The Master’s Most Resplendent Works
Sunday, November 13
David Smith, Artistic Director and Conductor
November 13, 2016. Sunday
21 Broad Street, Kinderhook, 3:00 p.m. Donation $20
High drama for chorus (BSC), orchestra (BSO) and soprano, countertenor, tenor, and baritone soloists.
Katherine Rossiter (soprano), Daniel Moody (countertenor), Christopher Sokolowski (tenor), and Peter Rolfe Dauz (baritone
Kinderhook Reformed Church.
- Coronation anthem no. 1: Zadok the Priest, HWV 258
- Aria “Look down, harmonious saint,” HWV 124
- Ode for the Birthday of Queen Anne, HWV 74
- Concerto a due cori no. 1 in B flat, HWV 332
- Dettingen Te Deum, HWV 283
Reserve Seats (payment at the door)
Peter Rolfe Dauz
San Francisco native, Filipino-American Baritone Peter Rolfe Dauz’s performance highlights include Don Alfonso (Cosi fan tutte), Leporello (Don Giovanni), Figaro (Le nozze di Figaro), Achilla (Giulio Cesare), and Claudio (Agrippina). This season at the Bard College Conservatory, Peter Rolfe sang the role of the Sprecher in Mozart’s Die Zauberflöte (January 2016) and was a soloist in Handel’s Messiah (April 2016). Peter Rolfe was recently invited as one of fifteen young professionals to Open Space: Opera in the 21st Century to perform the role of Junius in Britten’s The Rape of Lucretia at The Banff Centre (Alberta, Canada). His performance as Junius was hailed, “Peter Rolfe Dauz was a great Junius. One tires of two-dimensional characterizations of this role, but he has much to say politically and dramatically through difficult, angular music. Mr. Dauz was another perfect casting, his focused baritone knifing insults and resentment toward Tarquinius whom he accused of making “Rome his brothel”. His bold statements of rebellion near the end of the opera at stage right were the acme of balanced ensemble singing, perfect diction, and dramatic acting — the words of a disaffected general ready to exploit tragedy for military ends.” – Calgary Herald
In 2014, Peter Rolfe began his Master’s Degree at McGill University and performed the title role in Le nozze di Figaro as well as Betto in Puccini’s Gianni Schicchi. Currently, Mr. Dauz is a first year graduate student of the Vocal Arts Program at Bard College where he is currently working with Sanford Sylvan, Dawn Upshaw, Kayo Iwama and Erika Switzer. Peter Rolfe made his New York State symphonic debut as the Bass soloist in Handel’s Alexander’s Feast (Novermber 2015) with the Broad Street Orchestra in Kinderhook, New York and collaborated with Dawn Upshaw in part-songs on the Haydn Project at Bard College.
Mr. Dauz received his Bachelor of Music degree in Vocal Performance at the San Francisco Conservatory of Music in 2011. In the summer of 2013, he was a Young Artist in the Castleton Artist Training Festival in Castleton, Virginia founded by Maestro Lorin Maazel. At Castleton, Peter Rolfe covered the role of Bello in Fanciulla del West. During the three years between him receiving his Bachelor’s degree and the beginning of his graduate studies, Mr. Dauz established a private vocal studio of over 30 students, taught Kindergarten though 8th grade music education and was a cantor at St. James Catholic Church in San Francisco. His time educating the youth was rewarding and enriching but it was the summer in Virginia and the yearning to fine tune his craft that propelled him to further his studies in music and the vocal arts.
Countertenor Daniel Moody has garnered widespread acclaim for his commanding yet expressive vocal timbre and his breathtaking musicianship. Praised as having a “vocal resonance, [which] makes a profoundly startling impression” (The New York Times) and for his “vivid and powerful” voice (The Boston Musical Intelligencer), Mr. Moody is equally known for his “sweet and melancholy sound” (The Washington Post) and ability to “pierce hearts” and “utterly silence a room” (The Boston Musical Intelligencer) with his expressivity and deep connection with audiences.
