CONTENTS

CONCERTS ARTISTS 38 Verdi REQUIEM: Friday May 18 19 Juanjo Mena, Principal Conductor 21 Robert Porco, Director of Choruses 46 Bernstein MASS: Saturday May 19 22 May Festival Chorus May Festival Youth Chorus, SING HALLELUJAH: Sunday May 20 27 56 James Bagwell, director 59 JUANJO MENA’S DEBUT: 30 Guest Conductor, Guest Artists Friday May 25 36 Cincinnati Symphony Orchestra

Handel MESSIAH: Saturday May 26 67 FEATURES 12 Bernstein’s MASS, Then and Now 15 Celebrating the Musical Legacy of Leonard Bernstein 16 About Otxote Txanbela 17 Q&A with Juanjo Mena 22 Q&A with Robert Porco 29 Q&A with James Bagwell 57 Q&A with Creative Partner Rollo Dilworth

DEPARTMENTS 7 Greetings from the Principal Conductor 8 Your Concert Experience 11 Greetings from the Board Chair and Executive Director 75 In Memoriam 76 Choral Student Fund and ArtsWave Partners 76 Special Thanks 77 Cincinnati Musical Festival Association 79 Annual Fund 81 2017 ArtsWave Community Campaign 82 May Festival Subscribers 84 Administration

2 | MAY FESTIVAL 2018 | mayfestival.com MAY FESTIVAL PROGRAM BOOK STAFF: Vice President of Communications Chris Pinelo Director of Communications Diana Maria Lara Communications Assistant Kayla Moore Editor/Layout McKibben Publications Graphic Designer Regina Kuhns

All contents © 2018. The contents cannot be reproduced in any manner, whole or in part, without written permission from the May Festival.

CINCINNATI MAY FESTIVAL Music Hall Geraldine V. Chavez Center for the Choral Arts ON THE COVER 2018 marks a true 1241 Elm Street homecoming for the May Festival, as it returns to Cincinnati, OH 45202 the beautifully renovated Music Hall—a treasured Administrative Offices: 513.621.1919 National Historic Landmark that was originally [email protected] constructed for the May Festival. Box Office Music Hall 1241 Elm Street CINCINNATI MAGAZINE: Cincinnati, OH 45202 Advertising and Publishing Partners 513.381.3300 for May Festival [email protected] Publisher Ivy Bayer Group Sales Director of Advertising 513.744.3590 Tammy Vilaboy [email protected] Production Director & IT Systems Administrator Vu Luong TTY/TDD Marketing Director Use TTY/TDD Relay Service 7-1-1 Chris Ohmer mayfestival.com Advertising & Marketing Designer Emily Nevius facebook.com/MayFestival Custom Publishing Account Manager twitter.com/CincyMayFest Maggie Wint Goecke Senior Outside Account Representative Laura Bowling Operations Director RECYCLE YOUR PROGRAM BOOK Missy Beiting Business Coordinator You are welcome to take this copy of Erica Birkle your program book home with you as Advertising and Business Offices a souvenir of your concert experience. Carew Tower Alternatively, please share your 441 Vine Street, Suite 200 program book with a friend or leave it Cincinnati, OH 45202 513.421.4300 with an usher for recycling. Thank you! Subscriptions: 1.800.846.4333 cincinnatimagazine.com

4 | MAY FESTIVAL 2018 | mayfestival.com GREETINGS FROM THE PRINCIPAL CONDUCTOR

Dear Friends, choral masterpiece, MASS, in which performers from the Cincinnati community will also participate under Welcome to your the baton of our Director of Choruses Robert Porco. 2018 Cincinnati This year is historic for another reason. Eun Sun Kim May Festival! will make her debut as the first female conductor for It is my first year the May Festival. She will be on the podium for Verdi’s as Principal Con- mighty Requiem, joined by a stellar quartet of soloists. ductor, and we are This year also marks a homecoming for the May delighted to pres- Festival, as it returns to Music Hall after its impressive ent you with our renovation. The enhanced acoustical design in Springer new ideas, which Auditorium will broadcast the clear and crisp sounds are full of ambi- of Gabrieli’s Magnificat for 33 voices, the American tion, energy and premiere of James MacMillan’s Credo and Ravel’s beauty. ballet Daphnis et Chloé—a performance of which was, But this isn’t just incidentally, the start of my love affair with the May Photo: Michael Novak any May Festival. Festival Chorus! This year, 2018, we have much to celebrate. Speaking of the May Festival Chorus, they will once This year’s Festival, more than ever before, is for the again delight with their talent, performances and sounds entire community—for all of you. We have planned at the highest levels. This year we are joined by world- two events that are particularly community-centered: class soloists such as Michelle Bradley, Robin Johanssen, Our “Sing Hallelujah” concert explores the expression David Daniels, Matthew Polenzani, John Relyea and “Hallelujah” with performances by local talent, rang- José Antonio López. ing from classical and gospel to country and rock; it’s Most importantly, and above all, we celebrate because free and all are welcome. Also, for our closing concert, you are here with us, listening to us and supporting us. featuring Handel’s Messiah, we have invited members Without you there would not be a Festival—you are the of the community to join the May Festival Chorus in heart, the center and the driving force of the Cincinnati singing this great work—more than 150 of these voices May Festival. will resonate from the balconies of Music Hall. I am We thank you for your support, and we welcome you also pleased to welcome “Otxote Txanbela,” a group of with open arms! eight singers from my home in the Basque country of Spain who will come to Cincinnati to sing throughout With love and best wishes, the city, in social and educational events and pre-concert performances at Music Hall. 2018 also marks the 100th anniversary of our former Honorary Music Director Leonard Bernstein’s birth. We will give a rare performance of his monumental

Juanjo Mena

mayfestival.com | MAY FESTIVAL 2018 | 7 YOUR CONCERT EXPERIENCE What’s New in Music Hall Welcome! Here are some tips for making the most of your concert experience. HISTORICAL DETAILS REVEALED Windows if you’re running late or need to step out. Also look have been rediscovered and reopened, including for more seating throughout the Foyer, including the Welcome to the beautifully renovated Music Lost and found is located at Guest Services in those overlooking Washington Park that now flood the Balcony Parlor (level 2), and for areas to engage, take Hall, a National Historic Landmark and the the Lindner Grand Foyer. For inquiries, call Lindner Grand Foyer with natural light. Fourteen feet a photo or share your thoughts on the performance. crown jewel of Over-the-Rhine! Built in 1878, Music 513.744.3344 during business hours. of additional ceiling height have been regained in Hall is a welcoming beacon for the community and a Corbett Tower, allowing full restoration of the original UPDATED RESTROOMS Less waiting time! Assisted listening devices and seating for audience pantheon of the arts for generations to come. To learn coved and stenciled ceiling. The renovation shines Over 60% more restrooms than before, and located more about the history of Music Hall or to schedule members with accessibility needs are available for a light on historic details such as transoms, alcoves, on every level. a guided tour, visit the Society for the Preservation of all events. tracery windows, façade, original doors and marble flooring. Come early and soak it all in. Music Hall’s website at spmhcincinnati.org. Restrooms are located on all levels. IMPROVED SAFETY AND ACCESSIBILITY Look for elevators that reach all floors, a street-level Stay up-to-date with the May Festival via Please silence all noise-making electronics before ENHANCED CONCESSIONS Enjoy enhanced accessible entrance at the Box Office, increased service and exciting new menu options, curated by a wheelchair and companion seating options, plus Facebook, Twitter and Instagram. entering the auditorium. Flash photography, council of Cincinnati tastemakers. Look for premium a new assistive listening device system. Select glowing screens and audio/video recording are Visit the Bravo Shop located in the Lindner locally roasted coffee, the signature Rose Window performances are American Sign Language interpreted Grand Foyer. CD recordings, merchandise and prohibited during concerts. cocktail created by Molly Wellmann, a specialty for the Deaf and Hard of Hearing. Please call the Box gifts are available for purchase. Out of consideration for all patrons, children Cava sparkling wine in celebration of Juanjo Mena, Office at 513.381.3300 for more information. delicious local tastes from Findlay Market, and Divine’s under six will not be admitted to May Festival Please donate unused tickets to the box office European Chocolate in the Foyer. Pre-order your drink “FOUND” SPACE, REIMAGINED The architects prior to the concert, so that others may attend! performances. for intermission. Please note that drinks with ice are not made clever use of 30,000 square feet of formerly Subscribers have unlimited free ticket exchanges and Running late? Out of consideration for fellow allowed in the auditorium. under-used or unused spaces throughout Music Hall. single ticket buyers may exchange for a $3 per ticket audience members, there is no late seating. One example is the Wilks Studio on the second floor, PLACES TO GATHER Visit the P&G Founders a brand new space for rehearsals, performances and service charge (some restrictions apply). Latecomers will be invited to remain in the P&G Room created for wine and conversation, located in special events. Concessions are available for purchase before the Founders Room and view the concert via video monitors the Lindner Grand Foyer. It’s a great place to pause concerts and during intermission. until intermission. Audience members who leave the hall before or during a piece of music will be reseated at the discretion of the ushers and house staff. Frequently Asked Questions PARKING We strongly recommend that subscribers fully operational. This facility is owned by the City take advantage of pre-paid parking in the Washington of Cincinnati and managed by All Pro Parking. The Park Garage in advance, including the day of your garage elevator is supposed to be operational, so concert, by calling the Box Office at 513.381.3300, please report any issues to the lot manager on duty. subject to availability. Reserve early! The cost is $15 per car. Any remaining spots will be opened up to all PEDESTRIAN ACCESS FROM TOWN CENTER ticket holders the week of the concert. You may also GARAGE To aid in pedestrian safety when crossing pre-reserve valet for evening performances for $20 a Central Parkway, the City of Cincinnati has repainted car. Please call the Box Office at 513.381.3300. For crosswalks, added countdown timers and lengthened additional information about parking, including a map, the timing of the walk signal at Ezzard Charles Drive visit mayfestival.com/concerts-and-events/parking. and Central Parkway. The City and Cincinnati Arts Association (CAA), the entity that manages Music Hall, GUEST DROP-OFF LANE For guests with mobility have also augmented lighting at this intersection. May challenges, we recommend using the guest drop-off Festival has increased its security personnel at several lane at 1241 Elm Street at the south end of the Hall, points at the rear of the building to help with pedestrian in front of the Box Office entrance. Volunteer Access safety. The City and the May Festival are exploring Ambassadors are stationed there to assist you. longer-term options to increase overall pedestrian safety.

VALET This service is available for all May Festival NEW SEATING CHARTS Ushers are happy to performances. You may reserve pre-paid valet in help direct you to your seats; please ask them if you advance for $20 per car by calling the Box Office at would like assistance. Detailed seating charts are also 513.381.3300. available on our website for you to locate in advance the best entrance based on your seat location. Please TOWN CENTER GARAGE While it appears to visit mayfestival.com/concerts-and-events/venue-guide/ be in poor condition, the Town Center Garage is seating-chart.

8 | MAY FESTIVAL 2018 | mayfestival.com GREETINGS FROM THE BOARD CHAIR AND EXECUTIVE DIRECTOR

Dear Friends,

Welcome to the beautifully renovated Music Hall and the 2018 May Festival. This iconic landmark and vibrant community gathering space re-opened in October following an 18-month renovation, and the results are spectacular. You may not know that Music Hall was built for the May Festival in 1878. We are grateful for the level of responsibility, care, ingenuity and craftsmanship that went into making Music Hall more welcoming, more comfortable and more accessible than ever…all the while rediscover- ing this beautiful building’s historic grandeur. We express our deepest thanks to Otto Budig, the Music Hall Revitalization Company Board Melanie Chavez and Steven Sunderman and 3CDC for leading and managing this criti- cally important endeavor. We also want to thank the National Anthem for the Reds and FC Cincinnati, the many donors, government officials and lenders who May Festival Chorus engages, energizes and connects stepped up to ensure Music Hall will be here for future our community through music. We are, after all, “The generations. The work of Messer Construction and the City that Sings.” craftspeople—the hundreds of workers who poured We would like to take this opportunity to express themselves into Music Hall—speaks for itself. We are our heartfelt thanks to James Bagwell who is ending his so grateful for these men and women from throughout tenure after 21 years of leading the May Festival Youth the community. Chorus. He has faithfully flown from New York for It is wonderful to bring the Festival home to Music most of these years to lead the Youth Chorus’ Sunday Hall where we are truly focused on our mission “to rehearsals. Imagine for a moment how many lives he engage, energize and connect our community with the has affected—how many young singers he has inspired. highest quality performances of great choral music.” Engaging and connecting the youth in our community This purpose is expressed in meaningful ways through- will continue as Matthew Swanson assumes the role of out the 2018 May Festival. Associate Director of Choruses and Director of the May Many friends and neighbors ranging from ages 16 to Festival Youth Chorus. 92 will participate in the new May Festival Community It takes a great deal of time, talent and resources to Chorus during Handel’s Messiah, inspired by Principal present the May Festival each year, and we are grateful Conductor Juanjo Mena’s vision to invite the wider to the outstanding artistic leadership team, Chorus community to make music with us. members, guest artists, Board members, volunteers, The May Festival’s mission is also realized through many sponsors and donors, and the Cincinnati Sym- “Sing Hallelujah,” the free community concert bringing phony Orchestra musicians and staff. Lastly, we want together a diverse array of Cincinnati singers and musi- to thank all of you. Whether you have been subscrib- cians. Creative Partner Dr. Rollo Dilworth has curated ing for decades or this is your very first May Festival a May Festival concert like no other, exploring different experience, we are thrilled to have you with us. Enjoy musical expressions of “Hallelujah.” the performance! From the Cincinnati Choral Academy that now impacts the lives of 300 area students each week to the Sincerely, “Street Chorus” assembled for the performance of Bern- stein’s MASS, engaging and connecting the community is woven into the fabric of everything we do. Of course, our mission gets to the very core of our organization, the May Festival Chorus. Under the superb leadership of Robert Porco for nearly 30 years, the Chorus is a phenomenal group of volunteer sing- ers—people from all walks of life—who play an integral role in Cincinnati’s cultural vitality. From perform- Melanie M. Chavez, Chair, Board of Directors ing concerts at our Music Hall home to singing the Steven Sunderman, Executive Director

mayfestival.com | MAY FESTIVAL 2018 | 11 MAY FESTIVAL FEATURE

Robert F. Kennedy. And then there was yet another long LEONARD BERNSTEIN’S MASS: and wounding war, in Vietnam.” In 1971, Rivers was a second-year doctoral student THEN AND NOW at the University of Cincinnati College-Conservatory of Music (CCM) conducting the University Singers, a by Diana Maria Lara chorus made up of voice and theater majors. “I learned CCM was going to be a part of a new work by Leonard The standing ovation at Cincinnati piece. The clergy did not universally hold that view. A Bernstein. We were so excited to be a part of it,” recalls local priest named Joseph W. Goetz, who passed away Rivers. “It carried us the whole year.” Rivers’ university Music Hall lasted eight minutes, recently, attended the Bernstein MASS performance, ensemble served as the integral Street Chorus for MASS. publicly defying the archbishop, and was among those Tensions grew in Cincinnati as the 1972 May Festival noted The New York Times. It was applauding during that eight-minute ovation. grew nearer. “I recall people being outside Music Hall picketing, “Some priests asked their congregations not to attend May 22, 1972, and the Cincinnati trying to make us feel bad that we were engaging in MASS,” said Rivers “I can see how in those days it could this horrible thing,” said Father Terry Baum, who was have been offensive. It was a really big deal that it was May Festival had just presented a junior at Xavier University at the time of the perfor- being performed for the second time in its entirety right Leonard Bernstein’s controversial mance and went on to become an ordained Jesuit priest. here after the Kennedy Center. I didn’t know any other “Cincinnati had a reputation for being a very conserva- work at that time that had such a variety of musical and epic new theatre piece, MASS, for tive and Catholic town, and the archbishop took a very styles.” Rivers and his singers rehearsed for two weeks hard approach.” straight. He recalls only one day off, May 15th, before the second time in its history. All eyes Despite the picketing in front of Music Hall and the performance. MASS hard line taken by the Archdiocese of Cincinnati in The text for has been described as religious From top: Celebrant Alan Titus with members of the Street Chorus at the were on Cincinnati. 1972, Bernstein’s MASS eventually found its way to the and irreverent, hopeful and sincere, political, dismissive, May Festival’s 1972 performance of MASS. (Photo originally published sarcastic and, by some, offensive. According to Rivers, in the December 1972 issue of Cincinnati Magazine; reprinted with Vatican for a performance at the request of Pope John permission.) MASS: A Theatre Piece for Singers, Players and Danc- Paul II in 2000. “These songs encapsulate the 1970s period so well. There ers found its way to the Queen City from Washington, MASS was created and first performed during a tu- was nothing to compare it to on this scale, which is why D.C. Former First Lady Jacqueline Kennedy Onassis multuous time in American history. Choral conductor this piece will have legs and relevance for a long time.” According to Rivers, a few days later the props magi- asked Leonard Bernstein to compose a piece for the and educator Earl Rivers was in the U.S. Army serving As an undergraduate student at Xavier, Baum invited cally reappeared, redone, and they were gorgeous. 1971 opening of the John F. Kennedy Center for the as a member of a military chorus from 1967 to 1970. a nun he worked for from Ursuline to accompany him As Rivers and Baum reminisced about their experi- Performing Arts. Her late husband, John F. Kennedy, He recalls riots, protests and even being pelted with to the performance. “It was magnificent to attend. ences, Rivers stated, “It was enormous pride we felt. the country’s first and only Roman Catholic President, eggs while in uniform during those years. The call for There were lots of priests wearing their collars and nuns We had prepared and handled the technical challenges had been assassinated in 1963. The resulting MASS civil rights, national protests against the Vietnam War, wearing their habits,” he recalls. “We were aware the of audio at the time among the different choruses with followed the framework of the 400-year-old Catholic and high-profile assassinations fueled a movement celebrant loses control and were all waiting for it. Not enough time to get it right.” Both said they are looking worship service to explore a perceived crisis in faith and demanding change. Remembering being near the site having YouTube back then, we were all curious to see forward to sitting in the audience to experience MASS for cultural breakdown of the post-Kennedy era. of riots following the assassination of Rev. Dr. Martin how he [the Celebrant] would react.” the second time—this time with a better understanding As part of the international celebration of what Luther King, Jr., Rivers recalls this chaotic time of civil Baum described the reactions and how some conser- of MASS and with expectations of it being a far richer would have been Bernstein’s 100th birthday, and for unrest in America as “a scary time.” vative church people thought it was sacrilege, especially experience now than in 1972. the first time since 1972, the May Festival is presenting Baum also recalled that time, saying, “It was the throwing down the consecrated bread and wine. “This “I remember I was fascinated by the Celebrant, and the Bernstein’s MASS in its entirety on Saturday, May 19 Vietnam era, and the country as a whole was quite was jarring to some members of the Catholic commu- kind of internal turmoil that developed in him,” Baum at Music Hall. Rarely executed in its entirety due to unsettled. The fact that it was a mass…but not really a nity. These are so precious to Catholics, and no Catholic reminisced. “In the end, what the Celebrant was trying to the enormity of the undertaking, which calls for a full mass, it’s a theatre piece that used the structure of the could ever imagine that taking place during the mass. achieve with ‘A Simple Song’ was actually accomplished orchestra, three choirs, dancers, a marching band, and Catholic Mass to protest. He [Bernstein] captured the Bernstein used it as a theatrical and dramatic effect. It by the street singers in ‘Sing God a Secret Song.’ It was a rock and blues bands, MASS opinions of the nation’s young people becoming more was captivating.” sense of unity expressed by the people coming together. runs nearly two hours without politically aware of social justice through the voices of Maurice Peress, who conducted both the world Like the ending of any Catholic Mass, they say, ‘Mass is an intermission. The 2018 the Street Chorus in MASS.” premiere and the 1972 May Festival performance of ended; go in peace,’ and the congregants leave and go May Festival offers a rare op- Bernstein was known as a humanitarian and activist Bernstein’s MASS, was so impressed by Rivers’ dedica- forward together into the world with a song of blessing. portunity to experience what who opposed the war. In an essay called “My Father’s tion in preparing the Street Chorus that he offered the It all came together so beautifully,” reminisces Baum. many regard as a masterful Idealism,” his daughter, Jamie Bernstein, wrote, “My young conductor a position working on preparing a “The ending brought tears to my eyes.” exploration of faith. father, Leonard Bernstein, grew up in a world of stark scaled-down version of the production. They toured the Forty-six years after the picketing and that eight- A celebrated conductor and political contrasts. From the Depression to Roosevelt country with 60 performances, and Rivers was thrilled minute standing ovation at Music Hall, many believe composer throughout his ca- and the New Deal, from Nazism to World War II and to meet Bernstein in Los Angeles and gain insights into that MASS’ return to Cincinnati is just as timely today reer, Bernstein’s use of the Ro- the dropping of the atom bomb on Hiroshima, young the composer’s meticulous attention to detail. as it was in 1972. “It is amazing how well this piece has man Catholic Mass as a model Bernstein witnessed a world full of evil that was oc- “The first thing he [Bernstein] said was he really weathered the years. The topics are still relevant,” said for this musical and theatrical casionally tempered by powerful forces of good. In the disliked the props, which included the chalice and the Baum, who added, “If Bernstein were alive today, might exploration of faith did not mid-1960s, just as life and public justice in America cross,” said Rivers. “He continued expressing how the he have had more commentary on racial issues, refugees, 1972 May Festival program book sit well with some church seemed to be making some progress, Bernstein and props looked cheap. They weren’t beautiful enough. migrants and the environment? Clearly, there is conflict cover. leaders at the time. Cincinnati his contemporaries found themselves swept up in the He wanted the audience to think they were beautiful many still have with the government, and they are hear- Archbishop Paul Leibold said upheavals of three devastating assassinations: President enough to take home. That’s when I realized he was ing the same emotions being elicited today as in 1972.” he considered the production “offensive to Catholics,” John F. Kennedy in 1963, and then five years later, Rev. all-encompassing and had a total vision of what this even though he had never experienced the new Bernstein Martin Luther King and President Kennedy’s brother, piece should look like.”

12 | MAY FESTIVAL 2017 | mayfestival.com mayfestival.com | MAY FESTIVAL 2017 | 13 BERNSTEIN CENTENNIAL

of a golden age for classical music in the media. He was CELEBRATING THE on TV and radio every Sunday, with children’s concerts. MUSICAL LEGACY He was one of the most positive famous musicians I’ve ever met, and he was there for the music. He was not OF LEONARD BERNSTEIN there to be the ‘big man.’ He was there to have joy, and by Kayla Moore I have very positive memories of that.” Mr. Johnson went on to say, “Bernstein was here with the May Festival during a time when it was shifting gears from being every other year, to being an annual event. There were some fairly famous guests there previously, but May Festival started to come into its own at the time of Bernstein’s arrival, and he was a symbol of that—for that one year to have him was really a big deal. He was really a mensch, a human being. He was there to share his joy of music.” Bernstein had a unique passion, style and exuberance. With more than 20 honorary degrees, 23 Grammy Awards, 10 Emmy Awards, and countless other arts and entertainment awards, Mr. Bernstein earned the respect and love of musicians and arts advocates globally during his lifetime, and he continues to be revered as one of the greatest artists of all time. As part of the worldwide celebration of the Bern- stein Centennial, a number of notable performances at Cincinnati Music Hall have already taken place: In April, guest conductor Cristian Măcelaru led the CSO in Three Dance Episodes from On the Town as well 2018 marks the centennial of Leonard Bernstein’s birth, as Bernstein’s Divertimento, and John Morris Russell and the international musical community has responded conducted the live film score of West Side Story with with tributes and festivals celebrating his musical the Cincinnati Pops. At this year’s May Festival, Robert legacy. One of the greatest pioneering musicians of his Porco is leading a once-in-a-generation performance generation, his wide-ranging talents included conduct- of the Bernstein MASS on May 19 and Juanjo Mena is ing, composing and performing. Leonard Bernstein conducting Bernstein’s Chichester Psalms on May 25. (1918–1990) remains one of the most iconic artists of For more information on events happening worldwide, the 20th century. visit leonardbernstein.com/calendar. n Throughout his career, Bernstein appeared as piano soloist and conductor of symphony orchestras across the globe. He appeared at Music Hall with the CSO on three occa- sions—performing Ravel’s Concerto in G Major for Piano and Orchestra in 1945, Bach’s Brandenburg Concerto No. 5 in 1946, and Beethoven’s Piano Concerto No. 1 in 1947. He also conducted those three programs, includ- ing works as diverse as Mozart’s Symphony No. 39, Debussy’s La mer, and Shostakovich’s Symphony No. 5. Cincinnatians may recall Mr. Bernstein in his role as the Honorary Music Director for the May Festival Centennial celebration in 1973, conducting Beethoven’s Missa Solemnis. Obo- ist Richard Johnson is currently the longest serving member of the Cincinnati Symphony Orchestra (CSO) and reflected on his time working with Mr. Bernstein during that May Leonard Bernstein consults with soprano soloist Lou Ann Wyckoff (above) and leads the May Festival Chorus, Cincinnati Symphony Orchestra and soloists (below) during the dress Festival: “It was a big deal for the orchestra rehearsal for the 1973 May Festival performance of Beethoven’s Missa Solemnis. Photos: and May Festival to have him—it was kind © Lawrence Zink, Cincinnati Magazine.

mayfestival.com | MAY FESTIVAL 2018 | 15 Q&A WITH JUANJO MENA

OTXOTE TXANBELA BRINGS THE MUSIC OF JUANJO MENA’S NATIVE SPAIN May Festival Magazine: What are the most TO THE MAY FESTIVAL important skills and lessons you have learned Special pre-concert performances, community appearances planned from working with choruses in your development as a conductor? Juanjo Mena: The most important thing I have Otxote Txanbela, which learned throughout my training and develop- embodies the musical ment has been to understand that the basis of our traditions of Juanjo language is a continuous exchange of energy with Mena’s native Spain, is the group that’s in front of us, and that sincere appearing at this year’s communication is the only way of achieving ex- Festival as a special gift cellent results. The most wonderful compliment from Juanjo and a cel- I have received, thanks to my background as a ebration of his culture. choirboy, was with the Bergen Philharmonic in In addition to their pre- Norway, when some musicians said to me after concert performances a rehearsal “Maestro, thank you for breathing with us!” To develop this, we announced an open invitation to in Music Hall on any member of the community to join the Community May 25 and 26, the MFM: What criteria do you use for choosing repertoire? Chorus. We came together for a choral workshop in group will visit and JM: It depends greatly on the resources—the orchestra, January, under the expert and inspirational leadership perform in schools soloists, chorus and the space available to us—but of of the May Festival Chorus’s Director Robert Porco. Mr. and community cen- course as a conductor, I don’t think just in practical Porco selected movements of Messiah to be rehearsed. ters around the region. terms. I won’t conduct a work if I feel it is not “my” More than 200 people came, many of whom had never They also will give a repertoire, by which I mean I have nothing to bring to sung in a choir before, and I am delighted that we now free lunch-time concert it musically. The performers, and often the audience, have a Community Chorus of 170 singers who have at Fountain Square on will know immediately if this isn’t the case. been rehearsing since January to prepare for the final May 23, 11:30 a.m.– The first thing I asked for when I was invited to be concert of this year’s May Festival. There was no audi- 1:30 p.m. Here is the story of Otxote Txanbela: of introducing the 2018 May Festival to the Basque Principal Conductor was a list of the repertoire that tion process—it was important to me that everyone was tradition of choral singing in this unique formation. had been performed at the Festival, not just during welcome, and I was mindful that an audition would have The Basque Country of Spain has a great choral identity Its members come from all over the Basque Country of the past five years, but throughout its entire history. been a barrier to this. Community Chorus members that has become increasingly stronger since the surge Spain, and all have vast experience with choral singing, It was crucial for me to be able to fully understand the range in age from 16 to 92. in popularity of choral societies in the region toward having sung in prestigious choirs and ensembles such Festival’s identity, the themes that have run through the end of the 19th century. Although the tradition of as the Orfeón Donostiarra, the Pamplona Male Voice it over the years, how it has changed and how I will MFM: Knowing what you know now, what one piece of small ensemble singing was already common at parties Choir (Voces Graves de Pamplona), Kea Ahots Taldea develop it without it losing its identity as a unique and advice would you offer to a young conductor starting out? and festivities, the first references to the “Otxote” (an and the Coral Andra Mari from Rentería. beloved cultural event. JM: That conducting is giving—an infinite source of octet of male voices), which would later become much Its repertoire is largely based on Basque folk music, I would like to continuously enhance and rejuvenate giving, giving and giving… more widespread, are found within the choral societies’ nearly all of which is sung in the Basque language. the Festival with exciting and attractive programs and MFM: What thoughts run through your mind after a records. In 1921, for example, the Bilbao Choral Society The Otxote Txanbela takes its name from a traditional projects that really engage with our community. There performance? organized an Otxote competition among its members, Basque wind instrument called the txanbela, which are many people throughout Greater Cincinnati who JM: with the aim of encouraging preparation for concerts, belongs to the double-reed family, like the oboe. It is enjoy singing and, whether they are in a choir or other Hmmm, do you really want to know?! It’s typical of and thus improving the standard of the choir. The similar to the dulzaina, but a little shorter. The txanbela ensemble, or singing around the house or in the car, I a conductor to be self-critical about the concert, thinking tradition was maintained in the typical “Sociedades was commonly played in Zuberoa, at the foot of the Pyr- would like to convince them that the May Festival is about what didn’t go so well, rather than focusing on Gastronómicas,” where the men cooked and sang, and enees mountains, and as with other traditional Basque their home, too. what’s most important, which is ultimately the audi- from there went out into the streets and sang together instruments such as the sumprino and the alboka, it was ence’s experience. And it’s very difficult to disconnect as they socialized—often as “otxotes”—walking from played mainly by the local shepherds. MFM: What was behind the decision to have a com- after a concert, especially as conductors are so often bar to bar, usually with a glass in their hand, of course! Otxote Txanbela is grateful to the Cincinnati May munity chorus join the May Festival this year? alone afterward. But if you have given everything you can Otxote Txanbela was formed in late 2017 by its Festival and Maestro Juanjo Mena for this wonderful JM: I was clear from the onset that I wanted the May in your power to make this concert a success, the music conductor, Josean Vega (pictured above, center front), opportunity to introduce you to the beautiful music of Festival to be a festival for everyone. I thought to myself, will thank you for it. You can try to have everything following the invitation of the Cincinnati May Festival their country. n what could be more welcoming than inviting the Cin- perfect, under control and structure, but as Oppenheim and its Principal Conductor Juanjo Mena, with the idea cinnati community to sing with us? I was aware of the said, “The optimal state for art is disorder”; it’s in our long-held May Festival tradition, in which Chorus and capacity to manage this, and that will affect how suc- audience sing together the “Hallelujah!” Chorus from cessful the outcome is. —Diana Maria Lara Handel’s Messiah at the end of the final performance of each Festival.

16 | MAY FESTIVAL 2018 | mayfestival.com mayfestival.com | MAY FESTIVAL 2018 | 17 JUANJO MENA Principal Conductor

Chief Conductor of the BBC Phil- and Asia, including performances in harmonic in Manchester, United Cologne, Munich, Vienna, Madrid, Kingdom, Juanjo Mena is one of Beijing and Seoul, and performs with Spain’s most distinguished interna- them every year at the BBC Proms tional conductors. in London. He has conducted most of the His operatic work includes The leading orchestras in North America, Flying Dutchman, Salome, Elektra, including the Chicago, Boston, Bal- Ariadne auf Naxos, Duke Bluebeard’s timore, Cincinnati, Montreal and Castle, Fidelio and Erwartung, and Toronto symphony orchestras; the productions including Eugene One- New York and Los Angeles philhar- gin in Genoa, The Marriage of Figaro monic orchestras; and The Cleveland in Lausanne and Billy Budd in Bilbao. Orchestra, the Minnesota Orchestra He has made several recordings and The Philadelphia Orchestra. with the BBC Philharmonic, includ- This season he assumes the role of ing a recent release of Ginastera’s

Principal Conductor of the Cincin- Photo: Michal Novak orchestral works to mark the com- nati May Festival. poser’s centenary; two discs of works Throughout Europe, Juanjo Mena has been Artistic by Manuel de Falla, one of which was a BBC Music Director of the Bilbao Symphony Orchestra, Chief magazine Recording of the Month; a Gabriel Pierné Guest Conductor of the Orchestra del Teatro Carlo release which was a Gramophone Editor’s Choice; Felice in Genoa and Principal Guest Conductor of the and works by Albéniz, Montsalvatge, Weber and Bergen Philharmonic Orchestra. He has worked with Turina, which have gained excellent reviews from the many prestigious orchestras such as the Berlin Phil- specialist music press. He has also recorded Messiaen’s harmonic, London Philharmonic, Oslo Philharmonic, Turangalîla-Symphonie for Hyperion with the Bergen Danish National Symphony Orchestra, Orchestre Philharmonic Orchestra, an interpretation which is said National de France, Orchestra Filarmonica della Scala, to “utterly redefine the terms under which past/current/ Milan, Bavarian Radio Orchestra, Dresden Philhar- future Turangalîlas need to be judged.” (Gramophone, monic and the Swedish Radio Symphony Orchestra, as October 2012) well as with all the major orchestras in Spain. Highlights of Maestro Mena’s 2017–18 season in- A guest of international festivals, Maestro Mena has clude his debut with the National Symphony Orchestra appeared at the Stars of White Nights Festival in St. in Washington, D.C., as well as return visits to the Petersburg, Russia, the Hollywood Bowl, Grant Park Orchestre Symphonique de Montréal, the Pittsburgh (Chicago), Tanglewood and La Folle Journée (Nantes). Symphony Orchestra and the London Philharmonic He has led the BBC Philharmonic on tours of Europe Orchestra.

