"...the sound is beautiful, but what's more, there is so much inside it!...a voice which transmits, which is so emotionally expressive!"
MAESTRO JOSE MARIA MORENO
A different kind of countertenor
"...an amazing range, not just melodically. That part is obvious ...I'm talking
about the dynamics and texture - the very things that make goosebumps!"
BEACHWOOD VOICE
Producer
José Maria Moreno
Sound Engineer
David T Russell
Final Mix and Mastering
Mark Donohue;
Soundmirror, Boston
Website Design
Don Krim
Graphic Design album
Laurel Marx
Cover Photos of Don Krim
Merie W. Wallace
Photo of Suzanne Bradbury
The music of Peter Lieberson is published by Associated Music Publishers, Inc. (BMI)
© Schirmer's music all rights reserved
Recorded at the Church of San Felip Neri, Palma de Mallorca, Mallorca Spain February 7-8 2009
Special thanks
Eric Kinsley Suzanne BrownLyn Charlsen Beret ArcayaEyle Reinhold Gori Marcus Sylvia Corbacho Laurel Marx Eva Kirczcasa martí musicasa Sharon Levinson The Order of San Felip Neri Ayuntamiento de Sóller
The Rilke Songs are dedicated to the memory of Lorraine Hunt Lieberson, for whom they were composed by her husband, Peter Lieberson
BACK
+ ABOUT
Suzanne
Bradbury
Piano
Suzanne Bradbury is originally from California and grew up in Spain. Her most important teachers were the Spanish pianist José Ortiga (Madrid) and later, Ludwig Hoffmann (Munich). At the age of twelve she performed the Concerto in D Major for piano and orchestra by Haydn.
After studying in New York, Vienna, England, and Munich she was invited to the Wilhelm Kempff course in Positano and was elected by him to participate in a television film celebrating his 80th birthday. Later, Stefan Askenase became a valuable musical mentor. While she was still doing her university studies at the Musikhochschule in Munich, Suzanne Bradbury was awarded the prize for "Young Soloists" organized by Radio Hesse. From that moment on she has been contracted to record by many German radio stations, by BBC in London, and by the Radio Suisse Romande. She has played and continues to play live concerts in Germany, Spain, the United States, Italy, England, France, the Netherlands, and Switzerland.
She has won prizes and medals in the German University Contest and in the international contests Vercelli and Barcelona. She was the founder of the Music Festival in Allensbach, Lake Constance. She has performed extensively as soloist, and with other musicians such as the Sinnhoffer
Quartet, the Brodsky Quartett, the Silvestri Quartett, with the cellist Mark Drobinsky, the violinist Gottfried Schneider, and with the Palma Symphony Orchestra. She performed with the Berlin Philharmonic Wind Quintett in the Palau March and in the Philharmonic Hall in Berlin.
Suzanne Bradbury now resides in Mallorca where she participates actively in the musical life of the island.
Born in Palma de Mallorca, José María Moreno undertook his initial studies in conducting in Spain, completing advanced studies at the Rimsky Korsakov St. Petersburg State Conservatory under Maestro Mijail Kukushkin, obtaining highest honors in the specialties of opera, symphonic - choral and Russian music.
Under the tutelage of Maestro Manuel Galduf, José María Moreno holds the title of Superior Professor of Orchestral Conducting (Joaquin Rodrigo Superior Conservatory of Music, Valencia). He also holds titles of Singing Professor (Liceo Superior Conservatory of Music, Barcelona) and Professor of Theory, Piano, Harmony, Counterpoint and
Composition (Superior Conservatory of Music of the Balearic Islands). In addition he is licensed to practice Law.
José María Moreno has conducted numerous polyphonic and symphonic - choral concerts throughout Europe, including Germany, France, Switzerland, Italy, and in Canada. His portfolio also includes conducting operas, zarzuelas (Spanish operettas) and oratorios, and he is frequently invited as guest conductor to various choirs and orchestras.
