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Cambridge Philharmonic Society

Saturday 19 December 2009 � West Road Concert Hall, Cambridge

Puccini La Bohème

Timothy Redmond

Conductor

Steve Bingham

Leader

Linda Richardson Mimì Bonaventura Bottone Rodolfo Nicholas Garrett Schaunard Graham Stone Benoît, Alcindoro

Tinuke Olafimihan Musetta

Mark Holland Marcello

Stephen Richardson Colline

Steve Jones Parpignol,

Customs Sergeant

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Programme

PUCCINI La Bohème

ACT 1 � A Garret, Christmas Eve

ACT II � The Latin Quarter

Interval

ACT III � At the Toll Gate ACT IV � The Garret, Some Months Later

Ladies and Gentlemen, It gives me great pleasure to welcome you to tonight�s concert performance of La Bohème.

It�s probably true to say that the three greatest Puccini operas � Bohème, Butterfly and Tosca � offer many of us our first introduction to opera. La Bohème was certainly one of the first productions I saw (WNO on tour in 1987) and it has gone on to feature strongly throughout my musical career.

The first opera scene I conducted whilst studying was Mimì and Rodlfo�s Act I finale, the first aria I conducted with a professional orchestra was Mimì�s Donde Lieta and the first track I recorded at Abbey Road was Musetta�s Quando m�en vo. However, tonight�s performance is the first time I have conducted the entire work � so I am delighted that we are being joined by such an experienced and glittering cast!

Whether tonight is your first experience of Puccini�s masterpiece, or whether you have been weeping at it since Pavarotti�s Covent Garden debut, we hope that you enjoy the show.

Timothy Redmond Principal Conductor

Cambridge Philharmonic

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La Bohème Giacomo Puccini (1858-1924)

An Opera in four acts. Libretto by Guiseppe Giacosa and Luigi Illica Based on La Vie de Bohème by Henry Murger

Background The title page of La Bohème gives the source of the libretto as La Vie de Bohème by Henry Murger. However the novel, which was published in 1851, is a compilation of earlier Murger stories rather a single narrative, and it seems that the librettists also used material from an 1849 play, La Vie de la Bohème, which was also based on the stories and was attributed to Murger and his playwright collaborator, Théodore Barrière. Like the opera, the play focuses specifically on two of the characters from the stories, Rodolfo and Mimì, with the librettists also adding new material to flesh out the drama. La Bohème was first performed in Turin on 1 February 1896 under Arturo Toscanini, thereafter rapidly gaining worldwide popularity, and today it remains one of the most frequently performed operas in the repertoire. The Plot The term La Bohème � literally Bohemia � refers to the notional world occupied by non-conformist artists who gathered in and around the Latin quarter of Paris in the 19th century, and it is here that the opera is set. The story centres on the tragic love affair between Rodolfo, a poet, one of a group of four impoverished artists, and Mimì, a seamstress, who lives nearby. Act I opens on Christmas Eve in the freezing cold garret where the four friends live. Rodolfo and Marcello, a painter, are trying to keep warm while the other two - Schaunard, a musician, and Colline, a philosopher - are out trying to earn money. Schaunard returns, having been successful in getting a job with an eccentric Englishman, and the friends decide to dine out on the proceeds. However Rodolfo stays behind to finish some work, and as a result meets Mimì, who calls to get a light for her candle. She is already ill from consumption, and faints into Rodolfo�s arms, dropping her key and candlestick in the process. Rodolfo finds the key, but pretends to go on searching with Mimì, as a result of which their hands touch, and by the end of the Act they have pledged their love for one another. Act II is set later the same evening in a café in the Latin Quarter where the friends are dining out. In the café, Marcello encounters his former lover, Musetta, who is with an aging councillor of state, Alcindoro. She stages a scene, and dupes Alcindoro into going off to get her some new shoes by pretending that one of hers is pinching, and while he is away, she and Marcello make up. The four friends, plus Mimì and Musetta, then make off, leaving the unfortunate Alcindoro to pay the bill.

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Act III is set on a cold February morning at a toll gate near to the Latin Quarter, close to where Marcello and Musetta now live. Rodolfo has left Mimì, apparently jealous of Mimì�s flirting. Mimì seeks help from Marcello, and Rodolfo admits to him that the real problem is that Mimì�s illness is getting worse because of their living conditions. Rodolfo and Mimì decide that they cannot live together, but agree to wait until the spring before parting. Meanwhile, in an ironic twist, Marcello and Musetta also quarrel, and split up. In Act IV we are back in the garret in a repeat of the opening scene, with Rodolfo and Marcello, both alone once again, anguishing over their misfortune. Mimì, who is by now mortally ill, is brought to the garret by Musetta, who has found her, pale and weak, asking to be with Rodolfo again. She is brought inside, and the opera ends with Mimì and Rodolfo being reconciled before Mimì dies, surrounded by her bohemian friends. The Music Puccini�s style was strongly influenced by Wagner, both in his orchestration and in the way he matches the music to the unfolding drama. Like Wagner, Puccini also writes in a continuous style, and the great triumph of La Bohème is the way that the music carries through the story of the two lovers, with glorious arias etc. being woven into the fabric of the music. There are a number of well-known pieces in the opera, notably Che gelida manina (Your little hand is frozen) and O soave fanciulla (O sweet maiden), and the final scene as Mimì dies is one of the most famous in opera. Puccini was himself said to have shed copious tears in the course of writing La Bohème, and it continues to move audiences wherever it is played.

