Timothy Simpson, Tenor Resume
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Edith Mathis Mozart | Bartók | Brahms | Schumann | Strauss Selected Lieder Karl Engel Wolfgang Amadé Mozart (1756–1791) Robert Schumann (1810–1897) Das Veilchen K
HISTORIC PERFORMANCES Edith Mathis Mozart | Bartók | Brahms | Schumann | Strauss Selected Lieder Karl Engel Wolfgang Amadé Mozart (1756–1791) Robert Schumann (1810–1897) Das Veilchen K. 476 2:47 Nine Lieder from Myrthen, Op. 25 Als Luise die Briefe ihres ungetreuen Liebhabers verbrannte K. 520 1:41 Widmung 2:11 Abendempfindung an Laura K. 523 4:45 Der Nussbaum 3:27 Dans un bois solitaire K. 308 (295b) 2:54 Jemand 1:36 Der Zauberer K. 472 2:48 Lied der Braut I («Mutter, Mutter, glaube nicht») 2:01 Lied der Braut II («Lass mich ihm am Busen hängen») 1:34 Béla Bartók (1881–1945) Lied der Suleika («Wie mit innigstem Behagen») 2:48 Village Scenes. Slovak Folksongs, Sz. 78 Im Westen 1:16 Was will die einsame Thräne 2:59 Heuernte 1:33 Hauptmanns Weib 1:55 Bei der Braut 1:57 Hochzeit 3:30 Wiegenlied 5:03 Richard Strauss (1864–1949) Burschentanz 2:47 Schlechtes Wetter, Op. 69 No. 5 2:29 Die Nacht, Op. 10 No. 3 2:55 Johannes Brahms (1833–1897) Ach, Lieb, ich muss nun scheiden, Op. 21 No. 3 2:08 Five Songs from 42 Deutsche Volkslieder, WoO 33 Meinem Kinde, Op. 37 No. 3 2:19 Hat gesagt – bleibt’s nicht dabei, Op. 36 No. 3 2:31 Erlaube mir, feins Mädchen 1:15 In stiller Nacht 3:12 encore announcement: Edith Mathis 0:10 Wie komm’ ich denn zur Tür herein? 2:19 Da unten im Tale 2:29 Hugo Wolf (1860–1903) Feinsliebchen, du sollst 4:14 Auch kleine Dinge können uns entzücken from the Italienisches Liederbuch 2:42 recorded live at LUCERNE FESTIVAL (Internationale Musikfestwochen Luzern) Edith Mathis soprano Previously unreleased Karl Engel piano The voice of music The soprano Edith Mathis According to an artist feature of the soprano Edith Mathis, published by the music maga- zine Fono Forum in 1968, an engagement at the New York Met was a “Pour le Mérite” for a singer. -
American Spiritual Program Spring 2009
American Spiritual Ensemble Sunday, February 22, 2009 • 4 p.m. Asbury United Methodist Church Comprised of some of the finest voices in the world, the internationally acclaimed ensemble offers stirring renditions of Negro spirituals, Broadway songs and other music in the African-American tradition. The concert is sponsored by Asbury United Methodist Church; the Peter and Judy Jackson Music Performance Fund; Salisbury University’s Department of Music, Office of the Dean of the Charles R. and Martha N. Fulton School of Liberal Arts and Office of Multicultural Student Services; the SU Foundation, Inc.; and is made possible, in part, by a grant from the Salisbury Wicomico Arts Council, awarded by the Maryland State Arts Council and the National Endowment for the Arts. AMERICAN SPIRITUAL ENSEMBLE EVERETT MCCORVEY , F OUNDER AND MUSIC DIRECTOR www.americanspiritualensemble.com PROGRAM Walk Together, Children ............................................................arr. William Henry Smith We Shall Walk Through the Valley in Peace ............................................arr. Moses Hogan Plenty Good Room ......................................................................arr. William Henry Smith Oh, What A Beautiful City! ........................................................................arr. Johnie Dean Mari-Yan Pringle, Jeryl Cunningham, Sopranos I Want Jesus to Walk With Me ....................arr. Eurydice Osterman/Tedrin Blair Lindsay Ricky Little, Baritone Fi-yer, Fi-yer Lord (from the operetta Fi-yer! )......................Hall -
573824 Itunes Lortzing
