SummerScape 2010: The Distant Sound

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

The Distant Sound JULY 30 – AUGUST 6, 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 Distant Sound (Der ferne Klang) Music and libretto by Franz Schreker Directed by Thaddeus Strassberger American Symphony Orchestra conducted by Leon Botstein, Music Director

Sosnoff Theater July 30 and August 6 at 7 pm August 1 and 4 at 3 pm

Running time is approximately two hours and 50 minutes, including one 20-minute intermission and one 15-minute intermission.

Special support for this program is provided by Emily H. Fisher and John Alexander.

Additional funding has been provided by Thurmond Smithgall and the Lanie & Ethel Foundation.

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

Principals (in order of appearance) Fritz, a composer

Mathias Schulz

Grete Graumann, his fiancĂŠe

Yamina Maamar

Herr Graumann, her father

Peter Van Derick

Frau Graumann, her mother

Susan Marie Pierson

Dr. Vigelius, a lawyer and family friend

Marc Embree

The Innkeeper

Matthew Burns

A Hack Actor

Jeff Mattsey

An Old Woman

Susan Marie Pierson

The Count

Corey McKern

The Chevalier

Jud Perry

The Baron

Marc Embree

The Voice of a Man

Jeff Mattsey

Greta, a cabaret performer

Yamina Maamar

Mary, a cabaret performer

Celine Mogielnicki

Mizi, a cabaret performer

Aurora Sein Perry

Milli, a cabaret performer

Jamie Van Eyck

The Spanish madame

Susan Marie Pierson

Tini, a prostitute

Yamina Maamar

A Waitress

Susan Marie Pierson

An Usher

Matthew Burns

A Dubious Character

Jud Perry

Opera Choristers

Peter Van Derick Marc Molomot

Rudolf, Fritz’s assistant

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Corey McKern

Chorus Soprano Wendy Baker, Eileen Clark, Jennifer Gliere, Laura Green, Jennifer Greene, Julie Gregorio, Sarah Kerman, Marie Mascari, Rachel Rosales, Alissa Rose, Rosemarie Serrano, Martha Sullivan, Carla Wesby, Katherine Wessinger, Phyllis Whitehouse, Jennifer Young Alto Sarah Bleasdale, Teresa Buchholz, Courtney Crouse, Katharine Emory, B. J. Fredricks, Helen Karloski, Mary Marathe, Martha Mechalakos, Guadalupe Peraza, Suzanne Schwing, Virginia Warnken, Abigail Wright Tenor Matthew Deming, Mark Donato, Eric Dudley, Ethan Fran, Alex Guerrero, John Howell, John Kawa, Eric Lamp, Mukund Marathe, Marc Molomot, Michael Steinberger, Christopher Preston Thompson Bass James Gregory, Steve Hrycelak, David Huneryager, Darren Lougee, Andrew Martens, Thomas McCargar, Steven Moore, John Rose, Joshua South, Charles Sprawls, Peter Stewart, Peter Van Derick

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Set Designer

Narelle Sissons

Lighting Designer

Aaron Black

Costume Designer

Mattie Ullrich

Projection Designer

Peter Nigrini

Chorus Master

James Bagwell

Assistant Director

Paul Peers

Movement Director

Marjorie Folkman

Principal Music Coach

Greg Ritchey

Stage Manager

Lynn Krynicki

Assistant Stage Managers

Laura Krause Whitney Schmerber

Assistant Set Designers

UmGiLee Sofia Pia Belenky

Associate Costume Designer

Becky Lasky

Assistant Lighting Designer

Michael Ferguson

Associate Projection Designer

C. Andrew Bauer

Supertitle Creator and Operator

Celeste Montemarano

Chorus Contractor

Nancy Wertsch

Language Coach

Daniel Molkentin

Assistant Music Coach

Nino Sanikidze

Student Production Assistants

Taylor Lambert Emily Cuk

Lights

Rentals from PRG

Scenery provided by Adirondack Studios

The producers would like to thank Goodspeed Musicals Costume Rentals, Helen Uffner Vintage Clothing, and the Theatre Development Fund Costume Collection for their assistance with this production.

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Scenes Act I, Scene 1

The Graumann Family Home

Act I, Scene 2

Der Wald Cinema

Intermission Act II

La Casa di Maschere, a Venetian Cabaret

Intermission Act III, Scene 1

Opera House Foyer

Act III, Scene 2

Fritz’s Study

Synopsis Act I, Scene 1 In a small village surrounded by woods, Fritz, a young composer, feels the burden of domesticity weighing him down. The music that he longs to compose is a distant sound that cannot be heard over the deafening tedium of village life. Grete, his fiancée, doesn’t know how she’ll be able to stand it if Fritz, her only love and support, leaves. But Fritz remains firm in his decision, and promises that once he becomes successful, he will return and marry Grete. She resigns herself and tells him that she will await his return.

