Program - A Classical Christmas - The Ten Tenors

HOLIDAY

2018/19

2018/19 SEASON PRESENTING SPONSORS:

A CLASSICAL CHRISTMAS CONDUCTED BY BRETT MITCHELL COLORADO SYMPHONY BRETT MITCHELL, conductor ANNA CHRISTY, soprano ANDREW GARLAND, baritone COLORADO SYMPHONY CHORUS, DUAIN WOLFE, director Friday, December 7, 2018, at 7:30 p.m.

Saturday, December 8, 2018, at 7:30 p.m.

Boettcher Concert Hall

ARNOLD arr. Palmer

The Holly and the Ivy (Fantasy on Christmas Carols)

HOLST

Christmas Day

BARBER Die Natali: Chorale Preludes for Christmas, Op. 37 O Come, O Come, Emanuel — Lo, How a Rose E’er Blooming — We Three Kings — God Rest You Merry, Gentlemen — Good King Wenceslas — Silent Night — O Come, O Come, Emanuel — O Come, All Ye Faithful — Joy to the World — Silent Night BERLIOZ The Shepherds’ Farewell from L’Enfance du Christ continued on next page

PROUDLY SUPPORTED BY

SOUNDINGS

2018/19

PROGRAM 1

HOLIDAY

2018/19 Hallelujah from Messiah

HANDEL arr. Mozart

— INTERMISSION —

TRADITIONAL arr. Jackfert

I Saw Three Ships

ADAM arr. Jackfert

O Holy Night

HOPKINS arr. Jackfert

We Three Kings

FINZI

In Terra Pax, Opus 39

RANDOL BASS

Gloria

PROGRAM 2

C O L O R A D O SY M P H O N Y.O R G

HOLIDAY BIOGRAPHIES

PHOTO: ROGER MASTROIANNI

BRETT MITCHELL, conductor Hailed for presenting engaging, in-depth explorations of thoughtfully curated programs, Brett Mitchell began his tenure as Music Director of the Colorado Symphony in July 2017. Prior to this appointment, he served as the orchestra’s Music Director Designate during the 2016/17 season. He leads the orchestra in ten classical subscription weeks per season as well as a wide variety special programs featuring such guest artists as Renée Fleming, Yo-Yo Ma, and Itzhak Perlman.

Mr. Mitchell is also in consistent demand as a guest conductor. Highlights of his 2018-19 season include subscription debuts with the Minnesota Orchestra and Vancouver Symphony Orchestra, and return appearances with the orchestras of Cleveland, Dallas, and Indianapolis. Other upcoming and recent guest engagements include the Detroit, Houston, Milwaukee, National, Oregon, and San Antonio symphonies, the Grant Park Festival Orchestra, the Rochester Philharmonic, the Saint Paul Chamber Orchestra, and the New Zealand Symphony Orchestra. Mr. Mitchell also regularly collaborates with the world’s leading soloists, including YoYo Ma, Renée Fleming, Rudolf Buchbinder, Kirill Gerstein, James Ehnes, Augustin Hadelich, Leila Josefowicz, and Alisa Weilerstein.

From 2013 to 2017, Mr. Mitchell served on the conducting staff of The Cleveland Orchestra. He joined the orchestra as Assistant Conductor in 2013, and was promoted to Associate Conductor in 2015, becoming the first person to hold that title in over three decades and only the fifth in the orchestra’s hundred-year history. In these roles, he led the orchestra in several dozen concerts each season at Severance Hall, Blossom Music Center, and on tour.

From 2007 to 2011, Mr. Mitchell led over one hundred performances as Assistant Conductor of the Houston Symphony. He also held Assistant Conductor posts with the Orchestre National de France, where he worked under Kurt Masur from 2006 to 2009, and the Castleton Festival, where he worked under Lorin Maazel in 2009 and 2010. In 2015, Mr. Mitchell completed a highly successful five-year appointment as Music Director of the Saginaw Bay Symphony Orchestra.

As an opera conductor, Mr. Mitchell has served as music director of nearly a dozen productions, principally at his former post as Music Director of the Moores Opera Center in Houston, where he led eight productions from 2010 to 2013. His repertoire spans the core works of Mozart (The Marriage of Figaro and The Magic Flute), Verdi (Rigoletto and Falstaff), and Stravinsky (The Rake’s Progress) to contemporary works by Adamo (Little Women), Aldridge (Elmer Gantry), Catán (Il Postino and Salsipuedes), and Hagen (Amelia). As a ballet conductor, Mr. Mitchell most recently led a production of The Nutcracker with the Pennsylvania Ballet in collaboration with The Cleveland Orchestra during the 2016-17 season.

In addition to his work with professional orchestras, Mr. Mitchell is also well known for his affinity for working with and mentoring young musicians aspiring to be professional orchestral players.

His tenure as Music Director of the Cleveland Orchestra Youth Orchestra from 2013 to 2017 was highly praised, and included a four-city tour of China in June 2015, marking the orchestra’s second international tour and its first to Asia. Mr. Mitchell is regularly invited to work with the highly talented musicians at the Cleveland Institute of Music and the orchestras at this country’s high-level training programs, such as the National Repertory Orchestra, Texas Music Festival, Sarasota Music Festival, and Interlochen Center for the Arts.

SOUNDINGS

2018/19

PROGRAM 3

HOLIDAY BIOGRAPHIES Born in Seattle in 1979, Mr. Mitchell holds degrees in conducting from the University of Texas at Austin and composition from Western Washington University, which selected him as its Young Alumnus of the Year in 2014. He also studied at the National Conducting Institute, and was selected by Kurt Masur as a recipient of the inaugural American Friends of the Mendelssohn Foundation Scholarship. Mr. Mitchell was also one of five recipients of the League of American Orchestras’ American Conducting Fellowship from 2007 to 2010.

For more information, please visit www.brettmitchellconductor.com

ANNA CHRISTY, soprano Praised by The New York Times as “nimble of voice, body and spirit,” soprano Anna Christy continues to impress and delight audiences with an extraordinary blend of sparkling voice, powerful stage presence, and innate musicality. The 2018-19 season will see Ms. Christy as Tytania in Robert Carsen’s production of A Midsummer Night’s Dream with Opera Philadelphia. She also debuts with Colorado Symphony Orchestra singing In Terra Pax conducted by Brett Mitchell. Last season, Anna returned to the Canadian Opera Company as Gilda in Rigoletto. She also returned to Japan for performances of Lauretta in Gianni Schicchi with Seiji Ozawa. Other roles included the title role in Lucia de Lammermoor with the Florida Grand Opera, Marzelline in Fidelio with Boston Baroque, and Adele in Die Fledermaus with Des Moines Metro Opera.

