PSC Brahms Program - Portland Symphonic choir

Portland
Symphonic
Choir
Steven Zopfi,
Brahms
Artistic Director
Requiem
with Dominique Labelle, soprano
and Richard Zeller, baritone
and
J. S. Bach Cantata #51
Jauchzet Gott
Steven Zopfi conducts the Oregon Symphony • September 29, 2012 at 7:30 pm • Arlene Schnitzer Concert Hall

JOIN US FOR OUR UPCOMING CONCERTS!
WinterSong!
A lways a favorite with local audiences; bring your nearest
and dearest to celebrate the sounds of the season.
Saturday, December 1, 2012 at 7:30pm, Sunday, December 2, 2012 at 1:30pm • St. Mary’s Cathedral, Portland, Oregon
Beethoven’s Ninth Symphony &
Britten’s Ballad of Heroes
Carlos Kalmar conducts the Oregon Symphony
and the Portland Symphonic Choir. This program
pairs the powerful Ninth with Benjamin Britten’s
Ballad of Heroes, a stirring work of three short
movements for tenor soloist, choir, and orchestra.
Saturday, February 9, 2013 at 7:30pm
Sunday, February 10, 2013 at 2:00pm
Monday, February 11, 2013 at 8:00pm
Arlene Schnitzer Concert Hall, Portland, Oregon
Encore!
Steven Zopfi celebrates his 10th anniversary as
Artistic Director by conducting the Choir in this
very special concert featuring favorites selected
by our audiences, friends, and choir members.
Saturday, April 27, 2013 at 7:30pm
Sunday, April 28, 2013 at 1:30pm
St. Mary’s Cathedral, Portland, Oregon
Visit www.pschoir.org for ticket information, or call 503.223.1217

About the Portland Symphonic Choir
Established in 1945, the Portland Symphonic Choir is the
city’s oldest and largest independent choral organization.
Singers selected for membership in this largely volunteer
ensemble come from all over the Portland Metro area
and from all walks of life. Under the leadership of
Artistic Director Steven Zopfi since 2002, the Choir has
achieved a reputation of excellence and dedication to
creating powerful, accessible choral experiences for music
enthusiasts and the wider community.
In addition to performing major works as the official chorus
of the Oregon Symphony, the Choir regularly commissions
and premieres choral works by composers from the Northwest
and across the US, including such notable artists as Jacob
Avshalomov, Morten Lauridsen, Tomas Svoboda, and Bryan
Johanson. Several recent concerts have celebrated American
music and its rich history of song.
Each summer, singers are invited to sing along with the
Symphonic Choir at Summer Sings! The Choir also teams with
Oregon Mentors and Providence ElderPlace to bring both
young and old to concerts for low cost or for free. For this
performance, the Choir is donating 200 tickets to Creative Arts
Network, a regional arts education advocacy group.
About the Oregon Symphony
Led by Music Director Carlos Kalmar, the 76-member
Oregon Symphony plays a full September-May schedule of
70 concerts spanning the musical spectrum with Classical,
Pops, and Special concerts.
In addition to its avid audiences in the 2,780-seat Arlene
Schnitzer Concert Hall, the orchestra conducts a vigorous
educational outreach program, sharing the power of music
with the next generation and bringing its total annual
audience to nearly a quarter of a million people. Now in its
117th season, it’s the oldest orchestra west of the Mississippi.
In 2011, the Oregon Symphony was invited to Carnegie Hall
where it won rave reviews from The New York Times and
The New Yorker, who praised its performance as “one of the
most gripping events of the current season.” The music on
that program was recorded for the PentaTone label, and the
CD, Music for a Time of War, hit the classical Billboard charts
and won international accolades. Its next CD, This England—
featuring works by Britten, Elgar, and Vaughan Williams—is set
for release this coming November. This season, the orchestra
has been invited back to Carnegie Hall in May, 2013 and will
make its debut at Seattle’s Benaroya Hall.
Cover art – Photo of Oregon Coast Sunset – © Deb White • Graphic design courtesy of Lodestar Studio, Inc.
The Portland Symphonic Choir is supported in part by grants from the following organizations:
2012–2013 Season Media sponsors: Sponsored by:
Portland Symphonic Choir • Mail: PO Box 1517, Portland, Oregon, 97207 • Telephone: 503-223-1217 • Website: www.pschoir.org

Brahms Requiem
Photo by Michael Jones
Steven Zopfi, conductor
Portland Symphonic Choir, Steven Zopfi, artistic director
Oregon Symphony, Carlos Kalmar, music director
Dominique Labelle, soprano
Richard Zeller, baritone
Johann Sebastian Bach
Oregon Symphony
Dominique Labelle, soprano
Jeffrey Work, trumpet
Cantata BWV 51
Jauchzet Gott in allen Landen
Aria S
Recitative S
Aria S
Chorale S
Aria S
Johannes Brahms
Portland Symphonic Choir
Oregon Symphony
Dominique Labelle, soprano
Richard Zeller, baritone
INTERMISSION
Ein deutsches Requiem, op.45
Chorus: Selig sind die da Leid tragen
Chorus: Denn alles Fleisch es ist wie Gras
Baritone Solo and Chorus: Herr, lehre doch mich
Chorus: Wie lieblich sind Deine Wohnungen
Soprano Solo and Chorus: Ihr habt nun Traurigkeit
Chorus and Baritone Solo: Denn wir haben hie keine bleibende Statt
Chorus: Selig sind die Toten

Translations
Johann Sebastian Bach
Cantata BWV 51
Jauchzet Gott in allen Landen
Aria S (tromba, violino I/II, viola, continuo)
Shout for joy to God in every land! All
the creatures contained in heaven and
earth must exalt his glory, and to our God we
would now likewise bring an offering, since
in affliction and distress at all times he has
stood by us.