The Principal Characters

Rodolfo (a poet) Bonaventura Bottone (tenor) Marcello (a painter) Mark Holland (baritone) Schaunard (a musician) Nicholas Garrett (baritone) Colline (a philosopher) Stephen Richardson (bass) Benoît (their landlord) Graham Stone (bass) Mimì (a seamstress) Linda Richardson (soprano) Musetta (a singer) Tinuke Olafimihan (soprano) Alcindoro (a state councillor) Graham Stone (bass) Parpignol (a toy seller) Steve Jones (tenor) A Customs Sergeant Steve Jones (bass)

Students, working girls, townsfolk, shopkeepers, street vendors, soldiers, waiters etc., and children

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The Four Acts Paris, ca 1830 Act I � A Garret, Christmas Eve It is Christmas Eve and bitterly cold. Rodolfo and Marcello are in their garret which looks out over the snow-covered roofs of Paris. Marcello is working on his painting �The Passage of the Red Sea�. 1. Questo Mar Rosso... (This Red Sea...) Marcello says that looking at his painting makes him feel even colder, and they despair that they haven�t even enough money to light the stove. It is as cold as his former lover Musetta�s heart, sings Marcello. Love is a stove, they sing, a stove that burns too much, where man is the fuel and woman the spark. 2. Aguzza l�ingegno (Sharpen your wits!) Marcello makes as if to burn a chair on the stove, but Rodolfo has a bright idea, and decides to burn the manuscript of his latest play instead. As they start putting the pages onto the stove, Colline appears, numb with cold, complaining that he hasn�t been able to pawn his books. But then he sees the fire, lit, and they celebrate as each successive Act of the play goes on the flames. 3. Legna! Cigari! (Firewood! Cigars!) Two boys then enter, carrying firewood, cigars, food and wine, followed by the fourth of the bohemians, Schaunard. He has managed to earn money from a job with an eccentric Englishman. They put the firewood on the fire and start on the food as Schaunard goes through the story, telling them how he was instructed to play to a parrot in a cage until it died. But the food is for the dark days to come, he sings: on Christmas Eve they must dine out! 4. Si Può? - Chi È Là? (May I...? - Who is there?) But before they can go, there is a knock on the door. Benoît, the landlord, has come to collect the rent. He sees the money, but the four manage to divert him by plying him with wine. Marcello sings of how he saw Benoît with a woman, and, yes, the landlord admits that he is getting bolder with age, and has a liking for women that are not fat but, well, not thin either, like his wife! What scandalous behaviour for a married man, sing the four friends, and they throw him out.

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5. Al Quartière Latin Ci Attende Momus (To the Latin Quarter and the Café Momus) And now, sings Schaunard, it is time to go to the Café Momus, as they divide the money in preparation for the delights of the evening to come. Rodolfo, however, says he has to stay behind to write a report, and so the other three go off, saying that they will wait for him in the hall. 6. Chi È Là? - Scusi (Who is there? - Excuse me) Rodolfo cannot settle to writing. There is a knock on the door. It is Mimì, a neighbour, asking for a light for her candle which has gone out on the draughty stairs. She is clearly unwell, and faints, dropping her key and candlestick as she falls into Rodolfo�s arms. Rodolfo offers her wine, and then, when she recovers, he picks up the candlestick, relights the candle, and helps her to the door. 7. Oh! sventata, sventata (Oh how stupid, how stupid) But how stupid I am, says Mimì, realising she has dropped her key. They look for it, but both candles are blown out. Eventually Rodolfo finds the key, but he puts it in his pocket before pretending to go on searching with Mimì. 8. Che gelida manina (Your little hand is frozen) Their hands touch, and then, taking hold of her hand, Rodolfo sings the famous Che gelida manina, telling her of his dreams: though he is but a poor poet, none is richer than he, though a pair of pretty eyes can rob him of his treasure... . And what of her? 9. Si, mi chiamano Mimì (I am known as Mimì) Mimì says that her real name is Lucia, but she is always called Mimì. She lives on her own, working at embroidering, making flowers, flowers that speak to her of love and springtime. And when spring comes, its first sweet kiss is hers, and when the flowers open, she rejoices in the perfume that her own flowers cannot match. 10. Ehi! Rodolfo! (Hey! Rodolfo!) Marcello, Schaunard and Colline shout for Rodolfo to hurry up. But someone is with me, he says, telling them to go on ahead. 11. O soave fanciulla (O sweet maiden) Then as Rodolfo turns to Mimì, he sees her framed in the moonlight, and is overcome. He puts his arms around her, and together they sing the famous love duet O soave fanciulla, before they finally leave together to join the others.