On the concert stage, Ms. Christy has been a featured soloist in the New York City Opera Gala “American Voices” and portrayed Angela in a semi-staged version of Kurt Weill’s The Firebrand of Florence with the Collegiate Chorale at Carnegie Hall. She has performed Candide with the Los Angeles Philharmonic, Carmina Burana with the Saint Louis Symphony, Mahler’s Symphony No. 4, Candide, and Die Entführung aus dem Serail with the Chicago Symphony at the Ravinia Festival.

Other concert engagements have included appearances with the Philadelphia Orchestra, National Symphony Orchestra, Milwaukee Symphony Orchestra, Orpheus Chamber Orchestra, New York Festival of Song, and solo recitals in Japan. Ms. Christy made her Metropolitan Opera debut as Papagena in Julie Taymor’s new production of Die Zauberflöte followed by Hortense in the world premiere of Tobias Picker’s An American Tragedy. Two more debuts followed with appearances as Muffin in the world premiere of William Bolcom’s A Wedding at the Lyric Opera of Chicago and with Opera Theatre of Saint Louis as Zemire in Zemire et Azor. Other important engagements for Ms. Christy include her San Francisco debut as Angel More in The Mother of Us All conducted by Donald Runnicles and directed by Christopher Alden; Marzelline in a concert version Fidelio with the San Francisco Symphony conducted by Michael Tilson Thomas; Zerlina in Don Giovanni with the Los Angeles Opera; and Mrs. Nordstrom in A Little Night Music and Annabelle in The Glass Blowers with New York City Opera. She made her Santa Fe Opera debut as Jiang Ching in the world premiere of Madame Mao and later returned as Celia in Lucio Silla.

Selected by New York City Opera, Anna Christy is the recipient of the Martin E. Segal Award presented annually to nominees by two of Lincoln Center’s twelve resident arts constituents.

She is also the recipient of a Richard Tucker Music Foundation Career Grant, the ARIA Award, Sullivan Foundation Grant, a Richard F. Gold Grant and the Shouse Debut Artist Award from Wolf Trap Opera.

PROGRAM 4

C O L O R A D O SY M P H O N Y.O R G

HOLIDAY BIOGRAPHIES ANDREW GARLAND, baritone Baritone Andrew Garland is widely recognized as a leader in recital work with dozens of performances around the country including Carnegie Hall with pianist Warren Jones and programs of modern American songs all over the Unites States and in Canada. Jones, Marilyn Horne, Steven Blier, a number of American composers, and several major music publications all endorse him as a highly communicative singer leading the way for the song recital into the 21st Century. He brings his highly communicative style to the concert stage with orchestras including the Atlanta Symphony, Boston Baroque, The Handel and Haydn Society, Boston Youth Symphony, National Philharmonic, Albany Symphony, Colorado Symphony, Washington Master Chorale at the Kennedy Center and National Chorale at Lincoln Center. Other concert performances include Handel’s Messiah with Boston Baroque, UMS (Ann Arbor, MI), Dartmouth Handel Society (Helmuth Rilling, conductor) the Colorado Bach Ensemble, Arizona Symphony, Virginia Symphony and others; Carmina Burana, Ein Deutches Requiem, Five Mystical Songs, Dona Nobis Pacem, Hodie, Faure Requiem and Duruflé Requiem.

Particularly suited for baroque repertoire, Garland has sung numerous performances with Boston Baroque, The Handel and Haydn Society, and the Colorado Bach Ensemble and sang in Cincinnati Opera’s first Baroque production (La Calisto). He has also soloed with Emmanuel Music in Boston.

Garland is the winner of the Lavinia Jensen, NATSAA, Washington International, American Traditions, NATS and Opera Columbus Competition and was a prize winner in the Montreal International, Jose Iturbi, Gerda Lissner, McCammon and Palm Beach International Competitions. He was an apprentice at the San Francisco Opera Center and the Seattle Opera and Cincinnati Opera Young Artists programs. In addition to sustaining a busy performance schedule, Garland has recently joined the voice faculty at The University of Colorado-Boulder.

DUAIN WOLFE, director, Colorado Symphony Chorus Recently awarded two Grammys® for Best Choral Performance and Best Classical Recording, Duain Wolfe is founder and Director of the Colorado Symphony Chorus and Music Director of the Chicago Symphony Chorus.

This year marks Wolfe’s 35th season with the Colorado Symphony Chorus.

The Chorus has been featured at the Aspen Music Festival for over two decades. Wolfe, who is in his 25th season with the Chicago Symphony Chorus has collaborated with Daniel Barenboim, Pierre Boulez, Bernard Haitink, Riccardo Muti, and the late Sir George Solti on numerous recordings including Wagner’s Die Meistersinger, which won the 1998 Grammy® for Best Opera Recording. Wolfe’s extensive musical accomplishments have resulted in numerous awards, including an honorary Doctor of Fine Arts from the University of Denver, the Bonfils Stanton Award in the Arts and Humanities, the Governor’s Award for Excellence in the Arts, the Mayor’s Award for Excellence in an Artistic Discipline, and the Michael Korn Award for the Development of the Professional Choral Art. Wolfe is also founder of the Colorado Children’s Chorale, from which he retired in 1999 after 25 years; the Chorale celebrated its 40th anniversary last season. For 20 years, Wolfe also worked with the Central City Opera Festival as chorus director and conductor, founding and directing the company’s young artist residence program, as well as its education and outreach programs. Wolfe’s additional accomplishments include directing and preparing choruses for Chicago’s Ravinia Festival, the Bravo!Vail Festival, the Berkshire Choral Festival, the Aspen Music Festival, and the Grand Teton Music Festival. He has worked with Pinchas Zuckerman as Chorus Director for the Canadian National Arts Centre Orchestra for the past 13 years.