He has worked with prestigious international soloists and conductors (Josep Pons, Nello Santi, Romano Gandolfi, P. Bender, G. Carella, M. Galduf, O. Tardy, E. Colomer, F. Monica, F. Haider, R. Reimer, J. Caballé, S. Brotons, K. Khan, Roberto Alagna, Alfredo Kraus, D. Zajick, A. Millo, A. Gruber, E. Obratzova, S. Corbacho, Joan Pons, Josep Bros, Carlos Álvarez, I. Tokodi, M. José Moreno, M. Poblador, G. Alperyn, etc). Orchestras include the Berliner Symphoniker Orchestra, the Capella Savaria (Hungary), the Rodenkirchener Kölhn (Germany), and the Baroque Orchestra of Seville (Handel's Messiah). He is a frequent conductor with the Balearic Symphony Orchestra in Mallorca, including performances of Carl Orfs Camina Burana, Bruckners Te Deum, Puccinis Gloria, Mozarts Coronation Mass, Vivaldis Gloria, Beethovens 3rd Concerto for Piano and Orchestra and Choral Fantasy, Egmont, and Faures Requiem; with the Orchestra Clasica de Mallorca in performances of Beethovens Ninth Symphony, Bachs Christmas Oratory, and Mozarts Requiem. He has conducted Handel's Acís and Galatea with the Aula 98 Youth Orchestra and the Youth Orchestra of the Superior Conservatory of the Balearic Islands.
Most recently Jose María Moreno had the honor of opening the Iberostar Foundation Benefit Concert with Placido Domingo in Palma de Mallora with the overture from the Barber of Seville. Jose Maria prepared the choir and orchestra for the Metropolitan Opera Conductor Eugene Kohn.
Jose María Moreno has also had the honour of conducting in the presence of the Holy Father, John Paul II in Rome and of Spain's King Juan Carlos and Queen Sofia.
In his position as Assistant Conductor of the Opera Theatre of Mallorca (Teatro Principal de Palma) for 12 years, José María Moreno was responsible for preparing and conducting several operas productions.
José María Moreno is conductor and director of the prestigious choir La Capella Mallorquina, maintaining and conducting an active and diverse musical calendar averaging 40 concerts a year. He is currently Professor of Improvisation, Conducting Technique, Choir and Musical Analysis at the Superior Conservatory of the Balearic Islands.
José María Moreno has achieved, at an early age, an extensive reputation among musicians, critics and a discerning public, rapidly becoming known and acclaimed as one of the most promising musical figures of a new generation of musicians.
Producing Countertenorblues with countertertenor Don Krim marks the artists' 4th collaboration since 2008.
José María
Moreno
Conductor
Marion Von Tilzer Composer, pianist
Kirvani Revisited
Challenge Records
Marion is a beautiful contemporary
composer, friend and a student of
Suzanne Bradbury
Blai Justo, Violin
Juan de Ledesma
Sonatas for violin and bass
Ramée Records
Blai is a baroque violinist and friend
just relocating back to Mallorca
from Belgium
Links and friends
Michael Edwards/karin Schistek
Composer/pianist
shark piano
sumtone Records
Cool and fabulous free improv music on
piano and computer
Eric Kinsley, Harpsichord
J.S. Bach
Concertos for One, Three,
and Four Harpsichords
Centaur Records
Eric is Don's accompanist and
mentor in Los Angeles
Jose Maria Moreno/
Capella Mallorquina
Conductor, Producer of
"I am no longer of this world"
JOIN
NAME:EMAIL ADDRESS:SUBJECT:COUNTRY & POSTAL CODE:ANY MESSAGE:
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EMAIL ADDRESS:
SUBJECT:
COUNTRY & POSTAL CODE:
ANY MESSAGE:
MALLORCA, SPAIN
LOS ANGELES, CALIFORNIA
countertenorblues_gmail.com
Sunday January 10 RADIO BROADCASTNew DEBUT CD "I am no longer of this world" was featured on KXLU 88.9FMs Classical Fiasco with host Bruce Teter. Don was interviewed as well.Friday January 15 RECITAL at Holy Nativity Episcopal Church, Los AngelesDon and mentor and accompanist Eric Kinsley did a Benefit Recital, including selections from the CD to help support the Holy Nativity Episcopal Church Community Garden which grows food for the Church Food Pantry. Turn out and audience enthusiasm was great! With the cancellation of the August premiere of El Maleficio de la Mariposa, Don took a break from performing to concentrate on completing my Debut Album, building countertenorblues.com, identifying and learning new repertoire, and immersing myself in the creative juices of the Edinburgh International Festival and Fringe. I return home in September and will be managing an album launch, building a new more innovative website, and preparing concerts.
Sunday January 10 RADIO BROADCAST
New DEBUT CD "I am no longer of this world" was featured on KXLU 88.9FMs Classical Fiasco with host Bruce Teter. Don was interviewed as well.
