CARNEGIE HALL PRESENTS

Performance Wednesday, January 18, 2012 | 5:30 PM

The Song Continues... Duo Recital

Weill Recital Hall
The Song Continues … workshop brings young singers together from around the world each January. On this recital, a dazzling soprano from Canada, Mireille Asselin, and a dashing baritone from Washington State, José Rubio, come together on the Weill Recital Hall stage.

Performers

  • Mireille Asselin, Soprano
  • José Rubio, Baritone
  • Bryan Wagorn, Piano

Program

  • MOZART "Das Veilchen," K. 476
  • SCHUBERT "Viola," D.786
  • DEBUSSY "Apparition"
  • JOSEPH SCHWANTNER "Black Anemones"
  • SCHUBERT "Prometheus"
  • SCHUBERT "Der Zwerg"
  • IVES "Charlie Rutlage"
  • IVES "Songs My Mother Taught Me"
  • IVES "The Circus Band"

  • Encore:
  • HAHN "Nous avons fait un beau voyage" from Ciboulette

Bios

  • Mireille Asselin


    Soprano Mireille Asselin is a young artist at the onset of an exciting career. She obtained a master's degree from Yale University in 2010 and is currently a member of the Canadian Opera Company Ensemble Studio. This season with the COC, she performs the title role in Handel's Semele (Ensemble Studio performance), Contessa Ceprano in Rigoletto, and Second Priestess in Iphigénie en Tauride, while also covering Olympia (Les contes d'Hoffmann), Lauretta (Gianni Schicchi) and Semele. In addition, she performs with Opera Hamilton (Popera Plus), Boston Early Music (Flore and Proserpine in La descente d'Orphée) and Glimmerglass Festival (Phénice and Lucinde in Armide). She also appears on concert stages across North America and in England singing Brahms's Eindeutsches Requiem, Beethoven's Ninth Symphony, and Handel's Messiah.

    In 2010-2011, she debuted at Carnegie Hall singing Vaughan Williams's Dona nobis pacem with the The Yale Symphony Orchestra, performed the roles of Galatea (Acis and Galatea) and Servilia (La clemenzadi Tito) with Opera Atelier in Toronto, and was a semi-finalist in the Das Lied International Song Competition in Berlin. Ms. Asselin is a devoted recitalist who has studied song literature with Roger Vignoles, Sir Thomas Allen, and Malcolm Martineau.

    Ms. Asselin's career highlights include performances as Adele (Die Fledermaus) with Opera Hamilton; First Witch (Dido and Aeneas) with Opera Atelier on its tour to Seoul; and Pamina in the feature film Magic Flute Diaries (2007). Next season, she will be featured in two lead roles on the COC main stage. Visit mireilleasselin.com for more information.

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  • José Rubio


    Internationally acclaimed baritone José Rubio has quickly established himself as an important young artist on both the operatic and concert circuits. In 2011, he performed the title role of Figaro in Il barbiere di Siviglia at the Music Academy of the West, and was the runner up in the Marilyn Horne Song Competition. While in Santa Barbara, he was personally selected by Marilyn Horne to perform for William and Catherine Windsor, the newlywed Duke and Duchess of Cambridge, at a high-profile charity event at the Santa Barbara Polo Club.

    In 2011, Mr. Rubio had his New York operatic debut with Encompass Opera as the male lead in the world-premiere production of Angel of the Amazon. In 2010, he completed a two-year engagement as a studio artist with the Portland Opera, where he performed more than 12 roles for the main stage and two recitals as part of the Portland Opera's recital series. Mr. Rubio's leading operatic credits include Marcello, Gianni Schicchi, Figaro, Schaunard, Dr. Rappaccini, Papageno, Sam, Masetto, Mercurio, Fiorello, Marullo, and Barone Douphol. He has been featured in concert with the Cincinnati Chamber Orchestra and Oregon Sinfonietta, and as a guest artist in recital at the New Mexico State University and the University of Texas.

    Mr. Rubio is an artist-diploma candidate at the Cincinnati College-Conservatory of Music. He is a three-time alumnus of the prestigious Music Academy of the West and has also spent three summers in Italy with the Opera Theater and Music Festival of Lucca.

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  • Bryan Wagorn


    Canadian pianist Bryan Wagorn is in his first year of the Metropolitan Opera's Lindemann Young Artist Development Program. He has performed throughout Canada, the US, Europe, and Asia as vocal accompanist, soloist, and chamber musician, and has been broadcast on CBC Radio, Radio-Canada, Chinese Central Television, and Rogers TV. This summer, he will act as accompanist for the Steans Music Institute at the Ravinia Festival.

    Mr. Wagorn made his recital debut at New York's Weill Recital Hall at Carnegie Hall in 2009, and has partnered with such musicians as Kenneth Cooper, Ralph Kirshbaum, and Carol Wincenc. He has toured twice under the auspices of Jeunesses Musicales Canada, and has also toured China with Canada's Tabaret Ensemble. Mr. Wagorn has performed for The Marilyn Horne Foundation, Banff International Keyboard Festival, The International Holland Music Sessions, and the Centre d'arts Orford.

    Since 2007, Mr. Wagorn has been on faculty of Canada's National Arts Centre Summer Music Institute, directed by Pinchas Zukerman; he has also formerly taught at the Manhattan School of Music. He graduated from the Royal Conservatory of Music with distinction, holds a bachelor's degree in music from the University of Ottawa, as well as a master's degree in music from the Mannes College The New School for Music. He is currently a doctoral candidate at the Manhattan School of Music.

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At a Glance

We begin with four very different songs that invoke flowers. The inspiration for many of Mozart’s songs arose from personal relationships (a musical thank-you note) or private circumstances. Art song did not yet have the prolific presence it gained in the 19th century. However, if Mozart’s songs are few in number, they are gems in quality; tonight, we hear his only setting of a poem by Goethe.

This evening’s program features three Schubert ballads in different moods: We hear a flowery ballad on themes of shame and early death, an example of Antikenlieder(songs about Greek mythology), and a “horror ballad.”

An early song by Debussy set to a poem by symbolist poet Stéphane Mallarmé follows—a wonderfully airy confection that soars up to high C.

Joseph Schwantner, whose Aftertones of Infinityreceived the 1979 Pulitzer Prize, is one of America’s most important living composers. He has been honored by commissions and performances worldwide and is the recipient of numerous grants and awards. We hear his “Black Anemones” this evening.

Charles Ives—the great rebel of early–20th-century American music—wrote inimitable songs; we hear two ebullient, even boisterous, specimens and one tender remembrance of a mother’s music.
Program Notes
The Song Continues… is supported by The Herman Lissner Foundation.
Professional Training Workshops 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.