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Review: Joyce DiDonato’s ‘Eden’ Takes Root at Carnegie Hall

The star mezzo-soprano’s new concert program seeks to restore humanity’s connection to the natural world.

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By Oussama Zahr

It’s hard to imagine what New Yorkers are supposed to do with the seeds of an eastern red cedar tree, given how narrow our window sills are, but they were slipped into the program books of Joyce DiDonato’s concert at Carnegie Hall anyway.

That performance, on Saturday night, was a stop on a global tour to accompany her new album, “Eden,” which seeks to restore our connection with , in her words, “the awe-inducing majesty” of the natural world.

“I’m a problem solver, a dreamer, and — yes — I am a belligerent optimist,” DiDonato, a star mezzo-soprano, writes in the album’s liner notes (which were reprinted in the program), implicitly acknowledging the project’s potential naïveté.

DiDonato isn’t the only singer preoccupied with climate change. In October, the soprano Renée Fleming released “Voice of Nature: The Anthropocene,” an album with a geologically minded title but a beautifully focused program. Contrasting Romantic-era songs that exalt nature and contemporary works that feel alienated from it, she charted an unfortunate decline in humanity’s relationship with the environment through music.

In “Eden,” DiDonato picks up that strain, with an attempt to return listeners to the weakened but still-welcoming arms of Mother Earth. The album’s track list, echoed in the lineup at Carnegie, teleports listeners among different eras — touching on Ives, Mahler, Handel, Cavalli and Gluck — but never really recovers its pace after a detour to a pre-Romantic age.

DiDonato’s vibrato, which oscillates so quickly it seems to effervesce, is built for highly ornamented Baroque melodies. But her lively interpretations and imaginative use of straight tone broaden her palette of vocal colors and allow her to inhabit other eras. Whether her varied programming can tell a focused story is another question.

On tour, DiDonato has turned “Eden” into a semi-theatrical production — directed by Marie Lambert-Le Bihan and with lighting design by John Torres — that goes some way toward unifying the material. Many of the selections were strung together without pauses, which, without opportunities for applause, made for a grippingly immediate, fitfully inspiring evening.

The program began with Ives’s cosmic and mysterious “The Unanswered Question.” As smoke filled the darkened hall, the conductor Maxim Emelyanychev, bathed in light, coaxed a shivering sound from the strings of Il Pomo d’Oro. (Emelyanychev leads the group on the album as well.) DiDonato walked the perimeter of the audience, singing the trumpet’s part as a wordless incantation.

Rachel Portman’s “The First Morning of the World,” a song commissioned for “Eden,” used flowing woodwinds to conjure bird song in a gorgeous evocation of humanity’s origins. As the lights went up, the delicate pleasures of Mahler’s “Ich atmet’ einen linden Duft” followed. A 17th-century sinfonia, played with quicksilver energy by the ensemble, created a bridge to the past. That’s when things got weird.

DiDonato launched with gusto into a slight, strophic song by the Italian Baroque composer Biagio Marini. Its stepwise melody and fervent strumming was accompanied by the instrumentalists stomping their feet to the beat. Emelyanychev leaped from his seat at the harpsichord and broke out a recorder for a solo.

Then DiDonato assumed the role of a terrifying angel of justice with an aria from Josef Myslivecek’s “Adamo ed Eva,” an oratorio about the biblical expulsion from Eden. As the orchestra lent Baroque jauntiness to Myslivecek’s proto-Mozartean style, DiDonato channeled the text’s threats of plagues, fire and bloodshed. Blinding red light flooded the auditorium.

The concert began to lose its plot, but as that happened, DiDonato became freer to entertain. For Gluck’s “Ah! non son io che parlo,” an aria barely related to the evening’s themes, she tapped into an impressive chest voice and negotiated the aria’s leaps with full-throated relish. Teetering tantalizingly close to extremes of color, speed and volume, she drew raucous applause.

After that barnburner, she lost steam. DiDonato’s voice was patchy in the long lines of Handel’s “As with rosy steps the morn,” from “Theodora.” The orchestra, seemingly overwhelmed by the stylistic pastiche, clumsily negotiated the dynamics of Mahler’s soul-cracking “Ich bin der Welt abhanden gekommen.”

During encores, DiDonato introduced young people from the educational program Salute to Music and the All-City High School Chorus for an original song, performed with passionate directness and pieced together by a music teacher in Britain from the melodies and lyrics of his students. (DiDonato’s tour has entailed working with youth choirs at each stop.) “Look how powerful it is when we make something together,” said DiDonato, who sang Handel’s enchanting “Ombra mai fù” with the children huddled around her.

DiDonato has referred to “Eden” as a “wild garden.” And at Carnegie Hall it was: colorful, fecund and perhaps in need of pruning.

Joyce DiDonato

Performed at Carnegie Hall, Manhattan.

