A mask from CCM's 2016 production of THE CUNNING LITTLE VIXEN. Photography by Mark Lyons.

CCM’s Mainstage Series Presents ‘The Cunning Little Vixen’ April 8 – 10, 2016

CCM brings you Leoš Janácek’s anthropomorphic opera, The Cunning Little Vixen, from April 8 – 10 as part of this year’s Mainstage Series. Instead of the typical protagonists of kings, queens and courtly staff, the stars of Janácek’s opera are foxes, dragonflies and badgers, and a host of woodland creatures, as well as the humans who try to tame them. Mark Gibson conducts with stage direction and choreography by Vince DeGeorge. This production will be sung in English, with a new translation by CCM Professor Emeritus David Adams.

The story begins with a Forester who, asleep at the base of a tree after a long night of drinking, awakens to the sight of a playful vixen cub. Delighted with his newfound furry friend, the Forester stumbles home to his farm to show his family. Discontent with her life in captivity, the cunning Vixen plots her escape, ruffles some feathers among the farm animals, and flees into the night. The Forester is then devastated and left alone to pine after his lost treasure.

Meanwhile, the Forester’s drinking buddies have troubles of their own. The Schoolmaster lusts after a young woman engaged to another man, and the Priest struggles to reconcile a misstep in his past with his present life of piety. Each man finds himself tormented by his own obsession, and struggles to accept the natural progression of life and death when it is out of his control.

One of the design inspriations for CCM's new production of THE CUNNING LITTLE VIXEN.

One of the design inspriations for CCM’s new production of THE CUNNING LITTLE VIXEN.

Inspired by a serial comic strip printed in the local paper, Leoš Janácek uses music and dance to breathe life into the characters he saw on the page. DeGeorge said a muse in the form of a little wooden vixen, gifted from his wife 10 years ago, inspired his vision for CCM’s production of the opera.

The geometric nature of the figurine, which is featured on the program cover, is reflected in the masks worn and carried by the characters as they transform throughout the opera.

“One of the things that is most prevalent in this opera is the relationship between humans and animals. The actors come on stage as humans and they transform into animals in front of the audience,” DeGeorge said. “There’s a sort of formalism about this little creature that I love but there’s also a playfulness that embodies the spirit of this production.”

It’s that very spirit, the transformative essence and flow of cycles within the opera, that Janácek masterfully elicits in your ears. Janácek will mesmerize you with his lush harmonies and sweeping melodies, Hollywood strings, flittering elfin-like woodwinds solos, and powerful romantic brass, in this fantastical tale of the intimate relationship between man and nature.

Join us in CCM’s Corbett Auditorium, this April 8-10, to explore the human condition within the enchanted world of music and dance.

Leoš Janácek’s
THE CUNNING LITTLE VIXEN
An Opera in Three Acts
Critical revised version by Jiri Zahrádka
Used by arrangement with European American Music Distributors Company, U.S. and Canadian agent for Universal Edition Vienna, publisher and copyright owner.

The Creative Team

  • Mark Gibson, conductor
  • Vince DeGeorge, stage director and choreographer
  • Marie-France Lefebvre, musical preparation
  • Mark Halpin, scenic designer
  • Jeremy Dominik, lighting designer*
  • Oran Wongpandid, costume designer*
  • Kelly Yurko, wig & make-up designer
  • Kristen Budke, properties designer*
  • Susan Moser, choreographer
  • Michael Medina, stage manager*
  • John Murton, assistant conductor (Sunday matinee)*
  • Maria Fuller, rehearsal pianist*
  • Levi Hammer, rehearsal pianist*
  • Michael Medina, rehearsal pianist*

* CCM student

Performance Times

  • 8 p.m. Friday, April 8
  • 8 p.m. Saturday, April 9
  • 2 p.m. Sunday, April 10

Location
Corbett Auditorium, CCM Village
University of Cincinnati

Purchasing Tickets

Tickets to The Cunning Little Vixen are $31-35 for adults, $20-24 for non-UC students and $18-22 for UC students with a valid ID.

