Programme MAR 11 rev_AAM programme Dec 2010 09/03/2011 20:24 Page 1
Karina Gauvin soprano
Bernard Labadie conductor
16 March
18 March
Wigmore Hall, London
West Road Concert Hall, Cambridge
Welcome to this evening’s performance, for which we’re very glad that Bernard Labadie is joining us for his AAM debut. This isn’t the first time Karina Gauvin has performed Handel with us, though: in 2008 she stepped in at the last minute to give acclaimed performances as Emilia in Flavio under Christopher Hogwood. The “wide-
ranging emotion” she was praised for demonstrating in that performance will be much in evidence tonight —turn to page 9 to find out more about the various guises she’ll be taking on.
We have just returned from a two-week tour, on which we gave what is thought to be the first complete performance of JS Bach’s
Brandenburg Concertos in China (with generous support from Lady Linda Wong Davies and the
KT Wong Foundation), and brought “technicolour brilliance” to Haydn’s The Creation in Australia.
Our last visit Down Under was in 1988, and there were three players on that trip who also toured with us last month — including violinist William
Thorp, who is playing tonight. You can read his thoughts about the tour on the AAM’s player blog (academyofancientmusic.wordpress.com).
Looking to the future, we will soon be announcing details of our o-POEPOBOE
$BNCSJEHFTFBTPO
. With some fascinating programmes and exciting debut artists (see page
14 for a sneak preview), we’re confident that it’s going to be one of our most vibrant years of music-making yet. If you’d like to be among the first to hear about it all, just send your details to info@aam.co.uk and we’ll post a season brochure to you as soon as it’s published.
At the heart of our 2011–12 season will be Musical Revolutions , a concert series exploring extraordinary moments in the development of western music when key themes and forms emerged and evolved (see page 14).
We’re looking for an image to illustrate the series — something which captures dynamism, change and energy. Get thinking (no idea is too wild!) and send your suggestions to
JOGP!BBNDPVL
or post them on our Facebook wall. If we like your idea enough to use it, we’ll send you a pair of tickets to an AAM concert of your choice.
A C A D E M Y O F A N C I E N T M U S I C , 2 0 1 0 - 2 01 1 S E A S O N 1

Programme MAR 11 rev_AAM programme Dec 2010 09/03/2011 20:24 Page 2
(1685–1759)
Orchestral interludes from Ariodante
'Tornami a vagheggiar' from Alcina
'Lascia ch’io pianga' from Rinaldo
Orchestral interludes from Alcina
'Credete al mio dolore' from Alcina
'La mia costanza' from Ezio
Interval of 20 minutes
Please check that your mobile phone is switched off, especially if you used it during the interval.
‘Misera, dove son!’ from Ezio
Orchestral interludes from Rodrigo
'Ah, mio cor, schernito sei' from Alcina
Would patrons please ensure that mobile phones are switched off. Please stifle coughing as much as possible and ensure that watch alarms and any other electronic devices which may become audible are switched off.
Every year, the Academy of Ancient Music enriches the lives of tens of thousands of music lovers. Its performances are a source of inspiration and joy: the world would be a duller place without them.
But the AAM will only continue to thrive and develop if those who are in a position to support it do so generously. Income from ticket sales will fall short of the full cost of running the orchestra by around £400,000 this year, and the AAM receives no regular government funding.
Members of the AAM Society sustain the orchestra’s work magnificently for the benefit of us all — but the AAM has an ambitious vision for the future, and the need for support is greater than it has ever been before. The future of ancient music is in your hands: turn to page 16 to find out how you can help.
2 A C A D E M Y O F A N C I E N T M U S I C , 2 0 1 0 - 2 01 1 S E A S O N

Programme MAR 11 rev_AAM programme Dec 2010 09/03/2011 20:24 Page 3
“As a perfect tragedy is the noblest production of human nature, so it is capable of giving the mind one of the most delightful and most improving entertainments.” Thus wrote Joseph
Addison in The Spectator on 14th April 1711. He continued: “Diversions of this kind wear out of our thoughts every thing that is mean and little.
They cherish and cultivate that humanity which is the ornament of our nature. They soften insolence, soothe affliction, and subdue the mind to the dispensations of Providence.”
Writing in The Spectator two days later, Addison bemoaned the tendency of English dramatists to finish a tragedy with a happy ending. “English writers... are possessed with a notion, that when they represent a virtuous or innocent person in distress, they ought not to leave him till they have delivered him out of his troubles, or made him triumph over his enemies. This error they have been led into by a ridiculous doctrine in modern criticism, that they are obliged to an equal distribution of rewards and punishments, and an impartial execution of poetical justice.”
Even Shakespeare’s tragedies had been rewritten in the late seventeenth century with happy endings. As Addison noted: “King Lear is an admirable tragedy of the same kind, as
Shakespeare wrote it; but as it is reformed according to the chimerical notion of poetical justice, in my humble opinion it has lost half its beauty.”
Addison published his musings on tragedy less than two months after George Frideric Handel made his debut as an opera composer in
London, with the premiere of his opera Rinaldo on 24 February 1711. Addison was no friend of the Italianate opera that was becoming the favoured form of music drama in London. In
1707 he had lamented that “Our homespun authors must forsake the field / And
Shakespeare to the soft Scarlatti yield”. And even before he had attended a performance of
Rinaldo , Addison mocked its props and staging
(“painted Dragons spitting Wild- fire”). With the benefit of hindsight, however, it is evident that
Handel’s operas offered some of the most profound depictions of human suffering to be found on the London stage in the early eighteenth century.
Of course, Handel’s operas are not tragedies in the Aristotelian sense of the word. They follow the conventions of opera seria as practised in
Italy during the 1700s. Accordingly, all his operas have happy endings, as with the debased English tragicomedies as criticised by
Addison. Other aspects of Handel’s operas, however, align well with classical notions of tragedy. His plots invariably involve high- status characters, whether quasi- mythological deities, or emperors and generals from ancient Rome.
Often his operas feature a monarch who is torn between the conflicting demands of love and duty, leading to a dilemma of tragic proportions. Also frequent are moments of betrayal, lost love or attempted suicide — all arousing tragic emotions of terror and pity in the audience.
Tonight’s concert contains a selection of arias and instrumental movements from Handel’s operas. The arias formed the main vehicle for projecting the emotional content of the drama, and hence this programme note will focus on the musical features and dramatic context of the vocal numbers. Almost all of Handel’s arias are in da capo form, where the opening section is characterised by a vivid theme appropriate to the text; the following section uses a contrasting key or texture (sometimes just for voice and continuo); and the initial section then returns, allowing the singer to ornament the original vocal line. Handel’s arias draw on the musical vocabulary of Italian opera seria , in which musical features were associated with stereotyped emotions (or so- called affections).
Treatises of the time explained the emotional characteristics of different keys, and also described how specific melodic intervals signified different emotions (for instance, a
A C A D E M Y O F A N C I E N T M U S I C , 2 0 1 0 - 2 01 1 S E A S O N 3

