Cathedral Choral Society Concert Program
Great Opera Choruses Sunday, May 17 | 4:00 pm Washington National Cathedral
Greetings, Welcome to the final performance of our 2014/15 Season! This program of magnificent opera music, sacred and profane, has been developed with this space in mind. Our Pianist and Vocal Coach Joy Schreier curated the program, choosing music that is perfect in the Cathedral context and highlights the powerful role of the opera chorus. Prepare to be immersed in dramatic stories of love, revenge, passion, greed, and glory told through breathtaking music. Today we are pleased to pay tribute to J. Reilly Lewis and congratulate him at the conclusion of his 30th Season as Music Director of the Cathedral Choral Society. Bravo and congratulations, Reilly! We invite you to Support the Orchestra for this concert. As a symphonic chorus, we present works written for chorus and orchestra each year. Hiring an orchestra is an investment in both our artistic programming and in supporting the careers of professional musicians across our region. Please show your support for the Cathedral Choral Society and live symphonic music by making a contribution or a pledge today. This weekend also marks the announcement of our 2015/16 Season. Discover more on the back of this program, pick up a season brochure, and mark our concert dates in your calendar. Consider becoming a subscriber: set aside four Sunday afternoons for great music! Take advantage of our early bird offer and save 16% if you subscribe by June 19. Come say hello to us today at the table near the Cathedral doors, and reach out to us with questions at any time. Warmly,
Genevieve Twomey Executive Director
Congratulations! The staff, board, and singers of the Cathedral Choral Society congratulate and salute J. Reilly Lewis on his 30th Season as Music Director.
Cover illustration: Prologue in the Sky, set design by Carlo Ferrario (1833-1907) for Mefistofele by Arrigo Boito, new version in Milan, Teatro alla Scala, 1881. Credit: Archivio Storico Ricordi © Ricordi & C. S.r.1. Milano www.ricordicompany.com.
Cathedral Choral Society J. Reilly Lewis, Music Director
Great Opera Choruses Sunday, May 17 | 4:00 pm Washington National Cathedral J. Reilly Lewis, conductor Jessica Julin, soprano Ben Wager, bass Washington National Opera Children’s Chorus Will Breytspraak, Children’s Chorus Master Prelude, from Die Meistersinger von Nürnberg “Da zu dir der Heiland kam,” from Die Meistersinger von Nürnberg
Richard Wagner
“Casta Diva,” from Norma Jessica Julin, soprano
Vincenzo Bellini
“La veau d’or,” from Faust Ben Wager, bass
Charles Gounod
“Va, pensiero,” from Nabucco
Giuseppe Verdi
“Te Deum,” from Tosca Ben Wager, bass
Giacomo Puccini
INTERMISSION Intermezzo, from Cavalleria Rusticana “Regina Coeli...Inneggiamo,” from Cavalleria Rusticana Jessica Julin, soprano “Sola, perduta, abbandonata,” from Manon Lescaut Jessica Julin, soprano “Prologue in the Heavens,” from Mefistofele Ben Wager, bass Washington National Opera Children’s Chorus Patrons are kindly requested to turn off all noise-making devices during the performance. Any taking of photographs or unauthorized recording of this concert is prohibited.
Pietro Mascagni Giacomo Puccini Arrigo Boito
Program Opera comes to the Cathedral Today’s concert presents a variety of operatic delights—stirring choruses and heartbreaking arias that tell great stories of love, revenge, passion, greed, and glory. What setting is there more fitting, more dramatic, than the visual splendor and magnificent acoustics of the Cathedral? Cathedrals have been the focal point of communities for millennia, their spires the central focus of daily life. The product of many liturgical, social, cultural, and economic factors, they are the marketplace of ideas. They stand at the intersection between the sacred and profane. “Sacred” comes from Latin sacrare meaning to set apart; “profane” derives from Latin profanus, from pro- before + fanum temple, that is, outside the precincts of that which is set aside for sacred purposes. The profane world is transcended precisely when experienced in the context of the sacred. All art forms express this tension, none more dramatically than opera.
Sacro e profano The opera choruses featured in this concert represent the height of nineteenth-century Romanticism, particularly those of Verdi and Wagner. They are a mélange in which the sacred is juxtaposed against the profane—a Lutheran chorale is sung as lovers flirt (Die Meistersinger von Nürnberg); a Druid priestess sings to her goddess as war brews (Norma); Satan leads the dance and sings a raucous and idolatrous song about a golden calf (Faust); Jews in captivity conquered by Nebuchadnezzar pray for deliverance with memories of their homeland (Nabucco); the choir sings the Te Deum while the central character spins his evil web (Tosca); a love triangle emerges against the backdrop of an Easter hymn (Cavalleria Rusticana). Finally, angels sing praises in Heaven while Mefistofele bets the Lord he can bargain with Faust for his soul. These liturgical music touchstones provide a sacred anchor against which to view the dramatic profane action on stage.
Die Meistersinger von Nürnberg (1868) Prelude and Congregational Hymn
Richard Wagner (1813-1883)
Die Meistersinger von Nürnberg revolves around the perpetual tension between old and new, traditional and modern. Wagner composed the ten minute Prelude to Act I during a train trip in 1862. He introduces two sweeping and majestic themes as well as a fugue, an allusion to the opera’s sixteenth-century setting. The charming story, told through a singing contest by the Guild of Mastersingers, takes place in the ancient imperial city of Nürnberg, center of the Renaissance in Northern Europe. The curtain rises on Midsummer’s Eve (June 21), also the Feast of St. John the Baptist. Mass ends in St. Katharine’s Church with the singing of this hymn. Da zu dir der Heiland kam, willig seine Taufe nahm, weihte sich dem Opfertod, gab er uns des Heil’s Gebot: dass wir durch sein’ Tauf’ uns weih’n, seines Opfers werth zu sein. Edler Täufer! Christs Vorläufer! Nimm uns gnädig an, dort am Fluss Jordan!
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When the Saviour came to thee, willingly accepted thy baptism, dedicating Himself to a sacrificial death, He gave the covenant for our salvation: that we might be consecrated through baptism so as to be worthy of his sacrifice. Noble Baptist! Christ’s precursor! Receive us graciously there by the river Jordan. — Richard Wagner
Program Norma (1831) “Casta Diva”
Vincenzo Bellini (1801-1835)
The opera Norma stands as the pinnacle of the bel canto era. The “beautiful singing” requires extraordinary breath control. Sopranos Maria Callas and Joan Sutherland gained great fame for their portrayals of Norma. “Casta Diva” is the principal aria of Act I, which is set about fifty years BC. Roman soldiers occupy the lands of the Druids, iron-age Celts of Gaul and Britain. They plead with their high priestess Norma to declare war against Rome. She counsels patience, predicting that the Romans will fall of their own accord. Unbeknownst to her followers, she has fallen in love with a Roman proconsul and borne him two boys. So when Norma prays to the moon goddess, her hypnotic petitions rising like incense in the ancient forest, she asks that the hearts of her people be “tempered” with peace in order that her secret family be spared. Casta Diva, che inargenti Queste sacre, antiche piante A noi volgi il bel sembiante, Senza nube e senza vel
Chaste goddess, who doth bathe in silver light These ancient, hallowed trees, Turn thy fair face upon us, Unclouded and unveiled.
