Home » Artists » Rameau - Le Temple de la Gloire

Tour Dates

02/06/2019First United Methodist Church / Palo Alto, CA
02/08/2019Herbst Theatre / San Francisco, CA
02/09/2019First Congregational Church / Berkeley, CA
02/10/2019First Congregational Church / Berkeley, CA
03/06/2019Bing Concert Hall / Stanford, CA
03/08/2019Herbst Theatre / San Francisco, CA
03/09/2019First Congregational Church / Berkeley, CA
03/10/2019First Congregational Church / Berkeley, CA
04/06/2019First Congregational Church / Berkeley, CA
04/07/2019First Congregational Church / Berkeley, CA
04/12/2019Herbst Theatre / San Francisco, CA
04/13/2019First United Methodist Church / Palo Alto, CA
11/13/2019Bing Concert Hall / Stanford, CA
11/15/2019Herbst Theatre / San Francisco, CA
11/16/2019First Congregational Church / Berkeley, CA
11/17/2019First Congregational Church / Berkeley, CA
01/22/2020Diane Wilsey Center for Opera / San Francisco, CA
01/24/2020ODC Theater / San Francisco, CA
01/25/2020ODC Theater / San Francisco, CA
01/26/2020ODC Theater / San Francisco, CA
01/29/2020ODC Theater / San Francisco, CA
01/31/2020ODC Theater / San Francisco, CA
02/01/2020ODC Theater / San Francisco, CA
02/07/2020Herbst Theatre / San Francisco, CA
02/08/2020First Congregational Church / Berkeley, CA
02/09/2020First Congregational Church / Berkeley, CA
02/12/2020Bing Concert Hall / Palo Alto, CA
03/11/2020Bing Concert Hall / Palo Alto, CA
03/13/2020Herbst Theatre / San Francisco, CA
03/14/2020First Congregational Church / Berkeley, CA
03/15/2020First Congregational Church / Berkeley, CA
04/15/2020Herbst Theatre / San Francisco, CA
04/17/2020Herbst Theatre / San Francisco, CA
04/18/2020Herbst Theatre / San Francisco, CA
04/19/2020Herbst Theatre / San Francisco, CA

Philharmonia Baroque Orchestra: Bio

About Philharmonia Baroque Orchestra & Chorale - Under the musical direction of Nicholas McGegan for the past 33 years, Philharmonia Baroque Orchestra & Chorale (PBO) is recognized as America's leading historically informed ensemble. Using authentic instruments and stylistic conventions of the Baroque to early-Romantic periods, the orchestra engages audiences through its signature Bay Area series, national tours, recordings, commissions, and education projects of the highest standard. Founded in the San Francisco Bay Area 37 years ago, the ensemble is the largest of its kind in the United States and is known for its versatility in programming and joyful performances.

PBO's musicians are among the best in the country and serve on the faculties of The Juilliard School, Harvard, and Stanford, among others. The Orchestra performs an annual subscription season in four venues throughout the San Francisco Bay Area as well as the orchestra's popular alternative concert series for younger and new audiences-PBO SESSIONS which has regularly sold out since its inception in 2014. In April 2017, PBO performed the modern-day premiere of Rameau's "Le Temple de la Gloire." The fully-staged opera included an international cast of singers and dancers and celebrated sold-out audiences and critical acclaim from around the world.

Each season welcomes eminent guest artists such as mezzo-sopranos Susan Graham and Anne Sofie von Otter, countertenor Andreas Scholl, violoncellist Steven Isserlis, fortepianist Emanuel Ax, and maestros Jordi Savall and Richard Egarr. The Orchestra enjoys numerous collaborations, including an ongoing partnership with the Mark Morris Dance Group and tours regularly to venues such as Carnegie Hall, Lincoln Center, Walt Disney Concert Hall, Tanglewood, and Weill Hall at the Green Music Center. In July 2017, PBO co-produced the critically-acclaimed modern adaptation of "Aci, Galatea e Polifemo" in partnership with Anthony Roth Costanzo and National Sawdust in Brooklyn.

Among the most recorded orchestras in the world, PBO boasts a discography of more than 40 recordings and launched its own label in 2011, on which it has released ten recordings, including a coveted archival performance of mezzo-soprano Lorraine Hunt Lieberson in Berlioz's "Les Nuits D'été," and a Grammy-nominated recording of Haydn symphonies. The orchestra released a recording of its modern North American premiere of Alessandro "Scarlatti's La Gloria di Primavera," which coincided with a tour in May 2016 and released the world premiere recording of the original version of Rameau's "Le Temple de la Gloire" with the unedited libretto by Voltaire in July 2018.

