Music by Michael Gordon
Libretto by Deborah Artman
Directed by Daniel Fish
Conducted by David Bloom ’13, GCP ’15
Produced by Beth Morrison Projects
“Unmissable..sublime...massive-scale cinematic revelations unfolding out of a seemingly empty space.” —Time Out New York
An homage to the campy and spine-chilling horror films of the 1940s, Acquanetta combines theater, opera, and film to explore the world of a real-life B-movie star with a mysterious past. Known for her exotic beauty, Acquanetta—aka Mildred Davenport—was the star of such cult 1940s horror films asCaptive Wild Woman,Jungle Woman,The Sword of Monte Cristo, andTarzan and the Leopard Woman, before she disappeared from public life. With a soaring and often comic score from Bang on a Can cofounder Michael Gordon and text by librettist Deborah Artman,Acquanettaexamines the ways in which the movie camera manipulates how we see and are seen. A vivid cast of characters reveals their inner longings and emotional shadows in a haunting meditation on identity, transformation, stereotypes, and typecasting, set in the heyday of Hollywood glamour. This visual and musical tour de force is directed by Tony-nominee Daniel Fish, whose 2015 SummerScape production of Oklahoma! is now running on Broadway.
The Yale Choral Artists perform captivating and deeply moving choral works by living composers known all over the world for their exciting and innovative contributions to new music, and who all share musical roots in New Haven: Caroline Shaw, Christopher Theofanidis, Ingram Marshall, Michael Gilbertson, and Aaron Jay Kernis.
With Musica Sacra and the New York City Ballet Orchestra at the David H. Koch Theater (better known as the Former State Theater), Lincoln Center
TUESDAY, MAY 28—THURSDAY, MAY 30: 7:30PM
FRIDAY, MAY 31: 8PM
SATURDAY, JUNE 1: 2PM and 8PM
SUNDAY, JUNE 2: 3PM
Choir and Orchestra of St. Ignatius Loyola
Parish Community Choir
K. Scott Warren, conductor
980 Park Avenue
New York, NY 10028
Georg Friedrich Händel Dixit Dominus
Joseph Haydn Harmoniemesse
A Prayer for Harmony: Peace in Music
James K. Bass, conductor
Seraphic Fire presents contemporary American works alongside traditional pieces that have called for wisdom and peace throughout history.
Tue, May 7, 7:00pm | Naples
Wed, May 8, 7:30pm | Miami
Fri, May 10, 7:30pm | Coral Gables
Sat, May 11, 7:30pm | Ft. Lauderdale
Sun, May 12 4:00pm | Miami Beach
Made possible by Alicia Celorio, Do Unto Others Trust, Inc.
Holy Trinity Lutheran Church, NYC
Ever since the revival of Johann Sebastian Bach’s music in the late 19th century, his choral and instrumental masterpieces have thrilled audiences in symphonic halls and at Bach Festivals throughout the country. However, since 1968, Holy Trinity has returned the sacred music of J. S. Bach and his contemporaries to its intended place, the church, presenting cantatas and motets during the historic evening setting of Vespers. This music takes on new life and renewed purpose inside Holy Trinity as it is accompanied by solemn processions, mystical chant, ancient texts, and sacred architecture—the setting for which Bach was writing. In the world of historical performance practice, it doesn’t get any more accurate. Simply put: we do Bach on Bach’s terms.
I will teach a masterclass and sing in a concert featuring four of J. S. Bach’s motets sung by an ensemble of 16 voices in an intimate setting, fused together with cello suites performed by Apollo’s Fire cellist René Schiffer.
Singet dem Herrn ein neues Lied, BWV 225 II.
Allemande from the Unaccompanied Cello Suite No. 6 in D Major (BWV 1012)
Der Geist hilft unser Schwachheit auf, BWV 226 I.
Prelude from the Unaccompanied Cello Suite No. 2 in D Minor (BWV 1008)
Komm, Jesu, Komm, BWV 229
Fürchte dich nicht, ich bin bei dir, BWV 228 I.
