Fri 4.4. Philippe Herreweghe

Of unparalleled intensity

There are countless musical settings of the Stabat Mater, ranging from Josquin Desprez in the 15th century to the 20th century, including works by Francis Poulenc, Karol Szymanowski, and Krzysztof Penderecki. Among all of these, Antonín Dvořák’s Stabat Mater composition stands alone. Anyone who has had the opportunity to perform Dvořák’s Stabat Mater in a choir or orchestra – which is technically possible even for qualified non-professional music lovers – will never forget the hauntingly beautiful cantilenas that lift the work, and will forever be immersed in the passionate yet gentle nuances of pain that the Czech composer was able to set to music. Personal experience of suffering enabled him to reach the deepest dimensions and create music that resonates directly, transcending the shifts of eras, musical styles, and artistic concepts.

Far from all bitterness, Dvořák seeks a way from darkness to light, from fear and despair to peace and hope. For more than 90 minutes, he is able to remain in the thematic realm of pain, suffering, torment, anguish, fear, comfort, and hope, without his music ever losing its way. In unmatched musical grandeur, he constantly reveals new facets of emotional interpretation, and his artistic imagination never leaves him. Perhaps more than in any of his other works, he proves here what Brahms admiringly yet bluntly said about him: "The guy is so full of ideas that we could live well off his scraps."

No notable tempo changes, no entertainment through folk melodies, no Bohemian outburst of temperament. Only measured steps, ascetic texture, restrained dynamics. And yet: pure tension.

Antonín Dvorák

Stabat Mater for Soli, Choir, and Orchestra Op. 58

There are countless musical settings of the Stabat Mater, among which those of the great Franco-Flemish master Josquin Desprez (around 1480, the earliest known polyphonic composition), from the 16th century by Giovanni Pierluigi da Palestrina and Orlando di Lasso, and the Stabat Mater by the prematurely deceased genius from Naples, Giovanni Battista Pergolesi, stand out. Pergolesi’s work was even performed by Johann Sebastian Bach and his Thomaner in his own arrangement (and with new text!). The influence of the Stabat Mater continued through Joseph Haydn, Luigi Boccherini, Gioacchino Rossini, Franz Schubert, Franz Liszt, Giuseppe Verdi, and Antonín Dvořák, reaching into the 20th century: notably impacting composers such as Francis Poulenc, Karol Szymanowski, and Krzysztof Penderecki.

Antonín Dvořák goes far beyond, creating the most extensive composition in music history for this text. Its dimensions surpass those of other Stabat Mater compositions by two to three times. Along with his Requiem, composed thirteen years later, and the Te Deum from 1892, the Stabat Mater ranks among the major works of sacred music in the 19th century. The closest attempt to match this achievement came in 1887, when Gabriel Fauré sought to follow in Dvořák's footsteps with his Requiem.

Dvořák's Long Journey

A naturally religious sensibility, a “piety of the heart, devoted to God and not to a particular religious community” (Josef Zubaty), led him to approach the composition without any confessional reservations.

For many years, Dvořák had earned his living, initially more poorly than well, as a violist, private teacher, and organist in Prague. In 1874, at the age of 33, with 15 years of compositional experience and an extensive body of work (including seven unperformed string quartets, two string quintets, five symphonies, the string serenade, and four operas), he finally decided to apply for one of the scholarships offered by the government of the Danube Monarchy (which also included the Czech lands) for “young, talented, but penniless artists.” The decisive commission, consisting of Johann Herbeck, director of the Vienna Court Opera, Eduard Hanslick, music critic, and since 1875, Johannes Brahms, approved Dvořák’s application. Specifically, Brahms advocated for Dvořák’s compositions, which seemed to speak of a strong and distinctive personality. He paved the way for Dvořák by selflessly recommending the Czech composer several times to his own publisher, Fritz Simrock, in Berlin.

Unwaveringly sincere

In the spring of 1876, Dvořák began sketching the Stabat Mater, possibly still under the impression of the early death of his daughter Josepha, who had passed away after only two days of life in September 1875. However, he interrupted his work on the Stabat Mater in the summer of 1876 to focus on completing and performing other works – completely without any sorrowful background. The situation was entirely different when he returned to the Stabat Mater in October 1877: Within a few weeks, his one-year-old daughter Ruženka and his three-and-a-half-year-old son Otákar had died, and the young family was suddenly childless once again.

