Due to the ongoing situation around COVID-19, we will be unable to hold this performance as planned.
If you have purchased tickets to this event, you will receive an email with information on how to donate the value of your credit as a tax-deductible contribution, receive a credit on your account for a future performance, or receive a full refund back to the original purchase method. If you have any questions, please feel free to contact our Box Office Monday – Friday, 10:00am – 4:00pm at 914.232.1252 or [email protected].
Ticket donations for Summer Season events will go toward the Caramoor Artist Fund created to compensate artists whose summer Caramoor performances were canceled and not able to be re-scheduled.
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Magicians, monsters, and marriage are just a few of the characters and themes in Jean-Phillipe Rameau’s rousing opera, Dardanus, which loosely follows the story of the son of Zeus and Electra. Written by the eminent 18th-century French composer, this Baroque opera’s fantastical story is brought to life by one of New York’s own superb period-instrument ensembles, led by Avi Stein, with internationally renowned soloists.
“The ensemble performed with impeccable clarity and crispness.” — The New York Times
The Choir of Trinity Wall Street
Trinity Baroque Orchestra
Avi Stein, conductor
John La Bouchardière, director
Zachary Wilder (Dardanus)
Melissa Attebury (Iphise)
Tyler Duncan (Anténor)
John Taylor Ward (Isménor)
Mirelle Asselin (Venus)
Matt Boehler (Teucer)
3:00pm / Pre-concert conversation with Benjamin Sosland, Administrative Director of Juilliard Historical PerformanceComplimentary Garden Listening tickets for Members at the Family level and above
Praised by The New York Times for its “dramatic vigor” and “elegantly shaped orchestral sound,” Trinity Church Wall Street’s superb period-instrument ensemble, the Trinity Baroque Orchestra has been heard in collaboration with The Choir of Trinity Wall Street in venues from New York’s Alice Tully Hall to Berkeley’s Zellerbach Hall, performing many of the greatest masterpieces of the Baroque repertoire.
After presenting Bach’s entire monumental output of sacred vocal music during a five-year cycle of concerts in the popular Bach at One series, the combined forces have embarked on the Bach + One series, pairing a Bach cantata with a complementary work by a different composer, as well as The Handel Project, a multi-season initiative presenting the full catalogue of Handel’s oratorios. The orchestra is featured annually in Trinity’s critically acclaimed annual performances of Handel’s Messiah, which The New York Times declares to be “the best Messiah in New York.” The Trinity Baroque Orchestra can be heard alongside The Choir of Trinity Wall Street on their Grammy-nominated recording of Handel’s Israel in Egypt, as well as on J.S. Bach: Complete Motets.
With Trinity Church Wall Street music director Julian Wachner as principal conductor, the group boasts a varied roster of North America’s finest period instrument players. Principal concertmaster Robert Mealy is a versatile performer who teaches at both Yale and The Juilliard School and has been described by The New Yorker as “New York’s world-class early music violinist,” and many of the orchestra’s other members also hold faculty or adjunct faculty positions at distinguished institutions including Yale, Harvard, Indiana University, and The Juilliard School’s Historical Performance Program.
Peerless, Grammy-nominated interpreters of both early and new music, The Choir of Trinity Wall Street has redefined the realm of 21st-century vocal music, breaking new ground with an artistry described as “blazing with vigour … a choir from heaven” (The Times, London). This premier ensemble, under the direction of Julian Wachner, can be heard in New York City and around the world in performances described as “thrilling” (The New Yorker), “musically topnotch” (The Wall Street Journal), and “simply superb” (The New York Times).
The choir leads liturgical music on Sundays at Trinity Church and St. Paul’s Chapel, while performing in Bach + One, Compline by Candlelight, Time’s Arrow, and many other concerts and festivals throughout the year, often with NOVUS NY, the Trinity Baroque Orchestra, and the Trinity Youth Chorus.
The choir has toured extensively throughout the United States, making appearances at Carnegie Hall, Lincoln Center, the Metropolitan Museum of Art, The Shed at Hudson Yards, the Kennedy Center, REDCAT in Los Angeles, the Berkeley Early Music Festival, BAM Next Wave Festival, and the Prototype Festival, among others. Increasingly in-demand internationally, the choir has also performed in recent seasons at Montreal’s Salle Bourgie, Paris’s Théâtre des Champs-Élysées, Norway’s Stavanger Cathedral, and London’s Barbican Theatre. Performance partners have included Bang on a Can All-Stars, the New York Philharmonic, and the Rolling Stones. The choir was featured in the 150 Psalms Project, performing at the Utrecht Early Music Festival and Lincoln Center’s White Light Festival.
