DARTMOUTH COLLEGE GLEE CLUB - Louis Burkot conductor
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presents
DARTMOUTH COLLEGE GLEE CLUB
Louis Burkot conductor
FROM SPAIN TO THE AMERICAS
with guest artists
Hugo Vera tenor
John Muratore guitar
Timothy Steele piano
This performance is made possible in part by the William D. 1905 and Besse M. Blatner Fund No. 1,
Bruce F. Bundy 1916 Memorial Fund, Isaacs Family Fund, Leo J. Malavasic 1942 Memorial Fund, David
P. Smith 1935 Fund, Paul R. Zeller Glee Club Fund and Friends of the Glee Club.
Saturday, February 15, 2014 | 8 pm
Spaulding Auditorium | Dartmouth CollegePROGRAM
O quam gloriosum est regnum Tomás Luis de Victoria (1548–1611)
Noche de lluvia (Rainy Night) from Canciones por las Americas Sid Robinovitch (b. 1953)
Hugo Vera conductor, Timothy Steele piano Poem by Juana de Ibarbourou
Spanish songs and Zarzuela selections
Cuatro Madrigales Amatorios Joaquin Rodrigo (1901–1999)
Meghan Hassett ‘15 soprano
Vos me metasteis
¿De dónde venís, amore?
Al Amor Fernando Obradors (1897–1945)
Nathan Graves ‘13 tenor
El Majo Discreto Enrique Granados (1867–1916)
Amber Dewey ‘12 soprano
No puede ser from La tabernera del puerto Pablo Sorozábal (1897–1988)
Del cabello más sutil Fernando Obradors (1897–1945)
Desnuda from Il Postino Daniel Catán (1949–2011)
Sin tu amor Miguel Sandoval (1903–1953)
Hugo Vera tenor, Timothy Steele piano
• INTERMISSION •
Romancero Gitano, Op. 152 Mario Castelnuovo-Tedesco (1895–1968)
John Muratore guitar Set to poems by Federico García Lorca
I. Baladilla de los Tres Ríos
Anna Noreuil ‘16, David Clossey ‘16, Susanah Kwon ‘17, Brian Chalif ‘16, Ben Rutan ‘17
II. La Guitarra
III. Puñal
IV. a ) Procesión
b.) Paso
c.) Saeta
Josh Cetron ‘16, Nikhil Arora ‘16
V. Momento
Nikhil Arora ‘16, Jordana Composto ‘16, Min Jee Kim ‘17, Ben Ferguson ‘15, Jeremy Mittleman ‘17
VI. Baile
VII. Crótalo
Granada Agustin Lara (b. 1932)
Hugo Vera tenor, John Muratore guitar, Timothy Steele pianoPROGRAM NOTES
O quam gloriosum est regnum works for the theater, none have held their place
Tomás Luis de Victoria (1548–1611) in the repertoire. His orchestral work El Poema de
O Quam Gloriosum, by Spanish Renaissance la Jungla is inspired by Kipling’s The Jungle Book.
composer de Victoria, was published in 1572. It is
a brief expression of the composer’s talent Desnuda from Il Postino
for drama—albeit pure and appropriately Daniel Catán (1949-2011)
restrained—in the setting of a text for use on All Born in Mexico City, Catán studied music at the
Saints Sunday. His exquisite motets are generally University of Southampton and received a Ph.D.
short, stark, largely homophonic works that from Princeton University, where he studied with
reveal the influence of Palestrina, with whom he Milton Babbit. Catán was the first Mexican
studied. The material for this motet was recast as composer to have an opera produced in the
a parody mass of the same title. United States. Based on the Academy Award-
winning 1994 Italian film that became a surprise
Noche de lluvia (Rainy Night) hit with audiences around the world, and also on
Sid Robinovitch (b. 1953) the 1985 novel Ardiente Paciencia by Antonio
A native of Manitoba, Robinovitch has devoted Skármeta, Il Postino, tells the story of a shy young
himself to musical composition since 1977, postman in a tiny Italian fishing village, who
having studied at Indiana University and at the discovers the courage to pursue his dreams
Royal Conservatory of Toronto with Samuel Dolin. through his daily deliveries to his only customer,
He presently lives in Winnipeg, Canada, where he the esteemed Chilean poet Pablo Neruda, played
works as a composer and teacher. by Placido Domingo.
