Joseph Haydn
Die Schöpfung
(The creation)
Indiana University Jacobs School of Music
As one of the most comprehensive and acclaimed institutions for the study of
music, the Indiana University Jacobs School of Music plays a key role in educating
performers, scholars, and music educators who influence music performance and
education around the globe.
The more than 1,600 students who study at the Jacobs School of Music benefit
from the intensity and focus of a conservatory combined with the broad academic
offerings of a major university.
The essence of a great music school is its faculty, and the more than 180 full-time
faculty members in residence at Jacobs include performers, scholars, and teachers of
international renown. In addition, many top musicians and scholars come to the
school each year to give master classes and guest lectures or to serve as visiting artistic
directors, conductors, and faculty.
The breadth and number of performance opportunities are unparalleled in college
music study, with the school offering more than 1,100 performances a year, including
six fully staged operas and three ballets. The school’s facilities, including five buildings
located in the heart of the IU Bloomington campus, comprise outstanding recital
halls, more than 170 practice rooms, choral and instrumental rehearsal rooms, and
more than 100 offices and studios. The grandest facility is the Musical Arts Center,
which features technical capabilities that are among the best in the nation.
The Jacobs School of Music graduates include some of the world’s most successful
performers, conductors, composers, music educators, scholars, and managers of arts
organizations.
Second Presbyterian Church in Indianapolis
The Second Presbyterian Church in Indianapolis holds music and the arts
to be a vital activity in the worship of God. Under the leadership of Director of
Music and Fine Arts Dr. Michelle Louer, a Jacobs School of Music alumna, Second
Church is home to a vibrant and active program. Its comprehensive music ministry
supports nine ensembles, including the Sanctuary Choir, the Beecher Singers
(professional chamber choir), a graded Choir School program for children ages
four through twelfth grade, and a handbell ensemble. The “Anima Sacra Music and
Fine Arts Series” offers a wide variety of free concerts to the greater Indianapolis
community. Second’s notable instruments include an Æolian-Skinner organ (4/86),
a nine-foot Steinway grand piano, and a two-manual Dowd harpsichord, which are
deftly played by organist and Assistant Director of Music and Fine Arts John Allegar.
Congregational worship is also enhanced by frequent participation by members of
the Indianapolis Symphony and Chamber Orchestras.
Two Hundred Fourteenth Program of the 2012-13 Season
_______________________
Die Schöpfung, Hob.XXI:2
The Creation
Oratorio for Solo Voices, Chorus, and Orchestra
by
Joseph Haydn (1732-1809)
Text: Gottfried van Swieten
after John Milton (Paradise Lost)
Pro Arte Singers
Chamber Orchestra
William Jon Gray, Conductor
Jessica Beebe, Soprano (Gabriel)
James Michael Porter, Tenor (Uriel)
Nathaniel Olson, Baritone (Raphael)
Christine Buras, Soprano (Eva)
Jeremy Johnson, Baritone (Adam)
Auer Concert Hall
Friday Evening
November Second
Eight O’Clock
Auer Concert Hall
Saturday Evening
November Third
Eight O’Clock
music.indiana.edu
Second Presbyterian
Church, Indianapolis
Sunday Afternoon
November Fourth
Three O’Clock
Part One
The First Four Days of Creation
15-Minute Intermission
Part Two
Days Five and Six of Creation
Part Three
The Garden of Eden
_______________________
Joseph Haydn
The Creation: An Oratorio for All Tastes and Times
A. Peter Brown
(Reprinted with permission)
During the 1791 season in London, Haydn was overwhelmed by hearing Handel’s oratorios
performed by large forces in Westminster Abbey. According to Giuseppe Carpani, these Handelian
encounters “struck him as if he had been put back to the beginning of his studies and had known
nothing up to that moment. He meditated on every note and drew from those most learned scores
the essence of true musical grandeur.” As a result, Haydn “intimated to his friend Barthélemon his
great desire to compose a work of similar kind. He asked what subject he would advise for such a
purpose. Barthélemon took up his Bible and said: ‘There, take that, and begin at the beginning.’”
