2015 Shakespeare in Song program

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Ernest Hemingway
Ernest Hemingway

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Georg Ohm
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Sergei Rachmaninoff
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David Willcocks
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Thomas Morley
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Steven Zopfi, conductor
Special guests: the Portland Actors Ensemble
St. Mary’s Cathedral | Saturday, May 2, 7:30pm | Sunday, May 3, 1:30pm
About the Portland Symphonic Choir
Established in 1945, the Portland Symphonic Choir has a
long and rich legacy of bringing the choral masterworks to the
Northwest. Singers selected for membership in this largely
volunteer ensemble come from all over the Portland Metro
area and from all walks of life. Under the leadership of Artistic
Director Steven Zopfi, the Choir has achieved a reputation of
excellence and dedication through creating powerful, accessible
choral experiences for all kinds of music enthusiasts — from the
experienced musician to the brand new listener.
In addition to performing major works as the resident chorus
of the Oregon Symphony, the Choir regularly commissions
and premieres choral works by composers from across the US,
including such notable artists as Jacob Avshalomov, Salvador
Brotons, Stephen Paulus, Tomas Svoboda, and Bryan Johanson.
Several recent concerts have celebrated American music and its
history of song.
Bringing music to the community is a key part of the mission
of the Portland Symphonic Choir. A founding member of the Arts
for All program, the Choir provides low cost tickets to Oregon
Trail Card participants. The Choir has also teamed with Oregon
Mentors and Providence ElderPlace to provide all ages free or lowcost access to concerts. And each summer, choral music lovers
are invited to sing along with members of the Symphonic Choir at
Summer Sings.
2014–15 Portland Symphonic Choir Board & Staff
Executive Committee
Mark Petersen – Chair
Tom Hard – Vice Chair
Marianne Sweeney – Secretary
Larry Winkle – Treasurer
Board Members
muSIC is what lIfE SouNdS lIkE.
Judith Babbitt
Jason Brauser
Cara Cantonwine
Alexis Gabriel
Daniel Knauss
Katherine Lefever
Allen W. Richards
Mary Nelson– Choir President
Janelle Manske – Choir Vice President
Shannon McNerney – Ex-officio
Steven Zopfi – Ex-officio
~ Eric Olson
The Springs
IN dE PE N dE N T l Iv I NG • aSSISTEd l Iv I NG • m E moRy C a R E
1950 NW 192nd ave.
Portland Symphonic Choir Ad_FINAL.indd 1
15677 SW oregon St.
7600 SW vlahos dr.
CaRmaN oakS
3800 Carman dr.
lake oswego
14404 SE Webster Rd.
2/26/15 5:27 PM
Artistic Staff
Artistic Director – Steven Zopfi
Assistant Director – Kathryn Lehmann
Accompanist – Douglas Schneider
Administrative Staff
Executive Director – Shannon McNerney
Development & Events Manager – Allison Specter
Summer Sings Program Manager – Marianne Sweeney
Production Manager – Mark Petersen
Orchestra Personnel Coordinator – Janet George
Music Librarians – Wayne Carlon, Cameron Griffith Herbert
Auditions Coordinator – Diana deTar-Marchand
Database Manager – Erika Martin
2014–15 Intern – Alex W. Simon
Cover design courtesy of Lodestar Studio. Cover photograph courtesy of A. Davey Coogan. All rights reserved.
Portland Symphonic Choir
PO Box 1517, Portland, Oregon, 97207
503-223-1217| [email protected] | pschoir.org
From the Directors
A Few Words About This Program
Shakespeare’s words and music
have always had a special connection.
Shakespeare intended songs to be sung
in almost every one of his plays and even
wrote the words himself. His canonical
plays have over 300 stage directions for
music. Though scholars do not know who
wrote the music for these original songs,
over the years many composers have taken
a stab at setting the words of Shakespeare:
both his songs, and excerpts from his
plays and poetry. From Thomas Morley
to Felix Mendelssohn to Cole Porter, the
inherent musicality of Shakespeare’s
prose lends itself to a merry music
making. When we turned our attention
to assembling some of the best choral
settings of Shakespeare for this project,
it seemed fitting that we incorporate that
other element of Shakespeare’s mastery
into our show: drama! For that, it seemed
natural to partner with the Portland
Actors Ensemble. PAE is one of the longest
operating theater companies in Portland,
with a rich history of their Shakespeare
in the Parks. Portland Actors Ensemble
has been the perfect artistic partner for
Program Notes
a program of Shakespeare’s music and
texts. So sit back and relax as the Portland
Symphonic Choir and the Portland
Actors Ensemble explores the music of
Shakespeare. We hope that it is not “much
ado about nothing” but rather “as you like
— Steven Zopfi, Artistic Director
Portland Symphonic Choir
It is a pleasure and an inspiration to
collaborate with Portland Symphonic
Choir on this program. Shakespeare’s
canon illuminates more about the human
condition than can be bound in any one
sitting, or limited to any one mode of
expression, as the richness of these musical
compositions attest. In selecting passages
to accompany these movements, two
quotations from Twelfth Night surfaced
and re-surfaced. The first is Orsino’s plaint
that opens that play: “If music be the food
of love, play on / give me excess of it that,
surfeiting, / the appetite may sicken and
so die,” and the second the oft-cited lyric
sung by Feste that journeys end in lover’s
meeting. Orsino is lovesick and longs to be
sick of love; desire’s dual nature is a chord
that resounds throughout this sample of
Shakespeare from the halls of Elsinore to
an orchard within the beleaguered Troy.