LORTZING Opera Overtures Der Waffenschmied Undine Der Wildschütz Hans Sachs Malmö Opera Orchestra Jun Märkl Albert Lortzing (1801–1851) though, sketched out a plan for an opera on the subject as wrong Peter. Ivanov hands it to the Tsar, thereby obtaining early as 1845, and he was certainly aware of Lortzing’s the latter’s blessing for his union with Marie. Van Bett was Opera Overtures work. Set in 1517, when Sachs would have been 23 and a yet another of Lortzing’s richly comic bass creations, and Gustav Albert Lortzing was a multifaceted man of the staged work, first produced the evening before his death. young cobbler, Lortzing’s opera centres on Sachs’s Lortzing himself created the tenor role of Peter Ivanov. theatre – actor, singer, librettist, composer and conductor. The relatively brief and sprightly overture sets the scene courtship of his first wife, Kunigunde, daughter of goldsmith Andreas Hofer is, like Der Weihnachtsabend , a one-act Though international currency of his operas has been for a behind-the-scenes one-act piece in the tradition of Steffen (the counterpart of Wagner’s Pogner). Steffen has piece composed in 1832. It features real and imaginary limited, on German stages he was for some 150 years the Cimarosa’s Il maestro di capella , Mozart’s Der offered Kunigunde’s hand as the prize in a singing contest, episodes of the life of the innkeeper and drover who in 1809 most performed composer after Mozart and Verdi. While Schauspieldirektor and similar works. In the castle of a but has arranged that the winner should be Eoban Hesse, led the Tyrolean rebellion against occupation by Bavarian the pace of productions there has slackened over the past Count (another of those comic bass roles), the household an alderman from Augsburg. -
Viva!” Is the Final Number of Il Re Pastore (The Shepherd King), Which Mozart Composed in 1775 in Salzburg When He Was Just 19 Years Old
2 Editor’s Note Wolfgang Amadeus Mozart (1756-1791) was one of the most significant composers of the Viennese Classical style and is revered today as one of the greatest composers of all time. Mozart was a tremendously talented composer in the many forms of the Classical era, including operas, symphonies, concertos, chamber works, sonatas, choral works, arias, and songs. His works are highly revered today for their beautiful melodies and rich harmonies. Born in Salzburg, Austria, Mozart’s genius was apparent at a very early age. He became a well-known performer in many European cities by his early teens, eventually serving as concertmaster for the Archbishop of Salzburg. In 1781, after becoming discontented with his low salary and the lack of opportunity for more opera composition in Salzburg, Mozart quit the position and settled in Vienna. Achieving many successes in Vienna, he became known as the finest keyboardist in the city, and he completed a variety of works, including piano concertos and operas. Although he became famous for a while, Mozart’s career and finances gradually declined. He spent his remaining years without the security of a permanent position while struggling for recognition and commissions. “Viva!” is the final number of Il re pastore (The Shepherd King), which Mozart composed in 1775 in Salzburg when he was just 19 years old. Based on the 1751 libretto of Pietro Metastasio, this two-act work is often referred to as a “seranata” because it is a shortened version of an opera seria (serious opera). The production features a small cast of performers and was originally presented with very limited staging. -
Dimanche / Sonntag / Sunday 19.11.2017 20:00 Chamber Orchestra of Europe Bernard Haitink Direction Hanno Müller-Brachmann Baryt
