February 14, 2015 | 7:30pm
The Chan Centre | Map
Nathalie Paulin, soprano; Krisztina Szabó, mezzo-soprano; Lawrence Zazzo, countertenor; Zachary Wilder, tenor; Matthew Brook, bass-baritone; Alexander Weimann, music director; Pacific Baroque Orchestra; Vancouver Cantata Singers
“Handel doesn’t miss a trick in creating spectacular choral effects; neither did music director Alexander Weimann in bringing them to life with theatrical cunning and an all-embracing sense of joy” The Vancouver Sun, review of G.F. Handel’s Israel in Egypt
“Alexander Weimann’s pacing of the action, choice of tempi and shaping of orchestral ritornellos are marvellous…One of the most consistently charming Handel opera recordings I’ve reviewed in ages.” Gramophone Magazine, review of Handel’s Orlando
Theodora is of one of Handel’s largest-scale oratorios for soloists, choir and orchestra and was his personal favourite. Featuring some of the composer’s most glorious music, this tragic work depicts the self-sacrificial love between a Christian virgin and a Roman imperial bodyguard. It serves as a timeless parable of spiritual resistance to tyranny and an indictment of persecution, topics that still resonate with audiences today. This production features 28 members of the Pacific Baroque Orchestra, 40 members of the Vancouver Cantata Singers and five international soloists, all under the direction of Alexander Weimann.
To be added soon…
By 1749, George Frideric Handel (Georg Friedrich Händel) was still revered as England’s foremost composer, though keeping ahead of the ever-changing whims of London’s notoriously fickle audiences was an ongoing challenge. The 65-year-old’s obligations for the coming season were daunting. He was to provide Fireworks Music in celebration of the recent Treaty of Aix-la-Chapelle, inspect and inaugurate the new pipe organ he was donating to the Foundling Hospital (his favourite charity), write several more organ concerti, and contract soloists and instrumentalists for multiple performances of several earlier oratorios. Finding time to write even a single new oratorio for the coming Lenten Season would be difficult.
Only 38 years earlier, this young German’s Italian opera Rinaldo had been so successful that the king and others persuaded Handel to move to London. But by 1741 and 37 operas later, ticket receipts were no longer covering costs. The Londoners’ former thirst for Italian opera had been well-quenched. Fortunately, the enterprising Handel had already begun offering entertaining oratorios in English in 1732 for the austere weeks of Lent, when society’s upper classes felt obliged to submit to ecclesiastical admonitions to forego secular theatrical performances during the season of repentance. Handel realized how readily texts extoling heroic biblical figures could supplant those about ancient deities and Roman politicians. Omitting stage sets and staging helped to quiet uneasy consciences even further, and yet the oratorio libretti, operatic soloists, choir and orchestra could remain as dramatic as in any opera. Being sung in English also worked, as Handel learned when he presented Esther in London (1732, libretto by Alexander Pope—not to be confused with Pope Alexander). By the 1740s, Handel was managing to write one, and sometimes two new oratorios for the coming Lenten season’s concerts. Yes, his audiences still adored Messiah year after year, but they wanted other oratorios as well—annually.
Thus it was that in 1749, when Handel turned his attention to the coming 1750 Lenten season, he quite naturally asked his latest favourite librettist, the Rev. Thomas Morell (1703-84) to create something special. Morell had been reading Love and Religion Demonstrated in the Martyrdom of Theodora, and of Didymus (London: John Taylor, 1703), written by the Irish physicist and chemist, Robert Boyle (1627-91, best known for “Boyle’s Law”). Settling on the more manageable title Theodora, Morell created a libretto which he felt would both stimulate Handel’s creativity and appeal to English audiences. Rather than another story from Hebrew scripture (Deborah, Saul, Israel in Egypt, Joseph and his Brethren, Joshua, Solomon) or the Apocrypha (Judas Maccabaeus), Morell turned to this legendary story of two martyred saints set in the societal and political struggles between the established Roman state religion and the new faith becoming known as Christianity. This offshoot of Judaism was increasingly attracting slaves and women—the marginalized who had little to lose by exploring the ideals of equality and economic charity advocated by Jesus and St Paul. By the third century, Christianity was beginning to infiltrate certain isolated circles of Roman noble women, occasionally an entire Roman household, and even individual Roman soldiers secretly converted. The oratorio’s opening pages reveal the growing opposition to the old religious thinking. Constantine’s Edit of Milan would decriminalize Christianity in 313, but our story takes place 302-305, in Antioch during the reign of Diocletian.
