Bard College Vocal Arts Program: An Opera Double Bill Program

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The Bard College Conservatory of Music Graduate Vocal Arts Program

An Opera Double Bill

PAYNE HOLLOW

by Shawn Jaeger

THE TURN OF THE SCREW

by Benjamin Britten

March 14 and 16, 2014

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We are very excited and pleased to present the world premiere of Payne Hollow, a chamber opera with libretto by distinguished Kentucky author Wendell Berry, based on his short verse play Sonata at Payne Hollow, with music written by young American composer Shawn Jaeger. Shawn’s music came to my attention by way of the 2011 Young Composer/Singer Professional Training Workshop, which I led with composer Donnacha Dennehy as a collaborative venture between The Bard College Conservatory of Music and the Weill Music Institute at Carnegie Hall. That workshop inspired Letters Made with Gold, a group of songs Shawn wrote for soprano and ensemble. I was so taken with this piece that I couldn’t wait to ask Shawn to write two additional pieces—a chamber opera for our students in the Graduate Vocal Arts Program, and also a chamber piece for me.

Collaborating with composers has always been a vital and inspiring part of my own musical life, and as artistic director of the Graduate Vocal Arts Program, it has been essential to me that this experience of working with composers and giving “voice” to newly created works be an integral component of our curriculum.

The Vocal Arts Program has also had the great honor and pleasure of working recently with stage director Nicholas Muni in our Opera Workshop course. We are thrilled with Nic’s intriguing idea to pair Payne Hollow with another extraordinary work, this one based on a novella by Henry James: Benjamin Britten’s The Turn of the Screw.

—Dawn Upshaw, Artistic Director, Graduate Vocal Arts Program

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The Bard College Conservatory of Music Graduate Vocal Arts Program Dawn Upshaw, Artistic Director Kayo Iwama, Associate Director

presents

An Opera Double Bill Shawn Jaeger (b. 1985) Payne Hollow (world premiere) Libretto by Wendell Berry Intermission Benjamin Britten (1913–76) The Turn of the Screw* Libretto by Myfanwy Piper, after a story by Henry James *presented in an abridged version by permission of The Britten Estate

Friday, March 14 at 7 pm Sunday, March 16 at 2 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

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Bard College Conservatory of Music Singers of the Graduate Vocal Arts Program Bard College Conservatory Orchestra James Bagwell and Carl Christian Bettendorf, Conductors Nicholas Muni, Stage Director and Production Designer Producer Tricia Reed Assistant Director, Stage Manager Emily Cuk Production Assistant Barrett Radziun Orchestra Manager Fu-chen Chan Musical Coaches Frank Corliss, Kayo Iwama, Dawn Upshaw Hair and Makeup Blair Aycock Assistant Conductors Michelle Asher, David Bloom, Michael Ferrara, Kenneth Griffith, Hannah Rommer, Anastasia Serdesev, Matthew Woolever Rehearsal Pianists Julia Hsu, Hyanghyun Lee, Szilvia Mik贸, Eri Nakamura, B谩lint Zsoldos Supertitles Eri Nakamura, Hyanghyun Lee Richard B. Fisher Center for the Performing Arts Production Manager Vincent Roca Production Coordinator, Concerts and Lectures Stephen Dean Technical Director Steven Michalek Lighting Supervisor Josh Foreman Costume Shop Supervisor Moe Schell Audio/Video Supervisor Adam Kushner

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World premiere

Payne Hollow Music by Shawn Jaeger Libretto by Wendell Berry Carl Christian Bettendorf, conductor Nicholas Muni, stage director and production designer Anna

Devony Smith (3/14), Sara LeMesh (3/16)

Harlan

Michael Hofmann (3/14), Jeremy Hirsch (3/16)

The Woman

Angela Aida Carducci

The Girl

Helen Zhibing Huang

Orchestra Violin I

Xianbo Wen, Jiayu Sun, Veronika Mojzeová, Matthew Woodard

Violin II

Reina Mur˚ooka, Avery Morris, Hanni Xie, Shuang Yang

Viola

Yinbin Qian, Sandrine Masse-Savard, Wenlong Huang

Cello

Rastislav Huba, Yi Cheng, Daniel Zlatkin

Bass

Julian Lampert, Yingqin Zhang

Flute

Bridget Bertoldi

Oboe

Gregory Drilling

Clarinet

Viktor Tóth

Bassoon

Anna Opatka

Horn

András Ferencz

Trumpet

Szabolcs Koczur

Trombone

Hsiao-Fang Lin

Tuba

Péter Blága

Percussion

Petra Elek, Jonathan Collazo

Piano

Julia Hsu

Synopsis Two riverboat drifters—a woman and a girl—come ashore at night, recognizing the landscape and ruins of Anna and Harlan’s old home. To their surprise, the drifters then hear distant music and witness the appearance of the couple’s ghosts. As perhaps they do every night, the ghosts reenact their courtship. After speaking to one another from a distance, they finally embrace, and in so doing are momentarily transformed into their former selves, in the “brilliance of a spring morning.” Abruptly, the ghosts and the light disappear, and the opera ends, as it began, with the trilling of toads in the night.

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Notes on Payne Hollow Payne Hollow is a love story, a ghost story, and a tribute to lives lived in harmony with the land.

It celebrates two modern-day Thoreaus—Harlan and Anna Hubbard—who, from 1951 to 1986, lived in solitude and self-sufficiency, without electricity, in a small home they built on the bank of the Ohio River, at Payne Hollow. Their lives were filled with gardening, fishing, foraging, and scavenging, but also with reading, painting, writing, and playing music together. The opera’s libretto, by the distinguished Kentucky author Wendell Berry, is an adaptation of Berry’s short verse play, Sonata at Payne Hollow. I am extremely grateful to Mr. Berry for his involvement in this project. For those interested in learning more about Harlan and Anna Hubbard, I would recommend Berry’s biography, Harlan Hubbard: Life and Work.

The Hubbards’ story is more important than ever. Faced with the increasingly daunting consequences of our destructive, and––Berry would say––blasphemous misuse of the sacred earth that sustains us, we could easily become resigned. Instead, we can look to the Hubbards: they made of their entire lives a powerful, humble protest against the systems of greed, waste, and ruin in which we find ourselves enmeshed. By living without many of the comforts we take for granted, the Hubbards achieved a simple, sustainable abundance and a spiritual wholeness that together stand as a shining refutation to the prevailing notion that more is better. In the words of Harlan: “What we need is at hand.”

