THE STUART B. MINDLIN MEMORIAL CONCERTS

Friday, April 24, 7:30 pm Saturday, April 25, 7:30 pm Richardson Auditorium in Alexander Hall

PRINCETON UNIVERSITY ORCHESTRA Michael Pratt, conductor

PRINCETON UNIVERSITY GLEE CLUB Gabriel Crouch, director WILLIAM TREGO SINGERS Renata Dworak, director

GIUSEPPE VERDI Messa da Requiem I. Requiem—Kyrie II. Sequence: Dies irae III. Offertory IV. Sanctus V. Agnus Dei VI. Lux aeterna VII. Libera me

Tiffany Abban, Katherine Lerner, mezzo-soprano William Davenport, Wayne Tigges, bass- Stuart Mindlin was a Princeton businessman who was also a superb percussionist and timpanist. When I arrived here in 1977 he was a member of PUO’s percussion section, and indeed in those days, sometimes he WAS the percussion section. With his special gifts for friendship, he became close to many generations of students, and was a mentor for student percussionists. In the spring of 1988 Stu did not show up to a rehearsal. We learned that he had lost his life in a traffic accident, and the shock and grief was deep for PUO. The next year we established the first memorial concerts in his name. His family began raising an endowment for PUO in his name, and it is with pride and gratitude that we also dedicate these end-of-the-year concerts to his memory. —M.P. ABOUT TONIGHT’S PROGRAM Verdi’s string quartet represented a radical departure from composition in every respect— instrumental rather than vocal, chamber rather than symphonic. Verdi’s Requiem is interesting In the context of Verdi’s career, his Requiem occupies a unique chronological space, falling for how it operates in a more indeterminate middle ground. Indeed, what is striking about the within a sixteen-year period in which he composed no new —between the 1871 premiere work is how it is on the one hand clearly indebted to the operatic style that audiences had come of Aida and the debut of Otello in 1887. It is unclear what prompted this hiatus in opera to expect from him. At the same time, however, it has dimensions that are clearly distinctive. It composition at a time when he was at the height of his creative potential. On a practical level, is thus possible, somewhat paradoxically, to hear this work as both the greatest of his operas and the composer’s previous operas had been successful enough that writing new work was not an also utterly unique among his compositions. economic necessity. But others have pointed to a more existential explanation, that is, Verdi’s disenchantment with the emergence of Italy as a newly cosmopolitan international power and The similarities are perhaps most obvious in the virtuosic arias and ensembles for the four the changes that had accompanied it. soloists, which demand as much musical and dramatic energy as any of Verdi’s many iconic stage roles. But despite the fact that these soloists sing in the same manner as Verdi’s operatic Verdi first conceived of a large-scale setting of the requiem mass in 1869 to commemorate the figures, they are not characters in the same sense, changing their personae and identities across death of Rossini, whose operas had popularlized Italian music throughout Europe and indeed the various movements. In a similar manner, Verdi’s compositional sketches have revealed that the entire world. Had tonight’s piece been completed in the form in which was first proposed, one of the most beloved melodies of the Requiem, the “Lacrymosa” of the Dies Irae sequence, was it would be quite different in its musical content. Since Rossini belonged to the entire country, adapted from a duet originally drafted for the opera Don Carlo—a direct connection between his Verdi proposed a collective enterprise in which a cadre of Italian composers would each be main output. But at the same time, the Requiem includes many passages of music written in a responsible for writing one movement. Although all of the composers involved completed their style that is found nowhere else in Verdi’s output, most notably the several passages of a cappella music on time, and at their own expense—Verdi did not want commercial concerns tainting music written in the style of Palestrina. Although it is true that several Verdi operas have scenes the undertaking—the planned commemoration faced an array of institutional setbacks, and the set in church or other similar settings, it is only in the Requiem that we hear this specific kind of requiem for Rossini did not receive its first performance until over a century later, in 1988. church music. This ambiguity initially caused some consternation for audiences of theRequiem . The most famous denunciation came from German critic Hans von Bülow, who denounced the Verdi chose to revisit the requiem project around the time of the death another great Italian work an “opera in ecclesiastical robes.” He and other similar critics would subsequently eat their artist, the writer and political activist Alessandro Manzoni. After Manzoni’s death in May words, as they recognized the dignity and majesty of this music. 