Recitative S (violino I/II, viola, continuo)
We pray at the temple where God’s honour
dwells, where his faithfulness that is
renewed every day rewards us with unmixed
blessing. We praise what he has done for
us. Even if our weak mouths have to babble
about his wonders, yet imperfect praise can
still please him.
Aria S (continuo)
Most High God, make your goodness new
every morning from now on. Then to your
fatherly love a thankful spirit in us through a
devout life, will show that we are called your
children.
Chorale S (violino I/II, continuo)
May there be praise and glory and
honour for God the Father, Son and Holy
Spirit! May it be his will to increase in
us what he promises us through his grace, so
that we firmly trust in him, rely completely
on him, from our hearts build on him, so that
our heart, spirit and mind depend steadfastly
on him. About this we now sing: Amen, we
shall achieve this, if we believe from the
bottom of our hearts.
Aria S (tromba, violino I/II,
viola, continuo)
Alleluja!
Translation by Francis Browne (June 2008)
Johannes Brahms
A German Requiem
Ein deutches Requiem, op.45
Chorus: Blessed are they that mourn
Matthew 5:4; Psalm 126:5–6
Blessed are they that mourn: for they shall be
comforted.
They that sow in tears shall reap in joy.
They that go forth and weep, bearing
precious seed, shall doubtless come again
with rejoicing, bringing their sheaves with
them.
Chorus: For all flesh is as grass
1Peter 1:24; James 5:7, 8a; 1Peter 1:25;
Isaiah 35:10
For all flesh is as grass, and all the glory of
man as the flower of grass.
The grass withers, and the flower thereof
falleth away.
Be patient therefore, brethren, unto the
coming of the Lord.
Behold, the husbandman waiteth for the
precious fruit of the earth, and has long
patience for it, until he receive the morning
and evening rain.
But the word of the Lord endureth for ever.
And the ransomed of the Lord shall return,
and come to Zion with songs and everlasting
joy upon their heads: they shall obtain joy
and gladness, and sorrow and sighing shall
flee away.
Baritone Solo and Chorus: Lord, make me to
know mine end
Psalm 39:4–7; Wisdom 3:1
Lord, make me to know mine end, and the
measure of my days, what it is: that I may
know how frail I am.
Behold, thou hast made my days as an
handbreadth; and mine age is as nothing
before thee.
Surely every man walks in a vain show:
surely they are disquieted in vain: they heap
up riches, and knows not who shall gather
them.
And now, Lord, what wait I for?
My hope is in thee.
The souls of the righteous are in the hand of
God and there shall no torment touch them.
Chorus: How lovely are thy tabernacles
Psalm 84:1, 2, 4
How lovely are thy tabernacles, O Lord of
hosts!
My soul longs, yea, even faints for the courts
of the Lord: my heart and my flesh cries out
for the living God.
Blessed are they that dwell in thy house: they
will always be praising thee.
Chorus and Baritone Solo: And ye now
therefore have sorrow
John 16:22; Isaiah 66:13; Ecclesiates 51:35
And ye now therefore have sorrow: but I will
see you again, and your heart shall rejoice, and
your joy no man taketh from you.
Behold with your eyes, how that I have but
little labor, and have gotten unto me much rest.
As one whom his mother comforts, so will I
comfort you.
Chorus and Baritone Solo: For we have no
continuing city
Hebrews 13:14; 1Corinthians 15:51, 52, 54,
55; Revelation 4:11
For here have we no continuing city, but we
seek one to come.
Behold, I show you a mystery: we shall not
all sleep, but we shall all be changed, in a
moment, in the twinkling of an eye, at the
last trump: for the trumpet shall sound,
and the dead shall be raised incorruptible,
and we shall be changed.
Then shall be brought to pass the saying that
is written, Death is swallowed up in victory.
O death, where is thy sting?
O grave, where is thy victory?
Thou art worthy, o Lord, to receive glory and
honor and power: for thou hast created all
things, and for thy pleasure they exist and
were created.
Chorus: Blessed are the dead
Revelation 14:13
Blessed are the dead, which die in the Lord,
from henceforth. Yea, says the Spirit, that
they may rest from their labors; and their
works do follow them.
The English translation is largely the King James
Version, slightly adapted by Philip Legge.

Program notes by Kathryn Lehmann
JS Bach Cantata BWV 51
(Jauchzet Gott in allen Landen)
The first performance of this festive cantata was thought to have been
on September 17, 1730 with the virtuosic solo soprano part sung
by a 12-year old boy, Christoph Nichelmann. The solo trumpeter
was Gottfried Reiche. BWV 51 is assigned for the fifteenth Sunday
after Trinity or any other occasion. The text cannot be traced to any
specific feast day but it has historically been adapted for Michaelmas.
Bach is known for using Italian forms of composition in his church
cantatas, and this “Jauchzet Gott” follows a typical form as an Italian
solo motet, with the movements of aria, recitative, and aria leading to
an “Alleluia.” Bach places a chorale before the “Alleluia”, which was
very typical of the Lutheran tradition in Baroque Germany.
The cantata begins with a “tour de force” aria for the soprano,
with fioratura runs and exciting high notes. The first line of the
text praising God begins the aria (Jauchzet Gott in allen Landen!)
with thrilling and difficult duets between the trumpet and soprano.