—Shawn Jaeger

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The Turn of the Screw* Music by Benjamin Britten Libretto by Myfanwy Piper, after a story by Henry James *In an abridged version by permission of The Britten Estate James Bagwell, conductor Nicholas Muni, stage director and production designer Prologue

Angela Aida Carducci

Governess

Laura Soto-Bayomi (3/14), Sarah Tuttle (3/16)

Mrs. Grose, the Housekeeper

Elizabeth Cohen (3/14), Katherine Maysek (3/16)

Flora, orphaned Niece of the Master

Helen Zhibing Huang

Miles, orphaned Nephew of the Master

Lucy Fitz Gibbon

Miss Jessel, the former Governess

Kameryn Lueng

Peter Quint, Valet to the Master

Vincent Festa

Maids

Ariana Stulz, Nelle Anderson, Elizabeth Sherman, Sage Warner, Megan Snyder, Amy Cohen

Orchestra Violin

Aischa Gündisch, Tianpei Ai

Viola

Rosemary Nelis

Cello

Colyer Durovich

Bass

Bence Botár

Harp

Anna Bikales, Xing Gao

Flute

Eszter Ficsor

Oboe

Alessandro Cirafaci

Clarinet

Noémi Sallai

Bassoon

Joshua Hodge

Horn

Cameron West

Timpani

Christopher Gunnell

Percussion

Benjamin Malinski

Piano and Celeste Szilvia Mikó Costumes, props, and furniture for The Turn of the Screw supplied by Cincinnati Opera from a production originally designed by Peter Werner.

Synopsis A young Governess accepts the job of caring for two young orphans on the condition that she will not, no matter what might occur, contact the employer, who is the uncle of the two children. When the Governess decides that two malevolent ghosts are trying to possess the children—and that the children are willing accomplices—she begins a campaign to force the children to confess, and thereby hopes to free them from the grip of evil.

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Notes on the Abridged Version In seeking a companion piece to Payne Hollow, the notion to program Britten’s The Turn of the Screw seemed a natural choice, as both are ghost stories, albeit with very different outcomes.

In order to create a balanced and concise evening of opera and to serve the needs of our students, The Britten Estate has graciously given The Bard College Conservatory of Music permission to present an abridged version for exclusive use in this production. As you may be aware, the musical structure of The Turn of the Screw is a theme and variations, of which nearly all of the latter are musical interludes. In restructuring the piece from a two-act opera into a one-act opera, and because our physical production does not involve the changes of scenery for which the variations originally served a secondary function, we have made cuts in the some of the variations (II, III, IV, V, VIII, IX, and X), as well as some minor cuts within a few of the scenes themselves. Although all the omitted segments are a very important part of the work’s original two-act structure, great care was taken to ensure the musical/dramatic integrity of this abridged, one-act version.

Notes on the Production This brilliant opera is both a complete joy and a supreme challenge to direct. The main challenge is to preserve the highly charged ambiguity for which the Henry James novella is justly famous—how does a production provide a sense of “crystal-clear ambiguity”?

There are certainly enough questions begging for answers: Are the ghosts real or the product of the Governess’s imagination? Do the children ever see or communicate with the ghosts? What was the exact nature of the relationship between Miles and Peter Quint—and was it a sexual one? What causes the death of Miles? Which character “turns the screw” in this piece?

A more basic but elusive question is: who is the true antagonist? The obvious answer may seem to be the two ghosts. But James never settles for the obvious. Could the real antagonist be the guardian of the children, their own uncle? Though his character is only referred to in both the novella and the opera, the Uncle exerts a dominating influence in his absence, almost like a ghost himself. He is not evil or abusive. In fact, in the novella, he is first described as “kind.” His crime is that he is neglectful of the children, wanting nothing to do with them. And it is this neglect, in combination with his wealth and decadent lifestyle, which leaves the children vulnerable to abuse and corruption. This idea is conveyed through a brilliantly simple dramaturgical stroke: he agrees to hire the Governess on the sole condition that she does not contact him for any reason whatsoever, but deals on her own with whatever problem may arise.

A final point the author suggests through subtle means is whether the “untried and innocent” Governess, despite her loving intentions, “turns the screw” through her obsessive pursuit of obtaining a confession from the children. Is James perhaps suggesting that unconditional love, in and of itself, is sometimes not adequate in the quest to heal deep trauma in children?

Then again, it could all be just a good ghost story.

—Nicholas Muni 8

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Artists James Bagwell Conductor, The Turn of the Screw 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 them in numerous concerts at Carnegie Hall. In July he will prepare The Collegiate Chorale for four concerts at the Verbier Festival in Switzerland; in 2012 they traveled to Israel and the Salzburg Festival for performances with the Israel Philharmonic. Bagwell has prepared The Concert Chorale of New York for many performances with the American Symphony Orchestra, Los Angeles Philharmonic, and Mostly Mozart Festival, all in Avery Fisher Hall at Lincoln Center. Since 2012 he has collaborated with singer Natalie Merchant, appearing with a number of major American orchestras including the San Francisco and Seattle symphony orchestras.

Since 2003 he has been director of choruses for the Bard Music Festival, conducting and preparing choral works during the summer festival at the Fisher Center. Bagwell is professor of music at Bard College and codirector of the Graduate Conducting Program.

Wendell Berry Librettist, Payne Hollow Wendell Berry was born in Henry County, Kentucky, in 1934. He earned a bachelor’s degree and a master’s degree from the University of Kentucky (1956–57). In 1958, he received a Wallace Stegner Fellowship from Stanford University. Berry has taught at Stanford University, Georgetown College, New York University, the University of Cincinnati, and Bucknell University, and at his alma mater from 1964–77 and again from 1987–93.

The author of more than 50 works of fiction, nonfiction, and poetry, Berry has been the recipient of numerous awards and honors, including a Guggenheim Fellowship (1962), the Vachel Lindsay Prize from Poetry magazine (1962), a Rockefeller Foundation Fellowship (1965), a National Institute of Arts and Letters award for writing (1971), the Emily Clark Balch Prize from Virginia Quarterly Review (1974), the American Academy of Arts and Letters Jean Stein Award (1987), a Lannan Foundation Award for Nonfiction (1989), and the Ingersoll Foundation’s T. S. Eliot Award (1994), among many others. Most recently, he has been awarded the National Humanities Medal (2010) by Barack Obama, and gave the 2012 Jefferson Lecture at the Kennedy Center in Washington, D.C. Berry’s books include the novel Hannah Coulter (2004), the essay collections Imagination in Place (2010) and What Matters? (2010), and Leavings: Poems (2010), all available from Counterpoint Press. His latest works include New Collected Poems (2012) and A Place in Time (2012), the latter part of his Port William series. He lives and works with his wife, Tanya Berry, on their farm in Port Royal, Kentucky.