An old woman offers Grete her help if she should ever need it and then leaves, only to return later to spy on the unfolding drama. In a conversation with her ailing mother, Grete expresses her concerns about her father’s gambling and drinking habits. They are suddenly interrupted by the loud intrusion of Grete’s father and drunken guests from the tavern. A local actor among the group announces that Grete is to be married to the owner of the local pub. Reacting to Grete’s shock and confusion, Dr. Vigelius, an old family friend, explains that Grete’s father wagered her in a bowling game and lost. Grete, horrified, declares that she is already engaged. Feeling the world imploding around her, Grete flees from her suffocating circumstances in search of Fritz.

Act I, Scene 2 The old woman comforts the distraught Grete with tender words, assuring her that she will find Fritz again. She then persuades Grete to go with her to a faraway place where she’ll be loved.

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Act II Ten years later, at La Casa di Maschere (The House of Masks), a Venetian cabaret and dance hall. The old woman, ever present, is the dance hall’s master of ceremonies, and Greta, as she is now known, has become a star of the cabaret. The other “girls” talk of the Count, a regular customer, and his preference for Greta, who evades him at every turn.

The Count announces that he intends for Greta to leave with him tonight, by force if necessary. Greta suggests a song contest; the winner will enjoy a night of sweet love with her. The Count steps forward with “The Ballad of the Glowing Crown.” It is judged by the assembly to be too sad. The Chevalier’s tale of “The Flower Girl of Sorrento” is deemed to be much better. The Count demands that Greta alone make the decision.

A disheveled and distraught stranger arrives, and gazes at Greta in bewilderment. After a moment, she recognizes him as Fritz. He tells her of his regret over abandoning her, and of the many years he spent searching for her before the “distant sound” of an orchestra lured him to this place. The crowd is touched by Fritz’s story, and Greta declares him the winner of the contest. But when he announces his intention to marry her, the crowd laughs, and suddenly Fritz awakens to reality. Greta, seeing his horror, proclaims that he has mistaken her for little Grete, whom he left behind years ago. The Count challenges Fritz, who hastens away, refusing to fight. Greta, abandoning herself to her tragic situation, throws herself into the arms of the Count, who whisks her away.

Act III, Scene 1 Five years later, Fritz has finally found some success as a composer. His latest creation, The Harp, premieres that night in an important opera house. In the foyer where the opening-night party will soon take place, Dr. Vigelius is chatting with an old friend who complains of the role he was offered in Fritz’s opera—that of a hack actor. An usher enters, escorting an oddly dressed woman who has fainted and is being taken out of the theater. A shady character accosts the woman. Recognizing her as Grete, Dr. Vigelius drives the lecherous man away. Fritz’s opera ends, and Grete and Dr. Vigelius listen to the audience’s comments as they leave. It seems that the last act is a fiasco. Grete makes Dr. Vigelius promise to take her to Fritz.

Act III, Scene 2 It is the morning after the unsuccessful premiere. Fritz listens to the birds sing and contemplates how he has wasted his life on a pointless artistic journey. His friend Rudolf rushes in with good news. The theater director, who sees great potential in the opera, would like Fritz to revise the last act. But Fritz has no strength for this now. He sinks into a reverie. He hears again the “sound” that has been silent for so long, like “a thousand harps singing a bridal song” . . .

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Franz Schreker in 1912, the year Der ferne Klang (The Distant Sound) premiered

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Questions for the Director There are many ways for a director to begin preparing an opera—through the libretto and music, certainly, but also real locations, information about the composer’s source material, relevant biographical details, and so forth. When you start thinking about a brand-new production like this one, where do you begin?

Thaddeus Strassberger: Classic repertory operas are often a greater challenge than brand-new productions. When a piece is well known, you can spend a lot of energy on filtering out what you already know about it, looking for some uncharted territory to explore. With a production of an opera such as The Distant Sound—which, as this is the U.S. stage premiere, will be completely new to most of our audience—I have the opposite problem. There’s so much information to convey not only about the plot proper, but also about the characters themselves and the musical language they use to express their thoughts, ideas, and actions. With so many different possible directions, the process is about posing various “what if” scenarios and seeing where they lead me.

As this is my first Schreker opera, I prepared by spending as much time reading about his life and listening to his other works as I did specifically reading about and listening to recordings of the opera itself. Some significant correlations between Fritz’s quest and autobiographical elements of Schreker’s own experience soon emerged. It seemed I could kill two birds with one stone, and explore the journey that Fritz and Grete take as well as illuminate some of the social and artistic milieus in which Schreker created his opera.

What time period is the opera set in?

TS: At the beginning of the opera we are in 1919, just as World War I is ending in Western Europe. The plot is structured to take place over about 15 years. I decided to set the finale in 1934, the year Schreker died.

How does the time period influence the look of the production?

