06-29 Sylvia Olden Lee_Carnegie Hall Rental 6/15/17 1:13 PM Page 1

Thursday Evening, June 29, 2017, at 7:30 Isaac Stern Auditorium / Ronald O. Perelman Stage

FOUNDATION FOR THE REVIVAL OF CLASSICAL CULTURE

presents Tribute to Sylvia Olden Lee Master Musician and Teacher

arr. Sylvia Olden Lee Lord, How Come Me Here ELVIRA GREEN, Mezzo-soprano

Traditional Spiritual A City Called Heaven SHEILA HARRIS JACKSON, Soprano

arr. Hall Johnson Lord, I Don’t Feel No-ways Tired SYLVIA OLDEN LEE CENTENNIAL CHORUS* GREGORY HOPKINS , Tenor DIANE SARE, Director

Welcoming Remarks Dennis Speed , Schiller Institute NY-NJ

Sylvia Speaks Audio recording: Pay Attention to the Words!

Traditional Spiritual Go Down, Moses PATRICE P. EATON, Mezzo-soprano KEVIN SHORT, Bass-baritone

arr. William L. Dawson Soon Ah Will Be Done SYLVIA OLDEN LEE CENTENNIAL CHORUS* DIANE SARE, Director

Remarks by Elizabeth Nash, co-author of The Memoirs of Sylvia Olden Lee, Premier African-American Classical Vocal Coach

Remarks by Elvira Green, student, colleague, and friend of Ms. Lee

(program continued)

PLEASE SWITCH OFF YOUR CELL PHONES AND OTHER ELECTRONIC DEVICES. 06-29 Sylvia Olden Lee_Carnegie Hall Rental 6/15/17 1:13 PM Page 2

GIUSEPPE VERDI Ritorna vincitor! from Aïda INDIRA MAHAJAN, Soprano DAVID ANTONY LOFTON, Piano

GIUSEPPE VERDI Ella giammai m ’am ò from Don Carlo SIMON ESTES, Bass-baritone DAVID ANTONY LOFTON, Piano

GIUSEPPE VERDI Il Grand’Inquisitor! – Nell’ispano suol mai l’eresia dominò duet from Don Carlo SIMON ESTES, Bass-baritone KEVIN SHORT, Bass-baritone DAVID ANTONY LOFTON, Piano

GIUSEPPE VERDI Toi qui sus le néant from ROSA D’IMPERIO, Soprano DAVID ANTONY LOFTON, Piano

GIUSEPPE VERDI Dio, che nell ’alma infondere duet from Don Carlo EVERETT SUTTLE, Tenor FRANK MATHIS, Baritone DAVID ANTONY LOFTON, Piano

GAETANO DONIZETTI Chi mi frena in tal momento? sextet from Lucia di Lammermoor OSCEOLA DAVIS, Soprano PATRICE P. EATON, Mezzo-soprano GREGORY HOPKINS, Tenor EVERETT SUTTLE, Tenor FRANK MATHIS, Baritone KEVIN SHORT, Bass-baritone DAVID ANTONY LOFTON, Piano

Intermission

FRANZ SCHUBERT Who Is Sylvia? Words by William ROBERT SIMS, Baritone Shakespeare JEREMY JORDAN, Piano

FRANZ SCHUBERT Impromptu, Op. 90, No. 3 in G-flat major JEREMY JORDAN, Piano

JOHANNES BRAHMS Vier ernste Ges änge , No. 4 : Wenn ich mit Menschen- und mit Engelszungen KEVIN SHORT, Bass-baritone DAVID ANTONY LOFTON, Piano 06-29 Sylvia Olden Lee_Carnegie Hall Rental 6/15/17 1:13 PM Page 3

arr. Jacqueline Hairston Guide My Feet OSCEOLA DAVIS, Soprano GREGORY HOPKINS, Piano

Remarks by Lynn J. Yen, founder and executive director of the Foundation for the Revival of Classical Culture

Remarks by Eve Lee and Everett Lee, Sr.

ROLAND HAYES Five songs from The Life of Christ Prepare Me One Body Lit’l Boy They Led My Lord Away He Never Said a Mumberlin’ Word Were You There? EVERETT SUTTLE, Tenor FRANK MATHIS, Baritone GREGORY HOPKINS, Piano

LUDWIG “Hallelujah” chorus VAN BEETHOVEN from Christ on the Mount of Olives , Op. 85

WOLFGANG Ave verum corpus , K.618 AMADEUS MOZART SYLVIA OLDEN LEE CENTENNIAL CHORUS* RICHARD ALSTON, Piano JOHN SIGERSON, Director

Words by Finale: Lift Every Voice and Sing! James Weldon Johnson SOLOISTS WITH SYLVIA OLDEN LEE CENTENNIAL CHORUS* Music by RICHARD ALSTON, Piano ROLAND CARTER, Director J. Rosamond Johnson arr. by Roland Carter

* The following choral groups are participating: Schiller Institute NYC Chorus Convent Avenue Baptist Church Sanctuary Choir Schiller Institute Boston Chorus Schiller Institute Virginia Chorus 06-29 Sylvia Olden Lee_Carnegie Hall Rental 6/15/17 1:13 PM Page 4

