April 2013: American Symphony Orchestra

the richard b. fisher center for the performing arts at bard college

AMERICAN SYMPHONY ORCHESTRA April 19 and 20, 2013

About The Richard B. Fisher Center for the Performing Arts at Bard College The Richard B. Fisher Center for the Performing Arts, an environment for world-class artistic presentation in the Hudson Valley, was designed by Frank Gehry and opened in 2003. Risk-taking performances and provocative programs take place in the 800-seat Sosnoff Theater, a proscenium-arch space, and in the 220-seat Theater Two, which features a flexible seating configuration. The Center is home to Bard College’s Theater & Performance and Dance Programs, and host to two annual summer festivals: SummerScape, which offers opera, dance, theater, film, and cabaret; and the Bard Music Festival, which celebrates its 24th year in August with “Stravinsky and His World.” The 2014 festival will be devoted to Franz Schubert.

The Center bears the name of the late Richard B. Fisher, the former chair of Bard College’s Board of Trustees. This magnificent building is a tribute to his vision and leadership.

The outstanding arts events that take place here would not be possible without the contributions made by the Friends of the Fisher Center. We are grateful for their support and welcome all donations.

©2013 Bard College. All rights reserved.

Cover The Arrival of Lohengrin in Antwerp, August von Heckel, 1882–83. ©Schloss Neuschwanstein, Bavaria, Germany/De Agostini Picture Library/A. Dagli Orti/The Bridgeman Art Library.

Page 14 Gustav Mahler. ©Boosey and Hawkes Collection/ArenaPal/The Image Works Inside back cover ©Peter Aaron ’68/Esto

The Richard B. Fisher Center for the Performing Arts at Bard College

Chair Jeanne Donovan Fisher President Leon Botstein

presents

American Symphony Orchestra Leon Botstein, Music Director Richard Wagner (1813–83) Lohengrin (1848) Preludes, Acts I and III Tristan und Isolde (1857–59) Prelude and Liebestod Intermission Die Walküre (1856) Act I Sieglinde: Julie Makerov, soprano Siegmund: Richard Cox, tenor Hunding: Peter Volpe, bass

Sosnoff Theater Friday, April 19, and Saturday, April 20 at 8 pm Preconcert talk at 7 pm by Christopher H. Gibbs Running time for this evening’s concert is approximately two hours, with one 20-minute intermission.

Notes on the Program

Richard Wagner Born in Leipzig, May 22, 1813 Died in Venice, February 13, 1883 Lohengrin: Preludes to Acts I and III (1848) Tristan und Isolde: Prelude and Liebestod (1857–59) Die Walküre: Act I (1856) This year marks the bicentennial of the two leading Romantic opera composers: Richard Wagner and Giuseppe Verdi. Between them, this German and this Italian changed the genre of opera forever, each in his own distinctively brilliant manner. Wagner’s influence, moreover, extended far beyond music, with significant consequences for the other arts, cultural life, and, unfortunately, politics. It is unprecedented for a composer, either before or since, to have such an impact on writers, artists, philosophers, and filmmakers. To mention just literature, Wagner’s works proved of great importance for figures such as Charles Baudelaire, Marcel Proust, James Joyce, and Thomas Mann.

More has been written about Wagner than about any other Western composer. The flood began with his own voluminous writings, which encompass reviews, fiction, drama, essays, and books, as well as diaries, countless letters, and a massive autobiography, My Life, covering just the first half of his career. In addition Wagner wrote his own librettos. His compositional output is also gigantic, although principally limited to dramatic music. The music he produced as a teenager—piano works, songs, and even a symphony—is almost uniformly mediocre; few composers ended up so far artistically from where they began.