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Joyce DiDonato Opens Second Leg of ‘EDEN’ Tour at The Conrad in La Jolla

Mezzo-soprano Joyce DiDonato will return to the stage for the second part of her international “ EDEN” tour at the Conrad in La Jolla.

DiDonato’s concept album “EDEN” is a 2023 GRAMMY™ Nominee for Best Classical Solo Vocal Album. It fuses four centuries of music including a new piece by Academy Award-Winning composer Rachel Portman, movement, and theater. EDEN explores the experience of hope, connection, and the mysteries of nature.

Special to this performance, DiDonato will be joined by the Challenger Middle School Choir under the direction of Marielena Teng in part of the ProtoStar Innovative Series.

The performance presented by La Jolla Music Society will take place on Jan. 18, 2023 at The Conrad Prebys Performing Arts Center in Baker-Baum Concert Hall at 7:30 p.m.

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Stage and Cinema

Arts and Entertainment Reviews

Opera Tour Review: EDEN (Joyce DiDonato)

by Stephen Best on April 18, 2022

in Concerts / Events , Theater-Chicago

SPRING IN BLOOM WITH JOYCE DiDONATO

Spreading a message of harmony, love and environmental consciousness through opera, American lyric-coloratura mezzo-soprano, Joyce DiDonato , triumphantly returned to the stage of the Harris Theater with her new project,  EDEN , Saturday evening. The three-time Grammy Award and 2018 Olivier Award winner for Outstanding Achievement in Opera, brought a haunting presence and her signature powerful vocals to entertain fans in the Windy City. She remarked “ EDEN  is an invitation to return to our roots and to explore whether or not we are connecting as profoundly as we can to the pure essence of our being, to create a new  EDEN  from within and plant seeds of hope for the future.” Described as a “fierce advocate for the arts” her Avant-guard stage performance blended elements of performance art with operatic classics.

DiDonato began her show in almost complete darkness, slowly descending to the stage from the stairs at the back of the theater. Her voice echoing and enveloping the members of the audience as she continued her slow decent. The remainder of the show took place with her center stage on a podium created by Escenografia Moia , surrounded by two six and seven foot concentric metallic circles, slowly rotating around her as she continued to sing. The Kansas born diva joked, “I am from the Midwest. These are my people” between songs. At one point dropping to her knees, then the next moment laying face-down, recumbent on the floor. No one emotes drama quite like DiDonato. The bold and daring lighting, crafted by New York-based lighting designer, John Torres , was more influenced by innovative pop concert passion than what is typically found at a traditional orchestral concert. Please forgive the comparison, but adorned in a periwinkle gown, with cool blonde hair and dramatic makeup, I couldn’t help but notice DiDonato bore a remarkable similarity to Queen Elsa from Disney’s monolithic hit  Frozen.

Just to the left of the spinning circles, was conductor Maxim Emelyanychev , and, surrounding the stage, a global ensemble of almost two dozen world class musicians known as il Pomo d’Oro . Since 2016, Emelyanychev has been il Pomo d’Oro’s chief conductor and together, served DiDonato well. With a blend of lyrics in both English and Italian, translations of the words were projected above the stage and behind the musicians. For those in the know, song selections were chosen from works by Charles Ives, Rachel Portman, Gustav Mahler, Biagio Marini, Josef Myslivecek, Aaron Copeland, Giovanni Valentini. Francesco Cavalli, Christopher Willibald Gluck and George Frideric Handel. For those not in the know, the songs selected included lyrics that reinforced the principle concept of EDEN ; garden, nature, rebirth and personal renaissance.  “How lovely was the fragrance of Linden”, “lovely flowers”, “as with rosy steps, hopes of endless nights”, “I am lost to the world” and “sun you redden your lovely eyes”. DiDonato made no secret her agenda, fusing operatic arias with environmental advocacy.

Speaking directly to the audience towards the end of her show, DiDonato commented about the importance of being a friend of the Earth and noted, “harmony” is “nature in balance.” Partnering with the Botanic Gardens Conservation International and the Chicago Botanic Gardens , audience members who attend this tour are provided native seeds to plant in the hopes we can all create our own shared experience garden of  EDEN here on earth. She explained the Scarlett Paint Brush packets of seeds were “given by the fantastic Chicago Botanic Gardens.” Her hope is her fans “plant these seeds all over the world. You get to participate in that.” Enjoy “nature right through your fingertips.”

The final segment of the show once again began with DiDonato speaking directly to the audience about the state of the world. After the Covid-19 pandemic postponed her tour, she emphatically heralded and trusted “we would find a way to be together here” through the “extraordinary efforts of the Harris Theater.” Continuing, the “opposite of war is not peace, it’s creation” and challenged her audience with “what can we create right now?”

