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One Giant Leap: A Tribute to Apollo

  • Dates July 27, 2019
  • Time Starting at 7:00 PM
  • Admission Tickets are available May 25, 2019
  •  
  • Location The Scott Center for Performing Arts
  • Address 5625 Holy Trinity Drive Melbourne, FL 32940
  • Phone (855) 252-7276
  • Visit Website

WINTORY Fermi’s Paradox (*SOUTHEAST US PREMIERE)
WINTORY Epic! (*SOUTHEAST US PREMIERE)
WILT The Phoenix (*SOUTHEAST US PREMIERE)
HORNER Music from Apollo 13
GIACCHINO Voyage (*SOUTHEAST US PREMIERE)
DAUGHERTY To the New World (*EASTERN US PREMIERE)
DEBUSSY Clair de Lune
HURWITZ The Landing from “First Man” (*US PREMIERE)
VARIOUS Star Trek Through the Years
SHOSTAKOVICH Festive Overture
WILLIAMS Summon the Heroes

Mary Anne Kruger, soprano

Where were you on July 20, 1969, when Neil Armstrong and Buzz Aldrin took mankind’s first steps on the lunar surface? In a program for the ages, your Space Coast Symphony Orchestra will present One Giant Leap: A Tribute to Apollo, a space-themed concert commemorating the 50th Anniversary of the moon landing. This celebration will feature the Southeast US premiere of composer Michael Daugherty’s To the New World, a three-movement work celebrating the 50th anniversary of the Moon landing.  Also on the program is Voyage, a new work from Star Trek composer, Michael Giacchino, a musical depiction of what goes through an astronaut’s mind on the morning of a launch.  The SCSO will also perform two exciting works from Austin Wintory, Epic! and Fermi’s Paradox.   Two film scores will also be presented on the program, James Horner’s Apollo 13 and Justin Hurwitz’s Golden Globe-winning score to First Man.  The rest of the program includes selections from Kevin Wilt, John Williams, and Dmitri Shostakovich. The music will be enhanced by footage of the Apollo missions and other NASA programs, projected on a large screen above the orchestra.

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American soprano Mary Anne Kruger studied voice with Margaret Harshaw and first went to Germany in 1992 when she completed a Master of Music degree at Indiana University. Since then she has lived in Europe building a repertoire of over 40 major roles and concerts. From 1994-2005 she was a member of the opera ensemble at the Hessische Staatstheater Darmstadt, and she has also guested in over 20 European theaters including the Bayerische Staatsoper- Nationaltheater in Munich, Staatstheater Stuttgart, the Latvian National Opera and Theater Basel.

Her prizes include a nomination in the category “Best Singer” in the 1997 Opernwelt Jahrbuch for her portrayal of Alcina. She was awarded the role of Donna Elvira in the 1996 Don Giovanni production at the Athens Concert Hall directed by Ruggiero Raimondi and conducted by Gustav Kühn. The “Sonderpreis der Wiener Staats-und Volksoper” at the 1993 Belvedere Competition secured for her a performance as Hanna Glawari (Die Lustige Witwe) at the Wiener Volksoper. She was also awarded a DAAD scholarship (Deutscher Akademischer Austauschdient) to study at the Hochschule für Musik in Munich 1992-93.

In addition to her debut as Salome, Ms. Kruger’s 2008 engagements also included the role of Tatyana in Eugene Onegin with the Stadttheater Pforzheim to great audience and critical acclaim. That same month she also sang Donna Anna in Don Giovanni with the Stadttheater Geissen. In April and May of 2008, she sang the role of Cio-Cio-San with Theater Freiburg and Theater der Stadt Trier. In August she joined the Berliner Symphoniker orchestra in a concert aptly entitled “Solo Verdi”, and in October she joined the orchestra again in the opening concert of the Musica Mallorca festival which was billed as a tribute to Maria Callas and featured bel canto repertoire.

The soprano is often praised for her warmth of timbre, the brilliance of her high register, and her great versatility, both musically and theatrically. Of her Tatyana, Orpheus International wrote: “Among the singers, one first must name Mary Anne Kruger... who was a Tatjana of the very highest caliber.  The singer is not only good-looking, but she has at her disposal a darkly colored, distinctive and precisely focused soprano voice, which in the last act was also capable of beautiful pianissimi.  It was right that she received the most applause.”

Of her Madama Butterfly, the Frankfurter Allgemeine Zeitung wrote: “Mary Anne Kruger in the title role established herself once again as a category sui generis. With an expressive repertory that extends from bright soprano purity to the shadowy depths of the low registers, Krugercommanded (the scene) as an extraordinary actor with great musical and technical substance.”

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