Daron Hagen (B. 1961) Is an American Composer and Sought

Total Page：16

File Type：pdf, Size：1020Kb

Daron Hagen (b. 1961) is an American composer and sought-after collaborator whose dazzlingly broad stylistic range embraces everything from lush romanticism to abstract electro-acoustic soundscapes. Along with numerous other accolades, including the Guggenheim Fellowship and the Friedheim Prize, the American Academy of Arts and Letters cited in 2014 his “outstanding achievement," acknowledging with an Academy Award "a composer who has arrived at his own voice." The recipient of commissions from the New York Philharmonic, Seattle Opera, Philadelphia Orchestra, and others, he has written more than 350 works for the concert stage, including 9 operas (A Woman in Morocco, Shining Brow, Amelia, Bandanna, Vera of Las Vegas), and the forthcoming Orson, which he will also design and direct; 14 concertos (for Gary Graffman, Jaime Laredo, Sharon Robinson), 5 symphonies (Philadelphia, Milwaukee, Oakland, Albany, Phoenix), 22 song cycles (Paul Sperry, Kings Singers, Ashley Putnam); and dozens of chamber, band, and choral works. Hagen is a frequent conductor, collaborative pianist, librettist, and stage director of his own theatrical works, and has worked with Leonard Bernstein, Ken Cazan, Michael Christie, Lara Downes, JoAnn Falletta, Nathan Gunn, Kate Lindsey, Michael Morgan, Gerard Schwarz, Leonard Slatkin, and Stephen Wadsworth, among others. A Lifetime Member of the Corporation of Yaddo and Trustee of the Douglas Moore Fund for American Opera, he has served as artistic director of the Seasons Music Festival, and as president of the Lotte Lehmann Foundation. Born in Wisconsin, Hagen studied composition with Ned Rorem at the Curtis Institute and David Diamond at the Juilliard School, then worked extensively as a copyist and editor for numerous concert composers and Broadway shows, including Elliot Carter, Virgil Thomson, Gian Carlo Menotti, and Disney. He taught for a decade at Bard College, and served on the faculties of the Curtis Institute, the Chicago College Conservatory, New York University, and the Princeton Atelier, among others, before turning his attention solely to fulfilling commissions. His music is recorded on Naxos, Albany, CRI, and Bridge. A Manhattanite for 28 years, he and his wife, composer Gilda Lyons, moved Upstate in 2011 to raise their sons Atticus and Seamus. (www.daronhagen.com) August 2016 .

Copy Link

Recommended publications

8.112023-24 Bk Menotti Amelia EU 26-03-2010 9:41 Pagina 16
8.112023-24 bk Menotti Amelia_EU 26-03-2010 9:41 Pagina 16 Gian Carlo MENOTTI Also available The Consul • Amelia al ballo LO M CAR EN N OT IA T G I 8.669019 19 gs 50 din - 1954 Recor Patricia Neway • Marie Powers • Cornell MacNeil 8.669140-41 Orchestra • Lehman Engel Margherita Carosio • Rolando Panerai • Giacinto Prandelli Chorus and Orchestra of La Scala, Milan • Nino Sanzogno 8.112023-24 16 8.112023-24 bk Menotti Amelia_EU 26-03-2010 9:41 Pagina 2 MENOTTI CENTENARY EDITION Producer’s Note This CD set is the first in a series devoted to the compositions, operatic and otherwise, of Gian Carlo Menotti on Gian Carlo the occasion of his centenary in 2011. The recordings in this series date from the mid-1940s through the late 1950s, and will feature several which have never before appeared on CD, as well as some that have not been available in MENOTTI any form in nearly half a century. The present recording of The Consul, which makes its CD début here, was made a month after the work’s (1911– 2007) Philadelphia première. American Decca was at the time primarily a “pop” label, the home of Bing Crosby and Judy Garland, and did not yet have much experience in the area of Classical music. Indeed, this recording seems to have been done more because of the work’s critical acclaim on the Broadway stage than as an opera, since Decca had The Consul also recorded Arthur Miller’s Death of a Salesman with members of the original cast around the same time.
