Bernstein MASS Playbill

Bernstein

University of South Carolina School of Music presents University of South Carolina School of Music

MASS

A Theatre Piece for Singers, Players and Dancers

March 2, 3, 4, 2018 Koger Center for the Arts

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Bernstein MASS

Spring 2018 at a Glance

Subject to change. Visit sc.edu/music for the latest info on all events.

BERNSTEIN MASS: A THEATRE PIECE FOR SINGERS, PLAYERS AND DANCERS (Koger Center for the Arts) March 2 and 3, 7:30 p.m.

March 4, 3:00 p.m.

USC SYMPHONY ORCHESTRA (Koger Center for the Arts) April 24, 7:30 p.m. - Mahler’s “Titan” OPERA AT USC: The Lanny and Sidney Palmer One Act Series April 14, 7:30 p.m.

April 15, 3:00 p.m.

(Recital Hall) Le 66 by Offenbach and La cambiale di matrimonio by Rossini FREEMAN SUNDAYS @3 (Recital Hall) March 25, 3:00 p.m.

USC WIND ENSEMBLE (Koger Center for the Arts) April 19, 7:30 p.m.

CHORAL April 20, 7:30 p.m. - University Chorus (location TBA) April 17, 7:30 p.m. - Women’s & Men’s Chorus (Shandon United Methodist) April 18, 7:30 p.m. - Carolina Alive (Recital Hall) April 27, 7:30 p.m. - USC Concert Choir (Main St. United Methodist) 2

LUISE E. PEAKE MUSIC & CULTURE COLLOQUIUM (Room 232) April 6, 1:10 p.m.

“John Hullah and Charles Dickens’s ‘Decidedly English’ Opera: The Critical Response to The Village Coquettes” April 27, 1:10 p.m.

“Sounding Gentility: Music and Social Mobility in the Antebellum South” SOUTHERN EXPOSURE NEW MUSIC (Recital Hall) March 23, 7:30 p.m.

Yarn/Wire: Originals PERCUSSION (Recital Hall) April 5, 7:30 p.m. - USC Percussion Ensemble and Percussion Players April 17, 7:30 p.m. - Palmetto Pans Steel Drum

PARKER QUARTET April 12, 7:30 p.m. - (Recital Hall) April 15, 5:00 p.m. - (Johnson Performance Hall) SOUTHEASTERN PIANO FESTIVAL June 17-23

University of South Carolina School of Music

Contents

Dr. Tayloe Harding Dean, School of Music The USC School of Music has established a national reputation for artistic and scholarly excellence. An acclaimed faculty teach more than 500 undergraduate and graduate music majors, including students specializing in virtually every orchestra and band instrument, voice, piano, organ and guitar. We prepare musicians for professional careers and leadership in music teaching, performance, composition, research and related fields with more than 20 degree programs.

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Upcoming Events

4

Message from the Dean

5

Principals

6

Musical Numbers

7

MASS Notes

9

Approaching MASS

10

Our Donors

11

Cast & Instrumentalists

15

Technical & Support Staff

16

Bios

23

Special Thanks

University of South Carolina School of Music 813 Assembly Street, Columbia, SC 29208 803-777-4280 www.sc.edu/music 3

Bernstein MASS

A Message from the Dean As Vladimir Horowitz finished performing his own solo piano arrangement of the “Stars and Stripes Forever” for President Reagan and others in the East Room of the White House on 5 October 1986, he brought closure to an important realization of glasnost and a significant advance to the closure of the Cold War. Thirty years to the day later, Representative John Lewis of Georgia told me over a glass of sparkling water at the Atlanta airport that “…without the music, there would have been no civil rights movement.”

Remembering the capacity of music to make a difference in the lives of individuals and collectives represented by such events has inspired over 200 students, numerous faculty, staff, friends and alumni to ready the USC School of Music’s most ambitious collaborative musical project ever, this weekend’s performances of the iconic Leonard Bernstein MASS. Those of us involved in this endeavor are today filled with a unique desire and love and hopefulness that what comes to life by means of our performances of this impactful work will manifest the great power of music to achieve the otherwise unachievable.

We trust that it will help us, through humility and self-reflection, to gain a greater understanding of our differences and our similarities as people in an effort to achieve a real and lasting peace amongst us all.

Our mission at the School of Music is to learn and work in music and then share with others our ability to make our world better through music. It is in that spirit that we have undertaken together to build this production of MASS and to share its own distinctive inspiration with everyone we can. Thank you for choosing to be a part of it.

Tayloe Harding

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University of South Carolina School of Music

University of South Carolina School of Music

Leonard Bernstein’s MASS: A Theatre Piece for Singers, Players and Dancers March 2–4, 2018 Texts from the liturgy of the Roman Mass Additional texts by Stephen Schwartz and Leonard Bernstein

Stage Director Ellen Douglas Schlaefer Conductor Scott Weiss Concert Choir Director Alicia W. Walker Children’s Choir Director Victoria K. Leitner Principal Coach/Musical Preparation Lynn Kompass Choreographer Susan E. Anderson Movement Coach Mimi Worrell Scenic Designer Teddy R. Moore Lighting Designer Julie H. Duro Costume Designer Alexis Doktor Audio Designer Jeff Francis Hair Designer Brenda Lord Projections Coordinator Kenna Macrae Smith Graphic Designer Ellen Woodoff

The program runs approximately 1 hour, 50 minutes, and will be performed without intermission.