Friday January 15 RECITAL at Holy Nativity Episcopal Church, Los Angeles
Don and mentor and accompanist Eric Kinsley did a Benefit Recital, including selections from the CD to help support the Holy Nativity Episcopal Church Community Garden which grows food for the Church Food Pantry. Turn out and audience enthusiasm was great!
With the cancellation of the August premiere of El Maleficio de la Mariposa, Don took a break from performing to concentrate on completing my Debut Album, building countertenorblues.com, identifying and learning new repertoire, and immersing myself in the creative juices of the Edinburgh International Festival and Fringe. I return home in September and will be managing an album launch, building a new more innovative website, and preparing concerts.
Mallorca 2009
CD Launch Concert with Suzanne Bradbury
Church of San Felipe Neri
November 27 Palma de Mallorca
Stabat Mater Pergolesi
Camerata Sa Nostra
(Guest Soloist)
Church of Saint Nicolas
April 4 Palma de Mallorca
Recording Countertenorblues
February
HOLLYWOOD 2008
A little Jazz Jam session in Los Angeles. Nov.
Various class acts includingLibby Joe Snyder, Paul Cohen, y Bill Reichenbach.
Mallorca 2008
Ode to the Birth day of Queen Anne (Eternal Source of Light)
Extract from Theodora
José Ma Moreno, Guest Conductor
ORFEÓ HARPA D'INCA
Convent of San Francisco, Inca
Nov. 9.
Carmina Burana Carl Orff
Olim Lacus (Roasted Swan Song)
José Ma Moreno, Conductor
August 2 Auditório sa Màniga
August 4 Auditório de Palma
Sept. 12 Claustre de Sant Domingo de Pollença
Sept. 13 Music Festival of Artá
Sept. 18 Church of Alaro
Concert: Songs of Life and Death
Capella de les Escolápies June 14
Sóller with Suzanne Bradbury, Piano.
Friday June 18 Sóller, Mallorca SpainRecital w/ Suzanne Bradbury, pianoCD selections, Brahms, Montsalvatge, Handel, Vivaldi +Capilla de les Escolápies8:30pmJuly 6.7.9.10 Ibla-Ragusa, Sicily International Festival and CompetitionPerformances begin after 9pmFriday July 23 Sóller, Mallorca SpainRecital w/ Suzanne Bradbury, pianoCapilla de les EscolápiesCD selections, Brahms, Montsalvatge, Shoenberg +8:30pmSeptember 5-12 Poertshach, AustriaInternational Johannes Brahms Festival and CompetitionPerformances TBA
Friday June 18 Sóller, Mallorca Spain
Recital w/ Suzanne Bradbury, piano
CD selections, Brahms, Montsalvatge, Handel, Vivaldi +
Capilla de les Escolápies
8:30pm
July 6.7.9.10 Ibla-Ragusa, Sicily
International Festival and Competition
Performances begin after 9pm
Friday July 23 Sóller, Mallorca Spain
CD selections, Brahms, Montsalvatge, Shoenberg +
September 5-12 Poertshach, Austria
International Johannes Brahms Festival and Competition
Performances TBA
E PRESS KIT
PDF DOWNLOADS
CURRICULUM VITAE
Don Krim CV
PRESS RELEASES +
CD Launch
Concierto (ESP)
Launch Concert
PROMO MATERIALS
CD Launch Program
Poster
PHOTOS
CD Cover
Headshot
BIO +
Photos
BioDon often refers to himself as a "schizophrenic countertenor." Is he Don, or is he the countertenor voice? Are they one or separate entities? They are one -- now -- but it has not been easy. Don started as a pop and theatre singer. But he always liked to sing high, taking every opportunity he could in his own or other's music to interpolate and improvise a harmony way above the melody. His classical music training was self-restricted to the piano. The first time he went to a voice teacher his words were: "if you are going to make me sound like a classical singer I am not interested". This probably accounts for why, even now after all the training and the dominance of classical in his current repertoire, he still maintains a sound which is in many ways not classical, and certainly not like any other countertenor. His voice has a color palate and a dynamic range, a style, which is distinct within his voice type. More than one press notice has used almost the same words, yet in different contexts: "Krim has a voice of surprising power that is also capable of the smallest of intimacy" said the local reporter in Spain at his debut town hall concert, singing Handel and Hispanic music. "An amazing range -- and not just melodicaly -- that part is obvious...I'm talking about the dynamics and textures, the very things that give you goosebumps." That quote was from a Hollywood reporter who just happened to hear Don sitting in at a jazz spot in Hollywood singing "God bless the child" and "My funny valentine".Don easily moves on or off a mic, he easily switches to a smaller jazz or pop sound, something most operatic singers cannot do. He can let his hair down, and finds it a relief. Don had to actually learn to like classical music, and especially classical or operatic singing. He got there through Handel -- but only by first jazzing it up. "Classical, gospelly, pop" is what his Bill Evans styled jazz pianist/arranger called it as she effortlessy helped him convert "He was Despised" and "Oh Sleep" into a baroque-jazz fusion. His next recording will probably feature some of this fusion.As much as Don resisted however, his voice simply loved baroque music. Of course the