We’ll move from the suffering Hamlet to
the poet’s own introspection, and from the
grieving Duchess and the lamenting, Gaunt
to the confused courtship between Olivia
and Viola, and the bold, beautiful, foolish
proclamations of love that are traded
between Troilus and Cressida. Along the
way, there is much to enjoy and much to
discover, and for those who have not spent
much time with the bard before, I hope this
is the first of many meetings.
— Asae Dean, Director
Portland Actors Ensemble
Three Shakespeare Songs
and Serenade to Music
Ralph Vaughan Williams
Early in 1938, a noted English conductor
asked Ralph Vaughan Williams to compose
a piece to celebrate his golden jubilee
as a conductor. The composer had been
wanting to set Jessica and Lorenzo’s
reflection on the power of music from
Merchant of Venice for years, and he
threw himself into the work happily. The
completed Serenade to Music for sixteen
soloists and orchestra was premiered at
Royal Albert Hall on October 5; upon
hearing the first performance, the noted
composer and pianist Sergei Rachmaninoff
was moved to tears. The composer later
adapted the work so that the work could
be performed by four soloists or orchestra
alone and approved the use of a chorus
to sing the solo lines. The Serenade’s
lush harmonic language, soaring melodic
lines from the soprano and violin solo,
and attention to textual nuance perfectly
capture the intimacy of Shakespeare’s
scene and may be one of the most
beautiful settings of the bard’s words ever
The Three Shakespeare Songs of
Vaughan Williams come from the last
decade of the composer’s life and are the
result of a request by choral conductor
Armstrong Gibbs for an unaccompanied
choral work to serve as a “test piece” for
the Federation of Music Festival. The
composer again turned to Shakespeare
for inspiration and chose three “magical”
texts, one for each of the three songs in
the cycle. The first song is a setting of the
magician-sprite Ariel’s consolation of
Ferdinand, who is has been led to believe
his father has died in a shipwreck in Act I
of The Tempest. The composer’s strange
harmonic language and undulating
rhythms somewhat obscure the meter
of the song and conjure up the gloomy
underwater grave. The text of the second
song is the magician Prospero’s speech to
his daughter and her fiancé in Act IV upon
the fragility of mortal life. This movement
is intimately connected to the fourth
movement of the composer’s Symphony
#6, as both are based on the same text
and both end in an identical choral
progression. The composer later said that
the entire set was based on the words “We
are such stuff as dreams are made on.” The
shifting harmonic language and ambiguous
key center lend this piece a slightly uneasy
air and further underscore the fleetingness
of life. The final song, Over Hill, Over
Dale, is the most direct of the three. Set
in a lilting 6/8, the piece details a pastoral
journey through the woods by one of
Queen Titania’s fairies of A Midsummer
Night’s Dream. The fun journey comes to a
rather strange end on an augmented major
7th chord as if to underscore the magical
quality of all three songs.
Shakespeare Songs
Matthew Harris (b. 1956)
Although award-winning New York
composer Matthew Harris has composed
works for many leading musical
ensembles, including the Minnesota and
Houston Symphony Orchestras and the
New York City Opera, he has a special
affinity for choral composition. Many
leading American choruses, including
the Dale Warland Singers, the Phoenix
Bach Choir, and the Western Wind have
all sung and recorded his works. The
composer’s monumental six-volume
collection of Shakespeare’ s songs includes
twenty-one songs composed over twenty
years. The four songs performed tonight
come from books three (1992) and four
(1995) and range in style from the wistful
folk-style of “It was a Lover and his Lass”
to the raucous dance tune “When Daffodils
Begin to Peer.”
Join us this summer
for our 46th season
June 18-July 25 at
Lone Fir Cemetery
See some of the world’s
best plays performed in
some of Portland’s most
beautiful places. There
are no tickets and no
reservations. Bring a picnic, good friends, and
the kids. Performances
are supported by audience donations.
The Taming
of the
July 11-Sep 7 at
various parks,
universities and
For more information and schedule, visit portlandactors.com
89.9 FM Portland/Vancouver
88.1 Lincoln City / Newport
88.1 Hood River/ e Dalles
88.9 Manzanita
96.3 Columbia Gorge East
90.3 McMinnville
Program Notes
Three Madrigals
Emma Lou Diemer (b. 1927)
Prolific American composer Emma
Lou Diemer’s popular Three Madrigals is
one of her two settings of Shakespeare’s
texts. Diemer’s attention to the text is
immediately evident in the expressive
piano part. The sprightliness of the first
song gives way to repeated octaves and
slowly shifting harmonies in “Take, O take
those lips away.” The third song’s rollicking
piano underscores Shakespeare’s caveat to
beware the “fraud of men” and also to be
“blithe and bonny.”
From An Unknown Past
Ned Rorem (b. 1923)
Composer and author Ned Rorem has
always had a special affinity for words.
Time magazine has labeled him “the
world’s best composer of art songs,” and
though he has been active in almost every
field of composition imaginable, it is for
the unique marriage of text and music that
is vocal music for which he is best known.
