L'Amant with LOTNY

 

L'AMANT ANONYME

By Chevalier de Saint-Georges, libretto by Desfontaines after Mme. de Genlis

MAR 12, 2016 - MAR 20, 2016

Conductor: Elliot Figg
Adaptor & Director: Philip Shneidman
Art Director: Sanford Biggers
Lighting Designer: Nick Solyom
Production Stage Manager: Aaron Heflich Shapiro
Asst Stage Manager: Giles Horne

In collaboration with New Vintage Baroque

Featuring

Valcour: Everett Suttle *, Bernard Holcomb +
Léontine: Jennifer Moore *, Jenna Siladie +
Ophémon: Jesse Malgieri *, Joseph Flaxman +
Jeannette: Marie Masters *, Lily Arbisser +
Colin: , Anthony Webb +,Vincent Festa * 
Dorothée: Aude Cardona

*performances on 3/12, 3/15, 3/17, 3/19
+performances on 3/13, 3/16, 3/18, 3/20

The Grimm's Fairytales

Grimms

New Vintage Baroque presents The Grimm’s Fairy Tales @ National Sawdust

New Vintage Baroque and Oracle Hysterical join forces to premierea full length song cycle of the Grimm Brothers for Baroque chamber ensemble and vocalists. These Grimm’s stories live in the world of oral folk tales -- which are variously funny, poignant, and macabre.  The appeal of these folk tales connects the 21st century to archetypal dream-memory, where the essential questions of family, adventure, justice, and transformation work out over countless generations.  

Venue: National Sawdust 80 N6th Street, Brooklyn NY.

Date: 21 October 2016

Grim fairy tales: Baroque band plays creepy kids’ stories
— Brooklyn Paper

The Characters and the Catch

Lewis Walpole Library presents New Vintage Baroque “The Characters and the Catch”

Inspired by the “Character Mongers” fall exhibition at the Lewis Walpole Library, New Vintage Baroque presents an evening of Characters and the Catch. The 18th century saw rise to the most historic and prosperous middle class. Master craftsmen, merchants, joiners, tailors, brewers, tutors, clothiers and professionals alike labored hard and played even harder. Leisure time activities became a force unto themselves and music was at the very top.  

The masses flocked to opera houses, theaters, churches, music clubs, and pleasure gardens. Thanks to the printing press, collections of the most popular arias, airs, catches, rounds and glees were at everyones fingertips. To keep up with the demand for entertainment amateur musicians played part books filled with sonatas, duets and trio sonatas. But these weren't your average amateurs, these musicians were almost as exceptional as the music they were playing.

Venue: First Church of Christ, Congregational, Farmington CT.

Date: 23 September 2016

The Vauxhall Gardens!

Vauxhall Gardens

The Lewis Walpole Library Presents "The Vauxhall Gardens! " A Concert by New Vintage Baroque

Saturday, April 23, 2016

7 pm

The First Church of Christ, Congregational

75 Main Street, Farmington, Connecticut

Free and Open to the Public

The Lewis Walpole Library is delighted to introduce the first in a series of free chamber concerts featuring works from the Library's collection of eighteenth-century music, performed by the New York-based ensemble New Vintage Baroque.

The first performance, The Vauxhall Gardens!, will be held at the the First Church of Christ, Congregational, Farmington, on Saturday, April 23, at 7 p.m. New Vintage Baroque will be performing works by G. F. Handel, William Boyce,  Carl Friedrich Abel,  J. C. Bach, and catches performed at Vauxhall Gardens. 

Vauxhall Gardens, the first of the pleasure gardens in Georgian London, was a site of social gathering and artistic display, open from May through September. People from all sectors of the city's fashionable society met to enjoy the evening's theatricals, musical performances, and diverse other entertainments. 

New Vintage Baroque is an adventurous period instrument ensemble dedicated to the creation of a 21st-century repertoire for early instruments. Inviting audiences to examine their relationship with both the past and the present, their shows inventively weave together narration, new commissions, and music of the Baroque.

