Mendelssohn's Elijah

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

MENDELSSOHN’S

Elijah Featuring members of the Bard College Conservatory Orchestra and members of the American Symphony Orchestra February 17 and 18, 2012

About The Richard B. Fisher Center for the Performing Arts at Bard College The Richard B. Fisher Center for the Performing Arts, an environment for world-class artistic presentation in the Hudson Valley, was designed by Frank Gehry and opened in 2003. Risk-taking performances and provocative programs take place in the 800-seat Sosnoff Theater, a proscenium-arch space, and in the 220-seat Theater Two, which features a flexible seating configuration. The Center is home to Bard College’s Theater and Dance Programs, and host to two annual summer festivals: SummerScape, which offers opera, dance, theater, film, and cabaret; and the Bard Music Festival, which celebrates its 23rd year in August with “Saint-Saëns and His World.” The 2013 festival will be devoted to Igor Stravinsky, with a special weekend focusing on the works of Duke Ellington.

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

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

The Richard B. Fisher Center for the Performing Arts at Bard College Chair Jeanne Donovan Fisher President Leon Botstein presents

MENDELSSOHN’S

Elijah Featuring members of the Bard College Conservatory Orchestra and members of the American Symphony Orchestra Leon Botstein, conductor James Bagwell, chorus master Sanford Sylvan, baritone With members of the Graduate Vocal Arts Program Hannah Goldshlack and Jacquelyn Stucker, sopranos Abigail Levis, mezzo-soprano Hyunhak Kim and Barrett Radziun, tenors Bard College Chamber Singers James Bagwell, Music Director Cappella Festiva Chamber Choir Christine R. Howlett, Artistic Director

Sosnoff Theater Friday, February 17 and Saturday, February 18, 2012 Preconcert talk at 7 pm by James Bagwell Running time for the concert is approximately three hours, including one 20-minute intermission.

Elijah, Op. 70 Part One Introduction

So wahr der Herr, der Gott Israels, lebet / As God the Lord of Israel

Overture 1. Chorus

Hilf, Herr! / Help, Lord!

2. Duet with Chorus

Herr, höre unser Gebet! / Lord, bow thine ear to our pray’r!

3. Recitative

Zerreißet eure Herzen / Ye people, rend your hearts

4. Aria

So ihr mich von ganzem Herzen suchet / If with all your hearts

5. Chorus

Aber der Herr sieht es nicht / Yet doth the Lord see it not

6. Recitative

Elias, gehe weg von hinnen / Elijah, get thee hence

7. Double Quartet

Denn er hat seinen Engeln befohlen / For He shall give His angels charge

8. Recitative, Aria, and Duet Was hast du an mir getan / What have I to do with thee 9. Chorus 10. Recitative with Chorus

Wohl dem, der den Herrn fürchtet / Blessed are they who fear Him. So wahr der Herr Zebaoth lebet / As God the Lord of Sabaoth liveth

11. Chorus

Baal, erhöre uns / Baal, we cry to thee

12. Recitative and Chorus

Rufet lauter! Denn er ist ja Gott! / Call him louder! For he is a god

13. Recitative and Chorus

Rufet lauter! Er hört euch nicht / Call him louder! He heareth not

14. Aria

Herr Gott Abrahams, Isaaks und Israels / Lord God of Abraham, Isaac, and Israel

15. Quartet

Wirf dein Anliegen auf den Herrn / Cast thy burden upon the Lord

16. Recitative with Chorus

Der du deine Diener machst zu Geistern / O Thou, who maketh thine angels

17. Aria

Ist nicht des Herrn Wort wie ein Feuer / Is not His word like a fire

18. Arioso

Weh ihnen, daß sie von mir weichen! / Woe unto them who forsake Him!

19. Recitative with Chorus

Hilf deinem Volk, du Mann Gottes! / O man of God, help Thy people!

20. Chorus

Dank sei dir, Gott / Thanks be to God

Intermission

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Part Two 21. Aria

Höre, Israel, höre des Herrn Stimme! / Hear ye, Israel!

22. Chorus

Fürchte dich nicht, spricht unser Gott / Be not afraid, saith God the Lord

23. Recitative with Chorus

Der Herr hat dich erhoben / The Lord hath exalted thee

24. Chorus

Wehe ihm, er muß sterben! / Woe to him! He shall perish

25. Recitative

Du Mann Gottes, laß meine Rede / Man of God, now let my words

26. Aria

Es ist genug, so nimm nun, Herr / It is enough, O Lord, now take away my life

27. Recitative

Siehe, er schläft unter dem Wacholder / See, now he sleepeth

28. Trio

Hebe deine Augen auf zu den Bergen / Lift thine eyes to the mountains

29. Chorus

Siehe, der Hüter Israels / He, watching over Israel

30. Recitative

Stehe auf, Elias, den du hast einen langen Weg / Arise, Elijah

31. Aria

Sei stille dem Herrn und warte auf ihn / O rest in the Lord, wait patiently for Him

32. Chorus

Wer bis an das Ende beharrt / He that shall endure to the end

33. Recitative

Herr, es wird Nacht um mich / Night falleth round me, O Lord!

34. Chorus

Der Herr ging vorüber / Behold, God the Lord passed by

35. Recitative

Seraphim standen über ihm / Above Him stood the Seraphim

Quartet with Chorus

Heilig ist Gott der Herr Zebaoth / Holy is God the Lord

36. Chorus and Recitative

Gehe wiederum hinab! / Go, return upon thy way!

37. Arioso

Ja, es sollen wohl Berge weichen / For the mountains shall depart

38. Chorus

Und der Prophet Elias brach hervor / Then did Elijah the prophet break forth

39. Aria

Dann warden die Gerechten leuchten / Then shall the righteous shine forth

40. Recitative

Darum ward gesendet der Prophet Elias / Behold, God hath sent Elijah

41. Chorus

Aber einer erwacht von Mitternacht / But the Lord, from the north has raised one

Quartet 42. Chorus

Wohlan, alle die ihr durstig seid / O come ev’ry one that thirsteth Alsdann wird euer Licht / And then, then shall your light

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Note on Today’s Program

by Leon Botstein Concertgoers for this program will notice that members of the American Symphony Orchestra are performing side by side with students who are part of the orchestra of The Bard College Conservatory of Music. This is the second concert in an annual collaboration between the American Symphony Orchestra—the orchestra in residence at the Fisher Center—and the Bard Conservatory. The music director and the principal guest conductor of the American Symphony Orchestra are both members of the faculty at Bard, and the Conservatory’s director of orchestral studies is the American Symphony’s concertmaster. Several of the orchestra’s principal players teach at the Conservatory, including Laura Flax (clarinet), Jeffrey Lang (horn), Sara Cutler (harp), Carl Albach (trumpet), and Laura Ahlbeck (oboe). As is the case at the Aspen Festival of Music, the experience of students working together with professionals is extremely productive. The students gain from the professional experience of seasoned orchestral musicians, and the professional musicians have the pleasure of working with enthusiastic, young, incipient colleagues.

The Conservatory students’ participation is voluntary, and in addition to their membership in the Conservatory Orchestra. Owing to James Bagwell’s outstanding leadership in the field of choral conducting, it was decided that this concert should offer a performance of a major piece in the choral repertory—Mendelssohn’s oratorio Elijah. Next year, in the spring of 2013, the program will feature Mahler’s Symphony No. 2, “Resurrection.”

We wish to thank the staff of the American Symphony Orchestra and of the Bard Conservatory for making this event possible. We hope that you will enjoy this unique collaboration.

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Notes on the Program FELIX MENDELSSOHN Born in Hamburg, February 3, 1809 Died in Leipzig, November 4, 1847 Elijah, Op. 70, composed in 1846 The grandson of the great German-Jewish philosopher Moses Mendelssohn, young Felix was baptized at the age of 7, at the express wish of his father. Abraham Mendelssohn maintained that his children should be Christians if they were to find their place in modern German society. Thus, Felix had practically no ties to the religion of his ancestors; he was raised as a Protestant, and his sincere Lutheran faith played an important role in his life. His interest in Christianity was reflected in his compositions as well: he wrote a large number of sacred works including psalm settings, a German mass, and motets in Latin, German, and English. Yet the Old Testament prophet Elijah was a central figure in the Jewish tradition, a fact that could hardly have escaped Mendelssohn as he decided on the subject of his second large-scale oratorio.

A Threefold Quest: Religious Expression, a Love of Early Music, and Operatic Ambitions In his sacred works, Mendelssohn combined his preoccupation with religious expression with his keen interest in early music. He had been studying the works of Bach and Handel since childhood. His teacher, Carl Friedrich Zelter, had introduced him to the Berlin Singakademie, which was devoted to the performances of Baroque music. There, at the age of 20, Mendelssohn conducted Bach’s St. Matthew Passion, which had not been performed in a century. This historic concert was only the first of many efforts dedicated to the works of Bach and Handel, whose music Mendelssohn enthusiastically championed throughout his life.

Mendelssohn’s sacred music builds on Baroque models, but it expresses concerns that were peculiar to him as a 19th-century composer. While he was intent on continuing the Handelian tradition of the sacred oratorio, he infused the Baroque idiom with his own, unmistakably Romantic sensitivity.

