Thursday, April 25, 2013

HARTT ALUMNUS TO RECEIVE ELLIS ISLAND MEDAL OF HONOR



The following appeared recently on The Hartt School website.

HARTT ALUMNUS TO RECEIVE ELLIS ISLAND MEDAL OF HONOR

Hartt alumnus Steven Ortiz (Masters of Music Education, Instrumental Conducting, class of 2009) has been selected as a 2013 Recipient of the Ellis Island Medal of Honor.  Ortiz will receive his award on Saturday, May 11, on historic Ellis Island during a weekend-long celebration, and is the first Costa Rican-American to receive this honor in the award’s 27-year history.
The Ellis Island Medal of Honor ranks among our nation’s most prestigious honors.  Each year, Ellis Island Medal of Honor recipients are listed in the Congressional Record, honoring those who have made enduring contributions to our nation and to the world.  Past recipients include Presidents Bill Clinton, George H.W. Bush, Ronald Reagan, Jimmy Carter, Gerald Ford, and notable figures such as Rosa Parks, Cesar E. Chavez, Muhammad Ali, Frank Sinatra, Wayne Newton, Itzhak Perlman, Joe DiMaggio, Gloria and Emilio Estefan, Bob Hope, Quincy Jones, Mickey Mantle, and many other distinguished entertainers, prominent religious figures, successful entrepreneurs, senators, congressmen, and military personnel.
The Ellis Island Medal of Honor is presented to an individual who lives a life dedicated to helping others, and preserves and celebrates the history, traditions, and values of their ancestry group while proving themselves valuable citizens of the United States.  These individuals strive for tolerance and acceptance between ethnic, racial, and religious groups in the United States and abroad and, above all, these individuals share their personal and/or professional gifts for the benefit of humanity.
Ortiz said of the recognition, “I am beyond humbled to have been selected to receive such an honor.  I give much honor and respect to all those who have provided me with guidance and mentorship through the years.  I am especially thankful to the City of Danbury, Waterworks, Park Avenue School, Western Connecticut State University, The University of Hartford, the Massachusetts Air National Guard, DHS Track Coach Rob Murray, Lt. Matt McNally and Officer David Antedomenico of the Danbury Police Explorers, US Airways’ Captain Edward Stromski, and Andover (MA) Police Officer Charles Edgerly…every single day I put into practice the many things you have taught me.  By touching my life, you have exponentially made a difference in this world…“thank you.  To all, I hope I bring honor to our affiliation with this good news.”
For details, visit www.neco.org/medal-of-honor.

Posted by Michael Menapace ('93)
Trustee

Monday, April 15, 2013

Hartt Alumni of the Year - 2013 Robert Brubaker



The following recently appeared on The Hartt School website.

Robert Brubaker

Bachelor of Music, Vocal Performance '77



The Hartt School is pleased to announce that celebrated tenor Robert Brubaker ’77 (Bachelor of Music) will be honored with the 2013 Hartt Alumni Award at the annual Commencement ceremony on Sunday, May 19.  Mr. Brubaker has established himself as a leading tenor in opera companies throughout the United States and Europe, praised for the clarity and power of his voice and the impact of his acting.  He has appeared at The Metropolitan Opera, the Salzburg Festival, Opéra National de Paris, Covent Garden, Teatro alla Scala, and other major opera houses around the world.  Mr. Brubaker, who will speak at Hartt’s graduation ceremony, also will share his experiences and insights with students and other interested members of the University of Hartford community at Hartt's Paranov hour on April 25, from 12:15 PM to 1:05 PM, in Millard Auditorium.

As Opera News summed it up when writing about his Golitsin in the new Andrei Serban production of Mussorgsky's Khovanshchina at the Bastille, unveiled in December, 2001, "Brubaker once again showed that, for sheer stamina in high-lying music, he has few rivals.”

