CARNEGIE HALL PRESENTS

Performance Saturday, January 23, 2016 | 7:30 PM

Marilyn Horne Song Celebration

Zankel Hall
Rising young singers mentored by the great Marilyn Horne share the stage with a celebrated special guest, dramatic soprano Nina Stemme, and lift their voices in song as they pay tribute to the legendary mezzo-soprano and teacher.

Performers

  • Julia Bullock, Soprano
  • Daniela Mack, Mezzo-Soprano
  • Andrew Haji, Tenor
  • Evan Hughes, Bass-Baritone
  • John Arida, Piano
  • Keun-A Lee, Piano
  • Ken Noda, Piano
  • Jennifer Szeto, Piano

  • with Special Guests
    Nina Stemme, Soprano
  • Jeffrey Goldberg, Piano

Program

  • RIMSKY-KORSAKOV "In the Kingdom of Roses and Wine," Op. 8, No. 5
  • RIMSKY-KORSAKOV "Hebrew Song," Op. 7, No. 2
  • MUSSORGSKY Selections from The Nursery
    -- With Nanny
    -- The Beetle
    -- With Dolly
    -- Going to Sleep
    -- The Cat “Sailor”
  • SCHUBERT "L’incanto degli occhi," D. 902, No. 1
  • SCHUBERT "Il traditor deluso," D. 902, No. 2
  • SCHUBERT "Der Wanderer an den Mond," D. 870
  • SCHUBERT "Abendstern," D.806
  • SCHUBERT "Der Doppelgänger," Op. 957, No. 13
  • SCHUBERT "Der Zwerg," D. 771
  • ROSSINI Giovanna d'Arco
  • LISZT Tre sonetti di Petrarca
    ·· Pace non trovo
    ·· Benedetto sia'l giorno
    ·· I' vidi in terra angelici costumi
  • WAGNER Selections from Wesendonck Lieder
    ·· Im Treibhaus
    ·· Träume

Event Duration

The printed program will last approximately two hours, including one 20-minute intermission.

Bios

  • Julia Bullock


    Winner of the 2014 Naumburg International Vocal Competition and recipient of a 2015 Leonore Annenberg Arts Fellowship, soprano Julia Bullock has also been awarded a 2015 Sphinx Foundation Medal of Excellence, 2015 Richard F. Gold Career Grant from the Shoshana Foundation, and Lincoln Center's 2015 Martin E. Segal Award. She is equally at home with opera and concert repertoire and has been hailed for her versatile talent. As first-prize winner of the 2012 Young Concert Artists Auditions, she has been presented in recitals across North America.

    This season, Ms. Bullock appears as soloist with the New World Symphony and with the Orchestra of St. Luke's at Alice Tully Hall, as well as in recitals at the Metropolitan Museum of Art and the John F. Kennedy Center for the Performing Arts. In November, she sang the lead role in the Berliner Philharmoniker Orchestra Academy's performance of Kaija Saariaho's La Passion de Simone, directed by Peter Sellars, which she will reprise at the Ojai Festival in June.

    Ms. Bullock performed the title role in Henry Purcell's The Indian Queen at the Perm Opera and Ballet Theatre, the Bolshoi Theatre, Madrid's Teatro Real, and the English National Opera. She has also performed the title roles of Massenet's Cendrillon and Janáček's The Cunning Little Vixen at The Juilliard School. This past summer, she made her debut with the New York Philharmonic led by Alan Gilbert, and in 2013, she made her San Francisco Symphony debut in West Side Story, conducted by Michael Tilson Thomas. Ms. Bullock sang in a 2013 master class with soprano Jessye Norman in Zankel Hall as part of The Song Continues. She holds degrees from the Eastman School of Music and Bard College Graduate Vocal Arts Program, and in 2015, she graduated with an artist diploma from The Juilliard School.

