CAL PERFORMANCES PRESENTS PROGRAM

Sunday, October 13, 2013, 3pm Felix Mendelssohn (1809–1847) Volkslied (O säh ich auf der Heide dort), Hertz Hall Op. 63, No. 5 (1842) Ms. O’Connor & Ms. Rivera , soprano Mendelssohn Ich wollt, meine Lieb’ ergösse sich, Kelley O’Connor, mezzo-soprano Op. 63, No. 1 (1836) , Ms. O’Connor & Ms. Rivera

Claude Debussy (1862–1918) Chansons de Bilitis (1897) PROGRAM I. La Flûte de Pan II. La Chevelure III. Le Tombeau des Naïades Camille Saint-Saëns (1835–1921) El Desdichado (1849) Ms. O’Connor Ms. O’Connor & Ms. Rivera

Jonathan Leshnoff (b. 1973) Monica Songs (2012) David Bruce (b. 1970) That Time with You (2013) I. For Where Thou Go, I Will Go I. The Sunset Lawn II. We Cover Thee—Sweet Face II. That Time with You III. I thank You III. Black Dress IV. Greetings from Troy, Illinois IV. Bring Me Again V. So Much Joy World Premiere VI. There’s a Son Born to Naomi Ms. O’Connor World Premiere Ms. Rivera

Federico Mompou (1893–1987) Combat del Somni (1942–1948) Gabriela Lena Frank (b. 1972) Selections from The Kitchen Songbook(2013) I. Damunt de tu només les flors II. Aquesta nit un mateix vent I. Honey III. Jo et pressentia com la mar Bay Area Premiere IV. Fes me la vida transparent II. Sofrito Ms. Rivera World Premiere Ms. O’Connor & Ms. Rivera Charles Gounod (1818–1893) La Siesta (1870) Ms. O’Connor & Ms. Rivera Funded by the Koret Foundation, this performance is part of Cal Performances’ 2013–2014 Koret Recital Series, which brings world-class artists to our community.

INTERMISSION Cal Performances’ 2013–2014 season is sponsored by Wells Fargo.

