20231107_Green

THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC Presents

HOUSEWRIGHT VIRTUOSO SERIES: RYAN SPEEDO GREEN, BASS-BARITONE

Tuesday, November 7, 2023 Seven-thirty in the Evening Opperman Music Hall

ng i t r o p p u S e Arts th

850-894-8700

www.beethovenandcompany.com 719 North Calhoun Street, Suite E Tallahassee, Florida 32303

Tom Buchanan, owner

PROGRAM Peculiar Grace from Fire Shut Up in My Bones

Terence Blanchard (b. 1962)

Songs and Dances of Death

Modest Mussorgsky (1839–1881) Ryan Speedo Green, bass-baritone Elizabeth Avery, piano INTERMISSION

Quintetto from il Barbiere di Siviglia Gioachino Rossini Recit. “Bravo, Signor Barbiere, Ma Bravo…Don Basilio! Cosa veggo…”

(1792–1868) YeJi Lee (Rosina), Adam Henning (Almaviva), Sebastian Quintero (Figaro) André Peele (Bartolo), Samuel Shipps (Basilio) Mikayla Rogers, piano After “Lindoro” (Count Almaviva), impersonating a substitute music teacher, pretends to give his sweetheart Rosina a lesson under Bartolo’s observation, Figaro arrives and finally convinces Bartolo that he must give him a shave. Figaro causes a diversion to draw Bartolo away from the lovers. Lindoro proposes to Rosina, and she accepts before Bartolo returns. Suddenly, the real music teacher, Don Basilio, arrives. Both he and Bartolo are confused about what is going on. The Count and Figaro fabricate the story that Basilio is sick with scarlet fever and must go home immediately.

The Count makes plans with Rosina to rescue her at midnight while Figaro distracts Bartolo during his shave. However, Bartolo overhears the Count mention his disguise and bursts into a rage, chasing the Count, Rosina, and Figaro out the door.

Duet from il Barbiere di Siviglia Recit. “Oh cielo!....All’idea di quell metallo…

Gioachino Rossini

Cole Bellamy (Fiagro), Adam Henning (Almaviva) Natalie Sherer, piano Count Almaviva is completely enamored with Rosina and asks Figaro to use his wits and hatch a plan for him to woo her. Figaro accepts – after being promised an abundance of gold – and he invents “Signor Lindoro,” disguised as a drunk soldier, who Count Almaviva will pretend to be. In order to enter Rosina’s home, he will present a military note requesting lodging to Doctor Bartolo, Rosina’s domineering guardian. The Count agrees to the disguise and is filled with passionate anticipation.

Please refrain from talking, entering, or exiting while performers are playing. Food and drink are prohibited in all concert halls. Please turn off cell phones and all other electronic devices. Please refrain from putting feet on seats and seat backs. Children who become disruptive should be taken out of the performance hall so they do not disturb the musicians and other audience members.

Il commendatore’s scene (Act II Finale) from Don Giovanni

Wolfgang Amadeus Mozart (1756–1791)

Cole Bellamy (Giovanni), Samuel Shipps (Leporello) Ryan Speedo Green (Commendatore) Natalie Sherer, piano In this dramatic finale, the Commendatore statue has come to life and arrives to accept the invitation to dine with Don Giovanni at his banquet. The Commendatore commands Giovanni to repent of his sins, but Don Giovanni refuses repeatedly while a fearful and trembling Leporello looks on. The Commendatore declares that Don Giovanni is out of time, and Don Giovanni cries out in torment as he is punished, and a chorus of spirits drags him down to hell.

Duet from il Barbiere di Siviglia Recit. “Ma bravi, ma benone …Dunque io son”

Gioachino Rossini

Dawson Franzino (Rosina), Sebastian Quintero (Figaro) Mikayla Rogers, piano Figaro tells Rosina that her guardian is planning to marry her, and she scoffs at the idea and changes the subject to the gentleman she heard talking with Figaro underneath her window (Count Almaviva). Figaro reveals that this man – Lindoro – is dying of love and describes his sweetheart, spelling out the name “Ro…si…na.” This confirms Rosina’s intuition, and she expresses her desire to see Lindoro immediately. Figaro encourages her to write a note to Lindoro and finds out that she already has one ready; she always seems to be a step ahead of him.

