Scholarship@Western

Van Veld, Jazzmine

Western
Music
Don Wright Faculty of Music
STUDENT RECITAL
March 24, 2018 
12 p.m., Studio 242 
Jazzmine Van Veld, trumpet 
Sarah Bowker, piano
Sonata for Bb Trumpet and Piano Paul Hindemith
Mit Kraft (1895-1963)
Massig bewegt 
Trauermusik
Alle Mensehen müssig sterhen
-Intermission-
Rhapsody in Blue George Gershwin(1898-1937) 
Arr. Timofei Dokshitser (1921-2005)
This recital is presented in partial fulfillment of the requirements for the 
Bachelor of Music (Performance) degree.


English

Student Recital

Cha, Jaehyun

STUDENT RECITALWestern
Music
Don Wright Faculty of Music
April 12, 2018 
6 p.m., MB242 
Jaehyun Cha, guitar
Sonata in E major, K380 D. Scarlatti (1685-1757)
La Catedral
Preludio
Andante
Allegro
A. Barrios (1885-1944)
Suite Populaire Brésilienne 
Mazurka-Choro 
Scottish-Choro 
Valsa-Choro 
Gavotta-Choro 
Chorinho
H. Villa-Lobos (1887-1959)
Op. 111 No. 5 Andantino M. Giuliani (1781-1829)
This recital is presented in partial fulfillment of the requirements for the 
Bachelor of Music (Performance) degree.


Rouleau, Caroline

Western
Music
Don Wright Faculty of Music
STUDENT RECITAL
April 11, 2018 
4:00 p.m., MB242 
Caroline Rouleau, violin 
Brian Cho, piano
Violin Sonata no.lin A major op.1
Grave
Allegro - Adagio 
Presto
Giuseppe Tartini 
(1692 - 1770)
Suite Italienne Igor Stravinsky
Introduzione (1882-1971)
Serenata 
Tarentella
Gavotta con due Variazioni
Scherzino
Minuetto e Finale
-Intermission-
Sonata no.3 for violin and piano in D minor op. 108 Johannes Brahms
Allegro (1833-1897)
Adagio
Un poco presto e con sentimento 
Presto
This recital is presented in partial fulfillment o f the requirements for the 
Master o f Music Performance (Literature & Performance) degree.


Komar, Jeffrey

Western
Music
Don Wright Faculty of Music
STUDENT RECITAL
April 5, 2018 
8:00 p.m., Von Kuster Hall 
Jeffrey Komar, viola 
Kimly Wang, piano
Sonata for Viola and Piano no. 1, H. 355 Bohuslav Martinu
Poco andante; moderato (1890-1959)
Allegro non troppo
...and dark time flowed by her like a river... for Viola and Piano Gary Kulesha 
(b. 1954)
-Intermission-
Cadenza per viola sola Krzysztof Penderecki 
(b. 1933)
Elegy in G Minor, Op. 44 Alexander Glazunov 
(1865-1936)
Konzertstück for Viola and Piano Georges Enesco 
(1881-1955)
This recital is presented in partial fulfillment of the requirements for the Doctor of Musical
Arts (Performance) degree.
Special thanks to Western University's Don Wright Faculty o f Music String Bank for the 
generous loan of the Nurnberger bow used in this performance.
Jeffrey Komar, Violist Phone: (902) 209-6450
2-51 Palace Street, London, ON N6B 3A6 Email: jefireykomar@gmail.com
Biography
With his background in the life sciences, Jeffrey Komar is not your typical classical 
performer. After completing a degree in Biochemistry and Molecular Biology, he 
switched gears to pursue a career as a violist. Jeffrey holds both Bachelor's and Master's 
degrees in music, studying with Philippe Djokic at the Fountain School of Performing 
Arts of Dalhousie University and with Sharon Wei at the Don Wright Faculty of Music of 
Western University. Currently, he is pursuing a Doctor of Musical Arts (DMA) in Viola 
Performance, also at Western.
Jeffrey has been a young artist in music festivals across Canada, including the Domaine 
Forget International Music Festival (St. Irenee, QC), the Tuckamore Festival (St. John's, 
NL) and the Scotia Festival of Music (Halifax, NS). Since beginning his graduate studies at 
Western, he has performed several times in the Don Wright Faculty of Music Concert 
Series, sharing the stage with such esteemed faculty as Sharon Wei, Scott St. John, Mel 
Martin, Joe Lanza, and Thomas Wiebe. In the greater London community, Jeffrey is an 
active chamber musician. He is a founding member of London-based chamber music 
groups Quartet di Altezza and Trio Moyen. He is also a member of Magisterra Soloists, 
with whom he has toured nationally and internationally.
Jeffrey is a dedicated music educator, too. From 2011-2015, he worked as the Upper­
Strings Faculty Member of the Halifax Music Co-op, where he provided one-on-one 
lessons to co-op members. In January 2016, Jeffrey joined the faculty of El Sistema 
Aeolian as a teacher/conductor. There he provides free instruction in violin, viola, and 
junior choir to underprivileged children from London and the surrounding areas. He is 
also on the faculty of Forest City Talent Education, where he coaches chamber music 
and senior orchestra. In his spare time, he enjoys drinking coffee, cooking, and listening 
to podcasts.


