1Handels Messiah

FROM THE PRES IDENT

Welcome to the Waukesha Choral Union’s presentation of Handel’s Messiah. This WCU tradition is the primary reason that I have been a strong supporter of this organization, even before I became a singing member, board member, and President. I sincerely hope that you enjoy the concert as much as the singers enjoy performing it.

This free concert (as well as the rest of the WCU concert season) is made possible not only by the hard work and dedication of our singers and musicians, but also by the support of our donors, advertisers, sponsors, volunteers and all those who attend our concerts. We appreciate you being here, and hope that we can count on your continued support in the future. Special recognition is due to JoAnn Portz who has made a significant contribution in memory of her deceased husband Fred, who was the driving force behind this annual event for many years.

Thank you for coming. The WCU hopes that this concert enhances your celebration of this Easter season. We also hope to see you at our final 2012-2013 concert on Saturday May 4th, here in Shattuck auditorium. It promises to be a very special event including a world premier performance of “Innocence and Reflections.” The lyrics of this work were written by Waukesha South student, Abby Lewis; the music was composed specifically for the Waukesha Choral Union by

local composer Paula Tillen. The presentation will also include student-created visual arts representations of the themes included in the lyrics, making this a multi-

media collaborative performance of Waukesha talent. Mark it on your calendar!

Tom CustisWCU Board President

32 Handels MessiahWaukesha Choral Union

Waukesha Choral Union has been musically active in the community for over 60 years. WCU was featured in WISN-TV’s Season to Celebrate broadcast during Christmas of 2011. Originally a combination of Carroll College students and community singers, WCU took its present form as an auditioned choir in 1978. Recent collaborative partners include the Milwaukee Symphony Orchestra, Bel Canto Chorus, Milwaukee Choristers, Carroll University Choirs, and the choirs of Waukesha South High School, Muskego High School, and Hartford Union High School.

Board of DirectorsThomas Custis - PresidentBarbara Miller - Vice PresidentSusan Wallenslager - SecretaryThomas Custis - TreasurerPhyllis CramerMitch GrulkeColleen ReskeThomas SmithMary Stephani

Committee ChairsMarketing: Jim LaBelleMembership: Colleen Reske

AdministrationArtistic Director: Ernest Brusubardis IIIMarketing Manager: Jim LaBelle

abOuT waukESHa cHOR al uNION

MISS ION

The Waukesha Choral Union will challenge, enrich, and engage its singing members, audiences, and community through the pursuit of excellence and a variety of programming. The WCU mission includes expansion of the effectiveness of its educational efforts throughout Waukesha County through collaboration.

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54 Handels MessiahWaukesha Choral Union

aRTISTIc D IREcTOR

Ernest Brusubardis III, Artistic Director of the

Waukesha Choral Union, is a graduate of UW Milwaukee with the Bachelor’s of Fine Arts in

Music and the Master’s Degree in Music Education

with an emphasis on choral conducting. His other

choral directorships include the advanced ensembles of Hartford Union High School and the Brusubardis-Dzimente Latvian Choir, a podium he shares with his father. His expertise in this latter pursuit has earned him the chief conductorship of Latvian Song Festivals in the United States, Canada, and Latvia.

As a music theater enthusiast, he conducts the orchestra for the annual productions at Hartford Union High School and boasts a record as music director for community theater productions throughout Southeastern Wisconsin, including Menomonee Falls Patio Players, On the Wall and Off the Wall theaters, Archangel Productions, and shows at the UW Milwaukee and West Bend extensions.

76 Handels MessiahWaukesha Choral Union

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FROM THE aRTISTIc D IREcTOR

Welcome to the Waukesha Choral Union’s presentation of Handel’s Messiah. We have had the pleasure of offering this free community concert event for over 30 years. I wonder if Handel ever thought this masterpiece among oratorios would become part of the standard choral repertoire around the world. Messiah premiered in April of 1742 as a fundraiser for a foundling hospital in Dublin, Ireland. It is now performed in many languages throughout the year all across the world. How appropriate that this performance is free to the public and sponsored by several generous benefactors in our community. Handel composed this most well known of his masterworks, during a time of turmoil in his life. He had experienced several financial setbacks and was nearly destitute and depressed. Even under these circumstances, Handel managed to create an enduring masterpiece, which eventually lifted him out of his misery. We live in equally trying times. I hope the music inspires us to leave with uplifted spirits and a zeal to make our world a better place. Enjoy this gift of music to you!Ernest “Ernie” Brusubardis III

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98 Handels MessiahWaukesha Choral Union

The Shattuck Music Center houses a recital hall that seats 150, an auditorium that seats 1350, and a Schantz 72 stop pipe organ. The Department of Music has a large band-practice room, teaching studios, a multi-sensing room, a computerized music laboratory, and classrooms.

