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The Collegiate Chorale,
led by
Maestro James Bagwell
in his inaugural concert as The Chorale’s newly
appointed Music Director,
presents
A
JUBILANT SONG, a celebration of the
organization’s remarkable history of exceptional conductors,
noteworthy commissions and premieres, and multi-faceted
choral programming on December 1, 2009 at 7pm at Carnegie
Hall. Tickets are $25-$125 and are available through
CarnegieCharge at 212-247-7800, at the Carnegie Hall Box
Office, or online at
www.carnegiehall.org. For more information, visit
www.collegiatechorale.org.
As the new
Music Director, Mr.
Bagwell will
give tribute to his predecessors and usher in a
new era of The Collegiate Chorale. Tony® Award
winner Roger Rees
will host the evening.
A
JUBILANT SONG will feature
Salvatore Licitra,
tenor (who debuted at Carnegie Hall with The Collegiate
Chorale in 2003 in Verdi’s
La forza del destino);
Jenny Lin,
piano; Erin Morley,
soprano; Emily Pulley,
soprano; Anita Johnson,
soprano; Krysty Swann,
mezzo-soprano; Vale
Rideout, tenor;
Robert Mack,
tenor; Daniel Mobbs,
bass-baritone; Kalif
Omari Jones, boy soprano; and the
American Symphony Orchestra.
A benefit dinner with Mr. Bagwell
and the artists at Carnegie Hall’s Rohatyn Room
will follow the concert.
“Before
coming on board with The Chorale, one of the things which
attracted me the most was its rich history of musical and
programming diversity, going all the way back to the ideals
of founder Robert Shaw and continuing steadily through the
tenures of all subsequent Music Directors, particularly the
late Robert Bass – and so I wanted this first concert under
my baton to capture the essence of that diversity. We will
perform works from Gabrieli to Dello Joio, and from Kopylov
to Bernstein and Lerner. The programming will include Verdi
and Meyerbeer arias, the beloved Beethoven
Choral Fantasy,
a couple of exquisite a
cappella choral pieces, and musical theater
excerpts from Bernstein and Lerner’s
A White House Cantata.
Many of the works we will perform hearken back to earlier
concerts, including the Kopylov
Heavenly Light,
which was on The Chorale’s very first public program in
1942,” said James Bagwell, music director of The Collegiate
Chorale.
The evening’s program follows:
Beethoven,
Choral Fantasy; Gabrieli,
In ecclesiis; Kopylov,
Heavenly Light
(part of the first public program presented by The
Collegiate Chorale on March 8, 1942);
Dello Joio, A
Jubilant Song; Shaw/Parker,
Set Down Servant; Meyerbeer,
O Beau Pays, from
Les Huguenots;
selected
arias from Verdi’s Un
ballo in maschera; and
La forza del destino;
excerpts
from Bernstein and Lerner’s
A White House
Cantata (which
received its New York Premiere in March 2008 by The
Collegiate Chorale); and the Brindisi from
La Traviata.
The Collegiate Chorale,
among New York’s
foremost vocal ensembles, has added to the richness of the
city’s cultural fabric for more than 65 years. Founded in
1941 by the legendary conductor Robert Shaw, The Chorale
achieved national and international prominence under the
leadership of Robert Bass. The Chorale has established a
preeminent reputation for its interpretations of the
traditional choral repertoire, vocal works by American
composers, and rarely heard operas-in-concert, as well as
commissions and premieres of new works by today’s most
exciting creative artists. In the summer of 2009, The
Chorale performed for the fourth season at Switzerland’s Verbier Music Festival.
In July 2008, The Chorale toured with the Israel
Philharmonic Orchestra under Zubin Mehta in Tel Aviv,
Haifa, and Jerusalem.
The mission
of The Collegiate Chorale
is to enrich its audiences through innovative programming
and exceptional performances of a broad range of vocal music
featuring a premier choral ensemble. Inherent in its
mission is The Chorale’s belief that choral music is a
compelling collaboration that creates a powerful,
shared experience unifying listeners
and musicians of all backgrounds, beliefs and ages.
James Bagwell
maintains an active schedule throughout the United States
as a conductor of choral, operatic, and orchestral music.
