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Globally Accessed Minnesota Based August 3–7, 2020
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THANK YOU FOR YOUR GENEROUS SUPPORT!
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We are grateful to the following members of the SongCircle. Your support empowers and inspires a new generation of musicians, supports continued artistic excellence, and sustains Source Song Festival. For information on giving, please visit www.sourcesongfestival.org/support (Recognizing gifts from July 1, 2019 - June 30, 2020)
Franz Schubert Circle ($1,000+) Francis Poulenc Circle ($500 - $999)
Alexis Bailly Vineyards Martha & Jeff Brown Rosemary & David Good Dorothy J. Horns & James P. Richardson Jon & Lisa Lewis Rodney & Debra Presser Scott Rehovsky Ron Rydell William & Marcelyn Smale Arturo Steely
Barbara Brown GiveMN Dawn Johnson Patricia King Libby Larsen Rebecca Lindholm John Michel Michael & Barbara Wigley Jay & Lori Zwart
Samuel Barber Circle ($100-499) Anonymous (1) Carol Barnett James Barnett Michelle Blaeser Craig Carnahan Dr. Alison Damato Rita Dibble Tracy Engelman
Amy Gort Warren Jones Kathryn Keefer Kelly Krebs Barry & Cheryl Kempton Yunyue Liu Sheila Otte
Sandra Penning Martha Helen Schmidt Donald Speer David Evan Thomas Janika Vandervelde Marg Walker Allie Wigley Tamara Wilson
Supporters Anonymous (7) Tom Arneson Cheryl Brown Michael Dwyer Marjorie Eisinger Adele Evidon Shari Feldman Martha Guth William Haugen
James Johnson Catherine Kirkpatrick Allison La Pointe Bebe Magee Harriet McCleary Justin Miedema Haley Olson Jonathan Posthuma Casey Rafn
Jake Runestad Miriam Sahouani Cheryl & Joel Schurke Bridget Skaggs Paul & Pat Solstad Laura Strickling Teresa Tierney Amy Wolf Adriana Zabala & Family
SOURCE: noun [s urs] : someone or something that provides what is wanted or needed : the cause of something : a person, book, etc., that gives information : A GENERATIVE FORCE Hello and welcome to Source Song Festival - our 7th season! We know the number seven is associated with luck and good fortune, and while it seems that luck is in short supply in 2020, we produced this season knowing that good fortune abounds in Minnesota. That good fortune is created and sustained within the community of Source Song Festival. Fortunately for Source, we’re completely virtual this year - you’re not holding our season program book in your hands, next to other art song superfans within the beautiful Westminster Hall. You’re likely sitting in your home with several computer tabs open, anticipating another musical experience meant to engage you digitally. Our mission at Source, however, is to keep you viscerally engaged, moving through the screens, past the YouTube likes, and beyond the social media shares. We invite you into the whole atmosphere of words and music - your soul requires art song and art song requires your soul. Our seventh festival looks different, but Source remains dedicated to our tradition of excellence. We begin on Monday with OpenSource: Six Decades of Minnesota Song, and bring you a review of 60 years of the song tradition in Minnesota from our recorded concert of 2019. You’ll hear songs of Minnesota’s composers, possibly for the first time, performed by local pianists and singers, but you’ll also see new visual elements to accompany the songs, maybe creating the first (possibly of many) art song film in Minnesota. As fortune has it, we’re able to share this film across the world, committing entirely in new ways to Minnesota’s legacy as an international leader in the creation of song. On Wednesday, we invite Warren Jones to perform, looking ahead to the season where we can again gather as a community to welcome our guests in the way Source Song Festival does so well. You’ll hear Warren and Anthony Dean Griffey collaborate before they return to Minneapolis for Season Eight - we’ll be fortunate to be able to welcome them, as a reunion of friends. And on Friday, we’re celebrating our students. Our website has multiple new features, most importantly our Alumni and re:Source pages, two platforms for our students to share their artistry, accolades, and creations with our community. It’s a way for Source to say how lucky we are to have been a part of their creative and artistic process, be it in 2014 or soon, in 2024. We are lucky. Our 7th season is here, and our 7th season is accessible, and our 7th season is entirely what Source does best. Thank you for being a part of our growth and success, and thank you for sharing the good fortune of our community with others. We look forward to sharing live music (and luck) with you again soon. Clara Osowski and Mark Bilyeu
Schedule of Online Events Monday, August 3
7:30p OpenSource: Six Decades of Minnesota Song featuring Tracey Engleman & Norah Long, soprano Clara Osowski, mezzo-soprano Jacob Christopher, tenor Alan Dunbar, bass-baritone Mark Bilyeu & Timothy Lovelace, piano with composers Juliana Hall, Libby Larsen & David Evan Thomas
Wednesday, August 5
7:30p An Evening with Source Guest Artists featuring Anthony Dean Griffey, tenor Tamara Wilson, soprano Warren Jones, piano
Friday, August 7
2:00p Project Announcement: re:Source with Mark Bilyeu & Clara Osowski Founding Artistic Directors
All events are streamed online, and FREE on our website, YouTube, and on our Facebook page .