Recent engagements include the Kaiser in Die Frau Ohne Schatten with Deutsche Oper Berlin; Laca in Jenufa at the English National Opera; Boris in Katya Kabanova at the Theater an der Wien; Mephistopheles in the premiere of Busoni's Doktor Faust at Teatre de la Maestranza in Seville; a return to the Glyndebourne Festival for the world premiere of the new opera, Love and Other Demons, composed by Peter Eötvös; Herodes in Salome in Bologna; Alviano in Die Gezeichneten at Los Angeles Opera; a reprise of Don Ygnacio in Of Love and Other Demons at Opera National du Rhin in Strasbourg; Loge in Das Rheingold at Teatro de la Maestranza in Seville; Mao Tse-Tung in Nixon in China at the Metropolitan Opera; the title role in Der König Kandaules for Vienna Volksoper; Captain in Wozzek at Santa Fe Opera; and the Witch in Hänsel und Gretel and Mime in the Ring Cycle at the Metropolitan Opera.
Upcoming engagements include Mime in Siegfried at Seville; Mime in Das Rheingold and Siegfried at Teatro Massimo Palermo; Malatestino in Francesca da Ramini and Mime in the Ring Cycle at the Metropolitan Opera; Luigi in Il Tabarro and Canio in I Pagliacci with Opera St. Louis; an appearance with Dallas Opera in 2014; and returns to the MET in upcoming seasons.

Other career highlights include Mime in Siegfried at the Metropolitan Opera conducted by James Levine and broadcast internationally; his appearances at the Salzburg Festival in the title role of Zemlinsky's Der König Kandaules, and as Alviano in Die Gezeichneten, both with Kent Nagano; as Count Pierre Bezukhov in War and Peace with the Opéra National de Paris, directed by Francesca Zambello; Mephistopheles in the Metropolitan Opera's premiere of Busoni's Doktor Faust; Golitsin in Khovanshchina at the Metropolitan Opera, Opéra National de Paris, Maggio Musicale Fiorentino and Gran Teatre del Liceu in Barcelona; Albert Gregor in The Makropulos Case at the Metropolitan Opera opposite Catherine Malfitano; the same role at Houston Grand Opera and English National Opera, where it was also recorded for Chandos Records with Sir Charles Mackerras; Bacchus in Ariadne auf Naxos at Covent Garden on opening night of Antonio Pappano's first season as music director; Guido Bardi in Zemlinsky's Eine Florentinische Tragödie with James Conlon conducting; Aegisth in Elektra, and Herodes in Salome at Teatro alla Scala; his Glyndebourne Festival debut singing his first Laca in a revival of Nicholas Lehnhoff's acclaimed production of Janáček's Jenufa, followed by the same role for his Dallas Opera debut; the title role in Peter Grimes with the Canadian Opera Company conducted by artistic director Richard Bradshaw, with the Teatro Municipal de Santiago, with the English National Opera and at Aldeburgh; and the title role in Zemlinsky's Der Zwerg at the Opéra National de Paris and Teatro dell'Opera di Roma.



Mr. Brubaker has also performed Dimitri in Boris Godunov at the Opéra National de Paris; Gherman in Pique Dame with Olga Guryakova as Lisa at Montpellier Opera; the same role at Teatro San Carlo in Napoli and the Hamburg Staatsoper; Siegmund in Die Walküre with Teatro Real in Madrid and also with Austin Lyric Opera; Jimmy Mahoney in The Rise and Fall of the City of Mahagonny at Deutsche Oper Berlin; Edward Fairfax Vere in Billy Budd at Teatro Carlo Felice in Genoa; Dick Johnson in Puccini's La fanciulla del West at Austin Lyric Opera and in concert with the Melbourne Symphony; Arbace in concert performances of Idomeneo with the Munich Philharmonic led by then-music director James Levine; Bacchus in Ariadne auf Naxos at the Teatro Real in Madrid; Erik in Der Fliegende Holländer at the Teatro Verdi in Trieste and at the Gran Teatre del Liceu in Barcelona; and Chairman Mao in Nixon in China, Don José in Carmen, Jim Mahoney in The Rise and Fall of the City of Mahagonny, Filke in From the House of the Dead, and Sergei in an acclaimed revival of the David Poutney production of Lady Macbeth of Mtsensk for English National Opera.



