the Calefax Ensemble; D. Shostakovich’s Six Poems 

by Marina Tsvetaeva op. 143a; S. Gubaidulina’s 

Night in Memphis with the Schönberg Ensemble 

under the direction of Reinbert de Leeuw at the 

Concertgebouw in Amsterdam, and Galgenlieder 

with the Rotterdam Philharmonic; G. Mahler’s 

Kindertotenlieder; R. Wagner’s Wesendonck-Lieder; 

A. Schönberg’s Pierrot lunaire; as well as many 

works by L. Nono which have been recorded on CD 

(Prometeo at the Salzburger Festspiele under the 

direction of Ingo Metzmacher and Guai ai gelidi 

mostri with André Richard). She has collaborated 

with such artists as Ken Ichiro Kobayashi, Marc 

Minkowski, the orchestral ensembles of European 

opera theaters, the Orquestra Gulbenkian and Les 

Musiciens du Louvre-Grenoble, with the last of 

which she recently made a tour. 

28


Roberto Abbondanza 

Born and educated in Rome, Roberto Abbondanza 

studied vocal techniques under the direction of 

Isabel Gentile. At a very young age, he became a 

member of the RAI radio and television choir, and 

29 

then of L’Accademia Nazionale di Santa Cecilia in 

Rome. Abbondanza’s participation in the recording 

of a film version of G. Verdi’s Rigoletto with stage 

director Jean-Pierre Ponnelle launched his artistic 

career. Interested in performance of the art song 

repertoire, he took up studies at the Mozarteum in 

Salzburg and the Musikhochschule in Cologne with 

Hartmut Höll. He specializes, however, in opera 

singing, and early music in particular. The artist 

has been a finalist in the following competitions: 

the Toti Dal Monte in Treviso, the Sperimentale in 

Spoleto, the Laboratorio Lirico in Alessandria and 

L’Accademia Barocca in Rome. He collaborates 

regularly with Fabio Biondi and Europa Galante, 

Rinaldo Alessandrini and Concerto Italiano, 

perform with such conductors as Zubin Mehta, 

Jordi Savall, Ennio Morricone et al. He performs on 

the world’s most important stages, and has appeared 

as a guest artist at concerts in Paris, Bordeaux, 

Lyon, Lisbon, Barcelona, Madrid, Rome, Venice, 

Milan, Monte Carlo, Oslo, New York, Washington, 

Toronto, Mexico City, Tokyo, Kyoto, Singapore, 

São Paulo, İstanbul, Taipei and Hong Kong. 

Roberto Abbondanza’s interests in contemporary 

music have borne fruit in performances of works 

by, among others, S. Barber, L. Bernstein, B. Britten, 

C. Boccadoro, F. Donatoni, L. Nono, A. Schönberg, 

I. Stravinsky, and P. Glass. Last season, he 

performed mainly on stages in his homeland of 

Italy, preparing a wide range of roles in works 

including Mozart’s Così fan tutte (Terni, Narni – 

Operaincanto), Puccini’s Tosca (Stagione Estiva 

Teatro San Carlo in Naples) and Strauss’ Salome 

(Teatro Comunale in Florence). He also took part 

in a staging of C. Monteverdi’s Il combattimento 

di Tancredi e Clorinda under the direction of 

Rinaldo Alessandrini in Copenhagen, which was 

broadcast by Danish radio and television. The artist 

has made many recordings for Virgin, Opus 111, 

Naxos, Stradivarius, Dynamic, Tactus and Fonè. 

His recording of A. Scarlatti’s oratorio Caino was 

honored with a Diapason d’Or, while his recording 

of Il combattimento di Tancredi e Clorinda won the 

Choc de l’Année award in 1999.

Fabio Biondi Fabio Biondi began studying violin performance 

at the age of five. He debuted at age 12 with the 

RAI Symphony Orchestra; four years later, he 

played violin concerti by J. S. Bach at the Wiener 

Musikverein. The artist has collaborated with La 

Capella Reial de Catalunya, Musica Antiqua Wien, 

Il Seminario Musicale, La Chapelle Royale and Les 

Musiciens du Louvre, who play Baroque music on 

period instruments. A turning point in his artistic 

career came in 1990, when he founded Europa 

Galante, which is presently one of the leading 

ensembles specializing in historical performance 

practice. Biondi, who numbers among the pioneers 

of performance on original instruments, combines 

the instincts of a researcher with the temperament 

of a leader. His interpretations of Italian music, 

especially the works of Vivaldi, have blazed new trails 

in early music performance. The artist performs 

successfully as a soloist, chamber musician and 

conductor. Together with his ensemble, he has been 

honored for his artistic activity by the Associazione 

Nazionale dei Critici Musicali (2002 and 2008). 

Since 2005, he has held the post of artistic director 

for early music at the Stavanger Symfoniorkester; 

and last season, he became permanently associated 

with the Orchestre de Chambre de Lausanne. 

Biondi has also collaborated with the Orchestra 

dell’Accademia Nazionale di Santa Cecilia in 

Rome, Orchestre National de Montpellier, Mahler 

Chamber Orchestra, Orquesta Ciudad de Granada, 

Mozarteum-Orchester Salzburg et al. As a soloist 

and chamber musician, he has performed at Cité 

de la Musique in Paris, Hogi Hall in Tokyo and 

Wigmore Hall in London. He has made several 

dozen recordings for leading labels; his very 

first recording (A. Vivaldi’s Le quattro stagioni), 

made for Opus 111, received the most important 

recording industry prizes: Premio Cini, Choc de la 

Musique, Diapason d’Or, Diapason d’Or de l’Année 

en France, RTL Prize, etc. Biondi plays violins made 

by Carlo Ferdinando Gagliano from 1766, and by 

Gofredo Cappa Saluzzo from 1690. 

30

31 

Photo: Satirino

Photo: Satirino 

Europa Galante 

This ensemble was founded in 1990 by Fabio Biondi. It 

has concertized all over the world at venues including 

Teatro alla Scala in Milan, the Concertgebouw 

in Amsterdam, Royal Albert Hall in London, the 

Wiener Musikverein, Lincoln Center in New York, 

Sydney Opera House, Teatro Real in Madrid and 

Grande Auditório Gulbenkian in Lisbon, as well 

as in Australia and Asia. Europa Galante’s flexible 

structure enables it to perform both large forms 

(operas, oratorios) and smaller ones (chamber music 

compositions). The orchestra has performed several 

dozen modern premières of compositions from the 

17 th and 18 th centuries. A special place in Europa 

Galante’s repertoire is occupied by Italian music – 

by Vivaldi, the Scarlattis, Caldara, Boccherini et al. 

After years of collaboration with the Opus 111 label, 

32 

the ensemble signed a contract with Virgin Classics. 

This bore fruit in the release of over a dozen discs, 

every one of which has created a great stir among 

the world’s music critics. Recent recordings of works 

by Vivaldi made for Virgin Classics – Pyrotechnics, 

containing arias in the rendition of V. Genaux (from 

2009), as well as Ercole su’l Termodonte (from 2010) – 

have won enormous critical recognition. In February 

of this year, the album La stravaganza with concerti 

by the Red Priest was released. The group’s artistic 

activity has been recognized twice (2002 and 2008) 

by the Italian Associazione Nazionale dei Critici 

Musicali, which gave it special commendations. 

For this season, the ensemble has planned a tour 

of Sweden, as well as performances in Switzerland, 

Spain, Great Britain, France, Germany, Holland and 

the United States (concerts at Carnegie Hall in New 

York, Disney Hall in Los Angeles, etc.).

Holy Wednesday 

20 April 

35

20 April 

Holy Wednesday, 8:00 PM 

Church of St. Catherine of Alexandria 

ul. Augustiańska 7 

La Tragédie Cathare 

Montserrat Figueras, voice, zither 

Pascal Bertin, countertenor 

Lluís Vilamajó, tenor 

Marco Scavazza, baritone 

Jordi Savall, conductor 

La Capella Reial de Catalunya 

David Sagastume, countertenor 

Francesc Garrigosa, tenor 

Jordi Ricart, baritone 

Daniele Carnovich, bass 

René Zosso, recitation (Latin, French) 

Georges Besombes, recitation (Occitan) 

Hespèrion XXI 

Jordi Savall, fidel, lyre, rebab 

Andrew Lawrence-King, medieval harp, psalterium 

Dimitri Psonis, santur, guitarra moresca 

Hakan Güngör, kanun 

Driss el Maloumi, Arabic lute 

Pierre Hamon, flutes 

Nedyalko Nedyalkov, kaval 

Gaguik Mouradian, kamancha 

Haïg Sarikouyoumdjian, ney, duduk 

René Zosso, hurdy-gurdy 

Christophe Tellart, hurdy-gurdy, bagpipes 

36

Michaël Grébil, medieval lute, ceterina 

Lluis Coll, cornet 

Béatrice Delpierre, shawm 

Elies Hernandis, trombone 

Pedro Estevan, David Mayoral, percussion 

Jordi Savall, Montserrat Figueras, project music concept 

Anne Brenon, Antoni Dalmau, script and historical sources 

Anne Brenon, Pilar Jimenez, Manuel Forcano, Francesco Zambon, Antoni Dalmau, 

Sergi Grau, collaboration 


Project Sponsorship 

This project has been funded with support from the European Commission. 

This publication [communication] reflects the views only of the author, and the Commission cannot 

be held responsible for any use which may be made of the information contained therein. 

37

The Forgotten Kingdom 

The Tragedy of the Cathars 

PART I 

The Emergence and Heyday of Catharism 

The Rise of Occitania 

ca. 950–1204 

1. The Origins of Catharism: East and West: 950–1099 

950 Origins: The Bogomils 

Traditional Bulgarian music* 

1040 Occitania gives refuge to Jews forced to flee Al-Andalus 

Jewish song from the Kabbalah, Sefer Yetzirah: 

Three Principles: Aleph, Mem, Shin 

1049 Council of Reims condemns heretics 

Payre sant° 

1054 Schism between Rome and Constantinople 

Anonymous Byzantine troparion: En to stavro pares tosa 

1099 First Crusade to the Holy Land. Occitan troops commanded by Raymond de Saint-Gilles, 

Count of Toulouse, occupy the southern part of Jerusalem. 

Crusade Fanfare* 

2. The Rise of Occitania: 1100–1159 

1100 Occitania, the Christian mirror of Al-Andalus 

Anonymous: Andalusian dance* 

38

1117 The time of the Troubadours and ‘fin’amor’ 

Guilhem de Peitieu (1071–1126): Pos de chantar 

1143 Letter of Everwin of Steinfeld to Bernard de Clairvaux 

Epistola ad patrem Bernardum° 

1157 Death of Raimon Berenguer IV. Council of Reims opposes heresy 

Anonymous: Mentem meam ledit dolor 

3. The Expansion of Catharism: 1160–1204 

1167 Cathar Council at Saint-Félix (Lauragais). Burgundian Cathars burned at the stake 

en masse at Vézelay 

Cathar prayer: Consolamentum 

1204 Guilhabert de Castres ordains Esclarmonde de Foix at Fanjeaux 

Comtessa (Beatritz) de Dia (1140–1212): A chantar m’er de so q’ieu no volria 

1204 Disputation of Carcassonne between Cathars and Cistercian legates led by Peter I 

Ego enim scio…* 

4. Imminent Confrontation: 1204–1208 

1207 Preparations for the Crusade 

Guilhem de Tudèla (12th c.): Cant l’apostolis saub 

10 March 1208 Innocent III proclaims the First Crusade in Christian lands against the 

Albigensians 

Nous exhortons…° 

1208 Pope Innocent III excommunicates Raymond VI, Count of Toulouse 

Anonymous: Quant ai lo mon consirat 

39

PART II. 

The Albigensian Crusade 

Persecution, Diaspora and end of Catharism 

1209–1463 

5. The Albigensian Crusade: 1209–1229 

1209 Beginning of Crusade 

Fanfares and calls to battle* 

22 July 1209 Siege and massacre of Béziers 

Guilhem de Tudèla: Le barnatges de Fransa 

10 November 1209 Planh for the death of Raymond Roger Trencavel 

Guilhem Augier Novella (12 th /13 th c.) / Giraut de Bornelh (ca. 1138–1215): 

Quascus plor e planh 

October 1213 Defeat in Battle of Murèth and death of Peter I the Catholic 

Raimon de Miraval (1135/1160–ca. 1220): Aissi cum es genser Pascors 

25 June 1218 Death of Simon de Montfort 

Anonymous: L’Epictafi de Simon de Montfort 

6. The Inquisition: Persecution of Cathars and Elimination of Catharism 1230–1300 

1233 Pope Gregory IX institutes the Inquisition to combat heresy 

Fanfare* 

Sirventès opposes the false clerics (priests) 

Guilhem Figueira (13 th c.): D’un sirventes far 

40

1252 Papal bull Ad exstirpandam sanctions use of torture 

Ad exstirpandam° 

Sirventès reproaches God at the Last Judgment 

Peire Cardenal (ca. 1180–ca. 1278): Un sirventes novel vuelh comensar 

1278 200 Cathars burned at the stake in the Arena of Verona 

Cathar prayer: Pater noster 

7. Catalonian Diaspora and end of Eastern Cathars: 1309–1453 

1309 Jacme and Guilhem Autier burned at the stake with other Cathars 

Giraut de Bornelh (ca. 1138–1215): No puesc sofrir la dolor* 

1315 Guilhem Bélibaste goes into exile in Catalonia 

Es pas estonant* 

1453 Constantinople falls to the Ottomans (and Bosnia – 1463) 

End of Eastern Catharism 

Turkish march* 

The Apocalypse According to the Cathar Gospel of Pseudo-John 

Song of the Occitan Sybil: Al jorn del judisi 

* instrumental works 

° recitations 

41

Photo: Nomah 

Montserrat Figueras A distinguished interpreter of a broad vocal repertoire 

encompassing the Middle Ages, Renaissance 

and Baroque eras, Montserrat Figueras was born in 

Barcelona. She began her career in performances 

with Ars Musicae and Enrique Gispert, studying 

singing with Jordi Albareda. In 1966, she began 

training in early music vocal techniques, and two 

years later, took up studies at the Schola Cantorum 

Basiliensis and at the Academy of Music in Basel. 

