OSCAR STAGNARO, JAZZ BASS Oscar Stagnaro, originally from Peru, is considered one of the most versatile bass players on the East Coast. His mastery of playing a variety of styles ranging from jazz and fusion to Latin jazz, Brazilian jazz, and South American music has helped him travel the world performing with the very best Latin jazz artists. Says Bass Player magazine, “Oscar’s technical agility, advanced harmonic and melodic knowledge, and grounding in funk and R&B—as well as his dedication to Latin traditions—give him the ultimate flexibility when it comes time to lay down a groove.” In addition to his performing career he has developed Latin Bass curricula at both the Berklee College of Music, where he is an associate professor, and at the New England Conservatory. Oscar joined Paquito D’Rivera’s group in 1990.

GREG ZUBER, XYLOPHONE Gregory Zuber is the principal percussionist with the Metropolitan Opera Orchestra, with which he has toured the United States, Europe, and Japan. He can be heard regularly on the Met’s many broadcasts and recordings. He is an active soloist, recitalist, composer, teacher, and clinician. Performance highlights include his 2004 solo recital at Carnegie Hall’s Weill Recital Hall and his 2007 solo concert at the Verbier Music Festival. In 2002, he performed the premiere of Hsueh-Yung Shen’s Legend for solo percussionist and orchestra, commissioned for him by the Met, at Carnegie Hall with James Levine and the MET Orchestra. Mr. Zuber performs chamber music regularly with the MET Chamber Ensemble at Carnegie Hall. He also plays duo concerts with his wife, flutist Patricia Zuber. He is a faculty member of The Juilliard School and the UBS Verbier Music Festival.

SUNDAY, OCTOBER 4, 2015 AT 3 PM Richard Goode, piano BUY TICKETS RICHARD GOODE, PIANO “Richard Goode is one of the finest pianists in the world. Few can match his unfailingly beautiful tone, effortless technical command, interpretive insight, and emotional commitment to the music he plays.” – The Washington Post FEATURING ABOUT THE PERFORMANCE BUY TICKETS One of today’s most thrilling and highly acclaimed artists, Richard Goode is universally hailed as a deeply insightful interpreter of the Viennese classics. His emotionally rich, far-ranging recital will feature two of Mozart’s most dramatic sonatas in alternation with a selection of Brahms’s beloved intermezzi, ballades, and romances. “The best pianists are able to produce an alluring sound from any instrument. Richard Goode, during a magisterial performance of late Beethoven sonatas in May at Carnegie Hall, produced a glowing, warm sound that encompassed a wide dynamic spectrum from muted intimacy to full‐throttle power without ever sounding harsh.” – The New York Times PROGRAM Wolfgang Amadeus Mozart Sonata No. 8 in A minor, K. 310 Program Notes Johannes Brahms Klavierstücke, Op. 118 Program Notes Wolfgang Amadeus Mozart Sonata No. 15 in F, K. 533 Program Notes Johannes Brahms Klavierstücke, Op. 119 Program Notes A short introduction Brahms’s Klavierstücke, Op. 119; Richard Goode, pianist: Hear the story behind Mozart’s A-minor Piano Sonata; Richard Goode, pianist: Watch a short video about pianist Richard Goode: Richard Goode, pianist - Beethoven Sonata No. 31 in A-flat, Op 110, Mvt. 1:

February 9, 2025: The Virtuoso Cellist, with Steven Isserlis and Connie Shih Ludwig van Beethoven (1770–1827) Cello Sonata No. 2 in G minor, Op. 5, No. 2 February 9, 2025: The Virtuoso Cellist, with Steven Isserlis and Connie Shih Beethoven composed his first two cello sonatas in the early summer of 1796 while visiting the Berlin court of King Friedrich Wilhelm II, who was himself an amateur cellist. Dedicated to the king, the sonatas were premiered by the composer at the piano with cello virtuoso Jean-Louis Duport—not to be confused with his brother Jean-Pierre, a less famous cello virtuoso who was already in the employ of the king. Ferdinand Ries, Beethoven’s student and biographer, reported that “on his departure he received a gold snuffbox filled with Louis d’ors. Beethoven declared with pride that it was not an ordinary snuffbox, but such a one as it might have been customary to give to an ambassador.” Despite their being “early” works, the Opus 5 Cello Sonatas, like the early trios and piano sonatas, show the hand of a full-fledged master. The original title—“two grand sonatas for piano and obbligato cello”—reflects the eighteenth-century tradition in which the keyboard predominated and the second instrument played an accompanying role. Though the keyboard is indeed prominent in these works, Beethoven often made the cello an equal partner, thus forging a new realm for the cello sonata far beyond what scholar Lewis