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UBCSYMPHONY ORCHESTRA Jonathan Girard, Director of Orchestral Activities

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UBCSYMPHONY ORCHESTRA Jonathan Girard, Director of Orchestral Activities UBCSYMPHONY ORCHESTRA Jonathan Girard, Director of Orchestral Activities EsassEzssaEffltw H t'~ . \-% •*&;'*f*f'.1& HSU ^P?^f> The Splendid Universe fe*'S? " -. '"'.. v-3>:>.,,,v•>•.,'* CARRUTHERS Slippages %emWis "^'•Si^-mk IS MAHLER a^i3S?1f3 Das Lied von der Erde Katherine Ciesinski | -.'. £N J. Patrick Raftery fe^ ^ii^^ ,«K."IA •**.«•••„•• • -»-/.<i .j.. '£^ JlPfSSr*" •• Safe ftV-^&jjT* V"'A^ " #^AKAA •-•'• October 4 &5,20181 12:00PM (MaMepMlyy $S||bM$ Chan Centre for the Performing Arts gUBCSYMPHONON Y „(N ORCHESTRA o Jonathan Girard, conductor V; The Chan Centre for the Performing Arts Thursday, October 4,2018 • 12:00 PMI Friday, October 5,2018 • 7:30pm Tsang-Houei Hsu The Splendid Universe: Chinese Festival Overture (b. (1929-2001) (North American Premiere) Deborah Carruthers Slippages (WorldPremiere) (b. 1960) Interval Gustav Mahler Das lied von der Erde (1860-1911) I Das Trinklied vom Jammer der Erde The Drinking Song of the Sorrow of the Earth II. Der Einsame im Herbst The Lonely One in Autumn III. VonderJugend Of Youth IV. Von der Schonheit Of Beauty V. DerTrunkene im Fruhling The Drunkard in Spring VI. DerAbschied The Farewell Katherine Ciesinski, mezzo-soprano James Patrick Raftery, tenor We acknowledge that the UBC Point Grey Campus is situated on the traditional, ancestral, and unceded territory of the Musqueam people. Please turn off all camera, laptop, cell phone, and recording devices. Their use is strictly prohibited during the performance. UBC Symphony Orchestra Violin I Adrian Pang Ciaran De Groot Daniel Tsui, concertmaster Kimberly Kistler Janelle Julian Madelynn Erickson Zeta Gesme Ayumi Yaesawa Selina Lee Trumpet Jeremy Ho Matheus Moraes* Michaela Moon Sophia Cho Silas Friesen Alexander Wilde Alexander Knopp Spencer Service Kurt Chen Bruno Quezada Yiyi Hsu Mark Petrov Trombone Helen Koenig Yijia Fang Devon Atkinson* Eleanor Yu Andrea Norman Nellicia Klop Bass William Paradine Sean McCarthy* Bass Trombone Justine Lin Hannah Rubia Louis Lam* Robin Neuvoenen Nathalie Sam Tuba Violin II Piccolo Alan Li* Jeongah Choi* Emily Richardson CJ Kanjilal Thomas Law Harp Rachel Kwok Hayley Farenholtz* Noelle Kelbert Melody Chen Flute Catie Akune Vicky Zhang* Kelly Li Celeste Adrian Kwan Aydan Con Log Lin Emily Richardson Thomas Law Victoria Rose Mandolin Virginia Cinelli Oboe Micki-Lee Smith Bruce Lin Nimo Mendoza* Xianhe Yan William Lin Timpani Brandon Park Andrew Montgomery Adam Dopierala* Michelle Panikkar Viola Clarinet Carlos Savall* Percussion Nina Weber* Adam Dopierala Caroline Olsen Victor Mangas Jonathan Lopez Michelle Panikkar Alexander Beggs Kristofer Siy Christina Bailey Bass Clarinet Jaelem Bhate Denny Ho Valerie Kim Francesca Kohn Assistant Conductors Katie Martin Bassoon Jaelem Bhate Wren Liang Kyle Cleland* Zane Kistner Yichen Cao Ingrid Chiang * denotes principal player Emily Love Sarah Ellis Violoncello Horn Susie Yoo* Kristin Ranshaw* Anders Grasdal Lyla Lee Kevin Li Bronte Wagar Jonathan Girard is one of the rising stars of his generation. A passionate musician committed to engaging audiences with thrilling performances, he enjoys a reputation as a musical force equally versed in symphonic repertoire, opera, and new music. As the Director of Orchestras at the University of British Columbia School of Music, Girard dedicates himself to raising the standard of orchestral training in Western Canada. Highlights of recent seasons of the UBC Symphony Orchestra include Mussorgsky's Pictures at an Exhibition, Hoist's Planets, Mozart's Requiem and Brahms' Symphony No. 2. Other landmark performances include two performances of Mahler's Symphony No. 2 with 300 musicians onstage, and a performance of Stravinsky's Le Sacre du printemps that marked the 100th anniversary of the work's premiere. A champion of new music, Girard is in the midst of a two-year project for the Centrediscs label, recording concerti by British Columbia composers. He premiered Stephen Chatman's new opera, Choir Practice, released by Centrediscs in May 2016. Girard has conducted world premieres of works by Ricardo Zohn Muldoon, Elizabeth Kelly, JungSun Kang, and John Liberatore, and has conducted the North American premieres of NONcerto for Trumpet and Orchestra by Richard Ayres and Saturnalia and Endre es Johanna by Emmerich Kalman. Girard has worked closely with Maestro Bramwell Tovey at the VSO Summer Institute as assistant conductor and conducted the 2017 Marrowstone Festival Orchestra. He has also held a variety of prestigious positions at the University of Northern Iowa School of Music, the New Eastman Outreach Orchestra and Waltham Philharmonic (MA), the Brockton Symphony Orchestra (MA), and Portland (ME) Opera Repertory