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When:
2/18/2012 - 2/19/2012
8:00 PM - 10:00 PM

Where:

AT&T Center Theatre
1150 South Olive Avenue
Los Angeles, CA 90015

Event Website
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Bach's Wedding Cantatas

At first it might not seem like the French writer, Sidonie-Gabrielle Colette, best known as the author of the popular 20th century novel Gigi, and baroque composer Johann Sebastian Bach would have much in common. But Bach may well have appreciated Colette’s assertion that “music is love,” as audiences will discover when Musica Angelica Baroque Orchestra presents “Bach’s Wedding Cantatas” on Saturday, February 18 at 8 p.m. at AT&T Center Theatre in Los Angeles and Sunday, February 19 at 3 p.m. at First Presbyterian Church in Santa Monica.

The program will include Bach’s Cantata No. 202 “The Wedding Cantata” and Cantata No. 210 “Oh, lovely day, longed for time.” Soprano Mary Wilson, hailed as “a gift from the gods” for her “exquisite singing” by San Francisco Classical Voice, will join the renowned orchestra as guest soloist.

“The Bach Wedding Cantatas are extremely poignant as they explore all the
emotions that one experiences when approaching that life-changing event – everything from self reflection to bursting joy,” explains Wilson. “As a happily married woman, I especially find personal connections to this music. These
cantatas are so beautiful and still as relevant as ever. If you've ever
experienced any love at all, you will be able to personally relate to this
music.”

But the wedding cantatas celebrate more than love, adds General Manager Laura Spino. “It’s almost impossible not to think of spring when you think of weddings,” Spino explains. “Both celebrate hope and new beginnings. As the opening line of The Wedding Cantata says, ‘Yield I say, ye brooding shadows, frost and tempests, take your rest!’ ”

Also on the program is J.S. Bach’s Concerto for Oboe in D minor, after BWV35/156, featuring oboist Gonzalo Ruiz.

“The Oboe concerto is a reconstruction from two of Bach's Cantatas – the outer movements from Cantata 35 and the inner movement from Cantata 156 – which prominently feature the oboist as soloist,” says Ruiz, who has served as principal oboist of Musica Angelica since its inception. “It is speculated that Bach himself recycled the oboe work into his cantatas and that the original manuscript was lost. Of all the Bach reconstructions for oboe, this one is the most spectacularly challenging for the oboist, a stunning showpiece that tests the soloist's virtuosic abilities.”

Musica Angelica’s Cynthia Roberts will appear as a guest soloist as well, when the baroque orchestra rounds out its evening of works by J.S. Bach, presenting the Violin Concerto in A minor BWV 1041. Roberts, a leading advocate of the baroque violin in the U.S., recently appeared at the Mostly Mozart Festival in a solo performance of Bach's Sonatas for Violin & Violin & Harpsichord and has participated in recordings of the complete Brandenburg Concertos.

Musica Angelica is especially grateful for the generous sponsorship received from The E. Nakamichi Foundation and Frank & Betty Pinkerton in support of these concerts. Tickets for The Bach Wedding Cantatas are reasonably priced, ranging from $29 to $49/person, with seniors receiving a 10% discount ($26 to $44) and students a special price of only $15 with valid identification. In addition, members of KUSC and SCEMS receive $10 off single ticket prices. For more information or to order tickets, visit www.musicaangelica.org or call 310.458.4504.
AT&T Center Theatre is located at 1150 South Olive Street in Los Angeles, 90015.
First Presbyterian Church is located at 1220 2nd Street in Santa Monica, 90402.

ABOUT THE ARTISTS

Mary Wilson, soprano

Soprano Mary Wilson is acknowledged as one of today's most exciting young artists. Cultivating a wide-ranging career singing chamber music, oratorio and operatic repertoire, her “bright soprano seems to know no terrors, wrapping itself seductively around every phrase.” (Dallas Morning News) Receiving consistent critical acclaim from coast to coast, “she proves why many in the opera world are heralding her as an emerging star. She is simply amazing, with a voice that induces goose bumps and a stage presence that is mesmerizing. She literally stole the spotlight…” (Arizona Daily Star)

In high demand on the concert stage, she has most-recently appeared with the Los Angeles Philharmonic, Philadelphia Orchestra, Cleveland Orchestra, St. Louis Symphony Orchestra, Cincinnati Symphony Orchestra, St. Paul Chamber Orchestra, Los Angeles Master Chorale, Detroit Symphony, Delaware Symphony Orchestra, San Antonio Symphony, Jacksonville Symphony, Virginia Symphony, Buffalo Philharmonic, Jacksonville Symphony, Dayton Philharmonic, VocalEssence, and at the Hollywood Bowl.

