G.F.

Handel’s
Theodora
a northwest baroque masterworks project

Saturday, 14 February, 2015

Chan Centre for the Performing Arts

with the generous support of the

 the artists programme

Alexander Weimann
music director & harpsichord
George Frideric Handel
(1685-1759)

Theodora
vocal soloists:

Nathalie Paulin
soprano
(1750)
Krisztina Szabó
mezzo-soprano
– AN ORATORIO –
Lawrence Zazzo Words by Thomas Morell
countertenor

Zachary Wilder DRAMATIS PERSONAE

tenor

Matthew Brook Theodora

bass-baritone a Christian of noble birth
Nathalie Paulin
(soprano)
Pacific Baroque Orchestra
Didymus
a Roman Officer, converted and in love with Theodora
Vancouver Cantata Singers Lawrence Zazzo
(Choir prepared by Paula Kremer) (alto)

Septimius
his friend
Zachary Wilder
(tenor)

Valens
This project was made possible in part President of Antioch
through the generous support of
Matthew Brook
(bass)

Irene
a Christian
Krisztina Szabó
(mezzo-soprano)

Chorus of Christians
Chorus of Heathens

THE UNAUTHORISED USE OF

ANY VIDEO OR AUDIO RECORDING
DEVICE IS STRICTLY PROHIBITED

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 the musicians

Alexander Weimann
music director, harpsichord & organ

vancouver cantata singers

(Choir prepared by Paula Kremer)

soprano alto tenor bass

Anne Bonnycastle Melanie Adams Dean Edmundson Peter Alexander
Rachel Brown Maureen Bennington Kris Fulton Andy Booth
Missy Clarkson Brittany Bird Trevor Mangion Derrick Christian
Laurie Edmundson Ann Chen Gower Roberts Doug Colpitts
Sarah McGrath Tiffany Chen Clinton Stoffberg Chris Doughty
Wendy McMillan Liz Hamel Troy Topnik Matthew Fisher
Benila Ninan Beth Helsley Jamie Turner Jacob Gramit
Madeline Lucy Smith Sarah McNair Orrin Doyle Gerald Harder
Joshua Haberman J. Evan Kreider
Bernard Lambrechts
(Rehearsal accompanist: Christina Hutton)

pacific baroque orchestra

violin i Chloe Meyers (concertmaster) – unknown builder (Italy, c. 1760)
Christi Meyers – Ekhard Seidl (1998), after Giuseppe Guarneri
Tekla Cunnigham – Sanctus Seraphin (Venice, 1746)
Angela Malmberg – Jason Viseltear & John Young (New York City, 2004), after Pietro Guarneri (Mantua, 1701)
Arthur Neele – Hendrick Jacobs and his stepson Pieter Rombouts (Amsterdam, c. 1700)
violin ii Linda Melsted – Nicolò Amati (Cremona, 1670)
Paul Luchkow – Christopher Dungey (Eugene OR, 1986), after Jacob Stainer
Christine Wilkinson Beckman – Jason Viseltear (New York City, 2011) after instruments by Giuseppe Testore
Brandon Vance – Jan Pawlikowski (Krakow, Poland, 2007) after Marcin Groblicz I.
viola Mieka Michaux – William Forster (English, 18th C.)
Glenys Webster – John Newton (Toronto, 1991)
Joanna Hood – Edmond Aireton (London, c. 1754)
violoncello David Morris - Bohemian, maker unknown (c. 1810)
Nathan Whittaker – Gustav Griener (Breitonfeld, Germany, 1875)
violone Natalie Mackie – Dominic Zuchowicz (1991), after Gasparo da Salò
double bass Curtis Daily – from the atelier of Ignazio Ongaro (Venice, c.1770)
oboe Curtis Foster – Sand Dalton (Lopez Island, WA, 2004) after J.H. Eichentopf (Leipzig, c. 1720)
Kristen Olson – Joel Robinson (Wilsonville OR, 2011) after Saxon-style oboes, c. 1720
bassoon Katrina Russell – Olivier Cottet (1986) after Eichentopf (Leipzig, early 18th C.)
trumpet Kris Kwapis – Frank Tomes (London, 2002), after Johann Leonhard Ehe III (Nuremberg, Germany, 1746)
Bruno Lourensetto – Rainer Egger (Basel, 2012) after Johann Wilhelm Hass (Nuremberg, Germany, 1746)
natural horn Andrew Clark – Andreas Jungwirth (Vienna, 1996), after Leichnambschneider (Vienna, c. 1720)
Steve Denroche – Syhre Parforce (Germany, 2010) after Leichambschneider (Vienna, 18th C.)
flute Soile Stratkauskas – Martin Wenner (Singen, Germany, 2004) after Carlo Palanca (Torino, c. 1750)
organ Michael Jarvis – baroque-style chamber & continuo organ by Helmuth Wolff (Laval, QC, 1995),
from the instrument collection of Early Music Vancouver
lute Konstantin Bozhinov – 14-course archlute by Jason Petty (Wellington, NZ, 2011) after Matteo Sellas (Venice, 17th C.)
timpani Mark Goodenberger – baroque-style 18th-century"Pauken" in the Viennese tradition by Peter Kogan (Minnesota, 2012),
Mark Goodenberger – from the instrument collection of Early Music Vancouver

