CAL PERFORMANCES PRESENTS PROGRAM NOTES

Friday, March 30, 2012, 8pm (1900–1990) for their entrance music on tour. And even now, Zellerbach Hall Fanfare for the Common Man (1942) when we have heard it so many times, it never fails to raise the adrenaline. When Aaron Copland submitted a three-min- ute fanfare to the Cincinnati Symphony in late Symphony Orchestra 1942, he had no idea it would become one of his Joan Tower (b. 1938) , music director & conductor most famous pieces—in fact one of the most fa- Fanfare for the Uncommon Woman mous pieces ever written by an American classi- (1987–1992) with cal composer. World War II had been raging for years, and in 1942, there was little to celebrate And now a salute to the other half of the audience! , percussion on the Allied side. As a morale booster, Eugene A quiet revolution has taken place in classi- Goossens, Cincinnati’s music director, decid- cal music over the past few decades: at long last, ed to commission a series of 18 fanfares from women have successfully begun to infiltrate the America’s most prominent composers—includ- male-dominated fields of and com- PROGRAM ing Morton Gould, Howard Hanson, William posing. Joan Tower is both, but it is her creative Grant Still and Virgil Thomson—to open each work that has won her a prominent place in the of the orchestra’s 1942–1943 season concerts. American contemporary music scene. Her vi- Aaron Copland (1900–1990) Fanfare for the Common Man (1942) Upon receiving the score, Goossens wrote brant, energetic, and often highly dramatic mu- Copland: “Its title is as original as its music.” sic has been commissioned and/or performed by The composer had considered a number of pos- major orchestras from New York to Tokyo. Joan Tower (b. 1938) Fanfare for the Uncommon Woman (1987–1992) sibilities, among them Fanfare for the Spirit of “Creating ‘high-energy’ music is one of my Democracy and Fanfare for the Rebirth of Lidice special talents,” Tower says. “I like to see just (a Czech town that had been destroyed by the how high I can push a work’s energy level with- (b. 1962) (2004) Nazis that year). Finally, he settled on Fanfare out making it chaotic or incoherent.” Certainly Colin Currie, percussion for the Common Man. As he said, “It was the this is true of her Fanfare for the Uncommon common man, after all, who was doing all the Woman, which has become her most frequent- dirty work in the war and the army. He deserved ly performed piece (played by more than 500 INTERMISSION a fanfare.” ensembles since its premiere by the Houston The music—scored for four horns, three Symphony in 1987). trumpets, three trombones, tuba and percus- Its title, of course, is a play on Copland’s Sergei Prokofiev (1891–1953) Symphony No. 5 in B-flat major, Op. 100 (1944) sion—combined full-throated splendor with a Fanfare. And it even shares the same instrumen- sturdy, unvarnished pride that seemed an ideal tation: three trumpets, four horns, three trom- Andante tonal personification of the average G.I. Joe. Its bones, tuba, , and two percussionists Allegro moderato brass writing emphasized big, rangy intervals, playing a very loud battery including tam-tams Adagio and its powerful, equally prominent part for (gongs). Tower has long been a fan of Copland’s Allegro giocoso timpani expressed virile force. Perhaps hoping music, and so when she received a commission to that this inspiring music would not be forgotten write a short work for the Houston Symphony’s Major program support for the BSO’s season-long celebration of revolutionary women after one performance in Cincinnati, Copland Fanfare Project, she originally wanted to create a is generously provided by Marin Alsop. also made it the focal point of the finale of his tribute to him. But ultimately her fanfare adopt- Third Symphony, composed between 1944 and ed a feminist message; it celebrates, in Tower’s Support for this program is generously provided by the National Endowment for the Arts. 1946 as the Allies swept to victory. words, “women who take risks and are adventur- He needn’t have worried. Fanfare for the ous.” And it is dedicated to just such a woman: Common Man quickly became a favorite of brass the Baltimore Symphony’s Marin Alsop. players everywhere, and not just in America. The This performance is made possible, in part, by the support of our Lead Community Partner, young television industry adopted it for sporting Bank of America, and by Patron Sponsors Earl F. and June Cheit. events, political conventions, and the achieve- ments of the space program. Popular musicians Cal Performances’ 2011–2012 season is sponsored by Wells Fargo. loved it, and the Rolling Stones appropriated it

4 CAL PERFORMANCES CAL PERFORMANCES 5 PROGRAM NOTES PROGRAM NOTES

Jennifer Higdon (b. 1962) the Indianapolis Symphony, and the Dallas section enters, mimicking the gestures of the this momentous time in their history with music Percussion Concerto (2004) Symphony; it received its premiere in November soloist. Only after this dialogue has been es- that paid tribute both to the terrible suffering 2005 by the Philadelphians led by Christoph tablished does the orchestra enter. There is sig- they had experienced and to the victory that Jennifer Higdon also represents the Baltimore Eschenbach with Colin Currie as soloist. nificant interplay between the soloist and the would soon be theirs. Symphony’s seasonal theme of adventurous Written for Currie, it is dedicated to him “with orchestra with a fairly beefy accompaniment in Prokofiev, too, had reached a personal turn- women, for she has successfully broken the bar- great admiration.” the orchestral part, but at various times the mu- ing point. Since he returned from the West to riers of classical composition, until recently a Higdon has provided the following guide to sic comes back down to the sound of the solo- the Soviet Union in 1936, he had struggled to field exclusively for men. The year 2010 was a the Concerto: ist and the percussion section playing together adjust to Stalin’s cultural whims. Now for a banner year for Higdon: she won the coveted “The 20th century saw the development of without orchestra. brief moment, he was at the apex of his career: Pulitzer Prize for Music for her Violin Concerto the percussion section as no other section in the “Eventually, the music moves through a slow no longer a suspiciously watched “foreigner” but for Hilary Hahn, and she won a Grammy Award orchestra. Both the music and the performers lyrical section, which requires simultaneous the voice of the Russian people. Later, Prokofiev for Best Contemporary Classical Composition grew in visibility as well as in capability. And… bowing and mallet playing by the soloist, and commented that the Fifth Symphony was “very for a recording by Colin Currie, Marin Alsop, the appearance and growth of the percussion then a return to the fast section, where a cadenza important not only for the musical material that and the London Philharmonic of her brilliant concerto as a genre exploded during the latter ensues with both the soloist and the percussion went into it, but because I was returning to the Percussion Concerto, which we hear tonight. half of the century. section. A dramatic close to the cadenza leads symphonic form after a break of 16 years. The Now a prolific composer in constant de- “My Percussion Concerto follows the nor- back to the orchestra’s opening material and the Fifth Symphony is the culmination of an entire mand for new works by major orchestras and mal relationship of a dialogue between soloist eventual conclusion of the work.” period of my work. I conceived of it as a sym- ensembles all over America, Higdon also man- and orchestra. In this work, however, there is an phony on the greatness of the human soul.” ages to pursue careers as a virtuoso flute play- additional relationship, with the soloist interact- Oddly, it had been easier to be a composer er, a conductor, and a very popular teacher of ing extensively with the percussion section. The Sergei Prokofiev (1891–1953) in the Soviet Union during World War II then composition at Philadelphia’s Curtis Institute ability of performers has grown to such an ex- Symphony No. 5 in B-flat major, in the years before or after: Stalin was too busy of Music (she holds the Milton L. Rock Chair tent that it has become possible to have sections Op. 100 (1944) prosecuting the war to worry about subversive in Compositional Studies). Her roots at Curtis within the orchestra interact at the same level as artists. Retreats far from the front lines were run deep, for she earned an artist’s diploma the soloist. The premiere of Prokofiev’s Symphony No. 5 in set aside for Soviet creators, and Prokofiev had in composition there (studying with Ned “When writing a concerto, I think of two Moscow on January 13, 1945, was an occasion spent most of 1944 at a “House of Creative Rorem), before moving on to the University of things: the particular soloist for whom I am charged with emotion. The great Soviet pianist Work” near Ivanovo, west of Moscow, with oth- Pennsylvania for master’s and doctoral degrees writing and the nature of the solo instrument. In Sviatoslav Richter vividly recalled the moment er leading composers, including Shostakovich, in composition, studying with the prominent the case of percussion, this means a large battery as Prokofiev mounted the podium: “He stood Glière and Khachaturian. Buoyed by the news composer George Crumb. of instruments, from vibraphone and marim- like a monument on a pedestal. And then, when of the successful Normandy invasion in June, Crumb has fingered several of the qualities ba…to non-pitched, smaller instruments (brake [he] had taken his place…and silence reigned Prokofiev wrote the Fifth very rapidly during that make Higdon’s music special: “rhythmic drum, wood blocks, Peking Opera gong) and to in the hall, artillery salvos suddenly thundered the summer and early fall. vitality, interesting coloration, and sensitivity to the drums themselves. Not only does a percus- forth. His baton was raised. He waited, and be- The sonata-form first movement, in the nuance and timbre.” But beyond that, Higdon sionist have to perfect playing all of these instru- gan only after the cannons had stopped. There home key of B-flat major, is unusual for being a succeeds because she is a very original, person- ments, but he must make hundreds of decisions was something very significant in this, some- slow movement, and in fact slow tempos domi- al, and emotionally communicative composer regarding the use of sticks and mallets, as there thing symbolic. It was as if all of us—including nate the Symphony. It opens with the haunting whose music, though modern in its techniques, is an infinite variety of possibilities from which Prokofiev—had reached some kind of shared principal theme sung in octaves by flutes and is also immediately accessible and appealing. to choose. Not to mention the choreography of turning point.” bassoon. Strings then reveal its beauty with And she incorporates elements of her early love the player’s movement; where most performers Richter’s observation was correct. The can- lush harmonies. A wartime mood prevails with for folk and rock music into her classical compo- do not have to concern themselves with move- nons that interrupted the start of the Fifth drums and dark brass adding military color and sitions. Growing up, she recalls that her favorite ment across the stage…a percussion soloist must Symphony were celebrating the news that the weight. As the tempo quickens slightly, flute musicians were the Beatles. “Classical music was have every move memorized. No other instru- Soviet Army was crossing the Vistula River into and oboe present the more flowing and optimis- probably the least present music in our house- mentalist has such a large number of variables the territory of Nazi Germany. The end of World tic second theme. The exposition section closes hold…my dad worked at home—he was an art- to…master. War II was now assuredly in sight. The music with a grand fanfare-like theme for full orches- ist, which meant there was a lot of music in the “This work begins with the sound of the ma- that followed this joyful roar proved worthy of tra envisioning the victory to come. background all the time—but normally it was rimba, as Colin early on informed me that he the moment, and 40 minutes later, the audience Working out all these themes, the develop- rock and roll or bluegrass or reggae.” has a fondness for this instrument. I wanted the set off its own explosion. For with his longest ment section reaches a powerful climax, out of Higdon’s Percussion Concerto was a joint opening to be exquisitely quiet and serene, with and arguably greatest symphony, Prokofiev had which the principal theme, now triumphant commission of the Philadelphia Orchestra, the focus on the soloist. Then the percussion summed up the mood of the Russian people at rather than wistful, is trumpeted forth by the