The next seven lines of the text comprise the middle section of the
aria, in the relative minor key and are less extroverted and sound
more contemplative. This opening aria then returns (da capo) to the
opening section. The next two movements stay in the relative minor
key, and begin with an accompanied recitative. The following third
movement aria is also a da capo aria, accompanied only by continuo.
The fourth movement chorale returns to the C major key of the first
movement with two solo violins and continuo accompanying the
singer, who features the chorale melody sung very simply. The final
movement, Alleluia, starts with the soloist and continuo alone, but
then the trumpet enters, followed by the strings. The final movement
closes the cantata as it began, with this extroverted and brilliant aria.
Brahms A German Requiem
(Ein deutsches Requiem, op. 45)
The German Requiem is not only the greatest vocal work of
Johannes Brahms, it is also the central work of his career. The word
requiem traditionally refers to the Roman Catholic Mass for the
Dead, which begins with the Latin phrase, Requiem aeternum dona
eis domine (“Grant them eternal rest, O Lord”). Many composers
had written liturgical settings of the Requiem text in Latin for the
Catholic service, where it was performed as a prayer for the soul
of the deceased. In contrast, Brahms chose the text for the German
Requiem from his readings of the Bible, from both the Old and New
Testaments and the Apocrypha. His text emphasizes faith in the
Resurrection, rather than the fear of the Day of Judgment. He was
apparently determined to create a universal text, one that would not
follow any particular liturgy.
The origins of the Requiem date back to 1854, when Brahms was
composing his First Symphony. Brahms recast the symphony as
a piano concerto and discarded the symphony’s original slow
movement. In 1861, he adapted this discarded music and included it
in a cantata, for which he worked out the text. The cantata remained
untouched until his mother died in 1865. Within two months of her
death, he had completed the first, second, and fourth movements of
the Requiem. Clara Schumann, widow of Robert and a close friend of
Brahms, later wrote, “We all think he wrote in her memory, though
he never expressly said so.” It took him until 1866 to complete
three more movements of the work. This six-movement work was
first performed under the composer’s baton in Bremen Cathedral on
Good Friday, 1868. Soon after the premiere, he inserted a new fifth
movement (bringing the work to seven movements), with a soprano
solo that is clearly a tribute to his mother. This final version was first
heard in Leipzig in February of 1869, and quickly became a classic;
it was heard in Germany twenty times in the first year alone.
Each movement of the German Requiem has its own character,
mostly established by Brahms’s instrumentation. For example, in the
first movement there are no violins, clarinets, piccolos, or trumpets,
and only one pair of horns. This sets a dark and heavy mood. The first
three notes of the chorus introduce a tiny musical cell that will occur
in many different forms throughout the work, binding it together. The
sopranos sing a small leap of a third (Selig sind) followed by another
step in the same direction. A contrasting phrase (mit Tränen) contains
the same cell in reverse as the tears turn to joy.
The second movement begins with a slow, march-like phrase in
a triple meter, which sounds very much like a funeral march. The
violins enter in the high register, playing a basic cell in descending
form while the timpani quietly sounds ominous triplets. The chorus
sings in unison, first softly, then in full voice as the march theme
is repeated. This is the music that Brahms composed and then
removed from his early symphony. The consoling call for patience
is brightened by the woodwinds, especially at the vivid depiction of
“the early rain” in the flute and the harp. The third movement begins
with the baritone solo in dialogue with the chorus. The baritone
expresses doubt and fear until the chorus asserts, “My hope is in
Thee” in a passage that begins quietly and quickly grows in power as
the other voices come in. The chorus rises to a climax, closing in the
powerful double fugue. The fourth movement is a gentle midpoint to
the entire work, filled with easy tranquility and calm. It is the most
beloved and best-known passage from the score.
The fifth movement features a soloist, but while the baritone had sung
of grief and despair in movement three, here the soprano sings from
beginning to end of maternal consolation, echoed by the murmurs
of the chorus. The sixth movement is reminiscent of the third, with
harmonies ranging from C minor to F-sharp minor, and from one
end of the tonal spectrum to the other and back. Brahms’s assertions
of life’s victory over death are very forceful, but the strength comes
from classical elements such as the harmonic progressions, not
from operatic fanfares such as those found in the Requiem settings
of Berlioz or Verdi. The excitement is extended into a powerful and
spacious fugue in C major. The final (seventh) movement returns to
the home key, starts with the basic thematic cell, and begins with the
same word, Selig (“Blessed”). But now the work of consolation has
been accomplished. The blessing is no longer for the living seeking
comfort, but for the dead, who have gone to their rest. The somber
orchestral colors of the opening are gone as Brahms reinstates the
clarinets, the second pair of horns, and the violins. The final section
of the movement is a beautiful reworking of the material from the
opening movement. Now the text is “Blessed are the dead” instead of
“Blessed are they that mourn,” as the music works its way back to the
home key of F major.
The Requiem becomes a benediction of consolation and a statement
of faith. Even more than that, it is Brahms saying for himself, and for
all who sing and listen, that the paradox involved in mourning and
death can be reconciled. Brahms is concerned to capture a universal
human experience rather than a narrow doctrinal one, and to address
the living, the bereaved, rather than the dead.

Biographies
Steven Zopfi
Hailed as one of the leading young conductors
in the Pacific Northwest, Steven Zopfi
serves as Director of Choral Activities at the
University of Puget Sound and is the Artistic
Director and Conductor of the Portland
Symphonic Choir, the official chorus of the
Oregon Symphony. Critics have hailed his
work as “magical” and “superb,” and choirs
under his direction have been invited to
sing at the local and regional conventions of
the American Choral Director’s Association,
the Music Educator’s National Conference,
and other professional organizations. Zopfi
has served on the faculties of Penn State
University, the University of Washington, and Pacific Lutheran University.
