SummerScape 2009: St. Paul

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

St. Paul An Oratorio, The Words Selected from the Holy Scriptures August 9, 2009

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

Presents

St. Paul An Oratorio, The Words Selected from the Holy Scriptures Music by Felix Mendelssohn (1809– 47) Sung in German with English supertitles

American Symphony Orchestra, conducted by Leon Botstein, Music Director Bard Festival Chorale James Bagwell, Choral Director Soloists Alexandra Coku, soprano Kelley O’Connor, mezzo-soprano Scott Williamson, tenor Paul Gay, baritone

Sosnoff Theater August 9 at 3 pm

Program

St. Paul An Oratorio, The Words Selected from the Holy Scriptures (1836)

Part One Overture Chorus: “Herr, der du bist der Gott” Chorale: “Allein Gott in der Höh sei Ehr und Dank” Recitative and Duet:“Die Menge der Gläubigen / Wir haben ihn gehört und bewegten das Volk” Chorus: “Dieser Mensch hört nicht auf zu reden Lästerworte” Recitative and Chorus: “Und sie sahen auf ihn alle / Weg, weg mit dem” Aria: “Jerusalem, die du tötest die Propheten” Recitative and Chorus: “Sie aber stürmten auf ihn ein / Steiniget ihn!

Er lästert Gott” Recitative and Chorale: “Und sie steinigten ihn / Dir, Herr, dir will ich mich ergeben” Recitative: “Und die Zeugen legten ab ihre Kleider” Chorus: “Siehe, wir preisen selig, die erduldet haben” Recitative and Aria: “Saulus aber zerstört die Gemeinde / Vertilge sie, Herr Zebaoth” Recitative and Arioso: “Und zog mit einer Schar / Doch der Herr vergisst der Seinen nicht” Recitative and Chorus: “Und als er auf dem Wege war / Saul! Was verfolgst du mich?”

Chorus: “Mache dich auf, werde licht” Chorale: “Wachet auf, ruft uns die Stimme” Recitative: “Die Männer aber, die seine Gefährten waren” Aria: “Gott, sei mir gnädig nach deiner Güte” Recitative: “Es war aber ein Jünger zu Damaskus”

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Aria and Chorus: “Ich danke dir, Herr, mein Gott / Der Herr wird die Tränen Recitative: “Und Ananias ging hin” Chorus: “O welch eine Tiefe des Reichtums”

Intermission

Part Two Chorus: “Der Erdkreis ist nun des Herrn” Recitative: “Und Paulus kam zu der Gemeinde” Duet: “So sind wir nun Botschafter an Christi Statt” Chorus: “Wie lieblich sind die Boten” Recitative and Arioso: “Und wie sie ausgesandt von dem heil’gen Geist Lasst uns singen von der Gnade” Recitative and Chorus: “Da aber die Juden das Volk sah’n / So spricht der Herr Und sie stellten Paulus nach” Chorus and Chorale: “Ist das nicht, der zu Jerusalem verstörte alle O Jesu Christe, wahres Licht” Recitative: “Paulus aber und Barnabas sprachen frei und öffentlich” Duet: “Denn also hat uns der Herr geboten” Recitative: “Und es war ein Mann zu Lystra” Chorus: “Die Götter sind den Menschen gleich geworden” Recitative: “Und nannten Barnabas Jupiter” Chorus: “Seid uns gnädig, hohe Götter” Recitative, Aria, and Chorus: “Da das die Apostel hörten / Wisset ihr nicht Aber unser Gott ist im Himmel” Recitative: “Da ward das Volk erreget wider sie” Chorus: “Hier ist des Herren Tempel” Recitative: “Und sie alle verfolgten Paulus” Cavatina: “Sei getreu bis in den Tod” Recitative: “Paulus sandte hin und liess fordern die Ältesten” Chorus and Recitative: “Schone doch deiner selbst / Was machet ihr, dass ihr weinet”

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Chorus: “Sehet, welch eine Liebe hat uns der Vater erzeiget” Recitative: “Und wenn er gleich geopfert wird” Chorus: “Nicht aber ihm allein, sondern allen”

Running time for Part One is approximately 75 minutes, followed by an intermission.

Running time for Part Two is approximately 56 minutes.

Supertitle Creator

Cori Ellison

Supertitle Operator

Olivia Giovetti

Bard Festival Chorale James Bagwell, Choral Director

Soprano Wendy Baker

Jeanmarie Lally

Judy Cope

Julie Morgan

Margery Daley

Beverly Myers

Lori Engle

Rachel Rosales

Jennifer Gliere

Kathy Theil

Heather Hill

Cynthia Wallace

Elizabeth Hillebrand

Elena Williamson

Melissa Kelley

Jennifer Young

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Alto Jane Ann Askins

Yonah Gershator

Melissa Attebury

Nicola James

Biraj Barkakaty

Phyllis Jo Kubey

Sarah Best

Sara Murphy

Sarah Bleasdale

Tami Petty

Teresa Buchholz

Nancy Wertsch

Emily Eyre

Abigail Wright

Megan Friar

Tenor Sean Attebury

Gregory Hostetler

James Bassi

Drew Martin

John Bernard

Thomas Mooney

Richard Byrne

Isai Jess Munoz

Martin Doner

Timothy O’Connor

Neil Farrell

Douglas Purcell

James Fredericks

John Young

Bass Daniel Alexander

Bruce Rameker

Jack Blackhall

Walter Richardson

Paul Burket

Charles Sprawls

Matthew Curran

Kurt Steinhauer

Robert Etherington

Mark Sullivan

Nicholas Hay

Scott Wheatley

Steven Hrycelak

Lewis White

Dale Livingston

Choral Contractor Nancy Wertsch Accompanist Frank Corliss

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American Symphony Orchestra Leon Botstein, Music Director

Violin I

Viola

Erica Kiesewetter, Concertmaster

Nardo Poy, Principal

Yukie Handa

Sally Shumway

Ellen Payne

John Dexter

Patricia Davis

Martha Brody

John Connelly

Adria Benjamin

Ann Labin

Crystal Garner

Yana Goichman

Arthur Dibble

Ashley Horne

Louis Day

Ragga Petursdottir Sebu Sirinian

Cello

Elizabeth Nielsen

Eugene Moye, Principal

David Steinberg

Roberta Cooper Sarah Carter

Violin II

Maureen Hynes

Robert Zubrycki, Principal

Lanny Paykin

Wende Namkung

Tatyana Margulis

Lucy Morganstern

Anik Oulianine

Elizabeth Kleinman

Marisol Espada

Heidi Stubner Alexander Vselensky

Bass

Mara Milkis

John Beal, Principal

Ann Gillette

Jack Wenger

Lisa Steinberg

Louise Koby

Roy Lewis

Lou Bruno John Babich Rick Ostrovsky

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Flute

Trombone

Laura Conwesser, Principal

Kenneth Finn, Principal

Diva Goodfriend-Koven

Thomas Hutchinson Jeffrey Caswell

Oboe Alexandra Knoll, Principal

Timpani

Melanie Feld

Benjamin Herman, Principal

Clarinet

Organ

Laura Flax, Principal

Eugene Lavery

Marina Sturm

Bassoon

Assistant Conductor

Charles McCracken, Principal

Teresa Cheung

Gili Sharett Damian Primis, Contrabassoon

Librarian Daniel Bassin

Horn Julia Pilant, Principal

Personnel Manager

Chad Yarbrough

Ronald Sell

Kyle Hoyt Adam Krauthamer

Trumpet Carl Albach, Principal John Dent

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Notes on the Program

Mendelssohn, Wagner, and St. Paul

by Leon Botstein

Today’s presentation of St. Paul is a rare event. Performances of this oratorio, which Mendelssohn composed in 1836 when he was 27, are few and far between.

Throughout the 19th century, however, St. Paul was immensely popular, both in Europe and North America. Indeed, its success inspired Mendelssohn to embark on a second major oratorio, Elijah, which premiered in 1846. Although Elijah did not lessen St. Paul’s popularity at first, in the 20th century it began to eclipse the earlier work, particularly in the English-speaking world.