Yale University Library
The Lewis Walpole Library
154 Main Street
Farmington, CT 06032
Tel: 860-677-2140
Fax: 860-677-6369
www.library.yale.edu/walpole

The Craftman's Hammer

The Craftsman's’ Hammer

New Vintage Baroque seeks to engage in a musical dialogue around questions of work, community, and identity. How does what we do "for a living" define us and the communities we live in and engage with? The program includes 18th century folk music as defined by Telemann and Corrette, three world premieres commissioned by NVB, and Louis Andriessen's jagged and unrelenting Workers Union.

Concert Dates: 26, 27 September 2015

Venues: Holy Trinity Lutheran Church, New York NY.

Repertoire:

Jonathan Dawe The Hammer and the Hammerer (2015)

Louis Andriessen Workers Union (1975)

Joseph Rubinstein A Clear View (2015)

George Telemann Völker-Ouvertüre TWV 55:B5

Dorian Wallace The Fifth of November (2015)

CH

The Body Untied

New Vintage Baroque ushers in the new year with The Body Untied. This program features a new commission by Simon Frisch, a song cycle exploring the legacy of historic French queen (twice over) Anne of Brittany (1477 - 1514). As the last duchess of an independent Brittany, and a ferocious diplomat and patron of the arts, she surpassed her circumstances to live a life of enormous consequence for Europe. The cycle traces the arc of Anne's coercion into the French crown and legendary forty-day funeral, and ruminates on her embodiment, even centuries later, of the resilient spirit of the Breton. The texts, infused with chilling winds, sea salt, flora, violence, and mourning, are drawn from her court, funeral rites, and contemporary Anglo-Breton poet Claire Trévien. Interspersed are dances and Baroque court music of Couperin and Lully, guided with narration of Anne's life and influence.

The Danner Loft, Soho $ 55

January 14th @ 6pm

Be the first to hear this unique program in a gorgeous and intimate SoHo loft, while sipping on a hot toddy. Limited seating.

Lightbox $30/$10

January 15th @ 7:30pm

Lightbox offers an immersive experience of The Body Untied, with projection installations by artist Rachel Libeskind.

Holy Trinity Lutheran Church ($30/20/10)

January 17th @ 5pm

Holy Trinity Lutheran church will be illuminated with projections by artist Rachel Libeskind in this final, afternoon performance of The Body Untied.

QB

Dance Dance Dance!

Dance Dance Dance!

Join us on June 15th for a new experiment in nightlife—Present Perfect: bringing the best of past entertainment to the thrill of the present.

Chamber ensemble New Vintage Baroque, praised by the New York Times as "polished and expressive" will be playing two sets under the auspices and remixing brilliance of DJ OBaH. It's sure to be a night to remember!

Uniting dance music from across the centuries, our premier outing takes place at Sanatorium, the newest club from the genius behind Apotheke. Powered by Amanda + James, Present Perfect is the latest in our offerings bridging artistic disciplines in radical contexts.

Located at 14 Ave C (at Houston) Doors are at 9PM; Live Sets at 10 and 11PM.

Early Bird Tickets $45, are available but limited, click the poster below to grab yours now!

General Tickets $55

Door Sales $65

Dance Dance Dance

Rinaldo with Boston Opera Collaborative 

Handel’s brilliant opera, performed in an action-packed 90 minutes. Following the resounding success of sold out season opener Les Lettres de Werther , Boston Opera Collaborative will present their second opera of the season, Handel’s Rinaldo , in collaboration with New York’s New Vintage Baroque ensemble. Rinaldo , which was performed more than any other opera during Handel’s lifetime, is a story about the conflict of war, love and personal desires vs. the greater glory. Rinaldo will be performed in Italian with English supertitles at the Benjamin Franklin Institute of Technology in a hall that is a one third size replica of Symphony Hall. With just 160 seats in this performing space, the audience will enjoy this tale of love, battle and redemption right in the midst of the action.

