AMERICAN OPERA CLASSICS BERNARD RANDS Vincent

Burchett • Perkins • Eck • Kruse Linville • Conyers • Walton Morstein • Grundy • Leonard Indiana University Philharmonic Orchestra and Opera Chorus Arthur Fagen Bernard Cast (in order of appearance) RANDS Vincent van Gogh: Christopher Burchett (b. 1934) Theo van Gogh: Will Perkins Theodorus van Gogh: Jason Eck Vincent (2011) Gallery Director: Zachary Coates Lady No. 1: Jacquelyn Matava Opera in Two Acts Man No. 1: Daniel Lentz Lady No. 2: Hye Jung Lee Libretto by J. D. McClatchy (b. 1945) Daughter No. 1: Margaret Music Commissioned by the Indiana University Jacobs School of Music Daughter No. 2: Eileen Jennings Strolling Couples: Michael Day, Robin Freeman, Rainelle Krause, Shannon Love, Sarah Martin, Benjamin McVety, in celebration of the 100th anniversary of the founding of Julian Morris, Eric Mowery, Charles Lyon Stewart the Indiana University Department of Music Woman No. 1: Angela Kloc Vincent van Gogh ...... Christopher Burchett, Baritone Woman No. 2: Lisa Runion Theo van Gogh ...... Will Perkins, Tenor Miner No. 1: James Martinez Miner No. 2: Stephen Pace Theodorus van Gogh ...... Jason Eck, Bass-baritone Anna: Rainelle Krause Sien ...... Kelly Kruse, Soprano Elders: Daniel Lentz, Benjamin McVety, Charles Lyon Stewart Henri de Toulouse-Lautrec ...... Steven Linville, Tenor Sien: Kelly Kruse Agostina Segatori ...... Laura Conyers, Mezzo-soprano Potato Eaters: Emily Blair, Zachary Coates, Andrew Richardson, Lisa Runion, Jennylynn Vidas Paul Gauguin ...... Adam Walton, Bass-baritone Painter No. 1: Jay Bennett Painter No. 2: Zachary Coates Dr. Peyron ...... Andrew Morstein, Tenor Painter No. 3: Eric Mowery Dr. Paul Gachet ...... Christopher Grundy, Baritone Henri de Toulouse-Lautrec: Steven Linville Marguerite Gachet ...... Jami Leonard, Soprano Customers: James Martinez, Max Zander Paul Gauguin: Adam Walton Indiana University Philharmonic Orchestra and Opera Chorus Agostina Segatori: Laura Conyers Dancers at Arles: Jay Bennett, Michael Day, Robin Freeman, Eileen Jennings, Jennifer Jones, Rainelle Krause, Arthur Fagen Stephen Pace, Jordan Rininger, Charles Lyon Stewart, Jennylynn Vidas, Katherine Weber, Max Zander Prostitute: Angela Kloc Vincent Liotta, Stage Director • Linda Pisano, Costume Designer Dr. Peyron: Andrew Morstein Barry Steele, Production Designer • Michael Vernon, Choreographer Inmates: Zachary Coates, Michael Day, Daniel Lentz, Benjamin McVety, Julian Morris, Eric Mowery, Stephen Pace, Andrew Richardson Recorded live at the Musical Arts Center, Indiana University Dr. Paul Gachet: Christopher Grundy Marguerite Gachet: Jami Leonard Jacobs School of Music, Bloomington, Indiana, USA, on 9th and 15th April, 2011 Ensemble: Jay Bennett, Emily Blair, Zachary Coates, Brian Darsie, Michael Day, Laura Denney, Siena Forest, Robin Freeman, Eileen Jennings, Jennifer Jones, Angela Kloc, Rainelle Krause, Hye Jung Lee, Daniel Lentz, Producer and editor: Konrad Strauss Shannon Love, Gabriel Ma, Sarah Martin, James Martinez, Jacquelyn Matava, Benjamin McVety, Julian Morris, Engineers: Wayne Jackson, Fallon Stillman and Konrad Strauss Eric Mowery, Margaret Musick, Stephen Pace, Shelly Ploss, Andrew Richardson, Jordan Rininger, Lisa Runion, Assistant engineers: Devin Bean and Kyle Zucker Charles Lyon Stewart, Joe Uthup, Jennylynn Vidas, Laura Waters, Katherine Weber, Max Zander CD 1 74:01 Bernard Rands (b. 1934) Act I Vincent 1 Scene 1: Saint-Rémy, 1889 (Vincent, Theo) 7:45 Background Synopsis 2 Scene 1a: Van Gogh’s family home, The Netherlands, 1876 I happened to be in Amsterdam playing concerts when CD 1: Act I (Theodorus, Theo) 2:36 the then-new Van Gogh Museum opened, and so was 3 Scene 2: Paris, 1876 one of the first in the building as soon as it was open to 1 Scene 1: Saint-Rémy, 1889 (Director, Vincent, Man 1, Lady 1, Couples, Lady 2, Daughter 1, Daughter 2) 9:08 the general public. Though I was familiar with much of his Vincent van Gogh is writing a letter to his brother, Theo, in work from visits to many museums in Europe, I was Paris. 