please visit www.sourcesongfestival.org
Source Song festival Staff Clara Osowski, Founding Artistic Director
Mezzo-soprano Clara Osowski, who sings “from inside the music with unaffected purity and sincerity” (UK Telegraph), is an active soloist and chamber musician throughout the United States and Europe. Recognized for her excellence in Minnesota, Clara was a recipient of the prestigious 2018-2019 McKnight Artist Fellowships for Musicians administered by MacPhail Center for Music. In international competition with pianist Tyler Wottrich, in March of 2017, Clara became the first ever American prize winner when she placed second at Thomas Quasthoff’s International Das Lied Competition in Heidelberg, Germany. In September, the duo was also one of four to reach the finals in the prestigious Wigmore Hall/Kohn Foundation Song Competition in London, and Clara was awarded the Richard Tauber Prize for the best interpretation of Schubert Lieder. She recently won the Radio-Canada People’s Choice Award and third place in the song division at the 2018 Concours Musical International de Montréal. 2018-2019 season highlights include debuts with the Mid-Columbia Symphony, St. Paul Civic Orchestra, Tulsa Signature Symphony, Back Bay Chorale, and the Mobile Symphony Orchestra. Clara also teaches on the faculty at Aspen Music Festival’s Professional Choral Institute in partnership with Seraphic Fire. Please see www.claraosowski. com for more
Mark Bilyeu, Founding Artistic Director
Described as “superb partner,” (schubert.org), pianist Mark Bilyeu passionately engages in music as a committed performer, inspiring teacher and enterprising curator. He maintains an active performing schedule as a sought-after partner, and has served as faculty at Viterbo University and was the Visiting Artist in Vocal Coaching and Collaborative Piano at the University of Northern Iowa He has been heard via live radio broadcast on Minnesota Public Radio with soprano Lori Phillips, and on WFMT via the Dame Myra Hess Memorial Concert Series with Clara Osowski. Recognized for his investment in Minnesota, the Star Tribune wrote “…Bilyeu… [is] to the Minnesota classical music scene what craft brewers are to the beer industry — purveyor of a distinctive local product, at a period when corporate brands and entities seem increasingly distant and distrusted.” Mark is the Artistic Director of the South Metro Chorale, Assistant Conductor of Calliope Women's Chorus, Director of Music at Calvin Presbyterian Church, and curates The Listening Circle at the Schubert Club of Saint Paul. He holds degrees from the Chicago College of Performing Arts and the University of Minnesota, studying with Timothy Lovelace and Chicago Symphony Orchestra pianist Mary Sauer. He has studied at the Aspen Summer Music Festival, Britten-Pears, Vancouver International Song Institute and l’Academie Françis Poulenc. Additional studies with Malcolm Martineau, Roger Vignoles and Susan Manoff. He is heard on the Navonna and Bridge labels, and a Winterreise recording with English tenor Jon Valender on Leaf Records due this fall. Please see www.markbilyeu.com for more.
