HAYDN AND DEBUSSY. GRANT PARK ORCHESTRA AND CHORUS Carlos Kalmar Artistic Director and Principal Conductor Christopher Bell Chorus Director

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1 GRANT PARK ORCHESTRA AND CHORUS Carlos Kalmar Artistic Director and Principal Conductor Christopher Bell Chorus Director Friday, August 3, 2018 at 6:30 p.m. Saturday, August 4, 2018 at 7:30 p.m. Harris Theater HAYDN AND DEBUSSY Grant Park Orchestra and Chorus Carlos Kalmar Conductor Christopher Bell Chorus Director Janai Brugger Soprano Lauren Segal Mezzo-Soprano Brendan Tuohy Tenor Michael Sumuel Bass Franz Joseph Haydn The Representation of Chaos, Overture to The Creation Claude Debussy Nocturnes Nuages: Modéré Fêtes: Animé et très rythmé Modéré mais toujours très rythmé Tempo I Sirènes: Modérément animé INTERMISSION Franz Joseph Haydn Mass in B-Flat Major, Theresa Mass Kyrie: Adagio Allegro Adagio Gloria: Allegro Moderato Vivace Credo: Allegro Adagio Allegro Sanctus: Andante Allegro Benedictus: Moderato Agnus Dei: Adagio Allegro JANAI BRUGGER LAUREN SEGAL BRENDAN TUOHY MICHAEL SUMUEL Organ provided by Triune Music/S.B. Smith & Associates 2018 Program Notes, Book 8 31

2 JANAI BRUGGER is a 2012 winner of the Operalia and Metropolitan Opera National Council Auditions. During the current season, she returns to the Royal Opera House, Covent Garden in the role of Pamina in The Magic Flute, performs Mahler s Fourth Symphony with the Los Angeles Philharmonic and Philadelphia Orchestra, and comes home to Chicago for the role of Liù in Turandot at Lyric Opera and to star in Ask Your Mama with Chicago Sinfonietta. Ms. Brugger also gives a recital and a concert performance as Clara in Porgy and Bess at the University of Michigan, and sings Susanna in Le nozze di Figaro at Palm Beach Opera and Servillia in La clemenza di Tito at Dutch National Opera. Among her other highlights are performances at the Metropolitan Opera in Guillaume Tell, Carmen, The Magic Flute and Fidelio, and a concert performance and recording of Gluck s Orfeo with the Atlanta Symphony. As the recipient of the 2016 Marian Anderson Award, Ms. Brugger gave a recital at the Kennedy Center in Washington. She also appeared in the Bonn AIDS Gala in Germany. Janai Brugger performed last season in the Metropolitan Opera s Rising Stars concert series, debuted as Norina in Don Pasquale at Palm Beach Opera, sang in La Bohème and The Magic Flute at Los Angeles Opera, appeared in Turandot and The Enchanted Island at the Metropolitan Opera, and made several United States concert and recital appearances. Mezzo-soprano LAUREN SEGAL, the only Canadian chosen to participate in the inaugural Salzburg Festival Young Artist Project, last season performed Dritte Dame in The Magic Flute with the Canadian Opera Company, Elijah with Choeur St. Laurent and l Orchestre Symphonique de Montréal, Martin s In Terra Pax with the Grant Park Music Festival, and Meg Page in Falstaff and Charlotte in Werther for Manitoba Opera. Among her other recent or upcoming engagements are Messiah with the Edmonton Symphony and Nova Scotia Symphony. In 2015, she gave a lauded performance in Tapestry Opera s premiere of John Harris M dea Undone. During the season, Ms. Segal returns to Calgary Opera in her role debut as Olga in Eugene Onegin, appears with both the National Arts Center and Toronto Symphony orchestras in performances of Beethoven s Symphony No. 9, and performs with the Brott Music Festival in Mahler s Symphony No. 2, Resurrection. Ms. Segal appeared in the short film Dalila, which was screened at the Chicago International Music and Movies Festival and the Italian Contemporary Film Festival, as well as in Desire: An Operatic Trilogy, inspired by arias from Le nozze di Figaro, Carmen and Vivaldi s Bajazet; the film won awards at several film festivals in America and Italy. A recipient of two Metropolitan Opera National Council Auditions Encouragement Awards, Lauren Segal was born in South Africa and holds a Master of Science degree in physics from the University of Toronto. 32 gpmf.org

