June 1, 2018 at 7 PMMiller Theatre at Columbia University

2960 Broadway, New York, NY 10027

The Harlem Chamber PlayersPresent

HarlemSongfest

10th Anniversary Season FinaleA Gala Concert of operatic arias

The Orchestra1st ViolinsJoyce Hammann*, concertmasterAshley Horne, co-concertmasterBelinda WhitneyOrlando WellsJosh Henderson

2nd ViolinsJosé Manuel Pietri-Coimbre*Romulo BenavidesGarry IancoSandra Billingslea

ViolasAundrey Mitchell*Tia Allen

CellosCaryl Paisner*Thapelo Masita

Double BassAnthony Morris*Jeffrey Carney

HarpAshley Jackson*

TimpaniGerard Gordon*

PercussionMiguel Tepale

ConductorDavid Gilbert

*principal

FlutesJulietta Curenton*Karen Bogardus

PiccoloKaren Bogardus

OboesHassan Anderson*Roy Beason

ClarinetsNuno Antunes*Liz Player

BassoonsAmy Fraser*David Miller

French HornsEric Davis*Barbara OldhamSteven ShertsDeryck Clarke

TrumpetsHugo Moreno*James Lake

TrombonesBurt Mason*Stephen WhimpleJonathan Greenberg

Bass TromboneJonathan Greenberg

The Harlem Chamber PlayersMission StatementThe Harlem Chamber Players is an ethnically diverse collective of professional musicians dedicated to bringing high caliber, affordable, and accessible live classical music to people in the Harlem community and beyond.

HistoryHarlem’s acclaimed music series began at St. Mary’s Episcopal Church in West Harlem in 2008 as a partnership between clarinetist Liz Player and the late violist Charles Dalton, who met while performing at the New York City Housing Symphony Orchestra’s annual Black History Month gala concert at Weill Recital Hall at Carnegie Hall. Inspired and encouraged by the late Janet Wolfe, founder of the New York City Housing Symphony Orchestra and long-time patron of minority classical musicians, Ms. Player and Mr. Dalton created a summer music festival called “Music at St. Mary’s” that provided dynamic chamber music concerts. St. Mary’s then welcomed and supported the creation of an ongoing series. After the departure of Mr. Dalton in 2010, Liz joined forces with Carl Jackson, an East Harlem native, to form The Harlem Chamber Players.

StaffLiz Player, Founder, Executive and Artistic DirectorCarl Jackson, Associate DirectorAmadi Azikiwe, Community Engagement DirectorDeryck Clarke, Educational Program DirectorAmy Fraser, Administrative CoordinatorMary Dohnalek, Bookkeeper

BoardThomas Pellaton, PresidentSusan Macaluso, SecretaryYin Yin Gene, TreasurerJames Davis Jr., William Hoch, Brenda Morgan, Liz Player

Advisory CommitteeIeda Britton, Jo-Ann Graham, Ph.D., Lee Koonce, Alicia Hall Moran, Joseph Joubert, Jean McCurry, Terrance McKnight, Jason Moran, Eric K. Washington

Opening Remarks by Thomas Pellaton, Board President

1. Ouverture from Der Schauspieldirektor (The Impresario).............Mozart

2. “Deh vieni, non tardar” from Le Nozze di Figaro.......................Mozart Janinah Burnett, soprano

3. “Vieni o tu che ognora io chiamo” from Caterina Cornaro.....Donizetti Brandie Sutton, soprano

4. “Re dell’abisso affrettati” from Un Ballo in Maschera....................Verdi Lucia Bradford, mezzo-soprano

5. “Soave sia il vento” from Così fan tutte......................................Mozart Brandie Sutton, soprano; Lucia Bradford, mezzo-soprano; Kenneth Overton, baritone

6. “Addio fiorito asil” from Madama Butterly................................Puccini Chauncey Packer, tenor

7. “Belle nuit ô nuit d’amour” from Les contes d’Hoffmann.......Offenbach Brandie Sutton, soprano; Lucia Bradford, mezzo-soprano

8. “Amour ranime mon courage” from Roméo et Juliette..............Gounod Janinah Burnett, soprano

INTERMISSION (15 Minutes)

Program

9. “La donna è mobile” from Rigoletto......................,.......................Verdi Chauncey Packer, tenor

10. “Sous le dôme épais” (Flower Duet) from Lakmé....................Delibes Janinah Burnett, soprano; Lucia Bradford, mezzo-soprano

11. “Per me giunto” from Don Carlo................................................Verdi Kenneth Overton, baritone

12. “Mi tradi quell’alma ingrata” from Don Giovanni....................Mozart Janinah Burnett, soprano

13. “Les tringles des sistres tintaient” from Carmen..........................Bizet Lucia Bradford, mezzo-soprano

14. “Au fond du temple saint” from Les pêcheurs de perles..................Bizet Chauncey Packer, tenor; Kenneth Overton, baritone

15. “Ach, ich liebte” from Die Entführung aus dem Serail...............Mozart Brandie Sutton, soprano

16. “Bella figlia dell’amore” from Rigoletto.......................................Verdi Janinah Burnett, soprano; Lucia Bradford, mezzo-soprano; Chauncey Packer, tenor; Kenneth Overton, baritone

Text and Translations2. Wolfgang Amadeus Mozart (1756 – 1791) The Marriage of Figaro“Deh vieni, non tardar” (“Oh come, don’t be late”)

Giunse alfin il momento The moment finally arrivesChe godro senz’affanno When I’ll enjoy without hasteIn braccio all’idol mio In the arms of my beloved...Timide cure uscite dal mio petto! Fearful anxieties, get out of my heart!A turbar non venite il mio diletto. Do not come to disturb my delight.O come par che all’amoroso foco Oh, how it seems that to amorous firesL’amenita del loco, The comfort of the place, La terra e il ciel risponda. Earth and heaven respond,Come la notte i furti miei seconda. As the night responds to my ruses.

Deh vieni, non tardar, o gioja bella Oh, come, don’t be late, my beautiful joyVieni ove amore per goder t’appella Come where love calls you to enjoymentFinche non splende in ciel Until night’s torches no longer shine in the skynotturna faceFinche l’aria e ancor bruna, As long as the air is still dark E il mondo tace. And the world quiet. Qui mormora il ruscel, Here the river murmurs qui scherza l’aura and the light playsChe col dolce susurro il cor ristaura That restores the heart with sweet ripples Qui ridono i fioretti e l’erba e fresca Here, little flowers laugh and the grass is freshAi piaceri d’amor qui tutto adesca. Here, everything entices one to love’s pleasures.Vieni, ben mio, Come, my dear, tra queste piante ascose. among these hidden plants.Vieni, vieni! Come, come!Ti vo’ la fronte incoronar di rose. I want to crown you with roses.

3. Gaetano Donizetti (1797 – 1848) Caterina Cornaro“Vieni o tu, che ognora io chiamo” (“Come to me beloved”)

Vieni o tu, che ognora io chiamocon dolcissime parole.Vieni a me, che aspetto ed amo; come fior che aspetta il sole.Né temer per la laguna, della torbida fortuna. Sui tuoi giorni amato mioveglia propizio il cielo, ah vieni!Vieni! Vieni! Non temer, non temer!

Come to me beloved so that I might caress you with sweet wordsCome to me, who waits for you, like a flower waits for the sun.Do not fear the murky fortunes of the lagoon.Beloved, as you wake to the light of the sun, come to me!Come! Come! Fear not! Fear Not!

