CARNEGIE HALL PRESENTS

Performance Thursday, April 12, 2012 | 8 PM

Orchestra of St. Luke's

Stern Auditorium / Perelman Stage
The Orchestra of St. Luke’s closes its Carnegie Hall season with an all-Mozart program, featuring one of New York City’s most distinguished professional choruses, Musica Sacra. Iván Fischer, who made his first appearance with St. Luke’s last season, conducts two pieces written towards the end of composer’s short life: the triumphant Symphony No. 34 and the Requiem, left unfinished at Mozart’s death.

Performers

  • Orchestra of St. Luke's
    Iván Fischer, Conductor
  • Dominique Labelle, Soprano
  • Kelley O'Connor, Mezzo-Soprano
  • Joseph Kaiser, Tenor
  • Richard Paul Fink, Baritone
  • Musica Sacra
    Kent Tritle, Music Director

Program

ALL-MOZART PROGRAM
  • Symphony No. 34 in C Major, K. 338
  • Requiem, K. 626

Bios

  • Orchestra of St. Luke's


    Now in its 37th season, Orchestra of St. Luke's (OSL) is one of America's foremost and most versatile ensembles. Dedicated to engaging audiences throughout New York City and beyond, OSL performs approximately 70 orchestral, chamber, and educational concerts each year-including an annual orchestra series at Carnegie Hall, an annual chamber music series at The Morgan Library & Museum and Brooklyn Museum, and summer concerts as orchestra-in-residence at the Caramoor International Music Festival. OSL's principal conductor is Pablo Heras-Casado.

    OSL collaborates regularly with the world's great artists, such as Renée Fleming, Yo-Yo Ma, Jessye Norman, Anna Netrebko, Anne-Sophie Mutter, Mark Morris Dance Group, Peter Gabriel, Sting, Elton John, and many more. Committed to community building, OSL produces free concerts in each of the five boroughs of New York City, and has engaged more than one million children in its arts education programs. OSL's stellar discography of more than 70 recordings includes four acclaimed releases on its own label, St. Luke's Collection, and four Grammy Award-winning recordings. OSL has commissioned more than 50 new works and performed more than 150 world, US, and New York premieres.

    In March 2011, OSL opened The DiMenna Center for Classical Music-its first permanent home, and New York City's first rehearsal and recording facility dedicated to classical music. The center has already hosted thousands of musicians from a wide range of ensembles and serves as the venue for OSL's new free concert series, OSL@DMC, which connects the public to the artistic process of composers and musicians.


    Iván Fischer


    Iván Fischer has been music director of the Budapest Festival Orchestra since he founded the celebrated ensemble in 1983-one of today's great success stories. As a guest conductor, Mr. Fischer works with the world's finest symphony orchestras. He has been invited to conduct the Berliner Philharmoniker more than 10 times, and devotes two weeks every year to the Royal Concertgebouw Orchestra. He was principal guest conductor and principal conductor of the National Symphony Orchestra in Washington, DC, from 2006 to 2009. He has also appeared with the New York Philharmonic, the Cleveland and Philadelphia orchestras, Orchestra of St. Luke's, and the Los Angeles Philharmonic. Mr. Fischer's opera engagements have included the Vienna State Opera, Glyndebourne, and the Opera National de Lyon, where he was music director from 2000 to 2003. In August 2011, he performed and directed Don Giovanni at the Mostly Mozart Festival.

    Mr. Fischer's intense international touring with the Budapest Festival Orchestra, and his more than 50 highly acclaimed recordings with the ensemble for Philips and Channel Classics, have contributed to his reputation as one of the world's most visionary and successful orchestra leaders. In August 2012, he adds a new post to his worldwide schedule, becoming music director of the Konzerthaus Berlin and principal conductor of the Konzerthausorchester Berlin. Mr. Fischer studied piano, violin, and cello, and is an active composer. He is a founder of the Hungarian Mahler Society and Patron of the British Kodály Academy. He received the Golden Medal Award from the President of the Republic of Hungary, the Kossuth Prize, the Royal Philharmonic Award, the Crystal Award from the World Economic Forum, and the Dutch Ovatie prize. He has been named a Chevalier des Arts et des Lettres by the French Government, an honorary citizen of Budapest, and an Ambassador of Hungarian Culture.

