with the Alumni Chorus and the uC DAvis symphony orChestrA arianna Zukerman, soprano | Judith Malafronte, mezzo-soprano Wesley rogers, tenor | James Maddalena, baritone Bruckner: Te Deum Rossini: Stabat Mater 8 pm, SunDAY, 14 MarCH 2010 Jackson Hall, Mondavi center 8 pm, Sunday, 14 march 2010 JackSon hall, mondavi center univerSity choruS & alumni choruS UC daviS Symphony orcheStra with arianna Zukerman, Soprano Judith malafronte, mezzo-Soprano weSley rogerS, tenor JameS maddalena, baritone Jeffrey thomaS, conductor PROGRAM Te Deum Anton Bruckner Allegro moderato (1824–96) Moderato Allergro moderato. Feirlich, mit Kraft Moderato Mäßig bewegt intermission Stabat Mater Gioacchino Rossini Introduction: Stabat mater dolorosa (1792–1868) Aria: Cujus animam gementem Duet: Quis est homo Aria: Pro peccatis suae gentis Chorus and Recitative: Eja, mater, fons amoris Quartet: Sancta mater, istud agas Cavatina: Fac, ut portem Christi mortem Aria and Chorus: Inflammatus et accensus Quartet: Quando corpus morietur Finale: Amen, in sempiterna saecula This concert is being recorded professionally for the university archive. Please remain seated during the music, remembering that distractions will be audible on the recording. Please deactivate cell phones, pagers, and wristwatches. Flash photography and audio and video recording are prohibited during the performance. 3 About the Artists UNIVERSITY CHORUS Jeffrey thomaS, conductor peter hill, assiStant conductor and accompaniSt Possessing a luminous voice with “the breadth of dramatic inflection to make for a powerfully effective Soprano i alto i tenor i bass i performance” (Opera), soprano arianna Zukerman is equally in demand for opera and concert performances. The Washington Post observes, “Arianna Zukerman possesses a remarkable voice that combines the range, warmth Jessica Bruns April Ferre Pejman Ahmadi Paul-Anthony Bernucci and facility of a Rossini mezzo with shimmering, round high notes and exquisite pianissimos….” Zukerman’s 2009- Kaitlyn Clark Alisha Gorder Joseph Espena Brent Curriden 10 season includes several reengagements, including with the Gulbenkian Foundation Orchestra in Lisbon to sing Leanna Friedrich Yoon Jeong (Jennifer) Jang John Forell Kevin Foster Salieri’s Requiem, with Music of the Baroque for Mozart’s Requiem, and with the National Arts Centre for Mozart’s Wendy Ho Julia Kulmann Milton Jackson Nathan Hannon “ch’io mi scordi di te.” She also sings First Lady in Die Zauberflöte with Opera Lyra Ottawa, Mahler’s Symphony Christina Lawrence Caroline McGrath Richard Kulmann James Hutchinson No. 4 with the National Philharmonic, and in recital with pianist Navah Perlman for El Paso Pro Musica. Previous Laura Putnam Alex Menze Daniel Olivas Gregory Lanton opera highlights include her first collaboration with Lorin Maazel as Female Chorus in The Rape of Lucretia; her Miriam Rocke Elizabeth Nichols Gabriel Peralez Neil Ruud debut with the New York City Opera in Mark Adamo’s Lysistrata; and performing the Governess in The Turn of the Screw with Chicago Adele Sonora Oaggin Park Jerry Schimke Dakota Salazar Opera Theater, Micaëla in Carmen with the Dallas Symphony Orchestra at the Vail Valley Music Festival; Marzelline in Fidelio with the Diane Soto Patricia Peacock Peter Shack Eric Spears Minnesota Orchestra, and Nizza in the world premiere of Donizetti’s long-lost Elisabeth, conducted by Will Crutchfield at the Caramoor Cecilia Whitworth Elizabeth Reeves Doug Underwood Sara Wilson Haeri Kate Suh Caleb Yee Music Festival. Other performance highlights include performing as soloist in Haydn’s The Seasons with Music of the Baroque, Neikrug’s tenor II Nachtlieder and Debussy’s Fall of the House of Usher with the Gulbenkian Foundation Orchestra, Britten’s War Requiem in a return to the Winona Wagner Adam Cobb National Philharmonic, Musetta in La bohème with the Philadelphia Orchestra and at the Vail Valley Music Festival, and Handel’s Messiah Soprano II bass II Jordan Cohen alto II with the American Bach Soloists, recorded for the Naxos label. Jennifer Adler John Gibson Leonidas Constable, Jr. Alyssa Black Meghan Eberhardt David Griffin Robert Crummey Judith malafronte, mezzo-soprano, has appeared with numerous orchestras and oratorio societies, including Phoebe Copp Sara Franssen Harry Jin Jim Draper the Los Angeles Philharmonic at the Hollywood Bowl, the San Francisco Symphony, the St. Louis and Baltimore Sarah Flores Susan Garbini Spencer Little Kenneth Firestein Symphonies, the St. Paul Chamber Orchestra, the Seattle Baroque Orchestra, and the Handel and Haydn Society. Caitlin Gaustad Emma Gavenda Kenny Mac David Green She has sung at the Tanglewood Festival, the Boston Early Music Festival, and the Utrecht Early Music Festival, Tianna Grant Moran Goren Jeffrey