UGA Opera Theatre Presents "The Tragedy of Carmen"

UGA OPERA THEATRE

THE TRAGEDY OF YOU CANNOT STOP WHAT IS WRITTEN IN THE CARDS

CARMEN

Adapted from Georges Bizet’s opera by Marius Constant, Jean-Claude Carriére, and Peter Brook

THURSDAY, MARCH 21 and FRIDAY, MARCH 22

at 7:30 p.m.

HODGSON CONCERT HALL

UGA PERFORMING ARTS CENTER, 230 RIVER RD, ATHENS, GA

Conductor

Hilary Griffiths

Stage Director Daniel Ellis

Vocal Coach

Kathryn Wright

Lighting Designer

Graf Von Imoof

Director of UGA Opera Theatre Frederick Burchinal

UGA Opera Theatre presents: in collaboration with members of the Dept. of Theatre and Film

THE TRAGEDY OF

CARMEN

March 21 and 22, 2024 at 7:30 pm

Hodgson Concert Hall

UGA Performing Arts Center 230 River Rd, Athens, GA

Adapted from Georges Bizet’s opera by Marius Constant, Jean-Claude Carriére, and Peter Brook Sung and spoken in French with English supertitles.

This production is 90 minutes long with no intermission

CAST

Carmen Don José

Micaëla

Escamillo

Zungia/Garcia

Lilla Pastia

Xiaohan Chen (DMA – Vocal Performance)

Minseol Hong (MM – Vocal Performance)

Jaime Marie Webb (Alumni, MM 2020)

Robert Harrelson (DMA – Vocal Performance)

Brooks Todd (Alumni, BMus 2023)

Sofía Ruiz Carrera (MFA – Acting )

Dept. of Theatre and Film Studies

By arrangement with Boosey & Hawkes, Inc., Sole Agent in the US, Canada and Mexico for Editions Salabert, a Universal Music Publishing Group company, publisher and copyright owner.

UGA OPERA THEATRE ORCHESTRA

Hilary Griffiths – Guest Conductor

Nicholas Han - Assistant Conductor

Violin 1 - Molly Schneider

Violin 2 - Alexis Boylan

Viola - Bryan Wesley Johnson

Cello - Thomas Lamon

Double Bass - Michael Farrick

Flute – Shana Stone

Oboe - Michelle Moeller

Clarinet – Sarah Christie

Bassoon – Jackson Thomas Holdbrooks

Horn - Joshua Wood

Trumpet - Jake Landau

Trombone - Dalton Hooper

Percussion – Tanner Price Fallin

Piano – Hilary Griffiths

Harp – Elena Minko

UGA OPERA THEATRE PRODUCTION STAFF

Hilary Griffiths – Guest Conductor

Nicholas Han – Assistant Conductor

Daniel Ellis – Stage Director / Producer

Frederick Burchinal – Director of Opera

Kathryn Wright – Principal Opera Coach and Musical Preparation

Lena Minko – Rehearsal Pianist

Monica Hart – Costume / Makeup Coordinator

Lindsay Giedl and Hope Brown - Chorographers

Sofía Ruiz Carrera - Intimacy Director

Graf Von Imhoof –Lighting Designer

Shaun Baer – HHSOM Director of Public Relations

A SPECIAL THANK YOU

To the Franklin School of Art and Sciences, The School of Theatre and Film, The Hugh Hodgson School of Music, The Wyatt and Margaret Anderson Professorship in the Arts, and The Patricia and Carl S. Hoveland Fellowship in Opera for making this production possible.

The UGA Opera Theatre department would also like to recognize the contributions made by the following individuals whom have all helped to make tonight’s performance possible: Timothy Adams, Julian Borris, Josh Bynum, Rosie Coleman, Brandon B. Craswell, Tina Hantula, Scott Higgins, Allison Hooks, Ivan Ingerman, Angela Jones-Reus, Elizabeth Johnson Knight, Jean Martin-Williams, D. Ray McClellan, Reid Messich, Francis and Bénédicte Milward, James Naigus, Amy Pollard, James Sewell, Phillip A. Smith, and Kimberly Toscano.

