Concert Program PDF

UC ALUMNI CHORUS and SMUIN BALLET
PRESENT
CARMINA BURANA
SATURDAY • APRIL 11th 2015 • 7:30 PM
Berkeley Community Theater • 1930 Allston Way, Berkeley
Shawnette Sulker, soprano
Brian Staufenbiel, tenor
Eugene Brancoveanu, baritone
UC Alumni Chorus
Santa Barbara Choral Society
UC Women’s and Men’s Chorale
Choreographed by Michael Smuin
Conducted by Mark Sumner
1
Program
Four a Capella Choruses from Catulli Carmina (1943)
Odi et Amo
Vivamus mea Lesbia
Miser Catulle
Nulla Potest Mulier
Carl Orff (1895-1982)
UC Alumni Chamber Chorus
Brian Staufenbiel, tenor
Dr. Mark Sumner, conductor
Dark Night of the Soul (2010)
Ola Gjeilo
UC Alumni Chorus
Santa Barbara Choral Society
Shawnette Sulker, soprano
Wm. García Ganz, piano
Liana Berube, Patrice May, Stephanie Ng, Michael Graham, strings
JoAnne Wasserman, conductor
Intermission
Carmina Burana (1936)
Shawnette Sulker, soprano
Brian Staufenbiel, tenor
Eugene Brancoveanu, baritone
UC Alumni Chorus
UC Men’s and Women’s Chorales
Santa Barbara Choral Society
Smuin Ballet
Wm. García Ganz, Mark Johnson, piano
San Francisco State University Percussion Ensemble
Dr. Mark Sumner, conductor
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Carl Orff
Catulli Carmina
Carl Orff ’s Carmina Burana was a warmup to his Catulli Carmina written between 1940 and 1943, after his most resounding triumph debuted
in 1937.
“With the success of Carmina Burana it was expressed that I should
complete this next piece of the triptych in order to work towards a full
evening’s program. After giving up on several ideas, I remembered the
Catulli-choirs which despite being forgotten quickly, I thought about very
strongly.” — Carl Orff
Catulli is the second of Orff ’s three ‘Trionfi’ (triumphs, processions, festivals (varied meaning depending on context)) the last of which is Trionfo
di Afrodite (1951). Catulli Carmina is scored for full chorus, soprano and
tenor soloists and an entirely percussive orchestra (said to be inspired by
Stravinsky’s Les noces). It is a work in three short acts about eternal love.
The work starts with groups of young men and women singing about
their eternal love and devotion for each other, along with rather explicit
statements of the activities they intend with each other. A group of old
men interrupts with sarcastic comments and charges the young people to
listen to the “songs of Catullus”.
These “songs” are based on the love poems by the Roman poet Gaius
Valerius Catullus (84-55 B.C.). The story proper tells of Catullus, a
lovesick young man who falls in love with Lesbia, a woman who does not
remain faithful to him. The tenor and soprano soloists portray Catullus and Lesbia respectively. This story is based loosely on the factual
relationship between Catullus and Clodia, with a text mostly constructed
from his poems, in which he did address Clodia by the pseudonym
Lesbia.
Encouraged by Clodia, he was finally emboldened to declare himself to
her and then enjoyed the happiness of requited love which reaches its
climax, in Orff ’s setting, with the exclamation ‘Vivamus, mea Lesbia,
atque amemus’ (My dearest Lesbia, let us live and love), at which point
the chorus counts their kisses. But this joy is paralleled by the melancholy
of Catullus’s grief when Lesbia betrays him.
In the ‘Praelusio’ the greybeards had tried to explain to infatuated youths
and girls, with the help of Catullus’s bitter experiences, that the madness
of love leads to nothing; but in the final ‘Exodium’ they conclude that
their warnings have been of no avail; once again the youths and girls are
inflamed by mutual passion.
The four unaccompanied songs of Catullus frame the central section of
the work with “I hate and I love” used to begin it and reappears near the
end to underscore the futility of it all.
Carl Orff ’s style, characterized by a systematic stripping down of essentials taken to its logical extreme, relies entirely on the power of rhythm
and word; a rhythm which not only gives the music its pulse, but also
frequently contributes to its formal structure. Rhythmic and melodic cells
are repeated rather than developed which strengthens the dramatic musical impact, as powerful as folk music often enjoys when employed within
more classical contexts.
I hate and I love. Perhaps you ask why I do this?
I do not know, but I feel it happen and I am torn apart.
Let us live, my Lesbia, and love.
As for all the rumors of those stern old men,
Let us value them at a mere penny.
Suns may set and yet rise again, but
Us, with our brief light, can set but once.
One never-ending night must be slept.
Give me a thousand kisses, then a hundred.
Then, another thousand, and a second hundred.
Then, yet another thousand, and a hundred.
Then, when we have counted up many thousands,
Let us shake the abacus, so that no one may know the number,
And become jealous when they see
How many kisses we have shared.
Poor Catullus, you must stop being silly,
and count as lost what you see is lost.
Once the sun shone bright for you,
when you would go whither your sweetheart led,
she who was loved by me as none will ever be loved.
Then there took place those many jolly scenes
which you desired nor did your sweetheart not desire.
Truly the sun shone bright for you.
Now she desires no more: do you too, weakling, not desire;
and do not chase her who flees, nor live in unhappiness,
but harden your heart, endure and stand fast.
Goodbye, sweetheart. Catullus now stands fast:
he will not look for you or court you against your will.
But you will be sorry when you are not courted at all.
Wretch, pity on you! What life lies in store for you!
Who will come to you now? Who will think you pretty?
Whom will you love now? Who will people say you are?
Whom will you kiss? Whose lips will you bite?
But you, Catullus, be resolute and stand fast.
Never a woman could call herself so fondly belovèd
Truly as Lesbia mine has been beloved of myself.
Never were Truth and Faith so firm in any one compact
As on the part of me kept I my love to thyself.
Now is my mind to a pass, my Lesbia, brought by thy treason,
So in devotion to thee lost is the duty self due,
Nor can I will thee well if best of women thou prove thee,
Nor can I cease to love, do thou what doings thou wilt.
Dark Night of the Soul
In 2010, Norwegian-born composer, Ola Gjeilo, was commissioned to
write Dark Night of the Soul in memory of choral legend Norman Luboff.
Gjeilo created music that is by turns relentlessly driving and ethereal to
set three stanzas of text written by 16th Century mystic and confessor, St.
John of the Cross, during his solitary imprisonment. The work paints the
story of St. John’s escape from captivity, after nine months of torture and
imprisonment in a tiny windowless hole for confessing his faith. Gjeilo’s
music perfectly captures the first breath of freedom, the amazement at
being alone in the dark night and free, the sheer grace of deliverance.
One dark night,
fired with love’s urgent longings
— ah, the sheer grace! —
I went out unseen,
my house being now all stilled.
In darkness, and secure,
by the secret ladder, disguised,
— ah, the sheer grace! —
in darkness and concealment,
my house being now all stilled.
On that glad night,
in secret, for no one saw me,
nor did I look at anything,
with no other light or guide
than the one that burned in my heart.
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Carmina Burana
“My collected works begin with the Carmina Burana,” declared Carl Orff
after the successful premiere in 1937 in Frankfurt, where it was staged
with elaborate costumes and scenery. A late bloomer, Orff dismissed
most of his earlier compositions, including three adaptations of stage
works by one of the “inventors” of opera, Claudio Monteverdi, as derivative and withdrew many of them. Carmina Burana also turned out to
be his most well received by far. While he subsequently composed over
a dozen other stage works in a similar musical style, none achieved the
popularity of his “Opus One.”
Perhaps it is the physical exuberance and freshness, coupled with a passionate and sometimes racy text – a full translation in programs and record liner notes used to be expurgated – and an easily accessible musical
language that made Carmina Burana one of the most popular twentiethcentury stage productions. Like Richard Strauss, in this and in his later
stage works Orff aimed at a Gesamtkunstwerk (a concept originally used
by Richard Wagner as the foundation of his operas), an artistic synthesis
in which text, music, scenery and movement are unified and completely
coordinated.
