Month: April 2023

Meet the Student: Q&A with Soprano Sarah Fleiss

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Sarah Fleiss, from North Bergen, New Jersey, stars as Ginevra in Curtis Opera Theatre’s haute couture-inspired production of George Frideric Handel’s Ariodante. She entered the Curtis Institute of Music in 2019 and studies in the voice program with Julia Faulkner, adjunct faculty. All students at Curtis receive merit-based, full-tuition scholarships, and Ms. Fleiss is the David H. Springman Memorial Fellow.

 

 

What have you found the most thrilling or challenging aspect(s) of learning the role of Ginevra in Ariodante and bringing this character to life in rehearsals?
This is my first time singing a full Handel role, and I have to say the most thrilling part is simply experiencing the beauty of the music. Handel, in my opinion, is one of the best composers of all time, so it is such a privilege to be surrounded by his genius! Not only is the music stunning, but the characters are so human. I play a princess, but through the process, I have come to realize we share many of the same emotions and struggles. That is the power of opera and brilliant music—it is universal! The challenge of Baroque music specifically is the da capo format. For me, this is the most challenging but also the most liberating aspect of Handel’s music. Since there is so much repetition, we have the responsibility and joy of making every time we say something feel different and to find and inject meaning where we can. Our director, Omer Ben Seadia, said this brilliantly—that Handel is malleable, so it becomes what you want it to become.

We interviewed you when you first arrived at Curtis. From the fall of 2019 to the spring of 2023, what have been some of your most memorable moments at the school, and what do you think is the most lasting impact Curtis has had on your growth as an artist and musician?
Over my time at Curtis, I have had the chance to perform music from the Baroque to contemporary. My first performance here, crazily enough, was singing in a CSO concert with Yannick Nézet-Séguin conducting! That was memorable, to say the least. Recently, I had the honor of premiering a song cycle by Pulitzer Prize-winning composer Tania León; working with a living composer was daunting, but she is one of the kindest and most inspirational people I have ever met. Overall, the vast amount of musical experiences I have had, along with the support from my colleagues and teachers, have taught me to find the truth in every single piece of music I attempt to perform. My job as an artist is to be as honest and vulnerable as possible on stage, and it takes a lot of work to get to that point!

Read Sarah Fleiss’s first Curtis interview from September 17, 2019 HERE.

What’s next for you after this semester?
I have the incredible opportunity of traveling to Switzerland to participate in the Atelier Lyrique at the Verbier Festival. I will spend three weeks studying and performing art song and chamber music, as well as singing in the main stage production of Berg’s Wozzeck. As well as two chamber music recitals, I will also be attending Houston Grand Opera’s Young Artist Vocal Academy, where I will get the chance to work with the incredible staff there! In the fall, I am excited to say I will be continuing my studies at Curtis to start my Master’s degree. I cannot wait to see what the next two years have in store!

Click HERE to watch the On Stage at Curtis episode featuring Sarah Fleiss, or click the video below.

 

CURTIS OPERA THEATRE: ARIODANTE

Music: George Frideric Handel
Libretto: unknown, anonymously adapted from Antonio Salvi’s Ginevra principessa di Scozia, based upon Ariosto’s Orlando furioso.

Featuring members of Tempesta di Mare, orchestra

Thursday, May 4, 2023, at 7:30 p.m.
Friday, May 5, 2023, at 7:30 p.m.
Saturday, May 6, 2023, at 7:30 p.m.
Sunday, May 7, 2023, at 7:30 p.m.

Perelman Theater, Kimmel Center, 300 S. Broad Street

Click HERE for more information.

Single tickets: $19–55, sold by the Kimmel Cultural Campus Box Office at KimmelCulturalCampus.org, or (215) 893-1999.

The Curtis Opera Theatre is generously supported by the Ernestine Bacon Cairns Trust, the Horace W. Goldsmith Foundation, and the Wyncote Foundation.

