2010 SummerScape and Bard Music Festival Brochure

BARDSUMMERSCAPE

July 8 – August 22, 2010

OPERA • THEATER • DANCE • MUSIC • FILM • SPIEGELTENT and THE 21ST BARD MUSIC FESTIVAL Berg and His World

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“It has long been one of the most intellectually stimulating of all American summer festivals and frequently is one of the most musically satisfying.”

—wall street journal, 2009

above From Meyerbeer’s Les Huguenots, SummerScape 2009. Photo ©Stephanie Berger.

cover image Music I (detail), 1895, Gustav Klimt. ©Bildarchiv Preussischer Kulturbesitz/Art Resource, NY

“Intrepid and Stimulating”* Bard SummerScape and the Bard Music Festival present “Berg and His World” The concerts and performances of Bard SummerScape 2010 draw inspiration from this year’s Bard

Music Festival, which will focus on the career of Alban Berg, one of the few 20th-century composers to attract a wide and enthusiastic audience. With Berg’s life, times, and creative milieu as its points of

reference, the preeminent arts festival in the Northeast will treat this summer’s audiences to the first staged production in North America of The Distant Sound (Der ferne Klang), Franz Schreker’s visionary

opera of 1910; the riveting, morally complex Judgment Day, a drama by Ödön von Horváth written after the Nazis came to power in Germany; new and canonic works by Trisha Brown Dance Company, some of which were created in tandem with the artist Robert Rauschenberg; and a delightful production of The Chocolate Soldier, Oscar Straus’s parody of George Bernard Shaw’s Arms and the Man.

Also on this year’s SummerScape bill is a film festival featuring the best works of G. W. Pabst, the German director who was a contemporary of Alban Berg, along with some classic examples of American film

noir; and the rollicking fare of the Spiegeltent—cabaret, live music, and kids’ shows (including the ever popular Bindlestiff Family Cirkus), as well as fine dining before or after the show.

The 21st annual Bard Music Festival explores the work and world of Alban Berg, whose deeply expressive music builds on the Viennese tradition beginning with Mozart, extending through Schubert and

Mahler, and on to Berg’s own teacher, Schoenberg. Berg’s world was defined in part by Viennese theater,

opera, operettas, popular music, and cabaret, and these provide the context for the season’s performances in the luminous Richard B. Fisher Center for the Performing Arts, designed by Frank Gehry, and other

venues on Bard’s verdant, 540-acre Hudson River campus.

Come see for yourself why the New York Times has called Bard SummerScape “part boot camp for the brain, part spa for the spirit.”

The 2010 SummerScape season is made possible in part through the generous support of the Board of The Richard B. Fisher Center for the Performing Arts at Bard College, the Board of the Bard Music Festival, and the Friends of the Fisher Center, as well as grants from the National Endowment for the Arts, the New York State Council on the Arts, and the Mid Atlantic Arts Foundation.

Tickets and latest program updates at fishercenter.bard.edu *Village Voice, 2009

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“Invariably sensuous, characterized by inventive wit, and often uncommonly interesting.”

—new york times, 2009

Trisha Brown Dance Company Choreography by Trisha Brown

Beginning with her work as part of the Judson Dance Theater movement in the 1960s, the pioneering choreographer Trisha Brown has never failed to shatter perceptions of what dance can be. Her work

with artists in other genres—including visual artist Robert Rauschenberg, who designed costumes and sets and wrote music for her pieces—has resulted in some of the most interesting performances of

the postmodern era. Her recent credits include acclaimed opera productions in Brussels, London, Paris, Aix-en-Provence, and New York City. Following a series of performances at Dia:Beacon, this summer Trisha Brown brings to Bard one of her newest dances, L’Amour au théâtre, along with two of her

legendary Rauschenberg collaborations. sosnoff theater July 8*, 9, and 10+ at 8 pm July 11 at 3 pm Tickets: $25, 40, 55

* Round-trip transportation from Manhattan to Bard is available for this performance.

Fare is $20. Reservations are required. + SummerScape Gala Benefit dinner and post-performance party. See page 22 for details.

This tour engagement of Trisha Brown Dance Company is funded through the American Masterpieces programs of Mid Atlantic Arts Foundation, in partnership with the National Endowment for the Arts American Masterpieces: Three Centuries of Artistic Genius, a major initiative to acquaint Americans with the best of their cultural and artistic legacy.

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Foray Forêt (1990) Music by local marching band Costumes by Robert Rauschenberg Lighting by Spencer Brown with Robert Rauschenberg

Twelve Ton Rose (1996) Music by Anton Webern Costumes by Burt Barr Lighting by Spencer Brown

You can see us (1995) Music and costumes by Robert Rauschenberg Lighting by Spencer Brown with Robert Rauschenberg

L’Amour au théâtre (2009) Music by Jean-Philippe Rameau Set designed by Trisha Brown Costumes by Elizabeth Cannon Lighting by Jennifer Tipton

Tickets and latest program updates at fishercenter.bard.edu photo Trisha Brown Dance Company, L’Amour au théâtre. Photographer: Julieta Cervantes

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“One leaves the theatre impatient to see more of Horváth’s morally complex and highly atmospheric work.”—the telegraph (london), 2009

Judgment Day By Ödön von Horváth

Directed by Caitriona McLaughlin Mimi Lien, set designer Kaye Voyce, costume designer Jane Cox, lighting designer Matt Tierney, sound designer A gripping plot, compelling characters, deceit, justice, and ethical responsibility can all be found in

Ödön von Horváth’s thrilling 1937 drama. Judgment Day was the runaway hit of London’s fall 2009 season. Thomas, an unhappily married stationmaster in a small town, causes a fatal train crash

when he allows a flirtatious young woman to distract him from his duties. The girl perjures herself to defend him, and support for her lie poisons the town, drawing everyone deeper into a moral abyss. Ödön von Horváth produced a body of work that bore witness to the callous and petty nature of

everyday life under fascism. Pointing out the dangers inherent in the political situation of the day, he was forced to flee Berlin for Vienna after Hitler’s ascent to power. When the Nazis annexed Austria

in 1938, Horváth left for Paris, only to be killed that same year (when he was only 36) by a falling tree branch on the Champs-Elysées.

Judgment Day chillingly captures the story of what has been called “the petty prejudices and rancorous suspicions of an era of epic mean-mindedness” in a vibrant and timeless manner. theater two July 14*, 18, 21, and 25 at 3 pm July 15–17 and July 22–24 at 8 pm Tickets: $45

* Round-trip transportation from Manhattan to Bard is available for this performance.

Fare is $20. Reservations are required.

Tickets and latest program updates at fishercenter.bard.edu image The Red Gaze, 1910, Arnold Schoenberg. ©2010 Artists Rights Society (ARS), New York/VBK, Vienna

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“Below its melodramatic surface the opera teems with sensuality. Mr. Botstein brought sure dramatic pacing and fiery commitment to his account of this thick and complex score. . . . [An] arresting masterpiece.”—new york times, 2007

first u.s. stage production

The Distant Sound (Der ferne Klang) Music and libretto by Franz Schreker Sung in German, with English supertitles

American Symphony Orchestra, conducted by Leon Botstein, music director Directed by Thaddeus Strassberger Narelle Sissons, set designer Mattie Ullrich, costume designer Aaron Black, lighting designer sosnoff theater

opera talk with leon botstein

July 30 and August 6 at 7 pm

Sosnoff Theater, August 1 at 1 pm

August 1* and 4 at 3 pm

Free and open to the public

Tickets: $25, 55, 75

Opera Talks are presented in memory of Sylvia Redlick Green.

* Round-trip transportation from Manhattan to Bard is available for this performance.

Fare is $20. Reservations are required.

Special support for this program is provided by Emily H. Fisher and John Alexander.

