Mar. 14 & 15, 2020 data-filter="[2020 03|2020 03|][jones-hall|jones-hall|][March|March|][[{|term_id|:7,|name|:|Classical Series|,|slug|:|classical-series|,|term_group|:0,|term_taxonomy_id|:7,|taxonomy|:|series|,|description|:||,|parent|:0,|count|:47,|filter|:|raw|}]][{|term_id|:1851,|name|:|2019\u201320|,|slug|:|19-20|,|term_group|:0,|term_taxonomy_id|:1851,|taxonomy|:|season|,|description|:||,|parent|:0,|count|:58,|filter|:|raw|}]"
Imagine Handel’s Messiah, updated for the 21st century. This is the starting point of John Adams’ El Niño, which combines mesmerizing music with biblical verse and the words of Spanish and Latin American poets—trailblazing women writers, both ancient and contemporary, in particular—for a unique and captivating account of the story of Christ’s birth. Featuring a stellar cast of soloists alongside the awe-inspiring forces of Symphony and Chorus, this is music that invites you to reflect: an immensely powerful and moving journey and a concert experience never to be forgotten.
Pre-Concert Activities: Attend the Prelude pre-concert discussion, held 45 minutes prior to each Classical concert. Prelude is led by our Musical Ambassador Carlos Andrés Botero, and sometimes features guest artists or orchestra members.
This concert is part of the Margaret Alkek Williams Sound + Vision Series, which is also supported by The Cullen Trust for the Performing Arts Endowed Fund for Creative Initiatives. {|with_image|:[{|type|:|custom|,|name|:|David Robertson|,|bio|:|David Robertson – conductor, artist, thinker, and American musical visionary – occupies some of the most prominent platforms on the international music scene.\u00a0 A highly sought-after podium figure in the worlds of opera, orchestral music, and new music, Robertson is celebrated worldwide as a champion of contemporary composers, an ingenious and adventurous programmer, and a masterful communicator whose passionate advocacy for the art form is widely recognized.\u00a0 A consummate and deeply collaborative musician, Robertson is hailed for his intensely committed music making.\nFollowing a Fall 2018 tour of European musical capitals with the Sydney Symphony Orchestra, Robertson kicks off his valedictory season as Chief Conductor and Artistic Director with the Orchestra, February – November 2019, navigating oceans of music from Australian composers to Australian premieres, including Christopher Rouse’s Bassoon Concerto, the presence of American musical compatriots Wynton Marsalis and John Adams, concert performances of Britten’s Peter Grimes, and show-stoppers, including Andre Previn and Tom Stoppard’s Every Good Boy Deserves Favour.\u00a0 As always, musical friends from around the world will join in – Australian oboist Diana Doherty, Lang Lang, Susan Graham, the Jazz at Lincoln Center Orchestra, and a wealth of others.\u00a0 Robertson will continue to conduct the Sydney Symphony Orchestra in future seasons as the city undertakes a major renovation of its beloved Sydney Opera House.\nIn the 2018-19 season, Robertson continues his rich collaboration with the New York Philharmonic, as part of Music Director Jaap van Zweden’s first festival for the Orchestra, The Art of Andriessen.\u00a0 He ventures north to conduct two Canadian Orchestras: the Toronto Symphony Orchestra and Montreal Symphony Orchestra, and in the US, he conducts the Cincinnati Symphony Orchestra and the Dallas Symphony Orchestras, in addition to the Juilliard Orchestra, where he begins his tenure as Director of Conducting Studies, Distinguished Visiting Professor.\u00a0 Robertson will return to the Royal Concertgebouw Orchestra in Amsterdam, and to the BBC Scottish Symphony Orchestra, and will conduct in Munich, Prague, and Spain.\nDavid Robertson recently completed his transformative 13-year tenure as Music Director of the St. Louis Symphony Orchestra, where he solidified the orchestra’s status as one of the nation’s most enduring and innovative.\u00a0 For the SLSO, he established fruitful relationships with a wide spectrum of artists, and garnered a 2014 Grammy Award for Best Orchestral Performance for the Nonesuch release of John Adams’ City Noir.