On his return to Vienna, Haydn brought with him a libretto reportedly assembled for
Handel, possibly by Newburg Hamilton, and had it translated and abridged by the Emperor’s
librarian, Baron Gottfried van Swieten. In 1798, the oratorio was ready and received private
performances in April and May, and the following March at the now destroyed Schwarzenberg
Palais. On March 19, 1799 the first public rendition took place at the Burgtheater with about 180
performers conducted by the composer.
Reports of the Schwarzenberg performances had excited the expectations of the Viennese,
and the Burgtheater presentation was historically of tremendous significance, comparable only to
a few of today’s popular musical events.
According to the letters of Joseph Richter (alias Eipeldauer) written to his cousin in the local
Wienerisch dialect:
This day, cousin, we’ve had a different spectacle in Vienna . . . The famous Hayden
[sic] performed the creation of the world set to music, and I can’t tell you, cousin,
how full it was. As long as the theatre has stood, it hasn’t been so full. I was standing
at the door by 1 o’clock, and only at the risk of life and limb did I get a little seat
in the last row of the 4th floor (Eipeldauer didn’t find the right entrance, otherwise
he would have snapped up a better seat.)... Finally the music began, and all at
once it became so quiet that you, cousin, could have heard a pin drop, and if they
hadn’t often applauded, you would have thought that there weren’t any people in
the theatre. But, cousin, in my whole life I won’t hear another piece of music as
beautiful; and even if it lasted three hours longer, and even if the stink and sweatbath had been much worse, I wouldn’t have minded.
For the life of me I wouldn’t have believed that human lungs and sheep gut and
calf ’s skin could create such miracles. The music all by itself described thunder
and lightning and then, cousin, you’d have heard the rain falling and the water
rushing and the birds really singing and the lion roaring and you could even hear
the worms crawling along the ground. In short, cousin, I never left a theatre more
contented and all night I dreamed of the creation of the world.
The triumph was complete; in the first decade of the 1800s Vienna heard some forty-five
performances. An authentic edition, with German and English texts, appeared on February 28,
1800, containing a subscription list of more than four hundred names from all over Europe.
Almost immediately the oratorio was heard in Budapest, St Petersburg, Paris, London, and
Stockholm, often with two hundred and more participants; there were also less monumental
renditions in the smaller cities of Europe. How can one account for the universal success of The
Creation, whose appeal was irresistible to the noble and leisured classes, amateurs and connoisseurs,
whether German, French or English?
The Text must have had much appeal due to its mixture of familiar quotations from the
books of Genesis and Psalms with lines reworked from Milton’s Paradise Lost. Baron van Swieten
offered detailed suggestions as to how the text might be treated, but Haydn only followed them
in a few instances. For their subsequent collaboration on The Seasons, Haydn complained of the
text-painting foisted upon him, describing it as “Frenchified trash.” Nevertheless, it was this very
text-painting, as well as the synthesis of national styles, that contributed to The Creation’s universal
appeal.
Haydn was surrounded by French taste, style, and even music at the Esterhásy establishments.
It is not surprising, then, that The Creation contains three instrumental sections that find parallels
in the French repertoire. Haydn’s overture “Chaos” has direct predecessors in Rameau’s Zaïs
(1748) and Rebel’s Les Elémens (1737). The sunrise of No. 13 also has precedents in French
pictorialism, as does the high flute colour of No. 27 [the introduction to Part Three], which
suggests both pastoral bliss and the celestial world on earth.
Historically, the oratorio is the genre most directly related to Italian opera: both are dramatic
with named characters, both are divided into acts and scenes, and both use recitatives and arias. In
terms of the Viennese liturgical year they were complimentary: oratorios were performed during
Advent and Lent when opera was banned. The secco recitative was the most formulaic element, an
effect compounded in The Creation by associating textual and musical refrains. Thus, the words
“And God said” have their series of pitches, followed by the freely composed declaration of what
is forthcoming, the recitative concluding with another text/music formula for “And it was so.”
This must have reminded those in Catholic Europe and Anglican England of the formulas used
for the Psalms and Lessons.
