Program - Shakespeare Festival: A Midsummer Night's Dream

SOUNDINGS 2015-2016 | COLORADOSYMPHONY.ORG PROGRAM 1

MASTERWORKS • 2015-2016SHAKESPEARE FESTIVAL: A MIDSUMMER NIGHT’S DREAM

COLORADO SYMPHONY HANS GRAF, conductor

MAUREEN THOMAS, actor NADYA HILL, soprano REBECCA ROBINSON, mezzo-soprano

COLORADO CHILDREN’S CHORALE, DEBORAH DESANTIS, artistic director

Friday, March 4, 2016 at 7:30 pmSaturday, March 5, 2016 at 7:30 pmBoettcher Concert Hall

TCHAIKOVSKY The Tempest, Fantasy-Overture after Shakespeare, Op. 18

— INTERMISSION —

MENDELSSOHN Incidental Music to Shakespeare’s A Midsummer Night’s Dream, Opp. 21 and 61 Overture Scherzo (Entr’acte to Act II) Melodrama: “Over hill, over dale” — March of the Elves (Act II, Scene 1) Song with Chorus: “You spotted snakes … Philomel, with melody” (Act II, Scene 2) Melodrama: “What thou seest, when thou dost wake” (Act II, Scene 2) Intermezzo before Act III Melodrama: “What hempen homespuns have we swaggering here” (Act II, Scene 2) Nocturne (Act III, Scene 2) Melodrama: “Be as thou wast” (Act IV, Scene 1) Wedding March (Entr’acte to Act V) Fanfare and Funeral March (Act V) Dance of the Rustics (Act V) Reprise of the Wedding March (Act V) Finale: “Through this House” (Act V)

Friday’s concert is grateFully dedicated to adam and stephanie donner

PROGRAM 2 SOUNDINGS 2015-2016 | COLORADOSYMPHONY.ORG

MASTERWORKS BIOGRAPHIESHANS GRAF, conductor

Known for his wide range of repertoire and creative programming, the distinguished Austrian conductor Hans Graf is one of today’s most highly respected musicians. Appointed Music Director of the Houston Symphony in 2001, Graf concluded his tenure in May 2013 and is the longest serving Music Director in the orchestra’s history. Prior to his appointment in Houston, he was the Music Director of the Calgary Philharmonic for eight seasons and held the same post with the Orchestre National Bordeaux Aquitaine for six years. He also led the Salzburg Mozarteum Orchestra

from 1984 to 1994. Graf is a frequent guest with all of the major North American orchestras. An experienced opera conductor, Graf first conducted the Vienna State Opera in 1981 and has since led productions in the opera houses of Berlin, Munich, Paris and Rome among others. His extensive opera repertoire includes several world premieres. Recent opera engagements include Parsifal at the Zurich Opera, Boris Godunov at the Opera National du Rhin in Strasbourg, and two rarely produced operas by Strauss and Korngold at the famed Volksoper Vienna. Born near Linz, Graf first studied violin and piano. After receiving diplomas in piano and conducting from the Musikhochschule in Graz, he continued his studies in Italy with Franco Ferrara and Sergui Celibadache and in Russia with Arvid Jansons. Graf has been awarded the Chevalier de l’Ordre de la Legion d’Honneur by the French government for championing French music around the world as well as the Grand Decoration of Honour in Gold for Services to the Republic of Austria.

MAUREEN THOMAS, actor

Maureen Thomas is a Canadian stage and film actress with extensive experience in both classical and contemporary works. Recent theater work includes leading roles in Cabaret, Driving Miss Daisy, The Cherry Orchard, and On Golden Pond. Recent television work includes a supporting role in the Simon Beaufoy scripted BBC miniseries Burn Up, starring Bradley Whitford and Neve Campbell; a guest - starring role in the comedy series Psych; a supporting role in the Christmas TV special Deck the Halls; and a recurring role in Stephen Spielberg’s Dreamworks mini-series Into the West.

This performance of scenes from Shakespeare’s beloved A Midsummer Night’s Dream, presented within the brilliant score of Mendelssohn’s Incidental Music, is unique in its use of a single actor to portray all of the characters. Maestro Graf, celebrated playwright John Murrell and Maureen Thomas collaborated on choosing scenes from the play which would both tell the story and showcase the complete Mendelssohn score. Maureen Thomas has performed this critically acclaimed version of A Midsummer Night’s Dream with orchestras in Canada, the United States (including the National Symphony Orchestra and the Houston Symphony), and France.