training regime was well suited to it: 450 exercises in vocal agility by Manuel Garcia from the 19th Century. Later Lilli Lehmann's cryptic writings came into the picture, as he started to relive the road travelled by Amelita Galli-Curci, who famously wrote that she learned to produce a sound from Garcia and to feel it from Lehmann (in both cases reading, as well). As an actor by University training (he hated the music department and left, finding it too academic and stifling), Handel operas were not cutting it for him. Vivaldi became the focus for awhile, leading to a still ongoing relationship with pianist, harpsichordist, organist Dr. Eric Kinsley of Cal Lutheran University in southern California where Don lived. The two did many concerts at the university, churches throughout the Los Angeles region, and at Laguna Beach Live. Two ill-fated recording projects of Vivaldi and Handel were how they met and Eric became Don's mentor, advocate, accompanist, and baroque specialist, a relationship which continues to this day, albeit from afar as Don has relocated to Mallorca, Spain.Eric Kinsley became a repertoirist of sorts for Don, but repertoire development was becoming a problem. Don preferred to learn a small repertoire well than a large one with mediocrity, but finding music he liked was not easy. The turning point was discovering the late, great American mezzo-soprano Lorraine Hunt Lieberson -- first in concert, then her Bach Cantatas album. Everything changed. "I became obsessed with her voice, with her musicality, with her theatrical instincts -- everything she did was what I had been struggling for within myself but I had no models, only pieces here and there. She showed me that it could be done, that I wasn't crazy or perhaps most important, alone. " The album soon to be released is an homage to Lorraine Hunt Lieberson. She died of breast cancer in 2006 at age 52. The Boring StuffDon Krim is being hailed for his unique voice and singing in the countertenor sphere. He currently divides his time between Hollywood, California and Mallorca, Spain.Don is originally from New York. His training is as an actor first, a classical singer second. After singing pop music for several years in Hollywood and then continuing his education in movement and performance, Don returned to developing his voice according to the teachings of the great 19th C teacher Manuel García and the Alexander Technique. Although his voice is well suited to baroque music, his theatrical impulses run to the more dramatic; modern and contemporary literature lend themselves to the full range of color and textures that his voice possesses. In this he is a Special Attraction Artist. He is equally at home with Afro-American spirituals and Peter Lieberson´s Rilke Songs, with jazz-stylization of baroque music and 20th C latin american song as he is with Bach or Vivaldi cantatas; he is equally comfortable off or on a mic. His theatrical tastes have steered him away from the bulk of the traditional countertenor path, his repertoire sprinkled with barorque favorites but more heavily leaning towards the modern era and richer character development in performance than baroque opera affords.In Los Angeles Don performs regularly with his accompanist Eric Kinsley and members of Musica Angelica and LA Baroque Orchestra. In Spain Don has had several collaborations with Maestro José María Moreno and his regular recital pianist is the reknowned Suzanne Bradbury. Credits include: Pergolesis Stabat Mater with Camerata Sa Nostra; Carmina Burana with the Capilla Mallorquina; Handels Ode to the Birthday of Queen Anne with Maestro José María Moreno; Don was invited by celebrated harpsichordist Tim Roberts and Bernat Cabot to sing Handel, Bach and Vivaldi at the International Festival of Music, Bunyola with Ars Musicae. Don has premiered in Spain and the United States individual compositions written for him by British, award-winning composer Michael Alan Watts. The composer has also tailored the leading new operatic role of Curianito for Don in his new chamber opera, El Maleficio de la mariposa, with libretto by Federico García Lorca.His Debut CD I am no longer of this world is a tribute to the late extraordinary America mezzo-soprano Lorraine Hunt Lieberson, featuring Peter Lieberson´s Rilke Songs and Mahler´s Rückert Lieder. This is completey unchartered territory for a countertenor and is an example of the unusual musical instincts and capabilities which Don brings as a truly different kind of countertenor. The CD, recorded in Mallorca in the Church of San Felip Neri and mastered at Sound Mirror, Boston features Suzanne Bradbury on piano and was produced by José María Moreno.Developing projects include a one man theatre piece featuring music of Vivaldi, a web-based realization of Schubert´s Winterreise, and a new CDs of Spanish and latin music and selected baroque works.Don is actively seeking other contemporary composition for his voice and performance opportunities of orchestral works not typically performed by countertenors.