1873, Verdi secured an agreement from the city of Milan to cover the expenses of a premiere performance, with him undertaking the composition on his own and at his own expense. Thus James Steichen he returned to his one completed movement from the canceled Rossini project, the final “Libera me” section, and went about composing the remaining music, which premiered the following About Performing the Verdi Requiem from Students of MUS 217, year. “Orchestral Music: Analysis and Performance” Just before returning to the requiem project, Verdi composed one of his few instrumental pieces, Performing the Verdi Requiem requires constant focus. It also entails realizing and understanding a string quartet, which he withheld from publication for many years after its first performances. the paradoxes that shroud the piece. Even though the work is a requiem mass, and as such The quartet was greeted as a novelty and masterpiece—one review bore the enthusiastic headline, implies particular liturgical ceremonials, Verdi himself was a non-practicing Roman Catholic. “Un Quartetto…di Verdi!” The quartet did not inspire Verdi to undertake a new phrase of We have tried to imagine the work as both a work for the church and the concert hall, since instrumental composition, however, for he regarded his country’s devotion to vocal composition after the Requiem’s premiere in a Milan church subsequent performances were in concert halls or as a strength and not a weakness. It was not that Verdi did not think that Italian composers were theaters. We also have been mindful that Verdi composed his Requiem in memory of the Italian up to the task of instrumental composition, and his own quartet is evidence of this fact. Rather, Risorgimento poet and novelist Alessandro Manzoni. In the orchestra, we work to constantly Verdi believed that native artists and institutions should instead strive to cultivate what he adapt to the shifting balances of our parts vis-à-vis the soloists and chorus. In the chorus, we regarded as the more important practice of vocal composition in the tradition of Palestrina and strive to embody the meaning of the text so that we may convey the sense of spirituality that Rossini. Generally speaking, Italians should stick to the voice and leave instrumental music to Verdi intended. Every minute of rehearsal this semester has been vital and emotion-filled. the Germans. Culminating with our coming together on stage, our study and performance of the work has been a truly thrilling and unforgettable experience. 2 3 TEXTS AND TRANSLATIONS Mezzo-soprano and Chorus: Mezzo-soprano and Chorus: Liber scriptus proferetur, A written book will be brought forth, I. Requiem and Kyrie I. Requiem and Kyrie in quo totum continetur, which contains everything unde mundus judicetur. for which the world will be judged. Chorus: Chorus: Requiem aeternam dona eis, Domine; Grant them eternal rest, O Lord; Judex ergo cum sedebit, Therefore when the Judge takes His seat, et lux perpetua luceat eis. and may perpetual light shine upon them. quidquid latet apparebit: whatever is hidden will be revealed: nil inultum remanebit. nothing shall remain unavenged. Te decet hymnus, Deus, in Sion, A hymn in Zion befits you, O God, et tibi reddetur votum in Jerusalem. and a debt will be paid to you in Jerusalem. Dies irae, dies illa, The day of wrath, that day will solvet saeclum in favilla, dissolve the world in ashes, Exaudi orationem meam: Hear my prayer: teste David cum Sibylla. as David and the Sibyl prophesied. ad te omnis caro veniet. all earthly flesh will come to you. Soprano, Mezzo-soprano and Tenor: Soprano, Mezzo-soprano and Tenor: Quartet and Chorus: Quartet and Chorus: Quid sum miser tunc dicturus? What can a wretch like me say? Kyrie eleison. Lord, have mercy upon us. Quem patronum rogaturus, Whom shall I ask to intercede for me, Christe eleison. Christ, have mercy upon us. cum vix justus sit securus? when even the just ones are unsafe? Kyrie eleison. Lord, have mercy upon us. Solo Quartet and Chorus: Solo Quartet and Chorus: Rex tremendae majestatis, King of dreadful majesty. II. Sequence II. Sequence qui salvandos salvas gratis: who freely saves the redeemed ones, Chorus: Chorus: salva me, fons pietas. save me, O font of pity. Dies irae, dies illa, The day of wrath, that day will solvet saeclum in favilla, dissolve the world in ashes, Soprano and Mezzo-soprano: Soprano and Mezzo-soprano: teste David cum Sibylla. as David and the Sibyl prophesied. Recordare, Jesu