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  • Carnegie Hall Presents
  • ZH Zankel Hall
  • SA/PS Stern Auditorium / Perelman Stage
  • REW Resnick Education Wing
  • WRH Weill Recital Hall
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CARNEGIE HALL PRESENTS

Leah Crocetto, Soprano
Mark Markham, Piano

Thursday, November 8, 2018 7:30 PM Weill Recital Hall
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Leah Crocetto by Jiyang Chen, Mark Markham by Jean-Luc Fievet
Soprano Leah Crocetto is “a major star” and praised for her “extraordinary display of sumptuous vocal tone, regal phrasing, and technical agility” (San Francisco Chronicle). A winner of the 2010 Metropolitan Opera National Council Auditions, she has opened the San Francisco Opera’s 2016–2017 season in the title role of Verdi’s Aida, mesmerized audiences in song repertoire, and electrified in operatic roles from Mozart to Puccini.

Part of: Great Singers III: Evenings of Song

Performers

Leah Crocetto, Soprano
Mark Markham, Piano

Program

RESPIGHI "Stornellatrice"
RESPIGHI "Nebbie"
RESPIGHI "Notturno"
RESPIGHI "Mattinata" from Sei melodie
POULENC "Violon" from Fiançailles pour rire, No. 5
POULENC "Fleurs" from Fiançailles pour rire, No. 6
POULENC "Aux officiers de la garde blanche" from Trois poèmes de Louise de Vilmorin
POULENC "Les chemins de l'amour" from Léocadia
RACHMANINOFF "Oh, Do Not Sing to Me, Fair Maiden"
RACHMANINOFF "Fragment from Musset," Op. 21, No. 6
RACHMANINOFF "How Fair This Spot," Op. 21, No. 7
RACHMANINOFF "What Happiness," Op. 34, No. 12
GREGORY PEEBLES Eternal Recurrence (NY Premiere)
GERSHWIN "The Man I Love"
ARLEN "The Man That Got Away" from A Star Is Born
RODGERS "Falling in Love with Love" from The Boys from Syracuse
FAIN "I'll Be Seeing You" from Right This Way

Salon Encores

Get together with people who love music after this Weill Recital Hall concert for a free drink and discussion with the evening's musicians.
Learn More

This concert is made possible by The Ruth Morse Fund for Vocal Excellence.

At a Glance

One could hardly ask for a program more colorful and varied than this one, in which we hear of love—secular, sacred, reciprocated and joyous, despairing and forlorn. In four songs by Ottorino Respighi, we journey from utmost sorrow in the first two songs to an ecstatic acclamation of the Virgin in the last.

Francis Poulenc, son of a wealthy chemical manufacturer, is one of the greatest French song composers of the 20th century. He met writer Louise de Vilmorin in 1934 and created 12 songs to her poetry, including the cycle Fiançailles pour rire (Betrothal for Jest) and a set of three songs in 1937.

In the space of 27 years between 1890 and the Russian Revolution in 1917—at which point Sergei Rachmaninoff left his native country never to return—he composed more than 80 songs, many of them for singers he knew and worked with personally. Once in the US, he never wrote another, to everyone’s regret. Four of his songs—by turns sad, tender, ecstatic, and always rich—resound this evening.

A song cycle by Gregory Peebles titled Eternal Recurrence—which refers to the theory that all life, the universe itself, has recurred and will recur throughout infinity—receives its New York premiere this evening. Peebles has been a distinguished countertenor with Schola Antiqua and Chanticleer, and is also a composer whose consummate understanding of the voice is on display in this work.

Four familiar and beloved works from the Great American Songbook close out the program, beginning with the Gershwin brothers’ immortal “The Man I Love,” followed by songs of Harold Arlen, Richard Rodgers, and Sammy Fain.

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