Votre Toast from Carmen

Georges Bizet (1838–1875)

Ryan Speedo Green (Escamillo), Alissa D’Alton (Frasquita) Leah Shewmaker (Carmen), Mary Botter (Mercedes) Carter Houston (Zuniga) Cole Bellamy (Morales) Ensemble: Mary-Bradley Knighton, Haley Burgh, Katherine Ledbetter Ashley Lewi , Angellina Fedullo, André Peele, Madison Roths Leah Shewmaker, Michaela Stiles, DaSean Stokes Anne Elise Teeling, Kelby Yoder, Audra Weathers Natalie Sherer, piano In Act 2, the famous bullfighter Escamillo arrives to a tavern full of customers, gypsies, soldiers, and dancers, and sings a vivid description of the courage, blood, sweat, and spectacle of a bullfight. He rouses the crowd to join him in singing that the bullfighter must be on his guard while fighting but that love awaits him from a woman watching in the adoring crowd.

– Notes by Natalie Sherer

ABOUT THE GUEST ARTIST Named “the real showstopper” by the New York Times, two-time Grammy Award winning bass-baritone Ryan Speedo Green has quickly established himself as an artist of international demand at the world’s leading opera houses. Mr. Green’s 2023 – 2024 season sees a number of important role debuts including as Heinrich der Vogler in Lohengrin, with both Deutsche Oper Berlin conducted by James Conlon, and the Bayerische Staatsoper, the title role in Don Giovanni with Santa Fe Opera, and as Charles in Terence Blanchard’s Fire Shut up in my Bones at the Metropolitan Opera, and as Wotan in Das Rheingold in concert with the LA Philharmonic, conducted by Gustavo Dudamel.

Mr. Green also returns to hosting the Met Live in HD broadcast of Roméo et Juliette, which will be broadcast to cinemas around the world. Additional operatic appearances include Escamillo in Carmen at the Met, and his house debut with Staatsoper Hamburg as Varlaam in Boris Godunov, conducted by Kent Nagano. Concert work includes his debut with the Chicago Philharmonic in a special concert of arias and Beethoven’s Symphony Number 9 with the Colorado Symphony. On the recital stage Mr. Green appears with Austin Opera in a special recital that will be recorded and broadcast on PBS, a recital at the Ferguson Center in Virginia, and a continuation of his role as Artist in Residence with Florida State University.

The 2022 – 2023 season saw Mr. Green’s first leading role at the Metropolitan Opera starring as Emile Griffith in Terence Blanchard’s Champion, conducted by Yannick Nézet-Séguin and directed by James Robinson. Mr. Green also made his house debut at Opéra national de Paris singing Kurwenal in Tristan und Isolde, conducted by Gustavo Dudamel, and his house debut at Bayerische Staatsoper as Varlaam in Boris Godunov. He also returned to Washington National Opera to sing Ferrando in a new production of Il Trovatore and Orest in a new production of Elektra. Orchestral engagements included Kurwenal in Tristan und Isolde with the LA Philharmonic, his debut with the New York Philharmonic in the world premiere of a piece by Courtney Bryan written for him, Mussorgsky’s Songs and Dances of Death at Carnegie Hall with Daniele Rustioni conducting the Metropolitan Opera Orchestra, and excerpts from Blanchard’s Champion with the Metropolitan Opera Orchestra Chamber Ensemble at Carnegie Hall, conducted by Yannick Nézet-Séguin. Mr. Green also appeared as a featured artist on the Richard Tucker Gala, and with the Peoria Symphony for Beethoven’s Symphony Number 9. The academic season saw Mr. Green as an Artist in Residence with Florida State University, which included master classes with vocal students and a solo recital.

In the fall of 2016, Little, Brown published Sing for Your Life, by New York Times journalist Daniel Bergner. The book tells the story of Mr. Green’s personal and artistic journey: from a trailer park in southeastern Virginia and from time spent in Virginia’s juvenile facility of last resort to the Met stage. The New York Times Book Review called the book “one of the most inspiring stories I’ve come across in a long time,” and the Washington Post called it a “vital, compelling, and highly recommended book.” Sing for your Life has been honored with a number of recognitions including the New York Times bestseller and editor’s choice, a Washington Post Notable Book, and a Publishers Weekly Book of the Year.