SOUNDINGS

2018/19

PROGRAM 5

HOLIDAY BIOGRAPHIES COLORADO SYMPHONY CHORUS The 2018-2019 Colorado Symphony concert season marks the 35th year of the Colorado Symphony Chorus. Founded in 1984 by Duain Wolfe at the request of Gaetano Delogu, then the Music Director of the Symphony, the chorus has grown, over the past three decades, into a nationally respected ensemble. This outstanding chorus of 185 volunteers joins the Colorado Symphony for numerous performances (more than 25 this year alone), and radio and television broadcasts, to repeat critical acclaim. The Chorus has performed at noted music festivals in the Rocky Mountain region, including the Colorado Music Festival, the Grand Teton Music Festival and the Bravo! Vail Valley Music Festival, where it has performed with the New York Philharmonic, the Philadelphia Orchestra and the Dallas Symphony. For over two decades, the Chorus has been featured at the world-renowned Aspen Music Festival, performing many great masterworks under the baton of notable conductors Lawrence Foster, James Levine, Murry Sidlin, Leonard Slatkin, Robert Spano and David Zinman. Among the seven recordings the CSO Chorus has made is a NAXOS release of Roy Harris’s Symphony No. 4, as well as a remarkable recording of Beethoven’s Symphony No. 9. The Chorus is also featured on a Hyperion release of the Vaughan Williams Dona Nobis Pacem and Stephen Hough’s Missa Mirabilis. Most recently, the Orchestra and Chorus has released a world-premier recording of William Hill’s The Raven. In 2009, in celebration of the 25th anniversary of the chorus, Duain Wolfe conducted the chorus on a 3-country, 2-week concert tour of Europe, presenting the Verdi Requiem in Budapest, Vienna, Litomysl and Prague, and in 2016 the chorus returned to Europe for concerts in Paris, Strasbourg and Munich. From Evergreen to Brighton, and Boulder to Castle Rock, singers travel each week to rehearsals and performances in Denver totaling about 80 a year. The Colorado Symphony continues to be grateful for the excellence and dedication of this remarkable all-volunteer ensemble! For an audition appointment, visit the symphony website for an on-line sign up form. www.coloradosymphony.org

PROGRAM 6

C O L O R A D O SY M P H O N Y.O R G

HOLIDAY BIOGRAPHIES COLORADO SYMPHONY CHORUS Duain Wolfe, Founding Director and Conductor; Mary Louise Burke, Associate Conductor; Travis Branam, Taylor Martin, Assistant Conductors; Brian Dukeshier, Hsiao-Ling Lin, Danni Snyder, Pianists; Eric Israelson, Barbara Porter, Chorus Managers; SOPRANO I Black, Kimberly Black, Shelby Brazell, Madeline Brown, Jamie Causey, Denelda Coberly, Sarah Dirksen, Sarah Emerich, Kate A. Gile, Jenifer D. Gill, Lori C. Graber, Susan Heintzkill, Mary-Therese Hinkley, Lynnae C. Hittle, Erin R. Hofmeister, Mary Hupp, Angela M. Jordan. Cameron Joy, Shelley E. Kim, Michelle Knecht, Melanie Levy, Juliet Long, Lisa Look, Cathy Maupin, Anne Mitchell, Angela Moraskie, Wendy L. Porter, Barbara A. Schawel, Camilia Sladovnik, Roberta A. Solich, Stephanie A. Stegink, Nicole J. Tate, Judy Wuertz, Karen York, Hannah Young, Cara M. SOPRANO II Ascani, Lori Blum, Jude Bohannon, Hailey Borinski, Jackie Bowen, Alex S. Brauchli, Margot L. Coberly, Ruth A. Colbert, Gretchen Cote, Kerry H. Dakkouri, Claudia Irwin, Emily R. Kendall, Chelsea Kittle, Grace A.

Kraft, Lisa D. Kushnir, Marina Linder, Dana Machusko, Rebecca E. Montigne, Erin Mulvany, Suzanne Nesbit, Angie Nyholm, Christine M. O'Nan, Jeannette R. Pflug, Kim Rae, Donneve S. Rider, Shirley J. Roth, Sarah Ruff, Mahli Saddler, Nancy C. Timme, Sydney Von Roedern, Susan K. Walker, Marcia L. Weinstein, Sherry L. Woodrow, Sandy Zisler, Joan M. ALTO I Adams, Priscilla P. Braud-Kern, Charlotte Brown, Kimberly Cauthen, Rachael Franz, Kirsten D. Frey, Susie Gayley, Sharon R. Groom, Gabriella D. Guittar, Pat Haller, Emily Holst, Melissa J. Hoopes, Kaia M Kim, Annette Kraft, Deanna McNulty, Emily McWaters, Susan Nordenholz, Kristen Passoth, Ginny Pringle, Jennifer Rudolph, Kathi L. Schmicker, Kate Stevenson, Melanie Thayer, Mary B. Virtue, Pat Voland, Col leen

ALTO II Boothe, Kay A. Cox, Martha E. Daniel, Sheri L. Deck, Barbara Dominguez, Joyce Eslick, Carol A. Golden, Daniela Holmes, Kelsey Hoskins, Hansi Jackson, Brandy H. Janasko, Ellen D. Kibler, Janice LeBaron, Andrea London, Carole A. Maltzahn, Joanna K. Marchbank, Barbara J. Nittoli, Leslie M. Scooros, Pamela R. Worthington, Evin TENOR I Dougan, Dustin Gordon, Jr., Frank Guittar, Jr., Forrest Hodel, David K. Jordan, Curt Moraskie, Richard A. Mosser, Shane Muesing, Garvis J. Nicholas, Timothy W. Rehberg, Dallas Reiley, William G. Roach, Eugene Zimmerman, Kenneth A. TENOR I I Babcock, Gary E. Bradley, Mac Carlson, James Davies, Dusty R. Dinkel, Jack Fuehrer, Roger Gale, John H. Hunt, Leonard Ibrahim, Sami Kolm, Kenneth E. Lively, Mark McCracken, Todd Meswarb, Stephen J. Milligan, Tom A.

SOUNDINGS

Richardson, Tyler Ruth, Ronald L. Seamans, Andrew J. Shaw, Kyle Sims, Jerry E. Colorado Symphony Chorus Founding Director and Conductor Duain Wolfe Associate Conductor Mary Louise Burke Assistant Conductors Travis Branam Taylor Mart in Pianists Brian Dukeshier Hsiao-Ling Lin Danni Snyder Chorus Managers Eric Israelson Barbara Porter Bass I Adams, John G. Cowen, George Drickey, Robert E. Gray, Matthew Hesse, Douglas D. Jirak, Thomas J. Patterson, Ethan R. Quarles, Kenneth Ragan, Jimmy Ravid, Frederick Struthers, David R. Bass II Friedlander, Robert Grossman, Chris Israelson, Eric W. Jackson, Terry L. Kent, Roy A. Morrison, Greg A. Nuccio, Eugene J. Potter, Tom Skillings, Russell R. Skinner, Jack Smedberg, Matthew Swanson, Wil W. Taylor, Don Virtue, Tom G. Zhang, Alex

2018/19

PROGRAM 7

HOLIDAY PROGRAM NOTES Holst: Christmas Day Good Christian men, rejoice With heart, and soul, and voice; Give ye heed to what we say: News! News!

Jesus Christ is born today: Ox and ass before him bow, And he is in the manger now.

Christ is born today!

God rest you merry, gentlemen, Let nothing you dismay, Remember Christ our Saviour Was born on Christmas day, To save us all from woe and sin, When we were gone astray.