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Camille Saint-Saëns (1835–1921) opera, having fulfilled commissions for one- opera The Firework Maker’s Daughter—a fun to devote himself to composition. His first im- El Desdichado act and “mini” operas from Tête à Tête (1999, and warm-hearted story for family audiences— portant works, a set of Impresiones Intimas, were Seven Tons of Dung), English National Opera I felt in the mood for something a lot darker. premiered to warm acclaim in by Motte- Composed in 1849. Studios (2002, Has It Happened Yet?), Genesis There are whole categories of ‘sorrowful songs,’ Lacroix in 1914. World War I drove Mompou Foundation (2006, Push!), The Opera Group from Dowland to the blues, that I have always back to Barcelona, but in 1921, he returned to The Viardots were among Europe’s most promi- (2007, Out of the Ordinary; 2011, The Firework been hugely drawn to, and I felt it was time to Paris, where he lived until the Nazis overran the nent 19th-century musical families: Pauline, Maker’s Daughter), and (2008, A explore something in this field. Knowing this city 20 years later. From 1941 until his death in head of the clan, was one of the day’s leading Bird in Your Ear), as well as commissions from was very much within Glyn’s range of expres- 1987, he made his home in Barcelona, living out mezzo-sopranos (her sister, Maria Malibran, for the song cycle Piosenki, set- sion and having just seen a beautiful lament lyric of the public eye and occasionally playing his was an equally celebrated singer); her daughter tings of Polish poet Julian Tuwim’s children’s he wrote for a play in Chester, I asked him if he compositions for friends. Mompou was recog- Louise enjoyed a successful career as a singer, verses (2007), the Chamber Music Society of would give it a go. As with my song cycle The nized as one of the masters of modern Spanish teacher, and composer in and Germany; (2009, The North Wind Was North Wind Was a Woman, I asked him if we music—he was elected to membership in the her son, Paul, was a noted violinist and conduc- a Woman), and a five-minute scene for the could have a conceit (in The North Wind it is ele- Royal Academies of San Jorge in Barcelona and tor. Saint-Saëns first met Pauline when they Opera Group to be performed in shopping ments of nature singing in the first person)— San Fernando in Madrid, made a Chevalier des appeared together at a charity concert in 1849, centers around Britain. Bruce has composed perhaps the songs would be seem like love songs, Arts et des Lettres by the French government, and they remained close friends and promot- instrumental pieces for New York’s Metropolis but they would actually be the voice of Death and awarded the Premio Nacional de Música for ed each other’s work for the rest of their long Ensemble (2009, Groanbox), Concert Artists or Time, or of somebody who had passed away. his lifetime’s work. lives. For a salon in 1871, Saint-Saëns composed Guild (2009, Caja de Música, for the Carnegie “I think the four poems Glyn came up with Among Mompou’s best known songs are the El Desdichado (“The Unfortunate One”) for Hall recital debut of harpist Bridget Kibbey), are incredibly evocative and expressive. The first three comprising Combat del Somni (“Fighting Pauline’s daughters Claudie and Marianne (to , BBC Symphony Orchestra, and third poems, The Sunset Lawn and Black the Dream”) that he composed between 1942 whom Gabriel Fauré would propose marriage, New Music Players, Presteigne Festival, Lake Dress, are clearly Death singing; the second and and 1948 to poems in Catalan by the Barcelona unsuccessfully, six years later), which took as District Summer Music Festival, and Yo-Yo fourth, That Time with You and Bring Me Again, poet, journalist, and editor Josep Janés (1913– its text Paul Jules Barbier’s French translation Ma’s Silk Road Project. He was 2012–2013 are more mysterious, but they both deal with a 1959). Mompou’s music is perfectly matched to of an anonymous Spanish poem as a tribute to Composer-in-Residence with the Royal Opera sense of loss in a relationship. Perhaps they are the voluptuous images and dreamy sensuality of Pauline’s father, Manuel del Popolo García, a House, London, and in 2013–2014 is Associate voices from beyond the grave.” Janés’s texts. distinguished teacher of voice born in Seville. Composer of the San Diego Symphony Orchestra, for whom he will write three piec- es, including a new work for the orchestra’s Federico Mompou (1893–1987) Charles Gounod (1818–1893) David Bruce (b. 1970) Carnegie Hall debut in October 2013. Bruce’s Combat del Somni La Siesta That Time with You distinctions include the 2008 Lili Boulanger Memorial Award (for which he was nominat- Composed in 1942–1948. Composed in 1870. Composed in 2013. World premiere. ed by ), Royal Philharmonic Society Composition Competition Prize, Adam Federico Mompou was born on April 16, 1893, Faust, of course, and occasionally Roméo et David Bruce was born to English and Welsh Prize of King’s College, and Herbert Howells in Barcelona, where he started taking piano Juliette, Ave Maria (a musical gloss of the parents in Stamford, Connecticut, in 1970, Prize of London’s Royal College of Music. Bruce lessons as a young boy with Pedro Serra at the Prelude No. 1 in Bach’s Well-Tempered Clavier), but has been based in England since he began complements his work as a composer by running Conservatorio del Liceo; he gave his first public the Petite Symphonie for Winds, and the Funeral his undergraduate studies in music in 1988 at Red Balloon Technology, Ltd., whose portfolio concert at age 15. A recital of Fauré’s piano works March of a Marionette (the perfect theme mu- Nottingham University, where his composition includes the sheet music site 8notes.com, the performed by Marguerite Long in 1909 fixed sic for Alfred Hitchcock’s fondly remembered teachers included Jim Fulkerson and Nicholas melody search engine Tunespotting.com and Mompou’s ambition to devote himself to music series of TV thrillers), but little else by Charles Sackman. (Bruce now lives in St. Alban’s, north CompositionToday.com, an online resource and to further his career in Paris. Two years lat- Gounod is encountered with any frequency of London, and holds both British and American for composers. er, armed with a letter of recommendation from nowadays, though he left a vast catalog of works citizenship.) He did his master’s degree work Bruce composed That Time with You, a song Granados, Mompou descended on the French in all the representative genres of the later 19th with Tim Salter and George Benjamin at the cycle to texts by British playwright and poet capital, where he studied harmony with Marcel century—operas (a full dozen of them), inci- Royal College of Music in London (1991–1993) , on a commission from Carnegie Samuel-Rousseau and piano with Ferdinand dental music, Masses, oratorios, cantatas, sacred and completed his doctorate in composition at Hall and mezzo-soprano Kelley O’Connor; this Motte-Lacroix, with whom be became close and secular choral numbers, songs, orchestral King’s College London in 1999, under the su- performance is the work’s world premiere. Bruce friends. Mompou, like César Franck, realized works, concertos, compositions for chamber pervision of Sir . Bruce has wrote of it, “Having recently collaborated suc- that his retiring personality made the life of a ensembles, piano, and organ, even an autobiog- shown a particular affinity for vocal music and cessfully with Glyn Maxwell on our chamber touring virtuoso impractical for him, so he chose raphy. Among the most pleasing attractions in

