DOCSLIB.ORG

Child of God CD Credits & Bios

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Child of God CD Credits & Bios Photo Credit: “Icelandic Bower” Deborah Offenhauser © 2015 The voice of Isola Jones brings forth glorious praise in Deborah’s inspirational songs, backed by orchestral arrangements that bring out every nuance of God’s love and healing for each “Child of God”. To those“sincere seekers” I dedicate this album. Deborah Opening Credits CHILD OF GOD CD Cover and Digi-Book Design by Deborah Offenhauser Photographs by Deborah Offenhauser “Icelandic Yellow Flowers” © 2015 Lloyd Shaffer Lloyd Shaffer and Susan Shaffer Nahmias Original Apple and Bottle Paintings by Lloyd Shaffer, Phoenix, Arizona Recording Studio: Opus Fromus, Phoenix, Arizona Sound Engineers: Tim Ponzek and Lisa Pressman CD Mastered by Dave Shirk of Sonorous Mastering, Phoenix, Arizona All songs copyrighted by Deborah Offenhauser Vocal Artistry: Isola Jones Piano Performance, Arrangements and Orchestrations by Deborah Offenhauser Acknowledgments and Credits Co-Producers: Tim Ponzek, Lisa Pressman and Deborah Offenhauer To Tim: Wow! Your willingness to sit for those long sessions in the recording studio is nothing short of amazing. What an engineer! To Lisa: Your indefatigable ears and counsel along this winding road have been so appreciated! You are stellar! To Isola: Thank you so much, dear one, for your long hours and patience in learning the material, and then rehearsing and putting those finishing touches on each recording! To Barb: Hasn’t this been a lovely trip together? Thanks for your healing lyrics. To Lloyd: Dear hubby mine – you’ve been so stalwart in spending long hours alone while I composed, and then arranged, edited, orchestrated and recorded this album over the course of a year. Love ya, Lloyd ! Notes from Deborah To My Dear Listeners: The title of the album, “Child of God”, shows the embrace in which our dear Creator enfolds us, and each song underscores the nuances of His love for each and everyone of us. “Child of God” represents several years of inspiration in creating the music and lyrics of sacred solos. Nothing less than an orchestra playing behind the gorgeous renderings of a vocalist could do it justice. I was blessed to renew my acquaintance with Miss Isola Jones, whose spirituality and love elevated the message to new heights. My wish is that this music goes out to bless the world. Biographies Poems by Mary Baker Eddy Mary Baker Eddy wrote the poems for two songs included in this album: “O’er Waiting Harpstrings” and “Shepherd (Show Me How To Go)” She is the discoverer and founder of Christian Science, creating an international church in 1879, based on the teachings and healings of Christ Jesus. Mrs. Eddy is also the author of a definitive textbook on Christianly scientific healing: Science and Health with Key to the Scriptures. She also founded the world’s first daily international newspaper, The Christian Science Monitor, which has won seven Pulitzer Prizes. Lyricist Barbara Beth Whitewater “All That I See” “Arms Around Me Presence” “He is Risen” “I Thank You My Father” “Shepherds and Kings” Barbara Whitewater is a full time Journal Listed Christian Science Practitioner who is a published writer of articles, poems, and solo lyrics that celebrate spiritual healing. She makes her home in Tempe, Arizona where she loves spending her free time with family and friends, attending concerts, theater,opera, and watching feel good movies, football and baseball. She loves animals and she loves to swim. She feels especially blessed to have friends all over the world, with the help of Facebook and Skype. Vocal Artist Isola Jones Isola Jones is internationally recognized as an extraordinary artist. Making her professional debut in Verdi Requiem with the Chicago Symphony Orchestra, Ms. Jones within two years made her Metropolitan Opera debut in the role of Olga in Eugene