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Leonarda “Cara Regina” from Motteti a voce sola by Isabella Leonarda

O, quam bonum – solo vocal motel by Chiara Margarita Cozzolani

Samson (excerpt) by Elisabeth Jacquet de la Guerre

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About The Program

Women in the Western musical tradition were, even until the mid-twentieth century, often discouraged from composing music—or at least from signing their names to their own compositions. Yet since the beginnings of musical notation, there have been some women who skirted the conventions of anonymity and asserted their identities as composers. The remarkable nature of this gesture was not lost on their contemporaries, who sometimes compared these women to their male counterparts or noted that they deserved praise for their compositional skill in contrast to other members of their sex.

With Saints and Sinners, Mango Baroque celebrates female composers of late 17th Century and early 18th Century Europe. These women were not only performers or composers; they also had their music printed for public dissemination at a time when women’s publications of any sort, whether musical or literary, were rare. This program is centered on vocal works with sacred themes—a circumstance that allows us to understand some of the similarities and differences in the lives and careers of these women. – Rebecca Cypess

About Mango Baroque

Mango Baroque is dedicated to presenting rich and dynamic solo vocal cantata music of the mid-17th through mid-18th Centuries in innovative and imaginative ways. We believe Baroque vocal chamber music is juicy, colorful, passionate, sexy, bursting with flavor and should be a regular part of everyone’s musical diet. The number of performers generally ranges from two to four instrumentalists and one to two singers, and the group uses period instruments. Included in our programs are talks about highlighted composers, historical information about the music and instruments used, and Q&As with the audience. Mango presents concerts that are musically, visually and dramatically engaging, often using theatrical elements such as movement and staging, but on a small and intimate scale.

About Marguerite Krull, Artistic Director

Soprano Marguerite Krull has garnered praise for a variety of repertory all over the world, with a particular passion for Baroque music. Marguerite has performed music of the 17th and 18th centuries with groups such as Lyric Opera of Chicago, Washington National Opera, Glimmerglass Opera, New York City Opera, Les Talens Lyriques, Oper Leipzig, Baltimore Lyric Opera, Orlando Opera, the Handel and Haydn Society of Boston, the New York Collegium, Tempesta di Mare, American Bach Soloists, San Francisco Bach Choir, Bach Choir of Bethlehem, and Chatham Baroque. She has collaborated with Baroque specialists such as Christopher Hogwood, Fabio Biondi, Jane Glover, Christophe Rousset, Will Lacey, and Bradley Brookshire, among others. Recent appearances include the role of Calliope in Handel’s Alceste with Thomas Crawford and the American Classical Orchestra at Alice Tully Hall; Dido/Sorceress in Purcell’s Dido and Aeneas with Karen Thomson and Berkshire Choral International, and Arbace in Vivaldi’s opera Cato in Utica with Ryan Brown and Opera Lafayette. A winner of the prestigious Marian Anderson Award, Marguerite has a BM in Piano Performance from the Peabody Conservatory and an MM in Voice Performance from the State University of New York at Stony Brook. She lives in New York City with her husband Mark and her children, Eamon and Maeve.