MASTERWORKS BIOGRAPHIESNADYA HILL, soprano

Nadya Hill, a Colorado native, has been featured as a vocal and violin soloist with various orchestras across the country, and is comfortable in a wide range of musical styles from classical to jazz and ethnic music. Hill graduated from the University of Michigan with degrees in vocal and violin performance, both with highest honors. While studying there, she worked closely with Stephen Shipps, Caroline Helton, Martin Katz, William Bolcom, and Edward Parmentier. A current student of Jennifer Bird-Arvidsson, Hill is continuing her musical education at the University of Colorado where

she sang the role of Despina in the Eklund Opera’s 2015 production of Così fan Tutte. Ms. Hill has also studied and performed at the International Music Academy in Pilsen, Czech Republic and at the Villa Corsi Salviati in Florence, Italy. At the age of 16, she performed a series of solo recitals in the greater-Manchester area of the UK. Nadya recently premiered and recorded Otherwise: Poems of Jane Kenyon by Robert Spillman, with the composer at the piano. She frequently works with composer William Hill: recently premiering El Pero Azul for violin and orchestra and performing Hill’s African Sketches on the Colorado Symphony’s 2012 Drums of the World. Ms. Hill is also a member of the award-winning jazz ensemble “Bill Hill and Friends.” An avid advocate for the arts, Hill is currently writing a JavaScript-based application to aid in musical learning, established the Cavallo Scuro studio as a visual artist, and teaches with the Mile-High Strings — a music program that provides free violin lessons in title-one Denver schools.

REBECCA L. ROBINSON, mezzo-soprano Rebecca L. Robinson is quickly making a name for herself as a rising talent in the opera world. A student of Abigail Nims, she is in her second year of the Professional Certificate program at the University of Colorado–Boulder, where she has been seen in Eklund Opera productions as the title role in Rossini’s La Cenerentola (Cinderella), Ottone in Monteverdi’s L’incoronazione di Poppea, and Dorabella in Cosi fan tutte. Last year she was named a finalist in the Bruce Ekstrand Competition, which recognizes and awards development grants to promising graduate students, and had

the honor of performing in recital with the world-renowned Takács Quartet. This spring she will join conductor, Guillermo Figueroa, and the Lynn Philharmonia for a performance of Berlioz’s Les nuits d’ete, (Boca Raton, FL), followed by a cantata performance with the Colorado Bach Ensemble, and a Schubert recital series with Austin-based group, Texas Winds. She will make her Bellingham Festival of Music debut as the mezzo soloist in Mozart’s Requiem later in the summer (Bellingham, WA). Rebecca holds a Master’s degree from McGill University in Montreal, Quebec, and a Bachelor’s from DePaul University, where she worked with renowned teachers Sanford Sylvan, Jane Bunnell, and Susanne Mentzer.


MASTERWORKS BIOGRAPHIESDEBORAH DESANTIS, artistic director, Colorado Children’s Chorale

Deborah DeSantis has been instrumental in the growth and success of the Colorado Children’s Chorale since 1983. She regularly conducts performances throughout metropolitan Denver and has led numerous tours, nationally and internationally. Her passion for artistic excellence and music education has been a driving force in the development of the Chorale’s School Partnership program, which she established in 1994. In addition to designing and directing community performance residencies for the Chorale, she frequently serves as guest clinician and

conductor for school and community children’s choral programs throughout the nation. Debbie has conducted seminars and workshops for Chorus America, the American Choral Director’s Association, Colorado Music Educators Association, the Choristers’ Guild and the Suzuki Institute. She has served as co-chair of Chorus America’s Children/Youth Choir Constituency.

COLORADO CHILDREN’S CHORALE

For more than forty years the Colorado Children’s Chorale has brought its artistry and charm to audiences throughout the world. With a diverse repertoire ranging from fully staged opera and musical theater to standard choral compositions in classical, folk and popular traditions, the Chorale performs with an innovative stage presentation and a unique theatrical spirit. In recognition of its artistic excellence, the Chorale was awarded the Governor’s Award for Excellence in the Arts, the Mayor’s Award for Excellence in the Arts and the prestigious El Pomar Award for Excellence in Arts and Humanities. Under the leadership of Artistic Director Deborah DeSantis and Executive Director Meg Steitz, the Colorado Children’s Chorale annually trains 500 members between the ages of 7 and 14 from all ethnicities and socio-economic backgrounds representing more than 180 schools in the Denver metro area and beyond. Since its founding in 1974, the Chorale has sung countless performances with some of the world’s finest performing arts organizations, performed for numerous dignitaries, and appeared in several television and radio broadcasts. The Performance Program includes a series of self-produced concerts, numerous performances with other Colorado arts organizations and touring around the world. The Chorale presents annual performances of Christmas with the Children’s Chorale and Spring with the Children’s Chorale at Boettcher Concert Hall in the Denver Performing Arts Complex, A Classical Afternoon at Montview Presbyterian Church and Performing Small Miracles at Colorado Heights Theater. Spring Fling Sing! is presented in venues across the metro area. This season also includes A Colorado Christmas, Sierra Boggess in Concert, A Midsummer Night’s Dream and Carmina Burana with The Colorado Symphony, and Ballad of Baby Doe and Tosca with Central City Opera.


