Romanian-born violinist Ruxandra Simionescu-Marquardt attended the ‘George Enescu’ School of Music and Conservatory of Music in Bucharest, where she was profoundly influenced by professors Stefan Gheorghiu and Modest Iftinchi.

As a young musician, she won several prizes and medals in international competitions such as “Concertino” Prague, Henri Wieniawski, Tibor Varga, All-Romania Prize (twice) and participated in the Yehudi Menuhin Competition. In 1986, she left Communist Romania to participate in the Indianapolis Violin Competition, defecting to the U.S. immediately afterward.

Simionescu-Marquardt continued her studies at Indiana University with Joseph Gingold and at Syracuse University, where she taught for eight years. In 1988, she became the youngest Associate Concertmaster in the U.S., a position she held for 13 years. She was also Principal Second Violin and Concertmaster of the Jacksonville Symphony in Florida and appeared as guest Concertmaster of the Rhode Island Philharmonic and the New Mexico Philharmonic.

She has played under many noted conductors, including Kazuyoshi Akiyama, Fabio Mechetti, James DePriest, Raymond Leppard, and Andrew Litton.

Her solo performances include appearances with the Bucharest Philharmonic, the Bucharest Radio Symphony Orchestra, the Syracuse Symphony, Jacksonville Symphony, Gainesville Chamber Orchestra, Boston Virtuosi, Coastal Symphony of Georgia and the San Marco Chamber Society. This season, she adds The Santa Fe Symphony Orchestra to that distinguished list.

As a chamber musician, Simionescu-Marquardt has participated in the Bayreuth Festival, Skaneateles Music Festival, Eastern Music Festival, and the Grand Teton Music Festival.

She is a dedicated and highly prized violin teacher. She has maintained successful studios for the last 25 years and has prepared several young musicians for competitions and noted conservatories around the country. She is also highly sought after as a coach and clinician for musicians preparing for auditions in professional and youth orchestras.

In 2012, she moved to the beautiful state of New Mexico and lives in Rio Rancho with her husband, Paul Marquardt, a composer and pianist. They appear frequently as musical partners in numerous duo recitals and chamber music concerts.

Soprano and crossover artist Amy Owens is known for her “high-flying vocals” and “scene-stealing” charisma on operatic, musical theatre, and concert stages, as well as her innovative, multi-disciplinary pursuits in music and entrepreneurship (Opera News). Her performing career has taken her to some of America’s most beloved venues, including the Kennedy Center, where her Fall 2019 debut as the soprano soloist in Carmina Burana under the baton of Gianandrea Noseda earned praise for “a perfect combination of purring, sensuous phrasing and pure-toned innocence” (Washington Classical Review). A well-known favorite soloist for Carmina Burana, she has performed the work with the National Symphony, Omaha Symphony, Virginia Symphony, Buffalo Philharmonic, Mobile Symphony, and MidAmerica Productions for her Carnegie Hall debut in 2017, and others. She is frequently sought after to create roles for world premieres of American Opera, including the title role in Augusta Read Thomas’ Sweet Potato Kicks the Sun with Santa Fe Opera in 2019, where she shared the stage with legendary beatboxer Nicole Paris in the first commission for the groundbreaking initiative “Opera for all Voices.”

Her 2024-2025 season begins with her debut with the San Diego Symphony in Sondheim Tonight! with notable Broadway stars Santino Fontana, Emily Skinner, and Tony Yazbeck, followed by the world premiere of Zozobra: The Revenge, a musical tale commemorating the 100th anniversary of one of Santa Fe’s most spectacular traditions. In the Fall she will return to Utah Opera to play her signature role of Johanna in Sweeney Todd, and make her Nashville Opera debut in the world premiere of The Cook Off. This season she will appear in concert with the Tallahassee Symphony, Des Moines Symphony, New Mexico Philharmonic, New Mexico Performing Arts Society, Moab Music Festival, Coro Lux, and the Brooklyn Art Song Society.

Amy’s 2023-2024 season included performances as Cunegonde in Candide alongside Kelsey Grammer at Wichita Opera, Johanna in Sweeney Todd with Virginia Arts Festival under the baton of Broadway’s Rob Fisher, and a return performance as the soprano soloist in Carmina Burana at the Kennedy Center with D.C. Choral Arts. Other performances included concerts with the New Mexico Philharmonic, where she made her conducting debut in the Fall of 2023, Messiah with Lubbock Symphony, Carmina Burana with Coro Lux, and a performance of Milhaud’s Chansons de Ronsard with Brooklyn Art Song Society.

