Read prog-081122-TBC.pdf text version

T H E BOSTON

CONSERVATORY

[MUSIC DANCE THEATER]

ABOUT THE BOSTON CONSERVATORY The Boston Conservatory trains exceptional young performing artists for careers that enrich and transform the human experience. Known for its multi-disciplinary environment, the Conservatory offers fully accredited graduate and undergraduate programs in Music, Dance, Theater and Music Education, and presents more than 200 performances each year by students, faculty and guest artists. The intimacy of our class settings provides a student-centered atmosphere that is uniquely intensive and supportive. Since its founding in 1867, The Boston Conservatory has shared its talent and creativity with the city of Boston, the region and the nation, and continues to grow today as a vibrant community of artists and educators. Moreover, our Conservatory Connections outreach program brings student performances to more than 50 homeless shelters, hospitals, senior centers, schools and public libraries in Boston annually.

This performance has been made possible in part by gifts from individuals, foundations, corporations and government agencies who support the hard work and extraordinary talent of our students, faculty and guest artists. We invite you to join this community of support by sending a gift to The Boston Conservatory's Annual Fund, PO Box 230193, Boston, MA 02123 or by visiting our website: www.bostonconservatory.edu.

THE BOSTON CONSERVATORY

Women's Chorus & Chorale

Miguel Felipe & Dr. William Cutter, conductors

Emmanuel Espiritu and Joseph Marchio, graduate assistant conductors with The Boston Conservatory Orchestra Joseph Turbessi, organ I-Ying Lin, piano November 22, 2008 Saturday, 8 p.m. Kresge Auditorium, M.I.T.

This organization is funded in part by the Massachusetts Cultural Council, a state agency.

Harmonie du Soir (2008) ­ Premiere Messe des Pêcheurs de Villerville

Kyrie Gloria Sanctus O Salutaris Agnus Dei

Andy Vores b. 1956 Gabriel Fauré & André Messager 1845-1924 & 1853-1929

Litanies à la Vierge noire --INTERMISSION-- Mass in c minor, K. 427

I. Kyrie Ariana Valdes, soprano II. Gloria 1. Gloria 2. Laudamus Te Ariana Valdes, soprano 3. Gratias 4. Domine Deus Margaret Batista, soprano Anna Ward, soprano 5. Qui tollis 6. Quoniam Hailey Fuqua, soprano Claire Filer, soprano Jeremy Ramilo, tenor 7. Jesu Christe / Cum sancto spiritu III. Credo 1. Credo 2. Et incarnatus est Hailey Fuqua, soprano IV. Sanctus / Osanna V. Benedictus Anna Ward, soprano Jessica Vadney, soprano Salvatore Atti, tenor Emmanuel Espiritu, bass VI. Osanna

