Alan E. Muraoka

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ALAN E. MURAOKA Scenic Designer Chicago Opera Theater Iolanta by Pyotr Illyich Tchaikovsky Paul Curran, Director The Consul by Gian Carlo Menotti Andreas Mitisek, Director The Invention of Morel by Stewart Copeland Jonathan Moore, Director Thérèse Raquin by Tobias Picker/Gene Scheer Ken Cazan, Director The Fall of the House of Usher by Philip Glass Ken Cazan, Director Central City Opera Dead Man Walking by Jake Heggie/Terrence McNally Ken Cazan, Director Our Town by Ned Rorem (Scenic and Projection design) Ken Cazan, Director Oklahoma! by Richard Rogers/Oscar Hammerstein Ken Cazan, Director LA Opera Moses by Henry Mollicone (Spring 2019) Eli Villanueva, Director Jonah and the Whale by Jack Perla/Velina Hasu Houston Eli Villanueva, Director The Legend of Cannery Row Eli Villanueva, Director The Old Globe Theatre Who’s Afraid of Virginia Woolf? by Edward Albee Richard Seer, Director Trying by Joanna Glass Richard Seer, Director Vincent in Brixton by Nicholas Wright Richard Seer, Director Long Beach Opera The Breasts of Tiresias/Tears of a Knife by Poulenc/Martinu Ken Roht, Director Motezuma by A. Vivaldi (Scenic and Projection Design) David Schweizer, Director Orpheus and Euridice by Ricky Ian Gordon Andreas Mitisek, Director The Cunning Little Vixen by Leoš Janáček Ken Cazan, Director USC Thornton School of Music The English Cat by Hans Werner Henze Ken Cazan, Director The Tempest by Lee Hoiby Ken Cazan, Director L’Incoronazione di Poppea by Claudio Monteverdi Ken Cazan, Director Die Zauberflöte by Wolfgang Amadeus Mozart Marc Astafan, Director The Dialogues of the Carmelites by Francis Poulanc (Scenic and Projection Design) Ken Cazan, Director CSU Long Beach/ Bob Cole Conservatory of Music The Bartered Bride by Bedřich Smetana (Scenic and Projection) Andrew Chown, Director L’Elisir d’Amore by Gaetano Donizetti Andrew Chown, Director CSU Northridge The Merry Wives of Windsor by Otto Nicolai Maurice Godin, Director Carmen by George Bizet Maurice Godin, Director East West Players ART by Yasmina Reza Alberto Isaac, Director Pippin (Scenic and Projection Design) Tim Dang, Director Education: NEW YORK UNIVERSITY, MFA, Theatrical Design YALE UNIVERSITY, BA, Music and Art History 450 West 24th Street Suite 1C New York New York 10011 (212) 221-0400 Main (212) 881-9492 Fax www.michaelmooreagency.com Department of Consumer Affairs License #2001545-DCA .

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Msm Camerata Nova
Saturday, March 6, 2021 | 12:15 PM Livestreamed from Neidorff-Karpati Hall MSM CAMERATA NOVA George Manahan (BM ’73, MM ’76), Conductor PROGRAM JAMES LEE III A Narrow Pathway Traveled from Night Visions of Kippur (b. 1975) CHARLES WUORINEN New York Notes (1938–2020) (Fast) (Slow) HEITOR VILLA-LOBOS Chôros No. 7 (1887–1959) MAURICE RAVEL Introduction et Allegro (1875–1937) CAMERATA NOVA VIOLIN 1 VIOLA OBOE SAXOPHONE HARP Youjin Choi Sara Dudley Aaron Zhongyang Ling Minyoung Kwon New York, New York New York, New York Haettenschwiller Beijing, China Seoul, South Korea Baltimore, Maryland VIOLIN 2 CELLO PERCUSSION PIANO Ally Cho Rei Otake CLARINET Arthur Seth Schultheis Melbourne, Australia Tokyo, Japan Ki-Deok Park Dhuique-Mayer Baltimore, Maryland Chicago, Illinois Champigny-Sur-Marne, France FLUTE Tarun Bellur Marcos Ruiz BASSOON Plano, Texas Miami, Florida Matthew Pauls Simi Valley, California ABOUT THE ARTISTS George Manahan, Conductor George Manahan is in his 11th season as Director of Orchestral Activities at Manhattan School of Music, as well as Music Director of the American Composers Orchestra and the Portland Opera. He served as Music Director of the New York City Opera for 14 seasons and was hailed for his leadership of the orchestra. He was also Music Director of the Richmond Symphony (VA) for 12 seasons. Recipient of Columbia University’s Ditson Conductor’s Award, Mr. Manahan was also honored by the American Society of Composers and Publishers (ASCAP) for his “career-long advocacy for American composers and the music of our time.” His Carnegie Hall performance of Samuel Barber’s Antony and Cleopatra was hailed by audiences and critics alike.
