Madame Butterfly: Guest Artists cover

Madame Butterfly: Guest Artists


Puccini’s Madame Butterfly tells the story of a young naïve Japanese geisha who believes that her love for a handsome American naval officer is eternal. With its lush score and heartbreaking arias, it is a timeless tale that will stir your emotions.
Libretto by Luigi Illica and Giuseppe Giacosa
Sung in Italian with English Supertitles
Box Office: (714) 755-5799
Pacific Symphony
To learn more about Music Director Carl St.Clair, click here.

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Kathryn Wilson Costume Sketch

Eric Einhorn: stage director

Eric Einhorn has been praised by The Austin Chronicle as “a rising star in the opera world” and by Opera News for his “keen eye for detail and character insight.” He is the co-founder of On Site Opera, a company dedicated to immersive, site- specific productions.

Einhorn has directed productions for Chicago Lyric Opera, Glimmerglass Opera, Pittsburgh Opera, Ft. Worth Opera, Wolf Trap Opera, Florentine Opera, Austin Lyric Opera, Utah Opera, Michigan Opera Theater, Pacific Symphony and Gotham Chamber Opera. He has been a member of the stage directing staff at the Metropolitan Opera since 2005. The Pittsburgh Post‑Gazette named Einhorn’s production of Dialogues des Carmélites for Pittsburgh Opera one of the top 10 classical music performances of 2011. He originally created the production for Austin Lyric Opera in 2009, and was awarded “Best Opera” at the Austin Critics’ Table Awards in addition to garnering him a nomination for “Best Director.” During summer of 2014, he directed Rameau’s Pygmalion at Madame Tussauds New York and the Lifestyle- Trimco mannequin showroom. This production featured the world’s first implementation of supertitles for Google Glass.

He also returns to the Metropolitan Opera to stage La Cenerentola and for the company’s new productions of Prince Igor and Die Fledermaus, as well as for The Nose and Tosca. His future engagements include his debut with Portland Opera as well as his return to the Metropolitan Opera. Last season, he made his debut with the Lyric Opera of Chicago staging Hänsel und Gretel. He received rave reviews for his direction of Gershwin’s Blue Monday with On Site Opera at Harlem’s historic Cotton Club.

ROBERT ISTAD: artistic director of Pacific Chorale

Robert Istad is the Artistic Director of Pacific Chorale and director of choral studies at California State University, Fullerton, where he conducts the University Singers and Concert Choir, in addition to teaching courses in conducting, advanced interpretation and literature. He has prepared choruses for Esa- Pekka Salonen and the Los Angeles Philharmonic, Carl St.Clair and Pacific Symphony, Sir Andrew Davis and the Los Angeles Philharmonic, Nicholas McGegan and the Philharmonia Baroque Orchestra and Keith Lockhart and the Boston Pops Esplanade Orchestra, as well as conductors Bramwell Tovey, Eric Whitacre, Giancarlo Guerrero, Marin Alsop, George Fenton, John Alexander, William Dehning, David Lockington and Mark Mandarano.

Istad received his Bachelor of Arts degree in music from Augustana College in Rock Island, Ill., his Master of Music degree in choral conducting from California State University, Fullerton, and his Doctor of Musical Arts degree in choral music at the University of Southern California.

Kathryn Wilson Costume Sketch


lyric soprano

Lyric soprano Yunah Lee is thrilling audiences in the U.S., Europe and Asia with her “handsomely colored full lyric sound” (Opera News) and “picture perfect” acting (Berkshire Fine Arts). “Lee deservedly earned the most vociferous ovation of the Glimmerglass Festival as the audience leapt to their feet as one to roar their approval at her curtain call.” (Opera Today). “Director Francesca Zambello’s ability to get the voices she wanted is abundantly clear, especially with Korean-born lyric soprano Yunah Lee in the title role.” (Syracuse New Times). “Lee is one of the world’s leading interpreters of the role. It’s hard to imagine a more nuanced, yet powerful delivery of this music...” (The Salt Lake Tribune).

As an active concert singer, Lee has sung Messiah, Mozart’s Requiem, Haydn’s Creation and Bach’s St. Matthew Passion with the New York Oratorio Society at Carnegie Hall, and Verdi’s Requiem with National Chorale at Avery Fisher Hall.