Emily Riley, Festival Administrator
Considered a "vocal standout" by The Washington Post, soprano Emily Riley finds herself at home on the concert and operatic stage. She was a 2018 Fellow in the Fall Island Vocal Arts Seminar as well as a past participant at the Baldwin Wallace Art Song Festival and Songfest. She was an Encouragement Award recipient from the Metropolitan Opera Council DC District Auditions in 2014 and holds a Bachelor of Music from Towson University and Master of Solo Voice from the University of Maryland. She is currently based out of Washington, D.C. and studies with Jennifer Casey Cabot. Emily joined Source Song Festival in 2015. Mark and Clara have no idea how they managed that first year without her.
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SOURCE SONG FESTIVAL BOARD OF DIRECTORS Jon Lewis, President Dawn Johnson, Treasurer Alexandra Wigley, Secretary Amy Gort, At-Large William Haugen, At-Large Kelly Krebs, At-Large Justin Miedema, At-Large Scott Rehovsky, At-Large
A VERY HUGE THANK YOU TO:
for their collaboration, vision, skills, patience, expertise, and enthusiasm which made our 2020 festival such a success. special thanks to
who donated the piano featured on our 2019 OpenSource Concert! 408 Snelling Ave South | St Paul, MN | 55105 https://www.wellspianos.com/
Source Song Festival presents
OpenSource: Six Decades of Minnesota Song Celebrating the six years of Source Song Festival August 3, 2020 @ 7:30p Globally Accessed | Minnesota Based
PROGRAM 1960's
Minnesota, Tapestry of Living Lace ('64)
Hanna Rolfsrud Weltzin
from Belloc’s Beasts ('60) The Polar Bear The Whale The Frog Baby ('78)
Paul Fetler
1970's
Prince / arr. Liam Moore
1980's Song from Night Dances ('87)
Juliana Hall
1990's Perineo ('93) The Loons ('92)
Libby Larsen Carolyn Jennings
2000's A Blessing ('00)
David Evan Thomas
2010's Winter and Construction ('18)
Liam Moore with
Tracey Engleman & Norah Long, sopranos Clara Osowski mezzo-soprano | Jacob Christopher, tenor Alan Dunbar, bass-baritone Mark Bilyeu & Timothy Lovelace, pianists
Program Texts Minnesota, Tapestry of Living Lace Hannah Rolfsrud Weltzin
Minnesota! How your beauty keeps calling! What a tapestry of living lace! How your symphony of songbirds in those three tops charm ten-thousand lakes with the sweet celestial Grace! There is a real distinctive air of welcome in this land so fair and strong, but the wealth exceeding all your treasure is a people burst in grateful song. Lovely is the bosom where the Moccasin is spread while your hungry Mississippi rests her tiny infant head. How the scent of clover blossoms on your rolling sunny farms gives an air of sweet enchantment to your quiet country charms! When your wintr’y ermine vesture gleams with “diamonds” in the light seems too beautiful to fathom thru just human mortal sight! But, when your steepled pine points skyward in the loving Master’s Hand Then it’s sure you’ve been a foretaste of that fairer promised land!
from Belloc's Beasts Hillaire Belloc
The Polar Bear The Polar Bear is unaware Of cold that cuts me through: For why? He has a coat of hair. I wish I had one too! The Whale The Whale that wanders round the Pole Is not a table fish. You cannot bake or boil him whole, Nor serve him in a dish; But you may cut his blubber up And melt it down for oil, And so replace the colza bean (A product of the soil). These facts should all be noted down And ruminated on, By every boy in Oxford town Who wants to be a Don. The Frog Be kind and tender to the Frog, And do not call him names, As ‘Slimy skin,’ or ‘Polly-wog,’ Or likewise ‘Ugly James,’ Or ‘Gape-a-grin,’ or ‘Toad-gone-wrong,’ Or ‘Billy Bandy-knees’: The Frog is justly sensitive To epithets like these. No animal will more repay A treatment kind and fair; At least so lonely people say Who keep a frog (and, by the way, They are extremely rare).