Together with her husband, she has founded the following 

ensembles: Hespèrion XXI, La Capella Reial 

de Catalunya and Le Concert des Nations. Montserrat 

Figueras has taken part in the most important 

music festivals in Europe, America and Asia. She 

has made over 70 recordings, winning numerous 

awards, among others the Grand Prix de l’Académie 

du Disque Français, the Edison Classic Award and 

the Grand Prix de la Nouvelle Académie, as well as 

two Grammy Award nominations. One of her recording 

projects together Jordi Savall – Jérusalem, 

La Ville des deux Paix: La Paix céleste et la Paix terrestre 

– has attained great critical recognition and 

won the Orhphée d’Or de l’Académie du Disque 

Lyrique in 2008, as well as the Caecilia and Midem 

Classical Award in 2010. The singer received the 

French government’s Ordre des Arts et des Lettres 

decoration (2003), and was named an Artist for 

Peace (UNESCO, 2008). 

42

Pascal Bertin 

At age 11, Pascal Bertin entered the Paris boys’ choir 

led by Roger de Magnée. In 1988, he won 1 st Prize 

for interpretation of Baroque vocal music at the 

Conservatoire National Supérieur de Musique et 

de Danse in Paris. The artist has been a member 

of vocal ensembles specializing in performance 

of medieval music and Renaissance polyphony. 

He has had the opportunity to perform under 

the direction of Christophe Rousset (in operas by 

G. F. Handel: Richard the First – as Oronte, Rinaldo 

– Eustazio, Admetus – Trasimede); Marc Minkowski 

(Tolomeo in Handel’s Julius Caesar in Amsterdam, 

2001); Jordi Savall, Philippe Herreweghe, Sir John 

Eliot Gardiner, Sigiswald Kuijken, Hervé Niquet 

and their ensembles. Since 1996, together with 

Monique Zanetti, Yasunori Imamura and Guido 

Ballestraccim, he has been part of the Fons Musicae 

ensemble; their first recordings (Lambert, Bononcini, 

Steffani, Caldara) have met with the recognition of 

music critics all over the world. The recordings of 

the jazz vocal ensemble Indigo, founded by Bertin 

ten years earlier, have been nominated three times 

for the Victoires de la Musique award. The artist 

has taken part in the recording of nearly 50 works 

from various eras; in 1995, together with Andreas 

Scholl and Dominique Visse, he recorded the disc 

Les Trois Contre-Ténors for Harmonia Mundi. It 

contains famous tenor opera and musical arias, as 

well as popular music hits. 

43 


Photo: Vico Chamlo 

Lluís Vilamajó Having begun his musical training at the Escolanía 

de Montserrat, Lluis Vilamajó continued his education 

under the direction of Margarita Sabartés and 

Carmen Martínez at the Conservatorio Municipal 

Superior de Música in his hometown of Barcelona. 

Permanently associated with La Capella Reial de 

Catalunya and Hespèrion XXI, he took part in the 

most recent editions of the Misteria Paschalia and 

Al Ayre Español festivals. The artist has also performed 

with Les Saqueboutiers de Toulouse, Ensemble 

La Fenice, Ensemble Baroque de Limoges 

and Il Fondamento. He has concertized in many 

countries of Europe, the United States, Mexico 

and Israel. Vilamajó often performs solo parts in 

oratorio and cantata works; he has sung, among 

other works, J. S. Bach’s Magnificat, Passions and 

Mass in B minor; W. A. Mozart’s Requiem; G. Puccini’s 

Messa di Gloria; F. J. Haydn’s Creation and 

C. Debussy’s L’Enfant prodigue, under the direction 

of such artists as Salvador Brotons, Pierre Cao, 

Jordi Casas, Juan José Mena, Antoni Ros-Marbà, 

Manel Valdivieso, Andrew Parrott, László Heltay, 

Salvador Mas, Ernest Martínez Izquierdo, Rinaldo 

Alessandrini, Attilio Cremonesi, Wieland Kuijken, 

Jordi Mora, Nicholas McGegan, Paul Dombrecht, 

Reinhard Goebel, Christophe Coin, Christopher 

Hogwood and André Marcon. He has recorded for 

the following labels: Astrée Audivis, Alia Vox, Fonti 

Musicali, Sony Classical and Deutsche Harmonia 

Mundi. 

44


Marco Scavazza 

Having begun his musical education at a young age, 

Marco Scavazza graduated from the Conservatorio 

Statale di Musica in Rovigo, where he studied 

French horn performance and singing, as well as 

completing a course in keyboard instrument repair 

45 

and tuning. In the area of chamber music, he trained 

under Erik Battaglia. Because Scavazza specializes 

in early music, he has had the opportunity to 

collaborate with such artists as Jordi Savall, Andrew 

Lawrence King, Kees Boeke, Sigisvald and Barthold 

Kuijken, Claudio Abbado, Rinaldo Alessandrini, 

Diego Fasolis and Fabio Biondi, taking part in 

festivals all over the world, including the Festival di 

Musica Antica at the Teatro Olimpico in Vicenza, 

Festival Barocco in Viterbo, Musica e poesia in San 

Maurizio, Festival Monteverdiano in Cremona, 

Festival dei Saraceni in Mondovì, Música de los 

Siglos de Oro in Madrid, Festival de Musique 

Ancienne in Ribeauville, Boston Early Music 

Festival, Connections Musicians & Poets in Chicago 

and Festival van Vlaanderen. Since 1998, he has led 

the Coro Polifonico Città di Rovigo, from which 

the members of his recently-founded and thriving 

chamber vocal ensemble Nuova Accademia degli 

Addormentati are taken. In 2006, he appeared 

on the opera stage for the first time as Masetto 

(W. A. Mozart’s Don Giovanni) with La Petite 

Bande under the direction of Sigisvald Kuijken in 

Beaune and at the Concertgebouw in Bruges; two 

years later, he sang in F. Cavalli’s La virtù dei strali 

d’Amore led by Biondi in Venice and Florence. In 

September 2009, he debuted at Teatro alla Scala in 

C. Monteverdi’s L’Orfeo staged by Robert Wilson 

under the baton of Alessandrini; the artist has also 

recorded this work, as well as A. Vivaldi’s Vespri 

per l’Assunzione di Maria Vergine for the Naïve 

label, accompanied by Concerto Italiano under his 

direction. Together with Cantica Symphonia and 

Giuseppe Maletto, he received five Diapasons d’Or 

for recordings including G. Dufay’s Quadrivium, 

which was also awarded a Choc de la Musique (2005), 

was well as A. Busnois’ L’Homme armé (Glossa). 

Marco Scavazza was also the winner of Premio 

Amadeus 2008, which he received for his recording 

of Orlando di Lasso’s Prophetiae Sibyllarum. He is 

also involved with newer repertoire and has taken 

part in recordings of C. Ambrosini’s Passione 

secondo Marco (for the Tractus label) as well as 

L. Mosci’s Mister Me (DVD, Edizioni L’Unità).


David Sagastume Born 1972 in Vitoria, capital of the Basque country 

in Spain, David Sagastume completed an honors 

degree in ’cello performance at the Conservatorio 

Superior de Música Jesús Guridi in his hometown. 

He also has training in piano, viola da gamba and 

harpsichord performance, as well as composition. 

As an instrumentalist, he performed with the 

Conservatorio Jesús Guridi ensemble, the Joven 

Orquesta de Euskal Herria and the Orquesta 

Sinfónica de Euskadi. At the same time, he studied 

voice under Isabel Álvarez and Carlos Mena. 

He has collaborated with such ensembles as La 

Capella Reial de Catalunya, La Capilla Peñaflorida, 

Orquesta Barroca de Sevilla, Ministriles de Marsias, 

Camerata Iberia, Orquesta Barroca de Salamanca 

and Orquesta de Cámara de Galicia, with which 

he has made many recordings and participated 

in music festivals in various parts of the world. 

Last year, he appeared in Kraków at the Misteria 

Paschalia festival, performing in the La Ruta de 

Oriente project under the direction of Jordi Savall. 

46

Francesc Garrigosa 

Initially trained in singing, piano and French horn 

performance at the Escolania de Montserrat in 

his hometown of Barcelona, Francesc Garrigosa 

continued his voice studies at the Guildhall School of 

Music and Drama in London Since his opera debut 

at the Gran Teatre del Liceu in Barcelona 1991, 

the artist has been hosted by the most renowned 

concert halls, including Teatro Real and Teatro 

de la Zarzuela in Madrid, La Fenice in Venice, 

the Concertgebouw in Amsterdam, the Wiener 

Konzerthaus, Royal Festival Hall in London, Teatro 

Colón in Buenos Aires, Carnegie Hall in New York 

and the Sydney Opera; he has concertized with such 

ensembles as the Orquesta Nacional de España, 

Israel Chamber Orchestra, Wiener Akademie, Le 

Concert des Nations, Montreal Symphony, Scottish 

Chamber Orchestra, Royal Philharmonic, Orfeón 

Donostiarra and Royal Chorus Society. He has sung 

in operas by such composers as W. A. Mozart (Die 

Zauberflöte, Le nozze di Figaro) and I. Stravinsky 

(The Rake’s Progress, The Wedding), as well as 

in oratorios including G. F. Handel’s Messiah; 

F. J. Haydn’s Creation, The Seasons and Stabat Mater; 

F. Mendelssohn’s Symphony no. 2 ‘Lobgesang’; 

E. Elgar’s The Dream of Gerontius; J. S. Bach’s Mass 

in B minor and Passion According to St. John; and 

Dvořák’s Stabat Mater. Garrigosa has worked 

with the most eminent conductors, such as: Frans 

Brüggen, Charles Dutoit, Christopher Hogwood, 

Renè Jacobs, Ton Koopman, Sir Neville Marriner, 

David Parry and Jordi Savall, under whose direction 

he also performed last year at the Misteria Paschalia 

festival. He has taken part in recordings of, among 

other works, I. Albéniz’ Pepita Jiménez, under the 

direction of Josep Pons; B. Aliotti’s Il Sansone and 

Monteverdi’s Vespro della Beata Virgine, under the 

direction of Gabriel Garrido; M. de Falla’s Atlantida, 

V. Martin y Solera’s Una cosa rara and Monteverdi’s 

Orfeo, under the direction of Jordi Savall. Since 

2003, he has taught singing at the Escola Superior 

de Música de Catalunya (EMUC) in Barcelona. 

47 

Photo: Eduardo Gomez


Jordi Ricart Born in Barcelona, Jordi Ricart received a musical 

education in piano and violin performance as 

well as voice at the Escolania de Montserrat; and 

in 1982, began voice studies with Montserrat 

Pueyo at the Conservatorio Superior de Música 

in Barcelona. He specializes in performance of 

Romantic art song repertoire and early music, in 

particular large oratorio and cantata forms – works 

by J. S. Bach and G. F. Handel, as well as L. van 

Beethoven, F. J. Haydn, J. Brahms, F. Schubert et 

al. The artist has taken part in stagings of Baroque 

operas, including such works as G. F. Handel’s Acis 

and Galatea, G. P. Telemann’s Der Schulmeister, 

D. Cimarosa’s Il matrimonio segreto and Il maestro 

di capella, W. A. Mozart’s Die Zauberflöte and Don 

Giovanni, and G. Rossini’s Il barbiere di Siviglia. 

He has performed in the United States, Canada, 

Mexico, Israel and Japan, and his concerts on the 

European continent have, not infrequently, been 

broadcast by radio and television stations. He has 

collaborated with La Capella Reial de Catalunya, El 

Concierto Español and Orquesta Barroca Catalana, 

the resulting in recordings for Deutsche Harmonia 

Mundi, Harmonia Mundi Ibérica and Alia Vox. 

He received the Prix National de Musique for his 

performance of A. de Literes’s Jupiter y Semele. 

48

Daniele Carnovich 

Initially trained in transverse flute performance at 

the conservatory in Padua, Daniele Carnovich then 

studied composition and singing. He began his concert 

activity in 1981. His debut on the opera stage 

(Gran Teatre del Liceu in Barcelona) was in the role 

of Charon in C. Monteverdi’s L’Orfeo. As a soloist, 

the artist has taken part in the most famous early 

music festivals in Europe, accompanied by such 

ensembles as The Consort of Musicke, Il Giardino 

Armonico and Ensemble Chiaroscuro. He has performed 

under the direction of Franz Brüggen, Andrew 

Parrott, Alan Curtis and Rinaldo Alessandrini. 

Since 1986, he has worked on an ongoing basis with 

Jordi Savall, performing in a television staging of 

L’Orfeo (2002), among other productions; and last 

year, he was a guest of the Misteria Paschalia festival. 

He has taken part in over 100 recordings for Decca, 

Opus 111, Tactus, Stradivarius, Alia Vox et al. 

49 


Jordi Savall 

Having begun his musical education early, singing 

as a child in a choir in his hometown, Jordi Savall 

studied at the music conservatory in Barcelona, 

from which he graduated in 1965. Having taken a 

liking to early music, he independently undertook 

learning viola da gamba performance. Beginning 

in 1968, he continued his education at the Schola 

Cantorum Basiliensis in Switzerland. Savall is an 

exceptional figure – an uncommonly talented 

musician, instrumentalist and conductor, teacher, 

persevering researcher and a discoverer of many 

musical treasures. For over 30 years, he has been 

involved in reconstruction and performance of 

early works, not infrequently ones that have been 

forgotten. Together with Montserrat Figueras, he 

founded the following ensembles: Hespèrion XXI, 

La Capella Reial de Catalunya (1987) and Le Concert 

des Nations (1989). His experience and passion 

in no small measure contributed to the success of 

A. Corneau’s film Tous les matins du monde; Savall’s 

recordings made for the film were honored with a 

César award. His discography includes over 170 

other recordings, for which he has received, among 

others, Midem Classical Awards (many times) and 

the Orphée d’Or (2008); his two-disc album Don 

Quijote de la Mancha – Romances y Músicas was 

acclaimed as the recording of the year in 2006; it 

received a nomination for the Grammy award. 

