35th Season Gala: Noye's Fludde
Saturday, March 29, 2014, concert at 8pm
2 Lake Street, San Francisco
In this rarely staged 20th century master work by Benjamin Britten, developed from a 15th-century mystery play, the biblical story of Noah and his ark comes to life through the 350 voices of the San Francisco Girls Chorus and Chorus School. SFGC is honored to share the stage with Carey Perloff, Artistic Director of the American Conservatory Theatre, as she portrays The Voice of God. Joe Chappel sings the role of Noah, joined by alumna and mezzo-soprano Silvie Jensen as Mrs. Noah. Led by SFGC’s Music Director and Principal Conductor, Valérie Sainte-Agathe, the performance caps more than three decades of choral artistry!
The production will be staged by Ariel Craft and will feature original art, costumes and set pieces created by members of San Francisco’s acclaimed Creativity Explored, supported by a grant from the Creative Work Fund.
SFGC’s annual gala dinner and auction will take place prior to this special event concert that evening.
SFGC would like to thank our sponsors for this program: Cathy and Sandy Dean.
Concert-only tickets are available now!: City Box Office phone at 415-392-4400; online at www.cityboxoffice.com or in person at City Box Office, 180 Redwood Street, Suite 100, San Francisco (Monday – Friday, 9:30am-5pm).
For full evening tickets (includes concert ticket), please contact Cathy Lewis at 415-863-1752 x306 or email@example.com.
About the Artists
Carey Perloff (A.C.T. Artistic Director) is celebrating her 20th year as artistic director of A.C.T., where she most recently directed Elektra, Endgame and Play, Scorched, The Homecoming, Tosca Cafe (cocreated with choreographer Val Caniparoli and recently toured Canada), and Racine’s Phèdre. Known for directing innovative productions of classics and championing new writing for the theater, Perloff has also directed for A.C.T. José Rivera’s Boleros for the Disenchanted; the world premieres of Philip Kan Gotanda’s After the War (A.C.T. commission) and her own adaptation (with Paul Walsh) of A Christmas Carol; the American premieres of Tom Stoppard’s The Invention of Love and Indian Ink and Harold Pinter’s Celebration; A.C.T.–commissioned translations/adaptations of Hecuba, The Misanthrope, Enrico IV, Mary Stuart, Uncle Vanya, A Mother, and The Voysey Inheritance (adapted by David Mamet); the world premiere of Leslie Ayvazian’s Singer’s Boy; and major revivals of ‘Tis Pity She’s a Whore, The Government Inspector, Happy End (including a critically acclaimed cast album recording), A Doll’s House, Waiting for Godot, The Three Sisters, The Threepenny Opera, Old Times, The Rose Tattoo, Antigone, Creditors, The Room, Home, The Tempest, and Stoppard’s Rock ‘n’ Roll, Travesties, The Real Thing, Night and Day, and Arcadia. Perloff ‘s work for A.C.T. also includes Marie Ndiaye’s Hilda, the world premieres of Marc Blitzstein’s No for an Answer and David Lang/Mac Wellman’s The Difficulty of Crossing a Field, and the West Coast premiere of her own play The Colossus of Rhodes (Susan Smith Blackburn Award finalist). Her play Luminescence Dating premiered in New York at The Ensemble Studio Theatre, was coproduced by A.C.T. and Magic Theatre, and is published by Dramatists Play Service. Her play Waiting for the Flood has received workshops at A.C.T., New York Stage & Film, and Roundabout Theatre Company. Her latest play, Higher, was developed at New York Stage and Film and presented at San Francisco’s Contemporary Jewish Museum in 2010; it won the 2011 Blanche and Irving Laurie Foundation Theatre Visions Fund Award and received its world premiere in February 2012 in San Francisco. Her one-act The Morning After was a finalist for the Heideman Award at Actors Theatre of Louisville. Perloff has collaborated as a director on new plays by many notable writers, including Gotanda, Nilo Cruz, and Robert O’Hara. She also directed Elektra for the Getty Villa in Los Angeles. Before joining A.C.T., Perloff was artistic director of Classic Stage Company in New York, where she directed the world premiere of Ezra Pound’s Elektra, the American premiere of Pinter’s Mountain Language, and many classic works. Under Perloff ‘s leadership, CSC won numerous OBIE Awards, including the 1988 OBIE for artistic excellence. In 1993, she directed the world premiere of Steve Reich and Beryl Korot’s opera The Cave at the Vienna Festival and Brooklyn Academy of Music. A recipient of France’s Chevalier de l’Ordre des Arts et des Lettres and the National Corporate Theatre Fund’s 2007 Artistic Achievement Award, Perloff received a B.A. Phi Beta Kappa in classics and comparative literature from Stanford University and was a Fulbright Fellow at Oxford. She was on the faculty of the Tisch School of the Arts at New York University for seven years and teaches and directs in the A.C.T. Master of Fine Arts Program. She is the proud mother of Lexie and Nicholas.