6 CAL PERFORMANCES CAL PERFORMANCES 7 PROGRAM NOTES CAL PERFORMANCES PRESENTS brass. To cymbal crashes and blows on the woodwinds but soon passed to its rightful own- Saturday, March 31, 2012, 8pm gong, the movement reaches a staggering con- ers, the strings. The gorgeous string writing here Zellerbach Hall clusion—expressive of Russia’s will to prevail— is vintage Prokofiev, as first violins soar to the mighty enough to close a symphony. But there’s stratosphere, arcing against the second violins still much more to come. not far below. The movement’s middle section Leaving memories of the war behind, move- is darker and more turbulent in its depiction of Baltimore Symphony Orchestra ment two is a wry, ironic scherzo in D minor set wartime suffering. Two funeral-march themes— Marin Alsop, music director & conductor to propulsive rhythms. Prokofiev originally in- one emphasizing jagged dotted-rhythms and as- tended this music for his ballet Romeo and Juliet, sociated with strings, the other for winds and with written a decade earlier, and it is a very char- containing a sinister trill—strive against each acteristic expression of his black-comedy vein. other. This rises to a climax of shattering volume Elinor Broadman, mezzo-soprano A solo clarinet sings the winding, sassy princi- and dissonance before the ethereal close. Stacy Rutz, soprano pal theme. The scherzo music segues smoothly After a brief recall of the melody that into a slightly slower trio section, opened by launched the symphony (heard most clearly in Genoa Starrs, mezzo-soprano oboe and clarinet singing a downward sliding richly divided cellos), the Allegro giocoso finale Michelle Lee, soprano tune. Subtle, imaginative scoring character- shakes off the sorrows of war and exuberantly Daniel Ebbers, tenor izes this section, which has an elusive, slightly prepares for peace. Its manic, almost comic Brian Leerhuber, baritone macabre mood. mood is a violent contrast to the Adagio. Over Many commentators have suggested that rollicking horns, the clarinet leads with a theme & the third-movement Adagio—the heart of of Prokofievian drollery, followed by a chirpy UC Choral Ensembles this symphony—was patterned after the grief- idea for oboes, and finally a jauntily optimistic laden third movement of Shostakovich’s Fifth tune for flute. The development transforms the Mark Sumner, director Symphony. The success of the Shostakovich clarinet theme into a smoother, very Slavic mel- work, written nearly a decade earlier, had made ody for low strings, which is given lively fugal it a model of the ideal symphony for Soviet com- treatment. With whirring, clattering percussion posers. But though Prokofiev’s Adagio is also and the Slavic tune blazing in the brass, the sym- PROGRAM music of mourning, it is more sensuous and phony closes with a joyful noise. artful than Shostakovich’s blunt cry of pain. Its Richard Einhorn (b. 1952) Voices of Light: The Passion of Joan of Arc (1994) quality of lyric tragedy is embodied in its beauti- An Oratorio with Silent Film ful, poignant principal theme, introduced by the Notes © 2012 by Janet E. Bedell film The Passion of Joan of Arc (1928) Carl Theodor Dreyer (1889–1968), director

Major program support for the BSO’s season-long celebration of revolutionary women is generously provided by Marin Alsop.

Support for this program is generously provided by the National Endowment for the Arts.

This performance is made possible, in part, by the support of our Lead Community Partner, Bank of America, and by Patron Sponsors Earl F. and June Cheit.

Cal Performances’ 2011–2012 season is sponsored by Wells Fargo.

