St. Louis Symphony Extra - March 8, 2014

8/12/2019 St. Louis Symphony Extra - March 8, 2014

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CONCERT PROGRAMMarch 7-8, 2014

Rafael Frhbeck de Burgos, conductorAngel Blue, soprano

Julia Gertseva, mezzo-soprano

Aquiles Machado, tenor

Riccardo Zanellato, bass

St. Louis Symphony Chorus

Amy Kaiser, director

VERDI Messa da Requiem (Requiem Mass) (1874) (1813-1901)

Requiem Dies irae Dies irae Tuba mirum Mors stupebit Liber scriptus

Quid sum miserRex tremendae Recordare Ingemisco Confutatis Lacrymosa Offertorio Domine Jesu Christe Hostias

Sanctus Agnus Dei

Lux aeterna Libera me

Angel Blue, soprano Julia Gertseva, mezzo-soprano Aquiles Machado, tenor Riccardo Zanellato, bass

St. Louis Symphony Chorus Amy Kaiser, director

Performed without intermission


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ACKNOWLEDGMENTS

Rafael Frhbeck de Burgos is presented by the Whitaker Foundation.

Angel Blue is the Linda and Paul Lee Guest Artist.

Amy Kaiser is the AT&T Foundation Chair.

The concert of Friday, March 7, is the Thomas M. Peck Memorial Concert.

The concert of Saturday, March 8, is underwritten in part by a generous gift fromDr. Cora E. Musial.

Pre-Concert Conversations are sponsored by Washington University Physicians.

These concerts are presented by the Thomas A. Kooyumjian Foundation.

These concerts are part of the Wells Fargo Advisors series.

Large print program notes are available through the generosity of the DielmannSothebys International Realty and are located at the Customer Service table inthe foyer.


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TIMELINKS

1874VERDIMessa da Requiem(Requiem Mass)Italy experiences political

and social upheavals as arecently unified nation

Giuseppe Verdis Messa da Requiem straddles

two musical traditions, that of ecclesiastic com-position and that of 19th-century Italian opera.Sacred music and opera should have little incommon. The former is, at least traditionally,restrained and discreet, given to strict contrapun-tal writing, free from ostentatious instrumentalcolor or vocal extravagance. Opera, by contrast, isall about unconstrained dramatic and emotionalexpression, not to mention brilliant vocal display.

Verdi was, of course, one of the greatest of allopera composers, an instinctive dramatist witha genius for portraying conict, character and,above all, heightened emotion through music.And not just any music. Verdi inheritedindeed,he embodiedthe Italian love of lyricism, of sen-sually beautiful and intensely expressive sing-ing. These qualities drew him naturally to the

theater, for which he composed nearly all hismajor works. His Requiem is the most signi-cant exception.

Or is it? Verdi brought to this work many ofthe conventions of 19th-century Italian opera.His writing for four solo singers makes demands,and produces glorious sounds, comparable tothe leading roles of La traviata, Aida, or othergreat Verdi operas. And the composers use of

orchestra and chorus here also has parallels inhis operatic works. Indeed, the music of thisRequiem Mass is quite thoroughly operatic. Thewonder is that it also constitutes a self-evidentlyprofound and sincere spiritual document.

A SACRED OPERABY PAUL SCHIAVO


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GIUSEPPE VERDIMessa da Requiem (Requiem Mass)

SPIRITUAL AND PATRIOTIC INSPIRATIONGiuseppeVerdis Requiem is the composers most impor-

tant religious work and one of the great musicalsettings of Catholic Missa pro defunctis, the Massfor the Dead. That it is also perhaps the mostoriginal and unusual of the great musical settingsof this liturgy reects the composers highly indi-vidual beliefs, values, and ideals. Verdi was notan overtly religious man, but he was an ardentpatriot. Italian nationalism and the gloricationof Italian culture were sacred causes for him,and the men he venerated were freedom ghters,such as Garibaldi, and those artists whose workhe regarded as essentially and purely Italian. Twocreative personalities were especially importantto Verdi: Gioacchino Rossini, his predecessor asthe foremost composer of Italian opera; and Ales-sandro Manzoni, a writer and statesman whomVerdi called The Saint. The passing of each of

these men inspired Verdis great Requiem Mass,which may accurately be heard as a patriotic aswell as a spiritual statement.

