Wednesday December 9, 2020 | 7:30PM
Ariadne/Arianna was performed in London in February 1791 by the soprano castrato Gasparo Pacchierotti, with Haydn accompanying on the harpsichord. At the time a prominent critic wrote: “It abounds with such a variety of dramatic modulations—and is so exquisitely captivating in its larmoyant passages, that it touched and dissolved the audience.” Join one of Canada’s most promising young singers, mezzo-soprano Mireille Lebel for a riveting account of one of Haydn’s most spectacular works for voice.
Access to the concert is free, but donations are greatly appreciated. Concert will remain online one year from premiere date.
This concert is generously supported by Dorothy Jantzen and Dr. Katherine E. Paton in memory of Stephen Drance
Sehnsucht nach dem Fruehling
Arianna a Naxos Hob. XXVlb:2
Texts & Translations
To view/download the texts & translations, click here.
Mireille Lebel, mezzo-soprano
Canadian mezzo−soprano Mireille Lebel grew up in Vancouver and studied music at the University of Toronto and the University of Montreal. Following her studies she was awarded major grants by the Canada Council and the Jacqueline Desmarais Foundation and furthered her artistic training as a member of the Atelier Lyrique de l’Opéra de Montréal. In 2009, she was a winner of the Jeunes Ambassadeurs Lyriques Competition that earned her an invitation to join the Ensemble of Theater Erfurt. Throughout her time in the Ensemble, she sang leading roles in the lyric mezzo fach. She is now making critically successful debuts with opera companies and orchestras in Europe and North America. Mireille resides in Berlin.
In the 2019/2020 season, Mireille will appear for the very first time in Italy in the title role of Carmen. The production, by Paul-Émile Fourny, was premiered to acclaim at the Opera de Metz in June 2019 with Mireille in the title role. It will tour to Teatro G.B. Pergolesi in Jesi, Teatro della Fortuna in Fano, Teatro Ventidio Basso in Ascoli, and Teatro dell’Aquila in Fermo. Continuing her season in Italy, Mireille will make her house début at Teatro San Carlo in Naples in the role of Mercedes in Carmen. She returns to the role of Nerone in an unusual new production of L’incoronazione di Poppea at Columbus Opera directed and conceived by artistic director Peggy Kriha-Dye. This production will be presented at the Pizzuti Collection at the Columbus Museum of Art and will feature couture by Gerardo Encinas. Singing for the first time under the baton of Václav Luks and accompanied by his orchestra Collegium 1704, she will undertake the title role in Vivaldi’s Arsilda at the Rudolfinium in Prague and the Annenkirche in Dresden. In Germany, Mireille will sing her first Nicklausse/Muse in Les Contes d’Hoffmann at the Anhaltisches Theater Dessau.
Alexander Weimann, fortepiano
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 Victoria 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 University, Université de Montréal, 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.