High School Voice Recital

Total Page:16

File Type:pdf, Size:1020Kb

High School Voice Recital Interlochen, Michigan 98th Program of the 94th Season * HIGH SCHOOL VOICE RECITAL Thursday, July 29, 2021 6:30pm, Music Center 1010 Le Violette ................................................................................. Alessandro Scarlatti (1660-1725) Kayden Carter, soprano, city, state Stephanie Baird, piano Quella Fiamma ............................................................................ Benedetto Marcello (1686-1739) Mariela Palencia, soprano, Annandale, Va. Stephanie Baird, piano Malinconia, ninfa gentile ..................................................................... Vincenzo Bellini (1801-1835) Anna Bjerken, soprano, Ithaca, N.Y. Migeun Chung, piano Dolente imagine di Fille mia ................................................................ Vincenzo Bellini (1801-1835) Kai Gehrman, baritone, San Francisco, Calif. Tiantian Liang, piano Tu, Ca Nun Chiagne! ...................................................................... Ernesto de Curtis (1875-1961) Mark Quehl, tenor, Alexandria, Va. Tiantian Liang, piano Quella Fiamma ............................................................................ Benedetto Marcello (1686-1739) Emma Whynacht, soprano, Fairhaven, Mass. Migeun Chung, piano Ideale ..................................................................................... Paolo Francesco Tosti (1846-1916) Josefina Angelina Arnett, mezzo-soprano, Katy, Texas Stephanie Baird, piano Adelaide ................................................................................ Ludwig van Beethoven (1770-1827) Christopher Leimgruber, tenor, Newark, Ohio Rebecca Edmiston, piano Ave Maria ........................................................................................ Franz Schubert (1797-1828) Sarah Usandivaras, soprano, Asuncion, Paraguay Tina Gorter, piano ~ INTERMISSION ~ Widmung ..................................................................................... Robert Schumann (1810-1856) Daniel Dunlap, tenor, Rolling Hills, Calif. Rachel Whatley, piano O Wüßt ich doch den Weg zurück ..................................................... Johannes Brahms (1833-1897) Arianna Potluri, mezzo-soprano, Kalamazoo, Mich. Rebecca Edmiston, piano Sommerabend ............................................................................... Johannes Brahms (1833-1897) Deirdre Chan, soprano, Great Neck, N.Y. Migeun Chung, piano Solveig’s Song ..................................................................................... Edvard Grieg (1843-1907) Alexandra Stewart, soprano, Keswick, Va. Rachel Whatley, piano Les roses d’Ispahan ............................................................................. Gabriel Fauré (1845-1924) Tess Alexander, soprano, La Canada, Calif. Tiantian Liang, piano Nuit d’etoiles .................................................................................. Claude Debussy (1862-1918) Katherine Hartrick, soprano, Boulder, Colo. Rebecca Edmiston, piano Come away, death ............................................................................... Roger Quilter (1877-1953) Oscar Yum, tenor, Altadena, Calif. Rachel Whatley, piano Shenandoah ............................................................................................ traditional arr. Jay Althouse Mason Watson, soprano, Ann Arbor, Mich. Migeun Chung, piano The Bird .................................................................................................. John Duke (1899-1984) Olivia Dubay, soprano, Raleigh, N.C. Tina Gorter, piano Money O! ............................................................................................ Michael Head (1900-1976) John Lynch, bass, Knoxville, Tenn. Stephanie Baird, piano Estrellita ........................................................................................ Manuel M. Ponce (1882-1948) Olivia Salazar, soprano, Sun Valley, Calif. Tina Gorter, piano VOICE FACULTY Elizabeth Litteral André Chiang Jeffrey Norris Margaret Plambeck Ian Greenlaw Autumn West Maxwell Trombley Laura O’Neill, Teaching Assistant * * * You can ensure the next promising young artist has the opportunity to come to Interlochen by supporting student scholarships. Make your gift to the Interlochen Annual Fund by visiting interlochen.org/giveonline. Interlochen Arts Camp is part of the nonprofit Interlochen Center for the Arts, a recipient of the National Medal of Arts and the only community in the world that brings together the finest in arts education, performance and public radio. In consideration of the performing artists and other patrons, the use of flash photography is not permitted. Federal copyright and licensing rules prohibit the use of video cameras and other recording equipment. In order to provide a safe and healthy environment, Interlochen maintains a smoke-free and alcohol- free campus. Michigan law prohibits any weapons, including concealed weapons, on Interlochen property because we are an educational campus. Thank you for your cooperation. www.interlochen.org .
