2018 Program Notes, Book 8 | 31

GRANT PARK ORCHESTRA AND CHORUSCarlos Kalmar Artistic Director and Principal Conductor

Christopher Bell Chorus Director

Friday, August 3, 2018 at 6:30 p.m.Saturday, August 4, 2018 at 7:30 p.m.Harris Theater

HAYDN AND DEBUSSY Grant Park Orchestra and ChorusCarlos Kalmar ConductorChristopher Bell Chorus DirectorJanai Brugger SopranoLauren Segal Mezzo-SopranoBrendan Tuohy TenorMichael Sumuel Bass

Franz Joseph Haydn“The Representation of Chaos,” Overture to The Creation

Claude DebussyNocturnes Nuages: Modéré Fêtes: Animé et très rythmé Modéré mais toujours très rythmé—Tempo I Sirènes: Modérément animé

INTERMISSION

Franz Joseph HaydnMass in B-Flat Major, “Theresa Mass” Kyrie: Adagio—Allegro—Adagio Gloria: Allegro—Moderato—Vivace Credo: Allegro—Adagio—Allegro Sanctus: Andante—Allegro Benedictus: Moderato Agnus Dei: Adagio—Allegro

JANAI BRUGGERLAUREN SEGALBRENDAN TUOHYMICHAEL SUMUEL

Organ provided by Triune Music/S.B. Smith & Associates

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Mezzo-soprano LAUREN SEGAL, the only Canadian chosen to participate in the inaugural Salzburg Festival Young Artist Project, last season performed Dritte Dame in The Magic Flute with the Canadian Opera Company, Elijah with Choeur St. Laurent and l’Orchestre Symphonique de Montréal, Martin’s In Terra Pax with the Grant Park Music Festival, and Meg Page in Falstaff and Charlotte in Werther for Manitoba Opera. Among her other recent or upcoming engagements are Messiah with the Edmonton

Symphony and Nova Scotia Symphony. In 2015, she gave a lauded performance in Tapestry Opera’s premiere of John Harris’ M’dea Undone. During the 2017–2018 season, Ms. Segal returns to Calgary Opera in her role debut as Olga in Eugene Onegin, appears with both the National Arts Center and Toronto Symphony orchestras in performances of Beethoven’s Symphony No. 9, and performs with the Brott Music Festival in Mahler’s Symphony No. 2, “Resurrection.” Ms. Segal appeared in the short film Dalila, which was screened at the Chicago International Music and Movies Festival and the Italian Contemporary Film Festival, as well as in Desire: An Operatic Trilogy, inspired by arias from Le nozze di Figaro, Carmen and Vivaldi’s Bajazet; the film won awards at several film festivals in America and Italy. A recipient of two Metropolitan Opera National Council Auditions Encouragement Awards, Lauren Segal was born in South Africa and holds a Master of Science degree in physics from the University of Toronto.

JANAI BRUGGER is a 2012 winner of the Operalia and Metropolitan Opera National Council Auditions. During the current season, she returns to the Royal Opera House, Covent Garden in the role of Pamina in The Magic Flute, performs Mahler’s Fourth Symphony with the Los Angeles Philharmonic and Philadelphia Orchestra, and comes home to Chicago for the role of Liù in Turandot at Lyric Opera and to star in Ask Your Mama with Chicago Sinfonietta. Ms. Brugger also gives a recital and a concert performance as Clara in Porgy

and Bess at the University of Michigan, and sings Susanna in Le nozze di Figaro at Palm Beach Opera and Servillia in La clemenza di Tito at Dutch National Opera. Among her other highlights are performances at the Metropolitan Opera in Guillaume Tell, Carmen, The Magic Flute and Fidelio, and a concert performance and recording of Gluck’s Orfeo with the Atlanta Symphony. As the recipient of the 2016 Marian Anderson Award, Ms. Brugger gave a recital at the Kennedy Center in Washington. She also appeared in the Bonn AIDS Gala in Germany. Janai Brugger performed last season in the Metropolitan Opera’s Rising Stars concert series, debuted as Norina in Don Pasquale at Palm Beach Opera, sang in La Bohème and The Magic Flute at Los Angeles Opera, appeared in Turandot and The Enchanted Island at the Metropolitan Opera, and made several United States concert and recital appearances.