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Act II � The Latin Quarter A square in the Latin Quarter. On one side is the Café Momus. Mimì and Rodolfo move about with the crowd. Colline is nearby at a rag shop. Schaunard is buying a pipe and a trumpet. Marcello is being pushed hither and thither by the throng. 1. Aranci! Datteri! (Oranges! Dates!) Amongst the hurly-burly of the crowd, street vendors are shouting their wares, while from the Café Momus comes the sounds of diners placing their orders. Schaunard and Colline haggle with the shopkeepers, Rodolfo buys Mimì a pink bonnet, and Marcello ogles the girls. 2. Chi guardi? (Who are you looking at?) In Chi guardi? we hear the first hint of Rodolfo�s jealousy as the friends take their seats outside the café. Rodolfo introduces Mimì, saying that whereas he is a poet, she is poetry. Parpignol, the toy seller, whom we have heard in the distance, arrives in the square, and the children flock round him, their mothers trying to keep control, as the friends place their orders for the meal. 3. Viva Parpignol! (Long live Parpignol!) Viva Parpignol! sing the children, and they run off, following the toy seller. Marcello asks Mimì about the bonnet that Rodolfo has given her. She replies that she has wanted it for months and in buying it Rodolfo has read what was in her heart, and that anyone who can do that knows love. But Marcello is not so sure, and when Mimì says that love is sweeter than honey, Marcello says, ominously, that it all depends � it is either honey or gall. 4. Oh! Musetta! (Oh! Musetta!) Then to Marcello�s dismay his former lover, Musetta, enters, with a pompous state councillor, Alcindoro, in tow. �Who is she?� asks Mimì, to which Marcello replies that her first name is Musetta, but her last name is Temptation. Musetta, realising that they have seen her, stages a scene, much to Alcindoro�s embarrassment. 5. Quando m�en vo�soletta (As I walk alone) � �Musetta�s waltz� Musetta then launches into a waltz song, singing of how it delights her how people stop to wonder at her beauty, clearly aiming her song at Marcello. The others tell Mimì how Marcello once loved Musetta, but how she then ran off. Meanwhile Musetta continues to work her charms on Marcello, and then, to get rid of Alcindoro, she pretends that a shoe is pinching, and when Alcindoro goes off to fetch another, she falls into Marcello�s arms. �What a finale!� Schaunard exclaims, as the waiter brings the bill.