Joe Damon Chappel, Noye
Bass-baritone Joe Damon Chappel, a native of Nashville, Tennessee, is a graduate of the Eastman School of Music, University of Rochester. At Eastman, he was a William Warfield Scholar and had many solo credits with the Eastman Chorale and the Eastman Opera Theater. He is the principal bass soloist with Bach Vespers at Holy Trinity (NYC), and is an accomplished specialist in the performance of Bach’s cantatas, passion settings, and other large works. In 2008, Maestro Georg Cristoph Biller, Bach’s current living successor as Kantor of Thomaskirche, Leipzig, was a visiting guest conductor at Holy Trinity, and Mr. Chappel was honored to work with him on several cantatas as a featured soloist. He has also performed with groups such as Bachworks, NY Collegium, Early Music New York, Les Gouts-Reunis, Vox Vocal Ensemble and The Tiffany Consort (founding member), an 8-member ensemble of soloists which received a 2006 Grammy nomination for its debut recording project, O Magnum Mysterium. He has been hailed by the New York Times as a “warm bass anchor…” and after his first Verdi requiem, The State of Columbia, SC wrote “Chappel’s ‘Mors Stupebit’ kept the audience hanging on every breathy syllable, filling the hall with his strength even in the softest moments.” Mr. Chappel sang his first Verdi Requiem with the South Carolina Philharmonic, Nicholas Smith, conductor. Subsequently, he and Maestro Smith have worked on several projects, including a Verdi Requiem at the Bollington Festival (UK), the Palmetto Opera’s production of Marriage of Figaro (as Figaro), and a return to the South Carolina Philharmonic as soloist in Walton’s Belshazzar’s Feast.
A champion of new and/or rarely heard music, Mr. Chappel is frequently sought as a soloist in world premieres of newly written or newly discovered works. In 2007, he made his Lincoln Center debut as bass soloist in the world premiere of Andrew Fowler’s Directions for Singing. In 2006, he gave the New World premiere of a recently unearthed Kuhnau mass for solo Bass and strings. He has performed several works composed around the events of 9/11, including the role of the Pilot in the world premiere of Anthony Davis’ Restless Mourning at the Piccolo Spoleto Festival, and the world premiere of Joelle Wallach’s Firefighter’s Prayer at Powell Hall as part of the Saint Louis Symphony’s “On Stage at Powell” recital series. In 2008 he performed Orestes/Athena in the U.S. premiere of Iannis Xenakis’ Oresteia at Miller Theater, Columbia University.
Recent projects include singing in the Bard Summerscape 2011 production of Richard Strauss’ Die Liebe der Danae, and the Bard Summerscape 2012 production of Chabrier’s Le Roi Malgré Lui. Most recently Mr. Chappel has been a vocalist in the critically acclaimed two year world tour of Philp Glass and Robert Wilson’s Einstein on the Beach, with performances in Europe, Asia, North and Latin America.
Silvie Jensen, Mrs. Noye
“The marvelous mezzo-soprano Silvie Jensen,” according to the New York Times, “sings beautifully.” Critics have called her voice “exquisite, floating and expressive, a joy to hear.” A vocalist of great versatility, Ms. Jensen enjoys a wide-ranging career, which includes early and contemporary music, opera and musical theater, and ethnic, improvised, and experimental music.
As a soloist, she has appeared with Ornette Coleman at London’s Barbican Centre, with Meredith Monk at Zankel Hall and Teatro Comunale Ferarra, in Handel’s Messiah at Trinity Wall Street, and in classical and contemporary works at Brooklyn Academy of Music with Sir Jonathan Miller and Paul Goodwin, Ash Lawn Opera, Stonington Opera House, Riverside Opera, American Chamber Opera, Clarion Society, Alice Tully Hall, Miller Theater, One World Symphony, Voices of Ascension, and with Broadway Bach Ensemble singing Mahler’s 4th symphony and Canteloube’s Songs of the Auvergne. Her performance in Hildegard von Bingen’s chant opera Ordo Virtutum, under the direction of Drew Minter, as well as many of her performances as a soloist with Christopher Caines Dance Company, have been critically acclaimed by the New York Times.
Ms. Jensen is a frequent collaborator with composers and artists in other genres; she has commissioned and premiered works created specifically for her, and has presented solo recitals and chamber music at Weill Hall, Steinway Hall, Symphony Space, Americas Society, Liederkranz Club, Bonhams, the Stone, the Cell Theater and Nicholas Roerich Museum.
Silvie Jensen has also performed with the Philip Glass Ensemble at Carnegie Hall, Lyric Opera of Chicago Chorus under Sir Andrew Davis; San Francisco Symphony Chorus under Herbert Blomstedt at Davies Hall, San Francisco Opera Chorus under Christoph von Dohnanyi, Berkeley and Oakland Symphonies under Kent Nagano, American Symphony Orchestra under Leon Botstein, Vox Vocal Ensemble, Early Music New York, Pomerium, Russian Chamber Chorus of New York, and at Merkin Concert Hall, New York City Ballet, Hammerstein Ballroom, Bang on a Can Marathon, Sound Res, Bard Festival, and Tanglewood. Silvie Jensen has made recordings on the ECM, London, Koch, Helicon, and Soundbrush Records labels. Ms. Jensen is a graduate of Columbia University.
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