Photos of Sarah Fleiss by Nichole MCH Photography 

Q&A with Pianist Janice Carissa (’22)

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GRAMMY Award-winning conductor Osmo Vänskä teams up with the Curtis Symphony Orchestra for the school’s first-ever West Coast tour of the United States, May 12–22, 2023, following a performance at the gorgeous Longwood Gardens with pianist Janice Carissa (’22) on May 12.  Learn more HERE.

A Gilmore Young Artist and winner of Salon de Virtuosi, Janice Carissa has “the multicolored highlights of a mature pianist” (Philadelphia Inquirer) and “strong, sure hands” (Voice of America) that “convey a vivid story rather than a mere showpiece.” (Chicago Classical Review). Ms. Carissa has garnered great acclaim at renowned concert halls and institutions across the world and she recently discussed her upcoming performance with Katie Mobley, Communications Manager at Longwood Gardens.

 

What does it mean to you to perform as a soloist in the opening concert of Curtis’s West Coast Tour?
This full-circle moment holds a significance that words cannot convey. It was only last May that I was bidding farewell to my fellow graduates, donning our caps and gowns and wishing each other the best for the next stages of our lives. As we parted ways that bittersweet afternoon in Rittenhouse Square, I couldn’t help but wonder when our paths would cross again. The universe had a swift answer for me, as shortly thereafter, I was overcome with emotion as I accepted an invitation to perform alongside my alma mater’s orchestra.

Playing chamber music with friends has always been a cherished experience of mine. Now, I have the privilege of doing so on a grander scale, with friends who have become family. I eagerly anticipate my return to my beloved alma mater and the opportunity to make music in a place that I once called home for a decade!

What does it mean to you to perform at Longwood Gardens?
The prospect of making music in this floral utopia is truly beyond my wildest imaginings.

What are you most looking forward to playing during this performance and why?
I imagine that tackling Bartók’s Second Piano Concerto with a cohort of musicians I share a profound artistic rapport is immensely exciting. The concerto is challenging to put together, but it is also incredibly fun to play!

How does performing outdoors differ from indoors?
The acoustics of open-air environments present an intriguing area of inquiry that I am eager to explore. Truthfully, as unpredictable as nature can be, the prospect of thunderstorms and lightning strikes mid-performance would intensify the dramatic writing of Bartók’s Second Piano Concerto.

Do these pieces take a different shape when performed outdoors vs. indoors?
Since this upcoming concert will mark my debut performance of Bartok’s Second Piano Concerto, I currently only have questions. I may rely on kind souls standing at different points of the space to investigate acoustics and balance. However, I firmly believe that the music itself has the power to convey its intended emotions. I must also recognize that our endeavors are subject to the unpredictable whims of nature.

Watch Janice Carissa’s graduation recital at Curtis’s Field Concert Hall. 

What does it mean to you to be a Curtis alum?
Handing in the keycard to my home of ten years was a strange feeling, however, my belief remains steadfast that once a family is formed, that connection remains despite changes in geographical location. The duration of my studies at Curtis was marked by a wealth of experiences that were profoundly meaningful and contributory to my personal development. My engagement with peers, musical endeavors, coaching sessions, and participation in the century-old traditions of Wednesday afternoon teas all played a role in shaping my current self.

Countless leaps of faith and conversations occurring near and far the piano later, I have come to the conclusion that being a Curtis alum means embodying the values of a supportive and encouraging community that empowers individuals to achieve their full potential. What “full” means is a lifelong quest I am excited to embark.

Visit Janice Carissa’s official website HERE.

Q&A with Janice Carissa by Longwood Gardens Communications Manager, Katie Mobley, part of a larger blog post. Click HERE to read “A Beautiful Relationship, a Groundbreaking Performance.”

 

CURTIS ON TOUR
Curtis Symphony Orchestra West Coast Tour 2023
May 12–22, 2023

Curtis Symphony Orchestra
Osmo Vänskä, conductor
Yefim Bronfman (’77), piano
Janice Carissa (’22), piano

Learn more HERE.

