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

JOHANN SEBASTIAN BACH

St. John Passion March 1 and 2, 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 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.


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

Chair Jeanne Donovan Fisher President Leon Botstein

presents

JOHANN SEBASTIAN BACH

St. John Passion Members of the Bard College Conservatory Orchestra Leon Botstein, conductor James Bagwell, chorus master Rufus Müller, Evangelist Jesse Blumberg, Jesus Christus With members of the Graduate Vocal Arts Program and Bard College Undergraduate Music Program Marie Marquis ’13 and Xiaobo Su ’14, sopranos Sara Lemesh ’14 and Abigail Levis ’13, altos Vincent Festa ’14 and Barrett Radziun ’13, tenors Yohan Yi ’08, bass Logan Walsh ’13, Pilate August Bair ’16, Peter Brendan Beecher ’13, Servant Emily Donato ’15, Maid Bard College Chamber Singers James Bagwell, conductor

Sosnoff Theater Friday, March 1 and Saturday, March 2, 2013 Preconcert talk at 7 pm by Alexander Bonus Running time for the concert is approximately one hour and 50 minutes, with one 20-minute intermission.


St. John Passion Erster Teil

Part One

Nr. 1 Chor Herr, unser Herrscher, dessen Ruhm In allen Landen herrlich ist! Zeig uns durch deine Passion, Daß du, der wahre Gottessohn, Zu aller Zeit, Auch in der größten Niedrigkeit, Verherrlicht worden bist! Da capo

No. 1 Chorus O Lord, our Ruler, whose glory is magnified in all lands, testify to us by Thy passion that Thou, the true Son of God, hast at all times, even in time of deepest lowliness, been glorified. Da capo

Nr. 2a Rezitativ Evangelist Jesus ging mit seinen Jüngern über den Bach Kidron, da war ein Garten, darein ging Jesus und seine Jünger. Judas aber, der ihn verriet, wusste den Ort auch, denn Jesus versammlete sich oft daselbst mit seinen Jüngern. Da nun Judas zu sich hatte genommen die Schar und der Hohenpriester und Pharisäer Diener, kommt er dahin mit Fackeln, Lampen, und mit Waffen. Als nun Jesus wußte alles, was ihm begegnen sollte, ging er hinaus und sprach zu ihnen: Jesus Wen suchet ihr? Evangelist Sie antworteten ihm:

No. 2a Recitative Evangelist Jesus went forth with his disciples over the brook Cedron, where was a garden, into the which he entered, and his disciples. And Judas also, which betrayed him, knew the place: for Jesus ofttimes resorted thither with his disciples. Judas then, having received a band of men and officers from the chief priests and Pharisees, cometh thither with lanterns and torches and weapons. Jesus therefore, knowing all things that should come upon him, went forth, and said unto them, Jesus Whom seek ye? Evangelist They answered him,

Nr. 2b Chor Jesum von Nazareth.

No. 2b Chorus Jesus of Nazareth.

Nr. 2c Rezitativ Evangelist Jesus spricht zu ihnen: Jesus Ich bin’s. Evangelist Judas aber, der ihn verriet, stund auch bei ihnen. Als nun Jesus zu ihnen sprach: Ich bin’s, wichen sie zurücke und fielen zu Boden. Da fragete er sie abermal: Jesus Wen suchet ihr? Evangelist Sie aber sprachen:

No. 2c Recitative Evangelist Jesus saith unto them, Jesus I am he. Evangelist And Judas also, which betrayed him, stood with them. As soon then as he had said unto them, I am he, they went backward, and fell to the ground. Then asked he them again, Jesus Whom seek ye? Evangelist And they said,

Nr. 2d Chor Jesum von Nazareth.

No. 2d Chorus Jesus of Nazareth.

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Nr. 2e Rezitativ Evangelist Jesus antwortete: Jesus Ich hab’s euch gesagt, daß ich’s sei, suchet ihr denn mich, so lasset diese gehen!

No. 2e Recitative Evangelist Jesus answered, Jesus I have told you that I am he: if therefore ye seek me, let these go their way.

Nr. 3 Choral O große Lieb, o Lieb ohn alle Maße, Die dich gebracht auf diese Marterstraße! Ich lebte mit der Welt in Lust und Freuden, Und du mußt leiden!

No. 3 Chorale O great, boundless love, That hath brought Thee to this path of martyrdom! I lived among the worldly in contentment and pleasure And Thou must suffer!

Nr. 4 Rezitativ Evangelist Auf daß das Wort erfüllet würde, welches er sagte: Ich habe der keine verloren, die du mir gegeben hast. Da hatte Simon Petrus ein Schwert, und zog es aus, und schlug nach des Hohenpriesters Knecht, und hieb ihm sein recht Ohr ab; und der Knecht hieß Malchus. Da sprach Jesus zu Petro: Jesus Stecke dein Schwert in die Scheide; soll ich den Kelch nicht trinken, den mir mein Vater gegeben hat, den Kelch, den mir mein Vater gegeben hat?

No. 4 Recitative Evangelist That the saying might be fulfilled, which he spoke, Of them which thou gavest me I have lost none, Then Simon Peter having a sword drew it, and smote the high priest’s servant, and cut off his right ear. The servant’s name was Malchus. Then said Jesus unto Peter, Jesus Put up thy sword into the sheath: the cup which my Father hath given me, shall I not drink it, the cup which my Father hath given me?

Nr. 5 Choral Dein Will gescheh, Herr Gott, zugleich Auf Erden wie im Himmelreich; Gib uns Geduld in Leidenszeit, Gehorsam sein in Lieb und Leid, Wehr und steur allem Fleisch und Blut, Das wider deinen Willen tut!

No. 5 Chorale Thy will be done, O God, our Lord, on earth as it is in heaven; give us patience in time of trouble, obedience in love and grief, restrain and hold in check all flesh and blood that acteth contrary to Thy will.

Nr. 6 Rezitativ Evangelist Die Schar aber und der Oberhauptmann und die Diener der Juden nahmen Jesum und bunden ihn, und führeten ihn aufs erste zu Hannas, der war Kaiphas Schwäher, welcher des Jahres Hoherpriester war. Es war aber Kaiphas, der den Juden riet, es wäre gut, daß ein Mensch würde umbracht für das Volk.

No. 6 Recitative Evangelist Then the band and the captain and officers of the Jews took Jesus, and bound him, and led him away to Annas first; for he was father-in-law to Caiaphas, which was the high priest that same year. Now Caiaphas was he, which gave counsel to the Jews, that it was expedient that one man should die for the people.

Nr. 7 Arie (Alt) Von den Stricken meiner Sünden Mich zu entbinden, Wird mein Heil gebunden;

No. 7 Aria (Alto) To set me free from my sins’ chain my Saviour is being bound;

Mich von allen Lasterbeulen Völlig zu heilen, Läßt er sich verwunden. Da capo

to heal me quite of all the sores of vice, he allows Himself to be wounded. Da capo 5


Nr. 8 Rezitativ Evangelist Simon Petrus aber folgete Jesum nach und ein ander Jünger.

No. 8 Recitative Evangelist And Simon Peter followed Jesus and so did another disciple.

Nr. 9 Arie (Sopran) Ich folge dir gleichfalls mit freudigen Schritten Und lasse dich nicht, Mein Leben, mein Licht. Befördre den Lauf Und höre nicht auf, Selbst an mir zu ziehen, zu schieben, zu bitten! Da capo

No. 9 Aria (Soprano) I follow thee also with steps that are joyful, And will not leave thee, My life, my light. Assist thou the path And yet do not cease, Thyself to draw me, to push me, and to entreat! Da capo

Nr. 10 Rezitativ Evangelist Derselbige Jünger war dem Hohenpriester bekannt Und ging mit Jesu hinein in des Hohenpreisters Palast. Petrus aber stund draußen für der Tür. Da ging der andere Jünger, der dem Hohenpreister bekannt war, hinaus und redete mit der Türhüterin und führete Petrum hinein. Da sprach Die Magd, die Türhüterin, zu Petro: Ancilla (Magd) Bist du nicht dieses Menschen Jünger einer? Evangelist Er sprach: Petrus Ich bin’s nicht. Evangelist Es stunden aber die Knechte und Diener, und Hatten ein Kohlfeu’r gemacht, denn es war kalt, und wärmeten sich. Petrus aber stund bei ihnen und wärmete sich. Aber der Hohepriester fragte Jesum um sein Jünger und um seine Lehre. Jesus antwortete ihm: Jesus Ich habe frei, öffentlich geredet für der Welt. Ich habe allezeit gelehret in der Schule und in dem Tempel, da alle Juden zusammenkommen, und habe nichts im Verborgnen geredt. Was fragest du mich darum? Frage die darum, die gehöret haben, was ich zu ihnen geredet habe! Siehe, dieselbigen wissen, was ich gesaget habe. Evangelist Als er aber solches redete, gab der Diener einer, die dabeistunden, Jesu einen Backenstreich und sprach: Servus (Diener) I Solltest du dem Hohenpriester also antworten? Evangelist Jesus aber antwortete:

No. 10 Recitative Evangelist That disciple was known unto the high priest, and went in with Jesus into the palace of the high priest. But Peter stood at the door without. Then went out that other disciple, which was known unto the high priest, and spake unto her that kept the door, and brought in Peter. Then saith the damsel that kept the door unto Peter, Maid Art not thou also one of this man’s disciples? Evangelist He saith, Peter I am not. Evangelist And the servants and officers stood there, who had made a fire of coals; for it was cold: and they warmed themselves: and Peter stood with them, and warmed himself. The high priest then asked Jesus of his disciples, and of his doctrine. Jesus answered him, Jesus I spake openly to the world; I ever taught in the synagogue, and in the temple, whither the Jews always resort; and in secret have I said nothing. Why askest thou me? Ask them which heard me, what I have said unto them: behold, they know what I said.

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Evangelist And when he had thus spoken, one of the officers which stood by struck Jesus with the palm of his hand, saying, Servant Answerest thou the high priest so? Evangelist Jesus answered him,


Jesus Hab ich übel geredt, so beweise es, daß es böse sei, hab ich aber recht geredt, was schlägest du mich?

Jesus If I have spoken evil, bear witness of the evil: but If well, why smitest thou me?

Nr. 11 Choral Wer hat dich so geschlagen, Mein Heil, und dich mit Plagen So übel zugericht’? Du bist ja nicht ein Sünder, Wie wir und unsre Kinder, Von Missetaten weißt du nicht.

No. 11 Chorale Who hath beaten Thee thus, my Saviour, and with torments so mistreated Thee? Surely, Thou art not a sinner, like unto us and our children; Thou knowest naught of misdeeds.

Ich, ich und meine Sünden, Die sich wie Körnlein finden Des Sandes an dem Meer, Die haben dir erreget Das Elend, das dich schläget, Und das betrübte Marterheer.

I, I and my sins, that are as the grains of the sand by the sea, they it is that have caused Thee the misery that layeth Thee low, and the dejected host of martyrs.

Nr. 12a Rezitativ Evangelist Und Hannas sandte ihn gebunden zu dem Hohenpriester Kaiphas. Simon Petrus stund und wärmete sich; da sprachen sie zu ihm:

No. 12a Recitative Evangelist Now Annas had sent him bound unto Caiaphas the high priest. And Simon Peter stood and warmed himself. They said therefore unto him,

Nr. 12b Chor Bist du nicht seiner Jünger einer?

No. 12b Chorus Art thou not also one of his disciples?

Nr. 12c Rezitativ Evangelist Er leugnete aber und sprach: Petrus Ich bin’s nicht! Evangelist Spricht des Hohenpriesters Knecht’ einer, ein Gefreundter des, dem Petrus das Ohr abgehauen Servus II Sahe ich dich nicht im Garten bei ihm? Evangelist Da verleugnete Petrus abermal, und alsobald krähete der Hahn. Da gedachte Petrus an die Worte Jesu, und ging hinaus und weinete bitterlich.

No. 12c Recitative Evangelist He denied it, and said, Peter I am not. Evangelist One of the servants of the high priest, being his kinsman whose ear Peter cut off, saith, Servant Did not I see thee in the garden with Him? Evangelist Peter then denied again: and immediately the cock crew. Then Peter remembered the word of Jesus, and went outside, and wept bitterly.

Nr. 13 Arie (Tenor) Ach, mein Sinn, Wo willt du endlich hin, Wo soll ich mich erquicken? Bleib ich hier, Oder wünsch ich mir Berg und Hügel auf den Rücken?

