HAYDN THE CREATION
INFO
Fri, Oct 4 / pm
NEC Jordan Hall
Sat, Oct 5 / pm
GBH Calderwood Studio
HERA HYESANG PARK
Soprano
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Boston Baroque debut
PAUL APPLEBY
Tenor
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Boston Baroque debut
NICHOLAS NEWTON
Bass-baritone
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Boston Baroque debut
The 24/25 season kicks off with Die Schöpfung (The Creation), Haydn’s tour de force that took Europe by storm when it premiered in , featuring Hera Hyesang Park, Paul Appleby, and Nicholas Newton, all making their debuts with Boston Baroque.
2 hr 10
(with minute intermission)
PROGRAM
HAYDN
The Creation (Die Schöpfung)
Conducted by Martin Pearlman
DIVE DEEPER
Read Music Director Martin Pearlman’s program notes on Haydn’s The Creation.
BOSTON BAROQUE’S RECORDING OF
Celebrate Martin Pearlman's 52 Seasons With Your Gift Today
In just about two months, Martin Pearlman will conduct his final performances as Music Director of Boston Baroque, the ensemble he founded as Banchetto Musicale 52 seasons ago. Since then, Marty has conducted hundreds of performances featuring works by composers from Bach (Johann Sebastian as well as sons Carl Philipp Emanuel and Johann Christian) to Vivaldi. He’s recorded 26 commercial recordings with the orchestra he founded – recordings that earned six GRAMMY nominations – and built an audience for Baroque and Classical music in Boston and in the 55 countries on six continents that enjoy Boston Baroque digitally.
And that’s just what he’s done onstage.
Behind the scenes, Marty has nurtured a generation of artists who have had the opportunity to specialize on period instruments thanks to his forward thinking and innovation. His work has been a driving force behind a continually growing audience for period instrument performance. And his legacy will live on in Boston Baroque.
One of the hallmarks of Marty’s tenure is his willingness to be adventurous as an artist. The concerts that ultimately led
Biography
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Praised as “radiant” by the Boston Globe, Angela Yam is renowned for her impeccable musicianship and fierce stage presence. Her Boston Lyric Opera debut as Ismene in Mozart’s Mitridate was hailed “a sweetly poisonous, scene-stealing schemer with a sultry sparkle in her voice,” and awarded the Best Breakout Performance in a Supporting Role by the Boston Globe. Her debut with Boston Baroque as Diana in Gluck’s Iphigénie en Tauride was similarly praised for her “gleaming clarity” and “fitting rococo brilliance.”
Angela’s season included her Boston Lyric Opera debut as Ismene in Mozart’s Mitridate, Rebecca in Heartbeat Opera’s SLAYLEM: The Witch Trials, Liesgen in Bach’s Coffee Cantata (Boston Baroque, North Star Baroque), Horse and Rabbit in Meilina Tsui & Melisa Tien’s The Big Swim (Asia Society Texas with Houston Grand Opera), the world premiere of The Pigeon Keeper by David Hanlon & Stephanie Fleischmann as Orsia (Opera Parallèle), Heavenly Friend 1 and Carrie Pipperidge cover in Rodgers & Hammerstein’s Carousel (Boston Lyric Opera), and a return to the title role of Cavalli’s La Calisto (Opera Memphis).
Past projects includ
In Final Season as Boston Baroque's Conductor, Martin Pearlman Still Finds Awe in Handel
The legendary conductor Martin Pearlman is in his final season leading the storied music ensemble Boston Baroque.
Known to many as simply Marty, he’s been bringing period interpretations of the great works of the Baroque to the city for over half a century.
“I was drawn to Baroque music kind of by accident,” he told GBH’s Morning Edition in his Medford home. “I discovered a little harpsichord off in the corner, I was at Cornell at the time, and convinced the university organist to teach me.”
He later went to Holland on a Fullbright Grant to continue his harpsichord studies, then returned to the United States to study composition and continue playing at Yale. He moved to Boston in the s.
“Once I moved to Boston, I was curious what it would be like to get a bunch of people together who could play on period instruments, because I had seen a little bit of it in Europe at the time,” he said. “And I got together all the people I knew who could play reasonably well, which was eight people, and we started playing concertos and other things.”
Those concerts drew a fair amount of i
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