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May 3 & 5, 2012
Thursday - 7:30pm | War Memorial Auditorium
Saturday - 8:00pm | War Memorial Auditorium
A Season of Winners
Richard Ollarsaba, bass-baritone
1st Prize 2010 Charles A. Lynam Vocal Competition
Dmitry Sitkovetsky, conductor
Program
Three Bass Arias
Madamina! Il catalogo, from Mozart’s Don Giovanni
Aleko's Cavatina, from Rachmininoff’s Aleko
Come dal ciel precipita, from Verdi’s Macbeth
Richard Ollarsaba, bass
Intermission
Ludwig van Beethoven
Symphony No. 9 in D Minor, Op. 125
Meredith Hansen, soprano
Cheryse McLeod Lewis, mezzo
Daniel Stein, tenor
Harold Wilson, bass
Choral Society of Greensboro
Allegro ma non troppo, un poco maestoso
Scherzo: Molto vivace - Presto
Adagio molto e cantabile
Finale
Sponsors
May 3
May 5
About the guest artists:
Richard Ollarsaba, a native of Tempe, Arizona, received his BM from the Cleveland Institute of Music in Cleveland, Ohio where he studied under Mary Schiller. Mr. Ollarsaba’s experience with the CIM Opera Theater include the role of Sarastro from Mozart’s Die Zauberflöte where he was reviewed by the Cleveland Plain Dealer as a “singer of exceptional ability” who “rolled out a bass of unusual beauty.” February 2009, he represented CIM by performing at the Kennedy Center in Washington D.C. as a part of the Kennedy Center Millennium Stage’s Conservatory Project.
Mr. Ollarsaba made his Opera Cleveland debut in its 2008 production of Le nozze di Figaro in the role of Antonio. That following November, he performed with the Kansas City Symphony in their performances of Handel’s Messiah. The Kansas City Star reviewed that “despite his youth, he exhibited a marvelous resonant voice” and that “this is one singer to watch in years to come.”
Mr. Ollarsaba has participated in the Music Academy of the West summer study program, summers 2009 and 2010 under the tutelage of world-renowned opera singer Marilyn Horne where he performed as the character Jarno in a rare performance of Ambroise Thomas’ Mignon and as Il Commendatore in Mozart’s Don Giovanni.
Mr. Ollarsaba received his MM from the UNCSA A.J. Fletcher Opera Institute in Winston-Salem and is currently a Professional Artist Certificate candidate within the same program, studying under Marilyn Taylor. In his time in Winston-Salem, he has performed such roles as Lord Cecil from Donizetti’s Maria Stuarda, Superintendent Budd in Britten’s Albert Herring and Don Alfonso in Mozart’s Così fan tutte with the Fletcher Opera Institute. He made his Piedmont Opera debut in their 2010 production of Il Trovatore in the role of Ferrando. In the 2010-2011 Metropolitan Opera National Council Auditions, Mr. Ollarsaba placed second in the Southeast Region.
In the world of classical vocalism, the name Meredith Hansen and the words ‘high caliber’ are becoming regularly linked. Her "Standout" performance as Antonia in Les Contes d'Hoffmann (Ted Medrek of the Boston Herald) is one of a long list of successes. Recently announced and immediately moving to paramount among those accomplishments is her contracting for a Metropolitan Opera House debut in Wagner’s Ring Cycle during the coming 2012-13 season. Following 2011-12 engagements that have included appearances with Boston Lyric Opera in the new production of The Inspector by John Musto; Carmina Burana with the Charlotte Symphony; Poulenc’s Gloria with the Plymouth Philharmonic; Beethoven’s 9th Symphony with the Greensboro Symphony; concerts at Boston’s Hatch Shell with the Landmarks Orchestra (singing Tatyana, Rosina and Countess Almaviva), Miss Hansen is a young singer with a rapidly rising star.
During the 2010-11 season, Meredith was a featured performer with the Boston Lyric Opera’s Signature Series (alongside Opera Great Joyce Castle), and made her Opera Boston debut as Marzelline in Beethoven’s Fidelio, for which she was deemed “a real find” by Opera Magazine (UK). Opera News Magazine stated: “As Marzelline… soprano Meredith Hansen was a bright, clever presence, and the size and color of her voice matched the role perfectly. She succeeded where very few singers do, making perfect dramatic sense of a romantic comedy figure essentially stranded in this otherwise dark and serious work.” She also performed her first Gretel in Boston Lyric Opera’s “Hansel and Gretel” during that season. Other engagements included her Jordan Hall debut as Donna Anna in Rob Kapilow’s “What Makes It Great: Don Giovanni,” as well as Beethoven’s 9th Symphony with the Bozeman Symphony.