The reasons for this are not, strictly speaking, entirely musical. St. Paul is the more dramatic piece, arguably less lyrical and more heterogeneous. There is an edge and tension to St. Paul that is absent in Elijah, suggesting a different Mendelssohn than the caricature put forth by Richard Wagner in “Judaism in Music,” his influential and brilliantly argued anti-Semitic tract of 1850. Indeed, the elegance and restraint of Elijah stands in contrast to the nearly operatic theatricality of St. Paul. But it would be hard—and, in my opinion, incorrect—to argue that St. Paul, however different, is in some way inferior in its material or inventiveness.

Significantly, in 1843 Wagner had written about a performance of St. Paul on Palm Sunday under Mendelssohn’s direction that it “showed us in all perfection a work that is a witness to the highest bloom of art, and fills us with just pride that it should have been fashioned in the age wherein we live.” What Wagner found so compelling is exactly its dramatic intensity, its orchestration, and its expressive vocabulary. St. Paul is perhaps as close as Mendelssohn ever came to writing an operatic work. This dramatic quality may be an important clue in explaining the oratorio’s decline in stature, for the piece does not quite fit into the sanctimonious

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Victorian tradition that later became attached to the performance practice of Mendelssohn’s oratorios.

Another reason for the virtual disappearance of St. Paul from the repertory is the result of how succeeding generations of performers and listeners have reacted to its subject matter and Mendelssohn’s treatment. St. Paul deals with the conversion of Saul to Paul and the resistance among the Jews of antiquity to the rise of Christianity. Its subject, dear to Mendelssohn’s heart, is conversion as progress.

Mendelssohn’s parents converted him (and his sister) to Protestantism. The motivations for this were not cynicism, careerism, or shame. In the rarified, wealthy, and elite circles of Berlin of which the Mendelssohn family was a part, there was a sense of optimism that the ideals of the Enlightenment could be realized, despite the unbroken presence of anti-Semitism and the renewal in German national sentiment spurred by the French Revolution and Napoleon’s conquest. A belief in progress and the power of reason lent credibility to the belief that superstition and intolerance would be banished. For Abraham Mendelssohn, the composer’s father, Protestantism was the religion of modernity, progress, and reason, a historical and logical advance over both ancient Judaism and Catholicism.

Mendelssohn shared his father’s view of Protestantism. His personal adherence to Protestantism was not considered a betrayal of his Jewish heritage but rather as the inevitable evolutionary consequence of the reformist efforts of his grandfather, Moses Mendelssohn, the founder of modern Jewish thought who sought to recast Judaism through a movement of Jewish enlightenment: Haskalah.

The issue of Mendelssohn’s relationship to his Jewish heritage and the meaning and intent of St. Paul and Elijah remain controversial. The depiction of the ancient Jews in St. Paul is unflattering; their anger and rigidity are forcefully represented. In contrast, Elijah seems more sympathetic. Elijah was a Jewish prophet. His appeal to the god of Abraham and the covenant has always struck a sympathetic chord among Jewish listeners. The oratorio is viewed as philo-Semitic even though hostile Christians can find moments of pleasure in the way Elijah is abandoned by some of his people.

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The idea that St. Paul is in some way anti-Semitic in tone or represents an effort on the part of Mendelssohn to display his authentic Christian credentials at the expense of Jews, as has been argued by several modern scholars, is historically erroneous. It is precisely Mendelssohn’s belief in a rational Protestantism, in the idea that the Reformation had created a synthesis of Judaism and early Christianity adequate to contemporary life that St. Paul celebrates. Here a story from a distant past, an era of ignorance and superstition, frames how the past had been transcended by modernity. St. Paul is designed to inspire in performers and audiences a sense of triumph about how far civilization and culture have come. The musical experience is, in this sense, theological and political. The triumph of truth over ignorance is celebrated. By looking back on ancient errors and the failure to recognize prophecy and truth, the work allows us to reflect on our own collective achievement.

It is no wonder that St. Paul has been virtually banished from the repertory in the post-1848 context of discrimination, racism, and genocide. A work designed to celebrate progress became an unwitting reminder of the violent intolerance that came to dominate politics. Perhaps we have finally arrived at the start of a new era in which the original intent of St. Paul can be heard and its message embraced. St. Paul is, in the end, a plea for enlightenment and for tolerance, a call to the human community to join together not in accord with any doctrine. St. Paul ends with a universalist message, an appeal for all to follow righteousness and the love of God. The God invoked by Mendelssohn is a symbolic placeholder for reason and truth, an allencompassing vision that transcends all sectarianism.

The poignant irony is, however, that at the time of his death Mendelssohn had become aware of a shift in political tone toward one of intolerance and a visceral form of nationalism that defined groups as fundamentally irreconcilable with one another. Mendelssohn’s death coincided with the twilight of an era of optimism about the capacity of realizing the ideals of the late 18th century.

Today’s performance coincides with the 200th anniversary of Felix Mendelssohn’s birth. It has also been scheduled between SummerScape’s rare North American stage production of Meyerbeer’s Les Huguenots and the 20th annual Bard Music

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Festival’s reexamination of the career and legacy of Richard Wagner. Wagner admired both these works by Meyerbeer and Mendelssohn. But he turned on their creators, making them the centerpieces of his essay “Judaism in Music,” whose reception coincided with the rapid revival in mid-19th-century German-speaking Europe of anti-Semitism and a new national sentiment that linked identity to notions of race, blood, and soil.

More than any of Mendelssohn’s works, St. Paul reveals his compositional influences on Wagner, who after Mendelssohn’s death did his best to eradicate and deny the lasting influence of Mendelssohn on him and his music. Twentieth-century performances of Mendelssohn traditionally have chosen to emphasize the links between Mendelssohn and the historical models with which he was familiar, especially Bach and Handel. In so doing, that performance strategy often contributes to the neglect of Mendelssohn’s role in the creation of the European Romantic musical aesthetic. This performance is inspired by the Romantic gesture and expressiveness of St. Paul—particular attributes we have come to associate more readily with operatic and instrumental music that came to dominate European musical life in the decades after Mendelssohn’s death in 1847.

The Music of Mendelssohn's St. Paul

by R. Larry Todd

Few 19th-century compositions have enjoyed as great an immediate success as did the oratorio St. Paul, the work that catapulted the 27-year-old Mendelssohn into the forefront of German music during the 1830s and 1840s. Premiered on May 22, 1836, in Düsseldorf by the composer, who conducted it several times in Germany and England, St. Paul was greeted with a rare, nearly unanimous critical acclaim. A clear indication of its success was its rapid reception in foreign countries, including England, Denmark, Holland, Poland, Russia, Sweden, Switzerland, and the United States (where three performances followed in quick succession in Boston, New York, and Baltimore between 1837 and 1839). Reviewing the newly published score on

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August 2, 1837, the formidable music critic Gottfried Wilhelm Fink conceded that “wherever this oratorio has been performed, it has been honored with enthusiastic receptions of overflowing audiences.” And when, only a few years later, in 1842, Otto Jahn (who would later write the first substantial biography of Mozart) published an extended essay on St. Paul, he observed that it had been so often performed, and so frequently discussed, that he was hard-pressed to find something new to say about the work. Throughout the century, St. Paul remained a staple in the repertory of oratorio societies; and in 1870, an attempt was even made in Düsseldorf to mount a staged, dramatic performance supported by tableaux vivants.

For Robert Schumann, who practiced a provocative and probing brand of music criticism in the Neue Zeitschrift für Musik, St. Paul represented nothing less than a defining moment in European music. Alarmed by what he viewed as the baneful effects of the commercialization of music, Schumann held up Mendelssohn’s score as a long-overdue corrective. Musical philistinism, he argued, had encroached upon the pure domain of art, and Mendelssohn’s oratorio offered an antidote. Now as it happened, the year 1836 also saw the premiere in Paris of Meyerbeer’s grand opera Les Huguenots, and Schumann found this work, in contrast to St. Paul, an emblem for all the ills then afflicting musical culture. For Schumann, the two compositions pursued diametrically opposed paths. Meyerbeer’s opera, a retelling of the 16thcentury St. Bartholomew’s Day Massacre, was filled, in Schumann’s view, with tawdry dramatic effects designed to titillate audiences. St. Paul, on the other hand, offered something “more pure”: “Here,” Schumann mused, “you are turned to faith and hope, and again learn to love mankind; here you find repose beneath palm trees, when, after an exhaustive search, a blossoming landscape appears at your feet. St. Paul is a work of the most pure kind, one of peace and love.” Bestowing upon Mendelssohn a kind of apostolic mantle, Schumann concluded: “and so let us esteem and love this Mendelssohn-Paul; he is the prophet of a beautiful future, when his music shall ennoble the artist, not the petty applause of the present. His path leads to happiness; the other path, to evil.”

