Carmina Burana Program

Carmina Burana Carl Off (1895-1982) Carmina Burana is a cantata composed in 1935 and 1936 by Carl Orff, based on 24 poems from the medieval collection Carmina Burana. Its full Latin title is Carmina Burana: Cantiones profanae cantoribus et choris cantandae comitantibus instrumentis atque imaginibus magicis.

Jenny Wong, Guest Conductor

Westminster Symphonic Choir Alexander Bui, piano Gregory Stout, piano Robin Leigh Massie, soprano Steven Condy, baritone Jay Carter, countertenor with

Wilmington Children's Chorus Kimberly Doucette, Artistic Director

Friday, April 21 at 7:30p.m.

The George Washington Ballroom at the War Memorial 1 Memorial Drive Trenton, N.J.

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Program FORTUNA IMPERATRIX MUNDI 1. O FORTUNA

FORTUNE EMPRESS OF THE WORLD 1. O FORTUNE

O Fortuna, velut Luna statu variabilis, semper crescis aut decrescis; vita detestabilis nunc obdurat et tunc curat ludo mentis aciem, egestatem, potestatem dissolvit ut glaciem.

O Fortune, Like the moon You are changeable, ever waxing and waning.

Hateful life, first oppresses, and then soothes as fancy takes it; poverty, and power it melts them like ice.

Sors immanis et inanis, rota tu volubilis, status malus, vana salus semper dissolubilis, obumbrata et velata michi quoque niteris; nunc per ludum dorsum nudum fero tui sceleris.

Fate - monstrous and empty, you whirling wheel, you are malevolent, well-being is in vain and always fades to nothing, shadowed and veiled you plague me too; now through the game I bring my bare back To your villainy.

Sors salutis et virtutis michi nunc contraria est affectus et defectus semper in angaria.

Hac in hora sine mora corde pulsum tangite; quod per sortem sternit fortem, mecum omnes plangite!

Fate is against me in health and virtue, driven on and weighted down, always enslaved.

So at this hour without delay pluck the vibrating strings; since Fate strikes down the strong man, everyone weep with me!

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2. FORTUNE PLANGO VULNERA

2. I BEMOAN THE WOUNDS OF FORTUNE

Fortune plango vulnera stillantibus ocellis, quod sua michi munera subtrahit rebellis.

Verum est, quod legitur fronte capillata, sed plerumque sequitur Occasio calvata.

I bemoan the wounds of Fortune with weeping eyes, for the gifts she made me she perversely takes away.

It is written in truth, that she has a fine head of hair, but, when it comes to seizing an opportunity, she is bald.

In Fortune solio sederam elatus, prosperitatis vario flore coronatus; quicquid enim florui felix et beatus, nunc a summo corrui gloria privatus.

On Fortune’s throne I used to sit raised up, crowned with the many-colored flowers of prosperity; though I may have flourished happy and blessed, now I fall from the peak deprived of glory.

Fortune rota volvitur: descendo minoratus; alter in altum tollitur; nimis exaltatus rex sedet in vertice caveat ruinam! nam sub axe legimus Hecubam reginam.

The wheel of Fortune turns: I go down, demeaned; another is raised up; far too high up sits the king at the summit – let him fear ruin! for under the axis is written Queen Hecuba.

I. PRIMO VERE 3. VERIS LETA FACIES

I. SPRING 3. THE MERRY FACE OF SPRING

Veris leta facies mundo propinatur, hiemalis acies victa iam fugatur, in vestitu vario Flora principatur, nemorum dulcisono que cantu celebratur.

The merry face of spring turns to the world, sharp winter now flees, vanquished; bedecked in various colors Flora reigns, the harmony of the woods praises her in song. Ah!

Flore fusus gremio Phoebus novo more risum dat, hoc vario iam stipate flore Zephyrus nectareo spirans in odore; certatim pro bravio

Lying in Flora’s lap Phoebus once more smiles, now covered in many-colored flowers, Zephyr breathes nectarscented breezes.

Let us rush to compete 3

curramus in amore.

for love’s prize. Ah!

Cytharizat cantico dulcis Philomena, flore rident vario prata iam serena, salit cetus avium silve per amena, chorus promit virginum iam gaudia millena.

Hyemis sevitia.

In harp-like tones sings the sweet nightingale, with many flowers the joyous meadows are laughing, a flock of birds rises up through the pleasant forests, the chorus of maidens already promises a thousand joys. Ah.

4. OMNIA SOL TEMPERAT

4. THE SUN WARMS EVERYTHING

Omnia Sol temperat purus et subtilis, novo mundo reserat facies Aprilis, ad Amorem properat animus herilis, et iocundis imperat deus puerilis.

The sun warms everything, pure and gentle, once again it reveals to the world April’s face, the soul of man is urged towards love and joys are governed by the boy-god.

Rerum tanta novitas in solemni vere et veris auctoritas iubet nos gaudere; vias prebet solitas, et in tuo vere fides est et probitas tuum retinere.

All this rebirth in spring’s festivity and spring’s power bids us to rejoice; it shows us paths we know well, and in your springtime it is true and right to keep what is yours.

Ama me fideliter! fidem meam nota: de corde totaliter et ex mente tota sum presentialiter absens in remota. quisquis amat taliter, volvitur in rota.

Love me faithfully!

See how I am faithful: With all my heart and with all my soul, I am with you Even when I am far away.

Whoever loves this much turns on the wheel.

5. ECCE GRATUM

5. ECCE GRATUM

Ecce gratum et optatum Ver reducit gaudia, purpuratum

Behold the pleasant and longed-for spring brings back joyfulness, violet flowers

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floret pratum, Sol serenat omnia, iamiam cedant tristia!

Estas redit, nunc recedit Iam liquescit et decrescit grando, nix et cetera, bruma fugit, et iam sugit, Ver Estatis ubera; illi mens est misera, qui nec vivit, nec lascivit sub Estatis dextera.

fill the meadows, the sun brightens everything, sadness is now at an end!

Summer returns, now withdraw the rigors of winter. Ah! Seht mich an, jungen man! lat mich iu gevallen!

Now melts and disappears ice, snow, and the rest, winter flees, and now spring sucks at summer’s breast: A wretched soul is he who does not live or lust under summer’s rule. Ah!

