February 23, 2017
(Boston) Boston Baroque announces its 2017-2018 season celebrating both the most renowned works of the era, as well as rare gems of early music. Highlights will include Boston’s first ever period instrument performance of Beethoven’s masterpiece opera Fidelio, Telemann’s rarely performed St. Luke Passion of 1744, and the beloved Requiem by Mozart. Season subscriptions start at $85 and can be purchased at bostonbaroque.org and 617-987-8600. Single tickets will go on sale early this summer. Subscriptions are available February 24.
The season opens with Mozart’s Requiem in NEC’s Jordan Hall on October 20 & 22 in a program with two of Mozart’s other vibrant concert works: the concert aria Exsultate, Jubilate and Symphony No. 40 in G minor. The orchestra will be joined by frequent Boston Baroque soloists soprano Amanda Forsythe, mezzo-soprano Ann McMahon Quintero, bass-baritone Kevin Deas, and tenor Thomas Cooley, who will also appear as the Evangelist later in the season for Telemann’s St. Luke Passion of 1744.
During the holiday season, Boston Baroque will once again present Handel’s Messiah and a New Year’s Gala concert. This year’s Messiah performances (December 8 & 9) introduce Irish mezzo-soprano Paula Murrihy to Boston Baroque audiences while celebrating return of Texan native soprano Ava Pine, tenor Aaron Sheehan, and baritone Stephen Powell. The New Year’s Gala celebration is a jubilant program pairing Handel’s beloved Water Music with Bach’s Brandenburg Concerto No. 1 in F Major. Boston Baroque welcomes soprano Mary Wilson to round out the program with a selection of arias by Handel, with champagne and chocolate at intermission.
The second half of the season begins with a one night only performance of Telemann’s quickly paced and lyrical St. Luke Passion of 1744 on March 2. One of over 40 compositions Telemann wrote on the Passion texts, this work features tenor Thomas Cooley as the Evangelist, baritone Andrew Garland as Jesus, and soprano Teresa Wakim. Boston Baroque has not performed the work since 1980.
“Our 2017-2018 season promises to be a memorable one. Not only do I look forward to returning to some great classics that we recorded years ago —the Mozart Requiem, a Brandenburg, Water Music, and the ever-fresh Messiah — but I’m also excited about the two remarkable works at the end of the season. Telemann’s rarely performed St. Luke Passion of 1744 is a beautiful piece not to be missed. With the two Bach works being the only passions that we ever get to hear, it is fascinating to experience a different, though still wonderful setting.” –Martin Pearlman, Music Director
Boston Baroque concludes its season with its annual opera on April 13 & 15. This year Boston Baroque presents their premiere production of Beethoven’s only theatrical work, Fidelio, with an internationally renowned cast, including four singers who are new to our opera audiences: Met Opera soprano Wendy Bryn Harmer in the title role, basses Nathan Stark as Rocco and Brian Kontes as Don Fernando, and bass-baritone Mark Walters as Don Pizarro. Tenor William Burden appears as Florestan, Fidelio’s imprisoned husband, acclaimed soprano Kiera Duffy as Marzelline, and tenor Joshua Kohl as Jaquino, all under the stage direction of Mark Streshinsky and music direction of Martin Pearlman. This is also Boston’s first-ever period instrument performance of Fidelio, and only the second period-instrument performance of the opera in America.
“I’m thrilled we are presenting Boston’s first period-instrument performances of Beethoven’s only opera, Fidelio, with such an enviable cast. Our semi-staged productions make for a unique opportunity to engage audiences in a more intimate way that has quickly become a signature of Boston Baroque opera presentations.” –Miguel Rodriguez, Executive Director