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Frederick Teardo AMERICAN CLASSICS Frederick Teardo is Associate Organist at Saint Thomas Church, Fifth Avenue in New York City, where he accompanies the church’s renowned Choir of Men and Boys. He received both the Master of Music and Master of Musical Arts degrees from the Yale School of Music and Institute of Sacred Music, studying organ with Thomas Murray and harpsichord with Richard Rephann. He received his Bachelor of Music degree with Highest Honors from the Charles Eastman School of Music, where he studied organ with David Higgs. His other teachers have included Stephen Roberts and Haskell Thomson. He has also studied improvisation with William Porter and Jeffrey Brillhart. An avid performer, Frederick Teardo has won first prize IVES in numerous competitions. He has performed across the United States, and has also been a featured performer at Regional and National Conventions of the American Guild of Organists and Organ Historical Society, on the NPR program Pipedreams, and in a segment on the revived interest in the pipe organ on ABC World News Tonight. Songs • 3 The Housatonic at Eric Trudel

A native of Quebec, Canada, Eric Trudel graduated from the Quebec Conservatory of Stockbridge Music with the highest honours. He won the prestigious Prix d’Europe competition, which enabled him to study privately with pianists Garrick Ohlsson, Jean-Claude Pennetier, Marc Durand and Louis Lortie. He has worked as a pianist at the Banff Center Immortality Festival for the Arts, L’Opéra de Montréal, Connecticut Grand Opera, Les Grands Ballets Canadiens, the OK MOZART Festival and the Pro Arte Singers. His faculty appointments include the Banff Centre for the Performing Arts, the Conservatoire de In April-Tide Musique du Québec in Trois-Rivières, Montreal Opera’s Atelier Lyrique, the Université du Québec-Montréal and formerly Yale University’s School of Music (2001-2005). On CD he can be heard on the CBC and Star labels. The ‘Incantation’ Like a Sick Eagle Get this free download from Classicsonline! Macdowell: 6 Love Songs, Op. 40, No. 2: Sweetheart, Tell Me Lincoln, The Great Copy this Promotion Code NaxadkenYH4O and go to http://www.classicsonline.com/mpkey/mac10_main. Downloading Instructions Commoner 1 Log on to Classicsonline. If you do not have a Classicsonline account yet, please register at 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 8.559271 12 559271 bk Ives US 6/10/08 2:22 PM Page 2

1 Harpalus (Text: Thomas Percy) (1902) 1:13 * In Flanders Fields (John McCrae) (1917) 2:24 Matthew Plenk Lielle Berman, Soprano • Eric Trudel, Piano Patrick Carfizzi, Baritone • J. J. Penna, Piano 2 He Is There! (Ives) (1917) 4:01 ( In My Beloved’s Eyes (J. M. Chauvenet) (1899) 1:03 Michael Cavalieri, Baritone • Douglas Dickson, Piano Michael Cavalieri, Baritone • Douglas Dickson, Piano The tenor Matthew Plenk made his Metropolitan Opera début in the 2007-2008 season, 3 Her Eyes (Unknown) (1898) 0:56 ) In Summer Fields (Henry G. Chapman) (1898) 3:00 under the baton of James Levine, as the Voice of the Young Sailor in Tristan und Isolde. Kenneth Tarver, Tenor • Douglas Dickson, Piano Michael Cavalieri, Baritone • Douglas Dickson, Piano In the same season he joined the Lindemann Young Artist Development Program at The 4 Her Gown was of Vermilion Silk (Anon.) (1897) 2:17 ¡ Met. With Yale Opera he has performed Rodolfo, La Bohème, Ferrando in Così fan Michael Cavalieri, Baritone • Douglas Dickson, Piano In the Alley (Ives) (1896) 2:22 5 His Exaltation (Robert Robinson) (1913) 1:40 Robert Gardner, Baritone • Douglas Dickson, Piano tutte, Flute in A Midsummer Night’s Dream, Nanki-poo in The Mikado, the Italian tenor Daniel Trevor Bircher, Baritone • Diego Matamoros, ™ In the Mornin’ (Mary Evelyn Stiles) (1929) 2:25 in Capriccio, and Kudrjàs in Janàãek’s Kat’a Kabanova. While