8 CAL PERFORMANCES CAL PERFORMANCES 9 PROGRAM NOTES PROGRAM NOTES

Richard Einhorn (b. 1952) once suggested that I do a piece about Joan of member of the Comédie-Française, who princi- institution in Oslo, Norway,” reports Einhorn. Voices of Light (1994) Arc, I asked to take a look at it. Some 81 min- pally played light parts and had only appeared “Inside the cans, in nearly perfect condition, utes later, I walked out of the screening room in one other film. Another unorthodox casting was a copy…with Danish intertitles. The ac- shattered, having unexpectedly seen one of the choice was the striking-looking Antonin Artaud companying shipping information made it clear With Richard Einhorn’s mesmerizing oratorio most extraordinary works of art that I know. I as her sympathetic confessor Jean Massieu; that it was, in fact, a print of the original ver- Voices of Light, set to Carl Theodor Dreyer’s immediately began to write the piece about Joan Artaud was better known as a writer and an ec- sion.” Revised with new French intertitles for re- silent film masterpiece of 1928, The Passion of of Arc that my friend had suggested. It took six centric leader of the French avant-garde theater release in 1985, Joan was now acclaimed by film Joan of Arc, Marin Alsop and the Baltimore years to put together, but in February 1994, the scene. The renowned film critic Pauline Kael buffs and critics alike as one of the greatest films Symphony return again to the story of Joan Northampton Arts Council premiered Voices wrote that Falconetti’s portrayal “may be the ever made. In Einhorn’s opinion, “its profound of Arc, who was born exactly 600 years ago in of Light in Massachusetts, performed by the finest performance ever recorded on film.” But ambiguity, its ravishing beauty, its brilliant per- 1412. This extraordinary experience for the eyes Arcadia Players conducted by Margaret Irwin- it cost her dearly, and she refused ever to appear formances, its astounding story makes Joan one as well as the ears continues Maestra Alsop’s Brandon to sold-out crowds.” Voices of Light, again in a film.Chicago Sun-Times critic Roger of the 20th century’s masterpieces.” exploration of classic silent films and the scores both combined with the film and on its own as Ebert explains: “For Falconetti, the performance created for them, and is yet another chapter in an oratorio, has subsequently played to sold-out was an ordeal. Legends from the set tell of Dreyer the Baltimore Symphony’s theme for this sea- audiences throughout America and the world. forcing her to kneel painfully on stone and then the music son: women who take risks. wipe all expression from her face—so that the And perhaps no woman in history took viewer would read suppressed or inner pain. He Although Einhorn created Voices of Light as greater risks than Joan, France’s patron saint. As the film filmed the same shots again and again, hoping a soundtrack for Joan, he also intended it to Richard Einhorn writes, his Voices of Light “ex- that in the editing room he could find exactly be a stand-alone piece that could be present- plores the patchwork of emotions and thoughts Fire ended Joan of Arc’s remarkable life in 1431 the right nuance in her facial expression.” ed as a concert oratorio. A summa cum laude that get stitched together into the notion of a when she was only 19, and it nearly destroyed Although Dreyer had a very large and elab- graduate in music from Columbia University, female hero. Such a hero invariably transgress- The Passion of Joan of Arc, too. Danish director orate set constructed for the film, we hardly he had worked as a record producer for Yo- es the conventions and restrictions her society Carl Dreyer shot the film in France in 1927 for ever see it because he chose to shoot the film Yo Ma, Meredith Monk, and the New York imposes. And Joan of Arc—the illiterate peas- the French film studio Société Générale, which primarily in pitiless close ups (the actors wore Philharmonic before turning full time to com- ant girl who led an army, the transvestite witch had recently released Abel Gance’s legendary no makeup) and from dramatic, often very low posing. He has written many orchestral works, who became a saint—Joan of Arc transgresses filmNapoléon ; in fact, Joan used some of the ac- angles. As we gaze into Joan’s huge, often weep- song cycles, chamber music, and dance scores, them all.” tors and many members of the technical crew ing eyes, it is as though we were seeing into her as well as scores for documentaries and feature Einhorn, who has composed many film who had participated in that film. At that time, very soul. And the withered, cynical faces of films. Recent works include a commission from scores as well as concert works, had been inter- Joan was very much on people’s minds in Europe her judges look down on her—and on us—as the Minnesota Orchestra My Many Colored ested throughout the 1980s in writing a large for in 1920, the Roman Catholic Church, which terrifying, oppressive visions. The overall effect Days and The Origin, an opera-oratorio based on piece on a religious subject, and in 1988, he fi- had once excommunicated her as a heretic, had of Dreyer’s approach is intensely personal and Charles Darwin. nally found it. “Imagine walking down an ordi- just canonized her as a saint. at the same time abstract—a timeless battle of Long enamored of the music of the Middle nary street in an ordinary city on an ordinary The Passion of Joan of Arc focuses on Joan’s good versus evil. Ages, Einhorn has studied the practices of me- day,” he writes in his liner notes for the Sony trial by a corrupt ecclesiastical court in the pay The Passion of Joan of Arc was only moder- dieval composers and poets for many years and Classical recording of Voices of Light. “You turn of the English and their allies the Burgundians, ately successful when it was released in 1928; the brought that understanding into a score that the corner and suddenly without warning, you her forced confession and its recantation, and Catholic Church censored it somewhat, and the sounds as though it belongs to Joan’s time and find yourself staring at the Taj Mahal. It was her death at the stake. Although a script was British banned it for its unflattering portrait of also to our own. “As I was developing the piece, with that same sense of utter amazement and prepared for the film, Dreyer threw it out and their side. But some recognized it as the mas- I recalled my studies of medieval musical prac- wonder that I watched Carl Dreyer’s The Passion instead used the actual words of the trial as terpiece it is. Then disaster struck: the negatives tice, in particular the multilingual motets that of Joan of Arc for the first time. found in a still-surviving, highly detailed tran- and most of the prints of the film were destroyed I loved to listen to. The notion of a work of art “That was back in January 1988. I was idly script of the trials of 1430–1431. (We see that in a warehouse fire. Einhorn: “Dreyer ... pains- with simultaneous layers of text struck me as a poking around in the film archives of New ancient volume in the film’s opening scene.) takingly reconstructed the entire film from out- medieval idea that was also delightfully modern York’s Museum of Modern, looking at short Although Joan’s trials actually took place over take footage that had survived the fire.” Then as well. avant-garde films, when I happened across a many months, the film compresses the time- this version was also lost to a second fire. “Since Joan heard voices, I knew the work still from Joan in the silent film catalog. In frame, making it seem as though everything is Various attempts over the decades were would have singing, but what would everyone spite of a deep love of cinema and its history, happening in a single day. made to come up with a new print. Then a mir- sing? I did a considerable amount of research I had never heard of either the director or the For his title character, Dreyer chose the acle resurrected the film: “In 1981, several film into the history of Joan’s life and persona and movie, but since my friend Galen Brandt had French stage actress Renée Jeanne Falconetti, a cans from the ’20s were discovered at a mental began to explore the rich body of literature

10 CAL PERFORMANCES CAL PERFORMANCES 11 PROGRAM NOTES LIBRETTO written by female mystics from the Middle Einhorn used several other techniques to VOICES OF LIGHT Ages. I decided to create a libretto that would give his music a feeling of belonging to the An opera/oratorio inspired by Carl Dreyer’s film, The Passion of Joan of Arc consist primarily of excerpts from these writers, 15th century. Many of his melodies follow the libretto chosen for their beauty as literature and also for old church modes rather than modern major by Richard Einhorn their relevance to themes in Joan’s life. In ad- and minor keys. The viola da gamba—an early dition, I decided that all the words in the score forerunner of the cello—is used prominently as oices of light is an opera/oratorio for voices and amplified instrumental ensemble in celebration of Joan would be in ancient languages (Latin, Old and a solo and ensemble instrument, notably in the Vof Arc. It may be performed during a screening of Carl Dreyer’s great silent film, The Passion of Joan of Arc, Middle French, and Italian).” scene where the judges are trying to trick Joan or with other staging, or as a concert work. One of the most interesting medieval writ- into signing a confession that her voices were The libretto for Voices of Light is a patchwork of visions, fantasies and reflections assembled from various ers Einhorn used is Christine de Pizan, a French from the devil and not from God. And at key ancient sources, notably the writings of medieval female mystics. The texts may be thought of as representing contemporary of Joan’s, who may actually have moments, we also hear a sound of great antiqui- the spiritual, political and metaphorical womb in which Joan was conceived. seen her and whose vigorous defense of Joan re- ty: the haunting, dissonant tolling of the church Voices of Light was first performed at the Academy of Music in Northampton, Massachusetts, on February 12 and 13, 1994, by the Arcadia Players and the Da Camera Singers, Margaret Irwin Brandon conducting. The per- veals an early feminist sensibility. At the other bells in Domremy, Joan’s home village in rural formances were produced by the Northampton Arts Council, Bob Cilman, director. extreme, Einhorn chose crude misogynist writ- Lorraine, France. Einhorn visited that little vil- Voices of Light was released on CD by Sony Classical on October 22, 1995, in a recording by Anonymous 4, ings of the period to express the hostility of the lage and recorded the bells for use in his score. “I Radio Netherlands Philharmonic and Choir, Susan Narucki and other musicians, conducted by Steven Mercurio. judges at her trial—especially to her wearing of felt that Joan, who so loved church bells, whose male dress, which she clung to as self-protec- voices seemed to speak to her whenever they All words sung by Joan of Arc are in italics. tion from her jailors—and the ugly behavior were ringing, would appreciate the effort.” of her prison guards. Einhorn: “The texts may From our own time, Einhorn adopts many be thought of as representing the spiritual, po- of the characteristics of “mystical minimalism”: prelude litical and metaphorical womb in which Joan a stripped-down style favored by religiously was conceived.” inspired composers such as Henryk Górecki [Exclamavit autem voce magna…] «Deus æterne, qui [She cried out in a loud voice] “Everlasting God, who Some of Joan’s own words are also included. and Arvo Pärt that uses repetitions of musical absconditorum es cognitor, qui nosti omnia antequam knows things hidden and all things before they hap- “I knew that Joan of Arc’s voice would have to phrases and motives to build its effect. But what- fiant, tu scis quoniam falsum testimonium tulerunt pen, you know they have borne false witness against contra me; et ecce morior, cum nihil horum fecerim me; and see! I die, although I am innocent of every- have a very special sound. Since no one knows ever style he is drawing on in his eclectic score, quæ isti malitiose composuerunt adversum me.» thing their malice has invented against me.” what she looked like, I decided we shouldn’t be Einhorn shows an uncanny ability to capture ‘range-ist” and make any assumptions about exactly the rhythm and emotional character of —Daniel 13:42 whether she was a soprano or alto. Therefore, each scene of The Passion of Joan of Arc. Beautiful Thronus…flammæ ignis, [His] throne…was ablaze with flames, Joan had to be both soprano and alto singing and emotionally compelling in its own right, it Rotae eius ignis accensus. His wheels were a burning fire. simultaneously.” Einhorn gave Joan’s words to is a potent enhancement of the cinematic mas- Fluvius igneus rapidusque A swift river of fire a vocal quartet singing together in simple har- terpiece that inspired it. egrediebatur a facie eius; came forth from his countenance monies. Their music, and many other passages Millia millium ministrabant… A thousand thousands waited upon him as well, follow the eloquent shape of medieval Et decies millies centena millia assistebant… Ten thousand times a hundred thousand stood by. Gregorian chant. © 2012 Janet E. Bedell Iudicium sedit, The court sat, et libri aperti sunt. and the books were opened. —Daniel 7:9

victory at orleans (letter from joan of arc)

Jehanne…la Pucelle vous fait savoir des nouvelles de par Jehanne…the Maid sends you news from these parts: that decha que en VIII jours elle a cachie les Angloix hors de in one week she has chased the English out of all the places toutez les places quilz tenoient sur le revire de Loire par that they held along the Loire river, either by assault or assaut et autrement ou il en eu mains mors et prins et lez otherwise, in which encounters many English were killed a desconfis en bataille[…]le frere du conte de Suffort et and captured and she has routed them in a pitched battle. Glasias mors. A brother of the Earl of Suffolk’s and Glasdale were killed.