Orff is also known for his educational program of music and dance for
schoolchildren, called Orff-Schulwerk. Beginning with the 1920s, he and
his associate, Gunild Keetman, developed the program whose goal was to
teach children the fundamentals of melody, rhythm and movement, using
the simplest of means found in any kindergarten or elementary school:
the human voice, toy drums – some specially designed by Orff – xylophones, recorders and bongo drums. Later in works for older children,
he added string instruments. The program faltered during the war years,
but in 1948 it became for five years an immensely successful educational
radio show. So-called “Orff instruments” and his pedagogy are still used
in many elementary schools in the United States and Europe.
Carmina Burana is the title given in 1847 to an edited collection of mostly secular songs (“carmina”) from an early thirteenth-century manuscript
discovered in 1803 in a Benedictine abbey of Benediktbeuern in Bavaria
(hence the Latinized form of the name, “burana”). The manuscript
contains about 250 medieval poems and songs, including works in Latin,
Middle High German and French, the bulk of which do not appear in any
other manuscript. They were assigned to categories: clerical poems, love
songs, drinking and gaming songs, and two religious dramas. The collection is clearly a songbook, since many of the pieces included musical notation, but in a style of over a century earlier that did not indicate either
exact pitches or rhythms. The actual melodies had to be reconstructed
from other later manuscripts. The poets are mostly anonymous but are
believed to have been “goliards,” once thought to be defrocked priests
and monks; the term is now considered to be an ironic designation of
poets who wrote satires and parodies for carnivals and festivals. The best
known of these was the “feast of fools,” during which mock popes and
cardinals satirized the religious life and parodied church services.
Although the Benediktbeuern Manuscript contains no exact notation,
Orff was certainly acquainted with the theories of reconstructing medieval secular song, which he often incorporated into his own settings.
Since early medieval musical manuscripts contain no specific instrumental accompaniment or harmony, Orff ’s settings have little or no harmonic
development, relying instead on terse melodic motives and rhythms
derived from the meter of the poems themselves. All of the poetry is
strophic, and Orff creates stunning instrumental interludes and accompaniments whose variety and vivid tone color break the monotony of the
simple melodies.
The selection of poems serves as a symbolic statement on man’s subjugation to Fortune. Contrary to popular belief, the symbol of wheel of
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fortune did not begin as a TV game show but can be traced to ancient
Roman civilization and adorns the original thirteenth-century manuscript. Carmina Burana opens and closes with a choral ode “O, Fortuna,”
a paean to Fortune, Empress of the World, “changeable as the moon.”
Within this frame are three large sections, taken from various parts of the
original manuscript: Part 1 “In Springtime,” includes a sub-section “In
the Meadow;” Part 2 “In the Tavern,” features baritone and tenor soloists;
and Part 3 “The Court of Love,” might just as well be called “The Court
of Seduction.” Each part explores the fundamental human needs: nature,
wine and sex, which, with Fortune on their side, men and women can
enjoy to the fullest.
Part 1, “In Springtime” begins with an a cappella chorus intoning a
welcome to spring. “Veris leta facies,” (Spring’s bright face) with orientalsounding interludes, the modern instruments imitating gongs and bells.
The baritone solo maintains the atmosphere. In the poem welcoming
spring, “Ecce gratum” (Behold spring), two spring dances frame two
poems, “Floret silva nobilis” (The noble forest blooms), first in Latin, then
translated into German, accompanied by drums and tambourines. Orff
includes an effective bit of tone painting on the words “meus amicus hinc
equitavit” (my lover has ridden away). In “Chramer gip die warve mir”
(Hawker, give me some rouge) the women sing the verses, accompanied
by a humming refrain for the men and women.
Part 2, “In the Tavern,” conjures the masculine world of the medieval
tavern, containing perhaps the most distinctive songs in the collection,
notably the lament of the roasting swan, “Olim lacus colueram” (Once I
lived in a lake) – the only song in the piece that departs from the diatonic
intervals of medieval music; and the song of the drunken abbot of Cockaigne (a medieval utopia), whose satirical rant parodies monastic chant.
The section ends with a rousing ode to dissipation and debauchery.
In Part 3, the raucous bar-room ambience shifts to the delicately refined
– but not too refined – world of courtly love, as the women and soprano
soloist admit that a girl without a man lacks all delight. The baritone
returns, now in the guise of a troubadour, the verses of his song, “Dies,
nox et omnia” (Day, night and ever) yearning for his absent lover. Part
3 concludes with a choral dance, “Tempus est iocundum,” (The time has
come to celebrate) debating the merits of chastity and abandon. Entering with a more than two octave leap to a pianissimo high C on the word
“Dulcissime” the solo soprano succumbs to her lover.
In the addendum to Part 3, “Blanziflor et Helena,” a hymn to the beauty
of Helen and Venus, Orff employs the full chorus and orchestra, and
finally brings the wheel of Fortune around full circle with the reprise of
“O Fortuna.”
Although Carmina Burana is often performed in concert (utilizing either
the full orchestration (rarely employed), or Orff ’s two piano/percussion
version), numerous choreographers have tried their hand at staging it for
chorus and dancers as the composer had intended. The focus on rhythm
makes all of the choral numbers quite danceable, and even the solo arias
are easily adaptable to dance. Tonight we are privileged to have Michael
Smuin’s choreography and the Smuin Ballet available to fully realize it
before our very eyes.
FORTUNA IMPERATRIX MUNDI
1.
O Fortuna O Fortune,
velut luna like the moon
statu variabilis, you are changeable,
semper crescis ever waxing
aut decrescis; and waning;
vita detestabilis hateful life
nunc obdurat first oppresses
et tunc curat and then soothes
ludo mentis aciem, as fancy takes it;
egestatem,poverty
potestatem and power
dissolvit ut glaciem. it melts them like ice.
Sors immanis Fate, monstrous
et inanis, and empty,
rota tu volubilis, you whirling wheel,
status malus, you are malevolent,
vana salus well-being is vain
semper dissolubilis, and always fades to nothing,
obumbratashadowed
et velata and veiled
michi quoque niteris; you plague me too;
nunc per ludum now through the game
dorsum nudum I bring my bare back
fero tui sceleris. to your villainy.
Sors salutis Fate is against me
et virtutis in health
michi nunc contraria, and virtue,
est affectus driven on
et defectus and weighted down,
semper in angaria. always enslaved.
Hac in hora So at this hour
sine mora without delay
corde pulsum tangite; pluck the vibrating strings;
quod per sortem since Fate
sternit fortem, strikes down the strong man,
mecum omnes plangite! everyone weep with me!
2.
Fortune plango vulnera I bemoan the wounds of Fortune
stillantibus ocellis with weeping eyes,
quod sua michi munera for the gifts she made me
subtrahit rebellis. she perversely takes away.
Verum est, quod legitur, It is written in truth,
fronte capillata, that she has a fine head of hair,
sed plerumque sequitur but, when it comes to seizing an
opportunity
Occasio calvata. she is bald.
In Fortune solio On Fortune’s throne
sederam elatus, I used to sit raised up,
prosperitatis vario crowned with
flore coronatus; the many-coloured flowers of prosperity;
quicquid enim florui though I may have flourished
felix et beatus, happy and blessed,
nunc a summo corrui now I fall from the peak
gloria privatus. deprived of glory.
Fortune rota volvitur: The wheel of Fortune turns;
descendo minoratus; I go down, demeaned;
alter in altum tollitur; another is raised up;
nimis exaltatus far too high up
rex sedet in vertice sits the king at the summit,
caveat ruinam! let him fear ruin!
nam sub axe legimus for under the axis is written
Hecubam reginam. Queen Hecuba.
PRIMO VERE
3.
Veris leta facies The merry face of spring
mundo propinatur, turns to the world,
hiemalis acies sharp winter
victa iam fugatur, now flees, vanquished;
in vestitu vario
Flora principatur,
nemorum dulcisono
que cantu celebratur.
Flore fusus gremio
Phebus novo more
risum dat, hac vario
iam stipate flore.
Zephyrus nectareo
spirans in odore.
Certatim pro bravio
curramus in amore.
Cytharizat cantico
dulcis Philomena,
flore rident vario
prata iam serena,
salit cetus avium
silve per amena,
chorus promit virgin
iam gaudia millena.
