National Symphony Orchestra
National Symphony Orchestra
Gianandrea Noseda, Music Director and Conductor
Erika Grimaldi, Soprano
Chiara Amarù, Mezzo-Soprano
Michele Angelini, Tenor
Marko Mimica, Bass-Baritone
University of Maryland Concert Choir
Edward Maclary, Director
LISZT Dante Symphony, S. 109
ROSSINI Stabat Mater
Event DurationThe printed program will last approximately two and one-half hours, including one 20-minute intermission.
The Trustees of Carnegie Hall gratefully acknowledge the generosity of Mr. and Mrs. Donald Fried in support of the 2018-2019 season.
National Symphony Orchestra
The 2018–2019 season marks the National Symphony Orchestra’s (NSO) 88th and Gianandrea Noseda’s second as its music director. The Italian conductor serves as the orchestra’s seventh music director, joining the NSO’s legacy of such distinguished leaders as Christoph Eschenbach, Leonard Slatkin, Mstislav Rostropovich, Antal Doráti, Howard Mitchell, and Hans Kindler. Its artistic leadership also includes Principal Pops Conductor Steven Reineke and Artistic Advisor Ben Folds.
Founded in 1931, the orchestra has always been committed to artistic excellence and music education. In 1986, the NSO became an artistic affiliate of the John F. Kennedy Center for the Performing Arts, where it has performed a full season of subscription concerts since the center opened in 1971. The 96-member NSO regularly participates in events of national and international importance, including official holiday celebrations through its regularly televised appearances on PBS for Capital Concerts, live-streamed performances from the Kennedy Center Concert Hall on medici.tv, and local radio broadcasts on Classical WETA 90.9 FM, making the NSO one of the most-heard orchestras in the country.
The orchestra performs approximately 150 concerts each year, including classical and popular concerts at the Kennedy Center, at Wolf Trap in the summer, and on the lawn of the US Capitol; and chamber music performances in the Terrace Theater, on the Millennium Stage, and at theaters around Washington. It has a distinguished history of touring and an extensive education program, with a range of offerings for families and children ages three and up.
Additionally, the NSO’s community engagement projects are nationally recognized, including NSO In Your Neighborhood, which annually comprises a week of approximately 50 performances in schools, churches, community centers, and other unexpected venues; Notes of Honor, which offers free performances for active, veteran, prior-service, and retired members of the military and their families; and Sound Health, a collaboration with the National Institutes of Health (NIH) and its affiliated organizations. Career development opportunities for young musicians include the NSO Youth Fellowship Program and its acclaimed, tuition-free Summer Music Institute. Visit nationalsymphony.org for more information.
Gianandrea Noseda was named the National Symphony Orchestra’s (NSO) seventh music director in January 2016. In September 2018, his contract was extended through the 2024–2025 season. His dynamic leadership has focused renewed attention on the NSO.
Mr. Noseda also serves as principal guest conductor of the London Symphony Orchestra and Israel Philharmonic Orchestra, principal conductor of the Orquestra de Cadaqués, and artistic director of the Stresa Festival. He is also the music director of the new Tsinandali Festival and Pan-Caucasian Youth Orchestra in Tsinandali, Georgia, which launches in September 2019. He begins his tenure as the general music director of Opernhaus Zürich in the 2021–2022 season, the centerpiece of which will be a new Ring cycle.
Mr. Noseda has conducted orchestras that include the Berliner Philharmoniker, Vienna Philharmonic Orchestra, Chicago Symphony Orchestra, The Cleveland Orchestra, Orchestra del Teatro alla Scala, Munich Philharmonic, New York Philharmonic, and Orchestre de Paris, as well as at the Royal Opera House, Covent Garden, and the Salzburg Festival. From 2007 to 2018, Mr. Noseda served as music director of Teatro Regio Torino, raising the company’s international profile with acclaimed productions, tours, recordings, and film projects. He has also served as chief conductor of the BBC Philharmonic Orchestra and as the first foreign principal guest conductor of the Mariinsky Theatre, as well as principal guest conductor of the Rotterdam Philharmonic Orchestra and the RAI National Symphony Orchestra. The Pittsburgh Symphony Orchestra created the Victor de Sabata Chair for him from 2010 to 2014.