In many respects the orchestrally accompanied recitatives, with their extensive use of textpainting, received the most attention, the moment of highest drama coming with the appearance
of light. The deep darkness of “Chaos” is expressed by the stile antico, descending chromatic lines,
minor mode, and muted strings, brass, and timpani, a mood which continues into Raphael’s
recitative (No. 2). Here is the first instance of text-painting as Raphael sings “and the earth was
without form and void” against the orchestra’s empty monophony. With the appearance of light
we move into a fortissimo C major chord for the full orchestra with mutes removed. According to
the composer’s friend Frederik Samuel Silverstolpe:
And at that moment when the light broke out for the first time, one would have
said that rays darted from the composer’s burning eyes. The enchantment of the
electrified Viennese was so general that the orchestra could not proceed for some
minutes.
Haydn’s most densely pictorial music is concentrated in three extended accompanied
recitatives for solo voice (Nos. 4, 13, 21), which must have delighted every Liebhaber. No. 4 uses a
common eighteenth-century “characteristic” style, the storm: Haydn paints “outrageous storms,”
wind, lightning, thunder, hail and snow; in each case, the music speaks before the text confirms
the depiction. The storm is not an isolated event, but part of a large fresco beginning with No. 3
and concluding with No. 7 “Rolling in foaming billows.”
Except for the opening sunrise, No. 13 is less dependent on stock images: the evocative
“silver moon thro’ silent night” displays a colour and skillful part-writing which would have
gained admiration in all quarters. No. 21, like No. 4, has more overt musical imitation: the lion’s
roar, the leaping tiger; the running stag, the shepherd’s siciliana, the sinuous worm. Again the
effects are not isolated, for the following aria (No. 22) returns to the same timbre with which the
lion roared.
Next to the appearance of light, perhaps the most impressive of these accompanied recitatives
is Raphael’s “Be fruitful all, and multiply!” (No. 17). It again can be admired by the amateur for
the sensuous orchestration of the lower strings and declamatory majesty, and by the connoisseur
for its impressive part writing.
While the recitatives utilise familiar devices of text-painting and liturgical formulas, the
arias use similarly established styles and types to define class. This distinction is exploited in The
Creation in such a way that the arias sung by the three angels are in the elevated styles, while the
music of Adam and Eve is more folk-like in idiom; the angels use the musical language of the
nobility, Adam and Eve that of normal mortals. Every set piece before the appearance of Adam
and Eve can be related to this loftier musical language.
The archangel Gabriel is given the two most elaborate arias. The first of these, “With verdure
clad the fields appear” (No. 9) is typical of many pastoral arias to be found in opera and oratorio
from as early as Alessandro Scarlatti; its most famous predecessor is probably “He shall feed
his flock” from Messiah. All are in compound metre, a moderate tempo, with anapestic and
dotted rhythms, which derive from the shepherd’s dance, the siciliana. Haydn adds to the pastoral
atmosphere with his emphasis on horn and woodwind colour, and by adding ornaments alluding
to birdsong. Gabriel’s second aria, “On mighty pens” (No. 16), belongs to another ubiquitous
type, the bird aria, frequently the nightingale. However, in this case the eagle, lark and dove are
also included. The allusions to birdsong increase as the aria develops: for the eagle the texture
is clear and the ornaments few; for the dove and lark trills and turns appear in both voice and
orchestra; for the nightingale a plethora of ornaments in polyphony provide a wash of colour.
Raphael’s two arias also derive from a long tradition. Without reference to the text, the music
for the opening of “Rolling in foaming billows” (No. 7) could be heard as a typical “rage” aria with
its active and jagged rhythms, melodic leaps and sforzandi, all in the minor mode. During its first
part, the “foaming billows” gradually dissipate, and part two introduces the “limpid brook” in the
violins, the open-air intervals of the horns, the snatches of woodwind colour, cantibile melodic
ideas, and slow and regular harmonic rhythm – a perfect representation of pastoral rest.
“Now heaven in fullest glory shone” (No. 22) is an air of triumph, majesty, and glory of the
sort which could be encountered in earlier French and Italian operas celebrating a ruling dynasty.