A CHRISTIAN ESTRANGED FROM THE CHURCHVerdis relationship with the Catholic Churchwas complex and problematic. Like nearly all Ital-ian children of his time, the composer had beenbrought up in the Church. He attended a parish

school, sang in the local church choir and servedas an altar boy. But from an early age, Verdirebelled against clerical authority.

According to a story the composer oftenrecounted in his later years, while assisting at amass one day when he was seven years old, hebecame distracted by the playing of the churchorgan. Entranced by the music, he failed to

hear the ofciating priest ask for the contain-ers of ritual water and wine. When he failed torespond, Verdi received a cuff on the head thatknocked him to the oor. Struggling to his feet,the humiliated boy cursed his assailant, shout-ing May God strike you with lighting. (Fouryears later, the tormenting priest was indeed oneof six people killed by lightning in a particularlyviolent thunderstorm.)

BornOctober 9 or 10, 1813,Roncole, Italy

DiedJanuary 27, 1901, Milan

First PerformanceMay 22, 1874, in Milan,conducted by the composer

STL Symphony PremiereApril 3, 1936, with sopranoJeanette Vreeland, mezzo-soprano Rose Bampton,tenor Dan Gridley, bass-

baritone Keith Falkner, theSt. Louis Symphony Chorusunder the direction ofWilliam Heyne, VladimirGolschmann conducting

Most Recent STL SymphonyPerformanceFebruary 14, 2009, withsoprano Christine Brewer,mezzo-soprano ElizabethBishop, tenor MarcusHaddock, bass Kyle Ketelsen,the St. Louis SymphonyChorus under the directionof Amy Kaiser, DavidRobertson conducting


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Verdis distrust of the clergy remained withhim all his life. Stay away from priests, headvised a young cousin, and he did so himself.Estranged from the institution of the CatholicChurch, the composer seemed to many who

knew him a conrmed agnostic. Even his wife,the singer Giuseppina Strepponi, was exasper-ated by his apparent lack of faith. Everyoneagrees, she once wrote of Verdi, that ... hes thesoul of honesty, he understands and feels everynoble and delicate sentiment; yet for all that, thisbrigand allows himself to beI wont say an athe-ist, but certainly not much of a believer, and all

with a calm obstinance that makes you want tothrash him.Nevertheless, Strepponi acknowledged that

while her husband displayed indifference to theletter of Church doctrine, he instinctively upheldits spirit. Writing to another correspondent, sheventured that there are some highly virtuouspeople who need to believe in God; and there areothers, no less admirable, who are quite happy to

believe in nothing at all, while rigorously observ-ing every strict moral precept. Her husband, ofcourse, exemplied the latter type of person. Asimilar observation was made by Arrigo Boito,the librettist for Verdis last two operas (Otelloand Falstaff). Following the composers death,in 1901, Boito recalled of Verdi that in the ideal,moral, and social sense he was a great Christian;but one should be careful not to portray him as aCatholic in the political and narrow theologicalsense of the word: nothing could be further fromthe truth.

REMEMBERING GREAT MEN But if Verdis Catho-lic faith was ambivalent at best, his reverence forhis musical idol Rossini and his political heroManzoni were unquestionable. And if religious

sentiments inspired the composers Requiem ina general way, the passing of each of these menpropelled its creation in a quite specic and con-crete fashion.