Carroll University, often called Wisconsin’s pioneer college, is the oldest four-year institution of higher education

in the state. In 1841, settlers living in the Wisconsin Territory community of Prairieville established the academy that five years later would become Carroll College. Soon after its founding, Carroll affiliated with the Presbyterian Church and adopted the motto “Christo et Litteris,” which means “for Christ and Learning.”

Carroll was chartered by the Wisconsin Territorial Legislature on Jan. 31, 1846, two years before Wisconsin became a state. On May 10, 2008, the Board of Trustees voted unanimously to change the institution’s name to Carroll University, effective July 1, 2008.

Throughout Carroll’s history, the hallmarks of its educational experience have been teaching excellence and individualized attention.

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PerforMAnCe!GRAND FINALE

saturday, April 13, 2013

7:30PMst. Matthew’s Lutheran Church1615 Wauwatosa Avenue, Wauwatosa, WI

Tickets: adult $25 • senior $20 • student $15 • Purchase online or by phone: 414/376-5878www.milwaukeechoralartists.org

Featuring the World Premiere of “Desert Sky” by Ola Gjeilo

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P R O F E S S I O N A L W O M E N ’ S V O C A L E N S E M B L E

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George Frideric Handel(1685 – 1759)

In the summer of 1741Handel, depressed andin debt, began settingCharles Jennens’Biblical libretto tomusic at a breakneck

speed. In just 24 days (August 22–September14,) Messiah was complete. Likemany of Handel’s compositions, it borrows liberally from earlier works, bothhis own and those of others. Tradition has it that Handel wrote the piece whilestaying as a guest at Jennens’ country house in Leicestershire, England.

The oratorio was premiered on April 13, 1742, as part of a series of charity concerts in Neal’s Music Hall near Dublin’s Temple Bar district. Right up to the day of the premiere, Messiah was troubled by production difficulties and last-minute rearrangements of the score. Handel led the performance from the harpsichord.

Handel conducted Messiah many times and often altered the music to suit theneeds of the singers and orchestra he had available to him for each performance.Consequently, no single version can be regarded as the “authentic” one.Messiah is scored for SATB soloists, SATB chorus, two oboes, bassoon, twotrumpets, timpani, strings, and basso continuo

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1312 Handels MessiahWaukesha Choral Union

HANDELS MESSIAHWaukesha Choral Union

Ernest Brusubardis, III, Conductor

SoloistsKristin Wrolstad, Soprano

Jillian Bruss, AltoCurtis Bannister, Tenor

Brian Leeper, BassMessiah .......................................................................................George Frideric Handel (1685 – 1759)

Part 11. Overture

2. Tenor recitative, Comfort Ye, My People3. Tenor aria, Every Valley Shall Be Exalted

4. Chorus, And The Glory of The Lord5. Bass recitative, Thus Saith the Lord of Hosts

6. Alto aria, But Who May Abide the Day of His Coming7. Alto recitative, Behold, a Virgin Shall Conceive

8. Alto aria and chorus, O Thou That Tellest Good Tidings to Zion9. Bass recitative, For Behold, Darkness Shall Cover the Earth

10. Bass aria, The People That Walked in Darkness11. Chorus, For Unto Us a Child Is Born

12. Pastoral Symphony13. Soprano recitative, There Were Shepherds Abiding in The Field

14. Chorus, Glory to God in The Highest15. Soprano aria, Rejoice Greatly, O Daughter of Zion

16. Alto recitative, Then Shall The Eyes of The Blind Be Opened17. Soprano and Alto duet, He Shall Feed His Flock Like a Shepherd

18. Chorus, His Yoke is Easy and His Burthen is Light

INTERMISSION

Part 21. Chorus, Behold The Lamb of God

2. Alto aria, He Was Despised and Rejected3. Chorus, Surely, He Hath Borne Our Griefs

4. Chorus, And With His Stripes We Are Healed5. Chorus, All We Like Sheep Have Gone Astray

6. Tenor recitative, Thy Rebuke Hath Broken His Heart7. Tenor aria, Behold, And See if There Be Any Sorrow

8. Tenor recitative, He Was Cut Off Out of The Land of The Living9. Tenor aria, But Thou Didst Not Leave His Soul in Hell

