Viva la Musica!Choir • Orchestra

Shulamit Hoffmann, Conductor • Anna Khaydarova, PianistLauren Haber, Soprano, Jacqueline Goldgorin, Alto

Corey Head, Tenor, José Mendiola, Bass

CPE Bach

Magnificat

Sunday, December 16, 2018, 4:00 p.m.Pre-concert talk 3:30 p.m.

225 Tilton Avenue, San Mateo, California 94401

1

ProgramO Come All Ye Faithful

Magnificat H 722 Wq 215 Carl Philipp Emanuel Bach(1714–1788)

Choir

Orchestrastrings

2 flutes, 2 oboes, 2 French horns3 trumpets, timpani

continuo (organ and bassoon)

SoloistsLauren Haber, soprano

Jacqueline Goldgorin, altoCorey Head, tenorJosé Mendiola, bass

1. Choir Magnificat anima mea Dominum2. Soprano Aria Quia respexit humilitatem

3. Tenor Aria Quia fecit mihi magna4. Choir Et misericordia eius

5. Bass Aria Fecit potentiam in bracchio suo6. Alto & Tenor Duet Deposuit potentes de sede

7. Alto Aria Suscepit Israel puerum suum8. Choir Gloria Patri et Filio

9. Choir Sicut erat in principio

approximately 40 minutes

Intermission

2

Joy to the World

A Child is Born in Bethlehem Anon (14th century)Arranged Orjan Matre (b. 1979)

Blessed Be that Maid Marie Anon (15th century)Arranged Susan LaBarr (b. 1981)

His Light In Us Kim André Arnesen(b. 1980)

Lauren Haber, sopranoAnna Khaydarova, piano

A Christmas GiftAnna Maria Mendieta, harp

Iesous Ahatonnia (Huron carol) Jean de Brébeuf (14th century)Arranged Manuel Antonio (b. 1979)

The World for Christmas Anders Edenroth(b. 1963)

Lauren Haber, sopranoJacqueline Goldgorin, alto

Chris Nichols, tenorJosé Mendiola, bass Anna Khaydarova, piano

The Annunciation Carol South AfricanArranged Sue Cock (b. 1958)

Lauren Haber, soprano

Akekho Ofana No Jesu South AfricanArranged Daniel Jackson

Matthew Reeve, baritoneDanni Carter, descant

3

Notes, Texts, TranslationsProgram notes © Shulamit Hoffmann 2018

O Come All Ye Faithful

O come all ye faithfulJoyful and triumphant,

O come ye, O come ye to Bethlehem.Come and behold Him,

Born the King of Angels;O come, let us adore Him, O come, let us adore Him,

O come, let us adore Him, Christ the Lord.

Sing, choirs of angels,Sing in exultation,

Sing all ye citizens of heaven above.Glory to God,

Glory in the Highest;O come, let us adore Him,O come, let us adore Him,

O come, let us adore Him, Christ the Lord.

Magnificat C. P. E. Bach

Carl Philipp Emmanuel Bach’s Magnificat features vocal soloists, choir, and orchestra—strings, continuo, double flutes, oboes, and French horns, and three trumpets and timpani. In this 40 minute work, the writing alternates between the old polyphonic style of C.P.E.’s father, J.S. Bach, and the new homophonic style that Haydn and Mozart would adopt. The composer wears his heart on his sleeve, and the character of the music ranges from grand, festive, and triumphant, to intimate, tender, and poignant.

C.P.E. was overshadowed by the rise of the late eighteenth century Classical geniuses, Haydn, Mozart, and Beethoven, and by the nineteenth century rediscovery, thanks to Mendelssohn, of his father, Johann Sebastian. But C.P.E. is one of the most rewarding of all composers whose work fell posthumously into obscurity. It was, astonishingly, C.P.E., not J.S., who, in his lifetime, was considered

4

“the great Bach.” A musician of daring, originality, and genius, with a prodigious compositional output—more than 50 keyboard concertos, 18 symphonies, hundreds of keyboard sonatas and character pieces, songs, choral works, and chamber works—C.P.E. was the most gifted, progressive, and musically expressive of all J.S. Bach’s 20 children; more original than his well-renowned composer brothers, Wilhelm Friedemann and Johann Christian. C.P.E. out-composed them all, with his new, daring, and dazzling so-called empfindsamer Stil (Sensitive Style).