Francis Poulenc 1899-1963

Wolfgang Amadeus Mozart 1756-1791

Program Notes

VORES- Harmonie du Soir Baudelaire's poem is in the form of a pantoum, where the second and fourth lines of one stanza become the first and third lines of the next, but with altered meaning or emphasis (it actually is an `irregular pantoum' because it departs from the expected rhyme scheme). This form seems to me to lend itself so well to Baudelaire's subject matter--waves of sound and scent in the evening air. In this setting the women's chorus sing simple alternating arpeggiated chords (essentially G major and F major triads) while the strings provide a hazy backdrop of buzzing and coiling activity. The rhythm of the vocal line is taken directly from Debussy's setting of this poem while the pitches and melodic contour are my own and quite different from Debussy's. The music of both the strings and the chorus becomes plainer, stiller, darker and calmer as this short work continues; the three-part chorus becomes unison and the lower strings take over from the high swirls heard at the opening. --Andy Vores FAURÉ & MESSAGER- Messe des Pêcheurs de Villerville This little mass had a quite unexpected origin. In 1880, Fauré and Messager were often guests of their friends Camille and Marie Clerc, manufacturers in Le Havre. Devoted amateurs of music, the Clerc's received many musicians during the summer months at their villa in Villerville on the Normandy coast. The two men were long-standing friends, Messager having been Fauré's first pupil when the latter had taught, briefly, at the Ecole Niedermeyer in 1871. Both later became choirmasters. It was during their stay at Villerville, in late August 1881, where they had the idea of collaborating on a new work for a performance by ladies from the village and some girls on holiday, in aid of the local fishermen's association. The original manuscript of 1881 shows the improvised nature of the enterprise: the final Agnus Dei is a comprehensive sketch by Fauré, just sufficient for the planned performance on Sunday, September 3rd in the parish church still redolent with the honor of having greeted Charles Gounod in earlier days. The state of the manuscript leads one to think that Fauré played the harmonium while Messager conducted. Ten or so voices accompanied by a humble harmonium and a violin solo gave an excellent account of this music, according to Marie Clerc, who was one of the second sopranos. The parish mass, preceded by a procession of fishermen with banners in the streets of the village, lived up to expectations. The collection came to 560 francs, "which is nice for a poky place like Villerville," commented Madame Clerc. In September 1882, Fauré was again in Normandy: "I have had a long and very pleasant stay in Villerville with my friends the Clercs," he wrote to Henriette Fuchs. "I have found a group of very good musicians and some pretty voices and with this keen ensemble gave a performance of a little mass I wrote, accompanied by a small orchestra." "Despite the high spirits of the rehearsals, or perhaps because of the high spirits of the rehearsals, the performance was excellent and this improvised choir, as fine to the eyes as to the ears, was welcome relief to my solemn Madeleine!" The success of the 1881 performance of the Messe des pêcheurs led to another, one year later (September 10, 1882). It was decided that the score would be orchestrated for a small ensemble, something which turned out to be difficult to put together. Messager in fact wrote to Camille Clerc on August 18, in an unpublished letter: "Do I orchestrate, do I not orchestrate? I confess I am in a quandary. The Kyrie and part of the Gloria are already done; but I shall not continue if we cannot find the necessary performers. This must be settled. Please drop me a line, therefore, to help me out.

[...] If we have not got an orchestra for our mass, it would be annoying if we do not set up a new one for this year. The same twice over is not the done thing!" Messager, an expert in the field, had, as we have seen, dealt with the orchestration, with the exception of the Agnus Dei which Fauré orchestrated from his own sketch, almost illegible for anyone other than himself. The ensemble consisted of flute, oboe, B flat clarinet (one of each), double string quintet and harmonium. The two composers shared out the parts of the mass as follows: Kyrie: Messager; Gloria: Fauré; Sanctus: Fauré; O Salutaris (motet): Messager; Agnus Dei: Fauré. Each made skillful use of the little three-part choir of sopranos I, sopranos II and altos, varying the vocal writing and including, in a very natural manner, short unison passages for the more forceful moments (Gloria, end of the Kyrie), and polyphonic passages in two parts, or in responsorial style (the voices alternating), Fauré more often using three-part polyphonic writing, notably in the admirable Agnus Dei that concludes the mass. The violin solo from the original version appears in the course of the two Messager movements and Fauré's Gloria, but in the orchestral version it occurs only in Messager's O Salutaris. This Messe des pêcheurs was composed by Fauré and Messager as music from the heart; it is delicate, melodious and gentle, revealing a conception of religious music fairly close to the Messe breve for children's voices of Leo Delibes or the motets of Gounod. "The religious faith of a Gounod is quite different from that of a Franck or a Bach. Gounod is all heart and Franck is all mind," declared Fauré in this connection. In an interview on his Requiem that one critic qualified as "pagan," he protested: "People have criticized Gounod's religious music for leaning too much towards human tenderness. Yet his nature predisposed him in this way; with him religious emotion took that form. Should one not accept the nature of an artist?" After the two performances at Villerville, the score of the Messe des Pêcheurs de Villerville remained in the shade until, under pressure of a contract with his publisher Heugel, Fauré decided, in 1906, to publish extracts of it, while making fairly extensive modifications: a new Kyrie was substituted for that of Messager; only the gentler passage Qui tollis (adapted to the words of the Benedictus) was retained from the Gloria, judged to be somewhat too martial. Here and there, the Sanctus and the Agnus Dei were modified as to the melodic line, the prosody and, sometimes, the harmony. The work was published in 1907 under the title Messe basse with organ accompaniment. [The Messe basse will be performed by The Boston Conservatory's Women's Chorus April 18th, 2009.] Having discovered the original Villerville version in the house of Jacqueline Ceillier, the grand-daughter of Caille and Marie Clerc, I had the pleasure of hearing it a hundred years after its first performance, in the church of Saint-Saens, a village in Normandy, sung by the Maltrise de Radio France under the direction of Henri Farge (9 June 1980), then at Strasburg under Roger Delage (22 March 1984), before Philippe Herreweghe recorded it on CD in 1988 with the Requiem (first recording of the 1893 version). These various performances were sufficiently convincing for it to be decided to publish the version for small orchestra (1882), including Messager's pieces, which had not hitherto been published. In the meanwhile, the autographed copies and the original parts had been added to the Fauré collection in the French Bibliotheque Nationale in 1985, thanks to the generosity of Mesdames Ceillier and Maspero. It may well be thought that the version published by Fauré (Messe basse) is more temperate and musically more perfect. I am however convinced that many people will be attracted by the charm of the original version, so limpid, so lyrical, of this little rustic mass, this little holiday mass, far removed from the pomp and ceremony of worship at the Madeleine. --Jean-Michel Nectoux Translated by Jeremy Drake

