From La fille du régiment (1840) Gaetano Donizetti Marie’s Aria - Chacun le sait (1797 - 1848)

Rebecca Nelsen* Chanda VanderHart Soprano Piano From Roméo et Juliette Charles Gounod Juliette’s Aria - Ah! Je veux vivre (1818 - 1893) — Guest Artist Recital— 70th Annual Texoma NATS Reional Conference

Thursday, November 5, 2020 | 7:30p.m. | Virtual Aprile (1882) Francesco Paolo Tosti (1846 - 1916)

Ich stand in dunklen Träumen (op. 13 Nr. 1) Clara Schumann Er ist gekommen in Sturm und Regen (op. 12 Nr.1) (1819-1896) From La Traviata Giuseppe Verdi Sie liebten sich beide (op. 13 Nr. 2) Violetta’s Aria - (1813 - 1901) Am Strande (1840) Ah, fors’ è lui che l’anima & Sempre libera degg’io Lorelei (1843)

From Die lustige Witwe (The Merry Widow) Franz Lehár Hanna’s Aria Glawari - Vilja Lied (1879 - 1948) On this Island, op. 11 (1937) Benjamin Britten 1. Let the florid music praise! (1913 - 1976) 2. Now the leaves are falling fast 3. Nocturne Wien, du Stadt meiner Träume (1914) Rudolf Sieczyński (1879 - 1952)

From 5 songs after texts by Friedrich Rückert (1901/1902) Gustav Mahler 1. Ich atmet’ einen linden Duft (1860 - 1911) Gloomy Sunday (Hungarian Suicide Song - 1933) Rezső Seress 2. Ich bin der Welt abhanden gekommen (1899 - 1968)

From Die Zauberflöte (KV 620) Wolfgang Amadeus Mozart Pamina’s Aria - Ach ich fühl’s (1756 - 1791) * Texas Tech University Alumna