No puede ser from La tabernera del puerto Sin tu amor
Pablo Sorozábal Miguel Sandoval (1903-1953)
No puede ser is an aria sung by Leandro (tenor) in Miguel Sandoval was a Guatemalan-born
the second act of the zarzuela, La tabernera del American pianist, conductor and composer. He
puerto, composed by Pablo Sorozábal to a grew up in Guatemala City, studied at St. Johns
libretto by Federico Romero and Guillermo School in Belize, came to America in 1918 and
Fernández-Shaw. La tabernera del puerto became a US citizen in 1925. Sandoval was an
premiered in Barcelona in 1936. One of the most accompanist and coach to Rosa Ponselle and
famous arias in the Spanish language, No puede composed a symphonic poem Recuerdos e un
ser has been part of the concert repertoire of paseo, piano pieces and songs.
many Spanish tenors, including Alfredo Kraus,
José Carreras and Plácido Domingo who sang it Romancero Gitano, Op. 152
in the 1990 Three Tenors concert. Mario Castelnuovo-Tedesco (1895–1968)
Mario Castelnuovo-Tedesco studied with the
Del cabello más sutil renowned Italian composer Pizzetti, completing a
Fernando Obradors (1897–1945) composition degree in 1918, and then came to
Fernando Obradors (1897–1945) was taught the attention of the pianist Alfredo Casella, who
piano by his mother, but taught himself championed the young composer’s works. Great
composition. Between 1921 and 1941 he wrote literature and his Jewish heritage were sources of
four volumes of arrangements of classic Spanish inspiration. His Violin Concerto (1931), written at
poetry, Canciones clásicas españolas. One of the the request of Jascha Heifetz, was an expression
poems, La casada infiel, was written by his friend of splendor of past days in the face of rising anti-
Federico García Lorca. Although he wrote many Semitism in Europe. At a 1932 ContemporaryPROGRAM NOTES CONTINUED
Music Festival in Venice, Castelnuovo-Tedesco sought to do, during my artistic evolution, has
met the famous Spanish guitarist Andres Segovia, been to express myself with means always
for whom he wrote his Guitar Concerto No. 1, the simpler and more direct, in a language always
first of nearly a hundred guitar compositions. cleaner and more precise.”
By the following year, Italian fascist government Romancero Gitano, Op. 152, was written in Los
policies began to treat the arts as propaganda Angeles in 1951, basically as a concerto for guitar
for racist ideals and banned Castenuovo- with chorus, based on the gripping poetry of
Tedesco’s works from performance or broadcast. Federico García Lorca (1898-1936). Most of the
Sponsored by Toscanini, the composer left Italy poems come from the 1921 collection called
for the US in 1939, right before the outbreak of Poema del canto jondo (Poem of the Deep Song),
World War II. He first settled in Larchmont, NY, a title which refers to a type of flamenco singing.
but soon ended up in Hollywood, where with the García Lorca, considered Spain’s greatest
help of Heifetz, he landed a contract with MGM modern poet and playwright, was from Andalucia.
as a film composer. He contributed to over 200 Influenced by flamenco and gypsy music, García
films, but still found time to write concert music, Lorca himself was a musician and composed
and become Los Angeles’ most sought after music. He was good friends with Manuel de Falla
composition teacher, with students including and other composers. (Although not politically
André Previn, John Williams and Henry Mancini. affiliated, his friendship with left-wing intellectuals
and love of liberty led to his execution by a right-
His more than 200 opus numbers include many wing firing squad during the Spanish Civil War.)
works for voices, piano, guitar, opera, ballet and
chamber music. He never became as well-known In the first movement, Baladilla de los Tres Ríos,
as he deserved, probably because he was writing the guitar imitates the rushing water of
tuneful music in an era which regarded that with the Guadalupe River, while appassionata solo
disdain, at least on the serious classical front. flourishes interrupt the chorus. In the second
Now that we have rediscovered melody, perhaps movement, La Guitarra, the guitar sets the
it is time to rediscover Mario Castelnuovo- flamenco mood, as the instrument is compared to
Tedesco. “heart wounded by five swordsmen” (i.e., the five
strings of the guitar). The third movement
The composer had this to say: “I have never
Puñal is the most dissonant and aggressive, as
believed in modernism, or neoclassicism, or any
the dagger flashes. The fourth movement
other ‘isms’. I believe that music is a form of
combines three poems, Procesión, Paso and
language capable of progress and renewal (and I
Saeta, which follow logically. The bass soloist sets
myself believe that I have a feeling for the
a dreamlike stage, followed by the floating
contemporary and, therefore, am sufficiently
procession song, which refers to, and leads into,
modern). Yet music should not discard what was
the saeta, a type of Holy Week song in honor of
contributed by preceding generations. Every
the Virgin. Baile is an elegant seguidilla in which
means of expression can be useful and just, if it is
the baritone describes Carmen’s dance through
used at the opportune moment (through
the streets of Seville, while the tenor solo
necessity rather than through caprice or fashion).