Lockwood called “wallpaper sonatas.” Inspired in part by Mozart’s violin sonatas, Beethoven now showed off the cello in all of its registers and as a match for the piano’s wide range of expression. This expansion of the cello’s role had much to do with the Duports—in particular, the proficiency and personality of Jean-Luis, who had opened up a new era of technical achievement in his playing and teaching of the instrument. Both of the Opus 5 Sonatas follow the same two-movement layout, possibly modeled after Mozart’s C major Violin Sonata, K. 303. Their first movements are preceded by a long, slow introduction, which makes a slow movement unnecessary, and each concludes with a merry rondo finale to finish off the form. The extensive introduction of the G minor Sonata presents a many-faceted drama with plots and subplots that include forceful pronouncements, plentiful dotted rhythms, lyrical yearning lines, and judicious uses of silence near the end to build suspense for the main Allegro section. He generously presents two ideas in both of the exposition’s first and second theme groups, all of which he treats virtuosically in the development section, where he even introduces a lightly dancing new theme. Following his recapitulation he concludes with a turbulent coda. This is one of Beethoven’s most extended sonata movements—it amounts to more than five hundred measures even without the prescribed repeat of the exposition and of the development and recapitulation—and yet its coherence is remarkable. The bubbly rondo refrain of the second and final movement banishes the dark mood. It begins unexpectedly in C major rather than G major, a trick the composer liked enough to repeat for the last movement of his G major Piano Concerto. This catchy refrain encompasses three ideas, all of which Beethoven returns to and varies in this ingenious combination of rondo, variation, and ternary form. The refrain alternates with equally inspired episodes: the first sweet then poignant as it turns to the minor mode and the second a much extended episode in the C major key of the opening. The entire refrain-episode-refrain succession of the beginning returns after this substantial middle episode, and so the rondo form (A-B-A | C | A-B-A) gives the overall impression of a simpler three-part form. Beethoven adds a coda that pauses the forward momentum with a new alternately soft and forthright melodic phrase before the whirlwind conclusion. —©Jane Vial Jaffe Return to Parlance Program Notes

November 4, 2018: Lucille Chung, piano LOUIS-CLAUDE DAQUIN (1694-1772) Le Coucou November 4, 2018: Lucille Chung, piano Louis-Claude Daquin’s intellectual, artistic family immediately recognized his prodigious talents. He took harpsichord lessons with his talented godmother Elisabeth Jacquet de la Guerre and composition lessons from the illustrious Nicolas Bernier, and at the age of six he performed for Louis XIV. Just two years later he conducted his own Beatus vir at the royal chapel, Sainte-Chapelle, and at twelve he became assistant there to Marin de la Guerre (Elisabeth’s husband). That year he was also hired as organist at Petit St.-Antoine, where crowds flocked to hear him. Daquin won the position of organist at St. Paul in 1727 in competition with a number of fine musicians including the great Jean-Philippe Rameau, and he remained there until his death. Concurrently he held other organist appointments—at Cordeliers from 1732, Chapelle Royale from 1739, and Notre Dame from 1755. He is also known to have mightily impressed his audiences at the Concerts Spirituels at the Palais de Tuileries and the Concerts Français. Contemporary accounts rate Daquin as the finest improviser of his time, but he may have been too busy improvising to commit the extent of his genius to print—just two collections of his compositions were captured for posterity. His Nouveau livre de noëls (New book of Christmas pieces), published in 1757, shows charm, brilliance, and imaginative registrations. But Daquin’s more original side shows in some of the pieces in his Livre de pièces de clavecin (Book of harpsichord pieces), a collection of four suites and a divertissement, for which there was enough demand to be printed twice, in 1735 and again in 1739. In his 1735 preface Daquin points to his use of “new styles of expression” while keeping within true keyboard idioms. He points to Les vents en couroux , in which he says the crossed hands passages represent the fury of the waves and flashes of lightning as the wind whips up a storm on the ocean, and Les trois cadences , which contains the novel technique of the triple trill. He also mentions his attempt to imitate the “appropriate effects and characters” in