The 2019–2020 season is Thomas Bankston’s 24th year providing artistic leadership for Dayton Opera. From 1996 to 2001, his wide-ranging knowledge of the field of opera was shared between Dayton Opera and Cincinnati Opera. At the start of the 2001–2002 season, he assumed the position of Artistic Director for Dayton Opera on a full-time basis. In 2004, he was named General & Artistic Director of Dayton Opera.

In July 2012, the Dayton Opera merged with the Dayton Ballet and the Dayton Philharmonic Orchestra to form the Dayton Performing Arts Alliance, where he continues his artistic leadership as Artistic Director for the Dayton Opera. Since 2012, he has also annually

served as Producing Director for the Alliance’s Season Opening Spectacular.

With responsibility for the selection of artists, creative and production staffs, season productions, and repertory for Dayton Opera, he brings to that position his many years of expertise in the field of opera, ranging from his experience as a singer to his varied and extensive experience as an arts administrator. In his 19 years on the staff of Cincinnati Opera he served as Production Manager, Director of Education and Outreach, Director of Operations and Artistic Administrator.

A native of Birmingham, Alabama, he received his Bachelor of Music in voice from Birmingham-Southern College and his Master of Music in voice from the University of Cincinnati, College-Conservatory of Music, followed by further doctoral studies there. He also trained at the American Institute of Musical Studies in Graz, Austria. He studied voice with renowned teachers Andrew Gainey and Andrew White, vocal coaching with Metropolitan Opera tenor John Alexander, Robert K. Evans and John Spong, and opera with legendary bass Italo Tajo. Prior to his professional move into the world of arts administration, he sang as an operatic baritone and appeared with such companies as Pittsburgh Opera, Cincinnati Opera, Pittsburgh Chamber Opera Theater and Whitewater Opera. He is also a sought-after adjudicator for vocal competitions throughout the region. In June 2004, he was honored by the University of Cincinnati, College-Conservatory of Music with its Distinguished Alumnus Award.

Bankston lives in Centerville, Ohio with his wife, Frances Golson Bankston, a pianist and retired elementary music educator. In that community he also serves as a member of the Centerville Arts Commission.

Thomas BankstonArtistic Director, Dayton Opera

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Under the artistic direction of Karen Russo Burke, Dayton Ballet’s vision is one of diversity. Her emphasis on developing each dancer as an artist as well as a professional athlete challenges them to new heights and makes Dayton Ballet a company to recognize.

Karen has created more than 30 works for the company, ranging from classical to contemporary. She has an affinity for story ballets such as Cinderella, The Nutcracker, A Streetcar Named Desire, and The Butterfly Suite. Dracula: Bloodlines is the first full-length ballet in collaboration with the Dayton Performing Arts Alliance featuring an original libretto, orchestrated score, opera singers and a film component. Her works No Strings Attached and Fate of Place have

included collaborations with current musical composers, such as Dr. Stella Sung, the Dayton Performing Arts Alliance Music Alive Composer-in-Residence.

As a member of the Dayton Performing Arts Alliance, Karen is enjoying her continuing production collaboration with Dayton Opera and Dayton Philharmonic Orchestra. Her choreography and staging have been seen in many operas such as Carmina Burana, Aida, The Pearl Fishers and Season Opening Spectaculars including Verdi’s Requiem and Beethoven’s Ninth.

Prior to becoming artistic director at Dayton Ballet, Karen served as a teacher in the school, director of Dayton Ballet II for 12 years, and ballet master. She was also coordinator of Dayton Ballet’s outreach program, Dance Power, in 1997, directing and teaching inner-city children the art of dance.

As a professional dancer for more than a dozen years, Karen had leading roles in ballets by dance legends such as George Balanchine, Antony Tudor, José Limón, Gerald Arpino, and Paul Taylor and current choreographers such as Septime Webre.

In 2005 Karen was honored by her prior professional company, American Repertory Ballet, for her commitment and excellence in the field of dance. She was awarded the Ohio Arts Council Excellence in Individual Creativity Award in 2006, and in 2010 the Dayton Business Journal honored her for her professionalism in the arts community.

She has taught at Wright State University, University of Dayton, Stivers School of the Arts, Cincinnati Conservatory of Music, Rutgers University and the Princeton Ballet School.

In 2017, Karen saw the need to present ballet to many in the community who are unable to attend regular performances. In the 2018–2019 season, the Dayton Ballet presented sensory-friendly performances of both The Nutcracker and a world premiere, Sleeping Beauty: The Story of Briar Rose, at the Schuster Center.

Karen Russo Burke,Artistic Director, Dayton Ballet

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The 2019–2020 season is Neal Gittleman’s 25th year as Conductor of the Dayton Philharmonic. Neal has led the Orchestra to new levels of artistic achievement and increasing national recognition.