Onegin. Since then she has sung more than 500 performances as a leading artist at “The Met”: more than any other African American artist in history. She has been paired with such international artists as Luciano Pavarotti, Placido Domingo, Leontyne Price, and Joan Sutherland. This This internationally acclaimed artist can be heard on a number of opera and concert recordings such as The Flying Dutchman , Mahler’s Symphony # 8, and Les Noces, with the Chicago Symphony orchestra conducted by Sir Georg Solti and James Levine, respectively; Porgy and Bess which won a Grammy Award for the best opera recording in 1976 with Lorin Maazel conducting the Cleveland Symphony Orchestra; RCA’s Cavalleria Rusticana with James Levine conducting; and a solo recording entitled "Music of Bach, Handel and Purcell." Ms. Jones has also appeared in 10 "Live from the Met" telecast productions including: La Forza del Destino; Manon Lescaut; The 100th Anniversary Gala of The Metropolitan Opera and Francesca DaRimini all of which are available on DVD through the Met Opera Shop on line. Ms. Jones again, has the honor and distinction of being the first featured African American artist in a “Live from the Met” telecast. Composer Arranger Lyricist Pianist Deborah Offenhauser Composer Deborah Offenhauser makes her home in Phoenix, Arizona with her dearest companion and husband, Lloyd Shaffer. Her numerous piano recordings have been heard throughout Europe and America, on Muzak, Music Choice, The Weather Channel and on the hit TV show “Desperate Housewives”. Deborah has served as the Ritz-Carlton Music Director in Phoenix, as well as having played at Ritz- Carltons and Hyatt-Regencies elsewhere in America. Additionally, she has entertained Presidents, Governors and Senators, and played for touring Broadway shows such as “Mama Mia”, “The Producers”, “Hairspray” and “Peter Pan”. Among many other artists, Deb has played with The Irish Tenors, The Moody Blues, and Michael Crawford, the original Broadway “Phantom”, not to mention Michael Feinstein and the Phoenix Symphony. In her spare time (is there such a thing?), Deborah volunteers for her church, and is a published author of spiritually oriented articles on healing. Contact Deborah any time at [email protected] .
Load more

Recommended publications
  • HENRY and LEIGH BIENEN SCHOOL of MUSIC SPRING 2017 Fanfare
    HENRY AND LEIGH BIENEN SCHOOL OF MUSIC SPRING 2017 fanfare 124488.indd 1 4/19/17 5:39 PM first chair A MESSAGE FROM THE DEAN One sign of a school’s stature is the recognition received by its students and faculty. By that measure, in recent months the eminence of the Bienen School of Music has been repeatedly reaffirmed. For the first time in the history of the Van Cliburn International Piano Competition, this spring one of the contestants will be a Northwestern student. EunAe Lee, a doctoral student of James Giles, is one of only 30 pianists chosen from among 290 applicants worldwide for the prestigious competition. The 15th Van Cliburn takes place in May in Ft. Worth, Texas. Also in May, two cello students of Hans Jørgen Jensen will compete in the inaugural Queen Elisabeth Cello Competition in Brussels. Senior Brannon Cho and master’s student Sihao He are among the 70 elite cellists chosen to participate. Xuesha Hu, a master’s piano student of Alan Chow, won first prize in the eighth Bösendorfer and Yamaha USASU Inter national Piano Competition. In addition to receiving a $15,000 cash prize, Hu will perform with the Phoenix Symphony and will be presented in recital in New York City’s Merkin Concert Hall. Jason Rosenholtz-Witt, a doctoral candidate in musicology, was awarded a 2017 Northwestern Presidential Fellowship. Administered by the Graduate School, it is the University’s most prestigious fellowship for graduate students. Daniel Dehaan, a music composition doctoral student, has been named a 2016–17 Field Fellow by the University of Chicago.
