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Also available: AMERICAN CLASSICS

1 Tarrant Moss (Text: Rudyard Kipling) (1902) 0:34 ^ Vote for Names! Names! Names! (Ives) (1912) 0:53 Ryan MacPherson, Tenor • Douglas Dickson, Piano Ryan MacPherson, Tenor • Douglas Dickson, Also available: 2 There is a Certain Garden (Anon.) (1897) 1:48 Laura Garritson, Eric Trudel, Pianos Tamara Mumford, Mezzo-soprano & The Waiting Soul (John Newton) (1908) 2:38 Douglas Dickson, Piano Tamara Mumford, Mezzo-soprano 3 There is a Lane (Ives) (1902) 1:11 Douglas Dickson, Piano Kenneth Tarver, Tenor • Douglas Dickson, Piano * Walking (Ives) (1900) 2:44 4 They are There! (Ives) (1942) 2:49 Michael Cavalieri, Baritone • Douglas Dickson, Piano Sara Jakubiak, Lielle Berman, Amanda Ingram, Rebecca ( Walt Whitman (Walt Whitman) (1921) 1:02 Ringle, Michael Cavalieri, Daniel Bircher, Diego Ryan MacPherson, Tenor • Eric Trudel, Piano Matamoros, Unison voices • Douglas Dickson, Piano ) Waltz (Michael Nolan / Ives) (1894) 1:32 5 The Things our Fathers Loved (Ives) (1917) 1:33 Patrick Carfizzi, Baritone • J. J. Penna, Piano David Pittsinger, Bass • Eric Trudel, Piano ¡ Watchman! (John Bowring) (1913) 1:54 6 Thoreau (Henry David Thoreau) (1915) 2:25 Mary Phillips, Mezzo-soprano • J. J. Penna, Piano Robert Gardner, Baritone • J. J. Penna, Piano ™ Weil’ auf Mir (Nikolas Lenau) (1902) 1:43 7 Those Evening Bells (Thomas Moore) (1907) 1:37 Robert Gardner, Baritone • J. J. Penna, Piano Patrick Carfizzi, Baritone • Eric Trudel, Piano £ West London (Matthew Arnold) (1921) 3:10 8 Through Night and Day Robert Gardner, Baritone • J. J. Penna, Piano (Ives / J.S.B. Monsell) (1897) 2:30 ¢ When Stars are in the Quiet Skies Leah Wool, Mezzo-soprano • Douglas Dickson, Piano (Edward Bulwer-Lytton) (1898) 3:03 9 To Edith (Harmony Twitchell Ives) (1919) 1:33 Kenneth Tarver, Tenor • Laura Garritson, Piano Mary Phillips, Mezzo-soprano • J. J. Penna, Piano ∞ Where the Eagle Cannot See 0 Tolerance (Rudyard Kipling) (1913) 0:57 (Monica Peveril Turnbull) (1906) 2:00 8.559270 Ryan MacPherson, Tenor • Eric Trudel, Piano Jennifer Casey Cabot, Soprano • Eric Trudel, Piano ! Tom Sails Away (Ives) (1917) 2:43 § The White Gulls Patrick Carfizzi, Baritone • J. J. Penna, Piano (Anon., trans. Maurice Morris) (1921) 2:50 @ Ein Ton (Peter Cornelius) (1900) 1:25 Mary Phillips, Mezzo-soprano • J. J. Penna, Piano Sumi Kittelberger, Soprano • Eric Trudel, Piano ¶ Widmung # Two Little Flowers (Wolfgang Müller von Königswinter) (1899) 2:11 (Harmony Twitchell Ives) (1921) 1:30 Sumi Kittelberger, Soprano • Eric Trudel, Piano Michael Cavalieri, Baritone • Douglas Dickson, Piano • Wie Melodien Zieht es Mir $ Two Slants (Christian and Pagan): (Klaus Groth) (1899) 2:56 a. Duty (Ralph Waldo Emerson) (1921) 0:57 Kenneth Tarver, Tenor • Eric Trudel, Piano Matthew Plenk, Tenor • Eric Trudel, Piano ª Wiegenlied (Georg Scherer) (1906) 2:28 8.559271 % Two Slants (Christian and Pagan): Mary Phillips, Mezzo-soprano • Douglas Dickson, Piano b. Vita (Marcus Manilius) (1921) 0:51 º William Will (Susan Benedict Hill) (1896) 4:06 Matthew Plenk, Tenor • Eric Trudel, Piano Patrick Carfizzi, Baritone • Douglas Dickson, Piano 8.559274 215 8.559274 559274 bk Ives US 9/15/08 1:31 PM Page 14

⁄ The World’s Highway ‹ Yellow Leaves (Henry Bellamann) (1923) 1:28 Also available: (Harmony Twitchell Ives) (1906) 2:52 Mary Phillips, Mezzo-soprano • Douglas Dickson, Piano Jennifer Casey Cabot, Soprano • Eric Trudel, Piano ¤ The World’s Wanderers (Percy Bysshe Shelley) (1898) 1:53 Tamara Mumford, Mezzo-soprano Douglas Dickson, Piano

