Classic A performance featuring highlights from Tchaikovsky’s Nutcracker and Handel’s Messiah.
TUESDAY, DEC . 7 | 7:30 P.M. Center for Music and the Worship Arts, Concert Hall
Welcome
FROM THE DEAN
Welcome to Christmas on the Boulevard (COTB)! Thank you for choosing to spend some time with us during this busy season. COTB features our wonderful students, faculty, and staff joining together to share the wonderful message of Christmas — Christ is born! Eleven years ago, we established COTB as an annual musical gift to the Lynchburg community, and we are excited to offer this kickoff to the Christmas season (in-person) once again. This year we celebrate Christmas in two unique COTB events. On Friday, Dec. 3, we present COTB: Pops — an evening of Christmas favorites, old and new. Then on Tuesday, Dec. 7, we present COTB: Classic — featuring highlights from Tchaikovsky’s Nutcracker and Handel’s Messiah. Our students begin rehearsing for these performances in the fall. In addition to their studies, curricular concerts and recitals, homework, classes, and life in general, they have invested numerous hours in preparing this evening of music for you.
To our guests from Liberty and the greater Lynchburg community, we are honored to share the sounds of Christmas with you through these concerts. To our parents, thank you for entrusting your most precious treasure, your children, to us for this time of training and growth as they pursue God’s call on their lives. To our students, thank you for your hard work, musicality, and artistry that you’ve put on display in these concerts and for making the School of Music such a great place to work! From the administration, faculty, staff, and students of the Liberty University School of Music, Merry Christmas!
Dr. Stephen Müller Residential Dean Liberty University School of Music
Christmas on the Boulevard: Classics PROGRAM Selections from
NUTCRACKER SUITE Dr. Kathryn Wert, director Selections from The Nutcracker Suite 1. March 2. Dance of the Sugar Plum Fairy 3. Trepak 4. Chinese Dance 5. Dance of the Reed-Flutes 6. Waltz of the Flowers
Piotr Ilyich Tchaikovsky (1840-1983)
Selections from the Christmas portion of
MESSIAH by George Frideric Handel (1685-1759) Dr. Dan Suttles, conductor Overture
Recitative Aria Choir
Recitative Aria Recitative Aria & Chorus
~~~~~~~~~~~~~
John Hugo, tenor
Sinfonia
Comfort ye, my people Ev’ry valley shall be exalted
And the glory of the Lord shall be revealed ~~~~~~~~~~~~~
Wayne Kompelien, bass
Thus saith the Lord But Who May Abide
Behold, a virgin shall conceive O thou that tellest good tidings to Zion Samantha Miller, alto
Recitative
Chorus
Recitative Recitative Recitative Recitative
Chorus
Aria
For behold, darkness shall cover the earth Wayne Kompelien, bass
~~~~~~~~~~~~~
For unto us a child is born
There were shepherds abiding in the fields And lo, the angel of the Lord came upon them And the angel said unto them And suddenly there was with the angel Adelaide Trombetta, soprano
~~~~~~~~~~~~~
Glory to God
Rejoice greatly, O daughter of Zion Adelaide Trombetta, soprano Hallelujah
Chorus
Program Notes The Nutcracker Suite The Nutcracker is a Christmas tradition, a ballet telling the tale of a young girl who receives an enchanted nutcracker for Christmas. In Russia, it was popular to have nutcrackers. The Suite was first performed in St. Petersburg on March 7, 1892, as a sneak preview for the complete ballet. The Suite was an immediate success, even though the Nutcracker ballet was not. The Nutcracker was Tchaikovsky’s final ballet, and he finished it about a year before he died. The selections performed tonight have become a staple in the Christmas canon. Both the full ballet and the suite rose to prominence in the 1960s becoming a part of American Christmas culture. Major American ballet companies generate around 40% of their annual ticket revenues from performances of The Nutcracker. Though we consider The Nutcracker a part of Christmas, in Russia it is performed throughout the year. Tonight, the Suite begins with the “March” which introduces the Christmas party scene. The remaining pieces are all second act characteristic dances, which take place in the Kingdom of Sweets, illustrated by appropriate orchestral colors. The “Dance of the Sugar Plum Fairy” features the then-unknown instrument the celesta. Tchaikovsky believed it had a beautiful tone, and said “I am afraid Rimsky-Korsakov and Glazunov might hear of it and make use of the new effect before I can.” The celesta is a keyboard instrument, but instead of hitting strings as in a piano, the keys/hammers hit small steel plates creating high, clear, delicate tones. Its sound is celestial, which is where the name comes from. Later, the celesta was featured by Gustav Holst in “Neptune” in the Planets (1918), and by John Williams in “Hedwig’s Theme” from Harry Potter (2001). “Trepak” is a fast and furious Russian folk-dance, spinning ever more dizzily; and the “Chinese Dance” is full of flute flourishes. The “Dance of the Reed-Flutes” joyfully features a trio of flutes and pizzicato strings. The “Waltz of the Flowers” serves as the finale, and is introduced by a famous harp solo.