One recording project he prepared – Jérusalem, 

La Ville des deux Paix: La Paix céleste et la Paix 

terrestre – attained great critical recognition and 

won the Orhphée d’Or de l’Académie du Disque 

Lyrique in 2008, as well as the Caecilia and the 

Midem Classical Award (2010). Savall is the winner 

of many distinctions: Officier de l’Ordre des Arts et 

Lettres (1988), La Medalla de Oro de las Bellas Artes 

(1998), Victoire de la Musique (2002), Medalla d’Or 

of the Parliament of Catalonia (2003); he has also 

received the UNESCO Artist for Peace title. In 

2009, he received the Georg Friedrich Händel Preis 

awarded by Halle – the composer’s hometown – and 

was named an ambassador of the European Year of 

50 

Creativity and Innovation; and last year, he won the 

Academia de las Artes y las Ciencias de la Música 

prize, together with the title of best classical music 

performer, as well as the Praetorius Musikpreis of 

Lower Saxony.

51 

Photo: Teresa Llordés

Photo: Alain Machelidon 

La Capella Reial de Catalunya 

This group, created in 1987 on the initiative of 

Montserrat Figueras and Jordi Savall, was one 

of the first vocal ensembles to perform music of 

the ‘Golden Ages’ in accordance with historical 

tradition. It is comprised of singers from Spain 

and Latin America. Formed on the model of the 

medieval royal chapels, Capella Reial – since 1990, 

La Capella Reial de Catalunya – came into being 

as the effect of its founders’ many years of study 

of early music and performance practice. The 

group is known for its special interpretative vision, 

vocal sound quality and attention to the clarity 

of the poetic text. Under Jordi Savall’s direction, 

the ensemble carries on an intensive concert 

52 

schedule. It appears at the most important early 

music festivals all over the world. The ensemble’s 

repertoire and most important recordings, 

preserved on over 25 discs, range from the poems 

of the troubadours to Mozart’s Requiem. Its 

most recent album is devoted to music written 

during the reign of Queen Isabella I of Castile. 

Its recording achievements have won the Grand 

Prix de l’Académie Française du Disque, Grand 

Prix de l’Académie Charles Cros, Diapason d’Or, 

Prix de l’Académie du Disque Lyrique, Orphée 

d’Or, Grand Prix du Disque Classique, Grand Prix 

de la Nouvelle Académie du Disque, a Grammy 

nomination (2007), the Midem Classical Award 

(2010) etc. Since 1990, the ensemble’s activity has 

been supported by the Catalonian government.

Hespèrion XXI 

United by a common aim – study, popularization 

and performance of early music – and fascinated 

by the enormous resources of European, and 

especially Spanish music, Jordi Savall (bowed string 

instruments), Montserrat Figueras (voice), Lorenzo 

Alpert (wind and percussion instruments) and 

Hopkinson Smith (plucked string instruments) 

founded an ensemble known as Hespèrion XX in 

1974. Active for over 30 years, the group has remained 

faithful to that original idea; it performs mainly 

works written before 1800 which have not previously 

been performed. Together with the arrival of the 

new millennium, all that has changed is the name 

(Hespèrion XXI). The artists’ eclectic attitude finds 

expression in its diverse repertoire – from medieval 

Spanish music to works from the Renaissance (such 

composers as Dowland, Tye and Coprario) and the 

English Baroque, and even traditional Armenian, 

53 

Sephardic, Aramaic and Jewish music (albums 

realized with the participation of invited musicians: 

Jerusalem in 2008 and Istanbul in 2009). The 

ensemble’s concert activity is not limited to Europe; 

Hespèrion XXI takes part in early music festivals 

all over the world, presenting such cross-sectional 

and thematic programs as Música en los tiempos 

de Cervantes, Música napolitana del Renacimiento, 

El Barroco Español and Lachrimae Caravaggio 

(presented as part of the Misteria Paschalia festival in 

2008), or programs devoted to the œuvre of selected 

composers (G. Gabrieli, G. Frescobaldi, S. Scheidt, 

W. Lawes, J. Cabanilles, F. Couperin, J. S. Bach). 

Their recordings of J. S. Bach’s Die Kunst der Fuge 

and J. Dowland’s Lachrimae, or Seaven Teares are 

noteworthy. For their phonographic achievements, 

the ensemble has frequently won awards, among 

others the Grand Prix de l’Académie du Disque 

Francis Carco, the Grand Prix du Disque Charles 

Cros and the Diapason d’Or.

Maundy Thursday 

21 April 

55

21 April 

Maundy Thursday, 8:00 PM 



Via Crucis 

Lucilla Galeazzi, voice 

Philippe Jaroussky, countertenor 

Christina Pluhar, conductor, theorbo 

Barbara Furtuna 

Jean Pierre Marchetti 

Maxime Merlandi 

Andre Dominici 

Jean Philippe Guissani 

L’Arpeggiata 

Elisabeth Seitz, psaltery 

Eero Palviainen, Baroque guitar, lute 

Doron Sherwin, cornetto 

Boris Schmidt, double bass 

David Mayoral, percussion 

Haru Kitamika, harpsichord 

Anna Dego, dance 


56

57 

Fall on the Road to Calvary, Rafael Santi

Via Crucis 

I. Maria – Prediction of Christ’s Suffering 

Anonymous 

Maria le sette spade ^ 

Tarquinio Merula 1595–1665 

Hor ch’è tempo di dormire 

Anonymous 

Ninna nanna sopra la Romanesca° 

Maria (sopra La Carpinese) ^ 

II. Suffering and Death of Christ 

Maurizio Cazzati 1620–1677 

Passacaglia* 

Benedetto Ferrari 1603–1681 

Queste pungenti spine 

Anonymous 

Voi che amate (z Laudario di Cortona, XIII w.) 

Suda sangue ^ 

Santo Gesù° 

Stabat Mater ^ 

Girolamo Kapsberger 1580–1651 

Toccata arpeggiata* 

58

Giovanni Felice Sances 1600–1679 

Stabat Mater 

Anonymous 

Lamentu di Ghjesu ^ 

III. Meeting in Paradise 

Maurizio Cazzati 1620–1677 

Ciaccona* 

Claudio Monteverdi 1567–1643 

Laudate Dominum 


^ traditional music of Corsica 

° traditional music of Latium 

59

Photo: Reiner Pfisterer 

Lucilla Galeazzi During her studies at the University of Rome, Lucilla 

Galeazzi became interested in the traditional music 

of Umbria – the region from which she hails. In 1977, 

she was accepted to Giovanna Marini’s vocal quartet, 

with which she worked until 1994, taking part in the 

ensemble’s numerous concerts and recordings. In 

1982, she prepared her own program entitled Un 

sogno così with Italian songs from the 1960s. The 

singer has taken part in productions by Roberto de 

Simone: Stabat Mater (Naples), Carmina Vivianea 

(1988), Processo e martirio di Giovanna D’arco 

(1989, Pisa), Pasolini Requiem (San Carlo). In 1987, 

she founded the ensemble Il Trillo. Moving easily 

among various areas of music, she has collaborated 

with performers of contemporary music (in 2000, 

she sang L. Berio’s Folk Songs) and jazz musicians 

(in 1991, she was a soloist with the European Jazz 

Orchestra in Strasbourg). The artist has to her credit 

nearly 30 disc recordings which are a reflection of 

her versatile and extensive musical interests, among 

others: Cuore di Terra (1994), Honig und Asche, 

made with L’Arpeggiata and its leader Christina 

Pluhar (1998), Lunario (2001) and, most recently, 

Amore e Acciaio (2005). For her album Stagioni, she 

received the Académie Charles Cros’ prestigious 

Grand Prix du Disque (2005). She conducts singing 

courses in France and in her homeland of Italy. 

60

Photo: Simon Fowler licensed to Virgin Classics 

Philippe Jaroussky 

This artist obtained his musical education at the 

conservatory in Versailles, where he studied violin 

and piano performance, harmony and counterpoint. 

In 1996, he began to study singing with Nicole 

Fallien, then furthered his education in the faculty 

of early music at the Paris Conservatory with Michel 

61 

Laplenie, Kenneth Weiss and Sophie Boulin. He 

debuted in 1999 at the Royaumont festival with a 

role in A. Scarlatti’s little-known oratorio Sedecia, 

ré di Gerusalemme, with Il Seminario Musicale and 

Gérard Lesne. The superb reception of the artist 

has borne fruit in a contract with Virgin Classics. 

His recordings made for this label have won 

numerous awards (Diapason d’Or, Choc du Monde 

de la Musique, Gramophone Award, Echo Klassik 

Award). The operatic audience were amazed by his 

exceptional vocal abilities; several years later, they 

were also appreciated by the jury of Victoires de la 

Musique Classique, by whom he was proclaimed 

the operatic revelation of the year 2004. A year 

later, he enchanted Paris as Rinaldo; another great 

success was a recital by Jaroussky and Le Concert 

d’Astrée under the direction of Emmanuelle Haïm, 

dedicated to the famous castrato Carestini, recorded 

for Virgin in 2007. This performance was acclaimed 

as the Victoires de la Musique recording of the year 

for 2008, and the next year won the Midem Classical 

Award. With the same musicians, Jaroussky has 

also made a recording of Baroque arias entitled 

Lamenti – this disc also received the Victoires 

de la Musique award in 2009. The subsequent 

Teatro d’Amore with music by Monteverdi and 

La dolce fiamma with forgotten arias for castrati 

by J. C. Bach immediately became bestsellers. 

Recently, he unexpectedly took on – in a duo with 

pianist Jérôme Ducros – an interpretation of French 

music from the end of the 19 th and beginning of the 

20 th centuries, the fruit of which is the disc Opium. 

Mélodies françaises. A special place in the vocalist’s 

repertoire is occupied by the works of Handel, 

Vivaldi, Pergolesi and Monteverdi. He collaborates 

regularly with Jean Tubéry, Marc Minkowski, René 

Jacobs and Fabio Biondi, as well as with Ensemble 

La Fenice, Ensemble Matheus, Les Arts Florissants, 

Les Musiciens du Louvre and Europa Galante. 

Philippe Jaroussky is a co-founder of the Artaserse 

Ensemble. He concertizes in the most important 

opera houses all over the world. In 2010, the jury of 

Victoires de la Musique Classique named him artist 

of the year.

Christina Pluhar This artist fell in love with Renaissance and 

Baroque music while studying at the university in 

her hometown of Graz. Passion drove her to study 

lute performance at the Royal Conservatory of 

The Hague and the Schola Cantorum Basiliensis 

with Hopkinson Smith, as well as Baroque harp 

performance at the Scuola Civica di Milano with 

Mary Galassi. Pluhar honed her skills studying 

with Paul O’Dette, Andrew Lawrence-King and 

Jesper Christensen. Since 1993, she has led a master 

class at her alma mater in Graz; and since 1999, 

she has taught Baroque harp performance at the 

Royal Conservatory of The Hague. In 1992, with the 

ensemble La Fenice, the artist won 1 st prize at the 

international early music competition in Malmö 

and took up permanent residence in Paris. In her 

repertoire are works from the 16 th –18 th centuries, 

composed for various types of lutes, Baroque guitar, 

theorbo and Baroque harp. She has performed with 

the accompaniment of the following ensembles: 

Hespèrion XXI (Jordi Savall), Il Giardino Armonico, 

Concerto Soave (Maria Cristina Kiehr), Accordone 

(Marco Beasley), Elyma (Gabriel Garrido), Les 

Musiciens du Louvre (Marc Minkowski), Ricercar 

Consort (Philippe Pierlot), La Grande Ecurie 

et la Chambre du Roi (Jean-Claude Malgoire), 

Cantus Cölln (Konrad Junghänel), as well as under 

the direction of René Jacobs, Ivor Bolton et al. 

Christina Pluhar is the founder of L’Arpeggiata, an 

ensemble which she has led for 10 years; she selects 

its repertoire based on her own research of early 

music. With her ensemble, she has made many 

recordings, among them the albums La Tarantella, 

All’Improvviso, Los Impossibles and Teatro d’amore, 

which enjoy considerable recognition from music 

critics (Diapason d’Or, Prix Excellentia). 

62

63 

Photo: Marco Borggreve

Barbara Furtuna This male quartet, which is now celebrating its 

10 th birthday, takes its repertoire inspirations from 

the oldest musical tradition of Corsica. Barbara 

Furtuna’s superb interpretations appeal to the tastes 

of music lovers and meet the needs of contemporary 

audiences, as evidenced by numerous performances; 

listeners in Europe, North America and Australia 

have been able to admire their work. The ensemble 

has concertized in the most important musical 

centers, not infrequently undertaking collaboration 

with other groups representing diverse styles 

and fields of art, such as the Baroque ensemble 

L’Arpeggiata (performances of ancient Byzantine 

music) or the Art’Mouv modern dance group. 

Photo: From the ensemble’s archives 

64

L’Arpeggiata 

Founded in 2000, this vocal-instrumental ensemble 

is comprised predominantly of French musicians. 

However, its founder and director Christina Pluhar 

describes the group as ‘an international cocktail of 

artists with distinctive personalities’. The group’s 

programmatic interests focus on French, Spanish, 

Italian and Neapolitan music of the 17 th century, 

making bold use of improvisation, drawing inspiration 

from the complex texture created by a multitude 

of plucked instruments. L’Arpeggiata has 

taken part in renowned festivals and performed in 

concert halls all over the world, to mention a few: 

Festival Oude Muziek Utrecht, Festival des Flandres, 

Rencontres Musicales de Vézelay, Pfingstfestspiele 

Melk, Festival d’Ambronay, Festival Baroque 

de Pontoise, Early Music Festival Saint Petersburg, 

Festival de Sully et du Loiret, Festival de Musique du 

65 

Haut-Jura, Festival de la Vézère, Festival de Música 

Antigua de Darocca, Festival de Torroella de Montgri, 

Sanssouci Festival Potsdam, Festival Atlantique 

Azores, Arques la Bataille, Théâtre de Bordeaux, 

Vredenburg Music Center Utrecht, Concertgebouw 

Brugge, Concertgebouw Amsterdam. All recordings 

made thus far by the ensemble have received 

prestigious awards (Diapason d’Or, Amadeus, Prix 

Excellentia, Cannes Classical Award). Since 2009, 

the ensemble has been associated permanently with 

the EMI/Virgin Classics label. The album Teatro 

d’Amore with works by C. Monteverdi, released a 

year earlier, on which solo vocal parts were performed 

by Philippe Jaroussky and Nuria Rial, was 

honored with the Echo Klassik Preis (Germany, 

2009), as well as the Edison Classic Prize (Holland, 

2010). In March of last year, their most recent 

record was released – Via Crucis, with the participation 

of Corsican vocal group Barbara Furtuna. 