No. 13 Aria (Tenor) O, my senses, where will you end? Where shall I refresh myself? Shall I stay here? Or do I desire to drag myself through trial and tribulation?

Bei der Welt ist gar kein Rat, Und im Herzen

In the world, there is no counsel, and in my heart

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Stehn die Schmerzen Meiner Missetat, Weil der Knecht den Herrn verleugnet hat.

there are the pains, my misdoing, since Thy servant hath renounced his master.

Nr. 14 Choral Petrus, der nicht denkt zurück, Seinen Gott verneinet, Der doch auf ein’ ernsten Blick Bitterliche weinet: Jesu, blicke mich auch an, Wenn ich nicht will büßen; Wenn ich Böses hab getan, Rühre mein Gewissen.

No. 14 Chorale Peter, who reflecteth not, denieth his God, who yet at that earnest look weepeth bitter tears. Jesu, look upon me, too, when I will not repent; when I have done ill, stir my conscience.

Intermission

Intermission

Zweiter Teil

Part Two

Nr. 15 Choral Christus, der uns selig macht, Kein Bös’ hat begangen, Der ward für uns in der Nacht Als ein Dieb gefangen, Geführt für gottlose Leut Und fälschlich verklaget, Verlacht, verhöhnt und verspeit Wie denn die Schrift saget.

No. 15 Chorale Christ, who bringeth us salvation, who hath done no wrong, for our sakes was taken like a thief in the night, was brought before godless men and wrongly accused, derided, mocked and spat upon: thus saith the Scripture.

Nr. 16a Rezitativ Evangelist Da führeten sie Jesum von Kaipha vor das Richthaus, und es war frühe. Und sie gingen nicht in das Richthaus, auf daß sie nicht unrein würden, sondern Ostern essen möchten. Da ging Pilatus zu ihnen heraus und sprach: Pilatus Was bringet ihr für Klage wider diesen Menschen? Evangelista Sie antworteten und sprachen zu ihm:

No. 16a Recitative Evangelist Then led they Jesus from Caiaphas unto the hall of judgment: and it was early; and they themselves went not into the judgment hall, lest they should be defiled; but that they might eat the passover. Pilate then went out unto them, and said, Pilatus What accusation bring ye against this man? Evangelist They answered and said unto him,

Nr. 16b Chor Wäre dieser nicht ein Übeltäter, wir hätten dir ihn nicht überantwortet.

No. 16b Chorus If he were not a malefactor, we would not have delivered him up unto thee.

Nr. 16c Rezitativ Evangelist Da sprach Pilatus zu ihnen: Pilatus So nehmet ihr ihn hin und richtet ihn nach eurem Gesetze!

No. 16c Recitative Evangelist Then said Pilate unto them, Pilate Take ye him, and judge him according to your law.

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Evangelist Da sprachen die Juden zu ihm:

Evangelist The Jews therefore said unto him,

Nr. 16d Chor Wir dürfen niemand töten.

No. 16d Chorus It is not lawful for us to put any man to death.

Nr. 16e Rezitativ Evangelist Auf daß erfüllet würde das Wort Jesu, welches er sagte, da er deutete, welches Todes er sterben würde. Da ging Pilatus wieder hinein in das Richthaus und rief Jesum und sprach zu ihm: Pilatus Bist du der Juden König? Evangelist Jesus antwortete: Jesus Redest du das von dir selbst, oder habens dir andere von mir gesagt? Evangelist Pilatus antwortete: Pilatus Bin ich ein Jude? Dein Volk und die Hohenpriester Haben dich mir überantwortet, was hast du getan? Evangelist Jesus antwortete: Jesus Mein Reich ist nicht von dieser Welt, wäre mein Reich von dieser Welt, meine Diener würden darob kämpfen, daß ich den Juden nicht überantwortet würde; aber, nun ist mein Reich nicht von dannen.

No. 16e Recitative Evangelist That the saying of Jesus might be fulfilled, which he spake, signifying what death he should die. Then Pilate entered into the judgment hall again, and called Jesus, and said unto him, Pilate Art thou the King of the Jews? Evangelist Jesus answered him, Jesus Sayest thou this thing of thyself, or did others tell it thee of me? Evangelist Pilate answered, Pilate Am I a Jew? Thine own nation and the chief priests have delivered thee unto me: what hast thou done? Evangelist Jesus answered, Jesus My kingdom is not of this world: if my kingdom were of this world, then would my servants fight, that I should not be delivered to the Jews: but now is my kingdom not from hence.

Nr. 17 Choral Ach, großer König, gross zu allen Zeiten, Wie kann ich gnugsam diese Treu ausbreiten? Keins Menschen Herze mag indes ausdenken Was dir zu schenken.

No. 17 Chorale O great King, at all times great, how may I sufficiently spread this faith abroad? Yet, no human heart may imagine what thing to offer Thee.

Ich kann’s mit meinen Sinnen nicht erreichen, Womit doch dein Erbarmen zu vergleichen. Wie kann ich dir denn deine Liebestaten Im Werk erstatten?

My senses cannot conceive with what to compare Thy compassion; how, then, may I repay Thy deeds of love with any deeds of mine?

Nr. 18a Rezitativ Evangelist Da sprach Pilatus zu ihm: Pilatus So bist du dennoch ein König? Evangelist Jesus antwortete:

No. 18a Recitative Evangelist Pilate therefore said unto him, Pilate Art thou a king then? Evangelist Jesus answered,

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Jesus Du sagst’s, ich bin ein König. Ich bin dazu geboren und in die Welt kommen, daß ich die Wahrheit zeugen soll. Wer aus der Wahrheit ist, der höret meine Stimme. Evangelist Spricht Pilatus zu ihm: Pilatus Was ist Wahrheit? Evangelist Und da er das gesaget, ging er wieder hinaus zu Den Jüden und spricht zu ihnen: Pilatus Ich finde keine Schuld an ihm. Ihr habt aber eine Gewohnheit, daß ich euch einen losgebe; wollt ihr nun, dass ich euch der Juden König losgebe? Evangelist Da schrieen sie wieder allesamt und sprachen:

Jesus Thou sayest that I am a King. To this end was I born, and for this cause came I into this world, that I should bear witness unto the truth. Every one that is of the truth heareth my voice. Evangelist Pilate saith unto him, Pilate What is truth? Evangelist And when he had said this, he went out again unto the Jews, and saith unto them, Pilate I find in him no fault at all. But ye have a custom, that I should release unto you one at the passover: will ye therefore that I release unto you the King of the Jews? Evangelist Then cried they all again, saying,

Nr. 18b Chor Nicht diesen, sondern Barrabam!

No. 18b Chorus Not this man, but Barabbas!

Nr. 18c Rezitativ Evangelist Barrabas aber war ein Mörder. Da nahm Pilatus Jesum und geißelte ihn.

No. 18c Recitative Evangelist Now Barabbas was a robber. Then Pilate therefore took Jesus, and scourged him.

Nr. 19 Arioso (Bass) Betrachte, meine Seel, mit ängstlichem Vergnügen, Mit bittrer Lust und halb beklemmtem Herzen Dein höchstes Gut in Jesu Schmerzen, Wie dir auf Dornen, so ihn stechen, Die Himmelsschlüsselblumen blühn! Du kannst viel süße Frucht von seiner Wermut brechen, Drum sieh ohn Unterlaß auf ihn!

No. 19 Arioso (Bass) Behold then, o my soul, with timorous pleasure, With bitter joy and sad and heavy heart, Thy greatest good in Jesus’ sufferings, How on the thorns, the which do pierce him, Heaven’s primroses flower for thee! Many a sweet fruit thou canst thus from his sorrow pluck, Therefore look on him evermore.

Nr. 20 Arie (Tenor) Erwäge, wie sein blutgefärbter Riicken In allen Stücken Dem Himmel gleiche geht, Daran, nachdem die Wasserwogen Von unsrer Sündflut sich verzogen, Der allerschönste Regenbogen Als Gottes Gnadenzeichen steht! Da capo

No. 20 Aria (Tenor) Consider how his back that’s stained with blood, In all its aspects Like unto the heavens is, Where, after the watery billows Of the deluge of our sins have passed, The most beautiful of rainbows stands As symbol of the grace of God! Da capo

Nr. 21a Rezitativ Evangelist Und die Kriegsknechte flochten eine Krone von Dornen, und satzten sie auf sein Haupt, und legten ihm ein Purpurkleid an, und sprachen:

No. 21a Recitative Evangelist And the soldiers plaited a crown of thorns, and put it on his head, and they put on him a purple robe, and said,

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Nr. 21b Chor Sei gegrüßet, lieber Judenkönig!

No. 21b Chorus Hail, King of the Jews!

Nr. 21c Rezitativ Evangelist Und gaben ihm Backenstreiche. Da ging Pilatus wieder heraus und sprach zu ihnen: Pilatus Sehet, ich führe ihn heraus zu euch, dass ihr erkennet, dass ich keine Schuld an ihm finde. Evangelist Also ging Jesus heraus, und trug eine Dornenkrone und Purpurkleid. Und er sprach zu ihnen: Pilatus Sehet, welch ein Mensch! Evangelist Da ihn die Hohenpriester und die Diener sahen, schrieen sie und sprachen:

No. 21c Recitative Evangelist And they smote him with their hands. Pilate therefore went forth again, and saith unto them, Pilate Behold, I bring him forth to you, that ye may know that I find no fault in him. Evangelist Then came Jesus forth, wearing the crown of thorns, and the purple robe. And Pilate saith unto them, Pilate Behold the man! Evangelist When the chief priests therefore and officers saw him, they cried out, saying,

Nr. 21d Chor Kreuzige, kreuzige!

No. 21d Chorus Crucify him, crucify him!

Nr. 21e Rezitativ Evangelist Pilatus sprach zu ihnen: Pilatus Nehmet ihr ihn hin und kreuziget ihn; denn ich finde keine Schuld an ihm! Evangelist Die Jüden antworteten ihm:

No. 21e Recitative Evangelist Pilate saith unto them, Pilate Take ye him, and crucify him: for I find no fault in him. Evangelist The Jews answered him,

Nr. 21f Chor Wir haben ein Gesetz, und nach dem Gesetz soll er sterben, dann er hat sich selbst zu Gottes Sohn gemacht.

No. 21f Chorus We have a law, and by our law he ought to die, because he made himself the Son of God.

Nr. 21g Rezitativ Evangelist Da Pilatus das Wort hörete, fürchtet’ er sich noch mehr, und ging wieder hinein in das Richthaus, und spricht zu Jesu: Pilatus Von wannen bist du? Evangelist Aber Jesus gab ihm keine Antwort. Da sprach Pilatus zu ihm: Pilatus Redest du nicht mit mir? Weissest du nicht, dass ich Macht habe, dich zu kreuzigen, und Macht habe, dich loszugeben? Evangelist Jesus antwortete:

No. 21g Recitative Evangelist When Pilate therefore heard that saying, he was the more afraid; and went again into the judgment hall, and saith unto Jesus, Pilate Whence art thou? Evangelist But Jesus gave him no answer. Then saith Pilate unto him, Pilate Speakest thou not unto me? Knowest thou not that I have power to crucify thee, and have power to release thee? Evangelist Jesus answered,

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Jesus Du hättest keine Macht über mich, wenn sie dir nicht wäre von oben herab gegeben; darum, der mich dir überantwortet hat, der hat’s größ’re Sünde. Evangelist Von dem an trachtete Pilatus, wie er ihn losließe.

Jesus Thou couldest have no power at all against me, except it were given thee from above: therefore he that delivered me unto thee hath the greater sin. Evangelist And from thenceforth Pilate sought to release him.

Nr. 22 Choral Durch dein Gefängnis, Gottes Sohn, Muß uns die Freiheit kommen, Dein Kerker ist der Gnadenthron, Die Freistatt aller Frommen; Denn gingst du nicht die Knechtschaft ein, Müßt’ unsre Knechtschaft ewig sein.

No. 22 Chorale By way of Thy prison, Son of God, freedom must come to us; Thy prison is the throne of grace, the refuge of all godly folk; for if Thou hadst not suffered imprisonment, our slavery would be everlasting.