She has worked with conductors including Nicholas McGegan, Bernard Labadie, Martin Pearlman, Martin Haselböck, JoAnn Falletta, Michael Stern, Anton Armstrong, Philip Brunelle and Leonard Slatkin. An exciting interpreter of Baroque repertoire, especially Handel, she has appeared with Philharmonia Baroque, Musica Angelica, American Bach Soloists, Boston Baroque, Grand Rapids Bach Festival, Bach Society of St. Louis, Baltimore Handel Choir, Florida Bach Festival, Brooklyn Academy of Music, the Casals Festival, and the Carmel Bach Festival. With the IRIS Chamber Orchestra, she sang the world premiere of the song cycle “Songs Old and New” written especially for her by Ned Rorem. She was named an Emerging Artist by Symphony Magazine in 2004 in the publication’s first ever presentation of promising classical soloists on the rise.

On the opera stage, she is especially noted for her portrayals of Zerbinetta in Ariadne auf Naxos, Susannah in Le Nozze di Figaro, and Gilda in Rigoletto. She has created leading roles in North American and World premiere performances of Dove’s Flight, Glass’ Galileo Galilei, and Petitgirard’s Joseph Merrick dit L’Elephant Man. She has appeared most recently with Opera Theatre of St. Louis, Minnesota Opera, Boston Lyric Opera, Dayton Opera, Arizona Opera, Tulsa Opera, Mississippi Opera, Southwest Opera, Brooklyn Academy of Music and the Goodman Theatre.

An accomplished pianist, Ms. Wilson holds performance degrees from St. Olaf College in Northfield, Minnesota, and Washington University in St. Louis, Missouri. She currently resides in Memphis, Tennessee, with her husband and son.

Cynthia Roberts, violin

Cynthia Roberts is one of America's leading advocates of the Baroque violin. She serves as concertmaster of New York's Concert Royal (James Richman, director), and Cleveland's Apollo's Fire (Jeannette Sorrell, director) as well as making regular appearances in this role with Paris-based Les Arts Florissant (William Christie, director) and the New York Collegium (Andrew Parrott, director). In addition, she performs regularly with the North America's most prominent period instrument ensembles, including Tafelmusik, Philharmonia Baroque Orchestra, and the Handel & Haydn Society. She has also performed with the London Classical Players, Aston Magna, Mostly Mozart Orchestra of Original Instruments and the Taverner Players, and is currently a principal player of the Carmel Bach Festival.

At age 12, Ms. Roberts debuted with Chicago's Grant Park Symphony, performing the Mendelssohn Concerto, and three years later appeared as soloist with the Boston Pops. Recent highlights include a national broadcast on NPR's Performance Today of Bach's Fourth Brandenburg Concerto, a solo performance of Bach's Sonatas for Violin & Violin & Harpsichord at the Mostly Mozart Festival, recordings of the complete Brandenburg Concertos and Monteverdi's Orfeo with Apollo's Fire, chamber music at the Prague Festival and the Boston Early Music Festival. She has made more than fifty recordings on such labels as Sony Classical, BMG/Deutsche Harmonia Mundi and Electra, as well as numerous broadcasts for NPR, CBC and WDR.

Ms. Roberts is on the faculty at The Julliard School and the University of North Texas.

