Music Downloads

Jade Simmons
The Passion of Romantic Music, The Mystique of the Paganini Legend The Magic of Variations

Thursday, August 16, 2012
6:00 PM
Bennett Gordon Hall

Jade Simmons, Piano

Reserved $10
No lawn sales

Gates open at 4:00 PM


Program
Rachmaninoff: Prelude in C-sharp Minor, Op. 3, No. 2
Variations on a Theme by Corelli, Op. 42
Etude-Tableaux in A Minor, Op. 39, No. 6
Liszt: Grand Etude de Paganini in A Minor, S. 141, No. 6
(Theme & Variations)
Muczynski: Desperate Measures (“Paganini Variations”)
Fazel Say: Jazz Phantasy Paganini (“Paganini Jazz"), Op. 5b
Simmons/Reynolds: Electronic Improvisations on a Tune by Rachmaninoff

Conlon discusses Mozart’s Die Zauberflöte (“The Magic Flute”)

Thursday, August 16, 2012
6:00 PM
Mirabelle, Dining Pavilion

 

James Conlon

FREE with paid ticket for evening concert
Gates open at 4:00 PM


Featured Sponsors

Negaunee Foundation and The Mozart Opera Consortium

Music Downloads

Charles Castronovo

Nathan Gunn

Morris Robinson
Chicago Symphony Orchestra

Thursday, August 16, 2012
7:00 PM
Martin Theatre

Chicago Symphony Orchestra
Chicago Symphony Chorus
James Conlon, Conductor
Michael Ehrman, Director
John de Lancie, Narrator
Ailyn Pérez, Pamina
René Barbera, Tamino
Nathan Gunn, Papageno
Erika Miklósa, Queen of the Night
Morris Robinson, Sarastro
Alex Mansoori, Monostatos
Lei Xu, Papagena
Janai Brugger, First Lady
Lauren McNeese, Second Lady
Ronnita Miller, Third Lady
Rodell Rosel, First Priest/Second Armored Man
Brian Mulligan, Second Priest/First Armored Man
Henry Griffin/Nicholas Edwards-Levin/Liam Gannon, Three Genii

 

Due to scheduling conflicts, Michael York unfortunately will not be appearing at Ravinia as narrator for The Magic Flute, and the role of Tamino will be played by tenor René Barbera, stepping in for the ailing Charles Castronovo.
 

Reserved $80
Lawn $10

Gates open at 4:00 PM


About the ArtistProgram

Was The Magic Flute merely a populist vaudeville or a mystical tract on Masonic symbolism? Perhaps this something-for-everyone masterpiece is both; certainly its music encompasses virtually all of the styles of Mozart’s time, from Papageno’s catchy show tunes to the Queen of the Night’s nearly impossibly demanding bravura arias; from Sarastro’s lofty epiphanies to the heart-melting lyricism of Tamino and Pamina’s love songs. The genius of Mozart ensures that the work succeeds on multiple levels, all the while glorying in some of the most beloved music ever created by Salzburg’s favorite son, and performed in the seductively intimate confines of the Martin Theatre.