Bard College Conservatory of Music Graduate Vocal Arts Program Presents: An Opera Double Bill

Bard College Conservatory 0f Music Graduate Vocal Arts Program

An Opera Double Bill

HIGGLETY PIGGLETY POP! MUSIC BY OLIVER KNUSSEN STORY BY MAURICE SENDAK

THE MAGIC FLUTE REDUX

BY WOLFGANG AMADEUS MOZART

Bard College Conservatory of Music Graduate Vocal Arts Program Dawn Upshaw, Artistic Director Kayo Iwama, Associate Director presents An Opera Double Bill

We are thrilled to present the New York premiere of Higglety Pigglety Pop!, the second of two extraordinary fantasy operas by acclaimed British composer and conductor Oliver Knussen, written in collaboration with the beloved American author Maurice Sendak and based on his children’s book of the same title. We have paired this colorfully orchestrated tale with an abridged version of The Magic Flute (Die Zauberflöte), which is, perhaps, the Western opera world’s most successful piece of music theater fantasy, written by Wolfgang Amadeus Mozart with libretto by Emanuel Schikaneder. Though these two pieces were born out of two extremely different musical styles (not to mention having been written about 200 years apart), they do actually have something in common: they both reflect upon an essential need among all humanity—a yearning for meaning and understanding of things outside our own experience.

—Dawn Upshaw, Director Graduate Vocal Arts Program, Bard College Conservatory of Music

HIGGLETY PIGGLETY POP! Oliver Knussen

Libretto by Maurice Sendak, based on his book of the same name Intermission

THE MAGIC FLUTE REDUX (Die Zauberflöte)

Wolfgang Amadeus Mozart Libretto by Emanuel Schikaneder Ticket sales benefit the Scholarship Fund of the Graduate Vocal Arts Program Friday, March 4, 2016 at 7 pm Sunday, March 6, 2016 at 2 pm Sosnoff Theater Richard B. Fisher Center for the Performing Arts at Bard College

Bard College Conservatory of Music

Director’s Note

Singers of the Graduate Vocal Arts Program

What could the journeys of a Sealyham terrier and a Mozartean prince possibly have in com-

Bard College Conservatory Orchestra Conductor James Bagwell Stage Director and Production Designer Nicholas Muni Producer Tricia Reed Stage Manager Marci Skolnick Assistant Director Michael Hofmann Orchestra Manager Marielle Metivier Assistant Orchestra Manager Hsiao-Fang Lin Librarian Sebastian Danila Musical Coaches Kayo Iwama, Erika Switzer, Dawn Upshaw Choreography and Movement Amii LeGendre Hair and Makeup Tyler Holland Costumes Liene Dobraja Properties Master Aubrey Ellis Assistant Conductors Jackson McKinnon, Lucas Paiva Rehearsal Pianists Yumi Nomoto, Bethany Pietroniro, Rami Sarieddine, Jingwen Tu, Wei Zhou Supertitle Operators Yumi Nomoto, Bethany Pietroniro (Supertitles supplied by LEXICA Productions) Production Assistant Jesse Goldberg

mon? And since the music of the two operas is separated by 200 years, how could they possibly coalesce? I suppose we will find out in this performance! Those are just some of the questions raised by combining these two wonderful operas into one conceptual whole. As our team pondered links, the central one became clear: both are quests, journeys to the brink of death

through self-sacrifice. Both also focus on unconditional love; first, in the form of motherly, pro-

tective instinct (a dog protecting a baby); and second, in the form of love between soul mates.

It seemed to us that this double bill added up to an evening about the evolutionary aspect

of unconditional love—from mother love to partner love to love of humanity in all its forms.

Since these operas involve “animals” in a central way, they also touch upon an ultimate kind of love—of all sentient beings and of the universe.

These pieces resonate with the contemporary struggle of embracing the “other” in various forms, including race, gender, sexual preference, religious beliefs, cultural differences, and physical appear-

ance or challenges. There is a sense of humanity opening up to the notion that all such differences

are minuscule in the face of mankind as a whole. Our collective sensitivity is even expanding to the

animal and plant kingdoms, and the planet we inhabit. Though we have not attained the ideal, there is a sense of optimism as acceptance of the “other” continues to make inroads against the ignorance, prejudice, hatred, and violence that can separate us from one another. Collectively, we are slowly moving from the darkness into the light.

Beyond the quest/journey and the willingness to sacrifice one’s life, we are intrigued by other

connections between the operas: first, both are fairy tales, involving animal-based characters as well as fantastical creatures; both feature music and theater as transformative devices; both look to ancient trees (the ash and the oak) as the embodiment of wisdom; both contrast the

base instinct of hunger with higher-minded yearnings; and both feature characters who are neither as good nor as bad as they first appear.

The challenge lay in crafting a version of The Magic Flute that could function as half an evening! To

alter such a complex and mystifying masterpiece was humbling, and may result in some jarring

Richard B. Fisher Center for the Performing Arts Production Staff

Hopefully, assisting that effort is our decision to combine the two pieces into one, with The Magic

Production Manager Vincent Roca

musical play Higglety Pigglety Pop!, in which Jennie performs as leading lady. This choice continues

moments to those who love the original. So I invite you to embrace the redux on its own terms.

Flute functioning as a second presentation in the World Mother Goose Theatre, following the

Production Coordinator, Concerts and Lectures Stephen Dean

Jennie’s journey as witness to, and occasional participant in, Mozart’s opera.

Technical Director Rick Reiser

I am thrilled by the opportunity to join my colleagues in creating a new piece and further-

Lighting Supervisor Josh Foreman Costume Shop Supervisor Moe Schell Audio/Video Supervisor Seth Chrisman

ing the commitment to innovative work and artistic exploration that the Graduate Vocal Arts Program views as essential to training our future artists.