Prelude from the Unaccompanied Cello Suite No.1 in G Major (BWV 1007)
Lobet den Herrn, alle Heiden, BWV 230
René Schiffer, cello Festival Chamber Choir & Orchestra Dirk Garner, conductor
Brooklyn Historical Society, 128 Pierrepont St, Brooklyn, NY 11201
Eve Beglarian: Selected Songs
Daniel Felsenfeld: The Law Falls Silent, A Most Beautiful Death, To Clara (World-Premiere, BASS Commission), My Little Wicked Ways, Writing
Whitney George: A Night in Brooklyn
Clara Schumann: Selected Songs
Ruth Crawford Seeger: 2 Ricercari
Germaine Tailleferre: 6 Chansons Française
Marie Marquis, Laura Strickling, soprano; Kate Maroney, mezzo soprano;
Michael Brofman, Miori Sugiyama, Erika Switzer, piano, Chris Gross, cello
Free Discussion with composer Daniel Felsenfeld at 7:00PM
Conductor: Atsushi Yamada
More info: TBD
The Chelsea Symphony with Matthew Aubin, conductor
Friday | 3.8.19 | 8:00 PM
Saturday | 3.9.19 | 8:00 PM
St. Paul's Church, 315 West 22nd Street
French composer Fernande Breilh-Decruck, Cinq poèmes chrétiens (Five Christian Pieces) for voice and orchestra with text by French poet Jean Racine. Written and performed in 1944 in occupied France, Decruck was afforded performance opportunities for her works she would not otherwise have had. After the war, she was shunned and died at an early age. Decruck has special ties to The Chelsea Symphony - she lived in the London Terrace apartments in Chelsea from 1928-33; TCS co-Artistic Director Matthew Aubin is the foremost scholar on Decruck and is leading the charge on a resurgence in interest in her work. TCS welcomes mezzo-soprano Kate Maroney as soloist on this special performance.
Jaap van Zweden conducts Julia Wolfe’s immersive visual and musical event — featuring lights, chamber choir, video, and projection — that explores a seminal event in New York City, the devastating Triangle Shirtwaist Factory Fire of 1911 that killed more than 100 young immigrants.
With The Crossing (Donald Nally, conductor)
Directed by Terrence Malick
Wordless Music Orchestra
Presented in association with Wordless Music Orchestra and Chorus
Part of the 2018 Next Wave Festival
A psychedelic supernova explodes across the cosmos; electricorange lava erupts like a fireworks display; a constellation of jellyfish ripples diaphanously in an azure ocean; and across the globe— from Austin, Texas, to the Australian Outback—human life buzzes and swarms. In his breathtaking, decades-in-the-making dream project, cinematic philosopher Terrence Malick (Tree of Life, Days of Heaven) presents an awe-inspiring vision of Earth: an elemental wonderland where the process of creation that began with the Big Bang never really ended. Alongside these ecstatic images of destruction and renewal, the Wordless Music Orchestra and Chorus perform the exultant sounds of Bach, Beethoven, Mahler, and others.
Composed during the last days of his life, Mozart’s Requiem moves from tragic resignation in its opening to the fierce vigor of the “Dies Irae” and finally the intense pleading of the “Lacrimosa,” the movement left unfinished at his death.
Antonio Salieri, depicted in the movie Amadeus as Mozart’s nemesis, actually composed some extremely beautiful music, none more so than De Profundis. A simple, pure soprano chant gradually builds to a grandiose conclusion with full orchestra and chorus.
Virtually unknown, Joseph Martin Kraus’s Requiem provides a striking contrast to Mozart’s—lighter but equally haunting. The German Kraus later worked in Sweden, becoming known as the Swedish Mozart.
The Choir of Trinity Wall Street and Bang on a Can All-Stars perform this Pulitzer Prize-winning work in Pennsylvania at the Lackawanna Historical Society.