Programme MAR 11 rev_AAM programme Dec 2010 09/03/2011 20:24 Page 4
4 A C A D E M Y O F A N C I E N T M U S I C , 2 0 1 0 - 2 01 1 S E A S O N

Programme MAR 11 rev_AAM programme Dec 2010 09/03/2011 20:24 Page 5 rising minor sixth denoted melancholic or beseeching situations). In addition, arias belonged to one of several standard types, such as the aria di bravura (in a rapid tempo, with long melismas and leaping lines) and the aria patetica (in a slow tempo and a minor key, with plentiful dissonance). By manipulating these musical conventions of opera seria , Handel could ensure that the affective content of his music was comprehensible to audiences, even for those Londoners who could not hear or understand the Italian words.
Arias from Alcina
Handel premiered Alcina in 1735 under difficult circumstances. He had lost his usual venue of the King’s Theatre and many of his usual singers to a rival company, the Opera of the Nobility.
Now based at the Covent Garden theatre,
Handel sought to attract audiences by introducing several innovations in the 1734–35 season, including performances of his oratorios and organ concertos. And in Alcina , Handel delivered one of his most memorable and magnificent operas. As the music historian
Charles Burney commented, this was “an opera with which Handel seems to have vanquished his opponents”.
The opera’s libretto is derived from cantos VI–VII of Lodovico Ariosto’s epic poem Orlando furioso
(1516). It tells the story of Alcina, a sorceress who ensnares Ruggiero in a life of idle sensuality on her enchanted isle. In the middle of Act II, however, Ruggiero regains his senses and escapes, whereupon Alcina sings the aria
‘Ah, mio cor, schernito sei’ . To convey Alcina’s distress at the disappearance of her beloved,
Handel starts the aria with the unusual texture of detached chords in the upper strings, played over descending arpeggiated figures in the continuo. The soprano soloist then enters without accompaniment, symbolising Alcina’s emotional plight. As she subsequently sings:
“Puoi lasciarmi sola in pianto?” (“How can you leave me alone and in tears?”). Yet the middle section of the aria strikes a more resolute tone, with a brisker tempo, a busy semiquaver accompaniment in the violins, and a move to the relative major. Here Alcina remembers that she is still queen, and she declares that
Ruggiero shall “peni sempre, o torni a me”
(“suffer eternally, or return to me”).
Other arias in the opera are assigned to
Morgana, the flirtatious sister of Alcina. In Act III,
Morgana sings ‘Credete al mio dolore’ as she confesses her love to Oronte, Alcina’s general. In the key of D minor and with an unusual obbligato line for solo cello, this aria is a convincing depiction of love- sickness. It is dominated by a stepwise motif that falls through a minor third. Initially this motif is repeated over the downward tread of the bass line, then it forms longer phrases on “dolore”.
Towards the end of the aria, this motif occurs on its own, as a poignant setting of the words
“pieta” (“pity”).
A more exhilarating aria sung by Morgana is
‘Tornami a vagheggiar’ , which occurs at the end of Act I. Here Morgana sings of her love for
‘Ricciardo’, who is actually Bradamante
(Ruggiero’s betrothed) in disguise. Singing in the key of B flat major (described by Handel’s old friend Johann Mattheson as “very entertaining” and “brilliant”), Morgana starts in almost Mozartean manner with triadic phrases each lasting two bars. But such balanced phrases are rapidly displaced by long- held high notes and an ecstatic nine- bar melisma on
“vagheggiar” that soars higher and higher. The aria has a complicated compositional history:
Handel wrote an early version in his 1708 cantata O come chiare e belle ; and for the 1736 revival of Alcina , he assigned it to the eponymous protagonist.
A C A D E M Y O F A N C I E N T M U S I C , 2 0 1 0 - 2 01 1 S E A S O N 5