Miss Hansen has a truly prestigious list of professional singing awards to her credit. In addition to receiving Grant Support from the Gerda Lissner Foundation, she was chosen for the Final Rounds of The 45th Annual Francisco Viñas Singing Contest in Barcelona, Spain, and awarded First Place in the Charles Lynam Competition, the Violetta DuPont Vocal Competition, and the Opera Birmingham Competition (chosen there also as ‘Audience Favorite’). Ms. Hansen has been a Regional Semi-Finalist and Regional Finalist in the Metropolitan Opera National Council Auditions, and was the 2010 recipient of the Stephen Shrestinian Award for Excellence from the Boston Lyric Opera. BLO has recently singled Miss Hansen out again by naming her to their select list of Emerging Artists for the 2011-12 season.
Meredith’s 2009-10 season included the Johnstown Symphony Orchestra Opera Gala, her mainstage debut with Boston Lyric Opera, Vaughan Williams’ Dona Nobis Pacem with the Plymouth Philharmonic, and her Boston Symphony Orchestra and Carnegie Hall Debuts singing Elijah under the baton of Rafael Frühbeck de Burgos. Additionally, she performed a program of scenes and arias (Juliette, Elettra, Violetta and others) on the Esplanade with Boston Lyric Opera and The Landmarks Orchestra, conducted by Charles Ansbacher.
The Richard Tucker Foundation Career Grant Nominee was seen as Gilda with the Newton Symphony Orchestra, as well as Countess and Rosalinda with Opera by the Bay, Miss Silverpeal in Mozart’s The Impresario with MetroWest Opera, Beethoven’s Missa Solemnis with the Quincy Choral Society, Verdi’s Requiem with the Paul Madore Chorale, and Messiah with Commonwealth Opera. For her November 2008 performance of Rossini’s Petit Messe Solennelle with Masterworks Chorale, Matthew Guerrieri of the Boston Globe offered the following praise: “Soprano Meredith Hansen sang…Crucifixus with a creamy tone and soared in the O salutaris hostia.”
Originally from Cohasset, MA, Miss Hansen received her undergraduate training at The Eastman School of Music and The University of Connecticut, her Master's Degree from Boston University, and logged a year of post-graduate study as an Intern with the Opera Institute at Boston University. Additional information can be found at www.meredithansen.com.
Cheryse McLeod Lewis, Mezzo-Soprano, is an accomplished performer in opera, concert, and recital. Commended for her “stunning vocal power” (Asheville Citizen Times) and “rich lyric mezzo sound” (Opera News Online), some of Ms. Lewis’ leading roles include the title role in Carmen (Capital Opera Raleigh; Asheville Lyric Opera); Rosina in Il barbiere di Siviglia (Asheville Lyric Opera, Mansfield Symphony, Central Georgia Opera Guild); Hansel in Hansel and Gretel (Connecticut Opera; Greensboro Opera); The Mother in Amahl and the Night Visitors (Opera Carolina; Connecticut Opera); and Prince Orlofsky in Die Fledermaus (Greensboro Opera).
Ms. Lewis also appears in concert and recital to rave reviews and has performed as a soloist with the Eastern Music Festival, Orlando Philharmonic Orchestra, Greensboro Symphony, New Britain (CT) Symphony, North Carolina Symphony, Mansfield Symphony, Piccolo Spoleto Festival, MOJA Festival, and Greensboro Oratorio Society. In addition to her solo work, Ms. Lewis performs with the highly acclaimed Inspirata Quartet [www.InspirataQuartet.com] and the vocal duo Eleganza [www.EleganzaMusic.net].
A proud native of Greensboro, NC, Ms. Lewis is a graduate of Carnegie Mellon University (BFA in Voice Performance), The University of NC at Greensboro (MM in Voice Performance), and The AJ Fletcher Opera Institute (Professional Artist Certificate in Opera). Ms. Lewis currently resides in Orlando, FL with her husband James. Learn more about Ms. Lewis and her upcoming engagements at: http://www.cherysemusic.com/
Tenor Daniel C. Stein, whose voice has been described as “ringing” and “warm and flexible”, was a Regional Finalist in the 2009 Metropolitan Opera National Council Auditions, he also won first place in the 2006 Charlotte Opera Guild Competition. A graduate of the University of North Carolina at Greensboro (MM) and Wright State University (BM), Mr. Stein received additional training as a Principal Young Artist with Opera North (NH).
