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Viva la Musica’s mission is to inspire, educate, enrich, and entertain with passionate, quality performances of noteworthy music from diverse cultures and eras in ways that promote personal fulfillment in all the people we touch.

Since its inception in 2001, Viva la Musica has presented spring and holiday concert seasons annually.

Acting on Viva’s commitment to excellence, education, and cultural awareness, our growing résumé of enriching collaborations and choral tours on which Viva has embarked, include:

2005: Vermont, International Summer Choral Festival. 2006: Austria, performed in prestigious venues in Vienna and Salzburg as part of Mozart’s 250th anniversary celebrations. 2008: San Francisco, SF Conservatory of Music, Beethoven’s Ninth Symphony with Symphony Parnassus.2008: New York, Carnegie Hall, with select choirs from around the U.S. in John Rutter’s Mass of the Children under the composer’s direction.

New singers are welcome to join Viva for fall season: Rehearsals begin September 14 2009.

“Viva la Musica has grown and expanded into an excellent Bay Area presence….The group wants to reach out to area schools and include them in their training program and to collaborate in ways that will enhance their community involvement and inf luence, helping to raise the standards for choral music in Silicon Valley and reaching out to ever broadening and expanding audiences. Viva aspires to musical greatness and its members work very hard to present quality choral music—a boon to both members and audiences alike.”

About Viva la Musica!

2009 Is a Big Year for Viva! Be Part of It!

- Dr. Charlene Archibeque, Professor Emerita, San Jose State University

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Gloria RV 589

Program

Antonio Vivaldi (1678 - 1741)

Gloria

Et in terra pax

Lauadamus Te ~ Soprano duet

Gratias agimus tibi

Propter magnam gloriam

Domine Deus Rex Coelestis ~ Soprano aria

Domine Fili Unigenite

Domine Deus Agnus Dei ~ Mezzo Soprano duet with Chorus

Qui tollis peccata mundi

Qui sedes ad dexteram Patris ~ Mezzo Soprano aria

Quoniam Tu solus sanctus

Cum Sancto Spiritu

INTERMISSION

Deirdre Lobo D’Cunha, sopranoElspeth Frank, mezzo soprano

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The audience is invited to a reception in the lobby after the concert

Señor ten piedad

Gloria

Por Eso

Santo

Por Tu Cruz

Por Cristo

Amen

Cordero De Dios

Misa del Pueblo René Carlos Ochoa (contemp)

Jordan Eldredge, bass

L’homme armé

Kyrie

Sanctus

Hymn before action

Agnus Dei

Benedictus

L’homme armé

The Armed Man: A Mass for Peace Karl Jenkins (contemp)

Deirdre Lobo D’Cunha, soprano

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Notes, Texts, TranslationsGloria

Venice, in the early eighteenth century, was a remarkably enlightened city-state and its governors saw fit to provide well for its poor, its sick, and its abandoned. The Ospedale della Pietá was one of four charitable institutions, this one for orphaned or abandoned babies. As the babies grew up, the boys were trained as craftsmen, the girls in lace-making and laundering, unless they showed special musical talent. If they were musically gifted, they received the finest instrumental and vocal training imaginable. Vivaldi, Il Pretto Roso (The Red Priest, so called because of his f laming red hair) was contracted by the Ospedale as a part time instructor. His title was Maestro di Violino. He was never was able to convince the board of the Ospedale to offer him the more prestigious full-time position of Maestro di Coro. Only when the installed Maestro di Coro took ill was Vivaldi asked to stand in as substitute for him and it was during these years, from 1713-1719, and again in 1739, that he wrote sacred choral music for the Ospedale.

Such was the accomplishment of the girls and women singers and instrumentalists that, according to Charles de Brosses, writing in 1739, “The girls sing like angels, and play the violin, the f lute, the organ, the oboe, the cello, the bassoon, in short there is no instrument large enough to frighten them.”

French philosopher, Jean Jacques Rousseau, wrote:

Every Sunday in the churches of the four scuole, during Vespers, there are motets for a large chorus and orchestra. These are composed and conducted by the leading Italian maestri and performed from behind screened-off galleries by girls, the oldest of whom is not twenty years of age. I can think of

Vivaldi

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The Gloria that we perform is one of two that Vivaldi wrote and they are very similar to each other. We are not sure of the exact occasion for which Vivaldi wrote either Gloria or when precisely they were written, or when first performed. We do know that both fell into two hundred years of obscurity. Unveiled at a concert in 1939 the Gloria we perform today subsequently has become one of the most popular of all choral-orchestral works.

