Guest Artist: Master Class with Andrew Garland, Baritone
Event Dates
(EST)
Admission
FREE
Boston Conservatory at Berklee welcomes American baritone Andrew Garland for a master class.
Program Information
Repertoire
GERALD FINZI: “Before and After Summer” from Before and After Summer, op. 16, no. 2
Text by Thomas Hardy
Jon Motes, baritone
Brian Moll, piano
LILI BOULANGER: “Elle était descendue au bas de la prairie” from Clairières dans le ciel
Text by Francis Jammes
Isabella Napoli, soprano
Brian Moll, piano
HENRI DUPARC: “Chanson triste”
Text by Jean Lahor
Jiaxin Yu, tenor
Brian Moll, piano
PAULINE VIARDOT: “Die beschwörung” from 12 Poems by Pushkin, Fet, and Turgenev
Text by Friedrich Martin von Bodenstedt based on a Russian text by Alexsandr Pushkin
Megan Weiss, soprano
Brian Moll, piano
HENRI DUPARC: “Phidylé”
Text by Leconte de Lisle
John Tuvera Lim, baritone
Brian Moll, piano
Text by Thomas Hardy
Jon Motes, baritone
Brian Moll, piano
LILI BOULANGER: “Elle était descendue au bas de la prairie” from Clairières dans le ciel
Text by Francis Jammes
Isabella Napoli, soprano
Brian Moll, piano
HENRI DUPARC: “Chanson triste”
Text by Jean Lahor
Jiaxin Yu, tenor
Brian Moll, piano
PAULINE VIARDOT: “Die beschwörung” from 12 Poems by Pushkin, Fet, and Turgenev
Text by Friedrich Martin von Bodenstedt based on a Russian text by Alexsandr Pushkin
Megan Weiss, soprano
Brian Moll, piano
HENRI DUPARC: “Phidylé”
Text by Leconte de Lisle
John Tuvera Lim, baritone
Brian Moll, piano
Welcome
It is my great joy to welcome you to a new season of opera at Boston Conservatory at Berklee—one defined by daring artistry, powerful storytelling, and the boundless imagination of our community.
Since its founding in 1867, Boston Conservatory has stood at the forefront of artistic progress. It was among the first conservatories in America to admit women and people of color, the first to establish an opera training program, and the first to offer a degree in musical theater. That same spirit of inclusion and innovation continues to shape every note we sing, every story we tell, and every artist we nurture. In the Vocal Arts Department—home to the nation’s oldest and most forward-looking opera training program—students, faculty, and guest artists come together to explore opera not as a museum art, but as a living, breathing language of our time. Across 12 graduate and undergraduate degree paths in performance, pedagogy, and choral artistry, our students honor centuries of tradition while fearlessly charting the future of formal conventions.
That dual commitment—to heritage and to innovation—animates our 2025–2026 mainstage season. We begin with Marc Adamo’s Little Women, whose lyrical intimacy and emotional depth bring new dimension to Alcott’s timeless tale. In February, we enter the shimmering, symbolist world of Debussy’s Impressions de Pelléas et Mélisande, a distilled vision of love and mystery rendered in exquisite color and restraint. And in April, we present the East Coast and collegiate premiere of Time to Act by Laura Kaminsky and Crystal Manich—a bold new work that confronts grief, resilience, and the urgency of social change. After its Boston performances, Time to Act will travel to National Sawdust in Brooklyn to record the work for commercial release—placing our students on a national stage and affirming Boston Conservatory’s leadership in contemporary opera. Our Opera Innovators Series—a partnership with Boston Lyric Opera—deepens this mission, welcoming visionaries such as Riccardo Frizza, Karen Slack, Brenda Rae, and Anne Bogart.
If you find yourself moved by what you hear tonight and wish to be part of our journey, I warmly invite you to reach out—either to our offices or to me personally. We would be delighted to connect with you, to share our vision, and to explore how your partnership can help us continue shaping the future of vocal artistry.
Thank you for your presence, your applause, and your belief in what we do.
Dr. Isai Jess Muñoz
Chair, Vocal Arts Department
Since its founding in 1867, Boston Conservatory has stood at the forefront of artistic progress. It was among the first conservatories in America to admit women and people of color, the first to establish an opera training program, and the first to offer a degree in musical theater. That same spirit of inclusion and innovation continues to shape every note we sing, every story we tell, and every artist we nurture. In the Vocal Arts Department—home to the nation’s oldest and most forward-looking opera training program—students, faculty, and guest artists come together to explore opera not as a museum art, but as a living, breathing language of our time. Across 12 graduate and undergraduate degree paths in performance, pedagogy, and choral artistry, our students honor centuries of tradition while fearlessly charting the future of formal conventions.