In 2008, Lee was invited to appear as a soloist in the Great Mountain Music Festival, where she performed works of Rodrigo, Villa-Lobos, Handel, Earl Kim and George Crumb. The 2005-06 season saw Lee’s debut with Hiroshima Symphony performing Mahler’s Symphony No. 2 in the memorial concert of the 60th year after the Atomic Bomb in Hiroshima, her solo recital in Los Angeles at USC’s Newman Hall, KMF Virtuoso Concert at Alice Tully Hall with pianist Warren Jones and her European concert debut with the Pablo Picasso Orchestra in Malaga, Spain.

Lee made her solo recital debut at the Carnegie Hall and Ho-Am Recital Hall in Seoul, followed by a national tour in five cities in South Korea. Lee was also featured in the Christmas Concert with Beijing National Symphony in China, in recitals with Shanghai Symphony and Seoul Arts Center and in Concert with Tokyo City Orchestra. Lee’s first recording of “Four Seasons in Korea” with I Musici was released in 2004.

Kathryn Wilson Costume Sketch



Tenor John Pickle quickly has established himself as a strong tenor, most recently for his portrayals of Erik in Der fliegende Holländer, a role he débuted with Los Angeles Opera. Of a performance as the jilted hunter with Lyric Opera of Kansas City, The Kansas City Star raved, “Pickle’s emotionally wrought characterization drove this performance even harder home than usual.” In recent seasons, Pickle also enjoyed performances as Erik with Mobile Opera, Utah Festival Opera and Michigan Opera Theatre.

Pickle is an established talent on symphonic concert and recital stages throughout the country. He made his Houston Symphony debut as the tenor soloist in Mahler’s Symphony No. 8. Additional concert engagements in recent seasons included the tenor solo in Verdi’s Requiem with the Mississippi Symphony Orchestra, the Akron Symphony, the Dayton Philharmonic, Opera Grand Rapids, Baton Rouge Symphony Orchestra, and at Carnegie Hall; Beethoven’s Symphony No. 9 with The Orchestra Now at Bard College, the Lima Symphony, Long Bay Symphony and National Chorale; Handel’s Messiah at Avery Fisher Hall and with Greater Trenton Choral Society; the tenor solo in a Night of Verdi Hits concert with the Santa Barbara Symphony; Viva Verdi! concerts with Lyric Opera of Virginia; Missa solemnis with Utah Festival Opera; Mahler’s Das Lied von der Erde with the Dayton Philharmonic; a Gala Concert at Northern Oklahoma College conducted by Gerald Steichen; a Valentine’s Day Concert with Northwest Arkansas Symphony; and a concert of opera arias entitled “Are we really 30?” at St. Bart’s Music Festival conducted by Steven Mercurio.

He made his Carnegie Hall debut in 2008 performing Schubert’s Mass in G Major and the Mozart Requiem conducted by John Rutter, and performed Mozart’s Requiem in the famed hall again in 2012.

Kathryn Wilson Costume Sketch



Sabina Kim, a Korean- American dramatic mezzo-soprano, is one of the prize- winners in the 2017 Lauritz Melchior International Wagner Singing Competition in Denmark. A former finalist in the inaugural Marcello Giordani International Vocal Competition in Catania, Italy, third prize from Sarzana “Spiros Argiris” International Vocal Competition, Honorary Mention from Panama Rivelas Opera Competition and a regional finalist in The Metropolitan National Council Auditions, Kim was most recently seen in Verdi’s Aida with Knoxville Opera as Amneris, Puccini’s Madame Butterfly with New Jersey Festival Orchestra as Suzuki. She made her début as Gertrude in Roméo et Juliette by Gounod with Korea National Opera, at the Daegu International Opera Festival as Amneris in Aida, and at the famed Royal Albert Hall as Suzuki in Raymond Gubbay’s beloved, in-the-round production of Madame Butterfly. Other engagements also include her notable debut as the mezzo-soprano soloist in Requiem by Mack Wilberg with the New England Symphonic Ensemble at Carnegie Hall; Brangäne in Tristan und Isolde by Wagner with Bogota Symphony Orchestra in Colombia.

As a former soprano, Kim’s engagements include the title role of Cio-Cio-San in Madame Butterfly with Sarasota Opera, Leonora in Il Trovatore with Opera North, Donna Elvira from Don Giovanni and Erste Dame from Die Zauberflöte. Kim holds a Master of Music degree from The Juilliard School, where her performances included Mrs. Grose in The Turn of the Screw and Mrs. Herring in Albert Herring by Britten. She also holds Bachelor of Music degree and Professional Studies diploma in Voice from Mannes College The New School for Music, where her roles included Die Erste Dame in Die Zauberflöte and Donna Elvira in Don Giovanni.