MOZART-Mass In c minor, k. 427 Mozart, in a letter to his father in 1777: "God is ever before my eyes. I realize His omnipotence and I fear His anger, but I also recognize His love, His compassion and His tenderness toward His creatures. He will never forsake His own. If it is according to His will, so let it be according to mine. Thus all will be well, and I must be happy and contented." Distinguished Harvard professor of music Robert Levin, a noted Mozart authority, said Mozart's spirituality also shines through his more than sixty pieces of church music. "Mozart's Catholicism is a powerful, affirmative force, without being subject to the `stick' of terror, threatening eternal damnation to those who didn't believe," Levin said. "It's (the c minor mass) overwhelmingly music of tenderness, empathy and at times of grandeur." The Mass in c minor could certainly be described using all of Levin's terms and many others agree that the music borders on the operatic with its extreme dramatic contrasts and bold harmonic language not found in any works of the same period. The music also embodies the pomp and ceremony associated with the Salzburg traditions of the time while showing clear influences (especially the fugal writing) from Bach and Handel, whose music Mozart was studying at the time. Although incomplete, (the work is missing most of the texts from the Credo, musical portions of the Sanctus, and all of the Agnus Dei) the grandeur of its conception has been compared to other musical monuments such as the B minor mass of Bach. It is likely that Mozart spliced in additional movements from his earlier Masses for the premiere in October 1783. Our performance will include only the music from movements originally conceived as part of this torso masterpiece. Mozart began work on the Mass in c minor in the summer of 1782. To fulfill a promise to his wife Constanze, he would perform a Mass in her honor when he took her to Salzburg to meet his father, who had not given the marriage his blessing. The Mass was rehearsed on August 23rd and performed in the Benedictine Abbey of St. Peter on August 26, 1783 with Constanze herself singing one of the solo soprano parts. --William Cutter

Translations

Vores- Harmonie du Soir Voici venir les temps où vibrant sur sa tige Chaque fleur s'évapore ainsi qu'un encensoir; Les sons et les parfums tournent dans l'air du soir; Valse mélancolique et langoureux vertige! Chaque fleur s'évapore ainsi qu'un encensoir; Le violon frémit comme un coeur qu'on afflige; Valse mélancolique et langoureux vertige! Le ciel est triste et beau comme un grand reposoir. Le violon frémit comme un coeur qu'on afflige, Un coeur tendre, qui hait le néant vaste et noir! Le ciel est triste et beau comme un grand reposoir; Le soleil s'est noyé dans son sang qui se fige. Un coeur tendre, qui hait le néant vaste et noir, Du passé lumineux recueille tout vestige! Le soleil s'est noyé dans son sang qui se fige... Ton souvenir en moi luit comme un ostensoir! -- Charles Baudelaire The season is at hand when swaying on its stem Every flower exhales perfume like a censer; Sounds and perfumes turn in the evening air; Melancholy waltz and languid vertigo! Every flower exhales perfume like a censer; The violin quivers like a tormented heart; Melancholy waltz and languid vertigo! The sky is sad and beautiful like an immense altar. The violin quivers like a tormented heart, A tender heart, that hates the vast, black void! The sky is sad and beautiful like an immense altar; The sun has drowned in his blood which congeals... A tender heart that hates the vast, black void Gathers up every shred of the luminous past! The sun has drowned in his blood which congeals... Your memory in me glitters like a monstrance! --trans. William Aggeler