Notes ON THE PROGRAM

“I don’t feel that my approach as a author’s lives. But they should at least vocal coach of interpretation is unique. know the author’s intention and what But I probably am unique in beating prompted the composer to set this the devil out of singers to help them text to music. … create an interpretation meant to be closest to the composer’s intention for For a song, singers should know who his , oratorio, lied, chanson, or wrote the poem. It must be superb, song.” Sylvia Olden Lee could demand since the composer decided it was and elicit a caliber of musical and intel - worthy of being set to music … ini - lectual excellence from singers that tially, the singers should look up the other teachers could not, because she poet’s life and read one other of his demanded the same excellence from works, so as to take on his mantle. herself. Here is some of the advice she Then they should sit and silently offered, as recorded by author Elizabeth study their song’s poem. Next, they Nash in her book The Memoirs of Sylvia should say it aloud to discover the Olden Lee, Premier African-American rhythms and words to be accented. If Classical Vocal Coach: Who is Sylvia : you take the tune away, some singers can’t do the song. That’s why I insist: Try setting your alarm at 6:15. Don’t “Learn the text first!” Mr. Rudolf get out of bed. Don’t go to the bath - stated: “Both Beethoven and Verdi, room. Reach for your score and open never having written literary texts in it. Don’t make a sound. Read it as their lives, said on their death beds: you would a novel and put yourself in Pay attention to the words.” They the place of the character. Try to really could have said: “Pay attention acquire most of your artistic knowledge to the thoughts.”… in quietness. It is your duty as a singer to know everything on the page except Singers can hold their scores if they the printer’s mark at the bottom. must, but there’s got to be some interpretation there! When teaching For an opera, singers should be famil - German lieder, Gerhard Hüsch iar with the libretto and its source, insisted that his students speak the whether it’s Shakespeare or Johann lyrics as dramatic monologues before Wolfgang von Goethe. It’s not enough singing them…. to know that Gounod wrote Faust . Who wrote the original story? They But no one can put the meaning in don’t have to be authorities on the your head. You have to bring it out composer’s and dramatic or literary of yourself. 06-29 Sylvia Olden Lee_Carnegie Hall Rental 6/15/17 1:13 PM Page 5 A L

Sylvia Olden Lee: Through Beauty to F U

Freedom—March On! C H S Whatever any of us who got to know, live, or work with Sylvia Olden Lee may disagree upon, there is one word that everyone who met her can use to identify her as a person and artist: unique . There simply never was nor will there ever be another human being born like Sylvia Olden Lee. The term “force of nature” would be trite. Sylvia was a force of truth—like Sojourner Truth, but with a piano.

Sylvia’s mother refused to “pass for her, in the now-famous “Jauchzet!” white” to sing at the Metropolitan exchange from the 1992 television film Opera in 1912. However, once Sylvia Baroque Duet , featuring Battle and became, in 1954, a vocal coach at the trumpeter Wynton Marsalis, thousands Met, she instigated the correction of of us would probably never have seen such racist injustice, proposing to Max Sylvia teach, and thus have been inspired Rudolf that singer Carol Brice be hired. to now attempt to bring her “Project In response, Rudolf Bing suggested con - SYLVIA” (Saving Young Lyric Voices In tralto , and on January Advance) into existence. 7, 1955, Sylvia and the world watched Marian Anderson perform the role of Sylvia’s great friend, the late William Ulrica in Verdi’s Un ballo in maschera Warfield, in describing what music is, on that forbidden stage. Before Little described Sylvia’s life’s passion. “Music Rock, Birmingham, and Selma, there is that part of us that is connected with was the Met. the Divine One. I remember Dr. Thurman once said, ‘God created man in His own Artistic truth was the daily bread of image in the dead center, so that in the Sylvia Olden Lee. Unafraid of contro - dead center of God’s brain, there is this versy, Sylvia was the pianist for singer image of what man is; and at a point at Paul Robeson, and inspired Minister which man reaches the full develop - Louis Farrakhan’s performance of the ment of that image, then he will be on a Mendelssohn Violin Concerto in G minor. par with the angels….’ And I never for - Artist and tenor Gregory Hopkins has got that: Ah! So that’s what evolution is said of her: “No one coaches like Mrs. about! Man finally coming into the Lee. Many a time she would command, image that is in the dead center of God’s ‘Now sing it again. More legato, and brain, of what man is to be!… And all make me believe it’—and before I could of us are endowed with that basic thing, finish the line, she would yell ‘Phoney!’” and music is it.” Had Sylvia’s close friend and Metropol - itan Opera star Kathleen Battle not Sylvia Olden Lee’s life was a message to been so gracious as to let the world see the world from the dead center of God’s the candid footage of Sylvia Lee coaching brain: Pay attention to the words! 06-29 Sylvia Olden Lee_Carnegie Hall Rental 6/15/17 1:13 PM Page 6

and an “A,” therefore, located at an interval between “A” at 427 and “A” at 432 Hz. That demonstration was held here, at Carnegie Hall’s Weill Recital Hall, and attracted vocal coaches, accompanists, musical theorists, teach - ers, and students from the entirety of New York City’s musical community.