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Hailed early in his career as the most significant opera composer after Wagner, Franz Schreker

(1878–1934), the Austrian composer, conductor, and teacher, was a central figure in the remarkably fertile Viennese fin-de-siècle atmosphere that produced composers such as Schoenberg, Berg,

Korngold, Webern, and Zemlinsky. Schreker’s extraordinary musical works, which draw on a mixture

of romanticism, naturalism, expressionism, and Neue Sachlichkeit, are now regularly staged in Europe but remain largely unfamiliar to U.S. audiences. In 2007 Leon Botstein and the American Symphony

Orchestra gave the North American premiere (in concert form) of The Distant Sound in New York City,

to wide critical acclaim.

Fritz, a composer, forsakes a woman’s love for an imagined sound, a vision of creativity, that is but

the distant echo of her presence. But the opera is only partly about Fritz and the elusive ideal that shimmers, mirage-like, beyond his grasp. It is also about how a woman, Grete, Fritz’s beloved, is

exploited by the society she lives in, and how she survives by retreating into her dreams. Schreker’s

masterful melding of drama, psychology, and competing cultural forces, along with the beauty and brilliance of the score, combine to make The Distant Sound one of the most moving operas of the 20th century.

The visionary director Thaddeus Strassberger, who staged Les Huguenots at SummerScape 2009, is at the helm of this pathbreaking production of Schreker’s masterpiece.

Tickets and latest program updates at fishercenter.bard.edu image One World, 1899, Maximilian Lenz. ©Szépmˆ uvészeti Múzeum, Budapest

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The Chocolate Soldier An operetta by Oscar Straus Sung in English

Directed by Will Pomerantz Conducted by James Bagwell Carol Bailey, set and costume designer Allen Hahn, lighting designer Oscar Straus’s charming 1908 light opera, based on George Bernard Shaw’s play Arms and the Man,

is a fusion of Viennese operetta and British wit. When Shaw gave librettist Leopold Jacobson the rights to adapt the play, it was on three conditions. First, neither Shaw’s original dialogue nor the characters’ original names could be used. Second, the work would have to be clearly advertised as a parody of

Shaw’s play. And third, he would not accept monetary compensation. Shaw lived to regret the third condition, since the operetta became a huge international success.

The Chocolate Soldier is a comic take on an unusual boy-meets-girl scenario: when Lieutenant Bummerli, a Swiss mercenary assisting the Serbian army in the Serbo-Bulgarian War, spontaneously takes refuge in the household of a Bulgarian general, he sets the hearts of all the women aflutter. But when he is

recognized as a deserter, he ruins the upcoming wedding of the general’s daughter Nadina. As it turns out, this is just as well—Bummerli and Nadina were destined for each other.

The first English-language version of The Chocolate Soldier premiered in New York in 1909, and was the hit of the Broadway season. Its London premiere the following year ran for 500 performances. theater two

opera talk with james bagwell

August 5 –7 and 12–14 at 8 pm

Theater Two, August 8 at 1 pm

August 8, 11*, and 15 at 3 pm

Free and open to the public

Tickets: $45

Opera Talks are presented in memory of Sylvia Redlick Green.

* Round-trip transportation from Manhattan to Bard is available for this performance.

Fare is $20. Reservations are required.

This program is presented thanks to the generous support of Martin and Toni Sosnoff.

Tickets and latest program updates at fishercenter.bard.edu image Cover of the score published in New York, 1910. ©Private Collection/Archives Charmet/The Bridgeman Art Library

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“Two things emerged clearly even from Berg's earliest compositions. . . . first, that music was to him a language, and that he really expressed himself in that language; and secondly: overflowing warmth of feeling.”

—arnold schoenberg, 1936

twenty-first season

The Bard Music Festival

Berg and His World Alban Berg (1885–1935) has a unique place in the history of 20th-century music. He embraced a radical

modernist approach to musical composition, yet his music gained not only the admiration of musicians but also the allegiance and affection of audiences. His work speaks to the heart with immediacy. Its

disciplined and complex modernity notwithstanding, Berg’s music, from the start, evoked an intense

sense of truthfulness, communicating, as one of his contemporaries put it, “summer, the depth of the night, loneliness, pain and happiness.” In contrast, the music of Schoenberg still inspires distance and fear, as does much of 20th-century modernist music, no matter its quality and power—one reason that it has largely vanished from the concert and operatic stage.

But Berg remains. Wozzeck and Lulu are performed regularly all over the world. String quartets

readily program Berg’s Op. 3 and the Lyric Suite, and the Violin Concerto has become standard. Yet Berg’s appeal and accessibility to the widest range of listeners does not emerge from any concessions or

simplifications. A devoted disciple of Schoenberg, Berg was a composer with an uncanny sense of drama and expression who was obsessed with structural intricacy and the ingenious and even ironic use of the most minute detail. His genius rested precisely in the capacity to integrate into modernism, with its

rigorous insistence on formal aesthetic integrity, the lyric intensity associated with late romanticism, the expressionist will to break with the past, and an abiding affection for the classical tradition.

Through the prism of Berg’s life and career, this year’s festival will explore the origins, varieties, and

fate of modernism in music. Listeners will encounter music from the era of Mahler to the age of fascism, including the conservative reaction against modernism. The early 20th-century fascination with the

psyche and sexuality and the post–World War I critique of the relationship between art and society— between aesthetics and ethics—led Berg to confront the works of writers and thinkers such as

Sigmund Freud, Karl Kraus, Gerhard Hauptmann, August Strindberg, Adolf Loos, and Thomas Mann.

His career overlapped with that of Mahler, Zemlinsky, Pfitzner, Reger, and Busoni and fellow Viennese contemporaries Karl Weigl and Anton Webern, and he engaged the new music of Bartók, Debussy, Ravel, Gershwin, Hindemith, Stravinsky, and Szymanowski.

Berg lived only half a century, yet no modernist composer of the early 20th century has had such

a lasting impact on the hearts and minds of audiences after 1945. No composer has more eloquently demonstrated how the impulse to be original and contemporary in music can lead to art that illuminates the human condition beyond the reach of language.

This season is made possible in part through the generous support of the Board of the Bard Music Festival and the Friends of the Fisher Center, as well as grants from the National Endowment for the Arts and the New York State Council on the Arts.

Additional underwriting has been provided by Jeanne Donovan Fisher, James H. Ottaway Jr., Felicitas S. Thorne, Bettina Baruch Foundation, Mrs. Mortimer Levitt, Homeland Foundation, Helen and Roger Alcaly, Joanna M. Migdal, Margo and Anthony Viscusi, and the Furthermore Foundation. Special support has also been provided by the Mrs. Mortimer Levitt Endowment Fund for the Performing Arts.

All programs and performers are subject to change. ¨ photo Alban Berg in the Atelier Madame D’Ora, Wien, 1909. © ONB/Wien, 203481-D

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weekend one

Berg and Vienna Art, in Berg’s case, imitated life. The accessible and arresting surface to the man hid a thorny, complex, and alluring interior. Born and raised in Vienna, Berg hailed from a well-to-do family. After studying

privately with Schoenberg, he became determined to make a living as a composer and was distracted

only by the demands of a complicated personal life and his fragile health. Despite the appearance of an ideal marriage, he encoded into his music the secrets of his private life, including a long affair with

Hanna Fuchs, the sister of the Austrian writer Franz Werfel. After Wozzeck became a worldwide sensation

in the 1920s, Berg steadfastly stuck to the Viennese environment in which his talent had blossomed.

The first weekend includes a foray into the role of psychology and literature in fin-de-siècle Vienna and a sampling of the impact Schoenberg and Berg had as teachers and friends. The intricacies, secrets, and consequences of Berg’s private life will be explored, as will the legacy of Gustav Mahler.

FRIDAY, AUGUST 13

Join us for the 2010 Bard Music Festival Opening Night Dinner

Johann Strauss II (1825–99) Wein, Weib, und Gesang, Op. 333 (1869, arr. Berg, 1921) Tickets $20/35/45

SATURDAY, AUGUST 14

Tickets include a pre-performance dinner in the Spiegeltent and a premium seat for the evening's concert.

panel one

Berg: His Life and Career

or guido@bard.edu.

