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Lawrence Brownlee Myra Huang MARCH 4, 2020 LAWRENCE BROWNLEE TENOR MYRA HUANG PIANO GIOACHINO “Ecco, ridente in cielo” from Il Barbiere di Siviglia ROSSINI (1792-1868) WOLFGANG “Un’ aura amorosa” from Così fan tutte AMADEUS MOZART (1756-1791) GEORGES BIZET “Je crois entendre encore” from Les Pêcheurs de perles (1838-1875) GAETANO “Una furtiva lagrima” from L’elisir d’amore DONIZETTI “Ah! mes amis” from La Fille du régiment (1797-1848) ARR. DAMIEN Selections from Spiritual Sketches SNEED Every Time I Feel the Spirit (b. 1979) Here’s One Deep River Come By Here INTERMISSION TYSHAWN SOREY Cycles of My Being (b. 1980) Inhale. Exhale TEXT BY Hope (pt. 1) TERRANCE HAYES Whirlwind (b. 1971) Hate Hope (pt. 2) Each Day I Rise, I Know LAWRENCE BROWNLEE American-born tenor Lawrence Brownlee captivates audiences and critics around the world, and has been hailed as “an international star in the bel canto operatic repertory” (The New York Times) and “one of the most in-demand opera singers in the world today” (NPR). The 2019-2020 season started with a return to Lyric Opera of Chicago for one of his signature roles as Count Almaviva in Il Barbiere di Siviglia under the baton of Sir LAWRENCE Andrew Davis, followed by the Dutch National Opera BROWNLEE for another Rossini comedy favorite as Don Ramiro in tenor La Cenerentola. Brownlee also returns to Houston Grand Opera, adding a new role to his repertoire as Fernand in a new production of Donizetti’s La Favorita. Brownlee then switches gears to perform several concerts and recitals with the Orchestra dell’Academia Santa Cecilia, Münchner Rundfunkorchester, Würth Philharmoniker, and more. He also performs in a series of solo recitals featuring his critically acclaimed song cycle, Cycles of My Being, which centers on the black male experience in America today, and includes appearances at Shriver Hall in Baltimore and at Gardner Museum Concerts in Boston. This spring includes a house debut at Dallas Opera for Il Barbiere di Siviglia. Brownlee’s season concludes with Il Pirata at the Konzerthaus Dortmund and Klangvokal Festival and Beethoven’s 9th Symphony at the BBC Proms. Last season, Lawrence Brownlee performed at some of the most esteemed international opera houses, including the Opéra National de Paris, Opernhaus Zürich, Deutsche Oper Berlin, and Opéra Royal de Wallonie-Liège, and stateside at the Houston Grand Opera. He also gave a 12- stop U.S. tour with Eric Owens, performing at the Seattle Symphony, Philadelphia Chamber Music Society, and the Los Angeles Philharmonic, as well as a performance at Carnegie Hall with Jason Moran and Alicia Hall Moran. Brownlee’s latest album, Allegro Io Son, received a Critics’ Choice Award from Opera News, among numerous other accolades, and followed his previous Grammy-nominated release on Delos Records, Virtuoso Rossini Arias. His opera and concert recordings include Il Barbiere di Siviglia with the Bayerische Rundfunk Orchestra, Armida at the Metropolitan Opera, Rossini’s Stabat Mater with Accademia di Santa Cecilia, and Carmina Burana with the Berlin Philharmonic. He also released a disc of African American spirituals entitled Spiritual Sketches with pianist Damien Sneed, which the pair performed at Lincoln Center’s American Songbook series. Brownlee was awarded a Masters of Music from Indiana University and went on to win Grand Prize in the 2001 Metropolitan Opera National Council auditions. He also serves as Artistic Advisor at Opera Philadelphia, helping the company to expand their repertoire, diversity efforts and community initiatives. Alongside his singing career, Brownlee is an avid salsa dancer and an accomplished photographer, specializing in artist portraits of his on-stage colleagues. A die-hard Pittsburgh Steelers and Ohio State football fan, Brownlee has sung the National Anthem at numerous NFL games. He is a champion for autism awareness through the organization Autism Speaks, and he is a lifetime member of Kappa Alpha Psi Fraternity Inc., a historically black fraternity committed to social action and empowerment. Lawrence Brownlee appears by arrangement with IMG Artists, 7 West 54th Street, New York, NY 10019. Tel: 212.994.3500. MYRA HUANG, PIANO Acclaimed by Opera News as a top accompanist and giving performances in “...a coloristic tour de force” (The New York Times), Grammy Award-nominated pianist Myra Huang performs in recitals and chamber music concerts around the world. Highly sought after for her interpretation of lieder and art songs, as well as her depth of musicianship and impeccable technique, she regularly performs with acclaimed opera singers around the world. This year she performs recitals throughout the U.S., MYRA HUANG including the Philadelphia Chamber Music Society, the piano Walt Disney Concert Hall in Los Angeles, The Kennedy Center, Interlochen Music Festival, Hill Auditorium at the friendsofchambermusic.com 1 University of Michigan, and