pie, Recall, merciful Jesus, quod sum causa tuae viae: that I was the reason for your journey: Quantus tremor est futurus, How great will be the terror, ne me perdas illa die. do not destroy me on that day. quando judex est venturus, when the Judge comes cuncta stricte discussurus! who will smash everything completely! Quaerens me, sedisti lassus; In seeking me, you sat down wearily; redemisti crucem pacem: enduring the Cross, you redeemed me: Tuba mirum spargens sonum, The trumpet, scattering a marvelous sound tantus labor non sit causas. do not let these pains to have been in vain. per sepulcra regionem, through the tombs of every land, coget omnes ante thronum. will gather all before the throne. Juste judex ultionis: Just Judge of punishment: donum fac remissionis give me the gift of redemption Bass: Bass: ante diem rationis. before the day of reckoning. Mors stupebit et natura, Death and Nature shall stand amazed, cum resurget creatura, when all Creation rises again Tenor: Tenor: judicanti responsura. to answer to the Judge. Ingemisco tamquam reus, I groan as a guilty one, culpa rubet vultus meus; and my face blushes with guilt; supplicanti parce, Deus. spare the supplicant, O God. 4 5 Qui Mariam absolvisti, You, who absolved Mary Magdalen, III. Offertorio III. Offertorio and heard the prayer of the thief, et latronem exaudisti, Quartet: Quartet: have given me hope, as well. mihi quoque spem dedisti. Domine Jesu Christe, Rex gloriae: O Lord Jesus Christ, King of Glory: libera animas omnium fidelum deliver the souls of all the faithful My prayers are not worthy, Preces meae non sunt digne, defunctorum de poenis inferni dead from the pains of hell and from the but show mercy, O benevolent one, sed tu, bonus, fac benigne, et profondo lacu; libera eas de ore leonis; deep pit; deliver them from the mouth of the lion; lest I burn forever in fire. ne perenni cremer igne. ne absorbeat eas tartarus, that hell may not swallow them, and that they may ne cadant in obscurum. not fall into darkness. Inter oves locum praesta, Give me a place among the sheep, and separate me from the goats, et ab haedis me sequestra, Sed signifer sanctus Michael But may the holy standard-bearer Michael placing me on your right hand. statuens in parte dextra. repraesentet eas in lucem sanctam. show them the holy light; which you once promised Quam olim Abrahae promisisti et semini ejus. to Abraham and his descendents. Bass and Chorus: Bass and Chorus: When the damned are silenced, Confutatis maledictis, Hostias et preces tibi, Domine, laudis offerimus. We offer to you, O Lord, sacrifices and prayers. and given to the fierce flames, flammis acribus addictis, Tu suscipe pro animabus illis, quarum hodie Receive them on behalf of those souls whom we call me with the blessed ones. voca me cum benedictis. memoriam facimus. commemorate today. I pray, suppliant and kneeling, Oro supplex et acclinis, Fac eas, Domine, de morte transire ad vitam, Grant, O Lord, that they might pass from death into with a heart contrite as ashes: cor contritum quasi cinis: quam olim Abrahae promisisti et semini ejus. that life which you once promised to Abraham and take my ending into your care. gere curam mei finis. Libera animas omnium fidelum defunctorum de his descendents. Deliver the souls of all the faithful poenis inferni; dead from the pains of hell; Chorus: Chorus: fac eas de morte transire ad vitam. Grant that they might pass from death into that life. Dies irae, dies illa, The day of wrath, that day will solvet saeclum in favilla, dissolve the world in ashes, IV. Sanctus IV. Sanctus teste David cum Sibylla. as David and the Sibyl prophesied. Double Chorus: Double Chorus: Solo Quartet and Chorus: Solo Quartet and Chorus: Sanctus, sanctus, sanctus, Dominus Deus Sabaoth. Holy, holy, holy, Lord God of Sabaoth. Lacrymosa dies illa, That day is one of weeping, Pleni sunt coeli et terra gloria tua. Heaven and earth are filled with your glory. qua resurget ex favilla, on which shall rise from the ashes Hosanna in excelsis! Hosanna in the highest! judicandus homo reus. the guilty man, to be judged. Benedictus qui venit in nomini Domini. Blessed is he that comes in the name of the Lord. Huic ergo parce, Deus. Therefore, spare this one, O God. Hosanna in excelsis! Hosanna in the highest! Pie Jesu Domine: Merciful Lord Jesus: dona eis requiem. grant them peace. V. Agnus Dei V. Agnus Dei Amen. Amen. Soprano, Mezzo-soprano, and Chorus: Soprano, Mezzo-soprano, and Chorus: Agnus Dei, qui tollis peccata mundi, dona eis Lamb of God, who takes away the sins of the world, requiem. grant them rest. Agnus Dei, qui tollis peccata mundi, dona eis Lamb of God, who takes away the sins of the world, requiem sempiternam. grant them rest everlasting.