Shortly after the premiere of his St. Paul (Düsseldorf, 1836), Mendelssohn began thinking about a second oratorio. For a while, he considered St. Peter as a possible subject, but the prophet Elijah was also on his mind early on. In a letter to his friend Carl Klingemann, Mendelssohn referred to his search for a subject, “Elijah, Peter, or, for all I care, Og, King of Basan.” The ironical allusion to this obscure biblical figure reveals that at this early

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stage there was something more important to Mendelssohn than the choice of subject.

Above all, Mendelssohn wanted a series of poignant dramatic situations.

This also explains why Mendelssohn chose Klingemann as a collaborator. This literaryminded friend, who had been Mendelssohn’s traveling companion on a memorable trip to Scotland in 1829 and who now worked as a diplomat in London, seemed better suited for Mendelssohn’s plans than did his other friend, Pastor Julius Schubring, the librettist of St. Paul. But after penning the first draft, Klingemann couldn’t find the time to carry out the project. So Mendelssohn had no choice but to turn once more to Schubring, a theologian and biblical scholar, who was primarily concerned with the religious aspect and had little interest in, or understanding of, drama.

Drama, however, was a primary interest of Mendelssohn’s, and he had been longing to write an opera for years. His first essay in the genre, The Wedding of Camacho, was written at the age of 16; this work had a single performance in Berlin and was then entirely forgotten. Later attempts at writing a successful opera likewise failed.

Mendelssohn’s only real opportunities to write for the theater came in connection with spoken plays. As court composer to Prussian King Friedrich Wilhelm IV, he wrote incidental music to four classical dramas, including Shakespeare’s A Midsummer Night’s Dream. But his dream in real life, a full-length opera, continued to elude him—in part because he never found a suitable libretto.

Thus, Elijah, in addition to representing Mendelssohn-the-Protestant and Mendelssohnthe-heir-of-Handel, also had to serve as a vehicle for Mendelssohn, the would-be-operacomposer.

Eliminating the Narrator In order to turn the biblical narrative into a quasi-opera, Mendelssohn and his librettists departed from the practice followed in his first oratorio, St. Paul, which had been similar to the one found in Bach’s Passions. Like Bach in the St. Matthew Passion, Mendelssohn in St. Paul had closely followed the biblical narrative, and the words adapted from the Acts of the Apostles were interspersed with Lutheran chorales sung by the chorus. The role of the narrator, which Bach had given to the Evangelist, was distributed by Mendelssohn among the soloists.

The text of Elijah, by contrast, is essentially a collage assembled from various books of the Bible. In addition to the First Book of Kings, which tells of Elijah’s life, numerous other biblical sources are used. Chorales are dispensed with altogether and so is the narrator.

Instead of being announced by a speaker, the characters now speak and act directly, as in an opera. The libretto concentrates on the most dramatic episodes of Elijah’s life, favoring action over discourse.

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The Prophet Elijah between History and Legend Prophets played a variety of important roles in the religious and political life of ancient Israel. Unlike the priests (kohanim), who were in charge of performing the official religious rites, prophets (nevi’im) were unaffiliated with organized religion and were charismatic leaders, inspired by divine revelation and driven to impart that revelation to the people. Prophets were primarily seers and oracles who also performed miraculous deeds.

They were often considered clairvoyants capable of predicting the future, sometimes in a state of ecstasy. While the priests were all descendants of Aaron and were thus predestined to their functions by birth, each prophet was chosen individually to fulfill his mission.

Like many other prophets, Elijah was actively involved in the political life of his time. He lived in the 9th century B.C. At this time, the kingdom of David and Solomon was split into two separate realms, Israel and Judah. Elijah, born in Tishbe (a town east of the Jordan River), came to the court of King Ahab of Israel (ca. 873–851 B.C.) to protest the king’s policies. Ahab had married the Phoenician princess Jezebel, who had brought with her the worship of Baal and other Canaanite gods to Samaria, Israel’s capital. Elijah’s mission was to fight the foreign influence and defend the worship of Yahweh (Jehovah). As so often in history, the religious motives were inseparable from the political ones.

The events of Elijah’s life, as recounted in 1 Kings, were subsequently embroidered and expanded in many Jewish (as well as Islamic) folk legends. Elijah was universally remembered as a provider for the people (since he put an end to a terrible three-year drought) and an opponent of social injustice. Since, according to the Bible, he ascended to heaven in a chariot of fire and did not have a grave on earth, it was assumed that he didn’t die but wandered in disguise among the people, rewarding the hospitable poor and punishing the greedy rich. To this day, he is expected by Jews around the world to appear at the Seder, the traditional Passover family meal, and it is customary to leave an empty seat at the table in case he decides to show up at the last minute.

The Music The 42 musical numbers of the oratorio are organized in six tableaux, each representing an event that radically changes the situation at hand. These new features of the text are matched by an equally new approach to dramatic expression in the music. The sudden appearance of the long-awaited rain, God’s display of His power in a column of fire, or the flaming chariot—all these receive singularly expressive treatment by Mendelssohn.

Indeed, the composer created some of his most compelling musical images in this work, the last large-scale composition he completed before his untimely death.

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Part One Introduction and Overture The surprises start right at the beginning of the oratorio. The overture is preceded by an introductory recitative by Elijah. The overture itself is a short fugal piece on a chromatic D-minor subject (and leads directly into the first chorus).

The People Suffer Thirst The first section, which includes Nos. 1–5, sets the scene as the people lament the drought that has been afflicting the country. Elijah is not present during these numbers.

Like the overture, the first chorus is based on contrapuntal imitation. The passionate invocation in No. 1 is followed by a more intimate-sounding plea by the two female soloists and the chorus (No. 2). Obadiah, a high state official for King Ahab, who is loyal to the God of Israel (while the King himself has turned to the worship of Baal), exhorts the people to pray to God for help. His short recitative (No. 3) is followed by a lyrical aria (No. 4), filled with the desire to seek God by opening our hearts to Him. The people respond in a monumental chorus (No. 5) that evolves from a desperate outcry in C minor (“Yet doth the Lord see it not”) to a confident statement in C major (“His mercies on thousands fall”).

Elijah Helps the Widow Elijah now enters the scene; we first see him as he is addressed by an angel (No. 6). The tender double quartet for eight solo voices that follows (No. 7) celebrates the divine protection enjoyed by Elijah. The prophet visits the widow of Zarephath whose son is severely ill (No. 8). The mother’s fervent entreaty to Elijah, marked by excited string tremolos and sforzatos, is answered by the prophet in a reassuring tone; the contrast between the two characters is expressed by a shift from the minor to the major mode.

The widow and Elijah sing a short duet (“Blessed are they who fear Him”) that leads directly into the chorus that closes this tableau on a note of quiet happiness (No. 9).

Elijah Confronts the Priests of Baal The episode at Zarephath is only a prelude to Elijah’s greatest miracles. Events of more universal significance are to follow: the prophet’s confrontation with King Ahab and the prophets of Baal. Elijah challenges Baal’s worshippers to call on their god before he prays to Jehovah. Whoever responds first will be acknowledged as the true God. The scene starts with a recitative and chorus (No. 10) whose musical characters, changing from moment to moment, express the volatile dramatic situation. Baal’s followers invoke their god three times (Nos. 11–13). Their first cry, in its exaggerated simplicity, seems to express the primitiveness of the Canaanite religion. The second cry is more agitated than the first.

And, finally, after being mocked by Elijah, Baal’s people call out in despair, with chromatic harmonies and frantic runs in the orchestral accompaniment. Their voices, however, are greeted by a deep silence.

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It is at this point that Elijah invokes “Lord God of Abraham, Isaac, and Israel” (No. 14) in a deeply moving aria, whose subdued adagio tempo sharply contrasts with the hysterics of the prophet’s opponents. Elijah’s supporters join in with the quasi-chorale “Cast thy burden upon the Lord” (No. 15) and immediately “The fire descends from heaven” (No. 16) as Jehovah gives a sign of His authenticity. The music is filled with the wild excitement of the people reacting to this miracle with a mixture of faith, fear, and bewilderment. The last word, however, belongs to faith. A second quasi-chorale (“The Lord is God”) is inserted, so that the exuberant miracle chorus is framed by two pieces of religious introspection.

After sending the prophets of Baal to their deaths, Elijah sings a fiery aria in A minor (No. 17) that seems to have been inspired by “Thou shalt break them,” a tenor aria from Handel’s Messiah, whose key and mood it shares. A short word of commiseration with the fallen prophets (No. 18) rounds out this section of the oratorio. It is sung by the mezzosoprano soloist, with strings only, on a variant of Beethoven’s Arioso dolente melody from the Piano Sonata, Op. 110.

Elijah Prays for a Miracle of Rain Jehovah’s authority thus confirmed, Obadiah asks Elijah to intercede with the true God so that the land can finally see the long-awaited rain (No. 19). Once more, dramatic contrasts are used to great effect in the alternation of phrases sung by the praying Elijah, the anxious people, and a young boy who watches the clouds. At the approach of the rain-bringing cloud, we hear excited tremolos and a long series of modulations that finally settle in the majestic E-flat major tonality of the hymn-like final chorus of Part I: “Thanks be to God, He laveth the thirsty land” (No. 20).