One year earlier, in 1992, the Schiller Institute had published A Manual on the Rudiments of Tuning and Registra - tion, Volume I , which, among other things, revived the knowledge of what, only a few decades earlier, had been widely recognized to be “physical” pitch, as opposed to what was com - monly termed “International Pitch”— the latter being a convention, not a principle. In a 1931 work Speech and Voice, with X-rays of English, French, Performing at “A”=432 Hz, Called German, Italian, Spanish, Soprano, “Verdi” or “Proper” Tuning Tenor, and Baritone Subjects by Dr. G. Oscar Russell of Ohio University, the “It is particularly important to raise the author stated: “D.C. Miller prefers the question of tuning in connection with tempered scale, or so-called ‘Interna - bel canto technique, since today’s high tional Pitch,’ where ‘A’=435 and middle tuning misplaces all register shifts, and ‘C’=258.65; but Sir Richard Paget and makes it very difficult for a singer to other scientific investigators cited in have the sound float above the breath. this work, generally use the ‘Physical’ When an ‘F’-sharp becomes a ‘G’ … or ‘Scientific’ pitch where ‘A’=430 and everything is misplaced a half-step, and middle ‘C’=256.” the technique fails. I also like … the hypothesis that instrumental music, The United States Army Manual of too, is an imitation, a derivative, of 1944 reported: vocal music. Also, instrumental music sounds false when played at a high tun - Strike the note middle “C” on any ing; the sound is as unnatural in instru - average well-tuned piano and it gives ments as in voices … what is true for 256 vibrations per second. Likewise the voice, is also true for instruments.” the middle “C” tuning forks that are —Carlo Bergonzi, at Weill Recital Hall, used in all physical laboratories are all Carnegie Hall, April 8, 1993 tuned to 256 cycles per second. This gives the note “A” 430 vibrations per It was on April 8, 1993, that the great second. The other notes of the scale operatic tenor Carlo Bergonzi, in conjunc - vibrate according to a fixed ratio.… tion with the Schiller Institute, conducted International pitch differs slightly an exhaustive lecture/demonstration in from that used by physicists since “A” New York City, to make the case for a equals 435 vibrations per second on “natural musical tuning” placed at mid - the International scale. With the pitch dle “C” equal to 256 cycles per second, adopted by the American Federation 06-29 Sylvia Olden Lee_Carnegie Hall Rental 6/15/17 1:13 PM Page 7

of Musicians, “A” has 440 vibrations Mendelssohn who had observed that per second. Sopranos find it difficult words are far too imprecise with respect to sing music written by Handel and to meaning, unlike music, which is able to his contemporaries when accompa - state meaning with far greater exactitude.) nied by instruments tuned to the pitch adopted by the American Federation The mission of the Foundation for the of Musicians (emphasis added). Revival of Classical Culture is to cham - pion those principles and methods of The arbitrary—or deliberate—shift from composition and performance that exem - what was known to be the physical plify universal culture—methods that position of the location of middle “C,” best assist the widest possible number to another “convention” or “trend,” of the world’s citizens to participate in cripples, if not ruins, the capacity of the greatest musical and artistic ideas in the vocalist to achieve the vocal trans - the history of humanity, no matter what parency that is at the center of the the culture of their origin. To that end conveying of meaning in music. By the Foundation attempts to present “transparency” is meant the ability of the challenging programs that seek to shift multiply-connected voice species—such the audience away from a “spectator” as the soprano, bass, mezzo-soprano, role, to that of “performers”—active tenor, baritone, and alto voices—through participants in a crucial experiment. the advanced compositional methods Therefore the Foundation has collabo - employed by “Handel and his contem - rated with various organizations and poraries and descendants,” to advance teachers in an initiative to build a new the meaning of a text with far greater Classical music audience in New York precision than the written or spoken City, through the creation of a 1,000- text could ever provide. (It was Felix 1,500-member citywide chorus.

THE Artists ELVIRA GREEN , Mezzo-soprano

Elvira Green, mezzo-soprano, has spent Renaissance Singers of Greensboro, more than 40 years on the international North Carolina. operatic, concert, and musical theater stages, creating the lead, feature, and or In collaboration with artists Wynton supporting roles in the following world Marsalis and Kathleen Battle, Ms. premieres: Civil Wars by Philip Glass, Green organized and presented Sylvia Sojourner by Valerie Capers, The Out - Speaks , three evenings of master classes cast by Noa Ains, and Incident at San at Cami Hall with renowned musical Bajo by Patrick Byers. Ms. Green sang coach Sylvia Olden Lee. Ms. Green has at the Met for several years, but is espe - recently retired from her position as cially proud of her educational work, artist in residence at North Carolina including her founding of the Spiritual Central University. 06-29 Sylvia Olden Lee_Carnegie Hall Rental 6/15/17 1:13 PM Page 8