The twelve-movement Mass is filled with rich contrasts of tonality, tempo, meter and rhythmic figures, homophonic and polyphonic textures, choral and solo contrasts, a range of musical means- learned to ingenuous- and expression-lyrical to virtuoso, and a panoply of mood opposites- exuberant/ref lective, joyful/somber, playful/grandiose, tender and personal/declamatory and universal.

The music has a theatrical quality that would have pleased the contemporary audience. Well-to-do tourists visiting Venice during Lent when theaters were closed, would have been delighted, in the absence of theater or opera performances, to attend a church service or a concert of sacred music, to entertain themselves, perhaps even to find a wife from among the young women performers. Accounts vary as to whether the singers and instrumentalists were indeed all so ravishingly and angelically beautiful as Rousseau describes. Some contemporary accounts are more prosaic in describing the disfigurements of some the performers. Were the screens behind which the women and girls performed to hide their beauty or their plainness?

The first movement of the Mass, Gloria, opens with energetic D major fanfares from the orchestra, punctuated by trumpet and oboe, to which the choir responds with jubilant shouts. By contrast, the second movement, Et in Terra Pax, in the relative minor mode, is the most somber movement: almost thirty fugal entries beseeching peace on earth seem to suggest how profoundly difficult it is for the world to be in peace.

nothing so delectable and touching as this music: the wealth of artistry, the exquisite taste of the songs, the beauty of the choices, and the precision of performance . . . what pained me were these cursed screens which let only sounds escape and kept hidden from me the angelic beauties of which the sounds were so worthy.

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This, the longest movement, also contains the most modulations, symbolic of the searching for peaceful solutions and resolutions. Nothing could be more apropós today. There are two subjects that appear at one time or another in all the voices woven together: “et in terra pax…,” “bonae voluntatis…,” and a third thread consists of long-held notes, building the inner organic tension.

The third movement, Laudamus te, a joyful duet, has chains of deliciously spicy suspensions in the f lorid intertwining vocal lines of the two soprano soloists.

A short but grand homophonic introduction Gratias agimus leads to a buoyant fugue Propter magnam gloriam, effervescent, confident, even playful as the voices steal the subject from each other.

The sixth movement, Domine Deus, is graceful, elegant barcarole, a duet between soprano and oboe as if a duet between lovers on a gondola.

The seventh movement, Domine, fili unigenite uses the French saccade rhythms (two notes: long and very short, in jerky style), to create a canvas of courtliness. Again the voices choose partners, as if in a dance. Occasional chains of hemiolas (deliberate misplacing of accents) create some fun!

The eighth movement, another Domine Deus, is a stately, plaintive mezzo soprano solo. Like a finely distilled liqueur, her interjections come in small sips, underpinned by a quiet, majestic basso continuo. Choral punctuations affirm the soloist’s pleas.

The choir returns in the ninth movement, Qui tollis peccata mundi, in full intensity, with a heart-rending recognition of man’s sins and a plea for salvation from these. The suscipe section, in triple rhythm, adds urgency to the supplication.

The tenth movement, Qui sedes, is another dance, buoyant and friendly, between the mezzo soprano soloist and the orchestral strings…Did Vivaldi lose himself in the sheer joy of the music? The text refers to sins and pity; the music sounds like a canter to a dance festival. The blazing music of the opening returns in the eleventh movement, Quoniam tu

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solus sanctus, a jewel of musical recycling: a measure taken from here or there in the first movement stitched together in a different order produces a familiar but new joyful experience.

To close the work Vivaldi produces a triumphal fugue of unstoppable verve, “Cum Sancto Spiritu,” a splendid showpiece of contrapuntal writing with not one, but two subjects that share the same “Cum sancto spiritu…” text. The first is majestic and, with delightful reversal of roles, the voices imitate the trombone, instead of the more usual vice versa proceeding. The second subject is effervescent and champagne-like. Amens, like spun sugar, decorate both subjects. The truth is, this movement is not Vivaldi’s but is borrowed, note for note, from a contemporary, Giovanni Maria Ruggieri, who, I feel sure, is indebted to Vivaldi for making his fugue known!

Program notes by Shulamit Hoffmann

Gloria in excelsis Deo. Glory be in the highest to God. Et in terra pax hominibus bonae voluntatis. And on earth be peace unto all men that are of good will.

Laudamus te. Benedicimus te. We praise Thee. We give blessing to Thee.