Stanford, Jason

	
ELECTROACOUSTIC STUDENT 
COMPOSITION CONCERT 
Tuesday, December 4, 2018 
12:30 p.m., Paul Davenport Theatre 
Dr. Jason Stanford, 2695 Instructor 
	
 
 
 
Factory   Morgan O’Brien 
 
Fatal Vision   Brenda McLachlin 
 
H2wOah   Eleftheria Michalargias 
 
Untitled    Peter Saradidis 
 
Just Relax   Pars Vural 
 
Something Happened at the Clock Tower Matthew Kwan 
 
Robot at the beach  Jacobus Parkinson-Witvoet 
 
Divide   Joshua Milligan 
 
Attack of K2  Destinie Ly 
 
Mundane, Tuesday, Wednesday Martin Ellison-Wareing 
 
A Busy Day   Siyue Liu  
 
What is a Guitar Paige Fitzpatrick 
 
Theme and Variation on a Circular Motion Sam Sloan 
  
The Chase   Jacob Cooper 
 
During the Storm Melanie Dias 
 
Trekking   Logan Valkyre 
 
Guitar Fragments for Sale William Li 
 
Prowl   Jake Dunbar 
 
Crystal Cave Chase  Winnie Ching Su  
 
Sleeping With A G …. Diminished Brian Marshall 
 
Cladach   Kenneth Palmer 
 
Escape   Li Wang 
PROGRAM NOTES 
 
Factory is an aural representation of an assembly line. The piece begins slowly with very few distinct 
brief sounds. It then grows throughout, layering high and low frequencies and adding more rhythm. 
Many of the sounds in Factory are decidedly industrial or synthetic, but a peaceful melody is 
introduced to contrast these sounds. The tempo of the song never changes and simulates the 
repetition of an assembly line. 
 
Fatal Vision uses a public domain audio recording of William Shakespeare’s Macbeth, Act II, Scene I, 
recorded by Julian Jameson for Libravox.org. In the scene, Macbeth is so overcome with preemptive 
guilt over his plan to murder King Duncan that he hallucinates a dagger hanging in the air before him. 
Each phrase of the recording has been manipulated using various techniques – primarily granular 
synthesis and delayed feedback loops – to convey the instability of both his mental state and his 
perceptions of reality. The composition is meant to allow the listener to empathize with Macbeth 
more easily, so that they might see the scene through the complex layers of his emotional 
landscape. 
 
H2wOah: This piece was inspired by Dripsody by Hugh Le Caine because it’s one of my favourite 
electro acoustic pieces. My piece is entirely made out of water sounds which include water droplets 
and water boiling. I used different processing techniques to develop the sounds that I desired and 
cut and placed them to create my final product. I hope you enjoy. 
 
Untitled. 
 
Just Relax. Making jokes has turned into crossing a minefield. We are constantly offended. We are 
afraid to say anything unless we have something nice to say. But how can we make progress, 
become better individually and as a society if we don’t point out what’s wrong? We can’t. Offending 
and being offended is a risk we have to take in order to be able to think and make progress. So stop 
being offended. Take a note of everything that’s being said but don’t take everything so seriously like 
the world’s going to end if someone gets offended. RELAX! I hope this piece helps you do that. 
 