\nRobertson has served in artistic leadership positions at musical institutions including the Orchestre National de Lyon, and, as a prot\u00e9g\u00e9 of Pierre Boulez, the Ensemble InterContemporain, which he led on its first North American tour.\u00a0 At the BBC Symphony Orchestra, he served as Principal Guest Conductor.\u00a0 Robertson has served as a Perspectives Artist at Carnegie Hall, where he has conducted, among others, The Met Orchestra, the Lucerne Festival Orchestra, and the St. Louis Symphony Orchestra.\u00a0 He appears regularly in Europe with the Royal Concertgebouw Orchestra, the Czech Philharmonic, the Bayerische Rundfunk and the Dresden Staatskapelle, and at the Berlin Festival, the Edinburgh Festival, the BBC Proms, and the Musica Viva Festival in Munich.\nIn Spring 2018, Robertson built upon his longstanding relationship with The Metropolitan Opera, conducting the premiere of Phelim McDermott’s celebrated production of Cos\u00ec fan tutte, set in 1950s Coney Island.\u00a0 Since his Met Opera debut in 1996, with The Makropulos Case, he has conducted a breathtaking range of Met projects, including the Met premiere of John Adams’ The Death of Klinghoffer (2014); the 2016 revival of Jan\u00e1cek’s Jenufa, then its first Met performances in nearly a decade; the premiere production of Nico Muhly’s Two Boys (2013); and many favorites, from Mozart’s Le Nozze di Figaro to Britten’s Billy Budd.\u00a0 Robertson has frequent projects at the world’s most prestigious opera houses, including La Scala, Th\u00e9\u00e2tre du Ch\u00e2telet, Bayerische Staatsoper (orchestra), the San Francisco Opera, and the Santa Fe Opera.\nRobertson is the recipient of numerous musical and artistic awards, and in 2010 was made a Chevalier de l’Ordre des Arts et des Lettres by the Government of France.\u00a0 He is devoted to supporting young musicians and has worked with students at the festivals of Aspen, Tanglewood, Lucerne, at the Paris Conservatoire, the Juilliard School, Music Academy of the West, and the National Orchestra Institute.\u00a0 In 2014, he led the Coast to Coast tour of Carnegie Hall’s National Youth Orchestra of the USA.\nBorn in Santa Monica, California, Robertson was educated at London’s Royal Academy of Music, where he studied horn and composition before turning to orchestral conducting.\u00a0 He is married to pianist Orli Shaham, and lives in New York.\n|,|title|:|conductor|,|small_image|:| \n |,|bio_image|:| \n |,|full_image|:| \n |},{|type|:|custom|,|name|:|Susanna Phillips|,|bio|:|Alabama-born soprano Susanna Phillips, recipient of The Metropolitan Opera\u2019s 2010 Beverly Sills Artist Award, continues to establish herself as one of today\u2019s most sought-after singing actors and recitalists. The 2016-17 season will see Ms. Phillips return to the Metropolitan Opera for a ninth consecutive season starring as Cl\u00e9mence in the Met premiere of Kaija Saariaho\u2019s L\u2019amour de Loin conducted by Susanna M\u00e4lkki, as well as a return of her acclaimed Musetta in Puccini\u2019s La Boh\u00e8 me. In March 2017, Ms. Phillips will make her Zurich Opera debut as Donna Anna in Don Giovanni. She also appears as Cleopatra in Handel\u2019s Giulio Cesare with Boston Baroque and Martin Pearlman.\n2016-2017 orchestra engagements include a return to the San Francisco Symphony with Michael Tilson Thomas conducting a program of American songs, Mozart\u2019s \u201cExsultate Jubilate\u201d and his Mass in C Minor with Jane Glover and the Music of the Baroque, the Britten War Requiem with Kent Tritle and the Oratorio Society of New York, as well as Euridice in Gluck\u2019s Orfeo ed Euridice with Robert Spano leading the Atlanta Symphony Orchestra. Ms. Phillips will also perform recitals at the Celebrity Series of Boston, the National Museum for Women in the Arts, and her popular dual recital program with Eric Owens at Carnegie Hall and the Washington Performing Arts.