THE BRITISH INVASION A FESTIVAL OF ENGLISH MUSICAL DRAMAS MAY-JUNE 2015 - Odyssey Opera
←
→
Page content transcription
If your browser does not render page correctly, please read the page content below
h e t tish ri b re a ming co THE BRITISH INVASION A FESTIVAL OF ENGLISH MUSICAL DRAMAS MAY–JUNE 2015 THE BRITISH INVASION: A FESTIVAL OF ENGLISH MUSICAL DRAMAS 1
THE BRITISH INVASION
A FESTIVAL OF ENGLISH MUSICAL DRAMAS
RALPH VAUGHAN WILLIAMS: P. 6
SIR JOHN IN LOVE
Sunday, May 17 at 3pm
Wednesday, May 20 at 7:30pm
Saturday, May 23 at 7:30pm
Boston University Theatre
ARTHUR SULLIVAN: THE ZOO P. 20
WILLIAM WALTON: THE BEAR
Friday, May 22 at 7:30pm
Sunday, May 24 at 3pm
Boston University Theatre
KINGS, QUEENS, SAINTS & SINNERS P. 30
FIVE MONODRAMAS
Saturday, May 30 at 7:30pm
Boston University Theatre
THOMAS ADÈS: P. 44
POWDER HER FACE
Thursday, June 18 at 7:30pm
Friday, June 19 at 7:30pm
Saturday, June 20 at 7:30pm
The Boston Conservatory Theater
Gil Rose, Artistic and General Director
Randolph J. Fuller, Festival Underwriter
ODYSSEYOPERA.ORG
THE BRITISH INVASION: A FESTIVAL OF ENGLISH MUSICAL DRAMAS 1DAS LAND OHNE OPER—NEIN!
BY RANDOLPH J. FULLER
Of all the worn-out bromides Still it was unquestionably
relentlessly repeated by self-styled Sullivan’s success in the field that
eminent musicologists, perhaps the convinced other English composers
most infuriating is the old canard to pursue careers in opera. What
that England, indeed Britain could be more tempting, after
as a whole, has never produced all, than to follow Sir Arthur’s
anything of lasting interest, much commercial and artistic triumph of
less quality, in the realm of opera. Ivanhoe (1891) with operas of their
Even today you read in endless own?
program notes that nothing but a
musical wasteland exists between Ivanhoe was the score that opened
Purcell’s Dido and Aeneas and Richard D’Oyly Carte’s magnificent
the appearance of Britten’s Peter new Royal English Opera House
Grimes. Much of this nonsense can (still standing) and that played
be traced back to a vicious little for an unprecedented 155 nights,
book penned in 1904 by one Oskar requiring a double cast to sustain
Schmitz titled Das Land ohne the run (and incidentally raking
Musik (The Land without Music), in more money that The Mikado!).
and in the Anglophobic punch-up Probably the only thing that
leading to the First World War, precludes regular performances of
its disparaging message somehow this richly Romantic score is the
managed to stick. To paraphrase staggering expense of staging it
Oscar Wilde, Schmitz would no properly—no Regietheater here!
doubt have argued that in England The tournament scene at Ashby
opera was an art form that dare not alone would bankrupt most opera
speak its name. companies today.
But how can this be? Focusing just Carte’s chief aim in opening his
on the 19th century, is it possible to new opera house was to deal with
claim that British composers had the whole question of “Englishness”
nothing interesting to say when Sir in the field of opera, and to that
Arthur Sullivan was busy creating end he had planned to commission
a series of comic masterpieces with a whole series of new works by
his partner Gilbert? Even before the younger generation of British
the appearance of these universally composers. Alas it was not to be.
loved works, the Irish-born but Ivanhoe was to be followed by a
London-focused Michael Balfe had new work composed by Sir Frederic
already established a successful Hymen Cowen (1852–1935) titled
Anglo-opera tradition with his Signa. But Cowen failed to deliver
immensely popular The Bohemian the score on time, and Carte’s
Girl (1846), a work that defines enterprise failed. Yet, amazingly
the term “war horse.” Sheet music enough, the opera was transferred
for the opera’s hit tune “I dreamt to La Scala in Milan where it was
I dwelt in marble halls” could be premiered in 1893, the same season
PHOTO: ELLIOTT&FRY
found virtually on every parlor as Puccini’s Manon Lescaut and
piano stand across the English Verdi’s Falstaff. The directors of La
speaking world well into the 20th Scala were no fools, and they must
century. have heard something in Cowen’s
From top: Sir Charles Villiers Stanford
and Sir Frederic Hymen Cowen
2ODYSSEYOPERA.ORGmusic that mightily impressed Wreckers (1909), a bit of English Epicurean) audiences responded
them. Perhaps that enterprising verismo dealing with nasty doings enthusiastically. Sermons were
CD label Chandos might consider a among the lowly in a Cornish preached against it which only
recording of this work to follow up fishing village. Despite her training increased ticket sales. And on top
on their previous wonderful release at the Leipzig Conservatory of it all the music was irresistible.
of Ivanhoe. (where Sullivan studied as well), a Messalina was quickly adopted into
refreshing breeziness recognizably the repertory and remained firmly
And now the flood gates were English surges through her fixed there well into the 1920s. Do
open! Operas came pouring off essentially late Romantic German you think we’re missing something?
the pens of British composers at style. One senses that English folk
an astonishing rate, and many of melodies are not far away, the next Even here our survey of British
them did very well indeed. Consider step in the “Englishing” of opera. opera is hardly complete—the
Sir Charles Villiers Stanford who amazing story of Rutland Boughton
composed no less than nine operas. This summer in early August the and his Celtic music-dramas is a
His version of Shakespeare’s Much Bard Festival provides an eagerly tale of hubris run wild—but still
Ado about Nothing (1900) raises awaited opportunity to evaluate the best way to enjoy this Odyssey
inevitable curiosity, but Stanford is Dame Ethel’s place in the Pantheon is in live performance. We here at
mostly recalled today for his comic of English opera with a fully staged Odyssey Opera hope that we’ve
opera Shamus O’Brien (1896), a bit production of The Wreckers. It’s laid Oskar Schmitz permanently to
of clever nonsense about daring- hard not to think of this event as rest. That’s what happens when you
do among Irish rebels. So popular the logical addendum to Odyssey hear too much Wagner.
was this tuneful work that it was Opera’s British Invasion.
quickly adopted in the United
States (where Irish immigrants But in the end, if you really want
were aplenty), playing on Broadway something off the charts, then you
of all places in the season of 1897. need to consider Isadore de Lara’s Randolph J.
Messalina. Messalina?—we’re a long Fuller
And now we arrive at that amazing way off from Ivanhoe and Cornish
phenomenon of Dame Ethel Smyth fishing villages. Born in London
(1858–1944), possibly the most in 1858, de Lara decided to pass
successful English opera composer up the usual training in Leipzig,
between Sullivan and Vaughan choosing instead to study in France
Williams (though Delius might with Edouard Lalo. High life in
claim that titles as well, could we Paris seems to have inspired him
only figure out what style he wrote as he composed no less than 13
in). At a time when you might have operas, but in 1899 he struck gold
expected to encounter an ingrained with this musical retelling of the
prejudice against female composers, notorious Roman Empress. This is
Dame Ethel simply swept aside any opera x-rated! Messalina is probably
doubts about her talent with works the most lurid opera before Salome,
of such robust professionalism and in the spirit of Fin-de-Siècle
that her male colleagues were left decadence (the English were hardly
breathless. Six operas are to her exempt from this sort of thing.
credit—the second, Die Wald (1901), Think of Walter Pater’s Marius the
performed at the Metropolitan
Opera the season of 1903. But her
masterpiece has always been The
THE BRITISH INVASION: A FESTIVAL OF ENGLISH MUSICAL DRAMAS 3Don’t miss The Festival of Contemporary Music with world premieres of 15 works
commissioned for the Tanglewood Music Center’s 75th Anniversary, 7/20–7/27.
