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numerous competitions. He has performed across the United States, and has also been a featured performer at Regional and National Conventions of the American Guild of Organists and Organ Historical Society, on the NPR AMERICAN CLASSICS program Pipedreams, and in a segment on the revived interest in the pipe organ on ABC World News Tonight. Eric Trudel A native of Quebec, Canada, Eric Trudel graduated from the Quebec Conservatory of Charles Music with the highest honours. He won the prestigious Prix d’Europe competition, which enabled him to study privately with pianists Garrick Ohlsson, Jean-Claude Pennetier, Marc Durand and Louis Lortie. He has worked as a pianist at the Banff Center IVES Festival for the Arts, L’Opéra de Montréal, Connecticut Grand Opera, Les Grands Ballets Canadiens, the OK MOZART Festival and the Pro Arte Singers. His faculty appointments include the Banff Centre for the Performing Arts, the Conservatoire de Musique du Québec in Trois-Rivières, Montreal Opera’s Atelier Lyrique, the Université du Québec-Montréal and formerly Yale University’s School of Music (2001-2005). On Songs • 2 CD he can be heard on the CBC and Star labels. Leah Wool December Mezzo-soprano Leah Wool is rapidly garnering critical acclaim on stages across the United States. In addition to engagements with the Metropolitan Opera and New York Evening City Opera, her career highlights include the title rôle in Cendrillon at Central City Opera, Hansel in Hansel and Gretel at Opera Theatre of Saint Louis, Erika in Vanessa at Central City Opera, Stéphano in Roméo et Juliette at Toledo Opera, Hermia in A Midsummer Eyes so Dark Night’s Dream at Utah Opera, and Cherubino in Le nozze di Figaro at Yale Opera. Concert appearances have included Handel’s Messiah in her Carnegie Hall début, and Haydn’s Theresienmesse with the New Jersey Symphony. Far in the Wood La Fede General William Booth Get this free download from Classicsonline! Enters into Heaven MacDowell: Songs: In the Woods Copy this Promotion Code NaxAMSfEMkFx and go to http://www.classicsonline.com/mpkey/mac31_main. Downloading Instructions Grantchester 1 Log on to Classicsonline. If you do not have a Classicsonline account yet, please register at http://www.classicsonline.com/UserLogIn/SignUp.aspx. 2 Enter the Promotion Code mentioned above. 3 On the next screen, click on “Add to My Downloads”. Various Artists 8.559270 12 559270 bk Ives US 5/13/08 11:07 AM Page 2

Charles Matthew Plenk IVES The tenor Matthew Plenk made his Metropolitan Opera début in the 2007-2008 season, under the baton of James Levine, as the Voice of the Young Sailor in Tristan und Isolde. (1874-1954) In the same season he joined the Lindemann Young Artist Development Program at The 1 December $ A Farewell to Land (Lord Byron) (1909) 1:53 Met. With Yale Opera he has performed Rodolfo, La Bohème, Ferrando in Così fan (Text: Folgore da San Gimignano) (1913) 1:10 Leah Wool, Mezzo-soprano • Eric Trudel, Piano tutte, Flute in A Midsummer Night’s Dream, Nanki-poo in The Mikado, the Italian tenor Janna Baty, Mezzo-soprano • J. J. Penna, Piano % La Fede (Ludovico Ariosto) (1920) 0:54 in Capriccio, and Kudrjàs in Janàãek’s Kat’a Kabanova. While earning his Bachelor of 2 Disclosure (Ives) (1921) 1:14 Leah Wool, Mezzo-soprano • J. J. Penna, Piano Music at the Hartt School of Music, he was featured in Don Giovanni, as Don Ottavio. Other rôles include Roméo in Roméo et Juliette, Nemorino in L’elisir d’amore, Frederic Matthew Plenk, Tenor • Eric Trudel, Piano ^ Feldeinsamkeit (Hermann Allmers) (1898) 2:56 3 Down East (Ives) (1919) 3:12 in The Pirates of Penzance, and Sam in Susannah. His concert career has brought Robert Gardner, Baritone • Laura Garritson, Piano Michael Cavalieri, Baritone • Douglas Dickson, Piano performances with the Orchestra Sinfonica Giuseppe Verdi di Milano, Hartford 4 Dreams (Baroness Porteous) (1897) 4:01 & Flag Song (Henry Strong Durand) (1900) 2:23 Symphony, Hudson Valley Philharmonic, Los Angeles based Musica Angelica Kenneth Tarver, Tenor • Douglas Dickson, Piano David Pittsinger, Bass • Eric Trudel, Piano Baroque, Connecticut Chamber Orchestra, Intermezzo Opera, and Bel Canto Northwest. 