\nLast season saw Ms. Phillips return to the Metropolitan Opera starring as Rosalinde in the Jeremy Sams production of Die Fledermaus conducted for the first time by music director James Levine, as well as a reprise of her house debut role of Musetta in La Boh\u00e8me. Additional engagements included a return to the stage of Lyric Opera of Chicago as Juliette in Gounod\u2019s Romeo and Juliet under the baton of Emmanuel Villaume. Additional engagements included Knoxville: Summer of 1915 with Michael Tilson Thomas leading the San Francisco Symphony, the Filas Requiem with Kent Tritle leading the Oratorio Society of New York, Mahler\u2019s Fourth Symphony with the St. Louis Symphony and David Robertson, Beethoven\u2019s Missa Solemnis with David Robertson leading the Sydney Symphony, as well as a recital at the Metropolitan Museum of Art with Brian Zeger.\nHighlights of Ms. Phillips\u2019 previous opera seasons include numerous additional Metropolitan Opera appearances as Fiordiligi in Cos\u00ec fan tutte in what the New York Times called a \u201cbreakthrough night,\u201d Rosalinde in Die Fledermaus, Donna Anna in Don Giovanni, Pamina in Julie Taymor\u2019s production of The Magic Flute, Musetta in La Boh\u00e8me (both in New York and on tour in Japan), Antonia in Les Contes d\u2019Hoffmann, and as a featured artist in the Met\u2019s Summer Recital Series in both Central Park and Brooklyn Bridge Park. She also appeared at Carnegie Hall for a special concert performance as Stella in Previn\u2019s A Streetcar Named Desire opposite Rene\u00e9 Fleming \u2013 a role she went on to perform, to rave reviews, at Lyric Opera of Chicago and as Ellen Orford in Peter Grimes with the St. Louis Symphony. She made her Santa Fe Opera debut as Pamina, and subsequently performed a quartet of other Mozart roles with the company as Fiordiligi in Cos\u00ec fan tutte, Countess Almaviva in Le Nozze di Figaro, Arminda in La Finta Giardiniera, and Donna Elvira in Don Giovanni. As a member of the Ryan Opera Center, Phillps sang the female leads in Rom\u00e9o et Juliette and Die Fledermaus. Additional roles include Elmira in Reinhard Keiser\u2019s The Fortunes of King Croesus, and the title roles in Lucia di Lammermoor and Agrippina, as well as appearances with the Oper Frankfurt, Dallas Opera, Minnesota Opera, Fort Worth Opera Festival, Boston Lyric Opera and Opera Birmingham.\nHighly in demand by the world\u2019s most prestigious orchestras, Ms. Phillips has appeared with the Royal Stockholm Philharmonic under Alan Gilbert, Chicago Symphony Orchestra, San Francisco Orchestra, Philadelphia Orchestra, Oratorio Society of New York, Santa Fe Symphony, Santa Barbara Symphony, St. Louis Symphony, Gulbenkian Orchestra, Orchestra of St. Luke\u2019s, and Santa Fe Concert Association.\nA fervent chamber music collaborator, Ms. Phillips recently teamed with bass-baritone Eric Owens for a recital of all Schubert which they have taken on tour in Chicago with members of the Chicago Symphony Orchestra, at the Gilmore Festival, and Philadelphia Chamber Music Society. Additional recital engagements included chamber music concerts with Paul Neubauer and Anne Marie McDermott, an appearance at the Parlance Chamber Music Series with Warren Jones, the 2014 Chicago Collaborative Works Festival, the Emerson String Quartet in Thomasville, Georgia with Warren Jones and colleagues from the Metropolitan Opera, and at Twickenham Fest, a chamber music festival she co-founded in her native Huntsville, Alabama. The soprano also made her solo recital debut at Carnegie\u2019s Weill Recital Hall with pianist Myra Huang.\nOther recent concert and oratorio engagements include Beethoven\u2019s Ninth Symphony, Mahler\u2019s Fourth Symphony, Mozart\u2019s Coronation Mass, the Faur\u00e9 and Mozart Requiems, Carmina Burana, and Handel\u2019s Messiah. She made her Carnegie Hall debut with Skitch Henderson, Rob Fisher, and the New York Pops. Following her Baltimore Symphony Orchestra debut under Marin Alsop, the Baltimore Sun proclaimed: \u201cShe\u2019s the real deal.\u201d\nIn August 2011, Ms. Phillips was featured at the opening night of the Mostly Mozart Festival, which aired live on Live From Lincoln Center on PBS. The same year saw the release of Paysages, her first solo album on Bridge Records, which was hailed as \u201csumptuous and elegantly sung\u201d (San Francisco Chronicle). The following year saw her European debut as Pamina in Die Zauberfl\u00f6te at the Gran Teatro del Liceu Barcelona.