Programme MAR 11 rev_AAM programme Dec 2010 09/03/2011 20:24 Page 6
Arias from Ezio
Ezio , which was premiered in 1732, uses a libretto by Pietro Metastasio that was popular with other eighteenth- century composers, including Johann Adolph Hasse and Christoph
Willibald Gluck. It tells the story of the rivalry between the Roman emperor Valentinian and his general Ezio, a rivalry compounded by the fact that both men are in a love triangle with
Fulvia. Towards the end of opera, when Fulvia believes that Ezio is dead, she sings the despairing recitative ‘Misera, dove son?’ followed by the aria ‘Ah, non son io che parlo’ .
The aria opens with the simplest of gestures — an isolated dotted rhythm high in the violins, alternating with rumbling semiquavers in the bass — but these motifs are used in fragmentary fashion and do not coalesce into longer phrases. Similarly fragmentary is the vocal line; Fulvia is evidently too distraught to string together a coherent musical sentence.
The effect of emotional breakdown is compounded by the key of B minor, which
Mattheson associated with “cheerless melancholy”.
Yet there are also happier moments in Ezio . The aria ‘La mia costanza’ is sung earlier in the opera by Fulvia when, in the midst of being ensnared by Valentinian’s machinations, she asserts her true love for Ezio. The aria is in the resplendent key of A major, framed by a long
30-bar ritornello. On her first entry, the soprano soars for twelve bars without the support of the continuo, before embarking on long melismas on “speranza” (hope). No matter how adverse her circumstances, Fulvia is possessed by a love as everlasting as her long melismas.
Arias from Rinaldo
Rinaldo (1711), Handel’s first opera for London, has a libretto loosely based on Torquato Tasso’s
Gerusalemme liberata (Jerusalem Liberated,
1580), an epic poem recounting the history of the First Crusade. The eponymous protagonist has been promised the hand of Almirena, daughter of the Captain General of the
Crusades, if the Christian campaign captures the city. But Almerina is taken prisoner by the sorceress Armida, and she laments her cruel fate in the aria ‘Lascia ch’io pianga’ . The piece is in the rhythm of a sarabande; it has a rest on the third beat of each bar, giving the effect of constant sighing. Handel evokes a profound air of tragedy through musical means of striking simplicity. To adapt Addison’s words on tragedy, this aria could be said to be “the noblest production of human nature... capable of giving the mind one of the most delightful and most improving entertainments”.
Stephen Rose © 2011
Dr Stephen Rose is Lecturer in Music at Royal
Holloway, University of London. His book The
Musician in Literature in the Age of Bach has recently been published by Cambridge
University Press
6 A C A D E M Y O F A N C I E N T M U S I C , 2 0 1 0 - 2 01 1 S E A S O N

Programme MAR 11 rev_AAM programme Dec 2010 09/03/2011 20:24 Page 7
‘Tornami a vagheggiar’ from Alcina
Tornami a vagheggiar!
Te solo vuol amar quest' anima fedel, caro mio bene.
Già ti donai il mio cor; fido sarà il mio amor; mai ti sarò crudel, cara mia speme.
‘Lascia ch'io pianga’ from Rinaldo
Lascia ch'io pianga mia cruda sorte, e che sospiri la libertà.
Il duolo infranga queste ritorte, de' miei martiri sol per pieta!
‘Credete al mio dolore’ from Alcina
Credete al mio dolore, luci tiranne, e care!
Languo per voi d'amore, bramo da voi pietà!
Se pianger mi vedete, se mio tesor vi chiamo, e dite, che non v'amo, e troppo crudeltà.
‘La mia costanza’ from Ezio
La mia costanza non si sgomenta, non ha speranza, timor non ha.
Son giunta a segno, che mi tormenta più del tu sdegno la tua pieta.
Return and delight me!
My faithful heart longs to love only you,
Oh my sweet love.
Already I have given you my heart; my love will remain faithful; never shall I be cruel to you, my sweet hope.
Let me weep my harsh fate and sigh for liberty.
May sorrow break these chains of my suffering, only for the sake of pity!
Believe this suffering of mine,
Oh you tyrannous, beloved eyes!
I languish for love of you and desire your mercy!
If you see me weep, if I call you my treasure, and if you say that I do not love you, then cruelty is too great.
My constancy cannot be shaken, and has neither hope nor fear.
For I have come to a point, where I fear more your pity than your anger.
A C A D E M Y O F A N C I E N T M U S I C , 2 0 1 0 - 2 01 1 S E A S O N 7

Programme MAR 11 rev_AAM programme Dec 2010 09/03/2011 20:24 Page 8
‘Misera, dove son!’ from Ezio
Recitative accompagnato
Misera, dove son?
L’aure del Tebro son queste ch’io respiro?
No; in Cocito m’aggiro, e son furie al mio core, un monarca inclemente, un padre traditore, uno sposo innocente.
Rimembranze funeste!
Oh, reo martiro!
Ed io parlo, infelice, ed io respiro.
Aria
Ah! non son io che parlo:
è il barbaro dolore, che mi divide il core, che delirar mi fà.
Non cura il ciel tiranno l’affanno in cui mi vedo: un fulmine gli chiedo e un fulmine non ha.
‘Ah! mio cor, schernito sei’ from Alcina
Ah! Mio cor! Schernito sei!
Stelle! Dei! Nume d'amore!
Traditore! T'amo tanto; puoi lasciarmi sola in pianto,
Oh Dei! Perchè?
Ma, che fa gemendo Alcina?
Son regina, è tempo ancora: resti o mora; peni sempre, o torni a me.
Wretched, where am I?
Is this the Tiber’s breeze that I breathe?
No; I am in the land of the dead, and my heart is besieged by the Furies, by a merciless ruler, by a treacherous parent, and by an innocent beloved.
Oh fatal thought!
Cruel martyrdom!
Miserable, I speak and still I am breathing.
Ah! It is no longer I who speaks: it is intemperate grief, that shatters my heart, that makes me mad.
The cruel gods have no concern for the anguish I suffer:
I call to them for a thunderbolt, and they send no thunderbolt to me.
Ah! My heart! You are scorned!
You stars, and gods! God of love!
You traitor! I love you so greatly; how can you leave me alone and in tears,
Oh ye gods! Why?
But can this be Alcina who grieves?
I am queen, and there is still time: stay here or die; suffer eternally, or return to me.
8 A C A D E M Y O F A N C I E N T M U S I C , 2 0 1 0 - 2 01 1 S E A S O N

