Scholarship@Western

Kinton, Leslie

	
FACULTY CONCERT 
Saturday, January 19, 2018 
2 p.m., von Kuster Hall 
Leslie Kinton, piano 
 
	
	
	
	
 
 
Sonata in A Major op. 2 no. 2 L. van Beethoven 
 Allegro vivace (1770-1827) 
 Largo appassionato 
 Scherzo:  Allegretto 
 Rondo:  Grazioso 
 
 
Sonata in E-flat Major “quasi una fantasia” op. 27 no. 1 L. van Beethoven 
 Andante – Allegro – Andante  
 Allegro molto e vivace 
 Adagio con espressione 
 Allegro vivace 
 
 
Intermission 
 
 
Sonata in G Major op. 79 L. van Beethoven 
 Presto alla tedesca  
 Andante 
 Vivace 
 
 
Sonata op. 31 no. 3 L. van Beethoven 
 Allegro  
 Scherzo:  Allegretto vivace 
 Menuetto:  Moderato e grazioso 
 Presto con fuoco 
 
 
 
 
 
Music changes lives. So do our donors. 
Charitable gifts from music lovers, like you, provide critical support for the Don Wright Faculty of Music’s 
performances and educational programming. To help us to continue to enrich our community through the 
power of music, donations can be made by phone at (519) 661-2111 x85695 online at music.uwo.ca, or  
by mail c/o Karmen Ferraro, Alumni and Development Officer, Talbot College,  
Western University, London, Ontario N6A 3K7. 


English

Faculty Concert

Loewen, Laura

Green, Patricia

	
VISITING FACULTY CONCERT 
Tuesday, February 5, 2019 
7:30 p.m., von Kuster Hall 
Laura Loewen, piano 
Patricia Green, mezzo-soprano 
 
 
	
	
Empathy and Existence 
 
Weep you no more, sad fountains (2013) Christopher Reiche 
 Anonymous (b. 1983) 
 
 
Hymnen an die Nacht (1975) Claude Vivier 
  Novalis (1948-1983) 
 
 
Airs of Men Long Dead (1998) Emily Doolittle 
 Forrest Pierce (b. 1972) 
 Waiting 
 Wolf 
 The Sycamore 
 Song 
 
 
Give me your Hand (2015) Cecilia Livingston 
 Duncan McFarlane (b. 1984) 
 
 
From City Night (2007) Alice Ho 
 Bo Wen Chan (b. 1960) 
 City Night 
 You seek 
 My moonlit darling 
 We sleep unsettled 
 The blind cannot judge 
 
 
From Six Songs (2004) James Rolfe 
  Walt Whitman (b.1961) 
 I heard you  
 O you whom I often and silently come 
 One hour to madness and joy 
 A clear midnight 
 
 
 
PATRICIA GREEN, mezzo-soprano 
Praised for her “warm creamy voice” and “singing with a poignancy and molten resonance”, mezzo-
soprano Patricia Green has appeared at The Kennedy Centre, the National Centre of the Performing Arts 
in Mumbai, India, Glazunov Hall (St. Petersburg, Russia) and the Concertgebouw in Amsterdam 
performing with the Dutch Radio Philharmonic, the National Symphony (Washington), l’Orchestre de 
Radio-France, and the Northern Israel Symphony.  She has created more than 30 world premieres 
working internationally with composers such as Boulez, Schafer, Ligeti, Dusapin, Laitman, Thoresen, Del 
Tredici, and Schwendinger performing with New Music Concerts, Robert Helps Festival (Florida), 
Vancouver New Music, Esprit Orchestra, Ensemble Parallele (San Francisco), Cygnus (New York), 
Theatre Chamber Players (DC), Posthoornkerk concerts (Amsterdam), Musica Festival (Strasbourg), 
Aventa Ensemble (Victoria) and Continuum in London (UK).  She has sung oratorio and chamber music 
across the US and Canada, and is featured on 12 CD’s. A passionate educator, she is a Professor of Voice 
at the University of Western Ontario, and a faculty member of the summer opera program La Musica 
Lirica in Novafeltria, Italy. She has also given masterclasses in Shanghai, Xuzhou, Guiyang and Soochow, 
China.    
 
 
LAURA LOEWEN, piano 
Praised for expressivity, virtuosity, and committed playing, Canadian collaborative pianist Dr. Laura 
Loewen has appeared in concerts throughout North America, Europe, Asia and South America. 
Dedicated to sharing her passion for ensemble playing and coaching, she is a professor of Collaborative 
Piano and the Vocal Coach in the University of Manitoba’s Desautels Faculty of Music. As well, Dr. Loewen 
is a founding faculty artist and the current Board chair of VISI (Vancouver International Song Institute), 
and is a long-time member of the faculty of the NUOVA opera training program in Edmonton, Alberta. 
 
An extremely versatile pianist, Dr. Loewen has performed extensively with singers, instrumentalists and 
chamber ensembles, and is equally comfortable in traditional and contemporary idioms. She has 
appeared in concert with artists such as Charles Castleman, Tracy Dahl, Wendy Nielsen, Kimberly Barber, 
Jasper Wood, Eugene Rousseau, and William Bennett. She is a regular recital partner of fellow University 
of Manitoba faculty members baritone Mel Braun, tenor Robert MacLaren, violinist Oleg Pokhanovski, 
and cellist Minna Rose Chung. Loewen and duo partner, saxophonist Allen Harrington, have been 
performing together for more than a decade and are acclaimed for their virtuosic, musical, and 
electrifying performances. 
 
 
 
COMPOSERS 
 
CHRISTOPHER REICHE 
Christopher Reiche (1983) is a performer, composer, and instructor living in Victoria, British Columbia. 
His compositions range from pieces for solo performer to works for larger ensembles and have been 
performed by Quatuor Bozzini, Emily Carr String Quartet, Thin Edge New Music Collective, Negative Zed 
Ensemble, Pembroke Symphony Orchestra, 7090, and orkest de ereprijs. His string quartet, The length 
of this piece is not arbitrary – Painting a Portrait of Glass, was recorded by Quatuor Bozzini and released 
on their CD, À chacun sa miniature. 
His music is most often is described as “experimental” where each piece is crafted to explore a specific 
concept or idea. Reiche’s music endeavors to create an experience that navigates a space between the 
familiar and the unexpected. 
 
