2 Norwalk Symphony Orchestra norwalksymphony.org 3

WELCOME FROM THE MAYOR

HARRY RILLING Norwalk Mayor

Congratulations to the Norwalk Symphony Orchestra on their 80th consecutive year! For eight decades, the Symphony has delighted audiences of all ages with the joyous wonder of live orchestral music. During this milestone 2019-2020 season, the Symphony has another fantastic lineup of concerts planned. These shows feature some of the top musicians in the area that will undoubtedly entertain and inspire. We are thrilled the Norwalk Symphony will once again perform in the magnificent Norwalk Concert Hall as they celebrate 80 years of beautiful music. The Symphony is more than just beautiful music—they are also an integral community partner with a long-standing commitment to providing educational opportunities for people of all ages. Members of the Norwalk Symphony Orchestra share their gifts and talents through various community programming. The free and expanded (Not) Just for Kids program is an interactive and educational program that engages young people with the joys of listening to and creating music. A new pilot program this year aimed at middle and high school students will further expand the love of orchestral music into the lives of young people. We are so grateful for the beautiful music, brilliant performances, and enlightening discussions the Symphony brings the City of Norwalk and southwestern Connecticut every year. The Symphony is indeed an incredible asset to our community. Their strong relationship with the region is apparent through their programming and partnerships with a wide variety of other arts organizations. I urge the community to come out and enjoy the Symphony’s milestone 2019-2020 season. On their behalf, I thank the Board of Directors, Music Director and Conductor Jonathan Yates, the Norwalk Symphony musicians and the staff for their ongoing commitment to musical excellence. Sincerely,

Harry W. Rilling Mayor

norwalksymphony.org 5 6 Norwalk Symphony Orchestra THE NORWALK SYMPHONY SOCIETY, INC.

25 Van Zant Street, Suite 14-3, Norwalk, CT 06855 Telephone: 203.956.6771 Fax: 203.956.6774 www.norwalksymphony.org Email: [email protected]

2019-2020 Board of Governors

Christopher Bell, President Louis Broudy, Esq., Vice President Christopher McCormack, Vice President Eric Freeman, Treasurer Libby Mucci, Secretary

Douglas Adams Richard Beyman Robert Bourguignon Lawrence Cavanagh Wallace Davis Lee Greenberg David Hollander Charles Johnson Dr. Carole Ann Maxwell Dr. Vanessa Smith Morest Mary Petro Noonan Gregory Payne Warren Shapiro Eva Toft Georgia von Schmidt Schuyler Winter

Staff Jonathan Yates, Music Director & Conductor Sandra Miklave, Executive Director Katherine T. Altman, Business Manager Emanouil Manolov, Personnel Manager Scott Switzer, Librarian

norwalksymphony.org 7 8 Norwalk Symphony Orchestra ABOUT THE NORWALK SYMPHONY ORCHESTRA

The Mission of the Norwalk Symphony Orchestra is to share the beauty and power of orchestral music with audiences of all ages through live performances and music education programs. Since 1939, the Norwalk Symphony Orchestra has enhanced the quality of life in Southwestern Connecticut. The symphony is a significant cultural organization that showcases talented musicians from the community as it enriches its audiences’ cultural experience through live performances, pre-concert discussions and educational activities for all ages. In addition to six major concerts this season the Norwalk Symphony is committed to education and community outreach. (Not) Just for Kids is presented in after-school and library settings prior to each concert. The program features ensembles of our symphony musicians and gives children and adults alike a chance to experience music-making first hand. A new pilot program with middle and high school students is underway this season. In December, the Norwalk Symphony Orchestra will accompany the New England Dance Theatre in their production of The Nutcracker the only regional live-music production outside of New York City. The 8th Annual Young Artists Concerto Competition in January provides an opportunity for the winner of the Concerto Competition to play their solo with the orchestra in our March concert. The symphony continues to strengthen and build lasting ties in our community, and we look forward to an exciting 2019-2020 season!

ARE YOU LOOKING FOR LIVE MUSIC? Nothing compares to the impact and impression of live music when it comes to enhancing a special occasion! The next time you host a celebration, whether large or small, consider hiring Norwalk Symphony Orchestra musicians to make your event extra special. We’ll bring the best in entertainment to your family, corporate or private functions at reasonable rates. Choose from a variety of instrumental ensembles to suit your event needs, including duos, trios, quartets and more. Add that finishing touch to your special occasion and make it truly memorable with live music. Contact the symphony office at 203.956.6771 or by email at [email protected]

norwalksymphony.org 9 Please Join Us at Local Libraries for

Fridays at Norwalk City Hall – 4:45pm; Saturdays at: Norwalk Public Library – 11am New Canaan Public Library – 1pm Wilton Library – 3pm

September 20 & 21, 2019 * November 1 & 2, 2019 December 6 & 7, 2019 * January 31 & February 1, 2020 March 13 & 14, 2020 * May 8 & 9, 2020

10 Norwalk Symphony Orchestra 2019–20 SEASON

NORWALK SYMPHONY ORCHESTRA CELEBRATES ITS 80th Season!

SEASON OPENER – Symphonic Journeys September 28, 2019 – 7:30pm Glière: Russian Sailor’s Dance; Bartok: Hungarian Pictures; Brahms: Symphony No. 1; Ravel: Tzigane – Introducing our new Concertmaster!

AMERICAN CONNECTIONS November 16, 2019 – 7:30pm Gershwin: Rhapsody in Blue-Andy Armstrong, Piano soloist; Wagner: Seigfried Idyll with New England Academy of Dance; Songs of Ives and Ravel

JOYS OF THE SEASON: BAROQUE TO POPS December 14, 2019 – 5:00pm Handel: Messiah, Part 1 & Hallelujah Chorus; Holiday Favorites; Tchaikovsky: Nutcracker selections with New England Academy of Dance

BROADWAY – SOUTH PACIFIC! February 8, 2020 – 7:30pm

MUSIC FOR ALL AGES: MELODY AND MAGIC March 22, 2020 – 3:00pm Dukas: The Sorcerer’s Apprentice; Beethoven: Symphony No. 1 2020 Young Artists Festival Concerto Competition winner

SEASON FINALE – The Magic May 16, 2020 – 7:30pm Mozart: The Magic Flute

norwalksymphony.org 11 12 Norwalk Symphony Orchestra MEET OUR MUSIC DIRECTOR

JONATHAN YATES Music Director/Conductor

Jonathan Yates is the seventh Music Director of the Norwalk Symphony Orchestra since its inception in 1939. He he has been a driving force in reinvigorating the relationship between the symphony and its community, having inaugurated the NSO Free Chamber Concert Series, revived the orchestra’s popular (Not) Just for Kids Educational Outreach programs, and started collaborations with numerous local cultural, religious and civic organizations. He made his professional orchestral conducting debut at 23, leading the National Symphony Orchestra in a Millennium Stages Concert. The following year he made his Carnegie Hall debut as a pianist in the Isaac Stern Chamber Music Workshop. As Music Director of the Norwalk Youth Symphony, he has led that ensemble on successful tours to Spain, Germany, Carnegie Hall, and Tanglewood.

Jonathan recently completed his first season as Musical Director of Music Mountain, a preeminent chamber music festival in the Litchfield Hills of Connecticut. The New Yorker praised his first year, saying, “The longtime festival’s programming has been given a welcome jolt with the arrival of a new director, the pianist and conductor Jonathan Yates.” He has collaborated as a pianist and conductor with many of the country’s most respected musicians, including Midori, Kim Kashkashian, David Finckel, Charles Neidich, Ida Kavafian, Colin Carr, Gilbert Kalish, Paul Neubauer, Joseph Lin, and William Purvis; and the Avalon, Daedalus and Pacifica Quartets. He has been heard as a chamber musician at the 92nd Street Y, Miller Theater, Bargemusic and Merkin Hall, as well as at the Caramoor Festival and on the Ravinia Festival Rising Stars Series. As an ardent devotee of the music of our time, he has conducted new music concerts with the Argento Chamber Ensemble and the Knights, was the recipient of an ASCAP award for adventurous programming, and has given local and regional premieres of pre-eminent composers including Augusta Read Thomas, Huang Ruo, Zhou Long, Chester Biscardi, and Chen Yi.

