CARNEGIE HALL PRESENTS

Performance Friday, February 17, 2017 | 7:30 PM

TENET

The Secret Lover: Women in 17th-Century Italy

Weill Recital Hall
At a time when women were forced into subservient roles, unforgettably sensuous and expressive music was written by 17th-century singer-composer Barbara Strozzi. Her cantatas and stunning trio for women’s voices showcase her genius for setting text and her boundless melodic invention. The “florid, poised performers” (The New York Times) of TENET also perform duos and trios of Monteverdi, as well as songs and instrumental music by other great composers working in Venice.

Part of Salon Encores.

Performers

  • TENET
    Jolle Greenleaf, Artistic Director

Program

  • KAPSBERGER "Toccata arpeggiata" from Intavolatura di chitarrone, Book I
  • STROZZI "Le tre gracie à Venere"
  • MONTEVERDI "Tornate, o cari baci" from The Seventh Book of Madrigals
  • KAPSBERGER "Capona" from Intavolatura di chitarrone, Book IV
  • PESENTI "Ardo ma non ardisco"
  • A. GABRIELI Anchor che co'l partire
  • STROZZI "L'amante segreto"
  • KAPSBERGER "Passacaglia" from Intavolatura di chitarrone, Book IV
  • MONTEVERDI "Interrotte speranze, eterna fede" from Madrigals, Book VII
  • MERULA Toccata del secondo tono
  • STROZZI "L'Eraclito amoroso"
  • KAPSBERGER "Kapsberger" from Intavolatura di chitarrone, Book IV
  • MONTEVERDI "Ardo e scoprir, ahi lasso, io non ardisco" from Madrigals of War and Love, Book VIII
  • KAPSBERGER "Colascione" from Intavolatura di chitarrone, Book IV
  • STROZZI "L'astratto"
  • CAROLINE SHAW "Dolce cantavi"
  • ANON. "Passacalli della vita" from Canzonette spirituali, e morali (1657)

Event Duration

The printed program will last approximately 80 minutes with no intermission.

Bios

  • TENET


    TENET celebrates its eighth anniversary as one of New York's preeminent vocal ensembles. Artistic Director Jolle Greenleaf has won acclaim for the ensemble's innovative programming, virtuosic singing, and command of repertoire that spans the Middle Ages to the present with a focus on early music. Renowned for their interpretations of Renaissance and Baroque repertoire, TENET features distinguished soloists who shine in one-voice-to-a-part singing and as joined voices in small ensembles. The ensemble sponsors the highly praised Green Mountain Project, giving annual performances of Monteverdi's Vespers of 1610, as well as other vespers that have been newly reconstructed by musical director Scott Metcalfe, including those by Gabrieli, Charpentier, and their contemporaries. A driving force in cultivating the New York City early music community, TENET collaborates regularly with other acclaimed ensembles and organizations, including Dark Horse Consort, Five Boroughs Music Festival, New York Polyphony, and the Sebastians. Highlights from TENET's celebrated New York City concert series include performances of Bach's motets, a three-year cycle of Gesualdo's Tenebrae Responsories, performances of works by Purcell and his contemporaries in celebration of St. Cecilia (music's patron saint), two miniseries of medieval music (The Sounds of Time and The Cycle of Invention), and an original theatrical production that highlights works composed by, for, and about women in 17th-century Italy.


    Jolle Greenleaf


    Soprano Jolle Greenleaf, artistic director of TENET, has been hailed as a major force in the New York early music scene and a leading voice in the field. She is a sought-after soloist for works such as Bach's St. John Passion, St. Matthew Passion, and Mass in B Minor; Buxtehude's Membra Jesu Nostri; Handel's Messiah and Israel in Egypt; as well as for music by Purcell and most notably Monteverdi. Career highlights include tours to festivals such as Costa Rica's International Music Festival, Festival Casals de Puerto Rico, Cuba's Festival de Música Antigua Esteban Salas, Early Music Vancouver, and performances in Denmark and throughout the US. She has performed as a soloist in Bach's St. Matthew Passion with Helmuth Rilling and in Arvo Pärt's Passio, and also collaborated with John Rutter in his Requiem. She can be heard throughout TENET's entire discography and as a soloist on the Grammy-nominated CD Israel in Egypt with the Trinity Baroque Orchestra and Choir of Trinity Wall Street.