Zopfi, a native of New Jersey, attended the Hartt School of Music and the
University of California at Irvine, and earned a Doctor of Musical Arts degree
from the University of Colorado. He has served as Vermont State President of
the American Choral Directors Association and on the executive boards of the
Vermont Music Educators Association and the Washington Choral Director’s
Association. He has prepared choruses for Carlos Kalmar, Bernard Labadie,
Alastair Willis, Murray Sidlin, and Peter Schickele. He has sung for many
leading conductors, including Robert Shaw and Sir David Willcocks. Zopfi
has performed with the Prague Philharmonic, the Colorado Symphony, and
the New Jersey Symphony. He is the founder and past Artistic Director of The
Foundling Hospital Singers, The Boulder Schola Cantorum, The Grace Chamber
Orchestra, and The Portland Sinfonietta.
Active as an editor of early music, Zopfi is also a passionate advocate for new
music. He has commissioned and conducted the world premieres of music by
Edwin Lawrence, Timothy Melbinger, Bryan Johanson, and Judith Zaimont. His
music reviews and articles have been published in The Choral Journal and his
arrangements and editions are published by Colla Voce publishing. Zopfi is in
constant demand as a conductor, adjudicator, and clinician.
Dominique Labelle
Soprano Dominique Labelle, whose voice
has been called “angelic,” “silvery,” and
“vibrant,” could easily lay claim to the title
“diva.” Instead, she simply calls herself
a musician, and takes greatest pride not
in her rave reviews, but in her work with
colleagues and in her probing explorations
of the repertoire from the Baroque to new
music.
Throughout her career she has fearlessly
plumbed the technical and emotional depths
of music, turning in performances of “almost
alarming ferocity” (San Francisco Chronicle)
and possessed of “conviction but without exhibitionism” (De Telegraf), that
have “the audience hanging on every note” (Boston Globe). Her legendary
musicianship and passionate commitment to music-making have led to close
and enduring collaborations with a number of the world’s most respected
conductors and composers, most recently Nicholas McGegan, Sir Roger
Norrington, Iván Fischer, Jos van Veldhoven, and the Pulitzer Prize winning
composer Yehudi Wyner. She also treasures her long association with the late
Robert Shaw.
Recent and upcoming engagements include Stravinsky’s Les Noces with the St.
Louis Symphony and David Robertson, Handel’s Messiah with Kent Nagano
and the Orchestre Symphonique de Montreal and with Gerard Schwartz and
the Seattle Symphony Orchestra; Yehudi Wyner’s Fragments from Antiquity with
the Lexington Symphony; and numerous opera and concert performances at the
Göttingen Festival in Germany with Nicholas McGegan, She and Mr. McGegan,
with whom she has recorded and performed extensively, are also collaborating
in performances of Handel’s Orlando, Messiah and Alexander’s Feast, with San
Francisco’s Philharmonia Baroque Orchestra, and for Haydn’s Seasons with the
St. Paul Chamber Orchestra. In January and February 2012, she sang the lead
female role in the modern premiere of Monsigny’s Le Roi et le Fermier for Opera
Lafayette, conducted by Ryan Brown, in performances at the Kennedy Center,
Lincoln Center, and at Versailles.
Her recent appearances with Hungarian conductor Iván Fischer include
the Countess Almaviva in Mozart’s Nozze di Figaro at Teatro Perez Galdos
in Las Palmas and in Budapest, a Bach B-minor Mass in Washington, DC,
and a Bach St. Matthew Passion with the Royal Concertgebouw Orchestra
in Amsterdam. They collaborate again at Carnegie Hall in April 2012 for a
Mozart Requiem with the Orchestra of St. Luke’s and in March 2013 on the
St. Matthew Passion.
In addition to her renowned Handel, Mozart, and Bach interpretations,
Dominique Labelle is drawn to contemporary music. She sang Seven Romances
on Poetry of Alexander Blok by one of her favorite modern composers,
Shostakovich, at the Mt. Desert Festival of Chamber Music in Maine in the
summer of 2011. Her recent performance of Britten’s Les Illuminations with the
New England String Ensemble and Susan Daveny Wyner was called “heated”
and “voluptuous” by the Boston Globe. She has performed and recorded John
Harbison’s The Rewaking with the Lydian String Quartet.
Dominique Labelle first came to international prominence as Donna Anna
in Peter Sellars’ daring production of Mozart’s Don Giovanni, set in Spanish
Harlem, which she performed in New York, Paris, and Vienna. She has also
won great acclaim for her portrayal of Micaela in Bizet’s Carmen: “You would
have to go back to the young Mirella Freni to find a Micaela to rival the
golden-throated Labelle…her singing is enough to give you religion,” wrote
Richard Dyer of the Boston Globe.
Among her numerous recordings of opera and concert repertoire is
Monsigny’s Le Déserteur, with Opera Lafayette and Ryan Brown (Naxos), with
whom she also performed in Gluck’s Armide at Lincoln Center’s Frederick P.
Rose Hall and at the Kennedy Center in Washington, DC Of her performance
in the title role, Anthony Tommasini wrote in The New York Times, “Singing
with tender longing one moment and steely determination the next, Ms.
Labelle conveyed Armide’s aching conflicts.” She can also be heard on
recordings on the Virgin Veritas, Deutsche Harmonia Mundi, RCA Victor
Red Seal, Koss, Denon, New World, Carus and Musica Omnia labels. Her
recording of Handel’s Arminio (Virgin Classics) won the 2002 Handel Prize.