Programme MAR 11 rev_AAM programme Dec 2010 09/03/2011 20:24 Page 9
Karina Gauvin takes on a number of guises in this concert; here’s the context for each of her arias.
Alcina has one of the most tangled plots in all opera, not helped by cross-dressing and memory-erasing potions:
R U G G I E R O
Alcina sor cer y
Alcina rs thr
’s sor ough cery
'Tornami a vagheggiar' is sung by Morgana when she believes that ‘Ricciardo’ (ie Bradamante) reciprocates her love.
B R A D A M A N T E disguised as
‘ R I C C I A R D O ’
A L C I N A
O R O N T E
Unr ecipr love fr
‘Ricciar ocat om do’ o ed
M O R G A N A
Sist ers
'Credete al mio dolore' is sung by Morgana as a plea to be taken back by Oronte, when she has realised that ‘Ricciardo’ is in fact Bradamante (ie a woman, and not in love with her).
'Ah, mio cor, schernito sei' is sung by Alcina when her powers over Ruggiero begin to slip and he renews his love for Bradamante.
This plot is less complicated (at least until Almirena sings this aria — afterwards there’s all manner of confusion).
Almirena is daughter of Goffreda, Captain General of the Crusades. Her lover is Rinaldo, and Goffreda has promised that they will be allowed to marry if Rinaldo is successful in capturing Jerusalem. But, as the lovers frollick in a garden, Armida (the Queen of Damascus) abducts Almirena. Captive in
Armida’s palace, Almirena laments her plight with the aria ‘Lascia ch’io pianga’ .
Another tangled plot...
Again a diagram might help:
M A X I M U S
M wants to kill V
V A L E N T I N I A N
Betr othed
True Lovers
F U L V I A E Z I O
Fulvia loves Ezio, but is betrothed to the Emperor
Valentinian. It all comes to a predictable crisis when
Maximus (Fulvia’s father) tries to kill Valentinian, and frames Ezio. Fulvia is in a quandary: she has the power to tell the Emperor the truth and see her father put to death, or keep silent and watch her lover die. She urges Ezio to flee, but he insists that the truth will win out. Fulvia stoically tells
Valentinian of her love for him, thinking that this will put her in a strong position to plead for Ezio’s life. But finally she breaks down and declares her true feelings for Ezio in ‘La mia costanza’ .
Valentinian is eventually convinced of Ezio’s innocence, but a false report leads Fulvia to believe that
Ezio has been killed on Valentinian’s orders. Simultaneously her father is exposed as being behind the original plot. It’s now that she sings of “a merciless ruler, a treacherous parent, an innocent beloved” in ‘Misera, dove son!’
A C A D E M Y O F A N C I E N T M U S I C , 2 0 1 0 - 2 01 1 S E A S O N 9

Programme MAR 11 rev_AAM programme Dec 2010 09/03/2011 20:24 Page 10
Canadian soprano Karina Gauvin is acknowledged as one of the world’s outstanding sopranos, and her performances have led to her being named ‘Soloist of the Year’ by the International French Public Radio
Community and being awarded, in 2000, an
Opus Award for ‘Performer of the Year’.
Her repertoire ranges from the music of JS Bach to Luciano Berio, and her performances of
Handel have been particularly acclaimed. She starred in Flavio with the AAM and Christopher
Hogwood, and her award-winning discography includes a disc of arias from Agrippina and
Alcina and a recording of Silete Venti and Apollo e Dafne .
In 2002, Karina collaborated with Bernard
Labadie in an award-winning recording of
Mozart’s Requiem , and their performances of repertoire from JS Bach’s Cantata No.82 ‘Ich habe genug’ to Britten’s Les Illuminations have been similarly well received.
“her glinting soprano, bright- edged yet deliciously rounded and sensual, is used with rare understanding for character”
T H E S U N D A Y T I M E S
Outside this partnership, Karina’s recent highlights have included JS Bach’s Mass in B minor with Helmut Rilling, concerts and a recording of Vivaldi’s Tito Manlio with Ottavio
Dantone, and Mozart’s Requiem with the
Vancouver Symphony Orchestra. In May 2011 she appears with the San Francisco Symphony
Orchestra in Mahler’s Symphony No.2.
Karina has performed with orchestras including the Montreal Symphony Orchestra, Akademie für Alte Musik Berlin, Ensemble Matheus, Los
Angeles Chamber Orchestra, Tafelmusik
Baroque Orchestra and the Seattle Symphony; and has worked with conductors including
Charles Dutoit, Helmut Rilling, Alan Curtis, Paul
McCreesh, Andrew Parrot and Christophe
Rousset. As a recitalist, she has collaborated with several chamber music ensembles and with pianists Marc- André Hamelin, Michael
McMahon and Roger Vignoles.
10 A C A D E M Y O F A N C I E N T M U S I C , 2 0 1 0 - 2 01 1 S E A S O N

Programme MAR 11 rev_AAM programme Dec 2010 09/03/2011 20:24 Page 11
Elsewhere, Bernard has made guest appearances with the Royal Concertgebouw
Orchestra, the Royal Scottish National Orchestra, the Northern Sinfonia and the Melbourne and
Malaysian Symphony Orchestras.
Equally at home in the opera house, Labadie has been Artistic and Music Director of L’Opéra de Québec (1994–2003) and L’Opéra de
Montréal (2002–06). Guest engagements have included Così fan tutte at the Mostly Mozart
Festival in New York, Orlando for Glimmerglass
Opera, Lucio Silla for the Santa Fe Opera and, most recently, Die Zauberflöte for the
Metropolitan Opera, New York.
“he moulds the phrases, plucks out all-
important details in the texture and radiates an infectious joy in the music”
T H E D A I L Y T E L E G R A P H
Bernard has been awarded "Officer of the Order of Canada" by the Canadian Government and
"Chevalier de l’Ordre National du Québec".
Bernard Labadie is widely regarded as one of the world’s leading conductors of baroque and classical repertoire. He is Music Director of Les
Violons du Roy and La Chapelle de Québec, founded by him in 1984 and 1985 respectively; and he makes frequent guest appearances with these groups at major venues and festivals from
New York’s Carnegie Hall to the Salzburg
Festival.
Labadie is also a regular guest conductor with all the major North American orchestras. He appears frequently with the New York and Los
Angeles Philharmonic Orchestras, the
Philadelphia Orchestra, the symphony orchestras of Chicago, Boston, and Montreal and the Los Angeles Chamber Orchestra.
A C A D E M Y O F A N C I E N T M U S I C , 2 0 1 0 - 2 01 1 S E A S O N 11