Part Two Elijah Is Persecuted Part Two opens like the second part of Bach’s St. Matthew Passion, with a B-minor aria for female soloist in a slow 3/8 tempo. This aria (No. 21), however, has a second section in the major mode and a faster tempo, in which the initial doubts are dispelled and the Lord’s comforting words are reinforced by the addition of horns and trumpets. The extreme delicacy and the unusually high range of the aria remind us that Mendelssohn wrote the part for one of the greatest sopranos of the time, Jenny Lind, the “Swedish nightingale.”

This aria leads into a marchlike chorus with a fugal middle section (No. 22); together they portray Elijah’s emerging doubts about his own role and the eventual confirmation of his prophetic calling.

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In the recitative (No. 23), as the prophet preaches against the wayward practices of King Ahab, Queen Jezebel intervenes. Jezebel is one of the most ardent Baal worshippers, and she manages to turn the people against Elijah. No. 24, an angry chorus in which the mob cries “death to the prophet,” again echoes the St. Matthew Passion. In a recitative (No. 25), Obadiah advises Elijah to flee his enemies and go to the wilderness.

The exhausted and discouraged prophet sings, “It is enough” (No. 26), whose probable model is the “Es ist vollbracht” aria from Bach’s St. John Passion. Both arias have solo parts for low strings (viola da gamba in the Bach, cello here), and both contain contrasting middle sections in a faster tempo depicting the defeat of God’s enemies.

Elijah falls asleep in the wilderness (No. 27); he is watched over by three angels who sing the unaccompanied trio “Lift thine eyes” (No. 28). One of the score’s gems, the chorus “He, watching over Israel” (No. 29), follows: the expressive nature of this gentle tune is greatly enhanced by the use of counterpoint, yet the movement never loses its natural simplicity.

Elijah Seeks the Lord’s Presence The final section of the oratorio starts with a recitative (No. 30) in which the angel orders Elijah to journey to Mount Horeb, before God’s presence. The weary prophet protests emphatically, but the angel instills new courage in him in a touching short aria accompanied by strings and solo flute (No. 31). The chorus confirms that “He that shall endure to the end, shall be saved” in another chorale-derived, though contrapuntally developed, movement (No. 32).

Elijah makes ready to witness the Lord’s manifestation (No. 33). A highly evocative chorus (No. 34) follows with almost graphic depictions of the storm, the earthquake, and the fire, each ending with the chorus declaiming in a mysterious pianissimo that the Lord was in none of these natural phenomena. And when the “still small voice” appears, we hear a soft murmur in the violins and violas, accompanied by an equally soft timpani roll and pedal notes in the winds, cellos, basses, and organ: this special sonority then envelops the crucial words “And in that still voice onward came the Lord.” These subdued emotions then give way to an outburst of joy in the bright C-major of “Holy is God the Lord” (No. 35), in which the chorus is joined by two soprano and two contralto soloists.

Mendelssohn makes an interesting experiment in No. 36, where he has the entire chorus sing a recitative (“Go, return upon thy way!”), a way of singing usually reserved for soloists. A reassured Elijah then sings a peaceful aria with a prominent oboe solo (No. 37).

No. 38, the fourth and last great miracle chorus (after Nos. 16, 19, and 34), paints a musical picture of the chariot of fire that takes the prophet to heaven. The sudden modulation, the powerful crescendo, and a loud trumpet fanfare announce the glorious end of Elijah’s earthly career.

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Conclusion A gentle tenor aria, a short soprano recitative (with solo trumpet), and a large chorus with solo quartet (Nos. 39–41) serve to celebrate the triumph of God and those who are on His side. Finally, the last chorus (No. 42), with a “Maestoso” introduction followed by a spirited fugue, crowns the oratorio with a festive fanfare commensurate with its grandiose proportions.

After the premiere of the revised version of Elijah in London, Prince Albert (Queen Victoria’s husband) wrote into Mendelssohn’s personal copy of the libretto: To the noble artist who, surrounded by the Baal-worship of false art, through genius and study has been able, like a second Elijah, to remain true to the service of true art; who has freed our ear from the chaos of mindless jingling of tones, to accustom it once more to the pure sounds of truly reflected emotion and regular harmony; to the Great Master, who, in a steady stream of ideas, unrolls before us the whole panorama of the elements from the gentlest rustlings to the mightiest storms; in grateful recollection, Albert —Peter Laki, Visiting Associate Professor of Music, Bard College

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Who’s Who Leon Botstein Conductor Leon Botstein has been music director and principal conductor of the American Symphony Orchestra since 1992, and is conductor laureate of the Jerusalem Symphony Orchestra, where he served as music director from 2003–11. He is also the founder and artistic codirector of the SummerScape Festival and the Bard Music Festival, now in its 23rd year. He has been president of Bard College since 1975. ©joanne savio

Botstein maintains an active schedule as a guest conductor throughout the world. Recent engagements include the Russian National Philharmonic and the Melos-Ethos Contemporary Music Festival in the Slovak Republic.

Upcoming engagements include the Los Angeles Philharmonic, Hawaii Symphony, and Taipei Symphony, among others. He may also be heard on numerous recordings, including operas by Strauss, Dukas, and Chausson, as well as works of Shostakovich, Dohnányi, Liszt, Bruckner, Bartók, Hartmann, Reger, Glière, Szymanowski, Brahms, Copland, Sessions, Perle, and Rands. Many live recordings with the American Symphony Orchestra are now available for download on the Internet.

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

James Bagwell Music Director, Bard College Chamber Singers 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.

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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.

Christine R. Howlett Artistic Director, Cappella Festiva Chamber Choir Christine R. Howlett is assistant professor and director of choral activities at Vassar College, where she conducts the Vassar College Women’s Chorus and Vassar College Choir and teaches music theory and voice. Her choruses have sung at Lincoln Center and Carnegie Hall and have toured in Europe and the United States. Howlett is also the artistic director of Cappella Festiva, an organization that supports an adult choir, treble choir, and the Summer Choral Festival for young singers. She was recently named music director of the Danbury Concert Chorus in Connecticut. Howlett works regularly as a soloist and this year will be performing recitals in Canada and the United States with Patrick Wood, violin, and Holly Chatham, piano. She holds both a master’s degree in early music voice performance and a doctor of musical arts in choral conducting from Indiana University.

Sanford Sylvan Baritone Sanford Sylvan’s portrayals of Figaro in Le nozze di Figaro and Don Alfonso in Cosí fan tutte have been seen internationally, including on PBS’s Great Performances. He sang the role of Leporello in Don Giovanni for his Glyndebourne Festival debut and with New York City Opera, where he has since become a regular performer in such operas as The Magic Flute, Ariodante, The Rape of Lucretia, and Handel’s Semele. Sylvan was in the U.S. premiere of The Lighthouse by Peter Maxwell Davies and the world premiere of Philip Glass’s The Juniper Tree; he portrays Klinghoffer in the film of John Adams’s The Death of Klinghoffer, and has performed with the nation’s leading symphony orchestras. His recordings appear on the Nonesuch, Decca, Harmonia Mundi, Musicmasters, Bridge, Koch, Virgin Classics, New World, and CRI labels, and include the Grammy nominees Nixon in China, L’horizon chimérique, Beloved That Pilgrimage, The Wound Dresser, The Death of Klinghoffer, and Wilde. Recent recordings include American Muse and Jonah. He is on the vocal faculty of McGill University in Montreal.

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Hannah Goldshlack Soprano 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 as 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 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.

Abigail Levis Mezzo-soprano 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, 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 finalist in the Jesse Kneisel Lieder Competition. She is also the recipient of the 2010 Cynthia Woods scholarship. She 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 Cosí fan tutte with New York Opera Exchange.

Barrett Radziun Tenor Barrett Radziun, a 2010 graduate of Northwestern College in St. Paul, Minnesota, is a first-year student in Bard College’s Graduate Vocal Arts Program. He has appeared on opera, oratorio, and recital stages throughout the United States. Described by Cleveland

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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 Jacquelyn Stucker is a first-year student in Bard College’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 Symphony Orchestra—and had her international operatic debut in 2008 as Kate Pinkerton in Lyrique-en-Mer/Festival de Belle Île’s production of Madama Butterfly. She currently studies with Lorraine Nubar.

The American Symphony Orchestra Founded in 1962 by legendary conductor Leopold Stokowski, the American Symphony Orchestra continues its mission to demystify orchestral music, and make it accessible and affordable to everyone. Under music director Leon Botstein, the ASO has pioneered what the Wall Street Journal called “a new concept in orchestras,” presenting concerts curated around various themes drawn from the visual arts, literature, politics, and history, and unearthing rarely performed masterworks for well-deserved revival. These concerts are performed in the Vanguard Series at Carnegie Hall.

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

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

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The Bard College Conservatory of Music Robert Martin Director Melvin Chen Associate Director 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.

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 and diction and repertory courses is training in acting, as well as core seminars that introduce and tie together the historical/cultural perspective, analytical tools, and performance skills that distinguish vocal and operatic performance at the highest level.

