Schubert and Opera
About the Artists
Eric Barry, tenor
Spanish-American tenor Eric Barry began this season with his return to Amarillo Opera as Edgardo in Donizetti’s Lucia di Lammermoor. He made his debuts with Shreveport Opera as Nemorino in Donizetti’s L’elisir d’amore and with North Carolina Opera as Rodolfo in Puccini’s La bohème. On the orchestra stage, Barry made debuts with the Indianapolis Symphony Orchestra singing the Verdi Requiem, and at Avery Fisher Hall with the National Chorale. He has a close association with the Beethoven Easter Festival and the Polish Radio Orchestra in Warsaw, where he has sung and recorded Avito in Montemezzi’s L’amore dei tre re and Don Luigi in Donizetti’s Maria Padilla.
Mezzo-soprano Teresa Buchholz’s performances this season have included the title role in Handel’s Giulio Cesare in Egitto with Opera Roanoke; the role of Mathurine in Little Opera Theatre of New York’s run of Gluck’s one-act opera The Reformed Drunkard; and the roles of Martha and Pantalis in a concert performance of Boito’s Mefistofele with the Collegiate Chorale at Carnegie Hall. She has also been heard in Elliott Carter’s Voyage with the American Symphony Orchestra at Carnegie Hall, Mahler’s Das Lied von der Erde with The Gateway Chamber Orchestra, and Handel’s Messiah at Lincoln Center with Distinguished Concerts International New York.
Eric Halfvarson is internationally celebrated as one of the foremost interpreters of many of the darkest Verdi and Wagner roles. He is a regular guest artist in many of the world’s foremost opera houses, from Vienna, Bayreuth, Munich, and London to New York, Los Angeles, and San Francisco. This season he returns to the Vienna State Opera to reprise his acclaimed portrayal of the Grand Inquisitor in Verdi’s Don Carlo and to London’s Royal Opera House Covent Garden for performances of Rossini’s Guillaume Tell and Mozart’s Don Giovanni. He will also appear in concert performances of Wagner’s Das Rheingold with Munich’s Symphonieorchester des Bayerischen Rundfunks, under the baton of Sir Simon Rattle.
Hailed by the New York Times as a “rich-voiced mezzo-soprano,” Cecelia Hall is one of an exciting new crop of versatile American singers. Her current season included several Mozart operas: debuts as Dorabella in Così fan tutte with North Carolina Opera and Zerlina in Don Giovanni with Opera Philadelphia, and a return to Lyric Opera of Chicago as Annio in La clemenza di Tito. She also made her Aix-en-Provence Festival debut as Zaida in Rossini’s Il Turco in Italia. Hall’s future engagements include debuts at the Metropolitan Opera and with the Canadian Opera Company. She is an alumna of the Metropolitan Opera’s Lindemann Young Artist Development Program and the Lyric Opera of Chicago’s Ryan Opera Center, and the recipient of a 2011 Sara Tucker Study Grant and Third Prize from the 2013 Gerda Lissner Foundation.
Soprano Sara Jakubiak began this season in her role debut as Elsa in Wagner’s Lohengrin at Opera Graz. She also debuted at De Nederlandse Opera as Polina in Prokofiev’s The Gambler. In concert, she was heard as the Governess in Britten’s The Turn of the Screw with the Saint Paul Chamber Orchestra and with the Colorado Symphony in Mozart concert arias. Jakubiak will begin next season as a member of the ensemble at Oper Frankfurt, singing Alice Ford in Verdi’s Falstaff, Ariadne in Richard Strauss’s Ariadne auf Naxos, Marta in Weinberg’s Die Passagerin, and the Goose-girl in Humperdinck’s Königskinder. In concert, she performed Penderecki’s Polish Requiem, conducted by Krzysztof Penderecki with Orquesta Sinfónica de la Juventud Venezolana Simón Bolívar in Caracas, Venezuela.
Canadian tenor Joseph Kaiser has appeared on the world’s most prestigious stages, performing leading roles at the Metropolitan Opera, Vienna State Opera, Royal Opera House Covent Garden, Opéra National de Paris, Bayerische Staatsoper, Deutsche Oper Berlin, Lyric Opera of Chicago, Houston Grand Opera, Washington National Opera, Los Angeles Opera, Salzburg Festival, Festival d’Aix-en-Provence, and Santa Fe Opera, among others. On the concert stage, he has been seen with the Wiener Symphoniker, Berliner Philharmonic, Rundfunk-Sinfonieorchester Berlin, Gewandhausorchester, Philadelphia Orchestra, Boston Symphony Orchestra, and Orchestra and Chorus of Teatro alla Scala, among others.
Bass-baritone Ryan Kuster recently completed the prestigious Adler Fellowship Program of San Francisco Opera. In 2012, he made his symphonic debut with the Los Angeles Philharmonic. In addition, he returned to Wolf Trap Opera to debut the title role of Mozart’s Don Giovanni and made his National Symphony debut performing Beethoven’s Ninth Symphony. This season, he sang Angelotti in Puccini’s Tosca with Madison Opera, Colline in Puccini’s La bohème with Arizona Opera, and Escamillo in Bizet’s Carmen with both Opera Colorado (company debut) and Virginia Opera. Other recent performances include Alidoro with Nashville Opera, Masetto with Cincinnati Opera, Dallas Opera’s production of Puccini’s Turandot, and SummerScape’s production of Weber’s Euryanthe.