With this production, BOC continues its commitment to performing shorter works in intimate settings Rinaldo will be presented in just 90 minutes of dramatic and thrilling musical storytelling. Conductor Michael Sakir speaks about BOC’s exciting collaboration with New Vintage Baroque for Rinaldo: “ What drew me to NVB was their focus on theater and drama. They are unique among early music ensembles in that they fuse storytelling with the exciting and sublime music of the Baroque era. What better group to play one of Handel's most thrilling and beautiful operas?” Sakir also commented on the quality and focus of this new production: “ I'm personally very excited about BOC's RINALDO because this will be unlike any production of the opera seen before. BOC Artistic Directors Greg Smucker and PatriciaMaria Weinmann and I have truncated what was already a very exciting Handel opera and made it into an even tighter and more engaging 90minute production. ”

PERFORMANCES: Thursday, March 26, 8:00 p.m. Friday, March 27, 8:00 p.m. Saturday, March 28, 8:00 p.m. Sunday, March 29, 4:00 p.m.

VENUE Benjamin Franklin Institute of Technology 41 Berkeley Street, Boston, MA 02116

Conductor: Michael Sakir

Directors: Greg Smucker and PatriciaMaria Weinmann

The orchestra, the New York-based New Vintage Baroque, numbers just nine, but on Thursday its graceful, songful playing, was a major element in the production’s success.

— The Boston Globe, March 29, 2015

Fated Lovers

Fated Lovers

How is it chat love can bring out the best and worst in us? Apollo, Dido, and even a planter from colonial Virginia all find their place in chis program of old and new music. New Vintage collaborates with Netherlands-based Damask Ensemble to bring you a program of tragedy, seduction, and unrequited love. Featuring the U.S. premiere of Virginiana by composer Gregory Spears alongside works by Purcell, Monteclair, Bohm, and Handel. 

Concert Dates United States: 26, 27, 28 February 2016

Venues: Bruno Walter Library, Times Center Auditorium and St. Luke’s in the Field Church New York, NY.

Repertoire:

If Music Be the Food of Love Henry Purcell

I see, she flies me

What a Sad Fate is Mine

Mein Freund ist mein Georg Böhm

La mort de Didon Michel Pignolet de Montéclair 

Apollo e Dafne, HWV 122 George Frideric Handel 

Virginiana Gregory Spears

Indigogo!

Casanova!

Casanova! 

Lover, lecher, hero, or the ultimate con-man? There is no better way to start off a season of vice than by examining the greatest disciple of sensual pleasure! New Vintage follows the trail of broken hearts (and broken bottles), combining an evening of amorous escapades with music from Casanova's time. Past all of the charm and charisma, who is the man behind the mask? Featuring compositions by Couperin, Clement, Scarlatti, and new commissions by composers Doug Balliett and Elliot Cole.

Concert Date:  10 October 2015

Venue: The Greenwich Music House New York, NY.

Bacchus & the Banner

“Bacchus and the Banner”

The Library for the Performing Arts invited New Vintage Baroque the Bruno Walter Auditorium to help us celebrate the 200th birthday of our rare first-edition copy of the Star Spangled Banner. Here we provided a free outreach concert that informed and entertained audience members about the origins of the Star Spangled Banner and it’s connection with drinking songs and Bacchus, God of wine.  

Concert Date: 25 October 2014

Venue: The Bruno Walter Theater, New York Performing Arts Library, New York, NY

Repertoire:

Anacreon in Heaven (1775/6) Music John Stafford Smith (1750–1836) Words Ralph Tomlinson (1744–1778) 

Henry Purcell (1659–1695)

Wine in a Morning (1684)

“Hail, immortalBacchus!” from Judith (1744)

Thomas Arne (1710–1778)

Arne Trio Sonata No. 2 in G major (1757)
i. Largo 2:08
ii. Con Spirito 3:57
iii. Largo 2:08
iv. Allegro 3:57

André Campra (1660–1744)

“Sous un feüillage épais—Liqueur enchanteresse” from Silène et Bacchus (1714) 

Star-Spangled Banner (first sheet music imprint), 1814

Lyric by Francis Scott Key (1779–1843)

Music by John Stafford Smith (1750–1836)

Arranged by Thomas Carr (d. 1849)

Rameau's "Pygmalion" with Onsite Opera

Pygmalion with On Site Opera

On Site Opera, which has garnered acclaim for immersive, site-specific productions, performed Rameau’s one-act Pygmalion in two unusual—and unusually apt—venues in the summer of 2014, just before the 250th anniversary of the composer’s death.