The Orchestral and Choral Conducting Program is a new two-year graduate curriculum that culminates in the master of music degree. The program is designed and directed by Harold Farberman, founder and director of the Conductors Institute at Bard; James Bagwell, director of Bard’s undergraduate Music Program and music director of the Collegiate Chorale and Concert Chorale of New York; and Leon Botstein, president of Bard College and music director of the American Symphony Orchestra.

The Bard College Conservatory Orchestra, Leon Botstein, music director, performs at least four times each year in The Richard B. Fisher Center for the Performing Arts at Bard College as part of the Conservatory Sundays concert series, in addition to special concerts such as the sold-out scholarship benefit performance with singer-songwriter Natalie Merchant in March 2011. In April 2010, the orchestra made its New York City debut at Alice Tully Hall in a concert of works by Edward Elgar, George Perle, and Gustav Mahler, conducted by Leon Botstein. The orchestra also performs regularly at the Eastern NY Correctional Facility as part of the Bard Prison Initiative. In May 2011, the orchestra appeared at the Sanders Theatre at Harvard University in a program of works by Joan Tower, George Tsontakis, Dmitry Shostakovich, and Karol Szymanowski. In June 2012, the Bard College Conservatory Orchestra, conducted by Leon Botstein, will tour Asia for three weeks, performing in Hong Kong, Taipei, Shanghai, Beijing, Guangzhou, Wuhan, and Qingdao.

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Bard College Chamber Singers Formed in 2002 by music director James Bagwell, the Bard College Chamber Singers is an auditioned choir of Bard students and alumni/ae from all programs of the College. In the past few seasons, the Chamber Singers have performed Arvo Pärt’s Magnificat, Maurice Duruflé’s Requiem, and Mozart’s Requiem in concert at the Fisher Center’s Sosnoff Theater. During the spring of 2010, the group filled the role of the chorus in Bard College’s Graduate Vocal Arts Program’s performances of two original operas, Vinkensport by David Little and Song from the Uproar: The Lives and Deaths of Isabelle Eberhardt by Missy Mazzoli, as well as in a production of Maurice Ravel’s L’enfant et les sortilèges. In December 2011, the Chamber Singers and the Bard College Symphonic Chorus presented a program that included Franz Joseph Haydn’s Mass in B-flat, “Harmoniemesse.”

Cappella Festiva Chamber Choir The Cappella Festiva Chamber Choir celebrated its 35th anniversary in May 2010 with a weekend of events that included a concert of music by Mozart and Haydn with orchestra, and a symposium that celebrated the choir’s distinguished past conductors: Jameson Marvin, Luis Garcia-Renart, and James Bagwell. Christine R. Howlett has been artistic director of Cappella Festiva since 2006. With the Hudson Valley Philharmonic, the choir has performed Beethoven’s Ninth Symphony, Mendelssohn’s Elijah, Mozart’s Requiem Mass, and Mendelssohn’s incidental music to A Midsummer Night’s Dream. In November 2011, the choir performed two concerts of music sacred and profane, by Bruckner, Britten, Vaughan Williams, and others, in Millbrook and Poughkeepsie, respectively. Cappella Festiva also supports the Summer Choral Festival and the Cappella Festiva Treble Choir for treble singers ages 10 to 16, codirected by Christine R. Howlett and Susan Bialek.

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

Tori Rulle

Nelle Anderson

Heidi Schnarr *

Wendy Baker**+

Suzanne Schwing**+

Samanthat Burke

Anastasia Serdsev

Sara Cameron

Nancy Wertsch**+

Emily Cuk

Yuanyuan Xu

Taylor Deltz Rebecca Harris

Tenor

Sarah Hawkey**+

Ben Bath *

Arielle Kirschbaum

Brendan Beecher

Elaine Lachica **+

Emmett Brennan

Tayna Leibman

Daniel Cucura**

Sarah Longstreth

Andrew Fuchs**+

Luisa Lopez

Jack Harrell

Elizabeth Novella

Zigian Liu

Rachel Rosales**+

Zach Malavolti *

Hannah Sloane-Barton

Thomas Mooney**

Liz Sherman

Timothy O’Connor**+

Sarah Theurkauf

Kannan Vasudevan**+

Carla Wesby**+ Elke Young

Bass Otto Berkes Jr.

Alto

Clifford Derix**+

Jane Ann Askins**+

Raymond Diaz**+

Teresa Buchholz**+

James Gregory*

Hai-Ting Chin**+

Matt Hughes

Sarabeth Doble

Devin Lackey

Olivia Eschenbach-Smith

Philip Paris

Chelsea Frankel

Christopher Roselli**+

Xinran Guan

Giuliu Santini

Xiangren Jiant

Kurt Steinhauer**+

Adriana Johnson

Alex Vitzthum

Page Redding

Dan Whitener *

Trina Ross

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

Cappella Festiva Chamber Choir Christine R. Howlett, Artistic Director Soprano

Carolyn Reid

Susan Ball

Molly Shanley

Elizabeth Clifton

Celine Sigmen

Kit Cowan

Lois Skelly

Susan Deane-Miller

Julie Wasik

Kelly Delia Jean Doneit

Tenor

Marta Knapp

Richard Bump

Elaine Watkins

Glenn Knickerbocker

Jane Wood

Andrew Wack Charles Wise

Mary Gregorius

Michael Wood

Tina Hastings Kathy Maxcy

Edward Ball

Janice Meltzer

Andy Fiss

Bernice Slater

Benedikt M. Kellner

Susan Phillips

John McCleary Jack Spyker

Alto

Matthew Wright

Susan Bialek Jean Campbell

Bass

Laura Kasson Fiss

Paul Frazer

Carla R. Lesh

Hal Gregorius

Rachèle Levy

Eric Hepp

Betty Olson

Robert Renbeck

Jeanette Peterson

Steven Taylor

Laura Russell

Allan Wieman

Jo Shute Beverly Simmons

Stewart Gordon Anderson

JoAnne Stretton

Wayne Delia James Oppenheimer

Amanda Burdine

Jeffrey Walker

Misty Decker

Patrick Walker

Sally Doe Viola Hathaway Connie Herodes

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Members of the Bard College Conservatory Orchestra with members of the American Symphony Orchestra Leon Botstein, Music Director Violin I Erica Kiesewetter*+, Concertmaster Sabrina Tabby Fang Xi Liu Yukie Handa* Caitlin Majewski Patricia Davis* Jiayu Sun John Connelly* Sophia Kessinger* Katherine Livolsi-Landau* Ann Labin* Katherine Hannauer* Violin II Robert Zubrycki*, Principal Reina Murooka Veronika Mojzesova Wende Namkung* Leonardo Pineda Elizabeth Nielsen* Ashley Horne* Alexander Vselensky* Mara Milkis* Lisa Steinberg* Viola Stefanie Taylor*, Principal Wei Peng Zi Ye Adria Benjamin* Jiawei Yan Martha Brody* Wenlong Huang Louis Day*

Cello Susannah Chapman*, Principal Rachel Becker Jeannette Brent Sarah Carter* Rylan Gajek-Leonard Maureen Hynes* Rastislav Huba Elina Lang* Bass Jordan Frazier*, Principal Bingwen Yang Zhenyuan Yao Jack Wenger* Louis Bruno* Flute Judith Mendenhall*, Principal Adrienn Kantor Oboe Alexandra Knoll*, Principal Carl Alex Meyer Clarinet Igor Begelman*, Principal Amalia Wyrick-Flax Noemi Sallai Bassoon Charles McCracken*, Principal David Nagy Horn Zohar Schondorf*, Principal Andras Ferencz Ferenc Farkas James Haber Szilard Molnar

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Trumpet Dominic Derasse*, Principal Christopher Carroll Balazs Varga Trombone Richard Clark*, Principal Hsiao-Fang Lin Vaclav Kalivoda Tamas Marcovics, Bass Trombone Ophicleide Peter Blaga Timpani Benjamin Herman*, Principal Organ James Wetzel*

American Symphony Orchestra Personnel Manager Ronald Sell Bard Conservatory Director of Orchestral Studies Erica Kiesewetter Bard Conservatory Orchestra Manager Fu-chen Chan

* Indicates member of the American Symphony Orchestra +Indicates faculty of the Bard College Conservatory

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 taxdeductible 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 fiveyear 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 gabler@bard.edu.

The Bard College Conservatory of Music 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 John Cage Trust 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 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 Elisabeth and Robert McKeon Natalie Merchant Martin L. and Lucy Miller Murray Helen K. Mott National Endowment for the Arts (NEA) David Noble Sakiko Ohashi

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Margaret Osius Marilyn and Peter Oswald Pepsico Foundation Mark Prezorski Andrea L. Reynolds Barbara J. Ritchie David K. Ross Felice Ross Stuart Ross Nancy and Paul Ross Foundation Inc.

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 Martin and Toni Sosnoff Foundation

The Fred Stein Family Foundation Felicitas S. Thorne Illiana van Meeteren Stephane and Isabel Truong Dr. Jan and Marica Vilcek Marla and Brian Walker David Wetherill Sturgis P. Woodberry David Yum

American Symphony Orchestra Patrons The American Symphony Orchestra Board of Directors, staff, and artists gratefully acknowledge the following individuals, foundations, corporations, and government agencies for their generosity and vital support.