Cameras (including cellphone camera) and audio and video recording devices are strictly prohibited at all times.

By arrangement with Boosey & Hawkes, Inc., Sole Agent for Leonard Bernstein Music Publishing Company LLC, publisher and copyright owner.

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Bernstein MASS

Musical Numbers I. Devotions before Mass 1. Antiphon: Kyrie eleison 2. Hymn and Psalm: “A Simple Song” 3. Responsory: Alleluia II. First Introit (Rondo) 1. Prefatory Prayers 2. Thrice-Triple Canon: Dominus vobiscum III. Second Introit 1. In nomine Patris 2. Prayer for the Congregation (Chorale: “Almighty Father”) 3. Epiphany IV. Confession 1. Confiteor 2. Trope: “I Don’t Know” 3. Trope: “Easy” V. Meditation No. 1 VI. Gloria 1. Gloria tibi 2. Gloria in excelsis 3. Trope: “Half of the People” 4. Trope: “Thank You” VII. Meditation No. 2 VIII. Epistle: “The Word of the Lord”

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IX. Gospel-Sermon: “God Said” X. Credo 1. Credo in unum Deum 2. Trope: “Non Credo” 3. Trope: “Hurry” 4. Trope: “World without End” 5. Trope: “I Believe in God” XI. Meditation No. 3 (De profundis, part 1) XII. Offertory (De profundis, part 2) XIII. The Lord’s Prayer 1. Our Father …

2. Trope: “I Go On” XIV. Sanctus XV. Agnus Dei XVI. Fraction: “Things Get Broken” XVII. Pax: Communion (“Secret Songs”)

University of South Carolina School of Music

Program Notes Leonard Bernstein described the

to set the liturgy of the Roman Catholic

assassination of President John F.

Mass. Though press reports from the time

Kennedy on November 22, 1963, as

of the premiere suggested that this was

the worst experience of his life. A few

Bernstein’s Missa Solemnis, MASS is much

days later, after having conducted the

more than a setting of the mass ordinary.

New York Philharmonic in a televised

Subtitled a theater piece for singers,

performance of Mahler’s Resurrection

players, and dancers, MASS is a theatrical

Symphony in tribute to the slain

exploration of the affirmation of faith and

President, Bernstein gave a heartfelt

devotion of the mass ritual and the forces

speech at Madison Square Gardens.

in contemporary life that challenge those

“This will be our reply to violence:

beliefs.

to make music more intensely, more beautifully, more devotedly than ever

Bernstein hews quite closely to the Latin

before. And with each note we will honor

text of the Catholic Church’s authorized

the spirit of John Kennedy, commemorate

form of the rite known as the Tridentine

his courage, and reaffirm his faith in the

Mass, but he also adopts a practice dating

Triumph of the Mind.”

back to the ninth century called troping, in which new music and texts were

Bernstein’s call to respond to violence

added to existing plainchant. Tropes are

with music has become an oft-quoted

interspersed throughout the composition,

meme. Less often are we reminded

using original English-language texts

that Kennedy’s untimely and violent

written by Bernstein and Stephen

death inspired these words. But surely

Schwartz (and one quatrain by Paul

these words, or at least the sentiment,

Simon). The tropes provide commentary

were on Bernstein’s mind when he was

on the crisis of faith in contemporary

commissioned to compose a musical work

American life. In this regard, anti-war

for the opening of the Kennedy Center

activism and related countercultures were

for the Arts in Washington, D.C. Bernstein

particularly on Bernstein’s mind, and he

had met Kennedy on several occasions,

sought guidance on both the libretto’s

conducted a pre-inaugural celebration for

Latin and English texts from Catholic

the President, and dedicated his Kaddish

priest and anti-war activist, Daniel

Symphony to Kennedy’s memory. Now it

Berrigan.

was time to quite literally make music to honor the spirit of the former President.

Musically, Bernstein’s eclecticism is on full display in MASS. In addition to the various

For this special occasion, Bernstein chose

singers, Bernstein includes an orchestra,

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Bernstein MASS

Program Notes blues band, rock band, marching band,

sings in English in attempts to fulfill his

and even kazoos. The musical styles are

pastoral role. But as the work progresses,

wide and varied. Moments reminiscent

the street singers continue to question

of Mahler and Beethoven (listen for

whether they should continue to adhere

the quotation of the “Ode to Joy”),

to the Celebrant’s preaching. By the time

sit side-by-side with rock, blues, pop,

they reach “Dona Nobis Pacem” (“grant

and Broadway styles. Ballads such as

us peace”), the hard-driving blues setting

“Simple Song” and “Thank You” exemplify

removes all pretense of prayer, turning the

Bernstein’s gift for composing soaring

words into a demand. (“We’re not down

melodies, and his vibrant rhythmic

on our knees, we’re not praying. We’re

language can be heard in “In Nomine

not begging you please, we’re just saying.

Patris,” “Gloria Tibi,” “Agnus Dei,” and

Give us peace now.”)

elsewhere.