She spoke of a class of students in England who were tasked with the concept assignment “what if trees could sing”? Out of that came individual poems and performance pieces by those same students, which were then collected and reworked into a single song, “Seeds of Hope”. Originally composed by the children of the Canterbury Choir, Bishop Ramsey CE School, England and Mike Roberts, she was joined on this song by the Ann Arbor Youth Chorale and their conductor Bonnie Kidd . Performing on stage was “transformative” for the students, however appearing the night before Easter may prove challenging. They were singing in Chicago at 9:00 pm Saturday evening at the Harris Theater, but also have appearances scheduled at Sunday services in Ann Arbor starting with 6:00 am call times. Trust me that is not a short trip and they shared they were scheduled to return home in the middle of the night. Something tells me those young ladies will spend much of their Easter afternoons taking well deserved disco-naps.

While the biblical concept of Eden was a “garden paradise” or “state of innocence and bliss,” DiDonato’s EDEN  is far more grounded in reality. As her epic voice soared, her underlying message was squarely modern day Mother Earth. She concluded her performance with a quote “never was the shade of a plant more dear and loveable”. In this time of global unrest, truer words were never spoken. Here is hoping DiDonato’s seed of an idea will continue to grow.

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14 Mar Joyce DiDonato “Eden” tour

Joyce DiDonato “Eden” tour

March 14, 2022.

Operalia Winner Joyce DiDonato brings her Eden  tour to Elbphilharmonie Hamburg , together with the Italian Baroque ensemble Il Pomo d’Oro, led by their Music Director Maxim Emelyanychev

The program of Eden, a continuation from her highly acclaimed production In War and Peace, includes works by Ives, Cavalli, Handel, Gluck, Mahler, Wagner, Valentini, Marini, Myslivececk and a new collaboration with composer Rachel Portman

Photo: Stadstheater Arnhem | Philharmonie Du Luxembourg

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clock This article was published more than  2 years ago

Joyce DiDonato hopes to plant seeds of climate activism with ‘Eden’

Her new multiyear performance and education initiative takes a fresh perspective on climate change.

Soprano Joyce DiDonato has a long history of busting through the clay pot of the concert hall and searching out fresh conceptual turf.

The celebrated singer, a Grammy winner based outside Barcelona, has helmed several ambitious projects aimed at bringing music and music education to underserved communities, including refugee children in Greece and inmates at Sing Sing.

Her latest endeavor, “Eden,” finds DiDonato, 53, teaming up again with her longtime collaborator , the mostly Baroque orchestra Il Pomo d’Oro led by conductor Maxim Emelyanychev, for a touring program that draws from four centuries of music.

Opening with “The Unanswered Question” by Charles Ives, in which DiDonato vocalizes lines penned for trumpet, the program spans eras, from the 18th century with Czech composer Josef Mysliveček (an aria from his oratorio “Adamo ed Eva”) to the chronically overshadowed Italian Baroque composer Giovanni Valentini (his “ Sonata Enharmonica ”). There are healthy helpings of Copland, Gluck, Handel and Mahler for good measure, as well as a fresh commission from the British composer Rachel Portman.

Just as the musical scope of “Eden” seems to zoom out from time itself, so, too, does the activism at the core of the project. With “Eden,” DiDonato aims to offer a planetary perspective on the climate crisis, pairing performances with educational initiatives that encourage young people to engage with environmental action in their communities. Several stops on her ongoing tour of “Eden” incorporate local children’s choirs as well.

Over the next two years, DiDonato will bring “Eden” (as well as thousands of seeds supplied by Botanic Gardens Conservation International) to 45 venues across five continents, including Strathmore Music Center on April 24, presented by Washington Performing Arts. I caught up with her by phone as she was preparing for tech rehearsals in Chicago. This interview has been edited for length and clarity.

Q: Not to be too punny, but can you tell me about the genesis of “Eden”?

A: It’s impossible not to make all those metaphors. I talk about seeds and roots and branches, and it’s all very inherent to this project. A few years ago with Il Pomo d’Oro we did this project “ In War and Peace: Harmony Through Music ” and it was sort of a career-defining project where I took my love of concert, theater and storytelling, and smashed it together into something that felt a bit new for the classical music world, with the intent that it would inspire people to really think about that bridge between exiting the concert hall and going home.

After a handful of concerts over what ended up being a three-year expansion project, we said we have to continue on this kind of model, and the only thing worthwhile singing about in about five years’ time, which was 2022 as is it turns out, will be the climate. I hit roadblock after roadblock trying to formulate a concert that I’d want to invite people to. I sat with it for a long time. There’s a level of disconnect in people that allows us as a society to not take care of our surroundings, our environment.

And there’s a disconnect that allows us to welcome a huge division between people, and to fuel it. Our best moments in history are generally those where we work together across all of the barriers. And so it has turned into something shining a spotlight on the beauty of nature, paralleled so beautifully in classical music: the harmony and balance that are inherent to nature. We have a teacher here. We have a guide.

