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Andreas Delfs, conductor
Rochester Oratorio Society

MAHLER  Symphony No. 2, “Resurrection”
One of the greatest symphonies of all time closes out your season. Completed in 1894, Gustav Mahler’s Second Symphony was the first significant work exploring his lifelong perspectives of the afterlife and established him as a leading composer of his day. An all-embracing work, it is the first of Mahler’s symphonies to use voices, words, and orchestra to create a musical experience that will stay with you far beyond the concert hall. Join us as we sound the trumpets and ring the bells for this grand Season Finale!

Andreas Delfs, conductor
Rochester Oratorio Society

MAHLER  Symphony No. 2, “Resurrection”
One of the greatest symphonies of all time closes out your season. Completed in 1894, Gustav Mahler’s Second Symphony was the first significant work exploring his lifelong perspectives of the afterlife and established him as a leading composer of his day. An all-embracing work, it is the first of Mahler’s symphonies to use voices, words, and orchestra to create a musical experience that will stay with you far beyond the concert hall. Join us as we sound the trumpets and ring the bells for this grand Season Finale!

A unique collaboration between outstanding young musicians and an expert on the music of J.S. Bach, the Gamut Bach Ensemble prides itself on stylistically sensitive, earnest, and insightful performances. Directed by Koji Otsuki, the Ensemble embarks on a program of cantatas in the luminous Church of the Holy Trinity.

Sarah Shafer, soprano; Jennifer Johnson Cano, mezzo-soprano; Daniel McGrew, tenor; Edward Vogel, baritone; Mary Lynch VanderKolk & Harrison Linsey, oboe; Jacob Thonis, bassoon; Emilie-Anne Gendron & Miho Saegusa, violin; Ayane Kozasa, viola; Paul Wiancko, cello; Nathaniel West, double bass; Jonathan Oddie, organ; Koji Otsuki, director

Bach: Wer weiß, wie nahe mir mein Ende, BWV 27
Bach: Sie werden euch in den Bann tun, BWV 44
Bach: Am Abend aber desselbigen Sabbats, BWV 42

MAHLER

Symphony No. 2

BOSTON PHILHARMONIC YOUTH ORCHESTRA

BENJAMIN ZANDER, CONDUCTOR

JENNIFER JOHNSON CANO, MEZZO-SOPRANO

CHORUS PRO MUSICA

A live performance of Mahler’s Resurrection Symphony is always more than a concert—it is a communal experience. This overwhelming, heaven-storming symphony takes the listener on a long journey towards an exalted destination. It starts by laying the hero of Mahler’s First Symphony, the Titan, to rest, with a shatteringly dramatic, annihilating funeral march. And then the rest of the symphony builds a new pathway to hope and ultimate affirmation. In the second and third movements a critical eye scans both the beauty and the absurdity of this world. And in the final two movements the transition is effected from earthly striving and insufficiency to heavenly fulfillment. There is no work in the repertory, none whatsoever, that so completely unites performers and audience in a transformative musical affirmation. We are extraordinarily fortunate in our vocal soloists for this performance.

PROGRAM

Mozart Symphony No. 25

Steven Mackey RIOT (World Premiere, New Jersey Symphony Co-Commission)

Mozart Overture to Don Giovanni

Bruckner Te Deum

PERFORMERS

Xian Zhang conductor
Meigui Zhang soprano
Jennifer Johnson Cano mezzo-soprano
Alicia Olatuja mezzo-soprano
Sean Panikkar tenor
Nathan Berg bass-baritone
Steven Mackey electric guitar
Princeton University Glee Club | Gabriel Crouch, director
New Jersey Symphony

PROGRAM

Mozart Symphony No. 25

Steven Mackey RIOT (World Premiere, New Jersey Symphony Co-Commission)

Mozart Overture to Don Giovanni

Bruckner Te Deum

PERFORMERS

Xian Zhang conductor
Meigui Zhang soprano
Jennifer Johnson Cano mezzo-soprano
Alicia Olatuja mezzo-soprano
Sean Panikkar tenor
Nathan Berg bass-baritone
Steven Mackey electric guitar
Princeton University Glee Club | Gabriel Crouch, director
New Jersey Symphony

PROGRAM

Mozart Symphony No. 25

Steven Mackey RIOT (World Premiere, New Jersey Symphony Co-Commission)