Gloriantur et letantur in melle dulcedinis qui conantur, ut utantur premio Cupidinis; simus jussu Cypridis gloriantes et letantes pares esse Paridis.

They glory and rejoice in honeyed sweetness who strive to make use of Cupid’s prize; At Venus’ command let us glory and rejoice in being Paris’ equals. Ah!

UF DEM ANGER 6. TANZ

ON THE GREEN 6. DANCE

for Orchestra

for Orchestra

7. FLORET SILVA

7. THE NOBLE WOODS ARE BURGEONING

Floret silva nobilis floribus et foliis.

Ubi est antiquus meus amicus? Ah! hinc equitavit, eia, quis me amabit?

The noble woods are burgeoning with flowers and leaves, Where is the lover I knew? Ah! He has ridden off!

Oh! Who will love me? Ah!

Floret silva undique, nah mime gesellen ist mir wê.

Gruonet der walt allenthalben, wâ ist min geselle alse lange? der ist geriten hinnen, owî, wer soll mich minnen?

The woods are burgeoning all over, I am pining for my lover, The woods are turning green all over, why is my lover away so long?

Ah! He has ridden off, Oh woe, who will love me? Ah!

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8. CHRAMER, GIP DIE VARWE MIR

8. SHOPKEEPER, GIVE ME COLOR

Chramer, gip die varwe mir, die min wengel roete, damit ich die jungen man an ir dank der minnenliebe noete.

Shopkeeper, give me color to make my cheeks red, so that I can make the young men fall in love with me

Seht mich an, jungen man! lat mich iu gevallen!

Look at me, young men!

Let me please you!

Minnet, tugentliche man, minnecliche frouwen! minne tuot iu hoch gemuot unde lat iuch in hohen eren schouwen.

Good men, love women worthy of love!

Love ennobles your spirit and gives you honor.

Seht mich an, jungen man! lat mich iu gevallen!

Look at me, young men!

Let me please you!

Wol dir werlt, das du bist also freudenriche! ich will dir sin undertan durch din liebe immer sicherliche.

Hail, world, so rich in joys!

I will be obedient to you because of the pleasures you afford.

Seht mich an, jungen man! lat mich iu gevallen!

Look at me, young men!

Let me please you!

9. REIE

9. ROUND DANCE

Swaz hie gat umbe, daz sint allez megede, die wellent an man alle disen sumer gan.

Those who go round and round are all maidens, they want to do without a man all summer long. Ah! Sla!

Chume, chum, geselle min, ih enbite harte din.

Come, come, my love, I long for you.

Suzer rosenvarwer munt, chum unde mache mich gesunt

Sweet rose-red lips, come and make me better.

10. WERE DIU WERLT ALLE MIN

10. IF ALL THE WORLD WERE MINE

Were diu werlt alle min von dem mere unze an den Rin, des wolt ih mih darben, daz diu chünegin von Engellant lege an minen armen. Hei!

If all the world were mine from the sea to the Rhine, I would do without it if the Queen of England would lie in my arms. Hey! 6

II. IN TABERNA 11. ESTUANS INTERIUS

II. IN THE TAVERN 11. BURNING INSIDE

Estuans interius ira vehementi in amaritudine loquor mee menti factus de materia, cinis elementi similis sum folio, de quo ludunt venti.

Burning inside with violent anger, bitterly I speak my heart: Created from matter, of the ashes of the elements, I am like a leaf played with by the winds.

Cum sit enim proprium viro sapienti supra petram ponere sedem fundamenti, stultus ego comparor fluvio labenti, sub eodem tramite nunquam permanenti.

If it is the way of the wise man to build foundations on stone, then I am a fool, like a flowing stream, which in its course never changes.

Feror ego veluti sine nauta navis, ut per vias aeris vaga fertur avis; non me tenent vincula, non me tenet clavis, quero mihi similes et adiungor pravis.

I am carried along like a ship without a steersman, and in the paths of the air like a light, hovering bird; chains cannot hold me, keys cannot imprison me, I look for people like me and join the wretches.

Mihi cordis gravitas res videtur gravis; iocus est amabilis dulciorque favis; quicquid Venus imperat, labor est suavis, que nunquam in cordibus habitat ignavis.

The heaviness of my heart seems a burden to me; it is pleasant to joke and sweeter than honeycomb; whatever Venus commands is a sweet duty, she never dwells In a lazy heart

Via lata gradior more iuventutis, inplicor et vitiis immemor virtutis, voluptatis avidus magis quam salutis, mortuus in anima curam gero cutis.

I travel the broad path as is the way of youth, I give myself to vice, unmindful of virtue, I am eager for the pleasures of the flesh more than for salvation, my soul is dead, so I shall look after the flesh.

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12. OLIM LACUS COLUERAM

12. ONCE I LIVED ON LAKES

Cignus ustus cantat:

The roasted swan sings:

Olim lacus colueram, olim pulcher extiteram, dum cignus ego fueram.

Once I lived on lakes, once I looked beautiful when I was a swan.

Miser, miser! modo niger et ustus fortiter!

Misery me!

Now black and roasting fiercely!

Girat, regirat garcifer; me rogus urit fortiter: propinat me nunc dapifer,

The servant is turning me on the spit; I am burning fiercely on the pyre; the steward now serves me up.

Miser, miser! modo niger et ustus fortiter!

Misery me!

Now black and roasting fiercely!

Nunc in scutella iaceo, et volitare nequeo, dentes frendentes video:

Now I lie on a plate, and cannot fly anymore, I see bared teeth:

Miser, miser! modo niger et ustus fortiter!

Misery me!

Now black and roasting fiercely!

13. EGO SUM ABBAS

13. I AM THE ABBOT

Ego sum abbas Cucaniensis et consilium meum est cum bibulis, et in secta Decii voluntas mea est,

I am the abbot of Cockaigne and my assembly is one of drinkers, and I wish to be in the order of Decius

et qui mane me quesierit in taberna, post vesperam nudus egredietur, et sic denudatus veste clamabit:

and whoever searches me out at the tavern, after Vespers he will leave naked, and thus stripped of clothes he will call out:

Wafna, wafna! quid fecisti sors turpissima?

