WEdNEsdAy, JAN. 26 â€“ 7:30 p.m. Please use the enclosed remission form to submit a donation in support of the KU Opera Endowment Fund.
A reception will follow this eveningâ€™s performance. This event is sponsored, in part, by the Lied Performance Fund. Audio description services and recorded program notes are provided through a partnership between the Lied Center and Audio-Reader Network. Please turn off or silence cellular phones and other electronic devices during performances. Food and drink are not allowed inside the hall. Performing Arts Cameras and recordinglied.ku.edu devices are strictly prohibited in the auditorium.
Joyce Castle, mezzo-soprano Mark Ferrell, piano with Margaret Marco, oboe; David Fedele, flute; Peter Chun, viola; Larry Rice, bass We Two (Walt Whitman)....................................................................................................................Elinor Remick WARREN (1900-1991) Beautiful Dreamer............................................................................................................................................. Stephen FOSTER (1826-1864) O Loving Heart, Trust On........................................................................................................ Louis Moreau GOTTSCHALK (1829-1869) I Don’t See It, Mama................................................................................................................. Louis Moreau GOTTSCHALK Two songs with viola, Op. 91.................................................................................................................... Johannes BRAHMS viola, Peter Chun (1833-1897) Gestillte Sehnsucht (Longing at Rest) Geistliches Wiegenlied (Cradle Song of the Virgin) Two songs......................................................................................................................................... Pyotr Illyich TCHAIKOVSKY Primiren’je (Reconciliation) (1830-1893) Net, tol’ka tot, kto znal (None but the Lonely Heart) From María de Buenos Aires........................................................................................................................Astor PIAZZOLLA flute, David Fedele; bass, Larry Rice (1921-1992) Tema de Maria (Maria’s Theme) Poema Valseado (A Poem in Waltz Time) Milonga de la Anunciacion (Milonga of the Anunciation) INTERMISSION Cabaret Songs: (Arnold Weinstein)............................................................................................................William BOLCOM Black Max (1938- ) Lady Luck Over the Piano Radical Sally The Hawthorn Tree...........................................................................................................................................William BOLCOM flute, David Fedele; oboe, Margaret Marco; viola, Peter Chun; bass, Larry Rice; piano, Mark Ferrell Let No Charitable Hope (Elinor Wylie) Love Me! (Stevie Smith) Echo (Christina Rossetti) The Dream (Louise Bogan) The Hawthorn Tree (Willa Cather) Chagrin (Sarah Arvio) Swimming Aria (Anne Carson) William Bolcom’s The Hawthorn Tree was commissioned by Backshore Artists Projects, Inc. in honor of Joyce Castle and made possible by a generous grant from Linda and Stuart Nelson.
PROGRAM NOTES The Hawthorn Tree – composer’s statement Joyce Castle is one of our time’s most incandescent acting singers; she can make you laugh out loud or scare you to death by turns as she wishes. When Joyce asked for a cycle for herself and the St. Luke’s Chamber Ensemble, I was delighted with the prospect, of course, but realized that it would be a challenge to find texts to encompass her enormous expressive range. It is just as difficult to choose the right poem as it is to compose music for it in my experience, and we had a long period of selecting and rejecting many candidates for The Hawthorn Tree, Joyce herself selecting the Elinor Wylie and the Willa Cather, before we settled on the present seven. Also challenging was the arrangement of the poems once selected in an order that had to be exactly right. In this group the severity of the Wylie poem is offset by the distraught desperation of the Stevie Smith which directly follows. The 19th century has a rich tradition of wistful laments addressing long-gone lovers – one need look no further than Stephen Foster’s Gentle Annie or I Dream of Jeannie for examples – and Christina Rossetti’s Echo suggested an antique flavor to the music, an oasis of calm in between the group’s two most violent songs. Louise Bogan’s tough-minded, passionate poetry elicited from me a wildly atonal and unpitched handling of The Dream‘s text, matched by an equally ferocious piano part.