He has recently been named Principal Guest Conductor of the
American Symphony Orchestra in
New York. Since 2003 he has been
Director of Choruses for the Bard Music Festival, conducting
and preparing choral works during the summer festival at the
Fisher Center for the Performing Arts at Bard College. He has also prepared The Concert
Chorale of New York for performances with the American
Symphony Orchestra, the Los Angeles Philharmonic, and the
Mostly Mozart Festival (broadcast nationally in 2006 on
Live from Lincoln Center),
all in Avery Fisher Hall at Lincoln Center. In 2005 he was
named Music Director of The Dessoff Choirs in New York, who under his leadership have made
numerous appearances at Carnegie Hall in addition to their
regular season. In 2009 the Dessoff Symphonic Choir
appeared with the New York Philharmonic performing both
Mahler’s Eighth Symphony and Britten’s
War Requiem for
Lorin Maazel’s final concerts as Music Director.
James
Bagwell has trained choruses for a number of major American
and International orchestras, including the San Francisco
Symphony, Los Angeles Philharmonic, NHK Symphony (Japan), St. Petersburg Symphony, The
American Symphony Orchestra, Cincinnati Symphony Orchestra,
Cincinnati Pops Orchestra, and the Indianapolis Symphony
Orchestra. He has worked with noted conductors such as Lorin
Maazel, Esa-Pekka Salonen, Michael Tilson Thomas, Louis
Langrée, Leon Botstein, Vladimir Ashkenazy, Raymond Leppard,
James Conlon, Jesús
López-Cobos, Erich Kunzel, Leon Fleischer, and Robert Shaw.
For eleven
seasons, he has been Music Director for the May Festival
Youth Choir in Cincinnati, which was recently featured on the
radio program From the
Top. He has conducted some 25 productions as
Music Director of Light Opera Oklahoma, including
Candide,
Sweeney Todd,
and The Merry Widow,
among others. At Bard SummerScape he has led numerous
theatrical works, most notably Copland’s
The Tender Land,
which received unanimous praise from
The New York Times,
The New Yorker,
and Opera News.
He frequently appears as guest conductor for orchestras
around the country and abroad, including the Jerusalem
Symphony, Tulsa Symphony, and the Indianapolis Chamber
Orchestra. For three seasons he was Artistic Director of
The Indianapolis Symphonic Choir. He holds degrees from
Birmingham-Southern College,
Florida State University, and
Indiana
University. He has taught
since 2000 at
Bard
College, where he is
Director of the Music Program.
For more information, visit
www.collegiatechorale.org.
ABOUT THE ARTISTS
Anita Johnson
Career highlights include: Marie in
The Daughter of the Regiment and Oscar in
Un Ballo In Maschera
with Michigan
Opera Theatre; Konstanze in
Die Entfuhrung Aus Dem Serail
with Italy’s Spoleto Festival; the Princess in L’Enfant
Et Les Sorileges
and Clara in Porgy And
Bess with
New York City Opera; Giannetta in
L’Elisir D’Amore,
Javotte in
Manon,
and Barbarina in Le
Nozze De Figaro with
the Metropolitan Opera; Sophie in
Der Rosnekavalier,
Gretel in
Hansel Und Gretel,
Giulietta in
I Capuleti e i Montecchi,
Musetta in
La Boheme,
Sophie in
Werther,
Servillia in
La Clemenza Di Tito,
and Olympia in
Les Contes D’Hoffmann,
as the resident lyric coloratura soprano with Germany’s
Nationaltheater Mannheim; Musetta in La
Boheme with
Opera Pacific; Clara in Porgy
And Bess with
Atlanta Opera; Zerbinetta in
Ariadne Auf Naxos with
New Orleans Opera and Opera North; Gilda in
Rigoletto with
Knoxville Opera and Milwaukee’s Florentine Opera; Susanna in
Le Nozze Di Figaro
and Norina in
Don Pasquale
with Florentine
Opera; Pamina in The
Magic Flute with
Opera Memphis; Adele in
Die Fledermaus
with Opera Grand
Rapids; and Lucia in
The Rape Of Lucretia
with Opera
Theatre of Saint Louis. Concert highlights have included the
Mermaid in Weber’s Oberon
with the Collegiate Chorale at Carnegie Hall; Mendelssohn’s
A Midsummer Night’s Dream
with the
Baltimore Symphony; Carmina
Burana with
the Louisville Orchestra; Barber’s
Knoxville: Summer of 1915
with the New Haven Symphony; and Messiah
with the New Choral Society of Central Westchester.