4 Orchestral Interlude 2:16 overwhelmed by the Amsterdam experience. In particular, 5 Scene 3: The Borinage, Belgium: 1878 (Woman 1, Woman 2, Miner 1, Vincent, the top floor exhibited all his drawings in pencil, charcoal, 2 Scene 1A: Van Gogh’s family home, Miner 2, Miner 3, Miner 4, Miner 5, Woman 3, Woman 4, Woman 5, Chorus) 8:44 gouache and so on, and I thought “maybe one day I will The Netherlands, 1876 make an opera about this man!” That was the early Theo convinces their father, Theodorus, a Protestant 6 Scene 4: A Missionary church in the Borinage, Belgium, 1878 1970s, and the subsequent 40 years were spent reading, pastor, to allow Vincent to pursue a career in art. (Theo, Vincent, Anna, Theodorus, Elders) 8:26 researching, sketching (Le Tambourin Suites 1 and 2), hoping to find the right librettist, the right opportunity, 3 Scene 2: Paris, 1876 7 Scene 5: The Hague, 1882 (Vincent, Theo, Sien) 14:50 which arrived in the form of a commission to make The scene opens in the Goupil Art Gallery in Paris in 8 Scene 6: Neunen, 1885 (Vincent) 5:40 Vincent for the 100th anniversary of the Indiana University 1875, when Vincent is 22 years old. The gallery director, 9 Orchestral Interlude 2:07 Department of Music. Vincent’s Uncle Cent, is speaking with the young Van Although much of the detail of Van Gogh’s life in Gogh, whom he has hired as a favor to his father and is 0 Scene 7: Paris, 1887 (Chorus, Painter 1, Painter 2, Painter 3, Toulouse-Lautrec, general is represented (he was a genius, a religious encouraging him to learn the business of art so that he Customer 1, Customer 2, Agostina, Gauguin, Vincent, Theo) 12:30 fanatic, an epileptic, an alcoholic with a short-fuse can become a success. Vincent is still highly religious and temper), the opera mainly deals with the late years – his passionate about God and art. A couple stops in front of a CD 2 44:53 attempt to work in his uncle’s gallery as a “salesman” (a painting and the director sends Vincent to try and close failure); his attempt to placate his father’s wishes by the sale. But as he interacts with them and other Act II becoming a missionary in the coal-mining community in prospective buyers, Vincent is disgusted at the the Borinage (a failure); his desire to be a family man by superficiality of the patrons. Unable to contain himself, he 1 Prelude 4:12 living with Sien, a prostitute, and her child (a failure); and confronts a lady patron and challenges her, thus highly 2 Scene 1: Arles, 1888 (Vincent, Gauguin) 4:58 finally meeting Gauguin in the Café Le Tambourin and offending her. Uncle Cent and Vincent determine that the 3 Scene 1a: The Dance at Arles 3:23 leaving to go to “the south”, where I end Act I. Act II finds gallery is not the place for him. Van Gogh in the Yellow House preparing for Gauguin’s 4 Scene 2: Arles, 1888 (Vincent, Gauguin) 7:41 arrival – he comes, stays, they work together for a while 5 Scene 3: The Borinage, Belgium, 1878 5 Scene 3: Saint-Rémy, 1889 – The courtyard of the asylum of Saint-Paul-de-Mausole and then have a vicious falling-out – Gauguin leaves Vincent is now at the Borinage, where he has gone as a (Theo, Dr. Peyron, Inmates, Vincent) 7:14 (another failure) and from then on is the rapid decline of missionary to preach. The scene opens at a pithead of the physical and mental health leading to “the ear” episode, mine. The mine underground has collapsed, trapping 6 Scene 4: Auvers-sur-Oise, 1890 – The house of Dr. Gachet the sanatorium, the suicide attempt (almost a failure!), several miners. The atmosphere is grim as friends and (Marguerite, Dr. Gachet, Vincent) 5:18 and his death with Theo, his brother, at his bedside. families anxiously gather around the pithead. As the 7 Orchestral Interlude 1:58 miners begin to see their rescue attempt as futile, Vincent begins to preach, leading the crowd in a rousing hymn of 8 Scene 5: Auvers-sur-Oise, 1890 – A field (Vincent) 4:26 praise. As he continues to preach, he begins to stutter, 9 Scene 6: Auvers-sur-Oise, two days later (Vincent, Theo) 5:42 becomes disoriented and collapses. 