Wednesday, December 11, 2019 | 7:30pm
Herbst TheatreVenue Information
ELINOR REMICK WARREN: Heather
LILI BOULANGER: Attente
AMY BEACH: Ah, love but a day!
NADIA BOULANGER: S’il arrive jamais
HAYDN: Arianna a Naxos
LIBBY LARSEN: Love After 1950
RAVEL: Chanson à boire
R. STRAUSS: Cäcilie
About This Performance
Jamie Barton’s program brings a refreshingly personal, uniquely feminist perspective focusing on women composers and putting them in context alongside their male peers.
The winner of the 2017 Beverly Sills Artist Award and 2015 Richard Tucker Award, the winner of both Main and Song Prizes at the 2013 BBC Cardiff Singer of the World Competition, a winner of the 2007 Metropolitan Opera National Council Auditions and a Grammy nominee, American mezzo-soprano Jamie Barton has been described by The Guardian as “a great artist, no question, with an imperturbable steadiness of tone, and a nobility of utterance that invites comparison not so much with her contemporaries as with mid-20th century greats such as Kirsten Flagstad.”
Ms. Barton’s 2018–19 season includes appearances as Azucena in Il trovatore at Lyric Opera of Chicago and Bayerische Staatsoper, a Renée Fleming Voices recital at the Kennedy Center, the Verdi Requiem at Royal Opera House Covent Garden, and a role debut as Sister Helen Prejean in Dead Man Walking at her hometown opera company, Atlanta Opera. She opens her season with a role debut as Sara in Roberto Devereux at San Francisco Opera, opposite frequent collaborator Sondra Radvanovsky, and returns to SFO as Jezibaba in Rusalka in 2019. Ms. Barton brings her acclaimed Fricka to the Metropolitan Opera’s Ring cycle, with a Met Live in HD performance of Die Walküre simulcast to cinemas in over seventy countries.
Ms. Barton’s operatic engagements have included appearances with many of the world’s most-loved opera houses. In addition to her role debut as Leonor in La favorite at Teatro Real Madrid, she has recently performed as Adalgisa (Norma) with the Metropolitan Opera, Houston Grand Opera, Los Angeles Opera, and San Francisco Opera; Fricka, Waltraute, and 2nd Norn (Wagner’s Ring cycle) at San Francisco Opera, Houston Grand Opera, and Washington National Opera; Princess Eboli (Don Carlo) at Washington National Opera and Deutsche Oper Berlin; Giovanna Seymour (Anna Bolena) at the Met and Lyric Opera of Chicago; Cornelia (Giulio Cesare) at Oper Frankfurt; Jezibaba (Rusalka) at the Met; and Fenena at Seattle Opera and Royal Opera House Covent Garden. Future seasons include a debut at Dallas Opera and returns to Santa Fe Opera, Houston Grand Opera, Bayerische Staatsoper, Teatro Real Madrid, and the Metropolitan Opera.
The winner of a 2014 International Opera Award and 2014 Marian Anderson Award, Ms. Barton has appeared in concert with the New York Philharmonic (Das Rheingold), Philadelphia Orchestra (Handel Messiah), London Symphony Orchestra (Bernstein Jeremiah Symphony), Toronto Symphony Orchestra (Verdi Requiem, Mahler 3rd Symphony), Oulu Symphony Orchestra (Mahler Rückert-Lieder), Atlanta Symphony Orchestra (Elgar Sea Pictures, Verdi Requiem), Baltimore Symphony (Mahler 3rd Symphony), Iceland Symphony Orchestra (Brahms Alto Rhapsody, Mahler 3rd Symphony), and Pittsburgh Symphony Orchestra for the world premiere of Jake Heggie’s The Work at Hand. In future seasons, Ms. Barton will return to the Iceland Symphony Orchestra and Atlanta Symphony Orchestra, and make her debut with the Concertgebouw Orchestra in Amsterdam.
Praised by Gramophone as having “the sort of instrument you could listen to all day, in any sort of repertoire,” Ms. Barton has appeared with Yo-Yo Ma and Emanuel Ax at Tanglewood, and in recital across the U.S. and U.K., including tours with pianists Kathleen Kelly, Bradley Moore, and James Baillieu, with appearances at Ann Arbor’s University Musical Society, Baylor Distinguished Artist Series, Carnegie Hall, Celebrity Series of Boston, Princeton University Concerts, Royal Liverpool Philharmonic, Royal Welsh College, San Francisco Performances, Toronto Summer Music Festival, Vocal Arts DC, and Wigmore Hall. In the coming seasons, she will return to Carnegie Hall, Wigmore Hall, and Spivey Hall, and make her debut at the Park Avenue Armory.
Winner of the 2018 BBC Music Magazine Vocal Award, Ms. Barton's debut solo album, All Who Wander, featuring songs by Mahler, Dvorak, and Sibelius, was also shortlisted by the International Classical Music Awards and Gramophone Classical Music Awards.
