First Church of Christ, Scientist
Amanda Forsythe sings Handel – Victoria
Artists: Amanda Forsythe, soprano with the Pacific Baroque Orchestra directed by Alexander Weimann
Runtime: approximately 100 min + 20 min interval
“Amanda Forsythe and the orchestra of the Boston Early Music Festival conjure exceptional stylish elegance and theatrical vitality in the flowing sequence of orchestrally accompanied recitatives, ariosos, dances and arias.”
– Gramophone
This exceptional concert features the return of internationally-acclaimed soprano Amanda Forsythe with the Pacific Baroque Orchestra under the direction of Alexander Weimann. The performance features Handel arias originally written for Elisabeth Duparc (‘La Francesina’) and includes the world premiere of Métis composer Pat Carrabré’s “The Mother Tree” based on Suzanne Simard’s novel “Finding The Mother Tree”.
Click here to read programme notes by Connor Page
Click here for Text and Translations
Presented in collaboration with Early Music Society of the Islands
PROGRAMME
G. F. Handel (1685-1759)
Clotilde (Faramondo) ‘Combattuta da due venti’
Air, op 3, no. 10/II
Iole (Hercules) ‘How blest the maid’
G. P. Telemann (1681-1767)
Concerto TWV 53:A2
Handel Semele (Semele) ‘O sleep, why dost thou leave me’
Deidamia (Deidamia) ‘Mai resa infelice’
Intermission
Pat Carrabré (born 1958)
The Mother Tree (text by Suzanne Simard)
G. F. Handel Pensieroso (L’Allegro) ’Sweet Bird’
op 3, no. 6/I Largo affettuoso
Asenath (Joseph) ‘Prophetic raptures’
Amanda Forsythe
The American soprano Amanda Forsythe, celebrated for her performances on both sides of the Atlantic, is a regular soloist with the highly acclaimed baroque ensembles Les Talens Lyriques, the Monteverdi Choir and Orchestra, the Boston Early Music Festival, the Handel and Haydn Society, Boston Baroque, Tafelmusik, Apollo’s Fire, Opera Prima, Pacific Musicworks, Early Music Vancouver, and the Philharmonia Baroque Orchestra.
She sang Euridice on the recording of Charpentier’s La descente d’Orphée aux enfers with the Boston Early Music Festival which won the GRAMMY AWARD for Best Opera Recording. Her début solo album of Handel arias “The Power of Love” with Apollo’s Fire was recently followed with the highly praised “Heavenly Bach”.
She toured with the outstanding French countertenor Philippe Jaroussky, performing works based on the Orfeo myth, and subsequently recorded the role of Euridice in a new edition of Gluck’s Orfeo for the ERATO label. Her discography includes more than 25 albums and DVDs, many of them premiere recordings.
Equally at home on the concert platform and on the opera stage, in recent seasons Amanda Forsythe’s major concert engagements have included performances with the Boston Symphony, the Los Angeles Philharmonic, The Philadelphia Orchestra, the Chicago Symphony Orchestra, The Hong Kong Philharmonic, The New York Philharmonic, among others.
Pacific Baroque Orchestra
The ‘house band’ of Early Music Vancouver, The Pacific Baroque Orchestra (PBO) is recognized as one of Canada’s most exciting and innovative ensembles performing “early music for modern ears.” 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 Director. His imaginative programming, 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 throughout BC, the northern United States, and across Canada. Their 2019 East Coast Canadian tour with Canadian soprano Karina Gauvin culminated in a critically acclaimed album, Nuit Blanches, released by Atma Classique.
Alexander Weimann | Sponsored by Bruce Munro Wright, O.B.C.
The internationally renowned keyboard artist Alexander Weimann has spent his life enveloped by the therapeutic power and beauty of making music. Alex grew up in Munich. At age three he became fascinated by the intense magic of the church organ. He started piano at six, formal organ lessons at 12 and harpsichord at university (along with theatre theory, medieval Latin and jazz piano.) He is in huge demand as a director, soloist and chamber player, traveling the world with leading North American and European ensembles. He is Artistic Director of the Pacific Baroque Orchestra in Vancouver and teaches at the University of British Columbia where he directs the Baroque Orchestra Mentorship Programme.
Alex has appeared on more than 100 recordings, including the Juno-award-winning album “Prima Donna” with Karina Gauvin and Arion Baroque orchestra. His latest album series “The Art of Improvisation” (Volume 1: A Prayer for Peace; Volume 2: Ad libitum; and Volume 3: Canavian Variations, released on Redshift, 2024) unites his passions for both baroque music and improvisation on organ, harpsichord, and piano.
