SummerScape 2010: The Chocolate Soldier

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

The Chocolate Soldier AUGUST 5–15, 2010

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

Presents

The Chocolate Soldier An operetta by Oscar Straus Directed and Choreographed by Will Pomerantz Conducted by James Bagwell

Sung in English

Theater Two August 5–15

Running time is approximately two hours and 25 minutes, with one 15-minute intermission.

English adaptation by Philip A. Kraus and Gregory Opelka. By arrangement with Music Associates of America, publisher and copyright owner.

This program is presented thanks to the generous support of Toni and Martin Sosnoff.

The use of recording equipment or the taking of photographs during the performance is strictly prohibited.

Cast Bumerli

Andrew Wilkowske

Nadina

Lynne Abeles

Alexius

Glenn Seven Allen

Mascha

Camille Zamora

Aurelia

Madeleine Gray

Popoff

Jeffrey Tucker

Massakroff

Jason Switzer

Stefan

Matthew Kreger

Ensemble Adam Cavagnaro

Meredith Hudak

Andre Chiang

Matthew Kreger

Timothy Coombs

Madyson Page

Joseph Flaxman

Tyler Putnam

Daniel Foran

David Schnell

Elena Gleason

Alexandra Sweeton

Musicians Roy Lewis

Violin

Junah Chung

Viola

Andy Kim

Cello

Jeffrey Levine

Bass

Sato Moughalian

Flute

Dan Spitzer

Clarinet

Gili Starrett

Bassoon

Dominic Derasse

Trumpet

Jacquelyn Adams

Horn 1

John Karschney

Horn 2

Andy Beall

Percussion

Margery Fitts

Harp

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Set and Costume Designer

Carol Bailey

Lighting Designer

Allen Hahn

Assistant Music Director

James Bassi

Production Assistant

Marianne Rendon

Stage Manager

Anne Dechene

Assistant Stage Manager

Jenny Lazar

Accompanist

Nino Sanikidze

Music arranged and prepared for this production by Jack Parton.

The producers wish to thank the Theatre Development Fund Costume Collection for its assistance with this production.

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Scenes Act I

The interior of General Popoff’s home

Intermission Act II

The exterior of the Popoff home

Act III

The interior and exterior of the Popoff home

Synopsis Act I New members of the Bulgarian army are marching off to join the fight against the Serbians. Nadina, Aurelia, and Mascha—General Popoff’s daughter, wife, and niece— cheer the soldiers from the balcony of Nadina’s bedroom. The women speak admiringly of Alexius, Nadina’s fiancée; to them he is the epitome of Bulgarian manhood. Aurelia and Mascha retire to bed, leaving Nadina alone, reflecting on her love for Alexius. Her contemplation is interrupted by shouts and gunfire—and then by a man crashing through the door of her balcony. He is Lieutenant Bumerli, a fugitive. And, although he’s dressed in a Serbian uniform, he explains that he is actually a Swiss mercenary, with no interest in fighting or warfare. In fact, he says, he carries chocolates, not bullets, in his ammunition pouch. Bumerli begs Nadina to hide him. She refuses, but he convinces her just in time—Mascha arrives to announce that Bulgarian soldiers are in the house looking for an escaped Serbian soldier.

With assistance from Nadina, Bumerli manages to evade his pursuers. As he emerges from hiding, Mascha enters the room, soon followed by Aurelia. The women fawn over Bumerli. They feed him, and then give him General Popoff’s bathrobe to wear. He falls asleep as the ladies look on.

Act II It is a joyful day: the townspeople have gathered to welcome the triumphant army back home, and the Popoff family is celebrating Nadina and Alexius’s nuptials—they are to be

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married today. Alexius happily recounts the stories of his recent triumphs in battle. As the general joins in enthusiastically, the women quickly realize that General Popoff and Alexius encountered a certain Swiss mercenary during their travels. In fact, the three of them drank together, and the Swiss officer told them a racy story about hiding in a young woman’s bedroom and escaping in her father’s bathrobe. Nadina, Aurelia, and Mascha are furious at Bumerli’s lack of discretion (and they realize they might now have to explain the strange coincidental fact of Popoff’s missing bathrobe). They are relieved, however, to know that he is back where he belongs, in Switzerland. After all, today is Nadina and Alexius’s wedding day.

Bumerli appears, carrying the bathrobe. Nadina, Aurelia, and Mascha are flabbergasted—and panicked at the sight of the robe. Mascha distracts Alexius while Nadina and her mother conjure up a way to return the robe. There is consternation over a photograph that Bumerli left in the pocket of the robe. Nadina storms out. Mascha hints to Alexius that Nadina may be in love with someone else. Now Alexius storms out.

The townspeople arrive, expecting a wedding. Massakroff, one of the guests, recognizes Bumerli and accuses him of being the fugitive. The story comes out. Alexius refuses to go through with the marriage.

Act III In her bedroom some time later, Nadina is writing an angry letter to Bumerli, telling him she never wants to hear from him again. He appears on her balcony, and tells her that he knows she loves him. She denies it, showing him the letter. Massakroff enters to announce that Alexius has challenged Bumerli to a duel, which he accepts. Nadina panics, and begs her father to intervene. Alexius assures Mascha that Bumerli will never accept, and pledges that he and Mascha will soon be wed.

Nadina arrives, and reports that Bumerli has accepted the duel. Alexius, now panicked himself, refuses to fight. General Popoff decides to take matters into his own hands; because his daughter’s honor has been compromised, he declares, a wedding will take place as scheduled. It’s not quite the wedding that was originally planned, however.

Nadina and Bumerli agree to marry, and they join Mascha and Alexius in a double wedding that the townspeople are only too happy to celebrate.

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Director’s Note George Bernard Shaw carefully chose his title for Arms and the Man, the play that is the source material for The Chocolate Soldier. One of Shaw’s few punning titles, it potently captures Shaw’s suspicion of those who overromanticize love, war, and love of war.

Although Shaw had intended to write a savage satire of militarism, nationalism, jingoism, and hypocrisy, he would ultimately group the piece with those he called his “Plays Pleasant” (and yes, he labeled the other group his “Plays Unpleasant”). This attempt to balance comedy and social critique was not a success in the playwright’s eyes: to his dismay, the opening-night audience roared with laughter, seemingly unhampered by (or unaware of) Shaw’s social critique. When Shaw took the stage to thunderous cheers and applause during the curtain call, a few men in the front row let loose with vociferous boos. Shaw quieted the crowd and, spreading his hands, directed his remarks to the naysayers, stating, “Gentlemen, I could not agree with you more, but who are we against so many?” Thus began the life of what has since been one of Shaw’s most-performed comedies.