O tidings of comfort and joy.

In Bethlehem, in Jewry, This blessed Babe was born, And laid within a manger, Upon that holy morn; The which his mother, Mary, Did nothing take in scorn.

O tidings of comfort and joy.

Good Christian men, rejoice With heart, and soul, and voice; Now ye hear of endless bliss: Joy! Joy! Jesus Christ was born for this!

He hath oped the heav’nly door, And man is blessed evermore.

Christ was born for this!

Come, ye lofty, come, ye lowly, Let your songs of gladness ring; In a stable lies the Holy, In a manger rests the King; See, in Mary’s arms reposing, Christ by highest heav’n adored; Come, your circle round him closing, Pious hearts that love the Lord.

The first Nowell the angels did say, Was to certain poor shepherds in fields as they lay; In fields where they lay keeping their sheep, PROGRAM 8

On a cold winter’s night that was so deep.

Nowell, Nowell, Nowell, Born is the King of Israel.

Come, ye poor, no pomp of station Robes the child your hearts adore: He, the Lord of all salvation, Shares your want, is weak and poor: Oxen, round about behold them; Rafters naked, cold and bare, See the shepherds, God has told them That the Prince of Life lies there.

Come, ye children, blithe and merry, This one child your model make; Christmas holly, leaf and berry, All be prized for his dear sake; Come, ye gentle hearts, and tender, Come, ye spirits, keen and bold; All in all your homage render, Weak and mighty, young and old.

High above a star is shining, And the Wisemen haste from far: Come, glad hearts, and spirits pining: For you all has risen the star.

Let us bring our poor oblations, Thanks and love and faith and praise: Come, ye people, come, ye nations, All in all draw nigh to gaze.

Now to the Lord sing praises, All you within this place, And with true love and brotherhood Each other now embrace; This holy tide of Christmas All others doth deface.

O tidings of comfort and joy.

Good Christian men, rejoice With heart, and soul, and voice; Now ye need not fear the grave: Peace! Peace!

Jesus Christ was born to save!

Calls you one, and calls you all, To gain his everlasting hall: Christ was born to save!

C O L O R A D O SY M P H O N Y.O R G

HOLIDAY PROGRAM NOTES Berlioz: Shepherds’ Farewell from L’Enfance du Christ (The Childhood of Christ) Il s’en va loin de la terre, He is going far from the land, Où dans l’étable il vit le jour.

Where in a stable he first saw the light De son père et de sa mére, of day.

Qu’il reste le constant amour!

May he stay in the constant love of his Qu’il grandisse, qu’il prospère, father and his mother!

Et qu’il soit bon père à son tour!

May he grow and prosper, and at last Oncques si, chez l’idolâtre become a good father in his turn!

Il vient à sentir le malheur, If, surrounded by idolatry, Fuyant la terre marâtre, He should ever be troubled, Chez nous qu’il revienne au bonheur!

Fleeing a hostile land, Que la pauvreté du pâtre May he find peace with us!

Reste toujours chère à son coeur!

May we, humble shepherds Cher enfant, Dieu te bénisse!

Stay always dear to his heart!

Dieu vous bénisse, heureux époux!

Dear child, God bless thee!

Que jamais de l’injustice, God bless you, happy pair!

Vous ne puissiez sentir les coups!

May you never feel the blows of injustice Qu’un bon ange vous avertisse May a good angel warn you Des dangers planant sur vous!

Of the dangers lurking around you! ******* Handel: Hallelujah from Messiah Hallelujah, for the Lord God Omnipotent reigneth.

The Kingdom of this world is become the Kingdom of our Lord, and of His Christ; and He shall reign for ever and ever.

King of Kings, and Lord of Lords. ******* Finzi: In Terra Pax (Peace on Earth) A frosty Christmas Eve when the stars were shining Fared I forth alone where westward falls the hill, And from many a village in the water’d valley Distant music reach’d me peals of bells a-ringing: The constellated sounds ran sprinkling on earth’s floor As the dark vault above with stars was spangled o’er.

Then sped my thoughts to keep that first Christmas of all When the shepherds watching by their folds ere the dawn Heard music in the fields and marvelling could not tell Whether it were angels or the bright stars singing.

And there were in the same country shepherds abiding in the field, keeping watch over their flock by night. And lo, the angel of the Lord came upon them, and the glory of the Lord shone round about them, and they were sore afraid.

And the angel said unto them: Fear not; for behold, I bring you good tidings of great joy, which shall be to all people. For unto you is born this day, in the city of David, a Saviour, which is Christ the Lord. And this shall be a sign unto you; ye shall find the babe wrapped in swaddling clothes, lying in a manger.

SOUNDINGS

2018/19

PROGRAM 9

HOLIDAY PROGRAM NOTES And suddenly there was with the angel a multitude of the heavenly host praising God, and saying, Glory to God in the highest, and on earth peace, good will toward men.

But to me heard afar it was starry music Angels’ song, comforting as the comfort of Christ

When he spake tenderly to his sorrowful flock: The old words came to me by the riches of time Mellow’d and transfigured as I stood on the hill Heark’ning in the aspect of th’eternal silence.

******* Bass: Gloria Gloria in excelsis Deo, et in terra pax hominibus bonae voluntatis.

Laudamus te, benedicimus te, adoramus te, glorificamus te.

Gratias agimus tibi propter magnam gloriam tuam.

Domine Deus, Rex coelestis, Deus pater omnipotens.

Domine Fili unigenite Jesu Christe, Domine Deus, Agnus Dei, Filius Patris, qui tollis peccata mundi: miserere nobis; qui tollis peccata mundi: suscipe deprecationem nostram; qui sedes ad dexteram Patris: miserere nobis.

Quoniam tu solus sanctus, tu solus Dominus, tu solus altissimus, Jesu Christe, cum sancto spiritu, in gloria Dei Patris. Amen.

PROGRAM 10

Glory to God in the highest, and on earth peace to men of good will.

We praise you, we bless you, we worship you, we glorify you.

We give you thanks for your great glory.

Lord God, heavenly King, God the Father almighty.

The only-begotten Son, Lord Jesus Christ, Lord God, Lamb of God, Son of the Father, you take away the sin of the world: have mercy on us; you take away the sin of the world: receive our prayer; you are seated at the right hand of the Father: have mercy on us.

For you alone are the Holy One, you alone are the Lord, you alone are the Most High, Jesus Christ, with the Holy Spirit, in the glory of God the Father. Amen.