Other highlights include Puccini’s Tosca, Act 1 featuring Sondra Radvanovsky and Bryn Terfel
(7/11), TMC orchestra’s program of opera highlights including music of Golijov (8/2), and the
BSO led by Andris Nelsons with Kristine Opolais in music of Puccini, Verdi, and more (8/15.)
888-266-1200 • tanglewood.org boston symphony orchestra andris nelsons music director
AL
“Sophisticated &
SIC
enchanting. A triumph!”
MU
ING
- THE NEW YORK TIMES
NN
F T C IC
-WI
RD
BY
.11
ED
WA
NU 1 - US
SEP T E
CT
DU TER
RE
YA
IS
DI
HE T
BO
R PE
ON
L
ST
RTS
NIG ITT
BY
OU
M
BY
LM
EO O
BY
K
PTU
FI
GH
AY &
AN
O
MA LE
BO
A
DWED
A
M
BY
OA UC
HU
ING EE
ERG
SUM
D
BR D
TE
N O
H
BY
O PR
RB
ES
E
W
GG
S
INC
ED LLY
IC
SU
AL
R
CT A
JO ND EN
PR
LY
RE IN
TH HEIM
DI RIG
&
LD
BY
H
AVE .1
SO TEPH
IC
O
K
US
RO
NS
NIC
M
O
HA
T
TI
TU
RA
S
AN
ST
RE
HE
TICKETS ON SALE
RC
EAT
NA
O
THURSDAY, JUNE 18!
TH
BU
4ODYSSEYOPERA.ORGDIRECTOR’S WELCOME
It’s my immense pleasure to welcome you to Odyssey Opera’s
spring 2015 festival, featuring a panoply of shows from the
treasure trove that is English opera. From works by venerable
masters like Vaughan Williams, to that maestro of farce, Arthur
Sullivan, to explosive, cutting-edge works by contemporary
composers like Peter Maxwell Davies and Thomas Adès, I think
you’ll agree that the Brits are truly creative innovators when it
comes to musical drama.
Join us for a classic Shakespearean romp in Vaughan Williams’s
Sir John in Love, and have a bittersweet laugh at the never-
changing foibles of human nature. Next, a double bill of comedy,
poking fun at tropes of love lost and won. Arthur Sullivan’s The
Zoo rolls elements of the absurd into lightning-quick musical
wordplay, while William Walton’s The Bear gives a tongue-in-
cheek account of an unlikely love story.
Take a one-night-only opportunity to experience some impressive
displays of vocal virtuosity: five singers command the stage in
PHOTO: IRENE HAPUT
turn for remarkable solo characterizations—the mythological
Greek queen Phaedra, the tragic Ophelia, the mystical St.
Teresa of Avila, the warmonger King Harald and his retinue,
and the mad King George III.
Finally, I’m thrilled to be bringing Thomas Adès’s Powder Her
Face back to Boston. This caustic, larger-than-life story made a
splash at Opera Unlimited in 2003, and proves that opera is still
a vital force for both entertainment and social commentary.
You may notice that we’re missing a piece of technology for these
shows—that’s right, no supertitles. And while the majority of
what you’ll hear is in English, it’s true that you might miss a few
words. However, I think the immersive combination of words,
music, movement, and acting adds up to a powerful storytelling
formula that will deliver just as it was meant to, if you remove
the intermediary of the page and let yourself be carried away.
We’re pulling out all the stops for this festival—we’ve assembled
a team of singers, instrumentalists, designers, and directors that
are truly at the forefront of their fields, and the results are going
to be spectacular. Thank you for being here to celebrate opera
with us—it’s going to be a bloody good time indeed!
Gil Rose
Artistic and General Director
THE BRITISH INVASION: A FESTIVAL OF ENGLISH MUSICAL DRAMAS 5ILLIAMS
W
N HAN
HAUG
O
V
J
RALPH
SIR
IN
LOVE
6ODYSSEYOPERA.ORGRALPH VAUGHAN WILLIAMS (1872–1958)
SIR JOHN IN LOVE
Opera in Four Acts.
Libretto by the composer, based on Shakespeare’s The Merry Wives of Windsor.
Oren Gradus Sir John Falstaff
Michael Chioldi Ford, a citizen of Windsor
Samuel Levine Fenton, a young gentleman of the Court at Windsor
Megan Pachecano Anne Page, Page’s daughter
Courtney Miller Mrs. Ford
Mara Bonde Mrs. Page
Cindy Sadler Mrs. Quickly, housekeeper to Dr. Caius
George Cordes Page, a citizen of Windsor
Matthew DiBattista Sir Hugh Evans, a Welsh parson
James Demler Pistol, a sharper attending on Falstaff
Jonathan Cole Nym, a sharper attending on Falstaff
Stanley Wilson Bardolph, a sharper attending on Falstaff
Jesse Darden Slender, a foolish young gentleman
Sumner Thompson Dr. Caius, a French physician
Robert Honeysucker Host of the Garter Inn
Ethan Bremner Shallow, a country justice
Jacob Scharfman Rugby, Dr. Caius’s servant
Andy Papas Peter Simple, Slender’s servant
Ted Palés John, Ford’s servant
Barratt Park Robert, Ford’s servant
Erin Merceruio Nelson Jenny Pluckpears, Nym’s sweetheart
Sophie Michaux Alice Shortcake, Bardolph’s sweetheart
Coleman Rose Robin, Falstaff’s page
Odyssey Opera Orchestra and Chorus
Gil Rose, Conductor
Joshua Major, Stage Director
Melinda Sullivan, Choreographer
Stephen Dobay, Scenic Designer
Katherine Stebbins, Costume Designer
Costumes supplied by Malabar Limited, Toronto
Rachel Padula Shufelt, Hair and Make-up Designer
Dennis Parichy, Lighting Designer
PHOTO: FLICKR/KEVANDOTORG
SUNDAY, MAY 17, 2015 AT 3PM
WEDNESDAY, MAY 20, 2015 AT 7:30PM
SATURDAY, MAY 23, 2015 AT 7:30PM
Boston University Theatre
264 Huntington Avenue, Boston
THE BRITISH INVASION: A FESTIVAL OF ENGLISH MUSICAL DRAMAS 7SYNOPSIS
Setting: Windsor, England. 15th century. ACT I
In a street outside the Pages’ house, Justice Shallow
ACT I and Parson Evans are complaining of mistreatment
A street in Windsor by Falstaff and his men. Shallow’s cousin Slender is
trying to write a sonnet to Anne Page, but can’t get
ACT II past the line “O sweet Anne Page.” Sir John Falstaff
Scene i A room in Page’s house arrives with Bardolph, Nym, and Pistol, his cronies.
Scene ii A room in the Garter Inn Slender claims that Falstaff’s men got him drunk and
then stole his wallet, a charge that they deny. Anne,
Intermission Mrs. Page, and Mrs. Ford arrive, and announce that
dinner is ready.