    [Show full text]
  • 20Th Anniversary Celebration
    THE AFRICAN AMERICAN ART SONG ALLIANCE CONFERENCE 20th Anniversary Celebration February 9 – 12, 2017 Claire Trevor School of the Arts – Music The University of California, Irvine In collaboration with Christ Our Redeemer AME Church 45 Tesla, Irvine, Rev. Mark E. Whitlock, Jr., Pastor Host Hotel Transportation provided by COR AME Church Radisson Hotel Newport Beach via DMCLS, Inc. a minority-owned VIP transportation co. 4545 MacArthur Boulevard Mathurin Daniel, CEO Newport Beach, CA 92660 37 Rincon Way, Aliso Viejo, CA 92656 The African American Art Song Alliance artsongalliance.org Funding for this conference generously provided by: UCI Office of Inclusive Excellence Spirit Award Program; Christ Our Redeemer AME Church, 45 Tesla, Irvine, Rev. Mark E. Whitlock., Pastor; UCI Illuminations, the Chancellor’s Art & Culture Initiative; Hampsong Foundation; UC Consortium for Black Studies in California; COR Community Development Corporation (CORCDC); Chair’s Endowment, UCI Music Department; UCI African American Studies Department CONFERENCE PARTICIPANTS COMPOSERS SINGERS (cont) H. Leslie Adams, Cleveland, OH Kisma Jordan Hunter, University of Michigan, Flint, MI Judith Baity, Los Angeles, CA Albert R. Lee, University of Nevada, Reno, NV Brittney Elizabeth Boykin, Spelman College, Atlanta, GA Marquita Lister, Morgan State University, Baltimore, MD Maria Thompson Corley, Franklin & Marshall Coll., Lancaster, PA Leberta Lorál, Los Angeles, CA Marquez L.A. Garrett, Florida State University, Tallahassee, FL Jennifer Lindsay, Long Beach, CA Adolphus C. Hailstork, Old Dominion University, Norfolk, VA Oral Moses, Kennesaw State University, Kennesaw, GA Lori Celeste Hicks, Claflin University, Orangeburg, SC Marlaina Owens, Los Angeles, CA Charles Ingram, Los Angeles Southwest College, Los Angeles, CA Miranda Paulos, University of California, Irvine, CA Roy Jennings, New York, NY Willis C.
    [Show full text]
  • Isola Jones – Biography
    Mezzo-Soprano Jack Price Founding Partner / Managing Director Marc Parella Partner / Director of Operations Brenna Sluiter Marketing Operations Manager Karrah Cambry Opera and Special Projects Manager Mailing Address: 520 Geary Street Suite 605 San Francisco CA 94102 Telephone: Toll-Free 1-866-PRI-RUBI (774-7824) 310-254-7149 / Los Angeles 415-504-3654 / San Francisco Skype: pricerubent | marcparella Email: [email protected] Contents: [email protected] Biography Website: Reflections On A Career http://www.pricerubin.com Video Links Yahoo!Messenger pricerubin Complete artist information including video, audio and interviews are available at www.pricerubin.com Isola Jones – Biography Acclaimed American mezzo-soprano Isola Jones sang at the Metropolitan Opera for 16 seasons and has performed with many opera companies throughout the U.S. and abroad. She was born in Chicago, Illinois. She is part African American, Native American (Cherokee) and also has European ancestry. She received her undergraduate degree at Northwestern University in Evanston, Illinois. Among her musical influences, she credits Leontyne Price. After college, she joined the Chicago Symphony Chorus and was the understudy for Yvonne Minton for the Verdi Requiem in 1975. During the next two years, she sang in Der Fliegende Holländer in Chicago and in Porgy and Bess in Cleveland. Isola Jones – Biography She joined the Metropolitan Opera in 1977, first playing Olga in Tchaikovsky's Eugene Onegin. She sang at the Met for sixteen seasons and more than 500 performances. In her first year at the Met, she sang the role of Maddalena in Rigoletto in a live telecast from the Met, and she later sang in 10 Live from the Met telecasts.