5 Du alte Mutter * Forward into Light (Henry Alford) (1902) 4:00 With Sir Neville Marriner conducting, he has also performed with Yale Philharmonia. (Aasmund Olafsson Vinje) (1902) 2:27 Jennifer Casey Cabot, Soprano • Eric Trudel, Piano He was a National Finalist in the Metropolitan Opera Guild Competition. Michael Cavalieri, Baritone • Douglas Dickson, Piano ( Friendship (Anonymous) (1898) 3:23 6 Du bist wie eine Blume (Heinrich Heine) (1897) 1:50 Matthew Plenk, Tenor • Eric Trudel, Piano Kenneth Tarver Tamara Mumford, Mezzo-soprano ) Frühlingslied (Heinrich Heine) (1898) 2:06 Kenneth Tarver enjoys a career in the most important international opera theatres and Douglas Dickson, Piano Heather Buck, Soprano • Eric Trudel, Piano 7 Élégie (Louis Gallet) (1901) 4:56 festivals. He has sung at the Vienna State Opera, Deutsche Oper Berlin, the Berlin, Hamburg ¡ General William Booth Enters into Heaven Leah Wool, Mezzo-soprano • J. J. Penna, Piano and Bavarian State Operas, Semperoper Dresden, Royal Opera Covent Garden, the Liceu in 8 The Ending Year (Unknown) (1902) 3:02 (Vachel Lindsay) (1914) 5:37 Barcelona, the Metropolitan Opera, Naples Teatro San Carlo, and at the Festivals of Aix-en- Sara Jakubiak, Soprano • Douglas Dickson, Piano David Pittsinger, Bass • Douglas Dickson, Piano Provence and Edinburgh. His repertoire encompasses rôles by Mozart, Rossini, Donizetti, 9 Evening (John Milton) (1921) 2:05 ™ God Bless and Keep Thee (Anonymous) (1898) 2:30 Gluck, Verdi and Berlioz as well as repertoire by Bach, Beethoven, Debussy, Shchedrin and Mary Phillips, Mezzo-soprano • J. J. Penna, Piano David Pittsinger, Bass • Douglas Dickson, Piano Stravinsky. Appearances include Rossini’s La donna del lago at the Edinburgh Festival and 0 Evidence (Ives) (1910) 1:44 £ Grace (Anonymous) (1900) 1:39 as Don Ottavio in Don Giovanni directed by René Jacobs in Brussels, Cologne and Paris, a Matthew Plenk, Tenor • Eric Trudel, Piano Tamara Mumford, Mezzo-soprano rôle which he also performed at the Aix-en-Provence Festival with both Claudio Abbado and Daniel Harding. Other performances range from Mozart’s Così fan tutte and Die Entführung ! Eyes so Dark (Nikolas Lenau/ Douglas Dickson, Piano William Joseph Westbrook) (1902) 2:09 aus dem Serail, and Berlioz’s Les Troyens and Béatrice et Bénédict, to Shostakovich’s The ¢ Grantchester (Rupert Brooke) (1920) 3:12 Nose with Mstislav Rostropovich, and Verdi’s Falstaff with Zubin Mehta and Bernard Matthew Plenk, Tenor • Eric Trudel, Piano Michael Cavalieri, Baritone • Douglas Dickson, Piano @ Far from my Heav’nly Home Haitink. ∞ (Traditional) (1893) 4:28 The Greatest Man Tamara Mumford, Mezzo-soprano (Anne Timoney Collins) (1921) 1:25 Frederick Teardo Frederick Teardo, Organ Michael Cavalieri, Baritone • Douglas Dickson, Piano # Far in the Wood (Anonymous) (1900) 1:46 § Gruss (Heinrich Heine) (1898) 1:35 Frederick Teardo is Associate Organist at Saint Thomas Church, Fifth Avenue in New York Lielle Berman, Soprano • Eric Trudel, Piano Sumi Kittelberger, Soprano • Eric Trudel, Piano City, where he accompanies the church’s renowned Choir of Men and Boys. He received both the Master of Music and Master of Musical Arts degrees from the Yale School of Music and Recorded in Sprague Hall, Yale University, New Haven, USA, from May to June, 2005 Institute of Sacred Music, studying organ with Thomas Murray and harpsichord with Richard Producer: Andrew Lang (K&A Productions Ltd.) • Engineer: Eugene Kimball • Editor: Peter Newble Rephann. He received his Bachelor of Music degree with Highest Honors from the Eastman Publishers: Merion Music Inc. (tracks 1, 6, 14-16, 21, 25); Peer International Corporation School of Music, where he studied organ with David Higgs. His other teachers have included Stephen Roberts and Haskell Thomson. He has also studied improvisation with William (tracks 2-5, 7, 8, 10, 11, 13, 17, 18, 20, 24, 26); Associated Music Publishers Inc. (tracks 9, 12, 19, 22, 23) Porter and Jeffrey Brillhart. An avid performer, Frederick Teardo has won first prize in 8.559270 211 8.559270 559270 bk Ives US 5/13/08 11:07 AM Page 10