Morell saw how a story focusing on two individuals in this environment could give expression to profound conflicts of loyalties between friends, the struggle between the status quo and new ideas, and the inner anguish over whether to remain a secret Christian, recant Christianity or die for your faith. Add to this the tension between physical and platonic love, and Theodora’s inner struggle (as a Christian virgin of noble birth) between the expediency of escaping a sentence of enforced prostitution (occasionally associated with certain religious festivals) and the agony of renouncing her faith—there is more than enough dramatic fodder for each aria and recitative. In all this turmoil, Morell found ways to insert subtle pleas for freedom of thought and even religious freedom, topics of contemporary interest as Methodism gained adherents at the expense of the established national church in the midst of an increasingly secular society. Whatever its merits, this story about two Roman Christian 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 and most stimulating he had ever encountered. Indeed, the role of Theodora is generally considered his best for soprano. Successful oratorios, like all theatrical works set to music, require emotive texts which encourage the composer to create music supporting each distinct emotion through the character of its accompanying melody, and by the rhythms reflecting the relative intensity or contemplative nature of the words. Most wonderfully of all, the orchestra’s changing colours and moods continually depict the passing emotional landscapes on the expansive musical canvas. But even small touches can transform us, as when, in the Symphony which opens Act II, Scene 2 (set in prison), the strings play repeated chords, which are answered by a single note held by the flutes—a melody which is as fettered as Theodora herself. It is always fascinating to follow what Handel does with the orchestra in the succession of arias, now simply undergirding the vocalist, now providing a melodic counterfoil, now vigorously competing for attention, now outshining even the most acrobatic vocal arabesques.
Julian Herbage once quipped that “Handel’s pagans always have an ear for a catchy tune, and an almost complete ignorance of counterpoint.” By contrast, the Christians get the more profound choruses—often with superb counterpoint. Biographia Dramatica reports that Handel was asked “whether he did not consider the grand [Hallelujah] Chorus in The Messiah as his masterpiece. ‘No,’ said he, ‘I think the chorus, “He saw the lovely youth,” at the end of the second part in Theodora far beyond it.’” Contemplative choruses can be truly effective for the sensitive listener.
One wonders why such an oratorio did not initially succeed in London. Handel once quipped that it was because “The 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 one.” Charles Burney writing of slim attendances at Handel’s concerts one season, reported, “Sometimes, however, I have heard him, as pleasantly as philosophically, console hi[s] friends, when, previous to the curtain being drawn up, they have lamented that the house was so empty, by saying, ‘Nevre moind; di moosic vil sound de petter.’” Fortunately, today’s audiences are embracing Theodora wholeheartedly, as the recent Glyndebourne Festival Opera’s 1996 revival proved. Be prepared to be amazed by how effectively this wonderful music continues to speak to us 266 years after it was written by the composer, who—single-handedly—began the English world’s love affair with English oratorio.
-J. Evan Kreider
Nathalie Paulin, soprano
Soprano Nathalie Paulin has established herself in the United States, Canada, Europe and the Far East as an interpretive artist of the very first rank. Winner of a Dora Mavor Moore Award for Outstanding Opera Performance, she has collaborated with internationally renowned conductors including Jane Glover, Yannick Nézet-Séguin, Antony Walker, Sir Roger Norrington, Andrew Parrott, Jonathan Darlington, Hervé Niquet, David Agler, Richard Bradshaw, Bernard Labadie, Michael Christie, Robert Spano, Mario Bernardi, Graeme Jenkins, Andrew Litton and Yoav Talmi on both the concert platform and in opera.