SHEILA HARRIS JACKSON , Soprano

Sheila Harris Jackson, soprano, is a New Jersey Governor’s Teacher Award, native of Franklin, Kentucky. She grad - and the Western Kentucky Vocal Mu- uated from Western Kentucky Univer - sic Scholarship. Mrs. Jackson has sity where she studied with Ohm Pauli, appeared with the Houston Grand and The Curtis Institute of Music where Opera, the New York City Opera, the she was a student of Todd Duncan, Dr. Pennsylvania Opera, the Nashville Vladamir Sokoloff, and Sylvia Olden Symphony Orchestra, the Philadelphia Lee. During her studies she was an Academy of Music, the Bermuda Fine award winner in the National Associa - Arts Festival, and in the Off-Broadway tion of Teachers of Singing competition, musical Spectrum . She has concertized and the recipient of the William Paterson extensively throughout Europe and the University Scholar’s Award, the Lincoln United States, including a 21-concert Foundation Scholarship Award, the tour of Italy.

GREGORY HOPKINS , Tenor and Pianist

Gregory Hopkins, tenor and pianist, Conference as recital co-coordinator; was born and reared in Philadelphia, and Gospel Music Workshop of Amer - Pennsylvania. He received his bache - ica as vocal consultant to the men’s lor’s degree in voice from Temple Uni - department. He has been honored twice versity, master’s degree in opera from to prepare and present musicals for the Curtis Institute of Music, and doctoral National Baptist Convention, and was degree in music from Belford Univer - musical director for the NAACP’s Cen - sity. Dr. Hopkins has won prizes in tennial Celebration. For the 1995 Mil - competitions including: The Verdi Prize lion Man March he was selected by in Busetto, Italy; Outstanding Tenor Minister Farrakhan to sing immediately Award, Mantova, Italy; The Dealy following the address. As an educator Award; and The Opera Index Grant. he has served on the faculties of Com - As a singer, pianist, organist, choral munity College of Philadelphia; Mor - conductor, teacher, and clinician, Dr. gan State University; Westminster Hopkins has traveled throughout the Choir College; and NY Seminary of the Americas, Europe, Asia, and the Mid - East. Currently he is assistant professor dle East, with recent performances of voice at Howard University. including The Cervantes Festival (Mex - ico), Orvieto Festival (Italy), and For nearly a quarter of a century he has Umbria Festival (France). been minister of music for Harlem’s Convent Avenue Baptist Church. He is Dr. Hopkins serves The National Con - also artistic director for Harlem Opera vention of Gospel Choirs and Choruses Theater and music director for the Har - as director of performance ministries; lem Jubilee Singers and Cocolo Japan - The Hampton University Minister’s ese Gospel Choir.

DIANE SARE , Director

Diane Sare, choral director, studied music New England Conservatory in Boston, education and trombone performance at before meeting the Schiller Institute in 06-29 Sylvia Olden Lee_Carnegie Hall Rental 6/15/17 1:13 PM Page 9

the 1980s. In Washington, D.C., in the Lee became Ms. Sare’s teacher and 1990s, Ms. Sare directed the chorus in mentor on the performance of spiritu - the Schiller Institute’s production of als during this time. Ms. Sare is the Through the Years , a play by Amelia founder of the Schiller Institute NYC Boynton Robinson, which contained Chorus, and is its co-director with more than 20 . Sylvia Olden John Sigerson.

PATRICE P. EATON , Mezzo-soprano

Patrice P. Eaton, mezzo-soprano, most Opera, and Amore Opera. Ms. Eaton’s recently performed as a soloist with the career in opera began as member of the Jazz at Lincoln Center Orchestra, the children’s chorus of both the Metropol - National Philharmonic, and The Mor - itan Opera and New York City Opera gan State Choirs in Wynton Marsalis’ for eight years, and she did two seasons All Rise at the Strathmore. She has sung of young artist training at the Caramoor with Opera Ebony, American Opera International Music Festival. Ms. Eaton Projects, New York Harlem Theater is a graduate of the University of Ken - Productions, Hudson Opera Theater, tucky and is a proud member of Sigma Syracuse Opera, Bronx Opera, Chelsea Alpha Iota Music Fraternity.

KEVIN SHORT , Bass-baritone

Kevin Short, bass-baritone, is a regular Staatstheater Stuttgart, the Savonlinna performer with some of the most Festival, Bregenzer Festspiele, and the important opera houses and orchestras Aix-en-Provence Festival. Mr. Short around the world. A sampling of his is also a prolific concert performer operatic engagements includes perfor - and has performed with the Boston mances with the Symphony, , Company, , Cleveland Orchestra, San Francisco Houston Grand Opera, Seattle Opera, Symphony, Swiss and Italian RAI Paris’ Opéra Comique, Teatro Nacional Orchestra, Radio France Orchestra, de São Carlos, Welsh National Opera, and the New Japan Philharmonic.