Ms. Barton is proud to serve as a mentor with Turn The Spotlight, a foundation working to identify, nurture, and empower leaders—and in turn, to illuminate the path to a more equitable future in the arts. Turn The Spotlight offers mentorship by and for exceptional women, people of color, and other equity-seeking groups in the arts.
Kathleen Kelly enjoys a wide-ranging and dynamic musical life as a pianist, opera coach, conductor, and master teacher. The first woman and first American named as Director of Musical Studies at the Vienna State Opera, Kathleen joined the faculty of the University of Michigan in 2015 as that school’s first Coach/Conductor of Opera. There, she has led performances of Giulio Cesare, Gianni Schicchi, L’heure espagnole, Cosi fan tutte, and A Midsummer Night’s Dream.
Since her return to the US, Kathleen has led performances of Le nozze di Figaro at Wolf Trap, the premiere of Emmerich Kálmán’s Arizona Lady at Arizona Opera, and Francesca Zambello’s critically acclaimed Ariadne on Naxos at the Glimmerglass Festival; that production was a finalist in the 2015 International Opera Awards. She also conducted the West Coast premiere of Ricky Ian Gordon’s A Coffin in Egypt, starring Frederica von Stade.
Kathleen has performed internationally as a recital pianist: at Weill Hall, the Terrace Theater at the Kennedy Center, Vienna’s Musikverein and in the Mahlersaal of the Vienna State Opera, Manhattan’s Neue Galerie, on the Schwabacher Series in San Francisco, at the Tucson Desert Song Festival, and at numerous universities and colleges across the United States. Her recital partners have included Jamie Barton, Christine Goerke, Michael Kelly, Troy Cook, Amber Wagner, Susan Graham, Albina Shagimuratova, Valentina Nafornita, Joyce DiDonato, and Thomas Hampson. She has curated art song series for the Houston Grand Opera and the Vienna State Opera, and currently is artistic director of the Kerrytown Concert House in Ann Arbor, Michigan.
Kathleen has taught master classes all over the country, most recently at Arizona Opera, Wolf Trap Opera, the Castleton Festival, Arizona State University, Western Ontario University, Vanderbilt University, Rutgers University, and Baylor University.
Kathleen is a regular guest coach for Washington National Opera’s Domingo-Cafritz program, and works regularly with young artist programs nationally, notably at the Los Angeles Opera, the Chicago Lyric Opera, Michigan Opera Theater, and the Houston Grand Opera. While on faculty at the University of Texas at Austin, she was the principal coach of the Butler Opera Center.
Kathleen Kelly was trained in the Merola Program at the San Francisco Opera, after which she joined the house music staff as pianist, rehearsal conductor, and prompter. She was an assistant to James Levine at the Metropolitan Opera from 1997–2006, specializing in the works of Wagner, Strauss, and Berg. During that time, due to her success as a prompter and musical assistant, she was the focus of a Wall Street Journal article and a Metropolitan Opera radio broadcast feature. From 2003–08 Kathleen was also the Music Director of the Berkshire Opera, conducting two productions each summer and overseeing the young artist program.
Kathleen moved on at the invitation of Maestro Patrick Summers to become the music director of the Houston Grand Opera Studio as well as that company’s Head of Music Staff from 2006–10. Highlights of these years include conducting her own chamber music arrangement of Hansel und Gretel in remarkable production by Basil Twist, serving as pianist each year for the Eleanor McCollum competition, and curating the HGOS recital series at Rienzi.
At the Vienna State opera from 2010–13, Kathleen oversaw the daily musical life of more the fifty ensemble singers in more than fifty operas, the world’s biggest and busiest season. At the Staatsoper she also curated a recital series in the house’s famous Mahlersaal, and served as the series’ principal pianist. She was the recitative accompanist for new productions of Le nozze di Figaro and Don Giovanni, and assisted Maestro Franz Welser-Möst on new productions of Kat’a Kabanova and Z mrtvého domu.
Kathleen has also been notably associated with the Glimmerglass Festival’s Young American Artist Program, the CoOperative Training Program at Westminster Choir College, the Seattle Opera, Opera Australia, and the Moscow Conservatory.
Additionally, Kathleen is gaining recognition as a writer of articles, translations, and original texts. She has written lead program articles for Wolf Trap, Houston Grand Opera, and Arizona Opera. For the Arizona Lady performances, she created a new trilingual adaptation of the libretto. 2015 saw the premiere of Texanische Liebeslieder, a song cycle by David Hanlon for which she provided the text. In 2016, she is created a new English translation of Hansel und Gretel for Tri-Cities Opera, and in 2017 was commissioned by Wolf Trap Opera to write the libretto for David Hanlon’s opera for children, Listen, Wilhelmina!