the bard college conservatory of music graduate vocal arts program
An Opera Double Bill NĂŠlĂŠe et Myrthis by Jean-Philippe Rameau Four Sisters by Elena Langer March 9 and 11, 2012
We are delighted to present the world premiere of Four Sisters, an opera by the Londonbased composer Elena Langer and librettist John Lloyd Davies. Elena Langer came to our attention by way of the Young Composer/Singer Professional Training Workshop, which Bard has undertaken with the Weill Music Institute at Carnegie Hall. Collaborating with composers has been a vital and enriching part of my musical life, and it’s a joy I wish to pass on to the students in the Graduate Vocal Arts Program. We’re thrilled that Elena and John agreed to be part of our opera project, and we’ve enjoyed working with them, James Bagwell, and Marc Verzatt on this new piece. Together with Rameau’s beautiful Nélée et Myrthis and the shorter gems by Monteverdi and Montéclair, this is a rich and varied musical and theatrical offering and is a key part of the Graduate Vocal Arts Program experience for our young artists. —Dawn Upshaw, Artistic Director, Graduate Vocal Arts Program
The Bard College Conservatory of Music Graduate Vocal Arts Program Dawn Upshaw, Artistic Director Kayo Iwama, Head of Program
An Opera Double Bill Claudio Monteverdi (1567–1643) Dialogo di ninfa e pastore Libretto by Ottavio Rinuccini Michel Pignolet de Montéclair (1667–1737) La mort de Didon Jean-Philippe Rameau (1683–1764) Nélée et Myrthis Intermission Elena Langer (b. 1974) Four Sisters (world premiere) Libretto by John Lloyd Davies
Friday, March 9 at 8 pm and Sunday, March 11 at 3 pm Benefit for the Scholarship Fund of the Graduate Vocal Arts Program Sosnoff Theater Richard B. Fisher Center for the Performing Arts at Bard College
Special thanks to Marica and Jan Vilcek for their generous support of the 2012 opera productions, and to Mimi Levitt for establishing a vocal arts scholarship.
Singers of the Graduate Vocal Arts Program Bard College Conservatory Orchestra James Bagwell, Conductor Marc Verzatt, Director Vin Roca, Scenic Designer Projection Designer Laura J. Eckelman Costume Designer Michelle Tarantina Lighting Designer Vin Roca Choreographer Marjorie Folkman Co-Producers Frank Corliss, Vin Roca Stage Manager Matthew Waldron Sound and Video Engineer Paul LaBarbera Technical Director Steve Dean Orchestra Manager Fu-chen Chan Orchestra Coaches Stephen Hammer, Erica Kiesewetter, Julie Leven Assistant Conductors Benjamin Bath, Zachary Malavolti, Heidi Schnarr, Daniel Whitener Vocal Coaches Frank Corliss, Kayo Iwama, Matthew Odell, Dawn Upshaw Rehearsal Pianists Erika Allen, Zsolt Balogh, Milena GligiÂ´c, Christina Giuca, Chorong Park Assistant Costume Designer Alise Marie Production Assistant Ilana Zarankin VAP â€™11
Dialogo di ninfa e pastore Music by Claudio Monteverdi Libretto by Ottavio Rinuccini Ninfa
On Dialogo di ninfa e pastore This charming duet is written in the form of a canzonetta, which, in its earliest form, was closely related to a popular Neapolitan form, the villanella—literally, a “small town song.” The songs were always secular, and generally involved pastoral, irreverent, or erotic subjects. The rhyme and stanza schemes of the poems varied but always included a final refrain, in this case, “Come che? Come te, pastorella tutta bella” (“But how much? I love you as you are, beautiful shepherdess”). The canzonetta was fun to sing by the untrained singer and hugely popular; it quickly caught on throughout Italy, as did the madrigal, a musical form with which it later began to interact stylistically. By the 1580s some of the major composers of secular music in Italy were writing canzonettas, including Claudio Monteverdi, who published his first set in 1584. Monteverdi was to return to the form with his ninth and final book of madrigals, which was published posthumously in 1651. The Dramatic Scene In the art of courtship throughout history, it is always the woman who has the upper hand. As women have always been victims of a male-dominated society, the only power they were granted was in love. Metaphorically, a woman’s eyes could send to the man either beams of radiant joy, or could wound a man’s heart as if pierced by a dart. In this scene, the “ninfa,” a metaphor for a young, unmarried girl, demands to be told how much her shepherd loves her, but nothing he says seems adequate to satisfy her. He complains that his eyes cannot take in her beauty, as it breaks his heart; that her eyes cause him to lose hope, and finally, that he hates himself, which seems do the trick for the lady, at least for now. Men have never been very good at figuring out what women want, but are foolish enough to keep trying. —Marc Verzatt
La mort de Didon Music by Michel Pignolet de Montéclair Author of the libretto unknown Didon
On La mort de Didon Before the advent of the cantata, dramatic music in France had found its outlet only in opera, or tragédie-lyrique as it was called. Unlike Italian opera, French opera (created by Lully) made much of dancing and chorus. French cantatas of the 18th century, though dramatic, were composed not for the stage, but rather for the musical salon. There were no dancers or choruses and they generally called for one voice only, accompanied by a small ensemble. This meant that in order to attract enthusiasm for the new, smaller form, composers had to be very imaginative, for they could not rely on gesture, scenery, dancing, or chorus to help convey the mini-drama contained in each cantata. This was now up to the text, the music, and the dramatic skill of singers and players alone. Michel Pignolet de Montéclair studied and composed in Italy before returning at the turn of the 18th century to Paris, where he was appointed to the Paris Opéra as a double bass player. He was a very fine composer and his 20 French cantatas (he also wrote cantatas in Italian) are among the most remarkable in the repertoire in their range of expression and explicit instructions for performance. Except for the beguiling air at the end, the cantata La mort de Didon is intense and dramatic throughout. Only once does Dido’s rage give way to a melancholic reproach to Venus, mother of faithless Aeneas. In this, the second air of the cantata, voice and flute entwine in an exquisite duet, the lines delicately embellished with ornaments notated by the composer himself, instead of leaving it to the performers to improvise. The Dramatic Scene Dido, Queen of Carthage, gives way to grief and rage when she discovers that Aeneas has abandoned her. After calling upon the gods to avenge her and drown Aeneas as he flees across the ocean, she plunges a knife into her heart. The moral is very simple: it is dangerous to pledge one’s heart to a fickle lover. —Marc Verzatt 6
Nélée et Myrthis Music by Jean-Philippe Rameau Author of the libretto unknown Nélée
Vanessa Langer Heejung Lee
Faylotte Crayton, Hannah Goldshlack, Kameryn Lueng, Jacquelyn Stucker, soprano Abigail Levis, mezzo-soprano Hyunhak Kim, Zachary Malavolti, Barrett Radziun, tenor Benjamin Bath, Logan Walsh, Daniel Whitener, baritone
Sabrina Tabby (concertmaster), Yuan Xu (principal second), Caitlin Majewski, Veronika Mojzesova, Reina Murooka, Jiayu Sun, Yue Sun, Fang Xi Liu, Tian Xu
Lin Wang (principal), Wenlong Huang
Rachel Becker (principal), Stanley Moore, Emma Schmiedecke
Eleni Tsachtani, Adrienn Kántor
Carl Alex Meyer, Xuanbo Dong
Joshua Hodge, David Nagy
Christopher Carroll, Balazs Varga
On Nélée et Myrthis Rameau was one of the most important French composers and music theorists of the Baroque era. He was considered, alongside François Couperin, one of the leading French composers of his time for the harpsichord. Little is known about Rameau’s early years, and it was not until the 1720s that he won fame as a major theorist of music with his Treatise on Harmony (1722). He was almost 50 years old before he embarked on the operatic career on which his reputation chiefly rests.