    [Show full text]
  • Opera on Video a Personal Review
    Opera on Video A Personal Review The accessibility of opera has increased markedly in the decades since video recorders became available in the home. It seems appropriate to essay this highly personal review of the materials to which I have access. My definition of “opera” has been broadened to include any work generally so classified whether staged or not, and any classical vocal work presented in a staged performance. I have included concert performances of operas and stagings of oratorios. The reviews reflect my personal opinions and should not be taken as more. I hope that they provide you with enough information to select among performances or to seek out items of interest. The intent of the Evaluation entry is to provide a one-word summary opinion of the recording. Excellent Solid representation of the work in all significant respects; flaws may be noted in the text. Very Good Recording adequate for appreciation of the opera by one not familiar with it. Good Fundamentally valid reading lacking significant elements; not recommended for novices. Fair/Adequate Tolerable performance with elements worth seeing but not satisfying overall. Inadequate Although unacceptable overall, acceptable if no alternative is available. Poor Unacceptable performance overall; elements may be worth seeing. Other terms such as Unique and Idiosyncratic apply to performances of particular value in specific senses but which should not be regarded as generally representative of the opera. Those recordings should be sampled before purchase; traditionalists may find them unacceptable, but those new to opera in general or to the particular work may find them revelatory.
    [Show full text]
  • Eso Programs
    Complete Concert Programs page 1 of 89 1946-47: 1st Season (4 Concerts) (Start of conductor Elwyn Owen’s tenure of 5 concerts as Music Director) 8:30 p.m. June 14, 1946 (Northwestern University’s Cahn Auditorium in Scott Hall, Evanston) Elwyn Owen, Conductor Overture to “The Marriage of Figaro”, W.A. Mozart Symphony No.7 in A Major, L. van Beethoven Three Nocturnes (Nuages, Fêtes, Sirènes), C. Debussy (Evanston Music Club, voices) Emperor Waltzes, Op.437, J. Strauss 8:30 p.m. Nov. 20, 1946 (Cahn Auditorium) Elwyn Owen, Conductor Capriccio Espagnol, N. Rimsky-Korsakov The Enchanted Lake, A. Liadov Peter and the Wolf, S. Prokofiev (narrated by Sidney Ellstrom) Concerto for Piano and Orchestra No.2 in C Minor, S. Rachmaninoff (Leon Fleisher, soloist) Firebird Suite (5th and 6th movements), I. Stravinsky 8:30 p.m. Feb. 12, 1947 (Cahn Auditorium) Elwyn Owen, Conductor Fugue in G Minor, J.S. Bach Symphony in D Minor, C. Franck Concerto for Cello and Orchestra in D Minor, E. Lalo (Ennio Bolognini, soloist) Polka and Fugue from “Schwanda”, J. Weinberger 8:30 p.m. May 20, 1947 (Cahn Auditorium) Elwyn Owen, Conductor Overture to “Russlan and Ludmilla”, M. Glinka Winterstürme from “Die Walküre”, R. Wagner (Emery Darcy, tenor) Ballet Music and Triumphal March from “Aïda”, G. Verdi Symphonic Synthesis, Tristan and Isolde, R. Wagner (Louise Weber, sopr.; Emery Darcy, tenor) Complete Listing of ESO Concert Programs (1946-2018) Complete Concert Programs page 2 of 89 1947-48: 2nd Season (3 Concerts) 8:30 p.m. Dec. 2, 1947 (Northwestern University’s Cahn Auditorium in Scott Hall, Evanston) Elwyn Owen, Conductor (last concert conducted by Mr.