Good Friday 

22 April 

67

22 April 

Good Friday, 8:00 PM 



Oratorio II 

San Guglielmo: Raffaella Milanesi, soprano 

Cuosemo: Maurizio Lo Piccolo, bass 

Angelo: Paolo Lopez, soprano 

San Bernardo, Padre Arsenio: Sabina Puértolas, soprano 

Demonio: Lisandro Abadie, bass 

Christophe Rousset, conductor, harpsichord, organ 

Les Talens Lyriques 

Gilone Gaubert-Jacques, Giorgia Simbula, Yuki Koike, Jonathan Guyonnet, Yannis Roger, violin I 

Virginie Descharmes, Marie-Hélène Landreau, Jean-Marc Haddad, Cécile Mille, violin II 

Laurent Gaspar, Sarah Brayer, viola 

Emmanuel Jacques, Mathurin Matharel, ’cello 

Luc Devanne, double bass 


68

Giovanni Battista Pergolesi 1710–1736 

Li prodigi della divina grazia nella conversione e morte di San Guglielmo duca d’Aquitania 


ATTO PRIMO 

Scena I 

Recitativo: Sulla sede di Piero 

S. Guglielmo, Cuosemo 

Scena II. Demonio da volante e detti 

Recitativo: Signor tosto spedito, a voi ritorno 

Demonio, S. Guglielmo, Cuosemo 

Scena III. Demonio da paggio e detti 

Recitativo: Signore, in questa soglia 

Angelo, Demonio, S. Guglielmo 

Scena IV. S. Bernardo e detti 

Recitativo: Guglielmo, fin da miei sacri recessi 

S. Bernardo, Demonio, Angelo, S. Guglielmo 

Aria: Ch’io muti consiglio 

S. Guglielmo 

Recitativo: Già la vittoria è in campo 

Demonio, Angelo, S. Bernardo 

Aria: Dio s’offende, e l’uom ne giace 

S. Bernardo 

69 

Scena V. Demonio e Capitano da soldati in 

viaggio, poi Angelo 

Recitativo: E seguir noi dovremmo gl’ordini 

imposti 

Demonio, Cuosemo, Angelo 

Aria: Abbassa l’orgoglio 

Angelo 

Recitativo: Vi’ a che azzardo me trovo 

Cuosemo, Angelo 

Recitativo: Bene mio 

Cuosemo, Demonio 

Aria: Si vedisse cca’dinto a’sto core 

Cuosemo 

Recitativo: No, non m’atterrisco al lampo 

Demonio 

Aria: A fondar le mie grandezze 

Demonio 

Scena VI. S. Guglielmo ed Angelo sotto nome 

d’Albinio 

Recitativo: Poiché l’uscio de’ tempi 

S. Guglielmo, Angelo 

Aria: Dove mai raminga vai 

Angelo 

Recitativo: Ma non sai che risponde 

S. Guglielmo, Angelo

Scena VII. S’apre il tempio – S. Bernardo 

e detti 

Recitativo accompagnato: Così dunque si teme 

S. Bernardo 

Aria: Come non pensi ch’un fuoco eterno 

S. Bernardo 

Recitativo: Dove dove, misero, sono! 

S. Guglielmo, Angelo, S. Bernardo 

Scena VIII. Demonio e detti 

Recitativo: Oh che atroce conflitto 

Demonio, Angelo, S. Guglielmo, S. Bernardo 

Quartetto: Cieco che non vid’io 

Angelo, S. Bernardo, S. Guglielmo, Demonio 

ATTO SECONDO 

Scena IX. S. Guglielmo, Demonio 

Recitativo: Fin dove il mar s’estende 

S. Guglielmo, Demonio 

Aria: Se mai viene in campo armato 

Demonio 

Recitativo: Voi siete il padre Arsenio? 


Aria: Fremi pur quanto vuoi 

Angelo 

Recitativo: Pur ch’io mi serbi altero 

Demonio 

70 

Scena X. Capitan Cuosemo da povero, e detto 

Duetto: Chi fa bene chi se move 


Recitativo: Padre, pe’ ccaretà 

Cuosemo, Demonio, Angelo 

Recitativo: Ah spione fauzario 

Cuosemo 

Aria: Sennera venuto 

Cuosemo 

Scena XI. S. Guglielmo e Arsenio eremita 

Recitativo: Ciò che imponesti eseguirò fedele 

S. Guglielmo 

Scena XII. Arsenio eremita solo e S. Guglielmo 

Recitativo: Quanto è caro in quest’ombre 

S. Bernardo (Arsenio) 

Aria: Tra fronde e fronda 

Arsenio 

Recitativo: Chi conosce il suo male 

S. Bernardo, S. Guglielmo 

Duetto: Di pace e di contento 

S. Bernardo, S. Guglielmo 

ATTO TERZO 

Scena XIII. S. Guglielmo da pellegrino 

Recitativo: Questa d’Italia più remota parte 

S. Guglielmo

Scena XIV. Demonio da spirto, poi Capitano 

da romito per la cerca 

Recitativo: O mia vittoria, o mio trionfo eterno 

Demonio, Cuosemo 

Duetto: So’ mpazzuto 


Scena XV. S. Guglielmo da cieco 

Recitativo accompagnato: È dover che le luci 

S. Guglielmo 

Aria: Manca la guida al piè 

S. Guglielmo 

Scena XVI. Angelo e detto 

Recitativo: Guglielmo, Iddio punisce 

Angelo, Guglielmo 

Scena XVII. Demonio da ombra del padre di 

S. Guglielmo e detto 

Recitativo: Figlio, da’ suoi riposi 

Demonio, S. Guglielmo 

Recitativo: Ora il vedrai 

Demonio 

Aria: A sfogar lo sdegno mio 

Demonio 

Scena XVIII. Angelo e detto 

Recitativo: Su sgombrate, o crudeli 

Angelo, S. Guglielmo 

71 

Scena XIX. Alberto, Demonio da Ridolfo 

Recitativo: Dove mai volgo il piè 

Alberto, Demonio, Cuosemo 

Scena XX. S. Guglielmo avanti l’altare facendo 

oratione col flagello in mano, e Frà Cuosemo 

e detti 

Recitativo: Vedite, non parlate 

Frà Cuosemo, Angelo, Demonio 

Aria: Lascia d’offendere l’onesta spoglia 

Angelo 

Recitativo: Dentro del chiostro impaziente io 

vado 

Angelo, Frà Cuosemo, Demonio 

Recitativo: Eh non vene ntennite 

Frà Cuosemo 

Aria: Veatisso siente di gruosso grasso 

Frà Cuosemo 

Recitativo: Chiù de chisto facimmo 

Frà Cuosemo 

Scena XXI. S’apre il Duomo: S. Guglielmo 

moribondo, Alberto da Monaco, Angelo e 

Demonio in lor figura 

Recitativo: Ecco, s’appressa all’ultimo cimento 


Duetto: Vola al Cielo anima bella 

Angelo, Demonio

Raffaella Milanesi 

This artist is an alumna of the Accademia Nazionale 

di Santa Cecilia in Rome. Since her graduation in 

1997, she has performed and recorded many diverse 

operatic roles; she has sung in C. Monteverdi’s 

L’Incoronazione di Poppea (Ottavia), G. F. Handel’s 

Giulio Cesare (Cleopatra), F. J. Haydn’s L’anima 

del filosofo (Euridice), G. Donizetti’s Don Pasquale 

(Norina) and G. Puccini’s La Bohème (Musetta). 

Most often, however, audiences have been able to 

admire Milanesi’s interpretations of Mozart roles: 

Elettra, Donna Anna, Susanna, Servilia et al. She 

has appeared as a guest artist at opera theaters all 

over Europe: Amsterdam, Antwerp, Bordeaux, 

Lausanne, Luxembourg, Madrid, Paris, Salamanca 

and Vienna, as well as at major festivals. She has 

collaborated with such distinguished conductors 

as Marc Minkowski (G. Rossini’s La Cenerentola at 

La Monnaie in Brussels), Rinaldo Alessandrini (as 

Proserpina in C. Monteverdi’s L’Orfeo at Teatro alla 

Scala in Milan), Ottavio Dantone, Giuliano Carella, 

Nicola Luisotti, Donato Renzetti, Adam Fischer, 

Alessandro de Marchi (as Silvia in F. J. Haydn’s 

L’isola disabitata at the Innsbrucker Festwochen), 

Andrea Marcon, Enrique Mazzola, Hervé Niquet, 

Philippe Pierlot and Christophe Rousset. 

73 

Photo: Mirco Palazzi


Maurizio Lo Piccolo This artist comes from Palermo. In his hometown, 

he took up voice studies in 1995 and, a mere year 

later, debuted as Don Chilone in L. Vinci’s Erighetta 

e Don Chilone (Laboratorio Lirico), as well as 

Darlemont in G. Donizetti’s I pazzi per progetto 

(Operalaboratorio). In 1997, he collaborated with 

Palermo’s Teatro Massimo, where he appeared in 

productions of operas including R. Strauss’ Der 

Rosenkavalier, G. Rossini’s Adina, G. Puccini’s 

Manon Lescaut, P. Tchaikovsky’s Eugene Onegin, 

and G. Verdi’s Rigoletto. He specializes in the 

operatic repertoire and is considered an unrivalled 

interpreter of comic roles, especially in 18 th -century 

opere buffe (A. Scarlatti, B. Galuppi, G. B. Pergolesi 

et al.). Beyond this, he often performs works by 

W. A. Mozart: Le nozze di Figaro (title role and 

Count Almaviva), Don Giovanni (Leporello and 

Il Commendatore) and Così fan tutte (Don Alfonso 

and Guglielmo), as well as the masterpieces of 

the Italian bel canto. Lo Piccolo’s repertoire also 

includes such works of 20 th -century music as 

F. Busoni’s Arlecchino and I. Stravinsky’s Pulcinella. 

The singer performs all over Europe, appearing as 

a guest artist at such festivals as Aix-en-Provence, 

Maggio Musicale Fiorentino, the Mozart festival in 

La Coruña, the Rossini festival in Pesaro and the 

Wexford Festival Opera, as well as at music theaters. 

More rarely, he interprets religious music; under the 

direction of Riccardo Muti at the Ravenna Festival, 

he sang Mozart’s Requiem, La Betulia liberate and 

Vesperae Solemnes de Confessore; under the direction 

of Zubin Mehta, he prepared a solo part in the 

Mass in C minor; and in Rosenheim, he performed 

Rossini’s Petite Messe Solennelle. In 2009, under the 

baton of Federico Maria Sardelli, he took on the role 

of the Prince in the first contemporary performance 

of A. Salieri’s opera Il mondo alla rovescia (theater 

in Verona), a recording of which just came out on 

the Dynamic label. 

74

Paolo Lopez 

A native of Palermo, Paolo Lopez studied singing 

under the direction of Salvatore Ragonese at the 

Bellini Conservatory in his hometown. After 

finishing his studies in 2005, he entered the chorus 

of the local music theater, thereby gaining the 

opportunity to perform small solo parts in such works 

as B. Britten’s Noah’s Flood and G. Puccini’s Tosca. 

At the same time, he worked on his vocal technique 

and honed his acting skills with such artists as Enzo 

Dara, Filippo Crivelli and Ewa Wimola. In 2006, he 

won 3 rd Prize at the the Concorso Internazionale 

di Canto Barocco Francesco Provenzale in Naples. 

The artist specializes in early music performance. 

His repertoire includes solo parts from sacred 

works of the Baroque era: G. Carissimi’s Historia 

di Job and Vanitas Vanitatum, A. Vivaldi’s Gloria 

and Magnificat, C. Monteverdi’s Vespro della 

Beata Vergine and Selva morale e spirituale (with 

the Elyma Ensemble) and G. B. Pergolesi’s Stabat 

Mater, as well as F. J. Haydn’s Stabat Mater (with 

Les Folies Françoises). Lopez also often appears in 

Italian Baroque operas, among others S. Landi’s 

Sant’Alessio (title role, Opera National de Lorraine 

in Nancy with William Christie and Les Arts 

Florissants), F. Cavalli’s Le virtù de’ strali d’Amore 

(as Erino, DVD recording under the direction of 

Fabio Biondi with Europa Galante), A. Cesti’s Le 

Disgrazie d’Amore (role of Amore, recording for 

Hyperion) and D. Scarlatti’s Ottavia restituita al 

trono (part of Dorillo, Festival de Beaune with La 

Pietà de’ Turchini). 