ACT III
Scene i A footpath near Windsor Shallow and Evans remain to discuss a match between
Scene ii A field near Windsor Slender and Anne. They send Slender’s servant Simple
Scene iii A room in Ford’s house with a note to Mrs. Quickly to obtain her aid. Anne
returns and sends the men to dinner, then, alone,
ACT IV bemoans her parents’ attempts to marry her off—Page
Scene i A room in Ford’s house wants her to marry Slender, while Mrs. Page favors Dr.
Scene ii Windsor Forest Caius, the French physician. Anne, however, is in love
with Fenton, who arrives and joins her in a duet. Page
arrives and drives Fenton off, thinking that he is only
Run time: Two hours and 15 minutes after Anne’s dowry.
with one 20-minute intermission
Dr. Caius, his servant Rugby, and his housekeeper
Mrs. Quickly arrive. Caius intercepts the letter as
Simple attempts to give it to Mrs. Quickly, and after
Sir John in Love used by permission of Oxford University Press. reading it, thinks that Evans is also after Anne. Caius,
Rugby, and Simple depart, and Fenton emerges. He
gives Mrs. Quickly a ring for Anne and some gold for
herself, thus swaying her sympathies in his favor.
At the Garter Inn, Bardolph, Nym, and Pistol are
celebrating a successful thieving expedition with the
inn’s host. Falstaff joins them and describes a plan
to improve his financial situation by seducing Mrs.
Ford and Mrs. Page, then swindling them. He writes
the two women identical love letters, but Pistol and
Nym, offended by his rudeness, refuse to deliver them.
Falstaff then instructs his page Robin to deliver the
letters, and Pistol and Nym decide to inform Ford of
Falstaff’s plan. The jealous and suspicious Ford decides
to disguise himself and call on Falstaff to see how his
plan is proceeding.
8ODYSSEYOPERA.ORGACT II ACT IV
Scene i. Mrs. Page and Mrs. Ford read their letters Scene i. Ford asks Mrs. Ford’s forgiveness for
and discover they are identical except for the names. suspecting her, and she grants it. The Fords and the
The merry wives plot revenge on the treacherous Pages then plot the final stage of their revenge on
Falstaff and enlist Mrs. Quickly’s aid, asking her to Falstaff. They plan to lure him at midnight to Herne’s
deliver a letter to Falstaff inviting him to Mrs. Ford’s Oak in Windsor Forest, the rumored haunt of Herne
house that night. the Hunter and a band of fairies. Mrs. Page intends to
dress as the Fairy Queen, and with the help of Anne
Scene ii. At the Garter Inn, Mrs. Quickly arranges and the local children will pinch and taunt Falstaff.
the rendezvous between Mrs. Ford and Falstaff. Ford Mrs. Page tells Caius that Anne will be dressed in
arrives and introduces himself to Falstaff as “Master green and Page tells Slender that she will be dressed
Brook,” saying that he is in love with Mrs. Ford and in white. Each encourages their chosen suitor to steal
wants to discover whether rumors of her easy virtue away with Anne and marry her.
are true. Offering Falstaff money to pursue Mrs. Ford
on his behalf, Ford is shocked to discover that they Scene ii. The merry wives and Falstaff, dressed
already have a planned assignation. Falstaff exits to as Herne the Hunter with stag’s antlers, arrive at
dress for his date, and Ford rages against his wife’s Herne’s Oak. At the stroke of midnight, the wives run
supposed infidelity. Meanwhile, Dr. Caius reveals his away, and Anne (dressed in blue) and Mrs. Quickly
plans to challenge Evans to a duel. enter with their band of “fairies,” dancing and teasing
Falstaff. Caius enters seeking a fairy in green, and
ACT III Slender enters seeking a fairy in white. They find
Scene i. Fenton prevails upon the Garter’s Host to aid their respective fairies and depart. A horn call stops
him in his suit for Anne. Anne and her friends arrive. the taunting, and the Fords and Pages reenter to
The Host praises Fenton, but Anne instructs Fenton to mock Falstaff. Falstaff realizes he has been tricked
speak for himself, and is convinced of his true love. She and takes it in good humor. Page invites Falstaff to
tells them that her mother believes she will marry Dr. have the last laugh at Mrs. Page, saying that by now
Caius, and her father believes she will marry Slender, Anne is married to Slender. Slender arrives with his
but she plans to deceive them both and marry Fenton. “bride,” who turns out to be young William Page in
The Host promises to find them a priest. disguise. Mrs. Page says that Anne is in fact married
to Caius, but Caius arrives with his “bride,” the page
Scene ii. In a field, Caius and Evans engage Robin. Anne and Fenton then arrive and reveal they
halfheartedly in their duel, observed by Ford, Shallow, are married. Falstaff leads the company in a group
Slender, and the Host. Eventually the Host suggests reconciliation.
that they forgive each other and return to the inn for
a pint. Ford then invites the company to his house,
promising to show them “a monster.”
Scene iii. At Ford’s house, the merry wives are
preparing their trap. Mrs. Ford tells her servants to
dump the contents of a laundry hamper into a ditch
at her command, and then all except Mrs. Ford hide.
Falstaff arrives, but before he can proceed in earnest
with his seduction, Mrs. Quickly bursts in to warn of
Mrs. Page’s arrival. Mrs. Page—as part of the plan—
cries that Ford is on his way to the house in a jealous
rage; unbeknownst to the merry wives, Ford is in fact
on his way. Falstaff hides in the laundry basket and is
carted off. Ford and his contingent arrive and search
the house for the “monster,” but only find Mrs. Page.
THE BRITISH INVASION: A FESTIVAL OF ENGLISH MUSICAL DRAMAS 9PROGRAM NOTES
BY DR. LAURA STANFIELD PRICHARD
Ralph (pronounced Rafe) Vaughan Williams was born in Down Ampney, Gloucestershire, on October 12,
1872 and died in London on August 26, 1958. He is buried in Westminster Abbey near his great-uncle
Charles Darwin. Sir John in Love is an opera in four acts with a libretto, by the composer himself, based on
Shakespeare’s The Merry Wives of Windsor and supplemented with texts by Philip Sydney, Thomas Middleton,
and Beaumont and Fletcher. Malcolm Sargent conducted the work’s premiere on March 21, 1929 with a student
cast (Royal College of Music), and the professional premiere took place at Sadler’s Wells Theatre on April 9, 1946
under the direction of Lawrance Collingwood.
Opera has a long history in attention as a composer. An avid Ralph was taught to read by his
England. Following the death of collector of folk songs in the English grandmother from the same book
Purcell in 1695, English music countryside, Vaughan Williams with which she had instructed
became increasingly influenced acquired many of the melodic her younger brother, Charles.
by Italian and German tastes. characteristics of vernacular music He was young at the time of the
Composers such as Handel and for his own compositional palette, controversies surrounding Darwin’s
Pepusch worked for the new and through the influence of his works, but was aware of them.
