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september 19, 2014 Friday at 7:30 pm · Woolsey Hall Shinik Hahm, conductor with Yale Camerata • Marguerite L. Brooks, artistic director Yale Glee Club • Jeffrey Douma, artistic director Emily Workman, soprano Leah Hawkins, mezzo-soprano music by Gustav Mahler

Robert Blocker, Dean

THE PHILHARMONIA ORCHESTRA OF YALE

gustav mahler 1860–1911

Symphony No. 2, "Resurrection" I. Allegro maestoso. Mit durchaus ernstem und

feierlichem Ausdruck II. Andante moderato. Sehr gemächlich. Nie eilen.

III. In ruhig fließender Bewegung IV. Urlicht. Sehr feierlich, aber schlicht V. Im Tempo des Scherzos Shinik Hahm, conductor Emily Workman, soprano Leah Hawkins, mezzo-soprano Yale Camerata Yale Glee Club

As a courtesy to others, please silence all cell phones and devices.

Photography and recording of any kind are strictly prohibited.

Please do not leave the hall during musical selections. Thank you.

Texts & Translations

Symphony No. 2, “Resurrection” IV. Urlicht From Des Knaben Wunderhorn

IV. Primeval Light

O Röschen rot!

Der Mensch liegt in größter Not! Der Mensch liegt in größter Pein!

Je lieber möcht’ ich im Himmel sein.

Da kam ich auf einen breiten Weg: Da kam ein Engelein und wollt’ mich abweisen.

Ach nein! Ich ließ mich nicht abweisen!

O little red rose!

Man lies in greatest need!

Man lies in greatest pain!

How I would rather be in heaven.

There came I upon a broad path when came a little angel and wanted to

turn me away.

Ah no! I would not let myself be turned away!

I am from God and shall return to God! The loving God will grant me a little light, Which will light me into that eternal

blissful life!

Ich bin von Gott und will wieder zu Gott!

Der liebe Gott wird mir ein Lichtchen geben, Wird leuchten mir bis in das ewig

selig Leben!

V. Im Tempo des Scherzos First stanza from Die Auferstehung by Friedrich Klopstock; remaining text by Gustav Mahler

V. In the Tempo of the Scherzo

Aufersteh’n, ja aufersteh’n Wirst du, Mein Staub, Nach kurzer Ruh’!

Unsterblich Leben! Unsterblich Leben wird der dich rief dir geben!

Wieder aufzublüh’n wirst du gesät!

Der Herr der Ernte geht und sammelt Garben uns ein, die starben

Rise again, yes, rise again, Will you My dust, After a brief rest!

Immortal life! Immortal life Will He who called you, give you.

To bloom again were you sown!

The Lord of the harvest goes And gathers in, like sheaves, Us together, who died.

O glaube, mein Herz, o glaube: Es geht dir nichts verloren!

Dein ist, ja dein, was du gesehnt!

Dein, was du geliebt, Was du gestritten!

O believe, my heart, O believe: Nothing to you is lost!

Yours is, yes yours, is what you desired Yours, what you have loved What you have fought for!

Texts & Translations

O glaube Du wardst nicht umsonst geboren!

Hast nicht umsonst gelebt, gelitten!

Was entstanden ist Das muß vergehen!

Was vergangen, auferstehen!

Hör’ auf zu beben!

Bereite dich zu leben!

O believe, You were not born for nothing!

Have not for nothing, lived, suffered!

What was created Must perish, What perished, rise again!

Cease from trembling!

Prepare yourself to live!

O Schmerz! Du Alldurchdringer!

Dir bin ich entrungen!

O Tod! Du Allbezwinger!

Nun bist du bezwungen!

O Pain, You piercer of all things, From you, I have been wrested!

O Death, You masterer of all things, Now, are you conquered!

Mit Flügeln, die ich mir errungen, In heißem Liebesstreben, Werd’ich entschweben Zum Licht, zu dem kein Aug’ gedrungen!

With wings which I have won for myself, In love’s fierce striving, I shall soar upwards To the light which no eye has penetrated!