[Show full text]
ANNUAL REPORT 2019/20 Fadi Kheir Fadi LETTERS from the LEADERSHIP
ANNUAL REPORT 2019/20 Fadi Kheir Fadi LETTERS FROM THE LEADERSHIP The New York Philharmonic’s 2019–20 season certainly saw it all. We recall the remarkable performances ranging from Berlioz to Beethoven, with special pride in the launch of Project 19 — the single largest commissioning program ever created for women composers — honoring the ratification of the 19th Amendment. Together with Lincoln Center we unveiled specific plans for the renovation and re-opening of David Geffen Hall, which will have both great acoustics and also public spaces that can welcome the community. In March came the shock of a worldwide pandemic hurtling down the tracks at us, and on the 10th we played what was to be our final concert of the season. Like all New Yorkers, we tried to come to grips with the life-changing ramifications The Philharmonic responded quickly and in one week created NY Phil Plays On, a portal to hundreds of hours of past performances, to offer joy, pleasure, solace, and comfort in the only way we could. In August we launched NY Phil Bandwagon, bringing live music back to New York. Bandwagon presented 81 concerts from Chris Lee midtown to the far reaches of every one of the five boroughs. In the wake of the Erin Baiano horrific deaths of Black men and women, and the realization that we must all participate to change society, we began the hard work of self-evaluation to create a Philharmonic that is truly equitable, diverse, and inclusive. The severe financial challenge caused by cancelling fully a third of our 2019–20 concerts resulting in the loss of $10 million is obvious.
[Show full text]
Verdi Week on Operavore Program Details
Verdi Week on Operavore Program Details Listen at WQXR.ORG/OPERAVORE Monday, October, 7, 2013 Rigoletto Duke - Luciano Pavarotti, tenor Rigoletto - Leo Nucci, baritone Gilda - June Anderson, soprano Sparafucile - Nicolai Ghiaurov, bass Maddalena – Shirley Verrett, mezzo Giovanna – Vitalba Mosca, mezzo Count of Ceprano – Natale de Carolis, baritone Count of Ceprano – Carlo de Bortoli, bass The Contessa – Anna Caterina Antonacci, mezzo Marullo – Roberto Scaltriti, baritone Borsa – Piero de Palma, tenor Usher - Orazio Mori, bass Page of the duchess – Marilena Laurenza, mezzo Bologna Community Theater Orchestra Bologna Community Theater Chorus Riccardo Chailly, conductor London 425846 Nabucco Nabucco – Tito Gobbi, baritone Ismaele – Bruno Prevedi, tenor Zaccaria – Carlo Cava, bass Abigaille – Elena Souliotis, soprano Fenena – Dora Carral, mezzo Gran Sacerdote – Giovanni Foiani, baritone Abdallo – Walter Krautler, tenor Anna – Anna d’Auria, soprano Vienna Philharmonic Orchestra Vienna State Opera Chorus Lamberto Gardelli, conductor London 001615302 Aida Aida – Leontyne Price, soprano Amneris – Grace Bumbry, mezzo Radames – Placido Domingo, tenor Amonasro – Sherrill Milnes, baritone Ramfis – Ruggero Raimondi, bass-baritone The King of Egypt – Hans Sotin, bass Messenger – Bruce Brewer, tenor High Priestess – Joyce Mathis, soprano London Symphony Orchestra The John Alldis Choir Erich Leinsdorf, conductor RCA Victor Red Seal 39498 Simon Boccanegra Simon Boccanegra – Piero Cappuccilli, baritone Jacopo Fiesco - Paul Plishka, bass Paolo Albiani – Carlos Chausson, bass-baritone Pietro – Alfonso Echevarria, bass Amelia – Anna Tomowa-Sintow, soprano Gabriele Adorno – Jaume Aragall, tenor The Maid – Maria Angels Sarroca, soprano Captain of the Crossbowmen – Antonio Comas Symphony Orchestra of the Gran Teatre del Liceu, Barcelona Chorus of the Gran Teatre del Liceu, Barcelona Uwe Mund, conductor Recorded live on May 31, 1990 Falstaff Sir John Falstaff – Bryn Terfel, baritone Pistola – Anatoli Kotscherga, bass Bardolfo – Anthony Mee, tenor Dr.
