For the convenience of concertgoers 

the Garden Cafe remains open until 6:oo pm.

The use of cameras or recording equipment during the 

performance is not allowed. Please be sure that cell phones, 

pagers, and other electronic devices are turned off.

Please note that late entry or reentry after 6:30 pm 

is not permitted.

Music Department

National Gallery of Art

Sixth Street and Constitution Avenue nw

Washington, dc

Mailing address

2000b South Club Drive

Landover, md 20785

www.nga.gov

The Sixty-third Season of

The William Nelson Cromwell and F. Lammot Belin

Concerts

National Gallery of Art

2,530th Concert

Rosa Lamoreaux, soprano

Betty Bullock, pianist

Presented in honor of

Toulouse-Lautrec and Montmartre

April 3, 2005

Sunday Evening, 6:30 pm

West Building, West Garden Court

Admission free
Program

Part I: “Toulouse Lautrec’s Neighborhood”

Aristide Bruant (1851-1925)

Le Chat Noir

Faye Jozin/Yvette Guilbert (1865-1944)

Madame Arthur

Leon Xanrof (i867-i953)/Guilbert

Le fiacre

Bruant

Alleluia du cheminot

Marcel Bloch/Louis Maubon/Jean Lenoir

Tu mas possedee par surprise

Part II: “Les Folies”

Oscar Straus (1870-1954)

From Mariette, ou Comment on ecrit I’histoire

Romance

L’Air des adieux

Robert Planquette (1848-1903)

Va, petit mousse from Les cloches de Comeville

Reynaldo Hahn (1875-1947)

Nous n’embarquons from Le temps d’aimer

Henry Pacory/Erik Satie (1866-1925)

Je te veux

Charles LeCocq (1832-1918)

Valse de la cravache from La petite mariee

Part III: Songs by Francis Poulenc (1899-1963)

Guillaume Apollinaire/Poulenc

Voyage a Paris

Louise de Vilmorin/Poulenc

Violon

Jean Anouilh/Poulenc

Les chemins de I’amour

INTERMISSION

Part IV: “Expatriates,” or “The Tourists”

E.Y. Harburg/Vernon Duke 

April in Paris

(Piano solo)

Cole Porter

C’est magnifique

Noel Coward 

Parisian Pierrot

Otto Harbach/Jerome Kern

Poor Pierrot

Porter

I Love Paris
Part V: “Street Voices

Edith Piaf/Louiguy

La vie en rose

Jacques Prevert/Joseph Kosma

Dejeuner du matin

Jean Drejac/Herbert Giraud

Sous le del de Paris

Prevert/Kosma

Lesfeuilles mortes

Prevert/Kosma

Deux escargots s’en vont d I’enterrement

Piaf/Marguerite Monnot

Hymne a I’amour

Piano accompaniments adapted and arranged by

Betty Bullock, except for the Poulenc and Hahn selections.

The Musicians

Soprano Rosa Lamoreaux is known for her flawless sense of style, incandescent presence, and “wonderfully rich timbre and an amazingly flexible voice”

(Washington Post). She has been hailed for her versatile musicianship, radiant and effortless singing, diversity ofrepertoire, and many fine recordings.

An award-winning vocalist with a busy international career, she is known for 

her beautifully styled readings ofrepertoire from Hildegard von Bingen to

Dmitri Shostakovich.

After winning the Handel Aria Competition at the Aspen Music Festival

and an honor as finalist in the Oratorio Society Competition of New York,

Lamoreaux went on to sing in such prestigious venues as Carnegie Hall, the

Dorothy Chandler Pavilion, and the Kennedy Center. She has been soloist 

with the Atlanta Symphony and the Cincinnati Symphony with Robert Shaw

in performances of Bach’s B Minor Mass and Mozart’s Mass in C Minor. She

has won critical acclaim for her performances at Bach festivals in both the

United States and Europe.

A popular chamber music performer, Rosa Lamoreaux was appointed

artistic director ofthe National Gallery Vocal Arts Ensemble in 2004.

She also sings with the Folger consort, the Vocal Arts Quartet, Arco Voce,

and Hesperus, and has toured with Musicians from Marlboro. Her many

engagements include performances at the Library of Congress, the Smithsonian Institution, the National Gallery, the Corcoran Gallery, and the

National Cathedral, as well as the Cloisters and the Chautauqua Institute

in New York. In Europe she has appeared at the Proms at the Royal Albert

Hall, the Rheingau Music Festival, La Fenice Chamber Music Festival,

the Scandinavian Music Festival, the Louvre, and Schloss Belvedere.