Shaw had a lifelong aversion to the idea of any of his plays being set to music. (Ironically, he began his professional writing career as a music critic.) He made a series of demands that had to be met before he would agree to allow Arms and the Man to be adapted into an operetta by writers Rudolf Bernauer and Leopold Jacobson and composer Oscar Straus (more on him later). One of Shaw’s provisos was that the piece would have to be advertised as a “parody” of his play. This request was honored, as was his request that the title and the characters’ names be changed. He also demanded this his name not appear anywhere in connection with the enterprise, and finally, he said that he would not accept any monies from any production of the new property. All these conditions were agreed to with alacrity, with the final item getting special attention.

I would argue that although Bernauer, Jacobson, and Straus agreed to advertise their musical entertainment as a parody, a parody is not what they ended up creating. What they did write is a wonderful marriage of Shavian wit and Viennese fin-de-siècle style.

Bernauer and Jacobson were faithful to Shaw’s plot. And Straus (who dropped one “s” from the end of his last name to make it clear he was not of the famous Viennese family of composers), inspired by the material, wrote some of his most engaging and enduring music. The operetta went on to become an international success, with two long Broadway runs—much to the chagrin of Shaw’s agent, who forbade him any further negotiating of contracts, at least where money was concerned.

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Oscar Straus (1870–1954) studied music in Berlin under Max Bruch and first became an orchestral conductor at the Über-Brettl Cabaret. He would ultimately write 500 cabaret songs, chamber music, waltzes, ballets, and choral works. When Franz Lehar’s The Merry Widow premiered in 1905, to great success, Straus is said to have remarked, “Das kann ich auch!” (“I can do that too!”) He went on to write several successful operettas, as well as numerous film scores, having fled to Hollywood soon after the Anschluss. After the war, he returned to Austria, and he died in the resort town of Bad Ischl.

Working on this production of The Chocolate Soldier has given me the chance to rediscover the inspired craftsmanship, soaring melodies, and lush tonalities that made Viennese operetta one of the most popular stage forms of all time. It influenced all theater music that followed it, and, I would argue, continues to wield a considerable pull on audiences today as they succumb to the sophistication and artistry of wonderful composers such as Oscar Straus.

Will Pomerantz July 2010 Annandale-on-Hudson, New York

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Notes on the Program Ruritania, G. B. Shaw, and The Chocolate Soldier

by William Everett During the “Silver Age” of Viennese operetta—the first quarter of the 20th century— audiences were transported to fanciful milieus where they delighted in the romantic and comic antics of colorfully dressed locals and dim-witted public officials. Glorious Viennese waltzes, evocations of created ethnic music and dances, and witty dialogue characterized the immensely popular genre. The finest of these works were quickly translated into English, allowing theatergoers in America and Britain to partake in this engaging repertory.

Ruritania became the collective name for the imagined Balkanesque settings typical of many of these operettas. The evocative title comes from the illusory setting of Anthony Hope’s novel The Prisoner of Zenda (1894). At the turn of the 20th century, as the Balkan region was being discovered through travelogues and journalistic literature, truth and imagination became inseparable in Ruritanian creations. Fantasy and veracity were delicately balanced, allowing for social and political commentary in musical realms that were simultaneously exotic and yet somewhat familiar.

Franz Lehár’s 1905 operetta Die lustige Witwe (The Merry Widow) exemplifies this paradigm. Hanna, a wealthy widow from Pontevedro (a thinly disguised Montenegro), must marry a man from her country in order to keep it from going bankrupt. The plot gave Lehár the opportunity to create music of an exotic Ruritanian region (Hanna’s “Lilia”), while also filling the score with the waltz, the archetype of Viennese musical identity. The operetta also implied that Balkan lands, such as Pontevedro, were financially insecure and needed to rely on large states, such as the Austro-Hungarian Empire, for their economic stability. This less-than-subtle subtext reinforced the perceived superiority of the Viennese over non-Austrian parts of the empire.

Likewise, in Oscar Straus’s 1907 Ein Walzertraum (A Waltz Dream), Princess Hélène of Flausenthurn (another imaginary kingdom) is engaged to Lieutenant Niki, a Viennese officer. He, though, is obsessed with Franzi, leader of an all-female Viennese orchestra.

Niki ultimately marries the princess, who has learned the operetta’s central musical number, the glorious waltz “Leise, ganz leise” (“Gentle, completely gentle”), as a symbol of her love for the Viennese lieutenant. Ein Walzertraum was second only to Die lustige Witwe in popularity among Viennese audiences.

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Following this success, Leopold Jacobson, the librettist for Ein Walzertraum, thought of creating, with Straus, a musical version of George Bernard Shaw’s satirical play Arms and the Man. In the story, Raina, the daughter of a Bulgarian general, falls in love with Captain Bluntschli, a Swiss mercenary working for the Serbs during the Serbo-Bulgarian War of 1885. Early on, though, she thinks she is in love with Sergius, a pompous Bulgarian officer. Shaw, in his play, attacks familiar 19th-century concepts of the noble military hero and romantic idealism. Sergius, who poses as a battlefield champion, is indeed inept, and the more valiant of Raina’s suitors turns out to be Bluntschli, the heir to a Swiss hotel conglomerate who carries chocolate rather than cartridges. With its Balkan-Ruritanian setting, love triangle, and mocking characterizations of Bulgarian heroism, Shaw’s play echoes tropes of Viennese operetta.

Shaw’s self-described “Pleasant Play” opened at the Avenue Theatre in London on April 21, 1894. Audiences and critics alike were ecstatic in their response. However, when the German translation, Der tapfere Soldat (The Brave Soldier), opened in Vienna more than a decade later (on November 14, 1908, at the Theater an der Wien), the reception was quite the opposite: cool, due to escalating conflict in the Balkans. The original run in Vienna lasted a mere 62 performances. Ruritanian fiction was melding into real-life political turmoil; the Balkan setting was no longer escapist fancy. Furthermore, the satirical nature of the German title was not immediately obvious, so the operetta was also billed as Der Praline-Soldat (The Praline Soldier), referring to its candy-loving male lead.

This led the way to The Chocolate Soldier, the title used for the English translation.

Producer F. C. Whitney suspected, that as an adaptation of Shaw, Straus’s operetta would find an appreciative audience in the English-speaking world. He secured the rights for an English-language production and engaged Liverpool-born Stanislaus Stange to translate the libretto and lyrics. The Chocolate Soldier opened to elated Broadway audiences on September 13, 1909, at the Lyric Theatre, where it became the biggest success of the season and played a total of 295 performances. It opened at London’s Lyric Theatre the following year, where it enjoyed a substantial 500-performance run. Tours and revivals kept the work in the public’s eye and ear for decades.

Adhering to the dictates of Viennese operetta, the musical centerpiece of The Chocolate Soldier is a waltz. Nadina introduces “My Hero” early in Act I, singing it dreamily to a picture of her supposed beloved, Alexius. Its refrain, marked “slow waltz tempo,” remains one of the most recognizable operetta waltzes because of its three languid opening notes, all on the same pitch. In an orthodox operetta, Nadina would sing reprises of the waltz with Alexius, and the melody would become an expression of their mutual love.