C O L O R A D O SY M P H O N Y.O R G

HOLIDAY PROGRAM NOTES MALCOLM ARNOLD (1921-2006): The Holly and the Ivy (Fantasy on Christmas Carols) (1952) Arranged by Christopher Palmer (1946-1995) Malcolm Arnold, born in Northampton in 1921, entered the Royal College of Music, London in 1938 as a scholarship student in composition, conducting and trumpet. In 1941, he won the Cobbett Prize for Chamber Music Composition and joined the trumpet section of the London Philharmonic Orchestra; the following year he became Principal Trumpet of the LPO. After a stint in military service in 1944-1945 and a brief tenure with the BBC Symphony Orchestra, he returned to the LPO, where he came to be known as one of the country’s leading instrumental virtuosos.

In 1948, Arnold won the Mendelssohn Scholarship for study in Italy; he retired from the LPO that year to devote himself to composition and guest conducting. Much of his work during the years immediately following was for the cinema (he wrote some 120 film scores — Bridge on the River Kwai won an Academy Award in 1958), but his later music ranges from opera and incidental music to orchestral, chamber and vocal compositions.

Among Arnold’s many screen credits is the score for the 1952 British film The Holly and the Ivy, which starred Ralph Richardson as a clergyman whose duties to his congregation so consumed his attention that he neglected his own children. The drama’s tensions are played out when his now-grown offspring return home for a family Christmas gathering. Arnold’s music is built around several familiar holiday melodies, which in 1991 were woven into a Fantasy on Christmas Carols by English composer, arranger, writer and film music authority Christopher Palmer.

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GUSTAV HOLST (1874-1934): Christmas Day (1910) Gustav Holst arrived at the Royal College of Music, London, in 1893 from his family home in Cheltenham determined to become a piano virtuoso, but severe neuritis forced him to abandon that plan and instead take up trombone as his main instrument. The interest in composition he had evinced as a teenager continued to grow during his college days, however, and he carried on a regular schedule of creative work in addition to his practice and performance. He also read voraciously during those years, and settled on Walt Whitman, the Scottish poet George MacDonald, and William Morris as his favorite authors. Morris, a painter and printer and the father of the English arts and crafts movement, was then a leading advocate of socialism, and Holst attended the weekly meetings in his house in Hammersmith to hear lectures by George Bernard Shaw and others. He was particularly impressed with Morris’ views that art and education should be available to the entire range of British society. When Holst was appointed to the faculty of Morley College in South London in 1907, ending an exhausting decade of playing trombone in various orchestras and popular bands, he made Morris’ educational philosophy manifest. The College had been founded late in the 19th century “to promote the advanced study by men and women belonging to the working classes of subjects not directly connected with any handicraft, trade or business.” Holst eagerly shared his knowledge, and never turned anyone away from his classes. He made such progress with his students’ musical education that just four years after he joined the faculty he was able to mount a production of Purcell’s The Fairy Queen, which had not been performed since that composer’s death in 1695.

In 1910, Holst wrote a “Fantasy on Old Carols” for performance by the students of Morley College, taking as thematic material Good Christian Men Rejoice, God Rest You Merry, Gentlemen and The First Nowell, which he ingeniously layered with a little-known “old Breton” (his term) Christmas song titled Come Ye Lofty, Come Ye Lowly.

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SOUNDINGS

2 0 1 8 / 1 9 PROGRAM 11

HOLIDAY PROGRAM NOTES SAMUEL BARBER (1910-1981): Die Natali, Chorale Preludes for Christmas, Op. 37 (1960) Samuel Barber enjoyed a warm association with Serge Koussevitzky and the Boston Symphony Orchestra from the time they first performed his Overture to “The School for Scandal” in 1940. Six years later Koussevitzky and the BSO premiered Barber’s Cello Concerto with Raya Garbousova, and in 1948 they introduced Knoxville: Summer of 1915 with Eleanor Steber. In 1953, two years after Koussevitzky’s death, Barber received a commission for a choral work based on the Prayers of Kierkegaard from the Koussevitzky Foundation, which had been established by the conductor in memory of his wife, Natalie, who had died in 1942. A second commission from the Foundation, in 1960, resulted in the orchestral work Die Natali carminum sequentia (“At Christmastime, a Series of Carols”), whose title refers both to Natalie Koussevitzky (to whose memory the score is dedicated) and to the holiday season that provided the work’s thematic material. Die Natali treats O Come, O Come, Emanuel, Good King Wenceslas, We Three Kings and other familiar Christmas melodies and takes as its centerpiece a meditative arrangement of Silent Night.

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HECTOR BERLIOZ (1803-1869): The Shepherds' Farewell from L’Enfance du Christ (1850-1854) “The aim of religious music,” Hector Berlioz once said, “is to move and uplift the soul by the expression of the feelings that live and breathe within the words to which it is set.” In the early 1850s, Berlioz, serving as his own librettist, shaped the story of the Flight into Egypt as told in the Second Chapter of the Gospel of St. Matthew into a series of sharply focused dramatic tableaux that he titled L’Enfance du Christ (“The Childhood of Christ”). The Farewell of the Shepherds to the Holy Family is a gentle swaying song to accompany the departure of Mary, Joseph and the Christ Child from Bethlehem.

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GEORGE FRIDERIC HANDEL (1685-1759): Hallelujah from Messiah (1741) A unique instrumentation accompanies this Hallelujah as it is an arrangement that was done

by Amadeus Mozart. In 1789, Mozart arranged the work to be performed in the homes of Vienna’s nobility without any intention of ever publishing the work.

Messiah is one of the best-known and most widely performed of all musical works. It is the only important piece of Baroque music with an unbroken performance tradition from the time of its premiere (1742) to our own day. It was heard in America as early as 1770. A performance of Messiah by over 500 musicians was the focus of the celebration of the centennial of Handel’s birth at Westminster Abbey in 1784. (It was then thought that he was born in 1684 — the monument above his grave in the Abbey still wrongly bears that date.) In 1789, Mozart arranged the orchestral accompaniments for a performance in Vienna sponsored by that champion of “ancient” music, Baron von Swieten, Court Librarian and librettist for Haydn’s The Creation.

George Bernard Shaw reported in one of his turn-of-the-20th-century columns of music criticism on a London performance involving some 4,000 (!) participants. (Concerning the tradition of the audience standing for the Hallelujah Chorus initiated by George II during one of Handel’s Messiah performances, Shaw noted that “it is the nearest sensation to the elevation of the Host known to English Protestants.”) Today, there is probably not a major city in the Western world that does PROGRAM 12

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HOLIDAY PROGRAM NOTES not hear Messiah at least once a year. “Other oratorios may be compared one with another,” according to George P. Upton, “but Messiah stands alone, a majestic monument to the memory of the composer, an imperishable record of the noblest sentiments of human nature and the highest aspirations of man.” The most famous moment in Messiah is the chorus Hallelujah, the grand acclamation of Christ’s resurrection that closes Part II of the oratorio.

