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DMA Recital I DMA Recital I Ryan McDonald, Countertenor Ivan Jovonavic, Harpsichord & Piano May 15, 2021 at 7:30 pm Walter Hall PROGRAMME Come again, sweet love John Dowland Time stands still (1563-1626) Here the deities approve Henry Purcell Man is for the Woman made (1659-1695) Myrten, Op. 25 Robert Schumann I. Widmung (1810-1856) III. Der Nussbaum Nacht und Träume D.827 Franz Schubert (1797-1828) 99 Luftballons NENA (1981) Losing My Mind, Follies Stephen Sondheim (1930) As long as he needs me, Oliver! Lionel Bart (1930-1999) INTERMISSION Outwithin Paul Ayres (1970) Scenes from Dido and Aeneas Henry Purcell Wayward Sisters… The Queen of Carthage… Our next motion must be… The trojan prince… Thy hand Belinda… When I am Laid in Earth… Les chemins de l’amour Francis Poulenc (1899-1963) This recital is in partial fulfilment of the Doctor of Musical Arts in Historical Performance Ryan McDonald is a student of Daniel Taylor. A recent Encouragement Award winner from Metropolitan Opera National Council Audition, Ryan has been seen on stage as Athamas in Handel's Semele, First Witch in Purcell's Dido and Aeneas, Cobweb in Britten’s A Midsummer Night's Dream, the Spirit in Purcell’s Dido and Aeneas, L'enfant in Ravels L'enfant et les sortilèges, Cupid in John Blows Venus and Adonis and Jack in Sondheim’s Into the Woods. Ryan, along with other queer artists, recently launched their own opera company focusing specifically on presenting queer theatre, by queer artists for queer audiences. Ryan led the reimagined production of Purcell’s Dido and Belinda as the titular character, Dido. I (we) wish to acknowledge this land on which the University of Toronto operates. For thousands of years it has been the traditional land of the Huron-Wendat, the Seneca, and most recently, the Mississaugas of the Credit River. Today, this meeting place is still the home to many Indigenous people from across Turtle Island and we are grateful to have the opportunity to work on this land. The Nomi Song- A Doctoral Recital for Klaus Nomi Klaus Nomi was a German-born countertenor and performance artist who fancied himself an alien. Nomi performed in New York City from 1976-1983. Nomi’s mission was to marry opera with the subversive nature of queer culture through cabaret. He combined classical, popular and techno music, alternative fashion, choreography and extended performance techniques. Nomi’s cabarets challenged listeners both visually and aurally. The majority of the works he presented had been re-imagined. This recital is inspired by both Nomi’s live and recorded works. Additionally, I will present works that embody the subversive nature of Nomi’s mission. Nomi’s distinct impact on audiences is perhaps best captured by his music director Kristian Hoffman for the East Village Eye: “Klaus Nomi appeared on the NYC scene suddenly, leaping from his spectacular debut at the New Wave Vaudeville show (where the astounded audience had to be told repeatedly that the voice was truly live) to spearhead a futurist movement of militantly fashionable avant-misfits before and beyond any new romantic notions occurred to Spandau Ballet and after Bowie abandoned the future as an archaic concept”. Nomi’s identity juxtaposed futurism and the cosmos with a reverence for baroque composers and sensibility. The oldest composers on this program, based on dates, but certainly not on wit or their ability to tell stories, are composers John Dowland and Henry Purcell. Dowland’s works have long been associated with melancholy, despite his well-documented, cheerful disposition. Dowland cultivated a stage persona based on the performative nature of melancholic ideals. He believed this to be more engaging. Similarly, creating a stage persona was central to Nomi’s works, and coupled with the dark, loaded texts of Dowland, it is no wonder Nomi found a kindred spirit in Dowland. Perhaps the greatest composer of baroque drama is Henry Purcell. Purcell’s unique comedic timing and appetite for grandeur set him apart from his contemporaries. These qualities are arguably best realized in his work Dido and Aeneas. This tragic one act opera tells the story of the Queen of Carthage and her downfall at the hands of one of opera's greatest villains. This work perfectly balances Purcell’s ability to tell grounded human stories offset with his flare for extremes. Nomi had reverence for