2017 20:00 Grands chefs 19.11.Grand Auditorium Dimanche / Sonntag / Sunday 2017 20:00 Grands solistes 21.11. Grand Auditorium Mardi / Dienstag / Tuesday Dimanche / Sonntag / Sunday 19.11.2017 20:00 Chamber Orchestra of Europe Bernard Haitink direction Hanno Müller-Brachmann baryton-basse Anna Lucia Richter soprano Mardi / Dienstag / Tuesday 21.11.2017 20:00 Chamber Orchestra of Europe Bernard Haitink direction Eva-Maria Westbroek soprano 2017 20:00 19.11.Grand Auditorium Dimanche / Sonntag / Sunday Grands chefs Wolfgang A. Mozart (1756–1791) Symphonie N° 36 C-Dur (ut majeur) KV 425 «Linzer» / «Linz» (1783) Adagio – Allegro spiritoso Poco adagio Menuetto – Trio Presto 26’ — Gustav Mahler (1860–1911) Des Knaben Wunderhorn für eine Singstimme und Orchester (extraits) N° 8: «Lied des Verfolgten im Turm» (1898) N° 7: «Rheinlegendchen» (1893) N° 6: «Des Antonius von Padua Fischpredigt» (1893) N° 2: «Verlorne Müh’!» (1892) N° 9: «Wo die schönen Trompeten blasen» (1898) N° 4: «Wer hat dies Liedlein erdacht?» (1893) N° 10: «Lob des hohen Verstandes» (1896) Sieben Lieder aus letzter Zeit für eine Singstimme und Orchester N° 1: «Revelge» (1899) N° 2: «Der Tamboursg’sell» (1901) Des Knaben Wunderhorn für eine Singstimme und Orchester (extraits) N° 5 «Das irdische Leben» (1893) N° 1: «Der Schildwache Nachtlied» (1892) N° 3: «Trost im Unglück» (1893) 42’ 2017 20:00 B5310 Luxembourg - RCS Luxembourg L-2449 Royal, boulevard 14 anonyme, société Banque de Luxembourg, 21.11. Grand Auditorium Mardi / Dienstag / Tuesday Grands solistes Wolfgang A. Mozart (1756–1791) Symphonie N° 35 D-Dur (ré majeur) KV 385 «Haffner» (1782) Allegro con spirito Andante Menuetto – Trio Presto 20’ Richard Wagner (1813–1883) Wesendonck-Lieder WWV 91. -
A Winter Concert Celebrating Female Composers Featuring
The Hartford High School Performing Arts Department proudly presents A Winter Concert Celebrating Female Composers featuring Concert Band Concert Choir World Drumming Chamber Choir Jazz Band Tuesday, December 10, 2019 7:00pm Hartford High School Auditorium Danielle Conerty, Instrumental Director Andrea Nardone, Choral Director Concert Band Rhythm Stand……………………………………………..…Jennifer Higdon The Haunted Carousel……………………..………………..Erika Svanoe Theremin Soloist- Lex Johnson Chasing Sunlight…………………………………….……….Cait Nishimura Soloist: Noah Lerner Winter Milky Way……………………………………Yukiko Nishimura Concert Choir Winter Ride……….……………….……….…….….Mari Esabel Valverde Search Mvt 1: Curiosity (Why Are?) & Mvt 3: Contemplation (I Wonder Why?)………………..………………….…Caroline Mallonée Tell ‘Em I’m Gone………….…………………….………arr. Alice Parker Featuring: Samantha Gibbs Daniel, Daniel, Servant of the Lord………….arr. Undine S. Moore Soloists: Zachary Carter & A.J. DeFelice World Drumming Desert Fire, On the Mountain, & Rock It!.................Will Schmid Chamber Choir Perhaps…………………………………………………………Dale Trumbore I Got A Key…………………………………….……….…….arr. Joni Jensen Jazz Band Tenor Madness……………………………………………….Sonny Rollins Soloists: Camden Luca, Parrish Gelhar-Pacht, Noah Lerner, Katya Mueller, Bea Wendling, David Rule, & Shawn Adams Hot Chocolate ……………………………….…………….…arr. John Berry I Want You Back……………………………..………….arr. John Wasson Concert Band Flute Alto Saxophone Trumpet Sofia Asis Josh Asis Megan Duranceau Ceaira Bellavance* Olivia Chase Jacob Helms Madi D’Amico* Arianna Heijn Eddie -
25 Recommended Recordings of Negro
