Friday August 2, 2019 | 7:30PM (Pre-concert talk at 6:45PM)
Christ Church Cathedral | Map
The invention, devotion and beauty that are at the heart of J.S. Bach’s more than 209 sacred cantatas continue to be a source of deep inspiration and consolation to believers and non-believers alike. For this concert of three of his acknowledged masterpieces: Brich dem Hungrigen dein Brot (BWV 39), Komm, du Süße Todesstunde (BWV 161) and Weinen, Klagen, Sorgen, Zagen (BWV 12), Ensemble Les Boreades join four of Europe’s greatest soloists specializing in Bach for one-to-a-part performances in the intimate surroundings of Christ Church Cathedral.
“No present-day singer understands German sacred music of the 17th century better than the soprano Dorothée Mields and, unsurprisingly therefore, no one sings it better.” – International Record Review
This concert is generously supported by Mark De Silva and Matthew White & Catherine Webster
Click here for information about parking around / transiting to Christ Church Cathedral
Johann Sebastian Bach (1685-1750)
Cantata Komm, du süsse Todesstunde (Come Sweet Hour of Death) in C major, for alto, tenor, chorus, two recorders, strings and basso continuo BWV 161 (Weimar, 1716)
Cantata Weinen, Klagen, Sorgen, Zagen ((Weeping, Lamenting, Worrying, Fearing), in F minor for alto, tenor, chours, trumpet, oboe, basoon, strings and basso continuo BWV 12 (Weimar,1714)
Wilhelm Friedemann Bach (1710-1784)
Concerto for harpsichord, strings and basso continuo in D major F. 41 (Dresde, 1733-1746)
Johann Sebastian Bach
Cantata Brich dem hungrigen dein Brot (Break your bread for the hungry) in G minor, for soprano, alto, bass, chorus, two recorders, two oboes, strings and basso continuo BWV 39 (Leipzig, 1726)
Francis Colpron, music director
Recorder and traverso player Francis Colpron is recognized as one of the most talented musicians of his generation. During the past three decades, the public, critics, and cultural authorities have acclaimed his abilities to innovate as an artist and performer. In 1991, he founded the ensemble Les Boréades de Montréal, of which he is the artistic director, and which puts on a very successful annual concert series in Montreal, performs in North America and Europe, and records on the ATMA Classique label.
Les Boréades has performed with world-renowned artists such as Hervé Niquet, director of the Concert Spirituel de Paris; Skip Sempé, harpsichordist and director of Capriccio Stravagante; violinists Manfred Kraemer and Adrian Butterfield; harpsichordist Alexander Weimann; conductor Eric Milnes; cornettist William Dongois; recorder player Stefano Bagliano; as well as with tenor Charles Daniels, and Canadian singers Matthew White, Karina Gauvin, and Laura Pudwell.
On stage, Francis Colpron, with Les Boréades, has explored the theatrical and musical worlds of the 17th and 18th centuries in shows such as Acis et Galatée (2015), La belle danse (2013), Tabarinades (2010), and Molière en Musique (2008). He has also acted in theatrical productions for young people such as Garde-Robe(2007) and La nuit de la Patate (2016). Noteworthy collaborators with Francis Colpron have included the directors Joël da Sylva and Jean-François Gagnon, and the actors Carl Béchard and Sophie Faucher.
Francis Colpron was associate flutist with Trinity Consort of Portland from 2000 to 2009. He has been a guest soloist with groups such as Apollo’s Fire of Cleveland, the Edmonton Symphony, the National Arts Centre Orchestra, Opera Atelier, Thirteen Strings, the Studio de musique ancienne de Montréal, Les Violons du Roy, the Nova Scotia Orchestra, and L’Harmonie des Saisons. As well as teaching at the Université de Montréal, he is frequently invited to share his experience as a teacher at well known summer music camps such as Amherst in the United States, CAMMAC in Quebec, and Boxwood in Nova Scotia. His discography consists of more than 40 recordings.
Dorothee Mields, soprano
Dorothee Mields is one of the leading interpreters of 17th- and 18th-century music and is beloved by audiences and critics alike for her unique timbre and moving interpretations.
She appears regularly with the Collegium Vocale Gent, Netherlands Bach Society, L’Orfeo Barockorchester, Freiburger Barockorchester, RIAS Kammerchor, Bach Collegium Japan, Orchestra of the 18th Century, Lautten Compagney Berlin, Tafelmusik Baro9ue Orchestra Toronto, The English Concert and Klangforum Wien under conductors such as Stefan Asbury, Beat Furrer, Mic hi Gaigg, Paul Goodwin, Philippe Herreweghe, Emilio Pomarico, Hans-Christoph Rademann, Andreas Spering, Masaaki Suzuki and Jos van Veldhoven.