Nearly every bar of the opening sections is marked by fanfares, dotted rhythms, and rushing
scales, devices rhetorically associated with “Rex tremendae majestatis.” The central section has
larger ramifications for the oratorio’s coherence as Haydn recalls the motive of the great Leviathan
in the earlier trio (No. 19) and the colour of the lion’s roar from the preceding recitative (No. 21),
now representing the “heavy beasts.”
Uriel’s only solo, “In native worth and honour clad” (No. 24), like Raphael’s first aria, moves
from activity to relaxation. It becomes martial with dotted rhythms as man is declared “the
lord and king of nature all,” but the music for the concluding three lines of text provides tonal
stability, rhythmic relaxation, regularity of phrasing, and a new counter-melody in the cellos that
anticipates the later duet of Adam and Eve. This aria and Raphael’s “Rolling in foaming billows”
represent the glories of Haydn’s late style; the end comes not with a heroic gesture but with one
of a controlled relaxation that communicates a deep serenity.
Whereas the arias of Gabriel, Uriel, and Raphael represent the elevated styles of courtly
opera, the duet in Part Three for Adam and Eve (“Graceful consort,” No. 30) belongs to the
world of Papagena and Papageno. With one exception, the text receives only one or two notes per
syllable. The Allegro is a contredanse in simple duple metre, with regular phrases, straightforward
rhythms, and allusions to rustic fiddling. The opening horn call and woodwind colour again recall
Eden’s pastoral atmosphere, conjured up by the three flutes in the introduction to Part Three.
Only one chorus, “Awake the harp” (No. 11), excludes the soloists. Here we have a brilliant
adaptation and intensification of Handel’s style, with introductory choral and orchestral
hammerstrokes, and central fugal section, and a brilliant conclusion. In this, Haydn’s version of
Handel, the opening and concluding sections contain a tremendous level of energy; the double
fugue is learned and fully developed; and the texture of the last eight bars is possibly modeled on
Handel’s Coronation Anthem ‘Zadok the Priest,’ which Haydn heard rendered by a thousand
performers in Westminster Abbey.
The one chorus which went on to attain a life of its own was “The heavens are telling.”
Perhaps the closest Haydn came to the verse anthem of the Anglican cathedrals, it also must
have sounded familiar to those in the parish churches who practiced simple Psalmody. Tattersall’s
Improved Psalmody of 1794 contains a setting of Psalm 50 contributed by Haydn; “The heavens
are telling” recalls this simple psalmodic version in its melodic materials and the persistence of
the tonic key. This tonal inaction would not have been lost on the connoisseurs: by remaining in
the home key, the firmament is symbolically established; it also serves as a foil against which the
closing chromatic thrusts sound in decisive relief.
Deep contrast is found in No. 3, as “Despairing, cursing rage” is pitted against “A new
created world”:
Cursing rage
C Minor
modulatory
imitative
marcato
forte
tutti
storm
New created world
A Major
stable
homophonic
cantabile
sotto voce
reduced orchestra
calm
In almost every chorus, the solo voice or voices merely double the chorus parts, or, as in the
verse anthem, alternate with the chorus. It is only in the trio No. 19 “Most beautiful appear”
and in the following chorus “The Lord is great” that Haydn uses soloists to augment the choral
texture. From the trio to the end of the chorus a slow crescendo of sonority occurs as each of
the soloists sings first alone, then in ensemble, and finally in a seven-part fabric with the chorus.
This concludes what Tovey maintained to be “the most brilliant of Haydn’s choruses” with
the coloraturas of Gabriel and Uriel thrilling him “as much as anything in Bach or Handel.”
Contemporary listeners too must have found the virtuoso coloratura and textural expansion a
compelling way to bring the six days of creation to a close.