Before coming to Dayton, Neal was Assistant Conductor of the Oregon Symphony, Associate Conductor of the Syracuse Symphony, and Music Director of the Marion (IN) Philharmonic. He also served ten seasons with the Milwaukee Symphony Orchestra, first as Associate Conductor and then as Resident Conductor.

Neal has guest conducted many of the country’s leading orchestras, including the Philadelphia Orchestra; the Chicago, San Francisco,

Minnesota, Phoenix, Indianapolis, San Antonio, and Omaha symphony orchestras; and the Buffalo Philharmonic. He has also conducted in Germany, the Czech Republic, Switzerland, Japan, Canada, Mexico, and the Dominican Republic.

Son of an English professor and a public school music teacher, Neal is a native of Brooklyn, New York. He received a Bachelor’s Degree from Yale in 1975 and then studied with Nadia Boulanger and Annette Dieudonné in Paris, with Hugh Ross at the Manhattan School of Music, and with Charles Bruck at both the Pierre Monteux School and the Hartt School of Music, where he was a Karl Böhm Fellow. He was a prize winner at the 1984 Ernest Ansermet International Conducting Competition in Geneva and the 1986 Leopold Stokowski Conducting Competition in New York. He was honored to receive the 2014 Governor’s Award for the Arts for Community Development and Participation.

At home in the pit as well as on stage, Neal has led productions for Dayton Opera, the Human Race Theatre Company, Syracuse Opera, and Milwaukee’s Skylight Opera Theatre. He has also conducted for performances of Dayton Ballet, DCDC, Rhythm in Shoes, Milwaukee Ballet, Hartford Ballet, Chicago City Ballet, Ballet Arizona, and Theatre Ballet of Canada.

Neal’s discography includes a CD of George Gershwin’s Rhapsody in Blue and Concerto in F with Norman Krieger and the Czech National Symphony. In addition, he and the DPO have released recordings of the Piano Concertos of Tomás Svoboda and of works commissioned for the 2003 centennial of the Wright Brothers’ powered flight. More recent CDs taken from live Schuster Center performances include works of Wagner, Franck, Elgar, Strauss, Respighi, Stravinsky, Shostakovich, William Grant Still, and Steve Winteregg. These, and recordings of other DPO performances, are available for download from the DPAA’s web site.

When not on the podium, Neal is an avid player of golf and t’ai chi ch’uan but has given up squash for the sake of his surgically repaired shoulder. He and his wife, Lisa Fry, have been Dayton residents since 1997.

Neal Gittleman,Artistic Director and Conductor, Dayton Philharmonic Orchestra

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SEASON OPENING SPECTACULARHAYDN’S CREATION

Conductor:Neal Gittleman

Producing Director:Thomas Bankston

Choreographer:Karen Russo Burke

Resident Lighting Designer:John Rensel

Opera Chorus Master:Jeffrey Powell

Philharmonic Chorus Director:Hank Dahlman

Ballet Costume Coordinator:Lyn Baudendistel

Production Stage Manager:Milena Treer

Olivia Yokers, Soprano — Gabriel, EveJacob Ryan Wright, Tenor — Uriel

Vincent Grana, Bass — Raphael, Adam

Dayton Philharmonic OrchestraDayton Ballet

Dayton Opera and Philharmonic Orchestra Choruses

******

Franz Joseph Haydn (1732–1809)THE CREATION

PART IPART II

INTERMISSION

PART III

Performed in English with English Subtitles

******

A Dayton Performing Arts Alliance Signature Event

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Dayton Philharmonic Orchestra Chorus

SOPRANOCarla BallouKayla BeasleyBeverly BellAndrea BublitzLillian ChamblissJulia CrowlJennifer R. DavisMichelle GoodpasterHolly GyenesKaren HamiltonPam Miller HowardPamela Matheson JonesMichelle JordanJeanne KallenbergEffie Sue KemerleyVirginia KuepperMary McKinleyDeborah MenzelBrienne MyersAlexis ParkAnnette Rizer Marilyn A. RodneyRhea SmithMarilyn SmyersSusan ThomasBrenda VetterJennifer WardEmma WeirJulia Wellbaum

ALTOStephanie BangeRebecca BettsBeverly DeanDee EarlFantasia Fairchild

Sallie FisherMichele J. FoleyNancy GareisJoy GockelPeg HollandLinda KeithRachel Jisuk KimSharon KohnleCarol MandaKathy MarescaSharon A. NortonSarah OliverCarol Oren Sue SteinkePeg StocktonCinda StukinsCarolyn SweezyChristine TrippAmy VaubelFran WalkerSusan Welsh

TENORLouis BeckerAlfred BertleffCharles M. GarlandFrank GentnerDewayne A. GroomsJonathan C. HaubergGary C. JohnsonBrad KallenbergCasey William KingGregory MarxJames PerryThomas SeverynBrian Wong