Nélée et Myrthis is an opera in the form of an acte de ballet. Nothing is known about the date of its composition, any performances during Rameau’s lifetime, or the name of its librettist. It may have been intended to form part of a larger opéra-ballet to be called Les beaux jours de l’amour. The Dramatic Scene Nélée is the winner of an Olympic sport, and will be crowned victor by Myrthis, who is in charge of the awards ceremony. Nélée is entitled by law, and encouraged by the people, to choose a bride at this event. He makes his intention clear enough that Myrthis is his choice, but she rebuffs him with jokes about freedom and fickleness. He stuns her when he decides to choose another girl, Corinne, instead. Corinne doesn’t know of this, and encourages Myrthis to lead the victory celebration she has arranged. Myrthis resolves that if Nélée chooses Corinne, her pride will keep her from revealing her love. At the ceremony, she publicly prays that the gods will grant exactly what Nélée most wishes for, without a reversal of fortune through deceit or betrayal. Her sincerity wins Nélée over, and he declares his love for her. —Marc Verzatt
Four Sisters Music by Elena Langer Libretto by John Lloyd Davies Olga, 28, the eldest sister
Masha, 25, the middle sister
Irina, 21, the youngest sister
Krumpelblatt, 56, the family lawyer
Matt, 24, a personal trainer and poet, Irina's boyfriend
Gloss, 22, a masseur and composer, Masha's boyfriend
Maid, 18, housekeeper
Reina Murooka (concertmaster), Yang Li (principal second), Qun Dai, Tyme Khleifi, Zhi Ma, Caitlin Majewski, Veronika Mojzesova, Dongfang Ouyang, Leonardo Pineda, Jiayu Sun, Gergo Toth, Jiazhi Wang, Fang Xi Liu, Yuan Xu
Wei Peng (principal), Wenlong Huang, David Toth, Xinyi Xu, Jiawei Yan, Zi Ye
Daniel Zlatkin (principal), Jeannette Brent, Yi Cheng, Rylan Gajek-Leonard, Rasistlav Huba, Orsolya Kadar, Xi Yang
Zhenyuan Yao (principal), Bingwen Yang, Xinyue Zhang, Yingqin Zhang
Adrienn Kantor, Eleni Tsachtani
Rafael Monge-Zuniga, Carl Alex Meyer
Lucas Henry, Anna Opatka
Ferenc Farkas, James Haber, Andras Ferencz, Cameron West, Szilard Molnar
Tamas Palfalvi, Balazs Varga
Hsiao-Fang Lin, Vaclav Kalivoda, Tamas Markovics
Petra Elek, Amy Garapic
Christina Giuca, Chorong Park
On Four Sisters When Dawn Upshaw asked me to write an opera for her students at Bard, I thought it would be nice to have an original contemporary libretto specifically written for this occasion—perhaps with a few frivolous young girls at the center of the piece. Soon after, I happened to have a chat with the director John Lloyd Davies, and shared these thoughts. John at that time was designing Chekhov’s Three Sisters in Vienna. A few days later I received a short scenario for Four Sisters: The three daughters of a fabulously wealthy and recently deceased industrialist wait in his New York apartment for the family lawyer to read his will. They dream of the lives and loves which his money will now make possible. Writing this piece was a new challenge for me; I have never done anything light or comical before. Despite liking humor in both art and real life, most of my works never came out like that. My previous opera, The Lion’s Face, was about an old man suffering from Alzheimer’s, and one of my most-performed chamber works, Ariadne, is about a brokenhearted girl, deceived and abandoned by her lover on a desert island. Luckily, no one is ill or broken-hearted in this piece. The sisters—Olga, Masha, and Irina— believe that inheriting a lot of money will help their dreams come true. They sing about their dreams in their arias, which are distinctly different—Masha’s is written in a kind of Caribbean style, Olga’s song has a bit of klezmer influence, and so on. (Each sister’s ringtone musically represents her dreams, too.) The music in Four Sisters is intentionally eclectic—its overall mine-ness and Russian-ness is mixed with calypso moments, waltz moments, even some 12-tone moments, and I have tried to create contrasts in tempi, moods, and situations. —Elena Langer
Artists James Bagwell Conductor James Bagwell maintains an active schedule throughout the United States as a conductor of choral, operatic, and orchestral music. In 2009 he was appointed music director of The Collegiate Chorale and led the ensemble in concerts at Carnegie Hall and Alice Tully Hall during the 2009–10 season. He is the principal guest conductor of the American Symphony Orchestra in New York, and since 2003 has been director of choruses for the Bard Music Festival, conducting and preparing choral works during the summer festival at Bard College. He has also prepared The Concert Chorale of New York for performances with the American Symphony Orchestra, Los Angeles Philharmonic, and the Mostly Mozart Festival (broadcast nationally in 2006 on Live from Lincoln Center), all in Avery Fisher Hall at Lincoln Center. Bagwell has trained choruses for a number of major American and international orchestras, including the San Francisco Symphony, Los Angeles Philharmonic, NHK Symphony (Japan), St. Petersburg Symphony, Budapest Festival Orchestra, and Indianapolis Symphony Orchestra, among others, and has worked with noted conductors such as Lorin Maazel, Esa-Pekka Salonen, Michael Tilson Thomas, Leon Botstein, Vladimir Ashkenazy, and Robert Shaw. He holds degrees from Birmingham-Southern College, Florida State University, and Indiana University. He has taught since 2000 at Bard College, where he is the chair of the undergraduate Music Program and codirector of the Graduate Program in Conducting.