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2011 Tanglewood Season Listing All Programs and Artists Are Subject to Change
2011 Tanglewood Season Listing All programs and artists are subject to change. Saturday, June 25, at 7 p.m. Koussevitzky Music Shed Earth, Wind, and Fire Tuesday, June 28, 11 a.m. and 3 p.m. Theatre Wednesday, June 29, 11 a.m. and 3 p.m. Theatre String Quartet Marathon Two 2‐hour concerts each day Tuesday, June 28, 8 p.m. Ozawa Hall Wednesday, June 29, 8 p.m. Ozawa Hall Mark Morris Dance Group Tanglewood Music Center Fellows Mark Morris, choreographer Yo‐Yo Ma, cello Isaac Mizrahi, costume designer Phil Sandstrom and Michael Chybowski, lighting designers Frisson Stravinsky ‐ Symphonies of Wind Instruments New work (world premiere; BSO commission) Stravinsky ‐ Renard Falling Down Stairs J.S. Bach ‐ Suite No. 3 in C for solo cello, BWV 1009 Thursday, June 30, 8 p.m. Ozawa Hall James Taylor in Ozawa Hall James Taylor and guests In the more intimate setting of Tanglewood's Ozawa Hall, James Taylor offers the music that has made him one of the most beloved artists of our day. Friday, July 1, 8:30 p.m. Shed James Taylor and the Boston Pops Boston Pops James Taylor, soloist John Williams, conductor Tanglewood’s favorite singer joins “America's Orchestra,” the Boston Pops and John Williams for a remarkable collaboration. Saturday, July 2, 5:45 p.m. Shed A Prairie Home Companion at Tanglewood with Garrison Keillor Live broadcast Sunday, July 3, 7 p.m. Shed Monday, July 4, 7 p.m. Shed The Essential James Taylor James Taylor returns to Tanglewood with his extraordinary band of musicians for two spectacular performances.
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Pacific 231 (Symphonic Movement No
Pacific 231 (Symphonic Movement No. 1) Arthur Honegger (1892–1955) Written: 1923 Movements: One Style: Contemporary Duration: Six minutes As a young man trying to figure his way in the world of music, Miklós Rózsa (a Hollywood film composer) asked the French composer Arthur Honegger “How are we composers expected to make a living?” “Film music,” he said. “What?” I asked incredulously. I was unable to believe that Arthur Honegger, the composer of King David, Judith and other great symphonic frescos, of symphonic poems and chamber music, could write music for films. I was thinking of the musicals I had seen in Germany and of films like The Blue Angel, so I asked him if he meant foxtrots and popular songs. He laughed again. “Nothing like that,” he said, ‘I write serious music.’ As a young man, Honegger was part of a group of renegade composers in Paris grouped around the avant-garde poet Jean Cocteau called “Les Six.” Unlike, the other composers in “Les Six,” Honegger’s music is weightier and less flippant. In the 1920s, Honegger worked on three short orchestral pieces that he called Mouvements symphonique. In his autobiography, I am a Composer, he recounts his intent with the first: To tell the truth, In Pacific I was on the trail of a very abstract and quite ideal concept, by giving the impression of a mathematical acceleration of rhythm, while the movement itself slowed. It was only after he wrote the work that he gave it the title. “A rather romantic idea crossed my mind, and when the work was finished, I wrote the title, Pacific 231, which indicates a locomotive for heavy loads and high speed.” Given a title, people heard things that weren’t there.