TS: The time period opened up a whole world of visual references for us to use, including the emerging language of film. Celluloid, plastics, and film-developing technologies were beginning to forever alter the world these characters inhabit. The very first image that you’ll see, in our production, is a huge photograph of a forest scene. Right away, we see a natural world that is filtered through man-made machines. The mystery of the mythical forest is captured, distilled, and almost tamed. As we move through the first act, common household objects collaged in unexpected ways let us know right away that any vestiges of 19th-century Romanticism have been consigned to history’s dustbin.

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Widespread war, industrialized and on a scale like never before, brought about scathing depictions by artists such as George Grosz and Otto Dix and the filmmaker Fritz Lang, all of whom had firsthand knowledge of the battlefield. We reference these artists not only in the look of the sets and costumes, but also in their depiction of human interactions that they convey in their commentary on the absurdity of their times.

The Act II scene that takes place at a Venetian “cabaret”—which is also a bordello— logically lands us in the late 1920s. It was the height of the era’s uncertainty: governments and militaries were reorganizing, creating an atmosphere of unpredictability that manifested itself in a chaotic hedonism. In our staging of Act II the rear of the stage is a huge mirror, and the stage is covered with standing mirrors that reflect the bordello workers and their clientele. The shifting sparkle of mirrors dazzles as well as confuses, creating a sense of wealth and possibility that you somehow know, in your gut, is nothing more than a distorted reflection of an ugly reality. No matter how hard we wish to evade them, glimpses of the hardship underneath emerge through the cracks.

In Act III, as Fritz’s world collapses around him, it also begins to fade into something more sinister and isolating. The clarity of the previous pictures begins a slow entropic dissolution into oblivion. Fritz may not survive in the opera, but I really hope that Franz Schreker regains his rightful place in the repertory, and that there will be more productions that plumb the depths of this heartbreaking opera.

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Photo of Act II of the opera’s premiere production in Frankfurt, 1912

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Notes on the Program Schreker’s Distant Sounds

by Christopher Hailey Der ferne Klang is a young man’s work—daring and ambitious—that shocked the musical world at its premiere in 1912. Set in “the present,” it contains what were, in early 20thcentury Vienna, scandalous depictions of domestic abuse and backstreet prostitution, and a bewildering mélange of incongruent elements: abrasive realism and symbolist fantasy; soaring lyricism and guttural slang; rustling forest murmurs and the blast of train whistles. In a world of Wagnerian epigones, it was an anti-Wagnerian manifesto; Siegfried Wagner, the composer’s son, emerged from the premiere muttering, “It is as if my father had never lived.”

Schreker began Der ferne Klang around 1903 in the wake of a disappointing reception to his first opera, a one-act love story set in the age of knights and minstrels. After frustrating attempts to find a second libretto, he decided to write one himself, inspired, as he later recalled, by his own “youthful experience.” The leap into an urban setting resembling modern-day Vienna and featuring a composer-protagonist, led many to conclude that Der ferne Klang was an autobiographical Künstleroper (artist opera), a kind of x-rated amalgam of Berlioz’s Benvenuto Cellini and Offenbach’s Les contes d’Hoffmann. But it is a strange sort of autobiography when that protagonist, Fritz, leaves early in the first act; arrives again late in the second; and reappears, broken and spent, at the end of the third.

Fritz’s search for his distant sound may initiate the opera’s action, but is incidental to its unfolding. We learn little about Fritz himself beyond his aspirations and his regrets. All we really know is that his distant sound is an enticing fata morgana, shimmering forever half-formed on the horizon.

In truth, Der ferne Klang is more the story of Grete, the young girl Fritz abandons when he sets off on his quest. Her life in the provinces is dreary. She is the only child of a petit bourgeois family caught in a downward spiral. Her mother is cold and distant; her drunken, abusive father barters her off to a lecherous innkeeper to pay his gambling debts. Lured into prostitution by a mysterious procuress, Grete, now “Greta,” reigns for a time as the star attraction in an elegant Venetian bordello only to end up as “Tini,” a common streetwalker.

If Der ferne Klang is an autobiographical opera it is not because the features of its composer and his biography are to be found in either its protagonist or its plot. Rather, it is a record of his observations, an account of the world by an artist uniquely sensitive to its dreams and heartbreaks.

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Schreker was born in Monaco in 1878. His father, Ignaz Schrecker (the composer later dropped the second “c” from his surname), was a Jew from the Bohemian provinces who, through fierce ambition and hard work, built an international reputation as a court photographer in Budapest (his sitters included Franz Liszt and the Emperor Franz Josef I). But in 1876 he divorced his first wife, transferred his studio to a son, and converted to Protestantism in order to marry a Catholic from the Austrian landed gentry. Together these social outcasts led an itinerant life until Schrecker’s sudden death in 1888 left his widow and their four children—Franz, at 10, was the oldest—in dire poverty. Eleonore Schrecker moved the family to Vienna, where she made ends meet by taking in sewing and running a notions shop.