The Celebrant, angered by what he sees The main character of MASS is the

around him, throws the consecrated Body

Celebrant. As the work begins, the cast

and Blood to the ground and lashes out

of street singers, adult and boys choirs,

at the congregants. Bernstein shows his

and acolytes perform in harmony with

penchant for musical quotation here,

Celebrant. But as the ritual turns to the

and deftly weaves together the work’s

“Confiteor,” during which the congregants

most memorable moments into what

are meant to confess their sins, individual

can only be described as a mad scene.

performers begin to mock the necessity

The celebrant’s rebuke causes the others

of confession. (As one singer puts it,

to reflect on their crises of faith. A solo

“I’ll say almost anything that gets me

boy soprano, a marker of innocence,

blessed.”) Later, as the chorus sings the

recalls the Celebrant’s opening solo.

“Credo,” which codifies the essential

The meditative finale builds to a final

beliefs of the Catholic faith, soloists

communion and celebration of belief. To

answer back with a “Non Credo” which

paraphrase Bernstein, MASS ultimately

casts even more doubt on the role of

reaffirms one’s faith in the Triumph of

religion in their lives. (“I believe in God,

the Mind.

but does God believe me?”) As he notices their faith wavering, the Celebrant also

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– J. Daniel Jenkins

University of South Carolina School of Music

Approaching MASS When Dr. Weiss and I were asked by Dean Harding to consider producing a work that would use as many forces of the talented School of Music student body as possible, Bernstein’s MASS was first in all our minds.

First, the title, “A Theatre Piece for Singers, Players and Dancers” tells you that lots of people would be needed. Add to that the bonus of Maestro Bernstein’s centenary year.

And personally, it offered the chance to explore a work mentioned to me on my first day of my first professional opera job at The John F. Kennedy Center for the Performing Arts. (I’ll just say the Center was only 9 years old). When wizened stage hands speak so reverently of the work that opened “their” house, you pay attention. When you later spend an evening in the President’s Box at the Kennedy Center, sitting next to the star of the Young People’s Concerts you grew up with, you pay attention.

Sentimental reasons aside, what a wonderful opportunity for our students to dig into the work of a truly American musical genius.

Throughout his life, both as a composer and a conductor, Bernstein sought the “American” sound, his affinity for jazz, his Broadway works, the repertoire he chose as a conductor, are all clues as why there are so many styles in MASS – and why the work is hard to label.

During his February 1, 1958 Young People’s Concert titled What is American Music, he said, “In fact, there are so many different qualities in our music that it would take much too long to list them; there are as many sides to American music as there are to the American people – our great, varied, manysided democracy. Maybe that’s the main quality of all – our many-sidedness. Think of all the races and personalities from all over the globe that make up our country; and when we think of that we can understand

why our own folk music is so complicated.

We’ve taken it all in, French, Dutch, German, Scotch, Scandinavian, Italian, and all the rest, and learned it from one another, borrowed it, stolen it, cooked it all up in a melting pot.

So what our composers are finally nourished on, is a folk music that is probably the richest in the world, and all of it is American, in spirit, whether it’s jazz, or square-dance tunes, or cowboy songs, or hillbilly music, or rock and roll, or Cuban mambas, or Mexican huapangos…” Bernstein seems to have summed up his ingredients for American music by describing, in the same broadcast, Aaron Copland’s Third Symphony finale, as having “…a lot of these American qualities we’ve been talking about – jazz rhythms, and wide open optimism, and the simplicity, and the sentimentality, and a mixture of things from all over the world…”

Bernstein’s biographer, Humphrey Burton, says, “At the heart of MASS, more than social or religious concern was Bernstein’s passion for peace.” The MASS was written at a time of great political debate in our country.

Debates that never end as we go on learning what democracy can and should be. MASS was written to open a living monument to our murdered president. It was written to launch a center for the arts that has flourished since its doors were opened. It was written to remind us that peace, in our hearts and in our world, is a goal, far reaching as it may seem. MASS is a work that combines all the elements of human expression – song, dance, visual art, spoken word. It is a work that requires all those performing to come together. That’s how we’ve approached it. It is a work that requires our audience to come together for 90 plus minutes and be part of this exploration. That’s how we hope you will approach it. – Ellen Douglas Schlaefer

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Bernstein MASS

With Gratitude to Our Contributors Thank you for your applause, your friendship and your financial support of the School of Music.

Abacus Planning Group, Inc. Dr. Robert K. Ackerman Drs. David A. Bankston & Ann Palmer Benson Mr. Joshua C. Barbour Mrs. Anne T. Beazley Dr. Stephanie A. Beinlich Dr. Ann Palmer Benson Mr. Mark Bischoff Ms. Barbara Bowers Mrs. Elizabeth T. Briggs Ms. Podie Brunton Mr. Scott Cain Dr. James L. Caldwell Mr. John Elliott Callison Professor Laury Christie Mrs. Christina L. Clark Mr. Daniel B. Cole Mr. Rey Russell Coleman Ms. Rebecca Krynski Cox Ms. Gretchen Dawson Mr. Richard H. Demarest Mr. Hayden Richard Denesha Mr. Charlie Duncan Ms. Anne Dunlap Mr. & Mrs. V. E. Edwards, III Ms. Harriott Faucette Ms. Martha M. Faucette Mr. Robert Feinstein Ms. Janet O. Ferguson Mr. Gerald D. Floyd Ms. Catherine Glen Forbes & Pitsch Karrer Ms. Leslie Francis Mr. & Mrs. Steve Francis Joe Madge & Julia Frazer-Madge Ms. Sharon Gaskin Ms. Jessica Erin Gibbons Mrs. Laveta G. Gibson The Howard Gilman Foundation, sponsor of the Children’s Choir Grand Strand Paper Products, Inc. Granger Owings Inc.