Programs are produced by Hayley Burton in the Texas Tech School of Music Publicity Office. Chanda VanderHart enjoys a tripartite, interdisciplinary career as a musicologist, About the Artists collaborative pianist and Musikvermittlung expert. She received a piano performance degree from the Eastman School of Music and three graduate collaborative piano ••• degrees from Milan and Austria before completing a PhD in musicology from the University of Music and Performing Arts in Vienna (mdw) in 2016 wíth the dissertation, Operatic soprano, Rebecca Nelsen, does not shy away from challenging roles, having “Die Entwicklung des Kunstliedes im Wiener Konzertleben zwischen 1848 und 1897.” recently performed Lulu, Violetta, Konstanze, Rosina, Marilyn Monroe, and Susanna as well as roles like Pamina, Gretel, Lauretta, Clara in Porgy and Bess - Operetta roles Her international performance career has taken her to in halls ranging from the like Adele, Laura in Der Bettelstudent, Hanna Glawari in The Merry Widow - and even Musikverein, the Volksoper, the Volkstheater, the Schoenberg Center and Porgy and forays into the Broadway repertoire with lead roles in musicals like Kismet, Vivaldi the Bess in Vienna, to the Malmö Opera, the Banff Centre in Alberta, Kala Mandir in Kolkata, Musical, and Brigadoon, as well as concert repertoire like Carmina Burana, Beethoven DeDoelen Concertgebouw in Rotterdam, City Recital Hall in Sydney, and throughout the 9, and Mozart’s Exultate Jubilate. Rebecca is also a specialist in modern opera and Mediterranean on the cruise liner MS Europa. Her recital partners include Gan-ya Ben- has performed lead roles in many critically-acclaimed European and world premieres. gur Akselrod, Bryan Benner, Johan Botha, Katarina Bradic, Magdalena Anna Hoffman, Günter Haumer, Cornelia Horak, Alexander Kaimbacher, Frederikke Kampmann, Rebecca Nelsen’s performance highlights include principal roles in the Bavarian State Natalia Kawalek, Julia Koci, Jennifer O’Loughlin, Carlos Osuna, Rusanda Panfili, Flip Opera, the Dresden Semperoper, the Salzburger Festspiele, the Vienna Volksoper, the Philipp, Nora Romanoff- Cologne Opera, La Fenice in Venice, the Glyndebourne Festival, the Leipzig Opera, the Perm Opera in Russia, Oper Angers/Nantes, the Malmö Opera, the Musikverein Schwarzberg, Rusalina Mochukova, Rebecca Nelsen, Meredith Nicoll, Renata Pokupic, in Vienna, the Neue Oper Wien, the MUPA in Budapest, and Severance Hall with the Klemens Sander, Sonja Schebeck, Jörg Schneider, Leo Schmidt, Çiğdem Soyarslan, Cleveland Orchestra. Michael Spyres, Eric Stoklossa, Antoinette Van Zabner and Valda Wilson. Her musical discography has focused on historically informed performance practice and She has sung major roles with conductors Teodor Currentzis, Fabio Luisi, Myung- marginalized composers and includes the first recording of Brahms cello sonatas on whun Chung, Stefan Soltesz, Alexander Joel, Peter Eötvös, Hans Graf, Julia Jones, Anja the historical “Brahmsflügel” and a double-CD of Robert Fuchs compositions on fin de Bihlmaier, Evan Rogister, Rafael Payare and Alfred Eschwé. siècle Steinway, as well as a collection of marginalized late-nineteenth-century song composers titled “Waldgespräch. Rebecca celebrated her successful debut at Opera Monte Carlo in 2019 as Konstanze in Mozart’s Die Enführung aus dem Serail as well as successful role debuts as Antonia In her capacity as a musicologist, VanderHart is currently adjunct faculty at the in Offenbach’s Les contes d’hoffmann and Erydike in Offenbach’s Orpheus inder University of Music and Performing Arts in Vienna (mdw) where she lectures, Unterwelt. organizes research-led performances focused on salon culture with the project Musical Crossroads. Transatlantic Cultural Exchange 1800-1950, and worked as a research Ms. Nelsen‘s 19/20 season included major debuts in the Savonlinna Opera Festival assistant on Wie Klingt Österreich, which explored politics and its utilization of music as Adele, the Grand Théâtre de Genève as Konstanze and a concert tour with the for identity creation in 20th century Austria. She has lectured/taught at the Sorbonne, London Philharmonia Orchestra under the baton of Esa-Pekka Salonen performing the the Malta School of Music, the Institute for European Studies, the Kunst Universität Lulu-Suite by Alban Berg in venues like London Royal Festival Hall, the Philharmonie as well as AIMS in Graz, and at the University for Music and Dance in Cologne. Her Luxembourg and the The National Music Auditorium in Madrid, as well as a full and publications include articles for MDPI books, the yearbook of the Centre for Popular rewarding season in her home house, the Vienna Volksoper. Culture and Music, Albert-Ludwigs-University Freiburg, the Sorbonne University and CIERA and authored the lexicon article on Ernestine de Bauduin for MuGI (Musik und Rebecca‘s 20/21 season began with her successful role debut as Hanna Glawari in Gender im Internet), and she is currently writing a monograph on song recital practices Lehar’s The Merry Widow. She also starred in the Vienna Volksoper‘s new, critically- in Vienna edited by Susan Youens and Melanie Unseld. acclaimed production Mozart‘s The Magic Flute in one of her favorite roles; Pamina. VanderHart co-founded the multimedia children’s story-telling platform Talespin, Rebecca is currently in Sweden rehearsing for her role debut as Alice Ford in Verdi‘s Musical Tales for Big and Small and the interdisciplinary concert series Mosaïque. She Falstaff with the Malmö Opera in a new production by future Volksoper Artistic Director, is musical director of the European chapter of Opera Moderne and the Hot Box Girls Lotte de Beer. Other engagements this season include Gilda in Verdi‘s Rigoletto, Violetta Jazz/Opera Burlesque shows, and performs regularly as pianist and aerialist with the in La Traviata and multiple concert appearances. circus ensemble The Freestyle Orchestra.Her youngest projects include a podcast on accompaniment and gender, “Too Many Frocks,” with producer Bill Lloyd. A successful Rebecca Nelsen earned her Bachelor‘s degree in Vocal Performance (summa cum music critic, VanderHart has reviewed over 125 opera and concert productions for laude) and her Master’s degree in German Literature at Texas Tech University. She was Bachtrack in London since 2013 as well as for MET on Demand and written for the blog awarded a Fulbright Grant that enabled her to continue her studies at the University Musicology Now. for Performing Arts in Vienna, Austria, where she has lived and worked ever since. She lives in Vienna with her husband and daughter.