 
CLAUDE VIVIER 
The music of Claude Vivier (1948-1983) is a reflection of his personal life. Although a student of 
Stockhausen, Vivier ignored the avant-garde dictum against the expression of individuality through 
music. Both directly and indirectly, the themes of his compositions were inspired by his unknown family 
origins, his search for his mother, his spirituality, his homosexuality and even his premature death. The 
forty-nine works composed during his brief career comprise the impressive legacy of an individual as 
passionate about life as he was about music.  Born in Montreal of unknown parents, Vivier was adopted 
when three. He discovered music at sixteen. For four years he studied at the Conservatoire de musique 
de Montréal. In 1971, receiving a Canada Council award, to study at the Institute of Sonology (Utrecht, 
The Netherlands) and in Cologne (Stockhausen).  
 
He taught at the University of Ottawa and was granted several commissions, among others by The 
Canadian Music Awards, the Société de musique contemporaine du Québec and the National Youth 
Orchestra of Canada. In the fall of 1976, Vivier undertook a long trip through Asia, initiating a new period 
in the stylistic evolution of his music, a period characterized by affirmation and certainty. This was the 
period of his brilliant work Shiraz, of Orion, of the opera Kopernikus. In the cycle of pieces for voice and 
instrumental ensemble, particularly Lonely Child and Prologue pour un Marco Polo, the unique style of 
Vivier crystallized. His outstanding development as a composer earned Vivier the title of "Composer of 
the Year" in 1981.  The interweaving of his personal and professional life, of the real and the imaginary, 
reveal an outstanding global awareness and define a possible future for humankind, for whom Vivier was 
a messenger, an aerolite passing through our world. 
 
 
EMILY DOOLITTLE 
Canadian-born, Scotland-based composer Emily Doolittle grew up in Halifax, Nova Scotia and was 
educated at Dalhousie, Indiana University, Princeton University, and the Koninklijk Conservatorium in the 
Hague, where she studied with Louis Andriessen with the support a Fulbright fellowship. From 2008-2015 
she was an Associate Professor of Music at Cornish College of the Arts in Seattle. She now lives in 
Glasgow, UK, where she is an Athenaeum Research Fellow at the Royal Conservatoire of Scotland. 
 
Doolittle enjoys writing for both traditional and less standard instrumentation, and has been 
commissioned by such ensembles and soloists as Symphony Nova Scotia, the Vancouver Island 
Symphony, Orchestre Métropolitain (Montreal), the New York Youth Symphony, Tafelmusik Baroque 
Orchestra, Ensemble Contemporain de Montreal, the Motion Ensemble (Canada), and the Paragon 
Ensemble (Glasgow). Her recently premiered chamber opera Jan Tait and the Bear, was the result of an 
Opera America Discovery Grant. 
 
In 2011 she was composer-in-residence at the Max Planck Institute for Ornithology in Seewiesen, 
Germany, where she collaborated with ornithologist Henrik Brumm in researching the song of the 
musician wren and presented a concert of her birdsong-related works, performed by members of the 
Bavarian State Opera. 
 
Doolittle has received the 2012 Theodore Front Prize, two ASCAP Morton Gould Awards, and the Bearn’s 
Prize. Her work has been supported by grants and commissions from the Artist Trust (Seattle), the Eric 
Stokes Fund, The Culture and Animals Foundation, ASCAP, the Canada Council, the Nova Scotia Arts 
Council, FIRST Music, the Montreal Arts Council, and the Conseil des Arts et Lettres du Québec, and with 
artist residencies at MacDowell, Ucross, Blue Mountain Center, Banff, and the Center for Contemporary 
Art in Glasgow. 
 
 
CECILIA LIVINGSTON 
With music described as "haunting" and "eerily beautiful" (Tapestry Opera), Canadian composer Cecilia 
Livingston specializes in music for voice. She is a Social Sciences and Humanities Research Council of 
Canada Postdoctoral Fellow in Music at King's College London (UK), studying opera creation, and was a 
2015-2017 Fellow at American Opera Projects in New York. 
 
Winner of the Canadian Music Centre's 2018 Toronto Emerging Composer Award, the 2018 Mécénat 
Musica Prix 3 Femmes for female opera creators in Canada, and a winner in the SOCAN Foundation 
Awards for Young Composers, her music has been heard at Nuit Blanche, the 21C Music Festival, World 
Choir Games, on tour with The Bicycle Opera Project, with the Toronto Symphony Orchestra, the 
Kingston Symphony, and with Toronto’s Thin Edge New Music Collective. She worked with Steve Reich at 
Bang On a Can’s Summer Music Festival and at Soundstreams' Emerging Composer Workshop, and her 
next project is a full-length opera with TorQ Percussion Quartet and Toronto's Opera 5.  
 
An associate composer of the Canadian Music Centre and the Canadian League of Composers, her 
creative and research work is supported by the Canada Council for the Arts, the Ontario Arts Council, the 
Toronto Arts Council and the SOCAN Foundation. Her master’s and doctoral research was fully funded by 
the SSHRC Graduate Scholarships; she holds a PhD in Composition from the University of Toronto, 
where she was awarded the Theodoros Mirkopoulos Fellowship in Composition. 
 
 
ALICE HO  
Alice Ho is a Hong Kong-born Canadian composer acclaimed for her “distinctly individual” style and 
“organic flow of imagination.” She has written in many musical genres and received numerous national 
and international awards, including the 2016 Louis Applebaum Composers Award, 2014 Prince Edward 
Island Symphony Composers Competition, 2014 Kitchener Waterloo Symphony Friendship Orchestral 
Composition Competition, 2013 Dora Mavor Moore Award “Outstanding Original Opera” for her opera 
Lesson of Da Ji, 2013 Boston Metro Opera International Composition Competition, K.M. Hunter Artist 
Award, du Maurier Arts Ltd. Canadian Composers Competition, MACRO International Composition 
Competition, Luxembourg Sinfonietta International Composition Prize, and International League of 
Women Composers Competition. 
 