John Lloyd Davies Librettist John Lloyd Davies has directed, designed, and lit more than 100 operas and plays in Europe, including Don Giovanni, Die Zauberflöte, and Rigoletto (Vienna Kammeroper); Madama Butterfly (Royal Danish Opera); Un ballo in maschera (Klagenfurt); Danton’s Death and The Enchantress (Brighton); Albert Herring and The Turn of the Screw (Aldeburgh); Cabaret (Graz); and Tosca (Malmö). In Vienna, he has worked as a specialist in modern opera, including the Viennese premiere of Britten’s Death in Venice and the Austrian premieres of Aribert Reimann’s Das Schloss, Philip Glass’s The House of Usher, and Thomas Adès’s Powder Her Face. He designed and lit the world premiere of John Casken’s God’s Liar (Almeida and La Monnaie, Brussels). For the Royal Opera House London he has directed and designed The Rape of Lucretia, Il re pastore, and the docu-opera Yes. Recent awards include the Josef Kainz Medal, one of Austria’s major theater prizes. He is currently head of opera development at the Royal Opera House, Covent Garden.
Laura J. Eckelman Projections Designer Laura J. Eckelman is a New York City–based lighting and projection designer. Selected design credits include Animals Out of Paper (Perseverance Theatre); Kiss Me Kate (New Jersey Youth Theatre); Bossa Nova [world premiere] and Romeo and Juliet (Yale Repertory Theatre); Orlando, Phèdre, and Hamlet (Yale School of Drama); Fly-By-Night, The Mystery
of Irma Vep, and Late: A Cowboy Song (Yale Summer Cabaret); Crave, Somewhere in the Pacific, and Scenes from an Execution (Potomac Theater Project); and Ghosts and Bus Stop (Columbia University). She is a proud alumna of Middlebury College and Yale School of Drama, and is a 2012 recipient of the S&R Washington Award.
Marjorie Folkman Choreographer Marjorie Folkman is visiting assistant professor of dance in First-Year Seminar and the Language and Thinking Program at Bard College. She was a principal performer with Mark Morris Dance Group (1996–2007), Martha Clarke, and Sara Rudner, among others, and a member of Merce Cunningham’s Repertory Group under Chris Komar. Recent choreographic projects include Boston Baroque’s Pygmalion and Les Indes galantes; Faust for L’Opéra Français de New York; collaborations with the new music ensemble Contemporaneous; and Bard SummerScape’s Der Ferne Klang.
Elena Langer Composer Elena Langer was born in Moscow and is now based in London. After graduating from the Gnessin Music College, where she majored in musicology and piano, she entered the Moscow Tchaikovsky Conservatory to study composition with professor Yuri Vorontsov. In 1999 she moved to London to complete her degrees at the Royal College of Music (M.M.) and the Royal Academy of Music (Ph.D.). She has studied with Julian Anderson, Simon Bainbridge, and Gerard McBurney, and taken lessons with Sofia Gubaidulina (Centre Acanthes, France), Dmitri Smirnov (U.K.), Jo Kondo (Dartington International Summer School, U.K.), and Jonathan Harvey (Centre Acanthes/IRCAM, France). In 2002 and 2003 she was a composer-in-residence with Almeida Theatre, London. Langer has written compositions in diverse genres, including opera and multimedia, orchestral, and chamber and choral works, and has received commissions and performances from international ensembles, festivals, and organizations such as The Royal Opera House’s ROH2, Zurich Opera (Switzerland), Almeida Opera Festival, Carnegie Hall, Gaudeamus New Music Week (Netherlands), and Homecoming Chamber Music Festival (Russia), among many others. Some of her works have been commercially recorded on the Black Box, Quartz Music, and Usk (all U.K.) labels, and some broadcast on BBC Radio, BBC World Service, Radio Echo of Moscow, and Dutch Radio.
Vin Roca Scenic and Lighting Designer Vin Roca graduated from Western Connecticut State University with a B.A. in communications. After receiving his M.F.A. in scenic design from SUNY Purchase, he moved to the West Coast to pursue both acting and design work. While in Los Angeles, he was the production director for Long Beach Playhouse, a completely self-sustained, nonprofit theater. He also worked as the assistant technical director and lighting director for the James Armstrong Theatre in Torrance, California. Outside of theater, he was an associate art director for Ina Mayhew and worked on many national commercials, including spots
for Subway, Burger King, and John Deere. He also worked on the BET Awards and the Queue Line Video for the Men in Black ride at Universal Studios, Orlando, Florida. He moved back to the East Coast with his wife and two children in 2006, landing at Bard College’s SummerScape Festival as a stage carpenter. He has had the privilege of lighting President Bill Clinton, President George W. Bush, Vice President Al Gore, Dr. Jane Goodall, and Israeli Prime Minister Benjamin Netanyahu, to name a few. He is currently the technical director for The Richard B Fisher Center of Performing Arts at Bard College.
Michelle Tarantina Costume Designer Michelle Tarantina received a B.A. in theater design and production from Fordham University. Her recent design credits include Little Town Blues (Less than Rent); Sarita and and Crave (Fordham Theatre Company); and A Doll’s House (Hip Obscurity). Since graduation, she has worked with Barrington Stage Co. and The Civilians, and has assisted in the Williamstown Theatre Festival. View her work at www.michelletarantina.squarespace.com.