The composer’s personal experience of grief now enables him to delve into the deepest dimensions and find a music that touches directly, transcending the shifts of eras, musical styles, and artistic conceptions. Far beyond all of his previous works, Dvořák unlocks new realms. Free from all bitterness, he seeks a path from darkness to light, from fear and despair to peace and hope. For more than 90 minutes, he is able to dwell on the themes of pain, suffering, torment, agony, fear, comfort, and hope without his music losing its way. In compelling musical grandeur, he uncovers ever new facets of emotional expression, and his artistic inspiration never leaves him. A single gesture over 90 minutes, with no significant tempo changes, no interruptions by folk melodies, no outbursts of Bohemian temperament. Only measured pacing, ascetic structure, restrained dynamics. And yet: pure tension.

A way of the cross to inner peace

In ten movements, a cathartic process unfolds, moving from turbulent lament through comfort and hope to a certainty of faith. The poignant musical imagery derives its contrasts primarily from the sublime and austere overall architecture. While the catharsis progresses systematically, the work as a whole rests in a symmetrical structure. Two movements in full symphonic orchestration thoughtfully frame alternating choral and solo movements. Dvořák's dramatic experience as an opera composer proves beneficial here, as he changes the amount of text set to music from movement to movement.

The overwhelming climax in the final fugue of the last movement culminates in the pure a cappella rendition of the final tercet of the Stabat Mater, the promise of paradise.

For five years, the aforementioned state scholarship for the "penniless genius" had been repeatedly extended. With one of his applications, Dvořák had included the draft of the Stabat Mater. This did not resonate with Brahms or anyone else. Premiered on Christmas Eve in Prague in 1880, repeated in Brno by the young Leoš Janáček in 1882, and later gaining fame in Budapest, England, and the USA, it was last performed by the Berlin Radio Symphony Orchestra in 2003 under the baton of Marek Janowski. "If I have created something for posterity, then my devotion to music and the work of many years will have fulfilled its greatest purpose..." (Antonín Dvořák)

Texts © Steffen Georgi

1. Quartetto e coro

Stabat Mater dolorosa
Iuxta crucem lacrimosa,
Dum pendebat filius.
Cuius animam gementem
Contristantem et dolentem
Pertransivit gladius.
O quam tristis et afflicta
Fuit illa benedicta
Mater Unigeniti
Quae maerebat et dolebat,
Pia Mater, dum videbat (et tremebat)
Nati poenas incliti.

2. Quartetto

Quis est homo, qui non fleret
Matrem Christi si videret
In tanto supplicio?
Quis non posset contristari
Piam matrem contemplari
Dolentem cum filio?
Pro peccatis suae gentis
Iesum vidit in tormentis
Et flagellis subditum
Vidit suum dulcem natum
Morientem desolatum
Cum emisit spiritum.

3. Coro

Eia Mater, fons amoris
Me sentire vim doloris
Fac, ut tecum lugeam

4. Basso solo e coro

Fac, ut ardeam cor meum
In amando Christum Deum
Ut sibi conplaceam.
Sancta Mater, istud agas,
Crucifixi fige plagas
Cordi meo valide;

5. Coro

Tui nati vulnerati
Iam dignati pro me pati
Poenas mecum divide!

6. Tenore solo e coro

Fac me vere tecum flere
Crucifixo condolere
Donec ego vixero.
Iuxta crucem tecum stare
Te libenter sociare
In planctu desidero.

7. Coro

Virgo virginum praeclara,
Mihi iam non sis amara,
Fac me tecum plangere.

8. Duo

Fac, ut portem Christi mortem
Passionis eius sortem,
Et plagas recolere.
Fac me plagis vulnerari
Cruce hac inebriari
Ob amorem filii.

9. Alto solo

Inflammatus et accensus
Per Te, Virgo, sim defensus
In die iudicii.
Fac me cruce custodiri
Morte Christi praemuniri
Confoveri gratia.

10. Quartetto e coro

Quando corpus morietur,
Fac, ut animae donetur
Paradisi gloria.
Amen.

1. Quartet and Chorus

Stabat Mater dolorosa
Near the cross, weeping,
While the Son hung.

Whose soul, lamenting,
Sorrowful and grieving,
A sword pierced.