Wagner composed 13 operas, the first three of which are rarely performed. In the 1840s he wrote The Flying Dutchman, Tannhäuser, and Lohengrin. After these “Romantic operas,” as he called them, Wagner took off some years to reevaluate his artistic mission and produced lengthy writings in which he expounded a new theory of music drama. He began to put this in action with a new project, his most ambitious, The Ring of the Nibelung, on which he toiled for more than a quarter century. In the revolutionary year of 1848 he devised a prose sketch for an opera based on medieval legends called Siegfrieds Tod (Siegfried’s Death, later renamed Götterdämmerung or Twilight of the Gods). A few years later he realized that this work would need to be prefaced by a telling of earlier events in Siegfried’s life, and thus sketched the libretto for Der junge Siegfried (Young Siegfried). Once again he felt that more background was necessary concerning the history of this mythic German hero and his ancestry. This led to Die Walküre (The Valkyrie), which explained the circumstances of his

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conception by the brother and sister Siegmund and Sieglinde. The librettos for a unified trilogy now complete, Wagner decided to add an extended one-act prologue, Das Rheingold (The Rhinegold).

Wagner based the Ring on a variety of literary sources, principally drawn from Norse mythology of the early 13th century, from the somewhat earlier German epic Das Nibelungenlied, and from ancient Greece. Indeed, part of the ideological impetus behind the project was to accomplish for the German nation what Sophocles and other classical authors had done for Greece by dramatizing enduring mythology. Once he had written the librettos and published them in 1853—Wagner took his librettos entirely seriously as independent dramatic works that could be released years before the actual operas were composed—he began writing the music, which would occupy much of the next 20 years. Das Rheingold was finished in 1854, Die Walküre by 1856, and Siegfried half written when Wagner had a reality check: these enormous operas had slim prospects for actual staged performances. He put the Ring aside to write Tristan und Isolde and Die Meistersinger von Nürnberg. Only after completing those works, which assumed enormous proportions in themselves, did he return to Siegfried and Götterdämmerung, completing the Ring in 1874. Part of Wagner’s phenomenal achievement was crafting so expansive a four-part work—some 17 hours of music—that is unified both dramatically and musically. He did this in part by weaving an elaborate web of leitmotivs (leading motives), brief melodies associated with specific characters, places, objects, and concepts that recur and are transformed throughout the cycle.

The patronage of King Ludwig II of Bavaria, the most passionate of Wagnerians, made the crucial difference in finally getting the Ring performed. At Ludwig’s insistence, but without Wagner’s participation, Das Rheingold and Die Walküre were mounted in Munich in 1869 and 1870. It was the construction of a new theater in Bayreuth, conceived of by Wagner to stage his mature operas and heavily subsidized by Ludwig, which enabled the premiere of the complete cycle in August 1876. The event, attended by many cultural luminaries, proved a great artistic success, although it was a financial disaster. There was no festival for five years, until the presentation of his final opera, Parsifal, premiered a few months before Wagner died at age 69 in February 1883.

As part of the effort to raise funds for Bayreuth, as well as to enlist subscribers in the venture, Wagner gave concerts in which he presented excerpts from his operas. We might think of these as serving a purpose similar to movie trailers today—a preview of coming attractions. Some of the most famous parts of the Ring, such as the “Ride of the Valkyries,” were first heard in concert, sometimes with singers, sometimes not. The concert tonight presents excerpts from three of Wagner’s operas that he programmed himself.

Wagner often chose selections from Lohengrin, the story of a mysterious knight of the Holy Grail. Tonight we hear the preludes to the first and last acts. The ethereal opening is delicately scored for divided strings playing in the highest register. In his typically florid

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prose manner Wagner described the glow of the Grail he meant to convey: “Out of the clear blue ether of the sky there seems to condense a wonderful yet at first hardly perceptible vision; and out of this there gradually emerges, ever more and more clearly, an angel host bearing in its midst the sacred Grail.” The opening of the third act could not be more different: loud, with prominent brass and percussion, full of joy and energy. This brief prelude is in three parts, ABA form, with a delicately scored processional middle section (“Here Comes the Bride”).