earning his Bachelor of Baritone • Patrick Carfizzi, Baritone Tamara Mumford, Mezzo-soprano Music at the Hartt School of Music, he was featured in Don Giovanni, as Don Ottavio. Michael Cavalieri, Baritone • Douglas Dickson, Piano Douglas Dickson, Piano Other rôles include Roméo in Roméo et Juliette, Nemorino in L’elisir d’amore, Frederic 6 The Housatonic at Stockbridge £ The ‘Incantation’ in The Pirates of Penzance, and Sam in Susannah. His concert career has brought (Robert Underwood Johnson) (1908) 3:44 (George Gordon (Lord Byron)) (1921) 1:46 performances with the Orchestra Sinfonica di Milano Giuseppe Verdi, Hartford Robert Gardner, Baritone • Eric Trudel, Piano Patrick Carfizzi, Baritone • J. J. Penna, Piano 7 Hymn ¢ The Indians (Charles Sprague) (1921) 3:08 Symphony, Hudson Valley Philharmonic, Los Angeles based Musica Angelica (Gerhardt Tersteegen, trans. John Wesley) (1921) 2:23 Robert Gardner, Baritone • Eric Trudel, Piano Baroque, Connecticut Chamber Orchestra, Intermezzo Opera, and Bel Canto Northwest. Ian Howell, Countertenor • Douglas Dickson, Piano ∞ The Innate (Ives) (1916) 2:26 With Sir Neville Marriner conducting, he has also performed with Yale Philharmonia. 8 Hymn of Trust (Oliver Wendell Holmes) (1898) 4:07 Robert Gardner, Baritone • J. J. Penna, Piano He was a National Finalist in the Metropolitan Opera Guild Competition. Tamara Mumford, Mezzo-soprano § Kären Frederick Teardo, Organ (Parmo Karl Ploug, trans. Clara Kappey) (1900) 1:10 9 I Hear a Tone (Peter Cornelius, trans. C. Hugo Laubach) (1900) 1:26 Kenneth Tarver, Tenor • Douglas Dickson, Piano Sumi Kittelberger, Soprano • Eric Trudel, Piano ¶ The Last Reader 0 I Knew and Loved a Maid (Anonymous) (1898) 1:53 (Oliver Wendell Holmes Snr.) (1921) 1:58 Kenneth Tarver Michael Cavalieri, Baritone • Douglas Dickson, Piano Michael Cavalieri, Baritone • Douglas Dickson, Piano ! I Travelled Among Unknown Men • The Light that is Felt Kenneth Tarver enjoys a career in the most important international opera theatres and (John Greenleaf Whittier) (1903) 2:01 (William Wordsworth) (1901) 2:03 festivals. He has sung at the Vienna State Opera, Deutsche Oper Berlin, the Berlin, Matthew Plenk, Tenor • Eric Trudel, Piano Tamara Mumford, Mezzo-soprano Ayano Kabaoka, Glockenspiel Douglas Dickson, Piano Hamburg and Bavarian State Operas, Semperoper Dresden, Royal Opera Covent Garden, @ Ich grolle nicht (Heinrich Heine) (1898) 3:28 ª Like a Sick Eagle (John Keats) (1920) 2:30 the Liceu in Barcelona, the Metropolitan Opera, Naples Teatro San Carlo, and at the Robert Gardner, Baritone • J. J. Penna, Piano Robert Gardner, Baritone • Eric Trudel, Piano Festivals of Aix-en-Provence and Edinburgh. His repertoire encompasses rôles by # I’ll Not Complain (Heinrich Heine, º Lincoln, The Great Commoner Mozart, Rossini, Donizetti, Gluck, Verdi and Berlioz as well as repertoire by Bach, trans. John Sullivan Dwight) (1898) 3:03 (Edwin Markham/Ives) (1919) 4:04 Beethoven, Debussy, Shchedrin and Stravinsky. Appearances include Rossini’s La donna Robert Gardner, Baritone • J. J. Penna, Piano Robert Gardner, Baritone • Eric Trudel, Piano del lago at the Edinburgh Festival and as Don Ottavio in Don Giovanni directed by René $ Ilmenau (Johann Wolfgang von Goethe) (1903) 1:45 ⁄ Sumi Kittelberger, Soprano • Eric Trudel, Piano Die Lotusblume (Heinrich Heine) (1908) 2:54 Jacobs in Brussels, Cologne and Paris, a rôle which he also performed at the Aix-en- % Immortality (Ives) (1921) 1:36 Kenneth Tarver, Tenor • Eric Trudel, Piano Provence Festival with both Claudio Abbado and Daniel Harding. Other performances Tamara Mumford, Mezzo-soprano ¤ The Love Song of Har Dyal range from Mozart’s Così fan tutte and Die Entführung aus dem Serail, and Berlioz’s Les Douglas Dickson, Piano (Rudyard Kipling) (1899) 2:45 Troyens and Béatrice et Bénédict, to Shostakovich’s The Nose with Mstislav