Tao Ruspoli & Marie Noorbergen the BarbicanCentre principal funderof is thefounder and Corporation The Cityof London

Programme produced by HarrietSmith;printed Part of Barbican Presents 2018–19 There willbenointerval Pamela Salling Danielle DomingueSumi Jim F Ingalls Grant Gershon Los Angeles Master Chorale Lasso Thursday 23May 2019 8pm,Hall Chorale Master Angeles Los online. during your visit. Additional feedback canbegiven If anything limitsyour enjoyment pleaseletusknow with ahandkerchief. you feel theneedto coughorsneeze,pleasestifle it sake of other audiencemembersandtheartists,if prevent coughingduringaperformance. But,for the We appreciate thatit’snot always possible to members. can spoiltheenjoyment of your fellow audience set to Titmay causehigh-pitched feedback which entering thehall.Ifyour hearingaidisnot correctly you shouldswitch your hearingaidto Tsettingon Please remember thatto useourinductionloop a performance isstrictlyprohibited. capturing images orusingrecording devices during during theperformance. Taking photographs, Please turnoff watch alarms,phones, pagers etc Cabbell (tel 02036037930) by Trade WindsColourPrinters Ltd;advertising by Lagrime diSanPietro (Tears of St Peter)

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2 David Lieberman/Artists’Representatives Exclusive Touring Management by and GaryFrischling, MarianH andJohnNiles,Frederick J Ruopp,andEva andMarc Stern. Kiki andDavid Gindler, PhilipA Swan, Laney andTom Techentin, Jerrieand Abbott Brown, Cindy of thespecialfriendshipheshared withdirector Peter Sellars. The touring production issupported by underwriting from theLovelace Family Trust andisdedicated to thememoryof JonLovelace inhonour The LosAngelesMaster Chorale production of (set to thepoetryof LuigiTansillo) and piece. Lasso’s20sacred madrigals overwhelmingly emotional performance and dramatically staged –into an masterpiece –committed to memory sweeping Twenty-one singerstransform this80-minute into atowering work of beauty. channelled allhispainandremorse an emotionally charged texture that and sohepacked every note with the lastpiecehewould ever compose, that work to date. OrlandodiLassoknew a cappella director Peter Sellarscomeshisvery first From thecreative mindof acclaimed Welcome Lagrime diSanPietro a cappella staging andmostpersonal Renaissance was to be Lagrime diSanPietro Los AngelesMaster Chorale a more resolved andfulfilling future. facing ourpasthead-on, we canforge suggesting thatby taking responsibility and contemporary lens,hispowerful allegory Peter Sellarstranslates finesse withwhichitperforms earlymusic. works andfor thesonicpurityandmusical for itsdefthandlingof contemporary the LosAngelesMaster Chorale isknown Led by ArtisticDirector Grant Gershon, his arrest andpriorto his crucifixion. knowledge of JesusChristontheday of St Peter experienced after disavowing his depict theseven stages of griefthat concluding motet (PhilippedeGrève) ismade possiblewithgenerous Lagrime through a Empire (in what is nowadays Belgium) could find find could Belgium) nowadays is what (in Empire Habsburg the of part Netherlandish the in born musician ayoung which in atime was This Europe. in Renaissance High the of era the cross-pollination across borders that marked and internationalism the to points variants of profusion very The situation. the standardise to intended option There’s aLatin together. even mixed get two the sometimes one; Italianised an and form There’s aFranco-Flemish Orlande/Orlando/Roland de Lassus/di Lasso? history: in minds musical extraordinary most the of one to refer to way correct the What’s masterpiece Renaissance High Lasso’s remorse: A saint’s Pietro (Tears San di of St Peter)Lagrime Lasso di Orlando churches in Italy while still in his early twenties, twenties, early his in still while Italy in churches and courts major at positions to posted himself Chi ad unaad una(Ifonecouldretell oneby one) Il magnanimo Pietro (Whenthegenerous Peter) Ogni occhiodelSignor(Theeyes of theLord) Nessun fedel trovai (Ifound nonefaithful) Giovane donna(Never didayoung lady) Qual al’incontro (No-oneshouldboast) Come falda dineve (Like asnowbank) Tre volte haveva (Three timesalready) E nonfuilpianto suo(Andhiscrying) Ma gliarchi (Thebows, however) Così talhor (Asithappens) VIII VII XI IX VI IV X III V II I