J.J. Penna Charles Ives (1874-1954) Songs • 2 J.J. Penna has performed in recital with such notable singers as Kathleen Battle, Harolyn Blackwell, David Daniels, Denyce Graves, Kevin McMillan, Florence Quivar, Andreas When, in 1922, Charles Ives published a volume A setting of Ives’s own text, Disclosure (1921) is Scholl, Sharon Sweet, Christopher Trakas, Indra Thomas and Ying Huang. He has been heard entitled 114 Songs, he was likely drawing attention to another of the composer’s speculations on the at the Kennedy Center in Washington, D.C., at Weil Hall and Merkin Recital Hall in New the fact that the genre had played a central part in his transcendental, its piano writing wholly subservient to York City, at the Palacio de Bellas Artes in Mexico City, in Seiji Ozawa Hall at Tanglewood, output. 85 years on and, for all that his wider reputation the fervency of the recitative-like vocal part. as well as on concert tours throughout the United States, Europe, Asia, the Far East, South may now rest on his orchestral, chamber and piano A further Ives setting, Down East (1919) opens with America, and the former Soviet Union. He has performed and held fellowships at prestigious music, it is the songs that represent the heart of his an ominous preface whose tonal vagueness gives the festivals such as Tanglewood, Chautauqua Institution, Banff Center for the Arts, Norfolk, the creative thinking. Nor was that initial volume at all evocation that follows the sense of a flash-back to a Music Academy of the West, and San Francisco Opera Center’s Merola Program, and has comprehensive; Ives having written almost 200 songs, more innocent and less troubling time. been on the faculties of the Juilliard School, Norfolk Chamber Music Festival, Yale of which this present edition includes all of those he Setting a Baroness Porteous text which reinforces Photograph: Lisa Kohler University School of Music and Westminster Choir College of Rider University. completed. The expressive variety encountered is the conviction that it is best to travel in hope, Dreams accordingly vast: indeed, the gradual evolution of Ives’s (1897) avoids being an archetypal parlour song largely songwriting, from those that draw overtly on the Austro- through its unexpectedly wide-ranging piano part. Mary Phillips German Lieder and English parlour-song traditions to One of several songs Ives set simultaneously in ones that evince an anarchic humour as keenly as others German and English, Du alte Mutter (1902) brings a American mezzo Mary Phillips’s opera appearances include the Metropolitan Opera, do a profound vision, is surely analogous to the wider keen nobility to Aasmund Olafsson Vinje’s sentimental Canadian Opera, Barcelona and Edinburgh in rôles of Wagner, Strauss, Handel, Mozart, evolution of American music over the late nineteenth text of filial devotion (see also Volume 4, tracks 10 and Verdi, Bizet and Heggie. Her concert appearances with the New York, Los Angeles, and and early twentieth centuries. 