Jonathan received his Graduate Diploma in conducting from the Juilliard School, where he studied with James DePreist and Otto-Werner Mueller, and was the holder of the Bruno Walter Memorial Scholarship. He received his Master of Music from State University of New York, where he worked with Gilbert Kalish, and his Bachelor of Arts from Harvard University, where he studied with Robert Levin. He serves as Music Director Emeritus of Camerata Notturna, a chamber orchestra in New York City, and has also served on the faculty of Sarah Lawrence College. He descends from a family that has been on the forefront of the battles for the cultural and humanistic life of our country. His grandfather, U.S. Representative Sidney R. Yates, was the principal defender of the National Endowment for the Arts in his 48 years in Congress, and his father, the Honorable Stephen R. Yates, was the first judge in Illinois to approve same-sex adoption.

norwalksymphony.org 13 THANK YOU TO OUR SUPPORTERS

The Norwalk Symphony Orchestra recognizes and thanks all who are so generous to help keep music vibrant and accessible in our community.

Maestro Sponsor - $25,000+ Carl & Eunice Feinberg— WEB Realty Company In Memory of Anita Behnken John & Doon Foster $20,000+ Lee Greenberg Baum Family Foundation Dana Kligerman The Scripps Family Fund for Education and the Arts Charles Johnson & Jennifer Mirsky Chris & Terri Bell Sarah Kelly & Lorcan O’Connor Millicent Mason Matt & Sandra Miklave Season Sponsor - $10,000+ Adolph & Gloria Neaderland Inisfad Foundation—Lawrence Cavanagh & Colleen & Steve Prostor Dr. Eleanor Riemer Georgia von Schmidt Louis & Sylvia Broudy—In honor of Anita Behnken Debra Yates—In Honor of Jonathan Yates Lucinda Knuth John C. Meditz Patron - $500+ Anonymous Concert Sponsor - $5,000+ Thomas & Carol Aikenhead DECD/Connecticut-Office of the Arts— Jeffrey Bassock Supporting Arts in Place Alexandra Baudoin Daphne Seybolt Culpeper Memorial Jan Berlage Foundation, Inc. Gary Constance Fairfield County Bank Suzanne Fandel Maurice Goodman Foundation Peter & Nancy Flournoy David & Eunice Bigelow Jeffrey Hyman Barry & Akiko Silver Dr. Carole Ann Maxwell Dominick & Michele Modugno Sponsor - $3,000+ John & Lingru Seel Bucks Creek Foundation Ned Tipton New Canaan Community Foundation Dale & Noriko Todaro Pullman & Comley Robert Uly Ruth Krauss Foundation, Inc. Nicole Von Dolen Webster Private Bank Drs. Susan & Norman Weinberger Estate of Anita Behnken Schuyler & Patty Winter Robert Bourguignon James & Susan Carter Russ Cooper & Phyllis Schnepf Supporter - $250+ General Electric Foundation Christopher & Sarah McCormack Anonymous Libby & Wayne Mucci Viktoria Bombardi Wilson James & Mary Noonan Douglas Boothroyd Jacob & Etty Bousso Benefactor - $1,000+ Maura Callahan & Peter Johnson Elizabeth Raymond Ambler Trust James & Susan Carter— Dampits International-David & Tair Hollander In Honor of Chris & Terri Bell DECD/Connecticut-Office of the Arts— Yoshie Akimoto Eldredge Access Grant Alison Gruseke DECD/Connecticut-Office of the Arts— Syma Gruss & Henry Diamond— Arts Endowment In Honor of Anita Behnken Dooney & Bourke Robert Hoffman Fairfield County’s Community Foundation— Rhonda Kiest NSO Endowment Lauren Lynfield Morgan Stanley Donor Advised Fund Michael Mushak Network for Good Gregory & Maribeth Payne Norwalk Community Benefit Fund Novelette Peterkin People’s Bank TJ & Earl Ragins Sayles and Maddocks Family Foundation Steve & Elaine Rust Schwab Charitable Fund Vicki Secrest Douglas & Kristen Adams George & Madeline Shepherd Carlotta & Charles Bell—In Honor of Chris Bell Elliot & Marguerite Sisson Richard & Michelle Beyman Eva Toft Wojtek & Magdalena Zajak 14 Norwalk Symphony Orchestra THANK YOU TO OUR SUPPORTERS

Good Friend - $100+ Gunnar Sahlin & Suzanne Corey-Sahlin— Anonymous In Memory of Anne Rorick & Arlette Werner Benevity Community Impact Fund— Sandra Samuels Matching Gift from United Health Group Leda Santos Vincent & Elizabeth Aitoro Jean Schlesinger Millette Alexander Alfred Scull James & Lisa Allison Kathie Sumrow Martin & Monica Arnold Arthur Tauder Richard & Antoinette Bain Priscilla Woyke Jennifer Bangser Jerome Barton Friend - Up to $99 Wendy Baskin A2Z LLC Brad & Nancy Benjamin Amazon Smile Foundation Douglas & Lorene Bora PayPal Giving Fund Leon Breault Sara T. Wahls Charity Fund— Chris Brubeck In Memory of Anita Behnken Lawrence Cafero Katherine Altman Henry & Mary Ellen Cavanna Todd Boe Anna Chase Chanda Brodnax-Nino Rebecca Christopherson Andrea J. Brown Bill Collins & Elizabeth Gibbs Eileen Buckley Charlotte Cooper Luis & Diane Cano Mary-Patricia Cottrell Daniel & Tucker Chase Martha D’Adamo James & Susan Cooper Josephine Deupree Frederick Cort Anne Downey—In Honor of Lawrence Cavanagh Nina Crothers Therese Egan Edward & Diane Donovan Eloise Epstein Michael Dorfsman Nancy Everson Alan & Gertrude Dubrow William & Joyce Filip Archie Elam Dr. John Fitzpatrick Dr. Richard Epstein Dianne Flagello Arthur & Ellen Gang Harriet Flehinger Anna Hersom Dr. Ed Fleischli Linda K. Johnson Joe Hsu—In Memory of Anita Behnken Constance Keavney Bruce Ipe Bruce Kimmel & Kay Anderson Carol Johnson Louise LaChance Margaret Kelley Mildred Lasker Dr. David & Evan Levinson Benita Lauri David & Suzanne McCollum Irwin Lebish Robert & Elizabeth McGrath Sondra Limeburner Salvatore & Mary Beth Molllica Melissa Mayernik Ryan Murawski David & Katherine McConnaughey Dr. Rhoda Nair James McKeon Juan Negroni Angela Pecora Kenneth Ng Marlene Powers Daniel V & Elsa Peterson Obuchowski John Pritting Chauncey & Carla Olinger Dr. David Romeo Kristi Patterson Polly Sartori Jane Plant Eleanor Searlers Frederick Post & Sabra Gallo Paul Serenbetz Judith Rafael Tara Tanzer Diane Ratcliffe Corinne Tolles Harry & Lucia Rilling Mitchell Verzi Ann Rogers William Walbert Nancy Romberg Robert Welsh Sara Ross—In Honor of David & Linda Ross Holly Wheeler John & Kate Russo

norwalksymphony.org 15 16 Norwalk Symphony Orchestra BAROQUE to POPS Saturday, December 14, 2019 – 5:00 pm

The Messiah, Part the First & the Hallelujah Chorus Georg Friderich Handel (1685-1759)

Amelia Watkins – Soprano * Sarah Heltzel – Mezzo-soprano William Ferguson – Tenor * Blake Burroughs – Bass

and The Mendelssohn Choir of Connecticut Dr. Carole Ann Maxwell, Founder and Director

Intermission

Farandole from L’Arlesienne Georges Bizet 1838-1875

How Lovely are the Messengers from St. Paul Felix Mendelssohn 1809-1847 Seabury Academy Choir, Jacob Street, Director

Trepak from Nutcracker Suite Pyotr Ilich Tchaikovsky 1840-1893 New England Academy of Dance

Sleigh Ride Leroy Anderson 1908-1975

Hanukkah Medley Lucas Richman 1964-

Christmas Sing-Along Lucas Richman 1964- Jingle Bells

norwalksymphony.org 17 A2Z LLC A Technology Company Angelo Zullo

10 St. Charles Street Thornwood, NY 10594 914.602.4157 [email protected] The Norwalk Symphony OrchestraIs pleased to support the Norwalk Community College Food Pantry To end student food insecurity. Thank you for your donations!

