Alto———————————

Cathy Wirkus Gail McMullin Liz Patterson Kay Mammen Mary Parsons Zulema Espinoza Kathy Pratchett Ann Pritchard Stacy Lippert Anne Collett Rhea Schomaker Becky Shifman Nancy Kline Sydney Reed Laura Beatty Joyce Flake Renate Dalton Renee Hall Karen Portwood Brigitta Wray Jane Howard

Jane Hamilton Vicki Plumb Jayne Bradshaw Marily Owens Patti House Vicki Talmage

Bass———————————

Tate Jorgensen Matthew Burns Steve Sady Tom Hannigan Neil Fisher Keith Damon Ken Kline Leon Tate David Packham John Schultz Dave Ostler Adam Newman Kelly Smith Charles Neal

Soprano———————————

April Buys Kirsten Nilsson Elizabeth Thomas Ardith Knudson Gloria Edwards Kathryn Allan Peggy Stuart Stephanie Burton Barbara Ohm Priscilla Dominguez Andrea Waldmann Sophia Hodson Barbara Damon Jan Zinn Cami Michaelis Ginny Coombs Colleen Earnshaw Kathleen Johnston Linda Stagg Pamela Smith Zoe Brown

Sherri Gilgen Caroline Waldmann Gemma Feltovich Kate Losee Carolyn Murray Laura Beatty

Tenor———————————

Ann Crooks Bruce Maw Sue Heumann Randy Favero Joe Williams John Lippert Joe Campbell Brandon Bailey Leif Oines

Rehearsal Accompanist————————————

Shelle Jennings

Sing-Along Participants

MessiahA P R I L 9 , 2 0 1 7

T H E PA R K C I T Y I N T E R FA I T H C O U N C I LP R E S E N T S

GeorGe Frideric

Handel’s

S I N G - A L O N G C O N C E R T

W W W. PA R KC I T Y S I N G S . I N F O

OrchestraBassoon

—————

Kylie Lincoln

Oboe———

Ivy GinesErika QuereshiJack Jorgenson

Violin———

Nathan WestPatricia Toth Mayo

Annie AgleJill Johnson

Viola———

Timothy RohwerLeslie Harlow

Cello———

Bill Mammen

Bass———

Sherm Tate

Timpani—————

Korky Ollerton

Trumpet—————

Christopher TaylorKevin Hillman

Organ————

Heidi Alley

Harpsichord———————

Shelle Jennings

Choir

Randy Favero, ChairmanDebra Cook, Artistic DirectorTyler Walton, SponsorshipsPamela Smith, Publicity

Mary Prior, PublicityKevin Bauer, PublicityKelly Schofield, ProgramBrooke Mitchell, Stage Manager

Charles Stuart, Lobby ManagerBrooke Rowher, RefreshmentsSandy Foley, FinanceCharles Neal, Web Site

Messiah Committee

T h e s t o ry g o e s t h at a f t e r t h e f i r s t p e r f o r m a n c e of Messiah, an enthusiastic member of the audience congratulated com-poser and director George Frideric Handel for producing such a won-derful piece of “entertainment.” “Entertainment!” Handel replied, “My purpose was not to entertain, but to teach them something.” That was April 13, 1742, in Dublin, Ireland. The previous year, Handel had been approached by the librettist Charles Jennens about a musical oratorio on the life of the Messiah. Jennens’ concept was to tell the entire story of the Christ through passages of Scripture put to music. He would begin with the Old Testament prophecies foretelling the ministry of Christ, move to the New Testament’s accounts of the birth of Jesus, then forward through his death and resurrection, all seen through the eyes of the writers of Scripture. In an age when illiteracy was wide-spread and written copies of the Bible were expensive and rare, Handel