Sterben werd’ ich, um zu leben!

Aufersteh’n, ja aufersteh’n wirst du, mein Herz, in einem Nu! Was du geschlagen zu Gott wird es dich tragen!

Die shall I in order to live.

Rise again, yes, rise again, Will you, my heart, in an instant!

That for which you suffered, To God will it lead you!

Gustav Mahler » 1860–1911

Symphony No. 2, “Resurrection” Gustav Mahler once stated that his Symphony No. 2 represented the final chapter for the hero of his First Symphony, referred to as “Titan.” The hero of Mahler’s “Titan” Symphony journeys from happiness through despair to eventual triumph over his own fate. In his Second Symphony, Mahler dares to ask the questions, “Why did you live? Why did you suffer?” With this monumental work, Mahler attempts to address the spiritual problem of human

mortality by reaffirming his belief in resurrection and immortality. It takes him five movements—two with text—to deal with the subjects of the Last Judgment and the purpose of life.

Mahler grew up surrounded by death, witnessing the passing of eleven of his thirteen siblings before his adult life. Both he and his sister Justine were prone to playing “corpse” at times in their lives, and the

Notes on the Program

macabre fascination with death influenced much of his art. After completing his First Symphony in 1888, Mahler began working on a large orchestral tone poem he entitled Todtenfeier (Funeral Rites). As with his First Symphony, the initial tone poem soon gave way to the creation of a full symphony.

The Todtenfeier first movement forms one of two pillars that anchor the Second Symphony, the other being the massive finale.

In between, Mahler presents three intermezzi. In 1893, work progressed quickly on these inner three movements, but Mahler did not finish his last movement until the death of the great conductor Hans von Bülow. At the funeral of his colleague, Mahler heard a hymn setting of Friedrich Gottlieb Klopstock’s “Resurrection Ode” and instantly knew he had his finale. By the end of 1894, Mahler had revised Todtenfeier and completed his symphony.

The second and third movements are twin scherzos. These movements serve as reflections: the first an innocent dream of the past, the latter a grotesque delusion.

Mahler felt the second movement Ländler (an Austrian folk dance) should be perceived as insignificant. The subsequent Viennese waltz mocks modern life (at the end of the nineteenth century). Here Mahler employs a symphonic expansion of his song “St. Anthony of Padua’s Sermon to the Fishes,” completed in 1893. The text of the song comes from a collection of German folk poetry published as Des Knaben Wunderhorn (The Youth’s Magic Horn).

This sarcastic sermon is silenced, and is succeeded by a new sound: the human voice. Based on another Wunderhorn text, the mezzo-soprano enters with a song of hope, Urlicht (Primal Light). The peace of this movement is soon shattered by the violence of the finale. While the opening gesture mirrors the corresponding moment in Beethoven’s Ninth Symphony, Mahler builds upon his earlier music rather than rejecting it. The addition of chorus and soloists may encourage the comparison, yet Beethoven’s solution is mere brotherhood; Mahler takes the listener on remarkable journey through the Final Judgment, resurrection, and ascension. For the finale, Mahler took the first two stanzas of Klopstock’s “Resurrection Ode” to represent the Great Summons, and wrote the remaining verses to deal more explicitly with redemption and resurrection.

The first movement is a funeral march, utilizing the key of C minor in homage to the funeral march of Beethoven’s “Eroica” Symphony. With this movement, the listener gains insight into Mahler’s future musical output as shifting contrasts in mood move from the ferocious to the triumphant.

The opening passage is even written in two different tempos: one for the upper strings, another for the lower. Though the overall structure of the first movement is based on classical sonata form, Mahler works with themes, such as music based on the Gregorian Dies Irae chant, rather than melodies. Though rarely observed in performance, Mahler requests a five minute Though never titled as such by the compause between the first two movements, so poser, the “Resurrection” Symphony is that the audience may collect their thoughts. often viewed as programmatic music.