As mentioned, Wagner interrupted the composition of Siegfried in the summer of 1857 in order to work on projects that he felt stood a better chance of being produced. He finished Tristan und Isolde in 1859 and its prelude was performed in Paris the next year. (The complete work was not staged until 1865.) Tonight we hear the opening prelude and an instrumental rendering of the conclusion of the opera. The first harmony sounds the famous “Tristan” chord, probably the most famous chord in the history of Western music and one that seeks harmonic resolution—a wonderful musical metaphor Wagner uses to convey the sensuous longing between Tristan and Isolde that will remain unconsummated in the drama. That harmonic search for resolution continues for nearly five hours until the chord’s final fulfillment in the last moments of Act III. Franz Liszt’s impressive piano arrangement of Isolde’s concluding Verklärung (Transfiguration) gave rise to the familiar title Liebestod (Love-Death), the term Wagner had in fact originally given to the prelude. He described the beginning and end of the opera in a brief program note: [Prelude] Taking on the role of suitor for his uncle, the king, Tristan brings Isolde to him. They love one another. From the most timid complaint of unquenchable longing, from the most delicate quivering, up through the most fearsome outburst confessing a hopeless love, the feeling here traces every phase of this hopeless struggle against inner passion––until, sinking back unconscious, that passion seems to be extinguished in death. [Transfiguration] And yet, what fate has kept apart in life now lives on, transfigured, in death: the gates to their union are open. Isolde, dying atop Tristan’s body, perceives the blessed fulfillment of her burning desire: eternal union in measureless space, no bounds, no fetters, indivisible!

Die Walküre has always been the most frequently performed of the Ring operas because it is easily detached as a self-contained story from the rest of the cycle. And beginning with Wagner’s own programming, the first act alone has proved an attractive concert piece. Lasting just about an hour, the act has only three characters: Siegmund, Sieglinde, and her repellent husband Hunding. The opera begins with an evocative orchestral introduction that serves both as a kind of prelude and marvelously sets the scene amidst a stormy night in which Siegmund is being chased through a forest. He finds shelter in a hut where, unbeknownst to them both, his long-lost twin sister lives with Hunding, whose clan is his enemy. Wagner describes the scene:

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Siegmund, pursued by overpowering foes and on the point of exhaustion, has found his way to Hunding’s dwelling, where the young wife, Sieglinde, refreshes and cares for him. Soon the two of them begin to share mutual, unspoken intimations. Siegmund had a twin sister from whom he was separated in earliest childhood; throughout his wild and lonely youth he had never encountered anything or anyone that spoke to him with a sense of intimate, familiar kinship. Sieglinde was likewise torn from her home at a tender age; scarcely had she reached maturity than she was given in marriage to a dark and ill-tempered man. The encounter with Siegmund awakens in her the sense of inner kinship that she, too, has longed to feel. To confirm her intuition, she risks seeking out the guest during the night. He is overwhelmed to discover her by his side, and he draws her close.

The act has three scenes. After the orchestral chase to start (in which various prominent leitmotivs parade by), Siegmund finds shelter. When Hunding returns home he is displeased to see Siegmund but complies with the laws of hospitality by providing housing for the night. After the three have shared an unpleasant meal together in which Siegmund is questioned about his background, Sieglinde gives her husband a sleeping potion so that she can continue the conversation. The longest and most intense part of the act is the extended third scene between them in which they gradually discover that they are not only long-lost brother and sister but also realize that they are deeply in love.

Their incestuous relationship will lead to Siegmund’s death, but only after Sieglinde is pregnant with Siegfried, the hero of the final two Ring operas.

As their story unfolds in the first act Siegmund sings the famous “Winterstürme,” which Wagner programmed as a separate concert aria on occasion. Sieglinde tells him that a mysterious wanderer (it turns out to have been Wotan, their father) has put a sword in the ash tree which can only be extracted by a hero in need—this Siegmund accomplishes, after which, with a symbolism one hardly needs to have read much Freud to appreciate, the following dialogue closes the act: “Are you Siegmund standing here before me? I am Sieglinde, who has longed for you, your own twin sister you have won at once with the sword!” The hero responds: “Be bride and sister to your brother and thus will flourish the Wälsung’s blood!” Wagner provides a concluding stage direction: “He draws her to him with passionate fervor. The curtain falls quickly.”

—Christopher H. Gibbs, James H. Ottaway Jr. Professor of Music, Bard College

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Who’s Who Leon Botstein Conductor This season, Leon Botstein celebrates his 20th anniversary as music director and principal conductor of the American Symphony Orchestra. He is artistic codirector of the acclaimed SummerScape and Bard Music festivals, which take place at Bard College’s Richard B. Fisher Center for the Performing Arts, designed by Frank Gehry. Botstein is also conductor laureate of the Jerusalem Symphony Orchestra, where he served as music director from 2003–11. He has ©joanne savio

been president of Bard College in New York since 1975.