—Nicholas Muni

Assistant to the Production Manager Hellena Schiavo 4

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Synopsis

New York Premiere

Higglety Pigglety Pop!

Jennie, a Sealyham terrier, has everything she needs. Yet she yearns for something more, and

Music by Oliver Knussen (b. 1952)

Libretto by Maurice Sendak (1928–2012)

decides to leave home to find what is missing, packing all her possessions into a black and gold bag.

On her journey, she first encounters a Pig-in-Sandwich-Boards, who tells her that the World

James Bagwell, conductor

Nicholas Muni, stage director and production designer

Mother Goose Theatre needs a leading lady, and suggests that if Jennie gains experience, she

Jennie, a Sealyham Terrier

Kelly Newbury (3/4), Sophia Burgos (3/6)

driving a milk truck. Cat knows of a Baby who needs a nurse, and drives Jennie to the Big White

Rhoda, a parlor maid

Adanya Dunn

Potted Plant/Baby/Mother Goose Voice of Baby’s Mother High Voice of Ash Tree Cat/Milkman

Pig-in-Sandwich-Boards

Lion/Low Voice of Ash Tree Orchestra

Danika Felty

Lizabeth Malanga

Corey Dalton Hart Corey Dalton Hart

Kimberly Feltkamp Andrew Munn

Violin I

Yezu Woo, concertmaster, Sergio Carleo, Bihan Li, Xinyue Wang, Xinyi Wang,

Violin II

Matthew Woodard, principal, Shuang Yang, Avery Morris, Benjamin Brashear,

Viola Cello Bass

Flute

Oboe

Clarinet

Bassoon Horn

Trombone Tuba

Timpani

Percussion Harp

Celeste Piano

Alex Van der Veen

House, where the infant lives. Rhoda, the parlor maid, says Jennie has only one chance to make

the infant eat—and if she fails, the Lion who lives in the cellar will devour her, as he has Baby’s

six previous nurses. Jennie accepts the challenge, but fails to get Baby to take even a single

bite of her delicious breakfast. In a panic, Jennie asks Baby’s Mother for advice. The Mother tells Jennie to have the Lion deliver Baby to Castle Yonder, where Mother lives. Jennie, afraid that the

Lion might eat Baby, is calmed by Mother’s assurance that Jennie has only to say Baby’s name, and the Lion will deliver the infant safely. Jennie ventures into the cellar and is terrified by the hungry Lion, who, tired of eating nurses, tries to eat Baby instead. Jennie, not knowing Baby’s

name, offers herself in sacrifice. As the Lion is about to swallow Jennie whole, she mentions her desire to be the leading lady at the World Mother Goose Theatre, at which point the Lion backs down and rushes away with Baby.

Gitta Markó, Valory Hight

Jennie sinks down in despair at the foot of an ancient Ash Tree. She hears the Ash Tree lament-

Sarah Ghandour, principal, Emily Munstedt, Rastislav Huba, Daniel Zlatkin

voices of Cat, Pig, and Rhoda congratulating her on becoming the leading lady in the World

Bridget Bertoldi, principal, Emma Neiman, Alice Jones**

herself appears and explains that overcoming Jennie’s fear of death in order to save Baby was

Caitlin Beare, principal, Jingyu Mao, Viktor Tóth

thrilled, and, along with Cat, Pig, and Rhoda—who turn out to have been actors at the theater

Rosemary Nelis, principal, Andrew Carlson, Weilan Li, Alexandra Morris

ing the coming of winter, and falls into a deep sleep. Jennie dreams she hears the familiar

Andrew O’Connor, principal, David Mercier, Zhenyuan Yao, Julian Lampert + *

Mother Goose Theatre, which shocks her, considering her lack of experience. But Mother Goose

Gregory Drilling, principal, Amy Cassiere

experience enough: she now gets to star in the musical play Higglety Pigglety Pop! Jennie is

Adam Romey, principal, Cathryn Gaylord + *

the entire time—prepares for the performance.

Marc Gelfo, principal, László Csabay, Philip Brindise*, Jordan Miller* Chia-Hsien Lin, principal, Yu-Tien Chou Jacob Moore

Jonathan Collazo

Samuel Gohl, Christopher Gunnell, Benjamin Malinski Xing Gao

Alexander Hamme Wei Zhou

+ Alumnus/a * Assisting Artist from The Orchestra Now ** Assisting Artist

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may get offered the role. Jennie, both hungry and excited, sets off in pursuit. She meets a Cat

Oliver Knussen Higglety Pigglety Pop! or There Must Be More to Life Fantasy opera in one act (nine scenes) Text by Maurice Sendak

Used by arrangement with European American Music Distributors Company, the U.S. and Canadian agent for Faber Music Ltd., London, publisher and copyright owner.

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The Magic Flute* Redux

Bass Trombone

Marco Jaimes

Celeste

Anna Obbágy

Timpani

(Die Zauberflöte Redux)

Music by Wolfgang Amadeus Mozart (1756–1791) Libretto by Emanuel Schikaneder (1751–1812)

*in an abridged-version adaptation by Nicholas Muni

Petra Elek

+ Alumnus/a * Assisting Artist from The Orchestra Now ** Assisting Artist

James Bagwell, conductor

Nicholas Muni, stage director and production designer

Synopsis

Queen of the Night

Zoe Johnson

1st Lady, servants of the Queen

Lizabeth Malanga

of the Queen of the Night, he is sent on a quest to rescue the Queen’s daughter, Pamina (whose

Mary-Elizabeth O’Neill

bird catcher who works for the Queen, is commanded to accompany Tamino on his mission. To

Andrew Munn

have magical powers.