Schreker’s perspective on the world was shaped by these early experiences: memories of a bright, warm Mediterranean world; the jarring disruption of frequent moves; the technical wonders of his father’s atelier; and the existential crisis caused by a parent’s untimely death. These experiences fed both his fantasies and fears, in which utopian beauty was forever threatened by catastrophic collapse, and sober awakening followed soaring dreams—themes that run like a thread through his eight mature operas. His tragic sensibility led Schreker to remark that all happiness is illusory: “Intoxication— hovering around the light, then sudden incineration.”

Der ferne Klang is ostensibly a tale about Fritz and Grete, but as in all Schreker operas the central protagonist is humanity itself. Fritz’s distant sound is a sonic metaphor for the gulf between inspiration and its realization, between utopian hope and quotidian reality. This metaphor permeates the opera with dozens of instances in which offstage sounds—the clatter from a game of ninepins, a chorus in the wings, distant bells—serve as a reminder of a world that is out of sight, sometimes threatening, sometimes beckoning, but always just beyond the protagonists’ grasp. In Der ferne Klang, all of the characters are caught in a state of longing between what is and what was, might have been, or may still be.

Schreker once wrote that his opera was inspired by “this fool’s game of life with its uncertain outcome, by all those tragedies that brush past us and now and then ensnare us— if only fleetingly—in their tangled scenarios.” He was keenly attentive to the half-perceived dramas around him, and his goal in Der ferne Klang was to create in his audience this same awareness of life’s glancing tragedies. This is the reason he lavishes such care on his secondary characters. With a few deft strokes—quite literally “a novel in a sigh”—he captures something essential about their condition, as when Grete comforts her mother with the line, “Du bist ja auch—so arm” (You, too, are so—wretched), or when the Hack Actor admits, in passing, to a weak memory, giving a succinct insight into his life’s futility. Such details reveal the empathy Schreker feels for his characters, even “vil13

lains,” such as Grete’s father and the Innkeeper in the first act, the callous Count in the second, or the Dubious Character in the third. All are caught up in this “fool’s game of life.” As Dr. Vigelius says in the third act, “Wie sündigt die Welt—und wir alle mit ihr” (How the world sins – and all of us with it!). Der ferne Klang is an autobiographical work because it is a meticulous record of the insights of Schreker’s lived experience.

It is precisely this finely tuned observational perspective that led Schreker to develop a radically new kind of musical dramaturgy. In Der ferne Klang we no longer “view” the opera through a proscenium arch; rather, we “hear” it from the vantage point of the stage. To create this experience for his audience, Schreker uses sound to build shifting aural perspectives that are constantly in motion, not unlike a camera moving about a scene. Indeed, Schreker anticipated the language of cinema with sonic equivalents of tracking shots, rapid cuts, split screen, and montage. This has nothing to do with illustrative “movie music,” but rather with the way Schreker uses the ear to direct the eye, an aesthetic sensibility that is far closer to Charles Ives than to Erich Wolfgang Korngold.

This is most famously the case at the beginning of Act II, with its bewildering collage of on- and offstage ensembles, choruses, and styles. In his instructions in the score Schreker writes: “It is of little consequence whether the following scenes are completely intelligible or not . . .. [W]hat is important is that the listener gets the sense of being in the midst of this environment and its heady confusion.”

Another good example of Schreker’s unique aural sensibility is the scene during the premiere of Fritz’s opera at the beginning of Act III. There is spoken dialogue, recitative, and arioso, with sparse orchestral interjections. We hear small talk, lewd flirtation, earnest debate about long-past events. The scene involves a waitress, Dr. Vigelius, the Hack Actor, a singer, a policeman. In their midst a distraught Grete/Tini is being harassed by the previous night’s customer. It is an apparently indiscriminate mix of primary and secondary characters and incidents, a complicated polyphony of life-as-lived. And all this during the premiere of an opera that should by all rights be the central focus of our attention. Think of the fuss over “Walter’s Prize Song” in Die Meistersinger, or the Mass in Hans Pfitzner’s Palestrina. Here, Fritz’s opera, Die Harfe, is heard only in fragments from afar as a performance in progress, drifting in and out of consciousness. It is incidental background music, a subject of intermittent comment and even ridicule. By this means Schreker not only advances plot, but also relativizes the significance of the genre of opera itself, including the one we are watching. It is an endless hall of mirrors of art imitating life imitating art.

Schreker’s sophisticated dramaturgy gives his opera an edgy modernity that seems to contradict our first impressions of his music, which is often rich and lush. But this is not music of Romantic effusion, nor does it indulge in the nostalgia so central to Mahler and Korngold. Rather, Schreker uses his iridescent orchestra, highly expressive harmonic lan14

guage, and densely woven motivic texture to probe and dissect, with scalpel-like precision, the emotional and psychological life of his characters, most strikingly in Grete’s Act II dream narrative. Schreker is a dry-eyed Romantic. There is cool objectivity to his emotional intensity, but it is objectivity that springs from a well of profound compassion.