    Molly Quinn


    Soprano Molly Quinn has appeared as a soloist with many classical and early music ensembles, including Apollo's Fire, Portland Baroque Orchestra, The Knights, Bang on a Can All-Stars, Clarion Music Society, Early Music Vancouver, Carmel Bach Festival, Catacoustic Consort, Staunton Music Festival, American Classical Orchestra, and Trinity Baroque Orchestra. Ms. Quinn is a frequent performer with New York's early music ensemble TENET, and is featured throughout their discography. She has also garnered acclaim for her genre-crossing work in classical, folk, and contemporary music. She appears regularly with Bang on a Can All-Stars in Steel Hammer, a production that has toured extensively and will travel to Abu Dhabi this year. Other highlights this season include solo performances of Bach's Magnificat with Early Music Vancouver, a debut at the Kennedy Center in the title role of Purcell's Dido and Aeneas with the Folger Consort, and as Papagena in Clarion Music Society's production of Die Zauberflöte.


    Virginia Warnken Kelsey 


    Grammy Award-winning mezzo-soprano Virginia Warnken Kelsey is known for her heartfelt interpretations of the works of Bach, Handel, and their contemporaries. She has been seen on the main stages of Lincoln Center, Carnegie Hall, and Walt Disney Concert Hall, and has been featured as the alto soloist in Handel's Samson, Bach's B-Minor Mass, Handel's Messiah, Mozart's C-Minor Mass, and Bach's St. Matthew Passion at the Spoleto Festival and with Helmuth Rilling at the Casals Festival. Recent highlights include performances with Carmel Bach Society and at the Boston Early Music Festival. Known for her exciting and unique performances of avant-garde 20th- and 21st-century works, she is a founding member of the groundbreaking Grammy-winning alternative ­classical vocal band Roomful of Teeth. In addition to performing, Ms. Warnken Kelsey has taught privately and guest lectured at Yale University, Princeton University, Williams College, Wellesley College, Vassar College, and Dickinson College.


    Hank Heijink 


    Lutenist Hank Heijink has played all over the world with leading ensembles such as the Amsterdam Baroque Orchestra with Ton Koopman, Orchestre d'Auvergne, Mark Morris Dance Group, and The Wooster Group. As a member of the European Union Baroque Orchestra, he toured extensively throughout Europe, Asia, and Scandinavia. Dr. Heijink has collaborated with Richard Egarr, Nigel North, Christina Pluhar, and other notable European musicians, and taken part in productions of Purcell's Dido and Aeneas, Blow's Venus and Adonis, Cavalli's Didone, and Monteverdi's Il ritorno d'Ulisse in patria, among others. As a regular member of TENET, he can be heard on the ensemble's entire discography and as a soloist on Uno + One: Italia Nostra and The Secret Lover. A native of Eindhoven in the Netherlands, Dr. Heijink holds a performance degree from The Hague's Royal Conservatory, as well as a master's degree in computer science and a doctorate in social sciences. When not playing the lute, he writes software for the iPhone.


    Charles Weaver 


    Charles Weaver performs on early plucked-string instruments both as a recitalist and accompanist. Chamber music appearances include those with Quicksilver Baroque Ensemble, Early Music New York, Piffaro: The Renaissance Band, The Chamber Music Society of Lincoln Center, Folger Consort, Blue Heron Renaissance Choir, Musica Pacifica, and the Boston Early Music Festival Chamber Ensemble. He is on the faculty of The Juilliard School, where he teaches historically informed performance on plucked instruments. In 2016, Mr. Weaver was the assistant conductor for Juilliard Opera's production of Cavalli's La Calisto. He also works with the New York Continuo Collective, an ensemble of players and singers who explore 17th-century vocal music in semester-length workshop productions. He has taught at the Lute Society of America Summer Workshop, Madison Early Music Festival, and ensemble singing at the Western Wind Workshop. Mr. Weaver is associate director of music at St. Mary's Church in Norwalk, Connecticut, where he specializes in Renaissance polyphony and Gregorian chant.


