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Jon Klibonoff
James Lent, Pianist
Quartet from the Metropolitan Opera Chorus
The New York Strauss Orchestra
The New York Vivaldi Orchestra
Jon Klibonoff has established a versatile career as orchestra soloist, recitalist and chamber musician throughout the United States and abroad. His many awards include the Silver Medal of the Gina Bachauer International Piano Competition, the Affiliate Artists Xerox Pianists Award, the Pro Musicus Foundation Award, First Prize in the Kosciuszko Chopin Competition, and a Solo Recitalists Fellowship from the National Endowment for the Arts.
Presently a member of the Bachmann-Klibonoff-Fridman Trio, Carnegie Chamber Players, and Associated Solo Artists, Klibonoff has also appeared as guest artist to numerous chamber music groups including the Chamber Music Society of Lincoln Center, and the Shanghai, Miami and Lark String Quartets. For three seasons, he was an artist-in-residence for the "On Air" radio series produced by WQXR classical radio in New York City.
In recital, Mr. Klibonoff has appeared at the Metropolitan Museum of Art, Weill Recital Hall in Carnegie Hall, the 92nd Street Y, the National Gallery, and the Smithsonian Institution in Washington, D.C. Klibonoff can be heard frequently in collaboration with many instrumentalists including flutist Carol Wincenc, clarinetist David Shifrin, and cellist Yo-Yo Ma.. His many orchestral appearances include the Baltimore, Utah, Buffalo, Denver, and North Carolina Symphonies. He has several CD recordings to his credit including two recordings of twentieth century violin and piano music with violinist Maria Bachmann on the BMG/Catalyst label.
A graduate of The Julliard School and Manhattan School of Music, Klibonoff has been on the faculty of Hunter College, and is professor of music at Concordia College in Bronxville, New York. He resides in Bronxville with his wife Amy and their two children, Madeleine and Noah.
Pianist James Lent is winning acclaim for the exquisite sensitivity and vibrant energy of his playing. A top winner, Nathan Wedeen Award of the 1999 Concert Artists Guild Competition, where he also won the WQXR Prize, Mr. Lent is the recipient of numerous competition honors and awards. Most recently, he was a prize winner at the 2000 National Chopin Competition. He has also won top prizes at the 1999 and 1996 Washington International Piano Competitions, the Olga Koussevitsky Piano Competition and the Houston Symphony Ima Hogg National Young Artist Competition.
In the 2001-2002 season, Mr. Lent will make his Utah Symphony debut in performances of Prokofiev's Concerto No. 3 under the baton of Scott O'Neil. He will also make recital appearances at the Cleveland Museum of Art, where he will give the world premiere of a new work written for him by noted composer Frederic Rzewsk, for the Chamber Music Society of Little Rock, and will also perform over 25 recitals across the United States including appearances in California, Oregon, and throughout Texas. The 2000-2001 season includes his European debut at the Schleswig-Holstein Musik Festival in Germany, performances of Rhapsody in Blue with the Ocean City Pops, the United States premiere of Vine's Sonata for Flute and Piano with Ransom Wilson, a chamber music appearance at New York's Sylvia and Danny Kaye Playhouse, a week of residence at the Orange County Performing Arts Center, performances with Carol Wincenc and Charles Neidich, and recitals throughout the United States. In the 1999-2000 season, Mr. Lent made his Boston recital debut at the Isabella Stewart Gardner Museum, his Concert Artists Guild debut recital at New York's Kosciuszko Foundation, and a recital tour of the northwestern United States. In November 1999, Mr. Lent was invited to participate in the Pierre Boulez Workshop for Instrumentalists and Conductors at Carnegie Hal. He performed with the renowned Ensemble Intercontemporain under the direction of Maestro Boulez in a sold-out concert at Weill Recital Hall.
Mr. Lent's orchestral appearances include the Vancouver Symphony, the Houston Symphony, the Shanghai Philharmonic, and the Indianapolis Chamber Orchestra, among others. His recital appearances include venues such as Weill Recital Hall at Carnegie Hall and Steinway Hall in New York, Jones Hall in Houston, and La Scala Chopin in Mexico City. His performances have been heard on New York's WQXR, National Public Radio's Performance Today, KUHF's Houston in Concert, and KRTS's Houston Symphony Series.
Mr. Lent was a fellowship recipient at the Aspen Music Festival, the Norfolk Chamber Music Festival, the Sarasota Music Festival, and the Music Academy of the West in Santa Barbara. He recently served a second summer on the Associate Piano Faculty of the Sarasota Music Festival. In 2000, he served for a fourth summer on the faculty of the South Carolina Governor's School for the Arts where he also serves on the visiting artists faculty throughout the year.
Mr. Lent is a native of Houston where he attended the Houston High School for the Performing and Visual Arts and the University of Houston. He completed his Doctor of Musical Arts degree at the Yale University School of Music in the fall of 2000. His teachers have included Boris Berman, Susan Starr, Nancy Weems, Peter Frankl, and Claude Frank.
Mr. Lent currently resides in New York City.
We present to you four of the 80 permanent and 66 extra singers that make up the Metropolitan Opera Chorus. These are the performers you see every night at the Metropolitan Opera, wearing amazing costumes and standing on immense, intricate sets. Their rehearsal schedule is intense with music and staging rehearsals every day and seven performances a week. Many days they may work on or perform 3-4 different operas. The "extra" chorus at the MET is a group of singers asked to perform in the larger opera productions that require more people and more sound in the chorus. Auditions for both groups are extremely competitive.