Joseph Hu is one of America’s leading character tenors, sought after for roles such as Goro in Madame Butterfly, Pong in Turandot, Steuermann in Der fliegende Holländer, and Spoletta in Tosca. Of a performance as Goro in San Diego, a critic hailed, “Joseph Hu outdid himself as the marriage broker Goro. Cavorting about the stage with grand but obsequious formality, Hu artfully combined the seediest aspects of salesmanship and diplomacy, delivered with vocal confidence and clarity.” Recent engagements include the roles of Basilio and Curzio in Le nozze di Figaro with San Diego Opera, and Pong in Turandot with Tulsa Opera, Vancouver Opera and Atlanta Opera.



Mexican baritone Luis Ledesma has established a reputation as a “rich and well controlled baritone” (Opera News). He frequently portrays the heroes and villains of Puccini, Verdi and the bel canto masters as well as roles in recent new works in Spanish including Florencia en el Amazonas and El pasado nunca se termina. His operatic and concert career has advanced in Europe, the United States and South America, and includes theaters such as Teatro alla Scala (Luisa Fernanda), the Liceu in Barcelona (Alphonse in La favorite, Riccardo in I puritani and Marcello in La Bohème), Klangbogen Festival in Vienna (Leoncavallo’s La Bohème), Wexford Festival (Don Pasquale), Teatro Municipal de Santiago (Escamillo in Carmen) and Semperoper in Dresden (Marcello in La Bohème).



Featured on the cover of Opera News as one of “opera’s exciting new voices,” Chinese baritone Yunpeng Wang is quickly gaining international recognition on both the opera and concert stages of the world. He began the current season with his debut as Pelléas in Pelléas et Mélisande in São Paulo and will later appear in concert with Pacific Symphony, Hartford Symphony and Chamber Music Society of Lincoln Center.

In the 2017-18 season, Wang made his role debut as Valentin in Faust with the Tulsa Opera, sang Figaro in Il Barbiere di Siviglia with the Shanghai Symphony, appeared in Marco Polo at the Guanghzou Opera and performed in concert with the Dallas Opera. In the 2016-17 season, he returned to the Metropolitan Opera to sing Mercutio in Bartlett Sher’s new production of Roméo et Juliette, conducted by Emmanuel Villaume, and appeared as a soloist in the Met’s 50th Anniversary Gala. He also made his house and role debut as Zurga in Bizet’s Les Pêcheurs de Perles with the Tulsa Opera and sings in a concert of Verdi arias and duets with the Dallas Opera. Wang concluded the season with his Japanese debut as Almaviva in a new production of Mozart’s Le nozze di Figaro at the Hyogo Performing Arts Center, conducted by Yutaka Sado.

In the 2015-16 season, Wang completed his third year as a member of the Met’s Lindemann Young Artist Development Program with appearances as Prince Yamadori in Madame Butterfly, which was broadcast through the Met’s Live in HD series to movie theaters around the world, and Fiorello in Rossini’s Il Barbiere di Siviglia, conducted by Antony Walker. He also returned to the Rossini Opera Festival in Pesaro, Italy, to make his role debut as Figaro in a concert version of Il Barbiere di Siviglia, under the baton of Alberto Zedda, and sang Guglielmo in Così fan tutte with the Macao Symphony.



Baritone Hyung Yun has been acclaimed for his “subtle musicality and grand voice,” and regularly performs on some of the most esteemed opera stages in the United States. With The Metropolitan Opera, he has performed numerous roles including Valentin in Faust under Maestro James Levine, Ping in Turandot, Lescaut in Manon with Renee Fleming in the title role, and Silvio in Pagliacci. With Los Angeles Opera he made his debut as Angelotti in Tosca and returned to sing Marcello in La Bohème, Micheletto Cibo in Die Gezeichneten, and Lescaut in Manon with Rolando Villazón and Anna Netrebko under the baton of Plácido Domingo. He debuted as Ping in Turandot with the Santa Fe Opera and returned to sing in their 50th Anniversary Gala Concert. Last season, Yun returned to The Metropolitan Opera for their productions of Turandot and Madame Butterfly and performed the title role in Rigoletto with Ash Lawn Opera.