Marc Verzatt Director Marc Verzatt directs opera, operetta, and musical theater throughout the United States, South America, and Europe. He began his theatrical career as a dancer with the Metropolitan Opera after studying drama at Rutgers University and ballet with New Jersey’s Garden State Ballet. After several seasons as a soloist with the MET Ballet, he left to continue his education in production as a stage manager with the Cincinnati Opera and Pittsburgh Opera companies. He made his professional directing debut with a production of Offenbach’s Tales of Hoffmann with Opera Columbus. He has since directed productions with the Teatro Colón, Buenos Aires; Chicago Lyric Opera; Houston Grand Opera; Florida Grand Opera; and the opera companies of Fort Worth, Lake George, Madison, Arizona, Toledo, Atlanta, Kansas City, Baltimore, Idaho, and Mississippi. In Austin, he directed both Puccini’s La bohème and Shakespeare’s Much Ado About Nothing. Verzatt has taught and directed at Philadelphia’s Academy of Vocal Arts and Notre Dame University. As lecturer in opera at Yale University’s School of Music, he has directed Britten’s A Midsummer Night’s Dream, Purcell/Britten’s Fairy Queen, Puccini’s Il trittico, Poulenc’s Les mamelles de Tirésias, and Debussy’s L’enfant prodigue, all of which were subsequently produced for Orchestra Sinfonico di Giuseppe Verdi in Milan. For the Boston Youth Symphony, he has staged Mozart’s Don Giovanni and Verdi’s Macbeth. In 2005 he was engaged by the Metropolitan Opera for an acting role in Strauss’s Ariadne auf Naxos. In 2006 he was named Outstanding Stage Director of the Year by Classical Singer magazine. He has been a guest lecturer and coach for Bard’s Graduate Vocal Arts Program since its inception, and was appointed to its faculty in fall 2010.
Singers Faylotte Crayton, soprano (Masha, Rameau chorus) Faylotte Crayton was born in San Diego, California. The granddaughter of an award-winning Arkansan yodeler, she began performing musical theater at age 5, as the Munchkin Mayor in The Wiz, and later played the title role in Kiss Me Kate. At 16 she was awarded a Rotary Youth Exchange Scholarship to Geneva, Switzerland, where, with the false notion that opera was Europe’s musical theater, she attended her first opera. Upon recommendation by a schoolteacher, the Geneva Rotary Club funded her lessons in classical voice and Swiss yodeling. The culture of Geneva inspired Crayton to volunteer for the International Red Cross and several other international organizations based in that city. She returned from Switzerland with a strong interest in European languages, history, classical and folk music, and humanitarianism. At the University of California, Santa Barbara, she dedicated herself to studying classical singing and found it to be compatible with furthering her humanitarian interests. She then transferred to The Juilliard School, where she met her current teacher, Edith Bers, and subsequently received her B.M. At Juilliard, Crayton performed the roles of Tytania in Britten’s A Midsummer Night’s Dream and Lucia II in Hindemith’s A Long Christmas Dinner. She also studied international song literature under the guidance of such coaches as Margo Garrett and Thomas Grubb.
Lucy Dhegrae, soprano (Corinne) Lyric soprano Lucy Dhegrae is a lover of new music, performing new works with Contemporaneous, Da Capo Chamber Players, Detroit Symphony Orchestra Percussion Ensemble, Bard College Conservatory student ensembles, and the University of Michigan’s Contemporary Directions Ensemble. Most recently she performed part of Mario Davidovsky’s Romancero at Bard’s Olin Hall, Luciano Berio’s Folk Songs at the Fisher Center, and her husband Shawn Jaeger’s Letters Made with Gold at Galapagos Art Space in Brooklyn. This past year in New York City she performed songs of Mahler at the Austrian Cultural Forum and songs of Wilhelm Stenhammar at Scandinavia House, as part of the Bard Music Festival. She is featured on a Cantaloupe Records CD singing John Halle’s Apology to Younger Americans. Dhegrae received her B.M. in voice from the University of Michigan and studied in England, Italy, and Austria before coming to the Bard College Conservatory’s Graduate Vocal Arts Program, where she works with Edith Bers, Kayo Iwama, and Dawn Upshaw. She maintains a private voice studio for young singers in Red Hook, New York.
Hannah Goldshlack, soprano (Didon, Rameau chorus) Hannah Goldshlack holds a bachelor’s degree in vocal performance from The Juilliard School in New York City, and is currently obtaining her master’s degree in the Graduate Vocal Arts Program at Bard College. A lover of both operatic and song repertoire, she has recently been seen in the roles of Helena in Britten’s A Midsummer Night’s Dream, Miss Pinkerton in
Menotti’s The Old Maid and the Thief, and Nella in Puccini’s Gianni Schicchi. Additionally, she has attended several summer music festivals, including SongFest in Malibu and Opera on the Avalon in St. John’s, Newfoundland, in the recitalist program. She recently had the honor of performing the Mahler Rückert Lieder with the American Symphony Orchestra at the Richard B. Fisher Center for the Performing Arts. She has had the privilege of working with Dawn Upshaw, Kayo Iwama, Cynthia Hoffmann, Benjamin Butterfield, Sherrill Milnes, Nico Castel, and Thomas Grubb, and is currently a student of Edith Bers.
Hyunhak Kim, tenor (Matt, Rameau chorus) Korean tenor Hyunhak Kim is a first-year student in the Bard College Conservatory Graduate Vocal Arts Program, where he currently studies voice with Patricia Misslin. He previously studied at Cheong-ju University in South Korea, with Heungwoo Park, and also studied in Austria. He attended a world choir festival in Germany and performed with the festival choir at Carnegie Hall.
Vanessa Langer, soprano (Pastore, Deux Argiennes) Vanessa Langer is in her second year in the Graduate Vocal Arts Program. Highlights this past year include the premieres of The Scarlett Ibis by Stefan Weisman and Since 1500 by Matt Schickele at the Pierpoint Morgan Library, New York City; she also performed Therese’s aria from Poulenc’s Les mamelles des Tiresias at the Concerts du Cloître, as part of the Academie International d’Ete en Nice’s master classes, under the direction of Dalton Baldwin and Lorraine Nubar. Langer has twice been in residence at Banff Center of the Arts and performed works by Poulenc, Schoenberg, and Zemlinsky. As a graduate student of Susanne Mentzer at DePaul University, she was awarded a New Horizon Fellowship at Aspen Music Festival’s Opera Center; as an undergraduate at the University of California at Berkeley, she joined the Collegium Musicum in a production of Matthew Locke’s Tempest for the Berkeley Early Music Festival and Exhibition. She also created roles in the workshop productions of John Thow’s opera Serpentina and Yuval Sharon’s Infinity Breathes, based on the life of composer Aleksandr Skryabin. Upon graduation she was awarded the Eisner Prize for Creative Achievement of the Highest Order in Music and the James King Scholarship.