SIMON ESTES , Bass-baritone

Internationally renowned opera star state. Notable figures for whom Mr. Simon Estes has sung in more than 80 Estes has performed are Nelson Man - opera houses, and with 115 orchestras dela, , , and 90 conductors all around the , François Mitterand, world. Of the 102 roles that Mr. Estes and many others. His Simon Estes has performed, they include the follow - Foundation has created a program in ing title roles: The Flying Dutchman, his native , Iowa Students Care, Boris Godunov, Attila, Nabucco, Mac - which raises money to combat malaria beth, Figaro, Porgy, and Moses. in Africa. By Faith, Mr. Estes has helped to save hundreds of thousands of chil - Mr. Estes has sung for six U.S. presi - dren around the world. dents and many of the world’s heads of 06-29 Sylvia Olden Lee_Carnegie Hall Rental 6/15/17 1:13 PM Page 10

DAVID ANTHONY LOFTON , Piano

David Anthony Lofton, pianist, is a has been a recital collaborator for many native Philadelphian and graduate of renowned singers, including Stephen The Curtis Institute of Music, where he Costello, Ailyn Pérez, and Marietta studied piano accompanying with Dr. Simpson. Mr. Lofton has performed as Vladimir Sokoloff. At Westminster a pianist in both solo and chamber Choir College he developed his choral music performances. Prior to joining conducting skills and studied organ. He the Academy of Vocal Arts faculty, he has served as artistic director of Opera was a faculty member of The Curtis North (Opera Ebony) and as conduc - Institute of Music for ten years. Mr. tor. At Curtis he was the accompanist Lofton has been the exclusive music and vocal coaching apprentice of the director and conductor of AVA’s Jubi - late Todd Duncan for eight years. He late for 18 years.

ROSA D’IMPERIO , Soprano

Praised by Opera News , Mannheimer career engagements have included lead - Morgen, Tampa Bay Times , and New ing ladies in Verdi’s such as York Newsday for her “agile and Odabella in Attila , Lady Macbeth, gleaming tone,” her “effortless dra - Abi gaille in Nabucco , Amelia in Un matic soprano,” her “big, red-blooded ballo in maschera, Leonora in Forza italianate voice,” and for her “impres - and Trovatore , Desdemona in Otello , sive dramatic communication,” soprano Elisabetta in Don Carlo , and other Rosa D’Imperio’s appearances this sea - works. Ms. D’Imperio was also invited son include Tosca for Opera New to sing at the reviewing stand at this Hampshire, Turandot for Teatro Lirico year’s Bronx Puerto Rican Day Parade D’Europa in Jacksonville and South as part of the parade’s efforts to call Carolina, and for New Jersey attention to that community’s historic Association of Verismo Opera. Other involvement in Classical music.

EVERETT SUTTLE , Tenor

Everett Suttle, tenor, has performed with In December 2014 Mr. Suttle was such prestigious companies as , instrumental in the formation of the Opera Bastille, Teatro Colón, Semper Schiller Institute New York Chorus, an Oper, and Lincoln Center. His vocal initiative taken to offer a Classical musi - studies were with Mme. Alice Duschak cal response to the tragic killing of Eric and Francesca Richards as well as coach - Garner and two New York City police - ing with such outstanding artists as men. Mr. Suttle, though internationally Luciano Pavarotti, Peter Pears, Martina in demand as a soloist, has adopted the Arroyo, and Eleanor Steber. Commenting “citywide chorus project” as a personal on Mr. Suttle, the Washington Post said mission, and largely in honor of the late “Singing of such taste and beauty is rarely Sylvia Lee, a former advisory board found in any opera house, anywhere.” member of the Schiller Institute. 06-29 Sylvia Olden Lee_Carnegie Hall Rental 6/15/17 1:13 PM Page 11

FRANK MATHIS , Baritone

Frank Mathis, baritone, grew up singing Pavarotti collaborator Antonella Banaudi, in chorus at Bethany Baptist Church in though most of his vocal training was Philadelphia, Pennsylvania. Mr. Mathis with the Schiller Institute. Working has studied for 13 years, singing at the with the FFTROCC as a music educa - “Verdi Pitch” of “A”=432 Hz, as a cho - tor, Mr. Mathis has been a leading part rister and soloist with the Schiller Insti - of a program to expose public school tute. He has directed choruses and voice children in the Bronx, Harlem, and training in Boston, Massachusetts; Los Brooklyn to Classical music and choral Angeles, California; Leipzig, Germany; singing, and teaches a summer music and now the New York City area. Mr. program to students grades 4 –12 with Mathis trained with Italian soprano and the Foundation.

INDIRA MAHAJAN , Soprano

Indira Mahajan, soprano, is the winner the title roles in Madama Butterfly, Lucia of the Marian Anderson Award and has di Lammermoor, Aïda, Mimi in La performed with leading opera compa - bohème, Bess in , Violetta nies and orchestras throughout the world. in La traviata, Gilda in Rigoletto , and Ms. Mahajan was awarded both the Nedda in Pagliacci . The New York native New York City Opera Debut Artist of holds a master of music degree from the Year and Dallas Opera’s Maria Callas Mannes College of Music and a bache - Debut Award. Operatic highlights include lor’s degree from Oberlin College.