\nAs resident artist at the 2010 and 2011 Marlboro Music Festivals, she was part of Marilyn Horne Foundation Gala at Carnegie Hall, made her New York solo recital debut at Lincoln Center\u2019s Alice Tully Hall, and appeared at the Kennedy Center in Washington, DC under the auspices of the Vocal Arts Society.\nIn 2005 Ms. Phillips won four of the world\u2019s leading vocal competitions: Operalia (both First Place and the Audience Prize), the Metropolitan Opera National Council Auditions, the MacAllister Awards, and the George London Foundation Awards Competition. She has also claimed the top honor at the Marilyn Horne Foundation Competition, and has won first prizes from the American Opera Society Competition and the Musicians Club of Women in Chicago. Ms. Phillips has received grants from the Santa Fe Opera and the Sullivan Foundation, and is a graduate of Lyric Opera of Chicago\u2019s Ryan Opera Center. She holds both a Bachelor of Music and Master of Music degree from The Juilliard School and continues collaboration with her teacher Cynthia Hoffmann. A native of Huntsville, Alabama, over 400 people traveled from her hometown to New York City in December 2008 for Ms. Phillips\u2019 Metropolitan Opera debut in La Boh\u00e8me. She returns frequently to her native state for recitals and orchestral appearances.\n|,|title|:|soprano|,|small_image|:| \n |,|bio_image|:| \n |,|full_image|:| \n |},{|type|:|custom|,|name|:|Kelley O\u2019Connor|,|bio|:|Possessing a voice of uncommon allure, musical sophistication far beyond her years, and intuitive and innate dramatic artistry, the Grammy Award-winning mezzo-soprano Kelley O’Connor has emerged as one of the most compelling performers of her generation.\nDuring the 2018-19 season, the artist\u2019s impressive symphonic calendar features Mahler\u2019s Second Symphony with Andr\u00e9s Orozco-Estrada and the Houston Symphony, his Third Symphony with Donald Runnicles and the Grand Teton Music Festival Orchestra, Michael Stern and the Kansas City Symphony Orchestra, and with Andr\u00e9s Orozco-Estrada and the Chicago Symphony Orchestra, and Das Lied von der Erde both with the Dallas Symphony Orchestra and BBC Scottish Symphony Orchestra. \u00a0Sought after by many of the most heralded composers of the modern day, Kelley O\u2019Connor gives the world premiere of Joby Talbot\u2019s A Sheen of Dew on Flowers with the Britten Sinfonia at the Victoria & Albert Museum to celebrate the opening of the institution\u2019s new jewellery wing, debuts with the Orchestra dell’Accademia Nazionale di Santa Cecilia in the title role of John Adams\u2019 The Gospel According to the Other Mary under the baton of the composer, presents the west coast premiere of Bryce Dessner\u2019s Voy a Dormir with the Los Angeles Chamber Orchestra led by Jaime Mart\u00edn, and brings Peter Lieberson\u2019s Neruda Songs to life in performances with St\u00e9phane D\u00e9n\u00e9ve and the St. Louis Symphony and with Brett Mitchell and the Colorado Symphony.\u00a0 Bernstein\u2019s Songfest serves the American mezzo-soprano with her Boston Symphony Orchestra debut under the baton of Bramwell Tovey and she is heard in performances of this work with Thomas Dausgaard leading the BBC Scottish Symphony Orchestra.\u00a0 Kelley O\u2019Connor returns to the Los Angeles Philharmonic for a Stravinsky Festival singing multiple works there under the direction of Esa-Pekka Salonen and she assays the title role of Britten\u2019s The Rape of Lucretia presented by Boston Lyric Opera in a new production by Broadway theater director Sarna Lapine conducted by David Angus.\nJohn Adams wrote the title role of The Gospel According to the Other Mary for Kelley O\u2019Connor and she has performed the work, both in concert and in the Peter Sellars fully staged production, under the batons of Gustavo Dudamel, Grant Gershon, Gianandrea Noseda, Sir Simon Rattle, and David Robertson.