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A Monumental Four-Hour Recreation of the Legendary 1808 Concert!

Richard Egarr takes the podium as our new Music Director as Beethoven turns 250—so what better way to welcome Richard than a marathon Beethovenian blast! For the first time ever Philharmonia will perform a historically-informed remounting of Beethoven’s momentous 1808 concert which featured premieres of some of his most iconic works. This historic event, with a lengthy intermission for dinner, will be performed in the same fashion as Beethoven presented it over 200 years ago with Richard conducting and starring as the fortepiano soloist. The concert, with full orchestral and choral forces, will also feature an illustrious line-up of brilliant vocal soloists. For those Beethoven fanatics searching for the 250th birthday event of the year, look no further than this triumphant season-opening performance!


Symphony No. 6 in F major, “Pastoral”
“Ah! perfido” for soprano and orchestra
“Gloria” from Mass in C major
Concerto for Fortepiano No. 4 in G major

Two-hour intermission

Symphony No. 5 in C minor
“Sanctus” from Mass in C major
Fantasia in C minor, “Choral Fantasy”

Richard Egarr, conductor and fortepiano
Mireille Asselin, soprano
Kelley O’Connor, alto
Nicholas Phan, tenor
Cody Quattlebaum, bass-baritone
David Belkovski, fortepiano
Philharmonia Baroque Orchestra & Chorale
Bruce Lamott, 
chorale director



Sunday September 13 @ 4 pm | Herbst Theatre, San Francisco

Add dinner with Richard! Buffet dinner at intermission in the Green Room of Herbst Theatre; wine included. Only 100 dinner tickets available! For more information, please contact Chief Development Officer Sarah Angello (

Join us for the Pre-Concert Talk forty-five minutes prior to the concert start time.


A singer deemed “superb” by the Los Angeles Times, and praised by Opera Canada for her “vivacious stage presence” and as a “soprano that charms and brightens a room”, Mireille Asselin enjoys a diverse, international career spanning concert, opera and recital work.

To date, Mireille 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 FLEDERMAUS 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.

In the 2018/19 season, Mireille makes debuts with The Harris Theater in Chicago, with Garsington Opera in England, the Champs-Elysées in Paris, and with Odyssey Opera in Boston in addition to touring extensively with the Mirror Visions Ensemble in recital across North America and in Europe. Her most recent album “Inspired by Canada – Notre Pays” with the Amici Chamber Ensemble was released this year on Marquis Records to great acclaim. This season also brings her back to both Opera Atelier in Toronto and the Royal Opera in Versailles performing a double-bill of ACTÉON/PYGMALION, as well as to the Handel & Haydn Society in Boston where she will perform and record Haydn’s HARMONIEMESSE.

Ms. Asselin is a graduate of the Canadian Opera Company Studio, Yale University and the Royal Conservatory of Music. For more info visit


Possessing a voice of uncommon allure, the Grammy® Award-winning mezzo-soprano Kelley O’Connor has emerged as one of the most compelling performers of her generation.  She is internationally acclaimed equally in the pillars of the classical music canon – from Beethoven and Mahler to Brahms and Ravel –as she is in new works of modern masters – from Adams and Dessner to Lieberson and Talbot.

Kelley O’Connor joins Alan Gilbert for his inaugural performances as Chief Conductor of the NDR Elbphilharmonie Orchester in Bernstein’s “Jeremiah” Symphony.  Other highlights of the artist’s impressive 2019-20 season include Mahler’s Second Symphony with the Saint Louis Symphony and Lieberson’s Neruda Songs with the Philadelphia Orchestra, both under the baton of Stéphane Denève, Adams’ El Niño with David Robertson leading the Houston Symphony, Mendelssohn’s Elijah with Jun Märkl and Beethoven’s Missa Solemnis with Krzysztof Urbański, both with the Indianapolis Symphony, and Korngold’s Abschiedslieder with Donald Runnicles and the Atlanta Symphony Orchestra.  Mahler’s Eighth Symphony brings Kelley O’Connor together with Robert Spano and the Atlanta Symphony and with the San Francisco Symphony for Michael Tilson Thomas’ final concerts as Music Director.

