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Ensemble for the Romantic CenturyEve Wolf, Founder and Executive Artistic Director Board of DirectorsMax Barros, President Advisory BoardDavid Burrows, musicologist Staff
Dan Cozzens, programs manager Ensemble for the Romantic Century, co-directed by pianists Eve Wolf and Max Barros, was founded in 2001 in order to present a more engaging and innovative approach to chamber music concerts. The ERC’s theatrical concerts combine music and drama in an interweaving of letters, memoirs, diaries, poems and literature with chamber and vocal music that create a compelling musical and theatrical experience. Having produced over 25 theatrical concerts, ERC has been steadily expanding its sphere beyond its residency at the Kosciuszko Foundation, a testimony to the growing recognition of ERC as one of the most innovative chamber music groups in New York. In 2004, the Ensemble presented The Young Arthur Rubinstein at the Arthur Rubinstein Hall in São Paulo during the Eleazar de Carvalho Week in 2004, to overwhelming success. As a result, ERC has been invited annually to perform in Brazil. In the spring of 2004, the production Schubert’s Dream was performed while ERC was in residency at Williams College in Massachusetts. In 2005, ERC completed a commission by the Jewish Museum in New York for a production based on the famous Sonntagsmusik salons of Fanny Mendelssohn. The concert was related to the Jewish Museum’s exhibition The Power of Conversation, showcasing women salonnières from the 18th to the 20th centuries. Van Gogh’s Ear, a collaboration between ERC, the Massachusetts International Festival of the Arts, and the Festival de Musique de Chambre Montréal was performed at Florence Gould Hall at the Alliance Française and in Montreal, where it was performed in French and English and received international acclaim. In its sixth season, The Paris Project, ERC created a tableau of Paris in a series of four theatrical concerts. The artistic, literary and political changes that electrified Paris at the end of the 19th century and the beginning of the 20th were evoked in a fusion of theater and chamber & vocal music. The Young Arthur Rubinstein was presented in November at the Kosciuszko Foundation, as were February’s The Dreyfus Affair and March’s Satie, Bohemian of Montmartre. The season finished with a gala performance of Peggy Guggenheim Stripped Bare by her Bachelors at Florence Gould Hall. In its relatively short history, the Ensemble for the Romantic Century has enriched the New York musical scene with highly innovative productions that are also historically informed, aesthetically exquisite, and emotionally transporting. Max Barros, artistic director of both the Ensemble for the Romantic Century and NEXT CENTURY, has won wide acclaim as one of South America’s foremost pianists. Born in California and raised in Brazil, Mr. Barros was presented with the "Soloist of the Year" Award by the Sao Paulo Music Critics Association. He is also a dedicated champion of Brazilian music, having premiered and recorded several works by the nation’s foremost composers. He is the president of Ponteio Publishing, Inc., a company devoted to the publication and promotion of Brazilian music. He just recorded Amaral Vieira’s Piano Quintet with the Ensemble Capriccio and is recording for Naxos the complete piano concertos by Camargo Guarnieri with conductor Thomas Conlin and the Warsaw Philharmonic. Mr. Barros has recently toured South America with the Virtuosi di Praga and has been a guest artist with the American String Quartet and the St. Luke’s Chamber Ensemble. Vanessa James is a designer of sets, costumes, and lighting for the theater and opera and an art director for film and television. She has received an Emmy Citation and two other Emmy nominations. She was the art director for a documentary on the history of the White House directed by Oscar winning director Paul Wagner. Other film credits include Andy Warhol’s Brand X, Ragtime, and The King of Comedy. Her Off-Broadway credits include the revival of Virgil Thompson’s Four Saints in Three Acts, Arthur Penn’s production of Chambers and the musical Your Don’t Miss Water by Cornelius Eady. She is currently the chaior of Theatre Arts at Mount Holyoke College. Amy Vlastelica, Assistant Set Designer. Design credits include Set Designer of Never Missed a Day (current production) at the Workshop Theater Company and Merrily We Roll Along (The Longwood Players, Boston) as well as Assistant Set Designer of Intellectuals at the Workshop Theater Company and Albert’s Boy at the Finborough Theatre, London, UK. Amy worked in the scene shop at the American Repertory Theatre, Cambridge, MA and on the Edinburgh Theatre Festival’s production of Hush. Amy is a graduate of Boston University where she participated in numerous theatre clubs and the university’s Theatre/Opera Institute productions. Dan Cozzens, Programs Manager. is a director, producer, actor, and writer. Directing credits include Don Giovanni for the Lowell House Opera, Gianni Schicchi for the Quisisana Resort, and