In 1749, C.P.E. wrote his Magnificat as a job application for his father’s former position as Cantor of the Thomas Church in Leipzig. He held back nothing, giving it his expressive and virtuosic all. Nevertheless he was twice turned down for the position. History has something to say to those search committees!

C.P.E. found success in Hamburg, and it was there that his Magnificat was frequently performed, in whole or in part. Of the nine movements, four are for choir and orchestra, four are arias for vocal soloists, and there is one duet for alto and tenor. The 4-part choral writing includes both homophony and polyphony, while the vocal solos contain fioritura (“flowering”), melodic lines with florid embellishments.

In C.P.E.’s Magnificat there are almost direct quotes from his father’s iconic piece of the same moniker. Both are in the celebratory key of D major, and they are structurally similar. Pulling out all the stops, literally and figuratively, in the final movement, a massive 265 measures, C.P.E. writes not one fugue, but a double fugue: two subjects, both presented polyphonically. One subject runs in agile eighth notes (what we in the choir refer to as the sewing machine theme); the other unfolds majestically in half notes (what we call the trombone theme). As the apogee, both subjects are presented simultaneously.

The text for the work is based on the biblical Canticle (Song) of the Blessed Virgin Mary (Luke 1:46-55). It is entirely fitting to have the Magnificat text set to music because, as biblical scholars impute, these are the words the Blessed Virgin herself probably sang, while she was visiting at the home of her cousin, Elizabeth, during what is known as the Visitation. The text conveys both Mary’s personal expression of joy and also all Israel’s hope and thanksgiving, that the coming Incarnation will fulfill God’s promise of redemption for His

5

people. We hear Mary’s words of astonishment and wonder at being told of the holy child she is carrying in her womb. And we hear her praises to God, her recollection of God’s mercies shown to Israel, and the hope of the fulfillment of His ancient promise to Abraham.

C.P.E. uses the Gloria Patria, the traditional doxology (from Greek: doxologia: doxa = “glory” and logia = “saying”), a short hymn of praise, appended at the end of the Canticle, as his eighth movement. Having reprised the music of the first movement in the eighth, he word paints in the opening of the ninth and final movement: Sicut erat in principio (“As it was in the beginning”), as if to ask us, ‘Did you get it?”

And what a lot we have gotten: the pomp and pageantry of the trumpets and timpani in the opening and closing choral movements and in the grand bass aria with its, processional dotted rhythms; the heart-melting lyricism of the soprano solo; the virtuosic tenor aria; plangent chromaticisms in the choral movement Et Misericordia (“And His mercy”), for which we have chosen to sing the revised version of 1779; the liquid elegance of the intertwining alto and tenor soloists in their duet; and the graceful warmth as the alto soloist, supported by flutes, delivers the message in saecula (“for all posterity”). Post scriptum: C.P. E. was, for a time, court musician to Frederick the Great of Prussia. The king, a flute aficionado and composer, required his employee to provide keyboard accompaniments for his flute performances, during which he apparently “took liberties” with tempi. After one such royal performance, a sycophant exclaimed, “Your Majesty, what rhythm!” To which C.P.E. was heard to mutter, “What rhythms!”

Magnificat1. Choir

Magnificat anima mea Dominum My soul magnifies the Lord, Et exultavit spiritus meus in Deo salutari meo. And my spirit rejoices in God my Savior.

2. Soprano Aria Quia respexit humilitatem. For He has regarded the low estate ancillae suae of His handmaiden. Ecce enim ex hoc beatam me dicent omnes For behold, henceforth all generationes. generations shall call me blessed.

