CARNEGIE HALL PRESENTS

Performance Saturday, January 19, 2013 | 7:30 PM

Marilyn Horne Song Celebration

Zankel Hall
Marilyn Horne hosts a magical evening of songs performed by four gifted young singers who are making themselves known on the international stage. Star lyric tenor Piotr Beczala displays his “beautiful, ringing timbre” (The Classical Review) in a special appearance as guest artist .

Performers

  • Simone Osborne, Soprano
  • Jennifer Johnson Cano, Mezzo-Soprano
  • Timothy Fallon, Tenor
  • Kelly Markgraf, Baritone
  • Paul Neubauer, Viola
  • Christopher Cano, Piano
  • Warren Jones, Piano
  • Keun-A Lee, Piano
  • Carol Wong, Piano

  • with Special Guests:
  • Piotr Beczala, Tenor
  • Carrie-Ann Matheson, Piano

Program

  • R. STRAUSS "O süßer Mai," Op. 32, No. 4
  • R. STRAUSS Mein Auge
  • R. STRAUSS "Sehnsucht," Op.32, No. 2
  • R. STRAUSS "Ich liebe dich," Op. 37, No. 2
  • BEACH Three Browning Songs, Op. 44
    ·· The Year's at the Spring
    ·· Ah, Love But a Day
    ·· I Send My Heart up to Thee
  • CHARLES MARTIN LOEFFLER CHARLES MARTIN LOEFFLER Five Songs for Voice, Viola, and Piano
    ·· La Chanson des Ingénues
    ·· Harmonie du Soir
    ·· La Lune Blanche
    ·· Rêverie en sourdine
    ·· Le rossignol
  • LISZT "Pace non trovo"
  • LISZT "Der du von dem Himmel bist"
  • LISZT "Oh! Quand je dors"
  • VERDI "La seduzione"
  • VERDI "Stornello"
  • VERDI "Deh, pietoso"
  • ROSSINI "L'esule"
  • R. STRAUSS "Zueignung," Op. 10, No. 1
  • BOHM "Still wie die Nacht", Op. 326, No. 27
  • KARLOWICZ z Erotykow
  • KARLOWICZ Pamietam ciche jasne zlote dnie

  • Encore:
  • ZELENSKI "Dgy slub sezmiesz z twoim Stachem," from Janek

At a Glance

The concert begins with four of Richard Strauss's less familiar songs from the turn of the century, when the composer was in his 30s and composing his tone poems Also sprach Zarathustra and Don Quixote.

Next, we hear settings of British poet Robert Browning by "Mrs. H. H. A. Beach," or Amy Beach, who defied turn-of-the-century notions about women's supposed inability to compose by writing symphonies, chamber works, choral compositions, songs, and more, to considerable acclaim.

Charles Martin Loeffler was once described as "the blond musical Verlaine of Boston" because of his affinity for French turn-of-the-century music and literature. He set Paul Verlaine's Symbolist poems and the poetry of Charles Baudelaire to music with great sensitivity and originality.

Pianist-composer Franz Liszt wrote songs in five languages and lavished great care on them. We hear one of his three Petrarch sonnet settings in its first, most virtuosic version; a setting of one of Goethe's most famous lyric poems; and one of Liszt's best settings of the great French writer Victor Hugo.

We end with four Italian songs by Giuseppe Verdi, best known for his many great operas, and a perennial favorite by Gioachino Rossini. In the 1830s and again in the 1860s, Verdi turned briefly to writing songs; three of the four are salon songs for gatherings in Milan hosted by a poet's wife. Rossini, who retired from operatic composition at age 37, wrote salon songs, including a lively tarantella.
The Song Continues is supported, in part, by the Ann and Gordon Getty Foundation.
Professional Training Workshops are made possible, in part, by Mr. and Mrs. Nicola Bulgari and The Gladys Krieble Delmas Foundation.
This program is part of the Marilyn Horne legacy at Carnegie Hall.

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