Pamina, her daughter 2nd Lady 3rd Lady

Tamino, a Prince

Sarastro, Head of the Temple of Wisdom Speaker of the Temple

Papageno, a bird catcher Papagena, his mate Monostatos 1st Boy

Tamino, a young prince lost in a strange land, is being assaulted by a serpent. Saved by servants

Katherine Rossiter

image he has fallen in love with), from her abductor, the tyrant Sarastro. Papageno, an eccentric

Christopher Remkus (3/4), Olivier Gagnon (3/6)

assist the travelers, the Queen offers Tamino a flute and Papageno silver bells, both of which

Peter Rolfe Dauz

Pamina is guarded by Sarastro’s slave, Monostatos, who is also in love with her, and tries to force

Nathaniel Sullivan Adanya Dunn

Matthew Slipp

Katherine Rossiter

2nd Boy

Danika Felty

3rd Boy

Orchestra

Caroline Dunigan (3/4), Anna-Sophie Neher (3/6)

Mary-Elizabeth O’Neill

Lun Li, concertmaster, Jiayu Sun, Fang Xi Liu, Sebastian Carrasco, Zhi Ma,

Violin II

Veronika Mojzesˇová, principal, Tianpei Ai, Eliot Roske, Zhen Liu,

Cello Bass

Flute

Oboe

Clarinet

Bassoon Horn

Trumpet

Trombone

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and Papageno sing about love: Pamina for the young prince she has yet to meet, and Papageno for the girl of his dreams, Papagena, whom he fears he will never meet.

Three young boys advise Tamino to be patient and steadfast in his quest. They guide him to Sarastro’s temple, where Tamino confronts the Speaker of the Temple. Tamino berates the

villain Sarastro for callously separating an innocent girl from her mother. The Speaker tells Tamino that Sarastro is benevolent, not evil, and that he should not trust the Queen of the

Violin I

Viola

himself on her. Papageno happens upon the princess and frightens Monostatos away. Pamina

Hanni Xie, Gerg˝ o Tóth

Reina Murooka, Xinran Li, Qun Dai

Joseph Burke, principal, Wenlong Huang, Yushi Pan, Zi Ye, Hsin-Fang Wu

John Belk, principal, Yi Cheng, Kaila Piscitelli, Stanley Moore, Rylan Gajek-Leonard Julian Lampert, principal + *, Margaret Pitman, Andrew O’Connor Eszter Ficsor, principal, Kelly Herrmann, Emma Neiman Alessandro Cirafici, principal, Aleh Remezau* Noemi Sallai, principal, Kristy´na Petisˇková Dávid A. Nagy, principal + *, Wade Coufal*

Stephanie Hollander, principal, Shannon Hagan*

Mátyás Dániel Fieszl, principal, Maxfield Hurvitt, Shanhui Sun Conghao Tian, principal, Michael Ventoso

Night. Confused, Tamino wonders if Pamina is still alive. Mysterious voices answer in the affir-

mative and in his joy, Tamino plays the magic flute and animals appear and dance enraptured to the music.

Sarastro punishes Monostatos for his lustful behavior toward Pamina, and explains why he

abducted her: if she’d stayed with her mother, the Queen of the Night, her life would have been

destroyed. He says he will neither harm her nor force her to love—but neither will he set her free.

Tamino is captured by Monostatos, who hopes that Sarastro will reward him by giving him

Pamina’s hand in marriage. Instead, the prince and princess declare their eternal love for each

other, and Sarastro orders Monostatos to be punished for his duplicity. Sarastro, seeing the young couple’s potential, decides to admit Tamino to the Temple to undergo the ritual of enlightenment, during which the initiate must face the terror of death.

The twists and turns in Tamino’s journey reveal the Queen’s true intention: to destroy the

Temple and recover the all-powerful sun circle from Sarastro, which allows the Queen to rule

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both the Night and the Day, thus avoiding the excruciating, terrifying weakness she feels with

Artists

in the ritual of enlightenment, she gives her daughter a knife and threatens to disown her if

Sophia Burgos (Jennie), soprano, is a second-year student in the Graduate Vocal Arts Program.

each sunrise. When she discovers that Tamino has been swayed by Sarastro, and is taking part

she does not kill Sarastro. Sarastro intervenes and demonstrates the principal tenet of his society: forgiving one’s enemy is the only path to peace.

Tamino faces difficult trials, including giving up the woman he loves in order to achieve an

enlightened state of being. Pamina, devastated, decides to end her life. The three boys assure

her that Tamino not only loves her but needs her by his side as he faces possible death. As Tamino prepares to face the trials of fire and water, Pamina joins him, and suggests he play the magic flute, whose music will protect them from danger. Papageno is reminded that if he plays the magic bells, he too will find true love and happiness in Papagena.

The Queen joins forces with Monostatos to defeat Sarastro before sunrise, when she will be

She completed her undergraduate studies at the Eastman School of Music, and has participated in festivals such as the Tanglewood Music Center Festival and the Lucerne Festival Academy. An advocate of contemporary music, Burgos has collaborated with artists such as Osvaldo Golijov, Andre Previn, Simon Rattle, and Barbara Hannigan.

Peter Rolfe Dauz (Speaker of the Temple) received his bachelor of music in vocal performance at

the San Francisco Conservatory of Music in 2011. Dauz recently made his Opera McGill debut in

the title role of Le nozze di Figaro. He is a first-year student in the Graduate Vocal Arts Program, studying with Sanford Sylvan.

robbed of her nocturnal power. Just as they launch their attack, the light of transcendence

Caroline Dunigan (Pamina), soprano, is a first-year master’s degree student in the Graduate

In triumph, Sarastro and his followers hail Tamino and Pamina.

with the Chautauqua Institute Voice Program in La bohème. She received her bachelor of music

floods the space and transforms everyone involved: they now see the world with different eyes.

Vocal Arts Program, where she is a student of Lorraine Nubar. Most recently, Dunigan performed degree from the Manhattan School of Music.