\u00a0 She has sung the composer\u2019s El Ni\u00f1o with Vladimir Jurowski and the London Philharmonic Orchestra and continues to be the eminent living interpreter of Peter Lieberson\u2019s Neruda Songs having given this moving set of songs with Christoph Eschenbach and the National Symphony Orchestra, with Bernard Haitink and the Chicago Symphony Orchestra, with Robert Spano and the Minnesota Orchestra, and with David Zinman and the Berliner Philharmoniker and the Tonhalle-Orchester Z\u00fcrich among many others.\nRecent seasons include performances of Wagner\u2019s Wesendonck Lieder with Matthias Pintscher and the Indianapolis Symphony Orchestra, Beethoven\u2019s Missa Solemnis with David Robertson and the St. Louis Symphony, and Mahler\u2019s Eighth Symphony with Andr\u00e9s Orozco-Estrada and the Tonk\u00fcnstler-Orchester Nieder\u00f6sterreich. She has sung Mahler\u2019s Des knaben Wunderhorn with Krzysztof Urba\u0144ski and the Indianapolis Symphony Orchestra and Das Lied von der Erde with Louis Langr\u00e9e and the Detroit Symphony and with Donald Runnicles and the Atlanta Symphony Orchestra.\u00a0 Beethoven\u2019s Ninth Symphony has been performed with Iv\u00e1n Fischer and the Budapest Festival Orchestra, Ravel\u2019s Sh\u00e9h\u00e9razade with Esa-Pekka Salonen and the Philharmonia Orchestra, Berio\u2019s Folk Songs with Daniel Harding and the London Symphony Orchestra, and the role of Erda in Wagner\u2019s Das Rheingold with the New York Philharmonic conducted by Alan Gilbert.\u00a0 Recital appearances include performances in Boston with Thomas Ad\u00e8s in a program of Brahms, Purcell, and Stravinsky, in Chicago offering works of Debussy, Massenet, and Chausson, in Cincinnati with pianist Louis Langr\u00e9e in programs of Brahms and Ravel, and in Jackson Hole with the music of Brahms and Bernstein in a collaboration with Donald Runnicles.\nMiss O\u2019Connor has appeared numerous times with Gustavo Dudamel, including in performances of Bernstein\u2019s \u201cJeremiah\u201d Symphony on an international tour with the Los Angeles Philharmonic and of Mahler\u2019s \u201cResurrection\u201d Symphony with the Sim\u00f3n Bol\u00edvar Orchestra.\u00a0 She enjoys a rich musical collaboration with Franz Welser-M\u00f6st and the Cleveland Orchestra with whom she has sung Beethoven\u2019s Ninth Symphony and Mass in C, Bernstein\u2019s \u201cJeremiah\u201d Symphony, staged performances of Falstaff both in Cleveland and at the Lucerne Festival, and Stravinsky\u2019s Requiem Canticles.\nOperatic highlights include Carmen with Los Angeles Opera conducted by James Conlon, Donizetti\u2019s Anna Bolena at the Lyric Opera of Chicago conducted by Patrick Summers and directed by Kevin Newbury, Madama Butterfly in a new production by Lillian Groag at the Boston Lyric Opera and at the Cincinnati Opera under the baton of Ram\u00f3n Tebar, Berlioz\u2019s B\u00e9atrice et B\u00e9n\u00e9dict at Opera Boston, Falstaff with the Santa Fe Opera, and A Midsummer Night\u2019s Dream at the Lyric Opera of Chicago and the Canadian Opera Company.\nKelley O\u2019Connor has received unanimous international, critical acclaim for her numerous performances as Federico Garc\u00eda Lorca in Osvaldo Golijov’s Ainadamar.\u00a0 Miss O’Connor created the role for the world premiere at Tanglewood, under the baton of Robert Spano, and subsequently joined Miguel Harth-Bedoya for performances of Golijov\u2019s piece with the Los Angeles Philharmonic at the Walt Disney Concert Hall.\u00a0 She reprised her \u201cmusically seductive, palpably charismatic\u201d (Washington Post) portrayal of Lorca in the world-premiere of the revised edition of Ainadamar at the Santa Fe Opera in a new staging by Peter Sellars during the 2005 season, which was also presented at New York City\u2019s Lincoln Center and Madrid\u2019s Teatro Real.\nFor her debut with the Atlanta Symphony in Ainadamar, she joined Robert Spano for performances and a Grammy\u00ae Award-winning Deutsche Grammophon recording.\u00a0 Her discography also includes Mahler\u2019s Third Symphony with Jaap van Zweden and the Dallas Symphony Orchestra, Lieberson\u2019s Neruda Songs with Robert Spano and the Atlanta Symphony, Adams\u2019 The Gospel According to the Other Mary with Gustavo Dudamel and the Los Angeles Philharmonic, and Beethoven\u2019s Ninth Symphony with Franz Welser-M\u00f6st and the Cleveland Orchestra.