Omnia sol temperat
purus et subtilis,
novo mundo reserat
faciem Aprilis,
ad amorem properat
animus herilis
et iocundis imperat
deus puerilis.
Rerum tanta novitas
in solemni vere
et veris auctoritas
jubet nos gaudere;
vias prebet solitas,
et in tuo vere
fides est et probitas
tuum retinere.
Ama me fideliter,
fidem meam noto:
de corde totaliter
et ex mente tota
sum presentialiter
absens in remota,
quisquis amat taliter,
volvitur in rota.
Ecce gratum
et optatum
Ver reducit gaudia,
purpuratum
floret pratum,
Sol serenat omnia.
Iamiam cedant tristia!
Estas redit,
nunc recedit
Hyemis sevitia.
Iam liquescit
et decrescit
grando, nix et cetera;
bruma fugit,
et iam sugit
Ver Estatis ubera;
illi mens est misera,
qui nec vivit,
nec lascivit sub Estatis dextera.
Gloriantur
et letantur
in melle dulcedinis,
qui conantur,
ut utantur
premio Cupidinis:
simus jussu Cypridis
bedecked in various colours
Flora reigns,
the harmony of the woods
praises her in song. Ah!
Lying in Flora’s lap
Phoebus once more
smiles, now covered
in many-coloured flowers,
Zephyr breathes nectarscented breezes.
Let us rush to compete
for love’s prize. Ah!
In harp-like tones sings
the sweet nightingale,
with many flowers
the joyous meadows are laughing,
a flock of birds rises up
through the pleasant forests,
the chorus of maidens
already promises a thousand joys. Ah!
4.
5.
The sun warms everything,
pure and gentle,
once again it reveals to the world
April’s face,
the soul of man
is urged towards love
and joys are governed
by the boy-god.
All this rebirth
in spring’s festivity
and spring’s power
bids us to rejoice;
it shows us paths we know well,
and in your springtime
it is true and right
to keep what is yours.
Love me faithfully!
See how I am faithful:
with all my heart
and with all my soul,
I am with you
even when I am far away.
Whosoever loves this much
turns on the wheel.
Behold, the pleasant
and longed-for
spring brings back joyfulness,
violet flowers
fill the meadows,
the sun brightens everything,
sadness is now at an end!
Summer returns,
now withdraw
the rigours of winter. Ah!
Now melts
and disappears
ice, snow and the rest,
winter flees,
and now spring sucks at summer’s breast:
a wretched soul is he
who does not live
or lust
under summer’s rule. Ah!
They glory
and rejoice
in honeyed sweetness
who strive
to make use of
Cupid’s prize;
at Venus’ command
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gloriantes
et letantes
pares esse Paridis.
let us glory
and rejoice
in being Paris’ equals. Ah!
UF DEM ANGER
6.
Tanz(Dance)
7.
Floret silva nobilis The noble woods are burgeoning
floribus et foliis. with flowers and leaves.
Ubi est antiquus Where is the lover
meus amicus? I knew? Ah!
Hinc equitavit, He has ridden off!
eia, quis me amabit? Oh! Who will love me? Ah!
8.
Chramer, gip die varwe mir, Shopkeeper, give me colour
die min wengel roete, to make my cheeks red,
damit ich die jungen man so that I can make the young men
an ir dank der minnenliebe noete. love me, against their will.
Seht mich an, Look at me,
jungen man! young men!
lat mich iu gevallen! Let me please you!
Minnet, tugentliche man, Good men, love
minnecliche frouwen! women worthy of love!
minne tuot iu hoch gemout Love ennobles your spirit
unde lat iuch in hohen eren schouwen and gives you honour.
Seht mich an Look at me,
jungen man! young men!
lat mich iu gevallen! Let me please you!
Wol dir, werit, daz du bist Hail, world,
also freudenriche! so rich in joys!
ich will dir sin undertan I will be obedient to you
durch din liebe immer sicherliche. because of the pleasures you afford.
Seht mich an, Look at me,
jungen man! young men!
lat mich iu gevallen! Let me please you!
9.
Reie (Round dance)
Swaz hie gat umbe
Swaz hie gat umbe, Those who go round and round
daz sint alles megede, are all maidens,
die wellent an man they want to do without a man
allen disen sumer gan! all summer long. Ah! Sla!
Chume, chum, geselle min
Chume, chum, geselle min, Come, come, my love,
ih enbite harte din, I long for you,
ih enbite harte din, I long for you,
chume, chum, geselle min. come, come, my love.
Suzer rosenvarwer munt, Sweet rose-red lips,
chum un mache mich gesunt come and make me better,
chum un mache mich gesunt, come and make me better,
suzer rosenvarwer munt sweet rose-red lips.
Swaz hie gat umbe
Swaz hie gat umbe, Those who go round and round
daz sint alles megede, are all maidens,
die wellent an man they want to do without a man
allen disen sumer gan! all summer long. Ah! Sla!
10.
Were diu werlt alle min Were all the world mine
von deme mere unze an den Rin from the sea to the Rhine,
des wolt ih mih darben, I would starve myself of it
daz diu chunegin von Engellant so that the queen of England
lege an minen armen. might lie in my arms.
IN TABERNA
11.
Estuans interius Burning inside
ira vehementi with violent anger,
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in amaritudine
loquor mee menti:
factus de materia,
cinis elementi
similis sum folio,
de quo ludunt venti.
Cum sit enim proprium
viro sapienti
supra petram ponere
sedem fundamenti,
stultus ego comparor
fluvio labenti,
sub eodem tramite
nunquam permanenti.
Feror ego veluti
sine nauta navis,
ut per vias aeris
vaga fertur avis;
non me tenent vincula,
non me tenet clavis,
quero mihi similes
et adiungor pravis.
Mihi cordis gravitas
res videtur gravis;
iocis est amabilis
dulciorque favis;
quicquid Venus imperat,
labor est suavis,
que nunquam in cordibus
habitat ignavis.
Via lata gradior
more iuventutis
inplicor et vitiis
immemor virtutis,
voluptatis avidus
magis quam salutis,
mortuus in anima
curam gero cutis.
bitterly
I speak to my heart:
created from matter,
of the ashes of the elements,
I am like a leaf
played with by the winds.
If it is the way
of the wise man
to build
foundations on stone,
the I am a fool, like
a flowing stream,
which in its course
never changes.
I am carried along
like a ship without a steersman,
and in the paths of the air
like a light, hovering bird;
chains cannot hold me,
keys cannot imprison me,
I look for people like me
and join the wretches.
The heaviness of my heart
seems like a burden to me;
it is pleasant to joke
and sweeter than honeycomb;
whatever Venus commands
is a sweet duty,
she never dwells
in a lazy heart.
I travel the broad path
as is the way of youth,
I give myself to vice,
unmindful of virtue,
I am eager for the pleasures of the flesh
more than for salvation,
my soul is dead,
so I shall look after the flesh.
12.
Olim lacus colueram, Once I lived on lakes,
olim pulcher extiteram, once I looked beautiful
dum cignus ego fueram. when I was a swan.
Miser, miser! Misery me!
modo niger Now black
et ustus fortiter! and roasting fiercely!
Girat, regirat garcifer; The servant is turning me on the spit;
me rogus urit fortiter; I am burning fiercely on the pyre:
propinat me nunc dapifer, the steward now serves me up.
Miser, miser! Misery me!
modo niger Now black
et ustus fortiter! and roasting fiercely!
Nunc in scutella iaceo, Now I lie on a plate,
et volitare nequeo and cannot fly anymore,
dentes frendentes video: I see bared teeth:
Miser, miser! Misery me!
modo niger Now black
et ustus fortiter! and roasting fiercely!
13.
Ego sum abbas Cucaniensis I am the abbot of Cockaigne
et consilium meum est cum bibulis, and my assembly is one of drinkers,
et in secta Decii voluntas mea est, and I wish to be in the order of Decius,
et qui mane me quesierit in taberna, and whoever searches me out at the
tavern in the morning,
post vesperam nudus egredietur, after Vespers he will leave naked,
et sic denudatus veste clamabit: and stripped of his clothes he will call out:
Wafna, wafna! Woe! Woe!
quid fecisti sors turpassi what have you done, vilest Fate?