interjections recall the first movement. The final
The simplest means are generally the best. I
movement, Crótalo, marked furioso, is full of
believe that my personality was formed to a
cross-rhythms and percussiveness to depict the
decisive degree quite early, but what I have
text.TEXTS AND TRANSLATIONS O quam gloriosum est regnum Tomás Luis de Victoria (1548–1611) O quam gloriosum est regnum O how glorious is the kingdom in quo cum Christo gaudent omnes sancti! in which all the saints rejoice with Christ! Amicti stolis albis, Clad in robes of white, sequuntur Agnum quocumque ierit. they follow the Lamb wherever he goes. Noche de lluvia (Rainy Night) Sid Robinovitch (b. 1953) Poem by Juana de Ibarbourou Wait, do not sleep. Listen to what the wind is saying And to what the water says tapping With little finger upon the window panes. All my heart is listening To hear the enchanted sister Who has slept in the sky, Who has seen the sun, And now comes down, buoyant and gay. Let us listen to the rhythm of the rain. Cradle between my breasts Your silent forehead. I will feel the beating of your temples, Throbbing and warm. How gay the waving wheat will be! How eagerly the grass will thrive! What diamonds will cluster now In the deep branches of the pines! Wait, do not sleep. Tonight The two of us are a world, Isolated by wind and rain In the warmth of a bedroom. No puede ser from La tabernera del puerto Pablo Sorozábal (1897-1988) Leandro. It cannot be so! This woman is good. She cannot be a bad woman! In her look, like a strange light, I’ve seen that this woman is unhappy. She cannot be a cheap siren who has poisoned every moment of my life. It cannot be so! Because I’ve seen her pray, because I’ve seen her love, because I’ve seen her cry!
TEXTS AND TRANSLATIONS CONTINUED Those eyes that cry don’t know how to lie. Bad women do not look like that. Glinting in her eyes I saw two tears, and my hope is, they glint for me. Vivid light of my hopes! Take pity on my love! Because I cannot pretend, because I cannot be silent, because I cannot live! Del cabello más sutil Fernando Obradors (1897–1945) Of the softest hair which you have in you braid, I would make a chain so that I may bring you to my side. A jug in your home, little one, I would like to be... so that I may kiss you each time you take a drink. Desnuda from Il Postino Daniel Catán (1949-2011) Naked…you are as simple as one of your hands. Smooth, earthly, small, round, transparent. You have lines of moonlight, paths of apple. Naked…you are as slender as the naked wheat. Naked…you are as blue like a night in Cuba. There are vines and stars in your hair. Naked… You are round and yellow! Vast like Summer in a golden temple. Sin tu amor Miguel Sandoval (1903-1953) Woman of my life, come to me. Without your love, living has no meaning. If I cant ever see the joy in your eyes, If I cant ever see your lips smiling, What is the meaning of life? If you are not mine, I dont want this life. Another one will look himself in your eyes, Another one will own your kisses. Life has no meaning for me. But, with your love, with your eyes looking at me, With your red lips saying to me I love you, I would be so happy, and I would live at your feet, Whispering I love you.
