By Laurel Homer
Boston University College of Fine Arts mourns the passing of Dr. Marvin Rabin, former Professor of Music in BU School of Music and founding Music Director of Boston Youth Symphony Orchestras (BYSO). Dr. Rabin passed away on Thursday, December 5th in Wisconsin at the age of 97 after a brief illness.
Dr. Rabin founded Greater Boston Youth Symphony Orchestra, now known as BYSO, shortly after joining Boston University faculty in 1958. From its inception, the youth symphony orchestra was recognized for its high artistic standards and for its model as a music education organization. Upon invitation from late President Kennedy in 1962, Dr. Rabin conducted a performance for the President and Mrs. Kennedy on the South Lawn of the White House.
Dr. Rabin spoke to The Boston Globe in October 1958 about the youth symphony founded at Boston University: “The policy is the general benefit of the student. What will help the student will be done, and the emphasis will be upon the musical progress of students and less upon the aim of merely working up concerts for purposes of display.”
“Dr. Rabin leaves behind an amazing legacy. Not only was he a beloved Professor of Music at BU School of Music, he was the visionary behind one of the most celebrated and emulated youth symphony orchestras in the country,” says Benjamín Juárez, Dean of Boston University College of Fine Arts. “We celebrate his legacy and the incredible work that BYSO continues today.”
BYSO is dedicating the January 19th semi-staged performance of Puccini’s “Tosca” to the late Dr. Rabin. A memorial service will be held on December 29 at the Unitarian Meeting House in Madison, Wisconsin.
Dr. Matthew Guerrieri, CFA‘97/DMA Composition and reporter at The Boston Globe, is speaking this evening, January 17, 2013 at the Boston Public Library. He recently published a new book, “The First Four Notes: Beethoven’s Fifth and the Human Imagination,” which has received numerous accolades including being named a New Yorker Best Book of the Year, Los Angeles Magazine‘s #1 Music Book of the Year, and a Top Ten Non-Fiction Book of 2012 by TIME magazine.
German composer Carl Orff’s iconic 1936 choral work Carmina Burana is a lush, dramatic crowd-pleaser that is increasingly cannibalized by TV and Hollywood for its ability to raise goose bumps. The scenic cantata, a many-textured weave of 24 themes inspired by a trove of 13th-century poems, found its way into American concert repertoire thanks in part to the BU Symphony Orchestra and the BU Symphonic Chorus.
It was the College of Fine Arts that presented Carmina Burana’s East Coast premiere in 1954 under the direction of Leopold Stokowski, one of the 20th century’s renowned conductors. Tonight, 58 years later to the day, at Boston’s Symphony Hall, the orchestra and chorus—conducted by David Hoose—will reprise Orff’s masterpiece, along with a work by Edgard Varèse and the Boston premiere of Percy Grainger’s demanding, often rambunctious The Warriors.
“Most people are familiar with the opening movement of Carmina Burana through commercials and movies,” says soloist Lynn Eustis, a CFA associate professor of music, who has sung the cantata numerous times since 1999 and recorded a version in 2003. The work “is a joyous celebration of nature in its most primitive forms. The beauty of the quieter moments will probably surprise audience members.”
The performance also features the spirited voices of the Boston Children’s Chorus. The soloists, tenor Christopher MacRae (CFA’17) and baritone James Demler, a CFA assistant professor of music, perform “at the extremes of their vocal ranges,” says Eustis, who joined the CFA faculty this fall. One of Eustis’ doctoral students, MacRae transferred to BU with her from the University of North Texas. Eustis made her Carnegie Hall debut in Mozart’s Vesparae de Dominica in March 2010, but this is her first Symphony Hall performance.
Sometimes performed in costume, Carmina “is ritualistic theater, both Asian and Greek, with scenes like frozen poses,” says Hoose, a CFA professor of music and director of orchestral activities. “O, Fortuna,” the more familiar introductory section, “evokes the ever-fickle nature of fate, and Orff’s shifts from joy to anger, from optimism to despair,” injected with meditations on nature, drinking, and lust, culminate in a finale in which the work comes full circle, Hoose explains.
Written by Susan Seligson, BU Today. Read the complete article from BU Today.