10. Chorus, Lift Up Your Heads, O Ye Gates11. Soprano aria, How Beautiful Are The Feet of Them12. Bass aria, Why Do The Nations So Furiously Rage

13. Tenor recitative, He That Dwelleth In Heaven14. Tenor aria, Thou Shalt Break Them With a Rod of Iron

15. Chorus, Hallelujah

Part 31. Soprano aria, I know That My Redeemer Liveth

2. Chorus, Since By Man Came Death3. Bass recitative, Behold, I Tell You a Mystery

4. Bass aria, The Trumpet Shall Sound5. Chorus, Worthy The Lamb That Was Slain

6. Chorus, Amen

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1514 Handels MessiahWaukesha Choral Union

Kristin Wrolstad, soprano of Watertown, WI, is now in her elev-enth season with the Florentine Opera Com-pany Chorus. While there, she has appeared as a Handmaiden in Tu-

randot, Aunt in Madama Butterfly, Sylviane in The Merry Widow, and the third Appari-tion in Macbeth. She also has performed in a variety of Florentine’s educational and outreach programs. Concert appearances include the French National Anthem with the Milwaukee Symphony Orchestra and Mozart’s Exultate, Jubilate with the UW Mil-waukee orchestra. Kristin has been a Met-ropolitan Opera National Council Audition, Iowa District winner, along with being a Civic Music Association Recital Winner. In addition, she has a private voice and piano studio in Watertown. Kristin has enjoyed singing Handel’s Messiah with the Wauke-sha Choral Union twice before.

Jillian Bruss, alto, resides in the Milwaukee area and has performed both here and abroad in concert, opera and orato-rio. She has performed with the Florentine Op-era in both main stage

and outreach programs, Milwaukee Opera Theatre, Dallas Opera, Milwaukee Choral Artists, Milwaukee Youth Symphony, Waukesha Choral Union, MasterSingers, Bel Canto Chorus, Milwaukee Choristers and Lutheran Acapella. Jillian has performed in Norway and Denmark, countries of her grandfathers, with Paula Foley Tillen. She recorded a CD of the recital featuring a premiere commissioned work of Paula’s for the concert tour. Jillian is now the Devel-opment Manager of the Florentine Opera. She was General Manager of the Milwau-kee Opera Theatre from 2005-2011. She has conducted the women’s ensemble Women of Note and enjoys coaching young singers privately and at UW-Park-side. Jillian is a graduate of UW-Stevens

SOlOISTS SOlOISTS

Point in Music Education and of the Univer-sity of Illinois – Champaign Urbana with a Masters degree in Vocal Performance.

Curtis Bannister, tenor, is an award recipient of the Metropolitan Opera National Council Audi-tions. He joined the Sara-sota Opera as an Appren-tice Artist for the 2011 and 2012 Festival Sea-

sons where he debuted with the company as Arturo in Lucia di Lammermoor and cov-ered the role of John Cheever in Ward’s The Crucible. For the Apprentice Artist pro-gram, Curtis sang the title roles in Mozart’s La Clemenza di Tito, Mascagni’s L’amico Fritz, and Faust in Boito’s Mefistofele. In 2011, Curtis made his professional theater debut in a Shakespearian role as Aaron in Titus Andronicus with Stillpointe Theatre Initia-tive and sang Mozart’s Coronation Mass and Vesparae Solennes de Confessore with the St. John Cantius Resurrection Choir and Orchestra. In 2008, He originated the role of Sheldon Segal in the world premiere of John Musto’s Later the Same Evening with Maryland Opera Studio and the National Gallery of Art. In April 2010, Curtis made his international recital debut of French Melodie and Spirituals for the Musée du Louvre (Musique de Chambre) in Paris. Past concert performances include Beethoven’s Mass in C, Handel’s Messiah, Mozart’s Vesp-arae Solennes de Confessore, Bach’s Lobet Gott in seinen Reichen and The St. John Pas-sion, Britten’s War Requiem, Tippet’s A Child of Our Time, Rossini’s Stabat Mater, and Haydn’s St. Theresa and St. Nicholas Mass.