O how sad and afflicted
Was that blessed mother
Of the Only-Begotten,

Who mourned and grieved,
The pious mother, as she saw (and trembled)
The pains of her illustrious son.

2. Quartet

Who is the man who would not weep
Seeing the mother of Christ
In such agony?

Who would not be sorrowful
To see the pious mother
Grieving with her son?

For the sins of His people
Jesus saw in torment
And subjected to the scourges,

He saw His sweet child
Dying forsaken,
When He gave up His spirit.

3. Chorus

O Mother, font of love,
Make me feel the force of your sorrow,
That I may mourn with you.

4. Bass Solo and Chorus

Make my heart burn
In loving Christ, my God,
That I may please Him.

Holy Mother, do this,
Fix the wounds of the Crucified
Firmly in my heart.

5. Chorus

Your Son, wounded,
Has deigned to suffer for me,
Share the suffering with me!

6. Tenor Solo and Chorus

Make me truly weep with you,
To mourn with the Crucified
As long as I live.

To stand with you by the cross,
To gladly share
In your lamentation.

7. Chorus

O Virgin of virgins, most noble,
Do not be bitter to me,
Make me weep with you.

8. Duet

Make me bear the death of Christ,
The suffering of His passion,
And recall His wounds.

Make me wounded by His wounds,
Drunk with this cross,
Out of love for the Son.

9. Alto Solo

Inflamed and kindled,
Through You, Virgin, I am defended
On the day of judgment.

Make me guarded by the cross,
Prepared by the death of Christ,
Nurtured by grace.

10. Quartet and Chorus

When my body dies,
Make my soul be granted
The glory of paradise.

Amen.

short biographies

Philippe Herreweghe

Philippe Herreweghe was born in Ghent and studied both at the University and the Conservatory there. During this time, he began conducting and founded the Collegium Vocale Gent in 1970. Herreweghe's energetic, authentic, and rhetorical approach to Baroque music quickly gained praise. In 1977, he founded the Ensemble La Chapelle Royale in Paris, which performed music from the French Golden Age. He went on to establish several ensembles with which he developed historically informed and thoughtful interpretations of repertoire ranging from the Renaissance to contemporary music. These include the Vocal Européen ensemble, specializing in Renaissance polyphony, and the Orchestre des Champs Élysées, founded in 1991 with the goal of performing pre-Romantic and Romantic repertoire on period instruments.

In the past season, Philippe Herreweghe, alongside soloists Magdalena Kožená and Andrew Staples, presented Mahler's "Das Lied von der Erde" in historical sound colors. Additionally, in 2021, he was awarded the "Ultima" cultural prize by the Flemish government for his overall cultural achievements. Philippe Herreweghe has received numerous awards for his consistent artistic imagination and commitment. In 1990, he was named "Musical Personality of the Year" by the European music press.

In 1993, Philippe Herreweghe and Collegium Vocale Gent were named "Cultural Ambassadors of Flanders". A year later, he was awarded the Belgian title "Officier des Arts et Lettres", and in 1997, he received an honorary doctorate from the Catholic University of Leuven. In 2003, he was awarded the French title Chevalier de la Légion d’Honneur. In 2010, the city of Leipzig awarded him the Bach Medal for his significant contributions as a Bach interpreter. In 2017, Philippe Herreweghe received an honorary doctorate from the University of Ghent.

Collegium Vocale Gent

In 1970, on the initiative of Philippe Herreweghe, a group of student friends decided to found the Collegium Vocale Gent. The ensemble was one of the first to apply the new insights in the performance practice of Baroque music to vocal music. This authentic, text-directed and rhetorical approach paid attention to a transparent sound, as a result of which the ensemble soon made guest appearances on all the major concert podiums and music festivals worldwide.

Meanwhile, Collegium Vocale Gent organically evolved into an extremely flexible ensemble with a wide repertoire from different stylistic periods. The greatest asset is that the best possible instrumentation is brought together for each project. Renaissance music is performed by an ensemble of six to twelve singers. German Baroque music and especially the vocal works of J.S. Bach have been and remain a centerpiece. Nowadays the Collegium Vocale Gent performs this music preferably with a small ensemble, where the singers perform both choral and solo parts. More and more, the Collegium Vocale Gent also deals with the romantic, modern and contemporary choral repertoire. The Collegium has been supported by the EU Culture Program since 2011, and this has enabled the creation of a mixed symphonic concert choir in which young talents from all over Europe sing side by side with experienced colleagues.