25, Naxos 8.559272). Hong Kong philharmonic and symphony orchestras in Atlanta, Dallas, Honolulu, Houston, Although it would be entirely possible to collate Setting a poem by Heinrich Heine, Du bist wie eine Indianapolis, Phoenix, and Pittsburgh have included repertoire by Glass, Mahler, Ives’s songs according to type, the alphabetic approach Blume (1897) is an archetypal ‘Lied’ such as might well Szymanowski, Prokofiev, Bruckner, de Falla and Tchaikovsky. She has appeared in recital adopted by this edition ensures each volume (of which this pass for that of a lesser Austro-German contemporary at Carnegie Hall, the Marilyn Horne Foundation and New York Festival of Song. disc is the second) contains a representative cross-section. (see also Volume 1, track 28, Naxos 8.559269, and A considerable range of poets is set (and Ives could be Volume 6, track 24, Naxos 8.559274). highly interventionist as and when it suited his purpose), By contrast the setting of Louis Gallet’s Élégie David Pittsinger including a number of (mainly early) German settings and (1901) is hardly a typical ‘chanson’ in its systematic forays into French and Italian. The temporal distance repetition of phrases along with a measured, even American bass David Pittsinger is renowned as a stage performer of the greatest (1887-1926) traversed by the songs is as little compared to restrained piano accompaniment that suddenly wells up distinction, appearing in the world’s major opera houses. His Escamillo has been heard their stylistic diversity or their emotional range. in a central apex of heartfelt emotion, and can certainly at festivals in Montpellier, Santa Fe and Denver. He has received Artist of the Year The extent to which Ives reworked songs be ranked among the most striking and personal of awards for his portrayals of Boito’s Mefistofele, Méphistophélès in Gounod’s Faust at throughout his career is considerable, whether Ives’s earlier songs. the Pittsburgh Opera, and for Zoroastro in Handel’s Orlando, and Figaro in Mozart’s substituting a text or reworking the actual music. To this Setting an emotive text of unknown authorship, The The Marriage of Figaro for New York City Opera. He has also sung Count Almaviva end, songs with a musical or textual connection are Ending Year (1902) is highly fervent in manner and also for L.A. Opera under the Direction of Kent Nagano, and Count Des Grieux in Manon crosslinked accordingly (i.e. in brackets at the end of the shares material with other Ives songs (for which see conducted by Placido Domingo. He has performed at the festivals of Salzburg, Dresden, relevant paragraph). Volume 5, track 35, Naxos 8.559273, and Volume 6, Macerata, Tanglewood, and Santa Fe, and his other notable orchestral engagements Undoubtedly one of Ives’s most forceful and track 17, Naxos 8.559274). have included Frank Martin’s Golgotha with the Vienna Philharmonic, Verdi’s demonstrative songs, December (1913) is a setting of One of Ives’s most perfectly realised songs, Requiem with Zubin Mehta and the L.A. Philharmonic, and staged performances with Folgore da San Gimignano – in the translation by Dante Evening (1921) renders John Milton’s verse with telling the English National Opera. He has sung at the Metropolitan Opera, and can be heard on Gabriel Rosetti - which is designed to be sung “roughly fastidiousness, while changing its final phrase from past the Virgin Classics recording of Carlyle Floyd’s Susannah, and Cavalli’s La Calisto on and in a half-spoken way”, so giving this tale of to present tense so as to intensify the rapture. Photograph: Christian Steiner the Harmonia Mundi label. ‘seasonal ill-will’ an appropriate harshness and Setting a pantheistic text by the composer, Evidence astringency that never wavers. (1910) is notable for the way in which voice and piano 8.559270 10 3 8.559270 559270 bk Ives US 5/13/08 11:07 AM Page 4

anticipate each other in an outpouring of gentle ecstasy forthrightness that Ives’s music thoughtfully underlines. Sumi Kittelberger (see also Volume 6, track 28, Naxos 8.559274). Another setting of Heinrich Heine, Frühlingslied Another parallel German/English setting, Eyes so (1898) enhances the wistfulness of its text with music Sumi Kittelberger studied voice with Roland Hermann in Karlsruhe and with Doris Dark (1902) treats William Joseph Westbrook’s whose poise and keen dovetailing of melody and Yarick Cross at Yale University. In 2006 she became a member of the International translation of