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Dr. & Mrs. Donald N. Gray Mr. Bruce H. Greenberg Mrs. Sylvia B. Grubb Dr. & Mrs. C. Tayloe Harding, Jr. Dr. Beverly R. Hay Dr. & Mrs. Karl G. Heider Ms. Cathy D. House Drs. Diana & Richard Hunt Mrs. Christie Marlene Inman-Reilly Mr. Gregory Jebaily Ms. Rachel Johnson Ms. Gerda Moore Kahn Mary & Billy Keenan Mr. & Mrs. George S. King, Jr. Dr. Norma Jane Kirkland Ms. Elizabeth Knoth Ms. Lynn R. Kompass Mr. & Mrs. John Kososki Ms. Annette Krasky Ms. Polly Todd Laffitte The LaRoche Family Mrs. Janis K. Leaphart Dr. John C. Lee, Jr. Estate of Mr. & Mrs. Stanley V. Lewis Ms. Patricia Lovit Dr. Jennifer Lynn Luiken Dr. Marlene Mackey Dr. Thomas Markham Ms. Alice T. Martin Mr. George G. Matthews, Jr Mr. Mark S. McGill Ms. Kate McKinney Ms. Karyn Elizabeth Minor Ms. Martha H. Murtiashaw Ms. Samantha Lynn Nahra Dr. and Mrs. Kenneth M. Nelson Ms. Virginia E. Newell & Mr. Bob Wilkins Dr. & Mrs. Herbert Niestat Dr. Buford Norman & Elizabeth Joiner Ms. Pauline M. Pagliocca Ms. Jeannne Phillips

Mr. and Mrs. David C. Potter Mr. & Mrs. Shawn Powers Ms. Deborah S. Price J.D. and Caitlyn Oenbrink Rainey Mr. Kenneth Richey Mrs. Carol C. Saunders Ellen Douglas Schlaefer Mr. Edwin A. Self Shirlineal, LLC Ms. Kaley Karis Smith Mr. Walter G. Smith, Jr. Mrs. Jean C. Smolen Drs. David & Tina Stallard Mr. Jason Terry Mr. Joseph Edmond Timms III Mr. David Carl Toulson Ms. Vera S. Tucker Ms. Sue Tysinger Dr. Vincent Van Brunt Ms. Elizabeth A. Walker Dr. Maxine M. Warshauer Mr. & Mrs. Tobin N. Watt Mr. Joshua Ryan Wentz Mr. E. Jacob Will, Jr. Dr. & Mrs. Leland Williams Mrs. Rosa C. Williams Ms. Ellen Y. Woodoff Ms. Ilsa K. Young Mr. & Mrs. Roland Young Ms. Margaret Anne Zeigler

Donors to Opera at USC, USC Symphony Orchestra and special support of Bernstein MASS. (Contributions made between July 1, 2017 and February 5, 2018)

University of South Carolina School of Music

Cast CELEBRANT Kevin Vortmann

BOY SOPRANO

CHILDREN’S CHOIR USC Youth Choir Courtney Hope Diveley

DANCERS USC Dance Company

Joy Dugger

Regan Baker

Virginia Dunlap

Nelson Bagwell

Carly Galbreth

Abigail Boyer

Maggie Galbreth

Lindsey Cronin

STREET SINGERS Opera at USC

Emmalyn Gilbreth

Madison Estridge

Gia Gupta-Kagan

Olivia Frieden

Elise Heffner

Alyssa Holt

Ramelle Brooks

Nathan Jackson

Mari Hooper

Michael T. Brown

Sofie Jones

Madeline Matthews

Robert M. Dooley

Kaavya Karthikeyan

Julia Maxwell

Margaret Eighmey

Ashley Kornet

Michael Miranda

Tyler Eighmey

Caroline Kornet

Evelyn O’Dwyer

Johnnie J. Felder

Katie Matsui

Victoria Parker

Hinde A. Garrison

Halyn Grace Nobles

Emily Robertson

Christina Harding

Sidney Powell

Anna Toburen

Evy Johnson

McKenzie Powers

Mary Louise Layton

Grace Sawicki

Christopher Lopez Moore

Sonora Shaw

Keri Lee Pierson

Nathan Stallard

Craig Philip Price

Mary Grace Trobaugh

Alicia Renney

Caroline Winchester

Nathan Stallard (March 2 & 4) Nathan Jackson (March 3)

Rusty Sox Kierra Spearman Hogan Tina Milhorn Stallard Katelyn Tesla Hannah Thompson Lauren Tomme Amos Warren III Joseph Williams-Bibiloni Kendrick D. Williams Tamara Willing Silva Julia Woodward

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Bernstein MASS

Cast USC CONCERT CHOIR

ALTO 2

BARITONE

Megan Balestrero

Isaiah Hogue

Blakelee Cannon

James Lewis

SOPRANO 1

Lindsey Cope

Jacob Otis

Ashlyn DeLoach

Karly Fitch

James Siarris

Natalie Gilbert

Austen Smith

Jada Eliece Hooker

Will Vowell

Nancy Jones

Levi W. Walker

TENOR 1

BASS

Emily Williams Burch

Dwight Dockery

Grayson Cribb

Logan Etheridge

Ben Hall

SOPRANO 2

Augusto Gil

Chien Yi Li

Maddie Johnston

Kalen Mattocks

Stephen Lynch

James K. Parker, III

Matthew McCall

Olivia Johnson Katherine Kimbrough Stephanie Langford AnnaBelle Lusk Kelley Powell