MASTERWORKS BIOGRAPHIESCOLORADO CHILDREN’S CHORALE ROSTERDeborah DeSantis, Artistic Director and Conductor Mary Louise Burke, Associate Director and Conductor

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MASTERWORKS PROGRAM NOTESPETER ILYICH TCHAIKOVSKY (1840-1893): The Tempest, Fantasy-Overture after Shakespeare, Op. 18Peter Ilyich Tchaikovsky was born on May 7, 1840 in Votkinsk, and died in St. Petersburg on November 6, 1893. The Tempest was composed in 1873, and premiered on December 19, 1873 in Moscow, conducted by Nikolai Rubinstein. The score calls for woodwinds in pairs plus piccolo, four horns, two trumpets, three trombones, tuba, timpani, percussion and strings. Duration is about 23 minutes. Last performed on January 11-13, 2001, with Marin Alsop on the podium.

“For several days after hearing your Tempest, I was in a delirium from which I could not emerge.” With those excited words in a letter of December 1876 began the fruitful but strange relationship between Peter Tchaikovsky and Nadezhda von Meck, the sensitive, music-loving widow of a wealthy railroad baron. Tchaikovsky had established himself during the preceding three years as a leading voice in Russian music with the premieres of his Second and Third Symphonies, The Tempest, Piano Concerto No. 1, Francesca da Rimini, the String Quartets Nos. 2 and 3 and the operas The Oprichnik and Vakula the Smith, but he still could not afford to quit his irksome job teaching at the Moscow Conservatory to devote himself entirely composition. His boss at the Conservatory, the brilliant pianist Nikolai Rubinstein, approached Mme. von Meck with the suggestion that perhaps she might commission a new work that would help to ease Tchaikovsky’s financial position, and he played for her a piano version of The Tempest to support his petition. The music struck to the core of her being, and she not only began to correspond with Tchaikovsky but offered him such generous financial support that he was able to leave the Conservatory — a result Rubinstein certainly had not desired. Mme. von Meck became not just Tchaikovsky’s artistic patroness but also the sympathetic sounding-board for reports on the whole range of his activities — emotional, musical, personal. Though they never met, her place in Tchaikovsky’s life was enormous and beneficial.

The subject for The Tempest, an “orchestral fantasy-overture after Shakespeare” (not to be confused with the overture The Storm, Op. 76 of 1864, inspired by a play of Ostrovsky), was suggested to Tchaikovsky early in 1873 by Vladimir Stasov, the influential journalist and philosophical shepherd to the musical wing of the Russian nationalist movement. When Tchaikovsky expressed interest in the idea, Stasov worked out a detailed literary plan for the piece, which the composer streamlined and used as a preface to the score: “The sea — The magician Prospero sends Ariel to raise a tempest, which wrecks Ferdinand’s boat — The magic island — First timid feelings of love between Miranda and Ferdinand — Ariel — Caliban — The lovers give themselves up to the spell of passion — Prospero renounces his magic power and leaves the island — The sea.” (Stasov supplied a similar outline for the Manfred Symphony a dozen years later.) Tchaikovsky wrote the work in eleven days in August 1873 “without any effort, as though moved by some supernatural force” at the country estate near Kiev of his friend Count Vladimir Vasilyev-Shilovsky, whose brother Konstantin was to help write the libretto for Eugene Onegin the following year. The Tempest was premiered to much acclaim by the Moscow branch of the Russian Musical Society under Nikolai Rubinstein’s direction on December 19th, and the composer himself conducted it on several occasions, but he later came to feel that it was not up to the standard of his two other symphonic fantasies, Romeo and Juliet and Francesca da Rimini. Though Tchaikovsky’s ultimate judgment relegated The Tempest to the fringes of the repertory, the work still displays the same mastery of orchestration, melodiousness, tone-painting and sincerity of expression that are the hallmarks of his better-known creations.


