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CARNIVAL: June 11-18, 2017
Concurrent Events

Lectures and Demonstrations

Wednesday, June 14 at 10am
Wilbur/Colonial Ballroom, Courtyard Marriott Boston Downtown
How Music affects your Brain

Hearing music and making music is a multisensory and motor experience. Music moves us, creates emotions, and it engages pleasure and reward regions in our brain. Boston-area researchers will review and discuss the newest research on how music making changes brains and if applied appropriately can heal and repair the mind and brain. Panelists: Drs. Lisa Wong, Psyche Loui, Suzanne Hanser, and Gottfried Schlaug.

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Wednesday, June 14 at 1pm
Wilbur/Colonial Ballroom, Courtyard Marriott Boston Downtown
Aristocratic Women Amateurs and the Politics of Virtuosity: Placing the 18th-century Pardessus de Viole in its Social and Cultural Context; moderated by Tina Chancey

A panel of luminaries will present scholarly papers about the pardessus and discuss topics such as pastoral music and instruments, professional vs. amateur performers in the 18th century, and women's music and a new concept of virtuosity.

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Wednesday, June 14 at 4pm
Emmanuel Church
PRE-CONCERT TALK: The Martyrdom of St. Vitus, his tutor, and his nanny; presented by Ellen T. Harris, Class of 1949 Professor Emeritus at MIT

In this first of two pre-concert talks by the eminent musicologist Ellen T. Harris, learn more about Bernardo Pasquini’s 1687 oratorio, Il San Vito, during this engaging and entertaining lecture prior to its modern-day premiere by Concerto Romano in their BEMF début.

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Thursday, June 15 at 10am
Wilbur/Colonial Ballroom, Courtyard Marriott Boston Downtown
Foot revolution: Rediscovering the lost pedal techniques on the harps in French music of the 18th century; presented by Dr. Maria Christina Cleary

In connection with her recently completed dissertation, “The ‘harpe organisée,’ 1720–1840: Rediscovering the lost pedal techniques on harps with a single-action pedal mechanism,” Maria will talk about the basis of the historical techniques, the French repertoire for the harp, Mozart in Paris, and her new hobby of 18th-century footwear.

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Thursday, June 15 at 2pm
Wilbur/Colonial Ballroom, Courtyard Marriott Boston Downtown
What is all that dancing doing in Baroque opera?; presented by Erica Levenson

Due to an injury, Rebecca Harris-Warrick will be unable to join us. Her colleague at Cornell University—Erica Levenson—will present a lecture on the topic in her place.

Having recognized that the dancing found in every act of every French opera is dramatic and not merely decorative, musicologist and dance historian Rebecca Harris-Warrick spent years investigating scores, librettos, dance notations, and written accounts that together form a composite picture of operatic dancing. The resulting book, Dance and Drama in French Baroque Opera, is the basis for this illustrated lecture, which shows that no interpretation of a Baroque opera can be complete without taking the dancing into account.

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Thursday, June 15 at 7:15pm
New England Conservatory’s Williams Hall
PRE-CONCERT TALK: Eyewitness to the Resurrection: An angel, a devil, two mourning women, and an evangelist react in Handel’s Roman musical extravaganza; presented by Ellen T. Harris, Class of 1949 Professor Emeritus at MIT

Join world-respected Handel scholar Ellen T. Harris, as she illuminates the brilliance of George Frideric Handel’s monumental oratorio, La Resurrezione, prior to the performance by the BEMF Orchestra and Soloists.

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Friday, June 16 at 10am
Wilbur/Colonial Ballroom, Courtyard Marriott Boston Downtown
Campra’s Le Carnaval de Venise: Modernity and Paris Opera (1690–1715); presented by Benoît Dratwicki, Artistic Director, Centre de musique baroque de Versailles and Barbara Nestola, Musicologist, Centre d’Études Supérieures de la Renaissance

Le Carnaval de Venise is an emblematic work of the revival of French opera after the death of Lully. Alongside Desmarest, Colasse, Destouches and Marais, Campra embodies this modernity by imagining a new genre, a new style, and a new aesthetic, giving pride to Italy. But the work is also part of a remodeled Parisian musical life, following the departure of the Comédie-Italienne and the tough competition from the Comédie-Française. During this lecture, Benoît Dratwicki and Barbara Nestola will explore the artistic and institutional challenges presented by this great opera.

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Friday, June 16 at 11am
Wilbur/Colonial Ballroom, Courtyard Marriott Boston Downtown
Rediscovering and staging Puppet parodies for the King! presented by Jean-Philippe Desrousseaux, actor, puppeteer, and stage director and Françoise Rubellin, Professor at the University of Nantes, Director of the Fair Theater and Italian Comedy Studies Center

The birth of opera in France in the 17th century and its further development in the 18th century led to numerous parodies at the Comédie-Italienne and fairground theaters, works that took the original operas as their targets. Having identified more than 260 parodies from the 18th century alone, Professor Rubellin’s and Mr. Desrousseaux’s presentation will include images and video extracts from Lully’s Atys en folie, Rameau’s Hippolyte and Aricie, and others. Rumor has it that a marionette or two might make an appearance!

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Friday, June 16 at 12:30pm
Wilbur/Colonial Ballroom, Courtyard Marriott Boston Downtown
BEMF Recording Symposium
Newly Vibrant Classical Labels and Affordable Recording Technology; presented by Christopher Greenleaf

Recording is integral to a musician’s career. Downloading and the disappearance of record stores have redefined the marketplace, but technical innovations and some rather smart labels have dramatically revamped the appeal, sonics, and availability of classical albums. New releases flow from recording sessions worldwide. Self-produced videos with striking sound are boosting CD sales, due in part to portable, affordable new technology on a high level. A weather report for all of us!

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Saturday, June 17 at 10am
Wilbur/Colonial Ballroom, Courtyard Marriott Boston Downtown
Producing and Performing André Campra’s Le Carnaval de Venise

Join us for an engaging conversation about the evolution of BEMF’s North American premiere production of Campra’s Le Carnaval de Venise. Rebecca Harris-Warrick, Professor of Music at Cornell University, moderates a panel of specialists—including Paul O’Dette and Stephen Stubbs, BEMF Musical Directors; Gilbert Blin, BEMF Stage Director and Set Designer; Robert Mealy, Concertmaster of the BEMF Orchestra; Benoît Dratwicki, Artistic Director, Centre de musique baroque de Versailles; and Barbara Nestola, Musicologist, Centre d’Études Supérieures de la Renaissance—as they explore the meticulous research and careful attention that has been undertaken to bring this opéra-ballet to the stage.


Admission is free with a Festival Pass.

Festival Week Pass ($40) provides you with admission to the Exhibition, the BEMF CD Store, Symposia, Dance Workshops, Performance Masterclasses as auditors, Family Day, and Pre-Opera Talks for the entire week, as well as discounts to select Fringe Concerts. Festival Week Passes may be purchased in advance from the BEMF Box Office; Week Passes and Day Passes ($10) will be available at the BEMF Welcome Center at the Courtyard by Marriott Boston Downtown or at any of the above events during the Festival week.