6 7 VI. Lux aeterna VI. Lux aeterna PRINCETON UNIVERSITY ORCHESTRA Mezzo-soprano, Tenor and Bass: Mezzo-soprano, Tenor and Bass: (*indicates principal player) Lux aeterna luceat eis, Domine, Let eternal light shine upon them, O Lord, ASSISTANT Devon Naftzger Alexia Kim cum sanctis tuis in aeternam; quia pius es. with your saints forever; for you are merciful. CONDUCTOR Brandon Lam Jamie Chong Requiem aeternam dona eis, Domine, et lux per- Grant them eternal rest, O Lord, and may perpetual JJ Warshaw Clara Wilson-Hawken petua luceat eis, light shine upon them Benjamin Parks OBOES cum sanctis tuis in aeternam; quia pius es. with your saints forever; for you are merciful. VIOLIN 1 Nathan Wong Alexa McCall* Caitlin Wood* (Fri) Lawrence Liu Ann-Elise Siden VII. Libera me VII. Libera me Stephanie Liu* (Sat) Isabelle Uhl Tiffany Huang Sophia Mockler Chia-Lo Lee Emily Chen Soprano and Chorus: Soprano and Chorus: Dawn Wang Derek Yeung Libera me, Domine, de morte aeterna in die illa Deliver me, O Lord, from eternal death on that Isabelle Nogues Meredith MacMahon CLARINETS tremenda; awful day, Billy Fang Matthew Du Paul Chang* (Fri) quando coeli movendi sunt et terra: when the heavens and the earth shall be moved: Aurelie Theramene George Liu* (Sat) dum veneris judicare saeclum per ignem. when you will come to judge the world by fire. Lisa Kojima CELLI Ryan Budnick (Fri) Emma Powell Spencer Shen* Fredrick Allen (Sat) Tremens factus sum ego et timeo, dum discussio I tremble, and I fear the judgment and the wrath Alina Spiegel Elliot Pearl-Sacks venerit atque ventura irae, quando coeli movendi to come, when the heavens and the earth shall be Demi Fang Eli Chang BASSOONS sunt et terra. moved. Samantha Cody Vivian Ludford Louisa Slosar* Kenneth Wong Preston Lim Noah Brown Kristin Qian Nicolette Cho Luise Zhong (Fri) Dies irae, dies illa calamitatis et miseriae; dies The day of wrath, that day of calamity and misery; Evan Wood magna et amara valde. a great and bitter day, indeed. Greg Rewoldt (Sat) VIOLIN 2 Kiwoon Baeg Daniel Mossing Requiem aeternam, dona eis, Domine, et lux Grant them eternal rest, O Lord, and may perpetual Jessie Chen* Dong Gyun Kim perpetua luceat eis. light shine upon them. Dana Ramirez Nathaniel Park FRENCH HORNS Libera me, Domine, de morte aeterna in die illa Deliver me, Lord, from eternal death on that awful Ingrid Yen Joshua Shin Nivanthi Karunaratne* tremenda. day. Tabitha Oh Jay Kim Sophie Giguere Libera me, Domine, quando coeli movendi sunt Deliver me, O Lord, when the heavens and the Caroline Chen Surin Ahn Bryan Jacobowitz et terra; earth shall be moved; Jacqueline Levine Allison Halter dum veneris judicare saeclum per ignem. when you will come to judge the world by fire. Daniel Wood BASSES Libera me, Domine, de morte aeterna in die illa Deliver me, Lord, from eternal death on that awful Jeffery Kuan Austin Gengos* TRUMPETS tremenda. day. Caroline Kim Harrison Waldon Emily Bobrick* Christopher Perron Libera me. Deliver me. Cadee Qiu Fri Co-Principal) Sam Dale ( Jason Polychronakos Junya Takahashi* Marcus Spiegel Matthew Troiani Adnan Sanchee (Fri Co-Principal) Andy Deng Henry Whitaker* Margaret Collum Noah Fishman Sat Principal) Isaac Treves Jack Hill ( Duncan Waldrop VIOLAS FLUTES Samuel Matzner* Marcelo Rochabrun* Hannah Kronenberg Bruno Schaffa 8 9 PRINCETON UNIVERSITY GLEE CLUB Gabriel Crouch, director OFF-STAGE TRUMPETS TUBA BASS DRUM and WILLIAM TREGO SINGERS (TS) Alexander Rensink Mitchell