Tempra, o Diva, tempra tu de’ cori ardenti, tempra ancora lo zelo audace, Spargi in terra quella pace che regnar tu fai nel ciel.
Temper, o Goddess, Temper thou the burning hearts, The excessive zeal of thy people. Enfold the Earth in that sweet peace Which, through thee, reigns in heaven. — Felice Romani (1788-1865)
Faust (1859) “Le veau d’or”
Charles Gounod (1818-1893)
In Goethe’s Faust, considered one of the greatest works in all German literature, Faust is the central figure in the classic German legend of the aging, unhappy philosopher and metaphysician who makes a pact with the Devil (Méphistophélès) to sell his own soul in order to gain greater knowledge and worldly pleasures. After Faust signs the contract, he is transformed into a handsome young man and together, they go out into the world. Act II opens with this chorus of students, soldiers, and villagers singing a drinking song. Méphistophélès appears with wine and joins in this rousing, profane song about the Golden Calf (Le veau d’or). Le veau d’or est toujours de bout! On encense Sa puissance, D’un bout du monde à lautre bout! Pour fêter l’infâme idole, Rois et peuples confondus, Au bruit sombre des écus, Dansent une ronde folle Autour de son piédestal, Et Satan conduit le bal, etc., etc.
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The calf of gold is still standing! One adulates his power, From one end of the world to the other end! To celebrate the infamous idol, Kings and the people mixed together, To the somber sound of golden coins, They dance a wild round Around his pedestal And Satan leads the dance, etc., etc.
Program Le veau d’or est vainqueur des dieux! Dans sa gloire Dérisoire, Le monstre abject insulte aux cieux! Il contemple, ô rage étrange! A ses pieds le genre humain, Se ruant, le fer en main, Dans le sang et dans la fange, Où brille l’ardent métal, Et Satan conduit le bal, etc.
The calf of gold is the victor over the gods! In its derisory (absurd) glory, The abject monster insults heaven! It contemplates, oh weird frenzy! At his feet the human race, Hurling itself about, iron in hand, In blood and in the mire, Where gleams the burning metal, And Satan leads the dance, etc. —Jules Barbier (1825-1901); Micael Carré (1821-1872)
Nabucco (1842) “Va, pensiero”
Giuseppe Verdi (1813-1901)
“Va, pensiero” is one of the most celebrated choruses in all opera. Verdi’s Nabucco, which is based on biblical texts such as Psalm 137 and is set in 587 BC, recalls the loss of the First Temple in Jerusalem. The Chorus of the Hebrew Slaves comes in the third act after King Nebuchadnezzar (Nabucco) has exiled the Israelites and imprisoned them in Babylon. “This is the opera,” Verdi later noted in his autobiography, “with which my artistic career really begins.” At his funeral, more than 300,000 spontaneously sang “Va, pensiero,” and it was increasingly viewed in the twentieth-century as a quasi-second national anthem for a unified Italy. Va, pensiero, sull’ali dorate. Va, ti posa sui clivi, sui colli, Ove olezzano tepide e molli L’aure dolci del suolo natal! Del Giordano le rive saluta, di Sïonne le torri atterrate. O mia Patria, sì bella e perduta! O membranza sì cara e fatal! Arpa d’or dei fatidici vati, perché muta dal salice pendi? Le memorie ’del petto raccendi, ci favella del tempo che fu! O simile di Solima ai fati, traggi un suono di crudo lamento; o t’ispiri il Signore un concento che ne infonda al patire virtù!
Fly, thoughts, on wings of gold; go settle upon the slopes and the hills, where, soft and mild, the sweet air of our native land smells fragrant! Greet the banks of the Jordan and Zion’s toppled towers. Oh, my country so lovely and lost! Oh, memory so dear and despairing! Golden harp of the prophetic seers, why do you hang mute upon the willow? Rekindle our heart’s memories and speak of times gone by! Mindful of the fate of Jerusalem, either sound a song of sad lamentation, or else let the Lord give us the strength to bear our sufferings! —Temistocle Solera (1815-1878)
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Program Tosca (1899) “Te Deum”
Giacomo Puccini (1858-1924)
Nothing says sacred and profane like the opera Tosca, based on the true story of a shepherdess. All the characters are real people driven by love, lust, betrayal, and finally, murder. Set against the backdrop of the Basilica Church of Sant’Andra della Valle, the action takes place June 17 and 18, 1800, as Napoleon Bonaparte and his army advance upon Rome. An escaped political prisoner seeks sanctuary in the church's chapel. Cavaradossi, an artist painting a portrait of Mary Magdalene, is confronted by his lover, Tosca, who accuses him of being unfaithful when she suspects the inspiration for the portrait is another woman. The sacristan and choir prepare to sing the Te Deum to celebrate the victory over Napoleon, when Baron Scarpia, the chief of the secret police, arrives to confront Tosca with alleged evidence of Cavaradossi’s infidelity. As the congregation intones the Te Deum, Scarpia vows to send Cavaradossi to the scaffold and to bring Tosca into his waiting arms. SCARPIA Tre sbirri . . .Una carrozza...Presto...seguila dovunque vada non visto provvedi.
(To Spoletta, who emerges from behind the column.) Three men and a carriage...Quick, follow wherever she goes! And take care!
SPOLETTA Sta bene. Il convegno?
I will. Where shall I find you?
SCARPIA Palazzo Farneze! Va, Tosca! Nel tuo cuor s’annida Scarpia Va, Tosca! È Scarpia che scioglie a volo il falco Della tua gelosia. Quanta promessa nel tuo pronto sospetto! Nel tuo cuor s’annida Scarpia Va, Tosca!
Farnese Palace! Go, Tosca! There is room in thy heart for Scarpia. Go, Tosca! For Scarpia it is who has fired your soul And stirred up your jealous passion. Infinite promise lies in thy hasty suspicions! There is room in thy heart for Scarpia. Go, Tosca!
THE CHAPTER (CHORUS) Adjutorum nostrum in nomine Domini Qui fecit coelum et terram. Sit nomen Domini benedictum et hoc nunc et usque in saeculum.
Our help is in the name of the Lord Who made heaven and earth. Blessed be the name of the lord Both now and forever.
SCARPIA A doppia mira tendo il voler, Nè il capo del ribelle è la più preziosa Ah di quegli occhi vittoriosi veder la fiamma il languidir Con spasimo d’amor fra le mie braccia illanguidir d’amor L’uno al capestro, l’altra fra le mie braccia
Two fold the purpose now I entertain. And the hanging of that rebel is by no means my chief desire. ’Tis in her gay victorious eyes that I hope soon to kindle love’s languid fame, when in my arms she is clasped, mute with fond rapture Giddy with amorous joy One to the scaffold, the other to my fond arms.