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6. Chi l�ha richiesto? (Who asked for it?) �So who asked for the bill?� asks Colline. They claim they cannot pay, as we hear the sounds of a military tattoo approaching, with the children and townspeople excitedly looking to see which way it is coming. Musetta tells the waiter that Alcindoro will pay when he returns, and they all make good their escape, Marcello and Colline carrying Musetta, with her one remaining shoe, shoulder high out of the café as the soldiers march past.

~~~~~~~~~~~~~~~~~~~~~~ Interval ~~~~~~~~~~~~~~~~~~~~~~ Act III � At the Toll Gate A toll gate at la Barrière d�Enfer, a gate into Paris near to the Latin Quarter. It is early dawn towards the end of February and everything is covered in snow. To the left is a tavern outside which hangs Marcello�s painting of the Red Sea. Some customs officers are asleep around a brazier, and beyond the gate are street sweepers, stamping their feet in the cold, waiting to be admitted through the gate. 1. Ohè, là, le guardie - Aprite! (Hey, there, guards � Open up!) The street sweepers shout to the guards to open up until finally a sleepy customs official opens the barrier. Singing is heard from the tavern, among which is the familiar voice of Musetta. A group of milkmaids is allowed through the gate, followed by peasant girls on their way to market. 2. Sa dirmi, scusi, qual�è l�osteria...? (Excuse me, which is the tavern...?) Mimì enters, looking around and trying to recognise the surroundings. She asks the customs sergeant for directions to where Marcello the painter works. He points towards the tavern, and Mimì asks a waitress to find Marcello and tell him that she is waiting. 3. Mimì?! - Speravo di trovarvi qui (Mimì?! � I hoped I�d find you here) Marcello comes out of the tavern and sees Mimì. He explains that he and Musetta are staying here for a month, earning his keep from his painting while she sings to the customers. She asks if Rodolfo is there and, yes, says Marcello, he came last night, and asks her to come in. But Mimì says she cannot, saying that although Rodolfo loves her, he also flies into jealous rages, and tells her to find someone else. What is she to do? Marcello says that if they are so unhappy they should not live together. Rodolfo starts to wake, and Marcello says it would be better if Mimì were to leave. She makes as if to go, but lingers outside, listening.

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4. Marcello. Finalmente. (Marcello. At last.) Rodolfo now at last has Marcello alone, and tells him that although he loves Mimì, he cannot live with her. But Marcello begs Rodolfo to change his ways and stop being jealous. 5. Mimì è una civetta... (Mimì is a flirt...) Rodolfo protests that Mimì is a flirt, but Marcello says that he is just making excuses. Yes, sings Rodolfo, he accuses her wrongly... 6. Mimì è tanto malata (Mimì is so ill) ... and the truth is that she is so ill, and can�t last much longer, and he sees that he is only making it worse by having her live in a cold draughty room. But Mimì has overheard, and the three sing together of the tragedy of the situation until a fit of coughing finally gives Mimì away. Rodolfo takes her in his arms. Then from the tavern, Musetta�s brazen voice is heard, and Marcello goes back inside. 7. Addio... Donde lieta usci al tuo grido (Goodbye... Back from whence I came at your call) Having now heard what Rodolfo has said, Mimì decides that they must indeed part, and says goodbye to Rodolfo, singing of how she will return to her scentless flowers to live with her memories. Only one thing, she asks, gather my few treasures together, and she will send someone for them, and keep the pink bonnet as a remembrance of their love. 8. Dunque è proprio finita? (So it is really over?) So Rodolfo and Mimì sing together of parting, of farewell to dreams and farewell also to quarrels, and of how sad and hopeless to be alone in winter. Still, in spring, sings Mimì, the sun will be their companion and consolation. 9. Che facevi? Che dicevi? (What were you doing? What were you saying?) Marcello and Musetta come out of the tavern. Musetta has been flirting, and she and Marcello argue whilst Rodolfo and Mimì, in stark contrast, reaffirm their love for one another. The Act ends with Marcello and Musetta splitting up in a fury, and Rodolfo and Mimì agreeing to wait until spring before they, too, will finally part.

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Act IV � The garret, some months later The scene is as in the opening of Act I, in the garret, with Rodolfo at the table and Marcello at his easel. 1. In un coupë? (In a coupë?) Rodolfo and Marcello are trying to convince each other they are working, but in truth are merely talking, anguishing over their misfortune. Rodolfo pretends that he has seen Musetta in a coupé, dressed like a princess. Marcello counters by saying that he has seen Mimì in a carriage, dressed like a queen. Both pretend not to care, and try to go on with their work. 2. O Mimì, tu più non torni (O Mimì, you won�t return!) But the memory is too much for them and Marcello, looking at a ribbon of Musetta�s, and Rodolfo, looking at Mimì�s pink bonnet, sing of their longing for their lost loves. 3. Che ora sia? L�ora del pranzo ieri (What time is it? Time for yesterday�s dinner) Rodolfo, trying to hide his feelings, casually asks Marcello the time. Time for dinner, he replies, as Schaunard and Colline enter with four bread rolls and a herring. They imagine that they are eating a sumptuous meal, a bottle of water serving as champagne. Colline then pretends that he has been summoned to see an imaginary king, having just been made a minister, and Schaunard proposes a toast to his good health. 4. Gavotta, Minuetta, Pavanella (Gavotte, Minuet, Pavanella) Rodolfo, Marcello and Schaunard propose various dances. Rodolfo and Marcello, pretending to be man and woman, dance together while Schaunard and Colline end up having a mock duel while Rodolfo and Marcello look on in amusement. 5. C�è Mimì, c�è Mimì (It�s Mimì, it�s Mimì) But then Musetta appears, in a state of great agitation. She has brought Mimì, who has only just managed to reach the top of the stairs. Mimì is brought inside and they place her gently on the bed. Musetta tells how she found her, pale and weak with exhaustion, asking to be with Rodolfo again. Schaunard, in an aside to Colline, observes that she won�t live an hour. 6. Ho tanto freddo! Se avessi un manicotto! (How cold it is! If only I had a muff!) Mimì says how cold she is. If only she had a muff! Rodolfo takes her hands to warm them, just as he did when they first met. Mimì calls to each of the friends in turn, and they come to her. �Your Musetta is good�, she tells Marcello. He leads Musetta away.