BASSDoug ConradMichael FoleyTom GottweisDavid KravetsD. Stuart LohrumRichard McKinleyTim McLindenCurtis NotestineByron O’NealGrant ParksHoward E. PostonDave RoderickGeorge SchmittBruce ScrantonCharles SowerbrowerJonathan E. SpowartFrederick A. StevensonAaron SviscoPeter Veley

Hank Dahlman, Director

Amanda Roberts, Accompanist

Amy Vaubel, Chorus Manager

Production StaffArtistic Administrator – Opera ......................................................................... Milena TreerArtistic Administrator – Ballet .......................................................................... Cory WilhiteTechnical Director ........................................................................................ Patrick KeoughDPO Associate Conductor ..........................................................................Patrick ReynoldsRehearsal Accompanists ............................... Julian Calvin, Linda H. Lally, Amanda RobertsDirector of Production and Operations ........................................................Eric StroheckerOrchestra Production Manager ........................................................James Edwards-KenionSurtitle Caller ................................................................................................. Linda H. LallyRecording Engineer .........................................................................................Lloyd Bryant

AcknowledgementsSurtitles are made possible by the Opera Guild of Dayton.The Baritone roles are supported by the Dayton Opera Association Baritone Society Fund.

Dayton BalletMargot AkninClaire BergmanIvan BraatzGabrielle CollinsMiranda DafoeEmilia Dagradi

Brian DunningKaty GilliamPaul GilliamTristan GrannumJonathan HarrisIsaac JonesArianna Lawson

Nathaly PrietoLukas PringleNicholas SakaiMia SanchezJoe SeatonVanessa Wolf

Dayton Opera Chorus Todd BodeyMichael CageMaggie CarpenterCarol ChatfieldStevin CraneBryan DalyJarrod L. Davis, Jr.Susan HardinJean Kim

Emily Elisabeth Kronenberger

Kim P. IcsmanThomas J. LehmannBradley R. MattinglyJohn C. NorkusTimothy OliverCody PepitoneMegan Rehberg*

Lorraine RohrerChristin Coffee RondeauJennifer Rose ShafferMichael TaintJames TrzeciakStephanie VoelkerSharon Peake Williamson

Jeffrey Powell, Chorus Master

*Soloist, final chorus of Part III

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Program Notes

FRANZ JOSEPH HAYDNThe Creation

Haydn was born on March 31, 1732, in Rohrau-on-the-Leitha in Lower Austria; he died in Vienna on May 31, 1809. The Creation was written between 1795 and 1798; its first performance was on April 29 and 30, 1798, at the Schwarzenberg Palace in Vienna, at which Haydn conducted in the “modern” way, with a baton. The first public performance was on March 19, 1799, at the Burgtheater, where Haydn also conducted.

Instrumentation: 3 flutes, 2 oboes, 2 clarinet, 2 bassoons, contrabassoon, 2 horns, 2 trumpets, 3 trombones, timpani, harpsichord, strings; soloists: soprano (Gabriel/Eve), tenor (Uriel ), bass (Raphael/Adam); chorus: soprano, alto, tenor, bass

Compared with that of numerous other composers, Haydn’s career developed slowly. If illness or an accident had caused his death when he was 31, the age at which Schubert died, he would have written nothing deserving lasting fame. Like Handel and Verdi, he wrote his greatest masterpieces during the latter part of his life. He was nearly 60 when he wrote his first “London” symphony and close to 70 when The Creation was finished.

Haydn’s two successful seasons in London (1791–1792 and 1794–1795) crowned his career with international fame and honor; he received the degree Doctor in Music from Oxford University. He felt that the twelve symphonies he had written for London displayed his full potential in the symphonic medium, yet he wanted to write a different kind of work, one that “will give permanent fame to my name in the world.” While in London the Handel commemoration at Westminster Abbey made an indelible impression on Haydn’s mind, and thus he turned to the oratorio for his ultimate recognition.

The years devoted to the composition of The Creation were among the happiest and richest in Haydn’s life. Haydn had always been a deeply religious person; the words Laus Deo, which often appeared at the end of his compositions, were sincere. Now he could express his praise with more freedom than the proscribed text of the Mass allowed; in addition, he could depict in sound the beauties of nature, a delight for the dedicated hunter and fisherman that he was. “Never was I so devout,” he said, “as when composing The Creation. I knelt down every day and prayed to God to strengthen me for my work.” He further said that when he felt his inspiration flagging, he “rose from the pianoforte and began to say his rosary.” He “never found his method to fail.” The work progressed slowly, for, as Haydn remarked, he spent much time over it because he intended it to last a long time.