Nr. 23a Rezitative Evangelist Die Juden aber schrieen und sprachen:

No. 23a Recitative Evangelist But the Jews cried out, saying,

Nr. 23b Chor Lässest du diesen los, so bist du des Kaisers Freund nicht, denn wer sich zum Könige machet, der ist wider den Kaiser.

No. 23b Chorus If thou let this man go, thou art not Caesar’s friend: whosoever maketh himself a king speaketh against Caesar.

Nr. 23c Rezitativ Evangelist Da Pilatus das Wort hörete, führete er Jesum heraus, und satzte sich auf den Richtstuhl, an der Stätte, die da heißet: Hochpflaster, auf Ebräisch aber: Gabbatha. Es war aber der Rüsttag in Ostern, um die sechste Stunde; und er spricht zu den Jüden: Pilatus Sehet, das ist euer König. Evangelist Sie schrieen aber:

No. 23c Recitative Evangelist When Pilate therefore heard that saying, he brought Jesus forth, and sat down in the judgment seat in a place that is called the Pavement, but in the Hebrew, Gabbatha. And it was the preparation of the Passover, and about the sixth hour, and he saith unto the Jews, Pilate Behold your King! Evangelist But they cried out,

Nr. 23d Chor Weg, weg mit dem, kreuzige ihn!

No. 23d Chorus Away with him, away with him, crucify him.

Nr. 23e Rezitativ Evangelist Spricht Pilatus zu ihnen: Pilatus Soll ich euren König kreuzigen? Evangelist Die Hohenpriester antworteten:

No. 23e Recitative Evangelist Pilate saith unto them, Pilate Shall I crucify your King? Evangelist The chief priests answered,

Nr. 23f Chor Wir haben keinen König, denn den Kaiser.

No. 23f Chorus We have no king but Caesar.

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Nr. 23g Rezitativ Evangelist Daß überantwortete er ihn, daß er gekreuziget würde. Sie nahmen aber Jesum und führeten ihn hin. Und er trug sein Kreuz, und ging hinaus zur Stätte, die da heißet: Schädelstätt, welche heißet auf Ebräisch: Golgotha.

No. 23g Recitative Evangelist Then delivered he him therefore unto them to be crucified. And they took Jesus, and led him away. And he bearing his cross went forth into a place called the place of a skull, which is called in the Hebrew Golgotha.

Nr. 24 Arie (Bass) mit Chor Eilt, ihr angefochtnen Seelen, Geht aus euren Marterhöhlen, Eilt – Wohin? – nach Golgotha!

No. 24 Aria (Bass) with Chorus Hasten, ye troubled souls, quit your dens of martyrdom, haste ye – Whither? – to Golgotha!

Nehmet an des Glaubens Flügel, Flieht – Wohni? – zum Kreuzeshügel, Eure Wohlfahrt blüht allda. Da capo

Take to wings of faith, fly – Whither? – to the hill of the cross, your welfare doth flourish there. Da capo

Nr. 25a Rezitativ Evangelist Allda kreuzigten sie ihn, und mit ihm zween andere zu beiden Seiten. Jesum aber mitten inne. Pilatus aber schrieb eine Überschrift und setzte sie auf das Kreuz, und war geschrieben: „Jesus von Nazareth, der Jüden König“. Diese Überschrift lasen viel Juden, denn die Stätte war nahe bei der Stadt, da Jesus gekreuziget ist. Und es war geschrieben auf ebräische, griechische und lateinische Sprache. Da sprachen die Hohenpreister der Jüden zu Pilato:

No. 25a Recitative Evangelist Where they crucified him, and two others with him, on either side one, and Jesus in the midst. And Pilate wrote a title, and put it on the cross. And the writing was, “Jesus of Nazareth the King of the Jews.” This title then read many of the Jews: for the place where Jesus was crucified was night to the city: and it was written in Hebrew, and Greek, and Latin. Then said the chief priests of the Jews to Pilate.

Nr. 25b Chor Schreibe nicht: der Juden König, sondern daß er gesaget habe: Ich bin der Juden König.

No. 25b Chorus Write not, The King of the Jews; but that he said, I am King of the Jews.

Nr. 25c Rezitativ Evangelist Pilatus antwortet: Pilatus Was ich geschrieben habe, das habe ich geschrieben.

No. 25c Recitative Evangelist Pilate answered, Pilate What I have written I have written.

Nr. 26 Choral In meines Herzens Grunde, Dein Nam und Kreuz allein Funkelt all Zeit und Stunde, Drauf kann ich fröhlich sein. Erschein mir in dem Bilde Zu Trost in meiner Not, Wie du, Herr Christ, so milde Dich hast geblut’ zu Tod.

No. 26 Chorale Deep in my heart Thy name and cross alone shine all the time and every hour, for that I may rejoice. Appear to me in that likeness as comfort to my need, how Thou, Lord Christ, so meek and mild, hast bled Thyself to death.

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Nr. 27a Rezitativ Evangelist Die Kreigsknechte aber, da sie Jesum gekreuziget hatten, nahmen seine Kleider und machten vier Teile, einem jeglichen Kreigesknechte sein Teil, dazu auch den Rock. Der Rock aber war ungenähet, von oben an gewürket durch und durch. Da sprachen sie untereinander:

No. 27a Recitative Evangelist Then the soldiers, when they had crucified Jesus, took his garments, and made four parts, to every soldier a part; and also his coat: now the coat was without seam, woven from the top throughout. They said therefore among themselves,

Nr. 27b Chor Lasset uns den nicht zerteilen, sondern darum losen, wes er sein soll.

No. 27b Chorus Let us not rend it, but cast lots for it, whose it shall be.

Nr. 27c Rezitativ Evangelist Auf daß erfüllet würde die Schrift, die da saget: Sie haben meine Kleider unter sich geteilet, und haben über meinen Rock das Los geworften. Solches taten die Kriegsknechte. Es stund aber bei dem Kreuze Jesu seine Mutter und seiner Mutter Schwester, Maria, Cleophas Weib, und Maria Magdalena. Da nun Jesus seine Mutter sahe und den Jünger dabei stehen, den er lieb hatte, spricht er zu seiner Mutter, Jesus Weib, siehe, das ist dein Sohn! Evangelist Darnach spricht er zu den Jünger, Jesus Siehe, das ist deine Mutter!

No. 27c Recitative Evangelist That the scripture might be fulfilled, which saith, They parted my raiment among them, and for my vesture they did cast lots. These things therefore the soldiers did. Now there stood by the cross of Jesus his mother, and his mother’s sister. Mary the wife of Cleophas, and Mary Magdalene. When Jesus therefore saw his mother, and the disciple standing by, whom he loved, he saith unto his mother, Jesus Woman, behold thy son! Evangelist Then saith he to the disciple, Jesus Behold thy mother!

Nr. 28 Choral Er nahm alles wohl in acht In der letzten Stunde, Seine Mutter noch bedacht, Setzt ihr ein’ Vormunde. O Mensch, mache Richtigkeit, Gott und Menschen liebe, Stirb darauf ohn alles Leid, Und dich nicht betrübe!

No. 28 Chorale He had a care for everything, in His last hour, He took thought for His mother still, and assigned to her a guardian. Oh, mankind, exercise righteousness, love both God and man, then die free from pain, and grieve not!

Nr. 29 Rezitativ Evangelist Und von Stund an nahm sie der Jünger zu sich. Darnach, als Jesus wußte, daß schon alles vollbracht war, daß die Schrift erfüllet würde, spricht er.

No. 29 Recitative Evangelist And from that hour the disciple took her unto his own home. After this, Jesus knowing that all things were now accomplished, that the scripture might be fulfilled, saith, Jesus I thirst. Evangelist Now there was set a vessel full of vinegar, and they filled a sponge with vinegar, and put it upon

Jesus Mich dürstet! Evangelist Da stund ein Gefäße voll Essigs. Sie fülleten aber einen Schwamm mit Essig und legten ihn um einen

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Isophen und hielten es ihm dar zum Munde. Da nun Jesus den Essig genommen hatte, sprach er. Jesus Es ist vollbracht!

hyssop, and put it to his mouth. When Jesus therefore had received the vinegar, he said, Jesus It is finished.

Nr. 30 Arie (Alt) Es ist vollbracht! O Trost für die gekränkten Seelen; Die Trauernacht Läßt nun die letzte Stunde zählen. Der Held aus Juda siegt mit Macht, Und schließt den Kampf. Es ist vollbracht!

No. 30 Aria (Alto) It is finished! Oh, consolation for all hurt souls; that night of mourning approaches its final hour. The Hero from Judah hath triumphed in strength, and ends the struggle. It is finished!

Nr. 31 Rezitativ Evangelist Und neiget das Haupt und verschied.

No. 31 Recitative Evangelist And he bowed his head, and gave up the ghost.

Nr. 32 Arie (Bass) mit Choral Bass Mein teurer Heiland, laß dich fragen Da du nunmehr ans Kreuz geschlagen Und selbst gesaget: Es ist vollbracht! Bin ich vom Sterben frei gemacht? Kann ich durch deine Pein und Sterben Das Himmelreich ererben? Ist aller Welt Erlösung da? Du kannst vor Schmerzen zwar nichts sagen, Doch neigest du das Haupt Und sprichst stillschweigend: ja. Chor Jesu, der du warest tot, Lebest nun ohn Ende, In der letzten Todesnot Nirgend mich kinwende, Als zu dir, der mich versühnt. O du lieber Herre! Gib mir nur, was du verdient, Mehr ich nicht begehre.

No. 32 Aria (Bass) with Chorale Bass My dear Saviour, let me ask Thee since Thou now art nailed to the cross and since Thou sayest Thyself, It is finished! am I now set free from death? May I, through Thy suffering and death, inherit heaven? Hath salvation come for all the world? True, Thou canst not speak for pain, yet Thy head Thou bowest and tacitly Thou sayest, Yes. Chorus Jesu, Thou who wert dead, now livest for ever; in my last agony nowhere will I turn but to Thee who hast redeemed me. O my beloved Lord! Give me only that which Thou hast won; more I do not desire.

Nr. 33 Rezitativ Evangelist Und siehe da, der Vorhang im Tempel zerriß in zwei Stück von oben an bis unten aus. Und die Erde erbebete, und die Felsen zerrissen, und die Gräber täten sich auf, und stunden auf viel Leiber der Heiligen.

No. 33 Recitative Evangelist And, behold, the veil of the temple was rent in twain from the top to the bottom; and the earth did quake, and the rocks rent; and the graves were opened; and many bodies of the saints which slept arose.

Nr. 34 Arioso (Tenor) Mein Herz, indem die ganze Welt Bei Jesu Leiden gleichfalls leidet, Die Sonne sich in Trauer kleidet.

No. 34 Arioso (Tenor) My heart, wherein the whole world suffers likewise with Jesu’s sorrow, the sun is wrapped in mourning.

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Der Vorhang reißt, der Fels zerfällt Die Erde bebt, die Gräber spalten, Weil sie den Schöpfer sehn erkalten: Was willst du deines Ortes tun?

The veil is torn asunder, the rock crumbleth, the earth trembleth, the tombs burst open, because they behold the creator grow cold: what wilt thou do for thy part?

Nr. 35 Arie (Sopran) Zerfließe, mein Herze, in Flute der Zäheren Dem Höchsten zu Ehren. Erzähle der Welt und dem Himmel die Not, Dein Jesus ist tot! Da capo

No. 35 Aria (Soprano) Melt, my heart, in floods of tears in honour of the Lord most high. Tell the misery to the world and to the heavens, thy Jesus is dead! Da capo

Nr. 36 Rezitativ Evangelist Die Jüden aber, dieweil es der Rüsttag war, daß nicht die Leichname am Kreuze blieben den Sabbat über, denn desselbigen Sabbats Tag war sehr groß, baten sie Pilatum, daß ihre Beine gebrochen und sie abgenommen würden. Da kamen die Kriegsknechte und brachen dem ersten die Beine und dem andern, der mit ihm gekreuziget war. Als sie aber zu Jesu kamen, daß sie sahen, daß er schon gestorben war, brachen sie ihm die Beine nicht, sondern der Kriegsknechte einer eröffnete sein Seite mit einem Speer, und alsobald ging Blut und Wasser heraus. Und der das gesehen hat, der hat es bezeuget, und sein Zeugnis ist wahr, und derselbige weiß, dass er die Wahrheit saget, auf daß ihr gläubet. Denn solches ist geschehen, auf daß die Schrift erfüllet würde: ihr sollet ihm kein Bein zerbrechen. Und abermals spricht eine andere Schrift: Sie werden sehen, in welchen sie gestochen haben.

