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Pre-concert lecture by Dr. William Hall, 7pm Segerstrom Center for the Arts Renée and Henry Segerstrom Concert Hall

BRITTEN’S WAR REQUIEM James Conlon, conductor Tamara Wilson, soprano Joseph Kaiser, tenor Phillip Addis, baritone The Colburn Orchestra | Yehuda Gilad, music director Members of USC Thornton Symphony USC Thornton Chamber Singers | Dr. Jo-Michael Scheibe, conductor USC Thornton Concert Choir | Dr. Cristian Grases, conductor Bob Cole Conservatory Chamber Choir from CSU Long Beach Dr. Jonathan Talberg, director CSU Fullerton University Singers | Dr. Robert Istad, conductor Chapman University Singers | Dr. Stephen Coker, director Los Angeles Children's Chorus | Anne Tomlinson, artistic director

War Requiem, Op. 66 (1961-62)

Benjamin BRITTEN (1913-1976)

I. Requiem aeternam II. Dies irae III. Offertorium IV. Sanctus V. Agnus Dei VI. Libera me Words from the Missa pro defunctis and the poems of Wilfred Owen Tonight’s performance of the War Requiem is generously sponsored by Linda and Michael I. Keston. The Colburn School wishes to thank the USC Thornton School of Music and all of the participating choirs for their contributions to tonight’s performance. The Colburn School also wishes to acknowledge James Conlon for his extraordinary contribution to the Britten centenary celebration in Los Angeles and for his commitment to music education throughout Southern California. ©Copyright 1961 by Boosey & Hawkes Music Publishers Ltd. Reprinted by permission of Boosey & Hawkes, Inc., an Imagem company.

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BRITTEN: WAR REQUIEM, OP. 66 Commissioned for the Coventry Festival to celebrate the consecration of St. Michael’s Cathedral and composed 1961–1962. At its premiere on May 30, 1962, the singers were Heather Harper, Peter Pears and Dietrich Fischer-Dieskau. The City of Birmingham Orchestra and the Melos Ensemble were conducted by Meredith Davis and the composer.


SUNDAY, NOVEMBER 24, 2013, 8:15PM

My subject is War, and the pity of War. The Poetry is in the pity… All a poet can do today is warn. These lines are from the preface to a projected collection of poems by Wilfred Owen, generally considered the leading English-language poet of World War I. Owen served bravely throughout the war, which he found increasingly oppressive. He chronicled his growing anti-war feelings in a deeply moving series of poems. One week before the armistice that ended hostilities, Owen was killed in action as he tried to help his troops cross the Sambre Canal in northeast France. He was 25 years old. Owen’s attitudes toward war were complex. He had enlisted and he had fought, yet his poetry shows an ever-increasing pacifism. The attitudes of Benjamin Britten a third of a century later were more straightforward. By the time of the Second World War, he was firm in his anti-war beliefs. His objections to war were hardly problematic in times of peace, but he knew he would be forced to make a public statement as Europe headed inexorably toward war in the late 1930s. As war came closer to England, Britten realized that his pacifism would soon no longer be a hypothetical stance. The composer felt he could no longer remain in England. He moved to the United States in May of 1940 with his life companion, tenor Peter Pears. The FBI kept close tabs on their whereabouts. In a time of war, pacifists were regarded with suspicion in the United States as much as in England. Even



though he knew nothing of the FBI surveillance, the composer felt out of place in this country. He decided “to return to England, at any rate for the duration of the war. I am not telling people, because it sounds a little heroic, which it is far from being; it is really that I cannot be separated any longer from all my friends and family—going through all they are and, I’m afraid, will be in the future.” In the spring of 1942, Pears and Britten sailed to England through waters constantly threatened by submarine attack. Back in London, Britten faced a tribunal, which would rule on his bid for official conscientious objector status. In the course of the proceedings, Britten testified, “I do not believe in the Divinity of Christ, but I think his teaching is sound and his example should be followed.” This controversial sentiment set the tribunal against Britten, and he was told that he would have to perform non-combatant war-related duties. Britten appealed that decision and was granted full conscientious objector status, provided that he and Pears traveled throughout the war-torn country, giving recitals. One place they performed was a prison, where composer Michael Tippett was incarcerated for having refused the non-combatant duties to which he had been assigned. Britten’s revulsion to war intensified when he accompanied violinist Yehudi Menuhin in a recital given at the concentration camp at Belsen for the survivors of Nazi atrocities there. Moved by what he learned at Belsen, the composer resolved to continue to use music as a means to protest against war. As a result of his anti-war activities, he was placed on a list of “prohibited immigrants” to the United States. This was in the early 1950s, during the height of McCarthyism—named for Wisconsin Senator Joseph McCarthy, who used his considerable power to “expose” and harass prominent people harboring what he felt were Communist sympathies. As “prohibited immigrants,” Britten and Pears had to undergo lengthy interviews each time they wanted to visit America. When Britten died in 1976, he was still on the FBI’s list of “prohibited immigrants;” Pears’s name was removed from this list only in 1983. The culmination (but hardly the last) of Britten’s musical protests against war was the War Requiem, composed to celebrate the 1962 re-opening of the Coventry Cathedral, which had been virtually destroyed by German bombs during the Battle of Britain in 1940. A new cathedral was built next to the ruins of the old, so that those ruins could remain standing as a stark reminder of the war’s destruction. The new building was intended not only as a place of worship but also as a home for the arts. A major arts festival was planned for the consecration of this building. When the festival committee asked Britten to compose and conduct a large work for chorus and orchestra, he looked forward to creating his biggest, and most overt, anti-war statement. He felt that his pacifism was as relevant in the early 1960s—the time of the building of the Berlin Wall, of the Bay of Pigs and of the escalation of United States involvement in Vietnam—as it had been during the war with Germany. For his work Britten chose to interweave, with the tradi-


tional Catholic Mass for the Dead, nine anti-war poems of Wilfred Owen. The festival committee did not at first offer Britten a fee, despite his having refused three other commissions because of his eagerness to compose the Requiem. Britten wrote to his publisher, “They must be prepared to pay for it just as they have to pay for the workmen to build the Cathedral, and will have to pay the Covent Opera, etc., etc.” The organizers realized that the composer was as much a professional as any of the other people involved in the project, and they raised the money for a decent, but hardly overwhelming, honorarium. The War Requiem requires three vocal soloists. Britten decided it would be appropriate to have one from each of the three countries he felt suffered most during the Second World War. He urged the festival to engage the Russian soprano Galina Vishnevskaya, the German baritone Dietrich Fischer-Dieskau and the English tenor Peter Pears. The latter two eagerly accepted, but the Soviet Minister of Culture refused to give Vishnevskaya permission. British soprano Heather Harper had to substitute for her Russian colleague. Reluctant to direct large forces, Britten conducted the chamber orchestra that accompanies the Owen texts, while Meredith Davies conducted the large orchestra and the chorus that sings the Latin Mass text. The work is dedicated to four of Britten’s friends: Roger Burney, Piers Dunkerly, David Gill and Michael Halliday. Three of these men had died in the war, while Dunkerly, a veteran who had remained deeply troubled by his war experiences, committed suicide in 1959. Over the centuries, composers’ approaches to setting the Missa pro defunctis—Mass for the Dead—had become progressively more histrionic and less liturgical. The relatively modest settings of the Renaissance gave way to the dramatic treatments of such composers as Mozart, Berlioz and Verdi. Britten’s version is every bit as expressive and moving as those of these three forebears. In fact, there are several similarities in Britten’s work to that of Verdi. The Latin Requiem text is sung by a large chorus with soprano soloist, accompanied by a full orchestra. The Owen poems, interspersed as commentary on the Mass text, are sung by tenor and baritone soloists, accompanied by a chamber orchestra of 12 players. There is also a boys’ [children’s choir at these performances] choir in the distance, with music in a deliberately archaic manner—e.g., with references to medieval plainchant, intended to suggest the remoteness of the religious concepts the words express. The three performing groups come together only at the end of the work. —Jonathan D. Kramer © Cincinnati Symphony Orchestra


Requiem aeternam dona eis Domine, et lux perpetua luceat eis.