Adoramus te. Glorificamus te. We worship Thee. We glorify Thee. Gratias agimus tibi. We give thanks unto Thee. Propter magnam gloriam tuam. According to Thy great glory. Domine Deus, Rex coelestis. Lord God, King of heaven. Deus Pater, Deus Pater omnipotens. God the Father, God the Father all powerful.

Domine Deus, Rex coelestis, Deus Pater. O Lord God, King of heaven, God the Father. Domine Fili Unigenite Jesu Christe. Only-begotten Son of God, Jesus the Christ. Domine Deus, Agnus Dei, Filius Patris. Lord God, Lamb of God, Son of Domine Deus. the Father. Lord, God.

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Agnus Dei, Filius Patris. Lamb of God, Son of the Father. Qui tollis peccata. Who bearest sins.

Domine Deus Rex caelestis. Lord God King of heaven.

Qui tollis peccata mundi, Who bearest the sins of the world,

Misere. Have mercy. Agnus Dei, Miserre nobis. Lamb of God, Have mercy on us. Qui Tollis peccata mundi, Who bearest the world’s sins, Suscipe, Hear us now, Suscipe, suscipe deprecationem, Hear us now, hear us as we deprecationm nostrum. make our prayer, as we make our prayer to Thee. Qui sedes ad dexteram Patris, miserere. Who sittest beside God the Father, have mercy. Miserere, miserere nobis. Have mercy, have mercy on us.

Quoniam tu solus sanctus. For Thou only art most holy. Tu solus Dominus. Tu solus Altissimus, Thou only art the Lord. Thou only art Lord most high,

Jesu Christe. Jesus the Christ.

Cum Sancto Spiritu, in gloria Dei Patris, With the Holy Ghost, in glory ofin gloria Dei Patris. Amen. God the Father, in glory of God the Father. Amen.

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The Armed Man: A Mass For PeaceKarl Jenkins

The Armed Man: A Mass For Peace was written by contemporary Welsh composer, Karl Jenkins, on commission from the Royal Armouries Museum in Leeds, England, for the Millennium celebrations. Dedicated to victims of the Kosovo crisis, it was premiéred at The Royal Albert Hall, London, on April 25, 2000 in a performance by the National Youth Choir of Great Britain and the National Musicians Symphony Orchestra conducted by Grant Llewellyn and featuring Julian Lloyd Webber

(the brother of Andrew) as cello soloist. Karl Jenkins was classically trained at Cardiff University, Wales, and at the Royal Academy of Music, London, and then successfully wrote music for commercials and worked as a jazz musician. His Adiemus – Songs of Sanctuary albums and projects have won 15 gold and platinum awards since their premier in 1995. In 2005 he was awarded an OBE by Her Majesty The Queen “for services to music.”

The Royal Armouries in Leeds, England, is home to the United Kingdom’s national collection of arms, armor, and artillery. It is one of the largest collections of guns and knives in the world and offers special insight into how and why people use weapons. The Armouries is involved in community work on knife and gun crime prevention and has launched various campaigns, including No to Knifes, to raise awareness about resolving or avoiding conflict.

Guy Wilson, Master of the Royal Armouries, who selected the texts used in Jenkins’ Mass, says, “The theme that ‘the armed man must be feared’ which is the message of the song seemed to me painfully relevant to the 20th century and so the idea was born to commission a modern Armed Man Mass. What better way both to look back and ref lect as we leave behind the most war-torn and destructive century in human history, and to look ahead with hope and commit ourselves to a new and more peaceful millennium.” A concert performance of Jenkins’ Mass for Peace in which the composer conducted the National Youth Choir of Great Britain and the London

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Philharmonic Orchestra also featured a video montage of scenes of war. This performance can be seen on a commercially available DVD and movements from it can be found on You-Tube. The visual images heighten the music’s indirect commentary on war and the impact of the music and visuals is deeply affective.

Jenkins’ Mass draws on a diverse array of cultural and historical sources both for text and for music, and, in so doing, gives it cross-cultural global relevance and appeal. The poignancy of Jenkins’ Mass for Peace is heightened by the release of the CD, on September 10, 2001, the day before the World Trade Center tragedy.

What we perform today is a Suite of seven movements derived from the larger work. The texts are based on the Roman Catholic Mass as well as texts from other sources. The suite takes its moniker from the fifteenth century anonymous song L’homme armé. The Armed Man - A Mass For Peace is part of a six-century-old tradition of Armed Man masses that take L’homme armé as their starting point.