Often featured at national and international new music festivals such as ISCM World Music Days, Ottawa 
Chamberfest, Denmark’s CRUSH New Music Festival, Asian Music Week in Japan, etc.; her works have 
also been performed by many major ensembles including China National Symphony, Polish Radio Choir, 
Finnish Lapland Chamber Orchestra, Esprit Orchestra, the Toronto, Vancouver, Winnipeg, Victoria, 
Kitchen Waterloo, and Windsor Symphonies, Amsterdam’s Neuw Ensemble, Italy’s Trivella Piano Duo, 
Penderecki String Quartet, Toronto’s New Music Concerts, Continuum New Music, Torq, and 
Soundstreams. A twice JUNO Award Nominee (2015 and current), she has an impressive discography 
(including four solo discs) released on the Centrediscs, Naxos, Marquis Classics, Blue Griffin, Electra, and 
Phoenix labels. She is also a noted classical pianist and an active advocate of contemporary music. 
 
 
JAMES ROLFE 
Toronto composer James Rolfe has been commissioned and performed by ensembles, orchestras, 
choirs, theatres, and opera companies in Canada, the USA, Europe, Asia, Australia, and New Zealand. He 
has received a Guggenheim Fellowship, the K. M. Hunter Music Award, the Louis Applebaum Composers 
Award, the Jules Léger Prize for New Chamber Music, SOCAN’s Jan V. Matejcek Concert Music Award, a 
Chalmers Arts Fellowship, and the Outstanding Choral Work Award from the Association of Canadian 
Choral Communities. 
 
The Queen of Puddings Music Theatre Company production of Mr. Rolfe’s opera Beatrice Chancy played 
to sold-out houses and rave reviews in Toronto, Dartmouth, and Edmonton. The company later produced 
Inês, nominated for a Dora Award. Three masques–Orpheus and Eurydice, Aeneas and Dido, and 
Europa–were premiered by The Toronto Masque Theatre to critical and audience acclaim. Elijah’s Kite, an 
opera for children, was co-produced in New York by Tapestry Opera and the Manhattan School of Music, 
and given its Canadian premiere before the Governor-General at Rideau Hall. His opera Swoon was 
premiered by the COC, which commissioned a new opera, Crush, mounted in a workshop production at 
The Banff Centre in July 2015. 
 
Recent projects include an operatic version of Gogol’s The Overcoat for Tapestry Opera / Canstage and 
Vancouver Opera produced in the spring of 2018 to rave reviews, as well as new works for soprano Janice 
Jackson, Continuum Contemporary Music,  the Hannaford Street Silver Band with the Amadeus Choir, 
and Soundstreams. Breathe, a CD of Mr. Rolfe’s works for voices and early instruments was released on 
the Centrediscs label in October 2017. 
 
 
 
 
Music changes lives. So do our donors. 
Charitable gifts from music lovers, like you, provide critical support for the Don Wright Faculty of Music’s 
performances and educational programming. To help us to continue to enrich our community through the 
power of music, donations can be made by phone at (519) 661-2111 x85695 online at music.uwo.ca, or by 
mail c/o Karmen Ferraro, Alumni and Development Officer, Talbot College,  
Western University, London, Ontario N6A 3K7. 


