Calendar

Carlo Rizzi, Conductor

Aleksandra Kurzak, Cio-Cio-San

Jennifer Johnson Cano, Suzuki

Adam Smith, Pinkerton

Sharpless, Quinn Kelsey

World Premiere of a new Festival-commissioned song cycle by Gregory Spears

​Louis Spohr 3 German songs for Voice, clarinet, and piano​

Listz: 3 Songs

Debussy Premiere Rapsodie for clarinet and piano
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Mozart Aria
"Non più di fiori" from Clemenza di Tito

French Salon

Debussy - Violin Sonata
Ravel - "Enchanted flute" from Scheherazade
Ravel - Chansons Madécasses
Louise Ferrenc - Piano Trio​​

Jennifer Johnson Cano, mezzo soprano

Tara Helen O'Conner, flute

Peter Wiley, cello

Chris Cano, piano

Daniel Phillips, violin
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J.S. Bach Concerto for Two Violins in d minor BWV 1043
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Organ Interludes from Bach Cantatas
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J.S. Bach Selected Arias featuring Jennifer Johnson Cano from:
Cantata 170 Vergnügte Ruh, beliebte Seelenlust
Cantata 30a Was die Seele kann ergötzen
Erbarme dich from St. Matthew Passion​​
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J.S. Bach Brandenburg Concerto #6
J. S. Bach Brandenburg Concerto #4
J.S. Bach Brandenburg Concerto #3

Jennifer Johnson Cano, soprano; Guy Whatley, organ & harpsichord;
Flutes: Tara Helen O’Connor, Jarrett May; Violins: Ani Kavafian, Ida Kavafian, Daniel Phillips; Violas: Steven Tenenbom, Nokuthula Ngwenyama; Celli: Peter Wiley, Thomas Landschoot, Barbara Metz; Bass: Timothy Cobb
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Brahms Two Songs for Voice, Viola & Piano Op. 91​​
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Schubert Variations on "Trockne Blumen" for flute and piano

Jennifer Johnson Cano, Mezzo Soprano; Tara Helen O'Connor, flute, viola TBD; Ann Marie McDermott, piano

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Simone Dinnerstein, Jennifer Johnson Cano, Katherine Needleman and the Baroklyn ensemble perform an evening of chamber works by J.S. Bach to open a special Founder's Day 2025 celebration marking the Library’s illustrious century-long history as a concert presenter. This concert and the following day’s performance by the percussion ensemble Tambuco are an homage to Elizabeth Sprague Coolidge’s forward-looking stance in championing music both very old and very new. Baroklyn’s arresting new arrangements and transcriptions of the chorales, concerto and cantata on the program were chosen by Dinnerstein, “a unique voice in the forest of Bach interpretation,” (New York Times). Created for the group’s recent Complicité project, they reveal an intimate and thoughtful reimagining of Bach’s music that allows us to experience his genius through contemporary ears.

“My chief aim was to awaken and permanently instill spiritual feelings not only in the singers but in the listeners,” said Beethoven of his immense and moving Missa solemnis (“Solemn Mass”). Observing the structure of a traditional Catholic mass, Missa solemnis is a vibrant paean to faith but also to humanity. This concert concludes Music Director Ken-David Masur’s final season as well as the Milwaukee Symphony Chorus’ 50th anniversary celebration. As Beethoven penned at the top of his score: “From the heart: may it go to the heart.”

“My chief aim was to awaken and permanently instill spiritual feelings not only in the singers but in the listeners,” said Beethoven of his immense and moving Missa solemnis (“Solemn Mass”). Observing the structure of a traditional Catholic mass, Missa solemnis is a vibrant paean to faith but also to humanity. This concert concludes Music Director Ken-David Masur’s final season as well as the Milwaukee Symphony Chorus’ 50th anniversary celebration. As Beethoven penned at the top of his score: “From the heart: may it go to the heart.”

Steven Mackey
RIOT

Ludwig van Beethoven
Symphony No. 9, "Choral"

Steven Mackey
RIOT

Ludwig van Beethoven
Symphony No. 9, "Choral"

Steven Mackey
RIOT

Ludwig van Beethoven
Symphony No. 9, "Choral"

Steven Mackey
RIOT

Ludwig van Beethoven
Symphony No. 9, "Choral"

FRITZ KREISLER (1875–1962)

Marche miniature viennoise
Viennese Rhapsodic Fantasietta

DONGHOON SHIN (b.1983)

Sonnets to Orpheus for Mezzo-soprano and String Quartet 

U.S. Premiere | CMNW Co-Commission

JOHANNES BRAHMS (1833–1897)

Piano Quartet No. 1 in G Minor, Op. 25 (38’)
I. Allegro
II. Intermezzo: Allegro ma non troppo – Trio: Animato
III. Andante con moto
IV. Rondo all Zingarese: Presto

MAURICE RAVEL (1875–1937)

Chansons madécasses, M. 78
I. Nahandove: Andante quasi allegretto
II. Aoua: Andante
III. Il est doux: Lento

STEVEN BANKS (b. 1993)

New Work for Mezzo-soprano and Chamber Ensemble
West Coast Premiere | CMNW Co-Commission

TCHAIKOVSKY

String Sextet in D Minor, Op. 70, Souvenir de Florence (1892)
I. Allegro con spirito
II. Adagio cantabile e con moto
III. Allegro moderato
IV. Allegro vivace

FRITZ KREISLER (1875–1962)

Marche miniature viennoise
Viennese Rhapsodic Fantasietta

DONGHOON SHIN (b.1983)

Sonnets to Orpheus for Mezzo-soprano and String Quartet 

U.S. Premiere | CMNW Co-Commission

JOHANNES BRAHMS (1833–1897)

Piano Quartet No. 1 in G Minor, Op. 25 (38’)
I. Allegro
II. Intermezzo: Allegro ma non troppo – Trio: Animato
III. Andante con moto
IV. Rondo all Zingarese: Presto

MAURICE RAVEL (1875–1937)

Chansons madécasses, M. 78
I. Nahandove: Andante quasi allegretto
II. Aoua: Andante
III. Il est doux: Lento

STEVEN BANKS (b. 1993)

New Work for Mezzo-soprano and Chamber Ensemble
West Coast Premiere | CMNW Co-Commission

TCHAIKOVSKY

String Sextet in D Minor, Op. 70, Souvenir de Florence (1892)
I. Allegro con spirito
II. Adagio cantabile e con moto
III. Allegro moderato
IV. Allegro vivace

Adapted from the Oscar Wilde play of the same name, Salome has been thrilling and shocking audiences since its premiere in 1905. And it's easy to see why: a biblical story complete with a lecherous king, a willful princess, and an unyielding prophet is bound to get attention. Add in a power struggle, a dangerous obsession, and a dance that scandalizes audiences to this day, all set to Strauss's iconic music, and you're in for a wild and gripping performance.

Adapted from the Oscar Wilde play of the same name, Salome has been thrilling and shocking audiences since its premiere in 1905. And it's easy to see why: a biblical story complete with a lecherous king, a willful princess, and an unyielding prophet is bound to get attention. Add in a power struggle, a dangerous obsession, and a dance that scandalizes audiences to this day, all set to Strauss's iconic music, and you're in for a wild and gripping performance.