earlymusic.bc.ca Early Music Vancouver Chan Centre Concert Series 2014-15 | 3

 programme notes

By 1749, George Frideric Handel Love and Religion Demonstrated in

(Georg Friedrich Händel) was still the Martyrdom of Theodora, and
revered as England’s foremost of Didymus (London: John Taylor,
composer, though keeping ahead of 1703), written by the Irish physicist
the ever-changing whims of London’s and chemist, Robert Boyle (1627-91,
notoriously fickle audiences was an best known for “Boyle’s Law”).
ongoing challenge. The 65-year-old’s
Settling on the more manageable title
obligations for the coming season
Theodora, Morell created a libretto
were daunting. He was to provide
which he felt would both stimulate
Fireworks Music in celebration of
Handel’s creativity and appeal to
the recent Treaty of Aix-la-Chapelle,
English audiences. Rather than
inspect and inaugurate the new
another story from Hebrew scripture
pipe organ he was donating to the
(Deborah, Saul, Israel in Egypt,
Foundling Hospital (his favourite
Joseph and his Brethren, Joshua,
charity), write several more organ
Solomon) or the Apocrypha (Judas
concerti, and contract soloists
Maccabaeus), Morell turned to this
and instrumentalists for multiple
legendary story of two martyred
performances of several earlier
saints set in the societal and political
oratorios. Finding time to write even
struggles between the established
a single new oratorio for the coming
Roman state religion and the new
Lenten Season would be difficult.
faith becoming known as
Only 38 years earlier, this young German’s Italian opera Christianity. This offshoot of Judaism was increasingly
Rinaldo had been so successful that the king and others attracting slaves and women – the marginalized who had
persuaded Handel to move to London. But by 1741 and 37 little to lose by exploring the ideals of equality and economic
operas later, ticket receipts were no longer covering costs. charity advocated by Jesus and St Paul. By the third century,
The Londoners’ former thirst for Italian opera had been Christianity was beginning to infiltrate certain isolated
well-quenched. Fortunately, the enterprising Handel had circles of Roman noble women, occasionally an entire Roman
already begun offering entertaining oratorios in English in household, and even individual Roman soldiers secretly
1732 for the austere weeks of Lent, when society’s upper converted. The oratorio’s opening pages reveal the growing
classes felt obliged to submit to ecclesiastical admonitions opposition to the old religious thinking. Constantine’s Edict
to forego secular theatrical performances during the season of Milan would decriminalize Christianity in 313, but our
of repentance. Handel realized how readily texts extolling story takes place 302-305, in Antioch during the reign of
heroic biblical figures could supplant those about ancient Diocletian.
deities and Roman politicians. Omitting stage sets and
Morell saw how a story focusing on two individuals in this
staging helped to quiet uneasy consciences even further,
environment could give expression to profound conflicts of
and yet the oratorio libretti, operatic soloists, choir and
loyalties between friends, the struggle between the status
orchestra could remain as dramatic as in any opera. Being
quo and new ideas, and the inner anguish over whether to
sung in English also worked, as Handel learned when he
remain a secret Christian, recant Christianity or die for your
presented Esther in London (1732, libretto by Alexander
faith. Add to this the tension between physical and platonic
Pope – not to be confused with Pope Alexander). By the
love, and Theodora’s inner struggle (as a Christian virgin of
1740s, Handel was managing to write one, and sometimes
noble birth) between the expediency of escaping a sentence
two new oratorios for the coming Lenten season’s concerts.
of enforced prostitution (occasionally associated with
Yes, his audiences still adored Messiah year after year, but
certain religious festivals) and the agony of renouncing her
they wanted other oratorios as well – annually.
faith – there is more than enough dramatic fodder for each
Thus it was that in 1749, when Handel turned his attention aria and recitative. In all this turmoil, Morell found ways to
to the coming 1750 Lenten season, he quite naturally asked insert subtle pleas for freedom of thought and even religious
his latest favourite librettist, the Rev. Thomas Morell (1703- freedom, topics of contemporary interest as Methodism
84) to create something special. Morell had been reading gained adherents at the expense of the established national

