Luna Pearl Woolf: Jacqueline Marnie Breckenridge & Matt Haimovitz

• Luna Pearl Woolf (b. 1973): Jacqueline, Part I Star Birth:
• 1 Woolf: Jacqueline, Part I Star Birth: On Stage 01:08
• 2 Woolf: Jacqueline, Part I Star Birth: Disease I 03:12
• 3 Woolf: Jacqueline, Part I Star Birth: 5 Years Old 01:45
• 4 Woolf: Jacqueline, Part I Star Birth: You and Me 00:56
• 5 Woolf: Jacqueline, Part I Star Birth: Recording 01:27
• 6 Woolf: Jacqueline, Part I Star Birth: Intense Perfumes 02:49
• 7 Woolf: Jacqueline, Part I Star Birth: Marriage I 04:13
• 8 Woolf: Jacqueline, Part I Star Birth: Samson 03:53
• Jacqueline, Part II Super Nova:
• 9 Woolf: Jacqueline, Part II Super Nova: Psychoanalysis I 01:28
• 10 Woolf: Jacqueline, Part II Super Nova: Dirty Joke 02:24
• 11 Woolf: Jacqueline, Part II Super Nova: The Record I 00:50
• 12 Woolf: Jacqueline, Part II Super Nova: Dizzy 04:55
• 13 Woolf: Jacqueline, Part II Super Nova: Psychoanalysis II 02:02
• 14 Woolf: Jacqueline, Part II Super Nova: Seductress I 05:05
• 15 Woolf: Jacqueline, Part II Super Nova: Persecution 03:00
• Jacqueline, Part III Meteorite:
• 16 Woolf: Jacqueline, Part III Meteorite: Telephone 04:06
• 17 Woolf: Jacqueline, Part III Meteorite: Mon ami I 02:38
• 18 Woolf: Jacqueline, Part III Meteorite: Disease II, Part I 02:35
• 19 Woolf: Jacqueline, Part III Meteorite: Run 03:28
• 20 Woolf: Jacqueline, Part III Meteorite: Disease II, Part II 01:56
• 21 Woolf: Jacqueline, Part III Meteorite: Bathing in the Sea in October 04:08
• 22 Woolf: Jacqueline, Part III Meteorite: Mon ami II 02:38
• 23 Woolf: Jacqueline, Part III Meteorite: Cancellation 07:26
• Jacqueline, Part IV Impact:
• 24 Woolf: Jacqueline, Part IV Impact: Ode 04:52
• 25 Woolf: Jacqueline, Part IV Impact: Scuttlebum 01:26
• 26 Woolf: Jacqueline, Part IV Impact: Seductress II 04:30
• 27 Woolf: Jacqueline, Part IV Impact: The Record II 05:43
• Total Runtime 01:24:33

Info for Luna Pearl Woolf: Jacqueline

Jacqueline ist eine kraftvolle, preisgekrönte neue Oper, die sich mit dem realen Kampf zwischen der berühmten Cellistin Jacqueline du Pré und der Multiplen Sklerose befasst, die ihren Körper, Geist und ihr Talent zerstörte – und sie ihrer Identität, ihrer atemberaubenden musikalischen Begabung und schließlich ihres Lebens beraubte.

Die Geschichte wird von der gefeierten amerikanischen Sopranistin Marnie Breckenridge (als Jacqueline) und dem ehemaligen du Pré-Schützling und weltberühmten Cellisten Matt Haimovitz zum Leben erweckt, der die Rolle ihres ständigen Begleiters spielt: ihr Cello.

Die GRAMMY-nominierte Komponistin Luna Pearl Woolf und der mit dem Pulitzer-Preis ausgezeichnete Librettist Royce Vavrek zeichnen die Entwicklung eines großen Wunderkindes und schließlich einer großen Tragödie nach. Die Oper wird in vier Sätzen erzählt – I. Sternengeburt; II. Supernova; III. Meteorit; IV. Aufprall – und bezieht sich auf Haimovitz’ persönliche Erinnerungen an du Pré selbst.

Die Form des Werks ist farbenfroh und manchmal lustig, roh, fröhlich und kühn und erinnert an du Prés ikonische Interpretation von Edward Elgars Cellokonzert. Die viersätzige Struktur des Konzerts dient dazu, ein prismatisches und leidenschaftliches, wenn auch allzu kurzes Leben in der Musik zu beschreiben.

Marnie Breckenridge, Sopran
Matt Haimovitz, Cello

Marnie Breckenridge
American soprano Marnie Breckenridge has won acclaim internationally in a vast repertoire spanning from the Baroque to the Modern. She is continuously praised for her grounded storytelling and known for her deeply expressive score interpretations, layered characterizations, and her beautiful pure soprano. A favorite among some of the most gifted composers of our time, her excellent musicianship and technique have solidly established her as a go-to performer of critically acclaimed new works praising her, “bell-like ring over an enormous range and personality spilling from every note” (The Globe and Mail), “lovely soprano” voice (The New York Times), and “lyrical poignancy and dramatic power” (The Chicago Tribune).