Recorded in Sprague Hall, Yale University, New Haven, USA, from May to June, 2005 Producer: Andrew Lang (K&A Productions Ltd.) • Engineer: Eugene Kimball • Editor: Peter Newble Publishers: Merion Music Inc. (tracks 6, 8, 10-15, 19, 23, 24, 26); Peer International Corporation (tracks 1, 3-5, 7, 9, 16, 17, 20-22, 27-29, 31, 32); Associated Music Publishers Inc. (tracks 2, 18, 25, 30, 33)

Charles Ives (1874-1954) Songs • 6 When, in 1922, Charles Ives published a volume Although it would be possible to collate Ives’s entitled 114 Songs, he was indirectly drawing attention songs according to type, the alphabetic approach to the fact that the genre had played a central part in his adopted by this edition ensures each volume (of which output. 85 years on and, for all that his wider reputation this is the sixth and last) contains a representative cross- may now rest on his orchestral, chamber and piano section of his achievement. A wide range of poets is set music, songs represent the heart of his creative thinking. (Ives could be highly interventionist when it suited his Nor was that initial volume comprehensive; Ives having purpose), including (mainly early) German settings as written almost 200 songs, of which this present edition well as forays into French and Italian writers. Moreover, includes all those he completed. The expressive variety the temporal distance (1887-1926) traversed by the encountered is accordingly vast: indeed, the gradual songs is as little compared to their stylistic diversity or evolution of Ives’s songwriting, from those drawing their emotional range. overtly on the Austro-German Lieder and English The extent to which Ives reworked songs parlour-song traditions to ones that evince anarchic throughout his career is considerable, whether 8.559269 humour as keenly as others do a profound vision, is substituting a text or reworking the actual music. To this analogous to the evolution of American music over the end, songs with a musical or textual connection are last quarter of the nineteenth and the first quarter of the crosslinked accordingly (i.e. in brackets at the end of the twentieth centuries. relevant paragraph).

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The setting of Rudyard Kipling’s Tarrant Moss daughter which inspired the composer to essay one of Eric Trudel (1902) uses just two verses, treated in a peremptory the simplest and most tender of his later songs. fashion as if to suggest that the text was merely the A further setting of Rudyard Kipling, Tolerance A native of Quebec, Canada, Eric Trudel graduated from the Quebec Conservatory of nearest one to hand (see also Volume 5, track 27, Naxos (1913) affirms Ives’s life-long belief in the mutual Music with the highest honours. He won the prestigious Prix d’Europe competition, 8.559273). interdependence of men with a rhetorical force that is all which enabled him to study privately with pianists Garrick Ohlsson, Jean-Claude Set to an anonymous text, There is a Certain the greater owing to the song’s sheer brevity. Pennetier, Marc Durand and Louis Lortie. He has worked as a pianist at the Banff Center Garden (1897) has a tripping and irregular piano part The First World War occasioned Tom Sails Away Festival for the Arts, L’Opéra de Montréal, Connecticut Grand Opera, Les Grands Ballets against which the vocal line unfolds a little awkwardly, (1917), an evocation of family parting set to Ives’s own Canadiens, the OK MOZART Festival and the Pro Arte Singers. His faculty though the charm of the song is undoubted. words that ranks among the most potent and finely appointments include the Banff Centre for the Performing Arts, the Conservatoire de A revision of an earlier German song, now to Ives’s realised of his ‘childhood recollection’ songs. Musique du Québec in Trois-Rivières, Montreal Opera’s Atelier Lyrique, the Université own text, There