No. 36 Recitative Evangelist The Jews therefore, because it was the preparation, that the bodies should not remain upon the cross on the Sabbath day (for that Sabbath day was an high day), besought Pilate that their legs might be broken, and that they might be taken away. Then came the soldiers, and brake the legs of the first, and of the other which was crucified with him. But when they came to Jesus, and saw that he was dead already, they brake not his legs. But one of the soldiers with a spear pierced his side, and forthwith came there out blood and water. And he that saw it bore record, and his record is true: and he knoweth that he saith true, that ye might believe. For these things were done, that the scripture should be fulfilled, A bone of him shall not be broken. And again another scripture saith, They shall look on him whom they pierced.

Nr. 37 Choral O hilf, Christe, Gottes Sohn, Durch dein bitter Leiden, Daß wir dir stets untertan All Untugend meiden; Deinen Tod und sein Ursach Fruchtbarlich bedenken, Dafür, wiewohl arm und schwach, Dir Dankopfer schenken.

No. 37 Chorale O help us, Jesus Christ, Son of God, through Thy bitter suffering, to be always obedient to Thee, eschewing all sin; to contemplate fruitfully Thy death and its cause, for which, though poor and weak, we will offer up our thanks.

Nr. 38 Rezitativ Evangelist Darnach bat Pilatum Joseph von Arimathia, der ein Jünger Jesu war, doch heimlich aus Furcht vor den Jüden, daß er möchte abnehmen den Leichnam Jesu Und Pilatus erlaubete es. Derowegen kam er und nahm den Leichnam Jesu herab. Es kam aber auch Nikodemus, der vormals bei der Nacht zu Jesu kommen war, und brachte Myrrhen und Aloen

No. 38 Recitative Evangelist And after this Joseph of Arimathaea, being a disciple of Jesus, but secretly for fear of the Jews, besought Pilate that he might take away the body of Jesus: and Pilate gave him leave. He came therefore, and took the body of Jesus. And there came also Nicodemus, which at the first came to Jesus by night, and brought a mixture of myrrh and aloes,

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untereinander, bei hundert Pfunden. Da nahmen sie den Leichnam Jesu, und bunden ihn in leinen Tücher mit Spezereien, wie die Jüden pflegen zu begraben. Es war aber an der Stätte, da er gekreuziget ward, ein Garte, und im Garten ein neu Grab, in welches niemand je geleget war. Daselbst hin legten sie Jesum, um des Rüsttags willen der Jüden, dieweil das Grab nahe war.

about an hundred pound weight. Then took they the body of Jesus, and wound it in linen clothes with the spices, as the manner of the Jews is to bury. Now in the place where he was crucified there was a garden; and in the garden a new sepulchre, wherein was never man yet laid. There laid they Jesus therefore because of the Jews’ preparation day; for the sepulcher was nigh at hand.

Nr. 39 Chor Ruht wohl, ihr heiligen Gebeine, Die ich nun weiter nicht beweine; Ruht wohl, und bringt auch mich zur Ruh. Das Grab, so euch bestimmet ist Und ferner keine Not umschließt, Macht mir den Himmel auf und schließt die Hölle zu. Da capo

No. 39 Chorus Rest in peace, you holy bones, which I will now no longer mourn; rest in peace, and take me, too, to rest. The grave, that is destined for you and encloseth no more grief, openeth the heavens up to me and closeth hell. Da capo

Nr. 40 Choral Ach Herr, laß dein lieb Engelein Am letzten End die Seele mein In Abrahams Schoß tragen; Den Leib in seim Schlafkämmerlein Gar sanft, ohn einge Qual und Pein, Ruhn bis am Jüngsten Tage! Alsdenn von Tod erwecke mich, Da meine Augen sehen dich In aller Freud, o Gottes Sohn, Mein Heiland und Genadenthron! Herr Jesu Christ, erhöre mich, Ich will dich preisen ewiglich!

No. 40 Chorale O Lord, let Thy dear angels carry my soul when my end comes to Abraham’s bosom; let my body in its resting chamber gently repose, without pain or grief, till Judgment Day! Awaken me from death, that my eyes may behold Thee in all joy, O Son of God, my Saviour and my Throne of Grace! Lord Jesus Christ, hear my prayer, I will ever praise Thee!

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Notes on the Program Johann Sebastian Bach Born in Eisenach, Thuringia, 1685 Died in Leipzig, 1750 St. John Passion, BWV245, composed in 1724 (rev. 1725, 1732, 1749) Since the earliest days of Christianity, the story of the Crucifixion was chanted as part of the Holy Week liturgy. At first, the entire text was entrusted to a single reader; by the 13th century at the latest, the parts were distributed among several singers and the reading became more and more dramatized. The first polyphonic settings of the Passion date from the 15th century. After the Protestant Reformation, Passion settings using Martin Luther’s Bible translation became popular in Germany, and eventually started to expand on the actual Gospel narrative by including newly written commentaries set as arias and choruses. Bach’s Passions, therefore, stand on the shoulders of a long line of predecessors, drawing on, synthesizing, and transcending their accomplishments. Bach’s obituary, signed by his son Carl Philipp Emanuel and his pupil Johann Friedrich Agricola, credited the composer with five Passion settings. One of these, the St. Luke Passion, has since been shown not to be by Bach, and two other works are lost (for one of these, the text and a few excerpts of the music survive). Of the remaining two, the St. Matthew Passion, one of Bach’s longest and most richly scored works, takes more time for meditative reflection and for tender, lyrical feelings. St. John Passion, completed in 1724 and revised several times afterwards, is on a smaller scale and is often said to be the more dramatic of the two. The differences derive, in part at least, by the differences between the two Gospels on which the Passions are based. The three Gospels of Mark, Luke, and Matthew are called “synoptic” because of the similarities in the way they tell the story. John’s Gospel is different from the other three in both content and style. One of its most striking characteristics, which became particularly important in Lutheranism, is the view that Christ’s death on the cross was truly a spiritual victory. Accordingly, the general mood of mourning, which prevails in the St. Matthew Passion, is tempered in St. John by repeated affirmations of Christ’s glory and eternal life. We don’t have to wait for the Resurrection—which, of course, is not mentioned in either Passion—to have cause for celebration. It is enough to compare the opening choruses of the two Passions to experience this difference: the magnificent double chorus in St. Matthew is a song of lament, while its counterpart in St. John (“Herr, unser Herrscher”—“Lord, our ruler”) is an affirmation of God’s glory. The music of both Passions falls into several distinct categories: (1) Biblical narrative—the words of the Gospel, sung to accompanied recitative by the Evangelist and the various other characters. 18


(2) Arias preceded by accompanied recitatives, using newly written texts that contain commentaries on the narrative from an 18th-century Lutheran standpoint. (3) Choruses on Biblical texts (“turbas”), containing the responses of the crowd. (4) Chorales, or Lutheran church hymns inserted as moments of communal reflection on the action. The first and third of these categories had been part of the Passion from the beginning; the second and fourth were added in the German “oratorio Passions” of the 17th and 18th centuries. The words to the arias were written by contemporaries of Bach; while in the case of St. Matthew we know who the poet was (Christian Friedrich Henrici, aka Picander), the situation is more complicated in St. John: here the identity of the librettist is unknown, although the text leans heavily on a famous Passion poem by Barthold Heinrich Brockes, set to music by both Handel and Telemann. The St. John Passion narrates the events of the last days of Jesus’s life, from his betrayal by Judas through the Crucifixion, as found in chapters 18 and 19 of John’s Gospel. In two instances, elements from Matthew were also woven into the narrative: one of these insertions occurs during the episode of Peter’s denial of Jesus, the other describes the earthquake following Jesus’s death. Bach wrote the St. John Passion in 1724, the year after he took up his duties at St. Thomas’s Church in Leipzig. Subsequently, he revised the work no fewer than three times. Only one year after the first version, Bach made substantial changes in the score, adding several new movements; later he cut those movements again and the last version, from 1749, the year before Bach’s death, is actually very close to the first one. Most performances today follow the modern edition prepared by Arthur Mendel and first published in 1951; this is a composite of the different versions (not all of which survive in full).

Recitatives Of the four musical categories listed above, the first is the biblical narrative presented in the recitatives. Bach’s recitative differs from Passion recitatives of earlier composers in the highly expressive nature of its melodic line. Far from being the mere imitation of speech that recitative is supposed to be according to most dictionaries, Bach’s recitatives (while scrupulously following the prosody of his text) are quite demanding musically. They have a wide vocal range, may be quite complex harmonically, and sometimes contain aria-like elements such as long melismas (groups of notes sung to the same syllable) to mark words of particular importance. The Evangelist, whose part is by far the most extensive, is much more than a mere narrator: he actively participates in the action, and the melodic inflections in his part offer a personal commentary on the events. His voice often rises to the highest register of the 19


tenor voice, as a sign of intense emotion. At the moment where Peter becomes aware of his denial of Jesus, he bursts out in an expressive melisma to the words weinete bitterlich [“wept bitterly”]. A similarly elaborate melisma occurs in the trial scene, on the words geisselte ihn [“scourged him”]. Other vocal soloists intervene to sing the lines of the various characters in the story. The second most extensive part, after the Evangelist, belongs to Jesus, portrayed by a bass soloist. In most modern performances, a second bassist sings the parts of both Peter and Pontius Pilate. A maid (soprano) and a servant (tenor) have only a few short lines to sing.

Arias The texts for the arias represent individual members of the congregation reacting to, and identifying with, the events as they unfold. They are closely related to the recitatives that precede them. For example, the scene where Peter denies Jesus is followed by the tormented tenor aria Ach mein Sinn [“O my mind”], which is a vivid illustration of Peter’s feelings of guilt. It is important to emphasize that it is not Peter who sings this aria but a devout Christian who internalizes the drama he has been witnessing. Similarly, the bass aria Eilt, ihr angefochtnen Seelen [“Hurry, you besieged souls”], sung after Jesus was taken to Golgotha, is a personal reaction to this tragic turn in the story. The soloist is surrounded by a chorus of sympathetic listeners who keep interrupting him with the question “Where?” to which, invariably, “Golgotha” is the answer. All arias contain one or more instrumental solos. These so-called obbligato parts have a structural role in announcing the themes and providing interludes between the vocal sections; furthermore, the choice of instruments affects the emotional character of the arias. The special atmosphere of the bass arioso Betrachte, meine Seel [“Ponder, my soul”], followed by the tenor aria Erwäge [“Consider”] is largely due to the presence of the two violas d’amore (a string instrument with special resonance strings); the arioso also features the lute. Likewise, the alto aria Es ist vollbracht [“It is accomplished”], one of the high points of the Passion, is scored with a viola da gamba or bass viol, an instrument with a uniquely warm timbre. This aria, sung after Jesus has uttered his last words on the cross (“It is accomplished”), is another example for the particular way John’s Gospel and Bach’s librettist interpret the events. The original Greek for “It is accomplished” is tetelestai, which is a cry of triumph. While Bach set these words as a lament, the aria includes an amazing middle section in a faster tempo, where the key changes from minor to major, the entire string orchestra joins in, and the soloist joyfully exclaims: Der Held aus Juda siegt mit Macht (“The hero from Judah triumphs with power”).