(1530/2–94) technology of printing, which disseminated his his disseminated which printing, of technology new the from benefit to time right the just at born been had He celebrity. international an became he Munich, in years productive Pietro di San Lagrime published works, including the edition first of his of many of title-page the on used one the spelling, Italian the to stick and simplify (Let’s Lasso. of story life the is outline, brief in Such, style. musical in developments latest the up picking and and to Italy Vienna trips undertaking 1594 in death still his until –while decades four almost for settled happily he where Bavaria), of Duke (the Munich in aristocrat ambitious an of court the 26 join to age around at lured be then and England), even and France to (possibly spell abrief for north back travel E vago d’incontrar (And wishingto find someone) Negando ilmioSignor(Bydenying my Lord) Veduto ilmiser(Realising thathefelt) O vita troppo rea (Olife, too guilty) Queste opre epiù(Theseevents) Vattene vita va (Go,life, goaway) A quantigiàfelici (To how many) Non trovava miafé (Myfaith Vide homo(See,Oman) would have not failed) Quel volto (Thatface) .) During his long, XVIII XVII XXI XIX XVI XIV XX XIII XV XII

3 Programme note 4 High Renaissance: Michelangelo. the of artist towering another of death the after that notes He Sellars. observes sculptural,’ totally is detail and depth of kind this of ‘Polyphony complexity. and experience wisdom, that of all distilled song, swan his Into the polyphonyVisualising time.’ our of wonder unique the himself making and ancients the surpassing earth, on it with us delight to heavens the of harmony the stolen have to alone seems moreover and ancients the of flowers beautiful most the all sipped has abee …like Orlando than-divine more- ‘The lyrical: waxed Ronsard, de Pierre poet French the artist, contemporary Another modern Western music emerged. which from –one language musical different adramatically pioneer would Monteverdi Claudio champion its and flourish, would of genre new the Lasso’s death, after years afew dawned that century the In end. its reach Renaissance polyphony that was just about to of tradition grand the of knowledge his of depth the for as well as oeuvre), extant vast (curiously, music is from instrumental missing his genres vocal across output his of extent and variety the for revered particularly was Lasso else.’ everyone to listening is everyone and happen, to has music way asingle isn’t there when today, like feels It centres. music different in active was he because evolved name Orlando’s of ‘All versions these Sellars. Peter director together,’ them says mixing and versions, pirate in some languages, different in releases, other’s each hearing is everyone Renaissance: High the iTunes of the is have you ‘What alike. pope and emperor by honoured was Lasso –and them among been have Venice may from Gabrielis –the him from learn to wide and far travelled composers young Hopeful ayear). music his of publications two (about rate astonishing an at output prolific Lagrime was composed only 30 years years 30 only composed was Lagrime di San Pietro di San Lagrime , Lasso , Lasso intense focus on the poetry.’ poetry.’ the on focus intense an with and movement with unlocked be could music this of truth the that Ifelt and Peter dull.) unbelievably also are that work the of recordings lovely perfectly several are there (Frankly, style. reverential extremely buttoned-up, avery in anguished music has historically been performed even emotional, highly this that is years the over had has piece the that problem ‘The explains: Gershon challenges. formidable of aset also –but approach this out try to which with piece’ And work.’ amajor of feeling the and textures the colours, the structure, the of all convey would voice human the of sound pure The audience. the and singers the between buffer no is entirely an stage Sellars by having tapped be could that potential the imagined Gershon music.’ the to emotions and their connect complex most deepest to singers guides he that way by the moved especially been ‘I’ve always Gershon. Grant Director Chorale’s Artistic Master Angeles Griselda Vivaldi’s on together working Iwere and Peter 2011 in began when project this of genesis ‘The self-transformation’. achieve to pain against striving and energy ‘embodied the muscle spirituality: of spiritual an of visions convey artists Both Michelangelo.’ from visually, well, so know we language expressive this of reminiscent is that writing Lasso’s in intensity muscular this get ‘You also he completed the score with a dedication to to adedication with score the completed he Pietro di San Lagrime languages. profane in multiple compositions heartily Sibyllarum Prophetiae cycle motet celebrated (the original wildly and (Masses) traditional both are that works sacred contemporaries – on encompasses one side by his imitated and admired – widely oeuvre The purpose. and chronology to regard with output his within apart stands clearly cycle vocal complex this of Lasso’s creation Lagrime di San Pietro di San Lagrime at the ,’ recalls Los Los Opera,’ recalls Fe Santa the at a cappella comes at the very end – – end very the at comes ) and, on the other, the on ) and, presented ‘the perfect perfect ‘the presented work, ‘where there there ‘where work, episode within the long sequence of the Passion J SBach’s knows who anyone to familiar be will that atopic around centres content dramatic The denial threefold Peter’s cycle. madrigal his for 20 chose Lasso which rima in stanzas eight-line of collection lengthy published the epic, the complete to managing before died Tansillo Although Pope. the from pardon official an obtained Vatican’s Index. Forbidden His spirituali of set afamous write to Palestrina Lasso’s contemporary inspired Mary Virgin the praising poetry –his causes sacred and secular to art his devoted Petrarch humanist the incidentally, Lasso, (Like tradition. Petrarchan great the of out (1510–68),Tansillo came who Luigi poet Renaissance Italian by the epic For texts. Latin than definition, such madrigals set vernacular rather –by however usage, liturgical for suitable not were They topics. religious to devoted secular madrigal, ‘spiritual madrigals’ were the of restrictions) of lack (and innovations the of advantage taking Yet while contexts. ceremonial for occasion, or figure apublic to related topic or, the ) when court-produced academic gatherings (much as the first, or courtly private for intended were and topics, pastoral and erotic involving frequently vernacular, the in words set madrigals liturgy; in use for suitable were Latin, in composed Motets, spheres. (madrigal) secular and (motet) sacred the for pieces vocal between distinction usual spirituali madrigali Lagrime comprising numbers the genre, of terms In madrigal of kind A special age’. old my burdensome in devotion my personal for by me harmony in clothed been …have Peter Saint of tears ‘these that remarks Lasso dedication, that 14 In on June. Munich 1594 24 May on in VIII died and Clement Pope Lagrime (the rhyming scheme ABABABCC), from are classified not as motets but as as but motets as not classified are .) Tansillo, curiously, had been on the the on been had .) Tansillo, curiously, Passions , Lasso found his text in a devotional adevotional in text his found , Lasso – a term that straddles the the straddles that –aterm , where it occurs as just one one just as occurs it , where

