Jack M. Champaigne Masterworks Series

Revel in the spellbinding melodies of Mahler’s Symphony No. 5 as the South Bend Symphony Orchestra presents the third Jack M. Champaigne Masterworks Concert, “Discover Mahler’s Symphony No. 5,” featuring the award-winning composer Michael Schelle, winner of the 2022-23 season Crossroads of America competition.  Program Michael Schelle - The Fifth Horseman of the Apocalypse Mahler - Symphony No. 5, details and excerpts - Intermission - Mahler - Symphony No. 5 Part I. Trauermarsch Stürmisch bewegt, mit größter Vehemenz Part II. Stürmisch bewegt, mit größter Vehemenz Part III. Adagietto, sehr langsam Rondo – Finale: Allegro Pre-Concert Talk Your concert ticket includes the pre-concert talk at 6:30 p.m. Come early to learn more about the music with Music Director Alastair Willis. Program Notes The Fifth Horseman of the Apocalypse Michael Schelle Born January 22, 1950, Philadelphia, PA Composed: 2022 Premiered: South Bend, Indiana Michael Schelle’s The Fifth Horseman of the Apocalypse is inspired and rooted in historical and mythological significances of local legend and Biblical prophecy. The composition premieres precisely a century after the legendary 1924 Notre Dame football season under the helm of the incomparable coach Knute Rockne. During this momentous year, the renowned backfield players were christened the “Four Horsemen of Notre Dame.”  Inspired by the Bible’s books of Ezekiel and Revelation and the apocalyptic imagery it holds, this musical composition pays homage to the concept of the Four Horsemen. Embedded in this composition’s fabric is a profound reflection of the human condition, encapsulated by the quote, “The fifth horseman is us,” attributed to Charles Sutherland Elton (1900-1991), an eminent English zoologist and animal ecologist.  The composition bursts with dynamic energy and vigor, incorporating evocative allusions to five iconic No. 5 Symphonies: Mahler 5, Tchaikovsky 5, Shostakovich 5, Bruckner 5, and Sibelius 5. Notably, Beethoven’s Symphony No. 5 is intentionally excluded from these references, adding a distinctive touch to the composition. -– Michael Schelle Symphony ...

The passionate melody and lyrics of arias, duets, trios, and choruses by Mozart, Bizet, Puccini, Verdi, Masagni, and Wagner come to life when the South Bend Lyric Opera and Vesper Chorale join the Symphony for this dynamic performance.   Program Alastair Willis, Music Director South Bend Lyric Opera Anya Matanovič, soprano Emanuel Cristian-Caraman, tenor Morgan Smith, baritone  Vesper Chorale Jeshua Franklin, director Program to include arias, duets, trios and choruses from operas by Mozart, Bizet, Puccini, Verdi, Mascagni, and Wagner About the South Bend Lyric Opera  Over its initial four seasons, the South Bend Lyric Opera has garnered the esteem and patronage of a dedicated audience, thankful for the opportunity to witness both emerging and established talents grace intimate stages. This professional ensemble is committed to upholding the artistic integrity of opera, focusing not only on stellar performances but also on maximizing the potential of each performance space. At its core, the South Bend Lyric Opera seeks to expand the reach of high-quality opera performances to the broadest audience possible within the South Bend community. Committed to a leadership role in the sphere of arts education and audience development, the opera is a beacon of creativity and innovation. By nurturing talents and fostering community engagement, the opera aims to perpetuate and enrich the vibrant and time-honored tradition of operatic excellence, inviting everyone to be part of this captivating journey. Anya Matanovič, soprano Anya Matanovič made her professional opera debut, directly from her undergraduate studies, as Mimì in the Los Angeles commercial engagement of Baz Luhrmann’s Tony Award-winning production of La bohème, and made her international opera debut as Musetta in Franco Zeffirelli’s production of La bohème with the New Israeli Opera. She has returned to Seattle Opera on numerous occasions since her time there as a young artist, including roles such as Gretel in Hansel and Gretel, Marzelline in Fidelio, Erste Dame in Die Zauberflöte and Nanetta ...

"Dvořák's New World" unpacks Antonín Dvořák's prediction that the future of classical music would be found in the United States rather than Europe. Florence Prices' most famous work, "Ethiopia's Shadow in America," concludes the Masterworks series.  Program Alastair Willis, Music Director George Shirley, narrator  Gershwin Porgy and Bess excerpts  Tate Chokfi’  Price Ethiopia’s Shadow in America I. Introduction and Allegretto: The Arrival of the Negro in America When First Brought Here as a Slave II. Andante: His Resignation and Faith III. Allegro: His Adaptation Intermission  Dvořák Symphony No. 9 I. Adagio—Allegro molto II. Largo III. Molto vivace IV. Allegro con fuoco Pre-concert Talk Your concert ticket includes the pre-concert talk at 6:30 p.m. Come early to learn more about the music with Music Director Alastair Willis.   Program Notes Chokfi’ Jerod Impichcha̱achaaha' Tate Born July 25, 1968, Norman, Oklahoma, Composed: 2018 Premiered May 6, 2018, Commissioned by Oklahoma Youth Orchestra Duration: 9 minutes Chokfi’ (choke-fee) is the Chickasaw word for rabbit, who is an important trickster legend within Southeast American Indian cultures. Inspired by a commission for youth orchestra I decided to create a character sketch that would be both fun and challenging for the kids. Different string and percussion techniques and colors represent the complicated and diabolical personality of this rabbit person. In honor of my Muscogee Creek friends, I have incorporated a popular tribal church hymn as the melodic and musical base.  – Jerod Impichcha̱achaaha’ Tate Ethiopia’s Shadow in America Florence Price  Born: April 9, 1887, in Little Rock, Arkansas Died: June 3, 1953, in Chicago, Illinois Composed: 1932 Length: 14 minutes  Ethiopia’s Shadow in America is one of only a few pieces in Price’s musical selection in which she provided a descriptive accompanying narrative. The first page of the manuscript score explains that she wanted it to portray “I – The Arrival of the Negro in America when first brought here as ...