Mr. Brubaker appears on DVD, as Count Pierre Bezukhov in War and Peace with the Opéra National de Paris, directed by Francesca Zambello and directed by Gary Bertini available on TDK; and as Alviano Salvago in Franz Schreker's Die Gezeichneten from the Salzburg Festival, directed by Nikolaus Lehnhoff and conducted by Kent Nagano.

Mr. Brubaker can be heard on audio recordings as the title role in Der König Kandaules from the Salzburg Festival conducted by Kent Nagano, available on Andante Records; Gregor in The Makropulos Case conducted by Sir Charles Mackerras and Boris in Katya Kabanova conducted by Carlo Rizzi (slated for future release) on Chandos Records; and on Naxos American Classics' recording of Avodat Shabbat by Herman Berlinski, conducted by Gerard Schwartz.



Mr. Brubaker, a Mannheim, Pennsylvania native, received his degree from the (then) Hartt College of Music in Hartford, where he studied with David Ray Smith.  He and his wife now reside in New York City, where he studies with Bill Schuman.

To learn more about Mr. Brubaker, visit http://www.belcantoglobalarts.com/brubakerbio.php

Posted by Michael Menapace ('93)
Trustee

Thursday, April 11, 2013

Hartt Concert Jazz Ensemble Performance




Last night, the Hartt Concert Jazz Ensemble, directed by Professor Chris Casey, presented a great program.  The concert featured the music of Jackie McLean, Duke Ellington, Count Basie and others.  As a special treat, Hartt faulty members Shawnn Monteiro and Rene McLean were featured as soloists with the band.  In particular, Prof. Monteiro’s performance of “Here’s That Rainy Day,” was quite moving.  Millard auditorium was nearly full and the band sounded great under Prof. Casey’s leadership.  All the student soloists did a great job, and I want to point out that three of Prof. Nat Reeves’ bass students combined their talents in a pieced titled “Tricotism” that featured them trading solos that were quite impressive.  As an added bonus, the Hartt Community Division presented a musical “appetizer” of sorts before the band concert.  Ed Fast, Community Division percussion faculty member, lead a performance of the Community Division Latin Jazz Percussion Ensemble.  This group of middle and high school students performed with great enthusiasm and musicianship.  Another super night a Hartt!

Posted by Michael Menapace ('93)
Trustee

Tuesday, March 5, 2013

Vincent Herring masterclass



On Wednesday, February 13, 2013, Vincent Herring conducted a master class with the Hartt jazz studies students.  Several faculty members and Dean Flagg attended the master class along with several dozen students.  Mr. Herring is an internationally renowned saxophonist and has, for several decades, performed along side of legendary masters, including Nat Adderly, Freddie Hubbard, Dizzy Gillespie, Art Taylor, and many others.  He has taken bands to Japan and Europe and has performed at almost all major jazz festivals around the globe.  Having a guest of Mr. Herring’s reputation, experience and musicianship was great opportunity for Hartt.

The students were fortunate to play for Mr. Herring and received feedback.  Moreover, they benefited from him as he demonstrated concrete ways they might consider expanding their own music vocabulary.  In addition, Mr. Herring provided real world advice on what is demanded of musicians who expect to have a career in today’s world.  He was honest, straight-forward, blunt, sincere and helpful in his critiques of the students and freely shared his wisdom.  Among the observations he shared with the students was how a thorough mastery of knowing standards (in every key!) and the rudiments of the jazz idiom, even things as basic as knowing your bebop scales (which he felt today’s students sometimes skip over in their haste to get to more cutting edge styles), continue to be the foundation on which the students must base their development.  Among the other points stressed were: focus on being the best musician you can without getting too caught up on what brand and model instrument you play or other gear you use; listen to everything possible, including those musicians and styles that other tell you are no good; and don’t box yourself into one style, but instead learn many different style of jazz so that you can easily play with and compliment a variety of musicians.  He made special note of one reason Prof. Nat Reeves’ is a bassist in such demand – his ability to play with so many different musicians in a variety of styles and with a mastery of repertoire that is unsurpassed.

