CARNEGIE HALL PRESENTS

Performance Friday, March 8, 2013 | 7:30 PM

Alek Shrader
Keun-A Lee

Weill Recital Hall
At the end of the 2009 documentary The Audition, a film about the Metropolitan Opera’s National Council Auditions, Alek Shrader—a young tenor flush with confidence and exuding charisma—astounds everyone with his performance of a notoriously demanding aria from Donizetti’s La fille du regiment. Now he performs in recital at Carnegie Hall.

This concert is part of Salon Encores.

Performers

  • Alek Shrader, Tenor
  • Keun-A Lee, Piano

Program

  • ROSSINI "La danza"
  • BELLINI "La Ricordanza" from Composizioni da Camera
  • MERCADANTE "La serenata del marinaro"
  • FAURÉ "Lydia," Op. 4, No. 2
  • FAURÉ "Après un rêve," Op. 7, No. 1
  • FAURÉ "Spleen," Op. 51, No. 3
  • R. STRAUSS Vier Lieder, Op. 27
  • TURINA Poema en forma de canciones, Op. 19
  • SOLER "Oh ciel! Che duro passo... Seguir degg'io chi fugge" from Una cosa rara
  • IAIN BELL The Undying Splendour (World Premiere)
  • THOMSON "Was this fair face the cause?"
  • THOMSON "Love song"
  • THOMSON "English usage"
  • NEVIN "Buona notte"
  • NEVIN "'Twas April"
  • NEVIN "Stars of the summer night"
  • NEVIN Nocturne for Voice and Piano

  • Encore:
  • FOSTER "If You've Only Got a Moustache"

Bios

  • Alek Shrader


    Alek Shrader began the 2012-2013 season at the Metropolitan Opera, where he made his house debut as Ferdinand in Thomas Adès's The Tempest, conducted by the composer himself; and returned to sing Count Almaviva in the English version of Rossini's The Barber of Seville. Other engagements this season include Don Ramiro in La Cenerentola at the Hamburgische Staatsoper; recitals with Music for Youth, San Francisco Performances, and Oberlin Conservatory of Music; opera gala performances in Baltimore and San Antonio; and his role debut as Ernesto in Donizetti's Don Pasquale at the Glyndebourne Festival.

    Highlights of recent seasons include the title role in Britten's Albert Herring with Los Angeles Opera, Tamino in Die Zauberflöte with Lyric Opera of Chicago and San Francisco Opera, Oronte in Handel's Alcina at Opéra National de Bordeaux, Gonzalve in Ravel's L'heure espagnole at the Glyndebourne Festival, and Ferrando in Mozart's Così fan tutte at the Salzburg Festival.

    Mr. Shrader has performed recitals at the Music Academy of the West in Santa Barbara and at Santa Monica College, both sponsored by the Marilyn Horne Foundation. He made his Wigmore Hall recital debut with pianist Roger Vignoles in the spring of 2011, and has been a featured soloist in the Metropolitan Opera's Summer Recital Series in New York City parks. Notable orchestral engagements include Bernstein's Candide in concert performances with the Los Angeles Philharmonic, Handel's Messiah with The Cleveland Orchestra, and Mozart's   Requiem with the Pittsburgh and St. Louis symphonies.

    Mr. Shrader is a former Adler Fellow with San Francisco Opera, the recipient of a Sara Tucker Study Grant from the Richard Tucker Music Foundation, and a winner of the 2007 Metropolitan Opera National Council Auditions.

    More Info

  • Keun-A Lee


    Korean pianist Keun-A Lee has been on the music staff of the Spoleto Music Festival USA, Gotham Chamber Opera, The Juilliard School, and Manhattan School of Music. She has performed in such halls as Carnegie Hall's Weill Recital Hall, Alice Tully Hall, Kennedy Center, Chicago's Preston Bradley Hall, Toronto Centre for the Arts, Sejong Center for the Performing Arts, and Seoul Arts Center. She has participated in the Ravinia Festival's Steans Music Institute, San Francisco Opera's Merola Opera Program, the Music Academy of the West in Santa Barbara, and the Cape Cod Chamber Music Festival.

    This season, Ms. Lee performed in the 2013 Marilyn Horne Song Celebration at Carnegie Hall. She also serves as an assistant conductor in New York City Opera production of Rossini's Mosè in Egitto.

    Recent engagements include performances on the New York Philharmonic's chamber music series and the Lyric Chamber Music Society of New York's opening concert with the New York Philharmonic's principal oboist Liang Wang, and recitals with the winners of Young Concert Artists and Concert Artists Guild.

    Ms. Lee received both her bachelor's and master's degrees in piano performance at Kyung Hee University in Seoul, Korea. She moved to New York to study with Margo Garrett, Jonathan Feldmann, and Brian Zeger before earning both a master's degree and artist diploma in collaborative piano from The Juilliard School. She also holds a professional studies certificate in vocal accompanying from the Manhattan School of Music, where she studied with Warren Jones. She recently finished her term with the Metropolitan Opera's Lindemann Young Artist Development Program, where she performed in the production of The Bartered Bride conducted by James Levine.

    More Info

At a Glance

This evening's program begins with three gems of song by three 19th-century bel canto ("beautiful singing") opera composers: Gioachino Rossini, Vincenzo Bellini, and Saverio Mercadante. In another group of three songs, we hear Gabriel Fauré, one of the greatest masters of late-19th century French mélodie.

The four songs of Richard Strauss's Op. 27—offered to his new bride, soprano Pauline de Ahna, on their wedding day in 1894—begin with the search for inner peace in the first song, followed by extroverted exuberance of love in No. 2, seduction amidst the crowd in No. 3, and the deeply personal emotion of the final song.

After Italy, France, and Germany, our performers next take us to Spain to hear settings of Spanish poet-philosopher Ramón de Campoamor by Joaquín Turina. The "Dedication" to the cycle is for piano solo, followed by four songs that both encapsulate several different flavors of Spanish nationalism and hint at Turina's experiences in France, where he studied composition and piano.

Two 18th-century opera arias follow, one from Handel's Alcina and the other from Vicente Martín y Soler's Una cosa rara  (A Rare Thing), hugely popular in its own day but known thereafter mostly from Mozart's cheeky invocation of it in Don Giovanni.

Tonight's program includes the world premiere of a cycle by Iain Bell, a young British composer. For three plaintive songs, we are transported back to the carnage of World War I, during which the poet Will Streets died.

We finally end with two groups of songs by American composers: the spare, sophisticated idiom of composer-critic Virgil Thomson and the 1890s dispenser of charming miniatures, Ethelbert Nevin.
Program Notes
This concert is part of the Marilyn Horne legacy at Carnegie Hall.
This performance is part of Great Singers III: Evenings of Song.

Part of

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