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But just as Shaw transgresses norms regarding his depiction of a brave soldier, Straus alters the expected musical dramaturgy for a centerpiece waltz. “My Hero” indeed returns, but in unexpected dramatic contexts. One of the most effective reprises occurs in a trio for Alexius, Nadina, and Bumerli during the finale. In this passage, Nadina publicly changes the focus of her affection from Alexius to Bumerli. Alexius becomes a “zero,” according to Stange’s translation, while Bumerli assumes the role of “hero,” all to the strains of the waltz refrain.

Straus employs the recognizable figure of three repeated notes as a leitmotif for Nadina’s romantic thoughts throughout the score. (He was keenly aware of Wagner, even creating a spoof, Die lustigen Nibelungen [The Merry Nibelungs], in 1904.) The first notable appearance occurs in the trio Nadina sings with her mother and cousin just before “My Hero,” during which the three women fantasize about men. The motif also appears in “The Letter Song”; here, Nadina is reticent to admit that she loves Bumerli, but the recurrence of three emphatic notes indicates her true feelings. The recurring threenote motif also centers the score in a folk-inspired aesthetic, hinting at a rustic, nonViennese flavor.

In an operetta with military characters, marches are as obligatory as waltzes. The opening number is indeed a march, and Alexius tells of his (imagined) heroic deeds in another march, “Alexius the Brave.” General Popoff, Nadina’s father, interrupts to give his broader perspective on the war as the music shifts to a polka. Straus and Jacobson reinforce Shaw’s satirical view of wartime heroics by setting Popoff’s remarks to an effervescent light-hearted dance.

But Straus certainly does not limit himself to waltzes, marches, and polkas. Delightful duets, sparkling trios, and carefully crafted ensembles fill The Chocolate Soldier. Especially memorable musical moments include the contrapuntal refrain of the title song, a comic duet for Nadina and Bumerli; the exotic and comically menacing Bulgarian soldiers’ entrance in “Seek the Spy”; and the unforgettable sextet “The Tale of the Coat,” during which Straus aptly controls the dramatic pacing of the scene through musical means.

In 1940, MGM wanted to add The Chocolate Soldier to its film operetta catalog. The studio could not reach an agreement with Shaw concerning rights, so Straus’s score was appended to the plot of Ferenc Molnar’s play Testor, which Philip Moeller had adapted as The Guardsman. The story concerned Viennese singers Maria and Karl Lang. Karl tests Maria’s loyalty by posing as a Russian man and trying to seduce his own wife. Scenes from The Chocolate Soldier are interspersed throughout the film, with Nelson Eddy and

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Risë Stevens singing rapturously on an Art Deco set. “My Hero” assumes musical primacy in the film, just as it did in the original stage production. The famous refrain is the first music heard during the opening credits, and performances of it initiate and provide final resolution to the film’s story line. Those familiar only with the film may not recognize the plot of the stage version of The Chocolate Soldier, but they will surely be acquainted with its hallmark feature: Straus’s radiant musical score.

William Everett is professor of musicology and associate dean for graduate studies and curriculum at the University of Missouri–Kansas City Conservatory of Music and Dance.

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Who’s Who Will Pomerantz Director Will Pomerantz directed the much-loved 2008 SummerScape production of George and Ira Gershwin’s Of Thee I Sing. He has directed operas and new musicals across the country and abroad, and developed new plays with such theaters as Playwrights Horizons, The Public Theatre, Hartford Stage, New York Theatre Workshop, Signature Theatre, Williamstown Theatre Festival, and the Guthrie. He has directed world premieres by John Guare, David Auburn, Neil LaBute, Craig Lucas, Kia Corthron, David Lindsay-Abaire, Stephen Belber, Linda Cho, and Kira Obolensky. In addition to his work on new plays, Pomerantz has directed texts by Chekhov, Ibsen, Strindberg, Shakespeare, Shaw, and Sophocles. Pomerantz has been director-in-residence for Culture Project, guest artist for The Juilliard School, the Boris Sagal Fellow at Williamstown, and associate artist for Epic Theatre Ensemble. His productions have won Helen Hayes and Lucille Lortel Awards, and a Drama Desk nomination.

James Bagwell

Conductor

James Bagwell has been director of choruses for the Bard Music Festival since 2003. In addition to conducting The Chocolate Soldier, he is the chorus master for the SummerScape 2010 production of Franz Schreker’s opera The Distant Sound (July 30 – August 6 in the Sosnoff Theater). In 2009 he was appointed music director of the Collegiate Chorale and principal guest conductor of the American Symphony Orchestra.

He has prepared the Concert Chorale of New York for a number of appearances, most notably the Mostly Mozart Festival. He has taught at Bard College since 2000, where he is director of the Music Program and co-director of the graduate Choral Conducting Program at the Bard College Conservatory of Music.

Andrew Wilkowske

Bumerli

Baritone Andrew Wilkowske’s recent engagements include the role of Noah in the 2007 world premiere of Ricky Ian Gordon’s The Grapes of Wrath in 2007 with Minnesota Opera.

He sang the role again earlier this year, with the Collegiate Chorale in Carnegie Hall. His other recent performances include Gepetto in the U.S. premiere of Jonathan Dove’s The Adventures of Pinocchio, with Minnesota Opera; and a Scientist in the U.S. premiere of Howard Shore’s The Fly, with Los Angeles Opera. His upcoming roles include Figaro in Il barbiere di Siviglia with Opera on the James, and the title role in Ullmann’s The Emperor of Atlantis with Boston Lyric Opera.

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Lynne Abeles

Nadina

Soprano Lynne Abeles recently sang the role of Sophie in Tobias Picker’s Emmeline and Veronique in Thomas Pasatieri’s Hotel Casablanca, both at Dicapo Opera Theatre. Last season the New York Times and Wall Street Journal praised her performance as Mary Warren in Robert Ward’s The Crucible. She made her international debut in Hungary with the same production, which was broadcast worldwide on the Mezzo Arts Television Channel. Abeles recently made her Carnegie Hall debut as a featured soloist in the Musical Explorers program at Zankel Hall. She also attended Ash Lawn Opera’s program for young artists, and the Israeli Vocal Arts Institute. Abeles studied theater at the University of Southern California before completing her music and theater degrees at the University of Miami.

Madeleine Gray

Aurelia

Madeleine Gray’s recent performances include the Witch in Hansel and Gretel with Opera on the James, Emilia in the Opera Roanoke production of Otello, and Mama Lucia in Cavalleria rusticana with Washington National and with Toledo Opera. A favorite at Baltimore Opera, her roles there have included Berta in Il barbiere di Siviglia, Marcellina in Le nozze di Figaro, Antonia’s Mother in Les contes d’Hoffmann, and Anna in Maria Stuarda. Her concert appearances include performances with the York and Quad City symphonies, the National Chorale at Avery Fisher Hall, and the National Cathedral Choral Society. In 2011, she will be the mezzo soloist in a performance of Mahler’s Eighth Symphony at the Sydney Opera House.