TEXTS AND TRANSLATIONS CONTINUED Romancero Gitano Mario Castelnuovo-Tedesco (1895–1968) I. Baladilla de los Tres Ríos El Río Guadalquivir va The Guadalquivir River runs entre naranjos y olivos. through orange trees and olive trees. Los dos ríos de Granada The two rivers of Granada bajan de la nieve al trigo. descend from the snow to the wheat. ¡Ay, amor que se fué y no vino! O love that went away and didn’t come back! El Río Guadalquivir tiene las barbas granates. The Guadalquivir River has banks of garnets. Los dos ríos de Granada, The two rivers of Granada, uno llanto y otro sangre. one of tears and the other blood. ¡Ay, amor que se fué por el aire! O love that vanished into thin air! Para los barcos de vela Sevilla tiene un camino; For sailing ships, Seville has a road; por el agua de Granada solo reman los suspiros. through Granada’s water row only sighs. Guadalquivir, alta torre y viento Guadalquivir, high tower and wind en los naranjales. in the orange groves. Dauro y Genil, torrecillas muertas, Dauro and Genil, dead little towers, sobre los estanqués. above the ponds. Quien dirá que el aqua lleva Who can say if water brings forth un fuego fatuo de gritos. a will-o’-wisp of screams? Lleva azahar, lleva olives, It carries orange blossoms, it carries olives, Andalucía a tus mares. Andalucía, to your seas. II. La Guitarra Empieza el llanto de la guitarra. The lament of the guitar begins. Se rompen las copas de la madrugada. The goblets of dawn are broken. Es inútil callarla. Es impossible callarla. It is useless to quiet it. It is impossible to quiet it. Llora monotona, como llora el agua, It cries monotonously, like the water cries, como llora el viento sobre la nevada. like the wind above the snowcaps cries. Llora por cosas lejanas, como arena del sur It cries for distant things, like the sand caliente que pide camellias blancas. of that hot south that asks for white camellias. Llora flecha sin blanco, It cries like an arrow without target, la tarde sin mañana, like an evening without a morning, y el primer pájaro muerto sobre la rama. and like the first dead bird on the branch. ¡O, Guitarra! Corazón malherido por cinco espadas. O guitar! Heart wounded by five swordsmen. III. Puñal El puñal entre el corazón The dagger enters the heart like the blade como la reja del arado en el yermo. of the plow in the barren wasteland. ¡No, no, no me lo claves! No, no, do not stab me with it! El puñal entre el corazón The dagger enters the heart como un rayo de sol like a ray of sun ignites the terrible hallows. incendia las terribles hondonadas. No, no, no claves! No, no, do not stab me with it! IV. Procesión Procession Por la calle vienen exstraños unicornios– Through the street come strange unicorns– ¿De qué campo? ¿De qué bosque mitológico? From which field? From what mythological wood?
TEXTS AND TRANSLATIONS CONTINUED Más cerca y aparecen astrónomos, Closer, and they look like astronomers, fantásticos Merlines y el Ecce Homo, fantastic Merlins and the Ecce Homo, Durandarte encantado Orlando furioso... the armored Durandarte, the mad Orlando... Paso Float Virgen con miriñaque Virgen de soledad– Virgin with a hoopskirt, Virgin of solitude– abierta como un immenso tulipán. open like an immense tulip. En tu barco de luces vas In your boat of lights you sail por la alta marea de la ciudad; on the high tide of the city; ¡entre saetas turbias y estrellas de crystal, between turbid saetas and crystal stars, tú vas por el río de la calle hasta el mar! you float down the street to the sea! Saeta Saeta Cristo Moreno pasa de lirio de Judea The dark Christ passes from the lily of Judea a clavel de España. to the carnation of Spain. ¡Míralo por donde viene! Behold from where he comes! ¡Míralo por donde va! De España. Behold whither he goes! From Spain. Cielo limpio y oscuro tierra tostada, Clear, black sky, scorched earth, y cauces donde corre muy lenta el agua. and the water runs very slowly. Cristo Moreno pasa con las guedejas The dark Christ passes with burned locks of hair, quemadas, los pomulos salientes, protruding cheekbones, and blank eyes. V. Momento Cuando yo me muera, When I die, enterrarme con mi guitarra, bajo la arena, bury me with my guitar, under the sand, entre los naranjos y la hierba buena. among the orange trees and mint. Cuando yo me muera, When I die, bury me, enterrarme si que réis en una veleta. if you wish, in a thin shroud. VI. Baile La Carmen está bailando por las calles de Sevilla. Carmen is dancing through the streets of Seville. Tiene blancos los cabellos y brillantes las pupilas. Her hair is white and her eyes are shining. ¡Niñas, corred las cortinas! Children, draw the curtains! En su cabeza se enrosca una serpiente amarilla, y In her hair is coiled a yellow serpent, and she goes va soñado en el baile con galanes de otros días. on dreaming in her dance with former lovers. Las calles están desiertas y en los fondos, The streets are deserted and in the background, corazónes Andaluces se adivinan, Andalucían hearts are still guessing, buscando viejas espinas. looking for old suspicions. VII. Crótalo Crótalo. Escarabajo sonoro. Rattler. Sonorous beetle. En la araña de la mano rizas el aire cálido, In the spider of the hand, you ripple the warm y te ahogas en tu trino de palo. Crótalo. air and drown in your trill of wood. Rattler. Granada Agustin Lara (1932) Granada, tierra soñada por mí, Granada, land I’ve been dreaming about, mi cantar se vuelve gitano When my song’s for you it turns into cuando es para ti; A Gypsy-like shout.