KENNETT SQUARE, PA
Friday, May 12, 2023, at 7 p.m.
Longwood Gardens (Outdoors)

Curtis Symphony Orchestra
Osmo Vänskä, conductor
Janice Carissa (’22), piano

  • Dai Wei: Awakening Lion
  • Bartók: Piano Concerto No. 2 in G major, Sz. 95
  • Tchaikovsky Symphony No. 4

Presented by Longwood Gardens. For tickets and more information, visit www.longwoodgardens.org.

 

Curtis on Tour is the Nina von Maltzahn Global Touring Initiative of the Curtis Institute of Music.

Awakening Lion by Dai Wei was commissioned by the Curtis Institute of Music for Curtis on Tour, with the support of Allen R. and Judy Brick Freedman.

Orchestral concerts are supported by the Jack Wolgin Curtis Orchestral Concerts Endowment Fund.

Photos of Janice Carissa courtesy of Opus 3 Artists and © Chris McGuire Photography. Photo of Longwood Gardens by Scott Hummel. Photo of the Curtis Symphony Orchestra performing at Konzerthaus Berlin in 2017 by Kai Bienert. 

 

Q&A with Composer Dai Wei (’19)

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GRAMMY Award-winning conductor Osmo Vänskä teams up with the Curtis Symphony Orchestra for the school’s first-ever West Coast tour of the United States, May 12–22, 2023, beginning with the world premiere of Awakening Lion by award-winning composer Dai Wei (’19) at one of the world’s premiere horticultural gardens, the stunning Longwood Gardens in Kennett Square, Pennsylvania. Learn more HERE.

Hailed as “impassioned” by the New York Times, “with a striking humanity” by the Washington Post, composer and vocalist Dai Wei’s music navigates in the spaces between east and west, classical and pop, electronic and acoustic, innovation and tradition. The acclaimed composer recently discussed Awakening Lion and the tour with Katie Mobley, Communications Manager at Longwood Gardens.

 

Could you please describe the musical aesthetic of the piece, and will any unpitched percussion instruments such as the Chinese bass drums, cymbals, or gongs, be woven into the score?
Awakening Lion combines traditional Cantonese Lion Dance elements with Western orchestral music. The piece features the use of unpitched percussion in instruments such as Chinese bass drums, which are commonly heard in the accompanying music of the Cantonese Lion Dance. These drums are integrated into the orchestral texture and complemented by other Western instruments and they play an essential role in the piece, providing a driving and pulsating rhythm that underlies the melodies. The overall effect is a dynamic and rhythmic piece that aims to evoke the spirit and energy of the Lion Dance.

What does it mean to you to have your piece performed by the Curtis Symphony Orchestra? And as part of the West Coast Tour?
Having my piece performed by the CSO and as part of the West Coast Tour is a great honor for me. I am very excited to have my work performed in a new and different context and to see how it resonates with the audiences on the West Coast. It also makes me feel like I am closer to my parents geographically. It is a dream come true to hear my music played by such a talented group of musicians who have dedicated their lives to studying and performing classical music at the highest level. The beginning of the piece has a reminiscent feeling of the traditional Chinese instrument Guqin played by two cellos using a guitar pick. I aimed to create a sound reminiscent of the traditional Chinese instrument Guqin by having two cellos played with a guitar pick at the beginning of the piece. My intention was to connect the past to the future and bring different corners of the world together. Especially after graduating four years ago, it feels like I am riding on a time machine that I am able to return to Curtis and collaborate with one of my favorite orchestras the Curtis Symphony Orchestra. I am deeply grateful for this opportunity.

What does it mean to you to have your piece performed at Longwood Gardens?
The opportunity to have my work performed on the West Coast Tour and at the Longwood Gardens is incredibly exciting. It is a unique opportunity to showcase the connection between music and nature. The open-air setting provides a natural acoustic space that allows the music to blend with the surrounding environment. The audience can enjoy the beauty of nature while listening to the music, creating a unique and immersive experience.