Programme MAR 11 rev_AAM programme Dec 2010 09/03/2011 20:24 Page 12
Back in 1973, most orchestras played old music in a modern style. Centuries of change had eroded the sound-worlds known to Bach, Handel, Haydn and Mozart: the instruments were different; the pitch was different; the number of players was different; the very essence and spirit of performances was different.
But change was in the air. Wouldn’t it be wonderful, people asked, if we could turn the clock back; if we could find out more about composers’ original intentions and get closer to the style in which music was originally performed? This was the spirit in which
Christopher Hogwood founded the AAM. It was revolutionary. Centuries of convention were cut away and baroque and classical masterworks were heard anew.
The stringed instruments in Hogwood’s new orchestra had strings made of animal gut, not steel. The trumpets had no valves. The violins and violas didn’t have chin-rests, and the cellists gripped their instruments between their legs rather than resting them on the floor. It wasn’t just the instruments or the sound of the music which changed, though; it was how it felt . AAM performances were full of energy and passion and joy.
From these beginnings, one of the world’s great orchestras was born. Over the next three decades the AAM’s fame spread to every corner of the globe as it built up a celebrated discography of well over 250 CDs — Brit- and
Grammy-award-winning recordings of the great baroque masterworks; opera releases starring
Cecilia Bartoli, Dame Emma Kirkby and Dame
Joan Sutherland; pioneering cycles of the Mozart and Beethoven symphonies. It performed live on every continent except Antarctica, inspiring music lovers worldwide with the passion and the power of its music-making.
Richard Egarr — a leading light in the next generation of early music specialists — succeeded Hogwood in 2006. In his first four years as Music Director his recordings with the orchestra have won the Edison, Gramophone and MIDEM
Awards; and he has directed hundreds of performances across four continents. The orchestra continues to work with a roster of guest directors including Pavlo Beznosiuk, Giuliano
Carmignola, Paul Goodwin, Stephen Layton and
Masaaki Suzuki, ensuring that new ideas and approaches continually inspire the group. In 2009 the AAM made history with the world’s first-ever live choral “cinecast”: its performance of Handel’s
Messiah was beamed in real time from the King’s
College Chapel, Cambridge to tens of thousands of people in over 250 cities around the globe.
“A band stuffed with the superstars of the
historically- informed style of playing”
T H E H E R A L D O C T O B E R 2 0 1 0
Today, the AAM’s concert series in London and
Cambridge lies at the heart of its work. This season’s programme is based around The Bach
Dynasty — a major concert series exploring the music of JS Bach and his many composer-relatives.
Other highlights include Mozart’s early opera La
Finta Giardiniera at the Barbican, and an intriguing programme showcasing the little-known baroque and classical music of South America. As well as tonight’s performance with Bernard Labadie and
Karina Gauvin, this season the orchestra collaborates with artists including James Gilchrist,
Rosemary Joshua, Andrew Kennedy and
Elizabeth Watts, as well as with the Choir of King’s
College, Cambridge.
The AAM’s international touring schedule in 2010-11 is as wide-ranging as it has ever been. Among this year’s highlights are performances of JS Bach’s
Brandenburg Concertos and Haydn’s The Creation at the Shanghai Concert Hall and in Perth, Australia; concerts with the star Korean soprano Sumi Jo at the National Centre for the Performing Arts in Beijing and around Singapore, South Korea and Taiwan; and performances in leading European venues including the Concertgebouw in Amsterdam and the Théatre des Champs-Elysées in Paris.
12 A C A D E M Y O F A N C I E N T M U S I C , 2 0 1 0 - 2 01 1 S E A S O N

Programme MAR 11 rev_AAM programme Dec 2010 09/03/2011 20:24 Page 13
Violin I
Rodolfo Richter*
Rebecca Livermore
Claire Duff
Hilary Michael
Violin II
William Thorp
Iona Davies
Liz MacCarthy
Joanna Lawrence
Viola
Rachel Byrt
Marina Ascherson*
Cello
Joseph Crouch*
Imogen Seth- Smith*
Double bass
Judith Evans
Oboe
Frank de Bruine
Lars Henriksson
Bassoon
Zoe Shevlin
Harpsichord
Alastair Ross
Theorbo
William Carter
*Sponsored chairs
Leader
Lord and Lady Magan
Principal cello
Dr Christopher and
Lady Juliet Tadgell
Principal flute
Christopher and Phillida Purvis
Sub- principal viola
Sir Nicholas and Lady Goodison
Sub- principal cello
Newby Trust Ltd
Board of Directors
Adam Broadbent
Kay Brock LVO DL
John Everett
Matthew Ferrey
John Grieves
Christopher Hogwood
CBE
Heather Jarman
Christopher Purvis CBE
(Chairman)
Dr Christopher Tadgell
Sarah Miles Williams
Development Board
Adam Broadbent
Kay Brock LVO DL
Delia Broke
Elizabeth de Friend
John Everett
Matthew Ferrey
John Grieves
Madelaine Gunders
Annie Norton
Christopher Purvis CBE
Chris Rocker
Dr Christopher Tadgell
Madeleine Tattersall
Sarah Miles Williams
Alison Wisbeach
Music Director
Richard Egarr
Emeritus Director
Christopher Hogwood
CBE
Chief Executive
Michael Garvey
Orchestra Manager
Andrew Moore
Head of External
Relations
Simon Fairclough
External Relations Manager:
Communications
Toby Chadd
External Relations Manager:
Development
Anne Leone
Administration Manager
Samantha Fryer
Finance Manager
Elaine Hendrie
A C A D E M Y O F A N C I E N T M U S I C , 2 0 1 0 - 2 01 1 S E A S O N 13