CabalettaDeh vieni t’affrettamio dolce tesoro;ti chiama, t’aspettafedele il tuo ben.

Più nulla non bramo,se il ciel mi concederidirti che t’amo,stringendoti al sen.

4. Giuseppe Verdi (1813 – 1901) A Masked Ball“Re dell’abisso affrettati” (“King of the Abyss, Hasten”)

Re dell’Abisso, affrettati,Precipita per l’etra,Senza librar la folgoreIl tetto mio penètra.Omai tre volte l’upupaDall’alto sospirò;La salamandra ignivoraTre volte sibilò...E delle tombe il gemitoTre volte a me parlò. È lui, è lui! ne’ palpitiCome risento adessoLa voluttà riardereDel suo tremendo amplesso!La face del futuroNella sinistra egli ha...M’arrise al mio scongiuro,Rifolgorar la fa:Nulla, più nulla ascondersiAl guardo mio potrà!Silenzia!

King of the Abyss, hasten,Fall across the heavens;Without soaring, the flashComes through my roof.Now, for three times, the hoopoeHas sighed from the heights;The fire-eating salamanderHas hissed three times...And the moaning from the gravesHas spoken to me three times! It’s him! It’s him! In my heartbeatI feel so deeply, nowThe intense pleasure being relightedIn his terrible embrace!The shape of the futureHe holds in his left hand...Satisfied with my spell,He makes it shine brightly:Nothing, nothing will be able to hideFrom my penetrating gaze!Silence!

Oh come, hasten to me my sweet treasure Calling you, waiting for you,Ever faithful to you.

There is nothing more that I want,than heaven grant mejoy in my love for you,holding you to my breast.

5. W.A. Mozart (1756 – 1791) Thus Do They All, or The School for Lovers“Soave sia il vento” Trio (“Gentle be the breeze”)Soave sia il vento,Tranquilla sia l’onda,Ed ogni elementoBenigno rispondaAi nostri/vostri desir.

Gentle be the breeze,Calm be the waves,And every elementSmile in favourOn their wish.

6. Giacomo Puccini (1858 – 1924) Madame Butterly“Addio fiorito asil” (“Farewell flowery refuge”)Addio fiorito asildi letizia e d’amorNon reggo al tuo squallorFuggo, fuggo - son vil.

Farewell flowery refugeOf joy and loveI cannot bear your miseryI must run away, I must run away – I am vile.

7. Jacques Offenbach (1819 – 1880) The Tales of Hoffman“Belle nuit ô nuit d’amour” (“Lovely night, oh, night of love”)

Belle nuit, ô nuit d’amourSouris à nos ivressesNuit plus douce que le jourÔ,belle nuit d’amour!Le temps fuit et sans retourEmporte nos tendressesLoin de cet heureux séjourLe temps fuit sans retourZéphyrs embrasésVersez-nous vos caressesZéphyrs embrasésDonnez-nous vos baisers!Vos baisers! Vos baisers! Ah!Belle nuit, ô, nuit d’amourSouris à nos ivressesNuit plus douce que le jour,Ô, belle nuit d’amour!Ah! souris à nos ivresses!Nuit d’amour, ô, nuit d’amour!

Lovely night, oh, night of loveSmile upon our joys!Night much sweeter than the dayOh beautiful night of love!Time flies by, and carries awayOur tender caresses for ever!Time flies far from this happy oasisAnd does not returnBurning zephyrsEmbrace us with your caresses!Burning zephyrsGive us your kisses!Your kisses! Your kisses! Ah!Lovely night, oh, night of loveSmile upon our joys!Night much sweeter than the dayOh, beautiful night of love!Ah! Smile upon our joys!Night of love, oh, night of love!

8. Charles Gounod (1818 – 1893) Romeo and Juliet“Amour ranime mon courage” (“Love revive my courage” aka “Poison Aria”)

Heaven! What a shiver doth filled me!What if this potion did not work?Idle fears!I will not the count against my will!

No! no! For this knife shall be the guardian of my vow!Come! Come!

O love, revive my courage,and from my heart chase the fear!To hesitate would be like disowning you,to tremble would be a lack of faith!Pour! Pour!Pour yourself this drink!Oh Romeo! I drink to you!

But if tomorrow although in these vaults funeralI myself-awaked before his return? God O’ Mighty!This horrible thought chills the blood in my veins!What should I do, alone and abandoned,if in this place full and death and moaning,that the centuries past have replenished with bones?Where Tybalt is bleeding still from his wound,Close to me in the dark nightSleeping. God! My hand wil meet his hand?(In bewilderment, as if seeing Tybalt’s ghost)

What is this shade, from the tomb grimly gazing?It is he! It is Tybalt! He wants me to departfrom the one whom I love,his fatal blade upraising.No! Ye ghosts! Vanish away!Vanish away, oh frightful dream!Now dawn of delightful joy riseabove the gloom of anguishes gone by! Come!

Dieu! quel frisson court dans mes veines?Si ce breuvage était sans pouvoir!Craintes veines!Je n’appartiendrai pas au Comte malgré moi!Non! ce poignard sera le gardien de ma foi!Viens! viens!

Amour ranime mon courage,Et de mon coeur chasse l’effroi!Hésiter, c’est te faire outrage,Trembler, est un manque de foi!Verse! verse!Verse toi-même ce breuvage!Ô Roméo! je bois à toi!

Mais si demain pourtant dans ce caveaux funèbresJe m’éveillais avant son retour?Dieu puissant!Cette pensée horrible a glacé tout mon sang!Que deviendrai-je en ces ténèbresDans se séjoir de mort et de gémissements,Que les siècles passés ont rempli d’ossements?Oú Tybalt, tout saignant encor de sa blessure,Près de moi, dans la nuit obscureDomira! Dieu!!! ma main rencontrera sa main!

Quelle est cette ombre à la mort échappée?C’est Tybalt! il m’appelle!Il veut de mon chemin Ècarter mon époux!Et sa fatale épéeNon! fantômes! disparaissez!Dissipe-toi, funeste rêve!Que l’aube du bonheur se lèveSur l’ombre des tourment passés! Viens!

9. Giuseppe Verdi (1813 – 1901) Rigoletto“La donna è mobile” (“Woman is fickle”)

La donna è mobileQual piuma al vento,Muta d’accento — e di pensier.Sempre un amabile,Leggiadro viso,In pianto o in riso, — è menzognero.È sempre miseroChi a lei s’affida,Chi le confida — mal cauto il cuore!Pur mai non sentesiFelice appienoChi su quel seno — non liba amore!La donna è mobileQual piuma al vento,Muta d’accento — e di pensier,E di pensier,E di pensier!

Woman is fickleLike a feather in the wind,She changes her voice — and her mind.Always sweet,Pretty face,In tears or in laughter, — she is always lying.Always miserableIs he who trusts her,He who confides in her — his unwary heart!Yet one never feelsFully happyWho on that bosom — does not drink love!Woman is fickleLike a feather in the wind,She changes her voice — and her mind,And her mind,And her mind!