A very special thanks to our “Friends of the Opera” Donors and Supporters who have contributed generously to the UGA Opera Theatre Program and our opera students. If you’re interested in learning more about how you can join “Friends of the Opera,” please speak to one of their representatives in the lobby following this performance.

Earlier this semester, UGA Opera Theatre lost one of our beloved colleagues and longtime collaborators. Donna Marie Crawford was the costume coordinator for our productions for several years. Tonight’s production is dedicated to her memory and the legacy that she helped create here at UGA.

SYNOPSIS

Peter Brook’s La tragédie de Carmen is an adaptation that includes elements of the Georges Bizet opera as well as the original Prosper Mérimée novella on which Bizet’s opera was based.

Micaëla, a young country girl, arrives in Seville looking for her childhood sweetheart, Don José. She brings him a letter from his mother. A Romani woman, Carmen, throws a flower to the young corporal and sings an erotic love song.

The two girls fight and José’s superior, Zuniga, appears. Unable to control Carmen, he orders José to take her to jail.

En route, Carmen promises José that if he lets her escape, she will meet him at the inn of her friend Lillias Pastia. José lets Carmen go, whereupon Zuniga locks him up and takes away the corporal’s rank.

Carmen arrives at the inn with stolen goods. Zuniga comes to see Carmen and offers money for her favors. Carmen accepts, but shortly thereafter Jose enters. Carmen abandons Zuniga and sings for José. At this moment the bugles blow, summoning José back to the barracks. Carmen is furious and taunts him; the situation becomes tense. José discovers Zuniga, loses control and kills the officer. The body is quickly hidden as Escamillo, a famous bullfighter, enters. Buying drinks all around, he announces that he, too, wants Carmen. José, jealous, picks a fight with Escamillo. Carmen separates them and Escamillo withdraws, inviting all to his next bullfight. José, who has now killed for Carmen, sings of his love for her.

Carmen and Don José go into the mountains where an old Romani woman unites them. The joyful occasion is interrupted by Garcia, Carmen’s husband, whom she has failed to mention. The two men challenge each other and as they go off to fight, Carmen reads her tragic fate in the cards. The song ends, Garcia returns wounded and falls dead at Carmen’s feet. Micaëla appears again searching for José; the two women seem to understand each other. They sing while José, twice a murderer and abandoned by Carmen, flees.

Carmen becomes Escamillo’s mistress. José returns to persuade her to leave with him to start a new life. She refuses, knowing she is putting her life in jeopardy. Escamillo is killed in the bullring. Carmen still refuses José’s offer, but she goes with him as far as the place where the cards have foretold that she will die.

ABOUT THE CAST

Xiaohan Chen (Carmen, University of Georgia Opera Graduate Assistant and Hoveland Scholarship recipient), Chinese mezzo-soprano, is now a resident in the United States. She is currently a DMA student in opera performance at the University of Georgia (Full scholarship with Opera Graduate Assistant and Hoveland Fellowship Award Recipient) with a master’s degree from the Manhattan School of Music. Ms. Chen is an emerging artist in operatic and concert works that has performed throughout the United States, Canada, and China. She has recently performed with Fort-Worth Opera and The Atlanta Opera. For more information, please visit www.xiaohanchen.co.

Sofía Ruiz Carrera (Lilla Pastia, Intimacy Director) is a third-year MFA in Performance Candidate. Born and raised in Monterrey, Nuevo León and a fan of big urban areas like Mexico City. She loves her family — it’s a big one. She grew up in the mountains, yet has endless footage of the ocean on her phone. Dance has been her refuge from age three and painting was her first mode of self-expression — today, movement and strong visuals are present in all her work. Her work as a scholartist brings together Theatre and Film Performance Theory, Women’s Studies, New Media, and Mexican Culture, utilizing all these viewpoints to center the celebration of women. Favorite acting credits include Henrietta in Silent Sky, Titania in A Midsummer Night’s Dream, Emily Webb in Our Town, Ophelia in Love in Ophelia, and Mónica in AppleTV’s Acapulco. She co-directed The Wolves, was fight choreographer for Town & Gown’s Sorority House of the Dead, and Intimacy Coordinator for several projects. Sofia’s production of The Convent of Pleasure, backed by the Sallie Bingham History Matters Grant, is opening next week. She is graduating this May!