OSCEOLA DAVIS , Soprano

Osceola Davis, lyric coloratura soprano, Ms. Davis has performed the roles of earned her bachelor’s degree in music Gilda in Verdi’s Rigoletto ; as Blondie and music education from The Univer - in Mozart’s The Abduction from the sity of the Arts in Philadelphia, Penn - Seraglio ; as Zerbinetta in R. Strauss’ sylvania, following with postgraduate Ariadne Auf Naxos ; and as Queen of studies in opera at Curtis Institute of the Night in Mozart’s The Magic Flute . Music where she met Sylvia Olden Lee . Ms. Davis was the first African-American At Mrs. Lee’s insistence Ms. Davis went to sing the latter role on New York’s to Germany, where she was immediately Metropolitan Opera stage. She currently hired by the Munich Opera House. Her teaches voice at Lehman College, in the debut was the lead role of Rosina in The Bronx, New York. Barber of Seville by Rossini delivering a five-minute show-stopping performance.

ROBERT SIMS , Baritone

Robert Sims, lyric baritone, made his at Carnegie Hall in March of 2009. He recital debut at Carnegie Hall in 2005 returned to Carnegie in a concert of spir - and was invited by to ituals with composer Jacqueline Hairston participate in Honor! A Celebration of in 2012. Mr. Sims has toured nationally the African-American Cultural Legacy in the ensemble Three Gen erations, a 06-29 Sylvia Olden Lee_Carnegie Hall Rental 6/15/17 1:13 PM Page 12

celebration of American spirituals and Mr. Sims recently released a CD of spir - folk songs with renowned artists George ituals arranged by and a Shirley, the late William Warfield, and biography entitled Roland Hayes: The Benjamin Matthews. He has also ap - Legacy of an American Tenor in collab - peared with Simon Estes and Jubilant oration with Christopher A. Brooks Sykes in the trio Simon, Sykes & Sims. (Indiana University Press 2016).

JEREMY JORDAN , Piano

Jeremy Jordan, pianist, has appeared the National Association of Negro Musi - as soloist and chamber musician at cians, Inc. and the Gluck Community notable venues in the United States Service Fellowship in New York City. and Europe including Carnegie Hall, Mr. Jordan received his master’s degree Orchestra Hall in Chicago, the Con - from The of Music as a certgebouw in Amsterdam, and the recipient of the Van Cliburn and Irene Rudolfinum in Prague. Mr. Jordan is Diamond Scholarships. He studied with winner of several prestigious piano Matti Raekallio and Regina Syrkin with competitions including the Steinway additional studies with André Watts, Competition, and recipient of numer - Yoshie Akimoto, Jerome Lowenthal, ous prizes and awards including from and Eteri Andjaparidze.

RICHARD ALSTON , Piano

Richard Alston, pianist, received his Composers of African Descent at col - bachelor and master of music degrees leges and universities throughout the from The Juilliard School. At 17 he made United States. PBS produced a docu - his New York debut with the Symphony mentary on Mr. Alston’s career. He of the New World and Maestro Everett recorded the Arensky Piano Concerto Lee, Sylvia Lee’s former husband, as con - with the Czech National Orchestra, ductor, at Lincoln Center’s Avery Fisher with Paul Freeman as conductor. The Hall. He made his debut in the role of CD recording also includes Etudes for Jasbo Brown in the Metropolitan Opera Piano, Op. 74 by Arensky, released by revival of Porgy and Bess . Mr. Alston has Centaur Records. Mr. Alston is presently performed his concert-as-lecture Classi - an associate professor at Essex County cally Black: Piano Compositions by College in Newark, New Jersey.

JOHN SIGERSON , Director

John Sigerson, choral director, is a Italy’s Antonella Banaudi. In 1992 he founding member of the Schiller Insti - co-authored A Manual on the Rudi - tute and is currently its music director. ments of Tuning and Registration , a He has worked for decades with the unique contribution to the science of Schiller Institute to bring about a voice placement as well as the “human renaissance of Classical musical com - method” of musical performance, in position and performance. His musi - which the general argument is pre - cal education includes study with sented as to why Classical music must contrabass soloist Gary Karr, and be based on a fixed tuning of “A”=432 voice with Mexico’s José Briano and cycles per second. 06-29 Sylvia Olden Lee_Carnegie Hall Rental 6/15/17 1:13 PM Page 13

ROLAND CARTER , Director

Choral director Roland Carter, profes - outstanding achievements and contri - sor emeritus of American music at the butions to American music. Best known University of Tennessee at Chattanooga perhaps for his settings of “In Bright and former director of the internation - Mansions Above,” “Is There Anybody ally acclaimed Hampton University Here Who Loves My Jesus?” and the Choirs, has been dubbed “Dean of widely acclaimed and performed festival African-American Music” for his signifi - setting of “Lift Every Voice and Sing,” cant work in the performance and preser - Mr. Carter was elected to honorary mem - vation of music of African-American bership of the internationally acclaimed composers and tradition. Shaw Univer - Morehouse Glee Club, joining only two sity and Clark Atlanta University awarded other musicians so honored: Robert Mr. Carter honorary degrees for his Shaw and Leonard De Paur.