Nikolas Lenau such that its emotional accompaniment again point to lessons from the Austro- Opera Studio in Zürich. In the 2007/08 season she joined the ensemble of the Luzern ardour feels dampened down (see also Volume 6, track German Lieder tradition well learnt (see also Volume 3, Theater, singing Olympia in Les contes d’Hoffmann and Nanetta in Falstaff. She has 22, Naxos 8.559274). track 11, Naxos 8.559271). sung with the Kammeroper in Frankfurt am Main as well as with the Theater in Ulm. In A teenage composition, Far from my Heav’nly Justly regarded as among the most significant of all 2006 she sang the child in L’enfant et les sortilèges and Lauretta in Gianni Schicchi as Home (1893) is a fervent if slightly prolix ‘sacred song’ Ives’s songs, General William Booth Enters into well as Merlina/Silberklang in the Italian première of Le disavventure teatrali with the with an organ accompaniment such as Ives most likely Heaven (1914) draws on Vachel Lindsay’s already Orchestra Sinfonica Giuseppe Verdi di Milano. In concert she has appeared with the performed during his years as church organist. highly provocative and richly illustrative text as the Musica Angelica Baroque Orchestra at the Schwetzingen Festival and in Carnegie Hall. Among the most attractive of Ives’s earlier songs, basis for a eulogy of uninhibited verve and startlingly Far in the Wood (1900) sets an anonymous text that tells wide expressive range that between them encapsulate of pleasant anticipation with a deft and appealingly the composer’s avowedly Transcendentalist spirit as ingratiating wit (see also Volume 4, track 19, Naxos well as his questing, Utopian vision. 8.559272). In total contrast, God Bless and Keep Thee (1898) is Setting an impassioned verse by Lord Byron, A a straightforward and yet ardent avowal of love whose Farewell to Land (1909) is one of Ives’s most rigorous sacred undertones are deftly underlined in Ives’s songs in its highly nuanced vocal line and a piano part movingly restrained setting of this anonymous text. Tamara Mumford that descends across the length of the keyboard. Another love-song that has a distinctly sacred tinge, A setting of Ludovico Ariosto’s pithy verse, La Grace (1900) is also appreciably more intimate in its The mezzo-soprano Tamara Mumford made her Metropolitan Opera début in 2006 as Photograph: Eric Mull Fede (1920) is among the most concentrated of all limpid and serene setting of another seemingly Laura in Luisa Miller. Other opera performances include the title rôles in The Rape of Ives’s songs, with its forcefully rhetorical vocal line anonymous text (see also Volume 6, track 25, Naxos Lucretia under the baton of Lorin Maazel, L’Italiana in Algeri at Palm Beach Opera, La complemented by piano writing as tensile as it is 8.559274). Cenerentola at Utah Festival Opera, Principessa in Suor Angelica and Ciesca in Gianni unyielding. Taking as its basis the famous poem by Rupert Schicchi with the Orchestra Sinfonica Giuseppe Verdi di Milano, and appearances in In its expressive vocal line and seamlessly flowing Brooke, Grantchester (1920) is a song that, with its War and Peace, Manon Lescaut, Cavalleria rusticana, Idomeneo, and The Magic Flute, accompaniment, the setting of Hermann Allmers’ widely-spaced piano chords and allusion to Debussy, at the Metropolitan Opera. In concert she has appeared in major venues, making her Feldeinsamkeit (1898) suggests Ives was familiar with also its underlining of references to classical mythology, Carnegie Hall début in 2005. A native of Sandy, Utah, Tamara Mumford studied at Utah songs by Liszt; as also in the way phrases are repeated is as much a portrait of Ives the composer as it is a State and at Yale before joining the Lindemann Young Artist Development Program at so as to heighten their emotional impact (see also setting of the text. the Metropolitan Opera. She has received top awards in the Opera Index, Palm Beach Volume 3, track 20, Naxos 