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Church of the Heavenly Rest Program
Event
Gaetano Donizetti - Symphony in E Minor
Conductor: Will Crutchfield
Gioachino Rossini - Stabat Mater
Conductor: Jakob Lehmann
No. 1 Stabat mater dolorosa
Soli quartet and chorus
Tatev Baroyan, soprano
SarahAnn Duffy, mezzo-soprano
Spencer Viator, tenor
Dorian McCall, bass-baritone
No. 2 Cujus animam
Derrek Stark, tenor
No. 3 Quis est homo
Christine Lyons, soprano
Hannah Ludwig, mezzo-soprano
No. 4 Pro peccatis
Erik van Heyningen, bass-baritone
No. 5 Eja mater
Daniel Fridley, bass
Chorus
No. 6 Sancta mater
Quartet:
Meagan Sill, soprano
Allison Gish, mezzo-soprano
Isaac Frishman, tenor
Hans Tashjian, bass
No. 7 Fac ut portem
Maya Gour, mezzo-soprano
No. 8 Inflammatus
Sarah Vautour, soprano
Chorus
No. 9 Quando corpus morietur
Soli Quartet:
Alina Tamborini, soprano
Amanda Fink, mezzo-soprano
Christopher Hochstuhl, tenor
Vincent Grana, bass
No. 10 In sempiterna saecula
Chorus
About the performance:
The Teatro Nuovo Orchestra is known for playing whole operas without a conductor. Why is tonight's concert different? Because a major part of our research work lies in learning from historical models of orchestral arrangement and leadership, which were in constant change. Our operas thus far were written for Milan, Venice, and Naples between 1813 and 1829 - a time when stand-up conducting was unknown in Italy. But Donizetti's symphony and Rossini's Stabat Mater were planned for Vienna and Paris in the 1840s, and for the concert hall, where the practices were different. Those cities had moved towards the model of a single director facing the orchestra without an instrument while Italy was still, even then, dividing leadership between the Maestro al cembalo and the Primo violino e capo d'orchestra. We have followed suit, and - as in the operas - have drawn on historical models for the placement of the singers and instrumentalists.
The distribution of the Stabat Mater solos to multiple singers also has historical precedent in its early performances, even though the familiar "oratorio quartet" was used at the premiere. Teatro Nuovo has chosen to follow the other model in order to introduce our vocal roster to the public as broadly as possible. Tonight's soloists include some who will reappear in La Straniera and La Gazza Ladra next month, alongside others who will be their "covers" for those performances."