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March 26 at 7:30pm – J.S. Bach’s Saint Matthew Passion at the Meyerson.
Bach’s greatest sacred work, with double chorus and orchestra is featured in a performance in the magnificent acoustic of the Meyerson Symphony Center.
Children’s Chorus of Greater Dallas
Dann Coakwell, Evangelist
David Grogan, Christus
Anna Fredericka Popova, Soprano Solo, Chorus 1
Leslie Hochman, Soprano Solo, Chorus 2
Nicholas Garza, Alto Solo, Chorus 1
Sarah Daniels, Alto Solo, Chorus 2
Scot R Cameron, Tenor Solo, Chorus 1
Joshua Hughes, Bass Solo, Chorus 1
Andrew Dittman, Bass Solo, Chorus 2
“The St. Matthew Passion itself was never lost, but Bach himself apparently performed it only two or three times and, together with so many of his other large works, it tended to be overlooked for three quarters of a century following his death. It was the twenty-year-old Felix Mendelssohn who undertook to correct this, by unearthing the Matthew Passion and directing the historic performance of the work in Berlin on March 11, 1829 (a performance, with some cuts and some retouching, given for the benefit of the city’s Sewing School for Indigent Girls, followed by a second presentation ten days later). This successful rescue effort of Mendelssohn’s not only achieved widespread recognition for the Matthew Passion as the towering masterwork it is, but also opened the way to a revival and new appreciation of Bach’s other works. Beethoven had kept The Well Tempered Clavier close by, various other musicians had cultivated an appreciation of Bach’s mastery of counterpoint and fugue, and organists delighted in his virtuoso pieces, but the general public had not been aware of the Passions, the B-minor Mass, the Christmas Oratorio, or other large-scale works, which when revived provoked Mendelssohn’s friend Robert Schumann to write of Bach as a figure “to whom music owes as great a debt as religion does to its founder.” (Mendelssohn subsequently performed similar rescue service for numerous other neglected or overlooked works, among them Beethoven’s Fourth and Fifth piano concertos, the same composer’s Violin Concerto, and Schubert’s final symphony, the manuscript for which was given to him by Schumann.)” from the Kennedy Center webpage.
May 12, 7:30pm A Special Treat for Mother’s Day Weekend!
Henry Purcell’s The Fairy Queen in at Northaven United Methodist Church
A Word from the Stage Director, Catherine Turocy…
Our story of The Fairy Queen consists of various episodes taking place in the fairy world of Shakespeare’s A Midsummer Night’s Dream. Henry Purcell’s music for this piece was written for an adaptation of the play believed to be written by Dryden as a masque. First performed in 1692, The Fairy Queen was composed three years before Purcell’s death at the age of 35. Following his death, the score was lost and only rediscovered early in the twentieth century.
Purcell did not set any of Shakespeare’s text to music; instead he composed music for short masques in every act but the first. The play itself was also slightly adapted to seventeenth-century dramatic conventions, but the main spoken text is Shakespeare. Recent scholarship has shown that the music ending the masque featuring Hymen, the God of Marriage, was composed for the fifteenth wedding anniversary of William and Mary.
In our operatic adaptation for Dallas, James Richman and I have conjured a unique telling of the story, condensing the work to under two hours in length. The libretto for the sung music tells the magical story of Titania, the fairy queen, and Oberon, the fairy king.
There is something for everyone of any age so bring friends and family and enjoy the dance and song and music!