2018 Program Notes, Book 8 | 33

American bass-baritone MICHAEL SUMUEL returns this season to Glyndebourne to perform Sharpless in Madama Butterfly and makes his debut at Teatro Massimo di Palermo performing Theseus in Britten’s A Midsummer Night’s Dream. His concert appearances include debuts with the BBC Proms, Mozart’s Mass in C Minor with the Orchestra of St. Luke’s at Carnegie Hall, Beethoven’s Symphony No. 9 with the Seattle Symphony, Handel’s Messiah with the New Jersey Symphony Orchestra, Bach’s St. John Passion with

Chicago’s Music of the Baroque, and a return to Mercury Houston to perform Bach’s St. Matthew Passion. During the 2016–2017 season, Mr. Sumuel returned to Houston Grand Opera as Belcore in L’elisir d’amore and San Francisco Opera as Masetto in Don Giovanni. His additional appearances included a role and house debut as Alidoro in La Cenerentola and Escamillo in Carmen at Norwegian National Opera. His concert engagements included debuts with the Cleveland Orchestra in Bach’s St. John Passion, Mozart’s Requiem with the Phoenix Symphony, and Beethoven’s Symphony No. 9 with the American Classical Orchestra at Lincoln Center in New York. Among Michael Sumuel’s competition accolades are a 2015 Richard Tucker Career Grant, 2012 MONC Finalist and winner of the 2009 Dallas Opera Guild Vocal Competition. He is an alumnus of the Merola Opera Program at San Francisco Opera Center and the Filene Young Artist Program at Wolf Trap Opera.

American tenor BRENDAN TUOHY recently returned to Memphis Opera to sing Riccardo Alberoni in Alessandro Scarlatti’s The Triumph of Honor and to Seattle’s Vashon Opera as Tamino in The Magic Flute. His other American credits include the title roles in Béatrice et Bénédict and Albert Herring, Peter Quint in The Turn of the Screw, and Alfredo in Die Fledermaus. In Europe, he performed his role debut as Tamino in The Magic Flute with the Berlin Opera Academy, and the title roles in Mozart’s La clemenza

di Tito and Idomeneo with Opéra Orchestre National de Montpellier. He also sang several performances as Diomede in Cavalli’s recently rediscovered Elena with Château de Versailles Royal Opera and Festival d’Aix en Provence. Mr. Tuohy has appeared in varied concert repertory including Beethoven’s Ninth Symphony, Dvořák’s The Specter’s Bride and Requiem, and Mendelssohn’s Lobgesang. His upcoming season includes performances in Donizetti’s L’elisir d’amore, Britten’s The Rape of Lucretia and Previn’s A Streetcar Named Desire. Brendan Tuohy holds a degree in vocal performance from the University of Cincinnati College Conservatory of Music and is a former member of the Houston Grand Opera Studio Program and Portland Opera Studio Program.

AUGUST 3–4, 2018

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Franz Joseph Haydn (1732–1809)

“THE REPRESENTATION OF CHAOS,” OVERTURE TO THE CREATION (1798)Scored for: pairs of woodwinds, two horns, two trumpets, three trombones, timpani, harpsichord and stringsPerformance time: 10 minutesFirst Grant Park Orchestra performance (complete oratorio): June 29, 1957; Joseph Rosenstock, conductor

In February 1794, Haydn returned to England for the second time, that residency proving to be, if anything, more clamorously successful than the one three years before. During his stay, he expressed his wish to compose a grand choral work—something, he said, “that will give permanent fame to my name in the world”—to his friend, the French violinist and composer François-Hippolyte Barthélémon. Barthélémon pulled a Bible from his shelf, flipped it open, and said, “There is the book; begin at the beginning.” Haydn may have therefore thought it providential when Johann Peter Salomon, sponsor of the London ventures, presented him with an English libretto on the subject of the Creation shortly before he left England for the last time in August 1795, and encouraged him to set it as an oratorio. Haydn tucked the text into his trunk and took it with him back to Vienna. The Creation, which he completed three years later, proved to be one of the most popular works of its time, not least because of the daring “Representation of Chaos” with which it opens.

Claude Debussy (1862–1918)

NOCTURNES (1897–1899)Scored for: piccolo, two flutes, two oboes, English horn, two clarinets, three bassoons, four horns, three trumpets, three trombones, tuba, timpani, percussion, two harps, strings and women’s voicesPerformance time: 27 minutesFirst Grant Park Orchestra performance: July 29, 1939; Rico Marcelli, conductor