Bio
Don often refers to himself as a "schizophrenic countertenor." Is he Don, or is he the countertenor voice? Are they one or separate entities? They are one -- now -- but it has not been easy. Don started as a pop and theatre singer. But he always liked to sing high, taking every opportunity he could in his own or other's music to interpolate and improvise a harmony way above the melody.
His classical music training was self-restricted to the piano. The first time he went to a voice teacher his words were: "if you are going to make me sound like a classical singer I am not interested".
This probably accounts for why, even now after all the training and the dominance of classical in his current repertoire, he still maintains a sound which is in many ways not classical, and certainly not like any other countertenor. His voice has a color palate and a dynamic range, a style, which is distinct within his voice type. More than one press notice has used almost the same words, yet in different contexts:
"Krim has a voice of surprising power that is also capable of the smallest of intimacy" said the local reporter in Spain at his debut town hall concert, singing Handel and Hispanic music. "An amazing range -- and not just melodicaly -- that part is obvious...I'm talking about the dynamics and textures, the very things that give you goosebumps." That quote was from a Hollywood reporter who just happened to hear Don sitting in at a jazz spot in Hollywood singing "God bless the child" and "My funny valentine".
Don easily moves on or off a mic, he easily switches to a smaller jazz or pop sound, something most operatic singers cannot do. He can let his hair down, and finds it a relief.
Don had to actually learn to like classical music, and especially classical or operatic singing. He got there through Handel -- but only by first jazzing it up. "Classical, gospelly, pop" is what his Bill Evans styled jazz pianist/arranger called it as she effortlessy helped him convert "He was Despised" and "Oh Sleep" into a baroque-jazz fusion. His next recording will probably feature some of this fusion.
As much as Don resisted however, his voice simply loved baroque music. Of course the training regime was well suited to it: 450 exercises in vocal agility by Manuel Garcia from the 19th Century. Later Lilli Lehmann's cryptic writings came into the picture, as he started to relive the road travelled by Amelita Galli-Curci, who famously wrote that she learned to produce a sound from Garcia and to feel it from Lehmann (in both cases reading, as well).
As an actor by University training (he hated the music department and left, finding it too academic and stifling), Handel operas were not cutting it for him. Vivaldi became the focus for awhile, leading to a still ongoing relationship with pianist, harpsichordist, organist Dr. Eric Kinsley of Cal Lutheran University in southern California where Don lived. The two did many concerts at the university, churches throughout the Los Angeles region, and at Laguna Beach Live. Two ill-fated recording projects of Vivaldi and Handel were how they met and Eric became Don's mentor, advocate, accompanist, and baroque specialist, a relationship which continues to this day, albeit from afar as Don has relocated to Mallorca, Spain.
Eric Kinsley became a repertoirist of sorts for Don, but repertoire development was becoming a problem. Don preferred to learn a small repertoire well than a large one with mediocrity, but finding music he liked was not easy.
The turning point was discovering the late, great American mezzo-soprano Lorraine Hunt Lieberson -- first in concert, then her Bach Cantatas album. Everything changed. "I became obsessed with her voice, with her musicality, with her theatrical instincts -- everything she did was what I had been struggling for within myself but I had no models, only pieces here and there. She showed me that it could be done, that I wasn't crazy or perhaps most important, alone. "
The album soon to be released is an homage to Lorraine Hunt Lieberson. She died of breast cancer in 2006 at age 52.
The Boring Stuff
Don Krim is being hailed for his unique voice and singing in the countertenor sphere. He currently divides his time between Hollywood, California and Mallorca, Spain.
