Verdi's Requiem plays in Bozeman

Power – Majesty – Beauty; with Voices Stentorian!

These are but a few words that describe the grandeur of Giuseppe Verdi’s haunting Messa da Requiem.  Join the Bozeman Symphony Orchestra, Symphonic Choir, MSU University Chorus and quartet of internationally renowned guest artists as we conclude the 2015-2016 concert season with what promises to be our most profound and stirring performance.
 
The 100 member symphonic choir and 50 member University Chorus, under the direction of conductor Jon Harney, will join Maestro Savery, the orchestra and special guests for this epic finale featuring over 200 musicians on the Willson Auditorium stage.  Additionally, Sarah Stoneback and students from her Montana State University trumpet studio will be featured.  Join us as we say “Viva Verdi” for this captivating musical journey of terror, eight-part fugue, double chorus, trumpet fanfare, beauty, simplicity, aria-styled showcases and quartet of exceptional singers.  
 
Local music lovers and musicians are saying: “I think you will agree that this is one of the most enjoyable religiously based works for chorus and orchestra in the repertoire, and is profoundly rewarding, both to perform and to experience as an audience member”, Alan Leech, Bozeman, MT.  “It is a thrill to again be a member of the Bozeman Symphonic Choir as we perform the Verdi Requiem with the Bozeman Symphony. I have enjoyed singing in the choir for about 38 years; the quality continues to improve with each performance.  Those who heard the stand-alone choir concerts last year and this year will attest to the fine sound. Some of the Bozeman Symphony audience members may recognize the “Dies Irae” portion of the Verdi Requiem which was sung in a recent Collage concert. The Requiem by Verdi is HUGE! The music is operatic, theatrical, dramatic, and memorable”, Kippy Sands, Bozeman, MT.  “Verdi’s Requiem profoundly transcends liturgy, mortality and musically achieves the Phoenix rising from its ashes.  It uplifts and inspires and helps to enter an expanded higher awareness, which is what great Music can achieve. This is why we are a sponsor for this concert. We also hope that the positive momentum created with last year’s Beethoven 9th , 4th of July,  Luminosity and most recently with Shostakovich’s 5th should be a grand foundation to build upon for the 50th anniversary season of the Bozeman Symphony.
Thank you Maestro Savery and members of the orchestra and choir”, Walter Wunch, Emigrant, MT.
 
GENERAL INFORMATION
Performances held at the Willson Auditorium, 404 West Main Street, on Saturday, April 9, 7:30 PM and Sunday, April 10, 2:30 PM.  Tickets available to purchase in advance by calling (406) 585-9774, online at bozemansymphony.org, or at the Bozeman Symphony office, 1001 West Oak Street, Suite 110. $22/student (with ID) and $27 and up/adults. Reserve tickets in advance, as performances are anticipated to sell out. Concert attendees are invited to receptions immediately following performances at 14 North, on Saturday, and Plonk on Sunday. Thank you to generous concert sponsors: Spectec/TIC, Walter & Regina Wunsch and David & Kippy Sands.  For more information, please contact the Bozeman Symphony, (406) 585-9774 or info@bozemansymphony.org.
 
MEET THE ARTISTS
 
COLLEEN DALY
Colleen Daly is rapidly emerging as a “dramatically powerful” (The Washington Post) singer in today’s operatic arena. Miss Daly’s most recent performances include Musetta in La Bohème with Annapolis Opera, Lyric Opera of Baltimore and Des Moines Metro Opera; Violetta in Opera Delaware’s production of La traviata, which she also covered at New York City Opera; Fiordiligi in Così fan tutte with Intermountain Opera; Micaëla in both La Tragédie de Carmen with Syracuse Opera and in Carmen with Baltimore Concert Opera; the Countess in Annapolis Opera’s production of Le nozze di Figaro; and the title role of Thaïs at Opera Company of Middlebury. This winter, Miss Daly will be returning to one of her signature roles, Micaëla in the Maryland Symphony Orchestra’s presentation of Carmen, and will be presented in her role debut of Fidelia in Puccini’s masterpiece Edgar with the Baltimore Concert Opera later that month.
 
Ms. Daly’s work as a concert and recital soloist has been widely recognized in performing such works as the Mozart, Brahms, Fauré, and Rutter Requiem Masses, Mendelssohn’s Elijah, Beethoven’s Ninth Symphony, Händel’s Messiah, Haydn’s Creation, Lord Nelson Mass, and Missa Solemnis, Poulenc’s Gloria, Mozart’s Davide Penitente, and Stravinsky’s Les Noces. Colleen has appeared with the Master Chorale of Washington in her Kennedy Center debut, Washington Concert Opera, the Washington Chorus, the Cathedral Choral Society in her National Cathedral debut, the Post-Classical Ensemble, the New Dominion Chorale, and the Maryland Philharmonic Orchestra, the Händel Society of Dartmouth, and the Columbus Symphony, among others. The 2015 season was marked by her professional recital debut; Ms. Daly presented a program of art song inspired by works in the permanent collection at the Phillips Collection, and reprised a portion of her program at the Kennedy Center, which was streamed live worldwide. This fall, Ms. Daly made her international concert debut with the Calgary Philharmonic Orchestra as Madeline in Philip Glass’ setting of The Fall of the House of Usher, before returning to the Kennedy Center Concert Hall as a soloist in the Washington Chorus’s presentation of Ralph Vaughan Williams’ A Sea Symphony. She’s looking forward to returning to Calgary in June to appear as a soloist in their presentation of Mahler’s Eighth Symphony.
 