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Q: What inspired you to open the show with the Ives work?

A: We were speaking a lot about the approach we wanted to take, the atmosphere we wanted to create, we were tossing out words like “meditative” and “hypnotic.” He was inspired by the Ives and I didn’t know the piece at that time. I listened and it was “Eden,” the underlying strings for me really represent infinity, the cosmos, something really indefinable, but always present. I knew immediately from the first sound of the strings that’s the place I wanted to start. Then you have this very plangent, perpetual, constant simple question, which of course is not simple, and then the chaos grows and grows, and I thought, this is the moment we are living right now.

This sounds a little naive, but during the pandemic, I was watching flowers come out of the ground, and they had no concept of masks or vaccines or plagues or pandemics or now wars. They’re just doing what they do. That is that underlying string section. And yet, the humanity of that searching voice, at times timid, at times bold, certainly feels like what I’m experiencing.

Q: Aaron Copland’s settings of Emily Dickinson seem to serve as a centerpiece to the show. Can you tell me about those poems and your relationship to Copland?

A: I have always loved Copland. It was always present in my household. I know that music. I see it. I feel it. I smell it. It’s home base for me. The position of it was really deliberate. Just from a sonic world, these woodwinds come back and it starts to put order to the chaos of the Ives. Even the open strings that arrive in the Copland hark back to the Ives. It feels like an anchor point. But what was imperative was that we present the character of Mother Nature in her nurturing quality, not the destructive one, which is what we see in the headlines.

It’s the only thing we talk about. We talk about the floods and the droughts and everything that’s coming. We’re only focused on the destruction that is happening, or the rearranging, however we want to categorize it. And it was very important for me not to forget how nurturing Mother Nature is. Every breath we take comes from her. It’s a very tender presentation of Emily’s poetry through Copland’s depiction of it, and it gives us a moment to remember just what it is we’re not taking very good care of.

Q: The piece on the program I was more unfamiliar with was Josef Mysliveček’s oratorio from “Adamo ed Eva.”

A: I didn’t know his music at all! It was one of the last additions to the show. We were missing classical music and were looking so hard at Mozart, and we just didn’t find the right thing. Giulio D’Alessio knows much more about that repertoire than I do, and he found this oratorio and it’s really extraordinary. First of all, it gives a chance for the orchestra to be completely in their element. It’s a piece that sounds familiar, because it’s in a language that we already know and love.

It brings a little bit of the drama in opera to the stage, and it really is describing what is splashed across the headlines: I will destroy your seashores, I will burn your verdant hills, I will spread a plague among you because you’ve forgotten where you come from. It’s a little over the top, it’s a little campy, which of course I love, but it’s also extraordinary to have a text written 250 years ago and be so blazing relevant today.

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Q: You get to revisit this repertoire night after night, which is a bit unusual for an opera singer. Is any piece a particular pleasure to come back to?

A: You know I only just realized after the last concert how to articulate this, and it may not sound too humble, but I mean it humbly: The way we’ve compiled this concert, when I leave the stage, it feels very similar to my experience of “ Winterreise ,” not necessarily the bleakness, but in that sense that each time it takes me to a different place.

Each time I encounter the songs differently. And if I imagine unplugging one of those pieces, it’s not the same. When I sing “Winterreise,” I hear the intro of the next song and I’m like, “Oh! It’s this one.” And I feel the same with “Eden.” It’s constantly surprising me, and that’s a good thing to be able to say about a project that will take so much time.

Eden: Joyce DiDonato & Il Pomo D’oro April 24 at Strathmore Music Center. strathmore.org .

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Dear Weiwuying Unlimited member, this is a Weiwuying presented program. You can contact us for a free ticket or buy extra tickets via the link below. Thank You! (Contact +886-7-262-6666 or [email protected])

• Presenter: Weiwuying
• Duration is 90 minutes without intermission.

Performed in English, German and Italian with both English and Mandarin surtitles.

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Joyce DiDONATO – EDEN

When words fall silent, music takes the stage

Life resembles poetry, yet Joyce DiDONATO's focus lies in crafting the perfect life experience through the medium of music.

Every journey begins with "unanswered questions"

Appreciating Joyce DiDONATO's performance is akin to embarking on a soulful conversation with oneself. Through her distinctive and philosophical musical selections and performing approach, as you immerse yourself in the concert experience, your emotions are gently guided by the music. Slowly, you find yourself descending into a profound and tranquil atmosphere. This pure state of immersion encourages reflection on the past, present, and future, sharpening your awareness of each sense. In the end, you will experience a sentiment beautifully captured in Chinese literature: "You've searched for someone countless times in the crowd, yet when you suddenly turn around, that person stands right under the lamplight." This revelation underscores the notion that the most exquisite treasures frequently dwell in our immediate surroundings, and the most precious moments forever abide in the present.