Nostre vite gaudia abstulisti omnia! Haha!

Woe! Woe! what have you done, vilest Fate?

The joys of my life you have taken all away! Haha!

14. IN TABERNA QUANDO SUMUS

14. WHEN WE ARE IN THE TAVERN

In taberna quando sumus, non curamus quid sit humus, sed ad ludum properamus, cui semper insudamus.

When we are in the tavern, we do not think how we will go to dust, but we hurry to gamble, which always makes us sweat, 8

Quid agatur in taberna, ubi nummus est pincerna, hoc est opus ut queratur, sic quid loquar, audiatur.

What happens in the tavern, where money is host, you may well ask, and hear what I say.

Quidam ludunt, quidam bibunt, quidam indiscrete vivunt.

Sed in ludo qui morantur, ex his quidam denudantur, quidam ibi vestiuntur, quidam saccis induuntur.

Ibi nullus timet mortem, sed pro Baccho mittunt sortem:

Some gamble, some drink, some behave loosely.

But of those who gamble, some are stripped bare, some win their clothes here, s ome are dressed in sacks.

Here no-one fears death, but they throw the dice in the name of Bacchus.

Primo pro nummata vini ex hac bibunt libertini: semel bibunt pro captivis, post hec bibunt ter pro vivis, quater pro Christianis cunctis, quinquies pro fidelibus defunctis sexies pro sororibus vanis, septies pro militibus silvanis.

First of all it is to the wine-merchant that the libertines drink, one for the prisoners, three for the living, four for all Christians, five for the faithful dead. six for the loose sisters, seven for the footpads in the wood.

Octies pro fratribus perversis, nonies pro monachis dispersis, decies pro navigantibus, undecies pro discordantibus, duodecies pro penitentibus, tredecies pro iter angentibus.

Tam pro papa quam pro rege bibunt omnes sine lege.

Eight for the errant brethren, nine for the dispersed monks, ten for the seamen, eleven for the squabblers, twelve for the penitent, thirteen for the wayfarers.

To the Pope as to the king They all drink without restraint

Bibit hera, bibit herus, bibit miles, bibit clerus, bibit ille, bibit illa, bibit servus cum ancilla, bibit velox, bibit piger, bibit albus, bibit niger, bibit constans, bibit vagus, bibit rudis, bibit magus.

The mistress drinks, the master drinks, the soldier drinks, the priest drinks, the man drinks, the woman drinks, the servant drinks with the maid, the swift man drinks, the lazy man drinks, the white man drinks, the black man drinks, the settled man drinks, the wanderer drinks, the stupid man drinks, the wise man drinks,

Bibit pauper et egrotus, bibit exul et ignotus, bibit puer, bibit canus, bibit presul et decanus, bibit soror, bibit frater, bibit anus, bibit mater,

The poor man drinks, the sick man drinks, the exile drinks, and the stranger, the boy drinks, the old man drinks, the bishop drinks, and the deacon, he sister drinks, the brother drinks, the old lady drinks, the mother drinks,

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bibit iste, bibit ille, bibunt centum, bibunt mille.

this man drinks, that man drinks, a hundred drink, a thousand drink.

Parum sexcente nummate durant cum immoderate bibunt omnes sine meta, quamvis bibant men te leta, sic nos rodunt omnes gentes et sic erimus egentes.

Qui nos rodunt confundantur et cum iustis non scribantur.

Six hundred pennies would hardly suffice, if everyone drinks immoderately and immeasurably.

However much the cheerfully drink we are the ones whom everyone scolds, and thus we are destitute.

May those who slander us be cursed and not be written in the book of the righteous.

Io, io, io! ...

Io, io, io!

III. COUR D’AMOURS 15. AMOR VOLAT UNDIQUE

III. THE COURT OF LOVE 15. CUPID FLIES EVERYWHERE

Amor volat undique, captus est libidine.

Iuvenes, iuvencule coniunguntur merito.

Siqua sine socio, caret omni gaudio, tenet noctis infima sub intimo cordis in custodia: fit res amarissima.

Cupid flies everywhere seized by desire.

Young men and women are rightly coupled.

The girl without a lover misses out on all pleasures, she keeps the dark night hidden in the depth of her heart; It is a most bitter fate.

16. DIES, NOX ET OMNIA

16. DAY, NIGHT, AND EVERYTHING

Dies, nox et omnia michi sunt contraria, virginum colloquia me fay planszer, oy suvenz suspirer, plu me fay temer.

Day, night, and everything is against me, the chattering of maidens makes me weep, and often sigh, and, most of all, scares me.

O sodales, ludite, vos qui scitis dicite, michi mesto parcite, grand ey dolur, attamen consulite per voster honur.

O friends, you are making fun of me, you do not know what you are saying, spare me, sorrowful as I am, great is my grief, advise me at least, by your honor.

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Tua pulchra facies, me fey planszer milies, pectus habens glacies, a remender statim vivus fierem per un baser.

Your beautiful face, makes me weep a thousand times, your heart is of ice.

As a cure, I would be revived by a kiss.

17. STETIT PUELLA

17. A GIRL STOOD

Stetit puella rufa tunica; si quis eam tetigit, tunica crepuit. Eia.

A girl stood in a red tunic; if anyone touched it, the tunic restled. Eia!

Stetit puella, tamquam rosula; facie splenduit, os eius floruit. Eia.

A girl stood like a little rose: her face was radiant and her mouth in bloom. Eia!

18. CIRCA MEA PECTORA

18. IN MY HEART

Circa mea pectora multa sunt suspiria de tua pulchritudine, que me ledunt misere. Ah!

In my heart there are many sighs for your beauty, which wound me sorely. Ah!

Manda liet, manda liet, min geselle chumet niet.

Mandaliet, mandaliet, my lover does not come.

Tui lucent oculi sicut solis radii, sicut splendor fulguris lucem donat tenebris. Ah!

Your eyes shine like the rays of the sun, like the flashing of lightening which brightens the darkness. Ah!

Manda liet, manda liet, min geselle chumet niet.

Mandaliet, mandaliet, my lover does not come.

Vellet deus, vellent dii, quod mente proposui: ut eius virginea reserassem vincula. Ah!