Recent opera appearances include Nerone in Monteverdi’s L’incoronazione di Poppea, the title roles in Handel’s Giulio Cesare and Rinaldo, Oberon in Britten’s A Midsummer Night’s Dream, and L’Enfant in Ravel’s L’Enfant et les sortileges. In Mr. Moody’s most recent role as Rinaldo, he drew attention from the San Diego Story for his unusually powerful tone: “[Mr. Moody] may help to create a new operatic vocal category: Helden Countertenor.” Mr. Moody has also appeared in Mark Morris’ productions of Britten’s Curlew River and Purcell’s Dido and Aeneas at the Tanglewood Music Festival, where the Financial Timesnoted his “inspired and absorbing performances”.
A proponent of early music, Mr. Moody has performed at the Boston, Indianapolis and Washington Early Music Festivals, Maryland’s Mountainside Baroque, and Boston’s Antico Moderno, and under such conductors as Stefan Asbury, Nicholas Kramer, Ken Lam, and Lyle Nordstrom. A graduate of the prestigious Yale Voxtet – resident at Yale’s Institute of Sacred Music – he has performed as a soloist at such venues as Lincoln Center’s Alice Tully Hall, London’s St. John’s Smith Square and, Cambridge’s Trinity College, working closely with renowned conductors David Hill, Simon Carrington, Masaaki Suzuki, and Matthew Halls. His performances have been broadcast live in concert on BBC Radio 3 in the United Kingdom, and on Boston’s WGBH, Indiana’s WFIU, WSHU’s Sunday Baroque.
Highlights of 2015-16 include the American premiere of George Benjamin’s Dream of the Song at the Festival of Contemporary Music at the Tanglewood Music Center, as well as invitations to perform St. Matthew Passion at St. Peter’s Church in New York, Handel’s Messiah with the Charleston Symphony and Winston-Salem Symphony Orchestras, A Midsummer Night’s Dream (Oberon) at the Lakes Area Music Festival (Minnesota), and with La Fiocco. He was also invited as one of four vocalists in Joyce DiDonato’s Carnegie Hall opera workshop, broadcast on Medici TV.
Mr. Moody is a graduate of the Peabody Conservatory (BM ’14) and sang with the at the Washington National Cathedral Choir during his years in Baltimore. He recently graduated with a Master’s Degree from the Yale School of Music and Institute of Sacred Music, and has won awards at the Handel Aria Competition, the New York Oratorio Society Competition, and the Russell Wonderlic Competition.
Born in Vicenza, Italy and raised in Pennsylvania, Katherine Rossiter is a performer with diverse interests that spans opera, oratorio, art song, and musical theatre.
She is currently a second year Graduate Vocal Arts Fellow at Bard College-Conservatory of Music in New York, in the program led by world-renowned soprano, Dawn Upshaw, and collaborative pianist, Kayo Iwama. This season, she will be the soprano soloist in Bach’s BWV 78, Jesu, du der meine Seele with the Albany Symphony Orchestra, under the direction of David Alan Miller. She will also be the soprano soloist with the Concerts in the Village series in Kinderhook, NY in Handel’s Ode to the Birthday of Queen Anne, as well as in Vivaldi’s Gloria with the Bard College Baroque Ensemble, conducted by James Bagwell. In February, she will appear with other members of the Vocal Arts Program in A Little Theatre Music: Blitzstein and Sondheim in Review, singing excerpts from Marc Blitzstein’s The Cradle Will Rock and Regina, as well as Stephen Sondheim’s Company and A Little Night Music.
Last season at Bard, Ms. Rossiter performed the roles of Second Lady and First Spirit in Die Zauberflöte, also conducted by James Bagwell. In addition, she was the soprano soloist in The Haydn Project, curated by pianist, Peter Serkin at Bard Conservatory, and she reprised the soprano solos in The Messiah with Classics on Hudson in Hudson, NY.
In June 2016, Ms. Rossiter made her Carnegie Hall debut with the New York Lyric Opera Theatre singing excerpts of Poussette from Manon and La Novice in Suor Anglelica, in the concert Love, Passion, and Betrayal. Also with New York Lyric Opera Theatre, she performed the roles of Fortuna and Drusilla in L’incoronazione di Poppea, as well as excerpts of Suor Genovieffa from Suor Angelica at the Bruno A. Walter Auditorium in Lincoln Center.