Mendelssohn was thus cast in the role of the savior of art, of reaffirming traditional musical values against the onslaught of philistinism. By choosing to revitalize the

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oratorio, he was deliberately choosing to revisit a historically laden musical genre, which had come to full fruition in the 18th century in the English oratorios of Handel and the Passions of J. S. Bach. In 1829, as a 20-year-old, Mendelssohn had revived the St. Matthew Passion for its centenary anniversary, a signal event that now is generally acknowledged as launching the 19th-century Bach revival. Handel was no less significant for Mendelssohn’s development. During his many visits to England he studiously pored over Handel’s autograph scores in the royal library, and he frequently performed Handel’s oratorios, including Messiah and Israel in Egypt. From Bach, Mendelssohn borrowed a highly chromatic and contrapuntal musical style and the use of chorales; from Handel, Mendelssohn derived the technique of using the chorus as a dramatic agent. The result was a 19th-century amalgamation of the Handelian oratorio and Bach Passion, a synthesis that Mendelssohn would explore once again in 1846 in his second oratorio, Elijah, and one year after that, in the unfinished draft of his third, Christus. But if Schumann praised Mendelssohn’s efforts for upholding musical values, others eventually found fault with his reliance on historical models. For one, Hector Berlioz, commenting on the academic, Bachian counterpoint of Mendelssohn’s scores, wondered if he had perhaps studied the music of the dead too closely. And Richard Wagner, who attended and, indeed, lavished praise on Mendelssohn’s performance of St. Paul in Dresden on April 9, 1843 (Palm Sunday), later turned on the composer, attacking him in the anti-Semitic essay “Judaism in Music” (1850) and decrying his music as not consonant with the revolutionary goals of the new German music drama. Clearly for Wagner, Mendelssohn’s type of oratorio was too much bound up with the old musical order.

Prefaced by an orchestral overture, St. Paul consists of two parts, each of which treats three dramatic elements, a plan that Mendelssohn also employed in Elijah.

The first part is concerned with the persecution and stoning of Stephen; the appearance of Christ before Saul on the road to Damascus and Saul’s subsequent blindness; and the return of Saul’s sight and his conversion to Paul. In the second part Mendelssohn treats Paul’s (and Barnabas’s) proselytizing among the Jews and heathens, and Paul’s departure from Ephesus to Jerusalem. The libretto is largely based on the account in Acts, supported by texts from the New Testament and Psalms. In addition, Mendelssohn employs four chorales, the texts and melodies of which

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would have been in regular use in the Protestant regions of Germany, to demarcate the principal sections of the oratorios.

The compilation of the libretto as well as the composition and publication of the music for St. Paul cost Mendelssohn enormous effort. He began to contemplate the work as early as 1831, but not until 1834 were the essential details of the libretto determined, and only after extensive consultation with several colleagues, including the music theorist A. B. Marx and the pastor Julius Schubring. Mendelssohn himself played a role in selecting some texts, choosing, for instance, verses from Psalm 51 for Paul’s aria. Composition of the music began in earnest in March 1834 and continued for some two years. In November 1835, the death of Mendelssohn’s father, who had eagerly anticipated the oratorio as an attempt to unite “old customs with new means,” drove Mendelssohn on to finish the score. But as was the case with all of the composer’s major works, composition inevitably entailed extensive revisions: roughly ten numbers, or about a fourth of the work, were rejected or revised. And almost immediately after the Düsseldorf premiere in May 1836, Mendelssohn undertook further revisions before allowing the work to appear in print in March 1837.

Mendelssohn apportioned the 44 numbers of the oratorio among recitatives, arias, and choruses. Most of the dramatic action is narrated in the recitatives, recalling a similar practice in Bach’s Passions, though several of the choruses participate in the dramatic unfolding as well. Not surprisingly, several choral movements are formal fugues, including one double fugue on two subjects and an especially artful fugue for five-part chorus. The arias, which tend to be in a three-part ABA form, are contemplative in mood. Quite apart from the arias and dramatic choruses are the four chorales, which, according to Mendelssohn’s friend Karl Klingemann, who witnessed the Düsseldorf premiere, serve as “resting points.” “They remind us of the chorus in the Greek tragedy, pointing like them from the individual occurrence to the general law, and diffusing a calmness through the whole.”

The overture that prefaces the oratorio calls for a final comment. It begins with a straightforward harmonization of the chorale “Wachet auf” (“Sleepers, awake”) in

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the low winds, the same chorale that serves as the basis for J. S. Bach’s celebrated Cantata No. 140 of 1731. There then follows an increasingly complex fugue in A minor, with a subject drawn from the chorale. At the height of the fugue, Mendelssohn reintroduces the melody of the chorale and calls for a faster tempo.

The purely instrumental chorale and fugue symbolize Paul’s struggle for spiritual awakening and growth, and thus adumbrate the course of the oratorio as a whole.

R. Larry Todd, a professor of music at Duke University, is the editor of the Carus-Verlag Critical Edition of Paulus.

This note is reprinted, with the author’s permission, from the CD MendelssohnBartholdy, Paulus, Op. 26, Oratorio; Royal Scottish National Orchestra and Chorus, Leon Botstein, conductor (Arabesque Recordings).

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Who’s Who

Leon Botstein Conductor Leon Botstein is the founder and coartistic director of the Bard Music Festival. He is also music director and principal conductor of the American and the Jerusalem Symphony Orchestras. This summer, Botstein and the JSO opened the Leipzig Bach Festival with a performance of Mendelssohn’s Elijah; last fall, they toured the West Coast. Last season, Botstein appeared with BBC Symphony at Royal Albert Hall to conduct John Foulds’s A World Requiem, recorded live and released by Chandos.

Other recent releases include Paul Dukas’s opera Ariane et Barbe-bleue, with the BBC Symphony (Telarc), and Bruno Walter’s Symphony No. 1 with NDR–Hamburg (CPO).

He has made a number of recordings of works by Chausson, Liszt, Bruckner, Bartók, Hartmann, Reger, Glière, and Szymanowski for such labels as Telarc, New World Records, Bridge, Koch, and Arabeseque. With the American Symphony Orchestra he has recorded Richard Strauss’s Die ägyptische Helena with Deborah Voigt, and Die Liebe der Danae with Lauren Flanigan; music by Copland, Sessions, Perle, and Rands; and discs of Dohnányi, Brahms, and Joachim, among others. Botstein’s recording with the London Symphony Orchestra of Popov’s Symphony No. 1 received a Grammy nomination in the category of Best Orchestral Performance. Among the orchestras he has conducted are the London Symphony, London Philharmonic, NDR–Hannover, Royal Scottish National Orchestra, St. Petersburg Philharmonic, and Budapest Festival Orchestra. He is the editor of The Musical Quarterly and the author of numerous articles and books. Since 1975 he has been president of Bard College.

James Bagwell Chorus Master James Bagwell maintains an active schedule throughout the United States as a conductor of choral, operatic, musical theater, and orchestral literature. Since 2004 he has been director of choruses for the Bard Music Festival, in which capacity he conducts and prepares chorus works for the summer festival. He has served as conductor for productions in the last three SummerScape festivals: Copland’s The Tender

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Land in 2005, which received unanimous praise from the New York Times, New Yorker, and Opera News; three Offenbach operettas in 2006; and the Of Thee I Sing sold-out run in 2008. In December 2006 he conducted the Jerusalem Symphony in two concerts in Jerusalem and Tel Aviv, which were broadcast throughout Israel. In March 2007 he led a subscription concert with the Tulsa Symphony, and returned in November 2008 to guest conduct a sold-out performance at the Tulsa Performing Arts Center. His next appearance with the orchestra will be in May 2010 conducting Manuel de Falla’s Three-Cornered Hat. He recently completed his 11th season as music director of both Light Opera Oklahoma and the May Festival Youth Chorus.