Stokowski Society Fund for the City of New York and the Open Society Foundations The Frank and Lydia Bergen Foundation Dr. Leon Botstein Michael Dorf The Fan Fox and Leslie R. Samuels Foundation, Inc. Robert A. Fippinger and Ann F. Kaplan The Ann and Gordon Getty Foundation Danny Goldberg and Rosemary Carroll The Faith Golding Foundation Home Box Office, Inc. Christian A. Johnson Endeavor Foundation, Inc. Rachel and Shalom Kalnicki Mr. and Mrs. Jan Krukowski The Lanie and Ethel Foundation Mary and Sam Miller New York State Council on the Arts Open Society Institute Dimitri B. Papadimitriou Thurmond Smithgall Felicitas S. Thorne The Vidda Foundation Mrs. James P. Warburg Mr. and Mrs. Richard Wilson The Winston Foundation, Inc. Sustaining Supporter Page Ashley The Atlantic Philanthropies Joel and Ann Berson Nabil Chartouni Connie Chen Doctorow Family Foundation The Donner Canadian Foundation Jeanne Donovan Fisher Gideon Gartner

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Gary Giardina IBM Corporation Arthur S. Leonard Mimi Levitt Dr. Pamela F. Mazur JoAnne Meloccaro Lynne Meloccaro Shirley Mueller Martin Peretz Patricia E. Saigo Bruce Slovin David and Sylvia Teitelbaum Fund Leszek Wojcik Benefactor Level II Miriam Berger Karen and Mark Finkbeiner Erica Kiesewetter John D. Knoernschild Jeanne Malter Marcia H. Moor Joseph and Jean Sullivan Wayne and Dagmar Yaddow Irene Zedlacher Benefactor Level I David C. Beek Thomas Cassilly Rhea Graffman-Cohen, in honor of Miriam Berger James and Andrea Nelkin The New School (Institute for Retired Professionals) Lawrence Nylen James H. and Mary Ottaway Mr. and Mrs. David E. Schwab II David and Martha Schwartz Harriet Solomon-Schon Roberta E. Tarshis Orchestra Club Level II Harold Allen Carol K. Baron Ruth Baron

Yvette and Maurice Bendahan Adria Benjamin Mr. and Mrs. Albert Benoist Gail Blott Sidney Bresler Stephen M. Brown Marjorie Burns Isabelle Cazeaux Richard C. Celler Theresa Ceruti Dr. Barton Cohen Bette R. Collom and Anthony Menninger Michele Cone Mary Cope Wendell Craig The Charles A. Dana Foundation, Inc. Elisabeth Derow Paul Ehrlich The Exxon Mobil Foundation Richard Farris W. J. Fenza Martha Ferry Veronica Frankenstein Mr. and Mrs. Joseph Lawrence Gilman Irene Goldman Hudson Guild Max Hahn Thomas Hayden Jack Herman Dr. and Mrs. Gerald Herskowitz Sara Hunsicker George Hutzler Peter H. Judd Robert Kalish Elliot and Adrienne Katz Richard P. Kelisky David Kernahan Michael Kishbauch Irving Kleiman

Caral G. Klein Seymour Koenig Peter Kroll Nancy Leonard and Lawrence Kramer Steve Leventis Judd Levy Peter A. Q. Locker Alan Mallach Stephen McAteer Evan McCord Sally McCracken Alan McDougall Louis S. Miano Clifford Miller Phyllis Mishkin Elisabeth Mueller Richard and Joanne Mrstik Tatsuji Namba Kenneth Nassau The Maury Newburger Foundation David Pozorski Anthony Richter Mary Riebold

Kenneth Rock Judith Samuelson Georgi Shimanovsky Bruce Smith Peter Sourian Stanley Stangren Margaret Stillman Hazel and Bernard Strauss Margo Talenti Jon P. Tilley James Wagner Larry A. Wehr Barbara Westergaard Janet Whalen Kurt Wissbrun Alfred Zoller Karen Zorn, Longy School of Music Myra Zuckerbraun

Music plays a special part in the lives of many New York residents. The American Symphony Orchestra gratefully acknowledges the support of the following government agencies that have made a difference in the culture of New York: The National Endowment for the Arts Mr. Rocco Landesman, Chairman New York State Council on the Arts The Honorable Andrew M. Cuomo, Governor The New York City Department of Cultural Affairs The Honorable Michael R. Bloomberg, Mayor The Honorable Kate D. Levin, Commissioner

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

Donors to the Fisher Center

Friends of the Fisher Center

Leadership Support Emily H. Fisher and John Alexander Jeanne Donovan Fisher Martin and Toni Sosnoff Foundation Richard B. Fisher Endowment Fund Martin T. and Toni Sosnoff Robert W. Wilson

Producer Fiona Angelini and Jamie Welch Artek Arthur F. and Alice E. Adams Foundation Association of Performing Arts Presenters Bioseutica USA, Inc. Carolyn Marks Blackwood Chartwells School and University Dining Services Consulate General of Finland in New York Barbara Ettinger and Sven Huseby The Ettinger Foundation, Inc. Stefano Ferrari and Lilo Zinglersen Alexander Fisher MFA ’96 Catherine C. Fisher and Gregory A. Murphy R. Britton and Melina Fisher Key Bank Foundation Harvey and Phyllis Lichtenstein Chris Lipscomb and

Golden Circle Anonymous The Barbro Osher Pro Suecia Foundation Falconwood Foundation, Inc. FMH Foundation Linda Hirshman and David Forkosh Jane and Aatos Erkko Foundation Millbrook Tribute Garden, Inc. Thendara Foundation Felicitas S. Thorne True Love Productions

Monique Segarra Mansakenning LLC The Marks Family Foundation The Maurer Family Foundation, Inc. Mid Atlantic Arts Foundation Millbrook Vineyards and Winery Ministry for Foreign Affairs of Finland National Endowment for the Arts (NEA) New York State Council on the Arts (NYSCA) Mr. and Mrs. James H. Ottaway Jr. Drs. M. Susan and Irwin Richman Ingrid Rockefeller David E. Schwab II ’52 and Ruth Schwartz Schwab ’52 Bethany B. Winham Patron Helen and Roger Alcaly American-Scandinavian Foundation Kathleen and Roland Augustine

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Mary I. Backlund and Virginia Corsi Sandra and A. John Blair III Anne Donovan Bodnar and James L. Bodnar Stuart Breslow and Anne Miller Anne and Harvey Brown Barbara and Richard Debs Mr. and Mrs. Gonzalo de las Heras Elizabeth de Lima Tambra Dillon Dirt Road Realty, LLC Ines Elskop and Christopher Scholz Elizabeth W. Ely ’65 and Jonathan K. Greenburg Finlandia Foundation Alan and Judith Fishman Susan Fowler-Gallagher GE Foundation Gideon and Sarah Gartner Foundation of the Fidelity Charitable Gift Fund Bryanne and Thomas Hamill The Harkness Foundation for Dance, Inc. HSBC Philanthropic Programs John Cage Trust Dr. Harriette Kaley ’06 Mr. and Mrs. George A. Kellner Dr. Barbara Kenner Ruth Ketay and Rene Schnetzler Laura Kuhn Jane and Daniel Lindau Low Road Foundation Stephen Mazoh and Martin Kline Elizabeth I. McCann W. Patrick McMullan and Rachel McPherson Alexandra Ottaway Pleasant Valley Animal Hospital Quality Printing Company David A. Schulz Denise S. Simon and Paulo Vieira da Cunha Andrew Solomon and John Habich Sarah and Howard Solomon Darcy Stephens Allan and Ronnie Streichler Barbara and Donald Tober Illiana van Meeteren and Terence C. Boylan ’70 Margo and Anthony Viscusi Aida and Albert Wilder Sponsor Sarah Botstein and Bryan Doerries Caplan Family Foundation Richard D. Cohen The Eve Propp Family Foundation Carlos Gonzalez and Katherine Stewart Eliot D. and Paula K. Hawkins Rachel and Dr. Shalom Kalnicki Geraldine and Lawrence Laybourne Cynthia Hirsch Levy ’65

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Barbara L. and Arthur Michaels Andrea and Kenneth L. Miron Mr. and Mrs. Frederick P. Payton Samuel and Ellen Phelan Catherine M. and Jonathan B. Smith Ted Snowdon John Tancock Beverley D. Zabriskie Supporter Harriet Bloch and Evan Sakellarios Kay Brover and Arthur Bennett Alfred M. Buff and Lenore Nemeth Dr. and Mrs. Bruce Cuttler Leslie and Doug Dienel Amy K. and David Dubin Patricia Falk Martha Jane Fleischman Frances A. and Rao Gaddipati Helena and Christopher Gibbs Gilberte Vansintejan Glaser and William A. Glaser Miriam and Burton Gold Nan and David Greenwood Alexander Grey and David Cabrera Dr. Eva B. Griepp Rosemary and Graham Hanson David S. Hart Janet and William Hart Lars Hedstrom and Barry Judd Hedstrom and Judd, Inc. Mel and Phyllis Heiko Darren Henault Dr. Joan Hoffman and Syd Silverman Susan and Roger Kennedy Harold Klein Seymour and Harriet Koenig Rose and Josh Koplovitz Danielle Korwin and Anthony DiGuiseppe James Kraft Elissa Kramer and Jay H. Newman Ramone Lascano Helena Lee Mimi Levitt Mr. and Mrs. David Londoner Susan Lorence Charles S. Maier Margrit and Albrecht Pichler Ted Ruthizer and Jane Denkensohn William Siegfried Elisabeth F. Turnauer Seymour Weingarten Friend Morton Alterman Anonymous Joshua J. Aronson John J. Austrian ’91 and Laura M. Austrian Sybil Baldwin Jack L. Barnett Alvin and Arlene Becker