Notes on the Program

While the work certainly contains extramusical meaning, Mahler felt the work needed no written program. In an 1896 letter to young composer and journalist Max Marschalk, Mahler rejected a request for a program to accompany his symphony: I should regard my work as having completely failed, if I found it necessary to give people like yourself even an indication as to its moodsequence. In my conception of the work, I was in no way concerned with the detailed setting forth of an event, but much rather of a feeling.

The conceptual basis of the work is spoken out clearly in the words of the final chorus, and the sudden emergence of the contralto solo [the fourth movement] throws an illuminating light on the earlier movements.”

While Mahler employs text for the final movements, it is his music that represents his true intentions. The Second Symphony first premiered in Berlin in 1895 with Mahler conducting and was revised several times until 1909. At nearly an hour and a half, the “Resurrection” Symphony is a large work by even Mahler’s standards. The score calls for 4 flutes (all doubling piccolo), 4 oboes (2 doubling English horn), 3 clarinets (the third doubles bass clarinet), 2 E-flat clarinets, 4 bassoons (2 doubling contrabassoon), 10 horns, 8 trumpets, 4 trombones, tuba, organ, 2 harps, 2 sets of timpani, a large assortment of percussion, the “largest possible contingent” of strings, soprano and alto soloists, and large mixed chorus.

— Ben Berlien

The Philharmonia Orchestra of Yale

Shinik Hahm Conductor

Roberta Senatore Librarian

Louis Lohraseb Assistant Conductor

Andrew Parker Manager

Brent LaFlam Production Assistant

Heejung Park Assistant Conductor

* Principal Player

Viola Danielle Wiebe* Xinyi Xu Daniel Stone Ryan Davis Yejin Han David Mason Hyeree Yu Yuan Qi Batmyagmar Erdenebat Catherine Gray Julia Clancy Hee-Sun Yang

Violin 1 Ludomil Wojtkowski, concertmaster Ryan Truby Jacob Joyce Adelya Nartadjieva Dae Hee Ahn Bora Kim Marina Aikawa Ethan Hoppe Ye Hyung Chung Michael Duffett Melanie Clapies Yefim Romanov Avi Nagin Benjamin Hoffman Violin 2 Xi Liao* Do Hyung Kim Julia Ghica Jessica Oddie Inyoung Hwang Elly Toyoda Barbora Kolarova Jiazhi Wang Jinyou Lee Celia Zhang Ruda Lee Zou Yu

Cello Ji Eun Lee* Zhilin Wang Allan Hon Jiwon Kang Bora Kim Paul Kalmanss0n Alan Ohkubo Nayeon Kim Chang Pan Yifan Wu Sohyang Yoo Yoonha Yi Double Bass Christopher Lettie* Will Robbins Levi Jones Andrea Beyer Luke Stence Samuel Suggs Ha Young Jung

Flute Jacob Mende-Fridkis* Christina Hughes Victor Wang Jonathan Slade Oboe Kemp Jernigan* Ron Cohen Mann Fiona Last Ross Garton Clarinet Kevin Schaffter* Joshua Anderson Kenta Akaogi William Kennedy Chi Hang Fung Bassoon Barbara Bentley* Cornelia Sommer Yen-Chen Wu Bogdan Dumitriu Horn Patrick Jankowski* Reese Farnell Thomas Park Cody Halquist John Craig Hubbard Sarah Boxmeyer Chuta Chulavalaivong Sarah Ford

Trumpet Carl Stanley* Aaron Krumsieg Timothy Will Daniel Venora Mikio Sasaki Patrick Durbin Trombone Omar Dejesus* Elisabath Shafer Richard Liverano Daniel Fears Tuba John Caughman Timpani Terrence Sweeney* Georgi Videnov Yifei Fu Percussion Milan Kramer Jeffrey Stern Yifei Fu Matthew Keown Harp Haley Rhodeside NoĂŤl Wan Organ Robert Bennesh