Rorem composed the seven-song suite for
unaccompanied mixed choir in 1951 while
living in Paris. Each brief movement is
reminiscent of the renaissance genre of the
madrigal in which the text and music were
intimately intertwined. Rorem’s’ choice of
period texts and archaic sounding music fit
together in perfect harmony.
Music to Hear
George Shearing (1919-2011)
Though most well known as a multiple
Grammy winner and recording artist and
the creator of the “Shearing” sound, the
legendary blind jazz pianist and creator
of Lullaby of Birdland was also a prolific
composer with over 300 works to his
pen. Commissioned by the Dale Warland
Singers in 1985, Music to Hear is the first
of two choral suites scored for choir, string
bass, and piano. Shearing himself played
the premiere during the Singers’ ’85-86
season and says of the texts, “It occurred
to me that, obviously, I would need a firstrate lyricist…one who wouldn’t be too busy
to help. Fortunately, almost immediately
William Shakespeare appeared and offered
his literary services.” Shearing’s suite
of five songs runs the gamut from the
harmonic language of Frederick Delius,
to the madrigals of Shakespeare’s day to
Shearing’s own unique jazz idiom. As is
the custom, the last two movements will be
performed in reverse order.
Shakespeare in Song
Portland Symphonic Choir
Steven Zopfi, Artistic Director
Kathryn Lehmann, Assistant Conductor
Portland Actors Ensemble
Michael Godsey, Artistic Director
Asae Dean, Director
Please hold your applause until the end of each act.
Hamlet, III, ii
Three Shakespeare Songs Ralph Vaughan Williams (1872-1958)
Full Fathom Five (The Tempest, I, ii)
Full fathom five thy father lies;
Of his bones are coral made;
Those are pearls that were his eyes:
Nothing of him that doth fade,
But doth suffer a sea-change
Into something rich and strange.
Sea-nymphs hourly ring his knell:
Ding-dong. Hark! now I hear them—Ding-dong, bell.
The Cloud-Capp’d Towers (The Tempest IV, i)
The cloud-capp’d towers, the gorgeous palaces,
The solemn temples, the great globe itself,
Yea, all which it inherit, shall dissolve,
And, like this insubstantial pageant faded,
Leave not a rack behind: We are such stuff
As dreams are made on, and our little life
Is rounded with a sleep.
Over Hill, Over Dale (A Midsummer Night’s Dream, II, i)
Over hill, over dale,
Thorough bush, thorough briar,
Over park, over pale,
Thorough flood, thorough fire
I do wander everywhere.
Swifter than the moonè’s sphere;
And I serve the fairy queen,
Sonnet #110
To dew her orbs upon the green.
The cowslips tall her pensioners be;
In their gold coats spots you see;
Those be rubies, fairy favours,
In those freckles live their savours:
I must go seek some dew-drops here,
And hang a pearl in every cowslip’s ear.
Music to Hear George Shearing (1919-2011)
Kevin Deitz, string bass
Douglas Schneider, piano
Music to Hear (Sonnet #8)
Music to hear, why hear’st thou music sadly?
Sweets with sweets war not, joy delights in joy:
Why lovest thou that which thou receivest not gladly,
Or else receivest with pleasure thine annoy?
If the true concord of well-tuned sounds,
By unions married, do offend thine ear,
They do but sweetly chide thee, who confounds
In singleness the parts that thou shouldst bear.
Mark how one string, sweet husband to another,
Strikes each in each by mutual ordering;
Resembling sire and child and happy mother,
Who, all in one, one pleasing note do sing:
Whose speechless song being many, seeming one,
Sings this to thee: ‘Thou single wilt prove none.’
Shall I Compare Thee To A Summer’s Day (Sonnet #18)
Shall I compare thee to a summer’s day?
Thou art more lovely and more temperate:
Rough winds do shake the darling buds of May,
And summer’s lease hath all too short a date:
Sometime too hot the eye of heaven shines,
And often is his gold complexion dimmed,
And every fair from fair sometime declines,
By chance, or nature’s changing course untrimmed:
But thy eternal summer shall not fade,
Nor lose possession of that fair thou ow’st,
Nor shall death brag thou wander’st in his shade,
When in eternal lines to time thou grow’st,
So long as men can breathe, or eyes can see,
So long lives this, and this gives life to thee.
Richard II, I, ii
Music to Hear George Shearing (1919-2011)
Is It for Fear To Wet A Widow’s Eye (Sonnet #9)
Is it for fear to wet a widow’s eye,
That thou consum’st thy self in single life?
Ah! if thou issueless shalt hap to die,
The world will wail thee like a makeless wife;
The world will be thy widow and still weep
That thou no form of thee hast left behind,
When every private widow well may keep
By children’s eyes, her husband’s shape in mind:
Look what an unthrift in the world doth spend
Shifts but his place, for still the world enjoys it;
But beauty’s waste hath in the world an end,
And kept unused the user so destroys it.
No love toward others in that bosom sits
That on himself such murd’rous shame commits.
Richard II, II.ii
Serenade to Music (The Merchant of Venice, V, i)
Ralph Vaughan Williams (1872-1958)
Cameron Griffith Herbert, soprano
Janet George, violin
Douglas Schneider, organ
How sweet the moonlight sleeps upon this bank!
Here will we sit and let the sounds of music
Creep in our ears: soft stillness and the night
Become the touches of sweet harmony.