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  • Daniela Mack


    During the 2015-2016 season, mezzo-soprano Daniela Mack returns to the San Francisco Opera to reprise the role of Rosina in Il barbiere di Siviglia and creates the role of Jacqueline Kennedy in the world premiere of David T. Little and Royce Vavrek's JFK at the Fort Worth Opera. She also makes her Arizona Opera debut in the title role of Carmen and will be seen in recital with tenor Alek Shrader at the Tucson Desert Song Festival. On the concert stage, Ms. Mack debuts with three orchestras under Charles Dutoit: Orchestre de la Suisse Romande in Ravel's L'heure espagnole and L'enfant et les sortilèges, the Boston Symphony Orchestra in L'heure espagnole, and the Chicago Symphony Orchestra in Falla's The Three-Cornered Hat. She also debuts with the Mitteldeutscher Rundfunk in Rossini's Giovanna d'Arco under James Gaffigan and will perform Vivaldi's Juditha triumphans with Boston Baroque. Future seasons will find her at the Metropolitan Opera, San Francisco Opera, Seattle Opera, Washington National Opera, Opera Philadelphia, English National Opera, and Royal Opera House, Covent Garden. Ms. Mack is an alumna of the Adler Fellowship Program at San Francisco Opera, where she has appeared as Idamante in Idomeneo, Siebel in Faust, and Lucienne in Die tote Stadt for her house debut. She performed the title role of La Cenerentola as a member of San Francisco Opera's Merola Opera Program and made her West Coast recital debut as part of San Francisco Opera's Schwabacher Debut Recital Series. Ms. Mack was a finalist in the 2013 BBC Cardiff Singer of the World competition.

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  • Andrew Haji


    Tenor Andrew Haji is a member of the Canadian Opera Company Ensemble Studio. His recent appearances with the Canadian Opera Company include Alfredo in Verdi's La traviata, Count Almaviva in Rossini's Il barbiere di Siviglia, Rodriguez in Massenet's Don Quichotte, and Ferrando in Mozart's Così fan tutte. Mr. Haji graduated from the University of Toronto in 2013 with a master's degree and in 2011 with a bachelor's degree. His University of Toronto opera credits include Nemorino in Donizetti's L'elisir d'amore, Rob Ford in Rob Ford: The Opera, Ferrando in Mozart's Così fan tutte, Lacouf and Reporter from Paris in Poulenc's Les mamelles de Tirésias, Don Ottavio in Mozart's Don Giovanni, Vanderdendur and Ragotski in Bernstein's Candide, and Cecco in Haydn's Il mondo della luna.

    Mr. Haji performed the role of Count Almaviva with the Salzburg Festival Young Singers Project in July and August 2015. In summer 2014, he sang Rodolfo in Puccini's La bohème at the Centre for Opera Studies in Italy. He has also recently performed the role of Tamino in Mozart's Die Zauberflöte both at Music Academy of the West in 2013 and at Accademia Europea dell'Opera in 2012.

    In 2014, he received the grand prize, press prize, and junior jury prize at the Netherlands' International Vocal Competition 's-Hertogenbosch. In 2013, he received an encouragement award in the Marilyn Horne Song Competition at Music Academy of the West. In 2012, he won second prize in the Canadian Opera Company's Ensemble Studio Competition.

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  • Evan Hughes


    Bass-baritone Evan Hughes's current engagements include returns to Dresden's Semperoper as a fest member in roles such as Figaro (Le nozze di Figaro), Masetto (Don Giovanni), Schaunard (La bohème), Angelotti (Tosca), Emma Becker (Nachtausgabe), and Achilla (Giulio Cesare). Later in the season, Mr. Hughes makes his debut with the Komische Oper Berlin as Leporello (Don Giovanni). In concert, he joins Washington Concert Opera as Oroe in Rossini's Semiramide, the Cincinnati Symphony Orchestra in Handel's Messiah, and American Composers Orchestra for Matthias Pintscher's songs from Solomon's garden. His future projects include his debut with Boston Lyric Opera.

    During the 2014-2015 season, Mr. Hughes performed a variety of roles at the Semperoper in operas by Handel (Zoroastro in Orlando and Achilla in Giulio Cesare), Rossini (Don Basilio in Il barbiere di Siviglia), Verdi (Pietro in Simon Boccanegra), Puccini (Colline in La bohème), and Peter Ronnefeld (Emma Becker in Nachtausgabe). In concert, he returned to Carnegie Hall for the world premiere of Elliott Carter's The American Sublime with the MET Chamber Ensemble and James Levine, made his Los Angeles Philharmonic debut in the West Coast premiere of Pintscher's songs from Solomon's garden with the composer conducting, and made his debut in Fauré's Requiem with Voices of Ascension.

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  • John Arida


    John Arida began this season working with Peter Sellars and Julia Bullock on a new production of Kaija Saariaho's La Passion de Simone in Berlin with the Orchestra Academy of the Berliner Philharmoniker. He also performs this season with Ms. Bullock at The Rockefeller University. In addition to his work with Ms. Bullock, Mr. Arida performs in recital with mezzo-soprano Isabel Leonard and soprano Simone Osborne. At The Juilliard School, he serves as associate coach and pianist for L'enfant et les sortilèges and an evening of staged songs by Charles Ives and Benjamin Britten. Past notable performances include a live-streamed memorial tribute for Lorin Maazel, for which his partners included Sir James Galway.