A native of Suffolk, Virginia, Mr. Green received the Master of Music degree from Florida State University, the Bachelor of Music degree from the Hartt School of Music, and was a member of the Metropolitan Opera Lindemann Young Artist Development Program. Mr. Green currently sits on the Board of Regents at University of Hartford.

ABOUT THE COLLABORATIVE PIANISTS Elizabeth Avery serves as Associate Dean for Academic Affairs and Director of Graduate Studies at the Florida State University College of Music. Dr. Avery joined the FSU College of Music faculty in 2023 after twelve years on the faculty of the University of Oklahoma, where she served as Associate Director/Coordinator of Graduate Studies and held the Edith Kinney Gaylord Presidential Professorship. She has also taught at Indiana University’s Jacobs School of Music, Austin Peay State University, Castleton State University, and the Crane School of Music. She earned the DMA in Piano Accompanying and Chamber Music from the Eastman School of Music, MM in Collaborative Piano from the University of Michigan, and BME from the Crane School of Music. She also completed the Special Studies program at the Prague Conservatory, performing Czech solo and chamber music while honing her expertise in Czech lyric diction.

Recognized for her remarkable blend of “artistic sensitivity and masterful virtuosity,” Avery is an accomplished collaborative pianist whose musical journey spans continents and genres.

Performing widely across the United States, Canada, Scandinavia, and Europe, she engages audiences through collaborative performances, lecture-recitals, and masterclasses. Her vocal coaching work encompasses repertoire from Monteverdi to modern composers, leading to collaborations with such renowned conductors as Leonard Slatkin, Giancarlo Guerrero, and John Mauceri. Her mastery of lyric diction across multiple languages and command of a wide-ranging song repertoire is evident not only in her vocal coachings, diction classes, and repertoire courses, but also in frequent invited guest lectures and master classes.

As an artist and scholar Avery’s interests are varied, but always gravitate to new music. She is committed to commissioning and premiering new works for voice and piano, having brought new performances to such prestigious venues as Weill Recital Hall and Steinway Hall in New York City. She enjoys her role as a catalyst for new music, advocating for composers and bringing to life new works that focus on climate and social issues. Among her ongoing commission undertakings is the collaborative project East Wing Songs, with mezzo soprano Ann Marie Wilcox Daehn; this series of song volumes, exclusively composed by women composers, imports the listener into the authentic lived narratives of the First Ladies of the United States. No One Saves the Earth from Us but Us, a 30-minute song cycle composed by Lisa Neher that premiered in 2021, is an urgent call to action interweaving texts of environmental poets Craig Santos Perez and Felicia Zamora. This evocative and unique composition is sung by Quinn Patrick Ankrum via fixed media and executed solely by the pianist. A live, collaborative version of the cycle will premiere in spring 2024 on the Cincinnati Song Initiative’s 2023-2024 concert series. Avery has also paired with Ankrum to establish Living Song Project, a groundbreaking initiative dedicated to enhancing access to living composers and their compositions through an expansive searchable database.

Mikayla Rogers, a native of Rapid City, South Dakota, is a candidate for a Doctor of Music in Collaborative Piano at Florida State University, studying with Valerie M. Trujillo. Mikayla’s desire to perform and learn in different settings has taken her to several summer festivals, including Music in the Marche in Mondavio, Italy, and the American Institute of Musical Studies (AIMS) in Austria. She also attended the Trentino Music Festival in Italy to study and perform Richard Strauss’s Ariadne auf Naxos under Maestro Christopher Larkin. In the summer of 2023, she participated in Source Song Festival in Minneapolis, working with the world’s leading collaborative pianists and premiering an art song by composer Hannah Cai Sobel. Most recently, she was the recitative player for FSU’s production of Il barbiere di Siviglia. She has participated in numerous masterclasses, including those featuring Elvia Puccinelli, Liza Stepanova, Shiela Kibbe, Warren Jones, Kathleen Kelly, Jeffrey Swann, Gary Matthewman, and Barbara Bonney. She has also coached with Arlene Shrut, Anthony Dean Griffey, Tamara Wilson, and Ruth Palmer. Mikayla received the Bachelor’s degree in Piano Performance from Northern Arizona University under the instruction of Dr. Frank Scott and the Master of Music in Piano Accompanying from Florida State University under Dr. Timothy Hoekman.