Appropriately, Haydn’s finale (No. 32) is the most virtuosic and brilliant chorus of the whole
work: virtuosic in its polyphony and the increasingly lengthy melismas on “Amen,” brilliant in
its treatment of the fugal subject in the coda. Here, the head motif is stated three times – by
the orchestra, the chorus, and again by the orchestra – before the “eternal” note on “aye,” as the
instrumental forces realized the full implications of the subject. While this final realization is
original, the last statement of the subject in octaves was almost a cliché. Just as Haydn began his
oratorio with the esoteric “Chaos,” whose meaning is clarified by the simple appearance of light,
so in this final chorus he builds ever more complex counterpoint that concludes with the subject
in its simplest form. Again Haydn appeals to every listener by juxtaposing learned construction
with clear, direct statement.
The Creation had precedents in French, English, Italian and German traditions, incorporated
established expressive codes in new ways, juxtaposed and synthesized the popular with the
learned, and used a story from the Judeo-Christian heritage enhanced by Milton to produce
a work whose success was unprecedented. Haydn must have been aware of his music’s special
potential, for shortly before he left for England in 1791, Mozart reportedly told him: “You have
no training for the greater world, and you speak too few languages.” “Oh,” replied Haydn, “my
language is understood all over the world.” The language of The Creation knew no barriers; it
was immediately acknowledged as a universal masterwork by audiences throughout Europe and
America. The Creation is more than a work for musical amateurs and connoisseurs, conservatives
and progressives, and more than a mélange of national tastes: it is, as two centuries have verified,
an oratorio for all time.
_______________________
A note about language . . .
The Creation is the first large-scale work in musical history to be published with a
bilingual text (German and English). It is clear from both the nature of the first
edition, published by the composer himself, and the manner in which the work
was composed, that Haydn intended to give equal standing to the German and
English texts. This fact, which has only been fully understood in recent times, adds
some complexity to the story of the work’s composition.
Nicholas Temperley, Haydn: The Creation
(Cambridge University Press, 1991)
The origins and authorship of an original eighteenth-century English libretto titled
The Creation of the World are unknown. Haydn’s first biographer, Georg August Greisinger,
hypothesized that an Englishman, Mr. Lindley (or, perhaps, Thomas Linley the elder, 17331795), composed the text, possibly intending it to be set to music by George Frideric Handel.
This English libretto came to be in the possession of the impresario and composer Johann Peter
Salomon (1745-1815), who, in turn, passed it on to Haydn in 1795 in the hopes that the famous
composer would set it to music.
Baron Gottfried van Swieten re-composed the libretto in English, following the original
closely. Van Swieten said, “Whilst on the whole I followed the general outlines of the original
piece, I changed details whenever it seemed prudent to do so for the sake of the musical line or
expression.” He then was faced with the challenge of providing the composer with a bilingual text
for simultaneous setting, since the oratorio was designed for performances in both Vienna and
London. There can be no question that the composer intended German and English audiences
to experience the work in their native tongue. After re-composing the libretto in English, Van
Swieten then translated the revised English libretto into German for Haydn to set to music. In his
translation, van Swieten tried, as much as possible, to retain the original English word order and
rhythm, resolving “to clothe the English poem in German garb.”
Nicholas Temperley said, “As a German libretto, Swieten’s translation must be pronounced
an unqualified success. We cannot doubt that Haydn was delighted with it and found that it
stimulated him to unparalleled creative accomplishment.”
Van Swieten was next charged with the tasks of re-translating the German text back into
English and for arranging the English text underlay for the first bilingual edition. It is this second
translation back into English from Haydn’s working German translation that is normally sung in
English-speaking countries today.
For today’s concert, we have chosen to perform the German text as Haydn originally set it to
music. Our reasons are straightforward:
1. As a university-based music conservatory, our goals in these performances
are equally concerned with the learning experience of the students as with the
immediacy of the communicative exchange with the audience. We feel the
students need to experience the special relationship between the language of the
German text the composer set and the music he composed for that language. It
is our hope that this experience of studying, rehearsing, and performing Haydn’s
German text setting will provide the students with the vital information they need
to critically evaluate for themselves the relative strengths and weaknesses of van
Swieten’s English translation and text underlay.