What is the worst part of an affair—the deception surrounding it, the self-absorption and guilt that inevitably occur, or the secrets that people hold from one another?
That question is central to Betrayal, Nobel Laureate Harold Pinter’s 1978 drama chronicling the passionate seven-year affair between Emma and Jerry, a married man who’s also the best friend of Emma’s husband, Robert. Each of the characters betrays the others and themselves in surprising and unexpected ways as they explore the intricacies of love, guilt, and duplicity in this 80-minute Huntington Theatre Company production, running through December 9 at the BU Theatre.
Made into a film, starring Jeremy Irons, in 1983, Betrayal is regarded as one of Pinter’s greatest—and most accessible—plays. Inspired by Pinter’s extramarital affair with a BBC newscaster, the play is notable for its use of reverse chronology, opening after the affair has ended and darting back and forth in time.
Betrayal is directed by Maria Aitken, who helmed last year’s critically praised Huntington production of Noel Coward’s Private Lives and also directed the company’s 2007 production of The 39 Steps. The play stars Mark H. Dold (CFA’86) as Robert, Alan Cox as Jerry, Gretchen Egolf as Emma, and Luis Negrón as the waiter. Aitken brings a wealth of personal and professional knowledge to the play, having been a friend of the late playwright’s, who had directed her early in her career.
For Dold, this production marks his first return to the BU Theatre since graduating from BU. In the intervening decades, he has performed in numerous off-Broadway Shakespeare productions, has appeared on Broadway in Alan Aykbourn’s comedy Absurd Person Singular, and has made guest appearances on numerous TV shows, including Gossip Girl, Law & Order, and All My Children. For the past two years, Dold starred in the acclaimed off-Broadway drama Freud’s Last Session, playing C. S. Lewis, who vigorously debates the existence of God with Sigmund Freud days before the psychotherapist’s death.
BU Today recently sat down with Dold to discuss Betrayal, Pinter’s artistry, and his long-awaited homecoming.
BU Today: The London Telegraph called Betrayal “the greatest and most moving of all Pinter’s plays.” Does that place any extra pressure on you as an actor?
Dold: There is a lot of pressure whenever you’re doing a really famous play. But I’m not going to go down that road. That’s just too much. Also, you want to make it new. You want it to be fresh. You want it to be a play for people that, even if they’ve seen it before, you want it to seem like they haven’t. You have to, in a strange way, cut the legacy off and do it as if it’s the first time you’ve ever done it.
Written by Leslie Friday, BU Today. Read the complete article from BU Today.
Boston University Mourns the Passing of Anthony di Bonaventura, School of Music Professor and Legendary Pianist
Boston, MA – The Boston University College of Fine Arts (CFA) mourns the death of Anthony di Bonaventura, Professor of Music for the School of Music for nearly four decades. Di Bonaventura passed away on Monday, November 12, 2012, his 83rd birthday.
“We are deeply saddened by the passing of our beloved Professor di Bonaventura,” says Benjamín Juárez, Dean of the Boston University College of Fine Arts. “A major figure in the music world since his debut as a child prodigy, Tony enriched the School of Music with his passionate commitment to musical excellence and his advocacy of new music by such luminaries as Ligeti, Berio, Ginastera, and Persichetti, all of whom wrote music for him.”
In addition to his position at Boston University, di Bonaventura was director of the Brandywine International Piano Institute at West Chester University of Pennsylvania. He performed in 27 countries, appearing in recital and with the major orchestras and conductors of the world. He has appeared in the Great Performers Series at New York’s Lincoln Center and at such major music festivals as Saratoga, Ann Arbor, Bergen (Norway), Spoleto and Lucca (Italy), and Zagreb (Yugoslavia). His recordings for Columbia, RCA, Connoisseur Society, and Sine Qua Non have consistently received highest acclaim. Current releases include three compact discs on the Titanic label, consisting of Fourteen Scarlatti Sonatas, the complete Preludes, op. 32 of Rachmaninoff, and an all-Chopin recording of his late works. In addition, forthcoming releases include16 Scarlatti Sonatas and works of Schubert and Prokofiev.