\n|,|title|:|mezzo-soprano|,|small_image|:| \n |,|bio_image|:| \n |,|full_image|:| \n |},{|type|:|custom|,|name|:|Dav\u00f3ne Tines|,|bio|:|\u201cIn a just world, one in which\u00a0fame was proportionate to talent,\u00a0Dav\u00f3ne Tines\u00a0would be as big a name as Kanye West\u201d proclaimed KQED following concerts given with the San Francisco Symphony.\u00a0 Breakout performances were given on both sides of the Atlantic in 2015-16 when Dav\u00f3ne Tines made a Dutch National Opera debut in the premiere of Kaija Saariaho\u2019s Only the Sound Remains directed by Peter Sellars.\u00a0 The bass-baritone was exalted by The Los Angeles Times as \u201cthe find of the season,\u201d for performances of works by Caroline Shaw and Kaija Saariaho with the Calder Quartet and with members of ICE at the Ojai Music Festival.\nPerformances of 2018-19 include the world premiere of The Black Clown by composer Michael Schachter with a libretto adapted from the Langston Hughes poem by Dav\u00f3ne Tines and Michael Schachter; presented by the American Repertory Theater, The Black Clown \u2013 in a production directed by Zack Winokur – is a music theater experience that animates a black man\u2019s resilience against America\u2019s legacy of oppression by fusing vaudeville, opera, jazz, and spirituals to bring Hughes\u2019 verse to life onstage.\u00a0 Kaija Saariaho\u2019s Only the Sound Remains returns to Dav\u00f3ne Tines\u2019 calendar in performances at the Teatro Real and Lincoln Center and John Adams\u2019 El Ni\u00f1o serves his debut with Vladimir Jurowski conducting the Rundfunk-Sinfonieorchester Berlin.\u00a0 The artist reprises his acclaimed portrayal of Ned Peters in the European premiere of John Adams and Peter Sellars\u2019 Girls of the Golden West at Dutch National Opera and he assays the title role of Henze\u2019s El Cimarr\u00f3n in a new production by Zack Winokur at the Metropolitan Museum of Arts in collaboration with the American Modern Opera Company.\u00a0 Dav\u00f3ne Tines makes a debut at Opera Theatre of Saint Louis in the world premiere of Fire Shut Up In My Bones by the creative team of Terence Blanchard and Kasi Lemmons and symphonic appearances of the season include concerts with Esa-Pekka Salonen and the Los Angeles Philharmonic, Michael Tilson Thomas and the San Francisco Symphony, and Aram Demirjian leading the Kansas City Symphony.\nDav\u00f3ne Tines made a San Francisco Opera debut in 2017-18 in the world premiere of John Adams and Peter Sellars\u2019\u00a0Girls of the Golden West, a debut at the Op\u00e9ra national de Paris in Kaija Saariaho\u2019s\u00a0Only the Sound Remains\u00a0directed by Peter Sellars, and a debut at the Brooklyn Academy of Music in the role he originated in a production of Matthew Aucoin\u2019s\u00a0Crossing directed by multi Tony Award-winning director Diane Paulus.\u00a0 He bowed in performances of Handel\u2019s rarely staged serenata, Aci, Galatea, e Polifemo at National Sawdust in a new production by Christopher Alden that examined parallels between an 18thcentury telling of Ovid\u2019s mythological tale and our own contemporary aesthetic driven by power, class, race, and the cruelty of thwarted desire. \u00a0Other appearances of the season included a debut at the Baltic Sea Festival in Stravinsky\u2019s\u00a0Oedipus Rex conducted by Esa-Pekka Salonen and Coming Together\u00a0by Frederic Rzewski and Schumann\u2019s\u00a0Das Paradies und die Peri, both under the baton of Gustavo Dudamel, with the Los Angeles Philharmonic in a fully-staged production by Peter Sellars.\nHighlights of past seasons include John Adams\u2019 El Ni\u00f1o under the composer\u2019s baton with the London Symphony Orchestra in London and in Paris as well as with Grant Gershon conducting the Los Angeles Philharmonic, Bruckner\u2019s Te Deum with Christopher Warren-Green and the Charlotte Symphony, Kaija Saariaho\u2019s True Fire with the Orchestre national de France, and a program exposing the Music of Resistance by George Crumb, Julius Eastman, Dmitri Shostakovich, and Caroline Shaw with conductor Christian Reif and members of the San Francisco Symphony at SoundBox.