[Show full text]
Finding Aid to the Historymakers ® Video Oral History with Arthur Mitchell
Finding Aid to The HistoryMakers ® Video Oral History with Arthur Mitchell Overview of the Collection Repository: The HistoryMakers®1900 S. Michigan Avenue Chicago, Illinois 60616 [email protected] www.thehistorymakers.com Creator: Mitchell, Arthur, 1934-2018 Title: The HistoryMakers® Video Oral History Interview with Arthur Mitchell, Dates: October 5, 2016 Bulk Dates: 2016 Physical 9 uncompressed MOV digital video files (4:21:20). Description: Abstract: Dancer, choreographer, and artistic director Arthur Mitchell (1934 - 2018 ) was a principal dancer for the New York City Ballet for fifteen years. In 1969, he co-founded the Dance Theatre of Harlem, the first African American classical ballet company and school. Mitchell was interviewed by The HistoryMakers® on October 5, 2016, in New York, New York. This collection is comprised of the original video footage of the interview. Identification: A2016_034 Language: The interview and records are in English. Biographical Note by The HistoryMakers® Dancer, choreographer and artistic director Arthur Mitchell was born on March 27, 1934 in Harlem, New York to Arthur Mitchell, Sr. and Willie Hearns Mitchell. He attended the High School of Performing Arts in Manhattan. In addition to academics, Mitchell was a member of the New Dance Group, the Choreographers Workshop, Donald McKayle and Company, and High School of Performing Arts’ Repertory Dance Company. After graduating from high school in 1952, Mitchell received scholarships to attend the Dunham School and the School of American received scholarships to attend the Dunham School and the School of American Ballet. In 1954, Mitchell danced on Broadway in House of Flowers with Geoffrey Holder, Louis Johnson, Donald McKayle, Alvin Ailey and Pearl Bailey.
[Show full text]
Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus Bourne University of Connecticut - Storrs, [email protected]
University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 4-15-2018 Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus Bourne University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation Bourne, Thaddaeus, "Male Zwischenfächer Voices and the Baritenor Conundrum" (2018). Doctoral Dissertations. 1779. https://opencommons.uconn.edu/dissertations/1779 Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus James Bourne, DMA University of Connecticut, 2018 This study will examine the Zwischenfach colloquially referred to as the baritenor. A large body of published research exists regarding the physiology of breathing, the acoustics of singing, and solutions for specific vocal faults. There is similarly a growing body of research into the system of voice classification and repertoire assignment. This paper shall reexamine this research in light of baritenor voices. After establishing the general parameters of healthy vocal technique through appoggio, the various tenor, baritone, and bass Fächer will be studied to establish norms of vocal criteria such as range, timbre, tessitura, and registration for each Fach. The study of these Fächer includes examinations of the historical singers for whom the repertoire was created and how those roles are cast by opera companies in modern times. The specific examination of baritenors follows the same format by examining current and
[Show full text]
EMILY DICKINSON's POETIC IMAGERY in 21ST-CENTURY SONGS by LORI LAITMAN, JAKE HEGGIE, and DARON HAGEN by Shin-Yeong Noh Submit
EMILY DICKINSON’S POETIC IMAGERY IN 21ST-CENTURY SONGS BY LORI LAITMAN, JAKE HEGGIE, AND DARON HAGEN by Shin-Yeong Noh Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University May 2019 Accepted by the faculty of the Indiana University Jacobs School of Music, in partial fulfillment of the requirements for the degree Doctor of Music Doctoral Committee ______________________________________ Andrew Mead, Research Director ______________________________________ Patricia Stiles, Chair ______________________________________ Gary Arvin ______________________________________ Mary Ann Hart March 7, 2019 ii Copyright © 2019 Shin-Yeong Noh iii To My Husband, Youngbo, and My Son iv Acknowledgements This work would not have been possible without many people who aided and supported me. I am grateful to all of my committee members for their advice and guidance. I am especially indebted to my research director, Dr. Andrew Mead, who provided me with immeasurable wisdom and encouragement. His inspiration has given me huge confidence in my study. I owe my gratitude to my teacher, committee chair, Prof. Patricia Stiles, who has been very careful and supportive of my voice, career goals, health, and everything. Her instructions on the expressive performance have inspired me to consider the relationship between music and text, and my interest in song interpretation resulted in this study. I am thankful to the publishers for giving me permission to use the scores. Especially, I must thank Lori Laitman, who offered me her latest versions of the songs with a very neat and clear copy. She is always prompt and nice to me.
[Show full text]
Thomson, Virgil (1896-1989) by Patricia Juliana Smith
Thomson, Virgil (1896-1989) by Patricia Juliana Smith Encyclopedia Copyright © 2015, glbtq, Inc. Entry Copyright © 2002, glbtq, Inc. Reprinted from http://www.glbtq.com Virgil Thomson in 1947. Photograph by Carl van Critic and composer Virgil Thomson was a pioneer in creating a specifically American Vechten, June 4, 1947. Library of Congress form of classical music that is at once "serious" yet whimsically sardonic. He is best Prints and Photographs known as Gertrude Stein's collaborator in two operas, Four Saints in Three Acts (1934) Division. and The Mother of Us All (1947). The hymn melodies that shape the score of Four Saints are an echo of Thomson's earliest musical career, that of an organist in a Baptist church in Kansas City, Missouri, where he was born on November 25, 1896 into a tolerant, middle-class family. His mother especially encouraged his musical and artistic talents, which were obvious very early. Thomson joined the United States Army in 1917 and served during World War I. After the war, he studied music at Harvard University, where he discovered Tender Buttons (1914), Stein's playful and elaborately encoded poetic work of lesbian eroticism. He subsequently studied composition in Paris under Nadia Boulanger, the mentor of at least two generations of modern composers. In 1925 he finally met Stein, whose works he had begun to set to music. In Paris, he also met Jean Cocteau, Igor Stravinsky, and Erik Satie, the latter of whom influenced his music greatly. There he also cemented a relationship with painter Maurice Grosser, who was to become his life partner and frequent collaborator (for example, Grosser directed Four Saints in Three Acts and devised the scenario for The Mother of Us All).
