THE SUNG TEXTS

Offertorium

Domine Jesu

Domine Jesu Christe, Rex gloriae, libera animas omnium fidelium defunctorum de poenis inferni et de profundo lacu: libera eas de ore leonis, ne absorbeat eas tartarus, ne cadant in obscurum: sed signifer sanctus Michael repraesentet easin lucem sanctam: Quam olim Abrahae promisisti et semini ejus.

Hostias

Hostias et preces tibi, Domine, laudis off erimus. Tu suscipe pro animabus illis, quarum hodie memoriam facimus: fac eas, Domine, de morte transire ad vitam, quam olim Abrahae promisisti et semini ejus.

SANCTUS

Sanctus, Sanctus, Sanctus, Dominus Deus Sabaoth. Pleni sunt coeli et terra gloria tua. Osanna in excelsis.

BENEDICTUS

Benedictus qui venit in nomine Domini.

Osanna in excelsis.

AGNUS DEI

Agnus Dei, qui tollis peccata mundi: dona eis requiem.

Agnus Dei, qui tollis peccata mundi: dona eis requiem sempiternam.

COMMUNIO

Lux aeterna

Lux aeterna luceat eis, Domine: cum sanctis tuis in aeternum, quia pius es.

Requiem aeternam dona eis, Domine, et lux perpetua luceat eis cum sanctis tuis in aeternum, quia pius es.

Offertorium

Domine Jesu

Lord Jesus Christ, King of glory, liberate the souls of the faithful departed from the pains of hell and from the deep pit; deliver them from the lion’s mouth that hell may not swallow them, that they may not fall into darkness. But may the holy standard-bearer Michael lead them into the holy light: Which You promised to Abraham and his seed.

Hostias

Sacrifices and prayers of praise, Lord, we offer to You. Receive them on behalf of those souls whom we commemorate this day; make them, Lord, pass from death to the life, which You once promised to Abraham and his seed.

SANCTUS

Holy, Holy, Holy, Lord God of Sabaoth. Heaven and earth are full of Your glory. Hosanna in the highest.

BENEDICTUS

Blessed is he who comes in the name of the Lord. Hosanna in the highest.

AGNUS DEI

Lamb of God, you who take away the sins of the world, grant them rest.

Lamb of God, you who take away the sins of the world, grant them eternal rest.

COMMUNIO

Lux aeterna

May eternal light shine upon them, Lord with Your saints in eternity, for You are merciful. Give them eternal rest, Lord, and let perpetual light shine upon them with your saints forever, for you are merciful.

Franz Welser-Möst, Music Director

kelvin smith family chair

In addition to his commitment to Cleveland, Mr. Welser-Möst enjoys a particularly close and productive relationship with the Vienna Philharmonic as a guest conductor. He has conducted its celebrated New Year’s Concert three times, and regularly leads the orchestra at home in Vienna, as well as on tours.

FRANZ WELSER-MÖST is among today’s most distinguished conductors. The 2022–23 season marks his 21st year as Music Director of The Cleveland Orchestra. With the future of their acclaimed partnership extended to 2027, he will be the longest-serving musical leader in the ensemble’s history. The New York Times has declared Cleveland under Mr. Welser-Möst’s direction to be “America’s most brilliant orchestra,” praising its virtuosity, elegance of sound, variety of color, and chamber-like musical cohesion.

With Mr. Welser-Möst, The Cleveland Orchestra has been praised for its inventive programming, ongoing support of new music, and innovative work in presenting operas. To date, the Orchestra and Mr. Welser-Möst have been showcased around the world in 20 international tours together. In 2020, the ensemble launched its own recording label and new streaming broadcast platform to share its artistry globally.

Mr. Welser-Möst is also a regular guest at the Salzburg Festival where he has led a series of acclaimed opera productions, including Rusalka, Der Rosenkavalier, Fidelio, Die Liebe der Danae, Aribert Reimann’s opera Lear, and Richard Strauss’s Salome. In 2020, he conducted Strauss’s Elektra on the 100th anniversary of its premiere. He has since returned to Salzburg to conduct additional performances of Elektra in 2021 and Giacomo Puccini’s Il Trittico in 2022.