25 Recommended Recordings of Negro Spirituals for Solo Vocalist Compiled by Randye Jones This is a sample of recordings recommended for enhancing library collections of Spirituals and, thus, is limited (with one exception) to recordings available on compact disc. This list includes a variety of voice types, time periods, interpretative styles, and accompaniment. Selections were compiled from The Spirituals Database, a resource referencing more than 450 recordings of Negro Spiritual art songs. Marian Anderson, Contralto He’s Got the Whole World in His Hands (1994) RCA Victor 09026-61960-2 CD, with piano Songs by Hall Johnson, Harry T. Burleigh, Lawrence Brown, J. Rosamond Johnson, Hamilton Forrest, Florence Price, Edward Boatner, Roland Hayes Spirituals (1999) RCA Victor Red Seal 09026-63306-2 CD, recorded between 1936 and 1952, with piano Songs by Hall Johnson, John C. Payne, Harry T. Burleigh, Lawrence Brown, Hamilton Forrest, Robert MacGimsey, Roland Hayes, Florence Price, Edward Boatner, R. Nathaniel Dett Angela Brown, Soprano Mosiac: a collection of African-American spirituals with piano and guitar (2004) Albany Records TROY721 CD, variously with piano, guitar Songs by Angela Brown, Undine Smith Moore, Moses Hogan, Evelyn Simpson- Curenton, Margaret Bonds, Florence Price, Betty Jackson King, Roland Hayes, Joseph Joubert Todd Duncan, Baritone Negro Spirituals (1952) Allegro ALG3022 LP, with piano Songs by J. Rosamond Johnson, Harry T. Burleigh, Lawrence Brown, William C. Hellman, Edward Boatner Denyce Graves, Mezzo-soprano Angels Watching Over Me (1997) NPR Classics CD 0006 CD, variously with piano, chorus, a cappella Songs by Hall Johnson, Harry T. Burleigh, Marvin Mills, Evelyn Simpson- Curenton, Shelton Becton, Roland Hayes, Robert MacGimsey Roland Hayes, Tenor Favorite Spirituals (1995) Vanguard Classics OVC 6022 CD, with piano Songs by Roland Hayes Barbara Hendricks, Soprano Give Me Jesus (1998) EMI Classics 7243 5 56788 2 9 CD, variously with chorus, a cappella Songs by Moses Hogan, Roland Hayes, Edward Boatner, Harry T. -
American Spiritual Program Fall 2009
Saturday, September 26, 2009 • 7:30 p.m. Asbury United Methodist Church • 1401 Camden Avenue, Salisbury Comprised of some of the finest voices in the world, the internationally acclaimed ensemble offers stirring renditions of Negro spirituals, Broadway songs and other music influenced by the spiritual. This concert is sponsored by The Peter and Judy Jackson Music Performance Fund;SU President Janet Dudley-Eshbach; Provost and Senior Vice President of Academic Affairs Diane Allen; Dean Maarten Pereboom, Charles R. and Martha N. Fulton School of Liberal Arts; Dean Dennis Pataniczek, Samuel W. and Marilyn C. Seidel School of Education and Professional Studies; the SU Foundation, Inc.; and the Salisbury Wicomico Arts Council. THE AMERICAN SPIRITUAL ENSEMBLE EVERETT MCCORVEY , F OUNDER AND MUSIC DIRECTOR www.americanspiritualensemble.com PROGRAM THE SPIRITUAL Walk Together, Children ..........................................................................................arr. William Henry Smith Jacob’s Ladder ..........................................................................................................arr. Harry Robert Wilson Angelique Clay, Soprano Soloist Plenty Good Room ..................................................................................................arr. William Henry Smith Go Down, Moses ............................................................................................................arr. Harry T. Burleigh Frederick Jackson, Bass-Baritone Is There Anybody Here? ....................................................................................................arr. -
Bellini's Norma