Visiting Faculty Concert:  Empathy and Existence

Paterson, Tyrone

WESTERN UNIVERSITY 
SYMPHONY ORCHESTRA
Tyrone Paterson, conductor 
Saturday, March 16, 2019 
2 p.m., Paul Davenport Theatre
Symphony No. 36, K. 425, “Linz” Wolfgang Amadeus Mozart
 Adagio; allegro spiritoso (1756-1791)
 Andante con moto
 Menuetto
 Presto
 Intermission
Piano Concerto No. 3 in C Major, Op. 26 Sergei Prokofiev 
 Andante; allegro (1891-1953)
 Tema con variazioni
 Allegro, ma non troppo  
 Soloist: Dan Luong, piano
On your way out, please consider recycling your program cover using the 
boxes provided at each exit. Thank you!
music.uwo.ca
• A variety of music and dance courses 
are also available as electives 
for non-music students.
Did you play in your 
high school band or 
sing in a choir?
For all event details, visit:
music.uwo.ca/events
For information on courses and ensembles, 
including audition excerpts and dates, visit: 
music.uwo.ca/ensembles
Want to continue 
playing or singing?
Did you know...?
The Don Wright Faculty of Music 
hosts 350+ public concerts & 
special events annually. 
• Non-music students are encouraged to 
audition for Large Ensembles in September. 
(e.g. orchestra, choirs, bands, jazz) 
Music at
Western
All Western students, 
regardless of major, are able to 
audition for ensembles at the 
Don Wright Faculty of Music.
Wolfgang Amadeus Mozart   (1756-1791) 
Symphony No. 36 in C Major, K. 425, “Linz”
 Mozart wrote the 36th Symphony when he found himself at a 
crossroads, literally and figuratively. It premiered in November 1783 
in Linz while Mozart and his new wife Constanze took a brief sojourn 
from their journey from Salzburg to Vienna. They were returning from 
a visit with Mozart’s sister Nannerl and father Leopold, who resided 
in Salzburg. Times were tense in the Mozart household; Wolfgang 
and Constanze’s first child Raimund Leopold had died in August, 
shortly after they had departed Vienna. Additionally, Wolfgang’s 
relationship with his father had been tense ever since he had been 
ejected from a previous post in the court of Prince Archbishop 
Colloredo of Salzburg. Leopold Mozart disapproved of his son’s 
devil-may-care freelance life in Vienna, and he had been reluctant 
to bless Wolfgang and Constanze’s hasty wedding a year prior. 
 Despite his father’s misgivings, Mozart’s career in Vienna was 
taking off. He was riding a wave of notoriety following the success 
of his German-language opera Die Entführen aus dem Serail. This 
accomplishment apparently irked Leopold Mozart; according to the 
surviving correspondence penned by Wolfgang, his father refused 
to acknowledge the professional gains that he had made since 
settling permanently in the capital. In the ensuing years, Mozart 
composed a number of works that rank among his most well-
known masterpieces, including the six celebrated string quartets 
dedicated to “Papa Haydn”, the piano concerti K. 449-503, and 
of course the trio of operas written in collaboration with Lorenzo 
da Ponte: Le Nozze di Figaro, Don Giovanni, and Cosi fan tutte.
 The “Linz” symphony figures right at the start of Mozart’s 
ascendance to capital-C “Classical” composer. Historically, it has 
been characterized as belonging to an earlier period of Mozart’s 
oeuvre, but as scholars Cliff Eisen and Stanley Sadie note in their 
entry on Mozart in the Grove Dictionary of Music, this work was 
probably featured as a “quite new symphony” for a grand musical 
academy at the Burgtheatre on April 1st, 1784. This was on the 
heels of a series of private performances Mozart gave in March 
for various nobility, including Haydn’s patron, Count Johann 
Esterházy, and the Russian ambassador to Austria, Prince Golitsïn. 
The success of this symphony is doubly amazing considering the 
rapidity with which Mozart wrote it: in the space of four or five 
days. Here we find a clever synthesis of the most popular musical 
forms of the time. The opening evokes the grandiose character of 
the French Overture, while the second movement has the nostalgic 
flavour of an Italian siciliana. The third movement trots out a tightly 
constructed minuet and trio, and then the finale bursts out of the 
gates with an energetic country dance cast in sonata form.
2018 Maritsa Brookes Concerto  
Competition Award Winners
First Place: Kelvin Mun, violin
Second Place: Dan Luong, piano
Third Place: Christian Wrona, viola
Runner Up: Dorothy Lin, violin
Made possible by a generous donation by Maritsa Ateena Brookes 
(BA’57), these awards are given to any undergraduate or graduate 
student in the Don Wright Faculty of Music on the basis of 
performance excellence demonstrated in solo concerto competition. 
The winner and runners up receive a monetary award and the honour 
of performing their selection in a public concert with the Western 
University Symphony Orchestra in the following school year. 
Congratulations to the winners of the 2018-19 Maritsa Brookes 
Concerto Competition. 
First Place: Leonardi Joewono, Piano
Second Place: Alexis Wright, Marimba
Third Place: Kirit Mascarenhas, Violin
Runner Up: Michal Aloni, Voice
The final round was held on Saturday, January 12, 2019 in von Kuster Hall.
music.uwo.ca/events
Sergei Prokofiev (1891-1953) 
Piano Concerto No. 3 in C Major, Op. 26
 Like Mozart, Prokofiev was first introduced to the world as 
a child prodigy. He grew up in a wealthy household, so his musical 
education began at just four years of age at the behest of his 
mother, who gave him his first piano lessons. A chance meeting 
with Alexandr Glazunov in 1903 landed the 12-year-old Prokofiev in 
the illustrious St. Petersburg Conservatory. Prokofiev would go on 
to win the regard of his professors and fellow students, revealing 
himself to be a gifted piano virtuoso as well as a driven composer. 
 On the occasion of his final piano examination in 1914, he 
played his own Piano Concerto No. 1 for the jury panel and was 
awarded the first prize in his class. By the time he graduated, he had 
established himself as a well-known composer of contemporary 
music, and he counted many important Russian musical and 
artistic figures among his friends. These included fellow composer 
Nikolai Myaskovsky, the conductor Aleksandr Aslanov, who helmed 
the orchestral premieres of Prokofiev’s first two piano concerti, 
as well as the Russian symbolist poet Konstantin Bal’mont. 
 Whereas Prokofiev’s first two piano concerti were written 
during his initial prosperity as a composer, the third piano concerto 
came about later, during a time of personal and professional strife. 
For almost 20 years, Prokofiev lived as a stranger in foreign lands 
following the October Revolution of 1917. He struggled to carve out 
a niche for himself as a composer and performer, adapting his style 
according to the aesthetic preferences of disparate audiences. The 
Piano Concerto No. 3 was intended for an American audience (It 
premiered in Chicago on December 16th, 1921, with Prokofiev himself 
playing the solo part) and so Prokofiev tempered his characteristically 
dissonant style and utilized a more diatonic palette, which would have 
appealed to conservative US cultural elites. This explains his decision 
to set the work in the key of C-major; it is the most familiar tonality 
to pianists in that it uses only the white keys of the instrument.
 Despite these constraints, it is an electrifying work of 
staggering virtuosity and orchestral complexity. After years of 
disillusionment, the critical and commercial success of this concerto 
reassured Prokofiev that he was not, as he feared, a “second-rate 
composer”. The work also gained the attention of other Russian 
exiles like Bal’mont, who commemorated the concerto in one 
of his poems: “Prokofiev! Music and youth blossom, In you the 
orchestra yearned for musical flight, And the invincible Scythian 
beats the tambourine of the sun.” To this day, the third piano 
concerto remains Prokofiev’s most popular concert work, and it is 
regularly performed and recorded by musicians all over the world.
Program Notes by Jeffrey Komar
UPCOMING PERFORMANCES
Western University Symphony Orchestra
Look for our 2019-2020 season announcement in August. To 
be notified of the new season by email and keep up to date with 
monthly concert listings, sign up at music.uwo.ca/events.
Thank you for your patronage and support this year! 
Our community is strengthened by your presence. 
music.uwo.ca/ensembles/symphony-orchestra
Western University Symphony Orchestra
Tyrone Paterson, conductor 
First Violins
Frangel Lopez 
Cesena†
Kirit Mascarenhas
Paul Baek
Melisa Morgovejo
Lia Gronberg
Clovis Pinsonnault
April Morris
Liam Westman
Hannah Yaremko
Kelsey Sinasac
Second Violins
Kelvin Mun*
Patricio Flores 
Esquivel
Huimei Lin
Michael Theriault
Maddison Beaudoin
Sarah Botsford
Cindy Luo
Angel Liang
Claire Cheng
Chunju Tsai
Terry Song
Violas
Karen Duong*
Sammy Mak
Elizabeth van’t Voort
Colman Yang
Paige Bursey
Sherry Kwong
Molly Burnett
Adam Jahanghiri
Ashleagh Potter
Cellos
Isaac Lee*
Iván Fabara
Heather White
Matthew Kwan
Logan Valkyre
Talia Hunter
Basses
Andrew Kosty*
Gloria Chang
Christian Abrams
Charlie Kramers
Eran Foster
Flutes/Piccolo
Tracey Kennedy* 
Asta Coffey 
Oboes/English Horn
Joel Heinbuch*
Gabriel Munteanu 
Clarinets
Kelsey Regier*
Michelle Kim
Bassoon
Margaret Fay*
Dianne Mills
Horns
Sarah Rodnick 
(Principal: Mozart)
Dylon Pastoor 
(Principal: Prokofiev)
Lindsey Cook
Josh Dunham
Trumpets
Graham Lumsden*
Bradley Palmer
Trombones
Sidnee McLeod*
Cole McGovern
Luke Roussy
Timpani
Alexis Wright*
Percussion
Josh Milligan
†Concertmaster
*Principal Player
Soloist Bio: Dan Luong, piano
Dan Luong is completing his Master’s in Performance and Literature 
in Collaborative Piano on full scholarship, studying with Dr. John 
Hess. While working as a Music Director and Organist at Redeemer 
Evangelical Lutheran Church, he maintains a busy schedule teaching 
piano privately and accompanying undergraduate students at 
Western. He is also a Keyboard Harmony teaching assistant at 
Western. Most recently, Dan was selected to be on standby for 
the semifinals of the 66th Kosciuszko Foundation Chopin Piano 
Competition in New York City. He looks forward to entering many 
more competitions.