Julia Wolfe Anthracite Fields
Bang on a Can All-Stars; The Choir of Trinity Wall Street; Julian Wachner, conductor
Lackawanna College, 501 Vine St, Scranton, PA 18509
Cathedral of St. John the Divine—Great Choir
Kent Tritle, conductor
Michael Sheetz, conductor
Bach, Buxtehude & Scarlatti
J.S. BACH Motet, BWV 225 “Singet dem herrn ein neues Lied”
BUXTEHUDE Cantate Domino
SCARLATTI Te Deum
SCARLATTI Stabat Mater
J.S. Bach’s jubilant motet, Singet dem Herrn for double choir, plumbs the virtuosity of every singer. We’ll also perform music by Buxtehude, one of Bach’s heroes. His motet Cantate Domino continues the joyful theme, as does Scarlatti’s setting of the Te Deum and his tour-de-force for the chorus, Stabat Mater.
World Premiere: Bratskoye Pominoveniye (Commemoration for Fallen Brothers) Alexander Kastalsky (1856-1926)
Co-created by architects Diller Scofidio + Renfro and Pulitzer Prize-winning composer David Lang, with words and lyrics by acclaimed poets Anne Carson and Claudia Rankine, The Mile-Long Opera: a biography of 7 o’clock is an ambitious, collective, free choral work that shares personal stories from hundreds of New Yorkers about life in our rapidly changing city.
The stories sung in the The Mile-Long Opera have been gathered through first-hand interviews with residents throughout the city, asking what 7:00 pm means to them. They reveal a vast spectrum of feelings and perspectives—and, by extension, represent the diverse character of the city’s inhabitants and their individual experiences.
Set in one of the most dynamic public spaces for observing New York City and its multitude of intersecting lives, The Mile-Long Opera invites audiences to move in and out of groups of singers as they walk along the High Line.
At the heart of the work is an extensive community engagement initiative that activates non-profit cultural organizations across all five boroughs. Seven Anchor Partners serve as a hub for engaging local audiences—from recruiting singers, to holding and welcoming the public for open rehearsals and workshops, to hosting social and cultural events in the lead-up to the October performances.
Guest Lecture at Eastman School of Music: Singing Life After Eastman: Building a Unique Career in Music
(Singing some Ligeti with Musica Sacra to accompany the live film screening)
Released in 1968, 2001: A Space Odyssey is one of the greatest sci-fi movies of all time. Director Stanley Kubrick's follow-up to Dr. Strangelove, it's an epic meditation on man's place in the universe, beginning millions of years ago in the African desert with a tribe of apes, before flying forward through time to a spacecraft bound for Jupiter, piloted by the serenely creepy computer HAL. Full of revolutionary special effects and filmed in Kubrick's trademark deliberate style, it's a film that has had an immeasurable impact on the genre, and film-making as a whole.
The films use of classical music, including Richard Strauss's 'Also sprach Zarathustra', is also rightly celebrated'. The New York Philharmonic will bring the soundtrack to life as they accompany a live screening of the film.
Reprisal of Eric Lemmon's "The Impossible Will Take a Little While" with the Highline Chamber Ensemble (Whitney George, conductor)
Place: The Harlem School for the Arts (The Herb Alpert Center) 645 Saint Nicholas Avenue
New York, NY 10030
“The Impossible Will Take a Little While” is a song cycle for Mezzo-Soprano, three ensemble voices (Soprano, Tenor, Bass/Baritone), and a chamber orchestra comprised of traditional acoustic and electronic instruments by Eric Lemmon. The work will be written for Highline Chamber Ensemble, Kate Maroney, and three voices to be premiered in Fall 2015. The work is based on poetry from the collection of essays of the same title compiled and edited by Paul Rogat Loeb.
Text for the piece includes poetry from the likes of W.H. Auden, Marge Piercy, Jalal al-Din Rumi and Adrienne Rich. The full scope of the musical work encompasses a broad range of characters representing the poet’s intended context and their personal voices. In between sections of poetry there will be orchestral interludes that take inspiration from essays featured in the collection. The use of the text will vary, with some poems being performed as art song, and others as dramatic, spoken text. The goal of the work is to demonstrate the impact that ordinary people can achieve from small political acts. These acts mobilize and give hope to others, which is the ultimate tale of political power through democratic principles.
with Red Wierenga, piano and electronics and Dieter Hennings, guitar