is a Lane (1902) is a brief but winsome Although he had used this music elsewhere, Ives’s du Québec-Montréal and formerly Yale University’s School of Music (2001-2005). On setting; the fond nostalgia of its vocal line underscored setting of Peter Cornelius’s Ein Ton (1900) is the most CD he can be heard on the CBC and Star labels. by the piano (see also below, track 27). fitting guise for its bitter-sweet sentiments (see also A late addition to his song canon, They are There! Volume 3, track 9, Naxos 8.559271, and Volume 4, (1942) was Ives’s contribution to the American war track 18, Naxos 8.559272). effort; setting his own (updated) text with a conviction Setting verse by the composer’s wife, Harmony aptly summed up by the subtitle ‘Fighting for the Twitchell Ives, Two Little Flowers (1921) is inscribed to People’s New Free World’. It can be performed (as the children named at the close and its wistful aura is Leah Wool here) by unison voices, and with a lively ad lib made more so by the piano’s gentle discords. instrumental part. Ives left a memorable, breathlessly A typically thoughtful dualism from his later years, Mezzo-soprano Leah Wool is rapidly garnering critical acclaim on stages across the enthusiastic recording (see also Volume 3, track 2, Two Slants (1921) finds Ives drawing a pointed contrast United States. In addition to engagements with the Metropolitan Opera and New York Naxos 8.559271). between the lofty ‘Christian’ sentiment expressed by City Opera, her career highlights include the title rôle in Cendrillon at Central City Opera, Written during the previous world war, The Things Ralph Waldo Emerson in Duty with the introspective Hansel in Hansel and Gretel at Opera Theatre of Saint Louis, Erika in Vanessa at Central our Fathers Loved (1917) sets Ives’s own text with a ‘Pagan’ musing (and set here to the original Latin) as City Opera, Stéphano in Roméo et Juliette at Toledo Opera, Hermia in A Midsummer fervency which threatens to break through the ascribed to Marcus Manilius in Vita. Night’s Dream at Utah Opera, and Cherubino in Le nozze di Figaro at Yale Opera. expressive bounds of the song during its later stages. One of Ives’s most visceral songs, Vote for Names! Concert appearances have included Handel’s Messiah in her Carnegie Hall début, and Following an evocative spoken preface, Thoreau Names! Names! (1912) vents dismay over Haydn’s Theresienmesse with the New Jersey Symphony. (1915) sets lines by philosopher Henry David Thoreau electioneering: as an editorial aside explains, “The with a contemplative rapture that reflects its proximity [three] pianos represent three political candidates, each to the finale of the ‘Concord’ Piano Sonata (Naxos uttering his own ‘hot air slogan’; the singer represents 8.559127). the disillusioned voter”. To verse by Thomas Moore, Those Evening Bells For John Newton’s worthy if over-wrought poem of (1907) is another of Ives’s songs of recollection, here aspiration, The Waiting Soul (1908), Ives revisited with a piano part whose delicacy sets the vocal line into earlier material in a song whose nobility is weighed expressive relief (see also Volume 5, track 20, Naxos down by too earnest a treatment of the text’s sentiments 8.559273). (see also Volume 2, track 8, Naxos 8.559270, and Set to Ives’s own words (based on those by J. S. B. Volume 5, track 35, Naxos 8.559273). Monsell), Through Night and Day (1897) is a fervent A ‘dramatic scena’ in miniature, Walking (1900) love song whose venturesome piano writing does rather sets Ives’s text as to the goings-on that the walker tend to get the better of the vocal line. overhears but leaves behind as he continues forthrightly With its lines by Harmony Twitchell Ives, To Edith on his journey - the ‘walk of life’, perhaps? (1919) is a warm evocation of the Ives’s adopted Setting lines by the poet in question, Walt Whitman