Dynamic pianist Natalie Sherer thrives in collaboration with singers and instrumentalists alike. She began her role as Assistant Professor of Vocal Coaching & Collaborative Artist at Florida State University in 2022. In January, Sherer will make her Carnegie Hall debut as a performer in SongStudio 2024. Sherer was a performer for CollabFest 2023, the annual conference for the International Keyboard Collaborative Arts Society (IKCAS), and in 2022, Sherer was a Brown Loranger Fellow at SongFest and an emerging artist in Sparks & Wiry Cries’ NYC SongSLAM Festival. After joining the National Association of Teachers of Singing (NATS) 2020 Intern Program, she performed in multiple presentations at the NATS 2022 National Conference. She recently premiered “Sorrow & Ecstasy: The Complete Songs of Henri Duparc,” a semi-staged musical narrative following four characters’ journeys of love and lament. Sherer hosts the CollabPiano Podcast which celebrates art song and the collaboration between pianists and singers. Season two was supported by FSU’s First Year Assistant Professor Grant. A frequent recitalist, she has recently performed in events and master classes taught by Graham Johnson, Jake Heggie, Nicholas Phan, and Thomas Hampson. In 2019, Sherer performed at the Prague Summer Nights Festival and was a Vocal Chamber Music Fellow for the Collaborative Arts Institute of Chicago (CAIC). Sherer earned the DMA in Collaborative Piano, studying with renowned pianist Martin Katz, from the University of Michigan, and completed BM and MM degrees in Piano Performance through studies at Manhattan School of Music, Wheaton College, and Roosevelt University. collabpianist.com

TEXTS AND TRANSLATIONS Blanchard: Peculiar Grace from Fire Shut up in My Bones I once was a boy of peculiar grace A dangerous existence for a man of my race A Black boy from a lawless town Where everyone carries a gun I carried shame in a holster ‘round my waist A boy of peculiar grace Manhood lost and not found ‘til now Dreams that kept me awake Isolated by strange desires Half-formed, not embraced A graceful boy in a dangerous place Alone, a subject of curiosity For the old folks to speculate “What’s wrong with that boy?”

A stranger in my hometown An oddity, the butt of a jokе A hurt that can’t be erased Thе south is no place for a boy with peculiar grace I’ll go north, I’ll make my way Nothing can stop me, no reason to stay The south is no place for a boy with peculiar grace You’ll go north, you’ll make your way Nothing can stop you, no reason to stay The south is no place for a boy with peculiar grace Goodbye, Gibsland, goodbye, shame Goodbye, nightmares, goodbye, pain Goodbye, pistols in my mama’s purse Goodbye, pastors in the Baptist church Goodbye, daddy and your good time women Goodbye, honky-tonks and sinners in ‘em Goodbye, Gibsland, goodbye, shame Goodbye, nightmares, goodbye, pain Goodbye, pistols in our mama’s purse Goodbye, pastors in the Baptist church Goodbye, daddy and your good time women Goodbye, honky-tonks and sinners in ‘em Say goodbye to Charles Baby, I’m finally free I’m free, I’m free

Mussorgsky: Songs and Dances of Death 1. Kolïbel’neya Stonet rebyonok ya, Tusklo mertsayet krugom.

Tseluyu noch, kolybel’ku kachaya, Mat’ ne zabylasa snom. Ranym-ranyokhonko v dver ostorozhno Smert’ serdobol’naya stuk!

Vzdrognula mat’, oglyanulas trevozhno...

“Polno pugat’sa, moy drug!

Blednoe utro uzh smotrit v okoshko, Placha, toskuya, lyublya, Ty utomilas, vzdremni-ka nemnozhko, Ya posizhu za tebya.

Ugomonit’ ty ditya ne sumela; Slashche tebya ya spoyu.”

“Tishe! Rebyonok moy mechetsa, byotsa, Dushu terzayet moyu!”