This haunting L’homme armé tune and text is featured in the first and last movements and, in its mystery and compelling intensity, forms the emotional heart of the piece. L’homme armé is a marching song, sung in medieval French. Although its origins are unknown, it seems like a call to arms and evokes armies rallying for battle.

Based on traditional Latin sacred Mass texts, the Mass juxtaposes sources as diverse as the Medieval L’homme armé tune and contemporary Brazilian drum rhythms. The Kyrie opens with a beautiful tune and then segues to a pastiche of Palestrina counterpoint, the sixteenth century epitome of sacred music.

The Sanctus quotes the text of the service of Holy Communion and it is set, with some irony, to the most martial music. The movement entitled “Hymn Before Action,” based on a text by the English poet and author, Rudyard Kipling (1865-1936), is the most dramatic. The Agnus Dei and Benedictus movements are lyrical and ref lective. The L’homme armé reprise is a stark reminder of the omnipresence of war. The music of The Armed Man Mass is accessible to the listener yet it consistently makes a profound

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impact. It uses the traditional musical and textual means to explore a subject that remains, sadly, all too contemporary. Jenkins wrote, “As I started composing The Armed Man the tragedy of Kosovo unfolded. I was reminded daily of the horror of such conflict.” The music is by turns visceral and ethereal. We trust that the visuals we have chosen for our performance enhance the music’s compelling account of the descent into the hell of war and its terrible consequences of suffering so intense that it can only be described without words–in music and in image.

Program notes by Shulamit Hoffmann

The Armed ManThe armed man, The armed man must we doubt? They have shouted everywhere, They have shouted arm himself With an iron coat of mail.

Lord have mercy Christ have mercy Lord have mercy

Holy, Holy, Holy, Lord God of Hosts. Heaven and earth are full of Thy Glory. Hosanna in the highest.

L’Homme Armé L’homme armé,

l’homme arme doit on douter?On a fait partout crier,

Que chacun se viegne armerD’un haubregon de fer.

K yrieKyrie eleison,

Christe eleisonKyrie eleison

SanctusSanctus, Sanctus, Sanctus

Dominus, Deus Sabaoth Pleni sunt caeli et terra Gloria tua.

Hosanna in excelsis.

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Hymn Before Action

(text by Rudyard Kipling)

The earth is full of anger,The seas are dark with wrath,The Nations in their harness

Go up against our path:

Ere yet we loose the legionsEre yet we draw the blade,

Jehova of the Thunders,Lord God of Battles, aid!

High lust and froward bearing,

Proud heart rebellious browDeaf ear and soul uncaring,

We seek Thy mercy now!

The sinner that forswore Thee,The fool that passed Thee by,

Our times are known before Thee,Lord grant us strength to die!

Agnus DeiAgnus Dei,

Qui tollis peccata mundi Misere nobis.

Dona nobis pacem.

Benedictus Benedictus qui veni in nomine Domini.

Hosanna in excelsis.

Lamb of God,Who takes away the sins of the worldHave mercy on us.Give us peace. Blessed is He who comes in the name of the Lord.Hosanna in the highest.

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Misa del PuebloRené Carlos Ochoa

Misa del Pueblo was originally written for a small church choir of untutored musicians in San José, California. When first heard, Misa included but a single melodic line with its text and a guitar accompaniment. Years later - at the suggestion of Shulamit Hoffmann - I expanded the initial scoring to include four-part choir and the characteristic instruments of the Mariachi - strings and trumpets. A piano part and simple rhythmic suggestions for a percussionist have also been added.

The music is “folksy” and “popular” in its style. It was inspired by the life - and death - of Oscar Romero, the Archbishop of San Salvador, who was tragically assassinated in 1980 due to his support and efforts on behalf of the poor of his country. He remains for me an enduring symbol of the greatness of the human spirit and the sacrifice that is often required to bring peace and justice into our world.

As with any musical composition of the Mass, the preexistent text is what must be “brought to life” by the music that is newly created. Here, I was faced with an interesting challenge: how to make a piece that is accessible to the average singer of a church choir and those in the assembly - i.e. not too difficult to perform - and, at the same time, a piece that might hopefully remain interesting and fresh. It was this “balance” that I strived to attain as Misa del Pueblo found its expression through me.

Thanks to my friend and colleague Shulamit Hoffmann for suggesting and encouraging me to create this new concert version of Misa del Pueblo. Thanks also to Fr. Kevin Joyce, who was a constant inspiration as this music was first conceived. It is my hope that members of Viva la Musica! and all who perform and listen to it will find it enjoyable.