Soprano Adanya Dunn (Rhoda, Papagena) is a second-year student in the Graduate Vocal Arts Program and currently studies with Edith Bers and Patricia Misslin. She holds M.Mus. opera performance and B.Mus. voice performance degrees from the University of Toronto. She participated in The Song Continues: Marilyn Horne Master Class and received an Encouragement Award from the Metropolitan Opera National Council Auditions (2014).

Kimberly Feltkamp (Pig), mezzo-soprano, is a second-year student in the Graduate Vocal Arts

Program. She most recently created the lead role of Elizabeth in Griffin Candey’s Sweets by Kate

and performed Ottavia in a Baroque gesture production of Monteverdi’s Poppea. Last summer, she launched an opera company as an offshoot of her online community, OperaRox, with a production of Mozart’s Le nozze di Figaro.

Danika Felty’s (Potted Plant, Baby, 2nd Boy) recent performances include Jerry Bock’s She Loves

Me, Benjamin Britten’s Albert Herring, and Puccini’s Gianni Schicchi and Suor Angelica. Felty has

performed as a soloist with the Eastman Philharmonia in Kodak Hall and Carnegie Hall while earning her B.M. in vocal performance at the Eastman School of Music.

Olivier Gagnon (Tamino), an Irish and Québécois baritone, holds a B.Mus. (Honors) 1st and a Concert Recital Diploma from London’s Guildhall School of Music and Drama, where he studied under Professor Susan McCulloch. He was a 2014 Britten-Pears Young Artist. He is a first-year student in the Graduate Vocal Arts Program and studies with Sanford Sylvan.

Corey Dalton Hart (High Voice of the Ash Tree, Cat), tenor, is a native of Asheville, North Carolina, and has soloed with the American Symphony Orchestra, Bard Baroque Ensemble, and Furman

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University Orchestra in works by Handel, Haydn, and Mozart. Last summer, he attended SongFest

Feu/Le Rossignol in L’Enfant et les sortilèges and Morgana in Alcina, both at CCM, and Mabel in The

Zoe Johnson (Queen of the Night) is a soprano from Los Angeles, California. After a summer at

Matthew Slipp (Monostatos), a New England native, found his love for vocal music at the age of

she performed the role of Papagena with the Albany Symphony in an adaptation of The Magic

decade since he has performed numerous opera and musical theater roles, as well as exciting

2015 at the Colburn School. Hart is a second-year student and studies with Lorraine Nubar.

the Aspen Opera Theater Center, she is thrilled to be back at Bard for her second year. In 2015, Flute, and premiered a work by Andy Vores at the Morgan Library, New York City.

Pirates of Penzance with the International Gilbert and Sullivan Festival.

15 while attending the Boston University Tanglewood Institute, in Lenox, Massachusetts. In the recital programs throughout the United States.

As an interpreter of classical vocal music, soprano Lizabeth Malanga (Baby’s Mother, 1st Lady)

Nathaniel Sullivan (Papageno), baritone, is a first-year student in the Graduate Vocal Arts

past two summers. Malanga enjoys the challenge of infusing music with her unique instrument

University of Nebraska-Lincoln, where he was recognized as a Chancellor’s Scholar. Sullivan

finds joy in discovering musical gems and bringing them to life, which she did at SongFest for the and multifaceted artistry. She is a second-year student in the Graduate Vocal Arts Program.

Program. In 2014 he received his bachelor of music degree in vocal performance from the grew up in Bettendorf, Iowa, and currently resides in Red Hook, New York.

Andrew Munn (Low Voice of the Ash Tree, Lion, Sarastro) most recently performed the role of

James Bagwell maintains an active international schedule as a conductor of choral, operatic,

In 2014, Munn was also the bass soloist in Mozart’s Requiem under Ádám Fischer, Raphael in

continuing his role as principal guest conductor of the American Symphony Orchestra. From

Beethoven in Steven Stucky and Jeremy Denk’s The Classical Style at the 2015 Aspen Music Festival.

Haydn’s Creation with Leon Botstein, Jesus in Bach’s St. John Passion, and Sarastro in The Magic

Flute. He is a second-year student.

Soprano Anna-Sophie Neher (Pamina) holds a bachelor’s degree from the Conservatoire de

musique de Montréal, where she studied with Donna Brown. Since the beginning of her

vocal studies, she has won a number of awards and competitions and has been a soloist with L’Orchestre du Festival International de Lanaudière. She is a first-year student, now studying under the guidance of Sanford Sylvan.

Praised by Opera News as “a compelling narrator,” mezzo-soprano Kelly Newberry (Jennie)

recently performed in recital at SongFest as a Fellow. Favorite roles include Cherubino (Le nozze di Figaro) and Amastre (Serse) at the San Francisco Conservatory. Now in her second year in the

and orchestral music. In 2015 he was named associate conductor of The Orchestra Now while 2009–15 he was music director of The Collegiate Chorale; some of the highlights of his tenure

include conducting a number of rarely performed operas-in-concert such as Bellini’s Beatrice

di Tenda, Rossini’s Moise et Pharaon, and most recently, Boito’s Mefistofele. He conducted the New York premiere of Philip Glass’s Toltec Symphony and Osvaldo Golijov’s Oceana, both at

Carnegie Hall. His performance of Kurt Weill’s Knickerbocker Holiday at Alice Tully Hall was

recorded live for Gaslight Records and is the only complete recording of this musical. Since 2011 he has collaborated with singer and composer Natalie Merchant, conducting a number

of major orchestras across the country, including the San Francisco and Seattle Symphonies.

He is professor of music and director of performance studies at Bard College and Bard College Conservatory of Music.