There are many good reasons for presenting Der ferne Klang in a festival year devoted to Alban Berg. Berg knew this opera intimately, having prepared the work’s piano vocal score, and he was much influenced by Schreker’s orchestration, harmonic language, formal design, skill at characterization, and polyphony of styles (as demonstrated in the tavern scene in Wozzeck). But beyond any specific musical or dramatic influence, Berg learned from Schreker that opera could be a riveting medium for communicating his deepest insights into the tragic truths of the human condition.

Christopher Hailey is the author of a biography of Franz Schreker (Cambridge, 1993), a coeditor of The Berg–Schoenberg Correspondence: Selected Letters (Norton, 1987) and the editor of the forthcoming Alban Berg and His World, published by Princeton University Press. He is the scholar in residence for the 21st annual Bard Music Festival.

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Who’s Who

Thaddeus Strassberger Director Thaddeus Strassberger, winner of the 2005 European Opera Directing Prize, directed the acclaimed 2009 SummerScape production of Meyerbeer’s Les Huguenots. His most recent productions include Ambroise Thomas’s Hamlet, conducted by Plácido Domingo, at Washington National Opera; Turandot at Theater Augsburg; La fanciulla del West at L’Opéra de Montreal; and Le nozze di Figaro at Norwegian National Opera. His upcoming new productions include Fidelio at Opera Boston, The Rape of Lucretia with Norwegian National Opera, and Der Rosenkavalier with Prague State Opera. After graduating from Cooper Union in 1998, Strassberger received a Fullbright Fellowship to complete the Corso di Specializzazione per Scenografi Realizzatori at Teatro alla Scala in Milan.

Leon Botstein Conductor Leon Botstein is music director and principal conductor of the American Symphony Orchestra and the Jerusalem Symphony Orchestra, the radio orchestra of Israel. Radio broadcasts of ©joanne savio

Botstein’s concerts with the Jerusalem Symphony Orchestra have been heard in syndication throughout the United States. He is also the founder and coartistic director of the Bard Music Festival, which celebrates its 21st anniversary this summer. Since 1975 he has been president of Bard College.

Botstein’s guest engagements have included the BBC Philharmonic, Bamberg Symphony, Budapest Festival Orchestra, Düsseldorf Symphony, London Philharmonic,NDR— Hamburg and Hannover, Royal Scottish National Orchestra, St. Petersburg Philharmonic, and Teatro Real Madrid, among others. In addition to a demanding schedule as a guest conductor, Botstein has also made a number of acclaimed recordings of works by Dukas, Chausson, Dohnányi, Liszt, Bruckner, Bartók, Hartmann, Reger, Glière, and Szymanowski for such labels as Telarc, New World Records, Bridge, Koch, and CPO. With the American Symphony Orchestra he has recorded live performances of two operas by Richard Strauss: Die ägyptische Helena, with Deborah Voigt, and Die Liebe der Danae, with Lauren

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Flanigan; a recording of Copland, Sessions, Perle, and Rands; and discs of Dohnányi, Brahms, and Joachim, among others. His recording with the London Symphony Orchestra of Gavriil Popov’s epic Symphony No. 1 and Shostakovich’s Theme and Variations, Op. 3, received a Grammy nomination in the category of Best Orchestral Performance.

Botstein is the editor of The Musical Quarterly and the author of numerous articles and books. For his contributions to music he has received the award of the American Academy of Arts and Letters and Harvard University’s prestigious Centennial Award, as well as the Cross of Honor, First Class, from the government of Austria.

Matthew Burns Innkeeper / An Usher In April the baritone Matthew Burns performed with Los Angeles Opera in the American premiere of Franz Schreker’s opera The Stigmatized (Die Gezeichneten). Burns’s other roles this season include Leporello in Don Giovanni, with Opera Cleveland, and Collatinus in The Rape of Lucretia, with Toledo Opera. His other recent career highlights include joining the roster of the Metropolitan Opera, and roles in two productions of Don Giovanni: the title role, with Arizona Opera, and Leporello, with Boston Lyric Opera. He made his Carnegie Hall debut singing Handel’s Messiah and his Avery Fisher Hall debut singing the Zeremonienmeister in Hindemith’s Das Nusch-Nuschi.

Marc Embree Dr. Vigelius / The Baron Marc Embree has performed an impressive 20th-century repertoire throughout North America, including Olin Blitch in Susannah, the title role in Kirke Mechem’s Tartuffe, Horace in Blitzstein’s Regina, Lukash in The Good Soldier Schweik, the Doctor in Wozzeck, Horace Tabor in The Ballad of Baby Doe, Arthur in Davies’ The Lighthouse, Orest in Elektra, the bass in Carlos Chavez’ The Visitors, and Frank Maurrant in Weill’s Street Scene, which was filmed at the Theater des Westens in Berlin and broadcast throughout Europe, Japan, and on BRAVO. His recordings include The Visitors on BMG and The Good Soldier Schweik on Cedille.