Hanoverian (Georgian) kings, and work he forged a new national When he was seven, Ralph asked
Italian stars such as the castratos school. his mother about The Origin of
Farinelli and Senesino competed Species, and she replied, “The Bible
with local talent throughout the BIOGRAPHY tells us that God made the world
early 1700s. Satirical ballad opera Ralph Vaughan Williams was born in six days. Great-uncle Charles
developed as a form of English about ninety miles west of London thinks it took rather longer. But
stage entertainment, partly in into a family with Anglican and we needn't worry—it is equally
reaction to the dominance of Italian Unitarian roots. His father Arthur wonderful either way.” The young
opera, and great continental was the Vicar at All Saints Church, composer drew strength from his
composers such as Mozart, Haydn, Down Ampney. Previously, Arthur roots and fused skepticism with
J. C. Bach, and Mendelssohn had a post at nearby Bemerton, the vision.
remarked on England’s well- very same parish where the great
established church choirs, choral metaphysical poet George Herbert Like most of the Wedgwoods and
societies, and orchestras around (1593–1633) had been Vicar three Darwins, Vaughan Williams
1800. hundred years earlier. Vaughan read history, literature, natural
Williams felt a lifelong kinship science, and music at Cambridge
The Romantic generation of with Herbert, who was a younger (receiving degrees in both Music
great British composers began contemporary of Shakespeare. and History). He mixed composition
with the emergence of Edward with conducting, lecturing, and
Elgar (1857–1934), followed by a Ralph’s mother was Margaret editing the music of Henry Purcell
whole new generation of talented Wedgwood, and her mother was and the English Hymnal. By 1904,
musicians. The leading figure of Caroline Darwin. Josiah Wedgwood Vaughan Williams began to collect
this younger group of composers (1730–1795), the founder of the and transcribe English folk songs,
was Ralph Vaughan Williams great pottery at Stoke-on-Trent, which were fast becoming extinct
(1872–1958), who for nearly and Erasmus Darwin (1731-1832), due to the increase of literacy
sixty years remained the most physician and poet, were his and printed music in rural areas.
influential person in English music, great-great-grandfathers. When Despite his declared atheism,
his nine symphonies, six operas, Vaughan Williams was only two, which in later years mellowed into
and succession of major choral his father died and Margaret what his wife Ursula described as
works being widely regarded as moved the family into Leith Hill “a cheerful agnosticism,” Vaughan
his greatest achievements. Like Place (Surrey) with the Wedgwood/ Williams was inspired throughout
Elgar, Vaughan Williams was a Darwin family. His great uncle, his life by much of the liturgy and
late developer, reaching his mid- Charles Darwin, was a frequent music of the Anglican church,
thirties before attracting serious visitor. the language of the King James
Bible and Shakespeare, and the
visionary qualities of English verse.
10ODYSSEYOPERA.ORGSIR JOHN IN LOVE about Falstaff's appointment with on his boundless imagination to
The early 1920s marked a pastoral his wife (his raging “Cuckold” get him out of the same corners it
interlude for Vaughan Williams, being echoed by the women's “the backs him into. He always manages
with the composition of his cuckoo then”), and the joyous final to turn his folly into wisdom with
opera Sir John in Love, The Lark ensemble. Vaughan Williams is a sometimes risky pirouette and
Ascending, A Pastoral Symphony, most inspired in the way he uses his understanding that “the world
The Shepherds of the Delectable music to subtly separate complex is but a play.” Vaughan Williams’s
Mountains, and the Mass in G strands of action, as in the opening setting is sweet, ironic, and
minor. These pieces are full of the quarrel scene, the basket scene, or exuberant, perfectly matching the
rich harmonies associated with the “Herne the Hunter” episode. many varied archetypes occurring
the composer in his most “English The unmasking scene in Windsor in Shakespeare's play. Vaughan
summertime” moments, and they Forest is often excerpted as an Williams’s libretto cleverly prunes
have origins in the revival of orchestral showpiece and was later Shakespeare's words and adds
English polyphony and in Vaughan developed by the composer into a a number of Elizabethan lyrics,
Williams's identification of his choral cantata. either by Shakespeare or by others
music with “the imperishable (Philip Sydney, Thomas Middleton,
glories of English prose.” The characters are not only sharp, and the great Jacobean literary
due to Shakespeare, but rounded by partnership of English Restoration
Sir John in Love’s music brims the tuneful music, which deepens drama, Beaumont and Fletcher), for
with invention and imagination: the drama. Anne Page's foolish use in arias and ensembles.
it conveys a love of the English suitors, for instance, are not merely
countryside and the feel of country fools. Dr. Caius becomes more than Like the play, the opera proceeds
society in Elizabethan England a quarrelsome comic Frenchman on two lines: Falstaff's wooing
that is absent from Verdi’s Falstaff. when he breaks into song out of of Mistresses Page and Ford,
That pastoral quality is what love for Anne. Through Vaughan and Fenton's wooing of Anne,
makes The Merry Wives of Windsor Williams’s music, Anne becomes both strands brought together in
special among Shakespeare’s the great humanizing influence Windsor Forest. Vaughan Williams
plays—as the only play that among all the characters. included fifteen full minutes of
Shakespeare set in his own time English folk tunes in the score. He
and place, and in which he was (SIR JOHN) FALSTAFF had incorporated the Renaissance
writing openly and directly about Shakespeare’s The Merry Wives lute song Greensleeves, before,
a society and a social order that of Windsor was a rich source of but for this opera he borrowed
he knew personally. The play has inspiration for classical composers: the verses which had appeared
its own unique if rough-hewn Antonio Salieri set a very with it in William Ballet’s lute
quality, and the words and music condensed version of the story in song book of 1584, A Handefull
of Sir John capture that colorful his short two-act dramma giocoso of Pleasant Delites, and assigned
atmosphere. entitled Falstaff, ossia Le tre burle them to Mrs. Ford to sing in Act
(Falstaff, or The Three Jokes, III, just as Falstaff arrives for their
Musical delights include the 1799); Otto Nicolai based a three- tryst. Greensleeves also appears
opening ensemble scene in which act German Singspiel (arias with later in the opera, in a lovely
Slender, seemingly unaware of the extensive dialogue) on the play instrumental arrangement for
bustle about him, vainly tries to in the 1840s, and Giuseppe Verdi flute and strings, as the entr’acte
devise a wooing song for Anne but came out of retirement to develop before the closing scene in Windsor
never gets any further than “O his last opera Falstaff (1893) with Forest. In 1934, five years after Sir
sweet Anne Page.” Other superb his librettist Arrigo Boito from The John was premiered at the Royal
moments include the rollicking Merry Wives of Windsor and scenes College of Music in London, Ralph
Drinking Song at the inn, the from Henry IV, parts 1 and 2. Greaves created the Fantasia on
women's delightfully dancing Greensleeves for strings, flute, and
Trio (“Sigh no more ladies”), The character of Falstaff embodies harp by joining the entr’acte with
Anne's beautiful aria (“This is all the strengths and weaknesses of the passage based on Lovely Joan,
my father's choice”), the love duet human nature: he is a cheater and sung by Mrs. Quickly in Act II.
in which Fenton's song (“Do but a liar, bombastic and touchingly
look on her eyes”) is answered by naive, and takes for granted his ©Laura Stanfield Prichard 2015.