Western University Symphony Orchestra

Baerg, Theodore

Luti, Simone

Cyr, Jennifer

Louwerse, Chad

UWOpera presents
SPRING GALA:
FAVOURITES OF OPERA 
AND MUSICAL THEATRE
Friday March 8, 2019, 8 p.m. 
Saturday March 9, 2019, 2 p.m. 
Paul Davenport Theatre, Talbot College
CAST
Alexandria Asaad
Katherine Barr
Matthew Bermudez
Julia Buker 
Rowan Buratti
Skylar Cameron 
Emily DeMerchant 
Jeremy Fox-Revett
Julie Gate
Victoria Grace Hakala
Alyssa Hildebrand
Paulina Himaras 
Robert Hutson
Nathon Irving 
Simon Ison
Joelle Kontos
MinYoung Kwon
Sarah La Bine
Michelle Lafferty 
Haley Marie Asher
Rachael McAuley 
Joshua Patrick
Christopher Pitre-McBride
Mark Pichkur
Tiffanie Samuels
Natalie Vong 
Xuelian Xu 
PRODUCTION TEAM
Producer - Theodore Baerg
Music Director - Simone Luti
Stage Directors - Jennifer Cyr, Theodore Baerg, Chad Louwerse
Stage Managers - Jorge Trabanco and Adam Iannetta
Assistant Stage Manager - Rachel Berg
Lighting - Bryan Hart, Jennifer Cyr and Theodore Baerg
Pianists - Connor O’Kane, Sean Kao, Jin Kim and Petya Stavreva
Theatre Staff - Louis D’Alton and Bryan Hart
ACKNOWLEDGMENTS 
Don Wright Faculty of Music would like to thank the Jackman 
Foundation for its continued generous and loyal support of the opera 
program, as well as the Good Foundation and Ilona Janoschek for 
their leadership gifts to opera this year. Thank you to London Opera 
Guild for their support of our opera students through scholarships.
Music changes lives. So do our donors.
Charitable gifts from music lovers, like you, provide critical support for the Don
Wright Faculty of Music’s opera performances and student programming. To help us
to continue to enrich our community through the power of music, donations can be
made by phone at 519-661-2111 x85695, online at music.uwo.ca,  
or by mail to Karmen Ferraro, Alumni and Development 
Officer, Talbot College, Western University.
 Photo: Winter 2019 production of Le nozze di Figaro 
Die Fledermaus Johann Strauss
 Pianist: Connor O’Kane (1825-1899)
To part is such sweet sorrow 
Haley Marie Asher, Christopher Pitre-McBride, Julia Buker
My dear Marquis  Julia Buker, Chorus
Ariadne auf Naxos Richard Strauss
 Pianist: Petya Stavreva (1864-1949)
Composer’s Aria  Rachael McAuley
Le Nozze di Figaro W.A. Mozart
 Pianist: Connor O’Kane  (1756-1791)
Via, resti servita  Skylar Cameron, Paulina Himaras
Non so più   Emily DeMerchant, Skylar Cameron
Deh vieni   Skylar Cameron
Rigoletto    Giuseppe Verdi
 Pianist: Petya Stavreva (1813-1901)
La donna é mobile  Jeremy Fox-Revett
La Boheme  Giacomo Puccini
 Pianist: Petya Stavreva (1858-1924)
Donde lieta   Haley Marie Asher
Merry Widow Franz Lehar
 Pianist: Jin Kim (1870-1948)
Vilia   Hannah   Julie Gate, Chorus
Lips Silent   Alyssa Hildebrand, Mark Pichkur
- intermission - 
Porgy and Bess George Gershwin
 Pianist: Petya Stavreva   (1898-1937)
Summertime    Tiffanie Samuels. Female Chorus
I got plenty o’ nothin’   Nathon Irving
Bess, you is my woman now  Tiffanie Samuels, Nathon Irving
The Ecstasy of Rita Joe Victor Davies
 Pianist: Petya Stavreva   (b. 1939)
Rita Joe Aria    Michelle Lafferty
Les Contes d’Hoffman Jacques Offenbach
 Pianist: Jin Kim  (1819-1880)
Barcarolle   MinYoung Kwon, Sarah La Bine, Chorus
Oklahoma!  Richard Rogers
 Pianist: Sean Kao  (1902-1979)
Oh, what a beautiful mornin’ Matthew Bermudez
People will say we’re in love  Jeremy Fox-Revett, Katherine Barr
Oklahoma
Aunt Eller Joelle Kontos; Ike Robert Hutson; Laurey Katherine 
Barr; Curly Matthew Bermudez; Fred Christopher Pitre-McBride; 
Cord Elam Joshua Patrick; Carnes Simon Ison, Chorus
Visit our website for next year’s opera season once confirmed. 
music.uwo.ca/events/opera.html


Opera Gala:  Spring Gala: Favourites of Opera and Musical Theatre

Light of East Ensemble

Fridays @ 12:30 Series

Adams, Olivia

Busch, Nicholas

I Western Music
Don Wright Faculty of Music
STUDENT RECITAL
March 9, 2019 8 p.m., von Kuster Hall 
Olivia Adams, piano 
Nicholas Busch, piano
Dances for Two
A recital of dances for duo piano and piano four hands Tango I. Stravinsky(1882-1971) 
Transcribed by Victor Babin
Three Easy Pieces
i. March
i. Waltz 
iii. Polka
I. Stravinsky
Andalucíavi. Malagueña E. Lecuona (1895-1963) 
Transcribed by Luis Sucra
Ma Mère l’Oye
iv.Les entretiens de la Belle et da la Bête 
v. Le jardin féerique
M. Ravel (1875-1937)
The Fringes of a Ball
Waltz Variations on a theme by William Schuman
Robert Starer (1924-2001)
Scharamoucheii. Modéréiii. Brazileira Darius Milhaud (1892-1974)
This recital is presented in partial fulfillment o f the requirements for Chamber Music.