May God grant, may the gods grant what I have in my mind that I may loose the chains of her virginity, Ah!

Manda liet, manda liet, min geselle chumet niet.

Mandaliet, mandaliet, my lover does not come.

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19. SIE PUER CUM PUELLULA

19. IF A BOY WITH A GIRL

Sie puer cum puellula moraretur in cellula, felix coniunctio.

Amore sucrescente, pariter e medio propulso procul tedio, fit ludus ineffabilis membris, lacertis, labiis.

If a boy with a girl tarries in a little room, happy is their coupling.

Love rises up, and between them prudery is driven away, an ineffable game begins in their limbs, arms and lips.

20. VENI, VENI, VENIAS

20. COME, COME, O COME

Veni, veni, venias, ne me mori facias, hyrca, hyrca, nazaza, trillirivos!

Come, come, O come, do not let me die, hyrca, hyrce, nazaza, trillirivos!

Pulchra tibi facies, oculorum acies, capillorum series, o quam clara species!

Beautiful is your face, the gleam of your eye, your braided hair, what a glorious creature!

Rosa rubicundior, lilio candidior, omnibus formosior, semper in te glorior!

Redder than the rose, whiter than the lily, lovelier than all others, I shall always glory in you!

21. IN TRUTINA

21. IN THE BALANCE

In trutina mentis dubia fluctuant contraria lascivus amor et pudicitia.

Sed eligo quod video, collum iugo prebeo; ad iugum tamen suave transeo.

In the wavering balance of my feelings set against each other lascivious love and modesty.

But I choose what I see, and submit my neck to the yoke; I yield to the sweet yoke.

22. TEMPUS EST IOCUNDUM

22. THIS IS THE JOYFUL TIME

Tempus est iocundum, o virgines, modo congaudete vos iuvenes.

This is the joyful time, O maidens, rejoice with them, young men!

Oh, oh, oh! totus floreo, iam amore virginali totus ardeo! novus, novus novus amor est, quo pereo!

Oh, oh, oh!

I am bursting out all over!

I am burning all over with first love!

New, new love is what I am dying of!

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Mea me confortat promissio, mea me deportant negatio.

I am heartened by my promise, I am downcast by my refusal.

Oh, oh, oh! totus floreo, iam amore virginali totus ardeo! novus, novus novus amor est, quo pereo!

Oh, oh, oh!

I am bursting out all over!

I am burning all over with first love!

New, new love is what I am dying of!

Tempore brumali vir patiens, animo vernali lasciviens.

In the winter man is patient, the breath of spring makes him lust.

Oh, oh, oh! totus floreo, iam amore virginali totus ardeo! novus, novus novus amor est, quo pereo!

Oh, oh, oh!

I am bursting out all over!

I am burning all over with first love!

New, new love is what I am dying of!

Mea mecum ludit virginitas, mea me detrudit simplicitas.

My virginity makes me frisky, my simplicity holds me back.

Oh, oh, oh! totus floreo, iam amore virginali totus ardeo! novus, novus novus amor est, quo pereo!

Oh, oh, oh!

I am bursting out all over!

I am burning all over with first love!

New, new love is what I am dying of!

Veni domicella, cum gaudio, veni, veni, pulchra, iam pereo.

Come, my mistress, with joy, come, come, my pretty, I am dying!

Oh, oh, oh! totus floreo, iam amore virginali totus ardeo! novus, novus novus amor est, quo pereo!

Oh, oh, oh!

I am bursting out all over!

I am burning all over with first love!

New, new love is what I am dying of!

23. DULCISSIME

23. SWEETEST ONE

Dulcissime, Ah! totam tibi subdo me!

Sweetest one! Ah! I give myself to you totally!

BLANZIFLOR ET HELENA 24. AVE FORMOSISSIMA

BLANCHEFLEUR AND HELEN 24. HAIL, MOST BEAUTIFUL ONE

Ave formosissima, gemma pretiosa, ave decus virginum, virgo gloriosa, ave mundi luminar ave mundi rosa, Blanziflor et Helena, Venus generosa!

Hail, most beautiful one, precious jewel, Hail, Pride among virgins, glorious virgin, Hail, light of the world, Hail, rose of the world, Blanchefleur and Helen, noble Venus!

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FORTUNA IMPERATRIX MUNDI 25. O FORTUNA

FORTUNE, EMPRESS OF THE WORLD 25. O FORTUNE

No. 1 repeated

No. 1 repeated

About the Artists JENNY WONG, GUEST CONDUCTOR A native of Hong Kong based in Los Angeles, Jenny Wong is currently the Associate Artistic Director of the Los Angeles Master Chorale. Recent conducting engagements include the Los Angeles Philharmonic Green Umbrella Series, the San Francisco Symphony Chorus, The Industry, Long Beach Opera, Pasadena Symphony and Pops, Phoenix Chorale, the Gay Men’s Chorus of Los Angeles, as well as the University of the Pacific Conservatory of Music. In 2021, Wong was one of nine national recipients of OPERA America’s inaugural Opera Grants for Women Stage Directors and Conductors. Staged and opera works include Peter Sellars’ staging of di Lasso’s Lagrime di San Pietro (Melbourne International Arts Festival, the Festival Internacionale Cervantino, Palacio de Bellas Artes in Mexico, and in the U.S.), opera Sweet Land (2021 Award for Best New Opera by the Music Critics’ Association) by Du Yun and Raven Chacon, directed by Yuval Sharon and Cannupa Hanska-Luger, and Schoenberg’s Pierrot Lunaire and Kate Soper’s Voices from the Killing Jar in collaboration with WildUp. As chorus master, Wong has prepared choruses for Gustavo Dudamel and the Los Angeles Philharmonic, San Francisco Symphony and Esa-Pekka Salonen, Susanna Mälkki, Los Angeles Chamber Orchestra and Jaime Martin, Eric Whitacre, María Guinand, and Music Academy of the West, including Mahler’s Symphony No. 8 released

by Deutsche Grammophon, winner of the 2022 Grammy Award for Best Choral Performance, and the U.S. premier of Tan Dun’s Buddha Passion. This season, chorus master engagements will also include San Francisco Symphony and Chicago Symphony Orchestra. Most recently, Wong was Assistant Producer of the Master Chorale’s latest album, Eric Whitacre’s The Sacred Veil with Signum Classics.