“One stormy day in 1897, as Debussy was crossing the Pont de la Concorde in Paris with his friend Paul Poujaud,” recorded the composer’s biographer Léon Vallas, “he told him that on a similar kind of day the idea of the symphonic work Nuages [‘Clouds’] had occurred to him: he had visualized those very thunder-clouds swept along by a stormy wind; a boat passing, with its horn sounding. These two impressions are recalled in the languorous succession of chords and by the short chromatic theme on the English horn.” Debussy went on to explain to Poujaud that Fêtes (“Festivals”) had been inspired by a recollection of merrymaking in the Bois de Boulogne, with noisy crowds watching the drum and bugle corps of the Garde Nationale pass in parade. The finale (Sirènes—

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“Sirens”), which includes women’s chorus though they sing without text, derives from L’Homme et la Sirène by Henri de Régnier, a Symbolist poet and close associate of Mallarmé. (It was Régnier who approached Mallarmé with Debussy’s request to base a work on his Prélude à l’apres-midi d’un faune.) The title of the entire cycle—Nocturnes—and the idea for its tone-color painting may have been taken from the work of James McNeill Whistler, the American-born artist who lived in Paris and London for most of his life and whose best-known work, a portrait of his mother, was formally entitled by him Arrangement in Gray and Black No. 1.

Debussy himself caught the delicate blending of reality and imagination in the poetic description of his Nocturnes that he provided for the work’s first complete performance on October 27, 1901: “The title Nocturnes is intended to have here a more general and, more particularly, a more decorative meaning. It is not meant to designate the usual form of a nocturne, but rather all the impressions and the special effects of light that the word suggests. Clouds: the unchanging aspect of the sky and the slow and solemn march of clouds fading away in gray tones slightly tinged with white. Festivals: vibrating, dancing rhythm, with sudden flashes of light. There is also the episode of a procession (a dazzling, fantastic vision) passing through the festive scene and becoming blended with it; but the background remains persistently the same: the festival with its blending of music and luminous dust participating in the universal rhythm of things. Sirens: the sea and its endless rhythms; then amid the billows silvered by the moon, the mysterious song of the Sirens is heard; it laughs and passes.”

Franz Joseph Haydn (1732–1809)

MASS IN B-FLAT MAJOR, “THERESA MASS” (1799)Scored for: solo soprano, solo mezzo-soprano, solo tenor, solo bass, two clarinets, bassoon, two trumpets, timpani, organ, strings and chorusPerformance time: 43 minutesFirst Grant Park Orchestra performance: June 29, 1985; Thomas Peck, conductor

Haydn’s 14 Masses fall into two groups, and for the most practical of reasons. He had composed a half-dozen such works by 1783, when Emperor Joseph II brought Austria into line with the papal decrees banning the use of instruments in church, thereby putting Haydn out of business as a composer of Masses. But austerity in music is not a Viennese penchant, and Emperor Francis II repealed the earlier order in the mid-1790s, thereby reinstating the glorious musical pageants of which the Austrians are so fond. (The tradition continues today with the sumptuous Mass-concerts given by the Vienna Boys Choir as part of their regular duties at the Hofburg Chapel.) Haydn responded to the lifting of the ban by composing six masterful liturgical works between 1796 and 1802: the Masses titled Kettledrum, St. Bernardi, Lord Nelson, Theresa, Creation and Harmonie. They were written for the annual celebrations in Eisenstadt surrounding the nameday (September 8) of Princess Marie Hermenegild Esterházy, one of the recent additions to the

AUGUST 3–4, 2018

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family that had employed Haydn for nearly a half-century. Upon Haydn’s retirement in 1790, the Esterházys had awarded him a generous pension whose only stipulation was composing these annual nameday Masses.

The “Theresa Mass,” fourth of the six late Masses, was written in 1799. Its small scoring for orchestra of clarinets, trumpets, timpani, strings and organ reflects the reduced size of the Esterházy musical establishment in the years following Haydn’s retirement. The sobriquet of the work has been the subject of some conjecture. This was the only one of the late Masses Haydn did not have published, so he never oversaw the formalities of the title page and the work’s dedication. The designation seems to honor Marie Theresa, second wife of Emperor Francis II. Marie (not to be confused with the Empress Marie Theresia, to whom Haydn dedicated his Symphony No. 48) was a great admirer of the composer and an accomplished singer who later appeared as soprano soloist in performances of his oratorio The Seasons. Haydn apparently gave her a copy of the score, since it is known to have been held by the royal library. The dedication may also pay homage at one remove to Marie’s husband, the Emperor, without whose repeal of the edict forbidding instrumental music in church these wonderful Masses of Haydn’s fullest maturity would never have come into being.

©2018 Dr. Richard E. Rodda

2018 Program Notes, Book 8 | 37

AUGUST 3–4, 2018

KYRIE

Kyrie eleison. Lord, have mercy.Christe eleison. Christ, have mercy.Kyrie eleison. Lord, have mercy.

