Pacific’s Conservatory Holds Honors Recital
Photo provided by Miranda Duarte
Thirteen Conservatory students took the stage to showcase their skills.
University of the Pacific’s Conservatory of Music hosted their 58th performance of the 2024-2025 academic year on February 24 in the Recital Hall. The recital showcased Conservatory student performers selected through the Conservatory’s Honors Recital Competition. The recital reception was sponsored by the Rose Mary Allen Endowed Fund for Music.
At 6:30 PM, Peter Witte, Dean of the Conservatory of Music, entertained the audience with lighthearted jokes before expressing his admiration for the performers. He emphasized the significance of the evening for the selected musicians and encouraged the audience to show their appreciation with enthusiastic applause.
The first performance featured Matthew Kulm on the marimba, performing Concerto No. 1 by Chin Cheng Lin, accompanied by Patricia Grimm on the piano. The contrast between Kulm’s rich, woody marimba tones and Grimm’s rapid piano notes created intense sequences. Kulm’s musical bell-like articulations were sharp and the audience was captivated. Kulm studies under Dr. Jonathan Latta, a renowned performer, teacher, conductor, and collaborative artist.
Next, Benedict Ventura performed Cello Concerto in A minor, op. 33 by Camille Saint-Saëns, with Sabine Klein accompanying on the piano. Ventura smiled at a friend in the first row as he tuned his cello, steadying himself for his six-minute performance. Ventura’s commanding cello tone battled the piano for sonic authority, with the cello certainly dominating. The middle section offered a peaceful reconciliation between the instruments before the final section erupted into a jubilant rush. Ventura is coached by Vicky Wang, an assistant professor of cello and artistic director of C’est Bon Chamber Music Academy.
Judy Kim delivered a stunning performance of Etude No. 7 pour les degrés chromatiques on the piano. Kim’s hand coordination and synchronization were skillful, with each hand playing independently yet synergistically. Despite the piece’s relentless pace, every note was articulated with clarity and precision throughout the entire three-minute piece. Kim’s faculty coach, Sonia Leong, has an extensive career as a soloist and chamber musician, performing across North America, Asia, and Europe.
The evening’s first brass performance came from Matthew Young, who performed Concerto Allegro by Alexander Lebedev on the trombone, accompanied by Klein on the piano. Young’s masterful slide techniques were fluid and intentional, switching from soft to booming tones in the blink of an eye. The interplay between the lighthearted piano and resonant brass created a dynamic, conversational piece. Young studies under Bruce Chrisp, a regular performer with the San Francisco Symphony, San Francisco Ballet, San Francisco Opera, and San Diego Symphony.
Jamie Lue took the stage with the longest performance of the night, delivering Violin Concerto in E minor by Felix Mendelssohn. The piece began with a violin solo instead of both instruments collaborating from the start. At the six-minute mark, the hair on Lue’s bow began to snap from the dramatic poise. He skillfully ripped off the loose hairs breaking off quickly between movement transitions. His piece was fast-paced, captivating, and expressive. Lue’s rapid bowing shrieked high notes at the culmination of the piece, conveying a melodramatic feeling. Lue studies under Ann Miller, a seasoned chamber musician, soloist, and educator.
Baritone Landon Horstman performed “Who is Silvia?” From Let Us Garlands Bring, op. 18 by Gerald Finzi accompanied by Klein on the piano performing “Fin ch’han dal vino” from Don Giovanni simultaneously. The performance was a unique interplay of lyricism and exuberant notes. The notes danced optimistically, flattering the romantic phrasing. The introspective singing against the bubbly piano enforced the playful tone of the performance. Horstman’s vocal technique is guided by Daniel Ebbers, whose students have performed at prestigious venues such as the Metropolitan Opera, New York Philharmonic, and San Francisco Opera.
Abigail Miller’s performance of “Premiere Rhapsodie” by Claude Debussy was the first of the night with a woodwind instrument, the clarinet. Miller tuned her instrument ever so slightly on stage and smiled to let Grimm on the piano know she was ready to begin. The piece unfolded with a gentle melody and overall dreamy atmosphere emerging from the piano’s soft chords. Toward the middle of the performance, there were quick, dancing clarinet runs that sounded hollow and encapsulating. The resolution of the piece was soft and faded out, emphasizing the elegance of the fluidity. Miller studies under Patricia Shands, whose performances have been praised by publications including The New Yorker and The Los Angeles Times.
Davis Robinson’s performance of Drei Klavierstucke, op. 11 on the piano was full of sudden bursts and unpredictable harmonies. Robinson was specific and emotionally charged. The music cascaded into a dramatic burst and transitioned into a unique pattern. The ending of the piece felt restless, with strong intense chords that provoked the audience, leaving them with a sense of apprehension as the piece concluded. Robinson studies under Sonia Leong.
Tenor Michael Megenney delivered a heartfelt performance of selections from Dichterliebe, op. 48 (1840), including Im wunderschönen Monat Mai, Aus meinen Tränen sprießen, and Die Rose, die Lilie, die Taube, die Sonne, capturing the expressive depth of Schumann’s song cycle. Monica Adams accompanied on the piano and meshed a layered expressive intensity. Megenney’s voice was rich with tenderness and longing. The piano showered reflective tension with somber chords as Megenney expressed sensitive melodies. Ebbers is Megenney’s faculty coach, influencing vocal techniques in his performance that accentuated his deep tones.
Next, Hasina Torres displayed a solo performance of Bach’s Cello Suite No. 4 in E-flat Major, BWV 1010. She smiled as her fellow Kappa Alpha Theta sisters cheered for her while she tuned her cello. The opening of her piece sounded rich and the pauses felt strong and grand. It flourished into a stronger flow toward the second movement, with lively rhythms. The rhythms built into a greater momentum at a lower sound. The articulation of the lower tones became exhilarating for an almost celebratory finale. Torres is mentored by Vicky Wang.
Magdalene Myint’s performance of “Rondo (2001)” by Catherine Likhuta began unexpectedly, with sharp contrasts across the piano keys. The intensity accumulated through fast and complex passages. Myint’s movements were fluid yet technical. The energy produced dissonant chords that exemplified the disposition shining through the performance. The contrast between dynamics and mood produced a thrilling rendition. Myint’s faculty coach is Sonia Leong.
Performing “Michi (1979)” by Keiko Abe, Casey Kim on the marimba brought a fresh sound. In Japanese, Michi translates to path or way, and this piece was definitely introspective. The free-flowing harmonies resembled traditional Japanese influences, layering the piece with historical significance. The fluid tones were interrupted by sharp and precise mallet control. The articulation of the energy shifts created a technically challenging piece of music, which made it even more engaging. Dr. Jonathan Latta is also Kim’s faculty coach.
For the finale of the recital, Mezzo-soprano Elizabeth Neumeyer performed “Cruda Sorte! Amor Tiranno” from L'italiana in Algeri (1813). She encapsulated the strong-willed and assertive personality of the lyrics through the prominent articulation. The loud crashes of the piano instilled momentum and dramatic tease. The lyrics bounced between confident declarations through rapid vocal runs. Neumeyer’s breath control was accomplished, with a deep tone adding to the intensity of the vocal drives. The audience was surely left buzzed after the performance, demonstrated by the thunderclaps from the crowded seats. Neumeyer’s faculty coach is Daniel Ebbers.
The event concluded with standing ovations and embraces from family members. The 58th performance of the 2024-2025 academic year highlighted the remarkable talent and dedication of the University of the Pacific’s Conservatory of Music students. The evening’s diverse program, spanning centuries and genres, celebrated both the performers’ technical mastery and their artistic individuality.