…Look how the floor of heaven
Is thick inlaid with patines of bright gold:
There’s not the smallest orb that thou behold’st
But in his motion like an angel sings,
Still quiring to the young-eyed cherubins;
Such harmony is in immortal souls;
But whilst this muddy vesture of decay
Doth grossly close it in, we cannot hear it.
Come, ho! and wake Diana with a hymn!
With sweetest touches pierce your mistress’ ear,
And draw her home with music.
I am never merry when I hear sweet music.
The reason is, your spirits are attentive.
…The man that hath no music in himself,
Nor is not mov’d with concord of sweet sounds,
Is fit for treasons, stratagems and spoils;
The motions of his spirit are dull as night
And his affections dark as Erebus:
Let no such man be trusted. Music! hark!
…It is the music of the house.
Methinks it sounds much sweeter than by day.
Silence bestows that virtue on it
How many things by season season’d are
To their right praise and true perfection!
Peace, ho! the moon sleeps with Endymion
And would not be awak’d.
…Soft stillness and the night
Become the touches of sweet harmony.
Shakespeare SongsMatthew Harris (b. 1956)
It Was a Lover and His Lass, Book III, (As You Like It, V, iii)
It was a lover and his lass,
With a hey, and a ho, and a hey nonino,
That o’er the green corn field did pass,
In the spring time, the only pretty ring time,
When birds do sing, hey ding a ding, ding;
Sweet lovers love the spring.
Between the acres of the rye,
With a hey, and a ho, and a hey nonino,
These pretty country folks would lie,
In the spring time…
This carol they began that hour,
With a hey, and a ho, and a hey nonino,
How that life was but a flower
In the spring time…
And, therefore, take the present time
With a hey, and a ho, and a hey nonino
For love is crown`d with the prime
In the spring time…
Blow, Blow Thou Winter Wind, Book IV (As You Like It, II, vii)
Blow, blow, thou winter wind
Thou art not so unkind
As man’s ingratitude;
Thy tooth is not so keen,
Because thou art not seen,
Although thy breath be rude.
Heigh-ho! sing, heigh-ho! unto the green holly:
Most friendship is feigning, most loving mere folly:
Then heigh-ho, the holly!
This life is most jolly.
Freeze, freeze thou bitter sky,
That dost not bite so nigh
As benefits forgot:
Though thou the waters warp,
Thy sting is not so sharp
As friend remembered not.
Heigh-ho! sing, heigh-ho!…
O Mistress Mine, Book III, (Twelfth Night, II, iii)
Christopher Benjamin, tenor
O mistress mine, where are you roaming?
O, stay and hear! Your true love’s coming,
That can sing both high and low:
Trip no further, pretty sweeting.
Journeys end in lovers meeting,
Every wise man’s son doth know.
What is love? ‘Tis not hereafter;
Present mirth hath present laughter,
What’s to come is still unsure:
In delay there lies no plenty.
Then come kiss me, sweet and twenty!
Youth’s a stuff will not endure.
When Daffodils Begin to Peer, Book IV (The Winter’s Tale, IV, ii)
Stephanie Benischek, soprano
Wendy Hein, soprano
When daffodils begin to peer, -With heigh! The doxy over the dale, -Why, then comes in the sweet o’ the year;
For the red blood reigns in the winter’s pale.
The white sheet bleaching on the hedge,
With heigh! the sweet birds, O, how they sing!
Doth set my pugging tooth on edge;
For a quart of ale is a dish for a king.
Twelfth Night, I, v
The lark, that tirra-lyra chants,
With heigh! heigh! the thrush and the jay,
Are summer songs for me and my aunts,
While we lie tumbling in the hay.
Three Madrigals
Emma Lou Diemer (b. 1927)
Douglas Schneider, piano
O Mistress Mine, where are you roaming (Twelfth Night, II, i)
O mistress mine, where are you roaming?
O, stay and hear! Your true love’s coming,
That can sing both high and low:
Trip no further, pretty sweeting.
Journeys end in lovers meeting,
Every wise man’s son doth know.
What is love? ‘Tis not hereafter;
Present mirth hath present laughter,
What’s to come is still unsure:
In delay there lies no plenty.
Then come kiss me, sweet and twenty!
Youth’s a stuff will not endure.
Take, O Take Those Lips Away (Measure for Measure, IV, i)
Sing no more ditties, sing no mo,
Or dumps so dull and heavy;
The fraud of men was ever so,
Since summer first was leavy.
Then sigh not so…
Such beams infused be
By Cynthia in his eyes,
As first have made him see,
And then have made him wise.
From An Unknown Past
Love now no more will weep
For them that laugh the while!
Ned Rorem (b. 1923)
O western wind, when wilt thou blow
That the small rain down can rain?
Christ, that my love were in my arms
And I in my bed again!
Crabbed age and youth cannot live together:
Youth is full of pleasance, age is full of care;
Youth like summer morn, age like winter weather;
Youth like summer brave, age like winter bare.
Youth is full of sport, age’s breath is short;
Youth is nimble, age is lame;
Youth is hot and bold, age is weak and cold;
Youth is wild, and age is tame.
Age, I do abhor thee; youth, I do adore thee;
O, my love, my love is young!
Age, I do defy thee: O, sweet shepherd, hie thee,
For methinks thou stay’st too long.