Brian Leeper, bass/ baritone, is the Vocal Area Coordinator at the University of Wisconsin-Whitewater, where he teaches Studio Voice, Vocal Pedagogy and di-rects the Opera Work-

shop. In 2011, Brian is also Artistic Director of “La Musica Lirica,” a five-week intensive

opera program in Novafeltria, Italy. He is currently President of the Wisconsin Chap-ter of the National Association of Teachers of Singing. Brian has performed over twen-ty major roles with opera companies in the US and abroad, including a national radio broadcast concert performance of Candide with the Cleveland Orchestra. Solo appear-ances in the past three seasons include Haydn’s Creation, the St. John Passion, Mes-

siah, Elijah, Don Pasquale, L’Elisir d’Amore, Die Fledermaus and a concert of Chopin and Musical Theatre in Krakow, Poland. Brian formerly served on the voice facul-ties of Butler University, Operafestival di Roma and Lutheran Summer Music. He holds degrees from Luther College and The University of Nebraska-Lincoln, and has done further graduate study at the Florida State University.

17Handels Messiah

Ernest Brusubardis III, Artistic DirectorAmanda McFall, Accompanist

SoprAnoKaren BieszkIndra BrusubardisTina CongdonPhyliss CramerPaula CustisSummer GrandePatricia HummelEsther KramerBarbara MillerJennifer NienhausRena PettSally SchwarzCarol SlaybaughMary StephaniKathi StioberTasha TwesmeEileen Zimmerman ALtoMary CarvalhoMaureen Hair

Wendy MullerJoanne PortzColleen ReskeMichele Rinka Judy RosynekSusan TillChristy WalkerSue WallenslagerAnne Wandler tenorJohn ClauszTom CustisPaul McCoy BASSRichard BishopRich BlauveltNorm GoeschkoCharlie HummelJerry OlsonTom SmithAlan ThompsonGregory Youngs

waukESHa cHOR al uNION

aDDITIONal INFOR M aTION

Waukesha Choral Union is always seeking new members. To schedule an auditionplease call (414) 297-9310 or email at membership@choralunion.org Spirit of Creativity, the 2012-2013 Waukesha Choral Union season, is sponsored in part by grants from Arts Waukesha, and the Wisconsin Arts Board with funds from the State of Wisconsin and the National Endowment for the Arts.

19Handels Messiah

The Waukesha Choral Union is deeply grateful to these donors for their meaningful financial support. Their commitment to live, local music will help the WCU remain affordable and accessible to the communities we serve.

cONTR IbuTORS

Maestro ($2,500 and above)Anthony and Andrea Bryant

Family FundJoAnn Portz (in memory of

Fred Portz)Waukesha County

Community Foundation

Conductor ($1,000 to $2,499)Wisconsin Arts BoardArts WaukeshaA donation in memory of

James L. and Dorothy Goff Frisch

Mary Stephani

Soloist ($500 to $999)Tom and Paula CustisBarbara MillerUS BankWaukesha State Bank

Chorister ($250 to $499)Dick SmithAlan ThompsonJohn GustafsonRichard and Carol Snook

Patron ($100 to $249)Practical ClubAnne Wandler

Accompanist ($25 to $99)Pat and Charlie HummelPat and Tom GregorySally SchwartEd ButteGE FoundationMargaret CrowleyJulie JudesMaureen Hair

DONaTE TO THE waukESHa cHOR al uNION

onLine www.ChoralUnion.org eMail president@ChoralUnion.org phone 262-549-4863 Mail Waukesha Choral Union, PO Box 495, Waukesha, WI 53187

Advertise in our next concert program Call 262-901-5325 or eMail marketingmanager@ChoralUnion.org

Select #918425 Waukesha Choral Union for the pick’n Save We Care program

Waukesha Choral Union is a tax-exempt 501.C.3 non-profit organization. Your donation may be tax deductible, consult your financial advisor.

21Handels Messiah

S p r i n g 2 0 1 3 A r t s E v e n t s

April 7 – April 21Carroll Art Student Union Spring Exhibition

Juried Mixed Media Marceil Pultorak Atrium Gallery

Reception: Thursday, April 11, 4-6 p.m.Awards Ceremony 4 p.m.

April 19, 8 p.m.Vocal Collective

Humphrey Memorial Chapel

April 19, 7 p.m.April 20, 2 p.m. & 7 p.m.