\u00a0 On the opera stage, Dav\u00f3ne Tines has debuted at Lisbon\u2019s Teatro Nacional de S\u00e3o Carlos in a new production of Oedipus Rex led by Leo Hussain and at the Finnish National Opera in Only the Sound Remains directed by Peter Sellars.\nDav\u00f3ne Tines is a founding core member of the American Modern Opera Company (AMOC) and the recipient of the 2018 Emerging Artists Award given by Lincoln Center for the Performing Arts.\u00a0 He was graduated from Harvard University and received a Master of Music degree from The Juilliard School.\n|,|title|:|bass|,|small_image|:| \n |,|bio_image|:| \n |,|full_image|:| \n |},{|type|:|custom|,|name|:|Daniel Bubeck|,|bio|:|Daniel Bubeck has earned an international reputation on both the opera and concert stages in repertoire ranging from Bach and Handel to John Adams. He has performed with the Th\u00e9\u00e2tre Musical de Paris-Ch\u00e2telet, English National Opera, Spoleto and Adelaide Festivals, London Philharmonic, Tokyo Symphony, the Radio Orchestras of Berlin and The Netherlands, Royal Flemish Philharmonic, Estonian National Philharmonic, Concerto K\u00f6ln, Vancouver Symphony, Los Angeles Philharmonic, and the Boston Symphony, working with Gustavo Dudamel, Esa-Pekka Salonen, Vladimir Jurowski, Kent Nagano, David Robertson, Robert Spano, Christopher Hogwood and Nicholas McGegan.\nCareer highlights include the premieres and subsequent performances of John Adams: El Ni\u00f1o and The Gospel According to the Other Mary.\u00a0 Bubeck is a noted Handelian sing the roles of Cesare, Rinaldo, Solomon, Medoro (Orlando), Arsamene (Serse), David (Saul), Guido (Flavio) Armindo (Partenope), Tauride (Arianna in Creta), Didymus (Theodora) Israel in Egypt and Messiah. He can be heard on recordings of Adams’ The Gospel According to the Other Mary (Deutsche Gramophone), El Ni\u00f1o (Nonesuch CD \/Art Haus Musik DVD), Vivaldi cantatas with Musica Sequenza (Deutsche Harmonia Mundi, Sony Music) and on the soundtrack of the Warner Brothers thriller, I Am Legend. Recent performances include Britten\u2019s A Midsummer Night\u2019s Dream with Hawaii Opera Theater, Stradella\u2019s San Giovanni Battista in Chicago, and Bach\u2019s Johannes Passion with the American Classical Orchestra. He can be heard in upcoming performances of Adams\u2019 El Ni\u00f1o and Gospel in Russia, France, Germany and the US including Carnegie Hall. A native of Wilmington, Delaware, Dr. Bubeck holds degrees in voice from Indiana University, Peabody Conservatory and the University of Delaware.\n|,|title|:|countertenor|,|small_image|:| \n |,|bio_image|:| \n |,|full_image|:| \n |},{|type|:|custom|,|name|:|Brian Cummings|,|bio|:|Brian Cummings sang the premiere of John Adams\u2019 The Gospel According to the Other Mary in 2012 with the Los Angeles Philharmonic under Gustavo Dudamel. He made his professional debut in the premiere of John Adams\u2019 El Ni\u00f1o in Paris and has appeared in performances of this piece throughout the world including Carnegie Hall, English National Opera, the London Philharmonic, BBC Symphony, Estonian National Philharmonic, Los Angeles Philharmonic, San Francisco Symphony, the Adelaide Festival, the Tokyo Symphony and most recently at the Spoleto Festival USA.\nHe has worked under such conductors as Esa-Pekka Salonen, Robert Spano, David Robertson, John Adams, T\u00f5nu Kaljuste and Kent Nagano. He recently appeared in the title role of Handel’s Giulio Cesare with Opera Fuoco under David Stern. Cummings collaborates regularly with director Timothy Nelson including singing the role of David in Charpentier’s David et Jonathas, Hamor in Handel’s Jephtha, and Iarbo\/Corebo in Cavalli’s Didone.\u00a0 He has also appeared as a soloist at the Washington and Bloomington Early Music Festivals.\u00a0 He has sung with Paul Hillier in Theatre of Voices and the Pro Arte Singers and can be heard on their recordings for harmonia mundi as well as the recording and DVD of El Ni\u00f1o. In France, he sings with ensembles such as Les Arts Florissants, Opera Fuoco, Ensemble Entheos, and Les Muses Galantes. Cummings currently resides in Paris where he studies with Guillemette Laurens.