Heejung Lee, soprano (Ninfa, Deux Argiennes) Heejung Lee was born in Seoul, South Korea. She began studying piano at 5, and has been studying voice since the age of 17. She earned a bachelor’s degree with high honors in voice at Seoul National University, and is now pursuing a master of music degree in vocal arts at The Bard College Conservatory of Music, where she studies with Lorraine Nubar and works regularly with renowned soprano Dawn Upshaw. Her career highlights include the role of the Queen of the Night in the Seoul Festival’s Magic Flute and numerous awards in Korea, including First Place in the Overseas Dispatch Competition, Gold Medal in the Sungjung Music Competition, and First Place in the Music Journal Competition.
Abigail Levis, mezzo-soprano (Olga, Rameau chorus) Abigail Levis received her undergraduate degree in vocal performance from the Eastman School of Music, where she studied with Karen Holvik and Katherine Ciesinski. She completed a master’s degree at the University of Houston under the tutelage of Cynthia Clayton. She is currently pursuing a second master’s degree at The Bard College Conservatory of Music, where she studies with Edith Bers. Levis was a winner of the University of Houston Concerto Competition, National Orpheus Vocal Competition, Lois Alba Aria Competition, Five Towns Music Competition in Long Island, and Young Texas Artist Competition, and a finalist in the Jesse Kneisel Lieder Competition. She is the recipient of the 2010 Cynthia Woods Mitchell Pavilion scholarship, and has performed as a Young Artist with Crested Butte Music Festival, Opera New Jersey, Austrian American Mozart Academy, Songfest Stern’s Fellows Institute, and Scuola Italia. Last spring she appeared with Boston’s Handel and Haydn Society in Handel’s Israel in Egypt, Mozart’s Requiem, and Handel’s Dixit Dominus. This spring she will sing the role of Dorabella in Mozart’s Cosi fan tutte with New York Opera Exchange.
Kameryn Lueng, soprano (Maid, Rameau chorus) Kameryn Lueng is a first-year student in the Bard College Conservatory Graduate Vocal Arts Program. She graduated from Louisiana College, where she studied with Loryn E. Frey and Samantha Miller. She has performed several lead roles, including Lucy in The Telephone, Madame Herz in The Impresario, Leticia in The Old Maid and the Thief, and Gertrude McFuzz in Seussical. She has also performed the role of Frasquita in Carmen with the Rapides Symphony Orchestra. Lueng currently studies with Lorraine Nubar.
Marie Marquis, soprano (Myrthis) Marie Marquis, a Mississippi native and recent graduate of the Peabody Institute in Baltimore, enjoys singing a diverse selection of repertoire. 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 from Don Pasquale at the Fairbanks Summer Arts Festival, as Judy in Lee Hoiby’s This Is the Rill Speaking in Baltimore’s Theater Project, and as a soldier in the premier 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 was the recipient of the Charles M. Eaton Voice Award and the Azalia H. Thomas Prize from the Peabody Institute. Marquis holds a B.M. degree from Peabody as well as a B.A. in French language and literature from Johns Hopkins University, and is currently a first-year student in Bard’s Graduate Vocal Arts Program.
Matthew Morris, baritone (Nélée) Since graduating from The Juilliard School, Matthew Morris has followed his love of performing into an international career that spans a variety of genres at the highest level. He has appeared as King Charles in Candide with the London Symphony Orchestra,
performed with cabaret star Meow Meow in Carnegie Hall’s Berlin Festival of Lights, and starred as Papageno in legendary director Peter Brook’s Molière Award–winning Une Flûte Enchantée. Favorite premieres include singing and rapping as Nico in Mason Bates’s opera California Fictions (part of the New York City Opera’s VOX showcase); premiering the role of Jonathan on the PBS Broadcast of Mark Zuckerman’s opera The Outlaw and the King; singing the role of George in the western U.S. premiere of Our Town by Ned Rorem at the Aspen Opera Theater Center; and creating the role of John in Back in the Day, a new musical by Lance Horne. In 2011, Morris was a vocal fellow at the Tanglewood Music Center, where he sang the roles of Dionysos in Milhaud’s L’abandon d’Ariane and Théramène in Milhaud’s La déliverance de Thésée, under the direction of Mark Morris. He has also been a member of the Santa Fe Opera Apprentice program, where he sang the role of Apollo in Gluck’s Alceste. Morris is currently a second-year student in Bard’s Graduate Vocal Arts Program and a recipient of the Mimi Levitt Scholarship.
Barrett Radziun, tenor (Gloss, Rameau chorus) Barrett Radziun, a 2010 graduate of Northwestern College in St. Paul, Minnesota, is a first-year student in Bard’s Graduate Vocal Arts Program. He has appeared on opera, oratorio, and recital stages throughout the United States. Described by Cleveland Classical as “brilliant in his solo performances,” his recent engagements include tenor soloist in Monteverdi’s Vespro della beata Vergine, Dubois’s The Seven Last Words of Christ, and J. S. Bach’s Cantata No. 80. Radziun was the first-place winner of Thursday Musical’s 2011 Young Artist Competition, and was selected as a finalist in the 2011 Schubert Club Scholarship Competition. He is an alumnus of SongFest, Hawaii Performing Arts Festival, Oberlin’s Baroque Performance Institute, Tallis Scholars Summer School, and Seattle’s Accademia d’Amore Baroque Opera Workshop. His teachers include Lorraine Nubar, Carol Eikum, and Elizabeth Grefsheim.
Jacquelyn Stucker, soprano (Irina, Rameau chorus) Jacquelyn Stucker is a first-year student in Bard’s Graduate Vocal Arts Program. She graduated with honors from Furman University, where she studied with William Thomas Jr., and has participated in master classes with Gisela Pohl, Richard Cowan, Sergei Leiferkus, and Elizabeth Bishop. She performs frequently as a concert soloist—most recently with the Bard College Conservatory Orchestra—and had her international operatic debut in 2008 as Kate Pinkerton in Madama Butterfly at Lyrique-en-Mer/Festival de Belle Île. She currently studies with Lorraine Nubar.