Je vous promectz et certifie[…]en toultes les villes quy doi- I promise and assure you [that we will take possession] bvent estre du sainct royaume[…]quy que vyenne contre. of all the cities that must belong to [our] holy realm…in spite of all opposition!

12 CAL PERFORMANCES CAL PERFORMANCES 13 LIBRETTO LIBRETTO

Car Dieu, le Roy du ciel, le veult, et cela est révélé par So God King of Heaven, wills it; and so it has been re- the jailers la Pucelle… vealed by the Maid… Tant y a feme scet bon taire When it comes to women, men, hold your tongue! Tant y a feme scet bon taire When it comes to women, men, hold your tongue! interrogation Feme a un cuer par heritage A woman’s heart is just not able Hommase! Masculine woman! Qui ne puet estre en un estage. To chart a course that’s firm or stable (Medieval slur directed at women) Or est sauvage, or est privee; Now she’s wild, now she’s demure; Ore veult paiz, or veult meslee; Now wants peace, then starts a war; Hee! quel honneur au femenin Sexe!… Oh! What an honor for the feminine sex!… Par qui tout le regne ert desert, This entire realm, once lost by [wretched men], Femme engine en poi d’ure The schemes she quickly engineers Par femme est sours et recouvert. restored and saved by a woman again Dount un[e] tere tout ploure. Can drown a countryside in tears

—Ditié de Jehanne d’Arc (1429), by Christine de Pizan, one of the earliest known feminist writers Que qui aime et croit fole fame Who loves and trusts mad womankind Gaste son temps, pert corps et ame. Damns soul and body, wastes his time. Virtutem…mysterium secretarum et admirandarum From my girlhood to the present time, in a wondrous visionum a puellari ætate…essem usque ad præsens fashion I have felt in myself the power and mystery of Ore vous ai dit de lur vies, Now that I’ve told you of womankind, tempus mirabili modo in me senseram… secret and wonderful visions… Fuoums de lur cumpaignies. Let’s flee and leave them far behind! Ore vous ai dit de lur vies, Now that I’ve told you of womankind, —St. Hildegard of Bingen, mystic, poet and com- Fuoums de lur cumpaignies. Let’s flee and leave them far behind! poser of the early 12th century Tant y a feme scet bon taire When it comes to women, men, hold your tongue! Homasse! Masculine woman!

Ore vous ai dit de lur vies, Now that I’ve told you of womankind, Une fillete… A little girl […] Fuoums de lur cumpaignies. Let’s flee and leave them far behind! A qui armes ne sont pesans… Upon whom arms and armor Et devant elle vont fuyant weigh lightly; […] —The Vices of Women, late 13th-c. misogynist poem Les ennemis, ne nul n’y dure. Before her all foes take off at a run, Of them none remains, not even a one. —Ditié, Christine de Pizan pater noster

«Velis aut nolis hæc erit tuum. Ego scio quid elegi.» “Whether or not you wish it, this will be yours. I Pater Noster, qui es in cælis, Our Father, who art in Heaven know what I have chosen.” Sanctificetur nomen tuum. Hallowed be Thy Name Adveniat regnum tuum. Thy Kingdom Come —Na Prous Boneta, 14th-century French heretic who Fiat voluntas tua, Thy will be done was burned at the stake Sicut in cælo In Earth as it is et in terra. in Heaven. Ex nemore canuto puella eliminabitur ut medelæ Out of an oak forest a girl will be sent forth to bring curam adhibeat. healing. —Matthew 6:9–10 —Ancient prophecy of Merlin thought to refer to «Filia mea dulcis michi; filia mea, delectum meum, “My daughter, sweet to me; my daughter, my beloved, Joan of Arc’s mission templum meum; filia delectum meum, ama me: quia my temple; my daughter, my beloved, love me, since tu es multum amata a me, multum plus quam tu you have been much loved by me, much more than Non induetur A woman shall not wear ames me. you love me. mulier veste virili, the clothes of a man nec vir utetur Nor a man «Et postquam ego colcavi me in te; modo colca te tu “And after I have laid myself in you, now lay yourself veste feminea: the clothes of a woman. in me. in me. abominabilis enim For abominable apud Deum in the eyes of God «Ista est mea creatura.» “This is my creature.” est qui facit hæc. are those who do so. —Blessed Angela of Foligno, 13th-century mystic and —Deuteronomy 22:5 penitent

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Pater Noster, qui es in cælis Our Father, who art in Heaven torture Sanctificetur nomen tuum Hallowed be Thy Name Adveniat regnum tuum Thy Kingdom Come Glorioses playes… Glorious wounds… Fiat voluntas tua, Thy will be done —Marguerite d’Oingt, early 14th-century visionary Sicut in cælo In Earth as it is and poet et in terra. in Heaven. —Matthew 6:9–10 Et desiderabam videre vel saltem illud parum de carne And I longed to see at least that little bit of Christ’s Christi quod portaverant clavi in ligno. flesh that the nails had fixed to the wood. et sentiebam dulcedinem divinam ineffabilem. And I felt an ineffable divine sweetness. —Blessed Angela of Foligno «Et postquam ego colcavi me in te; modo colca te tu “And after I have laid myself in you, now lay yourself Glorioses playes… Glorious wounds… in me. in me. —Marguerite d’Oingt «Ista est mea creatura.» “This is my creature.” …ostendit cor suum perforatum quasi ad modum He showed [her] his heart, perforated like the openings «Filia mea dulcis michi; filia mea, delectum meum, “My daughter, sweet to me; my daughter, my beloved, portulæ unius parvæ laternæ…quod ex ipso corde ex- in a small lantern…From his very heart issued forth templum meum; filia delectum meum, ama me: quia my temple; my daughter, my beloved, love me, since iverunt radii solares. Imo solaribus radiis clariores… rays of the sun—no—brighter than the sun’s rays… tu es multum amata a me, multum plus quam tu ames you have been much loved by me, much more than —Na Prous Boneta me. you love me. Glorioses playes… Glorious wounds… «Et postquam ego colcavi me in te; modo colca te tu “And after I have laid myself in you, now lay yourself in me. in me. —Marguerite d’Oingt

«Ista est mea creatura.» “This is my creature.” …«non est æquum, velle solum de melle meo gustare, …“It is not fair to wish to taste only of my honey, and et non de felle: si perfecte vis mecum uniri, mente in- not the gall. If you wish to be perfectly united with —Blessed Angela of Foligno tenta recogita illusiones, opprobria, flagella, mortem, me, contemplate deeply the mockery, insults, whip- et tormenta, quæ pro te sustinui.» pings, death and torments that I endured for you.” the jailers return —Blessed Margarita, disciple of St. Umiltà, 14th c.

Tant y a feme scet bon taire! When it comes to women, men, hold your tongue! Glorious wounds… Glorioses playes… —Marguerite d’Oingt Tant y a feme scet bon taire! When it comes to women, men, hold your tongue!

Femme est dehors religiouse, On the outside she’s religious, illness (letter from joan of arc) Dedanz poignaunt e venimose; On the inside keen and venomous; Jehanne the Maid begs you on behalf of the King of Jehanne la Pucelle vous requiert de par le Roy du ciel,[…] A soy sera d’aucun complainte, She will not tolerate complaint, Heaven, make war no longer in the holy Kingdom of vous puis que ne guerroiez plus ou saint Royaume Ir se fait moult juste et moult sainte. She’s lady justice and a saint. France…and a pitiful thing will be that great battle and de France,[…]et sera grant pitié de la grant bataille the blood that will be shed therein by those who come et du sang qui y sera respendu de ceux qui y vendront Femme engendre bataille e guere, Woman fosters strife and wars, there against us. contre nous. Exile gent de gaste tere; And exiles men from ruined shores;

Femme ard chasteus e prent citez Castles she burns, cities defeats sacrament Enfudre tours e fermetez. Destroys the towers and the keeps. O feminine form, O sister of Wisdom O feminea forma, O soror Sapientie, Ore vous ai dit de lur vies, Now that I’ve told you of womankind, How glorious you are quam gloriosa es Fuoums de lur cumpaignies! Let’s flee and leave them far behind! for in you has arisen quoniam fortissima vita Ore vous ai dit de lur vies, Now that I’ve told you of womankind, Fuoums de lur cumpaignies. Let’s flee and leave them far behind! the mightiest life in te surrexit, that death will never stifle. —The Vices of Women, late 13th-c. misogynist poem quam mors nunquam suffocabit. —St. Hildegard of Bingen