18 Norwalk Symphony Orchestra ORCHESTRA ROSTER

Jonathan Yates Music Director & Conductor

Violin 1 Emanouil Manolov Concertmaster Janet Rosen, Principal Yuan Ma, Ass’t. Concertmaster Marta Boratgis Mariya Polishchuk – Dr. Emanuel Knishkowy Chair Marina Kitaychik Diego Vasquez, Principal Claudia Tondi Janet Atherton Leo Ficks – Lewis Wilker Chair Violin 2 Scott Switzer, Principal Nina Crothers, Principal Ludmila Gufeld, Ass’t. Principal French Marianne Volpi Bryan Meyer, Principal Matthew Woodard Susan LaFever Jen Trahan Viola Charles Johnson, Principal Suzanne Corey-Sahlin, Principal – Robert Patrick Dr. Louis G. Simon Chair Sarah Smale, Ass’t. Principal Christopher McCormack Matthew Russo, Principal Cathy Dillon Elaine Arnow David Edricks, Principal Cello Gunnar Sahlin, Principal Percussion Justin Elkins, Ass’t. Principal Peter Hohmeister, Principal Jane Lawson Sara Bennett Wolfe Harp Wendy Kerner, Principal Bass Alexander Svensen, Principal Piano Kevin Huhn, Ass’t. Principal Jacob Street, Principal

Flute Stage Manager Kathie Sumrow, Principal Scott Mesh Joanne Hiscocks

norwalksymphony.org 19 2019-2020 – Our 17th Season

Saturday, October 26, 2019* Norwalk Concert Hall! Mussorgsky – Night on Bald Mountain Rachmaninoff – Piano Cto #2 with Will Duchon Mendelssohn – Symphony No. 5-Reformation

11th Concerto Competition Christopher James Hisey, February 22 & 23, 2020 Music Director Saturday, March 7, 2020 Beethoven – Leonore Overture #3 Concerts at 7:30 pm at Elgar – Cello Concerto with Gjergj Kroqi First Presbyterian Church* Cadwallader – Symphony No. 5 2475 Easton Turnpike, Fairfield, CT Saturday, June 6, 2020 Tickets & Information at Rossini – Barber of Seville www.americanchamberorchestra.org Winners of the Concerto Competition Watch for details! *Unless noted differently

20 Norwalk Symphony Orchestra PROGRAM NOTES

Perhaps the most important change in Messiah musical taste came with a revolutionary work – George Frideric Handel by the young playwright John Gay. English Born February 23, 1685 in Halle, Germany audiences had been strangely drawn to Died April 14, 1759 in London Italian opera—a puzzling affinity since it was This work received its premiere on April 13, sung in a language most of them did not 1742 at the Fishamble Street Music Hall in understand. In 1728, John Gay and composer Dublin, Ireland. Its original scoring was for Samuel Pepusch produced a parody of two , bassoon, two , timpani, British society that lampooned the wealthy strings, and basso continuo. Other composers and their habits—including the financial have completed additional orchestrations, most difficulties of Handel’s Academy. In The notably the one by Mozart. Soprano, Alto, Tenor, Beggar’s Opera, thieves, prostitutes, and and Bass soloists are featured with SATB chorus. common English peasants were treated as anti-heroes, giving a new freshness to opera George Frideric Handel’s Messiah is simply and a new venue where theatergoers could one of the most popular works in the history actually understand the play and spend their of music, and is probably the first work shillings. This work, along with increased most people recall upon hearing the word infighting among investors and singers, “oratorio.” This broad genre of music came sounded the death knell for Handel’s into being about 1575, a generation before Academy. Handel, however, was not willing composers in Florence produced the first to give up on the genre that had been so opera. Both of these categories of music kind to him for the previous twenty years. arose from Italian experiments in musical narrative; however the basic regulation for Despite the new English affinity for The oratorio is that it not be staged. Often using Beggar’s Opera, Handel insisted in moving a narrator to propel the drama forward, forward with a new opera company. He oratorios rely heavily on the chorus for sung formed the Second Academy that would commentary on actions within the story, continue to produce Italian opera. But this sometimes providing the rousing sounds time he would meet other challenges. In of crowds. Nearly always on religious the summer of 1733, Frederick, Prince of subjects (often from the Old Testament), the Wales, led a group of English nobles to name “oratorio” is also the term for a church’s fund a new Italian opera company, which prayer room, in which most of the works would compete directly with Handel—his were presented when Lenten regulations first competition in the genre since his first prohibited their performance in the sanctuary. Italian opera in 1711. Called the “Opera of the Nobility” and directed by Italian The story of the advent of Handel’s English composer Nicola Porpora, the new company oratorios provides much insight into English was, in reality, a political entity to support society in the early Eighteenth Century. His the Prince as England’s future King. Handel first successes in England, beginning with had become viewed as an inseparable fixture Rinaldo in 1711, were in the field of Italian to the antiquated court of King George II, opera, at which he was the undisputed while Frederick represented a new, youthful master for two decades. The early works regime—although the unfortunate Prince’s were nearly always associated with the opera death in 1751 predated that of George by company at King’s Theatre, in London’s nine years, therefore passing the throne to Haymarket district, until its closure in 1717. George III instead of Frederick. The “Opera Two years later, Handel joined a group of of the Nobility” prevailed and Handel took investors to create the Royal Academy of his crumbling Second Academy to the newly Music—a company dedicated exclusively to built Covent Garden Theatre, where he the production of Italian opera. The Academy continued to give Italian opera. The stress would give multiple performances of fourteen of managing a failing company took its different Handel operas before it closed, due toll on Handel’s health when he suffered a to financial difficulties and changing musical stroke in 1737. His subsequent seven-month trends, in 1729.