The Italian
Salvatore Licitra
is one of the leading tenors in the beautiful and highly
sought-after dramatic Italian repertoire where he shows his
‘worthiness of the great
Italian tradition’ (The New York Times). A
frequent guest at major opera and concert stages in Europe,
the United States and the Far East, his repertory includes
Verdi’s Aida, Un Ballo
in Maschera, La Forza del destino, Ernani, Macbeth, Don
Carlos and Il
Trovatore as well as Puccini’s
Tosca, Madama Butterfly
and Il
Tabarro, Bellini’s
Norma, Cilea’s
Adriana
Lecouvreur,
Giordano’s Andrea
Chenier, Leoncavallo’s
Pagliacci and
Mascagni’s Cavalleria
Rusticana. Engagements of the 2009-2010 season
include opera and concert performances in Europe, the
United States and Japan.
Season highlights will be a new
Ernani
production at the Lyric Opera Chicago and his role debuts as
Calaf in Turandot
at the New York Metropolitan Opera and as Dick Johnson in a
new production of La
fanciulla del
West at the San Francisco Opera.
Jenny Lin
is one of the most respected young pianists today, admired
for her adventurous programming and charismatic stage
presence. Her ability to combine classical and contemporary
literature has brought her to the attention of international
critics and audiences. She has been acclaimed for her
“remarkable technical command” and “a gift for melodic flow”
by The New York Times.
The Washington Post praises “Lin’s confident
fingers... spectacular technique...” and
Gramophone Magazine
has hailed her as “an exceptionally sensitive pianist.”
Martha Argerich wrote: “Miss Jenny Lin is a very gifted
young musician and a brilliant pianist.” Jenny’s recent
orchestral engagements have included Manuel de Falla’s
Nights in the Garden of Spain
with the
La Orquesta Sinfónica de Gijón; Ernest Bloch’s
Concerto Grosso No. 1
with the SWR Rundfunkorchester; the world premiere of
Stefano Gervasoni’s
Piano Concerto with the Orchestra Sinfonica
Nationale della RAI; Messiaen’s
Oiseaux Exotiques
with the Spoleto
Festival Orchestra; Tchaikovsky’s
Piano Concerto No. 1
with the National Symphony Orchestra of Taiwan; and tour of
Asia in Liszt’s
Piano Concerto No. 2
with Philharmonia
Taiwan. She has also appeared with the Flemish Radio
Orchestra, the Nürnberger Symphoniker, Chamber Orchestra of
Philadelphia, Erato Philharmonia, Rumanian Symphony
Orchestra, Orquesta de Valencia, and performed with
conductors such as Lothar Zagrosek, Jiri Starek, Urs
Schneider, Peter Bay, Jac van Steen, Ovidiu Balan, Wen-Pin
Chien, Kek-Tjiang Lim, John Kennedy, and Oliver Diaz.
Tenor
Robert Mack’s
career highlights include Remus,
Treemonisha with
The Collegiate Chorale; Snake/Vain Man,
The Little Prince
with NYCO; Alfredo,
La Traviata
with The Martina Arroyo Foundation. Performances with the
New York City Opera include Goro,
Madame Butterfly;
Goopy,
Haroun and the Sea of Stories;
Remendado,
Carmen;
the Ballad Singer,
Of Mice and Men;
Pong,
Turandot;
Don Curzio,
The Marriage of Figaro;
Spoletta,
Tosca;
Second Shepherd,
Daphne;
Arturo,
Lucia Di Lammermoor,
and Rinuccio,
Gianni Schicchi.
Mack debuted the role of Sportin’ Life,
Porgy and Bess
with New York City Opera and
Opera Carolina. He recorded the role of Sportin’ Life with
The Nasvhville Symphony on Decca Records. Mack has toured
with the nationally acclaimed
“Three Mo’ Tenors”
and in addition has made outstanding appearances with
Houston Grand Opera, Opera Company of
Philadelphia and
Indianapolis Opera. He sang the role of John/William Still
in
She Never Lost A Passenger
with
Syracuse Opera. He was also a featured tenor soloist for The
Alvin Ailey American Dance Theatre’s signature work,
Revelations.
In past seasons he made debuts with Houston Grand Opera,
Bastille in Paris and the Teatro Real in Spain.
He has also performed in Italy, Germany, Japan and Luxembourg. Mack toured with
Broadway’s National and European tour of
Smokey Joe’s Café
directed by Jerry Zaks and in 2002 he was directed by Stewart Lane in the production of
Ain’t MisBehavin.