10. Léo Delibes (1836 – 1891) Lakmé“Sous le dôme épais” (“Under the thick dome” aka the Flower Duet)

MALLIKASous le dôme épais, où le blanc jasmin Under the dome of white jasmine,A la rose s’assemble, Entwined with the rose together,Sur la rive en fleurs On the bank covered with flowers,riant au matin, Laughing through the morning,Viens, descendons ensemble. Let us descend together.Doucement glissons Gently floatingDe son flot charmant on its charming swellsSuivons le courant fuyant: On the river’s current:Dans l’onde frémissante, On the shining wavesD’une main nonchalante, One hand reaches out to,Viens, gagnons le bord, Reaching for the bank,Où la source dort Where spring sleepsEt l’oiseau, l’oiseau chante. And the birds, the birds sing.Sous le dôme épais, Under the dome of jasmine,Sous le blanc jasmin, Under the white jasmine,Ah! descendons ensemble! Ah! calling us together!

LAKMEMais, je ne sais quelle crainte subite, But, I do not know subtle fear,S’empare de moi, Enfolds me,Quand mon père va seul When my father goes aloneà leur ville maudite; to that cursed town;Je tremble, je tremble d’effroi! I tremble, I tremble in fear!

MALLIKAPourquoi le Dieu Ganeça le protège, For the god Ganessa protects him,Jusqu’à l’étang où s’ébattent joyeux Let us venture to the joyous poolLes cygnes aux ailes de neige, The swans with wings of white are happy,Allons cueillir les lotus bleus. Let us go there and gather the blue lotus.LAKMEOui, près des cygnes Yes, near the swans,aux ailles de neige, with wings of whiteAllons cueillir les lotus bleus. Let us go there and gather the blue lotus.

LAKMEDôme épais le jasmin, Dome made of jasmine,A la rose s’assemble, Entwined with the rose together,Rive en fleurs frais matin, Both in flower, a fresh morning,Nous appellent ensemble. Call us together.Ah! glissons en suivant Ah! let us float alongLe courant fuyant: On the river’s current:Dans l’on de frémissante, On the shining waves,D’une main nonchalante, Our hands reach out toGagnons le bord, The flowering bank,Où l’oiseau chante, Where the birds sing, l’oiseau, l’oiseau chante. o the lovely birds sing.Dôme épais, blanc jasmin, Dome of white jasmine,Nous appellent ensemble! Calling us together!

MALLIKASous le dôme épais, où le blanc jasmin Under the dome of white jasmine,A la rose s’assemble, Entwined with the rose together,Sur la rive en fleurs riant au matin, On the bank covered with flowers, Laughing through the morning,Viens, descendons ensemble. Let us descend together.Doucement glissons Gently floatingDe son flot charmant on its charming swellsSuivons le courant fuyant: On the river’s current:Dans l’onde frémissante, On the shining wavesD’une main nonchalante, One hand reaches out to,Viens, gagnons le bord, Reaching for the bank,Où la source dort Where spring sleepsEt l’oiseau, l’oiseau chante. And the birds, the birds sing.Sous le dôme épais, Under the dome of jasmine,Sous le blanc jasmin, Under the white jasmine,Ah! descendons ensemble! Ah! calling us together!

LAKME & MALLIKAAh! ah! ah!Ah! ah! ah!

11. Giuseppe Verdi (1813 – 1901) Don Carlo“Per me giunto è il dì supremo” (“For me the final day has arrived”)

Son io, mio Carlo.

Uscir tu déi da quest’orrendo avel.Felice ancora son se abbracciar te poss’io!Io ti salvai!Convien qui dirci addio!

Per me giunto è il dì supremo,no, mai più ci rivedrem;ci congiunga Iddio nel ciel,Ei che premia i duoi fedel’.Sul tuo ciglio il pianto io miro;lagrimar così perchè?No, fa cor, no, fa cor,l’ estremo spiro lieto èa chi morrà per te.

O Carlo, ascolta, la madre t’aspettaa San Giusto doman; tutto ella sa...

Ah! la terra mi manca... Carlo mio,a me porgi la man!...

Io morrò, ma lieto in core, ché potei così serbaralla Spagna un salvatore!Ah!... di me... non... ti... scordar!...Regnare tu dovevi,ed io morir per te.

Ah! la terra mi manca...la mano a me... a me...Ah! salva la Fiandra...Carlo, addio! Ah! ah!...

Carlo, it is I.

You will get out of this dire place.With what tender pride I hold you to my breast!I have saved you!We must take our leave!

My last day has come,We shall meet no more,God will unite us in Heaven,He rewards his followers.I see tears in your eyes,why weep now, why?Take heart Carlo,My last breath will be joyfulfor I die for you.

Listen, Carlo, your motherexpects you tomorrow at San Yuste;she knows all! … Ah! The world slips away from me … O Carlo! Your hand …

Ah! I die glad in my heartfor I have givenSpain a saviorAh! don’t forget me!You had to ruleAnd I had to die for you.

I’m dying...give me your hand... your hand...Ah! save Flanders...Farewell, Carlo! Ah! Ah!...

In quali eccessi, o Numi, In what excesses, O Heavens,in quai misfatti orribili, tremendi In what horrible, terrible crimesè avvolto il sciagurato! The wretch has involved himself!Ah no! non puote tardar l’ira Ah no! The wrath of Heaven can del cielo, not delay,la giustizia tardar. Justice cannot delay.Sentir già parmi la fatale saetta, I already sense the fatal boltchi gli piomba sul capo! Which is falling on his head!Aperto veggio il baratro mortal!... I see the mortal abyss open!...

Misera Elvira! che contrasto Unhappy Elvira! what a conflict d’affetti of feelingsin sen ti nasce! Is born in your breast!Perchè questi sospiri? Why these sighs?e quest’ambascie? And these pains?Mi tradì quell’alma ingrata, That ungrateful soul betrayed me,Infelice, o Dio!, mi fa. O God, how unhappy he made me!Ma tradita e, But, though betrayed and abbandonata abandoned,Provo ancor per lui pietà. I still know pity for him.Quando sento il mio tormento, When I feel my suffering,Di vendetta il cor favella; My heart speaks of vengeance;Ma, se guardo il suo cimento, But when I see the danger he’s in,Palpitando il cor mi va. My heart beats for him.

12. Wolfgang Amadeus Mozart (1756 – 1791) Don Giovanni“Mi tradì quell’alma ingrata” (“That ungrateful soul betrayed me”)

13. Georges Bizet (1838 – 1875) Carmen“Les tringles des sistres tintaient” (“The rods of the sistrums tinkled”)

Les tringles des sistres tintaient The rods of the sistrums tinkledavec un éclat métallique, with a metallic lustre,et sur cette étrange musique and on this strange music les zingarellas se levaient. the zingarellas (female gypsies) roseTambours de basque allaient Basque tambourines went their course leur train,et les guitares forcenées and exaggerated guitars grinçaient sous des mains obstinées, squeaked under stubborn hands,même chanson, même refrain, same song, same refrain

Les anneaux de cuivre et d’argent Money and copper ringsreluisaient sur les peaux bistrées; glittered on the darkened skins;d’orange ou de rouge zébrées of streaked orange or red les étoffes flottaient au vent. the fabrics floated with the windLa danse au chant se mariait, The dance to the song is marriedd’abord indécise et timide, initially undecided and timidplus vive ensuite et plus rapide... sharper then and more rapid...cela montait, montait, that went up, went up, montait, montait! went up, went up!

Les Bohémiens, à tour de bras, Gypsies, with turn of arm de leurs instruments faisaient rage, their instruments made rage (raging)et cet éblouissant tapage and this dazzling din ensorcelait les zingaras. bewitched the zingaras (male gypsies). Sous le rhythme de la chanson, Under the rhythm of songardentes, folles, enfiévrées, burning, insane, feveredelles se laissaient, enivrées, they were left, intoxicated,emporter par le tourbillon! To carry the whirlwind!