norwalksymphony.org 21 PROGRAM NOTES absence for treatment in France seems to “Words are wanting to express the exquisite have contributed greatly to the demise of Delight it afforded to the admiring crouded the company the following year. [sic] audience. The Sublime, the Grand and the Tender, adapted to the most elevated, After this most recent failure, Handel turned majestick [sic] and moving Words, conspired to a different musical genre—oratorio. to transport and charm the ravished Heart Perhaps out of frustration or because of the and Ear.” relative ease of performance as compared to opera, he embraced the idea of an unstaged Messiah does not follow a narrative dramatic work in English. The concept of throughout—opting instead for textual dramatic works for chorus and orchestra reflections of the birth of Jesus (Part I), was not new to English audiences, as large the Resurrection and the power of God choral works had been regularly presented (Part II), and the defeat of death through in concert since 1683, nearly sixty years Salvation (Part III). Consisting of fifty-three before, as part of the annual celebration of numbers, complete with glorious choruses St. Cecilia’s Day on November 22. and powerfully dramatic solos, the work fills and evening, but is only of moderate length Handel wrote Messiah between August compared to Handel’s other oratorios, most 22 and September 12, 1741—nearly two notably his final work, Jephtha, which clocks and a half hours of inspired music of the in at over three hours. Handel’s musical highest craftsmanship completed in an technique in Messiah is undifferentiated from astounding spurt of creativity lasting a mere that of his Italian operas. The work consists three weeks! Its premiere took place at the of a series of accompanied recitatives (in Fishamble Street Music Hall in Dublin at which the orchestra plays, as opposed to noon on April 13, 1742. As British historian dry recitative using just the basso continuo) Richard Luckett notes, “there has never that present the dramatic events of the story, been a year since 1742 in which Messiah followed by solo airs that reflect on the has not been performed.” Known for his action or ideas in the recitatives. Frequent generosity to charitable causes, especially choruses serve as an elaborate method of after his stroke, Handel donated profits from stressing important ideas or reflections with the premiere to the relief of jailed prisoners greatest force and contrapuntal mastery. and the support of Mercer’s Hospital and Of particular interest to modern listeners is the Charitable Infirmary, both in Dublin. An Handel’s extensive use of “text painting,” open rehearsal, for profit, was held four days a technique in which textual references are before the premiere and was fraught with reflected in the melodic line. Of the dozens difficulties. Handel made no fewer than nine of instances in Messiah, one of the most corrections to his score, ranging from text apparent is in the Bass recitative “Thus saith changes to complete recomposition of entire the Lord,” in which the word “shake” is set to numbers. The alto soloist, actress Susannah a melismatic melodic line. The astute listener Cibber, the younger sister of composer will find many instances of this technique Thomas Arne, required extensive coaching, throughout this evening’s performance. taking up a large portion of the rehearsal. The instruction must have been beneficial, ©2019 Orpheus Music Prose & Craig Doolin as period accounts of the premiere singled www.orpheusnotes.com out the effectiveness of her solos. The first performance, before a crowd of about seven hundred, was a decided success, as one Dublin newspaper stated:

22 Norwalk Symphony Orchestra PROGRAM NOTES

MESSIAH 5. Accompagnato A Sacred Oratorio Bass Thus saith the Lord, the Lord of hosts: Yet once Music by George Frideric Handel a little while and I will shake the heavens and Words by Charles Jennens the earth, the sea and the dry land. The libretto was prefaced with these verses: And I will shake all nations; and the desire of all And without controversy, great is the nations shall come. Mystery of Godliness: God was manifested (Haggai 2: 6-7) in the Flesh, justified by the Spirit, seen of Angels, preached among the Gentiles, The Lord, whom ye seek, shall suddenly come believed on in the World, received up to His temple, even the messenger of the in Glory. Covenant, whom you delight in; behold, He (I Timothy 3 : 16) shall come, saith the Lord of hosts. (Malachi 3: 1) In whom are hid all the Treasures of Wisdom and Knowledge. 6. Air (Colossians II : 3) Alto or soprano But who may abide the day of His coming, and PART ONE who shall stand when He appeareth? For He is like a refiner’s fire. 1. Sinfonia (Overture) (Malachi 3: 2)

2. Accompagnato 7. Chorus Tenor And He shall purify the sons of Levi, that Comfort ye, comfort ye my people, they may offer unto the Lord an offering saith your God. in righteousness. Speak ye comfortably to Jerusalem, and cry (Malachi 3: 3) unto her, that her warfare is accomplished, that her iniquity is pardoned. 8. Recitative The voice of him that crieth in the wilderness; Alto prepare ye the way of the Lord; make straight in Behold, a virgin shall conceive and bear a son, the desert a highway for and shall call His name Emmanuel, our God. God with us. (Isaiah 40: 1-3) (Isaiah 7: 14; Matthew 1: 23)

3. Air 9. Air and Chorus Tenor Alto Ev’ry valley shall be exalted, and ev’ry mountain O thou that tellest good tidings to Zion, and hill made low; the crooked straight and the get thee up into the high mountain. O thou rough places plain. that tellest good tidings to Jerusalem, lift up (Isaiah 40: 4) thy voice with strength; lift it up, be not afraid; say unto the cities of Judah, behold your God! 4. Chorus (Isaiah 40: 9) And the glory of the Lord shall be revealed, and all flesh shall see it together: for the mouth of Arise, shine, for thy light is come, and the glory the Lord hath spoken it. of the Lord is risen upon thee. (Isaiah 40: 5) (Isaiah 60: 1)

Chorus O thou that tellest. . . etc.

norwalksymphony.org 23 PROGRAM NOTES

10. Accompagnato 17. Chorus Bass “Glory to God in the highest, and peace on For behold, darkness shall cover the earth, and earth, good will towards men.” gross darkness the people; but the Lord shall (Luke 2: 14) arise upon thee, and His glory shall be seen upon thee. 18. Air And the Gentiles shall come to thy light, and Soprano kings to the brightness of thy rising. Rejoice greatly, O daughter of Zion; shout, O (Isaiah 60: 2-3) daughter of Jerusalem! Behold, thy King cometh unto thee; He is the 11. Air righteous Saviour, and He shall speak peace Bass unto the heathen. The people that walked in darkness have seen Rejoice greatly. . . da capo a great light; (Zecharaiah 9: 9-10) and they that dwell in the land of the shadow of death, upon them hath the light shined. 19. Recitative (Isaiah 9: 2) Alto Then shall the eyes of the blind be opened, and 12. Chorus the ears of the deaf unstopped. For unto us a child is born, unto us a son is Then shall the lame man leap as an hart, and given, and the government shall be upon the tongue of the dumb shall sing. His shoulder; and His name shall be called (Isaiah 35: 5-6) Wonderful, Counsellor, the mighty God, the Everlasting Father, the Prince of Peace. 20. Air (or Duet) (Isaiah 9: 6) (Alto &) soprano He shall feed His flock like a shepherd; and He 13. Pifa (“Pastoral Symphony”) shall gather the lambs with His arm, and carry them in His bosom, and gently lead those that 14a. Recitative are with young. Soprano (Isaiah 40: 11) There were shepherds abiding in the field, keeping watch over their flocks by night. Come unto Him, all ye that labour, come unto (Luke 2: 8) Him that are heavy laden, and He will give you rest. 14b. Accompagnato Take his yoke upon you, and learn of Him, for Soprano He is meek and lowly of heart, and ye shall find And lo, the angel of the Lord came upon them, rest unto your souls. and the glory of the Lord shone round about (Matthew 11: 28-29) them, and they were sore afraid. (Luke 2: 9) 21. Chorus His yoke is easy, and His burden is light. 15. Recitative (Matthew 11: 30) Soprano And the angel said unto them: “Fear not, for Hallelujah: for the Lord God Omnipotent behold, I bring you good tidings of great joy, reigneth. (Revelation 19: 6) which shall be to all people. For unto you is born this day in the city of David The kingdom of this world is become the a Saviour, which is Christ the Lord.” kingdom of our Lord, and of His Christ; and He (Luke 2: 10-11) shall reign for ever and ever. (Revelation 11: 15) 16. Accompagnato Soprano King of Kings, and Lord of Lords. And suddenly there was with the angel, a (Revelation 19: 16) multitude of the heavenly host, praising God, and saying: Hallelujah! (Luke 2: 13)