Tickets can be purchased in person at the CCM Box Office, over the telephone at 513-556-4183 or online at ccm.uc.edu/boxoffice/mainstage/cunning-little-vixen.

Parking and Directions
Parking is available in the CCM Garage (located at the base of Corry Boulevard off Jefferson Avenue) and additional garages throughout the UC campus. Please visit uc.edu/parking for more information on parking rates.

For detailed maps and directions, please visit uc.edu/visitors. Additional parking is available off-campus at the new U Square complex on Calhoun Street and other neighboring lots.

For directions to CCM Village, visit ccm.uc.edu/about/directions.

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CCM Season Presenting Sponsor and Musical Theatre Program Sponsor: The Otto M. Budig Family Foundation

Mainstage Season Production Sponsor: Macy’s

Community Partner: ArtsWave

Opera Department Sponsor: Mr. & Mrs. Edward S. Rosenthal

Opera Production Sponsor: Genevieve Smith

CCM News
Mark Gibson and the CCM Philharmonia.

CCM’s Spring Orchestra Series Commences With Richard Strauss’ Epic ‘Salome’ on Jan. 29

CCM’s Department of Orchestral Studies presents classics and contemporary masterworks alike in concert this semester.

Under the direction of Director of Orchestral Studies Mark Gibson and Assistant Professor of Music Aik Khai Pung, CCM’s acclaimed orchestral ensembles will give six concerts between January 29 and April 10, several of which are free and all of which are open to the public. Tickets are on sale now for all performances requiring paid admission.

CCM Assistant Professor Amy Johnson in Arizona Opera’s production of 'Salome.' Photography by Tim Fuller.

CCM Assistant Professor Amy Johnson in Arizona Opera’s production of ‘Salome.’ Photography by Tim Fuller.

The series commences at 8 p.m. on Friday, Jan. 29, with a concert production of Richard Strauss’ 1905 masterpiece Salome. Capping off a year-long CCM festival, which celebrates music from the first decade of the 20th century, the Jan. 29 concert features Strauss’ one-act adaptation of Oscar Wilde’s controversial stage work and is a must see for opera, theatre and orchestral fans alike. Mark Gibson conducts.

The opera’s title, Salome, is drawn from the name traditionally given to the dancing woman from the New Testament gospels of Matthew and Mark who, after dancing for Herod Antipas, asks for, and receives, John the Baptist’s head on a platter.

Regarded as a story of dangerous female seductiveness, it was the unique blend of biblical narrative, murder and eroticism that attracted Oscar Wilde to write his controversial 19th century play about the mysterious figure.

Strauss’ operatic adaptation was just as controversial and was even banned in London and Vienna after its premiere in 1905. Today, the piece has become a well-established part of the operatic repertoire but still retains the same tantalizing excitement that was present at its premiere over 100 years ago.

A massive collaborative effort, this production of Salome features the talents of two CCM Voice faculty artists: Amy Johnson in the title role and Kenneth Shaw as John the Baptist. Salome also features guest artists Allan Glassman as Herod and Elizabeth Bishop, who sings the role of Herodias, Herod’s wife. Student soloists include Brandon Russell, Chelsea Melamed, T.J. Capobianco, John Humphrey, Blake Lampton, Pedro Arroyo, Christian Pursell, John Murton, Jacob Kinkaide, Alex Harper, Nicole Hodgins, Scarlett Rustemeyer. The production is semi-staged by faculty director Emma Griffin.

Listen to Mark Gibson discuss Salome on WVXU’s Around Cincinnati here.

The Philharmonia continues the collaborative spirit on Friday, March 11, with faculty-artists James Bunte and Douglas Knehans in American Voices XVIII, CCM’s yearly salute to modern American composers. This year features inspiring works by composers Julia Wolfe, Jennifer Higdon and the world premiere of a new symphony by Professor Knehans.

Under the direction of Aik Khai Pung, CCM’s Concert Orchestra will close out the concert series on April 10 with Charlie Parker with Strings, a collaboration between CCM’s Orchestral Studies and Jazz Studies programs featuring music from the classic orchestral jazz album of the same name.

