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Mezzo-sopranoFabiana Katz

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Fabiana Katz Demo 2012

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El clavel del aire blanco (Guastavino)

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"...a dark, lustrous voice, with much individual character..."

The Globe and Mail

About

Words like "chocolate", "caramel" and "maple syrup" have been used to describe this native Argentinean's dark and shimmering voice.

Ms Katz has appeared as soloist with the Kitchener-Waterloo Chamber Orchestra, Prince George Symphony Orchestra, the National Arts Centre Orchestra, the Vancouver Symphony Orchestra, the Pacific Baroque Orchestra, the CBC Radio Orchestra, New Westminster Symphony Orchestra, the Vancouver Philharmonic Orchestra, the Vancouver Bach Choir, The Okanagan Festival Singers and Chorus, The Aura Chamber Choir of Vernon, Trinity Western University Choirs, Douglas College Choral Society, The Amabilis Singers, Richmond Chorus, The WorldFest Ensemble and Ancient Cultures.

Ms. Katz has been a member of the Vancouver Chamber Choir, under the direction of Jon Washburn, for over a decade.

As a recitalist, Ms. Katz focuses on repertoire which highlights her varied cultural background: Spanish, Latin American and Sephardic. Ms. Katz also holds a Masters of Music in choral conduacting from the College-Conservatory of Music at the University of Cincinnati and is in demand as a teacher and clinician.