Yale Camerata

Marguerite L. Brooks Conductor

* Chamber Chorus + Assistant Conductor

Biz Auld Louis Auld Helen Barnstable* Mark Biggins*+ Michael Blaakman* Katherine Blossom* Jerry Boryca Faith Brill Andy Celella Karen Clute Stephanie Cohen Mary Copeley Christian Crocker*+ Dayna Drake Carson Dunlap Emily Eisenlohr TJ Fitzgerald* Josh Goodbaum Bob Havery Bonnie Havery Patrick Holland* Max Holman*+ Allison Hsiang* Joyce Hsiang* Katie Jones* Clara Kim* Nathan Kloczko Don Kohn Ron Krauss Yonatan Landau Michel Ledizet* Tony Leonard Julia Luthringer Mohit Manohar

Hayley McCullough* Lauren-Ann Metskas Catherine Miller Greg Muccilli Eleanor Muise* Caroline Murphy Patrick Murray*+ Tawnie Olson* Laurie Ongley* Samantha Ostrowski* Henry Park* Sarah Paquet*+ Aaron Peisner*+ Natalie Plaza Grayson Price Michael Racine* Laura Rais Chitra Ramalingam Angharad Rebholz* Sarah Reed* Daniel Reid* Annika Schmitz Abigail Smith* Angela Steinauer Peter Thompson* Layla Treuhaft-Ali Stephanie Tubiolo*+ Molly VanDams MariĂŤtta van der Tol Michael Weinberg*+ Sandra Yanielli Arthur Zinn Lawrence Zukof*

The Yale Glee Club

Jeffrey Douma Music Director T. Sean Maher Manager

Soprano I Emily Boring Katie Harmer Emma Hathaway Sierra Janik Emily Johnson Alison Levosky Erika Lynn-Green Sarah Norvell Abby Sneider Kiri Van Lengen-Welty Soprano II Grace Castillo Cecilia Dumouchel Sedina Dzodzomenyo Eleanor Killiam Brooke Lamell Courtney Sanders Emma Schmidt Eleanor Slota Jane Strauch Jessica Wang Lisa Zhang Alto I Zoya Afridi Irene Connelly Mari Kawakatsu Madeline Lemberg Jenna Li Serene Li Ruthie Prillaman Rachel Protacio Julia Rothchild Claire Williamson Jessica Yang

Alto II Claire Connell Marianna Gailus Mikayla Harris Audrey Luo Meg Mathile Nora May Mary Petzke Victoria Pierre Esther Portyansky Maria Luisa Torruella Ayanna Woods Scarlett Zuo

Tenor I Xinyuan Chen Tyler Harkness Caleb Hoffman Max Holman Wade Newville Ryan Reza Dan Rubins Donovan Sabog Alex Turner Tenor II Laurence Bashford Andrew Bean Cooper D’Agostino Myles Garbarini Wee Shian Goh Andrew Kilby Pietro Miozzo Daniel Packard Jonathan Rajaseelan

Bass I Elias Bartholomew William Benet Nick Biniaz-Harris Tristan Brockwell Dayrin Jones Timothy Laciano Retley Locke Gabriel Petegorsky Paul Styslinger Greg Suralik Stephan Sveshnikov Bass II Mitchell Bryski Ryan Dailey Sam Hollister Simon Horn Cory Myers Evan Patel Jonah Pearl Jeb Roberts Caleb Small Christopher Valdes Fred Van Hasselt

The Philharmonia Orchestra of Yale

Office Assistant Timothy Gocklin Music Librarians Nicholas DiBerardino Batmyagmar Erdenebat Allan Hon Fiona Last Michael Laurello David Mason Richard Liverano Yefim Romanov Marie Oka Matthew Keown Stage Crew Samuel Bobinski Patrick Durbin Batmyagmar Erdenebat Julia Ghica John Kossler Fiona Last Christopher Lettie Louis Lohraseb Thomas Park Elisabeth Shafer Terrence Sweeney Georgi Videnov Yifei Fu Matthew Keown John Weisgerber John Caughman

The Philharmonia Orchestra of Yale is one of America’s foremost music school ensembles. The largest performing group at the Yale School of Music, the Philharmonia offers superb training in orchestral playing and repertoire. Performances include an annual series of concerts in Woolsey Hall, as well as Yale Opera productions in New Haven’s historic Shubert Theater. The Yale Philharmonia has also performed on numerous occasions in Carnegie Hall and Alice Tully Hall in New York City and at the Kennedy Center in Washington, D.C. In 2008, the Philharmonia undertook its first tour of Asia, with acclaimed performances in the Seoul Arts Center, the Shanghai Grand Theatre, and Beijing’s Forbidden City Concert Hall and National Center for the Performing Arts.