Program notes by René Carlos Ochoa

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Señor Ten Piedad Señor ten piedad de nosotros Lord have mercy on usJesucristo ten piedad de nosotros Christ have mercy on usSeñor ten piedad de nosotrs Lord have mercy on us

GloriaGloria al Señor en el cielo, Glory to God in the Highest,Gloria en la tierra; Glory on the Earth;Gloria al Señor en el cielo, Glory to God in the Highest,y en su pueblo paz. and on His people peace. Te alabamos, te bendecimos, We praise you, we bless youpor tu inmensa gloria; for your great glory;te adoramos, te glorificamos, we adore you, we glorify you,te damos gracias! we give you thanks! Hijo único, Jesucristo, Only son, Jesus Christ,hijo del Padre; son of the Father;Cordero de Dios que quitas Lamb of God who takes awayel pecado del mundo! the sin of the world! Señor, Señor Dios Lord, Lord Godten piedad de nosotros; have mercy on us;tu que estas sentado you who are seateda la derecha del Padre! at the right hand of the Father! Sólo tú eres Santo, Only you are Holy,sólo tú Señor, only you are Lord,sólo tú Altisimo, only you are the Most High,Jesucristo; Jesus Christ;con el Espiritu Santo with the Holy Spiriten la gloria de Dios! in the glory of God!

Por Eso Por eso, Therefore,con los angeles y con todos los santos, with the angels and all of the saints,Te alabamos, we praise You,diciendo sin cesar: saying without pause:

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Santo Santo, Santo, Santo es el Señor, Holy, Holy, Holy is the Lord,Dios del Universo. God of the Universe.Llenos están el cielo y la tierra Filled are the heavens and the earth de tu gloria. with your glory. Hosanna en el cielo. Hosanna in the highest.Bendito el que viene Blessed is he who comesen el nombre den Señor. in the name of the Lord.Hosanna en el cielo. Hosanna in the highest.

Por Tu CruzPor tu cruz y resurrectión, Through your cross and resurrection,nos has salvado Señor, you have saved us Lord,Salvador, Salvador del mundo, Savior, Savior of the world,sálvanos, Salvador; save us, Savior;sálvanos, Salvador! save us, Savior!

Por Cristo Por Cristo, Through Christ,con el y en El, with him and in him,a Ti, Dios Padre omnipotente, to You, Almighty Omnipotent God,en la unidad del Espiritu Santo, in the unity of the Holy Spirit,todo honor y toda gloria, all honor and all glory,por los siglos de los siglos: through the ages of the ages: Amen Amen, Amen, Amen, Amen,si Señor, yes Lord,Amen! Amen!

Cordero De DiosCordero de Dios, que quitas Lamb of God, who takes awayel pecado del mundo, the sin of the world,ten piedad de nosotros. 2x have mercy on us.

Cordero de Dios, que quitas Lamb of God, who takes awayel pecado del mundo, the sin of the world,danos la paz! give us peace!

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Soprano Shirley Chen Bing Doh Evelyn Eaton Helen Governale Amy Jervis Ann Keiffer Odette Ledesma* Deirdre Lobo-D’Cunha Sara McNinch Pamela Nissley Joni Podolsky Tina Polowyk Silvia Pratt Gae Sares Maryanne Silber Lynda Silva Patricia Velarde Gail Whipple

Tenor* Tim Cooney Gene Hall Mark Klenk David Lintott Ken Scully David Silber Tyler Souther Al Stuebing Michael Venturino

alTo Cheryl Allen Jennie Brown Mary Burns* Terri Cook Therese Curotto Hannah Druckman Barbara Gehrels Jane Goold-Caulfield Margaret Hall Barbara Kelsey Jane Lintott Larisa Naples Virpi Portier Sister Maria Sheerin Regine Staufenberg Janet Wilson Seoung Lee Wilson Joyce Wright

BaSS Jordan Eldredge* Mark Fish Jerry Kourouyan Matthew Reeve

John Russell David Simon Bill Treddway Ian Ward Tom Weaver Tim Whipple

* Section Leader

Viva la Musica Choir

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Artistic DirectorShulamit Hoffmann, founder and artistic and executive director of Viva la Musica, is also a faculty member of the College of San Mateo and conductor of Los Altos United Methodist Chancel Choir. Ms. Hoffmann, currently pursuing a doctorate at Teachers College, Columbia University, holds a Master of Arts in Choral Conducting, a Master of Music in Piano Performance, a Bachelor of Music, Teacher’s Licentiate Diploma in Music (University of South Africa), and a Licentiate Diploma in Music (Royal Schools of Music, London).