Program Notes Messiah This evening’s concert features selections from the Christmas portion of Messiah by George Frideric Handel, an enduring musical setting of the birth and passion of Jesus Christ. Messiah proclaims the greatness of our God, His plan of redemption, and the Glory of His Son, Jesus Christ. During the late 1730s, at nearly the height of his success, Handel was headed for financial collapse due to the waning interest in opera. This resulted in Handel falling into a deep depression. During this dark time, Handel was visited by his friend, Charles Jennens. Jennens had written a libretto about the life of Christ and the work of redemption, with the text completely taken from the Bible, which he desired Handel to set to music. Handel agreed and began composing Messiah on August 22, 1741. The entirety of the oratorio was completed in twenty-four days. Handel was a shrewd businessman and was even known as a scoundrel in some circles; however, somewhere between writing “Comfort Ye” and the final “Amen,” it is believed that Handel had a conversion experience. While composing this work, he rarely left his room or touched his meals. It is accounted that when his servant came to deliver a meal to Handel, he opened the door and found Handel sobbing with intense emotion. Handel cried out, “I think I did see all Heaven before me, and the great God Himself!” Originally intended for performance at Easter, Messiah tells the whole story of Christ – the prophecy of His coming, His birth, life, passion, resurrection and ultimately His glorification in heaven. Jesus is the Redeemer of Israel, the Sovereign Savior, our Righteousness, and the One who would die for the sins of the whole world. This is the Good News, which would be proclaimed to Israel and should be proclaimed by us today! In the small unlikely town of Bethlehem, the Savior arrived on that remarkable night. Handel provides a beautiful picture of shepherds in the field at night keeping watch over their flocks, when an angel appears and tells them of “good news that will bring great joy for all the people” (Luke 2:10 NIV). The scene ends with the uplifting and heavenly chorus of “Glory to God in the Highest!” The Son of God had come into the world, a precious, blessed gift from God. This is the timeless message of Christmas! This performance includes two parts. The first reveals the Prophecy in which the message of the coming Messiah, or Savior, is declared from the Old Testament scriptures. The second part, The Promise Fulfilled, tells the account of the birth of Jesus Christ. Each movement is based on direct scriptural references providing a strong testimony of Christ and His first advent. We pray this performance of Messiah will be spiritually encouraging and uplifting to you as we enter the Christmas season.
Directors & Soloists
Directors & Soloists
Dr. Kathryn Wert, director Dr. Kathryn Wert, Associate Professor of Music Education, holds the doctorate in Wind Conducting from the University of Northern Colorado. Dr. Wert received a Bachelor of Music in Piano Performance from Bethel University in Saint Paul, MN, and a Master of Arts in Music Education at the Eastman School of Music in Rochester, NY. While at Eastman, she studied with Dr. Mark Davis Scatterday while serving as assistant conductor of the Eastman Wind Orchestra. She appears as a pianist on a recording with the Eastman Wind Ensemble and the Canadian Brass entitled Manhattan Music—released in 2008 on Opening Day Records with ArchivMusic.