Baby
Prince Baby, what are we gonna do? I'm so in love with you Baby, what are we gonna do? I know you're in love with me too Should we go on livin' together Or should we get married right away? Whatever you decide, I'll still love you, baby An' we'll grow stronger everyday Baby, what are we gonna do? I barely have enough money for two Baby, what are we gonna do? I don't want to regret what I've done to you I never would've thought that this would happen To a very careful man like me But baby, pretty baby, we're gonna work it out, yeah I love you, I love you, can't you see? Baby, baby, baby It's you, said it's you, I truly adore Baby, baby, we're gonna work it out I hope our baby has eyes just like yours
(The text for the next song, "Song" by Juliana Hall, is found on p. 11)
Program Texts Perineo Roberto Echavarren
Translation from Spanish by the Author
No sé si soy hombre o mujer respiro desde la ingle, desde el perineo y me relaj I hold out my now empty I breathe in my trust from the perineum up into the center of my chest I am an instrument of god, I am god, as it comes up from the perineum in and out I open up from behind I inhale from behind and from underneath desde la base del estómago desde una lonja de tambor me abro I don’t know whether I am a man or a woman I trust and sing and lo and behold from behind a raw air pumps up as a reward to those who breathe it plays music it passes through my nostrils, mouth shut I am a tiger respiro los tentáculos de dios la punta perdida de sus dedos por el perineo donde las costuras todavia son recientes y los dedos juzgan que eres joven
I don’t know whether I am a man or a woman I breathe from the groin, from the perineum and I relax
from the base of my stomach from a drum membrane I open up
I breathe every loose end of god every finger end from the perineum where the seams so recent and the fingers can tell than you are young
from down below up to the solar plexus the tip of an indefinite sapphire pyramid from under which a vortex comes up [a] salty empire of a water banter a panther or aquatic tigress a she male breathing sapphire I breathe my health respiro me no terminal enfermedad from the base of my stomach no sé si soy hombre o mujer I relax the tissue underneath as it comes up a maelstrom of programming features for this continent which I am y explota una cadena dentro de mi aliento y las abejas pican los labios abiertos de la espuma
I breathe non-terminal unhealth I don't know whether I am a man or a woman
and a micro chain explodes inside my breath and bees sting the open lips
Program Texts Song
"Lullaby" Emily BrontĂŤ This shall be thy lullaby, Rocking on the stormy sea; Though it roar in thunder wild, Sleep, stilly sleep, my dark-haired child.
When our shuddering boat was crossing Eldern's lake, so rudely tossing, Then 'twas first my nursling smiled; Sleep, softly sleep, my fair-browed child. Waves above thy cradle break; Foamy tears are on the cheek; Yet the ocean's self grows mild When it bears my slumbering child.
A Blessing James Wright Just off the highway to Rochester, Minnesota, Twilight bounds softly forth on the grass. And the eyes of those two Indian ponies Darken with kindness. They have come gladly out of the willows To welcome my friend and me. We step over the barbed wire into the pasture Where they have been grazing all day, alone. They ripple tensely, they can hardly contain their happiness That we have come. They bow shyly as wet swans. They love each other. There is no loneliness like theirs. At home once more, They begin munching the young tufts of spring in the darkness. I would like to hold the slenderer one in my arms, For she has walked over to me And nuzzled my left hand. She is black and white, Her mane falls wild on her forehead, And the light breeze moves me to caress her long ear That is delicate as the skin over a girl’s wrist. Suddenly I realize That if I stepped out of my body I would break Into blossom.
Winter and Construction "Coming home from school in my brother's Geo Metro" Marie Loom
Is it winter yet? Has it gotten lost? We watch our breath, braced for frost. Air hits our lungs a burning cold; the car warms up right as we get home. The sun spun our afternoons dark.
The Loons
Michael Estok
The loons are at it again Declaring their love for a vast insanity
their soulful call reaching the rocky shore stirs us to our own moon-madness-that pattern we seek foolish enough to include the quivery reflection of stars sunk in a lake as black as a hole in heaven. like them, we find nothing but our own wild, whooping hearts for a moment stilled In the center of an expanding ring of water a vast mournful O that moves to fit any darkness any crazy horison
OpenSource artists Jacob Christopher, tenor
Jacob Christopher has delighted audiences with his unique combination of vocal and dramatic skills in performance styles ranging from art song to country western to opera. He began his professional career in Chicago where he sang with Music of the Baroque and as a chorister with the Lyric Opera of Chicago and made his Carnegie Hall debut in 2016 Jacob is beginning his fourth season as a tenor and Artistic Director of Cantus, an eight-member vocal chamber ensemble based in Minneapolis. Mr. Christopher has been a frequent performer with Source Song Festival since 2016.