2. With the exception of Handel’s Messiah, Haydn’s The Creation is quite possibly
the best known oratorio in the repertoire. While the composer might rightly be
concerned about the immediacy and intelligibility of the text for eighteenthcentury audiences who were experiencing this work for the first time, in the
twenty-first century, this argument is no longer quite so compelling. We believe we
can expect our audience to arrive at this performance with a reasonably good idea
of what the piece is about. In America, this work is frequently performed in van
Swieten’s English translation, and recordings of English-language performances
abound in the catalog. By performing this work today to the German language
libretto upon which the composer based his musical setting, it is our hope that
we can provide our audiences with an opportunity to experience this well-known
and beloved work in the context of musical and musicological inquiry and with
a fresh appreciation for, and delight in, the beauty and subtlety of the composer’s
text setting.
William Jon Gray
The Artists
Conductor
William Jon Gray is chair of the Choral Department at the Indiana University Jacobs
School of Music, where he conducts the Pro Arte Singers—the university’s
internationally recognized early music chamber choir—and teaches graduate-level
conducting, choral literature, and score reading. He was named chorus director of
Chicago’s Music of the Baroque in 2010, collaborating with conductors Jane Glover
and Nicholas Kraemer. Gray has been associate conductor of the Carmel Bach Festival
in California, leading major choral and orchestral works and preparing performances with internationally
renowned conductor Bruno Weil. He has also been assistant conductor of the Handel and Haydn Society
of Boston.
Gray has made guest appearances with orchestras and at festivals around the United States, including
the Handel and Haydn Society, Princeton Festival, National Chamber Orchestra, Billings Symphony,
and the Lafayette Symphony. He has appeared as guest director of the professional chorus of Chicago’s
Grant Park Music Festival, collaborating with Carlos Kalmar in performances of Dvorak’s Requiem
and The Spectre’s Bride, as well as Haydn’s The Seasons. He has prepared choruses for the Indianapolis
Symphony Orchestra and the National Chamber Orchestra, and he currently serves as faculty director
of opera choruses for IU Opera Theater, collaborating with such notable directors as Tito Capobianco
(La Traviata), Colin Graham (Peter Grimes), Vincent Liotta (A View from the Bridge), and Tomer Zvulun
(Faust).
Gray served as artistic director of the Masterworks Chorus and Orchestra of Washington, D.C.,
from 1986 to 1993 and was artistic director of the Bach Chorale Singers from 1994 to 2010, conducting
more than 100 performances of major choral works. With the Bach Chorale Singers, he received national
critical acclaim for the commercially released recording In Praise of the Organ: Latin Choral and Organ
Music of Zoltán Kodály. In November 2012, Jubilate, a new recording of early and modern Christmas
music will be released featuring the professional chorus and orchestra of Chicago’s Music of the Baroque.
Gray studied at Indiana University, New England Conservatory, Boston University, and The Juilliard
School. He performed frequently with Robert Shaw as a member of the Robert Shaw Festival Singers,
both in recordings and in concerts in France and at Carnegie Hall.
Soloists
Gabriel
Jessica Beebe, soprano, is a native of Philadelphia, Pa., earning her bachelor’s degree
in choral music education from the University of Delaware in 2009. After recently
finishing her Master of Music in Early Music Voice, she will continue her studies as a
doctoral candidate, studying voice and opera. She most recently won the Georgina
Joshi Fellowship and will continue her solo, choral, and operatic studies with the
financial support of the scholarship. Beebe has appeared as a soloist in the Requiems of
Mozart, Fauré, Rutter, and Duruflé; Pergolesi’s Stabat Mater; Bach’s St. John Passion,
Magnificat, and Mass in B Minor; Monteverdi’s Vespro della Beata Vergine; Handel’s Messiah, Dixit
Dominus, and Judas Maccabaeus; and Haydn’s Lord Nelson Mass, as well as many other baroque and
classical works. Recent performances include as guest soloist in the annual Bach Festival of Philadelphia
under Matthew Glandorf, performing the soprano solos in Mozart’s Coronation Mass with the IU
Summer Festival Choir under William Jon Gray, performing Vivaldi’s In furore Iustissimae Irae with the
IU Baroque Orchestra under Stanley Ritchie, and, most recently, as soprano soloist with the Indianapolis
Symphony Orchestra in Handel’s Messiah. In March, Beebe was asked to travel to London to perform
and study at the Royal College of Music, an opportunity received through the Georgina Joshi Fellowship.