Student Recital:  Dances for Two; A recital of dances for duo piano and piano four hands

Nolan, Andrea

Bowker, Sarah

STUDENT RECITALWesternMusic
Don Wright Faculty of Music
Der Hirt auf dem Felsen, op. 129
Emma Shippey, clarinetQuindici composizioni da camera per canto e pianoforte 
Vaga luna, che inargenti 
L'abbandono 
Ma rendi pur contento12 Romances, op. 14
BeceHHe Bo^bi (Spring12 Romances, op. 21
CyMepxH (Twilight)6 Romances, op. 83
Coh (A Dream)
-Intermission-Canzonetta de concert
Bonjour mon cœur12 Mazourkes de F. Chopin 
Aime-moiSix mélodies 
MadridLe dernier sorcier
Chanson de la pluieTry Me, Good King!
Katherine o f Aragon 
Anne Boleyn 
Jane Seymour 
Anne ofCleves 
Katherine Howard
March 29,2019 
6 p.m., von Küster Hall 
Andrea Nolan, soprano 
Sarah Bowker, pianoF. Schubert (1797-1828)
V. Bellini (1801-1835)
S. Rachmaninoff (1873-1943)
P. Viardot (1821-1910)
L. Larsen (b. 1950)
This recital is presented in partial fulfdlment o f the requirements for the 
Master o f Music Performance (Literature & Performance) degree.


Student Recital

Dunn-Prosser, Barbara

Gouin, Stéphanie

McFadden, Carol

STUDIO RECITAL
Thursday, February 14, 2019, 
6:00 p.m., MB 242 
Studio of Barbara Dunn-Prosser: voice 
Accompanists: Stéphanie Gouin, Carol McFadden
Fly me to the Moon
Shayanne de Boer
Bart/HowardBlue Skies
Ciara Vella-Zarb
Irving BerlinPuttin' on the Ritz
Carinna Sabetti
Irving Berlin
It Don't Mean a Thing Duke Ellington
Candice Luo, Vivian Tomlinson, Ciara Vella-Zarb
Don't Get Around Much Anymore Duke Ellington
Sara SbifawGeorgia on my Mind
Lindsay Orlowski
Willie NelsonDream a Little Dream
Siena Vreugde
Andre/Schwandt
Body and Soul John Green
Lindsay Orlowski, Carinna Sabetti
Blue Monday
Megan Looknauth
Richard WaltersCabin
Alexis Sherbourne
Paul BowlesSugar in the Cane Paul Bowles
Western
M usic
Don Wright Faculty of Music
I can't be talkin’ of love Shayanne De Boer 
Siena Vreudge
John Duke
La mer
Alexis Sherbourne
Lasry/Trenet Kurt WeillSpeak Low
Vivian TomlinsonThe River is so Blue Kurt Weill
Candice Luo
Boogie Woogie Bugle Boy Raye/Prince
Megan Looknauth, Lindsay Orlowski, Carinna Sabetti,
PsychéHôtel/ Voyage à Paris Candice Luo
Siobhan Waldock
Emile Paladilhe Francis Poulenc
Chattanooga Choo Choo Gordon/Warren
Shayanne De Boer, Sara Shifaw, Siena Vreugde
That's Life
Ciara Vella-ZarbThe girls of summer, Marry Me a Little
Siobhan Waldock
John P. Sacco 
Stephen Sondheim
Satin Doll Duke Ellington
Ensemble
Fly Me to the Moon, Don’t Get Around Much Anymore, Georgia on my Mind, Dream a Little Dream
arranged by Carol McFadden
Chattanooga Choo Choo, It Don’t Mean a Thing
Satin Doll, Puttin’ on the Ritz
Boogie Woogie Bugle Boy
Blue Skies
Body and Soul
arranged by Mac Huff 
arranged by Kirby Shaw 
arranged by Ed Lojeski 
arranged by Roger Emerson 
arranged by Teena Chinn