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Matthew Plenk (1921) vividly matches the offhand nature of the words With a text by Wolfgang Müller von Königswinter, with music whose rapid changes of mood seem to have Widmung (1898) is notable less for the restrained The tenor Matthew Plenk made his Metropolitan Opera début in the 2007-2008 season, under been improvised there and then. ardency of its vocal line than for the caressing charm of the baton of James Levine, as the Voice of the Young Sailor in Tristan und Isolde. In the same In the manner of a parlour song from the period, its piano part (see also above, track 3). season he joined the Lindemann Young Artist Development Program at The Met. With Yale Waltz (1894) sets lines by Michael Nolan (likely A setting of Klaus Groth, Wie Melodien zieht es mir Opera he has performed Rodolfo, La Bohème, Ferrando in Così fan tutte, Flute in A assisted by the composer) that recount a local wedding (1899) is among Ives’s most alluring German songs, Midsummer Night’s Dream, Nanki-poo in The Mikado, the Italian tenor in Capriccio, and in dryly humorous and ever so slightly ironic terms. rendering the poem’s expressive warmth in music of Kudrjàs in Janàãek’s Kat’a Kabanova. While earning his Bachelor of Music at the Hartt To verse by John Bowring, Watchman! (1913) truly lyrical poise (see also Volume 2, track 10, Naxos School of Music, he was featured in Don Giovanni, as Don Ottavio. Other rôles include frames with a cascading prelude and questioning 8.559270). Roméo in Roméo et Juliette, Nemorino in L’elisir d’amore, Frederic in The Pirates of postlude the hymn-like setting that Ives was soon to Hardly less appealing, Wiegenlied (1906) sets Penzance, and Sam in Susannah. His concert career has brought performances with the incorporate into the first movement of his Fourth verses from the folk anthology Das knaben Wunderhorn Orchestra Sinfonica di Milano Giuseppe Verdi, Hartford Symphony, Hudson Valley Symphony. and by Georg Scherer in a song whose serenity is at one Philharmonic, Los Angeles based Musica Angelica Baroque, Connecticut Chamber Orchestra, One of several songs Ives set to its original text and with its title (see also Volume 1, track 16, Naxos Intermezzo Opera, and Bel Canto Northwest. With Sir Neville Marriner conducting, he has also in translation, Weil’ auf Mir (1902) has a serenely 8.559269). also performed with Yale Philharmonia. He was a National Finalist in the Metropolitan Opera Guild Competition. flowing demeanour that reinforces Nikolas Lenau’s Subtitled ‘A Republican Campaign Song’, William expressive sentiments (see also Volume 2, track 11, Will (1896) sets Susan Benedict Hill’s eulogy to Rebecca Ringle Naxos 8.559270). William McKinley with no mean panache, its four A setting of Matthew Arnold’s famous sonnet, West verses marked off by a hectic ‘Interlude or Dance’ for The mezzo-soprano Rebecca Ringle’s operatic appearances include Lola (Cavalleria London (1921) intensifies the poet’s vision of an piano. rusticana) and Suzuki (Madama Butterfly) with New York City Opera, Rossweise in Die aspiring human community with a powerfully-wrought A setting of Harmony Twitchell (Mrs Ives), The Walküre with Washington National Opera, Tebaldo in Don Carlo with the Cleveland eloquence that is edged-round with tenderness. World’s Highway (1906) tells of experience gained and Orchestra under Franz Welser-Möst, and Dorabella (Così fan tutte) with Yale Opera. In Setting (Lord) Edward Bulwer-Lytton’s When Stars comfort then sought in rather flowery verse to which the concert she has sung Mozart’s Coronation Mass under Sir Neville Marriner, Piazzolla’s are in the Quiet Skies, Ives drew on earlier music which composer responds with suitably emotive music. Songe d’une nuit d’été, and Purcell’s The Fairy Queen with the Sinfonica di Milano captures the poem’s lovelorn sentiments (see also Turning to Percy Bysshe Shelley, Ives’s take on The Giuseppe Verdi, De Falla’s Siete Canciones at Carnegie Hall, and Mahler’s Lieder eines Volume 1, track 28, Naxos 8.559269, and Volume 2, World’s Wanderers (1898) is a limpid setting where fahrenden Gesellen with Orchestra New England. An active chamber musician, she has track 6, Naxos 8.559270). questions asked of star and moon are answered by the performed works by Britten, Janáãek and Ravel with the Marlboro Music Festival. Taking a short poem by Monica Peveril Turnbull, piano’s closing phrase (see also Volume 2, track 26, Ives makes of Where the Eagle Cannot See (1906) a Naxos 8.559270). Kenneth Tarver song whose content yields much despite (or perhaps To lines by Henry Bellamann, Yellow Leaves (1923) because of) its relative simplicity of manner. evokes the poem’s autumnal imagery through a Kenneth Tarver enjoys a career in the most important international opera theatres and Using an anonymous text (translated by Maurice capricious vocal line as well as tonally ambiguous piano festivals. He has sung at the Vienna State Opera, Deutsche Oper Berlin, the Berlin, Morris), The White Gulls (1921) is another of Ives’s writing that say so much though stating so little. Hamburg and Bavarian State Operas, Semperoper Dresden, Royal Opera Covent Garden, reflections on the divine presence within nature; in the Liceu in Barcelona, the Metropolitan Opera, Naples Teatro San Carlo, and at the music by turns rarified, supplicatory and resigned. Richard Whitehouse Festivals of Aix-en-Provence and Edinburgh. His repertoire encompasses rôles by Mozart, Rossini, Donizetti, Gluck, Verdi and Berlioz as well as repertoire by Bach, Beethoven, Debussy, Shchedrin and Stravinsky. Appearances include Rossini’s La donna del lago at the Edinburgh Festival and as Don Ottavio in Don Giovanni directed by René Jacobs in Brussels, Cologne and Paris, a rôle which he also performed at the Aix-en- Provence Festival with both Claudio Abbado and Daniel Harding. Other performances range from Mozart’s Così fan tutte and Die Entführung aus dem Serail, and Berlioz’s Les Troyens and Béatrice et Bénédict, to Shostakovich’s The Nose with Mstislav Rostropovich, and Verdi’s Falstaff with Zubin Mehta and Bernard Haitink. 8.559274 12 5 8.559274 559274 bk Ives US 9/15/08 1:31 PM Page 6

