Prof. John M. Koch, conductor
ISU Civic Chorale
SUNG IN ITALIAN WITH ENGLISH SUPERTITLES
PERFORMED WITH THE MIOPERA FESTIVAL ORCHESTRA
The saga of a jilted lover and a jealous husband, Pagliacci tells the tale of Canio, the leader of a traveling
commedia dell’arte troupe. Canio is the clown who must laugh, and make others laugh, while masking
his grief after learning that his wife Nedda has betrayed him with another man. In the end, art meets
tragedy in a rage of passion and jealousy.
@ Center for the Performing Arts at Illinois State University
400 W Beaufort St, Normal, Illinois 61761
SAturday April 6, 2019
(in order of appearance)
Tonio: Stephen Hobe, baritone
Canio: Allan Glassman, tenor
Peppe: Macauley Allen, tenor
Nedda: Katherine Weber, soprano
Silvio: Anthony Gullo, baritone
Tenor Allan Glassman has thrilled audiences throughout America and Europe for decades with his vibrant timbre and committed interpretations of roles. Critics exclaim “his very presence on stage made those around him sound better.” A regular at The Metropolitan Opera, Mr. Glassman triumphed as Herod in a production of Salome and has since been heard in The Met’s productions of Billy Budd as Red Whiskers; Die Frau ohne Schatten as The Hunchback Brother; Salome as the First Jew; Lady Macbeth of Mtsensk District as The Shabby Peasant; and in productions of Boris Godunov, The Great Gatsby, Carmen, Elektra, Káťa Kabanová, The Ghost of Versailles, Mussorgsky’s Khovanshchina, and Wozzeck.
Mr. Glassman has performed the role of Herod in Salome to wide acclaim in opera venues throughout the world. Critics wrote: “His fear and distress seemed to come from his heart and soul.” Some notable engagements as the patriarch include productions with San Diego Opera, Fort Worth Opera, Opera San Antonio, the Ravinia Festival (under the baton of Maestro James Conlon), with Cape Town Opera in Cape Town, South Africa, and most recently with Los Angeles Opera. This season, he returns to The Metropolitan Opera for their productions of Die Zauberflöte and Hänsel und Gretel.
Mr. Glassman’s impressive career includes many titular roles in some of opera’s most notable works, including Samson in Samson et Dalila at the former Opera Pacific, Sacco in Sacco and Vanzetti at the Tampa Bay Performing Arts Center, Hoffmann in Les contes d’Hoffmann, and Idomeneo at Los Angeles Opera, where he was double cast with the esteemed Plácido Domingo. Hailed as the Otello of his generation: “Glassman is a full-on Verdian tenor… Glassman is more than equal to the demands of the role, conveying Otello’s pain and suspicion vividly.” In past seasons, he has performed the role with Opera Company of Philadelphia, Arizona Opera, Palm Beach Opera, Dallas Opera, Des Moines Metro Opera, and at Chautauqua Opera. Other highlights from his leading roles résumé include Don José in Carmen, Cavardossi in Tosca, and Pinkerton in Madama Butterfly with New York City Opera; and Canio in Pagliacci with Arizona Opera, Chautauqua Opera, Palm Beach Opera, and Nashville Opera.
Additional engagements from recent seasons include the roles of Herald in Assassinio nella cattedrale and Shuisky in Boris Godunov with San Diego Opera; Nick in La fanciulla del West and Monsieur Taupe in Capriccio in his début at Santa Fe Opera; Pollione in Norma with Palm Beach Opera; Walter Engelmann in Frau Margot with Fort Worth Opera; Dick Deadeye in H.M.S. Pinafore with Arizona Opera; The Witch in Hänsel und Gretel with Portland Opera; Boris in Kát’a Kabanová, Shuisky in Boris Godunov, and Caláf in Turandot all with Florida Grand Opera; and productions of Wozzeck, Das Rheingold, and Elektra with Lyric Opera of Chicago.
International performances include Manrico in Il trovatore with the Deutsche Oper Berlin; Samson in Samson et Dalila at the New Israeli Opera in Tel Aviv; the Prince in Rusalka in the Czech Republic; title role in Verdi’s Ernani, Don José in Carmen, and I vespri siciliani with L’Opéra de Nice; I vespri siciliani with Den Norske Opera; Cavaradossi in Tosca at the Belleayre Music Festival; Carmenwith Opera Valencia in Spain; and the Prince in Rusalka with Oper Frankfurt.
Sought after by orchestras, both domestic and international, Mr. Glassman maintains an active concert calendar. Notable engagements include: Prince Osaka in Mascagni’s Iris with the Münchner Philharmoniker, Verdi’s Requiem with L’Opéra de Nice, Mahler’s Lied von der Erde with the Orquesta Sinfónica de Xalapa in Mexico, Rusalka with The Fort Worth Symphony, Erik in Der fliegende Holländer in concert with the Syracuse Opera, Das Lied von der Erde with Grand Rapids Symphony, and Boito’s Mephistofele with Boston Concert Opera.