Nostre vite gaudia the joys of my life
abstulisti omnia! you have taken all away!
14.
In taberna quando sumus When we are in the tavern,
non curamus quid sit humus, we do not think how we will go to dust,
sed ad ludum properamus, but we hurry to gamble,
cui semper insudamus. which always makes us sweat.
Quid agatur in taberna What happens in the tavern,
ubi nummus est pincerna, where money is host,
hoc est opus ut queratur, you may well ask,
si quid loquar, audiatur. and hear what I say.
Quidam ludunt, quidam bibunt, Some gamble, some drink,
quidam indiscrete vivunt. some behave loosely.
Sed in ludo qui morantur, But of those who gamble,
ex his quidam denudantur some are stripped bare,
quidam ibi vestiuntur, some win their clothes here,
quidam saccis induuntur. some are dressed in sacks.
Ibi nullus timet mortem Here no-one fears death,
sed pro Baccho mittunt sortem: but they throw dice in the name of
Bacchus.
Primo pro nummata vini, First of all it is to the wine-merchant
ex hac bibunt libertini; the the libertines drink,
semel bibunt pro captivis, one for the prisoners,
post hec bibunt ter pro vivis, three for the living,
quater pro Christianis cunctis four for all Christians,
quinquies pro fidelibus defunctis, five for the faithful dead,
sexies pro sororibus vanis, six for the loose sisters,
septies pro militibus silvanis. seven for the soldiers in the wood,
Octies pro fratribus perversis, Eight for the errant brethren,
nonies pro monachis dispersis, nine for the dispersed monks,
decies pro navigantibus ten for the seamen,
undecies pro discordaniibus, eleven for the squabblers,
duodecies pro penitentibus, twelve for the penitent,
tredecies pro iter agentibus. thirteen for the wayfarers.
Tam pro papa quam pro rege To the Pope as to the king
bibunt omnes sine lege. they all drink without restraint.
Bibit hera, bibit herus, The mistress drinks, the master drinks,
bibit miles, bibit clerus, the soldier drinks, the priest drinks,
bibit ille, bibit illa, the man drinks, the woman drinks,
bibit servis cum ancilla, the servant drinks with the maid,
bibit velox, bibit piger, the swift man drinks, the lazy man drinks,
bibit albus, bibit niger, the white man drinks, the black man drinks,
bibit constans, bibit vagus, the settled man drinks, the wanderer drinks,
bibit rudis, bibit magnus. the stupid man drinks, the wise man drinks,
Bibit pauper et egrotus, The poor man drinks, the sick man drinks,
bibit exul et ignotus, the exile drinks, and the stranger,
bibit puer, bibit canus, the boy drinks, the old man drinks,
bibit presul et decanus, the bishop drinks, and the deacon,
bibit soror, bibit frater, the sister drinks, the brother drinks,
bibit anus, bibit mater, the old lady drinks, the mother drinks,
bibit ista, bibit ille, this man drinks, that man drinks,
bibunt centum, bibunt mille. a hundred drink, a thousand drink.
Parum sexcente nummate Six hundred pennies would hardly
durant, cum immoderate suffice, if everyone
bibunt omnes sine meta. drinks immoderately and immeasurably.
Quamvis bibant mente leta, However much they cheerfully drink
sic nos rodunt omnes gentes we are the ones whom everyone scolds,
et sic erimus egentes. and thus we are destitute.
Qui nos rodunt confundantur May those who slander us be cursed
et cum iustis non scribantur. and may their names not be written in the book of the righteous.
COUR D’AMOURS
15.
Amor volat undique, Cupid flies everywhere
captus est libidine. seized by desire.
Iuvenes, iuvencule Young men and women
coniunguntur merito. are rightly coupled.
Siqua sine socio, The girl without a lover
caret omni gaudio; misses out on all pleasures,
tenet noctis infima she keeps the dark night
sub intimo
cordis in custodia:
fit res amarissima.
hidden
in the depth of her heart;
it is a most bitter fate.
16.
Dies, nox et omnia Day, night and everything
michi sunt contraria; is against me,
virginum colloquia the chattering of maidens
me fay planszer, makes me weep,
oy suvenz suspirer, and often sigh,
plu me fay temer. and, most of all, scares me.
O sodales, ludite, O friends, you are making fun of me,
vos qui scitis dicite you do not know what you are saying,
michi mesto parcite, spare me, sorrowful as I am,
grand ey dolur, great is my grief,
attamen consulite advise me at least,
per voster honur. by your honour.
Tua pulchra facies Your beautiful face,
me fay planszer milies, makes me weep a thousand times,
pectus habet glacies. your heart is of ice.
A remender As a cure,
statim vivus fierem I would be revived
per un baser. by a kiss.
17.
Stetit puella A girl stood
rufa tunica; in a red tunic;
si quis eam tetigit, if anyone touched it,
tunica crepuit. the tunic rustled.
Eia.Eia!
Stetit puella A girl stood
tamquam rosula; like a little rose:
facie splenduit, her face was radiant
os eius fioruit. and her mouth in bloom.
Eia.Eia!
18.
Circa mea pectora In my heart
multa sunt suspiria there are many sighs
de tua pulchritudine, for your beauty,
que me ledunt misere. which wound me sorely. Ah!
Manda liet, Mandaliet,
Manda liet mandaliet,
min geselle my lover
chumet niet. does not come.
Tui lucent oculi Your eyes shine
sicut solis radii, like the rays of the sun,
sicut splendor fulguris like the flashing of lightening
lucem donat tenebris. which brightens the darkness. Ah!
Manda liet Mandaliet,
Manda liet, mandaliet,
min geselle my lover
chumet niet. does not come.
Vellet deus, vallent dii May God grant, may the gods grant
quod mente proposui: what I have in mind:
ut eius virginea that I may loose
reserassem vincula. the chains of her virginity. Ah!
Manda liet, Mandaliet,
Manda liet, mandaliet,
min geselle my lover
chumet niet. does not come.
19.
Si puer cum puellula If a boy with a girl
moraretur in cellula, tarries in a little room,
felix coniunctio. happy is their coupling.
Amore suscrescente Love rises up,
pariter e medio and between them
avulso procul tedio, prudery is driven away,
fit ludus ineffabilis an ineffable game begins
membris, lacertis, labii in their limbs, arms and lips.
7
8
20.
Veni, veni, venias Come, come, O come
Veni, veni, venias, Come, come, O come,
ne me mori facias, do not let me die,
hyrca, hyrce, nazaza, hycra, hycre, nazaza,
trillirivos…trillirivos!
Pulchra tibi facies Beautiful is your face,
oculorum acies, the gleam of your eye,
capillorum series, your braided hair,
o quam clara species! what a glorious creature!
Rosa rubicundior, redder than the rose,
lilio candidior whiter than the lily,
omnibus formosior, lovelier than all others,
semper in te glorior! I shall always glory in you!
21.
In truitina mentis dubia In the wavering balance of my feelings
fluctuant contraria set against each other
lascivus amor et pudicitia. lascivious love and modesty.
Sed eligo quod video, But I choose what I see,
collum iugo prebeo: and submit my neck to the yoke;
ad iugum tamen suave transeo. I yield to the sweet yoke.
22.
Tempus es iocundum, This is the joyful time,
o virgines, O maidens,
modo congaudete rejoice with them,
vos iuvenes. young men!
Oh, oh, oh, Oh! Oh! Oh!
totus floreo, I am bursting out all over!
iam amore virginali I am burning all over with first love!
totus ardeo, novus, novus amor est,
quo pereo. New, new love is what I am dying of!
Mea me confortat I am heartened
promissio, by my promise,
mea me deportat I am downcast by my refusal
Oh, oh, oh Oh! Oh! Oh!
totus floreo I am bursting out all over!
iam amore virginali I am burning all over with first love!
totus ardeo, novus, novus amor est,
quo pereo. New, new love is what I am dying of!
Tempore brumali In the winter
vir patiens, man is patient,
animo vernali the breath of spring
lasciviens. makes him lust.