Rest eternal grant them, Lord; And may everlasting light shine upon them.


Te decet hymnus, Deus in Sion; et tibi reddetur votum in Jerusalem; exaudi orationem meam, ad te omnis caro veniet.

Songs of praise are due to Thee, God, in Zion; And prayers offered up to Thee in Jerusalem; Hear my prayer, All flesh shall come to Thee.


What passing-bells for these who die as cattle? Only the monstrous anger of the guns. Only the stuttering rifles’ rapid rattle Can patter out their hasty orisons. No mockeries for them from prayers or bells, Nor any voice of mourning save the choirs,— The shrill, demented choirs of wailing shells; And bugles calling for them from sad shires.



What candles may be held to speed them all? Not in the hands of boys, but in their eyes Shall shine the holy glimmers of good-byes. The pallor of girls’ brows shall be their pall; Their flowers the tenderness of silent minds, And each slow dusk a drawing-down of blinds. [from “Anthem for Doomed Youth”] CHORUS

Kyrie eleison, Christe eleison, Kyrie eleison.

Lord have mercy, Christ have mercy, Lord have mercy.


Dies irae, dies illa, Solvet saeclum in favilla, Teste David cum Sibylla.

Day of anger, that day, Shall dissolve this generation into ashes, With David and the Sibyl as witness.

Quantus tremor est futurus, Quando Judex est venturus, Cuncta stricte discussurus!

How much quaking there will be, When the Judge will come, To weigh all things strictly!

Tuba mirum spargens sonum Per sepulchra regionum Coget omnes ante thronum.

The trumpet pouring forth its awful sound Through the tombs of the lands Drives everyone before the throne.

Mors stupebit et natura, Cum resurget creatura, Judicanti responsura.

Death shall be stunned, and nature, When life shall rise again, To answer for itself before the Judge.


Bugles sang, saddening the evening air, And bugles answered, sorrowful to hear. Voices of boys were by the river-side. Sleep mothered them; and left the twilight sad. The shadow of the morrow weighed on men.



Voices of old despondency resigned, Bowed by the shadow of the morrow, slept. [from untitled] SOPRANO SOLO AND CHORUS

Liber scriptus proferetur, In quo totum continetur, Unde mundus judicetur.

A book inscribed shall be brought forth, In which all is contained, From which the world shall be judged.

Judex ergo cum sedebit, Quidquid latet, apparebit: Nil inultum remanebit.

When the Judge, therefore, shall sit, Whatever is concealed shall appear: Nothing unavenged shall remain.

Quid sum miser tunc dicturus? Quem patronum rogaturus, Cum vix justus sit securus?

What am I, a wretch, to say then? To whom as defender shall I entreat, Since the just man is scarcely safe?

Rex tremendae majestatis, Qui salvandos salvas gratis, Salva me, fons pietatis.

King of fearful majesty, Who freely savest those who are to be saved, Save me, fountain of compassion.


Out there, we’ve walked quite friendly up to Death; Sat down and eaten with him, cool and bland,— Pardoned his spilling mess-tins in our hand. We’ve sniffed the green thick odour of his breath,— Our eyes wept, but our courage didn’t writhe. He’s spat at us with bullets and he’s coughed Shrapnel. We chorussed when he sang aloft; We whistled while he shaved us with his scythe. Oh, Death was never enemy of ours! We laughed at him, we leagued with him, old chum. No soldier’s paid to kick against his powers. We laughed, knowing that better men would come, And greater wars; when each proud fighter brags He wars on Death—for life; not men—for flags. [from “The Next War”] CHORUS


Recordare, Jesu pie, Quod sum causa tuae viae: Ne me perdas illa die. Quaerens me, sedisti lassus: Redemisti crucem passus: Tantus labor non sit cassus.

Recall, kind Jesus, That I am the reason for your being: Lest Thou do away with me on that day. Searching for me, Thou didst sit exhausted: Thou hast redeemed me by suffering the cross: So much toil should not be in vain.

Ingemisco, tamquam reus: Culpa rubet vultus meus: Supplicanti parce Deus.

I sigh, so great a sinner: Guilt reddens my face: Spare the supplicant, God.

Qui Mariam absolvisti, Et latronem exaudisti, Mihi quoque spem dedisti.

Thou who hast forgiven Mary, And hast listened to the robber, And hast also given hope to me.

Inter oves locum praesta, Et ab haedis me sequestra, Statuens in parte dextra.

Set me down amongst the sheep, And remove me from the goats, Standing at Thy right hand.

Confutatis maledictis, Flammis acribus addictis, Voca me cum benedictis.

With the damned confounded, To the crackling flames consigned, Call me with your saints.

I pray, kneeling and suppliant, My heart worn away like ashes: Protect me at my ending.


Be slowly lifted up, thou long black arm, Great gun towering toward Heaven, about to curse; Reach at that arrogance which needs thy harm, And beat it down before its sins grow worse; But when thy spell be cast complete and whole, May God curse thee, and cut thee from our soul! [from “Sonnet: On Seeing a Piece of Our Artillery Brought into Action”] CHORUS AND SOPRANO SOLO

Dies irae, dies illa, Solvet saeclum in favilla, Teste David cum Sibylla.

Day of anger, that day, Shall dissolve this generation into ashes, With David and the Sibyl as witness.

Quantus tremor est futurus, Quando judex est venturus, Cuncta stricte discussurus

How much quaking there will be, When the judge will come, To weigh all things strictly.

Lacrimosa dies illa, Qua resurget ex favilla, Judicandus homo reus, Huic ergo parce Deus.

That tearful day, On which shall arise again from the ashes, The sinner to be judged, Spare him accordingly, God.


Oro supplex et acclinis, Cor contritum quasi cinis: Gere curam mei finis.


Move him into the sun Gently its touch awoke him once, At home, whispering of fields unsown. Always it woke him, even in France, Until this morning and this snow. If anything might rouse him now The kind old sun will know. Think how it wakes the seeds,— Woke, once, the clays of a cold star. Are limbs, so dear-achieved, are sides, Full-nerved—still warm—too hard to stir? Was it for this the clay grew tall? —O what made fatuous sunbeams toil To break earth’s sleep at all? [from “Futility”] CHORUS

Pie Jesu, Domine, dona eis requiem. Amen.

Kind Jesus, Lord, Grant them rest. Amen.


Domine Jesu Christe, Rex gloriae, libera animas omnium fidelium defunctorum de poenis inferni, et de profundo lacu: libera eas de ore leonis,

Lord Jesus Christ, King of glory, Free the souls of all the faithful Dead from the tortures of hell, And from the bottomless pit: Free them from the mouth of the lion, 11


ne absorbeat eas tartarus, ne cadant in obscurum.

That hell may not swallow them up, Nor may they fall into darkness.


Sed signifer sanctus Michael repraesentet eas in lucern sanctam: quam olim Abrahae promisisti, et semini ejus.

But the holy standard-bearer Michael Shall bring them back into the holy light: As Thou once didst promise to Abraham, And his offspring.