He also sang in numerous concerts around New York City as part of The Metropolitan Opera’s 2017 Summer Recital Series. This season, Yun returns to The Metropolitan Opera once again for productions of Gianni Schicchi and La Traviata.



Mezzo-soprano Jane Hyun-Jung Shim, a native of Korea, is a returning soloist for Pacific Symphony. She is known for rich, clear and sensitive singing. Shim studied at California State University, Fullerton. While in school, she was coached as a soprano and has performed many soprano solo roles. She also has won several competitions while in school. Shim is now a familiar face to Orange County choral music audiences as a mezzo-soprano. She joined Pacific Chorale and John Alexander Singers in 1999, and has appeared as a mezzo-soprano soloist in many works.

Shim’s major solo works include Bach’s B Minor Mass, Vivaldi’s Gloria, Duruflé’s Requiem, Verdi’s La Traviata, Mozart’s Requiem, Handel’s Messiah, Stravinsky’s Les Noces, Bach’s Magnificat, Haydn’s Lord Nelson Mass and Mozart’s The Magic Flute. She has been a featured soloist with Pacific Symphony, LA Philharmonic, Long Beach Symphony, Pasadena Symphony, Musica Angelica, Philharmonia Baroque Orchestra, Les Grands Ballets Canadiens de Montreal, Pacific Chorale, John Alexander Singers, Chorus America Conducting Academy, Long Beach Camerata Singers, Dallas Korean Master Chorale, Angeles Chorale, S. CA Korean Christian Choir, Hour of Power, CSUF University Singers and Azusa Pacific University. Shim’s international performances includes European premiere of Jake Heggie’s He Will Gather Us Around (from Dead Man Walking) at St. Stephen’s Basilica in Budapest, and Franziskanerkirche (Franciscan Church of St. Jerome) in Vienna. She has also performed at Matthias Church in Budapest, Stephansdom (St. Stephen’s Cathedral) in Vienna and St Sulpice, St Etienne du Mont, St Louis en l’Île and La Madeleine in Paris. Her beautiful solo work of Duruflé’s Requiem with Pacific Chorale’s Choral Festival 2011 has taken her to Église St-Étienne-du-Mont where Duruflé was a predecessor. Shim is currently an alto section leader of Pacific Chorale, a staff singer at Hour of Power Choir and a conductor and music director of Il-Shin Presbyterian Church in Buena Park.



Karin Mushegain, called “superb” (The New York Times), and hailed for possessing “a rich voice and infectious theatricality” (Colorado Gazette), is captivating audiences with her exciting, energetic portrayals, dramatic poise and dynamic vocal sound. During the 2016- 17 season, Mushegain portrayed Aldonza in Man of La Mancha with Indianapolis Opera, made her role debut as Despina in Così fan Tutte with Pasadena Opera and sang Handel’s Messiah in concert with The Salastina Music Society.

Highlights of the 2017-18 season include Suzuki in Madame Butterfly with Opera San Luis Obispo, Aldonza in Man of La Mancha with Pensacola Opera, her role debut as Zibaldona in Alma Deutscher’s Cinderella with Opera San Jose, the soloist in Bernstein’s Symphony No.1 Jeremiah with Bakersfield Symphony, the mezzo soloist in Mozart’s Requiem with Sacramento Choral Society and her role debut as Susanna in Le Nozze di Figaro with Charlottesville Opera.

Mushegain recently made her Seattle Opera debut as the title role in La Cenerentola, where she was hailed as an “excellent singing actress – sailing through the title role with an assured performance.” (Seattle Times) During the 2013-14 season, Mushegain made her role debut as Carmen with Opera San Luis Obispo to great acclaim, sang the title role in La Cenerentola with Pensacola Opera and debuted in concert with the Virginia Symphony in Rossini’s Stabat Mater. She also performed Rosina in Il Barbiere di Siviglia with Lyrique-en-mer in France, joined the esteemed Festival Mozaic for Villa-Lobos’ Bachianas Brasileiras and portrayed her first Cherubino in Le Nozze di Figaro with Virginia Opera, where she performed the role “as convincingly and as delightfully as any I can recall … with exquisite comedic timing,” (Washington Post) and did “a terrific job in this trouser role, with a voice as bright as a silvery bell and a boyish swagger that emphasizes the comedy in every scene in which she appears.” (The Washington Times).