American
bass-baritone Daniel
Mobbs has won praise on both sides of the
Atlantic for his “solid, resonant voice and boundless
energy...his stage presence virtually ensured that he was
the focal point of nearly every scene in which he appeared,”
as written in The New
York Times. In the summer of 2009, Mr. Mobbs
bows as Assur in
Semiramide at
Caramoor International Music Festival. At the
Bard SummerScape Festival,
he will participate in a concert of Wagner arias with the
American Symphony Orchestra, under the direction of Leon
Botstein. In the fall of 2009, Mr. Mobbs will join
Boston Lyric Opera,
adding the role of Escamillo in
Carmen to his
vast repertoire, followed by a Gala Concert with the
Collegiate Chorale
to celebrate the appointment of new Music Director James
Bagwell, Leporello in
Don Giovanni with
Virginia Opera,
and Ormonte in Partenope
at New York City Opera.
He later collaborates with the
New York Choral Society
for Mozart's Requiem
and James DeMars' Tito's
Say.
Soprano
Erin Morley, a
member of the Metropolitan Opera Lindemann Young Artist
Development Program since the 2007-08 season, is one of
today’s most promising coloratura sopranos. Most recently,
her Marguerite de Valois in
Les Huguenots
at the Bard Festival was described by the New York Times as
a “formidable performance.” Erin Morley’s roles at the
Metropolitan Opera have included the 2nd Niece in
Peter Grimes,
Masha in
The Queen of Spades,
and Frasquita in
Carmen
in the company’s 125th Anniversary Gala. In their 2009-2010
season she sings Echo
. . . in
Ariadne auf Naxos,
, the Dew
Fairy in
Hansel and Gretel,
, and the Daughter in
The
Nose,
. Other notable engagements this
season include the soprano solos in Mendelssohn's
A Midsummer Night’s Dream,
with the Chicago Symphony Orchestra
and Bernard Haitink and a Gala Concert with the Collegiate
Chorale at Carnegie Hall. Ms. Morley has sung with the New
York City Opera; as Sophie in
Der
Rosenkavalier,
in a 2006
Gala Benefit, and as Giannetta in
L’Elisir d’Amore,
. Also an
alumna of Wolf Trap Opera Company, Ms. Morley debuted the
role of Zerbinetta in
Ariadne auf Naxos,
there in 2008. She sang Laoula in
Chabrier's
L’Étoile,
and Frasquita with Wolf Trap as well.
Soprano
Emily Pulley’s
radiant voice and electrifying acting have won her both
national and international acclaim.
Opera News
writes, “Pulley’s bright, perceptively shaded tone and
sensitive, responsive acting make her a refreshing heroine,
always playing the role rather than the star turn.” The
New York Times
described her portrayal of the title role of Floyd’s
Susannah as
being, “sung with unfailing warmth, radiance, and spirit,”
and elsewhere has lauded her singing as “faultless and
exquisite.” A frequent presence at the Metropolitan Opera,
Ms. Pulley’s roles in the legendary house include Marguerite
in Faust,
Nedda in I pagliacci,
Blanche in Dialogues of
the Carmelites, Gretel in
Hänsel und Gretel,
Anne Trulove in The
Rake’s Progress, Musetta in
La bohème,
Valencienne in The Merry
Widow, Thérèse in
Les Mamelles de Tirésias,
and First Lady in a new production of
Die Zauberflöte
directed by Julie Taymor. She made her debut at the Royal
Opera House, Covent Garden
as Mimi in La bohème.
In New
York, Roger Rees
played the title role in
The Life and Adventures of Nicholas Nickleby
(Tony Award for Best Actor, the British Olivier Award, and
Emmy nomination);
Indiscretions (Tony and Drama Desk nominations);
Jon Robin Baitz’ The End
of the Day (Obie Award);
Uncle Vanya;
The Rehearsal
(Roundabout Theater);
The Uneasy Chair (Playwrights Horizon);
The Misanthrope
(Classic Stage Company), and the musical A
Man of No Importance (Lincoln Center Theatre).
Movies: Bob Fosse’s Star
80; Mel Brooks’
Robin Hood: Men in Tights; If Looks Could Kill; The
Substance of Fire; Trouble on the Corner; Sudden Manhattan;
Next Stop Wonderland;
A Midsummer Night’s Dream;
The Emperor’s Club; Scorpion King; Julie Taymor’s
Frida; Peter Greenaway’s
The Tulse Luper Suitcases; Going Under; Crazy Like A Fox;
The Treatment; The Pink Panther; Garfield 2; Prestige; The
Invasion; The Narrows; Happy Tears. Television:
“Cheers” (as Robin Colcord); “MANTIS;” “Boston Common;” “My
So-Called Life;” “Titanic, Liberty;” “Double
Platinum;” “The Crossing;” “West Wing” (as Lord John Marbury);
“OZ;” “Max Bickford;” “Law and Order;” “Related;” “Grey’s
Anatomy” (as
Dr. Colin Marlowe). Mr. Rees is an Associate Artist of the
Royal Shakespeare Company; some favorite RSC productions
include – Hamlet (title
role), Love’s Labour’s Lost, Julius Caesar, Cymbeline,
Othello, Pericles, Revenger’s Tragedy, Henry VIII, Merry
Wives of Windsor, Much Ado About Nothing, Indians, The
Winter’s Tale, Twelfth Night, The Plebieans Rehearse the
Uprising, The Way of the World, London Assurance, The
Suicide, Three Sisters and Nicholas Nickleby.