Juanjo Mena’s appearances are made possible by Edward Jay Wohlgemuth.

mayfestival.com | MAY FESTIVAL 2018 | 19 ROBERT PORCO Director of Choruses

Robert Porco has been recognized ing…the chorus, warmly hovering, as one of the leading choral musi- is glorious.” Previous Carnegie Hall cians in the U.S., and throughout appearances featured Mendelssohn’s his career has been an active pre- Elijah with Jesús López Cobos and parer and conductor of choral and the Cincinnati Symphony Orchestra; orchestral works, including most Mahler’s Symphony No. 8 with Robert of the major choral repertoire, as Shaw, The Cleveland Orchestra and well as of opera. A highlight of other choruses; and Britten’s War Re- Mr. Porco’s career was leading an quiem with the Cincinnati Symphony Indiana University student choral Orchestra and James Conlon. and orchestral ensemble of 250 in In addition, Mr. Porco’s prepara- a highly acclaimed performance of tion of the Chorus’ Music Hall perfor- Leonard Bernstein’s MASS as part mance of the Pulitzer Prize-winning of the Tanglewood Music Festival’s On the Transmigration of Souls, celebration of the composer’s 70th Photo: Roger Mastroianni under the baton of the composer birthday. In 2011 Mr. Porco received Chorus America’s John Adams, led Adams to write, “The pure American “Michael Korn Founders Award for Development of quality of their enunciation and their perfectly bal- the Professional Choral Art.” In 2016 he led the May anced sonorities lifted the matter-of-fact plainness of Festival Chorus and Cincinnati Symphony Orchestra the words to a transcendental level, and for once the in a performance of Mendelssohn’s Elijah for Chorus piece did not seem as compromised and uneven as I America’s National Conference. had previously thought.” Mr. Porco’s conducting career has spanned geo- Mr. Porco was Director of Choruses for The Cleveland graphic venues and has included performances in the Orchestra from 1998 to 2018 and Artistic Director and Edinburgh Festival; Taipei, Taiwan; Lucerne, Switzer- Conductor of the Indianapolis Symphonic Choir from land; Tel Aviv and Jerusalem, Israel; and Reykjavik, 1988 to 1998. Iceland; and at the May Festival, Tanglewood Music Mr. Porco has gained national recognition for his Festival, Berkshire Music Festival, Blossom Festival and preparation of choruses for prominent conductors Grant Park Festival. He has been a guest conductor at including John Adams, Pierre Boulez, James Conlon, the May Festival and with the Cincinnati Symphony Andrew Davis, Christoph von Dohnányi, Charles Orchestra and The Cleveland Orchestra, among others. Dutoit, Paavo Järvi, Erich Kunzel, Raymond Leppard, The 2017–18 season is Mr. Porco’s 29th as Director James Levine, Jahja Ling, Jesús López Cobos, Zubin of Choruses. In recognition of his 25th anniversary, the Mehta, Juanjo Mena, John Nelson, André Previn, Kurt May Festival Chorus commissioned Mr. Porco’s portrait, Sanderling, Leonard Slatkin, Robert Shaw, John Wil- which hangs in the renovated Music Hall foyer. In 2010 liams and David Zinman. Mr. Porco led the premiere of Out of the Cradle Endlessly Mr. Porco taught doctoral-level choral conducting Rocking, a piece commissioned by the Chorus in honor at the Indiana University Jacobs School of Music from of his 20th season as director. 1979 to 1998, and in 2011 and 2012. Mr. Porco remains Mr. Porco has prepared the May Festival Chorus for dedicated to teaching and mentoring aspiring and four acclaimed appearances in Carnegie Hall. The most professional conductors and singers, and music educa- recent, in 2014, of Robert Nathaniel Dett’s The Order- tors, through coaching, workshops and masterclasses. ing of Moses and John Adams’ Harmonium with James In addition, he has guest taught at the University of Conlon and the Cincinnati Symphony Orchestra was Cincinnati College-Conservatory of Music, Wooster broadcast live; the live recording of the Dett was later College, the University of Akron, Harvard University, released on a CD The New York Times listed as one of the the University of Miami Frost School of Music and best classical recordings of 2016, noting, “In this record- Westminster Choir College (Princeton, NJ).

mayfestival.com | MAY FESTIVAL 2018 | 21 MAY FESTIVAL CHORUS MAY FESTIVAL CHORUS Robert Porco, director THE MAY FESTIVAL AND MAY FESTIVAL CHORUS Carlo Menotti’s The Death of the Bishop of Brindisi and HEATHER MacPHAIL, Robert Nathaniel Dett’s The Ordering of Moses. pianist and organist Beyond Cincinnati, the May Festival Chorus has The May Festival the artistic leadership Heather MacPhail has been the performed with great success at numerous venues across Chorus has earned of Principal Conduc- accompanist for the Cincinnati the country, including four celebrated appearances acclaim locally, tor Juanjo Mena, May Festival Chorus since 1990. at Carnegie Hall. The Chorus returned to New York nationally and in- boasts the May Fes- In addition, she currently serves City in May of 2014 for the Spring for Music Festival at ternationally for tival Chorus—with as Music Assistant to Robert Carnegie Hall, with James Conlon and the Cincinnati its musicality, vast choral preparation by Porco, Director of Choruses. Symphony Orchestra. range of repertoire Robert Porco—and She is a frequent keyboardist The May Festival Chorus has further strengthened its and sheer power of Cincinnati Symphony with the Cincinnati Symphony national presence through numerous PBS broadcasts sound. The Chorus Orchestra as anchors, Orchestra, performing on all of live concerts and several award-winning recordings, of 130 professionally hosts an international keyboard instruments; recently, many in collaboration with the CSO and Pops. In 2001 trained singers is the array of guest artists she was organ soloist for the Saint-Saëns Organ Sym- the Chorus recorded Christmas with the May Festival core artistic element and presents two phony in several performances. MacPhail has been Staff Chorus, a popular a cappella holiday disc. Its 2004 Telarc of the Cincinnati May spectacular weekends Accompanist at Miami University since 1997. There, release, the world premiere recording of Franz Liszt’s Festival as well as the of dynamic program- she supervises and coaches students in accompanying, St. Stanislaus featuring James Conlon and the CSO, was official chorus of the ming. James Conlon, teaches organ, and performs with faculty and guest awarded the 30th International F. Liszt Record Grand Cincinnati Symphony Orchestra and Cincinnati Pops. who in 2016 brought to a close an unprecedented artists. MacPhail has performed as piano soloist with Prix by the Liszt Society of Budapest. The Chorus is also Throughout each season the chorus members col- 37-year tenure as May Festival Music Director, was the Oxford String Quartet, Miami University Orchestra featured on the 2012 Cincinnati Pops release, Home for lectively devote more than 40,000 hours in rehearsals named Conductor Laureate upon his retirement. Many and Central Ohio Symphony Orchestra. She performs the Holidays. and performances. important choral works have received their World and regularly on local concert series, such as Christ Church The May Festival Chorus has garnered two awards Founded in 1873, the annual May Festival is the oldest, American premieres at the May Festival, including Glendale Music at Noon, Holy Trinity Episcopal Noon in recognition of its continuing artistic excellence and and one of the most prestigious, choral festivals in the Johann Sebastian Bach’s Magnificat, Gustav Mahler’s Series and Westwood First Concert Series. performances throughout the state. In 2011 the Chorus Western Hemisphere. The annual Festival, now under Symphony No. 3, Benjamin Britten’s Gloriana, Gian Heather MacPhail is Organist/Director of Music received the Spirit of Cincinnati USA Erich Kunzel Ministries at Westwood First Presbyterian Church in Queen City Advocate Award from Cincinnati USA Cincinnati. She maintains a private teaching studio Convention and Visitors Bureau. In 1998 the Chorus for piano and organ, with students active in competi- signs of success. Generally, I hope they’ll be impressed earned the Irma Lazarus Award from the Ohio Arts tions and recitals. She holds a Master of Music degree with the quality of what we do, and the sincerity and Council’s annual Governor’s Awards for the Arts. in Accompanying and a Bachelor of Music degree in humanity we try to communicate with a chorus of vol- unteers. There are lots of things to be really impressed and inspired by in addition to the music. Q&A WITH ROBERT PORCO MFM: You met Leonard Bernstein and conducted MASS during your years at Indiana University. How was that May Festival Magazine: What qualities do you feel experience? Juanjo will bring to the May Festival? RP: It was maybe 30 years ago. We did some perfor- Robert Porco: He’s a terrific musician, first and fore- mances of the piece and Mr. Bernstein had developed most, as well as a wonderful conductor and a wonder- a relationship with Indiana University over that period. ful person. I love his conducting, his warmth and his He would rent a little place at a lake nearby, presum- musicality, in terms of expression, with the Orchestra ably to write a sequel to Trouble in Tahiti, and he came and with the Chorus. a couple of times to conduct students—he was the ultimate teacher. We took our production of MASS MFM: Who formulated the idea of having a community to Tanglewood for its celebration of Bernstein’s 70th chorus join with the May Festival for Messiah? birthday. We brought the entire production, including RP: This was entirely Juanjo. It was more specific than sets, performers and orchestra from Indiana. just a community chorus; it was about Messiah and a community chorus, with a portion of the May Festival MFM: While you prepare the community chorus, you Chorus singing the more complicated parts and com- are simultaneously working on the production of MASS. munity singers singing from within the audience. This How is this production different from when you led MASS was one of the first things he mentioned to me when 30 years ago? we met, because he had done it in Spain and it was very RP: There are 30 years of music making in between—the successful. I’m happy to report that it’s been a great musical experience is the same; it’s still very invigorating experience for everybody! and stimulating. I’m struck again by how complicated MASS is. I have a much greater respect for it now than I MFM: For the seasoned May Festival goer, or a new- did before—not that I didn’t then, but, in retrospect, I’ve comer, what experience do you hope someone takes away just thought about what the piece meant to Bernstein, from the Festival this year? that it was a piece of its time…. I lived through the 1970s RP: Hopefully they’ll be inspired. Let’s say someone and was Catholic. It was true back then, but it’s truer comes to every concert—if we can move a few people to when you’ve lived more life. I see connections in it that think, move them to tears, or to laughter, per se, those are I didn’t see earlier. —Diana Maria Lara

22 | MAY FESTIVAL 2018 | mayfestival.com mayfestival.com | MAY FESTIVAL 2018 | 23 MAY FESTIVAL CHORUS THE MAY FESTIVAL CHORUS The May Festival Chorus is endowed by the Betsy & Alex C. Young Chair Piano Performance from the University of Cincinnati Coordinator and Director of Choral Activities (Faith Robert Porco, Director of Choruses College-Conservatory of Music. United Methodist, North Canton, OH) to participating Heather MacPhail, Accompanist Daniel Parsley, May Festival Conducting Fellow in ethnomusicological research in West African musical Rosanne Wetzel, Chorus Manager Joe Basel, Chorus Librarian DANIEL PARSLEY, traditions (published research fellow in Ghana, West Soprano Alto Tenor Christopher Canarie, 24 May Festival Conducting Africa through the Edward Brueggeman Center for Karen C. Allen, 19 Lindsey Appelquist, 4 Jim Baxter, 27 Steven L. Dauterman, 36 Emily Ash, 2 Robin Bierschenk, 7 Tony Beck, 1 Steve France, 13 Fellow Dialogue). Tracy Bailey, 17 Kate Bohanan, 2 Keith L. Dale, 8 Ko-Hsiu Hou, 1 Daniel Parsley enjoys an ac- Parsley has studied conducting under Robert Porco, A. Maris Bernard, 14 Barbara Brown, 7 Douglas Easterling, 3 Bradley Kauffman, 2 tive career in the Midwest as a Brett Scott, Earl Rivers, Mark Munson and Tom Merrill, Cindy Bosh, 3 Megan Christman, 3 Christopher Ford, 1 Jim Laskey, 8 Dawn Bruestle, 13 Lindsey Dolan, 7 Jonathan Guillen, 2 Michael Merry, 23 conductor, church musician, and he has appeared in recent conducting masterclasses Julie Brumback, 1 Erika Emody, 11 Samuel Krausz, 1 Daniel Parsley, 1 scholar, clinician and profes- with Duain Wolf, John Alexander, David Hayes, Eric Renée Cifuentes, 1 Margaret E. Hagar, 42 Braden Mechley, 11 Michael Pekel, 2 Sarah Clark, 1 Sarah Hamilton, 8 Gabriel Montefiore, 1 Justin Peter, 14 sional chorister, and he is Whitacre, Rodney Eichenberger and César Leal. His Kathy Dietrich, 4 Sally Vickery Harper, 47 Jeffrey Nielsen, 10 James V. Racster, 36 the choral conducting fellow passion for choral arts extends beyond conducting: he Jennifer Dobson, 1 Sarah Keeling Horseman, 8 Scott C. Osgood, 19 Stephen Sanders, 2 and assistant director for the has performed with many choruses himself, including Laurel Boisclair Ellsworth, 13 Spence B. Ingerson, 28 John Overholt, 1 Ronald B. Schofield, 10 Kathy Falcón, 13 Karolyn L. Johnsen, 46 Jason Ramler, 16 John Siarris, 1 Cincinnati May Festival, where the Cleveland Orchestra Chorus, Cincinnati May Fes- Anita Marie Greer, 29 Alexandra Kesman, 3 Larry Reiring, 9 Samuel M. Stover, 28 he prepares choruses for the tival Chorus and Youth Chorus, Toledo Opera, Tuscia Sarah Grogan, 3 Sunny Kim, 1 Adam Shoaff, 5 Marc Tuel, 6 Cincinnati Symphony Orchestra and Cincinnati Pops. Opera Festival (Viterbo, Italy) and Berkshire Choral Gaynelle Hardwick, 2 Julie Laskey, 14 David W. Skiff, 16 Joshua Wallace, 11 Dana Harms, 10 Kay M. Luccasen, 40 Jeffrey Stivers, 8 Mark Weaver, 12 Parsley also is on the faculty for the Kentucky Institute Festival. As a conductor of symphonic choral literature, Lauren Steiger Hess, 22 Elaine P. Lustig, 7 Matthew Swanson, 6 Joe White, 34 of International Studies (KIIS) Salzburg study abroad Parsley has most recently prepared choruses for John Carolyn Hill, 7 Kathy Mank, 13 Gary Wendt, 15 Ruth Hill, 8 Teri McKibben, 10 Barry Zaslow, 34 Numbers behind chorus program and is a faculty member at the music depart- Morris Russell, Gerhardt Zimmermann, James Meena Judith C. LaChance, 40 Jennifer Moak, 4 Bass members’ names signify ment of Thomas More College. A Cincinnati native, and Giordano Bellincampi. Hilary Landwehr, 29 Rachel Moser, 11 Richard Arnest, 17 their years of service. Those he is currently enrolled in the Doctor of Musical Arts Daniel Parsley is the Music in Worship Chair for Marissa Miller, 4 Rozelia Park, 6 celebrating anniversaries Lauren Peter, 14 Amy M. Perry, 6 Kenny Bierschenk, 6 (DMA) in Choral Conducting program at the University the Ohio Choral Director’s Association. He serves as Andrew L. Bowers, 2 of five-year increments are Mary Beth Poulimenos, 4 Jeanne E. Phillips, 24 honored with lapel pins they of Cincinnati College-Conservatory of Music (CCM). Director of Music at St. Timothy Episcopal Church Kristi C. Reed, 7 Ann Schwentker, 5 Scott Brody, 3 Beth Roberts, 12 Karen Scott-Vosseberg, 1 Douglas J. Bruestle, 9 proudly wear with their May Previous education includes an M.M. in Choral Con- in Cincinnati and also as the associate conductor for Rebecca Rodden, 1 Molly Scruta, 3 Festival uniforms. ducting (Bowling Green State University) and a B.M. Cincinnati’s Music Sacra. He is an active member of Julia H. Schieve, 23 Patricia Somers, 3 in Voice Performance and B.A. in International Studies ACDA, Chorus America, AGO and NAfME. Yvon F. Shore, 6 Sarah Stoutamire, 1 Sara Tate Takeuchi, 10 Megan Weaver, 5 AUDITION for May Festival Chorus (Xavier University). Susan L. Thiel, 37 Linda Wiley, 10 Call 513.744.3229 or email [email protected] Parsley has enjoyed diverse professional experiences, The May Festival is grateful to Ginger Warner for her Amanda Westwood, 1 Monica Wilson, 28 to schedule an audition or for more information. ranging from his most recent position as Worship Arts generous support of the Conducting Fellowship. Allison Whiteside, 1 Christine Wolterman, 21

24 | MAY FESTIVAL 2018 | mayfestival.com mayfestival.com | MAY FESTIVAL 2018 | 25 MAY FESTIVAL YOUTH CHORUS James Bagwell, director

The May Festival Youth Chorus, now director of The Collegiate Chorale in its 31st season, was organized to from 2009 to 2015. Highlights included give high school students the op- conducting rarely performed operas portunity to rehearse and perform at Carnegie Hall, including Bellini’s challenging choral music in a highly Beatrice di Tenda, Rossini’s Moïse et stimulating artistic environment. The Pharaon, and Boito’s Mefistofele. He group, generously supported by the conducted the New York premiere of Cincinnati May Festival, rehearses Philip Glass’s A Toltec Symphony and weekly and currently represents stu- Osvaldo Golijov’s Oceana at Carnegie dents from 20 area high schools. The Hall. His performance of Kurt Weill’s May Festival Youth Chorus, which Knickerbocker Holiday at Alice Tully has become an integral component Hall was recorded live for Gaslight of the annual May Festival, was Records and is the only complete specifically established to foster the recording of the work. He has col- development of musical expertise laborated since 2011 with singer and and appreciation which encourages composer Natalie Merchant, conduct- Photo: Erin Baiano participants to further pursue musical James Bagwell ing orchestras across the country. Other endeavors following graduation. recent performances include Glass’s In addition to annual May Festival and ArtsWave Another Look at Harmony at the Park Avenue Armory events, the May Festival Youth Chorus performs and Rossini’s Opportunity Makes the Thief at the Little frequently with the Cincinnati Symphony and Pops Opera Theatre of New York. Orchestra. In past seasons they performed and recorded He is a regular guest conductor for the Tulsa Sym- the “Superheroes” concert with John Morris Russell phony, and in November of 2018 he will return to Tulsa and the Cincinnati Pops, performed as a guest choir to conduct Benjamin Britten’s War Requiem. In 2011 at the University of Cincinnati College-Conservatory and 2012 he conducted the Amici New York Orchestra at of Music’s (CCM) “Feast of Carols” and participated the OK Mozart Festival, and in December 2014 he made at CCM as one of the ensembles for Chorus America’s his second appearance with the Cincinnati Symphony masterclass sessions for directors of young choirs. In Orchestra in a highly acclaimed performance of Messiah. 2013 the chorus participated in a collaborative “Sing for He frequently appears as guest conductor for orchestras a Cause” performance with the Cincinnati Symphony around the country and abroad, including the Jerusalem Youth Orchestra and, in 2007, The May Festival Youth Symphony, the Interlochen Music Festival, and the Chorus was featured in a PBS broadcast of the nationally Indianapolis Chamber Orchestra. recognized program From the Top hosted by concert A noted preparer of choruses, Bagwell recently pianist Christopher O’Reilly and recorded in Music Hall. prepared The Concert Chorale of New York for perfor- During the current season the May Festival Youth mances of Bernstein’s Kaddish Symphony for the New Chorus presented a special concert for Christmas York Philharmonic and will return to prepare Brahms’ Saengerfest sponsored by American Legacy Tours, Ein Deutsches Requiem for Jaap Van Zweden’s inaugural participated in the Spring Music Hall ArtsWave Open season as the Philharmonic’s Music Director. In 2018, House and joined the Bach Ensemble of St. Thomas he will prepare The Concert Chorale for performances (Terrace Park) for an April Bach Vespers service. with the Los Angeles Philharmonic, and he returns to During the 2018 May Festival the Youth Chorus was prepare two concerts, including Bernstein’s MASS, for featured at the Basilica (Covington) Concert on April 22 the Mostly Mozart Festival. As Chorus Master for the and will perform Leonard Bernstein’s Chichester Psalms American Symphony Orchestra, he received recent with the May Festival Chorus and the Cincinnati Sym- accolades for his work on Luigi Nono’s Intolleranza phony Orchestra for the May 25 Music Hall concert. 1960 at Carnegie Hall. Bagwell has trained choruses Students are selected for membership in the May Fes- for American and international orchestras and has tival Youth Chorus through auditions in May, September worked with conductors such as Charles Dutoit, Andris and January. Students in grades 9–12 from area public, Nelsons, Alan Gilbert, Gianandrea Noseda, Valery private and parochial schools are eligible to audition. Gergiev, Yannik Nézet-Séguin, Zubin Mehta, Riccardo Muti, Lorin Maazel, Esa-Pekka Salonen, Michael Tilson JAMES BAGWELL Thomas, Louis Langrée, Leonard Slatkin, Leon Botstein, James Bagwell, May Festival Youth Chorus conductor Ivan Fischer, Vladimir Ashkenazy, Raymond Leppard, since 1996, maintains an active international schedule James Conlon, Jesús López Cobos, Erich Kunzel, Leon as a conductor of choral, operatic and orchestral music. Fleischer and Robert Shaw. He was recently named associate conductor of The Bagwell prepared The Collegiate Chorale for numer- Orchestra Now (TON) and was appointed principal ous concerts at the Verbier Festival in Switzerland and guest conductor of the American Symphony Orches- for programs with The Israel Philharmonic in Israel tra in 2009. He has led both ensembles in concerts at and the Salzburg Festival. He has also prepared The Carnegie Hall and Lincoln Center. He served as music Concert Chorale of New York for performances with

mayfestival.com | MAY FESTIVAL 2018 | 27 MAY FESTIVAL YOUTH CHORUS the American Symphony Orchestra, the Los Angeles rale and co-presented sessions on the monophonic Philharmonic, and the Mostly Mozart Festival (broad- repertoire from Benevento, Italy at the International cast nationally on Live from Lincoln Center). Since 2003 Medieval Congress. Swanson is Assistant Choirmaster Q&A WITH JAMES BAGWELL works of Monteverdi and Schutz for the first time to he has been director of choruses for the Bard Music at the Episcopal Church of the Redeemer in Cincinnati. the May Festival repertoire. James Bagwell has been Director of the May Festival Festival, conducting and preparing choral works during Prior to his appointment at Redeemer, he was Master of Youth Chorus since 1996, and over the past few years MFM: What is one of the most important skills you’ve the summer festival at The Richard B. Fisher Center for the Schola at the Chapel of St. John Fisher, Cambridge, has traveled from New York to Cincinnati weekly for learned during your time conducting the Youth Chorus? the Performing Arts at Bard College. UK. He earned degrees at the University of Notre Dame, rehearsals. Since the 2018 season of the May Festival JB: I have learned that one has to treat young singers with Bagwell conducted some 25 productions as music CCM, and King’s College, Cambridge. director of Light Opera Oklahoma. At Bard SummerScape is his final year with the organization, we wanted to the same amount of care, concern and high expectations ask him some questions about his time conducting the that one would expect with more experienced singers. he has led various theatrical works, most notably Cop- DAVID KIRKENDALL, May Festival Youth Chorus ac- Youth Chorus and about his experiences with Cincin- One of my favorite teachers told me that “the only land’s The Tender Land. From 2005 to 2010 he was music companist, was choral director at Princeton High School nati’s musical arts. limitations that your students have are your limitations,” director of The Dessoff Choirs in New York, who under in Cincinnati from 1980 to 2013. His choral groups and I am certain he was right. I have tried to overcome his leadership made numerous appearances at Carnegie regularly achieved superior ratings at numerous OMEA May Festival Magazine: In this, your final year as May my own limitations as a conductor and teacher, and the Hall in addition to their regular season. He holds degrees adjudicated events. He also served as choral director at Festival Youth Chorus Director, what have you cherished Youth Chorus has helped with that growth enormously. from Birmingham-Southern College, Florida State Mount St. Joseph University for three years. most about this organization and the singers you have University and Indiana University. Bagwell is Professor After receiving his undergraduate degree, he worked with? MFM: What is one memory that stands out to you over of Music at Bard College and Director of Performance continued at the University of Cincinnati College- James Bagwell: The most cherished moments of your years with the May Festival? Studies in the Bard College Conservatory of Music. Conservatory of Music, receiving a master’s degree in conducting the May Festival Youth Chorus have been JB: The one great memory is a composite: watching Choral Conducting. He completed studies for the Doctor introducing to them some of the great works in the my teacher, Robert Porco, work over the past 20 years. A native of southeast Iowa, MATTHEW SWANSON of Musical Arts degree in Choral Conducting at the choral repertoire. There is something truly reward- It’s like getting a booster shot, and it reminds me how is assistant conductor of the Cincinnati May Festival University of Illinois. He provided keyboard reductions ing about working lucky I am to continue to learn from one of the greats. Youth Chorus, adjunct instructor of early music at the and continuo realizations for the Roger Dean edition of with them on rep- MFM: Now that you’re ending this chapter of your career, University of Cincinnati College-Conservatory of Music the Vivaldi Gloria, and has a recent SSA arrangement ertoire that they what’s next on the horizon? (CCM), and chorus master of CCM Opera. As Com- with Alfred Music Publishing. might not other- JB: munity Engagement Coordinator for the May Festival, Kirkendall served as rehearsal pianist for the Vocal wise have an op- For the past several seasons, I have been preparing he organizes and presents lectures and community Arts Ensemble of Cincinnati for 10 years, beginning portunity to sing. choruses for the New York Philharmonic, which I will forums on choral masterworks throughout the year. As with its founding in 1978. For the 1988–89 season Selfishly, I am continue to do next season. In addition, I have been a tenor, Swanson has performed with Schola Antiqua Kirkendall was Assistant Conductor for the Vocal Arts especially proud doing more orchestral conducting in New York and (Chicago) and the Vocal Arts Ensemble (Cincinnati) Ensemble with Earl Rivers. He joined the May Festival to have presented other places, which I hope to expand in the coming years. and is on the faculty of Berkshire Choral International. Youth Chorus as Accompanist and Assistant Director —Kayla Moore Recently, he was guest conductor of the CCM Cho- in October of 2006.

MAY FESTIVAL YOUTH CHORUS James Bagwell, Director Matthew Swanson, Assistant Director The May Festival celebrates David Kirkendall, Accompanist Rosanne Wetzel, Chorus Manager the incredible tenure of Catherine Angelo Julia Grace Dunn Ava Martin Deenie Pelfry Sarah Brabbs Yulia Feist Shelby Martin Jordan Richard JAMES BAGWELL, Breanna Brandenburg Randy Fleming Claire Mengel Andrew Schmid Are you a high school-aged Taylor Calhoun Kylie Gardocki Ashton Morris Laurynn Smith Director of the May Festival Youth Grace Calvert Anna Greco Andrew H. Nash Sophia Stanisic student who likes singing and Chorus since 1996. Ally Campbell Maxwell Hunkler Shaine Olmstead Paige Strasel enjoys music? Vivian Comer Leah Huth Sam Owens William Young Thank you, James, for your 21 seasons Jillian Craver-Harris Hannah Kelly Join the May Festival Youth Chorus! of teaching, mentoring and inspiring a The May Festival Youth Chorus is financially assisted by the ongoing support of generation of young singers ArtsWave and the Ohio Arts Council. As a member of the Youth Chorus, you will • Perform with talented singers from across who can now be found singing Special thanks to Knox Presbyterian Church. greater Cincinnati • Sing on stage at Music Hall with the on stages in Cincinnati, across the Cincinnati Symphony and Pops Orchestras The May Festival Youth Chorus members and directors would like to thank this season’s participating Greater country and around the world. • Improve your vocal technique, musicianship Cincinnati Area schools and their choral directors for exemplary dedication to excellence in choral music and and language skills vocal training: BRAVO! Beechwood High School Lakota West High School Seven Hills Upper School Auditions for the 2018–2019 season will be held Clermont Northeastern High School Leaves of Learning Simon Kenton High School in May and September. Reserve a spot today Conner High School Miami Valley Christian Academy Summit Country Day by contacting Matthew Swanson Covington Latin High School Nagel Middle School Sycamore High School Dater High School Notre Dame Academy Turpin High School at [email protected]. Dixie Heights High School School for the Creative and Ursuline Academy Fairfield High School Performing Arts Walnut Hills High School The May Festival Youth Chorus Homeschooled is tuition-free