Anne's “Come, O Come my Life's privilege as a nobleman. But he is
Delight,” Ford's rage when told quick-thinking, resilient, and relies
THE BRITISH INVASION: A FESTIVAL OF ENGLISH MUSICAL DRAMAS 11ORCHESTRA AND CHORUS
GIL ROSE, CONDUCTOR
LIDIYA YANKOVSKAYA, ASSISTANT CONDUCTOR
CHORUS ORCHESTRA
Sopranos Flute Violin I
Alecia Batson Sarah Brady Charles Dimmick
Lawren Hill Jessica Lizak Heidi Braun-Hill
Erin Merceruio Nelson Jae Young Cosmos Lee
Kynesha Patterson Oboe Robert Anemone
Erica Petrocelli Jennifer Slowik Amy Sims
Evelyn Tsen Nancy Dimock Annie Rabbat
Heather Braun
Mezzo-sopranos Clarinet
Tascha Anderson Jan Halloran Violin II
Abigail Dock Gary Gorczyca Colleen Brannen
Elizabeth Kinder Piotr Buczek
Elyse Mendelson Bassoon Yumi Okada
Sophie Michaux Margaret Phillips Ethan Wood
Rebecca Rapoport-Cole Meryl Summers Tera Gorsett
Annegret Klaua
Tenors French Horn
Ethan Bremner Kevin Owen Viola
Jason Connell Clark Mathews Peter Sulski
Roland Mills Mark Berger
Ted Palés Trumpet Noriko Herndon
Fred C. Van Ness, Jr. Joseph Foley Jason Fisher
Stanley Wilson Tony Gimenez Alexander Vavilov
Baritones Trombone Cello
Samuel Bowen Don Davis Katherine Kayaian
Barratt Park Aristides Rivas
Miles Rind Percussion Velleda Miragias
Jacob Scharfman Nicholas Tolle
Double Bass
Linda Osborn, repetiteur Timpani Anthony D’Amico
Jonathan Hess Bebo Shiu
Harp
Amanda Romano
12ODYSSEYOPERA.ORGARTIST PROFILES
OREN GRADUS such as Masetto in Don Giovanni, University. His recordings appear
(SIR JOHN FALSTAFF) Timur in Turandot, the Old on the Sony Classical, BMG, Accord
Brooklyn-born bass Hebrew in Samson et Dalila, and Newport Classics labels. Mr.
Oren Gradus is the King in Aida, and Garibaldo Chioldi makes his home in New
rising in recognition in Rodelinda, opposite Renée York City.
and critical acclaim Fleming.
throughout North SAMUEL LEVINE
PHOTO: KEN HOWARD
America and Europe as a brilliant MICHAEL CHIOLDI (FENTON)
basso cantante. His 2012-2013 (FORD) Samuel Levine
season included several career American baritone has emerged as an
milestones: he made his house Michael Chioldi is elegant and robust
debut with Washington National quickly gaining a tenor on the cusp of
Opera as Henry VIII in Anna reputation as one a major career. His
Bolena, his house and role debuts of the most sought- 2014 performance with Gotham
with Gran Teatre del Liceu in after dramatic baritones of his Chamber Opera, in the dual
Barcelona as the four villains generation. Praised for his “warm, roles of Testo in Monteverdi’s
in Les Contes d’Hoffman, his rich tone” (Opera News) and “deeply Il Combattimento di Tancredi e
house debut with Canadian Opera communicative phrasing” (The Clorinda and Noah in the world
Company as Raimondo in Lucia di Baltimore Sun), he has received premiere of Lembit Beecher’s I
Lammermoor, and his house and unanimous acclaim from critics and Have No Stories to Tell You, was
role debuts with Opéra d’Avenches audiences around the world for his called “eloquent, full-bodied,”
in Switzerland as Zaccaria portrayals of the dramatic baritone “bright-voiced and skillful”
in Nabucco. Mr. Gradus returned to roles of Verdi, Puccini, and Strauss. (Wall Street Journal) and “well-
the Metropolitan Opera as Publio His recent role debuts include the sung” (New York Times). Recent
in La Clemenza di Tito, which title roles in Verdi’s Macbeth with highlights include Narraboth
was broadcast as part of The Met: Palm Beach Opera and Nabucco in Salome with Virginia Opera,
Live in HD series. He also had the with Lyric Opera Baltimore, Conte Neighbor/Ravan in the world
privilege of performing in concert di Luna in Il Trovatore with Utah premiere of River of Light with
with the legendary Roger Waters Opera, and Rodrigo in Don Carlo Houston Grand Opera, the title
in his original opera Ça Ira in with Austin Lyric Opera. His 2014- role of Der Protagonist with Fire
Gothenberg, Sweden. In the 2013- 15 season includes his debut at the Island Opera Festival, Traveler
2014 season, Mr. Gradus reprises Royal Opera House, Muscat for in the world premiere of Clemency
his powerful portrayal of Colline in performances of Macbeth, Toledo with Boston Lyric Opera, and
the Met’s production of La Bohème, Opera as Scarpia in Tosca, Virginia Léon in The Ghosts of Versailles
which will be broadcast in theaters Opera as Jochanaan in Salome, with Opera Theatre of Saint Louis
worldwide. He also returns to and New Orleans Opera as Enrico and Wexford Festival Opera.
Pittsburgh Opera for performances in Lucia di Lammermoor. In concert, he has appeared at
of Ramfis in Aida and Sarastro Chicago Symphony Center, Weill
in Die Zauberflöte, and makes his Chioldi has been the recipient of Hall at Carnegie Hall, l’Orchestra
house debut with Baltimore Opera numerous awards and honors, Sinfonico di Milano Giuseppe
as Zaccaria in Nabucco. including the Metropolitan Opera Verdi, and with New York Festival
National Council Competition of Song. Upcoming engagements
Oren Gradus studied music at (Winner 1995), the MacAllister include a role debut as Don José in
the Oberlin Conservatory and Competition, the Licia Albanese- Carmen at the Savannah VOICE
subsequently became a member of Puccini Competition, the Miami Festival (presented by Sherrill
the Pittsburgh Opera Center and Opera Competition, the Sullivan Milnes), Lurcanio in Ariodante in
the Houston Grand Opera. Mr. Foundation, and the Anna Case- R.B. Schlather’s internationally-
Gradus made his Metropolitan Mckay Award. He received his acclaimed series of Handel’s Ariosto
Opera debut during the 2002- Bachelor’s degree from West operas at the Whitebox Art Center
2003 season, and has since Virginia University, and his in New York City, and a debut with
performed various roles there Master’s degree from Yale Opera Philadelphia. Mr. Levine is a
THE BRITISH INVASION: A FESTIVAL OF ENGLISH MUSICAL DRAMAS 13graduate of the Oberlin Exsultate, jubilate with the Round Midsummer Opera, and Ohio Light
Conservatory, the Yale University Rock Symphony Orchestra; Opera.
School of Music, and the training Mozart's Requiem with the Russell
programs of the Santa Fe Opera Arts Council, and Handel’s Israel in MARA BONDE
PHOTO: LISA KOHLER
and the Tanglewood Music Festival. Egypt with the Westminster Choral (MRS. PAGE)
Festival. She will perform Michal Soprano Mara
MEGAN PACHECANO in Handel's Saul with the Ad Astra Bonde has thrilled
PHOTO: LARIE TAYLOR
(ANNE PAGE) Music Festival this coming season. audiences in diverse
Megan Pachecano venues throughout
recently made her COURTNEY MILLER the United States
PHOTO: DANIEL BUCKLEY
role debut as Adina (MRS. FORD) and Europe with her electric stage
in L’elisir d’amore Mezzo-soprano presence and musical artistry.