Acknowledged as a master teacher of international stature, di Bonaventura has given master classes at UCLA, University of Michigan, Eastman School of Music, Brigham Young University, North Carolina School for the Arts, University of Toronto, University of Texas, Tulane University, and the Yamaha School of Singapore, among others. In May 1992, Professor di Bonaventura was awarded the Metcalf Cup and Prize for Excellence, Boston University’s highest award for excellence in teaching. In May of 2002, he was given an honorary doctorate from Husson College. At the Graz Festival in Austria in the fall of 1986, di Bonaventura gave the world premiere performance of Gyorgy Ligeti’s Concerto for Piano, written especially for him, followed by performances of the concerto in Vienna, Paris, London, St. Louis, and New York’s Carnegie Hall. Other world-renowned composers who have written expressly for the artist include Luciano Berio, Vincent Persichetti, Milko Keleman, and Alberto Ginastera, whose Second Sonata was given its world premiere by the pianist in 1982. In 1991, di Bonaventura gave the Netherlands premiere of Witold Lutoslawski’s Piano Concerto, with the composer conducting, followed by performances of the work with the Boston Symphony Orchestra, the Polish National Radio Symphony, and the San Francisco Symphony (January 1993) on the occasion of the composer’s 80th birthday.
Professor di Bonaventura began his piano studies at the age of three and gave his first professional concert at four, won a scholarship to New York’s Music School Settlement at six, and appeared as a soloist with the New York Philharmonic at thirteen. At sixteen, he became the pupil of the celebrated Russian teacher, Madame Isabelle Vengerova, and later entered the Curtis Institute from which he graduated with highest honors. Enthusiastic acclaim by critics and audiences alike came early in his career. His brilliant performances in an early European tour led to his selection by Otto Klemperer, the great conductor, to perform the complete Beethoven Concerti at the London Beethoven Festival. Professor di Bonaventura is survived by his 5 children; Christopher di Bonaventura, AZ Greene, Peter di Bonaventura, Sarina Birsh and Betsey Brown and his 14 grandchildren. Also survived by his eldest brother, Mario di Bonaventura. He is predeceased by his wife Muriel Applebee di Bonaventura.
A Mass of Christian Burial will be celebrated Monday, November 19 at 10 a.m. in Sacred Heart Parish, 1321 Centre St. Newton Centre. Interment will be private. Visiting hours will be held Sunday from 2-5 p.m. at the Henry J. Burke & Sons Funeral Home, 56 Washington Street, Wellesley Hills, MA.
In lieu of flowers, charitable donations in Professor di Bonaventura’s memory may be made to Boston University College of Fine Arts, care of the Office of Development, 855 Commonwealth Ave., Boston, MA, 02215. To honor his legacy, donations will support need-based scholarships for gifted students at the School of Music.
Founded in 1839, Boston University is an internationally recognized private research university with more than 30,000 students participating in undergraduate, graduate, and professional programs. BU consists of 17 colleges and schools along with a number of multi-disciplinary centers and institutes which are central to the school’s research and teaching mission. The Boston University College of Fine Arts was created in 1954 to bring together the School of Music, the School of Theatre, and the School of Visual Arts. The University’s vision was to create a community of artists in a conservatory-style school offering professional training in the arts to both undergraduate and graduate students, complemented by a liberal arts curriculum for undergraduate students. Since those early days, education at the College of Fine Arts has begun on the BU campus and extended into the city of Boston, a rich center of cultural, artistic and intellectual activity.
When Sarita Lilly didn’t make the cut for the chorus of the Broadway musical The Gershwins’ Porgy and Bess, she took it hard. Having appeared in the American Repertory Theater’s pre–New York run of the classic musical last year, the College of Fine Arts vocal performance doctoral student had high hopes of joining the Broadway cast, which included much of the original Cambridge lineup, including her idol, Audra McDonald, as an incandescent Bess. When the show, directed by Diane Paulus and written by Pulitzer-winner Suzan-Lori Parks, won the 2012 Tony Award for best revival of a musical, Lilly’s Porgy pals told her, “This award is yours, too.”
Lilly kept her head high and moved on—that’s show biz. But so is this: on her way to her job at the CFA dean’s office one June morning, she got the kind of call actors dream of.