That dual commitment—to heritage and to innovation—animates our 2025–2026 mainstage season. We begin with Marc Adamo’s Little Women, whose lyrical intimacy and emotional depth bring new dimension to Alcott’s timeless tale. In February, we enter the shimmering, symbolist world of Debussy’s Impressions de Pelléas et Mélisande, a distilled vision of love and mystery rendered in exquisite color and restraint. And in April, we present the East Coast and collegiate premiere of Time to Act by Laura Kaminsky and Crystal Manich—a bold new work that confronts grief, resilience, and the urgency of social change. After its Boston performances, Time to Act will travel to National Sawdust in Brooklyn to record the work for commercial release—placing our students on a national stage and affirming Boston Conservatory’s leadership in contemporary opera. Our Opera Innovators Series—a partnership with Boston Lyric Opera—deepens this mission, welcoming visionaries such as Riccardo Frizza, Karen Slack, Brenda Rae, and Anne Bogart.
If you find yourself moved by what you hear tonight and wish to be part of our journey, I warmly invite you to reach out—either to our offices or to me personally. We would be delighted to connect with you, to share our vision, and to explore how your partnership can help us continue shaping the future of vocal artistry.
Thank you for your presence, your applause, and your belief in what we do.
Dr. Isai Jess Muñoz
Chair, Vocal Arts Department
Texts and Translations
GERALD FINZI: “Before and After Summer”
Text by Thomas Hardy
Looking forward to the spring
One puts up with anything.
On this February day
Though the winds leap down the street,
Wintry scourgings seem but play,
And these later shafts of sleet
—Sharper pointed than the first—
And these later snows—the worst—
Are as a half-transparent blind
Riddled by rays from sun behind.
Shadows of the October pine
Reach into this room of mine:
On the pine there swings a bird;
He is shadowed with the tree.
Mutely perched he bills no word;
Blank as I am even is he.
For those happy suns are past,
Fore-discerned in winter last.
When went by their pleasure, then?
I, alas, perceived not when.
LILI BOULANGER: “Elle était descendue au bas de la prairie” (She had reached the low-lying meadow)
Text by Francis Jammes (Translation by Richard Stokes)
Elle était descendue au bas de la prairie
She had reached the low-lying meadow,
et, comme la prairie était toute fleurie
and, since the meadow was all a-blossom
de plantes dont la tige aime à pousser dans l’eau,
with plants that like to grow in water,
ces plantes inondées je les avais cueillies.
I had picked these flooded flowers.
Bientôt, s’étant mouillée, elle gagna le haut
Soon, soaking wet, she reached the top
de cette prairie-là qui était toute fleurie.
of that blossoming meadow.
Elle riait et s’ébrouait avec la grâce
She was laughing and gasping with the gawky
dégingandée qu’ont les jeunes filles trop grandes.
grace of girls who are too tall.
Elle avait le regard qu’ont les fleurs de lavande.
Her eyes looked like lavender flowers.
HENRI DUPARC: “Chanson triste” (Song of sadness)
Text by Jean Lahor (Translation by Richard Stokes)
Dans ton cœur dort un clair de lune,
Moonlight slumbers in your heart,
Un doux clair de lune d’été,
A gentle summer moonlight,
Et pour fuir la vie importune,
And to escape the cares of life
Je me noierai dans ta clarté.
I shall drown myself in your light.
J’oublierai les douleurs passées,
I shall forget past sorrows,
Mon amour, quand tu berceras
My sweet, when you cradle
Mon triste cœur et mes pensées
My sad heart and my thoughts
Dans le calme aimant de tes bras.
In the loving calm of your arms.
Tu prendras ma tête malade,
You will rest my poor head,
Oh! quelquefois sur tes genoux,
Ah! sometimes on your lap,
Et lui diras une ballade
And recite to it a ballad
Qui semblera parler de nous;
That will seem to speak of us;
Et dans tes yeux pleins de tristesses,
And from your eyes full of sorrow,
Dans tes yeux alors je boirai
From your eyes I shall then drink
Tant de baisers et de tendresses
So many kisses and so much love
Que peut-être je guérirai.
That perhaps I shall be healed.