Carl Christian Bettendorf Conductor, Payne Hollow Carl Christian Bettendorf is a New York–based composer and conductor. Born in Hamburg, Germany, he studied composition with Hans-Jürgen von Bose and Wolfgang Rihm in Munich 9

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and Karlsruhe before moving to New York, where he received his doctorate from Columbia University under Tristan Murail. Bettendorf’s works have been played at many prestigious venues and festivals in Europe, North America, Asia, and Australia. In July 1997, his first opera, Escorial, after Michel de Ghelderode, was premiered at the Prinzregententheater in Munich.

He has received many awards, among them a fellowship from the German Academic Exchange Service (DAAD), a six-month residency at the Cité des Arts in Paris, and a Fromm Foundation commission.

Increasingly active as a conductor, Bettendorf has worked with ensembles in New York (Wet Ink, counter)induction, Talea Ensemble) and abroad (Piano Possibile in Munich, Ostravská banda in the Czech Republic) and has appeared with the Opéra national de Montpellier in France, where he conducted the French premiere of Elliott Carter’s opera, What Next? He is director of the Manhattanville College Community Orchestra in Purchase, New York, and has served as assistant conductor for the Columbia University and American Composers orchestras, Miller Theatre, and the Munich Biennale. He has recorded for Albany, Carrier, and Hat Hut Records, among others. His music has been broadcast on German, Swiss, Canadian, U.S., and Australian radio.

Shawn Jaeger Composer, Payne Hollow Shawn Jaeger was born in Louisville, Kentucky, in 1985. His music often draws inspiration from Appalachian ballad singing and hymnody. Honors include an ASCAP Foundation Morton Gould Young Composer Award, two BMI Student Composer Awards, and the Claire Rosen and Samuel Edes Foundation Prize for Emerging Artists. His works have been performed by Dawn Upshaw and the Saint Paul Chamber Orchestra, JACK Quartet, Ensemble Dal Niente, Chicago Q Ensemble, Great Noise Ensemble, and Contemporaneous, and at venues including Zankel Hall, Merkin Concert Hall, (le) poisson rouge, Galapagos Art Space, Chicago Cultural Center, Atlas Performing Arts Center, and Ordway Center for the Performing Arts. He has received commissions from Carnegie Hall’s Weill Music Institute, Saint Paul Chamber Orchestra, The Bard College Conservatory of Music, and the Jerome Fund/American Composers Forum. Jaeger is currently a doctoral candidate at Northwestern University; he previously studied at the University of Michigan.

Nicholas Muni Stage Director and Production Designer Nicholas Muni has directed with companies such as San Francisco Opera, New York City Opera, Canadian Opera Company, Houston Grand Opera, Seattle Opera, Los Angeles Opera, Glimmerglass Opera, and Opera Theatre of St. Louis. In Europe he has directed for the Prague National Opera, Kurt Weill International Festival, Theater Erfurt, Tiroler Landestheater in Innsbruck, and Stadttheater Bern. His revival of Jenu˚fa at the Canadian Opera Company in 2003 received Canada’s prestigious DORA award for best theater production of the year. His recent productions include the U.S. stage premiere of Das Liebesverbot at Glimmerglass Opera, La finta giardiniera and L’amico Fritz at San Francisco Opera’s Merola Opera Program, Carmen at Boston Lyric Opera, Cardillac at Opera Boston, the U.S. stage premiere of El amor

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brujo and La vida breve at Manhattan School of Music, and L’elisir d’amore at the Academy of Vocal Arts in Philadelphia. His immediate upcoming projects will be Florencia en el Amazonas at Boston University Opera Institute and Don Giovanni at Opera Company of Philadelphia.

Muni has served as artistic director for the Tulsa Opera (1987–93) and Cincinnati Opera (1996– 2005). He is currently professor of stagecraft at the Academy of Vocal Arts in Philadelphia and the Graduate Vocal Arts Program at The Bard College Conservatory of Music.

Singers Angela Aida Carducci Prologue, The Turn of the Screw; The Woman, Payne Hollow Soprano Angela Aida Carducci is pursuing her M.M. in The Bard College Conservatory of Music’s Graduate Vocal Arts Program. A native of Buffalo, New York, she completed her undergraduate education at SUNY Geneseo. She performs frequently as a soloist, most recently appearing in Autumn Songfest at Bard and Carissimi’s Jephte and Baltazar. This past summer, Carducci participated in Urbino Musica Antica in Urbino, Italy, where she studied madrigals, Roman oratorio, and Baroque singing under maestro Alessandro Quarta and baritone Furio Zanasi. Along with three colleagues from Bard, she premiered Casey Hale’s True Lover’s Knot at New York City’s Morgan Library and the Longy School of Music of Bard College in Cambridge, Massachusetts. She recently appeared as the Witch in a performance of Humperdinck’s Hansel and Gretel for the Rhinebeck Chamber Music Society and in a collaborative recital in the Saugerties Pro Musica concert series.

Elizabeth Cohen Mrs. Grose, The Turn of the Screw Soprano Elizabeth Cohen, an Albany, New York, native, earned a B.M. in vocal performance and a B.A. in politics from Oberlin in 2011. She began her career at age 9, when she performed as part of Celine Dion’s Let’s Talk about Love tour. Her classical training began at 15 when, on a dare from her mom, she auditioned and was selected for The Juilliard School’s Pre-College program. She has performed roles in Bolcom’s A Wedding and Purcell’s Dido and Aeneas, and her operatic highlights include Susanna (Le nozze di Figaro) and Manon (Manon). Cohen was the 2007 soloist with the Stamford Symphony, conducted by Eckart Preu, and she appeared in the Pre-College’s Night to Remember, with conductor Itzhak Perlman and emcee Bill Cosby.

Recently, she was a soloist in Bard’s Winter Songfest, Dawn Upshaw and Friends, and First Songs, where she performed the world premiere of a work by Andres Martinez de Belasco ’15 at the Morgan Library in New York City and the Longy School of Music of Bard College in Cambridge, Massachusetts.