Don is originally from New York. His training is as an actor first, a classical singer second. After singing pop music for several years in Hollywood and then continuing his education in movement and performance, Don returned to developing his voice according to the teachings of the great 19th C teacher Manuel García and the Alexander Technique. Although his voice is well suited to baroque music, his theatrical impulses run to the more dramatic; modern and contemporary literature lend themselves to the full range of color and textures that his voice possesses. In this he is a Special Attraction Artist. He is equally at home with Afro-American spirituals and Peter Lieberson´s Rilke Songs, with jazz-stylization of baroque music and 20th C latin american song as he is with Bach or Vivaldi cantatas; he is equally comfortable off or on a mic. His theatrical tastes have steered him away from the bulk of the traditional countertenor path, his repertoire sprinkled with barorque favorites but more heavily leaning towards the modern era and richer character development in performance than baroque opera affords.
In Los Angeles Don performs regularly with his accompanist Eric Kinsley and members of Musica Angelica and LA Baroque Orchestra. In Spain Don has had several collaborations with Maestro José María Moreno and his regular recital pianist is the reknowned Suzanne Bradbury. Credits include: Pergolesis Stabat Mater with Camerata Sa Nostra; Carmina Burana with the Capilla Mallorquina; Handels Ode to the Birthday of Queen Anne with Maestro José María Moreno; Don was invited by celebrated harpsichordist Tim Roberts and Bernat Cabot to sing Handel, Bach and Vivaldi at the International Festival of Music, Bunyola with Ars Musicae. Don has premiered in Spain and the United States individual compositions written for him by British, award-winning composer Michael Alan Watts. The composer has also tailored the leading new operatic role of Curianito for Don in his new chamber opera, El Maleficio de la mariposa, with libretto by Federico García Lorca.
His Debut CD I am no longer of this world is a tribute to the late extraordinary America mezzo-soprano Lorraine Hunt Lieberson, featuring Peter Lieberson´s Rilke Songs and Mahler´s Rückert Lieder. This is completey unchartered territory for a countertenor and is an example of the unusual musical instincts and capabilities which Don brings as a truly different kind of countertenor. The CD, recorded in Mallorca in the Church of San Felip Neri and mastered at Sound Mirror, Boston features Suzanne Bradbury on piano and was produced by José María Moreno.
Developing projects include a one man theatre piece featuring music of Vivaldi, a web-based realization of Schubert´s Winterreise, and a new CDs of Spanish and latin music and selected baroque works.
Don is actively seeking other contemporary composition for his voice and performance opportunities of orchestral works not typically performed by countertenors.
TrainingVOICE Beret Arcaya (Pedagogy Manuel Garcia) Madrid Spain, New York City Dennis Heath, Janice McVeigh Los Angeles DIALECTS and PHONETICSSuzanne Brown (Skinner, IPA) Los AngelesMENTORINGEric KinsleyCOACHESJose Ma. Moreno Mallorca Spain Armen Guzelimian Los Angeles ACTING Bachelor of Arts, Theatre. Pomona College CA BODY USE Alexander Technique Teacher, CERTIFIEDPERFORMANCE PREPARATIONMasters degree in Performance Enhancement (Sport Psychology) California State, FullertonOTHER SKILLSPiano GuitarSPOKEN LANGUAGESEnglishSpanish
Training
VOICE
Beret Arcaya (Pedagogy Manuel Garcia) Madrid Spain, New York City
Dennis Heath, Janice McVeigh Los Angeles
DIALECTS and PHONETICS
Suzanne Brown (Skinner, IPA) Los Angeles
MENTORING
Eric Kinsley
COACHES
Jose Ma. Moreno Mallorca Spain
Armen Guzelimian Los Angeles
ACTING
Bachelor of Arts, Theatre. Pomona College CA
BODY USE
Alexander Technique Teacher, CERTIFIED
PERFORMANCE PREPARATION
Masters degree in Performance Enhancement (Sport Psychology) California State, Fullerton
OTHER SKILLS
Guitar
SPOKEN LANGUAGES
English
Spanish
Recital Repertoire with piano - harpsichord
Contemprary Song
Peter Lieberson Rilke Songs
O ihr Zärtlichen
Atmen, du unsichtbares Gedicht!