\u00a0 He studied Early Music at Indiana University working with Paul Elliott, Paul Hillier, and Nigel North. Forthcoming engagements include John Adams\u2019 Gospel According to the Other Mary with the Netherlands Radio Orchestra in Strasbourg and Cologne.\n|,|title|:|countertenor|,|small_image|:| \n |,|bio_image|:| \n |,|full_image|:| \n |},{|type|:|custom|,|name|:|Nathan Medley|,|bio|:|Nathan Medley has emerged in recent years as one of the leading younger-generation countertenors, with notable success internationally in concert and opera. He has sung at some of the major stages of the world including the English National Opera and Barbican Centre in London, La Salle Pleyel in Paris;\u00a0 Palais de Musique, Strasbourg, Amsterdam\u2019s Concertgebouw,\u00a0 The Lucerne Festival; Avery Fisher Hall in New York, and Walt Disney Concert Hall in Los Angeles.\nRecent performances have brought him to the Boston Early Music Festival (as Ottone in Monteverdi\u2019s\u00a0 ‘L’Incoronazione di Poppea), the Netherlands Radio Philharmonic, the Los Angeles Philharmonic, Chicago\u2019s Ravinia Festival, Opera Omaha, Pacific MusicWorks, Mercury Baroque, Seraphic Fire, Indianapolis Baroque Orchestra, , Cincinnati Collegium, Miami Bach Society, and Dayton Bach Society. He is a member of Echoing Air, an ensemble focused on music of the baroque and modern eras composed for countertenor. He made his professional debut in 2012 in John Adams\u2019 The Gospel According to the other Mary with the Los Angeles Philharmonoic conducted by Gustavo Dudamel, which was recorded on the Duetsche Grammophon label. He returned to Los Angeles in 2013 for Peter Sellers\u2019 staged performances of The Gospel, which toured to Switzerland and New York City, and again in 2015 under the baton of John Adams performing Olga Neuwirth\u2019s theatrical song\/play, Hommage \u00e1 Klaus Nomi. His opera credits include Ottone in Handel\u2019s Agrippina (Opera Omaha). Speranza in Monteverdi\u2019s Orfeo (Boston Early Music Festival), Athamus in Semele (Pacific Muisic Works, Seattle), Oberon in A Midsummer Night’s Dream, Dema in Cavalli’s L’Egisto, Le Peinture in Charpentier’s Les Arts Florissants, Acteon in Charpentier’s Acteon, and Ottone in Monteverdi’s L’incoronazione di Poppea, where critics in Cleveland praised him for an interpretation “sung with baroque perfection.\u201d\nIn May 2016 he will premier a new piece by John Harbison for countertenor and viola da gamba consort in Chicago with Second City Musick.\n|,|title|:|countertenor|,|small_image|:| \n |,|bio_image|:| \n |,|full_image|:| \n |}],|without|:[{|type|:|custom|,|name|:|Houston Grand Opera Children's Chorus|,|bio|:|Grammy award winner Karen Reeves served as chorus master for the Houston Symphony\u2019s performance of Berg\u2019s Wozzeck, which won the 2017 Grammy for Best Opera Recording. She has been the Children\u2019s Chorus director at Houston Grand Opera since 1991, and has prepared the ensemble for operas, including Otello, Carmen, La boh\u00e8me, Dead Man Walking, Tosca, A Midsummer Night\u2019s Dream, Hansel and Gretel, and The Little Prince.\nKaren was the founding director of the High School Voice Studio at HGO, an intensive program for high school students preparing for further vocal study. She taught on the voice faculty of Houston Baptist University and, for more than 20 years, was an artist consultant for the voice department of Houston\u2019s High School for the Performing and Visual Arts. She was a member of the Houston Grand Opera Chorus for 13 seasons. Karen received her bachelor of music degree from Southwestern University and her master of music degree from Rice University. She is currently the opera program administrator at the Shepherd School of Music at Rice University.\n|,|title|:|Karen Reeves, director|,|small_image|:false,|bio_image|:false,|full_image|:false},{|type|:|custom|,|name|:|Houston Symphony Chorus|,|bio|:||,|title|:|Betsy Cook Weber, director|,|small_image|:false,|bio_image|:false,|full_image|:false}]}
JOHN ADAMS El Niño