     

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    Dominique Labelle


    Dominique Labelle's recent engagements include Stravinsky's Les noces with the St. Louis Symphony and David Robertson; Handel's Messiah with Kent Nagano and the Orchestre symphonique de Montréal; Yehudi Wyner's Fragments from Antiquity with the Lexington Symphony; and performances with conductor Nicholas McGegan and the Philharmonia Baroque Orchestra, at the Göttingen Handel Festival, and with the National Arts Centre Orchestra. With Iván Fischer, a frequent collaborator, Ms. Labelle has performed as Countess Almaviva in Mozart's Le nozze di Figaro in Las Palmas and Budapest; Bach's B-Minor Mass in Washington, DC; and Bach's St. Matthew Passion with the Royal Concertgebouw Orchestra in Amsterdam. This past winter, she sang the lead female role in the modern premiere of Monsigny's Le roi et le fermier for Opera Lafayette, conducted by Ryan Brown, in performances at the Kennedy Center, Lincoln Center, and at Versailles. Contemporary music credits include Shostakovich's Seven Romances on Verses of Alexander Blok, Britten's Les illuminations, and John Harbison's The Rewaking (recorded for Musica Omnia). Her most recent recording is Monsigny's Le déserteur (Naxos).

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  • Kelley O'Connor


    Kelley O'Connor has emerged as one of the most compelling performers of her generation. Engagements during the 2011-2012 season include the world premiere of John Adams's The Gospel According to the Other Mary with the  Los Angeles Philharmonic under Gustavo Dudamel and Ursule in Berlioz's Béatrice et Bénédict with Opera Boston; in addition, she reprises her signature role as Federico García Lorca in Peter Sellars's staging of Osvaldo Golijov's Ainadamar at Teatro Real in Madrid, and sings her first performances of Ravel's Shéhérazade with Michael Christie at the Colorado Music Festival and Esa-Pekka Salonen and the Philharmonia Orchestra at the Edinburgh Festival. Other highlights include Stravinsky's Les noces with David Robertson and the St. Louis Symphony; Handel's Messiah with the San Francisco Symphony; Mahler's Symphony No. 2, "Resurrection," with Donald Runnicles and the Atlanta Symphony and with the Kansas City Symphony; and Mozart's Requiem with both Louis Langrée and the Mostly Mozart Festival Orchestra at Lincoln Center, and Peter Oundjian and the Toronto Symphony Orchestra. Finally, Ms. O'Connor returns to Atlanta for Bach's St. Matthew Passion led by Robert Spano, which she also sings with the Calgary Philharmonic Orchestra.

     

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    Joseph Kaiser


    Joseph Kaiser is recognized by audiences for his beauty of tone, intelligence of programming, and innate sense of style and elegance. He is internationally acclaimed as one of the most gifted artists of his generation and enjoys success in opera, oratorio, and concert throughout North America and Europe. Mr. Kaiser's 2011-2012 season includes Iphigénie en Tauride at the Canadian Opera Company, Rodelinda at the Metropolitan Opera, Jenůfa at the Deutsche Oper Berlin, and Arabella at the Opéra National de Paris. Concert engagements include Mozart's Requiem with the Mostly Mozart Festival under the baton of Louis Langrée. Highlights of recent seasons include Eugene Onegin at the Opéra National de Paris and the Salzburg Festival; Die Zauberflöte at the Royal Opera, Covent Garden, and the Los Angeles Opera; Don Giovanni at the Bavarian State Opera; and Capriccio, Roméo et Juliette, Die Zauberflöte, and Salome at the Metropolitan Opera. His concert schedule has included performances with the Tonhalle-Orchester Zürich, Orchestre de la Suisse Romande, Berliner Philharmoniker, and the Vienna, Boston, and Chicago symphony orchestras.

