curtis - InstantEncore
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curtis - InstantEncore
CURTIS INSTITUTE OF MUSIC 2009-10 STUDENT RECITAL SERIES The Edith L. and Robert Prostkoff Memorial Concert Series TWENTY-THIRD STUDENT RECITAL Vocal Studies Department Recital Sunday, December 13 at 3 p.m. Field Concert Hall “Ah perfido!” Op. 65 Ludwig van Beethoven (1770–1827) Kirsten MacKinnon, soprano Mikael Eliasen, piano Quatre Chansons de Ronsard, Op. 223 A une fontaine A Cupidon Tais-toi, babillarde! Dieu vous gard’ Alize Rozsnyai, soprano Darius Milhaud (1892–1974) “È il sol dell’anima” from Rigoletto Anna Davidson, soprano Christopher Tiesi, tenor Giuseppe Verdi (1813–1901) “Caro nome” from Rigoletto Verdi Anna Davidson, soprano “O del mio dolce ardor” Christoph Willibald Gluck from Paride ed Elena (1714–87) Jaguar Sasmito, baritone Lisa Keller, piano INTERMISSION “Sgombra è la sacra selva” from Norma Shir Rozzen, mezzo-soprano Vincenzo Bellini (1801–35) “O mio babbino caro” Giacomo Puccini from Gianni Schicchi (1858–1924) Meredith LaBouff, mezzo-soprano “Vissi d’arte” from Tosca Puccini Allison Sanders, soprano “Ves’ tabor spit” from Aleko Sergei Rachmaninoff (1873–1943) Evan Boyer, bass Lisa Keller, piano “My Ship” from Lady in the Dark lyrics by Ira Gershwin Jaguar Sasmito, baritone Kurt Weill (1900–1950) “Surabaya-Johnny” from Happy End Elizabeth Reiter, soprano “It Never Was You” from Knickerbocker Holiday lyrics by Maxwell Anderson Meredith LaBouff, mezzo-soprano “I’m a Stranger Here Myself” from One Touch of Venus lyrics by Ogden Nash Elizabeth Reiter, soprano “Lost in the Stars” from Lost in the Stars lyrics by Anderson Shir Rozzen, mezzo-soprano “Youkali”: Tango Habanera Elizabeth Reiter, soprano “The Saga of Jenny” from Lady in the Dark lyrics by I. Gershwin Jaguar Sasmito, baritone Cantata John Carter Prelude (1929–91) Rondo: Peter Go Ring dem Bells Recitative: Sometimes I Feel Like a Motherless Child Air: Let Us Break Bread Together Toccata: Ride On King Jesus Allison Sanders, soprano Mikael Eliasen, piano Photographic and recording equipment may not be used in Field Concert Hall. Recitals are professionally recorded for educational use and possible broadcast. This program will be sent via live video transmission to external venues by SpectiCast as part of its series Live from Curtis . This recital will be available online for free streaming and download on Monday, December 14. Visit www.instantencore.com/curtis and enter this download code in the upper-right corner of the screen: Dec09VS Follow the prompts to the downloads page for this program. Click “download” next to selections you wish to save onto your computer or memory device; click “play” to stream music. Mikael Eliasen, piano NEXT STUDENT RECITAL Monday, December 14 at 8 p.m. Field Concert Hall Programs are subject to change. Call the Recital Hotline, (215) 893-5261, for the most up-to-date information. CURTIS INSTITUTE OF MUSIC 2009–10 STUDENT RECITAL SERIES TWENTY-THIRD STUDENT RECITAL Vocal Studies Department Recital Sunday, December 13 at 3 p.m. Field Concert Hall “Ah perfido!” Op. 65 Music by Ludwig van Beethoven ~ Text by Pietro Metastasio Ah perfido, spergiuro, Barbaro traditor, tu parti? E son questi gl’ultimi tuoi congedi? Ove s’intese tirannia più crudel? Va, scellerato! Va, pur fuggi da me! L’ira de’ numi non fuggirai. Se v’è giustizia in ciel, se v’è pietà, Congiureranno a gara tutti a punirti. Ombra seguace, presente, ovunque vai. Vedrò le mie vendetta. Io già le godo immaginando. I fulmini ti veggo già balenar d’intorno. Ah no! Fermate, vindici Dei! Risparmiate quel cor, ferite il mio! S’ei non è più qual era, son io qual fui, Per lui vivea, voglio morir per lui! Ah, you treacherous, faithless, Barbaric traitor, you leave? And is this your last farewell? Where did one hear of a crueler tyranny? Go, despicable man! Go, flee from me! You won’t flee from the wrath of the gods. If there is justice in heaven, if there is pity, All will join forces in a contest to punish you. I follow your trail! I am wherever you go. I will live to see my