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Choruses and chorales The chorus may represent different groups in the Passion. In the opening and closing movements, it stands for the congregation of Bach’s time. In the biblical turbas, they can impersonate soldiers and priests among others. Sometimes they are introduced by the Evangelist by the simple pronoun “they,” whose interpretation has given rise to some intense debates. Since in many of the turbas “they” call for Jesus’s death and Barabbas’s release, and since the Gospel recitative often refers to “the Jews” in general (rather than “high priests, scribes, and elders” as in St. Matthew), the St. John Passion is sometimes accused of having anti-Semitic overtones. It is, however, not clear if imprecise lingustic usage should be construed as religious prejudice (“the Jews” doesn’t necessarily mean “all the Jews”). We know that Jesus, himself a Jew, was strongly opposed by some Jewish conservatives; in other words, the conflict was not between “the Jews” and others, but rather between different Jewish factions. Therefore, it is entirely wrong to say that “the Jews killed Jesus,” a claim the Gospel itself never makes; in fact, the narrative makes it amply clear that Pontius Pilate, the Roman governor of Judea, had the final say in the matter. Recent research has even shown that Bach had actually softened some of the anti-Jewish rhetoric present in the Gospel and in Luther’s translation of it. German audiences in Bach’s time were intimately familiar with the words and the melodies of the chorales (Lutheran church hymns), but Bach’s harmonizations were new (and quite startling at times). In the Passions, chorale settings are strategically placed at key moments when it is time to take a step back and reflect communally on what has just been said in the biblical narrative. The St. John Passion has eleven chorale movements using eight different chorale melodies. In addition, the solo line in the bass aria Mein teurer Heiland (“My precious Savior”), sung after Jesus’s death, is intertwined with a chorale (on a melody previously heard) performed by the chorus. The most striking of the chorales is the one with which the entire work ends. It is preceded by the grandiose chorus Ruht wohl (“Be at peace”), which could very well function as the concluding movement of the Passion (and actually did so in the third version of the work). This “lullaby” shares its general mood and meter with the final chorus of the St. Matthew Passion, although its text, in true Johannine spirit, says: “Be at peace, you holy bones, which I will no longer bewail.” The emphasis, once again, is on triumph and glorification, not on mourning. The final chorale, which follows Ruht wohl in three of the four versions, drives that point home forcefully, ending as it does with a resounding praise of the victorious “Lord Jesus Christ.” —Peter Laki, Visiting Associate 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.

He 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 prestigious Centennial Award, as well as the Cross of Honor, First Class, from the government of Austria. In 2009 he received 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.

James Bagwell Chorus Master James Bagwell maintains an active international schedule as a conductor of choral, operatic, and orchestral music. In 2009 he was appointed music director of The Collegiate Chorale and principal guest conductor of the American Symphony Orchestra, leading the ©mel mittlemiller

ASO in concerts at Carnegie Hall during the 2011–12 season. Some highlights of this past

season included Bellini’s rarely performed opera Beatrice di Tenda at Carnegie Hall, and his conducting of Kurt Weill’s Knickerbocker Holiday at Alice Tully Hall, which was recorded live for Gaslight Records. In July 2011 he prepared The Collegiate Chorale for three concerts at the Verbier Festival in Switzerland, and in 2012 they traveled to Israel and the Salzburg Festival for performances with The Israel Philharmonic.

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Bagwell has prepared The Concert Chorale of New York for numerous performances with the American Symphony Orchestra, Los Angeles Philharmonic, and Mostly Mozart Festival (broadcast nationally in 2006 on Live from Lincoln Center)—all in Avery Fisher Hall at Lincoln Center. Since 2003 he has been director of choruses for the Bard Music Festival, conducting and preparing choral works during the summer festival at The Richard B. Fisher Center for the Performing Arts at Bard College. In June he conducted the Amici New York Orchestra at the OK Mozart Festival, and he continues a collaborative project with singer Natalie Merchant that pairs her with major orchestras across the country. In December 2011 he made his debut with Cincinnati Symphony Orchestra. Bagwell is professor of music at Bard College and codirector of the Graduate Program in Conducting.

Rufus Müller Evangelist British-German tenor Rufus Müller was acclaimed by the New York Times following a performance in Carnegie Hall as “easily the best tenor I have heard in a live Messiah.” He is celebrated as the Evangelist in Bach’s Passions, and his unique dramatic interpretation of this role has confirmed his status as one of the world’s most sought-after performers. He gave the world premiere of Jonathan Miller’s ©eleanor bentall

production of the St. Matthew Passion, which he also recorded for United and broadcast on BBC TV; he repeated

the role in three revivals of the production at the Brooklyn Academy of Music. Müller is also a leading recitalist, performing worldwide with pianist Maria João Pires His 2012 –13 season includes recitals with fortepianist Christoph Hammer in Germany, New York, and Baltimore; Britten’s Serenade in Toronto; Hans Zender’s version of Winterreise in Montreal; Bach’s Passions in Oxford, Stockholm, New York, San Francisco, and Washington, D.C., and Handel’s Messiah in Montreal and Washington, Mendelssohn’s Paulus in Madrid, Haydn’s Creation in Norway and Washington, among other appearances. Born in Kent, England, UK, Müller was a choral scholar at New College, Oxford. He studied in New York with Thomas LoMonaco and is assistant professor of music at Bard College, New York.

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Jesse Blumberg Jesus Christus Baritone Jesse Blumberg is equally at home on opera, concert, and recital stages. Some of his recent engagements include Niobe, Regina di Tebe at Boston Early Music Festival, Bernstein’s Mass at London’s Royal Festival Hall, and performances with the New York Festival of Song. He has performed roles at Minnesota Opera, Pittsburgh Opera, Utah Opera, and Boston Lyric Opera, and made concert appear©arielle doneson

ances with American Bach Soloists, Los Angeles Master Chorale, Charlotte Symphony, Apollo’s Fire, and the Vail

Valley Music Festival. He toured with Mark Morris Dance Group and the Waverly Consort, and has given recitals for the Marilyn Horne Foundation. A very active performer of new music, he is a member of Mirror Visions Ensemble. Blumberg’s 2012 –13 season includes debuts with New York City Opera, Lincoln Center’s American Songbook series, Oratorio Society of New York, and Pacific Musicworks, among others. In addition, he returns to American Bach Soloists, Apollo’s Fire, Mark Morris Dance Group, TENET/Green Mountain Project, and Boston Early Music Festival. He received an M.M. degree from the University of Cincinnati College–Conservatory of Music and undergraduate degrees in history and music from the University of Michigan. He is the founder and artistic director of Five Boroughs Music Festival, which brings chamber music of many genres to every corner of New York City.

Yohan Yi ’08 Bass Bass-baritone Yohan Yi made his debut at Lincoln Center’s Avery Fisher Hall as a bass soloist in Handel’s Messiah in December 2012. After graduating from Hanyang University in South Korea, he completed an M.M. degree in 2008 as a member of the inaugural class of the Graduate Vocal Arts Program of The Bard College Conservatory of Music. He made his professional opera debut at the 2008 Cincinnati May Festival, where he performed as Alcade and the Surgeon in Verdi’s La forza del destino under the baton of James Conlon. In the summer of 2009, Yi took part in San Francisco Opera’s Merola Program, and performed as Hanezo in Mascagni’s L’amico Fritz and sang Aleko’s Cavatina with San Francisco Opera Orchestra. From 2009–11, he participated in the DomingoThornton Young Artist Program of the LA Opera. In 2011 he sang Haydn’s Heiligmesse at the Cincinnati May Festival and made his Ravinia Festival debut as the Jailer in Tosca. Yi won first prize in the 2011 Connecticut Opera Guild voice competition and fifth place in the Loren L. Zachary National Vocal Competition. He also placed first in the 2010 Pasadena Opera Guild Competition and the 2008 Heida Hermanns Voice Competition.

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Vincent Festa ’14 Tenor Vincent Festa is a first-year student in the Graduate Vocal Arts Program at The Bard College Conservatory of Music. He received his B.M. from The Juilliard School, where he was seen as Flute in Britten’s A Midsummer Night’s Dream and as tenor soloist in a pastiche of early works by Monteverdi and Purcell. He spent two summers at the Chautauqua Institute, where he performed the roles of Basilio in Le ©luke delalop

nozze di Figaro and Giles Corey in The Crucible. A native New Yorker, Festa currently studies with Lorraine Nubar.

Sara Lemesh ’14 Alto Mezzo-soprano Sara Lemesh, of San Francisco, received her bachelor of music degree from Rice University under the tutelage of Susanne Mentzer and is working toward her master’s degree at Bard College. She performs frequently as a soloist, most recently in Mozart’s Requiem, Vivaldi’s Gloria, Duruflé’s Requiem, and Britten’s Ceremony of Carols. This past summer, Lemesh attended the Aspen Opera Theater Center, where she played Third Spirit in ©susan adler

Mozart’s Die Zauberflöte as well as Idamante and Despina

in the AOTC Scenes Program. Other engagements have included Songfest and the Mozarteum International Summer Academy, where she studied with Ruggero Raimondi. This summer, Lemesh looks forward to performing at the Music Academy of the West in Santa Barbara, California.

Abigail Levis ’13 Alto Named “Debut Artist of the Year” by the Joy in Singing Foundation, lyric mezzo-soprano Abigail Levis is emerging as an exciting young singer. The Boston Musical Intelligencer praised her “dramatic style” and “high level of technical ability” in her performance of Israel in Egypt with the Handel and Haydn Society in Symphony Hall. She is a student in the Graduate Vocal Arts Program at The Bard ©aidan schultz-meyer

College Conservatory of Music, where she studies with Edith Bers and Dawn Upshaw. As a professional singer,

Levis has appeared as a soloist with the American Symphony Orchestra, Ars Lyrica Houston, and New York Opera Exchange. She is the winner of several competitions, including the 2010 University of Houston Concerto Competition, 2010 National Orpheus Vocal Competition, 2011 Five Towns Music Competition in Long Island, and 2011 Young Texas Artist Competition.

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Marie Marquis ’13 Soprano Marie Marquis, a Mississippi native and recent graduate of the Peabody Institute in Baltimore, enjoys singing a diverse selection of repertoire from Renaissance to classical to contemporary. She has been featured on WYPR with the Peabody Renaissance Ensemble, and performed as a soloist with the group in several concerts. Recently she has appeared on stage as Norina in Don Pasquale at Fairbanks ©aiden schultz-meyer

Summer Arts Festival, as Judy in This is the Rill Speaking in Baltimore’s Theater Project, and as a soldier in the premiere

of Libby Larsen’s Stone Soup at Songfest in Malibu. Last year, she won both the state and regional NATS student auditions in the Mid-Atlantic Region and received the Charles M. Eaton prize in voice and the Azalia H. Thomas Prize from the Peabody Institute. She holds a bachelor of music degree from Peabody as well as a B.A. in French language and literature from Johns Hopkins University. Marquis is a second-year student in the Graduate Vocal Arts Program at The Bard College Conservatory of Music.

Barrett Radziun ’13 Tenor Barrett Radziun has appeared on opera, oratorio, and recital stages throughout the United States. Described by Cleveland Classical as “brilliant in his solo performances,” Radziun’s recent engagements include the world premiere of Elena Langer’s opera Four Sisters; Monteverdi’s Vespro della beata Vergine; Dubois’s The Seven Last Words of Christ; and J. S. Bach’s Cantata No. 80. He also appeared as tenor ©bethany jackson

soloist in Mendelssohn’s Elijah with members of the American Symphony Orchestra. Radziun won first place in

Thursday Musical’s 2011 Young Artist Competition, and was a finalist in the 2011 Schubert Club Scholarship Competition. He is an alumnus of SongFest, Hawaii Performing Arts Festival, Amherst Early Music Festival, Oberlin’s Baroque Performance Institute, and Seattle’s Accademia d’Amore Baroque Opera Workshop. He holds a bachelor of music degree in vocal performance from Northwestern College.

Xiaobo Su ’14 Soprano Chinese soprano Xiaobo Su is a first-year student in the Bard Conservatory’s Graduate Vocal Arts Program. In 2011, she won first prize in the NATSLA Young Artist Competition and was a finalist in the Metropolitan Opera West Regional Competition. She is a recipient of scholarships from the Leni Fe Bland Foundation, Society of Singers, Tsinghua University, USC Thornton School of Music, and Aspen School Music Festival. Su has performed ©kristina jacinth

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throughout Asia, the United States, and Italy. Praised for her interpretation of Donna Anna in Mozart’s Don Giovanni, she recently performed her first Wagner role, Mariana, in the West Coast premiere of Das Liebesverbot, as part of a celebration of Wagner Year in Los Angeles. Other stage credits include La Cesca in Gianni Schicchi, Mimi in La bohème, and Manon in Manon Lescaut.

Logan Walsh ’13 Pilate Baritone Logan Walsh has sung leading and supporting roles in opera, operetta, recital repertoire, sacred music, musical theater, and contemporary music. He collaborated with composer Jake Heggie on a recital of the composer’s songs and arias from Moby Dick, The End of the Affair, and Three Decembers. In 2012, he performed the role of Charlie in Heggie’s Three Decembers with the International Vocal ©arielle doneson

Arts Institute in Virginia and sang the role of Krumpelblatt in the world premiere of Elena Langer’s opera Four Sisters.