EDEN is brimming with delightful surprises

Two particularly satisfying aspects make the EDEN concert truly enchanting. Firstly, the anticipation is high as "Il Pomo d'Oro" returns with its elegant and exquisite sounds to accompany Joyce DiDONATO's performance in Taiwan. Secondly, the EDEN concert production team specially arranged for local students in Taiwan to join Joyce DiDONATO in singing "Seeds of Hope," a touching gesture that conveys their shared exploration of the beauty of sustainable nature. This addition adds an extra layer of excitement to the experience.

  Pre-talk  

6/6(Thu)19:00 Opera House 2F Lobby

  Program  

C. IVES: "The Unanswered Question"

Rachel PORTMAN: "The First Morning of the World"

G. MAHLER: II. "Ich atmet' einen linden Duft!" from RÜCKERT-Lieder

M. UCCELLINI: Sinfonia terza à 5 stromenti from Ozio Regio, Op.7

B. MARINI: III. "Con le stelle in ciel che mai" from Scherzi e canzone, Op.5

J. MYSLIVEČEK: "Toglierò le sponde al mare" from Oratorio Adamo ed Eva

A. COPLAND: I. "Nature, the Gentlest Mother" from Eight Poems of Emily DICKINSON

G. VALENTINI: Sonata enharmonica in g minor

F. CAVALLI: "Piante ombrose" from Opera La Calisto

C. W. GLUCK: "Danza degli spettri e delle furie" from Opera Orfeo ed Euridice, Wq. 30

C. W. GLUCK: "Misera, dove son!" from Opera Ezio, Wq. 15

C. W. GLUCK: "Ah! non son io che parlo" from Opera Ezio, Wq. 15

G. F. HANDEL: "As with Rosy Steps the Morn" from Dramatic Oratorio Theodora, HWV 68

G. MAHLER: III. "Ich bin der Welt abhanden gekommen" from RÜCKERT-Lieder

※The presenter reserves the right to change the repertoire.

  Creative and Production Team  

Mezzo-soprano｜Joyce DiDONATO

Conductor and Violin｜Zefira VALOVA

il Pomo d'Oro

  Artists Introduction  

"The staggering, joyful artistry of Joyce DiDONATO reminds us that in any generation there are a few giants. Joyce is not only a great, brave and inspiring artist – one of the finest singers of our time – but she is also a transformative presence in the arts. Those who know her repertoire are in awe of her gifts, and those who know nothing of it are instantly engaged. Joyce sings and the world is suddenly brighter. She compels us to listen actively, to hear things anew." — Jake HEGGIE, Gramophone

Multi-GRAMMY Award winner and 2018 Olivier Award winner for Outstanding Achievement in Opera, Kansas-born Joyce DiDONATO entrances audiences across the globe, and has been proclaimed "perhaps the most potent female singer of her generation" by The New Yorker . With a voice "nothing less than 24-carat gold" according to The Times , Joyce has towered to the top of the industry as a performer, a producer, and a fierce advocate for the arts. With a repertoire spanning over four centuries, a varied and highly acclaimed discography, and industry-leading projects, her artistry has defined what it is to be a singer in the 21st century.

Joyce begins her ambitious 2023-24 season by opening The Metropolitan Opera's season performing her signature role of Sister Helen in a new production of Jake HEGGIE's Dead Man Walking , where she will return later in the season to revive her critically acclaimed "Virginia Woolf" in Kevin PUTS' The Hours . This season also sees Joyce touring Dido & Aeneas with Il Pomo d'Oro, and further tours of EDEN and the GRAMMY Award-winning Songplay in Asia, South America, and Europe. In concert, Joyce appears with her hometown Kansas City Symphony Orchestra for a series of subscription concerts, as well as performances in Istanbul, Strasbourg, and Paris. Joyce also performs in recital at Deutsche Staatsoper Berlin, Wiener Musikverein and Carnegie Hall.

Recent highlights include giving the world premiere of Tod MACHOVER's Overstory Overture in the role of Patricia Westertord at Alice Tully Hall in New York and Seoul Arts Center in South Korea and an in-depth residency at Musikkollegium Winterthur.

Joyce's groundbreaking EDEN Tour has had further success with recent tours in Europe and North America. In June 2022, Joyce joined the Metropolitan Orchestra for a tour that included the orchestra's first visit to the UK in over 20 years, with performances at The Barbican, Philharmonie de Paris and Festpielhaus Baden-Baden. Her performance was "the embodiment of musical perfection", according to the Wochenblatt Reporter.

In opera, Joyce's recent roles include Agrippina at the Metropolitan Opera and in a new production at the Royal Opera House, Didon in Les Troyens at the Wiener Staatsoper; Cendrillon in Cendrillon and Adalgisa in Norma at the Metropolitan Opera; Agrippina in concert with Il Pomo d'Oro under Maxim EMELYANCHEV; Sister Helen in Dead Man Walking at the Teatro Real Madrid and London's Barbican Centre; Semiramide at the Bavarian State Opera and Royal Opera House, and Charlotte in Werther at the Royal Opera House.