6

3. Tenor Aria Quia fecit mihi magna, For He has done great things for me, qui potens est who is mighty et sanctum nomen eius. and holy is His name. Sicut locutus est, In accordance with what He said ad Patres nostros. to our Fathers.

4. Choir Et misericordia eius a progenie in progenies And His mercy is on those who fear timentibus eum. Him from generation to generation.

5. Bass Aria Fecit potentiam in brachio suo; He has shown strength with His arm; Dispersit superbos He has scattered the proud mente cordis sui. in the imagination of their hearts.

6. Alto & Tenor Duet Deposuit potentes, He has put down the mighty from de sede, their thrones, et exaltavit humiles. and exalted those of low degree. Esurientes implevit bonis, He has filled the hungry with good things, et divites dimisit inanes. and the rich He has sent empty away.

7. Alto Aria Suscepit Israel, puerum suum, He has helped His servant Israel, recordatus misericordiae suae, in remembrance of His mercy, Sicut locutus est ad patres nostros, As He spoke to our fathers, Abraham et semeni eius in saecula. To Abraham and to his posterity forever.

8. Choir Gloria Patri, et Filio, Glory be to the Father and to the Son et Spiritui Sancto. and to the Holy Spirit.

9. Choir Sicut erat in principio, As it was in the beginning, et nunc, et semper, is now and ever shall be, et in saecula saeculorum. world without end. Amen. Amen.

7

Joy to the World

Joy to the World, the Lord is come!Let earth receive her King;

Let every heart prepare Him room,And Heaven and nature sing, And Heaven and nature sing,

And Heaven, and Heaven, and nature sing.

He rules the world with truth and grace,And makes the nations prove

The glories of His righteousness,And wonders of His love, And wonders of His love,

And wonders, wonders, of His love.

A Child is Born in Bethlehem

We sing this fourteenth century Medieval carol in antique folk style, with fiddle, drum, and harp accompaniment. Imagine the choir: We are Medieval peasants, come together in the village square from our damp, dark houses. We’ve had a bath—the first in months—and are wearing fresh but rough woolen clothing. The lord of the manor has given us a ham hock and some mead for a Christmas feast. In music and story, we celebrate the season, ward off disease, and balance our humors by singing of the child born in Bethlehem.

A child is born in BethlehemExult for joy, Jerusalem! Hallelujah!

There in a lowly manger lies,Who reigns above the skies. Hallelujah!

The ox and ass in neib’ring stall,See in that Child the Lord of all. Hallelujah!

And kingly pilgrims long foretold,From East bring incense, myrrh, and gold. Hallelujah!

And enter with their offerings.To hail the newborn King of Kings. Hallelujah!

Come then and on this natal day, Rejoice before the Lord and pray! Hallelujah!

8

Blessed be that Maid Marie

This macaronic text (phrases in one language interjected into the text of another)—in this case Latin interjected into English—first appeared in a carol book in 1901. Based on fifteenth century Marion poem, the music has an earthiness to it that suggests we ourselves are in the manger, with the animals. Alongside the curious donkey, we behold the wondrous scene unfolding before us.

Blessed be that maid MarieBorn he was of her body;Very God ere time began,

Born in time the Son of Man.

Eya! Jesus hodie (Rejoice! Jesus is today) Natus est de Virgine. (born of a virgin.)

In a manger strewn with hayJesu born and lulled lay;

Come to die upon the Tree Pro peccante homine. (For sinful man.)

Sweet and blissful was the songChanted of the angel throng:

“Peace on earth alleluja! In excelsis gloria. (Glory in the highest.)

Fare three kings from far-off land,Incense, gold and myrrh in hand;

In Bethlem the Babe they see, Stelle ducti lumine. (Led by the light of a star.)

Make we merry on the fest, In quo Christus natus est. (On which Christ was born.)

On this Child I pray you call,To assoil and save us all.