MASTERWORKS PROGRAM NOTESFELIX MENDELSSOHN (1809-1847): Incidental Music to A Midsummer Night’s Dream, Opp. 21 and 61Felix Mendelssohn was born on February 3, 1809 in Hamburg, and died on November 4, 1847 in Leipzig. He composed the Overture to Shakespeare’s comedy in 1826, when he was seventeen. The incidental music was written seventeen years later, in 1843, for a production of the play in Potsdam. The Overture was publicly premiered in Stettin on February 20, 1827, conducted by Carl Loewe. The incidental music was heard for the first time when the composer conducted it at the opening of the Berlin production on November 14, 1842. The score calls for woodwinds in pairs, two horns, two trumpets, three trombones, tuba, timpani, percussion and strings. Duration is about 60 minutes. The orchestra last performed the work on April 22 & 23, 2011, with Andrew Grams conducting.

Berlin in the 1820s was a populous, densely packed city with few open spaces, “a city without lungs,” wrote the art historian Karl Scheffler. Abraham Mendelssohn, a wealthy banker, and father of Felix, was one of those who could afford to live beyond the city gates, where the open country made life more pleasant. The Mendelssohn home was a mansion, a small palace really, set on ten verdant acres. The residence boasted a hall for theatrical productions, while the garden house was arranged so that its large interior could be used for concerts with an audience of several hundred. There were, in fact, regular Sunday afternoon musicales in the Mendelssohn household, with Felix and his older sister, Fanny, being regular participants. (It was for those events that Mendelssohn composed and — a luxury rare among composers — heard his early music performed immediately, including the dozen lovely Symphonies for Strings.) Also on the grounds was a beautiful garden, a magical place for young Felix, where the warm days of summer were spent reading and dreaming. In later years, he told his friend the English composer William Sterndale Bennett about an evening in July 1826, “It was in that garden one night that I encountered Shakespeare.”

Felix and Fanny were enamored in those years of reading the works of Shakespeare, who, next to the arch-Romantic Jean-Paul, was their favorite writer. Shakespeare’s plays had been appearing in excellent German translations by Ludwig Tieck and August Schlegel (father Abraham’s brother-in-law) since the turn of the century, and the young Mendelssohns particularly enjoyed the wondrous fantasy world of A Midsummer Night’s Dream. The play inspired the already accomplished budding composer, and plans began to stir in his imagination. Early in July, he wrote in a letter, “I have grown accustomed to composing in our garden. Today or tomorrow I am going to dream there [the music to accompany] A Midsummer’s Night’s Dream. This is, however, an enormous audacity....” Within a few days, however, he had embarked on his “audacity,” and was writing an Overture to the play. By August 6th, the work was done. On November 19th, Felix and Fanny played the original piano duet version of the score on one of their Sunday musicales, and a private orchestral performance followed before the end of the year. In February, the work was first played publicly in Stettin. It immediately garnered a success that has never waned.

By 1842, Mendelssohn was the most famous musician in Europe and in demand everywhere. He was director of the superb Gewandhaus Orchestra in Leipzig, a regular visitor to England, and Kapellmeister to King Friedrich Wilhelm IV of Prussia in Berlin. For Mendelssohn’s Berlin duties, Friedrich required incidental music for several new productions at the Royal Theater, including Sophocles’ Oedipus and Antigone, Racine’s Athalie and Shakespeare’s The Tempest and A Midsummer Night’s Dream. This last would, of course, include the celebrated Overture Mendelssohn had written when he was seventeen, exactly half his age in 1842. He


MASTERWORKS PROGRAM NOTEScomposed the additional numbers of the incidental music the following spring, creating a perfect match for the inspiration and style of the Overture. The premiere of the new production in November was an enormous triumph.

Franz Liszt wrote of the Midsummer Night’s Dream music, “Mendelssohn had a real capacity for depicting these enchanted elves, for interpolating in their caressing, chirping song the bray of the donkey without rubbing us the wrong way.... No musician was so equipped to translate into music the delicate yet, in certain externals, embarrassing sentimentality of the lovers; ... no one could paint as he did the rainbow dust, the mother-of-pearl shimmering of these sprites, could capture the brilliant ascent of a royal wedding feast.” The Overture is the greatest piece of orchestral music ever composed by one so young, including Mozart and Schubert. Woven into its sonata form are thematic representations of the woodland sprites, the shimmering light through forest leaves, the sweet sighs of the lovers, even the “ee-ah” braying of that memorable Rustic, Bottom, when he is turned into an ass. In matters of formal construction, orchestral color and artistic polish, this Overture is, quite simply, a masterpiece.