Since 2005 he has been music director of the Dessoff Choirs, which recently appeared with the New York Philharmonic. As music director of the Concert Chorale of New York he has prepared choruses for performances with the American Symphony Orchestra, the 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. He is currently the Music Program Director at Bard College.

Alexandra Coku Soloist Soprano Alexandra Coku is a highly sought-after Mozart interpreter. She has sung over 110 performances of Pamina in Die Zauberflöte in venues all over the world, including the Wiener Staatsoper and Bayerischer Staatsoper and the Frankfurt, Cologne, Düsseldorf, Houston Grand, and New York City operas. She has sung in starring roles at many European and American festivals, among them the title role in Handel’s Agrippina at Zürich Opera, Teatro San Carlos in Lisbon, and Glimmerglass, and she has sung the role of Rosmene in Handel’s Imeneo at the Händel Festival Halle. Her other roles include Ellen Orford in Britten’s Peter Grimes, Musetta in Puccini’s La bohème, Antonia and Giulietta in Offenbach’s Tales of Hoffman, and Euridice in Gluck’s Orfeo ed Euridice (her British debut, at the Royal Opera House Covent Garden). Her upcoming performances include a tour of Mozart’s Così fan tutte with the Cercle d’Harmonie, under the baton of Jérémie Rhorer; and a return to Lisbon, where she will sing the title role in Agostino Steffani’s Niobe. Coku holds a B.A. in English literature from Stanford University and an M.M. degree from Indiana University.

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Paul Gay Soloist The French bass-baritone Paul Gay’s roles in the upcoming season include Harasta and Mr. Flint in Britten’s Billy Budd at the Bastille; Escamillo in Bizet’s Carmen in Toronto; and Henry VIII in Donizetti’s Anna Bolena in Frankfurt. He will also sing at Munich’s Staatsoper in Messiaen’s St. Francois d’Assise, and in Paris in Gounod’s Faust. He began his career as a company principal at the Theater Osnabrück, Germany, where he sang many major roles, including Don Quixote, Don Giovanni, Figaro, and Colline. From 2000 to 2003, he held a residence contract at the Opéra de Lyon, where he sang roles such as Alidoro, Collatinus, Rangoni, and Colline in 14 productions. In 2003 he sang the title role of Don Giovanni in Bern. In 2004, the Opéra de Lyon invited him to make what became his widely acclaimed debut as Golaud in Debussy’s Pelléas et Mélisande; later that year, he appeared in the Glyndebourne Festival as Garibaldo in Handel’s Rodelinda. Gay has appeared in concert performances with the Orchestre National de Lyon, Berlin Philharmonic, Orchestre National de France, Moscow Radio Orchestra, Orchestre Philharmonique de Radio France, and Les Arts Florissants.

Kelley O’Connor Soloist During the 2008–09 season, California native Kelley O’Connor’s performance calendar included Bernstein’s Symphony No. 1, “Jeremiah,” with Marin Alsop and the Baltimore Symphony Orchestra; the world premiere of Steven Stucky’s August 4, 1964, with Jaap van Zweden and the Dallas Symphony Orchestra; John Adams’s El Niño, with David Robertson and the Saint Louis Symphony Orchestra; Mendelssohn’s Elijah with Ingo Metzmacher and the Deutsches SymphonieOrchester Berlin; Beethoven’s Symphony No. 9 with James Conlon and the Chicago Symphony Orchestra at the Ravinia Festival; and Schubert’s Mass No. 6 in E-flat Major with Michael Tilson Thomas and the San Francisco Symphony Orchestra. This season she returned to the New York Philharmonic for performances of Ravel’s L’enfant et les sortilèges under the baton of Lorin Maazel, and to the stage of Carnegie Hall for a concert performance of Osvaldo Golijov’s chamber opera Ainadamar with the Orchestra of St. Luke’s conducted by Robert Spano. O’Connor sang Peter Lieberson’s Neruda Songs in two significant European debuts: performances with the Berlin Philharmonic and Bernard Haitink, and with the Tonhalle-

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Orchester Zürich and David Zinman. Earlier this summer, she made her Cincinnati Opera debut in a revival of Peter Sellars’s acclaimed production of Ainadamar and her Canadian Opera Company debut as Hippolyta in Britten’s A Midsummer Night’s Dream in a production by Neil Armfield.

Scott Williamson Soloist Scott Williamson won the 2005 International Opera Singers Competition, held by the Center for Contemporary Opera in New York, which sponsored the tenor in a recital at Weill Recital Hall in 2007. A regular guest at the Bard Music Festival since 2006, he recently appeared with the American Symphony Orchestra in Dallapiccola’s Volo di notte. His upcoming engagements include debuts with the Lake George Chamber Orchestra, the Virginia Symphony, and Washington, D.C.’s Mousetrap Recital Series. He has appeared with Tulsa Opera, Sarasota Opera, Lake George Opera, Bronx Opera, and Opera Camerata of Washington, and has been an artist and associate conductor with Opera Roanoke since 1998. His international stage credits include Iro in Monteverdi’s Il ritorno d’Ulisse in patria at Shakespeare’s Globe Theatre and the Snape Proms, and Agenore in Mozart’s Il re pastore with New Kent Opera. An acclaimed conductor, Williamson is also the artistic director of the Virginia Chorale.

American Symphony Orchestra The American Symphony Orchestra (ASO) was founded in 1962 by Leopold Stokowski. Its music director and principal conductor is Leon Botstein. As part of Lincoln Center Presents Great Performers at Avery Fisher Hall, the ASO has pioneered the performance of thematically organized concerts linking music to the visual arts, literature, politics, and history. In addition, the ASO performs in a lecture/concert series with audience interaction called Classics Declassified at Peter Norton Symphony Space. It is also the resident orchestra of The Richard B. Fisher Center for the Performing Arts at Bard College, where the American Symphony performs an annual concert series as well as in Bard’s SummerScape Festival and the Bard Music Festival. The ASO’s music education programs are presented at high schools throughout New York, New Jersey, and Long Island. Among the American Symphony’s recent recordings are music by Copland, Sessions, Perle, and Rands

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(New World Records) and music of Ernst von Dohnányi (Bridge Records). Its recording of Richard Strauss’s opera Die ägyptische Helena, with Deborah Voigt, and Strauss’s Die Liebe der Danae were made for Telarc. Other recordings with Leon Botstein include Franz Schubert: Orchestrated (Koch International) and, on the Vanguard Classics label, Johannes Brahms’s Serenade No. 1 (1860). The ASO inaugurated São Paolo’s new concert hall and has made several tours of Asia and Europe.

It has performed with the Peer Gynt Theater Company of Norway in Central Park and has a long history of appearing in charitable and public benefits for such organizations as Sha’are Zedek Hospital, the Jerusalem Foundation, and PBS.

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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. (The list reflects donations received in the last 12 months.)

Donors to the Fisher Center Leadership Support The Educational Foundation of America Jeanne Donovan Fisher Emily H. Fisher and John Alexander Martin and Toni Sosnoff Foundation Mr. and Mrs. James H. Ottaway Jr. Richard B. Fisher Endowment Fund Martin T. and Toni Sosnoff

Golden Circle Anonymous Carolyn Marks Blackwood Stefano Ferrari and Lilo Zinglersen FMH Foundation Linda Hirshman and David Forkosh The Marks Family Foundation Millbrook Tribute Garden, Inc. Ministry of Culture and National Heritage of Poland

National Endowment for the Arts American Masterpieces: Dance New England Foundation for the Arts Senator Stephen M. Saland Thaw Charitable Trust Thendara Foundation Felicitas S. Thorne Tiffany and Co. True Love Productions