Dorothee Mields is a welcome guest at international festivals, including the Leipzig Bach Festival, Suntory Music Foundation Summer Festival in Japan, Boston Early Music Festival, Flanders Festival, Wiener Festwochen, the Handel Festival in Halle, Musikfestspiele Potsdam, Styriarte Graz, Niedersachsische Musiktage, Musikfest Bremen, Mainzer Musiksommer and Mosel Musikfest.
She is a devoted chamber musician and offers a range of highly interesting projects such as “Lord Nelson at the river Nile” (music by Haydn and contemporaries dealing with the battles of Lord Nelson), “White as Lillies was her Face” with songs by John Dowland combined with texts by Heinrich Heine, “Mort ex9uise, mort parfumee” with French impressionistic compositions, “Duft und Wahnsinn” (fragrance and lunacy) together with Hille Perl, viola da gamba, and Lee Santana, lute, as well as “Birds” with flutist Stefan Temmingh.
A steadily growing discography with several award-winning recordings documents her artistic achievements. “Inspired by Song” and “Birds” with Stefan Temmingh, “Handel” with Hille Perl, Monteverdi “La dolce vita” with the Lautten Compagney Berlin and Wolfgang Katschner (all dhm), Bach “Kantaten fur Solo-Sopran” with L’Orfeo Barockorchester and Michi Gaigg and Boccherini “Sta bat mater” with the Salagon Quartett (both Carus) have been especially well received.
In 2018/19, Dorothee Mields is artist in residence at the Heinrich-Schutz-Musikfest. Further upcoming highlights include appearances in Japan with the RIAS Kammerchor, at the Wigmore Hall with The English Concert, with Seattle Symphony, and at the Internationale Orgelwoche Nurnberg, as well as tours with Collegium Vocale Gent, Freiburger Barockorchester, Gli Angeli Geneve and Holland Baroque.
Alex Potter, alto
My mother always sang to me when I was a small child, which is why I began to sing. Her voice for me was intensely bound together with emotion, which will always remain with me. As a cathedral chorister, this emotional basis became intertwined with a fascination for text and symbolism in music, expanded upon and deepened during studies in Oxford and Basel. Remaining faithful to these origins over nearly twenty years in the profession, I continue to develop as a singer, musician and human, changed and enriched by the joy and sadness which life brings.
Nowadays you are most likely to hear me somewhere with Bach, although I also love to sing other music. When not performing, you will find me at home with my family, reading something geeky, wasting time on the internet, or cooking. Sharing and exchanging with other people, be it music, food, or conversation, is one of the great pleasures of life.
Samuel Boden, tenor
Having originally trained and worked as a chef, British tenor Samuel Boden changed his career path and studied singing under John Wakefield at Trinity Laban Conservatoire. He received numerous awards including the Ricordi Opera Prize and the Derek Butler London Prize as well as awards from the Harold Hyam Wingate Foundation, the Samling Foundation and the Arts and Humanities Research Council.
Throughout college and after leaving in 2008, he worked extensively in the UK and internationally with many leading ensembles, including Ex Cathedra, The Gabrieli Consort, The Sixteen and the Orchestra of the Age of Enlightenment. He has since become increasingly in demand as a soloist, which has led to a variety of experience, both on the concert platform and on the opera stage, performing music from a wide range of styles and eras. This ranges from Roman laments and Elizabethan lute songs, through to West Side Story for the 50th Anniversary World Tour – however, his grounding in choral music has contributed to his deeper involvement with, and love for, early music, and he has performed operas and concerts of this repertoire extensively at home and abroad. Early opera engagements include The Fairy Queen for Theater St Gallen and Glyndebourne; Anfinomo The Return of Ulysses for English National Opera at the Young Vic; The Indian Queen at Opéra Théâtre de Métropole, Metz and the title role of Cavalli L’Ormindo for the Royal Opera/Shakespeare’s Globe collaboration in their inaugural season at the Sam Wanamaker Playhouse.
Samuel’s love of languages, most notably French, has led to an interest in French Baroque. As a high light lyric tenor, he has been exploring the “Haute Contre” repertoire and enjoys a busy schedule of such performances. This repertoire has included the title role in Charpentier Actéon for Opéra de Dijon and Opéra de Lille / Emanuelle Haïm; Hippolyte Hippolyte et Aricie with Ensemble Pygmalion / Raphäel Pichon, and Abaris Les Boréadeswith Les Musiciens du Louvre / Marc Minkowski at the Aix en Provence festival.