Vincent Festa Peter Quint, The Turn of the Screw Tenor Vincent Festa is establishing himself on concert and opera stages alike, in repertoire spanning from Baroque to classical and bel canto to contemporary. He recently appeared at

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Bard College in Bach’s St. John Passion, conducted by Leon Botstein; Beethoven’s Mass in C, conducted by James Bagwell; and a concert of arias and duets from Street Scene and Candide.

His debut with the Albany Symphony Orchestra took place in December 2013, in selections from Messiah and Bach Cantata BWV 63. Festa has sung the roles of Flute in Britten’s A Midsummer Night’s Dream and Giles Corey in Robert Ward’s The Crucible, and has performed scenes from Così fan tutte, La Cenerentola, La Sonnambula, Il Barbiere di Siviglia, Orphée et Eurydice, and Die Zauberflöte. A native Italian-American New Yorker, he is currently enrolled in the Graduate Vocal Arts Program at The Bard College Conservatory of Music. He is a graduate of The Juilliard School, where he received his bachelor’s degree.

Lucy Fitz Gibbon Miles, The Turn of the Screw Noted for her “clear voice” (Mittelbayerische Zeitung) and “endearing stage presence” (New York Times), soprano Lucy Fitz Gibbon is a dynamic performer whose repertoire spans the Baroque to contemporary. Her recent stage work includes Cavalli’s La Calisto (Calisto) and Vézina’s Le Lauréat (Pauline) at The Glenn Gould School; Anna Lindemann’s Theory of Flight (Bird Spirit) at Yale University; Mozart’s The Magic Flute (Second Spirit) with Opera Atelier; Hansel and Gretel (Gretel) for the Rhinebeck Chamber Music Society, Mozart’s Exsultate, jubilate in the Friends of Mozart concert series in New York City, and a recital with pianist Ryan MacEvoy McCullough at Cornell University. A graduate of Yale College, she is the recipient of the Sudler, Wrexham, and Beekman Cannon prizes. She has an artist diploma from The Glenn Gould School, where she was awarded the Rex Le Lacheur Scholarship and the Lilly Kertes Rolin International Prize in vocal studies.

Jeremy Hirsch Harlan, Payne Hollow Los Angeles baritone Jeremy Hirsch is a singing actor who performs opera, art song, and oratorio from the Renaissance period to the current day. Most recently, he appeared as Figaro and Antonio in the Halifax Summer Opera Festival’s production of Le nozze di Figaro. During the 2012–13 season, Hirsch created the role of Dr. Burkley in the world premiere of Joshua Bornfield’s Camelot Requiem. He toured as Prospero in a Peabody Opera outreach production of Douglas Buchanan’s 2011 opera Ariel’s Tempest, bringing opera to young audiences across Maryland.

Other recent roles include Bottom and Theseus in Britten’s A Midsummer Night’s Dream, Don Alfonso in a concert production of Così fan tutte, and Il Commendatore in the Figaro Project’s Who Killed Don Giovanni? Hirsch graduated from Peabody Conservatory with a B.M. degree and currently attends The Bard College Conservatory of Music’s Graduate Vocal Arts Program, studying with Sanford Sylvan.

Michael Hofmann Harlan, Payne Hollow Baritone Michael Hofmann is pursuing his M.M. in voice in The Bard College Conservatory of Music’s Graduate Vocal Arts Program, having completed his B.A. in music at Vassar College in May 2013. While at Vassar, he studied privately with Robert Osborne and Drew Minter, participated in numerous solo vocal and choral activities as both a singer and conductor, and was the

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winner of the school’s 2011–12 Concerto Competition. Hofmann is an alumnus of SongFest at the Colburn School, the Amherst Early Music Festival, and the Chautauqua Institute’s Summer Vocal School. He was recently featured as the bass soloist in the Mozart Requiem with the Danbury Concert Chorus. In December 2013, he appeared as Peter in Humperdinck’s Hansel and Gretel in Rhinebeck and as an ensemble member of the medieval music drama The Play of Daniel at Trinity Wall Street.

Helen Zhibing Huang The Girl, Payne Hollow; Flora, The Turn of the Screw Chinese-born soprano Helen Zhibing Huang is a first-year graduate student in The Bard College Conservatory of Music’s Graduate Vocal Arts Program. She recently graduated with a B.M. in vocal performance from the Eastman School of Music and a B.A. in economics from the University of Rochester. Huang’s opera credits include Carolina in Il matrimonio segreto, Amore in Orfeo ed Euridice, and Célie in Signor Deluso. As a soloist, her concert works include Schubert’s Mass in G, Britten’s Te Deum in C, and Handel’s Utrecht Te Deum and Jubilate. Her coaches have been Graham Johnson, Barbara Bonney, Jake Heggie, and Faith Esham. Last May, she won honorable mention at the Jessie Kneisel Lieder Competition in Rochester, New York.

When she’s not singing, she likes to cook and travel the world. She currently studies with Edith Bers.

Kameryn Lueng Miss Jessel, The Turn of the Screw Soprano Kameryn Lueng, from Pineville, Louisiana, earned an M.M. degree through Bard’s Graduate Vocal Arts Program. She performed the lead role of the Maid in the world premiere of Four Sisters, an opera by composer Elena Langer, at the Fisher Center. She has performed other 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. Lueng won the Encouragement Award from the Metropolitan Opera National Council Auditions in 2009 and the Monroe Symphony Orchestra Competition in 2011. She graduated from Louisiana College with a B.M. in vocal performance. In her spare time, she enjoys cooking, creating crayon art, and playing the bass guitar.

Sara LeMesh Anna, Payne Hollow A native of the San Francisco Bay Area, mezzo-soprano Sara LeMesh holds a bachelor’s degree in vocal performance from Rice University, where she studied with opera singer Susanne Mentzer. She is currently enrolled in the Graduate Vocal Arts Program at Bard College. A frequent concert soloist praised for her “plush mezzo-soprano” (New York Times), LeMesh’s recent performances include Stravinsky’s Pulcinella at the Music Academy of the West, under the baton of Matthias Pintscher; Bach’s St. John Passion, conducted by Leon Botstein at Bard College’s Fisher Center; and Mozart’s Requiem, performed at Rice University. LeMesh recently covered Second Lady in Mozart’s Die Zauberflöte at the Music Academy of the West and performed Third Spirit in the same opera at the Aspen Music Festival, where she was awarded a New Horizons Fellowship.