Something Happened at the Clock Tower was composed with the use of recorded cello sounds, 
royalty-free sound effects, and sounds generated within MaxMSP. A mixture of all these was utilized 
to create the piece. Cello techniques used include tremolo, sul ponticello, and glissandos on a single 
string. In addition, a simple BiQuad Filter patch and Sfplay-with-speed patch were used in MaxMSP.  
This piece was composed as a narrative describing a character’s journey to a clock tower. From the 
piece, one can hear the clock tower ringing from a distance, footsteps of varying speeds, what goes 
on inside the tower, and the character arriving at the top of the tower, all while the sound of the 
turret clock ticks. 
 
Robot at the Beach is based on a story line of a robot going to the beach and being intrigued by 
water. The rhythm is the robot playing with water droplets, and eventually it gets curious about 
water. After wading into the sea, the robot learns its newfound love of water is dangerous as he loses 
power and gets taken by the tides. The guitar chords looping represent the backdrop. The rest of the 
sounds created by FM synthesis represent the robots curiosity.  
 
Divide is a composition reflecting on a victim of anxiety comparing the dark, nightmarish thoughts 
with the calming yet still uneasy aftermath. Utilizing various percussion and string instruments such 
as Marimba, Timpani, Drum set and Piano, Cello and Double Bass, the source materials are 
distorted almost beyond recognition to demonstrate the clouded and confused head space of the 
victim. 
 
Attack of K2 musically portrays the perilous conditions of the world’s second tallest mountain, K2, 
also known as the “Savage Mountain.” Using sounds inspired by the inclement cold weather 
conditions 28, 251 ft above land, the slow incline to climax in the piece represents the extreme 
gradual experience of climbers who explore upon the surface of K2. With the mountain having the 
highest fatality rate of the Eight Thousanders, the intense and eventful climax of the piece depicts 
some climber’s experience of abrupt death. With a sudden silence, the piece finishes off in a more 
peaceful manner representing the mountain’s isolation, and those who were unsuccessful become 
lost and a part of its terrain forever. 
 
Mundane, Tuesday, Wednesday outlines the repetitive nature of the day to day occurrences we find 
so common during the work week 
 
A Busy Day is describes a busy day of a working man. I used New FM-Chowning, Granular Groove 
Buffer and Random Note Generator Max program mainly.  Firstly, you will feel lots of voice come 
together, and the voice of uninterrupted door was closing. I used the Random Note Generator 
program and New FM-Chowning program to make the sounds more complicated. Continually, you 
will listen to an audio of can open which is mean that it is break time. At that time, the man enjoys 
this break and takes meditation. I used New FM-Chowning program to remix the drum sounds. 
There are lots of thoughts come to their mind, but he tries to calm it down. Continue to the second 
part, the busy day begin again. It was similar to the first part that there is lots of voice. Therefore, I 
keep used Random Note Generator to create new sounds. The sounds describe the work 
environment. But I added a simple melody because the busy day will finish, the feeling of man is 
happy. At the last part, the sound of the clock means they come home. And the cradle song has 
accompanied them to sleep. Granular Groove Buffer Program made the cradle song.  
 
What is a Guitar is a piece is entirely made up of samples from a single instrument, the acoustic 
guitar. The distortion and change in pitch and speed in this piece demonstrates how these slight 
changes can completely change the mood and sound of a piece, giving the listeners many different 
music atmospheres in a short amount of time. The guitar samples were played by Harrison Song. 
Theme and Variation on a Circular Motion. The repeated circular motif played within the context of 
other noise is found throughout the piece in its original and varied form.  The theme is varied with 
Frequency and delay manipulation. 
 
The Chase is my creative composition using FM synthesis and AM synthesis to create the various 
abstracting sounds. As being inspired by movies I thought to create this composition to hopefully 
relay an image in your head with the composition. The chase reflects the chaos in our lives and the 
chaos surrounding the outside world. 
 
During The Storm is a musical representation of the sounds during a storm while sitting inside with 
nothing to do. The main melody heard represents the gusts of wind passing by a window that one 
hears while sitting around inside. This main melody is then layered and overlapped with many other 
sounds that build up the storm such as the sound of rain hitting against a window, the sound of 
voices coming from the television and a faint clock ticking in the distance which leads to the peak of 
craziness within a storm. 
 
Trekking: This piece tells a story of someone on a walk through nature, using a flute to communicate 
with their environment. It contains two contrasting sections; the beginning in the cave, and the 
ending in the forest, with a stormy transition between the two. 
 