The events of that long day—June 14, her sister’s birthday—still seem unreal, she says. It was four days after the Tony Awards, and with those involved in the show still basking in the glory, four of the female singers were ill. “I received a call saying that the girls from the ensemble were out sick, and they were desperate to have someone—me—to be in that night’s performance,” recalls Lilly (CFA’13). She packed in a frenzy and boarded the next Amtrak to New York City, arriving at the theater by 5 p.m.—in time to meet with the assistant stage manager. An hour later, she was onstage at the Richard Rodgers Theatre, learning the blocking and preparing to sing her heart out on Catfish Row.
“My adrenaline was pumping consistently for at least a good 12 hours,” Lilly says. “I just wanted to look like I belonged on that stage.”
It was odd to be back at work with the company that had strung her along for months, then turned her down, saying she wasn’t what they were looking for, then called her up briefly, then let her go again. It was a roller coaster, and exhausting. But when it comes to singing on Broadway, she says, there’s no place for stubborn pride. She sang two chorus roles that night and had a few lines, filling in for both the funeral and the picnic scenes, with lines a beat apart—spoken by different characters. “So I had to deliver both lines in two different areas of the stage within two minutes,” she says. “It seemed completely nuts.” The director told her she didn’t have to be on stage for all of the four numbers if she didn’t feel comfortable, but Lilly had something to prove. “I was determined that it was going to be the best swing experience ever,” she says. “As a singer and actor you want to be stretched as far as you can—especially when they didn’t have the initial confidence in you.”
Lilly didn’t just hold her own. She triumphed. The Broadway production has signed her on as a swing—an understudy for chorus roles—for the rest of the summer and possibly through the remainder of the musical’s run. Despite an exhausting scramble for Manhattan housing and a heap of teaching and scholarly obligations back in Boston, she’s walking on air. After her debut, she was up in her hotel room until 3, replaying her exuberant turn on stage.
“This is the cake and this is the icing,” says the 35-year-old singer, who ended up on stage playing three different roles within a 48-hour window. “My Broadway debut consisted of me doing two featured ensemble roles in the same night with less than 12 hours’ notice.”
But she was ready. “I knew the show backwards and forwards from attending the Cambridge show as a swing every night, and I knew Porgy and Bess from being a singer and having done the songs in other venues,” she says. “I felt like I was up to the challenge.”
Lilly knows her way around a stage. She holds a master’s degree in voice performance from the University of Miami and a bachelor’s in voice from the University of North Carolina. She has studied at the Mozarteum in Salzburg, Austria, and made her international opera debut in the title role of Puccini’s Suor Angelica in Urbania, Italy. Other leading roles include Mrs. Ford in Otto Nicolai’s The Merry Wives of Windsor and Dido in Henry Purcell’s Dido and Aeneas. A string of master classes at BU has paired her with opera giants Grace Bumbry (CFA’55) and Simon Estes, a former CFA professor of music.
“We’re so proud of her,” says Benjamin Juarez, dean of CFA. Lilly is “an exceptional diva with no ego,” he says, who “captivates, commands, and seduces as much with her soft, engaging voice as with her collaborative skills.”
“You never know about life’s twists and turns,” says Lilly’s voice teacher, Jerrold Pope, a CFA associate professor and chair of the School of Music voice department. “Sarita was ready for this one, and no one deserves it more than she. I couldn’t be happier.”
Her casting in Porgy is also a priceless learning experience, says Lilly, who recently hired an agent. “Being able to watch Audra McDonald every night is better than any master class,” she says. “Not in my wildest dreams did I think I’d get a chance to do anything but see McDonald in a concert, and now I have a rapport with her.” Lilly says she’s learning a lot from the “genuine, caring” stage and television star, whose Bess won her the Tony for best actress in a musical, but the most important lesson: “You can live your dream and still be you.”
As Juarez puts it, “This is Sarita’s moment to truly shine.”
Article written by Susan Seligson for BU Today.
In the slideshow above, see some of the work of lighting designer Christopher Akerlind, a Tony Award nominee this year for The Gershwins’ Porgy and Bess. Akerlind has done the lighting design for more than 600 productions during his close to three-decade career.
Chris Akerlind woke up on May 1 knowing the day was going to be special: he was turning 50. Then his agent called with good news: he’d just been nominated for a Tony Award—Broadway’s highest accolade—for his lighting design for The Gershwins’ Porgy and Bess, which garnered 10 nominations. The awards ceremony will be televised this Sunday, June 10, at 8 p.m.