6 Scene 4: A Missionary church in the Borinage, he is doing the work of God, using the colors of God’s abandonment by Gauguin. In desperation, he takes a away from painting, which only upsets him. Vincent Belgium, 1878 canvas. He is creating the picture known as The Potato razor and cuts his ear. comes in, overhears the conversation, and offers to leave. Theo arrives in search of Vincent and is astounded at the Eaters. Dr. Gachet will not have it. Vincent gratefully thanks Dr. beauty of the paintings Vincent has laying around. Again, 5 Scene 3: Saint-Rémy-de-Provence, 1889 – Gachet for believing in him. He now understands his Theo asks Vincent why he is “wasting his time” here when 0 Scene 7: Paris, 1887 The courtyard of the asylum of Saint-Paul-de-Mausole illness and knows the attacks will return, but painting he could be using his great talent to paint. Vincent Vincent and Theo are at the Café Le Tambourin, a lively Theo enters and sits on a bench where he is joined by Dr. helps him. Vincent also attempts to share his feelings of responds that nothing is any use unless we bring the word artists’ bar in Montmartre. Its patroness, Agostina Peyron. The doctor informs Theo that Vincent is love for Marguerite, who rejects him. As he talks with Dr. of God to His people. He asserts that he belongs here, Segatori, with whom Vincent has been having an affair, recovering and will be glad to see him. He cautions Theo Gachet about his paintings, he becomes more animated doing what he is doing. Theo tells Vincent that their father presides over the raucous scene of singing and that Vincent’s unpredictable episodes of epilepsy can still and accidentally knocks over the cup of tea. Vincent and mother are here. Theodorus van Gogh has been carousing. Henri de Toulouse-Lautrec introduces Paul cause him terrible outbreaks, but that he seems calmer becomes very upset and rushes out of the room saying asked by the Elders of the Evangelical Society to come Gauguin as the “future of painting.” This announcement is and is starting to paint again. Vincent enters, and that he should not be there. and hear Vincent preach. Theodorus tells him that his met with bawdy remarks from the patrons. Toulouse- brightens when he sees Theo. They are left alone, and work at the Borinage has been met by the elders with Lautrec then asks for Agostina to sing them a song during Vincent confesses to Theo that his mind is not right. He 8 Scene 5: Auvers-sur-Oise, 1890 – A field disfavor. Vincent is stunned and argues that there has which she teases Vincent and flirts with Gauguin. The tells Vincent that he and Johanna are having a baby and if Vincent is wandering in the field, knowing that another been a preacher in every generation of the family, and he patrons become more and more drunk. But Vincent and it is a boy they will call him Vincent. Theo leaves and attack is coming on. He realizes that everyone he knows wants to follow humbly in this father’s footsteps. He Gauguin connect and Vincent invites Gauguin to come Vincent sets his easel and starts painting. As soon he has someone except himself. He feels that he is a burden rushes to the pulpit and begins preaching. He breaks with him to paint in Arles. They both leave the café arm-in- begins, one of his seizures comes upon him and he on all who know him. Making the decision that he will no down in tears and his father is forced to tell him that he is arm as the act comes to an end. begins to eat paint and smear it on his face. longer be a burden to anyone, he takes out a pistol and not missionary stock. Vincent is left to muse on what he shoots himself in the chest. perceives as his father’s abandonment. CD 2: Act II 6 Scene 4: Auvers-sur-Oise, France, 1890 – The house of Dr. Gachet 9 Scene 6: Auvers-sur-Oise, two days later – A room 7 Scene 5: The Hague, 1882 2 Scene 1: Arles, 1888 Dr. Gachet is in his salon, posing for the portrait which Vincent lies dying. With him, as always, is his brother Vincent is living in a shabby studio. His brother, Theo, The scene opens in the famous yellow house in Arles, Vincent is painting of him. An easel with the almost- Theo. Vincent talks of Theo and his son, and how he used comes to tell Vincent that he is going to marry. He also where Vincent has been living and painting. Gauguin completed picture is nearby. Dr. Gachet’s