3 AUGUST 3 4, 2018 American tenor BRENDAN TUOHY recently returned to Memphis Opera to sing Riccardo Alberoni in Alessandro Scarlatti s The Triumph of Honor and to Seattle s Vashon Opera as Tamino in The Magic Flute. His other American credits include the title roles in Béatrice et Bénédict and Albert Herring, Peter Quint in The Turn of the Screw, and Alfredo in Die Fledermaus. In Europe, he performed his role debut as Tamino in The Magic Flute with the Berlin Opera Academy, and the title roles in Mozart s La clemenza di Tito and Idomeneo with Opéra Orchestre National de Montpellier. He also sang several performances as Diomede in Cavalli s recently rediscovered Elena with Château de Versailles Royal Opera and Festival d Aix en Provence. Mr. Tuohy has appeared in varied concert repertory including Beethoven s Ninth Symphony, Dvořák s The Specter s Bride and Requiem, and Mendelssohn s Lobgesang. His upcoming season includes performances in Donizetti s L elisir d amore, Britten s The Rape of Lucretia and Previn s A Streetcar Named Desire. Brendan Tuohy holds a degree in vocal performance from the University of Cincinnati College Conservatory of Music and is a former member of the Houston Grand Opera Studio Program and Portland Opera Studio Program. American bass-baritone MICHAEL SUMUEL returns this season to Glyndebourne to perform Sharpless in Madama Butterfly and makes his debut at Teatro Massimo di Palermo performing Theseus in Britten s A Midsummer Night s Dream. His concert appearances include debuts with the BBC Proms, Mozart s Mass in C Minor with the Orchestra of St. Luke s at Carnegie Hall, Beethoven s Symphony No. 9 with the Seattle Symphony, Handel s Messiah with the New Jersey Symphony Orchestra, Bach s St. John Passion with Chicago s Music of the Baroque, and a return to Mercury Houston to perform Bach s St. Matthew Passion. During the season, Mr. Sumuel returned to Houston Grand Opera as Belcore in L elisir d amore and San Francisco Opera as Masetto in Don Giovanni. His additional appearances included a role and house debut as Alidoro in La Cenerentola and Escamillo in Carmen at Norwegian National Opera. His concert engagements included debuts with the Cleveland Orchestra in Bach s St. John Passion, Mozart s Requiem with the Phoenix Symphony, and Beethoven s Symphony No. 9 with the American Classical Orchestra at Lincoln Center in New York. Among Michael Sumuel s competition accolades are a 2015 Richard Tucker Career Grant, 2012 MONC Finalist and winner of the 2009 Dallas Opera Guild Vocal Competition. He is an alumnus of the Merola Opera Program at San Francisco Opera Center and the Filene Young Artist Program at Wolf Trap Opera Program Notes, Book 8 33

4 Franz Joseph Haydn ( ) THE REPRESENTATION OF CHAOS, OVERTURE TO THE CREATION (1798) Scored for: pairs of woodwinds, two horns, two trumpets, three trombones, timpani, harpsichord and strings Performance time: 10 minutes First Grant Park Orchestra performance (complete oratorio): June 29, 1957; Joseph Rosenstock, conductor In February 1794, Haydn returned to England for the second time, that residency proving to be, if anything, more clamorously successful than the one three years before. During his stay, he expressed his wish to compose a grand choral work something, he said, that will give permanent fame to my name in the world to his friend, the French violinist and composer François-Hippolyte Barthélémon. Barthélémon pulled a Bible from his shelf, flipped it open, and said, There is the book; begin at the beginning. Haydn may have therefore thought it providential when Johann Peter Salomon, sponsor of the London ventures, presented him with an English libretto on the subject of the Creation shortly before he left England for the last time in August 1795, and encouraged him to set it as an oratorio. Haydn tucked the text into his trunk and took it with him back to Vienna. The Creation, which he completed three years later, proved to be one of the most popular works of its time, not least because of the daring Representation of Chaos with which it opens. Claude Debussy ( ) NOCTURNES ( ) Scored for: piccolo, two flutes, two oboes, English horn, two clarinets, three bassoons, four horns, three trumpets, three trombones, tuba, timpani, percussion, two harps, strings and women s voices Performance time: 27 minutes First Grant Park Orchestra performance: July 29, 1939; Rico Marcelli, conductor One stormy day in 1897, as Debussy was crossing the Pont de la Concorde in Paris with his friend Paul Poujaud, recorded the composer s biographer Léon Vallas, he told him that on a similar kind of day the idea of the symphonic work Nuages [ Clouds ] had occurred to him: he had visualized those very thunder-clouds swept along by a stormy wind; a boat passing, with its horn sounding. These two impressions are recalled in the languorous succession of chords and by the short chromatic theme on the English horn. Debussy went on to explain to Poujaud that Fêtes ( Festivals ) had been inspired by a recollection of merrymaking in the Bois de Boulogne, with noisy crowds watching the drum and bugle corps of the Garde Nationale pass in parade. The finale (Sirènes 34 gpmf.org