Howard and Mary Bell Frederick Berliner Kurshed Bhumgara Marge and Ed Blaine Jeanne and Homer Byington MaryAnn and Thomas Case Daniel Chu and Lenore Schiff Mr. and Mrs. John Cioffi Jean T. Cook Abby H. and John B. Dux David Ebony and Bruce Mundt Elizabeth Elliott Milly and Arnold Feinsilber Arthur Fenaroli Dr. Marta P. Flaum Raimond Flynn Edward Forlie Allan Freedman Mary and Harvey Freeman Joseph W. and Joyce Gelb Marvin and Maxine Gilbert Nigel Gillah Laurie Gilmore Mr. and Mrs. Floyd Glinert G. Carson Glover and Stephen Millikin Judy R. and Arthur Gold Fayal Greene and David J. Sharpe Alice and Bob Greenwood Sheryl Griffith David A. Harris Elise and Carl Hartman Sue Hartshorn James Hayden Dorothy and Leo Hellerman Delmar D. Hendricks Jan Hopkins and Richard Trachtman Sky Pape and Alan Houghton Neil Isabelle Mark R. Joelson Eleanor C. Kane Linda L. Kaumeyer Mr. and Mrs. John W. Kelly Martha Klein and David Hurvitz Robert J. Kurilla James Lack Robert la Porte Gerald F. Lewis Sara F. Luther and John J. Neumaier John P. Mackenzie Herbert Mayo Dr. Naomi Mendelsohn Edie Michelson and Sumner Milender Janet C. Mills David T. Mintz Roy Moses Joanne and Richard Mrstik Martha Nickels Douglas Okerson and William Williams Elizabeth J. and Sevgin Oktay Robert M. Osborne

Debra R. Pemstein and Dean Vallas David Pozorski and Anna Romanski Susan Price George and Gail Hunt Reeke Susan Regis Dr. Siri von Reis Rhinebeck Department Store Peter and Linda Rubenstein Heinz and Klara Sauer Barbara and Dick Schreiber Mr. and Mrs. Edward T. Scott James E. Scott Dr. Alan M. Silbert Peter Sipperley Dr. Sanford B. Sternlieb Dr. Michael A. Stillman Francis E. Storer Jr. Mark Sutton Taconic Foundation, Inc. Janeth L. Thoron Tiffany & Co. Joan E. Weberman Robert Weiss Wendy and Michael Westerman Williams Lumber and Home Centers Albert L. Yarashus Mike and Kathy Zdeb Rena Zurofsky

Donors to the Bard Music Festival Events in this year’s Bard Music Festival were underwritten in part by special gifts from Helen and Roger Alcaly Bettina Baruch Foundation Michelle R. Clayman Jeanne Donovan Fisher Mimi Levitt The Mrs. Mortimer Levitt Endowment Fund for the Performing Arts James H. Ottaway Jr. Denise S. Simon and Paulo Vieira da Cunha Allan and Ronnie Streichler Felicitas S. Thorne Festival Underwriters James H. Ottaway Jr. Opening Concert Mimi Levitt Preconcert Talks Guest Artists Films Homeland Foundation Bard Music Festival Preview at Wethersfield

Helen and Roger Alcaly Festival Book Festival Program Margo and Anthony Viscusi Symposium Joanna M. Migdal Panel Discussions Paula and Eliot Hawkins Christina A. Mohr and Matthew Guerreiro Between the Concerts Supper National Endowment for the Arts (NEA) New York State Council on the Arts (NYSCA) Leadership Support Mimi Levitt The Mortimer Levitt Foundation Mr. and Mrs. James H. Ottaway Jr. Golden Circle Bettina Baruch Foundation Jeanne Donovan Fisher The Andrew W. Mellon Foundation Jane W. Nuhn Charitable Trust Denise S. Simon and Paulo Vieira da Cunha Felicitas S. Thorne Millie and Robert Wise

Friends of the Bard Music Festival Benefactor American-Scandinavian Foundation The Ann and Gordon Getty Foundation Artek Banco Santander S.A. Barclays Bank Leonie F. Batkin Consulate General of Finland in New York Joan K. Davidson Mr. and Mrs. Gonzalo de las Heras John A. Dierdorff Elizabeth W. Ely ’65 and Jonathan K. Greenburg FMH Foundation Furthermore: A Program of the J. M. Kaplan Fund Eliot D. and Paula K. Hawkins Linda Hirshman and David Forkosh Homeland Foundation, Inc. HSBC Philanthropic Programs Anne E. Impellizzeri The J. M. Kaplan Fund, Inc. Susan and Roger Kennedy Barbara Kenner Amy and Thomas O. Maggs Marstrand Foundation

Ministry for Foreign Affairs of Finland The Mrs. Mortimer Levitt Endowment Fund for the Performing Arts National Endowment for the Arts (NEA) New York State Council on the Arts (NYSCA) Dimitri B. and Rania Papadimitriou Peter Kenner Family Fund of the Jewish Communal Fund Ralph E. Ogden Foundation, Inc. Dr. Gabrielle H. Reem** and Dr. Herbert J. Kayden Dr. Siri von Reis Drs. M. Susan and Irwin Richman David E. Schwab II ’52 and Ruth Schwartz Schwab ’52 H. Peter Stern and Helen Drutt English Dr. Sanford Sternlieb Merida Welles and William Holman The Wise Family Charitable Foundation Elaine and James Wolfensohn Betsey and E. Lisk Wyckoff Jr. Patron ABC Foundation Constance Abrams and Ann Verber Edwin L. Artzt and Marieluise Hessel Mr. and Mrs. Ronald Atkins Kathleen and Roland Augustine Gale and Sheldon Baim Elizabeth Phillips Bellin ’00 and Marco M. S. Bellin Dr. Miriam Roskin Berger ’56 Helen ’48 and Robert Bernstein Helen and Robert Bernstein Philanthropic Fund of the Jewish Communal Fund Anne Donovan Bodnar and James L. Bodnar Sarah Botstein and Bryan Doerries Lydia Chapin Constance and David C. Clapp J. T. Compton Jane Cottrell and Richard Kortright Arnold J. ’44 and Seena** Davis Barbara and Richard Debs Michael Del Giudice and Jaynne Keyes Rt. Rev. Herbert A. and Mary Donovan Amy Knoblauch Dubin and David Dubin Robert C. Edmonds ’68 Ines Elskop and Christopher Scholz John Geller Helena and Christopher Gibbs Kim Z. Golden

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Carlos Gonzalez and Katherine Stewart Jane and Robert Hottensen Frederic K. and Elena Howard Joan and Julius Jacobson Jasper Johns Drs. Harriette and Gabor Kaley Rachel and Dr. Shalom Kalnicki Helene and Mark N. Kaplan Belinda and Stephen Kaye Mr. and Mrs. Thomas W. Keesee III Mr. and Mrs. George A. Kellner Klavierhaus, Inc. Seymour and Harriet Koenig Edna and Gary Lachmund Alison and John Lankenau Glenda Fowler Law and Alfred Law Barbara and S Jay Levy Cynthia Hirsch Levy ’65 Patti and Murray Liebowitz Martin and Toni Sosnoff Foundation Stephen Mazoh and Martin Kline W. Patrick McMullan and Rachel McPherson Dr. and Mrs. Arthur Menken Metropolitan Life Foundation Matching Gift Program Andrea and Kenneth L. Miron Christina A. Mohr and Matthew Guerreiro Ken Mortenson Martin L. Murray and Lucy Miller Murray Alexandra Ottaway Eve Propp Drs. Morton and Shirley Rosenberg Blanche and Bruce Rubin Andrew Solomon and John Habich Solomon Sarah and Howard Solomon Martin T. and Toni Sosnoff Edwin A. Steinberg Dr. S. B. Sternlieb Stewart’s Shops Elizabeth Farran Tozer and W. James Tozer Jr. Tozer Family Fund of the New York Community Trust Illiana van Meeteren Rosemary and Noel Werrett Aida and Albert Wilder Irene Zedlacher William C. Zifchak and Margaret Evans Sponsor Anonymous Ana Azevedo Margaret and Alec Bancroft Everett and Karen Cook Phillip S. Cooke Blythe Danner ’65 Dasein Foundation

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Willem F. De Vogel and Marion Davidson Cornelia Z. and Timothy Eland Timothy and Cornelia Eland Fund of the Fidelity Charitable Gift Fund Shepard and Jane Ellenberg Ellenberg Asset Management Corp.