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THREE TRADITIONAL CAROLS Though the text of I Saw Three Ships Come Sailing In reached its finished form in William Sandys’ Christmas Carols, Ancient and Modern in 1833, its subject and sentiments reach far back into European folklore. The poem, whose earlier variants date from as far back as 1666, dealt with the Mediterranean wanderings of the relic skulls of the three Magi, which were taken by Empress Helena to Constantinople in the fourth century and then to Milan before finally coming to rest in Cologne Cathedral in 1162, where they remain to this day. The tune stems from ancient anonymous English 17th-century stock.

Though Adolphe Adam (1803-1856) gained renown during his time as the composer of some 53 operas for the stages of Paris, he is best remembered for his ballet Giselle and for the lovely Cantique de Noël — O Holy Night.

The music and lyrics of We Three Kings, one of the first enduringly popular Christmas songs written in America, are by John Henry Hopkins, Jr. (1820-1891), who was born in Pittsburgh and studied at the University of Vermont and General Theological Seminary in New York City, where he was appointed as the school’s first music director in 1855. He based the words of We Three Kings, written for a Christmas pageant at the Seminary in 1857, on the account in the Gospel of St. Matthew of the Magi’s visit to the Nativity.

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GERALD FINZI (1901-1956): In Terra Pax, Opus 39 (1954) The lyricism, tenderness and expressive immediacy that characterize the English pastoral tradition at its best are perfectly captured in the music of Gerald Finzi. Finzi, the son of a shipbroker, was born in London on July 14, 1901. His delicate temperament was shaped after his father died when the boy was eight and his three elder brothers passed away shortly thereafter, and little altered by four years of private schooling in England and a year’s rest cure in Switzerland. Finzi began music study with Ernest Farrar when he returned to London in 1915, but Farrar’s death in combat the following year affected the young musician deeply. He studied sporadically with Edward Bairstow, organist at York Minster, until 1922, when he settled in the Gloucestershire countryside. He returned to London in 1925 to take counterpoint lessons with R.O. Morris, and there met many leading English musicians and immersed himself in the cultural life of the capital. From 1930 to 1933, Finzi taught at the Royal Academy of Music, but he was unsuited to the discipline and stresses of a faculty post and withdrew to the village of Aldbourne in Wiltshire; in 1937, he built a modest house at Ashmansworth in Hampshire.

Though philosophically a pacifist, Finzi reluctantly admitted the necessity of World War II, and he worked at the Ministry of War Transport in London from 1941 to 1945. He continued to compose after the war, even after being diagnosed with Hodgkin’s Disease in 1951. Gerald Finzi died in Oxford in September 1956.

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HOLIDAY PROGRAM NOTES Finzi composed the exquisite “Christmas scene” In Terra Pax (“Peace on Earth”) in 1954 on the poem Noel: Christmas Eve, 1913 (subtitled Pax hominibus bonae voluntatis — Peace and goodwill to all men) by Robert Bridges (1844-1930), Britain’s Poet Laureate from 1913 until his death.

Finzi set the first and last of Bridges’ three stanzas for solo baritone, and, in place of the second stanza, inserted a choral episode based on familiar Christmas verses from the Gospel of St. Luke: And there were in the same country shepherds abiding in the field, keeping watch over their flock by night. When the chorus invokes the voice of the angel, the soprano responds: Fear not; for behold, I bring you good tidings of great joy. Finzi’s gentle, lyrical pastoralism is the perfect musical medium for evoking the English countryside that provides the setting of Bridges’ poem, and allows the jubilant strains embodying the celestial vision from St. Luke to provide formal and expressive balance at the center of this wonderful work.

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RANDOL BASS (B. 1953): Gloria (1990) Composer, arranger, conductor, singer and pianist Randol Bass was born in Forth Worth in 1953 and studied at the University of Texas at Austin, College-Conservatory of Music in Cincinnati and Robert Shaw Institute at Ohio State University. His arrangements and original works have been performed and commissioned by such noted ensembles as the Chicago Symphony Orchestra, Mormon Tabernacle Choir, Cleveland Orchestra, Philadelphia Orchestra, Boston Pops and Colorado Symphony. Bass has also founded several civic orchestras and choral groups in Texas; he is currently Director and Conductor of the community-based Metropolitan Winds of Dallas. Bass composed his Gloria for the 1990 holiday concerts of the New York Pops Orchestra. The work is a jubilant setting of the ancient text from the Roman Catholic Mass that praises the deity and supplicates for “peace on earth to men of good will.” ©2018 Dr. Richard E. Rodda

HOLIDAY

2018/19

2018/19 SEASON PRESENTING SPONSORS:

TEN TENORS — HOME FOR THE HOLIDAYS WITH YOUR COLORADO SYMPHONY COLORADO SYMPHONY CHRISTOPHER DRAGON, conductor THE TEN TENORS, VOCALISTS Sunday, December 9, 2018, at 6:30 p.m.

Boettcher Concert Hall

Selections to be announced from stage

Today's Concert is Gratefully Dedicated to Volunteers of America PROUDLY SUPPORTED BY

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HOLIDAY BIOGRAPHIES CHRISTOPHER DRAGON, conductor Australian conductor Christopher Dragon is in his fourth season as the Associate Conductor of the Colorado Symphony. For three years he previously held the position of Assistant Conductor with the West Australian Symphony Orchestra, which gave him the opportunity to work closely with Principal Conductor Asher Fisch. Christopher works regularly in Australia and has guest conducted the Sydney, Melbourne, Adelaide and West Australian Symphony Orchestras. His 2015 debut performance at the Sydney Opera House with Josh Pyke and the Sydney Symphony Orchestra was released on album by ABC Music and won an ARIA the following year. Christopher’s international guest conducting includes the Orquestra Sinfônica de Porto Alegre, the San Diego Symphony Orchestra and the New Zealand Symphony Orchestra. He has also conducted at numerous festivals including the Breckenridge and Bangalow Music Festivals, with both resulting in immediate re-invitations. At the beginning of 2016 Mr. Dragon conducted Wynton Marsalis’ Swing Symphony as part of the Perth International Arts Festival alongside Wynton Marsalis and Jazz at the Lincoln Center Orchestra. Christopher Dragon began his conducting studies in 2011 and was a member of the prestigious Symphony Services International Conductor Development Program in Australia under the guidance of course director Christopher Seaman. He has also studied with numerous distinguished conductors including Leonid Grin, Paavo and Neeme Järvi at the Järvi Summer Festival, Fabio Luisi at the Pacific Music Festival, and conducting pedagogue Jorma Panula.