Fauré/Messager- Messe des Pêcheurs de Villerville

Kyrie Kyrie eleison. Christe eleison. Kyrie eleison. Gloria Gloria in excelsis Deo. Et in terra pax hominibus bonae voluntatis. Laudamus te. Benedicimus te. Adoramus te. Glorificamus te. Gratias agimus tibi propter magnam gloriam tuam. Kyrie Lord have mercy. Christ have mercy. Lord have mercy. Gloria Glory to God in the highest. And on earth peace to all those of good will. We praise thee. We bless thee. We worship thee. We glorify thee. We give thanks to thee according to thy great glory.

Domine Deus, Rex coelestis, Deus Pater omnipotens. Domine Fili unigenite, Jesu Christe. Domine Deus, Agnus Dei, Filius Patris. Qui tollis peccata mundi, miserere nobis. Qui tollis peccata mundi, suscipe deprecationem nostram. Qui sedes ad dexteram Patris, miserere nobis. Quoniam to solus sanctus. Tu solus Dominus. Tu solus Altissimus, Jesu Christe. Cum Sancto Spiritu in gloria Dei Patris. Amen. Sanctus Sanctus, Sanctus, Sanctus, Dominus Deus Sabaoth. Pleni sunt coeli et terra gloria tua. Hosanna in excelsis. Benedictus qui venit in nomine Domini. Hosanna in excelsis. O Salutaris O Salutaris hostia Quae coeli pandis ostium Bella premunt hostilia Da robur fer auxilium O Salutaris Hostia Quae coeli pandis ostium Amen. Agnus Dei Agnus Dei, qui tollis peccata mundi: miserere nobis. Agnus Dei, qui tollis peccata mundi: miserere nobis. Agnus Dei, qui tollis peccata mundi: dona nobis pacem.

Lord God, Heavenly King, God the Father almighty. Lord Jesus Christ, the only begotten Son. Lord God, Lamb of God, Son of the Father. Thou who takest away the sins of the world, have mercy upon us. Thou who takest away the sins of the world, receive our prayer. Thou who sittest at the right hand of the Father, have mercy upon us. For thou alone art holy. Thou alone art the Lord. Thou alone art the most high, Jesus Christ. With the Holy Spirit in the glory of God the Father. Amen. Sanctus Holy, Holy, Holy, Lord God of Hosts. Heaven and earth are full of thy glory. Hosanna in the highest. Blessed is he who comes in the name of the Lord. Hosanna in the highest. O Salutaris O saving Victim, opening wide the gate of heaven, Foes press on from every side; Thine aid supply, they strength bestow. O saving Vistim, opening wide the gate of heaven, Amen. Agnus Dei Lamb of God, who takes away the sins of the world, have mercy upon us. Lamb of God, who takes away the sins of the world, have mercy upon us. Lamb of God, who takes away the sins of the world, grant us peace.