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Media Release
Media Release FOR IMMEDIATE RELEASE: August 13, 2015 Contact: Edward Wilensky (619) 232-7636 [email protected] Soprano Patricia Racette Returns to San Diego Opera “Diva on Detour” Program Features Famed Soprano Singing Cabaret and Jazz Standards Saturday, November 14, 2015 at 7 PM at the Balboa Theatre San Diego, CA – San Diego Opera is delighted to welcome back soprano Patricia Racette for her wildly-acclaimed “Diva on Detour” program which features the renowned singer performing cabaret and jazz standards by Stephen Sondheim, Cole Porter, George Gershwin, and Edith Piaf, among others, on Saturday, November 14, 2015 at 7 PM at the Balboa Theatre. Racette is well known to San Diego Opera audiences, making her Company debut in 1995 as Mimì in La bohème, and returning in 2001 as Love Simpson in Cold Sassy Tree (a role she created for the world premiere at Houston Grand Opera), in 2004 for the title role of Katya Kabanova, and in 2009 as Cio-Cio San in Madama Buttefly. She continues to appear regularly in the most acclaimed opera houses of the world, including the Metropolitan Opera, San Francisco Opera, Lyric Opera of Chicago, Houston Grand Opera, Washington National Opera, Los Angeles Opera, and Santa Fe Opera. Known as a great interpreter of Janáček and Puccini, she has gained particular notoriety for her portrayals of the title roles of Madama Butterfly, Tosca, Jenůfa, Katya Kabanova, and all three leading soprano roles in Il Trittico. Her varied repertory also encompasses the leading roles of Mimì and Musetta in La bohème, Nedda in Pagliacci, Elisabetta in Don Carlos, Leonora in Il trovatore, Alice in Falstaff, Marguerite in Faust, Mathilde in Guillaume Tell, Madame Lidoine in Dialogues of the Carmélites, Margherita in Boito’s Mefistofele, Ellen Orford in Peter Grimes, The Governess in The Turn of the Screw, and Tatyana in Eugene Onegin as well as the title roles of La traviata, Susannah, Luisa Miller, and Iphigénie en Tauride.
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+Nmc Talks with TOBIAS PICKER
nmc talks with +TOBIAS PICKER NMC: Your opera Emmeline pieces and vocal works. I had been composer premiered at Santa Fe Opera in residence for the Houston Symphony in 1996. It was your first for five years. I had honed my craft as an opera. Three operas then orchestrator and my voice as a composer. I followed in swift succes- knew I was finally ready to tackle the largest sion: Fantastic Mr. Fox two of all genres, opera, a genre for which I’d years later, Therese Raquin developed a great reverence. two years after that, then An American Tragedy, a The earliest example of literature influencing Metropolitan Opera com- my work was The Encantadas from 1983. It mission, in 2005. That’s four is a work for speaker (or actor) and orchestra operas in nine years! Had and it is full of word painting inspired by the you always wanted to write rich prose of Herman Melville’s descriptions opera, or did the experience of the Galapagos Islands which he’d visited of working on Emmeline , as a young man in the Merchant Marines. and its success, push you in The Encantadas is a theatrical work – a a direction you would not melodrama – not a narrated travelogue. There have anticipated? is a drama between the speaker and the orchestra and a constant interplay that casts TP: I wanted to (or knew the speaker in different moods and characters I would eventually) write throughout. operas since I was a small child and watched them on From the time I began composing as a child, TV.
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SOME AMERICAN OPERAS/COMPOSERS October 2014
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A Study of Gian Carlo Menotti's Concerto for Violin and Orchestra
A STUDY OF GIAN CARLO MENOTTI’S CONCERTO FOR VIOLIN AND ORCHESTRA by LAURA ANNE TOMLIN (Under the Direction of Dorothea Link and Levon Ambartsumian) ABSTRACT Gian Carlo Menotti’s Concerto for Violin and Orchestra (1952), although written and premiered in the early 1950s, has been an unduly neglected work due to a number of circumstances, but one that has recently been gaining in popularity. The purpose of this document is to provide a comprehensive guide to the Violin Concerto in the hope that it will help capture the attention of those unaware of its existence and ultimately aide in the concerto’s acceptance into the violinist’s standard repertoire. The Violin Concerto’s historical context is examined in relationship to its compositional style and possible sources of inspiration, and to its neglect in the past and recent surge in popularity in the violin world. A formal and theoretical analysis of Menotti’s concerto, as well as a discussion of its technical challenges from the standpoint of the performer, will provide insight into its composition and interpretative issues. Despite its traditional form, Menotti’s Violin Concerto is an unusual piece in many respects, among which are its intriguing possible biographical components. Composed in 1952 for violinist Efrem Zimbalist, the work, on first hearing, can seem a bit disjointed with elements obviously derived from, or at the very least influenced by, other works. However, on closer examination of the work and of its intended performer, these elements appear to be intentional. For these reasons, in addition to its appeal simply as a composition, Menotti’s Violin Concerto is worthy of further study.