Event Information
All events listed below take place on the campus of the University of Cincinnati unless otherwise indicated. Some events do require purchased tickets; please see individual event information for single ticket prices and ordering information.

Tickets can be purchased in person at the CCM Box Office, over the telephone at 513-556-4183 or online now through our e-Box Office! Visit ccm.uc.edu/boxoffice for CCM Box Office hours and location.

All event dates and programs are subject to change. Visit ccm.uc.edu or contact the CCM Box Office at 513-556-4183 for the most current event information.

Parking and Directions
Parking is available in the CCM Garage (located at the base of Corry Boulevard off Jefferson Avenue) and additional garages throughout the UC campus. Please visit uc.edu/parking for more information on parking rates.

For detailed maps and directions, please visit uc.edu/visitors. Additional parking is available off-campus at the new U Square complex on Calhoun Street and other neighboring lots.

For directions to CCM Village, visit ccm.uc.edu/about/directions.

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2016 SPRING ORCHESTRA SERIES

8 p.m. Friday, Jan. 29
THE GREAT DECADE IN OPERA: RICHARD STRAUSS’ SALOME (1905)
CCM Philharmonia
Featuring faculty artists Amy Johnson, Kenneth Shaw and Tom Baresel, guest artists Elizabeth Bishop and Allan Glassman, and student soloists
Mark Gibson, music director and conductor
Emma Griffin, stage director
The capstone of CCM’s festival celebrating “The Great Decade,” Richard Strauss’ 1905 masterpiece Salome represents the epitome of pre-World War I decadence, opulence and extravagance. An adaptation of Oscar Wilde’s controversial stage work of the same name, this staging is an hour and a half of irresistible drama and ecstatic hyper-romanticism. It is a must see for opera fans, theatre enthusiasts and lovers of massive orchestral sound.

Location: Corbett Auditorium
Tickets: $15 general, $10 non-UC students, UC students FREE.

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8 p.m. Tuesday, Feb. 2
ACROSS THE ATLANTIC
CCM Concert Orchestra
Aik Khai Pung, music director and conductor
Featuring a new work by CCM student composer Xian Wang, along with classic works from European composers!
WANG: New Work TBA
BARTÓK: Viola Concerto
HINDEMITH: Symphonic Metemorphosis on Themes of Weber
Location: Corbett Auditorium
Admission: FREE

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8 p.m. Friday, Feb. 26
PROKOFIEV AND SHOSTAKOVICH
CCM Concert Orchestra
Aik Khai Pung, music director and conductor
PROKOFIEV: Lieutenant Kijé Suite, Op. 60
PROKOFIEV: Violin Concerto TBA
Featuring the winner of the CCM Violin Competition
SHOSTAKOVICH: Symphony No. 1 in F Minor, Op. 10
Location: Corbett Auditorium
Admission: FREE

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8 p.m. Friday, March 11
AMERICAN VOICES XVIII
CCM Philharmonia
Featuring faculty artist James Bunte, soprano saxophone
Also featuring recent music of faculty composer Douglas Knehans
Mark Gibson, music director and conductor
CCM presents the world premiere of a new symphony by faculty artist Douglas Knehans, along with the exhilarating soprano saxophone concerto of Jennifer Hidgon and “Cruel Sister” by Pulitzer Prize-winning composer Julia Wolfe.
KNEHANS: Unfinished Earth
HIGDON: Soprano Sax Concerto
James Bunte, soloist
WOLFE: Cruel Sister
Location: Corbett Auditorium
Tickets: $15 general, $10 non-UC students, UC students FREE.

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8 p.m. Friday, March 18
Café MoMus
Aik Khai Pung, music director
Featuring the winners of the CCM Composition Competition.
Location: Cohen Family Studio Theater
Admission: FREE

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7 p.m. Sunday, April 10
CHARLIE PARKER WITH STRINGS
CCM Jazz Orchestra and Concert Orchestra
Aik Khai Pung and Craig Bailey, conductors
Our annual collaboration between Jazz and Orchestra! Join us for an exciting night of orchestral jazz featuring music from the classic album Charlie Parker with Strings.
Location: Patricia Corbett Theater
Tickets: $15 general, $10 non-UC students, UC students FREE.