24 Norwalk Symphony Orchestra PROGRAM NOTES

allegation that seems ridiculous considering “Farandole” from Suite No. 2 of the decidedly French flavor of the music. incidental music to L’Arlésienne Others felt that music did not belong in a – Georges Bizet dramatic production. Bizet was quick to Born October 25, 1838, in Paris, France count his losses and give the music new life Died June 3, 1875, in Bougival, France in a four-movement concert suite culled from his original twenty-seven numbers. Since the The play from which this suite was extracted original orchestration had been for a twenty- was first performed on October 1, 1872, at the five-piece pit orchestra, it was necessary to Théâtre de Vaudeville in Paris. It is scored for re-orchestrate the work for full symphony piccolo, two , two oboes, English horn, orchestra. His efforts proved to be fruitful, two , alto saxophone, two , four horns, four trumpets, three , as his suite received many accolades. timpani, percussion, harp, and strings. After Bizet’s untimely death in 1875, just weeks after the premiere of Carmen, the Georges Bizet arrived on the scene at a time composer’s friend Ernest Guiraud arranged when the musical world was divided into a second suite from L’Arlesiénne as a tribute. factions. On one side were the traditionalists, who felt that music should serve as Perhaps the most familiar movement of this entertainment and diversion, providing suite is the final “Farandole,” a Provençal folk enjoyment and even occasional profundity, song that Bizet included in the score to add a but not bearing any political message. The sense of realism to the setting. Usually heard opposition to this view was espoused by the during the Christmas season under the title disciples of Richard Wagner, who advocated “March of the Kings,” this martial movement the Gesamtkunstwerk (total art work) in includes a dazzling dance of wild abandon. which all elements of theatrical production As the fury builds, Bizet combines the march were integrated—staging, music, sets, with the dance for an electrifying conclusion. costumes, etc. Along with Wagnerianism ©2019 Orpheus Music Prose & Craig Doolin came the concept of social change, even www.orpheusnotes.com revolution, through music, especially opera. Surprisingly, Bizet was often accused of adherence to these beliefs. Except for his use of recurring melodic motives (such as Paulus, Op. 36 the Fate motive in Carmen), a practice in – Felix Mendelssohn which even the outspoken anti-Wagnerian Born February 3, 1809, in Hamburg, Germany Giuseppe Verdi engaged, Bizet was much Died November 4, 1847, in Leipzig, Germany more aligned with Wagner’s opponents. This work was first performed on May 22, Where the German master usually composed 1836, at the Lower Rhenish Music Festival in in a continuous gesture of music throughout Düsseldorf, Germany. It is scored for soprano, a work (he called this ‘endless melody’), Bizet mezzo-soprano, tenor, and bass soloist, with organized his operas into arias and scenes, mixed and women’s choruses, two flutes, which were divided by dialogue, either two oboes, two clarinets, two bassoons, spoken or sung. serpent (usually performed on in modern orchestras), two horns, two trumpets, three Bizet’s attraction to dramatic music was not trombones, timpani, organ, and strings. limited to opera. In 1872 he collaborated with the writer Alphonse Daudet on a forgettable Much attention is given to the remarkably story of unrequited love and suicide entitled young age at which Mozart composed his L’Arlesiénne (The Girl from Arles). Opening earliest works. This has overshadowed the on October 1, 1872, at the Théâtre de equally amazing talents of the young Felix Vaudeville on Boulevard des Capucines, the Mendelssohn. Mozart was forced to tour work was chided by critics and audiences Europe as a young child, playing for kings, alike. For some the music reeked of German popes, and princes. Mendelssohn showed influence, notably that of Wagner—an his talent at a similarly young age, so his

norwalksymphony.org 25 PROGRAM NOTES banker father invested in the best music In 1831, Johann Schelble, director of the teachers available for Felix and his musically Cecilia Choir and Orchestra in Frankfurt, gifted sister Fanny (who also became a commissioned Mendelssohn to write an composer of mostly salon music even after oratorio. The topic he chose was especially marriage, despite the social expectations provocative—St. Paul, the story of a of the time). As the young Felix composed, Jewish man converting to Christianity. It he regularly heard his music performed is impossible to discuss this work without by a private orchestra that played in the drawing a comparison of this theme to the Mendelssohn’s Berlin home every Sunday. history of Mendelssohn’s own family. Felix’s This invaluable advantage allowed the grandfather was Moses Mendelssohn, the composer to develop musical identity and Jewish Enlightenment philosopher whose adeptness for orchestration before his son—Felix’s father, Abraham—raised his age reached double digits. Thirteen early family in the Lutheran church. Mendelssohn “string symphonies” date from this period began the composition in March of 1834. —all written before he composed his first When Abraham died in November of 1835, numbered symphony at the age of fifteen. Felix was nearly finished with the oratorio and it took on another purpose as a tribute In the late 1830s, Mendelssohn served to his beloved father. as conductor of the Leipzig Gewandhaus Orchestra, which he transformed into Mendelssohn was inspired by his recent one of the pillars of the German musical experience with Bach’s music and structured establishment. The list of guest artists Paulus much like the St. Matthew Passion. for their twenty yearly concerts read like There are recitatives, often framing the story a Who’s-Who of German Romanticism— in the voice of the Narrator, which is sung including pianists Sigismond Thalberg by various soloists. Mendelssohn also uses and Franz Liszt, and violinist Ole Bull. arias in the voices of the major characters— Mendelssohn’s phenomenal successes in Stephen, Paul, Barnabas, and Jesus—and Leipzig led to offers from numerous music choruses that represent crowds and the festivals that were eager to attract the voice of Christianity and God. Lutheran- famous young composer-conductor to style chorales provide moments of dramatic ensure their own successes. By the end of commentary during which the action pauses the decade, Mendelssohn had accepted for reflection. the directorship of festivals in Cologne, Düsseldorf, Brunswick, and Schwerin in Paulus is set in two parts, each of which Germany. In Britain he headed the 1840 tells a portion of the story of St. Paul. Birmingham Festival, meeting with the Part One begins with the martyrdom of young Queen Victoria, his friend and St. Stephen and Saul’s persecution of duet partner. Christians. It ends with his conversion (and change of name to Paul), baptism, and One of Mendelssohn’s greatest ordination. Part Two covers Paul’s travels accomplishments had nothing to do with with Barnabas and the establishment of his his own music. In 1829 the twenty-year-old church at Ephesus. The oratorio ends with Mendelssohn conducted Johann Sebastian Paul’s departure for Jerusalem. Bach’s St. Matthew Passion and started a new burst of interest in the choral music ©2019 Orpheus Music Prose & Craig Doolin of the Baroque master. This monolithic www.orpheusnotes.com work had not been performed since Bach’s lifetime and awareness of his music (except for his keyboard works) had waned to the point of total neglect. Within the next twenty-five years, the first complete edition of Bach’s works was published.

26 Norwalk Symphony Orchestra PROGRAM NOTES

26. Chor 26. Chorus Stimme der Christenheit: Voice of Christianity: Wie lieblich sind die Boten, die den Frieden How lovely are the messengers that preach verkündigen. In alle Lande ist ausgegangen us the gospel of peace! To all the nations ihr Schall und in alle Welt ihre Worte. is gone forth the sound of their words, throughout all the lands their glad tidings.