Rarely was a premiere so enthusiastically received, a tribute to Haydn’s care and his consummate mastery. A Viennese critic wrote of the first performance, “Three days have gone since that enrapturing evening, and still the music sounds in my ears and in my heart; still the memory of all the flood of emotions then experienced constricts my chest.” Every successive performance brought forth similar raves, along with huge crowds and previously unheard-of receipts. At the first public performance the Leipzig critic wrote, “On the nineteenth I heard Haydn’s “Creation”…The crowd was immense and the receipts amounted to 4088 fl.30 Kroner, a sum never before collected by the Viennese Theater…. One can hardly imagine with what quiet and reverence the whole oratorio was received, only gently interrupted by soft exclamations at the most striking passages, and what enthusiastic applause sounded at the end of each piece.”

On December 22 and 23, 1799, Haydn conducted two performances as a benefit for the Vienna Tonkunstlersocietät. On this occasion, another Viennese critic wrote: “Haydn’s gestures were most interesting to me. With their aid he conveyed to the numerous executants the spirit in which his work was composed and should be performed. In all his motions, though anything but exaggerated, one saw very clearly what he thought and felt at each passage.”

One year later was the first London performance, without Haydn present. The production was mounted at Convent Garden only six days after receipt of the score, a feat largely due to the organization of the copyist, Thomas Goodwin, who had to prepare one hundred and twenty parts in the short time. When praised for his efficiency, Goodwin remarked, with the maximum British understatement, “Sir, we have humbly emulated a great example; it is not the first time that the Creation has been completed in six days.” Other London performances quickly followed; Paris and the rest of Europe, even to the smallest towns, were also added to the list. Everywhere the response was the same—unanimous praise.

The Creation is an oratorio after Handelian models. Wherever possible, direct Biblical quotations were used rather than the sentimental paraphrases common in contemporary German oratorios. The concept of a narrator was revived and divided between the three archangels—Gabriel, Uriel, and Raphael. Most importantly, the large role assigned to the chorus shows the influence of the Handelian legacy.

Gottfried van Swieten did more than provide a German translation of the original English libretto. His comments in the margins gave suggestions to Haydn for the musical settings; in many cases Haydn followed these directions—for instance, the Baron’s advice, “‘Let there be light’ must be sung only once.” The type of writing, whether for orchestra, soloist, or chorus, is always dependent on the text. Even short, seemingly unimportant recitatives become charming miniatures, with their tone-paintings displaying the composer’s love of nature.

One of the greatest numbers in the score is the very first, describing Chaos. Zelter, the friend of Goethe, called it “the crown on a God’s head.” There is a Romantic touch in the dark harmonies, full of chromaticism and suspensions. The economy of expression is worthy of further note. The first twenty measures of this prelude in C minor, describing the sadness of Chaos, are based on a stepwise, descending “sigh” motive. At the moment when the idea of cosmic life is introduced, the key of D-flat major gently sets in, and with it a woodwind figure, now ascending. The following recitative and chorus contain the famous “And there was light,” with the dramatic change from C minor to C major and from piano to forte. One hundred years later Richard Strauss, in his Also Sprach Zarathustra, described the mighty appearance of the sun with a similar device.

Storm, lightning, thunder, rain, hail, snow, and later on a whole menagerie of mammals, birds, fish, and insects are depicted in Haydn’s orchestra with vividness and humor. He loved nature more than most composers and fully succeeded in picturing its youthful purity.

The second part of the oratorio begins with the fifth day of the Creation, when the animals come to life, while the third part is dedicated to the praise of the Creation through the first human beings, Adam and Eve. The three-part division of The Creation is another indication of Handelian influence; contemporary Italian oratorios were commonly divided into only two parts. The influence of Handel notwithstanding, The Creation breathes the wholly personal style, the striking “surprises,” the cleverly humorous language of “Papa” Haydn.

–Richard Benedum, DMA

Program Notes

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Artists

LYN BAUDENDISTELBallet Costume CoordinatorFarmersville, OH

Dayton Performing Arts Alliance:Wardrobe Supervisor, Dayton BalletCostume Builder, Dracula, Sleeping Beauty, Dayton BalletAssistant Costume Builder, Cinderella and The Nutcracker, Dayton Ballet2014–2018 Season Opening Spectacular2015–17 Dancer costuming, The Pearl Fishers, Carmina Burana, Carmen,

Dayton Opera

Recently:Costumer, Singing in the Rain, Into the Woods, Wizard of Oz, Crazy for You,

Seussical the Musical, Hairspray, Hello Dolly, Muse Machine Assistant Costume Builder, The Taming of the Shrew, Sinclair Community College

HANK DAHLMANDirector, Dayton Philharmonic Orchestra ChorusTampa, FL

Dayton Performing Arts Alliance:Mozart, Requiem; Handel, Messiah, Dayton Philharmonic Orchestra2013–18 Director, Dayton Philharmonic Orchestra Chorus,

Season Opening Spectacular2011–16 Fidelio, The Glory of Wagner, Carmina Burana, Dayton Opera

Recently:Bernstein, Chichester Psalms, Avery Fisher HallMozart, Vesperae solennes de Confessore, Carnegie HallHolidays in the Heartland; Rutter, Gloria; Bernstein, Chichester Psalms,