Yamina Maamar Grete Dramatic soprano Yamina Maamar made her American debut in 2007 as Grete in the American Symphony Orchestra’s concert performance of The Distant Sound in Lincoln Center’s Avery Fisher Hall. She has performed in most of Germany’s most important venues, including the Bavarian State Opera in Munich, the State Theater in Hannover, the City Theater in Bern, and the German National Theater, in Weimar. In the past few years she has debuted many of the most demanding roles of the dramatic soprano repertoire: the title roles in Aida, Adriana Lecouvreur, and Salome; the Wagnerian roles of Kundry and Senta; the Marschallin in Der Rosenkavalier; Elisabeth in Don Carlos; and Ariane in Ariane et Barbe-Bleue. Next season she will add the role of Leonore in Fidelio to her repertoire.

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Jeff Mattsey A Hack Actor / The Voice of a Man Baritone Jeff Mattsey most recently returned to the Metropolitan Opera as Marco in Gianni Schicchi, Mercutio in Roméo et Juliette, Schaunard in La bohème, and Silvano in Un ballo in maschera. Other recent engagements include Marcello in La bohème with the San Diego Opera, Figaro in Il barbiere di Siviglia with Opera Lyra Ottawa, Count CarlMagnus in A Little Night Music at Central City Opera, and several roles at the Vancouver Opera, including Renato in Un ballo in maschera, Riccardo in a concert performance of I puritani, and Sharpless in Madama Butterfly.

Corey McKern The Count / Rudolf Baritone Corey McKern’s recent engagements include Marcello in La bohème and Masetto in Don Giovanni with Santa Fe Opera; Papageno in Die Zauberflöte with Arizona Opera; Count Almaviva in Le nozze di Figaro with Opera Cleveland; Valentin in Faust with Opera Carolina; Figaro in Il barbiere di Siviglia with Opera Birmingham; Morales in Carmen with New York City Opera; and John Rutter’s Mass of the Children and Mozart’s Requiem at Carnegie Hall. His upcoming engagements include Marcello at Opera Hong Kong and the Santa Fe Opera, Count Almaviva with Nashville Opera and Opera Columbus, and Enrico in Lucia di Lammermoor in Birmingham.

Celine Mogielnicki Mary Earlier this year soprano Celine Mogielnicki created the role of Sir Elton John’s Trainer in the world premiere of David Little’s Vinkensport, at the Sosnoff Theater. She sang the roles of Leonard and Premiere Bohemienne in the 2009 SummerScape production of Les Huguenots. She made her Carnegie Hall debut singing “Vayomer Shlomo” (“And Solomon Said”) by Judd Greenstein as part of the Dawn Upshaw/Osvaldo Golijov Composer/Singer Workshop. Mogielnicki has an M.M. degree from the Bard College Conservatory of Music and a B.M. (with scholastic distinction) from the Juilliard School, where she was a recipient of the John Erskine Prize for academic and artistic achievement.

Jud Perry The Chevalier / A Dubious Character Tenor Jud Perry made his European début as Tamino in Die Zauberflöte in 2005 with the Hessian State Theater in Wiesbaden, Germany. He sang many new roles with the company in four years as lead lyric tenor. Career highlights include a début as Ernesto in Don Pasquale with Opera Ireland, and débuts in Montpellier, Nancy, Toulon, Saarbrücken, and Köln. He made his Kennedy Center debut at the 2005 Millennium Concert Series, and he won first place at the 2005 Metropolitan Opera Regional Auditions. Perry resides in Wiesbaden with his wife, Aurora Sein Perry, who is singing the role of Mizi in this production of The Distant Sound.

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Aurora Sein Perry Mizi Aurora Perry’s operatic repertoire includes Euridice in Orpheus in the Underworld, Susanna in Le nozze di Figaro, Tamiri in Gluck’s Semiramide, Blondchen in Die Entführung aus dem Serail, and Queen of the Night in Die Zauberflöte. She made her European debut in 2006 as Papagena in Die Zauberflöte at the State Theater in Wiesbaden, Germany. In 2007 she performed the lead role of Silja in the world premiere of Die versunkene Stadt

by Violeta Dinescu. Since 2008 she has been a member of the Young Artist Program at the State Theater in Mainz, Germany. She has made numerous appearances at the worldrenowned Internationale Maifestspiele. She lives in Wiesbaden with her husband, Jud Perry, who is singing the role of the Chevalier in this production of The Distant Sound.