Jennifer Casey Cabot, Soprano • Douglas Dickson, Piano ^ In April-Tide (Clifton Scollard) (1897) 1:34 Rostropovich, and Verdi’s Falstaff with Zubin Mehta and Bernard Haitink. Matthew Plenk, Tenor • Eric Trudel, Piano ‹ Luck and Work & In Autumn (Ives) (1896) 1:28 (Robert Underwood Johnson) (1920) 1:11 Michael Cavalieri, Baritone • Douglas Dickson, Piano Janna Baty, 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 1, 7, 9, 10, 12, 13, 15, 17, 19, 20, 23, 25, 27, 29, 31, 33); Peer International Corporation (tracks 2, 3, 5, 6, 11, 14, 16, 18, 21, 26, 30, 32); Associated Music Publishers Inc. (tracks 4, 8, 22, 24); Mercury Music Corp. (track 28)

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Tamara Mumford Charles Ives (1874-1954) Songs • 3 The mezzo-soprano Tamara Mumford made her Metropolitan Opera début in 2006 as Laura in Luisa Miller. Other opera performances include the title rôles in The Rape of When, in 1922, Charles Ives published a volume A ‘battle-cry’ with a difference, He Is There! (1917) Lucretia under the baton of Lorin Maazel, L’Italiana in Algeri at Palm Beach Opera, La entitled 114 Songs, he was indirectly drawing attention sets out as a marching-song only to develop unpredictably, Cenerentola at Utah Festival Opera, Principessa in Suor Angelica and Ciesca in Gianni to the fact that the genre had played a central part within with its rhythmically volatile piano part and an ‘ad lib’ Schicchi with the Orchestra Sinfonica di Milano Giuseppe Verdi, and appearances in his output. 85 years later and, for all that his wider contribution (here from piccolo) which overshoots the end War and Peace, Manon Lescaut, Cavalleria rusticana, Idomeneo, and The Magic Flute, reputation rests on orchestral, chamber and piano music, of the song (see also Volume 6, track 4, Naxos 8.559274). at the Metropolitan Opera. In concert she has appeared in major venues, making her it is the songs that represent the heart of his creative Setting lovelorn lines by an unknown author, Her Carnegie Hall début in 2005. A native of Sandy, Utah, Tamara Mumford studied at Utah thinking. Nor was that initial volume comprehensive; Eyes (1898) avoids bathos with some deftly ironic State and at Yale before joining the Lindemann Young Artist Development Program at Ives having written almost 200 songs, of which this pianism (see also Volume 4, track 8, Naxos 8.559272). the Metropolitan Opera. She has received top awards in the Opera Index, Palm Beach present edition includes all those that he completed. The A notably subtle treatment of an anonymous text Opera, Sullivan Foundation, Connecticut Opera Guild and Joyce Dutka Foundation expressive variety encountered is accordingly vast: that tells of an invitation spurned, Her Gown was of Competitions. indeed, the gradual evolution of Ives’s songwriting, Vermilion Silk (1897) is among the more suave of Ives’s from those drawing overtly on the Austro-German earlier songs, despite its pert piano pay-off. Lieder and English parlour-song tradition to ones that With its heavily chorded piano prelude and its evince anarchic humour as keenly as others do profound granitic setting of lines (for unison male voices) by vision, is analogous to the evolution of American music Robert Robinson, His Exaltation (1913) is among the over the last quarter of the nineteenth and first quarter of most forceful of Ives’s transcendentalist statements. J.J. Penna the twentieth centuries. A literal ‘translation’ of the final movement from Although it would be possible to collate Ives’s his orchestral Three Places in New England, The J.J. Penna has performed in recital with such notable singers as Kathleen Battle, Harolyn songs according to type, the alphabetic approach Housatonic at Stockbridge (1908) sets Robert Blackwell, David Daniels, Denyce Graves, Kevin McMillan, Florence Quivar, Andreas adopted by