Anne and Harvey Brown Mr. and Mrs. Gonzalo de las Heras Barbara and Richard Debs Michael J. Del Guidice and Jaynne Keys Tambra Dillon Dirt Road Realty, LLC Gordon Douglas Elizabeth W. Ely ’65 and Jonathan K. Greenburg Alan and Judith Fishman Peter C. Frank GE Foundation Gideon and Sarah Gartner Foundation of the Fidelity Charitable Gift Fund Andrew Goffe and Jeffrey Levin Sally and William Hambrecht Eliot D. and Paula K. Hawkins HSBC Philanthropic Programs Mr. and Mrs. George A. Kellner Peter ’66 and Barbara Kenner Jane and Daniel Lindau Chris Lipscomb and Monique Segarra John McNally W. Patrick McMullan and Rachel McPherson Stanley and Jane Moss Kathleen O’Grady Quality Printing Company Drs. M. Susan and Irwin Richman Don and Natalie Robohm Ruth Ketay and Rene Schnetzler David A. Schulz Karen and Robert G. Scott Denise S. Simon and Paulo Vieira da Cunha Michele Sodi Andrew Solomon and John Habich Sarah and Howard Solomon The Harkness Foundation for Dance, Inc. Barbara and Donald Tober Margo and Anthony Viscusi

Sponsor Frank and Mary Ann Arisman Harriet Bloch and Evan Sakellarios Sarah Botstein and Bryan Doerries James S. Brodsky and Philip E. McCarthy II Richard D. Cohen Patricia Falk R. Mardel Fehrenbach Mary Freeman Carson Glover and Stephen Millikin Carlos Gonzalez and Katherine Stewart Dr. Eva Griepp Helene L. and Mark N. Kaplan Demetrios Karayannides Kassell Family Foundation of the Jewish Communal Fund Martin Kline Bryce Klontz John Knott Laura Kuhn Geraldine and Lawrence Laybourne Cynthia Hirsch Levy ’65 Stephen Mazoh Barbara L. and Arthur Michaels Andrea and Kenneth L. Miron Samuel and Ellen Phelan Chris Pomeroy and Frank Frattaroli Melanie and Philippe Radley William Ross and John Longman Carol York and Gerard Conn

Friends of the Fisher Center Producer Arthur F. and Alice E. Adams Foundation Fiona Angelini and Jamie Welch Chartwells School and University Dining Services Barbara Ettinger and Sven Huseby The Ettinger Foundation, Inc. Alex Fisher ’96 and Jennifer Hodges Fisher Catherine C. Fisher and Gregory A. Murphy R. Britton Fisher The Jerome Robbins Foundation Key Bank Foundation The Kosciuszko Foundation Annie Leibovitz Harvey and Phyllis Lichtenstein Mid Atlantic Arts Foundation The Maurer Family Foundation, Inc. Millbrook Vineyards and Winery National Dance Project of the New England Foundation for the Arts National Endowment for the Arts (NEA) New England Foundation for the Arts New York State Council on the Arts (NYSCA) Dimitri B. and Rania Papadimitriou Polish Cultural Institute Drs. M. Susan and Irwin Richman Rudolf Nureyev Dance Foundation David E. Schwab II ’52 and Ruth Schwartz Schwab ’52 Matthew Patrick Smyth Allan and Ronnie Streichler Patron Helen and Roger Alcaly Kathleen and Roland Augustine Mary I. Backlund Anne Donovan Bodnar and James L. Bodnar

Supporter Lucy and Murray Adams Marina Arfwidson and David Weiss Charles Blyth Phyllis Braziel Kay Brover and Arthur Bennett Gary Capetta and Nick Jones Eileen and Michael Cohen Virginia Corsi

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Anne Cotton Dr. Robert Crowell Emily M. Darrow and Brendon P. McCrane George and Marsha Davis Abby H. and John B. Dux K. F. Etzold and Carline Dure-Etzold Martha J. Fleischmann Len Floren and Susan Regis Helena and Christopher Gibbs Gilberte Vansintejan Glaser and William A. Glaser Adrien Glover and Michael Kelly Stanley L. Gordon Nan and David Greenwood Alexander Grey and David Cabrera Rosemary and Graham Hanson Janet and William Hart Sue Hartshorn Lars Hedstrom and Barry Judd Hedstrom and Judd, Inc Mel and Phyllis Heiko Dorothy and Leo Hellerman Dr. Joan Hoffman and Syd Silverman Susan and Roger Kennedy Harold Klein Seymour and Harriet Koenig Danielle Korwin and Anthony DiGuiseppe Ramone Lascano Helena Lee Fred and Jean Leventhal Mimi Levitt William Li and James Oates Charles S. Maier Mark McDonald Bibhu Mohapatra Sybil Nadel Elizabeth J. and Sevgin Oktay Mark Podlaseck Arlene Richards Nicole Ringenberg Ted Ruthizer and Jane Denkensohn Mish Tworkowski

Barbara Jean Weyant Earnest Wurzbach Desi and Ben Zalman Friend Anonymous John J. Austrian ’91 and Laura M. Austrian Sybil Baldwin Alvin Becker Richard L. Benson Dr. Marge and Edward Blaine Timothy Bonticou Walter Brighton Alfred M. Buff and Lenore Nemeth MaryAnn and Thomas Case Daniel Chu and Lenore Schiff Mr. and Mrs. John Cioffi Irwin and Susan Cohen Jean T. Cook David Ebony and Bruce Mundt Christine Fasano Mary and Harvey Freeman Edward Friedman Catherine Fukushima Frances A. and Rao Gaddipati Ann Marie Gardner Joseph W. and Joyce Gelb Mr. and Mrs. Floyd Glinert Judy R. and Arthur Gold Rosalind Golembe Sheryl Griffith Elise and Carl Hartman James Hayden Delmar D. Hendricks Neil Isabelle Ryland Jordan John Kalish Eleanor C. Kane Nathan M. Kaplan Linda L. Kaumeyer Rose and Josh Koplovitz James Kraft Robert J. Kurilla

Michael and Ruth Lamm Jeffrey Lang Gerald F. Lewis Hermes Mallea and Carey Maloney Florence Mayne Marcus de Albuquerque Mello ’04 Dr. Naomi Mendelsohn Edie Michelson and Sumner Milender Milly Sugarman Interiors, Ltd. Arvia Morris Joanne and Richard Mrstik Martha Nickels Robert M. Osborne David Pozorski and Anna Romanski Leopold Quarles van Ufford Serena Rattazzi Yael Ravin and Howard Sachar George and Gail Hunt Reeke Harry Reingold Barbara B. Reis Edward and Marion Scott James E. Scott Susan Seidel Frank Self William Shum Elisabeth A. Simon Joel Stein Dr. Sanford B. Sternlieb LuRaye Tate Janeth L. Thoron Linda Steinitz Vehlow Dr. and Mrs. Stanley Weinstock Barbara K. and Roger H. Wesby Naomi J. Miller and Thomas M. Williams Robert and Lynda Youmans Mike and Kathy Zdeb Rena Zurofsky Current as of June 8, 2009

Donors to the Bard Music Festival Events in this year’s Bard Music Festival are underwritten in part by special gifts from Bettina Baruch Foundation Jeanne Donovan Fisher Mimi Levitt James H. Ottaway Jr. Felicitas S. Thorne Festival Underwriters James H. Ottaway Jr. Opening Concert Mimi Levitt Opening Night Dinner Guest Artists

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Joanna M. Migdal Panel Discussions Margo and Anthony Viscusi Preconcert Talks Furthermore Foundation Festival Book Roger and Helen Alcaly Festival Program Homeland Foundation Bard Music Festival Preview at Wethersfield New York State Council on the Arts National Endowment for the Arts

Leadership Support Mimi Levitt The Mortimer Levitt Foundation Mr. and Mrs. James H. Ottaway Jr. Golden Circle Bettina Baruch Foundation Jeanne Donovan Fisher 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 Helen and Roger E. Alcaly The Ann and Gordon Getty Foundation Leonie F. Batkin Joan K. Davidson Mr. and Mrs. Gonzalo de las Heras John A. Dierdorff Elizabeth W. Ely ’65 and Jonathan K. Greenburg FMH Foundation Eliot D. and Paula K. Hawkins Linda Hirshman and David Forkosh Homeland Foundation, Inc. HSBC Philanthropic Programs The J. M. Kaplan Fund, Inc. Peter ’66 and Barbara Kenner Amy and Thomas O. Maggs Marstrand Foundation Joanna M. Migdal 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 Drs. M. Susan and Irwin Richman Santander Central Hispano David E. Schwab II ’52 and Ruth Schwartz Schwab ’52 H. Peter Stern and Helen Drutt English Thorne and Tucker Taylor Margo and Anthony Viscusi Dr. Siri von Reis The Wise Family Charitable Foundation Betsey and E. Lisk Wyckoff Jr. Patron ABC Foundation Edwin L. Artzt and Marieluise Hessel Mr. and Mrs. Ronald Atkins Kathleen and Roland Augustine Gale and Sheldon Baim Alexander and Margaret Bancroft Elizabeth Phillips Bellin and Marco M. S. Bellin Helen ’48 and Robert Bernstein Sarah Botstein and Bryan Doerries Constance and David C. Clapp Michelle Clayman J. T. Compton Arnold J. ’44 and Seena Davis Michael Del Giudice and Jaynne Keyes Rt. Rev. Herbert A. and Mary Donovan Amy K. and David Dubin Robert C. Edmonds ’68 George L. Steiner and R. Mardel Fehrenbach Alfred J. Law and Glenda A. Fowler Law Carlos Gonzalez and Katherine Stewart