Baritone Andrew Schroeder has performed on major operatic stages worldwide in diverse roles, such as Mandryka in Richard Stauss’s Arabella, Oreste in Gluck’s Iphigénie en Tauride, Tarquinius in Britten’s Rape of Lucretia, Nick Shadow in Stravinsky’s The Rake’s Progress, Figaro in Rossini’s Il barbiere di Siviglia, and the title roles in Enescu’s Oedipe, Chausson’s Le roi Arthus, and Monteverdi’s Il ritorno d’Ulisse in Patria. Schroeder has appeared with the Royal Opera House Covent Garden; Opera de Paris; La Monnaie, Brussels; Teatro Colon, Buenos Aires; and La Fenice, Venice, among other venues. A frequent guest of the American Symphony Orchestra and the Bard SummerScape festival, he has recorded Le roi Arthus (Telarc), Donizetti’s Pia de’ Tolomei (Dynamic) and Roberto Devereux (Naxos), and Shostakovich’s Le nez (Suissa).
Tenor Matthew Tuell’s recent performances include his company debut with Palm Beach Opera as First Jew in Richard Strauss’s Salome, covering the role of Piquillo in New York City Opera’s production of Offenbach’s La périchole, and Cassio in a production of Verdi’s Otello for Lyrique-en-mer, Festival de Belle-Île in France. He also performed multiple roles for Gotham Chamber Opera in Baden-Baden 1927, which combined chamber operas of Kurt Weill, Paul Hindemith, Ernst Toch, and Darius Milhaud.
Bass-baritone Alfred Walker’s recent appearances include a return to the American Symphony Orchestra as Kunrad in Richard Strauss’s Feuersnot; the title role in Wagner’s Der fliegende Holländer (Wagner Geneva Festival); Four Villains in Offenbach’s Les contes d’Hoffmann (Seattle Opera); Banquo in Verdi’s Macbeth (Minnesota Opera); Colline in Puccini’s La bohème (New Orleans Opera); and Porgy in Gershwin’s Porgy and Bess (Toronto Symphony Orchestra, San Diego Opera). Other recent operatic engagements include Parsi Rustomji in Glass’s Satyagraha (Metropolitan Opera); Orest in Strauss’s Elektra (Teatro alla Scala, Deutsche Oper Berlin, Seattle Opera, San Sebastián Festival); and Allazim in Mozart’s Zaide (Festival d’Aix en Provence, Wiener Festwochen, London’s Barbican Center, Mostly Mozart Festival); among others.
The American Symphony Orchestra was founded in 1962 by Leopold Stokowski, with the avowed intention of making orchestral music accessible and affordable for everyone. Under Music Director Leon Botstein, Stokowski’s mission is not only intact but thrives. And beyond that, the ASO has become a pioneer in what the Wall Street Journal called “a new concept in orchestras,” presenting concerts curated around various themes drawn from the visual arts, literature, politics, and history, and unearthing rarely performed masterworks for well-deserved revival. These concerts are performed in the Vanguard Series at Carnegie Hall.
The orchestra also gives the celebrated concert series Classics Declassified at Peter Norton Symphony Space, and regularly performs at The Richard B. Fisher Center for the Performing Arts at Bard College, where it appears in a winter subscription series as well as Bard’s annual SummerScape and the Bard Music Festival. The orchestra has made several tours of Asia and Europe, and has performed in countless benefits for organizations including the Jerusalem Foundation and PBS.
Many of the world’s most accomplished soloists have performed with the ASO, among them Yo-Yo Ma, Deborah Voigt, and Sarah Chang. In addition to CDs released by the Telarc, New World, Bridge, Koch, and Vanguard labels, many live performances by the American Symphony are now available for digital download. In many cases, these are the only existing recordings of some of the rare works that have been rediscovered in ASO performances.
Recognized as much for his visionary zeal as his performances, championing masterpieces unfairly ignored by history and creating concert programs that engage the head as well as the heart, Leon Botstein recently celebrated his 20th year as music director and principal conductor of the American Symphony Orchestra. He is also artistic codirector of the SummerScape and Bard Music Festivals and conductor laureate of the Jerusalem Symphony Orchestra. He has been president of Bard College since 1975. Botstein leads an active schedule as a guest conductor, and can be heard on many recordings with the London Symphony (their recording of Popov’s First Symphony was nominated for a Grammy), the London Philharmonic, NDR-Hamburg, and the Jerusalem Symphony Orchestra. Many of his live performances with the American Symphony Orchestra are available for download online. In fall 2013, Botstein conducted the Sinfónica Juvenil de Caracas in Venezuela and Japan, making him the first non-Venezuelan conductor invited by El Sistema to conduct on a tour. Highly regarded as a music historian, Botstein is the editor of The Musical Quarterly and the author of numerous articles and books. His most recent book is Von Beethoven zu Berg: Das Gedächtnis der Moderne (2013). For his contributions to music he has received the award of the American Academy of Arts and Letters and Harvard University’s Centennial Award, as well as the Cross of Honor, First Class, from the government of Austria. In 2009 he received Carnegie Foundation’s Academic Leadership Award, and in 2011 was inducted into the American Philosophical Society.
Bard Music Festival Presents
Schubert and Opera
3:30 pm Preconcert Talk: Michael P. Steinberg
4:30 pm Performance: Eric Barry, tenor; Alfred Walker, bass; Cecelia Hall, mezzo-soprano; Sara Jakubiak, soprano; Joseph Kaiser, tenor; Ryan Kuster, bass-baritone; Andrew Schroeder, baritone; Robert Pomakov, bass-baritone; Bard Festival Chorale, James Bagwell, choral director; American Symphony Orchestra, conducted by Leon Botstein, music director, and others; directed by Dmitry Troyanovsky; designed by Zane Pihlstrom; video projections by S. Katy Tucker; lighting by Jeanette Yew
Franz Schubert (1797–1828)
Fierrabras, D796 (1823)
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