Mr. Rees originated the role of Henry in Tom Stoppard’s
The Real Thing
in London’s West End, and the role of Kerner in Stoppard’s
Hapgood; he
played for a year in the West End in his own thriller,
Double Double,
co-authored with Eric Elice, author of the hit musical
Jersey Boys. In
1984/6 Mr. Rees was Associate Artistic Director for the
Bristol Old Vic Theatre in Britain, directing, among other
plays, Julius Caesar;
Turkey Time; John Bull. Mr. Rees just completed
three years as Artistic Director of the Williamstown Theatre
Festival in Massachusetts. Where,
among much else, he directed
The Film Society; The
Rivals; The Taming of the Shrew – (directing and playing
Petruchio opposite Bebe Neuwirth); Simon Grey’s
The Late Middle Classes; Anything Goes; Double Double
and Herringbone
starring B.D. Wong.
Other directing credits in the
USA includes:
TV – OZ
(HBO): Red Memories (New York Stage and Film);
Mud, River, Stone (Playwright’s Horizon)
The Merry Wives Of Windsor; Loves Labour’s Lost
(Old Globe Theatre, San Diego);
Arms and the Man (Roundabout Theatre); and he
conceived and directed:
Here Lies Jenny which starred Bebe Neuwirth at
the Zipper Theatre in New York and the Post Street Theater,
San Francisco; Peter and
the Starcatchers, La Jolla Playhouse, co-directed
with Alex Timbers.
American tenor
Vale Rideout has
garnered critical acclaim for his musical artistry and
superb stagecraft throughout the
United States and
Europe. Possessed of both a beautiful instrument
and an ability to consistently deliver passionate, energetic
performances, he is equally in demand for leading tenor
roles from the standard repertory to contemporary premiere
works. Vale Rideout’s engagements in the 2009-10 season
include Peter Quint in
The Turn of the Screw with Boston Lyric Opera,
Shallard in Elmer Gantry
with Florentine Opera, Roderick in Glass’
The Fall of the House of
Usher with Nashville Opera Association, Alfredo
in La traviata
with Pacific Opera Victoria, Don Ottavio in
Don Giovanni
with Palm Beach Opera, Egeo in Cavalli’s
Giasone with
Chicago Opera Theatre, as soloist with the Dallas Symphony
Orchestra in “A Christmas Celebration,” and in Vaughan
Williams’ “Hodie” with Highland Park United Methodist
Church. His engagements in 2008-09 included his debut with
the New York Philharmonic and the continuation of his
ongoing collaboration with Lorin Maazel in Britten’s
War Requiem; the
roles of Nadir in Les
Pêcheurs des perles with Opera Columbus; the
title role in Faust
with Opera Tampa; Sam in
Susannah with
Mobile Opera; Gernando in Haydn’s
L’isola disabitata
with Gotham Chamber Opera; Edgardo in
Lucia di Lammermoor
with Central City Opera; and Frederic in
The Pirates of Penzance
at the Chautauqua Institution. On the concert stage he
performed Carmina Burana
with the New Jersey Symphony Orchestra; the world premiere
of Steven Stucky’s
August 4, 1964 with Dallas Symphony; and
Messiah with the
ProMusica Chamber Orchestra.
Mezzo-soprano Krysty
Swann is the recipient of the New York City Opera
2009 Richard F. Gold Career Grant and the 2008 Intermezzo
Foundation Award, given by the prestigious Elardo
International Opera Competition. Other recent awards include
the Silver Prize with Opera Index and a Licia Albanese-
Puccini Foundation grant for 2006-07 and 2008-09. Krysty
Swann recently covered the title role of Margaret Garner in
the New York
premiere of Richard Danielpour’s opera with New York City
Opera and made her Avery Fisher Hall debut in Verdi’s
Requiem. In
addition, she joined the roster of Opera Orchestra of New
York for performances of Puccini’s
Edgar under Eve
Queler. Ms. Swann has also appeared with Michigan Opera
Theatre and the International Vocal Arts Institute,
Israel. This past season, Ms. Swann
appeared as Emilia in Kurt Weill and Ira Gershwin’s
The Firebrand of Florence
with The Collegiate Chorale conducted by Ted Sperling and an
opera gala concert with Springfield Symphony Orchestra. Ms.