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church in the midst of an increasingly secular society.
Whatever its merits, this story about two Roman Christian
theodora
martyrs was far removed from the previous year’s oratorios
featuring the magnificent pageantry of Solomon or the
charming rural comedy of Susanna.
Handel considered the libretto for Theodora to be the best ACT ONE
and most stimulating he had ever encountered. Indeed, the
role of Theodora is generally considered his best for soprano. Overture
Successful oratorios, like all theatrical works set to music,
require emotive texts which encourage the composer to SCENE 1
create music supporting each distinct emotion through the Valens, Didymus, Septimius, Chorus of Heathens.
character of its accompanying melody, and by the rhythms
Recitative
reflecting the relative intensity or contemplative nature of
valens
the words. Most wonderfully of all, the orchestra’s changing
’Tis Dioclesian’s natal day.
colours and moods continually depict the passing emotional
Proclaim throughout the bounds of Antioch
landscapes on the expansive musical canvas. But even small
A feast, and solemn sacrifice to Jove.
touches can transform us, as when, in the Symphony which
Whoso disdains to join the sacred rites,
opens Act II, Scene 2 (set in prison), the strings play repeated
Shall feel our wrath in chastisement, or death.
chords, which are answered by a single note held by the flute –
And this, Septimius, take you in charge.
a melody which is as fettered as Theodora herself. It is always
fascinating to follow what Handel does with the orchestra Air
in the succession of arias, now simply undergirding the valens
vocalist, now providing a melodic counterfoil, now vigorously Go, my faithful soldier, go:
competing for attention, now outshining even the most Let the fragrant incense rise,
acrobatic vocal arabesques. To Jove, great ruler of the skies.
Julian Herbage once quipped that “Handel’s pagans always Chorus of Heathens
have an ear for a catchy tune, and an almost complete And draw a blessing down,
ignorance of counterpoint.” By contrast, the Christians get the On his imperial crown,
more profound choruses – often with superb counterpoint. Who rules the world below.
Biographia Dramatica reports that Handel was asked
“whether he did not consider the grand [Hallelujah] Chorus Recitative
in The Messiah as his masterpiece. ‘No,’ said he, ‘I think the didymus
chorus “He saw the lovely youth”, at the end of the second Vouchsafe, dread Sir, a gracious ear to my request.
part in Theodora, far beyond it.’” Contemplative choruses can Many there are in Antioch, who disdain
be truly effective for the sensitive listener. An idol-offering, yet are friends to Cæsar.
valens
One wonders why such an oratorio did not initially succeed
in London. Handel once quipped that it was because “The It cannot be. They are not Cæsar’s friends,
Who own not Cæsar’s gods. I’ll hear no more.
Jews will not come to it as to Judas because it is a Christian
story; and the ladies will not come because it is a virtuous Air
one.” Charles Burney writing of slim attendances at Handel’s valens
concerts one season, reported, “Sometimes, however, I have Racks, gibbets, sword and fire,
heard him, as pleasantly as philosophically, console hi[s] Shall speak my vengeful ire,
friends, when, previous to the curtain being drawn up, they Against the stubborn knee.
have lamented that the house was so empty, by saying, ‘Nevre Nor gushing tears,
moind; di moosic vil sound de petter.’ ” Fortunately, today’s Nor ardent pray’rs,
audiences are embracing Theodora wholeheartedly, as the Shall shake our firm decree.
recent Glyndebourne Festival Opera’s 1996 revival proved. Racks, gibbets, … da capo [Exit Valens.]
Be prepared to be amazed by how effectively this wonderful
Chorus of Heathens
music continues to speak to us 266 years after it was written
by the composer, who – single-handedly – began the English For ever thus stands fix’d the doom,
world’s love affair with English oratorio. Of rebels to the gods and Rome,
While sweeter than the trumpet’s sound,
– by j. evan kreider – Their groans and cries are heard around.

earlymusic.bc.ca Early Music Vancouver Chan Centre Concert Series 2014-15 | 5

 SCENE 2 Recitative
irene
Recitative
O bright example of all goodness!
didymus
How easy seems affliction’s heavy load,
Most cruel edict! Sure, thy generous soul, While thus instructed, and companion’d thus,
Septimius, abhors the dreadful task As ’twere with Heav’n conversing, we look down
Of persecution. Ought we not to leave On the vain pomp of proud prosperity.
The free-born mind of man still ever free?
Since vain is the attempt to force belief Air
With the severest instrument of death? irene
Bane of virtue, nurse of passions,
Air
Soother of vile inclinations,
didymus
Such is, prosperity, thy name.
The raptur’d soul defies the sword,
Secure of virtue’s claim, Chorus of Christians
And trusting Heav’n’s unerring word, Come, mighty Father, mighty Lord,
Enjoys the circling flame. With love our souls inspire,
No engine can a tyrant find, While grace and truth flow from thy word,
To storm the truth-supported mind. And feed the holy fire.
The raptur’d soul … da capo

Recitative
septimius SCENE 4
I know thy virtues, and ask not thy faith;
Recitative
Enjoy it as you will, my Didymus.
irene
Though not a Christian, for I worship still
The gods my fathers worship’d, yet I own, The Lord is still the same, today, for ever,
Something within declares for acts of mercy. And his protection here, and everywhere.
Still shall thy servants wait on Thee, O Lord,
Air And in thy saving mercy put their trust.
septimius
Descend, kind pity, heav’nly guest, Air
Descend, and fill each human breast irene
With sympathizing woe. As with rosy steps the morn,
That liberty, and peace of mind, Advancing, drives the shades of night,
May sweetly harmonize mankind, So from virtuous toil well-borne,
And bless the world below. Raise Thou our hopes of endless light.
Descend, … da capo
SCENE 3 Chorus of Christians
Theodora, with the Christians.
All pow’r in Heav’n above or earth beneath
Recitative Belongs to Thee alone,
theodora Thou Everlasting One,
Though hard, my friends, yet wholesome are the truths, Mighty to save in perils, storm and death.
Taught in affliction’s school, whence the pure soul
Rises refin’d, and soars above the world.
SCENE 5
Air
Enter Septimius.
theodora
Fond, flatt’ring world, adieu! Recitative
Thy gaily-smiling pow’r, septimius
Empty treasures, Mistaken wretches! Why thus blind to fate,
Fleeting pleasures, Do ye in private oratories dare
Ne’er shall tempt or charm me more. Rebel against the President’s decree?
Faith inviting, And scorn with native rites to celebrate the day,
Hope delighting, Sacred to Cæsar and protecting Jove?
Nobler joys we now pursue.