Programme MAR 11 rev_AAM programme Dec 2010 09/03/2011 20:24 Page 14
“I’m proud to announce that at the heart of the AAM’s music-making in 2011–12 will be Musical Revolutions , a series of ten concerts exploring unique periods of history when the face of music was completely changed. Ranging from the dawn of the baroque period to the early days of Romanticism, these programmes showcase the fifty-year periods when, to thrilling effect, musical forms including the symphony and the concerto emerged and evolved. With AAM debuts by superb young artists including
Alina Ibragimova, Shunske Sato and Jonathan Cohen, Musical
Revolutions is sure to be truly stimulating and memorable.” Richard Egarr Music Director
M O N T E V E R D I L U L L Y B I B E R M O Z A R T H A Y D N B E E T H O V E N P A G A N I N I
Due to the scale and number of performances and the artists involved, the cost of staging this special series will be £75,000 over and above the regular cost of the AAM’s London and Cambridge season.
Donations of any size will make a real difference in enabling the series to go ahead. Those supporting the series with gifts of over £250 will become AAM Musical Revolutionaries, and will enjoy an especially close involvement with the series. Contributions may be made to support the series as a whole, or to support one of our priority areas, which include:
Provision of scholarly sheet music editions
Support for free pre-concert talks
Provision of free programme booklets, each including a newly-commissioned scholarly essay
Support of 30 AAMplify tickets per concert
£250 per concert
£250 per concert
£450 per concert
£2,500 for ten concerts
£2,500 for ten concerts
£4,500 for ten concerts
£500 per concert £5,000 for ten concerts
Provision of keyboard instrument appropriate to the repertoire being performed
Support for soloists Anna Prohaska,
James Gilchrist and Robert Murray
£750 per concert £6,000 for eight concerts
£1,500 per soloist £9,000 for three soloists per concert for two concerts
Alina Ibragimova’s debut performances with the AAM £2,000 per concert £4,000 for two concerts
Shunske Sato's debut performances with the AAM £2,000 per concert £4,000 for two concerts
Jonathan Cohen's debut performances with the AAM £2,000 per concert £4,000 for two concerts
Richard Egarr's involvement in the series £2,000 per concert £12,000 for six concerts
£3,500 per concert £7,000 for two concerts Supporting the Choir of the AAM's involvement
Supporting the AAM players' involvement in performances of Beethoven and Paganini
£14,000 per concert £28,000 for two concerts
Support for the AAM players' involvement in the other concerts
£4,000 per concert £32,000 for eight concerts
To find out more about supporting the series, please contact:
Anne Leone
External Relations Manager: Development
01223 341093 a.leone@aam.co.uk
14 A C A D E M Y O F A N C I E N T M U S I C , 2 0 1 0 - 2 01 1 S E A S O N

Programme MAR 11 rev_AAM programme Dec 2010 09/03/2011 20:25 Page 15
Elin Manahan
Thomas soprano
James Laing counter-tenor
Andrew Tortise tenor
Marcus Farnsworth bass
Andrew Kennedy
Evangelist
David Wilson-
Johnson Christ
“Andrew Kennedy is a singer of wide, lustrous tone and striking dramatic prowess”
THE TIMES 2010
Stephen Cleobury conductor
A C A D E M Y O F A N C I E N T M U S I C , 2 0 1 0 - 2 01 1 S E A S O N 15

Programme MAR 11 rev_AAM programme Dec 2010 09/03/2011 20:25 Page 16
We live in a world of worthy causes. Why support an orchestra like the AAM? to support from generous individuals which enabled them to realise their potential.
For centuries, people have understood the importance of culture. The arts enrich society and change lives. They help to make life worth living.
For centuries, people have also understood that culture is costly, and that it can only thrive if those who are in a position to sustain it do so generously. The music which the AAM performs only ever came into being because of a culture of patronage: Monteverdi was supported for much of his career by the Duke of Mantua; JS
Bach composed many of his instrumental masterpieces while employed at the courts of
Weimar and Köthen; and Haydn’s 104 symphonies may never have been written had he not enjoyed the backing of the Esterházy family. The music of these great composers — and of many others besides — stands as testament not only to individual genius, but also
Over the centuries, successive generations of philanthropists created and sustained the orchestras and choirs which kept this music alive.
It is their legacy which we inherit today.
For a time, it seemed that the future of the arts in
Britain would be taken care of by the state; that the need for support from generous individuals was a thing of the past. For better or worse, those days are long gone. The Academy of
Ancient Music does not receive any regular public funding, and income from ticket sales will fall short of covering the full cost of sustaining the orchestra by at least £400,000 this year.
The future of ancient music lies in the hands of a new generation of philanthropists.
The AAM Society is the orchestra’s closest group of regular supporters. Membership ranges from
£250–£20,000+ per annum — or from £100 per annum for Young Supporters — given either as a lump sum or by regular donation. Members’ contributions provide the vital core funding required if the orchestra is to continue to
perform.
Society members enjoy a very close involvement with the life of the AAM. After performances in
London, members dine with the director, soloists and AAM musicians. They have a chance to become a part of orchestral life behind the scenes by sitting in on rehearsals for concerts and recordings. At least once each year they have the opportunity to accompany the orchestra on an international tour — recently, for example, a large group travelled with the AAM and Choir of
King’s College, Cambridge on a tour of the
Netherlands.
16 A C A D E M Y O F A N C I E N T M U S I C , 2 0 1 0 - 2 01 1 S E A S O N
Those giving over £1,000 per year receive invitations to regular recitals and other special events held at the homes of fellow members.
Those giving over £5,000 per year have the opportunity to sponsor a specific position in the orchestra, and are invited to join the Council of
Benefactors, a forum which will meet annually to receive an update on the orchestra’s performance from the Chief Executive and Chairman.
Tax efficient giving
Because the AAM is a charity, gifts from UK taxpayers can be made in a tax- efficient manner under the Gift Aid scheme. The eventual cost of a gift to the donor can be as little as half of its value after Gift Aid to the AAM.
The orchestra can claim back from HMRC the basic rate tax already paid by the donor, and higher and additional rate taxpayers can claim tax relief on the difference between the basic rate and the applicable rate of income tax.