9

His Light In Us Poetry by Euan Tait

Kim André Arnesen, composer, and Euan Tait, poet, write: “Christmas is a permanently new, permanently fresh and refreshing gift: the human heart is renewed through the gift not of riches, but of a tiny fragile child. His Light in Us is a thanksgiving, and its key word is ‘renewed,’ reflecting the glory of what goes on in our spirits at the Christmas.” The sheer beauty of the lyrical melody and rich harmonies are a musical gift.

God’s distant callflares in the night,

so long expected, so long for;and all my life,

Christ called my name,and not at last, I’ll answer Him.

Renewed, his hope,his light in us,

incarnate, fragile,our Lord appears,Alleluia, alleluia!

Eternal,so perfect,

his cry of changeless love.

Alive, awake,His call is here:

it is the crying of the Child;I know Christ’s call,

its hidden flame,it makes my spirit flare with hope!

Renewed, his hope, his light in us…

This root, this stem, this flowering Love,This mustard seed, it grows to the greatest tree,

The birds of souls have nested there.The light of the nightNow blazes at dawn!

10

You’ve lead me here,O little child,

your being singing with Gold’s life.The kingdom sings,it choirs the earth,

all creation lives Christ’s peace.

Renewed his hope, his light in us…

Ecce Novum

Composer Ola Gjeilo’s gift for moving the listener with the development of a simple, repetitive motive set to achingly beautiful harmonies is evident in his recent (2018) work featuring piano, strings, and choir. The text, less well known than some, is most beautiful and affective.

Ecce, novum gaudium Behold, a new joy, Ecce, novum mirum! Behold, a new wonder! Virgo parit filium, A Virgin bears a son Quae non novit virume (a Virgin) who knew not man, Sed ut prius prium, But as the pear-tree bears the pear, Gleba fert payrum The flourishing papyrus brings Florens lilium. The lily from the soil. Ecce, quod natura See how nature Mutat sua iura! changes her laws! Virgo parit pura A pure virgin bears Dei filium. the son of God.

Iesous Ahatonnia (Huron Carol)

French missionary, Jean de Brébeuf (1593-1649), preached to the Huron nation, in the southern region of what is now French Canada, from 1625-1629. De Brébeuf, a linguist, learned the Huron language, and compiled an Huron dictionary and book of grammar. De Brébeuf returned to the Hurons in 1644, and established a mission but, five years later, was murdered by an invading Iroquois force. He was canonized as a saint in 1930. He probably wrote this text, set to a French tune, using imagery that would be pertinent to his Huron audience. Manuel Antonio, the arranger

11

of the version we sing, has introduced some wonderful sound effects.

Ehstehn yahyau deh tson weh Iehsous AhatonnyahO nah wahteh wahdo kwi nonwah ndahskwa entai

Ehnau sherskwa trivotah nonnwah ndi yon rahshahtahYehsus Ahatonnyah, Ahatonnyah, Yehsus Ahatonnyah.

AyoAh Ah ki onki hmasheh ehahn yayeh ronnonYonton kahntahtya hmdeh ndyon sehnsahyoa ronnyon

Wahria hnahwahkweh tond Yosehf sahton hahronnyonYehsus Ahatonnyah, Ahatonnyah, Yehsus Ahatonnyah.

Eyeh kwahtah tehnonteh aheh kwah shyen ahyenKiyeh kwahnon aukwahyon dehtson weh ndeh adeh

Tarryah diskwahn aunkew ishyehr ehyah keh non stahYehsus Ahatonnyah, Ahatonnyah, Yehsus Ahatonnyah.

Have courage, you who are humans. Jesus, he is born.Men, take courage, Jesus is born.

Behold, it has fled, the spirit who had us as prisoner.Do not listen to it, as it corrupts our minds, the spirit of our thoughts.

They are spirits, coming with a message for us, the sky people.They are coming to say, “Come on, be on top of life, rejoice!”

“Mary has just given birth, come on, rejoice.”Three have left for such a place; they are men of great matter.

