Performance Sunday, April 3, 2011 | 2 PM

Dorothea Röschmann
David Daniels

Stern Auditorium / Perelman Stage
These are two singers who bring a theatrical flair to everything they do and excel in this repertoire. Röschmann is “a fundamentally dramatic singer” who “effortlessly takes on character” (The New York Times). Daniels is a “quintessential exponent of the Handelian style” (The Wall Street Journal). Together, they take you through some of the highlights from operas and oratorios by the Baroque era’s most illustrious composer for the stage.


  • David Daniels, Countertenor
  • Dorothea Röschmann, Soprano
  • Jory Vinikour, Co-Director and Harpsichord
  • Juilliard415
  • Monica Huggett, Co-Director and Leader


  • HANDEL Overture to Rodelinda
  • HANDEL "Ho perduto il caro sposo" from Rodelinda
  • HANDEL "Crede l'uomo ch'egli riposi" from Il trionfo del Tempo e del Disinganno
  • HANDEL Passacaglia from Terpsicore and Il pastor fido
  • HANDEL "Se'il mio duol" from Rodelinda
  • HANDEL "Perfido, di a quell'empio tiranna" from Radamisto
  • HANDEL "Io t'abbraccio" from Rodelinda
  • HANDEL Concerto Grosso in B-flat Major, Op. 3, No. 2
  • HANDEL "Per le porte del tormento passan l'anime" from Sosarme, re di Media
  • HANDEL "V'adoro, pupille" from Giulio Cesare
  • HANDEL "Voi che udite il mio lamento" from Agrippina
  • HANDEL "Morrai si, l'empia tua testa" from Rodelinda
  • HANDEL "Scherzano sul tuo volto" from Rinaldo

  • Encores:
  • HANDEL "Lascia ch'io pianga" from Rinaldo
  • HANDEL "Ch'io parta? Sì, crudele" from Partenope
  • MONTEVERDI "Pur ti miro" from L'incoronazione di Poppea


  • David Daniels

    David Daniels is known for his superlative artistry, magnetic stage presence, and a voice of singular warmth and surpassing beauty, which have helped him redefine his voice category for the modern public. The American countertenor has appeared with the world's major opera companies and on its main concert and recital stages. He made history as the first countertenor to give a solo recital in Carnegie Hall's Stern Auditorium / Perelman Stage.

    During the 2010-2011 season, Mr. Daniels returns to the Metropolitan Opera in the title role in Gluck's Orfeo ed Euridice, a production by choreographer Mark Morris, conducted by Antony Walker. He performed the same work for his debut at the Minnesota Opera, conducted by Harry Bicket. Mr. Daniels also made a highly anticipated return to the Lyric Opera of Chicago, performing first as Oberon in Britten's A Midsummer Night's Dream conducted by Rory MacDonald, and later in the season as Lichas in Peter Sellars's new production of Handel's Hercules conducted by Harry Bicket. In summer 2011, Mr. Daniels returns to the Santa Fe Opera for his role debut as Roberto in Vivaldi's Griselda, the work's first major US production by Peter Sellars and conducted by Grant Gershon. Highlights of concert engagements included a San Francisco Bay Area tour of Vivaldi's Stabat Mater and arias from Giulio Cesare in Egitto with the Philharmonia Baroque conducted by Nicholas McGegan.

    An exclusive Virgin Classics recording artist with several critically acclaimed and bestselling solo albums to his credit, Mr. Daniels's latest release is a collection of Bach's sacred arias and cantatas conducted by Harry Bicket with The English Concert. Showing his diverse musical personality, another release featured Berlioz's song cycle Les nuits d'été, and also included songs by Ravel and Fauré.

    Honored by the music world for his achievements, David Daniels has been the recipient of two of classical music's most significant awards: Musical America's Vocalist of the Year for 1999, and the 1997 Richard Tucker Award. He is a native of Spartanburg, South Carolina.
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  • Dorothea Röschmann

    Born in Flensburg, Germany, Dorothea Röschmann made her critically acclaimed debut at the 1995 Salzburg Festival as Susanna in Le nozze di Figaro, conducted by Nikolaus Harnoncourt, and has since returned to sing Countess Almaviva (Le nozze di Figaro), Ilia (Idomeneo), Donna Elvira (Don Giovanni), Nannetta (Falstaff), Pamina (Die Zauberflöte), and Servilia and Vitellia (La clemenza di Tito), with such conductors as Claudio Abbado, Daniel Harding, Sir Charles Mackerras, and Christoph von Dohnányi.