Does this piece take a different shape when performed outdoors versus indoors?
The piece can take on a different shape and be experienced differently when performed outdoors vs. indoors due to the different acoustic environments. The open-air setting allows the music to resonate and diffuse, creating a more expansive and immersive sound. On the other hand, an indoor venue with a more controlled acoustic environment can provide greater clarity and definition of musical textures.

Are there any “awakening lion” moments that you have personally experienced that you would like to share, or any that have inspired you in creating this piece?
Awakening Lion draws inspiration from the Cantonese traditional dance of the same name, which tells the story of a creature named Nian (year) who terrorizes a village. The villagers turn to a lion for help. After a fierce battle, the lion wounds Nian, who flees and promises revenge. The following year, the villagers create a lion mask to scare away Nian.

The collaboration in the Lion Dance shares many similarities with that of a symphony orchestra. Both require a high degree of precision and coordination among the performers to achieve a cohesive performance. While writing the piece, I reflected on the fact that under that giant beast mask are ordinary people like you and me. Although we may not be familiar with the story of the Awakening Lion or the battle with Nian, we all face our own battles and sometimes resort to desperate measures to confront them. This inner strength is present in everyone, regardless of where we come from, who we love, or our gender. The lion that we raise up with all our inner positive strength and optimism when facing overwhelming forces is the embodiment of the Awakening Lion.

What emotions, imagery, etc. do you aspire to evoke through this piece?
Through this piece, I aspire to evoke a sense of energy, excitement, optimism, and celebration that is associated with the tradition of the Lion Dance. I also hope to convey a message of resilience and courage to embrace challenges. The piece is meant to be a celebration of life and a tribute to the power of the human spirit.

Visit Dai Wei‘s official website HERE.

Q&A with Dai Wei by Longwood Gardens Communications Manager, Katie Mobley, part of a larger blog post. Click HERE to read “A Beautiful Relationship, a Groundbreaking Performance.”

 

CURTIS ON TOUR
Curtis Symphony Orchestra West Coast Tour 2023
May 12–22, 2023

Curtis Symphony Orchestra
Osmo Vänskä, conductor
Yefim Bronfman (’77), piano
Janice Carissa (’22), piano

Learn more HERE.

KENNETT SQUARE, PA
Friday, May 12, 2023, at 7 p.m.
Longwood Gardens (Outdoors)

Curtis Symphony Orchestra
Osmo Vänskä, conductor
Janice Carissa (’22), piano

  • Dai Wei: Awakening Lion
  • Bartók: Piano Concerto No. 2 in G major, Sz. 95
  • Tchaikovsky: Symphony No. 4

Presented by Longwood Gardens. For tickets and more information, visit www.longwoodgardens.org.

 

Curtis on Tour is the Nina von Maltzahn Global Touring Initiative of the Curtis Institute of Music.

Awakening Lion by Dai Wei was commissioned by the Curtis Institute of Music for Curtis on Tour, with the support of Allen R. and Judy Brick Freedman.

Orchestral concerts are supported by the Jack Wolgin Curtis Orchestral Concerts Endowment Fund.

Photos of composer Dai Wei by Lingyuan, Steely Cao, and Sha Tao. Photo of Yizilin Liang and the Curtis Symphony Orchestra by David DeBalko. Photo of fountains, courtesy of Longwood Gardens and Scott Hummel. 

 

Curtis Opera Theatre Presents “Ariodante,” May 4–7

Date
Press Contacts:
Patricia K. Johnson | patricia.johnson@curtis.edu | (215) 717-3190
Ryan Scott Lathan | ryan.lathan@curtis.edu | (215) 717-3145

Download PDF

PHILADELPHIA, PA—April 19, 2023—The Curtis Opera Theatre’s 2022–23 season concludes May 4 through May 7 at 7:30 p.m. at the Perlman Theater in the Kimmel Center with George Frideric Handel’s riveting tale of obsession, desire, and royal intrigue, Ariodante. Based upon Ludovico Ariosto’s epic sixteenth-century poem Orlando furioso, this glorious Baroque masterpiece follows the story of Princess Ginevra, daughter of the King of Scotland, and her fiancé, the noble knight Ariodante. Acclaimed director Omer Ben Seadia leads a phenomenal cast of rising young opera stars accompanied by members of Philadelphia’s “emotionally provocative” baroque orchestra, Tempesta di Mare, under the baton of renowned conductor David Stern.