    Mr. Arida is active in New York as a coach and répétiteur, and his studio includes singers on the rosters of the Metropolitan Opera, Chicago Lyric Opera, Opera Theater of St. Louis, and other leading companies. He has recently prepared singers for the Dallas Opera premiere of Jake Heggie's Great Scott and for Santa Fe Opera's premiere of Jennifer Hidgon's Cold Mountain. His other operatic credits include work at the Castleton Festival (Don Giovanni), Boston Youth Symphony Orchestra (Rigoletto and Tosca), a season-long engagement as Emerging Artist Pianist with Virginia Opera (Aida and The Mikado), and two summers at Music Academy of the West (Il barbiere di Siviglia and The Rake's Progress). Mr. Arida holds a master's degree in collaborative piano from The Juilliard School, where he is currently a fellow with the Marcus Institute for Vocal Arts.

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  • Keun-A Lee


    Korean pianist Keun-A Lee has been on the music staffs of Opera Colorado, Opera Memphis, North Carolina Opera, New York City Opera, Spoleto Festival USA, and Gotham Chamber Opera. Following her 1998 debut at the Sejong Center for the Performing Arts in Korea, Ms. Lee has focused on piano collaboration. She has performed at Alice Tully Hall, the John F. Kennedy Center for the Performing Arts, Chicago's Preston Bradley Hall, Toronto's Centre for the Arts, and Seoul Arts Center in Korea. She has been invited to take part in the Internationale Meistersinger Akademie in Germany, Ravinia Festival's Steans Music Institute in Chicago, Merola Opera Program at the San Francisco Opera, the Music Academy of the West in Santa Barbara, Cape Cod Chamber Music Festival as the Samuel Sanders Scholarship Awardee, and Rockport Chamber Music Festival. As an orchestral keyboard player, she has worked with the Metropolitan Opera, New York Philharmonic, and The Juilliard School.

    Ms. Lee's recent engagements include a concert tour with musicians from the New York Philharmonic in Korea; a New York Philharmonic chamber music series at Merkin Concert Hall; the opening concert of the Lyric Chamber Music Society of New York; and recitals with the winners of Young Concert Artists and Concert Artists Guild competitions.

    Ms. Lee received both her bachelor's and master's degrees in piano performance at Kyung Hee University in Seoul. She also earned a master's degree and artist diploma in collaborative piano from The Juilliard School. She holds a professional studies certificate in vocal accompanying from Manhattan School of Music and is a graduate of the Metropolitan Opera's Lindemann Young Artist Development Program.

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  • Ken Noda


    Ken Noda is musical assistant to James Levine at the Metropolitan Opera, where he began working in 1991. 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.

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  • Jennifer Szeto


    Chinese-Canadian pianist Jennifer Szeto is an apprentice coach at the Canadian Opera Company Ensemble Studio, where this season she prepares La traviata, Siegfried, Le nozze di Figaro, and Carmen. Her other credits for the company include Madama Butterfly, Die Walküre, and Il barbiere di Siviglia. She was previously an apprentice pianist and coach with Opera de Montréal's Atelier Lyrique, where she served as rehearsal pianist for Hänsel und Gretel, The Old Maid and the Thief, and Amahl and the Night Visitors.

    Ms. Szeto has held music staff positions with Calgary Opera, the International Vocal Arts Institute in Tel Aviv, Canadian Vocal Arts Institute, Halifax Summer Opera Workshop, Cowtown Summer Opera Academy in Calgary, and MYOpera in Toronto. She holds a master's degree from McGill University and a bachelor's degree from University of Toronto, and she has received additional training from the Franz Schubert Institut in Baden bei Wien, Austria.

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  • Nina Stemme


    Swedish soprano Nina Stemme is in great demand at all major opera houses worldwide. Since her debut as Cherubino in Italy, she has sung at the leading opera houses of Stockholm, Vienna, Dresden, Geneva, Zurich, Naples, Barcelona, New York, and San Francisco, as well as the festivals of Bayreuth, Salzburg, Savonlinna, Glyndebourne, and Bregenz. She has sung Isolde in the acclaimed EMI recording of Tristan und Isolde with Placido Domingo and with fantastic success at the Glyndebourne and Bayreuth festivals, Zurich Opera House, Bavarian State Opera, and the Royal Opera House, Covent Garden. Other highlights have been her role debuts of Arabella in Gothenburg and Ariadne in Geneva, Sieglinde and Brünnhilde (Siegfried) as well as her first Elektra at the Vienna State Opera, her role debut of Salome at Gran Teatre del Liceu in Barcelona and her concert performance of the role with The Cleveland Orchestra at Carnegie Hall, Brünnhilde in the Ring cycle in San Francisco, Brünnhilde (Die Walküre and Siegfried) and Turandot at Teatro alla Scala in Milan, Leonore (Fidelio) in London and in concert with Claudio Abbado at the Lucerne Festival, Elisabeth in Tannhäuser in Paris, and Minnie in La fanciulla del West in Stockholm.