the publication’s final set of pieces, Les plaisirs de la chasse (The pleasures of the hunt), but other than including it in a list of pieces possible for violins or flutes, he does not mention Le coucou , which has become his most celebrated composition. Le coucou , the first piece in his Third Suite, shows his remarkable use of a stylized bird call in an original way. A cuckoo’s call is generally heard as a descending major or minor third, and Daquin starts with this interval, always placing it in the same rhythmic spot—from the second half of the second beat to the downbeat of the next measure. The call migrates from hand to hand, but more strikingly changes from a third to a second, fourth, fifth, or sixth depending on the harmony, and sometimes ascends rather than descends. It never loses its identity as the cuckoo, however, owing to its rhythmic configuration. In terms of form, Daquin opts for a rondeau in which the opening alternates with two couplets as a refrain in the form A-B-A-C-A. He never alters the texture of running sixteenth-notes against the “cuckoos” except to switch hands and add judicious ornaments, but he keeps the ear engaged with harmonic excursions and the flitting of the cuckoos from place to place. © Jane Vial Jaffe Return to Parlance Program Notes

April 14, 2019: Jason Vieaux, guitar ANTÔNIO CARLOS JOBÍM (1927-1994) A Felicidade April 14, 2019: Jason Vieaux, guitar Composer, pianist, guitarist, and arranger Antônio Carlos Jobim was greatly influenced by the American West Coast jazz composers of the 1950s, such as Jerry Mulligan, Chet Baker, and Barney Kessel, and, he said, by French Impressionist composer Claude Debussy. But he always infused his music with a bit of Brazilian samba, which gave it an exotic uniquenesss that attracted enormous popularity. Jobim is especially known for helping to launch the bossa nova craze, the movement that sprang up in the late 1950s in Rio de Janeiro as a stylistic shift in the urban samba. The term bossa nova may have first been used publicly in 1957 by journalist Moyses Fuks in promoting a concert by the Grupo Universitário Hebraico do Brasil, but it was a style that was already being pioneered by guitarist João Gilberto. His recordings of bossa nova songs by Jobim and lyricists Vinicius de Moraes and Newton Mendonça took the world by storm. The term combined bossa —slang in Rio for “shrewdness”—together with nova to describe the new complex melodic intervals, harmonies, and rhythmic structure. The subdued, almost spoken delivery, blending with the innovative guitar style—Gilberto had just recently invented his now-famous “stammering” guitar stroke—became just as important for bossa nova as its melodic, harmonic, and rhythmic innovations. Jobim is known especially for his bossa nova song “Girl from Ipanema,” composed in 1962 with Moraes, but another of his famous songs, also written with Moraes, came at the outset of the bossa nova craze. They wrote “A felicidade” in 1958 for the French film Orfeu Negro (Black Orpheus), directed by Marcel Camus and released in 1959. Sung by Agostinho dos Santos with Roberto Menescal on guitar, the song accompanies the opening credits. Jobim underlays its lyrical, haunting melody with exuberant bossa nova rhythms, exemplifying the conflict of its opening lines: “Sadness has no end, happiness / happiness does.” In 2001 guitarist, composer, and arranger Roland Dyens arranged “A felicidade” for guitar only, dedicating it Gilberto. He added idiomatic figuration and flourishes that make it a great virtuoso showpiece. © Jane Vial Jaffe Return to Parlance Program Notes

February 8, 2015 – David Finckel, cello; Wu Han, piano ALEXANDER SCRIABIN (1872–1915) Five Preludes for Solo Piano, Op. 16 (1894–1895) February 8, 2015 – David Finckel, cello; Wu Han, piano A student of the Moscow Conservatory alongside the likes of Sergei Rachmaninov and Aleksandr Goldenweiser, the pianist and composer Aleksandr Skryabin struggled greatly to compose, enduring massive anxiety attacks for much of the 1890s. With the support of the conservatory’s director, Vasily Safonov, Skryabin was permitted to graduate early (in the same year as Rachmaninov), although his mentor, Anton Arensky, who had been working closely with Skryabin on counterpoint and fugue, was adamantly against his departure. Nevertheless, Skryabin graduated from the conservatory, and through Safonov’s support was soon contacted by Mitrofan Belyayev, an Imperial Russian music publisher in Moscow. Through Belyayev’s connections, Skryabin was given opportunity to tour Russia in 1894, and was sent to Paris in 1895. Compositionally, during this period, Skryabin devoted himself almost entirely to composing Preludes towards