DAVÓNE TINES
RECITAL NO. 1 : MASS
WEDNESDAY, SEPTEMBER 8, 2021 | 8pm
FIRST CONGREGATIONAL CHURCH OF LOS ANGELES
540 S. COMMONWEALTH AVE., LOS ANGELES, CA 90020
FIRST CONGREGATIONAL CHURCH OF LOS ANGELES
540 S. COMMONWEALTH AVE., LOS ANGELES, CA 90020
AN EXPLORATION OF THE MASS WOVEN THROUGH WESTERN EUROPEAN,
AFRICAN AMERICAN AND 21st CENTURY TRADITIONS
AFRICAN AMERICAN AND 21st CENTURY TRADITIONS
PLEASE NOTE THAT TICKET BUYERS MAY SUBMIT THEIR PROOF OF VACCINATION IN ADVANCE TO
JONATHAN [AT] MONDAYEVENINGCONCERTS.ORG OR SHOW IT AT THE CONCERT.
MANY THANKS FOR YOUR UNDERSTANDING AND COOPERATION.
JONATHAN [AT] MONDAYEVENINGCONCERTS.ORG OR SHOW IT AT THE CONCERT.
MANY THANKS FOR YOUR UNDERSTANDING AND COOPERATION.
Photo by Bowie Verschuuren
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PROGRAM: I. KYRIE Caroline Shaw: 1. Kyrie J. S. Bach: Wie Jammern Mich, BWV 170 II. AGNUS DEI Caroline Shaw: 2. Agnus Dei Tyshawn Sorey: Songs for Death: after Were You There When They Crucified My Lord? after Sweet Little Jesus Boy after Swing Low Sweet Chariot III. CREDO Caroline Shaw: 3. Credo J. S. Bach: Mache Dich Mein Herze Rein, BWV 244 IV. GLORIA Caroline Shaw: 4. Gloria Moses Hogan: Give Me Jesus V. SANCTUS Caroline Shaw: 5. Sanctus Julius Eastman: Prelude to the Holy Presence of Joan D’Arc VI. BENEDICTUS Igee Dieudonné / Davóne Tines: VIGIL Davóne Tines, bass-baritone Adam Nielsen, piano |
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"Lighted with a halo, Tines sang Eastman’s solo “Prelude to the Holy Presence of Joan d’Arc” with what may be even more otherworldliness and mesmerizing sanctity than the composer himself brought to his performances. A short text exhorts Joan to speak boldly with phrases that repeat, growing in intensity. It took one’s breath away." - Mark Swed, Los Angeles Times
Following eighteen months with our doors closed, Monday Evening Concerts is elated to re-emerge into the world of live performance with the West Coast premiere of bass-baritone phenom Davóne Tines' groundbreaking RECITAL NO. 1: MASS. Described as "an exploration of the Mass woven through Western European, African American and 21st Century traditions," this deeply personal and poetically constructed program features cantatas by J.S. Bach, an African American spiritual arranged by Moses Hogan, brand new works by MacArthur Fellow Tyshawn Sorey and Pulitzer Prize laureate Caroline Shaw, as well as Tines' own iconic rendition of Julius Eastman's Prelude to the Holy Presence of Joan d'Arc. MEC is thrilled to welcome our dear friend Davóne Tines back to our stage for a profoundly important concert that audiences will surely not want to miss. ARTIST BIOS:
DAVÓNE TINES
Heralded as “[one] of the most powerful voices of our time” by the Los Angeles Times, the “immensely gifted American bass-baritone Davóne Tines has won acclaim, and advanced the field of classical music” (The New York Times) as a path-breaking artist whose work not only encompasses a diverse repertoire but also explores the social issues of today. As a Black, gay, classically trained performer at the intersection of many histories, cultures, and aesthetics, his work blends opera, art song, contemporary classical, spirituals, gospel, and songs of protest, as a means to tell a deeply personal story of perseverance that connects to all of humanity.
Mr. Tines is Artist-in-Residence at Michigan Opera Theatre—an appointment that culminates in his performance in the title role of Anthony Davis’ X: The Life and Times of Malcolm X in the spring of 2022—and Philharmonia Baroque Orchestra & Chorale’s first-ever Creative Partner. His ongoing projects include Recital No. 1: MASS, a program exploring the Mass woven through Western European, African-American, and 21st-century traditions, with performances this season at the Ravinia Festival, in Washington, DC presented by WPA, and at the Barbican in London. He also performs Concerto No. 1: SERMON—a program he conceived for voice and orchestra that weaves arias by John Adams, Anthony Davis, Igee Dieudonné and Mr. Tines himself, with texts by James Baldwin, Langston Hughes, and Maya Angelou—with the Philadelphia Orchestra and BBC Symphony. Mr. Tines is a member of AMOC and co-creator of The Black Clown, a music theater experience commissioned and premiered by The American Repertory Theater and presented at Lincoln Center. He has premiered works by today’s leading composers, including John Adams, Terence Blanchard, and Matthew Aucoin, and his concert appearances include performances of works ranging from Beethoven’s Ninth with the San Francisco Symphony to Kaija Saariaho’s True Fire with the Orchestre national de France. Davóne Tines is a winner of the 2020 Sphinx Medal of Excellence, recognizing extraordinary classical musicians of color. He also received the 2018 Emerging Artists Award from Lincoln Center for the Performing Arts and is a graduate of Harvard University and The Juilliard School. 
ADAM NIELSEN
Pianist Adam Nielsen enjoys a diverse career as a soloist, collaborator, repetiteur and coach. His performances have been praised as “deftly and sensitively played” (The New York Times) “an emotional account of the score” (Musical America) and “tapping into the emotional core of his audience” (Times Picayune, New Orleans).
In recent seasons, Adam's collaborations with baritone Steven LaBrie, bass-baritone Davóne Tines, bass-baritone Ryan Speedo Green, and mezzo-soprano Tamara Mumford have taken him to prominent venues across the United States including Carnegie Hall, The Kennedy Center, Alice Tully Hall, The Frick, St. Louis Celebrity Series, The Ravinia Festival, The Aspen Music Festival, Chicago’s Myra Hess Series, The Heifetz Institute, The Vilar Center in Vail, CO, and the Venetian Arts Society of Ft. Lauderdale, Florida. He has appeared in concert with the St. Louis Symphony, Utah Symphony, Stony Brook Symphony, the Fry Street Quartet, A Far Cry, and Windscape. Other meaningful collaborators include soprano Simone Osborne, soprano Claire DeSevigne, soprano Ying Fang, and violinist Andres Cárdenes. In recent years, Adam’s playing has been featured in the soundtracks of several films including “The Upside” (STX/Lantern Entertainment), “The Chaperone” (PBS), and “The French Dispatch” (Wes Anderson). Earlier this year, he recorded solo works of Chopin and Glinka for an upcoming, still untitled, Netflix film. In 2018, Adam was honored to join the music staff of the Metropolitan Opera. As an opera pianist, he has contributed to works at Harvard’s American Repertory Theater, the Brooklyn Academy of Music, The Richard Tucker Foundation, Aspen Opera Theater, Opera Theatre of St. Louis, The Dallas Opera, and Lyric Opera of Chicago. Since 2011, he has been a member of the Vocal Arts faculty at The Juilliard School where he is currently Principal Coach and Music Advisor to the school’s Masters-level singers. |