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Jeanine Schultz School in Park Ridge, IL

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4. Jeanine Schultz School

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Coed

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Jeanine Schultz School Enrollment, Ranking, and Statistics

Jeanine Schultz School is a private high school located in Park Ridge, IL and has 29 students in grades 1st through 12th.
Jeanine Schultz School is the 221st largest private high school in Illinois and the 6,299th largest nationally.
It has a student teacher ratio of 7.0 to 1.

Total Students: 29
Pupil/Teacher Ratio: 7:1
Full Time Teachers: 4

Enrollment Rank Nationally: 6,299th out of 7,602
Enrollment Rank in Illinois: 221st out of 256
Student/Teacher Rank in Illinois:
72nd out of 256
Full Time Teacher Rank in Illinois:
205th out of 253

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Jeanine Schultz School Students by Gender

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Jeanine Schultz School Trends Over Time

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Student Teacher Ratio Over Time

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Student Teacher Ratio Comparison

700. 0%	7.0:1
1,537.8%	15.4:1
1,636.7%	16.4:1

Top Nearby High Schools

School	Type	Grades	Students	Student Teacher Ratio	Distance
Jeanine Schultz School Park Ridge, IL	Private	01 – 12	29	7:1
Maine South High School Park Ridge, IL	Public	09 – 12	2,354	16. 6:1	1 miles
Maine East High School Park Ridge, IL	Public	09 – 12	1,917	15.2:1	1 miles
Northridge Preparatory School Niles, IL	Private	06 – 12	261	14:1	2 miles
Gemini Jr High School Niles, IL	Public	07 – 08	753	13. 4:1	2 miles
Ombudsman Chicago High School Chicago, IL	Public	09 – 12	1,036	172.7:1	3 miles
The Willows Academy Des Plaines, IL	Private	06 – 12	205	8:1	3 miles
Maine West High School Des Plaines, IL	Public	09 – 12	2,015	14. 4:1	3 miles
Notre Dame College Prep Niles, IL	Private	09 – 12	815	14:1	3 miles
Logos Christian Academy Niles, IL	Private	PK – 12	222	8:1	4 miles
Resurrection College Prep High School Chicago, IL	Private	09 – 12	537	12:1	4 miles
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Towards knowledge societies: UNESCO world report; 2005

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A radical version of Mozart’s opera was presented at the Salzburg Festival

Mozart’s “Titus” became a kind of pro-scale project for the new Salzburg intendant Markus Hintrhäuser, on the one hand, bringing back to the festival a historical figure – Peter Sellars, whose productions of “St. Francis of Assisi” Olivier Messiaen and L’Amour de loin (“Love from afar”) Kayi Saariaho were a sensation at the time of Gerard Mortier’s quartermastership, on the other hand, he presented absolutely new names for Salzburg – the Russian conductor Teodor Currentzis with the orchestra and musicAeterna choir of the Perm Opera House. Perm musicians also performed at the festival with two concert programs, performing Mozart’s Requiem, Alfred Schnittke’s Concerto for Chorus, Mahler’s First Symphony and Alban Berg’s Violin Concerto. The very invitation of musicians from Perm to Salzburg was not accidental: Hinterhäuser visited the Diaghilev Festival in Perm, and the Perm artists formed a creative tandem with Sellars in the play “Indian Queen” by Henry Purcell.0009

But Mozart’s “Titus” became a special, almost sacred event for all project participants, containing an important “message” – an appeal to modern humanity, approaching the most dangerous line of world war. “How do we all live together in an age of conflict? Sellars asks. “And what healing gesture is possible at a time when there is so much malice in people?” This question was supposed to be answered by Mozart’s opera, his “Mercy of Titus”, written shortly before the end of his life and considered, like the “Magic Flute” with its model enlightened humanistic world order, the spiritual testament of Mozart.

It was in this vector that the creators of the performance interpreted the Mozart score, placing it in a new modern context and performing the story of the merciful Roman emperor Titus, who served as a “gloria” for the ideal ruler and a model for Emperor Leopold II, who was crowned in Bohemia, into the tragic and topical text of today’s life. Sellars brought to the stage not the characters of the opera, but a crowd of people – refugees, victims of military operations, who appeared in the country of Titus, where no one expected them, driven, as in real life, behind bars. This is the starting point for the new history of Titus, who is obliged now decide the fate of these peoples. Georgy Tsypin’s scenography is a metaphor for the fragility of the modern world, which at any moment can disappear forever: architectural models made of plexiglass, reminiscent of skyscrapers and steles at the same time, appearing in empty space, in the fundamental entourage of a stone arcade surrounding a carved in the rock is a huge scene of the Felsenreitschule. With natural light, the arches of the arcade are associated with the image of ancient Rome and the burning Capitol, where Titus must die at the hands of terrorists, but in fact it is an image of modern civilization approaching its end, the “decline of Europe”. But Titus Sellars is not a European emperor, but a humanist in the image of Nelson Mandela (African-American tenor Thomas Russell). And the entourage of Titus is black: Vitellia is the South African soprano Golda Schulz, Annius, a friend of the conspirator Sextus, is the Trinidadian mezzo-soprano Jeanine de Bike, Publius, the prefect is the bass Willard White. This is a deliberate gesture by Sellars, uniting the participants in the tragedy into a single world society.

“The Mercy of Titus” is considered Mozart’s spiritual testament

One of the conflicts of the performance is that the refugee Sextus (mezzo-soprano Marianne Krebassa, France), who is approached together with his sister Servilia (Austrian soprano Christina Ganche) by the ruler Titus, is preparing against his patron terrorist attack. Here, Sellars has strange intersections – the refugees become terrorists in the play, the victims become murderers. Sextus severely wounds Titus, his accomplices commit a terrorist act. At the beginning of the second act, the piercing Kyrie eleison from Mozart’s Grand Mass in C minor sounds for the dead.

What Teodor Currentzis and the Perm artists of the musicAeterna orchestra and choir are doing in this performance opens a new path not only to this Mozart score, but to the Mozart Universe itself, shining with ideal beauty and at the same time plunging into the depths of tragedy, consonant with the modern world with its horrors of self-destruction. In the score of Titus, Currentzis, on the one hand, stops part of the recitatives written, as is known, not by Mozart, but by his student Franz Xaver Süssmeier, voicing the remaining monologues of the characters with charming improvisations of the hammer-action piano, and on the other hand, he introduces fragments of music from other works of Mozart, expanding the tragic contexts of “Titus”. Sextus is trying on a suicide belt, and his accomplices are preparing a bomb, to the music of Adagio and Fugue in C minor, written by Mozart in the manner of Bach – this is a terrible sound metaphor for the impasse into which human civilization has entered, having lost its global spiritual guidelines. That is why Sextus, who betrayed his patron Titus, in the aria “Parto, ma tu ben mio”, is joined on stage by a clarinetist (Florian Schule), whose solo merges with Sextus’ voice, like his lost alter ego, the music of his soul. The Mozart score performed by the musicAeterna choir and orchestra sounds like a living creative flow, like an endless source of harmony, capable, it seems, of changing the world.