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Acclaim

"... The role of [Mrs] God (in the words of the composer, a mixture of femme fatale and Yidishe mame) gave young soprano Fabiana Katz a perfect chance to show her talent as a singer (with a warm, colourful and attractive voice) as well as an actress in command of a great histrionic feeling." Pablo Sosa, composer, On the 7th Day "Fabiana Katz... was exceptional. The voice was smooth and silky, yet expressive. She was especially emotional in He Was Despised. Her long vocal lines were impressive in everything she sang." Marvin Dickau, The Daily Courier, Kelowna "Dear dear Fabiana: After you had sung to my friends and family on Saturday, every single person who was there - I really do mean EVERY one - told me pretty much the same thing: It is a privilege to be here. Ill never forget this experience; and many of them were still wiping away tears (as was I). You are a stunningly accomplished artist. Thank you for existing." J. Bennett, Bowen Island "...alto Fabiana Katz, whose dark, lustrous voice had much individual character, offered particularly notable performances. Katz was especially affecting in her two solos in Vivaldi's 'Gloria,' and was well partnered by the principal oboist in the second." The Globe and Mail "...a gorgeous rich, profound colour .....Wonderful baroque decorations.... stand-out in an extraordinary and especially moving concert." John Powell, Kelowna "... wonderful moments ... superb alto solo by member of the Vancouver Chamber Choir in the setting of Psalm 103" The Vancouver Sun "...featured Celso Machado on guitar and South American choir member Fabiana Katz in her first of three stellar solo performances." J. Jane, The Georgia Straight"We were so glad we could attend.You were just wonderful. I was very excited to hear your performance." M. Ablowitz, Vancouver "Congratulations! What a wonderful program! I have never hear[d] you sing better! Brava!!!" M. Briscall, VancouverThank you so much for your wonderful contributions to our program. You really raised the whole thing to another level! Your charming solos added an intimate quality and contrasted beautifully with the choral numbers. Your assistance and suggestions at the workshop and the dress rehearsal made a big difference." R. Suddaby, Aura Chamber Choir Artistic Planning Committee How can we thank you enough for your incredible contribution to NAVIDAD NUESTRA? Your vitality, delightful folk songs, your willingness to help us out to pull everything together. It has been such a joy to welcome you as our friend and guest! D. Bainbridge, Aura Chamber Choir "....I would like to thank you for your brilliant performance at the gala concert. It is always such a treat to hear you sing!" Donna McDermot, Peretz Centre for Secular Jewish Culture "That was an AMAZING experience. The entire audience was bubbling with excitement and awe. I have never heard such beautiful singing in all my life. Such life and clarity. As I told you I had a couple of little cries. Not because the songs were sad, but because I was just kind of overwhelmed... Stunning..." G. Bennett, columnist "Thank you for a WONDERFUL concert!! I enjoyed it thoroughly, especially the pieces from Yiddish Theatre, and certainly everyone i observed in the audience was enraptured." D. McDermot, Peretz Centre for Secular Jewish Culture "Thank you, dear Fabi, for a fabulous afternoon of music--passionate, and sad, and lyrical, and funny. I enjoyed myself enormously, as, clearly, did the rest of your audience." S. Egan, Professor Emeritus, UBC "... I'm sure you were the trigger for the emotional reactions that people experienced. Congratulations again for such a stirring performance of Te Quiero.... the best moment of all was the final performance of Te Quiero. When it ended I had a lump in my throat and shivers up my spine (and many of my singing neighbours said they felt the same)..." P. Warren, Vancouver Chorfest May 2004, BCCF, Vancouver "... a voice like creme-caramel..." C. Wood, Vancouver
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Oratorio BACH: MagnificatSt Matthew PassionSt John Passion Christmas OratorioMass in B-minorCantata 54 for Alto - Wiederstehe doch der SündeSchlage doch gewünschte Stunde BEETHOVEN Mass in CCARISSIMI: JephtheEINHORN: Voices of LightHANDEL: Messiah, Israel in Egypt, Dixit DominusHAYDN: PaukenmesseHarmoniemesseMissa in Angustiis (Lord Nelson Mass)Theriesenmesse The CreationThe Seasons LUBOFF: African MassMENNDELSSOHN: Elijah, Lobgesang MONTEVERDI: Vespro della beata Virgine, Siscilian Vespers MOZART: Requiem in D, K.626Vesperae solennes de confessore, K. 339 Coronation Mass (Mass in C), K.317The Great Mass (Mass in C minor), K.427Litaniae Lauretanae, K. 195RequiemPÄRT: PassioPERGOLESI: Stabat materPIAZZOLLA: Maria de Buenos AiresRACHMANINOV: All Night VigilRAMIREZ: Missa Criolla, Navidad NuestraRAMINSH: MagnificatROSSINI: Stabat mater, Petite Messe Solennelle SCHUBERT: Magnificat, Mass in A-flatSOSA: On the Seventh DayR. STRAUSS: Deutsche Mottete VERDI: RequiemVAUGHAN-WILLIAMS: Mass in GVILLA-LOBOS: Magnificat-Alleluia VIVALDI: Gloria, Dixit Dominus, Stabat MaterClarae stellae, scintillate
Solo RecitalsHeavenly HandelSelected virtuosic arias from Handel opera A Little Afternoon HandelSelected virtuosic arias from Handel Opera 60th Anniversary Gala ConcertPeretz Centre for Secular JudaismLadino and Hebrew Music From Pampas to KibbutzSongs from Argentina, the Ghetto, Yiddish Theatre and the Land of Israel Brahms and SchumannNeue Liebeslieder and Spanische Liebeslieder AmoresArgentinean Music of Piazzolla, Guastavino, Falu, Barrios, Cardoso ¡Ay, Amor! Music of Argentina, Cuba, Puerto Rico and BrazilAn Afternoon of Argentinean Popular MusicPopular music and art song by Guastavino and other Argentinean composers RhapsodyA Fundraiser for United WayMusic of Gershwin, Hoagy Carmichael, Spirituals, Gospel and salon musicIntermerzzoWorks of Purcell, Monteverdi, Handel, Viardot, Garcia, Brahms, FinziOpera / OperettaMOZART: Le Nozze di Figaro (Cherubino)HANDEL: Amadigi di Gaula (Amadigi)MASCAGNI: L`amico Fritz (Caterina, Beppe)SMETANA The Bartered Bride (Hata)GILBERT & SULLIVAN: Ruddigore (Dame Hannah)BURRITT: The Dream Healer (Dora) ConcertBECKWITH: Five SongsBEETHOVEN: Choral Fantasy BRAGA: Canciones NordestinasBRAHMS: Zigeunerlieder, LiebesliederDE FALLA: El amor brujoDOWLAND: Airs ELGAR: Sea PicturesFINZI: Let us Garlands BringFLEMING The Confession Stone GARCIA: SongsGUASTAVINO: 12 Canciones populares; 12 Flores ArgentinasHANDEL: Orlando, Hercules, Alcina, Rinaldo, Semele, Xerxes HENRIQUE: Rolinha, AbaluaieMALIBRAN: SongsMONTEVERDI Incoronazione di Poppea MONTSALVADGE: Cinco canciones negrasNOBRE: Dengues da mulata desinteresadaOVALLE: AzulaoPURCELL: The Fairy Queen, Oedipus, Pausanias, AyresQUILTER: Let Us Garlands BringRODRIGO: Cuatro madrigales amatoriosSCHUMANN: Frauenlievbe und -leben, Spanische LiebesliederVAUGHAN-WILLIAMS: Songs of TravelVIARDOT: Songs
Media