So Abram rose, and clave the wood, and went, And took the fire with him, and a knife. And as they sojourned both of them together, Isaac the first-born spake and said, My Father, Behold the preparations, fire and iron, But where the lamb for this burnt-offering? Then Abram bound the youth with belts and straps, And budded parapets and trenches there, And stretched forth the knife to slay his son. When lo! an angel called him out of heaven, Saying, Lay not thy hand upon the lad, Neither do anything to him. Behold, A ram, caught in a thicket by its horns; Offer the Ram of Pride instead of him. But the old man would not so, but slew his son,— And half the seed of Europe, one by one. [from “The Parable of the Old Man and the Young”] CHILDREN’S CHOIR

Hostias et preces tibi Domine laudis offerimus: tu suscipe pro animabus illis, quarum hodie memoriam facimus: fac eas, Domine, de morte transire ad vitam.

Sacrifices and prayers We offer to Thee, Lord, with praise: Receive them for the souls of those Whose memory we recall today: Make them, Lord, To pass from death to life.


Sanctus, sanctus, sanctus Dominus Deus Sabaoth. Pleni sunt coeli et terra gloria tua. Hosanna in excelsis.

Holy, holy, holy Lord God of Hosts. Full are heaven and earth with Thy glory. Hosanna in the highest.

Benedictus qui venit in nomine Domini. Hosanna in excelsis.

Blessed is he who comes in the name of the Lord. Hosanna in the highest.


After the blast of lightning from the East, The flourish of loud clouds, the Chariot Throne; After the drums of Time have rolled and ceased, And by the bronze west long retreat is blown. Shall life renew these bodies? Of a truth All death will He annul, all tears assuage?— Fill the void veins of Life again with youth, And wash, with an immortal water, Age? When I do ask white Age he saith not so: ‘My head hangs weighed with snow.’ And when I hearken to the Earth, she saith: 12


One ever hangs where shelled roads part. In this war He too lost a limb, But His disciples hide apart; And now the Soldiers bear with Him. CHORUS

Agnus Dei, qui tollis peccata mundi, dona eis requiem.

Lamb of God, Who takest away the sins of the world, Grant them rest.


Near Golgotha strolls many a priest, And in their faces there is pride That they were flesh-marked by the Beast By whom the gentle Christ’s denied.


‘My fiery heart shrinks, aching. It is death. Mine ancient scars shall not be glorified, Nor my titanic tears, the sea, be dried.’ [from “The End”]


Agnus Dei, qui tollis peccata mundi, dona eis requiem.

Lamb of God, Who takest away the sins of the world, Grant them rest.


The scribes on all the people shove And bawl allegiance to the state, But they who love the greater love Lay down their life; they do not hate. [from “At a Calvary near the Ancre”] CHORUS

Agnus Dei, qui tollis peccata mundi, dona eis requiem sempiternam.

Lamb of God, Who takest away the sins of the world, Grant them rest everlasting.


Dona nobis pacem.

Grant us peace.


Libera me, Domine, de morte aeterna, in die illa tremenda. Quando coeli movendi sunt et terra; Dum veneris judicare saeculum per ignem. Tremens factus sum ego, et timeo, dum discussio venerit, atque ventura ira. Libera me, Domine, de morte aeterna, Quando coeli movendi sunt et terra. Dies illa, dies irae, calamitatis et miseriae, dies magna et amara valde. Libera me, Domine…

Free me, Lord, from eternal death, On that dreadful day. When the skies and ground shall quake; When Thou comest to judge Our generation through fire. I am made to tremble, and am afraid, Until the trial shall come, And the anger arrive. Free me, Lord, from eternal death, When the skies and ground shall quake. That day, day of anger, Of disaster and misery, A great day and intensely bitter. Free me, Lord… 13



It seemed that out of battle I escaped Down some profound dull tunnel, long since scooped Through granites which titanic wars had groined. Yet also there encumbered sleepers groaned, Too fast in thought or death to be bestirred. Then, as I probed them, one sprang up, and stared With piteous recognition in fixed eyes, Lifting distressful hands as if to bless. And no guns thumped, or down the flues made moan. ‘Strange friend,’ I said, ‘here is no cause to mourn.’ BARITONE SOLO

‘None,’ said the other, ‘save the undone years, The hopelessness. Whatever hope is yours, Was my life also; I went hunting wild After the wildest beauty in the world. For by my glee might many men have laughed, And of my weeping something had been left, Which must die now. I mean the truth untold. The pity of war, the pity of war distilled. Now men will go content with what we spoiled. Or, discontent, boil bloody, and be spilled. They will be swift with swiftness of the tigress, None will break ranks, though nations trek from progress. Miss we the march of this retreating world Into vain citadels that are not walled. Then, when much blood had clogged their chariot-wheels, I would go up and wash them from sweet wells, Even from wells we sunk too deep for war, Even the sweetest wells that ever were. I am the enemy you killed, my friend. I knew you in this dark; for so you frowned Yesterday through me as you jabbed and killed. I parried; but my hands were loath and cold.’ TENOR AND BARITONE SOLOS

‘Let us sleep now…’

[from “Strange Meeting”]


In paradisum deducant te Angeli: in tuo adventu suscipiant te Martyres, et perducant te in civitatem sanctum Jerusalem. Chorus Angelorum te suscipiat, et cum Lazaro quondam paupere, aeternam habeas requiem.

To heaven may the Angels escort you: On your arrival may the Martyrs accept you, And lead you To the sacred city Jerusalem. May the Choir of Angels receive you, And with Lazarus, once a pauper, May you have rest eternal.

Requiem aeternam dona eis, Domine, et lux perpetua luceat eis. Requiescant in pace. Amen.

Rest eternal grant them, Lord, And may everlasting light shine upon them. May they rest in peace. Amen.

©Copyright 1961 by Boosey & Hawkes Music Publishers Ltd. Reprinted by permission of Boosey & Hawkes, Inc., an Imagem company. 14


JAMES CONLON, CONDUCTOR James Conlon, one of today’s most versatile and respected conductors, has cultivated a vast symphonic, operatic and choral repertoire. Since his 1974 debut with the New York Philharmonic, he has conducted virtually every major American and European symphony orchestra. Through worldwide touring, an extensive discography and videography, numerous essays and commentaries, frequent television appearances and guest speaking engagements, Mr. Conlon is one of classical music’s most recognized interpreters. Conlon is music director of Los Angeles Opera (since 2006), the Ravinia Festival, summer home of the Chicago Symphony Orchestra (since 2005), and the Cincinnati May Festival (since 1979), America's oldest choral festival, where he has provided the artistic leadership for more May Festivals than any other music director in the festival’s 138year history and holds a place among the longest-tenured music directors of any major classical music institution in the country. He has served as Principal Conductor of the Paris National Opera (1995-2004); General Music Director of the City of Cologne, Germany (1989-2002), where he was Music Director of both the Gürzenich Orchestra-Cologne Philharmonic and the Cologne Opera; and Music Director of the Rotterdam Philharmonic (1983-1991). Conlon has conducted more than 260 performances at the Metropolitan Opera since his debut in 1976. He has also appeared at Teatro alla Scala, the Royal Opera at Covent Garden in London, the Lyric Opera of Chicago, the Maggio Musicale Fiorentino and the Teatro del Opera di Roma. In the course of his career, he has conducted more than ninety operas and several hundred symphonic and choral works. Renowned for his interpretations of Wagner’s repertoire in Europe, Mr. Conlon has established a Wagnerian tradition in Los Angeles since beginning his tenure at LA Opera. Over a span of six years, he has conducted seven Wagner operas at LA Opera, including the company’s first Ring cycle in 2010. Continuing these efforts, he will lead The Flying Dutchman in commemoration of the Wagner bicentennial in 2013. Additionally, this season at LA Opera, he will conduct the first major staging in the U.S. in four decades of Verdi’s early opera The Two Foscari (I Due Foscari), as well as Mozart’s Don Giovanni and Rossini’s La Cenerentola. Mr. Conlon is currently engaged in a three-year project to mark the centenary of the birth of Benjamin Britten culminating in 2013. A long-time devotee of Britten’s music, the project includes six different Britten operas, as well as symphonic and choral works performed in the U.S. and Europe. In an effort to raise awareness of the significance of the lesser-known works of composers silenced by the Nazi