Born in Montreal and trained at McGill and Boston Universities, Ms. Labelle
enjoys sharing her technical and musical insights with young singers, and has
taught master classes at Harvard University, McGill, Smith College, and the
University of Massachusetts, with more being planned. She lives in central
Massachusetts with her husband and two children. Visit Dominique Labelle
on her website: www.dominiquelabelle.com
Richard Zeller
One of America’s foremost baritones,
Richard Zeller is internationally acclaimed
for both his concert and operatic roles. He
is known for his sonorous dramatic voice, a
compelling stage presence, and outstanding
musicianship.
Zeller’s full 2011/12 season includes
Carmina Buranas with the Buffalo
Philharmonic and Huntsville Symphony, as
well as a Missa Solemnis with the Charlotte
Symphony, Bach’s Magnificat with Winter Park Bach Festival and Beethoven’s
Ninth with the San Diego Symphony.
Season 2010/11 featured a Brahms Requiem with the Jacksonville Symphony,
and an evening of opera arias at the Dvorak Festival in Bohemia, among other
engagements.
Highlights of the prior season included the B minor Mass with Charlotte
Symphony, a Carmina Burana wih Richmond Symphony, Mendelssohn’s Elijah
at Winter Park Festival, the Brahms Requiem with Portland Symphonic Choir,
and an Opera Gala in Lodz, Poland.
During season 2008/09, Mr. Zeller returned to the Scottish Opera, to sing
Germont in David McVicar’s new production of La Traviata, a role he reprised
with Portland Opera in the US. He also performed the title role of Verdi’s

Falstaff in Portland at PSU Opera directed by Tito Capobianco. He appeared
at Lincoln Center’s Avery Fisher Hall with American Symphony Orchestra in
the lead role of Signor Rivière in Dallapiccola’s opera Volo di notte and at
Lincoln Center Jazz with Deborah Voigt and the Collegiate Chorale as Grand-
Pretre/Hercule in Gluck’s Alceste. Mr. Zeller’s concert engagements during
that season included Beethoven’s 9th Symphony with the Seattle Symphony,
Louisiana Philharmonic, and Spokane Symphony, and Carmina Burana with
the Buffalo Philharmonic at Artpark.
Mr. Zeller’s opera engagements have included 12 seasons at the Metropolitan
Opera; in 2002/03 Mr. Zeller appeared at the Met in three new productions;
as Ernesto in Bellini’s Il Pirata with Renée Fleming; in the lead role of Eddie in
William Bolcom’s opera, A View from the Bridge, based on Arthur Miller’s play;
and as Chorebe in Berlioz’s Les Troyens, conducted by Maestro James Levine.
His other performances and assignments at the Met have included the title role
in Verdi’s Macbeth, the title role in Tchaikovsky’s Eugene Onegin, Marcello in
Puccini’s La Bohème, Barak in R. Strauss’ Die Frau ohne Schatten, Enrico in
Lucia di Lammermoor, Don Carlo in Verdi’s Ernani, Rangoni and Schelkalov
in Mussorgsky’s Boris Godunov in two different productions, Thoas in Gluck’s
Iphigenie en Tauride, Kothner in Wagners’s Die Meistersinger, Sprecher in
Mozart’s The Magic Flute, as well as performances of smaller roles in other
operas including Giordano’s Andrea Chénier, Gounod’s Faust, and Verdi’s
Rigoletto.
Mr. Zeller was featured in Scottish Opera’s widely heralded, award-winning
production of Macbeth, directed by Luc Bondy at its Edinburgh Festival
premiere in 1999/00 and its revival at the Vienna Festival. Other highlights of
past seasons include performances in Chicago Lyric Opera’s Boris Godunov and
Andrea Chénier, Gluck’s Alceste at the Deutsche Staatsoper Berlin and Gluck’s
Iphigenie en Tauride in Madrid. He has also sung the title role of Rigoletto in
many venues, including New York City Opera. Mr. Zeller also appeared as
Athanaël in Massenet’s Thaïs with the English National Opera at the Barbican in
London and in the title role in Verdi’s Macbeth with Opera de Bordeaux, Opera
de Vichy and Portland Opera.
Mr. Zeller has sung the role of Germont in Verdi’s La Traviata with
Hamburgische Staatsoper, San Diego Opera, Scottish Opera, Deutsche Oper
am Rhein, Portland Opera, and in many other opera and concert venues with
orchestras in Europe and the US. His frequently performed Verdi baritone roles
include Falstaff, Rigoletto, Macbeth, Conte Di Luna, Amonasro, Rodrigo, Don
Carlo, Renato, and Simon Boccanegra.
He has appeared with many regional opera companies in the US, including
the Chicago Lyric Opera, New York City Opera, Philadelphia, Minnesota,
Cincinnati, San Diego, Portland, New Orleans, and New Jersey Opera
companies.
Mr. Zeller is highly regarded in the concert field and has sung with virtually all
the major orchestras in the US, including the Philadelphia Orchestra, Chicago
Symphony, Cleveland Orchestra, the Boston Symphony, National Symphony,
and the symphonies of San Francisco, Dallas, St. Louis, Cincinnati, Minnesota,
Baltimore, Seattle, Oregon, and San Diego, to name a few.
International orchestra credits include Toronto Symphony, Montreal Symphony,
Vancouver Radio Orchestra, Winnipeg, Ottowa, the Nord Deutscher Rundfunk
(Hanover), MDR Symphony Orchester (Leipzig), Dresden Staatskapelle,
Czech Philharmonic (Prague Autumn Festival), Tokyo Philharmonic, Cesky
Krumlov Festival (Czech Republic), Korea Philharmonic, Rotterdam, Bergen
Philharmonic Orchestra (Norway), Orchestre Philharmonique de Monte-
Carlo (in a command performance for Prince Rainier and Prince Albert of
Monaco), as well as a performance for the Spanish Royal Family in Madrid with
conductor Helmut Rilling.