Since 2002, Mr. Noseda has enjoyed a cherished relationship with the Metropolitan Opera and has led new productions that include Adriana Lecouvreur, which premiered at the New Year’s Gala on December 31, 2018. He conducted the MET Orchestra at Carnegie Hall in May 2018 and returns to the Hall with the orchestra in May 2020.
Mr. Noseda’s discography includes more than 60 albums, from his project Musica Italiana—which chronicles under-appreciated 20th-century Italian repertoire—to opera albums that feature Diana Damrau and Anna Netrebko with the Vienna Philharmonic Orchestra and Orchestra Teatro Regio Torino.
Mr. Noseda’s honors include Commendatore al Merito della Repubblica Italiana, Musical America’s 2015 Conductor of the Year, and Conductor of the Year at the 2016 International Opera Awards.
Erika Grimaldi made her debut as Nedda in Pagliacci at Teatro Regio Torino. Recent highlights include Mathilde in Guillaume Tell at the Bayerische Staatsoper; Mimì in La bohème at San Francisco Opera; Pagliacci at Deutsche Oper Berlin; Don Giovanni, Turandot, and Falstaff at Teatro Regio Torino; and Verdi’s Requiem with the London Symphony Orchestra. Her upcoming engagements include Così fan tutte and Le nozze di Figaro at Moscow’s Bolshoi Theatre.
In the 2014–2015 season, Ms. Grimaldi sang Desdemona in Otello and the Countess Almaviva in Le nozze di Figaro at Teatro Regio Torino, Donna Anna in Don Giovanni at Ópera de Bellas Artes in Mexico City, Donna Fiorilla in Il turco in Italia for her debut at Hamburg State Opera, and Mimì at Teatro di San Carlo. Engagements in 2013–2014 included Liù in Turandot, Mathilde in Guillaume Tell, and her debut as Maria in Simon Boccanegra at Teatro Regio Torino. She made her US debut in summer 2014 in Beethoven’s Symphony No. 9 at the Mostly Mozart Festival. In 2012–2013, she sang three leading roles in Turin: Mimì, Micaëla in Carmen, and Elisetta in Cimarosa’s Il matrimonio segreto.
Ms. Grimaldi made her Teatro dell’Opera di Roma debut in 2010, singing Anaï in Rossini’s Moïse et Pharaon under the baton of Riccardo Muti. Later that season, she sang her first Micaëla at Teatro Lirico di Cagliari. In 2009, she made debuts as Adina in Donizetti’s L’elisir d’amore at the Teatro Filarmonico in Verona, Pamina in Mozart’s Die Zauberflöte at the Teatro Massimo in Palermo, and Donna Anna in Don Giovanni at the Avenches Festival in Switzerland. Recently, she joined Jonas Kaufmann in a scene from Il trovatore on the tenor’s recent all-Verdi album for Sony Classical.
Born in Asti, Italy, Ms. Grimaldi graduated with distinction from the Conservatorio Giuseppe Verdi in Turin. She won prizes at the Crescentino International Competition in Vercelli, the International Giacomo Lauri-Volpi Competition in Spain, and the Comunità Europea competition in 2008.
Chiara Amarù began her musical studies under her parents’ guidance. She was a member of the children’s choir of Teatro Massimo in Palermo, graduated with honors from the Conservatorio di Musica Vincenzo Bellini di Palermo, and later studied at the Scuola dell’Opera in Bologna. She was a finalist at the 59th As.Li.Co. Competition for Young Opera Singers, and made her debut as Dorabella in Così fan tutte for the As.Li.Co circuit. Two years later, after winning the 61st As.Li.Co. Competition, she performed the role of Angelina in La cenerentola on tour throughout Italy. She was also a finalist at the seventh Concorso Lirico Internazionale Ottavio Ziino. Ms. Amarù has collaborated with conductors who include Gianluca Capuano, Gabriele Ferro, Stefano Montanari, George Petrou, Donato Renzetti, Speranza Scappucci, and Omer Meir Wellber.