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Program CHOIR Te Deum laudamus: Te Dominum confitemur!
We praise thee, O God: We acknowledge thee to be the Lord!
SCARPIA Tosca, mi fai dimenticare Iddio!
Tosca, for thee I could renounce my hopes of heaven!
SCARPIA AND CHOIR Te aeternum Patrem omnis terra veneratur!
Thou art the Eternal Father, all the earth doth worship thee! —Luigi Illica and Giuseppe Giacosa
INTERMISSION Cavalleria Rusticana (1889) Intermezzo “Regina Coeli . . . Inneggiamo”
Pietro Mascagni (1863-1945)
Cavalleria Rusticana propelled its composer into overnight wealth and fame after the one-act opera won first prize in an 1889 competition. By the time of the composer’s death 56 years later, more than 14,000 performances had been given in Italy alone. “It is a pity I wrote the Cavalleria first,” he said at the end of his life. “I was crowned before I became king.” In a spectacular juxtaposition of the sacred and the profane, the story of love, lust, blood-feud, and betrayal plays out against the pageantry of the Easter celebrations in a Sicilian village. The instrumental Intermezzo, with its sweeping melodies and lush harmonies, appears in the soundtracks of dozens of films. The choir singing the ancient Latin Marian hymn, Regina Coeli, establishes the opera’s opening scene on Easter Day. CHOIR (inside the church) Regina Coeli, laetare. Alleluja! Quia quem meruisti portare. Alleluja! Resurrexit sicut dixit. Alleluja!
Queen of Heaven, rejoice, alleluia! The Son whom you merited to bear, alleluia! Has risen, as He said, alleluia!
SANTUZZA AND CHOIR (in the square) Inneggiamo, il Signor non è morto Ei fulgente ha dischiuso l’avel Inneggiamo, al Signore risorto oggi Asceso alla gloria del ciel
Let us rejoice That Our Lord is not dead, And in glory has opened the tomb! Let us rejoice That Our Lord is risen again And today is gone up Into the glory of Heaven!
CHOIR (inside the church) Alleluja!
Alleluia! —Giovanni Targioni-Tozzetti and Guido Menasci after the play by Giovanni Verga
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Program Manon Lescaut (1893) “Sola, perduta, abbandonata”
Giacomo Puccini (1858-1924)
Giacomo Puccini’s Dramma lirico in four acts is based on Abbé Prévost’s 1731 novel L’Histoire du chevalier des Grieux et de Manon Lescaut. Set in early eighteenth-century France, Manon is a young student in Amiens who resists her father’s plan for her to enter a convent. She turns against God and falls in love with Des Grieux, but her own greed causes her to betray him in order to live a luxurious life with another lover. Eventually Manon is arrested, imprisoned, and then sentenced to be transported with other convicts to the Louisiana Territory in America. At Le Havre, Des Grieux bribes the captain to sail as a cabin boy to be with her. In the final act, after a duel with the son of the French governor, Des Grieux and Manon try to escape on foot to an English settlement on the outskirts of New Orleans. When she collapses, he leaves her in search for water, but she believes he has forsaken her “in a desert.” In this, her final aria (“Alone, lost, abandoned”), Manon looks back at the consequences of her poor decisions. “Now my horrible past rises again and comes to life before my eyes.” When Des Grieux returns, she renews her pledge of love to him, but it is too late. Sola, perduta, abbandonata in landa desolata. Orror! Intorno a me s’oscura il ciel. Ahimè, son sola! E nel profondo deserto io cado, strazio crudel, ah sola, abbandonata, io, la deserta donna. Ah, non voglio morir! Tutto dunque è finito. Terra di pace mi sembrava questa… Ahi, mia beltà funesta, ire novelle accende! Strappar da lui mi si volea, or tutto il mio passato orribile risorge e vivo innanzi al guardo mio si posa. Ah, di sangue s’è macchiato! Ah, tutto è finito! Asil di pace ora la tomba invoco… No, non voglio morir! Amore… aita!
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Alone, lost, abandoned In this desolate land! Oh, horror! The sky is darkening around me. Alas, I am alone! And in the depths of the desert I meet my end, Cruel torment, alone, forsaken, I am a deserted woman! Oh, I do not want to die! So all is over This seemed a peaceful land to me! Oh, my fatal beauty kindles a new anger-They wanted to tear me from him; Now all my horrible past rises again And comes to life before my eyes. Ah, it is stained with blood! Ah, all is ended! Now I invoke the tomb as a haven of peace. No, I do not want to die. My love, help me!
Program Mefistofele (1868) Prologue in the Heavens
Arrigo Boito (1842-1918)
Like Gounod’s Faust, Boito’s Mefistofele also portrays the Faustian legend but from an entirely different perspective. The opera opens with this Prologue in the Heavens, a mystical realm filled with misty clouds. Trumpets flourish and invisible legions of angels, cherubim, and seraphim sing hymns of praises to the supreme ruler of the universe. Standing on the hem of his cloak (see program cover image), Mefistofele emerges from the shadows with arms outstretched as he addresses the Lord disdainfully. When the Chorus Mysticus asks, “Do you know Faust?,” he replies with the dismissive equivalent of “whatever.” He then makes a bet with the Lord that he will be able to seduce Faust to evil. This will enable Mefistofele to be victorious over the powers of Good. Rather surprisingly, the Lord accepts the proffered wager, and Mefistofele muses on “how beautiful it is to hear Good and Evil speak together with such humanity.” The bargain struck, the Spirits continue singing their hymns of praise—the ultimate dichotomy between the sacred and the profane. I. PRELUDE AND CHORUS FALANGI CELESI Ave! Signor degli angeli e dei santi E dei volanti cherubini d’ôr. Dall’ eterna armoia del l’universo nel glauco spazio immerso emana un verso di supremo amor e s’erge a Te per l’aure azzurre e cave in suon soave. Ave, Ave, Ave, Ave.
ANGEL CHORUS Hail! Lord of the angels and saints, of the flying cherubim of gold. From the eternal music of the universe in the blue space immersed emanates a verse of supreme love that elevates to Thee through the azure skies in gentle sounds. Hail! All hail, all hail, hail to thee!
II. AVE SIGNOR MEFISTOFELE Ave signor. Perdona se il mio gergo si lascia un po’ da tergo le superne teodíe del paradiso; Perdona se il mio viso non porta il raggio che inghirlanda i crini degli alti cherubini; perdona se dicendo io corro rischio di buscar qualche fischio. Il Re piccin della piccina terra ognor traligna ed erra, e, al par di grillo saltellante, a caso spinge fra gli astri il naso, poi con tenace fatuità superba fa il suo trillo nell’erba. Boriosa polve! tracotato atòmo! Fantasima dell’uomo! E tale il fa quell’ebra illusïone ch’egli chiama: Ragion. Ah! Sì Maestro divino, in bujo fondo crolla il padron del mondo, e non mi dà più il cuor, tant’ è fiaccato, di tentarlo al mal.