Much in demand on the concert and recital circuit, Joyce has held residencies at Carnegie Hall and at London's Barbican Centre, toured extensively in the United States, South America, Europe and Asia and appeared as guest soloist at the BBC's Last Night of the Proms. Other concert highlights include the Berlin Philharmonic under Sir Simon RATTLE, Orchestre Révolutionnaire et Romantique under Sir John Eliot GARDINER, the Philadelphia Orchestra under Yannick NÉZET-SÉGUIN, and the Accademia Santa Cecilia Orchestra and the National Youth Orchestra USA under Sir Antonio PAPPANO.

An exclusive recording artist with Warner Classics/Erato, Joyce's expansive discography includes the highly celebrated Les Troyens (winning Gramophone's coveted Recording of the Year) and HANDEL's Agrippina (Gramophone's Opera Recording of the Year). Joyce's other albums include her singular EDEN that has toured to nearly 40 cities globally, the acclaimed Winterreise with Yannick NÉZET-SÉGUIN, GRAMMY Award winning Songplay , In War & Peace , the 2017 Best Recital Gramophone Award, Stella di Napoli, GRAMMY-Award-winning Diva Divo and Drama Queens . Other honors include the Gramophone Artist and Recital of the Year awards, as well as an inaugural inductee into the Gramophone Hall of Fame.

Zefira VALOVA was born in Sofia where she obtained a Master's degree at the National Music Academy. From 2009 until 2011 she specialized in baroque violin at the Conservatorium van Amsterdam, having studied with Lucy van DAEL. From 2003 until 2008 she was concertmaster of several orchestras in Bulgaria including The National Youth Orchestra of The Netherlands. She appeared as a soloist with the Academic Symphony Orchestra Sofia, Classic FM Radio Orchestra, Chamber Orchestra Orpheus, and Ars Barocca Ensemble – awarded by the Bulgarian National Radio with the prize “Ensemble of 2007”. Zefira VALOVA is among the founders of the Sofia Baroque Arts Festival; the only annual event dedicated to early music and historically informed performance in Bulgaria. As a member of the European Union Baroque Orchestra in 2008, working with Roy GOODMAN, Lars Ulrik MORTENSEN and Enrico ONOFRI, she started her experience in the historical performance practice. She has been concertmaster of il Pomo d'oro since 2015, mainly under the direction of Maxim EMELYANYCHEV. Since 2016, she has conducted the Sofia Philharmonic Orchestra within their early music series. Last season she appeared as concertmaster of Il Pomo d'oro performances with Joyce DiDONATO, Ann HALLENBERG, Franco FAGIOLI, Jakub ORLINSKI, and Edgar MOREAU. She collaborates with Helsinki Baroque Orchestra for wide range of baroque, classical and romantic repertoire. She has also collaborated with Orchestra of the Age of Enlightenment, La Chambre Phillharmonique, B'Rock, Les Ambassadeurs and others. She appears in chamber music ensembles with pianists Olga PASHCHENKO, Vasily ILISAVSKY, guitarist Izhar ELIAS and recorder player Erik BOSGRAAF. Zefira VALOVA was awarded in the competition of the Jumpstart Jr. Foundation, which provided her with a violin Lorenzo & Tomaso Carcassi 1760, Florence.

The ensemble il pomo d'oro was founded in 2012. It is characterized by an authentic, dynamic interpretation of operas and instrumental works from the Baroque and Classical period. The musicians are all well-known specialists and are among the best in the field of historical performance practice. The ensemble so far worked with the conductors Riccardo MINASI, Maxim EMELYANYCHEV, Stefano MONTANARI, George PETROU, Enrico ONOFRI and Francesco CORTI. Concertmaster Zefira VALOVA leads the orchestra in various projects. Since 2016 Maxim EMELYANYCHEV has been its Chief Conductor, and since 2019 Francesco CORTI is Principal Guest Conductor.

Il pomo d'oro is a regular guest in prestigious concert halls and festivals all over Europe. After the worldwide success of the program In War and Peace with Joyce DiDONATO, in 2020, il pomo d'oro and Maxim EMELYANYCHEV presented My favorite things and is now on tour worldwide with EDEN , the latest program and album of il pomo d'oro, Maxim EMELYANYCHEV and the American Mezzosoprano.