Camille Zamora

Mascha

This season, soprano Camille Zamora’s performances have included Ilia in Idomeneo at Boston Lyric Opera, Elle in La voix humaine at Auckland (New Zealand) Opera, Clara Schumann in Twin Spirits (with Sting and Trudie Styler) at Lincoln Center, and recitals with Carnegie Hall’s Musical Connections series and New York Festival of Song’s Next series. Recent career highlights include Ermione in Oreste at the Spoleto Festival, Despina in Così fan tutte at Glimmerglass Opera, and Amore/Valetto in L’incoronazione di Poppea at Houston Grand Opera. She has appeared with the Orchestra of St. Luke’s and the London Symphony Orchestra, and Boston Festival Orchestra, and in live recital broadcasts on NPR, BBC Radio, and Deutsche Radio.

Glenn Seven Allen

Alexius

Glenn Seven Allen’s 2009–10 season credits include Alfredo in La traviata at Long Island Opera, Rodolfo in William Bolcom’s A View from the Bridge with Vertical Player Repertory

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Opera, the Duke in Rigoletto at Bleecker Street Opera and at New York Lyric Opera, and Rodolfo in La bohème with Cardona Theater. His Broadway credits include The Light in the Piazza at Lincoln Center Theatre, and Girl Crazy with City Center Encores. Allen was a finalist in the 2009–10 Merola Opera Program Competition. He has a B.F.A. in musical theater from the University of Michigan and an M.F.A. in acting from the University of Washington.

Jeffrey Tucker

Popoff

Bass Jeffrey Tucker recently made his New York City Opera debut as Judge III in Margaret Garner, followed by an appearance as Lesbo in Agrippina and, this season, as Sirocco in L’étoile. In 2008 Tucker was invited back to Sarasota Opera to perform Sparafucile in Rigoletto and Loredano in I due foscari. He returns to Sarasota Opera in 2011 to perform the role of Reverend John Hale in The Crucible. Other highlights of recent seasons include the Sacristan in Tosca and the Grand Inquisitor in Don Carlos with Sarasota; Rocco in Fidelio with Opera Roanoke; Sparafucile with the Opera Company of North Carolina; Pistola in Falstaff with Toledo Opera; and the roles of Speaker/Death in Der Kaiser von Atlantis with the Greenwich Music Festival. Tucker returns to Toledo Opera next season for The Rake’s Progress.

Jason Switzer

Massakroff

American baritone Jason Switzer sang the role of Merú in the SummerScape 2009 production of Meyerbeer’s Les Huguenots. He made his professional debut in 2005 with Central City Opera, singing the role of Hel Helson in Paul Bunyan. Soon after this performance, he made his debuts with both Utah Opera and Opera Tampa in the role of Capulet in Roméo et Juliette. Switzer sang the role of Lord Henry Wotton in The Picture of Dorian Gray in 2007, and he was Theodore Weiss in last year’s world premiere of Peter Westergaard’s The Always Present Present, which were both produced by Center City Opera Theater in Philadelphia.

Matthew Kreger

Stefan

Matthew Kreger gave a “winning” (New York Times) performance as John Styx in Bronx Opera’s 2008 staging of Offenbach’s satirical operetta Orpheus in the Underworld. He has performed on stage with Sigourney Weaver, James Earl Jones, Robert Goulet, and Paul McCartney, and at venues including Lincoln Center, Carnegie Hall, and the Edinburgh Festival in Scotland. Kreger created the role of Hosie Roach in the world premiere of Carlisle Floyd’s Cold Sassy Tree at Houston Grand Opera, which was released on Albany Records.

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Carol Bailey

Set and Costume Designer

Carol Bailey has previously collaborated with Will Pomerantz for Bard SummerScape’s 2008 Of Thee I Sing, the Theatreworks/USA production of Great Expectations (with Kathleen Chalfant), Ma-Yi Theater Company’s production of Sung Rno’s play Wave, and Landscape of the Body for the Juilliard Drama Theater. Her opera commissions include productions for the Royal Danish Opera, New York City Opera, Chicago Opera Theater, Spoleto USA Festival, Glimmerglass, Opera Zuid, San Francisco Opera Center, and L’Opèra Français de New York. Her designs for theater and dance have been seen in New York City and regionally throughout the United States as well as in Munich and Kassel, Germany.

Allen Hahn

Lighting Designer

Allen Hahn has designed many previous productions with Will Pomerantz and Carol Bailey. He has also worked at City Opera, Santa Fe Opera, Glimmerglass, the Spoleto USA Festival, and internationally for companies and festivals in the Netherlands, Spain, France, Germany, and the United Kingdom. He has designed world-premiere operas at Juilliard and at the Royal Danish Opera. Several of his productions were selected for exhibition in the 2007 Prague Quadrennial of Performance and Space, and he is the lighting design curator for the 2011 Quadrennial. He has worked with artist Tony Oursler on installations at the Metropolitan Museum of Art and ARoS Kunstmuseum in Denmark.

James Bassi

Assistant Music Director

James Bassi’s credits as a music director include James Lapine’s Twelve Dreams at Lincoln Center Theatre; I and Albert and The Grand Tour, both at the York Theatre; Pirates of Penzance at South Street Seaport; Ragtime, Camelot, and A Little Night Music at White Plains Performing Arts Center; and Side By Side by Sondheim and A Day in Hollywood / A Night in the Ukraine at the New Harmony Theatre. Bassi has played concerts for Ute Lemper, Judy Kaye, Jessye Norman, and Deborah Voigt. His composition Petrarch Dances was commissioned and premiered by the Orchestra of St. Luke’s. Bassi has been awarded composition grants by the NEA, Meet the Composer, and the New York Foundation for the Arts.