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Katherine Maysek Mrs. Grose, The Turn of the Screw Mezzo-soprano Katherine Maysek is a first-year student in Bard’s Graduate Vocal Arts Program, studying with Sanford Sylvan. This summer she was a Vocal Fellow at the Tanglewood Music Center. In addition to recitals, her summer performances included Second Witch in Mark Morris’s production of Dido and Aeneas and a world premiere of Christian Mason’s The Years of Light during the Festival of Contemporary Music. At Bard she has performed in recitals and as the Sandman in Hansel and Gretel. Maysek earned her B.A. from McGill University. During her time with Opera McGill, she sang Nerone (L’incoronazione di Poppea), Tirinto (Imeneo), and First Witch (Dido and Aeneas). Other roles include Véronique (Bizet’s Le docteur Miracle), Second Nursemaid (Street Scene), Bradamante (Alcina), and Cherubino (Le nozze di Figaro). Her concert experience includes Bach’s Mass in B Minor, Christmas Oratorio, St. Matthew Passion, Handel’s Messiah, and Gounod’s Requiem.

Devony Smith Anna, Payne Hollow Soprano Devony Smith is enrolled in The Bard College Conservatory of Music’s Graduate Vocal Arts Program. She has been featured in several concerts at Bard this past year, including Music Alive! (curated by Pulitzer Prize–winning composer Joan Tower), and First Songs, in which she performed a world premiere by Daniela DeMatos. This past summer she was a recipient of the Marc and Eva Stern Fellowship at SongFest in Los Angeles, where she performed the world premiere of Ben Moore’s John and Abigail, as well as the West Coast premiere of John Musto’s Six Scottish Songs. Her theatrical experiences have been a rich complement to her operatic training. Smith appeared at Pepperdine University as Irene Molloy in Hello, Dolly! and Meg March in Mark Adamo’s opera, Little Women, as well as Mother Jones in The Kentucky Cycle, in which she played her fiddle onstage throughout the performance.

Laura Soto-Bayomi Governess, The Turn of the Screw Soprano Laura Soto-Bayomi is in her first year with Bard’s Graduate Vocal Arts Program, where she studies with Patricia Misslin. In 2011 she performed selections from Mahler’s Des Knaben Wunderhorn as a soloist in Jordan Hall, under the baton of Maestro Hugh Wolff with the New England Conservatory Symphony. She was the soprano soloist in Mozart’s Regina Coeli, KV 108, with the NEC Chamber Singers. Her opera credits at NEC include Dido (Dido and Aeneas), Rosalinda (Die Fledermaus), and Climene (L’Egisto). Other performances in 2013 included Second Lady (Die Zauberflöte) at Opera on the Avalon, and premiering the role of She in Katherine Balch’s chamber opera Loveliest Afternoon of the Year at NEC, in collaboration with the Entrepreneurial Musicianship program. After attending the Bel Canto Institute in Florence, Italy, Soto-Bayomi was chosen as a recipient of the institute’s Orchestral Award. Next summer she will be a featured soloist at a series of festival concerts in Italy.

Sarah Tuttle Governess, The Turn of the Screw Sarah Tuttle, soprano, hails from Monmouth, Maine, and is enrolled in the Graduate Vocal Arts Program at The Bard College Conservatory of Music. She received her B.A. in music from the Sunderman Conservatory at Gettysburg College, where she participated in multiple vocal 14

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projects. She toured France and Switzerland as the featured vocalist with the Gettysburg College Jazz Ensemble and spent a semester studying chamber music in Vienna. She also sang as a soloist in the premiere of Avner Dorman’s Letters from Gettysburg in April 2013. In 2012, Tuttle won the Sunderman Conservatory Concerto Competition and received a Mellon research grant for her work on the Buddhist influence in Mahler’s Das Lied von der Erde. On the operatic stage, she has appeared as Belinda in Purcell’s Dido and Aeneas and Geraldine in Barber’s A Hand of Bridge. She currently studies with Edith Bers.

The Bard College Conservatory of Music Robert Martin, Director Graduate Vocal Arts Program Dawn Upshaw, Artistic Director Kayo Iwama, Associate 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.

In addition to a successful concert tour of China in 2012, the Conservatory Orchestra has performed twice at Lincoln Center, in 2010 and 2013, under Maestro Leon Botstein. In June 2014, the Conservatory Orchestra will perform in Warsaw, St. Petersburg, Moscow, Budapest, Bratislava, Vienna, Prague, and Berlin during a three-week concert tour of Europe with soloists Peter Serkin and Dawn Upshaw.

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 there 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 Graduate Conducting Program, orchestral and choral, 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.

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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 student lounge in the new László Z. Bitó ’60 Conservatory Building.

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, at 845-758-7866 or gabler@bard.edu for more information about how to make a tax-deductible gift, or make a gift online at www.bard.edu/conservatory/giving/.

The Bard College Conservatory of Music PO Box 5000, Annandale-on-Hudson, NY 12504-5000

The Conservatory gratefully acknowledges the support of these recent donors: Robert and Marilyn Adams James Akerberg and Larry Simmons Arbor Ridge at Brookmeade Jane Evelyn Atwood ‘70 Wayne Baden Dr. R. Etta Baines Erica Ball ’11 Simone Belda Berkshire Taconic Community Foundation, Inc. Marshall S. Berland and John E. Johnson Bettina Baruch Foundation Malcolm Bilson ’57 Dr. László Z. Bitó ‘60 and Olivia Cariño Robert Blacker Carolyn Marks Blackwood Clare Brandt Francesca Bray and Alexander Robertson

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Frances Brent C. Ann and James Brudvig Theodora Budnik Alfred M. Buff and Lenore Nemeth Catherine Cattabiani ’77 Fu-chen Chan Dr. Henry L. Clinton Jr. Columbia Festival Orchestra George Connerat Ellen Curtis Arnold J. Davis ’44 Marsha and George Davis Georgia and Michael de Havenon Kathy and Gonzalo de Las Heras Dennis Dempster and Priscilla Miller Nancy Dicken Hal and Valery Einhorn Cornelia Z. and Timothy Eland Wendy Ewald Linda and Edwin Faber

Susan Feder and Todd Gordon Mildred and Arnold Feinsilber Douglas K. and Faith W. Finnemore The Fred Stein Family Foundation Friends of Beattie-Powers Place Friends of Chamber Music of Reading Luis Garcia-Renart Christopher H. Gibbs Gwen Gould Katherine Gould-Martin and Robert L. Martin Jan and Lester Greenberg Nan and David Greenwood Marka Gustavsson and John Halle Louis and Caroline Haber Kathy W. Hammer and G. Arthur Seelbinder Dorothy and Leo Hellerman Theodore Hepp and Regula Aregger