regime, Mr. Conlon has devoted himself to extensive programming of this music throughout Europe and North America. Conlon received the Crystal Globe Award from the Anti-Defamation League in 2007 at Ravinia for championing these works and in 1999 he received the Zemlinsky Prize, for his efforts in bringing that composer’s music to international attention. As music director of Ravinia Festival, Conlon has showcased these composers in the festival’s “Breaking the Silence” series and in Los Angeles, Conlon initiated the groundbreaking “Recovered Voices” project. His work on behalf of suppressed composers led to the creation of The OREL Foundation (, an invaluable resource on the topic for music lovers, students, musicians and scholars. Committed to working with pre-professional musicians, Mr. Conlon has devoted his time to teaching at The Juilliard School, New World Symphony, Ravinia Festival, Aspen Music Festival and School and Tanglewood Music Center. His coaching sessions and master classes with finalists of the Van Cliburn International Piano Competition are documented in a collection of highly acclaimed PBS videos. In Los Angeles he works with students at The Colburn Conservatory, USC and UCLA and his pre-concert lectures at LA Opera consistently attract capacity crowds. His appearances throughout the country as a speaker on a variety of cultural and educational topics are widely praised. Mr. Conlon’s extensive discography and videography can be found on the EMI, Erato, Capriccio, Decca and Sony Classical labels. He has won two Grammy Awards for Best Classical Album and Best Opera Recording for the LA Opera recording of Weill’s Rise and Fall of the City of Mahagonny. Mr. Conlon holds several Honorary Doctorates and has received many awards. He is among the five initial recipients of the Opera News Awards and was honored by The New York Public Library as a "Library Lion." Mr.



Conlon’s other recent honors include a Lifetime Achievement Award from the Istituto Italiano di Cultura in Los Angeles (2010), the Music Institute of Chicago’s Dushkin Award (2009), the Medal of the American Liszt Society (2008), and Italy’s Premio Galileo 2000 Award for his significant contribution to music, art and peace in Florence (2008). Conlon was named Commandeur de L'Ordre des Arts et des Lettres by the French Minister of Culture, and in 2002, he received France's highest distinction from then President of the French Republic Jacques Chirac: the Légion d'Honneur. TAMARA WILSON, SOPRANO

“With a voice of steely beauty and great power,” (Houston Chronicle) soprano Tamara Wilson was recently the grand prize winner of the 48th Annual Francisco Viñas Competition held at the Gran Teatre del Liceu in Barcelona, Spain. Tamara Wilson adds a new Verdi heroine to her repertoire when she returns to Théâtre du Capitole in Toulouse as Lucrezia Contarini in Verdi’s I due Foscari in the 201314 season. In celebration of the Verdi bicentenary, she will also debut at Teatro de la Maestranza in Seville as Aida and with Washington Concert Opera in his rarely-heard Il corsaro as Gulnara alongside tenor Michael Fabiano as Corrado. She will also be heard in Britten’s War Requiem with the Baltimore Symphony Orchestra under Marin Alsop, as well as with James Conlon and the Colburn Orchestra as part of the Britten 100/LA celebration. Other concert engagements include Broch’s Moses with the American Symphony Orchestra at Carnegie Hall and Verdi’s Messa da requiem with the Jacksonville Symphony. Future seasons will see her in the roles of Verdi, Bellini, Mozart, and Strauss at the Oper Frankfurt, Gran Teatre del Liceu, Théâtre du Capitole, Teatro Real de Madrid, Los Angeles Opera, and Houston Grand Opera. 16

In the 2012-13 season, Ms. Wilson returned to the Canadian Opera Company as Rosalinde in a new Christopher Alden production of Die Fledermaus conducted by Johannes Debus, Théâtre du Capitole as Lady Billows in a new production of Albert Herring, and Houston Grand Opera as Leonora in Il trovatore. In concert, she debuted with the Saint Louis Symphony as soprano soloist in Handel’s Messiah and was heard with Helmuth Rilling in Verdi’s Messa da requiem on tour with Internationale Bachakademie Stuttgart. Additionally, she returned to Carnegie Hall as Malwina in Marschner’s rarely-heard opera Der Vampyr with the American Symphony Orchestra. At the Oregon Bach Festival, she performed works of Verdi and Wagner in concert with Matthew Halls and was heard as soprano soloist in Beethoven’s Missa Solemnis with Helmuth Rilling. Other notable recent engagements include Elisabeth de Valois in the five-act French Don Carlos at Houston Grand Opera; Amelia in Un ballo in maschera at Washington National Opera, Houston Grand Opera, and Teatre Principal de Maó in Menorca, Spain; Leonora in Il trovatore at Théâtre du Capitole in Toulouse under Daniel Oren and Palma de Mallorca, Spain; Alice Ford in Falstaff for her debut with Washington National Opera; Amelia Grimaldi in Simon Boccanegra at the Canadian Opera Company; the title role in Aida at Opera Australia; her German debut at Oper Frankfurt in concert performances of Wagner’s early opera Die Feen as Ada under Sebastian Weigle; Elettra in Idomeneo under Harry Bicket at the Canadian Opera Company and under James Conlon at the Ravinia Festival; Konstanze in Die Entführung aus dem Serail at Houston Grand Opera; Miss Jessel in The Turn of the Screw and the First Lady in Die Zauberflöte at Los Angeles Opera, both under James Conlon. On the concert stage, Ms. Wilson made her Carnegie Hall debut with the Baltimore Symphony Orchestra under Marin Alsop in Honegger’s Jeanne d’Arc au bûcher, as well as appeared with the Eugene Concert Choir in Britten’s War Requiem, Charlotte Symphony in Beethoven’s Missa Solemnis, and returned to the Oregon Bach Festival in Tippett’s A Child of Our Time. Recently, she has been soprano soloist for performances of Missa Solemnis with John Nelson and the Chamber Orchestra of Europe in Lisbon, which is available on DVD, as well as Mozart’s Requiem with Edo de Waart and the Milwaukee Symphony and Mendelssohn’s Symphony No. 2 (“Lobgesang”) with the Grant Park Symphony Orchestra. A favorite of the Oregon Bach Festival, she debuted in Verdi’s Messa da requiem under Helmuth Rilling for the opening of their 40th Anniversary season. She then returned to sing Brahms's Ein deutsches Requiem and Beethoven's Symphony No. 9 under Rilling, as well as Marguerite in Jeanne d'Arc au bûcher under Marin Alsop.


Starring as Tamino in the Kenneth Branagh film adaptation of The Magic Flute, conducted by James Conlon and released in 2007, Joseph Kaiser is recognized by audiences for his beauty of tone, intelligence of programming, and innate sense of style and elegance. He is internationally acclaimed as one of the most gifted artists of his generation and enjoys success in opera, oratorio, and concert throughout North America and Europe. Mr. Kaiser’s 2013-14 season encompasses performances of A Midsummer Night’s Dream at the Metropolitan Opera conducted by James Conlon, a return to Houston Grand Opera for The Passenger under the baton of Music Director Patrick Summers, Salome at the Bayerische Staatsoper led by Asher Fisch, and The Magic Flute at Washington