32 CAL PERFORMANCES CAL PERFORMANCES 33 PROGRAM NOTES PROGRAM NOTES this seldom-visited musical land are some 200 In 1844, Mendelssohn published a collec- the repertory inspired by Louÿs’s verses. Three abroad, and through his highly acclaimed CDs songs characterized by graceful melody, refined tion of six vocal duets written during the preced- years later, he sketched some tiny pieces for two for the Naxos label. The major symphony or- harmony, and unaffected text-setting. ing eight years on texts of various authors. The flutes, two harps, and celesta to accompany a chestras of Atlanta, Kansas City, Buffalo, Kyoto, Gounod was driven out of Paris in 1870 first number of the set (1836; Ich wollt, meine reading of twelve more of the Bilitis poems at a Mexico City, Philadelphia, and Baltimore head by the Franco-Prussian War (his home in the Lieb’ ergösse sich—“I wish my love would flow Paris newspaper office, but abandoned the proj- a lengthy list of ensembles throughout the world suburbs was destroyed during the siege), and into a single word”) is an ardent setting of a love ect before it was completed. (In the 1950s, Pierre who have performed his symphonies and other he found refuge in London with the singer and poem by Heinrich Heine. TheVolkslied (Op. 63, Boulez made a performing edition of this music, orchestral works, as well as concertos that fea- teacher Georgina Weldon, who had recently es- No. 5, 1842) is based on a German adaptation indicating that the only thing he needed to add ture flute, percussion, violin, violin and viola, tablished an orphanage dedicated principally to (O säh ich auf der Heide dort) by poet, transla- was the missing celesta part.) In 1914, Debussy , trombone, and guitar. music instruction. For Mrs. Weldon’s students, tor, and political activist Ferdinand Freiligrath returned to his 1900 Bilitis music, and reworked Leshnoff’s chamber music has been per- Gounod wrote a duet on an anonymous Spanish of Robert Burns’s O wert thou in the cauld blast six of its movements as the Épigraphes Antiques formed and recorded by many ensembles. In text for two sopranos (a favored combination for On yonder lea, My plaidie to the angry airt, I’d for piano, four hands. June 2013 the Carpe Diem String Quartet British home musical entertainment in those shelter thee. Debussy’s luxuriant music, with its evoca- performed the premiere of his String Quartet days) titled La Siesta, whose broken-chord ac- tive melodic leadings, modalism, lithe rhythms, No. 4 at the National Gallery in Washington, companiment evokes the strumming of a guitar. and opulent harmonies, perfectly embodied the D.C. Leshnoff’s three CDs for Naxos have (1862–1918) moods, images, and cadences of Louÿs’s sugges- featured chamber music and orchestral works Chansons de Bilitis tive verses. The composer’s biographer Oscar in performances by the IRIS Orchestra, the Felix Mendelssohn (1809–1847) Thompson noted that these three songs not only Baltimore Chamber Orchestra, and the conduc- Volkslied (O säh ich auf der Heide dort), Composed in 1897. Premiered on March 17, 1900, “place him beside Wolf and Mussorgsky as a su- tors Markand Thakar and Michael Stern, among Op. 63, No. 5 in Paris by Blanche Marot and the composer. preme master of word painting,” but also “give other performers. Ich wollt, meine Lieb’ ergösse sich, play to that deep-seated sensualism, that love of Leshnoff’s current commissions include: Op. 63, No. 1 In 1895, Debussy’s friend Pierre Louÿs published the voluptuous, which stamped Debussy as a he- a second symphony, for Robert Spano and the his Chansons de Bilitis, 143 sensual poems and donist and a sybarite.” Atlanta Symphony Orchestra; a new guitar con- Composed in 1842 and 1836. three epigraphs (i.e., an inscription on a build- certo for Manuel Barrueco (a co-commission ing, statue or the like) that the writer tried to © 2013 Dr. Richard E. Rodda of the