75 



Sabina Puértolas This artist studied at the Conservatorio Superior de 

Música de Navarra in Pamplona, as well as at the 

Accademia Chigiana in Siena and the Accademia 

Verdiana in Busseto. She has won the following 

competitions: R. Zandonai in Rovereto, L. Mariano 

in Irún, J. Gayarre in Pamplona, Concurso Nacional 

de Jóvenes Interpretes. Under the direction of 

Riccardo Muti in Verdi’s Un ballo in maschera, she 

debuted on the stage of Teatro alla Scala in Milan; 

with the same ensemble, she later appeared as Gilda 

(Verdi’s Rigoletto) in Belgrade, which contributed to 

the development of her career. Puértolas feels right 

at home on stage; her repertoire includes many 

operatic roles, from Drusilla in C. Monteverdi’s 

L’incoronazione di Poppea, through the protagonists 

of Mozart operas, to Micaëla in Carmen and Léïla in 

G. Bizet’s Les Pêcheurs de perles, Oskar in G. Verdi’s 

Un ballo in maschera and Musetta in G. Puccini’s La 

Bohème. The singer appears as a guest artist in major 

musical centers all over the world; she has performed 

opposite Plácido Domingo at the Washington 

Opera; under the direction of Christophe Rousset, 

she debuted at Teatro Real in Madrid. More 

rarely, one can hear her interpretations of solo 

parts in oratorio works (G. P. Pergolesi’s Stabat 

Mater in Rotterdam and Paris). Last season, with 

José Carreras, she concertized in Italy (Teatro 

alla Scala, Taormina in Sicily), Spain, Greece and 

Mexico; she also prepared thirteen roles in various 

operatic works, which she had the opportunity to 

present at venues including Teatro de la Zarzuela in 

Madrid and other opera theaters in Spain, Théâtre 

des Champs-Elysées in Paris, Liège, Theater an 

der Wien, and Teatro Argentino de La Plata. The 

artist’s plans for the immediate future include 

performances in productions of Rigoletto (Gilda) 

at the Auditorio de Baluarte in Pamplonaand 

A. Vivaldi’s Il Farnace (Gilade) at the Théâtre des 

Champs-Elysées, as well as in zarzuelas: J. Serrano’s 

La canción del olvido (Rosina) at Teatro Calderón 

in Valladolid and P. Sorozábala’s La del manojo de 

rosas at Teatro Campoamor in Oviedo and Teatro 

Arriaga in Bilbao. 

76

Photo: P. Kornfeld 

Lisandro Abadie Born in Buenos Aires in 1974, Lisandro Abadie 

studied voice at the Schola Cantorum in Basel 

with Evelyn Tubb, and at the Musikhochschule in 

Lucerne with Peter Brechbühler. In 2006, he won 

the Edwin Fischer Gedenkpreis. He has had the 

opportunity to work with such distinguished artists 

as William Christie (H. Purcell’s The Fairy Queen in 

Aix-en-Provence), Facundo Agudin (W. A. Mozart’s 

Don Giovanni, Die Zauberflöte, Le nozze di Figaro, 

J. S. Bach’s Passion According to St. John and 

Magnificat, G. Fauré’s Requiem), Hervé Niquet 

(M. Marais’ Sémélé, CD recording of concert in 

Montpellier), Laurence Cummings (2009, Theodora 

at London Handel Festival), Benjamin Lazar (2010, 

O. Strasnoy’s Cachafaz, French tour), Laurent 

Gendre (recordings of works by C. Monteverdi), 

Philippe Krüttli, Anthony Rooley, Maurice Steger, 

Paul Suits, Václav Luks, Joshua Rifkin, Jesper 

Christiensen, Daniela Dolci and John Duxbury, 

as well as Jan Tomasz Adamus, who is familiar 

to Kraków audiences. Abadie has taken part in 

productions of such recently-written operatic works 

as A. Pflüger’s Der schwarze Mozart and S. Verdú’s 

Gramma; and last year, in the European première 

and first recording of C. Favre’s Requiem under the 

baton of Facundo Agudin. He gives recitals and 

records discs with the accompaniment of pianist 

Paul Suits. He has collaborated with, among other 

ensembles: Les Arts Florissants, Collegium 1704, 

Mala Punica, Les Folies Françoises (with which he 

gave several concerts in 2009 – Brussels, Théâtre 

des Champs Elysées in Paris, Palau de les Arts in 

Valencia); and in 2010, he performed for the first 

time with Les Talens Lyriques, led by Christophe 

Rousset (G. B. Pergolesi’s oratorio San Guglielmo). 

77

Christophe Rousset This artist’s fascination with Baroque music – in 

particular, opera – and aesthetics was born in his 

youth, which he spent in Aix-en-Provence. At age 

13, he began to take instruction in harpsichord performance. 

He continued his education in this area 

at the Schola Cantorum in Paris with Huguette 

Dreyfus, and then at the Royal Conservatory in 

The Hague with Bob van Asperen. In 1983, he won 

1 st Prize as well as the audience prize at the prestigious 

harpsichord competition in Bruges. His 

superb interpretations have riveted the attention 

of music critics and record labels. He has recorded 

for Harmonia Mundi, L’Oiseau-Lyre, Fnac Music, 

EMI/Virgin Classics, Decca, Naïve, and Ambroisie 

(harpsichord works by F. Couperin, J.-P. Rameau 

and J. S. Bach – these performances are considered 

to be ideal). In short order, he attained a reputation 

as a reliable soloist and chamber musician, a talented, 

competent conductor and a patient teacher. 

Before founding Les Talens Lyriques in 1991, he 

was a member of Les Arts Florissants, and later of 

Seminario Musicale. His enthusiasm as a performer, 

combined with his passion as a researcher (Rousset 

has discovered many original scores of works by 

the Baroque masters), spread to the members of the 

ensemble, and the musicians soon won universal 

recognition. Les Talens Lyriques’ renditions of various 

17 th - and 18 th -century European music projects 

are always highly emotionally charged and display 

the repertoire from a different perspective. Rousset 

has received the titles of Officier des Arts et Lettres 

and Chevalier dans l’Ordre National du Mérite. 

78

79 

Photo: Éric Larrayadieu

Les Talens Lyriques This vocal-instrumental ensemble was founded 

nearly 20 years ago by Christophe Rousset, who 

by the mere choice of name designated the scope 

of the group’s interests from the outset. Les Talens 

Lyriques’ focus is on 18 th -century operatic music; 

but increasingly, the ensemble draws upon other 

genres, as well as the achievements of other eras. 

Its repertoire includes stage works by C. Monteverdi 

(L’Incoronazione di Poppea), G. F. Handel 

(Scipione, Riccardo Primo, Rinaldo, Admeto, Giulio 

Cesare, Serse, Tamerlano, Alcina, Ariodante), 

J.-B. Lully (Persée, Roland, Bellérophon), D. Cimarosa 

(Il mercato di Malmantile, Il matrimonio segreto), 

T. Traetta (Antigona, Ippolito ed Aricia) and 

even W. A. Mozart (Mitridate, re di Ponto), as 

well as motets (Dumont, Daniélis), madrigals and 

cantatas (Clérambault, Brossard, Montéclair). In 

its interpretations of stage works, what is clearly 

prioritized is the works’ instrumental plane, considered 

by Rousset (a harpsichordist) to be just as 

important as the vocal parts. The clarity and theatrical 

panache of their presentations, in turn, are 

achieved through the ensemble’s collaboration with 

such artists as Jean-Marie Villégier, Philippe Lénaël, 

Jean-Claude Berutti, Pierre Audi, Jean-Pierre Vincent, 

Lindsay Kemp, Marco Arturo Marelli, Éric 

Vigner, Jérôme Deschamps and Macha Makeïeff, 

Marcial di Fonzo Bo, Francisco Negrin, Irina Brook 

and Lukas Hemleb, as well as, recently, Krzysztof 

Warlikowski, Zhang Huan, Mariame Clément and 

David McVicar. Les Talens Lyriques records for 

Decca (Universal Music), Naïve, Ambroisie, Aparté 

and Virgin Classics. In 1994, it took part in the 

recording of the soundtrack for the film Farinelli: 

il castrato. The group’s artistic activity is supported 

financially by the French government, the city 

authorities of Paris, the Annenberg Foundation and 

the Cercle des Mécènes. 

Les Talens Lyriques receive support from the French Department of Culture and Communication, the city 

of Paris, the Annenberg Foundation and the Cercle des Mécènes. The ensemble is a member of the FEVIS 

and PROFEDIM (Fédération et Syndicat des Ensembles Vocaux et instrumentaux Spécialisés). 

80

81 

Photo: Éric Larrayadieu

Holy Saturday 

23 April 

83

23 April 

Holy Saturday, 5:00 PM 

St. Kinga’s Chapel 

Salt Mine in Wieliczka 

Lacrime di Leo 

La Morra 

Doron Schleifer, voice 

Giovanni Cantarini, voice 

Corina Marti, recorders, harpsichord 

Michał Gondko, viola da mano 

Anne Rongy, viola d’arco 

Corina Marti, Michał Gondko, artistic directors 


84

Secret Music of Pope Leo X 

I. Ballo I (Dance I) 

Hans Judenkünig ca. 1450–1526 

Rossina ein welscher tantz* 

Guglielmo Ebreo da Pesaro 15 th c. 

Petits riens* 

II. Pensiero (Thought) 

Anonymous 

Di pensier in pensier mi guida amor 

Francesco Spinacino 16 th c. 

Recercare* 

Anonymous 16 th c. 

Ocelino, bel ocelino [deh lassa mi dormire]* 

Bartolomeo Tromboncino ca. 1470–ca. 1535 

Hor che‘l ciel e la terra 

III. Fuoco d’amore (Fire of Love) 

Joanambrosio Dalza 16 th c. 

Calate alla spagnola* 

Publius Ovidius Naso, ‘Amores’ 

O nunquam pro re satis indignande Cupido° 

Benedetto Gareth ca. 1450–1514 

Amando e desïando 

85

Juan de Léon 16 th c. 

Ay, que non sé rremediarme* 

Antonio Caprioli 1425–1475 

Quella bella e biancha mano 

Anonymous / Niccolò Brocco 

O tiente a l’ora 

IV. Preghiera (Prayer) 

Bartolomeo Tromboncino 

Ave Maria, gratia plena 

Nicolas Craen ca. 1440-50–1507 

Ecce video celos apertos* 


Vergine bella 

V. Ballo II (Dance II) 

Domenico da Piacenza ca. 1390–ca. 1470 

Leoncello* 

VI. Partita (Parting) 

Anonymous 

Fortuna desperata 

De, ch‘è la morta, la mia signora* 

Francesco Canova da Milano 1497–1543 

Ricercare* 

86

Jacobus Arcadelt ca. 1500–1568 

Il bianco e dolce cigno 

Angelo Polizano 1454–1494 

Venite insieme, amanti 


Per dolor mi bagno il viso 


° recitation 

87

Photo: Susanna Drescher 

La Morra 

This international early music ensemble was formed 

over 10 years ago from students at the Schola 

Cantorum Basiliensis. After its successful debut 

at the International Young Artist’s Presentation 

in Antwerp in 2000, it adopted an active concert 

schedule all over Europe (Germany, France, 

Switzerland, Estonia, Finland, Spain, Great Britain, 

Poland, Cyprus), taking part in such major music 

festivals as the Festival van Vlaanderen, Festival de 

Wallonie, Netwerk Oude Muziek, Holland Festival 

Oude Muziek, Rencontres de Musique Médiévale 

du Thoronet, Freunde alter Musik Basel, Tage 

alter Musik, and Autunno Musicale. Their careful 

selection of repertoire backed by research, their 

virtuosity, and tasteful interpretations has brought 

the group great renown, as well as recognition 

from audiences and critics. Last season, the La 

Morra ensemble, together with the Coro della 

Radiotelevisione Svizzera (Lugano), took part in 

a television production entitled Farsa del Barba, 

presenting early Renaissance Italian music, as well 

as presenting a monographic program devoted to 

the music of Johannes Ciconia at the Church of 

St. John the Evangelist in Liège, with which the 

Flemish composer was associated in his childhood. 

La Morra has recorded four enthusiastically 

received albums for the following labels: Ramée, 

Raumklang, Et’Cetera and Musiques Suisses. This 

season, their plans include three more recording 

projects with Flemish and Spanish music.

Holy Saturday 

23 April 

91

23 April 

Holy Saturday, 8:30 PM 

Kraków Opera 

ul. Lubicz 48 

La Passion de Jeanne d’Arc 

Adrian Utley (Portishead) 

Will Gregory (Goldfrapp) 

Charles Hazlewood, conductor 

Adrian Utley, guitar, mandola, synthesizer 

Will Gregory, synthesizer, saxophone 

Alan Emslie, percussion 

Clive Deamer, percussion 

Ruth Wall, harp, synthesizer, percussion 

Jim Barr, guitar 

Steven Manley, guitar 

Neil Smith, guitar 

Denny Ilett, guitar 

Alex Lee, guitar 

Rik Dowding, sound engineering 

Capella Cracoviensis 

Marian Magiera, Paweł Gajewski, trumpet 

Paweł Cieślak, Bogdan Piznal, trombone 

Jarosław Jastrzębski, tuba 

Octava Ensemble 

Agnieszka Drabent, soprano 

Anna Magiera, soprano 

Małgorzata Langer-Król, mezzo-soprano 

Łukasz Dulewicz, countertenor 

Zygmunt Magiera, tenor 

Marek Opaska, tenor 

Bartłomiej Pollak, baritone 

Marcin Wróbel, bass 

92


Adrian Francis Utley A British producer, guitarist, bassist and keyboardist, 

Adrian Francis Utley was born on 27 April 1957 in 

Northampton. After turning 18, the artist began 

his professional music career. He has collaborated 

with many jazz musicians, among them Big John 

Patron and The Jazz Messengers. Since 1991, he 

has been a member of the Bristol group Portishead, 

with which he has recorded three discs: Dummy 

(1984), Portishead (1997) and Third (2008). Adrian 

Francis Utley is involved in composing film sound 

tracks. His music has ‘adorned’ films including 

Nicholas Roeg’s Sound, Jonathan Nossiter’s Signs 

and Wonders, Hazel Grian’s Baby Cue and Mary 

Harron’s American Psycho (with Daniel Ash). He 

also produces discs by other artists, among them 

Portishead vocalist Beth Gibbons, Joe Volk, Kevin 

Flanagan and The Coral. 