Since graduating from BU, Akerlind (CFA’85) has become one of the country’s busiest—and most in-demand—lighting designers. Over almost three decades, he has created lighting for more than 600 productions staged by some of the world’s leading opera and theater companies. His Broadway credits include 17 musicals and dramas. This year’s Tony nomination marks his fifth (he won the award in 2005 for A Light in the Piazza) and he has received many other honors, including a Drama Desk Award and an Obie Award for sustained excellence for his work Off-Broadway.
Working on roughly 25 productions a year, says Akerlind, has taught him that “all new projects bring new challenges. A life in the theater is like learning all the time, a perpetual kind of undergrad experience: new collaborator group dynamics, new spaces, new texts, new cities, not to mention that this work keeps me so aware of how I change and/or stay the same over time.”
Akerlind isn’t the only BU alum nominated for a Tony this season. Six producers with ties to BU will be sitting in the audience of the Beacon Theater hoping to hear their names called. They are Allan S. Gordon (LAW’65), who earned two nominations, for best play (Peter and the Starcatcher) and best revival of a musical (Evita); Stuart Lane (CFA’73), nominated for best revival of a play (Gore Vidal’s The Best Man); James L. Nederlander (CGS’80), who also scored two nominations, both in the category of best revival of a musical (Follies and Evita); Jon B. Platt (CGS’74), who has an astonishing four nominations in three categories: best musical (Nice Work if You Can Get It), best play (Clybourne Park and Venus in Fur), and best revival of a play (Death of a Salesman); Takonkiet Viravan (COM’90), nominated for best musical (Nice Work if You Can Get It); and Frederick Zollo (CAS’75), for best musical (Once).
The Tony Awards ceremony will be broadcast on CBS this Sunday, June 10, at 8 p.m. EDT.
Commencement weekend is over, but several graduates of the College of Fine Arts Class of 2012 have left us with some closing remarks that are truly timeless. Congratulations, CFA Class of 2012!
Britian Seibert was selected to deliver her address about “The Inarticulate Heart” to the CFA Class of 2012 at commencement. Originally from Chicago, Britian Seibert is a 2012 graduate of the School of Theatre BFA Theatre Arts program. Favorite BU credits include: Dancing at Lughnasa (Kate), Lady Hamlet (Clara/Hamlet), Woyzeck (Marie) and the Boston Center for American Performance (BCAP) production of Monster (Elizabeth). She studied at the London Academy of Music and Dramatic Art (LAMDA) for a semester where she was a part of The Man of Mode (Harriet) and Hamlet (Ghost/Player King). This past spring, she played the role of Tekla in August Strindberg’s Creditors for her senior thesis.
K. Britian Siebert, BFA, Theatre Arts 2012, speaks for all the inarticulate hearts.
For Alyssa Clare Hoersten, BFA Graphic Design 2012, her education is just beginning.
John Zdrojeski, BFA Acting 2012 advises us not to be cynical.
In the video above, Leonard Nimoy (Hon.’12) speaks at the College of Fine Arts convocation on May 19. Photo by Brooks Canaday
Leonard Nimoy (Hon.’12), the actor best known as Mr. Spock in the television series Star Trek, beamed onto campus on Saturday, May 19, 2012 to deliver the College of Fine Arts convocation address.
Following an introduction from CFA Dean Benjamin Juarez, who noted Nimoy’s contributions as an “actor, photographer, director, poet, and philanthropist,” the performer approached the podium flashing his now legendary Vulcan sign, which drew a big laugh from the crowd of 1,000 graduates, family members, and faculty and staff gathered at the Track and Tennis Center.
Read the complete story at BU Today
Boston University College of Fine Arts to Webcast Orchestral Concert of Russian Symphony at Boston’s Symphony Hall
Boston, MA – In a concert titled “Requiem for a Generation,” Boston University Symphony Orchestra and Symphonic Chorus will perform their second of two Symphony Hall concerts this year, featuring Sergei Rachmaninoff’s The Bells and Dmitri Shostakovich’s Symphony No. 11 (1905). Conducted by David Hoose, the concert’s featured scores were selected to commemorate the generation of Russians born and educated after the revolution of 1905, who suffered atrocities unprecedented in Russian history. The Shostakovich piece specifically addresses the revolutionary period, while the Rachmaninoff explores the varied, often dolorous but at the last redemptive, moods evoked by that instrument. The entire concert will be broadcast live on the CFA website, including a pre-concert lecture on the pieces given by department of musicology Professor Patrick Wood Uribe at 7:15pm EST, with the complete footage also available afterward on the School of Music’s Virtual Concert Hall (www.bu.edu/cfa/music/virtual-concert-hall).