TEXTS AND TRANSLATIONS CONTINUED mi cantar, hecho de fantasía, It’s my song, made of a dreamer’s folly, mi cantar, flor de melancolía, Yes, my song, flower of melancholy, que yo te vengo a dar. That I now bring to you. Granada, tierra ensangrentada Granada, your soil is made bloody en tardes de toros; By men and bulls fighting; mujer que conserva el embrujo A woman whose Moorish eyes give her de los ojos moros. A charm that’s exciting. Te sueño rebelde y gitana Rebellious Gypsy in my dreaming, cubierta de flores, All covered with flowers, y beso tu boca de grana, I kiss your red mouth that’s so gleaming, jugosa manzana, A ripe apple, seeming que me habla de amores. To speak love for hours. Granada, manola cantada Granada, with beautiful rhymes, like en coplas preciosas; A girl, poets sing you; no tengo otra cosa que darte Except for a plain bunch of roses que un ramo de rosas, I’ve nothing to bring you; de rosas, de suave fragancia, Of roses with fragrance so mild that que le dieran marco a la Virgen Morena. They could be a frame for the dark Holy Virgin. Granada, tu tierra está llena Granada, your soil is submerged in de lindas mujeres, A sea of great beauties, de sangre y de sol. Of blood and of sun. ABOUT THE ARTISTS Hugo Vera tenor, a native Texan, is described as Festival and The Metropolitan Opera, where he possessing a “truly heroic voice” that is both return for a fifth season in 2013-2014 and is “beautiful and brilliant.” Increasingly in demand working in productions of Tosca, The Nose and and a recent addition to The Metropolitan Opera Norma. In 2013-2014 he also will be performing artist roster, Mr. Vera has performed thirty-four recitals as an Artist in Residence at Dartmouth roles and twenty choral orchestral works with College and University of Texas-Pan America; distinguished companies in the United States as tenor soloist in Verdi’s Requiem with the Long part of his musical and artistic development of Island Choral Society and Orchestra and in Orff’s the full lyric and spinto tenor repertoire. In Carmina Burana with the Gulf Coast Symphony; addition to The Metropolitan Opera, Mr. Vera in the rolees of Sports Anchorman in the world has sung with Spoleto, USA, Kansas City premier of the opera Bum Phillips with the Symphony, New York City Opera, Illinois experimental NYC Monk Parrots, and Don Jose Symphony and Chorus, Fort St. Symphony and (Carmen) with GLOW Lyric Opera; and returning Chorus, Opera Memphis, Aspen Music Festival, to Piccolo Spoleto for a series of concerts. Brevard Music Center, Sarasota Opera, the Lyric Opera of Kansas City, Glimmerglass Opera, Mr. Vera has performed important principal roles Opera North, Aspen Opera Theatre, The including Manrico (Il Trovatore), Cavaradossi Minnesota Opera, Chautauqua Opera, Nashville (Tosca), Radames, (Aida), Hoffmann (The Tales of Opera, Shreveport Opera, Tanglewood Music Hoffmann),Pinkerton (Madama Butterfly), Faust
ABOUT THE ARTISTS CONTINUED
(Faust), Pietro Nuttini (The Glass Blowers), Luiz Among the composers with whom John has
(The Gondoliers), Alfredo (La Traviata), Raffaele worked closely to produce new solo and
(Stiffelio) and Manuel, the down-and-out boxer, chamber works for the guitar are Daniel
in Marcus Hummon’s opera Surrender Road. He Pinkham, Scott Wheeler, Larry Bell, Roger Zahab
has expanded his core repertoire with cover and Jon Appleton. Mr. Muratore has been
assignments of significant roles comprising the featured soloist at numerous international
Stiffelio, Duke of Mantua (Rigoletto), Jacopo venues including the Academie Festival des
Foscari (I due Foscari), and Sam (Susannah). Arcs (France), St. Petersburg (Russia) Chamber
Concerts, the Atelier International Concert
As a concert artist, Mr. Vera has performed works Series in Paris and AIMS (American Institute for
ranging from the cantatas of J.S. Bach to the Musical Studies, Graz, Austria).
works of Britten, Tippett and Vaughn Williams.