Poulenc- Litanies à la Vierge noire

Seigneur, ayez pitié de nous. Jesus-Christ, ayez pitié de nous. Jesus-Christ, écoutez-nous. Jesus-Christ, exaucez-nous. Dieu le père, créateur, ayez pitié de nous. Dieu le fils, rédempteur, ayez pitié de nous. Dieu le Saint-Esprit, sanctificateur, ayez pitié de nous. Trinité Sainte, qui êtes un seul Dieu, ayez pitié de nous. Sainte Vierge Marie, priez pour nous. Vierge, reine et patronne, priez pour nous. Vierge que Zachée le publicain nous a fait connaître et aimer, Vierge à qui Zachée ou Saint Amadour éleva ce sanctuaire, Priez pour nous, priez pour nous Reine du sanctuaire, que consacra Saint Martial, Et où il célébra ses saints mystères, Reine, près de laquelle s'agenouilla Saint Louis Vous demandant le bonheur de la France, Priez pour nous, priez pour nous Reine, à qui Roland consacra son épée, priez pour nous. Reine, dont la bannière gagna les batailles, priez pour nous. Reine, dont la main délivrait les captifs, priez pour nous. Notre-Dame, dont le pélerinage est enrichi de faveurs specials, Notre-Dame, que l'impiété et la haine ont voulu souvient détruire, Notre-Dame, que les peuples visitent comme autrefois, Priez pour nous, priez pour nous. Agneau de Dieu, qui effacez les péchés du monde, pardonnez-nous. Agneau de Dieu, qui effacez les péchés du monde, exaucez-nous. Agneau de Dieu, qui effacez les péchés du monde, ayez pitié de nous. Notre-Dame, priez pour nous, Afin que nous soyons dignes de Jésus-Christ. Lord, have pity on us. Jesus Christ, have pity on us. Jesus Christ, hear us. Jesus Christ, grant our prayers. God the Father, creator, have pity on us. God the Son, redeemer, have pity on us. God the Holy Spirit, sanctifier, have pity on us. Holy Trinity, who are one single God, have pity on us. Holy Virgin Mary, pray for us. Virgin, queen and patron, pray for us. Virgin, whom Zacchaeus the tax-collector made us know and love, Virgin, to whom Zacchaeus or Saint Amadour raised this sanctuary, Pray for us, pray for us. Queen of the sanctuary, which Saint Martial consecrated, And where he celebrated his holy mysteries, Queen, before whom knelt Saint Louis Asking of you good fortune for France, Pray for us, pray for us. Queen, to whom Roland consecrated his sword, pray for us. Queen, whose banner won the battles, pray for us. Queen, whose hand delivered the captives, pray for us. Our Lady, whose pilgrimage is enriched by special favours, Our Lady, whom impiety and hate have often wished to destroy, Our Lady, whom the peoples visit as of old, Pray for us, pray for us. Lamb of God, who wipes out the sins of the world, pardon us. Lamb of God, who wipes out the sins of the world, grant our prayers. Lamb of God, who wipes out the sins of the world, have pity on us. Our Lady, pray for us, To the end that we may be worthy of Jesus

Mozart- Mass in c minor, K. 427 Kyrie Kyrie eleison Christe eleison Gloria Gloria in excelsis Deo. Et in terra pax hominibus bonae voluntatis. Laudamus te. Benedicimus te. Adoramus te. Glorificamus te. Gratias agimus tibi propter magnam gloriam tuam. Domine Deus, Rex coelestis, Deus Pater omnipotens. Domine Fili unigenite, Jesu Christe. Domine Deus, Agnus Dei, Filius Patris. Qui tollis peccata mundi, miserere nobis. Qui tollis peccata mundi, suscipe deprecationem nostram. Qui sedes ad dexteram Patris, miserere nobis. Quoniam tu solus sanctus. Tu solus Dominus. Tu solus altisimus, Jesu Christe. Cum Sancto Spiritu in gloria Dei Patris. Amen. Credo Credo in unum Deum, Patrem omnipotentem, factorem coeli et terrae, visibilium omnium, et invisibilium. Et in umum Dominum Jesum Christum, Filium Dei unigenitum. Kyrie Lord have mercy Christ have mercy Gloria Glory in the highest to God. And on earth peace to men of good will. We praise thee. We bless thee. We worship thee. We glorify thee. Thanks we give to thee because of great glory thy. Lord God, King of heaven, God Father almighty. Lord Son only begotten, Jesus Christ. Lord God, Lamb of God, Son of Father. Who take away sins of world, have mercy on us. Who take away sins of world, receive supplication our. Who sit at right hand of Father, have mercy on us. For thou alone holy. Thou alone Lord. Thou alone most high, Jesus Christ. With Holy Spirit in glory of God Father. Amen. Credo I believe in one God, Father almighty, maker of heaven and of earth, visible of all things, and invisible. And in one Lord Jesus Christ, Son of God only begotten.