“Nu, da so mnoyu on skoro uymyotsa, Bayushki, bayu, bayu.”

“Shchochki bledneyut, slabeyet dykhan’ye...

Da zamolchi zhe, molyu!”

“Dobroye znamen’e: stikhnet stradan’e.

Bayushki, bayu, bayu.”

“Proch ty, proklyataya! Laskoy svoyeyu Sgubish ty radost’ moyu.”

“Net, mirny son ya mladentsu naveyu: Bayushki, bayu, bayu.”

“Szhal’sa, pozhdi dopevat’, khot’ mnogoven’ye Strashnuyu pesnyu tvoyu!”

“Vidish, usnul on pod tikhoe pen’ye.

Bayushki, bayu, bayu.”

1. Lullaby A child moans, a candle burns low, And casts a dim flicker around.

All through the night, her cradle rocking, The mother has not slumbered.

Early in the morning, at the door so gently Death, the compassionate, knocks!

The mother gives a start, and looks round in fear...

“Be not afraid, my dear!

The pale light of morn now peeps through the window, weeping, in longing, in love, Thou hast worn thyself out, now rest thee awhile, and I will sit here by his side.

Thou hast not been able to soothe the poor child, Sweeter than thou shall I sing.”

“Softly! My child is tossing and restless, It grieves my heart thus to see him!”

“Come now, he soon will listen to me.

Hush-a-bye, baby, my own.”

“His dear cheeks are pale, his breath is failing...

Be silent now, do, I beseech thee!”

“That’s a good sign: soon his suffering will end. Hush-a-bye, baby, my own.”

“Get thee away, O accursed one! Thy caresses The joy of my heart will destroy.”

“Nay, the sleep of peace will I breathe on the infant: Hush-a-bye, baby, my own.”

Have mercy! O tarry, if just for a moment, Ere ending that dread song of thine!”

“See now, he sleeps to the singing so gentle.

Hush-a-bye, baby, my own.”

2. Serenade Nega vol’shebnaya, noch golubaya, Trepetny sumrak vesny...

Vnemlet, poniknuv golovkoy, bol’naya Shopot nochnoy tishiny.

Son ne smykayet blestyashchie ochi, Zhizn k naslazhdenyu zovyot!

A pod okoshkom v molchaniy polnochi Smert’ serenadu poyot: “V mrake nevoli, surovoy i tesnoy, Molodost’ vyanet tvoya,

2. Serenade The magical languor, the blue of the night, The trembling twilight of spring...

She listens, the invalid, hanging her head, To the whisper of night’s silent words.

Her eyes, wide and burning, are not dosed in slumber, Life to its joys calls her still!

Yet under her window in the silence of midnight Death sings his soft serenade: “In the dark gloom of prison, severe and confining, Thy youth will fade quite away,

Rytsar nevedomy, siloy chudesnoy Osvobozhu ya tebya.

Vstan, posmotri na sebya: krasotoyu Lik tvoy prozrachny blestit, Shchoki rumyany, volnistoy kosoyu Stan tvoy kak tuchey obvit. Pristal’nykh glaz goluboyesiyan’e Yarche nebes i ognya...

Znoyem poludennym veyet dykhan’e...

Ty obol’stila menya.

Slukh tvoy plenilsa moyey serenadoy, Rystsarya shopot tvoy zval.

Rytsar prishol za posledney nagradoy: Chas upoyen’ya nastal.

Nezhen tvoy stan, upoitelen trepet, O, zadushu ya tebya V krepkikh ob’yat’yakh; lyubovny moy lepet Slushay... molchi...Ty moya!

But I, thy unknown knight, with my wondrous power, Will set thee free. Rise, look on thyself: with what beauty Thy face in radiance doth shine, Thy cheeks so rosy, thy rippling tresses Veiling thy form like a cloud.

The blue radiance of thine eyes so intense Is brighter than the skies or fire...

With midday’s heat thy breath bloweth o’er me... Thou hast bewitched me, my love.

Thine ear is captivated by my soft serenade, Thy whispered words summoned thy knight.

Thy knight has come for his final reward: The hour of rapture is near.

Fair is thy form, thy tremor enthralling, O, I will clasp thee, my own, In strongest embraces; to my lays of love Harken... be still... Thou art mine!”