In 2015, Philharmonia launched its Jews & Music Initiative-a permanent effort to explore and understand the relationship between Jews and music from the 17th to the 21st centuries. The initiative brings Jewish historical context to classical music and provides opportunities for significant collaboration with SFJCC, the Jewish Contemporary Museum, Oshman JCC, and The Magnes Collection at UC Berkeley, among others. In 2016, Harvard and Yale universities invited PBO to present "Jews of the 17th Century Italian Jewish Ghetto" featuring works by Salomone Rossi and Monteverdi. The program was reprised at the University of Chicago in April 2018 and was deemed "shimmering….stylish, precise and expressive" by the Chicago Times.

PBO launched its New Music for Old Instruments initiative in 2016 as an effort to commission and perform new works written expressly for period instruments. Recent commissions include a co-commission with London's Orchestra of the Age of Enlightenment with composer Sally Beamish, two works by Pulitzer Prize-winning composer Caroline Shaw, the first for mezzo-soprano Anne-Sofie von Otter that enjoyed its world premiere at Walt Disney Concert Hall in April 2016 followed by the second piece in the song cycle for soprano Dominique Labelle in 2017. A third piece will be premiered at Lincoln Center in 2019. Additionally, PBO commissioned "To Hell and Back" by Guggenheim Fellow Jake Heggie. Future seasons will bring new commissions by Caroline Shaw, Matthew Aucoin, and Mason Bates.

To nurture the next generation of historically informed performance, Philharmonia and The Juilliard School's Historical Performance program partner to bring the star students

of Juilliard415, the school's acclaimed period instrument ensemble, to practice and perform alongside PBO's seasoned professionals. Annual residencies include masterclasses, coaching, and a culminating side-by-side showcase of PBO mentors and J415 students.

Philharmonia Baroque Orchestra was founded by harpsichordist and early music pioneer Laurette Goldberg. Nicholas McGegan will become Music Director Laureate effective with the 2020/21 season. 

About Philharmonia Chorale - Under the superb direction of Bruce Lamott, the Philharmonia Chorale is critically acclaimed for its brilliant sound, robust energy, and sensitive delivery of the text, the Philharmonia Chorale was formed in 1995 to provide a vocal complement whose fluency in the stylistic language of the baroque period matched that of Philharmonia Baroque Orchestra. The 24 members of the Chorale are professional singers with distinguished solo and ensemble experience. Chorale members appear regularly with organizations such as the San Francisco Symphony, Carmel Bach Festival, and American Bach Soloists, are guest soloists with most of the area's symphonic and choral organizations, appear in roles with regional opera companies, and have been members and founders of some of the country's premier vocal ensembles, including Chanticleer, the Dale Warland Singers, and Theatre of Voices.

Founded by John Butt, a baroque keyboardist and one of the world's leading Bach scholars, the Chorale has been led by conductor and musicologist Bruce Lamott since 1997. In its first decade, the Chorale's repertoire included nine Handel oratorios, Bach's St. John Passion and Christmas Oratorio, Mozart's C minor Mass, and – in collaboration with other choral ensembles – Beethoven's Symphony No. 9. The Chorale made its New York debut at the Brooklyn Academy of Music in 1998; and appeared with the Philharmonia Baroque Orchestra at the new Renée and Henry Segerstrom Concert Hall in Orange County. The Chorale appears on the Orchestra's recordings of Arne's Alfred, Scarlatti's Cecilian Vespers, and Beethoven's Symphony No.9.