John Adams wrote the title role of The Gospel According to the Other Mary for Kelley O’Connor and she has performed the work, both in concert and in the Peter Sellars fully staged production, under the batons of John Adams, Gustavo Dudamel, Grant Gershon, Gianandrea Noseda, Sir Simon Rattle, and David Robertson.  She has sung the composer’s El Niño with Vladimir Jurowski and the London Philharmonic Orchestra and continues to be the eminent living interpreter of Peter Lieberson’s Neruda Songs having given this moving set of songs with Christoph Eschenbach and the National Symphony Orchestra, with Bernard Haitink and the Chicago Symphony Orchestra, with Robert Spano and the Minnesota Orchestra, and with David Zinman and the Berliner Philharmoniker and the Tonhalle-Orchester Zürich among many others.

Recent performances include Mahler’s Second Symphony with Andrés Orozco-Estrada and the Houston Symphony, the Third Symphony with Donald Runnicles and the Grand Teton Music Festival Orchestra, Michael Stern and the Kansas City Symphony Orchestra, and with Andrés Orozco-Estrada and the Chicago Symphony Orchestra, and the Eighth Symphony with Andrés Orozco-Estrada and the Tonkünstler-Orchester Niederösterreich, Des knaben Wunderhorn with Krzysztof Urbański and the Indianapolis Symphony Orchestra, and Das Lied von der Erde with Louis Langrée and the Detroit Symphony and with Donald Runnicles and the Atlanta Symphony Orchestra, BBC Scottish Symphony Orchestra, and Dallas Symphony.  She has sung Wagner’s Wesendonck Lieder with Matthias Pintscher and the Indianapolis Symphony Orchestra, Bernstein’s Songfest for her Boston Symphony Orchestra debut under the baton of Bramwell Tovey, Beethoven’s Missa Solemnis with David Robertson and the St. Louis Symphony and Ninth Symphony with Iván Fischer and the Budapest Festival Orchestra, and has bowed in performances of Ravel’s Shéhérazade with Gemma New and the San Francisco Symphony as well as with Esa-Pekka Salonen and the Philharmonia Orchestra, Berio’s Folk Songs with Daniel Harding and the London Symphony Orchestra, and as Erda in Wagner’s Das Rheingold with the New York Philharmonic conducted by Alan Gilbert.

Sought after by many of the most heralded composers of the modern day, Kelley O’Connor has given the world premieres of Joby Talbot’s A Sheen of Dew on Flowers with the Britten Sinfonia at the Victoria & Albert Museum to celebrate the opening of the institution’s new jewellery wing, and Bryce Dessner’s Voy a Dormir with Robert Spano leading the Orchestra of St. Luke’s at Carnegie Hall with further performances accompanied by the Los Angeles Chamber Orchestra led by Jaime Martín.

Operatic highlights include the title role of Britten’s The Rape of Lucretia presented by Boston Lyric Opera in a new production by Broadway theater director Sarna Lapine conducted by David Angus, Carmen with Los Angeles Opera conducted by James Conlon, Donizetti’s Anna Bolena at the Lyric Opera of Chicago conducted by Patrick Summers and directed by Kevin Newbury, Madama Butterfly in a new production by Lillian Groag at the Boston Lyric Opera and at the Cincinnati Opera under the baton of Ramón Tebar, Berlioz’s Béatrice et Bénédict at Opera Boston, Falstaff with the Santa Fe Opera, and A Midsummer Night’s Dream at the Lyric Opera of Chicago and the Canadian Opera Company.

Her vivid recital career includes performances in Boston with Thomas Adès in a program of Brahms, Purcell, and Stravinsky, in Chicago offering works of Debussy, Massenet, and Chausson, in Cincinnati with pianist Louis Langrée in programs of Brahms and Ravel, and in Jackson Hole with the music of Brahms and Bernstein in a collaboration with Donald Runnicles.

Miss O’Connor has appeared numerous times with Gustavo Dudamel, including in performances of Bernstein’s “Jeremiah” Symphony on an international tour with the Los Angeles Philharmonic and of Mahler’s “Resurrection” Symphony with the Simón Bolívar Orchestra.  She enjoys a rich musical collaboration with Franz Welser-Möst and the Cleveland Orchestra with whom she has sung Beethoven’s Ninth Symphony and Mass in C, Bernstein’s “Jeremiah” Symphony, staged performances of Falstaff both in Cleveland and at the Lucerne Festival, and Stravinsky’s Requiem Canticles.

