Katherine Pracht Phares, mezzo-soprano, comes to BGSU with twenty years of professional singing experience in opera, recital, and oratorio performances. She champions contemporary opera and much of her recent professional activity is in this genre. Katy is currently a student in the DMA in Contemporary Music program at BGSU.

The 2022-23 season featured several premieres for the busy mezzo. Pracht performed Madeleine in Jake Heggie’s Three Decembers with Opera on the Avalon, returned to West Edge Opera for her first Cornelia in Giulio Cesare, and workshopped two new operas, Bulrusher, and Laura Kaminsky’s February. She then debuted Beethoven’s Ninth Symphony with the Quad-City Symphony, as well as the role of Mary Johnson in Virginia Opera’s production of Fellow Travelers. In October, Pracht creates the role of Helen in Kaminsky’s next world premiere opera February at Opera on the Avalon in St. John's, Newfoundland; and she looks forward to another exciting announcement coming soon! 

2021 engagements included a world premiere and cast recording as Horatio in Joseph Summer’s Hamlet at the Dohodno Zdanie Theater in Ruse, Bulgaria, and a reprisal of the title role in Kevin Puts’ opera, Elizabeth Cree with West Edge Opera. Katy also won outstanding reviews as Miss Jessel in Britten’s The Turn of the Screw with IlluminArts in Miami. The 2019 season also had important role debuts: Charlotte in A Little Night Music with Madison Opera, Ottavia in L'incoronazione di Poppea with Florentine Opera, Kate Julian in Britten’s rarely heard Owen Wingrave with Little Opera Theatre of NY, Duruflé’s Requiem with the Washington Chorus, and Prokofiev’s The Love for Three Oranges with Opera Philadelphia.

Other recent credits are Glenda (cover) in We Shall Not Be Moved with Opera Philadelphia;  Philip Glass' Symphony No. 5 for Trinity Wall Street; Lady Wang in Bright Sheng’s Dream of the Red Chamber in Changsha, Beijing, and Wuhan, China; Prokofiev’s Alexander Nevsky with York Symphony; and her premiere as Elizabeth Cree with Chicago Opera Theater, where the Chicago Tribune said “Katherine Pracht brought a mezzo of size and quality, and confident dramatic presence, to the complicated title role.” 

Ms. Pracht appeared as Mariam in the AOP-sponsored workshop of Sheila Silver’s opera, A Thousand Splendid Suns, sang A Bernstein Marathon and Arias & Barcarolles with Steven Blier and Michael Barrett (New York Festival of Song) at the Lyric Opera of Kansas City’ Karl Jenkins’ The Armed Man and the world premiere of Sing! The Music Was Given at Carnegie Hall, and Stravinsky’s Requiem Canticles with The Orchestra NOW at the Bard Festival under the baton of Leon Botstein. She returned to that Bard Festival in Rimsky-Korsakov’s From Homer with the American Symphony Orchestra, and as Dunyasha in The Tsar’s Bride.  Katy performed Bernstein’s Arias and Barcarolles with Bright Sheng and Michael Barrett for The Intimacy of Creativity 2017 Festival in Hong Kong. Her Kennedy Center debut was as Mezzo soloist in Philip Glass' Symphony No. 5 with the Washington Chorus.

Katy has performed and workshopped many roles in new works: Florence Williams in Susan Kander’s The News From Poems, Hester Prynne in Eric Sawyer's The Scarlet Professor; Eve in Julian Wachner and Cerise Jacobs’ Rev 23 for the Prototype Festival, Sharon Falconer in Elmer Gantry with Florentine Opera and Ariel in the world premiere of Joseph Summer’s The Tempest for The Shakespeare Concerts in Boston recorded by Albany Records. In concert she sang Mahler’s Das Lied von der Erde with the York Symphony, and Lieberson’s Neruda Songs with Grand Rapids Symphony. Pracht made her Carnegie Hall debut as Alto Soloist in Verdi's Requiem, her debut with Opera Philadelphia as Third Lady in Die Zauberflöte, twice sang Der Trommler in Der Kaiser von Atlantis for Central City Opera with the Colorado Symphony and for Chicago’s New Millennium Orchestra, sang Meg in Little Women directed by David Gately for Opera on the James, and two concerts with the Georgia Symphony Orchestra and Chorus singing John Corigliano’s Fern Hill and Prokofiev’s Alexander Nevsky.