Amy kicked off the 2022-2023 season performing Grenados’ Canciones Amotorias with the Brooklyn Art Song Society, followed by her main stage debut with Virginia Opera as Mabel in Pirates of Penzance, where she was praised by Opera News for her “silvery, focused soprano caressing each melodic contour.” In 2023 she appeared with the New Mexico Philharmonic in Beethoven’s Symphony No. 9, on tour with the Santa Fe Opera in The Telephone, and as Chrisann Brennan in The Revolution of Steve Jobs with Utah Opera. As a principal artist for the 2023 season with Utah Festival Opera and Musical Theater, she played Emily in Our Town and Phoebe in A Gentleman’s Guide to Love and Murder. In the 2021-2022 season, Amy made her debut with Chicago Opera Theater in Becoming Santa Claus under Lydiya Yankovskaya, and covered the roles of Controller and Tina in Dallas Opera’s production of Flight. She also appeared with Dayton Philharmonic and Lubbock Symphony for performances of Messiah, Oberlin Contemporary Music Ensemble, Brooklyn Art Song Society, and the Florida Keys Concert Association.

Other notable roles include Cunegonde in Candide with Utah Symphony, where she was praised for her “dazzling array of vocal abilities” and “remarkable acting talent,” Johanna in Sweeney Todd with Michigan Opera Theater, and Florestine in On Site Opera’s North American premiere of La mére coupable, a notoriously difficult score which Owens was hailed as handling with “keen sensitivity,” “gleaming coloratura,” and “impressive accuracy and thrilling high notes” (Broadway World, Bachtrack, Musical America). Her affinity for new music also makes her a sought-after soprano for developing contemporary works, including the Metropolitan Opera workshop of Eurydice, and multiple workshops with American Opera Projects. She covered the role of Faustina in the world premiere of The Phoenix at Houston Grand Opera in 2019, sang as a last-minute replacement in Opera America’s 2016 New Opera Showcase at Trinity Church NYC, was featured in The Intimacy of Creativity Festival in Hong Kong in 2017, and has premiered art song frequently with the NYFOS Next series.

Amy was a resident artist with Utah Opera, Wolf Trap Opera, Santa Fe Opera, and Central City Opera, and was a Grand Prize winner from the Sullivan Foundation in 2014. She also holds awards from the Jensen Foundation (2019 finalist) and Metropolitan Opera National Council (Eastern Region Finalist 2015). She is a multiple prize-winner with the George London Foundation and was a featured soloist on their recital series with Anthony Dean Griffey and Warren Jones in 2018.

As a multi-disciplinary artist, Amy performed at the 50th annual New Orleans Jazz Festival with renowned musician Glen David Andrews in the Blues Tent in 2019, and as a budding conductor, she was selected to participate in the Hart Institute for Women Conductors at Dallas Opera and the International Conducting Workshop Festival in Bulgaria. She released two collaborative albums in 2019: a debut album of original music, HAETHOR, which received acclaim in the electronica world as “an enchanted force” (Impose), and Songs of Leonard Bernstein, including previously unrecorded vocal music. Other discography includes her performance as Mater Gloriosa in Utah Symphony’s recording of Mahler’s Symphony 8 and in New York Festival of Song’s Picnic Cantata.

As an educator and producer, Amy co-founded The Collective Conservatory and developed a unique curriculum to forge new and innovative paths for online musical collaboration during the pandemic in 2020. She has also served as the artistic director and co-founder of Bel Canto Productions in Westwood, NJ and production manager for Access Opera, two organizations with missions to increase accessibility and broaden the definition of opera for a wider audience. She developed a unique online education program for vocalists in 2021 called Vocal Revolution and maintains a robust online studio focusing on technique and vocal freedom. In 2022 she co-directed Opera Storytellers, a children’s day camp run through Santa Fe Opera, developing a groundbreaking process for youth to compose and perform an original opera in five days. She also produced a two-week festival for students from her private vocal studio, where she produced multiple concerts and conducted a scenes program in Santa Fe, NM. She assumed the role of director of the Young Voices of Santa Fe Opera in Fall of 2023.