Tenor Christopher Sokołowski is a native of New York’s Hudson Valley, and has sung a wide repertoire of both concert and operatic works. He has performed roles including Acis (Acis and Galatea), Oronte (Alcina), Henrik (A Little Night Music), Alfred (Die Fledermaus), Tamino (Die Zauberflöte), Mari (Les mamelles de Tirésias), and concert works such as Orff’s Carmina Burana, Vaughan William’s On Wenlock Edge, Handel’s Messiah, Weber’s Jubelmesse, Bach’s Magnificat, Mendelssohn’s Elijah, Mozart’s Requiem, Vivaldi’s Dixit Dominus, Handel’s Esther, and Britten’s War Requiem. In 2013 he created the role of Thiện Sĩ in the world premiere of P.Q. Phan’s Tale of Lady Thị Kính, and sang the world premiere of Phan’s Vietnamese Requiem in April of 2015. He was a prizewinner in the S. Livingston Mather and Orpheus Vocal Competitions, earned his B.M. from SUNY Purchase, and his M.M. from Indiana University Jacobs School of Music where he was an Associate Instructor of Voice. www.christophersokolowski.com
Tenor Christopher Sokolowski is a native of New York’s Hudson Valley, and has performed a wide repertoire of both concert and operatic works, ranging from Purcell, to Poulenc, to Phan. The summer of 2016 brought a residency at the Tanglewood Music Center, where he sang cantatas of J. S. Bach, conducted by composer and Bach specialist John Harbison; song repertoire of Debussy, Britten, Thomas Pasatieri, and Percy Grainger; sang the role of the Father in Kurt Weill’s Die sieben Todsünden; and participated in masterclasses and workshops led by Sanford Sylvan, Stephanie Blythe, Dawn Upshaw, Margo Garrett, Alan Smith, and Ken
In the summer of 2015 he sang the role of Henrick Egerman in Sondheim’s A Little Night Music
with the Phoenicia International Festival of the Voice, sharing the stage with highly acclaimed
artists such as Ron Raines, Rosalind Elias, and Susan Powell. Earlier in the year brought two
Handel works: the title role in Acis and Galatea with the IU Summer Music festival, and Oronte
in Handel’s Alcina at the Indiana University Opera Theater, directed by Chas Rader-Shieber and
conducted by Arthur Fagen. In November of 2014 he had the honor of performing as the tenor
soloist for the monumental War Requiem of Benjamin Britten in a performance conducted by
Michael Palmer which served as a campus-wide commemoration of the centennial of World
War I at Indiana University. February of 2014 brought the world premiere of P.Q. Phan’s Tale
of Lady Thị Kính with the IU Opera Theater, directed by Vince Liotta and conducted by David
Effron, in which he created the role of Thiện Sĩ.
In concert he has performed with orchestras and ensembles across America in works such as
Orff’s Carmina Burana; Vaughan William’s On Wenlock Edge; Handel’s Esther, Messiah and
Alexander’s Feast; the Magnificats of J.S. Bach, J.C. Bach, and Vivaldi; Mendelssohn’s Elijah;
Mozart’s Requiem; Vivaldi’s Dixit Dominus, Kyrie, and Gloria; among others. In the summer of
2013, he was an artist with the Lyric Opera Studio of Weimar, Germany, where he performed
the role of Tamino in Mozart’s Die Zauberflöte, and sang with the Thüringer Symphoniker
under the baton of Oliver Weder in opera scenes and arias. Other operatic roles include Alfred
in J. Strauss II’s Die Fledermaus, Le Mari in Poulenc’s Les mamelles de Tirésias, and Remendado
in Bizet’s Carmen.
Last updated 09/22/2016
In addition to his work at the Tanglewood Music Center, he has been a featured artist with the
Phoenicia International Festival of the Voice for several summers, covering tenor Barry Banks
in the role of Don Ottavio in a performance of Don Giovanni conducted by Steven White, and
singing in their concert dedicated to young “Voices of Distinction,” in which he shared the
stage with countertenor Brian Asawa for a concert of repertoire from the Baroque and
In November of 2014, he was awarded the Albert Rees Davis Scholarship as a winner of the S.
Livingston Mather Scholarship Competition, and in 2015 he was a semifinalist for the Lyndon
Woodside Oratorio-Solo Competition, was awarded the Bizet Award in the Orpheus Vocal
Competition, and placed third in the American Prize College/University Opera division.