Switch-hitting in musical theatre and opera baritone Stephen Hobe has flourished in classical and crossover repertoire in hometown Chicago. Mr. Hobe is “a generous performer,” lauded for his charismatic and often quirky performances of particularly English and Italian repertoire. Mr. Hobe studied paleontology and music theatre at Carthage College, then moved on to operaticrepertoire in his Master’s degree at Roosevelt University’s Chicago College of Performing Arts, studying with Kurt Link. This past summer, Mr. Hobe traunced about Eastern Wisconsin as a member of Florentine Opera’s Summer Concert Quartet. Mr. Hobe is currently a Studio Artist with Madison Opera, where he performed CAVALLERIA RUSTICANA, PAGLIACCI and A LITTLE NIGHT MUSIC. Recent credits also include CUNNING LITTLE VIXEN at Roosevelt University, PATIENCE & SARAH with Third Eye Theatre Ensemble, LE COMTE ORY with Transgressive Theatre-Opera and GIANNI SCHICCHI with St. Petersburg Opera. www.stephenhobe.com
Katherine Weber, an American soprano from Holmen, Wisconsin, is recognized for her steely voice and is at the start of what is to be an exciting career. Most recently she performed the role of Rosalinde in Die Fledermaus with New Philharmonic in Chicago and made her Chicago Opera Theater debut performing the role of Iolanta in Iolanta by Tchaikovsky. The Chicago Tribune stated, “[Katherine’s] was the most formidable voice in a consistently strong cast, her top register soaring easily above the most densely written choral passages.” This is after making her Chicago debut portraying the role of Violetta in La Traviata with DuPage Opera. She also performed the role with Aspen Music Festival which the Aspen Times praised for her “level of dignity and vulnerability with her acting and a voice that hit high notes with a steely edge and caressed the mid-range with welcome warmth.” Opera News claimed, “she had little trouble with the role’s many vocal and dramatic challenges, which served to showcase a confident singing actress with a magnetic stage presence and abundant potential.” Katherine has truly made this role her and has also performed La Traviata with Boulder Symphony and Central City Opera. She has also had the opportunity to cover the role of Nedda in Pagliacci with Virginia Opera as well as Kitty Hart in Deadman Walking with Central City Opera. Katherine has won numerous awards from the Upper Midwest and Midwest regions of the Metropolitan Opera National Council auditions, Schubert Club, Florentine Opera, and Central City Opera.
Anthony Gullo is an operatic Lyric Baritone, and former Bass-Baritone, who has performed in operas such as Les Contes d'Hoffmann (The Four Villains), Carmen (Escamillo), Le nozze di Figaro (title role), Aida (Ramfis), Don Giovanni (Leporello), Falstaff (Ford), and La cenerentola (Alidoro) through the Midwest Institute of Opera.Additionally, Anthony participated in the World Premiere of Griffin Candey's new opera Sweets by Kate, singing the role of Joe Brigmann. Anthony has also performed in the operetta HMS Pinafore (Captain Corcoran) through Vermillion Players and in Die Fledermaus (Falke), and Amahl and the Night Visitors(Melchior) at Carthage College.
Anthony has had numerous musical theatre roles through Vermillion Players and Carthage College Theatre including Albert in Bye Bye Birdie and Hucklebee in The Fantasticks. February 2019 sees Anthony performing in I Love You, You're Perfect, Now Change. Anthony has been chosen to direct productions with Vermillion Players as well, directing The 25th Annual Putnam County Spelling Bee in May, 2014, The Producers in 2017, Bingo! The Winning Musical in 2018, and will be adding Guys and Dolls to his directorial and conducting credits in 2019. Anthony served as the pit orchestra conductor for all of the above productions and for Seven Brides for Seven Brothers in 2016.
He has also sung in, directed, or served as administrator for various choirs including the Carthage College Choir, Lincoln Chamber Singers, St. John’s Church Choir in Flanagan, IL, and Illinois State University Civic Chorale. Anthony has been featured in the Illinois State Civic Chorale as a Baritone soloist in Durufle's Requiem, Rutter's Mass for the Children, and as a Bass Soloist in Handel's Messiah.
Macauley Allen (tenor) of Monticello, Illinois is a second-year vocal performance Master’s student at Illinois State University, where he also earned his Bachelor’s degree in vocal performance. He made his operatic debut as Rinuccio in ISU’s 2015 production of Puccini’s Gianni Schicchi, a role he will be reprising this April. Macauley has performed several notable roles during his time at ISU. These include Prince Phillipe in Lennox Berkeley’s A Dinner Engagement (2015), Daniel Buchanan in Kurt Weill’s Street Scene (2016), Ferrando in Mozart’s Così fan tutte (2018), as well as select scenes from Bernstein’s Candide (in the titular role) and Donizetti’s L’elisir d’amore (as Nemorino). He made his MIO debut in 2016 as Fenton in Verdi’s Falsfaff, and also participated in MIO’s 2018 season, performing the roles of Spalanzani and Franz in Offenbach’s Les contes d’Hoffmann and Frederic in Gilbert and Sullivan’s The Pirates of Penzance. Macauley has been a member of the Illinois State University Civic Chorale for the last two years. He was a featured soloist in last spring’s performance of Schubert’s Liebeslieder Waltzes, and most recently participated in the Civic Chorale’s 50th Anniversary Concert.