Botstein has an active schedule as a guest conductor all over the world, and can be heard on numerous recordings, including operas by Strauss, Dukas, and Chausson, as well as works of Shostakovich, Dohnányi, Liszt, Bruckner, Bartók, Hartmann, Reger, Glière, Szymanowski, Brahms, Copland, Sessions, Perle, and Rands. Many of his live performances with the American Symphony Orchestra are now available for download on the Internet.

Leon Botstein is highly regarded as a music historian. He is the editor of The Musical Quarterly and the author of numerous articles and books. In 2011 he gave the prestigious Tanner Lectures in Berkeley, California. For his contributions to music he has received the award of the American Academy of Arts and Letters and Harvard University’s Centennial Award, as well as the Cross of Honor, First Class, from the government of Austria. In 2009 he received the Carnegie Foundation’s Academic Leadership Award, and in 2011 was inducted into the American Philosophical Society. He is also the 2012 recipient of the Leonard Bernstein Award for the Elevation of Music in Society.

Richard Cox This season, American tenor Richard Cox returns to the Metropolitan Opera as Froh in Das Rheingold and makes his debut at the New Orleans Opera as the title role in Samson et Dahlila. A former ensemble member at Oper Frankfurt, Cox appeared in several new productions there, including The Tempest, Arabella, Owen Wingrave, and Das Rheingold (which was recorded by Oehms Classics). He also appeared as Florestan in Fidelio, Peter Quint in Turn of the Screw, and ©arielle doneson

Aegisthus in Elektra. Other recent opera engagements have included Malcolm in Macbeth at the Metropolitan Opera;

Don José in student performances of Carmen at the Lyric Opera of Chicago; Bacchus in Ariadne auf Naxos and Sergei in Lady Macbeth of Mtsensk, both at the Teatro Municipal de Santiago de Chile; Ruprecht in Viktor Ulmann’s Der zerbrochene Krug at the Los Angeles

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Opera (released on DVD for Arthaus Musik); Adolar in Weber’s Euryanthe at the Staatsoper Dresden; and Claudio in the first fully staged North American production of Wagner’s Das Liebesverbot at Glimmerglass Festival.

An accomplished concert singer and recitalist, Cox was on the roster of the Marilyn Horne Foundation and made his New York recital debut in the On Wings of Song series.

He has also appeared with the Seattle Symphony, National Symphony Orchestra, American Symphony Orchestra, Orchestra of St. Luke’s at Carnegie Hall, Avery Fisher Hall, and the Kennedy Center.

Julie Makerov “Julie Makerov as Senta . . . was every inch the ringing life force Wagner intended” (Toronto Star). As winner of the 2010 Dora Award, Canada’s most prestigious live theater honor, Makerov was recognized for her compelling portrayals of Senta in Wagner’s Der fliegende Holländer and the goddess Freia in the Ring cycle (“Makerov’s plush soprano voice and vulnerability were ideal for the goddess Freia,” said the New York Times). Her future engagements include making her ©kristin hoebermann

debut with the Lyric Opera of Chicago and bringing her internationally acclaimed Tosca to the Canadian Opera Company.

In the 2012–13 season, Makerov will make her company and role debut as Gertrude in Hänsel und Gretel with Lyric Opera of Chicago, and joins Los Angeles Opera for its production of Der fliegende Holländer. Recent performances include the Queen of Hearts in the North American premiere of Unsuk Chin’s Alice in Wonderland for Opera Theatre of St. Louis; the role of Margherita in Boito’s Mefistofele; the title role in Dvoˇrák’s Rusalka; and Donna Elvira in Don Giovanni with the Canadian Opera Company. She also returned to her native Los Angeles to perform a concert of arias and songs titled Songs in the Earth and Air in conjunction with the USC Fisher Museum of Art.