Olin Hall 10 am – noon Christopher H. Gibbs, moderator; Christopher Hailey; Douglas Jarman; and others Free and open to the public

Please note: the Spiegeltent will be closed for regular dining on the evening of the dinner.

program two

5:30 pm To purchase opening night dinner tickets, please contact Andrea Guido at 845-758-7414

The Vienna of Berg’s Youth program one

Alban Berg: The Path of Expressive Intensity Sosnoff Theater 7:30 pm Preconcert Talk: Leon Botstein 8 pm Performance: Daedalus Quartet; Jeremy Denk, piano; Alexander Fiterstein, clarinet; Lisa Saffer, soprano; Pei-Yao Wang, piano; Bard Festival Chamber Players In memory of George Perle Alban Berg (1885–1935) Seven Early Songs (1905–08) Piano Sonata, Op. 1 (1907–08) Four Pieces, for clarinet and piano (1913) Lyric Suite (1925–26) 14

Olin Hall 1 pm Preconcert Talk: Mark DeVoto 1:30 pm Performance: Alessio Bax, piano; Daedalus Quartet; Pei-Yao Wang, piano; and others Alban Berg (1885–1935) Selections from early piano works and songs Alexander Zemlinsky (1871–1942) Fantasies on Poems by Richard Dehmel, Op. 9 (1898) Five Songs (Dehmel) (1907) Karl Weigl (1881–1949) String Quartet No. 3 in A Major (1909) Anton Webern (1883–1945) Piano Quintet (1907) Joseph Marx (1882–1964) Valse de Chopin (1909) Tickets: $35

program three

program five

Mahler and Beyond

Teachers and Apostles

Sosnoff Theater 7 pm Preconcert Talk: Christopher H. Gibbs 8 pm Performance: Christiane Libor, soprano; American Symphony Orchestra, conducted by Leon Botstein, music director; and others

Olin Hall 1 pm Preconcert Talk: Sherry D. Lee 1:30 pm Performance: Alessio Bax, piano; Cygnus Ensemble; Daedalus Quartet; Danny Driver, piano; Soovin Kim, violin; and others

Alban Berg (1885–1935) Fünf Orchesterlieder nach Ansichtskartentexten von Peter Altenberg, Op. 4 (1912) Three Pieces for Orchestra, Op. 6 (1914–15) Violin Concerto (1935) Gustav Mahler (1860–1911) Adagio, from Symphony No. 10 (1910) Hans Pfitzner (1869–1949) “Abend” and “Nacht,” from Von deutscher Seele, Op. 28 (1921) Erich Wolfgang Korngold (1897–1957) Prelude and Carnival Music, from Violanta, Op. 8 (1914) Tickets: $25/40/55

Alban Berg (1885–1935) String Quartet, Op. 3 (1910) Arnold Schoenberg (1874–1951) Six Piano Pieces, Op. 19 (1911) Anton Webern (1883–1945) Four Pieces, for violin and piano, Op. 7 (1910) Egon Wellesz (1885–1974) Three Piano Pieces, Op. 9 (1911) Sandór Jemnitz (1890–1963) Trio, for guitar, violin, and viola, Op. 33 (1932) Viktor Ullmann (1898–1944) Variations and Double-Fugue on a Piano Work by A. Schönberg, Op. 19/4 (1929) Hans Erich Apostel (1901–72) Variations from Lulu (1935) Theodor W. Adorno (1903–69) Six Bagatelles, Op. 6 (1923–42) Tickets: $35

SUNDAY, AUGUST 15 program four

Eros and Thanatos Olin Hall 10 am Performance Commentary by Byron Adams Works by Alban Berg (1885–1935); Johann Strauss II (1825–99); Richard Strauss (1864–1949); Arnold Schoenberg (1874–1951); Franz Schreker (1878–1934); Alma Mahler (1879–1964); Friedrich Hollaender (1896–1976); Erich Wolfgang Korngold (1897–1957) Tickets: $30

program six

The Orchestra Reimagined*+ Sosnoff Theater 5 pm Preconcert Talk: Antony Beaumont 5:30 pm Performance: Jeremy Denk, piano; Soovin Kim, violin; Members of the American Symphony Orchestra, conducted by Leon Botstein, music director Alban Berg (1885–1935) Kammerkonzert (1923–25) Ferruccio Busoni (1866–1924) Berceuse élégiaque, Op. 42 (1909; arr. Stein, 1920) Arnold Schoenberg (1874–1951) Chamber Symphony No. 1, Op. 9 (1905–06) Paul Hindemith (1895–1963) Kammermusik No. 1, Op. 24/1 (1921) Tickets: $20/35/45 * Round-trip transportation from Manhattan to Bard is available for this performance.

Fare is $20. Reservations are required. + Please note that due to running time this program may overlap with the 7 pm film.

Tickets and latest program updates at fishercenter.bard.edu 15

weekend two

Berg the European By the late 1920s, Berg had become world famous through the success of Wozzeck. Schoenberg envied his pupil’s achievement, but that did not prevent Berg from continued allegiance to his mentor, as

shown in his work for a new organization, a society in Vienna created by Schoenberg and Berg, designed to create a proper context for new music based on principles that included ample rehearsal time and the absence of critics. Berg also became active in international organizations for new music in the

1920s. The post–World War I modernist experiment had its detractors. Franz Schmidt’s magnificent oratorio The Book of the Seven Seals reveals that the reaction against modernism itself inspired

great music. By the early 1930s, fascism came to dominate Europe, and Berg found himself at the margins as politics once again helped shape the course of music history.

FRIDAY, AUGUST 20 symposium

Rethinking the Modern Multipurpose Room, Bertelsmann Campus Center 10 am – noon 1:30 pm – 3:30 pm Garry Hagberg, moderator Free and open to the public program seven

“No Critics Allowed”: The Society for Private Performances Sosnoff Theater 7:30 pm Preconcert Talk: Tamara Levitz 8 pm Performance: Randolph Bowman, flute; Miranda Cuckson, violin; John Hancock, baritone; Blair McMillen, piano; Anna Polonsky, piano; Orion Weiss, piano; Bard Festival Chamber Players Alban Berg (1885–1935) Four Songs, Op. 2 (?1909–10) Claude Debussy (1862–1918) Prélude à l’après-midi d’un faune (1891–94; arr. Sachs, 1921) Max Reger (1873–1916) Serenade, for flute, violin, and viola, in G Major, Op. 141a (1915) Maurice Ravel (1875–1937) La valse (1919–20, arr. 2 pianos) Béla Bartók (1881–1945) Fourteen Bagatelles, Op. 6 (1908)

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Karol Szymanowski (1882–1937) Romance, for violin and piano, Op. 23 (1910) Igor Stravinsky (1882–1971) Piano-Rag Music (1919) Berceuses du chat (1915) Josef Matthias Hauer (1883–1959) Nomos, Op. 2 (1913) Tickets: $20/35/45

SATURDAY, AUGUST 21 program eight

You Can’t Be Serious!