Recommended publications
  • 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]
  • Modernist Aesthetic in the Case of Lord Alfred Douglas and Marie Carmichael Stopes
    33 The Poetry That Dare Not Speak Its Name: Modernist Aesthetic in the Case of Lord Alfred Douglas and Marie Carmichael Stopes Christina Hauck Kansas State University An improbable friendship sprang up in 1938 when one “Mrs Carmi- chael,” representing herself as a young mother, wrote Lord Alfred Douglas to show him a sonnet and ask his advice about publishing it. Little realizing that he was entering into correspondence with the notorious birth control advocate, Marie Carmichael Stopes, the staunchly Catholic Douglas wrote back kindly, calling Mrs. Carmichael a “pleasant poet” and lamenting his own difficulties publishing (Hall 282). If Douglas didn’t understand quite whom he was writing to, Stopes herself, rabidly homophobic and anti-Catholic, must have: Douglas’s claim to fame lay less in his poetry, whose quality critics debated fiercely when they bothered to read it at all, but in his having been a central actor in the events leading up to Oscar Wilde’s trial and imprisonment.1 By the time the correspondence had be- gun, Douglas had long converted to Catholicism and was admitting only to limited homosexual activities over a limited period, with Wilde or any- one else; Stopes apparently believed him.2 After several months, Stopes revealed her “true” identity. Douglas, understandably, was nervous. In a letter to George Bernard Shaw, he writes: I am fated to make friends with my enemies. For the last three months I have been corresponding with a lady who wrote about my poetry and poetry in general. She expressed great admira- tion for me as a poet.
    [Show full text]
  • 1661 Vll3d0 3H.L .LV .LNVA3'l
    1661 ·~upds 06v :l!snw 1un woN ~u-e r .A.rnw Vll3d0 3H.L .LV .LNVA3'l liV~SO Oscar Levant is known for his songs in the area of popular music, but his operas are virtually unknown. Obtaining and studying any one of his three operas should be important for establishing him as more than a popular-music composer. Levant's opera Carnival, from the 20th Century Fox movie Charlie Chan at the Opera, is especially worthy of consideration. Through careful analysis of this work, much can be learned about the style and interests of Oscar Levant. While comparisons to other composers and their works may be too extensive for this specific paper, some comparisons to Levant's own popular tunes of the same time period as Carnival may reveal remarkable similarities and/or differences. Along with an analysis of the score, observation of the opera as it is presented in the movie will provide information about the basis for its content and reveal its incorporation into the movie's plot. In addition, seeing the movie will give aural information, such as the types of instruments used. The interest in this topic stems from Oscar Levant's own books­ A Smattering of Ignorance, The Unimportance of Being Oscar, and The Memoirs of an Amnesiac. He refers to this opera in A Smattering of Ignorance. but his references to his musical acquaintances in The Memoirs of an Amnesiac may supply additional facts to help in understanding his musical style. Examining c 'arnival will contribute to showing the significance of Oscar Levant's style of composition.
    [Show full text]
  • On the Rejection of Oscar Wilde's the Picture of Dorian Gray by W. H. Smith
    humanities Article On the Rejection of Oscar Wilde’s The Picture of Dorian Gray by W. H. Smith Satoru Fukamachi Faculty of Humanities, Doho University, Nagoya 453-8540, Japan; [email protected] Received: 1 September 2020; Accepted: 26 October 2020; Published: 29 October 2020 Abstract: Wilde’s only novel, The Picture of Dorian Gray, is widely said to have been rejected by W. H. Smith, but there is no doubt that this did not happen. The letter sent to Wilde by the publisher strongly indicates that W. H. Smith contemplated removing the July issue of Lippincott’s Magazine, but does not go so far as to say that the bookstore did. This letter is the only evidence, however, that this is not absolute. The refusal to sell is mere speculation. The fact that none of Wilde’s contemporaries mentioned the incident of The Picture of Dorian Gray that supposedly happened, while the boycott of George Moore’s Esther Waters, which was much less topical than this one, was widely reported and discussed, provides further evidence that Wilde’s work was not rejected. Given that the censorship of literary works by private enterprises was still topical in the 1890s, it is unbelievable that the rejection of Wilde’s novel would not have been covered by any newspaper. It makes no sense, except to think that such a thing did not exist at all. It is also clear that this was not the case in the 1895 Wilde trial. Wilde’s lawyer argued that the piece was not a social evil because it was sold uninterruptedly, and the other side, which would have liked to take advantage of it in any way, never once touched on the boycott.