SCHILLER INSTITUTE NYC CHORUS

The Schiller Institute NYC Chorus was The chorus is open to all, regardless of founded in January 2015 in order to previous singing experience, and is seeking uplift and unify the city in the wake of new members for our 2017 fall/winter the Eric Garner grand jury decision of season. If you are interested in joining, no wrongdoing in the case of his please visit our website sinycchorus.com, tragic death. From small beginnings or call Margaret at 646-509-5451. this chorus has now grown into four locations: Northern New Jersey, Man - Rehearsals: hattan, Queens, and Brooklyn, and has Tuesdays 6:00 –7:30 p.m. Bergen close to 125 members combined. County, NJ Wednesdays 6:30 –8:15 p.m. Flushing, NY The chorus is committed to the princi - Wednesdays 6:30 –8:00 p.m. Brooklyn, ple as expressed by German poet NY Friedrich Schiller that “it is through Thursdays 6:30 –8:00 p.m. Manhattan beauty that one proceeds to freedom.” (Lincoln Center area) The chorus takes its name from the Schiller Institute which was founded in Artistic Director, John Sigerson 1984 by Helga Zepp-LaRouche and is Executive Director, Diane Sare well known in the music world for its Ass’t Executive Director, Michelle Fuchs campaign to return to the “Verdi” or Manager, John Scialdone “scientific” tuning of middle “C” at 256 Hz (corresponding to “A” at no Brooklyn Manager, Vanessa Holley higher than 432 Hz). This chorus Flushing Manager, Margaret Greenspan always rehearses and performs at the Manhattan Manager, Paul Cunniffe Verdi tuning, and strives to achieve an Italian bel canto placement of the voice Special thanks to Dennis Speed and among all singers. Lynne Speed. 06-29 Sylvia Olden Lee_Carnegie Hall Rental 6/15/17 1:13 PM Page 14

HARLEM OPERA THEATER

Founded in 2001 under Artistic Direc - Harlem Opera Theater is pleased to tor Gregory Hopkins, internationally join this Centennial Celebration Concert acclaimed tenor, conductor, organist, in Tribute to Sylvia Olden Lee, a master and pianist, Harlem Opera Theater per - musician, teacher, accompanist, vocal formances include all types of musical coach and mentor to world-renowned offerings: opera, oratorio, concerts, artists, including our Professor Gregory recitals, spirituals, and varied forms of Hopkins. Ms. Lee led an exceptional American music, in keeping with the life and made it possible for the mission “to provide performance oppor - African-American community of Clas - tunities for professional and developing sical singers to present their repertoire gifted artists within Harlem and com - on the stage of the Metropolitan Opera munities where opera is seldom per - and other world-class international formed; and to cultivate and expand venues. To some, Sylvia Olden Lee is audience appreciation for opera and one of the “hidden figures” in opera; Classical music through creative pro - we applaud Ms. Lee and we are pleased gramming.” Particular focus is given to to join the Foundation for the Revival the works of African-American com - of Classical Culture and the Schiller posers and to projects that link differ - Institute to celebrate the historic life ent aspects of the performing arts. and work of Sylvia Olden Lee.

SYLVIA OLDEN LEE CENTENNIAL CHORUS Schiller Institute NYC Chorus and friends, John Sigerson and Diane Sare, Directors Schiller Institute Chorus of Boston, Jennifer Pearl, Director Schiller Institute Chorus of Virginia, Megan Beets, Director Convent Avenue Baptist Church Sanctuary Choir, Gregory Hopkins, Director

Soprano Maralyn Darden Kimbirly Mack Georgella Smalls Cheryl Anderson Sharmane Davis Yoko-Ono N. Annicia Smith Hilda Bertie Sherry Denend McCollock Hong Yun Sun Christine Corey Christine Dominguez Lyndsey Minerva Zhi Ying Sun Pamela Babb Mirlaine Doriscar Sandra Morrison Carrie Taylor Kathleen Banovich Daisy Hodge Ellis Judith Mosely Susan Ulanowsky Rosanne Barber Eleanor Eng Stephanie Nelson Devolyn Vails Iona M. Bartholomew Gwendolyn Etrulia Palmer Vargas Megan Bartle Roundtree Evans Jennifer Pearl Margaret Warncke Megan Beets Thelma Fellows Audrey Phillips Johanna Susan Bowen Eleanor Francis Ramona Pierre Westmoreland Khadijah Evans Bey Michelle Fuchs Isabel Ramonet Jessica White Violet Bonds Lorraine Green Laurence Rebello Deirdre Williams Rachel Brown Margaret Greenspan Vanessa Roe Flavia Williams Sherilyn Browne Svetlana Gromenkova Sylvia Rosas Ziyun Zoe Xiao Gabriela Ramirez-Carr Mary Hines Lenore Sanders Bingxin Xu Alicia Cerretani Jungui Hwang Diane Sare Xiao Ping Zhou Dawn Chang Marye Jiang May Seng Wong Maria Channon Mariel Johnson Shin An Shih Alto Lucy Cheng Alva Jones Renée Sigerson Inci Akidil Judy Clark Mei Yun Li Carole Slade Sally Allen Hyacinth Constance Yameng Li Debbie Sonnenblick Marcia Merry-Baker Famicia Coriolan Alice Liu Lynne Speed Marian Black Mary Crosby Lisa Ma Marquerite Sutherland Jane Bloomer 06-29 Sylvia Olden Lee_Carnegie Hall Rental 6/15/17 1:13 PM Page 15