Amy enjoys developing her interests as a multi-genre vocalist, producer, conductor, accordion player, dancer, yogi, educator, writer, composer, and wellness advocate. She holds a M.M. degree in vocal performance from Rice University and a B.M. in vocal performance from Brigham Young University.

Spencer Hamlin has been praised by Opera News for his “scintillatingly smooth” and “dazzling Italianate voice.” In the 2024 season he appeared with Salt Marsh Opera for multiple roles in The Child and the Spells, York Symphony for Mendelssohn’s Symphony No. 2, Lobgesang, returned to Santa Fe Opera to sing the role of the Innkeeper and covered Valzacchi in Der Rosenkavalier and sang Spoletta in Tosca at the Metropolitan Opera. He was tenor soloist in Waterbury Chorale’s Beethoven Mass in C and Choral Fantasy and Carmina Burana with the University of Connecticut.

In 2025, Spencer reprises his role in Tosca and covers the First Jew in Salome, both at the Metropolitan Opera. He returns to Teatro Grattacielo as Pablo in the world premiere of Tin Angel by composer Daniel Asia and librettist Paul Pines, then joins West Edge Opera as the Captain in Wozzeck. He makes role and company debuts with Detroit Opera as Nick in La fanciulla del West and joins Lyric Opera of Kansas City for his first Goro in Madama Butterfly. The busy artist also performs Verdi’s iconic Requiem with the York Symphony.

In 2023, he made his Metropolitan Opera debut singing the Marschallin’s Major-Domo in Der Rosenkavalier. That same season Spencer debuted at the Santa Fe Opera debut as Spoletta in Tosca and sang Poulenc’s Messa di Gloria with the York Symphony and Three Tenors!

In 2022 Spencer sang Mr. Angel in The Impresario with Syracuse Opera, Almaviva in Il barbiere di Siviglia, and Alfredo Germont in La traviata with Opera Theater of Connecticut. He debuted several roles in the New York City Opera premiere of Ricky Ian Gordon’s The Garden of the Finzi-Continis, performed Il Cantatore in verismo masterpiece Giulietta et Romeo with Teatro Grattacielo, returned to Odyssey Opera as Albert in Rachmaninoff’s The Miserly Knight, joined Tulsa Opera as Second Nazarene in Salome, debuted with Salt Marsh Opera as Rinuccio in Gianni Schicchi and The Defendant in and Trial by Jury, and returned to NYCO for All Is Calm.

In 2021 Spencer was heard as Monostatos in The Magic Flute and Ruiz in Il Trovatore at the Glimmerglass Festival. He sang Don José in a virtual production of Carmen with Brooklyn College Conservatory and was a soloist in Playhouse on Park’s filmed production of All is Calm. He was scheduled to perform the Duke of Norfolk in Elisabetta, regina d’Inghilterra with Odyssey Opera as well as Max in The Sound of Music and Gunther in Wagner’s Die Feen with the Glimmerglass Festival in 2020, but the productions were canceled due to the pandemic.

Other roles include Chekalinsky in The Queen of Spades, Bégearss in The Ghosts of Versailles, Il principe di Persia in Turandot, Almaviva in Il barbiere di Siviglia, and Detective Thibodeau in the New York premiere of Tobias Picker’s Dolores Claiborne. Additional roles include Alfred in Die Fledermaus, Tonio in La fille du régiment, Tamino in Die Zauberflöte, Judge Danforth in The Crucible, Ernesto in Don Pasquale, The Witch in Hansel and Gretel, the title role in Albert Herring, Henrik in A Little Night Music, and Laurie in Little Women. Additional concert appearances include Mozart’s Requiem and Bruckner’s Te Deum with the Waterbury Chorale, Puccini’s Messa di Gloria with the York Symphony as well as Theofanidis’ The Urgency of Love with the New Haven Chorale, and Handel’s Messiah with Symphoria.

Spencer Hamlin received his Master’s degree from the University of Connecticut.

GRAMMY®-Award-winning baritone Edward Parks, a native of Indiana, Pennsylvania, holds degrees from Oberlin Conservatory and Yale University. A National Winner of the Metropolitan Opera Laffont Competition, Parks trained at the Met’s Lindemann Young Artists Development Program, and was also awarded third prize in Placido Domingo’s Operalia Competition.