    At the Metropolitan Opera she has sung Susanna, Pamina, and Ilia with James Levine; at the Royal Opera House, Covent Garden, her roles have included Pamina and Fiordiligi (Così fan tutte) with Sir Colin Davis, and Countess Almaviva with Antonio Pappano. At theWiener Staatsoper, Ms. Röschmann has appeared as the Countess and Susanna; at the Bayerische Staatsoper, Munich, she has sung Zerlina (Don Giovanni), Susanna, Ännchen (Der Freischütz), Marzelline (Fidelio), Anne Trulove (The Rake's Progress), and the title role in Rodelinda. She is also closely associated with the Deutsche Staatsoper, Berlin, where her roles have included Ännchen with Zubin Mehta; Nannetta with Abbado; and Pamina, Fiordiligi, Susanna, Zerlina, Donna Elvira, Eva (Lohengrin), and Elsa (Die Meistersinger von Nürnberg) with Daniel Barenboim. She has also appeared at La Monnaie, Brussels, as Norina (Don Pasquale) and at L'Opéra de la Bastille, Paris, as Pamina.Upcoming engagements include performances as Countess Almaviva at the Paris Opera, her debut at La Scala in Milan, and returns to the Salzburg Festival and the Deutsche Staatsoper Berlin.

    Recent concert appearances include performances with the Berliner Philharmoniker under Sir Simon Rattle and Bernard Haitink, the Vienna Philharmonic Orchestra with Harnoncourt and Barenboim, Chicago Symphony Orchestra with Barenboim, Munich Philharmonic with James Levine, The Cleveland Orchestra with Franz Welser-Möst, Rotterdam Philharmonic with Yannick Nézet-Séguin, and Bavarian Radio Symphony with Harding.

    Concert engagements this season include performances with Concentus Musicus Wien and The Chamber Orchestra of Europe with Harnoncourt, Orchestra Filarmonica della Scala with Barenboim, New York Philharmonic with Sir Colin Davis, and Vienna Philharmonic Orchestra with Pierre Boulez. She has appeared in recital in Antwerp, Lisbon, Madrid, Cologne, Brussels, New York, London, Vienna, and at Amsterdam's Concertgebouw, as well as at the Edinburgh, Munich, and Schubertiade Schwarzenberg festivals.

    Her recordings include Countess Almaviva with Harnoncourt, Pamina and Nannetta with Abbado, Puccini's Suor Angelica with Pappano, Brahms's German Requiem with Rattle (winner of a Grammy and a Gramophone Award), Mahler's Symphony No. 4 with Harding, Handel's Neun Deutsche Arien with the Akademie für Alte Musik Berlin, Handel's Messiah with Paul McCreesh, Pergolesi's Stabat Mater with David Daniels and Fabio Biondi, and a disc of Schumann songs with Ian Bostridge and Graham Johnson.
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  • Jory Vinikour

    Jory Vinikour is recognized as one of the outstanding harpsichordists of his generation. A highly diversified career brings him to the world's most important festivals and concert halls as recital and concerto soloist, as partner to several of today's finest singers, and as one of the most visible continuo performers. A concerto soloist with a repertoire that ranges from Bach to Michael Nyman, he has performed as soloist with leading orchestras, including the Rotterdam Philharmonic, Flanders Opera Orchestra, Orchestre de la Suisse Romande, Orchestre de Chambre de Lausanne, Orchestre Philharmonique de Radio France, Ensemble Orchestral de Paris, Netherlands Chamber Orchestra, Cape Town Symphony Orchestra, and Moscow Chamber Orchestra. Mr. Vinikour has collaborated with such conductors as Marek Janowski, Armin Jordan, Fabio Luisi, Marc Minkowski, John Nelson, Gordan Nikolić, Constantine Orbelian, and Victor Yampolsky.

    As an accompanist, Mr. Vinikour has appeared in recital with such artists as David Daniels, Hélène Delavault, and Magdalena Kožená, and has accompanied mezzo-soprano Anne Sofie von Otter in recital in Sweden, Norway, Spain, Paris, and at La Scala in Milan. As an active exponent of contemporary repertoire for the harpsichord, he has given the premieres of Toccatas by Harold Meltzer and Régis Campo's Perpetuum mobile, both written for him. With members of the Orchestre National de France, Mr. Vinikour has performed Maurice Ohana's Miroir de Célestine and Falla's Harpsichord Concerto, as well as works by Ligeti, Michael Nyman, and Cyril Scott.

    Mr. Vinikour appears regularly as harpsichordist at the Paris, Netherlands, and Zurich operas; Teatro Real de Madrid; and the Salzburg and Glyndebourne festivals. He can be heard on many recordings from Deutsche Grammophon, EMI, and Erato; his recording of Bach's Goldberg Variations, released on Delos International in 2001, received critical acclaim.