Guitar Fragments for Sale is a compilation of sound clips that morph over time. Sounds were 
recorded with a Fender Stratocaster and a Simon & Patrick acoustic guitar. 
 
Prowl is a piece that follows a jungle cat stalking its prey through a rainforest. It includes source 
material consisting of the human voice, water, and the striking of objects. In order to fabricate an 
unsettled feeling, this composition uses Frequency Modulation and Subtractive Synthesis, as well as 
the shifting of tempo. The ominous tone of the piece is enhanced further through the vast dynamic 
contrast, concentrated panning of the soundscape, and the reversal and/or expansion of filtered 
source material; however, it’s the layering and texture of the audio that will keep you feeling uneasy. 
 
Crystal Cave Chase is composed heavily with extended flute techniques; this piece showcases 
humans’ fear for the unknown through an exploration in a crystal cave, as well as the flexibility of 
sample-based music with the contrast of the harsh and percussive Chase section bookended by the 
melodic flute introduction and its vocal reprise. The constructed language sung in the vocal reprise 
is based on Latin, Italian, and Japanese. 
 
Sleeping With A G …. Diminished follows a G fully diminished 7th chord journeying to become a F 
major 7. Experience the manipulations of everyday instruments such as, cello, piano, vocoder, 
melodica and Mandolin. Grasp the timbral difference between very contrasting instruments. In 
addition to standard musical instruments this piece contains household items such as house keys. It 
was a goal of mine to manipulate sounds beyond recognition. Like dark things in life all must come to 
a resolution. This is the mentality this piece embodies. Thanks for listening. 
 
Cladach (Shoreline) is a calming composition which uses the soundscape to depict a gentle stroll 
along the coast. Throughout Cladach take notice of the sounds of the coastline; such as the waves, 
the distant sounds of nature and the lighthouse. These sounds were created using FM synthesis and 
subtractive synthesis. Immerse in the sounds and allow Cladach to be a calming reflective 
experience during this stressful time of year. 
 
Escape is a simple composition after all. Sounding complex yet, the majority of the sounds are from 
just one sample: the Attetudei Grill. First it was put into a Granular Groove Buffer and I composed a 
short phrase utilizing every knob possible.  The sound switches from fast to slow and reverb is 
added for a claustrophobia or room effect. Some FM synth and RNG are used for decoration at the 
beginning.  The most used reverb is the room reverb. It gives a sense of feeling that one is trapped in 
a confined room hearing the water drops. Then the piece gives a creepy feeling that the listener is 
always escaping from the fear of the unpleasant sound.  
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
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. 
 


Electroacoustic Student Composition Concert

Berg, Rachel

Digout, Paul

Western
Music
Don Wright Faculty of Music
STUDENT RECITAL
Caro mio ben Amarilli, mia bella
Liederkreis Op. 39
In der Fremde
Intermezzo
Waldesgespräch
Die Stille
Mondnacht
Schöne Fremde
Wehmut
Zwielicht
Im Walde
Frühlingsnacht
November 2, 2018 
6 p.m., von Kuster Hall 
Rachel Berg, voice 
Paul Digout, pianoGiuseppe Giordani (1751-1798) Giulio Caccini (1546-1618)
Robert Schumann (1810-1856)
-Intermission-ExtaseChanson triste La vie antérieure Henri Duparc (1848-1933)From Five Street Songs Charles IvesDown East (1874-1954)In the Alley The Circus Band MemoriesA, - Very PleasantB, - Rather Sad Songs My Mother Taught Me
This recital is presented in partial fulfillment of the requirements for the 
Master of Music Performance (Literature & Performance) degree.