Amarilli, mia bella
Oy Mame, bin ikh farlibt
Azulao - Jayme Ovalle
Les berceaux
Hai lulli - Pauline Viardot
Chiquilin de Bachin (PIazzolla / Ferrer)
Se tu m'ami
Campanilla dime, ¿adonde vas? Carlos Guastavino
Azulao
Rolinha - Walderma Enrique
Fear No More The Heat O' The Sun
Hai Luli (Pauline Viardot)
Handel Semele: Awake, Saturnia!/Iris, Hence Away
Campanilla, ¿adónde vas? (C. Guastavino)
Dormi Jesu - Pal Esterhazy
Handel Orlando: Fammi combattere
Handel Giulio Cesare: Cessa omai di suspirare
Motetto pro Nativitate (Dormi nate, dormi Deus) - Jan Dismas Zelenka
Fear No More The Heat O' The Sun
Abismo de sed (Guastavino)
Hopkele
Quem vidistis pastores? - Franz Xaver Brixi
Sin tu amor
He Shall Feed His Flock (Messiah)
Shlof Mayn Zun
Nil canitur iucundus - Pal Esterhazy
Les berceaux
Desde que te conoci
Non so piu cosa son, cosa faccio
Der nayer sher (2005)
Handel: Ah, dolce nome
Chiquilin de Bachin (PIazzolla / Ferrer)
Campanilla dime, adónde vas? (Guastavino)
O Kinimba - Ernani Braga
Fabiana Katz Demo 2012

