Verdi Messa da Requiem
April 23, 2016 8:00 pm
with a pre-concert talk at 7:15
Acton-Boxborough Regional High School
36 Charter Road
Acton, MA – 01720
Celeste Fraser, Canadian-American soprano, has performed a variety of roles throughout the nation. Her recent performances include Suor Angelica with MetroWest Opera, Vitellia in La Clemenza di Tito with Opera in the Heights, Tatyana in Eugene Onegin, Blanche in Dialogues of the Carmelites, Magda in The Consul, Elisabetta in Maria Stuarda, Mimi in La Bohéme, soprano soloist for Britten’s War Requiem, and soprano soloist for Mendelssohn’s Elijah. Ms. Fraser has been an apprentice with Des Moines Metro Opera and Opera North and has been the recipient of several honors. She recently finished her studies at the highly esteemed Boston Opera Institute and some of her recent achievements are 2015 semifinalist for the Opera Birmingham competition, 2013 Phyllis Curtin scholar, 2012 semifinalist for the Houston Grand Opera Studio/Eleanor McCollum competition, encouragement award winner and Florentine Opera Recital Award winner for the Metropolitan Opera National Council Auditions, as well as Bel Canto Competition Finalist and BRAVA award winner.
Erica Brookhyser, mezzo-soprano, begins the 2015-16 season with the Los Angeles Philharmonic as Annina in La Traviata at the Hollywood Bowl. Other upcoming performances include the title role in Carmen at Theatro de la Ciudad in Playa del Carmen in Mexico, the Brahms Liebeslieder Waltzes with Boston’s First Monday Chamber Series, Verdi Requiem with Nashoba Valley Chorale, and the Mahler Rückert Lieder with the Newport Symphony Orchestra.
Last season she made her role debut as Brigitta Die Tote Stadt in concert with Boston’s Odyssey Opera, and joined Opera Colorado in the role of Suzuki Madama Butterfly. She also performed and recorded Paul Moravec’s Blizzard Voices with the Boston Modern Orchestra Project, and joined the Astoria Music Festival as alto soloist in St John Passion. She joined Odyssey Opera again for Britten’s monumental solo cantata, Phaedra.
Recent career highlights include her return to Los Angeles Opera as Meg Page Falstaff, and song recitals with the Newport Symphony. Her recent performance in a fully-staged production of El Niño by John Adams garnered excellent notices at Spoleto Festival USA. She also received acclaim for her role debut as Brangäne Tristan und Isolde with Staatstheater Darmstadt.
Major success came when Erica won the title role of Carmen as part of the talent-search television program, Who will become Carmen? produced by ARTE-TV. The series, which aired in Germany and France, showed singers auditioning for the role and preparing for the production. Her live performances took place at the Berlin Seefestspiele.
After spending two years in Los Angeles Opera’s Domingo-Thornton Young Artist Program, Erica began a four-year tenure in Germany as principal mezzo at Staatstheater Darmstadt. Her extensive repertoire there included Didon Les Troyens, Fenena Nabucco, Cherubino Le Nozze di Figaro, Orfeo Orfeo ed Euridice, Second Lady Die Zauberflöte, Muse/Nicklausse Les Conte d’Hoffmann, Emilia Otello, Page Salome, Preziosilla La Forza del Destino, Lola Cavalleria Rusticana, Blumenmädchen Parsifal, and Wellgunde, Waltraute and Second Norn Der Ring des Nibelungen.