Lyric soprano Karen Dixon (see picture), mezzo-soprano Patricia Steiner, tenor Jeffrey Mosher, and baritone Robert Maher represent four of the many different voice types and ranges in the Metropolitan Opera Chorus. Ms. Dixon is a member of the "extra chorus" joining them the past two seasons in the Lohengrin production. This season Ms. Dixon will be performing seven operas. Ms. Steiner and messieurs Mosher and Maher are all members of the permanent opera chorus and can be seen and heard in every opera and concert requiring a chorus presented by the Metropolitan Opera. These would include favorites such as: La Boheme, La Traviata, Carmen, Faust, Aida, and Le Nozze di Figaro as well as the new productions each season including Susanna, Moses und Aron, and Kata Kabanova this year. All of these singers have extensive solo experience in the New York area and around the country and are pleased to be able to perform for you a variety of their favorite opera arias, duets and quartets.
The pianist/accompanist is Mr. Scott Rednour. He sits on the esteemed faculty of The Manhattan School of Music.
If a measure of a composer's music is its longevity, Johann Strauss, Jr's., light music in the nineteenth century has survived time and fashion so triumphantly that it legitimately can be called immortal. The waltz and the Viennese operetta are two examples of this "light" music.
A waltz is "a dance in moderate triple time which originated around 1800 and which not only has retained its popularity to the present day, but has also, time and again, inspired the imagination of composers." Harvard Dictionary of Music
The 30 piece New York Strauss Orchestra brings you the dance music of "The Waltz King," plus complimentary compositions of Gershwin, Porter, Bernstein, and Rodgers & Hammerstein.
Conductor Ira Lieberman, BA, MA, PhD (musicology) from Columbia University, is currently violinist with the Metropolitan Opera Orchestra, Mostly Mozart Festival Orchestra and the New York Pops. He has been the conductor at the The‰tre de la Monnaie in Brussels and musical director and conductor for the Lyric Opera of Long Island.
He is composer of the musical score for Up Your Stars. His pieces for strings, The Space-Age String Orchestra is published by Alfred Publications. A second volume has been finished as well as several pieces for 12 brass. He has been chief music critic for several US papers and is now writing liner notes for Sony Classical.
Vocalist Linda Seay has had a career with two convergent elements, as opera singer and as educator. She has performed the roles of Lucia, Rosina (Barber of Seville), Olympia (Tales of Hoffmann), Queen of the Night and Pamina (Magic Flute), with the S‹o Carlo Opera of Lisbon, Portugal. She has also had numerous performances with orchestras in the US and Europe, including a Viennese night with the Providence, RI Symphony. She has toured Hawaii, Taiwan and Hong Kong with the American Arts Quartet. She has been a featured performer at the Village Gate in NYC.
Ms. Seay holds a BA in music from SUNY Stony Brook. She was coordinator of vocal performance at Virginia Commonwealth University. She is now, in addition to her concert and opera performances, a consultant in vocal chamber music to universities and conservatories in the US and Europe.
Antonio Vivaldi (1681-1741). He was called il preto rosso (the red priest) as he was red-headed and a priest.
Vivaldi's influence on instrumental music in the middle and later eighteenth century was equal to that of Corelli a generation earlier. Vivaldi was one of the most important figures in the transition from late Baroque to early Classical style. The assured economy of his writing for string orchestra was a revelation. His dramatic conception of the role of the soloist was accepted and developed in the Classical concerto; above all, the concise themes, the clarity of form, the rhythmic vitality, the impelling logical continuity in the flow of musical ideas, all qualities so characteristic of Vivaldi, were transmitted to many other composers, and especially directly to J.S. Bach.
Vivaldi, more than any other single composer, through his concertos impressed on the eighteenth century the idea of an instrumental sound in which the effect of solo-tutti contrast was important, an idea that prevails not only in concertos, including those for the trumpet, of the period but in much of the other orchestral music and keyboard music as well.
Vivaldi's usual orchestra at the Pietˆ probably consisted of twenty to twenty-five stringed instruments, with harpsichord or organ for the continuo. Vivaldi's writing is always remarkable for the variety of color he achieves with different groupings of the solo and orchestral strings.
The 20 piece New York Vivaldi Orchestra brings you the best music of Vivaldi performed on modern instruments plus complimentary compositions of other great composers of the time. The orchestra even has a lighter side to it capable of performing music of Gershwin, Porter, Bernstein, and Rodgers & Hammerstein.
Conductor Ira Lieberman, BA, MA, PhD (musicology) from Columbia University, is currently violinist with the Metropolitan Opera Orchestra, Mostly Mozart Festival Orchestra and the NY Pops. He has been the conductor at the The‰tre de la Monnaie in Brussels and musical director and conductor for the Lyric Opera of Long Island.
He is composer of the musical score for Up Your Stars. His pieces for strings, The Space Age String Orchestra is published by Alfred Publications. A second volume has been finished as well as several pieces for 12 brass. He has been chief music critic for several US papers and has written liner notes for Sony Classical.
Concertmaster Regis Iandiorio, BM, The Julliard; MM, Manhattan School of Music, is also a member of or has performed with the: American Ballet Theatre Orchestra; American Symphony Orchestra; Brooklyn Philharmonic (Concertmaster); New York Philharmonic (sub); New York Pro Arte Chamber Orchestra (Concertmaster); Orchestra of St. Lukes (founding member); Pittsburgh Symphony
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