daughter, his paintings to show his gratitude. With Theo at his side, brings him painting supplies, which Vincent desperately arrives, suitcase in hand. Vincent is elated and leads Marguerite, enters with tea for her father. They begin an Vincent dies, remembered alone for his art. needs. Vincent seems happy, saying he is free “to paint Gauguin to his room, full of plans for the future. He then argument about Vincent staying in their home. She tells the shapes of God.” Sien, pregnant and haggard, enters takes Gauguin to the village café, which is overflowing her father that Vincent is ill and needs to be in a hospital, Bernard Rands with her child. She slaps some coins on the table. Vincent with patrons and prostitutes. confesses that neither child is his, but that he is going to marry Sien. Theo leaves, confused. After some bickering 4 Scene 2: Arles, 1888 between them, Vincent poses Sien and begins sketching It is morning. Gauguin is waking up after an evening spent her. Theo returns and vehemently opposes Vincent’s with a prostitute. Vincent is already awake and working. marriage to Sien and an argument ensues. Sien states Gauguin comes downstairs with his suitcase and that she does not want to come between them, nor does announces to Vincent that he is leaving. When Vincent she want to be saved. Theo leaves angrily. Sien tells pursues the reason for this, Gauguin admits that it is Vincent she does not need him, repeating the theme, “no because he is tired of being lectured by Vincent. Vincent one needs you”, and leaving Vincent once again to muse is mystified. Gauguin tries to explain how he feels about on his perceived abandonment by someone he loves. painting. He accuses Vincent of painting everything violent and pure, with no gradation. “That is not painting, 8 Scene 6: Neunen, 1885 Vincent”, he says, “it’s just paint.” It becomes obvious that Vincent is alone at his easel. He is creating furiously and neither man understands each other. Gauguin leaves with with great intensity, all the while murmuring to himself that the prostitute. Vincent is once again in despair at his Bernard Rands Christopher Burchett

Photo: Schott Helicon Music Co., Through more than a hundred published works and many recordings, Bernard Rands is Baritone Christopher Burchett, whom Opera News described as a “fearlessly New York established as a major figure in contemporary music. His work Canti del Sole, premièred vulnerable” performer, has appeared with many of the top orchestras and opera by Paul Sperry, Zubin Mehta and the New York Philharmonic, won the 1984 Pulitzer companies in the United States and abroad, including New York City Opera, Prize for Music. His large orchestral suites Le Tambourin won the 1986 Kennedy Center Santa Fe Opera, the Estates Theatre of Prague, the BBC Symphony Orchestra at Friedheim Award. From 1989-95 Rands served as composer-in-residence with the the Barbican, the Holland Festival at the Muziekgebouw, Palm Beach Opera, Philadelphia Orchestra as part of the Meet the Composer Residency Program for the Opera Orchestra of New York, the Washington Chorus at the Kennedy Center, first three years, with four years of continued funding by the Philadelphia Orchestra. Glimmerglass Opera, Opera Theatre of Saint Louis, Boston Lyric Opera, and Rands’ works are widely performed and frequently recorded. His work Canti d’Amor, Beth Morrison Projects. Admired for his interpretation of new works, Burchett has recorded by Chanticleer, won a GRAMMY® Award in 2000. Born in England, Rands participated in 13 world premières to date. emigrated to the United States in 1975, becoming an American citizen in 1983. He has been honored by the American Academy and Institute of the Arts and Letters, Broadcast Music, Inc., the Guggenheim Foundation, the National Endowment for the Arts, and Meet the Composer, the Barlow, Fromm and Koussevitzky Foundations, among many others. In 2004, Rands was inducted into the American Academy of Arts & Letters. A Will Perkins dedicated and passionate teacher, Rands has been guest composer at many international festivals and composer-in-residence at the Aspen and Tanglewood