During her time as a young artist with L.A. Opera, Erica performed Waltraute Die Walküre, Mercédès Carmen, Mother Die Gezeichneten, Kate Pinkerton Madama Butterfly, Annina La Traviata, and covered Andronico and Irene Tamerlano . She also gave the world premiere of Steven Sametz’s Music’s Music with the L.A. Master Chorale under the baton of Grant Gershon, and performed Zemlinsky with the Colburn Chamber Music Society under the baton of James Conlon. As a Utah Opera young artist, she sang Tisbe La Cenerentola and covered Angelina La Cenerentola as well as Donna Elvira Don Giovanni. As an apprentice with Central City Opera, she sang Flora La Traviata and performed the title role in Massenet’s Cendrillon for the student matinée performances. During her university years, Erica performed Myrtale Thaïs at Boston Lyric Opera, Dido Dido and Aeneas at the University of Oregon, as well as Dorabella Così fan tutte and Meg Little Women at New England Conservatory.
On the concert platform, Miss Brookhyser’s repertoire includes Das Lied von der Erde and Wesendonck Lieder with the Staatstheater Darmstadt Orchestra under the baton of Elias Grandy, Messiah with the Utah Symphony conducted by Susanne Sheston, St. Matthew Passion and Mozart’s C Minor Mass with the Cincinnati May Festival conducted by James Conlon, and Moses und Aron with the Boston Symphony Orchestra under the baton of James Levine.
John David Nevergall, tenor is currently in his second year of study at the Boston University Opera Institute, where he is a student of Jerrold Pope. After beginning his formal music training as a percussionist, pursuing graduate studies in historical musicology, and working as a bus driver, John David completed a Master’s Degree in Vocal Performance at The Ohio State University in 2011. His professional credits include Rodolfo in La Bohème, Don José in Carmen, Rinuccio in Gianni Schicchi, and the tenor soloist for Verdi’s Messa da Requiem. John David has previously worked as an apprentice artist with Central City Opera and Des Moines Metro Opera. For more information, visit www.johndavidnevergall.com
Dana Whiteside, baritone has appeared as soloist in numerous oratorio and orchestral works including the Boston premiere of Kurt Weill’s “The Prophets” from The Eternal Road, and in the Bach “Saint John Passion” and “Mass in B Minor” and the Boston premiere of John Harbison’s “Supper at Emaus with the Cantata Singers. In addition he has appeared as soloist in Brahms’ “Ein Deutsches Requiem”, Bach’s “Christ lag in Todesbanden,” and Handel’s “Alexander’s Feast”, Beethoven’s Ninth Symphony and Mass in C, Carl Orff’s “Carmina Burana”, Benjamin Britten’s “Cantata Misericordium” as well as Stravinsky’s “Pulcinella”, and Bach’s Christmas Oratorio and Cantata 82 (“Ich habe genug”). Roles in works for concert/stage have included Time in the Boston premiere of John Harbison’s “Winter’s Tale” with the Boston Modern Orchestra Project under the baton of Gil Rose also the role of Carl Magus in Stephen Sondheim’s “A Little Night Music”
An avid recitalist, Mr. Whiteside has offered a wide range of programs appeared with Musicians of the Old Post Road as well as at Boston’s French Library/Société Française and with the Florestan Recital Project. He has performed at University of Oregon and Boston University in such offerings as Schumann’s Liederkreis, op. 39, Samuel Barber’s Despite & Still, Beethoven’s “An die ferne Geliebte”, John Musto’s “Shadow of the Blues: Songs to Texts of Langston Hughes”, Ernest Chausson’s Serres Chaudes, and Aaron Copland’s “Songs on Texts of Emily Dickinson.” Recent recitals have featured programs on themes of French Cabaret, the works of William Shakespeare and songs inspired by the beauty of Venice
Among the highlights of last season were his role as baritone soloist with in Handel’s “Messiah” with Worcester Music and as Apollo in Emmanuel Music’s presentation of “Apollo and Daphne” at Rockport Music Festival as well as Claudio Monteverdi’s “Vespers of 1610” with Boston Baroque and the role of Jesus in Bach’s “Saint John Passion” with Emmanuel Music and in the Bach Festival at University of Massachusetts at Amherst. Upcoming solo appearances for 2015-2016 include “The Magic Flute” with Boston Baroque; Kurt Weill’s “Seven Deadly Sins”; the role of Phoebus in Bach’s “The Contest Between Phoebus and Pan” with Emmanuel Music; Elijah in the Boston Premiere of Robert Kapilow’s “Elijah’s Angel” with the New England Philharmonic; “Carmina Burana” at Mechanics Hall with Worcester Music; and Ralph Vaughan Willams “Sea Symphony” with the Washington Chorus and conductor Julian Wachner at the Kennedy Center for the Performing Arts
With a rich history beginning with its founding in 1923 by conductor and educator Elmer “Pop” Wilson, Symphony NH (until 2012 known as Nashua Symphony Orchestra) is the oldest professional orchestra in New Hampshire. Since 2008, when Music Director and Principal Conductor Jonathan McPhee joined the Symphony NH family, the orchestra has soared to new artistic heights, continually pushing the envelope with challenging programming and repertoire. Also serving as Music Director of Boston Ballet and Lexington Symphony Orchestra, Maestro McPhee was named the “Busiest Conductor in the World” in 2014 by bachtrack.com, beating out such notables as Andris Nelsons of BSO and Sir Simon Rattle of the Berlin Phil.