Studio Recital

a noise and demands to see who is in the closet. The 
Count leaves in search of tools to force the closet 
door open. Cherubino and Susanna emerge, and 
Cherubino escapes. The Count and Countess return. 
When the door is opened, they both find to their 
astonishment only Susanna. Shamed, the Count 
begs for forgiveness. Figaro arrives and tries to start 
the wedding festivities. Antonio the gardener arrives, 
complaining that a man has jumped out of the 
window and damaged his geraniums. Figaro claims 
it was he himself who jumped out of the window, 
and pretends to have injured his foot. Antonio brings 
forward a paper which, he says, was dropped by the 
escaping man. Susanna and the Countess manage 
to signal the correct answers, and Figaro trium-
phantly identifies the document. Marcellina, Bartolo, 
and Basilio enter, bringing charges against Figaro 
and demanding that he honor his contract to marry 
Marcellina, 
Act 3
Susanna gives a false promise to meet the Count 
later that night in the garden. The Count overhears 
her telling Figaro that he has already won the case. 
Realizing that he is being tricked he resolves to 
punish Figaro by forcing him to marry Marcellina. 
Figaro’s hearing follows, and the Count’s judgment 
is that Figaro must marry Marcellina. Figaro argues 
that he cannot get married without his parents’ per-
mission, and that he does not know who his parents 
are. The ensuing discussion reveals that Figaro is 
Rafaello, the long-lost son of Bartolo and Marcellina. 
Seeing Figaro and Marcellina in celebration together, 
Susanna mistakenly believes that Figaro now prefers 
Marcellina to her. Marcellina explains, and Susanna, 
realizing her mistake, joins the celebration. Bartolo, 
agrees to marry Marcellina in a double wedding. The 
Countess sings about moments of sweetness and 
pleasure that are now lost. The Countess dictates 
a love letter for Susanna to send to the Count. A 
chorus of young ladies with Cherubino disguised as 
a girl, arrives to serenade the Countess. The Count 
arrives with Antonio and, discovering the page, is 
enraged. His anger is quickly dispelled by Barbarina. 
The act closes with a wedding party, during the 
course of which Susanna delivers her message to 
the Count. Figaro is unaware that the love-note is 
an invitation for the Count to tryst with Figaro’s own 
bride Susanna. 
Act 4
Barbarina has lost the confirmation that Susanna 
will meet the Count. Figaro and Marcellina see 
Barbarina and when he hears about the meeting 
he is overcome with jealousy. Figaro swears to be 
avenged on the Count and Susanna. The Countess 
and Susanna arrive, each dressed in the other’s 
clothes. After they discuss the plan, Marcellina and 
the Countess leave, and Susanna teases a hiding 
Figaro by singing a love song to her beloved. The 
Countess arrives and Cherubino shows up and 
starts teasing “Susanna” (really the Countess), 
endangering the plan. The Count now begins making 
his moves on “Susanna” (really the Countess), and 
gives her a jeweled ring. She leaves with the Count 
in pursuit. The real Susanna enters, wearing the 
Countess’ clothes. Figaro mistakes her for the real 
Countess, but he suddenly recognizes his bride in 
disguise. He plays along with the joke by pretending 
to be in love with “my lady”. Susanna, fooled, loses 
her temper and slaps him. Figaro finally lets on that 
he has recognized Susanna’s voice, and they resolve 
to conclude the comedy. The Count, unable to find 
“Susanna”, enters frustrated. Figaro gets his atten-
tion by loudly declaring his love for “the Countess” 
(really Susanna). The enraged Count calls for his 
people and for satisfaction: his assistant is seducing 
his wife. Bartolo, Basilio and Antonio enter and all 
beg him to forgive Figaro and the “Countess”, but he 
loudly refuses, repeating “no” at the top of his voice, 
until the real Countess re-enters and reveals her true 
identity. Ashamed and remorseful, the Count kneels 
and pleads for forgiveness. The Countess, more kind 
than he, forgives her husband and all are contented. 
The opera ends in universal celebration.
Music changes lives. So do our donors. 
Charitable gifts from music lovers, like you, provide critical support for the Don 
Wright Faculty of Music’s opera performances and student programming. To help us 
to continue to enrich our community through the power of music, donations can be 
made by phone at 519-661-2111 x85695, online at music.uwo.ca, or by mail to Karmen 
Ferraro, Alumni and Development Officer, Talbot College, Western University.
nozzefigaroprogram2.indd   1 1/16/2019   11:15:37 PM
Le Nozze di Figaro
Music by W.A. MOZART 
Libretto by LORenZO DA POnTe
CAST
Theodore Baerg, Stage Director
OrCheSTrA
Tyrone Paterson, Music Director
PrODUCTION TeAM
Director/Producer: Theodore Baerg
Music Director: Tyrone Paterson
Head Coach: Simone Luti
Set Design: eric Bunnell
Costume Design & Coordination: Julie McGill
Lighting Design: Chelsea Vanoverbeke
Theatre Manager/Set Construction: 
Lou D’Alton
Technical Director/Set Construction: 
Bryan Hart
Repetiteurs: Connor O’Kane, Brian Cho, 
Zain Solinski, natalia Skomorokhora, 
Raymond Truong
Recitatives: Connor O’Kane, Brian Cho
Stage Manager: Jorge Trabanco
Assistant Stage Managers: 
Leah MacDonald, Meggie McKay
Surtitles: Theodore Baerg
Surtitle Operator: Rachel Berg
Lighting Assistant: Katie German
Costume Assistant: Caelyn Hill
Assistant to the Director: Mario Pacheo
ACkNOwleDgeMeNTS
OPerA COOrDINATOr’S MeSSAge
Don Wright Faculty of Music would like to thank the Jackman Foundation for its continued 
generous and loyal support of the opera program, as well as the good Foundation and Ilona 
Janoschek for their leadership gifts to opera this year. Thank you to london Opera guild  
for their support of our opera students through scholarships.
Join us again on March 8 and 9 when we will offer our annual “Opera and Musical Theatre 
Gala,” presenting many favourites well known to all. In addition, we will present scenes 
from Victor Davies’, The Ecstasy of Rita Joe (adapted from George Ryga’s play), a timely 
and tragic story of a Canadian Indigenous woman. Don’t miss the opportunity to see and 
hear many of Canada’s finest young musicians. music.uwo.ca/events/opera.html       
- Professor Theodore Baerg
Jan. 25, 27, Feb. 2 Jan. 26, Feb. 1, 3
Count Almaviva  Douglas Graham John Johnston
Countess Rosina Almaviva Jennifer Cyr Kristal Daniels
Susanna Leyanna Slous Michelle Riley
Figaro Chad Louwerse Alex Mathews
Cherubino Rachael McAuley Michal Aloni
Marcellina Abigail Veenstra  Victoria Vass
Bartolo Shantanu Thaivalappil nathon Irving
Basilio  Jeremy Fox-Revett Matthew Bermudez
Don Curzio Cameron Mazzei  Robert Hutson
Barbarina Anne Jean Olivia Maldonado
Antonio Mark Pichkur Christopher Pitre-McBride
Wedding Attendants Madeline Duffy  Leah Bondy 
Joelle Kontos Katie Barr
Violin 1
Frangel Lopez 
    Cesena†
Jillian Yang
Rachelle Li
Violin 2
Kelvin Mun*
Kirit Mascarenhas
Dorothy Lin
Viola
Jeffrey Komar*
Sammy Mak
Paige Bursey
Cello
Isaac Lee
Bass
Andrew Kosty
Petros
  Giannopoulos
Flutes
Tracey Kennedy* 
Asta Coffey
Oboes
Joel Heinbuch* 
Gabriel Munteanu
Clarinets
Kelsey Regier*
Michelle Kim
Bassoon
Adam Floris
Horns
Dylon Pastoor*
Sarah Rodnik
Trumpets
Graham Lumsden*
Jazzmine Van Veld
Timpani
Alexis Wright
Keyboardists
Brian Cho
Connor O’Kane
_______________
†Concertmaster
*Principal Player
Understudies Susanna: Skylar Cameron; Cherubino: emily DeMerchant; Marcellina: 
Paulina Himaras
Chorus Renato Araujo, Katie Barr, Matthew Bermudez, Leah Bondy, Laura Curiale, 
Madeline Duffy, Mykyta Duvalko, nohl egan, Simon Ison, Joelle Kontos, Cameron 
Mazzei, Joshua Patrick, Raymond Salgado-Tran, Sarah Sharpe, Kaitlin Stenbeck, 
Victoria Stortini-Snider, Felix Stueckmann, Katie Trussler, natalie Vong PlOT SyNOPSIS
Act 1
Figaro (the Count’s assistant) and Susanna (the 
Countess’s assistant) get their new bedroom 
organized. She is bothered by its proximity to the 
Count’s suite: the Count has been making advances 
toward her and would like to sleep with her before 
her marriage. Susanna and she rushes off and 
Figaro resolves to outwit the Count. Dr. Bartolo 
arrives with Marcellina. Figaro borrowed a large 
sum from her and promised to marry her if he is 
unable to repay. Marcellina and Susanna exchange 
sarcastic insults and Susanna triumphs. Cherubino 
then arrives describing his emerging infatuation 
with all women especially the Countess. When the 
Count appears, Cherubino hides. The Count uses 
the opportunity of finding Susanna alone to step 
up his advances. Basilio, the music teacher, arrives, 
and then also hides. Basilio starts to gossip about 
Cherubino’s obvious attraction to the Countess and 
the Count angrily leaps from his hiding place and 
when he finds Cherubino he is furious and sends 
him off to military school. Figaro gives Cherubino 
mocking advice about his new, harsh, military life 
from which all luxury, and especially women, will be 
totally excluded. 
Act 2
The Countess laments her husband’s infidelity. 
Susanna enters and responds to the Countess’s 
questions by telling her that the Count is not trying 
to seduce her; he is merely offering her a money 
for her affection. Figaro enters and explains his 
plan to distract the Count. Cherubino arrives and 
Susanna urges him to sing the song he wrote for the 
Countess. The Countess notices that the Count was 
in such a hurry that he forgot to sign Cherubino’s or-
ders. Susanna takes off Cherubino’s cloak and they 
put a dress on him. They hear the Count arriving. 
Cherubino hides in the closet. The Count demands 
to be allowed into the room. The Count enters, hears 
nozzefigaroprogram2.indd   2 1/16/2019   11:15:37 PM