Asuka Burke Leni Rubinstein Halbert Hollingsworth David Dobrodt Christine Stewart Margaret Scialdone George Johnson III Thomas C. Douglass Butler Sheila Green Smith Bill Jones Richard Freeman Jennifer Burns Melissa Sobol Robert Joyner Elliot Greenspan Joyce Chan Patricia Stewart Ron Kokinda Roger Ham Johnsie Cheatham Tracy Swayne Stuart Lewis Kenneth Hanson Linda Childs Mercy Umoren Scott Mooney Scott Harper Kawana Coleman Rosalinde Vierra Arthur Murphy Julius Holley Pamela Connelly Hui Fen Xu Samuel Ray Earl Jones Sr. Patricia Connick, Natasha Zelma Michael Reed Eric Leung O.P. Ming Zheng William Roberts Frank Mathis Blondine Davenport Chris Rooney Ryan McCusker Kay Feaster Tenor Pim Sanders Anthony Morss Cloret Ferguson Dakkan Abbe Christopher Sare Kenneth Murphy Ruby Fleming R obert Baker John Sigerson Anil Anthony Pais Nancy Guice Reginald Bouknight Richard Song Kevin Pearl Vanessa Holley Carlo Concha-Zea Doug Westmoreland Pavel Penev Sarah Knott Richard Connelly Robert Joyner Joel Perez Susan Kokinda John Covici Vincent Zhou Bernard Phillips Adria Kwok Paul Cunniffe Tim Rush John Powell Betty Lai Douglas DeGroot Michael Weathers Willie Mae Lewis Lewis Duckett Bass Edsen-Samy Renaud Cindy Mahony Alan Egre Tom Avakian Alvin Rodriguez Cynthia M. Marrero Victor Garcia Richard Black Phil Rubenstein Ms. Ming Lorn Gates John Boose Rick Sanders Tita Nasol Sondra Edourds Ian Brinkley Eli Santiago Brian Nesby Tony Edwards Glenville Brown John Scialdone Linda Novak Bill Ferguson Richard Burden Myles Robinson Judy Parcels Holis Fleming Daniel Burke Jason Ross Carolyn Powell Tyrice Harrell Roy Coleman Jose Vega Ema Reuter Albert Head Benjamin Deniston Natashia Rhodes Livingston Holloway Jonathan Dewberry

FOUNDATION FOR THE REVIVAL OF CLASSCIAL CULTURE

The Foundation For The Revival of The Foundation believes that the music Classical Culture has as its mission the of thinkers such as Bach, Mozart, Haydn, reintroduction of Classical principles of Handel, Beethoven, Schubert, Schumann, musical, artistic, and scientific practice Brahms, Mendelssohn, Dvo rˇák, Verdi, and performance to the everyday lives and many others, is the natural medium of American, and other citizens, espe - for developing the minds of young peo - cially youth. This is to be accomplished ple. It is the cognitive self-development by inspiring what is often erroneously of those who do not merely listen, but called “the average citizen” to partici - reproduce and recreate both the perfor - pate in forms of “re-creation” that dif - mance and the composition of music, fer from mere “entertainment.” This that results in a natural elevation of the includes the performance of significant character of the student. The mastery of and challenging works of the Classical a complex instrument, such as the repertoire, both instrumental and vocal, oboe, vio lin, trumpet, or, indeed, the by amateur and semi-professional indi - human voice itself, fortifies the natural viduals and small groups. intelligence that lies in every child, 06-29 Sylvia Olden Lee_Carnegie Hall Rental 6/15/17 1:13 PM Page 16

enabling him or her to share creativity with several, or many others, in re - hearsals and performances devoted to the most energetic and transparent presenta - tion of that quality of thought-emotion which is the essence and the engine of Classical composition.

Concerts such as this performance at Carnegie Hall provide sponsored students an incentive to discover the inner life of music that may well otherwise remain inaccessible to them. By demonstrating that neither poverty, nor unfamiliarity 2017 Music-science Summer Program with repertoire, nor lack of language (Dates: July 10 –Aug 11. Age Require - skills, need be construed as an excuse ment: Grades 6 –12 (ages 11 and above): not to become familiar with the musical thoughts of some of the greatest minds The five-week 2017 Foundation summer in history, we free the student to not program will focus on “the principle of merely dream, but to know, that “noth - discovery,” and the unity between Clas - ing is impossible.” sical music and science, in an intensive five-week course of study and experi - For more information, go to fftrocc.org ment. No specific background in mathe - matics, geometry, or music is required for this—only an inquiring mind.