8.559271). Setting Anne Timoney Collins’s text “in a half- Opera, Sullivan Foundation, Connecticut Opera Guild and Joyce Dutka Foundation Flag Song (1900) sets Henry Strong Durand’s boasting and half-wistful way”, Ives invests The Competitions. stirring paean to Yale University with a rhythmic Greatest Man (1921) with sentiments that point robustness and expressive directness that is never less unerringly to the reverence in which he held his own than appropriate if perhaps occasionally tongue-in- father. cheek. Another setting of Heinrich Heine, Gruss (1898) Taken from his sacred cantata The Celestial draws from the lyric poem music of appealing Country, Ives’s setting of Henry Alford’s Forward into simplicity, and features a piano interlude that Light (1902) contrasts an initial restraint with vocal and undemonstratively links its two verses (see also Volume piano writing of some elaborateness towards the close. 6, track 32, Naxos 8.559274). The setting of an anonymous sonnet “in the Italian pattern”, Friendship (1898) unfolds its belief in this quality as being the pre-condition for love with a Richard Whitehouse 8.559270 49 8.559270 559270 bk Ives US 5/13/08 11:07 AM Page 8

Musicis International Award winner, he is also the winner of the 1999 William Matheus Sullivan Foundation Janna Baty Award, the 2000 Gerda Lissner Award, and the 2000 Denver Lyric Opera Guild Competition. He trained at Yale Opera of the Yale University School of Music and participated in young artist programmes with Santa Fe Opera, the Mezzo-soprano Janna Baty’s versatile career includes engagements with the Boston Bavarian National Opera in Munich, and the Steans Institute for Young Artists at Ravinia in Chicago. Symphony, Los Angeles Philharmonic, the Daejeon Philharmonic (South Korea), Hamburg State Opera, the Orchestre National du Capitole de Toulouse, Royal Philharmonic Orchestra, Tallahassee Symphony, Tuscaloosa Symphony, Longwood Laura Garritson Symphony, Hartford Symphony, the Orquesta Filarmónica de Bogotá (Colombia), Opera Theatre of St Louis, Eugene Opera, Opera North, and Boston Lyric Opera. She has sung Laura Garritson is pursuing a Doctor of Musical Arts degree in piano performance at under a number of very distinguished conductors and has performed at the Aldeburgh and The Hartt School at University of Hartford, where she is an assistant to internationally- Britten Festivals in England, the Varna Festival in Bulgaria, the Semanas Musicales de renowned pianist, Luiz de Moura Castro. She has made solo and concerto appearances Frutillar Festival in Chile, and the Tanglewood and Norfolk festivals in the United States. in over ten countries. In the United States she has performed in venues such as Weill Winner of several international competitions, most notably the XXI Concurso Recital Hall at Carnegie Hall in New York and The Sheldon in St Louis. Abroad she has Internacional de Ejecución Musical “Dr. Luis Sigall” (Chile), she has worked with many been a featured soloist in the Liszt Festival in Brazil and the International Arts Festival composers on performances of their music. Her recordings include the critically lauded in Venezuela, as well as festivals throughout Europe. A prizewinner in many Vali: Flute Concerto / Deylaman / Folk Songs (Set No. 10) with Boston Modern competitions, she has won the Emerson String Quartet Competition at The Hartt School Orchestra Project (Naxos 8.557224), and Chandos’s recording of Lukas Foss’s opera and the Artist Presentation Society Competition in St Louis, among others. She holds Grifflekin (as the Mother). Bachelor and Master of Music degrees from The Hartt School and an Artist Diploma from Yale University. Her major teachers include Luiz de Moura Castro, Boris Berman, the late Jane Allen, and Laura Schindler. Lielle Berman