Rossini died in November 1868. Verdi, whilenot personally familiar with the composer ofThe Barber of Seville and William Tell, had longregarded Rossini as a glory of Italy, as he told acorrespondent, and he now conceived a unique

Scoringfour solo voices (soprano,mezzo-soprano, tenor, bass)large mixed chorus3 flutespiccolo

2 oboes2 clarinets4 bassoons4 horns8 trumpets (4 offstage)3 trombonestubatimpanibass drumstrings

Performance Timeapproximately 84 minutes


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sort of tribute to the late musicians memory. According to Verdis idea, 13 ofItalys leading composers would contribute movements to a requiem mass tobe performed on the anniversary of Rossinis death. Verdi himself set aboutwriting the closing Libera me.Alas, this project ran aground on the shoals ofrufed artistic vanities and personal dissension, and it never came to fruition.

Verdi briey considered completing the mass himself, but he had importantopera commissions to fulll, not the least being the creation of Aidato com-memorate the opening of the Suez Canal.

Five years later, however, the death of Manzoni prompted Verdi to revivehis idea for a requiem mass. The author of novels, plays, and poetry, Manzoniwas Italys leading man of letters during the rst half of the 19th century. Hewas also an ardent supporter of the struggle for Italian independence and uni-cation, as was Verdi. On June 3, 1873, the composer wrote to his publisher:

I would like to show my love and esteem for that Great Man [Manzoni]who is no more.... I would like to compose a Messa da mortoto be performednext year on the anniversary of his death. This mass would be of quite vastproportions....

Unlike the projected mass for Rossini, this plan came to splendid fruition.Using the Libera meand sketches for a Dies iraehe had written for the abortiveRossini memorial, Verdi spent much of the next year composing his Requiem.

He completed the score in April 1874 and directed its rst performance inMilan on May 22, one year after Manzonis death, just as he had intended.

VERDIS TRIUMPH Audience reaction to the work proved enormously favorable,both in Milan and at subsequent performances that Verdi led in Paris, London,Vienna, and Germany. Some critics were distressed at the overtly theatricalcharacter of the music, a predictable reaction with ample historical precedent.(Handels Messiah, for example, had been castigated on precisely the samegrounds.) Among those hostile to the work was the pianist and conductor

Hans von Blow, an acolyte of Verdis great contemporary Johannes Brahms.Perhaps thinking he was defending Brahms A German Requiem against anItalian rival, Blow wrote an article deriding the piece as Verdis latest opera,though in ecclesiastical vestments. A succinct rebuttal came from Brahmshimself. Blow has made an almighty fool of himself, the German composersaid after becoming acquainted with Verdis Requiem. Only a genius couldhave written such a work.

There is no denying the operatic quality of the music. But what escapedBlow and other critics, and which Brahms evidently perceived, is that thecompositions most overtly dramatic moments also provide its most movingand even its most devout passages. The whirling tumult of the Dies irae, forexample, or the majestic trumpet summons in the Tuba mirumconvey a ter-rifying vision worthy of those in the biblical Book of Revelation. Theatrical theymay be, but they are neither extraneous nor irrelevant to the text of the Missapro defunctis, nor sacrilegious in any meaningful way. Verdi was by nature adramatic composer, and it was natural for him to interpret the Masss descrip-tions of the Final Judgment in dramatic terms.


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Indeed, it seems unlikely that Verdi could have written a large sacred com-position in any other manner. Whatever religious sentiments he may or maynot have harbored, he had no use for conventional displays of piety, and thismade any conventional kind of ecclesiastic music out of the question. Not thatsuch music would have been beyond his capacity. Verdis musical knowledgeand skill extended beyond the stylistic realm of the theater, as we know fromsuch works as his String Quartet and Four Sacred Pieces for chorus and orches-tra. But he was best able to express himself in the emotionally charged idiomof Italian opera.

With his Requiem, Verdi showed that this idiom could transcend its usualmilieu and serve the most serious religious purpose. As such, the work glori-ed the musical language of Italian Romantic opera and the nation for whichsuch music was a prime cultural emblem. At the same time, Verdis Requiemstands as an honest spiritual testament from a man who naturally conceived

and described his experiences, his emotions, even his spiritual outlook in pow-erful, direct and, yes, theatrical terms.