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Oh maledetti! Oh grande indignazione! O cursed ones! O great indignation! «Depone animos.» “Renounce your purpose.” —St. Umiltà of Faenza, great 14th-c. Italian mystic —St. Perpetua

Fuge, fuge speluncam Flee, flee the cave …N’y a si forte …No force is there so strong— antiqui perditoris of the ancient destroyer Resistance qui à l’assault Try as they might to resist the attack et veniens veni in palatium regis. and come, coming into the palace of the king. De la Pucelle ne soit morte. Of the Maid—it dies in vain before long. —St. Hildegard of Bingen Hester, Judith, et Delbora, One hears of Esther, Judith and Deborah, Who were Qui furent dames de grant pris,[…] ladies of great courage and worth; […] …car plus est adjoustee foy au mal de tant comme le …evil is rendered more believable by putting it to- Mains miracles en a pourpris. Through them God performed miracles on Earth, bien y est plus auttentique… gether with good to make it more respectable… Plus a fait par ceste Pucelle. But he fulfilled even more through this Maid. —From The Quarrel of the Rose, Christine de Pizan —Ditié, Christine de Pizan abjuration «Depone animos.» “Renounce your purpose.” —St. Perpetua Exaudi, Deus omnipotens, preces populi…Puelle Hear, Almighty God, the prayers of your people…of agentis secundum opera que sibi dixeras. the girl acting according to the works which you had …eadem hora mittemini in fornacem ignis ardentis. …The same hour you will be thrown into a furnace of spoken of to her. Et quis est Deus qui eripiet vos de manu mea? burning fire. And who is the God who will snatch you —Prayer commissioned by King Charles VII, plead- Benedicite, ignis et æstus, Domino. from my hand? ing for Joan’s freedom from imprisonment, 1431 Fire and heat, praise the Lord! —Daniel 3:15 and 3:66 Si quis in me non manserit, Those who do not remain in me mittetur foras sicut palmes, will be discarded like branches: «Domine, istud quod facio, non facio nisi ut inveniam “Lord, that which I do, I do only to find you. May I et arescet, they will wither. te. Inveniam te postquam id perfecero!» find you after I have completed it!” et colligent eum, So they will be gathered up, et in ignem mittent, thrown on the fire, —Blessed Angela of Foligno et ardet. and burnt. —John 15:6, recited to Joan of Arc by Father Erard relapse during her trial, at the confrontation in front of St. Ouen Karitas Love habundat in omnia overflows into all things, «Domine, istud quod facio, non facio nisi ut inveniam te.» “Lord, that which I do, I do only to find you.” de imis excellentissima From out of the depths to above the —Blessed Angela of Foligno super sidera highest stars; atque amantissima And so Love overflows into all best beloved, most «Depone animos.» “Renounce your purpose.” in omnia loving things, quia summo regi osculum pacis Because She has given to the highest King —From The Passion of St. Perpetua, a history of an dedit. The Kiss of Peace. early Christian martyr —St. Hildegard of Bingen …Une femme—simple bergiere— …a woman—a simple shepherdess—More valiant Plus preux qu’onc homs ne fut à Romme! even than Rome’s worthiest! anima —Ditié, Christine de Pizan …anima eius amore fluens et languens. …The Spirit flowing and melting with love. Ne universos nos extermines. Destroy us not all together. —There Are Seven Manners of Loving, Beatrice of —St. Perpetua Nazareth, 13th century Benedicite, ignis et æstus, Domino. Fire and heat, praise the Lord! …est ceste Ame cheue d’amour en nient. …This Soul has fallen from love into nothingness. —Daniel 3:66 —Marguerite Porete, 14th-century member of the Free Spirit movement who was burned at the stake

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…mens eius insane suspensa ex vehementi cupidine… …The Spirit madly possessed by violent desire… the fire of the dove …per solum Amorem æternum trahitur in æternita- …Only through everlasting Love is it drawn into the tem Amoris eternity of Love. Ah! Jehanne, Jehanne! Ah! Joan, Joan! …anima eius amore fluens et languens. …The Spirit flowing and melting with love. Oh! Oh! —Beatrice of Nazareth …valde beatus fuisti cum Verbum Dei te in igne co- …you were greatly blessed when the Word of God …est ceste Ame cheue d’amour en nient. …This Soul has fallen from love into nothingness. lumbe imbuit. steeped you in the fire of the dove.

—Marguerite Porete (ubi tu quasi aurora illuminatus es…) (where you were illumined like the dawn…) …anima eius amore fluens et languens …The Spirit flowing and melting with love…Only …valde beatus fuisti cum Verbum Dei te in igne co- …you were greatly blessed when the Word of God …per solum Amorem æternum trahitur in æternita- through everlasting Love is it drawn into the eternity lumbe imbuit. steeped you in the fire of the dove. tem Amoris…anima eius amore fluens et languens… of Love…The Spirit flowing and melting with love… —St. Hildegard of Bingen per solum Amorem æternum trahitur in æternitatem Only through everlasting Love is it drawn into the Amoris eternity of Love. epilogue (letter from joan of arc) —Beatrice of Nazareth Car Dieu le Roy du ciel le veult, et cela est révélé par So God King of Heaven, wills it; and so it has been the final walk la Pucelle… revealed by the Maid…

[Exclamavit autem voce magna…] «Deus æterne, qui [She cried out in a loud voice] “Everlasting God, who absconditorum es cognitor, qui nosti omnia antequam knows things hidden and all things before they hap- acknowledgments fiant, tu scis quoniam falsum testimonium tulerunt pen, you know they have borne false witness against The principal biography used for background re- The misogynist poetry may be found in Three contra me; et ecce morior, cum nihil horum fecerim me; and see! I die, although I am innocent of every- search was Saint Joan of Arc, by Vita Sackville-West Medieval Views of Women, translated and edited by quæ isti malitiose composuerunt adversum me.» thing their malice has invented against me.” (Doubleday). In addition, Marina Warner’s excep- Gloria K. Fiero, Wendy Pfeffer and Mathé Allain —Daniel 13:42 tional booklong essay, Joan of Arc: The Image of Female ( Press), copyright © 1989 by Yale Heroism (Knopf), was a major influence on the overall University. Used by permission. approach to the libretto and Joan of Arc’s life. Many Translations of excerpts from St. Hildegard von the burning of the mystical texts were initially found in Medieval Bingen: Symphonia: A Critical Edition of the Symphonia Women’s Visionary Literature, edited by Elizabeth armonie celestium revelationum. Edited and trans- Dominus condit sibi unum ignem dicendo sic: «vides The Lord made for her a fire, saying: “You see this fire; Alvilda Petroff (Oxford University Press), copyright lated by Barbara Newman, copyright © 1989 by hunc ignem; qualiter totam materiam et substantiam as it changes all the matter and substance of wood into © 1986 by Oxford University Press. Cornell University. lignorum convertit in suam naturam, eodem modo na- its own nature, even so, Divine Nature changes into Translations from the Bible, Hildegard von Translation of Hildegard von Bingen’s Karitas tura divinitatis convertit in se animas quas sibi vult…» itself the souls it wants for itself…” Bingen’s Visions of St. Hildegard, The Confessions of Na habundat, copyright © 1980 by Barbara Lachman. Prous Boneta, The Book of Blessed Angela of Foligno, Used by permission. —Na Prous Boneta Concerning the Blessed Margarita of Fænza, Prayer of Additional translations copyright © 1994–1995 Charles VII, There Are Seven Manners of Loving,copy - by Richard Einhorn. All rights reserved. Rex noster promptus est Our king is swift right © 1995 by Peter K. Marshall All rights reserved. Special thanks to Bob Cilman and the suscipere sanguinem innocentum. to receive the blood of innocents. Used by permission. Northampton Arts Council, New England Sed nubes super eundem sanguinem But over the same blood the clouds The letters of Joan of Arc from which the libretto’s Foundation for the Arts, Meet The Composer, plangunt. are grieving. letters were constructed, may be found in Letters of Massachusetts Cultural Council, Ricki Kantrowitz, Unde angeli concinunt Hence the angels sing Joan of Arc, translated and edited by Claire Quintal Nadia Margolis, Peter K. Marshall, Elizabeth Alvilda et in laudibus sonant. and resound in praises and Daniel Rankin (Pittsburgh Diocesan Council of Petroff, Margaret Irwin-Brandon and the Arcadia Gloria Patri et Filio et Spiritui sancto. Glory to the Father, the Son and the Holy Ghost. Catholic Women), 1969. Used by permission. Players, Dennis and Amy Doros, Lawrence Hott and Rex noster promptus est Our king is swift Excerpts from the Ditié de Jehanne d’Arc of Diane Garey, the Centre Jeanne d’Arc in Orleans, the Suscipere sanguinem innocentum. to receive the blood of innocents. Christine de Pizan copyright © 1977 by Angus Joan of Arc Historical Museum of Domremy, Marc Sed nubes super eundem sanguinem But over the same blood the clouds J. Kennedy and Kenneth Varty Medium Ævum Farre, David Wolfson, Andy Cohen, Michelle Ryang, plangunt. are grieving. Monographs, n.s. 9 Oxford. Used by Permission. Peter Gelb, Grace Row, Steve Epstein, Michael —St. Hildegard of Bingen Translations of the prophecy of Merlin, excerpts Mushalla at CAMI, Ron Taft, Lee Pritchard, Lucinda from Quarrel of the Rose by Christine de Pizan, Carver, Jill Bauer, Andy Cohen, Rosine Handelman, Jehanne, Jehanne! Joan, Joan! Marguerite Porete’s Mirror of Simple Souls, Ditié de Gaumont, the many performers and scholars who gave Jehanne d’Arc of Christine de Pizan, copyright © so generously of their time, and my wife, Amy Singer, 1994–1995 by Nadia Margolis. Used by permission. who has been so much more than understanding.