Willa Cather’s contrasting simple lyric becomes an effective foil to the Bogan in a folksong manner, which like all of the poems here shares a mysteriously dark undertow. (I had not previously known of Cather’s poetry, having only read several of her wonderful novels before Joyce found The Hawthorn Tree—which would, of course, become the title of the cycle.) The last two poems are by friends. Sarah Arvio and I met at the American Academy in Rome in 2003; what I prize in her work is her seemingly offhand but really brutally precise depiction of complex soul-states as one finds in Chagrin. I was surprised to find how something in some of her poems recalls my much-beloved Jacques Prévert-Joseph Kosma chansons (the most famous of which is Feuilles d’automne, or Autumn Leaves in English), the atmosphere of which influenced my setting greatly. Anne Carson’s magical translations of Sappho and of much other classical poetry have the sort of rigor that belies their deceptively informal tone, and her own Swimming Aria has much the same disarming atmosphere – it takes a moment after the first reading to realize its intrinsic complexity. Swimming Aria’s surface simplicity only serves to deepen its density of thought, and my setting is meant to evoke a long, endless, spiritually elevated swim. William Bolcom
TRANSLATIONS AND TEXTS Two songs with viola, Op. 91 Johannes Brahms Gestillte Sehnsucht Text: Friedrich Rückert
Longing at Rest
In gold’nen Abendschein getauchet Wie feierlich die Wälder steh’n! In leise Stimmen der Vög’lein hauchet Des Abendwindes leises wehn.. Was lispeln die Winde, die Vögelein? Sie lispeln die Welt in Schlummer ein Ihr Wünsche, die ihr stets euch reget Im herzen sonder Rast und Ruh’! Du Sehnen, das die Brust beweget. Wann ruhest du, wann schlummerst du? Beim Lispeln der Winde, der Vögelein, Ihr sehnen den Wünsche, wann schlaft ihr ein?
Afire with golden glow of evening how royally the trees do stand! Amid the gentle sound of birdsong The evening breezes softly blend. What do the breeze and birds whisper? They whisper the world to sweet sleep. Ye restless thoughts, in tumult stirring a heart whence all peace has flown! Thou sweet desire in my breast When wilt thou rest or find peace? gentle winds and little birds’ singing, Oh restless desires, when do you sleep?
Ach, wenn nicht mehr in goldne Fernen Mein Geist auf Traumgefieder eilt, Nicht mehr an ewig fernen Sternen mit schnendem Blick mein Auge weilt dann lispeln die Winde, O Vögeleín mit meinem Sehnen mein Leben ein.
Ah, when no more afar goes· winging my spirit in it golden dream no more on the distant stars eternal mine eyes with longing heart shall dwell ‘tis then, o little bird, the winds shall whisper with all my longing, my life away.
Geistliches Wiegenlied Text: Geibel, after Lope de Vega
Cradle Song of the Virgin
Die ihr schwebet um diese Palmen In nacht und Wind. Ihr heil’gen Engel, stillet die Wipfel, Es schlummert mein Kind.
Ye who hover over these palms now ‘mid night and wind, ye holy angels, quiet the trees’ rustling, For now my baby sleeps.
Ihr Palmen von Bethlehem in Windesbrausen, Wie mögt ihr heute so zomig sausen? O rauscht nicht also, Schweiget, neiget euch leis’ und lind, Stillet die Wipfel, stillet die Wipfel! Es schlummert mein Kind.
Bethlehem palms in sighing winds Why make ye this angry roaring? Ah, murmur not so, hush now, bend more softly, Quiet the rustling trees, For now my baby sleeps.
Der Himmelsknabe duldet Beschwerde; Ach, wie so müd’ er war vom Leid der Erde, Ach, wie so müd’ er war vom Leid, Vom Leid der Erde.
This child of heaven suffers much; ah, how weary he is from the earth’s Torment ah, weary he is of grief Of the grief of the earth
Ach, nun im Schlaf, ihm, leise gesänfiigt, Die Qual zerinnt. Stillet die Wipfel, Es schlummert mein Kind.
Ah, now sleeping, at peace Grief ebbs away. Quiet the rustling trees, For now my baby sleeps.