Dr. Wert has performed as a flautist and conducted ensembles in Europe, China, and across the United States. She has also worked extensively as an accompanist, and has been in demand as a music director at professional and regional theaters in New York, Colorado, and Pennsylvania. Dr. Wert also spent three wonderful years teaching high school in Pennsylvania at the Lehigh Valley Charter High School for the Performing Arts and Faith Christian School, where she taught band, orchestra, choir, music history, music theory, and musical theater. She is gratefully aware that her performance opportunities are only because of the grace of Jesus Christ. At Liberty, Dr. Wert directs the Liberty University Symphony Orchestra (LUSO) and University Band, and she teaches piano and music theory. She has also been the music director of the Alluvion Stage Company for the past 6 seasons. She lives in Lynchburg with her husband and her 4 month old baby girl. Dr. Dan Suttles, conductor Dr. Dan Suttles completed his undergraduate studies at Piedmont International University (Bachelor of Religious Education, 1977) and the University of North Carolina at Greensboro (UNCG: Bachelor of Music, piano, 1981). His Master of Music is in conducting from UNCG (1983). His Doctor of Musical Arts (conducting) is from the Southwestern Baptist Theological Seminary (2006). Associate Professor Suttles is originally from Covington, KY. He has served since 1973 in six churches in North Carolina, Texas, and Virginia as a music minister, worship leader, orchestra director, and pianist. He has performed for 45 years as a free-lance pianist (soloist and accompanist), accordionist, and conductor in a variety of venues. Since 2007 he has specialized in worship piano music, having ministered with concerts in over 100 churches. in 2002.
Dr. Suttles has recorded three CDs of secular and sacred piano music. He was ordained to the Gospel Ministry
He, his wife Gloria, and daughter Hannah live in Lynchburg, VA. Dr. John Hugo, tenor Dr. John Hugo attended Houghton College (B.M.E.), New England Conservatory (M.M. in Choral Conducting), and Arizona State University (M.M. in Vocal Performance, and D.M.A. in Choral Music). His distinguished conducting teachers include Donald L. Bailey, Lorna Cooke DeVaron, and Douglas R. McEwen. While in Boston, he assisted in the preparation of BSO choral/orchestral concerts conducted by Seiji Ozawa, Claudio Abbado, Robert Shaw, Gunther Schuller, Andrew Davis, and Antal Dorati. He currently chairs the Department of Music Theory and History in the School of Music and is in his 31st year on the choral/voice faculty of Liberty University. He also served as Chorus Master for the Roanoke Symphony Chorus. He has presented over 100 choral performances of Schubert’s Die schöne Müllerin. As a member of the Virginia District of the National Association of Teachers of Singing (VANATS), Dr. Hugo has served as Governor, President, Vice President, and Secretary. He is also a member of the National Association for Music Education (NAfME, formerly MENC), the American Choral Directors Association (ACDA), and the American Society for Composers, Authors, and Publishers (ASCAP). Guest conducting appearances have included concerts with the Roanoke Symphony, Opera Roanoke, and the Jefferson Choral Society. Dr. Hugo frequently adjudicates for the Virginia Honor Choir, Virginia All-State Chorus, and for regional choral festivals.