In 2019, Mr. Welser-Möst was awarded the Gold Medal in the Arts by the Kennedy Center International Committee on the Arts. Other honors include The Cleveland Orchestra’s Distinguished Service Award, two Cleveland Arts Prize citations, the Vienna Philharmonic’s “Ring of Honor,” recognition from the Western Law Center for Disability Rights, honorary membership in the Vienna Singverein, appointment as an Academician of the European Academy of Yuste, and the Kilenyi Medal from the Bruckner Society of America.

Siobhan Stagg

soprano

Australian soprano Siobhan Stagg was a member of the Deutsche Oper Berlin from 2013–19 where her roles ranged from Pamina in The Magic Flute to Waldvogel and Woglinde in Wagner’s Ring Cycle.

She has sung the title role in Cendrillon at the Lyric Opera of Chicago; Pamina at the Royal Opera House, Covent Garden; Sophie in Der Rosenkavalier at Opernhaus Zürich; Mélisande at Opéra de Dijon, Gilda at Hamburgische Staatsoper; Najade in Ariadne auf Naxos at Bayerische Staatsoper; and she has participated in staged performances of Mozart’s Requiem at Festival d’Aix-enProvence and Morgana in Alcina at Grand Théâtre de Genève.

Ms. Stagg began the 2022/23 season with Ravel’s Shéhérazade with the Symphonieorchester des Bayerischen

Rundfunks; Mahler’s Symphony No. 2 with London Symphony Orchestra and Sir Simon Rattle; Schmidt’s Buch mit sieben Siegeln with Wiener Symphoniker, and Berg’s Sieben frühe Lieder with Rundfunk-Sinfonieorchester Berlin and Vasily Petrenko. She made her debut solo recital at Berlin’s Pierre Boulez Saal before returning to Opernhaus Zürich as Eritrea in a new production of Eliogabalo. Further engagements this season return her to Deutsche Staatsoper and Deutsche Oper in Berlin, as well as the Royal Opera House.

Other notable appearances this season include Das Paradies und die Peri with Gürzenich Orchester Köln and François-Xavier Roth and Netherlands Radio Philharmonic with Karina Canellakis; Brahms’s German Requiem with Warsaw Philharmonic Orchestra and a performance of Brett Dean’s In This Brief Moment with NDR Elbphilharmonie Orchester and Alan Gilbert. She also returned to her native Australia, where she appeared with the Sydney Symphony, the Melbourne Symphony, and in recital at Melbourne Recital Centre.

Avery Amereau contralto

A native of Jupiter, Florida, Avery Amereau made her professional debut at the Metropolitan Opera in 2016 as the Madrigal Singer in Puccini’s Manon Lescaut, for which she was praised by The New York Times as “captivating…. [Amereau] stood out for the unusually rich, saturated auburn timbre of her voice.”

Recent operatic engagements include Olga (Eugene Onegin) at Santa Fe Opera; Bradamante (Alcina) at Hannover Staatsoper; Eduige (Rodelinda) at Opéra de Lille and Opéra de Lyon; Serena Joy (The Handmaid’s Tale) at English National Opera; Dryade (Ariadne auf Naxos) at Glyndebourne; Cherubino (Le nozze di Figaro) at Grand Théâtre de Genève; Ursula (Beatrice et Benedict) at Seattle Opera; and Page (Salome) at the Salzburg Festival.

Barcelona Symphony, Handel & Haydn Society in Boston, and St. Paul Chamber Orchestra, and makes her debut with The Cleveland Orchestra.

Recent concerts include the world premiere of The Listeners by Caroline Shaw with Richard Egarr conducting Philharmonia Baroque Orchestra, Messiah with Bernard Labadie and the National Arts Centre Orchestra, and her debut with the Early Opera Company in Dido and Aeneas at Het Concertgebouw, Amsterdam, among many others.

Ms. Amereau studied at Mannes College of Music and The Juilliard School, where she was the recipient of a Kovner Fellowship and the Shoshana Foundation 2017 Richard F. Gold Career Grant. In 2020, she released her debut solo album of Handel arias with Philharmonia Baroque Orchestra and Nicholas McGegan.