Helen and Robert Bernstein Philanthropic Fund of the Jewish Communal Fund David and Nancy Hathaway Barbara K. Hogan Frederic K. and Elena Howard Anne E. Impellizzeri Susan Jonas Rachel and Dr. Shalom Kalnicki Belinda and Stephen Kaye Edith Hamilton Kean Mr. and Mrs. Thomas W. Keesee III Mr. and Mrs. George A. Kellner Susan and Roger Kennedy Kenner Management, Inc. Ruth Ketay and René Schnetzler Seymour and Harriet Koenig Edna and Gary Lachmund Alison L. and John C. Lankenau Amala and Eric Levine Barbara and S Jay Levy Cynthia Hirsch Levy ’65 Patti and Murray Liebowitz Martin S. Lippman Martin and Toni Sosnoff Foundation Martin Kline and Stephen Mazoh W. Patrick McMullan and Rachel McPherson Dr. James G. McMurtry III Metropolitan Life Foundation Matching Gift Program Martin L. Murray and Lucy Miller Murray Alexandra Ottaway Cynthia H. and Leon B. Polsky Dr. Gabrielle H. Reem and Dr. Herbert J. Kayden Drs. Morton and Shirley Rosenberg Dr. Miriam Roskin Berger ’56 Blanche and Bruce Rubin Ines Elskop and Christopher Scholz Sarah and Howard Solomon Martin T. and Toni Sosnoff Edwin Steinberg Stewart’s Shops Allan and Ronnie Streichler Barbara and Donald Tober Drs. Katherine and Richard Tobey Elizabeth Farran Tozer and W. James Tozer Jr. Tozer Family Fund of the New York Community Trust Mark Trujillo Aida and Albert Wilder Mrs. Beverley D. Zabriskie William C. Zifchak Sponsor Anonymous Beth and Jerry Bierbaum David C. Brown Melva Bucksbaum and Raymond J. Learsy Lydia Chapin Craig and Gloria Callen Everett and Karen Cook

Phillip S. Cooke Dasein Foundation Willem F. De Vogel Cornelia Z. and Timothy Eland Shepard and Jane Ellenberg Ellenberg Asset Management Corp.

Field-Bay Foundation Deborah and Thomas Flexner Donald C. Fresne Francis Finlay and Olivia J. Fussell Samuel L. Gordon Jr. Mr. and Mrs. Jay M. Gwynne Martin Holub and Karen Kidder Elizabeth D. and Robert Hottensen Pamela Howard John R. and Joyce Hupper I.B.M. Matching Grants Program Edith and Hamilton F. Kean Fernanda Kellogg and Kirk Henckels John and Karen Klopp Nancy and Robert Lindsay Clara F. and David J. Londoner Renee Petrofes and Gerry McNamara Andrea and Kenneth Miron 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 Andrew Solomon and John Habich David and Sarah Stack Richard C. Strain Timothy and Cornelia Eland Fund of the Fidelity Charitable Gift Fund Helen and Michiel van der Voort Caroline A. Wamsler Arete and William Warren Jack and Jill Wertheim Serena H. Whitridge Julia and Nigel Widdowson Peter and Maria Wirth Supporter Munir and Susan Abu-Haidar Barbara J. Agren Leora and Peter Armstrong John K. Ayling 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 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 Peter Caldwell and Jane Waters Miriam and Philip Carroll Constance and David C. Clapp Frederick and Jan Cohen

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Emily M. Darrow and Brendon P. McCrane Dorothy and Seth Dubin Ruth Eng Ingrid and Gerald Fields Emily Rutgers Fuller Helena and Christopher Gibbs Mims and Burton Gold Mrs. Janine M. Gordon Nan and David Greenwood Mortimer and Penelope C. Hall Sally S. Hamilton Juliet Heyes Susan Hoehn and Allan Bahrs Jay Jolly Karen Bechtel Foundation of the Advisor Charitable Gift Fund Robert E. Kaus Charles and Katharine King 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 Elizabeth B. Mavroleon Samuel C. Miller Mr. and Mrs. Alfred Mudge Bernadette Murray and Randy Fertel Jay H. Newman Mr. and Mrs. William T. Nolan Marta E. Nottebohm Dr. Bernhard Fabricius and Sylvia Owen Susan Heath and Rodney Paterson David B. and Jane L. Parshall Eve Propp Eve Propp Family Foundation, Inc. Elizabeth J. and Sergin Oktay John Royall Dagni and Martin Senzel Nadine Bertin Stearns Mim and Leonard Stein Ms. Carole Tindall

John Tuke Dr. Elisabeth F. Turnauer Monica Wambold Taki and Donald Wise John and Mary Young Friend Anonymous Rev. Albert R. Ahlstrom Lorraine D. Alexander Artscope, Inc. Antonia Bakker-Salvato Phebe and George Banta James M. Barton Mr. and Mrs. Francis D. Bartow II Saida Baxt, M.D. 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 Peter Edelman Peter Elebach 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 Samantha Free Stephen and Jane Garmey Anne C. Gillis Mr. and Mrs. Harrison J. Goldin Dr. Joel and Ellen Goldin Stanley L. Gordon Thurston Greene Ben-Ali and Mimi Haggin David A. Harris Sy Helderman Nancy H. Henze Gary Herman William Holman Dr. and Mrs. Gerald Imber Patricia H. Keesee Diana Niles King Thea Kliros Sharon Daniel Kroeger

Beth Ledy M Group, LLC John P. MacKenzie Hermes Mallea and Carey Maloney Annette S. and Paul N. Marcus Harvey Marek Alexander R. Marshall The McGraw-Hill Companies Matching Gift Program Millicent O. McKinley Cox Marcus Mello ’04 Carol Henken Philip Messing Deborah D. Montgomery Kelly Morgan Hugh and Marilyn Nissenson Harold J. and Helen C. Noah Gary S. Patrik Peter and Sally V. Pettus Dr. Alice R. Pisciotto David Pozorski and Anna Romanski D. Miles Price Sheila Sanders Klara Sauer Frederick W. Schwerin Jr. Danny P. Shanahan and Janet E. Stetson ’81 J. Kevin Smith Dr. Thomas B. Sanders Polly and LeRoy Swindell Jessica and Peter Tcherepnine Gladys R. Thomas Janeth L. Thoron Cynthia M. Tripp ’01 Laurie Tuzo Elizabeth van Diepen Illiana van Meeteren Andrea A. Walton Jacqueline E. Warren Victoria and Conrad Wicher Mr. and Mrs. John Winkler Robert and Lynda Youmans Current as of June 8, 2009

Donors to the Mrs. Mortimer Levitt Endowment Fund for the Performing Arts Bettina Baruch Foundation Helen and Kenneth Blackburn Leon Botstein Dr. Richard Brockman John A. Dierdorff Robert C. Edmonds ’68 Elizabeth W. Ely ’65 and Jonathan K. Greenburg Ines Elskop and Christopher Scholz Jeanne Donovan Fisher Gideon I. Gartner Helena and Christopher Gibbs Katherine Gould-Martin and Robert L. Martin