Alan Dunbar, bass-baritone
Alan Dunbar is a versatile performer, lauded for his beautiful tone and his nuanced musical and textual interpretation. He was heard recently as the baritone soloist in the world premiere of Justin Merritt’s oratorio The Path. Past performances include the title role of Britten’s Noye’s Fludde at Santa Fe Opera, Handel’s Messiah with the Santa Fe Symphony and Indianapolis Chamber Orchestra, and recitals at the Ravinia Festival Steans Institute. Alan made his European solo recital debut at the Oslo Grieg Festival and was a Vocal Fellow at the Tanglewood Music Festival. Mr. Dunbar has been a frequent performer with Source Song Festival since 2014.
Tracey Engleman, soprano
With a voice the Boston Globe called “extraordinary in range, tonal quality, musicianship and dramatic effect,” soprano Tracey Engleman has gained a reputation for excellence in opera, recital, and concert. A recipient of the prestigious McKnight Artist Fellowship for Musicians, Her CD Lift me into Heaven Slowly featuring song cycles by Libby Larsen was released by Innova Records in 2017. An alumni of the Tanglewood Music Center and the Art Song Festival of Cleveland, she is Assistant Professor of Music at her alma mater, St. Olaf College. Ms. Engleman has been a frequent performer with Source Song Festival since 2014.
Norah Long, soprano
Norah Long has built an award-winning and strongly integrated singing-acting career performing over 100 principal roles and originating over a dozen with companies including the Guthrie, Arvada Center, Riverside Theater, Penumbra, Ordway, Skylark Opera, Theatre de la Jeune Lune, Nautilus Music-Theater, Minnesota Orchestra, and St. Paul Chamber Orchestra. She is a founding member of Upstream Arts, an organization which uses arts-based curriculum to foster social and communication skills in the disability community, and serves as voice and theater faculty at North Central University. 2019 marked Ms. Long's debut with Source Song Festival.
Timothy Lovelace, pianist
Pianist Timothy Lovelace heads the Collaborative Piano program at the University of Minnesota and is an active recitalist, having been featured at Rio de Janeiro’s Sala Cecilia Meireles, Carnegie’s Weill Recital Hall, Washington’s Kennedy Center, New York’s Merkin Concert Hall, Chicago’s Dame Myra Hess Memorial Concerts, and on chamber music series sponsored by the symphony orchestras of Chicago, Detroit, Minnesota, and the St. Paul Chamber Orchestra. As a soloist, he has performed with the Minnesota Orchestra conducted by Osmo Vänskä. He has recorded for the Albany, Arabesque, Blue Griffin, Boston Records, MSR, and Naxos labels. Mr. Lovelace last appeared with Source Song Festival in 2014.
for biographies of Mark Bilyeu & Clara Osowski, please see p. 5 for complete biographies of all performers and composers, please visit
www.sourcesongfestival.org/2020/monday
Save the Date August 1-7, 2021
In Translation Season 8
Source Song Festival presents
An Evening with Source Guest Artists Anthony Dean Griffey tenor Tamara Wilson soprano Warren Jones pianist special appearance by:
The Ying Quartet August 5, 2020 @ 7:30p Globally Accessed | Minnesota Based
PROGRAM Berceuse
Charles Ives Anthony Dean Griffey, tenor Warren Jones, piano
A Greeting from, & Introduction by Warren Jones
from On Wenlock Edge From Far, from Eve and Morning Is My Team Ploughing Bredon Hill Anthony Dean Griffey, tenor Warren Jones, piano
Ralph Vaughn Williams
with
The Ying Quartet
The Hills of Home
Oscar Fox Tamara Wilson, soprano Warren Jones, piano
Program Texts Berceuse Charles Ives O’er the mountain toward the west, as the children go to rest, Faintly comes a sound, a song of nature hovers round, ‘Tis the beauty of the night; Sleep thee well till morning light.