Dunn-Prosser, Barbara

Gouin, Stéphanie

McFadden, Carol

STUDIO RECITAL
Thursday, November 15, 2018, 
6:00 p.m., MB 242 
Studio of Barbara Dunn-Prosser: voice 
Accompanists: Stéphanie Gouin, Carol McFadden
A. Caldara 
(1670-1736) A. Parasotti 
(1853-1913)
Sara Shifaw
Vaga luna che in argenti V. Bellini
(1801-35)Music When Soft Voices Die R. Quilter
Siena Vreugde (1877-1953)
Ständchen (Leise flehen, meine Lieder) F. Schubert
(1797-1828)Quiet J. Coultard
Shayanne De Boer (1908-2000)
Alma del core Se tu m'ami
Western
Music
Don Wright Faculty of Music
Van gli effluvi de le rose P. Tosti
(1846-1916)Già il sole dal Gange A. Scarlatti
Alexis Sherbourne (1660-1725)
Ma, rendi pur contento V. Bellini
(1801-35)Nur wer die Sehnsucht kennt F. Schubert
Ciara Vella-Zarbe (1797-1828)
Les papillons Sehnsucht
Megan Looknauth
E. Chausson 
(1855-99) F. Hensel 
(1805-47)
Widmung R. Schumann (1810-56)Les roses d'Ispahan
Vivian Tomlinson
G. Faure (1845-1924)
Voi che sapete, Le nozze di Figaro W. A. Mozart (1756-91)Vergebliches Ständchen J. Brahms (1833-97)
Candice LuoFrühlingsglaube F. Schubert (1797-1828)Als Luise die Briefe
Lindsay Orlowski
W. A. Mozart (1756-91)
0 del mio amato ben S. Donaudy (1879-1925)Er der herrlichste von allen, Frauen Lieben und Leben
Carinna Sabetti
R. Schumann (1810-56)
Vedrai carino, Don Giovanni W.A. MozartKommt ein Schlanker bursch geganen, Der Freischütz (1756-91) C. von Weber (1786-1826)
Siobhan Waldock


German

Studio Recital

Baerg, Theodore

Cavanagh, Michael

Luti, Simone

PROLOGUE
The Prologue introduces “a curious story, written in 
faded ink”, the personal account of a young govern-
ess. She had been sent by a handsome, wealthy 
stranger to instruct his orphaned relatives, a boy and 
a girl, at a country house long ago…
ACT I
On her journey to Bly House, the Governess ponders 
her position’s uncertainties: the orphaned children, 
the old housekeeper, and the main condition of 
her employment, that she should never bother the 
children’s guardian for any reason.
The children - Miles and Flora - together with the 
housekeeper, Mrs Grose, welcome the Governess. 
Mrs Grose assures her they are clever and good. 
The children are excited to show off the house. The 
Governess feels at home.
Weeks later, the Governess receives a letter from 
Miles’s school dismissing him for mysterious trans-
gressions. Mrs Grose’s protestations and the sight 
of the children playing innocently reassure her. She 
decides to take no action. Mrs Grose offers support. 
Enjoying a warm summer evening in the grounds, the 
Governess suddenly sees a figure on the tower whom 
she first imagines to be the children’s relative, then 
suspects may be a madman or an intruder.
As the children are playing indoors, the Governess 
sees the man again, gazing in at the window. She tells 
Mrs Grose, who identifies him as Quint, the master’s 
former valet. He had “made free” with Miles, as well 
as with the Governess’s predecessor, the late Miss 
Jessel. Quint is also now dead. Horror-struck, the 
Governess fears he has come back for Miles, and 
swears to protect the children.
More time passes. One day, during the children’s 
lessons, Flora begins to act up and Miles sings a 
strange song. This adds to the growing unease of the 
Governess.
Sitting by the lake with Flora one day, the Governess 
sees her staring across the water. Miss Jessel has 
appeared on the other side. Sending Flora away, the 
Governess now begins to believe both children may 
be lost to her.
 