Ms. Amarù’s engagements in recent seasons have included Le comte Ory (Isolier) at La Scala; Elektra (Second Maid) in Palermo; Idomeneo (Idamante) in Bologna; Napoli milionaria (Assunta) in Martina Franca; La cenerentola in Turin, Palermo, and Lisbon; Mosè in Egitto (Amenofi), Il signor Bruschino (Marianna), Tancredi (Isaura), La donna del lago (Malcolm), and a solo recital at the Rossini Opera Festival in Pesaro; Falstaff (Meg) and Mozart’s C-Minor Mass in Cagliari; L’italiana in Algeri (Isabella) in Bologna, Venice, Tours, Trieste, and Bari; Il matrimonio segreto (Fidalma) in Turin; Il barbiere di Siviglia (Rosina) in Parma, Palermo, Turin, Rome, Naples, Venice, and the Rossini Opera Festival; Così fan tutte (Dorabella) in Rome; Roberto Devereux (Sara) in Florence; La forza del destino (Preziosilla) in Parma and Verona; I puritani (Enrichetta) at the Festival de Radio France et Montpellier; Mayr’s Che originali! (Aristea) and Donizetti’s Messa da Requiem at the Donizetti Festival in Bergamo; and Auber’s Fra Diavolo (Pamela) in Palermo.
Concert engagements have included a Rossini gala with Orchestra Sinfonica di Milano Giuseppe Verdi, Mozart’s Requiem in Chieti, a performance with Andrea Bocelli for the 2010 Golden Pavarotti Award, a concert with Boris Petrushansky at the MITO SettembreMusica festival, Pergolesi’s Stabat Mater in Bologna, Rossini’s Stabat Mater with the Orchestre National du Capitole de Toulouse; and Rossini’s Petite messe solennelle in Palermo.
Future plans include Il barbiere di Siviglia in Lima, Palermo, and Melbourne; La cenerentola in Bologna; and Rossini’s Stabat Mater in Washington and in Paris at the Philharmonie.
Michele Angelini has emerged on the international stage as one of today’s leading leggiero tenors. His recent house debuts include performances of Tancredi at Bari’s Teatro Petruzzelli and Il viaggio a Reims at Moscow’s Bolshoi Theatre. Return engagements have included Il barbiere di Siviglia at Staatsoper Berlin and La cenerentola at Teatro dell’Opera di Roma. Concert engagements include his debut at the Edinburgh International Festival in Il barbiere di Siviglia with Le Cercle de l’Harmonie, and Nicias in concert performances of Thaïs opposite Plácido Domingo at Madrid’s Teatro Real and at the Castell de Peralada Festival.
Mr. Angelini recently made house debuts at the Teatro Municipal de Santiago in La cenerentola, at Paris’s Théâtre des Champs-Élysées in a new production of Il barbiere di Siviglia, and at the Bayerische Staatsoper as Narciso in Christoph Loy’s production of Il turco in Italia and as Idreno in David Alden’s production of Semiramide, both under the baton of Antonello Allemandi.
Highlights of recent seasons include the title role of Gluck’s Orphée et Eurydice at the Royal Opera House, Covent Garden, with Sir John Eliot Gardner; Mr. Angelini’s Metropolitan Opera debut in the company’s new production of Guillaume Tell conducted by Fabio Luisi; Il barbiere di Siviglia and Don Giovanni at the Royal Opera House, Covent Garden; Il viaggio a Reims at Maggio Musicale Fiorentino; and L’italiana in Algeri at Teatro Comunale di Bologna. Concert appearances have included his Rheingau Musik Festival debut in Rossini’s Stabat Mater with Andrés Orozco-Estrada and the Frankfurt Radio Symphony, a program of arias and duets with Angela Meade and Vivica Genaux for Washington Concert Opera, and Handel’s Messiah with the National Symphony Orchestra at the Kennedy Center and at Oslo’s Den Norske Opera.