an outstanding bet he had made with Belyayev that he could compose 48 Preludes before departing for Paris; it was to fulfill this bet that Skryabin composed his Twenty-Four Preludes, op. 11, and Five Preludes, op. 16. Shostakovich and Nina separated, and the composer, as Vollman alludes, remained in Moscow with no definite plans to follow his wife back to Leningrad. It was during this time that work on the Cello Sonata began. By 1935, however, Nina was pregnant with the Shostakoviches’ first child, and the marriage essentially righted itself (which did not preclude later extramarital affairs by both Dmitry and Nina). Shortly after the affair ended, Konstaninovskaya received an anonymous political denunciation and spent roughly a year in prison. The first of the Opus 16 Preludes paints a heavily romantic dreamscape. Like a wind-up music box, it is as if Skryabin leads us to question whether the next note will actually come, or whether it will leave us in an airy suspense. Far more decisive than is the following prelude, in g-sharp minor: the work carries a depth in the left hand reminiscent of Franz Liszt, whom Skryabin deeply admired. The third and fourth preludes alternate between a hymn-like chordal melody and a dainty right-hand melody, which recalls the first prelude’s sensibility. The set concludes with a brief, yet fulfilling Allegretto in f-sharp minor. ©2013 Andrew Goldstein Return to Parlance Program Notes

2012-2013 ARTIST ROSTER INON BARNATAN, PIANO EMERSON STRING QUARTET RICHARD GOODE, PIANO ANTHONY MCGILL, CLARINET DENIS BOURIAKOV, FLUTE - 2013 SIR JAMES GALWAY, FLUTE STEFÁN RAGNAR HÖSKULDSSON, FLUTE PHILLIP MOLL, PIANO NICHOLAS CANELLAKIS, CELLO LADY JEANNE GALWAY, FLUTE ROBERT LANGEVIN, FLUTE

December 3, 2023: Brentano String Quartet; Antioch Chamber Ensemble ENGLISH MADRIGALS December 3, 2023: Brentano String Quartet; Antioch Chamber Ensemble The rise and fall of the English madrigal is remarkable in that it occurred within such a short period of time—roughly a quarter of a century—but what makes its performance and study so rewarding is the quality of the output of the composers within that short period. The English madrigal owes its existence to its Italian and Flemish models, which were being published by 1540, but the first English publication of what could be considered madrigals did not occur until 1588 with William Byrd’s Psalms, Sonets, and Songs. Madrigal singing was becoming popular in England before this, but for decades the only music available was that of the continental composers. English madrigalists were in a position to draw from some of the best literature in the English language for their lyrics. These composer were contemporaries of Shakespeare, Ben Jonson, Sidney, Donne, Spenser, Fletcher, Chapman and many others, and quite possibly were intimately acquainted with them. In “The Ape, the Monkey and Baboon,” Thomas Weelkes refers to the Mermaid Tavern, a famous club to which many of these poets belonged, and to which in all probability some of the great madrigalists belonged as well. Unfortunately it was not the custom to print the name of the author of the lyrics in music books, so it would be·nearly impossible to prove authorship of most madrigal lyrics. Also the poems themselves do not exist outside of the madrigal song-books, and many madrigal composers probably wrote their own lyrics, but it would be natural to suppose that some of the great poets wrote a few of the poems or suggested a line here and there. Weelkes indicated pretty clearly that he did not write his own lyrics. He describes himself as “untoucht with any other arts, and I hope, my confession is unsuspected, many of us Musitians thinke it is as much praise to be some what more then Musitians,” which in addition to suggesting that he wrote none of his lyrics, implies that other musicians did. The sole purpose of the madrigal was to enhance the beauty of a given text with appropriate music. Carefully setting individual lines and even individual words was the Italian idea which the English adopted. The structure was determined·by the text and often. new material was employed for each line. Rapid changes of mood were demanded by certain texts. The Italian methods of word painting and creating contrast were sometimes extreme in order to achieve a “dramatic” style. All Elizabethans “word painted,” but this did not completely dictate the form of their madrigals. Whereas many Italian madrigals tend to be more a series of contrasting episodes, English madrigals tend to be a more unified whole. Because “word painting” and “phrase painting” conventions were common practice among Elizabethans, much of what seems trite or trivial to the modern mind was