Program notes 2014 by Paul Schiavo


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RAFAEL FRHBECK DE BURGOSWHITAKER GUEST ARTIST

A regular guest with North Americas top orches-tras, Rafael Frhbeck de Burgos will conduct theNew York, Boston, Los Angeles, Philadelphia,Cincinnati, Pittsburgh, San Francisco, National,Detroit, Houston, New World, and Seattle sym-phony orchestras in the 2013-14 season. In addi-tion he appears annually at the TanglewoodMusic Festival and School. Born in Burgos, Spain in 1933, Frhbeck deBurgos studied violin, piano, music theory, andcomposition at the conservatories in Bilbao andMadrid, and conducting at Munichs Hochschule

fr Musik, where he graduated summa cum laudeand was awarded the Richard Strauss Prize. From2004-11, he was Chief Conductor and ArtisticDirector of the Dresden Philharmonic, and in the2012-13 season he began his post as Chief Con-ductor of the Danish National Orchestra. Named Conductor of the Year by MusicalAmerica in 2011, other numerous honors anddistinctions include the Jacinto Guerrero Prize,

Spains most important musical award, conferredin 1997 by the Queen of Spain.

ANGEL BLUELINDA AND PAUL LEE GUEST ARTIST

Californian soprano Angel Blues voice has beenrecognized for its shining and agile upper regis-ter, smoky middle register, and beautiful timbre.Engagements in 2013-14 include: Musetta in Labohmewith the English National Opera;Ameri-can Lulu (Lulu) at the Bregenz and EdinburghFestivals and the Young Vic, in London, with theOpera Group and Scottish Opera; and VerdisRequiem with the Cincinnati Symphony. Nextseason she makes her Lyric Opera of Chicagodebut as Clara in Porgy and Bess. Blue received a Master's of Music degree in

Opera Performance from UCLA, a Bachelors ofMusic from the University of Redlands in Red-lands, California, and is an alumnus of the LosAngeles County High school for the Arts. Blueis a former member of the Domingo-ThorntonYoung Artist Program at Los Angeles Opera andthe Artistas de la Academia Placido Domingodel Palau de les Arts, which is an opera trainingprogram led by Rossini specialist Alberto Zedda.

MORTEN

ABRAHAMSEN

Rafael Frhbeck de Burgosmost recently conductedthe St. Louis Symphony in

October 2012.

Angel Blue makes her St.Louis Symphony debut thisweekend.


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JULIA GERTSEVA

Born in Leningrad, mezzo-soprano Julia Gertsevastudied singing, piano, and choral conductingat the Conservatory in her hometown. She wasengaged by the Mussorgsky Theatre in St. Peters-

burg, a company she left in 2003 to follow aninternational career. She made her Italian debut at the Teatro laFenice in Venice as Vavara in Janeks KatyaKabanova, followed by Sonietka in Shostakov-ichs Lady Macbeth of Mtsensk at Santa Ceciliain Rome, conducted by Mstislav Rostropovich.She sang Ulrica in Verdis Un ballo in maschera atDeutsche Oper Berlin, and Joan in TchaikovskysMaid of Orleansin Palermo. In following seasons she had her Paris debutwith the Orchestre National de France in the roleof Cecri in Alaleonas Mirra, conducted by JurajValcuha. She sang in ProkoevsAlexander Nevskyin Catania, Charlotte in Werther at the TeatroComunale Bologna, and the title role of Carmenat La Scala and at the Hamburg Staatsoper.