this edition ensures each volume (of which Underwood Johnson’s meditation on the river’s course Scholl, Sharon Sweet, Christopher Trakas, Indra Thomas and Ying Huang. He has been heard this is the third) contains a cross-section of his with an underlying momentum evincing strong at the Kennedy Center in Washington, D.C., at Weil Hall and Merkin Recital Hall in New achievement. A wide range of poets is set (Ives could be emotions held barely in check. York City, at the Palacio de Bellas Artes in Mexico City, in Seiji Ozawa Hall at Tanglewood, highly interventionist in others’ verse), including a The setting of Gerhardt Tersteegen (as translated by as well as on concert tours throughout the United States, Europe, Asia, the Far East, South number of (mainly early) German settings as well as John Wesley), Hymn (1921) is typical of Ives in his America, and the former Soviet Union. He has performed and held fellowships at prestigious forays into French and Italian writers. Whatever else, most metaphysical mode as the poem’s sentiments bring festivals such as Tanglewood, Chautauqua Institution, Banff Center for the Arts, Norfolk, the the temporal distance (1887-1926) traversed by these forth unruffled music of a serene ecstasy. Music Academy of the West, and San Francisco Opera Center’s Merola Program, and has songs is as little compared to their stylistic diversity and Hymn of Trust (1898) is a sacred song, to words by been on the faculties of the Juilliard School, Norfolk Chamber Music Festival, Yale also their emotional range. Oliver Wendell Holmes, in which voice and keyboard University School of Music and Westminster Choir College of Rider University. Photograph: Lisa Kohler The extent to which Ives reworked songs (probably intended for organ and adapted so by John throughout his career is considerable, whether Kirkpatrick) are closely intertwined, and with a telling substituting a text or reworking the actual music. To this illustrative touch near the close (see also Volume 4, end, songs with a musical or textual connection are track 21, Naxos 8.559272). crosslinked accordingly (i.e. in brackets at the end of the Utilising the poem Ein Ton by Peter Cornelius relevant paragraph). (translated by C. Hugo Laubach), I Hear a Tone (1900) With its intricate harmony and surging motion, is surely among the most elegant of Ives’s Harpalus (1902) is a notably unsentimental view of straightforward ‘Lieder’ settings (see also Volume 4, Thomas Percy’s stanzas on unrequited love: as Ives track 18, Naxos 8.559272, and Volume 6, track 12, notes in an epigraph to the score, “We are all sorry for Naxos 8.559274). Harpalus - notwithstanding the music” (see also Volume Despite a momentarily disruptive central section, I 4, track 31, Naxos 8.559272). Knew and Loved a Maid (1898) sets its anonymous text 8.559271 10 3 8.559271 559271 bk Ives US 6/10/08 2:22 PM Page 4

with an impulsive directness as could almost be that of piano writing (see also Volume 4, track 20, Naxos Ayano Kabaoka an English composer from the same period. 8.559272). Setting the famous poem by William Wordsworth, I With its expressive vocal line and seamless Marimbist-percussionist Ayano Kataoka, a native of Japan, has appeared with Yo-Yo Ma and Travelled Among Unknown Men (1901) is notable more accompaniment, In Summer Fields (1898) sets Henry G. the Silk Road Ensemble at Carnegie Hall, performed Bartók’s Sonata for Two Pianos and for its undulating piano part than for its over-wrought Chapman’s translation of Hermann Allmers with a nod Percussion with Emanuel Ax, his wife Yoko Nozaki, and principal timpanist of Philadelphia vocal line (see also Volume 2, track 20, Naxos 8.559270). to the songs of Liszt, for all that the repetition of certain Orchestra, Don Liuzzi at Alice Tully Hall, given a début solo recital at Tokyo Opera City Setting a well-known lyric by