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She takes off her earrings and asks Marcello to sell them to buy some medicine, and to call for the doctor. She will buy the muff. Marcello and Musetta leave. 7. Vecchia zimarra (Old coat) Colline takes his overcoat, his faithful companion, to pawn it, and rolling it under his arm, makes as if to leave. He bids Schaunard to come with him so that Rodolfo and Mimì can be together. He agrees, and they leave, gently closing the door. 8. Sono andati? Fingevo di dormire... (Have they left? I was pretending to be asleep...) Mimì says she was not really asleep, and tells Rodolfo that she will always love him. �Lovely Mimì!�, he sings. �Am I beautiful still?� she asks. �Beautiful as the dawn�, he replies. �No�, says Mimì, �you should have said beautiful as the sunset�. 9. Mi chiamano Mimì, il perché non so (They call me Mimì, but I don�t know why) And Mimì repeats what she said when they first met in the garret, that she is always known as Mimì, but doesn�t know why. She has come home, sings Rodolfo, and puts the pink bonnet on her head. They remember how it was when they first met, how Rodolfo hid the key, as she repeats, faintly, his words � Che gelida manina � before coughing and falling back, exhausted. Terrified, Rodolfo supports her, as Schaunard returns, followed by Marcello and Musetta. 10. Dorme? Riposa (Is she asleep? She�s resting) Musetta has brought the muff, which Mimì takes. At last, she says, her hands will be warm. Rodolfo bursts into tears. Mimì�s voice fades, and she falls asleep. Musetta warms up the medicine that Marcello has brought, and prays that Mimì will recover: but going to her bed, she sees that she is dead. Look, she is peaceful, sings Rodolfo, but then gradually becomes aware that she is no more, and finally throws himself on her lifeless body as the others look on.

Chris Fisher

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LINDA RICHARDSON Soprano - Mimì

Linda Richardson was born in Cheshire and studied at the Royal Northern College of Music� where she was a Peter Moores Foundation Scholar and winner of the Frederic Cox Award� and then at the National Opera Studio. As an English National Opera Company Principal� her roles have included Virtue in The Coronation of Poppea� Fiordiligi in Così fan tutte� Lauretta Gianni Schicchi� Micaela in Carmen� Gretel in Hansel and Gretel� Gilda in Rigoletto� Zerlina in Don Giovanni� Sophie in Der

Rosenkavalier� Mimì in La Bohème� title roles The Fairy Queen and Alcina� Violetta in La Traviata� Woglinde in Rhinegold� Helena in A Midsummer Night�s Dream and Donna Anna in Don Giovanni. Elsewhere she has sung Karolka in Jenufa� Mimì� Nanetta in Falstaff� Pamina in Die Zauberflöte and Violetta with Opera North� Lisetta in La Vera Constanza at Garsington� Norina in Don Pasquale for Clonter Opera� Fairy Queen in Barcelona� First Niece in Peter Grimes at Netherlands Opera and Amina in Opera Holland Park�s La Sonnambula. She performs extensively on the oratorio and concert platform� and is a frequent recitalist� having sung at the Newbury� Three Choirs and Arundel Festivals. She was a regular soloist with the English Haydn Festival where she sang in world and British premieres of Haydn�s unknown works. Other concert work includes Missa Solemnis� Brahms Requiem with the Northern Sinfonia� Messiah with the English Chamber Orchestra in Spain and Britten�s Les Illuminations with the Netherlands Radio Chamber Orchestra. Recent concerts include an Italian Gala with the City of Birmingham Symphony Orchestra conducted by Carl Davis� Carmina Burana at the Royal Festival Hall and she has appeared as a guest soloist on Friday Night is Music Night on BBC Radio 2. Linda appeared as Annie in Jonathan Dove�s TV opera When She Died on Channel 4. Recordings include Hearts and Flowers� a collection of Victorian Parlour Songs� and Oscar in Un Ballo in Maschera for Chandos. Linda recently recorded the music for an audio play of The Phantom of the Opera broadcast on BBC7 and available on CD. Most recent and current plans include the Countess in Marriage of Figaro and Gilda at Opera North� Violetta at English National Opera� Countess throughout UK and France with Diva Opera� Katya Kabanova with ETO and Mimì in La Bohème with Opera Holland Park.

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TINUKE OLAFIMIHAN Soprano � Musetta

Tinuke Olafimihan studied at the National Opera Studio and made her debut in Les Huguenots at the Royal Opera House, Covent Garden. Subsequently invited to give a Young Artists' Recital at Covent Garden, she has since returned to Covent Garden as Pamina and Papagena in Die Zauberflöte , Ismene in Mitridate and Clara in Porgy & Bess. Ms Olafiminan's international engagements include Le Nozze di Figaro as Barbarina at Aix-en-Provence and at De Nederlandse Opera, and Dido in Dido and Aeneas at the Opera Comique, Paris. Tinuke Olafimihan sang Nedda in Pagliacci for New Sussex Opera and The Indian Queen at the Glasgow International Early Music Festival. Further

international engagements include Violetta in La Traviata at the Coliseu Opporto and performances at the Opera National de Lyon and the Grand Theatre Geneva Opera and Micaela in Bizet�s Carmen in a concert performance conducted by Tim Redmond.