Professor Abraham Burton was among those attending.  He provided a memorable story at the point of the master class when Mr. Herring was discussing developing your own sound.  Prof. Burton recalled when he was growing up in NYC, he could tell from blocks away that the saxophonist he was hearing was Mr. Herring because of his distinct sound.  (Mr. Herring added that he used to play and practice outdoors in those days because he had such a small apartment in NYC that he needed more room to practice than he had in the “modest” studio apartment.)

It was clear from the care Mr. Herring expressed when working with the students that he is not only a tremendous musician, but is committed to jazz education.   
Mr. Herring has a website, which is www.vincentherring.com     Hartt was fortunate that he spent some time with us.

Posted by Michael Menapace (’93)
Trustee

Monday, April 2, 2012


Paranov Performance Hour Report                                  Posted by Aaron Flagg on March 30, 2012

Yesterday, as part of Hartt’s revamped “Paranov Performance Hour,” we hosted a panel in Milliard Auditorium called “Here to Serve Artists.” This session featured representatives of the Theater Communications Group (www.tcg.org), League of American Orchestras (www.americanorchestras.org), The Field (www.thefield.org), and Local 802 Musician’s Union (www.local802afm.org). The purpose was to introduce students (more than 120 in attendance) to the many organizations whose missions are to serve artists in various ways. One of our guests was Tino Gagliardi '82, a Hartt alumnus and current President of Local 802 in New York City. It was a lively discussion for approximiately 150 students, faculty, and visitors. For our panelists, the session was followed by lunch, a tour of the Mort and Irma Handel Performing Arts Center, and visits to Theatre and Dance classes. This session demonstrates our core educational value of Hartt being connected to the professional world and the evolution of the performing arts field. http://harttweb.hartford.edu/about/missionvalues.aspx

It was Tino’s first time back to The Hartt School since he graduated and we were thrilled to invited his former trumpet teacher, the legendary Roger Murtha, to the discussion and a lunch with the panelists. Many thanks go to Stephen Pier, Dance Division Director, and Kevin Gray, Theater Division faculty member, for opening up their classes and to our guest panelists Emilya Cachapero, Polly Kahn, Jennifer Wright Cook, and Tino Gagliardi. Here is a picture of the panelists and me listening to a student question during the session.

Panelists from the left are:

Tino Gagliardi, Hartt Alum and President of Local 802, AFM
Polly Kahn, VP, Learning & Leadership Development, League of American Orchestras
Jennifer Wright Cook, Executive Director, The Field
Emilya Cachapero, Director of Artistic Programs, Managing Dir, Theater Communications Group
Aaron Flagg. Dean of the Hartt School, University of Hartford

Sunday, March 18, 2012


The Messa da Requiem of Giuseppe Verdi, first performed in Milan’s San Marco Cathedral on May 22, 1874 under the direction of Maestro Verdi himself was performed again on Friday, March 16, 2012 in the Cathedral of St. Joseph in Hartford, CT. I say “again” not to imply that it has laid dormant and unperformed in the one hundred thirty-eight years since its premier but to note that it has been performed at least once before in the same Hartford venue with performers from the Hartt School. The previous time was in 1973, I believe, when it was conducted by Moshe Paranov, the co-founder of Hartt, with an all Hartt School cast except for a soloist or two. Those who remember Moshe will also remember that he was constantly pulling together performances whose quality surprised even his biggest fans. The one he pulled off in the spring of 1973 was one of his most successful.

But even that one has to bow before the performance conducted by Ed Bolkovac, the Primrose Fuller Professor and Division Director of Choral Music at Hartt, two evenings ago. The performers included the Hartford Symphony, the Hartford Chorale, the New Haven Chorale, several of the Hartt Choruses and the Choir of the Cathedral of St. Joseph plus four distinguished soloists, all of them totaling, I am informed, well over five hundred singers plus the full complement of the HSO. The cathedral itself was packed with a most appreciative audience of approximately two thousand attentive music lovers.

And here’s the point of this blog: a funny thing happened on the way to this dynamic performance. The total number of performers, their disposition from the rear of the sanctuary to beyond the altar rail at the front of the church, especially the soloists who were way out front, plus the presence of all the members of the audience actually calmed and quieted way down the over-echoing effect of this huge, gorgeous stone and glass building and allowed everyone to hear the singers, even and especially the soloists, who in the grand tradition of opera, cantata and requiem performances, sang totally without electronic amplification. (Wow! That’s a long sentence) This is probably close to a first in that magnificent but often acoustically troubling concert site.