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Demo Clips

1. Handel : MESSIAH - Behold, a Virgin Shall Conceive/O Thou That Tellest

8. De Falla: EL AMOR BRUJO - Chanson du feu follet

8 De Dalla El amor brujo - Chanson du feu follet.mp3

1 Messiah - Behold and O Thou that Tellest.mp3

9. Raminsh: MAGNIFICAT - I Magnificat

2. Handel: MESSIAH - But Who May Abide

2 Messiah - But Who May Abide.mp3

09 Raminsh Magnificat.mp3

3. Handel: MESSIAH - He Was Despised

10. Raminsh: MAGNIFICAT - II Quia respexit

3 Messiah - He was despised.mp3

10 Raminsh Magnificat II Quia respexit.mp3

4. Handel : HERCULES - Ye Sons of Trachin

11. Sandoval - Sin tu amor

11 Sandoval - Sin tu amor.mp3

04 Handel Hercules - Ye sons of Trac.mp3

5. Handel: ORLANDO - Fammi Combattere

05 Handel Orlando - Fammi combattere.mp3

12. Guastavino - Desde que te conocí

12 Guastavino - Desde que te conoci.mp3

6. Handel: SEMELE - Awake, Saturnia

6 Handel Semel - Awake Saturnia -recit.mp3

13. Yiddish Lullubay - Shlof mayn zun

13 Yddish Lullaby - Shlof Mayn Zun.mp3

7. De Falla: EL AMOR BRUJO - Chanson du chagrin d'amour

7 De Falla El amor brujo - Chanson du chagrin d amour.mp3

14. Parisotti - Se tu m'ami

14 Parisotti - Se tu m ami.mp3

Upcoming UpcomingFebruary 18, 2012 8 pm - SOLOISTMozart Requiem Presented by ROCA (Richmond Chorus and Orchestra Association) infoRecent EngagementsJanuary 21, 2012 - CLINICIANChoral Workshop for Women's Choirspresented by the Bellinghan Choral Arts OrganizationHosted by Allegra Women's ChoirJune 22, 2011 8 pm - SOLOISTBerkshire Choral Festival in Vancouver"Voices of Light": Richard Einhorn's creation merges his music with the legendary silent film, "The Passion of Joan of Arc" by Carl Dreyer. With acclaimed early music ensemble Anonymous Four. December 7, 2011 7:30 pm - with Kallisto - most beautifulSpecial guest appearanceCandlelight Service of RemembranceFoster's Garden Chapel & Crematorium, Calgary ABNovember 25, 2011 7:30 pm - with Kallisto - most beautifulOliver Alliance ChurchPresented by the South Okanagan Concert Society Community Arts Council August 14, 2011 4 pm - with Kallisto - most beautifulSalmon Stomp at the Cannery, StevestonJuly 18/19/20/21/23, 2011 8 pm - with Kallisto - most beautifulThe Myth of KallistoHavana Club TheatreJune 25, 2011 4 pm - with Kallisto - most beautifulMulti-Poem FestivalKorean Writers Association of CanadaJune 23, 2011 7 pm - with Kallisto - most beautifulJewish Senior’s Alliance AGM