28 | MAY FESTIVAL 2018 | mayfestival.com mayfestival.com | MAY FESTIVAL 2018 | 29 GUEST ARTISTS GUEST ARTISTS In concert Barry Banks has performed Berlioz’ Grand In January 2016, Bradley performed in Carnegie Messe des Morts under Sir Colin Davis and the London Hall’s Neighborhood Recital Series in honor of Marilyn Symphony Orchestra, which was released to considerable Horne, and in May of that year she made her debut GUEST CONDUCTOR in the summer of 2015 she made her debut with the acclaim on LSO Live. He sang in Britten’s War Requiem singing Beethoven’s Symphony No. 9 with the Santa Beethoven Orchester Bonn. at the Teatro alla Scala under Xian Zhang, The Dream of Cruz Symphony Orchestra. Prior to that, she completed In 2012 the conductor made her celebrated debut Gerontius with the Münchner Philharmoniker under Sir a nationwide recital tour ending in May of 2015. at Oper Frankfurt with La bohème, which led to her Andrew Davis, and Rossini’s Petite messe solennelle with Bradley is the 2017 recipient of the Leonie Rysanek international breakthrough. Subsequently, Eun Sun Kim the Royal Philharmonic Orchestra under Daniele Gatti. Award from the George London Foundation, the 2016 debuted at English National Opera in London with Die In 2017–18 Barry Banks performs in the opening con- recipient of the Hildegard Behrens Foundation Award, Fledermaus in 2013 and led concerts in Nancy, Palermo cert of the Mozarteumorchester Salzburg’s new season and a first-place winner in the Gerda Lissner and Serge and Torino. She returned to the Vienna Volksoper with under the baton of Riccardo Minasi. Other highlights and Olga Koussevitzky vocal competitions. She is the La traviata in the 2013–14 season. In the summer of include Mahler’s Symphony No. 8 with the National 2014 grand prize winner of The Music Academy of the 2014 she led Tosca at the Macerata Opera Festival. Taiwan Symphony Orchestra under Lan Shui, War West’s Marilyn Horne Song Competition. Eun Sun Kim studied composition and conducting Requiem at Casa da Música under Baldur Brönnimann, Michelle Bradley received her Master of Music de- in Seoul and continued her training in Stuttgart, where and this return to the May Festival for performances of gree in Vocal Performance from Bowling Green State she graduated with distinction. Immediately after gradu- Messiah. On the opera platform he appears as the Duke University. She has participated in master classes with ation she was awarded First Prize at the International of Mantua at Portland Opera. Stephanie Blythe, Anne Sofie von Otter, Marilyn Horne, Jesús López Cobos Opera Conducting Competition. Barry Banks’ discography includes Mitridate with Deborah Voigt, James Morris and Renata Scotto. Classical Opera Company (Ian Page), L’elisir d’amore, VOCAL SOLOISTS L’italiana in Algeri, Don Pasquale, Don Giovanni, The DAVID DANIELS, Photo: Nikolaj Lund (May 18, 25 and 26) Thieving Magpie and Die Zauberflöte in the “Opera countertenor EUN SUN KIM (May 18) BARRY BANKS, tenor in English” series for Chandos. DVD releases include (May Festival debut) (May Festival debut) Barry Banks’ outstand- Armida from The Metropolitan Opera. His solo recital David Daniels is known The 2017–18 season brings Eun Sun Kim to North ing facility in roles by disc for Chandos—Barry Banks Sings Bel Canto Arias— for his superlative artistry, America for the first time, where she debuts at Houston Bellini, Rossini and received substantial critical acclaim. magnetic stage presence Grand Opera with La traviata. Further important oper- Donizetti has regularly and a voice of singular atic debuts this season are at the Bayerische Staatsoper Photo: Christian Steiner taken him to the world’s MICHELLE BRADLEY, warmth and surpassing Munich (Hänsel und Gretel) and Opernhaus Zürich leading opera houses. With The Metropolitan Opera soprano beauty, which have helped (Carmen). She also returns to Semperoper Dresden he has partnered with Renée Fleming in Rossini’s (May Festival debut) him redefine his voice (Rigoletto), Berlin State Opera (Ariadne), Bergen Na- Armida, Natalie Dessay in La fille du régiment and La Michelle Bradley, a native category for the modern tional Opera (Flying Dutchman) and Oper Frankfurt (La sonnambula, Olga Borodina in L’italiana in Algeri, and of Houston, is in her final public. The American sonnambula). Concert engagements lead her to Aarhus, Anna Netrebko in Don Pasquale and L’elisir d’amore. year of the Lindemann Photo: Robert Recker countertenor has ap- Oslo, Malmö and Bergen. Notable roles have included Banks’ debut as Arnold Young Artist Develop- peared with the world’s major opera companies and Last season led her back to the Royal Opera Stockholm (Guillaume Tell) at Welsh National Opera, the title ment Program. Roles she on its main concert and recital stages. He made history with Il barbiere di Siviglia and the Staatsoper Berlin with role in Mitridate, re di Ponto and Don Narciso (Il turco has performed include as the first countertenor to give a solo recital in the main Madama Butterfly, Ariadne auf Naxos and La traviata; in Italia) at the Bayerische Staatsoper; Ernesto (Don Mozart’s Fiordilligi and auditorium of Carnegie Hall. The Chicago Tribune has Le nozze di Figaro at Opéra de Toulon; and Carmen at the Pasquale) at the Royal Opera House, Covent Garden; Donna Anna, Strauss’ called Daniels “today’s gold standard among counter- Den Norske Opera in Oslo. Additionally, she conducted Count Almaviva at Staatsoper Unter den Linden; and Marschallin, and Verdi’s tenors.” Gramophone magazine acknowledged his con- concerts with the Gothenburg Symphony Orchestra and Idreno (Semiramide) at the Teatro di San Carlo in Photo: Dario Acosta Alice Ford. tribution to recorded excellence as well as his expansion the Norwegian Radio Orchestra. Naples and in his debut at Royal Danish Opera. He has This season Bradley returns to The Metropolitan of the repertoire for his voice type by naming him one of In the 2015–16 season she made successful debuts at appeared as Iago in Rossini’s Otello at both Théâtre des Opera for Clotilde in Norma, which opens the season. the “Top Ten Trailblazers” in classical music today. The Royal Opera Stockholm with Madama Butterfly, at Sem- Champs-Elysées and Salzburger Festspiele. The role of She will also appear in Santiago, Chile as Donna Anna in 2017–18 season sees Daniels’ return to Houston Grand peroper Dresden with La bohème, at Staatsoper Berlin Don Ramiro (La Cenerentola) saw his debut at the Gran Don Giovanni. On the concert stage the soprano makes Opera for his role debut as Tolomeo in Giulio Cesare. He with Un ballo in maschera and at Cologne Opera with Teatre del Liceu, and Oreste (Ermione) marked his debut her debut at the May Festival in the Verdi Requiem and also sings Handel’s Messiah and Bernstein’s Chichester Lucia di Lammermoor. At Oper Frankfurt she conducted at the Santa Fe Festival. Last season he made his debut sings the Four Last Songs with the Santa Cruz Symphony, Psalms at the Cincinnati May Festival. Lehár’s Der Graf von Luxemburg and Richard Wagner’s in Vienna as Norfolk (Elisabetta, Regina d’Inghilterra) a program of Chausson and Caplet chamber works with In the 2016–17 season, Daniels appeared as a featured Der fliegende Holländer. at Theater an der Wien, and appeared as the Astrologer the New World Symphony, and solo recitals in Palm soloist on The Metropolitan Opera’s 50th Anniversary In autumn 2014 Eun Sun Kim conducted the highly in two productions of The Golden Cockerel at the Teatro Beach and Santiago, Chile. Future engagements include Gala. On the concert stage, he performed the role of praised production of La sonnambula at Oper Frankfurt, Real and at Santa Fe Opera. a debut in a leading role in Frankfurt and a return to the Orfeo in Gluck’s Orfeo ed Euridice with the Atlanta followed by performances of Hänsel und Gretel and Die During a long association with English National concert stage in Paris. Symphony Orchestra conducted by Robert Spano, gave Fledermaus at the Wiener Volksoper. On New Year’s Opera he has appeared as Tamino (Die Zauberflöte), In The Metropolitan Opera’s 2016–17 season, Bradley a South Korean concert tour with Christophe Dumaux Eve 2014 she led the semi-concertante production of Tom Rakewell (The Rake’s Progress), Edgardo (in David made debuts in Mozart’s Idomeneo and as the High and the Sejong Soloists, and made his debut with Boston Die Csárdásfürstin at Oper Frankfurt, and in that same Alden’s acclaimed production of Lucia di Lammermoor), Priestess in Verdi’s Aida. Other engagements included Baroque as the alto soloist in Bach’s B Minor Mass, con- season performances of Puccini’s La bohème. Concert Hoffmann (The Tales of Hoffmann) and as the Duke of recitals at the Théâtre du Châtelet and at New York’s ducted by music director Martin Pearlman. Daniels also engagements for 2014–15 led her to Nancy, France, and Mantua in Rigoletto. Park Avenue Armory and a return to Santa Cruz for returned to Wigmore Hall in recital with Martin Katz Verdi’s Messa da Requiem.

30 | MAY FESTIVAL 2018 | mayfestival.com mayfestival.com | MAY FESTIVAL 2018 | 31 GUEST ARTISTS GUEST ARTISTS and gave concerts with the Santa Fe Chamber Music and a revival of Purcell’s King Arthur at the Staatsoper In opera José Antonio López is expanding his reper- guest artist with the annual Monteverdi Tuscany Festival Festival as the festival’s artist-in-residence. Berlin. She also performs with La Cetra Basel, the Acad- toire, and has recently debuted roles as Verdi’s Germont in Siena, Italy. An accomplished recording artist with several criti- emy of Ancient Music, the Internationale Bachakademie (Córdoba, Oviedo, Pamplona and Gijón), Amonasro Career highlights from recent Metropolitan Opera cally acclaimed and best-selling solo albums to his credit, Stuttgart and B’Rock Belgium. and Iago (Jerez), and Strauss’s Jokanaan (Festival de seasons include L’elisir d’amore, which opened the Daniels’ latest release was a collection of Bach’s sacred Robin Johannsen has been a frequent guest with the Teatro Clásico de Mérida). He recently made his debut 2012 season, and Maria Stuarda (issued on DVD by arias and cantatas conducted by Harry Bicket with The Innsbrucker Festwochen der Alte Musik, the Inter- in Mexico’s Teatro Bellas Artes performing Handel’s Erato); La traviata; Julie Taymor’s legendary staging of English Concert. nationale Bachakademie Stuttgart, Academia Montis Radamisto. His operatic performances also include Die Zauberflöte (DVD available from the Metropolitan Honored by the music world for his unique achieve- Regalis and Belgium’s B’Rock. She has collaborated the roles of Figaro (Barber of Seville); Escamillo (Car- Opera); and revivals of Les Contes d’Hoffmann, Rigoletto, ments, Daniels has been the recipient of two of classical with conductors such as René Jacobs, Alessandro De men); Mozart’s Don Giovanni, Papageno, Figaro and Don Pasquale (Deutsche Grammophon DVD release), music’s most significant awards: Musical America’s Marchi, Andrea Marcon, Antonello Manacorda, Attilio Guglielmo; Uncle Salvador (La vida breve); Der Tod Don Giovanni, Roméo et Juliette, Il barbiere di Siviglia, Vocalist of the Year and the Richard Tucker Award. Cremonesi, Christopher Moulds, Helmuth Rilling, Ot- (Der Keiser von Atlantis); Malatesta (Don Pasquale); Così fan tutte, Falstaff, Die Meistersinger von Nürnberg David Daniels was born in Spartanburg, South Caro- tavio Dantone, Howard Griffiths, Celso Antunes, Łukasz Enrico Ashton (Lucia di Lammermoor); Achilla (Giul- (DVD available from Deutsche Grammophon) and lina, the son of two singing teachers. He began to sing Borowicz, Christian Thielemann, Rafael Frühbeck de lio Cesare); Mario (Una voce in Off); and Noah (Noye’s L’italiana in Algeri. To date, he has starred in more than as a boy soprano, moving to tenor as his voice matured, Burgos, Marin Alsop and Robert Page. Engagements Fludde), as well as several zarzuelas. Other recent 300 performances at The Met. and earned an undergraduate degree from the University have included performances with leading opera compa- highlights include Garibaldo in Handel’s Rodelinda in Polenzani is constantly in demand for concert engage- of Cincinnati College-Conservatory of Music. Daniels nies and orchestras of the world in venues such as Alice Madrid’s Teatro Real and his debut in the Gran Teatre ments with the world’s most influential conductors, and made the daring switch to the countertenor range dur- Tully Hall in Lincoln Center, Carnegie Hall, Rheingau del Liceu of Barcelona. he frequently performs with premier ensembles in the ing graduate studies at the University of Michigan with Musik Festival, Gasteig Munich, Essen Philharmonie, José Antonio López has performed with great mae- United States and Europe. In recital, he has appeared tenor George Shirley. danielssings.com Berliner Philharmonie, Konzerthaus Berlin, Concertge- stros such as Gerd Albrecht, Leopold Hager, Martin in numerous venues across America with pianist Julius bouw Amsterdam, Bremen’s Glocke, Lucerne Festival, Haselböck, Pablo Heras-Casado, Christopher Hogwood, Drake, and at Wigmore Hall (available on CD, Wigmore ROBIN the Vatican, Conservatorio Torino, Auditorium del Lorin Maazel, Sir Neville Marriner, Salvador Mas, Hall label). He has also appeared with noted pianist JOHANNSEN, Lignotto—Torino, Grattacielo del San Paolo—Torino; Juanjo Mena, Gianandrea Noseda, Víctor Pablo Pérez, Richard Goode in a presentation of Janáček’s The Diary soprano Conservatorio di Milano; Tonhalle Zürich; and the Maurizio Pollini, Josep Pons, Christophe Rousset, of One Who Vanished at Carnegie’s Zankel Hall, and in (May Festival debut) Oregon Bach Festival. robinjohannsen.com Andreas Spering, Masaaki Suzuki and Antoni Wit, recital at the Verbier Festival with pianist Roger Vignoles American soprano Robin among others. (available on CD, VAI). Polenzani was honored to have Johannsen came to Eu- JOSÉ ANTONIO sung on all three stages of Carnegie Hall in one season: rope as a young artist LÓPEZ, baritone MATTHEW in concert with The MET Chamber Ensemble at Zankel with the Deutsche Oper (May Festival debut) POLENZANI, tenor Hall; a solo recital with James Levine at the piano in Berlin and joined the José Antonio López’s American tenor Matthew Weill Hall; and in a Schubert Liederabend on the stage of company soon after as a recent successes have Polenzani is one of the Isaac Stern Auditorium with colleagues Renée Fleming, soloist. Her roles there included singing Bach’s most gifted and distin- Anne Sofie Von Otter, and René Pape, again with James included Susanna (Le St. Matthew Passion at guished lyric tenors of his Levine as pianist.

Photo: Tatjana Dachsel nozze di Figaro), Norina Vienna’s Musikverein, generation. His elegant Matthew Polenzani was the recipient of the 2004 (Don Pasquale), Oscar (Un ballo in maschera) and Beethoven’s Symphony musicianship, innate sense Richard Tucker Award, The Metropolitan Opera’s Soeur Constance (Les dialogues des Carmélites). After No. 9 at Vienna Hofburg, of style, dramatic com- 2008 Beverly Sills Artist Award, and a 2017 Opera News two more years with Oper Leipzig (Gretel, Marzelline, Brahms’ Ein Deustches mitment and timeless Award. An avid golfer, he makes his home in suburban Blonde, Susanna and Pamina), she began her freelance Requiem in Brussels’ Palais artistry have established New York with his wife, mezzo-soprano Rosa Maria career in 2008 with a special affinity for the Baroque and des Beaux-Arts and Fes- his continued presence at Pascarella, and their three sons. Classical repertoires. tival Casals de Puerto Rico, as well as performing the Photo: Rebecca Fay leading operatic, concert In the 2017–18 season, Robin Johannsen makes her main role of Mauricio Sotelo’s El Público at the Teatro and recital venues worldwide. JOHN RELYEA, bass debut at Theater an der Wien, Festspielhaus Baden- Real in Madrid. José Antonio López, who regularly The 2017–18 season includes a return to Lyric Opera John Relyea has ap- Baden and Athens’ Mégaron in Beethoven’s Leonore performs in theaters and festivals all over Europe, such of Chicago in two of Polenzani’s signature roles—the peared on many of the (Marzelline) with René Jacobs and the Freiburger as the Musikverein and Konzerthaus in Vienna, Prinzre- Duke of Mantua in Verdi’s Rigoletto and Nadir in Les world’s great operatic Barockorchester. Further performances take her to gententheater in Munich, Berwaldhallen in Stockholm, pêcheurs de perles. He reprises his portrayal of Nemorino stages, including The Amsterdam’s Concertgebouw, the Philharmonies of Warsaw Philharmonic, Halle aux Grains in Toulouse, in Donizetti’s L’elisir d’amore with The Metropolitan Metropolitan Opera, Paris and Cologne, and the Centre for Fine Arts— and the Theater an der Wien, where he offered a recital Opera. He continues to Switzerland to make his role San Francisco Opera BOZAR in Brussels. She sings Bach’s B Minor Mass with with pianist Maurizio Pollini. He has also performed debut as Rodolfo in Verdi’s Luisa Miller at Opernhaus (where he is an alumnus the Windsbacher Knabenchor and the FBO on tour in major concert halls and venues in Spain, such as Zürich, then switches to Puccini’s Rodolfo in La bohème of the Merola Opera in Germany and Norway, and she makes her debut in Teatro Real, Auditorio Nacional de Música, Teatro de at the Royal Opera House in London. Program and a former Hamburg’s Elbphilharmonie in Benjamin Britten’s Les la Zarzuela and l’Auditori in Barcelona. Throughout Concert appearances next season include a perfor- Adler Fellow), Lyric Op- Illuminations with Tabea Zimmermann and Ensemble his career he has sung an extensive concert repertoire mance as the tenor soloist in Haydn’s Creation with the era of Chicago, Royal

Resonanz. Other highlights include the Telemann opera from Bach to Brahms, as well as Mahler’s Lieder eines Chicago Symphony Orchestra at the Ravinia Festival; Photo: Shirley Suarez Opera House-Covent Miriways at NDR Hamburg’s Telemann-Festival under fahrenden Gesellen, Kindertotenlieder and Symphony “A Night at the Opera” concert with The Philadelphia Garden, Paris Opera, Teatro alla Scala, Rome, Naples, Bernard Labadie, Entführung aus dem Serail (René of a Thousand; Zemlinsky’s Lyrische Symphonie; and Orchestra and Yannick Nézet-Séguin in Saratoga, NY; Bayerische Staatsoper, Vienna State Opera, Dresden, Jacobs, conductor; Andrea Moses, director) at Salzburg’s Schoenberg’s Gurrelieder, recorded for Deutsche arias and ensemble pieces as part of “Stars of Lyric Op- Madrid, Barcelona, the Mariinsky Theater, and the Mozarteum with the Akademie für Alte Musik Berlin, Grammophon. era” at Millennium Park in Chicago; and as a featured Canadian Opera Company. His roles have spanned a

32 | MAY FESTIVAL 2018 | mayfestival.com mayfestival.com | MAY FESTIVAL 2018 | 33 GUEST ARTISTS GUEST ARTISTS vast range of repertoire, including the title roles of Attila, performs concerts with the New York Philharmonic, In recent seasons, she sang the roles Marina (Boris Ekaterina Semenchuk has performed at the festivals Don Quichotte and Aleko; Figaro in Le nozze di Figaro Boston Symphony, Orchestre de Paris, Netherlands Godunov) and Polina (Pique Dame) at The Metropoli- in Baden-Baden, Tanglewood, Stresa (Italy), Ravinia, and Bluebeard in Bartók’s Bluebeard’s Castle. Radio Philharmonic and Sydney Symphony. tan Opera, as well as her first Azucena (Il trovatore) in Cincinnati May Festival, Verbier (Switzerland), Aix- Other roles include Zaccaria in Nabucco, Bertram His recordings include the Verdi Requiem (LSO Live), Valencia under the baton of Zubin Mehta. At the Royal en-Provence (France) and White Nights Festival (St. in Meyerbeer’s Robert le Diable, Pagano in I Lombardi Idomeneo and La clemenza di Tito with Sir Charles Opera House-Covent Garden she has sung Olga (Eugene Petersburg). In 2005, at the invitation of His Highness alla prima crociata, Raimondo in Lucia di Lammer- Mackerras and the Scottish Symphony Orchestra (EMI), Onegin), and at the Berlin Staatsoper she was Preziosilla Charles, Prince of Wales, Ekaterina Semenchuk per- moor, Colline in La bohème, Don Alfonso in Lucrezia Mahler’s Symphony No. 8 with Sir Simon Rattle and the (La forza del Destino) and Polina (Pique Dame) under formed at the ceremony of prayer and dedication during Borgia, Don Basilio in Il barbiere di Siviglia, Alidoro in City of Birmingham Symphony Orchestra (EMI), and the musical direction of Daniel Barenboim. With Valery his marriage to Camilla Parker Bowles. La Cenerentola, Giorgio in I Puritani, Enrico in Anna The Metropolitan Opera’s DVD productions of Don Gergiev, she has performed Didon (Les Troyens) at Future plans include Cavalleria rusticana at San Bolena, Banquo in Macbeth, Garibaldo in Rodelinda, Giovanni, I Puritani, Die Meistersinger von Nurnberg the Mariinsky Theatre in St. Petersburg, at Carnegie Francisco Opera, Il trovatore and Don Carlo at Teatro Méphistopélès in both Faust and Le damnation de Faust, (Deutsche Grammophon), Macbeth and Rusalka (Met- Hall in New York and at the Suntory Hall in Tokyo. Real de Madrid, and Rusalka at Opéra de Paris. the Four Villians in Les contes d’Hoffmann, Marke in ropolitan Opera HD Live Series). Among many other impressive appearances are her Chamber music performances include frequent ap- Tristan and Isolde, King Phillip in Don Carlo, Caspar John Relyea is the winner of the 2009 Beverly Sills performances as Fricka (Die Walküre) with Los Angeles pearances with pianists Semion Skigin, Dmitry Efimov in Der Freischütz, Nick Shadow in The Rake’s Progress, Award and the 2003 Richard Tucker Award. Opera. In 2013, her performance as Eboli (Don Carlos) and Helmut Deutsch. Collatinus in The Rape of Lucretia, The Water Sprite conducted by Sir Antonio Pappano made a splash at Her discography begins in 2005 with Russian Songs in Rusalka and King Renè in Iolanta. In concert, he EKATERINA the Salzburg Festival. (Harmonia Mundi), followed by Stravinsky’s Oedipus has performed with major orchestras including the SEMENCHUK, On the concert podium, she has sung Verdi’s Requiem Rex with Valery Gergiev (2010), Sarti’s Magnificat-Gloria Berlin Philharmonic, New York Philharmonic, Vienna mezzo-soprano with Antonio Pappano, Valery Gergiev, James Gaf- with Mattia Rondelli (Sony Classical, 2012), Don Carlos Philharmonic, NDR and the London Symphony, and Stagecraft and outstand- figan, Roberto Abbado, Michail Jurowski and Gustavo with Pappano (DVD, ORF/Salzburg Festival 2013), and the symphony orchestras of Atlanta, Boston, Chicago, ing vocal qualities firmly Dudamel; Mahler’s Das Klagende Lied at the Ravinia Carmen with Nanasi (DVD, Arena di Verona 2014). Cleveland, Dallas, Philadelphia and San Francisco. established the reputa- Festival with the Chicago Symphony Orchestra and In 2015 Warner Classics released the highly acclaimed He has appeared at the Tanglewood, Ravinia, Salz- tion of Ekaterina Semen- Dvořák’s Requiem with L’Orchestre de Paris, both under recording of Aida, with the orchestra and chorus of the burg, Edinburgh, Lucerne and Mostly Mozart festivals, chuk as a shining star James Conlon; as well as Prokofiev’s Alexander Nevsky Academy of Santa Cecilia, under Sir Antonio Pappano. and at the BBC Proms. of the opera world. She at the Accademia di Santa Cecilia in Rome under the This season Relyea returns to the Paris Opera for made her debut on this direction of Vasily Petrenko. At the Concertgebouw Please refer to page 50 of this May Festival program Bluebeard’s Castle and to the Teatro dell’Opera di stage while still studying in Amsterdam and at the Wien Konzerthaus she has book for Bernstein MASS artist information. Roma as Claggart in Billy Budd, makes his debut at the at the St. Petersburg State performed Berlioz’s La morte de Cleopatre under the

Teatro di San Carlo as Fiesco in Simon Boccanegra, and Photo: Sheila Rock Conservatory. direction of Valery Gergiev.

34 | MAY FESTIVAL 2018 | mayfestival.com mayfestival.com | MAY FESTIVAL 2018 | 35 CINCINNATI SYMPHONY ORCHESTRA LOUIS LANGRÉE, CSO Music Director Louise Dieterle Nippert & Louis Nippert Chair Paavo Järvi, Music Director Laureate The Cincinnati Symphony Orchestra is one of America’s In recent years, the CSO has commissioned works by a Keitaro Harada, Associate Conductor finest and most versatile ensembles. With a determina- diverse group of composers, including three new works David G. Hakes & Kevin D. Brady Chair tion for greatness and a rich tradition that dates back featured on the Orchestra’s Grammy-nominated record- Gene Chang, Assistant Conductor over 120 years, the internationally acclaimed CSO at- ing, Concertos for Orchestra, which was released in 2016. tracts the best musicians, artists and conductors from The CSO was the first American orchestra to make a FIRST VIOLINS CELLOS CLARINETS TIMPANI around the world to Cincinnati. With new commissions world tour sponsored by the U.S. Department of State Timothy Lees Ilya Finkelshteyn Ralph Skiano Patrick Schleker Concertmaster Principal Principal Principal and groundbreaking initiatives like LUMENOCITY®, and continues to tour domestically and internationally, Anna Sinton Taft Chair Irene & John J. Emery Chair Emma Margaret & Matthew & Peg One City, One Symphony and The Pelléas Trilogy, the Or- most recently to Asia in March of 2017 and Europe in Kathryn Woolley Daniel Culnan* Irving D. Goldman Chair Woodside Chair Acting Associate Concertmaster Ona Hixson Dater Chair Ixi Chen Richard Jensen* chestra is committed to being a place of experimentation. August and September of 2017. The CSO has performed Tom & Dee Stegman Chair Norman Johns** Vicky & Rick Reynolds Chair Morleen & Jack Rouse Chair Charles Morey† Karl & Roberta Schlachter in Honor of Louis Langrée began his tenure as the CSO’s 13th at New York’s Carnegie Hall 48 times since its debut First Assistant Concertmaster Family Chair William A. Friedlander PERCUSSION Music Director in 2013 with a celebrated program The there in 1917, most recently to rave reviews in May of James M. Ewell Chair++ Matthew Lad§ Benjamin Freimuth*† David Fishlock Eric Bates Marvin Kolodzik Chair Robert E. & Fay Boeh Chair++ Principal New York Times said “deftly combined nods to the or- 2014 with the May Festival Chorus. In January of 2016, Second Assistant Concertmaster Susan Marshall-Petersen Susan S. & William A. Nicholas Tsimaras– Laura Kimble McLellan BASS CLARINET Friedlander Chair chestra’s history, the city’s musical life and new music.” the Orchestra performed at New York’s Lincoln Center Peter G. Courlas Chair++ Chair++ Ronald Aufmann Michael Culligan* Over the Orchestra’s 123-year history, it has also been as part of the invitational Great Performers series. Anna Reider Hiro Matsuo Richard Jensen Dianne & J. David Theodore Nelson BASSOONS Morleen & Jack Rouse Chair led by Leopold Stokowski, Eugène Ysaÿe, Fritz Reiner, The Orchestra also performs, records and tours as the Rosenberg Chair Kenneth & Norita Aplin and William Winstead Marc Wolfley Mauricio Aguiar§ Stanley Ragle Chair Principal Eugene Goossens, Max Rudolf, Thomas Schippers, Jesús Cincinnati Pops under the direction of John Morris Rus- Serge Shababian Chair Alan Rafferty Emalee Schavel Chair++ KEYBOARDS López Cobos and Paavo Järvi, among others. sell, and the CSO elevates Cincinnati’s vibrant arts scene Minyoung Baik Ruth F. Rosevear Chair Hugh Michie Michael Chertock James Braid Charles Snavely Martin Garcia* James P. Thornton Chair A champion of new music, the Orchestra has given by serving as the official orchestra for the Cincinnati Marc Bohlke Chair given Peter G. Courlas– American premieres of works by such composers as May Festival, Cincinnati Opera and Cincinnati Ballet. by Katrin & Manfred Bohlke Nicholas Tsimaras Chair++ CONTRABASSOON CSO/CCM DIVERSITY Michelle Edgar Dugan Jennifer Monroe FELLOWS~ Debussy, Ravel, Mahler and Bartók, and has commis- The CSO is Cincinnati’s own and is committed to Rebecca Kruger Fryxell BASSES Vijeta Sathyaraj, violin Gerald Itzkoff Owen Lee FRENCH HORNS Weiyi Shao, violin sioned works that have since become mainstays of the enhancing and expanding music education for greater Jean Ten Have Chair Principal Elizabeth Freimuth Emilio Carlo, viola Mary Alice Heekin Burke classical repertoire, including Copland’s Fanfare for the Cincinnati, and it works to bring music education, in its Lois Reid Johnson Principal Dan Wang, viola Chair++ Anne G. & Robert W. Dorsey Mary M. & Charles F. Diana Flores, cello Common Man. The Orchestra continues to commission many different forms, to as broad a public as possible. Chair++ James Lambert* Yeiser Chair Anita Graef, cello Sylvia Mitchell Matthew Zory, Jr.** Thomas Sherwood* Maurice Todd, bass new works and to program an impressive array of music. Jo Ann & Paul Ward Chair Trish & Rick Bryan Chair Ellen A. & Richard C. Ian Saunders, bass Luo-Jia Wu Wayne Anderson§ Berghamer Chair Boris Astafiev Patrick Hodge** ORCHESTRA PERSONNEL SECOND VIOLINS Ronald Bozicevich Sweeney Family Chair in Paul Pietrowski, Director Gabriel Pegis Rick Vizachero memory of Donald C. Sweeney Rachel Kilgore, Assistant Manager Principal Lisa Conway Al Levinson Chair HARP Susanne & LIBRARIANS Yang Liu* Gillian Benet Sella Philip O. Geier, Jr. Chair Mary Judge Harold B. & Betty Justice Principal Duane Dugger Principal Chair Cynthia & Frank Stewart Chair Mary & Joseph S. Stern, Jr. Lois Klein Jolson Chair Scott Mozlin** Chair Christina Eaton* Henry Meyer Chair FLUTES Charles Bell Elizabeth Dunning Kun Dong Randolph Bowman Assistant Librarian Cheryl Benedict Principal TRUMPETS Drake Crittenden Ash§ Charles Frederic Goss Chair [Open] STAGE MANAGERS Rachel Charbel Amy Taylor† Principal Ralph LaRocco, Jr. Ida Ringling North Chair Jane & David Ellis Chair Rawson Chair Technical Director Chiun-Teng Cheng‡ Henrik Heide* Douglas Lindsay Brian P. Schott Stefani Collins Matsuo Acting Principal Todd Dignan-Cummins Chika Kinderman PICCOLO Jackie & Roy Sweeney Family Chair HyeSun Park Joan Voorhees Begins the alphabetical listing of Steven Pride § Paul Patterson Patricia Gross Linnemann players who participate in a system Charles Gausmann Chair++ Chair Otto M. Budig Family Foundation Chair++ of rotated seating within the string Stacey Woolley Christopher Kiradjieff** section. Brenda & Ralph Taylor Chair++ OBOES * Associate Principal Dwight Parry Assistant Principal TROMBONES ** VIOLAS Principal † One-year appointment Christian Colberg Josephine I. & David J. Cristian Ganicenco ‡ Leave of absence Principal Principal Joseph, Jr. Chair ++ CSO endowment only Louise D. & Louis Richard Johnson Dorothy & John Hermanies Chair ~ Funded by the Andrew W. Nippert Chair Donald & Margaret Mellon Foundation Paul Frankenfeld* Robinson Chair++ Joseph Rodriguez** Grace M. Allen Chair Lon Bussell* Julian Wilkison** BASS TROMBONE Marna Street ENGLISH HORN Peter Norton Principal Emeritus Christopher Philpotts TUBA Rebecca Barnes§ Principal Christopher Olka Stephen Fryxell Alberta & Dr. Maurice Marsh Chair++ Principal Li Li† Ashley and Denisse Rodriguez-Rivera Barbara Ford Chair Steven Rosen Melinda & Irwin Simon Chair Joanne Wojtowicz

36 | MAY FESTIVAL 2018 | mayfestival.com mayfestival.com | MAY FESTIVAL 2018 | 37 PROGRAM NOTES: MAY 18 FIRST EVENING CONCERT | FRI MAY 18, 8 pm | Music Hall the crowds that lined the streets for Verdi’s funeral Verdi proposed the composition of a composite procession almost six decades later. Requiem Mass for Rossini to which the leading Italian EUN SUN KIM conductor During the insurrections of 1848, the name VERDI composers would contribute. (“No foreign hands!” he MICHELLE BRADLEY soprano became a rallying cry for the nationalists, and was insisted.) The performance was to take place on the EKATERINA SEMENCHUK mezzo-soprano scrawled across walls and carried on signs. Besides first anniversary of Rossini’s death. Following Verdi’s MATTHEW POLENZANI tenor being a tribute to their beloved composer, the letters of instructions, the composers were chosen by lot by the JOHN RELYEA bass his name were also an acrostic for “Vittorio Emanuele, publisher Giulio Ricordi, and each was assigned a sec- MAY FESTIVAL CHORUS Robert Porco, director Re d’Italia,” the Duke of Savoy whom the nationalists tion of the work. The closing Libera me fell to Verdi. The May Festival Chorus is endowed by the Betsy & Alex C. Young Chair were fighting to bring to power as “King of Italy.” When However, preparations for the Rossini Mass foundered Juanjo Mena, Principal Conductor Cavour called the first parliamentary session of the newly on Verdi’s proposal that all those involved offer their VERDI Requiem Mass united Italy in 1859, Verdi was elected as the representa- services free of charge. The 12 other composers agreed James Conlon, (1813–1901) Requiem Conductor Laureate Dies Irae tive from Busseto. Though reluctant to enter the political to this, and the Mass was actually written, but the per- Robert Porco, Offertorio arena, he was sufficiently patriotic and cognizant of his formers could not be secured. The project was cancelled, Director of Choruses Sanctus standing with his countrymen to accept the nomination. and the manuscripts were returned to their composers, Cincinnati Symphony Agnus Dei With his love of country and constant efforts to pro- whose reputations faded along with the prospects for the Lux Aeterna Orchestra mote Italian culture, Verdi viewed the death of Rossini memorial Mass—Platania, Mabellini and Cagnoni, for Libera Me The appearance of the in Paris on November 13, 1868 as a national tragedy. example, are unknown today even in Italy. (The scores Cincinnati Symphony Orchestra is supported He wrote to the Countess Maffei, “A great name has for this Messa per Rossini were discovered in Ricordi’s by the Louise Dieterle Tonight’s concert is sponsored by Patty Misrach. disappeared from the world! His was the most vast and archives in 1970 by musicologist David Rosen during Nippert Musical Arts The 2018 May Festival is presented by Macy’s. most popular reputation of our time and he was a glory his research in preparing the complete edition of Verdi’s Fund of the Greenacres The 2018 May Festival is sponsored by Chavez Properties. Foundation. of Italy.” Verdi felt that a musical memorial should be works. A performance of the work, its first ever, took The appearance of Eun Sun Kim in this evening’s performance is made possible in part by erected to Rossini—not as a religious expedient to usher place in Stuttgart on September 11, 1988 under the Ann Ellison. his soul into heaven, or as an expression of personal grief direction of Helmut Rilling; the New York Philharmonic The appearance of Michelle Bradley in this evening’s performance is made possible in part There will be no by Jack and Barbara Hahn. (the two were never close friends), but rather as an act of gave the American premiere on October 12, 1989. A intermission during The appearance of Ekaterina Semenchuk in this evening’s performance is made possible in patriotism. One of the great Italians was gone, and Verdi recording is available on the German label Hänssler this evening’s concert. part by a generous endowment gift in memory of Mr. and Mrs. LeRoy R. Brooks. believed the nation should properly mourn his passing. Classic.) Verdi’s Libera me was filed away and forgotten, The appearance of Matthew Polenzani in this evening’s performance is made possible in as were the plans for the Rossini Requiem. part by a generous endowment gift from Dr. and Mrs. Morton L. Harshman. The appearance of John Relyea in this evening’s performance is made possible in part by generous endowment gifts to The Friends and Family of the Joan P. and Oliver L. Baily Fund. The Hilton Cincinnati Netherland Plaza is the official hotel of the May Festival. Steinway Pianos, courtesy of Willis Music, is the official piano of the May Festival. Tonight’s concert will end at approximately 9:30 p.m. This concert will be broadcast on 90.9 WGUC on October 7, 2018 at 8 p.m. The use of photographic and recording devices at these concerts is prohibited.

