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