Handel’s Messiah, Verdi’s Requiem, Mozart’s Requiem, Bloch’s Sacred Service,
Catalani’s La Wally, and many others. Richard Zeller’s recordings include
the critically acclaimed Merry Mount by Howard Hanson for Naxos, Deems
Taylor’s Peter Ibbettson with Naxos, and the world premiere of Henri Lazarof’s
Fifth Symphony on Centaur Records – all recorded with Gerard Schwartz and
the Seattle Symphony. He has recorded Dvorak’s Te Deum with Zdenec Macal
and the New Jersey Symphony for Delos, and David Schiff’s Gimpel the Fool
for Naxos, as well as Beethoven’s Symphony No. 9 for Centaur Records, and
Virgil Thompson’s Lord Byron and Aaron Copland’s The Tender Land for Koch
International.
Jeffrey Work
Jeffrey Work joined the Oregon Symphony
as Principal Trumpet in the fall of 2006,
following 13 years as an active freelance
musician in the Boston area. Since 1999,
he has also served as Principal Trumpet
of the Colorado Music Festival in Boulder
during its six week long summer seasons.
As an orchestral musician, Work can be
heard on several recordings, most notably
as a featured performer on the Oregon
Symphony’s acclaimed 2011 release Music
for a Time of War. Other performances
include Stravinsky’s Petrouchka and
Mahler’s Sixth Symphony with the Boston Philharmonic, as well as
performances with the Boston Symphony, the Boston Pops, and the Boston
Modern Orchestra Project.
In addition to his orchestral duties in Portland and Boulder, Jeffrey Work
performs concerto and chamber repertoire as his busy schedule will allow.
His reputation has grown steadily, the press frequently praising him for playing
with an artistry not often associated with his chosen instrument. Discovered by
Mstislav Rostropovich in January, 1992, Work appeared as soloist on a series
of four National Symphony Orchestra subscription concerts later that year.
Rostropovich subsequently invited him to perform at the 1993 Rencontres
Musicales d’Evian in Evian, France. There, Work made both concerto and
chamber music appearances and returned in the same capacity in 1997. He
was also offered his November, 1994 Paris debut by the Director of Music of
Radio France. He has given solo performances with the Oregon Symphony,
the Colorado Music Festival Orchestra, the Boston Chamber Music Society,
the Boston Philharmonic Orchestra, and The United States Army Band, as
well as regional, community, and festival orchestras throughout the country. In
1997, during his third solo engagement with the Missouri Chamber Orchestra,
Work recorded the Haydn Trumpet Concerto. In 1998, the Pro Arte Chamber
Orchestra of Boston featured him in the world premiere of Eric Ewazen’s
Concerto for Trumpet and String Orchestra and in 2003 that orchestra joined
Work in premiering the Concerto for Trumpet by James M. Stephenson.
Always sharp, never flat.
Zeller is celebrated for his interpretation of the title role in Mendelssohn’s Elijah
which he has sung with the Chicago Symphony, the Cleveland Orchestra, and
many others throughout the US, Europe, and Asia, and he has given over 100
performances each of Orff’s Carmina Burana, Beethoven’s Ninth Symphony,
and Handel’s Messiah.
Highlights of past seasons include appearances with the Boston Symphony
Orchestra under the baton of James Levine in Berlioz’s Les Troyens and the title
role in Mendelssohn’s Elijah, with both the Chicago Symphony at Ravinia and in
a nationwide radio broadcast with the Cleveland Orchestra, as well as Handel’s
Messiah with the Philadelphia Orchestra. Mr. Zeller was also featured in 2001
in a nationwide TV Broadcast of “Live from Lincoln Center” singing the Mozart
Requiem with the Mostly Mozart Festival, conducted by Gerard Schwarz. His
performances at New York’s Carnegie Hall include Orff’s Carmina Burana,
Call 503.221.8240 to subscribe.

Portland Symphonic Choir
Steven Zopfi, Artistic Director
Kathryn Lehmann, Assistant
Director
Renato Fabbro, accompanist
Tamara Still, organist
Soprano 1
Brandee Austin-Cone
Margaret Braun
Carol Corchero
Gail D’Aloisio **
Christina Gipson **
Cameron Griffith Herbert*
Bonnie Johnson
Dorothea Gauer Lail
Lauren McCune
Jen Milius
Sue Nelson
Kurleen Nowickas
Patricia Rehm
Morgan Roe
Theresa Swanson
Soprano 2
Kathy Austen
Stephanie Benischek
Joy Bongiorno
Cara Cantonwine
Hallie Clark
Kendra Friar
Nan Haemer **
Wendy Hein
Katherine Lefever
Kathryn Lehmann
Laura Mather
Emily Matus-Borges
Sue-Del McCulloch
Donna Mihnos
Ramona Moore
Mary Martin Nelson
Dara Searcy-Gardner
Emily Stevens
Alexa Stuart
Alto 1
Nancy Curtin
Helen Deitz *
Diana de Tar
Kathy Ganske
Kendra Killian-Davis
Janelle Manske
Jenny Mosher
Deborah Murray
Karin Nystrom
Carol Rossio
Sharon Smith
Mary Lane Stevens
Irene Weldon **
Trisha Williams
Alto 2
Colleen Baker
Betsy Cooper
Jamie Freyer
Maria Hein
Kari Liebert
Melanie Madigan
Lois Maxwell
Rachel Portnoy Bradley **
Laura Robson
Ashley Salisbury
Rhonda Slinkard
Marianne Sweeney
Kathy Teyler Jarrett
Melissa Thomas **
Kate Withiam
Deborah Wright
Tenor 1
Ryan Allen
Brett Bargmann
David Foley **
James Hook
Daniel Morrill
Ryan Muir
Gerard Nelson
Jason O’Neill-Butler **
Jeff Weener
Tenor 2
Jon Garrow **
Brian Haskins **
Daniel Hibbett
Jerome Patrick Larkin
Dan Mangan
Michael Murray
Ralph Nelson
Allen W. Richards, Jr.