14. Georges Bizet (1838 – 1875) The Pearl Fishers“Au fond du temple saint” (“At the back of the holy temple”)

NADIRAu fond du temple saintParé de fleurs et d’or,Une femme apparaît!Je crois la voir encore!

ZURGAUne femme apparaît!Je crois la voir encore!

NADIRLa foule prosternéeLa regarde, etonnée,Et murmure tous bas:Voyez, c’est la déesse!Qui dans l’ombre se dresseEt vers nous tend les bras!

ZURGASon voile se soulève!Ô vision! ô rêve!La foule est à genoux!

NADIR et ZURGAOui, c’est elle! C’est la déesse plus charmante et plus belle!Oui, c’est elle! C’est la déesse qui descend parmi nous!Son voile se soulève et la foule est à genoux!

NADIRMais à travers la fouleElle s’ouvre un passage!

ZURGASon long voile déjàNous cache son visage!

NADIRAt the back of the holy temple,decorated with flowers and gold,a woman appears...I can still see her.

ZURGAA woman appears...I can still see her.

NADIRThe prostrate crowdlooks at her amazedand murmurs under its breath:look, this is the goddesslooming up out of the shadowand holding out her arms to us.

ZURGAHer veil parts slightly;what a vision, what a dream!The crowd is kneeling.

NADIR and ZURGAYes, it is she, it is the goddess,more charming and more beautiful;yes, it is she, it is the goddess,who has come down among us.Her veil has parted, and the crowd is kneeling.

NADIRBut through the crowdshe makes her way.

ZURGAAlready, her long veilhides her face from us.

NADIRMon regard, hélas!La cherche en vain!

ZURGAElle fuit!

NADIRElle fuit!Mais dans mon âme soudainQuelle étrange ardeur s’allume!

ZURGAQuel feu nouveau me consume!

NADIRTa main repousse ma main!

ZURGATa main repousse ma main!

NADIRDe nos cœurs l’amour s’empareEt nous change en ennemis!

ZURGANon, que rien ne nous sépare!

NADIRNon, rien!

ZURGA et NADIRJurons de rester amis!Oh oui, jurons de rester amis!Oui, c’est elle! C’est la déesse!En ce jour qui vient nous unir,Et fidèle à ma promesse,Comme un frère je veux te chérir!C’est elle, c’est la déesseQui vient en ce jour nous unir!Oui, partageons le même sort,Soyons unis jusqu’à la mort!

NADIRMy eyes, alas, seek her in vain.

ZURGAShe flees!

NADIRShe flees!But what is this strange flamewhich is suddenly kindled within my soul!

ZURGAWhat unknown fire is destroying me!

NADIRYour hand pushes mine away.

ZURGAYour hand pushes mine away.

NADIRLove takes our hearts by stormand turns us into enemies.

ZURGANo, let nothing part us!

NADIRNo, nothing!

ZURGA and NADIRLet us swear to remain friends! Oh yes! Let us swear to remain friends!We have seen her, she is the Godnesswho today led you to me,and from now I’ll keep you my promise,close as brothers we shall be!Great Godness, Heaven descended,she today has led you to me!Now we shall tread one single path,never again to part till death!

Ach ich liebte, Ah, I was in love,war so glücklich, was so happy,Kannte nicht der Liebe Schmerz; I knew nothing of love’s pain.Schwur ihm Treue, dem Geliebten, Promised to be true to my beloved,Gab dahin mein ganzes Herz. and gave him my whole heart.

Doch wie schnell scwand meine Freude, But how quickly my joy deserted me,Trennung war mein banges Los; separation was my unhappy lot;Und nun schwimmt mein Aug’ in and now my eyes are overflow with Tränen, tears,Kummer ruht in meinem Schoss. sorrow dwells in my breast.

15. W.A. Mozart (1756 – 1791) The Abduction from the Seraglio“Ach ich liebte” (“Ah, I was in love”)

16. Giuseppe Verdi (1813 – 1901) Rigoletto“Bella figlia dell’amore” (“Beautiful daughter of love”)

DUCABella figlia dell’amore,Schiavo son dei vezzi tuoi;Con un detto sol tu puoiLe mie pene consolar.Vieni e senti del mio coreIl frequente palpitar.

MADDALENAAh! ah! rido ben di core,Che tai baie costan pocoQuanto valga il vostro gioco,Mel credete, so apprezzar.Son avvezza, bel signore,Ad un simile scherzar.

GILDAAh, così parlar d’amoreA me pur intame ho udito!Infelice cor tradito,Per angoscia non scoppiar.

DUKEBeautiful daughter of love,I am a slave to your charms;with but a single word you couldrelieve my every pain.Come, touch my breast and feelhow my heart is racing.

MADDALENAAh! Ah! That really makes me laugh;talk like that is cheap enough.Believe me, I know exactlywhat such play?acting is worth!I, my fine sir, am quite accustomedto foolish jokes like this.

GILDAAh, these are the loving wordsthe scoundrel spoke once to me!O wretched heart betrayeddo not break for sorrow.

RIGOLETTO a GILDATaci, il piangere non vale...Ch’ei mentiva sei sicura.Taci, e mia sarà la curaLa vendetta d’affrettar.Sì, pronta fia, sarà fatale,Io saprollo fulminar.

M’odi! ritorna a casa.Oro prendi, un destrieroUna veste viril che t’apprestai,E per Verona parti.Sarovvi io pur doman.

GILDAOr venite...

RIGOLETTOImpossibil.

GILDATremo.

RIGOLETTOVa’.

RIGOLETTO to GILDAHush weeping can do no good...You are now convinced he was lying.Hush, and leave it up to meto hasten our revenge.It will be quick, it will be deadly,I know how to deal with him.

Listen to me, go home.Take some money and a horse,Put on the men’s clothes I provided,then leave at once for Verona.I shall meet you there tomorrow.

GILDACome with me now.

RIGOLETTOIt’s impossible.

GILDAI’m afraid.

RIGOLETTOGo!

David Gilbert, conductorMusic Director and Conductor of the Greenwich Symphony Orchestra since 1975, David Gilbert is also Music Director/Conductor of the Senior Concert Orchestra of New York, which performs annually in Carnegie Hall. He is delighted to appear for the second time with The Harlem Chamber Players.

David Gilbert is acclaimed for his dynamic performances with orchestras throughout the United States, Europe, and the Far East. Maestro Gilbert won first prize in the 1970 Dimitri Mitropoulos International Conducting Competition. Assistant Conductor of the New York Philharmonic from 1970 to 1979, and

Principal Conductor of the American Ballet Theatre from 1971 to 1975, he was Chief Assistant to Pierre Boulez at the 1976 Bayreuth Festival in Bayreuth, Germany. At China’s invitation, he served as Principal Guest Conductor of the Beijing Philharmonic (1980-82), the first American musician to hold a position of national prominence in China, Mr. Gilbert was instrumental in rebuilding that nation’s major symphony orchestra.