Western University Opera: Le Nozze Di Figaro (Mozart)

Lepock, Elizabeth

STUDENT RECITALWestern
Music
Don Wright Faculty of Music
Sweeter than Roses
February 8, 2019 
8 p.m., von Kuster Hall 
Elizabeth Lepock, soprano 
Simone Luti, piano
H. Purcell 
(1659-1695)
Tre sonetti di Petraca, S.270 F. Liszt
Pace non trovo (1811-1886)
Benedetto sia lgiorno 
l'vidi in terra angelici costume
Pur ti miro
Poppea and Nerone's duet from L'incoronazione di Poppea
Michal Aloni, mezzo-soprano
C. Monteverdi 
(1567-1643)
-Intermission-
Mir ist die Ehre widerfahren
Sophie and Octavian's duet from Der Rosenkavalier
Michal Aloni, mezzo-soprano
R. Strauss 
(1864-1949)
He non KpacaB^a... (Sing not to me, beautiful maiden...), Op.4, no. 4 S. Rachmaninoff 
BeceHHue Bogbi (Spring waters), Op. 14, no. 11 (1873-1949)
Youkali K. Weill
Je ne t'aime pas (1900-1950)
Hab' mir's gelobt R. Strauss
Sophie, Marchallin, and Octavian's trio from Der Rosenkavalier
Bethany Hynes, soprano 
Michal Aloni, mezzo-soprano
This recital is presented in partial fulfillment of the requirements for the 
Doctor of Music Arts in Performance degree.
Elizabeth Lepock, soprano local to Kitchener-Waterloo, holds an Honours Bachelor of 
Music in Voice Performance and Music History from Wilfrid Laurier University, and Master of 
Music in Performance and Literature from University of Western Ontario where she studied both 
voice and vocal pedagogy with Torin Chiles. Elizabeth is thrilled to now be pursuing doctoral 
studies at Western with Dr. Sophie Roland!
Elizabeth's passion for music includes a voracious desire to learn, a love for performing, 
and a nurturing attitude towards her students, while always attempting to challenge both them 
and herself. Her varied teaching experience includes a positions as the Choir, Voice, and Musical 
Directors, as well as Camp Director over her six years on faculty at Ontario Mennonite Music 
Camp, Conrad Grebel University College. Her masters and doctoral studies have led to positions 
as teaching assistant for such diverse subjects as music history, opera workshop, Schenkerian 
analysis for performers, masters level research seminars, and French Lyric Diction. Elizabeth has 
also served as a board member of Waterloo Region National Association of Teachers of Singing 
Student Chapter, and as a clinician in local masterclasses and competitions. Now a NATS 
member, she continues to maintain a large studio of voice and piano students, many of whom 
have achieved first class honours in exams and received acclaim at music festivals and 
competitions.
Highlights among Elizabeth's operatic roles include Armida in AEDO's 2015 production 
of Handel's Rinaldo in Lucca, Italy, the title role in London's Opera2Go's production of The 
Stupendous Adventure o f Gregory Green, and Pied Person in Peter Hatch's MyAudia, a new opera 
produced by Inter Arts Matrix and performed at Stratford Summer Music Festival and at Les 
Escales Improbables in Montreal, and Nella in Opera Western's 2017 production of Puccini's 
Gianni Schicchi. Also an avid recitalist, Elizabeth has been featured in St. Andrew's Presbyterian 
Noon Recital Series, Cambridge Galleries Concert Series, and the Conrad Grebel University 
College Noon Recital Series.
The focus of Elizabeth's research is the voice disorder, Primary Muscle Tension 
Dysphonia. This voice disorder is common among professional voice users, and the symptoms 
can be severely debilitating to classical or bel canto singers, even leading to permanent damage 
to the vocal folds. However, very little research has been published from a vocal pedagogy 
standpoint. Elizabeth is honoured to have been awarded three successive Ontario Graduate 
Scholarships to pursue this research.


Western University

Not a member yet

Faculty Concert

Visiting Faculty Concert: Empathy and Existence

Western University Symphony Orchestra

Opera Gala: Spring Gala: Favourites of Opera and Musical Theatre

Fridays @ 12:30 Series

Student Recital: Dances for Two; A recital of dances for duo piano and piano four hands

Student Recital

Studio Recital

Western University Opera: Le Nozze Di Figaro (Mozart)

Student Recital

4,158

7,289