Philharmonia Baroque Orchestra

Rameau - Le Temple de la Gloire

Click Here For Artist Stories

1 Rameau: Le Temple de la Gloire - Prologue: Ouverture  
2 Prologue: Monologue  
3 Prologue: Choeur avec coryphee  
4 Prologue: Air  
5 Prologue: Air pour les Demons et les Heros  
6 Prologue: Recitatif  
7 Prologue: Choeur  
8 Prologue: Recitatif, ariette  
9 Prologue: Air pour les Heros  
10 Prologue: Air pour les Muses  
11 Prologue: Air pour les Heros  
12 Prologue: Choeur  
13 Prologue: Entracte. Ouverture  
14 Acte Premier: Recitatif  
15 Acte Premier: Air  
16 Acte Premier: Musette en rondeau  
17 Acte Premier: Recitatif et choeur  
18 Acte Premier: Gavottes en musette  
19 Acte Premier: Air  
20 Acte Premier: Choeur  
21 Acte Premier: Petit choeur et recitatif  
22 Acte Premier: Recitatif et airs  
23 Acte Premier: Air  
24 Acte Premier: Petit choeur  
25 Acte Premier: Air pour les Bergers et Bergeres  
26 Acte Premier: Ariette  
27 Acte Premier: Gigue en rondeau  
28 Acte Premier: Recitatif, choeur, air et duo  
29 Acte Premier: Petit choeur accompagne  
30 Acte Premier: Tonnerre et air  
31 Acte Premier: Petit choeur et choeur  
32 Acte Premier: Trio et grand choeur  
33 Acte Second: Ritournelle  
34 Acte Second: Choeur avec coryphees  
35 Acte Second: Air  
36 Acte Second: Air pour les Heros et les Pretresses  
37 Acte Second: Entree des Suivans de Bacchus  
38 Acte Second: Air, ch?ur avec coryphee  
39 Acte Second: Air  
40 Acte Second: Symphonie, air  
41 Acte Second: Loure pour l'entree des Faunes  
42 Acte Second: Air pour les Suivans de Bacchus  
43 Acte Second: Airs  
44 Acte Second: Recitatif  
45 Acte Second: Air et choeur  
46 Acte Second: Recitatif  
47 Acte Second: Air  
48 Acte Second: Recitatif, air et recitatif  
49 Acte Second: Recitatif et air  
50 Acte Second: Recitatif, air et recitatif  
51 Acte Second: Ariette  
52 Acte Second: Duo  
53 Acte Second: Forlane pour les Suivans de Bacchus  
54 Acte Second: Gavotte en rondeau  
55 Acte Second: Ch?ur avec coryphee  
56 Acte Second: Entracte. Gavotte en rondeau (reprise)  
57 Troisieme Acte: Monologue  
58 Troisieme Acte: Recitatif  
59 Troisieme Acte: Recitatif, duo, recitatif  
60 Troisieme Acte: Duo, recitatif  
61 Troisieme Acte: Recitatif  
62 Troisieme Acte: Choeur  
63 Troisieme Acte: Air pour les Pretres et Pretresses  
64 Troisieme Acte: Recitatif  
65 Troisieme Acte: Premiere et deuxieme gavottes  
66 Troisieme Acte: Choeur, recitatif  
67 Troisieme Acte: Recitatif accompagne  
68 Troisieme Acte: Choeur avec coryphees  
69 Troisieme Acte: Recitatif  
70 Troisieme Acte: Descente de la Gloire. Recitatif et air  
71 Troisieme Acte: Entree des Suivants de la Gloire  
72 Troisieme Acte: Choeur avec coryphee  
73 Troisieme Acte: Gigue pour les Suivants de la Gloire  
74 Troisieme Acte: Recitatif, air, recitatif  
75 Troisieme Acte: Choeur  
76 Troisieme Acte: Entree des Seigneurs et des Dames - Passacaille  
77 Troisieme Acte: Choeur avec coryphee  
78 Troisieme Acte: Entree de Bergers et Bergeres  
79 Troisieme Acte: Ariette  
80 Troisieme Acte: Loure grae pour une entree brillante  
81 Troisieme Acte: Air pour les Romains et Romaines  
82 Troisieme Acte: Choeur avec coryphee  
83 Troisieme Acte: Entree de la jeunesse - Passepieds  
84 Troisieme Acte: Choeur  
85 Troisieme Acte: Recitatif et air  
86 Troisieme Acte: Suite de la Passacaille  
87 Troisieme Acte: Air pour les Romains et Romaines  
Rameau: Le Temple de la Gloire (The Making of a Modern Day Premiere)

In order to appease the somewhat provincial tastes of King Louis XV, composer Jean-Philippe Rameau and his librettist Voltaire altered the original version of Le Temple de la Gloire, and for centuries it was lost.  The manuscript was discovered-at the University of California, Berkeley's Jean Hargrove Music Library and was brought to the attention of conductor Nicholas McGegan.  For decades, maestro McGegan dreamed of reviving the original work-a dream realized in April 2017 through a partnership between Philharmonia Baroque Orchestra, Cal Performances at UC Berkeley, Centre de musique de Versailles in France and New York Baroque Dance Company.