    [Show full text]
  • Alexander Calder and Contemporary Art at the MCA by Barbara Stodola
    THE TM 911 Franklin Street Weekly Newspaper Michigan City, IN 46360 Volume 26, Number 29 Thursday, July 29, 2010 Alexander Calder and Contemporary Art at the MCA by Barbara Stodola Alexander Calder (1898-1976), whose exhibit of Alexander 60 sculptures is Calder’s at the Museum fl ying fi sh. of Contemporary Art, Chicago, thru October 17. “Form, Balance, Joy” the exhibit is subtitled, with the assertion that, surprising as it seems, such with an accent on the Joy. Just imagine a room full infl uences have only recently been manifested. of Calder mobiles, gently swaying in the air cur- Alexander Calder (1898-1976) holds a unique rents, and a little zoo of Calder stabiles pouncing place in the world of art. He invented a new art on the fl oor. The Museum of Contemporary Art has form – the mobile, the sculpture that moves – and brought Chicago a rare treat – on view thru October he remained its unrivaled master. More than 2,000 17. creations bear his name – ranging from large steel Across the hall, curators have installed the work pieces in public squares to tiny, whimsical fi gures. of seven Calder-infl uenced contemporary artists – Calder Continued on Page 2 A room full of Calder sculptures: mobiles (which move) and stabiles (which don’t.) THE Page 2 July 29, 2010 THE 911 Franklin Street • Michigan City, IN 46360 219/879-0088 • FAX 219/879-8070 In Case Of Emergency, Dial e-mail: News/Articles - [email protected] email: Classifieds - [email protected] http://www.thebeacher.com/ PRINTED WITH Published and Printed by TM Trademark of American Soybean Association THE BEACHER BUSINESS PRINTERS Delivered weekly, free of charge to Birch Tree Farms, Duneland Beach, Grand Beach, Hidden 911 Shores, Long Beach, Michiana Shores, Michiana MI and Shoreland Hills.
    [Show full text]
  • THE METROPOLITAN OPERA on PIRATE CD COMPILED by FRANK HAMILTON © 2011 [email protected]
    THE METROPOLITAN OPERA ON PIRATE CD COMPILED BY FRANK HAMILTON © 2011 http://FrankHamilton.org [email protected] This chronological discography of radio broadcasts and in-house recordings on compact discs is devoted mainly to non-commercial issues. There are still some mistakes such as roles assigned improperly. There have been MET issues on foreign labels without international distribution that I have not had access to, and I have not included those here. I wish to thank Pierre Guillemette of Candiac, Quebec, for the countless corrections that he made in the early stages of this project, and Bill DePeter of New York for his major contributions. Compact disc serial numbers are followed by the total number of CDs in the set, and this is followed by the year of issue when known. 1933 3/03/33: Tristan und Isolde (excerpt): FRIDA-LEIDER-GESELLSCHAFT FLG 11031933 1 2003 Isolde Frida Leider Tristan Lauritz Melchior Brangäne Maria Olszewska Kurwenal Friedrich Schorr König Marke Ludwig Hofmann Melot Arnold Gabor Ein junger Seemann Hans Clemens Ein Hirt Hans Clemens Der Steuermann James Wolfe maestro direttore Artur Bodanzky Kennst du der Mutter Künste nicht? — Herr Tristan trete nah! (Akt I,3) 3/11/33: Tristan und Isolde (excerpts): FRIDA-LEIDER-GESELLSCHAFT FLG 11031933 1 2003 cast same as 3/03/35 except: Kurwenal Gustav Schützendorf Vorspiel (fragment) Nimmermehr ! Nicht heut’ noch morgen ! — Zerschlag es [dies trotzige Schiff] (Akt I,1) wehe mein Kind! - Mir erkoren — Was wohl erwidertest du? (Akt I,2) [Fluch dir, Ver]ruchter ! — nicht hell zu sehn noch hören? (Akt I,3) Kennst du der Mutter Künste nicht? — Ehrfurcht hielt mich in Acht (Akt I,3) Dem Freund zulieb erfand er diese List? — sind untertan ihr, die sie webt aus [Lust] (Akt II,1) [Nie erwa]chen ! - Soll der Tag noch Tristan wecken ? — Hehr erhabne Liebesnacht! (Akt II,2) Der öde Tag zum letztenmal! — Das sollst du, Herr, mir sagen, ob [ich] (Akt II,3) [meiner Ehren Ende] erreiche? — warum mir diese Schmach? (Akt II,3) [Dein Blick, Isolde,] blendet’ auch ihn — Schluß des II.