The discography of il pomo d'oro includes several opera recordings: G. F. HÄNDEL's Agrippina , Serse , Tamerlano , Partenope and Ottone , Leonardo VINCI's Catone in Utica , and Alessandro STRADELLA's La Doriclea . It features Recitals with the countertenors Jakub Józef ORLIŃSKI, Franco FAGIOLI, Max Emanuel CENCIC, and Xavier SABATA, with mezzo sopranos Ann HALLENBERG and Joyce DiDONATO and with sopranos Lisette OROPESA, Emöke BARATH and Francesca ASPROMONTE. Among the instrumental albums the recordings of HAYDN's violin and harpsichord concertos as well as a cello album with Edgar MOREAU received Echo Klassik Awards in 2016. Further instrumental recordings are dedicated to the violin concertos and the harpsichord concertos by J.S. BACH, with Shunske SATO and Francesco CORTI as soloists, and to virtuoso violin concertos with Dmitry SINKOVSKY.

In 2021 new albums with BACH Harpsichord Concertos Vol. II with Francesco CORTI, Ombra Compagna with Lisette Oropesa (MOZART concert arias) and Jakub Józef ORLIŃSKI ( Anima Aeterna ) were released. In 2022 seven albums have been published: HANDEL's Apollo e Dafne with Kathryn LEWEK (Soprano) and John CHEST (Bass), Mandolin on Stage with Raffaele La RAGIONE (Mandolin), the new recital with Joyce DiDONATO, EDEN, BACH Harpsichord Concertos Vol. III with Francesco CORTI, Violin Concertos by BENDA, GRAUN, SAINT-GEORGES and SIRMEN with Zefira VALOVA as soloist, Roma Travestita with Soprano Bruno de SÁ, and HANDEL's oratorio Theodora with a stellar cast (Lisette Oropesa, Joyce DiDONATO, Paul-Antoine Bénos-Djian, Michael SPYRES, John CHEST) – also introducing the new vocal ensemble of il pomo d'oro. The first solo recording of the vocal ensemble, Gesualdo's Sacrae Cantiones , was released in March 2023 with Aparté.

A solo-recital with American tenor Michael SPYRES, Contra-Tenor , (May 2023, Erato) continues il pomo d'oro's series of recordings with outstanding singers. It will be followed by Beyond, (Erato, October 2023), the new solo-album with Jakub Józef ORLIŃSKI.

In 2022, il pomo d'oro started a long-term recording project of MOZART-Symphonies and selected solo-concerts with Maxim EMELYANYCHEV conducting.

The albums Anima Sacra with Jakub Józef ORLIŃSKI, and Voglio Cantar with soprano Emöke BARATH received the prestigious Opus-Klassik Award, and the recording of G.F. HANDEL's Serse, conducted by Maxim EMELYANYCHEV, was awarded the Italian "Abbiato del Disco". In 2018, the recording of Alessandro STRADELLA's opera La Doriclea, conducted by Andrea di CARLO, received the German "Preis der Deutschen Schallplattenkritik". Virtuosissimo with Dmitry SINKOVSKY, released in 2019, received a "Diapason d'Or". In 2022, EDEN with Joyced DiDONATO received a "Choc" from Classica and an "Opus Klassik".

Il pomo d'oro is official ambassador of El Sistema Greece, a humanitarian project to provide free musical education to children in Greek refugee camps. il pomo d'oro plays charity concerts and offers workshops and music lessons according to the El Sistema method on a frequent regular basis in various refugee camps in Greece.

Photo © Melle Meivogel 

Partner: Kaohsiung Spring Arts Festival

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【Weiwuying Showtime】Counterpoint Ensemble - Deep into Japanese Anime concert

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Aileen Chang's Last Evening

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Things To Do | 7 incredible Bay Area things to do this weekend,

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Things To Do | 7 incredible Bay Area things to do this weekend, Jan. 20-22

The sun is back. So is the amazing SF Sketchfest, so this weekend is looking like a winner already. But we have some great ideas — from compelling new movies to S.F. Ballet to an addictive lemony dessert — to help things along.

As with everything these days, be sure to double check websites for any last-minute health guidelines. Meanwhile, if you’d like to have this Weekender lineup delivered to your inbox every Thursday morning for free, just sign up at www.mercurynews.com/newsletters or www.eastbaytimes.com/newsletters .

1 SEE & LAUGH: Sketchfest is back

SF Sketchfest is two-plus weeks insanely packed with top-flight comedy shows, improv, cast reunions and more. It’s humor heaven. And it’s back. And Janeane Garofalo couldn’t be happier about it . Meanwhile, here’s a roundup of 13 shows you should not miss.

2 WATCH IN AWW … ‘Bluey’s’ in town

The wildly popular Australian-born TV show “Bluey” — a mega-hit with kids and some adults too (you know who you are) — now has a live stage show that lands in the Bay Area this weekend and plays San Jose in the near future. The deets are here.

3 DEVOUR: Bay Area’s best new bakeries

We know how busy you are — and who has time to keep up with all the new bakeries opening up in the Bay Area and noting which are the best? So we’ve done it for you: the best ones from Los Gatos to Danville and beyond.

