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, Longwood Symphony, Hartford Symphony, the Orquesta Filarmónica de Bogotá, Opera Theatre of St. Louis, Eugene Opera 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, among numerous others. As a soloist, chamber musician, and recitalist, she has performed at festivals worldwide, from the Aldeburgh and Britten Festivals in England and the Varna Festival in Bulgaria to theSemanas Musicales de Frutillar Festival in Chile and the Tanglewood Festival in the US. A noted specialist in contemporary music, Ms. Baty has worked alongside many celebrated composers, including John Harbison, Bernard Rands, Yehudi Wyner and Sydney Hodkinson, on performances of their music.
She has enjoyed a long collaboration with Boston Modern Orchestra Project, and 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 joined the faculty of the Yale School of Music in 2008.
Friday at 8:00 pm
Norfolk Festival Music Shed
THOMSON: 3 Estampas de Niñes (Three Sketches from Childhood)
THOMSON: Stabat Mater for Soprano and String Quartet
ARGENTO: Three Songs from To Be Sung Upon the Water
THOMSON: Mostly About Love
COPLAND: Appalachian Spring
Pianist Wei-Yi Yang has earned worldwide acclaim for his captivating performances and imaginative programming. Most recently, he was praised by The New York Times as the soloist in a “sensational” performance of Messiaen’s Turangalîla-Symphonie at Carnegie Hall. Gold Medal winner of the San Antonio International Piano Competition, Mr. Yang has also performed at Lincoln Center, the Kennedy Center, and across Europe, Australia, and Asia.
A dynamic chamber musician with a diverse repertoire, Mr. Yang has collaborated with some of today’s most distinguished artists including the Pacifica, Cassatt, and Tokyo String Quartets, among numerous others. Mr. Yang has curated inventive interdisciplinary projects, such as collaborations with actress Miriam Margolyes as part of the “Dickens’ Women” world tour; lecture-recitals on the confluence of Czech music and literature; and multimedia performances of Granados’ Goyescas with projections of Goya’s etchings.
Mr. Yang studied first in the United Kingdom and then with Arkady Aronov in New York. Under the guidance of Boris Berman, he received his D.M.A. from Yale in 2004. Mr. Yang frequently presents master classes and performances in Hong Kong, Taiwan, China, Korea, and at Princeton University, Ithaca College, and the Hartt School. Mr. Yang regularly appears at festivals across the United States, from Norfolk to Napa Valley, and abroad, including Germany, Serbia, Montenegro, Mexico, and Scotland. In 2005 he joined the faculty of the Yale School of Music.
August 1, the ASQ joins pianist Wei-Yi Yang at the Yale School of Music’s Norfolk Chamber Music Festival. Preview a couple of the works on this program via Spotify:
“Through the interplay of Scharich’s mezzo voice and Yarbrough’s viola, one could readily appreciate how expressive Brahms could be when working in the lower register. … As had been the case last October, the performers made for a highly satisfying trio, which deserves to get out on the stage more often. Scharich and Yarbrough are clearly excellent at listening to each other in such a way that the dark low tones of each enhances the sonorities of the other.” —Stephen Smoliar
Friday, July 10, 2015 at 8pm
Old First Church, 1751 Sacramento Street (at Vanes), San Francisco
Kindra Scharich, mezzo-soprano; Paul Yarbrough, viola; John Parr, piano
Basically British XIV
This program continues the Basically British series, which John Parr presented at Old First Concerts from 2003 through 2011. The aim was to explore the flowering of British music which began at the end of the nineteenth century with the emergence of the first great British composer since Henry Purcell, Sir Edward Elgar, and continued into the twentieth century with Ralph Vaughan Williams, Benjamin Britten, Michael Tippett, and a host of “minor” masters, all writing with beauty, mastery of technique, and an identifiable “national” style. This program illustrates two major threads of this repertoire. The earlier—through the German Romantic Masters, Brahms and Wagner, to Elgar, who took their musical language and mastery of composition, while developing it into something quite unique which came to portray the England of his time. On the other hand, Benjamin Britten, taught at the early age of 13 (!) by the composer, conductor and viola player Frank Bridge, took the mastery of orchestral and compositional technique he learned from his teacher, but largely ignored the German Romantic Style and went back to the music of Henry Purcell as an inspiration, combining it with his own prodigious invention and incorporating the bi-tonal and pentatonic aspects which Balinese music inspired in him in his visit to the Island in the forties. Bridge was a fine viola player, being a member of the English String quartet from 1906–1915, and Britten was an amateur player (as well as a very fine pianist, of course). Parr is joined by Paul Yarborough, violist of the Alexander Quartet, and the fine mezzo-soprano Kindra Scharich, in this program.
MusicWeb International‘s Brian Reinhart has a new review for our Homage recording of Mozart’s Six Quartets Dedicated to Haydn:
“The Alexander String Quartet manages a double-act of time travel in their Mozart set. Aside from the trip back to Mozart’s day, they also offer a performing style that brings to mind some of the great string quartets of the early stereo era. … These are resolutely romantic performances, with a goal of being just as gorgeous, elegant, and glamorous as can be … and boy, do they succeed. … The Alexanders are a luxury string quartet: big, rich, impeccably tuned instrumental sound. The flowing slow movement of K428 feels like its nine minutes are exhaled in one deep breath. …given the high quality of these performances and the immediate presence of the recording, napping is not something you’re likely to be doing.” —Brian Reinhart, MusicWeb International