    [Show full text]
  • Reflection of Upper Class in an Ideal Husband and the Importance of Being Earnest
    Devasi M. Chandravadiya [Subject: Social Science] International Vol. 1, Issue: 7, September 2013 Journal of Research in Humanities and Social Sciences ISSN:(P) 2347-5404 ISSN:(O)2320-771X Reflection of Upper Class in an Ideal Husband and the Importance of Being Earnest DEVASI M. CHANDRAVADIYA Assistant Teacher, Shri Arablush Primary School, Lalpur Dist. Jamnagar Gujarat (India) Abstract: Oscar Wilde is a greatest Anglo Irish play writer. He was born on 16th October, 1854, in Dublin into a protestant Anglo Irish family. He left Ireland in 1878 and spent some time in London, Paris and United States where he traveled with intent to deliver his lecture. He was not only greatest play writer but also he contributed on fiction, child literature, fairy tale and poem such various literary fields. His marvelous dramas are Salome (1891), An Ideal Husband (1895), A Woman of No Importance (1893), Importance of Being Earnest (1898) and Lady Windermere’s Fan (1892): he presented very smart way like that satire, comic, tragedy, fashion and realism. He was fabulous master of drawing the realistic sketch of the character. He unmasked the social evils and weakness of the society. Keywords: Being earnest, Society, Upper class 1. Introduction In the time of Victorian era so many social evils spread in the society and upper class of human mind. Oscar Wilde took the responsibility to expose these evils and intrigue by his splendid plays. He reveals reality through his greatest plays with his unique writing skill. 2. Luxurious life Style Oscar Wilde’s play An Ideal Husband (1895) starts with big high profile culture party.
    [Show full text]
  • Oscar Wilde and His Literary Circle Collection: Wildeiana MS.Wildeiana
    http://oac.cdlib.org/findaid/ark:/13030/kt867nf36t No online items Finding Aid for the Oscar Wilde and his Literary Circle Collection: Wildeiana MS.Wildeiana Finding aid created by Rebecca Fenning Marschall William Andrews Clark Memorial Library © 2017 2520 Cimarron Street Los Angeles 90018 [email protected] URL: http://www.clarklibrary.ucla.edu/ Finding Aid for the Oscar Wilde MS.Wildeiana 1 and his Literary Circle Collection: Wildeiana MS.Wildeia... Contributing Institution: William Andrews Clark Memorial Library Title: Oscar Wilde and his Literary Circle Collection: Wildeiana Creator: William Andrews Clark Memorial Library Identifier/Call Number: MS.Wildeiana Physical Description: 19 Linear Feet27 boxes Date (inclusive): 1858-1998 Abstract: This finding aid describes a wide-ranging collection of material relating to Oscar Wilde and to his literary and artistic circle in late nineteenth- and early twentieth-century Great Britain. Clark Library. Language of Material: English . Provenance William Andrews Clark, Jr. acquired the nucleus of the Clark Library's Oscar Wilde collection from Dulau and Company, London, in 1929. Most of the Dulau material had been in the possession of Robert B. Ross (Oscar Wilde's literary executor), Christopher S. Millard (a.k.a. Stuart Mason, the Wilde bibliographer), and Vyvyan B. Holland (Wilde's only surviving son). Since 1929, the Clark Library has steadily purchased important new material and in the year 2000, the collection was estimated to contain over 65,000 items. It appears that large segments of the Wildeiana collection were likely originally part of the collection assembled by Wilde bibliographer Christopher Millard. The actual date the Clark acquired these materials is unknown and any documentation about the source of these items has been lost.
    [Show full text]
  • |What to Expect from Akhnaten
    | WHAT TO EXPECT FROM AKHNATEN IN THE LATE 19TH CENTURY, ARCHAEOLOGISTS WORKING ON THE THE WORK: banks of the Nile made a remarkable discovery: some four hundred fragments AKHNATEN of letters addressed to a pharaoh named Akhnaten. The significance of the An opera in three acts, sung in Ancient Egyptian, Akkadian, Hebrew, find was unmistakable, but who was this mysterious pharaoh? Unlike other and English Egyptian leaders, whose towering pyramids, richly decorated tombs, and Music by Philip Glass exquisite temples left an indelible mark on Egypt’s landscape, Akhnaten’s Libretto by Philip Glass, reign was cloaked in mystery. And as archaeologists dug into his legacy, in association with Shalom Goldman, they unearthed a series of religious and social reforms so bold, so counter Robert Israel, Richard Riddell, and to ancient Egyptian traditions, that his successors felt compelled to erase Jerome Robbins all traces of this rebellious leader’s reign. First performed March 24, 1984, at the Staatsoper, Stuttgart, Germany This season, Philip Glass’s landmark opera Akhnaten receives its Metropolitan Opera premiere in an astonishing new production by Phelim PRODUCTION McDermott. A mesmerizing mix of ancient imagery and modern stage Karen Kamensek, Conductor spectacle, McDermott’s production is deeply influenced by Egyptian art Phelim McDermott, Production and artifacts, yet it makes no claim to authentically represent Aknhaten’s Tom Pye, Set and Projection Designer life. Instead, McDermott says, the production attempts to “create a mythical, Kevin Pollard, Costume Designer dreamlike version of ancient Egypt,” one that “communicates what it was Bruno Poet, Lighting Designer like for people in the early 20th century to rediscover this ancient world.” Sean Gandini, Choreographer Star countertenor Anthony Roth Costanzo agrees.