Of the oratorio/concert repertoire Mr. Vera has The Boston Globe has described him as “a fleet-
sung Verdi’s Requiem, Vaughn William’s Mass in fingered and musicianly performer” and has
G minor, Schubert’s Mass in G, Orff’s Carmina characterized his playing as ”unleashing so many
Burana, Mendelssohn’s Elijah, Haydn’s Lord different varieties of tone and color in quick suc-
Nelson Mass, Handel’s Messiah, and various cession…a kind of aural iridescence.” John,
works of Beethoven, including the Choral Fantasy, whose live performances have often been
the Mass in C, Missa Solemnis, and the great featured on NPR, WGBH Radio’s Classical
Symphony No. 9. He has had the pleasure of Performances has recorded for Albany, Pont
performing both Bach’s Magnificat as well as the Nuef and Arabesque Records. His most recent
celebrated Mass in B minor. CD, Domenie, is a collaboration with accordionist
Roberto Cassan. His critically-acclaimed solo
Recognized as a significantly talented singer, Mr. CD, Shadow Box, has been hailed by Britain’s
Vera enjoyed the privilege of training with Classical Guitar magazine as “a fine recording,
several noteworthy young artist programs with serious intent,” and his most recent
including the Brevard Music Center, the offering, Noël, A Classical Guitar Christmas, has
Tanglewood Music Festival, Aspen Music Center, been listed by CD Baby as one of the top-selling
Chautauqua Opera, The Lyric Opera of Kansas Holiday-Classical albums for 2012. Mr. Muratore
City, The Minnesota Opera, and Glimmerglass is on the faculty at Boston University and
Opera and Opera North. Dartmouth College and is coordinator of the
guitar program at the All Newton Music School.
John Muratore guitar performs regularly as a
solo recitalist, concerto soloist and chamber Timothy Steele piano is an active vocal coach,
musician. As a solo artist he has appeared pianist, and conductor, and is currently in his 21st
extensively throughout the United States, year on the opera faculty at New England
Canada, Europe and Russia. He has collaborated Conservatory. He received a bachelor of music in
with numerous chamber ensembles including piano from Drake University and a masters in
Emmanuel Music, the Spectrum Singers, Chorus accompanying from the University of Southern
Pro Musica, Alea III, Boston Musica Viva and California.
Counterpoint. Recent appearances as concerto
soloist have been with the Ridgefield Symphony, He has conducted for outreach tours with Boston
Vermont Symphony and Symphony by the Sea Lyric Opera, and is a former music director for
under the direction of Jonathan McPhee. Opera Providence. He has served as assistantABOUT THE ARTISTS CONTINUED
conductor/pianist for over 120 productions with Dido and Aeneas performed with the Arcadia
22 companies, including Boston Lyric Opera, Players, a baroque period instrument orchestra.
Opera Theatre of St. Louis, Wolf Trap Opera, In addition, the Glee Club regularly tours each
Central City Opera, and Portland Opera spring break.
Repertory Theatre. He assisted Opera Boston
with the Pulitzer Prize-winning opera Madame Louis Burkot conductor received Dartmouth
White Snake, and for three years collaborated College’s Distinguished Lecturer award in the
with WaterFire-Providence on a unique and spring of 2000 for his work in vocal instruction
popular series of opera evenings. In Boston he in the Department of Music. Richard Dyer of
has performed with Emmanuel Music, the Handel the Boston Globe praised Mr. Burkot’s work as
and Haydn Society, and the Commonwealth an operatic conductor as "first-rate, capable,
Shakespeare Company, among others. and stylish," and Opera North News has
noted that his conducting "sparkles with verve
The Dartmouth College Glee Club is a group of and sensitivity to the needs of singers." After
40+ serious choral singers, led by Louis Burkot Mr. Burkot's tutelage, many Dartmouth students
since 1981. Its ever-increasing repertory spans have continued their musical studies at
four centuries, with a distinguished performance New England Conservatory, Boston University,
history including many of the masterworks Indiana University, Cincinnati Conservatory and
of choral-orchestral literature, fully staged others. Mr. Burkot’s conducting studies included
Gilbert and Sullivan operettas with all- the Yale School of Music, the Aspen Music
student casts, large and small a cappella Festival and the Houston Grand Opera. He is
works, and the cherished songs of Dartmouth also Artistic Director of Opera North, which
College. Performances have included many recently celebrated its 25th anniversary. In
of the most important choral/orchestral addition, he gives master classes in vocal
masterworks performed with orchestra, Six repertoire at music schools and conservatories
Madrigali of Morten Lauridsen, and a fully staged throughout the United States.