Grimmige Kälte sauset hernieder, Womit nur deck’ ich des Kindleins Glieder? O all ihr Engel, die ihr geflügelt wandelt im Wind, Stillet die Wipfel, Es schlummert mein Kind.
Cold, the wind howls down How shall I cover his tender body? O all ye angels, ye control the winds Quiet the rustling trees, For now my baby sleeps.
Two songs Pyotr Illyich Tchaikovsky Primiren’je Text: N. Shchyerbina
O, zasni majo sertse gluboka! Ne budi, ni prabudish, shto byla, Ne zavi, shto umchalas’ dal’oka, Ne I’ubi, shto ty prezhde I’ubila.... Pust’ nadezhdaj I Izhivaj michtoj Ne smutitsa tvoj son I pakoj.
O heart of mine, sleep deeply! Seek not to revive what is no more, do not summon things now far away, nor love what you loved before... Let not hope and deceitful dreams disturb your slumber and your peace.
DI’a tab’a nivazvratna byloje, Na gredush’eje net upavan’ja. Ty ni znala v blazhenstve pakoja, Uspakojs’a zh na lozhe stradan’ja, I starajsa ni pomnit’s zimoj, Kak sryvala ty rozy visnoj...
Your past has gone forever, the future holds no solace. In blissful state, you knew no rest, So be at peace wedded to suffering. and try not to remember in winter how you plucked roses in spring...
Net, tol’ka tot, kto znal Text: Lev Mey, adapted from Goethe
None but the Lonely Heart
Net, tot’ka tot, kto znal svidan’ja zhazdu, Pajm’ot kak ja stradal, I kak ja strazhdu. Glazhu ja v dal’...net sil, Tuskneet oka....... Ah, kto min’a l’ubil y znal dal’oka!
No, only those who have longed to see someone again will understand how I suffered and now suffer. I look into the distance, no strength My eyes grow dim.... Ah, the one who knew and loved me is far away!
Ah tol’ka tot, kto znal svidan’ja zhazhdu, Pajm’ot kak ja stradal, I kak ja strazhdu. Fs’a grud’ garit...kto znal svidan’ja zhazhdu,
Ah, only those who have longed to see someone again will understand how I suffered and now suffer. My heart is aflame ... those who have longed to see someone again will understand how I have suffered and how I suffer now.
Pajm’ot kak ja stradal, I kak ja strazhdu.
From María de Buenos Aires Astor Piazzolla Poema Valseado Text: Heratio Ferrer
A Poem in Waltz Time
Un bandoneón que mi tristeza tiene escrita, hoy dos temblares me ha mezclado en la garganta: con gusto a Sur, me dió el temblor de Milonguita, y otro-peor-que sabe a Norte, y nadie canta…!
A bandoneón has my sadness written on it… today two tremors have mixed in my throat One from the south, which gave me the thrill of the Milonguita And another, worse yet, from the north – where no one sings!
Si hasta el abrazo de morir me siento en celo, y me lo arranco un poco en cada gatería, ¡que duelo habrá que ya no alcance a ser mi duelo! ¡que parda trampa que no pueda ser ya mía!
Even the embrace of death I feel deeply within me and I tear it off bit by bit in each trick. What mourning is there which is not my mourning! What dark trap that cannot be mine!
Seré más triste, más descarte, más robada que el tango atroz que nadie ha sido todavía; y a Dios daré, muerta y de trote hacia la nada, el espamódico tamblor de cien Marías….
Will I be sadder, more discarded, more stolen than the terrible tango that has yet to be danced. And to God I will give, once dead and running to the end, The spasms of 100 Marias.
Milonga de la Anunciacion Text: unknown
Milonga of the Annunciation
Yo soy María de Buenos Aires! De Buenos Aires María ¿no ven quién soy yo? María tango, María del arrabal! María noche, María pasión fatal! María del amor! De Buenos Aires soy yo!
I am María from Buenos Aires from Buenos Aires María, don’t you see who I am? María tango, María from the suburb María night, María fatal passion María of love, from Buenos Aires I am!
Yo soy María de Buenos Aires si en este barrio la gente pregunta quién soy, pronto muy bien lo sabrán las hembras que me envidiarán, y cada macho a mis pies como un ratón en mi trampa ha de caer!