“Ariodante” cast members (left to right): Evan Gray, Anastasiia Sidorova, Jason Kakuk, Joseph Tancredi, Sarah Fleiss, and Emilie Kealani.

Known for her inventive, thoughtful, socially conscious productions, Omer Ben Seadia’s clever concept for Curtis Opera Theatre’s Ariodante highlights the psychological, action-packed elements of the piece. Her vision is accentuated by a striking backdrop of towering, shifting, candlelit gold panels courtesy of scenic designer and art director Ryan M. Howell, the atmospheric lighting design of Joe Beumer, and stunning, haute couture-inspired costumes by Ryan Park, a nod to the opera’s elaborate Baroque aesthetic and the sleek silhouettes of the elegant fashion houses of Paris.

“Ariodante” cast members (left to right): Lucy Baker, Benjamin Schaefer, Juliette Tacchino, Dalia Medovnikov, and Sophia Maekawa.

This production of Ariodante “centers around personal perceptions and how they are malleable and easily manipulated. These themes are represented on stage by the imagery of veiling and masking,” says Ms. Ben Seadia. “The last few years have been plagued by questions of what truth is and how easily the perception of one’s self and others can be obscured. Through the twists and turns of this drama, Handel drives the plot forward in a heart-pounding way while also suspending our ability to dive into the psychology of our protagonists. With elegant and edgy designs by this skilled design team, we are bringing powerful images of light and shadow, reflection, and opulence, while highlighting the human form and condition. Finally, the production asks us to consider love as an act of ultimate faith—in ourselves and in others.”

As the opera opens, the King of Scotland announces that he has approved the marriage of Ginevra and Ariodante. Rejecting the advances of the loathsome Polinesso, Duke of Albany, the princess confides to her handmaid Dalinda that she is madly in love with Ariodante and now has her father’s blessing to marry him. But their blissful wedding plans are thwarted in a cruel twist of fate. Dalinda, infatuated with the duke, is persuaded to impersonate the princess to win his dark affections. Ariodante, believing he has witnessed his fiancée in the arms of another, is convinced of the lie and becomes distraught and suicidal. Tormented by the perceived betrayal he is despondent and inconsolable.

Amid false accusations of infidelity, the King disowns Ginevra as he hears that Ariodante has tragically drowned in despair due to his daughter’s supposed betrayal. Polinesso, in pursuit of the throne, had ordered the court handmaids to murder Dalinda, the only living witness to his sinister scheme. Saved by Ariodante, Dalinda confesses her misdeeds, the two unite to clear the princess’s name, and true love is vindicated in this compelling 18th-century opera seria. Conductor David Stern and director Omer Ben Seadia make their Curtis debut leading the cast and members of the Curtis Symphony Orchestra in this fully staged opera, sung in Italian with English supertitles.

Single tickets for Ariodante start at $19: Curtis.edu.

The Curtis Opera Theatre has become known for imaginative productions, bold concepts, and absorbing theatre. Under the artistic direction of Eric Owens and the Hirsig Family Chair in Vocal Studies, Miloš Repický, promising young singers work alongside established professional directors and designers, resulting in fresh interpretations of standard repertoire and contemporary works. All of Curtis’s students in vocal studies are cast regularly throughout each season, receiving a rare level of performance in fully staged productions, in recitals at Field Concert Hall, and as soloists with Curtis on Tour and the Curtis Symphony Orchestra. Curtis’s educational approach opens professional opportunities for Curtis graduates, who sing with top opera companies across the United States and Europe, including La Scala, Covent Garden, the Vienna Staatsoper, Houston Grand Opera, the San Francisco Opera, and the Metropolitan Opera.