Bellini’s Norma - A discographical survey by Ralph Moore There are around 130 recordings of Norma in the catalogue of which only ten were made in the studio. The penultimate version of those was made as long as thirty-five years ago, then, after a long gap, Cecilia Bartoli made a new recording between 2011 and 2013 which is really hors concours for reasons which I elaborate in my review below. The comparative scarcity of studio accounts is partially explained by the difficulty of casting the eponymous role, which epitomises bel canto style yet also lends itself to verismo interpretation, requiring a vocalist of supreme ability and versatility. Its challenges have thus been essayed by the greatest sopranos in history, beginning with Giuditta Pasta, who created the role of Norma in 1831. Subsequent famous exponents include Maria Malibran, Jenny Lind and Lilli Lehmann in the nineteenth century, through to Claudia Muzio, Rosa Ponselle and Gina Cigna in the first part of the twentieth. Maria Callas, then Joan Sutherland, dominated the role post-war; both performed it frequently and each made two bench-mark studio recordings. Callas in particular is to this day identified with Norma alongside Tosca; she performed it on stage over eighty times and her interpretation casts a long shadow over. Artists since, such as Gencer, Caballé, Scotto, Sills, and, more recently, Sondra Radvanovsky have had success with it, but none has really challenged the supremacy of Callas and Sutherland. Now that the age of expensive studio opera recordings is largely over in favour of recording live or concert performances, and given that there seemed to be little commercial or artistic rationale for producing another recording to challenge those already in the catalogue, the appearance of the new Bartoli recording was a surprise, but it sought to justify its existence via the claim that it authentically reinstates the integrity of Bellini’s original concept in matters such as voice categories, ornamentation and instrumentation. -
IL RE PASTORE July 19 and 21 in San Francisco
MEROLA OPERA PROGRAM CONTINUES ITS 61 ST SEASON WITH IL RE PASTORE July 19 and 21 in San Francisco SAN FRANCISCO, CA (6 June 2018) – San Francisco’s acclaimed Merola Opera Program presents the stars of tomorrow in Mozart’s Il re pastore . Merola is one of the most prestigious and selective opera training programs in the world, featuring 29 artists selected from more than 800 international applicants. This exquisite early Mozart work featuring a string of thrilling arias explores the competing pulls of love and duty, as a young shepherd finds he must renounce his true love in order to reclaim his lost throne. Il re pastore will be performed 7:30pm, Thursday, July 19, and 2:00pm, Saturday, July 21, at the San Francisco Conservatory of Music . For tickets or more information, visit www.merola.org or call ( 415) 864-3330. In the spring of 1775, 19-year-old Mozart wrote Il re pastore in response to a commission by the Archbishop of Salzburg. With a plot that explored the demands of love against the demands of kingship, the young Mozart’s work shines with its rich orchestration and ingenious score. In addition to fulsome dramatic singing from all five soloists, highlights include Aminta’s famous arias “Aer tranquillo e di sereni” and “L'amerò, sarò costante.” Performances will be conducted by Stephen Stubbs, a leading figure in the American early music scene and winner of a Grammy Award for Best Opera Recording in 2015 for Charpentier: La descente d’Orphée aux enfers. In 2007, Stubbs established his production company, Pacific MusicWorks, based in Seattle, reflecting his lifelong interest in both early music and contemporary performance. -
Mozart's Operas, Musical Plays & Dramatic Cantatas