Lagrime Lagrime madrigali madrigali

ottava ottava is a a is easy way out. He concludes the cycle of of cycle the concludes He out. way easy no and answers, easy –no us –and Peter gives Lasso grace. divine on only rely can and himself forgive never can he realising reconciliation, seeks he as intersect death for longing and approaching aman of recollections the and betrayal of moment present eternally the internally: endures Peter which Cross the of Stations psychological of akind psychodrama, a resembles this from fashions Lasso cycle The by lovers. shared knowledge unspoken the –to Cross the on glance transfixing image – the communication through Jesus’s central the in transpires what figures boldly Renaissancecharacteristic preoccupation, and a revealing reflections and mirrors to references anguish. is The elaborate, imagery its his with terms to come to attempts Peter elderly the as undone, be cannot what for remorse and wrought, emotional sequence of self-accusation ahighly as Tansillo’s unfolds poem popes. of succession its in first the Church, Catholic the of founder the as claimed be would who Peter very the crows’. course of is rooster This the before night, very Supper, ‘this Last the during predicted had Jesus as –exactly accused the knowing denies he times Three Jesus’sof arrest. night the of terror the to reaction Peter’s fearful Apostle the recount Passion the of narratives Gospel The Caravaggio. and Rembrandt as such by artists well, as painting in masterpieces several of topic the It’s dich’). ‘Erbarme aria the in moments moving most the of one inspires it (though story e, Gregorian) modes, modes, (i e, Gregorian) church old the using scheme tonal overall his Through entrapment. recursive of sense the enhances lines eight all for scheme rhyme repetitive the Even cross. the on suffering outward his than saviour the for agony’ ‘inner more caused has betrayal tormenting Peter: the knowledge that his been has what reaffirms only Jesus Here you’). for Isuffer how Oman, –‘See, patior’ te pro quae homo, (‘Vide himself Jesus from word final the representing Grève de Philippe poet French 13th-century by the motet Latin a source: another –from –amadrigal number a21st Tansillo’s from with poem stanzas 20 St Matthew Passion Matthew – the alto alto –the