On Wenlock Edge
A.E. Housman from A Shropshire Lad From far, from eve and morning From far, from eve and morning And yon twelve-winded sky, The stuff of life to knit me Blew hither: here am I. Now – for a breath I tarry Nor yet disperse apart – Take my hand quick and tell me, What you have in your heart. Speak now, and I will answer; How shall I help you, say; Ere to the wind’s twelve quarters I take my endless way. Is my team ploughing ‘Is my team ploughing, That I was used to drive And hear the harness jingle When I was man alive?’ Ay, the horses trample, The harness jingles now; No change though you lie under The land you used to plough. ‘Is my girl happy, That I thought hard to leave, And has she tired of weeping As she lies down at eve?’ Ay, she lies down lightly, She lies down not to weep: Your girl is well contented. Be still my lad, and sleep. ‘Is my friend hearty, Now I am thin and pine, And has he found to sleep in A better bed than mine?’ Yes, lad, I lie easy, I lie as lads would choose; I cheer a dead man’s sweetheart, Never ask me whose.
Bredon Hill In summertime on Bredon The bells they sound so clear; Round both the shire they ring them In steeples far and near, A happy noise to hear. Here of a Sunday morning My love and I would lie, And see the coloured counties, And hear the larks so high About us in the sky. The bells would ring to call her In valleys miles away: ‘Come all to church, good people; Good people, come and pray.’ But here my love would stay. And I would turn and answer Among the springing thyme, ‘Oh, peal upon our wedding, And we will hear the chime, And come to church in time.’ But when the snows at Christmas On Bredon top were strown, My love rose up so early And stole out unbeknown And went to church alone. They tolled the one bell only, Groom there was none to see, The mourners followed after, And so to church went she, And would not wait for me. The bells they sound on Bredon, And still the steeples hum. ‘Come all to church, good people.’ – Oh, noisy bells, be dumb; I hear you, I will come.
Anthony Dean Griffey, tenor American tenor Anthony Dean Griffey has captured critical and popular acclaim on opera, concert and recital stages around the world. The combination of his beautiful and powerful lyric tenor voice, gift of dramatic interpretation and superb musicianship have earned him the highest praise from critics and audiences alike. During the 2019/2020 he debuts with the the NDR Orchestra at the Elbphilharmonie in Janacek’s Glagolitic Mass led by Alan Gilbert, performs Das Lied von der Erde at the 92nd Street Y with the Orpheus Chamber Orchestra, sings Beethoven Symphony No. 9 for a return to the Seattle Symphony with new music director Thomas Dausgaard, and performs the Britten War Requiem for the American Choral Directors Association. He also appears in recital at his alma mater Wingate University with pianist Warren Jones. Last season Mr. Griffey returned to the Metropolitan Opera for the Met premiere of Nico Muhly’s Marnie, performed The Dream of Gerontius with the Indianapolis Symphony and Michael Francis, and was heard with pianist Warren Jones at the University of Notre Dame, at New York City’s Morgan Library for the George London Foundation for Singers, and the Toronto Summer Music Festival. Anthony Dean Griffey has appeared in the world’s most prestigious opera houses including the Metropolitan Opera, San Francisco Opera, Lyric Opera of Chicago, Los Angeles Opera, Santa Fe Opera, Houston Grand Opera, Paris Opera, Teatro Comunale di Firenze, Teatro dell’Opera in Rome, and the Saito Kinen Festival in Japan. Mr. Griffey is particularly noted for his portrayal of the title role in Peter Grimes, which has won him international acclaim. He debuted the role at the Tanglewood Festival under the baton of Seiji Ozawa, and has since performed it all over the world, most recently in concert performances with the St. Louis Symphony in St. Louis and at Carnegie Hall as part of its Britten Centenary celebrations. He also appeared in a new production at the Metropolitan Opera that was broadcast live in the company’s Met: Live in HD series and subsequently released on DVD (EMI Classics) and in a production with Mark Wigglesworth at the Glyndebourne Festival, which was also released as a commercial recording. A supporter of new works, Mr. Griffey has won critical acclaim for creating the role of Mitch in the world premiere of André Previn’s A Streetcar Named Desire at the San Francisco Opera and for his performances of Lennie in Carlisle Floyd’s Of Mice and Men, for which he won a Helpmann award for Best Male Performer in an Opera when he performed the role at the Australia Opera. He also recently premiered Christopher Theofanidis’ The Gift with the Pittsburgh Symphony. A celebrated concert