Mr. Gilbert’s guest conducting has included the orchestras of Nashville, New Jersey, Rochester, Oakland, Pittsburgh, Louisville, Milan’s RAI Orchestra, and the Seoul Philharmonic. In addition to the seven summers he spent as the Music Director/Conductor of the Lake Placid Sinfonietta, he also served nine years as guest conductor at the Manchester, VT, Festival. For three summers he conducted a series of concerts at the International Piano Festival in Tenerife, Canary Islands. In 2004 and 2006, Mr. Gilbert represented Manhattan School of Music as the United States judge for the Pedrotti International Conducting Competition in Trento, Italy.

David Gilbert recently retired as Resident Conductor of the Manhattan School of Music where he conducted both symphony and opera including several important New York premieres—Shostakovich’s The Nose, and Henze’s The English Cat, and in 2004, the U.S. Premiere of Martinu’s Mirandolina. CDs of Ned Rorem’s Miss Julie, Benjamin Britten’s Albert Herring, William Mayer’s A Death in the Family, and Scott Eyerly’s The House of the Seven Gables with the Manhattan School Opera Theatre, David Gilbert conducting, have been released. David Gilbert is currently composing an opera based on William Butler Yeats’ The Shadowy Waters.

The Conductor

Janinah Burnett, sopranoMs. Janinah Burnett’s artistry is profoundly carving her place as one of the most notable sopranos of our time, serving dramatic intent while producing exquisite sound. As Lolo in the revival of Harry Lawrence Freeman’s opera Voodoo The New York Times stated that “Ms. Burnett relishing Lolo’s cries of power and pain are the opera’s highlight.” The Montreal Gazette also proclaimed she “brought a storytelling quality as well as soprano pyrotechnics to Violetta [in La Traviata].” As Mimì in Baz Luhrman’s production of Puccini’s La Bohème, Ms. Burnett received tremendous acclaim winning the Los Angeles Stage Alliance’s “Ovation Award” with a record 82

consecutive sold-out shows. Ms. Burnett joined the Metropolitan Opera roster in 2008 for their productions of Carmen and La Bohème, and has since returned for Parsifal, Le nozze di Figaro, La Rondine, The Enchanted Island, Iphigénie en Tauride, Manon, and Elektra. Ms. Burnett made her Metropolitan opera debut in the role of Bianca in La Rondine. Recently, Ms. Burnett joined the cast of Phantom of the Opera on Broadway as the Innkeeper’s Wife and understudy of Carlotta Giudicelli, the opera diva. Her 2015/16 opera engagements included performances as Leila in John Adams’ Opera I Was Looking At the Ceiling And Then I Saw the Sky at the Teatro dell’Opera di Roma; Sofie in Der Rosenkavalier with Victory Hall Opera; Donna Elvira in Don Giovanni at the Bar Harbor Music Festival; and a concert tour of Russia with the Moscow Philharmonic Orchestra.

Previous season engagements include debuting role of Harriet Tubman in the World Premiere presentation of Harriet Tubman: When I Crossed that Road to Freedom with American Opera Projects; Leila in I Was Looking At the Ceiling And Then I Saw the Sky with Théâtre du Châtelet; Leïla in Les Pêcheurs de Perles with Opera Carolina; Marguerite in Faust with Opera Toledo; and Bess in Princeton Festival’s production of Porgy and Bess. Noted previous engagements include Lucy in Treemonisha at the Théâtre du Châtelet in Paris; Margru in Amistad at the Spoleto Festival U.S.A.; Micaëla in Carmen with the Michigan Opera Theatre and Arizona Opera; Mimì in La Bohème with Arizona Opera, Lyric Opera Baltimore,

The Performers

Manitoba Opera, and Nashville Opera; Susanna in Le nozze di Figaro with Lyric Opera Baltimore; Donna Anna in Don Giovanni with Opera Cleveland; Violetta in La Traviata with Opera Columbus; Claire in William Grant Still’s Troubled Island with New York City Opera; and Bess in Porgy and Bess at the Deutsche Oper Berlin, as well as with Cape Town Opera, Michigan Opera Theatre, Opera Grand Rapids, and in concert with The Israel Symphony Orchestra in Tel Aviv and Rishon LeZion with Mo. Asher Fisch; Lauretta in Gianni Schicchi; Norina in Don Pasquale with Connecticut Opera; Pamina in Die Zauberflöte with Opera Company of Brooklyn and Leonard Bernstein’s Mass with the Dallas Symphony Orchestra ...to name a few. Ms. Burnett was named Artist of the Year in 2011 at Syracuse Opera for her revered role debut as Leïla in Les Pêcheurs de Perles.

While Ms. Burnett makes her home in the genre of opera, that is not the only place she dwells. Widely known and celebrated for her versatility as a recitalist and jazz singer, Ms. Burnett regularly performs with the The Alvin Ailey Dance Company as a soloist for their season opening gala and performed with the sister group to Three Mo’ Tenors, Three Mo’ Divas in their world premiere at the San Diego Repertory Theater. Ms. Burnett most recently gave performances of her own jazz arrangements with her band entitled The Janinah Burnett Quartet at the Cell Theater in NYC and the University of The Streets for International Jazz Day. Other presentations include a sold out solo jazz show at the Metropolitan Room in NYC, jazz duo performances at the Bar Harbor Music Festival, and solo performances at the jazz vespers service at Grace Baptist Church in Mt. Vernon, New York. In addition Ms. Burnett has performed with artists such as Ray Charles, Dr. Billy Taylor, the Barcelona Jazz Orchestra, the Spelman College Jazz Ensemble, and performed in a private birthday celebration for Oprah Winfrey at the home of Maya Angelou. Ms. Burnett is a featured singer in the recent Spike Lee film entitled Red Hook Summer.

Ms. Burnett wholeheartedly believes in giving to community outreach in order to make the world a better place for all of us. This belief led her to produce eight performances of her own show which includes writings juxtaposed with art songs, freedom songs, and spirituals entitled I, Too Sing America: An Artistic Lament for the Fallen. This presentation seeks to provide quality performances rooted in education, activism, committed artistic expression, and healing.

Brandie Sutton, sopranoHailed by The New York Times for her “warm, ample voice” and “distinctive earthy coloring,” and by Opera News for her “sumptuos, mid-weight soprano,” Ms. Sutton first embraced classical music during her undergraduate studies at Oakwood University where she received her Bachelor of Arts degree in Music with a concentration in voice. She now holds a Master in Music degree from The Benjamin T. Rome School of Music at The Catholic University of America in Washington, D.C.

She began her professional career with a solo recital in the province of St. Maarten and many presentations of

Handel’s Messiah around the United States. Ms. Sutton then later made her debut at the John F. Kennedy Center for the Performing Arts in a solo recital in Washington, D.C., and her Manhattan recital debut at Merkin Concert Hall in Lincoln Center. She has performed with the National Symphony Orchestra, Royal Danish Symphony Orchestra in Copenhagen, Denmark, the Radio Orpheus Symphony Orchestra in Moscow and the Krasnoyarsk Philharmonic Symphony Orchestra in the region of Siberia. Ms. Sutton has also toured and soloed with the internationally acclaimed American Spiritual Ensemble under the direction of Dr. Everett McCorvey and with Wynton Marsalis and the Jazz at Lincoln Center Orchestra under the baton of Damien Sneed.