He earned his Bachelor of Music degree, magna cum laude, from SUNY Purchase, and his
Master of Music degree from Indiana University’s Jacobs School of Music where he was
attending on full scholarship and also an associate instructor of voice. During his time in
conservatory, he has participated in masterclasses led by Matthew Polenzani, Daniel Taylor,
Josefien Stoppelenburg, Emilio Pons, and Damon Nestor Ploumis.
When not practicing, rehearsing, or performing, Christopher will most likely be maintaining his
company entitled Handel Reductions, which is dedicated to creating piano reductions of
repertoire from the Baroque period, in an effort to make this glorious music more
approachable and usable for auditions, recitals, and performances.
Information regarding upcoming performances can be found on his website,
Kinderhook Reformed Church
At 3:00 p.m. on Sunday, November 13th, Concerts in the Village continues its seventh season with a program entitled Royal Handel. Featured will be CITV’s Broad Street Chorale, Broad Street Orchestra and soloists performing works chosen to highlight Handel at his most grand and colorful. The concert will be held at Kinderhook Reformed Church, in the Village of Kinderhook.
Led by David Smith, Artistic Director and Conductor, this concert will be CITV’s nineteenth. For the occasion over 60 musicians will be amassed, including guest soloists Katherine Rossiter (soprano), Daniel Moody (countertenor), Christopher Sokolowski (tenor), and Peter Rolfe Dauz (baritone).
The concert begins with the dramatic anthem Zadok the Priest, which has been sung at nearly every British coronation since 1727. Next tenor Sokolowski, widely praised for his remarkable technique and expressivity, will be featured in the seldom heard, highly virtuosic solo cantata Look down, harmonious saint, first performed in 1736. Composed in 1713, the great celebratory Ode for the Birthday of Queen Anne follows. This multi-movement work opens with the famous aria “Eternal source of light divine” for countertenor and solo trumpet.
Following intermission Handel’s 1748 double concerto in B-flat for oboes, bassoons and strings provides a superb example of baroque vitality. Its dance-like rhythms and multiple echoing ensembles take full advantage of the technical mastery of the Broad Street Orchestra. To conclude Royal Handel, all of CITV’s solo, choral and instrumental forces are gathered to offer the magnificent Dettingen Te Deum, a large-scale work written in thanksgiving for the historic 1743 triumph of King George II over the French army. A more spectacularly festive conclusion to Royal Handel is difficult to imagine.
Says CITV’s Artistic Director David Smith, “The always imaginative Handel spared nothing in his conception of these powerful works. I am confident that listeners will find themselves lifted up, struck by the magnificence and grandeur of it all. Royal Handel will be a memorable concert experience.”
Soloists Katherine Rossiter and Daniel Moody will be making their CITV debuts. Christopher Sokolowski and Peter Rolfe Dauz were received with great enthusiasm at last year’s CITV performance of Alexander’s Feast. Rossiter and Dauz are second-year students in the Bard Graduate Vocal Arts Program, where they work with the eminent American soprano and teacher Dawn Upshaw. Sokolowski, a Tanglewood Fellow this past summer, has had a distinguished career performing throughout midwestern and northeastern United States. Countertenor Moody, also a Tanglewood Fellow, has sung here and in England. Critical acclaim of his singing has been enthusiastic: Praised as having a “vocal resonance, [which] makes a profoundly startling impression” (The New York Times) and for his “vivid and powerful” voice (The Boston Musical Intelligencer), Mr. Moody is equally known for his “sweet and melancholy sound” (The Washington Post) and ability to “pierce hearts” and “utterly silence a room” (The Boston Musical Intelligencer) with his expressivity and deep connection with audiences.
A contribution of $ 20 includes an on-site reception immediately following the concert. Kinderhook Reformed Church is located at 21 Broad Street (Route 9) in the Village of Kinderhook (corner of Broad and Church Streets).
This concert is made possible with public funds from the Decentralization Program of the NYS Council on the Arts, administered in Columbia County by the Greene County Council on the Arts through the Community Arts Grants Fund. Generous funding has also been received from Hudson River Bank & Trust Company Foundation, Stewart’s Holiday Match program, and from many individual and business supporters.