    [Show full text]
  • An Ideal Husband’ Has Been Adapted from Stage Play to Screen Production
    Teachers’ Notes This study guide is aimed at students of English and Media Studies GCSE and A level. It looks at how and why Oscar Wilde’s ‘An Ideal Husband’ has been adapted from stage play to screen production. Areas of focus are: themes, character, location, costume and language. Film Synopsis Devoted womaniser and tireless party-goer Lord Arthur Goring (Rupert Everett) is famed throughout London for his elegance, repartee and refusal to take anything seriously. However, when called upon by his life-long friend Sir Robert Chiltern (Jeremy Northam) to resolve an unusually delicate matter, Arthur instantly rises to the occasion. Sir Robert is a man who has everything. A brilliant politician and a perfect gentleman, he is the ideal husband for the captivating Lady Chiltern (Cate Blanchett). Admired by all, they present a picture of wedded harmony until the scheming adventuress Mrs Chevely (Julianne Moore) threatens to reveal a dark secret from his past and the very foundations of Sir Robert’s career and marriage look set to crumble. Cornered, he turns to Arthur. Lord Goring soon finds himself caught up in a tangled web of lies, temptations, and trysts. While he excels at manipulating the affairs of others, his own prove infinitely more challenging. The persistent charms of Sir Robert’s sister Mabel Chiltern (Minnie Driver) and the constant badgering of his own father Lord Caversham (John Wood) pose a significant threat to Arthur’s blissful bachelorhood. Director: Oliver Parker UK release date: April 16. 1999 Cerficate: PG Adapting ‘An Ideal Husband’ for the Modern Screen Although it is now over a hundred years since Oscar Wilde’s play ‘An Ideal Husband’ was first performed on the stage it is still as popular with audiences today as it ever was.
    [Show full text]
  • Verdi's Un Ballo in Maschera
    Verdi’s Un ballo in Maschera - A survey of the studio and selected live recordings by Ralph Moore Given the popularity of Un ballo in maschera, it is surprising how relatively few studio recordings it has received: only a dozen, considered below. I have added to those, for their worth and interest, five live radio broadcasts and two recordings of live performances. The most recent was recorded twenty-five years ago. I have excluded any not sung in Italian. It is performed and recorded under two guises: its original version, narrating the assassination of Gustavus III of Sweden and, recast to avoid the spectacle of a monarch being assassinated on stage, its adaptation under pressure from the Roman censors to a new location in Boston, Massachusetts, with the characters’ names changed accordingly; thus Gustavus rather absurdly becomes Riccardo, Earl of Warwick, governor of Boston during the British colonial period. Modern stage productions tend to revert to the Swedish setting but the only recordings below to do so are Karajan’s in 1989 and the live production with Pavarotti in Vienna in 1986. It is expertly structured, paced and balanced – close to flawless as operas go and nowhere as far- fetched in the action or as unbelievable in motivation as some others, as long as you make allowance for a bit of jiggery-pokery to do with fortune-telling and magic herbs. Its trio of main characters are credible and sympathetic; Riccardo/Gustavo is a likeable tenor-hero whose character is portrayed in some depth; he evinces the usual romantic ardour but also a sense of humour; Amelia is passionate and principled without being sentimentalised; Renato/Anckarström is not the vengeful monster of the type we see in Don Carlo in La forza del destino but a man wracked and tormented by the betrayal of his wife and best friend.
