For the next five academic years, Third Coast Percussion has been named ensemble-in-residence at the University of Notre Dame.
“We are so excited to be partnering with this incredible institution…We have some incredible projects in the works already, including collaborations with the University’s College of Engineering and Master of Sacred Music program.” -TCP
Sing through the rest of finals week with the Notre Dame Glee Club!
And don’t forget to celebrate ND Commencement 2013 at the annual Band, Music, and Glee Club Concerts!
All tickets available at performingarts.nd.edu or 574.631.2800.
5:30 PM – 6:30 PM · DeBartolo Performing Arts Center
Please join the Notre Dame concert Band as they perform.
Free but ticketed.
8:00 PM – 9:00 PM · DeBartolo Performing Arts Center
Please join us to celebrate our graduating seniors with a Commencement Concert. Featuring the Notre Dame Collegium as well as performances by the Department of Music graduating performance majors.
Free but ticketed.
9:00 PM – 10:00 PM · DeBartolo Performing Arts Center
$10 General
$6 Senior
$5 Student
Music@ND on You Tube:
Glee Club: https://www.youtube.com/user/ndgleeclub/featured
Band: https://www.youtube.com/user/notredameband
Sacred Music: https://www.youtube.com/user/sacredmusicND
Folk Choir: https://www.youtube.com/user/NotreDameFolkChoir?feature=
Click to SELECT + SUBSCRIBE (performingarts.nd.edu):
Summer is almost here!
500 Days of Summer | Directed by Marc Webb | Rated PG-13, 95 minutes
Saturday, April 27, 2013, 11:59pm | $4 students ($5 senior, $7 regular)
Browning Family Cinema, DPAC
Tickets: http://performingarts.nd.edu/calendar/view.aspx?id=3734 or 574-631-2800
This post modern love story is never what we expect it to be — a twisted journey of highs and lows that doesn’t quite go where we think it will. When Tom (Joseph Gordon-Levitt), a hapless greeting card copywriter and hopeless romantic, is blindsided after his girlfriend Summer (Zooey Deschanel) dumps him, he shifts back and forth through various periods of their 500 days “together” to try to figure out where things went wrong. His reflections ultimately lead him to finally rediscover his true passions in life.
Would you like to be a CONTRIBUTOR for EXPRESSIONS — the online home of ARTS @ NOTRE DAME?
Current ND Students and Alums: Drop us a line at ArtsatND@gmail.com with subject line “CONTRIBUTOR.” Please include your name, graduation year and any special areas of interest. Resume encouraged, but not required to be considered. You do not have to be an arts major. Positions filled on rolling basis now through July 2013.
Positions available for:
Writers
Photographers
Graphic Designers
Videographers
…
Good luck and GO IRISH,
Ryan Belock ND ’12
Founder, Creative Director
Originally published April 17, 2013 | Chris Milazzo | al.nd.edu
On April 1, 2013, Stephen Lancaster, assistant professional specialist in the University of Notre Dame’s Department of Music, was named the male winner at the Nico Castel International Master Singer Competition. Held annually in New York City at Carnegie Hall, the competition is sponsored by Distinguished Concerts International New York (DCINY) and the New York Opera Studio.
Lancaster, who was selected from among eight finalists, received a cash prize and an invitation to perform a soloist role in a major choral work during DCINY’s upcoming concert season.
By an audience vote, he was also declared the “favorite” among all the competitors.
“I was delighted when they announced I had won the audience award,” Lancaster says. “When I’m onstage, my number one goal is to connect with the audience and bring them into the musical and dramatic experience. It was an affirmation that I had accomplished this.”
For his performance, Lancaster sang “Estuans Interius” from Carl Orff’s Carmina Burana, and “L’orage s’est calmé” from Bizet’s The Pearl Fishers.
“These two pieces are very contrasting yet both dramatic,” he says. “The challenge of singing the Orff is keeping a high energy level and singing lots of high notes with practically zero recovery time. It’s like a sprint.
“The Bizet is more challenging dramatically than technically. There are many changes of mood and accompaniment interludes that must be acted out clearly and convincingly in order for the audience to connect with the character.”
This is not the first time Lancaster has been honored for his vocal talent: In 2012, he was the central region winner in the National Association of Teachers of Singing’s Artist Awards.
Nor was this his first time in Carnegie Hall: In 2010, he debuted there as a guest with the Notre Dame Concert Band. Lancaster has also made guest appearances in Canada, Taiwan, and France.
At Notre Dame, Lancaster teaches voice to undergraduates as well as graduate students in the Sacred Music at Notre Dame initiative. He is also active in sacred music as a singer, organist, and choral conductor.