3. Trepak 3. Trepak (Russian Dance) Les da polyany, bezlyud’e krugom...

In the forest and glades not a soul is in Vyuga iplachet i stonet... sight... The blizzard doth wail and howl...

Chuyetsa, budto vo mrake nochnom It feels as if in the gloom of the night Zlaya kovo-to khoronit.

The cruel snow is burying some poor man.

Glyad’, tak i yest’! v temnote muzhika Look - so it is! In the darkness a peasant Smert’ obnimayet, laskayet;

By Death is embraced and caressed; S pyanenkim plyashet vdvoyom trepaka, With a drunkard Death dances a trepak together, Na ukho pesn napevayet: And sings in his ear a sweet song: “Okh, muzhichok, starichok ubogy, “Hey, poor peasant, thou wretched old man, Pyan napilsa, poplyolsa dorogoy; Thou hast drunk thyself silly and wandered A metel-to, ved’ma, podnyalas, vzygrala, astray; But the blizzard, like a witch, rose and S polya v les dremuchy nevznachay zagnala, played with thee, From the glades to the forest Gorem, toskoy, da nuzhdoy tomimy, dense chanced to drive thee, Through sorrow and Lyag, prikorni da usni, rodimy, grief and want grown weary, Lie down, rest and Ya tebya, golubchik moy, snezhkom sogreyu, sleep, my friend, And I shall warm thee, my dear, Vdrug tebya velikuyu igru zateyu. with a cover of snow, Around thee a fine game Vzbey-ka posteI’ ty, metel’ lebyodka! will I start. Shake up the bed, thou swan-like Hey, nachinay, zapevay, pogodka, snow! Hey there, begin, start up a song, wild Skazku da takuyu, shtob vsyu noch tyanulas, weather, A song to last the whole night through, “Shtob pyanchuge krepko pod neyo zasnulas. That this drunkard may sink into sleep to its Oy vy, lesa, nebesa da tuchi, strains. O you forests, heavens and clouds, Tem, veterok da snezhok letuchy, Darkness, breeze and sweeping snow, Sveytes pelenoyu snezhnoy pukhovoyu, Wrap him in a shroud of softest snow, Yeyu kak mladentsa starichka prikroyu.

And in it like a babe the old man I’ll shelter.

Spi, moy druzhok, muzhichok schastlivy, Sleep, my friend, my peasant so happy, Leto prishlo, rastsvelo!

Summer has come, and all is in bloom!

Nad nivoy solnyshko smeyotsa da serpy gulyayut, Pesenka nesyotsa, golubki letayut!...”

O’er the cornfields the sun doth smile and the sickles are swinging, The song rises up, and the doves are flying!... “

4. Polkovodets Grokhochet bitva, bleschchut broni, Orud’ya mednyye revut, Begut polki, nesutsa koni, I reki krasnyye tekut, Pylayet polden, lyudi bytusa! Sklonilos sontse, boy sil’ney! Zakat bledneyet, no derutsa Vragi vsyo yarostney i zley!

I pala noch na pole brani, Druzhiny v mrake razoshlis...

Vsyo stikhlo, i v nochnom tumane Stenan’ya k nebu podnyalis.

Togda, ozarena lunoyu, Na boevom svoyom kone, Kostey sverkaya beliznoyu, Yavilos smert’. I v tishine, Vnimaya vopli i molitvy, Dovol’stva gordovo polna, Kak polkovodets, mesto bitvy Krugom ob’yekhala ona.

Na kholm podnyavshis, oglyanulas, Ostanovilos, ulybnulas...

I nad ravninoy boyevoy Pronyossya golos rokovoy: “Konchena bitva! Ya vsekh pobedila!

Vse predo mnoy vy smirilis, boytsy!

Zhizn vas possorila, ya pomirila!

Druzhno vstavayte na smotr, mertvetsy!

Marshem torzhestvennym mimo proydite, Voysko moyo ya khochu soschitat’.

V zemlyu potom svoi kosti slozhite, Sladko ot zhizni v zemle otdykhat’! Gody nezrimo proydut za godami, V lyudyakh ischezn t i pamyat’ O vas. Ya ne zabudu! I gromko nad vami Pir budu pravit’ v polunochny chas!