Hamburger* (Fri) David Graff(Fri) Renata Dworak, director Cyril Bodnar Alexander Smith* (Sat) Arunraj Balaji (Sat) PRINCETON UNIVERSITY CHAMBER CHOIR (CC) Greg MacArthur featuring members of the KINNARA ENSEMBLE (K) Arthur Zanin TIMPANI and , J.D. Burnett, director Pan Buyan Paul Noh ’16, rehearsal accompanist TROMBONES Collin Edwards* (Fri) CHOIR ONE Aparna Raghu ’18 Will Rivitz ’18 Riley Fitzgerald* Isaac Ilivicky* (Sat) SOPRANO Marissa Rosenberg-Carlson ’18 Patrick Signoret GS (TS) Miles Yucht Lexie Batsios (K) Megan Sarno GS (CC) Scott Purcell Andrew VanZytfeld Ava Chen ’16 Suzanne Shoffner ’15 Dale Shepherd SS Katie Cloys (K) Sandy Taylor (K) Owen Smitherman ’17 (TS) Monique Dinescu ’15 Luya Wang ’18 (TS) Alexandro Strauss ’15 Rachel Dubin ’17 (TS) Emma Watkins ’18 Joseph Sung ’15 (CC) PRINCETON UNIVERSITY ORCHESTRA COMMITTEE Solveig Gold ’17 Valerie Wilson ’18 Matt Wie ’17 (TS) Katherine Hawkins ’15 CO-PRESIDENTS SOCIAL CHAIR MEMBERS-AT-LARGE Juliana C. Jackson ’17 (TS) TENOR CHOIR TWO Lulu Zhong Tiffany Huang Isaac Ilivicky Claire Jones ’18 Christopher Beard ’15 SOPRANO Preston Lim DG Kim Sam Dale Paige Kunkle ’18 Sebastian Cox ’18 Melanie Berman ’18 Nathan Wong Faridah Laffan ’18 Ross Friscia ’15 Alyson Beveridge ’16 TREASURER ALUMNI CHAIR Cara Souto Rachel Lim ’18 Elliot Horlick ’15 Carol Burden (K) Daniel Wood Matt Troiani Stephanie Leotsakos ’16 Sang Lee ’16 Avanthi Cole ’18 Nathan Park WEBMASTER Lily Lesser ’17 (TS) Jeffmin Lin ’15 Angel Fan ’18 Gregory Loshkajian ’16 (CC) PUBLICITY CHAIRS Ben Parks Rebecca Mariman Agata Foryciarz ’18 (TS) Heather O’Donovan ’16 Jackson Salter ’17 (TS) Charlotte Jeppsen ’18 Meredith McMahon TOUR COMMITTEE Christopher Shin ’17 Chris Perron Sam Matzner LIBRARIAN Jillian Puskas ’17 Sara Martinez (TS) Shruthi Rajasekar ’18 Kyle Van Schoonhoven (K) Cadee Qiu Greg Rewoldt Alexandra Mendelsohn ’18 Sarah N. Reid ’18 (TS) Shane Tapley (K) (TS) VIDEO CHAIR Evan Wood Priscilla Yeung ’17 Calvin Wentling ’18 Jorie Moss ORCHESTRA MANAGER Lydia Cornett Raj Balaji Varshini Narayanan ’16 Dan Hudson ALTO BASS Cecily O’Leary ’16 Erika Baikoff ’16 Warren Bein ’17 Kelsey Schramma GS My Bui ’18 (TS) Stephen Bork ’18 Kathryn Stewart (K) Lulu Chen ’17 (TS) Damien Capelle GS Helena Tenev ’18 Alicia Ejsmond-Frey GS Jonathan Choi ’15 Ming-ming Tran ’15 Victoria Gruenberg ’16 Gabriel Crouch Caroline Tucker ’17 Tim Keeler ’11 Daniel Greenidge ’18 (TS) Kaamya Varagur ’18 Yun-Yun Li ’17 Kevin Hayne ’18 Katherine Wolff ’15 Michael Manning ’17 Colton Hess ’18 Katherine Zhao ’17 (TS) Vanessa Phan ’18 (TS) Kevin Lee ’16 Christine Porr ’18 Kevin McElwee ’18 10 11 ALTO TENOR BASS ABOUT THE PERFORMERS Alisya Anlas GS (TS) Adam Ainslie ’17 Paul von Autenried ’16 Catherine Blume ’18 Minseung Choi ’17 Andrew Bogdan ’15 The PRINCETON UNIVERSITY Pratt has served as its director for over twenty Carolann Buff GS Hillel Friedman ’17 (TS) Hun Choi ’17 ORCHESTRA began with a group of years, and is co-director of the Composers Anna Cardinal ’15 Andrew Helber ’16 Joshua Collins ’17 (TS) Ensemble and Richardson Chamber Players. Rozalie Czesana ’18 (TS) Andrew Licini ’16 professional musicians from the New York Alex El-fakir’15 Pratt was educated at the Eastman School of Renata Dworak Avinash Nayak ’18 Adam Fox ’09 Symphony and Philharmonic Societies who Music and Tanglewood, and his teachers have Fiora Elbers-Tibbitts ’18 Kai Okada ’16 Brandon Gaines (K) performed a series of concerts at Alexander Jennifer El-Fakir ’18 Warren