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Richard Herbert Babette Hierholzer Susan B. Hirschhorn and Arthur Klebanoff Robert Hoven IBM Matching Grants Program Morimi and Midori Iwama Dr. and Mrs. Bertrand R. Jacobs Hedy Jellinek John Cage Trust Goyn Jones David and Renée Kaplan Michael I. Katz Belinda and Stephen Kaye Felicia Keesing and Richard Ostfeld Martin Kenner Ruth Ketay and Rene Schnetzler David and Janet E. Kettler Jamie Kibel and Michael DeCola Erica Kiesewetter Martha and Basil King Richard Kortright and Claudia Rosti Dr. Lawrence Kramer and Dr. Nancy S. Leonard Stephanie and Gerald Kufner Kvistad Foundation Gary and Edna Lachmund Alison L. and John C. Lankenau Glenda Fowler Law and Alfred Law Joy Lee and Richard Packert Tania J. Leon The Leonard & Evelyn Lauder Fund of the Lauder Foundation Karen B. Leonard Angela Kiche Leung Michael and Monica Jakuc Leverett Annemarie Levitt Lifetime Learning Institute at Bard Alice Linder and Steve Siegel Vivian Liu and Alan Hilliker Harvey Marek Martin and Toni Sosnoff Foundation Ed Matthew Dr. Peter D. McCann and Deborah L. Berke John and Patricia McNulty William J. McTighe Sheila M. Moloney ’84 and John Pruitt Herbert Morris The Mortimer Levitt Foundation Inc. Donn Mosenfelder and Frances Goodwin Elizabeth and Gary Munch Martin L. and Lucy Miller Murray New Albion Records Marta and Fernando Nottebohm Sakiko Ohashi Elizabeth J. and Sevgin Oktay Marilyn and Peter Oswald Mr. and Mrs. James H. Ottaway Jr.

Debra Pemstein and Dean Vallas Pepsico Foundation Hart Perry Barbara Post Marina L. Preussner D. Miles Price Puffin Foundation, Ltd. Susan Rabinowitz and Joel Longenecker Cathy and Fred Reinis Rhinebeck Chamber Music Society Gilda Riccardi Peter Richman Stephen Richman Barbara J. Ritchie Roaring Brook Group Rishin Roy and Laura Martin Stephen H. and Sheila Sachs Susannah Satten Saugerties Pro Musica, Inc. David L. and Rebecca Y. Schroedel Lizbeth and Stephen Shafer Tara Shafer and Gavin Curran Paul D. Sheats Martin and Toni Sosnoff Scott Spencer Gabriella and Harvey Sperry Charles P. Stevenson Jr. and Alexandra Kuczynski Terra Nova Foundation Felicitas S. Thorne Katherine and Richard Tobey Dr. H. Tucker and Martha Upshaw Illiana van Meeteren and Terence C. Boylan ’70 Dr. Jan and Marica Vilcek Marla and Brian Walker Susan Weber David Wetherill Barbara Jean Weyant Maureen A. Whiteman and Laurance J. Zlatkin Wheelock Whitney III Eric Wong Ann and Warren Wyrick Henry Young Listing current as of January 15, 2014

The Bard College Conservatory of Music Robert Martin, Director

Undergraduate Program Faculty Violin Shmuel Ashkenasi 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 (master classes) Jeremy Denk Richard Goode (master classes) Benjamin Hochman Jeffrey Kahane Matti Raekallio Peter Serkin Flute Nadine Asin (master classes) Tara Helen O’Connor Oboe Richard Dallesio Elaine Douvas Alexandra Knoll Clarinet Laura Flax David Krakauer Anthony McGill Bassoon Marc Goldberg Patricia Rogers

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Horn Barbara Jรถstlein Julie Landsman Jeffrey Lang Julia Pilant Trumpet Carl Albach Trombone Demian Austin Denson Paul Pollard Weston Sprott Tuba Derek Fenstermacher Percussion So- Percussion members: Eric Beach Josh Quillen Adam Sliwinski Jason Treuting Advisers: Daniel Druckman Jonathan Haas Greg Zuber Tzong-Ching Ju Garry Kvistad Jan Williams Orchestral Studies Leon Botstein Erica Kiesewetter Chamber Music* Marka Gustavsson, coordinator Edward Carroll Stephen Hammer Robert Martin Blair McMillen Raman Ramakrishnan Composition Joan Tower George Tsontakis Da Capo Chamber Players (in residence) Performance Practice Advisers Raymond Erickson Stephen Hammer Performance Studies Luis Garcia-Renart Music Theory and History Leon Botstein Christopher H. Gibbs John Halle Peter Laki

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Graduate Vocal Arts Program (M.M. degree)

Languages Bard College Faculty

Dawn Upshaw, Artistic Director, Vocal Coach Kayo Iwama, Associate Director, Vocal Coach Erika Switzer, Coordinator of Extracurricular Concerts

Secondary Instrument Bard College Faculty

Voice Edith Bers Patricia Misslin Lorraine Nubar

Frank Corliss, Director

Professional Development Workshop Carol Yaple

Harold Farberman, Founder and Director

Acting Workshop Lynn Hawley

Preparatory Division

Opera Workshop Nicholas Muni

Postgraduate Collaborative Piano Fellowships

The Conductors Institute

Ryan Kamm, Codirector Susanne Son, Codirector

Movement Amii LeGendre

Voice Malena Dayen Lucy Dhegrae

Diction Erika Switzer

Violin Helena Baillie

Alexander Technique Gwen Ellison Alexander Farkas

Cello Alice Yoo Double Bass Ryan Kamm

Graduate Conducting Program, Orchestral and Choral (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

Piano Tanya Gabrielian Renana Gutman Hiroko Sasaki Susanne Son Anna Stoytcheva Flute Fu-chen Chan Guitar David Temple Musicianship Ryan Kamm Shawn Jaeger David Temple Amy Travis Composition Shawn Jaeger Early Childhood and Chorus Amy Travis

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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 Alexander Bonus Christopher H. Gibbs Peter Laki Voice Rufus Müller Composition Richard Teitelbaum * Performance faculty also coach chamber music

