Our 2017 summer season opens with “beautiful song”—both literally and figuratively—in the first of five concerts this season celebrating the 20th anniversary of Bel Canto at Caramoor. Artist-in-Residence soprano Angela Meade is featured in an evening of Italian opera including popular overtures, classic arias, rousing choral numbers, and heartbreaking duets.
“Bel Canto at Caramoor is a delight for audiences and singers alike, because, as Vivica Genaux, who has sung there several times, said, “at Caramoor it’s all about the music.”
What Will Crutchfield has achieved gives us, as the audience, a viable grounding in the technique and style of Bel Canto.” – New York Arts
Angela Meade, soprano
Santiago Ballerini, tenor
Harold Wilson, bass
Bel Canto Young Artists
Will Crutchfield, conductor
Orchestra of St. Luke’s
Rossini Rondo finale from Overture to Guillaume Tell Verdi “Va, pensiero, sull’ali dorate” from Nabucco Verdi “Pace, pace mio dio” from La forza del destino Bellini “A te, o cara” from I puritani Thomas “Enfant cheri” from Le Caïd Bellini “Bagnato dalle lagrime” from Il pirata Donizetti “Chi mi frena in tal momento” from Lucia di Lammermoor Wagner “Mild und leise” from Tristan und Isolde Mascagni Intermezzo from Cavalleria Rusticana Mozart “Der Hölle Rache” from Die Zauberflöte Donizetti “Pour mon âme quel destin” from La fille du régiment Catalani “Ebben, ne andrò lontana” from La Wally Rossini Final hymn from Guillaume Tell
This concert will be broadcast live on Classical 105.9 WQXR and Classical 90.3 FM Ossining and on www.wqxr.org.
Getting to Caramoor
Catch the Caramoor Coach to and from Midtown Manhattan (single-ride and round-trip available), take the train (Metro-North Katonah Station, Harlem Line), or take a scenic drive and enjoy free parking – it’s easy to get here.
Need a lift from the city? Book round-trip transportation from NYC on the Caramoor Coach, a luxury air-conditioned coach traveling from Grand Central to Caramoor’s front door and back. The coach boards on the west side of Lexington Avenue between 42nd & 43rd street at 3:30pm for Opening Night.
To reserve your spot, note how many of each option you would like while purchasing your seats for Opening Night. Confirm by selecting "Add to Cart."
Already purchased your tickets? You can reserve your spot on the Caramoor Coach by using the form below or by calling the Box Office at 914.232.1252.
Pre-Order Picnic Boxes
Let us pack your picnic for you! For heartier options, no lines, and the ease of ordering a picnic in advance this summer, consider choosing from our special picnic boxes offered by our caterer, Great Performances. View the menu and order by noting how many of each option you would like after selecting your seats for Opening Night. Confirm by selecting "Add to Cart."
Already purchased your tickets? You can still pre-order your picnic by ordering online (be sure to select June 17) or by calling the Box Office at 914.232.1252.
Order by Tuesday at 5:00pm for the upcoming week's performance.
Hailed as “the most talked about soprano of her generation” (Opera News), American soprano Angela Meade is the winner of both the Metropolitan Opera’s 2012 Beverly Sills Artist Award and the 2011 Richard Tucker Award. In 2008 she joined an elite group of history’s singers when, as Elvira in Verdi’s Ernani, she made her professional operatic debut on the Met stage. Since then she has fast become recognized as one of today’s outstanding vocalists, excelling in the most demanding heroines of the 19th-century bel canto repertoire as well as in the operas of Verdi and Mozart. As the New Yorker put it, “Meade is astounding. … She has exceptional dynamic control, able to move from floating pianissimos to sudden dramatic swells. The coloratura effects – rapid runs, trills, delicate turns, and so on – are handled with uncommon ease.”
In the 2016-17 season, Angela Meade will perform with ensembles around the world including joining the Teatro Real in Madrid as Lucrezia in concert performances of Verdi’s I due Foscari as well as her signature role of Norma, and returns to the Met for Donna Anna in Mozart’s Don Giovanni, conducted by Plácido Domingo.