Heinrich Heine, Ich phrases seems less effective here (see also Volume 2, Recital Hall, and given a world première performance of Songs from Bass Garden by Steven grolle nicht (1898) is a thoughtful treatment of its text, track 16, Naxos 8.559270). Burke. She is the first percussionist to be chosen for The Chamber Music Society of Lincoln such that Ives defended himself against those who might An early instance of Ives’s quizzical humour, In the Center’s Chamber Music Society Two program. She is a graduate of the Tokyo National criticize him for appearing to emulate the work of his Alley (1896) sets his own words as a drawing-room University of Fine Arts and Music, with a Master of Music degree from the Peabody fabled Austro-German predecessors (see also below, ballad whose contrived rhyming scheme is capped by Conservatory and Artist Diploma degree from the Yale School of Music, where she studied track 13). the drawn-out expectancy of the final bars. with Robert van Sice, the world-renowned marimba virtuoso. As if to pre-empt this criticism, I’ll Not Complain In the Mornin’ (1929) is the late harmonization of a (1898) sets the same Heine poem in translation by John spiritual, supplied by Mary Evelyn Stiles, that Sullivan Dwight; less poetic than the original, it yet effortlessly preserves its heartfelt essence. preserves the music’s noble essence (see also above, With words by George Gordon (Lord Byron), The Sumi Kittelberger track 12). ‘Incantation’ (1921) is among the most visionary songs Another German text, here by Johann Wolfgang of Ives’s later years; evoking so much with its intoned Sumi Kittelberger studied voice with Roland Hermann in Karlsruhe and with Doris von Goethe, Ilmenau (1903) is most notable for a clarity vocal line and gently rippling accompaniment. Yarick Cross at Yale University. In 2006 she became a member of the International and restraint that aptly capture the warm sentiments of Very different is The Indians (1921), a setting of Opera Studio in Zürich. In the 2007/08 season she joined the ensemble of the Luzern the text (see also Volume 4, track 32, Naxos 8.559272). Charles Sprague that evokes the decline of a culture in Theater, singing Olympia in Les contes d’Hoffmann and Nanetta in Falstaff. She has A setting of the composer’s own lines, Immortality terms both fatalistic and poignant. sung with the Kammeroper in Frankfurt am Main as well as with the Theater in Ulm. In (1921) is typical of late Ives in the stark contrasts of its The setting of Ives’s own words, The Innate (1916) 2006 she sang the child in L’enfant et les sortilèges and Lauretta in Gianni Schicchi as moods: qualities which, in this instance, seem most finds him at his most soul-searching and philosophical, well as Merlina/Silberklang in the Italian première of Le disavventure teatrali with the likely to betray an autobiographical connotation. with both the vocal line and piano part intensifying as a Orchestra Sinfonica di Milano Giuseppe Verdi. In concert she has appeared with the With its words by Clifton Scollard, In April-Tide ‘way forward’ seems to be envisaged. Musica Angelica Baroque Orchestra at the Schwetzingen Festival and in Carnegie Hall. (1897) is among the most warmly attractive of Ives’s Setting lines by Parmo Karl Ploug (translated by earlier songs both in its deftly phrased vocal line and its Clara Kappey), Kären (1900) is a gentle song of love’s limpid accompaniment (see also Volume 1, track 7, intimations whose questioning final words are Diego Matamoros Naxos 8.559269). delectably underlined by the piano’s teasing half-close. Another instance of Ives’s early songwriting, In The Last Reader (1921) is a curious song in that its The baritone Diego Matamoros joined the roster of the Metropolitan Opera in 2007 to cover Autumn (1896) sets an unknown source as a winsome text, by Oliver Wendell Holmes