Tinuke Olafimihan has performed at the Albert Hall, St John's Smith Square, the Barbican, Queen Elizabeth Hall, Symphony Hall Birmingham and the Philharmonic Hall Liverpool, with conductors such as Sir David Willcocks, Carlo Rizzi, Nikolaus Hamoncourt, Andrew Parrot, Robert Shaw, Karl Anton Rickenbacher and Andrew Litton. She has made numerous broadcasts for BBC Radio and TV, Classic FM, Swiss, French, Brazilian, Turkish, Nigerian and Canadian Radio and TV. Her recordings include Maria in West Side Story on the Jay label and the Saint-Saens Requiem with the London Philharmonic Orchestra for Cala Records. Her recording of Eliza Doolittle from My Fair Lady won her the Gramophone Award for Best Recording for Music Theatre.

BONAVENTURA BOTTONE

Tenor - Rodolfo Bonaventura Bottone is recognised as one of the leading tenor-actors of his generation, and has performed at many of the world�s leading opera houses. He trained at the Royal Academy of Music in London. The Academy honoured him with a fellowship in 1998.

Bonaventura Bottone�s European engagements include: Italian Singer in Der Rosenkavalier and Capriccio, Alfred in Die Fledermaus, Raoul in Les Huguenots, Cassio in Otello, Count Libenskof in Il Viaggio a Reims, Pirelli in Sweeney Todd and Torquemade in L�Heure Espagnole at the Royal Opera Covent Garden; Alfred in Die Fledermaus at the

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Opera National de Paris Bastille; Italian Singer in Der Rosenkavalier and Alfred in Die Fledermaus at the Bayerische Staatsoper München; Nanki-Poo in The Mikado at the Teatro La Fenice di Venezia; and Italian Singer in Capriccio at the Glyndebourne Festival.

Bonaventura Bottone�s North American engagements include: Italian Singer in Capriccio and Incredible in Andrea Cheniér at the Metropolitan Opera New York; Italian Tenor in Capriccio, Alfred in Die Fledermaus, Loge in Das Rheingold and Pirelli in Sweeney Todd at the Lyric Opera of Chicago; and Pedrillo in Die Entführung aus dem Serail at Houston Opera.

Bonaventura Bottone has enjoyed a long and creatively rich partnership with English National Opera. He has created more than twenty roles with the company and is widely recognized as one of their leading exponents in the Italian lyric tenor repertoire. He has also sung with Welsh National Opera and Opera North. His Loge in Das Rheingold for Scottish Opera is described as �magnificent� by the Grove Dictionary of Opera. He revived the role to critical acclaim in season 2004-5 at the Lyric Opera of Chicago.

Bonaventura Bottone has an extensive concert repertoire which has taken him to many of the world�s leading concert halls. He has sung with numerous prominent international conductors, including: Richard Bonynge, Andrew Davis, Jacques Delacote, Edward Downes, Mark Elder, Rafael Fruhbeck de Burgos, Bernard Haitink, Richard Hickox, Vladimir Jurowski, James Levine, Charles Mackerras , Neville Marriner, Carlo Rizzi and Jeffrey Tate. In April 2009, Edmonton Symphony Orchestra invited Bonaventura to sing Britten�s Serenade for Tenor, Horn and String and Carmina Burana under the baton of William Eddins following a successful Canadian premier of Lili Boulanger�s Faust et Hélène in 2008. Recent engagements include La Bohème as Rodolfo in Brisbane, Menelaus in La Belle Helene for English National Opera, Alfred for the Glyndebourne Festival, Glyndebourne on Tour and the Lyric Opera of Chicago, Torquemade in L�Heure Espagnole at the Royal Opera Covent Garden, his debut at La Scala in five pivotal roles in Bernstein�s Candide and his debut at Los Angeles as Licht in Zerbrochene Krug, Nick in Fanciulla del West for the Royal Opera Covent Garden and the Duke of Dunstable in Patience for the BBC Proms 2009. Future engagements include revivals of L�Heure Espagnole for the Royal Opera House, Covent Garden and Candide in Hyogo and Tokyo, Japan.

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MARK HOLLAND Baritone - Marcello

With recent performances of La Traviata for Birmingham Opera Company and also for the Polish National Opera; the title role Rigoletto and his role debut as Gianni Schicchi in Koblenz; Andrej in Tre Sestri at the Hamburgische Staatsoper; and in Peter Grimes as Balstrode in Modena, Ferrara and Reggio-Emilia; Scarpia in Tosca at Novi-Sad and his US debut as Tonio in I Pagaliacci in Seattle, Mark Holland has consolidated his position as one of Britain's most sought-after baritones. Born in Salford, he studied with John Cameron at the Royal Northern College of Music, was awarded scholarships by the Royal Society of Arts and received a grant from the Peter Moores Foundation, enabling him to study in Italy with Roberto Benaglio. Mark began his career with the Welsh National Opera. His many roles for WNO include the Count in Mozart�s Nozze di Figaro, Figaro in Rossini�s Barbiere di Siviglia, Enrico in Donizetti�s Lucia di Lammermoor the title role in Tchaikovsky�s Eugene Onegin, Baron Douphol in Verdi�s Traviata, Ford in Verdi�s Falstaff, Schaunard in Puccini�s Bohème, the Sacristan in Puccini�s Tosca, and Sonora in Puccini�s Fanciulla del West (which was performed at the Theatre des Champs Elysées in Paris). Holland has also appeared at Opera New Zealand, in Singapore with Royal Philharmonic Orchestra, and with numerous festivals and touring productions in Europe.

NICHOLAS GARRETT Baritone - Schaunard

Nicholas Garrett studied at Trinity College of Music and was the recipient of a Wolfson Foundation Award. He has sung over forty stage roles including Baron Duphol in La Traviata for the ENO, Don Giovanni for Opera Holland Park, Pinellino in Gianni Schicchi at the Royal Opera House, Angelotti in Tosca for the ENO, Escamillo in Carmen for Opera North, Federzoni and Sagredo in Galilee for Grand Theatre de Geneve, Laurent in Therese Raquin for Linbury Studio, Gralsritter in Parsifal for Scottish Opera, Nikitich and

Chernikovsky in Boris Godounov for Opera de Nantes, Fiorello in Il Barbiere di Siviglia, Flemish Deputy in Don Carlos for Opera National de Paris, Wolf and Cinderella�s Prince in Into the Woods for Linbury Studio.

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Nicholas most recently sang Scarpia in Tosca for Opera Holland Park, Escamillo in La tragedie de Carmen for English Touring Opera and was involved with the inaugural 5:15 project for Scottish Opera. Nicholas has recorded Zuniga from Carmen; Ernesto from The Thieving Magpie for Chandos and was the narrator for Enoch Arden in Richard Strauss for Litmus records. He has also arranged and recorded for Sony/BMG. Future plans include Count Carl Magnus Malcolm in A little Night Music at the Paris Châtelet and the title role in Don Giovanni at Holland Park in 2010.