Dr. Wayne Kompelien, bass Wayne Kompelien received his Doctor of Musical Arts degree in vocal performance from the University of Kansas in 1987. While there, he was featured in numerous opera and oratorio productions. His portrayal of Olin Blitch in Carlyle Floyd’s Susannah received national acclaim as the production won second place in the National Collegiate opera competition. He also placed twice in the Metropolitan Opera National Council Auditions in Kansas City. Dr. Kompelien moved to Lynchburg, VA, in 1986 when he took a faculty position at Liberty University. He founded an active opera program at Liberty University in 1989. He has been producing operas ever since, including Gilbert and Sullivan comedic classics and great tragedies like Pagliacci. This year’s production will be Mozart’s hilarious opera, Così fan tutte. It will be performed in January of 2022. Dr. Kompelien remains an active performer, singing numerous occasions with Opera Roanoke and Opera on the James. Schaunard in La Bohème, Sparafucile in Rigoletto, Zeta in The Merry Widow, and Il Commendatore in Don Giovanni are among his many notable roles. He has also been featured in many oratorio performances with many organizations. His performances in Haydn’s Creation, Handel’s Messiah, Verdi’s Requiem, and Fauré’s Requiem received high acclaim. Dr. Kompelien has presented in recital Schumann’s masterpiece, Dichterliebe, and Schubert’s Winterreise, showing his ability to perform the most delicate and expressive music. In December of 2018 he was the featured bass soloist with South Korea’s finest choir, The Incheon Chorale, in a highly acclaimed performance of Messiah. Dr. Kompelien has been directing the Chamber Singers since 1988 and has also served as the Virginia Chapter’s President of The National Association of Teachers of Singing, an organization of which he has been a member since 1987. Dr. Samantha Miller, alto Dr. Samantha Miller is a hybrid performer and vocal instructor, specializing in both commercial and classical techniques. She holds undergraduate degrees from Alderson-Broaddus College in Music Education and Applied Music and completed both the Master of Music and Doctor of Musical Arts in Vocal Performance from The Ohio State University. Associate Professor Miller has held professional engagements with West Virginia Symphony, Virgin ia Opera, Opera Columbus, Chorale Acadienne, Opera Louisiana, Lynchburg Symphony Orchestra, and Prelude to Performance in NYC. She and her husband Gabriel currently serve as the worship leaders at All Peoples Church in Lynchburg, VA. Dr. Miller has served on faculty at Louisiana College in Pineville, LA and the University of Louisiana, Lafayette, served as worship leader at River Outreach Center in Pineville, Louisiana, and is an active member of the National Association of Teachers of Singing (NATS). Many of Dr. Miller’s students, both past and present, have won or placed in national vocal competitions and are successfully entering the music industry as musical theater performers, worship leaders, and artists. In 2010, Dr. Miller’s research on Stephen Collins Foster was published in Music in American Life: An Encyclopedia of the Songs, Styles, Stars, and Stories that Shaped our Culture. In addition to research, Dr. Miller is an active songwriter, with her husband, Gabriel. Their first live recording of originals, entitled The Sound of Revival, was released in May 2017. Her newest album of original songs, Still Small Voice was released in February 2019. Dr. Miller joined the Liberty University School of Music faculty in Fall 2014, along with her husband Gabriel. They have two children and reside in Lynchburg, VA.
Adelaide Muir Trombetta, soprano A graduate of Yale’s prestigious Opera Program, Soprano Adelaide Muir Trombetta is rapidly gaining recognition as a singer of outstanding prowess. The Roanoke Times noted “her sweet purity of tone and a cleanness and accuracy to her vocal ornamentation that was a delight to hear,” and The New York Times called her “sensitive and affecting” during her performance on the Metropolitan stage as a National Finalist of the renowned Metropolitan Opera National Counsel Auditions. Leading stage credits include Musetta in La Bohème, Euridice in Orpheus in the Underworld, Pamina in Die Zauberflöte, Rosalinde in Die Fledermaus, and Konstanze in Die Entführung aus dem Serail. Adelaide has enjoyed repeated seasons with L’Orchestra Giuseppe Verdi of Milan, Italy, performing leading roles of Hanna Glawari (The Merry Widow), Euridice (Orpheus in the Underworld), Ana (The Seven Deadly Sins by Kurt Weil), Lilli Vanessi “Katharina” (Kiss me Kate), and Rosalinde (Die Fledermaus). Other European engagements include performances with Das Verein Opera, Zurich as well as the opening event for the annual fashion show in Catania, Italy. She is equally successful on the concert stage with numerous solo credits including Orff’s Carmina Burana, Pergolesi’s Stabat Mater, Beethoven’s Choral Fantasy, Symphonie No. 9., Poulenc’s Gloria, Handel’s Messiah, Haydn’s The Creation, and Lord Nelson Mass, Dvorak’s Te Deum, Mozart’s Coronation Mass, Faure’s Requiem, Mendelssohn’s Psalm 42, Villa Lobos’ Bacchianas Brasileiras, and Barber’s Knoxville: Summer 1915. She continues to gain recognition in performances and competitions both locally and abroad, having been featured on ABC’s Good Morning America, Classical Singer Magazine, and Opera News. Adelaide made her Carnegie Hall debut April 10th, 2017 singing Bacchianas Brasilieras No. 5. She is an Assistant Professor of Voice and Director of the Opera Workshop at Liberty University. She resides with her husband and their two children in Lynchburg, VA. Adelaide is a native of Illinois.