National Opera with Music Director Philippe Auguin. On the concert stage the tenor sings Mozart’s Requiem with Ivor Bolton and the Wiener Symphoniker and Davidde Penitente with Music Director Louis Langrée and the Cincinnati Symphony, Berlioz’s Te Deum with Charles Dutoit and the NHK Symphony Orchestra, Beethoven’s Ninth Symphony with Conductor Emeritus Bernard Haitink and the Boston Symphony Orchestra, Britten’s War Requiem and Cantata Misericordium with James Conlon and the symphonies of UCLA, USC and The Colburn School, and Beethoven’s Fidelio–singing the role of Florestan for the first time–with Jérémie Rhorer conducting Le Cercle de l'Harmonie on a European tour. Past seasons’ highlights include performances at the Opéra National de Paris as Lensky in Eugene Onegin in a Willy Decker production conducted by Vasily Petrenko, as Flamand in Strauss’s Capriccio in a production by Robert Carsen and conducted by Music Director Philippe Jordan, and as Matteo in Strauss’s Arabella opposite Renée Fleming, a return to the Royal Opera House, Covent Garden singing the role of Tamino in Die Zauberflöte directed by Sir David McVicar and conducted by Sir Colin Davis, Christof Loy’s production of Gluck’s Alceste at the Vienna State Opera in the role of Admète, appearances at the Bayerische Staatsoper as Steva Burja in Jenůfa in the acclaimed Barbara Frey production conducted by Tomáš Hanus, and at Deutsche Oper Berlin with General Music Director Donald Runnicles, at the Munich Festival as Don Ottavio in Don Giovanni conducted by Constantinos Carydis, and bowing at the Metropolitan Opera as Flamand in Capriccio–opposite Renée Fleming–in a production by John Cox under the baton of Sir Andrew Davis, as well as Stephen Wadsworth’s Rodelinda as Grimoaldo with Harry Bicket conducting, and as Pylades in Gluck’s Iphigénie en Tauride at the Canadian Opera Company in a production by Robert Carsen conducted by Pablo HerasCasado. Concert highlights include performances of Britten’s Serenade for Tenor, Horn, and Strings with André Previn and the Gewandhausorchester, Janáček’s The Diary of One Who Vanished under the auspices of Chicago Opera Theater, Bruckner’s Te Deum with Daniel Barenboim and the Orchestra and Chorus of Teatro alla Scala, Bruckner’s Mass No. 3 in F minor conducted by Artistic Director Marek Janowski with the Rundfunk-Sinfonieorchester Berlin, Beethoven’s Ninth Symphony with the Berlin Philharmonic under the direction of Music Director Sir Simon Rattle, the Toronto Symphony conducted by Matthew Halls, and with the St. Louis Symphony Orchestra conducted by Music Director David Robertson, and Mozart’s Requiem with the Mostly Mozart Festival under the baton of Music Director Louis Langrée, as well as with the Orchestra of St. Luke’s conducted by Iván Fischer at Carnegie Hall.


She has toured Japan with Helmuth Rilling and Internationale Bachakademie Stuttgart in Beethoven’s Symphony No. 9. An alumna of the Houston Grand Opera Studio, Ms. Wilson’s awards include the George London Award from the George London Foundation in which she was hailed for a “striking timbre all her own” (Opera News), as well as both a career grant in 2011 and study grant in 2008 from the Richard Tucker Music Foundation. Other notable awards include first place in the 2005 Eleanor McCollum Competition for Young Singers in Houston and finalist in the 2004 Metropolitan Opera National Council Auditions, among others. She was a featured soloist at the 2010 NEA Opera Honors in which she sang “Ernani, involami” from Verdi’s Ernani to honor recipient Martina Arroyo. In addition to her operatic and orchestral performances, Ms. Wilson is an avid lecturer of vocal technique. She has been a Guest Master Class Lecturer for the National Pastoral Musicians in the Chicago area. Ms. Wilson received her degree at the University of CincinnatiCollege Conservatory of Music.



Additional credits of the artist’s dynamic opera diary include the title role of Faust at the Lyric Opera of Chicago conducted by Music Director Sir Andrew Davis, the title role of Messager’s Fortunio in a new production by Denis Podalydès at the Opéra Comique under the baton of Louis Langrée, Admète in Gluck’s Alceste at the Festival d’Aixen-Provence in a new production by Christoph Loy conducted by Ivor Bolton, and new productions at the Salzburg Festival of Händel’s Theodora directed by Christoph Loy and conducted by Ivor Bolton as well as of Eugene Onegin directed by Andrea Breth and conducted by Daniel Barenboim (both Salzburg productions are commercially available on DVD). Mr. Kaiser has bowed at the Metropolitan Opera in a diverse array of leading parts including the title role of Roméo et Juliette–opposite Anna Netrebko–under the baton of Plácido Domingo, Tamino in Die Zauberflöte conducted by Kirill Petrenko, and as Narraboth in Salome– opposite Karita Mattila–conducted by Patrick Summers and seen internationally on The Met: Live in HD experience. Further highlights include a Los Angeles Opera debut as Tamino in Die Zauberflöte under the baton of Music Director James Conlon, a Covent Garden debut as Narraboth in a new David McVicar production of Salome under Philippe Jordan’s baton (commercially available on DVD), and the North American premiere of Kaija Saariaho’s Adriana Mater at the Santa Fe Opera in a production by Peter Sellars. Joseph Kaiser joined the prestigious Ryan Opera Center in the spring of 2004 and, during his residency with the Lyric Opera of Chicago, was involved in productions of The Midsummer Marriage, Fidelio, Aida, and Das Rheingold, singing under the batons of Sir Andrew Davis and Christoph von Dohnányi. As a principal artist with the company, he has bowed in the title role of Roméo et Juliette as well as in Die Fledermaus, Salome, and Dialogues des Carmélites. His concert schedule has included performances of the Berlioz Requiem under Marek Janowski with the combined forces of the Tonhalle-Orchester Zürich and the Orchestre de la Suisse Romande as well as with Donald Runnicles both with the Atlanta Symphony Orchestra and the Berliner Philharmoniker, Stravinsky’s Pulcinella with Roberto Abbado and the Saint Paul Chamber Orchestra, Mendelssohn’s Elijah with Music Director Yannick NézetSéguin and the Orchestre Métropolitain du Grand Montréal, and Schumann’s Das Paradies und die Peri with Sir Simon Rattle and the Philadelphia Orchestra. Mr. Kaiser has appeared at the Caramoor Festival, in a joint program with Lorraine Hunt Lieberson, which was presented under the auspices of the New York Festival of Song (commercially available on the Bridge Records label), in Chicago at the Chicago Humanities Festival, in

Montreal with the André Turp Society, in New York at Carnegie Hall, and on the Debut Series of the National Arts Centre in Ottawa. PHILLIP ADDIS, BARITONE

Canadian baritone Phillip Addis is praised for his creamy, bright, smooth voice as much as for his spell-binding, daring, yet sensitive interpretations. A rising star on the international stage, Addis has performed in opera, concerts and recitals throughout Canada, the United States, Europe and Japan. Phillip opens his 2013-14 season with his debut at the Canadian Opera Company where he performs both Schaunard and Marcello in La Bohème. He also appears as the The Speaker in the Los Angeles Opera production of The Magic Flute, reprises his much-acclaimed Pelléas in the Opéra Comique production of Pelléas et Mélisande in Paris, takes on Count Almaviva in the Pacific Opera Victoria’s Le Nozze di Figaro, and Lt. Audebert in Kevin Puts’s Silent Night with the Cincinnati Opera. Phillip will be heard in Britten’s War Requiem and The Prodigal Son, both conducted by James Conlon, and in recital in Toronto, Paris and Montreal. Recent seasons have included appearances as The Ferryman in Curlew River and Demetrius in A Midsummer Night’s Dream, both at the Opera di Roma, his house debut at l’Opéra national de Paris as Roderick Usher in Debussy’s unfinished opera The Fall of the House of Usher, his debut at the London Proms in the title role of a concert version of Pelléas et Mélisande, appearances as Jaufre Rudel in Kaija Saariaho's L'Amour de loin in Antwerp with De Vlaamse Opera, in the title role of Massenet’s rarely performed baritone version of Werther with l'Opéra de Montréal, as Algernon in the staged premiere of The Importance of Being Earnest, by Gerald Barry at the Opéra de Nancy and in the role of Sid in Pacific Opera Victoria’s Albert Herring, as Marcello in Calgary Opera’s La Bohème and as Gugliemo in