Oh, oh, oh, Oh! Oh! Oh!
totus floreo, I am bursting out all over!
iam amore virginali I am burning all over with first love!
totus ardeo, novus, novus amor est,
quo pereo. New, new love is what I am dying of!
Mea mecum ludit My virginity
virginitas, makes me frisky,
mea me detrudit my simplicity
simplicitas. holds me back.
Oh, oh, oh, Oh! Oh! Oh!
totus floreo, I am bursting out all over!
iam amore virginali I am burning all over with first love!
totus ardeo, novus, novus amor est,
quo pereo. New, new love is what I am dying of!
Veni, domicella, Come, my mistress,
cum gaudio, with joy,
veni, veni, pulchra, come, come, my pretty,
iam pereo. I am dying!
Oh, oh, oh, Oh! Oh! Oh!
totus floreo, I am bursting out all over!
iam amore virginali I am burning all over with first love!
totus ardeo, novus, novus amor est,
quo pereo. New, new love is what I am dying of!
23.
Dulcissime, Sweetest one! Ah!
totam tibi subdo me! I give myself to you totally!
BLANZIFLOR ET HELENA
24.
Ave formosissima, Hail, most beautiful one,
gemma pretiosa, precious jewel,
ave decus virginum, Hail, pride among virgins,
virgo gloriosa, glorious virgin,
ave mundi luminar, Hail. light of the world,
ave mundi rosa, Hail, rose of the world,
Blanziflor et Helena, Blanchefleur and Helen,
Venus generosa! noble Venus!
FORTUNA IMPERATRIX MUNDI
25.
O Fortuna, O Fortune,
velut luna like the moon
statu variabilis, you are changeable,
semper crescis ever waxing
aut decrescis; and waning;
vita detestabilis hateful life
nunc obdurat first oppresses
et tunc curat and then soothes
ludo mentis aciem, as fancy takes it;
egestatem,poverty
potestatem and power
dissolvit ut glaciem. it melts them like ice.
Sors immanis Fate, monstrous
et inanis, and empty,
rota tu volubilis, you whirling wheel,
status malus, you are malevolent,
vana salus well-being is in vain
semper dissolubilis, and always fades to nothing,
obumbratashadowed
et velata and veiled
michi quoque niteris; you plague me too;
nunc per ludum now through the game
dorsum nudum I bring my bare back
fero tui sceleris. to your villainy.
Sors salutis Fate is against me
et virtutis in health
michi nunc contraria, and virtue,
est affectus driven on
et defectus and weighted down,
semper in angaria. always enslaved.
Hac in hora So at this hour
sine mora without delay
corde pulsum tangite; pluck the vibrating strings;
quod per sortem since Fate
sternit fortem, strikes down the strong man,
mecum omnes plangite! everybody weep with me!
Brian Staufenbiel
Shawnette Sulker
Acclaimed for her “heart-breaking poignancy” and “beautifully tuned
soprano” by the San Francisco Chronicle and for her “enchanting vocal
splendor” by the Leipziger Volkszeitung, soprano Shawnette Sulker is a
sought after artist in the United States and abroad. A consummate performer on both the operatic and concert stages, her recent performances
include singing Constanze in Abduction from the Seraglio with Pacific
Opera Project, the title role of Zelmira by Rossini with West Edge Opera,
and Cunegonde in Candide with Pasadena Opera. International credits
include singing Adele (Die Fledermaus) with Internationale Opera Producties in the Netherlands and an orchestra concert featuring Porgy and
Bess highlights and Mendelssohn’s Psalm 42 in Leipzig’s Gewandhaus and
Prague’s Smetana Hall.
Ms. Sulker has been a soloist with the San Francisco Opera, Mark Morris
Dance Group, American Bach Soloists, Hawaii Opera Theatre, Opera
Naples, and the Natchez Opera Festival, to name a few. The soprano’s
roles include Die Königin der Nacht (Die Zauberflöte), Musetta (La
Bohème), Susanna (Le nozze di Figaro) and Lauretta (Gianni Schicchi).
Some works on her concert repertoire list are Mozart’s Grand Mass in
C minor, Bach’s Jauchzet Gott in allen Landen and Mozart’s Exsultate,
Jubilate. Upcoming engagements will feature performing Cunegonde in
Candide with the Oakland East Bay Symphony, singing in the American
Premiere of Heart of Darkness with Opera Parallèle, debuting as Zerbinetta in Ariadne auf Naxos with Festival Opera and singing the soprano
solos in Beethoven’s Ninth Symphony with Santa Rosa Symphony.
Tenor Brian Staufenbiel has appeared at the Boston Early Music Festival,
the Rochester Bach Festival in New York State, the Sherbrooke Summer
Music Festival, and sings frequently throughout the San Francisco Bay
Area. He is well known for his dramatic interpretation of the Evangelist
role in Bach’s Saint Matthew and Saint John Passion, as well as his comically gruesome depiction of the Roasted Swan in Orff ’s Carmina Burana.
Brian Staufenbiel has served as Director-in-Residence with Ensemble
Parallèle since 2007, where he has been at the helm of the direction
and design of the Ensemble’s critically acclaimed productions. Utilizing
cutting-edge design and adventurous stagecraft, Staufenbiel’s visionary
productions have left an indelible impression on the San Francisco Bay
Area opera scene.
Staufenbiel is the Artistic Director of the Opera Program at the University of California, Santa Cruz. With his 2006 production, he was awarded
the first prize in the National Opera Association Opera Competition.
In addition to live performance, Staufenbiel has recorded for Musical Heritage Society, Koch International Classics, and Helicon Records
music by Alessandro Stradella, Heinrich Schütz, Lou Harrison, and Paul
Bowles. His most recent recording includes the world premiere recordings of tenor arias from Lou Harrison’s opera Young Caesar and the Saint
Cecilia Mass (Kleos records). Staufenbiel holds a doctorate degree in
vocal performance and literature from the Eastman School of Music.
9
Eugene Brancoveanu
The Romanian born baritone’s virile voice and superior stagecraft have
earned him critical acclaim in both North America, Europe, Israel and
Japan. Following recent performances of San Francisco Opera’s The Little
Prince, the San Francisco Chronicle lauds the performance as being “led
by extravagantly gifted baritone, Eugene Brancoveanu, as the Pilot. With
his unforced charisma, vocal clarity, and tonal heft, Brancoveanu managed the tricky feat of doing most of the show’s heavy lifting...”
His recent credits include Ned Keene, in Peter Grimes, in a return to SF
Symphony under Michael Tilson Thomas, a first appearance as Rigoletto
and Der Kaiser in Victor Uhlmann’s Kaiser von Atlantis for Festival
Opera to great critical acclaim. In the summer of 2014 he returned to
Mendocino Music Festival, in a new production as Don Giovanni which
he also directed. A feat that he repeated for Bizet’s Carmen singing Escamillo for Livermore Opera, as well as Marcello in La Boheme in 2013. For
the same role he was awarded the Tony Award in Puccini’’s La Boheme on
Broadway, directed by acclaimed Hollywood director Baz Luhrmann. He
also received the Los Angeles Ovation Award for the same role.
Mr. Brancoveanu is a graduate of the American Institute of Musical Studies in Graz, the Academia de Musica Cluj Romania and the Universität
Mozarteum Salzburg. He is also a recent winner of the National Young
Opera Singer Competition in Leipzig, the International Music Award in
Loenberg, and the International Opera contest “Ferruccio Tagliavini,”
under the patronage of the late Dame Sutherland. In addition he was
among the winners of last years Nedra Zachary foundation opera contest
in Los Angeles.
Mark Sumner
Dr. Mark Sumner has been Director of UC Choral Ensembles and
conductor of the UC Alumni Chorus and UC Womens Chorale for the
past eighteen and a half years. His prior teaching experience includes five
formative years in Lancaster, Texas, eight busy years in his hometown,
Sapulpa, Oklahoma and various stints during his eight years in Los Angeles: UC Santa Barbara, the University of Southern California and several
Los Angeles area community colleges.
He has an extensive background as a professional performer and conductor. He recently led the Oklahoma All-State Choir and has been the
director of music at the First Unitarian Church in San Francisco for over
eighteen years. He has stage-directed over twenty musicals, several plays,
assisted with fourteen BareStage musicals and acted lead roles in several
community theatre comedy productions.