Croatian bass-baritone Marko Mimica attended the Rossini Opera Academy in Lunenburg, Canada, where his roles included Lord Sidney in Il viaggio a Reims. At the Rossini Opera Festival in Pesaro, he has sung the Podestà in La gazza ladra and Douglas in La donna del lago.
Mr. Mimica’s engagements in recent seasons have included Frère Laurent in Roméo et Juliette at Deutsche Oper Berlin; Count Almaviva in Le nozze di Figaro at Teatro di San Carlo in Naples; Alfonso d’Este in Lucrezia Borgia in Bilbao and at the Palau de les Arts Reina Sofia in Valencia; Escamillo in Carmen and Banco in Macbeth at the Teatro Massimo in Palermo; Mustafà in L’italiana in Algeri at the Royal Opera House in Muscat, Oman; Oroveso in Norma and Lord Sidney in Il viaggio a Reims at the Teatro Filarmonico in Verona; and Banco in Macbeth at Teatro Regio Torino.
From 2011 to 2016, Mr. Mimica was a member of the ensemble at Deutsche Oper Berlin, where his repertoire included Count Almaviva in Le nozze di Figaro, Raimondo in Lucia di Lammermoor, Don Basilio in Il barbiere di Siviglia, Talbot in Maria Stuarda, Escamillo in Carmen, Padre Lorenzo in I Capuleti e i Montecchi, Celio in The Love for Three Oranges, Colline in La bohème, Pistola in Falstaff, Banco in Macbeth, Oroveso in Norma, and Ferrando in Il trovatore. Upcoming engagements include La forza del destino in Piacenza, Anna Bolena and La sonnambula in Liège, Lucia di Lammermoor in Bilbao, and Don Giovanni in Madrid.
Mr. Mimica graduated from the Zagreb Academy of Music in Croatia. He participated in the Young Singers Project of the Salzburg Festival in 2011 and was a prizewinner at the Cardiff Singer of the World competition in 2013.
University of Maryland Concert Choir
This year, the University of Maryland (UMD) Concert Choir celebrates its 16th consecutive season of collaboration with the National Symphony Orchestra (NSO). Since 2003, the ensemble has performed works such as Duruflé’s Requiem, Bach’s St. Matthew Passion and Mass in B Minor, Haydn’s Creation, Mendelssohn’s Elijah, and Handel’s Messiah with the NSO under conductors who include Matthew Halls, Rinaldo Alessandrini, Nathalie Stutzmann, and Laurence Cummings. Conductors for other NSO and UMD Concert Choir collaborations have included Christoph Eschenbach, Iván Fischer, Helmuth Rilling, Sir James MacMillan, and Donald Runnicles. The choir’s most recent appearance with the orchestra featured performances of The Gospel According to the Other Mary by John Adams.
The choir comprises singers chosen by audition from throughout the university, and maintains a rigorous schedule of concerts both on and off campus. At the Clarice Smith Performing Arts Center, the UMD Concert Choir has performed repertoire as diverse as Bach’s Christmas Oratorio, Mahler’s Symphony No. 2, and Verdi’s Requiem. In November 2013, the ensemble made its debut with the Baltimore Symphony Orchestra and Marin Alsop in acclaimed performances of Britten’s War Requiem. The ensemble has since returned to Baltimore for performances of Mozart’s Mass in C Minor under the baton of Masaaki Suzuki, Brahms’s German Requiem with Markus Stenz, and Stravinsky’s Symphony of Psalms and Mozart’s Requiem under Marin Alsop.
The UMD Concert Choir is one of six full-time choral ensembles at the University of Maryland School of Music. The ensembles perform a wide range of a cappella and concert music, from medieval chant and Renaissance polyphony to masterworks of the 20th century and premieres of contemporary compositions. The university’s choral ensembles appear regularly by invitation at the professional conferences of the National Association for Music Education and the American Choral Directors Association. Edward Maclary became director of choral activities at the University of Maryland in 2000. Under his guidance, the choral program at the university has risen to national and international prominence. Mr. Maclary directs the School of Music’s graduate program in choral conducting, and alumni from that program now occupy leadership positions at colleges and universities across the country.