revenge. I already take my delight in it in my imagination. I see you surrounded by flashes of lightning. Alas! Pause, avenging gods! Spare that heart, wound mine! If he is not what he was, I am still what I was. For him I lived, for him I want to die! Per pieta; non dirmi addio! Di te priva che farò? Tu lo sai, bell’idol mio, Io d’affanno morirò! Have mercy; don’t bid me farewell! What shall I do without you? You know it, my beloved idol, I will die of grief! Ah crudel! Tu vuoi ch’io mora! Tu non hai pietà di me? Perchè rendi a chi t’adora Così barbara mercè? Dite voi se in tanto affanno Non son degna di pietà? Ah, cruel man! You want me to die! Don’t you have pity on me? Why do you reward the one who adores you In such a barbaric way? Tell me, if in such a grief I do not deserve pity? Translation © 2007 by Bertram Kottmann from recmusic.org Please wait for the conclusion of this selection before turning the page. “O del mio dolce ardor” from Paride ed Elena Music by Christoph Willibald Gluck ~ Text by Ranieri Calzabigi O del mio dolce ardor bramato oggetto, L’aura che tu respiri, alfin respiro. O vunque il guardo io giro, Le tue vaghe sembianze amore in me dipinge. Il mio pensier si finge le più liete speranze, E nel desio che così m’empie il petto, Cerco te, chiamo te, spero e sospiro. Oh, desired object of my sweet ardor, The air which you breathe, at last I breathe. Wherever I turn my glance Your lovely features paint love for me. My thoughts imagine the most happy hopes, And in the longing which fills my bosom, I seek you, I call you, I hope, and I sigh. Translation © by Paul Hindemith from recmusic.org “Sgombra è la sacra selva” from Norma Music by Vincenzo Bellini ~ Text by Felice Romani, based on Alexandre Soumet’s play Norma Sgombra è la sacra selva, compiuto il rito. Sospirar non vista alfin poss’io, Qui, dove a me s’offerse la prima Volta quel fatal Romano. Che mi rende rubella al tempio, al Dio. Fosse l’ultima almen! Vano desio! Irresistibil forza qui mi trascina. E di quel caro aspetto il cor si pasce E di sua cara voce l’aura che spira Mi ripete il suono. Cleared is the sacred forest, finished the rite. To crave the sight, at last I can, Here, where for the first time The fatal Roman offered himself to me. That makes me a traitor to the temple, to God. If only it had been the last time! Vain desire! Irresistible force drags me here. And on that dear face the heart feeds itself And of his dear voice the breeze that blows To me repeats the sound. Deh, proteggimi, o Dio! Deh, proteggimi, proteggimi, O Dio, proteggimi! Perduta, perduta io son, Gran Dio, abbi pietà, Perduta, perduta io son. Protect me, o God! Protect me, protect me, O God, protect me! Lost I am, Great God, have pity, Lost, lost I am. Translation by Sally Mouzon from recmusic.org Please wait for the conclusion of this selection before turning the page. “O mio babbino caro” from Gianni Schicchi Music by Giacomo Puccini ~ Text by Giovacchino Forzano My dear father, I love him [Rinuccio, her lover]; he’s beautiful. I want to go to Porta Rossa And buy the ring! Yes, yes, I want to go! And if my love is in vain, I would go upon Ponte Vecchio, Only to jump in the Arno! I long for him and torment myself! O God, I’d like to die! Father, have pity, have pity! O mio babbino caro, Mi piace è bello. Vo’andare in Porta Rossa A comperar l’anello! Sì, sì, ci voglio andare! E se l’amassi indarno, Andrei sul Ponte Vecchio, Ma per buttarmi in Arno! Mi struggo e mi tormento! O Dio, vorrei morir! Babbo, pietà, pietà! Translation by Giuseppe Cusmano ([email protected]) “Vissi d’arte” from Tosca Music by Giacomo Puccini ~ Text by Giuseppe Giacosa and Luigi Illica Vissi d’arte; vissi d’amore. Non feci mai male ad anima viva. Con man furtiva Quante miserie conobbi, aiutai. Sempre con fe sincera, la mia preghiera ai santi tabernacoli sali. Sempre con fe sincera, diedi fiori agli altar. Nell’ora del dolore, Perche, perche Signore Perche me ne rimuneri cosi? Diedi gioielli della Madonna al manto, E diedi il canto agli astri, Al ciel, che ne ridean piu belli. Nell’ora del dolore