Noted for his interpretations of new works, Ed begins the 2023-2024 season as The Creature in the world premiere of Gregg Kallor’s Frankenstein with Arizona Opera. He joins Andrea Bocelli for an 11-city US tour, including two dates at New York City’s Madison Square Garden, sings a Gala concert performance with violinist Joshua Bell and the Academy of St. Martin in the Fields at The Soraya Performing Arts Center, and bows as Sharpless in Puccini’s Madama Butterflyat the Hyogo Performing Arts Center in Japan. Further ahead, he will sing a leading role at Houston Grand Opera.

Projects for the 2022-2023 season included Jack Torrance in The Shining with Lyric Opera of Kansas City, Marcello in Yuval Sharon’s contemporary staging of La bohème with Boston Lyric Opera, a presentation of Peter Knell’s new opera Arkhipov, centered around the Cuban Missile Crisis, and a seven-city US stadium tour with renowned Italian tenor Andrea Bocelli.

​During the 2021-2022 season Mr. Parks joined Bocelli on national tour, performing in dozens of venues including New York City’sMadison Square Garden and Los Angeles’Hollywood Bowl. He reprised Jack Torrance with Opera Colorado and bowed as Marcello in Yuval Sharon’s production with Detroit Opera (formerly Michigan Opera Theater).

​Mr. Parks made his Metropolitan Opera debut as Fiorello in Il barbiere di Siviglia and has since appeared Figaro in Barbiere, Schaunard in La bohème (also on tour to Japan), and as Larkens in La fancuilla del West, which was broadcast to cinemas worldwide as part of the Met’s “Live in HD” series.

​Parks has appeared with Lyric Opera of Chicago as Valentin in Faust, Escamillo in Carmen with the Seiji Ozawa Matsumoto Festival in Japan, Steve Jobs in the world premiere of The (R)evolution of Steve Jobs at Santa Fe Opera, Audebert in Silent Night(which he recorded for Naxos Records) and Marcello in La bohème with Minnesota Opera, Belcore in L’elisir d’amore with Opera Oviedo in Spain, and Mercutio in Roméo et Juliette with Opera de Monte Carlo on tour in Oman. Other operatic performances include Inman in Cold Mountain with North Carolina Opera, Escamillo and Mercutio with Atlanta Opera and Nashville Opera, Valentin with Portland Opera, Zurga in Les pêcheurs de perles at the Detroit Opera, Conte Almaviva in Le nozze di Figaro with the Opera Theatre of St. Louis, Lyric Opera of Kansas City and Central City Opera, and Ford in Falstaff with Des Moines Metro Opera.

Recent concert engagements have included Orff’s Carmina Burana with the Prague Proms International Music Festival and the Czech National Symphony Orchestra, his debut with the Atlanta Symphony Orchestra in a performance of the Duruflé Requiem, his Carnegie Hall debut in an evening of songs by Charles Ives, and Schubert’s Winterreise at both the Schubert Club in St. Paul and in Carnegie Hall’s Weill Recital Hall. He is a member of the Marilyn Horne Foundation, which has presented him in recital in New York including a recital with Susan Graham at Carnegie’s Zankel Hall.

​Mr. Parks was named a First Prize winner at the Gerda Lissner Foundation International Vocal Competition and has received awards from the George London Foundation.

FANNY MENDELSSOHN HENSEL
Born 1805, Hamburg
Died 1847, Berlin

Overture in C Major

There is general agreement that the two most prodigiously talented young composers in history were Mozart and Mendelssohn, and there were many parallels between the two. They both were born into families perfectly suited to nurture their talents; showed phenomenal talent as small boys; began composing very young; had their music performed by professional musicians at an early age; became virtuoso keyboard performers; played the violin and viola, and composed voluminously in every genre. Both also drove themselves very hard and died in their thirties.

But there is an uncanny further parallel between the two: both Mozart and Mendelssohn had an older sister whose musical talents rivaled their own. Mozart’s sister Maria Anna, five years his senior, performed as a child with her brother in all the European capitals. She also composed (none of her music has survived), but a serious career in music was out of the question for a woman at the end of the 18th century. She married in 1784 and grew estranged from her brother; they did not see each other during the final years of his life.