About the Curtis Institute of Music
The Curtis Institute of Music educates and trains exceptionally gifted young musicians to engage a local and global community through the highest level of artistry. For nearly a century Curtis has provided each member of its small student body with an unparalleled education alongside musical peers, distinguished by a “learn by doing” philosophy and personalized attention from a faculty that includes a high proportion of actively performing musicians. With admissions based solely on artistic promise, no student is turned away due to financial need. Curtis invests in each admitted student, ensuring no tuition is charged for their studies and they enter the profession free from educational debt. In a typical year, Curtis students hone their craft through more than 200 orchestra, opera, and solo and chamber music offerings in Philadelphia and around the world. Learn more at Curtis.edu.

 

CURTIS OPERA THEATRE: ARIODANTE

Music by George Frideric Handel
Libretto unknown, anonymously adapted from Antonio Salvi’s Ginevra principessa di Scozia, based upon Ariosto’s Orlando furioso.

Featuring members of Tempesta di Mare, orchestra

Thursday, May 4, 2023, at 7:30 p.m.
Friday, May 5, 2023, at 7:30 p.m.
Saturday, May 6, 2023, at 7:30 p.m.
Sunday, May 7, 2023, at 7:30 p.m.

Perelman Theater, Kimmel Center, 300 S. Broad Street

Click HERE for more information.

David Stern, conductor
Omer Ben Seadia, stage director
Johnathan McCullough, assistant stage director
Ryan M. Howell, scenic designer
Ryan Park, costume designer
Joe Beumer, lighting designer
Brittany Rappise, hair and makeup supervisor
Mary Moon, violence design and fight direction

CAST 

Ariodante May 4, 6 May 5, 7
King of Scotland Evan Gray Evan Gray
Polinesso Anastasiia Sidorova Anastasiia Sidorova
Odoardo Jason Kakuk Jason Kakuk
Lurcanio Joseph Tancredi Benjamin Schaefer
Ginevra Sarah Fleiss Juliette Tacchino
Dalinda Emilie Kealani Dalia Medovnikov
Ariodante Lucy Baker Sophia Maekawa

TICKETS

Single tickets: $19–55, sold by the Kimmel Cultural Campus Box Office at KimmelCulturalCampus.org, or (215) 893-1999.

Fully staged production with members of Tempesta di Mare, sung in Italian with English supertitles by Miriam Lewis.

The Curtis Opera Theatre is generously supported by the Ernestine Bacon Cairns Trust, the Horace W. Goldsmith Foundation, and the Wyncote Foundation.

Omer Ben Seadia’s participation is generously underwritten by Allen R. and Judy Brick Freedman.

# # #

Q&A with Composer Richard Danielpour (Part II)

Date

The Curtis Institute of Music will honor distinguished composition faculty member, Richard Danielpour, on Wednesday, April 19, 2023, at 8:00 p.m. with a concert celebrating the artistry, enduring impact, and 25th anniversary of this GRAMMY Award-winning composer’s appointment to the school’s renowned composition faculty. Learn more about “Music of Richard Danielpour,” featuring the world premiere of Four Portraits, with acclaimed pianist Amy Yang (’06).

In part two of this Q&A series, the highly sought-after American composer discusses how he came to Curtis and shares his thoughts on the three works featured in this upcoming Curtis Presents concert at Field Concert Hall.

 

In an ongoing career of innumerable highlights, what is it about this event that really resonates with you?
I love this place and have a very special feeling in my heart for what Curtis has stood for all these years. I’m most proud of the way the structure of the composition program works, which is essentially what I designed. Before I got there, it didn’t have a structure of any sort. Now, every year for the last twenty-five years, we’ve had an orchestra concert in the spring and a chamber concert in the fall that feature student commissions, especially the students who prove themselves worthy after a year or two of being there.

The other thing we’ve engendered is that we wanted this to be a family of composers who work together, not people competing against one another like some schools live and function. We wanted this to be a family. So, when I was there, we encouraged the students to help one another. I remember many instances when one student who finished his orchestra piece stayed up all night helping another one finish their parts. I worked very hard to ensure that would continue.