Sumner presently sings with SF Cappella under Ragnar Bohlin and the
Grammy award-winning Los Angeles Cappella under Peter Rutenberg.
He has performed regularly with the Dallas, Los Angeles and Tulsa Opera
companies; the LA Master Chorale and American Bach Soloists. This
summer he performs with Chalice Consort under the direction of Jeremy
Summerly.
A native of Oklahoma, Mark has a Doctor of Musical Arts in Choral
Music from the University of Southern California; a Masters of Music in
Choral Conducting from Southern Methodist University, Dallas, Texas
and a Bachelor’s from Oklahoma State University. He is the recipient
of several music scholarships including the USC Gordon Getty Music
Scholarship throughout his USC term and was the recipient of the Distinguished Service Award from the Sapulpa Board of Education.
Tonight’s performance comes closest to the proudest musical accomplishment thus far in his career: Verdi’s Requiem (highlights arranged
for wind ensemble) performed while in the Sapulpa Junior High School
Band (I was first chair tenor sax!), directed by Marjorie Skinner.
10
About the University of California Alumni Chorus
Formed in 1985 by a small group of UC Berkeley alumni who wanted to
continue the musical and social association they had enjoyed as students,
UCAC has grown into a thriving 100+ member chorus composed of
alumni of UC Berkeley and of other UC campuses, and UC Berkeley
faculty, staff and graduate students. The UC Alumni Chorus performs a
wide variety of music--from chamber choral works of the 16th to 20th
centuries, to traditional folk music from Europe and the Americas, as
well as occasional forays into musical theater and opera. Since the first
international tour to Australia in 1988, the chorus has enjoyed touring and sharing music, performing in England, Eastern Europe, China,
the Baltics, Cuba, South America and Mexico. As part of UC Choral
Ensembles, the center of extra-curricular vocal music at UC Berkeley,
UCAC is committed to supporting that organization and its members,
promoting opportunities for high quality performance, and representing
the University of California.
UC Alumni Chorus
JoAnne Wasserman
JoAnne Wasserman is in her 22nd season as conductor and artistic
director of the Santa Barbara Choral Society. She has worked with an
impressive list of outstanding choral and orchestral conductors, including
John Alexander and Lawrence Christensen and participated in master
classes with Paul Salamunovich, the late Robert Shaw and Roger Wagner.
She has also participated as a Master Class Conductor at the Oregon Bach
Festival under Helmut Rilling. Ms. Wasserman has been Chorus Master
for Opera Santa Barbara, has served on the faculty of California State
University, Northridge and currently conducts the Women’s Chorale at
Westmont College.
She has conducted the Choral Society’s International Performance Tours
of Mozart’s Requiem in Eastern Europe, Haydn’s Theresiennemesse and
Lauridsen’s Lux Aeterna in Italy and Bavaria, Mass at the High Altar at
St. Peter’s Basilica in the Vatican and Faure’s Requiem in Spain. Local
highlights include conducting Choral Society’s acclaimed performances
at The Granada of Orff ’s Carmina Burana, Verdi Requiem, VaughanWilliams’ A Sea Symphony and LoveLoveLove, a Tribute to the Beatles
with Sir George Martin. She conducted both the Worldwide Rolling
(Mozart) Requiem performance on the first anniversary of 9/11 in 2001
and the 10-year anniversary performance In Remembrance in 2011, and
more recently the Bach B Minor Mass, West Coast premier of the Rain
Sequence by noted African-American composer Dr. Rollo Dillworth,
Durufle Requiem, Faure Requiem, Mozart’s Grand Mass in C Minor,
and Beethoven’s Choral Fantasy, with her son, Alexander Wasserman
at piano. Ms. Wasserman’s dedication to music education, the development of emerging young artists, and her philosophy of increasing cultural
awareness has enlivened the Santa Barbara Choral Society’s 65-year-long
commitment to sharing excellence in choral music with the arts community both locally and internationally
Soprano
Marguerite Barron
Jocelyn Bergen
Susan Bernstein
Anne Boersma
Loren Chuse
Christine Dinh
Ellen Fisher
Mary Gallahue
Becky Gambatese
Rose Hansen
Hilary Hardcastle
Effie Hsu
Judy Iverson
Connie Jones
Marian Kohlstedt
Ruta Krusa-Anthony
Gar-Wei Lee
Jodi Less
Franziska Lorbeer
Jessica Lindsay
Elizabeth Mayer
Holly McCroskey Lewis
Karen Moore
Lindsay Mugglestone
Lynn Murdock
Lauren Polinsky
Cricket Rothrum
Kathy Selleck
Marilyn Smith
Cathy Thompson
Karen Warrick
Kimmianne Webster
Jiun Chyi Yew
Alto
Jody Ames
Ruth Chang
Kathleen Clanon
Carol Conway
Bari Cornet
Sandy Douglas
Melinda Erickson
Juli Goldwyn
Kathie Hardy
Signe Harnett
Anne Hedges
Kathy Jepsen
Claudine Jones
June Kammerling
Marjorie Lackman
Joanne Lafler
Cathy Less
Viji Lew
Jessica Margolin
Kristen Nickel
Alma Raymond
Judy Roberts
Marlene Rogers
Sarah Rosen
Lucy Smith
Susan Stanley
Ann Watrous
Mary Widenor
Pazit Zohar
Tenor
Ted Arnold
Joshua Cairns
Gustav Davila
Allan Fisher
Jordan Fong
John Ford
Jim Hillendahl
Hilary Jenson
Jon Johnsen
David Jones
Virginia Lew
Andrew Manuel
Ken McCroskey
Monte Meyers
John Moreno
Jeffrey Neidleman
Christoph Neyer
Charlie Pollack
John Rosenberg
Ken Sanderson
Nancy Swearengen
Kjersten Walker
11
Bass/Baritone
Mark Aikele
Paul Farrell
Freddy Hansen
Calvin James
Anders Jepsen
Eric Langhirt
Terry Lee
Glen Leggoe
Renee Minneboo
Jorge Portgual
Doug Raymond
Paul Rockett
David Rowland
Dan Smith
Mark Taksa
Garrett Turner
Duo Wang
Ken Worthy
Gilead Wurman
Jason Young
About the UC Men’s and Women’s Chorales
Most women begin their UCCE career with the UC Women’s Chorale,
probably the most diverse large choral group on any college campus.
Often singing with the Men’s Chorale, UCWC sings in popular annual
events like the Halloween Concert, A Cappella Against AIDS benefit
concert, and caroling in San Francisco during the holidays. UCWC offers
singers from all backgrounds a relaxed but very rewarding and active
experience.
UC Men’s Chorale is the oldest collegiate choir in the Western United
States, having entertained the Cal community since 1885. Its repertoire
encompasses everything from classical arrangements to contemporary
pop to the incomparable Cal songs. UCMC often joins with the UC
Women’s Chorale to help spread the enthralling magic of music to Berkeley.
UC Women’s Chorale
First Soprano
Claire Anderson
Teresa Anselmo
Andrea Eberle
Sarah Emerson
Sumita Ghosh
Chloe Gross,
Irene Li,
Lisa Lim
Flannery Mays
Zhen Qin
Kelsey Wong
Belinda Wu
First Alto
Aronpreet Atwell
Tunvez Boulic
Andrea Bustamante
Olivia Cavagnaro
Laura Harker
Carol Kang
Monica Kumaran
Diane Nguyen
Samantha Ren
Morgan Uriell
Melissa Williams
Heather Williamson
Second Soprano
Mikaela Barad
Amy Cao
Julie Deng
Eleanor Duan
Brilliant Hua
Maria Kurakina
Selina Li
Claire Neal
Thuvyi Nguyen
Casey Nolan
Lucy Sundelson
Katie Zheng
Zirui Zhou
Second Alto
Angela Lin
May Liu
Lynn Ly
Aruna Menon
Maya Morales
Christine Redor
Ariana Rutledge
Iris Shuyan
Alana Tran
Samantha Wathugala
12
UC Men’s Chorale
Tenor 1
Alex Najibi
Kenny Chung
Colin Deas
Young Kim
JC Alhambra
Baritone
Alex Huber
Avery Kan
Shimmy Li
Clayton Strawn
Bass
Glen Watkins
How Xing
Oliver O'Donnell
Filip Mirdita
Jacob Bergquist
David Tregeagle
Fernando Villareal
Anbang Zhang
Tenor 2
He Yucong
Stanley Kwong
Edwin Neo
Jeffrey Shu
About the Santa Barbara Choral Society
Founded in 1948, Santa Barbara Choral Society is among the oldest community performing arts organizations on the California Central Coast,
with Conductor JoAnne Wasserman on its podium for the last 22 of its
68 years. This fully auditioned, semi-professional community chorus
comprised of 100 member singers, has, since its inception been a service
and educational organization, promoting artistic development, and
providing opportunities for individual community members to study and
perform great works of choral music at the highest level. Its international
performance tour program began in 2005, with tours to Eastern Europe,
followed by Italy (singing Mass at the Vatican), Bavaria and Spain. Its
mission includes preserving the art of choral singing and keeping appreciation of great choral masterworks alive for future generations in the
community, both locally and globally.