Her competition successes include first place in the Albert Lane Scholarship competition, first place in NATS (state- AL) for her division, first place in the Birmingham Music Club Scholarship Competition including Best Overall Audition, the recipient of the Alma Blackmon Graduate Scholarship Award, first place in the Vocal Arts Competition for Emerging Artists sponsored by the National Association of Negro Business and Professional Women’s Clubs, Inc., district and nationals level, first place in NATS state (MD), Mid-Atlantic regional in advanced college women division, 3rd place in the Annapolis Opera, and Marie E. Crump Vocal Arts Competitions. She was selected as a finalist for Lyric Opera of Chicago’s Ryan Opera Center, as well as 2nd place in the most prestigious Young Concert Artists, Inc. International auditions; selected from nearly 300 vocalists and instrumentalists from around the world.

Ms. Sutton was a winner of the Metropolitan Opera National Council District Auditions and also took 3rd place in the national competition The American Prize. Most recently, she was one of Aretha Franklin’s picks in her national competition to find the next opera star to sign to her label. Ms. Sutton believes that she was blessed with a gift from God. She continues to work hard to develop and perfect this gift, and share it with the world. “They need to know what my God can do!” she exclaims.

Lucia Bradford, mezzo-sopranoMezzo-soprano, Lucia Bradford is a native of Brooklyn, N.Y. Ms. Bradford has performed a number of operatic roles including Carmen in Bizet’s La Tragedie de Carmen, Zita in Puccini’s Gianni Schicchi, La Principessa in Puccini’s Suor Angelica, The Mother in Ravel’s L’Enfant des Sortileges, Mercedes in Bizet’s Carmen, Mrs. Quickly in Verdi’s Falstaff, The Sorceress in Purcell’s Dido and Aeneas, Gertrude in Gounod’s Romeo and Juliet, Hippolyta in Britten’s A Midsummer Night’s Dream, Miss Todd in Menotti’s Old Maid and the Thief, the Duchess of Plaza Toro in Gilbert and Sullivan’s The Gondoliers, Azelia

Dessalines in the historic return of William Grant Still’s opera Troubled Island with New York City Opera at the Schomburg Center, Maria in Gershwin’s Porgy and Bess, and the Mother of Paul Dunbar in the premiere of The Mask in the Mirror by Richard Thompson.

Ms. Bradford has had the privilege of singing and touring in Russia with the Krasnoyarsk Philharmonic Symphony Orchestra and the Radio Orpheus Symphony Orchestra in Siberia, Dubna and Moscow presented by Opera Noire of New York City. She has also toured in parts of Spain, the Caribbean and throughout the United States.

In addition to opera, she enjoys performing in concert and recital settings. Namely, performing works of Schubert, Rossini and Moses Hogan at the prestigious Kimmel Center in the Verizon Hall in Philadelphia with the renowned Maestro Christoph Eschenbach at the piano, the alto soloist in Undine Smith Moore’s

Scenes from the Life of a Martyr in Minnesota, appearing with chamber orchestras including The Harlem Chamber Players performing for their annual Bach series and the St. Luke’s orchestra. Ms. Bradford also enjoys singing new compositions. She appeared in New York City Opera’s VOX concert series performing a new work called Crescent City by Anne LeBaron as Marie Leveau also in Yoav Gal’s work called Mosheh as Miriam.

Ms. Bradford also enjoys singing other genres such as gospel and jazz. She is a member of Opera Noire of New York City and the American Spirituals Ensemble under the direction of Doctor Everett McCorvey.

Chauncey Packer, tenorChauncey Packer is an exciting American tenor. Mr. Packer is originally from southern Alabama where he received his undergraduate degree from University of Mobile. He relocated to New Orleans where he pursued a master’s degree in music from University of New Orleans and postgraduate studies at Louisiana State University in music and theater.

Mr. Packer has sung operatic roles with Nashville Opera, Mobile Opera, Pensacola Opera, Utah Festival Opera, Opera Grand Rapids, Des Moines Metro Opera, Opera Pacific, New Orleans Opera, and LSU Opera. Mr. Packer has sung the roles of Rodolfo (La Boheme),

Alfredo (La Traviata), Pong (Turandot), Werther (Werther), Pinkerton (Madama Butterfly), Sam (Susannah), Ruggero (La Rondine), Dr. Blind (Die Fledermaus), Tamino (The Magic Flute), Larry/Matt (The Face on the Barroom Floor), Arturo (Lucia di Lammermoor), Beppe (I Pagliacci), and the roles of Sportin’ Life, Mingo and Robbins (Porgy and Bess). Mr. Packer has garnered rave reviews for his portrayal of Sportin’ Life with Tulsa Opera, Atlanta Opera, Opera Birmingham, and San Francisco Opera. He has sung with New York Harlem Theatre’s production of Porgy and Bess throughout Europe. In 2008, he debuted in Paris with Opera Comique in Porgy and Bess. The Atlanta Journal proclaimed of his Sportin’ Life portrayal, “Here Chauncey Packer was the complete entertainer...”

Mr. Packer has performed concerts with Edmonton Opera, Baton Rouge Symphony, Nashville Symphony, Mobile Symphony, Gulf Coast Opera, Shreveport Opera, Grand Rapids Symphony, Pensacola Symphony, Arkansas Symphony, Boston Symphony Orchestra, Orquesta Sinfonica de Mineria, and Louisiana Philharmonic. Most recently, Mr. Packer was featured in a concert at Théâtre des Champs-Élysées benefiting the organization Women of Africa.

Mr. Packer has also honed his craft in theater and musical theater productions. He has performed in theater productions such as Baby, The Wizard of Oz, School House Rock Live, and Big River. In recent years, Mr. Packer performed in the Louvre Museum in Paris with Robyn Orlin’s (controversial and provocative European choreographer/director) Babysitting Petit Louis. In 2013-14, he was casted in the First National Broadway Tour of The Gershwin’s Porgy and Bess as the Honey Man and Sportin’ Life cover. Most recently he was Lord Pinkleton in the First National Broadway Tour of Cinderella from 2015 – 2016.

Chauncey Packer has sung outreach programs for Mobile Opera and Pensacola Opera. He has done worked in young artist programs with Utah Festival Opera and Des Moines Metro Opera. Mr. Packer has been the recipient of several prestigious awards. He was the recipient of academic and music scholarships for his undergraduate and graduate studies. He was awarded the Huel Perkins Fellowship at Louisiana State University for doctoral studies. He has won several vocal competitions including National Associations of Teacher’s Singing Competition, Rose Palmai-Tenser Competition, Shreveport Singer of the Year, and was a finalist in Ducrest International Competition. He also placed several times in the regional finals of the Metropolitan Opera National Council Auditions. In 2005, Mr. Packer won at the regional level and was a semi-finalist at the Metropolitan Opera.

Mr. Packer is featured on several commercial recorded releases. He is recorded with Nashville Symphony’s Porgy and Bess on Decca Records and with Paragon Ragtime Symphony’s Treemonisha on New World Records. He is featured in San Francisco Opera’s DVD release of Francesca Zambello’s Porgy and Bess which continues to gain critical acclaim. He was also featured as a vocalist on a recording with Paragon Ragtime Orchestra released in November 2017.

Mr. Packer’s recently made his debut with Teatro alla Scala in their production of Porgy and Bess as Sportin’ Life. His present engagements this year include concerts with Baton Rouge Symphony, Louisiana Philharmonic Orchestra, and The Colour of Music Festival, American Spiritual Ensemble, University Musical Society of the University of Michigan, and National Philharmonic at Strathmore.

Kenneth Overton, baritoneKenneth Overton is lauded for blending his opulent baritone with magnetic and varied portrayals that seemingly “emanate from deep within body and soul.”