The beginnings of the Yale Philharmonia can be traced to 1894, when an orchestra was organized under the leadership of the School’s first dean, Horatio Parker. The orchestra became known as the Philharmonia Orchestra of Yale in 1973, with the appointment of Otto-Werner Mueller as resident conductor and William Steinberg, then music director of the Pittsburgh Symphony, as Sanford Professor of Music.

Brazilian conductor Eleazar di Carvalho became music director in 1987, and Gunther Herbig joined the conducting staff as guest conductor and director of the Affiliate Artists Conductors program in 1990. Lawrence Leighton Smith, music director of the Louisville Symphony Orchestra, conducted the Philharmonia for a decade, and upon his retirement in 2004, Shinik Hahm was appointed music director.

Artist Profiles

shinik hahm conductor

Shinik Hahm has established himself as one of the most dynamic and exciting conductors of his generation. His guest-conducting appearances include engagements in North and South America, Europe and Asia. He has led orchestras in the world’s most prestigious concert halls, such as Carnegie Hall, the Concertgebouw in Amsterdam, the Kennedy Center in Washington D.C, Walt Disney Hall in Los Angeles, Verizon Hall in Philadelphia’s Kimmel Center, Benaroya Hall in Seattle, Joseph Meyerhoff Symphony Hall in Baltimore, Boston Symphony Hall, Rudolfinum in Prague, the Seoul Arts Center, Tokyo Opera City Hall, and the National Theater of China.

As music director and chief conductor of the Korean Broadcasting System (KBS) Symphony Orchestra, Maestro Hahm led the orchestra on tour with concerts at the General Assembly of the United Nations, the Kennedy Center, and Carnegie Hall, the last of which was hailed by the New York Times as “warm, sympathetic” and “altogether respectable.” Hahm previously served as music director of the Daejeon Philharmonic Orchestra from 2001 to 2006, during which time the orchestra earned national attention and international acclaim through concert tours in the United States and Japan.

Committed to the pedagogy of conducting, Maestro Hahm has been a member of the conducting faculty at the Yale University School of Music since 1995. His students from Yale’s conducting program have won top prizes at the Besançon, Pedrotti, Toscanini, and China National conducting competitions, and are active at the helm of various orchestras in the United States, Europe, and Asia.

Hahm studied conducting at Rice University, where he received the Shepherd Society Award, and the Eastman School of Music, where he earned the Walter Hagen Conducting Prize.

In 1991, Hahm won the prestigious Gregor Fitelberg Competition for Conductors, and in 1995, Maestro Hahm was decorated by the Korean government with the Arts and Culture Medal for his significant contributions to classical music. He is an energetic and avid soccer player.

Yale Camerata

Conductor Marguerite l. Brooks Manager Melissa Rooklidge

Founded in 1985 by its conductor, Marguerite L. Brooks, the Yale Camerata is a vocal ensemble sponsored by the Yale Institute of Sacred Music. The group’s singers are Yale graduate and undergraduate students, faculty, staff, and experienced singers from the New Haven community. The Camerata performs a widely varied spectrum of choral literature, with a specific commitment to recently composed choral music. It has collaborated with the Yale Glee Club, Yale Philharmonia, Yale Symphony, Yale Band, Yale Chamber Players, Yale Collegium Musicum, the New Haven Chorale, and the symphony orchestras of Hartford, New Haven, and Norwalk.

The ensemble has also performed for Yale Music Spectrum and New Music New Haven. The chamber chorus of the Yale Camerata has performed at the Yale Center for British Art and at Lincoln Center’s Alice Tully Hall, and has traveled to Germany to perform the Berlioz Requiem with choruses from Germany, Japan, the Netherlands, Israel, Great Britain, and the Ukraine.