Baltimore and Nashville symphony or- Mendelssohn wrote songs throughout his life, pass off as translations of the verses of a fictitious chestras in the United States and the Asturias some 120 of them, that reflect the elegance, ancient Greek poetess of Sappho’s era. Louÿs di- Symphony Orchestra in Spain); and a clarinet polish, craftsmanship, and emotional reserve vided the verses into three books associated with Jonathan Leshnoff (b. 1973) concerto for Ricardo Morales. that characterized both his personality and his the phases of Bilitis’s supposed life (reminiscenc- Monica Songs Jonathan Leshnoff, born in September 1973 other compositions. He was introduced to the es of childhood, incidents during her residence in New Jersey, is Composer-in-Residence of the form by his rigorous but conservative teacher, on the island of Lesbos, and her life as a cour- Composed in 2012. World premiere. Baltimore Chamber Orchestra and Professor of Carl Friedrich Zelter, director of the Berlin tesan on Cyprus), and made up a biography for Music at Towson University. Singakademie, who advocated the traditional her as an introduction to the collection—“born The following note, written by Sandra Hyslop, was Monica Songs was commissioned by Sandra late–18th-century form of the German Lied, at the beginning of the sixth century preced- provided for this performance by the composer. Hyslop, the Friends of Monica, and the Carnegie with its strophic structure, subservient piano ing our era, in a mountain village on the banks Hall Corporation in celebration of the life of accompaniment, and restrained expression, of the Melas forming the eastern boundary of In spring 2011, Jessica Rivera and Robert Monica Langhammer (1965–2003); it is dedi- over the newer, emotionally penetrating, and Pamphylia”—and appended to it a bibliog- Spano both performed premieres of works by cated to soprano Jessica Rivera, who joins pia- formally adventuresome songs of Schubert. raphy and a list of poems yet to be translated. Jonathan Leshnoff—Ms. Rivera sangHope: An nist Robert Spano in the work’s world premiere Mendelssohn’s songs were well suited to the Though his amiable ruse was quickly uncov- Oratorio, and Mr. Spano, Music Director of the at Hertz Hall in Berkeley on October 13, 2013. intimate parlor gatherings that played such an ered, his contemporaries were greatly impressed Atlanta Symphony, conducted the Philadelphia Jonathan Leshnoff composed Monica Songs important role in 19th-century musical life, with the poems’ skillful, evocative blending of Orchestra in the premiere of Leshnoff’s Flute in 2012 for Jessica Rivera. Mr. Leshnoff and though they were elevated above the custom- the antique and the modern, the erotic and the Concerto, with Jeffrey Khaner as the soloist. Ms. Rivera, with the assistance of Ms. Rivera’s ary Biedermeier salon fare by their finesse, har- spiritual: Dupré, Dandelot, Koechlin, Rudhyar, Concurrently, Gil Shaham and Orli Shaham in- husband, Barry Shafer, selected the six texts for monic subtlety, and graceful lyricism. So well do and others set several of them as songs for voice troduced Leshnoff’s Yiddish Suite for Violin and Monica Songs from a variety of sources. They Mendelssohn’s songs embody essential elements and piano, and three composers (Erlanger, Piano at the 92nd Street Y in New York. form a cycle of six independent songs that work of his creative personality that Wilfred Blunt Zandonai, and Honegger) worked them into Jonathan Leshnoff has achieved an interna- together as one cohesive unit. Songs I and VI chose one—On Wings of Song—as the title of operas. In the spring of 1897, Debussy added tional reputation through concert hall perfor- quote from the Old Testament Book of Ruth; his 1974 biography of the composer. three exquisite settings for voice and piano to mances of his music in the United States and Song II is Emily Dickinson’s somber reminder