PROGRAM NOTES Almost all of Verdi’s early operas ran afoul of the cen- by Dr. Richard E. Rodda sors because of the political implications of their plots. © 2018 May Festival In 19th-century Europe, no one doubted that music and drama could inspire strong emotions and, perhaps, GIUSEPPE VERDI (1813–1901) even action. The political arbiters were ever wary about Requiem Mass allowing ideas of insurrection or royal fallibility to escape Composed in 1873–1874. Premiered on May 22, 1874 in from the stage into the public consciousness. One such Milan, conducted by the composer. idea that did slip through their suspicious examination, however, was contained in Verdi’s Nabucco of 1842. Verdi was, above all, a patriot. From his earliest years, The chorus Va, pensiero, sull’ali dorate (“Fly, thoughts, he was an ardent supporter of the Risorgimento—the on wings of gold”) sung in that opera by the Israelites “resurgence” of ancient national pride—to free Italy captive in Babylon and longing for their lost homeland, from foreign domination and unify it under a single, was quickly adopted by the Risorgimento as an anthem native rule. Though he never personally manned the bar- of struggle for Italy’s freedom. So great and enduring ricades, he became, through his music, one of the most was the fame of this lovely music that it was sung by illustrious embodiments of the Italian national spirit.

38 | MAY FESTIVAL 2018 | mayfestival.com mayfestival.com | MAY FESTIVAL 2018 | 39 PROGRAM NOTES: MAY 18 PROGRAM NOTES: MAY 18

In 1871, Alberto Mazzucato, a friend of Verdi the newspapers, and not one of them speaks of him as Verdi carefully organized the tour that took the more forgotten or tardily recovered than in Italy. To and a composition teacher at the Milan Conserva- he should be spoken of. Many words, but none of them Requiem to the capitals of Europe following its initial expect Verdi to produce anything like ecclesiastical tory, discovered the Libera me manuscript in Ricordi’s profoundly felt.” Verdi could not bring himself to attend Milan performances. He conducted seven performances music would be humanly absurd. It ill becomes us to dogmatize as to the limits of divine patience; but we vaults. He was enraptured with its beauty, and wrote the funeral. While thousands of mourning Milanese at the Opéra-Comique in Paris in 1874, and eight more may be very sure that Verdi’s Requiem stands before to its creator urging him to poured into the streets of the following year, when he was made a Commander of the throne at no disadvantage from its theatrical complete the entire work. As he had been five years earlier the city to witness Man- the Legion of Honor. The London premiere was such a style.... The language of the theatre was Verdi’s only Verdi responded, “Your with the passing of Rossini, zoni’s funeral procession, special event that the impresario there engaged a chorus musical idiom. words nearly prompted me Verdi was again inspired to Verdi stayed at his home, of 1,200 to sing in the Albert Hall. The audiences in To which may be added the words of the composer’s to compose the whole Mass Sant’ Agata, too distraught Vienna packed the auditorium for four performances, wife, Giuseppina: at some later date…. Think commemorate the death of a to leave until he found the undaunted by stifling temperatures caused by a fierce A man like Verdi must write like Verdi, that is, what a disastrous result your strength to make a private June heat wave. Verdi, like Rossini and Manzoni, had great Italian with a memorial according to his own feeling and interpretation of praise could have had! But Mass. He sent his proposal to visit to the graveside on June become an Italian hero. the text. The religious spirit and the way in which it have no fear; this is only 3rd. As he had been five is given expression must bear the stamp of its period a temptation, which, like compose a Requiem in honor of years earlier with the passing * * * and its author’s personality. so many others, will pass.” Manzoni to the mayor of Milan, of Rossini, Verdi was again Much ink has been spilled over Verdi’s mixing church Verdi poured the same drama and passion into the He continued that to add and it was eagerly accepted. inspired to commemorate and theater in the Requiem. The work’s popularity Requiem that mark his greatest operas. He seized with yet another Requiem to the the death of a great Italian was undoubtedly a contributing factor in the issuance particular gusto those verses that allowed graphic musi- Motu proprio “many, many” that existed with a memorial Mass. He of Pope Pius X’s 1903 encyclical , which cal settings. (For this reason, he chose to make the Dies was “useless.” Soon, however, he was to find a use for sent his proposal to compose a Requiem in honor of forbade for Church use all works that departed from irae the centerpiece of the entire work.) The beautiful, such a work, and to give in to the temptation to take up Manzoni to the mayor of Milan, and it was eagerly the Gregorian-Palestrina ethic of detached emotional sometimes almost sensuous, writing for the soloists, Libera me his once again. accepted. When the mayor expressed his appreciation, expression. In truth, Verdi never intended the Requiem the brilliant and original orchestral scoring, and the re- Verdi replied, “You owe me no thanks for my offer to as a liturgical work, and, except for the gesture of the sounding and widely varied choral styles are inseparable * * * write a Requiem Mass for the anniversary of Manzoni’s premiere, always produced it in a concert hall or an from his experience as a theater composer. The Requiem Alessandro Manzoni was one of the dominant figures of death. It is an impulse, or I might better say, a need of opera house. is not music for quiet, meditative contemplation. It is 19th-century Italy. His poems, plays and novels spoke my heart which impels me to honor, as far as I can, this The Requiem is not a religious testament—it is a work music to stir the spirit and move the heart. directly to the Italian soul as it quested for freedom and Great Man whom I so respected as a writer, and have of humanism and patriotism. Verdi had long since left I national identity. His most famous work was the novel revered as a man, a model of virtue and of patriotism.” the Church and was an agnostic in his beliefs, as William * * * promessi sposi Verdi Companion (“The Betrothed”), which was considered Verdi scheduled the Requiem’s premiere for the first Weaver pointed out in the : Verdi’s Requiem is in seven large movements, based on anniversary of Manzoni’s death, and began the score not only the greatest Italian prose piece of the time, but Verdi himself was not a practicing Catholic. He the text. Throughout, the ancient words are illuminated also, as William Weaver noted, “a kind of stylebook for immediately. Remembering his earlier experience with would drive his wife to church but not accompany and enriched by the composer’s broad strokes and subtle the country, which...was linguistically chaotic.” Manzoni the Rossini Requiem, however, he decided this time her inside. Like most Risorgimento figures he was touches, which are best perceived by following the text an anticleric in that he opposed the organization of accomplished for Italy with this book what Luther’s to control the entire project himself—composition, as the piece unfolds around them. translation of the Bible had done three centuries before preparations and performance. He revived the Libera the Church, its financial and political power, and its priesthood. Of the love of God or even the existence Tovey thought that the opening Requiem aeternam for Germany—brought a standardized language to a me for inclusion in the Manzoni Requiem, but newly of God he was, in his wife’s words, “a very doubtful (“Eternal rest”) was “the most moving passage in all country factionalized by innumerable dialects. composed the rest. As the work proceeded, he arranged believer,” and his Requiem reflects this. There is no Verdi’s works.” The initial gesture, in the cellos, comes Verdi venerated Manzoni. He often referred to him for performers, printing and publicity, and even made sunny amen, no vision of a kind God or promise as if from a great distance and establishes the grave as “a saint” and his letters show boundless admiration acoustical tests to determine the most suitable of Milan’s of divine intercession—only dwindling power and solemnity of the movement. The chorus intones a sweet, I promessi sposi continued uncertainty. Such apparently was Verdi’s for the great writer. Of he said, “In my churches for the premiere. The work was finished on pathetic invocation for departed souls which leads opinion he has written a book which is not only the April 10, 1874, and the first performance six weeks later belief even in youth, and at the time of the Requiem it also reflected the increasing uncertainty felt by many directly into the Kyrie eleison (“Lord have mercy”), a greatest product of our times, but also one of the finest in San Marco Cathedral was a complete success. as the doctrines of Darwin and the new sciences began broad, flowing prayer for divine compassion. in all ages which has issued from the human mind. And, While he had undertaken the Requiem as an act of to shake traditional beliefs. Thus the ancient text The Dies irae is perhaps the most graphic and dra- more than being just a book, it is a comfort to humanity homage and patriotism, Verdi managed the venture received a new, modern interpretation by an artist matic of all liturgical texts. It paints the awe-inspiring being true to himself and his time. as well.... My enthusiasm for this work is undiminished; as he did his operas—in a professional, commercial “Day of Wrath” when the world will stand in judgment. nay, it has increased with my understanding of human- manner. Long before the success of the premiere, he Verdi’s Requiem is no more religious than are the Verdi rose to the challenge of these words with music ity; for this book is true, as true as ‘truth’ itself.” After planned three subsequent performances at La Scala in great Masses of Beethoven, Brahms, Berlioz and Britten. “full of things terrifying and at the same time moving the two first met in 1868, Verdi wrote, “What can I tell anticipation of the desire to hear the new work. (He Like them, it used the traditional texts as the foundation and pathetic,” wrote the critic Filippo Filippi follow- you of Manzoni? How to express the new, inexplicable, knew his audience. Amid the thunderous applause at the for a grand, public statement for a particular occasion ing the premiere. This movement, which occupies happy feeling which the sacred presence of this man end of the first La Scala performance, he was presented or to express its creator’s philosophy. Verdi could not fully one-third of the Requiem’s length, is divided into aroused in me? I would have knelt before him if men with an elegant silver crown on a velvet cushion.) The have responded to the text in any but his characteristic, nearly a dozen successive scenes, which cover a range worshipped men.” Requiem was in such demand throughout Italy that theatrical style. Donald Tovey observed: of musical moods and technical devices far beyond the Manzoni died at the age of 87 on May 22, 1873. Verdi Verdi instructed Ricordi to invoke the law, if neces- scope of these notes to discuss. Just a few examples in was stricken with grief. A few days after receiving the sary, to prevent unauthorized performances, such as The ideals of church music realized by Palestrina 300 years before him were never more absent from the the opening pages must suffice: the shattering hammer- news he wrote, “With him ends the most pure, the most those which took place in Ferrara with a brass band as European consciousness than in 1873, and nowhere blows and the tumultuous terror of the beginning; the sacred, the highest of our glories. I have read many of accompaniment, and in Bologna, with only four pianos.

40 | MAY FESTIVAL 2018 | mayfestival.com mayfestival.com | MAY FESTIVAL 2018 | 41 PROGRAM NOTES: MAY 18 PROGRAM NOTES: MAY 18 approaching summons of the trumpet’s last call (Tuba Agnus Dei (“Lamb of God”), the shortest movement TEXT AND TRANSLATION mirum—“Trumpet wondrous”); the breathless fear of of the Requiem, is also the simplest. Plain in texture and Requiem and Kyrie (Soloists and Chorus) Requiem aeternam dona eis, Domine, Rest eternal grant them, O Lord; the bass soloist standing aghast at the resurrection of introspective in expression, it is dominated by the voices et lux perpetua luceat eis. and let perpetual light shine upon them. dead souls (Mors stupebit—“Death stupefying”). Such with only the most sparse orchestral accompaniment. Te decet hymnus, Deus, in Sion, There shall be singing unto Thee in Zion, et tibi reddetur votum in Jerusalem. and prayer shall go up to Thee in Jerusalem. evocatively expressive de- The Lux aeterna (“Light Exaudi orationem meam. Hear my prayer. pictions abound in the Dies eternal”) is memorable for Ad te omnis caro veniet. Unto Thee all flesh shall come. The Verdi Requiem is one of Kyrie eleison, Christe eleison. Lord have mercy, Christ have mercy. irae. It is one of the 19th- music’s greatest masterpieces, some of the most ethereal, century’s most magnificent translucent orchestral scor- Dies irae (Chorus) Dies irae, dies illa This day, this day of wrath musical panoramas. providing artistic, emotional and ing in all of Verdi’s works. solvet saeclum in favilla, shall consume the world in ashes, The Offertorio (Domine spiritual sustenance whenever it The concluding Libera me teste David cum Sibylla. so spake David and the Sibyl. Jesu Christe Quantus tremor est futurus, Oh, what great trembling there will be —“Lord Jesus is performed.… Perhaps it is most (“Deliver me”) is the rem- quando Judex est venturus when the Judge will appear Christ”) which follows nant of the earlier Requiem cuncta stricte discussurus! to examine everything in strict justice! prudent to agree with Johannes comes like a halcyon spring for Rossini. In the Manzoni Tuba mirum (Bass and Chorus) breeze after the winter’s Brahms, a curmudgeonly soul Requiem, the movement Tuba mirum spargens sonum The trumpet, sending its wondrous sound per sepulchra regionum, across the graves of all lands, blast. Its gently swaying disinclined to compliments, who consists of several sections: coget omnes ante thronum. shall drive everyone before the throne. rhythm and huge melodic an introductory verse for so- Mors stupebit et natura, Death and nature shall be stunned honored his Italian colleague cum resurget creatura when all creation rises again arches bear to celestial prano soloist that rises from judicanti responsura. to stand before the Judge. reaches the supplicant’s en- when he said, simply, “Verdi’s a freely chanted beginning; Liber scriptus (Mezzo-Soprano and Chorus) treaty for the deliverance of Requiem is a work of genius.” a recall of the tempestu- Liber scriptus proferetur, A written book will be brought forth, the departed from the pains ous Dies irae movement; a in quo totum continetur, in which everything is contained, unde mundus judicetur. from which the world will be judged. of hell. Its contrasting center reminiscence of the opening Judex ergo cum sedebit, So when the Judge is seated, section (Quam olim—Hostias—Quam olim repeated) is Requiem aeternam in a breathtakingly beautiful setting quidquid latet apparebit, whatever is hidden shall be made known, nil inultum remanebit. nothing shall remain unpunished. followed by a brief return of the gentle opening music, for unaccompanied chorus and soprano; and a fugue giving the movement a symmetrical structure. which concludes with the quiet, resigned chanting that Quid sum miser (Soprano, Mezzo-Soprano and Tenor) Sanctus Quid sum miser tunc dicturus? What shall such a wretch as I say then? The (“Holy, Holy, Holy”) begins with a opened the movement. It is now thought that the fugue Quem patronum rogaturus, To which protector shall I appeal, joyous shout. Verdi then launches a bracing fugue on and the opening chant were the only music originally cum vix justus sit sicurus? when even the just man is barely safe? Dies irae two subjects for divided chorus, which is followed by written for the earlier Mass, and that the and Rex tremendae (Soloists and Chorus) an antiphonal setting (i.e., choruses in alternation) of Requiem aeternam reminiscences were inserted when Rex tremendae majestatis, King of awesome majesty, qui salvandos salvas gratis, who freely saves those worthy of salvation, the Hosanna. Embedded in the propulsive rhythmic the work was newly composed for the Manzoni com- salva me, fons pietatis! save me, fount of pity! vibrancy and elaborate textures of this movement is memoration. Recordare (Soprano and Mezzo-Soprano) more than a hint of pedantry, as if Verdi were show- The Verdi Requiem is one of music’s greatest mas- Recordare, Jesu pie, Recall, dear Jesus, ing his critics that he was no “mere” opera composer, terpieces, providing artistic, emotional and spiritual quod sum causa tuae viae, that I am the reason for Thy time on earth, ne me perdas illa die. do not cast me away on that day. incapable of writing counterpoint. He knew his craft— sustenance whenever it is performed. No amount of Quaerens me, sedisti lassus, Seeking me, Thou didst sink down wearily, thoroughly—and here he put some of its most learned discussion or analysis could exhaust its content, and redemisti crucem passus; Thou hast saved me by enduring the cross; tantus labor non sit cassus. such travail must not be in vain. techniques on display. In the same spirit, one afternoon yet any comments on it seem almost unnecessary—the Juste judex ultionis, Righteous judge of vengeance, shortly before he began the Requiem, he had some free Requiem speaks eloquently for itself and its composer. donum fac remissionis award the gift of forgiveness time, and dashed off a string quartet just to prove that he Perhaps it is most prudent to agree with Johannes ante diem rationis. before the day of reckoning. was no stranger to the Germanic styles of composition. Brahms, a curmudgeonly soul disinclined to compli- Ingemisco (Tenor) Ingemisco tamquam reus, I groan like the sinner that I am, ments, who honored his Italian colleague when he said, culpa rubet vultus meus, guilt reddens my face, simply, “Verdi’s Requiem is a work of genius.” supplicanti parce, Deus. Oh God, spare the supplicant. Qui Mariam absolvisti Thou, who pardoned Mary et latronem exaudisti, and heeded the thief, mihi quoque spem dedisti. hast given me hope as well. Preces meae non sunt dignae, My prayers are unworthy, sed tu bonus fac benigne, but Thou, good one, in pity ne perenni cremer igne. let me not burn in the eternal fire. Inter oves locum praesta Give me a place among the sheep et ab hoedis me sequestra, and separate me from the goats, MAY FESTIVAL CDs NOW AVAILABLE AT statuens in parte dextra. let me stand at Thy right hand. THE BRAVO SHOP Confutatis (Bass and Chorus) Confutatis maledictis, When the damned are cast away Described as “a major find and a fascinating work” (Robert Levine, flammis acribus afflictis, and consigned to the searing flames, amazon.com), the world premiere recording of Liszt’s St. Stanislaus, voca me cum benedictis. call me to be with the blessed. Oro supplex et acclinis, Bowed down in supplication I beg Thee, featuring the May Festival Chorus and Cincinnati Symphony cor contritum quasi cinis, my heart as though ground to ashes: Orchestra under the direction of James Conlon, is now available at gere curam mei finis. help me in my last hour. The Bravo Shop. Please turn page quietly

42 | MAY FESTIVAL 2018 | mayfestival.com mayfestival.com | MAY FESTIVAL 2018 | 43 PROGRAM NOTES: MAY 18

Dies irae, dies illa This day, this day of wrath solvet saeclum in favilla, shall consume the world in ashes, teste David cum Sibylla. so spake David and the Sibyl.

Lacrimosa (Soloists and Chorus) Lacrimosa dies illa Oh, this day full of tears qua resurget ex favilla when from the ashes arises judicandus homo reus; guilty man, to be judged: huic ergo parce Deus. Oh Lord, have mercy upon him. Pie Jesu, Domine, Gentle Lord Jesus, dona eis requiem. grant them rest. Amen. Amen.

Offertorio: Domine Jesu Christe (Soloists) Domine Jesu Christe, rex gloriae, Lord Jesus Christ, King of glory, Libera animas omnium fidelium defunctorum deliver the souls of the faithful departed de poenis inferni from the pains of hell et de profundo lacu. and the bottomless pit. Libera eas de ore leonis, Deliver them from the jaws of the lion, ne absorbeat eas tartarus, lest hell engulf them, ne cadant in obscurum; lest they be plunged into darkness; sed signifer sanctus Michael but let the holy standard-bearer Michael representet eas in lucem sanctam, lead them into the holy light, quam olim Abrahae promisisti as Thou didst promise Abraham et semini ejus. and his seed. Hostias et preces tibi, Domine, Lord, in praise we offer to Thee laudis offerimus, sacrifices and prayers, tu suscipe pro animabus illis, receive them for the souls of those quarum hodie memoriam facimus: whom we remember this day: fac eas, Domine, de morte Lord, make them pass transire ad vitam, from death to life, quam olim Abrahae promisisti as Thou didst promise Abraham et semini ejus. and his seed.

Sanctus (Chorus) Sanctus, sanctus, sanctus, Holy, holy, holy, Dominus Deus Saboath! Lord God of hosts! Pleni sunt coeli et terra gloria tua. Heaven and earth are full of Thy glory. Hosanna in excelsis! Glory to God in the highest! Benedictus qui venit in nomine Domini! Blessed is he who comes in the name of the Lord. Hosanna in excelsis! Glory to God in the highest!

Agnus Dei (Soprano, Mezzo-Soprano and Chorus) Agnus Dei, qui tollis peccata mundi, Lamb of God, that takes away the sins of the world, dona eis requiem. grant them rest. Agnus Dei, qui tollis peccata mundi, Lamb of God, that takes away the sins of the world, dona eis requiem sempiternam. grant them eternal rest.

Lux aeterna (Mezzo-Soprano, Tenor and Bass) Lux aeterna luceat eis, Domine, May eternal light shine upon them, O Lord, cum sanctis tuis in aeternam, with Thy saints forever, quia pius es. for Thou art good. Requiem aeternam dona eis, Domine, Lord, grant them eternal rest, et lux perpetua luceat eis. and let perpetual light shine upon them.

Libera me (Soprano and Chorus) Libera me, Domine, de morte aeterna Deliver me, O Lord, from eternal death in die illa tremenda, in that awful day quando coeli movendi sunt et terra, when the heavens and earth shall be shaken, dum veneris judicare saeculum per ignem. when Thou shalt come to judge the world by fire. Tremens factus sum ego et timeo, I am seized with fear and trembling, dum discussio venerit atque venture ira: until the trial shall be at hand and the wrath to come: quando coeli movendi sunt et terra. when the heavens and earth shall be shaken. Dies irae, dies illa, That day, that day of wrath, calamitatis et miseriae, of calamity and misery, dies magna et amara valde, a great day and exceeding bitter, dum veneris judicare saeculum per ignem. when Thou shalt come to judge the world by fire. Requiem aeternam dona eis, Domine, Lord, grant them eternal rest, et lux perpetua luceat eis. and let perpetual light shine upon them. Libera me, Domine, etc. Deliver me, O Lord, etc.

44 | MAY FESTIVAL 2018 | mayfestival.com SECOND EVENING CONCERT | SAT MAY 19, 8 pm | Music Hall BERNSTEIN MASS: A Theatre Piece for Singers, Players and Dancers (1918–1990) I. Devotions before Mass ROBERT PORCO conductor Antiphon: Kyrie eleison (“Lord Have Mercy”) KEVIN VORTMANN Celebrant Hymn and Psalm: “A Simple Song” Responsory: Alleluia MARCUS SHIELDS stage director II. First Introit (Rondo) ANNA NADERER stage manager Prefatory Prayers MARGO LEIST assistant stage manager Thrice-Triple Canon: Dominus vobiscum (“The Lord Be With You”) OLIVER LITTLETON lighting designer III. Second Introit FRANK OLIVA scenic designer In nomine Patris (“In the Name of the Father”) Juanjo Mena, GRETA STOKES costume designer Prayer for the Congregation (Chorale: “Almighty Father”) Principal Conductor Epiphany KATIE JOHANNIGMAN choreographer IV. Confession James Conlon, NICHOLAS ASTAFIEV-HOLMES and MISCHA SELLA boy sopranos Confiteor (“I Confess”) Conductor Laureate Nicholas and Mischa appear courtesy of the Cincinnati Boychoir Trope: “I Don’t Know” Robert Porco, CINCINNATI YOUTH CHOIR Trope: “Easy” Director of Choruses Robyn Lana, artistic director V. Meditation No. 1 WALNUT HILLS HIGH SCHOOL MARCHING BLUE AND GOLD Cincinnati Symphony VI. Gloria Orchestra DANCERS: David Morse Gloria tibi (“Glory to You”) Maizyalet Velazquez Gloria in excelsis (“Glory to God in the Highest”) The appearance of the Trope: “Half of the People” Cincinnati Symphony Marcus Romeo Trope: “Thank You” Orchestra is supported Jacqueline Damico VII. Meditation No. 2 by the Louise Dieterle Dancers appear courtesy of Cincinnati Ballet Nippert Musical Arts VIII. Epistle: “The Word of the Lord” Fund of the Greenacres STREET CHORUS: Lauren Peter, soprano IX. Gospel-Sermon: “God Said” Foundation. X. Credo Allison Whiteside, soprano Credo in unum Deum (“I Believe in One God”) Kathryn Zajac Albertson, soprano Trope: “Non Credo” Adia Dobbins, soprano Trope: “Hurry” There will be no Maria Miller, alto Trope: “World Without End” intermission during Hediah Wooden-Perdue, alto Trope: “I Believe in God” this evening’s concert. Grace Newberry, alto XI. Meditation No. 3 (De Profundis—“From the Depths,” part 1) Elaina McCormick, alto XII. Offertory (De Profundis, part 2) XIII. The Lord’s Prayer Brianna Bernard, alto Our Father… Ron Attreau, tenor Trope: “I Go On” Larry Reiring, tenor XIV. Sanctus (“Holy”) Robert Lomax, tenor XV. Agnus Dei (“Lamb of God”) Justin Peter, tenor XVI. Fraction: “Things Get Broken” Michael Kelly, baritone (Celebrant cover) XVII. Pax (“Peace”): Communion—“Secret Songs” Zane Hill, bass Griff Bludworth, bass Miles Wilson- Toliver, bass PROGRAM NOTES the country’s involvement in the Vietnam War (which MAY FESTIVAL CHORUS Robert Porco, director by Dr. Richard E. Rodda ultimately claimed 58,000 American lives). The war had The May Festival Chorus is endowed by the Betsy & Alex C. Young Chair © 2018 May Festival begun in 1955 in an attempt to prevent the communist takeover of the entire country. America, fearful of the Tonight’s concert is sponsored by HORAN. LEONARD BERNSTEIN (1918–1990) fall of all Southeast Asia to communist forces (“The The 2018 May Festival is presented by Macy’s. MASS: A Theater Piece for Singers, Players Domino Theory”), at first sent just military advisers The 2018 May Festival is sponsored by Chavez Properties. and Dancers but in the early 1960s became increasingly involved in The appearance of Robert Porco in this evening’s performance is made possible in part by the conflict; regular American combat units were first Eco Engineering. Composed 1969–1971. Premiered on September 8, 1971 deployed in 1965. The appearance of Kevin Vortmann in this evening’s performance is made possible in part at the opening of the John F. Kennedy Center for the As President Lyndon Johnson scaled up forces in by Ginger and David Warner. Performing Arts in Washington, D.C., conducted by Vietnam during the mid-1960s, the horror, brutality The appearance of the Cincinnati Children’s Choir is made possible by Kathy and Craig Rambo. Maurice Peress. and government deception inherent in the conduct Additional artistic resources for this evening’s performance are made possible by the generous of the war were revealed, and public opinion about it President John F. Kennedy was assassinated on Friday, support of The Thomas J. Emery Memorial and The Wohlgemuth Herschede Foundation. became bitterly divided. Anti-war protests and rallies November 22, 1963 in Dallas, Texas. It was the most The Hilton Cincinnati Netherland Plaza is the official hotel of the May Festival. were staged across the country, many held on college profound national trauma since Pearl Harbor 22 years Steinway Pianos, courtesy of Willis Music, is the official piano of the May Festival. campuses, and they escalated in vehemence until four before—all Americans then old enough to be aware Tonight’s concert will end at approximately 9:50 p.m. unarmed students were killed by members of the Ohio remember exactly where they were and what they were This concert will be broadcast on 90.9 WGUC on October 14, 2018 at 8 p.m. National Guard at Kent State University on May 4, 1970. doing when they learned the stunning news. The use of photographic and recording devices at these concerts is prohibited. A strong counterculture questioning not just the The sudden death of a President, revered by many, CREDITS: MASS: A Theatre Piece for Singers, Players and Dancers is performed by war but many tenets of American society itself began was a harbinger of one of America’s most contentious arrangement with Boosey & Hawkes, Inc., Sole Agent for Leonard Bernstein Music Publishing to thrive and gave rise to such icons of the ’60s as the and unsettled times, the main catalyst of which was Company LLC, publisher and copyright owner. “American Tribal Love-Rock Musical” Hair (1967),