Logan Walsh, baritone (Krumpelblatt, Rameau chorus) Logan Walsh recently received his B.M. in voice performance from the University of North Texas, where he studied with Lynn Eustis. While at UNT, he performed the title role in Le nozze di Figaro, Albert in Werther, and Oscar in Regina. He was the recipient of the Dean James Scott Scholarship, Cecelia Cunningham Box Voice Scholarship, and Margot Winspear Opera Scholarship, and was a finalist in the 2010 Winspear Opera Competition. 16
In 2011, Walsh collaborated with Jake Heggie on a recital that included works from The End of the Affair, Three Decembers, and Moby-Dick. He has performed at the Crested Butte Music Festival and with the Metroplex Opera Company, Crittenden Opera Studio, OperaWorks, and Ohio Light Opera Company, where has been a member for three seasons and has been seen in more than 150 performances. He can be heard in the role of Count Berezowski in Ohio Light Opera’s upcoming recording of Victor Herbert’s The Fortune Teller for Albany Records. In concert, he has performed as the bass soloist in Mozart’s Requiem with the Denton Bach Society; as Caiaphas in Schutz’s St. Matthew Passion with the Dallas Bach Society; and Sir Lancelot in Camelot and Thénardiers in Les Miserables with the University of North Texas Symphony. He enrolled in Bard’s Graduate Vocal Arts Program in the fall of 2011.
The Bard College Conservatory of Music Robert Martin, Director Melvin Chen, Associate Director
Graduate Vocal Arts Program Dawn Upshaw, Artist Director Kayo Iwama, Head of Program Building on its distinguished history in the arts and education, Bard College launched The Bard College Conservatory of Music, which welcomed its first class in August 2005. This innovative five-year program of study is guided by the principle that musicians should be broadly educated in the liberal arts and sciences to achieve their greatest potential. All students complete two degrees, a bachelor of music and a bachelor of arts in a field other than music. The Conservatory also includes the Preparatory Division for young people up to the age of 18. In 2006 artistic director Dawn Upshaw and head of program Kayo Iwama inaugurated the Graduate Vocal Arts Program, a two-year master of music degree within the Conservatory. Course work extends from standard repertory to new music, alongside training in acting and core seminars that provide historical and cultural perspectives, analytical tools, and vital skills for vocal and operatic performance at the highest levels. The students—only eight are admitted each year—have performed at Weill Recital Hall, Zankel Hall, and Bard’s Fisher Center in recitals and as soloists with the American Symphony Orchestra. Since the inception of the Graduate Vocal Arts Program, the students have given worldpremiere opera performances of David Bruce’s A Bird in Your Ear, Missy Mazzoli’s Song from the Uproar, and David T. Little’s Vinkensport, and have participated in three seasons of Carnegie Hall’s Weill Music Institute’s Young Composer/Singer Professional Training Workshop. Alumni/ae have distinguished themselves in the Metropolitan Opera National Council Auditions Finals Concert, Los Angeles Opera Young Artists Program, and as prizewinners at a host of other national and international vocal competitions. 17
SUPPORT THE BARD COLLEGE CONSERVATORY OF MUSIC Please join the Conservatory donors listed below by making a gift to support the following programs: Challenge Grant from the Andrew W. Mellon Foundation This $2.5 million challenge grant for the Conservatory’s unique dual-degree program must be matched with new endowment gifts that total $7.5 million by September 2012. To date, matching funds have passed the $1.8 million mark. Scholarships 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. Establish a permanently endowed scholarship with a gift of $200,000, which can be pledged over a five-year period. The Cremona Society Join the Conservatory’s Cremona Society by loaning or donating a fine instrument for Conservatory students to use. Loaned instruments are insured by Bard and cared for by expert technicians. Master Classes 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. For more information, please contact Ann Gabler, development manager, 845-758-7866 or firstname.lastname@example.org.
The Conservatory gratefully acknowledges the generous support of these recent donors: Dr. and Mrs. Morton Alterman Banco Santander S.A. Bettina Baruch Foundation Marshall S. Berland Alison R. Bernstein Beverwyck, Inc. Dr. László Z. Bitó ’60 and Olivia Carino Foundation, Inc. Blue Ridge Capital 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 Fu-chen Chan David Cohen Lyell Dampeer Mr. and Mrs.* Arnold J. Davis ’44 Georgia and Michael de Havenon Mr. and Mrs. Gonzalo de Las Heras David de Weese Barbara Deegan Bruce B. Doris
Ivan Dremov and Normandy Vincent Cornelia Z. and Timothy Eland Marjorie and Walter B. Farrell Andrew H. Feinman The Ford Foundation Mr. D. B. Forer Friends of Beattie-Powers Place GE Foundation The Ann & Gordon Getty Foundation Katherine Gould-Martin and Robert Martin Prof. Marka Gustavsson Prof. John Halle Sheila G. Hays Donald B. Hilliker Jr. Dr. and Mrs. Bertrand R. Jacobs Joe Lewis Jefferson Foundation Inc. John Cage Trust John E. Johnson James E. Jordan Demetrios A. Karides Belinda and Stephen Kaye Nick Kenner David and Janet E. Kettler Jane Korn
Kvistad Foundation Alison L. and John C. Lankenau Nancy Kay LaTorre The Leonard & Evelyn Lauder Fund of the Lauder Foundation Mr. Lawrence Kramer and Dr. Nancy S. Leonard Mrs. Mortimer Levitt The Mortimer Levitt Foundation Inc. Harold J. and Shari B. Levy Lou Lewis The Lewis Foundation Richard C. Lewit ’84 and Alison J. Guss Vivian Liu and Alan Hilliker Philip Loeb Harvey Marek Martin and Toni Sosnoff Foundation Elisabeth and Robert McKeon Natalie Merchant Helen K. Mott Martin L. and Lucy Miller Murray Nancy and Paul Ross Foundation Inc. National Endowment for the Arts (NEA)
