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Charlotte Hellekant, Mezzo-Soprano, and Ken Merrill, Piano Department of Music, University of Richmond

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Charlotte Hellekant, Mezzo-Soprano, and Ken Merrill, Piano Department of Music, University of Richmond University of Richmond UR Scholarship Repository Music Department Concert Programs Music 10-29-1997 Charlotte Hellekant, mezzo-soprano, and Ken Merrill, piano Department of Music, University of Richmond Follow this and additional works at: https://scholarship.richmond.edu/all-music-programs Part of the Music Performance Commons Recommended Citation Department of Music, University of Richmond, "Charlotte Hellekant, mezzo-soprano, and Ken Merrill, piano" (1997). Music Department Concert Programs. 652. https://scholarship.richmond.edu/all-music-programs/652 This Program is brought to you for free and open access by the Music at UR Scholarship Repository. It has been accepted for inclusion in Music Department Concert Programs by an authorized administrator of UR Scholarship Repository. For more information, please contact [email protected]. October 29, 1997 at 8pm Modlin Center for the Arts Camp Concert Hall Booker Hall of Music Charlotte Hellekant, mezzo-soprano Ken Merrill, piano Franz Schubert Lachen und weinen Op. 59, no. 4 (Rueckert) (1797 -1828) Der Wanderer an den Mand Op. 80 (Siedl) An die Laute Op. 81, no. 2 (Rochlitz) Robert Schuann Frauen Liebe und Leben, Op. 42 (Chamisso) (1810 - 1856) Seit ihr ihn gesehen Er, der Hertzlichste van Allen Ich kann's nicht fassen Du Ring an meinem Finger Helft mir, ihr Schwestern Susser Freund du blickest An meinem Herzen Nun hast du mir den ersten Schmerz getan -INTERVAL- Franz Schubert Impromptu in A-flat major Op. 90, No. 4 (1797 -1828) Claude Debussy Trois Chansons de Bilitis (Louys) (1862 - 1918) La flute de Pan La Chevelure Le Tombeau des nai'des Jean Sibelius Demanten pa marssnoem Op. 36, no. 6 (Wecksell) (1865 - 1957) Till kvaellen Op. 17, no. 6 (Forsmann-Koskimies) Flickan kom ifan sin iilsklings moete Op. 38, no. 5 (Runeberg) Charles Ives At the River (Lowry) (1874 -1954) Memories: A. Very Pleasant B. Rather Sad The Circus Band About the Artists Over the past seasons, Swedish son was particularly successful for Charlotte mezzo-soprano Charlotte Hellekanthas at­ Hellekant: she performed for the first time tracted much attention internationally for the role of Judith/ Bluebeard's Castle in con­ her vocal artistry and commanding stage cert with the Orchestre de Paris and Sir presence. Now a resident of New York City, Georg Solti to unanimous acclaim; her suc­ Ms. Hellekant has received degrees from cess as Charlotte/Werther for the Washing­ the Eastman School of Music (with Jan ton opera was followed by her Metropoli­ DeGaetani) and the Curtis Institute (with tan Opera debut as the Page in Strauss' Chloe Owen) and has won several prizes Salome; and she appeared for the first time including Second Prize in the 1989 Mirjam at the Aix-en-Provence Festival as Ino in Helin International Singing Competition in Robert Carsen's new production of Semele. Helsinki. Charlotte Hellekant has also earned a Now enjoying an international career reputation as a fine interpreter of contem­ equally successful in both opera and con­ porary roles: she portrayed the role of Lotte cert, highlights of Ms. Hellekant' s more re­ in the American premiere of Hans-Jfugan cent seasons include Cherubino/Marriage von Bose's The Sorrows of Young Werther in a/Figaro for the Portland, Washington and Santa Fe; received unanimous praise for her Canadian Opera and last season for the portrayal of Erika in Washington Opera's Nice Opera; Dorabella/ Casi fan tutte with production of Barber's Vanessa; Cherubino the Canadian Opera Company; Charlotte/ in Corigliani's Ghosts of Versailles which Werther and the Composer/Ariadne au/ marked her debut in Chicago;with the Finn­ Naxos with Glimmerglass Opera; Musetta ish National Opera performed a leading role in Leoncavallo's La Boheme in Saint-Louis in Erik Bergman's opera The Singing Tree and and Niklausse /Tales of Hoffman in Portland. most recently portrayed the role ofNastassja Other roles in Charlotte's operatic repertoire in Hans Krasa's opera Verlobung im Traum include Siebel/Faust, Dido in Purcell's Dido in concert and on a Decca recording with and Aeneas, Oktavian/Der Rosenkavalier, Lother Zagroszek. Sesto/Clemenza di Tito, Melisande/Pe/leas As a concert artist, Charlotte Hellekant et Melisande and C.armen. The 1995 /96 sea- has performed Marguerite/Damnation of Faust with the Minnesota Symphony/ the University of Arkansas, where he stud­ Valery Gergiev, at the Prague Festival/Marc ied piano with Jerome Rappaport. He sub­ Soustrot and with the Stockholm Philhar­ sequently received his master of music de­ monic/John Nelson; Mahler, Symphony No. gree at The Julliard School, where he stud­ 2 with the Swedish Radio Symphony /Esa­ ied piano with Josef Raieff and accompa­ Pekka Salonen, Cincinnati Festival/James nying with Martin Isepp. He also studied Canlon and with the San Francisco Sym­ chamber music withAntonio Janigro at the phony /Herbert Blomstedt (also recorded Mozarteum in Salzburg and worked with for Decca); Berlioz'sLesNuitsd'Etein Cleve­ Gerard Souzay and Dalton Baldwin at the land, Mahler's Ruckertlieder and Das Lied van festival in Aix-en-Provence. der erde with the Netherlands Radio Phil­ Mr. Merrill divides his time between harmonic, all conducted by Edo de Waart; teaching and performing. He is currently with the Gothenburg Symphony Orches­ on the coaching staff of The Julliard Vocal tra Berlioz's L'Enfance du Christ with John Arts Department and is musical director of Nelson and Mozart's Requiem with Neeme the Julliard Opera Theatre. He is also on Jarvi; Berio's Epiphanies with the Philadel­ the faculty at the Manhattan School of Mu­ phia Orchestra/Luciano Berio; Nystroem' s sic. From 1987 to 1994 he was associate pro­ Sinfonia del Mare, Hilding Rosenberg's fessor of vocal accompaniment and opera Oertagiirdsmiisteren and Mahler's Des Knaben at the Eastman School of Music in Roches­ Wunderhorn with the Swedish Radio Or­ ter, N. Y Since 1980 he has been associated chestra, Britten's Phaedra with the Phoenix with the Aspen Music Festival, where he Symphony and most recently Dubussy'sLe acts as head coach of the Aspen opera The­ Martyre de Saint Sebastian and Ligeti' s Re­ atre. He has appeared in concert with such quiem with the Philharmonia/Esa-Pekka artists as Gerard Souzay; Anna Moffo, Rob­ Salonen, also recorded by Sony. ert Merrill, Eleanor Steber, James King, Jan Charlotte Hellekant' s future seasons DeGaetani, Leslie Guinn, John Aler, Faith include Cherubino at the Bastille, her debut Esham, Neil Rosenshein, Charlotte at the Salzburg Festival as Amancio in Hellekant and Jeanette Thompson. In 1982 Ligeti' s Le Grand Macabre in a joint new pro­ he accompanied Anna Moffo and Robert duction with the Chatelet, also to be re­ Merrill in a recital at the White House. corded for Sony, Prince Charmant/ As a conductor, he has led productions Cendrillon for De Vlaamse Opera, Char­ ofBritten' s The Burning Fire Furnace, Britten­ lotte/ Werther for New Israeli Opera, as well Gay's The Beggar's Opera and Mozart's The as the lead role in a new commission by the Impresario at The Julliard School. He has also Stockholm Opera. Concert engagements in conducted from the harpsichord Monte­ the current season include Des Knaben verdi's L'incoronazione di Poppea, Cavalli's La Wunderhom with the LSO /Sir Georg Solti; Calisto, and Handel's Acis and Galatea. He is Mahler, Symphony No. 2 with the Halle/ harpsichordist with the Baroque perform­ Kent Nagano, Le Martyre de Saint Sebastian ing ensembleAffetti Musicale, which he co­ with Kent Nagano at the Salzburg Festival, founded in 1993. He has performed harp­ Brahms' Alto Rhapsody and Mahler, Sym­ sichord-continua in all the operas of Mozart phony No. 2 with the Dallas Symphony Or­ and many of the operas of Handel and chestra/ Andrew Litton, as well as Rossini. He recently headed the musical Beethoven'sMissa Solemnis in Vienna with preparation and played continua in the U1f Schirmer. Houston Grand Opera production of Rossini's La Cenerentola with Cecilia Bartoli in the title role, a performance that was tele­ Kenneth Merrill, a native Arkansan, cast on PBS and commercially released on received his bachelor of music degree from London CD and Video. r Translations Lachen und Weinen, Op. 59, no. 4 Laughter and Tears Franz Schubert (Rueckert) Lachen tmd Weinen zu jeglicher Srunde Laughter and tears, at whatever hour, Ruht bei der Lieb auf so mancherlei Grunde Arise, in love, from so many differei1t causes. Morgens lad1t id1 vor Lust, In fue moming I laughed for joy: Und warum ist nun weine And why, in fue glow of evening, Bei des Abends Sd1eine, I am now weeping, Ist mir selb' nicht bewusst. I myself do not know. Weinen und Lad1en zu jeglid1er Srunde Tears and laughter, at whatever hour, Ruht bei der Lieb auf so mancherlei Grunde. Arise, in love, from so many different causes. Abends weint id1 vor Sd1merz; In fue evming I wept wifu grief; Und warum du erwad1ei1 And how you can awake Kannst am Morgen mit Lachen, In fue morning laughing, Muss id1 dich fragen, o Herz. I must ask you, my heart. Der Wanderer an den Mand The Wanderer's Address to the Moon Franz Schubert (Johann Gabriel Seidly) Id1 auf der Erd' am Himmel du, I on earth, you in fue sky, Wrr wandem beide riistig zu: Bofu of us travel briskly on; Ich emst und triib, du mild und rein, I solemn and gloomy, you gentle and pure, Was mag der Unterschied wohl sein? What can be tl1e difference between us? Id1 wandre fremd von Land zu Land. I wander, a stranger, from land to land. So heimatlos, so unbekannt; So homeless, so unknown; Bergauf, bergab, Wald en, Wald aus Up and down mountair1S, in and out of forests, Dach bin id1 nirgend, ach! zu Haus.
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