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Woodstock Music & Art Fair (August 1969), the re- The Stars and Stripes Forever on a concert on the eve it was known that he intended to use the Catholic Mass from a priest who attended. The Archbishop asked him institution of a military draft, and the gatherings of of the inauguration, attending many functions at the (partly in tribute to the country’s first Catholic President) about it, and then Msgr. Leibold had to admit, “Perhaps “hippies” in communities across the country such as White House (including a private dinner Bernstein and as the core of the work, though fractured, theatricalized, I made a mistake.” He never found out for himself. Ten Haight-Ashbury in San Francisco. America’s cultural his wife, Felicia, attended with the President and Mrs. troped throughout with ironic or contradictory texts, days later, following a massive stroke, he died.) The Rt. divide had not been as wide since the Civil War. Kennedy in November 1961), and hosting a televised and written in a huge variety of musical styles. (The Rev. Paul Moore, Jr., Episcopal Bishop of New York, America, in 1969, was fractured and Leonard Bernstein “American Pageant of the Arts” to raise funds for one Catholic Church itself had almost encouraged such liber- however, gave Bernstein a different opinion of MASS. was deep in the fissure. He had been an outspoken liberal of Kennedy’s dreams—building an exemplary perform- ties with the liturgy during the Second Vatican Council He wrote to the composer to say he had discussed the since his Harvard days, and he became especially active ing arts center in the nation’s capital. Following the of the mid-1960s, which approved of the vernacular work in one of his sermons and wanted him “to know during Vietnam. In January 1968, while he was Music President’s death, Bernstein conducted the New York incursion into service music to foster a “music of the how deeply moved I was by the creativity of the piece Director of the New York Philharmonic, he co-hosted Philharmonic in Mahler’s Symphony No. 2 (“Resurrec- people.”) One of those whom Bernstein consulted about and the deep insights you showed about the priesthood a concert titled “Broadway for Peace” with Barbra Strei- tion”) at a memorial concert in Madison Square Garden the concept for his MASS was Father Daniel Berrigan, and the theology of the Eucharist.” The controversy was sand and Paul Newman. That same year he campaigned (“We artists loved him for the honor in which he held a counterculture, anti-war Catholic priest, who was on finally put to rest in June 2000, when Pope John Paul II for anti-war Democratic Presidential candidate Eugene art”) and dedicated his Kaddish Symphony, completed the FBI’s “10 Most Wanted List” until he was incarcer- requested a performance of Bernstein’s MASS at Vatican McCarthy. The FBI filled a file with his many political just days after the tragedy, “to the beloved memory of ated for destroying draft records and for his alleged City to commemorate the World Jubilee for Migrants. activities and monitored him constantly. He was classical John F. Kennedy.” Mrs. Kennedy remained friends with involvement in a plot to kidnap Secretary of State Henry MASS opens in darkness with an elaborate and in- music’s face of liberalism and anti-war sentiment. the Bernsteins, visiting them with her children at the Kissinger. The FBI warned President Richard Nixon creasingly frantic setting of the Kyrie for six solo voices In 1969, Jacqueline Kennedy Onassis, widow of the Bernsteins’ Connecticut estate. In 1968 she asked him that Bernstein’s MASS might contain “coded anti-war and percussion played through speakers placed at the late President, asked Leonard Bernstein to compose to take part in the funeral service of Robert F. Kennedy, messages” and advised him not to attend the premiere, corners of the stage. The Celebrant, the main dramatic a piece for the Inaugural Concert of the single most then a United States Senator, who had been President set for September 8, 1971. The hawkish Nixon was only figure of the work, steps before the curtain in street significant investment the federal government had ever Kennedy’s Attorney General and, like his older brother, too happy to comply, giving as an excuse that the event clothes, silences the increasing din with a chord from made in the cultural life of America—the John F. Ken- had been assassinated. “should really be Mrs. Kennedy’s night.” his guitar, and sings a calming and simple song. Dur- nedy Center for the Performing Arts, on the east bank In 1969 she asked Bernstein to compose the music It took Bernstein almost two years to complete both ing the following numbers, he is invested with priestly of the Potomac River in the heart of the nation’s capital. that would open the John F. Kennedy Center for the the additional texts and the music for MASS, with robes by altar boys, and takes charge of the service. As The Washington Post wrote when President Kennedy Performing Arts. The commission for the work, a very much help on the words during the last six months he continues, however, the congregation turns against came into office in January 1961 that he was “the best public contact point between the bureaucracy running from the 23-year-old Stephen Schwartz, composer and both him and the ritual with rising anger, cynicism and friend culture has had in the White House since Thomas the Vietnam War and the composer who was one of its lyricist of the hit 1971 Broadway rock musical Godspell. indifference. The cries increase until the Celebrant is Jefferson.” Bernstein became a friend during Kennedy’s most outspoken critics, was inevitably controversial— Bernstein’s wildly eclectic mixture of opera, jazz, blues, overwhelmed and smashes the Chalice and Monstrance 1,000 days in office, writing a Fanfare and conducting Bernstein’s FBI file bulged—and it became more so when pop, folk, Middle Eastern, rock, marching band, sacred upon the stage, silencing the tumult. Crazed, he sings and Broadway styles made it a virtual microcosm of the and dances like a madman, tearing away his vestments. musical crosscurrents of its time. Subtitled “A Theater He sinks to the floor exhausted, slowly rises again, and Piece for Singers, Players and Dancers,” MASS at its descends into the pit. MASS closes with a chorale sung premiere lasted for almost two hours and required by the entire company: enormous performing forces—some 200 singers, danc- Almighty Father, incline thine ear: Bless us and all ers and instrumentalists, under the musical direction those who have gathered here. Thine angel send us, of the composer’s protégé Maurice Peress, took part. who shall defend us all; and fill with grace all who The instrumentalists were split between the pit (strings, dwell in this place. Amen. percussion and two organs) and the stage (brass, wood- The composer wrote: winds, electric guitars and a variety of keyboards); the stage musicians were in costume and acted as members It then remains for each individual on the stage to find of the cast. There was a “chorus of street people” com- a new seed of faith within himself through painful prising singers and dancers, and a choir in robes seated meditation, enabling each individual to pass on the Pax in pews on both sides of the stage. embrace of peace ( ) to his neighbor. This chain of embrace grows and spreads through the entire Public and press response toward the work was gener- stage, ultimately into the audience and hopefully ally positive, though there were, inevitably, dissenting into the world outside…. It was my intention to voices. Harold Schonberg of The New York Times communicate as directly and universally as I can a dismissed the score as “a combination of superficiality reaffirmation of faith. and pretentiousness, and the greatest mélange of styles Bernstein’s MASS forces us to confront, to question since the ladies’ magazine recipe for steak fried in peanut and to resolve, or at least to accept, fundamental issues butter and marshmallow sauce”; Igor Stravinsky’s close about our lives and about living in the world together. associate and biographer Robert Craft said it should It is a work we need to hear in our own unsettled and be renamed MASS: The Musical; when the Cincin- unsettling time at least as much as those who experienced nati May Festival gave the second-ever performance of it on its first night, when the country honored not just a MASS, Archbishop Paul F. Leibold issued a statement fallen President but also the essential role the arts play in disapproving of the concert, saying it was “offensive to nurturing our full and shared humanity as individuals, Catholics.” (That performance, on May 21, 1972, got as citizens, and as a society. a 12-minute standing ovation and a positive response

48 | MAY FESTIVAL 2018 | mayfestival.com mayfestival.com | MAY FESTIVAL 2018 | 49 MASS ARTISTS MASS ARTISTS in the Arts, Washington, D.C. In Scenic Artists. He lives and works in New York City. October of 2018, he will direct frankjoliva.com. KEVIN VORTMANN, nied (Young Thompson), The Who’s Tommy (Captain Puccini’s Tosca for the Madison Celebrant Walker), Company (Peter) and Camelot. Theater in NY. He has served on GRETA STOKES, costume Kevin Vortmann has been He has been a featured soloist with the San Francisco the directing staff of Lyric Opera designer hailed by critics for be- Symphony, New York Philharmonic, Baltimore Sym- Chicago, Atlanta Opera, Cincin- Greta Stokes is a costumer and ing a “glorious-voiced” phony Orchestra, Omaha Symphony and Tulare County nati Opera, Wolf Trap Opera and stylist from Columbus, OH. She (Boston Globe) tenor who Symphony, with multiple engagements at Carnegie the Curtis Institute of Music. He enjoys working in Cincinnati’s in- “sings and acts with com- Hall, Avery Fisher Hall and the Kennedy Center. Most is the recipient of the 2017 Drama credible music and theater com- pelling force and sensitiv- recently, he made his triumphant Philadelphia Orchestra League Opera Directing Fellowship in conjunction with munities, and in Ohio’s blooming ity” (Chicago Sun-Times) debut as the Celebrant in Leonard Bernstein’s MASS. The Metropolitan Opera and Wolf Trap Opera and is film industry. She attended CCM, bringing “emotional depth He is the recipient of Detroit’s Oscar Wilde Award, the 2018 Directing Fellow for San Francisco Opera’s earning a BFA in costume design. and tantalizing vocal pyro- Colorado Theatre Guild’s Henry Award and a Con- Merola Program. Trained as a musicologist, Shields has, Her recent credits include Suor Angelica with Columbus technics” (World-Herald) necticut Critics Circle Award Nomination. Albums: at times, moonlighted as a grant/proposal writer, worked Opera Project and Il matrimonio segreto and La vida and “Surprising Versatility” (Associated Press). He is Leonard Bernstein’s MASS (Grammy Nomination), West as a rehearsal pianist/music director (Northwestern breve with Cincinnati Chamber Opera. increasingly sought after for work on both symphonic Side Story (Grammy Nomination), Face the Music, Paint University’s musical theatre program), and sung profes- and theatrical stages. Your Wagon and Roberta. sionally (concert/opera) throughout the U.S. KATIE JOHANNIGMAN, His Broadway and Off-Broadway credits include A He resides in Seattle with his wife and two sons. choreographer Little Night Music, Death Takes a Holiday, The Most OLIVER LITTLETON, lighting Katie Johannigman’s chore- Happy Fella, On the Town, The Pirates of Penzance, MARCUS SHIELDS, stage director designer ography credits include Shrek Showboat, Paint Your Wagon, Applause, Face the Music, Marcus Shields is a New York City-based director Oliver Littleton is a Lighting (Connecticut Repertory The- Fiorello, Lost in the Stars, Stairway to Paradise, Juno, For who specializes in the presentation and performance Designer from Birmingham, AL. ater); Mame (The Human Race Lovers Only and Children and Art. of classical music. Recently, he has directed Idomeneo He has been designing lighting for Theater), They Were You, Out of Vortmann has appeared across the United States for CCM Opera, La vida breve for Cincinnati Chamber theatre, opera, dance and events This World, Sondheim, Candide in Miss Saigon (Chris), Guys and Dolls (Sky), Next to Opera, Joan of Arc for CCM Philharmonia and The for 15 years, and he expects to and The Theory of Relativity Normal (Dan), Les Misérables (Enjolras), She Loves Me Bolcom Cabaret with touring engagements at the Neue complete his MFA in Lighting (CCM); and Jesus Christ Superstar (upcoming at Clinton (Kodaly), The Most Happy Fella (Herman), Glory De- Galerie, NYC, and the National Museum for Women Design at CCM in December Showboat). She recently served as “Tap Consultant” for of this year. Recent designs by the upcoming Broadway Musical Soft Power, written by Littleton include Bernstein’s Candide, Hamlet, Mo- Janine Tesori and David Hwang. She served as Artistic zart’s Idomeneo, Conrad Susa’s Transformations, and Director at The Broadway Method Academy. Her Bernstein’s MASS. Examples of his work can be found performing credits include National Tour of Oliver!; at oliverlittleton.wixsite.com. Thoroughly Modern Millie and Pirates! at The Muny; The Light in the Piazza, Elf and Anything Goes at Lincolnshire FRANK OLIVA, scenic Marriott; Mary Poppins at Kansas City Straight Theatre; designer Company at The Gallery Players; and Cats and Chicago Frank J. Oliva is a Cuban-Ameri- at the West Virginia Public Theatre. Johannigman is can Stage Designer. Recent work on faculty at CCM in the Musical Theater Department, includes premieres of The Loneli- and is a CCM grad as well. She is a member of Actor’s est Number (directed by Maria Equity Association. Dizzia, Amios Collective NYC), A Deal and Dogs of Rwanda (Urban ANNA NADERER, stage Stages), Sweat (Center for Con- manager temporary Opera), We Will Not Be Silent and Welcome Anna Naderer is a recent gradu- to Fear City (Contemporary American Theater Festival), ate of CCM with a BFA in Stage Angry Young Man (Guild Hall East Hampton) and Lost Management. Her recent credits Not Found (UP Theatre). New productions include The include being the ASM for The Old Settler (Billie Holiday Theatre), The Mountaintop Children’s Theatre of Cincinnati’s (Kitchen Theatre Company) and The Merry Wives of productions of Madagascar: A Windsor (Two River Theater). As an associate designer, Musical Adventure and Mary Oliva has worked on projects for Broadway and for Poppins Jr., as well as stage managing Hamlet, Idomeneo, regional and international productions. He received the Home Street Home and They Were You at CCM. Other 2017 Innovative Theater Award for Set Design. Upcom- recent production and project management credits ing: Tosca (with Marcus Shields, Molloy College) and include The New York Musical Festival, UC’s DAAP Don’t Dress for Dinner (CC Theatre). He is a member Fashion Show, and CCM’s Movable Feast Presents: of Wingspace Theatrical Design Collective and United Anastasia the Musical.

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NICHOLAS ASTAFIEV- Choir, the Cincinnati Public School Honor Choir, the Scale and Rhythm Chunks program, a teaching tool MAIZYALET VELÁZQUEZ, a HOLMES, boy soprano Queen City Festival and the Cincinnati Choral Acad- that is used by bands throughout the U.S. and inter- native of Puerto Rico, began her Nicholas Astafiev-Holmes is 12 emy. In June CYC will receive Chorus America’s 2018 nationally. Canter is also the newly appointed director training at Ballet Concierto de years old and lives in Cincinnati. Education and Community Engagement Award for the of the Junior Cincinnati Youth Wind Ensemble at the Puerto Rico, training in both He is currently in the sixth grade CPS Honor Choir and the Cincinnati Choral Academy University of Cincinnati College-Conservatory of Music. the conservatory and company. at Spencer Center for Gifted programs. CYC regularly performs with the Cincin- Canter is sought after as a guest conductor and clinician She graduated from the Vir- and Exceptional Students and nati Symphony Orchestra, Cincinnati Pops, Vocal Arts throughout the Tri-state area and has presented sessions ginia School of the Arts in 2007, will be attending Walnut Hills Ensemble, May Festival Chorus and CCM ensembles. on band pedagogy throughout the country. where she studied under David

Photo: Matthew Zory Interpreting choral music for diverse audiences in a Keener and the late Petrus Bos- High School in the fall. Nicholas Drum Major Alto Saxophone Trombone has been singing in the Cincinnati Boychoir since the way that is relevant to young people while maintain- Kayla Terrell Brady Tagge Tiandra Putman man. Velázquez joined Cincin- age of seven. He participated in CCM’s production of ing the highest standards of music education and nati Ballet upon graduation and was promoted to Solo- performance sums up the work of CYC Founder and Flute Tenor Saxophone Baritone Owen Wingrave. He is very much looking forward to Suvan Adhikari LaLea Gregory Heinrich Huelsman ist in 2012. She enjoys working with Cincinnati Ballet the upcoming tour of the Cincinnati Boychoir to South Managing Artistic Director, Robyn Reeves Lana. When Chloe Burwinkel Brian Williams because it offers the opportunity to perform both clas- not leading the Cincinnati Children’s Choir over the last Gabrielle Burns Trumpet sical and contemporary repertoire. She has performed Africa in June. His musical training began with cello and Zach Hagans Grace Allen Tuba he found his “voice” in singing. He is an avid sports fan quarter of a century, Lana has served as conductor and Sarah Mansfield John Arora Alan Zhang the leading role in Val Caniparoli’s Lady of the Camel- and enjoys traveling and word games, and he is a fluent clinician across the U.S. and internationally. She has Elijah Dage lias as Marguerite, as well as the title role in Amedeo Clarinet Langston Hughes Percussion Russian speaker. He attends Wise Temple and looks been a featured guest conductor at Carnegie Hall and Fatima Diallo Peter Neimeyer Lily Canter Amodio’s Carmen. Velázquez was promoted to Senior forward to becoming a bar mitzvah in October. the Kennedy Center, and she has served as clinician or Alyna Neal Jamila Pitts Nick Deck Soloist for Cincinnati Ballet’s 2017–18 Season. guest conducted state and regional choral events in more Robert Jimmar Addie Roetker Milo Ginn Nigel Krekeler Alex Pham-Rider Lauren Pfeiffer MISCHA SELLA, boy than 25 states. Lana is a member of the choral faculty at Jaylee Sowders Mohit Pinninti MARCUS ROMEO trained at Xavier University. Essaye Tekia Mellophone Christine McDay soprano Sarah Everingham Rosie Solis Central Pennsylvania Youth Bal- Mischa Sella, 11 years old, has Raegan Bauer Kieran DelVecchio Morgan Lubbers Konnor VonBargen let, beginning at age six, under the been a member of the Cincinnati Zoe Belcher Amanda Gast Emily Lynch direction of Marcia Dale Weary. Alina Bishoyi Aaron Groff Sankhya Rajan Boychoir since 2015. Mischa’s Sage Bushstone Claire Hardek Kathryn Robinson He completed his last three years solo career started last year when Timothy Carnahan Grace Hartlaub Ruth Robinson DANCERS of pre-professional training at Maya Chamberlin Lilyann Hutson Audrey Sinnett DAVID MORSE trained with he was the boy soloist with Cin- Kehley Coleman Claire Jeffreys Charlotte Sinnett The School of American Bal- cinnati Opera for Puccini’s La Sydney Cooper Katherine Jones Vivianne Skavlem Charlotte Ballet Academy un- let from 2009 to 2012, where bohème Ella Cope Morgan Knight Finn Smith der Jean-Pierre Bonnefoux, . This year he is singing Andrea Dall’Ara Susannah Langlitz Oliver Szabo he was awarded the Columbus the boy soprano solo of Bernstein’s Chichester Psalms Justin Dearing Raegan Louis Louisa Wachter Darleen Callaghan, Mark Dia- Citizen Foundation Scholarship, with the Ohio Northern Symphony. Mischa will tour Madelyn Deininger mond, Patricia McBride and the Linda and Arthur Collins Scholarship and the Ru- South Africa for two weeks this summer as a member Kathryn Moriarty. He spent his dolf Nureyev Foundation Scholarship. Romeo attended of the Cincinnati Boychoir’s Ambassadors Choir under summers training at The Chau- summer intensives at Pacific Northwest Ballet School, Dr. Christopher Eanes. He has volunteered to perform WALNUT HILLS HIGH SCHOOL MARCHING tauqua Institution and danced School of American Ballet and Boston Ballet School, all recitals at Evergreen and The Kenwood retirement BLUE AND GOLD, Richard Canter, director and with Charlotte Ballet II for two three on full merit scholarships. Following his gradua- communities with his mother, CSO Principal Harpist Andrew Peoples, associate director Dancer Photos: Aaron M. Conway seasons before joining Charlotte tion from The School of American Ballet in New York Gillian Benet Sella, and CSO Principal Flutist Randolph The Walnut Hills High School Marching Blue & Gold, Ballet, where he performed leading roles in a variety of City in 2012, Romeo joined Boston Ballet II, under Mik- Bowman as part of the orchestra’s community outreach. founded in the mid-1920s, has been known as one of classical and contemporary works. His choreography ko Nissinen, and was promoted to the corps de ballet in In addition to singing and playing the piano, Mischa Southwest Ohio’s finest marching bands for many years. has been performed around the U.S. by professional 2014. Romeo has performed in numerous productions loves history and philosophy. He will attend 7th grade Thanks to the support of the school’s administration, the companies, pre-professional schools and universities, including Mikko Nissinen’s Swan Lake (Corps de Bal- at Walnut Hills High School next fall. greater Cincinnati community, businesses and Walnut and his work has been presented at Regional Dance let), The Nutcracker (Russian, Spanish, Mother Ginger, Hills alumni and families, that tradition continues today America’s South Eastern Regional Ballet Association Bear), and Diamonds (Corps de Ballet). This is Romeo’s CINCINNATI YOUTH CHOIR, Robyn Lana, with award-winning performances, “Superior” contest for six years. Regional Dance America awarded him first season with Cincinnati Ballet. Managing Artistic Director ratings and 14 straight “Superior” ratings at OMEA State the Habich-Corey Choreography Award and the Proj- The Cincinnati Youth Choir (CYC, formerly known as Marching Band Finals (ranking 14th out of 256 bands ect Tier Award for Excellence in Choreography. Morse JACQUELINE DAMICO was Cincinnati Children’s Choir), recognized as a leading across Ohio in this regard). The Marching Blue & Gold has taken part in two sessions at the New York Cho- raised in Carlisle, PA, and be- youth choral program in the U.S., is celebrating its 25th have performed internationally twice: the London New reographic Institute creating new works for School of gan her ballet training at the age anniversary season serving young singers from across Year’s Day Parade in 2010 and the Paris New Year’s Day American Ballet (to a commissioned score by Michael of six at Central Pennsylvania the tri-state area. Each year, over 900 Greater Cincinnati Parade down the Champs-Élysées in 2016. Gilbertson) and New York City Ballet. Also an accom- Youth Ballet under the direc- children in grades 1–12 benefit from participation in this Richard Canter serves as a band director for Walnut plished pianist, Morse served as a ballet class accom- tion of Marcia Dale Weary. She arts education program focusing on performance as a Hills High School, where he directs beginning band and panist at Charlotte Ballet, The Chautauqua Institution later moved to New York City to result of the children’s education. Students are treated as the junior high and high school bands, including the and Regional Dance America. He has served as a guest train with The School of Ameri- independent learners who develop artistry, healthy vocal marching band. Throughout his career as an educator, accompanist for Alvin Ailey American Dance Theatre, can Ballet for two years. Damico technique, sight-reading skills, and learn music history Canter has been an advocate for music education, serv- Ballet Academy East and New York City Ballet. Morse also attended summer intensives and theory while experiencing performance excellence. ing four years as District President of the Ohio Music was promoted to Soloist for Cincinnati Ballet’s 2017– on scholarship with Miami City Ballet, Chautauqua Presently the program involves children in seven Resi- Education Association. His passion for helping students 18 Season. Ballet and Stiefel and Stars, among others. Follow- dent Choirs, five Satellite Choirs, the Summer Festival reach their highest goals in music led to creating the

52 | MAY FESTIVAL 2018 | mayfestival.com mayfestival.com | MAY FESTIVAL 2018 | 53 MASS ARTISTS MASS ARTISTS

greater Cincinnati and Chicagoland. Earned Bachelor of Music Education degree from University of Illinois; pursuing Master of Music degree in Mu- sic Education at CCM, with a focus on instru- mental conducting and repertoire.

LARRY REIRING, tenor A Cincinnati native, Larry has earned his living as a professional tenor for the past 25 years. Though primarily a cantor/soloist for many local Catholic par- ishes, he is also a veteran of both Cincinnati Opera Chorus and Vocal Arts Ensemble. He is a tenor soloist for the Cincinnati Metro- The Street Chorus: (top, L–R) Lauren Peter, Allison Whiteside, Kathryn Zajac Albertson, Adia Dobbins, Maria Miller; (bottom, L–R) Hediah Wooden- The Street Chorus: (top, L–R) Larry Reiring, Robert Lomax, Justin Peter, Michael Kelly; politan Orchestra and current member of the Perdue, Grace Newberry, Elaina McCormick, Brianna Bernard, Ron Attreau (bottom, L–R) Zane Hill, Griff Bludworth, Miles Wilson- Toliver May Festival Chorus. ing her graduation, she received a contract to dance the Vocal Arts Ensemble. She works as the Sr. Admis- and cover to Cherubino in Mozart’s Le nozze di Figaro. ROBERT LOMAX, tenor (Preacher) Performances with Oregon Ballet Theater for their 2007–08 season. sions Officer at CCM. She earned her BM in Vocal Performance from Ober- with orchestra include Cincinnati Symphony Orches- Since joining Cincinnati Ballet in 2008, Damico has lin Conservatory of Music, where she performed as tra, Cincinnati Pops, Cincinnati Opera, Northern Ken- danced featured roles in ballets such as Frisch’s Pres- ADIA DOBBINS, soprano Elsewhere: Nala in The L’enfant in Ravel’s L’enfant et les sortileges, Annio in tucky Symphony and Erie Philharmonic. CCM: Fer- ents The Nutcracker, Cinderella, Romeo and Juliet, Lion King (National Tour), Delores Van Cartier in Sis- Mozart’s La clemenza di Tito and Hata in Smetana’s nando in Così fan tutte, Tamino in The Magic Flute, Capri, Theme and Variations, Symphony in C, Mo- ter Act (Cincinnati Music Theatre), Harriet Tubman in The Bartered Bride. Rodolfo in La bohème. Post-grad work at CCM study- zart’s Requiem, All My Favorite People, Extremely The Civil War (Showbiz Players, Inc.). Title Examiner ing with John Alexander. CD: Dance in the Rain (rhen- Close and Classical Symphony. by day. ELAINA McCORMICK, alto Elsewhere: Jazz vocal- nmusic.com). ist (Laney and the Tramps, Queen City Sisters, Tom STREET CHORUS MARIA MILLER, alto Cincinnati credits: The Mother Daugherty Orchestra), vocalist (Young Professionals JUSTIN PETER, tenor Elsewhere: May Festival Chrous LAUREN PETER, soprano Elsewhere: Soprano in in Amahl and the Night Visitors (CCO); Lady Billows Choral Collective), trombonist (Krystal Peterson and (14 yrs); freelance artist in the community; sales and May Festival Chorus (MFC); soloist in MacMillan’s in Albert Herring, solo in Alexander Nevsky, Praskowia the Queen City Band), director of the Badin Rocks En- marketing at 4myBenefits. “A Child’s Prayer” (MFC); soloist in Adolphe’s Equi- in The Merry Widow (CCM); chorus in La bohème semble (Badin High School, Hamilton, OH). nox, Liszt’s Dante Symphony and Falla’s La vida breve (Cincinnati Opera); Sirène in Nocturnes (CSO). MICHAEL KELLY, bass (Celebrant cover) Concert (CSO); vocalist (IO Productions); lead singer (Staring BRIANNA BERNARD, alto Regional Credits: Anti- appearances have included Nielsen’s Symphony No. 3 at the Sea); lead singer (Amnesia Lane); president, co- HEDIAH WOODEN-PERDUE, alto Elsewhere: gone (born against.) and This Random World (Ensem- with The Cleveland Orchestra, Schumann’s Pilgrim- director and vocalist (University of Illinois Rip Chords). You’re a Good Man Charlie Brown (high school), The ble Theatre Cincinnati) and Five Women Wearing the age of the Rose with Houston Symphony, Brahms’ Operations Manager at HORAN Associates by day. Wizard of Oz (high school). Psychology student by day. Same Dress (Warsaw Federal Incline Theatre). Read- Requiem with Indianapolis Symphony Orchestra, ing in the Rep: Lonely Planet and The Gulf (QCQTC), Monteverdi’s Il combattimento di Tancredi e Clorinda ALLISON WHITESIDE, soprano Elsewhere: May GRACE NEWBERRY, alto A native of California, All’s Faire (Serials! 8) and Finding the Falcon (Serials! with Ars Lyrica, Carmina Burana with the Kansas City Festival Chorus, Mrs. Nordstrom in A Little Night Grace is a recent graduate of CCM, where she recieved 5) (Know Theatre of Cincinnati), The Winter’s Tale Symphony, Mohammed Fairouz’s Zabur at Carnegie Music (Miami University Opera), soprano soloist in her Master of Music degree in Vocal Performance, (Bare Bodkins Theatre), Children of Eden, A Funny Hall with Indianapolis Symphonic Choir, and Messiah Haydn’s The Creation (Miami University), and Maria studying with Bill McGraw. CCM credits: the title role Thing…Forum (Black Hills Playhouse), Space Station with St. Paul Chamber Orchestra. Recent and upcom- von Trapp in A Sound of Music (NCC Theatre, New in Massenet’s Cendrillon, worked closely with William Conservation (National Theatre for Children), A Mid- ing opera engagements include Mozart’s Magic Flute Hampshire). Bolcom in a Cabaret show featuring his works, Olga summer Night’s Dream, Jack and the Beanstalk (PFCT). with Opera Fairbanks and Matthew Aucoin’s Cross- in the Lehár’s Merry Widow, and recipient of the John briannabernard.com ing with American Repertory Theater in New York. KATHRYN ZAJAC ALBERTSON, soprano Kath- Alexander Award in the Corbett Competition for Op- Elsewhere: Aeneas in Purcell’s Dido and Aeneas at ryn holds a BM and MM (Voice) from CCM. Else- era Scholarships. Elsewhere: Young Artist with Cin- RON ATTREAU, tenor Clifton-based pianist, multi- the Festival de Musica Barocca de San Miguel de Al- where: Alice in The Secret Garden (Fitton Playhouse), cinnati Opera in 2017, Studio Artist with Wolf Trap woodwind instrumentalist, music teacher and con- lende in Mexico, Figaro in Rossini’s Barber of Seville Harry in Company (The Carnegie), Cinderella’s Opera Company (2013, 2015), ensemble of Mazzoli’s ductor. Music director, Cincinnati Landmark Produc- with Indianapolis Opera, and Count Almaviva in John Mom/Granny/Giant in Into the Woods (The Cove- Song from the Uproar, Modestina in Rossini’s Il viag- tions: Guys and Dolls (Covedale), Young Frankenstein Corigliano’s Ghosts of Versailles at the Aspen Opera dale), Ensemble in Sweeney Todd (The Carnegie). She gio a Reims, Kate Pinkerton in Puccini’s Madama But- (Covedale) and Anything Goes (Incline). Elsewhere: Theatre Center. michael-kelly.com has sung with Cincinnati Opera and is a member of terfly, Diane in Corigliano’s The Ghosts of Versailles, The Carnegie, Footlighters and schools throughout continued on page 81

54 | MAY FESTIVAL 2018 | mayfestival.com mayfestival.com | MAY FESTIVAL 2018 | 55 ROLLO DILWORTH THIRD EVENING CONCERT | SUN MAY 20, 7 pm | Music Hall Dilworth is Immediate Past Chair of the Board for tions, including the National Association for Music Chorus America. He is an active life member of the Education (NAfME), the National Association of Negro American Choral Directors Association (ACDA). He Musicians (NANM) and the American Society of Com- SING HALLELUJAH CINCINNATI! also holds memberships with several other organiza- posers, Authors and Publishers (ASCAP). ROLLO DILWORTH conductor

Juanjo Mena, Tonight’s program and guests will be introduced from the stage. Principal Conductor Q&A WITH ROLLO DILWORTH James Conlon, Conductor Laureate May Festival Magazine: As a Creative Partner with Robert Porco, the May Festival, what is something you’re especially Director of Choruses Tonight’s concert is sponsored by Hixson Architecture Engineering Services. passionate about bringing to this exciting annual event? The 2018 May Festival is presented by Macy’s. Rollo Dilworth: I have a couple of objectives as Creative The 2018 May Festival is sponsored by Chavez Properties. Partner. One is to do what I can to facilitate diversity of The appearance of Rollo Dilworth in this evening’s performance is made possible in part by vocal and choral talent that Cincinnati has to offer—in- a generous endowment gift from Dr. Tom Lesher. cluding various styles of music, generational diversity The Hilton Cincinnati Netherland Plaza is the official hotel of the May Festival. and a variety of cultural traditions. Another is to enable Steinway Pianos, courtesy of Willis Music, is the official piano of the May Festival. or support community engagement efforts of the May The use of photographic and recording devices at these concerts is prohibited. Festival by strengthening relationships with various community performing organizations, helping foster these relationships into future collaborations. MFM: What is your process for creating a concert pro- MFM: What trends do you anticipate for the choral art gram? Is there anything in particular that you keep in in the next ten years? mind when building a repertoire? ROLLO DILWORTH, During his doctoral program at Northwestern Uni- RD: First and foremost, the choral tradition will expand RD: Variety, variety and variety! Most programs I create, Creative Partner/ versity, Dilworth was accepted into the composition and highlight diversity, and emphasize the variety of I have a philosophical formula—I like to have music that conductor studios of Robert Harris, Pauline Oliveros and Marta voices that exist in the choral community. As we con- represents the “classical” Western choral canon, but I (May Festival debut) Ptaszynska. Throughout his career, he has written or tinue to experience challenges of choral music being also make sure that programming includes composers Rollo Dilworth is Pro- arranged African-American spirituals, gospel songs, available in school systems, there will also continue to of color and woman composers. We need to make sure fessor of Choral Music Broadway selections, art songs, vocal exercises and be a need for community organizations to do their part that those voices are heard and showcased. I also like Education and Chair of a musical—all of which are frequently performed by to ensure that choral music remains a vital part of the to highlight uncommonly sung languages, as it is an the Department of Music school, church, community, university and professional lives of young people, and all people. opportunity for choruses to expand their horizons and Education and Therapy choirs in the United States and abroad. The majority of encounter new cultures. at Temple University’s Dilworth’s choral scores are works commissioned by MFM: Having composed over 150 choral works, where Boyer College of Music community and professional ensembles. In 2009, the St. do you find inspiration for your pieces? MFM: Some people feel there is no need to record classical and Dance in Philadel- Louis Symphony Orchestra and IN UNISON® Chorus RD: As an African-American composer, much in- and choral music anymore—that it’s all been done before. phia, PA. He has served on the faculty since 2009. Prior commissioned and premiered his choral-orchestral spiration comes from African-American folk music, What do you say in response to that idea? to his position with Boyer College, he taught music work titled Freedom’s Plow, which is based on the text of mainly spirituals. In addition to this genre, a lot of RD: That’s a good question—of course there’s always education and was the director of choral activities for a Langston Hughes poem bearing the same title. In 2011, my inspiration comes from the poetry of prominent new and emerging choral music that’s being recorded, 13 years at North Park University in Chicago, where the Mendelssohn Club of Philadelphia commissioned African-American poets, specifically Langston Hughes but in terms of the “war horses” of choral music, why he prepared and conducted numerous extended and a three-movement choral-orchestral work titled Rain and Paul Lawrence Dunbar—their words are passionate, record again? It’s simple—there are always fresh ideas choral-orchestral works. Before teaching at the college Sequence, featuring the writings of Langston Hughes powerful, and remain relevant in 2018. and new perspectives that conductors feel should be level, Dilworth also taught choral and general music at and Paul Laurence Dunbar. preserved in recordings, and many consumers out there the middle school level in his hometown of St. Louis, In addition, Dilworth has conducted 43 all-state choirs are interested to hear what specific ensembles have to MO. He holds a Bachelor of Science degree in Music ranging across various levels, six regional honor choirs, say about certain pieces. Education from Case Western Reserve University, a and four national honor choirs. For the 2016–2017 sea- —Kayla Moore Master of Education degree in Secondary Education and son, Dilworth conducted all-state choirs in Utah, North Music from the University of Missouri–St. Louis and a Carolina, New Jersey, Kentucky and West Virginia. Doctor of Music degree in Conducting Performance International festival and clinic invitations include Cuba, from Northwestern University. Ireland and Spain.