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Sponsor Frank and Mary Ann Arisman John and Sandra Blair Sarah Botstein and Bryan Doerries James S. Brodsky and Philip E. McCarthy II Caplan Family Foundation Richard D. Cohen Ted Ruthizer and Jane Denkensohn The Eve Propp Family Foundation R. Mardel Fehrenbach Mary Freeman Carson Glover and Stephen Millikin Carlos Gonzalez and Katherine Stewart Dr. Eva Griepp Bryanne and Thomas Hamill Mel and Phyllis Heiko Rachel and Dr. Shalom Kalnicki Helene L. and Mark N. Kaplan Demetrios and Susan Karayannides Kassell Family Foundation of the Jewish Communal Fund Bryce Klontz

John Knott Laura Kuhn Geraldine and Lawrence Laybourne Cynthia Hirsch Levy ’65 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 Catherine M. and Jonathan B. Smith John Tancock Supporter Lucy and Murray Adams Martina Arfwidson and David Weiss Harriet Bloch and Evan Sakellarios Charles Blyth Phyllis Braziel Kay Brover and Arthur Bennett Gary Capetta and Nick Jones Eileen and Michael Cohen Anne Cotton Dr. Robert Crowell Bruce Cuttler Emily M. Darrow and Brendon P. McCrane George and Marsha Davis Leslie and Doug Dienel Amy K. and David Dubin K. F. Etzold and Carline Dure-Etzold Patricia Falk Martha J. Fleischmann Frances A. and Rao Gaddipati Helena and Christopher Gibbs Gilberte Vansintejan Glaser and William A. Glaser Miriam and Burton Gold Nan and David Greenwood Alexander Grey and David Cabrera Rosemary and Graham Hanson Janet and William Hart Sue Hartshorn Lars Hedstrom and Barry Judd Hedstrom and Judd, Inc. Darren Henault Dr. Joan Hoffman and Syd Silverman Susan and Roger Kennedy Harold Klein Seymour and Harriet Koenig Rose and Josh Koplovitz Danielle Korwin and Anthony DiGuiseppe James Kraft Elissa Kramer and Jay H. Newman Ramone Lascano Helena Lee Fred and Jean Leventhal Mimi Levitt Susan Lorence Charles S. Maier Mark McDonald Bibhu Mohapatra Sybil Nadel

Alfred M. Buff and Lenore Nemeth Elizabeth J. and Sevgin Oktay Sky Pape and Alan Houghton Margrit and Albrecht Pichler Mark Podlaseck Len Floren and Susan Regis Arlene Richards Nicole Ringenberg William Siegfried Elisabeth F. Turnauer Mish Tworkowski Seymour Weingarten Barbara Jean Weyant Arthur Weyhe Earnest Wurzbach Desi and Ben Zalman Friend Anonymous John J. Austrian ’91 and Laura M. Austrian Sybil Baldwin Alvin and Arlene Becker Frederick Berliner Howard and Mary Bell Richard L. Benson Dr. Marge and Edward Blaine Timothy Bonticou Walter Brighton Jeanne and Homer Byington MaryAnn and Thomas Case Daniel Chu and Lenore Schiff Mr. and Mrs. John Cioffi Irwin and Susan Cohen Evelyn and James Constantino Jean T. Cook Abby H. and John B. Dux Gordon Douglas David Ebony and Bruce Mundt Ruth Eng Arthur Fenaroli Dr. Marta P. Flaum Mary and Harvey Freeman Edward Friedman Joseph W. and Joyce Gelb Marvin and Maxine Gilbert Nigel Gillah Esther Glick Mr. and Mrs. Floyd Glinert Judy R. and Arthur Gold Rosalind Golembe Stanley L. Gordon Fayal Greene and David J. Sharpe Sheryl Griffith Elise and Carl Hartman Sue Hartshorn James Hayden Dorothy and Leo Hellerman Delmar D. Hendricks Neil Isabelle Ryland Jordan John Kalish Eleanor C. Kane Nathan M. Kaplan Linda L. Kaumeyer Martha Klein and David Hurvitz James Kraft Robert J. Kurilla

James Lack Michael and Ruth Lamm Jeffrey Lang Gerald F. Lewis Sara F. Luther and John J. Neumaier John P. Mackenzie Hermes Mallea and Carey Maloney Florence Mayne Herbert Mayo Marcus de Albuquerque Mello ’04 Dr. Naomi Mendelsohn Edie Michelson and Sumner Milender Janet C. Mills Milly Sugarman Interiors, Ltd. Roy Moses Arvia Morris Roy Moses Joanne and Richard Mrstik Martha Nickels Douglas Okerson and William Williams 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 Peter and Linda Rubenstein Heinz and Klara Sauer Barbara and Dick Schreiber Edward and Marion Scott James E. Scott Susan Seidel Frank Self William Shum Elisabeth A. Simon Peter Sipperley Joel Stein Dr. Sanford B. Sternlieb Mark Sutton LuRaye Tate Janeth L. Thoron Tiffany & Co. Linda Steinitz Vehlow Dr. Siri von Reis Joan E. Weberman Dr. and Mrs. Stanley Weinstock Barbara K. and Roger H. Wesby Wendy and Michael Westerman Naomi J. Miller and Thomas M. Williams Williams Lumber and Home Centers Albert L. Yarashus Robert and Lynda Youmans Rena Zurofsky Current as of July 14, 2010

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Donors to the Bard Music Festival Events in this year’s Bard Music Festival are underwritten in part by special gifts from

Homeland Foundation Bard Music Festival Preview at Wethersfield

Bettina Baruch Foundation Jeanne Donovan Fisher Mimi Levitt James H. Ottaway Jr. Felicitas S. Thorne Festival Underwriters

Roger E. and Helen Alcaly Festival Program

James H. Ottaway Jr. Opening Concert Mimi Levitt Opening Night Dinner Guest Artists Films

Margo and Anthony Viscusi Preconcert Talks Joanna M. Migdal Panel Discussions Furthermore: A Program of the J. M. Kaplan Fund Festival Book Paula and Eliot Hawkins Christina Mohr and Matthew Guerreiro Between the Concerts Supper

National Endowment for the Arts New York State Council on 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 The Andrew W. Mellon Foundation Felicitas S. Thorne Millie and Robert Wise The Wise Family Charitable Foundation

Friends of the Bard Music Festival Benefactor Helen and Roger E. Alcaly The Ann and Gordon Getty Foundation Leonie F. Batkin Michelle Clayman 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 Anne E. Impellizzeri The J. M. Kaplan Fund, Inc. Susan and Roger Kennedy Barbara Kenner Amy and Thomas O. Maggs Marstrand Foundation Joanna M. Migdal The Mrs. Mortimer Levitt Endowment Fund for the Performing Arts National Endowment for the Arts (NEA) New York State Council on the Arts (NYSCA) Dimitri B. and Rania Papadimitriou Peter Kenner Family Fund of the Jewish Communal Fund Ralph E. Ogden Foundation, Inc 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

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Margo and Anthony Viscusi Dr. Siri von Reis The Wise Family Charitable Foundation Elaine and James Wolfensohn Betsey and E. Lisk Wyckoff Jr. Patron ABC Foundation Constance Abrams and Ann Verber Edwin L. Artzt and Marieluise Hessel Mr. and Mrs. Ronald Atkins Kathleen and Roland Augustine Gale and Sheldon Baim Elizabeth Phillips Bellin and Marco M. S. Bellin Dr. Miriam Roskin Berger ’56 Helen ’48 and Robert Bernstein Helen and Robert Bernstein Philanthropic Fund of the Jewish Communal Fund Anne Donovan Bodnar and James L. Bodnar Sarah Botstein and Bryan Doerries Lydia Chapin Constance and David C. Clapp J. T. Compton Jane Cottrell and Richard Kortright Arnold J. ’44 and Seena Davis Barbara and Richard Debs Michael Del Giudice and Jaynne Keyes Rt. Rev. Herbert A. and Mary Donovan Amy and David Dubin Robert C. Edmonds ’68 Helena and Christopher Gibbs Kim Z. Golden Carlos Gonzalez and Katherine Stewart