34 CAL PERFORMANCES CAL PERFORMANCES 35 PROGRAM NOTES PROGRAM NOTES of the frustration and grief that the living feel Gabriela Lena Frank (b. 1972) Andinos composed entirely of native highland cast honey as a metaphorical lens through which in losing their grip on the dying; Song III is Selections from The Kitchen Songbook instruments; and Música Mestiza, documenting a mother and daughter view the world. Slightly e. e. cummings’s brilliant declaration of new a workshop uniting indigenous Andean musi- barbed tenderness abounds between them, like- life, and spring; Songs IV and V, drawn from Composed in 2013. World premiere of “Sofrito.” cians and a classically trained string quartet at ly inspired by the real-life friendship between a private collection of letters between a mother “Honey” premiered on July 19, 2013, at SongFest at the University of Michigan in Ann Arbor to pre- Ms. Rivera and Ms. O’Connor. The second and a daughter, present a panorama of human the Colburn School in Los Angeles by Jessica Rivera miere original new work. song likewise frames a relationship in gustatory emotions: the daughter’s wit and humor, as well and Kelley O’Connor and pianist Raquel Gorgojo. Frank earned her bachelor’s and master’s terms, this time humorously ruminating on the as her existential doubts, and the mother’s love degrees at Rice University in Houston, Texas, virtues of sofrito, a starter of fried onions, garlic, and affirmation; Song VI, returning to the Book Born in Berkeley, California, to a mother of and her doctorate at the University of Michigan and tomatoes essential to many Latin American of Ruth, closes the cycle with the assertion that mixed Peruvian-Chinese ancestry and a father in Ann Arbor. Her primary teachers in piano dishes. Switching between spoken and sung beauty can emerge from pain, just as Ruth and of Lithuanian-Jewish descent, Gabriela Lena have been Jeanne Kierman Fischer and Logan lines, two old friends view sofrito as a wise coun- Naomi’s suffering was precursor to the birth of Frank explores her multicultural heritage most Skelton and her primary teacher in composition selor on the matters of love.” David and his Psalms. ardently through her compositions. Inspired by has been William Bolcom. She currently makes Leshnoff has balanced the themes of life and the works of Bela Bartók and Alberto Ginastera, her home in the Bay Area and travels frequently death, love and loyalty, joy and sorrow in music Frank has traveled extensively throughout South in South America. © 2013 Dr. Richard E. Rodda that echoes and enriches the poems and letters. America and her pieces reflect and refract her Frank writes of The Kitchen Songbook, begun His interweaving of the vocal and piano parts studies of Latin American folklore, incorporat- on a commission from the Sorel Organization insures the integrity of the work. Among the ing poetry, mythology, and native musical styles for the July 2013 SongFest: “Is it terribly pre- unifying musical elements is a melodic figure into a western classical framework. sumptuous for me to hope that the venerable that appears throughout the cycle. Heard first in Winner of a Latin Grammy Award and nom- American composer William Bolcom and I are the piano’s opening statement, the figure traces inated for Grammy Awards as both composer cut from the same cloth? Such hope on my part a melodic leap of one octave with an immediate and pianist, Frank also holds a Guggenheim initially stems from several wonderful years as descent of a third. This element occurs repeat- Fellowship and a USA Artist Fellowship given his student at the University of Michigan, where edly in the vocal line as well. each year to 50 of the country’s finest artists. A I habitually signed up for the lesson slot right Monica Songs is characterized by a musical member of the Silk Road Ensemble, Frank is before lunch. In this way, by staying over into balance of consonance and dissonance; open, regularly commissioned by luminaries such as the lunch hour, I would effectively double my spare harmonies in contrast with thick, lush cellist Yo-Yo Ma, soprano , the time with my Bill, who protested weakly (if at chord structures; and soaring arioso passages set King’s Singers, and the Kronos Quartet. She is all) the intrusion. Sometimes I brought him alternately with more chromatic melodic materi- also commissioned and performed by premiere meals cooked in my own kitchen, and some- als. In the music of Monica Songs, Leshnoff has orchestras, such as the New York Philharmonic, times we patronized one of the many delicious respected the wide-ranging internal demands of the Chicago Symphony, the Boston Symphony, establishments of downtown Ann Arbor. And the texts for appropriate rhythmic treatment and the Philadelphia Orchestra, the Cleveland through it all, Bill’s especial penchant for vocal he has given shape to the six pieces as one coher- Orchestra, and the San Francisco Symphony. In song comingled inexorably in my mind with a ent, finely sculpted arch. 2013, she began her tenure as composer-in-resi- love of good food. dence with the Detroit Symphony and maestro “Thus, when my dear friend Jessica Rivera, © 2013 Sandra Hyslop Leonard Slatkin and continues her longstanding the luminous soprano, asked me to compose mu- creative relationship with Pulitzer Prize-winning sic inspired by food, The Kitchen Songbook was playwright on operatic works. serendipitously born. The first two songs of an Frank’s life and music is featured in mul- ongoing, likely lifelong, cycle are written espe- tiple scholarly books including the W. W. cially for Ms. Rivera and her frequent collabora- Norton Anthology The Musics of Latin America. tor, the equally luminous mezzo-soprano Kelley She is also the feature subject of multiple PBS O’Connor, and were initially brought into exis- documentaries: Peregrinos: Pilgrims, A Musical tence by the West Coast-based festival SongFest. Journey, documenting her symphony inspired “Utilizing texts co-written with the Pulitzer by interviews with Hispanic immigrants in Prize-winning playwright Nilo Cruz, the first Indianapolis, ; Compadre Huashayo, song pays tribute to one of the oldest and sweet- documenting her work in Quito, Ecuador, est elixirs known to man: honey. Rather than composing for the Orquesta de Instrumentos linger on its attributes solely in the kitchen, we