GLORIA

Gloria in excelsis Deo, Glory to God in the highest,et in terra pax hominibus and on earth peace to menbonae voluntatis. of good will.Laudamus te, benedicimus te, We praise you, we bless you,adoramus te, glorificamus te. we worship you, we glorify you.Gratias agimus tibi propter We give you thanksmagnam gloriam tuam. for your great glory.Domine Deus, Rex coelestis, Lord God, heavenly King,Deus pater omnipotens. God the Father almighty.Domine Fili unigenite The only-begotten Son,Jesu Christe, Lord Jesus Christ, Domine Deus, Agnus Dei, Lord God, Lamb of God,Filius Patris, Son of the Father,qui tollis peccata mundi: you take away the sin of the world:miserere nobis; have mercy on us;qui tollis peccata mundi: you take away the sin of the world:suscipe deprecationem nostram; receive our prayer;qui sedes ad dexteram Patris: you are seated at the right hand of the Father:miserere nobis. have mercy on us.Quoniam tu solus sanctus, For you alone are the Holy One,tu solus Dominus, you alone are the Lord,tu solus altissimus, you alone are the Most High,Jesu Christe, Jesus Christ,cum sancto spiritu, with the Holy Spirit,in gloria Dei Patris. Amen. in the glory of God the Father. Amen.

CREDO

Credo in unum Deum, We believe in one God,Patrem omnipotentem, the Father, the Almighty,factorem coeli et terrae, maker of heaven and earth,visibilium omnium et invisibilium, of all that is, seen and unseen,et ex patre natum eternally begottenante omnia saecula. of the Father.Deum de Deo, lumen de lumine, God from God, Light from Light,Deum verum de Deo vero. true God from true God,Genitum, non factum, begotten, not made,consubstantialem Patri, of one Being with the Father.Per quem omnia facta sunt. Through him all things were made.Qui propter nos homines et For us men andpropter nostram salutem for our salvationdescendit de coelis: he came down from heaven:et incarnatus est de Spiritu by the power of the Holy SpiritSancto ex Maria virgine, he became incarnate from the Virgin Mary,

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et homo factus est. and was made man.Crucifixus etiam pro nobis, For our sake he was crucifiedsub Pontio Pilato passus, under Pontius Pilate; he suffered deathet sepultus est. and was buried.Et resurrexit tertia die On the third day he rose againsecundum scripturas; in accordance with the Scriptures;et ascendit in coelum sedet and ascended into heaven and is seatedad dexteram Patris. at the right hand of the Father.Et iterum venturus est cum gloria He will come again in gloryjudicare vivos et mortuos, to judge the living and the dead,cujus regni non erit finis. and his kingdom will have no end.Et in Spiritum Sanctum, We believe in the Holy Spirit,Dominum et vivificantem. the Lord, the giver of life.Qui cum Patre et Filio simul With the Father and the Sonadoratur et conglorificatur. he is worshiped and glorified.Qui locutus est per Prophetas. He has spoken through the Prophets.Et unum sanctam catholicam et We believe in one holy catholic andapostolicam ecclesiam. apostolic Church.Confiteor unum baptisma in We acknowledge one baptism remissionem peccatorum. for the forgiveness of sins.Et expecto resurrectionem We look for the resurrection of themortuorum, et vitam dead, and the lifeet venturi seculi. Amen. of the world to come. Amen.

SANCTUS

Sanctus, sanctus, sanctus Dominus, Holy, holy, holy Lord,Deus Sabaoth, God of power and might,pleni sunt coeli et terra heaven and earth are fullgloria tuae. of your glory.Osanna in excelsis. Hosanna in the highest.

BENEDICTUS

Benedictus qui venit Blessed is he who comesin nomine Domini. in the name of the Lord.Osanna in excelsis. Hosanna in the highest.

AGNUS DEI

Agnus Dei, Lamb of God,qui tollis peccata mundi: you take away the sins of the world:miserere nobis. have mercy on us.Agnus Dei, Lamb of God,qui tollis peccata mundi: you take away the sins of the world:miserere nobis. have mercy on us.Agnus Dei, Lamb of God,qui tollis peccata mundi: you take away the sins of the world:dona nobis pacem. grant us peace.

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Paul M. Angell Family Foundation

is pleased to support the

Grant Park Music Festival as part

of its mission to advance society

through the performing arts,

conservation of the world’s oceans,

and alleviation of poverty.

The

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