the official story has Tchaikovsky committing Suite from The Nutcracker, suicide by drinking a glass of unboiled water Opus 71a during a cholera epidemic, arsenic poisoning – Piotr Ilyich Tchaikovsky has never been ruled out. Born May 7, 1840, in Votkinsk, Russia Died November 6, 1893, in St. Petersburg Tchaikovsky’s final ballet, The Nutcracker, along with his 1812 Overture, is perhaps This work was first performed on March 19, 1892, his most fashionable work. Its beloved at Musical Society concert in St. Petersburg. and heartwarming tale, based on E.T.A. It is scored for piccolo, two flutes, two oboes, Hoffmann’s The Nutcracker and the Mouse English horn, two clarinets, bass clarinet, two King from 1816, has remained popular since bassoons, four horns, two trumpets, three it first graced the stage in 1892, but the trombones, tuba, timpani, percussion, harp, composer was less than thrilled with its plot. celesta, and strings. In fact, nearly all aspects of the work’s By the late 1880s, Tchaikovsky had composed preparation were fraught with turmoil. In nearly all of his most revered works—five of 1890 Ivan Vsevolozhsky, director of the the six symphonies, the ballets Swan Lake Imperial Theatres, approached Tchaikovsky and Sleeping Beauty, and most of his operas about composing a new ballet in hope of and chamber music. Since the mid-1870s, reaping profit from their previous success the wealthy widow Nadejda von Meck had with Sleeping Beauty two years earlier. He been his benefactress, providing him with an would again work with the French-born annual stipend of six thousand rubles on the ballet-master Marius Pepita, who would condition that he would devote his energies adapt Hoffmann’s story and draw up a to full-time composition. These were the sequence of dances to which the composer brightest years of his life, but they were not would provide music. That was how it was to last. supposed to work. Instead, Pepita found In 1890, von Meck severed their relationship. himself overwhelmed with his workload and Even though he no longer relied on her delegated most of the choreography to his financial assistance, the world-famous assistant, Lev Ivanov. Tchaikovsky was unable composer sorely missed the emotional to find inspiration in a story he considered support he found through their many to be a poor adaptation of Hoffmann’s tale, correspondences. For years, he had suffered and set off on a tour of America (by way of from depression over his failed month-long Paris) before the work was complete. Luckily, marriage in the 1870s, his general insecurity, he found his muse with the discovery of a and his difficulty in coming to terms with new instrument in the French capital—the his homosexuality. The loss of von Meck’s celesta, which became the voice of the Sugar support sent Tchaikovsky into the deepest Plum Fairy. From the dreamlike chimes of this depression of his life. On his American instrument, the rest of the ballet took shape. tour of 1891 (on which he gave the opening The famous Nutcracker Suite predates the concert for New York’s Carnegie Hall), he ballet’s premiere and was intended to act began to feel as if something was gravely as a teaser—an advertisement—for the wrong. By 1893, he had hit bottom. On upcoming ballet. Also, he wanted to be the November 6 of that year, the composer died first Russian composer to use the celesta, under mysterious circumstances. Although so an early suite drawn from his new ballet

norwalksymphony.org 27 PROGRAM NOTES was the most logical way to achieve his goal. for the double basses. The “Arabian Dance” While the full ballet premiered in December is a slow-tempo diversion that features the of 1892, the suite was first heard in March. woodwind section in the opening melody The suite begins with a descriptive overture. and the strings in the middle. A “Chinese Dance” features flutes and pizzicato strings, Tchaikovsky’s next section is a series of six an instrumentation that is maintained for the “characteristic dances” that are brief and opening of the “Dance of the Reed Flutes.” colorful. The first of these is a military march, Both movements include other instruments but the martial feel is not that of an actual at their climaxes. fighting force. It is more playful, perhaps like toy soldiers found under a Christmas The finale of the Nutcracker Suite is tree. The “Dance of the Sugar Plum Fairy” the masterful “Waltz of the Flowers.” features the celesta. It is easy to understand Tchaikovsky’s waltzes are always magnificent, Tchaikovsky’s enthusiasm for this instrument, and this one is perhaps his crowning as it conjures the dreamlike world that is so achievement in the genre. important for this music. Infused with wild abandon, the “Trepak” is a Russian Cossack ©2019 Orpheus Music Prose & Craig Doolin dance that provides a very spirited workout www.orpheusnotes.com

Our custom program notes have been used by dozens of orchestras coast to coast from A’s Disney Hall to New York’s Lincoln Center, from the New England Conservatory to University of Southern California, and border to border from Ontario, Canada to San Antonio, Texas. Musicologist Craig Doolin’s approach is friendly, yet astute. Along with Drs. Frank and Karin Pendle and Dr. Catherine Roma, Craig is a co-author of A City That Sings: Cincinnati’s Choral Tradition 1800-2012 (May 2012, Orange Frazer Press). Call 513.266-6049 or email [email protected] Learn more at www.orpheusnotes.com. Samples are available at the website and in this program.

28 Norwalk Symphony Orchestra GUEST ARTISTS

AMELIA WATKINS SARAH HELTZEL Soprano Mezzo Soprano Described as having “A rich, glowing Sarah Heltzel (Alto soloist): “Vocally lyric sound destined for the heights” striking and visually appealing” (New York Opera News, soprano Amelia Watkins Times), Sarah Heltzel “sets the stage ablaze has performed with leading orchestras with her vocal and dramatic pyrotechnics” and opera companies in North America, (Houston Chronicle) in roles such as Eboli Europe and Asia, including the Los in Don Carlo, Maddalena in Rigoletto, Angeles Opera, New York City Opera, Santuzza in Cavalleria Rusticana, Azucena Prague National Opera, Carnegie Hall, in Il Trovatore, the title role in Carmen, Weill Hall, Brooklyn Academy of Music, der Komponist in Ariadne auf Naxos, Jo Verbier Festival, Leipzig Gewandhaus, in Little Women, Musetta in La Boheme, National Arts Center, and in concert and Suzuki in Madama Butterfly. She made in Hong Kong. Embracing musical her debut in Seattle Opera’s Ring Cycle, styles from Bach to Berio and beyond, and has performed throughout the United Amelia specializes in the works of living States with companies such as New York composers. She recently drew praise for City Opera, Indianapolis Opera, Tacoma her performance as Brainy Woman in Opera, Toledo Opera, Syracuse Opera, Michael Gordon and Deborah Artman’s Amarillo Opera, Opera on the James, Acquanetta, directed by Daniel Fish at the Opera in the Heights and more. 2018 Prototype Festival. Recent performances include Offred Ms. Watkins can be heard on Albany in the Australian premiere of The Records in New Growth, the Grammy Handmaid’s Tale (Melbourne), Carmen nominated Bobby McFerrin album (Wichita Grand Opera), Rossini’s Stabat Vocabularies, Missy Mazzoli’s Song Mater (Dartmouth’s Handel Society), From the Uproar, the upcoming studio Beethoven’s Ninth Symphony (Carnegie recording of Acquanetta, and in various Hall with Music for Life International), film and television scores. A familiar face and Bernstein’s SONGFEST (Maverick at the Norwalk Symphony, she is always Chamber Orchestra). Additional concert delighted to make music with Jonathan performances include Handel’s Messiah Yates, as a recital partner or conductor! and Janacek’s Glagolitic Mass (Seattle Symphony), Verdi’s Requiem (Symphony For more information: Syracuse, Wichita Symphony, Back Bay www.ameliawatkins.com Chorale and Carnegie Hall with Music for Life International), Beethoven’s Ninth