Last season saw Meade – the face of the Opera News 2014 “Diva Issue” – reprise Verdi’s Elvira at the Met, this time singing opposite Plácido Domingo under the leadership of James Levine. She undertook the title role of Ermione at Palacio de la Opera, and, as one of the few sopranos to feature all three of Donizetti’s Tudor queens in her repertoire, headlined Maria Stuarda in concert at Oregon’s Astoria Music Festival. In concert, Verdi’s Requiem was the vehicle for debuts with the New York Philharmonic, under Alan Gilbert; at London’s BBC Proms, with Donald Runnicles leading the BBC Scottish Symphony; and with Spain’s Oviedo Filarmonía.
Ms. Meade was catapulted to prominence in a 2010 concert performance of Norma at the Caramoor International Music Festival
Ms. Meade was catapulted to prominence in a 2010 concert performance of Norma at the Caramoor International Music Festival, where she has also triumphed as Hélène in Verdi’s Les vêpres siciliennes, and in the title roles of Donizetti’s Lucrezia Borgia and Rossini’s Semiramide. In 2010, Meade made her European operatic debut at The Wexford Festival in the title role of Mercadante’s rarely staged Virginia.
A native of Washington State and an alumna of the Academy of Vocal Arts, Angela Meade has triumphed in an astounding number of vocal competitions: 57 in all, including many of the opera world’s most important prizes. In addition to being a winner at the 2007 Met National Council Auditions, as documented in The Audition, a film that was subsequently released on DVD by Decca, she was the first singer to take first prize in both the opera and operetta categories of Vienna’s prestigious Belvedere Competition.
Distinguished by the Association Music Critics of Argentina as the upcoming Lyric Singer off 2014, Argentinian tenor Santiago Ballerini has recently received great acclaim for his debut as “Lord Percy” in Donizetti’s Anna Bolena with the Opera Argentino: “Tenor Santiago Ballerini as Percy sings with a beautiful timbre and dramatic quality less commonly found in this repertoire.”
Mr. Ballerini is fast becoming sought after in South America and in the United States. Not yet 30 years old, he has made his debut at the Teatro Colon in the title role of Luigi Nono’s Prometeo. In the summer of 2015 he made his New York debut as Fernand in La Favorite with the Caramoor Festival, and debuted the role of Ernesto in Don Pasquale in Buenos Aires and Nemorino in L’elisir D’amore in Montevideo. In 2015-16 he performed Tebaldo in I Capuleti e i Montecchi in Buenos Aires Lirica, Count Libenskoff in Viaggio a Reims at Teatro de Bellas Artes, and Tyblat in Romeo et Juliette with the Atlanta Opera.
Tenor Santiago Ballerini has received multiple awards including the Festivas Musicales Competition, first place in the American Society and the San Juan Opera Competitions, and has also been a semi-finalist in the Francisco Vinas Competition, Dresden, and Neue Stimmen Competitions.
Future engagements include Gualtiero in Il Pirata at the Caramoor Festival, Italian Singer in Der Rosenkavalier at Teatro Colon, and he will join the Metropolitan Opera covering the roles of Almaviva in Il Barbiere di Siviglia and Don Ottavio in Don Giovanni.
A winner of the Festivas Musicales Competition in 2013, Mr. Ballerini has been the recipient of many awards including, first place in the American Society Competition and the San Juan Opera Competition. He has also been a semi-finalist in the Francisco Vinas Competition 2015 and the Dresden and Neue Stimmen Competitions.
Santiago received his musical training at the Buenos Aires University and the Opera Studio of Opera Argentino. In the US he has furthered his training under the guidance of legendary baritone Sherrill Milnes in “Voice Experience”.
Harold Wilson begins his 2016-2017 season in a return to Opera Colorado, singing Ashby in La fanciulla del West. He continues the season debuting the role of Mustafa in L’italiana in Algieri with Sarasota Opera. Last season included returns to several companies for the bass: covering Timur in Turandot with the Metropolitan Opera, Ramfis in Aida with Opera Colorado, and the roles of Rocco and Marcovaldo in productions of Fidelio and La battaglia di Legnano, respectively, with Sarasota Opera. Additionally, he debuted the role of Polonio in Opera Delaware’s anticipated production of Amleto. In concert, he made a company debut with the Grand Junction Symphony as the bass soloist in Verdi’s Requiem, and as the bass soloist in Mozart’s Requiem with MCP at Carnegie Hall.