Mozart’s Operas, Musical Plays & Dramatic Cantatas Die Schuldigkeit des ersten Gebotes (The Obligation of the First and Foremost Commandment) Premiere: March 12, 1767, Archbishop’s Palace, Salzburg Apollo et Hyacinthus (Apollo and Hyacinth) Premiere: May 13, 1767, Great Hall, University of Salzburg Bastien und Bastienne (Bastien and Bastienne) Unconfirmed premiere: Oct. 1768, Vienna (in garden of Dr Franz Mesmer) First confirmed performance: Oct. 2, 1890, Architektenhaus, Berlin La finta semplice (The Feigned Simpleton) Premiere: May 1, 1769, Archbishop’s Palace, Salzburg Mitridate, rè di Ponto (Mithridates, King of Pontus) Premiere: Dec. 26, 1770, Teatro Regio Ducal, Milan Ascanio in Alba (Ascanius in Alba) Premiere: Oct. 17, 1771, Teatro Regio Ducal, Milan Il sogno di Scipione (Scipio's Dream) Premiere: May 1, 1772, Archbishop’s Residence, Salzburg Lucio Silla (Lucius Sillus) Premiere: Dec. 26, 1772, Teatro Regio Ducal, Milan La finta giardiniera (The Pretend Garden-Maid) Premiere: Jan. 13, 1775, Redoutensaal, Munich Il rè pastore (The Shepherd King) Premiere: April 23, 1775, Archbishop’s Palace, Salzburg Thamos, König in Ägypten (Thamos, King of Egypt) Premiere (with 2 choruses): Apr. 4, 1774, Kärntnertor Theatre, Vienna First complete performance: 1779-1780, Salzburg Idomeneo, rè di Creta (Idomeneo, King of Crete) Premiere: Jan. 29, 1781, Court Theatre (now Cuvilliés Theatre), Munich Die Entführung aus dem Serail (The Abduction from the Seraglio) Premiere: July 16, 1782, Burgtheater, Vienna Lo sposo deluso (The Deluded Bridegroom) Composed: 1784, but the opera was never completed *Not performed during Mozart’s lifetime Der Schauspieldirektor (The Impresario) Premiere: Feb. 7, 1786, Palace of Schönbrunn, Vienna Le nozze di Figaro (The Marriage of Figaro) Premiere: May 1, 1786, Burgtheater, Vienna Don Giovanni (Don Juan) Premiere: Oct. -
Classical Opera Ian Page (Conductor)
ZAIDE CLASSICAL OPERA IAN PAGE (CONDUCTOR) 7586_CO_Zaide_BOOKLET_FINAL.indd 1 13/06/2016 10:15 WOLFGANG AMADEUS MOZART (1756 - 1791) ZAIDE, K.344 Libretto by Johann Andreas Schachtner (1731 - 1795) ZAIDE SOPHIE BEVAN soprano Performance material: New Mozart Edition (NMA) By kind permission of Bärenreiter-Verlag GOMATZ ALLAN CLAYTON tenor Kassel · Basel · London · New York · Praha Recorded at the Church of St. Augustine, Kilburn, London, UK from 10 to 13 March 2016 ALLAZIM JACQUES IMBRAILO baritone Produced and engineered by Andrew Mellor Assistant engineer: Claire Hay SULTAN SOLIMAN STUART JACKSON tenor Post-production by Andrew Mellor and Claire Hay Design by gmtoucari.com Cover image by Debbie Coates OSMIN DARREN JEFFERY bass-baritone Photographs by Benjamin Ealovega German language coaches: Johanna Mayr and Rahel Wagner VORSINGER JONATHAN McGOVERN baritone Harpsichord technician: Malcolm Greenhalgh ZARAM DARREN JEFFERY Orchestra playing on period instruments at A = 430 Hz We are extremely grateful to George and Efthalia Koukis for supporting this recording. SKLAVEN PETER AISHER, ROBIN BAILEY, We are also grateful to the following people for their generous support: Kate Bingham and Jesse Norman, Sir Vernon and Lady SIMON CHALFORD GILKES, Ellis, John Warrillow and Pamela Parker, Kevin Lavery, Pearce and Beaujolais Rood, John Chiene and Carol Ferguson, and all ED HUGHES, STUART LAING, the other individuals who supported this project. NICK MORTON, DOMINIC WALSH Special thanks to: Mark Braithwaite, Anna Curzon, Geoff Dann, Chris Moulton, Verena Silcher, Alice Bellini, Léa Hanrot, Simon Wall and TallWall Media. THE ORCHESTRA OF CLASSICAL OPERA Leader: Bjarte Eike IAN PAGE conductor 2 MOZART / ZAIDE MOZART / ZAIDE 3 zaide7586_CO_Zaide_BOOKLET_FINAL.indd booklet FINALEsther.indd 2 2-3 09/06/2016 15:58:54 zaide booklet FINALEsther.indd 3 09/06/201613/06/2016 15:58:54 10:15 ZAIDE, K.344 ACT ONE Page 1 [Overture – Entr’acte from Thamos, König in Ägypten, K.345] 3’23 32 2 No.