To realize these projects, Collegium Vocale Gent collaborates with various historically informed ensembles such as the Orchestre des Champs-Élysées, the Freiburg Baroque Orchestra, the Akademie für Alte Musik Berlin, but also with internationally renowned symphony orchestras.

Collegium Vocale Gent is supported by the Flemish Community, the Province of East Flanders and the City of Ghent. From 2011 to 2013, the ensemble was an ambassador of the European Union.

Eleanor Lyons

"We have reserved the radiant soprano of the Australian singer Eleanor Lyons, whose vocal qualities almost remind one of Gundula Janowitz at her peak, for the final part. A direct and powerful voice capable of the subtlest nuances, whose ascensions seem limitless."
– Pierre Delgott | Resmusica

The Australian soprano Eleanor Lyons studied at the Sydney Conservatorium of Music with, among others, Elena Obraztsova, Barry Ryan, and Viktoria Dodoka. She later perfected her skills at the Mariinsky Academy for Young Opera Singers in St. Petersburg and the Royal Northern College of Music in Manchester. She was also a winner of the Vienna State Opera Award from the Australian Opera Foundation.

Early in her career, Eleanor Lyons sang the role of Anne Truelove in Igor Stravinsky’s The Rake’s Progress at the Hungarian State Opera in Budapest, where she later also performed as Mimì in Puccini's La Bohème. She made her much-anticipated role debut as Donna Anna in Mozart's Don Giovanni at Opera Australia in Sydney, as well as in a concert performance at the Jinji Lake Concert Hall in Suzhou (China). At the Vlaamse Opera in Antwerp and Ghent, she performed both as Mimì and as Gretchen in a staged adaptation of Schumann's Scenes from Goethe’s Faust.

As a sought-after concert singer, Eleanor Lyons has performed Britten’s War Requiem with the Antwerp Symphony Orchestra conducted by Philippe Herreweghe and with the Noord Nederlands Orkest conducted by Stefan Ashbury. She frequently appears as a soloist in Verdi's Messa da Requiem, including in a production choreographed by Christian Spuck at the Adelaide Festival in 2023 and at the Zurich Opera House. Other notable concert collaborations include Mahler's Fourth Symphony and Berio’s Folk Songs with the Konzerthausorchester Berlin, Ravel’s Chansons Madécasses, Strauss’ Vier letzte Lieder with the Budapest Festival Orchestra under Iván Fischer, and Mahler’s Das klagende Lied with the Sydney Symphony Orchestra conducted by Simone Young.

A special collaboration connects Eleanor Lyons with Philippe Herreweghe and the Orchestre des Champs-Élysées, with whom she toured Europe for both Beethoven’s Christus am Ölberge and his Missa Solemnis. She also made a much-praised debut with the MDR Symphony Orchestra performing Ralph Vaughan Williams’ Sea Symphony under Dennis Russell Davies and appeared for the first time at the Vienna Musikverein in Bruckner’s Psalm 150 with the Vienna Symphoniker under Petr Popelka. At the Festival Les Chorégies d’Orange, she performed as a soloist in Beethoven’s Missa Solemnis under John Nelson for the French National Day celebrations.

Sophie Harmsen

Sophie Harmsen has become internationally successful both in the concert hall and on the operatic stage, delivering beautifully crafted, emotionally intelligent performances in a diverse range of repertoire.

An avid traveller, her career has brought her to experience some of the world’s most beautiful venues, such as the Teatro Colon, Palau de la Musica, Teatro Real, Wigmore Hall, Concertgebouw Amsterdam, Konzerthaus Wien, Philharmonie de Paris, Shanghai Grand Theatre and the Elbphilharmonie Hamburg.

Sophie regularly performs with orchestras such as the Gewandhausorchester Leipzig, SWR Symphonieorchester, Deutsches Symphonie Orchester, Swedish Radio Symphony Orchestra, Helsinki Philharmonic Orchestra, Rotterdams Philharmonisch Orkest, Orchestre National de Paris, musicAeterna, Konzerthausorchester Berlin Düsseldorfer Symphoniker NDR Elbphilharmonie Orchester and the Freiburger Barockorchester.