Kelley O’Connor has received unanimous international, critical acclaim for her numerous performances as Federico García Lorca in Osvaldo Golijov’s Ainadamar.  Miss O’Connor created the role for the world premiere at Tanglewood, under the baton of Robert Spano, and subsequently joined Miguel Harth-Bedoya for performances of Golijov’s piece with the Los Angeles Philharmonic at the Walt Disney Concert Hall.  She reprised her “musically seductive, palpably charismatic” (Washington Post) portrayal of Lorca in the world-premiere of the revised edition of Ainadamar at the Santa Fe Opera in a new staging by Peter Sellars, which was also presented at Lincoln Center and the Teatro Real.

For her debut with the Atlanta Symphony in Ainadamar, Kelley O’Connor joined Robert Spano for performances and a Grammy® Award-winning Deutsche Grammophon recording.  Her discography also includes Mahler’s Third Symphony with Jaap van Zweden and the Dallas Symphony Orchestra, Lieberson’s Neruda Songs and Michael Kurth’s Everything Lasts Forever with Robert Spano and the Atlanta Symphony, Adams’ The Gospel According to the Other Mary with Gustavo Dudamel and the Los Angeles Philharmonic, and Beethoven’s Ninth Symphony with Franz Welser-Möst and the Cleveland Orchestra.


Described by the Boston Globe as “one of the world’s most remarkable singers,” American tenor Nicholas Phan is increasingly recognized as an artist of distinction. Praised for his keen intelligence, captivating stage presence and natural musicianship, he performs regularly with the world’s leading orchestras and opera companies. Also an avid recitalist, in 2010 he co-founded the Collaborative Arts Institute of Chicago (CAIC) to promote art song and vocal chamber music, where he serves as artistic director.

Phan once again launches his new season in Chicago, curating CAIC’s eighth annual Collaborative Works Festival. This year’s three-day festival, “The Living,” explores the songs of a diverse array of today’s leading composers. Other highlights of his 2019-20 season include debuts with the Bavarian Radio Symphony Orchestra with Riccardo Muti, the London Symphony Orchestra with Michael Tilson Thomas, Handel & Haydn Society with Masaaki Suzuki, and the New World Symphony for a program of vocal chamber music. He makes his role debut in the title role of Handel’s Judas Maccabaeuswith Philharmonia Baroque and Nicholas McGegan, and gives the world premiere of Antoine Plante’s arrangement Schubert’s Winterreise for full orchestra, with Houston-based orchestra, Mercury. In January 2020, Phan curates and performs in Emerging Voices with the Philadelphia Chamber Music Society: a series of concerts, salons and panel discussions celebrating Paris and art song’s role as medium for understanding identity and forging connections during times of social, political and cultural change. In addition to return appearances with both the New York Philharmonic and San Francisco Symphony, he also returns to the Cleveland-based baroque orchestra, Apollo’s Fire, for a tour of Bach’s St. Matthew Passion performing both the Evangelist and the tenor arias. Phan will also give the world premieres of two new song cycles in 2020, one by Nico Muhly commissioned for the Emerging Voices project, and one by Gabriel Kahane, commissioned to commemorate the 40thanniversary of San Francisco Performances. A celebrated recording artist, Phan will also release his 6th solo album, Clairières, in January 2020, a recording of songs by Lili and Nadia Boulanger.

Phan’s previous solo album, Gods and Monsters, was nominated for the 2017 Grammy Award for Best Classical Vocal Solo Album. His other previous solo albums Illuminations, A Painted TaleStill Fall the Rain and Winter Words, made many “best of” lists, including those of the New York TimesNew YorkerChicago Tribune, WQXR, and Boston Globe. Phan’s growing discography also includes a Grammy-nominated recording of Stravinsky’s Pulcinella with Pierre Boulez and the Chicago Symphony, Berlioz’ Roméo et Juliettewith Michael Tilson Thomas and the San Francisco Symphony, Scarlatti’s La gloria di primavera and Handel’s Joseph and his Brethren with Philharmonia Baroque, an album of Bach’s secular cantatas with Masaaki Suzuki and Bach Collegium Japan, Bach’s St. John Passion (in which he sings both the Evangelist and the tenor arias) with Apollo’s Fire, and the world premiere recordings of two orchestral song cycles: The Old Burying Ground by Evan Chambers and Elliott Carter’s A Sunbeam’s Architecture.