Shannon McDonald

Christopher Smith

Melanie Piercy Kirstina Rasmussen Collins Alexandria Thompson

TENOR 2 Taylor Diveley

Taylor Zentz

Drew Gatch

ALTO 1

Clay Sellers

Suzanne Amaral

Jantsen R. Touchstone

Yasmin Bradhsaw Sarah Clive Catherine Howland Jessica Jacob Emma Rocheleau Caroline Scobee Vaviel Varner

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Zachary Parisher

Robert Wilkinson

Jesse Strickland

University of South Carolina School of Music

Instrumentalists USC SYMPHONY ORCHESTRA

BASS

CLARINET

Logan Lysaght, principal

Max Pegues, principal

Shane Thomas

Savannah Huggins

VIOLIN I

Jonathan Evans

Thomas Palmer

PERCUSSION

SAXOPHONE

Christopher Amick, principal

Coleman Wright, principal

Caitlin Jones

Trevor McLaine

Zack Truesdale

Josh Tuttle

Isabel Ong, concertmaster David Pazderski Julie Anne Bennett Haley Kovach Cecelia Ostapeck Austen Speare

Chelsey Harris Akeem Dysard

Michelle Beck, principal

VIOLIN II Drew Preston, principal Andrea Vogt

HARP

Danielle Wood

Erin Hansen

Sam Hay Tristan Burns

Worth Lewallen Micahel Zhang Alvina Emran Brianna Harris VIOLA Chin Wei Chang, principal Michael Halbrook

ORGAN Mengdi Li

TRUMPET

Keer Wang

Justin Robinson, principal Daniel Rhu

USC WIND ENSEMBLE

Jordan Stuckey

Robert-Christian Sanchez Jordan Bartow

Frank Arnold

FLUTE

Michael Baker, principal

Mimi Harding, principal

Jarrad Dickey

Miguel Hijar BASS TROMBONE

CELLO Pai Liu, principal

Noa Miller

TROMBONE

Emily Stegmuller Cassandra Gibson

HORN

OBOE

Adam Vernon-Young

Will Moon, principal Colby Hathaway

TUBA John Caddell

Hannah Knott BASSOON Bridget Piccirilli, principal Trevor Bullock

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Bernstein MASS

Instrumentalists MARCHING BAND

TRUMPET

FLUTE

Noa Miller

GUITAR

Morgan Monty

Adams Way

Christopher McDonald

Derrick Burbage

ROCK BAND

Annie Eaton

Frank Arnold, V

OBOE

TROMBONE

BASS

Katie Eaton

Blake Lawson

Derrick Vaz

Aaron Martin

Brian Yonn Morgan Skelley

KEYBOARDS Louie Hehman

BASSOON Sydney Womack

Zenas Gawai

TUBA

Kevin O’Brien

Travis Moffitt

CLARINET

PERCUSSION

Sabrina Schuller

Chase Cunningham

DRUMS Chase Banks

Jackson Boatwright Shelby Ledbetter

Ian Jones Will Newton

BLUES BAND BASS

HORN

David Reddy

Madison Ray Samantha Newcomb

KEYBOARDS

Harrison Thornton

Nicholas Vlandis

Sam Smoak DRUMS Bailey Seabury

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University of South Carolina School of Music

Technical & Support Staff Rehearsal Accompanists Luke Fang Hyun Jung Im Stephanie Knott Production Stage Manager Kaley K. Smith Assistant Stage Manager Alexander Cammarota Assistant Director Tyler Eighmey Kaley K. Smith Instrumental Rehearsal Assistant Conductors Hayden Denesha Nathan Tucker Costume Assistants Timothy Boyd Beth Walk Movement Rehearsal Assistant Susan Moon Dance Rehearsal Assistant Yvonne Reynolds Scenic Artist Teddy R. Moore Production Manager Barry Sparks Technical Coordinator Michael LaRoche Carpenters Danny Harrington Richard Kiraly Barry Sparks Dave Stancik Audio Designer Jeff Francis Audio Assistants Damian Hoffman Ryan McGillan

USC School of Music Dean Tayloe Harding Executive Assistant to the Dean Laveta Gibson Business Manager Stacy Somers Director of Development Polly Laffitte Marketing and Public Information Ellen Woodoff Administrative Assistant, Choral Studies and Opera Lisa Smith Administrative Assistant, Carolina Bands and USC Symphony Orchestra Andrea Pouncey Development Assistants Bob Evans Melissa Gentry Koger Center for the Arts Director Michael CÂ Taylor Assistant Director Nate Terracio Technical Director Steve Borders Master Carpenter Scott Rickenbacker House Manager Jean Weingarth Maintenance Engineer Glynn Fulmer Marketing Director Chip Wade Business Manager Julie Carter Box Office Manager Barbara Pelfrey Assis. Box Office Manager Jennifer Jeffcoat Security Supervisor Charles Saverance Housekeeping Dorothy Bookert

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Bernstein MASS

Bio Kevin Vortmann has been

He has been a featured

hailed by critics for being a

soloist for the San Francisco

“glorious-voiced” (Boston

Symphony, New York

Globe) tenor who “sings and

Philharmonic, Baltimore

acts with compelling force

Symphony Orchestra, Omaha

and sensitivity” (Chicago Sun

Symphony and Tulare County

Times) bringing “emotional

Symphony with multiple

depth and tantalizing vocal

engagements at Carnegie

pyrotechnics” (World-Herald)

Hall, Avery Fisher Hall and

and “Surprising Versatility”

the Kennedy Center. He most

(Associated Press). Vortmann is an increasingly sought after performer for work on both

recently made his triumphant

Kevin Vortmann Philadelphia Orchestra debut Celebrant as the Celebrant in Leonard

symphonic and theatrical stages.