completely ordinary and acceptable then. There are countless examples of these word painting devices. Words like happy, joy, fly, sing, or laugh were almost always set to phrases of rapid notes. The flight of a bird could be specifically portrayed by the curve of the notes. Words such as weep, moan, sobs, loud lamenting were set with slower notes, discords, or suspensions. “Dancing” was almost always set in triple rhythm. A device used by almost all madrigalists to set a “sigh” was to precede it by a rest for a more realistic effect—the list goes on forever. Since these realistic methods were used by all, the great composers stand out as the ones who did not let them become trivial or interfere with the beauty of their work. Our first selection, “All Creatures Now ” by John Bennet (fl. 1575–1614), was first published in the famous 1601–03 collection edited by Thomas Morley, The Triumphs of Oriana, which represented twenty-three English madrigal composers. It has long been thought that “Oriana” referred to Queen Elizabeth I, but an alternate theory suggests that Anne of Denmark (later Queen of England) was being honored in an early failed attempt to push out Elizabeth I in order to restore Catholicism in England. Text painting abounds, already apparent in the opening phrase at “merry.” Note, in particular, Bennet’s glorified treatment of the concluding word, “Oriana.” William Byrd (c. 1540–1623) is regarded as the founder of the English madrigal school since he was the first to publish “madrigals,” though not so named (see above) and “Though Amarillis Dance” first appeared in that 1588 collection. Although most of his contribution to music was in the area of church music, his madrigals are equally rewarding, some naturally exhibiting elements of his church style. Here though, triple meter and lively rhythmic play suggest the dance, and the effect of the popping “Hey ho”s in the refrain is delightful. Thomas Weelkes (?1576–1623) was one of the most gifted of the English madrigal composers, and like Byrd, he was also a composer of church music. Little was known about his life until 1597 when he published his Madrigals to 3. 4. 5. & 6. Voyces, many of which show his familiarity with the Italian madrigalists. The influence of Thomas Morley, who was apparently one of his good friends, shows more in his second book, published just one year later: Balletts and Madrigals to Five Voyces, which includes one of the all-time favorites in the madrigal repertory, “Hark, All Ye Lovely Saints above.” Here in this ballett (a form marked by its “fa-la” refrains), Weelkes’s wit and brilliance shines. Thomas Tomkins (1572–1656) was born to a family of musicians—son of a choirmaster and vicar—and, based on one of his dedications, appeared to have studied with William Byrd. He also marked up a copy of Morley’s Plain and Easy Introduction to Practical Music (1597), and must have been known to him personally, because Morley included one of his madrigals in The Triumphs of Oriana (see above). Tomkins’s Songs of 3.4.5. & 6. Parts (1622), besides the madrigal dedicated to Byrd, included “Adieu, Ye City Prisoning Towers” in its mixed compilation of sacred songs and madrigals. This lesser-known madrigal scintillates with its lively word-painting, rapid-fire imitation, and metrically contrasting sections. John Wilbye (1574–1638), one of the finest of the English madrigalists, was born to a prosperous tanner and soon entered the service of the Kytson family, remaining in their service for most of his career. Like other English madrigalists, he was influenced by Thomas Morley, but his style is often more subtle in his word painting. Though less prolific than some of the other madrigalists, he was a master of polish and sensitivity, as the classy melancholy of “Draw on Sweet Night” exhibits so well. He characteristically used varied repetition to expand and reinforce, such as here with the return of the opening music. Scholar David Brown goes so far as to say that this madrigal “is not only Wilbye’s finest single achievement, but perhaps also the greatest of all English madrigals.” We close with a return to Thomas Morley in his iconic “Fyer, Fyer!” published in his First Booke of Balletts to Five Voyces (1595). Yelling “Fire!” has always been an effective warning, and here in this ballett (think “fa-la” refrain), he likens that kind of emergency to being smitten in love. Admittedly, the cries of “My heart” never sounded so enjoyable. Texts Bennet: All Creature Now All creatures now are merry minded, the shepherd’s daughters playing, the nymphs are falalaing. Yon bugle was well winded. At Oriana’s presence each thing smileth. The flow’rs themselves discover, birds over her do