Robert Harrelson (Escamillo, University of Georgia Opera Graduate Assistant and Hoveland Scholarship recipient) is a bass-baritone originally from Boiling Springs, North Carolina. He studied voice at Indiana University with Giorgio Tozzi and Roy Samuelsen, and is now in the voice studio of Frederick Burchinal at the University of Georgia where he is pursuing a DMA in vocal performance. During his 20-year career with the U.S. Air Force Singing Sergeants in Washington, D.C., Robert performed for five U.S. presidents, as well as numerous U.S. and international political, diplomatic, and military leaders. His hundreds of performances across the U.S. have been seen and heard by millions around the world in person, on television, and via the Internet. Recent opera roles performed include Méphistophélès, Rocco, Il Commendatore, and the Physician (Opera Carolina’s Macbeth). Recent solo oratorio engagements include Handel’s Messiah, Mozart’s Great Mass in C Minor (both with the Richmond Symphony), and Beethoven’s Mass in C with the Chattanooga Bach Choir.

Minseol Hong (Don José, University of Georgia Opera Graduate Assistant and Hoveland Fellowship Award Recipient) is originally from Seoul, South Korea. He is a currently a first-year MM student at the University of Georgia. Minseol holds a Masters of Music from Mannes School of Music, where he studied with Arthur Levy. He completed his Bachelor of Music at Dankook Univeristy, under the guidance of Yoo Hun Lie. His recent roles include: Rinuccio in Gianni Schichi, Tamino in Die Zauberflöte, Turiddu in Cavalleria Resticana, Nemorino in L’elisir d’amore, Faust in Faust, Gaston in La Traviata, and Alfred in Die Fledermaus.

Minseol also had the honor of performing as the soloist in the premiere of the 500th Anniversary Reformation Cantata ‘Rise, Shine Your Light.’ Notably, Minseol was awarded the Excellence Award at the Korean Music Association Competition.

Brooks Todd (Zuniga/Garcia) is a recent UGA vocal performance and music business graduate from Springfield, Virginia. He a former member of the UGA Hodgson Singers and a student of Dr. Elizabeth Knight. Recent performances include Handel’s Messiah and Steffani’s Stabat Mater with the UGA Repertory Singers, and a solo recital featuring Stephen Paulus’s Dickinson Songs. This is his second role with the UGA Opera most recently seen as The Man with the Paint Box (Mr. Owen) in last season’s Postcard from Morocco.

Soprano, Jaime Marie Webb (Micaëla) has appeared in leading roles across the U.S. and abroad. Most recently, she made her Carnegie Hall debut singing scenes as Violetta and Lakmé and her mainstage debut as Annina in La Traviata at Opera Omaha. Select performance credits include Lucia in Lucia di Lammermoor, Norina in Don Pasquale, Rosina in Il Barbiere di Siviglia, Musetta in La Bohème, Hanna Glawari in Die lustige Witwe, Casilda in The Gondoliers, Susanna in Le Nozze di Figaro, and Micaëla in La Tradgédie de Carmen. Webb is a former Holland Community Opera Fellow at Opera Omaha and a former Patricia and Dr. Carl S. Hoveland Opera Fellow at The University of Georgia Opera Theatre. During her residency at Opera Omaha, she premiered fourteen new works for Opera Omaha’s Poetry & Music Project, performed as a soloist in the Opera To Go series, performed as a recitalist in their Gallery 1516 series, and was featured in Opera Omaha’s season opening, Opera Outdoors. Webb has sung with several companies and festivals including Charlottesville Opera, Opera at Florham, Canto Vocal Programs, The International Summer Opera Festival of Morelia, The Hawaii Performing Arts Festival and AIMS in Graz. Currently, Webb studies with internationally renowned artist and teacher, Julia Faulkner, Director of Vocal Studies at the Patrick G. and Shirley W. Ryan Opera Center.

