CARNEGIE HALL PRESENTS

Performance Monday, January 13, 2014 | 5:30 PM

The Song Continues: Spotlight Recital

Weill Recital Hall
Each January The Song Continues showcases emerging young artists who are on the verge of international renown. On this recital, mezzo-soprano Cecelia Hall and pianist Ken Noda come together on the Weill Recital Hall stage for a program featuring works by Purcell, Monteverdi, Schumann, and more.

Performers

  • Cecelia Hall, Mezzo-Soprano
  • Ken Noda, Piano

Program

  • PURCELL "If music be the food of love"
  • PURCELL "I attempt from love’s sickness to fly" from The Indian Queen
  • MONTEVERDI "Sí dolce è ’l tormento"
  • MONTEVERDI "Lamento d'Arianna"
  • SCHUMANN "Widmung," Op. 25, No. 1
  • SCHUMANN "Mondnacht," Op. 39, No. 5
  • MAHLER "Frühlingsmorgen"
  • MAHLER "Liebst du um Schönheit" from Rückert Lieder
  • SCHOENBERG Vier Lieder, Op. 2
    ·· Erwartung
    ·· Schenk mir deinen goldenen Kamm
    ·· Erhebung
    ·· Waldsonne
  • ANDRÉ MESSAGER "J'ai deux amants" from L'amour masqué
  • POULENC "Hôtel" from Banalités
  • POULENC "Les chemins de l'amour"
    EBLINGER “Quand je danse avec lui”

  • Encore:
  • GERSHWIN "Embraceable You"

Bios

  • Cecelia Hall


    Cecelia Hall is one of an exciting new crop of versatile American singers, poised on the threshold of an international career.

    Ms. Hall's 2013-2014 season includes debuts as Dorabella in Così fan tutte with North Carolina Opera and Zerlina in Don Giovanni with Opera Philadelphia, as well as a return to Lyric Opera of Chicago to sing Annio in La clemenza di Tito.

    Ms. Hall, a current member of the Metropolitan Opera's Lindemann Young Artist Development Program and a recent alumna of the Lyric Opera of Chicago's Ryan Opera Center, has appeared at the Lyric Opera as Third Maid in Elektra, Alisa in Lucia di Lammermoor, and Second Lady in Die Zauberflöte, among other roles. She recently made debuts with the Seattle Opera as Wellgunde and Rossweisse in their 2013 Ring cycle  and with the Fort Worth Opera as the Composer in Strauss's Ariadne auf Naxos (a role she previously sang with the Palau de les Arts Reina Sofia in Valencia, Spain, and at the Tanglewood Music Center). 

    Ms. Hall received much critical acclaim for her performance in the title role of Handel's Teseo at Chicago Opera Theater, and she has also debuted at the Metropolitan Opera as the Second Priestess in Iphigénie en Tauride. At the Castleton Festival, she has appeared as Rosina in Il barbiere di Siviglia and L'Enfant in Ravel's L'enfant et les sortilèges. At Juilliard Opera she was featured as Concepción in L'heure espagnole, Nerone in L'incoronazione di Poppea, Cherubino in Le nozze di Figaro, and in the title role of Ariodante.

    A noted recitalist, Ms. Hall has appeared several times with Ensemble ACJW and taken part in a Samling Showcase recital at Wigmore Hall with Sir Thomas Allen and Malcolm Martineau.

    An alumna of The Juilliard School and DePaul University, Ms. Hall is a recipient of a 2011 Sara Tucker Study Grant, a 2012 Brian Dickie Outstanding Young Singer Award, the 2013 Lynne Harvey Foundation Scholarship from the Musician's Club of Women, and third prize from the 2013 Gerda Lissner Foundation.

    More Info

  • Ken Noda


    Ken Noda is musical assistant to James Levine at the Metropolitan Opera, where he began working in 1991. Born to Japanese parents in October 1962, he studied with Daniel Barenboim and performed as soloist with such orchestras as the Berlin, Vienna, New York, Israel, and Los Angeles philharmonics; the London, Boston, Chicago, San Francisco, Montreal, and National symphony orchestras; The Cleveland Orchestra; Orchestre de Paris; and Philharmonia Orchestra, under such conductors as Claudio Abbado, Daniel Barenboim, Riccardo Chailly, Rafael Kubelík, James Levine, Zubin Mehta, Seiji Ozawa, and André Previn. He has also collaborated as chamber musician with Maestro Levine, Itzhak Perlman, Pinchas Zukerman, Nigel Kennedy, and the Emerson String Quartet, and as accompanist to Kathleen Battle, Hildegard Behrens, Maria Ewing, Aprile Millo, Kurt Moll, Jessye Norman, Matthew Polenzani, Dawn Upshaw, and Deborah Voigt. Mr. Noda has been a regular participant at the Marlboro Music Festival since 1999 and taught for four summers at the Renata Scotto Opera Academy at the invitation of Miss Scotto. At the Met, he devotes much of his time to the training of young singers in the Lindemann Young Artist Development Program and also gives master classes at The Juilliard School. 

    More Info

At a Glance

This program is all about love, with songs ranging from the 17th century to the 20th. Amor is doing a whirlwind grand tour this evening, as those in thrall to Venus visit England, Italy, Austria, Germany, and France. These songs of passion run the gamut from giddy pleasure to mystical rapture to utmost torment.

We begin with two songs by Henry Purcell, whose late-17th-century airs are among the treasures of English music. In two of his most popular songs, his tunefulness and characteristic flights of melodic fancy are on display to tell of love's transports.

The great Claudio Monteverdi helped usher in the Baroque era at the beginning of the 17th century; he infused opera, madrigal, and song with his immense expressivity. We hear that expressivity in a song of tormented-yet still sweet-love and a lament that is one of his most famous masterpieces.

From the German-speaking world come two powerful love songs by Gustav Mahler and two songs by Robert Schumann, one of dedication to his new bride Clara and the other of mystic communion between the soul and the cosmos. 

The young Arnold Schoenberg-not yet arrived at the revolutions that would alter the map of 20th-century music-began with works that owe debts to Brahms, Wagner, and more. His four Op. 2 songs represent Romanticism in
its final stages.

We end with a delicious array of Parisian love songs, from a tidbit from operetta to two of Francis Poulenc's best-known songs to a song from the 1930 film Chique.
Program Notes
The Song Continues is supported, in part, by the Ann and Gordon Getty Foundation and The DuBose and Dorothy Heyward Memorial Fund.
Workshops and master classes are made possible, in part, by Mr. and Mrs. Nicola Bulgari and The Gladys Krieble Delmas Foundation.
Recording of workshops and master classes is provided by The Andrew W. Mellon Foundation.
This concert is part of the Marilyn Horne legacy at Carnegie Hall.
This performance is part of Now Arriving.