SNH’s programs include a series of first-class orchestral concerts each season in Nashua with run-out concerts around the state, chamber music concerts, the Picture This Educational Program for third graders, and the fourth grade String Program. Instrumentalists from the orchestra can play for your private event, and we’re always looking for talented professionals to join our ensemble. http://symphonynh.org
Mozart Great Mass in C minor, K. 427 and Piano Concerto No. 25, K. 503
January 16, 2016, 8pm
Littleton High School.
There will be a pre-concert talk at 7:15 follow signs to hear Anne offer insights into the works on the program designed to enhance your enjoyment of the concert.
is one of the area’s finest accompanists, adept at all styles of music from classical to pop and everything in between. He has been working with the Nashoba Valley Chorale on and off since the late 1990s, and is a staff accompanist at Indian Hill Music in Littleton, MA. In addition to his work as an accompanist, Shawn is active as a church music director and solo performer on both piano and organ.
Since 1995, Shawn has been the Director of Music for the First Parish Church of Groton where he manages an active music program including three choirs of various age groups. He is a Credentialed Unitarian Universalist Music Leader and serves on the board of the Unitarian Universalist Musician’s Network.
Shawn received his Bachelor of Music degrees in Piano Performance and in Music Theory / Composition from the University of Massachusetts at Lowell where he studied under Inge Lindblad and Juanita Tsu. He lives in Pepperell, MA with his wife, Monica, and son Liam.
Soprano Deborah Selig
has earned critical acclaim for her rich shimmering voice, her excellent artistic instincts, and her fine execution of the lyric soprano repertoire. Ms. Selig has performed leading operatic roles with a number of US companies including Boston Lyric Opera, Central City Opera, Chautauqua Opera, Dayton Opera, Kentucky Opera, Pittsburgh Opera, Opera Roanoke, Mobile Opera, and Connecticut Lyric Opera. In concert, she has soloed with Albany Symphony, Asheville Symphony, Boston Modern Orchestra Project, Cincinnati Baroque, Cincinnati Symphony, Dayton Philharmonic, Erie Philharmonic, Fairbanks Symphony, Greater Bridgeport Symphony, Handel and Haydn Society, Kentucky Symphony, Pittsburgh Symphony, Rhode Island Philharmonic and the Tanglewood Festival Orchestra. Chamber music appearances have included song recitals with Cotuit Center for the Arts, Collaborative Arts Institute of Chicago, Dame Myra Hess Memorial Concert Series, Five Boroughs Music Festival in New York, Goethe Institut in Boston, Goshen College Music Series, the Ravinia Steans Institute chamber music tour and the University of Wyoming Cultural Programs Series. http://www.deborahselig.com
Mezzo-soprano Donna Breitzer recently joined the Extra Chorus roster of the Metropolitan Opera for two productions in the 2014-2015 season, and will return to the Met this winter for Cavalleria Rusticana. Recent performance highlights include recitals for the American Society of Jewish Music and the Art Song at Old Stone House series in Brooklyn, NY, as well as solo concert appearances with the Western Wind Ensemble, the Brooklyn Conservatory Community Orchestra and Brooklyn Conservatory of Music/Arts at Old First. An active ensemble singer, Donna