ABOUT THE CREATIVE TEAM

Hope Brown (Choreographer) is an award-winning choreographer and teacher from Atlanta, GA. Hope began her dance journey at Dan & Company Studios and later was a member of The Atlanta Jazz Theatre Company. She has studied under Kenneth Green, Dan Youmans, Mia Michaels, Lori Ann Gibson, as well as has performed at The Pulse on Tour. She received her bachelor’s degree in English from the University of Georgia. During her time at the University of Georgia, she danced in Pamoja Dance Company and is the Co-Founder and original Executive Director of Counterpoint Dance Company (2015 - 2017). Hope Brown is now the Director of The Studio Company Pre-Professional Training Company, Pre Company, and Competition Team, as well as was promoted to Studio Manager of The Studio Athens in 2023. She can also be found leading and teaching for our Cedar Shoals High School Dance Collaboration Program as well as offering Jazz Dance Master Classes for The University of Georgia Dance Department and the greater Atlanta area.

Daniel Ellis (Stage Director) is the Academic Professional of Opera/Musical Theatre here at the HHSOM. He is a recipient of 2021 OPERA America’s Robert L. B. Tobin Director-Designer Prize for his production of Donizetti’s L’elisir d’amore, which was produced earlier this year as a part of Minnesota Opera’s 2023-2024 season. Ellis made his European debut directing the third revival of Barrie Kosky and Suzanne Andrade’s production of Mozart’s Die Zauberflöte at the Komische Oper in Berlin (2016). Ellis also directed the European debut of Sir David McVicar’s production of Wozzeck at the Grand Théâtre de Genève in Geneva, Switzerland (2017) and the Finnish National Opera (2019). Ellis has directed over 10 world premieres including the Off-Broadway production of Frank Gagliano’s comedy, Dancing with Joy. Daniel directed and conceived the premiere of Stay Tuned, featuring vocal ensemble Five by Design which was performed with over 40 symphony orchestras and performing arts centers throughout the United States and Canada for its five-year tour. Daniel was selected for Minnesota Opera’s Resident Artist Program for their 50th and 51st seasons. Ellis has worked for Lyric Opera of Chicago, Dallas Opera, Opera Philadelphia, Portland Opera, Palm Beach Opera, Mill City Opera, San Diego Opera, and Minnesota Opera alongside world-renowned directors including: Sir David McVicar, Graham Vick, Michael Cavanagh, Fenlon Lamb, Thaddeus Strassberger, Kevin Newbury, Renaud Doucet, Joel Ivany, Sam Helfrich and David Lefkowich. He is an associate member of the Stage Directors and Choreographers Society, and a member of AGMA. www.danielbellis.com

Lindsay Giedl (Choreographer) is a choreographer, teacher, and dancer. She was a founding member of CADE:NCE – Contemporary African Dance Ensemble: New Conscious Explorations under the direction of Tamara Thomas. A graduate of The University of Georgia with a Bachelor of Fine Arts in Dance, she can be seen in the indie film “The Last of Robin Hood”, “Honey 4”, as well as Corey Smith’s music video “Honky Tonkin’ in My Blood”. Lindsay was the 2020 recipient for the PANDEMIC ATLANTA Choreographer search with the City of Atlanta – Mayor’s Office of Cultural Affairs. Her work was selected to participate in the Fall for Fall Dance Festival, a new socially distanced dance festival in 2020 and 2022. Lindsay was also the 2020-2021 recipient of the Kristel Rose Tedesco Residency with Mathematics-in-Motion. Lindsay currently resides as the Dance Director at The Studio Athens

ABOUT THE CREATIVE TEAM

and is an Adjunct Professor of Dance at The University of Georgia. She is a guest teacher for Roswell Dance Theater and Ballet Hispanico’s Professional Studies Program. In addition, she is on faculty with Ignite Dance Competition and Convention and is also a 200 Registered Yoga Teacher. In 2023, she had the honor of working as the Rehearsal Assistant for the UGA x Martha Graham Dance Company Project. Lindsay is in her eighth season with the Joffrey Ballet School in New York City and is currently the Administrative Director/Faculty of the Summer Programs – Joffrey South and Joffrey Colorado.