Faculty Directed Play: “Rosencrantz & Guildenstern Are Dead”

by Tom StoppardOtteson Theatre

April 21, 4 p.m.Women’s Ensemble

Humphrey Memorial Chapel

April 27, 8 p.m.Concert Choir and Wind Symphony

Shattuck Music Center

Call 262.524.7633 for ticket information.www.carrollu.edu

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2322 Handels MessiahWaukesha Choral Union

Keeping the Waukesha Choral Union singing takes money as well as time, effort and audiences. Show your support by coming to our performances, singing with us, liking us on Facebook, making a donation, or advertising in our print programs. We are a 501(c)(3) organization and your donations are tax deductible to the full extent of the law.

SHOw yOuR SuPPORT

S INg wITH waukESHa cHOR al uNION

The Waukesha Choral Union derives its strength and quality from its members’ passion for singing and is always seeking new voices interested in:

• Improving your singing ability • Performing Handel’s Messiah with an orchestra • Exploring new musical genres • Socializing with other singers • Being a part of a growing, dynamic arts organization

To schedule an audition please call (414) 297-9310 or email membership@choralunion.org.

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Cosmic Grandeur Sunday, April 28, 2013 at 3pm

Oconomowoc Arts Center Featuring Andrew Armstrong, piano

Holst’s THE PLANETS

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PIANO CONCERTO NO. 1

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24 Waukesha Choral Union

THE l aST wORD

reDISCoVerInG HAnDeL’S MeSSIAHExcerpts from an article for the April 1993 Deep Cove CrierThe Reverend Ed Hird, Rector, St. Simon’s Anglican Church, North Vancouver Beethoven once said: “Handel was the greatest composer that ever lived. I would uncover my head, and kneel before his tomb.” King George III called Handel “the Shakespeare of Music.” George Bernard Shaw commented that “Handel is not a mere composer in England: he is an institution. What is more, he is a sacred institution.”

Handel wrote about 40 operas and 26 oratorios, which did not play to easy audiences. If opera attenders felt bored in Handel’s day, they would often start loud conversations, and walk around freely. It was also a custom for them to play cards, and eat snacks right during the opera.

Handel was an inviting target for critics and for satire. He was a foreigner, and an individual no one could help noticing. He had large hands, large feet, a large appetite, and he wore a huge white wig with curls rippling over his shoulders. He spoke English rather loudly in a colorful blending of Italian, German, and French. Handel also struggled with his weight, a problem about which critics mercilessly teased him. He was surrounded by a crowd of bulldogs with terrible fangs, by unmusical men of letters who were likewise able to bite, by jealous colleagues, arrogant virtuosos, cannibalistic theatrical companies, fashionable cliques, feminine plots, and nationalistic leagues. Twice he was bankrupt.

Handel composed Messiah in 24 days without once leaving his house. During this time, his servant brought him food, and when he returned, the meal was often left uneaten. Considering the immensity of the work, and the short time involved in putting it to paper, it will remain, perhaps forever, the greatest feat in the whole history of musical composition.

Messiah was first performed in Dublin in 1742, and immediately won huge popular success. In order to have room enough for the people, a request was sent far and wide, asking, “The favour of the Ladies not to come with hoops this day to the Music Hall in Fishamble Street. The Gentlemen are desired to come without their swords.” Handel could have made a financial killing from Messiah, but instead he designated that all the proceeds would go to charities.

In contrast to the Irish, the English did not initially like Messiah. This oratorio, after all, had no story, the soloists had too little to do, and the chorus too much. It was different, and the audience wasn’t ready for it. Twenty-five years later, Messiah was so popular with the English that they almost rioted, while waiting to hear it at Westminster Abbey. The King was so deeply stirred with the exultant music, that when the first Hallelujah rang through the hall, he rose to his feet and remained standing until the last note of the chorus echoed through the house. From this began the custom of standing for the “Hallelujah Chorus.”

In 1759 the almost blind Handel conducted a series of 10 concerts. After performing Messiah, he told some friends, “I want to die on Good Friday, in the hope of rejoining the good God, my sweet Lord and Saviour, on the day of His resurrection.” On Good Friday, he bid good-bye to his friends and dies the very next day on Holy Saturday, April 14th, 1759. Handel was fittingly buried in Poet’s Corner at Westminster Abbey.