Nicholas Muni, stage director and production designer, has recently been appointed artistic

Graduate Vocal Arts Program, Newberry studies with Sanford Sylvan.

director at the A. J. Fletcher Opera Institute at the University of North Carolina School of the

Hailing from Long Island, mezzo-soprano Mary-Elizabeth O’Neill (3rd Lady, 3rd Boy) is thrilled to

and Bard College Conservatory of Music Graduate Vocal Arts Program. He served as artistic

at The Juilliard School. She is continuing her vocal studies with Lorraine Nubar and Sanford

been seen at San Francisco Opera, New York City Opera, Canadian Opera Company in Toronto,

Arts. In addition, he teaches acting and stagecraft at the Academy of Vocal Arts in Philadelphia

have joined the Bard Graduate Vocal Arts Program, after completing her undergraduate degree

director for the Tulsa Opera (1987–93) and Cincinnati Opera (1996–2005). His productions have

Sylvan, and enjoys the acting challenges that opera offers.

Houston Grand Opera, Seattle Opera, Los Angeles Opera, Glimmerglass Opera, and Opera

Christopher Remkus (Tamino), tenor, recently made his regional debut with the Gilbert & Sullivan

International Festival, Stadttheater Giessen, Opera Ireland, Theater Erfurt, Tiroler landestheater

Remkus holds a B.S. in music from Hofstra University, where he frequently appeared as a featured

in 2003 received Canada’s prestigious DORA award for best theater production of the year.

Theatre of St. Louis. In Europe he has directed for the Prague National Opera, the Kurt Weill

Light Opera Company of Long Island as Richard in Ruddigore. A native of Miller Place, New York,

in Innsbruck, and Stadttheater Bern. His revival of Jenu˚ fa at the Canadian Opera Company

soloist and was a recipient of the Dorothy B. Hoag Honors Recital Award.

His recent productions include the U.S. stage premiere of Das Liebesverbot at Glimmerglass

Katherine Rossiter (2nd Lady, 1st Boy) is a recent graduate of the University of Cincinnati, College-

Lyric Opera, Cardillac at Opera Boston, U.S. stage premiere of El amor brujo/La vida breve at

Opera, La finta giardiniera and L’amico Fritz at San Francisco Opera Merola, Carmen at Boston

Conservatory of Music, where she studied with Gwen Detwiler. Favorite roles performed include Le 12

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Manhattan School of Music, Don Giovanni at Opera Philadelphia and San Diego Opera, Elektra

The Conservatory gratefully acknowledges the generous support of these recent donors:

Shenandoah Conservatory of Music, Powder Her Face at Odyssey Opera in Boston, and Don

James Akerberg and Larry Simmons Andrew W. Mellon Foundation Ann and Abe Effron Fund - Donor Advised Community Foundations of the Hudson Valley Anonymous Judith Asphar Jane Evelyn Atwood ’70 Erica Ball ’11 Timothy Bartley Simone Belda Byron and Susan Bell Jean Benkert 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 Frances Brent Craig W. and Camille Broderick Alfred M. Buff and Lenore Nemeth Camphill Ghent, Inc. Fu-chen Chan Pilar Conde and Alfonso Lledo-Perez Ellen Curtis Joan Davidson Arnold J. Davis ’44 Rosemary Deen Georgia and Michael de Havenon Kathy and Gonzalo de Las Heras Nancy Dicken Cornelia Z. and Timothy Eland Alexander Farkas Mildred and Arnold Feinsilber Karen L. Feldman ’91 Robert A. Feldman Allen C. Fischer and Renate Belville FOSUN International Raymond Foye The Fred Stein Family Foundation Nina Friedman Friends of Beattie-Powers Place Friends of Chamber Music of Reading Luis Garcia-Renart GE Foundation Lauren Gerken Christopher H. Gibbs Robert Goldfarb ’59 Goldman Sachs Gives Katherine Gould-Martin and Robert L. Martin Jan and Lester Greenberg Nan and David Greenwood Marka Gustavsson and John Halle Roger Gustavsson and Louise Reinecke Morris Halle Theodore Hepp and Regula Aregger Susan B. Hirschhorn and Arthur Klebanoff

at Michigan Opera Theater, Dido and Aeneas/Orpheus Brittanicus and Die Fledermaus at

Pasquale at San Francisco Opera Merola Program. Among his upcoming projects are Norma

at Florida Grand Opera, La tragédie de Carmen at the Fletcher Opera Institute, and The Seven Deadly Sins at the Tanglewood Festival.

Soprano Dawn Upshaw has achieved worldwide celebrity as a singer of opera and concert rep-

ertoire ranging from the sacred works of Bach to the freshest sounds of today. She is artis-

tic director of the Graduate Vocal Arts Program at Bard College Conservatory of Music, and

was recently appointed as head of the Vocal Arts Program at the Tanglewood Music Center.

Upshaw’s acclaimed performances on the opera stage comprise the great Mozart roles (Pamina, Ilia, Susanna, Despina) as well as modern works by Stravinsky, Poulenc, and Messiaen. She has

performed in venues from Salzburg, Paris, and Glyndebourne to the Metropolitan Opera, where she began her career in 1984 and has since made nearly 300 appearances. Upshaw has also

championed numerous new works created for her including The Great Gatsby by John Harbison; the Grawemeyer Award–winning opera L’ Amour de loin and the oratorio La passion de Simone

by Kaija Saariaho; John Adams’s nativity oratorio El Niño; and Osvaldo Golijov’s chamber opera

Ainadamar and song cycle Ayre. A five-time Grammy Award winner, Upshaw recently received the 2014 Best Classical Vocal Solo Grammy for Maria Schneider’s Winter Morning Walks. She is featured on more than 50 recordings, including the million-selling Symphony No. 3 by Henryk

Gorecki for Nonesuch Records. In 2007, she was named a Fellow of the MacArthur Foundation, and in 2008, a Fellow of the American Academy of Arts and Sciences.