Susan Marie Pierson Frau Graumann / An Old Woman / The Spanish Madame / A Waitress This American soprano is known for her powerful Wagner and Strauss heroines. She has sung Brünnhilde in 10 Rings and in individual operas with the opera companies of Helsinki, Chemnitz, Mannheim, Virginia, and San Francisco, and she has covered the role for Chicago and the Met. She has sung Elektra with Teatro Colon, Chemnitz, Pittsburgh, Austin, and Toronto (where she was nominated for a Dora Award). Her other roles include Salome, Tosca, Senta, Kostelnicka, and Desdemona. The winner of the Pavarotti Competition, she sang Amelia in Un ballo in maschera with Luciano Pavarotti in Philadelphia, Bologna, and in Milan at La Scala. Titanic Records released Tristan und Isolde with her debut as Isolde in Sofia, Bulgaria.

Mathias Schulz Fritz Berlin-born tenor Mathias Schulz began his career as a member of the ensemble in St. Gallen, Switzerland, followed by a three-year engagement at the German National Theater in Weimar. Since the 1998 season, Schulz has been busy as a freelance artist, singing at venues throughout Europe. He has performed in Venice, Catania, Vienna, Budapest, Bratislava, Romania, and all over Germany. In September he will make his debut at the Hannover State Opera in the role of the Foreigner in Luigi Nono’s opera Intolleranza 1960.

Peter Van Derick Herr Graumann / A Chorister Baritone Peter Van Derick made his Metropolitan Opera debut in April 1995 in John Corigliano’s The Ghosts of Versailles, and has returned to the Met to sing roles in Die Zauberflöte, Salome, A Midsummer Night’s Dream, Capriccio, and Andrea Chénier. In March 1997 he portrayed the title role in 14 performances of Gianni Schicchi with the Metropolitan Opera Guild. Van Derick has maintained a private voice studio in New York City for over 15 years, teaching both classical and musical theater. He has been on the fac-

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ulty of the Lee Strasberg Institute and at Collaborative Arts Project 21, and he currently teaches musical theater at Marymount Manhattan College.

Jaime Van Eyck Milli Mezzo-soprano Jamie Van Eyck’s recent roles include Mercédès in Carmen and Miss Jessel in The Turn of the Screw for Madison Opera, Dido in Dido and Aeneas at Moscow’s Golden Mask Festival, and Cherubino in The Marriage of Figaro for Opera Theatre of Saint Louis.

In 2009, she sang world-premiere performances of works by Ned Rorem and George Crumb at Carnegie Hall and at Philadelphia’s Kimmel Center. Her upcoming engagements include performances with Boston Lyric Opera, Utah Opera, and the Madison Symphony Orchestra.

Narelle Sissons Set Designer Narelle Sissons’s credits as an opera set designer include Choephorae, in Patras, Greece, directed by Lee Breuer; Die schwarze Spinne for New York City’s Gotham Chamber Opera; Peter Brook’s production of Tragedie de Carmen for Florida Grand Opera; La bohéme for Triangle Opera; and many productions for the Juilliard School and Manhattan School of Music. She is a past winner of the Drama Desk, American Theatre Wing, Kevin Kline, Back Stage West, and Leon Rabin awards, and she was an exhibitor at the 2007 Prague Quadrennial, an international design exhibition. Sissons is a graduate of Central Saint Martins College of Art and Design and of the Royal College of Art in London.

Aaron Black Lighting Designer Aaron Black’s design work runs the gamut of disciplines, from lighting for dance, theater, and opera to production design and art direction for film and television to large-scale design for amusement parks. His New York lighting credits include the Drama Desk Award–winning revival of Black Nativity at the Duke on 42nd St (Audelco Award nomination for outstanding lighting design) and the Audelco Award–winning Archbishop Supreme Tartuffe at Theatre Row Studios.

Mattie Ullrich Costume Designer Mattie Ullrich is returning for her third SummerScape season (Les Huguenots, 2009; The Sorcerer, 2007). Recent opera work includes Zaide and Ariadne auf Naxos at Wolf Trap Opera. Ullrich received the European Opera Prize in 2006 for her collaboration with Thaddeus Strassberger on Opera Ireland’s La Cenerentola. In addition to opera, her diverse repertoire encompasses film, theater, musicals, and print. Recent Off-Broadway credits include The Pride (directed by Joe Mantello) and The Starry Messenger (with Matthew Broderick). Year of the Fish (Sundance, 2007) and Sovereignty (an award-

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winning short) are among her notable film work. Next winter, Ullrich and Strassberger will collaborate again, on a new production of The Rape of Lucretia for the Norwegian National Opera.