He spent three summers with the Ohio Light Opera Company, participating in more than 150 performances in such roles as Count Berezowski in Victor Herbert’s The Fortune Teller, Pauvel von Paulovitch in Franz Lehár’s The Count of Luxembourg, the Usher in Gilbert & Sullivan’s Trial by Jury, and Sam Jenkins in Gershwin’s Of Thee I Sing. Walsh has performed in several training programs, among them the Crested Butte Music Festival, OperaWorks in Los Angeles, and Crittenden Summer Opera Studio. While completing his bachelor of music in voice performance at the University of North Texas, he sang the title role in Le Nozze di Figaro, Albert in Werther, Barone Duophol in La Traviata, and Oscar in Regina.

The Bard College Conservatory of Music Robert Martin, Director Recognized as one of the finest conservatories in the United States, The Bard College Conservatory of Music, founded in 2005, is guided by the principle that musicians should be broadly educated in the liberal arts and sciences to achieve their greatest potential. All undergraduates complete two degrees over a five-year period, a bachelor of music and a bachelor of arts in a field other than music. The Bard College Conservatory Orchestra, Leon Botstein, music director, performs at least four times each year in The Richard B. Fisher Center for the Performing Arts at Bard College as part of the Conservatory Sundays concert series. In May 2013 the orchestra will make a return appearance at Alice Tully Hall in a concert of works by Prokofiev, Shostakovich, and Stravinsky, conducted by Leon Botstein. The orchestra also performs annually at the Eastern NY Correctional Facility as part of the Bard Prison Initiative. In

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June 2012 the orchestra, conducted by Botstein, toured Asia for three weeks, performing in Hong Kong, Taipei, Shanghai, Beijing, Guangzhou, Wuhan, and Tinjin. The Graduate Vocal Arts Program is a two-year master of music degree conceived by soprano Dawn Upshaw. The course work is designed to support a broad-based approach to a singing career that extends from standard repertory to new music. Alongside weekly voice lessons, diction, and repertory courses is training in acting, as well as core seminars that introduce and tie together the historical/cultural perspective, analytical tools, and performance skills that distinguish vocal and operatic performance at the highest level. The Orchestral and Choral Conducting Program is a new two-year graduate curriculum that culminates in the master of music degree. The program is designed and directed by Harold Farberman, founder and director of The Conductors Institute at Bard; James Bagwell, director of Bard’s undergraduate Music Program and music director of the Collegiate Chorale; and Leon Botstein, president of Bard College, music director and principal conductor of the American Symphony Orchestra, and conductor laureate of the Jerusalem Symphony Orchestra.

The Bard College Chamber Singers Formed in 2002 by music director James Bagwell, Bard College Chamber Singers is an auditioned choir of Bard students and alumni/ae from all programs of the College. In the past few seasons, the Chamber Singers have performed Arvo Pärt’s Magnificat, Maurice Durufle’s Requiem, and Mozart’s Requiem in concert at the Fisher Center’s Sosnoff Theater. During the spring of 2010, the group filled the role of the chorus in Bard College’s Graduate Vocal Arts Program’s performances of two original operas, Vinkensport by David Little and Song from the Uproar: The Lives and Deaths of Isabelle Eberhardt by Missy Mazzoli, as well as in a production of Maurice Ravel’s L’enfant et les sortilèges. In October 2012, the Chamber Singers performed Mahler’s Eighth Symphony at Carnegie Hall with the American Symphony Orchestra, and in December joined the Bard College Symphonic Chorus performing Beethoven’s Mass in C.

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Bard College Chamber Singers James Bagwell, Music Director and Conductor James Fitzwilliam, Accompanist Anastasia Serdsev, Chorus Administrator Soprano

Margaret O’Connell**

Noah Lundgren

Charlotte Ames

Ali Overing

Michael Maliakel**

Samantha Burke

Page Redding

Brian Mummert**

Angela Aida Carducci+

Hannah Rommer*

Will Sanna

Elizabeth Cohen+

Trina Ross

Lauren D’Ottavio

Heidi Schnarr*

Elisabeth Darnell

Anastasia Serdsev

Emily Donato

Lily Smith

Allison Emanuel

Raina Sokolov-Gonzalez

Natasha Friedman

Polina Vulakh

Jennifer Gliere**

Ruadhan Ward

*Masters in Choral Conducting student **Guest choral artist +Graduate Vocal Arts student All guest choral artists contracted by Nancy Wertsch

Eileen Goodrich Sarah Hawkey**

Tenors

Tanya Leibman

Brendan Beecher

Rosemary Limburg

Ben DiFabbio

Jennifer Ribeiro**

Jack Harrell

Amy Rood**

John Cleveland Howell**

Liz Sherman

Hyunhak Kim+

Devony Smith+

Theo Lowrey

Megan Snyder

Zach Malavolti*

Ariana Stulz

Nathan Siler**

Rebecca Swanberg

Riley Soter**

Dorothy Trowbridge

Kannan Vasudevan** Zach Whalen

Alto

Matthew Woolever*

Birai Barkakaty** Dani Dobkin

Bass

Kimberly Feltkamp+

August Bair

Agueda Fernandez**

Otto Berkes

Chelsea Frankel

Joe Curry-Stodder

Claire Gotch

Andrew Feyer

Maureen Gregory

James Fitzwilliam

Molly Hickman

Kenneth Griffth*

Katherine Korsak**

Matt Hughes

Sarah Longstreth

Jonathan Keeley**

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Members of the Bard College Conservatory Orchestra Leon Botstein, conductor Erica Kiesewetter, director of orchestral studies

Violin I

Flute

Erica Kiesewetter+,

Fanny Wyrick-Flax

Concertmaster

Eleni Tsachtani

Sabrina Tabby

Eszter Ficsor

Reina Murooka

Bridget Bertoldi

Zhi Ma Sergio Carleo

Oboe Stephen Hammer+

Violin II

Carl Alex Meyer

Bob Zubrycki*, Principal

Gregory Drilling

Scot Moore

Alessandro Cirafici

Caitlin Majewski Leonardo Pineda

Bassoon

Shuang Yang

David Nagy

Viola

Contrabassoon

David Toth, Principal

Joshua Hodge

Wei Peng Wenlong Huang

Organ

Rosemary Nelis

Alexander Bonus+

Cello

Harpsichord

Myron Lutzke*, Principal

Milena Giglic**

Stanley Moore Emma Schmiedecke Daniel Zlatkin Bass Bence Botar, Principal Damon Korf Gamba Loren Ludwig*

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+Faculty *Assisting Artists **Collaborative Piano Fellow


Please Support the Bard College Conservatory of Music with a Tax-deductible Gift Name a Room in the Conservatory’s New Building Make a gift to name a classroom, music studio, and the performance hall in the new László Z. Bitó ’60 Conservatory Building. All donors of $1,000 and up will be listed on a plaque in the lobby. Donate a Piano Small to medium-sized grand pianos by Steinway, Mason & Hamlin, Yamaha, or other high quality makers are needed for the new music studios and practice rooms. Match the Challenge Grant from the Andrew W. Mellon Foundation Help us match the $2.5 million challenge grant to create an endowment for the Conservatory’s unique dual-degree program. Create a Scholarship A contribution of any amount will help us build the scholarship fund. With a tax-deductible gift of $10,000, a named scholarship can be designated for one year, or an endowed scholarship can be established with a gift of $200,000, which can be pledged over a five-year period. Fund a Master Class Noted artists offer master classes and workshops for students that are also open to the public. A gift of $5,000 underwrites a master class series. Please contact Ann Gabler, development manager, 845-758-7866 or gabler@bard.edu, for more information about how to make a tax-deductible gift, or make a gift on line at www.bard.edu/conservatory/giving/.

The Conservatory gratefully acknowledges the generous support of these recent donors: Robert and Marilyn Adams Dr. and Mrs. Morton Alterman The Ann & Gordon Getty Foundation Wayne Baden and Drayton Grant Dr. R. Etta Baines Banco Santander S.A. Simone Belda Berkshire Taconic Community Foundation, Inc. Marshall S. Berland Alison R. Bernstein Bettina Baruch Foundation Beverwyck, Inc. Dr. László Z. Bitó ’60 and Olivia Cariño Foundation, Inc. Blue Ridge Capital Francesca Bray and Alexander Robertson Stuart Breslow and Anne Miller Craig and Camille Broderick Theodora Budnik Alfred M. Buff and Lenore Nemeth

Frederick J. C. and Marie Claude Butler Lisa Carnoy Catherine Cattabiani ’77 Fu-chen Chan George Connerat Ellen Curtis Lyell Dampeer Arnold J. Davis ’44 Georgia and Michael de Havenon Kathy and Gonzalo de Las Heras Barbara Deegan David de Weese Lucy Dhegrae Bruce B. Doris Ivan Dremov and Normandy Vincent Cornelia Z. and Timothy Eland Elyse Ettinger Marjorie and Walter B. Farrell Andrew H. Feinman Shane and Odaria Finemore Douglas K. and Faith W. Finnemore

The Ford Foundation Mr. D. B. Forer The Fred Stein Family Foundation Friends of Beattie-Powers Place Friends of Chamber Music of Reading Amy Furth Charlotte Furth Jane Furth and August Matzdorf Richard and Eileen Furth Luis Garcia-Renart GE Foundation Katherine Gould-Martin and Robert L. Martin Marka Gustavsson and John Halle Louis and Caroline Haber Dorothy and Leo Hellerman Richard Herbert Susan B. Hirschhorn and Arthur Klebanoff Dr. and Mrs. Bertrand R. Jacobs Joe Lewis Jefferson Foundation Inc. John Cage Trust

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John E. Johnson James E. Jordan Demetrios A. Karides Belinda and Stephen Kaye Felicia Keesing and Richard Ostfeld Nick Kenner David and Janet E. Kettler Jamie Kibel And Michael DeCola Martha and Basil King Jane Korn Dr. Lawrence Kramer and Dr. Nancy S. Leonard Kvistad Foundation Gary and Edna Lachmund Alison L. and John C. Lankenau Glenda Fowler Law and Alfred Law The Leonard & Evelyn Lauder Fund of the Lauder Foundation Karen B. Leonard Angela Kiche Leung Mrs. Mortimer Levitt The Mortimer Levitt Foundation Inc. Lou Lewis Richard C. Lewit ’84 and Alison J. Guss Lifetime Learning Institute Vivian Liu and Alan Hilliker Philip Loeb Sheila Maloney and John Pruitt

Harvey Marek Martin and Toni Sosnoff Foundation Elisabeth and Robert McKeon John and Patricia McNulty Natalie Merchant Herbert Morris Helen K. Mott Elizabeth and Gary Munch Martin L. and Lucy Miller Murray Nancy and Paul Ross Foundation Inc. New Albion Records David Noble Sakiko Ohashi Marilyn and Peter Oswald Mr. and Mrs. James H. Ottaway, Jr. Pepsico Foundation Marina L. Preussner Mark Prezorski D. Miles Price Puffin Foundation, Ltd. Susan Rabinowitz and Joel Longenecker Resnick Family Foundation, Inc. Andrea L. Reynolds Peter Richman Barbara J. Ritchie Roaring Brook Group Felice Ross Stuart Ross Rishin Roy and Laura Martin

Stephen H. and Sheila Sachs Saugerties Pro Musica, Inc. Pam B. Schafler David L. and Rebecca Y. Schroedel Dagni and Martin Senzel Lizbeth and Stephen Shafer Tara Shafer and Gavin Curran Richard T. Sharp Claude Shaw Paul D. Sheats Denise S. Simon and Paulo Vieiradacunha Denele and Eric Small Carol Furth Sontag Gabriella and Harvey Sperry Felicitas S. Thorne Stephane and Isabel Truong Illiana van Meeteren Dr. Jan and Marica Vilcek Margo and Anthony Viscusi Marla and Brian Walker David Wetherill Barbara Jean Weyant Maureen A. Whiteman and Lawrence J. Zlatkin Gray and Marian Williams Eric Wong Donor listings current as of December 15, 2012

We honor the late Richard B. Fisher for his generosity and leadership in building and supporting this superb center that bears his name by offering outstanding arts experiences. We recognize and thank the following individuals, corporations, and foundations that share Dick’s and our belief in presenting and creating art for the enrichment of society. Ticket sales cover less than 15 percent of our presentation of outstanding art experiences. Help us sustain the Fisher Center and ensure that the performing arts are a part of our lives. We encourage and need you to join our growing list of donors.