Viennese Operetta and Popular Music Olin Hall 10 am Performance Commentary by Derek B. Scott Works by Alban Berg (1885–1935); Johann Strauss II (1825–99); Arthur Sullivan (1842–1900); Franz Lehár (1870–1948); Emmerich Kálmán (1882–1953) and others Tickets: $30

program nine

Composers Select: New Music in the 1920s

SUNDAY, AUGUST 22 panel two

Olin Hall 1 pm Preconcert Talk: Marilyn McCoy 1:30 pm Performance: Paolo Bordignon, harpsichord; Miranda Cuckson, violin; Ilana Davidson, soprano; FLUX Quartet; Robert Martin, cello; Blair McMillen, piano; Orion Weiss, piano; Bard Festival Chamber Players; and others

Music and Morality

Alban Berg (1885–1935) Adagio, from Kammerkonzert (1923–25; arr. 1935) Manuel De Falla (1876–1946) Concerto, for harpsichord, flute, oboe, clarinet, violin, and cello (1923–26) Alfredo Casella (1883–1947) Sinfonia, for piano, cello, clarinet, and trumpet, Op. 53 (1932) Ernst Toch (1887–1964) Quartet for Strings No. 11, Op. 34 (1924) Alois Hába (1893–1973) Quartet for Strings No. 2, in the quarter-tone system, Op. 7 (1920) Erich Wolfgang Korngold (1897–1957) Four Little Caricatures for Children, Op. 19 (1926) Hanns Eisler (1898–1962) Tagebuch des Hanns Eisler, Op. 9 (1926) George Gershwin (1898–1937) Three Preludes for Piano (1923–26) Tickets: $35

program eleven

Olin Hall 10 am – 12 noon Christopher Hailey, moderator; Leon Botstein; Klara Moricz; and others Free and open to the public

Between Accommodation and Inner Emigration: The Composer’s Predicament Olin Hall 1 pm Preconcert Talk: Richard Wilson 1:30 pm Performance: Ilana Davidson, soprano; John Hancock, baritone; Robert Martin, cello; Anna Polonsky, piano; and others Alban Berg (1885–1935) Schliesse mir die Augen beide (1925) Luigi Dallapiccola (1904–75) Sonatina canonica (1942–43) Othmar Schoeck (1886–1957) Notturno, Op. 47 (1931–33) Ernst Krenek (1900–91) Durch die Nacht, song cycle, Op. 67a (1930–31) Karl Amadeus Hartmann (1905–63) Quartet for Strings No. 1, “Carillon” (1933) Tickets: $35

program ten

Modernism and Its Discontent Sosnoff Theater 7 pm Preconcert Talk: Christopher Hailey 8 pm Performance: Christiane Libor, soprano; Thomas Cooley, tenor; James Taylor, tenor; Robert Pomakov, bass-baritone; Bard Festival Chorale, James Bagwell, choral director; American Symphony Orchestra, conducted by Leon Botstein, music director; and others Alban Berg (1885–1935) Der Wein (1929) Franz Schmidt (1874–1939) Das Buch mit sieben Siegeln (1935–37) Tickets: $25/40/55

program twelve

Crimes and Passions Sosnoff Theater 4:30 pm Preconcert Talk: Bryan Gilliam 5:30 pm Performance: Lisa Saffer, soprano; Brian Stucki, tenor; Philip Horst, bass-baritone; Bard Festival Chorale, James Bagwell, choral director; American Symphony Orchestra, conducted by Leon Botstein, music director; and others Alban Berg (1885–1935) Three Fragments from Wozzeck (1924) Lulu Suite (1934) Paul Hindemith (1895–1963) Sancta Susanna, Op. 21 (1921) Kurt Weill (1900–50) Royal Palace, Op. 17 (1925–26) Tickets: $25/40/55

Tickets and latest program updates at fishercenter.bard.edu 17

film festival

The Best of G. W. Pabst The Austrian composer Alban Berg and the German film director Georg Wilhelm Pabst were

contemporaries, and both artists based their masterpieces on Frank Wedekind’s Lulu plays. Pabst’s

films may not be as visually and stylistically groundbreaking as the works of Fritz Lang or F. W. Murnau, but they surpass those of his more famous rivals in other ways. His narratives have a mature

sophistication and psychological acuity that is sometimes lacking in the heavily contrived, symbolic films of the 1920s in Germany. Though he was as interested in representing subjectivity as his

contemporaries were, Pabst was also a key proponent of a realistic, objective style that prefigured a major trend of the following decade. Most significantly, as is best evidenced in his magnum opus,

Pandora’s Box, Pabst elicited vivid performances that contained a level of subtlety and psychological truth rarely achieved in the often heavily convention-bound performances of the era. In her book Lulu in Hollywood, the legendary American actress Louise Brooks documented Pabst’s innovative

directorial techniques, most of which involved a shrewd exploitation of who the performers were as individuals and the emotional tensions among them on the set.

As a complement to Pabst (and again to Berg), we are also offering a program of Walter Ruttmann’s

films. Ruttmann was a celebrated innovator who pioneered the short abstract film with his Opus series.

There, the exploration of pure values of color and rhythm emulates music in visual terms. The same

can be said of Berlin: Symphony of a Great City, one of the most important documentaries of the era, a vast photographic canvas that celebrates the excitement and terror of modern urban life.

With this summer’s staging of Oscar Straus’s The Chocolate Soldier in mind, we are screening

The Merry Widow (based on the operetta by his contemporary Franz Lehár), which most critics agree is Ernst Lubitsch’s best musical film.

The finishing touches to our series are two perfectly realized American films noir, Out of the Past and

They Live by Night, which show in their striking chiaroscuro cinematography and brooding fatalistic atmosphere the important influence that 1920s German expressionist film had on Hollywood.

Once again, Bard SummerScape is pleased to present all titles on 35mm film (whenever possible).

Silent films have live piano accompaniment.

Films are screened at 7 pm at the Jim Ottaway Jr. Film Center in the Milton and Sally Avery Arts Center.

All Film Tickets: $8

Tickets and latest program updates at fishercenter.bard.edu photo Berlin: Symphony of a Great City, 1927. ©Fox Film Corporation/Photofest

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Secrets of a Soul

Pandora’s Box

1926, directed by G. W. Pabst Scripted with the assistance of two members of Freud’s inner circle, Karl Abraham and Hans Sachs, this is the first film to explore psychoanalysis in a serious way. Werner Krauss plays the central role of a husband who seeks an answer to his troubling, enigmatic dreams.

Silent. 75 minutes.

July 15

1929, directed by G. W. Pabst The rise and fall of Lulu, a street urchin who becomes a stage performer and marries a powerful editor. Justly famous for its eroticism, psychological tension, and fatalistic atmosphere, this is one of the greatest of all silent films, with memorable performances by Louise Brooks, Fritz Kortner, and Francis Lederer. Based on Frank Wedekind’s Lulu plays; script by Ladislaus Vajda.

Silent. 110 minutes.

July 22

The Love of Jeanne Ney 1927, directed by G. W. Pabst A visually stunning romance set against the backdrop of the post-revolutionary civil war in Russia and a politically turbulent France. With Édith Jéhanne and Uno Henning; script by Rudolf Leonhardt.

Silent. 113 minutes.

July 18

Diary of a Lost Girl 1929, directed by G. W. Pabst Following the misfortunes and suffering of a troubled young woman, Pabst explores the sexual hypocrisy of modern bourgeois society. Another unforgettable performance by Louise Brooks. Script

by Rudolf Leonhardt.

Silent. 115 minutes.

July 25

Berlin: Symphony of a Great City 1927 and

Opus I–IV 1921–25 Directed by Walter Ruttmann One of the most influential films of the 1920s, Berlin: Symphony of a Great City is a vast panorama of modern urban life. This documentary will be preceded by four short abstract films that were pioneering works of the European avant-garde.

Silent. Berlin: 65 minutes. Opus I–IV: 27 minutes total.

July 29 The Threepenny Opera, 1931. ©Warner Bros. Pictures/Photofest

Westfront 1918 1930, directed by G. W. Pabst The title says it all: a film about the tragedy of life for German soldiers in the trenches during World War I. Script by Ladislaus Vajda.

103 minutes.

August 1

Kameradschaft 1931, directed by G. W. Pabst Rarely screened, this is one of the truly innovative realist films of the early sound era. French miners are trapped and their German counterparts are called in across the border to aid in the rescue operation. Script by Ladislaus Vajda and others.

83 minutes.

August 5 They Live by Night, 1949. ©RKO Radio Pictures/Photofest

20

Out of the Past, 1947. ©RKO/Photofest

The Threepenny Opera

Out of the Past

1931, directed by G. W. Pabst An adaptation of the Kurt Weill–Bertolt Brecht stage work by Ladislaus Vajda, Béla Balázs, and others. Famously disowned by Brecht, this classic of the early sound era was filmed not long after the play itself premiered. Lotte Lenya, a member of the original 1928 stage cast (and Kurt Weill’s wife), plays Jenny.

112 minutes.