[Show full text]
Developing the Young Dramatic Soprano Voice Ages 15-22 Is Approved in Partial Fulfillment of the Requirements for the Degree Of
DEVELOPING THE YOUNG DRAMATIC SOPRANO VOICE AGES 15-22 By Monica Ariane Williams Bachelor of Arts – Vocal Arts University of Southern California 1993 Master of Music – Vocal Arts University of Southern California 1995 A dissertation submitted in partial fulfillment of the requirements for the Doctor of Musical Arts School of Music College of Fine Arts The Graduate College University of Nevada, Las Vegas December 2020 Copyright 2021 Monica Ariane Williams All Rights Reserved Dissertation Approval The Graduate College The University of Nevada, Las Vegas November 30, 2020 This dissertation prepared by Monica Ariane Williams entitled Developing the Young Dramatic Soprano Voice Ages 15-22 is approved in partial fulfillment of the requirements for the degree of Doctor of Musical Arts School of Music Alfonse Anderson, DMA. Kathryn Hausbeck Korgan, Ph.D. Examination Committee Chair Graduate College Dean Linda Lister, DMA. Examination Committee Member David Weiller, MM. Examination Committee Member Dean Gronemeier, DMA, JD. Examination Committee Member Joe Bynum, MFA. Graduate College Faculty Representative ii ABSTRACT This doctoral dissertation provides information on how to develop the young dramatic soprano, specifically through more concentrated focus on the breath. Proper breathing is considered the single most important skill a singer will learn, but its methodology continues to mystify multitudes of singers and voice teachers. Voice professionals often write treatises with a chapter or two devoted to breathing, whose explanations are extremely varied, complex or vague. Young dramatic sopranos, whose voices are unwieldy and take longer to develop are at a particular disadvantage for absorbing a solid vocal technique. First, a description, classification and brief history of the young dramatic soprano is discussed along with a retracing of breath methodologies relevant to the young dramatic soprano’s development.
[Show full text]
Junior Recital Casey Cerveny, Tenor Ryan Besser, Bass Amelia
Junior Recital Casey Cerveny, tenor Ryan Besser, bass with Amelia Hammond, piano Amanda Jones, piano Friday, March 19, 2021 Sheslow Auditorium in Old Main 7:30 p.m. Lucy Eric Barnum I. Strange fits of passion (b. 1979) IV. Three years she grew V. A Slumber did my spirit seal Come Away Death Gerald Finzi (1901-1956) Come Back Roger Quilter (1877-1953) Banalités Francis Poulenc II. Hôtel (1899-1963) V. Sanglots Élégie Jules Massenet (1842-1912) Gruppe aus dem Tartarus Franz Schubert Aufenthalt (1797-1828) Kuda, kuda, kuda vi udalilis Pyotr Ilyich Tchaikovsky from Eugene Onegin (1840-1893) Intermission O tu, Palermo Giuseppe Verdi from I Vespri Siciliani (1813-1901) On the path to the lake Samuel Barber from Vanessa (1910-1981) La fleur que tu m'avais jetée Georges Bizet from Carmen (1838-1875) Schweig'! schweig'! damit dich niemand warnt Carl Maria von Weber from Der Freischutz (1786-11826) Tre Sonetti di Petrarca Franz Liszt I. Pace non trovo (1811-1886) Special thanks to friends of Drake Arts (FDA) for their generous support of Music Department events and projects. For more than 25 years, FDA has helped to provide the best possible fine arts education for Drake students and exceptional fine arts opportunities for the region. For more information or to join, please visit: http://www.drake.edu/friends About the Artists Casey Cerveny is currently a junior at Drake University in Des Moines, Iowa, pursuing a degree in vocal performance and a minor in French. He sings tenor and studies under Leanne Freeman-Miller. Upon graduation, Casey hopes to continue his education in music performance and language in a graduate program.