with New Rochelle Courtney Miller just Equally at home in both classical
Opera, joined Opera Theater of finished two seasons and popular styles, Mara is no
Connecticut in a concert series with Virginia Opera. stranger to the world of “symphony
at the Sanibel Music Festival, There, she sang Meg pops.” She has been the guest artist
appeared as the soprano soloist Page in Falstaff, Second Lady for “Holiday Pops” with the Boston
in Handel's Messiah with the in The Magic Flute, Mercédès in Pops, the Naples Philharmonic,
Helena Symphony, and returned Carmen, Page in Salome, Flora the Syracuse Symphony, the
to Caramoor Center for Music and in La Traviata, Cousin Hebe in New Haven Symphony, and the
the Arts as a Bel Canto Apprentice H.M.S. Pinafore, and Dryade in Charlotte Symphony. She made
Artist. Ms. Pachecano has Ariadne auf Naxos while covering her Boston Pops debut under the
performed the roles of Norina in the Composer. This year she will direction of Keith Lockhart in
Don Pasquale (Salt Marsh Opera), make her Odyssey Opera debut “Brush up your Shakespeare,”
Gianetta in L’elisir d’amore (Opera singing Mrs. Ford in Sir John in which was nationally televised
MODO), Zerlina in scenes from Love and Madison Opera debut as on PBS's Evening at Pops. On
Don Giovanni (Somerset Valley Meg in Little Women. As a Young the concert stage, she has sung
Orchestra), Crobyle in Thaïs (The Artist at Glimmerglass Festival with the Utah Symphony, the San
Opera Company of Middlebury), this summer, she performed Diego Symphony, the Stamford
and covered Serafina in Il Suzuki in the Madama Butterfly Symphony, the Ridgefield
campanello di notte (Garden State YAP performance. An avid Symphony, the Nashua Symphony,
Opera). As a Studio Artist at Opera recitalist, Ms. Miller has won first the Handel & Haydn Society, and
New Jersey she covered Pitti Sing place in the National Federation Boston Baroque. Mara is a featured
in The Mikado, and later toured in of Music Clubs’ Young Artist soloist on Robert Shaw’s Telarc
their outreach production of Hansel Competition in Women’s Voice and recording Appear and Inspire. A
and Gretel. Ms. Pachecano holds a the American Prize in Art Song very special recording project is
Master of Music in Classical Voice in Women’s Voice. She will be Sound Spectrum (Navona Records),
from Manhattan School of Music performing Ravel’s Shéhérazade featuring Mara collaborating with
where she performed Susanna in with the Brevard Music Center her father, composer and pianist
Le nozze di Figaro and Annabel Orchestra this summer as well as Allen Bonde. Mara's recent opera
Lee in Gargoyle Garden, and a recital tour. Acclaimed Boston debuts include Hanna in The Merry
holds a Bachelor of Music in Voice performances include Sister Helen Widow with Imperial Symphony
Performance from The University in Dead Man Walking with Boston Orchestra, Adina in L'elisir d'amore
of Texas at Austin. Ms. Pachecano Opera Collaborative and a double with Sarasota Opera, and Echo
has sung Haydn’s Lord Nelson bill as the title role in L’enfant et in Ariadne auf Naxos with Boston
Mass and Little Organ Mass, les sortilèges and Concepción in Lyric Opera. Mara holds a Master
Beethoven’s Die Ruinen von Athen, L’heure Espagnole with Boston of Music in vocal performance
and Mozart's Great Mass in C Conservatory. Ms. Miller has also from Boston University. She was a
minor with the Astoria Symphony worked with Chautauqua Opera, Fellow at the Aspen Music Festival
Orchestra; Villa-Lobos’s Bachianas Boston Lyric Opera, Juventas and one of twelve singers selected
Brasileiras No. 5 and Mozart’s New Music Ensemble, Boston to study at the Britten-Pears
14ODYSSEYOPERA.ORGSchool in Aldeburgh, England, Requiem, Mozart’s Coronation Music Festival, Masterworks
with Richard Bonynge and Joan Mass, Elgar’s Sea Pictures, Chorale, Motor City Symphony,
Sutherland. Beethoven's Missa Solemnis, Canton Symphony, Wooster
Bruckner’s Mass in F Minor, and Symphony, Lake Placid Sinfonietta,
CINDY SADLER the Duruflé and Mozart Requiems. Hilton Head Orchestra, Ascension
PHOTO: RICHARD BLINKOFF
(MRS. QUICKLY) Music in New York, and Orquesta
Heralded for her GEORGE CORDES de las Américas in Mexico City. He
rich, satiny voice (PAGE) and his wife, Elizabeth, live in the
and impeccable Bass-baritone George Adirondacks of New York, where
characterizations, Cordes has sung they founded and direct High
mezzo-soprano Cindy more than 60 opera Peaks Opera.
Sadler is a force to be reckoned roles with companies
with on the operatic scene. The throughout North MATTHEW DIBATTISTA
PHOTO: JONATHAN HARTT
2014-15 season includes her America and in Japan, including (SIR HUGH EVANS)
reprise of The Italian Lesson and the Metropolitan Opera, Chicago Matthew DiBattista’s
Dinah in Trouble in Tahiti with Lyric Opera, Houston Grand engagements this
Opera Piccola San Antonio, the Opera, Dallas Opera, Santa Fe season include
Marquise in La fille du Regiment Opera, Opera Theatre of St. Louis, Camille Raquin in
with Mill City Opera, and return Pittsburgh Opera, New Orleans Picker’s Thérèse
engagements to Syracuse Opera as Opera, Opera Tampa, Opera Raquin (Long Beach Opera
Prince Orlovksy in Die Fledermaus, Columbus, Opera Grand Rapids, El and Chicago Opera Theater);
New Orleans Opera as Marcellina Paso Opera, Syracuse Opera, the Curley in Floyd’s Of Mice and
in Le nozze di Figaro, and Austin Tokyo City Orchestra, and Teatro Men (Tulsa Opera); Britten’s War
Opera as Gertrude in Romeo and de la Opera in San Juan, Puerto Requiem (Dayton Philharmonic
Juliette. In the 2013-14 season, Rico. A principal artist with New Orchestra); and the servant
Ms. Sadler was lauded for her York City Opera for six seasons, in Capriccio (Lyric Opera
comedic charm in Chautauqua’s he was featured in consecutive of Chicago). Last season’s
Peter Grimes, her scene-stealing PBS “Live from Lincoln Center” engagements include his
turn as Marthe in Austin Opera’s telecasts of Tosca and La bohème. Lyric Opera of Chicago debut
Faust, and for her ability to make Other highlights include the role of in Parsifal; Eddie Fisslinger
an impression as Marie in The Most Bottom in Britten’s A Midsummer in Elmer Gantry (Tulsa Opera); and
Happy Fella with Tulsa Opera. She Night’s Dream with Lyric Opera Monastatos in Magic Flute (Opera
also made company debuts with of Kansas City and the Reverend Theatre of St. Louis). Recently
Portland Opera as Ruth in Pirates Hale in The Crucible and Nourabad he sang Steve Hubble in A
of Penzance, the Jacksonville in Les Pecheurs de Perles, both with Streetcar Named Desire (Virginia
Symphony as Marcellina in The Opera Boston. Since 2007, George Opera), Beppe in I Pagliacci and
Marriage of Figaro, and Pine has appeared each summer with Tinka in Il tabarro (Opera
Mountain Music Festival as Mrs. Opera by the Bay in Hingham, MA, Theatre of St. Louis), and
Clancy in Hoiby’s one-woman in opera, operetta, and musical Jack in Tippett’s Midsummer
opera The Italian Lesson. Other revues. In 2015, he returns there Marriage (Boston Modern
highlights include the Old Baroness as Ko-Ko in The Mikado. In 2011, Orchestra Project).