Quint calls to Miles, and Miss Jessel to Flora. The 
Governess grapples with what she sees and believes, 
and flees to find Mrs Grose. They come back to the 
children, and the Governess demands to know what 
Miles was doing. 
INTERMISSION
ACT II
Miss Jessel confronts Quint, accusing him of betrayal. 
He mocks her, revealing he yearns for a young, male 
friend. Jessel announces she will join in a similar 
quest. The Governess admits that she is lost in a 
labyrinth.
In the churchyard before a Sunday service, the 
children act out disconcerting scenes. The Governess 
realizes they must be complicit with Quint and Jessel. 
She has an upsetting conversation with Miles and 
resolves to flee.
The Governess runs to her bedroom to pack but finds 
Miss Jessel, who sings of restlessness and suffering. 
The Governess resolves to stay and, though it was 
forbidden, writes a letter to her employer telling all.
In Miles’s bedroom, the Governess tells him she has 
written to his guardian. That night, Quint is heard 
encouraging Miles to retrieve the letter. He complies. 
During Miles’s piano practice, the Governess realizes 
that Flora has slipped away - to meet, she suspects, 
Miss Jessel. She and Mrs Grose leave Miles, who 
seems to be in a trance of his own, in search of her.
At the lake, the Governess accuses Flora of seeing 
Miss Jessel. Flora denies it, and Mrs Grose leads her 
away. The Governess fears she has lost the house-
keeper’s support. 
Mrs Grose announces she will leave with Flora, after 
an awful night. She also informs the Governess that 
her letter was never sent.
The Governess confronts Miles, while Quint warns 
him to remain silent. She forces Miles to name the 
one responsible for all their misery. Miles blurts out 
the name, then is wrapped up in the Governess’s 
arms. She soon realizes he is dead.
The Governess sings the strange, evocative song he 
once sang to her.
PLOT SynOPSiS
turnofscrewprogram.indd   1 11/7/2018   11:01:42 PM
The Turn of the Screw
Music by BENJAMIN BRITTEN 
Libretto by MyfANwy PIPER
CAST
Michael Cavanagh, Stage Director
OrCheSTrA
Simone Luti, Music Director
PrODUCTiOn TeAM
Producer: Theodore Baerg
Director: Michael Cavanagh
Music Director: Simone Luti
Head Coach: Simone Luti
Repetiteurs: Laura Altenmueller, Luis 
   Gonzalez, Matthew Pope, Petya Stavreva
Set Designer: fred Perruzza
Scenic Artist: Eric Bunnell
Costume Designer: Lisa Magill
Costume Co-ordinator: Julie McGill
Lighting Designer: Chelsea Vanoverbeke
Assistant Directors: Michal Aloni, 
   Alex Mathews
Stage Manager: Adam Iannetta
Assistant Stage Managers: Caelyn Hill, 
Leah MacDonald, Meggie McKay, 
   Samantha Skelding
Theatre Manager: Louis D’Alton
Theatre Technician: Bryan Hart
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. Many 
thanks to Fred Perruzza, and The University of Toronto Opera Division, especially 
ian Albright, Lisa Magill, Michael Albano, and Sandra horst.
we welcome you to the 2018-19 season of UwOpera. This promises to be a rewarding 
and exciting season beginning with Benjamin Britten’s The Turn of the Screw followed in 
January/february by Mozart’s timeless and beloved, Le Nozze di Figaro. On March 8 and 
9 we will offer our “Opera and Musical Theatre Gala”. This will include many favourites 
well known to all. In addition, we will present scenes from Victor Davies’ The Ecstasy 
of Rita Joe, a timely and tragic story of a Canadian Indigenous woman, which had its 
world premiere last year in Toronto. Don’t miss the opportunity to see and hear many of 
Canada’s finest young musicians.                                         - Professor Theodore Baerg
   november 15 & 17 november 16 & 18
The Governess    Brianna DeSantis  Sarah walsh
Mrs. Grose   Shaelyn Archibald Catherine Dupressoir
Flora     Taryn wichenko  Andrea Nolan
Miles     Hilda Lam  Josée Landry
The Prologue/Peter Quint Sharang Sharma  Marcel van Helden
Miss Jessel   Rachel Berg  Alyssa woolhether
Flute, Piccolo  
and Alto Flute 
Sharon Kahan 
Oboe 
Jessica Arenas
Clarinet and  
Bass Clarinet 
Luc Vaillancourt 
Bassoon 
Margaret fay
Horn 
Dylon Pastoor
Violin I 
frangel Lopez-Cesena
Violin II 
Kelvin Mun
Jillian yang
Viola 
Jeffrey Komar
 
Cello 
Marianna Grigg
 
Double Bass 
Andrew Kosty
Percussion 
Jake Schindler 
Harp 
Kathleen Gahagan
Piano and Celesta  
Petya Stavreva 
Servants: Rowan Buratti, Nohl Egan, Grace Hakala, Simon Ison, 
Cameron Mazzei, Joshua Patrick
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.
Mozart’s Le Nozze di Figaro
January 25 (8 p.m.), 26 (2 p.m.)  
february 1 (8 p.m.) 2 & 3 (2 p.m.)
Opera and Musical Theatre 
Favourites: Spring Gala
March 8 (8 p.m.) & 9 (2 p.m.)
music.uwo.ca/events/opera.html
UPCOMing PrODUCTiOnS
Photo: Le Nozze di Figaro,  
UWOpera production  
February 2011
turnofscrewprogram.indd   2 11/7/2018   11:01:42 PM