became excited about Jennens’ idea. Handel pioneered the “oratorio,” a musical composition designed to teach the Scriptures by setting them to music. He seems to have immediately understood how important such a com-position about the life of Jesus might be, and he set to work on it right away. At the end of his manuscript, Han-del wrote the letters “SDG”—Soli Deo Gloria, “To God alone the glory.” This inscription, taken with the speed of composition, has encouraged belief in the apocryphal story that Handel wrote the music in a fervor of divine inspiration; and, while composing the “Hallelujah Chorus” stated, “I think I did see all Heaven before me and the great God himself.” Without question, one of the most famous pieces of music ever written or performed is Handel’s Messiah. Note that the title of this work is not ‘The Messiah,’ but simply Messiah. George Frideric Handel was born in Germany in 1685, the same year as Johann Sebastian Bach. His father wanted him to study law, but when it became apparent that the young Handel was musically gifted, his father reluctantly agreed to let the boy study music. Handel became an accomplished harpsichordist and studied in Naples, where he became an acclaimed writer of Italian operas. He later moved to England, where he continued to have success writing opera, as well as compositions for the royal court. Handel’s Water Music was composed for King George I. But nothing Handel ever wrote became as popular as Messiah. Using Jennens’ libretto, Handel completed the entire musical score in only 24 days. The first performance of Messiah in Dublin (a charity event to raise money for a hospital) was a huge success. The piece was not as well received when it debuted in London, but Handel made it a recurring part of his schedule of performances—it became his tradi-tion to perform Messiah annually as a benefit to raise money for London orphanages. Fortunately for Handel, King George decided that this work was worthy of being attended and supported, and this in turn led to one of the most interesting traditions connected to this masterpiece. When the Hallelujah chorus began to play in the performance the King attended he abruptly stood up, apparently as a way of indicating he recognized that Christ was the King of Kings. Now it was normal protocol that if the King stood at any time, no one in his presence sat, and so the entire audience stood for the performance of the Hallelujah Chorus. This tradition has been maintained even until today. Handel could never have anticipated that this work would become perhaps the most performed piece of classical music in all of history, all to the glory of Christ. George Frideric Handel died in 1759 and is buried in Westminster Abbey. Messiah is one of his greatest musical creations, and is arguably the greatest piece of Christian music ever written. The Hallelujah Chorus is instantly recognizable, even by those who do not consider themselves members of the Christian faith. It has become a part of our Christian cultural heritage. Handel didn’t write Messiah for music historians or classical music geeks. He wrote it to tell the story of Jesus to ordinary people, through music, the language of the heart.

The History of Handel’s Messiah Park City Interfaith Council Mission and Members

PARK CITY

INTERFAITH

COUNCIL

BcJ Financial Group

utaH Music conservatory

park city Music

cHuck & carla coonradt

eric Brown

BriGitta wray

iMpact pHotoGrapHy in MeMory oF craiG woolley

paMela sMitH

Friends of the Concert

Baha’i FaithCapital ChurchChristian Center of Park CityChurch Light and Truth or Luz Y VerdadCreekside Christian FellowshipCross Point Presbyterian ChurchFirst Church of Christ, Scientist

Mountain Life Evangelical Free ChurchPark City Community Church Shepherd of the Mountains Lutheran ChurchSki Chapel Ministry—Deer ValleySt. Luke’s Episcopal Church

St. Mary’s Catholic ChurchTemple Har ShalomThe Branch Park CityThe Church of Jesus Christ of Latter-day SaintsTruth and Light ChurchYoung Life

Participating Choir OrganizationsChristian Center of Park CityPark City SingersPark City Treble MakersUtah Conservatory

Creekside ChurchMountain Life ChurchPark City Community ChurchSt. Luke’s Episcopal Church

St. Mary’s Catholic ChurchTemple Har ShalomThe Church of Jesus Christ of Latter-day Saints

Our thanks to the local business establishments and organizations that have allowed thedisplay of advertising for the Messiah Sing-along Concert.

Event Sponsors

The Park City Interfaith Council exists to share the grace and love of God through service to the community and to develop mutual understanding between and among its members and the public.

About the Artists

Jo n at H a n Gr i F F i t H , Co n d u C t o r

We are fortunate again this year to have a well-known and acclaimed profes-sional conductor, Jonathan Griffth, for the entire presentation. Rather than try and post his extensive resume, we would like to highlight his winning of the American Prize in Conducting for 2014.

He i d i J. al l e y , or g a n i s t

Ms. Alley started piano lessons at the age of five under the tutelage of her mother, Margaret S. Brown. She added organ playing at age eight working with William Foxley. She studied piano with Dr. Paul Pollei and Robert Smith. She graduated from Brigham Young University in organ performance with Dr. Parley Belnap as her instructor. Other organ teachers include Dr. J.J. Keeler and Dr. Ken-neth Udy. Heidi is a well-known performer and accompanist at local venues in Salt Lake City including the Assembly Hall, Wasatch Presbyterian Church, and Libby Gardner Hall. She was a featured recitalist at the combined Region 8 and Region 9 Convention of the American Guild of Organists. She also was the local artist in 2007 for the Eccles Organ Concert Series held at the Cathedral of the