hover, music the time beguileth, See where she comes, with flow’ry garlands crowned, queen of all queens reknowned. Then sang the shepherds and nymphs of Diana, “Long live fair Oriana!” Byrd: Though Amarillis Dance Though Amarillis daunce in green, like Fayrie Queene, and sing full cleere, Corina can with smiling cheer: yet since their eyes make hart so sore, hey ho, chill* love no more. My sheepe are lost for want of food, and I so wood: that all the day, I sit and watch a heardmaid gaye: who laughes to see mee sigh so sore, hey ho, chill love no more. Her loving lookes, her beautie bright, is such delight: that all in vaine, I love to like, and lose my gaine: for her that thanks mee not therefore, hey ho, chill love no more. Ah wanton eyes my friendly foes, and cause of woes: your sweet desire, breedes flames of ice and freese in fire: yee skorne to see mee weep so sore, hey ho, chill love no more. Love yee who list I force him not, sith God it wot, the more I wayle, the lesse my sighes and teares prevaile, what shall I doe but say therefore, hey ho, chill love no more. *Obsolete word meaning I will. Weelkes: Hark, All Ye Lovely Saints above Hark, all ye lovely saints above Diana hath agreed with Love, his fiery weapon to remove. Fa la la. Do you not see how they agree? Then cease fair ladies; why weep ye? Fa la la. See, see, your mistress bids you cease, and welcome Love, with love’s increase, Diana hath procured your peace. Fa la la. Cupid hath sworn his bow forlorn to break and burn, ere ladies mourn. Fa la la. Tomkins: Adieu, Ye City-Prisoning Towers Adieu, ye city pris’ning towers, better are the country bowers. Winter is gone, the trees are springing, birds on ev’ry hedge sit singing. Hark, how they chirp, come, love, delay not, come, come, sweet love, O, come and stay not. Wilbye: Draw on, Sweet Night Draw on, Sweet Night, best friend unto those cares that do arise from painful melancholy. My life so ill through want of comfort fares, that unto thee I consecrate it wholly. Sweet Night, draw on! My griefs when they be told to shades and darkness find some ease from paining, and while thou all in silence dost enfold, I then shall have best time for my complaining. Morley: Fyer, Fyer! Fyer, fyer, my heart! Fa la la la. O help, alas, o help! Ay me! I sit and cry me, and call for help, alas, but none comes ny me! Fa la la la. O, I burne mee, alas! Fa la la la. I burne, alas, I burne! Aye mee! Will none come quench mee? O cast, cast water on, alas, and drench mee! Fa la la la. Return to Parlance Program Notes

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CRAIG TERRY, PIANIST Lauded for his “sensitive and stylish” (The New York Times) and “superb” (Opera News) playing, pianist Craig Terry has launched an international career regularly performing with some of the world’s leading singers and instrumentalists. He has just returned from a recital tour of South America with Joyce DiDonato on which they performed in Argentina, Chile, Peru, Brazil, Mexico, and Ecuador. Currently Mr. Terry is in his eleventh season as Assistant Conductor, and has recently been named Music Director of the Ryan Opera Center at Lyric Opera of Chicago. Previously, he served as Assistant Conductor at the Metropolitan Opera after joining its Lindemann Young Artist Development Program. Mr. Terry has performed with such esteemed vocalists as Jamie Barton, Stephanie Blythe, Christine Brewer, Nicole Cabell, Andriana Chuchman, Sasha Cooke, Eric Cutler, Joyce DiDonato, Giuseppe Filianoti, Renée Fleming, Susan Graham, Denyce Graves, Bryan Hymel, Brian Jagde, Joseph Kaiser, Quinn Kelsey, Kate Lindsey, Ana María Martínez, Susanna Phillips, Luca Pisaroni, Patricia Racette, Catherine Wyn-Rogers, Hugh Russell, Bo Skovhus, Garrett Sorenson, Heidi Stober, and Amber Wagner. He has collaborated as a chamber musician with members of the Metropolitan Opera Orchestra, the Lyric Opera of Chicago Orchestra, the Gewandhaus Orchester, the Berlin Philharmonic, the Vienna Philharmonic, and the Pro Arte String Quartet. Mr. Terry’s 2015-16 performance schedule includes concerts with Stephanie Blythe, Christine Brewer, Andriana Chuchman, Joyce DiDonato, Renée Fleming, Luca Pisaroni, and Patricia Racette. He has recently been named Artistic Director of “Beyond the Aria,” a new concert series presented by the Harris Theater in collaboration with the Ryan Opera Center and Lyric Unlimited. Mr. Terry’s discography includes three recently released recordings: “Diva on Detour” with Patricia Racette, “As Long As There Are Songs” with Stephanie Blythe, and “Chanson d’Avril” with Nicole Cabell. He was also featured in a “Live from Lincoln Center” national broadcast on PBS with Stephanie Blythe in April 2013.