Hillary Griffiths (Conductor) is a British conductor living in Germany. During the last twenty years, he has held appointments as General Music Director of the City of Regensburg, Music Director of the City of Oberhausen, Chief Conductor of the Prague State Opera, Principal Conductor at the Cologne Opera, where he conducted over 300 performances, Music Director of the Eutin Opera Festival and Professor at the Mannheim University of Music. He works as a guest conductor throughout Europe, has made several recent visits to the Far East, Australia, and South America, and has appeared at the festivals of Edinburgh, Camden, Schwetzingen, Wiebaden, Würzburg, Gmuden, Prague, Litomyšl, Miškolc, Tenerife, Hong Kong, and Perth (Australia). From 2009 to 2012 he was Chief conductor of the Opera of Weppertal; since 2019 he is the Artistic Director of the Eutin Festival and in 2022 was also interim professor at the University of the Arts in Graz, Austria, where he conducted a production of Albert Herring by Britten.

Hillary Griffiths was born in Leamington Spa. He was a chorister at King’s College, Cambridge and later took a degree in mathematics at Trinity College, Oxford. After postgraduate work at the Royal Academy of Music in London and at the London Opera Centre he completed his studies at the Conservatorio, G. Verdi’ in Milan. After winning prizes at the Marinuzzi competition in San Remo and the IADEM competition in Florence he moved to Germany.

His repertoire of more than 100 opera includes the complete middle and late Verdi and all the regularly performed opera of Mozart, Rossini, and Puccini. He has also specialized in the German repertoire (Wagner, Strauss, d’Albert, Zamlinsky, Berg, Schoenberg, Henze) and in the Czech repertoire (Dvořák, Smetana, Janáček, Martinů). He conducted the first European performance of three operas by the Scottish composer Thea Musgrave, the world premieres of Das Gauklermärchen by Gerhard Konzelmann and the ballet Lulu (Nino Rota) at the Cologne Opera House, and of La porta della legge (Salvatore Sciarrino) in 2009 at Wuppertal, with wich he made his U.S. debut in July 2010 at the Lincoln Center Festival in New York.

At the State Opera, Prague, he has conductor more than 250 performances of 25 different opera. Among his twelve premieres there were La finta giardiniera, Eine florentinische Tragödie, and Der Zwerg (Zemlisky), Salome, Erwartung, Cavalleria & Pagliacci, the first Czech performance of Death in Venice, La Bohème (Leoncavallo), I vespri sicliani and Tannhäuser. He has also been a regular guest at the Tenerife Opera Festival and for the Colombian Opera in Bogotá, and recently conducted The Barber of Seville for

ABOUT THE CREATIVE TEAM

the English National Opera. For the UGA Opera Theatre he conducted Don Giovanni (2017), Le nozze di Fiagro (2018), Don Pasquale (2019), Il barbiere di Siviglia (2020) and Cosí fan tutte (2022).