Phan has appeared with many of the leading orchestras in the North America and Europe, including the Cleveland Orchestra, New York Philharmonic, Boston Symphony, Chicago Symphony, San Francisco Symphony, Los Angeles Philharmonic, Philadelphia Orchestra, National Symphony, Atlanta Symphony, St. Paul Chamber Orchestra, Minnesota Orchestra, Orchestra of St. Luke’s, Philharmonia Baroque, Boston Baroque, Les Violons du Roy, BBC Symphony, English Chamber Orchestra, Strasbourg Philharmonic, Royal Philharmonic, Swedish Radio Symphony, Philharmonia Orchestra of London, and the Lucerne Symphony. He has toured extensively throughout the major concert halls of Europe and has appeared with the Oregon Bach, Ravinia, Marlboro, Edinburgh, Rheingau, Saint-Denis, and Tanglewood festivals, as well as the BBC Proms.  Among the conductors he has worked with are Marin Alsop, Harry Bicket, Herbert Blomstedt, Pierre Boulez, Karina Canellakis, James Conlon, Alan Curtis, Rafael Frühbeck de Burgos, Charles Dutoit, James Gaffigan, Alan Gilbert, Jane Glover, Matthew Halls, Manfred Honeck, Bernard Labadie, Louis Langrée, Cristian Măcelaru, Nicholas McGegan, Zubin Mehta, Riccardo Muti, John Nelson, Yannick Nézet-Séguin, Helmuth Rilling, David Robertson, Esa-Pekka Salonen, Masaaki Suzuki, Michael Tilson Thomas, Bramwell Tovey and Franz Welser-Möst.

An avid proponent of vocal chamber music, he has collaborated with many chamber musicians, including pianists Mitsuko Uchida, Richard Goode, Jeremy Denk, Graham Johnson, Roger Vignoles, Inon Barnatan, Myra Huang and Alessio Bax; violinist James Ehnes; guitarist Eliot Fisk; harpist Sivan Magen; and horn players Jennifer Montone, Radovan Vlatkovic and Gail Williams. In both recital and chamber concerts, he has been presented by Carnegie Hall, London’s Wigmore Hall, the Metropolitan Museum of Art, the Chamber Music Society of Lincoln Center, the Philadelphia Chamber Music Society, Atlanta’s Spivey Hall, Boston’s Celebrity Series, and the Library of Congress in Washington, DC. In addition to his work as artistic director of CAIC, he also has served as guest curator for projects with the Laguna Beach Music Festival, Philadelphia Chamber Music Society, and San Francisco Performances, where he served as the vocal artist-in-residence from 2014-2018.

Phan’s many opera credits include appearances with the Los Angeles Opera, Houston Grand Opera, Glimmerglass Festival, Chicago Opera Theater, Seattle Opera, Portland Opera, Glyndebourne Opera, Maggio Musicale in Florence, Deutsche Oper am Rhein, and Frankfurt Opera. His growing repertoire includes the title roles in Bernstein’s Candide, Stravinsky’s Oedipus Rex and Handel’s Acis and Galatea, Almaviva in Il barbiere di Siviglia, Nemorino in L’elisir d’amore, Fenton in Falstaff, Tamino in Die Zauberflöte, Don Ottavio in Don Giovanni, and Lurcanio in Ariodante. 

A graduate of the University of Michigan, Phan is the 2012 recipient of the Paul C Boylan Distinguished Alumni Award and the 2018 Christopher Kendall Award. He also studied at the Manhattan School of Music and the Aspen Music Festival and School, and is an alumnus of the Houston Grand Opera Studio. He was the recipient of a 2006 Sullivan Foundation Award and 2004 Richard F. Gold Career Grant from the Shoshana Foundation.

CODY QUATTLEBAUM – Bass-baritone

American Bass-Baritone Cody Quattlebaum, commended by Opera News as “…a powerhouse, commanding of presence, virile of sound, and articulate even in the swiftest exchanges”, is earning a reputation as a unique and captivating interpreter of opera, song, and oratorio.

Cody recently made his debut at Opernhaus Zürich as Schriftsteller, the antagonist in the world premiere of Der Traum von Dir, and later appeared as Larkens in Barrie Kosky’s celebrated production of La Fanciulla del West. He will return to close the 17/18 season as Zuniga in Carmen.

