FOR IMMEDIATE RELEASE:
March 18, 2024
Madison Symphony Orchestra Presents “Boundless Beauty” Featuring Verdi’s Requiem, with 150+ Chorus Members and Four Opera Stars
April 12, 13, and 14, in Overture Hall
Madison, Wis. – The Madison Symphony Orchestra (MSO) celebrates the continuation of John DeMain’s 30th anniversary season with “Boundless Beauty,” at Overture Hall on April 12, 13, and 14, 2024. The concerts feature Giuseppe Verdi’s, Requiem with the Madison Symphony Chorus, Beverly Taylor, Director, Alexandra LoBianco, Soprano, Margaret Gawrysiak, Mezzo-soprano, Jonathan Burton, and Tenor, Kyle Ketelsen, Baritone.
“The Verdi Requiem is one of those works that moves you to the very core of your being, combining spine-tingling power with moments of sublime beauty,” Music Director John DeMain expresses. “The Madison Symphony Chorus joins us under the direction of Beverly Taylor, who has a very special love for this piece and will inspire the chorus to great heights. Two very special people who have graced us with their talents over the years, soprano Alexandra LoBianco and bass Kyle Ketelsen join debuting artists tenor Jonathan Burton and mezzo-soprano Margaret Gawrysiak as our soloists. Their glorious voices are alone worth the price of admission. I so love this piece and am so grateful to be able to perform it during my anniversary year.”
Symphony Concert, Ticket and Event Details
The lobby opens 90 minutes prior to each concert. The Symphony recommends concert attendees arrive early for each performance to make sure they have time to pass through Overture Center’s security stations. All ticket holders are welcome to attend a free half-hour pre-concert talk one hour before each performance by Randal Swiggum in Overture Hall.
Single tickets are on sale now through the Overture Center Box office. Tickets can be purchased online at overture.org, in-person or by phone by calling (608) 258-4141 during Box Office hours. $15 student rush tickets may be purchased beginning the Friday of the concert weekend through the performance time on each day at the Overture Box Office. Note that fees apply to online and phone orders. No fees for in-person purchase at the Overture Box Office, 201 State Street.
Three performances of the “Boundless Beauty” concerts will take place April 12, 13 & 14 and ticket prices range from $15 to $102. More information is found at https://madisonsymphony.org/event/boundless-beauty/
Drinks are now allowed in Overture Hall
Drinks are now allowed inside Overture Hall during all Madison Symphony Orchestra concerts and Overture Concert Organ performances. Refreshments may be purchased at bars and concession stands located around the Overture Hall lobby before each concert and during intermission. Please enjoy food in the lobby and unwrap any candy or cough drops before the performance begins.
Health & Safety Precautions
Masks and proof of COVID-19 vaccination are not currently required to enter Overture Center for the Arts. More information about the many safety protocols can be found at https://overture.org/health, and https://madisonsymphony.org/health
About Alexandra LoBianco
American soprano Alexandra LoBianco, whom the Seattle Times exclaimed, “gave an impassioned performance” as the title role in Aida at Seattle Opera, has established herself as a dramatic soprano of unequaled versatility, musicality, and consistency. An international presence, Ms. LoBianco recently stepped in for an ailing colleague as Leonore in Fidelio for her debut with the Wiener Staatsoper while under contract for the title role in Turandot. Subsequent appearances with the Wiener Staatsoper have included performances as Helmwige in Die Walküre, as well as the cover of Brünnhilde, while on tour in Japan.
In the 2021-2022 season, Ms. LoBianco debut the role of Brünnhilde in a concertante performance with Seattle Opera, joined by colleagues Angela Meade, Eric Owens, and Brandon Jovanovich. She will also make her debut with Portland Opera as the title role in Tosca, return to North Carolina Opera to reprise Leonore, perform the title role in Turandot with Maryland Lyric Opera, and sing the Overseer and Confidante in Elektra at the Metropolitan Opera. Last season, Ms. LoBianco joined Seattle Opera for two filmed productions, first as Santuzza in Cavalleria Rusticana and then as the title role in Tosca.
About Margaret Gawrysiak
Margaret Gawrysiak holds degrees from the Eastman School of Music and Western Illinois University, and is a graduate of San Francisco Opera’s Merola Program, Glimmerglass, Wolf Trap Opera and Seattle Opera’s Young Artist Program.