Rieutort-Louis GS Joseph Gauvreau ’17 Hall in 1896, the first on February 13. In the included Gunther Schuller, Gustav Meier, Joani Etskovitz ’17 TJ Smith ’18 (TS) Daniel Hwang ’15 ensuing century, the orchestra has come to be Leonard Bernstein and Otto Werner Mueller. Kamna Gupta ’14 James Walsh ’15 Jae Yoon Jung ’18 an almost exclusively student organization; He also holds the posts of Music Director Saunghee Ko ’17 David Kimock (K) some 90-100 undergraduate and graduate of the Delaware Valley Philharmonic and Lydia Liu ’17 (TS) Zach Levine ’17 musicians representing a broad spectrum Principal Conductor of American Repertory Aryeh Nussbaum Cohen ’15 Jason Manley ’17 of academic departments come together Ballet. He has also conducted the orchestras of Jade Park ’17 Michael Mulshine ’16 (CC) for concerts in Richardson Auditorium in Boston, Atlanta, Buffalo, Detroit, Indianapolis, Ruby Shao ’17 (TS) Pete Tamburro (K) Alexander Hall. Participation in the orchestra and Odessa, Ukraine. Gloria Yin ’18 John Whelchel ’15 is voluntary and extracurricular; students Andy Zhang ’18 commit many hours to rehearsal above and The PRINCETON UNIVERSITY GLEE beyond the time required for academic course CLUB was founded in 1874 by Andrew work. Fleming West ‘74, the first Dean of the Graduate College. In those early years the For 37 seasons the Princeton University group consisted of a few young men and was Orchestra has been led by conductor run entirely by its student members, and has MICHAEL PRATT, a relationship that has since evolved to be the largest choral body on resulted in the ensemble’s reputation as one of campus. The choir’s repertoire is extremely the finest university orchestras in the United diverse, embracing anything from renaissance States. Over the years, the Orchestra and Pratt motets and madrigals, Romantic partsongs and have performed a remarkable variety of the twenty-first century choral commissions to the orchestral literature, from J. S. Bach’s orchestral more traditional Glee Club fare of spirituals, suites, to Beethoven’s Ninth Symphony, to folk music and college songs. The spectrum of Wagner’s Tristan und Isolde. He has led the Glee Club members is perhaps even broader: orchestra on nine European tours, leading undergraduates and graduates, scientists performances in London, Prague, Vienna, and poets, philosophers and economists - all Budapest and Madrid. As Director of the walks of academic life are represented, all knit Princeton University Opera Theater, Pratt has together by their belief in the nobility and joy conducted operas from Mozart to Ravel, and of singing together. in the past decade has focused on the early Baroque operas of Monteverdi and Cavalli. One of the chief architects of Princeton’s Certificate Program in Musical Performance,

12 13 GABRIEL CROUCH is a Senior Lecturer country as part of the final Western Opera Academy of the West, the Steans Institute baritone WAYNE TIGGES sings Der fliegende in Music and Director of Choirs at Princeton Theater tour. Recent performances include the at Ravinia and orchestras including the San Holländer (Florentine Opera), Nick Shadow University. He began his musical career as an title role in Tosca at both Palm Beach Opera Francisco Symphony, in The Rake’s Progress (Teatro Municipal de eight-year-old in the choir of Westminster and Savonlinna Opera Festival; Margherita King’s Singers in 1996. In the next eight Santiago), Mr. McGuire in Picker’s Emmeline