Bernstein’s MASS. Opera News lauded Mr. Vortmann as being “an exceptionally

His Broadway and Off-Broadway credits

good choice for this central role: secure at

include: A Little Night Music, Death Takes

baritonal depths, his tenor soared purely

a Holiday, The Most Happy Fella, On the

and with immaculate dynamic control into

Town, The Pirates of Penzance, Showboat,

the part’s many challenges.”

Paint Your Wagon, Applause, Face the Music, Fiorello, Lost in the Stars, Stairway

He is the recipient of Detroit’s Oscar

to Paradise, Juno, For Lovers Only, and

Wilde Award, Colorado Theatre Guild’s

Children and Art.

Henry Award and a Connecticut Critics Circle Award Nomination. His albums

Vortmann has appeared across the United

include Leonard Bernstein’s Mass

States in Miss Saigon (Chris), Guys and

(Grammy Nomination), West Side Story

Dolls (Sky), Next to Normal (Dan), Les

(Grammy Nomination), Face the Music,

Miserables (Enjolras), She Loves Me

Paint Your Wagon, and Roberta.

(Kodaly), The Most Happy Fella (Herman), Glory Denied (Young Thompson), The

He currently resides in Seattle with his

Who’s Tommy (Captain Walker), Company

wife and two sons.

(Peter), and Camelot.

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University of South Carolina School of Music

Bio Tayloe Harding, composer,

he has brought a bold idea to

is the Dean of the School of

fruition: to more fully prepare

Music. A passionate advocate

tomorrow’s professional

for advancing the impact of

musicians by combining

higher education music study

conventional professional

and experience on American

music study with a systematic

communities and national

curricular and co-curricular

society, he is devoted to an

exploration of music advocacy,

array of organizations whose missions are consistent with this advocacy.

Tayloe Harding Dean

music entrepreneurship, and community engagement by forming SPARK: Carolina’s

Leadership Laboratory.

As President of the College Music Society (CMS) from 2005-2006 and as

Harding’s 2014 TedX talk “Music and

President of their foundation, The CMS

Hope: Towards a More Musical America,”

Fund from 2009-2015, he led the creation

tinyurl.com/yakedjxr, and his June 2016

and sustenance of the Engagement and

introduction keynote at the CMS Summit

Outreach Initiative where the efforts of

on the Design of the 21st Century Music

the music professoriate are articulated

School, tinyurl.com/yalsnk2v, constitute

with national partners, including other

public expressions of his interests

higher education constituents, music

and work at Carolina and beyond. A

businesses and industries, and general

consultant for NASM, CMS, and PKL, he is

audiences to meet common musical and

a frequent presenter on future issues for

civic goals.

university music units, their leadership, and their place in the fabric of American

He currently serves as national Secretary

culture, remaining active as a composer

of the National Association for Schools of

earning commissions, performances, and

Music (NASM), and as national President

recordings for his works around the world.

of Pi Kappa Lambda (PKL), the American music honorary society. At South Carolina

17

Bernstein MASS

Bio Ellen Douglas

Figaro, La Bohème

Schlaefer is Associate

and Carmen Green

Professor and

Mountain Opera

Director of Opera

Festival; Rigoletto

Studies for the

Opera Carolina;

University of South

Brundibar and The

Carolina. She is

Little Prince Tulsa

founder and General

Opera and the plays

Director of FBN Productions, Inc. Opera for Kids.

Ellen Douglas Schlaefer Stage Director

Doubt, The Goat or who is Sylvia and In The Next Room or

the vibrator play, I Am My Own Wife, Schlaefer is the 2016 recipient of the USC

You Can’t Take It With You, The Sisters

School of Music’s Cantey Outstanding

Rosensweig, Grace and Glorie, Sweeney

Faculty Award. On March 10, 2017, she

Todd, The Princeton Festival; and The

received the Wally Russell Professional

King and I, Oklahoma, South Pacific, and

Mentoring Award from USITT (United

A Chorus Line Artpark & Co. (NY); Dead

States Institute for Theatre Technology),

Man Walking Kentucky Opera, and more

a non-profit serving the performing arts

than 40 productions for Opera at USC.

design, theatre tech and production fields.

Schlaefer served as production stage Directing credits include The Little Prince

manager for The Santa Fe Opera from 1987

Houston Grand Opera; Tosca The Dallas

until 2000 and for the Washington Opera

Opera; Il Barbiere di Siviglia Hamilton,

1986 to 1994. Additional stage managing

Ontario; Die Zauberflöte Opera Memphis;

credits include productions with Opera

La Bohème and Don Giovanni Lyric Opera

Company of Philadelphia, San Diego

of Kansas City; La Bohème Michigan

Opera, Seattle Opera, The Washington

Opera Theatre; Faust the Washington

Opera, Opera Omaha, Opera Pacific,

(National) Opera; Romeo et Juliette

and the Merry Go Round Playhouse.

and La Bohème with the NSO/Wolf Trap

She has been the tour manager for the

Opera; Fidelio, La Traviata Cleveland

Kennedy Center Imagination Festival

Opera; Aida, The Ballad of Baby Doe,

and production stage manager for the

La Traviata, Il Tabarro, I Pagliacci and

World Alpine Ski Championships in Vail,

Salome Connecticut Opera; Le nozze di

Colorado.

