Sunday, June 28, 2015
2:00pm Concert Insights*, 3:00pm Show
Amaral Center at the Nevada County Fairgrounds
Ryan Murray, Resident Conductor
Add the Bravo Package– just $25 per Classics Series concert gets you a post-concert champagne party at each of the three concerts! (Limited number of tickets available)
*Concert Insights: Join us for a pre-concert forum at each of the Classics Series concerts where the conductor takes us behind the scenes. Talks take place in the Amaral concert hall.
Featuring the MIM Chorus and outstanding soloists – Carrie Hennessey, Soprano, Irene Roberts, Mezzo-Soprano, James Callon, Tenor, John Ames, Bass. Mozart’s final masterpiece, paired with the symphony Haydn wanted to be played at his own funeral.
· Haydn: Symphony No. 44
· Mozart: Requiem
Mozart’s Requiem: One of the most intriguing legends clings to Mozart’s Requiem, his final masterpiece left unfinished at his death on December 5, 1791, at the age of a mere 35. A completion dated 1792 by Franz Xaver Süssmayr was delivered to Count Franz von Walsegg, who had anonymously commissioned the piece for a Requiem Mass to commemorate the February 14 anniversary of his wife’s death. The autograph manuscript (acquired by the Austrian National Library in 1831–1838) shows the finished and orchestrated Introit in Mozart’s hand, as well as detailed drafts of the Kyrie and the sequence Dies Irae as far as the first eight bars of the “Lacrymosa” movement, and the Offertory. It cannot be shown to what extent Süssmayr may have depended on now lost “scraps of paper” for the remainder; he later claimed the Sanctus and Agnus Dei as his own. Walsegg probably intended to pass the Requiem off as his own composition, as he is known to have done with other works.
Joseph Haydn’s Symphony No. 44 was written in 1772. The symphony was written in Haydn’s sturm und drang (storm and stress) period. He had been in the employ as Kapellmeister of the royal Esterhazy family since 1766, and some of the symphonies he wrote between 1766 and 1772 show how much Haydn was experimenting (with the full consent of his royal patron). The two minor key symphonies of this time No. 49 ‘La Passsione’ and No. 44 ‘Trauer’ are especially expressive, dramatic and different. Haydn wrote a total of seven minor key symphonies in seven years in a time when minor keys were seldom used as the home key for a symphony. They are evidence that Haydn had a stormier side to his musical nature, at least in his younger days.
Carrie Hennessey, Soprano
Known for her ability to bring great musical and theatrical depth to her performances, soprano CARRIE HENNESSEY is a powerful and talented artist. The 2014/2015 season includes several concert and recital appearances as well as her role debut as Blanche in André Previn’s A Streetcar Named Desire with Stage director Brad Dalton and soprano soloist in the Verdi Requiem and the Mozart Requiem. When not performing on the main stage, Ms. Hennessey continues the important music education work with the Sacramento Philharmonic, Berkeley Symphony Orchestra, Symphony Napa Valley and other organizations in Northern California.
Irene Roberts, Mezzo-Soprano
American mezzo-soprano Irene Roberts brings her “plush, opulent voice” (San Jose Mercury News) to top opera houses across the globe in a busy 2015-16 season that includes five role debuts and her first performances in Europe. Roberts joins the ensemble of the Deutsche Oper Berlin this season, where her performances will include Lola in Cavalleria rusticana, Cherubino in Le Nozze di Figaro, and the title role in Carmen. Recent successes on the opera stage for Roberts have included Le Nozze di Figaro and Parsifal at the Metropolitan Opera, Les Contes d’Hoffmann at San Francisco Opera and Palm Beach Opera, L’Italiana in Algeri with Lyric Opera of Kansas City, Marschner’s Der Vampyr at New Orleans Opera, Don Giovanni and Madama Butterfly at Palm Beach Opera, Il barbiere di Siviglia with Atlanta Opera, and Gounod’s Faust with Lyric Opera Baltimore. Roberts has also been seen in concert with Gustavo Dudamel and the Los Angeles Philharmonic, with Miami’s New World Symphony, led by Joshua Gersen, and at the US Naval Academy for its annual holiday presentation of Handel’s Messiah.
James Callon, Tenor
James Callon is rapidly establishing himself as an important voice in opera. He has sung on the main stage for LA Opera, Rogue Opera, Tulsa Opera, and Opera San Jose, where he has just concluded a two-‐year residency. As Opera San Jose’s resident tenor, Mr. Callon graced the mainstage in no less than eight full productions, including the critically acclaimed 2014 remount of Madama Butterfly in which “Resident tenor, James Callon, is a perfectly awful BF Pinkerton (in the best way possible) with an amazing voice, as usual.” Cynthia Corral, San Jose Metblogs. Additional mainstage credits include: debuts with LA Opera, Tulsa Opera, and Rogue Opera as Giuseppe, Gastone, and Alfredo in La Traviata, respectively; Tenor Vassal in Götterdämmerung with LA Opera; Rinuccio in Gianni Schicchi with Intimate Opera; Rodolfo in La Bohéme as a guest artist with U.C. Irvine; Tamino in The Magic Flute as a guest artist with Biola University; Howard Bucher in Dead Man Walking with Tulsa Opera; and Nemorino in L’elisir d’amore with Rogue Opera. An accomplished concert artist, Mr. Callon has sung with various symphonies and chamber groups. Recent concert credits include: Beethoven’s 9th Symphony with Cypress College, Schubert’s Nachthelle for the Jacaranda Music Society, Handel’s Messiah with the Los Angeles Master Chorale, and Mozart’s Requiem with The Los Angeles Philharmonic.
John Ames, Bass
John Ames, is very pleased to be performing with Music in the Mountains for the first time. John has been living in Nevada City for five years now. His career began in Reno, Nevada, under the tutelage of the acclaimed voice teacher, coach,and opera impresario, Ted Puffer. From there John travelled to the University of Indiana to study with legendary bass, Giorgio Tozzi. After this, he was accepted to the prestigious Merola Opera Program at San Francisco Opera where he went on to become an Adler Fellow. At San Francisco Opera, Mr. Ames sang some 30 roles in Opera. Among his roles with The San Francisco Opera were included, Colline in La Boheme and Warden George Benton in the world premiere of Jake Heggie’s Dead Man Walking. Among Mr. Ames’ many concert appearance are included, Mozart’s Requiem with The Reno Philharmonic Orchestra, Nixon in China, conducted by the composer John Adams, with The Los Angeles Philharmonic Orchestra, and Jeptha with the Philharmonia Baroque Orchestra, conducted by Nicolas McGegan. Oversea’s, John has performed one of his signature roles, Sarastro in The Magic Flute in Tokyo, as well as Wagner’s Ring Cycle and two world premieres in Bangkok. Most recently, John has performed Judge Turpin from Sweeney Todd, with Nevada Opera. With at least 70 roles performed throughout the country in his repertoire now, Mr. Ames is excited to finally revisit Mozart’s masterful Requiem again.
Elise Dinsmore, winner of the Lucy Becker Vocal Memorial Scholarship: a scholarship of $1500 for committed vocal student 11th grade through college, will perform the famous aria “Se il padre perdei” from Mozart’s opera Idomeneo with the MIM Chorus.