performs regularly with top professional groups alongside distinguished orchestras such as the New York Philharmonic, American Symphony Orchestra and American Classical Orchestra, among others. From 2010-2012 Donna sang as a Resident Artist at Dicapo Opera, garnering praise from The New York Times for her performance as Assunta in The Saint of Bleecker Street. She has participated as an Apprentice Artist with Bel Canto at Caramoor, spent two summers at the International Vocal Arts Institute in Tel Aviv, and has also performed with American Lyric Theater, dell’Arte Opera, Opera Manhattan, Opera Providence, American Repertory Theater (Boston, MA) and the Encore Theatre Company in Jerusalem. Originally from Saratoga, CA, Donna received BMus/BA degrees in Voice Performance and English from the University of Michigan, and holds a Master of Music degree in Voice from the New England Conservatory. She maintains a private voice studio in New York City and is the co-founder and Executive Director of Five Boroughs Music Festival, a chamber music presenting organization in NYC. She currently resides in the Park Slope neighborhood of Brooklyn with her husband, Cantor Joshua Breitzer, and their sons Jonah and Gideon. More info at www.donnabreitzer.com
Praised for his fine musicality, “glowing intensity,” and “clarion tone,” Gregory Zavracky maintains an active performance schedule on concert and opera stages alike. Recent engagements include the Officer in The Barber of Seville with Boston Lyric Opera, Count Almaviva in The Barber of Seville with Townsend Opera, Tamino in Boston Lyric Opera’s family production of The Magic Flute, Gherardo in Gianni Schicchi and Buoso’s Ghost with Lake George Opera, Ferrando in Così Fan Tutte and Camille in The Merry Widow with Cape Cod Opera, Ernesto in Don Pasquale with Opera in the Heights in Houston, Lechmere in Owen Wingrave with Boston University Opera Institute, Don Ottavio in Don Giovanni with Metrowest Opera, Face on the Barroom Floor with Charleston Chamber Opera, Don Ramiro in La Cenerentola with Capitol Heights Lyric Opera, and Prince Dauntless in Once Upon a Mattress and Schmidt in Werther with Chautauqua Opera, where he also covered Nemorino in the Elixir of Love.
Jorgeandrés Camargo, Bass-Baritone, is a native of Houston, Texas. He received a B.M. from the Eastman School of Music and an M.M. from Boston University. He is continuing his work with Dr. Jerrold Pope while in his second year with the Boston University Opera Institute.
Last season Mr. Camargo was Gus O’Neill in Musto’s Later the Same Evening, Roy Cohn in Angels in America and Pandolph in Massanet’s Cendrillon. In 2014 Mr. Camargo was a Marcello Giordani Young Artist with Crested Butte Music Festival, where he covered Sparafucile in Verdi’s Rigoletto. He was also the cover for Beethoven/Commendatore in Steven Stucky’s new opera The Classical Style with Ojai Music Festival. Other roles include Prophet/King in Nico Muhly’s Dark Sisters, Balthazar in Amahl and the Night Visitors, Capitán in Catán’s Florencia en el Amazonas, Leporello in Don Giovanni all with Boston University, Betto in Puccini’s Gianni Schicchi and Bartolo & Antonio in Le Nozze di Figaro with Opera Breve, as well as Geronimo in Cimarosa’s Il Matrimonio Segreto and Kecal in Smetana’s The Bartered Bride, both with Eastman Opera Theatre under the baton of Benton Hess.