August 8

1947, directed by Jacques Tourneur A nearly perfect example of original film noir, starring Robert Mitchum, Jane Greer, and Kirk Douglas. Daniel Mainwaring wrote the script from his own novel Build My Gallows High. Mitchum’s character cannot seem to extricate himself from an entanglement with a mobster (Douglas) and his mistress (Greer). Tourneur’s taut direction and celebrated atmospheric pictorialism generate a memorable sense of tragic inevitability.

97 minutes.

August 15

The Merry Widow 1934, directed by Ernst Lubitsch Maurice Chevalier, Jeanette MacDonald, and Edward Everett Horton star in the classic comic tale of a wealthy widow who must be prevented from marrying a foreigner in Paris if her tiny, economically vulnerable homeland is to survive. With its superb cast and stylish direction, this is considered Lubitsch’s greatest musical. The adaptation of the Franz Lehár operetta is by Ernst Vajda, Samson Raphaelson, and others.

99 minutes.

August 12

They Live by Night 1949, directed by Nicholas Ray Ray’s first film may be his most poignant due to his sensitive direction of the two leads, Farley Granger and Cathy O’Donnell, who play young lovers on the lam. Most likely influenced by the Bonnie and Clyde story, the film (scripted by Charles Schnee) is an adaptation of Edward Anderson’s novel Thieves Like Us, a minor masterpiece of the 1930s.

95 minutes.

August 19

Tickets and latest program updates at fishercenter.bard.edu 21

spiegeltent Willkommen to a feast of entertainment for the entire family. Back for its fifth SummerScape

2010 SummerScape Gala Benefit

Bard from Europe, where such tents, and the very

Saturday, July 10, at 5:30 pm

beloved tradition since the early 20th century.

A festive dinner in the Spiegeltent precedes the

season, the glittering “Mirror Tent” is imported to

special entertainment they host, have been a The Spiegeltent is a marvel of engineering

comprising 3,000 detachable parts, with an eyefilling interior of carved wood surfaces, parquet floor, beveled mirrors, stained-glass windows,

and velvet canopies. On weekend afternoons and

evenings, the theater-in-the-round is the stage for a variety of performers, from cabaret acts to

musicians to dancers to jugglers. Back by popular demand, your host is the sparkling Nik Quaife, returning to Bard for his fourth summer as SpiegelMaestro.

Before and after performances, enjoy light

fare, meals, and drinks chosen from the best

offerings of the Hudson Valley’s rich pageant of

farms, dairies, wineries, and breweries. Meet a date, bring the kids, get together with friends— the Spiegeltent is sure to please all palates!

22

performance by Trisha Brown Dance Company at the Sosnoff Theater. The evening moves

back to the Spiegeltent after the show, for a post-performance party with the dance company and special guests.

Benefit tickets include dinner, premium seats for the Trisha Brown Dance Company performance, the post-performance party, and the reward of supporting the Fisher Center.

For further information or to reserve your tickets, contact Stephen Millikin at 845-758-7926 or millikin@bard.edu.

Please note: the Spiegeltent will be closed for regular dining on the evening of the Gala.

Afternoon Family Fare Saturday and Sunday at 3:30 pm Tickets: $15 ($5 children 3 and older) Entertainment of every stripe for audiences of all ages.

Cirque Voilá: Crème de la Crème | July 17 and 18 Classic circus mimicry and physical comedy.

Princess Moxie | July 24 and 25 Beautiful hand-sewn puppets and original music tell the story of a hip young princess’s search for a true friend. Followed by a puppet-making workshop.

Dog on Fleas | July 31 and August 1 Rambunctious, joyous music that never fails to get the kids dancing and singing along.

Cavalcade of Youth | August 7 and 8 Juvenile jugglers, diminutive dancers, and adolescent acrobats present a full show of vernal vaudeville.

The Magical World of Manfred Winthrop | August 14 and 15 Manfred shares his imagination—a place full of illusion and magic.

Bindlestiff Family Cirkus | August 21 and 22 The perennial Spiegeltent favorites are back with their frisky sword-swallowing, pie-throwing, plate-twirling neovaudeville fun.

Evening Cabaret Friday and Saturday at 8:30 pm Tickets: $25 Cabaret with an edge! Reserve your seats soon— most shows sold out last summer.

Our Lady J | July 9 This singer and pianist extraordinaire promises to blow the roof off the tent with her visionary, postreligious gospel music.

John Kelly: Paved Paradise Redux | July 16 and 17 Kelly’s spot-on recreation of Joni Mitchell’s vocals is uncanny. His refashioned show spans the folk-rock diva’s career from her prerecording days to her most recent album.

Wau Wau Sisters | July 23 and 24 The bawdy, trapeze-twisting, guitar-strumming Wau Wau Sisters return with their “irreverent, sacrilegious, lascivious” (New York Times) vaudeville act.

Weimar New York | July 30 and 31 Justin Bond emcees the alt-cabaret extravaganza that Time Out called “subversive, sexed-up, [and] slashingly political.”

Kim Smith | August 6 This Australian vocalist reinterprets the works of composers and songwriters from Weill to the Supremes, and Harold Arlen to the Divinyls.

Tango Night | August 7 Learn to tango from the masters, to live music, on the Spiegeltent’s beautiful parquet dance floor.

Jackie Hoffman | August 13 Hoffman takes the night off from her role as Grandma in Broadway’s The Addams Family to bring SummerScape audiences her signature blend of singing and kvetching. Adults only.

Eric Walton’s Esoterica | August 14 “Walton is a charming mountebank—his parade of card tricks is a delight!”—Variety Merita Halili and the Raif Hyseni Orchestra | August 20 The award-winning Albanian folk singer performs with her accordionist husband Hyseni’s ensemble.

Bindlestiff Family Cirkus | August 21 An evening of cheeky takes on circus tradition, spiced with a dollop of burlesque and topped with a twist of unique Cirkus sensibility.

SpiegelClub Friday and Saturday, 10 pm – 1 am July 9 – August 21 $5 admission (pay at the door; waived for SummerScape ticket holders) A late-night bar and dance floor with NYC and local DJs spinning a variety of tunes on a state-of-the-art sound and lighting system. From pop to hip-hop, funk, and jazz, and the occasional theme night.

Thursday Night Live Thursdays, 8:30 pm – 11 pm July 15 – August 19 $10 Hosted by WKZE Radio Archaeology DJ Raissa St. Pierre, Thursday Night Live features an eclectic range of live music—honky tonk, country sounds, African music, art rock—by performers from as far as Timbuktu and as close as the Catskills.

Dine at the Spiegeltent Lunch: Saturday and Sunday, July 11 – August 22, 1–3 pm Dinner: Thursday through Sunday, July 9 – August 22, 5:30–8 pm Casual summer fare, à la carte. Dine indoors or alfresco. Drinks and snacks available throughout the evening. Dinner reservations: 845-758-7900 On Sunday, August 15 and Sunday, August 22, dining will be available at the Spiegeltent from 1 to 8 pm.

The Spiegeltent will be closed for dining on July 10 and August 13.

Tickets and latest program updates at fishercenter.bard.edu photo ©Karl Rabe

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wednesday

thursday 8 *8 pm Trisha Brown (Sosnoff)

JULY

14 *3 pm Judgment Day (Theater Two)

15 5:30–8 pm Dinner (Spiegeltent) 7 pm Secrets of a Soul (Ottaway) 8 pm Judgment Day (Theater Two) 8:30 pm Thursday Night Live (Spiegeltent)

21

22

3 pm Judgment Day (Theater Two)

5:30–8 pm Dinner (Spiegeltent) 7 pm Pandora’s Box (Ottaway) 8 pm Judgment Day (Theater Two) 8:30 pm Thursday Night Live (Spiegeltent)

29 5:30–8 pm Dinner (Spiegeltent) 7 pm Berlin and Opus (Ottaway) 8:30 pm Thursday Night Live (Spiegeltent)

AUGUST

4

5

3 pm The Distant Sound (Sosnoff)

5:30–8 pm Dinner (Spiegeltent) 7 pm Kameradschaft (Ottaway) 8 pm The Chocolate Soldier (Theater Two) 8:30 pm Thursday Night Live (Spiegeltent)

11

12

*3 pm The Chocolate Soldier (Theater Two)

5:30–8 pm Dinner (Spiegeltent) 7 pm The Merry Widow (Ottaway) 8 pm The Chocolate Soldier (Theater Two) 8:30 pm Thursday Night Live (Spiegeltent)

19 5:30–8 pm Dinner (Spiegeltent) 7 pm They Live by Night (Ottaway) 8:30 pm Thursday Night Live (Spiegeltent)

Tickets and latest program updates at fishercenter.bard.edu

* Round-trip transportation by coach from Manhattan to Bard is available for this performance.