in Sarasota Opera’s Vanessa, her he gave a “powerful and witty Career highlights: Jasper
debut at Florida Grand Opera as performance” of the title role in Vanderbilt in Kirke Mechem’s The
Gertrude in Romeo and Juliette, Sweeney Todd with Pendragon Rivals (world premiere,
Zita in Gianni Schicchi and Baba Theatre in New York and rejoined Skylight Opera Theatre);
the Turk in The Rake’s Progress at that company in 2014 in the title roles in Unsuk Chin’s Alice in
the Princeton Festival, and Katisha role of Man of La Mancha. On the Wonderland (American premiere,
in Syracuse Opera's The Mikado. concert stage, George has appeared Opera Theatre of Saint Louis);
An accomplished concert artist, Ms. with the Hartford Symphony, Stage Manager in Rorem’s Our
Sadler counts among her repertoire Berkshire Choral Festival, Town (Monadnock Music
Beethoven’s 9th Symphony, Verdi’s Plymouth Philharmonic, Duxbury Festival); Flute in A Midsummer
THE BRITISH INVASION: A FESTIVAL OF ENGLISH MUSICAL DRAMAS 15Night’s Dream (Boston Lyric Mr. Demler first gained an arts administrator, Jonathan
Opera); Molqi in The Death of international attention at Houston serves as the Program Manager of
Klinghoffer and Bégearss in The Grand Opera, where he appeared the Boston University Tanglewood
Ghosts of Versailles (Opera as Guglielmo in Così Fan Tutte and Institute, an organization for which
Theatre of St. Louis); David in Die Peter in Hansel and Gretel, and as he has also served on vocal faculty.
Meistersinger von Nurnberg (Boston soloist with the Houston Symphony, Jonathan holds degrees in voice
Symphony Orchestra); Flavio where he sang the role of Maestro and opera performance from Baylor
in Norma (Tanglewood, Charles in a concert version of Salieri’s University, Boston University,
Dutoit conducting); the title role rarely performed opera Prima la and the Boston University
in The Good Soldier Schweik (Long musica, poi le parole. James Demler Opera Institute, and is currently
Beach Opera); Yarzhkin in The made his Carnegie Hall debut with completing a Doctor of Musical Arts
Nose (Opera Boston); Jack O’Brien the Opera Orchestra of New York in Voice and Pedagogy from the
in The Rise and Fall of the City as Dikson in Boieldieu’s La Dame University of Colorado, Boulder.
of Mahagonny and Louis in Blanche, and has returned to that
Eötvös’ Angels in America (North venue singing prominent roles in STANLEY WILSON
American premiere, both with Donizetti’s Roberto Devereux and (BARDOLPH)
Opera Boston); Martin in Catalani’s La Wally. Mr. Demler Hailing tenor
Copland’s The Tender Land, has been a full-time member of the Stanley Wilson in the
(PBS’s “Great Performances”); and voice faculty of Boston University Worcester Telegram
Pedrillo in Die Entführung aus dem College of Fine Arts since 2005. & Gazette’s recent
Serail (Glimmerglass Opera). review of A Worcester
JONATHAN COLE Schubertiad, Joyce Tamer stated,
JAMES DEMLER (NYM) “Tenor Stanley Wilson opened the
PHOTO: JONATHAN HARTT
(PISTOL) Jonathan Cole, program with three lieder which
Baritone James baritone, is from he sang expressively and with a
Demler is known for Dallas, Texas and is relaxed and focused tone.” “This is
his versatile range of excited to make his a real gem” states Henry Fogel in
repertory, spanning Odyssey Opera debut. Fanfare magazine of Mr. Wilson’s
the operatic, oratorio, He has performed in a variety of latest CD, Art Songs of the British
concert, and popular music genres. capacities with organizations such Romantics. Mr. Wilson was also
Recent performances include as Central City Opera, Boston Lyric honored by the Minuetto Music
the role of Dikoj with Boston Opera, Boston Youth Symphony Festival with their Rising Star
Lyric Opera in Janáček’s Katya Orchestra, Boston University Opera Award. He is the Executive Director
Kabanova, and re-engagements Institute, Marblehead Festival of A Worcester Schubertiad, a
as soloist with the Boston Pops Chorus, and CU New Opera non-profit organization which
in both the Spring of 2012 and in Works. Jonathan has sung over celebrates the vocal and chamber
their 2012/13 Christmas concerts, thirty roles on the operatic stage; music of Franz Schubert and his
in which he sang Ralph Vaughn highlights include Ford in Verdi’s contemporaries through public
Williams’s Fantasia on Christmas Falstaff, Mercutio in Gounod’s concerts and educational forums
Carols. In the summer of 2013 Mr. Roméo et Juliette, Guglielmo in in central Massachusetts. Opera
Demler was the baritone soloist Mozart’s Così fan tutte, Marcello in credits include Ferrando in Così fan
with the Landmarks Orchestra of Puccini’s La Bohème, and Figaro tutte, Mr. Angel in The Impresario,
Boston, singing excerpts from La in Rossini’s Il barbiere di Siviglia. Bardolfo in Falstaff, Tanzmeister
Traviata and Rigoletto. He made An avid supporter of new music, in Ariadne auf Naxos, Kaspar in
his film debut as Noah in Wes Jonathan has performed lead Amahl and the Night Visitors, the
Anderson’s Moonrise Kingdom, roles in collaboration with Jake Witch in Hansel and Gretel, Tinca
which opened the 2012 Cannes Heggie, Tobias Picker, and the late in Il Tabarro, Gherardo in Gianni
Film Festival, and was also a guest Stephen Paulus, and has performed Schicchi, Gastone in La Traviata,
Public Address Announcer for the staged and workshop premieres and Lorenzo in I Capuleti e I
Boston Red Sox at Fenway Park in of operas by William Bolcom, Lori Montecchi and a cover of Jaquino
June 2012. Laitman, and Libby Larsen. As in Fidelio with Opera Boston.
16ODYSSEYOPERA.ORGStanley’s concert work includes SUMNER THOMPSON ambient/experimental duo Sven,
PHOTO: MIRANDA LOUD
performances of Vivaldi’s Dixit (DR. CAIUS) whose work has been featured on
Dominus; Handel’s Israel in Egypt, Described as Animal Planet, amongst other
Messiah, and Judas Maccabaeus; possessing “power venues.