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 Air Air
septimius didymus
Dread the fruits of Christian folly, Kind Heav’n, if virtue be thy care,
And this stubborn melancholy, With courage fire me,
fond of life and liberty. Or art inspire me,
Chains and dungeons ye are wooing To free the captive fair.
And the storm of death pursuing, On the wings of the wind will I fly,
rebels to the known decree. With this princess to live, or this Christian to die.
Kind Heav’n, … da capo [Exit Didymus]
Recitative
theodora
SCENE 7
Deluded mortal! Call it not rebellion
To worship God: it is his dread command, Recitative
His, whom we cannot, dare not, disobey irene
Tho’ death be our reward. O love, how great thy pow’r! But greater still,
septimius When virtue prompts the steady mind to prove
Its native strength in deeds of highest honour.
Death is not yet thy doom,
But worse than death to such a virtuous mind. Chorus of Christians
Lady, these guards are order’d to convey you Go, gen’rous, pious youth,
To the vile place, a prostitute, to devote your charms. May all the pow’rs above
Accompagnato Reward thy virtuous love,
theodora Thy constancy and truth,
Oh, worse than death indeed! Lead me, ye guards, With Theodora’s charms,
Lead me, or to the rack, or to the flames, Free from these dire alarms;
I’ll thank your gracious mercy. Or crown you with the blest,
In glory, peace and rest.
Air
theodora
Angels, ever bright and fair,
Take, oh take me to your care;
Speed to your own courts my flight, — INTERVAL —
Clad in robes of virgin white.
Angels, … da capo
[Exit Theodora with Septimius]

SCENE 6
Enter Didymus.

Recitative
didymus
Unhappy, happy crew! Why stand you thus,
Wild with amazement? Say, where is my love,
My life, my Theodora?
irene
Alas! She’s gone.
Too late thou cam’st to save
The fairest, noblest, best of women.
A Roman soldier led her trembling hence
To the vile place, where Venus keeps her court.

earlymusic.bc.ca Early Music Vancouver Chan Centre Concert Series 2014-15 | 7

 ACT TWO Recitative
theodora
But why art thou disquieted, my soul?
Hark! Heav’n invites thee in sweet rapt’rous strains,
SCENE 1
To join the ever-singing, ever-loving choir
Valens, and Chorus of Heathens.
Of saints and angels in the courts above.
Recitative
valens Air
theodora
Ye men of Antioch, with solemn pomp,
Oh, that I on wings could rise,
Renew the grateful sacrifice to Jove;
Swiftly sailing through the skies,
In honour of the smiling deities,
As skims the silver dove!
Fair Flora, and the Cyprian queen.
That I might rest,
Chorus of Heathens For ever blest,
Queen of summer, queen of love With harmony and love.
And thou, cloud-compelling Jove, Oh, that I on wings … da capo
Grant a long and happy reign,
To great Cæsar, king of men.
SCENE 3
Air Didymus and Septimius.
valens
Wide spread his name, Recitative
didymus
And make his glory
Of endless fame Long have I known thy friendly social soul,
The lasting story. Septimius, when side by side we fought
Dependant on each other’s arm. With freedom then,
Recitative I will disclose my mind. I am a Christian,
valens And she with pure religious sentiments inspir’d
Return, Septimius, to the stubborn maid, My soul, with virtuous love inflam’d my heart.
And learn her final resolution.
septimius
If ere the sun with prone career has reach’d
No more!
The western isles, she deigns an offering
The shame reflects too much upon thy friend.
To the great gods, she shall be free; if not,
The meanest of my guards with lustful joy Air
Shall triumph o’er her boasted chastity. septimius
Though the honours that Flora and Venus receive
Chorus of Heathens
From the Romans, this Christian refuses to give,
Venus laughing from the skies, Yet nor Venus, nor Flora, delight in the woe
Will applaud her votaries. That disfigures their fairest resemblance below.
While seizing the treasure
We revel in pleasure, Recitative
Revenge sweet love supplies. didymus
Oh, save her then, or give me pow’r to save,
By free admission to th’emprison’d maid!
SCENE 2 septimius
Theodora, in her Place of Confinement.
My guards, not less asham’d of their vile office,
Symphony Will second your intent, and pleasure me.

Recitative Air
theodora didymus
O thou bright sun! How sweet thy rays Deeds of kindness to display,
To health, and liberty! But here, alas, Pity suing,
They swell the agonizing thought of shame, Mercy wooing,
And pierce my soul with sorrows yet unknown. Who the call can disobey?
But the opportune redress
Symphony Of virtuous beauty in distress,

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 Earth will praise and Heav’n repay. didymus
Deeds of kindness … da capo How, or what? My soul with transport
Listens to the request.