Christopher Dragon, conductor (bio and headshot pickup)

THE TEN TENORS The TEN Tenors are undoubtedly one of Australia’s greatest entertainment success stories, with more than 90 million people worldwide witnessing their unmistakable charm, camaraderie and vocal power. Following 20 years of sell-out performances across the globe, including more than 2,500 of their own headline concerts, The TEN Tenors have cemented their place as Australia’s premier classical-crossover group. Celebrated for their colorful repertoire, breathtaking arrangements and powerful live performances, The TEN Tenors respectfully tip their hats not only to the great classical composers, but to contemporary music’s most popular artists. From Queen, Bowie, Lennon and Winehouse, an evening with The TEN Tenors is guaranteed to surprise and delight in equal measure. Amidst their own explosive live concert experiences and remarkable achievements including six platinum and gold records and over 3.5 million concert tickets sold, The TEN Tenors have also performed alongside countless music legends including Andrea Bocelli, André Rieu, John Travolta, Nicole Kidman, Geoffrey Rush, Keith Urban, Rod Stewart, Alanis Morissette, Sarah Brightman, Willie Nelson, Katherine Jenkins, and Christina Aguilera. They’re no strangers to television either, with iconic appearances on some of the world’s biggest broadcast events including performing exclusively for chat show queen Oprah Winfrey on Oprah’s Ultimate Australian Adventure, appearing on the Jerry Lewis MDA Telethon for an audience of 32 million viewers, and Poland 2012 UEFA Cup in Warsaw. Arena Der Stars 2002 and PROGRAM 16

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HOLIDAY BIOGRAPHIES 2005. Long-time member and Touring Musical Director, of The TEN Tenors, Michael Edwards says “So many people come to our show the first time expecting arias or standard crossover repertoire, but it only takes one song for them to realize this is not like any other tenor show out there and they better be ready to laugh, cry and party like they are at a rock concert”. The group’s producer, D-J Wendt adds, “We like to think audiences come to our show to hear arias and classical pieces, we will always give you a little of that but be ready to have fun and party with ten very good looking Aussie blokes that know how to have fun, but more than that, know how to create an ensemble sound like no other group can achieve”.

CAMERON BARCLAY Born and raised in Auckland, New Zealand, Cameron Barclay also lived and went to school in Avellino, Italy, which he considers to be his second home. He is proud to be the first New Zealander in this Australian-based group. Cameron is a graduate of both the University of Auckland and the New Zealand School of Music where he studied singing, French, and Italian.

He was a 2010/2011 PwC Dame Malvina Major Emerging Artist for NBR New Zealand Opera, and was also a member of the Chapman Tripp Opera Chorus for three years. Recent performance highlights include the role of Raoul in Ken Hill’s Original Phantom of the Opera in Tokyo; the role of Frederic in the New Zealand Tour of The Pirates of Penzance; singing the national anthem of Argentina for their rugby match against the All Blacks in Wellington, New Zealand; and recording Margaret Wegener’s “Ode to a Nightingale” with the Auckland Philharmonia Orchestra, the first recording of this work. His operatic roles include Alfred in Die Fledermaus; Peter Quint/Prologue in The Turn of the Screw; the title role in Candide; the title role in Albert HerringI; and the role of Beppe in I Pagliacci. Cameron’s concert and oratorio repertoire includes “Messiah” (Handel); “Missa Solemnis” (Beethoven); “The Creation” (Haydn); “Magnificat” (Bach); and “Serenade for Tenor Horn and Strings” (Britten).

DANIEL BELLE Born and raised in Sydney, Daniel Belle holds a Bachelor of Music (Performance), having studied at The Sydney Conservatorium of Music, and the Australian Institute of Music. After completing his training, Daniel was asked to join The TEN Tenors. Performing with The TEN Tenors Double Platinum tour, Daniel has sung throughout Australia, Europe and The United States. Daniel is also featured on The Ten Tenors holiday album Our Christmas Wish, the follow up On Broadway, and, most recently, the Wish You Were Here album. Daniel has an enviable list of musical theatre credits. In 2009, he joined the cast of Jerry Springer the Opera at the Sydney Opera House before his departure for the European tour of The TEN Tenors. Upon his return, Daniel was cast as the understudy Jean Valjean in the Australian national production of Les Miserables, performing the role hundreds of times throughout the country. He continued to the Asian tour, performing the role in Manila, Singapore and Dubai before his return to Australia. Daniel played the role of Terry in the Australian premiere production of Sideshow at Sydney’s Hayes Theatre, and joined the cast of My Fair Lady at the Capitol Theatre in Sydney, covering the role of Freddy at the end of 2017.

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HOLIDAY BIOGRAPHIES MICHAEL EDWARDS Michael Edwards began singing at age eight when he joined Australian Boys Choral Institute, an organization he was involved with for fifteen years. As a chorister, Michael has sung with numerous choirs including the National Youth Choir of Australia, the Adelaide Chamber Singers, and The Consort of Melbourne. In 2013, Michael graduated from Melbourne Conservatorium of Music with a Bachelor of Music, majoring in classical voice. During his time at the Conservatorium, Michael’s vocal quartet was awarded the Melbourne Conservatorium of Music Chamber Music Prize, and, in 2014, came in second in the state-wide 3MBS radio competition “The Talent.” In 2016, they were featured finalists in the Great Romantics Competition hosted by the Melbourne Recital Centre. Michael has performed in the Victorian Youth Opera program in their workshop of Assembly, their production of The Play of Daniel, and in the world premiere of The Grumpiest Boy in the World. With the Victorian Opera Chorus, Michael performed in gala concerts and stage productions of Nixon in China, La Traviata, and I Pagliacci. In 2015, Michael performed in Victorian Opera’s ANZAC centenary production “Remembrance,” touring Melbourne and regional Victoria. Michael joined The TEN Tenors in 2014, and has travelled throughout Australia, Europe, USA, South Korea and South America.

KEANE FLETCHER A graduate of the Western Australian Academy of Performing Arts in Perth, Keane Fletcher made his debut with The TEN Tenors in 2010 and has appeared with them in theatres, stadiums and concert halls all over the world. He can be heard on their most recent album Wish You Were Here, as well as the albums Our Christmas Wish, On Broadway, Double Platinum, and Nostalgica.

His television appearances with the group include “Oprah’s Ultimate Australian Adventure;” NBC’s “The Today Show” in New York City; The Melbourne Cup, Australia’s most prestigious thoroughbred horse race; “Ready Steady Cook;” “Sunrise;” and the opening of the UEFA Cup (European football) in Warsaw. His theatre credits include the Australian tour of We Will Rock You, understudying and performing the lead role of Galileo; “The 27 Club” (The Butterfly Club), Merrily We Roll Along (Watch This); Buddy: The Buddy Holly Story; (Live Theatre Prod.); Altar Boyz (Precedent Prod.); Hello Again (Darlinghurst Theatre); and The Good Fight for the New York Music Theatre Festival.