    [Show full text]
  • Isola Jones 48 Arizona Women
    ISOLA JONES ARTS / ENTERTAINMENT / SPORTS People can go their entire lives and not find their passion her courage and that I think is the heart of the fascination of but Isola Jones was lucky to find hers at an early age. At the role is the woman’s absolute and total courage.” just four years old, before she could even read or write, she Bringing characters to life isn’t the only upside to her was already singing in Latin in her Catholic school choir in illustrious career, Isola also has shared the stage with some Chicago. Then at the age of eleven Isola saw legendary of the greats like tenor, Plácido Domingo “They are very soprano Leontyne Price on television, “I asked my mother generous, they are not petty… what I learned was that the if she would get me a recording and she did. I was running very, very great people bring you up to their level they in the house singing in Italian, I didn’t know what I was don’t try to pull you down.” singing about, that was really the inspiration to the specific kind of music to sing because I just loved all the high notes In 1998, Isola decided to take the lessons she learned on and all the beauty of music.” stage and pass them on as a voice instructor at South Mountain Community College. “In my years of teaching I Isola would go on to attend Northwestern University and have learned more about singing then I ever did from a after graduation she pursued her love of music with the teacher.” Chicago Symphony Chorus.
    [Show full text]
  • Transforming Oratorio Into Opera: the Conversion of James Demars's Guadalupe, 2006-2015 by Andrew Peck a Research Paper Pres
    Transforming Oratorio into Opera: The Conversion of James DeMars’s Guadalupe, 2006-2015 by Andrew Peck A Research Paper Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Approved October 2018 by the Graduate Supervisory Committee: David Britton, Chair Dale Dreyfoos Amy Holbrook ARIZONA STATE UNIVERSITY December 2018 ABSTRACT In 2006, composer James DeMars conceived of an opera when he began setting the Aztec legend known as Nican Mopohua, the “legend of Guadalupe.” Many inherent challenges arose as DeMars began to compose his first opera. His unfamiliarity with operatic writing and production, a preference for the aural elements of opera over visual ones, inexperience with dramatic textual writing, and insecurity in his ability to have it produced, encouraged him to detour from his operatic vision altogether and instead write an oratorio. Yet, his original operatic concept revealed itself through the music and text enough to encourage him and others to believe that his oratorio, Guadalupe: Our Lady of the Roses, could be produced on the operatic stage. Despite the oratorio’s success, DeMars persisted in realizing his original operatic vision and began the arduous task of rewriting his opera in 2012. To overcome the challenges, he relied heavily on the input of an “Operatic Advisory Council.” This group of dedicated colleagues and experts in the field of opera revealed to DeMars certain essential elements of opera that were absent from the oratorio, and through the course of three years advised and instructed the composer as he transformed his oratorio into an opera – something rarely attempted in the operatic repertoire.
    [Show full text]
  • Decca Discography
    DECCA DISCOGRAPHY >>U U.S.A. & Canada Decca Inc. (USA) was formed in 1934. Despite signing Segovia and (briefly) Heifetz, its classical catalogue did not amount to much as it drifted away from the parent company in the 1940s. London Records was set up to replace it and for nearly twenty years seemed content to operate as a supplier of European recordings to the US market. In the 1950s, a handful of American orchestras (Philadelphia, Boston, Chicago, New York) recorded extensively for RCA Victor or American Columbia. A few more (Cleveland, Minneapolis, Detroit) had successful partnerships with such labels as Epic and Mercury. Of the rest, Utah and Houston picked up a few sessions from Vanguard and Everest, who were more active in Europe. The majors began to follow them, American Columbia opting to record its Copland series in London, where Previn was being kept busy by RCA. In response to a perception that American record buyers preferred American orchestras, Decca made a bold move against the trend, announcing in 1967 that the Los Angeles Philharmonic had become “The first American orchestra to be exclusively contracted by a British recording company.” EMI, Deutsche Grammophon and Philips quickly followed and by the early ’70s most North American orchestras with recording contracts were linked to European labels. Decca recorded regularly in Los Angeles until 1980, and in Chicago (1970- 1998), Washington (1972-75), Cleveland (1973-97), Boston (1975-78), Detroit (1978-84), Montreal (1980-2000), San Francisco (1987-95) and St.Paul, Minnesota (1989-97), plus occasional visits to New York and Philadelphia.