Mr. Wilson’s 2014-2015 season began with the Dayton Opera singing works by Mussorgsky and Tchaikovsky in a Gala Concert. Subsequently, the American bass debuted with Opera Memphis, as the Commendatore in Don Giovanni, joined the Metropolitan Opera for its production of Die Meistersinger von Nürnberg, and made appearances with Tulsa Opera, for Frère Laurent in Roméo et Juliette, and Opera Colorado, for Sarastro in Die Zauberflöte.
Bass Harold Wilson has performed in opera houses around the country and the world including performances in L’italiana inAlgieri, Turandot, Marcovaldo, Fidelio, La battaglia di Legnano
Mr. Wilson’s 2013-2014 calendar featured debuts with Hawaii Opera, as Timur in Turandot, Sarasota Opera as Daland in Der Fliegende Holländer, and Dayton Opera for Ramphis in Aida, as well as a return to the Metropolitan Opera to cover the Police Commissioner in Der Rosenkavalier.
Equally comfortable on the concert stage, Mr. Wilson recently sang the bass solo in Beethoven’s 9th Symphony with the Tulsa Symphony. Among the orchestras he has performed with in concert are Indianapolis Symphony, Yakima Symphony, Deutsche Oper Orchester, Hallesche Philharmonie, Brandenburgische Philharmonie Frankfurt, Seattle Symphony and Staatskappelle Orchester Berlin. Previous US engagements have included contracts with Santa Fe Opera (Don Giovanni, La Traviata), Opera Carolina (Nabucco and Lucia di Lammermoor), Lyric Opera of Kansas City (Lucia di Lammermoor), Florentine Opera (A Midsummer Night’s Dream), Palm Beach Opera (Tannhäuser), Minnesota Opera (Die Entführung aus dem Serail), Opera Theatre of St. Louis (The Grand Duchess of Gerolstein and Miss Havisham’s Fire), and Glimmerglass Opera (Salome).
Mr. Wilson earned his Masters Degree from Indiana University, where he studied with renowned bass Giorgio Tozzi.
Bel Canto Young Artists
About a dozen young singers participate each year in six-to-eight weeks of intensive training in vocal technique and specialized study of the ornamentation that characterizes bel canto singing. Selected by Opera Director Will Crutchfield to participate in the mentoring program, the singers study the repertoire and participate in full scale rehearsals of the summer operas presented at Caramoor, act as understudies to the principal roles, are cast in some of the supporting opera roles, and perform in afternoon recitals that precede the opera performances.
Many graduates of our Bel Canto mentoring program have gone from the Caramoor stage to the world stage. We rely on the incredible support of opera enthusiasts to help these emerging opera stars receive priceless career encouragement.
Will Crutchfield, conductor
Will Crutchfield has been Director of Opera at Caramoor since 1997, leading over thirty operas by Rossini, Bellini, Donizetti, and Verdi, and establishing Caramoor as a center for operatic scholarship, training of young singers, revival of rare masterpieces, and influential reinterpretations of familiar works. He has also held conducting posts with the Polish National Opera in Warsaw and the Opera de Colombia in Bogotá, and has appeared as a guest conductor in many theaters elsewhere, recently including a pair of productions at the Rossini Opera Festival in Pesaro. The second of those, Rossini’s Aureliano in Palmira, recently won first place for “rediscovered opera” at the International Opera Awards ceremony in London, and was given its American premiere at Caramoor in the 2016 season.
Crutchfield has also contributed to the Grove Dictionary of Opera, the Grove-Norton Handbook of Performance Practice, the Cambridge History of Musical Performance, and several academic journals, and was named a Fellow of the Guggenheim Foundation in 2014 in recognition of his contributions to operatic performance and scholarship.