Raised in Philadelphia, Kenneth Overton’s symphonious baritone voice has sent him around the globe. Kenneth is one of the most sought after opera singers of his generation, and successfully started his season with a return to The New York City Opera performing the role of Jake Wallace in Puccini’s La Fanciulla del West . Shortly thereafter, he returned to the San Francisco Opera in “the most eagerly anticipated new opera

of the season” (New York Times, 2017); the world premiere of John Adams’s The Girls of the Golden West, as the cover for the role of Ned Peters. Additionally, Kenneth thrived in his Hungarian debut as Porgy in the Margaret Island Open Air Theatre’s production of Porgy and Bess where he was heralded as one of “America’s most renowned opera singers.”

Alongside the New England Symphonic Ensemble, Kenneth took Carnegie Hall by storm this season in his soloist performances of Faure’s Requiem and the New York Premiere of Michael John Trotta’s Seven Last Words of Christ with Mid America Productions. In addition, he returned to David Geffen Hall with the National Chorale in Mozart’s Requiem, and Vesperae solennes de confessore. He also starred in the significant world premiere of Upon This Handful of Earth by Norwegian composer Gisle Kverndokk, commissioned by the New York Opera Society.

Kenneth’s ever blossoming career has allowed him to perform with some of the most prestigious opera companies and orchestral organizations in the world, highlights include his 2017 New York Philharmonic debut, his San Francisco Opera debut as Lawyer Frazier in Porgy and Bess and a return to the company as Sid in La Fanciulla del West. As a leading baritone, Kenneth has performed with Utah Festival Opera and Musical Theatre, Opera Memphis, Sacramento Opera, Nashville Opera, Connecticut Opera, Chattanooga Symphony and Opera, Boheme Opera of NJ, Houston Ebony Opera Guild, Toledo Opera, Opera

Delaware, Shreveport Opera, Opera Tampa, and Opera Carolina. Kenneth has been seen as Germont in La Traviata, Michele in Il Tabarro, Papageno in Die Zauberflöte, Sharpless in Madama Butterfly, Leporello in Don Giovanni, Marcello and Schaunard in La Bohème, Ping in Turandot, Angelotti in Tosca, as well as Bello and Sid in La Fancuilla del West.

Kenneth’s interpretation of the title role in Porgy and Bess has been proclaimed as “breathtaking.” He has performed the role over a hundred times at international houses such as the Deutsche Oper Berlin in the critically-acclaimed production from South Africa’s Cape Town Opera, Palacio Bellas Artes in Mexico City, L’Opera Montreal, he triumphed in Tony Award Winning Director John Doyle’s new staging for The Royal Danish Opera in Copenhagen, and debuted the role at various houses on tour throughout the British Isles. Kenneth has also portrayed Porgy in concert with the Traverse City Symphony, the Springfield Symphony, the National Chorale at David Geffen Hall - Lincoln Center, the Lithuanian State Symphony Orchestra, the Paducha Symphony, the Richmond Symphony, the Sopot Festival in Poland, and the Klangvokal Festival in Dortmund. Kenneth has also sung Porgy on stage in the USA at Utah Festival Opera and Musical Theatre, Opera Theatre of Pittsburgh, Opera Memphis, Opera Carolina, and the Lexington Opera Society.

Kenneth is widely recognized for his concert work, having performed as soloist with Phoenix Symphony, Norwalk Symphony, National Chorale, The Harlem Chamber Players, Duluth Superior Symphony, Tacoma Symphony, Annapolis Symphony Orchestra, Yonkers Philharmonic, Memphis Symphony Orchestra, Oratorio Society of New Jersey, Lexington Philharmonic, Bach Choir of Pittsburgh, Mineola Choral Society, Summit Chorale Festival, New York City Opera’s Schomburg Series, Sarasota Symphony, and San Antonio Symphony. His concert and oratorio repertoire includes Faure’s Requiem, Durufle’s Requiem, Handel’s Messiah, Verdi’s Requiem, Mozart’s Requiem, Coronation Mass and Vesperae solennes de confessore, Christmas Oratorio (Saint-Saëns), Mendelssohn’s Elijah, Brahms’ Ein Deutches Requiem, Vaughn Williams’ A Sea Symphony, Beethoven’s Ninth Symphony, Schubert’s Mass in A-flat, Dvorak’s Te Deum, Bruckner’s Te Deum, Haydn’s Creation and Vaughan Williams’ Five Mystical Songs. Kenneth is also regularly featured with the American Spiritual Ensemble as a soloist for annual performances in the USA and abroad.

Kenneth’s versatile acting and singing abilities have allowed him to continue his passion for musical theater and new works. He made his Operatic Broadway debut in Baz Luhrmann’s La Boheme. He triumphantly portrayed Joe in Showboat and Judge Turpin in Sweeny Todd for the Pensacola Opera, and excelled in the

diverse contemporary works, Corps of Discovery by Michael Ching and The Widow’s Lantern by David Ott. In 2018, Kenneth will debut the role of Yeshua in the world premiere of Richard Danielpour’s The Passion of Yeshua at the Oregon Bach Festival. The busy young baritone will also return to Lincoln Center for the New York Premiere of Angela Rice’s Thy Will Be Done, with the National Chorale. He continues his season with the role of historical figure and civil rights leader, Ralph Abernathy in the World Premiere of Douglas Tappin’s Rhythm and Blues Opera, I DREAM, with Opera Grand Rapids, Toledo Opera, and Opera Carolina.

Pride and tradition portray the motif of Kenneth’s debut solo album Been In De Storm So Long: Songs My Fathers Taught Me, his homage to the spiritual tradition that has been formative in his artistic life. Pianist Kevin Miller and Kenneth’s collaboration embody the historic Spirituals from our past and contemporary art songs by African American composers, giving them a new life of their own. Amidst performing, Kenneth serves as co-founder and artistic director of Opera Noire of New York, a performing arts organization created to empower African-American artists to reach their full creative potential in a creative supportive environment.

$100 – $999 Jeffrey CarneyJill CashmanBill and Marcia ClarksonUldine Collins James and Eileen Cohn Michael CummingsJonathan DworkinFreya EllingwoodBarbara J. FieldsYin Yin Gene and Mark SchmitzNancy HagerSanjeanetta HarrisThomas HeebnerDeirdre HowleyJoanna M. KapnerFern KhanAmy LaskeyJennifer LeeMary Lee LeggettChristiana LeonardSylvia Ann LutterlohSusan MacalusoMargaret P. MautnerCharlotte MayersonJean McCurryJames and Pamela MortonDoreen T. MurakamiBarbara and David OldhamThomas PellatonWilliam and Aishah SalesPhilip B. SpiveyLeslee SumnerForrest TaylorMichael ThaddeusSusan Wolf PostDr. Janet WolfeAnonymous

2017 – 2018 Season Supportersof The Harlem Chamber Players$10,000+New York City Department of Cultural AffairsCouncil Member Bill Perkins, 9th Council DistrictWest Harlem Development Corporation

$5,000 – $9,999Columbia Community ServiceFord Foundation Matching GiftsLily Auchincloss Foundation, Inc.New York State Council on the ArtsThe Turrell Fund

$1,000 – $4,999Sandra BillingsleaNorbert Gasser and Felix E. SantiagoJo-Ann GrahamStanley D. HeckmanManhattan Community Award via Manhattan Borough President Gale A. BrewerBrenda D. MorganLiz PlayerWilliam and Rose PlayerPuffin Foundation Ltd.Susan Stevens and Samuel James