the Mostly Mozart Festival at Lincoln Center. Her recital with tenor Lawrence Brownlee at Carnegie Hall was chosen by WQXR as one of 2018’s best classical recitals of the year, and is being presented with the Samuel Sanders Collaborative Artist Award for 2019 by The Classical Recording Foundation. Huang has served on the music staffs of the Washington National Opera, Houston Grand Opera, New York City Opera, and the Palau De Les Arts in Valencia, Spain where she worked with Lorin Maazel and Zubin Mehta. From 2011-2013, she served as the Head of Music Staff at New York City Opera. She is a staff pianist for the Operalia competition, directed by Plácido Domingo, performing at opera houses around the world such as Teatro alla Scala (Milan), the Royal Opera House (U.K.), the National Centre for the Performing Arts (Beijing), and Teatro Real (Madrid). She regularly teaches at young artist programs throughout the U.S. to train young opera singers and pianists, including Music Academy of the West and the Houston Grand Opera Studio. A member of the music staff of the Steans Institute at Ravinia, she also joined the music staff of the Metropolitan Opera Lindemann Young Artist Development Program in the 2019-20 season. As a recording artist, Huang’s recordings have received critical acclaim from The New York Times, Gramophone UK, Opera News, and The Boston Globe. Her recent album Gods and Monsters with tenor Nicholas Phan was nominated for the “Best Classical Vocal Solo Album” category at the 2018 Grammy Awards, and Opera News stated that “Huang matches the tenor with a pianistic arsenal of colors and attacks, controlled by her astonishing technique.” Her most recent album, Illuminations on the Avie label with tenor Nicholas Phan, the Telegraph Quartet, and the chamber ensemble The Knights, has also been highly praised. Other albums include Winter Words and Still Falls the Rain (Avie) with Nicholas Phan, and Paysages (Bridge) with soprano Susanna Phillips. Huang is a Steinway Artist. 2 friendsofchambermusic.com NOTES Lawrence Brownlee has been called the finest interpreter ARIAS of Rossini in the present day, so it is fitting that this diverse program opens with a showcase aria from the ever-popular Barber of Seville, which survived a mess of a premiere in 1816 to become a top-ten staple of opera houses. The madcap, accelerating pileups of sound, likewise the tongue-twisting patter arias, are irresistible. “Ecco, ridente in cielo” (“Here, laughing in heaven”) is sung at the start of the opera by the handsome Count Almaviva, who is in love with the fetching maiden Rosina and will rely on the barber of the title to secure their romance. Usually accompanied by guitar, the Count sings a simple song in two keys with some chromatic passages in between— representing, perhaps, the sting of Cupid’s arrow. “Un’aura amorosa” (“A loving breath”) is from Mozart’s comic opera Così fan tutte, or Women Are Like That, which also places men on the chopping block. It’s a sequel of sorts in the canon to The Barber of Seville. The aria, sung by Ferrando, an officer who mistakenly believes that his fiancée will remain faithful to him, is nettlesome for even the most seasoned performers. Slower than usual for an opening aria and set in a tricky range for the tenor voice, it requires the performer to pull off major technical feats. That Ferrando is deceiving himself about his bride is represented by harmonic wrong turns, but his belief in the power of love is ravishingly sustained. Even more ravishing is “Je crois entendre encore” (“I think I still hear” [her voice]), which comes from Bizet’s 1863 Les Pêcheurs de perles (The Pearl Fishers). Like his better- known opera Carmen, it is a sultry mixture of eroticism and exoticism. The plot centers on two fishermen whose friendship is imperiled by their obsession with the same woman, the priestess Leila. She, too, is conflicted, but in this instance between her commitment to the church and her desire for romance. “Je crois” is sung by the lovestruck Nadir, the younger fisherman, at the end of the first act, and is cast in the dreamscape of a barcarole rhythm, most often associated with gondolier songs, but here crossing the realm from reality to fantasy. friendsofchambermusic.com 3 Program Notes The first of the two Donizetti arias is a concert staple from Continued L’elisir d’amore (The Elixir of Love): “Una furtiva lagrima” (“A furtive tear”). The tenor Nemorino proclaims that the potion he has acquired with his last cent has worked on the girl of his dreams, who has otherwise been indifferent to him owing to his low standing. The potion is fake, a batch of sour red wine sold to him by a trickster, but the sincerity of his affections nonetheless wins his beloved’s heart. It’s a lovely song, but also places the tenor at risk: the opening exposes the thinness of his hopes in the potion and requires him to sing almost above the notes.
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