complex female characters and throughout his career often performed the music of the greatest operatic witches. Dido and the Sorceress are often given one-dimensional characterizations, however Nomi understood the complexity of these characters and sought to bring them to life through his cabarets. The lied is a style of chamber music for voice and piano, using German text and poetry to tell stories. While the style gained popularity as a form of house music, the genre has grown into one of the most popular styles of solo song for voice and piano. Nomi performed lieder throughout his career, because it allowed him to tell stories in his native tongue. The Myrthen Lieder were a gift from Robert Schuman to his wife Clara on their wedding day. Containing four volumes of songs, they were originally composed as a declaration of love rather than a cyclical, publishable work. The Myrthen Lieder reflected the couple’s unbridled passion. Franz Schubert's contribution to lieder cannot be overstated. Often noted as the most prolific composer of lieder, Schubert “...explored and expanded the potentialities of the genre, as no composer before him." (Plantinga) Nacht und Träume is a meditation on night and dreams and this work perfectly highlights Schubert’s virtuosic piano accompaniments and atmospheric text setting. Nomi’s unique ability to tell stories through music places him in the company of two of Broadway's greatest lyricists, Stephen Sondheim and Lionel Bart. Both composers have gained reputations for their ability to tell harrowing stories that speak to complex human experiences. Sondheim’s Losing my Mind from Follies has become one of his most distinguishable works as it is ripe with Sondheimian elements. Losing my Mind is a ballad in which Sally looks back on the ironies and disappointments in her life caused by things unsaid. Sondheim “leads Sally from sunrise to sleepless night, revealing that every second of her existence is defined by her longing...the number ...explores the extent to which she has lost herself in this make-believe world of undying desire." ( Gordon 114-115) As Long As He Needs Me from Oliver! is arguably Bart’s greatest work. Bart provides the character Nancy with an outlet for her complex feelings of grief, guilt, desire, and above all her fierce sense of loyalty and duty. It is no coincidence that both of these works are torch songs, a style in which the performer effectively carries the torch, or memory, of another. Nomi carried the torch for the queer artists who came before him and kept it burning for us queer artists who wish to keep his memory alive. Nomi regularly championed new works and arrangements. In collaboration with his music director Kristian Hoffman, Nomi composed many original works including Keys of Life and The Nomi Song. Personally, it was important to program a piece by a living composer. Outwithin by British composer Paul Ayres with text by his son Colin Ayres, is the perfect fusion of old and new. Featuring an accompaniment mirroring medieval harmonic structures coupled with contemporary vocal lines, Outwithin perfectly embodies the kinds of art championed by Nomi. Klaus Nomi was a showman. For all the groundbreaking and through provoking work presented by Nomi, they never lost sight of their desire to entertain and delight audiences. Francis Poulenc's Les chemins de l’amour (The paths of love) was originally written as incidental music for the play Leocadia and was sung by comedian and soprano Yvonne Printemps. Moderately successful upon its release, the song has since become one of Poulenc’s most popular and an audience favourite. Nomi always managed to find the humour in classical music and used this humour to challenge audience perceptions. In Nomi’s short career, he interpreted nearly 500 years of music, fusing it with technology, fashion and staging creating live performances that resulted in genre defying cabarets. This recital draws inspiration from his remarkable career and legacy. My hope is that if this is your first introduction to Klaus Nomi, it won't be your last! - Ryan McDonald Works Cited: Gordon, Joanne. Art Isn’t Easy: The Theater of Stephen Sondheim. Revised, Da Capo Press, 1992. Plantinga, Leon. Romantic Music: A History of Musical Style in Nineteenth-Century Europe (Norton Introduction to Music History). 1st ed., W. W. Norton & Company, 1985..
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