Will Perkins, tenor, is a native of Salt Lake City, Utah. He is currently a doctoral student in voice festivals and was Walter Bigelow Rosen Professor of Music at Harvard University. Recent works include the opera performance at the Indiana University Jacobs School of Music, after earning a master’s degree Vincent, commissioned by the Indiana University School of Music to celebrate its 100th anniversary and produced at from IU and a bachelor’s degree from the University of Utah. A lover of everything from the IU Opera School in April 2011, as well as the Concerto for Piano and Orchestra, for Jonathan Biss, premièred in Broadway to La bohème, Perkins has performed in a number of productions with IU Opera Boston in April 2014. His newest work is the Concerto for English Horn and Orchestra, a commission from the Oberlin Theater and with companies around the country, including The Ohio Light Opera and Utah College Conservatory of Music for The Cleveland Orchestra and Robert Walters. Bernard Rands’ music is published Festival Opera. exclusively worldwide by Schott Helicon Music Corporation, New York. www.bernardrands.com

J. D. McClatchy

J. D. McClatchy has been called by Opera News “the most important librettist on the current American opera scene.” He has previously written texts for, among others, William Schuman, Jason Eck Lowell Liebermann, Elliot Goldenthal, Daron Hagen, Tobias Picker, Michael Dellaira, and Lorin Maazel, and his work has been performed at Covent Garden, La Scala, the Los Angeles Bass-baritone Jason Eck earned his bachelor’s degree from the Oberlin Opera, and the New York City Opera. For the Metropolitan Opera, he has created English Conservatory of Music and completed his graduate studies at the Indiana performing versions of The Magic Flute, The Bartered Bride, and The Barber of Seville. In University Jacobs School of Music, where he sang Bartolo in The Barber of 2006, Our Town, an opera by McClatchy and composer Ned Rorem, was given its world Seville, Don Alfonso in Così fan tutte, Sid in Albert Herring, Leporello in Don première at Indiana University and has since had many productions around the country. His Giovanni, and Aye in Akhnaten. Also at IU, he was the bass soloist for Arvo most recent book is the acclaimed Seven Mozart Librettos (Norton). Other recent titles include Pärt’s Passio and Giuseppe Verdi’s Requiem. Eck has also performed with the The Whole Difference: Selected Writings of Hugo von Hofmannsthal (Princeton). In addition, Opera Theatre of Saint Louis, as The Sergeant of Police in The Pirates of he has written six collections of poems; the latest is Mercury Dressing (Knopf). He has also Penzance, and with Atlanta Opera as Angelotti in Tosca. written three books of prose and has edited dozens of other books as well. He was elected to the American Academy of Arts and Letters in 1999 and served a term as its president. He Photo: Geoff Spear teaches at Yale where, for more than two decades, he has been editor of The Yale Review. Kelly Kruse Adam Walton

Kelly Kruse, soprano, is currently a visual artist in Kansas City. In addition to her artistic practice, Bass-baritone Adam Walton is a doctoral student studying with Costanza Cuccaro. He earned his she works as a music educator in the Kansas City metro area. Her performances with IU Opera bachelor’s degree from Brigham Young University, where he was the 2009 male singer of the year, Theater include Elvira in L’Italiana in Algeri and Princess Nicoletta in The Love for Three and his master’s degree from the Indiana University Jacobs School of Music. He recently spent Oranges. She has also performed the rôles of Countess Almaviva in Le Nozze di Figaro and several summers with the Caramoor Young Artist Program. His stage credits include the four Rosina in scenes from The Ghosts of Versailles. She has been a soloist in Handel’s Messiah, villains in The Tales of Hoffman, Superintendent Budd in Albert Herring, Leporello in Don Giovanni, Orff’s Carmina Burana, Haydn’s Lord Nelson Mass, and Mozart’s Mass in C major (Credo). Figaro in The Marriage of Figaro, and Su Cu in The Tale of Lady Thi Kinh. Walton won first prize at the 2014 NSAL Bloomington chapter vocal competition. Photo: Joy Alice Photography