Wright State University

VINCENT GRANARaphael, Adam

Dayton Performing Arts Alliance:2017–18 Soloist, Beethoven Choral Fantasy, Bach Cantata No. 802016–17 Artist-in-Residence; Soloist, Handel’s Messiah; Zuniga, Carmen

Recently:Spanish Sailor, Moby Dick, Opera San JoseColline, La bohème, Pacific Opera Project; Opera Santa BarbaraNoye, Noye’s Fludde; Third Trio Member, Trouble in Tahiti; Colline, La bohème,

Opera Santa BarbaraBartolo, Il Barbiere di Siviglia, Aspen Music FestivalSimone, Gianni Schicchi; Prelude to a Performance

JEFFREY POWELLChorus Master, Dayton Opera ChorusFraser, MI

Dayton Performing Arts Alliance:1990–2019 Chorus Master, Dayton Opera1991–2017 Music Director, Artist-in-Residence Program, Dayton Opera1991–2014 Conductor, La Cenerentola, Don Pasquale, Paul Lawrence Dunbar:

Common Ground, H.M.S. Pinafore, Madame Butterfly, Così fan tutte, The Pirates of Penzance (2004), Die Fledermaus, The Merry Widow, The Daughter of the Regiment, The Tragedy of Carmen, Hansel and Gretel, Dayton Opera

Recently: Music Director, Mamma Mia!, Muse MachineConductor, 25th Annual Putnam County Spelling Bee; Iolanthe, Annie Get Your Gun,

Wright State University Director of Piano Studies, Stivers School for the Arts

JOHN RENSELLighting DesignerDayton, OH

Dayton Performing Arts Alliance:Resident Lighting Designer, Dayton Opera2013–18 Lighting Designer, Season Opening Spectacular

Recently:Resident Lighting Designer, Human Race Theatre CompanyTechnical Director/Lighting Designer, Muse MachineTechnical Director, Fraze Pavilion

MILENA TREERProduction Stage ManagerCanton, OH

Dayton Performing Arts Alliance:2018 Season Opening Spectacular, Production Stage Manager2010–13 Production Stage Manager, Porgy and Bess, 50th Anniversary Star Gala,

La bohème, Romeo and Juliet, The Tragedy of Carmen, Lucia di Lammermoor, The Glory of Wagner, The Marriage of Figaro, Dayton Opera

Recently:The Elixir of Love, The Marriage of Figaro, Tour Manager, Cincinnati OperaCelebration of the Arts, Production Stage Manager, University of Dayton

Artists

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Artists

JACOB RYAN WRIGHTUrielAsheville, NC

Dayton Performing Arts Alliance:2018–19 Artist-in-Residence; Soloist, Handel’s Messiah, Frederic,

The Pirates of Penzance; First Jew, Salome

Recently:Antonio, La gazza ladra, Teatro NuovoGoro, Madama Butterfly, Greensboro OperaFrederic, The Pirates of Penzance, Piedmont OperaDon Ramiro, La Cenerentola, AJ Fletcher Opera InstitutePelleas, Impressions de Pelleas, AJ Fletcher Opera InstituteTamino, Die Zauberflote, Asheville Lyric OperaGastone, La Traviata, North Carolina Opera

OLIVIA YOKERSGabriel, EveHamilton, OH

Dayton Performing Arts Alliance:2018–19 Lucy, Dracula: Bloodlines; Mabel, The Pirates of Penzance2017–18 Artist-in-Residence

Recently Cinderella, Into the Woods; Mary, Amazing Grace; Mabel, The Pirates of Penzance,

Utah Festival OperaBerta, The Barber of Seville, Virginia OperaLaurey, Oklahoma, Indiana University Opera Theatre

Orchestra

Dayton Philharmonic OrchestraNeal Gittleman, Artistic Director and Conductor

1ST VIOLINSAurelian Oprea,

ConcertmasterWilliam ManleyElizabeth HofeldtMikhail BaranovskyLouis ProskeYoujin NaJohn LardinoisPhilip EnzweilerDona NounéJanet George

2ND VIOLINSKirstin Greenlaw,

PrincipalKara Camfield Ann Lin BaerGloria FioreScott MooreTom FetherstonNick NaegeleLynn RohrYoshiko KunimitsuWilliam Slusser

VIOLASSheridan Currie,

PrincipalColleen BraidKaren JohnsonScott SchillingLori LaMattinaMark ReisLeslie Dragan

CELLOSChristina Coletta,

Acting PrincipalJonathan LeeLucas SongMark HofeldtNadine MonchecourtDavid HuckabyIsaac Pastor-Chermak

BASSESDeborah Taylor,

PrincipalJon PascoliniDonald ComptonStephen UlleryChristopher RobertsJames Faulkner