    Upcoming appearances include his debut as conductor and soloist with the Los Angeles Chamber Orchestra, a recital of contemporary American harpsichord music for the University of California at Sacramento, and a performance of Bach's Goldberg Variations for the Bach Festival at Baldwine-Wallace College.
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  • Juilliard415

    Established in 2009, Juilliard415 is The Juilliard School's primary period-instrument ensemble, performing canonical and rare works from the 17th and 18th centuries in concert venues at Lincoln Center and elsewhere. Juilliard415's many performances are led by such distinguished resident and guest artists as Monica Huggett, Nicholas McGegan, and Jordi Savall. Concerts this season include Monteverdi's L'incoronazione di Poppea led by Harry Bicket, a program of French Baroque music with William Christie, and orchestral works by Haydn and Geminiani under the direction of Christopher Hogwood. This May, the group travels to Italy for performances of Bach's St. Matthew Passion in Rome, Florence, and Milan, conducted by Masaaki Suzuki. The ensemble takes its name from the commonly accepted pitch for the performance of Baroque repertoire: A=415.
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  • Monica Huggett

    World-renowned for her expressive and impassioned performances, Monica Huggett is currently Artistic Director of the Portland (Oregon) Baroque Orchestra and the Irish Baroque Orchestra. She became Artistic Director of The Juilliard School's historical performance program in 2008.

    During the past four decades, Ms. Huggett has co-founded, with Ton Koopman, the Amsterdam Baroque Orchestra; founded her own London-based ensemble, Sonnerie; worked with Christopher Hogwood at the Academy of Ancient Music, and with Trevor Pinnock and The English Concert; and toured the US in concert with James Galway. In addition, she has served as guest director of the Arion Baroque Orchestra (Montreal), Tafelmusik (Toronto), Los Angeles Chamber Orchestra, Philharmonia Baroque Orchestra (San Francisco), Norwegian Chamber Orchestra, Orquestra Barroca de Sevilla, and Concerto Copenhagen. She also performs worldwide as a solo violinist.

    Ms. Huggett has given master classes in Banff, Dartington, Vicenza, Dublin, The Hague, and Medellín, and has served as professor of Baroque violin at the Hochschule für Künste Bremen; in addition, she holds an honorary fellowship from the Royal Academy of Music. Her expertise in the musical and social history of the Baroque era is unparalleled among performing musicians and has made her an invaluable resource to students of the Baroque violin. Her many prizes include Gramophone magazine's Editor's Choice Award, the Vantaa Baroque Energy Prize, and Gramophone's Best Instrumental Recording Award for Heinrich Biber's Violin Sonatas in 2002.

    Ms. Huggett has recorded extensively for the EMI, Harmonia Mundi, Philips, Virgin, Erato, and Decca labels. She is currently working on reviving some of these recordings, which now are out of print. Her newest recording, Suites for a Young Prince with Sonnerie and featuring Juilliard Baroque oboe faculty member Gonzalo Ruiz, was nominated for a Grammy Award.

    Born in London, Ms. Huggett began her violin studies at age six and entered the Royal Academy of Music in London at age 16, where she was a student of Manoug Parikian.
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Handel Rodelinda (“Vivi, tiranno”)
David Daniels, Countertenor; Orchestra of the Age of Enlightenment, Sir Roger Norrington
Virgin Classics

At a Glance

Born in Germany, trained in Italy, and a longtime resident of London, George Frideric Handel devoted much of his life to the composition of Italian operas, as well as much glorious instrumental music. Tonight’s program features an all-Handel feast, with arias and duets for soprano and countertenor from seven operas, and three instrumental works.

On the first half, we hear several laments sung by a seventh-century queen of Lombardy in Rodelinda; an aria from a virtuosic oratorio (a large work for orchestra, choir, and soloists) composed for Rome; an orchestral selection from a dance suite; and a defiant proclamation against tyranny from the opera Radamisto.

The second half begins with an elaborate concerto grosso (a multi-movement orchestral work featuring contrasts between a smaller group called the concertino and the full orchestra, or ripieno). This is followed by a duet from the “magic opera” Rinaldo, a tale of the First Crusade filled with enchantments and sorcery; a gorgeously seductive aria for Cleopatra in Giulio Cesare (Julius Caesar), one of Handel’s greatest masterpieces; a lament by a wronged husband in Agrippina (Nero’s mother); and another of Rodelinda’s arias, this one as she matches wits with a tyrant. A journey such as this should end happily, and it does, with a duet from the opera Sosarme in which the noble king of the Medes and his beloved Elmira celebrate love’s joy.

Program Notes
This performance is part of Great Singers I, and Vocal Adrenaline.