perche, Perche Signore, perche me ne rimuneri cosi? I lived for art; I lived for love. Never did I harm a living creature. Whatever misfortunes I encountered I sought with secret hand to succour. Ever in pure faith, my prayers rose in holy chapels. Ever in pure faith, I bought flowers to the altar. In this hour of pain, Why, Why oh Lord Dost Thou repay me thus? I brough jewels for the Madonna’s mantle And songs for the stars in heaven That shone forth with greater radiance. In this hour of distress, why, Why, oh Lord, why dost Thou repay me thus? Translation by Jamshed Variava from aria-database.com Please wait for the conclusion of this selection before turning the page. “Ves’ tabor spit” from Aleko Music by Sergei Rachmaninoff ~ Text by V. I. Nemirovich Danchenko Ves’ tabor spit. Luna nad nim polnochnoy krasotoyu bleshchet. Chto zh serdce bednoe trepeshchet? Kakoyu grust’yu ya tomim? Ya bez zabot, bez sozhalen’ya vedu kochuyushchie dni. Prezrev okovy prosveshchen’ya, ya volen tak zhe, kak oni! Ya zhil, ne priznavaya vlasti sud’by kovarnoy I slepoy. No, bozhe, kak igrayut strasti moey poslushnoyu dushoy! Zemfira! Kak ona lyubila! The whole camp is sleeping. The moon above it with midnight splendor shines. Why then is my poor heart trembling? With what sadness am I tormented? Without cares or regrets I lead my days in wandering. Having rejected the chains of civilization, I am as free as they are! I lived despising the power of cruel and blind fate. But, God, how the passions play with my susceptible soul! Zemfira! How she loved me! Kak, nezhno priklonyas’ ko mne, v pustynoy tishine chasy nochnye provodila! Kak chasto milym lepetan’em, upoitel’nym lobzan’em zadumchivost’ moyu v minute razognat’ umela! Ya pomnyu, s negoy, polnoy strasti, sheptala mne ona todga: “Lyublyu tebja! V tvoey ya vlasti! Tvoya, Aleko, navsegda!” I vsë togda ya zabyval, kogda recham eyë vnimal i, kak bezumnyy, celoval eyë charuyushchie ochi, kos chudnih pryad’, temnee nochi, usta Zemfiry. A ona, vsya negoy, strastyu polna, pril’nuv ko mne, v glaza glyadela … I chto zh? Zemfira ne verna! Moya Zemfira ohladela! How, in the silence of the wilderness, leaning toward me tenderly, she spent the night hours! How often with a gentle whisper or an intoxicating kiss, she could dissipate my sadness! I recall how, with tenderness and passion, she would whisper to me: “I love you! I am in your power! I am yours, Aleko, forever!” When I listened to her words, I would forget everything and madly kiss her intoxicating eyes, the strands of her wonderful hair, darker than night, Zemfira’s lips. And she, full of tenderness and passion, would lean toward me and look into my eyes … And now? Zemfira is unfaithful! My Zemfira has grown cold to me! Translation © 2004 by Leyerle Publications Quatre Chansons de Ronsard, Op. 223 Music by Darius Milhaud ~ Text by Pierre de Ronsard “A une fontaine” (“To a fountain”) Écoute moi, fontaine vive, En qui j’ai rebu si souvent, Couché tout plat dessus ta rive, Oisif à la fraîcheur du vent, Quand l’été ménager moissonne Le sein de Cérès dévêtu, Et l’air par compas résonne Gémissant sous le blé battu. Ainsi toujours puisses-tu être En religion à tous ceux Qui te boiront ou fairont paître Tes verts rivages à leurs boeufs. Ainsi toujours la lune claire Voie à minuit au fond d’un val Les Nymphes près de ton repaire À mille bonds mener le bal! Listen to me, living fountain, From whom I oft have drunk, Flat on my belly overlooking your bank, Lazy in the cool breeze While the summer harvests, Ceres’s unclad breast And the air whimpers Beneath the beaten wheat. So may you always be In religion to all those Who drink from you or who pasture Their cattle on your green banks. So may nymphs Forever dance Around you In the moonlit midnights. Please wait for the conclusion of this selection before turning the page. “A Cupidon” (“To Cupid”) Le jour pousse la nuit et la nuit sombre Pousse le jour qui luit d’une obscure ombre. L’Automne suit l’Été et l’âpre rage Des vents n’a point été après l’orage. Mais la fièvre d’amours qui me tourmente Demeure en moi