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BALTIMORE SYMPHONY ORCHESTRA Marin Alsop, Music Director, contrabassoon Harvey M. and Lyn P. Meyerhoff Chair David P. Coombs Jack Everly, Principal Pops Conductor , Music Director Emeritus horn Lee Mills, BSO-Peabody Conducting Fellow Philip Munds, Principal, USF&G Foundation Chair first violin Esther Mellon Gabrielle Finck, Associate Principal Jonathan Carney, Concertmaster, Kristin Ostling* Beth Graham,* Assistant Principal Ruth Blaustein Rosenberg Chair Paula Skolnick-Childress Mary C. Bisson Madeline Adkins, Associate Concertmaster, Pei Lu** Bruce Moore Wilhelmina Hahn Waidner Chair Igor Yuzefovich,* Assistant Concertmaster double bass trumpet James Boehm Robert Barney, Principal, Andrew Balio, Principal, Kenneth Goldstein Willard and Lillian Hackerman Chair Harvey M. and Lyn P. Meyerhoff Chair Wonju Kim Hampton Childress, Associate Principal Rene Hernandez, Assistant Principal Gregory Kuperstein Owen Cummings Ryan Darke** Mari Matsumoto Arnold Gregorian John Merrill Mark Huang trombone Gregory Mulligan Jonathan Jensen Christopher Dudley, Principal, Rebecca Nichols David Sheets* Alex. Brown & Sons Chair Ellen Orner Eric Stahl James Olin, Co-Principal E. Craig Richmond John Vance Ellen Pendleton Troyer flute Andrew Wasyluszko Emily Skala, Principal, tuba Dr. Clyde Alvin Clapp Chair David T. Fedderly, Principal second violin Marcia Kämper Qing Li, Principal, percussion E. Kirkbride and Ann H. Miller Chair piccolo Christopher Williams, Principal, Ivan Stefanovic, Assistant Principal Laurie Sokoloff Lucille Schwilck Chair Leonid Berkovich John Locke Leonid Briskin oboe Brian Prechtl Julie Parcells Katherine Needleman, Principal, Christina Scroggins Robert H. and Ryda H. Levi Chair piano Wayne C. Taylor Michael Lisicky Jonathan Jensen James Umber Mary Woehr, Charles Underwood english horn Sidney M. and Miriam Friedberg Chair Melissa Zaraya Jane Marvine, Rui Du** Kenneth S. Battye and Legg Mason Chair * On leave ** Guest Musician viola clarinet Richard Field, Principal, Steven Barta, Principal, director of orchestra personnel Peggy Meyerhoff Pearlstone Chair Anne Adalman Goodwin Chair Marilyn Rife Noah Chaves, Associate Principal Christopher Wolfe, Assistant Principal Karin Brown, Acting Assistant Principal William Jenken assistant personnel manager Peter Minkler Edward Palanker Christopher Monte Sharon Pineo Myer Delmar Stewart bass clarinet librarians Jeffrey Stewart Edward Palanker Mary Carroll Plaine, Principal, Mary Woehr Constance A. and Ramon F. Getzov Chair e-flat clarinet Raymond Kreuger, Associate cello Christopher Wolfe Dariusz Skoraczewski, Principal stage personnel Chang Woo Lee, Associate Principal bassoon Ennis Seibert, Stage Manager Bo Li, Acting Assistant Principal Julie Green Gregorian, Acting Principal Todd Price, Assistant Stage Manager Susan Evans Fei Xie Frank Serruto, Technical Director Seth Low David P. Coombs Larry Smith, Sound

22 CAL PERFORMANCES CAL PERFORMANCES 23 CHORUS ROSTER CHORUS ROSTER

UC CHORAL ENSEMBLES Mark Sumner, Director UC WOMEN’S CHORALE

soprano i alto i Pauline Arriaga* Holly Cain UC ALUMNI CHORUS Carling Cheung Amy Cao Jennifer Chong Stephanie Chang soprano alto tenor Kimberly Constable Anna Chen* Susan Bernstein Andrea Aerts Diego Balbuena Leyla Holt Rachael Ecklund Anne Boersma Jody Ames Dennis Butzlaff Marissa Jauregui Magi Gabra Erica Breneman Kathryn Bader Joshua Cairns Shiyu Li Jera Lewis Kate Caldwell Katherine Ball Allan Fisher Avnee Nulkar May Liang Jennifer King Chen Ruth Chang Jordan Fong Jiayu Qin Lin Long Emily Cohen Natalia Chousou-Polydouri Jim Hillendahl Sheila Rajagopalan Katie Miller Molly Davies Kathleen Clanon Hilary Jenson Stacy Rutz Harini Sadeeshkumar Ellen Fisher Carol Conway Jon Johnsen Katelyn Spiro Emily Sheng Mary Gallahue Bari Cornet Martin Kunz Molly Tellekson Margot Sullivan Becky Gambatese Karisa Daniels Stan Lee Jingting Yi Kelsey Wong Linda Groobin Toni Dine Virginia Lew Rose Hansen Sandra Douglas Ken McCroskey soprano ii alto ii Effie Hsu Melinda Erickson Monte Meyers Sowmya Ashokkumar Vanessa Chew Connie Jones Cricket Evans John Moreno Rotem Bluvstein Noopur Gupta Amanda Knudsen Juli Goldwyn Christoph Neyer Elizabeth Chen Amanda Hermens Marian Kohlstedt Lora Graham Sam Palmer Christine Dinh Charlotte Hoerber Ruta Krusa-Anthony Kathie Hardy Robert Perez Jaclyn Drown Christina Kaba Madeleine Loh Anne Hedges Robert Peri Anna Golombek Frederika Kreitzer Elizabeth Mayer Kathy Jepsen Ken Sanderson Wei Jiang Amanda Lim Holly McCroskey Lewis Germaine LaBerge Robert Uomini Victoria Lai Amy Liu Laura McDonald Jo Lafler Amy Utstein Ani Sophie Lee Sarah Mosby Karen Moore Cathy Less Kjersten Walker Selina Li Alyse Ritvo Lindsay Mugglestone Virginia Lew Tim Wendorff Alyssa Nip Mihika Sathe Connie Philipp Karen Møller Ellen O’Connor Sandra Shim Marissa Pilger Kristen Nickel bass Megan Sweeney Christine Stontz Lauren Polinsky Sarah Olson Gordon Douglass Kelsey Theriault Cricket Rothrum Shilpa Ram Paul Farrell Clara Wong Stacy Rutz Alma Raymond Freddy Hansen Katherine Wu Kathy Selleck Judy Roberts Lawrence Kirkendall PERFECT FIFTH Anne Spevack Wendy Robertson Robert Moore Cathy Thompson Susan Stanley Sean Mullin soprano UC MEN’S CHORALE Karen Warrick Julia Szinai Charlie Pollack Michelle Lee Kimmianne Webster Christina Teply Jorge Portugal Valerie Pooudomsak Andrew Lin Jocelyn Wong Ann Watrous Roy Reynolds Christopher Lin Katie Woodruff Mary Widenor Paul Rockett mezzo-soprano Conor Stanton Jiun-Chyi Yew Pazit Zohar David Rowland Andrea Mich Dylan Bland Daniel Smith Karen Scruggs Ethan Yung Gary Smith Gustav Davila Mark Sumner alto Jason Teoh Garrett Turner Elinor Broadman Jerel Lai Duo Wang Genoa Starrs Jonathan Ewart Ken Worthy Matthew Grobar Gilead Wurman tenor Nick Lavers Stuart Gegenheimer Nick Trengove Victor Huang Patrick Hennessy Robert Frawley bass Robert Perez Rafael Frongillo Ryan Paull Jeffrey Weng Taesik Nam