Fanny Mendelssohn, four years older than Felix, had a much closer relationship with her brother. Like Felix, she began composing at an early age, and some of her songs were published under her brother’s name. She too was discouraged from making a career in music, and at age 24 she married the painter Wilhelm Hensel and had a son. But music remained a passion for her, and she composed about 450 works, including choral settings, chamber music, works for piano, and a number of songs; late in her brief life, Fanny overcame her family’s opposition and began to publish music under her own name. She remained extremely close to her brother throughout her life, and her sudden death from a stroke at age 41 so devastated Felix that he collapsed on hearing the news and never really recovered; his own death six months later at age 38 was probably triggered, at least in part, by that shock.

The Overture in C Major is her only work for orchestra that does not include voices. It dates from about 1832, when Fanny was about 26. She was married and had a small son at this point, but music remained crucially important to her, and she composed in what little spare time she had. This overture was first performed at one of the Sunday afternoon musicales that the Mendelssohn family put on in their elegant Berlin home, and it was successful enough that it was repeated in subsequent years. This is not an overture “to” anything–it is a concert piece that stands by itself. Fanny scored it for exactly the same orchestra that Felix would later use in his “Scottish” Symphony: pairs of woodwinds, four horns, two trumpets, timpani, and strings. The Overture in C Major opens with an introduction marked Andante, and this gradually builds to an Allegro di molto that unleashes racing violins. The scoring is clean and transparent, and the music builds to several climaxes that feature the sound of the brass before driving to its conclusion on a resounding C-major chord for full orchestra.

What was probably the second performance of the Overture in C Major took place in the Mendelssohn family home 1834, and on that occasion something remarkable happened: Fanny herself conducted the orchestra. She described what happened in a letter to Felix: “Mother has certainly told you about the Konigstadt orchestra on Saturday and how I stood up there with a baton in my hand like a Jupiter tonans . . . my Ouverture was played and I sat at the piano, then the devil in the form of Lecerf [the orchestra’s conductor] whispered to me to take the little baton in my hand. Had I not been so shy, and embarrassed by every stroke, I would’ve been able to conduct reasonably well. It was great fun to hear the piece for the first time in two years and find everything the way I remembered. People seemed to like it–they were very kind, praised me, criticized a few impractical passages, and will return next Saturday. Thus I took part in an unexpected pleasure.”

—Program Note by Eric Bromberger

WOLFGANG AMADEUS MOZART
Born 1756, Salzburg
Died 1791, Vienna

Violin Concerto No. 5 in A Major, K.219 “Turkish”

Mozart’s 27 piano concertos spanned his career, but he wrote only five violin concertos, and these all come from the year 1775, when he was 19. The absence of more concertos for violin is surprising, given the fact that Mozart was admired as much for his violin playing as for his piano playing. The violin concertos were all composed in 1775: the First was written in April, and the others followed in June, September, October, and December. Each shows clear development over the previous one, and the Fifth—written the month before Mozart’s 20th birthday—has become the most popular of the set.

The concerto’s many imaginative touches are evident from the very beginning. A vigorous orchestral introduction marked Allegro aperto (aperto means clear or distinct) opens the movement, but the entrance of the soloist brings a surprise: Instead of pressing ahead at the initial tempo, the music slows to an Adagio, and over murmuring string accompaniment the violinist makes a simple and graceful entrance. The Allegro aperto suddenly resumes, and now the violinist plays the true opening theme, a variation of its slow first statement. This energetic movement takes its character from this soaring idea.

By contrast, the Adagio is poised and melodic. Mozart switches to an unexpected key—E major, a key he almost never used—and the violin picks up and develops the orchestra’s lyric opening idea. Gradually, though, the music becomes more complex as the violin’s melodic line is encrusted with trills and decorations and moves into minor keys.

The last movement, a rondo in the form of a minuet, is the most original. Solo violin immediately lays out the minuet theme and is answered by the orchestra. All seems set for a standard rondo-finale, but partway through Mozart bursts in suddenly with an Allegro that disrupts everything. The interruption is by “Turkish” music, giving the concerto its nickname. In 18th-century Europe, there was a fascination with all things Turkish, but it was an ambivalent fascination. The East might produce coffee, tea, silk, and spice, but it also brought the threat of military invasion, so there was an element of danger mixed in with the exotic. This fascination also showed up in European music of the era, where Turkish music generally meant “exotic” music, featuring vigorous rhythms and noisy percussion instruments. This fashion can be heard in Mozart’s opera The Abduction from the Seraglio and in works by many other composers (Beethoven’s Turkish March, for example). Here it takes the form of vigorous leaps, grace notes, thumping rhythms, and chromatic growls from the orchestra. The minuet-rondo resumes, and the concerto closes with a wonderful touch: The music suddenly vanishes in mid-phrase, as easily as something disappearing into mist.