Lielle Berman J.J. Penna

American soprano Lielle Berman’s rôles include Cunégonde in Candide with the J.J. Penna has performed in recital with such notable singers as Kathleen Battle, Harolyn New York City Opera, Tytania in Britten’s A Midsummer Night’s Dream and Blackwell, David Daniels, Denyce Graves, Kevin McMillan, Florence Quivar, Andreas Cunegonde with the Orchestra Sinfonica di Milano Giuseppe Verdi, Lauretta in Scholl, Sharon Sweet, Christopher Trakas, Indra Thomas and Ying Huang. He has been heard Gianni Schicchi with Yale Opera, Despina in Così fan tutte with Indianapolis Opera, at the Kennedy Center in Washington, D.C., at Weil Hall and Merkin Recital Hall in New the Second Niece in Peter Grimes with the Opéra National de Paris, Lucia in Lucia di York City, at the Palacio de Bellas Artes in Mexico City, in Seiji Ozawa Hall at Tanglewood, Lammermoor, Sophie in Werther and Tatyana in Eugene Onegin with the Pittsburgh as well as on concert tours throughout the United States, Europe, Asia, the Far East, South Opera Center. As a member of the Lyric Opera Center at the Lyric Opera of Chicago America, and the former Soviet Union. He has performed and held fellowships at prestigious she performed and covered numerous rôles, including Nannetta in Falstaff, Adèle in festivals such as Tanglewood, Chautauqua Institution, Banff Center for the Arts, Norfolk, the Die Fledermaus, Frasquita in Carmen, Daisy Buchanan in The Great Gatsby, and the Music Academy of the West, and San Francisco Opera Center’s Merola Program, and has Queen of the Night in Die Zauberflöte. She has appeared with the Chicago Symphony been on the faculties of the Juilliard School, Norfolk Chamber Music Festival, Yale University Orchestra, the Festival de Musique de St Barth, the Colorado Symphony Orchestra, Photograph: Lisa Kohler School of Music and Westminster Choir College of Rider University. and the New Haven Symphony Orchestra, among others. Lielle Berman was a 2006 semi-finalist in the Metropolitan Opera National Council Auditions, and received her Mary Phillips Master of Music degree at Yale University School of Music in May 2005. American mezzo Mary Phillips’s opera appearances include the Metropolitan Opera, Canadian Opera, Barcelona and Edinburgh in rôles of Wagner, Strauss, Handel, Mozart, Daniel Trevor Bircher Verdi, Bizet and Heggie. Her concert appearances with the New York, Los Angeles, and Hong Kong philharmonic and symphony orchestras in Atlanta, Dallas, Honolulu, Houston, Daniel Trevor Bircher’s rôles with Yale Opera include Marcello in La Bohème, Guglielmo in Indianapolis, Phoenix, and Pittsburgh have included repertoire by Glass, Mahler, Così fan tutte, and Demetrius and Starling in A Midsummer Night’s Dream. While at Yale he Szymanowski, Prokofiev, Bruckner, de Falla and Tchaikovsky. She has appeared in recital at also appeared with the Orchestra Sinfonica di Milano Giuseppe Verdi in such rôles as John Carnegie Hall, the Marilyn Horne Foundation and New York Festival of Song. Styx in Orphèe aux enfers, Danilo in Die lustige Witwe, Siméon in L’enfant prodigue, Le Directeur in Les mamelles de Tirésias, and Marco in Gianni Schicchi. He received his Master David Pittsinger of Music degree from the Yale School of Music in 2006. American bass David Pittsinger is renowned as a stage performer of the greatest distinction, appearing in the world’s major opera houses. His Escamillo has been heard at festivals in Montpellier, Santa Fe and Denver. He has received Artist of the Year awards for his portrayals of Boito’s Mefistofele, Méphistophélès in Gounod’s Faust at the Pittsburgh Opera, and for Zoroastro in Handel’s Orlando, and Figaro in Mozart’s The Marriage of Figaro for New York City Opera. He has also sung Count Almaviva for L.A. Opera under the Direction of Kent Nagano, and Count Des Grieux in Manon conducted by Placido Domingo. He has performed at the festivals of Salzburg, Dresden, Macerata, Tanglewood, and Santa Fe, and his other notable orchestral engagements have included Frank Martin’s Golgotha with the Vienna Philharmonic,

Photograph: Christian Steiner Verdi’s Requiem with Zubin Mehta and the L.A. Philharmonic, and staged performances with the English National Opera. He has sung at the Metropolitan Opera, and can be heard on the Virgin Classics recording of Carlyle Floyd’s Susannah, and Cavalli’s La Calisto on the Harmonia Mundi label.

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Ryan MacPherson Patrick Carfizzi

Ryan MacPherson has toured the United States twice with San Francisco Opera, and American bass-baritone Patrick Carfizzi is a regular performer with the Metropolitan completed a lengthy tour of Japan with the New York City Opera. Some of the tenor’s Opera. He recently sang Schaunard in La Bohème, Masetto in Don Giovanni, Haly in venues have included the Kennedy Center, New York City Opera, Opéra National de Paris L’Italiana in Algeri, Peter Quince in A Midsummer Night’s Dream and Antonio in Le – Bastille, Opéra de Nice, Central City Opera, Opera Theatre of St Louis, Opera Memphis, nozze di Figaro. Other engagements include Papageno in Die Zauberflöte and Don Opera Omaha, Toledo Opera, Long Beach Opera, Western Opera Theatre and Dublin Magnifico in La Cenerentola with Houston Grand Opera, Leporello in Don Giovanni Ireland’s National Concert Hall. He has performed at numerous summer festivals, including with Minnesota Opera, Figaro in Le nozze di Figaro with Michigan Opera Theatre, San Francisco Opera’s Merola Program, Santa Fe Opera’s Apprentice Program for Singers Bartolo in Il barbiere di Siviglia with the Canadian Opera Company and Opera Theatre and the Aspen Music Festival. Performance highlights include: Faust (Faust), Rodolfo (La of St Louis, Pandolfe in Cendrillon with Central City Opera and Frank in Die Bohème), Ferrando (Così fan tutte), Don Ottavio (Don Giovanni), Rinuccio (Gianni Fledermaus with Seattle Opera. Additional credits in North America include Schicchi), Eisenstein and Alfred (Die Fledermaus), Fenton (Falstaff), Vodemon (Iolanta), Sam (Susannah) engagements with the Seattle Symphony, San Francisco Symphony and the Tanglewood Flamand (Capriccio), Laurie (Little Women), Henry (Die schweigsame Frau), Anatol (Vanessa), Ruggero (La Festival. A graduate of the Yale University School of Music, Patrick Carfizzi is the winner of seven prestigious rondine) and many others. He received his Master of Music and Artist Diploma from Yale University and his awards, most recently the 2002 Richard Tucker Career Grant Award and the 2001 George London Award. Bachelor’s Degree from the University of Missouri-Columbia. Diego Matamoros Jennifer Casey Cabot