As well, critics have been lavish in their praise. Reviewing from Chicago, John van Rhein noted that “Paulin in particular is a real find; her rich, agile voice possesses great depth and allure, her manner radiates sensuous charm.” Ms. Paulin debuted for L’Opéra de Montréal as Mélisande in PÉLLÉAS ET MÉLISANDE and for Chicago Opera Theater as Galatea in ACIS AND GALATEA. She was re-engaged by Chicago Opera Theater for the title role in SEMELE and for Mary in LA RESURREZIONE, both by Handel. She has also been heard as Constance in DIALOGUES DES CARMÉLITES for Calgary Opera, Zerlina in DON GIOVANNI for L’Opéra de Québec and Susanna in LE NOZZE DI FIGARO for Cincinnati Opera. The Dallas Opera featured her in CARMEN and CUNNING LITTLE VIXEN.
Krisztina Szabó, mezzo-soprano
Hungarian-Canadian mezzo-soprano Krisztina Szabó is highly sought after in both North America and Europe as an artist of supreme musicianship and stagecraft, and has become known for her promotion and performance of contemporary Canadian works. Among her many laudatory reviews, Opera Canada declared her to be an “exceptional talent” after her performance of the title role of Dido in Purcell’s Dido and Aeneas, and after a performance with Tapestry Opera, the music blog, Schmopera wrote that “her instrument is one-of-a-kind and she has cemented herself as a darling of Canadian experimental music and opera…her sensibility and sensitivity to the material is truly inspiring”. In her hometown of Toronto, Canada, she has been nominated twice for a Dora Award for Outstanding Female Performance.
In the 2017-18 season, Krisztina Szabó made her Royal Opera and Netherlands Opera débuts in George Benjamin’s new opera, Lessons in Love and Violence. She also appeared as Angel/Marie in Benjamin’s Written on Skin for both Opera Philadelphia and the Holland Festival. Other highlights include the performance and recording of prestigious Canadian composer, Ana Sokolovic’s Pesma with Ensemble Contemporain de Montréal and the world premiere of Jeffrey Ryan’s Emily Carr in Seven Scenes for Canadian Art Song Project. Upcoming engagements in the 2018-19 season include being featured performer in Steffani: Drama and Devotion and Händel’s Messiah with the Tafelmusik Baroque Orchestra; Messiah with the St. Louis Symphony Orchestra; Stabat Mater (Pergolesi) with Early Music Seattle, George Benjamin’s Into the Little Hill with Mahler Chamber Orchestra for Musikfest Berlin,Kopernikus(Claude Vivier) with Against the Grain Theatre (Toronto) and the premiere of a new oratorio by Barbara Croall entitled Mizewe (Everywhere)with Pax Christi Chorale. She will also be singing the world premiere of Canadian composer, Ian Cusson’s Where There’s A Wall with the National Arts Centre Orchestra and the Canadian premiere of Toshio Hosokawa’s The Raven for Toronto New Music Projects at the University of Toronto.
Ms. Szabó exemplifies today’s modern singer: she is vocally versatile, possesses excellent stage prowess and paints vivid character portraits on both the opera and concert stages, and is well-known as an interpreter of new music. She sings frequently at the Canadian Opera Company and has been seen in diverse roles, such as singing three leading roles(Thisbe/Arianna/Clorinda) in a triple bill production, Pyramus and Thisbe, Le Pèlerin in L’amour de loin, Idamante (Idomeneo), Musetta (La bohème), The Double-Offred in the Time Before (The Handmaid’s Tale) and Nancy (Albert Herring). In 2006 she helped christen the company’s new opera house in their critically acclaimed Ring Cycle as Wellgunde (Das Rheingold and Götterdämmerung), and Siegrune (Die Walküre) and returned to open their 06/7 season in the role of Dorabella (Così fan tutte). Canadian audiences have also seen Ms. Szabó as the tile role in Cenerentola with Edmonton Opera, Donna Elvira (Don Giovanni), Sesto (La clemenza di Tito) and Musetta in La bohème with Vancouver Opera, Cherubino (Le nozze di Figaro)and Meg(Little Women) with Calgary Opera, Rosina (Il barbiere di Siviglia) with L’Opéra de Québec, Edmonton Opera and Calgary Opera, Second Lady (Die Zauberflöte) with the Toronto Symphony Orchestra, Ruggiero (Alcina)in concert with Les Violons du Roy, Nerone (Agrippina) with L’Opéra