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The Bard College Conservatory of Music Robert Martin, Director Frank Corliss, Associate Director Eileen Brickner, Dean of Students Sebastian Danila, Orchestra Librarian Nick Edwards, Admissions Counselor Ann Gabler, Concert Office Coordinator Lauren Gerken, Business Manager Lisa Hedges, Production Coordinator Hsiao-Fang Lin, Administrative Coordinator; Assistant Orchestra Manager Katherine Maysek, Admissions Counselor Marielle Metivier, Orchestra Manager Tricia Reed, Communications and Special Projects Coordinator Kristin Roca, Graduate Program Coordinator

Bard College Conservatory Advisory Board Gonzalo de Las Heras, Chair Theodore Hepp Alan D. Hilliker Susan B. Hirschhorn Belinda Kaye Stephen Kaye Y. S. Liu Don M. Randel Maximiliaan Rutten Gabriella Sperry Eric Wong

Undergraduate Program Faculty Violin Shmuel Ashkenasi, Eugene Drucker, Yi-Wen Jiang, Ani Kavafian (master classes), Ida Kavafian, Honggang Li, Weigang Li, Daniel Phillips, Todd Phillips, Laurie Smukler, Arnold Steinhardt Viola Marka Gustavsson, Honggang Li, Steven Tenenbom, Michael Tree, Ira Weller Cello Sophie Shao, Peter Wiley Double Bass Leigh Mesh Harp Sara Cutler, Bridget Kibbey Piano Melvin Chen (master classes), Jeremy Denk, Richard Goode (master classes), Benjamin Hochman, Peter Serkin Flute Nadine Asin (master classes), Tara Helen O’Connor Oboe Elaine Douvas, Alexandra Knoll Clarinet Laura Flax, David Krakauer, Anthony McGill Bassoon Marc Goldberg, Patricia Rogers Horn Barbara Jöstlein Currie, Julie Landsman, Jeffrey Lang, Julia Pilant Trumpet Carl Albach Trombone Demian Austin, George Curran, Denson Paul Pollard, Weston Sprott Tuba Derek Fenstermacher Percussion Eric Cha-Beach, Josh Quillen, Adam Sliwinski, Jason Treuting (Sō Percussion); Daniel Druckman, Jonathan Haas, Tzong-Ching Ju, Garry Kvistad, Jan Williams, Greg Zuber Orchestral Studies Leon Botstein, Erica Kiesewetter

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Chamber Music Marka Gustavsson, coordinator; Edward Carroll, Stephen Hammer, Robert Martin, Blair McMillen, Raman Ramakrishnan Composition Da Capo Chamber Players (in residence), Joan Tower, George Tsontakis 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, Ben Laude Alexander Technique Alexander Farkas

Graduate Vocal Arts Program (M.M. Degree) Dawn Upshaw, Artistic Director, Vocal Coach Kayo Iwama, Associate Director, Vocal Coach Erika Switzer, Coordinator of Extracurricular Concerts Voice Edith Bers, Patricia Misslin, Lorraine Nubar, Sanford Sylvan Alexander Technique Gwen Ellison Opera Workshop Nic Muni Acting Workshop Lynn Hawley Diction Erika Switzer Movement Amii LeGendre Professional Development Workshop Lucy Dhegrae, Carol Yaple

Orchestral and Choral Conducting (M.M. Degree) James Bagwell, Codirector Leon Botstein, Codirector Harold Farberman, Codirector Orchestral Conducting Leon Botstein, Harold Farberman Choral Conducting James Bagwell Composition Joan Tower Music History and Theory James Bagwell, Kyle Gann, Christopher H. Gibbs, Peter Laki Languages Bard College Faculty Secondary Instrument Bard College Faculty

Postgraduate Collaborative Piano Fellowships Frank Corliss, Director

The Conductors Institute Harold Farberman, Founder and Director

Preparatory Division Ryan Kamm and Susanne Son, Codirectors Voice Lucy Dhegrae, Amy Palomo, Amy Travis Violin Helena Baillie, Jaram Kim Cello Sean Katsuyama Double Bass Ryan Kamm Percussion David Degge Piano Renana Gutman, Luba Poliak, Hiroko Sasaki, Susanne Son, Anna Stoytcheva, Cynthia Tobey Clarinet/Saxophone Megan Shumate Guitar David Temple Musicianship Shawn Jaeger, David Temple, Amy Travis

Composition Shawn Jaeger Early Childhood and Chorus Amy Travis Chinese Language Class Shar Shuai

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

Students Composition Daniel Castellanos, New Jersey (Classics) Corey Chang, Connecticut* Joan Tower Composition Scholarship Tamzin Ferré Elliott, California (Written Arts) New Albion Scholarship Jackson Spargur, California* Obadiah Wright, California (Religion) Daniel Zlatkin, Connecticut (Political Studies) Piano Anna-Sofia Botti, Vermont* Ana Felicia Doni, Oregon (Human Rights) Bettina Baruch Foundation Scholarship Jesse Goldberg, New York** Alexander Hamme, New Jersey* Domantas Karalius, Lithuania* Martin & Toni Sosnoff Scholarship Ya Ping (Chloe) Lo, Taiwan** Eri Nakamura, Japan** Anna Obbágy, Hungary (Psychology) Bitó Scholarship Tomoki Park, Korea/Japan** Fyodor Shiryaev, New York* Adam Zsolt Szokolay, Hungary* Belinda and Stephen Kaye Scholarship Mengying Wei, China (German Studies) ChaoJun Yang, China* Violin Tianpei Ai, China* Benjamin Brashear, Minnesota* Sergio Carleo, Venezuela* Sebastian Carrasco, California* Qun Dai, China (Asian Studies) Valory Hight, Virginia* Bihan (Leeya) Li, China* Luis Garcia-Renart Scholarship Lun Li, China* Luis Garcia-Renart Scholarship Xinran Li, China* Fang Xi Liu, China (Asian Studies) Zhen Liu, China* Zhi Ma, China (German Studies) Gitta Markó, Hungary* Veronika Mojzesˇová, Czech Republic (Psychology) Avery Morris, California (Mathematics) Reina Murooka, Japan (German Studies) Eliot Roske, Texas* Jiayu Sun, China (Asian Studies) Gerg˝ o Tóth, Hungary (Asian Studies) Alex van der Veen, California* Xinyi Wang, China* Xinyue Wang, China*