Field-Bay Foundation Francis Finlay and Olivia J. Fussell Laura Flax Martha Jane Fleischman Deborah and Thomas Flexner Donald C. Fresne Laura Genero Samuel L. Gordon Jr. and Marylou Tapalla Mr. and Mrs. Jay M. Gwynne Marjorie Hart Nancy and David Hathaway Martin Holub and Karen Kidder Lucas Hoogduin and Adriana Onstwedder Pamela Howard John R. and Joyce Hupper IBM Matching Grants Program Susan Jonas Edith Hamilton Kean Fernanda Kellogg and Kirk Henckels Clara F. and David J. Londoner James and Purcell Palmer Mr. and Mrs. Frederick P. Payton Ellen and Eric Petersen John and Claire Reid Alfred J. and Deirdre Ross Dr. Paul H. Schwartz and Lisa Barne-Schwartz James and Sara Sheldon David and Sarah Stack Richard C. Strain and Eva Van Rijn Barbara and Donald Tober Arete and William** Warren Jack and Jill Wertheim Rosalind Whitehead Serena H. Whitridge Julia and Nigel Widdowson Peter and Maria Wirth Supporter Munir and Susan Abu-Haidar Barbara J. Agren James Akerberg and Larry Simmons Leora and Peter Armstrong Irene and Jack Banning Didi and David Barrett Karen H. Bechtel Dr. Susan Krysiewicz and Thomas Bell Carole and Gary Beller Mr. and Mrs. Andy Bellin Beth and Jerry Bierbaum

Mr. and Mrs. David Bova Mr. and Mrs. William B. Brannan Kay Brover and Arthur Bennett Dan F. and Nancy Brown Kate Buckley and Tony Pell Phyllis Busell and James Kostell Peter Caldwell and Jane Waters Miriam and Philip Carroll Frederick and Jan Cohen Seth Dubin and Barbara Field Joan and Wolcott Dunham Ruth Eng Dr. Bernhard Fabricius and Sylvia Owen Ingrid and Gerald Fields Emily Rutgers Fuller Donald Gellert and Elaine Koss Mims and Burton Gold Victoria and Max Goodwin Janine M. Gordon Mary and Kingdon Gould Jr. Nan and David Greenwood Mortimer and Penelope C. Hall Sally S. Hamilton Susan Heath and Rodney Paterson Juliet Heyer Susan Hoehn and Allan Bahrs William Holman Dalya Inhaber Jay Jolly Karen Bechtel Foundation of the Advisor Charitable Gift Fund Robert E. Kaus Erica Kiesewetter Charles and Katharine King Karen Klopp Dr. and Mrs. Vincent Koh Lowell H. and Sandra A. Lamb Debra I. and Jonathan Lanman E. Deane and Judith S. Leonard Walter Lippincott Lynn Favrot Nolan Family Fund Jeanette MacDonald and Charles Morgan Philip and Tracey Mactaggart Charles S. Maier Claire and Chris Mann Marilyn Marinaccio Elizabeth B. Mavroleon Charles Melcher Arthur and Barbara L. Michaels Samuel C. Miller John E. Morrison IV Mr. and Mrs. Alfred Mudge Bernadette Murray and Randy Fertel Kamilla and Donald Najdek Jay H. Newman and Elissa Kramer Mr. and Mrs. William T. Nolan Marta E. Nottebohm Elizabeth J. and Sergin Oktay David B. and Jane L. Parshall John and Claire Reid Barbara Reis

Susan F. Rogers Rosalie Rossi, Ph.D. John Royall Dagni and Martin Senzel Denise and Lawrence Shapiro Nadine Bertin Stearns Mim and Leonard Stein Carole Tindall John Tuke and Leslie Farhangi Dr. Elisabeth F. Turnauer Marina van Zuylen Monica Wambold Taki and Donald Wise John and Mary Young Friend Rev. Albert R. Ahlstrom Lorraine D. Alexander Arthur A. Anderson Anonymous Zelda Aronstein and Norman Eisner Artscope, Inc. John K. Ayling Phebe and George Banta Mr. and Mrs. Francis D. Barton James M. Barton Saida Baxt Regina and David Beckman Dr. Howard Bellin Richard L. Benson Dr. Marge and Edward Blaine Eric and Irene Brocks David and Jeannette T. Brown Mr. and Mrs. John C. D. Bruno Alfred M. Buff and Lenore Nemeth David Clain Isobel and Robert Clark Donald Cooney Millicent O. McKinley Cox Linda and Richard Daines Dana and Brian Dunn Abby and John Dux Peter Edelman Peter Elebash and Jane Robinson Jim and Laurie Niles Erwin Patricia Falk Harold Farberman Arthur L. Fenaroli David and Tracy Finn Luisa E. Flynn Patricia and John Forelle Mary Ann Free Samantha Free Stephen and Jane Garmey Michael Garrety Joyce and Joseph W. Gelb Anne C. Gillis Mr. and Mrs. Harrison J. Goldin Dr. Joel and Ellen Goldin Stanley L. Gordon Thurston Greene Andrea Gross Guido Ben-Ali and Mimi Haggin David A. Harris

Sy Helderman Sharon and David Hendler Carol Henken Nancy H. Henze Gary Herman David Hurvitz and Martha Klein Dr. and Mrs. Gerald Imber Patricia H. Keesee Mr. and Mrs. John W. Kelly Joan Kend Diana Niles King Thea Kliros Sharon Daniel Kroeger Robert J. Kurilla Jeffrey Lang Prof. Edward C. Laufer Wayne Lawson Beth Ledy Laurence and Michael Levin Gerald Lewis Longy School of Music Ruthie and Lincoln Lyman M Group, LLC John P. MacKenzie Hermes Mallea and Carey Maloney Annette S. and Paul N. Marcus Harvey Marek The McGraw-Hill Companies Matching Gift Program Marcus Mello ’04 Dr. Naomi Mendelsohn Philip Messing Millbrook Real Estate, LLC Deborah D. Montgomery Kelly Morgan Debbie Ann and Christopher Morley Susan and Robert Murphy Anna Neverova ’07 Nancy R. Newhouse Hugh and Marilyn Nissenson Harold J. and Helen C. Noah Douglas Okerson and William Williams James Olander Marilyn and Peter Oswald Gary S. Patrik Sarah Payden ’09 Peter and Sally V. Pettus Lucas Pipes ’08 Dr. Alice R. Pisciotto David Pozorski and Anna Romanski D. Miles Price Stanley A. Reichel ’65 and Elaine Reichel Dr. Naomi F. Rothfield ’50 and Lawrence Rothfield Harriet and Bernard Sadow Antonia Salvato Sheila Sanders Dr. Thomas B. Sanders Heinz and Klara Sauer Molly Schaefer Frederick W. Schwerin Jr.

Mary Scott Danny P. Shanahan and Janet E. Stetson ’81 J. Kevin Smith Polly and LeRoy Swindell Jessica and Peter Tcherepnine Gladys R. Thomas Janeth L. Thoron Cynthia M. Tripp ’01 Laurie Tuzo Olivia van Melle Kamp Ronald VanVoorhies Andrea A. Walton Jacqueline E. Warren Peter Warwick Renee K. Weiss ’51 Barbara Jean Weyant Anne Whitehead Victoria and Conrad Wicher Mr. and Mrs. John Winkler Amy Woods Robert and Lynda Youmans

Major support for the Fisher Center’s programs has been provided by: Arthur F. and Alice E. Adams Foundation Helen and Roger Alcaly American-Scandinavian Foundation The Andrew W. Mellon Foundation Fiona Angelini and Jamie Welch The Ann & Gordon Getty Foundation Anonymous Artek The Barbro Osher Pro Suecia Foundation Barclays Bank Leonie F. Batkin Bettina Baruch Foundation Bioseutica USA, Inc. Carolyn Marks Blackwood and Gregory Quinn Chartwells School and University Dining Services Michelle R. Clayman Consulate General of Finland in New York Joan K. Davidson Mr. and Mrs. Gonzalo de las Heras John A. Dierdorff Elizabeth W. Ely ’65 and Jonathan K. Greenburg Barbara Ettinger and Sven Huseby The Ettinger Foundation, Inc. Stefano Ferrari and Lilo Zinglersen Finlandia Foundation Alexander D. Fisher MFA ’96 Catherine C. Fisher and Gregory A. Murphy Emily H. Fisher and John Alexander

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Jeanne Donovan Fisher R. Britton and Melina Fisher FMH Foundation Eliot D. and Paula K. Hawkins Linda Hirshman and David Forkosh Homeland Foundation, Inc. HSBC Philanthropic Programs Anne E. Impellizzeri Jane and Aatos Erkko Foundation Jane’s Ice Cream Jane W. Nuhn Charitable Trust The J. M. Kaplan Fund, Inc. Belinda and Stephen Kaye Susan and Roger Kennedy Barbara Kenner Mimi Levitt Chris Lipscomb and Monique Segarra Amy and Thomas O. Maggs Mansakenning LLC The Marks Family Foundation Marstrand Foundation Martin and Toni Sosnoff Foundation The Maurer Family Foundation, Inc. Mid Atlantic Arts Foundation Joanna M. Migdal The Millbrook Tribute Garden Millbrook Vineyards & Winery