SCENE 4 Air
theodora
Irene, with the Christians.
The pilgrim’s home, the sick man’s health,
Recitative The captive’s ransom, poor man’s wealth,
irene From thee I would receive.
The clouds begin to veil the hemisphere, These, and a thousand treasures more,
And heavily bring on the night, the last That gentle death has now in store,
Perhaps to us. Oh, that it were the last Thy hand and sword can give.
To Theodora, ere she fall a prey
To unexampled lust and cruelty. Accompagnato
didymus
Air Forbid it, Heav’n!
irene Shall I destroy the life I came to save?
Defend her, Heav’n! Let angels spread
theodora
Their viewless tents around her bed.
Keep her from vile assaults secure, Ah! What is liberty or life to me,
Still ever calm, and ever pure. That Didymus must purchase with his own?
Defend her, … da capo didymus
Fear not for me; the pow’r that led me hither
Will guard me hence. If not, His will be done!
SCENE 5 theodora
Theodora’s Place of Confinement. Yes, kind deliverer, I will trust that pow’r
Didymus at a distance, the visor of his helmet clos’d. Farewell, thou generous youth!
Recitative didymus
didymus
Farewell, thou mirror of the virgin state!
Or lull’d with grief, or rapt her soul to Heav’n
In innocence of thought, entranc’d she lies. Duet
theodora
Air To thee, thou glorious son of worth,
didymus (approaching her)
Be life and safety giv’n.
Sweet rose and lily, flow’ry form,
didymus
Take me your faithful guard,
To shield you from bleak wind and storm — To thee, whose virtues suit thy birth,
A smile be my reward. Be every blessing giv’n.
both
Recitative
theodora (starting) I hope again to meet on earth,
But sure shall meet in Heav’n.
Oh, save me, Heav’n, in this my perilous hour!
didymus
Start not, much injur’d princess, I come not SCENE 6
As one, this place might give you cause to dread; Irene, with the Christians.
But your deliverer, and that dear ornament to Theodora,
Her angel-purity. If you vouchsafe, Recitative
Irene
But to change habit with your Didymus (discovering himself).
’Tis night, but night’s sweet blessing is denied
theodora To grief like ours.
Excellent youth! Be pray’r our refuge, pray’r to Him, who rais’d,
I know thy courage, virtue and thy love; And still can raise, the dead to life and joy.
This becomes not Theodora,
But the blind enemies of truth. Oh no, Chorus of Christians
It must not be! Yet Didymus can give
A boon, will make me happy.

earlymusic.bc.ca Early Music Vancouver Chan Centre Concert Series 2014-15 | 9

 He saw the lovely youth, death’s early prey, SCENE 3
Alas, too early snatch’d away!
He heard his mother’s fun’ral cries: Recitative
irene
“Rise, youth”, He said. The youth begins to rise.
Ah, Theodora, whence this sudden change,
Lowly the matron bow’d, and bore away the prize.
From grief’s pale looks, to looks of redd’ning joy?
theodora
END OF ACT TWO O my Irene, Heav’n is kind,
And Valens too is kind, to give me pow’r
To execute in turn my gratitude,
While safe my honour.
ACT THREE
Duet
irene
Whither, Princess, do you fly,
SCENE 1 Sure to suffer, sure to die?
Irene, with the Christians.
theodora
Air No, no, Irene, no,
irene To life and joy I go.
Lord, to Thee each night and day,
irene
Strong in hope, we sing and pray.
Vain Attempt, oh stay, oh stay!
Though convulsive rocks the ground,
And thy thunders roll around, theodora
Still to Thee, each night and day, Duty calls, I must obey. [Exit Theodora]
We sing and pray.
Air
irene
New scenes of joy come crowding on
SCENE 2
While sorrow fleets away,
Enter Theodora, in the habit of Didymus.
Like mists before the rising sun
Recitative That gives a glorious day.
irene
But see, the good, the virtuous Didymus!
He comes to join with us in pray’r for Theodora.
theodora (discovering herself) SCENE 4
No, Heav’n has heard your pray’rs for Theodora. Valens, Didymus, Septimius, and Chorus of Heathens.
Behold her safe! Oh, that as free and safe
Recitative
Were Didymus, my kind deliverer! valens
But let this habit speak the rest. Is it a Christian virtue then,
To rescue, from the hands of justice, one condemn’d?
Air
theodora didymus
When sunk in anguish and despair, Had your sentence doom’d her but to death,
To Heav’n I cried, Heav’n heard my pray’r, I then might have deplor’d your cruelty,
And bade a tender father’s care But should not have opposed it.
The gen’rous youth employ.
valens
Solo and Chorus Take him hence,
christians And lead him to repentance, or to death.
Blest be the hand, and blest the pow’r,
That in this dark and dang’rous hour,
Sav’d thee from cruel strife.
theodora and christians
Lord, favour still the kind intent,
And bless thy gracious instrument
With liberty and life.