4 WATCH: Family affairs of all types

A tech-savvy teen looks for her missing mom, a mother and son try to break the walls between them, two kids get strange after entering a mysterious cave …. This weekend’s new movies are all about beleaguered parents and children. Here’s a roundup.

5: MAKE & EAT: Lemony deliciousness

This British dessert nicknamed a “fool” (don’t ask us why, British people can be pretty silly) is a creamy, lemony explosion of mouthwateringness. Here’s how to make it.

6 SEE: Big doings at S.F. Ballet

The renowned company has a new artistic director and a bunch of new dances it will unveil beginning this week. Here’s a rundown.

7 SEE & HEAR: An opera icon sings about climate change

Mezzo-soprano Joyce DiDonato has wowed Bay Area audiences many times in the past. Now she’s back with the ecologically-themed concert “EDEN.” Here’s what you need to know.

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ONE SONG • ONE SEED

“With this project, we’re trying to tell the story of perfection.” JOYCE DiDONATO

I don’t know yet if it’s simply the general times we are living in, or if the “Great Pause” alone has given rise to ever deepening and restless queries within, but as Gene Scheer perfectly captures in the text of our world premiere, The First Morning of the World: “I am filled with nothing but questions.” EDEN has emerged as an integral part of the journey towards finding answers.

You see, I’m a problem solver, a dreamer, and – yes – I am a belligerent optimist who believes in the incredible power of not only the human spirit to overcome, but with each passing day I trust more and more in the perfect balance, astonishing mystery, and guiding force of the Natural World around us. How much Mother Nature has to teach us through her awe-inducing majesty, her staggeringly complex simplicity, and her ever-present patience. It’s almost as if She has all the time in the world.

EDEN is an invitation to return to our roots. To remember. It is an overture to contemplate the sheer perfection of the world around us, and to explore whether or not we are connecting as profoundly as we can to the pure essence of our being. It is a clarion call to consider if our collective suffering and confusion isn’t perhaps linked to the aching separation from something primal within and around us.

During the pandemic, I observed closely the flowers that emerged from the ground as the “real world” went quiet. Despite our pressing issues of shutdowns and closures, these wondrous miracles arrived – unassuming and unheralded – bursting out of their seed coverings after the long winter’s sleep, modestly employing the water and soil at hand to reach ever higher towards the sky, soaking up the full glory of the sun. But the doubt persists, often in the darkest hours of the night:

“What can I alone do?”

“What difference can I possibly make?”

And the truth is, I’m not at all sure of the answer. The immense and deafening pain and destruction of the world at large often overwhelms me. Any hope of “saving it” seems to float further and further away. 

This is then the moment when I seek out the comfort and connection of Music: with each passing day I trust more and more in the perfect balance, astonishing mystery, and guiding force of the Musical World with which we are blessed. Story tellers and creators from Handel to Ives and from Rückert to Portman, who have so much to teach us as they sort through the simple complexity of our human dilemma and search for universal truths, give us guidance and wisdom to aid us in our questioning. Time often seems to stand still when absorbed in the integrated harmonies and rich poetry of great music, and in that beautiful suspension we are afforded the gift to examine, expand and feel. We connect. The painful separation begins to dissipate and we are empowered to act.

EDEN is a call to action to build a paradise for today: to fertilize, nourish, and protect the pure bliss that the deepest part of us knows and yearns for: the unpolluted perfume of a linden branch; the comforting shade of a towering tree; the breathtaking sanctity of pure love; the generosity of the endless light that breaks open for us every single morning; the dying to the world we have known, only to embrace and live aloud in our heaven, our love, and our song. The way I look at it, this is the precise moment in time when each of us is called to participate in nourishing and healing our world and our hearts: repairing where broken, rebuilding where barren, replenishing where exhausted. Both Nature and Music are showing us the way.

Will we answer the call? With that in mind, I ask you:

In this time of upheaval, which seed will you plant today?

Joyce DiDonato would like to graciously thank the following for their generous support of EDEN:

Sara Morgan,  Ann Ziff, John Studzinski, Franci Neely, Helen Berggruen, McDermott Foundation, Linda Nelson, Kern Wildenthal, John Singer, Michael Beverley DL, The Getty Foundation, David Jacobs, Eva Haller, Sarah Billinghurst Solomon Foundation, Sir Simon Robey, Katherine G. Farley, Tom and Pamela Frame, Ellen Marcus, and Richard Gaddes.

EDEN has been commissioned by University Musical Society of the University of Michigan; the Harriman-Jewell Series, Kansas City; Abu Dhabi Music & Arts Foundation; Cal Performances at University of California, Berkeley; Stanford Live; and UC Santa Barbara Arts & Lectures.

Copyright © 2022. All Rights Reserved. Concept: Joyce DiDonato Photos: Sergi Jasanada | Art Direction: Joyce DiDonato & Catherine Pisaroni Album artwork & website design: Lenny’s Studio Stylist: Angel Cabezuelo. Makeup: De María.

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