18

University of South Carolina School of Music

Bio Scott Weiss is the Sarah

teach master classes at

Bolick Smith Distinguished

leading music schools

Professor of Music at the

around the world, including

University of South Carolina

the Central Conservatory of

where he is currently the

Music (Beijing), the Shanghai

conductor of both the USC

Conservatory of Music, the

Symphony Orchestra and

Sydney Conservatorium of

the USC Wind Ensemble. A

Music, and the University of

champion of contemporary

Western Australia. A strong

music, he has commissioned and premiered more than

Scott Weiss Conductor

40 new works by many of

advocate for public school music education, he has conducted all-state ensembles

today’s leading composers, including

and adjudicated music festivals throughout

Mohammed Fairouz, Nico Muhly, Jennifer

North America, Asia, and Australia.

Higdon, William Bolcom, and Samuel

Adler. He has also recorded several

Weiss’ graduate conducting studio

CD’s of American music on the Naxos

at the University of South Carolina

and Summit labels, including a 2013

is an international draw for talented

release on the Naxos label featuring

young conductors. Former conducting

music by Leonard Bernstein. Hailed by

students of his hold major conducting

critics as “scintillating,” and “fresh and

and academic positions throughout the

spontaneous,” of this disc Barry Kilpatrick

world. He has also been the lead teacher

of American Record Guide proclaimed,

at numerous conducting symposia, and in

“There are simply too many great

July 2018 he will be the featured clinician

moments to mention.”

at the Los Angeles Conducting Workshop

Institute.

Weiss maintains an active international

conducting schedule, including recent

Weiss holds degrees from the Indiana

concerts in China with the Shenzhen

University Jacobs School of Music and the

Symphony Orchestra, the Hunan

University of Illinois. Prior to his arrival at

Symphony Orchestra, the Nanchang

USC in 2010, he served on the conducting

Philharmonic, the Shandong Symphony

faculties of the University of Kansas, the

Orchestra, and the Inner Mongolia

Indiana University Jacobs School of Music,

Symphony Orchestra. He is also frequently

and Lamar University.

invited to conduct performances and

19

Bernstein MASS

Bios Alicia W. Walker Concert Choir Director

Victoria K. Leitner Children’s Choir Director

Alicia W. Walker is

Victoria K. Leitner

Associate Director

directs the USC

of Choral Studies

Youth Choir. She

at the University

holds a bachelor’s

of South Carolina, where she directs the

degree in music education with a vocal

University Chorus and the USC Men’s

performance certificate from USC. She is

Chorus, and teaches undergraduate and

a member of ACDA and is GIML certified.

graduate courses in conducting and

Leitner spent time at St. Timothy Catholic

music education. She holds degrees

School in Virginia as the music and

from Florida State University, Southern

choir teacher where her after-school

Seminary, and the University of Georgia.

Competitive Choir took first place at

An experienced music educator, Walker

competition and scored superior ratings

taught in Florida and Georgia prior to

in all categories. Leitner was a scholarship

joining the music education faculty at

singer and soloist for the Eastminster

UGA. A long-time church musician, she

Presbyterian Church Chancel Choir for

has served churches in Florida, Kentucky,

five years and was the director of the

Georgia, and South Carolina. Each year

Children’s Choir for two years. She has

she travels to South Africa to teach

experience working with children of all

continuing education for choral directors

ages, having taught music and chorus to

and has recently taught conducting

Pre-K through eighth grade, private voice

master classes in Taiwan. Walker is past

and Music Play at USC. She has acted

president of Southern Division ACDA,

as the Choral Clinician for Lexington 1

and she is the founder of Facets,™ a

SSA Middle School Choral Clinic and the

leadership retreat for women conductors.

Richland 1 SATB Middle School Choral

In Columbia, she conducts a chamber

Clinic and serves as an adjudicator for the

choir of music educators called Limited

SC All-State Chorus and District Honors

Time Only and maintains an active

Choirs. Leitner is a Trustus company

schedule as a guest conductor, clinician,

member and active performer, performing

and adjudicator.

leading musical theater roles.

20

University of South Carolina School of Music

Bios Lynn Kompass Principal Coach/ Musical Preparation Vocal coach and pianist, Lynn Kompass has performed as a collaborative pianist in venues across the country including Weill Recital Hall at Carnegie Hall, the Nicholas Roerich Museum (NYC), the Strings in the Mountain Festival (Colorado), Harold Washington Library (Chicago), and the North Carolina Museum of Art (Raleigh).

For several summers she was engaged as a pianist for the Steans Vocal Institute in residence at the Ravinia Music Festival.

Most recently, she has performed and taught master classes in China, South Korea, Bulgaria, Northeastern Brazil, and Thailand. As a coach/repetiteur, Kompass has worked at the Festival de Musique de Saint-Barthelemy, Chicago Opera Theater, Aspen Opera Theater, the Varna International Opera Academy in Bulgaria, and Opera Brasil. On faculty as a vocal coach at the University of South Carolina since 2002, Kompass holds graduate degrees from the University of Michigan, where she studied with Martin Katz.