Abbey, where he performed a solo at the and Elena in Boito’s Mefistofele for Erfurt, years he made a dozen recordings on the (Opera Theatre of Saint Louis), Gustavo in wedding of HRH Prince Andrew and Miss Germany; and the title role in Aida for Den the Chicago Symphony Orchestra, the (Brisbane Baroque), and Conte Gil Sarah Ferguson. After completing a choral Norske Opera & Ballet. She has covered Tosca Philadelphia Orchestra, and the Cleveland in Il segreto di Susanna (Opera San Antonio) scholarship at Trinity College, Cambridge, he at Los Angeles Opera, performed the role of Orchestra. in the 2014-15 season. He also joins Opera was offered a place in the renowned a cappella Basiliola in La Nave with Teatro Grattacielo Philadelphia for Basilio in Il barbiere di group The BMG label (including a Grammy at Lincoln Center, and performed Leonora Tenor WILLIAM DAVENPORT’s recent Siviiglia as well as Justice Sir Alfred Wills nomination), and gave more than 900 in Il Trovatore with Sacramento Opera. She engagements include Rigoletto with the and Colonel Henry B. Isaacson in Morrison’s performances in almost every major concert made her Carnegie Hall debut in concert Italian Opera Festival of Orange County, the Oscar. Last season, he triumphed in creating venue in the world. Special collaborative at Weill Recital Hall in New York City her Verdi Requiem with New Jersey State Opera, the role of Joe St. George in the world projects saw him working and performing Italian debut singing the title role in Madama Edgardo with the Baltimore Concert Opera, premiere of Picker’s Dolores Claiborne with with some of the world’s most respected Butterfly at the Teatro Comunale di Bologna. and Oberto and Un Ballo in Maschera at the . He also made his debut artists. Since moving to the U.S. in 2005, Originally from the Midwest, Ms. Abban Academy of Vocal Arts, where he is in his with Ozawa’s Ongaku-juku Festival as Figaro first to run the choral program at DePauw currently makes her home in New York City. last year as a resident fellow. He has sung the in Le nozze di Figaro, returned to Austin Lyric University in Indiana, and now at Princeton Verdi Requiem with the Austin Symphony, Opera for his first performances of Scarpia in University, he has built an international profile Mezzo-soprano KATHERINE LERNER was National Philharmonic, Tuscia Opera Festival Tosca, joined Palm Beach Opera as Basilio in Il as a conductor, with recent engagements in accepted into the ’s in Viterbo, Italy, and the Bucks County barbiere di Siviglia, and returned to his home China and Australia as well as Europe and Patrick G. and Shirley W. Ryan Opera Choral Society. He sang Nemorino with state of Iowa to sing the Tutor in Le comte Ory the U.S. In 2008 he founded the British early Center in 2008 and subsequently made her Opera Delaware and the Baltimore Concert and Owen Hart in with music ensemble Gallicantus, with whom he Lyric debut as Rosette in David McVicar’s Opera and made his debut as Rodolfo in La Des Moines Metro Opera. He also joined the has released three recordings under the Signum critically acclaimed re-imagining of Massenet’s Bohème at Opera Naples in 2014. He has Philadelphia Orchestra conducted by Yannick label to rapturous reviews. When the academic Manon. In 2012 she performed 3rd Lady in performed Beethoven’s Symphony No. 9 with Nézet-Séguin for the First Nazarene in calendar allows, Crouch maintains parallel Die Zauberflöte at the Lyric and