She has received several national awards from her native South Africa including the University of South Africa overseas scholarship, two consecutive Cape Tercentenary Foundation awards for musical excellence, and a scholarship from the University of Witwatersrand. She was named Outstanding Graduate of the Year in the School of Music and Dance, San José State University. In 2002 she was honored with a U.S. Congressional Award for her musical contributions to her community and in 2007 her professional biography was entered into the Congressional Record of the United States of America by then Congressman Tom Lantos. Her teachers include Dr. Charlene Archibeque (conductor of the award–winning San José State University Choraliers), Dr. David Rohrbaugh (Opera San José), Lamar Crowson (Melos Ensemble, London), and Dr. Adolph Hallis. Ms. Hoffmann has served as president of branches of the Music Teachers’ Association of California and of the National Federation of Music Clubs. She is a frequent competition judge and guest clinician. Professional affiliations include The College Music Society, American Choral Directors’ Association, Chorus America, MENC, and Music Teachers’ Association of California.

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Deirdre Lobo-D’Cunha, soprano, was born in Bombay, India. Deirdre Lobo-D’Cunha began her musical training under her mother, Celia Lobo, famous opera singer, theater director, and voice teacher in India. Deirdre attained her Bachelor of Music Degree University of Santo Tomas; Master’s Degree University of Colorado; and Post-Graduate Diploma Peabody Conservatory of Music. She has studied with Marilyn Zschau, Phyllis Bryn-Julson, and now with Voltaire Verzosa. Additionally, she has

coached with Kathryn Cathcart, Richard Boldrey, Martin Isepp, among others, and currently with Charles Worth. Deirdre performs regularly internationally as well as in the USA as soloist with orchestras and choruses, and in recital. Deirdre is pleased to be a part of Viva la Musica and sing the repertoire she really enjoys. Deirdre is married to Neville D’Cunha, and along with their son Andre live in Daly City, California. For upcoming engagements, please visit her website at www.deirdrelobodcunha.com. For solo engagements and bookings, please contact Myers International Management, Inc. Email: johnwmyers@gmail.com. You can also contact Deirdre directly at: deirdrelobo@yahoo.com.

Soloists

Anna Khaydarova received her Bachelor’s degree with honors from Tashkent State University, Uzbekistan, in 2002 and her Master’s degree from Notre Dame De Namur University in 2005. In 2001 she won second prize in the Bartok-Prokofiev-Kabalevsky International Piano Competition in Redford, Virginia, and in 2003 she won the NDNU Concerto Competition and performed Prokofiev First Piano Concerto with the Redwood Symphony. In addition to the vital role she plays as Viva la Musica accompanist, Ms. Khaydarova is Music Director at Island United Church and her

private teaching studio is located in San Mateo.

Accompanist

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Baritone Jordan Eldredge holds a BM in classical voice from San Francisco State University where he has performed such roles as Papageno in Mozart’s Die Zauberflöte and the title role in Kirke Mechem’s Tartuffe. He also performs with several Bay Area companies including Sonoma City Opera and Pocket Opera. He is looking forward to singing the role of Masetto in Opera Non Troppo’s upcoming production of Mozart’s Don Giovanni.

British-born Elspeth Franks, is known for an unusually wide vocal range and engaging and characterful stage presence, and performs a wide array of operatic and concert roles throughout the mezzo, alto and soprano repertoires. Franks made a solo debut with the Philharmonia Baroque Orchestra, under the baton of Nicholas McGegan, (Handel’s Messiah) to excellent reviews, and debuted last December with the Portland Baroque Orchestra, also in Messiah. Franks’s European debut was in performances

of Haydn’s Harmoniemesse in Munich, Prague, Budapest and Vienna. Awarded a Virginia Best Adams Fellowship at the Carmel Bach Festival for the 2002 & 2003 seasons, Franks returned there in 2005 as featured soprano soloist. On the east coast, Franks debuted with Virginia Opera in the role of Prince Orlofsky (Die Fledermaus), and with the Mark Morris Dance Group in New York in the role of Commère (Four Saints in Three Acts). Vocal training has included scholarship study at England’s prestigious Royal Northern College of Music (Manchester) and as a Rotary International Foundation Scholar at the University of Michigan, Ann Arbor. Continuing vocal training with noted tenor, David Gordon, Franks resides in San Francisco, CA, and is a cantor at St. Dominic’s Catholic Church. Recent engagements have included Bach’s Mass in B minor with the Los Angeles Bach Festival; Rossini’s Stabat Mater with Sacramento Choral Soc. and Orchestra; Ruggiero in Handel’s Alcina with Opera Vivente (Baltimore); soprano soloist in Mozart’s Coronation Mass (Midsummer Mozart); soloist Durufle Requiem (Music in the Mountains); soprano II soloist, Mass in C minor (Masterworks Chorale); mezzo soloist in Mozart’s Requiem (Santa Clara Chorale); Bach cantatas (Baltimore, MD); mezzo soloist, Rossini’s Stabat mater and Bach’s Easter Oratorio (Bach Festival Florida, FL).