PAULINE VIARDOT: “Die beschwörung” (Invocation)
Text by Friedrich Martin von Bodenstedt based on a Russian text by Alexsandr Pushkin
O wenn es wahr ist, dass zur Nacht
Oh, if it is true that at night
Die in den Schlaf lullt alles Leben
That lulls all lives to sleep
Und nur des Mondlichts bleiche Pracht
and only the moonbeams moonlights splendor
Lässt um die Grabessteine weben
Lets it weave around the gravestones
O wenn es wahr ist, dass dann leer
O if it is true, that then empty
Die Gräber stehn die Todten lassen
The graves stand, leaving the dead,
Erwart' ich Dich zu umfassen
I await to embrace You
Hör' Leila, mich! Komm her!
Listen to me, Leila! Come here!
Komm her!
Come here!
Erschein' aus deinem Schattenreich
Appear from your realm of shadows
Ganz wie du warst vor unserm Scheiden
Just as you were before our parting
Dem kalten Wintertage gleich
Like the cold winter day
Das Angesicht entstellt von Leiden
Your face disfigured by suffering
O komm, ein ferner Stern, daher
Oh come, a distant star, from here
O komm, ein Hauch, ein leis Getöne
Oh, come, a breath, a soft sound
Oder in schreckenvoller Schöne
Oh in terrifying beauty
Mir ist es gleich, komm her, komm her!
It is all the same to me, come here, come here!
Ich riefe Leila darum nie
I would never call Leila, there
Des Grabs Geheimniss zu erfahren
To learn the grave’s secret
Auch nicht zum Vorwurf gegen die
Nor to accuse those
Die meiner Liebe Mörder waren
Who murdered my love
Auch darum nicht, weil oft noch schwer
Nor because doubts still often
Mich Zweifel quälen ... Nein, zu sagen
Torment me … No, to say
Dass treu, wie stets mein Herz geschlagen
That faithfully, as always, my heart beats
Es jetzt noch schlägt … Komm her! Komm her!
It still beats now … Come here! Come here!
HENRI DUPARC: “Phidylé”
Text by Leconte de Lisle (Translation by Richard Stokes)
L'herbe est molle au sommeil sous les frais peupliers,
The grass is soft for sleep beneath the cool poplars
Aux pentes des sources moussues,
On the banks of the mossy springs
Qui, dans les prés en fleur germant par mille issues,
That flow in flowering meadows from a thousand sources,
Se perdent sous les noirs halliers.
And vanish beneath dark thickets.
Repose, ô Phidylé! Midi sur les feuillages
Rest, O Phidylé! Noon on the leaves
Rayonne, et t'invite au sommeil.
Is gleaming, inviting you to sleep.
Par le trèfle et le thym, seules, en plein soleil,
By the clover and thyme, alone, in the bright sunlight,
Chantent les abeilles volages.
The fickle bees are humming.
Un chaud parfum circule au détour des sentiers,
A warm fragrance floats about the winding paths,
La rouge fleur des blés s'incline,
The red flowers of the cornfield droop;
Et les oiseaux, rasant de l'aile la colline,
And the birds, skimming the hillside with their wings,
Cherchent l'ombre des églantiers.
Seek the shade of the eglantine.
Mais, quand l'Astre, incliné sur sa courbe éclatante,
But when the sun, low on its dazzling curve,
Verra ses ardeurs s'apaiser,
Sees its brilliance wane,
Que ton plus beau sourire et ton meilleur baiser
Let your loveliest smile and finest kiss
Me récompensent de l'attente!
Reward me to for my waiting
Text by Thomas Hardy
Looking forward to the spring
One puts up with anything.
On this February day
Though the winds leap down the street,
Wintry scourgings seem but play,
And these later shafts of sleet
—Sharper pointed than the first—
And these later snows—the worst—
Are as a half-transparent blind
Riddled by rays from sun behind.
Shadows of the October pine
Reach into this room of mine:
On the pine there swings a bird;
He is shadowed with the tree.
Mutely perched he bills no word;
Blank as I am even is he.
For those happy suns are past,
Fore-discerned in winter last.
When went by their pleasure, then?
I, alas, perceived not when.
LILI BOULANGER: “Elle était descendue au bas de la prairie” (She had reached the low-lying meadow)
Text by Francis Jammes (Translation by Richard Stokes)
Elle était descendue au bas de la prairie
She had reached the low-lying meadow,
et, comme la prairie était toute fleurie
and, since the meadow was all a-blossom
de plantes dont la tige aime à pousser dans l’eau,
with plants that like to grow in water,
ces plantes inondées je les avais cueillies.
I had picked these flooded flowers.
Bientôt, s’étant mouillée, elle gagna le haut
Soon, soaking wet, she reached the top
de cette prairie-là qui était toute fleurie.
of that blossoming meadow.
Elle riait et s’ébrouait avec la grâce
She was laughing and gasping with the gawky
dégingandée qu’ont les jeunes filles trop grandes.
grace of girls who are too tall.