A star that has just appeared over the horizon.He will seize the path, a star that leads them there.

As they arrive there, where he was born, Jesus.The star was at the point of stopping, he was not far past it.

Having found someone for them, he says, “Come here.”Behold they have arrived there and have seen Jesus.

They praised a name many times saying, “Hurray, he is good in nature.”They greeted him with respect, oiling his scalp many times, saying, “Hurray!”

We will give (to him) honour to his name.Let us oil his scalp many times, show reverence for him,

as he comes to be compassionate.It is providential that you love us, and think, “I should make them part of my family.”

(Translation by John Steckley).

12

The World For Christmas

Through the voice of a child, this song expresses concern for the future of our planet. The mildly jazzy harmonies and lilting piano accompaniment add poignancy to the pensive poetry, a child’s plea for the tenets of the Paris climate accord.

It’s the night before Christmas and all through the houseNot a creature is stirring, not even a mouse

The stockings are hung by the chimney with careBut hopes for Saint Nicholas I wish I could share.

I am new to this world, I arrived here this morn’To this beautiful planet, though beat up and torn

I don’t need a gift, need no more than I’ve gotHear the unspoken wish from a tiny, tiny tot.

I only want the world for ChristmasThe blue green for ever turning world for Christmas

Nothing more nothing lessI want it for keeps and I promise to share

So that everyone who wants can cuddle and careI only want the world for Christmas

The blue green for ever turning world for ChristmasTo restore to repossess

Please make it last, my fate is in your handsOh give me a present for the future

You could follow your heart, but you follow a whimAnd fill up your stockings way over the brim

Ignoring the signs in your frail crystal ballYou wish away, wish away, wish away all

The moon on the breast of the new fallen snowGives a luster of midday to objects below

Why your eyes won’t seeWhen they’re given all this light

I wonder, I wonder this very special night

13

I only want the world for ChristmasThe blue green for ever turning world for Christmas

To restore to repossessPlease make it last, my fate is in your hands

Oh give me, oh give meOh give me, oh give me

Oh give me a present for the futureDoo doo doo doo doo doo doo doo doo doo doo doo.

With two traditional songs, the first a charming and gentle rendition of the annunciation, the other a rousing and, we hope, irresistible call and response song in Zulu, we invite you to share the unbridled joy of the season, South African style.

Annunciation Carol

The angel Gabriel from heaven came,His wings as drifted snow his eyes aflame,

“All hail,” said he “thou lowly maiden Mary.Most highly favored lady, Gloria!

For known a blessed Mother thou shall be,All generations laud and honor thee.

Thy son shall be Emanuel, by seers foretold.Most highly favored lady, Gloria!”

Then gentle Mary meekly bowed her head,“To me be as it pleaseth God,” she said.

“My soul shall laud and magnify thy holy nameMost highly favored lady, Gloria!”

Akekho Ofana No Jesu (Zulu)

Akekho ofana no Jesu, There’s no one like Jesus, Akekho ofana naye. There’s no one like Him. Siyahamba akeko. We have traveled everywhere—no one. Siyajika akeko. I have looked everywhere—no one.

14

Soprano

Doris Arensberg-LehrHatsuko Arima-StenzelDanni CarterJan GradyJacqueline GoldgorinLauren Haber *Amy JervisElena KozakNaoko MasunoSara McNinchPat OsborneEva Sorin

Alto

Therese CurottoJacqueline GoldgorinJane Goold-CaulfieldBarbara KelseyCarol Meyer *Ann RitterJoyce Wright

Tenor

William BettsJohn MansfieldChris NicholsAlison Yuen Nyberg *Howard Roberts

Bass

Michel ConradMichael DrinnanElliot FranksRobert KozakJose MendiolaMatthew Reeve *