American soprano Lielle Berman’s rôles include Cunégonde in Candide with the New York City Opera, Tytania in Britten’s A Midsummer Night’s Dream and Cunegonde with the Orchestra Sinfonica Giuseppe Verdi di Milano, Lauretta in Sara Jakubiak Gianni Schicchi with Yale Opera, Despina in Così fan tutte with Indianapolis Opera, the Second Niece in Peter Grimes with the Opéra National de Paris, Lucia The young American soprano Sara Jakubiak has performed the rôle of Giorgetta in Il in Lucia di Lammermoor, Sophie in Werther and Tatyana in Eugene Onegin with tabarro and appeared in Purcell’s Fairy Queen with the Orchestra Sinfonica Giuseppe the Pittsburgh Opera Center. As a member of the Lyric Opera Center at the Lyric Verdi di Milano, Italy, as well as both the Countess in Le nozze di Figaro and Blanche Opera of Chicago she performed and covered numerous rôles, including Nannetta in Dialogues des Carmélites with the Cleveland Institute. As a studio artist at Central in Falstaff, Adèle in Die Fledermaus, Frasquita in Carmen, Daisy Buchanan in City Opera she appeared in a program of opera scenes as the title rôle in Floyd’s The Great Gatsby, and the Queen of the Night in Die Zauberflöte. She has Susannah and Elettra in Idomeneo and performed the rôle of Musetta in concert excerpts appeared with the Chicago Symphony Orchestra, the Festival de Musique de St with Paul Nadler and the Southwest Florida Symphony. Her concert performance Barth, the Colorado Symphony Orchestra, and the New Haven Symphony credits include appearing as soloist in Britten’s War Requiem, Mahler’s Symphony No. Orchestra, among others. Lielle Berman was a 2006 semi-finalist in the 2, and Penderecki’s Credo conducted by the composer with the Yale Philharmonic, as Metropolitan Opera National Council Auditions, and received her Master of Music well as Beethoven’s Mass in C at the Beethoven Festival in Warsaw and Messiaen’s degree at Yale University School of Music in May 2005. Poèmes pour Mi in recital at Yale.

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Heather Buck Michael Cavalieri

Soprano Heather Buck has performed opera and oratorio in countries ranging from Michael Cavalieri has sung a versatile range of styles and repertoire ranging from Mozart to the United States to Russia and in styles ranging from early music to world premières Gounod, Gershwin and Argento. He has sung with Arizona Opera, Yale Opera, Santa Fe Opera, of contemporary works. Her operatic credits include the Queen of the Night in The the Orchestra Sinfonica Giuseppe Verdi di Milano, and the Chicago Symphony Orchestra. Magic Flute with English National Opera and Santa Fe Opera, Rosina in Il barbiere di Siviglia with Opera Birmingham, Stella in A Streetcar Named Desire with the Washington National Opera, La Fée in Cendrillon with Central City Opera, and The Angel in the United States première of Pasqual Dusapin’s Faustus, the Last Night, with Spoleto Festival USA. She created the title rôle in Charles Wuorinen’s Haroun and the Sea of Stories with New York City Opera, for which she was awarded the 2005 Kolosvar Award, which recognizes artists who perform new and unusual repertory. In concert she has sung Essa-Pekka Salonen’s Five Images after Sappho with the Utah Symphony, Jacob Druckman’s Counterpoise with the Los Angeles Philharmonic New Music Group, Carmina Burana with the San Antonio Symphony, Mozart’s Mass in C minor with the National Arts Centre Orchestra in Ottawa, and Douglas Dickson Barber’s Knoxville: Summer of 1915 with the Westchester Philharmonic. The pianist Douglas Dickson received his B.A. degree from Princeton University and his M.M.A. from the Yale School of Music. He has performed in the United States, Europe, Jennifer Casey Cabot Asia, and South America, in venues ranging from Japan’s Expo Hall to the Cincinnati Coliseum. While still in college he was the accompanist for the American Boychoir. As Soprano, Jennifer Casey Cabot’s career includes many of opera’s great heroines: Photograph: Christian Steiner part of Duodecaphonia, a prize-winning piano duo, he has performed at the Kennedy