5 Programme note 6 as ‘melancholy’, and he even dedicated one set set one dedicated even ‘melancholy’, he as and described acondition for relief seeking ailing, been had Lasso years final his in We that know note.’ extra asingle without possible, as simply as stated it’s time same the at but density sheer and essence focus. There’s a harmonic with concision, incredible an ‘with composed melismatic passages.’ For Sellars, few very are there extraneous: nothing is there away, until stripped are Things Symphonies. Tenth or Ninth Mahler’s from Adagios the or quartets string Beethoven late the adds. ‘ Gershon austerity,’ areal has that music is ‘This anyone’s of out wardrobe.’ come could they like look that –clothes grey of shades basically is wardrobe the onstage; chairs some be complemented by Jim Ingalls’ lighting and Peter’sperformers. work with the singers would extra or props or set any without feel, and look whole the to simplicity areal keeping about talked also ‘We Gershon. together,’ explains coming acommunity being also this of idea the with voices individual the of transparency and clarity for need the balance to ensemble the of 21. size of the wanted ‘We ensemble an in resulting apart, to singers three with perform to decided Sellars and Gershon staging, this For Pared down simplicity by 7). divisible evenly asum poetry, of 168 lines (yielding 3x7stanzas comprises cycle Lasso’s overall Jesus. denies Peter times three the in shadow anegative Trinity, it, has too, the but of number the is Three sins. deadly seven the in as side, adark with anumber also but creation, and perfection of number the is Lasso’s Seven era.) with instruments, citing practice of performance voices the complement to opt performers (Some parts. separate seven for written is stanza all-pervasive in Bach’s masterpieces. Each theological numerological symbolism that is so Structurally, number. final the of impact austere remarkably the understand the musicological language to hear to You have don’t system. normal the outside amode to shifts he motet final this for them; through cycles progressively he as modes irresolution by some omitting of those eight of sense the underscores further Lasso Lagrime Lagrime is an old composer’s music, like like music, composer’s old an is also reflects the kind of of kind the reflects also Lagrime is is responsibility: a collective takes on this weight of of weight this on takes acollective responsibility: take to has and them absorbs that community the is it man’s one hear we thoughts, though Even community. the of acrisis also is crisis individual an where understanding, African an call also Icould ‘which Sellars, says tragedy, of understanding Greek ancient the to according –drama forwards’ drama the ‘carries chorus in double-bill, Stravinsky the in As London. in here Orchestra Philharmonia the with series aStravinsky crown to year last February in it reprised director and Oedipus rex Stravinsky’s staged 2009, in Sellars Philharmonic Angeles Los the with Salonen’s of tenure conclusion the For by Stravinsky. works choral involving Salonen collaborations with conductor Esa-Pekka his in revisiting recently been has he themes of acontinuation it considers Sellars performance, entirely an staging time the While other.’ each for and to singing people –by by a community shared now are thoughts these but writing, of act devotional private, a It’s world. the leaves he as soul own his purify to chest his off get to has he something is [composing is He anyone. to anything prove to need not ‘does Lasso Sellars, to life,’ his according in ‘At point this him. of care took who physician court the to madrigals his of whose world premiere the Master Chorale and and Chorale Master the premiere world whose ( Adams by John variants contemporary on work Bach the of stagings acclaimed engagements with the Passion story, from his Sellars’s of acontinuation as viewed Stravinsky, the beyond And, revelation.’ of moments their have voices these as through the inner dialogue of the composition, dawning collective this with joins singing the of intensity physical sheer The testifying. is which body the of part is but disembodied something not is voice ‘the Sellars, For staging. for possibilities thrilling has suggested collective the and individual the between interplay That darkness and light dialogue, Inner longing and hope.’ The Gospel According to the Other Mary Other the to According Gospel The Lagrime as a double-bill, and the conductor project represents his first first his represents project Symphony of Psalms ofPsalms Symphony a cappella Lagrime Lagrime Passions Lagrime ] because this this ] because