I’ve always believed that St. Joe’s, like many of its sister cathedrals in Europe, is a consummate choice for performing a Gregorian Chant Mass with a choir approaching seventy or eighty members; or, any single voiced choir, female, male or children provided they all sing the same part and don’t add a second one. As soon as a second part is added, musical chaos often follows. But not on Friday last.

Bravi to all the maestros who prepared the orchestra and the singers! Bravi also to all the performers as well as the institutions which so carefully the calculated the performance and auditory risks and prevailed. Well done, folks. Hip-hip! Here’s hoping there will be more of these concerts.

P.S. More on the terrific soloists in another post soon.

Thursday, March 15, 2012

March 15, 2012

Welcome to Dr. Aaron Flagg, Dean of the Hartt School, with his first posting. Thanks, Aaron for this.

Citadels of culture often seem "owned" by certain arts disciplines. In the world of music, it's Carnegie Hall; in theatre, it's the Great White Way; and for dance it is the Joyce Theatre on 8th Avenue and 17th St in Manhattan. 

Last night, The Hartt School's Dance Division, under the leadership of Division Director Stephen Pier, performed at "the Joyce" for the Martha Graham Center for Contemporary Dance's first University Partners Showcase. Our 12 dancers (Luke Bermingham, Jane Cracovaner, Erin Dillon, Tehran Dixon, Sean Hatch, Christopher LaFleche, Michele Lee, Matthew Melendez, Amy Motson, Nolan Peltier, Abby Price and Haruka Tamura) performed a suite of dances from Martha Graham's epic work "Dark Meadow" choreographed in 1946 and set to music by Carlos Chavez. A string quartet from Hartt's 20/20 program recorded the work beautifully. Hartt opened the showcase which included Martha Graham II (the performing arm of the Graham School in NYC), New World School of the Arts, Point Park University, Skidmore College, University of Arizona and one pre-college program, the Interlochen Arts Academy.

One fascinating aspect of this type of showcase is the opportunity for students from different programs to meet each other, see each other's work and be introduced to a breadth of Martha Graham choreography. This showcase has the promise of building community amongst serious dancers and strengthening the Graham tradition. As an audience member, one saw favorite masterworks of Martha Graham such as "Heretic" (1929), "Panorama" (1935), "Diversion of Angels" (1948), and from "Chronicle" the sections called "Steps in the Street" (1936), and "Prelude to Action" (1936). I was introduced to Charles Weidman's choreography through his 1939 piece "On My Mother's Side".

 Although all the dancers performed well, one can easily see the different types and levels of training they receive at their institutions. Graham II clearly set the high bar for what a professional-level company looks like. I was extremely proud (of course) of the discipline, conditioning, clear knowledge of style and commitment to the emotional underpinning of the work demonstrated by the Hartt dancers. We can rest assured that at Hartt, our dancers are learning the authentic Graham style with its precision movement, strength and unwavering intensity. 

 New World, Point Park and Interlochen were stylistically strong and the University of Arizona has an impressive number of male dancers (also a high value in dance) who are quite gifted and well trained. Some programs focus less on modern dance technique in favor of jazz or musical theatre movement or are not professional programs bynature. Nevertheless, it was wonderful to see such diversity embrace the legacy of the "Picasso of Dance" Martha Graham.

 A proud Hartt alum Jeffrey S. Hodgson was on hand for the event and serves as Interim Provost of the New World School of the Arts. Jeffrey studied piano with Luiz deMoura Castro and was with us in the fall for the celebration of Luiz's 70th birthday. The world is indeed small. 

Hartt's participation was generously supported in part by Larry and Naomi Rothfield, Mort and Irma Handel, Provost Sharon Vasquez.

 The next series of performances for Hartt Dances run April 27-29, 2012 at Lincoln Theatre and features works by José Limón, Marius Petipa, and two World Premieres.


Aaron Flagg, Dean
The Hartt School