With more than two decades experience as a vocal coach, collaborative pianist, choral conductor, and organist, Kevin J. Bylsma is a musician of impressive depth and ability, well known for his work in opera, art song, and oratorio. A longtime member of the Toledo Opera staff, Mr. Bylsma is currently the Head of Music Preparation and Chorus Master, and was recently names Co-Artistic Director with the company. He was formerly Music Director of the Department of Community Programs for the Michigan Opera Theatre and vocal coach, accompanist, and chorus master for OPERA! Lenawee. In recitals and master classes he has collaborated with the great American singers Samuel Ramey, Diane Soviero, Marilyn Horne, Dawn Upshaw, Michelle De Young, Irina Mishura, Katherine Lewek, and Jennifer Rowley. He is the Co-founder and Artistic Director of the Ann Arbor Festival of Song, and, for the past twenty-eight years, he has served the historic Mariners’ Church of Detroit as Associate Organist and Choirmaster.

Dedicated to the education and training of the next generation of operatic talent, Mr. Bylsma is Coordinator of Opera and Repetiteur at Bowling Green State University’s College of Musical Arts, responsible for vocal coaching and serving as a collaborative pianist for the school’s large body of young singers. Mr. Bylsma also served on the artistic staff of OperaWorks, an intensive opera training program, based in Los Angeles, CA.

A native of Grand Rapids, MI, Mr. Bylsma received his musical training at Calvin College, Bowling Green State University, and the University of Michigan—where he received the Robert Glasgow Organ Scholarship. He currently resides in Toledo, Ohio’s Old West End historic neighborhood with his cats: Rex and Dickens!

For over 10 years Anthony Marchese has worked to hone his craft as a professional cellist, teacher, and musical collaborator. He has performed as a featured soloist with the Eastern Michigan University Symphony Orchestra, placed first in the Barry Manilow concerto competition, and recorded a full-length album in collaboration with folk singer/songwriter Joanna Sterling. He enjoys exploring all genres of music with an emphasis on folk and world music. Anthony has held adjunct positions at Bluffton and Heidelberg Universities and is in his third year of doctoral studies with Dr. Brian Snow at BGSU. Recent projects include a second full-length album in collaboration with Joanna Sterling and the release of 4 newly commissioned works by his ensemble Quarteto Raro. One of Anthony’s primary goals is to commission new works from underrepresented composers, particularly within the LGBTQIA+ community.

 De la Noche… (premiere) by Margaret Houghton

Translations by Katherine Pracht Phares and Claudia Daniela Aizaga Chavez

I. Prelude

The Ox lowers its eyelids slowly… 

Heat of the stable

This is the prelude to the night.

II. The Summit

When I reach the summit… 

(Oh, desolate heart

San Sebastian of Cupid)

When I reach the summit…

Let me sing! Because when I sing, I won’t see the shadowy hills 

Or the flocks that go deep without shepherds.

While singing, I will see the only star that doesn’t exist.

When I reach the summit…singing.

III. Inventions 

There are mountains that want to be made of water,

They invent the stars on their backs. Snow from the stars.

And there are mountains that want to have wings

and they invent white clouds. 

IV. The 6 Strings

The guitar makes dreams cry.

The sob of lost souls

escapes through its round mouth. 

And like the tarantula, it weaves a great star to hunt sighs,

which float in its black wooden cistern.

V. Total

The hand 

the hand of the breeze

the hand of the breeze caresses the face of space

One time, and again…

the hand of the breeze caresses the face of space 

One time, and again…

The stars

The stars encircle their eyelids

One time, and again… 

The stars encircle their blue eyelids

One time, and again…

VI. Below

The starry space is reflected in sounds. 

Spectral vines

Labyrinthian harp

VII. First (and Last) Meditation

Time has the color of night. 