Fare is $20. Reservations are required.

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friday

saturday

sunday

9

10

11

5:30–8 pm Dinner (Spiegeltent) 8 pm Trisha Brown (Sosnoff) 8:30 pm Our Lady J (Spiegeltent) 10 pm SpiegelClub (Spiegeltent)

5:30 Gala Dinner (Spiegeltent) 8 pm Trisha Brown (Sosnoff)

1–3 pm Lunch (Spiegeltent) 3 pm Trisha Brown (Sosnoff) 5:30–8 pm Dinner (Spiegeltent)

16

17

18

5:30–8 pm Dinner (Spiegeltent) 8 pm Judgment Day (Theater Two) 8:30 pm John Kelly (Spiegeltent) 10 pm SpiegelClub (Spiegeltent)

1–3 pm Lunch (Spiegeltent) 3:30 pm Cirque Voilá (Spiegeltent) 5:30–8 pm Dinner (Spiegeltent) 8 pm Judgment Day (Theater Two) 8:30 pm John Kelly (Spiegeltent) 10 pm SpiegelClub (Spiegeltent)

1–3 pm Lunch (Spiegeltent) 3 pm Judgment Day (Theater Two) 3:30 pm Cirque Voilá (Spiegeltent) 5:30–8 pm Dinner (Spiegeltent) 7 pm The Love of Jeanne Ney (Ottaway)

23

24

25

5:30–8 pm Dinner (Spiegeltent) 8 pm Judgment Day (Theater Two) 8:30 pm Wau Wau Sisters (Spiegeltent) 10 pm SpiegelClub (Spiegeltent)

1–3 pm Lunch (Spiegeltent) 3:30 pm Princess Moxie (Spiegeltent) 5:30–8 pm Dinner (Spiegeltent) 8 pm Judgment Day (Theater Two) 8:30 pm Wau Wau Sisters (Spiegeltent) 10 pm SpiegelClub (Spiegeltent)

1–3 pm Lunch (Spiegeltent) 3 pm Judgment Day (Theater Two) 3:30 pm Princess Moxie (Spiegeltent) 5:30–8 pm Dinner (Spiegeltent) 7 pm Diary of a Lost Girl (Ottaway)

30

31

1

5:30–8 pm Dinner (Spiegeltent) 7 pm The Distant Sound (Sosnoff) 8:30 pm Weimar New York (Spiegeltent) 10 pm SpiegelClub (Spiegeltent)

1–3 pm Lunch (Spiegeltent) 3:30 pm Dog on Fleas (Spiegeltent) 5:30–8 pm Dinner (Spiegeltent) 8:30 pm Weimar New York (Spiegeltent) 10 pm SpiegelClub (Spiegeltent)

6

7

5:30–8 pm Dinner (Spiegeltent) 7 pm The Distant Sound (Sosnoff) 8 pm The Chocolate Soldier (Theater Two) 8:30 pm Kim Smith (Spiegeltent) 10 pm SpiegelClub (Spiegeltent)

1–3 pm Lunch (Spiegeltent) 3:30 pm Cavalcade of Youth (Spiegeltent) 5:30–8 pm Dinner (Spiegeltent) 8 pm The Chocolate Soldier (Theater Two) 8:30 pm Tango Night (Spiegeltent) 10 pm SpiegelClub (Spiegeltent)

13

14

5:30 pm BMF Opening Night Dinner (Spiegeltent) 7:30 pm BMF Preconcert Talk (Sosnoff) 8 pm BMF Program One (Sosnoff) 8 pm The Chocolate Soldier (Theater Two) 8:30 pm Jackie Hoffman (Spiegeltent) 10 pm SpiegelClub (Spiegeltent)

10 am–12 pm BMF Panel One (Olin) 1 pm BMF Preconcert Talk (Olin) 1:30 pm BMF Program Two (Olin) 1–3 pm Lunch (Spiegeltent) 3:30 pm Manfred Winthrop (Spiegeltent) 5:30–8 pm Dinner (Spiegeltent) 7 pm BMF Preconcert Talk (Sosnoff) 8 pm BMF Program Three (Sosnoff) 8 pm The Chocolate Soldier (Theater Two) 8:30 pm Eric Walton (Spiegeltent) 10 pm SpiegelClub (Spiegeltent)

20

21

22

10 am–12 pm BMF Symposium (Bertelsmann) 1:30–3:30 pm BMF Symposium (Bertelsmann) 5:30–8 pm Dinner (Spiegeltent) 7:30 pm BMF Preconcert Talk (Sosnoff) 8 pm BMF Program Seven (Sosnoff) 8:30 pm Merita Halili and the Raif Hyseni Orchestra (Spiegeltent) 10 pm SpiegelClub (Spiegeltent)

10 am BMF Program Eight (Olin) 1 pm BMF Preconcert Talk (Olin) 1:30 pm BMF Program Nine (Olin) 1–3 pm Lunch (Spiegeltent) 3:30 pm Bindlestiffs (all ages) (Spiegeltent) 5:30–8 pm Dinner (Spiegeltent) 7 pm BMF Preconcert Talk (Sosnoff) 8 pm BMF Program Ten (Sosnoff) 8:30 pm Bindlestiffs (adults) (Spiegeltent) 10 pm SpiegelClub (Spiegeltent)

10 am–12 pm BMF Panel Two (Olin) 1 pm BMF Preconcert Talk (Olin) 1:30 pm BMF Program Eleven (Olin) 1–8 pm Dining (Spiegeltent) 3:30 pm Bindlestiffs (all ages) (Spiegeltent) 4:30 pm BMF Preconcert Talk (Sosnoff) 5:30 pm BMF Program Twelve (Sosnoff) 8:30 pm Closing Party (Spiegeltent)

1–3 pm Lunch (Spiegeltent)

*1 pm Opera Talk (Sosnoff)

3 pm The Distant Sound (Sosnoff) 3:30 pm Dog on Fleas (Spiegeltent) 5:30–8 pm Dinner (Spiegeltent) 7 pm Westfront 1918 (Ottaway)

8 1–3 pm Lunch (Spiegeltent)

*1 pm Opera Talk (Theater Two)

3 pm The Chocolate Soldier (Theater Two) 3:30 pm Cavalcade of Youth (Spiegeltent) 5:30–8 pm Dinner (Spiegeltent) 7 pm The Threepenny Opera (Ottaway)

15 10 am BMF Program Four (Olin) 1 pm BMF Preconcert Talk (Olin) 1:30 pm BMF Program Five (Olin) 1–8 pm Dining (Spiegeltent) 3 pm The Chocolate Soldier (Theater Two) 3:30 pm Manfred Winthrop (Spiegeltent) *5 pm BMF Preconcert Talk (Sosnoff) 5:30 pm BMF Program Six (Sosnoff) 7 pm Out of the Past (Ottaway)

25

Support The Richard B. Fisher Center for the Performing Arts at Bard College friends of the fisher center Since its opening in 2003, the Richard B. Fisher Center for the Performing Arts has transformed cultural life in the Hudson Valley with world-class programming. Our continued success depends on individuals such as you. Become a Friend of the Fisher Center today.

Individual Giving Friends of the Fisher Center membership is designed to give individual donors the opportunity to support their favorite programs through the Fisher Center Council or Bard Music Festival Council. As a Friend of the Fisher Center, you will enjoy a behind-the-scenes look at Center presentations as well as exclusive special events and services throughout the year.