Will Crutchfield has been Director of Opera at Caramoor since 1997, leading over thirty operas by Rossini, Bellini, Donizetti, and Verdi
Orchestra of St. Luke’s (OSL) is one of America’s most versatile and distinguished orchestras, collaborating with the world’s greatest artists and performing approximately 80 concerts each year—including its Carnegie Hall Orchestra Series, Chamber Music Series at The Morgan Library & Museum and Brooklyn Museum, and the Caramoor Summer Season. In its 41-year history, OSL has commissioned more than 50 new works, has given more than 175 world, U.S., and New York City premieres; and has appeared on more than 100 recordings, including four Grammy Award winners and seven releases on its own label, St. Luke’s Collection. Pablo Heras-Casado is OSL’s principal conductor and the orchestra’s fourth titled conductor; previous music directors and principal conductors are Sir Roger Norrington, Sir Charles Mackerras, and Donald Runnicles. Bernard Labadie’s currently serves as Principal Conductor Designate.
OSL grew out of a chamber ensemble that began giving concerts at the Church of St. Luke in the Fields in Greenwich Village in 1974. Today, the 21 virtuoso artists of St. Luke’s Chamber Ensemble make up OSL’s artistic core.
In its 41-year history, OSL has commissioned more than 50 new works, has given more than 175 world, U.S., and New York City premieres; and has appeared on more than 100 recordings
OSL owns and operates The DiMenna Center for Classical Music in Midtown Manhattan, where it shares a building with the Baryshnikov Arts Center. The DiMenna Center is New York City’s premier venue for rehearsal, recording, and learning, having quickly gained a reputation for its superb acoustics, state-of-the-art facilities, and affordability. Since opening in 2011, The DiMenna Center has welcomed more than 100,000 visitors, including more than 400 ensembles and artists such as Renée Fleming, Susan Graham, Itzhak Perlman, Emanuel Ax, Joshua Bell, Valery Gergiev, James Levine, James Taylor, and Sting. OSL hosts hundreds of neighbors, families, and school children at its home each year for free community events.
Through its Education & Community programs, OSL has introduced audiences across New York City to live classical music. OSL brings free chamber concerts to the five boroughs; offers free interactive music programs at The DiMenna Center; provides chamber music coaching for adult amateurs; and engages 10,000 public school students each year through its Free School Concerts. In 2013, OSL launched Youth Orchestra of St. Luke’s (YOSL), an intensive in- and after-school instrumental instruction program emphasizing musical excellence and social development, in partnership with community organizations and public schools in the Hell’s Kitchen neighborhood.
Bel Canto, a Brief History of Beautiful Song
For twenty years, we have been explaining the vague term “Bel Canto” somewhat like this: sometimes it means Italian opera of the early 19th century, sometimes it means the whole span of the Italian vocal tradition, sometimes it means the many offshoots of that tradition in the other countries where Italian influence was felt. Tonight’s program, a festive sampler, reflects all the above. The “core group” of Bel Canto composers are Rossini, Donizetti, Bellini, and Verdi, and their works make up most of the fare tonight. Before them, Mozart borrowed Italian-style virtuosity to express the theatrical menace of the Queen of the Night. At the height of their popularity in Paris, Ambroise Thomas imported it liberally for the roulades and cadenzas of his preening Drum Major, obviously a cousin of Sergeant Belcore in Donizetti’s Elixir of Love.
A little later, Mascagni in his Cavalleria Rusticana showed how the composers coming after Verdi loved to make the orchestra sing. And Wagner? The biggest influence on Tristan und Isolde, as the composer let us know in various ways, was none other than Bellini, whose operas Wagner loved to conduct. In fact, according to a letter he wrote to Liszt, he originally intended to have the libretto translated into Italian and make a full-fledged Italian opera out of it! That plan may not have been serious, but the long lines and arching climaxes of the “Liebestod” are a pure distillation of Italian bel canto extended to every part of the harmony and every instrument of the orchestra. “Song, song, and once again song!” exhorted Wagner in his essay on Bellini, and that has been our maxim at Caramoor for the past two decades as well.