Gonzalo Ruiz, baroque oboe

Gonzalo X. Ruiz is one of America's most sought after historical woodwind soloists and was recently appointed to the faculty of The Juilliard School. In recent seasons he has appeared as principal oboist and soloist with leading groups in the US and Europe with ensembles such as Philharmonia Baroque, The English Concert, the Boston Early Music Festival Orchestra, Sonnerie, and has been the principal oboist of Musica Angelica since its inception. He has performed under such conductors as McGegan, Savall, Manze, Antonini, Huggett, Goodwin, Haselböck, and Egarr. Critics have called him "one of only a handful of truly superb baroque oboists in the world" (Alte Musik Aktuell) and "a master of expansive phrasing, lush sonorities, and deft passagework" (San Francisco Chronicle).” For years he has taught at Oberlin Conservatory and the Longy School of Music and his former students now fill the ranks of many top groups across the country. He is an acknowledged expert in historical reed techniques and examples of his work are on permanent display at the Metropolitan Museum of Art. Equally accomplished on the modern oboe, Ruiz has been principal oboe of the Buenos Aires Philharmonic and the NewCentury Chamber Orchestra.

MUSIC DIRECTOR Martin Haselböck

Martin Haselböck, appointed Musica Angelica's music director beginning with the premier Baroque ensemble's 2005-06 season, has distinguished himself in many ways on the international music stage. Equally at home with period- and modern-instrument ensembles, he has earned an outstanding reputation as a solo organist, an orchestral and opera conductor and composer. Haselböck's main focus lies in works of the Baroque and Classical periods.

As a solo organist, he has performed under the direction of conductors Abbado, Maazel, Muti, and Stein, has won numerous competitions and has made more than fifty solo recordings. Additionally, he has conducted over 60 recordings, with repertoire ranging from Baroque to 20th Century vocal and instrumental works. This prodigious output has earned him the Deutsches Schallplatten Critics' Prize as well as the Hungarian Liszt Prize.

While in his official role as Court Organist for Vienna, where he was responsible for an extensive repertoire of classical church music, Haselböck began an intense commitment to conducting, which led to his founding the now-famous Vienna Akademie Ensemble in 1985. With this period instrument orchestra, Haselböck established a year-round cycle of concerts for the Gesellschaft der Musikfreunde in the Great Hall of the Vienna Musikverein.

Haselböck frequently guest conducts major orchestras including the Vienna Symphony, St. Paul Chamber Orchestra, Deutsches Symphonie Orchester Berlin, Dresden Philharmonic, Hamburg Symphony, Flemish National Philharmonic, Radio Orchestra Hilversum, the Toronto Symphony and the National Philharmonics of Hungary, Czech Republic, Slovakia, and Slovenia. In the United States, he has conducted the Pittsburgh Symphony, Philadelphia Orchestra, San Francisco Symphony, the Detroit Symphony and the Los Angeles Philharmonic. He has also been a guest with his Vienna Akademie as Artist-In-Residence with numerous festivals including those of the Cologne Philharmonic, Suntory Hall in Tokyo, and MozartFest in Würzburg.

As an opera conductor, he made his debut with the Handel Festival in Göttingen. He regularly appears at the Zürich Opera and he conducted new productions of Mozart operas at the Theatre im Pfalzbau Ludwigshafen, using historic instruments for the first time in Germany’s modern history. In 2000-01 he created new productions of Händel's "Acis and Galatea," Gassmann's "La Contessina," and Haydn's "Die Feuersbrunst" with his Vienna Akademie, following in 2002 with productions at the Festival in Schwetzingen (Benda's "Il buon marito") and Salzburg (Händel's "Radamisto"). In 2004, he led productions of Händel's "Il trionfo del tempo" (Salzburg Festival), Mozart's "Il re pastore" (Klangbogen Wien), and Händel's "Radamisto" (touring to Spain, Istanbul, Venice, Israel, and the Concertgebouw in Amsterdam). He also conducted the U.S. premiere of Porpora's "Il Gedeone" in a concert version with Musica Angelica in Los Angeles.

When not conducting, Haselböck is busy unearthing long lost vocal/instrumental works in the dusty archives of Kiev and Vienna, finding unpublished gems by Biber, Porpora, Fux, Muffat, and the Bach family, which he transcribes and resurrects in historical re-creations for his Vienna Akademie Ensemble and festivals around the world.

Where:

AT&T Center Theatre
1150 South Olive Avenue
Los Angeles, CA 90015
2/18/2012 - 2/19/2012
8:00 PM - 10:00 PM


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