Corporate Giving Many opportunities exist for corporate sponsorship and patronage of the Fisher Center and its programs. By joining the Corporate Council, your company and its employees not only show their support for the Hudson Valley cultural community, but also receive a wide range of marketing opportunities and membership benefits. The Fisher Center will work closely with Council members to create the benefits package best suited to their needs.

As a Friend of the Fisher Center or Corporate Council member, you will gain access to a number of exclusive special events and services created for supporters. Membership levels vary, and based on your gift amount, benefits may include: • Advance notice of programming • Free tours of the Fisher Center • Invitations for you and a guest to a season preview event • Invitations for you and a guest to a backstage technical demonstration • A copy of the Bard Music Festival book • Access to an exclusive telephone line for Patron Priority handling of ticket orders • Invitations for you and a guest to a reception with the artists For more information on how to become a Friend of the Fisher Center, contact Stephen Millikin at 845-758-7926 or millikin@bard.edu. You can also make a gift or schedule monthly gifts to be automatically transferred from your checking account or credit card by visiting fishercenter.bard.edu/support.

Major support for the Fisher Center’s programs has been provided by: Roger E. and Helen Alcaly The Andrew W. Mellon Foundation Fiona Angelini and Jamie Welch The Ann and Gordon Getty Foundation Anonymous Arthur F. and Alice E. Adams Foundation Leonie F. Batkin Bettina Baruch Foundation Carolyn Marks Blackwood and Greg Quinn Chartwells School and University Dining Services Joan K. Davidson Mr. and Mrs. Gonzalo de las Heras John A. Dierdorff Robert C. Edmonds ’68 The Educational Foundation of America Elizabeth W. Ely ’65 and Jonathan K. Greenburg 26

Barbara Ettinger and Sven Huseby The Ettinger Foundation, Inc. Stefano Ferrari and Lilo Zinglersen Alexander Fisher MFA ’96 Catherine C. Fisher and Gregory A. Murphy Emily H. Fisher and John Alexander Jeanne Donovan Fisher R. Britton and Melina Fisher FMH Foundation Furthermore: A Program of the J. M. Kaplan Fund Eliot D. and Paula K. Hawkins Linda Hirshman and David Forkosh Harvey and Phyllis Lichtenstein Homeland Foundation HSBC Philanthropic Programs Jane’s Ice Cream Jane W. Nuhn Charitable Trust The J. M. Kaplan Fund, Inc. Peter ’66 and Barbara Kenner Key Bank Foundation Jaynne Keyes and Michael Del Giudice Mimi Levitt Amy and Thomas O. Maggs Magic Hat Brewing Company The Marks Family Foundation Marstrand Foundation Martin and Toni Sosnoff Foundation The Maurer Family Foundation, Inc. Mid Atlantic Arts Foundation Joanna M. Migdal Millbrook Tribute Garden, Inc. Millbrook Vineyards and Winery The Mortimer Levitt Foundation The Mrs. Mortimer Levitt Endowment Fund for the Performing Arts National Dance Project of the New England Foundation for the Arts National Endowment for the Arts (NEA) National Endowment for the Arts American Masterpieces: Three Centuries of Artistic Genius New England Foundation for the Arts New York State Council on the Arts (NYSCA) Mr. and Mrs. James H. Ottaway Jr. Dimitri B. and Rania Papadimitriou Ralph E. Ogden Foundation, Inc. Drs. M. Susan and Irwin Richman Richard B. Fisher Endowment Fund Santander Central Hispano Senator Stephen M. Saland David E. Schwab II ’52 and Ruth Schwartz Schwab ’52 Denise S. Simon and Paulo Vieira da Cunha Martin T. and Toni Sosnoff H. Peter Stern and Helen Drutt English Ronnie and Allan Streichler Thendara Foundation Felicitas S. Thorne True Love Productions Margo and Anthony Viscusi Dr. Siri von Reis Millie and Robert Wise The Wise Family Charitable Foundation Elizabeth and E. Lisk Wyckoff Jr.

NY SC A

New Yo rk Stat e Council on the A rts

Ticket Information box office The main Box Office, located in the lobby of the Sosnoff Theater in the Fisher Center, is open Monday through Friday from 10 am – 5 pm and from 11 am – 5 pm on weekends during SummerScape. The Box Office opens one hour prior to Sosnoff Theater performances; other Box Office locations are open one hour prior to the performance. Please pick up your Will Call tickets in the venue of the performance that you will be attending.

contact information Box Office The Richard B. Fisher Center for the Performing Arts Bard College, PO Box 5000, Annandale-on-Hudson, NY 12504-5000 845-758-7900 Box Office 845-758-7910 Box Office fax fishercenter.bard.edu

Online

Visit fishercenter.bard.edu to order online and select your own seats.

To purchase tickets, visit hudsonvalleyhigh5tix.org or call the High 5 Hotline at 212-445-8587. Upon purchasing tickets through High 5, students receive a voucher to be redeemed at the Fisher Center Box Office on the day of the event.

Group Discounts Groups of 10 or more are eligible for special discounts. Please call the Box Office at 845-758-7948.

Senior Discounts Senior citizens aged 62 and over are eligible for a discount of 20 percent off single tickets (discount cannot be used in conjunction with any other offer).

house policies All sales are final. Tickets are nonrefundable. Programs, dates, times, and venues are subject to change without notice.

Latecomers are not admitted after the performance has started. Closed-circuit TVs in the Fisher Center lobbies are provided for latecomers to view the event. Latecomers may be seated at the discretion of the management at an appropriate interval during the performance. Late seating is not guaranteed; please allow sufficient time for travel and parking.

In Person

Children under 5 are not admitted unless explicitly noted.

Children are welcome at Family Fare performances.

By Mail

The use of recording equipment or photography is strictly prohibited during performances.

Go to the Box Office to place your order in person.

Send your completed order form with payment to the Box Office at the address noted above.

By Fax

Fax your completed order form with credit card details to 845-758-7910.

By Telephone

Call the Box Office from 10 am to 5 pm Monday through Friday at 845-758-7900 to speak with a ticket services representative. Please be sure to have your completed order form and credit card ready.

Subscription orders must be received at least 7 days before the date of the first performance in your subscription.

All orders received at least 14 days prior to the date of your first event will be mailed; all other orders will be held at the Box Office.

discounts Only one discount is applicable per order.

Student Discounts

Day of: Students with a valid full-time student ID, or under the age of 25, may purchase up to two $5 rush tickets on the day of the event, subject to availability. Seat locations will be assigned by the Box Office.

Advance Sales: Students with a valid ID, or under the age of 25, may purchase up to two tickets at a 20 percent discount. $5 Advance Student Tickets: High 5 Tickets to the Arts.

Through the High 5 program, any student under the age of 25 with a valid full-time student ID may purchase up to 2 tickets in advance for Fisher Center performances for only $5, with up to 1 ticket allowed for use by an accompanying adult. All High 5 tickets are subject to availability for select performances.

Seating is at the discretion of the Box Office.

Mobile telephones, beepers, and watch alarms must be turned off during performances.

Access and Facilities for the Disabled

Seating in the Sosnoff Theater is available in all price categories for patrons in wheelchairs and their companions.

See the seating chart for locations. There is an elevator to all levels of the Sosnoff Theater and a special wheelchair lift used to access front-row wheelchair seating.

Wheelchair seating in Theater Two varies for each production.

Wheelchair seating is in the front of the Ottaway Film Center.

Please be sure to let the Box Office know at the time you purchase your tickets that you need wheelchair seating so an appropriate location can be reserved for you.

Restrooms in all locations are wheelchair accessible. For the additional convenience of Sosnoff Theater patrons, there is a private restroom on the lower lobby for use by patrons in wheelchairs.

Sennheiser infrared assistive listening devices are available in the Sosnoff Theater and Theater Two. Receivers may be borrowed on request at the Box Office.

Reserved parking is available for drivers with disabilities.

Please call 845-758-7948 in advance to ensure that a space is reserved for you. Drivers accompanying the disabled are asked to leave their passengers at the drop-off point in front of the Fisher Center.