Donors to the Fisher Center Leadership Support Carolyn Marks Blackwood Emily H. Fisher and John Alexander Jeanne Donovan Fisher Martin and Toni Sosnoff Foundation The Marks Family Foundation Millbrook Tribute Garden, Inc. National Endowment for the Arts (NEA) Richard B. Fisher Endowment Fund Martin T. and Toni Sosnoff Thendara Foundation

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Golden Circle Estate of Richard B. Fisher Felicitas S. Thorne In honor of Oakleigh B. Thorne from Felicitas S. Thorne Producer Artek Harvey Berman Chartwells School and University Dining Services Stefano Ferrari and Lilo Zinglersen Britton Fisher Catherine C. Fisher and Gregory A. Murphy The Howard Gilman Foundation

New York State Council on the Arts (NYSCA) Patron Mary I. Backlund Stuart Breslow and Anne Miller Anne and Harvey Brown Cultural Services of the French Embassy Elizabeth W. Ely ’65 and Jonathan K. Greenburg The Ettinger Foundation, Inc. The Harkness Foundation for Dance, Inc. Rachel and Dr. Shalom Kalnicki Mr. and Mrs. George A. Kellner


Susan and Roger Kennedy Millbrook Winery, Inc. Mr. and Mrs. James H. Ottaway Jr. Quality Printing Company, Inc. David A. Schulz Denise S. Simon and Paolo Vieiradacunha Teo Creative, Inc. Sponsor Helen and Roger Alcaly Prof. Jonathan and Jessica K. Becker Anne Donovan Bodnar and James L. Bodnar Michelle R. Clayman Mr. and Mrs. Gonzalo de las Heras Michael F. Dupree Alberta Gilbridge-Wonderlin Alan Hilliker and Vivian W. Liu Dr. Barbara Kenner Geraldine and Kit Laybourne Nancy A. Marks Peter Kenner Family Fund of the JCF Margrit and Albrecht Pichler Melanie and Philippe Radley Drs. M. Susan and Irwin Richman Ted Ruthizer and Jane Denkensohn David E. Schwab II ‘52 and Ruth Schwartz Schwab ‘52 Sarah and Howard Solomon Darcy Stephens Allan and Ronnie Streichler Dr. Elisabeth F. Turnauer-Derow Illiana van Meeteren Margo and Anthony Viscusi Jerry Weisskohl Robert and Melanie Whaley Aida and Albert Wilder Wilder Consolidated Enterprises Inc. Supporter Joshua J. Aronson Kathleen Augustine Lyell Dampeer and Valerie Belli Marshall S. Berland and John E. Johnson Michael Bywater John Dierdorff Mr. H. Peter Stern and Helen Drutt English Alysha Forster-Westlake Mims and Burton Gold Nan and David Greenwood Rosemary and Graham Hanson Eliot D. and Paula K. Hawkins James Hayden Martin Holub Kevin Klose Dr. Seymour and Harriet Koenig Prof. Laura Kuhn Marilyn J. Marinaccio Barbara L. and Arthur Michaels

Andrea and Kenneth L. Miron James and Purcell Palmer Rhinebeck Department Store Barbara and Dick Schreiber Ted Snowden Peter Sullivan Mr. Randy J. Tryon Cornelius R. Verhoest Rosemary and Noel Werrett Irene Zedlacher Friend Jamie Albright Sybil Baldwin Theodore Bartwink Al and Arlene Becker Richard L. Benson Drs. Daniel Berkenblit and Phillipine Meister-Berkenblit Kurshed Bhumgara Jeffrey and Ellyn Burstein Prof. Mary Ellen Caponegro ’78 Daniel Chu and Lenore Schiff Colgate-Palmolive Company Dr. Edward Conrad Dr. Bruce Cuttler and Joanne E. Cuttler ’99 C. Douglas and Leslie Dienel Abby H. and John B. Dux David Ebony and Bruce Mundt Mr. and Mrs. Arthur C. Eschenlauer Patricia Falk Milly and Arnold Feinsilber Frances and Rao Gaddipati James J. Gebhard Joseph Geld Marvin and Maxine Gilbert Laurie Gilmore Debby and Fred Glynn Naomi and Roger Gordon Stanley and Anne Gordon Sheryl Griffith Gilbert and Mary Hales David A. Harris Dorothy and Leo Hellerman Delmar D. Hendricks Neil Isabelle Marshall S. Berland and John E. Johnson Dr. Eleanor C. Kane John and Mary Kelly Rose and Josh Koplovitz Robert J. Kurilla Amala and Eric Levine Gerald F. Lewis Susan Lorence Charles S. Maier Janet C. Mills Roy Moses Joanne and Richard Mrstik Edmund M. Murphy Dr. Abraham and Gail Nussbaum Jill Obrig Douglas Okerson and William Williams

Sky Pape and Alan Houghton Gary S. Patrik Debra Pemstein and Dean Vallas Steven Pollak and Robin S. Tanenbaum David Pozorski and Anna Romanski George and Gail Hunt Reeke John and Claire Reid Mr. Irwin Rosenthal Ms. Myrna B. Sameth Michael W. Scheringer Barbara A. Schoenberg Elizabeth A. Simon Mr. and Mrs. Charles Stukenborg Mike and Kathy Zdeb

Friends of the Bard Music Festival Leadership Support Bettina Baruch Foundation Jeanne Donovan Fisher Mrs. Mortimer Levitt The Mortimer Levitt Foundation Inc. Denise S. Simon and Paulo Vieiradacunha Golden Circle Helen and Roger Alcaly Michelle R. Clayman Jane W. Nuhn Charitable Trust Dr. Barbara Kenner National Endowment for the Arts (NEA) Felicitas S. Thorne Millie and Robert Wise The Wise Family Charitable Foundation Benefactor The Ann and Gordon Getty Foundation Artek Joan K. Davidson Elizabeth W. Ely ’65 and Jonathan K. Greenburg Eliot D. and Paula K. Hawkins The J. M. Kaplan Fund, Inc. Susan and Roger Kennedy Edna and Gary Lachmund Amy and Thomas O. Maggs New York State Council on the Arts (NYSCA) Jim and Talila O’Higgins Peter Kenner Family Fund of the Jewish Communal Fund Drs. M. Susan and Irwin Richman Bruce and Francesca Slovin The Slovin Foundation Dr. Sanford Sternlieb Margo and Anthony Viscusi Patron Helen ’48 and Robert L. Bernstein Lydia Chapin 33


David G. Whitcomb Foundation Helena and Christopher Gibbs Alan Hilliker and Vivien W. Liu Merida Welles and William “Chip” Holman Anne E. Impellizzeri Frederic K. and Elena Howard Belinda and Stephen Kaye Dr. Seymour and Harriet Koenig Alison L. and John C. Lankenau Amala and Eric Levine Marstrand Foundation Stephen Mazoh and Martin Kline MetLife Foundation Andrea and Kenneth L. Miron Christina A. Mohr and Matthew Guerreiro Mr. and Mrs. James H. Ottaway Jr. Barbara B. Reis David E. Schwab II ‘52 and Ruth Schwartz Schwab ‘52 Sarah and Howard Solomon Stewart’s Shops Allan and Ronnie Streichler Olivia van Melle Kamp Dr. Siri von Reis Bill Zifchak and Maggie Evans Irene Zedlacher Sponsor Roland Augustine Alexander and Margaret Bancroft Eva Thal Belefont ’49 Dr. Miriam Roskin Berger ‘56 Sarah Botstein and Bryan Doerries Blythe Danner ’65 Mr. and Mrs. Gonzalo de Las Heras Amy K. and David Dubin Alison Granucci Edwin L. Artzt and Marieluise Hessel Martin Holub Helene L. and Mark N. Kaplan Cynthia Hirsch Levy ’65 Martin L. and Lucy Miller Murray Mr. and Mrs. Frederick P. Payton Blanche and Bruce Joel Rubin Rosemary and Noel Werrett Supporter James Akerberg and Larry Simmons Anonymous Mr. J. Roberto De Azevedo John A. Dierdorff Laura Genero Elizabeth D. and Robert Hottensen Elizabeth I. McCann Ms. Anna Neverova ’07 UBS Matching Gift Program Friend Mary I. Backlund Howard and Mary Bell Sandra Bendfeldt Clara Botstein

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Michael Caola Pamela Chow and Ted Smith Robert and Isobel Clark Ms. Joan Costa Mary E. Davis Abby H. and John B. Dux Patricia Falk David and Tracy Finn Floyd and Phyliss Glinert Foundation of the FCGF Joseph W. and Joyce Gelb Alysha Glenn ’09 Sandra Graznow and Jim Kearns Thurston Greene Andrea E. Gross Frederick Fisher Hammond Emilie and William Henry Linda Hirshman and David Forkosh** I.B.M. Matching Grants Program Rocco G. Ilardi Rod and Caroline Keating Erica Kiesewetter Irving and Rhonda E. Kleiman Raquel Kleinfeld Linda L. Kaumeyer Robert J. Kurilla Leon and Fern Lerner Martin S. Lippman Longy School of Music of Bard College Ms. Linda Lopez John P. MacKenzie Herbert Mayo Ramy Nagy ’05 and Mia McCully ’07 Joanna M. Migdal Marilyn and Peter Oswald Sarah Elizabeth Coe Paden ’09 Lucas Pipes ’08 Eleanor Pollak Emma Richter ’09 and Alex Gaudio ’10 Mr. and Mrs. Sidney Rose Dr. Gloria Schafer Mr. Robert Schweich John and Aija Sedlak Muriel Simmons Betsy Covington Smith Edwin Steinberg Art and Jeannette Taylor Robert E. Tully Leigh Beery and Jonathan Tunick ’58 Dr. Elisabeth F. Turnauer-Derow John Waldes Marvin Zelman

Major support for the Fisher Center’s programs has been provided by: Helen and Roger Alcaly The Andrew W. Mellon Foundation

The Ann & Gordon Getty Foundation Artek Harvey Berman Bettina Baruch Foundation Carolyn Marks Blackwood and Gregory Quinn Chartwells School and University Dining Services Michelle R. Clayman Joan K. Davidson Elizabeth W. Ely ’65 and Jonathan K. Greenburg Estate of Richard B. Fisher Stefano Ferrari and Lilo Zinglersen Catherine C. Fisher and Gregory A. Murphy Emily H. Fisher and John Alexander Jeanne Donovan Fisher R. Britton and Melina Fisher Eliot D. and Paula K. Hawkins The Howard Gilman Foundation Jane’s Ice Cream Jane W. Nuhn Charitable Trust The J. M. Kaplan Fund, Inc. Dr. Barbara Kenner Edna and Gary Lachmund Mrs. Mimi Levitt Amy and Thomas O. Maggs The Marks Family Foundation Jim and Talila O’Higgins Martin and Toni Sosnoff Foundation Millbrook Tribute Garden Inc. Millbrook Vineyards & Winery The Mortimer Levitt Foundation Inc. Mrs. Mortimer Levitt Endowment Fund for the Performing Arts National Endowment for the Arts (NEA) New York State Council on the Arts (NYSCA) Peter Kenner Family Fund of the Jewish Communal Fund Drs. M. Susan and Irwin Richman David E. Schwab II ’52 and Ruth Schwartz Schwab ’52 Denise S. Simon and Paulo Vieiradacunha The Slovin Foundation Bruce and Francesca Slovin Martin T. and Toni Sosnoff Dr. Sanford B. Sternlieb Thendara Foundation Felicitas S. Thorne Margo and Anthony Viscusi Millie and Robert Wise The Wise Family Charitable Foundation **deceased All lists current as of February 4, 2013


Boards and Administration Bard College Board of Trustees David E. Schwab II ’52, Chair Emeritus Charles P. Stevenson Jr., Chair Emily H. Fisher, Vice Chair Elizabeth Ely ’65, Secretary; Life Trustee Stanley A. Reichel ’65, Treasurer Fiona Angelini Roland J. Augustine Leon Botstein+ , President of the College James Cox Chambers ’81 David C. Clapp Marcelle Clements ’69* Melinda N. Donovan+ Asher B. Edelman ’61 Paul S. Efron Robert S. Epstein ’63 Barbara S. Grossman ’73* Sally Hambrecht George F. Hamel Jr. Marieluise Hessel Maja Hoffmann Matina S. Horner+ Charles S. Johnson III ’70 Mark N. Kaplan George A. Kellner Murray Liebowitz, Life Trustee Marc S. Lipschultz Peter H. Maguire ’88 James H. Ottaway Jr., Life Trustee Martin Peretz Stewart Resnick, Life Trustee Roger N. Scotland ’93* The Rt. Rev. Mark S. Sisk, Honorary Trustee Martin T. Sosnoff Susan Weber Patricia Ross Weis ’52 Senior Administration Leon Botstein, President Dimitri B. Papadimitriou, Executive Vice President Michèle D. Dominy, Vice President and Dean of the College Mary Backlund, Vice President for Student Affairs and Director of Admission Norton Batkin, Vice President and Dean of Graduate Studies Jonathan Becker, Vice President and Dean for International Affairs and Civic Engagement James Brudvig, Vice President for Administration John Franzino, Vice President for Finance