Of a quiet night.

About huge Mondays.

Eternity is fixed at twelve.

And time has fallen asleep forever in its tower. 

All clocks deceive us

Time now has horizons.

Poetry of…Summer Music by Jennifer Higdon

Summer Night, Riverside 

In the wild, soft summer darkness

How many and many a night we two together

Sat in the park and watched the Hudson

Wearing her lights like golden spangles 

Glinting on black satin.

The rail along the curving pathway

Was low in a happy place to let us cross,

And down the hill a tree that dripped with bloom 

Sheltered us,

While your kisses and the flowers,

Falling, falling,

Tangled in my hair... 

The frail white stars moved slowly over the sky,

And now, far off

In the fragrant darkness

The tree is tremulous again with bloom 

For June comes back.

Tonight what girl

Dreamily before her mirror shakes from her hair

This year's blossoms, clinging to its coils? 

-Sara Teasdale

The Rain Song

Ping, pang, pong, the droplets plop.

Flying droplets, the air is fraught. 

Sizzled streams, in mid-day flay,

Rhythmic dreams, the air gets played.

A joyous roar, brief but drilled.

The heavens fall, big droplets build. 

The sizzle grows, a summer sigh...

A nice cool breeze, means rain passed by.

Drip... Drop...

-the composer 

Summer Hue

Summer hue

leaves breathe deep green,

crickets chirping, 

whippoorwills kean.

Fresh cut grass,

the haze of…the laze of day,

in pools swim hard, 

then naptime glaze.

Time stands still,

as days softly lean,

no hurry forward, 

‘til Summer leaves…

a summer hue.

-the composer

Blackberry Oblivion 

“Let’s Eat!” he said,

With smile and glee!

We dashed, hands forward,

As ripe berries teased. 

Quick moves, through thorns,

Our hands got snared.

Small cuts and scrapes,

But we did not care. 

Always calling:

The ones out of reach,

Inviting with lushness,

And the promise of sweet. 

Each berry picked,

We move to tuck it:

One in the mouth,

One in the bucket. 

From the grin on his face,

And the blue around his mouth,

My little brother’s joy,

Is what life’s all about! Blackberry Oblivion! 

-the composer

A Summer Night

I feel the breath of the summer night,

Aromatic fire: 

The trees, the vines, the flowers are astir

With tender desire.

The white moths flutter about the lamp,

Enamoured with light; 

And a thousand creatures softly sing

A song to the night!

But I am alone, and how can I sing

Praises to thee? 

Come, Night! Unveil the beautiful soul

That waiteth for me.

-Elizabeth Drew Stoddard

Crossed Threads 

The silken threads by viewless spinners spun,

Which float so idly on the summer air,

and help to make each summer morning fair,

Shining like silver in the summer sun, 

are caught by wayward breezes, one by one,

are blown to east and west and fastened there,

weaving on all the roads their sudden snare.

No sign which road doth safest, freest run, 

The winged insects know, that soar so gay

To meet their death upon each summer day.

How dare we any human deed arraign;

Attempt to recon any moment’s cost; 

Or any pathway trust as safe and plain

Because we see not where the threads have crossed?

-Helen Hunt Jackson

In Summer Time 

When summer time has come, and all

The world is in the magic thrall

Of perfumed airs that lull each sense

To fits of drowsy indolence; 

Where pathways meet and pathways part,

To walk with Nature heart by heart,

Till wearied out at last I lie

Where some sweet stream steals singing by 

A mossy bank; where violets vie

In color with the summer sky.

The summer sounds and summer sights,

That set a restless mind to rights, 

When grief and pain and raging doubt

Of men and creeds have worn it out;

The bird song and the water’s drone

The humming bees’ low monotone, 

The murmur of the passing breeze,

And all the sounds akin to these,

That make a man in summer time

Feel only fit for rest and rhyme. 

Joy springs all radiant in my breast;

Though pauper poor, than king more blest,

The tide beats in my soul so strong

That happiness breaks forth in song, 

And rings aloud the welkin blue

With all the songs I ever knew.