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 SCENE 5 SCENE 6
Enter Theodora.
Recitative
theodora
didymus
Be that my doom. You may inflict it here,
And must such beauty suffer?
With legal justice, there ’tis cruelty.
theodora
septimius
Such useful valour be destroy’d?
Dwells there such virtuous courage in the sex?
Preserve them, O ye gods, preserve them both. septimius
Destroy’d,
Air
septimius Alas, by an unhappy constancy!
From virtue springs each gen’rous deed didymus
That claims our grateful pray’r. Yet deem us not unhappy, gentle friend,
Let justice for the hero plead, Nor rash; for life we neither hate, nor scorn,
And pity save the fair. But think it a cheap purchase for the prize
From virtue springs... da capo Reserv’d in Heav’n for purity and faith.
Air Air and Duet
valens didymus
Cease, ye slaves, your fruitless pray’r! Streams of pleasure ever flowing,
The pow’rs below Fruits ambrosial ever growing,
No pity know, Golden thrones,
For the brave, or for the fair. Starry crowns,
Recitative Are the triumphs of the blest.
didymus When from life’s dull labour free,
’Tis kind, my friends, but kinder still Clad with immortality,
If for this daughter of Antiochus, They enjoy a lasting rest.
In mind, as noble as her birth, your pray’rs theodora and didymus
Prevail, that Didymus alone shall die. Thither let our hearts aspire:
Chorus of Heathens Objects pure of pure desire,
How strange their ends, Still increasing,
And yet how glorious, Ever pleasing,
Where each contends, Wake the song, and tune the lyre
To fall victorious, Of the blissful holy choir. [Exeunt]
Where virtue its own innocence denies,
And for the vanquish’d the glad victor dies!
Recitative
didymus (to Valens) SCENE 7
On me your frowns, your utmost rage exert, Irene, with the Christians.
On me, your prisoner in chains. Recitative
theodora irene
Those chains Ere this, their doom is past and they are gone
Are due to me, and death to me alone. To prove that love is stronger far than death.
valens
Chorus of Christians
Are ye then judges for yourselves?
Not so our laws are to be trifled with. O love divine, thou source of fame,
If both plead guilty, ’tis but equity Of glory, and all joy!
That both should suffer. Let equal fire our souls inflame,
And equal zeal employ,
Air That we the glorious spring may know,
valens
Whose streams appear’d so bright below.
Ye ministers of justice, lead them hence,
I cannot, will not bear such insolence.
And as our gods they honour, or despise, ÷÷÷
Fall they their supplicants, or sacrifice. [Exit Valens]