—Program Note by Eric Bromberger

CARL ORFF
Born 1895, Munich
Died 1982, Munich

Carmina Burana: Songs of Beuren

In the spring of 1934, Carl Orff came upon a collection of very old poems that would change his life. Originally written in the 13th century, the poems had been found in 1803 in the Bavarian Abbey of Benediktbeuren, about 30 miles south of Munich, and published in 1847 under the title Carmina Burana: “Songs of Beuren.” Orff was captivated by both the sound of the language (Latin and Middle High German) and the poetry itself, with its emphasis on sensual pleasure (food, drink, sex), the beauties of nature and the cycle of the seasons, and, overriding everything, the fickleness of fortune. He selected 24 of the poems and quickly composed a setting for vast forces: soprano, tenor, and baritone soloists; boys choir; large chorus (with a smaller choir as part of this); and a huge orchestra that requires two pianos and five percussionists. As part of his approach to music education, Orff had tried to combine gymnastics, dance, and music, and now he conceived Carmina Burana as a “spectacle” that would involve scenery, lighting, and dancing along with the music. In this form, Carmina Burana was premiered in Frankfurt-am-Main on June 8, 1937, though most performances today present it simply as a concert piece. Even in concert form, this music achieves the spectacular dramatic impact that Orff had hoped for, and it has become one of the most popular works composed during the 20th century.

The listener is immediately struck by the power and simplicity of this music. Rejecting the sophisticated techniques of modern composition, Orff instead employs simple repeated melodies, straightforward harmonies, and driving, elemental rhythms. This is music virtually devoid of polyphony, development, or any other complication. With his linear, almost pointilistic writing, Orff creates an archaic sound (the music is based in part on old folk tunes and dances of Bavaria), combining clarity of rhythm with brilliant blocks of instrumental color to produce an overwhelming effect in performance. Not everyone has been taken by Orff’s almost total rejection of modern methods, and some critics (perhaps jealous of this music’s huge popular success) have attacked his methods and intentions. When it was suggested to Stravinsky that Carmina Burana represented a form of neo-classicism similar to his own, that composer is reported to have sneered: “Neo-classical? That’s Neo-Neanderthal!”

Orff subtitled this work Cantiones profanae cantoribus et choris cantandae comitantibus instrumentis atque imaginibus magicis (“Secular songs for soloists and chorus, accompanied by instruments and supplemented by magical pictures”), and certain themes recur throughout these “profane songs.” Orff had been struck by the cover illustration of the printed collection of poems, which showed a wheel of fortune, and the theme of life’s unpredictability recurs throughout Carmina Burana: The work opens and closes with the same brilliant chorus, “O Fortuna”, and its massive pounding may depict the inexorable turning of that wheel. Two other themes, both related to that idea, are important: the coming of spring and the pleasures of love. But even these are touched by luck: The seasons change, love is full of pain, and although one may be happy this moment, misery will inevitably follow.

Carmina Burana divides into three main sections, framed by the chorus “O Fortuna.” The first, Primo vere (Spring), tells of the reawakening of the earth after winter. It begins quietly, but gradually the pace of the songs and dances quickens, and the section ends with the blazing “Were diu werlt alle min.”

With In taberna (In the Tavern), the mood changes sharply. These are songs of those who have tasted the whims of fortune: the tenor’s “Olim lacus colueram” notes that one may be a beautiful swan one moment, but roasting on a spit the next. The section ends with a spirited drinking song for male chorus. Here, at least, is one way to escape the pain.

The third section, Cour D’Amours (Court of Love), consists of 10 songs, some quite brief, depicting the many faces of love: It is by turns a matter of pleasure, pain, longing, burning, joy, uncertainty. The soprano’s beautiful “In trutina”—a song of indecision, then sweet surrender—has deservedly become one of the most famous in the entire work, encapsulating several of its main themes. At the close, “O Fortuna” returns in all its massive power, and the wheel of fortune spins on, indifferent to men and women who celebrate one moment and suffer the next.

—Program Note by Eric Bromberger

This work runs approximately one hour. If you would like to listen to the entire piece before the performance, we recommend this video — https://www.youtube.com/watch?v=dmdv17avTGk&list=RDdmdv17avTGk&start_radio=1