AQUILES MACHADO

Born in Barquisimeto, Venezuela, AquilesMachado studied at the Simn Bolivar MusicConservatory. He was awarded with a scholar-ship by the Banco de Espaa and the IstitutoMozarteum de Venezuela, which allowed himto move to Madrid to study at the Escuela Supe-

rior de Musica Reina Soa. He was chosen toperform at the nal concert at the Royal Palacein the presence of Queen Soa. Winner of manyinternational competitions, he made his debutwith Lelisir damore in Caracas and Macbethin Las Palmas. Important debuts followed onnumerous prestigious stages: Teatro Teresa Car-reo in Caracas; Teatro Nacional de So Carlosin Lisbon; Teatro San Carlo in Naples; Washing-ton National Opera; Deutsche Oper Berlin; GranTeatre del Liceu in Barcelona; Teatro Real deMadrid; Staatsoper Berlin; Wiener Staatsoper;and the Metropolitan Opera in New York. His plans for 2014 include: Madama But-terfyin Vienna, Normain Palermo, and VerdisRequiem in Cincinnati and Leipzig.

Julia Gertseva makes her St.Louis Symphony debut this

weekend.

Aquiles Machado makes hisSt. Louis Symphony debutin Verdis Requiem.


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Riccardo Zanellato debutswith the St. Louis Symphony

in Verdis Requiem.

Amy Kaiser next leads theChorus in Carmina buranain May.

RICCARDO ZANELLATO

Riccardo Zanellato recently made his debut at theTeatro alla Scala singingAida, and he has recentlyperformed Un ballo in mascheraat the AccademiaNazionale Santa Cecilia in Rome, Antonio Pap-

pano conducting. Zanellato returns to Rome tosing Nabucco at the Teatro dellOpera. He starredas Banco in Macbethat the season opening nightat the Teatro Comunale di Bologna, RobertoAbbado conducting and Bob Wilson directing.Other highlights include Nabuccoin Rovigo andVerdis Requiem in Portorico, in Bologna, andthen on tour in Moscow at the Rostropovich Fes-tival, and in Barcelona. Riccardo Zanellatos future plans include:Nabuccoin Stuttgart; Verdis Requiem in Cincin-nati and in Vilnius; Simon Boccanegrain Dresdenand Lyon; Norma at the Opra in Paris, and Il tro-vatoreat the Salzburg Festival.

AMY KAISERAT&T FOUNDATION CHAIR

One of the countrys leading choral directors,Amy Kaiser has conducted the St. Louis Sym-phony in Handels Messiah, Schuberts Massin E-at, Vivaldis Gloria, and sacred works byHaydn and Mozart as well as Young Peoples

Concerts. She has made eight appearances asguest conductor for the Berkshire Choral Fes-tival in Shefeld, Massachusetts, Santa Fe, andat Canterbury Cathedral. As Music Director ofthe Dessoff Choirs in New York for 12 seasons,she conducted many performances of majorworks at Lincoln Center. Principal Conductorof the New York Chamber Symphonys SchoolConcert Series for seven seasons, Kaiser also ledmany programs for the 92nd Street Ys acclaimedSchubertiade. She has conducted over twenty-veoperas, including eight contemporary premieres. An active guest speaker, Amy Kaiser teachesmonthly classes for adults in symphonic andoperatic repertoire and presents IlluminatingOpera for four weeks in April at Opera Theatreof St. Louis.


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Amy KaiserDirector

Leon Burke IIIAssistant Director

Gail HintzAccompanist

Susan PattersonManager

Nicholas W. BearyAnnemarie Bethel-Pelton

Paula N. BittleJerry BolainJoy BolandMichael H. BoumanRichard F. BoydKeith BoyerDaniel P. BrodskyBuron F. Buffkin, Jr.Leon Burke IIICherstin Byers

Peggy CantrellLeslie A. CaplanMaureen A. CarlsonVictoria A. CarmichaelMark P. CereghinoSteven ChemtobJessica Klingler CissellRhonda Collins CoatesTimothy A. ColeDerek DahlkeLaurel Ellison DantasDeborah DawsonZachary K. DevinMary C. DonaldStephanie M. EngelmeyerJamie Lynn ErosStephen ErosLadd FaszoldHeather Fehl