FLUTESRebecca Tryon Andres,

PrincipalJennifer NorthcutArpi Anderson

OBOESEileen Whalen,

PrincipalConnie Ignatiou

CLARINETSJohn Kurokawa,

PrincipalRobert Gray

BASSOONSRachael Young,

PrincipalKristen SmithEric Louie

FRENCH HORNSAaron Brant,

PrincipalJessica Pinkham

TRUMPETSCharles Pagnard,

PrincipalAlan Siebert

TROMBONESTimothy Anderson,

PrincipalRichard BegelChad Arnow

TIMPANIDonald Donnett,

Principal

HARPSICHORDJoshua Nemith

Jane Varella, Personnel Manager

Eric Knorr, Orchestra Librarian

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SEASON OPENING SPECTACULAR

HAYDN’S CREATION

SEPTEMBER 21 AND 22, 2019

Principal SponsorMiriam Rosenthal Foundation for the Arts

Leadership SponsorPremier Health

Masterworks Series SponsorDayton Philharmonic Volunteer Association

Orchestral Music SponsorThe Jesse Philips Opera Fund

of The Dayton Foundation

Surtitles SponsorOpera Guild of Dayton

DPAA INNOVATION PARTNER DP&L FOUNDATION Powering Innovation in the Performing Arts

Miriam Rosenthal

Principal Sponsor

Following the death of Miriam Rosenthal in 1965, a group of Dayton’s most prominent citizens created a trust fund that would honor Miriam Rosenthal and perpetuate her interest in the cultural life of the Dayton Community. Individuals and businesses throughout the Miami Valley made financial gifts to establish this “community fund for the arts.” The Miriam Rosenthal Foundation for the Arts gives financial support through its grants programs to a variety of arts activities designed to increase the quality of arts experiences and accessibility to them. A volunteer Board of Trustees is responsible for the administration of the Foundation, including the investment of its assets, the development and oversight of its grant activities, and the development of policies and practices designed to lead and nurture Dayton’s cultural life. It is the sincere hope and interest of the Board that individuals, businesses and foundations in the community will continue to add to the Foundation’s corpus so that future generations

of Daytonians will have access to quality in locally produced and presented arts programs.

Learn more by visiting us at www.rosenthalfoundation.org.

Leadership Sponsor

Based in Dayton, Ohio, Premier Health Partners (www.premierhealth.com) provides services to patients throughout a nine-county region, and its mission is to build healthier communities. The health system operates four hospitals: Miami Valley Hospital, Good Samaritan Hospital, Atrium Medical Center and Upper Valley Medical Center. In addition, the health system offers a large primary and specialty care network along with home health services. With over 14,000 employees and 2,300 physicians, the health system is the second-largest employer in the region and is the largest healthcare system in Southwest Ohio.

Official SponsorsMasterworks Series Sponsor

Official Coffee of the DPAA

Official Automobile Dealership of the Dayton Philharmonic Orchestra

DPAA Communications Partner

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The Creation (Die Schöpfung), Hoboken XXI:2 Franz Joseph Haydn (1732-1809) Translation by Robert Shaw and Alice Parker

Part I

1. IntroductionThe Representation of Chaos

DAY ONE

2. Recitative

Raphael In the beginning, God created Heaven and Earth; and the Earth was without form and void; and darkness was upon the face of the deep.

Chorus In the spirit, God moved upon the face of the waters; and God said: Let there be light. And there was light.

Recitative: Uriel And God saw the light, that it was good; and God divided the light from the darkness.

3. Aria with Chorus

Uriel Now vanished by the holy beams the ancient, ghostly, shuddering blackness; the First of Days appears. Confusion yields, and order shines most fair. Aghast, the fiends of hell confounded fly; down they sink in the deep abyss to endless night.

Chorus Convulsion, rage and terror engulf their monstrous fall.

A new created world springs forth at God's command.

DAY TWO

4. Recitative

Raphael And God made the firmament, and divided the waters which were under the firmament from the waters which were above the firmament; and it was so.

Then howling raged the blast of the tempest. The clouds then were driven like chaff in the wind, the lightnings slashed the heaven asunder, and crashing thunder resounded on high. From waters rose at his command the all-refreshing rain, the devastating hail, the light and flaky snow.

5. Solo and Chorus

Gabriel What wonder doth his work reveal to heaven's host in joyful throng, and loud resounds throughout the skies the praise of God and of the Second Day.

Chorus And loud resounds throughout the skies the praise of God and of the Second Day.

DAY THREE

6. Recitative

Raphael And God said: Let the waters under the heaven be gathered together to one place, and let the dry land appear; and it was so.

And God called the dry land Earth, and the gathering of the waters called he seas; and God saw that it was good.

7. AriaRaphaelRolling in foaming billows,tumultuous swells the raging sea.Highland and headland upliftedthrough clouds their towering summits rise.Through broad and ample plainsfull flows the gathering stream and winding wanders.Lightly murmuring, gently glidesthrough silent glades the crystal brook.