Hail, Lord! Forgive if I cannot speak as well as the angels’ supreme songs of paradise; Forgive if my face bears not the rays that fall on the brows of the high cherubim. Forgive me if by annunciating I run the risk of earning some hiss. The little king of the little earth evermore degenerates and errs. and, as a grasshopper randomly jumping, sticks among the stars his nose then with stubborn and pompous pointlessness chirps on the grass. Conceited dust! Overbearing crumb! Phantom of a man! And he is made these things by this idea he calls Reason. Ah! Yes divine Master, in the darkness of the abyss You fall down - the master of the world, and I no longer have the heart, so much is He weakened to tempt Him into evil.
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Program III. DRAMATIC INTERLUDE CHORUS MYSTICUS T’è ’noto Faust?
MYSTIC CHOIR Do you know Faust?
MEFISTOFELE Il piu bizzarro pazzo ch’io mi conosca, in curiosa forma ei ti serve da senno Inassopita bramosia di saper Il fa tapino ed anelante; egli vorrebbe quasi trasumanar e nulla scienza al cupo suo delirio e confine Io mi sobbarco ad aescarlo per modo ch’ei si trovi nelle mie reti; vuoi farne scommessa?
MEFISTOFELE The strangest madman that I know, in curious form he truly serves you. An unquenchable desire for knowledge that makes him wretched and yearning; He would almost trans-humanize himself and no science can confine his melancholic delirium. I plan to solicit him in a way that he will find himself in my net. Do you wish to make a wager?
CHORUS MYSTICUS
MYSTIC CHOIR
E sia.
So be it.
MEFISTOFELE Sia! Vecchio padre, a un rude gioco T’avventurasti. Ei mordera nel dolce Pomo de’ vizi e sovra il re de’ cieli Avro vittoria!
MEFISTOFELE So be it! Highest powers of good! Into a rough game have you ventured. He will bite into the sweet apple of vice And over the king of heaven I shall have victory!
FALANGI CELESTI Sanctus! Sanctus! Sanctus!
ANGEL CHORUS Holy! Holy! Holy!
MEFISTOFELE Di tratto in tratto m’e piacevol cosa vedere il vecchio e dal guastarmi seco molto mi guardo; è bello udir l’eterno col diavolo parlar si umanamente.
MEFISTOFELE From time to time it is a pleasurable thing for me to see the Old Man. And I don’t wish to spoil relations with Him. It is nice to hear the Eternal one with the devil speaking so civilly.
IV. VOCAL SCHERZO CHERUBINI Siam nimbi volanti dai limbi Nei santi splendori vaganti Siam cori di bimbi, d’amori,
CHORUS OF CHERUBIM We are haloes flying from limbo in the holy splendors wandering, We are a chorus of children, of Cupids
MEFISTOFELE È lo sciame legger degli angioletti; Come del l’api n’ho ribrezzo e noia.
MEFISTOFELE The little angels swarming Are like bees that disgust and annoy me.
CHERUBINI Fratelli, teniamci per mano, Fin l’ultimo cielo lontano noi Sempre dobbiamo danzar; Fratelli, le morbide penne non cessino Il volo perenne che in tor no al santissimo Altar. La danza in angelica spira Si gira, si gira, si gira
CHORUS OF CHERUBIM Brethren, let us grasp hands; until we reach the last far off heaven we always must dance; Brethren, our soft feathers should never stop their perennial flight Except surrounding the most holy altar. The dance in angelic spirals goes found and round and round.
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Program V. FINAL PSALMODY LE PENITENTI Salve Regina! S’innalzi un eco dal mondo cieco, alla divina reggia del ciel. Col nostro canto, col nostro pianto domiam l’intenso foco del senso Col nostro canto mite e fedel.
PENITENT WOMEN Hail Queen of Heaven! Let an echo from the blind world rise To the divine realm of heaven. With our singing with our crying Let us subdue the intense fire of our senses, With our gentle and faithful singing.
CHERUBINI Sugli astri, sui venti, sui mondi, sui limpidi Azzuri profondi, sui raggi del sol
CHORUS OF CHERUBIM On the stars on the winds, on the hills, on the limpid blue, profound skies, on the rays of the sun.
LE PENITENTI Odi la pia, La pia prece serena.
PENITENT WOMEN Hear our pious and serene prayer
FALANGI CELESTI Oriam per quei morienti.
ANGEL CHORUS Let us pray for those in the hour of death.
LE PENITENTI Ave Maria, gratia plena. Il pentimento lagrime spande. Di queste blande Turbe il lamento accolga il cielo.
PENITENT WOMEN Hail, Mary, full of grace. Our remorse causes our tears to flow. May heaven receive the laments of this pious crowd.
FALANGI CELESTI oriam per quelle di morienti ignave, anime shiave si per quell’anime schiave preghiam.
ANGEL CHORUS Let us pray for the dying who are slaves to slothfulness. —Libretto by Arrigo Boito Based on Faust by Johann Wolfgang von Goethe Boito translation © Dr. Joy Schreier, 2015 Program notes © Margaret Shannon, 2015
Sing with Us!
Cathedral Sings! Sunday, June 14
Join us for a community sing-along of Mozart’s Requiem in the Cathedral Great Choir - all abilities welcome! Scores provided. Sunday, June 14, 7:30 p.m. $10. Tickets: cathedralchoralsociety.org | 202-537-2228
Auditions
Interested in joining the chorus in our 2015/16 season? Auditions will occur on Saturday, June 6. Contact Kate at auditions@cathedral.org for further information. 12
Biographies Music Director J. Reilly Lewis, a native of Washington, D.C., began his musical career at the age of eight as a member of the Junior Boy Choir at Washington National Cathedral. He received his bachelor’s degree from Oberlin College and master’s and doctoral degrees from The Juilliard School. In 1985, he was selected as music director of the Cathedral Choral Society. He has presided over many premiere performances at the Cathedral and has conducted the ensemble in appearances at the Kennedy Center, among them performances of Orff ’s Carmina Burana with The Washington Ballet and Handel’s Messiah with the National Symphony Orchestra. He led the Cathedral Choral Society in nine of its current recordings.
Santa Barbara, and Ariadne auf Naxos for Virginia Opera. In November, 2010, she participated in a workshop of Nico Muhly’s new work Dark Sisters with Gotham Chamber Opera. A winner of a number of prestigious competitions, 1st Prize awards include the J.P. Parkinson Competition, Lois Alba Aria Competition, the Giargiari Bel Canto Competition.
One of the world’s leading Bach specialists, Dr. Lewis is the founder and music director of the Washington Bach Consort. As a keyboard artist and conductor, he has performed at the Aspen Music Festival, the International Handel and Bach festivals held in Halle and Leipzig, respectively, the Cologne New Music Festival, and in Washington, D.C. with the Smithsonian Chamber Players.
Ben Wager, bass, is a 2009 graduate of the Academy of Vocal Arts in Philadelphia, where his roles included Raimondo in Lucia di Lammermoor, the title role in Mendelssohn’s Elijah, Sparafucile in Rigoletto, Don Alfonso in Così fan tutte and Padre Guardiano in La forza del destino.