Barbara K. Hogan Frederic K. and Elena Howard Rachel and Dr. Shalom Kalnicki Helene and Mark N. Kaplan Belinda and Stephen Kaye Mr. and Mrs. Thomas W. Keesee III Mr. and Mrs. George A. Kellner Klavierhaus, Inc. Seymour and Harriet Koenig Alison and John Lankenau Edna and Gary Lachmund Glenda Fowler Law and Alfred Law Barbara and S Jay Levy Cynthia Hirsch Levy ’65 Patti and Murry Liebowitz Martin and Toni Sosnoff Foundation Stephen Mazoh and Martin Kline W. Patrick McMullan and Rachel McPherson Metropolitan Life Foundation Matching Gift Program Andrea and Kenneth L. Miron Ken Mortenson Martin L. Murray and Lucy Miller Murray Alexandra Ottaway Eve Propp Dr. Gabrielle H. Reem and Dr. Herbert J. Kayden Drs. Morton and Shirley Rosenberg Blanche and Bruce Rubin Ines Elskop and Christopher Scholz Mr. and Mrs. Howard Solomon Martin T. and Toni Sosnoff Dr. S.B. Sternlieb Stewart’s Shops Allan and Ronnie Streichler Elizabeth Farran Tozer and W. James Tozer Jr.

Tozer Family Fund of the New York Community Trust Aida and Albert Wilder Irene Zedlacher William C. Zifchak and Margaret Evans Sponsor Anonymous Ana Azevedo Margaret and Alec Bancroft Everett and Karen Cook Phillip S. Cooke Blythe Danner ’65 Dasein Foundation Willem F. De Vogel and Marion Davidson Cornelia Z. and Timothy Eland Shepard and Jane Ellenberg Ellenberg Asset Management Corp.

Field-Bay Foundation Laura Flax Deborah and Thomas Flexner Donald C. Fresne Francis Finlay and Olivia J. Fussell Samuel L. Gordon Jr. and Marylou Tapalla Mr. and Mrs. Jay M. Gwynne Marjorie Hart Nancy and David Hathaway Martin Holub and Karen Kidder Lucas Hoogduin and Adriana Onstwedder Elizabeth D. and Robert Hottensen Pamela Howard John R. and Joyce Hupper I.B.M. Matching Grants Program Susan Jonas Edith Hamilton Kean Fernanda Kellogg and Kirk Henckels Clara F. and David J. Londoner James and Purcell Palmer Mr. and Mrs. Frederick P. Payton Ellen and Eric Petersen John and Claire Reid Alfred J. and Deirdre Ross Dr. Paul H. Schwartz and Lisa Barne-Schwartz James and Sara Sheldon Andrew Solomon and John Habich David and Sarah Stack Richard C. Strain and Eva Van Rijn Timothy and Cornelia Eland Fund of the Fidelity Charitable Gift Fund Barbara and Donald Tober Arete and William Warren Jack and Jill Wertheim Rosalind Whitehead Serena H. Whitridge Julia and Nigel Widdowson Peter and Maria Wirth Supporter Munir and Susan Abu-Haidar Barbara J. Agren James Akerberg

Leora and Peter Armstrong Irene and Jack Banning Didi and David Barrett Karen H. Bechtel Dr. Susan Krysiewicz and Thomas Bell Carole and Gary Beller Mr. and Mrs. Andy Bellin 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 Frederick and Jan Cohen Seth Dubin and Barbara Field Joan and Wolcott Dunham Ruth Eng Ingrid and Gerald Fields Emily Rutgers Fuller Donald Gellert and Elaine Koss Mims and Burton Gold Victoria and Max Goodwin Janine M. Gordon Mary and Kingdon Gould Jr. Nan and David Greenwood Mortimer and Penelope C. Hall Sally S. Hamilton Juliet Heyer Susan Hoehn and Allan Bahrs William Holman 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 Kamilla and Donald Najdek Jay H. Newman and Elissa Kramer Mr. and Mrs. William T. Nolan Marta E. Nottebohm Elizabeth J. and Sergin Oktay Dr. Bernhard Fabricius and Sylvia Owen David B. and Jane L. Parshall Susan Heath and Rodney Paterson Rosalie Rossi, Ph.D John Royall Dagni and Martin Senzel Denise and Lawrence Shapiro Nadine Bertin Stearns Mim and Leonard Stein

Carole Tindall John Tuke and Leslie Farhangi Dr. Elisabeth F. Turnauer Monica Wambold Taki and Donald Wise John and Mary Young Friend Anonymous Rev. Albert R. Ahlstrom Lorraine D. Alexander Zelda Aronstein and Norman Eisner Artscope, Inc. John K. Ayling Antonia Salvato Phebe and George Banta James M. Barton Mr. and Mrs. Francis D. Barton Saida Baxt Regina and David Beckman Dr. Howard Bellin Richard L. Benson Dr. Marge and Edward Blaine Eric and Irene Brocks David and Jeannette T. Brown Mr. and Mrs. John C. D. Bruno Alfred M. Buff and Lenore Nemeth Isobel and Robert Clark Millicent O. McKinley Cox Linda and Richard Daines Dana and Brian Dunn Peter Edelman Peter Elebash and Jane Robinson Jim and Laurie Niles Erwin Patricia Falk Harold Farberman Arthur L. Fenaroli David and Tracy Finn Luisa E. Flynn Patricia and John Forelle Mary Ann Free Samantha Free Stephen and Jane Garmey 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 Carol Henken Nancy H. Henze Gary Herman Dr. and Mrs. Gerald Imber Patricia H. Keesee Diana Niles King Thea Kliros Sharon Daniel Kroeger Jeffrey Lang Beth Ledy Laurence and Michael Levin Ruthie and Lincoln Lyman M Group, LLC John P. MacKenzie Hermes Mallea and Carey Maloney Annette S. and Paul N. Marcus 19

Harvey Marek The McGraw-Hill Companies Matching Gift Program Marcus Mello ’04 Philip Messing Deborah D. Montgomery Kelly Morgan Debbie Ann and Christopher Morley Susan and Robert Murphy 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 Miles Price

Sheila Sanders Dr. Thomas B. Sanders Klara Sauer Mary Scott Frederick W. Schwerin Jr. Harriet and Bernard Sadow Molly Schaefer Danny P. Shanahan and Janet E. Stetson ’81 J. Kevin Smith Polly and LeRoy Swindell Jessica and Peter Tcherepnine Gladys R. Thomas Janeth L. Thoron Cynthia M. Tripp ’01 Laurie Tuzo Illiana van Meeteren