[Show full text]
BEYOND the BASICS Supplemental Programming for Leonard Bernstein at 100
BEYOND THE BASICS Supplemental Programming for Leonard Bernstein at 100 BEYOND THE BASICS – Contents Page 1 of 37 CONTENTS FOREWORD ................................................................................. 4 FOR FULL ORCHESTRA ................................................................. 5 Bernstein on Broadway ........................................................... 5 Bernstein and The Ballet ......................................................... 5 Bernstein and The American Opera ........................................ 5 Bernstein’s Jazz ....................................................................... 6 Borrow or Steal? ...................................................................... 6 Coolness in the Concert Hall ................................................... 7 First Symphonies ..................................................................... 7 Romeos & Juliets ..................................................................... 7 The Bernstein Beat .................................................................. 8 “Young Bernstein” (working title) ........................................... 9 The Choral Bernstein ............................................................... 9 Trouble in Tahiti, Paradise in New York .................................. 9 Young People’s Concerts ....................................................... 10 CABARET.................................................................................... 14 A’s and B’s and Broadway ....................................................
[Show full text]
DISTRICT AUDITIONS THURSDAY, JANUARY 21, 2021 the 2020 National Council Finalists Photo: Fay Fox / Met Opera
NATIONAL COUNCIL 2020–21 SEASON ARKANSAS DISTRICT AUDITIONS THURSDAY, JANUARY 21, 2021 The 2020 National Council Finalists photo: fay fox / met opera CAMILLE LABARRE NATIONAL COUNCIL AUDITIONS chairman The Metropolitan Opera National Council Auditions program cultivates young opera CAROL E. DOMINA singers and assists in the development of their careers. The Auditions are held annually president in 39 districts and 12 regions of the United States, Canada, and Mexico—all administered MELISSA WEGNER by dedicated National Council members and volunteers. Winners of the region auditions executive director advance to compete in the national semifinals. National finalists are then selected and BRADY WALSH compete in the Grand Finals Concert. During the 2020–21 season, the auditions are being administrator held virtually via livestream. Singers compete for prize money and receive feedback from LISETTE OROPESA judges at all levels of the competition. national advisor Many of the world’s greatest singers, among them Lawrence Brownlee, Anthony Roth Costanzo, Renée Fleming, Lisette Oropesa, Eric Owens, and Frederica von Stade, have won National Semifinals the Auditions. More than 100 former auditioners appear appear on the Met roster each season. Sunday, May 9, 2021 The National Council is grateful to its donors for prizes at the national level and to the Tobin Grand Finals Concert Endowment for the Mrs. Edgar Tobin Award, given to each first-place region winner. Sunday, May 16, 2021 Support for this program is generously provided by the Charles H. Dyson National Council The Semifinals and Grand Finals are Audition Program Endowment Fund at the Metropolitan Opera. currently scheduled to take place at the Met.
[Show full text]
Westchester Music Man Harold Rosenbaum Shares His Alphabetical Favorites
Subscribe Digital Edition Give a Gift Customer Service WestchesterBest Places To Live Today's Music News What To Do ManLocal Business Harold Guide Blogs Real Estate Top Doctors Top Dentists High School Chart Take Our Reader Survey Rosenbaum Shares His Alphabetical Favorites ® County people and places that strike a chord with renowned choral conductor Harold Rosenbaum. BY HAROLD ROSENBAUM; LLUSTRATION BY CAITLIN KUHWALD EAT & DRINK LIFE & STYLE ARTS & CULTURE INSIDER GUIDES BEST OF WESTCHESTER® Facebook Twitter Google+ Pinterest Ancient houses. Not by European RELATED STORIES standards, but who cares? Barber in Cross River, who also replaces watchbands. It reminds me of the Wild West, where barbers also extracted teeth! Copland House in Cortlandt Manor. Yes, Aaron actually lived there. I conducted his choral Urban Planning Pioneer Seeks To Upgrade masterpiece In the Beginning at his 80th birthday Playland celebration at Symphony Space in NYC. Dirt roads. Sure, they can be a muddy mess when it rains, but they are a nice reminder of our past. Edie, my amazing, talented, beautiful, kind wife, who, among many other things, runs our youth choir, The Canticum Novum Singers. How Baseball Sparked Doris Kearns Goodwin's Love Of History Farms. Real ones. One can join some of them to obtain organic produce weekly. Grandsons. My three—who force me to be normal at times (well, at least goofy and regressive). Horse & Hound Inn, which accommodates my diet every time (I haven’t had meat, fish, dairy, or grains for decades). Idealists. There are plenty of them here, with solar panels, food-producing farm animals, and world-class gardens.
[Show full text]