94

William Owen Gregory 

A British producer, keyboardist and saxophonist, 

William Owen Gregory was born on 17 September 

1959 in Bristol. The artist holds a degree in classical 

music from York University. In 1981, he began his 

studio and concert career. William Owen Gregory 

has recorded and performed with Peter Gabriel, 

Tori Amos, The Cure, Tears For Fears, Portishead 

and Paula Rae Gibson. In 1999 he joined vocalist 

Alison Goldfrapp to create the synth-pop duet 

Goldfrapp. Together they have recorded five 

discs: Felt Mountains (2000), Black Cherry (2003), 

Supernature (2005), Seventh Tree (2008) and Head 

First (2010). As a saxophonist, Gregory has played 

with Apollo Saxophone Quartet, the London 

Sinfonietta, Michael Nyman and the psychedelic 

group Spiritualized. 

95 


Charles Hazlewood In 1995, Charles Hazlewood won 1 st Prize at 

the EBU Conducting Competition. He debuted 

at Carnegie Hall in 2003 and, three years later, 

at the BBC Proms. The artist collaborates with 

ensembles all over the world; this season, he 

appeared as guest conductor with the Göteborg 

and Malmö Symphonies, the Orchestra of the Age 

of Enlightenment and the Philharmonia, as well as 

performing at the Concertgebouw in Amsterdam. 

He is the music director of Excellent Device!, a group 

specializing in contemporary music performance, 

as well as the Army of Generale, whose members 

play historical instruments. In 2008, he joined other 

artists in founding the improvising ensemble The 

Charles Hazlewood All Stars, which has taken part 

in the Glastonbury Festival. He has been associated 

for years with the BBC Concert Orchestra, with 

which he performed at this season’s Proms concerts 

with enormous success, and presented K. Weill’s 

forgotten work Lost in the Stars (South Bank Centre 

in London). For seven years, Charles Hazlewood 

was music director of Dimpho di Kopane in Cape 

Town, where he staged several opera productions 

and made the recording U-Carmen eKhayelitsha 

(Black Carmen) in a film version which was named 

the best film at the 2005 International Film Festival 

in Berlin. As an ardent popularizer of classical 

music, he has prepared and recorded sound 

tracks for television films about Vivaldi, Mozart, 

Beethoven and Tchaikovsky, as well as for the 

BBC2 series The Birth of British Music. He hosts the 

celebrated Sony Awards radio broadcast series. One 

of the conductor’s most recent artistic initiatives 

was to organize the Play the Field festival broadcast 

by Radio 2, which took place for the first time in 

August 2009 at his estate in Somerset. In the next 

few months, Hazlewood will première W. Gregory’s 

newest opera at South Bank Centre’s Ether festival. 

96

97 


Photo: From the ensemble’s archives 

Octava ensemble 

Considered by music critics to be one of the most 

interesting Polish vocal ensembles of the younger 

generation, Octava ensemble quickly established 

its position among Polish chamber groups. Its 

repertoire includes works from various eras, from 

medieval music up to the œuvre of contemporary 

composers; it is also not averse to works that blur the 

boundary between jazz and popular music. Octava 

ensemble (previously the Octava vocal octet), 

esteemed by jurors at the most important Polish 

and international festivals and choral competitions, 

has won many top prizes. Among these is the most 

prestigious in the area of Polish choral arts – the 

Grand Prix at the 39 th edition of Legnica Cantat. The 

ensemble takes part in numerous music festivals, 

concerts and artistic projects, collaborating with 

98 

many cultural institutions in Poland and abroad. 

Octava ensemble’s vocal skills and versatility are 

attested by the fact that the group has premièred 

many works by Polish and foreign artists, taking 

part in many recordings. Their disc with B. Pękiel’s 

Missa pulcherrima and motets by G. G. Gorczycki 

made for Dux – the most significant recording label 

on the Polish music market – received a nomination 

for the Fryderyk 2010 prize. Every one of the 

musicians’ performances is acclaimed by audiences 

and critics. The ensemble’s artistic director is 

Zygmunt Magiera, a graduate of the Academy 

of Music in Kraków, the winner of 1 st Prize at the 

12 th National Choral Conductors’ Competition in 

Poznań and 2 nd Prize at the Towards Polyphony 

International Choral Conducting Competition; he 

simultaneously holds the post of artistic director of 

the Capella Cracoviensis singers’ ensemble.

Capella Cracoviensis 

Founded in 1970 on the initiative of Stanisław 

Gałoński, Capella Cracoviensis is presently one 

of Poland’s most dynamic ensembles specializing 

in stylistic performance of music from past eras. 

Thanks to the ongoing support of the City of Kraków, 

Capella Cracoviensis is able to carry out ambitious 

projects in an uncompromising manner and at the 

highest artistic level, involving superb artists of a 

particular sensitivity. The ensemble has collaborated 

in productions of Baroque operas and oratorios 

on historical instruments (recently: G. F. Handel’s 

Amadigi, Deborah, Rodelinda, A. Vivaldi’s 

Griselda, J. S. Bach’s Passion According to St. John 

and Christmas Oratorio) with musicians from such 

renowned ensembles as Il Giardino Armonico, 

Europa Galante, Orchestra of the 18 th Century and 

L’Arpeggiata. Guest artists of Capella Cracoviensis 

have also included Andrew Parrott, Paul Goodwin, 

Sirkka-Liisa Kaakinen, Les Sacqueboutiers 

99 

de Toulouse, Ensemble Oltremontano and Nachtmusique. 

Capella Cracoviensis is also a vocal 

ensemble performing repertoire that extends from 

Gesualdo’s mannerist madrigals to Szymanowski’s 

Kurpie Songs. The choir is utilized by distinguished 

guests of the Opera Rara series, such as Fabio Biondi 

and Marc Minkowski. A recent special project of the 

Capella Cracoviensis vocal group was an innovative 

crossover entitled Bar.oque Feast – a staging of 

madrigals by C. Monteverdi at one of Kraków’s milk 

bars featuring Maria Peszek, as well as Jan Peszek 

reciting Petrarch sonnets. Since November 2008, the 

ensemble’s executive and artistic director has been 

Jan Tomasz Adamus. Previously associated with 

Wrocław, this organist, harpsichordist, conductor 

and organizer of musical life studied in Kraków and 

Amsterdam. He formed his artistic sensitivity in 

collaboration with many distinguished singers, as 

well as in contact with art, discerning in painting, 

sculpture, architecture and philosophy a constant 

counterpoint for all his musical endeavors. 

Photo: From the ensemble’s archives

100

Easter Sunday 

24 April 

101

24 April 

Easter Sunday, 8:00 PM 



Missa 

Ruby Hughes, soprano 1 

Ana Quintans, soprano 2 

Pauline Sabatier, mezzo-soprano 3 

Blandine Staskiewicz, mezzo-soprano 4 

Nathalie Stutzmann, alto 5 

Terry Wey, alto 6 

Colin Balzer, tenor 7 

Emiliano Gonzalez-Toro, tenor 8 

Christian Immler, bass 9 

Luca Tittoto, bass 10 

Marc Minkowski, conductor 

Les Musiciens du Louvre-Grenoble 

Thibault Noally, Maria Papuzinska-Uss, Karen Walthinsen, Bérénice Lavigne, violin I 

Nicolas Mazzoleni, Claire Sottovia, Agnieszka Rychlik, Alexandrine Caravassilis, violin II 

Nadine Davin, Michel Renard, viola 

Nils Wieboldt, Claire Giardelli, ’cello 

Christian Staude, double bass 

Florian Cousin, Jean Brégnac, transverse flute 

Yann Miriel, Timothée Oudinot, Xavier Miquel, oboe, oboe d’amore 

Jani Sunnarborg, David Douçot, bassoon 

Johannes Hinterholzer, corno da caccia 

Thibaud Robinne, Jean-Baptiste Lapierre, Emmanuel Mure, trumpets 

Sylvain Bertrand, tympani 

Francesco Corti, harpsichord, organ 

Concert recorded by Channel 2 of Polish Radio 

102

Johann Sebastian Bach 1685–1750 

Mass in B minor BWV 232 

Kyrie 

Chorus: Kyrie eleison 

Duet 1, 3 : Christe eleison 

Chorus: Kyrie eleison 

Gloria 

Chorus: Gloria in excelsis Deo 

Chorus: Et in terra pax 

Aria 4 : Laudamus Te 

Chorus: Gratias agimusTibi 

Duet 2, 7 : Domine Deus 

Chorus: Qui tollis peccata mundi 

Aria 6 : Qui sedes ad dextram Patris 

Aria 10 : Quoniam tu solus sanctus 

Chorus: Cum Sancto Spiritu 

Credo (Symbolum Nicenum) 

Chorus: Credo in unum Deum 

Chorus: Patrem omnipotentem 

Duet 2, 6 : Et in unum Dominum 

Chorus: Et incarnatus est 

Chorus: Crucifixus 

Chorus: Et resurrexit 

Aria 9 : Et in Spiritum Sanctum 

Chorus: Confiteor 

Chorus: Et expecto resurrectionem 

Sanctus 

Chorus: Sanctus 

Chorus: Osanna in excelsis 

Aria 8 : Benedictus 

Chorus: Osanna in excelsis 

Agnus Dei 

Aria 5 : Agnus Dei 

Chorus: Dona nobis pacem 

103


Ruby Hughes After winning 1 st Place and the audience prize at 

the London Handel Festival Singing Competition 

in 2009, Ruby Hughes debuted on the stage of 

Theater an der Wien in the role of Roggiero in 

G. Rossini’s Tancredi under the baton of René 

Jacobs. There as well, she also appeared as Fortuna 

in C. Monteverdi’s L’Incoronazione di Poppea. 

She has taken part in projects prepared by such 

ensembles and festivals as the Opera Group, Opéra 

de Toulon, Classical Opera Company, Early Opera 

Company, Die Lautten Compagney, Musikfestspiele 

Potsdam Sanssouci, Musikwerkstatt Wien and 

Potsdamer Winteroper. The artist has concertized 

with the Academy of Ancient Music, Akademie für 

Alte Musik, Barockorchester Stuttgart, BBC Concert 

Orchestra, Cappella Amsterdam, Le Concert Lorrain, 

Huddersfield Choral Society, London Mozart 

Players, Les Musiciens du Louvre-Grenoble, Musica 

Saeculorum, Orchestra of the Age of Enlightenment 

and Philharmonia, under the direction of such 

conductors as Freider Bernius, Olof Boman, 

Stephen Cleobury, Laurence Cummings, Christian 

Curnyn, Pablo Heras-Casado, Wolfgang Katschner, 

Marc Minkowski, Daniel Reuss, Ian Page, Andreas 

Spering, Christoph Spering, Stephan Schultz, 

Johannes Wildner and Takuo Yuasa. Concerts 

with her participation are frequently broadcast 

by European radio and television stations (SR2, 

BBC, RTÉ, ORF, Radio France, Deutschlandradio 

Kultur). The singer’s plans for the immediate 

future include performances in projects with Sir 

Jonathan Miller (J. S. Bach’s Passion According to 

St. Matthew, Royal National Theatre in London) 

and Harry Christophers (G. F. Handel’s Saul at the 

Buxton Festival), preparation of several operatic 

roles (Minerva in C. Monteverdi’s Il ritorno d’Ulisse 

in patria, English National Opera; the title role in 

G. F. Handel’s Atalanta, London Handel Festival), 

as well as a recital accompanied by pianist Julius 

Drake at the Pollok House Arts Society in Glasgow. 

104

Ana Quintans 

After completing fine arts studies (sculpture), Ana 

Quintans began to study voice at the conservatory in 

Lisbon with José Manuel Araujo. She has taken part 

in the La Musique des Mémoires workshops run by 

composer and multimedia artist Claire Renard, in 

many courses, and also in the Operaplus Summer 

School for Young Singers in Belgium, where she 

won the Vera Rozsa Scholarship Award (2003) 

and the Temple Square Concert Award (2004). In 

2006, she completed her education at the Calouste 

Gulbenkian Foundation and began training at the 

Flanders Opera Studio in Ghent. She often performs 

on stage, engaged mainly for productions of 

Baroque operas prepared by such stage directors as 

Jorge Listopad, Paula Ribeiro, Bernard Sobel, Carlos 

Wagner, Frederique Dussene and Deborah Warner. 

She has sung at opera theaters all over Europe, Japan 

and the United States (Carnegie Hall in New York), 

and has appeared as a guest artist at such festivals 

as Wiener Festwochen, Festival Musicatlantico, 

Festival Culturel Européen de Rouen, Festival 

Ambronay and Festival de Musique Ancienne de 

Lyon. She also performs solo parts in oratorio and 

cantata works, as well as art song repertoire in duets 

with José Brandão or Hein Boterberg. Under the 

direction of William Christie, accompanied by Les 

Arts Florissants, she has made recordings of works 

by M.-A. Charpentier: Judicium Salomonis (Vera 

Mater) as well as Motet pour une longue offrande 

(EMI/Virgin Classics). She has also collaborated 

with Sinfonia Varsovia and Michel Corboz in a 

recording of G. Fauré’s Requiem (Mirare). 

105 

Photo: Mario Melo Costa


Pauline Sabatier This singer’s talent was recognized by l’Administration 

des Droits des Artistes et Musiciens Interprètes, 

which awarded her the Révélation Jeune 

Artiste Lyrique title in 2009. Last year, Sabatier 

won 2 nd Prize in the Béziers Singing Competition. 

Previously, the artist appeared at venues including 

the opera theaters in Avignon, Besançon (J. Offenbach’s 

Les brigands) and Limoges (role of Lazuli 

in E. Chabrier’s opera buffa entitled L’Etoile), took 

part in productions of D. Argenta’s Postcard from 

Morocco and C. Susa’s Transformations under stage 

director Elsa Rooke; she also performed Chabrier’s 

Une éducation manquée, accompanied by the Pelléas 

chamber orchestra in Caen. 

106


Blandine Staskiewicz After graduating at the top of her class from the 

Conservatoire National de Région in Rennes, 

Blandine Staskiewicz enrolled in a six-year course 

of study with Peggy Bouveret at the Conservatoire 

Supérieur de Musique in Paris. In 2001, she received 

the Prix de Chant of the latter institution, won the 

Voix d’Or competition, as well as the Concours 

International de Chant Baroque in Chimay, 

whose jury included William Christie. The fruit of 

this success was the singer’s participation in the 

conductor’s European tour with Jardin des Voix and 

Les Arts Florissants in the 2002/2003 season. While 

still a student, Staśkiewicz debuted on the opera 

stage (Alisa in G. Donizetti’s Lucia di Lammermoor, 

as well as Dorabella in W. A. Mozart’s Così fan 

tutte); she also appeared at European music festivals. 