Madeline. She has served on the local board of the Salt Lake City Chapter American Guild of Organists and was Dean for the term of 2012–2014. She has served for many years as a faculty member of the Church Music Work-shop at Brigham Young University. Currently, she is a guest recitalist at the Conference Center and Tabernacle on Temple Square. She is the organist for St. Paul’s Episcopal Church in Salt Lake City. Heidi loves the outdoors and being active. She has completed two marathons, four Century bike rides, and several triathlons. She also enjoys water skiing, snow skiing, motorcycling, and hiking. She lives in Bountiful with her husband, Lynn, and is the mother of four children. She also boasts one son-in-law, daughter-in-law, and three fabulous grandchildren.

sHelle JenninGs, HarpsiCHordist & reHearsal aCCompanist

Ms. Jennings musical career spans 62 years. She has served as a collaborative pianist for vocal and instrumental artists, church choirs and community chorus-es in Michigan, Virginia and Utah. Jennings has served as director of church choirs and community choruses in these locales, including being the Music Di-rector and long time accompanist for Park City Singers. In 2016, after eleven years, Shelle retired as Music Director for The Park City Follies, but continues as Artistic Director of The Park City Treble Makers, a sixteen voice women’s a capella ensemble.

do r i s Br u n at t i , alt o

Ms. Brunatti’s upcoming appearances for the 2017-19 Seasons include performances of Handel’s “Messiah”, Menotti’s “The Consul” singing the Mother role, Durafley “Requiem”, “It’s a Grand Night for Singing” event, and a Western States Concert Tour along with Fundraiser Concerts, Masterclasses and Professional Judging scheduled throughout the United States. Doris Brunatti, a native of Utah is well known for her performances of Oratorio, Concert and Opera. Brunatti sang her first symphonic solo under the baton of Maurice Abravanel and subsequently soloed with his successors. Ms. Brunatti recently returned from New York’s Avery Fisher Hall where she resoundingly performed Handel’s Messiah. The New York Times review stated, “Brunatti

sang with conviction.” Previous New York Concerts include Mozart’s Coronation Mass, Mozart’s Requiem & Vespers, Haydn’s Theresian Mass & St. Nicolai Mass, in addition to being a soloist with the New York Festival of American Musical Theatre’s Live on Broadway concerts in the same venue. Brunatti has also sung in a Lincoln Center Concert with Bryn Terfel. She will return to New York to record and perform works by Composer Royce Campbell Twitchell. Brunatti has performed numerous times in Carnegie Hall as well as throughout the United States and abroad. She’s soloed with major Symphonies in St. Petersburg & Moscow- Russia, Jerusalem & Tel Aviv- Israel, Rome- Italy, Edmonton & Calgary- Canada, Venezuela, Phoenix- Arizona, and was voted “Best Concert” while singing Mahler’s “3rd Symphony” under Maestro Keith Lockhart with the Utah Symphony. No stranger to diversity, Ms. Brunatti has performed roles in the Musical Theatre genre across the country, and is a sought after Recitalist. Additionally, as an actress she can also be seen in commercial work and film. Brunatti has judged the Metropolitan Opera Auditions along with many other Voice and Theatre Competitions.

de B r a co o k, art i s t i C di r e C t o r a n d so p r a n o

Debra Cook is a vocal performance coach, collaborative entrepreneur, conductor and performing artist. Cook is co-founder of Utah Conservatory and Park City Music (a full service music store). She also was an Associate Adjunct Professor with the University of Utah Actor Training Program, taught with the BYU Music Department, and served 13 seasons as conductor for Park City Singers. Winner of the National Opera Auditions, Debra has performed nationally in opera, concert, musical theatre, and TV. Some of her work includes being a Messiah soloist at Avery Fischer Hall, doing a collaborative performance at the Sundance Film Festival, singing with the Utah Symphony, and performing several seasons in principal roles with the Utah Opera. She is currently on the

creative team of Sleepy Hollow: The Musical (www. sleepyhollowthemusical.com). Debra is grateful for her large family who share in the inspirational joy of the arts. She dedicates this year’s efforts to the memory of her husband, mentor, and forever sweetheart, Dr. Fredric W. Cook, who joyfully sang in this Messiah beside her last year.