I am María from Buenos Aires If in this neighborhood people ask who I am soon they’ll know the females that will envy me and every macho at my feet, like a mouse in my trap, will fall
Yo soy María de Buenos Aires! Soy la más bruja cantando y amando también! Si el bandoneón me provoca... Tiará, tatá! Le muerdo fuerte la boca... Tiará, tatá! Con diez espasmos en flor que yo tengo en mi ser!
I am María from Buenos Aires I’m a witch (b*tch) singing and loving too If the bandoneon provokes me... tiará, tatá! I bite hard its mouth ... tiará, tatá! with ten flower spasms that I have in my being
Siempre me digo “Dale María!” Cuando un misterio me viene trepando en la voz! Y canto un tango que nadie jamás cantó y sueño un sueño que nadie jamás sañó, porque el mañana es hoy con el ayer después, che!
I always tell myself “Iet’s go María” when a mystery climbs in my voice and I sing a tango that nobody ever sang and I dream a dream that nobody ever dreamed because tomorrow is today with yesterday later, che!
Yo soy María de Buenos Aires! De Buenos Aires María yo soy, mi ciudad! María tango, María del arrabal! María noche, María pasión fatal! María del amor! De Buenos Aires soy yo!
I am María from Buenos Aires from Buenos Aires, María I am, my city María tango, María from the suburb Maria night, María fatal passion María of love, from Buenos Aires I am!
The Hawthorn Tree Music: William Bolcom Let No Charitable Hope by Elinor Wylie Now let no charitable hope Confuse my mind with images Of eagle and of antelope: I am in nature none of these. I was, being human, born alone; I am, being woman, hard beset; I live by squeezing from a stone The little nourishment I get. In masks outrageous and austere The years go by in single file; But none has merited my fear, And none has quite escaped my smile. Love me! by Stevie Smith Love me, love me, I cried to the rocks and the trees, And love me, they cried again, but it was only to tease. Once I cried Love me to the people, but they fled like a dream, And when I cried Love to my friend, she began to scream. Oh why do they leave me, the beautiful people, and only the rocks remain, To cry Love me, as I cry Love me, and Love me again. On the rocks a baked sea-serpent lies, And his eyelids close tightly over his violent eyes, And I fear that his eyes will open and confound me with a mirthless word, That the rocks will harp on forever, and my Love me never be heard. Echo by Christina Rossetti Come to me in the silence of the night; Come in the speaking silence of a dream; Come with soft rounded cheeks and eyes as bright As sunlight on a stream; Come back in tears, O memory, hope and love of finished years. O dream how sweet, too sweet, too bitter-sweet, Whose wakening should have been in Paradise, Where souls brim-full of love abide and meet; Where thirsting longing eyes Watch the slow door That opening, letting in, lets out no more.
Yet come to me in dreams, that I may live My very life again though cold in death; Come back to me in dreams, that I may give Pulse for pulse, breath for breath: Speak low, lean low, As long ago, my love, how long ago. The Dream by Louise Bogan O God, in the dream the terrible horse began To paw at the air, and make for me with his blows. Fear kept for thirty-five years poured through his mane, And retribution equally old, or nearly, breathed through his nose. Coward complete, I lay and wept on the ground When some strong creature appeared, and leapt for the rein. Another woman, as I lay half in a swound, Leapt in the air, and clutched at the leather and chain. Give him, she said, something of yours as a charm. Throw him, she said, some poor thing you alone claim. No, no, I cried, he hates me; he’s out for harm, And whether I yield or not, it’s all the same. But, like a lion in a legend, when I flung the glove Pulled from my sweating, my cold right hand, The terrible beast, that no one may understand, Came to my side, and put down his head in love. The Hawthorn Tree by Willa Cather Across the shimmering meadows-Ah, when he came to me! In the spring-time, In the night-time, In the starlight, Beneath the hawthorn tree. Up from the misty marsh-land-Ah, when he climbed to me! To my white bower, To my sweet rest, To my warm breast, Beneath the hawthorn tree. Ask of me what the birds sang, High in the hawthorn tree; What the breeze tells, What the rose smells, What the stars shine-Not what he said to me! Chagrin by Sarah Arvio It wasn’t the life I would have wanted, had I known what sort of life I did want, as if anyone ever knew; though I did know. Everyone had her shadow life, her should-have life, the life she should have had, all those thoughts sharp-sharking into her soul,