toujours et ne s’alente. Ce n’était pas moi, Dieu, qu’il fallait poindre; Ta flèche en d’autre lieu se devait joindre. Poursuis les paresseux et les amuse, Mais non pas moi, ni ceux qu’aime la Muse. Day pushes night and dark night Pushes gleaming day with dark shades. Autumn follows summer, and the winds No longer rage after the storm. But the love fever that torments me Burns in me forever unabated. You should not have aimed at me, God; Your arrow should have had another target. Go after the lazy and amuse them, But not me or those who love the Muse. “Tais-toi, babillarde!” (“Quiet, chattering swallow!”) Tais-toi, babillarde arondelle! Ou bien, je plumeray ton aile, Si je t’empongne, ou d’un couteau Je te couperay la languette, Qui matin sans repos caquette Et m’estourdit tout le cerveau. Quiet, chattering swallow! If I get my hands on you, I’ll tear the feathers from your wing Or cut out your tongue. In the morning, your endless cackling Makes my head turn. Je te preste ma cheminée, Pour chanter toute la journée, De soir, de nuict, quand tu voudras. Mais au matin ne me reveille, Et ne m’oste quand je sommeille Ma Cassandre d’entre mes bras. You can sing all day, All evening, and all night In my chimney if you want, But in the morning don’t wake me up When I’m dozing With my Cassandra in my arms. Please wait for the conclusion of this selection before turning the page. “Dieu vous gard’ ” (“God be with you”) Dieu vous gard’, messagers fidèles Du Printemps, gentes hirondelles, Huppes, coucous, rossignolets, Tourtres, et vous oiseaux sauvages Qui de cent sortes de ramages Animez les bois verdelets. God be with you, faithful messengers Of Spring, swallows, Hoopoes, cuckoos, little nightingales, Turtledoves, and wild birds Who make the greenwood Lively with a hundred sorts of warbles. Dieu vous gard’, belles pâquerettes, Belles roses, belles fleurettes, Et vous boutons jadis connus Du sang d’Ajax et de Narcisse, Et vous thym, anis et mélisse. Vous soyez les bien revenus. God be with you, lovely daisies, Beautiful roses, pretty little flowers, And you buds, once known As the blood of Ajax and Narcissus, And you thyme, anise, wild cherry. Welcome back. Dieu vous gard’, troupe diaprée Des papillons, qui par la prée Les douces herbes suçotez; Et vous, nouvel essaim d’abeilles, Qui les fleurs jaunes et vermeilles De votre bouche baisotez. God be with you, multicolored troop Of butterflies sucking The sweet grasses of the field, And you, new swarm of bees Kissing the yellow And red flowers. Cent mille fois je resalue Votre belle et douce venue. Ô que j’aime cette saison Et ce doux caquet des rivages, Au prix des vents et des orages Qui m’enfermaient en la maison! A hundred thousand times I salute Your sweet return. Oh, how I love this season And the sweet cackling on the banks After the winds and storms That have kept me shut in the house! Translation © 2002 by Faith J. Cormier from recmusic.org Please wait for the conclusion of this selection before turning the page. “È il sol dell’anima” from Rigoletto Music by Giuseppe Verdi ~ Text by Francesco Maria Piave DUCA DUKE È il sol dell’anima, la vita è amore, Sua voce è il palpito del nostro core. E fama e gloria, potenza e trono, Umane, fragili qui cose sono. Una pur avvene sola, divina è amor Che agli angeli più ne avvicina! Adunque amiamoci, donna celeste, D’invidia agli uomini sarò per te. It is the sun of the soul, life is love, Its voice is the beating of our hearts. Fame and glory, power and throne, Those human, fragile things are here. Although it happens, a single, divine love Which brings you closer to the angels! Therefore let us love, heavenly woman. I envy the men who are meant for you. GILDA GILDA Ah de’ miei vergini sogni son queste le voci tenere sì care a me! Ah, my virgin dreams are made of these things so take care of me! DUCA DUKE Che m’ami, deh, ripetimi! You love me, repeat it! GILDA GILDA L’udiste. My father. DUCA DUKE Oh, me felice! O, my happiness! GILDA GILDA Il nome vostro ditemi. Saperlo non mi lice? Tell me your name. DUCA DUKE Mi nomino Gualtier Maldè. Studente