Written in 1915 in response to an onomatopoeic Edgar Allen Poe poem of the same name, Rachmaninoff’s The Bells is a choral symphony sung in four parts, in allegiance to the poem. The piece begins in glittering fantasy, with Silver Sleigh Bells and moves on to contentment tinged with reluctance in Wedding Bells; the two sections that follow move into more frightening, followed by funereal, territories, with only a twelfth-hour anticipatory tinge of redemption. Sung here by Janna Baty, soprano and Boston University alumni Anton Belov, baritone, and Yeghishe Manucharyan, tenor, this work embodies both the sonorous meanings held by bells in our cultural rituals and the quotidian, universal sadness created by the individual and societal struggles of the world’s citizenry.
Casting an eye over the previous half-century, with his Symphony No. 11 Shostakovich produces musical images of immediacy appropriate to the lurid, Technicolor era of cinema in which the piece was written (1957). With the subject of bloody revolution in the foreground, such imagery is an effective demonstration of the role the arts can play in illuminating and reflecting the world’s most complex problems. The College’s 2011-12 Keyword: Violence is actively reflected in the composer’s conjuring of the events of Bloody Sunday and the ensuing conflict.
AT A GLANCE
Boston University Symphony Orchestra and Symphonic Chorus perform “Requiem for a Generation”
Monday, April 2, 2012, 8 p.m.
Pre-concert lecture with Professor Patrick Wood Uribe at 7:15 p.m. in Symphony Hall (free to all ticket-holders)
Rachmaninoff The Bells
David Hoose, conductor
Janna Baty, soprano
Yeghishe Manucharyan, tenor
Anton Belov, baritone
Shostakovich Symphony No. 11 (1905)
David Hoose, conductor
Symphony Hall – 301 Massachusetts Avenue, Boston
Tickets: $25 general admission. Student Rush $10, available at the door, day of performance, 10am-6pm.
Box Office: www.BostonSymphonyHall.org or 617.266.1200.
ABOUT THE ARTISTS
David Hoose is Professor of Music in the School of Music at Boston University, where he is Director of Orchestral Activities. He has been Music Director of the Cantata Singers and Ensemble since 1984, and has been Music Director of Collage New Music since 1991. For eleven years, Professor Hoose was also Music Director of the Tallahassee Symphony Orchestra. Mr. Hoose was the 2008 recipient of Choral Arts New England’s Alfred Nash Patterson Lifetime Achievement Award. He is also the recipient of the 2005 Alice M. Ditson Conductors Award, given in recognition of exceptional commitment to the performance of American music, and whose past recipients include Leonard Bernstein, André Previn, Eugene Ormandy and Leopold Stokowski. During his tenure with the Tallahassee Symphony Orchestra in Florida, the city of Tallahassee declared a week to be named after him in recognition of his contributions to the cultural life of the region. As a horn player and founding member of the Emmanuel Wind Quintet, he was a recipient of the Walter W. Naumburg Award for Chamber Music, and he was the recipient of the Dmitri Mitropolous Award for his work at the Tanglewood Music Center.
Patrick Wood Uribe was appointed Assistant Professor in the department of musicology and Ethnomusicpolgy in 2011. He holds a PhD in Musicology from Princeton University, a BA and MA with honors in Modern Languages from Oxford University, and a postgraduate degree in violin performance from the Royal Academy of Music.
Dr. Wood Uribe’s main area of research lies between the history of music theory and the history of ideas, focusing specifically on theories of musical form in the nineteenth century and their relationship to Enlightenment and early Romantic aesthetics. His other research and teaching interests include violin music of the seventeenth and eighteenth centuries and the art music of post-revolutionary Mexico.As a soloist and chamber musician, he has performed widely throughout the UK and the US, as well as in France, Switzerland, Germany, Holland, Italy and Spain.