The baritone Diego Matamoros joined the roster of the Metropolitan Opera in 2007 to cover Photograph: Christian Steiner Soprano, Jennifer Casey Cabot’s career includes many of opera’s great heroines: Violetta, Marco in their new production of Gianni Schicchi. In 2008 he returned to make his début as Mimì, Manon, Susannah, Musetta, Donna Elvira, the Countess, Pamina and Konstanze with Potapitch in Prokofiev’s The Gambler under Valery Gergiev, and also to cover rôles in Macbeth, the following opera companies: Boston Lyric Opera, Washington Opera, New York City War and Peace, and Manon Lescaut. As winner of The Opera Foundation’s 2008 competition, he Opera, Calgary Opera, Florida Grand Opera and Central City Opera among others. She has will spend the 2009 season in residence at the Teatro Regio di Torino, where he will appear as appeared with the National Symphony under Leonard Slatkin, in the Athens Concert Hall Schaunard in La Bohème, among many other rôles. He was also recently a featured artist on the with Sir Neville Marriner and with the New York Philharmonic with Alan Gilbert. Her PBS Sunday Arts “Young Opera” series. While a student at Yale Opera he performed numerous concert career has included Strauss’ Four Last Songs, Villa Lobos’ Bachianas Brazileiras rôles, including Demetrius in A Midsummer Night’s Dream, Guglielmo in Così fan tutte, and No. 5, Mahler’s Fourth and Eighth Symphonies, Mozart’s Exsultate Jubilate and Mass in C Smirnoff in Walton’s The Bear. Minor, Handel’s Messiah, and Beethoven’s Ninth. In the 2007-2008 season she joined the Metropolitan Opera for Mozart’s Le nozze di Figaro and La traviata and returned to the Tamara Mumford National Symphony for Handel’s Messiah. She was a resident soloist with the Deutsche Oper Berlin and the Staatstheater Braunschweig. A New York native, she holds a BA and a The mezzo-soprano Tamara Mumford made her Metropolitan Opera début in 2006 as Laura BM from Oberlin College and an MM from the Yale School of Music. in Luisa Miller. Other opera performances include the title rôles in The Rape of Lucretia under the baton of Lorin Maazel, L’Italiana in Algeri at Palm Beach Opera, La Cenerentola at Utah Festival Opera, Principessa in Suor Angelica and Ciesca in Gianni Schicchi with the Michael Cavalieri Orchestra Sinfonica di Milano Giuseppe Verdi, and appearances in War and Peace, Manon Lescaut, Cavalleria rusticana, Idomeneo, and The Magic Flute, at the Metropolitan Opera. In Michael Cavalieri has sung a versatile range of styles and repertoire ranging from Mozart to concert she has appeared in major venues, making her Carnegie Hall début in 2005. A native Gounod, Gershwin and Argento. He has sung with Arizona Opera, Yale Opera, Santa Fe Opera, of Sandy, Utah, Tamara Mumford studied at Utah State and at Yale before joining the the Orchestra Sinfonica di Milano Giuseppe Verdi, and the Chicago Symphony Orchestra. Lindemann Young Artist Development Program at the Metropolitan Opera. She has received top awards in the Opera Index, Palm Beach Opera, Sullivan Foundation, Connecticut Opera Guild and Joyce Dutka Foundation Competitions.