STEPHEN RICHARDSON Bass � Colline

Stephen has performed with all the major British Opera companies and abroad he has worked with Opera Australia, Netherlands Opera, De Vlaamse Opera, Opera National de Paris, Teatro alla Scala, Oper der Stadt Bonn, Istanbul Festival, Lyric Opera of Chicago, Salzburg Festival and Nationale Reisopera. Recent engagements have included Monterone in Verdi�s Rigoletto, Hobson in Britten�s Peter Grimes and Dikoy in Janáèek�s Katya Kabanová for Opera North; the role of Time in Barry�s The Triumph of Beauty and Deceit with Birmingham Contemporary Music Group conducted by Thomas Adès at Carnegie Hall and also with the Ives

Ensemble at Amsterdam�s Concertgebouw; Trulove in Stravinsky�s The Rake�s Progress with Garsington Opera; a return to the Royal Opera, Covent Garden for Adès�s The Tempest; Kaspar in Weber Der Freischütz for Danish National Opera; and his role debut as Méphistophélès in Gounod's Faust with Den Jyske Opera.

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GRAHAM STONE Bass - Benoît, Alcindoro

Graham was born in Devizes, Wiltshire and studied at the Guildhall School of Music & Drama with Laura Sarti and Johanna Peters. He joined the Glyndebourne Festival Chorus understudying a number of roles and singing two roles in the GTO production of Death in Venice. He has worked for a number of Companies including Scottish Opera as Kommisar in David McVicar�s production of Der Rosenkavalier, and Dr. Bartolo in The Marriage of Figaro, D�Oyly Carte in Wilfred Shadbolt & Mikado, with Jasper Carrot, Carl Rosa in Dick Deadeye on tour in Australia & New Zealand, with Timothy West). Most recently he has played Truelove in Rakes Progress and Antonio in Nozze for Opera East, directed by Jeff Clark and conducted by Oliver Gooch. Abroad, Graham�s engagements have included singing the role of Don Pasquale in Sri Lanka, Pakistan, Nepal, India, Turkey and The Philippines. He sang both Benoît and Alcindoro in La Bohème for the Macau International Festival with the Orchestra of the Rome Opera, and Sacristan in Tosca for The Holders Opera Season in Barbados directed by Christopher Biggins. In 1985 he performed Pistola in Falstaff at the Teatro Farnese, Parma (1st Arturo Toscanini Conducting Competition), and more recently, Dracula in Horratorium and Beckmesser in Lets Fake an Opera with the Bavarian Radio Orchestra in the Gasteig Hall in Munich.. In Music Theatre he played Pedro in Man of La Mancha at the Peacock Theatre for the Covent Garden Festival, broadcast by BBC Radio 3 and recorded by TER. Graham has also taken part in a number of BBC Radio 2 broadcasts of Musicals. Also a member of the West End Phantom of the Opera Company, he played M. Lefevre and Don Atillio and doing many performances of M. Firman. In addition to various Opera Broadcasts from Glyndebourne, Graham appeared in Opera Factory�s Channel 4 film of Don Giovanni, and also portrayed Sir Winston Churchill in a TV ad for British Airways. Most recently he played Mr Joe Brundit in BBC Radio 3�s revival of The Good Companions with the BBC Concert Orchestra and John Wilson.

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STEVE JONES Tenor, Bass - Parpignol, Customs Sergeant

Born in Sydney, Australia, Stephen spent his early singing days as a chorister in his local parish church choir. He was awarded a choral scholarship to Guildford Cathedral Choir, studying with Andrew Philips, and made his solo debut in 1990 as Christus in Bach St John Passion.

Past performances include Monteverdi Vespers of 1610 with Bedford Choral Society, Mozart Requiem with Harlow Chorus, Handel Messiah, Bach Mass in B Minor, Brahms German Requiem, and Haydn Creation with King�s Lynn Festival Chorus, Durufle Requiem with Cambridge

Voices, Charpentier Te Deum with Hertfordshire Choral Society, and Orff Carmina Burana with Cambridge Chorale, The Fairhaven Singers and King�s Lynn Festival Chorus.

Stephen sings with a number of choirs, including Cambridge Chorale, Cambridge Voices, Brentwood Cathedral Choir and Cambridge Taverner Choir. He has performed in St Paul�s Cathedral, London, St Mark�s, Venice, St Etienne du Mont, Paris, St Paul�s Cathedral, Sydney, Bruges & Antwerp Cathedrals, Belgium, and Cervo International Chamber Music Festival, Italy.

Upcoming projects include concert for baritone and marimba with internationally acclaimed Marimba artist Daniella Ganeva.

TIMOTHY REDMOND Conductor

Timothy Redmond has been principal conductor of the Cambridge Philharmonic since 2006. He conducts concerts with many of the UK's leading orchestras, including the London Symphony Orchestra, Royal Liverpool Philharmonic Orchestra, the Ulster and BBC Philharmonic Orchestras, Northern Sinfonia and the Orchestra of Opera North.

His 2009/10 season includes the world premiere of Peter Ash and Donald Sturrock�s The Golden

Ticket with Opera Theatre St Louis, concerts in Finland with the Oulu Symphony Orchestra and Slovenia with the Maribor Symphony Orchestra as well as regular appearances in this country with the Royal Philharmonic Orchestra and Manchester

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Camerata. He returns to the Royal Opera House, Covent Garden for the revival of Thomas Adès' Powder Her Face and releases three new recordings with the Philharmonia, RPO and Northern Sinfonia.

Recently he made his debut at St Petersburg's Mariinsky Theatre, conducting the Russian premiere of Powder Her Face, and was immediately invited back to conduct at Gergiev�s Stars of the White Nights festival. Other recent operatic engagements include Kurt Weill's Der Silbersee in Wexford, Richard Ayres' The Cricket Recovers in Bregenz and the world premiere of Raymond Yiu�s The Original Chinese Conjuror for Almeida Opera and the Aldeburgh Festival. He has also conducted opera for Opera North, English Touring Opera, Tenerife Opera, Glyndebourne, Strasbourg and in New York.

In 2010/11 he returns to Wexford for the European premiere of The Golden Ticket.

STEVE BINGHAM Orchestra Leader