Students Composition Daniel Castellanos, New Jersey * Tamzin Ferré Elliott, California * New Albion Scholarship Sunbin (Kevin) Kim, New Jersey (Physics) Andrés Martínez de Velasco, Mexico (Physics) Dylan Mattingly, California (Classical Studies) Obadiah Wright, California * Adam Zuckerman, California (Classical Studies) Piano Ana Felicia Doni, Oregon * Hye Joong Jeong, South Korea (Asian Studies, Japanese) Maryna Kysla, Ukraine (Russian Studies) Frances Lee, Singapore (German Studies) Stephen and Belinda Kaye Scholarship Anna Obbágy, Hungary (Mathematics) Hyung-Min Suh (South Korea)

Mayumi Tsuchida, California (Asian Studies) Mengying Wei, China * ChaoJun Yang, China * Violin Tianpei Ai, China * Gabriel Baeza, Puerto Rico * Sergio Carleo, Venezuela * Qun Dai, China (Asian Studies) Aischa Gündisch, Germany ** Fang Xi Liu, China (German Studies) Zhi Ma, China (German Studies) Caitlin Majewski, New Jersey (Psychology) Veronika Mojzeová, Czech Republic * Scot Moore, Illinois (American Studies) Avery Morris, California * Reina Murooka, California (German Studies) Dongfang Ouyang, China (Russian Studies) Leonardo Pineda, Venezuela (French Studies) Jiayu Sun, China (Asian Studies) Sabrina Tabby, Pennsylvania (French Studies) Gerg Tóth, Hungary (Asian Studies) Jiazhi Wang, China (Italian Studies) Xianbo Wen, China ** Matthew Woodard, Massachusetts * Hanni Xie, China * Shuang Yang, China * Viola Wenlong Huang, China (German Studies) Alexandra Morris, California * Rosemary Nelis, New York * G. de Las Heras Scholarship Wei Peng, China (German Studies) Yinbin Qian, China ** Jiawei Yan, China (Philosophy) Zi Ye, China (French Studies) Luis Garcia-Renart Scholarship Cello John Belk, Minnesota (Mathematics) Jeannette Brent, New York (Russian Studies) The Leonard & Evelyn Lauder Foundation Scholarship Yi Cheng, China (German Studies) Colyer Durovich, North Carolina * Rylan Gajek-Leonard, Canada (Mathematics) D. Miles Price Scholarship Sarah Ghandour, California *

Rastislav Huba, Slovakia (Russian and Eurasian Studies) Mischa Schneider Scholarship Stanley Moore, Illinois (Philosophy) Emma Schmiedecke, New Jersey (Art History) George Martin Hans Thatcher Clarke Scholarship Xi Yang, China (Asian Studies) Daniel Zlatkin, Connecticut (Political Studies) Bass Bence Botár, Hungary ** Julian Lampert, New Jersey ** Bingwen Yang, China (Asian Studies) Zhenyuan Yao, China (Asian Studies) Yingqin Zhang, China (Asian Studies) Harp Anna Bikales, Tennessee (Dance) Xing Gao, China * Flute Bridget Bertoldi, Connecticut * Eszter Ficsor, Hungary (German Studies) Bitó Scholarship Maies Hriesh, Israel * Adrienn Kántor, Hungary (German Studies) Bitó Scholarship Eleni Tsachtani, Greece (Dance) Oboe Alessandro Cirafici, New York (German Studies) Xuanbo Dong, China (Political Studies) Gregory Drilling, Iowa * Ryan Klein, New York ** Carl Alex Meyer, Michigan (Religion) Clarinet Jingyu Mao, China * Kristyna Petiskova, Czech Republic * Noémi Sallai, Hungary (German Studies) Viktor Tóth, Hungary (Italian Studies) Bassoon Joshua Hodge, Arizona (Asian Studies) Anna Opatka, Massachusetts (Psychology)

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Horn Jonathan Croy, Alabama ** András Ferencz, Hungary (Literature) James Haber, Connecticut (Asian Studies and Historical Studies) Szilárd Molnár, Hungary (Spanish) Bitó Scholarship Cameron West, California (Psychology) Claire Worsey, California Trumpet Trygve Butler, Washington (Italian) Szabolcs Koczur, Hungary ** Trombone Václav Kalivoda, Czech Republic (Classical Studies) Hsiao-Fang Lin, Taiwan ** Tamás Markovics, Hungary (Asian Studies) János Sutyák, Hungary ** Hungarian Visiting Fellow Tuba Péter Blága, Hungary ** Percussion Jonathan Collazo, Florida * Peter Dodds, Massachusetts ^^ Petra Elek, Hungary (German Studies) Bitó Scholarship Christopher Gunnell, Kentucky (Mathematics) Benjamin Malinski, Pennsylvania * Zihan Yi, China (Asian Studies) John Cage Trust Scholarship * Second major not yet declared ** Advanced Performance Studies Program ^^ Percussion Fellow

Graduate Vocal Arts Program Angela Aida Carducci, New York Elizabeth Cohen, New York Kimberly Feltkamp, New York Vincent Festa, New York Lucy Fitz Gibbon, California Jeremy Hirsch, Maryland Michael Hofmann, New Jersey Helen Zhibing Huang, Virginia Sara LeMesh, California Mimi Levitt Scholarship Katherine Maysek, Massachusetts Devony Smith, California Laura Soto-Bayomi, New Jersey Jan and Marica Vilcek Scholarship

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Sarah Tuttle, Maine Jan and Marica Vilcek Scholarship Diana Yodzis, North Carolina

Graduate Conducting Program Michelle Asher, Ohio David Bloom, Alabama Yu Chang, Taiwan Michael Ferrara, Ohio Juan Gallastegui, Spain German Garcia Vargas, Spain Kenneth Griffith, Ohio Hannah Rommer, Vermont Anastasia Serdesev, New York Matthew Woolever, New York

Postgraduate Collaborative Piano Fellows Erika Allen, Maine Garcia Renart Piano Fellow Julia Hsu, Taiwan Hyanghyun Lee, South Korea Szilvia Mikó, Hungary Eri Nakamura, Japan Bálint Zsoldos, Hungary

Bard College Conservatory Advisory Board Gonzalo de Las Heras, chair Alan D. Hilliker Susan B. Hirschhorn Belinda Kaye Stephen Kaye Y. S. Liu Gabriella Sperry Eric Wong

Bard College Conservatory of Music Robert Martin, Director Eileen Brickner, Dean of Students Fu-chen Chan, Dean of Administration Frank Corliss, Director of Admission Ann Gabler, Development Manager Tricia Reed, Concert Manager Lauren Gerken, Administrative Assistant, Vocal Arts Program Kristin Roca, Administrative Assistant