de Montréal,and as the title role in Iphigénie en Tauride with Opera Atelier. She has performed and débuted many new works, staged and concert, with Toronto’s Tapestry Opera, Against the Grain Theatre, Soundstreams, Esprit Orchestra, Continuum Music, and Queen of Puddings Music Theatre, National Arts Centre Orchestra. Outside of Canada, Ms Szabó has performed a wide variety of roles including: Judith(Bluebeard’s Castle) with Colorado Music Festival, Rosalind(The Mines of Sulphur)for the Wexford Festival Opera (company début), Countess (Le nozze di Figaro), Judith (Bluebeard’s Castle) and Donna Elvira(Don Giovanni) –all with Chicago Opera Theater, Magnolia (Showboat) with L’Opéra National du Rhin, the title role in Charpentier’s Médée with Le Concert Spirituelin Paris, The Queen of the Fairies in Ana Sokolovic’s hilarious opera,The Midnight Court, with Queen of Puddings Music Theatre’s tour to England, Hänsel(Hänsel und Gretel), Komponist (Ariadne auf Naxos) and Cherubino(Le nozze di Figaro) with Stadttheater Klagenfurt, Bianca (Mercadante’s Il giuramento) with Washington Concert Opera, Ljubica (Sokolovic’s Svadba/Wedding) with Opera Philadelphia and Dido (Dido and Aeneas) with Music of the Baroque. Krisztina Szabó is a frequent performer of recital, concert and chamber repertoire. She has appeared as a soloist with the Royal Scottish National Orchestra (Mozart’s Mass in C Minor), Atlanta Symphony Orchestra (B minor Mass) L’Orchestre Symphonique de Québec (Bach’s Mass in B Minor), Vancouver Bach Choir (John Adams’ El niño), the San Antonio Symphony (Handel’s Messiah), the Talisker Players in Toronto for an evening of chamber music, the Toronto Mendelssohn Choir (Beethoven’s Missa Solemnis and Mendelssohn’s Elijah), the Elora Festival Orchestra (Verdi’s Requiem), Les Violons du Roy’s United States tour of (Haydn’s cantata Arianna a Naxos) , the Brooklyn Academy of Music (staged production of Bach’s St. Matthew Passion) and the Oregon Symphony (Mozart Requiem). She has also appeared as soloist with Plural Ensemble in Madrid, Spain, under the baton of renowned composer-conductor, Peter Eötvös. In recital, she has appeared with Ravinia Festival, Aldeburgh Connection, Music Toronto, Off Centre Music Salon and Music at Sharon. In addition, she has performed with Symphony Nova Scotia, Lanaudière Festival, Calgary Philharmonic, Orchestra London, Toronto Operetta Theatre, Esprit Orchestra, Atlanta Symphony, Canadian Art Song Project, Festival of the Sound, Grand Teton Festival Soundstreams, Ottawa Chamber Music Festival,Waterside Music Festival, Stratford Summer Music Festival and Indian River Festival.Ms, Szabó has appeared on television featured in CBC’s “Opening Night” in concert with the Canadian Opera Company.On film, she can be seen as Zerlina with Dmitri Hvorostovsky in Don Giovanni Revealed: Leporello’s Revenge, and she can be heard as the voice of Leanne in the new opera movie Burnt Toast. Krisztina Szabo can also be heard as a featured soloist in a recording with the Talisker Players “Where Words and Music Meet“, Musica Leopolis CDs works of Lysenko, Stetsenko, Stepovy and Galicians I (4 different CDs),Singing Somers Theatre(the works of Harry Somers) and Baby Kintyre, a radio opera by Dean Burry.
Ms. Szabó finished her postgraduate studies at the Guildhall School of Music and Drama in London, England, after completing her undergraduate degree at the University of Western Ontario studying with Darryl Edwards. She has been the recipient of the Emerging Artist grant from Canada Council and has been honoured by her home town of Mississauga with a star on the Music Walk of Fame in its inaugural year. Krisztina lives in Toronto with her husband, Kristian Clarke and their daughter, Phoibe Clarke. Ms. Szabó is a member of the voice faculty at the University of Toronto.
Lawrence Zazzo, countertenor
The American countertenor Lawrence Zazzo is one of the most outstanding singers of his generation. A native of Philadelphia and a graduate in both English and Music from Yale University and King’s College, Cambridge, Lawrence made his operatic debut as Oberon A Midsummer Night’s Dream to great acclaim while completing his vocal studies at the Royal College of Music, London.
