Saturday, November 26, 2011 at 8pm
Sunday, November 27, 2011 at 3pm
TICKETS ARE STILL AVAILABLE! Online ordering for this concert has ended. Tickets will on go on sale from the Jordan Hall Box Office starting 90 minutes before the performance.
Aaron Sheehan, Orphée
Tenor Aaron Sheehan is critically acclaimed as a versatile performer of music ranging from solo to chamber repertoire. He has appeared as soloist with Orpheus Chamber Orchestra, Boston Baroque, North Carolina Symphony, Les Voix Baroques, Tragicomedia, Concerto Palatino, The King’s Noyse, American Bach Soloists, Handel and Haydn Society, Boston Early Music Festival, Tempesta di Mare, Aston Magna Festival, Charlotte Symphony, Moscow Chamber Orchestra, and Boston Cecilia. His singing has taken him to many venues and festivals such as Lincoln Center, the Metropolitan Museum of Art, Washington National Cathedral, Tanglewood, and the Early Music Festivals of Boston, Regensburg, and San Francisco. Aaron has recorded and toured the U.S. and Europe with Paul Hillier’s Theatre of Voices and with Fortune’s Wheel, and appears on the Grammy-nominated recordings of Lully’s Thésée and Psyché with the Boston Early Music Festival. He can also be heard in the title role on BEMF’s recent release of Charpentier’s Actéon on the CPO label.
Mireille Asselin has been deemed “superb” by the Los Angeles Times and praised by Opera Canada for her “soprano that charms and brightens a room” and “vivacious stage presence.” Mireille completed her Masters of Music at Yale University’s prestigious Opera Program in May 2010, and is currently a member of the Canadian Opera Company’s Ensemble Studio where she this year performs the title role in Handel’s Semele, Contessa Ceprano in Rigoletto, and covers Olympia (Tales of Hoffman) and Lauretta (Gianni Schicchi). Last season she performed Galatea and Servilia in Opera Atelier’s productions of Acis and Galatea and La clemenza di Tito respectively, and appeared on concert stages across North America and in England, most notably at Carnegie Hall where she débuted singing Dona nobis pacem by Vaughan Williams in April 2011. Mireille returns to Carnegie Hall this year in recital, and performs Phénice and Lucinde in Lully’s Armide with Glimmerglass Opera in summer 2012. Please visit www.mireilleasselin.com for more information.
Carrie Henneman Shaw
Carrie Henneman Shaw, a McKnight Artist Fellow, brings a sense of adventure and style to the concert stage as a passionate interpreter of Baroque and contemporary repertoire. Praised as a “major musical force” (St. Paul Pioneer Press), a “cool and precise soprano” (Chicago Tribune), and for “flawless vocal agility” (San Francisco Classical Voice), Shaw collaborates with organizations across the country, such as The Newberry Consort, LIBER, Ensemble Dal Niente, Ensemble 61, Zeitgeist, and the Bach Society of Minnesota. Shaw has given numerous world and U.S. premieres, most recently the U.S. premiere of celebrated French composer Philippe Hurel’s Cantus. This fall, Carrie makes her début on the Chicago Symphony Orchestra MusicNow series, performing works by Aaron Jay Kernis, Donnacha Dennehy, and Kirsten Broberg. Carrie holds degrees from Lawrence University and the University of Minnesota and serves as an instructor at the national Lute Society of America conference in Cleveland. She is co-artistic director of St. Paul–based Glorious Revolution Baroque.
Captivating audiences with exquisite musicality and a voice of arresting beauty, Michael Kelly is quickly establishing himself as one of his generation’s finest artists. This year’s winner of the Joy In Singing Competition and recipient of the 2011 Debut Artist Recital, Michael was recently featured in Satie’s Socrate at New York’s Mostly Mozart Festival with Mark Morris Dance Group, as Coridon in Boston Early Music Festival’s Acis and Galatea, as Aeneas in Purcell’s Dido and Aeneas in San Miguel de Allende, Mexico, in recitals at New York’s Hungarian Consulate and Trinity Church, and in John Corigliano’s The Ghosts of Versailles in Aspen and Schubert’s Winterreise in Houston. He has been a winner in the Liederkranz Foundation’s Song Competition.Michael has performed with Opernhaus Zurich, Chicago Opera Theatre, Gotham Chamber Opera, Festival d’Aix-en-Provence, Tanglewood Music Center, and has been presented in recitals in New York, Houston, Chicago, Switzerland, Germany, France, and Corsica. He holds a Master’s degree from The Juilliard School.
Canadian bass-baritone Olivier Laquerre is a laureate of the Paris and the Verviers (Belgium) international voice competitions, and he is a sought-after soloist. In concert, Mr. Laquerre sings renowned works by Purcell, Bach, Handel, Mozart, Beethoven, and Brahms, among many others. Mr. Laquerre has sung with major orchestras across North America. He is a regular guest soloist at the Boston Early Music Festival, with whom he has recorded four CDs for the CPO label. On stage, his many roles include Escamillo in Carmen, Papageno in Die Zauberflöte, and Figaro in Le Nozze di Figaro. He was an acclaimed Ulisse in Monteverdi’s Il ritorno d’Ulisse a patria with Opera Atelier in Toronto. Olivier Laquerre also created the role of Tsar Theodorus at the Boston Early Music Festival premiere of Johann Mattheson’s Boris Goudenow. Mr. Laquerre can often be heard both on the English and French networks of the CBC.