Soprano Janna Baty has performed with the Boston Symphony, Los Angeles Philharmonic, the Daejeon Philharmonic (South Korea), Hamburgische Staatsoper, L’Orchestre National du Capitole de Toulouse, Royal Philharmonic Orchestra, Tallahassee Symphony, Tuscaloosa Symphony, Longwood Symphony, Hartford Symphony, the Orquesta Filarmónica de Bogotá (Colombia), Opera Theatre of St. Louis, Eugene Opera, Opera North, and Boston Lyric Opera. She has performed at the Aldeburgh and Britten Festivals in England, The Varna Festival in Bulgaria, the Semanas Musicales de Frutillar Festival in Chile, and the Tanglewood and Norfolk festivals in the U.S. Ms. Baty has worked alongside many composers, including John Harbison, Bernard Rands, and Yehudi Wyner, on performances of their music. Her discography includes numerous critically lauded recordings with Boston Modern Orchestra Project and Gil Rose. In 2008 she joined the faculty of the Yale School of Music.
Admired for his outstanding musical intelligence and for the purity, power, and flexibility of his voice, tenor Yeghishe Manucharyan is quickly becoming one of the most sought after young tenors singing today. He has performed at the Metropolitan Opera, Carnegie Hall, the Wexford Festival, Boston Opera, Teatro San Carlo in Naples, Orchestra of New York, New York City Opera, and the Caramoor Festival. He has performed with the Minnesota Opera, San Diego Opera, Tulsa Opera, Toledo Opera, Baltimore Opera and Dallas Symphony amongst others, and in the main roles in such operas as La Traviata, Gluck’s Iphigenie en Tauride, Berlioz Requiem, La Boheme, Rimsky-Korsakov’s Tsar’s Bride, Shostakovich’s The Nose, Tancredi, Armida, Lakme, Mara Stuarda, Don Giovanni, La Donna del Lago, Maria di Rohan, The Pearl Fishers, Eugene Onegin, The Barber of Seville, Verdi Requiem, Beethoven’s Missa Solemnis and 9th Symphony, Rigoletto, The Magic Flute, Dvorak Stabat Mater, Die Entführung aus dem Serail, Otello, Count Almaviva in Il barbiere di Siviglia, Don Ramiro in La cenerentola, La clemenza di Tito, Rinuccio in Gianni Schicchi, Anoush and Lukas Foss’ Griffelkin
The voice of baritone Anton Belov was described as mellifluous by the New York Times and that of an emerging star by the Philadelphia Inquirer. He earned praise from critics and audiences alike for his portrayals of Count di Luna (Il Trovatore), Enrico (Lucia di Lammermoor), Don Giovanni, Eugene Onegin, Escamillo (Carmen) and Figaro (Le nozze di Figaro). Dr. Belov performed throughout the country appearing with Boston Lyric Opera, Opera Boston, Opera Delaware, Connecticut Grand Opera, Opera New Jersey, Anchorage Opera as well as Boston Baroque, Opera Orchestra of New York, The California Symphony, The Hartford Symphony Orchestra, Las Vegas Philharmonic, Rhode Island Philharmonic and Colorado Symphony. Mr. Belov is the first-place winner of eight vocal competitions including the George London Competition, Licia Albanese—Puccini Foundation International Competition, and Metropolitan Opera National Council Auditions (Eastern Region). As the winner of the Young Concert Artists International Auditions, Mr. Belov has appeared in over forty recitals throughout the United States. A native of Moscow, Anton Belov holds a Bachelor of Music Degree from The New England Conservatory, an Artist’s Diploma and a Master of Music Degree from The Juilliard School and the Doctorate of Musical Arts from Boston University. He lives near Portland, Oregon where he holds the post of an assistant professor of music at Linfield College.
Founded in 1839, Boston University is an internationally recognized private research university with more than 30,000 students participating in undergraduate, graduate, and professional programs. The Boston University College of Fine Arts was created in 1954 to bring together the School of Music, the School of Theatre, and the School of Visual Arts. The University’s vision was to create a community of artists in a conservatory-style school offering professional training in the arts to both undergraduate and graduate students, complemented by a liberal arts curriculum for undergraduate students.