Matthew Schick
Jonathan Scott
Gary Shannon *
Duane Summerville
Dale Webber
Bass 1
Chris Brown
John Eisemann
Don Fales
Gary Gross
Phill Hurley **
Jim Imhoff
Bill Klatz
Daniel Knauss
Jim Maddry
John Nicol
Tom Rocks
Ariel Shai Rogson
Jim Saunders
Rik Simmonds
Eric Smith
Scott Sorensen-Jolink
Bass 2
Don Alrick
Brooke Benfield
Wayne Carlon
John Chilgren
Dan Dalzell **
Paul Elison *
Oscar Fernandez
Jerry Gilkerson
Tom Hard
Phil Joslin
Daniel Miles
Mark Petersen
John Salmon
Bill Scott
Dwight Uphaus **
Lorin Wilkerson
* Section leader
** Staff singer
Portland Symphonic Choir Board of Directors
Executive Committee
James M. Saunders – Chair
Mark Petersen – Vice Chair
Marianne Sweeney – Vice Chair
Christine Berger – Secretary
Larry Winkle – Treasurer
Board Members
Gary Gross
Tom Hard
Katherine Lefever
Barry Purnell
Phil Joslin
Dale Webber – Choir President
Margaret Braun – Choir Vice President
Administrative Staff
Executive Director – Shannon McNerney
Production Manager – Mark Petersen
Social Media Manager – Allen W. Richards, Jr.
Development Advisor – Katherine Lefever
Music Librarians – Cameron Griffith Herbert,
Wayne Carlon
Auditions Coordinator – Diana deTar

The Oregon Symphony Musicians
Carlos Kalmar, Music Director
Jean Vollum, Music Director Chair
Jeff Tyzik, Principal Pops Conductor
Norman Leyden
Tom & Gretchen Holce,
Laureate Associate Conductor Chair
Violin
Sarah Kwak, Janet & Richard Geary,
Concertmaster Chair
Peter Frajola, Del M. Smith and
Maria Stanley Smith,
Associate Concertmaster Chair
Erin Furbee, Harold & Jane Pollin
Assistant Concertmaster Chair
Chien Tan, Truman Collins,
Sr. Principal Second Violin Chair
Fumino Ando
Keiko Araki
Clarisse Atcherson
Ron Blessinger
Ruby Chen
Emily Cole
Julie Coleman
Dolores D’Aigle
Eileen Deiss
Jonathan Dubay
Gregory Ewer
Daniel Ge Feng
Lynne Finch
Kathryn Gray
Shin-young Kwon
Eileen Lande
Ryan Lee
Vali Phillips
Deborah Singer
Inés Voglar
Viola
Joël Belgique, Maybelle Clark
Macdonald Fund Principal Viola Chair
Charles Noble, Assistant
Principal
Jennifer Arnold
Silu Fei
Leah Ilem
Stephen Price
Brian Quincey
Viorel Russo
Martha Warrington
Bass
Frank Diliberto, Principal
Edward Botsford,
Assistant Principal
Donald Hermanns
Brian Johnson
Jeffrey Johnson
Jason Schooler
Flute
Jessica Sindell, Bruce & Judy
Thesenga, Principal Flute Chair
Alicia DiDonato Paulsen,
Assistant Principal
Zachariah Galatis
Piccolo
Zachariah Galatis
Oboe
Martin Hebert, Harold J. Schnitzer,
Principal Oboe Chair
Karen Wagner, Assistant Principal
Kyle Mustain
Bassoon
Carin Miller Packwood, Principal
Evan Kuhlmann, Assistant Principal
Adam Trussell
Contrabassoon
Evan Kuhlmann
Horn
John Cox, Principal
Joseph Berger, Associate
Principal
Graham Kingsbury,
Assistant Principal
Mary Grant
Alicia Waite
Trumpet
Jeffrey Work, Principal
David Bamonte, Assistant
Principal, Musicians Of The
Oregon Symphony Richard
Thornburg Trumpet Chair
Micah Wilkinson
Trombone
Aaron LaVere, Principal
Robert Taylor, Assistant Principal
Charles Reneau
Bass Trombone
Charles Reneau
Tuba
Játtik Clark, Principal
Timpani
Jonathan Greeney, Principal
Percussion
Niel DePonte, Principal
Sergio Carreno
Harp
Jennifer Craig, Principal
Librarian
Joy Fabos, Principal
Julie Collura, Associate Principal
Stage Manager
Christopher Beleele
Orchestra Personnel Manager
Martha Warrington
Cello
Nancy Ives, Mr. & Mrs. Edmund
Hayes, Jr. Principal Cello Chair
Marilyn de Oliveira,
Assistant Principal
Kenneth Finch
Trevor Fitzpatrick
Gayle Budd O’Grady
Timothy Scott
David Socolofsky
English Horn
Kyle Mustain
Clarinet
Yoshinori Nakao, Principal
Todd Kuhns, Assistant Principal
Mark Dubac
Bass Clarinet
Todd Kuhns

Donors
The Portland Symphonic Choir thanks the following individuals, businesses and
foundations for their generous contributions within the past 14 months.