Dr. Lewis has performed Bach’s Goldberg Variations in concert many times and given solo organ recitals throughout the United States and abroad. He has been the featured organ soloist on several occasions with the National Symphony Orchestra and has performed Barber’s Toccata Festiva with Leonard Slatkin at a Cathedral Choral Society concert. Jessica Julin, soprano, was a 2009 Grand Finalist in the Metropolitan Opera National Council Grand Auditions. In the same year, she completed her studies at the renowned Academy of Vocal Arts in Philadelphia (AVA). Last season, Ms. Julin added the title role in Turandot to her repertoire with Shreveport Opera, and additionally covered the title roles in Tosca for Opera
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A favorite for Philadelphia concert performances, she sang Beethoven’s Symphony No. 9 in June 2010 with the Philadelphia Youth Orchestra in Verizon Hall at the Kimmel Center. Other concerts at this venue include two appearances with The Philadelphia Orchestra. Julin was invited to a two week working session at Teatro alla Scala in Milan, where she studied the roles of Tosca, Madama Butterfly, and Amelia in Un ballo in Maschera.
In the 2014-15 season, Wager debuted in Oslo with Den Norske Opera as Escamillo in Carmen. Following his house debut as Colline in La bohème, he returned to the Lyric Opera of Kansas City for two roles: Taddeo in L’italiana in Algeri, and Angelotti in Tosca. His 2013-2014 engagements included Colline in La bohème with PORTOpera and Nourabad in Les pêcheurs de perles with Nashville Opera. He returned to the Deutsche Opera Berlin as Doctor Grenvil (Traviata), Zuniga (Carmen), Angelotti (Tosca), Der Steuermann (Tristan und Isolde), and Johann (Werther). In 2012-2013 he sang Il Re in Aida with Dallas Opera, the Hotel Manager in Powder Her Face and the Sprecher in Die Zauberflöte with Opera Company of Philadelphia, Count Rodolfo in La sonnambula with Washington Concert Opera, and the title role in Don Giovanni with Kentucky Opera. Wager’s 2011-2012 season included dual appearances at Minnesota Opera, as General Audebert
Biographies in the world premiere of Silent Night, and Raimondo in Lucia di Lammermoor. He debuted with the New Jersey Symphony Orchestra, joined the Oratorio Society of New York for Dvořák’s Stabat Mater, and returned to the Oregon Symphony as the soloist in Haydn’s The Creation under the baton of Carlos Kalmar. The appearance of today’s guest artists is made possible by the Marion Drew Leach Performing Artist Fund. The Washington National Opera Children’s Chorus is comprised of many of the finest young singers from Washington, D.C., Virginia, and Maryland. The children, ages 8-14, bring a wide variety of performing arts backgrounds and emphases to the ensemble. They appear frequently in WNO productions at the Kennedy Center’s Terrace Theater and Opera House. Recent performances include the world premiere of Jeanine Tesori’s The Lion, The Unicorn, and Me (2013), the WNO premiere of Rachel Portman’s The Little Prince (2014), and Puccini’s La bohème (2014). Washington National Opera’s 2015-2016 season will feature the Children’s Chorus in Bizet’s Carmen and Humperdinck’s Hansel and Gretel. Auditions for the 2015-2016 season will take place June 2 and 3 at the WNO Opera Studio in the Takoma neighborhood of Washington, D.C. Will Breytspraak, Children’s Chorus Master, prepared the WNO Children’s Chorus for recent productions of The Lion, the Unicorn, and Me; La bohème; and The Little Prince. Breytspraak is also Chair of Performing Arts at Maret School in Washington, D.C., where he directs several choruses and serves as Producer and Music Director for musicals. He holds a master’s degree in conducting from the Westminster Choir College (Princeton, New Jersey) and a bachelor’s degree in piano performance from Saint Olaf College (Northfield, Minnesota).
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Todd Fickley is the Associate Music Director and Chorus Master of the Cathedral Choral Society. He is also Assistant Conductor and Keyboard Artist for the Washington Bach Consort and teaches with the community outreach cast of the “Bach In Time” program, which introduces D.C. public school children to the history and beauty of classical music. Fickley is the Organist of The Falls Church (Anglican) in Virginia, and the Keyboard Artist of the Choralis Foundation. A native Washingtonian, he began his organ studies at Washington National Cathedral under Bruce Neswick. At the age of twenty-three, Mr. Fickley was made a Fellow of the American Guild of Organists (AGO). He also holds the AGO Choirmaster Diploma and a master’s degree in organ performance with high distinction from the University of Wales. A prize-winning organist, Fickley has been featured numerous times on NPR and PRI and has performed and conducted throughout the United States, Israel, and Europe. In 2014 he launched “The Bach Project,” a cycle of concerts performing and recording all of Bach’s organ works, the first time in almost a quarter of a century that such a project has been undertaken in the D.C. area. Joy Schreier is Pianist and Vocal Coach of the Cathedral Choral Society. She has been presented in recital at Weill Recital Hall at Carnegie Hall, Lincoln Center, the White House, Kennedy Center, National Museum for Women in the Arts, National Portrait Gallery, Phillips Collection, Cosmos Club, Strathmore Hall, the embassies of Austria, Russia, and Poland, Anderson House on Embassy Row, and at recital halls throughout the country. Internationally, she has performed throughout Europe and Asia. Schreier has coached for the Washington National Opera Domingo-Cafritz Young Artist Program and served as official pianist for the Washington International Voice Competition and Metropolitan Opera National Council
Biographies Auditions. She received her doctorate in accompanying and chamber music in 2003 at the Eastman School of Music, where she was the recipient of the Barbara Koenig Award for excellence in vocal accompanying. The Cathedral Choral Society is the resident symphonic chorus of Washington National Cathedral. The 145-voice chorus is the oldest symphonic choral group in Washington, D.C., having been founded in 1941 by Paul Callaway, who served as music director until 1984. Since 1985, J. Reilly Lewis has conducted the chorus as its Director in musical masterpieces from plainsong to contemporary works. For seventy-two seasons, the Cathedral Choral Society has presented numerous world premieres, many of them commissioned by the Society and has maintained a tradition of showcasing young soloists and internationally known artists.
In addition to its concert series at the Cathedral, the chorus has performed around the city and on nationwide radio and television. The Cathedral Choral Society has appeared at the Kennedy Center with The Washington Ballet, the Juilliard Orchestra, in performances sponsored by Washington Performing Arts Society, and with the National Symphony Orchestra under Leonard Slatkin and other conductors. The group has sung with Russian baritone Dmitri Hvorostovsky and the Philharmonia of Russia at the Kennedy Center and at Lincoln Center. The Cathedral Choral Society sponsors educational and community events, including pre-concert lectures, Cathedral Sings!, and Celebrate Youth!, an annual highschool choir festival. The chorus’ discography features ten recordings made at Washington National Cathedral, and members of the chorus appeared with Metropolitan Opera star Denyce Graves in the PBS television special.
