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An Artist Recital Series performance by Susan Graham, mezzo-soprano and Bradley Moore, piano.
Tickets can be ordered by calling Oberlin’s Central Ticket Service at 1-800-371-0178 or online at www.oberlin.edu/arseries.
Henry Purcell: Tell me, some pitying angel (aka "The Blessed Virgin's Expostulation")
Hector Berlioz: La Mort d’Ophélie
Franz Schubert: Heiss mich nicht reden, Op. 62, No. 2
Robert Schumann: So lasst mich scheinen, bis ich werde, Op. 98a, No. 9
Franz Liszt: Kennst du das Land
Pyotr Tchaikovsky: Nyet tolka tot kto snal (None but the lonely heart)
Henri Duparc: Romance de Mignon
Hugo Wolf: Kennst du das Land
Joseph Horovitz: Lady Macbeth
Francis Poulenc: Fiançailles pour rire
I. La dame d’André
II. Dans l’herbe
III. Il vole
IV. Mon cadavre est doux comme un gant
Internationally acclaimed Susan Graham - dubbed "America's favorite mezzo" by Gramophone Magazine - rose to the top league of international artists within just a few years of her professional debut, and along the way has mastered an astonishing range of repertoire and formats. Her operatic roles have stretched from Monteverdi's 17th century Poppea to a contemporary American operatic portrait of Sister Helen Prejean in Jake Heggie's Dead Man Walking, written specifically for her, as well as leading roles in new works by John Harbison and Tobias Picker. She won a Grammy for a collection of Ives songs, and her recital repertoire is so broad that 14 composers from Purcell to Sondheim are represented on her most recent disc, Virgins, Vixens, and Viragos (with pianist Malcolm Martineau on Onyx). But throughout her extraordinary career, this distinctly American artist has always been considered one of the great interpreters of French vocal music of her time, so much so that the Texas native was awarded the French government's prestigious "Chevalier dans l'Ordre des Arts et des Lettres", not just for her profile as a favorite performer on France's stages but also in honor of her commitment to French music.
Her tall, slim good looks made the operatic stage the natural first stop of a distinguished career, with early successes in "trouser" roles such as Cherubino in Mozart's Le nozze di Figaro. Her technical brilliance brought mastery of Mozart's more virtuosic roles such as Sesto in La clemenza di Tito, Idamante in Idomeneo, and Cecilio in Lucio Silla, as well as the title roles of Handel's Ariodante and Xerxes. Inevitably she triumphed in the iconic Richard Strauss mezzo roles - Octavian in Der Rosenkavalier (often opposite the Marschallin of Renée Fleming) and the Composer in Ariadne auf Naxos. These roles brought her to prominence in every major opera house in the world, including the Metropolitan Opera, Chicago, San Francisco, Covent Garden, Paris, Munich, La Scala, Salzburg, Vienna, and many others, and she has returned to them regularly for appearances ranging from the title roles of Handel's Ariodante and Xerxes to leading ladies in the world premieres of John Harbison's The Great Gatsby and Tobias Picker's An American Tragedy, both at the Metropolitan Opera.
But an early production of Berlioz's Béatrice et Bénédict in Lyon earned particular raves from the international press for her pristine French diction and innate style, and a triumph as Massenet's Cherubin at Covent Garden sealed her operatic stardom. Invitations to explore more French repertoire came from many of that music's greatest conductors, among them Sir Colin Davis, Charles Dutoit, James Levine, and Seiji Ozawa. New productions of Gluck's Iphigénie en Tauride, Berlioz' La Damnation de Faust, and Massenet's Werther were mounted for her in New York, London, Paris, Chicago, and San Francisco and elsewhere. She added the title role of the great Offenbach comedy La belle Hélène in 2005 at Santa Fe and will follow with La Grande Duchesse de Gérolstein next summer. Just weeks ago she was hailed internationally in the pinnacle role of Didon in Berlioz's Les Troyens at the Metropolitan Opera, broadcast live on cinema screens worldwide as part of the Met's HD program.
This affinity for the French repertoire has not been limited to the operatic stage, and indeed it serves as the foundation of an extensive concert and recital career. The great oratorios and symphonic song cycles such as Berlioz's La mort de Cléopâtre and his Les nuits d'été, Ravel's Sheherezade and Chausson's Poème de l'amour et de la mer have been among works taking her to the world's leading orchestras, including regular appearances with the New York Philharmonic, the Boston Symphony, the Orchestre de Paris, and the London Symphony. A distinguished discography includes not only all the above works, but also treasurable solo albums such as the program of mélodies entitled Un frisson Francais with pianist Malcolm Martineau (Onyx), an album of 20th century operetta rarities C'est ça la vie, c'est ça l'amour! for Erato, and La Belle Époque, an award- winning collection of songs by Reynaldo Hahn with pianist Roger Vignoles, for Sony.
Bradley Moore has performed as piano soloist with orchestras including the National Symphony Orchestra and the Buffalo Philharmonic. He recently performed the Martinu Harpsichord Concerto with the San Francisco Ballet for the world premiere of Mark Morris’ Beaux, and has been heard as a recitative accompanist and continuo player with the Met Orchestra, the Vienna Philharmonic, the Mozarteum Orchester, and the Met Chamber Ensemble.
Widely acclaimed as a recital partner, Mr. Moore recently performed with Renée Fleming and Susan Graham at Carnegie Hall and on a national tour. His current season includes a tour with Ms. Graham and recitals with Jamie Barton and Angela Meade. He also enjoys partnerships with Christine Goerke, Alice Coote, Eric Cutler, and clarinetist Julian Bliss. He has performed live on A Prairie Home Companion with Ms. Fleming and Yo-Yo Ma, and with Joshua Bell on CBS Sunday Morning News and Late Night with Conan O’Brien. His discography includes a recital with Mr. Cutler on the EMI Classics Debut Series; a disc of songs by American composer Daron Hagen for Arsis Audio; and a recital with Mr. Bliss to be released in June by Signum Classics.
Mr. Moore was recently appointed Head of Music Staff at the Houston Grand Opera and Music Director of the HGO Studio. He is also Music Director of the Fire Island Opera Festival, where he recently conducted Gluck’s L’arbre enchanté. Mr. Moore was assistant conductor at the Metropolitan Opera for fifteen seasons, and has also worked as assistant conductor, backstage conductor and coach at the Salzburg Festival, Opéra National de Paris, the Canadian Opera Company, and the Los Angeles Opera.
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