Santa Barbara Choral Society
Soprano
Aylin Bilir
Diane Das
Erica DiBartolomeo
Mary Dan Eades
Pamela Enticknap
Ann Marie King
Marilyn Mazess
Martha Mengqiu Jin
Felicia Saunders
Candy Stevenson
Debra Stewart
Alto
Laurie Berg
Rinda Brown
Sara Burt
Kay Chambers
Kate Firestone
Elizabeth Friedrich
Eleanor Lynn
Gretchen Murray
Deborah Rosique
Abby Schott
Claudia Scott
Linda Shobe
Karen Williams
Tenor
John Baker
John Revheim
Ross Williams
Bass
Steve Dombek
Brooks Firestone
Don Jeske
Bob Lally
Peter Lombrozo
John Lynn
John Maxwell
Steve Pearson
Howard Rothman
James Stemen
Jeffery Warlick
Paul Warner
Wm. García Ganz is very active in the Bay Area choral arena, and has
directed the San Francisco Cable Car Chorus and the Golden Gate Men’s
Chorus since 1991. He is director of two of the nine extracurricular
choruses of the UC Choral Ensembles. Bill earned a Master’s degree in
conducting from San Francisco State University, studying with Byron
MacGilvray, Laslo Varga, and Karla Lemon. He has also studied with
Rodney Eichenberger and Dr. Greg Lyne.
Mark Johnson is excited to be playing his first Carmina Burana after
many years playing and singing in the Bay Area with ensembles including the SF Symphony Chorus, SF Lyric Opera, UC Alumni Chorus and
the SF Unitarian Church Choir. He studied piano and voice at Baylor
University, piano at the University of Cincinnati and composition at the
SF Conservatory of Music. In addition to being a free lance pianist and
second bass he has worked in law and is embarking on a second career as
a seamster and crafter/artist.
Instrumental Ensemble
Concertmaster; Liana Berube
Violin II: Patrice May
Viola: Stephanie Ng
Cello: Michael Graham
Bass: Carl Stanley
Flute Stacey Pelinka
Trumpet I: Graham Taylor
Trumpet II: Chad Goodman
SF State Percussion Ensemble
The San Francisco State Percussion Ensemble is directed by Allen Biggs.
Much of the group’s repertoire is arranged and created by the students.
The ensemble explores the intersection of noise, sound and music by using auto parts, found objects and traditional instruments.
Members:
Francisco Barajas
Matthew Bauer-Domerat
Darren Bumann
Joshua Casas
Justice Chase
James Jordan
Michael Kiely
Daniel de Lorimer
Eli Pontecorvo
Peter Stone
Sean Thompson
Jim Su
Sharon Turkenitz
About the Smuin Ballet
Debuting in San Francisco in 1994, Smuin Ballet immediately established
itself as one of the Bay Area’s most eagerly watched performing arts
companies, as “one of this country’s most entertaining, original ballet
troupes” (Dance Magazine), and as a dance company of international
acclaim, performing to sold-out houses on European tours. Michael
Smuin’s singular philosophy to create pieces which merge the diverse
vocabularies of classical ballet and contemporary dance has served as the
company’s touchstone since its beginning.
Now at the helm of Smuin Ballet is Artistic Director Celia Fushille, whose
vision includes maintaining and increasing the company’s reputation for
presenting accessible and innovative repertoire, attracting new audiences
of all ages to the medium. The company has continued to present works
created by Smuin, both for his own and for other ballet companies, but
Fushille also enriches its impressive repertoire with newer choreographic
voices, bringing the Bay Area its first look at works by exciting choreographers from around the world, as well as developing world premieres by
company members.
FOUNDER
MICHAEL SMUIN — An American master, Michael began his career as
a dancer performing with San Francisco Ballet, American Ballet Theatre,
and on Broadway. A Tony and Emmy Award-winning choreographer,
Michael brought a signature style to his work on stage, in film, and on
television. A maverick, he fearlessly blended the theatrical with the classical and popular and combined elements drawn from his vast stage experience. Michael’s works continue to dazzle and entertain contemporary
audiences. His company, Smuin Ballet, was founded in 1994 as a vehicle
to showcase his creative versatility. Smuin Ballet maintains Michael’s
legacy today.
Artistic Director
CELIA FUSHILLE — As a founding member of Smuin Ballet and its
principal dancer for over 12 years, Celia worked closely with founder, Michael Smuin. In a career spanning 25 years, Celia performed on stages in
the US and internationally, and appeared on television and in film. Celia’s
exuberant style embraces and personifies Smuin Ballet, a dance company
whose works remain accessible to the public by marrying the grace and
traditions of ballet with the multi-dimensional elements of contemporary music and dance. Today, Celia oversees the artistic direction of the
Company, assuring that the inspiration that began two decades ago lives
on with each vibrant season of Smuin Ballet.
Artists
ERICA CHIPP (Dancer) A native of Lake Tahoe, NV, Erica trained at The
Harid Conservatory in Florida before joining Festival Ballet Providence
in 2004. Directed by Mihailo Djuric, she performed featured roles in Viktor Plotnikov’s Cinderella, Agnes de Mille’s Rodeo, Colleen Cavanaugh’s
Pippi and Balanchine’s Tarantella, Rubies and Donizetti Variations. Erica
was also a guest artist for Sierra Nevada Ballet, where she was directed by
one of her former ballet teachers, Rosine Bena, in the principal roles of
Giselle and Coppelia. This is Erica’s fifth season with Smuin Ballet.
TEREZ DEAN (Dancer) Born in Poughkeepsie, NY, Terez was accepted
into the prestigious School of American Ballet, NYC Ballet’s official
school, at age fifteen. There she performed with NYCB in Balanchine’s
Western Symphony, Union Jack, and Scherzo a la Russe. In 2005, Terez
joined State Street Ballet of Santa Barbara, dancing Robert Battle’s Rush
Hour, Les Sylphides, and Napoli. Terez joined Smuin Ballet in 2008, and
has been featured in many works: Trey McIntyre’s The Naughty Boy, Ma
Cong’s French Twist, Val Caniparoli’s Swipe, Adam Hougland’s Cold
Virtues, and Jiri Kylian’s Petite Mort.
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ERICA FELSCH (Dancer) As a SF Bay Area local, Erica attended North
Carolina School of the Arts before being offered a full scholarship with
the SF Ballet School’s Professional Program, where she performed and
toured with company productions. Erica then went on to dance with with
Garage Contemporary Ballet, Madison Ballet, Nova Ballet, and Colorado
Ballet. In 2009, Erica joined Ballet Arizona and performed both soloist and principal roles in La Valse, Sleeping Beauty, Cinderella, and Ib
Andersen’s Symphony Classique. After three seasons with Ballet Arizona,
Erica joined Smuin Ballet. This will be her second season with Smuin
Ballet.
NICOLE HASKINS (Dancer) Hailing from Venice Beach, California,
Nicole began her professional career at Sacramento Ballet and later The
Washington Ballet. Nicole’s career highlights thus far include her performances as “Alice” in Ron Cunningham’s Alice in Wonderland, “Lucy”
in Michael Pink’s Dracula and “Liberty Bell” in Balanchine’s Stars and
Stripes. Nicole is also an experienced choreographer, who is honored to
have participated in the New York Choreographic Institute where she was
awarded their Fellowship Grant.