Shakespeare’s Actresses in America at the A.R.T. As an actor he most recently appeared in the Non-Equity Acting Company at the Williamstown Theatre Festival, and in Boston he has appeared with the American Repertory Theatre. He played numerous roles in Enchantment Theatre Company’s national tour of The Snow Queen. Dan trained with members of the A.R.T. in directing, acting and dramatic technique, and studied movement through the Harvard Dance Program and Harvard Office for the Arts. He has his BA from Harvard in Biological Anthropology. Beverly Emmons, Lighting Design, has received six Broadway Tony Award nominations for “Jekyll and Hyde”, “The Heiress”, “Passion”, “Les Liaisons Dangereuses”, “A Day in Hollywood/A Night in the Ukraine” and “The Elephant Man”. She has designed the lighting for many other notable Broadway shows including, “Annie Get Your Gun”, “The Life and Adventures of Nicholas Nickleby”, “Good”, “The Dresser” and “Amadeus”. Her designs for dance include Martha Graham, Merce Cunningham, Bill T. Jones and Trisha Brown and for theatre artists, Joe Chaikin, Richard Foreman, Robert Wilson, Meredith Monk and Lucinda Childs. Her lighting for opera has been seen at La Scala and the Met among other venues. “Peggy” marks Beverly’s first design for Ensemble for the Romantic Century (ERC). James Melo has written extensively for scholarly journals and music magazines in Brazil, Uruguay, United States, and Austria, and has been invited to participate as a panel discussant in conferences in Indiana, New York, and Canada. He has written program notes for several concerts at Carnegie Hall and Lincoln Center, and for over 60 recordings on the Chesky, Naxos, Paulus, and Musikus labels, among others. He is the New York correspondent for the magazine Sinfonica in Uruguay, reviewer of music iconography for the journal Music in Art, and senior editor at RILM (Répertoire Internationale de Litérature Musicale) at CUNY. In March 2005, he chaired a session in the conference Music and Intellectual History, organized by the Barry Brook Center for Music Research and Documentation (CUNY), and presented a paper on the history of musicological research in Brazil. He received a grant from the Paul Sacher Stiftung in Basel, Switzerland, where he conducted research on the manuscripts of Anton Webern. Mr. Melo is the program annotator for the recording on Villa-Loboss complete piano music and Camargo Guarnieris complete piano concertos on Naxos. Mr. Melo has written program notes for all of ERC’s original productions and authored several scripts, including The Sorrows of Young Werther: A Romantic Liederabend (2003), Schubert’s Dream (2004), Emily Dickinson: Herself to Her a Music (2004), and My Heart, My Serpent: Thus Spoke Zarathustra (2006), among others. In 2006, he began a collaboration with the Montréal Chamber Music Festival as musicologist and program notes writer. Donald T. Sanders, a director, writer, and producer, graduated from the Yale School of Drama, where he was assistant to Nikos Psacharapoulos and drama master of Stiles College. He received a CID from the University of Bristol, England, and graduated from the University of Pennsylvania. Known for his stage adaptations from novels, his Naked Lunch by William S. Burroughs and Old New York by Edith Wharton were both presented by Joseph Papp at The New York Shakespeare Festival/Public Theatre. Mr. Sanders has been executive artistic director of MIFA/Massachusetts International Festival of the Arts since 1993. He is also the author of 33 Scenes on the Possibility of Human Happiness and Dubrovsky, the opera by jazz composer William Russo. In 2002 he was made a Chevalier dans l'Ordre des Arts et des Lettres of the Republic of France. Eve Wolf, author, pianist, Executive Artistic Director of ERC, received her B.A. in Art History from Columbia University and a M.M. in Piano Performance from New York University. She has appeared in solo and chamber music recitals in the U.S. and Europe and has won numerous awards, including prizes in the V. Bellini Concorso Internazionale in Italy and the Houston Symphony’s Concerto Competition. For the past six seasons in New York, as Executive Artistic Director of Ensemble for the Romantic Century, Ms. Wolf has written scripts and performed in productions such as Paderewski in Paris (2001), The Young Arthur Rubinstein (2003), None but the Lonely Heart: The Story of Tchaikovsky and Nadezhda von Meck (2004), Dora: A Case of Hysteria (2005, co-authored with Owen Lewis), Tolstoy’s Last Days (2005), and Van Gogh’s Ear (2006), among others, and was the scriptwriter for the Fanny Mendelssohn Hensel Salon in the exhibition The Power of Conversation: Jewish Women and their Salons at the Jewish Museum in New York City, an exhibit that received international acclaim. In 2006 Ms. Wolf was commissioned to write Cara, Cara, Compagna for the Italian Cultural Institute of New York. Ms. Wolf’s most recent works for ERC, The Dreyfus Affair, and Peggy Guggenheim Stripped Bare by her Bachelors were performed in 2007. |
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