The chamber chorus has also done a residency at Saint Paul’s Cathedral in London, England. The Camerata has been heard on Connecticut Public Radio and on national broadcasts of National Public Radio’s program “Performance Today.” Guest conductors have included Robert Shaw, Jaap Schröder, Sir David Willcocks, Krzysztof Penderecki, Sir Neville Marriner, Helmuth Rilling, Nicholas McGegan, Dale Warland, Stephan Parkman, Erwin Ortner, Simon Carrington and David Hill.

With the Institute of Sacred Music, the Camerata has commissioned and premiered works of Aaron J. Kernis, Martin Bresnick, Daniel Kellogg, Stephen Paulus, Daniel Pinkham, Ellen Taaffe Zwilich, Robert Kyr, and Tawnie Olson, among others. The chorus has sung first performances of works by many composers, including Kathryn Alexander, Tawnie Olson, Francine Trester, and many student works.

Artist Profiles

Marguerite L. Brooks holds degrees from Mount Holyoke College and Temple University. She has served on the faculties of Smith and Amherst Colleges, and was director of choral music at the State University of New York at Stony Brook.

Brooks joined the Yale faculty in 1985 as chair of the choral conducting program at the School of Music and director of choral music at the Institute of Sacred Music. Active as a guest conductor, teacher and clinician, she was a juror for the for marguerite l. brooks the most recent Eric Ericson conducting competition in Sweden; she has conducted, given masterclasses, taught and conductor adjudicated in North and South America, Europe and Asia.

Brooks is the director of music at the Church of the Redeemer in New Haven.

The Yale Glee Club

From its earliest days as a group of thirteen men from the Class of 1863 to its current incarnation as an eighty-voice chorus of women and men, the Yale Glee Club, Yale's principal undergraduate mixed chorus and oldest musical organization, has represented the best in collegiate choral music.

Director Jeffrey Douma Manager T. Sean Maher

During its recent 150 th anniversary season, the Glee Club's performances received rave reviews in the national press, from The New York Times ("One of the best collegiate singing ensembles, and one of the most adventurous...an exciting, beautifully sung concert at Carnegie Hall") to The Washington Post ("Under the direction of Jeffrey Douma, the sopranos – indeed, all the voices – sang as one voice, with flawless intonation...their treacherous semitones and contrapuntal subtleties became otherwordly, transcendent even").

The students who sing in the Yale Glee Club might be majors in music or engineering, English or political science, philosophy or mathematics. They are drawn together by a love of singing and a common understanding that raising one's voice with others to create something beautiful is one of the noblest human pursuits.

The Glee Club’s repertoire embraces a broad spectrum of choral music from the 16th century to the present, including Renaissance motets, choral-orchestral masterworks, folk music, spirituals, and traditional Yale songs. Committed to the creation of new music, the Glee Club presents frequent premieres of newly commissioned works and sponsors two annual competitions for young composers. They have recently been featured on NPR’s Weekend Edition, WQXR’s “The Choral Mix with Kent Tritle,” and BBC Radio 3’s “The Choir.”

One of the most traveled choruses in the world, the Yale Glee Club has performed in every major city in the United States and embarked on its first overseas tour in 1928. It has since appeared before enthusiastic audiences throughout North and South America, Europe, Asia, Australia, and Africa.

Artist Profiles

Since the fall of 2003, Jeffrey Douma has served as Director of the Yale Glee Club, and also serves as Professor of Conducting at the Yale School of Music, where he teaches in the graduate choral program, as founding Director of the Yale Choral Artists, and as Artistic Director of the Yale International Choral Festval, established in 2012. jeffrey douma director