DUSTIN JAMES (Dancer) A Houston, Texas native, Dustin began dancing at the age of 11. He received his early training at Houston Ballet II
before joining BalletMet Columbus. After four years in Columbus, he
moved to the Dance Theatre of Harlem for two years. While at the Dance
Theater of Harlem, Dustin performed George Balanchine’s Agon, Helen
Pickett’s When Love, as well as works by choreographers like Alvin Ailey
and Robert Garland. He has also danced with the National Choreographers Initiative and as a guest artist with Sierra Nevada Ballet. This is
Dustin’s first season with Smuin Ballet.
KEVIN JAMES (Dancer) is from Atlanta, Georgia, where he trained with
the Atlanta Ballet Centre for Dance Education. He graduated from Butler
University with a BFA in Dance Performance, with honors. After graduation, he joined Sarasota Ballet for two years, where he performed works
by a variety of choreographers, including Yuri Possokhov, John Cranko,
Andre Prokovsky, and Sir Peter Wright. Kevin then danced with Minnesota Ballet for three years. There he performed solo and principal roles,
such as Nutcracker Prince. This is Kevin’s first season with Smuin Ballet.
WESTON KRUKOW (Dancer) from San Luis Obispo, Weston trained
under Gilbert and Sydna Reed before attending and graduating from the
University of Arizona’s School of Dance in 2012. Wes’ most notable principal roles while at U of A include Balanchine’s The Four Temperaments
(Sanguinic), Allegro Brilliante, and Anne Reinking’s Chicago Suite (Spirit
of Fosse and Billy Flynn). Having danced with Amy Seiwert’s Imagery the
past two summers, Weston is now in his second season with Smuin Ballet
and has fallen in love with the Bay Area dance community.
ROBERT MOORE (Dancer) danced with Boston Ballet Company where
his repertoire included Mark Morris’ Maelstrom and Drink to Me Only
with Thine Eyes, Christopher Wheeldon’s Corybantic Ecstasies, Firebird
and The Four Seasons, Balanchine’s Four Temperaments, Theme and
Variations, Serenade and Rubies and MacMillan’s Winter Dreams. With
Pittsburgh Ballet Theatre he danced Dwight Rhoden’s Ave Maria, the
male lead in Rhoden’s Carmina Burana, Jay Gatsby in The Great Gatsby,
Paul Taylor’s Company B, Cavalier in Terrence S. Orr’s The Nutcracker
and Stanley when PBT became the first U.S. company to perform John
Neumeier’s A Streetcar Named Desire.
BEN NEEDHAM-WOOD (Dancer) from Massachusetts, Ben is now
is his second season with Smuin Ballet. He completed his formal dance
training at the College Conservatory of Music, Ohio. After graduating
with distinctions, Ben spent five years performing with the Louisville Ballet where he had the opportunity to perform principal and featured roles
in a variety of classical and contemporary works. Some highlights include
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“Romeo” in Alun Jones’s Romeo and Juliet, “Armand” in Val Caniparoli’s
Lady of the Camellias, and featured roles in contemporary works by
Adam Hougland, Helen Pickett, and Amy Seiwert, among others.
EDUARDO PERMUY (Dancer) from Havana, Cuba, Eduardo began his
dance training at Escuela Nacional de Ballet de Cuba under the direction of Alicia Alonzo. Eduardo furthered his professional training at the
Miami City Ballet School and graduated in 2003. Following his graduation Eduardo was offered a contact to become a company member with
Miami City Ballet. Eduardo then went on to dance with American Ballet
Theatre Studio Company, Joffrey Ballet and Ballet West. Eduardo is also
a gifted and sought after guest performer and teacher. This is Eduardo’s
second season with Smuin Ballet.
JONATHAN POWELL (Dancer) Jonathan moved all over the country
before joining Smuin Ballet in 2010. Now in his fifth season with Smuin,
Jonathan has performed in Trey McIntyre’s Oh, Inverted World, Amy
Seiwert’s Requiem and Michael Smuin’s Brahms-Haydn Variations, Bluegrass/Slyde and To The Beatles. Before joining Smuin, Jonathan danced
with Memphis Ballet, where he discovered his love for character roles
while dancing as “The Writer” in A Midsummer Night’s Dream, an “Ugly
Stepsister” in Cinderella, and as “The Tin Man” in The Wizard of Oz.
JOSHUA REYNOLDS (Dancer) completed his dance training at The
Rock School in Philadelphia and School of American Ballet in NY. Joshua
danced with Atlanta Ballet for seven seasons, performing various leading roles including Romeo & Juliet and Swan Lake. In 2009 he joined
Milwaukee Ballet where he performed leading roles in works by Michael
Pink, Mauro de Candia and Darrell Grand Moultrie. Joshua has also performed with Tiit Helimets & Company and with Dance Grand Moultrie
in NY. At Smuin Ballet, Josh has performed leading roles in Eternal Idol,
Stabat Mater as well as Helen Picket’s Petal and Adam Hougland’s Cold
Virtues.
SUSAN ROEMER (Dancer) from Milwaukee, Susan received her training
at the Academy of Dance Arts and the Milwaukee Ballet School. After
joining Milwaukee Ballet II, she danced with Ballet Quad Cities, Augusta
Ballet, and Northern Plains Ballet. Since joining Smuin Ballet in 2007,
Susan has enjoyed dancing in numerous works by Michael Smuin, Amy
Seiwert, Jirí Kylián, Trey McIntyre, Val Caniparoli, Adam Hougland,
and Helen Pickett, among others. In 2011, Susan was commissioned by
Amy Seiwert’s Imagery to choreograph Images that Fade. Susan is also
the owner and founder of S-Curve Apparel & Design, a dancewear and
costume design business.
JO-ANN SUNDERMEIER (Dancer) from Pompano Beach, Florida, JoAnn began her professional training at Canada’s Royal Winnipeg Ballet
School’s Professional Division. She became an apprentice with the RWB
Company in 2003 and soared through the ranks to Principal Dancer. Her
repertoire includes the dueling roles of “Odette/Odile” in Swan Lake,
“Giselle” and “Myrtha” in Giselle, and “Princess Aurora” in The Sleeping
Beauty. Additional repertoire includes works by Val Caniparoli, Twyla
Tharp, Toer van Schayk, Forsythe, and Mark Godden to name a few. JoAnn is very excited to begin her second season with Smuin Ballet.
ERIN YARBROUGH (Dancer) Erin trained and studied dance at the Interlochen Arts Academy. Erin danced with Oakland Ballet for five years,
performing the role of the ‘Sugar Plum Fairy’ in The Nutcracker and the
lead in Cinderella. In 2003, Erin received the Isadora Duncan Award for
her portrayal of Giselle with the Oakland Ballet, a role taught to her by
Frederic Franklin of the Ballet Russe de Monte Carlo. Erin joined Smuin
Ballet in 2003 and some of her highlights so far include Amy Seiwert’s
Revealing the Bridge, Michael Smuin’s Romeo and Juliet and Jirí Kylián’s
Petite Mort.
Thank you to our donors whose support helped make this concert possible.
Kathleen Clanon
Bari Cornet
Sandy Douglass
Jordan Fong
Mary Gallahue
Kathie Hardy
Ruta Krusa-Anthony
Frank and Virginia Lew
Betsy Mayer
Karen Moore
Charlie Pollack
Cricket Rothrum
Cathy Thompson
Jiun Chyi Yew
Special Thanks:
Valerie Pope, David Kirwin and Berkeley Community Theatre
Carol Bevilacqua, Graphic Designer
Robin May, orchestra liaison
Allen Biggs, SF State Percussion Ensemble
David Rowland and Susan Bernstein, program
Effie Hsu, Lauren Polinsky and Brad Brennan, ticketing
Karen Moore and Cathy Thompson, logistics
Cathy Less, finance
Judy Roberts and Kathie Hardy, SBSC liaison
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Ruta Krusa and Terry Anthony
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