norwalksymphony.org 29 GUEST ARTISTS

Symphony (Boston Philharmonic, Minot The Metropolitan Opera as well as the Symphony Orchestra), and Mahler’s Das title role in Candide and Nanki-Poo in Lied von der Erde (Boston Chamber Music The Mikado at New York City Opera. Society). She has been a grant recipient Additional credits include appearances at and prizewinner from The Wagner Society Opera Theatre of St. Louis, Opera Festival of New York, The Liederkranz Foundation, of New Jersey, Opera Omaha, Virginia The Gerda Lissner Foundation, the Career Opera, Gotham Chamber Opera, and Bridges Competition, and the Palm Beach Opera Company of Philadelphia. He holds Opera Vocal Competition. both a Bachelor’s and Master’s of Music degree from The Juilliard School. A passionate concert and recital performer, Mr. Ferguson has appeared with The American Symphony Orchestra, BBC Orchestra (London), Boston Symphony Orchestra, City of Birmingham Symphony Orchestra (England), Houston Symphony, Los Angeles Philharmonic, Mostly Mozart Festival Orchestra, Musica Sacra New York, National Symphony Orchestra, New Jersey Symphony Orchestra, Opera Orchestra of New York, Oratorio Society of New York, Orchestra of St. Luke’s, Pittsburgh Symphony, and Radio Filharmonisch Orkest (Netherlands); as WILLIAM FERGUSON well as the local symphony orchestras of Tenor Bellingham, Omaha, Richmond, Santa Barbara, Wheeling, and Winston-Salem. A native of Richmond, Virginia, tenor Furthermore, he has performed for William Ferguson appeared with the the 92nd Street Y, Bard Music Festival, Santa Fe Opera as Caliban in the North Marlboro Music Festival, Young Concert American premier of Thomas Adès’ The Artists, The Marilyn Horne Foundation, Tempest, and in 2005, bowed in Sydney New York Festival of Song, and Five with Opera Australia singing Truffaldino Borough Music Festival, and appears as in a new production of The Love for Brian on the recording and DVD of Not Three Oranges directed by Francesca The Messiah, an oratorio based on Monty Zambello and conducted by Richard Python’s Life of Brian recorded live at the Hickox—a performance which has since Royal Albert Hall. been released on compact disc on the Chandos label. In New York, Ferguson For more information, please visit has performed Beppe in I Pagliacci at www.WilliamFerguson.com.

30 Norwalk Symphony Orchestra GUEST ARTISTS

After moving to New York City in 2013, Blake made his NYC debut with Vertical Player Repertory Opera’s production of The Dwarf. Since then he has performed in productions of The Magic Flute with New York Opera Exchange, Big Jim and the Small-Time Investors with The Center for Contemporary Opera, Melchior in Amahl and the Night Visitors, as well as his opera debut at the Kennedy Center for the Performing Arts in Noli Me Tangere. In 2015, he performed once again with CCO in Bobby, was honored to be chosen to join the chorus of the Bard SummerScape BLAKE BURROUGHS Opera, The Wreckers, and worked with the Bass National Yiddish Theatre-Folkbiene in a concert version of Die Goldene Kale. Blake Blake Burroughs, bass-baritone, grew up in has subsequently performed in two opera Cherokee, Iowa, where he first took to the workshops with American Lyric Theatre/ stage performing principal roles in musical MasterVoices and returned to CCO for the theatre productions of such classics as concert debut of Hester. He is currently The Sound of Music, Oklahoma!, Joseph Bass Section Leader at Madison Avenue and the Amazing Technicolor Dreamcoat, Presbyterian Church and is a soloist for Cinderella, Beauty and the Beast, and the Saint Andrew Music Society’s Music South Pacific. on Madison! concert series. He has performed as bass/baritone soloist in Blake went on to earn his Bachelor of such works as Carmina Burana, Messiah, Arts in Music at Iowa State University, Israel in Egypt, and most recently Ralph where he was privileged to study with Vaughan Williams’ Dona Nobis Pacem. Dr. Donald Simonson, former President of Blake performs regularly in NYC and the NATS (National Association of Teachers surrounding tri-state area, and has been of Singing), and enjoyed individual featured in concert in Palm Beach, Miami, mentorship from world-renowned operatic Baltimore, and Dallas. bass-baritone, Simon Estes.

norwalksymphony.org 31 GUEST ARTISTS

Over the years, the MCC has been honored THE MENDELSSOHN to present the world premieres of The Child CHOIR OF in Us All and the Prologue from North and South, by Tony Award winner Charles CONNECTICUT Strouse, Stephen Schwartz’s Academy The Mendelssohn Choir of Connecticut Award-winning song “When You Believe” (MCC) was founded in 1984 by alumni of from Prince of Egypt, and “Chief Seattle” the Fairfield University Chamber Singers by Gregg Smith. In celebration of its Silver who wished to continue their musical Anniversary, the Choir commissioned a association with Dr. Carole Ann Maxwell. work by Randal Alan Bass, O Divine Music, Under Dr. Maxwell’s leadership, the Choir which it premiered in May 2010. That same has performed a wide range of repertoire year MCC also introduced Connecticut in New England, New York, and many composer Edward Thompson’s What the Ivy European capitals. The Choir’s renditions Said to the Fallen Snow. In 2014 the Choir of the world’s greatest choral masterpieces premiered Child of War by Jin Hi Kim, a have earned it a reputation as one of the setting of texts by the Vietnamese peace leading vocal ensembles of the region. Its activist Kim Phuc. diverse programming reflects an extensive repertoire from all periods and genres— The Choir has performed regularly with from classical to contemporary and from the symphony orchestras of Bridgeport, opera to theater, film, and pop. The MCC Norwalk, Wallingford, and New Haven. embraces a mission of developing and The ensemble has appeared several times promoting the choral arts—a mission that in Carnegie Hall under the auspices of begins with the training of its own members both Distinguished Choirs International and reaches out to the entire community of and Mid-America Productions. In addition Fairfield County. to a memorable performance at the 2006 National Pastoral Musician’s Conference The Choir’s repertory has included in Norwalk, the Choir has also sung to Bach’s Magnificat, Vivaldi’s Gloria, enthusiastic audiences in Rome, Florence, Handel’s Messiah, Haydn’s Lord Nelson Prague, Vienna, Budapest, Galway Mass, Beethoven’s Ninth Symphony and Dublin. and Meeresstille und gluckliche Fahrt, Schubert’s Miriam’s Siegesgesang, Beyond its artistic achievements, the Mendelssohn’s Elijah, Brahm’s Alto MCC plays an important civic role Rhapsody and Liebeslieder Waltzes, through its local outreach programs, Elgar’s Dream of Gerontius, Vaughan notably its Mendelssingers ensemble. Williams’s Sea Symphony and Toward The Mendelssingers regularly perform the Unknown Region, Honegger’s King in hospitals, nursing homes, and assisted David, Orff’s Carmina Burana and Citulli living facilities and at various community Carmina, Prokofiev’s Alexander Nevsky, events to bring the wonder and awe of live and the Stabat Mater and the Armed choral music to the broadest spectrum of Man Mass of Karl Jenkins. The MCC has the Connecticut public. The Choir receives performed Requiem settings by Mozart, support from the Connecticut Office of Verdi, Faure, Durufle, and Rutter, as well as the Arts, the Carstenson Foundation, and American songbook entries from Gershwin, many generous corporations, businesses Sondheim, and many others and film score and individuals throughout Fairfield County. chorales by John Williams and Patrick Doyle. Opera in concert has been a recurring feature, including performances of Verdi’s Aida, Bizet’s Carmen, and Gershwin’s Porgy and Bess.

32 Norwalk Symphony Orchestra GUEST ARTISTS

Dr. Maxwell aside from other conductors, making her extremely unique, and placing her in great demand. Her distinctive style and artistic leadership have produced critically acclaimed results from podiums throughout the United States, Canada, Europe, and Asia. In addition, Dr. Maxwell is a favorite Chorus Master for area orchestras and is a member of the Board of The Fairfield County Children’s Choir. This year will find her choirs singing with the Norwalk Symphony Orchestra in a performance of Mahler’s Symphony No. 2. CAROLE ANN Dr. Maxwell has been recognized for her artistic achievements with numerous MAXWELL, DSM awards. In 1992, Immaculata College Founding Artistic Director presented Dr. Maxwell with the prestigious & Conductor “Distinguished Music Alumna” award. The National Music Honor Society, One of America’s preeminent conductors Pi Kappa Lambda, honored her with of collegiate, community and professional membership citing her excellence and choral ensembles, Dr. Carole Ann Maxwell outstanding contributions in the field of has been the Director of Choral Activities choral music. Connecticut Post named at Fairfield University since 1980. She Dr. Maxwell a recipient of the “Woman is also the Founding Artistic Director of Substance” Award, celebrating and Conductor of The Mendelssohn outstanding women of the region, and Choir of Connecticut. In these and all Oxford Health Care honored her with its her affiliations, Dr. Maxwell continuously Humancare Award for her exceptional strives for choral excellence through the efforts in the community. In 2000, Dr. total commitment and magnificent voices Maxwell was named “Woman of the Year” of thousands of gifted singers who gladly by Fairfield University Women’s Studies audition and travel great distances for the Program and is the 2016 recipient of the opportunity to work with her. Fairfield University Distinguished Faculty/ Noted for immense energy, consummate Administrator Award. Dr. Maxwell has professionalism and complete dedication been named to the National Jesuit Honor Society, Alpha Sigma Nu. to the choral arts, Dr. Maxwell’s mission is to inspire and challenge each singer’s musical potential. Combining her talent with a wonderful sense of humor has set