On the concert platform Samuel has appeared with the BBC Symphony Orchestra for Zemlinsky with John Storgards, Argento with Giancarlo Guerro and Carl Rütti with Stephen Jackson; Stravinsky with Sakari Oramo at The Proms; the Hallé Orchestra / Robert Howarth for Messiah; the Royal Northern Sinfonia / Thomas Zehetmair for Mozart and Britten; the Bournemouth Symphony Orchestra / Curnyn – Handel; the Bilbao Symphony Orchestra / Howarth; the Frankfurt Radio Orchestra / Emmanuelle Haïm for Rameau and Purcell; Kristiansand Symphony Orchestra / Nicholas Kraemer with Bach and Handel; The Monteverdi Choir / John Eliot Gardiner for Bach; Collegium Vocale Gent / Philippe Herreweghe with Lassus, Monteverdi and Purcell; Le Concert d’Astrée / Haïm for Monteverdi and Charpentier and Ex Cathedra / Jeffrey Skidmore – Bach, Carissimi, Charpentier.
In current recital programmes Samuel performs lute song repertoire with Paula Chateaueuf and Britten, Fauré, Debussy and Hahn with Iris Torossian, harp. Samuel’s growing discography encompasses works by Monteverdi, Charpentier, Daniel Purcell, Rameau, Bach alongside Tansy Davies and Alec Roth on Hyperion, Erato, Archiv, OAE Released, Nimbus, Resonus Classics, NMC and Signum.
Amongst his recent and forthcoming engagements are Bach with the Rotterdam Philharmonic / Natalie Stutzmann, the title role Rameau Pigmalion with Pinchgut Opera Sydney, Telemaco Il Ritorno d’Ulisse in Patria at The Round House for the Royal Opera House and creating a role in George Benjamin’s Lessons in love and violence at the Royal Opera House, Covent Garden followed by performances in Amsterdam, Hamburg, Lyon and Paris.
Outside of his performance life, Samuel is an extreme sports enthusiast and enjoys snowboarding, rock climbing and downhill mountain biking.
Matthew Brook, bass-baritone
Matthew Brook has appeared widely as a soloist, and has worked extensively with conductors such as Sir John Eliot Gardiner, Richard Hickox, Sir Charles Mackerras, Harry Christophers, Christophe Rousset, Paul McCreesh and Sir Mark Elder, and many ensembles including the Philharmonia, LSO, the St Petersburg Philharmonic,the RPO, Freiburg Baroque Orchestra, Orchestra of the Age of Enlightenment, the English Baroque Soloists, the Gabrieli Consort & Players, the Sixteen, the Royal Northern Sinfonia and Orchestre National de Lille.
Recent and future highlights include Purcell’s The Fairy Queen and Dido and Aeneas with the Handel and Haydn Society, Bach’s St John Passion with the St Paul Chamber Orchestra, Haydn’s Creation with the City of Birmingham
Symphony Orchestra, Bach’s Magnificat and Brahms’ Triumphlied with the Cincinnati Symphony Orchestra, Il Re di Scozia Ariodante with the Staatstheater Stuttgart and on tour with the English Concert, Bach’s B minor Mass at the Al Bustan Festival in Beirut and with Les Violons du Roy in Québec, Fauré’s Requiem with the Royal Philharmonic Orchestra, Mozart’s Requiem with the Fryderyk Chopin Institute in Warsaw, a tour of Bach cantatas with the Monteverdi Choir and Sir John Eliot Gardiner, and with the Nederlandse Bachvereniging and Early Music Vancouver, a tour of Bach’s St Matthew Passion with the Orchestra of the Age of Enlightenment, and with Gli Angeli Genève, Elgar’s The Dream of Gerontius with the Indianapolis Symphony Orchestra, Tippett’s A Child of Our Time at Festival St Denis, and the roles of Herod and Father in Berlioz’s L’Enfance du Christ with the Melbourne Symphony Orchestra and Sir Andrew Davis.
Les Boréades de Montréal
Founded by Francis Colpron in 1991, Les Boréades focuses on early music. The ensemble has chosen an interpretative approach in keeping with the spirit of the Baroque era, by adhering to the rules of performance practice of the past and playing on period instruments. Critics and audiences alike in Canada and abroad have been unanimous in hailing the group’s energy and spontaneity as well as its theatrical, expressive and elegant playing, indicative of a unique flair for Baroque aesthetics.
The group has received many grants from the Québec and Canada governments and has toured extensively in Canada and abroad, taking part in several renowned festivals. The musicians also performed at the Frick Collection of New-York, Concertgebouw in Amsterdam, Salle Gaveau in Paris, Vancouver Festival, Musikfest Bremen and at the Alter Musik Regensburg.
Les Boréades has performed with world-renowned artists such as Hervé Niquet, director of the Concert Spirituel de Paris; Skip Sempé, harpsichordist and director of Capriccio Stravagante; violinists Manfred Kraemer and Adrian Butterfield; harpsichordist Alexander Weimann; conductor Eric Milnes; cornettist William Dongois; recorder player Stefano Bagliano; as well as with tenor Charles Daniels, and Canadian singers Matthew White, Karina Gauvin. The ensemble Les Boréades owns a solid discography of 24 titles, on the Atma Classique label, which are distributed around the world.