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Samuel and Ronni Heyman Anne E. Impellizeri Rosalind G. Jacobs Peter ’66 and Barbara Kenner Louise Kerz-Hirschfeld Mr. and Mrs. Roger Leifer Mrs. Mortimer Levitt Frayda B. and George Lindemann Amy and Thomas O. Maggs Metropolitan Life Foundation Matching Gift Program Joanna M. Migdal Martin L. and Lucy Miller Murray Florence F. Moffitt

The Mortimer Levitt Foundation, Inc. Mr. and Mrs. James H. Ottaway Jr. Debra R. Pemstein and Dean Vallas David E. Schwab II ’52 and Ruth Schwartz Schwab ’52 Raissa St. Pierre ’87 Ted and Voda Stanley Joanne M. Stern Thorne and Tucker Taylor Felicitas S. Thorne Margo and Anthony Viscusi Dr. Siri von Reis Irene Zedlacher

Major support for the Fisher Center’s programs has been provided by: Anonymous Arthur F. and Alice E. Adams Foundation Helen and Roger E. Alcaly Fiona Angelini and Jamie Welch The Ann & Gordon Getty Foundation Ms. Leonie F. Batkin Bettina Baruch Foundation Carolyn Marks Blackwood The Christian A. Johnson Endeavor Foundation Chartwells School and University Dining Services Joan K. Davidson John A. Dierdorff Robert C. Edmonds ’68 Educational Foundation of America Elizabeth W. Ely ’65 and Jonathan K. Greenburg Barbara Ettinger and Sven Huseby Stefano Ferrari and Lilo Zinglersen Alexander D. Fisher ’96 and Jennifer Hodges Fisher Catherine C. Fisher and Gregory A. Murphy Emily H. Fisher and John Alexander Jeanne Donovan Fisher R. Britton Fisher FMH Foundation Eliot D. and Paula K. Hawkins Linda Hirshman and David Forkosh Homeland Foundation, Inc. HSBC Philanthropic Programs Anne E. Impellizzeri

Jane’s Ice Cream Jane W. Nuhn Charitable Trust The Jerome Robbins Foundation The J. M. Kaplan Fund, Inc. Peter ’66 and Barbara Kenner Key Bank The Kosciuszko Foundation, Inc. Annie Leibovitz Harvey and Phyllis Lichtenstein Lucy Pang Yoa Chang Foundation Mimi Levitt Amy and Thomas O. Maggs Magic Hat Brewing Company The Marks Family Foundation Marstrand Foundation Martin & Toni Sosnoff Foundation Mid Atlantic Arts Foundation Joanna M. Migdal The Millbrook Tribute Garden Millbrook Vineyards & Winery Andrea and Kenneth Miron The Mortimer Levitt Foundation Inc. National Endowment for the Arts American Masterpieces: Dance National Dance Project of the New England Foundation for the Arts National Endowment for the Arts (NEA) New England Foundation for the Arts (NEFA) New York State Council on the Arts (NYSCA) Mr. and Mrs. James H. Ottaway Jr. The Overbrook Foundation

Ralph E. Ogden Foundation, Inc. Dimitri B. and Rania Papadimitriou Polish Cultural Institute Drs. Gabrielle H. Reem and Herbert J. Kayden Richard B. Fisher Endowment Fund Drs. M. Susan and Irwin Richman Rudolf Nureyev Dance Foundation Senator Stephen M. Saland David E. Schwab II ’52 and Ruth Schwartz Schwab ’52 Denise S. Simon and Paulo Vieira da Cunha Matthew Patrick Smyth Martin T. and Toni Sosnoff H. Peter Stern Ronnie and Allan Streichler Thaw Charitable Trust Thendara Foundation Thorne and Tucker Taylor Felicitas S. Thorne Tiffany & Co. True Love Productions Margo and Anthony Viscusi Dr. Siri von Reis Rosalind C. Whitehead Millie and Robert Wise The Wise Family Charitable Foundation Elizabeth and E. Lisk Wyckoff Jr.

Board and Administration of 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 Roland J. Augustine, Treasurer Fiona Angelini Leon Botstein, President of the College+ David C. Clapp Marcelle Clements ’69* The Rt. Rev. Herbert A. Donovan Jr. Honorary Trustee Asher B. Edelman ’61 Robert S. Epstein ’63 Barbara S. Grossman ’73* Ernest F. Henderson III, Life Trustee Marieluise Hessel John C. Honey ’39, Life Trustee 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. Martin Peretz Bruce C. Ratner Stanley A. Reichel ’65 Stewart Resnick Roger N. Scotland ’93* Martin T. Sosnoff Susan Weber Patricia Ross Weis ’52

Mary Backlund Vice President for Student Affairs and Director of Admission

Administration

Mary Smith Director of Publications

Leon Botstein President Dimitri B. Papadimitriou Executive Vice President Michèle D. Dominy Vice President and Dean of the College Robert L. 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

Norton Batkin Dean of Graduate Studies Erin Cannan Dean of Students Peter Gadsby Registrar

Ginger Shore Consultant to Publications Mark Primoff Director of Communications Kevin Parker Controller Jeffrey Katz Dean of Information Services Judith Samoff Dean of Programs + ex officio * alumni/ae trustee 25

Board and Administration for The Richard B. Fisher Center for the Performing Arts at Bard College Advisory Board

Administration

Jeanne Donovan Fisher, Chair Leon Botstein+ Stefano Ferrari Harvey Lichtenstein Peter J. Linden, M.D. James H. Ottaway Jr. Dimitri B. Papadimitriou+ David E. Schwab II ’52 Martin T. Sosnoff Toni Sosnoff Felicitas S. Thorne

Susana Meyer Associate Director

+ ex officio

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 Kimberly Keeley-Henschel Budget Director Paul LaBarbera Sound and Video Engineer

Stephen Dean Stage Operations Manager Mark Crittenden Facilities Manager Jeannie Schneider Administrative Assistant Elena Batt Box Office Manager Austin Miller ’06 Assistant General Manager and House Manager Ray Stegner Assistant to the General Manager Doug Pitcher Building Operations Coordinator Kelly Spencer Managing Editor

Board and Administration of the Bard Music Festival Robert C. Edmonds ‘68, Chair Roger Alcaly Leon Botstein+ Michelle Clayman John A. Dierdorff Jeanne Donovan Fisher Christopher H. Gibbs+ Jonathan K. Greenburg Paula K. Hawkins Linda Hirshman Anne E. Impellizzeri Peter Kenner ‘66 Mimi Levitt Thomas O. Maggs Robert Martin+ Joanna M. Migdal Lucy Miller Murray Kenneth L. Miron Christina A. Mohr James H. Ottaway, Jr. David E. Schwab II ‘52 Denise Simon H. Peter Stern Tucker Taylor Felicitas S. Thorne Anthony Viscusi Siri von Reis E. Lisk Wyckoff

Artistic Directors Leon Botstein Christopher H. Gibbs Robert Martin

Development Debra Pemstein Andrea Guido Stephen Millikin

Executive Director Irene Zedlacher

Publications Mary Smith

Associate Director Raissa St. Pierre ’87

Consultant to Publications Ginger Shore

Scholar in Residence 2009 Thomas S. Grey Program Committee 2009 Byron Adams Leon Botstein Christopher H. Gibbs Thomas S. Grey Robert Martin Richard Wilson Irene Zedlacher Administrative Assistant Christina Kaminski ’08

Public Relations Mark Primoff Eleanor Davis 21C Media Group Director of Choruses James Bagwell Vocal Casting Consultant Susana Meyer Stage Manager Stephen Dean Cynthia Baker Transportation Director Edward W. Schmidt + ex officio

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Board and Administration of the American Symphony Orchestra Board of Directors Danny Goldberg, Chair Eileen Rhulen, Vice Chair Dimitri B. Papadimitriou, Treasurer Mary F. Miller, Secretary

Michael Dorf Jan Krukowski Jack Kliger Peter J. Linden, M.D. Shirley A. Mueller Thurmond Smithgall Eve Stuart Felicitas S. Thorne Joel I. Berson* L. Stan Stokowski* Chairmen Emeriti Joel I. Berson Robert A. Fippinger Jan Krukowski

* honorary

Administration Lynne Meloccaro Executive Director Oliver Inteeworn General Manager Allison Derusha Director of Development Anne Johnson Director of Marketing

Clifford J. Brooks Education Advisor Michael Blutman Education Advisor 21C Media Group Public Relations Karen Walker Spencer Graphic Design