can be and and to his his to , in , in the the Tao Ruspoli & Marie Noorbergen every human being on earth. In the case of of case the In earth. on being human every to known acrisis is moment honest relentlessly clear, crystal That moments. failed for regret lifelong and quandaries, moral his art, his the fluctuations and razor-edge refinements of detail can who angels recording of host this created has Lasso self-portraits, Rembrandt’s analogous to act Michelangelo’s and an In yourself. within war the Islam, in jihad of meaning real the is –that yourself challenge you world, the challenging of Instead oneself. challenge in the Sellars, says pain, its of all Through depth.’ create other. Taken they each together, for necessary are and creation God’s in intertwined deeply are darkness and light that understanding this music: and poetry in echoed was that painting of in lighting Renaissance discovery giant the shares ‘It Sellars. pain,’ in is says who by somebody written music –it’s next the in ‘ Festival). 2016 the of Ojai part as version chamber Simone de Passion ( Saariaho Kaija and part) took Gershon Lagrime chiaroscuro has one foot in this world and one foot foot one and world this in foot one has Lagrime , recently reintroduced in a a in reintroduced , recently . That’s how we perceive perceive we how . That’s ‘is directed towards towards directed ‘is La La project,’ ‘Ostensibly says Gershon. this piece is this to bring would singers our that vulnerability emotional overwhelming the was anticipate fully Icould nor Peter neither ‘What Chorale. Master the of history the in amilestone be to out turned collaboration powerful this of result The hell.’ of heart very the reach that illumination and compassion adivine with suffused is music the but himself, forgive can’t he Lasso, reprinted with permission May; ©Thomas note Programme experience.’ to hear, and to see to need people that apiece is This embarked. ever have we which on work important most the of some us of each for represents project this that and music, Western of masterpieces towering that things: two of convinced work this of performances initial the from away We came all benediction. of possibility some also but regret and shame extreme experiencing about, care we that people and things the losing old, growing surrounding themes universal more much into delving was Lasso that is together worked all we as realise to came we What crucifixion. the before Jesus denying over remorse of sense lifelong his and Apostle the Peter about Lagrime di San Pietro di San Lagrime

is one of the the of one is

7 Programme note 8 Tao Ruspoli & Marie Noorbergen he hasappeared atCarnegieHallandTrinity production directed by Peter Sellars.InNew York West premiere of JohnAdams’s In November 2017 heconducted theworld Glass’s conducted theWest Coastpremiere of Philip Tales of Hoffmann Florencia enelAmazonas conducted in made hisacclaimed debutwiththecompany He istheResident Conductor of LAOpera. He Chinary Ung,amongmany others. Lena Frank, Shawn Kirchner, EllenReid and Morten Lauridsen,RickyIanGordon, Gabriela Andriessen, Christopher Rouse, , Adams, Esa-Pekka Salonen,,Louis world premieres of majorworks by John fervent championof new music,hehasgiven performances atWalt Disney ConcertHall.A During histenure hehasledmore than200 performances from musicians. for elicitingtechnically precise andexpressive adventurous andboldartisticleadership and Los AngelesMaster Chorale; heishailedfor his the Kiki&David GindlerArtisticDirector of the Grant Gershoniscurrently inhis17th seasonas Grant Gershon About the performers Grant Gershon La traviata for San Francisco Opera, inanacclaimed Satyagraha in 2009 and has subsequently in2009andhassubsequently conductor and for LA Opera lastautumn. , The Pearl Fishers , Wonderful Town Girls of the Golden Girls of theGolden

