Nézet-Séguin closes the Orchestra’s residency with a powerful program of beginnings and endings, featuring the world premiere of Anna Clyne’s This Moment paired with Mozart’s emotionally stirring Requiem, members of the Colorado Symphony Chorus, and four exceptional vocal soloists, led by Chorus Director Duain Wolfe.
The Philadelphia Orchestra's distinctive sound returns to Bravo! Vail for its annual residency in July. The Fabulous Philadelphians are admired for a legacy of innovation and known for their keen ability to capture the hearts and imaginations of audiences.
All artists, programs, and pricing are subject to change.
Yannick Nézet-Séguin, conductor
Rosa Feola, soprano
Jennifer Johnson Cano, mezzo soprano
Issachah Savage, tenor
Kyle Ketelsen, bass baritone
Colorado Symphony Chorus, Duain Wolfe, director
ANNA CLYNE This Moment (World Premiere)
PRE-CONCERT TALK 5:00PM - Zoe Weiss (University of Denver), speaker in the Gerald R Ford Amphitheater Lobby.
This performance has NO INTERMISSION
- Concert begins promptly at 6:00PM with no intermission.
- Late seating will be permitted only after the first movement, or when otherwise designated within first 10 minutes of concert start.
- Latecomers arriving after the first movement may enjoy the concert from the Borgen Plaza, standing room only.
- We recommend you use the facilities prior to the beginning of the concert.
- Concessions will close at the start of the concert at 6:00PM.
This Moment was commissioned by the League of American Orchestras with the generous support of the Virginia B. Toulmin Foundation.
Talkback: Join Anna Clyne and Anne-Marie McDermott in a talkback after the performance.
Jennifer Johnson Cano
Yannick Nézet-Séguin (conductor) is Music and Artistic Director of The Philadelphia Orchestra, Music Director of the Metropolitan Opera, Artistic Director and Principal Conductor of Montreal’s Orchestre Métropolitan, an Honorary Member of the Chamber Orchestra of Europe, and Honorary Conductor of the Rotterdam Philharmonic. A native of Montreal, he studied at Montreal’s Conservatory of Music and continued his studies with Carlo Maria Guilini; he also studied at Westminster Choir College. Yannick is an exclusive Deutsche Grammophon recording artist and the winner of three Grammy Awards. His honors include Musical America’s 2016 Artist of the Year and six honorary doctorates.
Rosa Feola (soprano) a native of San Nicola la Strada, Caserta, Italy, came to international attention after winning Second Prize, the Audience Prize, and the Zarzuela Prize at the 2010 Plácido Domingo World Opera Competition. More recently, she was also awarded the Premio Speciale at the Spoleto Festival dei Due Mondi. She has sung at the most respected opera houses in the world including the Bayerische Staatsoper, Deutsche Oper Berlin, Lyric Opera Chicago, the Metropolitan Opera New York, Opernhaus Zürich, and Teatro alla Scala. This is her Bravo! Vail debut.
Jennifer Johnson Cano
Jennifer Johnson Cano (soprano), winner of the 2008 Metropolitan Opera Council Auditions, has performed on stage at the Met over 100 times since her debut in 2009. She is a recipient of First Prize at the Young Concert Artists International Auditions (2009), a Sara Tucker Study Grant (2011), a Richard Tucker Career Grant (2012) and a George London Award (2012), Highlights of Cano’s 2021/22 season included performances with the Chicago Symphony, Cincinnati Opera, Houston Grand Opera, San Francisco Symphony, and the world premiere of Kevin Puts’ The Hours with The Philadelphia Orchestra
Issachah Savage (tenor), winner of the First Prize, Audience Prize, and Orchestra Favorite award in the 2014 International Wagner Competition, is an alumnus of the prestigious Merola Opera Program in San Francisco. He is the recipient of many awards including the First Prize in both the General Opera and Wagner Division in the Liederkranz Competition, and Grand Prize of the Marcello Giordani Foundation Vocal Competition. His 2022/23 season includes a debut with the Lyric Opera of Chicago and a return to The Metropolitan Opera.
Kyle Ketelsen (bass baritone) played the role of Richard in Kevin Puts’s The Hours beside Renée Fleming, Kelli O’Hara, and Joyce DiDonato in 2022. Other recent highlights include Pelléas et Mélisande (Golaud) with Los Angeles Opera and a return to the Wiener Staatsoper in the title role of Don Giovanni. Ketelsen has won First Prizes from the George London Foundation, the Liederkranz Foundation, the Metropolitan Opera National Council Auditions, the National Opera Association, the Licia Albanese Puccini Foundation, the Sullivan Foundation, Opera Index, and the MacAllister Awards. This is his Bravo! Vail debut.