David Noble Sakiko Ohashi Margaret Osius Marilyn and Peter Oswald Pepsico Foundation Mark Prezorski Andrea L. Reynolds Barbara J. Ritchie David K. Ross Felice Ross Stuart Ross
Saugerties Pro Musica, Inc. Pam B. Schafler Dagni and Martin Senzel Lizbeth and Stephen Shafer Tara Shafer and Gavin Curran Richard T. Sharp Claude Shaw Lauren and Marc Slayton Denele and Eric Small The Fred Stein Family Foundation
The Bard College Conservatory of Music
Bassoon Marc Goldberg Patricia Rogers
Robert Martin, Director Melvin Chen, Associate Director
Undergraduate Program Faculty Violin Eugene Drucker Yi-Wen Jiang Ani Kavafian (master classes) Ida Kavafian Soovin Kim Weigang Li Daniel Phillips Laurie Smukler Arnold Steinhardt Viola Steven Tenenbom Michael Tree Ira Weller Cello Sophie Shao Peter Wiley Double Bass Marji Danilow Leigh Mesh Harp Sara Cutler Bridget Kibbey Piano Melvin Chen Jeremy Denk Richard Goode (master classes) Peter Serkin Flute Nadine Asin (master classes) Tara Helen Oâ€™Connor Oboe Laura Ahlbeck Richard Dallesio Elaine Douvas Clarinet Laura Flax David Krakauer Anthony McGill
Horn Julie Landsman Jeffrey Lang Julia Pilant Trumpet Carl Albach Trombone Demian Austin John Rojak Tuba Alan Baer Percussion SÂŻo Percussion members: Eric Beach Josh Quillen Adam Sliwinski Jason Treuting Advisers: Daniel Druckman Jonathan Haas Greg Zuber Tzong-Ching Ju Garry Kvistad Jan Williams Composition Joan Tower George Tsontakis Da Capo Chamber Players (in residence) Orchestral Studies Leon Botstein Erica Kiesewetter Luis Garcia-Renart Performance Practice Advisers Raymond Erickson Stephen Hammer Music Theory and History Leon Botstein Christopher H. Gibbs John Halle Peter Laki
Felicitas S. Thorne Stephane and Isabel Truong Illiana van Meeteren Dr. Jan and Marica Vilcek Marla and Brian Walker David Wetherill Sturgis P. Woodberry David Yum * deceased List current as of February 14, 2012
Graduate Programs Vocal Arts (M.M. Degree) Dawn Upshaw, Artistic Director Kayo Iwama, Head of Program Voice Edith Bers Patricia Misslin Lorraine Nubar Acting and Movement Workshop Marc Verzatt Repertoire Seminars Ruth Golden Kayo Iwama Dawn Upshaw Career Workshop Carol Yaple Vocal Coaching Kayo Iwama Jennifer Ringo Dawn Upshaw Diction Matthew Odell Movement and Alexander Technique Gwen Ellison Alexander Farkas
Orchestral and Choral Conducting (M.M. Degree) James Bagwell, Codirector Leon Botstein, Codirector Harold Farberman, Codirector Orchestral Conducting Leon Botstein Harold Farberman Choral Conducting James Bagwell Composition Larry Wallach Music History and Theory James Bagwell Kyle Gann Christopher H. Gibbs Peter Laki 19
Languages Bard College Faculty Secondary Instrument Bard College Faculty
Piano Fellows Frank Corliss, Director
The Conductors Institute Harold Farberman, Artistic Director
Preparatory Division Sakiko Ohashi, Director Voice Malena Dayen Violin Hye-Jin Kim Sharon Roffman (on leave) Cello Karen Ouzounian Double Bass Ryan Kamm Piano Ieva Jokubaviciute (on leave) Renana Guttman Hiroko Sasaki Susanne Son Flute Fu-chen Chan Music and Movement Shelly Ley
Participating Bard Music Program Faculty James Bagwell, Program Director Jazz Studies Thurman Barker John Esposito Erica Lindsay Theory and Composition Kyle Gann Chamber Music Luis Garcia-Renart Marka Gustavsson Blair McMillen Musicology Christopher H. Gibbs Frederick Hammond Peter Laki Voice Rufus Müller Composition Joan Tower Richard Teitelbaum
Students Composition Sun Bin (Kevin) Kim, New Jersey (Physics) Tamzin Elliott, California * Andrés Martinez de Velasco, Mexico * Dylan Mattingly, California * Luká Olejník, Czech Republic (Psychology) Adam Zuckerman, California * Piano Xiao Chen, China (French Studies) Hye Joong Jeong, South Korea * Maryna Kysla, Ukraine * Frances Lee, Singapore (German Studies) Stephen and Belinda Kaye Scholarship Mayumi Tsuchida, California (Biology) Chi-Hui Yen, Taiwan (Economics) Violin Qun Dai, China * Alex Fager, California * Fangyue He, China (Italian Studies) Herman Family Scholarship Tyme Khleifi, Palestine (German Studies) Yang Li, China (French Studies) Fang Xi Liu, China * Zhi Ma, China * Caitlin Majewski, New Jersey (Psychology) Bettina Baruch Foundation Scholarship Veronika Mojzesova, Czech Republic * Scot Moore, Illinois (Middle Eastern Studies) G. de Las Heras Scholarship Dongfang Ouyang, China * Leonardo Pineda, Venezuela * Jiayu Sun, China * Yue Sun, China (Psychology) Liberace Scholar Sabrina Tabby, Pennsylvania (French Studies) Gergo Toth, Hungary * Jiazhi Wang, China (Asian Studies) Tian Xu, China (Asian Studies/ Art History) Luis Garcia-Renart Scholarship Yuan Xu, China (Economics)
Viola Wenlong Huang, China * Wei Peng, China * David Toth, Hungary ^ Lin Wang, China (Asian Studies) Xinyi Xu, China (German Studies) Jiawei Yan, China * Zi Ye, China * Cello Rachel Becker, Massachusetts (Physics) Mischa Schneider Scholarship Jeannette Brent, New York * The Leonard & Evelyn Lauder Foundation Scholarship Yi Cheng, China * Rylan Gajek-Leonard, Canada * Rastislav Huba, Slovakia * Orsolya Kadar, Hungary ^ Stanley Moore, Illinois * Emma Schmiedecke, New Jersey (Art History) George Martin-Hans Thatcher Clarke Scholarship Xi Yang, China * Daniel Zlatkin, Connecticut * Bass Bingwen Yang, China * Zhenyuan Yao, China * Xinyue Zhang, China (Asian Studies) Yingqin Zhang, China * Harp Anna Bikales, Tennessee * Flute Eszter Ficsor, Hungary (German Studies) Bitó Scholarship Adrienn Kántor, Hungary (German Studies) Bitó Scholarship Eleni Tsachtani, Greece (Dance) Fanya Wyrick-Flax, New York (Mathematics) Oboe Xuanbo Dong, China (Political Studies) Carl Meyer, Michigan * Rafael Monge-Zuniga, Costa Rica ** Clarinet Balasz Erdelyi, Hungary ** Renata Raková, Czech Republic (German Studies) Jim and Mary Ottaway Scholarship Noemi Sallai, Hungary * Amalie Wyrick-Flax, New York *