Mozart’s Requiem, Great Mass in and passion,” and
C Minor, and Coronation Mass; “stylish elegance,” ROBERT
Haydn’s Mass in the Time of War; tenor Sumner HONEYSUCKER
Mendelssohn’s Elijah; Beethoven’s Thompson is in high demand on (HOST)
Choral Fantasy; Puccini’s Messa di the concert and opera stage across A recipient of the
Gloria; the premiere of Gwyneth North America and Europe. He Boston Globe's
Walker’s Come Life, Shaker Life; has appeared as a soloist with Musician of the Year
Schubert’s Mass in B-flat and many leading ensembles and award in 1995, Robert
Mass in E-flat, and Saint-Saëns’s orchestras including the Britten- Honeysucker has performed such
Christmas Oratorio. Visit his Pears Orchestra, the National roles as Count di Luna, Germont,
website at stanleywilsontenor.com Symphony, the Boston Early Music Ford, Iago, Amonasro, Rigoletto,
to see upcoming engagements and Festival Orchestra, Apollo’s Fire, and Renato with companies in
available CDs. Pacific Baroque Orchestra, Les Boston, Philadelphia, Sacramento,
Boréades de Montréal, Mercury Salt Lake City, Tulsa, and Fort
JESSE DARDEN Baroque, Les Voix Baroques, The Worth. He has also sung Don
(SLENDER) Handel and Haydn Society, Boston Giovanni, Figaro, Sharpless,
Jesse Darden is in Baroque, Tafelmusik, the Orpheus Porgy, and Jake in opera houses in
his first year with the Chamber Orchestra, Gli Angeli Auckland, NZ; Berlin, Germany,
Boston University Genève, and the orchestras of and Linz, Austria. Orchestral
Opera Institute, Cedar Rapids, Phoenix, Richmond, performances have included
studying with Memphis, Indianapolis, Buffalo, Beethoven’s Ninth Symphony with
Penelope Bitzas. He holds degrees San Antonio, and Charlotte. the Boston Symphony Orchestra
from the University of North Notable engagements include the (Seiji Ozawa) and with the Atlanta
Carolina at Greensboro and the role of El Dancaïro in Carmen with Symphony (Roberto Abbado), All
Ohio State University. Jesse spent the Cincinnati Opera, the role Rise with the Boston Symphony
his 2012 and 2013 summers as a of Aeneas in Purcell’s Dido and Orchestra (Kurt Mazur), Vaughn
Studio Artist with Chautauqua Aeneas at the Ottawa Chamber Williams’s Hodie with Salt Lake
Opera. He received the Chautauqua Music Festival, soloist in Bach’s Symphony (Keith Lockhart), and
Opera Studio Artist Award and St. Matthew Passion as part of Charles Ives’s General William
returned in 2014 as an Apprentice the Handel and Haydn Society’s Booth Enters into Heaven with the
Artist. Jesse was a 2015 Regional 200th anniversary season, the Pittsburgh Symphony (Michael
Finalist with the Metropolitan role of the Restaurant Waiter in Tilson Thomas). In addition,
Opera National Council Auditions. Britten’s Death in Venice with the Mr. Honeysucker has performed
Recent roles include Belfiore in Chicago Opera Theater, and his with symphonies in St. Louis,
La finta giardiniera, Don José in debut with Boston’s Odyssey Opera Sacramento, Omaha, Roanoke,
La tragédie de Carmen, Prunier in the role of Dr. Caius in Vaughan St. Paul, Long Island, NY, and
in La rondine, Fenton in Falstaff, Williams’s Sir John in Love. Mr. Flagstaff, AZ. He has also appeared
Sir Philip in Owen Wingrave, and Thompson can be heard on the with orchestras in Tokyo, Osaka,
Albert in Albert Herring. Upcoming Boston Early Music Festival’s Nobeoka, and Sapporo, Japan.
projects include Louis Ironson Grammy nominated recording of
in Angels in America and Prince Lully’s Psyché on the CPO label, Mr. Honeysucker is a member of
Charmant in Cendrillon, both with and also with Les Voix Baroques on Videmus, as well as a member
the BU Opera Institute. Jesse will Canticum Canticorum, Carissimi and co-founder of the Jubilee Trio,
sing Martin in The Tender Land Oratorios, and Humori, all on which presents American art
with Opera North this summer. the ATMA label. Mr. Thompson songs, including those of under-
is also an electric bassist and performed African American
percussionist and is one half of the composers. His discography
THE BRITISH INVASION: A FESTIVAL OF ENGLISH MUSICAL DRAMAS 17includes performances on five Region) and earned his Master of Camerata, Providence Singers,
Videmus discs: Music of William Music in 2006 from the University Schola Cantorum of Boston, and
Grant Still (New World), Watch of Wisconsin. ecbremner.com Community Music Works.
and Pray (Koch International),
More Still (Cambria), Highway 1, JACOB SCHARFMAN ANDY PAPAS (SIMPLE)
PHOTO: ALEX WEICK
USA (music of William Grant Still, (RUGBY) Praised by the St.
released by Albany Records), and Jacob Scharfman Louis Post-Dispatch
Good News (Videmus Records). He brings a bright new for his “rich voice”
is also featured on a CD recently voice to his home city. and comic timing,
released by the Jubilee Trio titled The Boston Musical Baritone Andy
Le’s have a Union (Brave Records). Intelligencer recently Papas hails from
Mr. Honeysucker is also featured praised his baritone as “certain to nearby Winchester, Mass. and
on the Centaur, Ongaku, and gain popularity[…]well-rounded makes his Odyssey Opera debut.
Titanic labels. He is a member of and rich, maintaining clarity and He was most recently seen as
the voice faculties at The Boston precision throughout his entire Stephano in the World Premiere
Conservatory and The Longy range.” Operatic engagements this of Joseph Summers’s The Tempest
School of Music. season include Mr. Webb in Rorem’s with the Shakespeare Concerts.
Our Town with Boston Opera As Magnifico in La Cenerentola
ETHAN BREMNER Collaborative, Prince Yeletsky in for Skylight Music Theater, the
(SHALLOW) Tchaikovsky’s Queen of Spades Milwaukee Journal-Sentinel called
Since his arrival with Harvard’s Lowell House, him “delightfully ridiculous.” In
in Boston, Ethan and the Pilot (cover) in Rachel March, Andy was Magnifico for
Bremner has become Portman’s Little Prince with Opera Skagit Opera of Seattle, and he will
one of the city’s most Fayetteville (AR). A favorite soloist be back in Washington State in
sought-after young tenors. He made of the Henry Purcell Society of May for Beethoven’s 9th Symphony
his local debut with Boston Opera Boston, he will debut at the Boston with the Mid-Columbia Symphony.
Collaborative in 2006 as Achilles Early Music Festival this June. Last summer the Rutland Herald
in Gluck’s Iphigenie en Aulide, Last summer, he sang recitals in dubbed him “a riot” as Haly in
then sang with the company as Tailloires, France and Bologna, L’Italiana in Algeri with the
Rodolfo in Puccini’s La bohème. Italy, and premiered the role of Aro Opera Company of Middlebury.
He also had an auspicious debut in Operahub’s Der Vampyr, hailed This summer he sings his third
as Cavaradossi in Puccini’s Tosca, by the Boston Globe as “stellar[…] Magnifico of the year, this time for
Nemorino in Donizetti’s L’elisir one of the most rewarding the Bar Harbor Music Festival. In
d’amore, and Tamino in Mozart’s theatrical events of the season.” August he returns to Union Avenue
The Magic Flute with Longwood Jacob graduated magna cum laude Opera of St. Louis as one of the
Opera. He performed in the from Brown University in 2013, courtiers in Rigoletto. He made his
premier performance of Odyssey where he played Aeneas in Purcell’s professional musical theater debut
Opera of Boston as Baroncelli in Dido and Aeneas, delivered a recital in Fiddler on the Roof with the
Wagner’s Rienzi. Most recently of Elizabethan poetry in song, and Reagle Music Theatre in 2013, and
he performed as Vasek in Boston riveted Commencement audiences is a member of Actor’s Equity. Andy
Midsummer Opera’s Production of with his “Star-Spangled Banner.” has performed and covered leading
The Bartered Bride and as Don José He also directed the university’s roles with Opera New Jersey,
in Carmen. Recent appearances on Madrigal Singers and completed a Opera for the Young, St. Petersburg
the concert platform include Verdi’s second major in Italian Studies. His Opera, and Opera Providence,
Requiem with Cape Cod Symphony translation of The Blood of Honor, a among others. He earned his MM
and Beethoven’s 9th Symphony historiography of dueling by Marco from the University of Houston
with Boston Civic Symphony. Mr. Cavina, is set to be published by and his BM from the University of
Bremner was a Finalist in the Cambridge University Press. On Michigan. andypapas.com
2010 Metropolitan Opera National staff at Trinity Church and Central
Council Auditions (New England Reform Temple, he has appeared
as a soloist with the Boston
18ODYSSEYOPERA.ORGYou can also read