This Moment (2023)
ANNA CLYNE (B. 1980)
This Moment (World premiere; This Moment was commissioned by the League of American Orchestras with the generous support of the Virginia B. Toulmin Foundation)
Symphonic Commissioning Project
Anna Clyne is a native of London but has lived elsewhere for much of her career: in Scotland for her schooling at the University of Edinburgh, then in the United States, where she earned a master’s degree in composition at the Manhattan School of Music and gained attention for music of unusual breadth and vibrancy. A statistical report of international concert music from the online publication Bachtrack showed that she was the world’s eighth-most-performed contemporary composer in 2022. During the 2022/23 season she was composer-in-residence with the Philharmonia Orchestra and the Trondheim (Norway) Symphony, and this coming season she begins in the same capacity with the Helsinki Symphony. These are the most recent of residencies that in preceding years have also included the Chicago Symphony, Baltimore Symphony, Orchestre national d’Île-de-France, and Scottish Chamber Orchestra.
In 2015, her composition Prince of Clouds, for two violins and orchestra, was nominated for a Grammy for Best Contemporary Classical Composition, and in 2016 she was awarded the Hindemith Prize by the Schleswig-Holstein Music Festival in Germany. She collaborates on cross-genre creative projects, including with filmmakers, visual artists, and choreographers, having provided music for works at the Royal Ballet in London and the San Francisco Ballet. She often writes pieces in reaction to specific visual artworks and to pieces by canonical composers, which serve as points of departure or as material for musical commentary. So it is with her new, five-minute program opener This Moment, which incorporates themes from Mozart’s Requiem and is presented here as a prelude to that work. She writes: This Moment is inspired by the writing of Vietnamese Buddhist monk, Zen Master, and peace activist Thich Nhat Hanh, who passed away in January 2022 at the age of 95. It is a reflection on his words “this moment is full of wonders.”
“The meditation on death is a very important meditation. When you meditate on death, you love life more, you cherish life more. We can learn many lessons from it.”—TNH
This Moment is also a response to our collective grief and loss in recent years, and borrows two moments from Mozart’s Requiem: [From the first movement], Requiem—an ascending chromatic line in the sopranos and the fugal subject that is introduced with this line in the basses; [and from] Lacrimosa—the instrumental introduction from the seventh movement.
Requiem, K. 626 (1791)
WOLFGANG AMADEUS MOZART (1756-91) EDITION BY FRANZ BEYER (1922-2018)
Requiem, K. 626
I. Introit: Requiem aeternum
III. Sequence: Dies irae
IV. Offertory: Domine Jesu
VII. Agnus Dei
VIII. Communion: Lux aeterna Cum sanctis tuis in aeternum
In the summer of 1791, the 35-year-old Wolfgang Amadeus Mozart, who was short on cash but far from destitute, accepted a commission to compose a Requiem. The offer was tendered by an emissary from Count Franz von Walsegg-Stuppach, a wealthy music lover who may have known Mozart personally through musical or Masonic connections. The messenger apparently did not disclose who was making the offer; we do not know if Mozart guessed. The Count’s wife had died on February 14, at the age of only 20, and he had decided to memorialize her through a Requiem that would be performed annually on the anniversary of her passing.
Mozart took half of his fee as a down payment and then put the project on hold so he could tend to the more immediate demands of two operas that were headed to their premieres, La clemenza di Tito and Die Zauberflöte. Only in the autumn could he focus on the Requiem, its structure being dictated by the traditional Roman Catholic Mass for the Dead. But around November 20 he fell ill, and he died at about one o’clock in the early morning of December 5. He had made considerable headway with the Requiem, but plenty remained to be finished. As his health grew precarious, he dictated ideas about how the piece should be completed to his pupil Franz Xaver Süssmayr.
When Mozart died, the Requiem was more-or-less finished through the beginning of the Lacrimosa, with much of the Offertory also written. There was a compelling practical reason that it should be brought to a finished state: Count Walsegg had paid a fair amount of money into the project already, and Mozart’s widow, Constanze, needed the funds that the remainder of the commission would provide. She arranged for Süssmayr to compose the uncompleted Sanctus, Benedictus, and Agnus Dei sections (perhaps drawing on ideas Mozart had shared with him); for the Communion he simply repeated music Mozart had completed for the Introit and Kyrie.
Süssmayr’s completion entered the canon as the standard edition, but quite a few scholars have proposed competing versions based on divergent opinions about how to finish the piece in a more Mozartian style. This performance uses the version published in 1971 by Franz Beyer, a specialist in completing unfinished works of the Classical era. He used Süssmayr’s edition as the basis, feeling that it had the authority of residing closest to the composer—and, furthermore, arguing that Mozart had left a personal imprint on more of the Requiem than had been previously supposed. But he adapted the score substantially, particularly revising Süssmayr’s dark-toned orchestration, making it lighter and, as he wrote, aiming “to color it with the hues of Mozart’s own palette.”
The Philadelphia Orchestra is admired for a legacy of innovation and known for its keen ability to capture the hearts and imaginations of audiences. This Orchestra’s distinctive sound returns to Bravo! Vail for its 16th residency in 2023.
All artists, programs, and pricing are subject to change.