36 CAL PERFORMANCES CAL PERFORMANCES 37 ABOUT THE ARTISTS ABOUT THE ARTISTS

Praised by the San with Mr. Spano and the Boston Symphony returns to the Atlanta Symphony Orchestra for is unique among American orchestras. As Music Francisco Chronicle Orchestra; ’s Fire Angels, Mahler’s Brahms’s Alto Rhapsody led by Donald Director of the Aspen Music Festival and for a voice of “effort- Symphony No. 4, and Vaughan Williams’s Runnicles, as well as to the National Symphony School, he oversees the programming of more less precision and Dona Nobis Pacem, all with Mr. Spano and the Orchestra in performances of El amor brujo con- than 300 events and educational programs for tonal luster,” Jessica Atlanta Symphony; Philip Glass’s the CIVIL ducted by venerable Spanish maestro Rafael 630 students, including Aspen’s American Rivera is established wars: The Rome Section with Grant Gershon and Frühbeck de Burgos. Academy of . as one of the most the Los Angeles Philharmonic; and Mozart’s Highlights of her recent seasons include Under Mr. Spano’s guidance, The ASO creatively inspired with David Robertson conducting the performances of Ravel’s Shéhérazade with Esa- and audiences explore a creative programming

vocal artists before Wedge Thom Cleveland Orchestra. Pekka Salonen and the Philharmonia Orchestra mix. The Atlanta School of Composers reflects the public today. The intelligence, dimension, Committed to the art of recital, Ms. Rivera at the Edinburgh Festival; Bach’s St. Matthew Mr. Spano’s commitment to American con- and spirituality with which she infuses her per- has performed in concert halls in New York, Los Passion with Robert Spano and the Atlanta temporary music. Guest engagements include formances on the great international concert Angeles, San Francisco, and Santa Fe amongst Symphony; Stravinsky’s Les Noces with David the New York and Los Angeles philharmon- and opera stages has garnered Ms. Rivera unique others. She was deeply honored to have received Robertson and the St. Louis Symphony; Mahler’s ics, and the San Francisco, Boston, Cleveland, artistic collaborations with many of today’s a commission from Carnegie Hall for the world “Resurrection” Symphony with Mr. Runnicles Chicago, and Philadelphia symphony orches- most celebrated composers, including John premiere of a song cycle by Nico Muhly called and the Atlanta Symphony; Elgar’s Sea tras, as well as the Orchestra Filarmonica della Adams, Gabriela Lena Frank, Osvaldo Golijov, The Adulteress given on the occasion of her Weill Pictures and Britten’s Spring Symphony with Scala, BBC Symphony, and Amsterdam’s Royal Jonathan Leshnoff, and Nico Muhly, and has Hall recital performance. Edward Gardner and the City of Birmingham Concertgebouw Orchestra. He has conducted brought her together in collaboration with such Symphony Orchestra; and Mozart’s Requiem for Covent Garden, Welsh National Opera, Lyric esteemed conductors as Bernard Haitink, Sir Possessing a voice of un- with Louis Langrée and the Mostly Mozart Opera of Chicago, Houston Grand Opera, and Simon Rattle, Esa-Pekka Salonen, Robert common allure, musical Festival Orchestra, as well as with Iván Fischer the 2005 and 2009 Ring cycles. Spano, and Michael Tilson Thomas. sophistication far be- leading the Orchestra of St. Luke’s at Carnegie As Music Director of the ASO, Mr. Spano Ms. Rivera was heralded in the world pre- yond her years, and in- Hall. Ms. O’Connor’s role debuts as Suzuki in has programmed five world premieres as well miere of ’s opera A Flowering Tree, tuitive and innate dra- Madama Butterfly at Boston Lyric Opera; Ursule as six Atlanta premieres this season. He makes singing the role of Kumudha, in a production matic artistry, the in Berlioz’s Béatrice et Bénédict at Opera Boston; three appearances at New York’s Carnegie Hall directed by as part of Vienna’s New Grammy Award-winning and Hippolyta in A Midsummer Night’s Dream in varied programming and leads his Atlanta Crowned Hope Festival. She has performed A mezzo-soprano Kelley at Lyric Opera of Chicago and the Canadian Symphony Orchestra and Chorus for the eighth Flowering Tree for her debut with the Berlin O’Connor has emerged Opera Company. time in Carnegie Hall’s Isaac Stern Auditorium.