Annabella Chou Dolore was born in 2012 in Whitter, Ca. She is a happy, active, energetic and enthusiastic girl. Her talents began to show at an early age. Annabella is highly spirited, starting cheerleading class at age 3, up until kindergarten, where she graduated from the United Christian Education Center. Inspired by the director of the Yaya Dance Academy, Yaya Zhang, Annabella began her journey of dance and continues to learn different types of dance, including ballet, jazz, hip hop, tap, lyrical and Chinese folk. Annabella won her first Gold medal in a Chinese dance competition from American Chinese Dance Association in 2017. She had participated in the overture dance in Love Feast 2017 and 2018 at the Segerstrom Concert Hall along with the Pacific Symphony. In 2018, she won a Platinum award in solo of the Open group in Showstopper dance competition. But she can do more than dance; Annabella also discovered her love and talent for singing and acting in musical theater. Annabella will continue learning and giving her best to achieve her goal every step of the way while in school, in performances as well as in the years to come.


scenic designer

Internationally acclaimed scenic designer CAMERON ANDERSON has designed extensively at the world’s leading theatre and opera companies. Recent opera credits include work for Glimmerglass Opera, The Seattle Opera, San Francisco Opera, Gotham Chamber Opera, Opera Theater of St. Louis, Minnesota Opera, Wolf Trap Opera, Central City Opera, Pittsburgh Opera, Opera Boston, and On Site Opera (NYC).

Cameron recently designed productions of Simon Boccanegra at the Teatro Colon in Buenos Aires, West Side Story for Vancouver Opera and West Side Story for the Kilden Performing Arts Center in Norway. Cameron has enjoyed many successful collaborations with stage director Ken Cazan with whom she has created productions of Gianni Schicchi, Seven Deadly Sins, Les Mamelles de Tiresias, Three Decembers and A Little Night Music all at Central City Opera. Other projects with Mr. Cazan include The Barber of Seville at the Opera Theatre of St. Louis and Das Liebesverbot at the Bing Theatre, USC. Cameron has also collaborated with such noted opera directors as Eric Einhorn, Kevin Newbury, Jose Maria Condemi, Ned Canty, Jeff Buchman, James Marvel, Joshua Major and Sandra Bernhard.

Theatre credits include work with Playwrights Horizons, LAByrinth, The Roundabout, The Huntington Theatre, New Georges, Brooklyn Academy of Music (BAM), Ars Nova, Shakespeare and Company, Capitol Rep, and South Coast Rep. Cameron’s design for A Midsummer Night’s Dream was nominated for a Los Angeles Drama Critics Circle Award, and she was the subject of a Los Angeles Times feature about her design. The LA Weekly noted “The real star is Cameron Anderson’s intense yet functional set,” while StageSceneLA noted “Anderson’s sets … are such feasts of imagination that the accompanying production stills must take the place of the thousands of words necessary to describe them.”

Cameron’s production of The Screwtape Letters received 309 performances at the West Side Theater in NYC and enjoyed runs in Chicago and Washington D.C. as well. The production is still on a National Tour. Cameron began her collaboration with two-time Tony nominated director Alex Timbers (Bloody Bloody Andrew Jackson, Rocky, and Peter and the Starcatcher) on the acclaimed experimental production of Heddatron in 2006, which featured robots in the telling of Hedda Gabler. They went on to work many innovative productions together including projects at The Roundabout and BAM.

Other recent theater credits include Emilie for South Coast Rep; A Feminine Ending, directed by Blair Brown for Playwrights Horizons; Underground for David Dorfman Dance at BAM; Massacre (Sing to Your Children), directed by Kate Whoriskey at LAByrinth Theatre Company; Dead City, directed by Daniela Topol for New Georges; and Fault Lines, by Stephen Belber, directed by David Schwimmer. Cameron has also collaborated with famed director Nicholas Martin on a production of My Wonderful Day at Two River Theater Company.


costume designer

Kathryn Wilson is a freelance costume designer working in Orange County for the past 11 years. She has designed for dance, opera, theater and photography across the nation and internationally. Her recent works include projects for Pacific Symphony (La Traviata), Shakespeare Orange County (seven consecutive seasons), The New Swan Theater (three seasons), Prague Shakespeare Festival (2012), South Coast Repertory, Chapman University dance, drama and opera departments, UC Irvine dance and opera department, The Chance Theater and Orange County School of the Arts (2006).