Swan also participated in various outreach programs with New
York City Opera. In the 2009-10 season, she will return to
the New York City Opera as Suzuki in
Madama Butterfly.
The
American Symphony Orchestra
was founded in 1962 by Leopold Stokowski. Under
the music direction of Leon Botstein since 1992, the
American Symphony has pioneered the performance of
thematically organized concerts, linking music to the visual
arts, literature, politics, and history. In addition, the
American Symphony Orchestra performs in a lecture/concert
series with audience interaction called
Classics Declassified
at Peter Norton Symphony Space. It is also the
resident orchestra of the Richard B.
Fisher Center for the Performing Arts at Bard College, where it performs an annual
concert series as well as in Bard’s annual SummerScape
Festival and the Bard Music Festival. ASO maintains an
award-winning music education program which is presented at
numerous high schools through New York,
New Jersey, and Long Island. Among the American Symphony’s recent
recordings are music by Copland, Sessions, Perle, and Rands
for New World Records, and music of Ernst von Dohnányi for
Bridge Records. Its recording of Richard Strauss’s opera
Die ägyptische
Helena
with Deborah Voigt and of Strauss’s
Die Liebe der Danae
were made for Telarc. Other recordings with Leon Botstein
include Franz
Schubert: Orchestrated
on the Koch International label, with works by
Joachim, Mottl, and Webern, and, on the Vanguard Classics
label, Johannes Brahms’s Serenade No. 1 in D major, Op. 11
(1860). The American Symphony inaugurated São Paolo’s new
concert hall and has made several tours of Asia and
Europe. It has performed with the Peer Gynt
Theater Company of Norway in Central Park,
and has a long history of appearing in charitable and public
benefits for such organizations as Sha’are Zedek Hospital,
the Jerusalem Foundation, and PBS. The American Symphony
Orchestra has had an illustrious history of music directors
and guest conductors. Succeeding Leopold Stokowski, who
directed the Orchestra from 1962 to 1972, were Kazuyoshi
Akiyama (1973-1978), Sergiu Comissiona (1978-1982), Moshe
Atzmon and Guiseppe Patane (co-directors 1982-1984), John
Mauceri (1985-1987), and Catherine Comet (1990-1992).
Notable guest conductors have included Leonard Bernstein,
Karl Böhm, Aaron Copland, Morton Gould, Aram Khachaturian,
James Levine, André Previn, Yehudi Menuhin, James de Priest,
Gunther Schuller, Leonard Slatkin, Michael Tilson Thomas,
and Sir William Walton.
ADDITIONAL PROGRAMS FOR THE
CHORALE’S 2009-10 SEASON
For season
subscriptions please contact The Chorale office at
646.202.9623 or visit
www.collegiatechorale.org.
OPERA-IN-CONCERT / AMERICAN MASTERS
The
Grapes of Wrath
at Carnegie Hall
Monday,
March 22, 2010 at 8pm
Music by
Ricky Ian Gordon
Libretto by
Michael Korie
featuring
Jane Fonda
- Narrator
Nathan Gunn
- Tom Joad
Victoria
Clark - Ma Joad
Elizabeth
Futral - Rosasharn
Anthony
Dean Griffey - Jim Casy
Peter
Halverson - Pa Joad
Stephen
Powell - Uncle John
Andrew
Wilkowske - Noah
Steven
Pasquale - Al
Christine
Ebersole - Mae/Waitress
Matthew
Worth - Ragged Man/Connie Rivers/Truck Driver
Madelyn
Gunn - Ruthie
American
Symphony Orchestra
Ted
Sperling, Conductor
Eric
Simonson, Director
Frances
Aronson, Lighting Designer
Wendall
Harrington, Projection Designer
CHORAL
CLASSIC
Israel
in Egypt at Skirball Center for the Performing Arts, New York University
Wednesday,
May 12, 2010 at 8pm
Music by
George F. Handel
featuring
Sari
Gruber, soprano Brian Asawa, alto
Rufus
Muller, tenor
The
American Symphony Orchestra
James
Bagwell, Conductor
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