Support the Orchestra Today’s program is perfect for a symphonic chorus in the Cathedral, but a symphonic chorus alone cannot present a program like this. Opera has to have an orchestra, a full symphonic orchestra. Hiring an orchestra is an investment in our artistic programming. Hiring an orchestra supports the careers of professional musicians across our region. We invite you to Support the Orchestra by making a contribution to the Cathedral Choral Society. Your gift will enrich the cultural life of this region and support our committment to symphonic programming.
Donate at: www.cathedralchoralsociety.org or 202-537-5510 15
Cathedral Choral Society J. Reilly Lewis, Music Director Paul Callaway Conducting Chair Todd Fickley, Associate Music Director and Chorus Master Joy Schreier, Pianist and Vocal Coach Soprano I Kathleen Alvania Samantha Feikema Anthony Ajai Deon Brooks Anne Carman Tari Cooper* Marcia D’Arcangelo Abigail Coyne Diller Lesley Earl Melissa Fox Renée Gamache Leah Germer Portia Hargrove Liz Harvey Eun-Hye Kim Chana Kuhns Chris Markus Marianna Martindale Susan McDaid** Sarah Mitchell Kimberly Pacala Meredyth Shinko Melanie Steinkamp Patricia Stephenson Megan Sullivan Elaine Teng Elizabeth Owens Wakefield Sophie Wohltjen Nuska Zakrajsek
Soprano II Mary Amorosino Jessica Barness Susanna Beiser Joanne Casey Laura M. Connors Sheri Economou Anna Kassinger Lori Kurtyka Beth L. Law Wendy Lubarsky Catherine Ort-Mabry Natalie Pho Frances H. Pratt** Grace Atherton Pratt Melissa Ryan Helen L. St. John Cheryl Schock Cindy Shen Dianne Vandivier Jeannette Dea WarrenAnderson Margot T. Young*
Alto I Amanda Ayers Caren Backus Violet Baker Kathleen Brion Christine de Fontenay Kehan DeSousa Susan Grad** Jennifer Hawley Melissa A.L. Holman Laura Jackman Jane Jurkevics* Ingrid Kauffman Charlotte Maskelony Laura Miller Helen Nowicka Mary Olch Catherine Pruett Jane Roningen Margaret Shannon Marguerite Toscano Sasha Toussaint Nadezhda V. Volchansky Elizabeth Rachel Williams
Alto II Elise Artelt Stephanie Cabell Laurene Church Robin Costanza Cindy Drakeman Holly Filipiak Margaret Gonglewski Kim Harris Pam Hazen Mary Hiebert-White Elizabeth Hoffmann Sarah B. Holmes Beth A.V. Lewis Marti Olson Jennifer Griffiths Orudjev Christopher G. Riggs* Teresa A. Spencer Natalie Torentinos Kathleen M. Welling** Susan Pruett Williams
Tenor I Gregg M. Breen David Dietly Douglas Dykstra John W. Harbeson Nicholas Houhoulis Dano Knobel Dick Larkin Thomas Mugavero Christine H. Mulligan** Joel Phillips Rob Porter Robert Reeves Raymond Rhinehart* Martin S. Rosenthal John Schaettler Kyle Tomlin D.C. Washington
Tenor II Douglas K. Barry J. Austin Bitner Ross Bradford James Clay** David Costanza Richard O. Faulk Luke W. Fisher Gary Glick Jeremy Gosbee Jeremy Kane Jason Kingman James M.E. Mixter, Jr.* John E. Moyer Trenton Osborne
Bass I Eric P. Andersen Andrew Bawden John Boulanger Joshua Brown Kelly Cameron Alfred J. Chiplin, Jr. Everitt Clark Jonathan Evans John Hewes Andrew Madar Nicholas Petersen David Peyton David Alderman Pratt Stephen S. Roberts* James Schaller L. Bradley Stanford** Clifton N. West III Peter G. Wolfe Christopher Woolley
Bass II Ernest Abbott* Dale Boyd Chris Buechler** Thomas Chapman Casey Cook Eugene Kaye Ian M. Matthews Scott McCorkindale Matthew Ogden Charles E.K. Parris Thomas C. Showalter Ellis Wisner
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** Section Coordinators * Alternates
Orchestra and Children’s Chorus Orchestra Violin I Laura Miller, Concertmaster Sonya Hayes Karin Kelleher Saskia Guitjens Mia Lee Annie Loud Solomia Gorokhivska Carolyn Kessler Violin II Paula McCarthy* Matthew Richardson Ivan Hodge Jennifer Wade Jeanne Su Minsun Kang Pamela Lassell Viola Chelsey Green* Michael Polonchak Yiju Chen Dana Rokosny
Cello Jihea Choi* Jorge Espinoza Erin Espinoza Robert Park Deb Brudvig Christina Stripling Bass T. Alan Stewart* Michael Rittling Jeffrey Koczela Flute David Lonkevich* Lauren Sileo Carrie Rose Oboe Richard Basehore* Alison Lowell Clarinet Rob Patterson* Edna Huang
Bassoon Erich Heckscher* Rebecca Watson
Percussion John Kilkenny* Tom Dell ‘Omo
French Horn Greg Drone* Greg Miller Jason Ayoub Mark Wakefield
Timpani Joseph McIntyre* Harp Rebecca Smith* Kate Rogers
Trumpet Dennis Ferry* Amy McCabe Nathan Clark
Banda Neil Brown Matthew Misener E.J. Ramos Kevin Gebo Aaron Moats James Fantz Fred Gleason Lindsey Smith
Trombone Bryan Bourne* Jeffrey Knutson Bass Trombone Jerry Amoury
Personnel Manager Pam Lassell
Tuba Jess Lightner*
*Principal player
The Concertmaster Chair is supported by the Thoron Concertmaster Fund.