* Section Leader

Viva Choir

15

Flute

Vivian Boudreaux MikasaDerick Yih

Oboe

Alayne GyetvaiLianne Araki

Bassoon

Amy Duxbury

French Horn

Cathleen TorresDiane Ryan

Trumpet

Rob LenicheckMike GalisatusLaura Holtzman

Timpani & Percussion

Doug Chin

Organ

Angela Kraft Cross

Piano & Keyboard

Anna Khaydarova

Viva Orchestra

Violin I

Virginia SmedbergSofia FojasEd HattyarRyan Luo

Violin II

Oleksandr MakarenkoMargaret HallLizzie JonesKay Wang

Viola

Galina AndréStephen Moore

Violoncello

Lucinda Breed LenicheckHans Dieter Hoffer

Double Bass

David André

Harp

Anna Maria Mendieta

16

Viva la Musica Artistic DirectorShulamit Hoffmann founded Viva la Musica in 2001, and has since served as the organization’s artistic and executive director. She is particularly proud of Viva la Musica’s history of performances of major works for choir and orchestra, from Bach and Beethoven to Britten, Bernstein, and beyond, and especially of its twinned focus on traditional repertoire as well as the music of living composers.Dr. Hoffmann made her Carnegie conducting

debut in 2009, and she returns to Carnegie in 2019, to conduct a 150-voice choir and orchestra in Dan Forrest’s Requiem for the Living.She earned her doctorate in music education from Teachers College, Columbia University in 2016, her dissertation entitled Expression in Live Choral Performance: Meanings, Modalities, Processes, Synergies.She has taught at the College of San Mateo since 2002, and previously at Idaho State University, Brigham Young University Extension, University of Cape Town, and the University of Witwatersrand. Several of her former students are musicians and college professors of music.She has received Congressional Recognition Awards for service to her community (2013 and 2002), and her biography is entered into the Congressional Record of the United States. She was the Foster City honoree for the San Mateo County Mayors’ Diversity Award in 2013.

Named Outstanding Graduate Student in the School of Music and Dance at San Jose State University, she is also the recipient of scholarships from Columbia University, San Jose State University, University of South Africa, and national scholarships from her native South Africa. She has been a recording artist for the South African Broadcasting Corporation.She holds degrees in choral conducting, piano performance, general music, and English literature, and licentiate teaching diplomas from the Royal Schools of Music, London, and from the University of South Africa. She is a festival adjudicator for the California Music Educators Association, and she has served as program chair and president for local chapters of the National Federation of Music Clubs and of the California Music Teachers’ Association.

17

Anna Khaydarova has served as Viva la Musica’s collaborative pianist since 2005. She is a beloved and valued member of the ensemble, integral to all Viva’s artistic endeavors. Ms. Khaydarova received her bachelor’s degree with honors from Tashkent University, Uzbekistan, and her master’s degree from Notre Dame de Namur University, California. She was a prizewinner in the Bartok-Prokofiev-Kabalevsky International Competition in

Redford, Virginia, and in an NDNU Concert Competition, soloing with the Redwood Symphony. She is music director at Island United Church in Foster City, teaches in San Mateo, and accompanies at the Mozart School in Palo Alto. Ms. Khaydarova was the featured soloist in Beethoven’s Choral Fantasy in Viva la Musica’s December 2013 performances.

Lauren Haber, soprano, made her international debut as the title role of Suor Angelica with the Sienna Music Festival. Performances include Madame Lidoine from Dialogues des Carmélites with the Aaron Copland Opera Studio, Mimì from La Bohème with The CoOPERAtive Program, Ottavia from L’incoronazione di Poppea with the Aaron Copland Opera Studio, La Ciesca from Gianni Schicchi with the Queens Symphony Orchestra, and Suor Angelica with the New

York Lyric Opera Theatre. As Artist in Residence with the New York Lyric Opera Theatre, Ms. Haber made her Weill Hall debut as Il Paggio in Rigoletto. She has performed Mimì from La Bohème with the International Vocal Arts Institute in Canada, Donna Anna from Don Giovanni at the Westchester Summer Vocal Institute, Fiordiligi from Così Fan Tutte with the New York Opera Exchange, and Woglinde from Das Rheingold with the Hellenic Music Foundation; Elijah with the Queens College Symphony Orchestra, and Mozart’s Requiem and Carmina Burana with the Long Island Youth Symphony. She holds Master’s Degree in Vocal Performance from Manhattan School of Music, and was a participant in the Martina Arroyo Foundation Role Performance Seminar.