Mozart Overture to Don Giovanni

Bruckner Te Deum

PERFORMERS

Xian Zhang conductor
Meigui Zhang soprano
Jennifer Johnson Cano mezzo-soprano
Alicia Olatuja mezzo-soprano
Sean Panikkar tenor
Nathan Berg bass-baritone
Steven Mackey electric guitar
Princeton University Glee Club | Gabriel Crouch, director
New Jersey Symphony

Verdi’s glorious Shakespearean comedy features a brilliant ensemble cast in Robert Carsen’s celebrated staging. Baritone Michael Volle sings his first Verdi role at the Met as the caddish knight Falstaff, gleefully tormented by a trio of clever women who deliver his comeuppance. Reuniting after their acclaimed turns in the production’s 2019 run are soprano Ailyn Pérez as Alice Ford, soprano Jennifer Johnson Cano as Meg Page, and mezzo-soprano Marie-Nicole Lemieux as Mistress Quickly. Soprano Hera Hyesang Park and tenor Bogdan Volkov are the young couple Nannetta and Fenton, and Maestro Daniele Rustioni conducts.

Verdi’s glorious Shakespearean comedy features a brilliant ensemble cast in Robert Carsen’s celebrated staging. Baritone Michael Volle sings his first Verdi role at the Met as the caddish knight Falstaff, gleefully tormented by a trio of clever women who deliver his comeuppance. Reuniting after their acclaimed turns in the production’s 2019 run are soprano Ailyn Pérez as Alice Ford, soprano Jennifer Johnson Cano as Meg Page, and mezzo-soprano Marie-Nicole Lemieux as Mistress Quickly. Soprano Hera Hyesang Park and tenor Bogdan Volkov are the young couple Nannetta and Fenton, and Maestro Daniele Rustioni conducts.

Verdi’s glorious Shakespearean comedy features a brilliant ensemble cast in Robert Carsen’s celebrated staging. Baritone Michael Volle sings his first Verdi role at the Met as the caddish knight Falstaff, gleefully tormented by a trio of clever women who deliver his comeuppance. Reuniting after their acclaimed turns in the production’s 2019 run are soprano Ailyn Pérez as Alice Ford, soprano Jennifer Johnson Cano as Meg Page, and mezzo-soprano Marie-Nicole Lemieux as Mistress Quickly. Soprano Hera Hyesang Park and tenor Bogdan Volkov are the young couple Nannetta and Fenton, and Maestro Daniele Rustioni conducts.

Verdi’s glorious Shakespearean comedy features a brilliant ensemble cast in Robert Carsen’s celebrated staging. Baritone Michael Volle sings his first Verdi role at the Met as the caddish knight Falstaff, gleefully tormented by a trio of clever women who deliver his comeuppance. Reuniting after their acclaimed turns in the production’s 2019 run are soprano Ailyn Pérez as Alice Ford, soprano Jennifer Johnson Cano as Meg Page, and mezzo-soprano Marie-Nicole Lemieux as Mistress Quickly. Soprano Hera Hyesang Park and tenor Bogdan Volkov are the young couple Nannetta and Fenton, and Maestro Daniele Rustioni conducts.

Verdi’s glorious Shakespearean comedy features a brilliant ensemble cast in Robert Carsen’s celebrated staging. Baritone Michael Volle sings his first Verdi role at the Met as the caddish knight Falstaff, gleefully tormented by a trio of clever women who deliver his comeuppance. Reuniting after their acclaimed turns in the production’s 2019 run are soprano Ailyn Pérez as Alice Ford, soprano Jennifer Johnson Cano as Meg Page, and mezzo-soprano Marie-Nicole Lemieux as Mistress Quickly. Soprano Hera Hyesang Park and tenor Bogdan Volkov are the young couple Nannetta and Fenton, and Maestro Daniele Rustioni conducts.

Verdi’s glorious Shakespearean comedy features a brilliant ensemble cast in Robert Carsen’s celebrated staging. Baritone Michael Volle sings his first Verdi role at the Met as the caddish knight Falstaff, gleefully tormented by a trio of clever women who deliver his comeuppance. Reuniting after their acclaimed turns in the production’s 2019 run are soprano Ailyn Pérez as Alice Ford, soprano Jennifer Johnson Cano as Meg Page, and mezzo-soprano Marie-Nicole Lemieux as Mistress Quickly. Soprano Hera Hyesang Park and tenor Bogdan Volkov are the young couple Nannetta and Fenton, and Maestro Daniele Rustioni conducts.