Nicholas Han (Assistant Conductor) was born and raised in Seattle, Washington. Nicholas made his conducting debut with The Music & More SummerFest Music Festival in Bosnia and Herzegovina. He earned his Undergraduate degree in Violin Performance at Central Washington University in 2020, and his Masters in Orchestral Conducting at Oklahoma State University in 2023. In 2022, he obtained the position as assistant conductor for the Oklahoma Chamber Symphony and was the Apprentice Conductor for the Oklahoma City Philharmonic in May 2023. He is currently pursuing his Doctoral of Music Arts degree at University of Georgia Athens. His recent conducting engagements include guest conducting LA Conducting Workshop and Competition Orchestra and Gwinnett Symphony Orchestra. Nicholas, over the summer of 2022, was selected as one of 3 winners for the ICWC (International Conducting Workshop and Competition) Competition in Atlanta, Georgia. He was also selected as a 1stplace winner and received the Audience Prize in the LA Conducting Workshop and Competition in Garden Grove, California. His principal mentors include Nikolas Caoile, Thomas Dickey, Alexander Mickelthwate, and Mark Cedel.

Elena Minko (Rehearsal Pianist) is a pianist, originally from Siberia, Russia. Currently she is a Graduate Assistant in Opera Theatre at the University of Georgia Hugh Hodgson School of Music and pursuing her Doctoral of Music Arts degree in Piano Performance with Dr. Evgeny Rivkin. She holds her Bachelor and Master’s degree in Piano performance and pedagogy from the Russian Gnessin Academy of Music, in Moscow, Russia, where she studied under the guidance of Dr. Dmitri Ratser. Prior to her time at UGA she won a number of top prizes at the international piano competitions, performed recitals and appeared as a soloist with symphony orchestras throughout Russia and abroad. She held a position of faculty accompanist in Voice area at the Russian Gnessin Academy of music for three years before UGA and was a teaching assistant in piano collaborative class as well as private piano teacher. Lena enjoys varied facets of being a pianist, she is active as a soloist, collaborative recitalist and operatic accompanist.

Kathryn Wright (Principal Opera Coach) is an American coach/prompter. For the past 20 years, she lived and worked primarily in Germany until joining the faculty of the Hugh Hogdson School of Music’s Opera Program in 2011. After training at McGill University in Montreal and finishing her studies at Columbia University in New York she became apprentice and assistant to Ms. Joan Dornemann, who taught her many of the subtleties of working with singers and a great deal about the operatic repertoire. Ms. Wright freelanced extensively in New York and worked with various regional theaters in the US until she moved to Germany in 1987. Her credentials include four years at the Oper der Stadt Köln under James Conlon, two years at the Semper Oper in Dresden under Giuseppe Sinopoli, and four years as a guest artist at the Metropolitan Opera in New York, working with conductors such as Peter Schneider, Adam Fisher, Carlo Rizzi, Placido Domingo and James Levine, as well as artists such as

ABOUT THE CREATIVE TEAM

Deborah Voigt, Jennifer Larmore, Roberto Alagna, Bryn Terfel, and Ben Heppner among many others. From 1996 to 2003 she was also a guest in Sydney for the Winter Season of the Australian Opera, where she prepared, assisted and prompted for many individual productions as well as coaching for their Young Artists Program. She was on the musical staff of the Deutsche Oper Berlin from 2001 to 2011, where again she was privileged to collaborate with many of the well-known singers and conductors of our time, including Christian Thielemann and, most recently, Donald Runnicles.

DIRECTORS NOTE

This semester the UGA Opera Theatre chose to present Peter Brooks’ The Tragedy of Carmen. Peter Brook, in his adaptation, offers us an opportunity to re-examine this familiar story and its complex characters from a new perspective. Stripped from the opulent nature of grand opera, Brook’s version forces us to experience head on the violent and brutalist aspects of the circumstances of the story.

Combining the music from Bizet’s Carmen while drawing heavily from the novella by Mérimée, Brook does not shy away from the complicated layers that these characters exemplify. While the music will be familiar to anyone who knows Carmen, it may be in a different place or seem to have different context than one remembers.

It is these tiny differences that provide these well-known melodies and words a breath of fresh air. The characters and their relationships to each other seem sharper and the paired down orchestral instrumentation makes each and every instrumentalist a soloist and character in this tragic story.