Lancaster says he is drawn to opera because it synthesizes music, singing, acting, theatre, art, and collaboration. “How could a singer not love acting in a drama where all the text is sung?”
Although a busy teaching schedule in the College of Arts and Letters keeps him from more time on the operatic stage, Lancaster credits his students with his win at the Nico Castel Competition.
“Honestly, this win belongs to my students, who keep teaching me to adapt and try again, and remind me of how much I love to sing—and need to keep on singing,” he says.
This fall, Lancaster will record an album of French melodies with Martin Katz, a celebrated pianist and collaborative piano professor at the University of Michigan’s School of Music, Theatre, and Dance.
With the 84th Annual Blue-Gold game in the books, we look to the upcoming season, and still the debate remains: How does music find its place in Notre Dame Stadium?
Something to yell about: Idea of a University
By Christopher Damian
Originally published in The Observer Tuesday, September 11, 2012
It was a breezy Saturday afternoon as I stood on Bond Quad amidst alumni, students and friends of the University. The band, founded in 1846, played music from 2012, and I reflected on the many gifts its members have given to the University. The students, neither for scholarship nor for pay, spend hour upon hour in practice and performance. They are not unlike most of Notre Dame’s student body. Most students selflessly commit their time and energy to remind the world why Notre Dame is among the greatest of all educational institutions.
The band, nearly a century older than Notre Dame Stadium, is a reminder that, as many college game days have abandoned institutional identity in order to look like the NFL, Notre Dame has striven to maintain the beauty of live human competition and camaraderie, created and maintained by those with a deep love for school and sport. For a few short hours on a Saturday afternoon, we manifest our institutional love for this world and the next.
As Fr. James Schall once wrote, “What holds us spellbound for a fascinating moment must not be totally unlike what holds us fascinated forever.” Here, he is speaking about the greatness of athletic competition. He reminds us that “we do not go to the game to ‘yell’ … Rather, we yell because there is something to yell about.” We do not yell simply for the sake of yelling. At our best, we yell because we “love the Notre Dame.” Football, as it turns out, can be a manifestation of identity, of community, of faith. Football, at its best, aids even the intellectual and the spiritual life.
In his 2009 address to artists, Pope Benedict XVI said of beauty: “Because it opens up and broadens the horizons of human awareness, pointing us beyond ourselves… [it] can become a path towards the transcendent, towards the ultimate Mystery, towards God.” Leading us beyond ourselves, the beautiful can aid in our ascendance beyond the merely temporal and direct us towards the eternal. Like art, a well-crafted game can lead us to something that is greater than ourselves. We can realise “there is something to yell about.”
In his 2006 Faculty Address, Fr. Jenkins quoted a remark a Harvard professor had made to him: “If Harvard should stumble and have to shut its doors, Yale or Princeton could, with time and effort, ramp up and credibly fill the gap. If the University of Michigan or Cal–Berkeley faced some catastrophe, Wisconsin or UCLA could hire their faculty, increase enrollment and take over research projects without irremediable loss to higher education in America. But if Notre Dame should fail, no other institution could fully take its place.” As we hear about our lack of criminals and the exceptional academic performance of our athletes, we realize that this may be just as true of our football program as it is of all other aspects of the University.
Nonetheless, it may be that traditions are fading, and we find ourselves succumbing to all the rest. In his memoirs, the late Ralph McInerny, professor of philosophy at Notre Dame, recalled that under Fr. Hesburgh, no football coach had ever been paid more than the highest paid professor. Today, we are tempted to scoff at his claim that “anyone who requires two million dollars to come to Notre Dame should be wished well in his future endeavors and forgotten.” Yet, this was the Notre Dame he know. National championship coaches came to Notre Dame because they wanted to, not merely because they were paid to.
Likewise, as we blare music from our speakers at football games, we forget that the greatest music of our stadium is made by our century-old band, composed of students who selflessly give their time and efforts to the University. The music of Notre Dame is not the sounds created and recorded by those who have never attended, visited or cared for our beloved University.
So do we have “something to yell about?” This question can only be answered with other questions. Is our team composed of magnanimous Notre Dame men, or do we maintain an “edge” with a “few bad citizens”? Are our stands filled with fans cheering for something greater than themselves, or are they intoxicated with a Bacchanal frenzy? Do we need a seven-digit salary to convince coaches to consider our program, or do coaches seek out our institutional integrity and identity? And, finally, do we find ourselves, as individuals and as a community, animated by the Faith which calls us to something greater than even our games? Do we love thee Notre Dame?
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