Yezu Woo, Korea** Matthew Woodard, Massachusetts (French Studies) Hanni Xie, China* Shuang Yang, China (German Studies) Viola Joseph Burke, New Jersey* Andrew Carlson, South Dakota* Wenlong Huang, China (Languages and Literature) Weilan Li, China* Alexandra Morris, California (Computer Science) Rosemary Nelis, New York (Asian Studies) G. de Las Heras Scholarship Yushi Pan, China* Hsin-Fang Wu, Taiwan* Zi Ye, China (French Studies) Luis Garcia-Renart Scholarship Cello John Belk, Minnesota (Computer Science) George Martin/Hans Thatcher Clarke Scholarship Yi Cheng, China (Asian Studies) Colyer Durovich, North Carolina (Environmental and Urban Studies) Rylan Gajek-Leonard, Canada (Mathematics) D. Miles Price Scholarship Sarah Ghandour, California (Mathematics) Rastislav Huba, Slovakia (Russian Studies) Mischa Schneider Scholarship Stanley Moore, Illinois Emily Munstedt, Massachusetts* Maclean Pachkowski, Canada* Kaila Piscitelli, Connecticut* Bass David Mercier, Vermont* Andrew O’Connor, Kansas** Zhenyuan Yao, China (Asian Studies) Harp Xing Gao, China* Flute Bridget Bertoldi, Connecticut (Psychology) Eszter Ficsor, Hungary** Kelly Herrmann, Vermont** Maies Hriesh, Israel* Emma Neiman, California* Oboe Amy Cassiere, Louisiana* Alessandro Cirafici, New York (German Studies) Gregory Drilling, Iowa (Political Studies) Clarinet Caitlin Beare, New York** Jingyu Mao, China* Krist y´ na Petisˇková, Czech Republic* Noemi Sallai, Hungary (German Studies) Bitó Scholarship Viktor Tóth, Hungary (Italian Studies) Bitó Scholarship Bassoon Adam Romey, Minnesota** Horn László Csabay, Hungary* Marc Gelfo, Florida** Stephanie Hollander, New Jersey** Claire Worsey, California

Trumpet Mátyás Dániel Fieszl, Hungary** Maxfield Hurvitt, Maine* Shanhui Sun, China* Trombone Yu-Tien Chou, Taiwan* Marco Jaimes, New Jersey* Chia-Hsien Lin, Taiwan** Conghao (Natty) Tian, China* Michael Ventoso, New Jersey* Tuba Jacob Moore, Texas** Percussion Jonathan Collazo, Florida* David Degge, Illinois^^ Petra Elek, Hungary (German Studies) Bitó Scholarship Samuel Gohl, New Hampshire* Dylan Greene, Washington** Christopher Gunnell, Kentucky (Mathematics) Benjamin Malinski, Pennsylvania (Computer Science) Dániel Matei, Hungary (Italian Studies) Bitó Scholarship Meilin Wei, China* Zihan Yi, China (Asian Studies) John Cage Trust Scholarship Graduate Vocal Arts Program Sophia Burgos, Illinois Rolfe Dauz, California Caroline Dunigan, New York Adanya Dunn, Canada Kimberly Feltkamp, New York Danika Felty, Canada Olivier Gagnon, Canada/Ireland Corey Dalton Hart, North Carolina Zoe Johnson, California Lizabeth Malanga, Massachusetts** Andrew Munn, West Virginia Anna-Sophie Neher, Canada Kelly Newberry, California Mary-Elizabeth O’Neill, New York Christopher Remkus, New York Katherine Rossiter, Pennsylvania Matthew Slipp, Maine Nathaniel Sullivan, Nebraska Graduate Conducting Program Andrew Burger, New York Michael McCarty, New York Augustina-Paraskevi Kapoti, Greece Lucas Paiva, Brazil Christopher Puckett, Oregon Kevin Purcell, Australia Andres Rivas, Venezuela William Rowan, Vermont Haley Rudolph, New York Ben Ruesch, Massachusetts Jamal Sarikoki, New York Rowan Benedict Sheehan, Pennsylvania Postgraduate Collaborative Piano Fellows Yumi Namoto, Japan Bethany Pietroniro, Maryland Rami Sarieddine, Cyprus Jingwen Tu, Florida Wei Zhou, China * Second major not yet declared ** Advanced Performance Studies Program ^^ Percussion Fellow

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 George F. Hamel Jr., Vice Chair Elizabeth Ely ’65, Secretary; Life Trustee Stanley A. Reichel ’65, Treasurer, Life Trustee Fiona Angelini Roland J. Augustine Leon Botstein+, President of the College Stuart Breslow+ Mark E. Brossman Thomas M. Burger+ James C. Chambers ’81 Marcelle Clements ’69, Life Trustee Craig Cogut 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, Alumni/ae Trustee Andrew S. Gundlach Sally Hambrecht Marieluise Hessel Maja Hoffmann Matina S. Horner+ Charles S. Johnson III ’70 Mark N. Kaplan, Life Trustee George A. Kellner Paul S. Levy Fredric S. Maxik ’86 James H. Ottaway Jr., Life Trustee Martin Peretz, Life Trustee Stewart Resnick, Life Trustee Roger N. Scotland ’93, Alumni/ae Trustee Jonathan Slone ’84 James A. von Klemperer Brandon Weber ’97, Alumni/ae Trustee Susan Weber Patricia Ross Weis ’52 Senior Administration Leon Botstein, President Dimitri B. Papadimitriou, Executive Vice President and President, Levy Economics Institute Coleen Murphy Alexander ’00, Vice President for Administration Mary Backlund, Vice President for Student Affairs and Director of Admission Norton Batkin, Vice President and Dean of Graduate Studies Jonathan Becker, Vice President for Academic Affairs and Director for Civic Engagement James Brudvig, Vice President for Administration and Finance and Chief Financial Officer Erin Cannan, Vice President for Student Affairs and Dean of Civic Engagement Susan H. Gillespie, Vice President for Special Global Initiatives Mark Halsey, Vice President for Institutional Research and Assessment Max Kenner ’01, Vice President for Institutional Initiatives and Executive Director, Bard Prison Initiative