Plyaskoy tyazholoyu zemlyu syruyu Ya pritopchu, shtoby sen grobovuyu Kosti pokinut’ vovek ne smogli, Shtob nikogda vam ne vstat’ iz zemli!”

4. The Field-Marshal The battle thunders, the armour flashes, The cannons of bronze do roar, The regiments charge, the horses rush by, And red rivers of blood do flow.

Noon burns fierce, the people fight on!

When the sun has sunk low, the battle rages fiercer! Sunset pales, yet the enemies fight on More furiously still and savagely!

And night doth fall on the field of battle.

In the gloom the legions disperse...

All is quiet, and in the darkness of night Groans rise up to the sky, Then, illumined by the light of the moon, On his battle horse astride, His white bones gleaming in the pale light, Comes the figure of Death. And in the quiet, He hears the groans and prayers, And filled with pride and satisfaction, Like a warrior chief, he circles around The place of battle.

Up to a hill he climbs, and looks about, Stops, and gives a smile...

And o’er the battle plain The voice of doom is heard: “The fight is ended! I have conquered all!

Before me you have yielded, warriors all!

Life set you at odds, but I joined you in peace!

Rise up together for the roll-call of Death!

March in a solemn file all of you before me, My troops I do wish to record.

Then later your bones in the earth you may lay, Sweetly to rest from life’s toils in the earth!

Year after year will pass by unheeded, And amongst men no memory of you shall remain. But I’ll not forget! And over your bones here I’ll have a loud feast at midnight’s hour!

In the dance’s heavy tread upon the damp earth I’ll stamp, so the shades of the grave Your bones will never, no never escape, And you’ll never rise out of the earth again!”

2023–2024 CONCERT SEASON FALL November 19, 2023 Elijah Felix Mendelssohn

UNITY 17 January 28, 2024 Sounds of Cinema Celebrating Tallahassee’s Bicentennial

SPRING April 28, 2024 Lord Nelson Mass Joseph Haydn

TICKETS: TCCHORUS.ORG OR 850-597-0603 All performances in Ruby Diamond Concert Hall, Florida State University Funded in part by

UNIVERSITY MUSICAL ASSOCIATES 2023-2024 Dean’s Circle Les and Ruth Ruggles Akers Richard Dusenbury and Kathi Jaschke CarolAline Flaumenhaft

Jim and Betty Ann Rodgers Tate and Jo Todd

Gold Circle Drs. Charles and Sharon Aronovitch Margaret and Russ Dancy Louie and Avon Doll Patrick and Kathy Dunnigan Kevin and Suzanne Fenton * Emory and Dorothy Johnson

Albert and Darlene Oosterhof Bob Parker Todd and Kelin Queen Karen and Francis C. Skilling * Paula and Bill Smith Bret Whissel Sustainer

Stan Barnes Marty Beech Greg and Karen Boebinger Beverley Booth * Karen Bradley Scott A. Brock Donna Callaway Brian Causseaux and W. David Young Pete and Bonnie Chamlis James Clendinen Jody and Nancy Coogle Jim and Sandy Dafoe Patrice Dawson Floyd Deterding and Kelley Lang Diane Dowling and Jack Dowling Segundo J. Fernandez Susan and Jack Fiorito Joy and James Frank William Fredrickson and Suzanne Rita Byrnes William J. Gladwin, Jr. Mario Gonzalez and Pierce Withers Myron and Judy Hayden * Marc J. and Kathryn S. Hebda

Katherine Henricks Dottie and John Hinkle Todd S. Hinkle Holly Hohmeister Karolyn and Ed Holmes Alexander and Dawn Jiménez Dr. Gregory and Dr. Margo Jones William and DeLaura Jones Martin Kavka and Tip Tomberlin Howard Kessler and Anne Van Meter Michael Killoren and Randy Nolan Dennis G. King, Esq. Robert and Karen Large Dr. Annelise Leysieffer Nancy and Jeff Lickson Linda and Bob Lovins Victoria Martinez Kay and Ken Mayo Robert and Patty McDonald Duane and Marge Meeter Dewitt Miller, III Walter and Marian Moore Ann W. Parramore Robert and Caryl Pierce