Rameau’s 1748 acte de ballet is widely considered one of his greatest one-acts. In Ballot de Sovot’s libretto, based on Ovid, the sculptor Pygmalion creates a statue to which he professes his love, and which he asks Venus to bring to life. L’Amour (Cupid) arrives to praise Pygmalion’s artistry and faith in love, and animates the statue. On Site’s new production explored the themes and lessons inherent in the myth.

Concert Dates: 17, 20 21 June 2014

Venues: Madame Tussauds and Lifestyle-Trimco Showroom New York, NY.

Repertoire: Pygmalion by Jean Pierre Rameau

“rhythmic spring and verve...”
— Pygmalion, The New York Times, 06/18/14
“Glorious music, some of Rameau’s best... played here vibrantly and at the right tempo by the
New Vintage Baroque”
— Pygmalion, Seen and Heard International, 06/20/14
“...one could not have wanted anything more.”
— Pygmalion, Voce di meche, 06/18/14

A Bacchus Bender

A Bacchus Bender!

Love. Life. Freedom. Intoxication. New Vintage Baroque finishes its series with a celebration of the god of wine, Bacchus. Whether through drinking songs, amorous arias, or virtuosic displays of instrumental madness, this program explores his many names. Join us as we ask ourselves whether there is more than meets the eye to this cherubic god of libation. Featuring music by Purcell, Campra, Durante, Marcello and a commission from composer Doug Balliett.

Concert Dates: 24 May 2014

Venue: The Greenwich Music House New York, NY.

Repertoire:

Come, Let Us Drink (1695),  Henry Purcell (1659–1695)
Curtain Tune on a Ground from, Henry Purcell “The History of Timon of Athens” (1695)

Wine in a Morning (1684) Henry Purcell
Fill the Bowl with Rosy Wine (1687)

Silène et Bacchus, selections (1714) André Campra (1660–1744)
Sous un feüillage épais & Liqueur enchanteresse, 

Concerto No. 8, “La Pazzia” Allegro, Francesco Durante (1684–1755)

Arianna, selections (c. 1727) Benedetto Marcello
Qual mai gran pena— Se ad appagar volesse

Bacchus (premiere), Doug Balliett (b. 1982)

Ovid's Book Three: Diana Moon Goddess of the Hunt

Diana, Moon Goddess of the Hunt

This concert focuses on Diana, goddess of the hunt, as seen through the eyes of her victims, nymphs, and lovers. In addition to instrumental music by Rebel and Charpentier, the concert features never-before-recorded arias by André Campra and Nicolas Bernier. Ending the program is Actaeon, a retelling of the story Diana and Actaeon by composer and monologist, Doug Balliett.

Concert dates: 13, 14, 15 September 2013

Venues: The Gershwin Hotel and Spectrum New York, NY.

Repertoire: 
Ouverture from Actéon,  Marc-Antoine Charpentier
Les Nymphes de Diane,  Nicolas Bernier
Aminte et Lucrine,  Nicolas Bernier
Les Caractères de la Danse,  Jean-Féry Rebel
Aréthuse, scenes II-III,  André Campra
Actaeon (premiere), Doug Balliett 

FEATURING MEMBERS OF NEW VINTAGE BAROQUE:

• Lindsay McIntosh, Founder and Executive Director, oboe & oboe da caccia
• Doug Balliett, narrator & composer
• Mary Feminear, soprano
• Thea Lobo, mezzo-soprano
• Owen McIntosh, haute-contre
• Francis Liu, violin
• Jude Ziliak, violin
• Elizabeth Weinfield, viola da gamba
• Anthony Albrecht, violoncello
• Pippa Macmillan, double bass
• Kevin Payne, theorbo
• David Ross, traverso
• Nate Helgeson, bassoon

with buoyant pulse and appealing energy.
— The New York Times
NYT

James Kennerley | Keyboard

Hailed as “a great organist” displaying “phenomenal technique and sheer musicality” (Bloomberg News), James Kennerley is a multi-faceted musician, working internationally as a conductor, keyboardist, singer, and composer. A specialist in the realm of early music, he has collaborated with the likes of William Christie, Richard Egarr, Nicholas McGegan, Christopher Hogwood, Monica Huggett, Julian Wachner, and many others. He has given solo harpsichord concerts throughout the United States and Europe to great acclaim and was Music Director of the Carmel Bach Festival VBA program this summer. 

Lauded as an “excellent, true-toned tenor” by New Yorker critic Alex Ross, Mr. Kennerley has performed as a soloist with many ensembles, including the choir of Trinity Church, Wall Street, Saint Thomas, Fifth Avenue, TENET, and the Clarion Music Society. He holds the record for both playing continuo and singing a solo (“Thou shalt break them” from Handel’s Messiah) with the Choir of Trinity Church, Wall Street in performances at Lincoln Center in 2015.

A composer of note, he specializes in music for choral ensembles, and for works that incorporate historic instruments. His 2012 piece Lauda novella was featured as part of the Twelfth Night Festival at Trinity Church, Wall Street; Kennerley was first place winner of the Association of Anglican Musicians 2013 composition competition. Mr. Kennerley made his Lincoln Center conducting debut in 2009 with two performances of a contemporary operetta, The Velvet Oratorio.

A native of the United Kingdom, Mr. Kennerley is Organist and Choirmaster at Saint Ignatius of Antioch Episcopal church, New York City, where he directs the professional choir and coordinates the church’s extensive concert series. From 2008 he held a similar position at the Church of Saint Mary the Virgin, Times Square. His studies were at Cambridge University, UK, and the Juilliard School.

Please visit www.jameskennerley.com for more information.

Noémy Gagnon-Lafrenais| violin

In the recent years, the violinist Noémy Gagnon-Lafrenais has been exploring repertoire through the filter of historically informed practice. Pursuing the quest for a genuine and creative expression of music, she spends much time wondering about the past. She has performed with Arion Baroque, Pacific Baroque Ensemble, Trinity Wall Street and Clarion Music Society. Not only has Noémy benefited from the instruction of Axel Strauss, Monica Huggett, Cynthia Roberts, Elizabeth Blumentstock and Anne Robert, but she was influenced by a countless number of mentors, teachers and colleagues, such as Richard Egarr, Robert Levin, Robert Mealy and Krisitian Bezuidenhout. Transmitting the virtues of music has been one of her passions for many years, as a performer and a teacher. Noémy was a teaching fellow at the Juilliard School and a violin teacher at UC Berkeley Young Musicians Program, Starr King Elementary School (San Francisco), in Montréal and Sherbrooke. She holds degrees from the Juilliard School, the San Francisco Conservatory, and the Conservatoire de Musique de Montréal. 

Ben Matus | Bassoon

Ben Matus has always had a penchant for beautiful and odd sounds.  Growing up in the suburbs of Philadelphia, Ben frequently sang in choirs dedicated to Renaissance Polyphony and practiced his overtone singing on the side.  His parents were in no way surprised that he wanted to learn the bassoon.  Upon completing his BM in modern bassoon at the Eastman School of Music, he found the modern bassoon lacking in both beauty and weirdness.  Studying historical bassoons at the Juilliard School, Ben's appetite for the full range of sonic strangeness and perceptible pulchritude was finally satiated.  Ben performs regularly on replicas of instruments ranging from years 1400-1800 but greatly enjoys playing and listening to music of all generations.  