5 AUGUST 3 4, 2018 Sirens ), which includes women s chorus though they sing without text, derives from L Homme et la Sirène by Henri de Régnier, a Symbolist poet and close associate of Mallarmé. (It was Régnier who approached Mallarmé with Debussy s request to base a work on his Prélude à l apresmidi d un faune.) The title of the entire cycle Nocturnes and the idea for its tone-color painting may have been taken from the work of James McNeill Whistler, the American-born artist who lived in Paris and London for most of his life and whose best-known work, a portrait of his mother, was formally entitled by him Arrangement in Gray and Black No. 1. Debussy himself caught the delicate blending of reality and imagination in the poetic description of his Nocturnes that he provided for the work s first complete performance on October 27, 1901: The title Nocturnes is intended to have here a more general and, more particularly, a more decorative meaning. It is not meant to designate the usual form of a nocturne, but rather all the impressions and the special effects of light that the word suggests. Clouds: the unchanging aspect of the sky and the slow and solemn march of clouds fading away in gray tones slightly tinged with white. Festivals: vibrating, dancing rhythm, with sudden flashes of light. There is also the episode of a procession (a dazzling, fantastic vision) passing through the festive scene and becoming blended with it; but the background remains persistently the same: the festival with its blending of music and luminous dust participating in the universal rhythm of things. Sirens: the sea and its endless rhythms; then amid the billows silvered by the moon, the mysterious song of the Sirens is heard; it laughs and passes. Franz Joseph Haydn ( ) MASS IN B-FLAT MAJOR, THERESA MASS (1799) Scored for: solo soprano, solo mezzo-soprano, solo tenor, solo bass, two clarinets, bassoon, two trumpets, timpani, organ, strings and chorus Performance time: 43 minutes First Grant Park Orchestra performance: June 29, 1985; Thomas Peck, conductor Haydn s 14 Masses fall into two groups, and for the most practical of reasons. He had composed a half-dozen such works by 1783, when Emperor Joseph II brought Austria into line with the papal decrees banning the use of instruments in church, thereby putting Haydn out of business as a composer of Masses. But austerity in music is not a Viennese penchant, and Emperor Francis II repealed the earlier order in the mid-1790s, thereby reinstating the glorious musical pageants of which the Austrians are so fond. (The tradition continues today with the sumptuous Mass-concerts given by the Vienna Boys Choir as part of their regular duties at the Hofburg Chapel.) Haydn responded to the lifting of the ban by composing six masterful liturgical works between 1796 and 1802: the Masses titled Kettledrum, St. Bernardi, Lord Nelson, Theresa, Creation and Harmonie. They were written for the annual celebrations in Eisenstadt surrounding the nameday (September 8) of Princess Marie Hermenegild Esterházy, one of the recent additions to the 2018 Program Notes, Book 8 35

6 family that had employed Haydn for nearly a half-century. Upon Haydn s retirement in 1790, the Esterházys had awarded him a generous pension whose only stipulation was composing these annual nameday Masses. The Theresa Mass, fourth of the six late Masses, was written in Its small scoring for orchestra of clarinets, trumpets, timpani, strings and organ reflects the reduced size of the Esterházy musical establishment in the years following Haydn s retirement. The sobriquet of the work has been the subject of some conjecture. This was the only one of the late Masses Haydn did not have published, so he never oversaw the formalities of the title page and the work s dedication. The designation seems to honor Marie Theresa, second wife of Emperor Francis II. Marie (not to be confused with the Empress Marie Theresia, to whom Haydn dedicated his Symphony No. 48) was a great admirer of the composer and an accomplished singer who later appeared as soprano soloist in performances of his oratorio The Seasons. Haydn apparently gave her a copy of the score, since it is known to have been held by the royal library. The dedication may also pay homage at one remove to Marie s husband, the Emperor, without whose repeal of the edict forbidding instrumental music in church these wonderful Masses of Haydn s fullest maturity would never have come into being Dr. Richard E. Rodda 36 gpmf.org