Wong won two consecutive World Champion titles at the World Choir Games (China, 2010) and the International Johannes Brahms Choral Competition (Germany, 2011), conducting the Diocesan Girls' School Choir from Hong Kong. She has been a conducting fellow for the Oregon Bach Festival, Baltimore Chamber Orchestra, Norfolk Chamber Music Festival, Distinguished Concerts International New York and Hong Kong SingFest, by which she conducted the Hong Kong Sinfonietta and Hong Kong City Chamber Orchestra.

Wong received her Doctor of Musical Arts and Master of Music from the University of Southern California. She earned her undergraduate degree in voice performance from the University of Illinois, Urbana-Champaign.

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WESTMINSTER SYMPHONIC CHOIR Recognized as one of the world’s leading Symphonic choral ensembles, the Westminster Symphonic Choir conducted by James Jordan and Associate Conductor Tyler Weakland has recorded and performed with major orchestras under virtually every internationally acclaimed conductor of the past 83 years.

The Choir first performed in Princeton in 1934 when it joined The Philadelphia Orchestra and Leopold Stokowski to performed Bach’s Mass in B Minor in the Princeton University Chapel to celebrate the opening of the Westminster Choir College campus. In addition to this performance, the ensemble’s 2017-2018 season includes a performance of Holst’s The Planets with The Philadelphia Orchestra conducted by Cristian Măcelaru; the premiere of Machover’s Philadelphia Voices with The Philadelphia Orchestra, conducted by Yannick Nézet- Séguin; Mozart’s Mass in C Minor with the Orchestra of St. Luke’s conducted by Pablo Heras- Casado; Handel’s Messiah with the New York Philharmonic conducted by Andrew Manze; and Beethoven’s Symphony No. 9 with the Princeton Symphony Orchestra, conducted by Rossen Milanov. The choir can be heard on numerous legendary recordings most notably Bernstein’s MASS with The Philadelphia Orchestra and Yannick Nézet-Séguin, released on the Deutsche Grammophon label and the Benjamin Britten War Requiem conducted by Kurt Masur including legendary recordings with Leonard Bernstein and the New York Philharmonic.

Last season, the choir performed the Requiem of Maurice Durufle under James Bagwell and the Poulenc Gloria with Grammy Award winning Conductor Charles Bruffy. Each year since 1996, the Symphonic Choir has been the center of Westminster’s An Evening of Readings and Carols and will center prominently in this past year’s video recording for PBS distribution. This season, the choir performed Handel’s Messiah with a libretto in Spanish under the baton of Reuben Valenzuela and the Orchestra of St. Luke’s.

JAMES JORDAN, CONDUCTOR GRAMMY® nominated conductor James Jordan is recognized and praised throughout the musical world as one of America’s preeminent conductors, recording artists, writers, music psychologists and innovators in choral music. He was described as a “visionary” by Choral Journal, which cited his book Evoking Sound as a “must read.” His more than 60 books explore both the philosophical and spiritual basis of musicianship, as well as aspects of choral rehearsal teaching and learning, and they are considered to be essentials of the choral canon.

He is Professor of Conducting and Director of Choral Studies at Westminster Choir College where he conducts Symphonic Choir and the critically acclaimed Westminster Choir. He is also director of the Westminster Conducting Institute and co-director of 15

the Choral Institute at Oxford rider.edu/Oxford. He is artistic director and conductor of the professional choral ensemble, The Same Stream. www.thesamestreamchoir.com James Jordan has been honored as a distinguished alumnus of Temple University, where he has been inducted into the University’s Hall of Fame. In 2016, he received the distinguished alumni medal from Susquehanna University. He was awarded the distinguished Doctor of Music degree by the University of Aberdeen in Scotland in 2014 to honor his artistry and contributions to choral music throughout the world.

The University, established in 1485, has awarded degrees throughout its history to only two Americans: Dr. Jordan and Morten Lauridsen. He shares this honor with Gustav Holst, Benjamin Britten, Ralph Vaughan Williams and Dame Joan Sutherland.

TYLER WEAKLAND, ASSOCIATE CONDUCTOR Praised for his ‘verve and adroit collaborative piano playing’ by the Charleston City Paper, Tyler Weakland is a pianist, conductor, composer, arranger, and vocal coach. A member of the conducting faculty at Westminster Choir College of Rider University, he is Associate Conductor of the Westminster Symphonic Choir and Westminster Choir, and is the accompanist and assistant to the graduate conducting ensemble. As a vocal coach he has collaborated with many WCC faculty and professional singers including Benita Valente, Sharon Sweet, Laura Brooks Rice, Mark Moliterno, Theodora Hanslowe, Elizabeth Sutton, and Laquita Mitchell. He accompanies voice students at TCNJ and is a member of the artistic staff at Westrick Music Academy where he works with the Princeton Boychoir and Girlchoir. Mr. Weakland received his Bachelor of Music degree in Sacred Music with concentrations in piano and voice from Westminster Choir College, where he studied with Steve Pilkington, J.J. Penna, Ingrid Clarfield, and Kathy Price. While a member himself of the renowned Westminster Choir, he enjoyed several domestic tours and residencies at the Spoleto Festival USA where he was also a member of the Spoleto Festival Orchestra. An experienced collaborative pianist, Mr. Weakland has become consistently sought after for recordings and local school choral concerts. As a composer, he has a large portfolio of art songs, solo works, hymn arrangements, handbell music, and choral works and arrangements. His music, particularly his art songs, have been recorded and premiered across the country. Recent conducting and orchestrating credits include a Disney TV pilot for Hulu, where he arranged pop music for a handbell ensemble. Mr. Weakland currently serves as Assistant Music Director & Handbell Choir Director at Christ Church on 60th and Park Avenue in NYC.

GREGORY STOUT, PIANO Gregory Stout has been a collaborative pianist with conductor James Jordan since 2017. He currently serves as accompanist to Westminster Symphonic Choir and The Westminster Choir, and has also served as accompanist to The Same Stream, Westminster Schola Cantorum and Westminster Williamson Voices. Mr. Stout can be heard on the Westminster Williamson Voices recording A Scattered Light in Winter and on The Same Stream recording A Time for Healing: The Music of Roger Ames. He also serves as accompanist to the choral ensembles of Ramapo College of New Jersey.