all those doodles on the skin of the day. The shame, that this had been and this had not, could-should, kowtowing to the life of should, the shock, let’s say, of seeing it had passed, the chagrin, let’s say, the savage chagrin that this was what it was, et cetera, who did I think I was, et cetera, the queen of Sheba in her shantytown, or Shirley in her temple (such a doll ), or Scheherazade waking to the day— not Sylvia, not the sylvan huntress. The whole shebang was a shambles, hello, shanghaiing my wishes, shout it out, shout, those stories of what was and never was, love, voyage, give me succor—sugar—suck— hushing the heart and shushing the senses. Hello, day, shake the sheets out, wake the day. Cheers! (As I said this I was choking up.) The challenge of cheerfulness—hello, charm— charade and charm, chameleon, cameo. I saw the dawn and fell into a hush. Swimming Aria by Anne Carson Soul who is alone in love who does nothing for God who asks nothing from God who hopes nothing of God who cannot be taught who cannot be taken nor given nor stolen nor won nor possessed and who possesses nothing whatsoever not even joy! For what burns has no cold what swims has no thirst and what swims in the sea of joy feels no joy for she herself is joy and streams and floats in joy as she inhabits joy as joy inhabits her as flames inhabit fire as fire slakes itself Soul: swim! Let No Charitable Hope by Elinor Wylie from Selected Works of Elinor Wylie, Kent State University Press, 2005. | Love Me! by Stevie Smith from Collected Poems, New Directions, 1983. | The Dream by Louise Bogan from The Blue Estuaries, Ecco 1968 (now published by Farrar, Straus & Giroux). | The Hawthorn Tree by Willa Cather from April Twilights in Cather: Stories, Poems, and Other Writings, Library of America, 1992. | Chagrin by Sarah Arvio from Sono: cantos, Knopf, 2006. | Swimming Aria by Anne Carson, year unknown.
Joyce Castle is celebrating her ruby anniversary in the 2010-11 season. An extraordinarily versatile artist, in the four decades of her professional performing career she has left an indelible imprint on her operatic repertoire which now includes more than 130 roles in works by composers ranging from Bernstein and Sondheim to Strauss and Wagner. To commemorate her 40th anniversary season, William Bolcom, the Pulitzer Prize-winning composer, has written a chamber work (The Hawthorn Tree) for her. The work had its world premiere at the Morgan Library in New York in October 2010 with members of the St. Luke’s Chamber Ensemble. Castle presented further performances at the Brooklyn Museum, the Dia Beacon Museum and the Kennedy Center. Now here at the University of Kansas, she performs the cycle with members of our music faculty. On Jan. 29 she will sing the cycle in the Cliburn at the Modern Series in Fort Worth, Texas, with her fellow faculty members. This season she will perform the operatic roles of the Marquise de Birkenfeld in Donizetti’s La Fille du Regiment with the Lyric Opera of Kansas City, the role of the Baroness in Barber’s Vanessa in Vienna and the role of the Mother in Menotti’s The Consul with New Jersey Opera. In recent appearances, Castle played the roles of Madeline in Heggie’s Three Decembers with Central City Opera in Colorado, the Principessa in Puccini’s Suor Angelica with the Utah Symphony & Opera and Mrs. Grose in Britten’s The Turn of
Named 2007 composer of the year by Musical America and honored with multiple Grammy Awards for his groundbreaking setting of Blake’s Songs of Innocence and of Experience, William Bolcom is a composer of cabaret songs, concertos, sonatas, operas, symphonies and much more. He was awarded the 1988 Pulitzer Prize in music for his 12 New Etudes for piano. With his wife, mezzo-soprano Joan Morris, he has performed in concert for 35 years throughout the United States, Canada and abroad. In addition to performing together, Bolcom and Morris have recorded two dozen albums together. Their first, After the Ball, garnered a Grammy nomination for Joan Morris. The couple’s most recent recordings are two albums of songs by lyricist E. Y. “Yip” Harburg and Gus Kahn on Original Cast Records