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CCM Season Presenting Sponsor and Musical Theatre Program Sponsor: The Otto M. Budig Family Foundation

Community Partner: ArtsWave

Visiting Artists Sponsor: The Joseph and Frances Jones Poetker Fund of the Cambridge Charitable Foundation, Ritter & Randolph, LLC, Corporate Counsel

Orchestral Sponsor: Mr. & Mrs. Joseph W. Hirschhorn

CCM News
Monteverdi's Vespers.

CCM Performs Claudio Monteverdi’s Large-Scale Masterwork ‘Vespers of 1610’ on Nov. 16

Guest artists and student soloists for CCM's performance of Monteverdi's 'Vespers of 1610.' Photography by Jay Yocis.

Guest artists and student soloists for CCM’s performance of Monteverdi’s ‘Vespers of 1610.’ Photography by Jay Yocis.

Next Sunday, CCM will present Claudio Monteverdi’s masterwork Vespers of 1610, featuring regional and national Early Music guest artists, the CCM Chamber Choir, Philharmonia Chamber Orchestra and student soloists with CCM’s Director of Choral Studies Earl Rivers conducting. The performance will be staged at Christ Church Cathedral in downtown Cincinnati.

“Monteverdi’s Vespers of 1610 is the Beethoven 5th of Early Music,” Rivers explains. “Monteverdi retained many of the Renaissance traditions in the work but fused the older style with the advent of the new, florid Early Baroque style of music. Vespers of 1610 is a significant international repertory work that students will be performing throughout their careers.”

Anchoring the advent of music in the Baroque era as a large-scale masterwork, Monteverdi’s Vespers of 1610 displays a range of lavish colors for vocal and instrumental soloists; six, seven, eight and 10-voice choral textures; and virtuosic embellishments and improvisations. The first major choral/orchestral repertory work of the early Baroque period, Vespers of 1610 features solo, chamber and ensemble music displaying the historic past of Renaissance polyphony and Gregorian chant, as well as music of the future in the form of Baroque chamber duets, concerted choruses and large-scale instrumental movements.

This lavish presentation will involve many participants such as Early Music guest and local artists including:

  • Alexander Bonus and Stephen Escher, cornetto
  • Christopher Canapa, Alex Krawczyk and Linda Pearse, sackbut

Continuo Group comprised of:

  • Adriana Contino, cello
  • Dieter Hennings, theorbo
  • Annalisa Pappano, lirone and viola da gamba
  • Elizabeth Motter, Baroque harp
  • Rodney Stucky, archlute and Baroque guitar
  • Michael Unger, continuo organ and harpsichord

And featuring CCM student soloists:

  • Grace Kahl and Jacqueline Stevens, soprano
  • Paulina Villarreal, mezzo-soprano
  • Allan Palacios Chan and Marcus Shields, tenor
  • T. J. Capobianco, tenor (Duo Seraphim)
  • Jacob Kincaide, bass
  • Brandon Bell, bass-baritone (Laudate Pueri and Magnificat)

About Alexander Bonus, cornetto
Alexander Bonus maintains a varied career performing historic brass and keyboard instruments, in addition to his conducting, researching, and teaching activities. He has performed with ensembles including Tafelmusik Baroque Orchestra; the Philharmonia Baroque Orchestra; Folger Consort; Tragicomedia; Indianapolis Baroque Orchestra; the Washington Cornett and Sackbut Ensemble; the Newberry Consort; and Chicago Opera Theater. Dr. Bonus also appeared onstage in the Boston Early Music Festival production of Lully’s Psyché, and is heard on BEMF’s recording of this work, released on the CPO label. He holds a PhD in Musicology from Case Western Reserve University as well as MM and BM degrees from the Eastman School of Music. His scholarship appears in the latest edition of the Grove Dictionary of Musical Instruments and Oxford Handbooks online among other sources. Dr. Bonus is the Assistant Professor of Music at Bard College, where he directs the Bard Baroque Ensemble and teaches courses in music history, theory, and historical performance practices.