Wilson received the LA Weekly award for her costume design of Machiavelli (2006). She is currently adjunct faculty at Chapman University in costume and makeup design. In addition, Wilson works as an accomplished dye/painter and crafts artist for the performance arts.


wig and makeup designer

Ora Jewell-Busche is an LA-based wig, make-up and costume designer with more than a decade of working in the field of opera, theater and film. She has worked extensively with companies ranging from The Lyric Opera of Chicago, Lookingglass Theater, Chicago Shakespeare, The Steppenwolf, The Goodman Theater, Pacific Symphony, Shattered Globe, Sans Culottes, Lyric Opera of the North and many more.

Recent projects include: Turandot (Pacific Symphony), Barber of Seville (Lyric Opera of the North), Carmen (Pacific Symphony) and Il Trovatore (Hawaii Opera Theater). Film and television credits include Were the World Mine, Chicago Overcoat, Sound of Music Live!, Prison Break and Batman v. Superman.

Jewell-Busche received a BFA in costume design from DePaul University and apprenticed under Melissa Veal (originally of the Stratford Festival of Canada) as a wigmaker. As well as maintaining a busy design schedule, she also teaches theatrical make-up at Make- up First School in Chicago.


lighting designer

Kathy Pryzgoda has been a lighting designer for the past 25 years. Her diverse background includes lighting design for large commercial lighting projects, architectural lighting, residential, theatre, event and TV lighting design. Pryzgoda received a bachelor of arts degree in theatre from the University of California, Los Angeles (UCLA). She has designed lighting for such companies as Long Beach Opera, Los Angeles Classical Ballet and the Jazz Tap Ensemble.

Pryzgoda has received several awards in lighting design including a Dramalogue Award for outstanding achievement in theatre. In addition to theatre, Pryzgoda has experience with lighting designs for television. She was lighting designer/ lighting director for Channel One News between 1992 and 2002. During that time, Pryzgoda received three Broadcast Design International Gold Awards for her lighting design at Channel One News. Other notable projects include the lighting design for World News Tonight with Peter Jennings on ABC and production design consultant for CNN’s American Morning with Paula Zahn.


Founded in 1968, the Pacific Chorale is internationally recognized for its exceptional artistic expression, stimulating, American-focused programming and influential education programs. The chorale presents a season at Segerstrom Center for the Arts and performs regularly with the nation’s leading symphonies. It has infused an Old World art form with California’s innovation and cultural independence, developing innovative new concepts in programming and expanding the traditional concepts of choral repertoire and performance.

The Pacific Chorale comprises 140 professional and volunteer singers. In addition to its longstanding partnership with Pacific Symphony, the Chorale has performed with such renowned American ensembles as the Los Angeles Philharmonic, Boston Symphony Orchestra, National Symphony Orchestra, San Diego Symphony, Los Angeles Chamber Orchestra, Philharmonia Baroque Orchestra and Musica Angelica Baroque Orchestra. Other collaborations within the Southern California community include performances with the Hollywood Bowl Orchestra and the Long Beach, Pasadena, and Riverside symphonies. The chorale has toured extensively in Europe, South America and Asia, and has collaborated with the London Symphony Orchestra, Munich Symphony Orchestra, Orchestre Lamoureux, Orchestre de Saint-Louis-en- l’Île, National Orchestra of Belgium, China National Symphony Orchestra, Hong Kong Sinfonietta, Estonian National Symphony Orchestra and Argentine National Symphony Orchestra.

The Pacific Chorale can be heard on numerous recordings, including America Voices, a collection of American choral works; Songs of Eternity by James Hopkins and Voices by Stephen Paulus, featuring Pacific Symphony; Christmas Time Is Here; a live recording of Rachmaninoff’s Vespers; the world premiere recording of Frank Ticheli’s The Shore for chorus and orchestra; and the world premiere recording of Jake Heggie’s choral opera The Radio Hour. The Chorale also appears on six recordings released by Pacific Symphony: Elliot Goldenthal’s Fire Water Paper: A Vietnam Oratorio, Richard Danielpour’s An American Requiem and Toward a Season of Peace, Philip Glass’ The Passion of Ramakrishna, Michael Daugherty’s Mount Rushmore, and William Bolcom’s Prometheus with pianist Jeffrey Biegel—all conducted by Carl St.Clair.