Theatre. At the Eastman School of Music, he studied conducting with Neil Varon and was the assistant conductor of the Eastman Symphony Orchestra, the Eastman Philharmonia, and the Eastman Opera Theatre. A native of Montreal, Quebec, Deborah Carruthers was the inaugural 2017- 2018 Peter Wall Institute for Advanced Studies Artist-in-Residence. She was invited to UBC while an artist in residence at the Banff Centre for Arts and Creativity in 2017. Her inter-arts artistic practice has allowed her to pursue several topics of particular interest: genetics, the environment, absence, memorialization, and solastagia (the distress that may be experienced when your environment changes, but you are unable to leave). Her explorations are not unlike attempts to create involuntary memories. These memories may be influenced by our genetics and our environments, akin to Jacques Derrida's contention that the past can continue to haunt the present and are rich with regard to the senses. The use of a variety of media allows her to examine her topic of i nterest through engaging with touch, sight, sound, and occasionally taste. Carruthers typically distills a concept down into a title for a series, which then informs the direction of her investigations. "More and more I find myself wanting to integrate the use of sound into my work and am excited by such explorations. During my initial research, I often make extensive use of photography, which allows me to share exactly what caught my eye at a given moment: textures, colour, and detail. Paintings let me process ideas over time, and are not meant to be mimetic, but rather my lasting impressions. Sculpture allows me to create a memorial, literally expanding the idea into space. Finally, sound allows me to create a sense of place and geography, defying boundaries." This approach lends itself to the creation of series of works which individually present a facet of the idea under consideration, and collectively seek to provoke deliberation. J. Patrick Raftery's debut was with the San Diego Opera, singing Schaunard in La Boheme, sharing the stage with Luciano Pavarotti. After his years at the Boston Conservatory and The Juilliard School of Music, Mr. Raftery was awarded the Richard Tucker Music Foundation Prize and made his debut in New York's Carnegie Hall in the Tuker Winner's concert that same year. Rossini's Barber in the Washington Opera's The Barber of Seville drew Mr. Raftery international attention, and Figaro was his debut with The Paris Opera soon thereafter. Closely associated with the operas of Rossini, including two summers with the Rossini Festival in Pesaro, Mr. Raftery sang the role of Figaro over 200 times. Covent Garden's Count in Le Nozze di Figaro and Guglielmo in Cosi fan tutte for the Festival of Glyndebourne gave Mr. Raftery two prominent debuts in Great Britain in quick succession. Leading up to his debut at New York's Metropolitan Opera with Mirella Freni in Manon Lescaut, Mr. Raftery was one of North America's most prominent baritones. Mr. Raftery made his tenor debut with New York's Mostly Mozart festival at Avery Fisher Hall (now David Geffen Hall) leading to his debut at the world's most prestigious opera house, La Scala in Milan. Mr. Raftery has subsequently been re-invited as a tenor to the stages of London's Covent Garden, The Paris Opera, The Hamburg State Opera, The Canadian Opera Company, and numerous others. Mr. Raftery has performed as recitalist/soloist with The Boston Philharmonic Orchestra, The Boston Symphony Orchestra, The Cleveland Orchestra, Das Gewandhausorchester (Leipzig), The Philadelphia Orchestra, L'Orchestre de la Suisse Romande ("SWR"), Symphony Orchestra Baden-Baden, and Washington D.C.'s National Symphony Orchestra at the festivals of Tanglewood, Wolftrap, N.Y.'s Mostly Mozart Festival, Salzburg Mozart Festival, and numerous others. Teaching for over three decades. Professor Raftery has given Master Classes for the opera companies of The Pacific Opera Victoria, The San Diego Opera, Oper Graz, L'Opera de Montpellier, and the Universities of Western Ontario, Southern California, Lethbridge, Alberta, Toronto, and The Catholic University of America. After his years as adjunct Professor at the University of Western Ontario and University of Toronto, Professor Raftery joined the full time faculty at The University of British Columbia in 2014. Members of Professor Raftery's studio are now performing throughout the world in such theatres as the Bavarian State Opera, the Zurich Opera, The Canadian Opera Company, and the Young Artist Programs in Toronto, Vancouver, Calgary, Montreal, and Munich. The New York Times has called Katherine Ciesinski "a singer of rare communicative presence, and a musician of discrimination and intelligence." This accomplished American mezzo-soprano pursues a fully integrated career, exploring the world of today's
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