Olivia van Melle Kamp Ronald VanVoorhies Andrea A. Walton Jacqueline E. Warren Anne Whitehead Victoria and Conrad Wicher Mr. and Mrs. John Winkler Amy Woods Robert and Lynda Youmans Current as of July 14, 2010

Major support for the Fisher Center’s programs has been provided by: Anonymous The Andrew W. Mellon Foundation 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 Chartwells School and University Dining Services Michelle Clayman Joan K. Davidson Mr. and Mrs. Gonzalo de las Heras Michael Del Giudice and Jaynne Keyes John A. Dierdorff Robert C. Edmonds ’68 Elizabeth W. Ely ’65 and Jonathan K. Greenburg Barbara Ettinger and Sven Huseby The Ettinger Foundation, Inc. Stefano Ferrari and Lilo Zinglersen Alexander D. Fisher MFA ’96 Catherine C. Fisher and Gregory A. Murphy Emily H. Fisher and John Alexander Jeanne Donovan Fisher R. Britton and Melina Fisher FMH Foundation Eliot D. and Paula K. Hawkins Linda Hirshman and David Forkosh Homeland Foundation, Inc. HSBC Philanthropic Programs Anne E. Impellizzeri Jane’s Ice Cream

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Jane W. Nuhn Charitable Trust The Jerome Robbins Foundation The J. M. Kaplan Fund, Inc. Susan and Roger Kennedy Dr. Barbara Kenner Key Bank Foundation Harvey and Phyllis Lichtenstein Lucy Pang Yoa Chang Foundation Mimi Levitt Chris Lipscomb and Monique Segarra Amy and Thomas O. Maggs Magic Hat Brewing Company The Marks Family Foundation Marstrand Foundation Martin and Toni Sosnoff Foundation The Maurer Family Foundation, Inc. Mid Atlantic Arts Foundation Joanna M. Migdal The Millbrook Tribute Garden Millbrook Vineyards & Winery Andrea and Kenneth Miron The Mortimer Levitt Foundation Inc. The Mrs. Mortimer Levitt Endowment Fund for the Performing Arts National Dance Project of the New England Foundation for the Arts National Endowment for the Arts American Masterpieces: Dance National Endowment for the Arts (NEA) New England Foundation for the Arts (NEFA)

New York State Council on the Arts (NYSCA) Ralph E. Ogden Foundation, Inc. Mr. and Mrs. James H. Ottaway Jr. Dimitri B. and Rania Papadimitriou Dr. Gabrielle H. Reem and Dr. Herbert J. Kayden Richard B. Fisher Endowment Fund Drs. M. Susan and Irwin Richman Ingrid Rockefeller Senator Stephen M. Saland Santander Central Hispano David E. Schwab II ’52 and Ruth Schwartz Schwab ’52 Denise S. Simon and Paulo Vieira da Cunha Martin T. and Toni Sosnoff H. Peter Stern and Helen Drutt English Ronnie and Allan Streichler Thorne and Tucker Taylor Thaw Charitable Trust Thendara Foundation Felicitas S. Thorne True Love Productions Margo and Anthony Viscusi Dr. Siri von Reis Rosalind C. Whitehead Millie and Robert Wise The Wise Family Charitable Foundation Elaine and James Wolfensohn 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 Stanley A. Reichel '65, Treasurer Fiona Angelini Roland J. Augustine Leon Botstein, President of the College+ David C. Clapp Marcelle Clements ’69* Asher B. Edelman ’61 Robert S. Epstein ’63 Barbara S. Grossman ’73* 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 Stewart Resnick Roger N. Scotland ’93* The Rt. Rev. Mark S. Sisk, Honorary Trustee Martin T. Sosnoff Susan Weber Patricia Ross Weis ’52 Administration Leon Botstein President

Mary Backlund Vice President for Student Affairs and Director of Admission Norton Batkin Vice President and Dean of Graduate Studies Erin Cannan Dean of Students Peter Gadsby Associate Vice President for Enrollment and Registrar Mary Smith Director of Publications

Dimitri B. Papadimitriou Executive Vice President

Ginger Shore Consultant to Publications

Michèle D. Dominy Vice President and Dean of the College

Mark Primoff Director of Communications

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

Kevin Parker Controller Jeffrey Katz Dean of Information Services Judith Samoff Dean of Programs + ex officio * alumni/ae trustee

Board and Administration for The Richard B. Fisher Center for the Performing Arts at Bard College Advisory Board Jeanne Donovan Fisher, Chair Leon Botstein+ Stefano Ferrari Harvey Lichtenstein Robert Martin+ James H. Ottaway Jr. Dimitri B. Papadimitriou+ David E. Schwab II ’52 Martin T. Sosnoff Toni Sosnoff Felicitas S. Thorne + ex officio

Administration Mark Tiarks Director Susana Meyer Associate Director Debra Pemstein Vice President for Development and Alumni/ae Affairs

Jeannie Schneider Business Manager Elena Batt Box Office Manager Austin Miller ’06 Assistant General Manager Ray Stegner Building Operations Manager

Mark Primoff Director of Communications

Doug Pitcher Building Operations Coordinator

Mary Smith Director of Publications

Kelly Spencer Managing Editor

Ginger Shore Consultant to Publications

Bonnie Kate Anthony Assistant Production Manager

Kimberly Keeley-Henschel Budget Director

Claire Weber Assistant Box Office Manager

Paul LaBarbera Sound and Video Supervisor

John Pruitt Film Festival Curator

Stephen Dean Stage Operations Manager Mark Crittenden Facilities Manager

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Board and Administration of the Bard Music Festival Denise Simon, Chair Roger Alcaly Leon Botstein+ Michelle Clayman John A. Dierdorff Robert C. Edmonds ’68 Jeanne Donovan Fisher Christopher H. Gibbs+

Artistic Directors Leon Botstein Christopher H. Gibbs Robert Martin

Development Debra Pemstein Andrea Guido Stephen Millikin

Executive Director Irene Zedlacher

Publications Mary Smith

Jonathan K. Greenburg Paula K. Hawkins Linda Hirshman Anne E. Impellizzeri Barbara Kenner 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 H. Peter Stern Tucker Taylor Felicitas S. Thorne Anthony Viscusi Siri von Reis E. Lisk Wyckoff

Associate Director Raissa St. Pierre ’87

Consultant to Publications Ginger Shore

Scholar in Residence 2010 Christopher Hailey

Public Relations Mark Primoff Eleanor Davis 21C Media Group

Program Committee 2010 Byron Adams Leon Botstein Christopher H. Gibbs Christopher Hailey Robert Martin Richard Wilson Irene Zedlacher Administrative Assistant Christina Kaminski ’08