sono e povero! My name is Gualtier Maldè. I am a student and poor! GILDA GILDA Forse mio padre … Perhaps my father … DUCA DUKE (Ah, cogliere potessi il traditore; che sì mi sturba!) (Ah, if I could only seize the traitor, how it instigates me!) GILDA (a Giovanna) GILDA Adducilo. Di qua al bastione … or ite … This way to escape. DUCA DUKE Di’, m’amerai tu? Say you love me? GILDA GILDA E voi? And you? DUCA DUKE L’intera vita poi For my whole life GILDA GILDA Non più, non più, partite. Then no more, no more, leave. TUTT’E DUE BOTH Addio, speranza ed anima! Sol tu sarai per me. Addio, vivrà immutabile L’affetto mio per te. Addio! Goodbye, my soul and life! It is you, alone, who is for me. Goodbye, I will live without changing My affection for you. Goodbye! Translation by Christopher Tiesi Please wait for the conclusion of this selection before turning the page. “Caro nome” from Rigoletto Music by Giuseppe Verdi ~ Text by Francesco Maria Piave Gualtier Maldè, nome di lui sì amato, Scolpisciti nel core innamorato! Caro nome che il mio cor Festi primo palpitar, Le delizie dell’ amor mi dêi sempre rammentar! Col pensiero il mio desir a te ognora volerà, E pur l’ultimo sospir, caro nome, tuo sarà. Gualtier Maldè, name of my beloved, Brand this loving heart! Sweet name, you who made my heart Throb for the first time, You must always remind me the pleasures of love! My desire will fly to you on the wings of thought And my last breath will be yours, my beloved. Translation by Guia K. Monti from aria-database.com Please wait for the conclusion of this selection before turning the page. “Surabaya-Johnny” from Happy End Music by Kurt Weill ~ Text by Bertolt Brecht Ich war jung Gott, erst sechzehn Jahre. Du kamest von Burma herauf. Du sagtest, ich solle mit dir gehen, du kämest für alles auf. Ich fragte nach deiner Stellung. Du sagtest so wahr ich hier steh’? Du hätest zu tun mit der Eisenbahn und nichts zu tun mit der See. Du sagtest viel, Johnny. Kein Wort war wahr, Johnny. Du hast mich betrogen, Johnny zur ersten Stund! Ich hasse dich so, Johnny, wie du da stehst und grinst, Johnny. Nimm doch die Pfeife aus dem Maul, du Hund! I was young, I was just sixteen then, When you came up from Burma one day. You told me to come travel with you. I asked, “Do you work nice and steady, or do you go sailing and roving out to sea?” And you said, “I have a job on the railroad, nothing to do with the sea, and baby, how swell it’s all gonna be.” You said a lot, Johnny. It was all lies. You sure had me fooled, right from the start. I hate you when you laugh at me like that. Surabaya-Johnny, warum bist du so roh? Surabaya-Johnny, mein Gott und ich liebe dich so! Surabaya-Johnny, warum bin ich nicht froh? Du hast kein Herz, Johnny, und ich liebe dich so! Surabaya-Johnny, is it really the end? Surabaya-Johnny, my God, I love you so! Surabaya-Johnny, oh, why won’t I mend? You got no heart, Johnny, but oh, I love you so! Zuerst war es immer Sonntag. Das war, bis ich mitging mit dir. Aber dann, schon nach zwei Wochen, War dir nichts mehr recht an mir. Hinauf und hinab durch den Pandschab, Den Fluß entlang bis zur See. Ich sehe schon aus im Spiegel, Wie eine Vierzigjährige. Du wolltest nicht Liebe, Johnny, du wolltest Geld, Johnny, ich aber sah, Johnny nur auf deinen Mund. Du verlangtest alles, Johnny. Ich gab dir mehr, Johnny. Nimm doch die Pfeife aus dem Maul, du Hund! Thought at first you were kind and gentle, ’Til I packed up and went off with you. And it lasted two weeks until one day You laughed at me and hit me too. You dragged me all over the city, Up the river and down to the sea. Now I look at myself in the mirror, And some old woman looks back at me. You didn’t want love, Johnny; you wanted money. Ich habe es nicht beachtet warum du den Namen hast. Doch an der ganzen langen Küste warst du ein bekannter Gast. Eines Morgens in einem Six-Pence-Bett, werd’ich donnern hören die See; Und du gehst, ohne etwas zu sagen, und ein Schiff liegt unten am Kai. I forgot to ask you why they called you that funny name, But in every hotel, I found out, yet loved you all the