Programme MAR 11 rev_AAM programme Dec 2010 09/03/2011 20:25 Page 17
Membership level
Minimum donation
Young Supporter
(under 40 only)
Donor
Benefactor
Principal Benefactor
Patron
Principal Patron
The Hogwood Circle
The Chairman’s Circle
£100
£250
£500
£1,000
£2,500
£5,000
£10,000
£20,000
Gifts of shares
Donors are encouraged to consider covering the cost of their AAM Society membership by making gifts of shares. Generous tax incentives are available to individuals who support charities in this manner. Donors are able to claim income tax relief on the value of shares and securities donated, and are also exempt from any tax on capital gains that would have arisen if the shares had been sold. In some
Value of donation to AAM after
Gift Aid
Final cost to additional rate
(50%) taxpayer after tax relief
£125
£312.50
£625
£1,250
£3,125
£6,250
£12,500
£25,000
£62.50
£156.25
£312.50
£625
£1,562.50
£3,125
£6,250
£12,500
Final cost to higher rate (40%) taxpayer after tax relief
Equivalent monthly donation
£75
£187.50
£375
£750
£1,875
£3,750
£7,500
£15,000
£8.33
£20.83
£41.67
£83.33
£208.33
£416.67
£833.33
£1,666.67
circumstances the cost of the gift could be under 50% of the eventual value to the AAM.
More information is available from the Head of
External Relations, Simon Fairclough, on 01223
301509 or s.fairclough@aam.co.uk.
How to join
To join the AAM Society, please complete and return the form on page 19 of this booklet.
Over the last four decades the Academy of
Ancient Music has brought joy and inspiration to millions of people. Our aim over the next is to begin to build up an endowment fund which will enable the orchestra to do so in
perpetuity.
Leaving a legacy is one of the most important and enduring ways in which you can support the AAM. Whether you give £5,000 or
£5 million, your bequest will have a real impact in enabling the AAM to keep the music of the baroque and classical periods alive, and to enrich the lives of music lovers for generations to come.
Legacies are highly tax efficient: the AAM’s charitable status means that gifts are exempt from Inheritance Tax, and any legacy you bequeath may also reduce the overall tax liability due on your estate.
Should you find yourself a beneficiary under a will, you may also wish to consider transferring part of your inheritance to the
AAM using a Deed of Variation. Amounts transferred in this manner become freed of any Inheritance Tax otherwise due, affording the opportunity for the AAM to benefit from your generosity during your lifetime.
The Head of External Relations, Simon
Fairclough, is always happy to talk informally and in confidence with anyone considering making provision for the AAM in their will. He can be contacted on 01223 301509 or
s.fairclough@aam.co.uk.
A C A D E M Y O F A N C I E N T M U S I C , 2 0 1 0 - 2 01 1 S E A S O N 17

Programme MAR 11 rev_AAM programme Dec 2010 09/03/2011 20:25 Page 18
The AAM is indebted to the following trusts, companies, public bodies and individuals for their support of the orchestra’s work:
AAM Business Club
Cambridge University Press
Kleinwort Benson
Royal Bank of Canada
CHK Charities Ltd
Dunard Fund
John Ellerman Foundation
Esmée Fairbairn Foundation
Fidelity UK Foundation
Goldsmiths’ Company Charity
The Idlewild Trust
The Michael Marks Charitable Trust
Newby Trust Ltd
Sir Siegmund Warburg’s Voluntary
Settlement
Anthony Travis Charitable Trust
Arts Council England through the
Sustain programme
Orchestras Live
Cambridge City Council
Special gifts
The Academy of Ancient Music extends its grateful thanks to Lady Sainsbury of Turville, who has supported the orchestra’s work at a particularly significant level this year.
The Chairman’s Circle
(Donations £20,000–£49,999 per annum)
CHK Charities Ltd
Dunard Fund
The Hogwood Circle
(Donations £10,000 - £19,999 per annum)
Matthew Ferrey
Lord and Lady Magan
Christopher and Phillida Purvis *
Mrs Julia Rosier
Dr Christopher and Lady Juliet Tadgell
Lady Linda Wong Davies (KT Wong Foundation)
Principal Patrons
(Donations £5,000 – £9,999 per annum)
Sir Nicholas and Lady Goodison *
Richard and Elena Bridges
Christopher Hogwood CBE *
Mrs Sheila Mitchell
Newby Trust Ltd *
Chris Rocker and Alison Wisbeach
Terence and Sian Sinclair and other anonymous Principal Patrons
Patrons
(Donations £2,500 – £4,999 per annum)
Adam and Sara Broadbent
Mr and Mrs Graham Brown
Richard and Elizabeth de Friend
Mr and Mrs JE Everett
John and Ann Grieves
Mark and Liza Loveday
John and Joyce Reeve
Mark West
Sarah and Andrew Williams and other anonymous Patrons
Principal Benefactors
(Donations £1,000 – £2,499 per annum)
Lady Alexander of Weedon
George and Kay Brock
Mrs D Broke
Clive and Helena Butler
Jo and Keren Butler
Sir Charles Chadwyck- Healey Bt
Kate Donaghy
The Hon Simon Eccles
Elma Hawkins and Charles Richter
Lord Hindlip
John McFadden and Lisa Kabnick *
Mr and Mrs C Norton
Lionel and Lynn Persey
Nigel and Hilary Pye *
Mr and Mrs Charles Rawlinson
Sir Konrad and Lady Schiemann *
JG Stanford
John and Madeleine Tattersall
Marcellus and Katharine Taylor- Jones
Stephen Thomas
Mrs R Wilson Stephens
Charles Woodward and other anonymous Principal Benefactors
Benefactors
(Donations £500 – £999)
Maureen Acland OBE *
Dr Aileen Adams CBE
Bill and Sue Blyth
Elisabeth and Bob Boas *
Claire Brisby and John Brisby QC *
Mr and Mrs Edward Davies- Gilbert
Charles Dumas
Mr and Mrs Jean- Marie Eveillard
Simon Fairclough
Marshall Field
Michael and Michele Foot
Andrew and Wendy Gairdner
William Gibson
The Hon Mr and Mrs Philip Havers
Professor Sean Hilton
Dr and Mrs G and W Hoffman
Heather Jarman *
David and Linda Lakhdhir
Susan Latham
Tessa Mayhew
Mr and Mrs Hideto Nakahara
Rodney and Kusum Nelson- Jones
Nick and Margaret Parker
Timothy and Maren Robinson
Bruno Schroder and Family
Peter Thomson
Peter and Margaret Wynn
Julia Yorke and other anonymous Benefactors
Donors
(Donations £250 – £499)
Angela and Roderick Ashby- Johnson
Mrs Nicky Brown
Dr and Mrs S Challah
David and Elizabeth Challen
The Cottisford Trust
Derek and Mary Draper
Beatrice and Charles Goldie
Steven and Madelaine Gunders
Gemma and Lewis Morris Hall
Mrs Helen Higgs
Lord and Lady Jenkin of Roding
Richard Lockwood
Yvonne de la Praudière
Robin and Jane Raw
Annabel and Martin Randall
Arthur L Rebell and Susan B Cohen
Michael and Giustina Ryan
Miss E M Schlossmann
Michael Smith
Rt Hon Sir Murray Stuart- Smith *
Robin Vousden
Pippa Wicks
Paul F. Wilkinson and Associates Inc.
and other anonymous Donors
* denotes founder member
Members of the AAM Bach Patrons
Lady Alexander of Weedon
Richard and Elena Bridges
Mr and Mrs Graham Brown
Jo and Keren Butler
CHK Charities Ltd
Elizabeth de Friend
Matthew Ferrey
Dunard Fund
The Hon Simon Eccles
Professor Sean Hilton
Graham and Amanda Hutton
Mark and Lisa Loveday
Mrs Sheila Mitchell
Mr and Mrs Charles Rawlinson
John and Joyce Reeve
Dr Christopher and Lady Juliet Tadgell
John and Madeleine Tattersall
Stephen Thomas
Mark West
Charles Woodward
Cambridge Bach Supporters
Cambridge Bach Friends and other anonymous AAM Bach Patrons
18
A C A D E M Y O F A N C I E N T M U S I C , 2 0 1 0 - 2 01 1 S E A S O N