Et ex Patre natum ante omni saecula. Deum de Deo, lumen de lumine, Deum verum de Deo vero. Genitum, non factum, consubstantialem Patri, per quem omnia facta sunt. Qui propter nos homines, et propter nostram salutem descendit de caelis. Et incarnatus est de Spiritu Sancto ex Maria Virgine. Et homo factus est. Sanctus Sanctus, Sanctus, Sanctus, Dominus Deus Sabaoth. Pleni sunt coeli et terra gloria tua. Hosanna in excelsis. Benedictus Benedictus qui venit in nomine Domini. Hosanna in excelsis.

And of Father born before all ages. God from God, light from light, God true from God true. Begotten, not made, of one substance with Father, by whom all things made were. Who for us men, and for our salvation descended from heavens. And made flesh was of Spirit Holy of Mary Virgin. And man made was. Sanctus Holy, Holy, Holy, Lord God of Hosts. Full are heaven and earth of glory thy. Hosanna in highest. Benedictus Blessed who comes in name of Lord. Hossana in highest.

ABOUT THE ARTISTS

Dr. William Cutter is lecturer in music and director of choral programs at the Massachusetts Institute of Technology (M.I.T) where he is conductor of the M.I.T. Concert Choir and Chamber Chorus. Cutter has been a member of the conducting faculty at The Boston Conserveratory for the past six years. At the Conservatory, he conducts the chorale and teaches graduate conducting. He has held academic posts at the Boston University School for the Arts, the University of Lowell and the Walnut Hill School for the Arts. He served as music director and conductor of the Brookline Chorus, an auditioned community chorus of 80 voices, for five seasons. Cutter currently serves as the artistic director for The Boston Conservatory Summer Vocal/Choral Intensive program for high school vocalists. For the past six seasons, he served as chorus master and associate conductor of the Boston Lyric Opera Company. As assistant to John Oliver for the Tanglewood Festival Chorus, he has prepared choruses for John Williams, Keith Lockhart and the Boston Pops. In May 1999, he prepared the chorus for two television tapings and A Splash of Pops which featured the premiere of With Voices Raised by composer of the Broadway musical Ragtime, Stephen Flaherty. In August 2002, Cutter prepared the Tanglewood Festival Chorus for their performance of Beethoven's Symphony No. 9 under the baton of Sir Roger Norrington.

He has served on the faculty of the North Carolina Summer Institute of Choral Art and is in demand as a guest conductor and adjudicator throughout the United States and Canada. In 2002, he was asked to serve as a choral consultant for the Boston Symphony's educational outreach program. Miguel Felipe, Associate Director of Choral Studies, joined the faculty of The Boston Conservatory in 2005. In addition to his work with the Women's Chorus, he teaches ear training and choral repertoire courses. He is music director of the Boston Choral Ensemble, an instructor of conducting at Boston University and assistant conductor of the HarvardRadcliffe Collegium Musicum at Harvard University. Felipe was a guest faculty member at Brown University and since 1994, Felipe has worked in various positions as a church musician. In 2007, Felipe spent several weeks in Bandung, Indonesia, where he was a guest speaker and instructor for the Bandung School of Church Music and 3rd Symposium on Church Choral Music hosted by the Bandung Choral Society. In 2008, he returned to serve as teachermentor for the International Conductors Institute of Indonesia and jury member for the North Sulawesi International Choral Competition. Felipe performs similar work as clinician in the US. Felipe received his Bachelor of Music in Theory from the the University of Cincinnati CollegeConservatory of Music, summa cum laude and his Masters of Music in Conducting from Boston University. His teachers include Ann Howard Jones, Joseph Flummerfelt, John Leman, Christopher Zimmerman, Michael Jinbo, Bruce Hangen, David Hoose and Craig Smith. He is a proud member of the American Choral Directors Association, Chorus America, the National Collegiate Choral Organization, the International Federation for Choral Music and Pi Kappa Lambda, the national music honor society.