Snr, has a quaintly Marco in their new production of Gianni Schicchi. In 2008 he returned to make his début as ‘parlour song’ that is over too soon. meandering feel that Ives’s music reinforces with a Potapitch in Prokofiev’s The Gambler under Valery Gergiev, and also to cover rôles in In Flanders Fields (1917) is notable for the tonal waywardness that can only be deliberate. Macbeth, War and Peace, and Manon Lescaut. As winner of The Opera Foundation’s 2008 allusions to both American and French national tunes Something approaching a sacred song, The Light competition, he will spend the 2009 season in residence at the Teatro Regio di Torino, during this setting of implacable lines by John McCrae, that is Felt (1903) sets John Greenleaf Whittier’s where he will appear as Schaunard in La Bohème, among many other rôles. He was also as well as a falling-away in the final bars that serves to stanzas on childhood innocence as reflected in adult recently a featured artist on the PBS Sunday Arts “Young Opera” series. While a student at place its sentiments in a wholly new and more equivocal experience with a poise to offset any sentimentality. Yale Opera he performed numerous rôles, including Demetrius in A Midsummer Night’s perspective. With its (likely autobiographical) lines on mortality Dream, Guglielmo in Così fan tutte, and Smirnoff in Walton’s The Bear. Setting some (not very distinguished) lines by J. M. and the imminence of death by John Keats, Like a Sick Chauvenet, In My Beloved’s Eyes (1899) is saved from Eagle (1920) is notable for its motion, halting yet sentimentality by the warmth of its vocal line and poised sustained, and also for the use of glissandi in the vocal

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Robert Gardner part that reflect the song’s origin in a piece for violin With verses by Rudyard Kipling, The Love Song of and piano. Har Dyal (1899) eschews overt plaintiveness for a more The baritone Robert Gardner has appeared with numerous opera houses and orchestras in Setting words by Edwin Markham, with an epigraph subdued melancholy as the protagonist contemplates a the United States, Europe, and Asia, including New York City Opera, Washington (spoken here) by the composer, Lincoln, The Great life of drudgery without her lover. National Opera, Bavarian National Opera, Santa Fe Opera, Aspen Music Festival, Commoner (1919) is one of Ives’s most powerfully Setting a haiku-like text by Robert Underwood Spoleto Festival, the Munich Philharmonic, and the major orchestras in Pittsburgh, rhetorical songs; paying tribute to the slain president Johnson, Luck and Work (1920) compares the reckless Dallas, Denver, San Diego, Santa Rosa, New Haven, and Kansas City. His recent opera with its implacable vocal writing and a densely chorded fortune-seeker with the methodical pragmatist in terms débuts include Marcello in La Bohème, Sharpless in Madama Butterfly, Zurga in The piano part. as contrasted musically as they are lyrically. Pearl Fishers, and Robert Storch in Intermezzo. His recent concert performances include Ives’s last setting of Heinrich Heine (and also of a Ein deutches Requiem with the Dallas Symphony Orchestra, and Mendelssohn’s Elijah. German text), Die Lotusblume (1908) evinces an Robert Gardner has been named the 2007 winner of the Lili Boulanger Memorial Award inevitably retrogressive feel for its date, despite its easeful Richard Whitehouse by the foundation started in 1936 by Nadia Boulanger. He is the third singer to win the charm (see also Volume 5, track 37, Naxos 8.559273). award in its prestigious history. A 2001 Pro Musicis International Award winner, he is also the winner of the 1999 William Matheus Sullivan Foundation 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 Bavarian National Opera in Munich, and the Steans Institute for Young Artists at Ravinia in Chicago.