Opera roles at IU include Dido (Dido and Aeneas), Despina (Così fan tutte), La Gloire (Alceste), and
Zerlina (Don Giovanni). She is a student of Costanza Cuccaro.
Eva
Christine Buras, soprano, is currently pursuing a master’s degree in early music voice
performance at Indiana University, where she studies with Paul Elliott and Mary Ann
Hart. She began her musical career as a girl chorister at Washington National Cathedral,
where she was head chorister in her final year. She received her bachelor’s degree in
music history and theory from the University of Chicago, where she wrote her honors
thesis on the early seventeenth century Danish composer Mogens Pedersøn. Research
on this topic was supported by two grants from the University of Chicago in summer
2009, prior to which Buras had spent the year studying at King’s College London and the Royal Academy
of Music, and singing in the King’s College London Chapel Choir, Siglo de Oro, The Holst Singers, and
several other ensembles in London. She has performed as a soloist in several works, including Bach’s St.
John Passion, St. Matthew Passion, and Christmas Oratorio; Handel’s Messiah, Dixit Dominus, and Judas
Maccabaeus; Arvo Pärt’s Passio; and Mozart’s Requiem. Upcoming solo performances include Rossini’s
Petite Messe Solennelle and Handel’s Messiah in London, U.K., this December.
Adam
Jeremy Johnson, baritone, has performed with IU Opera Theater as Schaunard in La
Bohème and the character role Gladhand in West Side Story, and in the productions of
Faust, Lucia di Lammermoor, Roméo et Juliette, and The Love for Three Oranges. Last
summer, he appeared as Ser Amantio and Maestro Spinelloccio in the Princeton
Festival’s production of Gianni Schicchi, as well as reprising the role of Schaunard in
the premiere performance of Opera Experience Southeast. He sang the role of Peter in
the touring production of Don Freund’s Romeo and Juliet and has been a featured
soloist in Bach’s Johannes-Passion, Britten’s Rejoice in the Lamb, and Liszt’s Die Seligkeiten. Originally from
San Diego, he is currently a first-year master’s student, studying with Andreas Poulimenos.
Raphael
Nathaniel Olson, baritone, recently returned to IU Opera Theater in the title role of
Don Giovanni. Concert performances include recitals at Ravinia with the Steans Music
Institute and operas Gianni Schicchi and Francesca da Rimini at the Princeton Music
Festival last summer. Previous IU Opera roles include Faninal in Der Rosenkavalier and
Eddie Carbone in A View from the Bridge. Olson is pursuing a Master of Music in Voice
Performance and studies with Timothy Noble. When not in rehearsal, he can be found
leading tours with the music admissions office, practicing the trumpet, singing German
lieder, hiking through the Indiana forests, and writing letters.
Uriel
James Michael Porter, a native of Little Rock, Ark., is a student of Scharmal Schrock
at the Jacobs School of Music. He has received a B.M. in Vocal Performance from
Jacobs and is currently pursuing a Masters of Music in Vocal Performance. Porter has
performed the roles of Candide in Leonard Bernstein’s Candide, Laurie in Mark
Adamo’s Little Women, Benvolio in Gounod’s Roméo et Juliette, and Mike in William
Bolcom’s A View from the Bridge with IU Opera Theater. He has also been a featured
soloist in Bach’s St. John Passion, Saint-Saën’s Christmas Oratorio, Beethoven’s Mass in
C Major, and Bach’s Magnificat. Porter was a young artist at the Seagle Music Colony, where he performed
Ferrando in Mozart’s Cosí fan tutte, Benvolio in Gounod’s Roméo et Juliette, and Enoch Snow in Carousel.
He was a Gerdine Young Artist during the 2012 season at Opera Theatre of Saint Louis, where he covered
Ferrando in Mozart’s Cosí fan tutte and performed the role of Mole in Unsuk Chin’s adaptation of Alice
in Wonderland. Porter will be appearing as Brighella in Strauss’s Ariadne auf Naxos during the 2013 season
at Fort Worth Opera.
