“If you are a gentleman, pray remember that I am another’s! But you do love me, don’t you?” —Patience to Archibald Grosvenor in Patience; or, Bunthorne’s Bride
A fully staged performance of the Gilbert & Sullivan’s famous exploration of Oscar Wilde’s world of the Aesthetes of Victorian England rounds out the Wilde Oscar Nights season. Vanity, passion, and virtue challenge changing societal norms in this comédie célèbre.
Conducted by Gil Rose
Stage Direction by Frank Kelley
Reginald Bunthorne — Aaron Engebreth
Patience — Sara Heaton
Archibald Grosvenor — Andrew Garland
Lady Jane — Janna Baty
Colonel Calverley – James Maddalena
Lieut. The Duke of Dunstable – Steven Goldstein
Lady Angela – Jaime Korkos
Lady Ella – Sara Womble
Lady Saphir – Heather Gallagher
Chorus of Rapturous Maidens and Officers of Dragoon Guards
Performed in English.
Baritone Aaron Engebreth enjoys a varied solo career in opera, oratorio and recital. Acclaimed for his “exemplary diction and rich baritone voice” (Boston Phoenix), he has devoted considerable energy and time to the performance of established and new music, frequently collaborating with many of today’s foremost composers. Along with his 2014 Carnegie Hall debut with the New England Symphonic Ensemble, he has been featured as a concert soloist in performances from Sapporo Japan’s Kitara Hall and Boston’s Symphony Hall, to Le Theatre de la Ville in Paris and the AmBul festival of Sofia, Bulgaria. He gave his debut at Washington’s Kennedy Center in 2012, and he has been a guest of the Tanglewood, Ravinia, Rockport and Monadnock Music Festivals as well as many of our country’s fine symphony orchestras, among them Portland, Virginia, San Diego and Charlotte. His recent season performances have include concerts and commercial recordings with the Boston Modern Orchestra Project , Odyssey Opera, Portland, Lexington, Bangor and Boston Landmarks’ Symphony Orchestras, Vancouver International Song Institute, St. Louis Art Museum, the Sarasa Ensemble, and the Firebird Ensemble. He has performed solo recitals at the Schubert Club of Minnesota, the Eastman School of Music, SOURCE Song Festival, The University of Minnesota and the University of Wisconsin. His current concert season includes performances with Le Central de Lyon (France), Odyssey Opera, Boston Camerata, le Grand Parc de Puy du Fou, as well as song recitals in Lyon, Paris, San Francisco and Portland, Oregon. Aaron works closely with both established and young composers. As a student, his work with the award-winning composer and conductor, Lukas Foss fostered a passion for premiering new works, and he has since collaborated with composers John Harbison, Libby Larsen, Thea Musgrave, Ned Rorem, Daniel Pinkham, Scott Wheeler, Lee Hyla, Nicolas Maw, Jon Deak, Howard Frazin and many others, and often has the privilege of working with young composers on their vocal works. Aaron is also recognized for his interpretation of early music and is a frequent soloist with many of the country’s finest early-music organizations including the American Bach Soloists, Handel and Haydn Society, Miami Bach Society, Boston Baroque, Boston Camerata, Santa Fe Pro Musica, and Musicians of the Old Post Road. He was a regular soloist and core member of Emmanuel Music from 2002-2008, joining a thirty-five year tradition of weekly performances of Bach’s sacred cantatas under the direction of the late Craig Smith. He considers this experience a highlight of his musical life thus far. In demand as recording artist, he is featured on operatic recordings with the Boston Early Music Festival and Radio Bremen, both nominated for Grammy Awards for Best Operatic Recording: Jean-Baptiste Lully’s Thésée (also nominated for a 2008 Gramophone Award), and the 2008 release of Lully’s Psyché. In 2016, he produced and recorded the first complete catalogue of the 3-disc compilation, The Complete Songs of Virgil Thomson with Florestan Recital Project and New World Records, which is garnering international acclaim. He recorded the world premiere release of Six Early Songs of Samuel Barber, and Libby Larsen’s The Peculiar Case of Dr. H. H. Holmes, both for Florestan Records and is featured in recordings of John Deak’s The Passion of Scrooge with the Firebird Ensemble, and Conrad Susa’s Carols and Lullabies. He began a multi-disc project in 2009 recording The Complete Songs of Daniel Pinkham with the Florestan Recital Project on Florestan Records, the first volume of which was named one of the 5 best contemporary music releases of the year by NPR and American Public Media. As a frequent performing and recording artist with Boston Modern Orchestra Project, he can be heard on their recordings of Lukas Foss’ opera, Griffelkin and oratorio, The Prairie, John Harbison’s A Winter’s Tale, Eric Sawyer’s Our American Cousin, Virgil Thomson’s Four Saints in Three Acts and the upcoming release of Dominick Argento’s monodrama for baritone and orchestra, A Waterbird Talk, in collaboration with Odyssey Opera. While on the music faculty at Tufts University, Aaron was twice awarded faculty development grants to study the music of the French baroque in Paris. He is currently the Artistic Co-Director of Florestan Recital Project and is on faculty at L’ecole d’art Dramatique in Lyon, France, where he lives with his family.