Thank you to the donors whose contributions supported today’s orchestra. Betty J. Beard Michael and Mary Ann Bridges Kathleen Brion* Joanne Casey* Martha Duggan Katherine Gammill Mary-T. ^ and Spencer Gordon Tom Haran Murray L. Howder
Jean Jawdat M. Douglas Lakey Richard* and Celia Larkin Pam A. Lassell Nancy McBride Lolly and Jim*^ Mixter Lisa Poole Christopher Riggs* Helen Rosemont
Margaret Shannon* Walter Smalling, Jr. William P. Snow Robert and Donna Sokol Joanne and Greg Stopka Jacqueline K. Stover Thomas Tesoriero and Robert Bertram Nick and Caroline Van Wagoner Alice T. Wagner
Washington National Opera Children’s Chorus Will Breytspraak, Children’s Chorus Master Arya Balian Sareen Balian Remy Brettell Holden Browne Aoife Butler Caroline Coleman
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Jazmyn Frazier Sebastian Harvey Virginia Heinsen Lily James Svea Johnson Lindsay Kaplan
Kianna Kelly-Futch Jared Marshall Maya McGuire Julia Plumer Nicolas Rossi
Andrew Sharpe Sage Smith Sarah Thau Aidan White Nicole Wildy
Thank You The Cathedral Choral Society is pleased to acknowledge the following contributors to our Annual Fund Campaign between Feb. 12, 2014 and May 4, 2015. Thank you for being an active partner in our vision to inspire and nurture our community through the joy of choral singing and exceptional choral performances. Paul Callaway Associates $20,000+ The Estate of David Willard Cook Sustaining Patrons $10,000+ Ernest*^ and Catherine Abbott Thomas P. Gallagher^
Anne R. Harris ^ Lolly and Jim*^ Mixter
David* and Grace* Pratt
Guarantor Patrons $5,000+ Diana^ and Douglas Dykstra Richard* and Celia Larkin John E. Moyer*^ and Jane Passman
Bradley J. and Martha A.*^ Olson Gerald W.^ and Alice Padwe Martin Rosenthal*^ and Corinne Axelrod
Dale^ and Peter Turza John and Dariel Van Wagoner
Chorus Section Patrons $2,500+ Arthur and Constance Eggers Nancy M. Folger and Sidney L. Werkman Paul Juergensen Il ^ Nevin E. and Elizabeth D. Kuhl
Virginia C. Mars^ Christine*^ and James Mulligan Catherine E. Ort-Mabry* and Brian Mabry Frances H. Pratt*
Stephen S. Roberts* Guy and Margaret Steuart Kevin and Andrea Wade Margot T. Young*
Unsung Heroes $1,000+ Eric P. Andersen* and W. David Young II Estate of Richard S. and Alayne C. Antes Betty J. Beard Beaty Family Fund Blanche L. Curfman Sally and Edison Dick Walter B. and Joanne Doggett Charles Leonard Egan Mary-T. ^ and Spencer Gordon
Susan Grad* Judith Hope J. Reilly^ and Beth A.V.* Lewis William M. Leach Susan McDaid* Mary B. Olch* Harold and Frances Pratt Raymond Rhinehart* and Walter Smalling, Jr.
James* and Madeleine Schaller T. Michael and Linda Shortal Andrew* and Patricia Soto L. Bradley Stanford* Mr. & Mrs. W. Reid Thompson M. Elizabeth†and Charles Tidball Genevieve^ and Sean Twomey Robert B. and Betty J. Wallace Nancy H. Wiecking
Ann Ingram Robert W. Jerome Georgia Koenig Janice L. Lockard Christina M. Markus* Dorothy C. Mergner Robert* and Elaine Porter Charles Pratt and Alexandra England Robert* and Lissa Reeves
Lynn Rhomberg Mr. and Mrs. Randall Robertson Barry and Lorraine Rogstad Margaret C. and Robert D. Stillman Leslie C. Taylor Joyce H. Thornhill James and Elinor Vaughter Richard L. and Virginia Wagner Dorothy M. Woodcock
Patrons $500+ Violet Baker* Jessica Barness* Catherine Beauchamp Jeanne Buster Christine C. De Fontenay* Tricia and David* Dietly Mary Cox Garner Jeremy Gosbee* Susan J. Henry Sarah B. Holmes* and John B. Morris Jr.
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Thank You Associates $250+ Robert and Laura Barlow Jane C. Bergner Kathleen Brion*^ Mitzi Budde Anne* and James Carman James W. Clay* Jill T. Cochran Laura M. Connors* Ruth and Nelson Denlinger Alice M. Denney Lynn B. Dutton Pam Gibert
Margaret Gonglewski* D. Ruth Goodchild Ruth Hall George Hanc Embry and Joseph Howell C. F. Muckenfuss Ill and Angela Lancaster Jan and Elizabeth Lodal Wendy Palmby Lubarsky* Mr. and Mrs. Roger Luchs Samuel Miller Gerry Perman†
Scott and Nancy Pinckney Theodora Radcliffe William Shunk Ill and Patricia Read Jane* and Vern Roningen W. Burleigh and Leigh Seaver Anne D. Stubbs Mr. and Mrs. John Taylor C. Thomas van Alen Thomas and Linda Veblen Sinclair and Julia Winton Evelyn Woolston-May
Donors $100+ Anonymous Mary Amorosino* Mark J. Andrews Margaret M. Ayres and Stephen Case D. Philip Baker James Bauman Gordon L. Biscomb Elise and Jim Blair Andrew and Kay Boesel Herman Bostick Dale* and Gloria Boyd Gregg M. Breen* Michael F. Butler Helen Carras Mr. and Mrs. Timothy W. Carrico Marilyn Clark Karen Coe Vera S. Connolly Janet Dawson Sharrill Dittmann Elise Fisher and Doug Pulak Sally A. Fiske Gladys Foxe Neil and Carolyn Goldman Joan and David Green William and Margaret Greer George E. Groninger
Bill and Ruth Harwood David R. Hearn Patricia D. Hevner Frederick S. Hird John Hoyda Mary Huddle Katherine Johnson* Ruth Kahn Ingrid Kauffman* Richard and May Lea Keating James and Judith Kennedy Dorothy Kent Keith and Leslie Kruse Susanne Leach Robert M. Leddy, Jr. Gary Leggett Rosemary D. Lyon James W. Madden Paula Marchetti David S. Marsh Marianna Martindale* Scott* and Linda McCorkindale Barbara and John McGraw Robert Turner Mead David Medland Andrea T. Merrill
Thomas E. Morrison Eiko Narita Donald and Nancy Peck Mr. Ronald C. Perera B. Dwight and Suzanne Perry Warren Pfeiffer Rondi K. Pillette and Steven A. Levin Joan A. Pirie Jackie Prince Suzanne H. Rooney Milton and Ingrid Rose Ann Imlah Schneider Mr. and Mrs. Norman† Scribner Patrick Shannon John and Judy Shenefield Lynwood and Thalia Sinnamon Mr. & Mrs.† Albert Small J. David Sulser and Patricia Jungreis Alice and Richard Sziede Mrs. W. L. Tatspaugh George R. Townsend James T. and Anne C. Townsend Samuel Van Culin D. C. Washington* Kathleen Welling* Phyllis C. Wertime
*Chorus Member
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^Board Trustee
†Deceased
Thank You The Cathedral Choral Society is pleased to recognize Government, Foundation, and Corporate support to our Annual Fund Campaign between Feb. 12, 2014 and May 4, 2015.