Soloists

18

Jacqueline Goldgorin, soprano, began her career in Los Angeles. Ms. Goldgorin has performed with Gateway Classical Orchestra, Chelsea Opera, Opera of the Hamptons, Opera on the Hudson, Connecticut Grand Opera, New York Metro Vocal Arts Ensemble, West Bay Opera and Opera San Jose. In concert, she has performed the Mozart Requiem as Soloist in Argentina, Uruguay and Brazil with Pacific Chorale and soloist in the

Verdi Requiem with Gateway Classical Music Society. She made her San Francisco debut singing Paula in a concert of highlights from Rio de Mujeres by Hector Armienta, and has enjoyed singing roles with Golden Gate Opera, Opera San Jose, West Bay Opera and Verismo Opera in the bay area. Recent engagements include Fiora in L’amore dei tre Re with Empire Opera, the premiere of a new work by Brent Miller with Magik*Magik Orchestra, a recital series of Spanish and Argentinian music in NYC and California, and soloist in Mozart Requiem.

Corey Head, tenor, Corey has sung a wide variety of oratorio and opera roles throughout the US, including Ferrando in Cosí fan tutte, Don Curzio and Don Basilio in Le Nozze di Figaro, Goro in Madama Butterfly, and Frantz in Les Contes D’Hoffmann. Corey specializes in Early Music with a special affinity to J.S. Bach. His solo concert performances include The Evangelist in Bach’s St. John Passion, and tenor soloist in Bach’s Magnificat, Christmas Oratorio and many of his cantatas. Other oratorio roles

include Ahasuereus in Handel’s Esther, “The Evening” in Telemann’s Die Tageszeiten, tenor soloist in Handel’s Messiah, and Vivaldi’s Dixit Dominus (RV. 807). Newly discovered and neglected works are a special treat for Corey. He recently performed the role of Mordocai in Cristiano Lidarti’s Esther in Hebrew as well as the role of The Chamberlain in Gibbons and Locke’s Cupid and Death, both with San Francisco Renaissance Voices.Other appearances include: Tenor Soloist for Mozart’s Requiem and Orff’s

19

Carmina Burana with Marin Symphony; The Moor in Rimsky-Korsakov’s Mlada and Charles Edward in Bernstein’s Candide both with the San Francisco Symphony; Tenor Soloist for San Francisco Concert Chorale in Carmina Burana, Britten’s Rejoice in the Lamb, and Mozart’s Requiem; Tenor Soloist in Jean Gilles’ Requiem and the role of “He” in William Boyce’s Solomon: A Serenata, both with San Francisco Renaissance Voices; the role of Damon in Handel’s Acis and Galatea with both Marin Baroque and Marin Oratorio; Tenor Soloist in Beethoven’s Mass in C Major with both Master Sinfonia Chamber Orchestra and Viva la Musica; Tenor Soloist in Bach’s B-Minor Mass, Uriel in Haydn’s Creation, and Mozart’s C Minor Mass, all at Stanford University.

José Mendiola, baritone, has collaborated with many amazing bay area groups in his short career. His debut performance was on the opera stage as Alessandro, in the world premier of Where Angels Fear to Tread with Opera San Jose. Graduated from San Jose State University, he has performed with The Men Harmonics of the Choral Project in Cupertino, The Chamber Singers of San Jose State, The Silicon Valley Symphony Singers and other talented community ensembles. Working with young musicians as a music instructor, he has taught voice and

brass fundamentals through the San Jose Youth Symphony. Mr. Mendiola has worked with The Los Altos United Methodist Music Ministry as the interim director of the Chancel Choir, collaborated with The Chris Bryant Guitar School in Los Gatos as a voice instructor, and is currently working as a Team Lead for the Pilot Team production of the Model 3 at Tesla Inc. He looks forward to continuing exciting opportunities in the local music community. Frequently welcomed by Viva la Musica as a guest soloist, Mr. Mendiola is thankful and honored to work with such an established ensemble.