The Ensembles
William Jon Gray, Conductor
Juan Carlos Zamudio, Associate Conductor
Alice Baldwin, Basso continuo
Pro Arte Singers
Soprano
Gloria Bangiola
Jessica Beebe
Christine Buras
Sze Hua Chee
Anastasia Yinghan Chin
Claire Daniels
Mathilda Edge
Mariah Kaplan
Kazune Kitani
Martha Sliva
Elizabeth Toy
Mezzo-Soprano / Countertenor
Monica Armstrong
Brennan Hall
Serena Kunzler
Michael Linert
Alyssa Martin
Max (Margaret) Potter
Andrew Rader
Erica Schoelkopf
Tenor
Andrew LeVan
Bor Liang Lin
Christopher Lynch
Brendon Ray Marsh
Joseph Noelliste
James Michael Porter
Asitha Tennekoon
Charles Lyon Stewart
Ezra Zurita
Baritone / Bass
Josef Ciskanik
Paul DiGiulio
John Hamby
Jeremy Johnson
Kornilios Michailidis
Julian Morris
Nathaniel Olson
Adam Michael Powell
Steven Sifner
Johann Wiese
Juan Carlos Zamudio
Chamber Orchestra
Violin I
Jenna Barghouti
Michael Lim
Arthur Masyuk
Hannah Dremann
Yuseon Nam
Joseph Galamba
Violin II
Paul Hauer
Jiyeon Min
Annika Kounts
Queenie Edwards
Elan Sapir
Emily Anderson
Viola
Sarah Harball
Emily Owsinski
Preston Barbare
Daniel Wunderle
Cello
Rainer Eudeikis
Lindy Tsai
Ethan Young
Jeongwon Yang
Bass
Daniel Perry
Brenton Carter
Trumpet
Katrina Kral
Evan King
Flute
Melissa Mashner
Casey Clyde
Michelle Stolper
Trombone
Stephanie Lebens
Alex Krawczyk
Brennan Johns, Bass
Oboe
Kathleen Carter
Madhura Sundararajan
Timpani
Kelly Rotterman
Harpsichord
Alice Baldwin
Clarinet
Tanyawat Dilokkunanant
Lindsay Cavanaugh
Bassoon
Chandler Stapleton
Evan Takle
Matthew Capone, Contra
Horn
Torrey D’ Angelo
Kevin Miescke
Orchestra Manager
Anna Tsai
Hannah Dremann, Asst.
Orchestra Set-Up
Hannah Dremann
Daniel Perry
Yuseon Nam
Brenton Carter
Librarian
Mariel Stauff
Become the
Complete Choral Conductor
Achieve Excellence through
world-class professional training at one of
the most acclaimed music institutions of
our time, with top faculty in all major fields
and the finest music research library in
the United States.
Podium Time: Conduct a choral ensemble
every day in conducting class. Conduct
recitals with the top choirs in the Jacobs
School of Music and a scholarship orchestra.
Conducting and Teaching Opportunities:
A cappella chamber choir repertoire; large
choral/orchestral works; opera conducting/
opera chorus master; early music; new
music; vocal jazz; collegiate show choir;
Latin American ensembles; world music;
youth and children’s choruses; teaching
undergraduate conducting classes.
Five Associate Instructor
positions open for
Doctoral and Master’s
Choral Conducting
students for the 2013–14
academic year.
Full tuition remission and
a competitive stipend with
health insurance.
CHORAL CONDUCTING
FACULTY
William Jon Gray
Chair, Pro Arte Singers, Choral Conducting
Steve Zegree
Vocal Jazz, Vocal Popular Music
Dominick DiOrio
Contemporary Vocal Ensemble, Choral Conducting
Walter Huff
Director of Opera Choruses
Katherine Strand
International Vocal Ensemble, Music Education
Jan Harrington
Chancellor’s Professor Emeritus
2013 AUDITION DATES
Jan. 11 | Feb. 1 | March 1
Application deadline
is December 1, 2012.
music.indiana.edu
music.indiana.edu