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Ic Mar2019 Mahlerdaslied.Pdf
WITH THE NASHVILLE SYMPHONY CLASSICAL SERIES FRIDAY & SATURDAY, MARCH 8 & 9, AT 8 PM NASHVILLE SYMPHONY GIANCARLO GUERRERO, conductor TOBIAS PICKER, narrator MICHELLE DEYOUNG, mezzo soprano ANTHONY DEAN GRIFFEY, tenor TOBIAS PICKER The Encantadas Dream Desolation Delusion Diversity Din Dawn Tobias Picker, narrator – INTERMISSION – GUSTAV MAHLER Das Lied von der Erde (The Song of the Earth) Das Trinklied vom Jammer der Erde (The Drinking Song of Earth’s Misery) Der Einsame im Herbst (The Lonely One in Autumn) Von der Jugend (Of Youth) Von der Schönheit (Of Beauty) Der Trunkene im Frühling (The Drunk in Spring) Der Abschied (The Parting) Michelle DeYoung, mezzo soprano Anthony Dean Griffey, tenor This concert will last 2 hours and 10 minutes, including a 20-minute intermission. INCONCERT 17 TONIGHT’S CONCERT AT A GLANCE TOBIAS PICKER The Encantadas • Hailed by The Wall Street Journal as “our finest composer for the lyric stage,” Tobias Picker has garnered critical acclaim for his opera writing, but also boasts a rich catalog of concertos and symphonic works, including Opera Without Words, which the Nashville Symphony performed and recorded in 2017. • Composed in 1983, The Encantadas was a commission intended, in part, to commemorate the 175th anniversary of the Albany Academy, an independent college preparatory school. Since Herman Melville had briefly attended the Albany Academy as a boy, the author’s work was proposed as a starting point for Picker’s composition. • The Encantadas draws on Melville’s book of the same name, which collects 10 prose “sketches” depicting striking features of the Galápagos Islands. For this piece, Picker employed the now rarely used “melodrama” tradition, in which text is recited dramatically by a narrator (in this case, Picker himself) alongside the score.
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Manhattan School of Music OPERA THEATER DONA D
Manhattan School of Music OPERA THEATER DONA D. VAUGHN, ARTISTIC DIRECTOR Manhattan School of Music wishes to express its gratitude to the Joseph F. McCrindle Foundation for its generous endowment gif to fund Opera Theater productions. Manhattan School of Music is privileged to be able to honor the legacy of Joseph F. McCrindle through its Opera Studies Program. MSM OPERA THEATER Dona D. Vaughn, Artistic Director EMMELINE An opera in two acts by Tobias Picker (BM ’76) Based on the novel by Judith Rossner Libretto by J. D. McClatchy George Manahan (BM ’73, MM ’76), Conductor Thaddeus Strassberger, Director Used by arrangement with European American Music Distributors Company, sole U.S. and Canadian agent for Schott Helicon Music Corporation, publisher and copyright owner. For this production of Emmeline some sections of the original text and music have been amended by the composer and director to reﬂect the contemporary setting. THURSDAY–SATURDAY, APRIL 25–27, 2019 | 7:30 PM SUNDAY, APRIL 28, 2019 | 2:30 PM NEIDORFF-KARPATI HALL A warm welcome to MSM Opera Theater’s spring mainstage production in Neidorf-Karpati Hall! It has been a wonderful year for MSM Opera Theater as we have joined in the celebration of Manhattan School of Music’s Centennial, programming works that celebrate our past productions, our distinguished alumni composers, and our current talented young artists. Our opera season began in November at The Riverside Church with two performances of Opera Scenes. The program included scenes from Marc Blitzstein’s The Harpies (premiered at MSM in 1953), Scott Eyerly’s The House of the Seven Gables (premiered at MSM in 2000), Richard Strauss’s Ariadne auf Naxos, and Puccini’s Gianni Schicchi, which was given its ﬁrst performance at the Metropolitan Opera in 1918, the year of MSM’s founding.