American soprano Sara Heaton, noted for her “gleaming lyricism” by Opera News Online and her “sweet, pure soprano” by the Chicago Tribune, is gaining recognition as a sensitive performer of both opera standards and new works. Recent career highlights include singing Strauss’ Four Last Songs with the Xalapa Orchestra in Mexico and guest conductor Donald Palma, her role debut as Violetta in La Traviata with Opera in the Heights in Houston and conductor Enrique Carreón-Robledo, a Symphony Hall debut as Papagena with the Boston Youth Symphony Orchestra and Federico Cortese, her first professional recording with Martin Pearlman leading Boston Baroque in Monteverdi’s Il ritorno d’Ulisse in patria, a role and company debut as Juliette in Die Tote Stadt with conductor Gil Rose and Odyssey Opera, and her first Beethoven’s Ninth with The Santa Fe Symphony and conductor Tom Hall. In addition to upcoming performances with Symphony by the Sea and the Walden Chamber Players, this season Sara joins The Metropolitan Opera Chorus as a full-time member. In the 2015-16 season, Sara appeared at Symphony Hall as the title role in Stravinsky’s Perséphone with the Boston University Symphony Orchestra. Also in Boston, Sara performed Papagena in The Magic Flute and covered Pamina with Boston Baroque. For her performance in Mozart’s Lucio Silla with Odyssey Opera, critics claimed her “jewel-like soprano captured all of Celia’s sensual, mercurial charm and substance.” She also revisited Beethoven’s Ninth with The Greater Bridgeport Symphony, and joined the White Mountains Music Festival in concerts featuring songs by Villa-Lobos. A deft interpreter of new music, Sara has sung in several premieres, most notably as Miranda in the US premiere of Tod Machover’s Death and the Powers for which she was praised for her “daunting power and agility in the stratospheric notes of her final scene,” and was singled out as giving “the finest performance of the evening.” Other new music performances include the role of Tsering with American Opera Projects in excerpts from Numinous City by Pete Wyer, Lidochka in Shostakovich’s Moscow, Cheryomushki with Chicago Opera Theater, and Jenifer in Tippett’s Midsummer Marriage with Boston Modern Orchestra Project. Sara has enjoyed singing Despina in the Mozart favorite Così fan tutte with both Boston Baroque and Boston Midsummer Opera, covering Leila in The Pearl Fishers at The Santa Fe Opera, and singing Anne Page in The Merry Wives of Windsor with Boston Midsummer Opera. Also of note, Sara stepped in last-minute to sing Serpina in Pergolesi’s La Serva Padrona in Boston Baroque’s New Year’s Concert, of which the Boston Classical Review said, “Her timing was impeccable, she sings and she sang with such an effortless and colorful tone that all would have been forgiven even if it wasn’t.” Sara took first place prize in the Marie Kraja International Singing Competition in Albania, and 2nd place prize in the Young Patronesses of the Opera Competition. She has received the Richard F. Gold Career Grant from the Shoshana Foundation, was a regional finalist in the Metropolitan Opera competition, a finalist in the Giulio Gari Competition, received an Encouragement Grant from the Schuyler Foundation for Career Bridges, and was a semi-finalist in the Competizione dell’Opera in Germany. She holds a Masters of Music degree from Boston University and a Bachelor of Arts in Anthropology from the University of Pennsylvania.
During the 2016 – 2017 season baritone Andrew Garland performs as Guglielmo in Cosí fan tutti with Ash Lawn Opera, Dancaïre in Carmen with Boston Lyric Opera, and as Dr. Joseph Talbot in the world première of William Bolcom’s Dinner at Eight with Minnesota Opera. On the concert stage he joins New York Festival of Song at the Moab Music Festival, sings Messiah with Boston Baroque and Colorado Bach Ensemble, and joins Houston Symphony for the world première of A New Requiem by Gabriela Lena Frank, sings Vaughan Williams’ Dona Nobis Pacem and Hodie, solos in the B Minor Mass with the Amherst Bach Festival and sings recitals in Cincinnati, Indianapolis, Boston and other cities. During the previous season he joined Boston Baroque as Papageno in Die Zauberflöte where the Boston Globe said “He had the audience in the palm of his hand.” He also returned to Boston Lyric Opera in La Bohème and, Bob Jones University at Dandini in La Cenerentola, and made his debut with the Colorado Symphony for performances of Messiah. The previous season was highlighted by his return to Seattle Opera as Harlekin in Ariadne auf Naxos. Other highlights include Dandini with Opera Philadelphia and Fort Worth Opera, Mercurio (La Calisto) and the title role in Galileo Galilei (by Philip Glass) at Cincinnati Opera, Papageno at Boston Lyric Opera and Riolobo (Florencia en el Amazonas) and Schaunard (La Bohème) at Seattle Opera. Garland is widely recognized as a leader in recital work with dozens of performances around the country including Carnegie Hall with pianist Warren