About Annalisa Pappano, viola da gamba and lirone
Artistic director of Catacoustic Consort, Annalisa Pappano performs throughout the United States and Europe. She is recognized for bringing together the best international talent to present groundbreaking programs and landmark performances. Pappano studied at Indiana University’s Early Music Institute (Wendy Gillespie) and at Oberlin Conservatory of Music (Catharina Meints).

She has performed throughout Belgium, England, Ireland, Colombia, Canada, and the U.S., has appeared on nationally syndicated radio and has played at the Berkeley and Vancouver Early Music Festivals and the Ojai Music Festival. Pappano is a member of Atalante (England) and has performed with numerous other ensembles including the Houston Grand Opera, the Cleveland Opera, the Portland Opera, the Portland Baroque Orchestra, Les Voix Baroques, Opera Atelier, the Toronto Consort, the Concord Ensemble, Cappella Artemisia (Bologna), the Dublin Drag Orchestra, Wildcat Viols, and Consortium Carissimi.

Pappano has taught at Viola da Gamba Society of America national conclaves, the Viola da Gamba Society Pacific Northwest and Northeast chapters, the San Diego Early Music Workshop, Viols West, the Madison Early Music Workshop and has been a guest lecturer at numerous universities.

She led the Catacoustic Consort to win the grand prize in the Naxos / Early Music America Live Recording Competition and recorded a program of Italian laments on the Naxos label. Pappano completed a performance practice orchestra workshop at Miami University in Ohio. She is currently teaching viola da gamba at the University of Cincinnati College-Conservatory of Music.

About Linda Pearse, sackbut
Canadian-born Linda Pearse is recognized as a specialist in the exquisite musical repertoire of early seventeenth-century Italy. Dr. Pearse is Assistant Professor of Brass at Mount Allison University (New Brunswick) and Lecturer for Baroque trombone at Indiana University Bloomington. Following studies at McGill University, a career in Europe included regular performances with the Stuttgart Philharmoniker, Stuttgart Opera House, the Basel Symphony, La Cetra, piano possible and the Stuttgart Musical Theater. Pearse is the Artistic Director of the San Francisco Early Music Summer Baroque Workshop and directs the award-winning ensemble ¡Sacabuche!

Recent performances include a twelve-concert tour to Beijing with the interdisciplinary program “Matteo Ricci: His Map and Music” (Dec 2010), a tour to Hong Kong and Macau China (June 2013), and tours to Victoria, Nanaimo, and Salt Spring Island, Vancouver, Minneapolis, Indianapolis, New York, San Francisco, Bloomington (IN), Madison (WI), Kansas City and Houston. Her most recent project “Venetia 1500” is inspired by the Barbari Aerial Woodcut of Venice from 1500 and creates a conversation between new music, early music, texts and images, that finds resonances with Maritime cultures in decline. Her critical edition of Seventeenth-Century Italian Motets with Trombone is published with A-R Editions (April 2014).

Performance Time
5 p.m. Sunday, Nov. 16

Location
Christ Church Cathedral
Fourth & Sycamore Streets
Cincinnati, OH 45202

Purchasing Tickets

Tickets to Monteverdi’s Vespers of 1610 are $20 for general admission, $15 for non-UC students and free for UC students with valid ID.

Tickets can be purchased in person at the CCM Box Office, over the telephone at 513-556-4183 or online at ccm.uc.edu/boxoffice/monteverdi-vespers. Visit ccm.uc.edu/boxoffice for CCM Box Office hours and location.

Tickets will also be available beginning at 4 p.m. on the day of the performance at Christ Church Cathedral; cash and checks only at the door.

Parking and Directions
For more information on Cathedral hours and parking, please visit www.christchurchcincinnati.org.
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CCM Season Presenting Sponsor and Musical Theatre Program Sponsor: The Otto M. Budig Family Foundation

Community Partner: ArtsWave

CCM’s production of Monteverdi’s Vespers of 1610 is made possible by funding from the Cambridge Charitable Foundation and CCM’s Tangeman Sacred Music Center.

CCM News