56 | MAY FESTIVAL 2018 | mayfestival.com mayfestival.com | MAY FESTIVAL 2018 | 57 FOURTH EVENING CONCERT | FRI MAY 25, 8 pm | Music Hall

JUANJO MENA conductor DAVID DANIELS countertenor MAY FESTIVAL YOUTH CHORUS James Bagwell, director MAY FESTIVAL CHORUS Robert Porco, director The May Festival Chorus is endowed by the Betsy & Alex C. Young Chair

Juanjo Mena, GABRIELI Magnificat à 33 Principal Conductor (c. 1554–1612) James Conlon, Conductor Laureate BERNSTEIN Chichester Psalms Robert Porco, (1918–1990) Director of Choruses Cincinnati Symphony JAMES MacMILLAN Credo NORTH AMERICAN PREMIERE Orchestra (b. 1959) Pater The appearance of the Filius Cincinnati Symphony Spiritus Sanctus Orchestra is supported by the Louise Dieterle Nippert Musical Arts INTERMISSION Fund of the Greenacres Foundation. RAVEL Daphnis et Chloé (1875–1937) Introduction et Danse religieuse Danse générale Danse grotesque de Dorcon Danse légère et gracieuse de Daphnis Danse de Lycéion Danse lente et mystérieuse des Nymphes Introduction Danse guerrière Danse suppliante de Chloé Lever du jour Pantomime (Les amours de Pan et Syrinx) Danse générale (Bacchanale)

Tonight’s concert is sponsored by Thompson Hine. The 2018 May Festival is presented by Macy’s. The 2018 May Festival is sponsored by Chavez Properties. The appearance of Juanjo Mena in this evening’s performance is made possible in part by Edward Jay Wohlgemuth. The appearance of David Daniels in this evening’s performance is made possible in part by a generous endowment gift from Mr. and Mrs. S. Charles Straus. The Hilton Cincinnati Netherland Plaza is the official hotel of the May Festival. Steinway Pianos, courtesy of Willis Music, is the official piano of the May Festival. Tonight’s concert will end at approximately 10 p.m. This concert will be broadcast on 90.9 WGUC on October 21, 2018 at 8 p.m. The use of photographic and recording devices at these concerts is prohibited.

58 | MAY FESTIVAL 2018 | mayfestival.com mayfestival.com | MAY FESTIVAL 2018 | 59 PROGRAM NOTES: MAY 25

PROGRAM NOTES The 14th-century San Rocco (St. Roch) is held to hired from as far away as Padua, additional chamber musicians played also. Sometimes sixteene played by Dr. Richard E. Rodda be the patron saint of dogs, falsely accused people and organs were brought in to support the multiple choirs together upon their instruments, ten Sagbuts © 2018 May Festival bachelors, but principally of protection from plague. He [trombones], foure Cornets [a curved wooden tube (Gabrieli received a bonus for tracking down seven of with finger holes blown like a trumpet], and two is said to have ministered to victims during an epidemic them in 1603), and the huge programs were presented GIOVANNI GABRIELI (c. 1554–1612) Violdegambaes [violas da gamba] of an extraordinary in Italy and effected many miraculous cures until he fell Magnificat à 33 with as much pomp as imagination and budget allowed. greatnesse; and a treble viol.... Of the singers there ill himself. He withdrew to a forest in expectation of dy- Thomas Coryat, a music lover visiting from London, were three or foure so excellent that I think few or none in Christendome do exell them, expecially one, Giovanni Gabrieli is most closely associated with the ing, but a nobleman’s dog brought him bread and licked left an account: who had such a peerelesse and (as I may in a manner magnificent musical establishment at the Basilica of San his wounds until he recovered. He returned incognito to The third feast was upon Saint Roches Day, where I say) such a supernaturall voice for sweetnesse, that I Marco in Venice, but in February 1585, just a month after society but was arrested as a spy and died after five years heard the best musicke that ever I did in all my life thinke there was never a better singer in the world. in prison. His identity became known after his death and he joined the staff there as organist and composer, he both in the morning and in the afternoone, so good The provenance of Gabrieli’s Magnificat à 33 (i.e., accepted a similar position at the Scuola Grande di San he was generally acclaimed as a saint, though he was not that I would willingly goe an hundred miles a foote at any time to hear the like.... This feast consisted in 33 separate vocal and instrumental parts; it was Rocco, in the city’s San Polo district, across the Grand formally canonized until 1591. His body was brought to principally of musicke, which was both vocall and published in an alternate scaled-down version in 1615) Venice in 1485 and the Church of San Rocco begun four Canal from San Marco; he held both posts until his death instrumentall, so good, so delectable, so rare, so is uncertain, though its grand performing forces, festive years later to house his remains. A confraternity—an admirable, so superexcellent, that it did even ravish almost three decades later, though his activities were mood and liturgical significance would have suited it impeded in his last years by deteriorating health. His association of lay people created with Church approval and stupifie all those strangers that never heard the like.... Sometimes there sung 16 or 20 men together, perfectly to the Vespers portion of the sumptuous Feast to promote works of charity and piety—honoring San vigor certainly must have been tested by his simultane- having their master and moderator to keepe them of San Rocco. ous duties at two of Venice’s most important religious Rocco had been established in 1478, and in 1515 the in order; and when they sung, the instrumentall institutions, with San Marco requiring his regular organization began construction of the Scuola Grande presence and San Rocco expecting him, according to di San Rocco adjacent to the Chiesa di San Rocco, which MAGNIFICAT À 33 was decorated with magnificent frescoes by Tintoretto Magnificat anima mea Dominum: My soul doth magnify the Lord, his contract, to play the organ at its regular Mass on the Et exsultavit spiritus meus in Deo And my spirit hath rejoiced in God first Sunday of each month and on 24 other feast days, between 1564 and 1587; the Scuola remains today one salutari meo. my Savior. Quia respexit humilitatem ancillae suae: For he hath regarded the low estate as well as Sunday Vespers, Friday Compline and for the of Venice’s finest art treasures. of his handmaiden: sumptuous music performed annually on August 16th, The Scuola Grande made the Feast of San Rocco, Au- Ecce enim ex hoc beatam me dicent For, behold, from henceforth shall call me blessed. the Feast of San Rocco. gust 16th, the occasion for one of Venice’s greatest musi- Omnes generationes. All generations. cal spectacles. Extra singers and instrumentalists were Quia fecit mihi magna qui potens est: For he that is mighty hath done to me great things; Et sanctum nomen eius. And holy is his name. Et misericordia a progenie in progenies And his mercy is on them Timentibus eum. That fear him from generation to generation. Fecit potentiam in bracchio suo: He hath showed strength with his arm; Dispersit superbos mente cordis sui. He hath scattered the proud in the imagination. Deposuit potentes de sede He hath put down the mighty from their seats, Et exaltavit humiles. And exalted them of low degree. Esurientes implevit bonis: He hath filled the hungry with good things; Et divites dimisit inanes. And the rich he hath sent empty away. Suscepit Israel puerum suum, He hath holpen his servant Israel, Recordatus misericordiae suae. In remembrance of his mercy; Sicut locutus est ad patres nostros, As he spake to our fathers, Abraham et semini eius in saecula. To Abraham, and to his seed forever. Gloria Patri et Filio, gloria Glory be to the Father and to the Son et Spiritui sancto. and to the Holy Ghost. Sicut erat in principio et nunc et semper As it was in the beginning, is now, and ever shall be, Et in saecula saeculorum. World without end. Amen. Amen.

60 | MAY FESTIVAL 2018 | mayfestival.com mayfestival.com | MAY FESTIVAL 2018 | 61 PROGRAM NOTES: MAY 25 PROGRAM NOTES: MAY 25

LEONARD BERNSTEIN (1918–1990) indicative that the composer chose the 23rd Psalm (“The CHICHESTER PSALMS Chichester Psalms Lord is my Shepherd”) for the second movement, the I. Psalm 108, verse 2: heart of the Chichester Psalms. Urah, hanevel, v’chinor! Awake, psaltery and harp! Composed in 1965. Premiered July 15, 1965 in New York, The first movement opens with a broad chorale A-irah shahar! I will rouse the dawn! the composer conducting. (“Awake, psaltery and harp!”) that serves as the structur- Psalm 100, entire: Hariu l’Adonai kol haarets. Make a joyful noise unto the Lord all ye lands. These psalms are a simple and modest affair, al buttress for the entire composition. It is transformed, Iv’du et Adonai b’simcha. Serve the Lord with gladness. Tonal and tuneful and somewhat square, in quick tempo, to open and close the dance-like main Bo-u l’fanav bir’nanah. Come before His presence with singing. D’u ki Adonai Hu Elohim. Know ye that the Lord, He is God. Certain to sicken a stout John Cager body of this movement (in 7/4 meter), and it reappears Hu asanu, v’lo anahnu. It is He that hath made us, and not we ourselves. With its tonics and triads in E-flat major. Amo v’tson mar’ito. We are His people and the sheep of His pasture. at the beginning and end of the finale in majestic settings. Bo-u sh’arav b’todah, Enter into His gates with thanksgiving, But there it stands—the result of my pondering, The bounding, sprung rhythms and exuberant energy Hatseirotav bit’hilah, And into His courts with praise, Two long months of avant-garde wandering— Hodu lo, bar’chu sh’mo. Be thankful unto Him, and bless His name. of the fast music of the first movement are a perfect Ki tov Adonai, l’olam has’do, For the Lord is good, His mercy is everlasting, My youngest child, old-fashioned and sweet. embodiment of the text, “Make a joyful noise unto the V’ad dor vador emunato. And His truth endureth to all generations. And he stands on his own two tonal feet. Lord all ye lands.” II. Psalm 23, entire: Leonard Bernstein, that Renaissance man among late- The touching simplicity of the second movement re- Adonai ro-i, lo ehsar. The Lord is my shepherd, I shall not want. 20th-century musicians, penned these verses about his calls the pastoral song of David, the young shepherd. The Bin’ot deshe yarbitseini, He maketh me to lie down in green pastures, Al mei m’nuhot y’nahaleini, He leadeth me beside the still waters, Chichester Psalms for The New York Times as part of sopranos take over the melody from the countertenor Naf’shi y’shovev, He restoreth my soul, soloist, and carry it forward in gentle but strict imitation. Yan’heini b’ma’aglei tsedek, He leadeth me in the paths of righteousness, a poetic evaluation of the 15 months of his sabbatical L’ma’an sh’mo. For His name’s sake. from conducting in 1964–1965. Bernstein considered Suddenly, threatening music is hurled forth by the men’s Gam ki eilech Yea, though I walk B’gei tsalmavet, Through the valley of the shadow of death, several compositional projects during his year away voices punctuated by slashing chords from the orchestra. Lo ira ra, I will fear no evil, from the rigorous duties as Music Director of the New They challenge the serene strains of peace with the harsh Ki Atah imadi. For Thou art with me. Shiv’t’cha umishan’techa Thy rod and Thy staff York Philharmonic, including a theater piece based on question, “Why do the nations rage?” The quiet song, Heimah y’nahamuni. They comfort me. temporarily banished, reappears in the high voices, like Thornton Wilder’s The Skin of Our Teeth, but it was this Ta’aroch l’fanai shulchan. Thou preparest a table before me. set of Psalms for choir and orchestra that was the princi- calming oil on troubled waters. The hard tones subside, Neged tsor’rai, In the presence of mine enemies, Dishanta vashemen roshi Thou annointest my head with oil, pal musical offspring of that hiatus in his public career. and once again the shepherd sings and strums his harp. Cosi r’vayah. My cup runneth over. The work was commissioned by the Very Rev. Walter As a coda, the mechanistic sounds of conflict, soft but Ach tov vahesed Surely goodness and mercy Yird’funi kol y’mei hayai, Shall follow me all the days of my life, Hussey, Dean of Chichester Cathedral for the 1965 worrisome, enter once again, as if blown on an ill wind V’shav’ti b’veit Adonai And I will dwell in the house of the Lord L’orech yamim. Forever. Southern Cathedrals Festival, in which the musicians from some distant land. of Chichester have participated with those of the neigh- The finale begins with an instrumental prelude based Psalm 2, verses 1-4: Lamah rag’shu goyim Why do the nations rage, boring cathedrals of Salisbury and Winchester since on the stern chorale that opened the work. The muted Ul’umim yeh’gu rik? And the people imagine a vain thing? solo trumpet and the harp recall a phrase from the shep- Yit’yats’vu malchei erets, The kings of the earth set themselves, 1959. The musical traditions of these great cathedrals V’roznim nos’du yahad, And the rulers take counsel together extend far back into history, to at least the time when herd’s song to mark the central point of this introductory Al Adonai v’al m’shiho. Against the Lord and against His annointed. N’natkah et mos’roteimo, Saying, let us break their bonds asunder, the eminent early-17th-century keyboard artist and portion. The chorus intones a gently swaying theme V’nashlichah mimenu avoteimo. And cast away their cords from us. composer Thomas Weelkes occupied the organ bench on the text, “Lord, Lord, My heart is not haughty.” The Yoshev bashamayim He that sitteth in the heavens Yis’hak, Adonai Shall laugh, and the Lord at Chichester. Chichester Psalms concludes with yet another adapta- Yil’ag lamo! Shall have them in derision! Chichester Psalms tion of the recurring chorale, here given new words and The mood of the is humble and III. serene, unlike the powerful but despairing nature of a deeper meaning. This closing sentiment is not only Psalm 131, entire: Adonai, Adonai, Lord, Lord, Bernstein’s Kaddish Symphony of 1963, composed the central message of the work, and the linchpin of its Lo gavah libi, My heart is not haughty, shortly before this work. Both use traditional texts sung composer’s philosophy of life, but also is a thought that V’lo ramu einai, Nor mine eyes lofty, V’lo hilachti Neither do I exercise myself in Hebrew, but the message of the Chichester Psalms is all should hold dear in troubled times: Big’dolot uv’niflaot In great matters or in things Mimeni. Too wonderful for me. one of man’s closeness to God, rather than the one of Behold how good, Im lo shiviti Surely I have calmed frustration and anger and shaken faith engendered by V’domam’ti, And quieted myself, And how pleasant it is, Naf’shi k’gamul alei imo, As a child that is weaned of his mother, God’s inexplicable acts as portrayed in the Kaddish. It is For brethren to dwell Kagamul alai naf’shi. My soul is even as a weaned child. Yahel Yis’rael el Adonai Let Israel hope in the Lord Together in unity. Me’atah v’ad olam. From henceforth and forever.

Psalm 133, verse 1: Hineh mah tov, Behold how good, Umah nayim, And how pleasant it is, Shevet ahim For brethren to dwell Gam yahad. Together in unity.

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JAMES MacMILLAN (b. 1959) composers.... My philosophy of composition CREDO Credo NORTH AMERICAN PREMIERE looks beyond the introversion of the New Music 1. PATER “ghetto” and seeks a wider communication while Credo in unum Deum, We believe in one God, Composed in 2011. Premiered on August 7, 2012 at Royal in no way promoting a compromising populism.... Patrem omnipotentem, the Father, the Almighty, The “modernist” zeal of the post-World War II factorem coeli et terrae, maker of heaven and earth, Albert Hall in London by the BBC Philharmonic Or- visibilium omnium et invisibilium. of all that is, seen and unseen. generation of composers who attempted to eschew chestra, Manchester Chamber Choir, Northern Sinfonia any continuation of tradition is anathema to me. I 2. FILIUS Chorus and Rushley Singers, conducted by Juanjo Mena. respect tradition in many forms, whether cultural, Credo in unum Dominum, We believe in one Lord, political or historical, and in keeping up a continuous, Jesum Christum, Jesus Christ, Filium Dei unigenitum, the only Son of God, Scottish composer James MacMillan, born in Kilwin- delicate scrutiny of old forms, ancient traditions, et ex patre natum eternally begotten ning, Ayshire on July 16, 1959, was educated at the enduring beliefs and lasting values one is strengthened ante omnia saecula. of the Father. in one’s constant, restless search for new avenues Deum de Deo, lumen de lumine, God from God, Light from Light, University of Edinburgh (B.Mus., 1981) and Durham of expression. The existence of the influence of the Deum verum de Deo vero. true God from true God, University (Ph.D., 1987), where his principal teacher was old alongside the experiments of the new should Genitum, non factum, begotten, not made, consubstantialem Patri, of one Being with the Father. John Casken. After working as a lecturer at Manchester not appear incongruous. Therefore, in ideological Per quem omnia facta sunt. Through him all things were made. University from 1986 to 1988, MacMillan returned to terms, my works express the timeless truths of Roman Qui propter nos homines For us men and Catholicism alongside a fierce social commitment. et propter nostram salutem for our salvation Scotland, where he has since fulfilled numerous impor- And musically one can hopefully sense the depths of descendit de coelis: he came down from heaven: tant commissions and taught at the University of Edin- et incarnatus est de Spiritu by the power of the Holy Spirit times past integrating with attempts at innovation. Sancto ex Maria virgine, he became incarnate from the Virgin Mary, burgh and Royal Scottish Academy of Music and Drama et homo factus est. and was made man. MacMillan’s Credo, a setting of the ancient Mass in Glasgow. He has also served as Artistic Director of Crucifixus etiam pro nobis, For our sake he was crucified text confirming the church’s foundational belief in the sub Pontio Pilato passus, under Pontius Pilate; he suffered death the Edinburgh Contemporary Arts Trust, Affiliate Com- et sepultus est. and was buried. Holy Trinity, was composed in 2011 on a commission Et resurrexit tertia die On the third day he rose again poser of the Scottish Chamber Orchestra, Composer/ from the BBC Philharmonic, Orchestre de Chambre secundum scripturas; in accordance with the Scriptures; Conductor with the BBC Philharmonic, Composer et ascendit in coelum sedet and ascended into heaven and is seated de Paris, Grafenegg Music Festival (Austria) and De ad dexteram Patris. at the right hand of the Father. of the Year with the Pittsburgh Symphony Orchestra, Doelen Concert Hall (Rotterdam), and premiered at Et iterum venturus est cum gloria He will come again in glory and Visiting Composer of the Philharmonia Orchestra judicare vivos et mortuos, to judge the living and the dead, the London Proms concert of the BBC Philharmonic cujus regni non erit finis. and his kingdom will have no end. and Artistic Director of its contemporary music series, on August 7, 2012, conducted by Juanjo Mena. The Music Today; he became Principal Guest Conductor 3. SPIRITUS SANCTUS composer provided the following overview of the Credo: Credo in Spiritum Sanctum, We believe in the Holy Spirit, of the Netherlands Radio Chamber Philharmonic in Dominum et vivificantem, the Lord, the giver of life, 2010. In 1993, MacMillan won both the Gramophone This is a large-scale work but using a fairly economical qui ex Patre Filioque procedit. who proceeds from the Father and the Son. orchestra. As musical settings of the Creed for Qui cum Patre et Filio simul With the Father and the Son Contemporary Music Record of the Year Award and adoratur et conglorificatur. he is worshipped and glorified. liturgical use are no longer viable, this work is Qui locutus est per Prophetas. He has spoken through the Prophets. the Classic CD Award for Contemporary Music; he was conceived as a concert piece. The Credo is cast in three Credo in unum sanctam catholicam We believe in one holy catholic made a CBE in 2004, given the 2008 British Composer movements reflecting the Trinitarian nature—Father, et apostolicam ecclesiam. and apostolic Church. Son, Holy Ghost—of the text. Confiteor unum baptisma in We acknowledge one baptism for the Award for Liturgical Music, named an Honorary Patron remissionem peccatorum. forgiveness of sins. of the London Chamber Orchestra in 2008, and awarded Pater. The short first movement begins with a high Et expecto resurrectionem We look for the resurrection of the intonation, evoking liturgical practice. Most of the mortuorum, et vitam dead, and the life a Knighthood in the 2015 Queen’s Birthday Honours. choral writing here is syllabic and homophonic with venturi seculi. of the world to come. In October 2014, James MacMillan inaugurated the orchestral interjections that are busier or fanfare-like. Amen. Amen. Cumnock Tryst, a festival of international scope that he Filius. The more substantial middle movement organized in his boyhood home in southern Scotland. begins with a festal theme in layers of different MacMillan’s compositions, many of which incor- tonalities and pulses. Some of the choral writing is now more ornamented and florid, a style taken up by porate traditional Scottish elements and bear some the instruments as well. At the holiest words in the stamp of either his religion (Catholicism) or his politics central section—et incarnatus est—and thereafter, JOHN HAUCK FOUNDATION YOUTH SCHOLARSHIP WINNERS (socialism), include two operas, a St. John Passion, the choir is accompanied by three high solo violas. concerted works for piano (The Berserking), percus- The opening fanfare motif returns towards the end The May Festival congratulates ANNA GRECO and ANDREW H. NASH, this year’s recipients in different colors. sion (Veni, Veni, Emmanuel), cello, clarinet, organ and of the John Hauck Foundation May Festival Youth Chorus Scholarship. Spiritus Sanctus. The final movement, the longest, trumpet, orchestral scores, chamber works and pieces begins with mysterious buzzing chords, first in The John Hauck Foundation May Festival Youth Scholarship is awarded each May to a member (or members) for solo voices and chorus. Of his creative personality, the winds and then in the strings. The historical of the May Festival Youth Chorus who is a senior in high school, has been a member of the May Festival MacMillan wrote: hinterlands of plainsong, motet and cantus firmus Youth Chorus for at least one year and has decided to make music or a related field his or her major area [“fixed song,” i.e., a borrowed melody or motif of study in college. There are strong Scottish traits in my works, but around which the other voices are composed] are the also an aggressive and forthright tendency with a inspirations behind much of this music. After the final Funding for this scholarship was generously provided by the John Hauck Foundation. strong rhythmic physicality, showing the influence Amen, there is a brief, joyous coda for the orchestra. of Stravinsky, Messiaen and some minimalist

64 | MAY FESTIVAL 2018 | mayfestival.com mayfestival.com | MAY FESTIVAL 2018 | 65 PROGRAM NOTES: MAY 25 FIFTH EVENING CONCERT | SAT MAY 26, 8 pm | Music Hall MAURICE RAVEL (1875–1937) etiquette governing life and love. The young lovers of Daphnis et Chloé the ballet are not ancient primitives, but pink-cheeked shepherds who have stepped from a delicate canvas of Composed in 1909–1912. Premiered on June 8, 1912 in JUANJO MENA conductor Fragonard to amuse Le Roi Soleil. In considering the Paris, conducted by Pierre Monteux. ROBIN JOHANNSEN soprano wondrous effect of Daphnis et Chloé, Jean Cocteau DAVID DANIELS countertenor The Ballet Russe descended on Paris in 1909 with wrote, “It is one of those works that land in the heart BARRY BANKS tenor an impact still reverberating through the worlds of like a meteorite, from a planet whose laws will remain JOSÉ ANTONIO LÓPEZ baritone art, music and dance. Its brilliant impresario, Sergei forever mysterious and beyond our understanding.” Igor MAY FESTIVAL COMMUNITY CHORUS Juanjo Mena, Diaghilev, went shopping among the artistic riches of Stravinsky called it “one of the most beautiful products MAY FESTIVAL CHORUS Robert Porco, director Principal Conductor The May Festival Chorus is endowed by the Betsy & Alex C. Young Chair the French capital, and soon had gathered together the of French music.” James Conlon, most glittering array of creative talent ever assembled Daphnis et Chloé opens in a meadow bordering a Conductor Laureate HANDEL Messiah under a single banner: Falla, Picasso, Nijinsky, Fokine, sacred wood on the island of Lesbos. Greek youths and Robert Porco, Director of Choruses (1685–1750) Part I: The Advent of the Messiah Bakst, Monteux, Stravinsky, Massine, Debussy, Matisse, maidens enter with wreaths and flowers to place at the Cincinnati Symphony Prokofiev, Pavlova, Poulenc, Milhaud. Early in 1910 altar of the Nymphs as the shepherd Daphnis descends Orchestra INTERMISSION Diaghilev approached Maurice Ravel with a scenario by from the hills. His lover, Chloé, crosses the meadow The appearance of the Fokine for a ballet based on a pastoral romance derived to meet him. The girls are attracted to the handsome Cincinnati Symphony Part II: The Passion of Christ Orchestra is supported Part III: His Resurrection from the writings of the 5th-century Greek sophist Lon- Daphnis and dance seductively around him, inciting by the Louise Dieterle gus. In his 1928 autobiographical sketch, Ravel wrote: Chloé’s jealousy. Chloé, in her turn, becomes the object Nippert Musical Arts Fund of the Greenacres Encore of the men’s advances, particularly a crude one from the I was commissioned by the director of the Russian Foundation. HANDEL Hallelujah Chorus from Messiah Ballet to write Daphnis et Chloé, a choreographic clownish goatherd Dorcon. Daphnis’ jealousy is now symphony in three movements. My aim in writing it aroused and he challenges Dorcon to a dancing contest, was to compose a vast musical fresco, and to be not the prize to be a kiss from Chloé. Dorcon performs so much careful about archaic details as loyal to my visionary Greece, which is fairly closely related to the a grotesque dance and he is jeered by the onlookers. Greece imagined and depicted by French painters at Daphnis easily wins Chloé’s kiss with his graceful per- the end of the 18th century. The work is constructed formance. The crowd leads Chloé away, leaving Daphnis like a symphony, with a very strict system of tonality, formed out of a small number of themes whose alone to lapse into languid ecstasy. Daphnis’ attention development assures homogeneity to the work. is suddenly drawn to the clanging of arms and shouts of alarm from the woods. Pirates have invaded and set Ravel’s refined view of Daphnis through the eyes of upon the Greeks. Daphnis rushes off to protect Chloé, Watteau was at variance with the primitive one held by but she returns and is captured. others on the production staff, especially Léon Bakst, In Scene Two, set on a jagged seacoast, the brigands Tonight’s concert is sponsored by Fort Washington Investment Advisors. who was doing the stage designs. There were many enter their hideaway laden with booty. Chloé, hands The 2018 May Festival is presented by Macy’s. squabbles and delays in mounting the production, and, bound, is led in. She pleads for her release. When the The 2018 May Festival is sponsored by Chavez Properties. as a ballet, Daphnis had a lukewarm reception at its chief refuses, the sky grows dark and the god Pan, arm The appearance of Juanjo Mena in this evening’s performance is made possible in part by premiere at the Théâtre du Châtelet in Paris on June 8, Edward Jay Wohlgemuth. extended threateningly, appears upon the nearby moun- 1912. Ravel’s score, however, was greeted with enthu- The appearance of the May Festival Community Chorus is made possible by The Corbett tains. The frightened pirates flee, leaving Chloé alone. siasm, perhaps because the orchestra was the only facet May Festival Fund. Scene Three is again set amid the hills and meadows The appearance of Robin Johannsen in this evening’s performance is made possible in part of the production that was completely prepared. The of the ballet’s first scene. It is sunrise. Herdsmen arrive by David and Elaine Billmire. music immediately entered the repertory of the world’s The appearance of David Daniels in this evening’s performance is made possible in part by and tell Daphnis that Chloé has been rescued. She ap- orchestras and has remained one of the most popular a generous endowment gift from Mary and Joe Stern. pears and throws herself into Daphnis’ arms. The old of 20th-century scores, though the ballet is rarely seen. The appearance of Barry Banks in this evening’s performance is made possible in part by a shepherd Lammon explains to them that Pan has saved generous endowment gift from Taft/ and Tracey and William Puthoff. One of the marks of a great musical work is the Chloé in remembrance of his love for the nymph Syrinx. The appearance of Jose Antonio Lopez in this evening’s performance is made possible in way in which it creates and envelops the listener in its part by Sherie Lynch Marek and Family. In gratitude, Daphnis and Chloé re-enact the ancient own characteristic world. Ravel, through his masterful The encore performance of the Hallelujah Chorus from Handel’s Messiah is given in tale, in which Syrinx is transformed into a reed by her orchestration, sensitivity to color and atmosphere, and memory of Betty Wohlgemuth, with funds generously provided by The Wohlgemuth sisters to save her from the lustful pursuit of Pan, who Herschede Foundation. careful construction, created such a sound world in his then made a flute from that selfsame reed—the pipes of Daphnis et Chloé. Ravel’s world is one of elegant sensual- The Hilton Cincinnati Netherland Plaza is the official hotel of the May Festival. Pan—upon which to play away his longing. Daphnis and Steinway Pianos, courtesy of Willis Music, is the official piano of the May Festival. ity and dream-like refinement, one that grew from the Chloé embrace tenderly and join in the general joyous Tonight’s concert will end at approximately 10:30 p.m. composer’s idealized vision not so much of Greece as dance that ends the ballet. This concert will be broadcast on 90.9 WGUC on October 28, 2018 at 8 p.m. of the court of Louis XIV at Versailles and its precise The use of photographic and recording devices at these concerts is prohibited.