Photo: Yukiko Onley

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Why Music Is Essential Karl Paulnack Welcome Address
One of my parents' deepest fears, I suspect, is that society would not properly value me as a musician, that I wouldn't be appreciated. I had very good grades in high school, I was good in science and math, and they imagined that as a doctor or a research chemist or an engineer, I might be more appreciated than I would be as a musician. I still remember my mother's remark when I announced my decision to apply to music schoolshe said, "you're wasting your SAT scores!" On some level, I think, my parents were not sure themselves what the value of music was, what its purpose was. And they loved music: they listened to classical music all the time. They just weren't really clear about its function. So let me talk about that a little bit, because we live in a society that puts music in the "arts and entertainment" section of the newspaper, and serious music, the kind your kids are about to engage in, has absolutely nothing whatsoever to do with entertainment, in fact it's the opposite of entertainment. Let me talk a little bit about music, and how it works.One of the first cultures to articulate how music really works were the ancient Greeks. And this is going to fascinate you: the Greeks said that music and astronomy were two sides of the same coin. Astronomy was seen as the study of relationships between observable, permanent, external objects, and music was seen as the study of relationships between invisible, internal, hidden objects. Music has a way of finding the big, invisible moving pieces inside our hearts and souls and helping us figure out the position of things inside us. Let me give you some examples of how this works.One of the most profound musical compositions of all time is the Quartet for the End of Time written by French composer Olivier Messiaen in 1940. Messiaen was 31 years old when France entered the war against Nazi Germany. He was captured by the Germans in June of 1940 and imprisoned in a prisoner-of-war camp. He was fortunate to find a sympathetic prison guard who gave him paper and a place to compose, and fortunate to have musician colleagues in the camp, a cellist, a violinist, and a clarinetist. Messiaen wrote his quartet with these specific players in mind. It was performed in January 1941 for four thousand prisoners and guards in the prison camp. Today it is one of the most famous masterworks in the repertoire.Given what we have since learned about life in the Nazi camps, why would anyone in his right mind waste time and energy writing or playing music? There was barely enough energy on a good day to find food and water, to avoid a beating, to stay warm, to escape torturewhy would anyone bother with music? And yeteven from the concentration camps, we have poetry, we have music, we have visual art; it wasn't just this one fanatic Messiaen; many, many people created art. Why? Well, in a place where people are only focused on survival, on the bare necessities, the obvious conclusion is that art must be, somehow, essential for life. The camps were without money, without hope, without commerce, without recreation, without basic respect, but they were not without art. Art is part of survival; art is part of the human spirit, an unquenchable expression of who we are. Art is one of the ways in which we say, "I am alive, and my life has meaning."In September of 2001 I was a resident of Manhattan. On the morning of September 12, 2001 I reached a new understanding of my art and its relationship to the world. I sat down at the piano that morning at 10 AM to practice as was my daily routine; I did it by force of habit, without thinking about it. I lifted the cover on the keyboard, and opened my music, and put my hands on the keys and took my hands off the keys. And I sat there and thought, does this even matter? Isn't this completely irrelevant? Playing the piano right now, given what happened in this city yesterday, seems silly, absurd, irreverent, pointless. Why am I here? What place has a musician in this moment in time? Who needs a piano player right now? I was completely lost.And then I, along with the rest of New York, went through the journey of getting through that week. I did not play the piano that day, and in fact I contemplated briefly whether I would ever want to play the piano again. And then I observed how we got through the day. At least in my neighborhood, we didn't shoot hoops or play Scrabble. We didn't play cards to pass the time, we didn't watch TV, we didn't shop, we most certainly did not go to the mall. The first organized activity that I saw in New York, on the very evening of September 11th, was singing. People sang. People sang around fire houses, people sang "We Shall Overcome". Lots of people sang America the Beautiful. The first organized public event that I remember was the Brahms Requiem, later that week, at Lincoln Center, with the New York Philharmonic. The first organized public expression of grief, our first communal response to that historic event, was a concert. That was the beginning of a sense that life might go on. The US Military secured the airspace, but recovery was led by the arts, and by music in particular, that very night.From these two experiences, I have come to understand that music is not part of "arts and entertainment" as the newspaper section would have us believe. It's not a luxury, a lavish thing that we fund from leftovers of our budgets, not a plaything or an amusement or a pass time. Music is a basic need of human survival. Music is one of the ways we make sense of our lives, one of the ways in which we express feelings when we have no words, a way for us to understand things with our hearts when we can't with our minds. Some of you may know Samuel Barber's heart wrenchingly beautiful piece Adagio for Strings. If you don't know it by that name, then some of you may know it as the background music which accompanied the Oliver Stone movie Platoon, a film about the Vietnam War. If you know that piece of music either way, you know it has the ability to crack your heart open like a walnut; it can make you cry over sadness you didn't know you had. Music can slip beneath our conscious reality to get at what's really going on inside us the way a good therapist does. Very few of you have ever been to a wedding where there was absolutely no music. There might have been only a little music, there might have been some really bad music, but with few exceptions there is