Her 2022-23 season engagements include a return to the Metropolitan Opera to cover Auntie in Peter Grimes, the role of the Marquise de Berkenfield in Minnesota Opera’s production of La fille du régiment, and an appearance with Madison Opera for Marcellina in Le nozze di Figaro.
During the 2021-2022 season, Ms. Gawrysiak returned to her home company of Seattle Opera for performances of Marcellina, joined the roster of The Metropolitan Opera for the first time, covering Madame Larina in Eugene Onegin, bowed with the Boise Philharmonic for Lili Boulanger’s Psalm 130 and appeared as a soloist in Madison Opera’s popular annual Opera in the Park concert. Notable operatic engagements for Margaret Gawrysiak include multiple appearances with Seattle Opera as Marcellina, The Older Woman in Flight, Vera Boronel in The Consul, Madame Larina in Eugene Onegin, and Berta in Il barbiere di Siviglia; the Old Lady in Candide with The Knights at Tanglewood Music Festival and the Ravinia Festival; Mistress Hibbons in The Scarlet Letter (world premiere) and Marcellina with Opera Colorado; Madame Larina with Atlanta Opera; Little Buttercup in H.M.S. Pinafore, Public Opinion in Orpheus in the Underworld, The Witch and Mother in Hansel and Gretel, and Emma Jones in Street Scene with Virginia Opera; Ruth in The Pirates of Penzance and Marcellina with Lyric Opera of Kansas City; the Marquise in La fille du régiment with Arizona Opera; Mrs. De Rocher in Dead Man Walking with Dayton Opera; Ježibaba in Rusalka with North Carolina Opera; Frugola in Il tabarro with Opera Theatre of Saint Louis; Zia Principessa in Suor Angelica with Crested Butte Music Festival; and Dame Quickly in Falstaff, Baba the Turk and Mother Goose in The Rake’s Progress, Mrs. Lovett in Sweeney Todd, and La Mère d’Antonia in Les contes d’Hoffmann with Wolf Trap Opera.
On the concert stage, she has performed Beethoven’s Symphony No. 9 with the Boston Symphony Orchestra at Tanglewood under Maestro Lorin Maazel and also with the Seattle Symphony, Weill’s Mahagonny Songspiel with the Seattle Symphony, Stravinsky’s Les noces with the New York City Ballet, Dessau’s Haggadah shel Pesach with the American Symphony Orchestra at Carnegie Hall, Mozart’s Requiem and Verdi’s Requiem with the Springfield Symphony, and Prokofiev’s Alexander Nevsky with the Syracuse Symphony Orchestra.
About Jonathan Burton
Tenor Jonathan Burton is engaged to sing the most demanding roles in the tenor repertoire including Cavaradossi in Tosca, Calaf in Turandot, Dick Johnson in Fanciulla del West, and Radames in Aida. He regularly receives rave reviews for his “…bright, heroic tone, [and] clarion power…”. For his performance as Cavaradossi with Opera Omaha, one reviewer said: “Tenor Jonathan Burton was revelatory as the painter and revolutionary sympathizer. His voice never faltered through the demands of the role and his tortured humanity was palpable.”
In the 2022-2023 season, Burton will sing the Prince in Rusalka and Manrico in Il trovatore at Pittsburgh Opera, des Grieux in Manon Lescaut at North Carolina Opera, Canio in Pagliacci at Opera San Antonio, and both Calaf in Turandot and Paul in Die Tote Stadt at Opera Colorado.
In the 2021-2022 season, Burton joined the roster of The Metropolitan Opera for the first time for their production of Turandot, sang Don Jose in Carmen for Palm Beach Opera, and was heard as Calaf with Maryland Lyric Opera. Expected performances in 2020 and 2021 included his German debut as Radames for Deutsche Oper am Rhein and his London debut as Cavaradossi with English National Opera. Additionally, he was to have been heard as Calaf with the Saint Louis Symphony alongside Christine Goerke.
Previous performances saw Burton as Calaf for Austin Opera, Pollione in Norma for Boston Lyric Opera, and Hermann in Pique Dame for Des Moines Metro Opera. Additionally, he returned to Lyric Opera of Chicago for their production of Luisa Miller, making his Civic Opera House debut on short notice, and Maryland Lyric Opera as Luigi in Il tabarro. Other performances include his return to Opera Omaha as the tragic clown Canio in Pagliacci, Dick Johnson with Maryland Lyric Opera, Calaf with Sarasota Opera, and Utah Opera where he made his role debut as Pollione in Norma. He was also heard in concert for Florentine Opera, with the Rhode Island Philharmonic, and in Newport, RI. Additionally he has been heard as Calaf with Des Moines Metro Opera, Dayton Opera, Tulsa Opera, and Knoxville Opera; Gustavo in Un ballo in maschera for Florida Grand Opera; his UK debut as Pinkerton in Madama Butterfly for Welsh National Opera; and in his role debut as Bacchus in Ariadne auf Naxos with Austin Opera.