He has since appeared in many of the world’s finest opera houses and concert halls. His opera roles include the title role in Giulio Cesare(Metropolitan OperaNew York, Paris, London, Brussels, Seville, Bilbao), the title role in Gluck’s Orfeo (Vienna, Toronto, Oslo, Netherlands), Oberon A Midsummer Night’s Dream (Rome, Lyon, Toronto), Farnace Mitridate (Munich), the title role in Radamisto (English National Opera), Arsamene Serse (Theatre des Champs-Elysees, English National Opera), Goffredo Rinaldo (Berlin Staatsoper, Zurich, Opéra de Montpellier); Ottone Agrippina (Brussels, Frankfurt, Theatre des Champs-Elysees), Endimione La Calisto (Munich, Brussels, Paris), Ottone L’incoronazione di Poppea (Vienna, Berlin, Brussels, Munich), Ruggiero in Orlando Furioso (Frankfurt), and the title roles in Handel’s Sosarme (Sao Carlos, Lisbon) and Alessandro(Karlsruhe).
Lawrence is also a keen advocate of 20th century and contemporary music. He created the role of Trinculo in Thomas Ades’ The Tempest at the Royal Opera House Covent Garden, and his Paris Opera debut was as Kreon in Liebermann’s Medea. He has also sung Sciarrino’s Luci mie traditrici in Brussels, New York, and Rouen, and is closely associated with the role of Mascha in Peter Eötvos’ Three Sisters which he has performed in several productions in Lyon, Brussels, Edinburgh, Vienna, and the Netherlands. He made his BBC Symphony Orchestra debut in their commission of Jonathan Dove’s Hojoki, sang the Refugee in Jonathan Dove’s Flight for the Glyndebourne Festival, and made his Wigmore recital debut with a programme of 20th-century American songs.
Lawrence has worked with many distinguished conductors in the fields of Baroque and contemporary music, including René Jacobs, William Christie, Nikolaus Harnoncourt, Rinaldo Alessandrini, Christophe Rousset, John Nelson, Ivor Bolton, James Conlon, Alan Curtis, Hervé Niquet, Harry Bicket , Joshua Rifkin, Christopher Hogwood, Peter Eötvos, Jean-Claude Malgoire, Trevor Pinnock, Jordi Savall, Harry Christophers, and Paul Goodwin. He was the first western countertenor invited to China to sing Messiah at the Shanghai Opera. His international concert career highlights include: the title roles of Handel’s Lotario and Riccardo Primo with the Kammerorchester Basel in a European tour and recording with Paul Goodwin, Messiah with Rene Jacobs and the Freiburger Barockorchesterand in Notre Dame Cathedral with John Nelson and L’ensemble orchestrale de Paris, Bach Lutheran Masses under Joshua Rifkin in Leipzig, the St. Matthew Passion in Ambronay and Köthen with the Akademie für Alte Musik, the title role in Handel’s Amadigi with Christopher Hogwood and the AAM in London and Birmingham, the title role in Mozart’s Ascanio in Alba with the Berliner Symphoniker, Vivaldi’s Nisi Dominusand Gloriawith the Israel Camerata, the B Minor Mass with Ivor Bolton in Salzburg, Jephtha in Graz with Nikolaus Harnoncourt, Theodora in Paris and Vienna with Hervé Niquet and Le concert spirituel, and Saul in Berlin and Lisbon with René Jacobs and Concerto Köln. An accomplished recitalist, he has given many around Europe, most recently at the Wigmore Hall, the Norwegian Opera, the Festival d’Opera Baroque de Beaune, the Rheinvokal Festival, the MA Festival Bruges, and the Vienna Konzerthaus.