the Screw with Boston Lyric Opera. Celebrating her 25th anniversary as a principal artist with the New York City Opera, Castle appeared in an all-star salute to the company on the occasion of the reopening of the renovated David H. Koch Theater at Lincoln Center. She is also a member of the board of directors of New York City Opera. She has sung more than 90 performances at the Metropolitan Opera. Castle is an advocate of the music of our time. She has been honored to give the first performance of a number of works including Leonard Bernstein’s Arias and Barcarolles, with the composer and Michael Tilson Thomas providing the piano accompaniment. She premiered Jake Heggie’s vocal chamber work, Statuesque, here at the University of Kansas, the work having been commissioned by the university for Castle. Notable operatic appearances include the world premiere of Michael Torke and A.R. Gurney’s Central Park at Glimmerglass Opera (televised on PBS’s Great Performances series and recorded by Ecstatic Records), Dominick Argento’s The Dream of Valentino at the Washington National Opera, the American stage premiere of Britten’s Gloriana and Poul Ruder’s The Handmaid’s Tale, and Von Einem’s The Visit of the Old Lady, among others. Her discography includes Menotti’s The Medium and The Consul, Bernstein’s Grammy Award-winning recording Candide, Sondheim, a Sondheim review; vocal works of Joseph Fennimore, vocal works of Stephan Wolpe; and Jake Heggie’s Flesh and Stone featuring Statuesque. Castle is a proud graduate of the University of Kansas and the Eastman School of Music, and currently teaches voice at KU.
and Bolcom’s complete Cabaret Songs, written with lyricist Arnold Weinstein, on Centaur. Recent premieres include Canciones de Lorca with tenor Placido Domingo, the Pacific Symphony Orchestra and conductor Carl St. Clair at the gala opening concert of the Renee and Henry Segerstrom Concert Hall, Orange Country Performing Arts Center, Costa Mesa, Calif. (September 2006); Eighth Symphony with the Boston Symphony Orchestra and Tanglewood Festival chorus conducted by James Levine (February 2008); Lucrezia, a oneact opera for five singers and two pianists (March 2008); and First Symphony for Band with the University of Michigan Symphony Band conducted by Michael Haithcock (February 2009). In the spring of 2007 Bolcom was feted in Minneapolis-St. Paul, Minn., with a two-week festival of his music, including master classes, recitals and concerts of his vocal, organ and chamber music. Titled Illuminating Bolcom, the festival was highlighted by two performances of Songs
of Innocence and of Experience accompanied by animated projections of Blake’s illuminations. The animations were commissioned by VocalEssence and created by projection designer Wendall K. Harrington, who designed the projections for Bolcom’s opera, A View from the Bridge. In November 2007 A View from the Bridge was produced by the Washington National Opera in Washington, D.C. A new chamber orchestration was premiered at the University of Texas at
Austin in April 2010. In February 2008, Boston Symphony Orchestra and Chorus premiered his Eighth Symphony in three performances. Bolcom taught composition at the University of Michigan from 1973 to 2008. In the fall of 1994 the University of Michigan named him the Ross Lee Finney Distinguished University Professor of Composition. He has recorded for Advance, Jazzology, Musical Heritage, Nonesuch, Vox, and Omega, among others. williambolcom.com
Mark Ferrell Mark Ferrell is director of KU Opera and a coach-accompanist in KU’s Division of Voice and Opera. He has worked as conductor or associate conductor with Chicago Lyric Opera, L’Opera de Montreal, San Francisco Opera, Dallas Opera, Houston Grand Opera, Opera Company of Philadelphia, Tulsa Opera, Opera Theater of St. Louis, Kansas City Lyric Opera and the Utah Festival Opera Company. As an accompanist he has toured the United States, Japan, Europe and Central
America. He has served as the music director of the Tulsa Opera Young Artist Program and as a judge for The Metropolitan Opera National Council auditions. Ferrell has been music director of all KU opera and musical theatre productions of the School of Music and The University Theatre for many years, and has conducted many of the productions, including Jesus Christ Superstar, Pirates of Penzance, Gypsy and many others.