Andrew Morstein

After earning his voice degree from the Indiana University Jacobs School of Music, tenor Andrew Morstein directed and toured internationally with the vocal ensemble Gentleman’s Rule. His Steven Linville television appearances include NBC, ABC, PBS and WGN American, among others. He has shared the stage with artists such as Emmy Lou Harris and Chris Botti. His additional opera and Tenor Steven Linville earned a B.M. in performance from DePauw University and an M.M. in theater credits include Evita, La bohème, Candide, Faust, The Tale of Lady Thi Kinh, The Barber of performance from the Indiana University Jacobs School of Music. He is director of operations at Seville, and more. His vocal arrangements have been performed on radio and television including Photo: Kelly Kruse the DePauw School of Music as well as assistant professor of music and music director for The Today Show, The Tonight Show Starring Jimmy Fallon, and PBS. Photography DePauw musicals. Additionally, he is executive producer and stage director for Intimate Opera of Indianapolis. Some of his favorite performances have included Assassins (The Proprietor), The Christopher Grundy Mystery of Edwin Drood (Bazzard), Orpheus in the Underworld (Hades), Sweeney Todd (Pirelli), Twelfth Night (Sir Toby Belch), Le nozze di Figaro (Don Basilio), and Gianni Schicchi (Gherardo). Photo: Gary W. Nelson Baritone Christopher Grundy earned an M.M. from the Indiana University Jacobs School of Music in addition to a B.A. from Yale University. He has performed throughout the United States and internationally in opera, oratorio, and recital. His opera performances include the title rôles in Laura Conyers Mozart’s Don Giovanni and Rachmaninov’s Aleko as well as Count Danilo in The Merry Widow, Mr. Gedge in Albert Herring, Dr. Falke in Die Fledermaus, and Smirnov in William Walton’s The Bear. Laura Conyers (formerly Boone), mezzo-soprano, is described as having a “rich, dark, and beautiful timbre that can pierce through any opera house.” She most recently performed Third Lady in The Magic Flute with Piedmont Opera. Other rôles include La Principessa in Suor Angelica, Dorothée in Cendrillon, Cornelia in Giulio Cesare, Juno in La Calisto, and Donna Elvira in Don Giovanni. She won an Encouragement Award in the Western Region of the Metropolitan Opera National Council Auditions and was named the National Winner of the Jami Leonard Music Teacher National Association’s Young Artist Competition. Conyers currently works at Mannes School of Music. Soprano Jami Leonard is a performer of musical theater, opera, jazz, and modern works. She earned her bachelor’s and master’s degrees in voice performance from the Indiana University Jacobs School of Music, where she studied under Patricia Wise. Favorite rôles with IU Opera Theater included Maria in West Side Story, Clara Johnson in The Light in the Piazza, and Marguerite Gachet in Vincent. Recent performances include the rôles of Anne Egerman in The Princeton Festival’s A Little Night Music, Servilia in La clemenza di Tito and Oscar in Un ballo in maschera with New York Opera Forum. Indiana University Philharmonic Orchestra

Dubbed the Philharmonic Orchestra in 1950, the premier orchestra of the Indiana University Jacobs School of Music has performed at Carnegie Hall and at the opening of the Bastille Opera House in Paris, among other venues. Averaging 95 members, the ensemble has appeared under Leonard Bernstein, James DePreist, David Effron, Arthur Fagen, Stefan Lano, Kurt Masur, Gerard Schwarz, Robert Shaw, Stanisław Skrowaczewski, Leonard Slatkin, Michael Stern, Franz Welser-Möst, Thomas Wilkins, Xian Zhang, Gerhardt Zimmermann, and many other leading maestros. Lukas Foss conducted the IU Philharmonic in a 1987 concert at the Kennedy Center with cellist and Indiana University faculty member János Starker, pianist Byron Janis, baritone Sherrill Milnes, and bass Paul Plishka. Joseph McClellan, music critic for The Washington Post, wrote “at its best ... the concert reached the highest levels of performing art.”