Philharmonic Orchestra with Sir Simon Rattle Stertz Maxwell Zachary as one of the most com- Ms. O’Connor’s discography includes Guest appearances are with the Minnesota and, under the composer’s baton, with the pelling performers of her generation. During the Lieberson’s Neruda Songs and Golijov’s Orchestra, Cincinnati Symphony, Orquesta Cincinnati Opera, San Francisco Symphony, Los 2013–2014 season, the California native’s im- with Mr. Spano and the ASO, Sinfonia de Galicia, Tampere Philharmonic, Angeles Philharmonic, Orchestra of St. Luke’s pressive calendar includes John Adams’s The as well as Beethoven’s Symphony No. 9 with and two weeks of performances with the Boston at Lincoln Center, and London Symphony Gospel According to the Other Mary with Grant Mr. Welser-Möst and the Cleveland Orchestra Symphony Orchestra. Mr. Spano is also an artis- Orchestra at the Barbican Centre. The London Gershon conducting the Ravinia Festival for Deutsche Grammophon. tic curator of the Ojai Festival. performances were recorded and are commer- Orchestra; the world premiere of John Harbison’s Ms. Rivera and Ms. O’Connor appear by With a discography of 21 recordings for cially available on Nonesuch Records. Crossroads with the Saint Paul Chamber arrangement with IMG Artists, Carnegie Hall Telarc, Deutsche Grammophon, and ASO Ms. Rivera has sung Kitty Oppenheimer in Orchestra conducted by Edo de Waart; Peter Tower, 152 West 57th Street, 5th Floor, New Media, Mr. Spano has garnered six Grammy Adams’s with the Netherlands Lieberson’s Neruda Songs with the Gothenburg York, New York 10019. Awards. Dedicated to pedagogy and multi- Opera, Lyric Opera of Chicago, and Finnish Symphony Orchestra and Joana Carneiro; and disciplinary studies, he is on faculty at Oberlin National Opera, and she has given concert Beethoven’s Symphony No. 9 with Alan Gilbert Conductor, pianist, Conservatory, and has received honorary doc- performances with Mr. Spano and the Atlanta and the New York Philharmonic. Ms. O’Connor composer, and peda- torates from Bowling Green State University, Symphony Orchestra. Her portrayal of Kitty joins Franz Welser-Möst and the Cleveland gogue Robert Spano is the Curtis Institute of Music, Emory University, Oppenheimer was captured in Amsterdam and Orchestra for an international tour of one of the most imagi- and Oberlin. Musical America’s 2008 Conductor is commercially available on DVD on the BBC/ Beethoven’s Mass in C, a work that also serves native conductors of his of the Year, Mr. Spano was awarded Columbia Opus Arte label. for her return to the San Francisco Symphony generation. Serving the University’s Ditson Conductor’s Award for the Ms. Rivera’s 2013–2014 season features under the baton of Michael Tilson Thomas. She Atlanta Symphony advancement of American music in 2009 and

Donnacha Dennehy’s That the Night Come collaborates with Vladimir Jurowski for the first Orchestra (ASO) as its Angela Morriss inducted into the Georgia Music Hall of Fame with Miguel Harth-Bedoya and the Fort Worth time in performances of Adams’s El Niño with Music Director since 2001, he has created a in 2012. Symphony; Golijov’s La Pasión según San Marcos the London Philharmonic Orchestra. The artist sense of inclusion, warmth and community that

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