Performance credits also include the roles of Don Jose in Carmen, Rodolfo in La bohème, and Manrico in Il trovatore. He has appeared with Royal Opera House Muscat, Dubai Opera, Palm Beach Opera, Opera Colorado, Central City Opera, Utah Opera, Kentucky Opera, Nashville Opera, and Virginia Opera, among others. A protégé of Lorin Maazel, Mr. Burton sang with the famed maestro in multiple productions at the Castleton Festival, concerts in Washington, D.C., and in Beethoven’s Symphony No. 9 to celebrate the 10th Anniversary of the reopening of Teatro La Fenice.
About Kyle Ketelsen
“Far and away the most commanding performance was that of bass-baritone Kyle Ketelsen as Leporello. He has a naturally beautiful, superbly trained voice, rich and clear at the low end, smooth and flexible in the middle range and effortless at the top. Good as his sound was, his acting was better. Ketelsen fully realized the role. He was rewarded at the curtain-call by an uninhibited outburst of cheering and a standing ovation.” (Opera News)
American bass-baritone Kyle Ketelsen is in regular demand by the world’s leading opera houses and orchestras for his vibrant and handsome stage presence and distinctive vocalism.
In the 2022/23 season, Mr. Ketelsen returned to The Metropolitan Opera for the world premiere of Richard in The Hours opposite Renée Fleming, Kelli O’Hara, and Joyce DiDonato, conducted by Yannick Nézet-Séguin, which would be televised live in HD. He returns to Wiener Staatsoper in the title role in Don Giovanni. His concert engagements include his first performances of Mendelssohn’s, Elijah with the Utah Symphony under the baton of Thierry Fischer. Mr. Ketelsen will return to the Los Angeles Opera as Golaud in Pelléas et Mélisande conducted by James Conlin and directed by Sir David McVicar.
About the Madison Symphony Chorus
Formed in 1927, the Madison Symphony Chorus gave its first public performance on February 23, 1928, and has performed regularly with the Madison Symphony Orchestra ever since. The chorus is comprised of more than 125 volunteer musicians who come from all walks of life who enjoy combining their artistic talent.
In recent seasons, the Chorus has joined the MSO for such awe-inspiring works as Beethoven’s Symphony Number 9 “Ode to Joy,” Mahler’s Symphony of a Thousand, Orff’s Carmina Burana, Janacek’s Glagolitic Mass, Rossini’s jubilant Stabat Mater, the Requiems of both Verdi and Mozart, Holst’s The Planets, John Adams’ challenging On the Transmigration of Souls, Mahler’s Symphony No. 2 (Resurrection), excerpts from Gershwin’s Porgy and Bess, Rachmaninoff’s magnificent The Bells, Vaughan Williams’ Toward the Unknown Region, and excerpts from Handel’s Solomon, among others.
About the Madison Symphony Orchestra
The Madison Symphony Orchestra celebrates its 98th season in 2023–2024. The MSO has grown to be one of America’s leading regional orchestras, providing Madison and south-central Wisconsin with cultural and educational opportunities to interact with great symphonic repertoire and top-tier guest artists from around the world. 2023–2024 is Music Director John DeMain’s 30th anniversary season. The MSO’s 100th anniversary season celebration will take place during the 2025–2026 season. Learn more at madisonsymphony.org
Major funding for “Boundless Beauty” is provided by BMO Harris Bank, Martha and Charles Casey, Howard Kidd and Margaret Murphy. Additional funding provided by Rodney Schreiner and Mark Blank, Stafford Rosenbaum LLP, and the Wisconsin Arts Board with funds from the State of Wisconsin and the National Endowment for the Arts.
Contact: Peter Rodgers, Director of Marketing
Phone: (608) 260-8680 x226
Mobile: (415) 713-0235
Email: prodgers@madisonsymphony.org
Web: madisonsymphony.org
Link to 23-24 Symphony Season photos: https://bit.ly/mso23-24symphonyphotos
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