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An active church musician for over ten years, Mr. Stout is currently director of music at Flemington United Methodist Church in Flemington, NJ. He received the Bachelor of Music in Music Education from the University of North Carolina at Greensboro and completed further studies in accompanying and vocal coaching at Westminster Choir College as a student of James Goldsworthy and J.J. Penna.

ALEXANDER BUI, PIANO Dr. Alexander Bui is a Vietnamese-American concert pianist who has performed worldwide innumerous venues such as Carnegie Hall, Steinway Hall, NBC Studios of Los Angeles and Borgata Resort & Spa Casino. Performing as a soloist with various orchestras in his career such as the Rutgers Symphony Orchestra & Ocean City Pops Orchestra, a music review from the Press of Atlantic City writes, “Bui produced a continuous singing tone that filled the hall with beauty, refinement and a maturity that belied his young years.”

In addition to his solo career, Dr. Bui is an adjunct professor of the Music Department at Rider University, the Piano Teacher at Rutgers Preparatory School, the Music Minister of Spotswood Reformed Church, the co-founder of his award winning chamber music ensemble, “The Raritan Trio”, a certified Steinway Teacher & Education Partner, and a piano accompanist freelancer of New York and New Jersey.

Alexander’s mission is to enlighten audiences of the beauty, excitement and enduring quality of the great classical composers through his performances.

As a Frances Hall Ballard Scholarship recipient, Dr. Bui graduated from Manhattan School of Music with Master of Music (2018) and a Bachelor of Music (2016) in classical piano. Alexander recently completed his Doctor of Musical Arts Degree at Mason Gross School of the Arts – Rutgers University in August 2022.

Award highlights include semi-finalist on “America’s Got Talent” and 1st prizes in: Charleston International Music Competition, Rutgers Concerto Competition, Rutgers Chamber Music Competition, Manhattan School of Music Chamber Music Competition, and Esther C. Weill Music Competition.

JAY CARTER, COUNTERTENOR Jay Carter has gained a reputation as one of the nation’s finest countertenors. A frequent collaborator with both period and modern ensembles, he is recognized as a leading interpreter of late Baroque repertoire and has been lauded for his luminous tone, stylish interpretations, and clarion delivery. Though a specialist in the earlier repertoire, Carter has premiered modern works by John Tavener, Augusta Read Thomas, Chester Alwes, and Anthony Maglione. As an avid recitalist he presents works from outside the standard countertenor repertory including works by Schumann, Poulenc, Wolf, and Howells.

In recent seasons he has routinely appeared with acclaimed conductors Nicholas McGegan, Ton Koopman, John Butt, John Scott, and Matthew Halls. Highlights of the 17

recent seasons include his Lincoln Center debut with Maasaki Suzuki and the Bach Collegium Japan in Bach’s Weinachtsoratorium, Vivaldi opera arias and Gloria with Nicholas McGegan and the Saint Louis Symphony, and Bach’s Johannespassion with Daniel Hyde and the Choir of Men and Boys at St. Thomas Church. In addition to concert appearances, he has also served as a primary soloist with the Portland-based Bach Virtuosi Festival alongside faculty artists from Juilliard, Eastman, and Yale. He also serves as Coordinator of Vocal Studies and as a voice teacher for Westminster Choir College’s CoOPERAtive program.

As a scholar and clinician, Carter frequently presents masterclasses and lecture recitals for colleges, universities, and presenting organizations throughout the United States.

He has a decade of experience in higher education, focusing intently on studentcentered and career-centered studio work that is applicable to solo and ensemble application. He holds graduate degrees from the University of Missouri-Kansas City Conservatory of Music and the Yale School of Music and Institute of Sacred Music where he was a pupil of Simon Carrington, Judith Malafronte, and James Taylor. He received his undergraduate degree from William Jewell College where he studied voice with Arnold Epley.

ROBIN LEIGH MASSIE, SOPRANO Robin Leigh Massie, has established herself as a versatile artist in opera, concert and musical theatre. She made her New York City Opera debut as Flora in Benjamin Britten’s The Turn of The Screw. She has performed with the Tulsa, Kentucky, Glimmerglass and Princeton Opera companies. In musical theatre, she performed the role of Jellylorum in Andrew Lloyd Weber’s CATS in Hamburg, Germany. She has also sung with the Bucks County, Pocono and Gateway Playhouses and toured South America singing the role of Christine in Ivan Jacobs’ The Phantom of the Opera.

In concert repertoire, Robin performed for 19 consecutive seasons with the Indianapolis Symphony Orchestra in Yuletide Celebration. She has performed with the Utah Symphony Orchestra in Bernstein’s Mass with conductor Keith Lockhart, the MasterWorks Festival Orchestra in Mahler’s Symphony No. 4, and The South Dakota Symphony Orchestra in Handel’s Messiah. Other performances include Mendelssohn’s A Midsummer Night’s Dream with The New York City Ballet. She is a featured soloist in Mozart’s Laudate Dominum on the 1996 Chesky recording Like As a Hart with Joseph Flummerfelt and the Westminster Choir. Recent performances include soprano soloist in Mahler’s Symphony No. 2 (“Resurrection Symphony”) with the Penn Symphony Orchestra and Handel’s Messiah with the Chester County Christian Chorale.

A native of Austin, Texas, Robin has a Bachelor of Music degree in Voice Performance from Westminster Choir College and a Master of Music Degree in Voice/Opera Performance from Yale University. She serves on the voice faculties of both Cairn University and Westminster Choir College of Rider University. Soli Deo Gloria!

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STEVEN CONDY, BARITONE Steven Condy enjoys a career filled with notoriety and acclaim for his creative portrayals of the great “buffo” roles and is admired not only for his robust and nuanced voice, but also for his natural acting ability. After two seasons with The Metropolitan Opera, Mr. Condy recently performed the role of Scarpia in Tosca with Opera Carolina, as well as Major General Stanley in The Pirates of Penzance with Opera Grand Rapids. Renowned for his interpretation of Dr. Bartolo in Il barbiere di Siviglia, recently, the Boston Music Intelligencer raved of his “most delightfully surprising and truly brilliant performance...the agility of his voice, not only in negotiating the vocal roller-coasters, but also in creating comically nuanced coloring....”