Ben Bliss tenor

In the 2022/23 season, Ms. Amereau makes house and role debuts as Dorabella (Così fan tutte) at the Bayerische Staatsoper and Amastris (Serse) at the Komische Oper in Berlin. On the concert stage, she makes her role debut as Marguerite (Damnation de Faust) with the Boston Youth Symphony Orchestra. She performs with Les Violons du Roy,

Hailed as a “gifted young tenor” by The New York Times, Ben Bliss is quickly establishing himself as one of the most exciting performers on today’s operatic stage, both in his native United States and internationally.

Mr. Bliss was a 2021 recipient of the Metropolitan Opera’s prestigious Beverly Sills Award. Other accolades include a 2016 Martin E. Segal award from Lincoln Center for the Performing Arts, the Mozart and Plácido Domingo awards at the 2015 Francisco Viñas International Competition, first prize at the 2014 Gerda Lissner and Licia Albanese-Puccini Foundation competitions, and the 2013 Operalia Don Plácido Domingo, Sr. Zarzuela prize. He is also the co-founder of classical arts production company Mise-en-Scène Studios.

Recent highlights include a house debut at the San Francisco Opera as Ferrando (Così fan tutte), Pylade (Iphigénie en Tauride) at Opéra de Rouen, and a return to the Met as Tom Rakewell (The Rake’s Progress). This season’s highlights include Tamino (The Magic Flute) and Don Ottavio (Don Giovanni) at the Met; Chevalier de la Force (Dialogues des Carmélites) at San Francisco Opera; and Don Ottavio at Opéra de Paris.

Other operatic highlights include Tamino at the Los Angeles and Philadelphia Operas; Ferrando at Seattle and

Canadian Operas, as well as Oper Frankfurt; Tom Rakewell at Boston Lyric Opera; and Flamand (Capriccio) and Robert (Dr. Atomic) in Santa Fe.

Mr. Bliss has performed in concert with the Los Angeles and New York Philharmonics, the Cincinnati May Festival, and the Liceu Barcelona. He appeared alongside Isabel Leonard in a duet from Thomas Adès The Tempest at the Metropolitan Opera’s 50th anniversary gala concert in 2017.

Anthony Robin Schneider bass

Bass Anthony Robin Schneider returns to Oper Frankfurt in the 2022/23 season in the title role of the new Barrie Kosky production of Hercules, a new production

The Magic Flute (Second Armored Man), the revival of Der ferne Klang (Der Wirt), and Tirol Festspiel Erl for a new production of Siegfried (Fafner). On the concert stage, he returns to The Cleveland Orchestra for the Mozart Requiem, conducted by Franz Welser-Möst. Future engagements include his debut with the Dutch National Opera.

Last season he returned to Oper Frankfurt, where he was seen in Iolanta (Ibn-Hakia), Salome (Erster Soldat), Christmas Eve (Panas), Fedora (Cirillo), and Lohengrin (Heinrich der Vogler). Other engagements last season included a return to Houston Grand Opera for The Magic Flute (Sarastro) and Tirol Festspiel Erl for Die Walküre (Hunding). Other performances at Oper Frankfurt include Le nozze di Figaro (Dr. Bartolo), Le vin herbé (Le Duc Hoël), Siegfried (Fafner), Don Carlo (Grand Inquisitor), Rigoletto (Sparafucile), Don Giovanni (Commendatore), and Lady Macbeth of Mtsensk (Administrator/Sergeant). In the summer of 2021, he made his debut at Tirol Festspiel Erl in Lohengrin (Heinrich). Additional engagements included a return to the New Zealand Symphony Orchestra for Beethoven’s Symphony No. 9, conducted by Edo de Waart. Mr. Schneider made his Wiener Staatsoper debut in David McVicar’s production of Les Troyens (Ghost of Hector), conducted by Alain Altinoglu. A trilingual speaker (German, French, and English), Anthony Schneider is a citizen of Austria and New Zealand.