$100 – $999Jennifer AllenAmeriprise FinancialCarol ArroyoBagby FoundationVien Bounma and William HochAndréa BradfordJames and Ida BrittonCarol BrownLeon Bynum

$1 – $99Linda BlackenValerie BoushellAnstice CarrollBernadette D. ChapmanYuien ChinAngela and William BarbosaGinnine CocuzzaBarbara J. DunlapMalva FilerJoana Genova-RudiakovElla HarrisEls HeberMarie KalsonGlaxoSmithKlineKima KraimerIndie Opera PodcastKaren HurleyVirginia JohnsonPaula KimperJohn L. KolpSusan LardnerJack W. MaiselAlisa MatlovskyLiz and Allen Mellen

$1 – $99 Nessa ObtenNYSE FoundationGihan PereraSandra PlayerAmy PollackAnn RanniarBetty ReardonSharon RichterMorey RittRobyn RobinsonJanet RodriguezRobert G. RollersonMartha (Rosie) RoundsJudith RudiakovSchwab Charitable Trust FundGloria SewardJuanita SmithAnn SullivanVicente and Marcela VelascoDebra VogelNorman WeissStefan & Iris ZuckerAnonymous

Harlem Songfest Patrons(Those who bought VIP tickets to support tonight’s 10th Anniversary Season gala concert)Patricia BillingsAndréa BradfordArmando CastellanoPatricia EatonEleanor EvansMalva E. FilerNorbert Gasser and Felix E. SantiagoJo-Ann GrahamStanley D. HeckmanJennifer B. LeeHelena LewisSusan MacalusoJack MaiselMargaret P. MautnerCharlotte Mayerson

James McCroryJean McCurryVera MshanaNessa ObtenEstelle ParsonsThomas PellatonDr. Gwendolyn RichardsonRobyn RobinsonRobert G. RollersonNatasha RoweMark SchmitzLori SpectorPhilip B. SpiveyMarilyn TaylorJohn TreadwellVita Weir

Special thanks to Pat Stevenson for promoting our event in the Harlem News, which reports on “good news you can use.”

Thanks to Yolanda Wyns and everyone at the Harlem School of Music for hosting some of our rehearsals. Thanks also to Jill Cashman for lending us your home for the rehearsals with singers and pianist.

Thanks to all our community partners—Novella Ford, Khalilah Bates, and the Schomburg Center for Research in Black Culture for presenting The Harlem Chamber Players in their Langston Hughes Auditorium; Susan Macaluso and Goddard Riverside Community Center for presenting us in their Bernie Wohl Center each year; Stephanie Cooke and Broadway Presbyterian Church for hosting our concerts; and to Rev. Dr. Mary Foulke and everyone at St. Mary’s Episcopal Church for continuing to host our concerts.

Thanks also to the Donizetti Society, conductor/pianist/editor Hans Schellevis, and Bärenreiter/Schott Music for all your help in getting us the newly edited critical-edition orchestral score and parts for the rarely performed Romanza aria from Caterina Cornaro for tonight’s concert.

Thanks also to William Zick for always posting our concert announcements on your website www.africlassical.blogspot.com.

Thank you to Yin Yin Gene, Deryck Clarke, Carol Brown (Harlem Opera Theater), Yuien Chin (Harlem One Stop), and Camilo Lopez for your help in promoting this concert.Thank you to Renee Robinson, Sharon Williams, Camilo Lopez, Jacob Austin, Amy Fraser, Sophia Clarke, and Liliana Fenner for helping tonight.

For your recording needs, call Robert Olmsted at 917-446-0946 or email him at robertolmsted@hotmail.com. For your bookkeeping needs call Mary Dohnalek at 212-355-4502. Thanks also to our photographer Bob Curtis.

Thank you to Taylor Riccio, Director of Production and Operations, and the staff at Miller Theatre for all your help.

The Dream Unfinished, an activist orchestra, presents “Sanctuary” Friday, July 27 at 7 PM at Saint Peter’s Church. New York premieres of works by Vijay Iyer, Kareem Roustom, and George Walker, and performances of works by Tania Leon and Huang Ruo. Including a performance by Vijay Iyer and Jennifer Koh. Featuring speakers from NYC’s immigrant rights community. Visit www.thedreamunfinished.org for more information and to buy tickets.

We wish you and yours a wonderful summer, and we look forward to seeing you in the fall!

Acknowledgements

Message from the FounderTonight I am filled with gratitude for all of you who have helped us reach our 10th Anniversary.

I am thankful for all those in the past who have helped us get where we are today, and I thank all of you with us today, including all the musicians, volunteers, board members, friends of the board, and everyone who supports us in any way, whether it be by telling friends about us, contributing financially, or by coming to our concerts.

I hope you will join us for the next ten years and more!

The Harlem Chamber Players 2017 - 2018 Season is supported, in part, by public funds from the New York City Department of Cultural Affairs, in partnership with the City Council; in part by a grant from Columbia Community Service; in part by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature; in part by the Manhattan Community Award via Manhattan Borough President Gale A. Brewer; in part by West Harlem Development Corporation via the Tides Foundation; a grant from the Lily Auchincloss Foundation; a grant from the Bagby Foundation; a grant from the Puffin Foundation Ltd; and through the generous donations from our supporters and donors.

2018 – 2019 Season PreviewSeptember 28, 2018 at 7 PMSeason Opening ConcertMembers of The Harlem Chamber Players will perform a chamber music concert featuring the Brahms Sextet No. 1 in B-flat Major and Vaughan-Williams’s Phantasie Quintet at Broadway Presbyterian Church, 601 West 114th Street.

October 28, 2018 at 3 PMChamber Music Concert at Goddard RiversideThis concert will include music by William Grant Still, Neal Kirkwood, Joseph Suk, and a reprise of the Johannes Brahms Sextet. Goddard Riverside Community Center’s The Bernie Wohl Center at 647 Columbus Avenue at 91st Street.

November 16, 2018 at 7 PMAnnual Bach ConcertBroadway Presbyterian Church, 601 West 114th Street (on Broadway).

February 28, 2019 at 6:30 PM11th Annual Black History Month CelebrationThis concert will include two world premieres by renowned composer Adolphus Hailstork to commemmorate the 400th anniversary of the importation of the first black slaves to America. The Schomburg Center, 515 Malcolm X Boulevard.

March 30, 2019 at 8 PMTwo Wings: The Music of Black America In MigrationThe Harlem Chamber Players join Jason Moran and Alicia Hall Moran in a multi-media production at Carnegie Hall’s Stern Auditorium/Perelman Stage.

March/April 2019Joint Concert with Opus 118 Harlem School of MusicHear the highly acclaimed students from Opus 118 and master teacher Roberta Guaspari, the inspiration behind the documentary Small Wonders and Miramax’s film, Music of the Heart, starring Meryl Streep. St. Mary’s Episcopal Church, 521 West 126th Street.

May 2019Season Finale Concert at Miller TheatreOur final concert of the season will be a chamber orchestra concert featuring Barber’s Knoxville: Summer of 1915, Coleridge-Taylor Perkinson’s Sinfonietta, Adolphus Hailstork’s Two Romances for viola and orchestra, and the Sibelius Violin Concerto. The soloists will be soprano Janinah Burnett, violist Amadi Azikiwe, and violinist Ashley Horne. Ariel Rudiakov will conduct.

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