DARTMOUTH COLLEGE GLEE CLUBLouis Burkot conductor

FROM SPAIN TO THE AMERICASwith guest artists Hugo Vera tenorJohn Muratore guitarTimothy Steele piano

Saturday, February 15, 2014 | 8 pm Spaulding Auditorium | Dartmouth College

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.

presents

PROGRAMO 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 piano

PROGRAM NOTESO 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 SorozábalNo 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 Award-winning 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 anti-Semitism in Europe. At a 1932 Contemporary

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.

By the following year, Italian fascist government policies began to treat the arts as propaganda for racist ideals and banned Castenuovo- Tedesco’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.

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 Castelnuovo- Tedesco.

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

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.”

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 right-wing firing squad during the Spanish Civil War.)

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.

PROGRAM NOTES CONTINUED

TEXTS AND TRANSLATIONSO quam gloriosum est regnum Tomás Luis de Victoria (1548–1611)O quam gloriosum est regnumin 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 IbarbourouWait, do not sleep.Listen to what the wind is sayingAnd to what the water says tappingWith little finger upon the window panes.

All my heart is listeningTo hear the enchanted sisterWho 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 breastsYour 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 nowIn the deep branches of the pines!Wait, do not sleep. TonightThe two of us are a world, Isolated by wind and rainIn 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 sirenwho 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 kingdomin which all the saints rejoice with Christ!Clad in robes of white,they follow the Lamb wherever he goes.

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 RíosEl 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!

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 llevaun fuego fatuo de gritos. Lleva azahar, lleva olives, Andalucía a tus mares.

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.

III. PuñalEl 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.

IV. ProcesiónPor la calle vienen exstraños unicornios– ¿De qué campo? ¿De qué bosque mitológico?

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!

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 fortha will-o’-wisp of screams? It carries orange blossoms, it carries olives, Andalucía, to your seas.

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.

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!

ProcessionThrough 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...

PasoVirgen 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!

SaetaCristo 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,

V. MomentoCuando 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.

VI. BaileLa 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.

VII. CrótaloCrótalo. Escarabajo sonoro. En la araña de la mano rizas el aire cálido, y te ahogas en tu trino de palo. Crótalo.

GranadaAgustin Lara (1932)Granada, tierra soñada por mí, mi cantar se vuelve gitano cuando es para ti;

Closer, and they look like astronomers, fantastic Merlins and the Ecce Homo, the armored Durandarte, the mad Orlando...

FloatVirgin 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!

SaetaThe 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.

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.

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.

Rattler. Sonorous beetle. In the spider of the hand, you ripple the warm air and drown in your trill of wood. Rattler.

Granada, land I’ve been dreaming about,When my song’s for you it turns intoA Gypsy-like shout.

TEXTS AND TRANSLATIONS CONTINUED

TEXTS AND TRANSLATIONS CONTINUEDmi cantar, hecho de fantasía, mi cantar, flor de melancolía, que yo te vengo a dar.

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 darteque un ramo de rosas,de rosas, de suave fragancia,que le dieran marco a la Virgen Morena.

Granada, tu tierra está llena de lindas mujeres,de sangre y de sol.

It’s my song, made of a dreamer’s folly,Yes, my song, flower of melancholy,That I now bring to you.

Granada, your soil is made bloodyBy men and bulls fighting;A woman whose Moorish eyes give herA 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, seemingTo speak love for hours.Granada, with beautiful rhymes, likeA girl, poets sing you;Except for a plain bunch of rosesI’ve nothing to bring you;Of roses with fragrance so mild thatThey could be a frame for the dark Holy Virgin.

Granada, your soil is submerged inA sea of great beauties,Of blood and of sun.

ABOUT THE ARTISTSHugo 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

(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 fleet-fingered and musicianly performer” and has characterized his playing as ”unleashing so many different varieties of tone and color in quick suc-cession…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

ABOUT THE ARTISTS CONTINUEDconductor/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 all- student 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 CLUBLouis 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

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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 MANAGEMENT STAFF

Jeffrey H. James Howard Gilman Director

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

Richard P. Kiphart ’63Robert H. Manegold ’75, P’02, P’06Nini MeyerHans C. Morris ’80, P’11, P’14 Chair of the BoardRobert S. Weil ’40, P’73 HonoraryFrederick B. Whittemore ’53, T’54, P’88, P’90, H’03Jennifer A. Williams ’85Diana L. Taylor ’77 Trustee Representative

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ANTHONY PRINCIOTTI conductor with ALEXANDER STYK ‘14 violin

SAT | MAR 1 | 8 PM | SPAULDING AUDITORIUMThe 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 SYMPHONY ORCHESTRA

DARTMOUTH COLLEGE GLEE CLUB LOUIS BURKOT director

FRI | MAY 9 | 5:30 PM | TOP OF THE HOP FREE