In 2020, she received the DORA award for “Outstanding Performance by an Individual in an Opera” for JACQUELINE, a role she helped create with composer Luna Pearl Woolf and librettist Royce Vavrek about the life of Jacqueline Du Pré written for her and cellist, Matt Haimovitz (Tapestry Opera, Toronto). Other passionate interpretations of contemporary works include: Mother in DOG DAYS by David T. Little (TimeOut Magazine voted it Best Opera) with performances at Montclair Peak Performances, Los Angeles Opera, Prototype Festival, and Ft. Worth Opera, Sierva Maria in Peter Eötvös’s LOVE AND OTHER DEMONS (Glyndebourne Festival Opera), Susannah in Laura Schwendinger’s ARTEMISIA (Left Coast Ensemble), La Princesse in Philip Glass’ ORPHÉE, title role in Milhaud’s MÉDÉE, and Margarita Xirgu in Golijov’s AINADAMAR (Opera Parallèle), Ruth in Luna Pearl Woolf’s THE PILLAR (Julian Wachner and Washington Chorus), her Berkeley Symphony debut in Chin’s CANTANTRIX SOPRANICA with Kent Nagano and her Ravinia Festival debut in Jake Heggie’s TO HELL AND BACK with Philharmonia Baroque, co-staring Patti LuPone. Of her performance at Ravinia noted by reviewer John Von Rein, "she sounded as gorgeous as she looked…a young Meryl Streep, achieving both lyrical poignancy and dramatic power" (The Chicago Tribune).

Breckenridge made her Carnegie Hall debut singing the soprano solos in Mozart’s CORONATION MASS returning to perform Robert Paterson’s, IN REAL LIFE. Other recent concert work includes soprano solos in L’ENFANT ET LES SORTILÈGES, soloist in Barber’s KNOXVILLE: SUMMER OF 1915 and three special SOUND BOX performances (San Francisco Symphony), EIN DEUTSCHES REQUIEM, CARMINA BURANA, and David Lang’s TEACH YOUR CHILDREN (SF Choral Society at Davies Symphony Hall), Canteloube’s CHANTS D’AUVERGNE (Brooklyn Art Song Society), Dallapiccolla’s PARTITA, Petrassi’s MAGNIFICAT, and BERG IN VIENNA concerts (Bard Music Festival), Barber’s KNOXVILLE: SUMMER OF 1915 and Mahler’s 4TH SYMPHONY (Napa Symphony and Pacific Symphony) as well as the BACHIANAS BRAZILERAS and CHICAGO SONGS written for her by Kurt Erickson (Sacramento Philharmonic). Marnie is the 2013 recipient of the Fanfare Award for “Alumni of the Year” at the San Francisco Conservatory and returns to teach and coach students there when her schedule allows. Her superb acting has brought her into the worlds of film, television, and voice-over as well as theatre where she recently composed the vocal lines for and sang the lead in WAKE -an original production with director Mei Ann Teo (PUC Alumnus) and composer Jon Bernstein at the Connelly Theatre in New York. She appeared as Kathie in the 2022 release of Gordon Getty’s opera, “Goodbye, Mr. Chips”. Her recent, HAPPY GOLDEN DAYS recording of Holiday tunes was launched during the pandemic of 2020 on all streaming platforms. She continues to record in the studio with new releases upcoming in2025.

Other opera roles include LUCIA DI LAMMERMOOR (Orlando Opera, Mobile Opera, Indianapolis Opera), Yum Yum in THE MIKADO (Arizona Opera), Gretel in HÄNSEL UND GRETEL (Indianapolis Opera and Arizona Opera), Papagena in DIE ZAUBERFLÖTE and Olga in THE MERRY WIDOW (San Francisco Opera), Pamina in DIE ZAUBERFLÖTE (Indianapolis Opera), Gilda in RIGOLETTO and Emily in OUR TOWN (Festival Opera), Nelle in CRYSALIS (West Edge Opera). She had regularly performed under the baton of Lorin Maazel as Lucia in Britten’s RAPE OF LUCRETIA at his Castleton Foundation and on tour. Breckenridge is a featured soloist on the 2012 New World Records’ album of Victor Herbert songs and recently made her European and Asian debuts as Cunegonde in CANDIDE (Prague State Opera then in Robert Carsen’s production with the English National Opera and on tour in Japan) where her performances were reviewed “note perfect” (Prague Post) and “simply terrific” (Opera Magazine, UK).

Matt Haimovitz 
Renowned as a musical pioneer, multi-Grammy-nominated cellist Matt Haimovitz is praised by The New York Times as a “ferociously talented cellist who brings his megawatt sound and uncommon expressive gifts to a vast variety of styles” and by The New Yorker as “remarkable virtuoso” who “never turns in a predictable performance.” He brings a fresh ear to familiar repertoire, champions new music, and initiates groundbreaking collaborations, as well as creating innovative recording projects. In addition to his touring schedule, Haimovitz mentors an award-winning studio of young cellists at the Schulich School of Music of McGill University in Montreal and is the first-ever John Cage Fellow at The New School's Mannes School of Music in New York City.

Haimovitz made his debut in 1984, at the age of 13, as soloist with Zubin Mehta and the Israel Philharmonic. He has gone on to perform on the world’s most esteemed stages, with such orchestras and conductors as the Berlin Philharmonic, the New York Philharmonic with Zubin Mehta, the English Chamber Orchestra with Daniel Barenboim, the Boston Symphony Orchestra with Leonard Slatkin, and the Orchestre Symphonique de Montréal with Kent Nagano. His latest endeavor, THE PRIMAVERA PROJECT, encompasses 81 new commissions from a diverse intersection of North American communities and has been featured in the most recent 59th Venice Biennale Arte.

Making his first recording at 17 with the Chicago Symphony Orchestra, Haimovitz’s recording career encompasses more than 30 years of award-winning work on Deutsche Grammophon (Universal), Oxingale Records, and the PENTATONE Oxingale Series. His honors include the Trailblazer Award from the American Music Center, the Avery Fisher Career Grant, the Grand Prix du Disque, and the Premio Internazionale “Accademia Musicale Chigiana.” He studied with Leonard Rose at The Juilliard School and graduated magna cum laude with highest honors from Harvard University. Haimovitz plays a Venetian cello, made in 1710 by Matteo Gofriller.

Booklet for Luna Pearl Woolf: Jacqueline