Jeffrey Girton | Violin

An avid lover of both the contemporary and antique,  Oberlin graduate Jeffrey Girton is an active modern as well as baroque and classical violinist in the greater New York City area.  Girton has served as concertmaster for the New York Youth Symphony, the youth division of the New York City Opera, the Oberlin Chamber Orchestra, Oberlin Sinfonietta and the Oberlin Baroque Orchestra; he has soloed with the Oberlin Baroque Orchestra, the Quito Baroque Festival Orchestra, the National Repertory Orchestra, and most recently was a featured concertino violinist with Juilliard415. Jeffrey Girton is a winner of the New York Youth Symphony's chamber music competition, a two-time performer in Oberlin Conservatory’s Honors Recital Series, a winner of the National Repertory Orchestra concerto competition, a performer in Oberlin Conservatory's Honors Commencement Recital Series, a performer in Boston Early Music's Young Artist Series and a winner of Oberlin Conservatory's Kennedy Center competition. Jeffrey has performed in venues including the Koussevitsky Music Shed, Ozawa Hall, Carnegie Hall, the Metropolitan Opera House, Alice Tully Hall, Kodak Hall, Severance Hall, the Kennedy Center and the Smithsonian. Jeffrey Girton is currently a Masters of Music candidate at The Juilliard School with a concentration in Baroque Violin studying under Monica Huggett, Cynthia Roberts, and Robert Mealy.  

Joseph Rubinstein | Composer

Joseph N. Rubinstein (b. 1986) grew up in Newport News, VA and currently lives in New York City. Joseph’s music is often concerned with dramatic narrative, and he is interested in creating vivid musical characterizations and striking juxtapositions. His art songs, operatic work, choral music, and instrumental chamber music have been recently presented by organizations and individuals including The Manhattan School of Music Opera Theater, American Opera Projects, The Secret Opera, bass-baritone Matthew Burns at the Spoleto Festival USA, North / South Consonance, the Society for New Music, Boston Metro Opera, and C4. He received a BA from Columbia University in 2008, where his primary teachers were Joseph Dubiel and Sebastian Currier. From 2011 to 2013 Joseph was a masters degree student in composition at The Juilliard School, studying with Robert Beaser. Some of

Joseph’s upcoming and recent projects include “Dust World” with bass-baritone Davone Tines, the Canite Quartet, and producers Amanda+James at Pioneer Works , the selection of opera-in-development “Legendary” for a March 2015 performance as part of Opera Index’s “New American Opera Previews” at the Manhattan School of Music, a 2014 commission from flautist Kathleen Winters and the Urbana Public Arts Commission, a 2013-2014 fellowship in American Opera Projects’ “Composers & the Voice” program (with librettist Jason Kim), and the 2012 Brian Israel Prize from the Society for New Music for “Shebesh Variations.” He is also active as a tenor in the New York City area.

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Jonathan Dawe | Composer

The innovative and conjured world of composer Jonathan Dawe oins Baroque imagery with a modernist mix, cast with dynamic dramatic flair. Cited for his “quirky, fascinating modernist variations on earlier styles”(Time Out) his music involves the recasting of energies and sounds of the past into decisively new expressions, through compositional workings based upon fractal geometry. Recent pieces and productions have been described as “music of such vitality and drama” (New York Times) “a brake squealing collision of influence” (Boston Globe) and “provocative.” (Time Out) Described as “one of our most talented and distinctive – yet little ­known – contemporary composers,” (Seen and Heard International) Dawe has received recent commissions from The Italian Academy, The Jack Quartet, and James Levine for the Boston Symphony Orchestra. Jonathan Dawas born in Boston Massachusetts in 1965 and studied at The North Carolina School of the Arts (HS), Oberlin Conservatory (BM) with Richard Hoffmann, and The Juilliard School (MM, DMA) with Milton Babbitt. Upon graduation at Juilliard in 1995 he joined the doctoral faculty where he currently teaches

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