Wolle die Wandlung
Blumenmuskel
Stiller Freund
Michael Alan Watts Housman Songs
The lover
On the idle hill of summer
Loveliest of trees
From far, from eve and morning *
I wish you well *
*composed especially for Don
Xavier Monsalvatge
Canciones Negros
Cuba Dentro De Un Piano
Punto de Habanera
Chevere
Canciones Españolas/latinoamericanas
Carlos Guastavino
Préstame tu pañuelito
Se equivocó la paloma
Cita
La Rosa y el sauce
Enrique Granados
Mañanica Era
Manuel de Falla
Nana
Joaquín Rodrigo
Pastorcito Santo
German Lieder
Gustav Mahler Rückert Lieder
Liebst du um schönheit
Ich atmet´ einen linden Duft
Blicke mir nicht in die Lieder
Um Mitternacht
Ich bin de Welt abhanden gekommen
Johannes Brahms
Unbewegte laue Luft
Richard Strauss
Allerselen
Mozart
Abendempfindung an Laura
Selected Baroque Arias
Handel
Ombra mai fu
Cara Sposa
Aure, deh per pietá
Al lampo dell armi
Va tacito e nascosto
As with rosy steps
Defend her heaven
Angels ever bright and fair
The rapture soul
Lord to thee
Misc.
Che Faro senza Euridice (Gluck)
Dido's Lament (Purcell)
Bach Cantatas
BWV 82 Ich habe Genug
BWV 169 Gott soll allein mein Herze haben
BWV 170 Vergnügte Ruh, beliebte Seelenlust
BWV 35 Geist un Seele wird verwirret
BWV 30 Movt. 5 Alto Solo Kommt, ihr angefochtnen Sünder
BWV 33 Movt. 3 Alto Solo Wie furchtsam wankten meine Schritte
BWV 244 St. Matthew´s Passion Erbarme Dich
Vivaldi Cantatas per Alto
RV 683 Amor hai vinto
RV 670 Alla caccia dell' armi de´cori
RV 674 Perfidisimo Cor
RV 677 Qual per ignoto calle
RV 671 Care Selve, amici prati
RV 684 Cessate, omai cessate
RV 608 Nisi Dominus (selected arias)
Handel Alto solos
Ode to the Birthday of Queen Anne
Messiah
Purcell Opera
The Sorcerer, Dido and Aeneas
Pergolesi
Stabat Mater, Alto solo
Nina
Recital Repertoire with jazz piano or combo
Jazz standards
God Bless the child
My funny valentine
You´re mean to me
Keepin out of mischief now
Oh Sleep (jazz arrangement, Handel)
Evening Hymn (jazz arrangement, Purcell)
Traditional Spirituals
Deep River
Wayfaring stranger
In Preparation
Franz Schubert
The Winterreise (24 songs)
Michael Alan Watts, Federico Garcia Lorca
El Maleficio de la Mariposa, an Opera
Selections, Curianito (lead role)*
* tailored for Don
Vocal influencesLorraine Hunt LiebersonAmelita Galli-CurciLilli Lehmann
Vocal influences
Lorraine Hunt Lieberson
Amelita Galli-Curci
Lilli Lehmann
LISTEN
TRAINING
INFLUENCES
REPERTOIRE
"Breathtaking"Radioindy.com "Sublime" Blai Justo, concert master, violinist Les Agrémans Orchestra, Belgium "...an artist expressing and transmitting the precise emotional content of the poetry."ÓPERA ACTUAL Barcelona"A magnificent recording...each piece is a true jewel."Maestro José María Moreno, Conductor "What a surprise! Wonderful!"Pere Bujosa, President Teatro Principal Opera House, Palma de Mallorca
"Breathtaking"
Radioindy.com
"Sublime"
Blai Justo, concert master, violinist
Les Agrémans Orchestra, Belgium
"...an artist expressing and transmitting the precise emotional content of the poetry."
ÓPERA ACTUAL Barcelona
"A magnificent recording...each
piece is a true jewel."
Maestro José María Moreno, Conductor
"What a surprise! Wonderful!"
Pere Bujosa, President Teatro Principal Opera House, Palma de Mallorca
ARTISTS
CREDITS
LYRICS
TRANSLATIONS
BUY now!
RÜCKERT LYRICS
Ich atmet einen linden Duft
Liebst du um Schonheit
Blicke mir nicht in der Lieder
Ich bin der Welt abhanden
Gekommen
RILKE LYRICS
O ihr Zartlichen
Atmen du um sichtbares
gedicht!
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