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Robert Martin, Vice President for Policy and Planning; Director, Bard College Conservatory of Music Debra Pemstein, Vice President for Development and Alumni/ae Affairs S. Rebecca Thomas, Dean of the College Taun Toay ’05, Vice President for Strategic Initiatives and Chief of Staff Stephen Tremaine ’07, Vice President for Early College Policies and Programs; Executive Director, Bard Early College in New Orleans

The Richard B. Fisher Center for the Performing Arts Advisory Board Jeanne Donovan Fisher, Chair Carolyn Marks Blackwood Leon Botstein+ Stefano Ferrari Robert Martin+ Dimitri B. Papadimitriou+ Denise S. Simon Thurmond Smithgall 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 Kieley Michasiow-Levy, Development Manager Zia Affronti Morter ’12, Executive Assistant Production Vincent Roca, Production Manager Stephen Dean, Production Coordinator, Concerts and Lectures Matthew Waldron ’07, Production Coordinator, Dance and Theater Rick Reiser, Technical Director Josh Foreman, Lighting Supervisor Moe Schell, Costume Shop Supervisor Seth Chrisman, Audio/Video Supervisor Hellena Schiavo, Assistant to the Production Manager Communications Mark Primoff, Associate Vice President of Communications Eleanor Davis, Media and Marketing Manager Sara Wintz, Marketing Assistant Publications Mary Smith, Director of Publications Audience Services David Steffen, Audience Services Manager and Communications Coordinator Nicholas Reilingh, Box Office Manager and Database Administrator Emily Gildea ’11, Assistant Box Office Manager Lizabeth Malanga, Box Office Coordinator Hellena Schiavo, House Manager Sophie Green ’17, Assistant House Manager

Austin Lehn ‘17, Assistant House Manager Kai Mote ’16, Assistant House Manager Bethany Zulick ’16, Assistant House Manager Facilities Mark Crittenden, Facilities Manager Ray Stegner, Building Operations Manager Doug Pitcher, Building Operations Coordinator Daniel DeFrancis, Building Operations Assistant Robyn Charter, Fire Panel Monitor Bill Cavanaugh, Environmental Specialist Drita Gjokaj, Environmental Specialist Patricia O’Hanlon, Environmental Specialist

The Bard Music Festival Board of Directors Denise S. Simon, Chair Roger Alcaly Joshua J. Aronson Leon Botstein+ Michelle R. Clayman David Dubin Robert C. Edmonds ’68 Jeanne Donovan Fisher Christopher H. Gibbs+ Carlos Gonzalez Paula K. Hawkins Thomas Hesse Susan Petersen Kennedy Barbara Kenner Gary Lachmund 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 Associate Director Raissa St. Pierre ’87 Scholar in Residence 2016 Arman Schwartz Emanuele Senici Program Committee 2016 Byron Adams Leon Botstein Christopher H. Gibbs Robert Martin Arman Schwartz Emanuele Senici Richard Wilson Irene Zedlacher Director of Choruses James Bagwell Vocal Casting Susana Meyer

The Orchestra Now Leon Botstein, Music Director James Bagwell, Associate Conductor and Academic Director Zachary Schwartzman, Resident Conductor Erica Kiesewetter, Director of Chamber and Audition Preparation Lynne Meloccaro, Executive Director Oliver Inteeworn, Managing Director Brian J. Heck, Director of Marketing Sebastian Danila, Librarian and Researcher Nicole M. de Jesús, Development Manager Marielle Metivier, Orchestra Manager Carley Gooley, Marketing Assistant Benjamin Oatmen, Librarian Kristin Roca, Administrative Assistant

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 LUMA Theater, which features a flexible seating configuration. The Center is home to Bard College’s Theater & Performance and Dance

Programs, and host to two annual summer festivals: SummerScape, which offers opera, dance, theater, operetta, film, and cabaret; and the Bard Music Festival, which celebrated its 25th year in 2014. Last year’s festival, “Carlos Chávez and His World,” turned for the first time to the music

of Latin America. The 2016 festival will be devoted to the life and work of Giacomo Puccini.

The Center bears the name of the late Richard B. Fisher, 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.

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 M.Music degrees in curatorial, critical, and performance studies through The Orchestra Now, and 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, Cleveland, Baltimore, 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.

Producer, Staged Concerts Nunally Kersh ©2016 Bard College. All rights reserved. Cover ©Pierre Rochon photography/Alamy stock photo

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SPRING EVENTS

jazz

IMPROV CUBED: FROM BACH TO THE GREAT AMERICAN SONGBOOK LUMA Theater March 19 at 8 pm music

THE ORCHESTRA NOW

George Frideric Handel’s Messiah Conducted by Leon Botstein, music director Sosnoff Theater April 9 at 8 pm and April 10 at 3 pm jazz

SALUTE TO AFRICA! Sosnoff Theater April 16 at 8 pm music

THE ORCHESTRA NOW

Conducted by Leon Botstein, music director Sosnoff Theater April 23 at 8 pm and April 24 at 3 pm dance Live Arts Bard Presents

MAY DAY DANCES: FAYE DRISCOLL AND JOHN JASPERSE Sosnoff Stage Right and LUMA Theater April 29 – May 1 music

CONSERVATORY SUNDAYS

Bard College Conservatory Orchestra and The Orchestra Now Conducted by Leon Botstein, music director Sosnoff Theater May 8 at 3 pm

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.