Paterson Bryan Klingman and she is a frequent guest artist with the American Bach Soloists, the Philharmonia Baroque Orchestra, the Dave Kirstin Haag Sally Gray Eddie Shih Craig Landon Brubeck Quartet, and the Harp Consort. Her operatic performances include the title role in Handel’s Serse at the Amy Harris Mary Herbert Daniel Tan Timothy Mascarinas Göttingen Festival, Scarlatti’s L’Aldimiro at the Berkeley Festival, Dido and Aeneas with the Mark Morris Dance Ruthie Levine Paula Lerner Janghee (John) Woo Dan Na Group (singing both Dido and the Sorceress), and Nero in Monteverdi’s L’Incoronazione di Poppea for the Aston Louise Lindberg Gina Marino Joshua Scott Magna Festival. She has also sung leading roles at the opera houses of Lyon, Liège, and Montpellier, and she has Erica Nurse Krysten Melgar th won several top awards in Italy, Spain, Belgium, and the United States. She has recorded a wide range of repertoire, from the 12 -century Anne Richardson Barbara Molloy chant of Hildegard von Bingen to the Deutsche Motette of Richard Strauss, including Handel’s Serse with Nicholas McGegan on BMG, Simone Verbaken Tatz Ishimaru Bach cantatas and the St. Matthew Passion with American Bach Soloists for Koch Classics, medieval music with the Newberry Consort for Rachel Whitcombe Nina Vuoso Harmonia Mundi, and Spanish 17th-century music. Malafronte’s writings on music have appeared in Opera News, Early Music America, Stagebill, Schwann Inside, and Opus. Hailed by San Francisco Classical Voice as possessing the “kind of tenor that pours forth powerfully, effortlessly, seemingly for any length of time,” tenor wesley rogers is making his mark on both operatic and concert stages throughout the United States. While a member of the Seattle Opera, Rogers performed the roles of Peter Quint in Britten’s Turn of the Screw, Maintop in Billy Budd, and Trin in Fanciulla del West. He has also performed the role of Alfredo in Skagit Opera’s La Traviata and the title role in Tacoma Opera’s Faust. Recent concert engagements include Handel’s Messiah and Bach’s St. Matthew Passion with the American Bach Soloists, Britten’s War Requiem with Orchestra Seattle, Mozart’s Coronation Mass with the Eos Orchestra, and Louis Gruenberg’s The Daniel Jazz at the Bard Festival. Rogers has also performed with the Mark Morris Dance Group, Santa Fe Pro Musica, the Seattle Baroque Orchestra, the Cabrillo Festival, Capella Romano, the Tudor Choir, Opera Memphis, and the Sun Valley Center for the Arts. Upcoming engagements include Tony in Pacific Northwest Ballet’s West Side Story Suite. James maddalena, baritone, is known for his outstanding work in contemporary music. He created the notable characters of Richard Nixon and The Captain in two operas by John Adams, the award winning Nixon in China and The Death of Klinghoffer, respectively. He is closely associated with other composers, including John Harbison, Gunther Schuller, Elliot Goldenthal, Robert Moran, Domenick Argento, Marc Blitzstein, and Michael Tippett, via performances with such companies as the New York City Opera, the Houston Grand Opera, the Washington Opera, the San Francisco Opera, the Atlanta Opera, Opera Theatre of St. Louis, the Frankfurt Opera, Opéra de la Monnaie in Brussels, Australia’s Adelaide Festival, The Netherlands Opera, the Glyndebourne Festival Opera, and the Opéra de Lyon, as well as with the Chicago Symphony, the Los Angeles Philharmonic, the Boston Symphony, the San Francisco Symphony, the Brooklyn Philharmonic, the Royal Scottish Orchestra, Orchestra of the Accademia Nazionale di Santa Cecilia in Rome, and the London Symphony. Other highlights of Maddalena’s career include Schubert’s demanding song cycle Die Winterreise, sung at the Brooklyn Academy of Music with Robert Spano as accompanist, and the complete cycle of Bach cantatas with Boston’s Emmanuel Music. He has recorded prolifically for Decca/London, BMG Classical Catalyst, Nonesuch, Teldec, Sony Classical, Harmonia Mundi, and EMI. He can also be heard on the Grammy Award-winning recording of Nixon in China (Nonesuch) and the Emmy Award-winning PBS telecast, now on DVD. 4 5 UC DAVIS ALUMNI CHORUS UC DAVIS SYMPHONY ORCHESTRA Jeffrey thomaS, conductor chriStian baldini, muSic director and conductor peter hill, assiStant conductor and accompaniSt Names appear in seating order. Soprano i alto i tenor i bass i violin i viola flute trumpet Amanda Boardman 2004 Mary Kramer Brower 1989 Seth Arnopole 1998 Jeff Aran 1980 Cynthia Bates, Andy Tan, Susan Monticello, Andrew Neish, Susan Burris Conwell 1995 Barbara Celli Stephen Fasel 2008 David Benjamin 1999 concertmaster * principal * principal * principal * Marjorie Halloran 2007 Christina Connell 2007 Laureen Jenson 2009 Craig Machado 1974 Yosef Farnsworth, Meredith Powell, Alexandra