Though the artist most often performs at opera 

theaters in her homeland of France (Théâtre du 

Châtelet, Opéra Comique and Théâtre des Champs- 

Elysées in Paris, as well as in Metz, Toulouse and 

Avignon), and also in Western Europe, she recently 

made a tour of South America, giving a series of 

recitals. She also prepared a special program with 

works by E. W. Korngold, which she presented at 

the Grand Théâtre in Geneva. Blandine Staskiewicz 

has had the opportunity to collaborate with such 

artists as Paul McCreesh (title role in G. F. Handel’s 

Attalia at the Festival d’Ambronay), Hervé Nicquet, 

Marc Minkowski (J. S. Bach’s Mass in B minor) 

and J. E. Gardiner (Aloès in E. Chabrier’s L’Etoile 

at the Opéra Comique in Paris), as well as with 

such ensembles as Orchestre National de Bordeaux 

Aquitaine, Concert Spirituel and Ensemble Matheus, 

with which she made a recording of A. Vivaldi’s 

Orlando furioso, honored with a Victoires de la 

Musique award (best disc of 2004). Thanks to the 

support of the Meyer Foundation and CNSMDP, 

she has recorded her first solo album, containing 

Italian arias. 

107

Photo: Simon Fowler, Deutsche Grammophon 

Nathalie Stutzmann At a young age, Nathalie Stutzmann received a 

thorough musical education; she studied conducting, 

piano and bassoon performance, and was involved 

in chamber music. Gifted with a rarely-encountered 

voice (a natural contralto), she devoted herself to 

the vocal arts. She received her first voice lessons 

from her mother, Christiane Stutzmann; later, the 

artist enrolled at Ecole d’Art Lyrique de l’Opéra 

de Paris. Her talent and exceptional personality 

have been esteemed by Seiji Ozawa, Sir Simon 

Rattle, Mariss Jansons, Sir John Eliot Gardiner, 

Christoph Eschenbach, Jukka Pekka Saraste and 

Marc Minkowski; under their direction, Stutzmann 

has had occasion to perform as a soloist with the 

Berlin Philharmonic, Vienna Philharmonic, New 

York Philharmonic, London Symphony, Orquesta 

Nacional de España, Orchestre de Paris et al. She 

has not, however, abandoned conducting, and 

since 2009 has led her own ensemble, Orfeo 55. 

She has over 75 recordings to her credit. Recently, 

she recorded F. Schubert’s Die schöne Müllerin 

cycle with Inger Södergren (Calliope), cantatas 

by J. S. Bach and J. Brahms’ Alt-Rhapsodie under 

Gardiner’s direction (SDG), M. Ravel’s L’Enfant et 

les sortilèges with the Berlin Philharmonic (EMI) 

and J. S. Bach’s Mass in B minor under Minkowski’s 

direction (Naïve). The artist recently signed an 

exclusive contract with Deutsche Grammophon – 

in April 2011, her album Prima Donna with arias by 

A. Vivaldi will be released. This season, Stutzmann 

will perform works by G. Mahler frequently at 

concerts organized to honor the 100 th anniversary 

of the composer’s death; her solo parts will include 

those in Symphonies nos. 3 and 4 under the baton 

of Sir Simon Rattle (Philharmonic Hall in Berlin, 

Royal Festival Hall in London, Concertgebouw in 

Amsterdam); she is also planning a series of recitals 

with German and French songs (Paris, Tokyo, 

Madrid) with pianist Inger Södergren. Nathalie 

Stutzmann has received the title of Chevalier des 

Arts et Lettres. She gives regular master classes. 

108


Terry Wey Born 1985 in Glasgow into a family with musical 

traditions, Terry Wey began voice training at an 

early age – initially in the Vienna Boys’ Choir, and 

then under the direction of Silvija Vojnić-Purchar, 

Kurt Equiluz and Christine Schwarz at the Konservatorium 

Wien Privatuniversität, where he 

also studied piano performance. As the winner of 

various competitions and recipient of scholarships 

from the Migros-Genossenschaftsbund and Kärntner-Sparkasse 

(Wörthersee-Musikstipendium), he 

quickly undertook collaboration with the Clemencic 

Consort, Les Musiciens du Louvre, Les Arts Florissants 

and other leading early music ensembles, which 

afforded him the opportunity to have contact with 

such conductors as William Christie, Thomas Hengelbrock, 

Marc Minkowski and Michael Hofstetter. 

He has taken part in festivals and concerts at major 

musical centers all over the world (Musikverein in 

Vienna, Barbican Centre in London, Festspielhaus 

in Baden-Baden, Lincoln Center in New York, etc.). 

He has prepared diverse interpretations of operatic 

roles – from Ruggiero (A. Vivaldi, Orlando 

furioso) to Oberon (B. Britten, A Midsummer Night’s 

Dream), which he has presented at such theaters as 

the Staatsoper in Stuttgart, Teatro Real in Madrid 

and Théâtre des Champs-Elysées in Paris, under 

stage directors Nicolas Brieger, Benjamin Lazar and 

Pier Luigi Pizzi. Among the artist’s major successes 

in recent years have been his performances at Theater 

an der Wien in 2009 (with Christine Schäfer 

in G. F. Handel’s Partenope, under the direction of 

Christophe Rousset), as well as his debut last year at 

the Salzburg Whitsun Festival (N. Jommelli’s Betulia 

liberata, under the direction of Riccardo Muti). 

Fascinated with Renaissance polyphony, he founded 

the vocal ensemble Cinquecento, with which he has 

recorded four albums for the Hyperion label. The 

artist has also recorded for Oehms Classics, Carus, 

Virgin Classics and Naïve. 

109


Colin Balzer Having studied at the University of British 

Columbia under the direction of David Meek and 

in Edith Wiens’ studio at the Hochschule für Musik 

in Nuremberg, Colin Balzer is the winner of many 

awards, including 1 st Prizes at the ’s-Hertogenbosch 

Competition, Wigmore Hall Song Competition, 

Hugo Wolf Competition and ARD Competition, 

as well as a gold medal at the R. Schumann 

Competition in Zwickau. This versatile vocalist 

performs music from many eras, both secular and 

religious, to which, in part he owes the development 

of his career on an international scale. Balzer has 

performed all over Europe, North America and 

Asia under the direction of such artists as Simone 

Young (B. Britten’s War Requiem at the Aldeburgh 

Festival), Phillipe Herreweghe (H. Purcell’s Ode 

to St. Cecilia and J. S. Bach’s Passion According to 

St. Matthew with Collegium Vocale Gent), Marc 

Minkowski (W. A. Mozart’s Idomeneo at the 

Bremen Festival, as well as Mass in C minor with Les 

Musiciens du Louvre), Louis Langrée (Mozart’s Don 

Giovanni at the Aix-en-Provence Festival), Simon 

Preston, Marcus Creed (G. F. Handel’s Chandos 

Anthems with the Freiburg Baroque Orchestra as 

part of the Philadelphia Chamber Music Society’s 

concert series), Enoch zu Guttenberg (F. J. Haydn’s 

Creation and The Seasons with KlangVerwaltung), 

Roberto Abbado (Mozart’s Coronation Mass), Jörg 

Peter Weigle (R. Schumann’s Das Paradies und 

die Peri), Kenneth Montgomery, Bernard Labadie, 

Hans-Christoph Rademann, Leopold Hager and 

Helmuth Rilling. This season, aside from numerous 

performances in Canada (Toronto, Vancouver, 

Québec), he will be hosted in the United States; 

for the first time, he will sing at Carnegie Hall in 

New York (Handel’s Messiah). The artist performs 

art song repertoire with great success, as reflected 

by his numerous disc recordings. A recording of 

J.-B. Lully’s Psyché made at the Boston Early Music 

Festival with his participation was nominated for a 

Grammy Award. 

110

Emiliano Gonzalez-Toro 

This artist was born in Geneva. His Chilean-born 

parents made sure that he became acquainted 

with American culture. From his youth, Gonzales- 

Toro took oboe lessons and sang in the Les Pueri 

choir, with which he performed at Geneva’s Grand 

Théâtre. Despite making significant progress in 

playing his instrument, he took up voice training 

in his hometown, which he continued in London 

and Nancy. The repertoire of his first solo concerts, 

accompanied by French ensembles under the 

direction of Michel Sorboz, was comprised of religious 

music masterpieces (W. A. Mozart’s Requiem, masses 

by F. J. Haydn, G. F. Handel’s Messiah, J. S. Bach’s 

Mass in B minor, Passions and Christmas Oratorio). 

With an extensive operatic repertoire at his disposal 

– in roles from C. Monteverdi’s L’Incoronazione di 

Poppea to G. Bizet’s Carmen and R. Strauss’ Salome 

– he quickly became a frequent guest at festivals 

and opera theaters in France, Holland, Spain and 

Portugal, collaborating with such conductors as 

William Christie, John Duxbury, Laurent Gay, 

Laurent Gendre, Stephan Macleod, Jean-Claude 

Malgoire, Christina Pluhar, René Jacobs, Stefano 

Molardi, Jan Willem de Vriend, Giovanni Antonini, 

Luca Pianca, Alessandro de Marchi, Emmanuelle 

Haïm, Pinchas Steinberg, Bernard Têtu and 

Emmanuel Joel-Hornak. Such groups as Ensemble 

Orlando Fribourg, L’Arpeggiata, Les Talens Lyriques 

and Le Concert Spirituel frequently engage the artist 

for their recording projects. This season, Gonzalez- 

Toro will perform in, among other places, the 

United States (A. E. M. Grétry’s Le Magnifique, title 

role), and begin a two-year tour with A. Vivaldi’s II 

Farnace at the Théâtre des Champs-Elysées in Paris. 

111 



Christian Immler An education at the Guildhall School of Music 

and Drama in London and a 1 st Prize at the 2001 

Concours international de Chant-Piano Nadia et 

Lili Boulanger in Paris opened Christian Immler’s 

way to a solo career. Despite the fact that his 

abilities are already held in high regard by such 

great artists as Marc Minkowski, under whose 

direction he sang J. S. Bach’s Mass in B minor in 

Santiago de Compostela (concert recorded and 

released on CD), Philippe Herreweghe (J. S. Bach’s 

Passion According to St. John), William Christie 

(M.-A. Charpentier’s David et Jonathas) and 

Andrew Parrott (cantatas by G. P. Telemann), he 

continues to hone his vocal technique under the 

direction of Rudolf Piernay. Aside from solo parts 

in oratorio and cantata works from various eras, 

Immler has to his credit operatic roles from Seneca 

in C. Monteverdi’s L’lncoronazione di Poppea to 

Claudio in H. Berlioz’ Béatrice et Bénédict and 

Pharnaces in A. Zemlinsky’s Der König Kandaules. 

The artist has taken part in major music festivals 

and concertized all over the world; recently, he sang 

debut recitals at Wigmore Hall and Royal Festival 

Hall in London. His discography contains cantatas 

by G. H. Stölzel, as well as the Continental Britons 

and Kaddish albums made for the Nimbus label, 

along with a recording of I. Albéniz’s opera Henry 

Clifford, recorded by Decca. In the immediate future 

the artist will perform in a production mounted by 

the Grand Théâtre in Geneva (U. Chin’s Alice in 

Wonderland); at the Berlin Konzerthaus, he will 

sing in E. Křenek’s Orpheus; at the Concertgebouw 

in Amsterdam with Radio Kamer Filharmonie, 

he will perform W. A. Mozart’s Requiem and 

Coronation Mass; and with the accompaniment 

of Bach Collegium Japan and Masaaki Suzuki, he 

will appear in a solo part in G. F. Handel’s Messiah. 

He also is working on solo repertoire which he will 

present with pianist Helmut Deutsch at King’s Place 

in London. 

112


Luca Tittoto This artist studies under the direction of tenor 

Beniamino Prior. In 2006, he won the Giuseppe di 

Stefano Opera Competition in Trapani, where he 

appeared as Don Alfonso in W. A. Mozart’s Così 

fan tutte. He manages superbly with early music 

performance; among other events, in 2005 he sang 

in C. Monteverdi’s L’Incoronazione di Poppea 

under the baton of Ottavio Dantone; and in 2007, 

in L’Orfeo under the direction of Andrea Marconi 

at the Monteverdi festival in Cremona, as well as at 

the Aix-en-Provence Festival with René Jacobs. He 

is also working on roles in Classical and Romantic 

operas (works by W. A. Mozart, G. Rossini, V. Bellini 

and G. Puccini). He has to his credit superb 

performances of solo parts in oratorio and cantata 

works from various eras. He often performs with Marc 

Minkowski’s ensemble Les Musiciens du Louvre- 

Grenoble; among other events, they have given a 

series of concerts in Europe with works devoted to 

St. Cecilia (H. Purcell, F. J. Haydn); they have also 

performed J. S. Bach’s Mass in B minor in Santiago 

de Compostela. This repertoire has been recorded by 

Naïve. Tittoto has also performed with Accademia 

Bizantina and Ottavio Dantone at the festival in 

Spontini (W. A. Mozart’s Graßmusik KV 42). In 

March of this year, he made his United States debut 

as Leporello (Mozart’s Don Giovanni, Palm Beach 

Opera). He records for Naïve and Harmonia Mundi 

(W. A. Mozart’s Idomeneo with René Jacobs). 

113

Marc Minkowski 

This artist studied bassoon performance, then 

conducting with Charles Bruck at the Pierre 

Monteux Memorial School in the United States. 