The title role in Verdi’s Falstaff is another signature role in Mr. Condy’s repertoire, which he performed at companies such as Utah Opera, Indianapolis Opera, Chautauqua Opera, Kentucky Opera, Opera San José, and most recently, Opera Delaware. Of his Falstaff, Opera News hailed his performance as “hilariously largerthan-life yet a totally believable and sympathetic Sir John.”

Upcoming engagements include The Barber of Seville with the Princeton Festival, and Falstaff with Knoxville Opera. He holds a Bachelor of Music degree from the University of Hartford and a Master of Music degree from Yale University. He is the Music Recruitment and Events Coordinator at Cairn University, where he also serves as adjunct faculty and co-director of Opera Theater.

WILMINGTON CHILDREN’S CHORUS The Wilmington Children’s Chorus (WCC) is dedicated to ensuring all children, regardless of their socioeconomic status, have access to high-quality musical education.

The only tuition-free community children’s chorus in the nation, our mission is to empower young people to change their world through music. WCC gives our youth the opportunity and tools to excel while infusing Wilmington’s neighborhoods with music. WCC involves over 500 singers, ages 1-18, in five Performing Choirs, three Neighborhood Choirs, the Early Learner’s Music Program, and many summer programs.

Known throughout the region for their artistic merit, WCC’s Performing Choirs sing frequently across the city, region, and globe. These ensembles collaborate with the area’s top arts organizations, including the Delaware Symphony Orchestra, OperaDelaware, First State Ballet Theatre, The Grand Opera House, and Delaware ChoralArts. The Performing Choir program serves children ages 8-18, at every level of musical learning. Singers in this program study diverse choral repertoire, build music literacy skills, and connect with a broad range of musicians across all walks of life. They regularly engage in international exchanges with young people from Wilmington’s Sister Cities; this summer, WCC’s Concert Choir will visit the youth orchestra of Fulda, Germany.

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KIMBERLY DOUCETTE, ARTISTIC DIRECTOR Kimberly Doucette has been Artistic Director of the Wilmington Children’s Chorus since the 2009-2010 season, after serving as an integral part of the artistic staff since 2005. Under her leadership, the WCC has solidified its reputation for vocal artistry, musical literacy, professionalism, and community connections. In addition to leading the Performing Choirs in their own concerts, Ms. Doucette has prepared them to sing alongside the area’s top arts organizations. Her leadership was integral in creating WCC’s after-school Neighborhood Choir program, as well as an on-going international exchange between the chorus and the youth orchestra from Wilmington’s sister city of Fulda, Germany.

Through her unique training and experience in both singing and music education, Ms. Doucette has forged a reputation for excellence as a conductor, educator, and performer. She has served as a presenter, clinician, and adjudicator for the American Choral Directors Association and for regional music festivals and conferences. An active performer and soloist, Ms. Doucette has appeared on stage and in concert throughout the region, most notably with OperaDelaware, Delaware ChoralArts, and the Clifford Brown Jazz Festival. Ms. Doucette has also served as the Director of Education for OperaDelaware, Adjunct Instructor of Voice at the University of Delaware, and Associate Director of Choirs at The Tatnall School.

PHILIP DOUCETTE, ASSOCIATE DIRECTOR Philip Doucette has been the Associate Director of the Wilmington Children’s Chorus since 2009. He is the director of WCC’s Tenor-Bass Choir and co-directs the other ensembles. Mr. Doucette’s interest in the human voice has taken him down many paths as a performer, collaborator, teacher, conductor, researcher, and clinician. As a performer, he has extensive professional experience in a variety of styles. As an artistic collaborator and voice teacher, Mr. Doucette has had the pleasure of working with singers and artists of the highest caliber in opera, classical and contemporary concert music, musical theater, choral music, and jazz as well as non-western traditions.

Mr. Doucette is a licensed Speech-Language Pathologist with clinical experience assisting individuals recovering from vocal injury as well as variety of speech, language, and swallowing dysfunctions. He is a member of the Voice Care Team at Philadelphia Ear Nose and Throat Associates where he serves at a Speech-Language Therapist and Singing Voice Specialist. He has been a featured presenter on issues relating to the changing young male singing voice for regional American Choral Directors Association events and has been a presenting lecturer at several colleges and universities on voice health and care for the high-performance voice user. He is Associate Director of the Thomas Jefferson University Choir and a regular reviewer for The Journal of Voice, a peer-reviewed journal of voice medicine and research.

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MARION JACOB Marion Jacob, Assistant Director for the Wilmington Children’s Chorus Performing Choirs, is a recent graduate of the Master of Choral Conducting program at Westminster Choir College, where she studied with Dr. James Jordan and Dr. Simon Carrington. Marion is the founder and director of the SINE NOMINE chamber choir, which performs in the Delaware and Chester County, PA area, and is dedicated to the artful expression of choral music from chant to works commissioned and composed today. Prior to studying at Westminster Choir College, Marion was the director of music at Daylesford Abbey, and the director of the Padua Academy Women’s chorus, where she also developed and taught the course, Music In Action.

As a singer, Marion is a member of The Same Stream, and was most recently a Fellow at the Norfolk Chamber Music Festival – Yale Summer School of Music. Marion has been a member and soloist for Westminster Choir, Westminster Williamson Voices, the Chester County Choral Society, and University of Delaware’s Schola Cantorum, among others. In addition to her degree from Westminster Choir College, Marion holds a master’s degree in music history from Temple University, and a Bachelors of Music with distinction in piano performance from the University of Delaware. Marion currently resides in Bear, Delaware, and teaches both World Musics and Cultures and Exploring Music at Temple University.