Thank you to our Government and Foundation Supporters U.S. Commission of Fine Arts, National Capital Arts and Cultural Affairs Program Clark-Winchcole Foundation Dallas Morse Coors Foundation Alice & Russell True Foundation
Dimick Foundation Mars Foundation Meredith Foundation
Richard Eaton Foundation United Way of the National Capital Area
Thank you to our Corporate Supporters Corporate Champion $2,000+ Bank of America Exxon Mobil Foundation Corporate Investor $1,500+ American Gas Association Corporate Leader $1,000+ Cohn Reznick IBM Corporate Advocate $500+ E*Trade Financial
Pepco Holdings Inc
Royal Bank of Canada Wealth Management
Clark Construction Group, LLC
Sentinel Wealth Management
UBS Financial Services
W-2 Associates
Offit Kurman
Willis Metro DC
City Carpet and Furniture LLC
Klein Hornig LLP
Corporate Partner $250+ Facility Service Company Corporate Supporter $100+ Atelier Architects
Gala Sponsors and Supporters We would like to thank those who ensured the success of this year’s The Masked Gala. The Masked Gala Grand Opera Sponsors Thomas P. Gallagher^ Pepco Holdings, Inc. Martha A. Olson* and Margot T. Young* John and Dariel Van Wagoner The Masked Gala Aria Supporters Ernest*^ and Catherine Abbott Anne R. Harris^ Lolly and Jim*^ Mixter Raymond Rhinehart* and Walter Smalling, Jr.
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The Masked Gala Grand Opera Ticket Sponsors David and Tricia Dietly* Cynthia L. Drakeman* John E. Moyer*^ and Jane Passman Christin Mulligan* Alec Orudjev Gerald W.^ and Alice Padwe Martin Rosenthal*^ and Corinne Axelrod Reginald Van Lee Douglas H. Wheeler
Thank You Gifts in Honor and Memory In Honor of Mary T. Gordon Hubert and Charlotte Schlosberg In Honor of J. Reilly Lewis Shirley M. Fine In Honor of Virginia Mars Beaty Family Fund Shirley M. Fine Dorothy and William McSweeny In Honor of Margot T. Young Blanche Curfman Embry and Joseph Howell Kathleen and Walter Weld Jean Jawdat
In Memory of David W. Cook Donna M. Christian Mary-T. ^ and Spencer Gordon Susan C. Stover In Memory of Sir Martin Gilbert Margaret Shannon* In Memory of Selene Obolensky Mary-T. ^ and Spencer Gordon
In Honor and Memory of Mary Louise Pusch Olson / Pusch Families The Alto 2 Section Margot T. Young* Kathleen and Warren Mugnolo Margaret Shannon* In Memory of Huston Simmons Mary-T. ^ and Spencer Gordon In Memory of Susan Urban Spaulding Mary-T. ^ and Spencer Gordon
In Memory of Lee Tidball Mary-T. ^ and Spencer Gordon James D. Campbell and Janet M. Hall Carla L. Rosati Maxine Isaacs Sara Lee Schupf Colin and Laurene* Church Blanche L. Curfman Mary Cox Garner Erika R. Joyce Rosemary Bourne Phyllis C. Wertime Mary Frieseke Anne Hughes A. Hayler Hummer
Harmonia Society The Cathedral Choral Society was founded in 1941. Founding Music Director, Paul Callaway, championed the idea of a large symphonic chorus that would welcome the community to come together and sing in the Cathedral. Four decades later the Harmonia Society was founded by twenty-two charter members to recognize those who have, with special thought and foresight, included the Cathedral Choral Society in their estate plans. Their wish was to build an endowment that would continue the work begun by this visionary gentleman for generations to come. Anonymous Donors Catherine H. Beauchamp* Charles Leonard Egan Arthur and Connie Eggers Thomas P. Gallagher^ Mary-T Gordon^ Anne R. Harris^ William B. and Ruth L. Harwood Ann Ingram
Richard* and Celia Larkin William M. Leach J. Reilly^ and Beth A.V.* Lewis Rosemary Lyon James*^ and Lolly Mixter Martha Morris Mark W. Ohnmacht Gerald^ and Alice Padwe Mary Louise Puschâ€
Carla Rosati Martin S. Rosenthal^* Margaret Shannon* T. Michael and Linda Shortal Steven and Nancy Smith M. Elizabeth+ and Charles Tidball Nancy Wiecking Evelyn Woolston-May
If you have remembered the Cathedral Choral Society in your estate planning and do not see your name above, please let us know. To reach us or to learn more about the Harmonia Society, contact Genevieve Twomey at 202-537-5524.
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2015–2016 SEASON
2015–2016 SEASON
CHILDREN’S CHORUS AUDITIONS Kids ages 7–16 with treble voices June 2 & 3, 2015 from 4–7 PM Interested? Call (202) 416-8744 for more information.
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Carmen Appomattox Hansel and Gretel American Opera Initiative Lost in the Stars The Ring Cycle Subscribe today at kennedy-center.org
Acknowledgements Board of Trustees Ernest Abbott, President Kathleen Brion Christopher L. Buechler Diana F. Dykstra Thomas P. Gallagher Anne R. Harris
Paul Juergensen II, Vice President J. Reilly Lewis, ex officio James Mixter, Treasurer Jack Moyer Christine H. Mulligan Martha A. Olson
Jennifer Griffiths Orudjev Gerry Padwe, Secretary Teresa A. Spencer Martin Rosenthal Dale Chakarian Turza Genevieve C. Twomey, ex officio
Honorary Trustees Mary-T Gordon
Virginia C. Mars
Administrative Staff Kate Breytspraak, Director of Chorus & Concert Operations Michael Mercier, Development Associate
Mimi Newcastle, Finance Manager Lindsay Sheridan, Marketing & Communications Manager
Genevieve C. Twomey, Executive Director Margot T. Young, Community Engagement Manager
Concert Support Marti Olson, Robe Coordinator Margaret Shannon, Program Annotator Patricia Stephenson, Librarian
Library Committee: Joanne Casey, David Dietly, Jennifer Hawley, Ian Matthews, Robert Reeves
Washington National Cathedral Staff Valerie Ciccone, Volunteer Resources & Event Coordinator Kim Gilliam, Director Event & Program Management Mark Huffman, Technical Director & Audio Engineer
Gary Ford, Supervisor Sexton / Housekeeping Sarah Rockwood, Front of House Manager
With special thanks for all the staff and volunteers of Washington National Cathedral
Thank you to our media sponsor...
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Craig Stapert, Director of Communications Kevin Thomas, Asst. to the Director of Worship and Administrative Verger Torrence Thomas, Verger
J. Reilly Lewis, Music Director
Cathedral Choral Society
2015 | 16 A Singular Season
Haydn Creation
Sunday, October 18 | 4:00 p.m. Haydn, The Creation
Joy of Christmas Saturday, December 12 | 4:00 p.m. Sunday, December 13 | 4:00 p.m. Christmas favorites and a newly commissioned carol by British composer James Whitbourn
Vivaldi Gloria
with the Washington Bach Consort
Sunday, February 21 | 4:00 p.m. Vivaldi, Concerto for Oboe and Trumpet, RV 563 Vivaldi, Nulla in mundo pax sincera, RV 630 Vivaldi, Dixit Dominus, RV 595 Vivaldi, Gloria in D Major, RV 589
Fantastic Beethoven
Sunday, May 15 | 4:00 p.m.
Beethoven, Leonore Overture, No. 2, Op. 72 Beethoven, Choral Fantasy, Op. 80 Beethoven, Mass in C Major, Op. 86
Subscribe by June 19 and SAVE! cathedralchoralsociety.org | 202-537-2228