She has worked with conductors including Jeremie Rhorer, Thomas Hengelbrock, Ádám Fischer, Iván Fischer, Teodor Currentzis, Vaclav Luks, Jos van Veldhoven, Andreas Spering, Daniel Harding, Constantinos Carydis, Kent Nagano, Markus Stenz, Philippe Herreweghe, Frieder Bernius, René Jacobs and Pablo Heras-Casado.

Many of her CD recordings have received awards, for example Bruckner’s Missa Solemnis with the RIAS Kammerchor (Diapason d’Or) and the complete recording of J.S. Bach’s Luther Kantaten with Christoph Spering (Echo 2017).

Some of Sophie’s recent concert repertoire includes Wagner’s Wesendonck Lieder, Mahler’s Das Lied von der Erde, Rückert Lieder, Dvorak’s Requiem, Beethoven’s Missa Solemnis, and Beethoven’s 9th Symphony. Sophie is a frequent performer at international festivals including the Salzburger Festspiele, Mozartwoche Salzburg, Schleswig-Holstein Musikfestival, Rheingau Musikfestival, International Händelfestspiele Göttingen and Halle and the Bachfest Leipzig.

Sophie Harmsen studied at the University of Cape Town and with Prof. Dr. Edith Wiens, has been mentored by Tobias Truniger for many years and now lives in Berlin with her family.

Mauro Peter

The Swiss tenor Mauro Peter was born in Lucerne and studied at the Hochschule für Musik und Darstellende Kunst in Munich. In 2012, he won first prize and the audience prize at the International Robert Schumann Competition in Zwickau and made his acclaimed debut recital at the Schubertiade in Schwarzenberg with Schubert's Die schöne Müllerin. Since then, he has regularly performed in Schwarzenberg and Hohenems, as well as in leading concert halls and opera houses such as the Canadian Opera Company in Toronto, Bavarian State Opera, Opéra de Lyon, Opéra national de Paris, the Royal Opera House in London, Teatro alla Scala in Milan, Teatro Real in Madrid, Theater an der Wien, Zurich Opera House, and the Salzburg Festival.

Mauro Peter is deeply dedicated to art song. With his versatile programs, he has performed at the Musikverein Vienna, the Wiener Konzerthaus, the Pierre Boulez Saal in Berlin, the Cologne Philharmonie, the Prinzregententheater in Munich, the Laeiszhalle in Hamburg, at the Verbier Festival, the Lucerne Festival, Wigmore Hall in London, and at the Salzburg Festival. In the 2024-2025 season, he will perform Hugo Wolf's Italienisches Liederbuch with Louise Alder and Joseph Middleton at Wigmore Hall in London, the Musikverein in Vienna, the Frankfurt Opera, and in Barcelona.

Following a live recording of Schubert's Die schöne Müllerin from Wigmore Hall, he released his debut album for Sony Classical in 2015, featuring several Goethe settings by Schubert, followed by a recording of Schumann's Dichterliebe and a selection of other Schumann songs in 2016.

Krešimir Stražanac

The bass-baritone Krešimir Stražanac is one of Croatia's most distinguished artists, consistently achieving international success. Among his numerous accomplishments is his debut with the Berlin Philharmonic under Kirill Petrenko in 2023, with concerts in Berlin, Madrid, and Barcelona (the recording of the European Concert from the Sagrada Familia was broadcast by numerous international radio and TV stations).

Stražanac has a particular affinity for rarely performed operas and, in recent years, has sung title roles in premieres of Telemann's Orpheus in Amsterdam and Caccini's Ruggiero's Liberation from the Island of Alcina at the Theater an der Wien in Vienna, where he also portrayed the Devil in Weinberger's Schwanda, the Bagpiper. He interpreted the role of Ambrosio in Weber's Die drei Pintos in Leipzig and King Froila in Schubert's Alfonso and Estrella in Helsinki. Additionally, he performed in the staged version of Handel's Messiah, directed by Robert Wilson, at the Gran Teatre del Liceu in Barcelona.