O time of rapture! time of song!

How swiftly glide thy days along 

Adown the current of the years,

Above the rocks of grief and tears!

‘Tis wealth enough of joy for me

In summer time to simply be. 

-Paul Laurence Dunbar

The Last Rose of Summer

‘Tis the last rose of Summer,

Left blooming alone; 

All her lovely companions

Are faded and gone;

No flower of her kindred,

No rose-bud is nigh, 

To reflect back her blushes

Or give sigh for sigh!

I’ll not leave thee, thou lone one,

To pine on the stem; 

Since the lovely are sleeping,

Go sleep with them.

Thus kindly I scatter

Thy leaves o’er the bed 

Where thy mates of the garden

Lie scentless and dead.

So soon may I follow,

When friendships decay, 

And from love’s shining circle

The gems drop away!

When true hearts lie withered,

And fond ones are flown, 

Oh! Who would inhabit

This bleak world alone?

-Thomas Moore

Dorothy Rudd Moore’s musical work includes chamber music, instrumental solos, orchestral music, choral works, the opera Frederick Douglass, and vocal music including the song cycles Flowers of Darkness for tenor and piano; Sonnets on Love, Rosebuds, and Death for soprano, violin, and piano; and the cycle we will perform tonight, “From the Dark Tower” for mezzo-soprano, cello, and piano. More biographical information about Moore’s education, and personal and artistic achievements can be found at The African American Art Song Alliance website: artsongalliance.org. Dorothy Rudd Moore’s works were unpublished, but she was a member of the American Composers Alliance, and some of her work can be found and purchased on their website: composers.com. 

From the Dark Tower

Music by Dorothy Rudd Moore (1940-2022)

O, Black and unknown Bards Poet: James Weldon Johnson (1871-1938)

O, Black and unknown Bards of long ago, 

How came your lips to touch the sacred fire?

How, in your darkness, did you come to know

The power and beauty of the minstrel’s lyre?

Who first from midst his bonds lifted his eyes? 

Who first from out the still watch lone and long,

Feeling the ancient faith of prophets rise

Within his dark-kept soul burst into song?

Heart of what slave poured out such melody 

As “Steal away to Jesus”? On its strains

His spirit must have nightly floated free,

Though still about his hands he felts his chains.

Who heard great “Jordan roll”? Whose starward eye 

Saw chariot “Swing low”? And who was he

That breathed that comforting, melodic sigh,

“Nobody knows the trouble I see”?

2. Southern Mansions Poet: Arna Bontemps (1902-1973) 

Poplars are standing there still as death,

And ghosts of dead men

Meet their ladies walking

Two by two beneath the shade 

And standing on the marble steps.

There is a sound of music echoing

Through the open door

And in the field there is 

Another sound tinkling in the cotton:

Chains of bondmen dragging on the ground.

The years go back with an iron clank.

A hand is on the gate, 

A dry leaf trembles on the wall.

Ghosts are walking.

They have broken roses down

And poplars stand there still as death. 

3. Willow Bend and Weep Poet: Herbert Clark Johnson

Bend willow, willow bend down deep

And dip your branches into cold

Brown river water and then weep, 

Weep, willow for my land-sick soul.

Let river tears wash out land grief,

Let river water wash wounds made

By too much toil without relief 

While you, willow, stood in the shade.

Willow, you owe this much to me,

I have spared the ax for many years,

Your roots are in my land, now, tree, 

Bend down and weep. I have not tears.

4. Old Black Men Poet: Georgia Douglas Johnson (1880-1966)

They have dreamed as young men dream

Of glory, love, and power; 

They have hoped as youth will hope

Of life’s sun-minted hour

They have seen as others saw

Their bubble burst in air, 

And they have learned to live it down

As though they did not care.

5. No Images Poet: Waring Cuney (1906-1976)

She does not know 

her beauty,

she thinks her brown body

has no glory.

If she could dance 

naked

under palm trees

and see her image in the river,

she would know. 

But there are no palm trees

on the street,

and dish water gives back

no images. 