    Emily Walhout 


    Emily Walhout  grew up playing the cello and piano, but it was not until college that she discovered her love for Baroque bass lines. While at Oberlin Conservatory, she took up Baroque cello and viola da gamba, thus launching an active career in early music. She was a founding member of both The King's Noyse and La Luna, ensembles consisting of two violins and basso continuo devoted to music of the 17th century. She has played cello, viola da gamba, lirone, and principal bass violin for the Green Mountain Project, Boston Early Music Festival, New York Collegium, Emmanuel Music, Handel and Haydn Society, Seattle Baroque Orchestra, Portland Baroque Orchestra, Trinity Consort (Portland), Les Violons du Roy, Les Boréades de Montréal, and Montreal Baroque Festival. Current chamber ensemble collaborations include Les Délices and Nota Bene Viol Consort. She has toured as a chamber musician throughout North America and Europe, and has recorded extensively with the Boston Camerata, La Luna, and The King's Noyse. 


    Jeffrey Grossman 


    Keyboardist and conductor Jeffrey Grossman specializes in vital, engaging performances of music of the past through processes that are intensely collaborative and historically informed. This season, Mr. Grossman conducts Bach's St. John Passion from the organ with the Sebastians and TENET, performs as featured harpsichord soloist in Bach's Brandenburg Concertos with the Saint Paul Chamber Orchestra, and conducts Handel's Agrippina with Juilliard Opera and Juilliard415. In addition to serving as artistic director of the acclaimed Baroque ensemble the Sebastians, he also performs this year with the Green Mountain Project, Spire Chamber Ensemble, Quodlibet Ensemble, Music in the Somerset Hills, and Bach Players of Holy Trinity. For the past nine seasons, he has also toured parts of the rural US with artists of the Piatigorsky Foundation, performing outreach concerts intended to bring live classical music to underserved communities. Mr. Grossman can be heard on the Avie, Gothic, Naxos, Albany, Soundspells, Métier, and MSR Classics record labels, and has several new CD recordings
    of early music currently in production. A native of Detroit, Michigan, he holds degrees from Harvard College, The Juilliard School, and Carnegie Mellon University.


    Dan Rigazzi


    Dan Rigazzi has been a stage director at the Metropolitan Opera for 10 seasons. In his time there, he has assisted some of the most influential artists in the American theater: Susan Stroman, Mary Zimmerman, Jack O'Brien, and Bartlett Sher. In addition, Mr. Rigazzi has created original work for opera companies around the US. Favorite projects include The Magic Flute for Arizona Opera, Madama Butterfly and La bohème for Ash Lawn Opera, The Tales of Hoffmann for Wolf Trap Opera, and The Rape of Lucretia for Pittsburgh Opera. Mr. Rigazzi made his international debut in 2014 at Teatro alla Scala, assisting Mary Zimmerman with her production of Lucia di Lammermoor. He is a graduate of the Carnegie Mellon School of Drama and an alumnus of the Drama League Directors Project.

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At a Glance

TENET’s program celebrates the splendor of 17th-century Venetian chamber music, both vocal and instrumental. This was a period of tremendous creative ferment and innovation in which the principles that had defined Renaissance music—the gorgeous lines of intertwining polyphony in which words became part of the sonic texture—were increasingly rejected in favor of a style that placed maximum emphasis on the text itself. The new dramatic form of opera was born, and the more intimate madrigal, particularly in the hands of the great Claudio Monteverdi, became a vehicle for new ways to turn poetry into vivid musical utterance. Presiding over this artistic revolution was the city of Venice: a wealthy free republic to which the merchants of Europe and Asia flocked.

TENET has chosen a rich selection of music by Monteverdi and his colleagues. Strongly featured is the sometimes haunting, sometimes humorous music of Barbara Strozzi, a remarkable woman who used her gifts as a virtuoso soprano and composer to play an important role in this male-dominated creative world. We also encounter a fascinating woman of today: Caroline Shaw, the youngest-ever winner of the Pulitzer Prize for Music. Shaw’s “Dolce cantavi” is an exquisite modern re-imagining of an Italian Baroque madrigal.
Program Notes

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La Serenissima: Music and Arts from the Venetian Republic is sponsored by Chubb.
The Italian Ministry of Cultural Heritage and Activities and Tourism has granted La Serenissima: Music and Arts from the Venetian Republic its official support (“Patrocinio”) in recognition of Carnegie Hall’s celebration of Italy’s extraordinarily rich cultural legacy.

Carnegie Hall gratefully acknowledges the support of the Ministry of Heritage and Culture and Tourism in Rome; the Embassy of Italy in Washington, DC; and the Consulate General of Italy in New York.
This performance is part of La Serenissima: Voices and Violins.

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