Ian Howell

Praised by The New York Times for his “…clear voice and attractive timbre,” countertenor Ian Howell has performed on major concert stages across the United States, Europe, South Janna Baty America, Mexico, Canada, Japan and Taiwan. In 2006 he took First Prize at the American Bach Soloists International Solo Competition and Third Prize at the Oratorio Society of Mezzo-soprano Janna Baty’s versatile career includes engagements with the Boston New York’s Competition. He can be heard with the all male chamber choir Chanticleer on Symphony, Los Angeles Philharmonic, the Daejeon Philharmonic (South Korea), one DVD and seven CDs, including the GRAMMY award-winning Lamentations and Hamburg State Opera, the Orchestre National du Capitole de Toulouse, Royal Praises. In recent seasons, he has performed the rôles of Endimion in Cavalli’s La Calisto, Philharmonic Orchestra, Tallahassee Symphony, Tuscaloosa Symphony, Longwood Oberon in Britten’s A Midsummer Night’s Dream, and in several Handel operas including Symphony, Hartford Symphony, the Orquesta Filarmónica de Bogotá (Colombia), Opera Hercules (Lichas), Semele (Athamas), Solomon (Solomon) and Belshazzar (Daniel). He has Theatre of St Louis, Eugene Opera, Opera North, and Boston Lyric Opera. She has sung appeared as a soloist with such groups as the American Bach Soloists, the Oratorio Society under a number of very distinguished conductors and has performed at the Aldeburgh and of New York, Musica Sacra, the Berkshire Choral Festival, the Portland Baroque Orchestra, Britten Festivals in England, the Varna Festival in Bulgaria, the Semanas Musicales de the Amherst Early Music Festival, and the Choir of St Thomas Fifth Ave. Frutillar Festival in Chile, and the Tanglewood and Norfolk festivals in the United States. Winner of several international competitions, most notably the XXI Concurso Internacional de Ejecución Musical “Dr. Luis Sigall” (Chile), she has worked with many composers on performances of their music. Her recordings include the critically lauded Vali: Flute Concerto / Deylaman / Folk Songs (Set No. 10) with Boston Modern Orchestra Project (Naxos 8.557224), and Chandos’s recording of Lukas Foss’s opera Grifflekin (as the Mother).

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Lielle Berman Jennifer Casey Cabot

American soprano Lielle Berman’s rôles include Cunégonde in Candide with the Photograph: Christian Steiner Soprano, Jennifer Casey Cabot’s career includes many of opera’s great heroines: New York City Opera, Tytania in Britten’s A Midsummer Night’s Dream and Violetta, Mimì, Manon, Susannah, Musetta, Donna Elvira, the Countess, Pamina and Cunegonde with the Orchestra Sinfonica di Milano Giuseppe Verdi, Lauretta in Konstanze with the following opera companies: Boston Lyric Opera, Washington Gianni Schicchi with Yale Opera, Despina in Così fan tutte with Indianapolis Opera, Opera, New York City Opera, Calgary Opera, Florida Grand Opera and Central City the Second Niece in Peter Grimes with the Opéra National de Paris, Lucia in Lucia di Opera among others. She has appeared with the National Symphony under Leonard Lammermoor, Sophie in Werther and Tatyana in Eugene Onegin with the Pittsburgh Slatkin, in the Athens Concert Hall with Sir Neville Marriner and with the New York Opera Center. As a member of the Lyric Opera Center at the Lyric Opera of Chicago Philharmonic with Alan Gilbert. Her concert career has included Strauss’ Four Last she performed and covered numerous rôles, including Nannetta in Falstaff, Adèle in Songs, Villa Lobos’ Bachianas Brazileiras No. 5, Mahler’s Fourth and Eighth Die Fledermaus, Frasquita in Carmen, Daisy Buchanan in The Great Gatsby, and the Symphonies, Mozart’s Exsultate Jubilate and Mass in C Minor, Handel’s Messiah, Queen of the Night in Die Zauberflöte. She has appeared with the Chicago Symphony and Beethoven’s Ninth. In the 2007-2008 season she joined the Metropolitan Opera Orchestra, the Festival de Musique de St Barth, the Colorado Symphony Orchestra, for Mozart’s Le nozze di Figaro and La traviata and returned to the National and the New Haven Symphony Orchestra, among others. Lielle Berman was a 2006 Symphony for Handel’s Messiah. She was a resident soloist with the Deutsche Oper semi-finalist in the Metropolitan Opera National Council Auditions, and received her Berlin and the Staatstheater Braunschweig. A New York native, she holds a BA and a Master of Music degree at Yale