He studied with Dunja Vejzović and in Lied singing with Cornelis Witthoefft at the Hochschule für Musik und Darstellende Kunst in Stuttgart, as well as privately with Jane Thorner Mengedoht and Hanns-Friedrich Kunz. After completing his studies, he became a permanent member of the Zurich Opera, where, over seven seasons, he portrayed roles such as Harlequin (R. Strauss’ Ariadne auf Naxos), Baron Tusenbach (Eötvös' Die drei Schwestern), Ping (Puccini's Turandot), and others, working with conductors like Vladimir Fedoseev, Bernard Haitink, Nello Santi, Peter Schneider, and Franz Welser-Möst.

In 2017, he made his debut at the Bavarian State Opera in Munich as Pietro Fléville in a new production of Giordano's Andrea Chénier, and in 2018, he performed for the first time at the Frankfurt Opera as Baron Tusenbach (Eötvös' Die drei Schwestern). In 2019, he debuted in the roles of Frank (Strauss' Die Fledermaus) with the Bamberg Symphony Orchestra and Kreon (Stravinsky's Oedipus rex) with the Polish National Radio Symphony Orchestra.

He is the winner of several international competitions, including Cantilena in Bayreuth (in the categories of Opera and Operetta), La Voce of the Bavarian Radio (in the Lied category), and Hugo Wolf in the composer’s hometown of Slovenj Gradec. He was also awarded at the Paula Solomon-Lindberg competition in Berlin.

As a concert soloist, Stražanac performs throughout Europe, Asia, and North America, singing major vocal and instrumental works such as Haydn's "The Creation", Mozart's concert arias and "Requiem", Beethoven's "Missa solemnis" and Ninth Symphony, Britten's "War Requiem", Glass' "Passion of Ramakrishna", Mendelssohn's oratorios "Elijah" and "St. Paul", Brahms' "German Requiem", Dvořák's "Requiem", Franck's oratorio "Les Béatitudes", Fauré's "Requiem", Puccini's "Messa di Gloria", and Mahler's cycles "Des Knaben Wunderhorn" and "Rückert-Lieder".

Violin 1

Nebel, David
Herzog, Susanne
Yoshikawa, Kosuke
Neufeld, Andreas
Beckert, Philipp
Bondas, Marina
Feltz, Anne
Kynast, Karin
Pflüger, Maria
Polle, Richard
Stangorra, Christa-Maria
Tast, Steffen
Yamada, Misa
Shalyha, Bohdan

Violin 2

Kurochkin, Oleh
Simon, Maximilian
Petzold, Sylvia
Buczkowski, Maciej
Draganov, Brigitte
Eßmann, Martin
Färber-Rambo, Juliane
Hetzel de Fonseka, Neela
Manyak, Juliane
Palascino, Enrico
Seidel, Anne-Kathrin
Drechsel, Franziska

Viola

Adrion, Gernot
Silber, Christiane
Drop, Jana
Inoue, Yugo
Kantas, Dilhan
Montes, Carolina
Sullivan, Nany
Roske, Martha
Yu, Yue
Balan-Dorfman, Misha

Cello

Eschenburg, Hans-Jakob
Riemke, Ringela
Breuninger, Jörg
Weiche, Volkmar
Albrecht, Peter
Bard, Christian
Kipp, Andreas
Meiser, Oliwia

Double bass

Wömmel-Stützer, Hermann
Figueiredo, Pedro
Ahrens, Iris
Gazale, Nhassim
Schwärsky, Georg
Moon, Junha

Flute

Schaaff, Ulf-Dieter
Dallmann, Franziska

Oboe

Kuntz, Michaela
Herzog, Thomas

Clarinet

Kern Michael
Korn, Christoph

Bassoon

You, Sung Kwon
Voigt, Alexander

Horn

Kühner, Martin
Holjewilken, Uwe
Mentzen, Anne
Hetzel de Fonseka, Felix

Trumpet

Dörpholz, Florian
Niemand, Jörg

Trombone

Pollock, Louise
Hauer, Dominik
Lehmann, Jörg

Tuba

Neckermann, Fabian

Harp

Edenwald, Maud

Timpani

Eschenburg, Jakob

Organ

Schneider, Arno

Collaboration

Image rights

Collegium Vocale Gent © Eric de Mildt / Collegium Vocale Gent
Portrait Phillipe Herreweghe © Peter Meisel
Portrait Eleanor Lyons © LivePhotography
Portrait Sophie Harmsen © Tatjana Dachsel
Portrait Mauro Peter © Christian Felber
Portrait Krešimir Stražanac © Patrick Vogel
Rehearsal images © Junye Shen