Peter Volpe American bass Peter Volpe continually receives critical and popular acclaim on four continents. Possessing a vast and ever-expanding repertoire of more than 80 roles in six languages, his captivating style and interpretive skill embraces the depth of historical and fictional characters. Of a recent portrayal as Prince Gremin in Eugene Onegin, Opera News said he “managed to create in his single aria and scene an impressive dignity. His full-bodied bass and great candor of ©opera news

tone, together with his intelligent interpretation, won him a well-deserved ovation.” In the current season and beyond,

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performances include Ramfis in Aida at Michigan Opera Theatre, Sparafucile in Rigoletto at Manitoba Opera, Ferrando in Il Trovatore at Arizona Opera, Zuniga in Carmen at the Florentine Opera, the bass soloist in Verdi’s Requiem with the New Jersey Symphony and Chattanooga Symphony, and his role debut as Daland in Der fliegende Holländer with Glimmerglass Opera. In addition, he will perform Raimondo in Lucia di Lammermoor with Portland Opera, Philip II in Don Carlo at Vancouver Opera and Austin Lyric Opera, and Marquis of Calatrava in La forza del destino with Washington National Opera.

The American Symphony Orchestra The American Symphony Orchestra (ASO) was founded 50 years ago by Leopold Stokowski, with the specific intention of making orchestral music accessible and affordable for everyone. Under music director Leon Botstein, the ASO has kept Stokowski’s mission intact, and has also become a pioneer in what the Wall Street Journal called “a new concept in orchestras,” presenting concerts curated around various themes drawn from the visual arts, literature, politics, and history, and unearthing rarely performed masterworks for well-deserved revival. These concerts are performed in the Vanguard Series at Carnegie Hall.

In addition, the orchestra performs in the celebrated concert series Classics Declassified at Peter Norton Symphony Space, and is the resident orchestra of The Richard B. Fisher Center for the Performing Arts at Bard College, where it appears in a winter subscription series as well as Bard’s annual SummerScape and the Bard Music Festival. In 2010, the American Symphony became the resident orchestra of The Collegiate Chorale, performing regularly in the Chorale’s New York concert series. The orchestra has made several tours of Asia and Europe, and has performed in countless benefits for organizations including the Jerusalem Foundation and PBS. ASO’s award-winning music education program, Music Notes, integrates symphonic music into core humanities classes in high schools across the tristate area.

In addition to many albums released on the Telarc, New World, Bridge, Koch, and Vanguard labels, many live performances by the American Symphony are now available for digital download. In many cases, these are the only existing recordings of some of the rare works that have been rediscovered in ASO performances.

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The American Symphony Orchestra Leon Botstein, Music Director Violin I Erica Kiesewetter, Concertmaster Yukie Handa Diane Bruce Elizabeth Nielsen John Connelly Ashley Horne Ann Labin Katherine Hannauer Mara Milkis Nazig Tchakarian Ann Gillette David Steinberg Violin II Suzanne Gilman, Principal Robert Zubrycki Wende Namkung Heidi Stubner Dorothy Strahl Alexander Vselensky Lucy Morganstern Kathryn Aldous Lisa Tipton Lisa Steinberg Viola William Frampton, Principal Sally Shumway Crystal Garner Adria Benjamin Louis Day Arthur Dibble Emily Basner Alyssa Hardie Cello Eugene Moye, Principal Annabelle Hoffman Maureen Hynes Tatyana Margulis Elina Lang Anik Oulianine Lanny Paykin Matthew Beckman

Bass Tony Flynt, Principal Jack Wenger Louis Bruno Richard Ostrovsky William Sloat Lisa Chin Flute Laura Conwesser, Principal Rie Schmidt Diva Goodfriend-Koven, Piccolo Karla Moe Oboe Alexandra Knoll, Principal Erin Gustafson Katherine Halvorson Laura Covey, English horn Clarinet Laura Flax, Principal Maureen Hurd Daniel Spitzer Lino Gomez Bassoon Charles McCracken, Principal Mark Timmerman Gilbert Dejean, Contrabassoon Horn Zohar Schondorf, Principal David Smith Sara Cyrus Shelagh Abate Kyle Hoyt, Assistant

Trumpet John Sheppard, Principal Jason Covey Paul Murphy Bass Trumpet Keith Green Trombone Kenneth Finn, Principal Bradley Ward Jeffrey Caswell Mark Johansen Tuba Kyle Turner, Principal Timpani Jonathan Haas, Principal Percussion Javier Diaz, Principal Charles Descarfino Matthew Beaumont Harp Sara Cutler, Principal Megan Levin

Personnel Manager Ann Yarbrough Guttman Assistant Conductor Geoffrey McDonald Orchestra Librarian Marc Cerri

Wagner Tuba Adam Krauthamer Ian Donald Aaron Korn William DeVos

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American Symphony Orchestra Patrons The American Symphony Orchestra Board of Directors, staff, and artists gratefully acknowledge the following individuals, foundations, corporations, and government agencies for their vital support. While space permits us only to list gifts made at the Orchestra Club level and above, we value the generosity of all donors.