Lamoreaux’s recordings include chants of Hildegard von Bingen,

Dancing Day (Christmas music from the twelfth to the seventeenth centuries), songs of Stephen Foster and Charles Ives, songs of Spain in the

New World, I Love Lucette (chansons ofthe French Renaissance theatre, and

5
My Thing Is My Own (bawdy seventeenth- and eighteenth-century songs

ofthe British Isles), all on the Koch International label. A new recording of

Classical Cabaret with pianist Betty Bullock has just been released.

Betty Bullock is equally at home in the worlds of classical music and the

lighter repertoire of cabaret and music theater. She is active as a collaborative pianist in a wide variety of venues. This season she has performed

with soprano Rosa Lamoreaux in concerts in New Mexico and Virginia. She

has also performed at the new Music Center at Strathmore, the German

Embassy, and the United States Supreme Court in a program of excerpts

from Wagner operas. Bullock has been a coach/accompanist for more than

twenty seasons at the Washington Opera, where she has been involved in

the musical preparation of many operatic works, including Elektra, Salome,

Turandot, Simon Boccanegra, Tristan and Isolde, Parsifal T>er Rosenkavalier,

and Die Walkure, under the baton ofWashington Opera general music

director Heinz Fricke.

Bullock has taught at both the American Institute of Musical Studies in

Graz, Austria, and the University of Miami’s Summer Institute for Singers 

and Pianists in Salzburg, Austria. She has performed in Austria and Germany

as well as at the music festival in the Cote Chalonnaise region of France.

She has degrees from the Oberlin Conservatory of Music and the University 

of North Carolina at Chapel Hill and has also studied at the Mozarteum

Music Academy in Salzburg and the Hochschule fur Musik in Munich, on a

grant from the German government. She won the Franz Schubert Prize for 

Accompanists at the Schubert Institute in Baden bei Wien, Austria.

The performers wish to thank Genevieve Mason and Christian Thorin

for the translations and Christian Borie, Alain Dechy, Nairi Demirdjian, and

Jean-Marc Leri, director ofthe Musee Carnavalet in Paris, for assistance in

selecting the repertoire for this program.

6

The Exhibition

Toulouse-Lautrec and Montmartre, which opened March 20 in the East

Building ofthe National Gallery, focuses on artists’ fascination with the

decadent spirit and glamour of bohemian life in the Parisian district

of Montmartre at the turn ofthe twentieth century. The more than 250

works exhibited, primarily by Henri de Toulouse-Lautrec (1864-1901),

include paintings, drawings, posters, prints, sculptures, zinc silhouettes

from the Chat Noir cabaret, and printed matter, such as illustrated invitations, song sheets, advertisements, and admission tickets. Themes ofthe

exhibition include dance halls, cafes-concerts, and cabarets (featuring a

section devoted to the Chat Noir); entertainment stars, including singers

Aristide Bruant and Yvette Guilbert; and song and dance performers Jane

Avril, May Belfort, May Milton, Loie Fuller, and Marcelle Lender. The artist

loved the music and entertainment these performers provided and enjoyed 

a close personal relationship with several ofthem.

Among the works by Toulouse-Lautrec’s contemporaries that are included

in the exhibition is Ramon Casas’ Erik Satie (El bohemio; Poet ofMontmartre)

from 1891. It was in the early 1890s that the painting’s composer-subject,

shown impeccably attired and casting a quizzical sideways glance at the

viewer, began frequenting Montmartre in the company ofhis close friend,

the poet Contamine de Latour. The two men took up lodgings there, but

neither could afford the gentlemanly lifestyle to which Satie was accustomed.

Eventually he exhausted his resources and, to make ends meet, began to play

regularly in the cafes-concerts, an uncomfortable fit for a composer whose

aspirations were formed in the Paris Conservatoire. Satie’s bohemian lifestyle

continued until 1905, when French publishers and audiences, influenced

to a great extent by Debussy and Ravel’s enthusiasm for his work, were finally

ready to accept his iconoclastic music. Toulouse-Lautrec and Montmartre

remains on view until June 12, 2005.