A native of the Washington, D.C. metropolitan area, Ms. Daly is frequently called upon to appear as a featured soloist at embassies and political events; to date, she has performed at the Italian, Austrian, Irish, and Columbian embassies, and has performed for Vice President Biden, Maryland Governors Martin O’Malley and Larry Hogan, and Supreme Court Justices Scalia and Roberts.
 
Colleen Daly has been the recipient of awards from the Vocal Arts Society of Washington, D.C., the Gerda Lissner Foundation, the Liederkranz Foundation, The Washington International Competition, and Annapolis Opera. Ms. Daly holds a bachelor’s degree from DePaul University, a Master’s degree from the Opera Studio at the University of Maryland in College Park, and an Artist Diploma from the Academy of Vocal Arts.
 
MARGARET LATTIMORE - Grammy nominated mezzo-soprano Margaret Lattimore has gained acclaim in recent seasons for her versatility in performing the works of Handel, Rossini, and Mozart alongside Mahler, Verdi, and Wagner. Following her Summer 2014 debut with Des Moines Metro Opera as Mrs. De Rocher in Dead Man Walking and Ragonde in Le Comte Ory, she returns to the Metropolitan Opera for the 2014-2015 Season as the Third Lady in Die Zauberflöte, Praskowia in The Merry Widow, Antonia’s Mother in Les contes d’Hoffmann, and Mother Goose in The Rake’s Progress.
 
After winning the Metropolitan Opera National Council Auditions at the age of 24, Margaret Lattimore became a member of the Metropolitan Opera Lindemann Young Artist Development Program. In October of that same year, she made her Met debut as Dorotea in Stiffelio. Her subsequent engagements at the Met include Marcellina in Le Nozze di Figaro, Jordan Baker in The Great Gatsby, the Countess in Andrea Chénier, The Third Lady in Die Zauberflöte, and Meg Page in Falstaff. Other recent opera appearances include the world premiere of Nico Muhly’s Dark Sisters with Opera Philadelphia and Gotham Chamber Opera; and performances with New York City Opera, Washington National Opera, Dallas Opera, Michigan Opera Theatre, Florida Grand Opera, Central City Opera, San Diego Opera and Boston Lyric Opera, among others.
 
On the concert stage, she has performed with the New York Philharmonic, Boston Symphony Orchestra, Philadelphia Orchestra, Orchestra of St. Luke’s, St. Paul Chamber Orchestra, Houston Symphony, and Minnesota Orchestra. Recent concert performances include Verdi’s Requiem with the Houston Symphony and at Spoleto Festival USA; Brahms’ Alto Rhapsody and Beethoven’s Symphony No. 9 with Orquestra Sinfónica Nacional de Mexico; Mozart’s Requiem with the Louisiana Symphony; Handel’s Berenice with the American Symphony at Carnegie Hall; Alto Rhapsody and Brukner’s Te Deum with the Spoleto Festival USA; and Lawrence Siegel's Kaddish with the Houston Symphony. She also appeared in recital at the Library of Congress during the 2013-2014 season performing Wagner’s Wesendonck Lieder.
 
Margaret Lattimore is a graduate of the Crane School of Music at the State University of New York at Potsdam where she met her voice teacher, Patricia Misslin. She resides with her husband and young son in New York.
 
MICHAEL MORROW - Tenor Michael Morrow, called “riveting and breathtaking” by the Brooklyn Spectator (Canio in New York City’s Regina Opera 2014 production of I Pagliacci) will next be seen as the Tenor soloist in the Verdi Requiem with the Bozeman Symphony Orchestra. He was recently seen in the role of Don José (Carmen) with St. Petersburg Opera in Florida, a role he also recently performed with New York City Opera on a tour of European cities including Monte Carlo, Zurich, Geneva, Paris and London, as well as performances in Las Vegas and New York City. Last June, he performed in excerpts of Tosca as Cavaradossi (The United Nations Orchestra, 2015). Other upcoming engagements include appearances as Turandot’s Calaf (Fairbanks Symphony Orchestra, 2016), as Manrico in Verdi’s Il Trovatore (New Rochelle Opera, 2016) and as the title character in Verdi’s Otello (Berks Opera Company, 2016).
 