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Douglas Dickson Amanda Ingram

The pianist Douglas Dickson received his B.A. degree from Princeton University and his M.M.A. Mezzo-soprano Amanda Ingram made her professional début in 2005 as Marcellina in Le from the Yale School of Music. He has performed in the United States, Europe, Asia, and South nozze di Figaro with Chicago Opera Theater. Soon after, she joined Chautauqua Opera as an America, in venues ranging from Japan’s Expo Hall to the Cincinnati Coliseum. While still in apprentice, singing the rôles of Alisa in Lucia di Lammermoor and Ethel Toffelmier in The college he was the accompanist for the American Boychoir. As part of Duodecaphonia, a prize- Music Man. In the 2005-06 season she made her début with Sarasota Opera singing winning piano duo, he has performed at the Kennedy Center and elsewhere. Douglas Dickson has Marcellina in Le nozze di Figaro. She also performed Zita in Gianni Schicchi and the Abbess been music director for productions at Quinnipiac University, the Yale School of Drama, Opera in Suor Angelica with the Sinfonica di Milano Giuseppe Verdi. During the 2006-07 season, Theater of Connecticut, and Connecticut Experimental Theater. He was music director and Amanda Ingram joined Central City Opera as an apprentice, covering Madame de la Haltière conductor for Yale Opera’s production of Britten’s The Rape of Lucretia, and he conducted a in Cendrillon as well as Assunta in The Saint of Bleecker Street. In January she made her concert featuring Yale Opera with the Orchestra Sinfonica di Milano Giuseppe Verdi. He has début with Dayton Opera, singing the rôle of Buttercup in HMS Pinafore. She then made her served for fourteen years on the faculty of Quinnipiac University, and joined the Yale faculty in main stage début with Virginia Opera as Kate in The Pirates of Penzance and Alisa in Lucia 1998. He recently made his Carnegie début in an all Ives concert at Weill Recital Hall. di Lammermoor. Amanda Ingram received a Master of Music and Artist Diploma from Yale School of Music and a Bachelor of Music from the University of Tennessee. Robert Gardner Sara Jakubiak The baritone Robert Gardner has appeared with numerous opera houses and orchestras in the Photograph: Eric Mull United States, Europe, and Asia, including New York City Opera, Washington National The young American soprano Sara Jakubiak has performed the rôle of Giorgetta in Il Opera, Bavarian National Opera, Santa Fe Opera, Aspen Music Festival, Spoleto Festival, the tabarro and appeared in Purcell’s Fairy Queen with the Orchestra Sinfonica Giuseppe Munich Philharmonic, and the major orchestras in Pittsburgh, Dallas, Denver, San Diego, Verdi di Milano, Italy, as well as both the Countess in Le nozze di Figaro and Blanche in Santa Rosa, New Haven, and Kansas City. His recent opera débuts include Marcello in La Dialogues des Carmélites with the Cleveland Institute. As a studio artist at Central City Bohème, Sharpless in Madama Butterfly, Zurga in The Pearl Fishers, and Robert Storch in Opera she appeared in a program of opera scenes as the title rôle in Floyd’s Susannah and Intermezzo. His recent concert performances include Ein deutches Requiem with the Dallas Elettra in Idomeneo and performed the rôle of Musetta in concert excerpts with Paul Nadler Symphony Orchestra, and Mendelssohn’s Elijah. Robert Gardner has been named the 2007 and the Southwest Florida Symphony. Her concert performance credits include appearing winner of the Lili Boulanger Memorial Award by the foundation started in 1936 by Nadia as soloist in Britten’s War Requiem, Mahler’s Symphony No. 2, and Penderecki’s Credo Boulanger. He is the third singer to win the award in its prestigious history. A 2001 Pro conducted by the composer with the Yale Philharmonic, as well as Beethoven’s Mass in C Musicis International Award winner, he is also the winner of the 1999 William Matheus Sullivan Foundation at the Beethoven Festival in Warsaw and Messiaen’s Poèmes pour Mi in recital at Yale. Award, the 2000 Gerda Lissner Award, and the 2000 Denver Lyric Opera Guild Competition. He trained at Yale Opera of the Yale University School of Music and participated in young artist programmes with Santa Fe Opera, the Sumi Kittelberger Bavarian National Opera in Munich, and the Steans Institute for Young Artists at Ravinia in Chicago. Sumi Kittelberger studied voice with Roland Hermann in Karlsruhe and with Doris Yarick Laura Garritson Cross at Yale University. In 2006 she became a member of the International Opera Studio in Zürich. In the 2007/08 season she joined the ensemble of the Luzern Theater, singing Laura Garritson is pursuing a Doctor of Musical Arts degree in piano performance at The Hartt Olympia in Les contes d’Hoffmann and Nanetta in Falstaff. She has sung with the School at University of Hartford, where she is an assistant to internationally-renowned pianist, Luiz de Kammeroper in Frankfurt am Main as well as with the Theater in Ulm. In 2006 she sang the Moura Castro. She has made solo and concerto appearances in over ten countries. In the United States child in L’enfant et les sortilèges and Lauretta in Gianni Schicchi as well as she has performed in venues such as Weill Recital Hall at Carnegie Hall in New York and The Merlina/Silberklang in the Italian première of Le disavventure teatrali with the Orchestra Sheldon in St Louis. Abroad she has been a featured soloist in the Liszt Festival in Brazil and the Sinfonica di Milano Giuseppe Verdi. In concert she has appeared with the Musica Angelica International Arts Festival in Venezuela, as well as festivals throughout Europe. A prizewinner in Baroque Orchestra at the Schwetzingen Festival and in Carnegie Hall. many competitions, she has won the Emerson String Quartet Competition at The Hartt School and the Artist Presentation Society Competition in St Louis, among others. She holds Bachelor and Master of Music degrees from The Hartt School and an Artist Diploma from Yale University. Her major teachers include Luiz de Moura Castro, Boris Berman, the late Jane Allen, and Laura Schindler. 8.559274 89 8.559274 559274 bk Ives US 9/15/08 1:31 PM Page 8