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Violin iCarol Kutsch, concert master

Andrew Davies Toshiya Nishi

Violin iiMelanie Vittetoe, principal

Gretchen Miescke Lisa Zadek

ViolaJanet Gillespie, principal

Ann Coombs Patrick Kroboth

VioloncelloAmy Hsieh, principal

Cynthia Swenson Alicia Wilmunder

BaSS

Kelly Beecher

OrchestraoBoePeter Lemberg

TrumpeTLarry Blake, principalAnthony Anderson

percuSSionDon Baker

conTinuo/pianoAnna Khaydarova

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SopranoEmily Du MondSamantha LemonsLaura PezoKatherine PierceMeghan SoutherCarrie Wade

Hillsdale High School Chamber Singers Mark Fish, Director

alToKanani DelaneyJade Emmanny MarcosFiona MurphyBrianna Musso

TenorPedro ChanayZachary FinemanQuintin LeongPraveen RameshFatafehi Tuitavake

BaSSReginald BrownDustin JanatpourAdrian PanginilanAlex Rushka

The Hillsdale High School Chamber Singers are the most committed singers at Hillsdale, represent all grade levels, and participate in many off-campus events. They sing annually in an honor choir at In Concert, one of the only events that involves students from every school in San Mateo County. They recently sang various holiday songs for KBLX’s Annual Choral Competition and they will participate in the Folsom Jazz Festival. In addition to performing with Viva la Musica in the Bay Area, Hillsdale High Chamber Singers will be traveling to New York next June to sing with Viva in Carnegie Hall.

Mark Fish, composer, violinist, violist, arranger, and music educator, earned a BA in Music from UC Berkeley, an MA in Music from UC Riverside, and has attended the Aspen Music Festival and the American Conservatory at Fontainebleau, France. His chamber music has been recorded on three CDs (available on iTunes), and another is scheduled for release in 2009. He has received composition commissions from the Palo Alto Chamber Orchestra, the San Francisco Chamber Orchestra, the Newport Symphony, the East West Continuo, the Magic Flutes, and the Del Sol String Quartet.

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Barbara Kelsey and Joyce Wright, choir administrators, put “organize” into organization.

Our Staff

Shulamit Hoffmann, PresidentDavid Silber, Vice-PresidentCheryl Allen, SecretaryKathleen Jose Amy Jervis Terri CookEllen Pack Gene Hall

Board of Directors

VolunteersJennie Brown, Volunteer CoordinatorMargaret Hall, ReceptionAnn Keiffer, Art ResearchLarry Keiffer, Bookkeeping, Box Office, and DatabaseWilliam Kelsey, Videographer and Dispatch RiderMatthew Reeve and Al Stuebing, Stage ManagersPat Velarde, Tour Manager

Jennie Brown

Margaret Hall

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archangel ($1000+) Anonymous Anonymous Barbara Ferguson Shulamit Hoffmann Ellen Pack The Peterhans Family Fund, an

advised fund of the Silicon Valley Community Foundation

angel ($500-$999) Cheryl Allen Evelyn Eaton David & Maryanne Silber Carol Meyer

Gene & Margaret Hall

Seraph ($100-$499) Anonymous Anonymous Mary Beltrami Mary Burns

Mary Bruno Terri Cook Rick & Therese Curotto Antoinette & Art Denison Susan Endelman Terry & Polly Flinn Amy Jervis Dale & Kathleen Jose Ann & Larry Keiffer Mark Klenk Ellie & Jim Manser Sara McNinch Hudi Podolsky Jill Podolsky Joni Podolsky Pat Velarde Joyce Wright Rosemary and Al Stuebing

cheruB ($20-$99) Tomoko Ajisaka Jennie Brown Rev. Msgr. Alvan P. Heuring Reuben Jenkins David & Jane Lintott Margaret McNinch Gloria Pardini Mercedes Silva Jerry & Krista Terstiege Christina Vasvary Jane Williams

in-Kind donaTionSRichard LeDoux, ZooMobile (riser transport)