norwalksymphony.org 33 GUEST ARTISTS

NEW ENGLAND ACADEMY OF DANCE (NEAD) Founded in 1968 by former Broadway dancer and esteemed ballerina Doris Driver, NEAD began as a boutique studio with only 12 dancers. Slowly, the school grew to extend class offerings to dancers of all ages, and encompass a studio company. In 2003, ownership was transferred to 3 directors with professional dance & choreography experience: Frances Ortiz, Ginna Ortiz, and Ted Thomas. Together, FRANCES ORTIZ the new directors focused their energy on Director defining a curriculum for each distinct age group, and transforming the Nutcracker After graduating from the New World and Spring Performances into highly School of the Arts in Miami, FL, Ms. theatrical, community events. Enrolling Ortiz went on to earn a BFA at SUNY over 500 dancers each semester during the Purchase and a MA in Dance Education past decade, NEAD has grown to become at NYU. During her professional dance one of the foremost dance institutions in career, Frances received scholarships to Fairfield County. Dance Theater of Harlem, The Martha Graham School and The Ailey School, At NEAD, each class level has a unique and performed works by Kevin Wynn, curriculum that has been carefully crafted Elisa Monte and Ti Martin. Additionally, with specific, age-appropriate goals and her choreography was showcased in achievements in mind. Both the classical City Arts on PBS. In 2002, Ms. Ortiz co- Russian Vaganova technique and Italian founded Thomas/Ortiz Dance, a company Chichetti methods are incorporated into that has since been invited to perform at class work for all age groups. Additionally, esteemed venues such as Jacobs Pillow the three NEAD Directors are certified to and Battery Arts Dance Festival. One teach the AMERICAN BALLET THEATRE® year after founding Thomas/Ortiz Dance, National Training Curriculum, levels Frances simultaneously became a director primary through five (5). At its core, the of NEAD, where she continues to act as curriculum aims to provide students with a teacher, choreographer, and mentor the highest quality of age-appropriate, for many. While overseeing progress of outcome-based training. These leanings NEAD, Frances has taught and presented have been integrated into all levels of dance works at Yale and NYU, while also NEAD schooling, to ensure high levels of teaching dance at Greenwich High School. physical and mental engagement across In 2015, Frances became certified to age groups. teach the AMERICAN BALLET THEATRE® National Training Curriculum, levels primary through five (5).

34 Norwalk Symphony Orchestra GUEST ARTISTS

GINNA ORTIZ TED THOMAS Director Director Born in San Juan, Puerto Rico, Ms. Ortiz Mr. Thomas attended La Guardia High studied dance at the New World School School of Performing Arts in New York City of the Arts in Miami, FL, and received her where his early interest in dance evolved BFA from SUNY Purchase with her twin into a professional passion. He went on to sister Frances. For almost five years, Ms. earn his BFA in dance from SUNY Purchase Ortiz performed with Dance Theater of and his MA in Dance Education from NYU. Harlem, and subsequently worked with a During his time dancing professionally, number of independent choreographers Ted spent seven years as a member of in New York City. In 1996, Ms. Ortiz began the Paul Taylor Dance Company and teaching at NEAD, where she later became performed with Ballet Hispanico, the Elisa a director in 2003. In addition to teaching Monte Dance Company, and Nikolais/ and directing rehearsals at NEAD, Ginna Louis Dance. He was also afforded the actively performs with the Thomas/ opportunity to teach dance at Barnard Ortiz company. In 2015, Ginna became College. In 2002, Mr. Thomas co-founded certified to teach the AMERICAN BALLET Thomas/Ortiz Dance with Frances Ortiz, THEATRE® National Training Curriculum, and one year later became a director of levels primary through five (5). the New England Academy of Dance and an Artistic Director of New England Dance Theater. In 2015, Ted became certified to teach the AMERICAN BALLET THEATRE® National Training Curriculum levels primary through five (5). Mr. Thomas was granted the Connecticut Office of the Arts’ Artistic Fellowship Award for Excellence in Choreography in 2018.

norwalksymphony.org 35 CHOIR ROSTER

The Mendelssohn Choir of Connecticut

SOPRANOS ALTOS TENORS Elisabeth Aaslid Maggie Casciato Joel Anyan Jane Barnes Debbie Chappell Richard Blaker Melinda Bauers Claudia Cuevas-de- Christina Kowinko Amy Beech Taranto David Oelerking Donna Curran Cheryl D’Onofrio Jack Pritting* Allison Fay Christine Ross Earls Larry Reilly Christine Hughes Delilah Heyman Bill Schwartz Sylvia Kreidman* Carol Komm Arthur Shippee Lynette Lyon Anne Leepson Linda Paslov Anna Masson BASSES Katie Pastore Terry Quell Tim Benthall Mary Porterfield Barbara Salop Paul Cahill Kristen Record Yvonne Senturia Anson Cohen Suzanne Sawhney Teresa Skinner Richard Earls Meredith Smith Cindy Vaccaro John Fitzpatrick Holly Stevens Peg Whitney* Tom Kramer Lorna Sura Sandy Zera John Marshall Lee Barbara Upton Frank Natale Robert Scrofani David Zamachaj*

*Section Leader

the fundamentals of music, preparing SEABURY ACADEMY OF songs and anthems, and performing in MUSIC AND THE ARTS Norwalk and beyond, including on tours Seabury Academy of Music and the Arts to Boston, New York City, London, and is a nonprofit dedicated to the promotion most recently Washington, D.C. The of exceptional, accessible art and music Chorister program is a tight-knit and fun- for all ages in Fairfield County. Seabury loving musical community. Newcomers are sponsors an art gallery, a monthly concert always welcome! Visit SeaburyNorwalk. series, a summer camp for elementary org/Choristers for more information, or to school-aged children, and the Chorister schedule a meeting with Mr. Street. program. All of Seabury’s programs are housed at St. Paul’s on the Green in Seabury’s Director Jake Street is also Norwalk, where Seabury is in residence. the Director of Music at St. Paul’s on the Green. Jake is a Fulbright Scholar and a The Chorister program is open to all graduate of Holy Cross College, Oberlin children from second to twelfth grade, Conservatory, and Yale University. You can regardless of religious belief, musical catch him on stage on the first half of the ability, or financial status. The Choristers program playing harpsichord for Messiah. work with Director Jake Street in learning

36 Norwalk Symphony Orchestra norwalksymphony.org 37 The Norwalk Orchestra Plays A Symphony of Thanks to our Volunteers!

Mary Petro Noonan— Volunteer Committee Chairperson

We appreciate all the help we receive through-out the Season

Virginia Auster Thomas Ebersold Ted & Marilyn Fecenko Marge Hickey Gloria Lau Barbara Millar Arlene Rosenthal Kristine Saccone Joan Weinstein Beverly Whiddon Austin Xie

Come Join Us! Interested in becoming a volunteer with the Norwalk Symphony? Call us at 203.956.6771 or email: [email protected]

38 Norwalk Symphony Orchestra norwalksymphony.org 39 40 Norwalk Symphony Orchestra