6. Dream Variation Poet: Langston Hughes (1901-1967)

To fling my arms wide

In some place in the sun,

To whirl and to dance 

Till the white day is done.

Then rest at cool evening

Beneath a tall tree

While night comes on gently, 

Dark like me—

That is my dream!

To fling my arms wide

In the face of the sun, 

Dance! whirl! whirl!

Till the quick day is done.

Rest at pale evening…

A tall slim tree… 

Night coming tenderly

Black like me.

7. For a Poet Poet: Countee Cullen (1903-1946)

I have wrapped my dreams in a silken cloth, 

And laid them away in a box of gold;

Where long will cling the lips of the moth,

I have wrapped my dreams in a silken cloth;

I hide no hate; I am not even wroth 

Who found the earth’s breath so keen and cold;

I have wrapped my dreams in a silken cloth,

And laid them away in a box of gold.

8. From the Dark Tower Poet: Countee Cullen 

We shall not always plant while other reap

The gold increment of bursting fruit,

Not always countenance, abject and mute,

That lesser men should hold their brothers cheap; 

Not everlastingly while others sleep

Shall we beguile their limbs with mellow flute,

Not always bend to some more subtle brute;

We were not made eternally to weep. 

The night whose sable breast relieves the stark,

White stars is no less lovely being dark,

And there are buds that cannot bloom at all

In light, but crumple, piteous, and fall; 

So in the dark we hide the heart that bleeds,

And wait, and tend our agonizing seeds.

___________________________________________________________________

VISUAL ART PROJECTIONS 

Artwork featured with “O Black and unknown Bards”

May Howard Jackson (1877-1931), Slave Boy, 1899, Bronze, 18 x 12 1/2 x 10 in. (45.72 x 31.75 x 25.4 cm.), Gift of Dr. Constance E. Clayton in loving memory of her mother Mrs. Williabell Clayton, 2019.3.66. https://www.pafa.org/museum/collection/item/slave-boy,

Artwork featured with “Southern Mansions”

Edwin Augustus Harleston (1882–1931), Boone Hall Plantation, ca. 1925. Oil on canvas. Gibbes Museum of Art, Gift of Mr. and Mrs. H. Harleston Fleming (1997.009). 

Artwork featured with “Willow Bend and Weep”

Edward Mitchell Bannister (1828-1901), Untitled (landscape with man plowing fields), n.d., oil on paperboard, 10 x 15 1/4 in. (25.3 x 38.7 cm), Smithsonian American Art Museum, Gift of Francis Scola, 1983.95.120 https://americanart.si.edu/artwork/untitled-landscape-man-plowing-fields-1022

Artwork featured with “Old Black Men”

Robert Seldon Duncanson (1821-1872), Meeting by the River, 1864, Williams College Museum of Art, Public Domain, https://commons.wikimedia.org/w/index.php?curid=64106536 

Artwork featured with “No Images”

Frederic Edwin Church (American, 1826-1900), Morning in the Tropics, ca. 1858, https://art.thewalters.org/detail/4216/morning-in-the-tropics/

Artwork featured with “Dream variation”

Charles Henry Alston (1907–1977), Walking, 1958, oil on canvas, 48 x 64 in., © Charles Alston Estate Collection of National Museum of African American History and Culture, Gift of Sydney Smith Gordon, TR2007-4 

Artwork featured with “The Poet”

Henry Ossawa Tanner, Mountain Landscape, Highlands, North Carolina, 1889, watercolor, pencil, and colored pencil on paper mounted on paperboard, 10 7/8 x 15 in. (27.5 x 38.1 cm), Smithsonian American Art Museum, Gift of Mr. and Mrs. Norman Robbins, 1983.95.25 https://americanart.si.edu/artwork/mountain-landscape-highlands-north-carolina-23671

Artwork featured with “From the Dark Tower”

Pauline Powell Burns, "Untitled Still Life," c. 1890, oil on canvas | Courtesy Maurine St. Gaudens. Photos Martin A. Folb. https://www.pbssocal.org/shows/artbound/from-the-shadows-to-the-spotlight-masterworks-by-californias-unknown-women-artists