Margaret Hall,General supplies

Larry Keiffer, Bookkeeping services

Kevin McAuliffe, Frank, Rimerman + Co. Tax preparation services

91.7 KALW Local Public Radio Publicity Foster City Parks and Recreation, Rehearsal facilities

Hillsdale High School, Rehearsal facilities

Donors 2009

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Give to Viva la Musica!Viva depends on its members and fans for support – support that helps us deliver to our community. Your financial donations are most helpful but you can also donate in ways that won’t cost you a dime!

Make a Monetary Donation Viva la Musica is a nonprofit public benefit corporation and all donations are fully tax deductible. VIVA EIN Tax ID # 26-0338125.

Participate in our Silent Auction Bid in the lobby at intermission or at the reception or on our website.

Advertise with UsOur programs reach a targeted audience of Bay-area music lovers.

Escrip.com Support Viva through everyday purchases made on your credit card. To register, go to Escrip.com and select Viva la Musica, Group ID #900467698.

GoodShop.com This online mall donates up to 37% of each purchase to your favorite cause!

Squidoo.com/vivalamusicaBuild pages about any subject that fuels your passion and direct the advertising income to Viva la Musica.

Come to a Concert Order tickets from your favorite Vivan or on our website. Tell a friend or better yet, bring a friend: buy a ticket for yourself and one for a friend!

Stay informed about Viva!Sign up on our website to be on our mailing list.

Sing with Us We aspire for professional quality performances, but many of us are amateurs in the best sense of the word -- we love to sing. Join us!

Become a Facebook friend of Viva http://www.facebook.com/pages/Viva-la-Musica/59781763193

Volunteer Ushers, Stage hands, Box office and ticket sales, Phone calling, PR and promotions...You name it – We can use your talent! Contact us.

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Hair Stylist Recommended by Shulamit

Creating Sof ware Project Success!

Contact us for a free project analysis.C. Allen & Associates

Cheryl Allen, MS, PMP(650) 349-2526

info@cherylallen.com www.cherylallen.com

n Set clear business goalsn Create realistic plansn Meet schedule and budgetn Deliver quality products

Teaching mat classes,reformer & Springs and Pulley classes, private & semi-private sessions.

Located at 963 Industrial Road Ste. D in San Carlosjust north of Brittan Ave. 650-593-4366info@purely-pilates.com • www.purely-pilates.com

Contact us for a free project analysis.

Shelley Nielsen, M.A., M.S.Psychoeducational Therapy

Consultation, Advocacy, Specialized Tutoring

(650) 344-8804 shelleyjsr@rcn.com (650) 401-8804 Fax

650 349 2414telephone

barberiasalon .com

Foster CityCA 94404

939 EdgewaterBlvd. Suite F

terry demarco’s barberiahairdressing haircolor retexturizing

AbsolutelyorgAnizedby Jennie Brown

Bringing harmony through organization

Tel/Fax: (650) 573-8229P.O. Box 8298 • Foster City, CA 94404

Member National Association of Professional Organizers

KALW’s mission is to:• Provide listeners with independent, credible

news and information from a variety of local, national and international sources.

• Produce local programs that connect listeners to their communities and that highlight the music, arts, and literature of the San Francisco Bay Area.

• Support the educational mission of the San Francisco Unified School District by informing the public about the San Francisco schools and creating opportunities for student learning in radio.www.kalw.org

Proud Sponsor of Viva la Musica!

Participate in a drawing for a complimentary ticket to Viva la Musica’s next concert. Fill out this form and drop it in an usher basket. Lucky winners will be sent their tickets to our holiday concert. Help us keep you informed of Viva events–be assured that we do not share our mailing list and you do not need to make a donation to win. Most importantly, we want to stay in touch with you. Yes! I want my name on the Viva la Musica mailing list. I prefer email I prefer snail mail Email and snail mail I already receive Viva notices. I’m interested in singing with Viva. I’m not a singer, but I am interested in traveling with Viva on a future tour. I’d like to volunteer to usher at Viva concerts. *Name: *Email: Mailing Address: Is there another way you’d like to be connected to Viva?Please tell us how:

Win a Free Ticket!

Your patronage is vital to our success. Thank you for attending our concerts.And thank you for your support!

Viva la Musica is a public benefit 501 (c)3 non-profit organizationDonations are tax deductible.