Susan H. Gillespie, Vice President for Special Global Initiatives Max Kenner ’01, Vice President for Institutional Initiatives Robert Martin, Vice President for Academic Affairs and Director of The Bard College Conservatory of Music Debra Pemstein, Vice President for Development and Alumni/ae Affairs

The Richard B. Fisher Center for the Performing Arts Advisory Board Jeanne Donovan Fisher, Chair Carolyn Marks Blackwood Leon Botstein+ Stefano Ferrari Harvey Lichtenstein Robert Martin+ Dimitri B. Papadimitriou+ Martin T. Sosnoff Toni Sosnoff Felicitas S. Thorne Administration Debra Pemstein, Vice President for Development and Alumni/ae Affairs Bob Bursey, Senior Producer Gideon Lester, Director, Theater and Dance Programming Mark Primoff, Director of Communications Susana Meyer, Producer, SummerScape Opera Mary Smith, Director of Publications Ginger Shore, Consultant to Publications Eleanor Davis, Media and Marketing Manager Joanna Szu, Marketing Associate Vincent Roca, Production Manager Stephen Dean, Production Coordinator, Concerts & Lectures Matthew Waldron ’07, Production Coordinator, Dance & Theater Paul LaBarbera, Director of AudioVisual Services Mark Crittenden, Facilities Manager Jeannie Schneider, Business Manager Patrick King ’12, House Manager Sean Rucewicz, Assistant House Manager Kay Schaffer, Assistant House Manager Nicholas Reilingh, Box Office Manager

Caitlyn DeRosa, Assistant Box Office Manager Ray Stegner, Building Operations Manager Doug Pitcher, Building Operations Coordinator Daniel DeFrancis, Staff Assistant Robyn Charter, Staff Assistant

The Bard Music Festival Board of Directors Denise S. Simon, Chair Roger Alcaly Leon Botstein+ Michelle R. Clayman Robert C. Edmonds ’68 Jeanne Donovan Fisher Christopher H. Gibbs+ Paula K. Hawkins Susan Petersen Kennedy Barbara Kenner Gary Lachmund Mimi Levitt Thomas O. Maggs Robert Martin+ Kenneth L. Miron Christina A. Mohr James H. Ottaway Jr. Siri von Reis Felicitas S. Thorne Artistic Directors Leon Botstein Christopher H. Gibbs Robert Martin Executive Director Irene Zedlacher Associate Director Raissa St. Pierre ’87 Scholar in Residence 2013 Tamara Levitz Program Committee 2013 Byron Adams Leon Botstein Christopher H. Gibbs Tamara Levitz Robert Martin Richard Wilson Irene Zedlacher Director of Choruses James Bagwell Vocal Casting Consultant Susana Meyer + ex officio * alumni/ae trustee

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About Bard College Founded in 1860, Bard College in Annandale-on-Hudson, New York, is an independent, nonsectarian, residential, coeducational college offering a four-year B.A. program in the liberal arts and sciences and a five-year B.A./ B.S. degree in economics and finance. The Bard College Conservatory of Music offers a five-year program in which students pursue a dual degree—a B.Music and a B.A. in a field other than music—and offers an M.Music in vocal arts and in conducting. Bard also bestows an M.Music degree at Longy School of Music of Bard College in Cambridge, Massachusetts. Bard and its affiliated institutions also grant the following degrees: A.A. at Bard High School Early College, a public school with campuses in New York City (Manhattan and Queens) and Newark, New Jersey; A.A. and B.A. at Bard College at Simon’s Rock: The Early College, in Great Barrington, Massachusetts, and through the Bard Prison Initiative at five correctional institutions in New York State; M.A. in curatorial studies, and M.S. in environmental policy and in climate science and policy at the Annandale campus; M.F.A. and M.A.T. at multiple campuses; M.B.A. in sustainability in New York City; and M.A., M.Phil., and Ph.D. in the decorative arts, design history, and material culture at the Bard Graduate Center in Manhattan. Internationally, Bard confers dual B.A. degrees at the Faculty of Liberal Arts and Sciences, St. Petersburg State University, Russia (Smolny College); American University of Central Asia in Kyrgyzstan; and ECLA of Bard: A Liberal Arts University in Berlin; as well as dual B.A. and M.A.T. degrees at Al-Quds University in the West Bank. Bard offers nearly 50 academic programs in four divisions. Total enrollment for Bard College and its affiliates is approximately 3,900 students. The undergraduate college has an enrollment of more than 1,900 and a student-to-faculty ratio of 10:1. For more information about Bard College, visit www.bard.edu.

©2013 Bard College. All rights reserved. Cover St. John the Evangelist, Master of St. Francis, ca. 1270. Courtesy National Gallery of Art, Washington, D.C. Inside back cover ©Peter Aaron ’68/Esto

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Join us at the Sosnoff Theater for a series of winter and spring concerts performed by students and faculty of The Bard College Conservatory of Music.

THE BARD COLLEGE CONSERVATORY OF MUSIC SPRING 2013

CONCERTO COMPETITION MARCH 8 | 10 AM PRELIMINARY ROUND MARCH 9 | 1 PM FINAL ROUND Conservatory students compete for the opportunity to perform with the American Symphony Orchestra. Free and open to the public.

APRIL 12 | 8 PM CONSERVATORY PERCUSSION ENSEMBLE ¯ PERCUSSION WITH SO Works by Reich, Harrison, Lansky, Quillen, and Treuting

MAY 11 | 8 PM CONSERVATORY ORCHESTRA Leon Botstein, music director Stravinsky Fireworks Prokofiev Violin Concerto No. 1, Shmuel Ashkenasi, violin Shostakovich Symphony No. 10

SOSNOFF THEATER All ticket sales benefit the Conservatory’s Scholarship Fund.

Photo: Karl Rabe


THE RICHARD B. FISHER CENTER FOR THE PERFORMING ARTS AT BARD COLLEGE

10TH ANNIVERSARY CELEBRATION 2013 marks the launch of a second decade of world-class performing arts programs at the Fisher Center. Join us for a packed season of music, theater, dance, and performance from special guest artists and Bard students and faculty. GUSTAV MAHLER’S SYMPHONY NO. 2 Members of the American Symphony Orchestra, Bard College Conservatory Orchestra, and Longy Conservatory Orchestra Conducted by Leon Botstein Heather Buck, soprano Jamie Van Eyck, mezzo-soprano Mahler’s Second Symphony projects a powerful narrative of life triumphant over death. sosnoff theater April 26–27 at 8 pm Tickets: $25, 30, 35, 40

AMERICAN SYMPHONY ORCHESTRA Conducted by Leon Botstein

An intimate night of spoken word, songs, stories, chats with the audience, and more than a few surprises with author Neil Gaiman (Coraline; The Graveyard Book) and musician/performance artist Amanda Palmer (Dresden Dolls; Amanda Palmer and the Grand Theft Orchestra). sosnoff theater April 6 at 8 pm Tickets: $25, 30, 35, 40

THE BACCHAE by Euripides

Directed by Lileana Blain-Cruz Translated by Ned Moore ’13

This all-Wagner program includes Lohengrin: Preludes to Acts I and III; Tristan und Isolde: Prelude and Liebestod; and Die Walküre: Act I. sosnoff theater April 19–20 at 8 pm Preconcert Talk at 7 pm Tickets: $25, 30, 35, 40

The god Dionysus returns to Thebes to prove his divinity and punish the city’s unbelievers. This student production is presented in partnership with Bard’s Classical Studies Program. theater two April 11–13 at 7 pm April 14 at 2 and 7 pm Tickets: $15 general admission; free to Bard students

¯ PERCUSSION AND SO STUDENTS CONCERT

THE 2013 FACULTY DANCE CONCERT

S¯o Percussion and The Bard College Conservatory of Music Percussion Program present their second annual spring concert at the Fisher Center. Works include music by Steve Reich, Lou Harrison, Paul Lansky, and other recent percussion masterworks. sosnoff theater April 12 at 8 pm Tickets: $15 general admission; free to Bard students

A dynamic evening of choreography by the faculty of the Bard College Dance Program, performed by students in the program. theater two April 26–27 at 7:30 pm and April 28 at 2 and 7:30 pm Tickets: $15 general admission; free to Bard students

JACK FERVER AND QWAN COMPANY

TICKETS ON SALE NOW

NOTES!!! and SWAN!!! Live Arts Bard visiting artist Jack Ferver presents his QWAN (Quality Without a Name) Company in the dramatic parodied readings of two well-loved screenplays, Notes from a Scandal and Black Swan. Suitable for mature and immature audiences, 15 years and older. sosnoff theater stage right April 3 at 7 pm Tickets: $20; $5 for the Bard community

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AN EVENING WITH NEIL GAIMAN AND AMANDA PALMER


Friend ($100–349) • Advance notice of programming

BECOME A FRIEND OF THE FISHER CENTER TODAY! Since opening in 2003, The Richard B. Fisher Center for the Performing Arts at Bard College has transformed cultural life in the Hudson Valley with world-class programming. Our continued success relies heavily on individuals such as you. Become a Friend of the Fisher Center today. 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 Fisher Center presentations and receive invitations to special events and services throughout the year.

• Free tour of the Fisher Center • Listing in the program ($5 of donation is not tax deductible)

Supporter ($350–749) All of the above, plus: • Invitation for you and a guest to a season preview event • Invitations to opening night receptions with the artists • Invitation for you and a guest to a select dress rehearsal ($5 of donation is not tax deductible)

Sponsor ($750–1,499) All of the above, plus: • Copy of the Bard Music Festival book • Invitation for you and a guest to a backstage technical demonstration ($40 of donation is not tax deductible)

Patron ($1,500–4,999) All of the above, plus: • Opportunity to buy tickets before sales open to the general public • Exclusive telephone line for Patron Priority handling of ticket orders • Invitation for you and a guest to a pre-performance dinner at a Hudson River Valley home ($150 of donation is not tax deductible)

Producer/Benefactor ($5,000+) All of the above, plus: • Seat naming opportunity • Invitations to special events scheduled throughout the year • Opportunity to underwrite events ($230 of donation is not tax deductible)

Please return your donation to: Richard B. Fisher Center for the Performing Arts Bard College PO Box 5000 Annandale-on-Hudson NY 12504-5000

Enclosed is my check made payable to Bard College in the amount of $ Please designate my gift toward: q Fisher Center Council q Bard Music Festival Council q Where it is needed most Please charge my: q AmEx q Discover Card q MasterCard q Visa in the amount of $ Credit card account number

Expiration date

Name as it appears on card (please print clearly)

Address

fishercenter.bard.edu/support

City

State

Zip code

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SAVE THE DATES

BARDSUMMERSCAPE 2013

DANCE JULY 6–7

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

THEATER JULY 11–21 World Premiere Adaptation

The Master and Margarita by Mikhail Bulgakov A pungent political satire, a magical fantasy, and an unforgettable love story

OPERA JULY 26 – AUGUST 4

Oresteia by Sergey Taneyev Aeschylus’ powerful trilogy about the cursed House of Atreus

FILM FESTIVAL JULY 12 – AUGUST 3

Stravinsky’s Legacy and Russian Émigré Cinema Russian exile filmmaking in France and films by modern masters

SPIEGELTENT

Cabaret, music, fine dining, and more and

THE 24TH ANNUAL BARD MUSIC FESTIVAL

Stravinsky and His World

AUGUST 9–11 and 16–18

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.

845-758-7900 | fishercenter.bard.edu Be the first in line for news of upcoming events, discounts, and special offers. Join the Fisher Center's e-newsletter at fishercenter.bard.edu.


J.S. Bach's St. John Passion