Foundations & Corporate
Support
Argosy Foundation
Collins Foundation
Jackson Foundation
Juan Young Trust
Meyer Memorial Trust
Oregon Arts Comission
Pacific Power Foundation
PGE Foundation
RACC
RBP Methods
Regence
The Standard
US Bank
$10,000 & above
Christine Berger
Tom Hard
Larry Winkle
$2,000 to $9,999
Don Fales
Kathy Teyler Jarrett
Phil Joslin
Bill Scott
Mary Lane Stevens
Marianne Sweeney
PORTLAND
B A R O Q U E
O R C H E S T R A
Photo by Hiroshi Iwaya
CHORAL GLORY.
Bach. Handel. Vivaldi.
FRI 12 OCT 7:30PM
SAT 13 OCT 7:30PM
FIRST BAPTIST CHURCH
SUN 14 OCT
3:00PM
KAUL AUD. REED COLLEGE
$1,000 to $1,999
Patricia Rehme
Sally Sollazzo
Steven Zopfi
$500 to $999
Virginia Adelsheim
Gary Gross
Wendy Hein
Robyn L. Johnson
Malle Kollom
Doro Gauer Lail
Sue-Del McCulloch
Mary A. & Martin Nelson
Mark A. Petersen
John Rowan
John H. Salmon
Ariel Shai Rogson
Aaron Waggoner
$250 to $499
Julie E. Adams
Rachel Portnoy Bradley
Donavan Burkert-Kerr
Diana de Tar
Deb DeWig
Wilbur Eichelberg
Kendra Kay Friar
TICKETS
PBO. ORG
503.222.6000
MONICA HUGGETT
DIRECTOR
CAPPELLA ROMANA
CHORUS
Bach’s St. John Passion (selections)
& Komm Jesu Komm
Handel’s Dixit Dominus,
and Vivaldi’s Gloria
PBO. GREAT MUSIC. PERIOD.
Kathryn Garrett
Katherine Lefever
Michael Marchand
Marianne Ott
Mark Perry
James Saunders
Sterling Vasquez
April Walker
$100 to $249
James Bash
Chris Brown
Michael L. Cummings
Helen Deitz
Karen DiMilia
David Foley
Stephen & Mary Freeland
Diane Fressola
Kristi Heinsoo
Cameron Griffith Herbert
Daniel Hibbett
Catherine Holder
Bonnie Johnson
Scott Sorensen-Jolink
Helga Joyce
Jean Kimsey
Bill Klatz
Judith Ludwigsen
Albert N. & Ginnie McBride
Sue McClelland
George Nandor
Hester Nau
Priscilla Nelson
Susan Nelson
Debra & Lee Noah
George P. O’Leary
Benno Philippson
Linda Reisser
Patricia Scherzinger
Elaine Stevens
Jane Stevens
Peter Stuart
Ann Sitomer & Erik Thompson
Marjorie Webber
Kirke Wolfe
Constance Zopfi
Up to $99
Randa Abramson
Alexander Albertine
Dave Albertine
Don & Meri Alrick
James Asaph
Mary Bercovitz
Chris Botero
Margaret Braun
Sandy Bumpus
Elsa Burr
Corinna Campbell-Sack
Betsy Cooper
Carol Corchero
Richard Dan Dalzell
Janice Dodd
Donald D. Duncan
Gayl Edwards
James R. Friesen
Gloria Gardiner
Kathryn Garrett
Ben Gillespie
Roland Harris
Lori Hedrick
David Heim
Allen Holt
Hilary Hutchinson
Rebecca Keiper
Kendra Killian-Davis
Jean Kimsey
Karen Labinger
Kari Liebert
Joyce Liljeholm
Michael L. Lukschu
Mac MacMillan
Linda Mantel
Patricia Marinier
Terrance McCann
Cathy Milbank
Joline Miller
Deborah K. Murray
Michael Murray
John & Carillon Nicol
John & Liz Palles
Anne Parr
Thelma Qualls
Emily Rampton
Gertrude & Robert Reutter
Darlene Robertson
Thomas Rocks
Miriam Rogson
Karl Ross
Charlotte Rubin
Cindy Scheel
Patricia Scherzinger
Elaine Schmidt
Peter Schmidt
Dwight Uphaus
Elin Teyler
Dolores & Paul Vetter
Kathleen S. Weaver
Dale B. & Rosalie S. Webber
Andrew & Julie Wheeler
Deborah White
Laura Whittemore
Diane Withiam
Norma Withiam

2012/13
Beethoven’s Ninth Symphony
Saturday, February 9 | 7:30 pm
Sunday, February 10 | 2 pm
Monday, February 11 | 8 pm
Carlos Kalmar, conductor
Portland Symphonic Choir
Hindemith: Overture to News of the Day
Britten: Ballad of Heroes
Beethoven: Symphony No. 9
Kalmar
Beethoven’s Ninth Symphony with full orchestra, choir, and
soloists is one of the most powerful musical experiences of a
lifetime! This program pairs the Ninth with Benjamin Britten’s
Ballad of Heroes, a moving work of three short movements
for tenor soloist, choir, and orchestra.
Tickets start at $21 while they last!
Portland Symphonic Choir
Call: 503-228-1353 | 1-800-228-7343 Click: OrSymphony.org
Come In: 923 SW Washington | 10 am – 6 pm Mon – Fri
Groups of 10 or more save:
503-416-6380
ARLENE SCHNITZER CONCERT HALL
SW Main & Broadway · Portland Center for the Performing Arts