earlymusic.bc.ca Early Music Vancouver Chan Centre Concert Series 2014-15 | 11

 the artists

Alexander Weimann rich, agile voice possesses great depth and allure, her manner
music director radiates sensuous charm.” Ms. Paulin debuted for L’Opéra de
Montréal as Mélisande in Pélléas et Mélisande and for Chicago
Alexander Weimann is one of the most sought-after ensemble Opera Theater as Galatea in Acis and Galatea. She was re-engaged
directors, soloists, and chamber music partners of his generation. by Chicago Opera Theater for the title role in Semele and for Mary
After travelling the world with ensembles like Tragicomedia, Cantus in La Resurrezione, both by Handel. She has also been heard as
Cölln, the Freiburger Barockorchester, the Gesualdo Consort and Constance in Dialogues des Carmélites for Calgary Opera, Zerlina
Tafelmusik, he now focuses on his activities as Artistic Director of in Don Giovanni for L’Opéra de Québec and Susanna in Le Nozze
the Pacific Baroque Orchestra in Vancouver, and as Music Director di Figaro for Cincinnati Opera. The Dallas Opera featured her in
of Les Voix Baroques, Le Nouvel Opéra and Tempo Rubato. Carmen and Cunning Little Vixen.
Recently, he conducted the Montreal-based baroque orchestra Frequently heard on both the French and English CBC networks,
Ensemble Arion, Quebec City’s Les Violons du Roy, and the Portland she is a past winner of the Montréal Symphony Competition and
Baroque Orchestra; both the Orchestre Symphonique de Québec holds a Master’s Degree from the Université de Montréal. She won
and the Montreal Symphony Orchestra have regularly presented him the Dvorak prize and has also received awards and prizes from the
as a featured soloist. In past years, he often conducted the Victoria George London Foundation in New York, the Young Mozart Singers’
Symphony and Symphony Nova Scotia, most recently with Handel’s Competition in Toronto and the Canadian Music Competition.
Messiah. Ms Paulin is currently a member of the Vocal Department at the
Alexander Weimann can be heard on some 100 CDs. He Faculty of Music, University of Toronto.
made his North American recording debut with the ensemble
Tragicomedia on the CD Capritio (Harmonia Mundi), and won
worldwide acclaim from both the public and critics for his 2001 Krisztina Szabó mezzo-soprano
release of Handel’s Gloria (ATMA Classique). Volume 1 of his [irene]
recordings of the complete keyboard works by Alessandro Hungarian-Canadian Krisztina Szabó has become highly sought
Scarlatti appeared in May 2005. Critics around the world after in both North America and Europe as an artist of supreme
unanimously praised it, and in the following year it was nominated musicianship and stagecraft. The Chicago Tribune exclaimed,
for an Opus Prize as the best Canadian early music recording. “Krisztina Szabó stole her every scene with her powerful, mahogany
Recently, he has also released an Opus Award-winning CD of voice and deeply poignant immersion in the empress’ plight” after
Handel oratorio arias with soprano Karina Gauvin and his new her performance of Ottavia in L’incoronazione di Poppea. She made
Montreal-based ensemble Tempo Rubato, as well as a recording her Lincoln Center début as Dorabella in Così fan tutte at the Mostly
of Bach’s St. John’s Passion and various albums with Les Voix Mozart Festival where she was praised in the New York Times for
Baroques of Buxtehude, Carissimi and Purcell. His latest album being “clear, strong, stately and an endearingly vulnerable Dorabella.”
with Karina Gauvin and Arion Baroque Orchestra (Prima Donna)
won a Juno Award in 2013, and a complete recording of Handel’s Krisztina Szabó sings frequently at the Canadian Opera Company and
Orlando was released in the fall of 2013, with an exciting group has been seen in diverse roles, such as Idamante (Idomeneo), Musetta
of international star soloists and the Pacific Baroque Orchestra (La Bohème), The Double-Offered in the Time Before (The Handmaid’s
performing. Tale), and Nancy (Albert Herring). She is a frequent performer of
recital, concert, and chamber repertoire, and has appeared as a
Alexander Weimann was born in Munich, where he studied the soloist with the Royal Scottish National Orchestra (Mozart’s Mass
organ, church music, musicology (with a summa cum laude thesis in C Minor), the Toronto Mendelssohn Choir (Beethoven’s Missa
on Bach’s secco recitatives), theatre, medieval Latin, and jazz Solemnis and Mendelssohn’s Elijah), the Elora Festival Orchestra
piano. (Verdi’s Requiem), and the Oregon Symphony (Mozart’s Requiem).
Ms. Szabó has appeared on television featured in CBC’s “Opening
Night” in concert with the Canadian Opera Company. On film, she
Nathalie Paulin soprano
can be seen as Zerlina with Dimitri Hvorostovsky in Don Giovanni
[theodora]
Revealed: Leporello’s Revenge, and she can be heard as the voice of
Nathalie Paulin has established herself in the United States, Canada, Leanne in the opera movie Burnt Toast.
Europe and the Far East as an interpretive artist of the very first
Ms. Szabó finished her postgraduate studies at the Guildhall School
rank. Winner of a Dora Mavor Moore Award for Outstanding Opera
of Music and Drama in London, England, after completing her
Performance, she has collaborated with internationally renowned
undergraduate degree at the University of Western Ontario. She has
conductors including Jane Glover, Yannick Nézet-Séguin, Antony
been the recipient of the Emerging Artist grant from Canada Council
Walker, Sir Roger Norrington, Andrew Parrott, Jonathan Darlington,
and was recently honoured by her home town of Mississauga with a
Hervé Niquet, David Agler, Richard Bradshaw, Bernard Labadie,
star on the Music Walk of Fame in its inaugural year.
Michael Christie, Robert Spano, Mario Bernardi, Graeme Jenkins,
Andrew Litton and Yoav Talmi on both the concert platform and in
opera. Lawrence Zazzo countertenor
[didymus]
Critics have been lavish in their praise. Reviewing from Chicago,
John van Rhein noted that “Paulin in particular is a real find; her Lawrence Zazzo made his operatic debut as Oberon (A Midsummer

12 | Early Music Vancouver Chan Centre Concert Series 2014-15 [email protected]