8. Recitative

Gabriel And God said: Let all the earth bring forth grass, the herb yielding seed, and the fruit tree yielding fruit after his kind, whose seed is in itself, upon the earth: And it was so.

9. Aria

Gabriel Now robed in cool refreshing green, the fields their new enchantment wear; and more to charm the sight arise the flowers in bright array. Here herbs of every leaf abound; here dwells a healing grace. The burdened boughs their golden fruit afford; here arbors spread their vaulted, restful shade. and lofty hills are crowned with kingly groves.

10. Recitative

Uriel And the heavenly host proclaimed the Third Day, praising God and saying:

11. ChorusAwake the harp, ye choirs awaken,Loud let the praise of God be sounded.Rejoice in the Lord, the mighty God;

Surely the heavens and earth has he girded with splendor and light.

DAY FOUR

12. Recitative

Uriel And God said: Let there be lights in the firmament of heaven to divide the day from the night, to give their light upon the earth; and let them be for signs and for seasons, and for days and for years. He made the stars also.

13. Recitative

Uriel In shining splendor, radiant now the sun bestrides the sky; a wondrous, joyful bridegroom, a giant proud and glad, he runs his ordered course. With softer steps and wistful shimmer, steals the moon through still enshadow’d night. The boundless vaults of heaven's domain shine with unnumbered magnitude of stars. And the sons of God rejoiced in the Fourth Day in chorus divine, praising God's great might, and saying:

14. Chorus with TrioThe heavens are telling the glory of God;with wonders of his work resounds the firmament.

Gabriel, Uriel, Raphael Revealed are his ways by day unto day, by night that is gone to following night.

Chorus The heavens are telling the glory of God; with wonders of his work resounds the firmament.

Gabriel, Uriel, Raphael In every land is known the Word, Every ear will hearken; never tongue be dumb.

Chorus The heavens are telling the glory of God; with wonders of his work resounds the firmament.

5-minute pause

Part II

DAY FIVE

15. Recitative

Gabriel And God said: Let the waters bring forth abundantly every moving creature that hath life, and fowl that fly above the earth in the open firmament of heaven.

16. Aria

Gabriel On mighty wings now circling soars the eagle proud and cleaves the air with swift exulting flight to greet the sun. At morn the lark his cheerful welcome sings; adoring, coos the tender turtle dove. From every bush and grove pours now the nightingale her sweetest carol;

no grief has ruffled yet her breast, nor yet to sorrow has been tuned her charming roundelay.

17. Recitative

Raphael And God created great whales, and every living creature that moveth; and God blessed them, saying: Be fruitful all and multiply, ye creatures of the sky; be multiplied and fill the air with song! Multiply, ye creatures of the waters, and fill each watery deep! Be fruitful, grow, and multiply! Rejoice in the Lord your God!

18. Recitative

Raphael And the angels struck their immortal harps and sang the wonders of the fifth day.

19. Trio

Gabriel In fairest raiment now, with virgin green adorned, the rolling hills appear. From deep and secret springs, in fleeting crystal flow, the cooling brook doth pour.

Uriel In joyful garlands borne on wheeling tides of air, upwings the feathered host. The myriad feathers' gleam reflects in shimmering flight the golden sun's pure light.

Raphael From sparkling waters leap the fish and twisting flash in ceaseless motion round. From deepest ocean home waltzes up leviathan, in foaming waves to play.

Gabriel, Uriel, Raphael How many are Thy works, O God! Who may their number tell? Who? O God? Who may their number tell?

Chorus with Trio

The Lord is great, and great His might, and ever stands His name

DAY SIX

20. Recitative

Raphael And God said: Let earth bring forth every living creature after his kind, cattle and creeping things, and beast of the earth after his kind.

21. Recitative

Raphael Straight opening her fertile womb, the earth brings forth at God's command unnumbered living creatures, in perfect forms, and fully grown. Triumphant, roaring stands the lion there. With a lightning leap, the tiger appears. Bounding with branching head, the nimble stag. With snorting and stamping, flying mane, uprears in might the noble steed. In pleasant pastures, quietly the cattle graze on meadows green. And o'er the ground, as growing there, abide the fleecy, gentle sheep. As clouds of dust arise, in swarms assembled the host of insects. In long dimension creeps, with sinuous trace, the worm.

22. Aria

Raphael Now shines the brightest glory of heaven; now spreads the lavish attire of earth. The air is filled with soaring processions, the water swelled by swarming legions; the ground is trod by ponderous beasts, But all the work was not complete; there wanted yet that wondrous being, that God's design might thankful see and grant his goodness joyful praise.

23. Recitative

Uriel And God created Man in his own image; in the image of God created he him; male and female, created he them. And God breathed into their nostrils the breath of life, and they became a living soul.