THE BOSTON CONSERVATORY ORCHESTRA

Violin I Olga Litvintsova Hee Jin Lee Billur Kibritcioglu Natalie Calma Sara Levine Kenneth Mok Leah Puleio Nanaka Takata Violin II Seung Hyun Seo Jin Lee William Piquette Si Eun Kim Ji Won Lee Yu Jin Hong Viola Matthew Owens Mimi Hristova Abby Magoon Ursula Von Ritter Rosie Samter Rachel Jayson Cello McKenna Longacre Jennifer Bewerse Tom Holdener Anna Sanders Double Bass Chih Yin Lin Akiko Kikuchi Flute Yun Chu Chiu Stephanie McGurren Oboe Mickey Hansen Clarinet Antonio Correia Amy Finn Bassoon Haley Horgan Horn Nathaniel Butler Trumpet Will Belew Chris Schroeder Timpani Catherine Boyd Joshua Ziemann Organ Joseph Turbessi Rehearsal Accompanists I-Yin Lin Joseph Turbessi

THE BOSTON CONSERVATORY WOMEN'S CHORUS

Soprano Molly Bouchard Kelsey Carroll Brittany Cary Courtney Cintron Claire Faller Erica Hess Grace Kahl Christine Lee Soo Yeon Lee Sarah Luzetti Rebecca Newman Erica Reynolds Yayra Sanchez Annie Smith Anna Tamaoka Alexandria Tan Melissa Then Mezzo-soprano Marigrace Ambrosia Samantha Attaguile Austin Badger Katherine Bamfield Lauren Berkman Dominique Grelsamer Suzanne Hamstra Shiri Hershkovitz Patricia Lyons Michaela Mechlovitz Analy Mendez Caitlin Miller Kirsten Piehl Cecily Reverman Charlie Rolison Sarah Schectman Chae-Song Seo Betsy Simpson Kaleena Stewart Alto Catherine Boyd Rachel Brinn Hye Jin Cho Chana Crawford Jeralyn Dalbeck Lauren D'Amico Morgan Davis Inesa Gegprifti Jennifer Haugen Kendra Blue Holmgren Devon Huhn Druinn Johnston Anne Maguire Felicity Mazur-Park Kate McDaniel Meghan Nutting Nomin Samdan Guilia Sanford Elicia Soltez

THE BOSTON CONSERVATORY CHORALE

Soprano Chelsea Beatty Emily Cook Hailey Fuqua Mary Jordan Johnston Elizabeth Rigby Jones Beatriz Macias Christine Mahady Stephanie Scarcella Ariana Victoria Valdes Jackie Vina Anna Ward Alto Maggie Batista Adrianne Blanks Meng-Jung Chiang Lauren Lyles Holly Ann Marshall Melissa Piantedosi Anna Mary Prokop Demi Renault Tenor Salvatore Atti Joseph M. Colombo Patrick Greene Matthew Grills Andrew Paul Jackson Patrick Massey Koji Nakamura Robert Pimentel Jeremy Ramilo Neil Reilly Evan D. Ross Darnell T. Roulhac Reg Didham Daniel Zimberg Bass Jeff Barth Johnathan Bosse Zachary Burgess Chris Coughlin Emmanuel Espiritu Ryan Favorite Justin Gigiello Joseph Gualtiere Kieran Kerekes Jared G. Lilly Joe Marchio Felix Pena Justin Pessolano Andrew Rix Joey Santaniello Brian Scarbrough Taylor Stilson Kevin M. Warren Daniel H. Woofter David Worobec

8 The Fenway Boston, MA 02215 (617) 536-6340 www.bostonconservatory.edu Event Info: (617) 912-9240

Information

16 pages

Report File (DMCA)

Our content is added by our users. We aim to remove reported files within 1 working day. Please use this link to notify us:

Report this file as copyright or inappropriate

1085021