If you would like additional information or have any special requirements not covered here, please call 845-758-7948 for assistance.

27

Ticket Prices Make your own subscription! Save 25 percent when you order four or more different events with each subscription.

Our senior citizen discount is now 20 percent on single tickets! Take your discount on the order form. event

price 3

sosnoff theater Trisha Brown Dance Company The Distant Sound

full price / subscription price $25/18.75 $40/30 $25/18.75 $55/41.25

theater two Judgment Day The Chocolate Soldier

full price / subscription price $45/33.75 $45/33.75

spiegeltent Cabaret Family Fare performances Adult Child 3 and older

full price / subscription price $25/18.75

ottaway film center Film

full price / subscription price $8/6

bard music festival Program 1 Program 2 Program 3 Program 4 Program 5 Program 6 Program 7 Program 8 Program 9 Program 10 Program 11 Program 12 Complete Bard Music Festival package: Tickets to all 12 programs

full price / subscription price $20/15 $35/26.25 $35/26.25 $25/18.75 $40/30 $30/22.50 $35/26.25 $20/15 $35/26.25 $20/15 $35/26.25 $30/22.50 $35/26.25 $25/18.75 $40/30 $35/26.25 $25/18.75 $40/30

price 1

$55/41.25 $75/56.25

$15/11.25 $5/3.75

$251.25

Travel to Bard Bard College is in Annandale-on-Hudson, New York, on the east bank of the Hudson River, about 90 miles north of New York City and 220 miles southwest of Boston. by automobile From New York City, New Jersey, and points south, take the New York State Thruway to Exit 19 (Kingston), take Route 209 (changes to Route 199 at the Hudson River) over the Rhinecliff Bridge to the second light, turn left onto Route 9G, and drive north 3.8 miles. Follow sign for Center for Performing Arts. From Albany, take the New York State Thruway to Exit 19 and proceed as from New York City.

From Connecticut, Massachusetts, and northern New England, see directions at fishercenter.bard.edu/visitor. gps device users Enter the intersection of Route 9G and Annandale Road in the town of Annandale-on-Hudson, New York, 12504.

28

price 2

$318.75

$45/33.75 $55/41.25

$45/33.75 $45/33.75

$55/41.25 $55/41.25 $375

by train Amtrak provides service from Penn Station, New York City, and from Albany to Rhinecliff, about 9 miles south of Annandale. Taxi service is available at the station. by coach For information or to make a reservation on the round-trip coach being provided for specific performances (noted with an asterisk in the brochure), call the Box Office at 845-758-7900. The fare is $20 round-trip. Reservations are required. Offered only to ticket holders.

Accommodations For a list of hotels, motels, inns, and bed-and-breakfasts, please visit fishercenter.bard.edu/visitor.

Order Form

Buy tickets and get the latest program and schedule updates at fishercenter.bard.edu Please call the Box Office at 845-758-7900 with questions or for help in placing your order.

Mail completed form to Fisher Center Box Office, PO Box 5000, Annandale-on-Hudson, NY 12504.

Name Street address City

State

Phone (day)

Zip

Phone (evening)

E-mail

Please include your phone number so that we may reach you if there is a problem with your order. ❑ Check here if the above information is different from the mailing address label so that we may update our records. ❑ Check here if wheelchair seating is required, or call 845-758-7948 if you require special accommodation.

Make your own subscription Save 25 percent when you order four or more different events with each subscription.

Date/Time

Event

Subscription price

1.

$

2.

$

3.

$

4.

$

5.

$

6.

$

7. Complete Bard Music Festival package: Tickets to all 12 programs

$251.25/318.75/375 Subtotal

$

Number of subscriptions

x

Subscription Total

$

Single Tickets Event

Date/Time

Quantity x Price

Total

1.

$

2.

$ $

3.

Subtotal Take your senior citizen (62 and over) discount on single tickets: subtract 20 percent I would like to become a Friend of the Fisher Center with a tax-deductible contribution of: Total

$ $ $100/250/500/1000 $

Payment Information ❑ Check enclosed (payable to Bard College)

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Sosnoff Theater Seating C

Seating for all events in the Sosnoff Theater and Olin Hall is reserved.

C

B

B A

A

Seating for all events in Theater Two, Spiegeltent, and Ottaway Film Center is general admission.

Box 207

Box 208

second balcony

Box 206

Box 205

Box 204

Box 203

Box 201

Box 202 E

E

D

D

C

C

B

B

A

A

Box 108

Box 107

Box 106

first balcony

Box 105

Box 103

Box 104

Box 102

Box 101

U

U

T

T

S

S

R

R

Q

Q

P

P

N

N

M

M

L

L

orchestra and parterre

L

K

K

K

J

J

F

E

D C

Price Level 1 Price Level 2 Price Level 3 Wheelchair-accessible seating Seats not available for all performances 30

K J

H

H

J

L

G

G

F

F

E

E

D

D

C

C

B

B

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Stage

Richard B. Fisher Center for the Performing Arts

Bard College Campus Map

Sosnoff Theater Theater Two Resnick Theater Studio Felicitas S. Thorne Dance Studio Ward Manor House and Manor House Café

Student Health Center

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Fisher Center Entrance

Bard Community Children’s Center

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Ward Manor Gatehouse

Abigail Lundquist Botstein Nursery School

Village Dormitories

Tennis Courts

Seth Goldfine Memorial Field

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Stevenson Gymnasium ve n ue Brook House

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South Hall

Henderson Computer Center

Jim and Mary Ottaway Gatehouse

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Gahagan House Community Gardens

Physical Plant

Carriage House (Central Services)

Red Barn (Student Activites)

Lászlo Z. Bitó ’60 Auditorium Lynda and Stewart Resnick Science Laboratories

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Henderson Laboratories Gabrielle H. Reem and Herbert J. Kayden Center for Science and Computation

Buildings and Grounds

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Hegeman and Rose Science Laboratories

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Water Plant

Old Gym (Security) Albee

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Bard Hall Stone Row Aspinwall Preston Meditation Ludlow Garden Sottery Bert Hall Cam elsmann pus C ente r Tewksbury Hall Sands House

Olin Humanities Building, Auditorium, and Language Center

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Bard College Field Station

Williams Residence Hall Alumni Houses

Milton and Sally Avery Arts Center Jim Ottaway Jr. Film Center Edith C. Blum Institute

Ravine Houses

Kline Commons Warden’s Hall

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Fisher Studio Arts Building

Library

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Fisher Annex

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Finberg House

Main Entrance

President’s House

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Hopson Cottage (Admission)

Center for Curatorial Studies and Hessel Museum of Art

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Hirsch and Tremblay Halls

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Woods Studio

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Griffiths House

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Cruger Village

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Venues

Levy Economics Institute

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Robbins House

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The Parliament of Reality

by Olafur Eliasson

Manor Annex

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about bard college Bard College, in Annandale-on-Hudson, New York, is an independent, Feitler Housenonsectarian, residential, coeducational college that offers a four-year B.A. degree in the liberal arts and sciences and a five-year B.S./B.A. degree in economics and finance. Bard and its affiliated institutions also grant the following degrees: A.A. at Bard High School Early College, a New York City public school with river road two campuses; A.A. and B.A. at Bard College at Shafer Simon’s Rock: The Early College, in Great Barrington, Massachusetts; M.S. in House environmental policy and M.A. in curatorial studies at the Annandale campus; M.F.A. and M.A.T. on multiple campuses; and M.A., M.Phil., and Ph.D. in the history of the decorative arts, design, and culture at the Bard Graduate Center: Decorative Arts, Design Briggs House Publications History, Material Culture in Manhattan. The Bard Collegeand Conservatory of Music grants a five-year dual degree, a B.Music and a Public Relationsin Offices B.A. in a field other than music; and M.Music degrees vocal arts and conducting. Internationally, Bard offers dual B.A. degrees at Smolny College of Saint Petersburg State University, Russia, and Al-Quds University in Jerusalem. For more information about Bard College, visit www.bard.edu.

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Bard College PO Box 5000 Annandale-0n-Hudson NY 12504-5000