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Segerstrom Center for the Arts Renée and Henry Segerstrom Concert Hall Pre-concert lecture by Dr. Burton Karson, 7pm

L’ORFEO ENGLISH BAROQUE SOLOISTS & MONTEVERDI CHOIR Sir John Eliot Gardiner, Conductor and Artistic Director Alex Ashworth, baritone Andrew Tortise, tenor David Shipley, bass Esther Brazil, mezzo-soprano Francesca Aspromonte, soprano Francesca Boncompagni, soprano

L'Orfeo, SV 318 Prologue Act I Act II Act III Act IV Act V

Gareth Treseder, tenor Gianlucca Buratto, bass James Hall, countertenor Krystian Adam, tenor Mariana Flores, soprano Nicholas Mulroy, tenor

Claudio MONTEVERDI (1567-1643)

Performance with supertitles This evening’s program will be performed without intermission

MONTEVERDI CELEBRATION SPONSORSHIP CONSORTIUM:

Colburn Foundation, The Segerstrom Foundation, Mrs. Sharon McNalley, and Mr. Warren G. Coy. Additional support from the Marcia Kay and Ron Radelet Endowment Fund for Great Orchestras and donors of the Dean Corey Program Fund.

The Monteverdi Choir and the English Baroque Soloists would like to thank and acknowledge the following for their support of this tour: Dunard Fund USA; the Negaunee Foundation; William and Judith Scheide; Michael Cioffi & Monteverdi Tuscany Castiglioncello del Trinoro; and the American Friends of the Monteverdi Choir & Orchestras, Inc. | www.monteverdi.co.uk Exclusive Tour Management: Opus 3 Artists 470 Park Avenue South, 9th Floor North New York, NY 10016 | www.opus3artists.com

Exclusive Print Sponsor Although rare, all dates, times, artists, programs and prices are subject to change. Photographing or recording this performance without permission is prohibited. Kindly disable electronic devices.

photo: Sim Canetty-Clarke

ABOUT THE PROGRAM

SATURDAY, APRIL 25, 2015, 8PM

monteVerDi: l’orFeo, SV. 318 Monteverdi occupies a unique place in the history of western music. He represents a moment when the paradigm in music shifted against a backdrop of social, political, and economic changes that accompanied the transition from the Middle Ages in Europe to the early-modern period. Before Monteverdi, music seems distant, remote, with rules and structures that are far enough from what we know to seem decisively “other.” In Monteverdi, we recognize musical elements that have persisted until our own time—storytelling, strophic songs, dances, antiphony—elements that give his music a more modern feel. There are more points of entry, more ways in, for the contemporary listener, because his music is modern in a way that the music of his predecessors was not. This is not to imply any kind of value judgment, but rather to argue that Monteverdi is, in a sense, a foundational figure for western music. He synthesized, distilled, and developed what he inherited, and in these two concerts, we’ll hear two major works, one sacred, one secular, that represent his achievement. There had, of course, been 15

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