Indiana University Opera Chorus

Indiana University Opera Theater produces six fully staged operas each year, many of which include a choral component. Susan Swaney was faculty director of opera choruses for the world première of Vincent.

Arthur Fagen

Arthur Fagen is professor of orchestral conducting at the Indiana University Jacobs School of Music and music director of the Atlanta Opera. He has conducted performances at many of the world’s most prestigious opera companies, including the Vienna State Opera, Metropolitan Opera, Lyric Opera of Chicago, Staatsoper Berlin, Deutsche Oper Berlin, Munich State Opera, Hamburg State Opera, New Israeli Opera, Théâtre du Capitole de Toulouse, Opéra National de Bordeaux, Teatro Real, Madrid, and the Spoleto Festival, as well as with the opera companies of Palermo, Cagliari, Catania, Baltimore and many more. Fagen has served as principal conductor in Kassel and Brunswick, chief conductor of the Flanders Opera of Antwerp and Ghent, music director of the Queens Symphony Orchestra, and a member of the conducting staff of Lyric Opera of Chicago. From 2002 to 2007, he was music director of the Dortmund Philharmonic Orchestra and the Dortmund Opera. His orchestral engagements have included the Tokyo Philharmonic, the Munich Radio Orchestra, L’Orchestre de la Suisse Romande, the Deutsche Kammerphilharmonie, the Jerusalem Symphony, and many others. Bernard RANDS (b. 1934) Vincent (2011) Libretto by J. D. McClatchy (b. 1945) AMERICAN OPERA CLASSICS Vincent van Gogh . . Christopher Burchett, Baritone Winner of the 1984 Pulitzer Prize Theo van Gogh ...... Will Perkins, Tenor for Music, Bernard Rands is well Theodorus van Gogh . . . . . Jason Eck, Bass-baritone established as a major figure in Sien ...... Kelly Kruse, Soprano contemporary music. His music has Henri de Toulouse-Lautrec . . . Steven Linville, Tenor been described as ‘plangent lyricism Agostina Segatori . . Laura Conyers, Mezzo-soprano with dramatic intensity’, qualities Paul Gauguin ...... Adam Walton, Bass-baritone developed since his studies with Dr. Peyron ...... Andrew Morstein, Tenor Dallapiccola and Berio. Inspired in Dr. Paul Gachet . . . . . Christopher Grundy, Baritone the 1970s by the then new Van Gogh Marguerite Gachet ...... Jami Leonard, Soprano museum in Amsterdam, Rands Indiana University Philharmonic researched and sketched Vincent for Orchestra and Opera Chorus the next 40 years. Described by the Huffington Post as Rands’ ‘crowning Arthur Fagen achievement’, Vincent represents WORLD PREMIÈRE RECORDING much of the great painter’s life and in particular the dramatic setbacks CD 1 1-0 Act I 74:01 CD 2 1-9 Act II 44:53 of his later years, contrasting the Sponsored in part from funds provided by affection of his brother Theo with the Chancellor Herman B Wells estate. intense inner struggles, his vicious A detailed track list can be found inside the booklet. The libretto can be found at www.naxos.com/libretti/669037.htm conflict with Gauguin, and his tragic Recorded live at the Musical Arts Center, Indiana University and untimely death. Jacobs School of Music, Bloomington, Indiana, USA, on 9th and 15th April, 2011 www.naxos.com Producer and editor: Konrad Strauss Engineers: Wayne Jackson, Fallon Stillman and Konrad Strauss Assistant engineers: Devin Bean and Kyle Zucker Playing Publisher: Schott Helicon Music Corporation Time: Booklet notes: Bernard Rands 1:58:54 Cover: Dr Chinarro as Vincent van Gogh (iStockphoto.com)