It’s not an accident that the next person who directed the composition program after me was David Ludwig (’01): my first student at Curtis and Rudolf Serkin’s grandson. [Mr. Serkin taught on the piano faculty for 36 years and, from 1968 to 1975, was the school’s director.] And now the director of composition is composer Nick DiBerardino (’18), also my student. So, they have continued this powerful tradition born of great thought, care, and love. That’s one of the things I’m most proud of in my entire career, not just as a composer but as a mentor. I take great pride that what I set in motion is still in motion.

One of the things that I’m really hoping for at this concert is that Nick has invited a number of my former students from the last 25 years. So, I hope that a lot of them can come. It would be special to have an audience full of people that hopefully you’ve inspired and left a lasting, indelible mark on.

Not only have you been an integral part of educating and inspiring generations of young composers here at Curtis, but you’ve served as a mentor for them as well. What is your favorite aspect of teaching composition here?
My favorite thing is to see the fruit of their labor when they get it right, when they have listened and put what they’re learning into practice. It’s so interesting. Some students don’t need to learn anything about the craft. They are already finished. They need to learn how to work with people effectively in the process of rehearsing and bringing their music to life.

I remember, for instance, Gabriella Smith (Composition ’13, ArtistYear ’16) had her own voice and was fully formed in terms of her compositional identity. She only needed to become more aware of the music that she might not otherwise have paid attention to, so she could have a wider range that would contribute to her output. They all write 8, 10, 12, and 15-minute pieces, but you start writing longer works when you get older. My first song cycle was very short, but the oratorio, Passion of Yeshua, was 100 minutes long.

The greatest gift that I can give a student is to listen to them, see who they are at that moment, and never treat any student like another. They’re all individuals, and the extension and the bringing forth of their uniqueness is why we sit with them. It’s why we listen to them. It’s why we encourage them, and it’s why we train them. This is what Boulanger was all about. She was an amazing teacher because she understood what was intrinsically powerful and personal about each student.

Richard Danielpour, JoAnn Falletta, and the cast of “The Passion of Yeshua” at the Oregon Bach Festival, including Curtis alumna J’Nai Bridges (Opera ’12).

This fall we announced that Nick DiBerardino, Jonathan Bailey Holland, Amy Beth Kirsten, and Steven Mackey are joining you to serve on the composition faculty here at Curtis. Over the years, what have you enjoyed the most about working alongside other composers to further the development of Curtis’s talented students?
It’s a pleasure to have the new faculty here. I like the idea that we could start fresh with Nick, and he brought Amy, Jonathan, and Steve into the faculty, and it’s nice that they have me as a continuing thread. It was a carefully chosen group that we knew all had the same interests of the students coming first. So many people who teach composition or music pay lip service to the fact that we are here to serve the students. You go where you’re truly needed, not where your ego thinks it’s needed.

Nick DiBerardino (’18), Jonathan Bailey Holland (’96), Amy Beth Kirsten, and Steven Mackey; photo by Gene Smirnov.

The wonderful thing about this group of very esteemed and eminent artists is that they all have that as their number one goal, to serve the student’s needs and to be present to them. You must treat every student with the same respect and dignity as if they were the next great artist to come because you never know. I’ve been surprised a number of times. You can’t save people, but you can listen to them. Those who listen well and with great care and attention are the best mentors.

Visit Richard Danielpour‘s official website HERE.

 

CURTIS PRESENTS: Music of Richard Danielpour

Wednesday, April 19, 2023, at 8 p.m.
Field Concert Hall, Curtis Institute of Music, 1726 Locust Street, Philadelphia

Tickets for Music of Richard Danielpour ($24) are available at Curtis.edu. Seating is general admission.

 

Q&A by Ryan Scott Lathan. Part one of this interview appeared in Curtis’s newsfeed on Friday, April 14, 2023.

Photos of Richard Danielpour courtesy of the artist. Photo of the creative team and artists of The Passion of Yeshua courtesy of San Francisco Classical Voice.