Stokowski Society The Frank & Lydia Bergen Foundation Michael Dorf The Fan Fox & Leslie R. Samuels Foundation, Inc. Jeanne Donovan Fisher The Booth Ferris Foundation Danny Goldberg and Rosemary Carroll Faith Golding Foundation, Inc. Rachel and Shalom Kalnicki Peter Linden New York City Department of Cultural Affairs New York State Council on the Arts Open Society Institute Robert Rauschenberg Foundation Thurmond Smithgall Felicitas S. Thorne The Winston Foundation Sustaining Supporter Dr. Leon Botstein The Ann & Gordon Getty Foundation Mary and Sam Miller Dimitri B. Papadimitriou Mrs. James P. Warburg Mr. and Mrs. Richard E. Wilson Distinguished Patron The Elroy & Terry Krumholz Foundation Lynne Meloccaro Golden Circle Joel and Ann Berson Eric Czervionke Gary M. Giardina Peter L. Kennard Arthur S. Leonard Dr. Pamela F. Mazur JoAnne Meloccaro Shirley A. Mueller Joseph and Jean Sullivan The David & Sylvia Teitelbaum Fund, Inc. Irene Zedlacher Benefactor Anonymous Miriam R. Berger Patricia K. Faber Karen and Mark Finkbeiner Irwin and Maya Hoffman IBM Corporation Jack Kliger

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William McCracken and Cynthia Leghorn Marcia H. Moor Richard and Joanne Mrstik Mr. and Mrs. David E. Schwab II David and Martha Schwartz Peter Sourian Allan and Ronnie Streichler, in honor of Leon Botstein Contributor Tania Ahuja Gary M. Arthur David Beek and Gayle Christian Thomas Cassilly Isabelle A. Cazeaux Richard C. Celler Bette R. Collom Mary S. Donovan Mr. and Mrs. Joseph Lawrence Gilman Rhea Graffman-Cohen, in honor of Miriam Berger Eva Botstein Griepp Max Hahn Sara Hunsicker Erica Kiesewetter Michael Kishbauch Irving Kleiman John D. Knoernschild Peter Kroll Alan Mallach Jeanne Malter Karen Manchester Stephen McAteer Sally McCracken Lisa Mueller and Gara LaMarche Tatsuji Namba James and Andrea Nelkin Lawrence Nylen Kurt Rausch LLC Harriet Schon Jon P. Tilley Kenneth Wald Larry Wehr Robert Weis Wayne and Dagmar Yaddow Orchestra Club Harold P. Allen American Express Gift Matching Program Ellis Arnstein Carol H. Ash Ronald Baranowski Carol K. Baron

Ruth Baron Matthew and Debra Beatrice Yvette and Maurice J. Bendahan Adria Benjamin John Brautigam Mona Yuter Brokaw Patricia R. Brophy Marjorie L. Burns, in memory of Marden Bate Roger Chatfield Barbara Clapman Michele Cone Mary M. Cope Diana Davis Elisabeth Derow Antonio Diez Ruth Dodziuk-Justitz Robert Durst Paul Ehrlich Exxon Mobil Foundation Richard Farris W. J. Fenza Martha Ferry Donald W. Fowle Deborah Franco Lyudmila German Christopher H. Gibbs MacEllis K. Glass June Goldberg Greenwich House, Inc. Nathan Gross John Haggerty Laura Harris James Hayden Roberta Hershenson Dr. and Mrs. Gerald Herskowitz Deb Hoffman Eric S. Holtz George H. Hutzler Jose Jimenez Donald Juliano Ronald S. Kahn Robert Kalish David Kernahan Caral G. Klein Adnah Kostenbauder Robert LaPorte Gerald Laskey Steve Leventis Walter Levi Judd Levy Peter A. Locker Harvey Marek