FACULTY MUSICIANS David Fedele, a native of Charlotte, N.C., is a graduate of the Curtis Institute of Music and The Juilliard School. He has served on the faculty of Columbia University, Franklin and Marshall College and the Pennsylvania Academy of Music. Currently he serves as associate professor of flute at the University of Kansas. Fedele has been featured on a variety of releases in his career including the Koch International Classics recording of Charles Wuorinen’s New York Notes and a recording of the works of Oliver Knussen for Virgin Classics. Fedele can also be heard on Christmas with Paul Plishka on Naxos Records and the Grammy-nominated Joining Hearts and Voices with the Holy Trinity Bach Choir on Augsburg Fortress Records. Margaret Marco is a member of the Kansas City Chamber Orchestra and freelances with the Kansas City Symphony, the Kansas City Lyric Opera and the Kansas City Ballet Orchestra. She performs with the Kansas Woodwinds, which conducted a week-long residency at the University of Costa Rica in October 2002, and holds frequent clinics and master classes throughout the Midwest. As the faculty oboist at the Ameropa Chamber Music Festival in Prague, Czech Republic, Marco has performed, coached student chamber music groups and conducted master classes each August since 2001. She has performed at the International Double Reed Conference in 1997, at Northwestern University and most recently at the University of North Carolina in Greensboro. She currently serves as associate professor of oboe and division director of woodwinds at the University of Kansas.
Peter Chun has been the associate professor of viola at the University of Kansas since 1999, a position he was appointed to at the age of 28. He is a versatile musician who has given numerous recitals and chamber music performances across the United States, including Boston, St. Louis and Kansas City, as well as performing internationally in Korea and Japan. His performances have been featured at institutions including Penn State University, where he presented an acclaimed performance at the ViolaFest, Southern Illinois University, University of Ulsan in Korea and the Conservatory of Music at the University of Missouri, Kansas City. He has appeared as soloist with the Lexington Sinfonietta, the Lawrence Chamber Orchestra and the University of Kansas Symphony Orchestra. Larry Rice joined the University of Kansas music faculty in 1998 after 24 years as a member of the Utah Symphony Orchestra. He was assistant principal bass from 1978 to 1998 and he played many years with Utah Opera and Ballet West. Rice performed on many international, national and regional concert tours and numerous Utah Symphony recordings with music directors Maurice Abravanel, Varujan Kojian and Joseph Silverstein. He has performed with the San Diego Symphony, the Kansas City Symphony and the Kansas City Chamber Orchestra. His recent chamber music activities include four seasons as guest artist with the Summerfest Chamber Music Festival in Kansas City and performances with Quartet Accorda. Rice currently serves as a lecturer in double bass and string education at the University of Kansas.
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A salute to our VIP Sponsors
We proudly recognize our very important partners. Not only do our VIP Sponsors offer essential financial contributions, they also provide valuable and enthusiastic promotion of Lied Center performances to their customers, employees and the community. Their commitment to the performing arts allows us to provide education activities, free school performances and high-quality events each year. We honor our VIP Sponsors throughout the season on our electronic sign and with onstage recognition at their selected performances. We hope you will also thank them when you visit their businesses. For more information regarding our sponsorship program, contact the Lied Center Director of Development, Megan Poindexter, at 785-864-2788.
Legally Blonde The Musical
Big Bad Voodoo Daddy
Carnival of the Animals & Peter and the Wolf
THE ELDRIDGE & THE OREAD American Legacies: The Del McCoury Band & The Preservation Hall Jazz Band
Fiddler on the Roof
Bayanihan Philippine National Dance Company
An Evening with Garrison Keillor
Jeffery Broussard & The Creole Cowboys
Jim Brickman 15th-Anniversary Holiday Concert
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Big Bad Voodoo Daddy
An Evening with Garrison Keillor
William Ingeâ€™s Bus Stop