Sebastian Danila Library Manager

James Bagwell Principal Guest Conductor

Marielle MĂŠtivier Production Associate

Teresa Cheung Assistant Conductor

Micah Banner-Baine Development Assistant

Susana Meyer Artistic Consultant

Katrina Herfort Marketing Assistant

Richard Wilson Composer-in- Residence

Daniel Bassin Orchestra Librarian Ronald Sell Orchestra Personnel Manager Ann Gabler Manager, Music Education and School Outreach

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SummerScape Staff Administration Susana Meyer Associate Director Debra Pemstein Vice President for Development and Alumni/ae Affairs Mark Primoff Director of Communications Kimberly Keeley-Henschel Budget Director Jeannie Schneider Administrative Assistant Kelly Spencer Managing Editor

Michael Zally Master Carpenter, Sosnoff Theater Joseph Puglisi Roger Mann Todd Renadette Dan Gibbons Jake Goldwasser Amy Jonas Sean Maloney Emil Byrne Steve Lorrick Adam Spencer Kelley O’Donnoghue Glenna Broderick ’09 Carley Matey ’11 Anthony Santora Elaine Nelson

Production Robert Airhart Production Manager

Electrics

Bonnie Kate Anthony Assistant Production Manager

Andrew Hill Lighting Supervisor

Stephen Dean Stage Operations Supervisor

Brandon Koenig Master Electrician, Sosnoff Theater

Kelly Wood Spiegeltent Production Coordinator

Joshua Foreman Master Electrician, T2

Alexandra Paull Shopper / Buyer

Walter Daniels Master Electrician, Spiegeltent

Carl Kranz ’09 Production Assistant

Paul Frydrychowski Morgan Blaich Stephanie Shechter Claire Moodey Jeremy Lechterman Jeremiah McClelland Chris Petillo Sarah Bessel ’11 Mike Kauffman ’10 Mike Porter ’11 Nora Rubenstone ’11

Student Production Assistants Valerie Ellithorpe ’09 Jesse Brown ’10 Quinn Olbrich ’09 Grace Schultz ’10 Grace Converse ’09 Sean Christensen ’11 Amanda Warman ’09

Carpenters Vincent Roca Technical Director, Sosnoff Theater Kent Cyr Technical Director, T2 Christian Crum Master Carpenter, T2

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Costumes Mary Cyr Costume Shop Director Deana Luetkenhaus First Hand Brie Furches Wardrobe Supervisor Christopher Schramm Draper Molly Farley Alice Broughton Dale Gibbons Jennie Jefferson Allegra Barlow ’09 Yvonne Martinez ’10 Karyn Rice Jennie Jefferson Tessa Samuelson Arden Kirkland Alyson Parise

Hair and Makeup Jennifer Donovan Hair and Makeup Supervisor Christal Schanes Makeup Supervisor

Properties Brian Kafel Prop Supervisor, Sosnoff Theater Megan Simmons Prop Supervisor, T2

Spiegelmaestro Nik Quaife

Sound and Video

Company Management

Paul LaBarbera Sound and Video Engineer

Kate Pfeffer Company Manager

Sharlene Shaylan David Kelly Duncan Scott Hoskins Matt Cameron Sebastian Schinkel Phillip Meir Siblo-Landsman ’09 Thom Patzner

Company Management Assistants Jack Byerly ’10 Katy Kelleher ’09 Jake Nabel ’07 Jane Pfeffer

Front of House

Box Office

Facilities

Austin Miller ’06 Assistant General Manager and House Manager

Elena Batt Box Office Manager

Mark Crittenden Facilities Manager

Kate Motzenbacker ’09 Assistant Box Office Manager

Ray Stegner Assistant to the General Manager

Christopher Hazenbush Senior Assistant House Manager Christina Reitemeyer ’07 Senior Assistant House Manager Lesley DeMartin ’11 Assistant House Manager Nicholas Friedman ’09 Assistant House Manager Emily Gildea ’11 Front of House Assistant Amy Strumbly ’11 Front of House Assistant

Doug Pitcher Building Operations Coordinator Box Office Tellers Caitlyn DeRosa Cristeena Chitraker ’12 Adena Rivera-Dundas ’10 David McColloch ’09 Claire Weber ’08 Anatole Höcek ’12 Thomas Corrado Emilie Ruscoe ’11 Marlies Staples ’11

Housekeeping Vicki Child Anna Simmons Melissa Stickle

Assistants to the Facilities Manager Chad Cole Walter Tauvalt

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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.

Friend ($100–249)

Patron ($1,000–4,999) All of the above, plus:

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

• 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)

Supporter ($250–499) 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 ($500–999) 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)

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

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

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

Expiration date

Name as it appears on card (please print clearly)

Address

City

State

Zip code

Telephone (daytime)

Fax

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About Bard College Bard College, in Annandale-on-Hudson, New York, is an independent, nonsectarian, residential, coeducational college that offers a four-year B.A. degree in the liberal arts and sciences and a five-year B.S./B.A. degree in economics and finance. Bard and its affiliated institutions also grant the following degrees: A.A. at Bard High School Early College, a New York City public school with two campuses; A.A. and B.A. at Bard College at Simon’s Rock: The Early College, in Great Barrington, Massachusetts; M.S. in environmental policy and M.A. in curatorial studies at the Annandale campus; M.F.A. and M.A.T. on multiple campuses; and M.A., M.Phil., and Ph.D. in the history of the decorative arts, design, and culture at The Bard Graduate Center for Studies in the Decorative Arts, Design, and Culture in Manhattan. The Bard College Conservatory of Music grants a five-year dual degree, a B.Music and a B.A. in a field other than music; and an M.Music degree in vocal arts. Internationally, Bard offers dual B.A. degrees at Smolny College of Saint Petersburg State University, Russia, and Al-Quds University in Jerusalem. For more information about Bard College, visit www.bard.edu.

Published by the Bard Publications Office ©2009 Bard College. All rights reserved.

Cover: The Apostle Paul in Meditation, 1627–29. Rembrandt van Rijn. ©Réunion des Musées Nationaux/Art Resource, NY 31

M I L L B R O O K VINEYARDS & WINERY “Millbrook Winery proves the Hudson Valley can produce fine vinifera wines.”

WINE SPECTATOR

“Millbrook Winery has consistently surprised me with excellent to outstanding Chardonnays.”

ROBERT PARKER, WINE BUYER’S GUIDE

Located on 130 acres with majestic views of the Hudson Valley, Millbrook Winery is a beautiful place to visit any time of the year. Make plans today to discover wine country in your own backyard.

TOURS AND WINE TASTINGS DAILY JUNE - AUG: 11:00 AM - 6:00 PM / SEPT. - MAY: 12:00 - 5:00 PM

· Picnic area available ·

845.677.8383

WWW.M I L L B R O O K W I N E .COM 5 MINUTES NORTH OF THE VILLAGE OF MILLBROOK 2 6 W I N G ROA D · M I L L B RO O K , N E W YO R K · 1 2 5 4 5

The Richard B. Fisher Center and Spiegeltent proudly serve Millbrook wines.

SAVE THE DATES

Join us at the Fisher Center during the UPCOMING FALL, WINTER, AND SPRING for more extraordinary performing-arts experiences.

Some highlights of our 2009-10 programming: AMERICAN SYMPHONY ORCHESTRA Beethoven's Symphonies 1 through 5 Conducted by Leon Botstein, music director October 16-17, February 5-6, and April 23-24 AMERICAN BALLET THEATRE THREE WORLD PREMIERES October 2-4 NEW ALBION MUSIC WEEKEND Minimalist pioneer Terry Riley and friends October 9-10 JOHN CAGE AT BARD COLLEGE: A Symposium Cage's percussion works performed by Nexus October 31 CONSERVATORY SUNDAYS Orchestra and chamber music Performed by Conservatory students and faculty Sundays at 3 pm, September through April (check website for dates) TWO ONE-ACT OPERAS Specially commissioned to benefit Bard's Graduate Vocal Arts Program February 26 (Gala) and 28 Subscriptions and group discounts available.

TICKETS AND INFORMATION: fishercenter.bard.edu Box Office 845-758-7900