Douglas Dickson Amanda Ingram

Ryan MacPherson Patrick Carfizzi

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Lielle Berman J.J. Penna

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Also available: AMERICAN CLASSICS

Charles IVES Songs • 6 Tarrant Moss They are There! 8.559272 8.559273 Thoreau To Edith Walt Whitman Get this free download from Classicsonline! Macdowell: 3 Songs, Op. 60, No. 2: Fair Springtide West London Copy this Promotion Code Nax4tdaQpDvH and go to http://www.classicsonline.com/mpkey/macd7_main. Downloading Instructions 1 Log on to Classicsonline. If you do not have a Classicsonline account yet, please register at Yellow Leaves http://www.classicsonline.com/UserLogIn/SignUp.aspx. 2 Enter the Promotion Code mentioned above. 3 On the next screen, click on “Add to My Downloads”. Various Artists 8.559274 16 CMYK NAXOS Playing Charles Time: IVES 65:48 (1874-1954) Disc made in Canada. Printed and assembled USA. compact disc prohibited. Unauthorised public performance, broadcasting and copying of this All rights in this sound recording, artwork, texts and translations reserved. 8.559274 Songs • 6 AMERICAN CLASSICS 1 Tarrant Moss (1902) 0:34 Lielle Berman, Soprano 4 2 There is a Certain Garden (1897) 1:48 Daniel Trevor Bircher, Baritone 4 3 There is a Lane (1902) 1:11 4 They are There! (1942) 2:49 Patrick Carfizzi, Baritone 7 ! ) º 5 The Things our Fathers Loved (1917) 1:33 Jennifer Casey Cabot, Soprano ∞ ⁄ 6 Thoreau (1915) 2:25 Michael Cavalieri, Baritone 4 # * 7 Those Evening Bells (1907) 1:37 Robert Gardner, Baritone 6 ™ £ 8 Through Night and Day (1897) 2:30 Amanda Ingram, Mezzo-soprano 4 9 To Edith (1919) 1:33 & Sara Jakubiak, Soprano 4 0 Tolerance (1913) 0:57 @ ¶ IVES: ! Tom Sails Away (1917) 2:43 Sumi Kittelberger, Soprano 2008 Naxos Rights International Ltd. @ Ein Ton (1900) 1:25 Ryan MacPherson, Tenor 1 0 ^ ( # Two Little Flowers (1921) 1:30 Diego Matamoros, Baritone 4 $ Two Slants (Christian and Pagan): a. Duty (1921) 0:57 Tamara Mumford, Mezzo-soprano 2 & ¤ % Two Slants (Christian and Pagan): b. Vita (1921) 0:51 Mary Phillips, Mezzo-soprano 9 ¡ § ª ‹ Songs • 6 ^ Vote for Names! Names! Names! (1912) 0:53 David Pittsinger, Bass 5 & The Waiting Soul (1908) 2:38 Songs • 6 $ % * Walking (1900) 2:44 Matthew Plenk, Tenor ( Walt Whitman (1921) 1:02 Rebecca Ringle, Mezzo-soprano 4 ) Waltz (1894) 1:32 Kenneth Tarver, Tenor 3 ¢ • ¡ Watchman! (1913) 1:54 Leah Wool, Mezzo-soprano 8

IVES: ™ Weil’ auf Mir (1902) 1:43 £ West London (1921) 3:10 Douglas Dickson, Piano ¢ When Stars are in the Quiet Skies (1898) 3:03 1 2 3 4 8 # ^ & * ª º ¤ ‹ ∞ Where the Eagle Cannot See (1906) 2:00 Laura Garritson, Piano ^ ¢ § The White Gulls (1921) 2:50 J.J. Penna, Piano 6 9 ! ) ¡ ™ £ § ¶ Widmung (1899) 2:11 Eric Trudel, Piano • Wie Melodien Zieht es Mir (1899) 2:56 5 7 0 @ $ % ^ ( ∞ ¶ • ⁄ ª Wiegenlied (1906) 2:28 º William Will (1896) 4:06 Includes Free Downloadable Bonus Track ⁄ The World’s Highway (1906) 2:52 ¤ The World’s Wanderers (1898) 1:53 at www.classicsonline.com ‹ Yellow Leaves (1923) 1:28 Please see inside booklet for full details 8.559274 A detailed track list can be found on pages 2 and 3 www.naxos.com 8.559274 of the booklet • Available sung texts may be accessed at www.naxos.com/libretti/559274.htm Cover photograph: Fall Foliage Colours by George Burba (Dreamstime.com) NAXOS