Night’s Dream) to great acclaim while completing his vocal studies Bizet, Chabrier, Ralph Vaughan Williams, Bernstein and Monteverdi.
at the Royal College of Music in London. He has since appeared at
Worldwide performances as a soloist and career highlights
many of the world’s leading opera houses including The Metropolitan
include working with Sir John Eliot Gardiner and Richard Hickox,
Opera, Staatsoper unter den Linden, Oper Frankfurt, Bayerische
and orchestras such as the Philharmonia and London Symphony
Staatsoper, Opernhaus Zürich, Opera di Roma and La Monnaie.
Orchestra. Matthew has performed at many of Europe’s top festivals,
His recent appearance in the title role in Giulio Cesare conducted by
including The Edinburgh Festival and the BBC Proms.
Emmanuelle Haim at Opéra national de Paris is available on DVD.
He has a long list of appearances in recordings of Bach and Handel,
Highlights for the current season include Semele with both Concerto
including the St. Matthew and St. John Passions and B Minor Mass
Köln under Ivor Bolton and the Canadian Opera Company in guest
(Linn records), as well as many Bach Cantatas; last year he recorded
performances at BAM in New York, the world premiere of Rolf Riehm’s
the Weinachts-Oratorium with Stephen Layton and Hyperion. His
Sirenen for Oper Frankfurt conducted by Martyn Brabbins and his
other recordings of Handel include the Gramophone Award winning
debut at Festival d’Aix-en-Provence as Oberon under Kazushi Ono.
Messiah for Linn, a highly acclaimed Polyphemus from Acis and
With an already buoyant discography, Lawrence Zazzo’s first Galatea, Haman from Esther, and, for Virgins Classics, Il Re from
orchestral disc, A Royal Trio, featuring music by Ariosti, Bononcini Ariodante with Joyce di Donato in the title role. Last year, he appeared
and Handel with La Nuova Musica and David Bates was released in on a recording of Jephtha with Harry Christophers and The Sixteen.
October 2014 on Harmonia Mundi.
His DVD recording of the St. Matthew Passion with John Nelson from
the St Denis Festival was released last year and the new Linn Records
Mozart Requiem with John Butt has received much praise.
Zachary Wilder tenor
[septimius]
÷÷÷
Described as possessing a “remarkably clear, flexible lyric tenor,” and
a “radiant tone”. Zachary Wilder is a much sought-after performer
on both the operatic and concert stage. He has performed with Pacific Baroque Orchestra
numerous groups internationally, including Ars Lyrica Houston, Back
The Pacific Baroque Orchestra (PBO) is recognized as one of
Bay Chorale, Blue Heron, Boston Early Music Festival, Britten-Pears
Canada’s most exciting and innovative ensembles performing
Baroque Orchestra, Camerata Ventepane, Cappella Mediterranea,
“early music for modern ears”. PBO brings the music of the past
Emmanuel Music, Ensemble Clematis, A Far Cry, Festival D’Aix-en-
up to date by performing with cutting edge style and enthusiasm.
Provence, Green Mountain Project, Handel & Haydn Society, Harvard
Formed in 1990, the orchestra quickly established itself as a force
Baroque Orchestra, Houston Bach Society, les Arts Florissants,
in Vancouver’s burgeoning music scene with the ongoing support of
Mark Morris Dance Group, Mercury Orchestra, Pacific Musicworks,
Early Music Vancouver.
Portland Baroque Orchestra, Tenet Ensemble, and Tesserae. He was
chosen by William Christie for the 2013 edition of Jardin des Voix, In 2009 PBO welcomed Alexander Weimann, one of the most sought-
was named a Lorraine Hunt Lieberson Fellow at Emmanuel Music, after ensemble directors, soloists, and chamber music partners
Adams Masterclass Fellow at the Carmel Bach Festival, a former of his generation, as Artistic Director. Weimann’s imaginative
Gerdine Young Artist at the Opera Theatre of Saint Louis, as well as programming and expert leadership have drawn in many new
a Tanglewood Music Center Fellow. He can be heard on Boston Early concertgoers, and his creativity and engaging musicianship have
Music Festival’s Grammy-nominated recording of Lully’s Psyché, as carved out a unique and vital place in the cultural landscape of
well as their recordings of Charpentier’s Actéon and John Blow’s Venus Vancouver.
and Adonis on the CPO label. PBO regularly joins forces with internationally celebrated Canadian
Operatic roles include Alessandro in Mozart’s Il Re Pastore, Renaud guest artists, providing performance opportunities for Canadian
in Lully’s Armide, Grimoaldo in Rodelinda, Osman in Handel’s musicians while exposing West Coast audiences to a spectacular
Almira, Mordecai in Esther, Coridon in Handel’s Acis and Galatea, variety of talent. The Orchestra has also toured in BC and the
Telemaco and Pisandro in Monteverdi’s Il Ritorno d’Ulisse in Patria, northern United States, and across Canada as far as the East Coast.
Mercurio in Zamponi’s Ulisse nell’Isola di Circé, Testo in Monteverdi’s The musicians of the Pacific Baroque Orchestra have been at the
Il Combattimento di Tancredi e Clorinda, Iro in Cavalli’s Elena and core of many large-scale productions by Early Music Vancouver in
Tantalus and Ixion in Charpentier’s La Descente d’Orphée aux Enfers. recent years, including many summer festival performances led by
Alexander Weimann.
On the concert platform, Zachary is internationally in great demand;
his repertoire includes Monteverdi’s Vespers of 1610 and Madrigals,
Book VII, Haydn’s Creation and The Seasons, the Evangelist in Bach’s Vancouver Cantata Singers
Saint John and St Matthew Passions, Mozart’s Requiem, and Handel’s
Messiah. Vancouver Cantata Singers was founded in 1957, and has become
one of Canada’s preeminent, award-winning choral ensembles.
The choir has become known for technical virtuosity, fine blend
Matthew Brook bass-baritone and exceptionally high performance standards encompassing
[valens] 500 years of choral repertoire. VCS has been awarded the Canada
Matthew Brook is one of the country’s leading and most experienced Council’s top prize in choral singing, the Healey Willan Grand Prize,
bass-baritones. He has developed a world-wide reputation for his more than any other choir in the country. Led by Paula Kremer
interpretation of the music of J.S. Bach and Handel, but his musical since 2013, VCS also commissions new works from critically
tastes stretch way beyond this period of music, often performing acclaimed composers, which leads to extremely successful and
new compositions at major festivals and concert halls, and he has innovative collaborations with regional and international artists
performed on the operatic stages of Europe singing Weber, Mozart, and ensembles.

earlymusic.bc.ca Early Music Vancouver Chan Centre Concert Series 2014-15 | 13