20

Viva la Musica! Founded 2001

A non-profit public benefit corporation

Viva’s mission is to provide enriching artistic experiences by inspiring, educating, and entertaining with quality performances

of noteworthy music from diverse eras and cultures

Join VivaBe a regular Viva patron

Sing with VivaTour with Viva

Usher at a concertJoin our mailing list

Purchase our live concert recordingsMake a tax deductible donation

Annual Holiday and Spring ConcertsAdventurous repertoire

Classical and contemporary Major works and miniatures

Multi-cultural and multi-media

Collaborations Making an artistic contribution to the Bay Area scene

in collaboration with other performing arts organizations

Concert ToursLithuania, Latvia, Estonia, Helsinki, St. Petersburg (2017)

Prague and Dresden (2011)Carnegie Hall, New York (2008 & 2009)

Vienna and Salzburg (2006)Vermont International Choral Festival (2005)

Concerts for KidsEducational and entertaining

Contact Vivawww.vivalamusica.org

music@vivalamusica.org650-346-5084

700 Promontory Point Lane, #1303, Foster City, CA 94404facebook.com/VivalaMusica.org

21

DonorsSpring 2018—Fall 2018

Archangels

Anonymous

Angels

Jean & Jimmy KanCarol Meyer

Seraphs

Lisa Reiche

Cherubs

Cheryl AllenJoseph & Diane CerretaTerri CookTherese CurottoBetsy Daly-CaffellMichael DrinnanChristine HuntBarbara KelseyDavid & Jane LintottBill & Pat OsborneEithne PardiniMatthew ReeveAnn Ritter

Putti

Anonymous (4)Hatsuko Arima-StenzelMichel ConradShulamit HoffmannNaoko MasunoJim & Ellie Manser

Donors of Goods & Services

Frank & Jennie Brown, Box OfficeSally Calvert & Usher Crew, Viva la Front of HouseJane Goold-Caulfield, Charity OutreachStanley Hutchinson, Database & ITLarry Keiffer, BookkeepingBarbara Kelsey, In-House Ticket SalesKevin McAuliffe, Tax PreparationCarol Meyer, BankingMatthew Reeve, Stage ManagementChristina Roman, Viva la Cookie!Joyce Wright, Web Ticket Sales

Vehicle DonationAndrey Abramov

Viva BoardShulamit Hoffmann Ed D, Stanley HutchinsonMatthew ReeveChristina Roman

22

Viva la Musica is a 501(c)3 nonprofit public-benefit corporation. Donations of cash and goods are tax-deductible to the extent of the law.

Donations to Viva can be made

By check, cash, or credit card Online, by mail, or in person

As a one-time gift or in convenient monthly installments

Donate Your Vehicle We can help you get rid of your clunker. It’s hassle-free for you! http://www.vivalamusica.org/Donations/Car_Donations.html

Remember Viva in Your Will

Viva can accept planned gifts in the form of bequests, beneficiary designations, or appreciated assets such as stocks and bonds.

For more information about donation options

please contact Viva la Musica www.vivalamusica.org

music@vivalamusica.org | 650-346-5084 700 Promontory Point Lane #1303, Foster City, CA 94404

Why Your Donation Helps Viva

Donate!

23

For more informationContact Viva la Musicamusic@vivalamusica.org650-346-5084

Singers are invited to perform at Carnegie Hall!

Bay AreaFarewell Concert

••

Sunday,June 2, 2019

3:00 p.m.••

Los Altos United Methodist

Church •

655 Magdalena Los Altos CA 94024