    [Show full text]
  • Elegy for a Prince
    ELEGY FOR A PRINCE SYNOPSIS INSTRUMENTATION CAST OF CHARACTERS OVERVIEW NOTES ON CHARACTERS MUSICAL BREADKDOWN BY SCENE SCENE SYNOPSIS AND LYRICS FOR THREE MUSICAL SELECTIONSd ACT II. Scene 1. Dawn blushes red against the sky (Swallow, Prince). ACT II. Scene 5. The Match-Girl (Swallow, Prince). ACT II. Scene 9, last half of final scene. What a lovely, little, silent act of love (Match-Girl, Young Writer). ELEGY FOR A PRINCE, Opera in Two Acts (2005) Music Sergio Cervetti Libretto Elizabeth Esris Music Copyright © Sergio Cervetti Libretto, Lyrics, Program Notes Copyright © Elizabeth Esris The Prince learns the value of life too late and a young vagabond, Swallow, dreams of returning home. Their lives intersect in this opera rooted in a story by Oscar Wilde, The Happy Prince. Premiered by New York City Opera/VOX 2007 in a concert performance of three scenes performed on May 12, 2007 at New York University’s Skirball Center, New York City. SYNOPSIS Imagination, humor, cynicism, sorrow and love intertwine in Elegy For A Prince, a bittersweet musical journey that resonates with life. It places Oscar Wilde’s story, The Happy Prince, within an original framework that begins with the Father reading the fairy tale to his Son. As in the original story, the Prince seeks to alleviate the suffering that he ignored while he was alive in Sans Souci. Swallow is a young vagabond of exotic origins who stumbles into town and becomes the Prince’s agent to the Poor. Together they fulfill the Prince’s mission. In the process, Swallow develops compassion for humanity.
    [Show full text]
  • The Santa Fe Opera Chatter
    Jeanne-Minette Cilliers pianist A COLLABORATION South African pianist Jeanne-Minette Cilliers has been called “a pianistic poet”, garnering rave reviews for her color-rich and imaginative performances. In demand as a collaborator, Ms. Cilliers has performed in Austria, Germany, Italy, Portugal, Israel, Japan, Sweden, South Africa, Barbados, and across North America. Ms. Cilliers fosters a strong interest in new music, and has presented several scores in world and North American premieres. She earned her Bachelor of Music and Master of Music degrees from the University of Michigan. She earned an Artist Diploma from Indiana University and remains the only recipient of an Artist Diploma in vocal accompanying from the Manhattan CHATTER School of Music, where she is currently on the faculty. In the capacity of principal coach and pianist, she has been involved in Santa Fe MUSIC WORTH TALKING ABOUT ! Opera’s development of Oscar, a new opera by Theodore Morrison - a project she will see through to its premiere in 2013. July 14, 2013 : : The Kosmos : : Albuquerque : : #266 Eric Jurenas countertenor Proclaimed as “the real deal,” and defined as having a “rich, mature voice,” with “incredible power,” American countertenor Eric Chamber Music (2002) Jurenas is quickly making a name for himself in both the opera and concert scene. After a brief stint as a baritone in his first year of A Song Cycle on Poems by James Joyce university studies, he made the daunting switch to the opposite side of the vocal spectrum. Eric has worked with several groups as a featured soloist and , an avid competitor around the country and the world, Eric has won and received awards from several vocal Theodore Morrison (b1938) competitions.
    [Show full text]
  • "De Profundis"
    DE PROFUNDIS Oscar Wilde 1 DE PROFUNDIS Oscar Wilde No. 0003 * * * The Openbook Duet 2 EPIGRAPH Synopsis &c. Oscar Wilde wrote this as a lengthy letter to his ‘estranged’ lover, Lord Alfred Douglas. It is well worth knowing that the letter was composed whilst Oscar was serving a prison sentences for let us say in sum: being openly homosexual and publishing what was considered to be obscene material. To give greater context, (a) it was Oscar himself that was encouraged/ goaded into beginning the legal proceedings (without which he may not have ended up in prison) (b) he was up in court against no other than Alfred’s father and (c) the prison sentence ruined him and he died soon after his release from prison in ‘relative’ poverty in Paris. In this letter — now referred to as a book for its length and unsurpassed beauty of its prose — Oscar poured out his guilt and sorrow, and naturally not a little self- pity, together with a mixture of love and fierce incrimination towards Alfred. 3 I think of the lines by Catullus: I hate and I love / Why do I, you ask? / I do not know, but it is happening / and it hurts // Ultimately, I suppose, one could say that “De Profundis” is an essay on self- realisation; as Oscar himself muses: Yet each man kills the thing he loves By each let this be heard, Some do it with a bitter look, Some with a flattering word, The coward does it with a kiss, The brave man with a sword.
    [Show full text]