same. One day in a two-bit flop-house, I’ll wake up to the roar of the sea, And you’ll leave without one word of warning, on the ship waiting down at the key. Du hast kein Herz, Johnny. Du bist ein Schuft, Johnny. Du gehst jetzt weg, Johnny, sag mir den Grund! Ich liebe dich doch, Johnny, wie am ersten Tag, Johnny. Nimm doch die Pfeife aus dem Maul, du Hund! You got no heart, Johnny. You’re just no good. You going now? Oh, tell me why. I love you after all, Johnny, like that very first day. Take that pipe out of your mouth, Johnny! Take that pipe out of your mouth, Johnny! I gave you all I had, Johnny. You wanted more. Take that pipe out of your mouth, Johnny! Translation adapted from www.lyricstime.com and Michael Feingold Please wait for the conclusion of this selection before turning the page. “Youkali”: Tango habanera Music by Weill ~ Text by Roger Fernay C’est presque au bout du monde, Ma barque vagabonde, Errant au gré de l’onde, M’y conduisit un jour. Near the end of the world, My vagabond ship, Wandering at the whim of the waves, Directed me there one day, L’île est toute petite, Mais la fée qui l’habite Gentiment nous invite À en faire le tour … This island is very small, But the fairy who lives there Gently invited us to take a tour … Youkali, c’est le pays de nos désirs, Youkali, c’est le bonheur, c’est le plaisir, Youkali, c’est la terre où l’on quitte tous les soucis, C’est dans notre nuit, Comme une éclaircie, L’étoile qu’on suit, C’est Youkali! Youkali, it is the land of our desires, Youkali, it is happiness, it is pleasure, Youkali, it is the land where one leaves all cares, It is in our night, Like a bright light, A star which one follows, It is Youkali! Youkali, c’est le respect de tous les voeux échangés, Youkali, c’est le pays des beaux amours partagés, C’est l’espérance Qui est au coeur de tous les humains, La délivrance que nous attendons tous pour demain, Youkali, it is the respect of exchanged vows. Youkali, it is the land of beautiful lovers. It is the hope Which is at the heart of all humans, The deliverance we want for tomorrow. Youkali, c’est le pays de nos désirs, Youkali, c’est le bonheur, c’est le plaisir, Mais c’est un rêve, une folie, Il n’y a pas de Youkali! Youkali, it is the land of our desires, Youkali, it is happiness, it is pleasure, But it is a dream, a folly. There is no Youkali. Et la vie nous entraîne, la sente quotidienne, Mais la pauvre âme humaine, Cherchant partout l’oubli, A pour quitter la terre, Su trouver le mystère, Où nos rêves se terrent En quelque Youkali. And life goes on, weariness every day. But the poor human soul, Looks everywhere to forget it, To leave the earth, To find the mystery. We dream on earth To live on some Youkali. Translation by A. Reaux Please wait for the conclusion of this selection before turning the page. PERFORMERS Evan Boyer, from Louisville, Ky., is a student of Marlena Kleinman Malas and entered Curtis in 2007. Anna Davidson, from Los Angeles, is a student of Marlena Kleinman Malas and entered Curtis in 2009. Meredith LaBouff, from Tenafly, N.J., is a student of Marlena Kleinman Malas and entered Curtis in 2009. Kirsten MacKinnon, from Burnaby, British Columbia, is a student of Patricia McCaffrey, adjunct faculty, and entered Curtis in 2008. Elizabeth Reiter, from Chicago, is a student of Marlena Kleinman Malas and entered Curtis in 2008. Alize Rozsnyai, from San Diego, is a student of W. Stephen Smith, adjunct faculty, and entered Curtis in 2009. Shir Rozzen, from Karmey-Yosef, Israel, is a student of Lorraine Nubar, adjunct faculty, and entered Curtis in 2008. Allison Sanders (Voice ’09), from Memphis, is a student of Marlena Kleinman Malas and entered Curtis in 2005. Jaguar Sasmito, from Sacramento, Calif., is a student of Barbara Honn, adjunct faculty, and entered Curtis in 2009. Christopher Tiesi, from Sarasota, Fla., is a student of Marlena Kleinman Malas and entered Curtis in 2009. Mikael Eliasen, the Hirsig Family Head-of-Department Chair in Vocal Studies and artistic director of the Curtis Opera Theatre Lisa Keller, opera and voice coach