Music to Hear George Shearing (1919-2011)
Kevin Deitz, string bass
Douglas Schneider, piano
Blow, Blow Thou Winter Wind (As You Like It, II, vii)
Hey Nonny No! (Christ Church Manuscript)
And turn upon the toe,
And sing hey nonny no!
When the winds blow and the seas flow?
Hey nonny no!
My Blood So Red (anonymous)
O would I were where I would be!
There would I be where I am not:
For where I am would I not be
And where I would be I can not.
Sleep is a reconciling,
A rest that peace begets.
Doth not the sun rise smiling
When fair at e’en he sets
Rest you then, rest, sad eyes,
Melt not in weeping
While she lies sleeping,
Softly, softly, now softly lies sleeping.
Crabbed Age and Youth (attributed to William Shakespeare)
The Lover in Winter Plaineth for the Spring (anonymous, 16th century)
Suspiria (anonymous)
Thus Beauty shows her might,
To be of double kind,
In giving love his sight
And striking Folly blind.
Troilus and Cressida
Twelfth Night, I, v
My blood so red
For thee was shed,
Come home again, come home again;
My own sweet heart, come home again!
So powerful is the Beauty
That Love doth now behold,
As love is turned to Duty,
That’s neither blind nor bold.
Weep you no more, sad fountains;
What need you flow so fast?
Look how the snowy mountains
Heaven’s sun doth gently waste.
But my sun’s heav’nly eyes
View not your weeping
That now lies sleeping,
Softly, softly, now softly lies sleeping.
Sigh No More Ladies, Sigh No More (Much Ado About Nothing, II, iii)
Hey nonny no!
Men are fools that wish to die!
Is ‘t not fine to dance and sing
When the bells of death do ring?
Is ‘t not fine to swim in wine,
Nor wake for them that sleep,
Nor sigh for them that smile!
Behold a wonder here
Love hath received his sight
which many hundred years,
hath not beheld the light.
Tears (from John Dowland’s Third Book of Songs and Airs)
Take, O take those lips away,
That so sweetly were forsworn;
And those eyes, the break of day,
Lights that do mislead the morn!
But my kisses bring again, bring again,
Seals of love, but sealed in vain, sealed in vain!
Sigh no more, ladies, sigh nor more;
Men were deceivers ever;
One foot in sea and one on shore,
To one thing constant never;
Then sigh not so,
But let them go,
And be you blithe and bonny;
Converting all your sounds of woe
Into Hey nonny, nonny.
The Miracle (anonymous, about 1600)
You’ve gone astray
Out of your way,
Come home again, come home again!
Blow, blow, thou winter wind
Thou art not so unkind
As man’s ingratitude;
Thy tooth is not so keen,
Because thou art not seen,
Although thy breath be rude.
Heigh-ho! sing, heigh-ho! unto the green holly:
Most friendship is feigning, most loving mere folly:
Then heigh-ho, the holly!
This life is most jolly.
Freeze, freeze thou bitter sky,
That dost not bite so nigh
As benefits forgot:
Though thou the waters warp,
Thy sting is not so sharp
As friend remembered not.
Heigh-ho! sing, heigh-ho!…
Sigh No More Ladies, Sigh No More (Much Ado About Nothing, II,iii)
Sigh no more, ladies, sigh nor more;
Men were deceivers ever;
One foot in sea and one on shore,
To one thing constant never;
Then sigh not so,
But let them go,
And be you blithe and bonny;
Converting all your sounds of woe
Into Hey nonny, nonny.
Sing no more ditties, sing no mo,
Or dumps so dull and heavy;
The fraud of men was ever so,
Since summer first was leavy.
Then sigh not so…
Artist Bios
Steven Zopfi, Artistic Director
Portland Symphonic Choir
Artist Bios
by Edwin Lawrence, Timothy Melbinger,
Bryan Johanson, and Judith Zaimont.
His music reviews and articles have
been published in the Choral Journal
and his arrangements and editions are
published by Colla Voce publishing. Zopfi
is in constant demand as a conductor,
adjudicator, and clinician.
Kathrynn Lehmann, Assistant Conductor
Portland Symphonic Choir
Hailed as one of the leading young
conductors in the Pacific Northwest,
Artistic Director Steven Zopfi serves
as Director of Choral Activities at the
University of Puget Sound and is the
Artistic Director and Conductor of the
Portland Symphonic Choir. Critics
have hailed his work as “magical” and
“superb” and choirs under his direction
have been invited to sing at the local and
regional conventions of the American
Choral Directors Association, the
Music Educators National Conference
(now NAfME), and other professional
organizations. Zopfi has served on the
faculties of Penn State University, the
University of Washington, and Pacific
Lutheran University.
Zopfi, a native of New Jersey, attended
the Hartt School of Music and the
University of California at Irvine, and
earned a Doctor of Musical Arts degree
from the University of Colorado. He has
served as Vermont State President of the
American Choral Directors Association
and on the executive boards of the
Vermont Music Educators Association
and the Washington Choral Directors
Association. He has prepared choruses
for Carlos Kalmar, Bernard Labadie,
Alastair Willis, Murray Sidlin, and Peter
Schickele, and as a singer he has sung
for many leading conductors, including
Robert Shaw and Sir David Willcocks.