performer, Mr. Griffey appears regularly with many distinguished international orchestras including the New York Philharmonic, Chicago Symphony Orchestra, Boston Symphony Orchestra, Pittsburgh Symphony Orchestra, Philadelphia Orchestra, Los Angeles Philharmonic, Minnesota Orchestra and dozens more. Mr. Griffey made his Carnegie Hall Zankel Hall recital debut in 2004 where André Previn composed and dedicated a song cycle for him and accompanied him on the piano. Mr. Griffey has also been presented with his long-time pianist and collaborator Warren Jones by many prestigious recital series throughout the U.S. including San Francisco Performances, Philadelphia Chamber Music Society, the Schubert Club in Saint Paul, Vocal Arts Society in Washington, D.C., the George London Foundation, the Cleveland Art Song, Ravinia and Marlboro festivals and the Music Academy of the West. In the spring of 2006 he had the distinction of being invited to perform a recital at the Supreme Court of the United States by Justice Ruth Bader Ginsburg. A four time Grammy-winning recording artist, Mr. Griffey’s extensive DVD and compact disc recordings include the Metropolitan Opera’s Peter Grimes (EMI Classics) the Los Angeles Opera’s The Rise and Fall of the City of Mahagonny (Euroarts), the Metropolitan Opera’s Tristan und Isolde (DG/Universal); the San Francisco Opera’s A Streetcar Named Desire (video on Image Entertainment and audio on DG), and Taylor’s Peter Ibbetson with the Seattle Symphony (Naxos). Since the start of his career Mr. Griffey has taken an active role in many charitable efforts, advocating for arts programs in the Guilford County Public Schools, raising money for the Mental Health Association as well as giving benefit concerts for the “Open Door Shelter” for which Griffey has raised hundreds of thousands of dollars for the homeless in his hometown. He is also actively involved with the High Point Area Arts Council. Mr. Griffey holds degrees from Wingate University, the Eastman School of Music, the Juilliard School and was a member of the Metropolitan Opera’s Lindemann Young Artists Program. He was awarded the Doctorate of Humane Letters from Wingate University in May 2012 and was also inducted into the North Carolina Music Hall of Fame in 2011. Since 2015 Griffey has held the position of Professor of Voice at the Eastman School of Music – University of Rochester.2019 marked Mr. Jones' debut with Source Song Festival. 2020 marks Mr. Griffey's virtual debut with Source Song Festival, an 2021 will see his live debut at Source.
Warren Jones, pianist Warren Jones enjoys a notably eclectic career that has taken him to virtually every corner of the musical world. He performs with some of today’s best-known artists: Stephanie Blythe, Anthony Dean Griffey, Bo Skovhus, Eric Owens, John Relyea, and Richard “Yongjae” O’Neill—and is the Robert and Mercedes Eichholz Principal Pianist for the exciting Santa Barbara-based chamber music group Camerata Pacifica. In the past he has partnered such great performers as Marilyn Horne, Håkan Hagegård, Kathleen Battle, Samuel Ramey, Christine Brewer, Barbara Bonney, Carol Vaness, Judith Blegen, Salvatore Licitra, Tatiana Troyanos, Thomas Hampson, James Morris, and Martti Talvela. He is a long-time member of the faculty of Manhattan School of Music as well as the Music Academy of the West, and received the “Achievement Award” for 2011 from the Music Teachers National Association of America, their highest honor. In 2010 he was selected as “Collaborative Pianist of the Year” by the publication Musical America. He has been an invited guest at the White House to perform for state dinners in honor of the leaders of Canada, Russia, and Italy; and three times the invited guest of the Justices of the United States Supreme Court for musical afternoons in the East Conference Room at the Court. A graduate of both New England Conservatory and San Francisco Conservatory of Music, Mr. Jones currently serves on the NEC Board of Visitors and has been honored with the Doctor of Music degree from SFCM. His discography contains thirty-one recordings on every major label in a wide range of repertory. His conducting repertory is similarly varied: he has led sold-out critically-acclaimed performances of Mascagni’s L’amico Fritz, Rossini’s Il barbiere di Siviglia, and Mozart’s Die Zauberfloete; and in 2014 he conducted the world premiere of a new operatic version of A Christmas Carol at the Houston Grand Opera. Mr. Jones returned to the Merola Opera Program at San Francisco Opera for performances of Donizetti’s comedy Don Pasquale in the summer of 2015. In February 2016 he led an innovative new production of Menotti’s The Telephone and Bernstein’s Trouble in Tahiti for Tri-Cities Opera. 2019 marked Mr. Jones' debut with Source Song Festival.