, . He . He , The The , Ruth Walz the request of composerJohnWilliams. soundtracks, including Master Chorale inperformances for several film live performance albums.Hehasalsoledthe recordings withtheMaster Chorale andtwo grand macabre Philharmonic SpecialEditions)andLigeti’s nominated recordings: His discography includestwo Grammy Award- Mehta, SirSimonRattle andEsa-Pekka Salonen. Conlon, Gustavo Dudamel,LorinMaazel, Zubin including ClaudioAbbado, Pierre Boulez,James has worked closelywithnumerous conductors, Helsinki, Salzburg andViennafestivals. He performances attheRavinia, Aspen,Edinburgh, series atLincolnCenter. Otherhighlightsinclude Wall Street, aswell asintheGreat Performers , amongothers. of Chicago, Opéra NationaldeParis andthe Opera, EnglishNationalOpera, LyricOpera Canadian Opera Company, Dutch National creative artists.Hehasstaged operas atthe collaborative projects withawiderange of interpretations of artisticmasterpieces andfor for hisgroundbreaking andtransformative Peter Sellarshasgainedinternational renown Peter Sellars Peter Sellars director (Sony Classical);sixcommercial Star Wars: TheLastJedi Sweeney Todd (New York Le Le at at named Artistof theYear by awarded theprestigious Polar Music Prizeand Academy of ArtsandSciences.In2014 hewas Gish Prize,andisamemberof theAmerican for contributionsto European culture andthe a MacArthur Fellowship, theErasmus Prize Arts Initiative. Hehasbeentherecipient of Film Festival andwas aMentor for theRolex UCLA, aresident curator of the Telluride Department of World ArtsandCultures at He isaDistinguishedProfessor inthe Director of the2016 OjaiMusicFestival. 250th birthanniversary. Heserved asMusic architecture for thecelebration of Mozart’s music, theatre, dance,film, thevisualartsand backgrounds to create new work inthefields of which heinvited artistsfrom diverse cultural Hope, amonth-longfestival inViennafor 2006 hewas ArtisticDirector of New Crowned festivals andthe2002Adelaide ArtsFestival. In including the1990 and1993 LosAngeles He hasledseveral majorartsfestivals, Doctor Atomic This summerhewillcreate anew production of of theGoldenWest the latest Adams/Sellars collaboration, Philharmonic Orchestra andthepremiere of of 2017 Salzburg Festival, aconcertstaging production of Recent projects includeanacclaimed modern opera. her work thathave expanded therepertoire of and hasguidedthecreation of productions of inspired by thecompositionsof Kaija Saariaho Gospel According to theOtherMary Niño Nixon inChina works withcomposerJohnAdams, including He hascollaborated onthecreation of many The CunningLittleVixen , Doctor Atomic LaclemenzadiTito for Santa Fe Opera. , The Deathof Klinghoffer , atSanFrancisco Opera. , A Flowering Tree withtheBerlin Musical America atthe . Heisalso and Girls , El The . and includes with Jim F Ingallsmade hisLAMaster Chorale debut Jim F Ingalls Gray include Rios Glaser(RedCat). Recent designsfor dance Center), and Lavallade’s El Niño Criolla Gospel According to theOtherMary Santa Ana,California. collaborates withTheWooden Floordancersin Garry Hynes(DruidTheatre/Galway). Heoften Godot Sellars. Recent theatre includes Tito and Paris Opera/Garnier) and Only theSoundRemains includes theworld premiere of Kaija Saariaho’s (Miami CityBallet).Recent designfor opera Balanchine’s production of Giselle Jim FIngalls (Salzburg Festival), both directed by Peter A Parallelogram Lagrime (Paul Taylor’s AmericanModern Dance), , , (Finnish National Ballet) and George (FinnishNationalBallet)andGeorge (), Carmen de (LosAngelesPhilharmonic),Carmende Oedipus rex Sive Concertiana The BeautyQueenof Leenane and As IRemember It . Hisother work inLosAngeles Tribu lightingdesigner King of theCastle , choreographed by Melanie / , Symphony of Psalms (MarkTaper Forum), Half Life (Dutch NationalOpera The Nutcracker (Wallis Annenberg and Waiting for La clemenza di La clemenzadi , alldirected by The Beauty in The Beautyin , Cantata , The Price and and The The