Susan E. Anderson Choreographer Professor Susan Anderson is the founding director of the USC Dance Company, USC Dance Conservatory, and South Carolina Summer Dance Conservatory, which hosts international students and worldrenowned faculty and choreographers.

Under her directorship, the dance program implemented a BA major in Dance Performance and Choreography in 2004, with concentrations in Ballet or Contemporary Dance. Soon after, the program added an emphasis in Dance Education, a K-12 Teacher Certification program, in partnership with the College of Education. The dance program is nationally recognized, earning distinction from Dance Magazine as one of the top three collegiate programs to consider for classical ballet study. Some of Anderson’s professional artistic works include the creation of over 200 ballets such as Scheherazade, Ondine, Taming of the Shrew, Plant Dance with artist Blue Sky, The Firebird, Phantom of the Night, Crown Jewels, Sylvia, Carnival of the Animals, Pleasures of Paris, and The Young Man and Death. In 2009, she was named the Michael J. Mungo Distinguished Professor of the Year and Governor’s Professor of the Year. In 2011, she was named SC Professor of the Year by the Carnegie Foundation.

21

Bernstein MASS

Bios Teddy R. Moore Scenic Designer Teddy Moore holds a Bachelor

Julie Duro Lighting Designer Photo not available

Julie Duro’s work in opera includes

in Fine Arts

designs for the

degree in Scenic

Santa Fe Opera,

Design from the

the Connecticut

University of North

Opera, Palm Beach

Carolina School of the Arts. He has also

Opera, Opera International, Lyric Opera

worked as Head of Properties at the

of Kansas City, Opera Illinois, Dayton

Castleton Festival in Rappahannock

Opera, the Indiana University Jacobs

County, Virginia. Previously, he has

School of Music, Florida State Opera, and

designed for Asheville Lyric Opera,

the Green Mountain Opera Festival. She

Columbia City Ballet, The Mostly Baroque

has worked extensively at the Westport

Players, Connecticut Opera Express, and

Country Playhouse where she designed

FBN productions, where he is also the

the lighting for The Member of the

Company Manager. Moore has also served

Wedding directed by Joanne Woodward.

as Props Artisan for Tanglewood Music

She has also worked with the Paper Mill

Center, Connecticut Opera, Berkshire

Playhouse, Walnut Street Theatre and

Opera, and Shakespeare & Company.

Riverside Theatre. Her work in dance encompasses designs for North Carolina Dance Theatre, the Australian Ballet, Southern Ballet Theatre, Dances Patrelle, and Mark Stuart Dance Theatre. She was the resident lighting designer for the critically acclaimed Ohio Ballet from 1996 to 1999. She also works frequently with Tulsa Ballet and with Pittsburgh Ballet, where her designs can be seen each year in their productions of The Nutcracker.

22

University of South Carolina School of Music

Bio Alexis Doktor Costume Designer Alexis Doktor

Special Thanks Peggy Binette Joshua Burrack Phillip and Spencer Bush

from New York,

CMFA and John Whitehead

New York, holds a

Coal Powered Productions

degree in fashion

Cynthia Davis

design from the

FBN Productions, Inc.

Fashion Institute

Lacy Ford

of Technology in New York. Her career began in professional ballet and led her into costume design, where she has worked under designers such as Oscar de la Renta and Vera Wang. She also works for the Columbia City Ballet, as well as many of the local theater companies.

Doktor is returning to Opera at USC for her sixth season this year.

Steve Francis, Friends of the School of Music The Geritol Swingers, always Laveta Gibson Joan Gabel The Gourmet Shop The Hair Goddess Christine Harding Amanda Hernandez Linda and Dennis Hiltner J. Daniel Jenkins LB & LSDF Kimi Maeda Andy Mill and USC Theatre Sarah O’Leary Patient Parents of the Children’s Choir Robert Richmond S. Andrews Photography School of Music Faculty and Staff USC Central Development Beth Walker Kris Watson Teah Weiss

23

Music for your summer!

Bernstein MASS

The USC School of Music offers an abundance of music classes and lessons for the community.

Music Play

Center for Piano Studies

Suzuki Strings at USC

An innovative program to develop young children’s music potential, for newborns to age 5.

Group camps are available for ages 5–14. Private lessons are available for children and adults.

Private and group lessons in the Suzuki method: guitar, cello, violin, viola for ages 3 and above.

Carolina Summer Music Conservatory

Carolina Opera Experience

USC String Project

Advanced students of woodwind, strings, brass, percussion, jazz, voice and piano focus on solo and chamber music performance.

USC Youth Choir Auditioned choir is a premier group working together to build superior choral skills and musicianship, for ages 9–13.

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Hands-on experience in the art of creating an opera, ending with a public performance, for students in grades 5–10.

Group instruction culminates with a concert. Open to schoolaged students with a minimum of one year of experience.

Get the details at sc.edu/music/summer-programs Music Play - wvalerio@mozart.sc.edu Summer Music Conservatory - cleaman@mozart.sc.edu Center for Piano Studies - piano@mozart.sc.edu Carolina Opera Experience - lsmith@mozart.sc.edu USC String Project - uscsp@mozart.sc.edu Suzuki Strings at USC - suzukistrings@mozart.sc.edu USC Youth Choir - uscyouthchoir@mozart.sc.edu