After being named a finalist in the first annual Glyndebourne Cup, Cody made his London debut as Jesus and the bass soloist in Johannespassion alongside James Gilchrist, at Barbican Hall with the Academy of Ancient Music. He will return in 2019 to perform Händel’s Brockespassion, lead by Maestro Egarr.

Cody also recently made his German debut at the Händel-Festspiele in Göttingen, appearing as Segeste in Handel’s Arminio and as the Bass soloist in the Dettingen Te Deum, under Maestro Laurence Cummings.

In the previous season, Cody performed the title role of Grigory Stepanovich Smirnov in Walton’s The Bear at the Merola Opera Program in San Francisco, and Claudio in Agrippina at The Juilliard School.

Other notable operatic performances include Guglielmo in Cosí fan tutte during his first year with the Merola Program, the Colonel in a premier workshop of Daniel Catán’s Meet John Doe with Cincinnati Opera as a part of the Opera Fusion initiative, and Figaro in Le nozze di Figaro at College Conservatory of Music.

Cody was a finalist in the 2017 Metropolitan Opera National Council competition and the recipient of a Sara Tucker grant from the Richard Tucker Foundation, as well as a Novick Career Advancement grant. He has also received awards from the George London foundation, Connecticut Alliance of Music, Gerda Lissner Foundation, Opera Index, and James Toland Vocal Arts.

As a concert soloist and recitalist, Cody has appeared in such prestigious venues as Carnegie HallThe Alhambra in Granada, Alice Tully Hall in Lincoln center, and the Taube Atrium at the Wilsey Center for Opera in San Francisco.

Cody was the featured bass soloist in the premiere recording of Douglas Knehans’ Symbolum Apostolorum under the Ablaze Records label.

Cody joins the Dutch National Opera studio in 18/19 and will appear in a new production of Tannhäuser directed by Christof Loy, a revival of Il Matrimonio Segreto, and will be featured in the world premier of Caruso a Cuba.

He received his Master of Music at The Juilliard School under the tutelage of Marlena Malas. He also studied voice with Kenneth Shaw at the University of Cincinnati – College Conservatory of Music. Cody is a native of Ellicott City, Maryland, where he was offered boundless encouragement to pursue the arts by a dedicated team of public educators in the Howard County school system.


Born in Skopje, Macedonia, David Belkovski’s journey as a musician has taken him from early ventures into Balkan folk music to the vibrant beginnings of a career, performing regularly on fortepiano, harpsichord, and modern piano. First prize winner of several international and national competitions, including the 2019 SFZP International Fortepiano Competition, David has been recognized for his artistry on both historical and modern keyboards.

In the past year, David was featured as concerto soloist with Monica Huggett and Juilliard415, as well as guest fortepianist for the Academy of Fortepiano Performance in the Catskills and the Valley of the Moon Music Festival. David made his Lincoln Center debut in Alice Tully this September as fortepiano concerto soloist with the American Classical Orchestra. Notable engagements in the 2020 season include David’s debut as soloist with Philharmonia Baroque, performances with ensembles Musica Angelica and House of Time, as well as guest artist for the Boston Clavichord Society. An accomplished continuo player, David has played alongside William Christie in an acclaimed performance of Handel’s Aminta e Fillide. This past summer, he was harpsichordist for a touring production of Purcell’s Dido and Aeneas with Juilliard 415 and Vocal Arts, a tour which included several performances in the Palace of Versailles. In addition to ensemble playing, David has recently performed solo works on harpsichord in Montisi, Italy and Marquês de Pombal Palace in Oeiras, Portugal. David regularly seeks opportunities to explore repertoire in the 20th and 21st centuries. He has been featured in a performance of Manuel de Falla’s Harpsichord Concerto for the music festival En Español: Sounds from the Hispanosphere. David has also performed with The Juilliard School’s new music ensemble Axiom and Eastman’s Musica Nova, led by Brad Lubman.

Along with international prize-winning violinist Rachell Ellen Wong, David is a founding member of Dioscuri, a dynamic, flexible ensemble that focuses on vivid interpretations on period instruments. Dioscuri are hosted by Valley of the Moon Music Festival this coming summer.

David holds degrees from the Eastman School of Music and the University of Michigan. He currently studies historical keyboards at The Juilliard School under the guidance of the indefatigable Richard Egarr, the inimitable Béatrice Martin, and the inordinately delightful Peter Sykes.

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