Violetta, Mimì, Manon, Susannah, Musetta, Donna Elvira, the Countess, Pamina and Center and elsewhere. Douglas Dickson has been music director for productions at Konstanze with the following opera companies: Boston Lyric Opera, Washington Quinnipiac University, the Yale School of Drama, Opera Theater of Connecticut, and Opera, New York City Opera, Calgary Opera, Florida Grand Opera and Central City Connecticut Experimental Theater. He was music director and conductor for Yale Opera’s Opera among others. She has appeared with the National Symphony under Leonard production of Britten’s The Rape of Lucretia, and he conducted a concert featuring Yale Slatkin, in the Athens Concert Hall with Sir Neville Marriner and with the New York Opera with the Orchestra Sinfonica Giuseppe Verdi di Milano. He has served for fourteen Philharmonic with Alan Gilbert. Her concert career has included Strauss’ Four Last years on the faculty of Quinnipiac University, and joined the Yale faculty in 1998. He Songs, Villa Lobos’ Bachianas Brazileiras No. 5, Mahler’s Fourth and Eighth recently made his Carnegie début in an all Ives concert at Weill Recital Hall. Symphonies, Mozart’s Exsultate Jubilate and Mass in C Minor, Handel’s Messiah, and Beethoven’s Ninth. In the 2007-2008 season she joined the Metropolitan Opera Robert Gardner for Mozart’s Le nozze di Figaro and La traviata and returned to the National Symphony for Handel’s Messiah. She was a resident soloist with the Deutsche Oper The baritone Robert Gardner has appeared with numerous opera houses and orchestras in the Berlin and the Staatstheater Braunschweig. A New York native, she holds a BA and a United States, Europe, and Asia, including New York City Opera, Washington National BM from Oberlin College and an MM from the Yale School of Music. Opera, Bavarian National Opera, Santa Fe Opera, Aspen Music Festival, Spoleto Festival, the Munich Philharmonic, and the major orchestras in Pittsburgh, Dallas, Denver, San Diego, Santa Rosa, New Haven, and Kansas City. His recent opera débuts include Marcello in La Bohème, Sharpless in Madama Butterfly, Zurga in The Pearl Fishers, and Robert Storch in Intermezzo. His recent concert performances include Ein deutches Requiem with the Dallas Symphony Orchestra, and Mendelssohn’s Elijah. Robert Gardner has been named the 2007 winner of the Lili Boulanger Memorial Award by the foundation started in 1936 by Nadia Boulanger. He is the third singer to win the award in its prestigious history. A 2001 Pro

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Heather Buck Michael Cavalieri

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Sumi Kittelberger, Soprano § IVES: 9 2008 Naxos Rights International Ltd. Evening (1921) 2:05 Tamara Mumford, Mezzo-soprano 6 @ £ 0 Evidence (1910) 1:44 Mary Phillips, Mezzo-soprano 9 ! Eyes so Dark (1902) 2:09 David Pittsinger, Bass & ¡ ™ @ Far from my Heav’nly Home (1893) 4:28 Matthew Plenk, Tenor 2 0 ! ( Songs • 2 # Far in the Wood (1900) 1:46 Kenneth Tarver, Tenor 4

Songs • 2 $ A Farewell to Land (1909) 1:53 Leah Wool, Mezzo-soprano 7 $ % % La Fede (1920) 0:54 ^ Feldeinsamkeit (1898) 2:56 Frederick Teardo, Organ @ & Flag Song (1900) 2:23 Eric Trudel, Piano

IVES: * Forward into Light (1902) 4:00 2 0 ! # $ & * ( ) § ( Friendship (1898) 3:23 Laura Garritson, Piano 3 ) Frühlingslied (1898) 2:06 J.J. Penna, Piano 1 7 9 % ¡ General William Booth Enters into Heaven (1914) 5:37 Douglas Dickson, Piano ™ God Bless and Keep Thee (1898) 2:30 4 5 6 8 ^ ¡ ™ £ ¢ ∞ £ Grace (1900) 1:39 ¢ Grantchester (1920) 3:12 Includes Free Downloadable Bonus Track ∞ The Greatest Man (1921) 1:25 at www.classicsonline.com § Gruss (1898) 1:35 Please see inside booklet for full details

A detailed track list can be found on page 2 of the booklet. www.naxos.com 8.559270 8.559270 Available sung texts may be accessed at www.naxos.com/libretti/559270.htm Cover photograph: Fall Foliage Colours by George Burba (Dreamstime.com) NAXOS