Last season, Michael appeared as Don José in Bizet’s Carmen (Staten Island Philharmonic and Regina Opera) and Riccardo in Verdi’s Un Ballo in Maschera (Regina Opera); he was hailed as “a robust, impressive tenor with remarkable range” who “sang with ease and elan” (Nino Pantano, The Brooklyn Daily Eagle). Michael has also recently been seen in Verdi’s Luisa Miller (Rodolfo) in concert with Dell’Arte Opera Ensemble, and Verdi’s Otello (Roderigo) with Wichita Grand Opera. As Pinkerton (Madama Butterfly) with Berks Opera Company of Pennsylvania, he was compared to the great dramatic tenors of past with “a brilliant, golden sheen” and “his phrasing and vocal expressiveness makes his Pinkerton memorable”. In Dell’Arte Opera Ensemble’s Macbeth, Michael’s appearance as Macduff was credited with having delivered most thrilling moment of the evening: “…[as] Macduff, Michael Morrow sang his mournful aria “Ah, la paterna mano” sensitively….in what turned out the be the most thrilling moment of the performance…the rousing cabaletta “La patria tradita” (James Jorden, The New York Observer).
 
Before a family crisis that required Michael to put his career on hold and raise three nieces and a nephew, he was a student of Bill Schuman at Philadelphia’s Academy of Vocal Arts.  Michael spent the summer of 2013 as a member of the Mediterranean Opera Studio where he coached his repertoire with Italian national treasures Salvatore Fisichella, Nicola Martinucci and Marcello Giordani, culminating in concert performances in Italy. In 2015 he received a grant from The Koch Cultural Trust and another from The Olga Forrai Foundation, an organization that supports and encourages dramatic voices.  A native Kansan, Michael Morrow makes his homes in Wichita and New York City.
 
MARK S. DOSS - Grammy Award winner, Mark Steven Doss has sung with the major orchestras of Philadelphia, Cleveland, Chicago and Toronto, while additionally performing 87 roles with more than 60 major opera companies around the world, including Milan’s Teatro alla Scala, the Vienna State Opera, London’s Covent Garden, San Francisco Opera, Lyric Opera of Chicago and the Canadian Opera Company.
 
The 2014-15 season began for Mr. Doss with the Colonial Soldier in Nicholas Lens’ World Premier of Shell Shock at the Théâtre de la monnaie in Brussels, followed by a return to Chicago for Händel’s Do-It-Yourself Messiah – being featured in a Chicago Sun-Times article and appearing on FOX and ABC TV to promote and fundraise for the event, and a subsequent debut with the Ottawa Symphony as the bass-baritone soloist in Verdi’s Messa da Requiem.
 
The 2013-14 season began with Amonasro in Aida at the Teatro de la Maestranza in Seville, followed by the Four Villains in The Tales of Hoffmann with the New National Theatre in Tokyo.  Next he went on to Chicago and Princeton, New Jersey for the bass-baritone soloists in Messiah and Beethoven’s 9th Symphony respectively (the latter soon to be released on CD under the Westminister Choir College label); followed by Simone in Zemlinsky’s Eine florentinische Tragödie with Turin’s Teatro Regio, the bass soloist in Bach’s St John Passion with the National Symphony in Costa Rica, Pizarro in Fidelio and Amonasro (Aida) at the Dorset Opera Festival, and Jochanaan in Salome with the Theatro Municipal in São Paulo, Brazil.
 
Highlights of the previous seasons include the title role in Wagner’s The Flying Dutchman and one of his most acclaimed roles, Escamillo in Carmen, with the Teatro Regio in Turin, double bill performances of Premysl (Sarka) and Alfio (Cavalleria Rusticana) with the Teatro de la Maestranza in Seville, the Dutchman at the Teatro Comunale in Bologna (soon to be released on DVD), Amonasro with the San Diego Opera, the Dutchman with the Dorset Opera Festival, Méphistophélès in Santa Fe Opera’s Faust, and successful debuts at the Vienna State Opera as Amonasro and the Berlin State Opera as Jochanaan (Solome).
 
Mr. Doss has performed under the batons of many notable conductors, including Riccardo Muti, Lorin Maazel, and Daniel Barenboim, and will be featured as Amonasro in Aida this fall with Musical America’s Conductor of the Year, Gianandrea Noseda.
 
Being a recipient of the prestigious Entertainment Award from Planet Africa, recognizing his achievements and reputation as a positive role model, Mr. Doss continues to volunteer his Role Preparation Masterclass, fundraise, and offer his services as a church soloist and/or cantor.
 
Future performances include Germont in La Traviata with the Hyogo Performing Arts Center in Japan, Amonasro in Verdi’s Aida with Turin’s Teatro Regio, and Méphistophélès in Faust in Oviedo, Spain