and choreographed performance of Purcell's
DARTMOUTH COLLEGE GLEE CLUB
Louis Burkot conductor
Soprano..............................Marielle Brady ‘17, Elizabeth Couser ‘17, Amber Dewey ‘12, Cali Digre ‘14,
Lauren Gatewood ‘14, Alyssa Gonzalez ‘17, Meghan Hassett ‘15,
Min Jee Kim ‘17, Anna Noreuil ‘16 , Margot Yecies ‘15
Mezzo soprano........... Erin Abraham ‘14, Jordana Composto ‘16, Yifan Fang ‘17, Mizuho Horioka ‘16,
Alanna Kane ‘17, Susana Kwon ‘17, Casey Lewis ‘15, Katelyn Pan ‘17, Anne Ressler ‘14
Tenor ����������������������������������������������������������������David Clossey ‘16, Ethan Falleur ‘16, Ben Ferguson ’15,
Nathaniel Graves ‘13, Jeremy Mittleman ‘17, Timothy Pang ‘13
Baritone/Bass ���������������������������������������Nikhil Arora ‘16, Andrew Beaubien ‘16, Jean Luc Beaubien ‘17,
Joshua Cetron ‘16, Brian Chalif ‘16, Benjamin Rutan ‘17, Ian Stewart ‘14, Louis Wheatley ‘14DARTMOUTH SYMPHONY ORCHESTRA
ANTHONY PRINCIOTTI conductor
with ALEXANDER STYK ‘14 violin
SAT | MAR 1 | 8 PM | SPAULDING AUDITORIUM
The DSO explores the breadth of Russian orchestral music
with Stravinsky’s Suite from The Firebird (1919), with exotic
chromaticism and imaginative orchestration; Mussorgsky/
Ravel’s majestic Pictures at an Exhibition, written in 1874 as
a piano suite and orchestrated by Ravel 48 years later; and
Tchaikovsky’s Violin Concerto in D Major, Op. 35 (1878), with
violinist Alexander Styk ‘14. One of the most loved violin
concertos ever written, the work goes from lyrical
syncopation, to a Slavic-inflected second movement, to
scintillating, fingers-on-fire finale.
DARTMOUTH COLLEGE
GLEE CLUB
LOUIS BURKOT director
FRI | MAY 9 | 5:30 PM | TOP OF THE HOP
FREE
For tickets or more info call the Box Office at 603.646.2422 or visit hop.dartmouth.edu. Sign up for
weekly HopMail bulletins online or become a fan of “Hopkins Center, Dartmouth” on Facebook
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Margaret Lawrence Director of Programming Joshua Price Kol Director of Student Performance Programs
HOPKINS CENTER BOARD OF OVERSEERS
Austin M. Beutner ’82 Richard P. Kiphart ’63
Kenneth L. Burns H’93 Robert H. Manegold ’75, P’02, P’06
Barbara J. Couch Nini Meyer
James W. Giddens ’59 Hans C. Morris ’80, P’11, P’14 Chair of the Board
Allan H. Glick ’60, T’61, P’88 Robert S. Weil ’40, P’73 Honorary
Barry F. Grove, II ’73 Frederick B. Whittemore ’53, T’54, P’88, P’90, H’03
Caroline Diamond Harrison ’86, P’16 Jennifer A. Williams ’85
Kelly Fowler Hunter ’83, T’88, P’13, P’15 Diana L. Taylor ’77 Trustee Representative
Please turn off your cell Assistive Listening Devices If you do not wish to keep your playbill, please
D A RT M O UTH
phone inside the theater. available in the lobby. RECYCLES discard it in the recycling bin provided in the lobby.
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