Douma has appeared as guest conductor with choruses and orchestras on six continents, including the Royal Melbourne Philharmonic Orchestra, Lithuanian Chamber Orchestra, Daejeon Philharmonic Choir, Buenos Aires Philharmonic Orchestra, Moscow Chamber Orchestra, Tbilisi Symphony Orchestra, Orquesta Solistas de la Habana, Istanbul’s Tekfen Philharmonic, the Symphony Choir of Johannesburg, the New Haven Symphony Orchestra, and the Central Conservatory’s EOS Orchestra in Beijing. He also currently serves as Musical Director of the Yale Alumni Chorus, which he has lead on eight international tours. He has prepared choruses for performances under such eminent conductors as William Christie, Valery Gergiev, Sir Neville Marriner, Sir David Willcocks, Dale Warland, Nicholas McGegan, Mark Morris, and Helmuth Rilling. Engagements in the 2014-15 season include festivals and masterclasses in New York, Colorado, Minnesota, and Connecticut, and an appearance as guest conductor of Norway’s Edvard Grieg Kor. An advocate of new music, Douma established the Yale Glee Club Emerging Composers Competition and Fenno Heath Award, presents frequent premieres of newly commisioned works, and serves as editor of the Yale Glee Club New Classics Choral Series, published by Boosey & Hawkes. His original compositions are published by G. Schirmer.

Douma earned a Bachelor of Music degree from Concordia College, Moorhead, MN, and the Doctor of Musical Arts degree in conducting from the University of Michigan. He lives in Hamden, CT, with his wife, pianist and conductor Erika Schroth, and their two children, Will and Sofia.

Artist Profiles

emily workman soprano

leah hawkins mezzo-soprano

Lyric soprano Emily Workman is currently pursuing her Master of Music degree at Yale’s prestigious opera program. In the 2013–2014 season, Ms. Workman performed as Fiordiligi in Mozart's Così fan tutte at Brigham Young University under the direction of Kory Katseanas. In the same season, she performed as Antonia in Offenbach’s Les contes d’Hoffmann, Susannah in Floyd’s Susannah, and Mimì under the direction of Giuseppe Grazioli and Michael Gieleta in Yale Opera’s production of Puccini’s La Bohème at the Shubert Theater. The fall of 2014 will see Ms. Workman performing as Sister Angelica in Puccini’s Suor Angelica with the New Haven Symphony. Ms. Workman holds a bachelor’s degree from Brigham Young University, where she received a talent scholarship and won the Nancy Peery Marriott Singer of the Year prize.

Leah Hawkins, mezzo-soprano, is a second-year Master of Music degree candidate in the Yale School of Music's opera program. Her roles at Yale include Tisbe in La Cenerentola and La Voix in Les contes d’Hoffmann. Other roles include Zita in Gianni Schicchi, Maria in Porgy and Bess, Meg Page (cover) in Falstaff, and Gertrude in Hansel and Gretel. She has been a featured soloist on the Kennedy and Kimmel Center stages and has been a guest soloist with the Mid-Atlantic Symphony and Black Pearl Orchestras. She has participated in master classes with Alan Held, Laquita Mitchell, Marquita Lister, Cori Ellison, Denyce Graves, Angela Brown, and Giuseppe Lanzetta in Florence, Italy. In summer 2014 she was a member of the Bonfils-Stanton Foundation Artists Training Program of Central City Opera, where she performed the roles of The Paralegal and First Mother in Jake Heggie’s Dead Man Walking.

She has participated in Baltimore Summer Opera Workshop, the Martina Arroyo Foundation’s Prelude to Performance Program, and Houston Grand Opera’s Young Artist Vocal Academy. She is a 2014 Encouragement Award winner of the Marcello Giordani International Vocal Competition, the 2013 National First Artists, a semi-finalist in the 2013 Annapolis Opera Competition, and an Encouragement Award winner at the 2013 Mid-Atlantic Region Finals of the Metropolitan Opera National Council Auditions. Leah received her B.A. in music from Morgan State University.

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Upcoming Events Brentano String Quartet september 23 Oneppo Chamber Series Morse Recital Hall | Tuesday | 7:30 pm Mozart: String Quartet No. 17, “The Hunt” Bartok: String Quartet No. 3, Sz. 85 Schubert: String Quartet No. 14 in D minor, “Death and the Maiden,” D. 810 Tickets start at $26, Students $13

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