7 KYRIE AUGUST 3 4, 2018 Kyrie eleison. Christe eleison. Kyrie eleison. Lord, have mercy. Christ, have mercy. Lord, have mercy. GLORIA Gloria in excelsis Deo, et in terra pax hominibus bonae voluntatis. Laudamus te, benedicimus te, adoramus te, glorificamus te. Gratias agimus tibi propter magnam gloriam tuam. Domine Deus, Rex coelestis, Deus pater omnipotens. Domine Fili unigenite Jesu Christe, Domine Deus, Agnus Dei, Filius Patris, qui tollis peccata mundi: miserere nobis; qui tollis peccata mundi: suscipe deprecationem nostram; qui sedes ad dexteram Patris: miserere nobis. Quoniam tu solus sanctus, tu solus Dominus, tu solus altissimus, Jesu Christe, cum sancto spiritu, in gloria Dei Patris. Amen. Glory to God in the highest, and on earth peace to men of good will. We praise you, we bless you, we worship you, we glorify you. We give you thanks for your great glory. Lord God, heavenly King, God the Father almighty. The only-begotten Son, Lord Jesus Christ, Lord God, Lamb of God, Son of the Father, you take away the sin of the world: have mercy on us; you take away the sin of the world: receive our prayer; you are seated at the right hand of the Father: have mercy on us. For you alone are the Holy One, you alone are the Lord, you alone are the Most High, Jesus Christ, with the Holy Spirit, in the glory of God the Father. Amen. CREDO Credo in unum Deum, Patrem omnipotentem, factorem coeli et terrae, visibilium omnium et invisibilium, et ex patre natum ante omnia saecula. Deum de Deo, lumen de lumine, Deum verum de Deo vero. Genitum, non factum, consubstantialem Patri, Per quem omnia facta sunt. Qui propter nos homines et propter nostram salutem descendit de coelis: et incarnatus est de Spiritu Sancto ex Maria virgine, We believe in one God, the Father, the Almighty, maker of heaven and earth, of all that is, seen and unseen, eternally begotten of the Father. God from God, Light from Light, true God from true God, begotten, not made, of one Being with the Father. Through him all things were made. For us men and for our salvation he came down from heaven: by the power of the Holy Spirit he became incarnate from the Virgin Mary, 2018 Program Notes, Book 8 37

8 et homo factus est. Crucifixus etiam pro nobis, sub Pontio Pilato passus, et sepultus est. Et resurrexit tertia die secundum scripturas; et ascendit in coelum sedet ad dexteram Patris. Et iterum venturus est cum gloria judicare vivos et mortuos, cujus regni non erit finis. Et in Spiritum Sanctum, Dominum et vivificantem. Qui cum Patre et Filio simul adoratur et conglorificatur. Qui locutus est per Prophetas. Et unum sanctam catholicam et apostolicam ecclesiam. Confiteor unum baptisma in remissionem peccatorum. Et expecto resurrectionem mortuorum, et vitam et venturi seculi. Amen. and was made man. For our sake he was crucified under Pontius Pilate; he suffered death and was buried. On the third day he rose again in accordance with the Scriptures; and ascended into heaven and is seated at the right hand of the Father. He will come again in glory to judge the living and the dead, and his kingdom will have no end. We believe in the Holy Spirit, the Lord, the giver of life. With the Father and the Son he is worshiped and glorified. He has spoken through the Prophets. We believe in one holy catholic and apostolic Church. We acknowledge one baptism for the forgiveness of sins. We look for the resurrection of the dead, and the life of the world to come. Amen. SANCTUS Sanctus, sanctus, sanctus Dominus, Holy, holy, holy Lord, Deus Sabaoth, God of power and might, pleni sunt coeli et terra heaven and earth are full gloria tuae. of your glory. Osanna in excelsis. Hosanna in the highest. BENEDICTUS Benedictus qui venit in nomine Domini. Osanna in excelsis. Blessed is he who comes in the name of the Lord. Hosanna in the highest. AGNUS DEI Agnus Dei, qui tollis peccata mundi: miserere nobis. Agnus Dei, qui tollis peccata mundi: miserere nobis. Agnus Dei, qui tollis peccata mundi: dona nobis pacem. Lamb of God, you take away the sins of the world: have mercy on us. Lamb of God, you take away the sins of the world: have mercy on us. Lamb of God, you take away the sins of the world: grant us peace. 38 gpmf.org

9 The Paul M. Angell Family Foundation is pleased to support the Grant Park Music Festival as part of its mission to advance society through the performing arts, conservation of the world s oceans, and alleviation of poverty Program Notes, Book 8 39

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