Elle avait le regard qu’ont les fleurs de lavande.
Her eyes looked like lavender flowers.
HENRI DUPARC: “Chanson triste” (Song of sadness)
Text by Jean Lahor (Translation by Richard Stokes)
Dans ton cœur dort un clair de lune,
Moonlight slumbers in your heart,
Un doux clair de lune d’été,
A gentle summer moonlight,
Et pour fuir la vie importune,
And to escape the cares of life
Je me noierai dans ta clarté.
I shall drown myself in your light.
J’oublierai les douleurs passées,
I shall forget past sorrows,
Mon amour, quand tu berceras
My sweet, when you cradle
Mon triste cœur et mes pensées
My sad heart and my thoughts
Dans le calme aimant de tes bras.
In the loving calm of your arms.
Tu prendras ma tête malade,
You will rest my poor head,
Oh! quelquefois sur tes genoux,
Ah! sometimes on your lap,
Et lui diras une ballade
And recite to it a ballad
Qui semblera parler de nous;
That will seem to speak of us;
Et dans tes yeux pleins de tristesses,
And from your eyes full of sorrow,
Dans tes yeux alors je boirai
From your eyes I shall then drink
Tant de baisers et de tendresses
So many kisses and so much love
Que peut-être je guérirai.
That perhaps I shall be healed.
PAULINE VIARDOT: “Die beschwörung” (Invocation)
Text by Friedrich Martin von Bodenstedt based on a Russian text by Alexsandr Pushkin
O wenn es wahr ist, dass zur Nacht
Oh, if it is true that at night
Die in den Schlaf lullt alles Leben
That lulls all lives to sleep
Und nur des Mondlichts bleiche Pracht
and only the moonbeams moonlights splendor
Lässt um die Grabessteine weben
Lets it weave around the gravestones
O wenn es wahr ist, dass dann leer
O if it is true, that then empty
Die Gräber stehn die Todten lassen
The graves stand, leaving the dead,
Erwart' ich Dich zu umfassen
I await to embrace You
Hör' Leila, mich! Komm her!
Listen to me, Leila! Come here!
Komm her!
Come here!
Erschein' aus deinem Schattenreich
Appear from your realm of shadows
Ganz wie du warst vor unserm Scheiden
Just as you were before our parting
Dem kalten Wintertage gleich
Like the cold winter day
Das Angesicht entstellt von Leiden
Your face disfigured by suffering
O komm, ein ferner Stern, daher
Oh come, a distant star, from here
O komm, ein Hauch, ein leis Getöne
Oh, come, a breath, a soft sound
Oder in schreckenvoller Schöne
Oh in terrifying beauty
Mir ist es gleich, komm her, komm her!
It is all the same to me, come here, come here!
Ich riefe Leila darum nie
I would never call Leila, there
Des Grabs Geheimniss zu erfahren
To learn the grave’s secret
Auch nicht zum Vorwurf gegen die
Nor to accuse those
Die meiner Liebe Mörder waren
Who murdered my love
Auch darum nicht, weil oft noch schwer
Nor because doubts still often
Mich Zweifel quälen ... Nein, zu sagen
Torment me … No, to say
Dass treu, wie stets mein Herz geschlagen
That faithfully, as always, my heart beats
Es jetzt noch schlägt … Komm her! Komm her!
It still beats now … Come here! Come here!
HENRI DUPARC: “Phidylé”
Text by Leconte de Lisle (Translation by Richard Stokes)
L'herbe est molle au sommeil sous les frais peupliers,
The grass is soft for sleep beneath the cool poplars
Aux pentes des sources moussues,
On the banks of the mossy springs
Qui, dans les prés en fleur germant par mille issues,
That flow in flowering meadows from a thousand sources,
Se perdent sous les noirs halliers.
And vanish beneath dark thickets.
Repose, ô Phidylé! Midi sur les feuillages
Rest, O Phidylé! Noon on the leaves
Rayonne, et t'invite au sommeil.
Is gleaming, inviting you to sleep.
Par le trèfle et le thym, seules, en plein soleil,
By the clover and thyme, alone, in the bright sunlight,
Chantent les abeilles volages.
The fickle bees are humming.
Un chaud parfum circule au détour des sentiers,
A warm fragrance floats about the winding paths,
La rouge fleur des blés s'incline,
The red flowers of the cornfield droop;
Et les oiseaux, rasant de l'aile la colline,
And the birds, skimming the hillside with their wings,
Cherchent l'ombre des églantiers.
Seek the shade of the eglantine.