In addition to its Grammy-nominated recording of Handel’s Israel in Egypt, The Choir of Trinity Wall Street has released recordings on Naxos, Musica Omnia, VIA Recordings, ARSIS, Avie Records, Acis, Broadway Records, Cantaloupe Music, Decca Gold, and Philip Glass’s Orange Mountain Music, which recently released Trinity’s monumental performance of his Symphony No. 5. Prominently evidenced by this discography is Trinity’s long-term commitment to new music, which has led to many collaborations with living composers including Ellen Reid, Du Yun, Paola Prestini, Ralf Gawlick, Elena Ruehr, and Julia Wolfe, whose 2015 Pulitzer Prize-winning and Grammy-nominated work, Anthracite Fields, was recorded with the choir. Along with NOVUS NY and conducted by Wachner, the choir also collaborated on and recorded two Pulitzer Prize-winning operas: Du Yun’s Angel’s Bone and Ellen Reid’s p r i s m.
John La Bouchardière was born in Hampshire (U.K.) and began his musical studies as a chorister at Magdalen College, Oxford, continuing from his music degree with postgraduate study in opera production at The University of Birmingham. A resident staff director at English National Opera, he collaborated with a wide variety of directors during his five years as an assistant, working for companies in the U.K. and abroad, including La Fenice, New Israeli Opera, l’Opéra National du Rhin, Teatro Liceu, Vlaamse Opera, Teatro Sao Carlos, l’Opéra de Zürich, and developing lasting collaborations with David Alden, Robert Carsen and Deborah Warner.He has since created such opera productions as Rigoletto (Opera Holland Park), Eugene Onegin and Tamerlano (Scottish Opera), Don Giovanni (Operosa, Bulgaria), Semele (Scottish Opera and Florentine Opera, Milwaukee), Carmen (Opera Nordfjord, Norway), Giasone (Royal Academy of Music) and Idomeneo (Florentine Opera). He achieved international recognition for The Full Monteverdi, his devised dramatization of Monteverdi’s fourth book of madrigals, performed by I Fagiolini for three years and winning a Royal Philarmonic Society Award in 2005.
Recent successes include a sensory production of Lera Auerbach’s chamber opera, The Blind, for Lincoln Center Festival, New York, which the immersed public experienced wearing blindfolds, and the first full staging of John Adams’s El Niño for Spoleto Festival USA. He returned to Charleston in 2019 to create the first theatrical presentation of Joby Talbot’s Path of Miracles and also directed Solomon’s Knot in St. John Passion at Bach Festival Leipzig.
La Bouchardière has worked as a teacher and director at Royal College of Music, Royal Academy of Music, Royal Welsh College of Music and Drama, and Motley Theatre Design Course. Also working in film and television, his critically acclaimed feature film, The Full Monteverdi, was distributed in cinemas, on television and on DVD. He also made a short film of Jean Françaix’s L’Ode à la gastronomie and has created series for Sky Arts and the BBC.
Avi Stein, conductor
Avi Stein teaches vocal repertoire at the Yale Institute of Sacred Music, continuo accompaniment at the Juilliard School, harpsichord at the Longy School and is the music director at St. Matthew & St. Timothy Episcopal Church in Manhattan. The New York Times described him as “a brilliant organ soloist” in his Carnegie Hall debut and he was recently featured in Early Music America magazine in an article on the new generation of leaders in the field.
Stein has performed throughout the United States, in Europe, Canada and Central America. He is an active continuo accompanist who plays regularly with the Boston Early Music Festival, the Trinity Church Wall Street Choir and Baroque Orchestra, the Clarion Music Society and Bach Vespers NYC. He directed the young artists’ program at the Carmel Bach Festival and has conducted a variety of ensembles including the Opera Français de New York, OperaOmnia, and the Amherst Festival Opera. He serves as director of the 4×4 Festival in New York City.
Stein studied at Indiana University, the Eastman School of Music, the University of Southern California and was a Fulbright scholar in Toulouse.
A singer deemed “superb” by The Los Angeles Times, Mireille Asselin enjoys a diverse, international career spanning concert, opera and recital work. To date, Asselin has sung five seasons at the Metropolitan Opera, where she debuted as Poussette in Manon. She then made waves by jumping in as Adele for opening night of Die Flerermaus under the baton of James Levine, giving a performance that critics raved “stole the show,” hailing it as one of New York’s “most enchanting” of the season.
As a respected performer of early music she also appears regularly with Opera Atelier, the Boston Early Music Festival and other period ensembles. She made her European operatic debut in 2014 at the Royal Opera of the Palace of Versailles in Lully’s Persée and her Carnegie Hall concert debut in 2012. Her most recent album Inspired by Canada — Notre Pays with the Amici Chamber Ensemble was released in 2018 on Marquis Records to great acclaim.
Melissa Attebury appears regularly as soloist in concert and oratorio, and she is in particular demand for her skill in music of the Baroque. She is a regular soloist in the Bach at One series of complete cantatas with Julian Wachner and The Choir of Trinity Wall Street. She played the role of the Witch in Trinity’s staged production of Händel’s Saul.