Robin D. Fish, Jr.Alan E. FreedMark FreimanAmy Telford Garcs

Amy GatschenbergerLara Gerassi

Lisa Nicole GinesMegan E. GlassSusan GorisKaren S. GottschalkTyler GreenSusan H. HagenClifton D. HardyRebecca L. HatlelidNancy J. HelmichEllen Henschen

Jeffrey E. HeylLori HoffmanMatthew HoltAllison HoppeHeather HumphreyKerry H. JenkinsStephanie JohnsonMadeline KaufmanElena KorpalskiPaul V. KunnathDebby LennonGregory C. LundbergGina MaloneAlicia A. MatkovichPatrick MattiaDaniel MayoRandy D. MayoRachael McCreeryElizabeth Casey McKinney

Celia McManusScott MeidrothKatherine MenkeJei MitchellKendra Lee MuirBrian K. MulderJohanna NordhornDuane L. OlsonNicole OrrMalachi Owens, Jr.

Susan Parton-StanardHeather McKenzie

PattersonSusan D. Patterson

Matt PentecostBrian Pezza

Shelly Ragan PickardSarah PriceValerie Christy ReichertKate ReimannGregory J. RiddlePatti Ruff RigglePaul J. RobinsonTiara Dione RooksMichelle Suzanne RoseTerree Rowbottom

Nathan Tulloch RugglesPaul N. RunnionJennifer RyrieMark Anthony SaundersMark V. ScharffLisa A. SienkiewiczJanice Simmons-JohnsonJohn William SimonCharles G. SmithShirley Bynum SmithAdam D. StefoJ. David StephensMaureen E. TaylorMichelle D. TaylorDaniel James TerryRobyn Danielle TheisonNatanja TomichDeWayne TrainerPamela M. Triplett

David R. TrumanGreg UpchurchKevin VondrakSamantha Dane WagnerNancy Maxwell WaltherKeith WehmeierNicole C. WeissAlexander WeymannDennis WillhoitPaul A. Williams

Mary M. WissingerKate YandellSusan Donahue YatesCarl S. Zimmerman

ST. LOUIS SYMPHONY CHORUS 2013-2014


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PLAYING VERDI:

BJORN RANHEIM, CELLOThe Offertorio starts with just thecello section playing arpeggios from thebottom of the instrument to the top. Itsan excerpt that is used for every singleaudition. I invite you to watch the cellossweat at the top of the Offertorioseeus exposed and using all of our instru-

ments from the very bottom and thenon into the stratosphere.

Bjorn Ranheim

A BRIEF EXPLANATIONYou dont need to know what andante means or what a glockenspiel is toenjoy a St. Louis Symphony concert, but its always fun to know stuff. For

example, why offstage trumpets?

Offstage instruments: composers write for instruments offstage, usuallybrass or percussion, to create a distant, muted effect; in his Requiem, Verdiis going for a sound to evoke the approaching Last Judgment, althoughRichard Strauss uses offstage trumpets for a battle scene in Ein Heldenleben,and Mahler employs his signature cowbells offstage in his Sixth and SeventhSymphonies; the challenge is staying in tune and in time, although technologyhas made it easier with live video camera and backstage monitors

DILIPVISHWANAT


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YOU TAKE IT FROM HEREIf these concerts have inspired you to learn more, here are suggested sourcematerials with which to continue your explorations.

Mary Jane Phillips-Matz, Verdi: A BiographyOxford University PressA magisterial account of the composers lifeand times.

giuseppeverdi.it/visIngleseA website devoted to Verdi and his works

Marin Alsop,Verdis Requiem: An Opera in DisguiseNPRThe Baltimore Symphony Music Director pro-vides an introduction to the work; Google thetitle above to locate it on NPR site

Read the program notes online atstlsymphony.org/planyourvisit/programnotes

Keep up with the backstage life of the St. Louis Symphony, as chronicled bySymphony staffer Eddie Silva, via stlsymphony.org/blog

The St. Louis Symphony is on


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St. Louis Symphony Extra - March 8, 2014

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