some music. And something very predictable happens at weddingspeople get all pent up with all kinds of emotions, and then there's some musical moment where the action of the wedding stops and someone sings or plays the flute or something. And even if the music is lame, even if the quality isn't good, predictably 30 or 40 percent of the people who are going to cry at a wedding cry a couple of moments after the music starts. Why? The Greeks. Music allows us to move around those big invisible pieces of ourselves and rearrange our insides so that we can express what we feel even when we can't talk about it. Can you imagine watching Indiana Jones or Superman or Star Wars with the dialogue but no music? What is it about the music swelling up at just the right moment in ET so that all the softies in the audience start crying at exactly the same moment? I guarantee you if you showed the movie with the music stripped out, it wouldn't happen that way. The Greeks. Music is the understanding of the relationship between invisible internal objects.I'll give you one more example, the story of the most important concert of my life. I must tell you I have played a little less than a thousand concerts in my life so far. I have played in places that I thought were important. I like playing in Carnegie Hall; I enjoyed playing in Paris; it made me very happy to please the critics in St. Petersburg. I have played for people I thought were important; music critics of major newspapers, foreign heads of state. The most important concert of my entire life took place in a nursing home in a small Midwestern town a few years ago.I was playing with a very dear friend of mine who is a violinist. We began, as we often do, with Aaron Copland's Sonata, which was written during World War II and dedicated to a young friend of Copland's, a young pilot who was shot down during the war. Now we often talk to our audiences about the pieces we are going to play rather than providing them with written program notes. But in this case, because we began the concert with this piece, we decided to talk about the piece later in the program and to just come out and play the music without explanation. Midway through the piece, an elderly man seated in a wheelchair near the front of the concert hall began to weep. This man, whom I later met, was clearly a soldiereven in his 70's, it was clear from his buzz-cut hair, square jaw and general demeanor that he had spent a good deal of his life in the military. I thought it a little bit odd that someone would be moved to tears by that particular movement of that particular piece, but it wasn't the first time I've heard crying in a concert and we went on with the concert and finished the piece.When we came out to play the next piece on the program, we decided to talk about both the first and second pieces, and we described the circumstances in which the Copland was written and mentioned its dedication to a downed pilot. The man in the front of the audience became so disturbed that he had to leave the auditorium. I honestly figured that we would not see him again, but he did come backstage afterwards, tears and all, to explain himself.What he told us was this: "During World War II, I was a pilot, and I was in an aerial combat situation where one of my team's planes was hit. I watched my friend bail out, and watched his parachute open, but the Japanese planes which had engaged us returned and machine gunned across the parachute cords so as to separate the parachute from the pilot, and I watched my friend drop away into the ocean, realizing that he was lost. I have not thought about this for many years, but during that first piece of music you played, this memory returned to me so vividly that it was as though I was reliving it. I didn't understand why this was happening, why now, but then when you came out to explain that this piece of music was written to commemorate a lost pilot, it was a little more than I could handle. How does the music do that? How did it find those feelings and those memories in me?" Remember the Greeks: music is the study of invisible relationships between internal objects. The concert in the nursing home was the most important work I have ever done. For me to play for this old soldier and help him connect, somehow, with Aaron Copland, and to connect their memories of their lost friends, to help him remember and mourn his friend, this is my work. This is why music matters.What follows is part of the talk I will give to this year's freshman class when I welcome them a few days from now. The responsibility I will charge your sons and daughters with is this:"If we were a medical school, and you were here as a med student practicing appendectomies, you'd take your work very seriously because you would imagine that some night at two AM someone is going to waltz into your emergency room and you're going to have to save their life. Well, my friends, someday at 8 PM someone is going to walk into your concert hall and bring you a mind that is confused, a heart that is overwhelmed, a soul that is weary. Whether they go out whole again will depend partly on how well you do your craft. You're not here to become an entertainer, and you don't have to sell yourself. The truth is you don't have anything to sell; being a musician isn't about dispensing a product, like selling used cars. I'm not an entertainer; I'm a lot closer to a paramedic, a firefighter, a rescue worker. You're here to become a sort of therapist for the human soul, a spiritual version of a chiropractor, physical therapist, someone who works with our insides to see if they get things to line up, to see if we can come into harmony with ourselves and be healthy and happy and well. Frankly, ladies and gentlemen, I expect you not only to master music; I expect you to save the planet. If there is a future wave of wellness on this planet, of harmony, of peace, of an end to war, of mutual understanding, of equality, of fairness, I don't expect it will come from a government, a military force or a corporation. I no longer even expect it to come from the religions of the world, which together seem to have brought us as much war as they have peace. If there is a future of peace for humankind, if there is to be an understanding of how these invisible, internal things should fit together, I expect it will come from the artists, because that's what we do. As in the concentration camp and the evening of 9/11, the artists are the ones who might be able to help us with our internal, invisible lives."