Programme MAR 11 rev_AAM programme Dec 2010 09/03/2011 20:25 Page 19
I would like to join the AAM Society
I would like to give membership of the AAM Society to someone else as a gift
Your details
Name: ........................................................................................................................................
Address: ....................................................................................................................................
........................................................................................................................................................
Telephone: ..............................................................................................................................
Email: ..........................................................................................................................................
Gift membership — member’s details
Please complete this section only if you are giving Society membership to someone else as a gift.
Member’s name: ................................................................................................................
Member’s address: ............................................................................................................
........................................................................................................................................................
Member’s telephone: ......................................................................................................
Member’s email: .................................................................................................................
Membership level
The Chairman’s Circle
The Hogwood Circle
Principal Patron
£20,000+
£10,000–£19,999
£5,000–£9,999
Patron
Principal Benefactor
Benefactor
Donor
£2,500–£4,999
£1,000–£2,499
£500–£999
£250–£499
Young Supporter (under 40 only) £100–£249
Date of birth: ..................................................................................................................
Acknowledgement
Please acknowledge my gift using the following form of wording
.......................................................................................................................................................
I would prefer to remain anonymous
Payment details
I would like to make my donation by
I enclose a cheque for £................................
(please make payable to ‘AAM’)
I enclose a CAF cheque for £................................
(please make payable to ‘AAM’)
I would like to pay by standing order
(please complete the standing order section below)
I would like to make a gift of shares (please contact the AAM)
Three-year pledge
By pledging to support the AAM over a three-year period, you can help the orchestra to plan for the future with confidence.
Please tick here if you are able to pledge to support the orchestra at this level for three years.
Leaving a legacy
Please tick here if you would be willing to receive information about remembering the AAM in your will.
Matched giving
My firm operates a matched giving policy. Please contact me to discuss this further.
Gift Aid declaration
Please complete this section if you pay UK income tax and/or capital gains tax at least equal to the tax which the AAM will reclaim on your donations in the appropriate tax year.
Please treat this donation and all donations that I make from the date of this declaration until I notify you otherwise as Gift Aid donations.
Signed: .....................................................................................................................................
Date: ...........................................................................................................................................
Donations made by standing order
Please complete this section if you would like to make your donation to the AAM by standing order.
Name of bank: .....................................................................................................................
Bank address: ........................................................................................................................
........................................................................................................................................................
Account number: ...............................................................................................................
Sort code: ................................................................................................................................
Please pay Academy of Ancient Music, Lloyds TSB, Gonville Place
Branch, Cambridge, sort code 30-13-55, Account number
02768172 the sum of
£......................................................................................................................................................
per month quarter year starting on: .............................................................................................................................
Signed: ......................................................................................................................................
Date: ...........................................................................................................................................
Full name: ...............................................................................................................................
Please return your completed form to:
Simon Fairclough
Head of External Relations
Academy of Ancient Music
32 Newnham Road
Cambridge CB3 9EY
A C A D E M Y O F A N C I E N T M U S I C , 2 0 1 0 - 2 01 1 S E A S O N
19

Programme MAR 11 rev_AAM programme Dec 2010 09/03/2011 20:25 Page 20
20 A C A D E M Y O F A N C I E N T M U S I C , 2 0 1 0 - 2 01 1 S E A S O N
36 Wigmore Street
London W1U 2BP
Director: John Gilhooly
The Wigmore Hall Trust
Registered Charity No.1024838
Wigmore Hall is a no-smoking venue.
No recording or photographic equipment may be taken into the auditorium, nor used in any other part of the Hall without the prior written permission of the Hall Management.
Wigmore Hall is equipped with a ’Loop’ to help hearing aid users receive clear sound without background noise. Patrons can use the facility by switching their hearing aids over to ’T’.
In accordance with the requirements of City of Westminster, persons shall not be permitted to stand or sit in any of the gangways intersecting the seating, or to sit in any of the other gangways. If standing is permitted in the gangways at the sides and rear of the seating, it shall be limited to the numbers indicated in the notices exhibited in those positions.
Facilities for Disabled People:
Please contact House Management for full details.