Zopfi has performed with the Prague
Philharmonic, the Colorado Symphony,
the Oregon Symphony, and the New
Jersey Symphony and is the founder and
past Artistic Director of the Foundling
Hospital Singers, the Boulder Schola
Cantorum, the Grace Chamber Orchestra,
and the Portland Sinfonietta.
Active as an editor of early music, Zopfi
is also a passionate advocate for new
music, and he has commissioned and
conducted the world premieres of music
under Lehmann’s direction, and in
1996, she was given the Stewart Award
for faculty development and excellence.
Lehmann was also an associate professor
on the faculty of the University of Oregon
for two years where she directed the U of
O Chamber Choir, taught music education
classes and directed the Eugene Chamber
Singers. She was a performer and lecturer
for the Oregon Bach Festival while in
Eugene studying choral conducting with
Helmuth Rilling. She traveled to Stuttgart,
Germany to continue her studies of the
Choral music of Bach at the Internationale
Bach Akademie.
Asae Dean, Director
Portland Actors Ensemble
In demand as a clinician throughout
the Pacific Northwest and the West Coast,
Portland Symphonic Choir Assistant
Director Kathryn Lehmann has taught
public school vocal music at the elementary
and secondary levels in the Clover
Park and Puyallup School districts in
Washington. As a public school educator,
she directed performing groups at Music
Educator conventions at the state and
regional levels in the Pacific Northwest,
gaining a reputation for her expertise in
developing the voice in a choral setting.
Kathryn is currently a member of
the voice faculty at the University of
Puget Sound. She holds a Bachelor of
Music degree from Pacific Lutheran
University and a Master of Music in
Voice Performance and Pedagogy from
Westminster Choir College in Princeton,
New Jersey where she also served on the
faculty for three years. She was granted the
Francis Robinson Award for performance
and academic achievement at Westminster
and performed actively as a soprano
soloist, including singing operatic roles at
the Spoleto Festival, Aspen Music Festival
and the Bowdoin Festival.
Most recently, Lehmann was the
Director of Choral Activities at Pacific
Lutheran University. She came to
Washington following eleven years in
Oregon, where she was the Director of
Vocal and Choral Activities at Oregon
State University and conducted the OSU
Chamber Choir, Madrigal Singers, and
the Opera Workshop. The OSU choirs
performed nationally and internationally
Asae Dean is a freelance director from
Albuquerque, New Mexico, who now
considers Portland home. Her classical
directing credits include Julius Caesar
and Much Ado About Nothing for
Portland Actors Ensemble and Hamlet
for Pittsburgh Classic Players. She holds
a Master of Letters for her thesis Brides,
Wives, & Widows: Marriage and Murder
on the Early Modern Stage, which drew
on her experience directing Thomas Kyd’s
The Spanish Tragedy and Fletcher and
Beaumont’s The Maid’s Tragedy at Mary
Baldwin College in Staunton, Virginia.
While there, she also earned a Master of
Fine Arts for Cressida, her four-person
adaptation of Shakespeare’s Troilus and
Cressida. She’s studied with Giles Block,
the master of verse at the Globe, and
Tina Packer, the founder of Shakespeare
& Co. Other directing credits include
Luis Alfaro’s Electricidad: A Chicano
Take on the Tragedy of Electra at the
National Hispanic Cultural Center, Paula
Vogel’s How I Learned to Drive and Sam
Shepard’s Fool for Love at the Backdoor
Theater, and Feral, an original work about
homelessness in Portland for Compass
Works. She is a voracious reader of poetry
and a flamenco aficionado. She can be
found online at www.asaedirects.com.
Olivia Shimkus (Guildenstern,
Duchess of Gloucester, York, Viola)
Originally from New York City,
Olivia Shimkus has lived, trained, and
performed in Philadelphia, Los Angeles,
and Bloomington, Indiana before making
Portland her home. Over the past five years
she has performed locally in musical and
dramatic productions at Lakewood Theatre
(The 39 Steps), The Broadway Rose
(Ripper), the 2014 Fertile Ground Festival
(Dear Momma), Northwest Children’s
Theatre (Willy Wonka, Seussical), the
Magenta Theater (She Loves Me), Portland
Actors Ensemble (Pericles), and the
Portland Revels. Regional theater credits
include children’s theatre productions
for the Bristol Riverside Theater and the
Delaware Valley Community Theater,
both in Pennsylvania. Local film and
television credits include numerous short
films and regional commercials. Olivia
graduated from Indiana University with
concentrations in Vocal Performance
and Theatre. She would like to thank
her husband, Jonathan, for his constant
support and encouragement.
Douglas Reynolds
(Hamlet, Richard, Troilus)
Doug grew up in Chugiak, Alaska, and
holds his BFA in acting from Southern
Oregon University. Recently, he spends
most of his down time training and
playing with his new Ridgeback puppy,
Harper. He is a writer, an amateur cook,
a certified beer aficionado, and a lover of
Shakespeare. Credits include Gratiano
in The Merchant of Venice, Sir Andrew
Aguecheek in Twelfth Night, Mercutio
in Romeo and Juliet, and his debut with
PAE as the titular character in their 2012
production of Hamlet, performed in Lone
Fir Cemetery. He is thrilled to be working
on this unique celebration of music and
Shakespeare with such a talented cast,
choir, and crew. He will try not to shoot
Curt Hanson in the back this time around,
but makes no promises.