Ministry for Foreign Affairs in Finland The Mortimer Levitt Foundation Inc. Mrs. Mortimer Levitt Endowment Fund for the Performing Arts National Dance Project of the New England Foundation for the Arts National Endowment for the Arts American Masterpieces: Dance National Endowment for the Arts (NEA) New England Foundation for the Arts (NEFA) New York State Council on the Arts (NYSCA) Ralph E. Ogden Foundation, Inc. Mr. and Mrs. James H. Ottaway Jr. Dimitri B. and Rania Papadimitriou Peter Kenner Family Fund of the Jewish Communal Fund Dr. Gabrielle H. Reem** and Dr. Herbert J. Kayden Dr. Siri von Reis Richard B. Fisher Endowment Fund Drs. M. Susan and Irwin Richman Ingrid Rockefeller David E. Schwab II ’52 and Ruth

Board and Administration

Martin Peretz Stewart Resnick *Roger N. Scotland ’93 The Rt. Rev. Mark S. Sisk, Honorary Trustee Martin T. Sosnoff Susan Weber Patricia Ross Weis ’52

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 Trusteee

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Administration Leon Botstein, President Dimitri B. Papadimitriou, Executive Vice President Michèle D. Dominy, Vice President and Dean of the College Robert Martin, Vice President for Academic Affairs; Director, Bard College Conservatory of Music James Brudvig, Vice President for Administration Debra Pemstein, Vice President for Development and Alumni/ae Affairs Mary Backlund, Vice President for Student Affairs Norton Batkin, Vice President and Dean of Graduate Studies Jonathan Becker, Vice President and Dean for International Affairs and Civic Engagement Susan H. Gillespie, Vice President for Special Global Initiatives

Schwartz Schwab ’52 The Schwab Charitable Fund Denise S. Simon and Paulo Vieira da Cunha Martin T. and Toni Sosnoff H. Peter Stern and Helen Drutt English Dr. Sanford Sternlieb Allan and Ronnie Streichler Thendara Foundation Felicitas S. Thorne True Love Productions Margo and Anthony Viscusi Bethany B. Winham Millie and Robert Wise The Wise Family Charitable Foundation Wolfensohn Family Foundation Elizabeth and E. Lisk Wyckoff Jr. **deceased All lists current as of January 6, 2012

Max Kenner ’01, Vice President for Institutional Initiatives Erin Cannan, Dean of Student Affairs Peter Gadsby, Associate Vice President for Enrollment, Registrar Mary Smith, Director of Publications Ginger Shore, Consultant to Publications Mark Primoff, Director of Communications Kevin Parker, Controller Jeffrey Katz, Dean of Information Services

The Richard B. Fisher Center for the Performing Arts Advisory Board Jeanne Donovan Fisher, Chair Leon Botstein+ Stefano Ferrari Harvey Lichtenstein Robert Martin+ James H. Ottaway Jr. Dimitri B. Papadimitriou+ Martin T. Sosnoff Toni Sosnoff Felicitas S. Thorne

Administration Susana Meyer, Associate Director Robert Airhart, Production Manager Debra Pemstein, Vice President for Development and Alumni/ae Affairs Mark Primoff, Director of Communications Mary Smith, Director of Publications Ginger Shore, Consultant to Publications Joanna Szu, Marketing Associate Kimberly Keeley-Henschel, Budget Director Bonnie Kate Anthony, Assistant Production Manager Paul LaBarbera, Sound and Video Engineer Stephen Dean, Stage Operations Manager Vincent Roca, Technical Director Mark Crittenden, Facilities Manager Jeannie Schneider, Business Manager Carley Gooley ’12, Assistant House Manager Patrick King ’12, Assistant House Manager Roisin Taylor ’13, Assistant House Manager Nicholas Reilingh, Box Office Manager Caitlyn DeRosa, Assistant Box Office Manager Ray Stegner, Building Operations Manager Doug Pitcher, Building Operations Coordinator Daniel DeFrancis, Staff Assistant Robyn Charter, Staff Assistant

The Bard Music Festival Board of Directors Denise S. Simon, Chair Roger Alcaly Leon Botstein+ Michelle R. Clayman John A. Dierdorff Robert C. Edmonds ’68 Jeanne Donovan Fisher Christopher H. Gibbs+ Jonathan K. Greenburg Paula K. Hawkins Linda Hirshman Susan Petersen Kennedy Barbara Kenner Gary Lachmund Mimi Levitt Thomas O. Maggs Robert Martin+ Joanna M. Migdal Kenneth L. Miron

Christina A. Mohr James H. Ottaway Jr. Siri von Reis Felicitas S. Thorne E. Lisk Wyckoff Jr. Artistic Directors Leon Botstein Christopher H. Gibbs Robert Martin Executive Director Irene Zedlacher Associate Director Raissa St. Pierre ’87 Scholar in Residence 2012 Jann Pasler Program Committee 2012 Byron Adams Leon Botstein Christopher H. Gibbs Robert Martin Jann Pasler Richard Wilson Irene Zedlacher Development Debra Pemstein Andrea Guido Stephen Millikin Publications Mary Smith Ginger Shore

Administration Lynne Meloccaro, Executive Director Oliver Inteeworn, General Manager Brian J. Heck, Director of Marketing Sebastian Danila, Library Manager Marielle Métivier, Operations Manager Katrina Herfort, Ticketing Services Coordinator Jennifer Luzzo, Development Manager Marc Cerri, Orchestra Librarian Ronald Sell, Orchestra Personnel Manager Ann Gabler, Manager, Music Education and School Outreach Leszek M. Wojcik, Concert Archival Recording James Bagwell, Principal Guest Conductor Teresa Cheung, Resident Conductor Geoffrey McDonald, Assistant Conductor Robin Thompson, Artistic Consultant Richard Wilson, Composer-inResidence + ex officio * alumni/ae trustee ** honorary

Public Relations Mark Primoff Eleanor Davis 21C Media Director of Choruses James Bagwell Vocal Casting Consultant Susana Meyer Stage Managers Stephen Dean Matthew Waldron

The American Symphony Orchestra Board of Directors Danny Goldberg, Chair Thurmond Smithgall, Vice Chair Dimitri B. Papadimitriou, Treasurer Miriam Berger Joel I. Berson** Michael Dorf Rachel Kalnicki Jack Kliger Jan Krukowski Shirley A. Mueller Eileen Rhulen L. Stan Stokowski* Felicitas S. Thorne

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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 Elijah, Peter Paul Rubens. ©Burstein Collection/CORBIS Inside back cover ©Peter Aaron ’68/Esto

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the bard college conservatory of music graduate vocal arts program presents an Opera Double Bill

NÉLÉE ET MYRTHIS

by Jean-Philippe Rameau

FOUR SISTERS

by Elena Langer

Sosnoff Theater, The Richard B. Fisher Center for the Performing Arts Bard College, Annandale-on-Hudson, New York Friday, March 9 at 8 pm | Sunday, March 11 at 3 pm $15, 25, 35, 100*

*The $100 ticket includes premium seating and an invitation to a special champagne reception on Sunday, March 11 ($75 tax deductible). All ticket sales benefit the Scholarship Fund of the Graduate Vocal Arts Program.

Image: The Swing, Jean-Honoré Fragonard, 1767. Reproduced by kind permission of the Trustees of the Wallace Collection, London.

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

AMERICAN SYMPHONY ORCHESTRA CONDUCTED BY LEON BOTSTEIN, MUSIC DIRECTOR FRIDAY, FEBRUARY 24 and SATURDAY, FEBRUARY 25 Maurice Ravel La valse, poème chorégraphique Sergey Prokofiev Violin Concerto No. 2 in G Minor, Op. 63 Jiazhi Wang, violin Igor Stravinsky The Rite of Spring FRIDAY, APRIL 27 and SATURDAY, APRIL 28 Witold Lutosławski Concerto for Orchestra Christopher Brubeck Prague Concerto for Bass Trombone and Orchestra Tamas Markovics, bass trombone Howard Shore Mythic Gardens, Concerto for Cello and Orchestra Sophie Shao, cello Béla Bartók Concerto for Orchestra All concerts are at 8 pm. Preconcert talks at 7 pm.

SOSNOFF THEATER Tickets $25, 35, 40

©Steve J. Sherman

Friend ($100–349)

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.

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

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

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

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

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

Enclosed is my check made payable to Bard College in the amount of $

Please return your donation to: Richard B. Fisher Center for the Performing Arts

Please designate my gift toward: q Fisher Center Council q Bard Music Festival Council q Where it is needed most Please charge my: q VISA q MasterCard q AMEX in the amount of $ Credit card account number

Bard College PO Box 5000 Annandale-on-Hudson, NY 12504

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Address

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SAVE THE DATES

BARD COLLEGE CONSERVATORY OF MUSIC MARCH 9 AND 11

An Opera Double Bill Jean-Philippe Rameau’s Nélée et Myrthis and Elena Langer’s Four Sisters (world premiere)

MARCH 21

Percussion Ensemble Concert The Conservatory Percussion Ensemble in concert

MARCH 25

Conservatory Sundays–Music Alive!

20th- and 21st-century music, performed by students of the Conservatory

AMERICAN SYMPHONY ORCHESTRA Conducted by Leon Botstein, music director

FEBRUARY 24 AND 25 Works by Ravel, Prokofiev, and Stravinsky

APRIL 27 AND 28 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.

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.