24. Aria

Uriel In native worth and honor clad, with beauty, strength and courage formed, toward heaven raised uprightly, stands a man, the lord and king of nature all. His proud and arching, noble brow proclaims of wisdom's deep abode, and in his eyes with brightness shines the soul, the breath and image of his God. And to his breast he softly holds one of and for him formed. his other self, his pure delight. With virgin grace so sweetly giv'n as springtime's charms bestowed, she loves him, he loves her, yields their joy and bliss.

25. Recitative

Raphael And God saw everything that he had made, and behold, it was very good; and the heavenly choir loud rejoicing raised their song of praise and hailed the Sixth Day.

26. ChorusFulfilled at last the glorious work;the Maker sees with sure delight.Let all our joy resound aloud;eternal praise to him accord.

Trio

Gabriel, Uriel From thee, O Lord, doth all proceed; all nature must they bounty wait. If open be they hand, its fullness feedeth all.

Raphael But if thy face be turned away, A ghostly terror fills the night, the living breath is gone, and dust returns to dust.

Gabriel, Uriel, Raphael Thy breath, O Lord, is felt again, and life awakes with sweet surprise. Renewed is all the earth, refreshed its charm and might.

Chorus

Fulfilled at last the glorious work, Eternal praise to Him accord. For He alone doth reign exalted. Alleluia. Glorious be His name forever. Alleluia.

5-minute pause

Part III

Adam and Eve

27. Recitative

Uriel In rosy mantle, bright awaked by sweetest tones, the morning young and fair. From heaven's vaulted realm streams purest harmony to earth below. Behold the happy pair as hand in hand they go: as from their eyes radiant shines the thanks they owe. Full soon their tongues shall tell the louder praise of God. Then let our voices ring united with their song!

28. Hymn

Eve, Adam By Thee with grace, O bounteous Lord, are earth and heaven stored. This world, so great, so wonderful, Thy mighty hand has framed.

Chorus O blessed be His holy might; His praise we sing eternally.

Adam Thou star of morning, O how fair thy tidings of the day; What radiance rare, O sun, is thine, thou eye and soul of all!

Chorus Proclaim, in your extended course, your maker's power and glory bright!

Eve And thou, the tender queen of night, and all ye starry host, proclaim in every land His praise in heaven's harmonies!

Adam Ye mighty elements, by His power your endless changes make; ye misty vapors, which the wind doth spin and roll through air.

Eve, Adam, Chorus O sing the praise of God the Lord. Great is His name, and great His might.

Eve Soft flowing fountains, tune his praise, and trees adoring bow. Ye fragrant plants, ye flowers fair, with sweetness fill the air!

Adam Ye that on a highest mountain climb, and ye that lowly creep, ye whose flight doth cleave the skies, and ye that swim the deep,

Eve, Adam and Chorus Ye, creatures of our God and King, praise, praise Him, all ye breathing life!

Eve, Adam Ye shadowed woods, ye hills and vales, your thanks with ours unite and echo loud from morn to eve our joyful hymn of praise.

Chorus Hail, mighty God, Creator, hail!

The world springs forth at Thy command. Adoring earth and heaven stand. We praise Thy name forevermore.

29. Recitative

Adam Now is our duty well fulfilled; our Maker have we duly thanked. Now follow me, companion of my life! Thy guide I'll be, and every step wakes new delight within my breast, shows wonders everywhere. Then surely thou shalt know what boundless realms of joy the Lord hath given us. Him praise we evermore, Him serve with heart and mind. Come, follow me! Thy guide I'll be.

Eve O thou for whom I live! My arm, my shield, my all! Thy will to me is law. So doth our Lord ordain; That I obey thee is my joy and glory.

30. Duet

Adam Sweet companion, here beside thee softly fly the golden hours. Every moment is rapture; naught of sadness lingers near.

Eve Dearest husband! here beside thee floods of joy o'erflow my heart. That thou love me is my blessing; thine forever is my life.

Adam The dew-freshened morning, O bright awakening! Eve The coolness of evening, sweetly restoring! Adam How rich the taste of round and ripened fruit! Eve How charming the scent of gay and fragrant flower! Eve, Adam But without thee, what is to me: the morning dew? the evening cool? the ripened fruit? the fragrant flower? With thee is every joy exalted; with thee, delight is ever new; with thee is rapture everlasting. Thine be my love and life. 31. Recitative

Uriel O happy pair! and happy evermore if false conceit betray ye not, the more to covet than ye have and more to know than ye should. 32. Chorus with Soloists

Sing to God, ye hosts unnumbered! Thanks, all thanks for wonders new created! Praise his name in song unending, loud in festival rejoicing! The Lord is great, He reigns forevermore. Amen.

DAYTON PERFORMING ARTS ALLIANCE 2019 SEASON-OPENING SPECTACULAR

HAYDN’S CREATION PRODUCTION PHOTOGRAPHY BY SCOTT KIMMINS

Olivia Yokers, Soprano

Jacob Ryan Wright, Tenor

Vincent Grana, Bass