PAUL GELSUMINI Paul Gelsumini completed a Bachelor of Music in Voice Performance from Monash University in Melbourne, Australia, and a Diploma of Arts in Music Theatre from APO Arts Academy, also in Melbourne. Before joining The TEN Tenors, Paul also studied in Tuscany, Italy, where he performed as a guest soloist at the inaugural Puccini Festival, an annual summer opera festival to present the operas of the famous Italian composer Giacomo Puccini. Paul joined The TEN Tenors in 2011. His credits include serving as Touring Music Director for several years, co-vocal and vocal production on the The TEN Tenors albums Home for the Holidays, On Broadway and Wish You Were Here. Paul is currently the longest serving member of the group. Paul wishes to thank his fiancée, family and friends for their on-going love and support throughout the years.

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HOLIDAY BIOGRAPHIES NIGEL HUCKLE Nigel Huckle is an Australian-born singer and actor, raised in Roanoke, Virginia, via Singapore.

He has performed in venues around the world, most notably with the international touring company of Cameron Mackintosh’s new production of Les Misérables as Feuilly (1st cover Enjolras) in 2016, in Manila, Singapore, and in the inaugural season of the illustrious Dubai Opera. He joins The TEN Tenors having previously performed with esteemed companies, most recently as Barnaby Tucker in Hello, Dolly! with Australia’s The Production Company; Lt. Cable in South Pacific at the Tony Award®-winning Utah Shakespeare Festival; and Mr. One in Adding Machine with B-side Theatricals in New York City. He trained at Shenandoah Conservatory in Winchester, Virginia, where he received a Bachelor of Fine Arts in Musical Theatre, having sung in shows across the musical theatre canon and with Shenandoah’s Grammy-winning Conservatory Choir in their performance of Brahms’ Requiem.

NATHAN LAY Nathan Lay completed his Bachelor of Music at the Melba Conservatorium of Music in Melbourne, Australia, and has established a career in the Melbourne opera, oratorio, and concert scene. He has won the National Liederfest; Australian Music Events’ Opera Scholar of the Year; the Royal Melbourne Philharmonic Aria; the Australian International Opera Award; and placed third in the Herald Sun Aria. He has performed with Opera Australia; Melbourne Opera; Sydney Chamber Opera; the Royal Melbourne Philharmonic; the Tasmanian Symphony Orchestra; and extensively with Victorian Opera. Nathan was the winner of the 2016 Australian International Opera Award. This prestigious prize allowed him the opportunity to study with acclaimed international tenor Dennis O’Neill at the Wales International Academy of Voice. In 2017, Nathan was involved in the inaugural release on the new Australian Sony Masterworks label. The album, Remembrance, features songs and poems in memory of the soldiers who fought in World War I, with Nathan featured on ten tracks. Also in 2017, Nathan made his first appearance with Sydney Chamber Opera as Tarquinius in their acclaimed production of Britten’s The Rape of Lucretia. This production was performed again in 2018 in Hobart, Tasmania, as a part of the Dark Mofo festival.

Throughout 2018, Nathan has been working with Opera Australia, touring Victorian schools for their production of “By the Light of the Moon” (The Owl and the Pussycat).

ADRIAN LI DONNI From Melbourne, Adrian Li Donni is a graduate of Circle in the Square Theatre School in New York City. He played the ill-fated lover Lun Tha in The King and I for numerous companies internationally, including the newly restored The King and I for Lyric Stage in Dallas, Texas; The Production Company theatre company in Melbourne; a UK/Ireland tour for Curve Theatre; and in the recent GFO and Opera Australia national tour (Sydney Opera House debut). Adrian’s favorite productions include a concert tour of “Broadway to Australia - An evening with Stephen Flaherty and Lynn Ahrens;”“Festival of Broadway – An evening with Stephen Schwartz;” Jesus Christ Superstar in Slovenia; performing the role of Le Fou in Disney’s Beauty and The Beast at Melbourne Zoo; and the role of The Engineer in The Art Centre Gold Coast’s production of Miss Saigon. Adrian’s performances as Kayama in Pacific Overtures earned him Melbourne’s performing arts’ Green Room Award for “Best Supporting Actor.” Adrian would like to thank his ever supportive family, partner, friends, teachers and the team at Ian White Management for their love and guidance.

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HOLIDAY BIOGRAPHIES JARED NEWALL Growing up in Perth, Jared fell in love with music theatre at an early age. Some of Jared’s early credits include Oliver; My Fair Lady; Guys and Dolls; Sweet Charity; and Les Miserables. Jared began his professional music theatre career in 2007 as part of the tribe in Hair. Later that year, he performed the role of Steve in Rent.

In 2008, Jared moved to Victoria to attend the University of Ballarat, to study Music Theatre.

During his time in Ballarat, Jared had the opportunity to play Homer Collins in Adam Guettel’s Floyd Collins, Joseph “Jojo” Morse in Cy Coleman’s The Life, and Muzzy’s Boy/Ensemble in Thoroughly Modern Millie. His highlight was the chance to play the role of Bobby Strong in Urinetown, under the direction of Tom Healey. After graduating in 2010, Jared was cast in the Australasian Premiere season of It’s Only Life. He worked closely with the show’s composer, John Bucchino, who also accompanied the piece. In early 2011 Jared played the role of David in the concert version of Milk and Honey as part of their Jerry Herman Triptych. This year marks Jared’s 8th year touring with The TEN Tenors, and each year has been better than the last.

JAMES WATKINSON James Watkinson is currently studying a Bachelor of Commerce (Accounting and Marketing) at The University of Melbourne. James has been singing for most of his life in school choirs, musical theatre, and his high school rock band. James played Frank Abagnale Jr. in Melbourne’s OCPAC’s Catch Me If You Can, for which he received the award for “Best Male in a Leading Role” at the 2016 Music Theatre Guild of Victoria (MTGV) awards. He was also nominated for an MTGV award for “Best Supporting Actor in a Musical” for his performance as Chuck in Footloose in 2015. Last year, James was selected to perform at Matthew Lee Robinson’s New Voices. Other credits include: Launchpad Drama’s Starbound (2013-16), CLOC Musical Theatre’s Wicked (2016) and Company Eleven’s They’re Playing Our Song (2017). James made his debut with The TEN Tenors in 2017, and wants to thank all the people that encouraged him to pursue singing throughout his youth, especially his grandfather Russel Martin who was always James’ biggest fan. James would like to acknowledge Rosemarie Harris and Paul Gelsumini for their wonderful tutelage.

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