Sustainer cont’d * David and Joanne Rasmussen Stephen and Elizabeth Richardson * Ken and J.R. Saginario Jonathan Jackson and Greg Springer Nell and Marshall Stranburg

William and Ma’Su Sweeney Margaret Van Every and Joe Lama * Alison R. Voorhees John and Jeanie Wood Kathy D. Wright Patron

Joyce Andrews Mary S. Bert Malcolm Craig Rochelle M. Davis William H. Davis Eunice Filar Judith Flanigan John S. and Linda Fleming L. Kathryn Funchess Debbie Gibson Ruth Godfrey-Sigler Bryan and Nancy Goff Harvey and Judy Goldman Michael Hanawalt * William and Julie Hatfield Albert Henry Jerry and Bobbi Hill Madeleine Hirsiger-Carr Jane A. Hudson Richard and Linda Hyson Barbara James Emily Jamieson Sally and Dr. Link Jarrett Ms. Judith H. Jolly Mr. and Mrs. William A. Kaempfer Dr. Alan R. Kagan Arline Kern

* Jonathan Klepper and Jimmy Cole Frances Kratt John and Silky Labie Donna Legare Mari-Jo Lewis-Wilkinson Ann and Don Morrow Dr. William C. Murray Sandra Palmer Ann E. Parker Marjorie J. Portnoi Karalee Poschman David Reed Edward Reid Mark E. Renwick John and Carol Ryor Jill Sandler Paula S. Saunders Scott Scearce Jeanette Sickel Alice C. Spirakis George Sweat Marjorie Turnbull Ed Valla Paul van der Mark Sylvia B. Walford Geoffrey and Simone Watts Jeff Wright

Associate Jayme Agee Patricia C. Applegate Michael Buchler and Nancy Rogers Mary and David Coburn Adele Cunningham Pamala J. Doffek Clifford Dudley The Fennema Family Gene and Deborah Glotzbach Barbara Hamby and David Kirby Donna H. Heald Carla Connors and Timothy Hoekman Nicole and Kael Johnson Steve Kelly

Dean Kindley Pell and Angela Kornegay Joseph Kraus Susan S. Lampman Debora Lee Jane LeGette Kathleen and Lealand McCharen Moncrief Flom Family In Memory of Mrs. Dorothy S. Roberts Dr. Luis R. Rosas Sperandio Sanford A. Safron Mr. and Mrs. Charles Tuten Karen Wensing Teresa White

Lifetime Members Willa Almlof Florence Helen Ashby Mrs. Reubin Askew * Tom and Cathy Bishop Nancy Bivins Ramona D. Bowman André and Eleanor Connan Janis and Russell Courson * J.W. Richard and Tina Davis Ginny Densmore Nancy Smith Fichter and Robert W. Fichter Carole D. Fiore Patricia J. Flowers Jane E. Hughes Hilda Hunter Julio Jiménez Kirby W. and Margaret-Ray Kemper Patsy Kickliter

Anthony M. and Mallen E. Komlyn Fred Kreimer Beverly Locke-Ewald Cliff and Mary Madsen Ralph and Sue Mancuso Meredith and Elsa L. McKinney Ermine M. Owenby Mike and Judy Pate Jane Quinton David D. Redfield Laura and Sam Rogers, Jr. Dr. Louis St. Petery Sharon Stone Donna Cay Tharpe Brig. Gen. and Mrs. William B. Webb Rick and Joan West John L. and Linda M. Williams

Corporate Sponsors Beethoven & Company

MusicMasters Business Sponsors

WFSU Public Broadcast Center *University Musical Associates Executive Committee

The University Musical Associates is the community support organization for the FSU College of Music. The primary purposes of the group are to develop audiences for College of Music performances, to assist outstanding students in enriching their musical education and careers, and to support quality education and cultural activities for the Tallahassee community. If you would like information about joining the University Musical Associates, please contact Kim Shively, Director of Special Programs, at kshively@fsu.edu or 850-644-4744.

The Florida State University provides accommodations for persons with disabilities. Please notify the College of Music at 850-644-3424 at least five business days prior to a musical event if accommodation for disability or publication in alternative format is needed.