9 About the performers 10 heritage. recognition of andresponse to multi-ethnic arts includingincreased understanding and promoting socialwell-being through expressive diversity andsocialjustice.Sheiscommitted to and humilitywithelementsof multi-cultural artistic expression isinspired by spirituality apparel artistandartpsychotherapist. Her Orleans, Louisiana,andaLosAngeles-based Danielle DomingueSumiisnative to New Danielle DomingueSumi Danielle DomingueSumi costumedesigner Angeles. the JapaneseAmericanCultural Center inLos musical production withEastWest Players and Mass Philharmonic’s production of Bernstein’s assistant costumedesignerfor LosAngeles Los AngelesPhilharmonic.Recently shewas According to theOtherMary CAP UCLA, well asother projects, suchas San Pietro Peter Sellarsincludingdesigning She enjoys acloseartisticcollaboration with wardrobe withLosAngelesOpera. West. Shewas previously assistant head of National Opera andMusicAcademy of the Ballet Company, Teatro Real Madrid, English Angeles Philharmonic,Perm Opera and Angeles Opera, KirkDouglasTheater, Los and opera companiesincluding FIDM,Los staff andindependentlywithfashion, theatre production. Since2005shehasworked on and leadership skillsintheatricalcostume She ishighlyregarded for hercreativity andsupervised withLosAngelesMaster Chorale, as The IndianQueen Allegiance ontour withthe and Desdemona , aBroadway Lagrime di The

Gospel at

Tao Ruspoli & Marie Noorbergen national andinternational tours of its acclaimed Current andforthcoming highlightsinclude Disney HallandtheHollywood Bowl. with theLosAngelesPhilharmonic at and tradition. Italsofrequently performs striking abalancebetween innovation repertoire to contemporary compositions, with choral musicranging from theearly Chorale presents itsown concertseries, Each seasontheLosAngelesMaster group showcasing themany voices of LA. choir isadiverse andvocally dynamic are highlysought-after andthefullyprofessional Walt Disney ConcertHall.Chorister positions of TheMusicCenter andchoir-in-residence at in 1964 anditisafounding resident company choir was created by conductor Roger Wagner ensemble’s Swan Family Artist-in-Residence. The composer EricWhitacre currently serves asthe CEO JeanDavidson. TheGrammy-winning Director Grant GershonandPresident and daring, theMaster Chorale isledby Artistic performances, technical precision andartistic vibrant cultural treasures. Hailedfor itspowerful choir andoneof SouthernCalifornia’s most recognised asthecountry’sleading professional The LosAngelesMaster Chorale iswidely Los Angeles Master Chorale to communityengagement andfostering music The LosAngelesMaster Chorale iscommitted most recently frequently onfilm scores andsoundtracks, recording catalogue andhasappeared Fame. TheMaster Chorale hasadistinguished into theAmericanClassicalMusicHallof for Choral Excellence. In2017 itwas inducted America’s prestigious Margaret HillisAward for Adventurous Programming aswell asChorus awarded three ASCAP/Chorus AmericaAwards by Peter Sellars.TheMaster Chorale hasbeen production of California andlive-streamed worldwide online. broadcast live to venues infive other citiesin encompassing aconcertinDisney Hallthatwas largest group-singing event inthestate’s history, Chorale presented BigSingCalifornia, the singing event. InJulylastyear theMaster and abilitiesto Grand Park for acommunal hosted BigSingL 30th anniversary. InJune2016 theMaster Chorale Disney ConcertHall.Thisyear marks thefestival’s from around theSouthlandto perform inWalt High SchoolChoirFestival, bringingteenagers for highschoolstudents.Itpresents anannual own songs,andanexpansive Oratorio Project encourage students to write andperform their including Voices Withinresidencies that education inschools,withprogrammes Star Wars: TheLastJedi Lagrime diSanPietro A, bringingpeopleof allages directed .

11 About the performers 12 Alto Andrea Zomorodian Bethanie Peregrine Hayden Eberhart Canto secondo Anna Schubert Elissa Johnston Claire Fedoruk Canto primo Adriana Manfredi Michael Lichtenauer Campbell Callista Hoffman- Alto Kristen Toedtman Niké St Clair Shawn Kirchner Chorale Master Angeles Los

secondo primo

Tenor Chung UkLee James Hayden Scott Graff Basso Shuo Zhai Brett McDermid Jon LeeKeenan Tenor Luc Kleiner Charlie Kim Matthew Brown Musical Artists,AFL-CIO. the AmericanGuildof are represented by Angeles Master Chorale The singersof theLos

primo secondo Company Manager Susie McDermid Manager Senior Production Seth Reiser Lighting Supervisor Pamela Salling Stage Manager Production Staff Chorale Touring Master Los Angeles Kara Morgan Production Assistant Robert Heath