Mais, quand l'Astre, incliné sur sa courbe éclatante,
But when the sun, low on its dazzling curve,
Verra ses ardeurs s'apaiser,
Sees its brilliance wane,
Que ton plus beau sourire et ton meilleur baiser
Let your loveliest smile and finest kiss
Me récompensent de l'attente!
Reward me to for my waiting
About the Artist
Baritone Andrew Garland, hailed as a performer whose artistry is a perfect combination between “baritone of strength and vocal opulence” (Opera News) and “cosmic energy and suavity” (Opera News) is widely recognized as a leader in recital work at venues including Carnegie Hall, the New York Festival of Song, the Ravinia festival, Vocal Arts DC, Marilyn Horne Foundation, the Bard Festival, the Cleveland Art Song Festival, Camerata Pacifica, Andre-Turp Society Montreal, Voce at Pace, Huntsville Chamber Music Guild, Fanfare (Hammond, Louisiana), Cincinnati Matinee Musicale, Cincinnati Song Initiative, Tuesday Morning Music Club, Vocal Arts DC, college campuses around North America, and venues in Italy, Croatia, Greece, and Turkey. Warren Jones, Marilyn Horne, Steven Blier, many American composers, and major music publications all endorse him as a highly communicative singer, leading the way for the song recital through the twenty-first century.
He has premiered works by Jake Heggie, William Bolcom, Stephen Paulus, Steven Mark Kohn, Eric Nathan, Lee Hoiby, Tom Cipullo, Thomas Pasatieri, and Gabriela Frank. This year, he recorded his tenth album, Foursquare Cathedral, to be released late 2026.
He has performed in concert with the Atlanta Symphony, Boston POPS, Boston Baroque, Handel and Haydn, Boston Youth Symphony, National Philharmonic, Albany Symphony, Washington Master Chorale at the Kennedy Center, National Chorale at Lincoln Center, Colorado Symphony, Nashville Symphony, Houston Symphony, UMS Ann Arbor, and with the Takács, Dover, Amernet, and Daedalus string quartets. He has performed leading opera roles at Seattle Opera, New York City Opera, Opera Philadelphia, Cincinnati Opera, Minnesota Opera, Florida Grand, Arizona Opera, Hawai’i Opera Theatre, Opera Colorado, Boston Lyric, Dayton, Fort Worth Opera, the Bard Festival, Opera Saratoga, and others. Garland is a member of the voice faculty at the University of Colorado, Boulder, and is a mentor with Bel Canto Boot Camp and tonebase.com.
A native of Kingston, Massachusetts, and a graduate of UMass Amherst, Andy has ridden the Pan Mass Challenge 33 times and sung the National Anthem at Fenway Park four times.
He has premiered works by Jake Heggie, William Bolcom, Stephen Paulus, Steven Mark Kohn, Eric Nathan, Lee Hoiby, Tom Cipullo, Thomas Pasatieri, and Gabriela Frank. This year, he recorded his tenth album, Foursquare Cathedral, to be released late 2026.
He has performed in concert with the Atlanta Symphony, Boston POPS, Boston Baroque, Handel and Haydn, Boston Youth Symphony, National Philharmonic, Albany Symphony, Washington Master Chorale at the Kennedy Center, National Chorale at Lincoln Center, Colorado Symphony, Nashville Symphony, Houston Symphony, UMS Ann Arbor, and with the Takács, Dover, Amernet, and Daedalus string quartets. He has performed leading opera roles at Seattle Opera, New York City Opera, Opera Philadelphia, Cincinnati Opera, Minnesota Opera, Florida Grand, Arizona Opera, Hawai’i Opera Theatre, Opera Colorado, Boston Lyric, Dayton, Fort Worth Opera, the Bard Festival, Opera Saratoga, and others. Garland is a member of the voice faculty at the University of Colorado, Boulder, and is a mentor with Bel Canto Boot Camp and tonebase.com.
A native of Kingston, Massachusetts, and a graduate of UMass Amherst, Andy has ridden the Pan Mass Challenge 33 times and sung the National Anthem at Fenway Park four times.
Concert Services Staff
Assistant Director, Concert Services – Luis Herrera
Coordinator, Concert Services – Matthew Carey
Concert Production Manager – Kendall Floyd
Performance Technology Technicians – Sara Pagiaro, Goran Daskalov
Coordinator, Concert Services – Matthew Carey
Concert Production Manager – Kendall Floyd
Performance Technology Technicians – Sara Pagiaro, Goran Daskalov
Boston Conservatory thanks audience members for viewing this program information online. This paperless program saved 130 sheets of paper, 14 gallons of water, and 12 pounds of CO2-equivalent greenhouse gas emissions.
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