Personnel Personnel
LIBERTY UNIVERSITY SYMPHONY ORCHESTRA Dr. Kathryn Wert, director
Violin I Lauren Kim, concertmaster Sierra Landel, asst. concertmaster Miriam Thompson Hannah O’Berry Timothy Oliver Anna Thompson Elise Chamberlin Lillie Mae Rudd Julia Dombrowski
Viola Ariana Leggett, principal Dr. Luca Trombetta Talitha Armbrust Kylie Schmitt Elizabeth Browns Hannah Watson Julia Pepe Gabriella Giuliano Julia Safron
Flute Jordan Castro, principal Julia Vanderlugt Mackenzie Primrose Renee Garman, piccolo Dr. Giovanni Perez
Violin II Johanna Vogt, principal Dr. Yevgeniy Dovgalyuk Mary Ruth Williams Lachlan King Elizabeth Killmon Therese Raciti Elisa Brubaker Madison Kirk Laura Ziebart Jonathan Ogle Amelia McKenzie
Cello Kellan Mozzone, principal Mr. David Feldman Max Foster Sara Phelps Timothy Naff Maeghan Eggert Joshua Dimarino Jonathan Roberts Ashley Schwartzkopf
Clarinet Andrew Coleman, principal Joseph Burgos Ryan Robinson Christopher Hibbard, bass/Eb Dr. Cassandra Hibbard
Bass Grace Bonnano, principal
Trumpet Kent Bergin, principal Shepard Wells Jesse Marsh Trombone Lucas Trotter, principal Noah Tuckwiller Arica Poorman, bass Dr. Kevin Chiarizzio
Oboe Marissa Lucadano Dr. Rebecca Watson
Tuba Dillon Rumsey Harp Sabrina Vaughan
Harpsichord/Celesta Bassoon Sarah Gates Andrew Lamoureux, principal Erin McDonald Percussion Aspen Mannino, contrabassoon Joshua Phillips Mr. Jay Ware, timpani Horn Elizabeth Holder, co-principal Alexandra Trotter, co-principal Dr. Drew Phillips
COMBINED CHOIRS University Chorale
Dr. Dan Suttles, director
Concert Choir
Dr. John Hugo, director
Chamber Singers
Dr. Wayne Kompelien, director
Upcoming
SCHOOL of MUSIC EVENTS
COSÌ FAN TUTTE (“WOMEN ARE LIKE THAT”) TOWER THEATER
Thursday, Jan. 20 | 7:30 p.m. | Friday, Jan. 21 | 7:30 p.m. Saturday, Jan. 22 | 7:30 p.m. | Sunday, Jan. 23 | 2 p.m. Liberty University’s Opera Workshop production of Così Fan Tutte (Women Are Like That) will be performed in English. The premise is simple: two young men brag that their fiancées, who happen to be sisters, are incapable of infidelity. An older, more philosophical man bets that he can prove them wrong in 24 hours and enlists the help of the sisters’ devious maid to help him in his practical joke. He convinces the young men to disguise themselves as eccentric foreigners to seduce each other’s fiancée. This leads to a series of hilarious and unforgettable moments. Così Fan Tutte is considered one of Mozart’s endearing masterpieces — you don’t want to miss it!
REQUIEM FOR THE LIVING BY DAN FORREST Finding hope in chaos and light in darkness CENTER FOR MUSIC AND THE WORSHIP ARTS, CONCERT HALL
Tuesday, Feb. 22 | 7:30 p.m.
For more events, information, and tickets, please visit
LIBERTY.EDU/MUSIC/EVENTS.
Liberty.edu/Music | SOM@liberty.edu (434) 592-6568 |
@LibertyUMusic