Brook saw something more compelling, more urgent in Carmen’s character: her preoccupations with the imperative to be free and her sense of the nearness of death. Carmen’s sense of fate and fatalism give a resonance to her Romani identity and the tradition of fortune-telling. Her story becomes much more than a romance gone wrong. In Brook’s conception her willfulness, her seeming capriciousness, her almost feral nature make sense. In finding and illuminating these aspects of Carmen, Brooks takes his cue from Bizet himself—the ferocity of the music’s “fate” theme and from Carmen’s reading of the Tarot cards that foretell her death, the moment of her greatest musical intensity in a role full of powerful moments. Bizet was ahead of his time in endowing the character of Carmen with this kind of musical emotional complexity.

Brooks makes this “fate” motif the opera’s musical centerpiece—the reason why Carmen defies authority and ignores bourgeois convention to assert her freedom. With these chords, before the action of the opera even begins, we can sense that Carmen will do anything it takes to get what she wants. But in the end, nothing will be enough. Does fate control us, or do we have opportunities to break away and forge new paths, even if that path leads to violence or death?

RAISE YOUR VOICE IN SUPPORT MARCH 26

We bark. It’s what Dawgs do. Some folks don’t get it, but you do. Barking is about pride. It’s about community. And when we bark together, amazing things happen.

That’s why, on March 26, we’re Calling the Dawgs for the University of Georgia’s Dawg Day of Giving!

For 24 hours, Bulldogs around the world are celebrating everything that makes it great to be a Georgia Bulldog—and building the future of UGA while we’re at it. We’re challenging you to answer the call, donate to any area at UGA, and show the world that nobody supports their school like the Bulldogs.

This is an all-paws-on-deck situation: students, faculty, staff, alumni and friends are joining in, so if you call yourself a Bulldog, we’re calling on you. With the Bulldog Nation on our side, we can hit our 10,000 donor goal, put generations of students on a path to prosper, and build a better tomorrow for our university, our state, our nation and our world.

DID YOU KNOW?

In addition to our primary Support and Scholarship Funds, many specialized areas of interest, including our Opera Theatre programs, have support and scholarship funds you can contribute to as well. Every fund that receives a gift on March 26 is counted for UGA's goals for Dawg Day of Giving.

Scan the QR code or visit music.uga.edu/giving to select a fund and make a donation on March 26, or any day, to the support the Hugh Hodgson School of Music area of your choice. For large gifts or concert underwriting, please contact Melissa Roberts at: 706-254-2111 or roberts@uga.edu

Thank you for your continued support of the UGA Hugh Hodgson School of Music.

EXPERIENCE MUSIC

UPCOMING PERFORMANCES

MON 3/25

5:30 p.m.

Ramsey Hall, UGA PAC

FREE CONCERT NO TICKETS REQUIRED

MON 3/25

7:30 p.m.

Hodgson Hall

$3 - students with a valid UGA ID $15 - adults

VISITING GUEST ARTIST TROMBONE

MICHAEL HEALD VIOLIN

MATTHEW VAUGHN

ARCO CHAMBER ORCHESTRA

MOSTLY ROMANTIC

The program includes the beloved Tchaikovsky’s “Souvenir de Florence” in orchestral version and USA premiere of “The Brazilian Four Season” by Dimitri Cervo.

5:30 p.m. Ramsey Hall, UGA PAC

FREE CONCERT NO TICKETS REQUIRED

TUES 3/26 WED 3/27

5:30 p.m. Ramsey Hall, UGA PAC

FREE CONCERT NO TICKETS REQUIRED

WED 3/27

7:30 p.m.

Hodgson Hall UGA PAC

FREE CONCERT NO TICKETS REQUIRED

UGA GEORGIA BRASS QUINTET AMERICAN VOICES

MICHAEL MICHAEL MICHAEL HEALD HEALD HEALD VIOLIN VIOLIN VIOLIN

George Gershwin, Aaron Copland, Duke Ellington, and much more...

UGA TROMBONE CHOIR GARDENER’S SPIRIT THE SHARED CONCERT CONCERT BAND UNIVERSITY BAND DRAGONFLY FROM DARKNESS TO LIGHT