Other recent performances include the Rachmaninoff Vespers and Rosalia (West Side Story Concert Suites) with Alan Gilbert and the New York Philharmonic at Carnegie Hall; Elijah at the Berkshire Choral Festival, Israel in Egypt with The Washington Chorus, and Beethoven’s Ninth Symphony at Trinity Wall Street. Her operatic roles are many, and she specializes in the operettas of Gilbert and Sullivan. Attebury is a featured soloist on the Grammy-nominated Israel in Egypt with The Choir of Trinity Wall Street, Ralf Yusuf Gawlick’s Missa Gentis Humanae for 8 voices, Julian Wachner’s Symphony No. 1, and a new release of the choral works of Trevor Weston.
Attebury is the Associate Director of Music at Trinity Wall Street where she manages Trinity’s music outreach program in the public schools, serving over 250 school age children, and directs the chorister program.
Hailed by The New York Times as “a bass with an attitude and the goods to back it up,” Matt Boehler is a singer equally at home on the international opera stage as well as the concert platform. He has appeared as a principal artist with The Metropolitan Opera, New York City Opera, Dallas Opera, Théâtre Royal de la Monnaie, Theater St. Gallen, and Canadian Opera Company, as well as a soloist with the New York Philharmonic, Baltimore Symphony Orchestra, Minnesota Orchestra, and the New York Festival of Song, among many others. Frequently in demand as a collaborator and interpreter of new music, Boehler’s discography features many world premieres.
A native of Minneapolis, Minnesota, he trained as an actor at Viterbo College, an opera singer at The Juilliard School, and as a composer at the San Francisco Conservatory of Music.
Canadian-American baritone Tyler Duncan recently performed at the Metropolitan Opera as Prince Yamadori in Puccini’s Madam Butterfly. At the Spoleto Festival he debuted as Mr. Friendly in the 18th-century ballad opera Flora, returning the next season as the Speaker in Mozart’s The Magic Flute. Other appearances have included the role of the Journalist in Berg’s Lulu and Fiorello in Rossini’s Barber of Seville, both at the Metropolitan Opera, and Raymondo in Handel’s Almira with the Boston Early Music Festival.
Frequently paired with pianist Erika Switzer, Duncan has given acclaimed recitals in New York, Boston, and Paris, and throughout Canada, Germany, Sweden, France, and South Africa. He received recent prizes from the Naumburg, London’s Wigmore Hall, and Munich’s ARD competitions. His recordings include Bach’s St. John Passion with Portland Baroque and Handel’s Messiah with Kent Nagano and the Montreal Symphony.
John Taylor Ward’s performances have been praised for their “Stylish abandon” (Alex Ross, The New Yorker) and their “finely calibrated precision and heartrending expressivity” (Washington Post). He performs regularly with the world’s finest baroque musicians and ensembles, including Christina Pluhar and L’Arpeggiata, Paul O’Dette, Steven Stubbs and the Boston Early Music Festival, William Christie and Les arts florissants, and Sir John Eliot Gardiner and the English Baroque Soloists. In 2016, he was featured in the U.S. premiere of Claude Vivier’s Kopernikus, directed by Peter Sellars at the Ojai Festival, and he began a series of recitals at Joe’s Pub with Cantata Profana. In 2017 he made his debuts at the Salzburg, Berlin, and Luzerne Festspieles. Upcoming highlights include Berio’s Sinfonia with the New York Philharmonic and Nick Shadow in Igor Stravinski’s The Rake’s Progress, conducted by Barbara Hannigan in Gothenburg, Sweden.
Ward holds a BM from the Eastman School of Music and an MMA from Yale School of Music; he is the founding Associate Artistic Director of the Lakes Area Music Festival, an Associate Artist of Heartbeat Opera, and an avid Sacred Harp singer.
American tenor Zachary Wilder is praised for his work in repertoire from the 17th and 18th centuries and is sought after on both the concert and operatic stages worldwide. 2010 marked Zachary’s European debut as Renaud in Lully’s Armide on tour with Mercury Houston at the Théâtre de Gennevilliers. The following year brought him back to France to the Festival d’Aix-en-Provence as Coridon in Händel’s Acis and Galatea which subsequently toured to La Fenice in Venice. Zachary relocated to France after he was chosen by William Christie in 2013 to take part in Les Arts Florissants’ prestigious academy for young singers, Le Jardin des Voix. He now works with leading ensembles including Arpeggiata, Les Arts Florissants, Bach Collegium Japan, Boston Early Music Festival, Cappella Mediterranea, Le Concert d’Astrée, Le Concert Spirituel, Collegium Vocale Gent, the English Baroque Soloists, Ensemble Pygmalion, Handel & Haydn Society, Orchestre de Chambre de Paris, Le Poème Harmonique, San Francisco Symphony Orchestra, and Les Talens Lyriques.