Tamara Wilson, soprano Soprano Tamara Wilson is quickly gaining international recognition for her interpretations of Verdi, Mozart, Strauss and Wagner and is the 2016 recipient of the prestigious Richard Tucker Award. Other recent honors include an Olivier Award nomination and Grand Prize in the annual Francisco Viñas Competition held at the Gran Teatre del Liceu in Barcelona, Spain. Ms. Wilson’s 2019-2020 season includes returns to the Canadian Opera Company, Deutsche Oper Berlin, Oper Frankfurt and a debut with The Santa Fe Opera. In concert, she will sing Beethoven's Symphony No. 9 in a special Christmas performance and television broadcast with the Royal Concertgebouw Orchestra conducted by Franz Welser-Möst and at Tanglewood with Christoph von Dohnanyi and debut the role of Isolde with the Atlanta Symphony Orchestra conducted by Robert Spano. Opera performance highlights in Tamara Wilson's 2018/19 season included a return to the Metropolitan Opera as the title role in Aida, the role of Leonora in Il trovatore at Lyric Opera of Chicago, Desdemona in Otello at the Canadian Opera Company, the title role in Ariadne auf Naxos at Teatro alla Scala, and Chrysothemis in Elektra at Opernhaus Zurich. In concert Ms. Wilson presented Mahler's Symphony No. 8 at the BBC Proms at the Royal Albert Hall and at the Edinburgh International Festival, as well as with the Swedish Radio Symphony Orchestra and the Los Angeles Philharmonic. She also sang Bruckner's Te Deum at Teatro alla Scala, and Ariadne in Ariadne auf Naxos with The Cleveland Orchestra. She debuted at Arena di Verona as Aida followed by a special guest performance at the Santa Fe Opera's Summer Gala and a recital at the Source Song Festival. Ms. Wilson made her acclaimed Metropolitan Opera debut in Aida and London debut in Calixto Bieto’s new production of La forza del destino at the English National Opera, for which she received an Olivier Award nomination. She also inaugurated the new opera house in Kyoto, Japan with Seiji Ozawa as Rosalinde in Die Fledermaus. On the concert stage, Ms. Wilson debuted with the Cleveland Orchestra in Beethoven’s Symphony No. 9 under Franz Welser-Möst, the National Symphony in Mendelssohn’s Symphony No. 2 (“Lobgesang”) with Matthew Halls and with the Orchestra of the Age of Enlightenment in Verdi’s Messa da Requiem conducted by Marin Alsop at the BBC Proms, which was recorded for commercial release. 2019 marked Ms. Wilson's debut with Source Song Festival.
Source Song Festival presents
Project Launch: re:Source Mark Bilyeu & Clara Osowski Founding Artistic Directors August 7, 2020 @ 2:00p Globally Accessed | Minnesota Based Join Clara Osowski & Mark Bilyeu as they introduce re:Source the newest project of Source Song Festival, and offer a wrap-up and a big THANK YOU for tuning in and supporting Source in 2020!
Check out our new ALUMNI PAGE Read all about the artists who have studied at Source. Archival recordings, biographies, websites, & even their favorite Source Moments!
www.sourcesongfestival.org/alumni