the Witch Concert Artists of Baltimore, Dvorák’s Mass and sang Verdi’s Requiem as a guest artist at careers in singing and record production. He in Hänsel und Gretel with Macon Symphony in D with Columbia Pro Cantare, Rossini’s Bard College. is a frequent performer with the British choir Orchestra. For the 2013-2014 season, she Petite Messe Solennelle and Puccini’s Messa di Tenebrae, and as a producer his latest credits joined the roster of the Gloria at the Peabody Conservatory of Music. have included Winchester Cathedral Choir, for productions of Eugene Onegin and Andrea A Peabody graduate, he has received awards The Gabrieli Consort and Tenebrae. Chénier. Prior to her acceptance into the Ryan and honors from the Opera Orchestra/Agnes Opera Center, she received her Masters in Varis Competition, the Giargiari Bel Canto Soprano TIFFANY ABBAN began her Opera from the Curtis Institute of Musis— competition, the Loren L. Zachary Society training at the Interlochen Arts Academy where she performed roles including the Competition, and the Metropolitan Opera and continued at the Juilliard School before princess Sicle in Cavalli’s L’Ormindo to poet National Council Auditions, in addition concluding at the Curtis Institute of Music. Federico Garcia Lorca in the Philadelphia to young artist programs with Chautauqua She was one of the youngest singers ever to be premiere of Golijov’s Ainadamar—and she Opera, Glimmerglass Opera, and Songfest. accepted into the prestigious Adler Fellowship holds Bachelors degrees in Voice and Historical program of the San Francisco Opera and Performance from the Oberlin Conservatory Lauded by the Chicago Sun-Times for his while there sang the role of Mimì around the of Music. She has appeared at the Music “rich, dark tone and beautiful legato,” bass- 14 15 Upcoming Music at Princeton Events Saturday, April 25, 3:00pm Thursday, May 6, 7:30pm Alexander Smith ‘15, Tuba Princeton University Wind Ensemble Taplin Auditorium in Fine Hall Richardson Auditorium in Alexander Hall Tuesday, April 28, 8:00pm Thursday, May 7, 7:30pm Princeton Sound Kitchen Generals Concert Junior/Senior Recital Taplin Auditorium in Fine Hall Taplin Auditorium in Fine Hall Thursday, April 30, 8:00pm Friday, May 8, 7:30pm Anthony Roth Costanzo, Countertenor Princeton University Sinfonia with Bryan Wagorn, Piano Ruth Ochs, Conductor presented by Princeton University Concerts Richardson Auditorium in Alexander Hall Richardson Auditorium in Alexander Hall Saturday, May 9, 8:00pm Friday, May 1, 4:30pm Princeton University Concert Jazz Ensemble The Ghost Trio Dr. Anthony D.J. Branker, Director presented by the Department of Music Richardson Auditorium in Alexander Hall and the Fund for Irish Studies Taplin Auditorium in Fine Hall Sunday, May 10, 3:00pm Eli Chang ‘16, Cello Saturday, May 2, 3:00pm Min Joo Yi ‘16, Piano Christopher Beard ‘15, Tenor Taplin Auditorium in Fine Hall Taplin Auditorium in Fine Hall Monday, May 11, 7:30pm Tuesday, May 5, 12:00 noon, James Walsh ‘15, Voice 3:30pm, and 7:30pm Taplin Auditorium in Fine Hall MUS 213 Chamber Music Recitals Taplin Auditorium in Fine Hall Tuesday, May 12, 8:00pm Princeton Sound Kitchen Freelance Concert Thursday, May 6, 6:00pm Taplin Auditorium in Fine Hall Princeton Brass Frist Campus Center South Lawn Thursday, May 14, 7:30pm Jason Nong ‘15, Piano Taplin Auditorium in Fine Hall For more information visit princeton.edu/music

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