Molly in The Revenents. She is also an
ensemble member of the online comedy
web series, Potty Talk (www.pottytalkpdx.
com). She is a passionate traveler and has
lived and/or studied theatre in Australia,
Germany, England, Pennsylvania,
California, New York, Washington, and
Curt Hanson
(John of Gaunt, Malvolio, Pandarus)
Jen Elkington
(Rosencrantz, Queen, Olivia, Cressida)
Jen Elkington received her BA in
Theatre from Southern Oregon University
in Ashland, as well as a Certificate in
Performance from American Conservatory
Theater in San Francisco. Her previous
roles with Portland Actors Ensemble
include Maria in Twelfth Night and Titania
in A Midsummer Night’s Dream. Other
favorite roles include Rosalind in As You
Like It, Jessie Cates in ‘night Mother, Reno
Sweeney in Anything Goes, and Zombie
Curt is the Portland Actors Ensemble’s
Business Director and has appeared
almost annually in PAE’s “Shakespeare
in the Parks” productions since 2007.
An alumnus of the Oregon Shakespeare
Festival, Curt began his acting “career”
in Portland in 1972. Over the years,
he has appeared in productions at
the Portland Civic Theatre, New Rose
Theatre, Columbia Theatre Company, the
Northwest Classical Theatre Company,
CoHo Theatre, the Portland Shakespeare
Project, the Sandy Actors Theatre and the
Nutz n Boltz Theatre … in addition to his
eleven roles with PAE. Among his favorite
roles have been “Doc” in Come Back Little
Sheba, Prospero in The Tempest, Govenor
Danforth in The Crucible, and Juror #8
in Twelve Angry Men. This century, his
favorites include James Tyrone, Sr. in
Long Day’s Journey Into Night, Baron
Von Swieten in Amadeus, the Stage
Manager in Thornton Wilder’s Our Town,
Caesar in Julius Caesar, Malvolio in
Twelfth Night and Lear in King Lear. A
member of SAG-AFTRA, Curt has acted
in numerous supporting TV and film roles
including NBC’s mini-series Dead by
Sunset; the USA channel’s Homewrecker;
and as Mr. Perkins in the Warner Bros./
Amblin production of The Goonies. Curt is
delighted to work with Asae again and to
be part of this PAE/Portland Symphonic
Choir collaboration.
Portland Symphonic Choir
Meredith Andersen-Elliott
Rebecca Boyetter
Margaret Braun
Carol Corchero
Gail D’Aloisio
Alyssa Dart
Christina Gipson
Cameron Griffith Herbert*
Bonnie Johnson
Dorothea Gauer Lail
Lauren McCune
Jen Milius
Sue Nelson
Camelia Nine
Patricia Rehm
Morgan Roe
Lani Steppe
Theresa Swanson
Amanda Taddeo
Kate Warren
Kathy Austen
Stephanie Benischek
Joy Bongiorno
Hansell Bourdon
Cara Cantonwine
Hallie Clark
Peggy Erland
Kendra Friar
Nan Haemer
Wendy Hein
Emily Kalteich
Katherine Lefever
Kathryn Lehmann
Portland Symphonic Choir Donors & Friends
Janelle Manske
Sue-Del McCulloch
Ramona Moore
Mary Nelson
Amy Barchini
Helen Deitz*
Diana deTar-Marchand
Alicia Dunn
Kathy Ganske
Rosa Haxton
Kendra Killian-Davis
Elizabeth Merchant
Jenny Mosher
Deborah Murray
Karin Nystrom
Kristine Nystrom
Jane Peace
Carol Rossio
Dorothy Rowland
Sharon Smith
Gina Starling
Mary Lane Stevens
Michelle Talal
Trisha Williams
Shanna Yacob
Rachel Bernstein
Amy Bowers
Betsy Cooper
Lisa Dillman
Jamie Freyer
Ruth Heald
Maria Hein
Kari Liebert
Melanie Madigan
Lois Owen
Rachel Portnoy
Sara Rivara
Laura Robson
Carol Rossio
Ashley Salisbury
Rhonda Slinkard
Marianne Sweeney
Melissa Thomas
Zoe Vrabel
Kate Withiam
Deborah Wright
Eric Asakawa
Brett Bargmann
Christopher Benjamin
David Clark
Rick Deats
David S. Foley
Brian Haskins
James Hook
Punya Jain
Daniel Morrill
Gerard Nelson
Jack Rice
Tim Tatistcheff
Daniel Hibbett
Jeffrey Hopp
Trevor Langenhuysen
Jerome Patrick Larkin
Dan Mangan
Greg McMahon
Michael Murray
Ralph Nelson
Eric Prasoloff
Allen W. Richards
Matthew Schick
Jonathan Schildt
Brian Schmedinghoff
Gary Shannon*
Martin Tobias
Dale Webber
Chris Brown
Paul Ebensteiner
David Eby
John Eisemann
Geoff Ereth
Don Fales
Phill Hurley
Daniel Knauss
Jim Maddry
Philippe Moore
John Nicol
Kirk Porter
David Raymond
Kyle Ross-Hall
Eric Smith
Scott Sorensen-Jolink
Michael Young
Don Alrick
Brooke Benfield
Wayne Carlon
John Chilgren
Dan Dalzell
Paul Elison*
Shlomo Farber
Oscar Fernandez