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PROGRAM NOTES and chagrin of his enemies, he recovered and resumed a sincere admirer of the composer and the person who Handel was undoubtedly glad to leave London and by Dr. Richard E. Rodda work. The oratorios Israel in Egypt and Saul appeared in had earlier supplied the words for the oratorio L’Allegro, its bitter disappointments in November of 1741 for © 2018 May Festival 1739, but created little public stir. Determined to have one il Penseroso e il Moderato, based on Milton’s poem. the journey to Dublin to produce his new oratorio. He last try at saving Italian opera in London, Handel spent Handel’s imagination was fired, and he began compos- arrived in the Irish capital on November 18th, being GEORGE FRIDERIC HANDEL (1685–1759) the summer of 1740 arranging production details and ing on August 22nd. The stories have it that he shut “universally known by his excellent Compositions in Messiah searching for singers on the Continent for his upcom- himself in his room, eschewing sleep and leaving food all Kinds of Musick,” trumpeted the city’s press. It was ing winter season. After returning to England in early Composed in 1741. Premiered on April 13, 1742 at the untouched, while he frantically penned his new work. the beginning of one of the happiest periods of the autumn, he completed what proved to be his last two New Music Hall in Dublin, conducted by the composer. Twenty-four days later, on September 14, he emerged composer’s life, when, as he wrote to Jennens, he passed operas, both of which failed ignominiously on the stage: with the completed score of Messiah. “I did think I did his time during the ensuing nine months “with Honour, It was that satirical romp of 1729, The Beggar’s Opera Imeneo, premiered on November 22, closed after only see Heaven before me and the great God Himself!” he profit and pleasure.” by Gay and Pepusch, that first soured the fashionable two performances; Deidamia (January 10, 1741), after muttered to a servant. Preparations for the presentation of Handel’s grand London taste for what Samuel Johnson described in his three. Handel’s publisher, Walsh, despite having good It was long thought that Handel, a devout Christian new oratorio went on throughout the winter of 1742. 1755 Dictionary of the English Language as “an exotic success selling the recent Opus 6 Concerti Grossi, could and Bible scholar, composed Messiah out of sheer Choristers were assembled from Dublin’s cathedrals, and irrational entertainment”—Italian opera. As both not find enough subscribers to warrant printing the score religious fervor, with no thought of an immediate perfor- the best available soloists and instrumentalists were composer and impresario, Handel was London’s most of Deidamia. In February, Handel largely withdrew from mance. In his book on the composer, the distinguished enlisted, and the date of the premiere was set for April important producer of opera, and he toiled doggedly public life and seldom left his house in Brook Street, near scholar of 18th-century music H.C. Robbins Landon 13. The public rehearsal on April 9 roused excitement for the entire decade of the 1730s to keep his theatrical Grosvenor Square. His competitors rejoiced. contends that the work was written at the request of to such a pitch that the following announcement had to ventures solvent, but the tide of fashion (and the virulent Rumors began to circulate that Handel was finished William, Duke of Devonshire, the Lord Lieutenant of be placed in Faulkner’s Dublin Journal concerning the cabals of his competitors) brought him to the edge of in London. Some held that his health had given way Dublin, who visited London early in 1741. William, who official first performance: bankruptcy by 1739. As early as 1732, with the oratorio for good; others, that he had died. The story given knew Handel largely through his sacred vocal music, The Stewards of the Charitable Musical Society Esther, he had begun to cast about for a musical genre greatest credence, one fueled by Handel’s composition apparently asked him to provide a new work for perfor- request the Favour of the Ladies not to come with that would appeal to the changing fancy of the English of some Italian duets—pieces useless in London—was mance at a series of concerts in Dublin which would aid Hoops [i.e., hoop skirts] this Day to the Musick-Hall. public. Neither that work nor the oratorio Alexander’s that he planned to return to the Continent. However, various local charities. Handel’s newly regained creative The Gentlemen are desired to come without their Feast of 1736 had the success that he had hoped, however; in the summer he suddenly sprang back to creative enthusiasm, stirred by William’s request, continued Swords, as it will greatly encrease the Charity, by making Room for more company. and the strain of his situation resulted in the collapse of life, inspired by a small book of Biblical texts that had to percolate, and he began Samson immediately upon his health in 1737, reported variously as a stroke or as been compiled by Charles Jennens. Although Jennens finishing Messiah, completing all but two numbers of Through these sacrifices, the capacity of the hall was acute rheumatism and depression. Much to the surprise was a moneyed fop of artistic pretensions, he was also that score within six weeks. raised from 600 to 700 on April 13. An almost equal

68 | MAY FESTIVAL 2018 | mayfestival.com mayfestival.com | MAY FESTIVAL 2018 | 69 PROGRAM NOTES: MAY 26 PROGRAM NOTES: MAY 26 number, hoping for a ticket, are said to have milled the theater. Messiah, still known only as “Handel’s New oratorio, except Israel in Egypt, whose entire text is Chorus Messiah And He shall purify the sons of Levi, that they may offer unto the about outside. was a triumph. “It gave universal Oratorio,” was given twice more in 1743, and twice again drawn from the Bible. It is his only oratorio without a Lord an offering in righteousness. (Malachi 3:3) Satisfaction to all present; and was allowed by the great- in 1745, then put aside. Not until the death of Bishop continuous dramatic plot. It is his only oratorio based Recitative (Countertenor) est Judges to be the finest Composition of Musick that Gibson and his succession by the more liberal Thomas on the New Testament. It is his only oratorio presented Behold! a virgin shall conceive and bear a Son, and shall call His ever was heard,” announced Faulkner’s Journal. Handel Sherlock in 1748 did Handel again mount Messiah, at in a consecrated space during his lifetime, a reflection of name Emmanuel, God with us. (Isaiah 7:14, Matthew 1:23) Messiah repeated on June 3, and lingered a while longer last under its original title, for a single performance at the sacred rather than dramatic nature of its content (“I Air (Countertenor) and Chorus before leaving Dublin on August 13 with sincere but Covent Garden on March 3, 1749. It was the following should be sorry if I only entertained them; I wished to O thou that tellest good tidings to Zion, get thee up into the high year that Handel’s surpassing masterpiece finally began mountain. O thou that tellest good tidings to Jerusalem, lift up thy never-fulfilled promises to return. make them better,” he told one aristocratic admirer). It voice with strength, lift it up, be not afraid; say unto the cities of The Irish triumph of Messiah did not follow Handel to receive its due. After the April 13, 1750 Covent Garden has more choruses than any of his oratorios except Israel Judah: Behold your God! (Isaiah 40:9) performance, Handel presented it again, on May 1, for in Egypt Messiah O thou that tellest good tidings to Zion, arise, shine, for thy light is back to London, at least not immediately. He wanted ; the soloists in are commentators on, come, and the glory of the Lord is risen upon thee. to present his new oratorio as soon as he returned, but the benefit of the London Foundling Hospital, a charity rather than participants or characters in, the oratorio’s (Isaiah 60:1) that had been established in 1740 by Captain Thomas he knew that there would be, in the words of Robbins story. None of this, of course, detracts a whit from the Recitative (Baritone) Landon, “strong opposition to hearing the words of Coram for the “Maintenance & Education of Exposed emotional/artistic/(perhaps) religious experience of For behold, darkness shall cover the earth, and gross darkness the the New Testament in a theatre peopled by actors and & Deserted Young Children.” The concert also com- Messiah people; but the Lord shall arise upon thee, and His glory shall be . (Handel and Jennens never appended the seen upon thee. And the Gentiles shall come to thy light, and the actresses of loose morals and dubious sexual habits.” He memorated the dedication of the Hospital’s Chapel and definite article “the” to the title.) Its three parts—The kings to the brightness of thy rising. (Isaiah 60:2-3) chose instead to give the Old Testament-based Samson the organ therein that Handel had already contributed. Advent of the Messiah, The Passion of Christ, and His Air (Baritone) on February 18, 1743, and it proved to be the first of his (Handel’s other local charitable interest was the “Society Resurrection—embody the most sacred events of the The people that walked in darkness have seen a great light; and they oratorios that won unqualified acclaim in the British for the Support of Decayed Musicians & Their Families,” that dwell in the land of the shadow of death, upon them hath the Christian calendar, yet its sincerity and loftiness of light shined. (Isaiah 9:2) capital. Messiah was ready for its London premiere on later more sanitarily renamed the Royal Society of Musi- expression transcend any dogmatic boundaries. In the March 23 at Covent Garden, though he chose not to bill cians.) Messiah, buoyed by a wave of public good will Chorus words of George P. Upton, the American musicologist For unto us a Child is born, unto us a Son is given, and the the work under its true title but called it, simply, “A New inspired by Handel giving its proceeds to a worthy cause, and turn-of-the-20th-century critic of the Chicago government shall be upon His shoulder, and His name shall be Sacred Oratorio,” hoping to skirt some of the indigna- was a huge success. He presented it for the Hospital an- Tribune called Wonderful, Counsellor, the Mighty God, the Everlasting , “Other oratorios may be compared one with Father, the Prince of Peace. (Isaiah 9:5) tion of the more puritanical audience members and of nually thereafter. It was the last work he directed, only another; Messiah stands alone, a majestic monument to Edmund Gibson, the Bishop of London. The ploy suc- eight days before he died on April 14, 1759. the memory of the composer, an imperishable record of Pifa (Pastoral Symphony) ceeded only in part. “Any work about the Omnipotent For all of its unparalleled popularity, Messiah is an the noblest sentiments of human nature and the highest Recitative (Soprano) should never be performed in a playhouse,” fumed one aberration among Handel’s oratorios, the least typi- aspirations of man.” There were shepherds abiding in the field, keeping watch over their flocks by night. And lo! the angel of the Lord came upon them and clergyman. Some of his colleagues tried to shut down cal of his two dozen works in the form. It is his only the glory of the Lord shone round about them, and they were sore MESSIAH TEXT afraid. And the angel said unto them: Fear not; for behold, I bring you good tidings of great joy, which shall be to all people. For unto PART I: The Advent of the Messiah you is born this day, in the city of David, a Saviour, which is Christ the Lord. (Luke 2:8-11) Sinfonia (Overture) And suddenly there was with the angel a multitude of the heav’nly Host praising God, and saying: (Luke 2:13) Recitative (Tenor) Comfort ye my people, saith your God. Speak ye comfortably to Chorus Jerusalem, and cry unto her, that her warfare is accomplish’d, that Glory to God in the highest, and peace on earth, good will toward her iniquity is pardon’d. The voice of him that crieth in the wilderness: men. (Luke 2:14) Prepare ye the way of the Lord, make straight in the desert a highway for our God. (Isaiah 40:1-3) Air (Soprano) Rejoice greatly, O daughter of Zion! Shout! O daughter of Jerusalem! Air (Tenor) Behold, thy King cometh unto thee. He is the righteous Saviour, and Ev’ry valley shall be exalted, and ev’ry mountain and hill made low; He shall speak peace unto the heathen. (Zechariah 9:9-10) the crooked straight, and the rough places plain. (Isaiah 40:4) Recitative (Countertenor) Then shall the eyes of the blind be opened, and the ears of the deaf Chorus unstopped. Then shall the lame man leap as an hart, and the tongue And the glory of the Lord shall be revealed, and all flesh shall see it of the dumb shall sing. together, for the mouth of the Lord hath spoken it. (Isaiah 35:5-6) (Isaiah 40:5) Air (Countertenor and Soprano) Recitative (Baritone) He shall feed His flock like a shepherd, and He shall gather the Thus saith the Lord, the Lord of Hosts: Yet once, a little while, and I lambs with His arm, and carry them in His bosom, and gently lead will shake the heav’ns and the earth, the sea and the dry land, and I those that are with young. (Isaiah 40:11) will shake all nations, and the desire of all nations shall come. Come unto Him all ye that labor, ye that are heavy laden, and He (Haggai 2:6-7) will give you rest. Take His yoke upon you, and learn of Him, for He The Lord, whom ye seek, shall suddenly come to His temple; ev’n is meek and lowly of heart, and ye shall find rest unto your souls. the messenger of the Covenant, whom ye delight in; behold, He shall (Matthew 11:28-29) come, saith the Lord of Hosts. (Malachi 3:1) Chorus Air (Countertenor) His yoke is easy, and His burthen is light. But who may abide the day of His coming, and who shall stand when (Matthew 11:30) He appeareth? For He is like a refiner’s fire. (Malachi 3:2)

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PART II: The Passion of Christ Air (Baritone) Chorus Why do the nations so furiously rage together, why do the people Behold the Lamb of God, that taketh away the sin of the world. imagine a vain thing? The kings of the earth rise up, and the rulers (John 1:29) take counsel together against the Lord and against His anointed. THE MAY FESTIVAL COMMUNITY CHORUS (Psalms 2:1-2) Air (Countertenor) For this year’s May Festival we invited members of the I feel grateful to use my singing voice after a long He was despised and rejected of men, a man of sorrows, and Chorus community to participate in the May Festival Com- break from choral music, and I’m grateful for our acquainted with grief. (Isaiah 53:3) Let us break their bonds asunder, and cast away their yokes from wonderful leadership. I learn so much in rehearsal. He gave His back to the smiters, and His cheeks to them that us. (Psalm 2:3) munity Chorus (MFCC), joining the May Festival plucked off the hair. He hid not His face from shame and spitting. Chorus in preparing and performing choruses from I have always dreamed of singing or playing my (Isaiah 50:6) Recitative (Tenor) Handel’s Messiah. More than 150 heeded the call and flute in Music Hall.… It is thrilling to be a part of He that dwelleth in Heaven shall laugh them to scorn, the Lord shall something so larger than life and to work with Dr. Chorus have them in derision. (Psalm 2:4) are singing proudly from the balconies this evening. We Porco. I think this will be one of the musical pinnacles Surely, He hath borne our griefs and carried our sorrows! He was asked MFCC members “What excites you most about of my life, and I’m loving every minute of it! wounded for our transgressions; He was bruised for our iniquities; Air (Tenor) the upcoming performance of Messiah?” Here are just the chastisement of our peace was upon Him. (Isaiah 53:4-5) Thou shalt break them with a rod of iron. Thou shalt dash them in Quite simply, I am excited to be just a small part pieces like a potter’s vessel. (Psalm 2:9) a few of their responses: of this amazing chorus and the wonderful arts Chorus scene in our community. This is also a very special And with His stripes we are healed. Chorus I’m excited to be singing a large choral work again in opportunity to share this experience with my mom, (Isaiah 53:5) Hallelujah, for the Lord God Omnipotent reigneth. (Revelation 19:6) an environment that demands excellence.… who is fulfilling a life-long dream of singing with the The Kingdom of this world is become the Kingdom of our Lord, and Messiah May Festival Chorus. Chorus of His Christ; and He shall reign for ever and ever. is one of the true masterpieces.… At the same All we like sheep have gone astray, we have turned every one to his (Revelation 11:15) time the May Festival Chorus is the premier choral There is nothing that compares to the feeling and the own way; and the Lord hath laid on Him the iniquity of us all. (Isaiah King of Kings, and Lord of Lords. group in the U.S. What excites me is the opportunity sound of being in a large group creating music and 53:6) (Revelation 19:16) to sing this masterpiece with this amazing choral meaning and memories for ourselves and others. It’s group in the amazing Cincinnati Music Hall. another level of being. Recitative (Tenor) PART III: His Resurrection All they that see Him, laugh Him to scorn; they shoot out their lips, Air (Soprano) Learning from two great conductors—pronunciation, All my life I have wanted to sing in the May and shake their heads, saying: (Psalm 22:7) I know that my Redeemer liveth, and that He shall stand at the latter and where emphasis adds meaning. Singing music Festival.… This has been on my bucket list for a long day upon the earth, and though worms destroy this body, yet in my I love with a big group dedicated to the enterprise. time, and now I can check it off. Chorus flesh shall I see God. Touching our audience emotionally. He trusted in God that He would deliver Him, let Him deliver Him, if (Job 19:25-26) He delight in Him! (Psalm 22:8) For now is Christ risen from the dead, the first-fruits of them that The standards expected of the chorus are high—a very MFCC members are listed below, and the other sleep. good thing! community choruses they represent are listed on the Recitative (Tenor) (Corinthians 15:20) next page. Thy rebuke hath broken His heart; He is full of heaviness. He looked The honor of participating with the May Festival for some to have pity on Him, but there was no man, neither found Chorus Chorus, which I have admired for a long time. He any to comfort Him. (Psalm 69:21) Since by man came death, by man came also the resurrection of the dead. For as in Adam all die, even so in Christ shall all be made Air (Tenor) alive. (Corinthians 15:21-22) Katy Abt Kathy Elifrits Karen Kc Mary Rizzardi Behold and see if there be any sorrow like unto His sorrow. Rose Maltry Abt Robert Falcon Nicole Keating Charice Rodgers (Lamentations 1:12) Recitative (Baritone) Janice Alvarado Barbara Fant Magdalena Kirsch Donna Rohrs Behold, I tell you a mystery; we shall not all sleep, but we shall all be Gregory Amburgy Tina Farrell Lucy Klette Susan Rose Recitative (Tenor) changed in a moment, in the twinkling of an eye, at the last trumpet. Coleen Appelquist Barbara A. Feldmann Jenifer Klostermeier Douglas Rose He was cut off out of the land of the living; for the transgressions of (Corinthians 15:50-52) Peggy Arnold Angie Ferrell Lois Kohnhorst M. Patricia Rosely Thy people was He stricken. (Isaiah 53:8) Diane Baker Carol Floyd Mary Kroger Richard Rowett Air (Baritone) Ruth Bamberger Hilda Foegle Mike Krug Lisa Ruff Air (Tenor) The trumpet shall sound, and the dead shall be raised incorruptible, Ruth Beck Lindsay Foust Sally Lackman Barbara Rugen But thou didst not leave His soul in Hell; nor didst Thou suffer Thy and we shall be changed. (Corinthians 15:52) Peggy Bell-Lohr Mary Franklin Felicity Larrick Joy Rutan Holy One to see corruption. (Psalm 16:10) Helene Sullivan Bentley Marqueta Freeman Brian Lawson Peter Rutan Air (Soprano) Sarbori Bhattacharya Caryl Fullman Nikki Lehman Kris Rutter Chorus If God be for us, who can be against us? (Romans 8:31) M. Elaine Billmire Paul C Gahn Linda Light Susan Schapiro Lift up your heads, O ye gates, and be ye lift up, ye everlasting Who shall lay anything to the charge of God’s elect? It is God that Gifford Blaylock Melinda Gardner Steven Link David Schieve doors, and the King of Glory shall come in! Who is the King of Glory? justifieth, who is he that condemneth? It is Christ that died, yea E. Ray Boston Mary Pat Genz Carole Lonneman Elizabeth Shaffer The Lord strong and mighty, the Lord mighty in battle. Who is the rather, that is risen again, who is at the right hand of God, who Melanie Boylan Barbara Gibler Johanna Looye Janalyn Slick King of Glory? The Lord of Hosts, He is the King of Glory. (Psalm makes intercession for us. (Romans 8:33-34) Marie Boyle Anna Gise Becky Lowry Ed Slick 24:7-10) Amanda Braun Barbara Gomes Sandra Lundgren Sheila Speth Chorus Jessica Broering Esther Greenewald Stephen C. Marsh Kathy Stalsberg Chorus Worthy is the Lamb that was slain, and hath redeemed us to God by Andrea Brown John Greenewald Vicky Mayer Laura Startsman The Lord gave the word; great was the company of the preachers. His blood, to receive power, and riches, and wisdom, and strength, Tom Burdin Colleen Grogan Mark McDonald Jeneen Stewart Grant (Psalm 68:11) and honor, and glory, and blessing. Blessing and honor, glory and Jim Burich Frank Gurry Vickie McKee Laura Stidham power, be unto Him that sitteth upon the throne, and unto the Lamb, Janette Butler Melissa Haas John McKibben Jessica Stuart Air (Soprano) for ever and ever. (Revelation 5:9, 12-13) Anne Cahill Tonya Hampton Barbara McMullen Lorie Stuart How beautiful are the feet of them that preach the gospel of peace, Amen. David Sean Callahan Eric Hatch Jennifer Melms Don Stuart and bring glad tidings of good things. (Romans 10:15) Vivienne Carlson Mary Wynn Haupt Lorianne Mickle Carolyn Sweezy Their sound is gone out into all lands, and their words unto the ends Judy Carlson Jan W. Hawk Dan Moak Amy Wadley of the world. (Romans 10:18) Margo Carson Michael Hieber Kevin Moore Gloria Walker Alynn Chezem Vicki Hill Thais Morata Niki Weatherston Anneliese Clear Emily M Hodges Margaret Namie Christy Wesselman Maggi Cobb-Wessling Ron Hoffman Melissa Nelson Sandy Westerbeck Jan Conversano Donald Hordes Margaret O’Leary Linda Wheeler Dorothy J. Countryman Daphne Houze Wayne Page Len Whitling Debbie Day Mary Beth Hunter Mary Palascak Mary Whitling Dahlia Deavy Janice Hunter Shari Palmer Tricia Wilkens Carol DeGreg Donald A. Hurd Margaret Pfarr Cynthia Williams Jill Dew Dale Johnson Joanne Popolin Linda Woods Jan Dickinson Barbara Johnson Dorothy Powell Ed Worland, Jr. Steve Doughman Lawrence Jones Ken Rahn Linda Wright Emily Doughman J. Earl Jones Jack Reif Malinda Wynn Marta Doyle Julie Juenger Lynette Rice Maureen Zalla Brandon Dunphy Jane Kay Patricia Richards

72 | MAY FESTIVAL 2018 | mayfestival.com mayfestival.com | MAY FESTIVAL 2018 | 73 MAY FESTIVAL COMMUNITY CHORUS

CHORUSES REPRESENTED BY MFCC MEMBERS All Saints Episcopal Church One Voice Anderson College Alumni Choir Resurrection Lutheran Church Choir IN MEMORIAM Anderson Hills United Methodist Church Sharonville Community Chorus Ball Family Quartet St. Anne Episcopal Church The Cincinnati Musical Festival Association notes with sorrow the passing of the following individuals: Banklick Baptist Church St. Bernadette Church Bellarmine Chapel St. Catherine of Siena Scott Atkinson Thomas J. Klinedinst, Jr. Bishop’s Choir, Covington Cathedral Basilica St. Gabriel Choir Broadway Voices St. Gertrude Church Choir Long-time May Festival Supporter Long-time May Festival Supporter Butler Philharmonic Chorus St. John the Baptist, Harrison Daniel Brewbaker May Festival Director 2002–2005 Cincinnati Camerata St. John’s Unitarian Universalist Choir Cincinnatus Psalm Margaret Knauf Cantabile Community Choir St. Joseph Choir Composer of , a World Premiere Carmel Presbyterian Church Choir St. Michael’s, Sharonville May Festival Commission, 2000 Long-time May Festival Supporter Choral Club of Northern Kentucky St. Paul’s Episcopal Philip Creech Maestro Jesús López Cobos Christ Church Cathedral St. Pius X Christ Church, Glendale St. Thomas Church May Festival Guest Soloist, 1976, 1997, 1998, 1990 CSO Music Director 1986–2001 Church of Savior St. Timothy’s Episcopal Church Connie Elsaesser Charles Mangio Church of the Redeemer St. William Church Church of the Resurrection Summerside United Methodist Church Long-time May Festival Supporter Long-time May Festival Supporter Cincinnati Choral Society Sycamore Community Singers W. Roger Fry Thomas L. Neyer, Sr. Cincinnati Threshold Choir Sycamore Presbyterian Chancel Choir Long-time May Festival Supporter Long-time May Festival Supporter Cincinnati Woman’s Club Urban League Circle Singers Voices in Praise Sister Cecelia Huber, OSU James Osburn Classical Roots Community Mass Choir Voices of the Commonwealth May Festival Chorus Member 1969–1973 Former May Festival Chorus Member 1990–2006 Clermont Chorale West Chester Chorale Clifton United Methodist Church Wilmington United Methodist Church Betty Johnson Maurice Peress College Hill Chancel Choir Woodbury Chorus May Festival Director 1988–1993 May Festival Guest Conductor of the 1972 Production College Hill Presbyterian Choir Wyoming Presbyterian Church of Bernstein’s MASS Crestview Presbyterian Church York Street United Methodist Church Irmela Kayser-Pogue Crossroads Young Professionals Choral Collective Long-time May Festival Supporter Nancy Walker Danny Frazier Band Zion Lutheran Choir Long-time May Festival Supporter Dayton Philharmonic Chorus Betty Klinedinst May Festival Director 1986–1999, 2009–2014 E-Case Chorus Long-time May Festival Supporter Epiphany United Methodist Church, Loveland May Festival Board Chair 1989–1991 Evangelical Community Church Choir First Church of God First Unitarian Church Fleming Road United Church of Christ Fluidity Forest Aires Friendly Sons of St Patrick Glee Club Friendship Baptist Church Choir Ft. Thomas United Church of Christ Choir Gloria Dei Lutheran Church Good Shepherd United Methodist Church Heritage Universalist Unitarian Church Choir Hillsboro First United Methodist Church Hope Lutheran Church House of Joy Hyde Park Community United Methodist Church Immanuel United Methodist Church Indian Hill Church Jubilant Singers Junior League Kolping Saengerchor Kentucky Symphony Orchestra Chorale Lebanon Symphonic Chorus Loveland Stage Company Macy’s Choir Mason Chorale Middletown Civic Chorus Milford United Methodist Church Martin Luther King Chorale Montgomery Presbyterian Church Mother of God Mother of Mercy Alumnae Chorus Mt. Auburn Presbyterian Church Musica Sacra Newtown United Methodist Church Northern Kentucky Community Chorus Oak Hills Presbyterian Church Choir October Festival Chorus

74 | MAY FESTIVAL 2018 | mayfestival.com mayfestival.com | MAY FESTIVAL 2018 | 75 GIVE THE GIFT OF MAY FESTIVAL CINCINNATI MUSICAL FESTIVAL ASSOCIATION MUSIC 2018 ARTSWAVE PARTNERS BOARD OF DIRECTORS The May Festival acknowledges the thousands of MAY FESTIVAL CHORAL STUDENT FUND Officers individuals who generously participate in the Dr. David A. Huelsman Susan S. Laffoon Sherie Lynch Marek Melanie M. Chavez, Chair Isaiah Hyman, Jr. Geraldine B. Warner Charles S. Mechem The May Festival Choral Student Fund has been ArtsWave Campaign at the following Partner Eric K. Combs, Vice-Chair Thomas Kirkpatrick Alex C. Young Thomas L. Neyer, Jr. Treasurer established to provide local high school and college Companies. Your support helps make our Mike Kelly, Kimberly Kuchenbuch Betsy Young Charles Powers Christy Horan, Secretary Wendy D. LeBorgne Carole Tyler Rigaud students who are enrolled in their school choirs the community vibrant and connects people across our J. Mark Holcomb, Sherie Lynch Marek Honorary Director J. Shane Starkey Immediate Past Chair opportunity to experience the thrill of May Festival Patricia Misrach Steven Monder Robert E. Stautberg region through the arts. Christine E. Neyer Timothy E. Stautberg performances. This year, contributions to the student Directors Cora K. Ogle, PhD Advisory Committee Frank H. Stewart ticket fund were given by: P&G William Appleton Shane Price (Past Chairs) Gust Totlis Fifth Third Bank and the Fifth Third Bank Foundation Helene Bentley Tracey A. Puthoff Rhoda A. Brooks Ronald H. Yocum Prescott Bigelow III Beau Rootring Nancy Heffner Donovan Carl and Barbara Harcourt General Electric Company William Henry Caldwell Ruthann Sammarco Kelley J. Downing May Festival Chorus Liaisons Mr. and Mrs. Randy Johnson Macy’s, Inc. William G. Creviston J. Shane Starkey Gregory L. Ebel to the Board of Directors Kelley Downing Mary H. Stucky Jerold A. Fink Douglas Bruestle Mace C. Justice Cincinnati Bell Ann Ellison Mary Ann Taylor Thomas D. Heekin Jeffrey Nielsen Dr. Melvyn and Mrs. Lois Nizny The Kroger Co. Mary Gimpel Jeannine Winkelmann J. Mark Holcomb Molly Scruta David Skiff Western & Southern Financial Group Barbara Hahn Shelby Wood Glenn B. Jeffers Poul D. and JoAnne Pedersen Barbara Harshman Directors Emeriti Susan S. Laffoon Josh Wallace Ms. Amy Perry Cincinnati Children’s Hospital Medical Center Mary Hemmer Anonymous The Cincinnati Insurance Companies Toyota Motor Engineering & Manufacturing TO GIVE THE GIFT OF MUSIC… North America, Inc. Cincinnati Musical Festival Association Mission, Vision and Values Please make your check payable to Cincinnati Musical U.S. Bank Great American Insurance Group MISSION We exist to engage, energize and connect our community with the highest quality performances Festival Association and mail to Gift Ticket Funds—May Ohio National Financial Services of great choral music. Festival, 1241 Elm Street, Cincinnati, OH 45202. A gift Duke Energy acknowledgement will be sent on your behalf. Donations VISION We are the most exciting force in the choral world. We are a leader and catalyst in the production, PNC presentation and promotion of choral activities in our region and around the globe. are tax deductible. For information please call the May Convergys Corporation Festival office at 513.621.1919. Jacob G. Schmidlapp Trusts, VALUES We believe in fostering choral music of the highest artistic standards; preserving the history, enhancing Fifth Third Bank, Trustee the present and embracing the future of choral music; cultivating diverse audiences, choirs and singers who are passionate about choral music; operating in a financially sound manner.

SPECIAL THANKS

The May Festival thanks the following for their generous support:

Aero Fulfillment Father Terry Baum Cathedral Basilica of the Assumption Christ Church United Methodist (Louisville) Church of the Redeemer Cincinnati Ballet Cincinnati Opera Sing Hallelujah Cincinnati Performers Classical Roots Community Mass Choir Mark DeWitt The Early Music Company First Unitarian Church of Cincinnati Greater Cincinnati Choral Consortium Knox Presbyterian Church Dr. Douglas Knehans The Public Library of Cincinnati and Hamilton County Dr. Earl Rivers Greg Schaffer Mike Snyder Society for the Preservation of Music Hall St. Thomas Episcopal Church (Terrace Park) Linda Vaccariello Christine Wands

76 | MAY FESTIVAL 2018 | mayfestival.com mayfestival.com | MAY FESTIVAL 2018 | 77 ANNUAL FUND Founded in 1873 from the proud German choral traditions of singing societies, May Festival’s extraordinary artistic excellence has earned us the reputation over the past 145 years as one of the most prestigious choral festivals in the Western Hemisphere and as “America’s Premier Choral Festival”! This uniquely Cincinnati experience is made possible each year with support from people like you; and we are proud to have you as a part of our May Festival family—thank you! Your investments ensure that your Chorus (made up of more than 100 volunteer singers) continues to engage, energize and connect our community with unparalleled performances of great choral music. Gifts to the Annual Fund also support the May Festival Youth Chorus, and the Cincinnati Choral Academy; two initiatives that use the power of music to inspire young singers. Each year the May Festival directs over 82% of funds raised to artistic and educational programs! To help make these passionate, beautiful and inspiring performances possible: • Send your check to the May Festival at 1241 Elm Street, Cincinnati OH 45202 • Call Alana Nodell, Director of Development, at 513.744.3250 • Make your gift securely online at www.mayfestival.com The Cincinnati Musical Festival Association is a 501(c)3 charitable organization, and contributions are tax-deductible to the fullest extent allowed by the law. Thank you to the following donors for sharing their love of choral music, and the power of the May Festival, with your community, and for making our region a better, more vibrant, exciting and inspiring place to live!

CHORUS LEVEL Merrill Lynch & Co. Jeannine and John C. Winkelmann, MD Gifts of $10,000 and above Linda Mueller Shelby O. Wood ArtsWave The Ladislas & Vilma Segoe The Thomas W. Busse Family Foundation Gifts of $1,000–$1,999 Thompson Hine LLP Jeff and Keiko Alexander Charitable Trust Dr. and Mrs. Douglas Bierer Trish and Rick Bryan CHORALE LEVEL Rhoda and John Brooks Chavez Properties Linda Busken and Andrew Gifts of $4,000–$4,999 MacAoidh Jergens The Corbett May Festival Fund Patrons The Thomas J. Emery Memorial William Henry Caldwell David and Elaine Billmire Vivienne and Chris Carlson Fort Washington Investment Advisors Keith and Penni Dale Helen H. Chatfield The Carol Ann and Ralph V. Christy and Terry Horan Bill and Julie Creviston Haile, Jr./U.S. Bank Foundation Sherie Lynch Marek Karolyn Schalk and James Decker The H.B., E.W. and F. R. William and Tracey Puthoff Duke Energy Foundation Luther Charitable Foundation August A. Rendigs, Jr. and Barbara Erskine Helen Rendigs Foundation Ashley and Barbara Ford Macy’s Isabel G. Freer Patricia Misrach Gifts of $2,500–$3,999 Mort and Barbara Harshman Louise Dieterle Nippert Musical Arts Martha G. Anness Hixson Architecture Engineering William and Eve Appleton Interiors Fund of the Greenacres Bartlett Wealth Management Foundation Mrs. Florette B. Hoffheimer Eric and Jane Combs Isaiah Hyman Ohio Arts Council Kelley and David Downing Susan Laffoon Nellie Leaman Taft Foundation Eco Engineering, Inc. Mr. and Dr. Edward LeBorgne Ginger and David Warner GE Foundation Preferred-Protectors Insurance Agency The Wohlgemuth Herschede Mary and Jack Gimpel and Betsy and Stephen Marsh Foundation Dr. and Mrs. Jack Hahn Mary Ann Meanwell Mary and Paul Hemmer, Jr. Dr. and Mrs. Melvyn M. Nizny Edward Jay Wohlgemuth Sherry and Mark Holcomb Ellen Rieveschl Betsy and Alex C. Young Dr. and Mrs. Richard Jolson Dianne and J. David Rosenberg Fund of Motch Family Foundation The Greater Cincinnati Foundation ENSEMBLE LEVEL Kathy and Craig Rambo The Saenger Family Foundation Gifts of $7,500–$9,999 Irwin and Melinda Simon St. Rose Church Patrons Mr. David W. Skiff Schlachter Family Fund of Aero Fulfillment Services Mary Ann and Bill Taylor The Greater Cincinnati Foundation Melanie Chavez and Margaret and Michael Valentine James P. Schubert, in memory of Jeremy Campbell Kathleen A. Schubert SOLOIST LEVEL Sandra and David Seiwert Gifts of $5,000–$7,499 Gifts of $2,000–$2,499 Sally and Jerry Skidmore Christopher and Beth Canarie Patrons Erin and Shane Starkey Cincinnati Wine Festival Mr. and Mrs. Oliver L. Baily Bill and Lee Steenken Ann Ellison Dr. David A. and Mrs. Karen M. Brett Stover Barbara Ann Feldmann Huelsman Mr. and Mrs. Rodney Stucky Mike and Melinda Kelly Steven R. Sunderman and John C. Griswold Foundation Mark C. Adams HORAN Mr. Tom Kirkpatrick Christine Neyer Nydia C. Tranter The LeBlond Foundation of Makino Mr. Shane Price David and Sandy Westerbeck Matinee Musicale Club Dr. and Mrs. G. James Sammarco Rosanne Wetzel