Program

Mendelssohn Selected Songs Without Words for Piano

Schubert “Ballet Music No. 2” for Violin and Piano from Rosamunde, Fürstin von Zypern, D. 797 (arr. Kreisler) (1823, arr. 1917)

Liszt “Die Forelle” from Six Melodies of Franz Schubert for Piano, S. 563 (1844)

Previn Vocalise for Soprano, Cello, and Piano (1995)

Ernst Grand Caprice on Schubert’s “Erlkönig” for Violin, Op. 26 (1854)

Mahler Rückert-Lieder for Mezzo-Soprano, Violin, Viola, Cello, and Piano (1901-02)

Korngold Quintet in E major for Piano, Two Violins, Viola, and Cello, Op. 15 (1921)

John Harbison November 19,1828 for Piano, Violin, Viola, and Cello (1988)

The murderous Don Giovanni deceives women with impunity, leaving destruction in his wake. This Don Juan is not just a rakish cad but someone much more sinister. Mozart and Da Ponte’s masterwork explores vengeance and unsatiable desire. Glamour, grit, and the glow of neon infuse this film noir production in which Kristine McIntyre directs the action on the stage and Jan Latham-Koenig leads The Atlanta Opera Orchestra.

The murderous Don Giovanni deceives women with impunity, leaving destruction in his wake. This Don Juan is not just a rakish cad but someone much more sinister. Mozart and Da Ponte’s masterwork explores vengeance and unsatiable desire. Glamour, grit, and the glow of neon infuse this film noir production in which Kristine McIntyre directs the action on the stage and Jan Latham-Koenig leads The Atlanta Opera Orchestra.

The murderous Don Giovanni deceives women with impunity, leaving destruction in his wake. This Don Juan is not just a rakish cad but someone much more sinister. Mozart and Da Ponte’s masterwork explores vengeance and unsatiable desire. Glamour, grit, and the glow of neon infuse this film noir production in which Kristine McIntyre directs the action on the stage and Jan Latham-Koenig leads The Atlanta Opera Orchestra.

The murderous Don Giovanni deceives women with impunity, leaving destruction in his wake. This Don Juan is not just a rakish cad but someone much more sinister. Mozart and Da Ponte’s masterwork explores vengeance and unsatiable desire. Glamour, grit, and the glow of neon infuse this film noir production in which Kristine McIntyre directs the action on the stage and Jan Latham-Koenig leads The Atlanta Opera Orchestra.

Renée Fleming makes her highly anticipated return to the Met in the world-premiere production of Pulitzer Prize–winning composer Kevin Puts’s The Hours, adapted from Michael Cunningham’s acclaimed novel. Inspired by Virginia Woolf’s Mrs. Dalloway and made a household name by the Oscar-winning 2002 film version starring Meryl Streep, Julianne Moore, and Nicole Kidman, the powerful story concerns three women from different eras who each grapple with their inner demons and their roles in society. The exciting premiere radiates with star power, with Kelli O’Hara and mezzo-soprano Joyce DiDonato joining Fleming as the opera’s trio of heroines. Phelim McDermott—who most recently wowed Met audiences with his staging of Philip Glass’s Akhnaten—directs this compelling drama, with Met Music Director Yannick Nézet-Séguin on the podium to conduct Puts’s poignant and powerful score.

Renée Fleming makes her highly anticipated return to the Met in the world-premiere production of Pulitzer Prize–winning composer Kevin Puts’s The Hours, adapted from Michael Cunningham’s acclaimed novel. Inspired by Virginia Woolf’s Mrs. Dalloway and made a household name by the Oscar-winning 2002 film version starring Meryl Streep, Julianne Moore, and Nicole Kidman, the powerful story concerns three women from different eras who each grapple with their inner demons and their roles in society. The exciting premiere radiates with star power, with Kelli O’Hara and mezzo-soprano Joyce DiDonato joining Fleming as the opera’s trio of heroines. Phelim McDermott—who most recently wowed Met audiences with his staging of Philip Glass’s Akhnaten—directs this compelling drama, with Met Music Director Yannick Nézet-Séguin on the podium to conduct Puts’s poignant and powerful score.