Jerry Gilkerson
Tom Hard
Eric Hill-Tanquist
Jim Imhoff
Isaac Noel
Mark Petersen
Tom Rocks
John Salmon
Bill Scott
Dwight Uphaus
Lorin Wilkerson
Organ & Piano
Douglas Schneider
Janet George
String bass
Kevin Deitz
* Section leader
Foundations & Corporate Support
Amazon Smile
Cambia Health Foundation
Collins Foundation
Fred Meyer Rewards
Jackson Foundation
Mark Spencer Hotel
Oregon Arts Commission
Oregon Community
Pacific Power Foundation
PosterGarden Foundation
RBP Methods
The Standard
US Bank
Work for Art
Don & Norma Fales
Gary Gross
Jeff Heatherington
Kathy Teyler Jarrett
Phil Joslin
Gerard & Mary Nelson
Ralph & Susan Nelson
Patricia Rehm
Brian Schmeddinghoff
Mary Lane Stevens
Marianne Sweeney
Bill Scott & Kate Thompson
Steven Zopfi
Robyn L. Johnson
Malle Kollom
Dorothea Gauer Lail
Kathryn Lehmann
Michael F. Marchand &
Diana deTar Marchand
Hester Nau
Jane Stevens
Carol Walker
Helen Deitz
Maria Hein
Carol LaBrie &
Roger Edwards
Bonnie & Loyd Johnson
Katherine Lefever
Marianne Ott
Mark Perry
John Salmon
Joel & Gail Semler
Scott & Leslie
Deborah Wright
Carol D’Aloisio
Dan Dalzell
Karen DiMilia
Ruth Dobson
Elizabeth Dyson
Kendra Friar
Kathy Garrett
Christina Gipson
Bill & Cameron Herbert
Phill Hurley
Jean Kimsey
Kari Liebert
Judith Ludwigsen
Barbara A. Manildi
Erika Martin
Albert & Virginia McBride
Sue-Del McCulloch
Shannon McNerney
Ramona Moore
Michael & Deborah K.
Priscilla Nelson
Mark A. Petersen & Elo Saar
Benno Philippson
Linda Reisser
Allen W. Richards
Thomas Rocks
Ariel Shai Rogson
Carol Rossio
James Saunders
Patricia Scherzinger
Jeremy & Romalia Shibley
Elmer Skurdahl
Melissa Thomas
Lucy Anne Tillett
Ann Ulum
Dwight Uphaus
Janice Viestenz
Dale & Rosalie Webber
Marjorie Webber
Lorin Wilkerson
Kirke Wolfe
Constance Zopfi
Elsa Burr
Wayne Carlon
Hallie Clark
Elizabeth Farrington
Oscar Fernandez
David Foley
Barbara & Robert Guth
Wendy Hein
Christina Hemphill
Daniel Hibbett
Brianne Kerr
Richard B. Kieburtz
Karen Mucha Labinger
Lenore Leines
Linda Mantel
Lois Maxwell
Martha McKinnon
Joseph McMahon
Mark Meek
Sherry Olson
Sandy Pagano
Sue Persinger
Matthew Alan Phillips
Stephen Raher
Michael & Miriam Rogson
Betty Roren
Richard Rydman
Elaine & Peter Schmidt
David & Laurie Sherburne
Carl Selin
Martin Tobias
Kathleen S. Weaver
Andrew & Julie Wheeler
Kate Withiam
Norma Withiam
$10,000 & above
$1,000 to $9,999
Jason Brauser
Bruce & Daryl Browne
Carol Corchero
$500 to $999
Virgina Adelsheim
Judith Babbitt
Kathy Ganske
$250 to $499
Julie Adams
Nate & Donavan
Rick Deats
$100 to $249
Don & Meri Alrick
Dr. James & Mary Asaph
Brett & Linda Bargman
James Bash
Joy Bongiorno
Chris Brown
Melody & Tracy Boyce
Rachel Portnoy Bradley
Paul Butler
Cara Cantonwine
Betsy & Bob Cooper
Up to $99
Alexander Albertine
Susan Armentrout
Kathy Austen & Jeff Lassahn
Patricia Baker
Susan Bexton
Valerie Bongiorno
Tim & Margaret Braun
Lonnie & Andrew Breninger
Barbara Bridge
List as of 4/6/2015
Support Portland’s Choir!
PSC’s reputation as a force in local choral music has grown. We’ve reached a standard of artistic excellence and
professionalism never before seen in our organization’s history. Your continued support is essential to
our success! Your tax-deductible gift of any amount will help sustain a Northwest institution and help keep this
timeless music alive in our community for generations to come.
Making your contribution is easy! Visit pschoir.org to learn more
Summer Sings
Celebrate summer
with song!
Whether you sing in a professional
choir, a school choir, or a choir for
one in the shower, Summer Sings is
for you! Join us this July to sing great
choral works with members of the
Portland Symphonic Choir.
We provide the scores and the air-conditioning—
you provide the enthusiasm!
Tickets just $10.
Visit pschoir.org to reserve your spot today!
July 8Handel’s Messiah
with Steven Zopfi
July 15 Haydn’s Mass in Time of War
& Lauridsen’s Lux Aeterna withKathryn Lehmann
July 22 The Joy of Singing Bach with Ralph Nelson
All at 7:00pm
PCC Cascade Campus Moriarty Arts Auditorium

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