mayfestival.com | MAY FESTIVAL 2018 | 79 ANNUAL FUND

DUO LEVEL Tom and Susan Hughes Barbara R. Smith and Tom Joseph Gifts of $750–$999 Dr. Robert and Mrs. Judd Phillip and Karen Sparkes Nikolaus and Susanne Kalti John F. Steele Patrons Mr. Thomas Kerst, in honor of Elaine Drakos Sam and Dottie Stover THANK YOU GREATER CINCINNATI FOR SUPPORTING THE Michael D. and Carolyn Camillo Eagen Mr. and Mrs. Timothy Kilfoil Mr. and Mrs. Richard F. Stradling, Jr. 2017 ARTSWAVE COMMUNITY CAMPAIGN! The Fleischmann Foundation Mel and John Kuempel Janet G. Todd Charles and Barbara Glueck Fund of Mitchel and Carol Livingston Marcella Trice The May Festival acknowledges the following Companies, Foundations and their employees who generously The Greater Cincinnati Foundation The Midland Company Rev. Francis W. Voellmecke Poul D. and JoAnne Pedersen Burton and Alice Perlman Mr. and Mrs. Frederick D. Warren participate in the 2017 ArtsWave Community Campaign. Your support helps make our community vibrant and Gifts of $500–$749 Robert E. Reid Jim and George Ann Wesner connects people all across our region through the arts. Thank you! Dr. and Mrs. John Rootring Ronna and James Willis Anonymous American Modern Insurance Group Cincinnati, REDI, Source Cincinnati, William L. Budde, Ph.D. Mr. George W. Taliaferro Karen L Wiltsie PARTNER COMPANIES David and Christine Thornbury Glen Wright Donor Advised Fund of $2,000,000+ Ameritas Cincinnati Business Committee, Michael L. Cioffi The Carol Ann and Ralph V. Haile, Jr./ Cincinnati Regional Business The Lewis and Marjorie Daniel Foundation Mrs. Helga M. Tillinghast The Greater Cincinnati Foundation P&G Mr. Stephen Vogel John Yacher U.S. Bank Foundation Committee, Over the Rhine Chamber, Caroline H. Davidson The Christ Hospital Health Network Chinese Chamber) Susan Friedlander Robert and Judy Wilson Mr. Gordon Yasinow $1,000,000–$1,999,999 Mr. and Mrs. James M. Zimmerman Fifth Third Bank and the Cintas Corporation Accenture Sara and Erhard Friedrichsmeyer The Daniel and Susan Pfau Foundation Apex Restoration Contractors Mr. and Mrs. Cornelius W. Hauck Fifth Third Bank Foundation Gifts of $100–$199 SHAREHOLDER LEVEL General Electric Company Deloitte Bartlett & Co. Martha G. Huheey Christine O. Adams Dinsmore & Shohl LLP Charlotte R. Schmidlapp Fund, Jim and Karolyn L. Johnsen Gifts of $75–$99 Dorothy M.M. Kersten Trust, Fifth Third Bank, Trustee Drs. Frank and Mary Albers $250,000–$499,999 Mr. and Mrs. Thomas Klinedinst III Anonymous (5) Patrons U.S. Bank Trustee Cincinnati Arts Association Mr. & Mrs. Richard I. Lauf Anonymous (2) Cincinnati Bell The E.W. Scripps Company and Cincinnati Symphony Orchestra and Nancy Bahlman The Kroger Co. Elizabeth and Terry Lilly through Mr. and Mrs. Gerard Baillely Ms. Deborah J. Campbell Scripps Howard Foundation May Festival Musicians & Staff The Greater Cincinnati Foundation Ren and Cristina Egbert Macy’s, Inc. Enquirer Media Eleanora C. U. Alms Trust, Henrietta Barlag Western & Southern Financial Thomas J. and Adele G. Lippert Family Fund Avi and Karen Bear Mrs. Christine Greene Ernst & Young LLP Fifth Third Bank, Trustee of The Greater Cincinnati Foundation Fred Berger Jeanine Jason Frost Brown Todd LLC ETHICON Whitney and Phillip Long Mace C. Justice $100,000–$249,999 The Greater Cincinnati Foundation The Farmer Family Foundation Helen Black Cincinnati Children’s Hospital Dr. Cora K. Ogle Marsha and Alan Brody, in support of Jerry N. Kirby, M.D. The H.B., E.W. and F.R. Luther Charitable Frisch’s® Big Boy® Medical Center Foundation, Fifth Third Bank and Mrs. Barbara W. Robb, In memory of Scott Brody and his love for the David Mason Helen G., Henry F., and Louise The Cincinnati Insurance Companies Narley L Haley, Co-Trustees Tuechter Dornette Foundation, my husband Daniel J. Robb May Festival Barry Zaslow, in memory of my Parents Convergys Corporation Harold C. Schott Foundation Fifth Third Bank, Trustee The Schieve Family Mr. and Mrs. Gene F. Conway Kathryn and Vishnoo Shahani Gifts of $50–$74 Duke Energy Keating Muething & Klekamp PLL HORAN Thomas and Sondra Copanas Great American Insurance Group The Louise Taft Semple Foundation Huntington Irene A. Zigoris Jodelle S. Crosset Mr. Christopher A. Ahlquist John E. and Helen K. Allen Jacob G. Schmidlapp Trusts, Messer Construction Co. Kao USA Inc. Stephen and Cynthia DeHoff Fifth Third Bank, Trustee The Thomas J. Emery Memorial Mercy Health TRIO LEVEL Mr. and Mrs. William O. DeWitt, Jr. Anonymous (3) Mrs. Norita D. Aplin and Ohio National Financial Services TriHealth, Inc. North American Properties Gifts of $400–$499 Richard and Marysue Dickmann PNC University of Cincinnati and UC Health PAYCOR, Inc. Barbara Esposito-Ilacqua Mr. Stanley H. Ragle Patrons Dr. Allen W. Bernard Toyota Motor Engineering & Manufacturing VANTIV Sibcy Cline Realtors The Cincinnati Woman’s Club Bernard and Rachel Foster North America, Inc. Signature Hardware Kate and Gerry Greene Carol and Lee Cole Louis M. Dauner Dr. C.J. and Carolyn Condorodis U.S. Bank LEADING FIRMS Taft Stettinius & Hollister LLP Spence Ingerson Kathy Hamm $25,000–$49,999 Thompson Hine LLP Carl and Barbara Harcourt Mr. and Mrs. Vito Damiano Mr. and Mrs. Lawrence H. Kyte COMMUNITY CHAMPIONS 3 E. Fourth Street (Cincinnati USA United Dairy Farmers Michael and Katherine Hieber Mr. and Mrs. John J. Dawtry Dr. Janet P. McDaniel Mark and Anne Durket $50,000–$99,999 Regional Chamber, Port of Greater United Way of Greater Cincinnati Donna Medlock Bill and Kay Horning AK Steel Carl and Bonnie Hosea Ms. Mary Jo Duvall Joyce and Armand Re Mr. John Ellmore Mr. and Mrs. George Thomas Mr. and Mrs. H. Eric Johnson Dr. Lawrence N. Killian Barbara J. Fitch Gifts of $300–$399 Mrs. Thomas Klinedinst, Sr. Mr. Saad Ghosn Anonymous Mary and John Kmet Elizabeth Hamilton Mrs. Mary L. Boylan Scott and Carol Kosarko Alice and John Hehman Donald and Kathleen Burns Ronald C. Lamping Sue A. Higgins Gail F. Forberg Nancy and Jonathan Lippincott Mr. Paul M. Kaplan Shelley and Steven Goldstein Carole Lonneman Mary M. Kerr MASS ARTISTS, continued from p. 55 Kathleen B. and Michael C. Krug Fund of Susie and Jack Louiso Ms. Karen Krone The Greater Cincinnati Foundation Linda Lyons Anne Ingalls Lawrence M. Drue Lehmann Dr. and Mrs. Calvin C. Linnemann Carl G. Marquette, Jr. ZANE HILL, bass Born in Houston, Zane recently efel in Spring Awakening, Jamie in The Last Five Years Marjorie Motch David Martin Ms. Jane Lewin Drs. Manisha Patel and Michael Curran Mr. and Mrs. Ken E. Martin Mrs. Kenneth C. Linder earned his Master of Music degree from CCM, where (Xavier University Theatre). Currently Resident Assis- Mr. Lon Mendelsohn Ellie and Dick Paulsen Matthew Matson he studied with Thomas E. Baresel. CCM credits: Mar- tant Director at Ensemble Theatre Cincinnati. Daniel and Irene Randolph Nancy McGaughey and Sally Skillman Richard & Caroline Morris Jane A. Walker Mr. and Mrs. Fred Moore Mr. and Mrs. Richard Oliver, co in Puccini’s Gianni Schicchi and Le Premier Ministre in honor of Ginger Warner Sue Morrissey in Massenet’s Cendrillon. Elsewhere: Bachelor of Music MILES WILSON- TOLIVER, bass QUARTET LEVEL Dr. and Mrs. Charles Myer III Col Owens and Millie Diehl Ms. Alana R. Nodell Terry and Jill Parsons degree from Oberlin Conservatory of Music, where he Professional debuts range from Opera Theater of Pitts- Gifts of $200–$299 Sandra Rivers Patrons Marilyn Z. Ott played Count Robinson in Cimarosa’s Il matrimonio se- burgh to performances across North America, as well as Judge Mark and Sue Ann Painter Lisa Ruff and Christopher Thorner Dr. Barry Applegate Dr. and Mrs. Richard E. Park Mr. and Mrs. Richard R. Sprigg greto (Oberlin in Italy); also, Central City Opera debut at European festivals and on concert tours. Roles include Mr. and Mrs. John Bentley Stephen Phillips Karen and Richard Stewart Dorothy Anne Blatt as Doctor Gregg in Douglas Moore’s Gallantry; Opera Figaro in Le nozze di Figaro, Leporello in Don Giovanni Anne M. Pohl Mr. Dale Swisher Milt and Berdie Blersch, in memory of Drs. Michael Privitera and Marcia Kaplan Ms. Amy S. West Theatre of St. Louis mainstage debut (Gerdine Young and Giove in Cavalli’s La Calisto (Carnegie Mellon Nancy Walker Mr. and Mrs. Bill Roberson Jim and Esther Jo Wright David A. Brashear Artist) as 1st Apparition in Verdi’s Macbeth. Upcom- University), as well as Dancaïro in Carmen and Bill Terry and Burr Robinson Anne and William Burleigh Rev. David C. Robisch Contributions received after April 20, ing: split-lead of Hannah in the ROKCincy production Kiss Me Kate Mrs. Jackson L. Clagett III Calhoun in (Opera Theater of Pittsburgh). Richard and Barbara Ruddy 2018 will be acknowledged in the 2019 Steven & Donna Dauterman of Laura Kaminsky’s As One. Solveiga Rush Oratorio and concert performances: Mozart’s Requiem Jean Hope Davison May Festival souvenir program. Joseph and Cynthia Scanio Mr. and Mrs. Carl R. Fiora under Manfred Honeck, and Wilson- Toliver’s most Carol J. Schroeder James D. Geier and Greg A. Smith The Cincinnati Musical Festival GRIFF BLUDWORTH, bass Elsewhere: Creon and Mrs. Elizabeth B. Schulenberg recent project “America, My Home...”—a concert that Drew Gores and George Warrington Association is also grateful to the many Janet Schultz and Russell Lascelles translator/adapter of Antigone (born against.), Plato the Margaret E. Hagar highlights his African-American heritage. Graduated Shawn Scott & Neil Hoover individuals who made donations of less Mr. and Mrs. Irving Harris Toad in Cinderella: After Ever After (Ensemble Theatre Mrs. Martha S. Seaman than $50 whose names could not be listed from Carnegie Mellon University, with voice studies Deborah and James Hogan Mr. Jeffrey Slattery due to space limitations. Cincinnati), El Gallo in The Fantasticks (Nettle Creek under Daniel Teadt; currently studying with William Players). Educational: Mark Cohen in Rent, Moritz Sti- McGraw at CCM.

80 | MAY FESTIVAL 2018 | mayfestival.com mayfestival.com | MAY FESTIVAL 2018 | 81 SUBSCRIBERS WE APPLAUD OUR LOYAL SUBSCRIBERS! Mrs. Caroline S. Michaels 1–9 YEARS Ms. Margaret A. Hilvert Mr. and Mrs. Richard J. Welcome and thank you to every audience member for supporting great music and the unique Cincinnati tradition Mr. and Mrs. John H. Mueller Ms. Lisa Allgood Mr. and Mrs. Paul Hilvert Pulskamp that is the May Festival. Thank you especially to our subscribers. Whether it’s your first or your 50th-plus season, Mr. and Mrs. Thomas J. Mueller Ms. Lynne Ambrosini Joseph Hingtgen Mr. Robert J. Quinlan Mr. J. Michael Newman Mr. and Mrs. William Appleton Ms. Pat Hobson Ms. Sandra Rayne your ongoing support makes these performances possible and enables us to engage and uplift the people of Greater Mr. and Mrs. Thomas L. Father Christopher R. Armstrong Mr. and Mrs. Alan Hodge Ms. Mary Anne Reese Cincinnati. Neyer, Jr. Ms. Suzanne Augspurger Mr. and Mrs. Terence Horan Mrs. Gail Reid List as of April 5, 2018 Dr. and Mrs. Melvyn M. Nizny Mr. Gerard Baillely Dr. and Mrs. Edward Hughes Ms. Judy Reinhold Mr. John C. Noelcke Dr. Jeffrey T. Baker Drs. William Hurford & Ms. Patty Reitz If your name is inadvertently missing or listed incorrectly, please call us at 513.744.4023 Ms. Anne Noschang Mr. and Mrs. William Banks Lesley Gilbertson Mr. Bryan Rettig or email [email protected]. Ms. Patricia G. Nott Mr. Terrence Baum Mr. Chester Imhausen Mr. Brendan Rosa and Dr. and Mrs. John A. Parlin III Mr. Michael Bennett Ms. mary ann jacobs Ms. Catherine Calko Mr. Terry Parsons Mr. and Mrs. Paul Berge Mr. and Mrs. Dale Johnson Mr. Jens Rosin and Ms. Annelly 50 YEARS Steven and Shelley Goldstein Mr. and Mrs. Joseph J. Scanio Ms. Margaret R. Dawson Dr. Wayne M. Paulsen Rev. and Mrs. Milton T. Berner Mr. Jeff Johnson Torres-Gomez David and M. Elaine Billmire Mr. Don Gray Mr. and Mrs. Henk J. Schipper Ms. Karolyn Schalk Mr. and Mrs. Justin Peter Mr. Jeffrey Berry Mr. Michael Johnson Ms. Maryann Roulier Mr. Richard Bollman Ms. Anita Marie Greer Ms. Carol J. Schroeder Mr. James Dirksen Mr. and Mrs. Richard Peterson Mr. Fred Blake Mr. Robert Johnson Ms. Linda Ray Rubel Mr. and Mrs. Cornelius Mrs. Elizabeth Hamilton Mrs. Ruth A. Schwieterman Mr. and Mrs. David M. Downing Mr. and Mrs. Kenneth Phelps Mrs. Berdie Blersch Mr. and Mrs. Tom Jordan Mr. and Mrs. Elizabeth P. Runyon W. Hauck Mr. and Mrs. James W. Harper Ms. Dorothy J. Sciarra Mr. and Mrs. John Drew Mr. and Mrs. Michael E. Phillips Father Murray Bodo Ms. Brenda Kalkbrenner Mr. Merril Schaffer Mr. and Mrs. James L. Haven Mr. and Mrs. Irving Harris Kathryn and Vishnoo Shahani Ms. Marsha Drucker Ms. Nancy M. Powell Mr. Perry Bohanon Mr. Paul M. Kaplan Ms. Carol Schaljo Mrs. Florette B. Hoffheimer Mr. and Mrs. William Herring Mr. and Mrs. John R. Sheringer Mr. and Mrs. Michael D. Eagen Ms. Roxanne Qualls Dr. Roland F. Bonewitz Dr. James Kaya and Mrs. Ann Schoen Ms. Carolyn Ruth Hunt Mr. and Mrs. Richard Hess Mr. Charles Shields Mr. Harold K. Eberenz Mr. Richard Quebe Mr. and Mrs. Alan Brody Debra Grauel Ms. Erin L. Schwab Mr. Mace C. Justice Michael and Katherine Hieber Mr. and Mrs. Kenneth Skirtz Mr. and Mrs. Charles D. Edwards Mr. and Mrs. Thomas C. Rambo Ms. Heather Brown Mr. and Mrs. Lorrence T. Kellar Dr. and Mrs. David B. Schwartz Ms. Carole L. Lonneman Dr. and Mrs. Robert Highsmith Ms. Barbara R. Smith and Mr. and Mrs. C. D. Elifrits Mr. and Mrs. Jason N. Ramler Mr. Kevin Brown Ms. Eileen Kelly Mr. Craig A. Schwegman Mr. Edmund D. Lyon Dr. Larry Hillman Mr. Joseph Gelwicks Mr. Walter Feibes Ms. Sandra Rivers Mr. and Mrs. Robert S. Brown Mr. and Mrs. Mike Kelly Mr. Graham C. Scott Mr. and Mrs. Matthew T. Mr. Michael H. Hirsch Ms. Jean D. Snyder Mr. and Mrs. Carl R. Fiora Daniel L. Robb Mr. and Mrs. Otto M. Budig, Jr. Ms. Janice L. Kennedy Ms. Barbara Seiver MacLeid Ms. Emily M. Hodges Ms. Karen H. Stewart Ms. Sara Flatt Ms. Gale Z. Roberts Mr. Michael Butler and Mr. Robert A. Kercheval, Jr. Mr. and Mrs. David W. Shick Mr. Carl G. Marquette, Jr. Mr. and Mrs. Thomas R. Hughes Mr. Brett A. Stover Ms. H. J. Gavin Mr. Douglas Robinson Mr. Dale Murray Mr. and Mrs. John Kerr Ms. Suki Skidmore Ms. Sue Morrissey Dr. and Mrs. John Hutton Samuel M. Stover Mr. and Mrs. Jon T. Gimpel Ms. Lois Runden Mr. Rick Calme Ms. Mary Kerr Ms. Sally Skillman and Mr. John W. Plattner Mr. Isaiah Hyman, Jr. James L. Thompson Mr. and Mrs. Edward J. Givens Mr. and Mrs. Peter Rutan Mr. Chris J. Calo Mr. Ron Knollman Ms. Nancy McGaughey David and Marilyn Reichert Mr. and Mrs. Steven W. Inglish Mr. and Mrs. David W. Mr. George H. Warrington Mr. and Mrs. Eugene L. Ms. Nina S. Campbell Mr. Christopher B. Knoop and Mr. James A. Sluzewski Mr. and Mrs. Andrew M. Jergens Thornbury Mr. and Mrs. Harry Gotoff Saenger, Jr. Mr. Stanley M. Chesley Mrs. Carol A. Grasha Mr. and Mrs. David Smith 25 YEARS Mrs. Marlene R. Johnson Mrs. Helga Tillinghast Connie and Karl Graham Mr. and Mrs. Harry Santen Dr. Pearl J. Compaan Ms. D. Lynn Kohler Mr. Karl Smith Jane and Francis Acquaviva Mr. and Mrs. Randy Johnson Mrs. Henry P. Trounstine Margaret E. Hagar Dr.and Mrs. Fritz L. Schuermeyer Rev. Ron Cooper Ms. Karen Krone Ms. Pamela Smith-Dobbins Mr. and Mrs. Richard Asimus Dr. and Mrs. Richard Jolson Ms. Debbie Bogenschutz and Dr. and Mrs. Jack A. Hahn Mrs. Martha Seymour Dr. Bradley Corfman Mr. and Mrs. Jeff Leland Mr. and Mrs. John W. Spain Ms. Henrietta Barlag Mr. and Mrs. Nikolaus F. Kalti Mr. Harold Tucker Mrs. Ellen F. Hammond Ms. Mary M. Sheer Ms. Patricia Cornett Mr. and Mrs. John Leugers Mr. Larry Spitz Mr. and Mrs. William D. Mrs. Carol M. Kane Mr. and Mrs. Richard C. Ursillo Ms. Jane F. Hansley Irwin and Melinda Simon Dr. and Mrs. Phillip D. Crabtree Ms. Mary Levee Ms. Karen Sroufe Baskett, III Mr. and Mrs. Lothar Kreppel Jane A. Walker Dr. and Mrs. Morton L. Mr. and Mrs. Gerald Skidmore Mr. Frank Crea Joanne G. Lindy, Ph.D. Mr. James D. Stapleton and Mr. Michael Battersby Mr. and Mrs. Michael C. Krug Mr. and Mrs. David W. Warner Harshman Mr. Jeffrey Slattery The Rev. Dr. and Mrs. Ms. Linda Lukac Ms. Elizabeth Shaughnessy Ms. Mary Ellen Baude Ms. Carol Louise Kruse Frederick and Jo Anne Warren Mrs. Ann T. Heeg Ms. Carol A. Sparks Robert W. Croskery Mr. and Mrs. John Luken Mrs. Cynthia M. Starr Mr. and Mrs. Douglas Bierer Mr. Thomas E. Kuelbs Mr. and Mrs. Richard Wayman Mr. Stephen Heilman Mr. and Mrs. Roger O. Stafford Mr. Matteo Dall’Ara Ms. Kathleen Maehler Ms. Shirley Stikeleather Ms. Dorothy Anne Blatt Mrs. Susan S. Laffoon Mr. and Mrs. James E. Wesner Mr. and Mrs. Paul W. Hemmer, Jr. Mr. and Mrs. Ethan B. Stanley II Ms. Jennie Dautermann Mr. David L. Martin Mrs. Diana Stoppiello David A. Brashear Mr. Ronald C. Lamping Mr. Jim Wright Mr. and Mrs. William C. Hill Mr. and Mrs. J. Shane Starkey Mr. Amador Delamerced Mr. and Mrs. James C. Martin Mr. Raymond Story Fr. David Brinkmoeller Mr. Walter E. Langsam Mr. and Mrs. Alex C. Young Mr. and Mrs. H. Noel Horne Mr. and Mrs. Timothy Stautberg Mr. and Mrs. Patrick Denier Mr. Christian Masterson Ms. Sarah K. Stoutamire and Mr. and Mrs. John R. Brooks Mr. and Mrs. Richard I. Lauf Mr. and Mrs. John E. Zeller Mr. Tony Lang and Mr. John F. Steele, Sr. Mr. and Mrs. James Denton Ron Matson Mr. Christopher L. Novy Mr. and Mrs. Frederick E. Mrs. Anne I. Lawrence Ms. Marcella Hsiung Mr. and Mrs. William G. Mr. and Ms. Jay DeWitt Dr. William T. McConnell, Jr. Ms. Andrea Straus Bryan, III Ms. Sharon Leman 10 YEARS Dr. and Mrs. David A. Huelsman Steenken Mary Jo Duvall Mr. Bryan McGhee Mr. Dennis H. Sullivan Mr. and Mrs. Thomas W. Burdin Dr. and Ms. Jon E. Lewis Mrs. Christine O. Adams Mr. and Mrs. James H. Johnsen Mr. and Mrs. Laurence G. Mr. and Mrs. John G. Earls Mr. Dale L. McGirr Mr. Robert Tanis Mr. and Mrs. William R. Burleigh Mr. and Mrs. Terence Lilly Dr. and Mrs. Khosrow Alamin Dr. and Mrs. Robert S. Jolson Stillpass Mr. Frank Espohl Dr. Anthony A. McIntire Mr. and Mrs. William E. Taylor Donald L. and Kathleen Mr. and Mrs. Thomas J. Lippert Mr. and Mrs. John E. Allen Mr. Robert P. Judd Mr. and Mrs. Richard F. Mr. Paul and Dr. Tsila Evers Ms. Marcia McLaughlin and Mrs. Amber Tendam Field Burns Mr. and Mrs. Jonathan R. Richard and Nancy Arnest Ms. Zizi E. Khodadad Stradling Mrs. Deborah D. Fairhead Mr. Dean Morgan Mr. and Mrs. Thomas J. Thoman Mr. and Mrs. John Butz Lippincott Dr. Paule S. Asch Dr. Lawrence Killian Dr. and Mrs. Robert J. Strub Ms. Marcia Falk Ms. Denise McLinden Ms. Judith Thompson The Castellini Foundation Mr. and Mrs. W. Burton Lloyd Ms. Janice Barnhart Mr. and Mrs. Thomas Mr. and Mrs. Rodney Stucky Mr. Joseph G. Farrell Mr. Robert McMahon Mr. Daniel Ticotsky Cincinnati Financial Corporation Ms. Sally A. Lund Mr. and Mrs. John Bentley Kirkpatrick Mr. J. Patrick Tatum Mr. Tay Fizdale Ms. Debra Meline Mr. David Tsevat Mr. Mel Cohen Lynn Meloy and Lyle Cain Ms. Christine D. Beran Mr. and Mrs. Thomas Mr. Marion J. Tenhundfeld Mr. Peter T. Frame Ms. Carole Melton Mr. Rex Van Alstine Ms. Carol J. Cohn Ms. Lynn Miller Mr. and Mrs. John E. Black Klinedinst III Ms. Anne Thomas Dr. Sara Friedrichsmeyer Mr. and Mrs. Phil Miekley Mr. and Mrs. Robert Vitz Dr. George I. Colombel Mrs. Patricia C. Misrach Mr. Neil K Bortz Mr. and Mrs. Scott Kosarko Mr. Vernon F. Thomas Ms. Carol S. Friel Ms. Susanne E. Monteith Mr. Stephen Vogel Mr. Louis M. Dauner Mr. Gary Mitchner Mr. Thomas A. Braun III Mr. Harold J. Kroeger, Jr. Mr. and Mrs. Gary Tyler Mr. Robert Fudge Mr. Scott Morgan Mr. Phil Wagar Mr. and Mrs. Richard C. Mr. Harry G. Moeller Mr. Charles G. Bretz, Jr. Mr. Glenn Lasky Rev. Francis W. Voellmecke Ms. Yvonne Gagnon Ms. Mary Lou Motl Mr. Stephen Wahl Dickmann Betty Moscove Mr. and Mrs. Don H. Brown Ms. Portia Layne Mr. and Mrs. Randolph L. Dr. Lawrence Gales Mr. David Mueller Ms. Christine Wands Ms. Kathleen Doane Mr. and Mrs. David W. Motch Mr. Thomas E. Buening Mrs. Sooncha Lee Wadsworth, Jr. Dennis George Mr. Erwin Mueller Mr. and Mrs. Mark Weaver Mr. and Mrs. Stephen P. Mr. Christopher Mystkowski Mr and Mrs. Christopher Canarie Mr. and Mrs. John Leibold Mr. Richard G. Waller Mr. Saad Ghosn Mrs. Robert Nelson Mr. Doug Welsh Donovan, Jr. Mr. and Mrs. Thomas L. Ms. Michele L. Catinna Mr. and Mrs. John Lund Mr. and Mrs. Robert L. Weaver Mr. David Godar Mr. Paul Neumann Ms. Lucia Wilford Mrs. Joseph Eggleston Neyer, Sr. Ms. Melanie M. Chavez Mr. John E. Mahn , Sr. Mr. and Mrs. Mike Wilkins Ms. Carol Green Mr. and Mrs. Christopher Charles A. Wilkinson Ms. Ann A. Ellison Dr. and Mrs. Alan E. Oestreich Mr. Michael L. Cioffi Kathy and Brad Mank Dean and Susan Windgassen Carl and Barbara Harcourt Newcomer Mr. and Mrs. Dennis L. Willaman Mr. John Ellmore Dr. Cora K. Ogle Mr. Charles Clark Mrs. Sherie L. Marek Dr. and Mrs. John C. Mr. and Mrs. Edward G. Mr. and Mrs. Roy Newman Mr. Lawrence Williams Ms. Dorothyann Feldis Mr. and Mrs. Poul D. Pedersen Ms. S. DeAnne Cleghorn Mrs. Judith Martin Winkelmann Harness , Jr. Mr. Robert Nichols Dr. and Mrs. James B. Willis Ms. Barbara A. Feldmann Mr. Joseph W. Raterman Mr. and Mrs. Barry Cobb Mr. David J. Mason EJ Wohlgemuth Mr. G. William Harnish Ms. Kathy A. O’Brien Mr. Ted Wills Mrs. Charles Fleischmann III Ms. Mary L. Reardon Mr. Robert A. Cohen Mr. Randolph McAusland Dr. and Mrs. Vance D. Mr. Jack Harrison Mr. Neil Okonak Ms. Jane Wittke Mr. and Mrs. Ashley L. Ford Mr. and Mrs. Philip F. Remmel Mr. Marvin R. Collins and Dr. Janet P. McDaniel Wolverton Ms. Marcia Hartsock Mr. and Mrs. John T. Osterman Ms. Sheila Wolf Mrs. Naftali Frankel Rev. David C. Robisch Mr. Jay D. Colville Mr. David McElwee Mr. and Mrs. Charles F. Wood Mr. and Mrs. Tom Hawtrey Mrs. Nancianne B. Parrella Mr. Mac Wood Mr. and Mrs. Jerome M. Galvin Mr. and Mrs. Edward S. Ms. Virginia Cover Mr. and Mrs. Kevin G. Mrs. Shelby O. Wood Mr. and Mrs. John D. Heeney Dr. Manisha Patel and Ms. Linnea B. Woodward Mr. John M. Gantt Rosenthal Ms. Melissa Cox McManus Ms. Linda Ziegler Mr. and Mrs. John Hehman Dr. Michael Curran Mr. Steve C. Worthington Ms. Jane Garvey and Mr. John Dr. Christina M. Russo Keith and Penni Dale Ms. Nancy McNeal Mrs. Irene Zigoris Dr. John S. Held Ms. Marilou Petrie Mr. John M. Yacher Lanier Dr. and Mrs. G. James Mr. and Mrs. Steven Dauterman Mrs. Mary Ann Meanwell Mr. Daniel Herron Ms. Patricia A. Pope Ms. Andrea Yang Dr. and Mrs. Michael J. Gelfand Sammarco Mrs. Caroline H. Davidson Ms. Donna H. Medlock Ms. Mary Hester Mr. and Mrs. William C. Pratt Mr. Sharma L. Young Mrs. Georgia Gellenbeck Mr. Angelo J. Santoro Mr. and Mrs.Thomas J. Davis Mr. Lon Mendelsohn Ms. Gretchen Heuring Mr. Shane Price Mr. and Mrs. R. Scott Youngquist Dr. and Mrs. Charles J. Glueck Mrs. Germaine L. Santos Mr. and Mrs. Walter Davis Mrs. Frances Lee Meyer Mr. Frank Hibrandt Dr. Michael D. Privitera

82 | MAY FESTIVAL 2018 | mayfestival.com mayfestival.com | MAY FESTIVAL 2018 | 83 MAY FESTIVAL ADMINISTRATION The May Festival, Cincinnati Symphony Orchestra and Vocal Arts Ensemble operate under an administrative shared services agreement. By the consolidation of resources and expertise, this cooperative management effort benefits all organizations.

EXECUTIVE Tara Williams MARKETING & SALES Katie Murry Jonathan Martin Data Entry Analyst Sherri Prentiss Marketing Manager, President Vice President of Marketing Subscriptions Kathleen Curry Lauren Roberson Data Entry Clerk M. Todd Bezold Michelle Lewandowski Executive Assistant to the Director of Marketing Subscription Coordinator President/Board Recorder Judy Prinz Receptionist Corinne Wiseman Ellen Graham MAY FESTIVAL Creative Content Manager ARTISTIC ADMINISTRATION Group Sales Manager Steven R. Sunderman Stephen Howson Executive Director & PRODUCTION Robert McGrath Marketing Manager PATRON SERVICES Alana Nodell Vice President & General Supervisors Steve Kinney Matthew White Director of Development Manager Graphic Designer Representatives Rosanne Wetzel Zan Burkhardt Amy E. Catanzaro Chorus Manager Production Assistant Erica Archer Director of Sales Christian Bell Matthew Swanson Heather L. Stengle Amber Ostaszewski Nicolas Bizub Director of Special Projects Director of Operations Director of Audience Sean Bussell Engagement Jonathan Dellinger Joe Basel Alex Magg Kyle Dorriere Chorus Librarian Production Manager Kaitlyn Driesen Elizabeth Fricke Audience Engagement Seika Fukumoto FINANCE/SUPPORT Sam Strater Director of Artistic Manager Connor Howard Richard Freshwater Vice President & Chief Administration, Pops Angela Brock Sullivan Kaska Financial Officer Marketing and Sales Tracy Lanham Nate Bachhuber Brian Lyons Director of Artistic Coordinator Aaron Slovin Jacob Martin Director of Finance Administration, CSO and Heather Brown Jason Richmond May Festival Box Office Manager Wade Selkirk Kyle Wynk Jackson Short Director of Human Resources Marissa Goodman Assistant Artistic Jessica Smithorn Megan Inderbitzin-Tsai Administrator Payroll Administrator Kenji Ulmer Kristina Pfeiffer Operations Project Accounting Manager Coordinator Kelly Saylor Accounting Clerk COMMUNICATIONS Christopher Pinelo Scott Eckner Vice President of Director of Information Communictions Technology Diana Maria Lara Will McCoy Director of Communications Systems Support Manager Lee Snow Melissa Scott Digital Communications Director of Data Systems Manager Sharon D. Grayton Kayla Moore Data Services Manager Communications Assistant

WELCOME GROUPS!

Youth Performing Arts School—Louisville, KY Little Miami Junior High School Covenant-First Presbyterian Church

Call the Group Sales Department for your group needs at 513.744.3590.

84 | MAY FESTIVAL 2018 | mayfestival.com