Bassoon Lucas Henry, Texas (Biology) Joshua Hodge, Arizona * David Adam Nagy, Hungary (Asian Studies/Japanese) Bitó Scholarship Anna Opatka, Massachusetts * Horn Ferenc Farkas, Hungary ** Andras Ferencz, Hungary * James Haber, Connecticut * Szilard Molnar, Hungary (Spanish) Bitó Scholarship Cameron West, California * Trumpet Csaba Banfi, Hungary * Christopher Carroll, New Hampshire (Political Studies) Tamás Pálfalvi, Hungary * Balazs Varga, Hungary (Economics) Bitó Scholarship Trombone Václav Kalivoda, Czech Republic * Hsiao-Fang Lin, Taiwawn (Computer Science) Tamás Markovics, Hungary (Economics) János Sutyák, Hungary (German Studies) Bitó Scholarship Tuba Peter Blaga, Hungary * Yi-Ching Chen, Taiwan (History) Percussion Petra Elek, Hungary * Amy Garapic, Ohio ^^ Zihan Yi, China * John Cage Trust Scholarship
Students in the Graduate Vocal Arts Program Faylotte Crayton, California Lucy Dhegrae, Michigan Hannah Goldshlack, Michigan Hyunhak Kim, South Korea Vanessa Langer, California Heejung Lee, South Korea Kameryn Leung, Louisiana Abigail Levis, Maine Marie Marquis, Mississippi Matthew Morris, Maryland Mimi Levitt Scholarship Barrett Radziun, Minnesota Jacquelyn Stucker, South Carolina Logan Walsh, Texas
Collaborative Piano Fellows Erika Allen, Maine Zsolt Balogh, Hungary ^ Christina Giuca, Wisconsin Milena Gligi´c, Serbia Chorong Park, South Korea
Students in the Graduate Conducting Program Alan Anibal, Brazil Alexandra Arrieche, Brazil Benjamin Bath, Massachusetts Joseph Brunjes, North Carolina Won K. Chae, South Korea Mercedes Diaz, Spain David Gargaro, Scotland Zachary Malavolti, Oklahoma Heidi Schnarr, Massachusetts Daniel Whitener, Washington, D.C. * Second major not yet declared ** Graduate certificate student ^ Hungarian Fellow ^^ Percussion Fellow
Bard College Conservatory Advisory Board Gonzalo de Las Heras, chair Alan D. Hilliker Susan B. Hirschhorn Belinda and Stephen Kaye Gabriella Sperry Eric Wong
Board 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 Stanley A. Reichel ’65, Treasurer Fiona Angelini Roland J. Augustine Leon Botstein + , President of the College David C. Clapp Marcelle Clements * ’69 Asher B. Edelman ’61 Robert S. Epstein ’63 Barbara S. Grossman* ’73 Sally Hambrecht George F. Hamel Jr. Ernest F. Henderson III, Life Trustee Marieluise Hessel Charles S. Johnson III ’70 Mark N. Kaplan George A. Kellner Cynthia Hirsch Levy ’65
Murray Liebowitz Marc S. Lipschultz Peter H. Maguire ’88 James H. Ottaway Jr., Life Trustee Martin Peretz Stewart Resnick Roger N. Scotland * ’93 The Rt. Rev. Mark S. Sisk, Honorary Trustee Martin T. Sosnoff Susan Weber Patricia Ross Weis 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 + ex officio * alumni/ae trustee
About Bard College Founded in 1860, Bard 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.S./B.A. 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 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 penal 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), and American University of Central Asia in Kyrgyzstan; and dual B.A. and M.A.T. degrees at Al-Quds University in East Jerusalem. 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.
©2012 Bard College. All rights reserved. Cover The Swing, Jean-Honoré Fragonard, 1767. Reproduced by kind permission of the Trustees of the Wallace Collection, London. Inside back cover ©Peter Aaron ’68/Esto
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.
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SAVE THE DATES
BARD COLLEGE CONSERVATORY OF MUSIC MARCH 21 SOSNOFF THEATER 8 PM
Percussion Ensemble Concert The Conservatory Percussion Ensemble in concert
MARCH 23 OLIN HALL 8 PM
Faculty Recital Laurie Smukler, violin, with guest artist Jane Coop, piano.
MARCH 25 SOSNOFF THEATER 3 PM
Conservatory Sundays–Music Alive! 20th- and 21st-century music, performed by students of the Conservatory and Music Program
MAY 6 SOSNOFF THEATER 3 PM
Conservatory Sundays–Conservatory Orchestra With music director Leon Botstein and Conservatory faculty soloist Weigang Li, violin.
AMERICAN SYMPHONY ORCHESTRA Conducted by Leon Botstein, music director
APRIL 27 AND 28 SOSNOFF THEATER 8 PM Works by Lutosławski, Brubeck, Shore, and Bartók
BARDSUMMERSCAPE 2012 DANCE JULY 6–8
Compagnie fêtes galantes Taking Baroque dance into the 21st century
THEATER JULY 13–22 Molière’s
The Imaginary Invalid The last play by a comic master
OPERA JULY 27 – AUGUST 5 Emmanuel Chabrier’s
The King in Spite of Himself A classic comic opera with a brilliant score
FILM FESTIVAL JULY 12 – AUGUST 12
France and the Colonial Imagination The legacy of French rule in Africa and Southeast Asia
SPIEGELTENT JULY 6 – AUGUST 19
Cabaret, music, fine dining, and more and
THE 23RD ANNUAL BARD MUSIC FESTIVAL
Saint-Saëns and His World AUGUST 10–12 and 17–19 The 2012 SummerScape season is made possible in part through the generous support of the Board of The Richard B. Fisher Center for the Performing Arts at Bard College, the Board of the Bard Music Festival, and the Friends of the Fisher Center, as well as grants from the National Endowment for the Arts, the New York State Council on the Arts, and the Mid Atlantic Arts Foundation.
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March 9 at 8pm March 11 at 3 pm The Bard College Conservatory of Music Graduate Vocal Arts Program An Opera Double Bill Nélée et Myrthis...