On the operatic stage, Mr. Stein has sung such roles as Ferrando in Così fan Tutte, Gerald in Lakmé, Laurie in Little Women, Alfredo in La Traviata, Almaviva in Il Barbiere di Siviglia, and Alan Seymour in the World Premiere of Libby Larsen’s Picnic. He has performed with regional companies including Opera Carolina, Opera North, Asheville Lyric Opera, and North Carolina Opera.
Mr. Stein has performed numerous concert works such as Mozart’s Requiem, Mendelssohn’s Elijah, Handel’s Messiah, Beethoven’s 9th Symphony, and J.S. Bach’s St. John Passion. He made his debut at Carnegie Hall with the New York City Chamber Orchestra, and has sung with the Portland Symphony, Mansfield Symphony Orchestra, Winston-Salem Symphony, and the North Carolina Master Chorale, among others. Learn more at DanielStein.com
American bass Harold Wilson spent most of the 2010-11 season at The Metropolitan Opera participating in productions of Tosca, Armida, Roméo et Juliette, Boris Godunov and Don Carlos. In addition he sang with Tulsa Opera (Norma), Palm Beach Opera (Nabucco) and made debuts with the Opera Orchestra of New York (L’Africaine) and Chautauqua Opera (Die Zauberflöte). This fall, he will sing Prince Gremin (Eugene Onegin) with Madison Opera, and Handel’s Messiah with the St. Thomas Church in New York City. In 2012 he will return to The Metropolitan Opera for Tosca, and make debuts with Portland Opera (Don Giovanni) and Pensacola Opera (Rigoletto). The 2009-2010 season saw his debuts with Tulsa Opera (Lucia di Lammermoor), Madison Opera (Carmen), and Birmingham Opera (Aida), as well as returns to Lyric Opera of Kansas City (Rigoletto) and Santa Fe Opera (Les contes d’Hoffmann and Madama Butterfly).
As a member of the Deutsche Oper Berlin for five seasons he sang Arkel in Pelleas et Melisande, Raimondo in Lucia di Lammermoor, Sarastro in Die Zauberflöte , Zuniga in Carmen, The Hermit in Der Freischutz, in addition to performances of La traviata, Il trittico, Tannhäuser, La Fanciulla del West, Die Frau ohne Schatten, Un ballo in maschera, Tosca, Boris Godounov, Lohengrin, Idomeneo, Salome, Andrea Chenier, and Germania. In total he sang over 30 roles with the company. Mr. Wilson joined the Opernhaus Halle in the 2007-08 season for performances of Pogner in Die Meistersinger, Oroveso in Norma, Sarastro in Die Zauberflöte, Gremin in Eugene Onegin and Il Re in Ariodante. He was heard on a new recording of Kurt Weill’s Eternal Road. He also sang Messiah with the Seattle Symphony and Beethoven’s Ninth Symphony with the Brandenburgische Philharmonie Frankfurt. Other European credits include his debut at the Teatro Liceo in Barcelona singing in Britten’s A Midsummer Night's Dream (available on DVD from Decca), Tannhäuser at the Staatsoper Berlin, Salome at the Théâtre du Capitole de Toulouse, and Aufstieg und Fall des Stadt Mahagonny in Basel, Switzerland.
Previous US engagements have included contracts with Santa Fe Opera (Don Giovanni, La Traviata), Opera Carolina (Nabucco and Lucia di Lammermoor), Lyric Opera of Kansas City (Lucia di Lammermoor), Florentine Opera (A Midsummer Night's Dream), The Metropolitan Opera (A Midsummer Night's Dream), Palm Beach Opera (Tannhäuser), Minnesota Opera (Die Entführung aus dem Serail), Opera Theatre of St. Louis (The Grand Duchess of Gerolstein and Miss Havisham's Fire), Opera North (Eugene Onegin, Romeo et Juliette, Carmen, and Don Giovanni), Opera Illinois (Rigoletto and Falstaff), and Glimmerglass Opera (Salome).
Equally comfortable on the concert stage, Mr. Wilson recently sang the bass solo in Beethoven’s Symphony No. 9 with the Tulsa Symphony. He has also been the bass soloist in Mahler’s Symphony #8, Mozart's Mass in c minor, and the Requiems of both Brahms and Fauré. Among the orchestras he has performed with in concert are Indianapolis Symphony, Yakima Symphony, Deutsche Oper Orchester, Hallesche Philharmonie, Brandenburgische Philharmonie Frankfurt, Seattle Symphony and Staatskappelle Orchester Berlin.