    [Show full text]
  • A Biography and Survey of the Musical Career of Grover Schiltz
    A BIOGRAPHY AND SURVEY OF THE MUSICAL CAREER OF GROVER SCHILTZ DOCUMENT Presented in Partial Fulfillment of the Requirements for The Degree of Doctor of Musical Arts In the Graduate School of The Ohio State University By Robyn Dixon Costa, M.M. ***** The Ohio State University 2009 Document Committee: Professor Robert Sorton, Adviser Approved by: Dr. Russel Mikkelson Dr. Gregory Proctor _______________________ Adviser Music Graduate Program Copyright by Robyn Dixon Costa 2009 ABSTRACT Grover Schiltz, a prominent oboist and English hornist, was a member of the Chicago Symphony Orchestra (CSO) from 1959-2005. This document details his musical training and career with special emphasis on his tenure with the Chicago Symphony. Included is a survey of prominent English horn symphonic repertoire performed and recorded by Schiltz with the CSO. The survey lists the date, conductor, location, and frequency each composition was recorded or performed. The names of soloists, record labels, catalog numbers and special notes about the concerts/recordings are listed when applicable. This document also provides an historical overview on how the job of the orchestra musician and the audition process has transformed throughout the years. This includes details from Schiltz’s own experiences along with research regarding the formation of the International Conference of Symphony and Opera Musicians (ICSOM) and orchestra players’ committees. In addition, Schiltz’s views about life as an orchestral musician are discussed. Among the topics are, soloing with the Chicago Symphony Orchestra, playing chamber music, performing, practicing, and teaching, as well as a conversation on what equipment he uses and his life outside of the orchestra.
    [Show full text]
  • 05-04-2019 Rigoletto Mat.Indd
    GIUSEPPE VERDI rigoletto conductor Opera in three acts Nicola Luisotti Libretto by Francesco Maria Piave, production Michael Mayer based on the play Le Roi s’Amuse by Victor Hugo set designer Christine Jones Saturday, May 4, 2019 costume designer 11:00 AM–2:05 PM Susan Hilferty lighting designer Kevin Adams choreographer Steven Hoggett The production of Rigoletto was revival stage director Gregory Keller made possible by a generous gift from the Hermione Foundation, Laura Sloate, Trustee; and Mr. and Mrs. Paul M. Montrone general manager Peter Gelb jeanette lerman-neubauer music director Yannick Nézet-Séguin 2018–19 SEASON The 897th Metropolitan Opera performance of GIUSEPPE VERDI’S rigoletto conductor Nicola Luisotti in order of vocal appearance the duke gilda Matthew Polenzani Rosa Feola borsa giovanna Eduardo Valdes Edyta Kulczak countess cepr ano a page Samantha Hankey Catherine MiEun Choi-Steckmeyer rigolet to George Gagnidze a guard Earle Patriarco marullo Jeongcheol Cha maddalena Ramona Zaharia count cepr ano Paul Corona monterone There is no Stefan Szkafarowsky Toll Brothers– sparafucile Metropolitan Opera Quiz in Dimitry Ivashchenko List Hall today. Saturday, May 4, 2019, 11:00AM–2:05PM RICHARD TERMINE / MET OPERA George Gagnidze Chorus Master Donald Palumbo in the title role of Musical Preparation Gareth Morrell, Vlad Iftinca*, and Verdi’s Rigoletto Adam Nielsen Assistant Stage Director Daniel Rigazzi Stage Band Conductor Gregory Buchalter Italian Coach Loretta Di Franco Met Titles Sonya Friedman, revised for this production
    [Show full text]