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 Stuart Breslow+ Mark E. Brossman Thomas M. Burger+ James C. Chambers ’81 David C. Clapp Marcelle Clements ’69* The Rt. Rev. Andrew M. L. Dietsche, Honorary Trustee Asher B. Edelman ’61, Life Trustee 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, Life Trustee George A. Kellner Murray Liebowitz, Life Trustee Marc S. Lipschultz Peter H. Maguire ’88 Fredric S. Maxik ’86 James H. Ottaway Jr., Life Trustee Martin Peretz, Life Trustee Stewart Resnick, Life Trustee Roger N. Scotland ’93* 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

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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 and Programming Debra Pemstein, Vice President for Development and Alumni/ae Affairs Bob Bursey, Senior Producer Gideon Lester, Director of Theater Programs Caleb Hammons, Associate Producer Jeannie Schneider, Business Manager Marla Walker, Executive Assistant Production Vincent Roca, Production Manager Stephen Dean, Production Coordinator, Concerts and Lectures Matthew Waldron ’07, Production Coordinator, Dance and Theater Steven Michalek, Technical Director Josh Foreman, Lighting Supervisor Moe Schell, Costume Shop Supervisor Adam Kushner, Audio/Video Supervisor Communications Mark Primoff, Director of Communications Eleanor Davis, Media and Marketing Manager Joanna Szu, Marketing Associate

Publications Mary Smith, Director of Publications Ginger Shore, Consultant to Publications Audience Services David Steffen, Audience Services Manager and Communications Coordinator Nicholas Reilingh, Box Office Manager Caitlyn DeRosa, Assistant Box Office Manager Patrick King ’12, House Manager Alec Newell ’15, Assistant House Manager Kay Schaffer ’14, Assistant House Manager Facilities Mark Crittenden, Facilities Manager Ray Stegner, Building Operations Manager Doug Pitcher, Building Operations Coordinator Daniel DeFrancis, Building Assistant Robyn Charter, Building Assistant Katie O’Hanlon, Housekeeping Anna Simmons, Housekeeping

Associate Director Raissa St. Pierre ’87 Scholars in Residence 2014 Christoper H. Gibbs Morten Solvik Program Committee 2014 Byron Adams Leon Botstein Christopher H. Gibbs Robert Martin Richard Wilson Irene Zedlacher Director of Choruses James Bagwell Vocal Casting/ Producer, Staged Concerts Susana Meyer * alumni/ae trustee + ex officio

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. Felicitas S. Thorne Siri von Reis Artistic Directors Leon Botstein Christopher H. Gibbs Robert Martin Executive Director Irene Zedlacher

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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 six correctional institutions in New York State; M.A. in curatorial studies, M.S. in economic theory and policy, 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 Bard College Berlin: A Liberal Arts University; 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 5,000 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.

©2014 Bard College. All rights reserved.

Cover János Sutyák ’13 Inside back cover ©Peter Aaron ’68/Esto

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BARD MUSIC FESTIVAL AND BARD COLLEGE CONSERVATORY OF MUSIC

EUROPE TOUR 2014 In June 2014 the Bard College Conservatory Orchestra, led by music director Leon Botstein, will play two special programs in concert halls across Europe.

PROGRAM ONE: SHOSTAKOVICH AND HIS WORLD Featuring the Bard College Conservatory Orchestra with Dawn Upshaw, soprano, conducted

by Leon Botstein, music director. Works by Wagner, Strauss, Lutosławski, and Shostakovich.

June 7 June 11 June 17 June 21

Warsaw Moscow Bratislava Prague

Polish National Concert Hall Great Hall of Moscow Conservatory Slovak Radio Symphony Concert Hall Rudolfinum, Dvorˇák Hall

PROGRAM TWO: COPLAND AND HIS WORLD Featuring the Bard College Conservatory Orchestra with Peter Serkin, piano, conducted

by Leon Botstein, music director. Works by Copland, Bartók, and Martinů.

June 9

St. Petersburg Mariinsky Theatre, as part of the White Nights Festival June 14 Budapest Great Hall, Liszt Academy June 18 Vienna Konzerthaus June 23 Berlin Konzerthaus For information about tickets for these concerts, e-mail gabler@bard.edu.

EUROPE TOUR PREVIEW CONCERT AT BARD COLLEGE COPLAND AND HIS WORLD Sunday, May 18 Bard College Conservatory Orchestra with Peter Serkin, piano Conducted by music director Leon Botstein and featuring pianist Peter Serkin, the program includes Bohuslav Martinu ˚’s Memorial to Lidice for orchestra and Thunderbolt; Béla Bartók’s Piano Concerto No. 3 in E Major; and Aaron Copland’s Symphony No. 3.

Sosnoff Theater, Richard B. Fisher Center for the Performing Arts 845-758-7900 | fishercenter.bard.edu Tickets: $20 (orchestra seating); $15 (parterre/first balcony)

SAVE THE DATES

BCOM Double Opera Program 2-19_RBF program 4-16 2 3/3/14 5:28 PM Page 24

FISHER CENTER AT BARD COLLEGE SPRING EVENTS APRIL 6 SOSNOFF THEATER

– SO PERCUSSION AND BARD PERCUSSION

APRIL 11 AND 12 SOSNOFF THEATER

AMERICAN SYMPHONY ORCHESTRA Conducted by Leon Botstein, music director APRIL 18 AND 19 SOSNOFF STAGE RIGHT

JOANNA KOTZE it happened it had happened it is happening it will happen APRIL 25 AND 26 SOSNOFF THEATER

GIUSEPPE VERDI’S MESSA DA REQUIEM MAY 17 THEATER TWO

BILL T. JONES/ARNIE ZANE DANCE COMPANY MAY 18 SOSNOFF THEATER

CONSERVATORY SUNDAYS

BARDSUMMERSCAPE DANCE JUNE 27–28

TRISHA BROWN DANCE COMPANY Proscenium Works: 1979–2011 THEATER JULY 10–20 World Premiere

LOVE IN THE WARS A Version of Heinrich von Kleist’s Penthesilea by John Banville OPERA JULY 25 – AUGUST 3

EURYANTHE

By Carl Maria von Weber FILM SERIES JULY 3 – AUGUST 3

SCHUBERT AND THE LONG 19TH CENTURY SPIEGELTENT JULY 3 – AUGUST 17

CABARET, MUSIC, FINE DINING, AND MORE and

25TH ANNIVERSARY SEASON

BARD MUSIC FESTIVAL SCHUBERT AND HIS WORLD AUGUST 8–10 and 15–17 The 2014 SummerScape season and the 25th 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.