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Tobias Picker
NWCR589 Tobias Picker Violin Concerto (1981) .............................................. (23:39) 1. I – q= 108 ................................................ (7:14) 2. II – q= 66-72 ............................................. (7:23) 3. Interlude ................................................... (1:11) 4. III – q= 92 ................................................ (7:51) Rolf Schulte, violin, American Composers Orchestra, Paul Dunkel, conductor 5. When Soft Voices Die (1977) .......................... (14:00) Ursula Oppens, piano 6. Rhapsody (1978) ............................................ (12:09) Benjamin Hudson, violin Tobias Picker, piano Sextet No. 3 (1977) ................................................ (12:42) 7. Maestoso, con licenza ( θ = 88) .......... (3:07) 8. q = 40 ................................................. (5:15) 9. q = 108 ............................................... (4:20) Speculum Musicae 10. Romance (1979) ............................................. (9:32) Linda Quan, violin; Aleck Karis, piano Total Playing Time: 72:57 1980, 1982 & © 1991 Composers Recordings, Inc. © 2007 Anthology of Recorded Music, Inc. Notes Like so many others of his generation, Tobias Picker ( b An early chamber work like Sextet No. 3 (1976), written at 1954) found his compositional persona within an academic the end of his study with Wuorinen, reveals both his debt to environment that preached the virtues of twelve-tone his teacher and his own restless temperament. The technique. But although Picker embraced the method,
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CR 554 Tobias Picker KEYS to the CITY
NWCR 554 Picker / Blitzstein Tobias Picker (b 1954) 1. Keys To The City (1983) ..................................... (19:04) Tobias Picker, Pianist Marc Blitzstein (1905-1964) Piano Concerto (1931)................................................ (28:18) 2. Largo assai ............................................... (9:35) 3. Moderato molto ........................................ (10:47) 4. Adagio ma non troppo .............................. (7:49) Michael Barrett, Pianist; The Brooklyn Philharmonic, Lukas Foss, Music Director and Conductor Total playing time: 47:15 Ê & © 1988 Composers Recordings, Inc. © 2007 Anthology of Recorded Music, Inc. Notes This record brings together two examples of American musical The Brooklyn Bridge Centennial Commission is only one of the populism at its most sophisticated—or, if you prefer, American many honors that have been awarded Picker. He currently is Modernism at is most accessible. composer-in-residence for the Houston Symphony, which There are many similarities between Tobias Picker’s Keys to recently presented the premiere of his Second Symphony. He the City (1983) and Marc Blitzstein’s Piano Concerto (1931). also served in this capacity during the 1987 season of the Santa Both are works by young men: Picker was twenty-eight years Fe Chamber Music Festival. His works have been performed by old when Keys to the City received its spectacular premiere and the San Francisco Symphony, the Saint Paul Chamber Orch- Blitzstein was only twenty-five when he finished his concerto. estra, and other leading ensembles. A chamber version of Keys Both pieces are ambitious, virtuosic compositions for piano and to the City received its premiere in 1987 under the auspices of orchestra that are, in their own ways, “New York pieces”— the Chamber Music Society of Lincoln Center.
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Short:Long Bios 2019-20
Violist PAUL NEUBAUER SHORT BIOGRAPHY 2019-2020 Violist Paul Neubauer's exceptional musicality and effortless playing led the New York Times to call him “a master musician.” He recently made his Chicago Symphony subscription debut with conductor Riccardo Muti and his Mariinsky Orchestra debut with conductor Valery Gergiev. He also gave the US premiere of the newly discovered Impromptu for viola and piano by Shostakovich with pianist Wu Han. In addition, his recording of the Aaron Kernis Viola Concerto with the Royal Northern Sinfonia was released on Signum Records and his recording of the complete viola and piano music by Ernest Bloch with pianist Margo Garrett was released on Delos. Appointed principal violist of the New York Philharmonic at age 21, he has appeared as soloist with over 100 orchestras including the New York, Los Angeles, and Helsinki philharmonics; National, St. Louis, Detroit, Dallas, San Francisco, and Bournemouth symphonies; and Santa Cecilia, English Chamber, and Beethovenhalle orchestras. He has premiered viola concertos by Bartók (revised version of the Viola Concerto), Friedman, Glière, Jacob, Kernis, Lazarof, Müller-Siemens, Ott, Penderecki, Picker, Suter, and Tower and has been featured on CBS's Sunday Morning, A Prairie Home Companion, and in Strad, Strings, and People magazines. A two-time Grammy nominee, he has recorded on numerous labels including Decca, Deutsche Grammophon, RCA Red Seal, and Sony Classical and is a member of SPA, a trio with soprano Susanna Phillips and pianist Anne-Marie McDermott. Mr. Neubauer is the artistic director of the Mostly Music series in New Jersey and is on the faculty of The Juilliard School and Mannes College.
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