Dubbed “excellent,” “impeccable,” “limpidly beautiful,” and “Boston’s best,” mezzo-soprano Thea Lobo has appeared under conductors Harry Christophers, Simon Carrington, Martin Pearlman, and Helmut Rilling, has been featured by the Handel and Haydn Society, Carmel Bach Festival, Firebird Ensemble, The Bermuda Festival, Europäisches Musikfest Stuttgart, and toured Japan performing Bach’s St. Matthew Passion under the direction of Joshua Rifkin. She has been Orgando in Handel’s Amadigi with Boston Baroque and L’Enfant in L’Enfant et les Sortilèges with MetroWest Opera, and covered the role of narrator Xiao Qing for the world premiere of Zhou Long’s Pulitzer Prize–winning opera, Madame White Snake, with Opera Boston. Ms. Lobo was a prizewinner at the Bach Vocal Competition for American Singers, a grant recipient of the Julian Autrey Song Foundation, a Lorraine Hunt Lieberson Fellow for Emmanuel Music, and an Adams Fellow for Carmel Bach Festival. During the 2011–2012 season she appears with Emmanuel Music, The Boston Camerata, Tucson Chamber Artists, Cambridge Concentus, and Boston Cecilia.
Jason McStoots has performed around the world and throughout the U.S. in opera, oratorio, and recital. He has been described by critics as “a natural, a believable actor and a first-rate singer,” “light and bluff, but neither lightweight nor bland, and with exemplary enunciation” and as having “a silken tenor voice” and “sweet, appealing tone.” Recent appearances include a Japanese tour of Bach’s St. Matthew Passion and his European début in Christmas Oratorio with the Bach Ensemble in Belgium, both directed by Joshua Rifkin; Monteverdi’s Il ritorno d’Ulisse a patria and 1610 Vespers in Seattle under Stephen Stubbs; and Handel’s Acis and Galatea with the Boston Early Music Festival. He has appeared with such groups as Boston Lyric Opera, Pacific MusicWorks, The Boston Camerata, New Haven Symphony, Tragicomedia, and the Tanglewood Music Center. His recordings include two with Blue Heron, and three with BEMF on the CPO label: the Grammy-nominated recording of Lully’s Pysché, and the new Charpentier and Blow discs.
Megan Stapleton, a native of Texas, most recently took the stage as Nanetta in Verdi’s Falstaff, for which she was hailed as “enchanting” (The Boston Phoenix), and “with an arching lyricism that shimmers like the moon” (The Boston Musical Intelligencer).Megan’s versatility encompasses early to contemporary works.In the field of early music, Megan has performed with SoHIP, the Boston Early Music Festival, L’Académie, and the Accademia d’Amore. She recently sang the role of Venus in Wadsworth’s new opera, Venus and Adonis, and performed the world premiere of Thomas Oboe Lee’s Opus 133 ‘Part the First’, which was written for her. She has also been seen as Lauretta in Gianni Schicchi, Dew Fairy in Hansel and Gretel, Mabel in The Pirates of Penzance, Beauty in Giannini’s Beauty and the Beast, and Ernestine in Offenbach’s Mr. Cauliflower. Megan has been an intern and a young artist with BEMF; this weekend’s production marks her BEMF professional début. Megan earned her bachelor’s and master’s degrees with distinction from Sam Houston State University and New England Conservatory respectively.
With a voice described as “fresh,” “ethereal,” and “elegant,” soprano Brenna Wells is garnering attention for her performances. Her recent operatic roles include La Poesie and La Paix in Les Arts Florissants, Galatea in Acis and Galatea, and Première Nymphe de l’Acheron in the Boston Early Music Festival’s production and Grammy-nominated recording of Lully’s Psyché. Ms. Wells has sung and recorded with such acclaimed ensembles as the BEMF Orchestra, Blue Heron, Britten-Pears Baroque Orchestra, Boston Baroque, Opera Boston, L’Académie, and the Handel and Haydn Society. She has appeared at the London Handel Festival, Aldeburgh Festival, Amherst Early Music Festival, and the BBC Proms. In both 2008 and 2009, she was selected to perform in the annual Early Music Seminars at the Fondazione Giorgio Cini in Venice, Italy. She is featured on two new recordings with BEMF, Charpentier’s Actéon and Blow’s Venus and Adonis, both on the CPO label, and sang First Witch in their production of Dido and Aeneas.
Douglas Williams, “a bass-baritone with a superb sense of drama” (New York Times) and “a formidable stage presence” (Seattle Times), is increasingly being recognized for his work on the opera stage in addition to an already established career as a concert artist. In the 2010–2011 season he made débuts at the Kennedy Center, Lincoln Center, the National Cathedral, and the Frankfurt Alte Oper, in concerts and opera ranging from Monteverdi to Beethoven. This season brings débuts with the Detroit Symphony Orchestra, Alabama Symphony, Opéra de Nice, Mark Morris Dance Group, and a world premiere by the Pulitzer Prize–winning composer Charles Wuorinen. He has collaborated with conductors Sir Neville Marriner, John Nelson, Helmut Rilling, Christophe Rousset, Christopher Warren-Greene, Bruno Weil, Sir David Willcocks, and on numerous projects with Paul O’Dette, Stephen Stubbs, and the Boston Early Music Festival since 2003.