He has been an award winner in numerous competitions including the Sullivan Foundation, the Belvedere Competition, Singer of the Year, Florida Grand Opera, National Society of Arts & Letters, the Bel Canto Competition, the Orpheus Competition, NATS, MTNA, the American Berlin Opera Foundation, and the Franz-Josef-Weissweiler-Fellowship.
Mr. Wilson earned his Masters Degree from Indiana University where he studied with renowned bass Giorgio Tozzi. Originally from North Carolina, he now resides in New Jersey with his wife. He enjoys playing golf and tennis in his free time. Visit HaroldWilson.com to learn more.
Program Notes
Madamina! Il catalogo, from Mozart’s Don Giovanni
Madamina! Il catalogo is sung by Don Giovanni’s sidekick, Leporello, as he tries to “comfort” Donna Elvira who is upset because Giovanni loved her then left her. Leporello tells her that she is not alone, and then recites a list of his master’s previous female conquests: 640 in Italy, 231 in Germany, and up to 1003 in Spain. The music is appropriately known as the “The Catalog Aria”.
Aleko's Cavatina, from Rachmininoff’s Aleko
Aleko is the first of three operas by Rachmaninoff, set to an adaptation of The Gypsies, a poem by Alexander Pushkin. Rachmaninoff wrote it when he was nineteen. In his cavatina, Aleko sings of his torment over his lover Zemfira who just left him for another gypsy.
Come dal ciel precipita, from Verdi’s Macbeth
In the second act of Verdi’s opera Macbeth, several men wait to murder Banco who has been selected to create the next royal lineage. In his aria, Banco sings of his apprehension over the situation: “O, how the darkness falls from heaven”.
Ludwig van Beethoven
Symphony No.9 in D Minor, Op. 125
There are many popular stories about Beethoven being a difficult person to be around, and argued with housemaids, landlords, and even nobility. But beneath this gruff exterior was a man who deeply believed in the inherent goodness and joyfulness of man. This is why he was so attracted to Schiller’s An die Freude text. The composer lived with this text for many years and must have been deeply touched by words such as “joy, thou heavenly spark of God”, “all men shall be brothers”, and “all creatures drink joy from Nature’s breast”.
Although the first performance of the 9th Symphony was on May 27, 1824, Beethoven’s earliest attempts to set Schiller’s text is found in his 1790’s. The text is also in the composer’s sketches for his 7th and 8th Symphonies in 1811. Beethoven continued to modify this music over the next decade or so until the theme took its final shape. He also needed time and practice to let the entire fourth movement mature: in 1808, he wrote the Choral Fantasy for Piano, Soloists, Chorus and Orchestra which acted as a study to the finale of the 9th Symphony.
The fourth movement is a true culmination of the work. Its opening minutes look backward and forward in the piece. Beethoven actually weaves six different melodies together to form the introduction to the Ode to Joy. The movement begins with dissonant and chaotic music which acts as a rude awakening to the peaceful ending of the third movement. Then Beethoven starts to look ahead by having the lower strings play the recitative that the bass soloist will sing in a few minutes, and amid this string recitative are little remembrances of the first three movements and a hint of the famous theme to follow.
The first time Beethoven gives us the Ode to Joy theme; it is in the low strings, coming out of the depths in its simple perfection that took him so long to get just right. We hear it four times, each growing in strength. The long introduction ends with the cacophony that began the movement: out of confusion comes beauty.
Even though we have had three quarters of an hour of spectacular music, the true center of the symphony is about to begin. To introduce this, the very first words of the bass soloist are not Schiller’s but Beethoven’s: “O Friends, not these sounds! Let us strike up something more pleasing and more joyful!” It is as if the Beethoven is telling us that the traditional symphony is over, and now it is time to enter a realm where joy and humanity flourish. The Ode to Joy is about to begin.
Preludes
Learn more about the evening’s music with Dr. David Nelson, UNCG. The Prelude on Thursday, May 3 begins at 6:45 p.m. on the Mezzanine level of the War Memorial Auditorium. The Prelude on Friday, May 5 begins at 7:00 p.m. in the Moon Room at Dana Auditorium.
Meet the Artists
Join us after the Thursday evening concert for a brief question and answer session held at the front of the stage with our guest artists and Dima.
Radio Broadcast
WFDD will broadcast this
concert during the 2012-12 season.
“Music is enough for a lifetime, but a lifetime is not enough for music.”
SERGEI RACHMANINOV