Jones and programs of modern American songs all over the Unites States and in Canada. Mr. Jones, Marilyn Horne, Steven Blier, a number of American composers and several major music publications all endorse him as a highly communicative singer leading the way for the song recital into the 21st Century. He brings his highly communicative style to the concert stage with orchestras including the Atlanta Symphony, Boston Baroque, The Handel and Haydn Society, Boston Youth Symphony, National Philharmonic, Washington Master Chorale at the Kennedy Center and DCINY Orchestra at Lincoln Center. Mr. Garland is a regular with the New York Festival of Song (NYFOS) and has given multiple recitals at Carnegie Hall, the Ravinia festival as well as Vocal Arts DC, Marilyn Horne Foundation, The Bard Festival, Andre-Turp Society in Montreal, Voce at Pace, Huntsville Chamber Music Guild, Fort Worth Opera, Seattle Opera, Fanfare in Hammond, LA, Cincinnati Matinee Musicale, Tuesday Morning Music Club and dozens of college music series around the country. In 2014 he was the featured recitalist for the NATS National convention where that organization’s president declared him “the next Thomas Hampson.” His latest solo CD American Portraits (with Donna Loewy, piano) went to #1 on Amazon classical. Garland has four other recordings on the Telarc, Naxos, GPR and Azica Labels. In past seasons Garland has portrayed Rossini’s Figaro with Dayton Opera, Knoxville Opera and Cincinnati Opera (cover), Schaunard at Boston Lyric Opera, Opera Saratoga, Atlanta Opera and Dayton Opera; Ping (Turandot) at Arizona Opera, Silvio (I Pagliacci) with Hawaii Opera Theater, Don Giovanni at Opera New Jersey, Mozart’s Count at Dayton Opera, Guglielmo at Opera Saratoga, Mercutio at Lyric Opera of San Antonio and Annapolis Opera, Giuseppe (The Gondoliers) with Utah Opera and Danilo with Sarasota Artist Concert Series. Other concert performances include Handel’s Messiah with Boston Baroque, UMS (Ann Arbor, MI), Dartmouth Handel Society (Helmuth Rilling, conductor) and the Colorado Bach Ensemble, Arizona Symphony, Virginia Symphony and others; Carmina Burana, Ein Deutches Requiem, Five Mystical Songs, Dona Nobis Pacem, Hodie, Faure Requiem, Durufle Requiem. Particularly suited for baroque repertoire, Garland has sung numerous performances with Boston Baroque, The Handel and Haydn Society, and the Colorado Bach Ensemble, sang in Cincinnati Opera’s first Baroque production (La Calisto). He has also soloed with Emmanuel Music in Boston. Garland is the winner of the Lavinia Jensen, NATSAA, Washington International, American Traditions, NATS and Opera Columbus Competition and was a prize winner in the Montreal International, Jose Iturbi, Gerda Lissner, McCammon and Palm Beach International Competitions. He was an apprentice at the San Francisco Opera Center and the Seattle Opera and Cincinnati Opera Young Artists programs.
Praised by the Boston Globe for “a rich, viola-like tone and a rapturous, luminous lyricism,” mezzo-soprano Janna Baty enjoys an exceptionally versatile career. She has sung with Boston Symphony, Los Angeles Philharmonic, Daejeon Philharmonic, Hamburgische Staatsoper, L’Orchestre National du Capitole de Toulouse, Royal Philharmonic Orchestra, Tallahassee Symphony, Tuscaloosa Symphony, Longwood Symphony, Hartford Symphony, the Orquesta Filarmónica de Bogotá, Opera Theatre of St. Louis, Eugene Opera, Opera North, and Boston Lyric Opera. She has sung under the batons of James Levine, Seiji Ozawa, Michel Plasson, Carl Davis, Robert Spano, Steuart Bedford, Stephen Lord, Stefan Asbury, Gil Rose, David Hoose, and Shinik Hahm, among numerous others. As a soloist, chamber musician, and recitalist, she has performed at festivals worldwide, including the Aldeburgh and Britten Festivals in England, the Varna Festival in Bulgaria, the Semanas Musicales de Frutillar Festival in Chile, and the Tanglewood, Norfolk, Monadnock, and Coastal Carolina festivals in the United States. A noted specialist in contemporary music, Ms. Baty has worked alongside many celebrated composers, including John Harbison, Bernard Rands, Yehudi Wyner, Sydney Hodkinson, Peter Child, Reza Vali, Paul Salerni, and Paul Moravec, on performances of their music. Ms. Baty has enjoyed a long collaboration with Gil Rose and much as it will embarrass him to see it in print, she considers him to be one of her most cherished mentors and music-making partners. She is especially proud of her discography with Boston Modern Orchestra Project: with them has recorded the critically lauded Vali: Folk Songs (sung in Persian); Lukas Foss’ opera Griffelkin; the world-premiere recording of Eric Sawyer’s Civil War-era opera Our American Cousin; and John Harbison’s Mirabai Songs. She has sung a great number of roles under Gil’s baton, her favorites being the Duchess in Powder Her Face; and Yelena Ivanova Popova in The Bear. An alumna of Oberlin College and the Yale School of Music, she joined the faculty of the Yale School of Music in 2008.