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  • Richard Paul Fink


    Richard Paul Fink has been acclaimed as a leading dramatic baritone in appearances with the Metropolitan Opera, Deutsche Oper Berlin, Staatsoper Berlin, Opera National de Paris, San Francisco Opera, Houston Grand Opera, Washington National Opera, San Diego Opera, Hamburg State Opera, Welsh National Opera, Scottish Opera, Théâtre du Capitole, Toulouse, and Sydney Opera, as well as the Bregenz and Ravinia festivals. His repertoire comprises leading roles in Wagner's Der fliegende Holländer and Lohengrin; Beethoven's Fidelio; Verdi's Nabucco, Rigoletto, and Otello; Puccini's Tosca; Giordano's Andrea Chénier; and many others. Mr. Fink has been especially identified with the role of Alberich in Wagner's Ring cycle, which he has sung at the Metropolitan Opera under James Levine, the Dallas Opera, the Seattle Opera, and the Canadian Opera Company. He has been highly praised as Klingsor in Wagner's Parsifal, a role he has sung under James Levine, Claudio Abbado, Christoph Eschenbach, James Conlon, and Valery Gergiev. In the 2011-2012 season, Mr. Fink returns to the Metropolitan Opera for Wagner's Siegfried and Götterdämmerung, and to the Lyric Opera of Kansas City for Nixon in China. Future engagements include Tristan und Isolde at  Teatro La Fenice in Venice, Die Frau ohne Schatten at the Metropolitan Opera, Nixon in China in Dallas, and Fidelio in Santa Fe.

     

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  • Musica Sacra


    Since its founding in 1964 by conductor Richard Westenburg, the mission of Musica Sacra has been to create definitive, professional choral performances of the highest caliber for the widest possible audience. It supports its mission by presenting concerts; recording, commissioning, and performing new choral works; and educating audiences, students, and the general public in the appreciation and history of choral music. In addition to its acknowledged affinity for Baroque music, Musica Sacra performs in all genres, from the earliest of Gregorian chant to commissioned works and premieres by such leading contemporary composers as Benjamin Britten, Dave Brubeck, Alessandro Cadario, Robert Convery, David Diamond, Aram Khachaturian, and Ned Rorem.

    Musica Sacra performs its final concert of 2011-2012 -featuring songs and romances of Brahms, Schubert, and Schumann -on April 23 in Carnegie Hall's Weill Recital Hall.

    Musica Sacra has recorded on the RCA, BMG, and Deutsche Grammophon labels, including the first digitally recorded performance of Messiah, released in 1982 by RCA and reissued on High Performance, BMG's audiophile label. In June 2012, Musica Sacra will release its first recording since 1993. Entitled Messages toMyself, it features the music of such leading contemporary composers as Daniel Brewbaker and Michael Gilbertson, both of whose works for Musica Sacra's May 2011 performance at Alice Tully Hall were commissioned by the ensemble.

     

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Audio

Mozart's Symphony no 39 in E flat major, K 543, Allegro
Orchestra of St. Luke's; Donald Runnicles, Conductor
Delos Records

At a Glance

Featuringtwo works by Wolfgang Amadeus Mozart, this program reveals the composer’sstylistic continuity, as well as a maturation and depth that developedthroughout his short life. The 11 years that elapsed between Mozart’s last Salzburgsymphony and his final work produced an enriched, darkened sonority, but noless grace than earlier works.

When Mozart wrote his Symphony No. 34 in August 1780, he was on the verge ofleaving Salzburg in order to mount the premiere of Idomeneo in Munich. The symphony may thus be viewed as his farewellto family and friends. The following year, the composer moved permanently toVienna, after which time he wrote no more symphonies for Salzburg, though in1785 he sent one more back from Vienna specifically for a Salzburg patron.

The final work Mozart ever penned, the Requiem, contains many mysteries. First,was the commission for a Requiem Mass to be composed in secrecy for an unknownperson? And then, since Mozart did not live to complete the work, there is amusical mystery about his intentions in the last half. Yet, even in a formcompleted by another hand, the Requiem possesses a unique color and profoundexpression that is entirely fitting for thoughts of mortality.
Program Notes
This performance is part of Orchestra of St. Luke's, and Choral Ecstasy - Students.