WESTMINSTER SYMPHONIC CHOIR James Jordan, Conductor Tyler Weakland, Associate Conductor Eric Kim, Graduate Assistant Robert Lapore, Graduate Assistant Mike Woods, Graduate Assistant SOPRANO Jocelyn Alam, Mendham, NJ Emilie Beals, Carlisle, PA Maryrose Canevari, Pawling, NY Juli Chiriboga, Huntington, NY Olivia Dixon, Woodbury, NJ Jilin Dong, Ningbo, China Olivia Dunleavy, River Edge, NJ Claire Fritz, Elizabethtown, PA Sienna Grinwald-Alves, Barnegat, NJ Summer Kuhns, Anchorage, AK Ashley LiBrizzi, Hillsborough, NJ Lauren Mickley, Old Greenwich, CT Samantha Noble, Jersey City, NJ

Kyra Pitagno, Stony Brook, NY Eleanor Rees, Huntington, NY Ashley Reinhardt, Stroudsburg, PA Brenna Richard, York, PA Abbey Ritter, Geneva, NY Sadai Servin, East Los Angeles, CA Jennie Mae Sprouse, Nashville, TN Olivia Venier, Gardiner, NY Joei Vita, Poughkeepsie, NY Julia Wilder, Carmel, NY Kelly Ye, Hangzhou, China Yalan Zeng, Beijing, China

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ALTO Hayley Ashe, Quakertown, PA Rosalind Ballow, Warminster, PA Adrianna Barnett, West Grove, PA Zoe Beaton, Palm City, FL Mackenzie Berry, Frederick, MD Jacqueline Burkholder, Philadelphia, PA Grace Comeau, Bristow, VA Abi Culkin, Woodbine, MD Emily Huguenin, Howell, NJ Jessica Koscak, Tamaqua, PA

Shayna Lee, Brea, CA Mei-chen Liu, Parsippany, NJ Duomi Liu, Beijing, China Rachel McNamara, North Attleboro, MA Lydia Reifsnyder, Mount Desert, ME Abigail Rose, Perkasie, PA Elizabeth Rosenberg, Rising Sun, MD Sarah Swahlon, Carlisle, PA Jasmin Villatoro, Holbrook, NY

TENOR Jordan S. Allen, Lawrenceville, GA Evan Davis, Sharon, MA Sam Day, Lawrenceville, NJ Denver Edwards, Goshen, IN Devin Embrich, West Palm Beach, FL David Helmer, Boyertown, PA Joseph Kelley, Sanatoga, PA Eric Beomjin Kim, Seoul, South Korea

Tyler-Minseok Kim, Siheung, South Korea Benjamin Kirk, Lumberton NJ Jordan Klotz, Rochester, NY Gregory Nappa, Newton, NJ Eddie Tamanini, Langhorne, PA Orry Walter, Middleburg, PA Michael Woods, Colonie, NY

BASS Diego Bustamante, Chico, CA Jacob Hale, San Antonio, TX Lucas Heredia, East Brunswick, NJ Robert Lapore Jr., Elizabeth, NJ Jordan Mongell, North Andover, MA James Moyer, Yardley, PA Christopher Palmer, West Chester, PA

Joe Richwine, Dillsburg, PA Benjamin Shively, Kansas City, MO Gavin Springer, Belmar, NJ Thomas Stella, Plainsboro, NJ Samuel Stephenson, Kaohsiung, Taiwan Arseniy Vasilyev, Green Brook, NJ

WILMINGTON CHILDREN’S CHORUS Kimberly Doucette, Artistic Director Lianna Magerr, Executive Director Philip Doucette, Associate Director Marion Jacob, Assistant Director Pam Queen, Program Coordinator

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Members of the Wilmington Children’s Chorus Esther Adebi Elizabeth Braddock Jordan Cipolla Ellington Clarke Xander Costas Finn Costas Coretti Desrosiers Eliana DeVoe Vivian Hevalow

Bretton Last Brody Laughlin Symphony Lee Penelope McDonald Allison Mahotiere Lauren Mahotiere Samantha Martinez Franziska Meyer Oliver Meyer

Isaura Ortega Brieauhna Robinson Marley Saunders Olivia Stevens Analia Torres Claire Viceconte Leyla Washington Emily Wilson Julia Wilson

PERCUSSION Anthony DiBartolo Adrienne Ostrander Wes Ostrander

Peter Saleh Scott Simpson

– Acknowledgements – Steinway piano selected from Jacobs Music Company

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About Rider University & Westminster Choir College Located in Lawrenceville, New Jersey, Rider University is a private co-educational, student-centered university that emphasizes purposeful connections between academic study and real-world learning experience. Rider prepares graduates to thrive professionally, to be lifelong independent learners, and to be responsible citizens who embrace diversity, support the common good, and contribute meaningfully to the changing world in which they live and work.

The College of Arts and Sciences is dedicated to educating students for engaged citizenship, career success, and personal growth in a diverse and complex world.

The college cultivates intellectual reflection, artistic creativity, and academic maturity by promoting both broad academic inquiry and in-depth disciplinary study, while nurturing effective and ethical applications of transferable critical skills. The College consists of four schools: the School of Humanities and Social Sciences, the School of Communication, Media, and Performing Arts, the School of Science, Technology, and Mathematics, and Westminster Choir College.

Culturally vibrant and historically rich, Westminster Choir College has a legacy of preparing students for thriving careers as well-rounded performers and musical leaders on concert stages, in schools, universities, and churches, and in professional and community organizations worldwide. Renowned for its tradition of choral excellence, the college is home to internationally recognized ensembles, including the Westminster Symphonic Choir, which has performed and recorded with virtually all of the major orchestras and conductors of our time. In addition to its choral legacy, Westminster is known as a center for excellence in musical pedagogy and performance.

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Upcoming Performances WESTMINSTER CHAPEL CHOIR: LOVE AND GLORY April 22 at 7:30 p.m.

Rider University – Gill Chapel WESTMINSTER JUBILEE SINGERS: REMEMBERING April 23 at 7:30 p.m.

Rider University – Gill Chapel KISS ME, KATE April 28 at 7:30 p.m.

April 29 at 2:00 p.m. & 7:30 p.m.

April 30 at 2:00 p.m.

Rider University – Bart Luedeke Center Theater WESTMINSTER CONCERT BELL CHOIR: DESPITE THE STORM Saturday April 29 at 4:00 p.m.

Rider University – Gill Chapel

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