THE COLBURN ORCHESTRA Now in its eleventh season, the Colburn Orchestra is the flagship ensemble of the Colburn Conservatory of Music. Under the direction of Music Director and Conductor Yehuda Gilad, the Colburn Orchestra performs for Southern California audiences at venues such as Walt Disney Concert Hall, Ambassador Auditorium, Royce Hall, Renée and Henry Segerstrom Concert Hall and the Valley Performing Arts Center in Northridge. Since its inception, Gilad and the esteemed faculty at Colburn have invited leading guest artists to perform with the Colburn Orchestra to mirror a professional orchestral experience. Previous visiting conductors include James Conlon, Plácido Domingo, Gustavo Dudamel, Jamie Laredo, Sir Neville Marriner, Kurt Masur, Nicolas McGegan and Esa-Pekka Salonen, among others. Guest soloists include violinists Joshua Bell, Cho-Liang Lin, Elmar Oliveira and Pinchas Zukerman (play/conduct); soprano Elizabeth Hynes; mezzo-sopranos Sasha Cooke and Michelle DeYoung; pianist Vladimir Feltsman and saxophonist Claude Delangle. Esteemed artists such as Mstislav Rostropovich and Itzhak Perlman actively worked with the orchestra during its inaugural year. In 2012, the Colburn Orchestra opened the GRAMMY Foundation’s 14th Annual Music Preservation Project, One Night Only: A Celebration of the Live Music Experience, sharing the stage with GRAMMY Award winners, nominees and stars of the future from all musical genres. In

2010, Academy and GRAMMY Award-winning composer Michael Giacchino conducted the Colburn Orchestra at Royce Hall in a special concert Lost Live: The Final Celebration coinciding with the finale of the worldwide hit television show. In October 2007, the Colburn Orchestra participated in the International Youth Orchestra Festival in Los Angeles, together with the Sibelius Academy Youth Orchestra and the USB Verbier Festival Orchestra. The ten day festival included the orchestra playing in master classes lead by Esa-Pekka Salonen and his teacher, Jorma Panula, as well as performances with musicians from Finland’s prestigious Sibelius Academy. The Colburn Orchestra has made three commercial recordings and is actively recording for future releases. The first recording, released by Live Classics in 2006, features the music of Menachem Wiesenberg, including his Cello Concerto with Colburn faculty member Ron Leonard as soloist. The orchestra’s second album, recorded in Zipper Hall on the Colburn campus and released in August 2012 on the Yarlung Records label, is mezzo-soprano Sasha Cooke’s latest CD If You Love For Beauty featuring works by Adams, Chausson, Handel and Mahler. The orchestra’s third album, a recording debut of Paul Chihara’s Concerto for Viola and Orchestra, When Soft Voices Die, with Colburn faculty member Paul Coletti as soloist, was released in 2013. Since Spring 2012, the Colburn Orchestra and Colburn Chamber Music Series concerts have been recorded in HD, and broadcast and streamed on Southern California’s independent television station, KCET, for its arts series, Open Call. Dedicated to serving the greater Los Angeles community, The Colburn Orchestra performs for schools in neighboring communities twice a year giving six concerts in a one-week period to school children of all ages. Committed to excellence and access, The Colburn School provides complimentary tickets to all of its orchestra concerts to members of the community. For more information, please visit The Colburn School’s website:


Così fan tutte with the Atlanta Opera. Phillip also made a compelling debut in the title role of Heinrich Marschner’s Der Vampyr at Le Festival de Lanaudière. He was also heard in Britten’s War Requiem at the May Festival in Cincinnati with James Conlon, Beethoven’s Symphony No. 9 with the Kitchener-Waterloo Symphony, the Duruflé Requiem with I Musici de Montreal, and Handel’s Messiah in Ottawa with the National Arts Centre Orchestra and in recital in Toronto and at the Orford Festival. Phillip Addis’ further concert appearances include the title role in Elijah with the Amadeus Choir in Toronto, Reinmar in a concert version of Tannhäuser with the Montreal Symphony Orchestra conducted by Kent Nagano, Messiah with the Edmonton and New Brunswick symphonies and the Elora Festival Singers, Mahler’s Lieder eines fahrenden Gesellen with the Orchestre Symphonique de Quebec as well as the Ottawa and Thunder Bay Symphony Orchestras. He frequently appears in recital with pianist Emily Hamper in programs including Schubert’s most beloved song cycles Dichterliebe, Winterreise and Schwanengesang, most notably in Australia, at the Queensland Music Festival and on a tour of Canada’s Atlantic provinces.

USC THORNTON SYMPHONY The USC Thornton Symphony, under the direction of principal conductor and artistic leader Carl St.Clair and resident conductor Sharon Lavery, is highly praised as one of the leading university orchestras in the nation. This is exemplified by the prominent guest conductors who have led the symphony, including Thomas Adès, James Conlon, Jorge Mester, Helmuth Rilling, Gerard Schwarz, EsaPekka Salonen, Joseph Silverstein, Stanislaw Skrowaczewski, Michael Tilson Thomas, and John Williams, to name a few. The orchestra has also showcased some of today’s most notable artists, such as Sarah Chang, 19


Lynn Harrell, Yo-Yo Ma, Midori, Itzhak Perlman, Pepe Romero, Nadja Salerno-Sonnenberg, Isaac Stern, and André Watts. Prior conductors of the USC Thornton School orchestras include nationally acclaimed conductors and pedagogues Sergiu Comissiona, Dr. Walter Ducloux (St.Clair’s former teacher), Ingolf Dahl, Yehuda Gilad, Henryk Górecki, Jung-Ho Pak, Daniel Lewis, Larry Livingston, and Larry Rachleff. The orchestra has performed at Walt Disney Concert Hall and throughout the Los Angeles region to wide acclaim. When St.Clair isn’t providing artistic direction and conducting the orchestra, he is the Music Director of the renowned Pacific Symphony in Orange County. Lavery is also the Music Director of the Downey Symphony. In contrast to the fixed performance ensembles at most music schools, the USC Thornton orchestra members rotate between various ensembles, multiplying students’ opportunities to experience everything from symphonic and opera orchestras to chamber groups. Through this unique performance training system, students are prepared to play any position in their sections in various settings. Our illustrious strings, winds, and percussion faculty work closely with Mr. St.Clair and Ms. Lavery, thus allowing players numerous challenges as they prepare and perform the masterpieces of all historical eras and styles, including new music. USC THORNTON CHAMBER SINGERS The USC Thornton Chamber Singers, conducted by Chair of Choral and Sacred Music Dr. Jo-Michael Scheibe, have been hailed as a model of excellence in choral performance since their inception in 1939. The Chamber Singers are the only American collegiate choir invited to the 2014 World Symposium on Choral Music in Seoul. They have also been chosen to sing at the 50th Anniversary Western Division American Choral Directors Association (ACDA) Conference in February. Most recently, they performed with Elton John at USC and the Emmy Awards. Last year, the Chamber Singers backed up Barry Manilow at the L.A. Live Tree Lighting on NBC and The Rolling Stones on the 50 & Counting Tour. They also performed Mozart’s Requiem with conductor Helmuth Rilling and the Los Angeles Chamber Orchestra. Previous performance highlights during Scheibe’s tenure with the Chamber Singers include: My Christmas with Andrea Bocelli on PBS; the West Coast premiere of Heinz Werner Henze’s Muses of Sicily with conductor Robert Reynolds; Bach’s Mass in B Minor with Rilling; at USC Visions and Voices with conductor Dale Warland; on The Tonight Show with Jay Leno; and with Jennifer Hudson at a Shoah Foundation Gala. Past conductors include Charles Hirt, Rodney Eichenberger, James Vail, William Dehning, and Paul Salamunovich. The Chamber Singers have performed