Steve Bingham studied violin with Emmanuel Hurwitz, Sidney Griller and the Amadeus Quartet at the Royal Academy of Music from 1981 to 1985, where he won prizes for orchestral leading and string quartet playing. In 1985 he formed the Bingham String Quartet, an ensemble which has become one of the foremost in the UK, with an enviable reputation for both classical and contemporary repertoire. The Quartet has recorded numerous CDs and has worked for radio and television both in the UK and as far afield as Australia. The Quartet has worked with distinguished musicians such as Jack Brymer, Raphael Wallfisch, Michael Collins and David Campbell.

Steve has appeared as guest leader with many orchestras including the BBC Scottish Symphony Orchestra, the Scottish Chamber Orchestra, English National Ballet and English Sinfonia. He has given solo recitals both in the UK and America and his concerto performances include works by Bach, Vivaldi, Bruch, Prokofiev, Mendelssohn and Sibelius, given in venues as prestigious as St John�s, Smith Square and the Royal Albert Hall. Steve is also Artistic Director of Ely Sinfonia.

In recent years Steve has developed his interest in improvisation, electronics and World music, collaborating with several notable musicians including guitarist Jason Carter and players such as Sanju Vishnu Sahai (tabla), Baluji Shivastrav (sitar) and Abdullah Ibrahim (piano). Steve�s debut solo CD Duplicity was released in November 2005, and has been played on several radio stations including BBC Radio 3 and Classic FM. The Independent gave it a 4-star review. Steve released his second solo CD, Ascension, in November 2008. You can find out more about Steve on his web site at www.stevebingham.co.uk.

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LEO TOMITA Chorus Master

Leo Tomita joins the Cambridge Philharmonic this season as Chorus Master. He was Organ Scholar at Corpus Christi College, Cambridge, where in addition to conducting and running the choir and playing the organ for services, he conducted the college orchestra. He is now a counter-tenor Lay Clerk at St John�s College, Cambridge, where he sings in the choir in their daily services including their weekly webcast services, Radio 3 broadcasts, concerts and tours. Leo is Assistant Conductor of the Cambridge University Chamber Choir and has been Assistant Conductor for several operas including the Yorke Trust�s production of Rameau�s Castor et Pollux. Future projects include the Cambridge Festival�s production of Britten�s Noye�s Fludde in November.

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ORCHESTRA First Violins Steve Bingham (leader) Kate Clow (co leader) Graham Bush Naomi Hilton Jeanette Langford John Richards Pat Welch Merial Rhodes Sean Rock Nichola Roe Sarah Ridley Maydo Pitt Second Violins Emma Lawrence Jenny Barna Joanna Baxter Vincent Bourret Leila Coupe Hilary Crooks Rebecca Forster Sian Gauci Ariane Leroy Anne McAleer Katrin Ottersbach Clare Simmonds Violas Ruth Donnelly Liz Andrews Janet O�Boyle Dominic de Cogan Jeremy Harmer Robert Heap Jo Holland

Cellos Vivian Williams Sarah Bendall Angela Bennett Helen Davies Eugenie Degan Melissa Fu Clare Gilmour Helen Hills Richard Merriam Katharine Mitchell Lucy O�Brien Alex Sicola Sarah Warren Double Bass Sarah Sharrock Stephen Beaumont Elspeth Cape Kate Merrington Susan Sparrow Flute Cynthia Lalli Alison Townend Piccolo Sally Landymore Off-stage Piccolo Julian Landymore Lyn Welland Oboe Jenny Sewell Rachel Dunlop Cor Anglais Gareth Stainer

Clarinet Sarah Whitworth Jocelyn Howell Bass Clarinet Stephanie Reeve Bassoon Neil Greenham Jenny Warburton Horn Carole Lewis Martin Childs Stephen Orriss Paul Ryder Trumpet Andrew Powlson Paul Garner Naomi Wrycroft Trombone Denise Hayles Nicholas Byers Sarah Minchin Timpani Dave Ellis Percussion Zoe-Laura Bridel Louise Morgan Catherine Ring Harp Sophia Asbjornsen

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CHORUS First Soprano Jeanine Billinghurst Erica Bowler Jane Cook Ros Mitchell Jan Moore Ruth Pegington Caroline Potter Amanda Price Gina Radford Anne Sales Pat Satori Paddy Smith Philippa Storer Alison Vinnicombe Rebecca Wood Second Soprano Cathy Ashbee Eleanor Bell Pippa Bell Susannah Cameron Joanne Clark Hannah Curtis Jennifer Day Susan Earnshaw Christine Halstead Maggie Hook Caroline Jestaz Diana Lindsey Ursula Lyons Valerie Mahy

Ann Read Sheila Rushton Pip Smith Clara Todd First Alto Nicola Bown Margaret Cook Caroline Courtney Alison Dudbridge Leonie Isaacson Janet Mills Julia Napier Alice Parr Caroline Shepherd Sarah Upjohn Helen Wheatley Patricia Wyman Second Alto Jane Bower Elisabeth Crowe Alison Deary Tabitha Driver Jane Fenton Jane Fleming Hilary Jackson Sue Purseglove Gill Rogers Amanda Van de Poel

Tenor Aidan Baker Colin Dewar Geoff Forster David Griffiths Ian MacMillan Alistair Morfey Jim Potter David Reed Martin Scutt Margaret Thwaites Graham Wickens Bass Richard Birkett Magnus Borgh Neil Caplan Chris Coffin Dan Ellis Chris Fisher Patrick Hall Simon Merrington Martin Pennell Harrison Sherwood Herve Van de Poel Mike Warren David Watson David White Patrick Woodburn

Abbie Peake Katherine Cook Eve Smyth Esther Brassett Suzanna Wolff

Dani Ward Mary Lavelle Lilith Scott

CHESTERTON SINGERS Damian Thompson Rima Hore Laura Warwick Saly Caton Meg PJ

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Cambridge Philharmonic Society 2009 � 2010 Season Programme

31 January 2010 Corn Exchange, Cambridge Children's Concert - includes Roald Dahl's Three Little Pigs (as set

to music by Paul Patterson), J Williams Harry Potter (excerpts), R Lane music from Merlin, Adams Short Ride in a Fast Machine

21 March 2010 West Road Concert Hall, Cambridge Bach Mass in B Minor, with sopranos Ruth Jenkins and Katie

Bray, Mezzo-Soprano Natalia Brzezinska, tenor Stuart Haycock and baritone Marcus Farnsworth

9 May 2010 West Road Concert Hall, Cambridge Brahms Violin Concerto, with soloist Ruth Palmer, Elgar

Symphony No.1 and a new work by Tom Curran 10 July 2010 Ely Cathedral Verdi I Vespri Siciliani (Sicilian Vespers): Overture, Te Deum and

Stabat Mater, Vaughan Williams Fantasia on a Theme of Thomas Tallis and Dona Nobis Pacem; with soprano Joan Rodgers and baritone Roderick Williams

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