Zachary Wilder, tenor
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 numerous groups internationally, including Ars Lyrica Houston, Back Bay Chorale, Blue Heron, Boston Early Music Festival, Britten-Pears Baroque Orchestra, Camerata Ventepane, Cappella Mediterranea, Emmanuel Music,
Ensemble Clematis, A Far Cry, Festival D’Aix en Provence, Green Mountain Project, Handel & Haydn Society, Harvard Baroque Orchestra, Houston Bach Society, les Arts Florissants, Mark Morris Dance Group, Mercury Orchestra, Pacific Musicworks, Portland Baroque Orchestra, Tenet Ensemble, and Tesserae. He was chosen by William Christie for the 2013 edition of Jardin des Voix, was named a Lorraine Hunt Lieberson Fellow at Emmanuel Music, Adams Masterclass Fellow at the Carmel Bach Festival, a former Gerdine Young Artist at the Opera Theatre of Saint Louis, as well as a Tanglewood Music Center Fellow. He can be heard on Boston Early Music Festival’s grammy nominated recording of Lully’s Psyché, as well as their recordings of Charpentier’s Actéon and John Blow’s Venus and Adonis on the CPO label.
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’sSt 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.
Alexander Weimann, music director
Alexander Weimann is one of the most sought-after ensemble directors, soloists, and chamber music partners of his generation. After traveling the world with ensembles like Tragicomedia, and as frequent guest with Cantus Cölln, the Freiburger Barockorchester, Gesualdo Consort and Tafelmusik, he now focuses on his activities as conductor of the Pacific Baroque Orchestra in Vancouver, Music Director of the Seattle Baroque Orchestra and regular guest conductor of ensembles including the Montreal Symphony, Symphony Nova Scotia, Arion Baroque Orchestra in Montreal and the Portland Baroque Orchestra.
Weimann was born in 1965 in Munich, where he studied the organ, church music, musicology (with a summa con laude thesis on Bach’s secco recitatives), theatre, mediæval Latin, and jazz piano, supported by a variety of federal scholarships. From 1990 to 1995, Weimann taught music theory, improvisation, and Jazz at the Munich Musikhochschule. Since 1998, he has been giving master classes in harpsichord and historical performance practice at institutions such as Lunds University in Malmö and the Bremen Musikhochschule, and at North American universities such as The University of California in Berkeley, Dartmouth College in New Hampshire, McGill in Montreal, and Mount Allison in New Brunswick. Since 2007, he has conducted several acclaimed opera productions at the Amherst Early Music Festival. He now teaches at the University of British Columbia and directs the Baroque Orchestra Mentorship Programme there.
A multiple Juno and Grammy nominee, Weimann can be heard on some 100 CDs. Recent highlights include an Opus and Juno award winning CD of Handel oratorio arias with soprano Karina Gauvin, a recording of Bach’s St. John’s Passion with Les Voix Baroques/Arion Baroque Orchestra, and a Juno nominated recording of Handel’s Orlando with the Pacific Baroque Orchestra that was also awarded a Gramophone Editor’s Choice award.
Alex lives with his wife, three children and pets in Ladner BC, and tries to spend as much time as possible in his garden.
Pacific Baroque Orchestra
The Pacific Baroque Orchestra (PBO) is recognized as one of Canada’s most exciting and innovative ensembles performing “early music for modern ears”. PBO brings the music of the past up to date by performing with cutting-edge style and enthusiasm. Formed in 1990, the orchestra quickly established itself as a force in Vancouver’s burgeoning music scene with the ongoing support of Early Music Vancouver.
In 2009, PBO welcomed Alexander Weimann as Artistic Director. His imaginative programming and expert leadership have drawn in many new concertgoers, and his creativity and engaging musicianship have carved out a unique and vital place in the cultural landscape of Vancouver.
PBO regularly joins forces with internationally celebrated Canadian guest artists, providing performance opportunities for Canadian musicians while exposing West Coast audiences to a spectacular variety of talent. The Orchestra has also toured BC, the northern United States and across Canada as far as the East Coast. The musicians of the Pacific Baroque Orchestra have been at the core of many large-scale productions by Early Music Vancouver in recent years, including many summer festival performances led by Alexander Weimann.
Vancouver Cantata Singers
Founded in 1957, the Vancouver Cantata Singers has become one of Canada’s preeminent, award-winning choral ensembles. The choir is known for its technical virtuosity, fine blend and exceptionally high performance standards encompassing 500 years of diverse choral repertoire.
VCS has been awarded the Canada Council’s top prize in choral singing, the Healey Willan Grand Prize, more than any other choir in the country. Led by artistic director and conductor Paula Kremer since 2013, VCS also commissions new works from critically-acclaimed composers, which have led to extremely successful and innovative collaborations with regional and international artists and ensembles.