Director of Choruses James Bagwell Vocal Casting Consultant Susana Meyer Stage Manager Stephen Dean

+ ex officio

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 Jack Kliger Jan Krukowski Shirley A. Mueller Thurmond Smithgall Felicitas S. Thorne Joel I. Berson* L. Stan Stokowski* Chairmen Emeriti Joel I. Berson Robert A. Fippinger Jan Krukowski * honorary

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Artistic Staff Leon Botstein Music Director James Bagwell Principal Guest Conductor Theresa Cheung Assistant Conductor Geoffrey McDonald Assistant Conductor Susana Meyer Artistic Consultant Richard Wilson Composer-in-Residence Administration Lynne Meloccaro Executive Director Oliver Inteeworn General Manager Alicia Benoist Director of Development

Brian J. Heck Director of Marketing Sebastian Danila Library Manager Marielle Métivier Production Associate Micah Banner-Baine Institutional Giving Coordinator Katrina Herfort Marketing Assistant Ronald Sell Orchestra Personnel Manager Ann Gabler Manager, Music Education and School Outreach Michael Blutman Co-Manager, New Jersey In-School Programs Clifford J. Brooks Co-Manager, New York In-School Programs

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 in climate science and 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 decorative arts, design history, and material culture at the Bard Graduate Center: Decorative Arts, Design History, and Material 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 M.Music degrees in vocal arts and conducting. Internationally, Bard offers dual B.A. degrees at Smolny College of Saint Petersburg State University, Russia, and Al-Quds University in East Jerusalem. For more information about Bard College, visit www.bard.edu.

©2010 Bard College. All rights reserved.

Cover image: Cover of the score published in New York, 1910. ©Private Collection/Archives Charmet/The Bridgeman Art Library

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SummerScape Staff Production Vin Roca Technical Director Stephen Dean Stage Operations Supervisor Kelly Wood Spiegeltent Venue Director Grace Schultz ’10 Spiegeltent Stage Manager John Boggs ’10 Production Office Assstant Valerie Ellithorpe ’09 Production Assistant Student Production Assistants Jesse Brown ’10 Taylor Lambert ’11 Marianne Rendon ’12 Alexander Wright ’10 Mette Loulou Von Kohl ’10 Emily Cuk ’10

Walter Daniels Paul Frydrychowski Thomas Holland Jeremy Lechterman Victoria Loye Liudmila Malyshava ’12 Jeremiah McClelland Mike Porter ’11 Nora Rubinstone ’11 Sylvianne Shurman Kerk Soursourian ’12

Properties

Sound and Video

Company Manager

Richard Pearson Audio 1, Sosnoff Theater

Katrin Hall

Thom Patzner Audio 2, Sosnoff Theater

Company Management Assistants

Sharlyne Brophy Audio 1, Theater Two Scott D. Hoskins Audio 2, Theater Two Charles Mead

Brian Kafel Properties Supervisor Lily Fairbanks Assistant Properties Supervisor Curtis Allen Matthew Waldron Spiegelmaestro Nik Quaife

Jack Byerly ’10 Marina Day ’12 Azfar Khan ’13 Olga Opojevici ’09 Front of House

Carpenters

Costumes

Austin Miller ’06 House Manager

Mike Zally Assistant Technical Director

Brie Furches Costume Shop Manager

Christina Reitemeyer ’07 Senior Assistant House Manager

Sean Maloney Master Carpenter

Bethany Itterly First Hand

Lesley DeMartin ’11 Senior Assistant House Manager

Glenna Broderick ’09 Connor Gibbons Dale Gibbons Daniel Gibbons Jake Goldwasser Trevor Hendrickson Muir Ingliss Carley Matey Doreen Pitcher Joseph Puglisi Todd Renadette Ashley Stegner ’12

Molly Farley Draper

Emily Gildea ’11 Assistant House Manager

Corinne Hawxhurst Draper

Amy Strumbly ’11 Assistant House Manager

Maria Juri Lead Wardrobe, Theater Two

Lynne Czajka Assistant House Manager

Lindsay McWilliams Lead Wardrobe, Sosnoff Theater

Box Office Tellers

Alice Broughton Marissa Friedman ’10 Alexandra Nattrass Lea Preston

Electrics Andrew Hill Lighting Supervisor Brandon Koenig Master Electrician, Sosnoff Theater Joshua Foreman Master Electrician, Theater Two

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

Caitlyn DeRosa Emily Rice ’10 Emily Di Palo Nicholas Reilingh Jenna Abrams ’10 Aram Kolesar Housekeeping Dennis Cohen Anna Simmons Melissa Stickle

Claire Moodey Master Electrician, Spiegeltent

Assistants to the Facilities Manager

Sarah Bessel ’11 Morgan Blaich

Chad Cole Walter Tauvalt

Friend ($100–249)

BECOME A FRIEND OF THE FISHER CENTER TODAY! Since opening in 2003, The Richard B. Fisher Center for the Performing Arts at Bard College has transformed cultural life in the Hudson Valley with world-class programming. Our continued success relies heavily on individuals such as you. Become a Friend of the Fisher Center today.

Friends of the Fisher Center membership is designed to give individual donors the opportunity to support their favorite programs through the Fisher Center Council or Bard Music Festival Council. As a Friend of the Fisher Center, you will enjoy a behind-the-scenes look at Fisher Center presentations and receive invitations to special events and services throughout the year.

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

Supporter ($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)

Patron ($1,000–4,999) All of the above, plus: • Opportunity to buy tickets before sales open to the general public • Exclusive telephone line for Patron Priority handling of ticket orders • Invitation for you and a guest to a pre-performance dinner at a Hudson River Valley home ($150 of donation is not tax deductible)

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

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

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

Please designate my gift toward: ❑ 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

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

Expiration date

Name as it appears on card (please print clearly)

Address

City

State

Zip code

Telephone (daytime)

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SAVE THE DATES

BARDSUMMERSCAPE 2010

spiegeltent july 9 – august 22

Cabaret, Family Fare, SpiegelClub, and more film festival july 15 – august 19

The Best of G. W. Pabst A celebration of the great German film director.

All nine of the festival’s silent films feature live piano accompaniment. and

the 21st annual bard music festival

Berg and His World WEEKEND ONE AUGUST 13–15 BERG AND VIENNA WEEKEND TWO AUGUST 20–22 BERG THE EUROPEAN

Subscriptions, group discounts, and gift certificates available.

TICKETS AND INFORMATION: fishercenter.bard.edu Box Office 845-758-7900 The 2010 SummerScape season is made possible in part through the generous support of the Board of The Richard B. Fisher Center for the Performing Arts at Bard College, the Board of the Bard Music Festival, and the Friends of the Fisher Center, as well as grants from the National Endowment for the Arts, the New York State Council on the Arts, and the Mid Atlantic Arts Foundation.