About the Artists

About the Artists

lu c a s Go o d r i c H, te n o r

Lucas Goodrich is recognized for his “clear, vibrant tenor” and “committed and convincing character portrayals.” Most recently, he was seen with Opera Idaho for their production of Die Fledermaus and returns to the company this May to perform Schmidt in Massenet’s Werther. During the 2015–2016 academic year he served on the faculty of Southern Utah University as a Visiting Assistant Professor of Voice. While at SUU, he collaborated with Los Angeles based electronic composer Jason Francesco Heath for the Satellite Salon Series, sang on multiple faculty concerts, and was the music director and conductor for the spring opera. Here, in Utah, Lucas has appeared with the Salt Lake Symphony, New American Philharmonic, University of Utah

Lyric Opera, and the Utah Opera Chorus. He appeared twice with the Moab Music Festival, most recently debuting the role of Frenchie in Gerald Elias’ William Grandstaff. Lucas is on the music staff at Holy Family Catholic Church, has served with the music at Park City Community Church, and is a frequent guest clinician and adjudicator throughout the Rocky Mountain West. He resides in Salt Lake City with his wife, Randi.

ro B e rt Br a n d t, Ba r i t o n e

Robert Brandt is an Assistant Professor of Voice with the BYU School of Music, teaching applied voice, German diction and Opera Workshops. He earned a Doctor of Music in Vocal Performance and Literature from Indiana University, where he studied with Costanza Cuccaro, and earned both a Bachelor of Music and Master of Music Vocal Performance from Brigham Young University—studying with J. Arden Hopkin and Clayne Robison. Dr. Brandt appears regularly on the operatic and concert stage in repertoire ranging from the Baroque to the 21st century. In a review of his performance of Mandryka in Richard Strauss’s Arabella, Opera News said, “Robert Brandt had it all. Handsome, with an ebullient personality, Brandt has innate musical simplicity

and honesty and delivered the German text with amazing clarity of diction.” Recent operatic credits include: Germont in La Traviata, Marcello in La Boheme, Figaro in The Marriage of Figaro, Mandryka in Arabella and Demetrius in A Midsummer Night’s Dream. While residing in Delaware, he was active locally and regionally as a concert soloist. Highlights include performances of the title role in Mendelssohn’s Elijah in Wilmington, Del., and Abington, Pa. He soloed with the University of Delaware Symphony Orchestra in Haydn’s The Creation and Brahms’s German Requiem. Dr. Brandt has a love for classical art song and in particular for the German lied. In 2008 he participated in the 15th International Robert Schumann Competition in Schumann’s birth city of Zwickau, Germany.

Musical Program

#1 Overture Orchestra

#2 “Comfort Ye, My People” Tenor Solo

#3 “Every Valley Shall Be Exalted” Tenor Solo

#4 “And The Glory of The Lord” Choir

#5 “Thus Saith the Lord” Bass Recitative

#6 “But Who May Abide the Day of His Coming?” Bass Solo

#8 “Behold, A Virgin Shall Conceive” Alto Recitative

#9 “O Thou That Tellest Good Tidings” Alto Solo & Choir

#12 “For Unto Us a Child is Born” Choir

#14 “There Were Shepherds Abiding in the Field”“And Lo! The Angel of The Lord . . .”“And the Angel Said Unto Them”“And Suddenly There Was With the Angel” Soprano Recitative

#17 “Glory to God” Choir

#18 “Rejoice Greatly” Soprano Solo

#19 “Then Shall the Eyes of the Blind Be Opened” Alto Recitative

#20 “He Shall Feed His Flock Like a Shepherd” Alto & Soprano

#22 “Behold the Lamb of God” Choir

#23 “He Was Despised” Alto Solo

#24 “Surely He Hath Borne Our Griefs” Choir

#32 “But Thou Didst Not Leave His Soul in Hell” Tenor

#44 “Hallelujah” Choir, Soloists

#45 “I Know That My Redeemer Liveth” Soprano Solo

#46 “Since By Man Came Death” Choir

#47 “Behold, I Tell You a Mystery” Bass Recitative

#48 “The Trumpet Shall Sound” Bass Solo

#53 “Worthy is the Lamb/Amen” Choir, Soloists

pr e l u d e—no. 13 “pa s t o r a l sy m p h o n y”

We l c o m e b y ty l e r Wa lt o n—pr e s i d e n t, pa r k ci t y in t e r fa i t h co u n c i l

in v o c at i o n b y le i f oi n e s — ca p i ta l ch u r c h

Playbill