at a World Choral Festival and four ACDA National Conventions; won awards at choral festivals in Bulgaria and France; and toured Western Europe, Israel, Mexico, Australia, New Zealand, Korea, Poland, East Asia, and throughout the United States. USC THORNTON CONCERT CHOIR The USC Thornton Concert Choir is a fully auditioned choir of approximately fifty voices consisting of both music majors and non-music majors. Founded by John Smallman in 1934, the choir has had a legacy of important conductors amongst which we can highlight Charles Hirt and James Vail; and important professionals such as Nick Strimple and Morten Lauridsen have been a part of it as students. Under the direction of Cristian Grases, the group explores a wide array of classical and global repertoire from all music periods. Concerts, both on and off campus, include annual Fall and Spring concerts, festival presentations, collaborations with community ensembles and orchestras off-campus, and USC’s annual Winter Gala. In February 2012 Concert Choir collaborated with the Golden Symphony Pops Orchestra in a concert presenting music from movie soundtracks, and last season performed Gershwin’s Porgy and Bess Suite with the USC Symphony Orchestra under the direction of Maestro Carl St. Clair at the Walt Disney Concert Hall. Occasionally Concert Choir joins forces with the USC Thornton Chamber Singers to perform major choral-symphonic works. This combined ensemble performed J. S. Bach’s Mass in B minor in 2009, and this year we are proud to present Benjamin Britten’s War Requiem at the Disney Hall. BOB COLE CONSERVATORY CHAMBER CHOIR, CSU LONG BEACH The Bob Cole Conservatory Chamber Choir from California State University, Long Beach is the premier choral ensemble at CSULB. Comprised of the top singers at the University, the Chamber Choir tours yearly and has concertized throughout Europe, Australia, New Zealand, and China. The Chamber Choir performed at the National Collegiate Choral Organization Conferences at Yale in 2009 at the College of Charleston in 2013, at the American Choral Directors Association Western Conventions in 2008 and 2012 and at the World Symposium of Choral Music in the Netherlands in 1999. Recently, the ensemble has performed with the Los Angeles Master Chorale, the Pacific Symphony, the Pasadena Pops Orchestra and the Long Beach Symphony. Alums of the Chamber Choir are teaching K-12 music in schools throughout California, running collegiate choral programs nationwide, leading worship in church and synagogue, and are currently under contract as singers with the Metropolitan, San Francisco,

UNIVERSITY SINGERS, CSU FULLERTON California State University, Fullerton's University Singers, directed by Dr. Robert Istad, rank among the nation's premiere collegiate choral ensembles. The University Singers has performed throughout the world on its own and regularly perform with a variety of professional orchestras, such as the Los Angeles Philharmonic, the Pacific Symphony, the Hollywood Bowl Orchestra and the Boston Pops Esplanade Orchestra. They have earned praise for their work with conductors Carl St.Clair, John Mauceri, John Williams, and Keith Lockhart. Internationally acclaimed for their exquisite musicianship, they have been invited to perform at the 2013 National Conference and 2012 Western Regional Conference organized by the American Choral Directors Association, the 2013 National Conference of the National Collegiate Choral Organization and others by the Music Educators National Conference. The ensemble’s recent concert tours have included stops in Austria, Germany, Eastern Europe, Spain, and Australia. They have sung at the Liszt Academy of Music in Budapest, Hungary, for UNESCO in Pisa, Italy, and at the Ottobeuren and Eingen Festivals of Music in Germany. CHAPMAN UNIVERSITY SINGERS The Chapman University Singers is a select chamber choir of some thirty-four voices and is under the direction of Stephen Coker, Director of Choral Activities. Acclaimed in performances throughout the United States and beyond, University Singers’ concerts feature an eclectic mix of repertoire performed in a variety of distinctive ways. Recent performances have ranged from Carol Barnett’s The World Beloved: A Bluegrass Mass to Mozart’s Requiem. Founded by William Hall, “Singers” tours annually, collaborates with such groups as the Los Angeles Philharmonic and the Philharmonic Society of Orange County, and enjoys the rich choral traditions of Chapman University such as the annual Invitational Choral Festivals and Holiday Wassail Concerts. Choirs from Chapman have been honored with invitations to perform at numerous national and regional conventions of the American Choral Directors Association and to perform at venues ranging from the Sydney Opera House to the Hollywood Bowl.

LOS ANGELES CHILDREN’S CHORUS Described as “astonishingly polished,” “hauntingly beautiful,” and “one heck of a talented group of kids,” Los Angeles Children’s Chorus is widely regarded as one of the world's foremost children's choirs. Founded in 1986 and currently led by Artistic Director Anne Tomlinson, LACC performs with such leading organizations as LA Opera, LA Phil, Hollywood Bowl Orchestra, LA Master Chorale, Los Angeles Chamber Orchestra, Pasadena Symphony and POPs and Calder Quartet. The Chorus' roster includes more than 400 children aged 6-18 from 50+ communities across Los Angeles in six choirs and a program of First Experiences in Singing classes and ensemble for young children. LACC has toured North and South America, Africa, China and Europe, and produced the world-premiere of Keepers of the Night, an opera by Peter Ash and Donald Sturrock. The chorus appeared on LA Master Chorale’s Decca recording A Good Understanding, and Plácido Domingo’s Deutsche Grammophon recording Amore Infinito ("Infinite Love") and, in 2011, gave the U.S. premiere of Esa-Pekka Salonen’s Dona Nobis Pacem. The subject of a trilogy of documentaries by Academy Awardwinning filmmaker Freida Lee Mock, LACC is featured in the Academy Award-nominated Sing!, about a year in the life of the choir; Sing Opera!, documenting the production of LACC’s commissioned family opera Keepers of the Night; and Sing China!, chronicling its groundbreaking tour to China just prior to the Beijing Olympics. LACC has performed with John Mayer on NBC's “The Tonight Show” and was featured on Public Radio International's nationally syndicated show “From the Top,” among other credits.


Cincinnati, and Virginia Operas. Since its inception in 1949, the ensemble has been conducted by a long line of nationally recognized conductors, including Frank Pooler, Ed Thompson, Leland Vail, Lynn Bielefelt, and—for the last 13 seasons—Jonathan Talberg.



THE COLBURN ORCHESTRA MEMBERS OF USC THORNTON SYMPHONY Chamber OrChestra FIrst VIOLIN Radu Paponiu seCOND VIOLIN Evin Blomberg VIOLa Yi Zhou CeLLO Estelle Choi bass Steve Metcalf FLUte/PICCOLO Ridge Davis ObOe/eNGLIsh hOrN Claire Brazeau CLarINet Afendi Yusuf bassOON Dana Jackson hOrN Josh Cote tImPaNI/PerCUssION Kevin Schlossman harP Ruriko Terada Elisabeth Zosseder