24 CAL PERFORMANCES CAL PERFORMANCES 25 ABOUT THE ARTISTS ABOUT THE ARTISTS

invited more than 400 amateur musicians on- performed for 29 years, the BSO is a founding stage to perform alongside members of the partner and the resident orchestra at the state- BSO in a two-night “Rusty Musicians” event of-the-art Music Center at Strathmore, just out- that captured international attention. This an- side of Washington, D.C. With the opening of nual event provides participants from across Strathmore in February 2005, the BSO became the country the opportunity to meet, rehearse the nation’s only major orchestra with year- and perform with the BSO and Maestra Alsop. round venues in two metropolitan areas. In June 2010, the BSO held its first-ever BSO Academy, an intensive, side-by-side weeklong program of master classes, chamber music, or- chestra rehearsals and public performances for amateur musicians and BSO members led by Marin Alsop. The third BSO Academy will be held in June 2012. Under Music Director Marin Alsop’s leader- ship, the BSO has rapidly added several criti- cally acclaimed albums to its already impressive discography. The BSO and Maestra Alsop part- nered with the Naxos label to record a three-disc Dvořák cycle of Symphonies Nos. 6 through 9, Leighton Grant

Dave Harp released between 2008 and 2010. Following the Hailed as one of the world’s leading conductors success of the BSO’s cycle of Dvořák record- for her artistic vision and commitment to acces- he grammy award-winning Baltimore oratorio Jeanne d’Arc. The Orchestra under ings, the BSO will release two new recordings sibility in classical music, Marin Alsop made his- TSymphony Orchestra (BSO) is interna- Maestra Alsop undertakes their first domestic in 2012. The first features Bartók’s Concerto for tory with her appointment as the twelfth music tionally recognized as having achieved a preemi- tour in March 2012 to the West Coast, includ- Orchestra and Music for Strings, Percussion and director of the Baltimore Symphony Orchestra. nent place among the world’s most important ing a three-day residency at Cal Performances. Celesta, and the second, Mahler’s Symphony With her inaugural concerts in September orchestras. Acclaimed for its enduring pursuit of For more than 80 years, the Baltimore No. 1, “Titan.” 2007, she became the first woman to head a artistic excellence, the BSO has attracted a de- Symphony has maintained a vibrant educational In August 2009, Naxos released the BSO/ major American orchestra. She also holds the voted national and international following while presence throughout Maryland, supporting the Alsop recording of Bernstein’s featur- title of conductor emeritus at the Bournemouth maintaining deep bonds throughout Maryland local community not only through concerts and ing baritone , the Morgan State Symphony in the United Kingdom, where she with innovative education and community recordings, but also through its commitment to University Choir and the Peabody Children’s served as the principal conductor from 2002 outreach initiatives. actively giving back with its education, outreach Chorus. The album rose to number six on the to 2008, and is music director of the Cabrillo The BSO made musical history in September and mentorship programs. The 2012–2013 sea- Classical Billboard Charts and received a 2009 Festival of Contemporary Music in California. 2007, when Maestra Marin Alsop led her inau- son marks the fifth year of OrchKids™, a year- Grammy nomination for Best Classical Album. In 2005, Ms. Alsop was named a MacArthur gural concerts as the Orchestra’s twelfth music round in-school and after-school music program In 2010, a recording of Gershwin piano and or- Fellow, the first conductor ever to receive this director, making her the first woman to head designed to create social change and nurture chestra works with soloist Jean-Yves Thibaudet prestigious award. In 2007, she was honored a major American orchestra. With her highly promising futures for youth in Baltimore City’s was released on the Decca label, and two new with a European Women of Achievement praised artistic vision, her dynamic musicianship neighborhoods. OrchKids™ provides music edu- recordings are to be released in 2012 on Naxos: Award, in 2008 she was inducted as a fellow into and her commitment to accessibility in classical cation, instruments and tutoring to Baltimore’s an album of two orchestral showpieces by the American Academy of Arts and Sciences and music, Maestra Alsop’s leadership has ushered in neediest youngsters at no cost. Since its start in Bartók, the Concerto for Orchestra and Music in 2009 Musical America named her “Conductor a new era for the BSO and its audiences. 2008, the program has grown from 30 students for Strings, Percussion and Celesta, and Mahler’s of the Year.” In November 2010, she was in- In recent years, Alsop and the BSO have been to nearly 400 student participants throughout Symphony No. 1. The Orchestra made its foray ducted into the Classical Music Hall of Fame. regularly invited to Carnegie Hall, including four schools in Baltimore City. into online distribution in April 2007 with the In February 2011, Marin Alsop was named the Marin Alsop’s debut in February 2008, a criti- The BSO also provides educational oppor- release of a live recording of Stravinsky’s The music director of the Orquestra Sinfônica do es- cally acclaimed appearance later the same year to tunities for adult music lovers through special Rite of Spring on iTunes, which became the site’s tado de (OSESP), or the São Paulo perform Bernstein’s Mass, further performances performance opportunities with members of number one classical music download. State Symphony Orchestra, effective for the in November 2010 and again in November the Symphony. In February 2010 at Strathmore In addition to the Joseph Meyerhoff 2012–2013 season. Ms. Alsop was named to The 2011 for a performance of Honegger’s dramatic and September 2010 at the Meyerhoff, the BSO Symphony Hall, where the orchestra has Guardian’s Top 100 Women list in March 2011.

26 CAL PERFORMANCES CAL PERFORMANCES 27 ABOUT THE ARTISTS ABOUT THE ARTISTS

In the spring of 2011, Marin Alsop was named Percussionist the Wigmore Hall, collaborating with the Miró and Joseph Jennings of Chanticleer, as well as an Artist-in-Residence at the Southbank Centre Colin Currie Quartet for concerts in the , and artists such as Frederica von Stade, Wesla in London, England. has established a joining the Hebrides Ensemble to perform mu- Whitfield and the San Francisco Contemporary A regular guest conductor with the New unique reputation sic by Peter Maxwell Davies. Music Players. York Philharmonic, Philadelphia Orchestra, for his charismat- Mr. Currie’s latest CD release features While attending UC Berkeley, Ms. Rutz London Symphony Orchestra and ic and virtuosic Jennifer Higdon’s Percussion Concerto con- has sung with UC Choral Ensembles’ Perfect Philharmonic, Ms. Alsop appears frequently as performances of ducted by Marin Alsop with the London Fifth and the University’s Renaissance vocal a guest conductor with the most distinguished works by today’s Philharmonic Orchestra, a disc which won ensemble. She is currently a member of the UC orchestras around the world. In addition to her leading compos- a 2010 Grammy Award. Mr. Currie’s recital Berkeley Alumni Chorus and the San Francisco performance activities, she is also an active re- ers, and has ap- disc Borrowed Time, which features music by Girls Chorus Alumnae Chorus. She is currently cording artist with award-winning cycles of peared with many British composer Dave Maric, is available on the studying vocal and jazz studies at Santa Rosa Brahms, Barber and Dvořák. of the world’s most Onyx label. Junior College with plans to perform and teach Marin Alsop has led Baltimore Symphony important orches- music in the Bay Area. She is thrilled to be back Orchestra in several key outreach initiatives. tras: the London Born and reared in Boston, for her fourth production of Voices of Light. In 2008, she partnered with the BSO to launch Dawes Chris Philharmonic, Elinor Broadman (mezzo- OrchKids™, a music education and life enrich- the Royal Concertgebouw Orchestra and the soprano) is a second-year Genoa Starrs (mezzo-sopra- ment program for youth in West Baltimore. In Philadelphia Orchestra among them. Regularly student at UC Berkeley. In no) is a fourth-year student 2010, she conducted the first “Rusty Musicians commissioning and recording new works, he has her hometown, Ms. at UC Berkeley, studying with the BSO”—an event that gave amateur made an inspirational and innovative contribu- Broadman enjoyed singing molecular environmental musicians the chance to perform onstage with tion to the percussion repertoire. long before high school. biology. She started singing a professional symphony orchestra and quickly Colin Currie is deeply committed to the de- Her experience ranges with the San Francisco became a popular component of the BSO’s ef- velopment of new repertoire for percussion in its from various groups at Girls Chorus at age seven, forts to connect with the community. In June widest form—orchestral, solo and in chamber school, to groups in the Handel and Haydn and through it has sung in 2010, Maestra Alsop conducted the inaugural music, and his forthcoming commission projects Society, to performances with various opera many productions with San Francisco Opera BSO Academy—an immersive summer music include new works by composers such as Elliott companies in Boston, including Boston Lyric and the San Francisco Symphony. She has re- program that gives approximately 100 amateur Carter, James MacMillan and . With Opera, as well as several years of vocal instruc- corded two CDs, performed numerous world adult musicians the opportunity to perform trumpeter Håkan Hardenberger, Mr. Currie tion at the New England Conservatory. Music premieres, and sung at events in several different alongside a top professional orchestra. premieres a new recital program in Hannover has remained a large part of her life as a Berkeley countries, including the World Choral Marin Alsop attended Yale University and and the Far East, including works written espe- student: She works in the Department of Music Symposium in Japan. At UC Berkeley, she sings received her master’s degree from The Juilliard cially for the duo by Christian Muthspiel, Lucas and has been part of the UC Choral Ensembles in the a cappella group Perfect Fifth for the School. In 1989, her conducting career was Ligeti and Tobias Broström. Currie also per- group Perfect Fifth since she began her term fourth year. launched when she won the Koussevitzky forms the world premiere of a percussion concer- here. Ms. Broadman is thrilled to be a part of Conducting Prize at Tanglewood where she to by Dutch composer Joey Roukens commis- her second production of Voices of Light. A current student at UC studied with . sioned by De Doelen Rotterdam. Other recent Berkeley and a member of premieres include works written for Currie by Born and raised in San the UC Choral Ensemble’s Simon Holt, Kurt Schwertsik, Jennifer Higdon Francisco, Stacy Rutz (sopra- Perfect Fifth for three years, and Alexander Goehr, among others. no) grew up singing with the Michelle Lee (soprano) has Mr. Currie also performs extensively as re- San Francisco Girls Chorus, always seen music and per- citalist and chamber musician. Following their through which she has had formance as an important hugely successful, sold-out performances of the opportunity to perform part of her life. In addition Steve Reich’s Drumming at London’s Southbank in Carmen with the SF to performing as both vocalist and cellist in Centre last season, Mr. Currie’s recently es- Opera, as well as perform sev- many chamber groups and choruses before her tablished ensemble, The Colin Currie Group, eral works with the San college years, she has performed at the returns to the Southbank Centre and tours Francisco Symphony, including Carmina Segerstrom Center for the Arts as a guest soloist, the United Kingdom giving further perfor- Burana and Mahler’s Symphony No. 8. With the and sung in LA Opera’s production of Noye’s mances of this iconic work. Other highlights San Francisco Girls Chorus, she has worked Fludde as part of the principal cast. Ms. Lee has of this season include performing Bartók with with such renowned conductors as Helmuth also studied in Italy under the Bel Canto Stephen Kovacevich and Martha Argerich at Rilling at the Sixth World Choral Symposium Institute under the instruction of Young Ok