    Ms. Stemme's first performance as Isolde, at the Glyndebourne Festival in 2007, has been issued on DVD. Her other recordings include Martinů's The Greek Passion, Zemlinsky's Der König Kandaules, The Flying Dutchman (in English), Strauss opera scenes and the Four Last Songs, and performances on DVD of Der Rosenkavalier, Aida, and Jenůfa. She has been named Swedish Royal Court Singer, Member of The Royal Swedish Academy of Music, and Kammersängerin of the Vienna State Opera, and she has received the Premio Abbiati Italy, Sweden's Litteris et Artibus medal, a 2014 Opera News Award, and the Laurence Olivier Award for her performance in Tristan und Isolde at the Royal Opera House, Covent Garden.

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  • Jeffrey Goldberg


    Jeffrey Goldberg has been a distinguished pianist, vocal coach, and voice teacher in New York City since 1978. He currently holds the position of assistant conductor at The Metropolitan Opera, and has also been a vocal consultant to a number of European opera houses. For the past 15 years, he has banded together with several colleagues from The MET Orchestra, and distinguished friends from elsewhere, to perform chamber music in New York City and the surrounding areas. He spent several years on the faculty of the vocal arts department of The Juilliard School and has also held guest appointments at the Santa Fe Opera, Canadian Opera Company, and Royal Opera House, Covent Garden. His private studio has been host to such artists as Rockwell Blake, Renato Capecchi, Brigitte Fassbaender, Ferruccio Furlanetto, Nicolai Gedda, Jorma Hynninen, Soile Isokoski, James McCracken, James Morris, Neil Shicoff, Ruth Ann Swenson, Tatiana Troyanos, Carol Vaness, and Ramón Vargas, as well as younger singers from many countries. A native of Los Angeles, Mr. Goldberg holds degrees in piano from the Peabody Institute of The Johns Hopkins University and The Catholic University of America in Washington, DC.

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At a Glance

In this program of 19th-century masterworks of song, we begin in Russia with two of the nationalist composers who gave that country its own musical identity after the mid-century mark. Nikolai Rimsky-Korsakov is famous for his glittering operas and orchestral pieces, but tonight we hear two of his youthful songs, one of them an ardent love song based on a 14th-century Persian poem paraphrased in Russian and the other an exercise in the exotic-Oriental-Jewish.

The great Modest Mussorgsky, who created a uniquely Russian style of vocal declamation and a uniquely Russian-realist type of operatic drama, had a fondness for children and created a set of seven songs entitled The Nursery. We hear five of these vivid portraits of childhood.

Next, we turn to Austrian music's indebtedness to Italian opera in the 18thand 19th centuries. Near the end of his life, Franz Schubert, who studied as a boy with Antonio Salieri, knew the great Italian bass Luigi Lablache and wrote the two arias on this program on texts by Pietro Metastasio for him. The 1820s also saw the composition of the four other Schubert songs on this program: a bit of jolly moonlight philosophizing; a wistful, quietly tormented song to the evening star; a masterpiece about a ghostly double; and the grim ballad of a queen, a dwarf, and passion that leads to murder.

After intermission, we hear a Rossini cantata on the scene of Joan of Arc leaving her mother and her home to fight the English. Rossini wrote it as a gift for the singer he later married. It was not published until after his death in a collection he had whimsically entitled Sins of My Old Age.

The cosmopolitan song composer Franz Liszt set three love sonnets by Petrarch to music and published them in 1847, near the end of his "Glanzzeit" (or "time of brilliance," referring to his barnstorming tours of Europe as a virtuoso pianist). He would later revise and pare them down, but tonight, we hear the thrilling first versions: a challenge for singer and pianist alike.

We end with two selections from Richard Wagner's only song cycle, to texts by his then-mistress Mathilde Wesendonck. The genesis of the songs is mingled with that of his operatic masterpiece Tristan und Isolde; the two songs we will hear served as preliminary studies for portions of that opera.
Program Notes
The Song Continues is supported, in part, by the Ann and Gordon Getty Foundation and The Barbro Osher Pro Suecia Foundation.

Workshops and master classes 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.
This concert and the Pure Voice series are sponsored by the Jean & Jula Goldwurm Memorial Foundation in memory of Jula Goldwurm.