Ellen Marshall, in honor of Louis Marshall Alan B. McDougall Richard and Maryanne Mendelsohn June Meyer Clifford S. Miller Phyllis Mishkin Alex Mitchell Judith Monson Elisabeth J. Mueller Marin L. and Lucy Miller Murray, in honor of Leon Botstein Kenneth Nassau Maury Newburger Jacob and Suzanne Neusner James North Sandra Novick Jill Obrig Thomas O’Malley James Ottaway Roger Phillips Bruce Raynor Anthony Richter The Kauter Riopelle Family Kenneth Rock Leonard Rosen Peri Rosenfeld Henry Saltzman Leslie Salzman Emil and Nina C. Scheller Harriet Schon Janet Z. Segal Georgi Shimanovsky Bruce Smith John Sowle Stanley Stangren Gertrude Steinberg Alan Stenzler Hazel and Bernard Strauss Paul Stumpf Andre Sverdlove Lorne Taichman Madeline V. Taylor William Ulrich James Wagner Renata Weinstein Barbara Westergaard Janet Whalen Ann William Kurt Wissbrun Leonard Zablow Mark Zarick Alfred Zoller Karen Zorn, Longy School of Music of Bard College

Music plays a special part in the lives of many New York residents.

The American Symphony Orchestra gratefully acknowledges the support of the following government agencies that have made a difference in the culture of New York: New York State Council on the Arts The Honorable Andrew M. Cuomo, Governor The New York City Department of Cultural Affairs The Honorable Michael R. Bloomberg, Mayor The Honorable Kate D. Levin, Commissioner List current as of March 19, 2013

The American Symphony Orchestra Board of Directors Danny Goldberg, Chair Thurmond Smithgall, Vice Chair Dimitri B. Papadimitriou, Treasurer Miriam Berger Michael Dorf Rachel Kalnicki Jack Kliger Jan Krukowski Shirley A. Mueller Eileen Rhulen Felicitas S. Thorne Honorary Members: Joel I. Berson, Esq. L. Stan Stokowski Administration Lynne Meloccaro, Executive Director Oliver Inteeworn, General Manager Brian J. Heck, Director of Marketing Nicole M. de Jesus, Director of Development Sebastian Danila, Library Manager Marielle MĂŠtivier, Operations Manager Katrina Herfort, Ticketing Services Coordinator Marc Cerri, Orchestra Librarian Ann Yarbrough Guttman, Orchestra Personnel Manager Ben Oatmen, Production Assistant James Bagwell, Principal Guest Conductor Geoffrey McDonald, Assistant Conductor Zachary Schwartzman, Assistant Conductor Richard Wilson, Composer-inResidence Leszek M. Wojcik, Concert Archival Recording

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The Richard B. Fisher Center for the Performing Arts at Bard College presents

Gustav Mahler’s Symphony No. 2 Conducted by Leon Botstein, Music Director Heather Buck, soprano Jamie Van Eyck, mezzo-soprano Members of the American Symphony Orchestra, Bard College Conservatory Orchestra, and Longy Conservatory Orchestra Bard Chamber Singers, Bard Festival Chorale, and Cappella Festiva, James Bagwell, Chorus Master

sosnoff theater

Friday, April 26, and Saturday, April 27 7 pm Preconcert Talk | 8 pm Performance

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BARDSUMMERSCAPE 2013

DANCE/THEATER JULY 6–7

A Rite Bill T. Jones/Arnie Zane Dance Company and SITI Company

THEATER JULY 11–21 World Premiere Adaptation

The Master and Margarita after the novel by Mikhail Bulgakov

OPERA JULY 26 – AUGUST 4

Oresteia

by Sergey Taneyev

FILM FESTIVAL JULY 12 – AUGUST 3

Stravinsky’s Legacy and Russian Émigré Cinema

SPIEGELTENT JULY 5 – AUGUST 18

Cabaret, music, fine dining, and more and

THE 24TH ANNUAL BARD MUSIC FESTIVAL AUGUST 9–11 and 16–18

Stravinsky and His World

The 2013 SummerScape season and the 24th Bard Music Festival are 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 and the New York State Council on the Arts.

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