University School of Music in May 2005. BM from Oberlin College and an MM from the Yale School of Music. Daniel Trevor Bircher Michael Cavalieri Daniel Trevor Bircher’s rôles with Yale Opera include Marcello in La Bohème, Guglielmo in Così fan tutte, and Demetrius and Starling in A Midsummer Night’s Dream. While at Yale he Michael Cavalieri has sung a versatile range of styles and repertoire ranging from Mozart to also appeared with the Orchestra Sinfonica di Milano Giuseppe Verdi in such rôles as John Gounod, Gershwin and Argento. He has sung with Arizona Opera, Yale Opera, Santa Fe Opera, Styx in Orphèe aux enfers, Danilo in Die lustige Witwe, Siméon in L’enfant prodigue, Le the Orchestra Sinfonica di Milano Giuseppe Verdi, and the Chicago Symphony Orchestra. Directeur in Les mamelles de Tirésias, and Marco in Gianni Schicchi. He received his Master of Music degree from the Yale School of Music in 2006. Patrick Carfizzi

American bass-baritone Patrick Carfizzi is a regular performer with the Metropolitan Douglas Dickson Opera. He recently sang Schaunard in La Bohème, Masetto in Don Giovanni, Haly in L’Italiana in Algeri, Peter Quince in A Midsummer Night’s Dream and Antonio in Le The pianist Douglas Dickson received his B.A. degree from Princeton University and his nozze di Figaro. Other engagements include Papageno in Die Zauberflöte and Don M.M.A. from the Yale School of Music. He has performed in the United States, Europe, Magnifico in La Cenerentola with Houston Grand Opera, Leporello in Don Giovanni Asia, and South America, in venues ranging from Japan’s Expo Hall to the Cincinnati with Minnesota Opera, Figaro in Le nozze di Figaro with Michigan Opera Theatre, Coliseum. While still in college he was the accompanist for the American Boychoir. As Bartolo in Il barbiere di Siviglia with the Canadian Opera Company and Opera part of Duodecaphonia, a prize-winning piano duo, he has performed at the Kennedy Theatre of St Louis, Pandolfe in Cendrillon with Central City Opera and Frank in Die Center and elsewhere. Douglas Dickson has been music director for productions at Fledermaus with Seattle Opera. Additional credits in North America include Quinnipiac University, the Yale School of Drama, Opera Theater of Connecticut, and engagements with the Seattle Symphony, San Francisco Symphony and the Connecticut Experimental Theater. He was music director and conductor for Yale Opera’s Tanglewood Festival. A graduate of the Yale University School of Music, Patrick production of Britten’s The Rape of Lucretia, and he conducted a concert featuring Yale Carfizzi is the winner of seven prestigious awards, most recently the 2002 Richard Tucker Career Grant Award and Opera with the Orchestra Sinfonica di Milano Giuseppe Verdi. He has served for fourteen the 2001 George London Award. years on the faculty of Quinnipiac University, and joined the Yale faculty in 1998. He recently made his Carnegie début in an all Ives concert at Weill Recital Hall.

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Lielle Berman Jennifer Casey Cabot

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Ian Howell

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BÉRIOT: Concerto No. 5 displays a more playful side of Bériot. BÉRIOT: Charles-Auguste de DDD BÉRIOT Playing Time (1802-1870) 70:56 Violin Concertos Nos. 2, 3 and 5 Violin Concertos Nos. 2, 3 and 5 Violin Concertos Nos. 2, 3 and 5 Concerto No. 2 5 Adagio 5:45 in B minor, Op. 32 28:24 6 Rondo: Allegretto 1 Allegro maestoso 14:00 – Allegro vivace 7:46 2 Andantino 5:34 Concerto No. 5 3 Rondo russe: Allegretto 8:50 in D major, Op. 55 15:25 Concerto No. 3 7 Allegro moderato 8:04 Naxos Rights International Ltd. in E minor, Op. 44 27:07 8 Adagio 3:22 www.naxos.com Disc made in Canada. Printed and assembled USA. Booklet notes in English

4 Moderato 13:36 9 Allegro 3:59 & Philippe Quint, Violin 2008 Slovak Radio Symphony Orchestra Kirk Trevor Includes Free Downloadable Bonus Track available at www.classicsonline.com Please see inside booklet for full details Recording based on music material of the Royal Conservatory Library, University College Gent (Belgium) 8.570360 Recorded at the Concert Hall of the Slovak Radio, Bratislava, from 23rd to 27th October, 2006 8.570360 Producer: Emil NiÏÀansky • Engineer and Editor: Hubert Geschwandtner Research: Jonathan Frohnen • Booklet Notes: Bruce Schueneman and Keith Anderson Cover portrait of Charles-Auguste de Bériot by Benjamin Chai