The Scherzo, the Entr’acte to Act II, is the music that, in the words of Sir George Grove, “brought the fairies into the orchestra and fixed them there.” Its winsome grace and incandescent sonorities defined in large part the idea of delicacy in music, and there has never been another major composer (only Saint-Saëns and Berlioz come close) who was so well able to conjure exactly this mood in his works.

The March of the Elves accompanies the appearance of the mischievous woodland sprites in Act II, Scene 1.

The Song with Chorus (“You spotted snakes … Philomel, with melody”) is sung by the fairies in Act II, Scene 2 to protect the sleeping Titania from the evils of the enchanted wood.

The Intermezzo to Act III is a swift and agitated piece that depicts the desperation of Shakespeare’s pairs of lovers caused by a magic spell that has made one of the men fall in love with the wrong woman; the movement concludes with a bumptious country dance to accompany the entry of the Rustics whose style recalls moments from Der Freischütz by Mendelssohn’s friend, Carl Maria von Weber.

The Nocturne evokes the magic slumber of the lovers in the moonlit forest in Act III, Scene 2 through the burnished sonorities of horns and bassoons.

The majestic Wedding March, the Entr’acte to Act V, is heard at the festive triple wedding of Theseus and Hippolyta, Demetrius and Helena, and Lysander and Hermia.

The Fanfare and Funeral March accompany the arrival of Bottom and the Rustics in Act V to perform their riotous Pyramus and Thisbe. They exit to the Dance of the Rustics.

The Finale, based on themes from the Overture, is the background to the last lines of the play, some spoken over the musical accompaniment, some sung by a soprano soloist and a chorus of fairies to accompany dancing. Mendelssohn’s incidental music to A Midsummer Night’s Dream closes as it began, with the bewitching woodwind chords that seem to distill the very essence of Shakespeare’s enchanted wood.

Inserted into the score are several melodramas, spoken lines accompanied by or interrupting the music — Over hill, over dale (Act II, Scene 1); The spells (Act II, Scene 2); What thou seest, when thou dost wake (Act II, Scene 2); The removal of the spells (Act IV, Scene 1); What hempen homespuns have we swaggering here (Act III, Scene 1); Be as thou wast (Act IV, Scene 1) — as well as a brief instrumental Andante in Act II, Scene 3 and music between Scenes 1 and 2 of Act V that reprises the Wedding March. continued on page 11

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Of the beautiful music for A Midsummer Night’s Dream, Charles O’Connell wrote, “There is a magic in it ... an elfin gaiety, a diaphanous delicacy, an ethereal quality compounded of dew and honey and the nectar of flowers, the scents of flowers on warm midnight airs, the rhythm of flowers and tiny feet dancing ’neath the towering blades of grass. There are pranks and clowning, true love and black magic, pathos and the pleasant, impossible conceits of a poet’s imagination.”

©2015 Dr. Richard E. Rodda

MASTERWORKS PROGRAM NOTES

TEXT OF THE “SONG WITH CHORUS”

You spotted snakes with double tongue,Thorny hedgehogs, be not seen;

Newts and blind-worms, do no wrong,Come not near our fairy queen.

Philomel, with melodySing in our sweet lullaby;

Lulla, lulla, lullaby:Never harm,

Nor spell nor charm,Come our lovely lady nigh;

So, good night, with lullaby.

Weaving spiders, come not here;Hence, you long-legged spinners, hence!

Beetles black, approach not near;Worm nor snail, do no offence.

Philomel, with melody ...

Hence, away! now all is well:One aloof stand sentinel.

TEXT OF THE FINALE

(Chorus) Through the house give glimmering light,

By the dead and drowsy fire:Every elf and fairy sprite

Hop as light as bird from brier;And this ditty, after me,

Sing, and dance it trippingly.

(Solo) First, rehearse your song by rote,

To each word a warbling note:Hand in hand, with fairy grace,

Will we sing, and bless this place.

(Chorus) Through the house...

(Spoken) Now, until the break of day,Through this house each fairy stray.

With this field-dew consecrate,Every fairy take his gait;

And each several chamber bless,Through this palace, with sweet peace;

And the owner of it blestEver shall in safety rest.

(Sung) Trip away; make no stay;Meet me all by break of day.

(Spoken) If we shadows have offended,

Think but this, and all is mended,That you have but slumber’d here

While these visions did appear.And this weak and idle theme,No more yielding but a dream,

Gentles, do not reprehend:If you pardon, we will mend:And, as I am an honest Puck,

If we have unearned luckNow to ’scape the serpent’s tongue,

We will make amends ere long;Else the Puck a liar call:

So, good night unto you all.Give me your hands, if we be friends,

And Robin shall restore amends.

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Program - Shakespeare Festival: A Midsummer Night's Dream