FULL OrChestra VIOLIN Jeffrey Myers, Concertmaster Ji Young Park, Assistant Concertmaster ° Hwi-Eun Kim, Principal Second Violin ° Annie Bender Gregory Cardi Melody Chang ° Szu-Yun Chloe Chiu ° Alexander Granger ° William Hagen Shenhua Hu ° Xika Huang Thomas Huntington Hanbyul Jang ° Usha Kapoor Bora Kim Cheryl Kim Yuanze Li ° Kevin Lin Ryan Meehan Emerson Millar Dylan Naroff Simone Porter Eduardo Rios Stephen Tavani Madeleine Vaillancourt Madison Vest Michaela Wellems Natalie Yu Chandler Yu Kristina Zlatareva VIOLa Anna Kolotylina, Principal Evan Antes Jeremy Berry Matthew Cohen Hae Won Han Xavier Jeannequin Aiden Kane Jason Karlyn ° Da Kyung Kwak Tanner Menees Arianna Smith Corrine Sobolewski ° CeLLO Allan Steele, Principal Yewon Ahn Vardan Gasparyan Yaebon Go Natalie Helm Suyeon Kim Song Hee Lee Ben Manis Josué Valdepeñas Karissa Zadinsky


bass Mariya Andoniya-Andonova, Principal Dennis Caravakis ° Sukyung Chun Brittany Conrad Benjamin Crofut Peter Lloyd† Marlon Martinez

bass trOmbONe Christopher Hernacki tUba Gabriel Sears PerCUssION Edward Hong Brian Lee Derek Tywoniuk * Wai Wah Ivan Wan

FLUte Luke Fitzpatrick * HyeRyung Lim Anthony Trionfo

PIaNO Yi-Ju Lai

PICCOLO HyeRyung Lim

OrGaN Christoph Bull

ObOe Christine Kim Patrick Preacher ° * Robert Walker

assIstaNt CONDUCtOr Christopher Allen

eNGLIsh hOrN Christine Kim CLarINet Natalie Hoe * Stefani Feldman ° Andy Jacobi ° e-FLat/bass CLarINet Andy Jacobi ° bassOON Jordan Brokken Jack Peña Jake Thonis * CONtrabassOON Jordan Brokken hOrN Anne-Marie Cherry ° Stephanie Ginnings ° Elyse Lauzon John Shawger * Elizabeth Upton Jacob Wilder Julian Zheng trUmPet John Allen Matthew Baker Kyle Kremer Zachary Thomas * trOmbONe Kurt Ferguson Steven Warren *

ChOrUs PreParer Grant Gershon OrChestra maNaGer & LIbrarIaN KT Somero seNIOr staGe maNaGer Victor Pineda Key: Principal * Guest musician USC ° Guest musician †

USC THORNTON CHAMBER SINGERS Alto Yejee Choi Audrey Chung Serena Eichhorn Bronte Ficek Curran Mahowald Yoojin Muhn Joy Phan Kym Scott Krysta Sorensen Antona Yost

Tenor Jeremy Bakken Matthew Davis Nolan Frank Ryan Jones Ben Lee Karsten Longhurst Mark Mekailian Dylan Moore

Bass Davy Chinn Jack Delac Zach Friedman Nathan Fryml Daniel Kim Clint Kimmel James Laff Rayvon Moore Matthew Nielsen Jason Saunders Gavin Thrasher

Alto Hye Hyun Bahng Andrea Choi Emily Cooley Francesca Corley Shannon Delijani Amber Kim Meaghan King Deanna Lynn Carla Miller Yoojin Muhn Francine Nguyen-Savaria Marta Olson Sarah Twilley Nicole Wakabayashi Moriah Wax

Tenor Harry Chiu Justin Filbrich Travis Kane Connor McCreary Patrick O’Malley Arya Roshanian Daniel Strychacz Ricky Xin David Yang Lou Yang Grant Yosenick

Bass Adam Borecki Daniel Gee Jairius Gil-Brambila Matthew Hough Sam Kinsey Michael McNamara Kopona Otosi Evan Pensis Christopher Tsui Isaac Yamamoto


Soprano Cara Fesjian Katelyn Isaacson Sarah Leung Annika Linde Karen Miskell Grace Mackson Anna O’Connell Tatiana Taylor Jenny Wong

USC CONCERT CHOIR Soprano Nuriel Abdenur Lila Atchison Jenna Bates Michelle Chee Mariam Helmy Laura Hough Arielle Murphy Emily Peterson Lindsey Shay Erika Sporkert Amelia Thompson Camille Wu

THE BOB COLE CONSERVATORY CHAMBER CHOIR Soprano Kathryn Shuman Michaela Blanchard Madison Hatten Christine Li Scott Stacy Oh Elizabeth Queen Jennifer Paz

Alto Rebecca Bishop Glynis Davies Ashlyn Grover Emily Jackson Jennifer Renteria

Tenor Brad Allen Mark Cano Morgan Davi Jack Wilkins Dan Doctor Vasken Ohanian Emilio Tello Patrick Tsoi-A-Sue

Baritone Steven Amie Gregory Fletcher Luc Kleiner Lyle Smith Mitchell Fernando Muñoz Joe Sanders Jake Tickner Stephen Salts Riley Wilson



CSU FULLERTON UNIVERSITY SINGERS Soprano Amanda Achen Alyssa Cossey Sarah Goodwin Melanie Harvey Kim Nason Beth Nitzan Cassandra Parmenter Joslyn Sarshad

Alto Kaleigh Bancroft Jessica Cheng Colleen Chester Anabel Martinez Kyrstin Ohta Tiffani Santiago Amanda Salmen Kaleigh Schiro

Tenor Andrew Campos Jeffrey Derus Eric Graham John Haddon Fred Hallas Joe Lopez Kris Ornelas Jeremy Wiggins

Bass Trinidad Cano Patrick Kohlieber Alex Koppel James Lesui Ray Medina Jackson Mcdonald Jason Pano Will Reeder Maza Zimmerman

CHAPMAN UNIVERSITY SINGERS Soprano Sarah Brown Jesse Denny Emily Dyer Cristiana Franzetti Kyla McCarrel Kylena Parks Katie Rock Natalie Uranga

Alto Kylee Bestenlehner Natasha Bratkovski Keegan Brown Samira Kasraie Annie Kubitschek Janet Orsi Rachel Stoughton Erin Theodorakis Savannah Wade

Tenor Dongwhi Baek Kevin Gino Brett Gray Tyler Johnson Yeonjun Duke Kim Chris Maze Marcus Paige Nathan Wilen

Bass Andrei Bratkovski Ben Finer Daniel Fister Matthew Grifka Anthony Lee Benno Ressa Andrew Schmitt Daniel Emmet Shipley Elliott Wulff

Kaelan Loo Cindy Luo Adriana Maljanian Tina McDaniel Emily McLane Anastacia Menemenlis Claire Miranda Katie Moore Emma Muraoka Ruby Novak Julia Nowak Rachelle Nuño Zellie Owen Alexandra Patzakis Drew Pickett Jewelyn Pickett Katie Pieschala Jamie Quishenberry Kiera Quishenberry

Simone Robinson Catalina Ruiz Shayana Seneviratne Natalie Sliskovich Grant Spitzer Rilla Taylor Sarah Terry Elizabeth Tseng Veronica Tsuchida Arsen Tujian Erica Wei Alana Weiss Ava Wilkniss Alexander Wong Diana Worby Rory Xanders Aleesha Yan Fionn Yapkowitz

LOS ANGELES CHILDREN’S CHORUS Micaela Accardi-Raff Grace Algeo Allison Annick Emelia Austin Jamie Bang Rachel Bang Asha Banks Maya Barajas-Tavera Shelby Barnes Katherine Beggs Emily Bernstein Abigail Berry Julian Bertet Natalie Boberg Lydia Brown Lauren Bumgarner Matthew Cheung Charles Connon Elizabeth Cruz


Sophia Decker Eleana Djouhardjian Daniela Flores Angela Fraioli Jamie Gallo Alissa Goretsky Shalini Haupt Lilah Hernandez Madeleine Huggins Jamal Jaffer Anthony Karambelas Julia Knoerr Julianna Lai Amber Lambert Christine Lee Robyn Lee Madeleine Lew Yumei Lin Kriselle Llamas

Britten's War Requiem Program Book  

Sunday, November 24, 2013 Renée & Henry Segerstrom Concert Hall

Britten's War Requiem Program Book  

Sunday, November 24, 2013 Renée & Henry Segerstrom Concert Hall