28 CAL PERFORMANCES CAL PERFORMANCES 29 ABOUT THE ARTISTS ABOUT THE ARTISTS

Shin. Having performed with Perfect Fifth in A native of Los Angeles, UC Men’s Octet, California Golden Overtones, concert at Berkeley’s First Presbyterian Church Voices of Light once before, Ms. Lee is honored Brian Leerhuber (bari- Noteworthy and the Cal Jazz Choir, often guid- prior to a tour to Cuba in May. and thrilled to perform it for a second time. tone) has performed with ing them in all-UCCE performances through- San Francisco Opera, the out the school year. UC Choral Ensembles is a TheUC Men’s and Women’s Chorales, former- Daniel Ebbers (tenor) Lyric Opera of Chicago, one-of-a-kind extracurricular, departmental ly known on campus as the Men’s Glee Club and has toured the United Houston Grand Opera, campus institution that nurtures students in all Treble Clef, are the oldest such ensembles on the States as tenor soloist in Tulsa Opera, Austin Lyric matters regarding musical and administrative West Coast. For over 125 years, these singers more than 20 perfor- Opera, Santa Fe Opera, leadership. Dr. Sumner received his D.M.A. have represented the Cal Bears with extracur- mances of Richard Orlando Opera, Opera from the University of Southern California, an ricular singing at events and performances both Einhorn’s Voices of Light. Cleveland, Lyrique-en- M.M. degree from Southern Methodist on and around Berkeley, as well as on notable During these tours, he mer, Rimrock Opera, Opera San José, Festival University in Dallas and his B.M.E. from tours to Japan, Poland and Russia. The parent appeared as guest soloist Opera of Walnut Creek, Eugene Opera, Rogue Oklahoma State University, Stillwater. He pres- organization of many of the smaller ensembles with the National Opera, Berkeley Opera, Juilliard Opera Center ently serves as Music Director of the First that comprise UC Choral Ensembles, they make Symphony Orchestra at and at the Music Academy of the West. In con- Unitarian Universalist Church of San Francisco annual tours to other parts of California, have Wolftrap, the Los Angles Mozart Orchestra, the cert, Mr. Leerhuber has appeared with the San and enjoys performing with professional vocal been involved in past performances of Mark Charleston Concert Association and the Francisco Symphony, Los Angeles Master ensembles: Chalice Consort, Volti, American Morris’s The Hard Nut at Cal Performances Brooklyn Academy of Music. Chorale, Racine Symphony, Monterey Bach Soloists, Los Angeles Chamber Singers, and have performed for the 49ers, Raiders and Highlights of Mr. Ebbers’s performances in- Symphony, San Francisco Concert Chorale, Cappella and the Voices of Musica Sacra, Warriors, as well as at innumerable “Golden clude an acclaimed appearance as Sir Bedivere Grant Park Music Festival and at the Ravinia among others. Bears” events. in Elinor Remick Warren’s The Legend of King Festival. An accomplished recitalist, he has per- Arthur with baritone Thomas Hampson at the formed numerous recitals under the auspices of The UC Alumni Chorus is a 120-voice en- Perfect Fifth is an eleven-member mixed en- Washington National Cathedral. As an artist- the Marilyn Horne Foundation, as well as recit- semble that was born at a centennial celebration semble specializing in music of the Medieval, in-residence with LA Opera, Mr. Ebbers has per- als at the 92nd Street Y, Alice Tully Hall, the reunion of UC Glee Club members in 1985. Renaissance and contemporary periods. They formed as Gastone in La Traviata and covered Cleveland Art Song Festival, Appalachian Music Since that time the chorus has grown in size and too are traveling to Cuba, and have also been leading roles, including Don Ottavio, Albert Festival, Chicago Cultural Center, Bank of stature, recently celebrating its 25th anniversary on tours to the Baltics and China with the UC Herring, Lysander in A Midsummer Night’s Brazil Cultural Center in Rio de Janeiro, with all of the former conductors conducting Alumni Chorus. They often perform in the Noon Dream, Ernesto, and Lindoro in L’Italiana Hidden Valley Music Seminars and the Los in concert. The ensemble has sung for Berkeley Concert series in Hertz Hall (their next concert in Algeri. An accomplished concert artist, he Angeles County Museum of Art. Mr. Leerhuber Opera and Berkeley Symphony and was recently is on May 2, 2012), and were recently featured in has appeared with Michael Tilson Thomas and is a summa cum laude graduate of UCLA and the one of the representatives of the United States the American premiere of Alessandro Striggio’s the San Francisco Symphony in Stravinsky’s Juilliard Opera Center, and he currently makes at the International Invitational Choral Festival Missa sopra Ecco sì beato giorno in 40 and 60 Mass, and has performed twice at Carnegie his home in San Francisco. in Missoula, Montana. UCAC has enjoyed tours parts, under the direction of Davitt Moroney. and Avery Fisher halls. A distinguished Mozart to Australia, Britain, the Baltics, Russia, China, Former Cal Performances appearances include interpreter, he has appeared as Don Ottavio Dr. Mark Sumner is in his Hungary, Uruguay and Argentina. They are singing for the Fall Free for All, Yo-Yo Ma’s Silk with Opera Theater of Connecticut, Belmonte 15th year as Director of now preparing for an April 28, 2012, afternoon Road Project and Mark Morris’s The Hard Nut. in San Diego Comic Opera’s production of UC Choral Ensembles Abduction from the Seraglio, and as a tenor so- (UCCE) at UC Berkeley. loist in Mozart’s Requiem at the Ruldophinum UCCE is part of Student in Prague. Musical Activities and is Mr. Ebbers joined the faculty of the the home to eight student- University of the Pacific as Associate Professor managed ensembles and of Voice in fall 2004. In fall 2012, he will per- the UC Alumni Chorus. form in and co-produce Voices of Light as part of Dr. Sumner prepares and a weeklong celebration at the University of the regularly conducts the UC Women’s Chorale Pacific commemorating the 600 anniversary of and Alumni Chorus, oversees the artistic direc- the birth of Joan. tion of Perfect Fifth, conducts the combined Mens and Womens Chorales, and is the musical director of BareStage’s musical production each year. He also watches after the activities of the

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