In 1982, he founded Les Musiciens du Louvre 

(since 1996 based in Grenoble), specializing in the 

performance of French Baroque music (J.-B. Lully, 

J.-P. Rameau, M.-A. Charpentier, M. Marais), as 

well as C. Monteverdi, G. F. Handel, C. W. Gluck, 

W. A. Mozart and J. Offenbach. Les Musiciens du 

Louvre perform regularly on the most important 

stages of France (Opéra de Paris, Opéra de Lyon, 

Théatre du Châtelet, Théâtre des Champs-Elysées, 

festivals in Aix-en-Provence and Beaune), as well 

as in Europe’s leading musical centers (London, 

Amsterdam, Madrid, Vienna, Salzburg, etc.). Since 

2003, Minkowski has been associated with the opera 

in Zürich, where he has led G. F. Handel’s Il trionfo 

del Tempo e del Disinganno, Agrippina and Giulio 

Cesare; G. Donizetti’s La favorita, J.-P. Rameau’s 

Les Boréades and L. van Beethoven’s Fidelio. He 

is considered to be one of the most distinguished 

conductors of his generation and a superb 

interpreter of Mozart’s operatic works. Among his 

most important renditions of compositions by the 

Austrian master are Idomeneo at the Opéra de Paris; 

Die Entführung aus dem Serail (with the Mozarteum 

orchestra) at the Salzburg Festival; Le nozze di 

Figaro (with the Mahler Chamber Orchestra) at 

the festival in Aix-en-Provence, in Baden-Baden 

and Tokyo; and Die Zauberflöte in Montpellier and 

Bochum, as well as at the Opéra de Paris. His broad 

repertoire encompasses works from the Baroque to 

contemporary times. He pays particular attention to 

composers who are little-known (J.-J. Mondonville) 

or underappreciated (J. Offenbach). In recent years, 

he has increasingly been turning to large symphonic 

works. Aside from F. J. Haydn, L. van Beethoven, 

F. Schubert and J. Brahms, he particularly 

esteems the French masters – H. Berlioz, G. Bizet, 

E. Chausson, G. Fauré and N. Boulanger. For 

several years now, he has been a regular guest at the 

world’s greatest concert halls and most prestigious 

114 

music festivals. He collaborates with the Mahler 

Chamber Orchestra, the Berlin Philharmonic, 

the Orchestre National de France, the City of 

Birmingham Symphony Orchestra, the Orchestre 

Philharmonique de Radio France, the Los Angeles 

Philharmonic Orchestra, the Orchestre de Paris, 

Staatskapelle Dresden et al. Since June 2008, he 

has been music director of Sinfonia Varsovia. He 

has recorded discs for the Erato, EMI and Archiv 

Produktion labels. He is presently under contractual 

agreement with the French label Naïve. In 2004, he 

received the title of Chevalier du Mérite granted by 

the President of France.

115 


Les Musiciens du Louvre-Grenoble 

This ensemble, founded in 1982 by Marc 

Minkowski, has exerted no small influence on 

the revival of interest in Baroque music and its 

more tradition-based performance in France. Les 

Musiciens du Louvre have not, however, narrowed 

their artistic activity – aside from Baroque music 

(G. F. Handel, H. Purcell, J.-P. Rameau), they 

draw upon Classical works (F. J. Haydn and 

W. A. Mozart), as well as music from later periods, 

with a particular predilection for 19 th -century 

116 

French music: H. Berlioz (Symphonie fantastique, 

Nuits d’été), J. Offenbach (La belle Hélène, 

La Grande Duchesse de Gérolstein) and even 

G. Bizet (L’Arlésienne – Incidental Music) and 

G. Fauré. A significant place in the ensemble’s 

repertoire is occupied by operatic works, which 

the musicians present frequently and successfully 

at music festivals (among others, C. Monteverdi’s 

L’Incoronazione di Poppea and W. A. Mozart’s 

Die Zauberflöte in Aix-en-Provence) and opera 

theaters (C. W. Gluck’s Iphigénie en Tauride 

and J.-P. Rameau’s Platée at the Opéra de Paris,

G. Bizet’s Carmen and R. Wagner’s Die Feen 

at Théâtre du Châtelet). Presenting the highest 

level of artistry, this ensemble has made many 

foreign tours of Eastern Europe, Spain, Asia and 

the United States, as well as – in 2009 – Italy 

and, for the first time, Japan. Next season’s plans 

include performances at the Salzburg Festival 

117 

(W. A. Mozart’s Così fan tutte), the Vienna Opera 

(G. F. Handel’s Alcina) and the Opéra Comique 

in Paris (J. Massenet’s Cendrillon). Les Musiciens 

du Louvre-Grenoble previously recorded for 

Deutsche Grammophon (among others, the album 

Opera prohibita with Cecili Bartoli); it presently 

has contractual ties to the Naïve label. 

Les Musiciens du Louvre-Grenoble receive financial support from the City of Grenoble, the Conseil général 

de l’Isère, the Région Rhône-Alpes and the French Ministry of Culture and Communication / DRAC 

Rhône-Alpes. 

Photo: Elisabeth carecchio

118

Easter Monday 

25 April 

119

25 April 

Easter Monday, 8:00 PM 



Arie e concerti III 

Veronica Cangemi, soprano 

Stefano Montanari, violin solo 

Ottavio Dantone, conductor, harpsichord 

Accademia Bizantina 

Stefano Montanari, Paolo Zinzani, Ana Liz Ojeda, violin I 

Lisa Ferguson, Lathika Vithanage, Mauro Massa, violin II 

Diego Mecca, Alice Bisanti, viola 

Marco Frezzato, Paolo Ballanti, ’cello 

Giovanni Valgimigli, double bass 

Ivano Zanenghi, lute 

Stefano Demicheli, harpsichord 


120

Antonio Vivaldi 1678–1741 

Concerto in E-flat major ‘La tempesta di mare’ RV 253 

Presto 

Largo 

Presto 

Un raggio di speme 

Orlando furioso RV 728 

Concerto in A minor RV 522 

Allegro 

Larghetto e spiritoso 

Allegro 

Destino avaro 

La fida ninfa RV 714 


Arsilda regina di Ponto RV 700 

Gelosia, tu già rendi l’alma mia 

Ottone in villa RV 719 

*** 

La farfalletta audace RV 749.11 

Concerto in C major RV 114 

Allegro 

Adagio 

Ciaccona 

Zeffiretti che sussurrate RV 749.21 

Concerto in D minor ‘per Pisendel’ RV 242 

Allegro 

Largo 

Allegro 

Agitata da due venti 

Griselda RV 718 

121

Photo: German Gonzalez Mena – Art Director Fernando Hernandez 

Veronica Cangemi This artist was born in Mendoza, Argentina. Before 

beginning her career as a singer, she was principal 

’cellist of the Mendoza Symphony. After winning 

1 st Prize at the National Singing Competition in 

Argentina and the Francisco Viñas Competition in 

Barcelona, Cangemi debuted in C. W. Gluck’s opera 

Armida under the baton of Marc Minkowski with 

Les Musiciens du Louvre-Grenoble at Versailles. 

Since then, her musical interests have focused 

mainly on Baroque music and works by Mozart. She 

has collaborated with such distinguished conductors 

as Giovanni Antonini, Fabio Biondi, William 

Christie, Nikolaus Harnoncourt, René Jacobs, Ton 

Koopman, Sir Neville Marriner, Zubin Mehta et al. 

She has performed at well-known opera theaters, 

including the Bayerische Staatsoper in Munich, 

Teatro Comunale in Florence, Teatro La Fenice 

in Venice, Teatro alla Scala in Milan, and opera 

houses in Vienna, Zürich and Brussels. Veronica 

Cangemi’s achievements include numerous debuts 

on the world’s stages: the title role in G. F. Handel’s 

Ariodante (San Francisco), the roles of Musetta in 

G. Puccini’s La bohème, Fiordiligi in W. A. Mozart’s 

Così fan tutte and Susanna in Le nozze di Figaro 

(Théâtre des Champs-Elysées in Paris, Washington 

Opera), as well as Micaëla in Bizet’s Carmen 

(Japan). Among her numerous recordings, the 

most noteworthy are Handel’s Ariodante for 

Deutsche Grammophon, for which she received the 

Diapason d’Or and Orphée d’Or in 1998, as well as 

A. Scarlatti’s opera Griselda for Harmonia Mundi, 

awarded a Diapason d’Or in 2006. 

122

Stefano Montanari 

After graduating with an honors degree in 

instrumental performance (violin and piano), 

Stefano Montanari completed a special course 

in chamber music under the direction of Piero 

Narciso Masi at the conservatory in Florence. 

He also honed his skills in solo performance with 

Carlo Chiarappa at the Conservatorio della Svizzera 

Italiana in Lugano, where he later taught from 1993 

to 1999. Since 1995, he has been the concertmaster 

of Accademia Bizantina. The artist also appears 

as first violinist in the Joachim Quartet, which 

performs 18 th - and 19 th -century chamber repertoire 

on period instruments. Stefano Montanari teaches 

at the Milan conservatory, as well as giving Baroque 

violin and chamber music master classes in Parma, 

Pesaro and Piacenza. He also collaborates with 

Christophe Rousset’s ensemble Les Talens Lyriques. 

He has recorded for Denon, Opus 111, Erato, Virgin 

Classics, Tactus and Decca. 

123 


Ottavio Dantone This artist studied organ and harpsichord 

performance at the G. Verdi conservatory in Milan. 

He began a regular concert career while still a 

student, simultaneously devoting time to studies of 

early music and historical performance practice. He 

quickly aroused the interest of audiences and critics. 

Dantone won the two most important international 

harpsichord competitions in Paris (1985) and Bruges 

(1986). He is the first and only Italian harpsichordist 

to gain international renown. In 1996, the artist 

became music director of the Accademia Bizantina 

ensemble, with which he is associated to this day. In 

1999, he debuted in the operatic repertoire (G. Sarti’s 

Giulio Sabino in his own arrangement). Since then, 

the director has prepared over a dozen premières 

of lesser-known Classical and Romantic works. In 

2005, he led an enthusiastically received production 

of G. F. Handel’s Rinaldo (stage director Pier Luigi 

Pizzi) at Teatro alla Scala. Dantone concertizes as 

a soloist and conductor. He performs in the most 

important halls all over the world and at the most 

prestigious festivals. He has made numerous radio, 

television and disc recordings for labels including 

Decca (with Andreas Scholl), Harmonia Mundi, 

Naïve, Arts, Dynamic and Stradivarius. 

124

125 

Photo: Ribaltaluce Studio

Photo: Ribaltaluce Studio 

Accademia Bizantina 

The ensemble specializes in performance of 17 th - 

and 18 th -century music on original instruments 

and according to historical rules. Since 1996, the 

group has been led by Ottavio Dantone. The artists 

have concertized at festivals all over Europe, both 

Americas, the Middle East, Mexico and Japan. 

Presently, the Accademia Bizantina is one of the most 

highly-esteemed ensembles in the world. In recent 

years, it has also reinforced its position as the most 

important Baroque ensemble opera in Italy. Among 

126 

its most spectacular successes are productions of 

works by G. B. Pergolesi (L’Olimpiade), G. F. Handel 

(Orlando) and C. Monteverdi (L’Orfeo, Il ritorno di 

Ulisse in patria), which it has presented not only in 

Italy, but also in other countries, including France, 

Argentina, Brazil, Chile and Uruguay. The activity 

of the ensemble (which places particular emphasis 

in its choice of repertoire on the legacy of Italian 

composers) is documented by recordings for, among 

other labels, Decca, Arts, Harmonia Mundi and Naïve 

(their album with motets by Vivaldi with Sandrine 

Piau won the Midem Classical Award in 2007).

Artistic Director: Filip Berkowicz 

Organisation: Krakow Festival Office 

Director: Izabela Helbin 

Project coordinator: Robert Piaskowski 

31-513 Kraków, ul. Olszańska 7 

phone: +48 12 424 96 50, fax: +48 12 424 96 52 

e-mail: poczta@biurofestiwalowe.pl 

www.misteriapaschalia.com 

www.biurofestiwalowe.pl 

ISBN: 978-83-61816-61-4 

© 2011, Krakowskie Biuro Festiwalowe 

Publisher: Krakowskie Biuro Festiwalowe 

Editor: Filip Berkowicz, Magdalena Chrenkoff 

Editorial collaboration: Daria Szwed 

Graphic design collaboration: Aleksandra Dzieciuch 

Translation: Cara Thornton 

Proofreading: Danuta Ambrożewicz, Soren Gauger 

Graphic design: Witold Siemaszkiewicz 

Typesetting: Magdalena Pieczka 

Printing: PASAŻ 

Advertising sales: 

Agnieszka Kaczor-Wyrobek, awyrobek@biurofestiwalowe.pl, tel.: +48 12 424 96 63 

Piotr Krążała, pkrazala@biurofestiwalowe.pl, tel.: +48 12 617 61 81 

Recording of images and/or sound during festival concerts is strictly prohibited. 

The organizers reserve the right to make changes in the programme. 

136

The Krakow Festival Office 

The Krakow Festival Office is a leading Polish promoter of the most renowned cultural events of 

national and international significance. It is a municipal cultural institution established in 1997 as the 

‘Krakow 2000 Festival Office’ after the City of Krakow was selected as ‘the European City of Culture’ 

for the year 2000. Its initial task was to ensure the continuity and consistency of activities required 

for proper organisation and promotion of the celebrations which marked the turn of the Millennium. 

Currently the Office is an organiser of the most prestigious musical festivals in Poland such as: Sacrum 

Profanum Festival, dedicated to contemporary music, presenting monographic concerts performed 

in post-industrial buildings with repertoire by the most eminent 20 th and 21 st century composers; the 

Misteria Paschalia Festival, closely linked to Holy Week and Easter, considered the most significant 

festival in Poland devoted to Early Music. Moreover, the Office manages acclaimed events such as: 

Film Music Festival, Opera Rara, International Festival of Independent Cinema Off Plus Camera, 

Unsound Festival, Divine Comedy International Theatre Festival, Joseph Conrad International 

Literature Festival, Czesław Miłosz Literary Festival, Selector Festival, and huge, open air events 

gathering thousands of people such as: Wianki (Floating of the Wreaths) and the WOW!Night – the 

New Year’s Eve Party in the Main Square, which are among the largest events of this kind in Poland 

and in Europe. 

www.biurofestiwalowe.pl 

137

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