4 minute read
TUESDAY, JULY 13
TUESDAY, JULY 13, 11 AM | CIA AT COPIA
FESTIVAL LIVE! vocal recital
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Carlos Suárez, Baritone Conor Brereton, Tenor Jacquelyn Matava, Mezzo-Soprano Jonathan Patton, Baritone Jose Maldonado, Baritone Joseph Parrish, Bass-Baritone
Keaton Brown, Baritone Mark Covey, Bass-Baritone Megan Santora, Soprano Natalia Santaliz, Soprano Nathan Savant, Baritone
GIOACHINO ROSSINI (1792-1868) ”Largo al factotum” from Il barbiere di Siviglia (1860) GAETANO DONIZETTI (1797-1848)
“Chacun le sait” from La fille du régiment (1840) GIOACHINO ROSSINI (1792-1868)
“Come un'ape ne giorni d'Aprile” from La Cenerentola (1817) RICHARD STRAUSS (1864-1949)
“Quando m'en vo” from La Boheme (1896) GIUSEPPE VERDI (1813-1901)
“Questa o quella” from Rigoletto (1851) GAETANO DONIZETTI (1797-1848)
“Come Paride vezzoso” from L’elisir d’amore (1832) ALBERT LORTZING (1801-1851)
“Fünftausend taler” from Der Wildschütz (1842) GIUSEPPE VERDI (1813-1901)
“Eri tu” from Un ballo in maschera (1859)
RICHARD STRAUSS (1864-1949)
“Sein wir wieder gut (Komponist's aria)” from Ariadne auf Naxos (1912) GIUSEPPE VERDI (1813-1901)
INTERMISSION
LÉO DELIBES (1836-1891)
“Flower Duet” from Lakmé (1883) PYOTR ILYICH TCHAIKOVSKY (1840-1893)
“Amid the Din of the Ball” from 6 Romances, Op. 38 (1878) FRANZ LEHÁR (1870-1948)
“Dein ist mein ganzes Herz” from Das Land des Lächelns (1929) WOLFGANG AMADEUS MOZART (1756-1791)
“La ci darem la mano” from Don Giovanni (1787) GAETANO DONIZETTI (1797-1848)
“Venti Scudi” from L’elisir d’amore (1832) ERICH WOLFGANG KORNGOLD (1897-1957)
“Mein Sehnen, mein Wähnen” from Die tote Stadt (1920) WOLFGANG AMADEUS MOZART (1756-1791)
“Soave il vento” from Così fan tutte (1790) RICHARD STRAUSS (1864-1949)
“Amor, vida de mi vida” from Maravilla (1941) GIUSEPPE VERDI (1813-1901)
“Quel vecchio maledivami...Va, non ho niente pari siamo” from Rigoletto (1851)
Matt Baker
FROST SCHOOL OF MUSIC ALUMNI
Ever present on the world’s concert stages, Broadway, composing, producing and performing in award-winning recordings and television series, and running the corporate offices of top music companies.
Cristian Măcelaru,
GRAMMY®-Winning Conductor
Veronica Swift,
Best New Artist and Best Vocal Release in JazzTimes Readers’ Poll Jorge Mejia,
President & CEO for Sony Music Publishing Latin America and US Latin Joshua Henry,
GRAMMY® Award Nominee and Three-time Tony Award Nominee
Where students are built to succeed, thrive, and soar
• Henry Mancini Institute Orchestra – Maria Schneider, Artistic Director • GRAMMY® , Billboard, and DownBeat recognized Jazz program • Frost Symphony Orchestra – Gerard Schwarz, Music Director • Bruce Hornsby Creative American Music Program • Entrepreneurial and Technological skills training • Summer programs in Aspen, Napa, and Salzburg frost.miami.edu
TUESDAY, JULY 13, 6 PM | CIA AT COPIA
FESTIVAL LIVE! chamber series
Jennifer Grim, Flute David Byrd-Marrow, Horn Michael Sheppard, Piano Bettina Mussumeli, Violin
Geoff Nutall, Violin Laura Hamilton, Violin Jodi Levitz, Viola Christopher Costanza, Cello
WOLFGANG AMADEUS MOZART (1756-1791)
Flute Quartet in D Major, KV 285 (1777-1778) ERICH WOLFGANG KORNGOLD (1897-1957)
Suite, Op. 23 for 2 Violins, Cello, Piano left hand (1930)
I. Präludium und Fuge. Kräftig und bestimmt JOHANNES BRAHMS (1833-1897)
Horn Trio in E-flat Major, Op. 40 (1865)
I. Andante
IV. Allegro con brio
FLUTE QUARTET IN D MAJOR, KV 285
Wolfgang Amadeus Mozart (1756-1791)
Mozart’s claim that he did not like the flute is certainly not evident in this wonderful work which, of his three works for flute, violin, viola, and cello, is the one that remains a star in his crown and a favorite in the repertoire. From its opening Allegro, with its lovely shock of recognition, through the lyrical Adagio, and to the conclusion of the lively Rondo, we are charmed with its lightness, teased by its dark turns, and satisfied by its excellence.
SUITE FOR TWO VIOLAS, CELLO, AND PIANO LEFT HAND, OP. 23
Erich Wolfgang Korngold (1897-1957)
Erich Korngold’s early accomplishments include: at ten a Cantata that caused Mahler to pronounce him a genius, at eleven a ballet performed at the Vienna Court Opera, at twelve a piano trio, and at fifteen an orchestral overture which caused Richard Strauss to comment on his firmness of style, sovereignty of form, individuality of expression, and amazing harmonic structure. His early fame peaked at twenty with his world-acclaimed opera Die tote Stadt, but his Piano Quintet followed at a mere twenty-four. The course after that led to Hollywood where he became what is considered to be one of the founders of film music by lending a whole new meaning to the art form. His scores for The Adventures of Robin Hood (1938) and Anthony Adverse (1936) both won Oscars, and the American Film Institute declared Robin Hood the eleventh greatest American film score of all time. Although he became disillusioned with Hollywood, Korngold remained there after 1938 because of Nazi persecution of Jews and became an American citizen in 1943. He died in 1957 and was buried at Hollywood Forever Cemetery. His fine later works suffered neglect with the rise of Serialism but fortunately are being revisited today with such works as the Op. 23 Suite, the first movement of which we hear on this program.
HORN TRIO IN E-FLAT MAJOR, OP. 40
Johannes Brahms (1833-1897)
Brahms’ love of the horn is evident throughout his works until his late love affair with the clarinet. The Op. 40 Horn Trio was completed 1865 in Lichenthal, near BadenBaden, shortly after the death of his mother. The slow, chorale-like opening Andante hints of the elegiac but soon breaks into a beautiful and passionate Brahmsian song for all three instruments.
Almost all dark spirits are dispelled in the final Allegro con brio where the horn comes to full power with its hunting horn calls. Brahms lets loose in the concluding coda with its galloping arpeggios for all three instruments. We are brought to a joyful conclusion with few thoughts of the grave.
The work received its premiere on December 5, 1865 in Karlsruhe, Germany, with Brahms himself as pianist.