Peter Nigrini Projection Designer Peter Nigrini designed the Broadway productions of Fela!, 9 to 5, and Say Goodnight Gracie. Other designs include the Grace Jones Hurricane Tour, Madame White Snake (Opera Boston/Bejing Music Festival) Haroun and the Sea of Stories (City Opera), Blind Date (Bill T. Jones/Arnie Zane Dance Company), Fetch Clay, Make Man (McCarter Theater Center), The Orphan of Zhao (Lincoln Center Festival), Notes from Underground (Yale Rep/La Jolla Playhouse), and Dido and Aeneas (Handel Haydn Society). For Nature Theater of Oklahoma, Nigrini designed No Dice (2008 Obie Award); he also designed Romeo and Juliet (Salzburger Festspiele) and Life & Times (Burgtheater, Vienna) among others. Selected fine art projects include Local Currencies: Diogenes/Barnum (ICA London/SFMoMA), and Cosmicomics (Sequitur Ensemble).

James Bagwell Chorus Master James Bagwell has been director of choruses for the Bard Music Festival since 2003. In addition to his work as chorus master for The Distant Sound, he is the conductor for the SummerScape 2010 production of the Viennese operetta The Chocolate Soldier (August 5–15 in Theater Two). 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 codirector of the graduate Choral Conducting Program at the Bard College Conservatory of Music.

Paul Peers Assistant Director Paul Peers directs both theater and opera. He recently directed Blue Balloon, by Libby Leonard, at New York Theatre Workshop’s West 4th Street space. His opera-directing credits include Handel’s Xerxes and Amadigi di Gaula for Grammy–nominated Boston Baroque, and Mozart’s La finta giardiniera at the Kasser Theater in New Jersey. Off-Off Broadway, he has directed Shadow Boxing, Love is in the Air, and Talk to me like the rain and let me listen. He has also directed productions in Australia and Germany, and he was recently invited to direct at the Kanagawa Arts Theatre in Yokohama, Japan.

Marjorie Folkman Movement Director Marjorie Folkman has choreographed works for Boston Baroque, Opéra Français de New York, Bargemusic/Brooklyn, Salon Project at DIA, Dance Umbrella/Boston, Studio

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313/Montréal, Barnard College, Bard College at Simon’s Rock, and Richard Stockton College, among others. A member of the Mark Morris Dance Group from 1997 to 2006, Folkman also danced in the companies of Martha Clarke (Garden of Earthly Delights), Sara Rudner, Amy Spencer/Richard Colton, Kraig Patterson, and the Repertory Understudy Group for the Merce Cunningham Dance Company. Folkman graduated summa cum laude from Barnard College. She has an M.A. in American Studies from Columbia University. Her future projects include Les indes galantes for Boston Baroque in 2011.

Greg Ritchey Principal Music Coach Greg Ritchey is assistant conductor and chorus master for Palm Beach Opera. He also serves as assistant conductor at Opera Theatre of Saint Louis. Earlier this year he conducted performances of Brundibar and Le nozze di Figaro in St. Louis and a production of Carmen in Palm Beach. He previously held staff positions at Central City Opera, Virginia Opera, Sarasota Opera, and Kentucky Opera. Ritchey made his European conducting debut at the Amalfi Coast Music Festival in 2007. He has a B.M. degree from the University of North Texas and an M.M. degree from Juilliard.

Lynn Krynicki Stage Manager This is Lynn Krynicki’s seventh consecutive season as stage manager for the Bard SummerScape opera. She currently resides in Washington, D.C., where she has been a part of the stage management staff at the Washington National Opera for the past 10 seasons, stage managing operas such as Der fliegende Holländer, Siegfried, and Ariadne auf Naxos. Krynicki’s other notable credits include the North American premiere of The Picture of Dorian Gray at Florentine Opera; Carmen, performed in Van Andel Arena for Opera Grand Rapids; and the world premiere of Gabriel’s Daughter at Central City Opera.

She has also worked for Seattle Opera and Nashville Opera.

American Symphony Orchestra The American Symphony Orchestra was founded in 1962 by Leopold Stokowski, who defined its mission: “to offer great music within the means of everyone.” Under its current music director, Leon Botstein, the American Symphony has enhanced that mission by pioneering the performance of thematically organized concerts, linking music to the visual arts, literature, politics, and history. It also specializes in the revival of underplayed repertoire from the last 200 years, all as part of its effort to make orchestral music accessible as well as affordable to everyone.

The American Symphony performs its Vanguard Series at Carnegie Hall. In addition, it offers a celebrated lecture/concert series with audience interaction, entitled 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 it performs an 22

annual winter concert series, as well as participating in Bard’s annual SummerScape Festival and the Bard Music Festival. The American Symphony also recently became the resident orchestra of the Collegiate Chorale, performing regularly in the Chorale’s New York concert series. The ASO’s award-winning music education program is active in numerous high schools throughout New York, New Jersey, and Long Island.

Many of the American Symphony’s concerts are now downloadable. Among its CDs are music by Copland, Sessions, Perle, and Rands (New World Records); music by Ernst von Dohnányi (Bridge Records); Richard Strauss’s opera Die ägyptische Helena with Deborah Voigt, and Strauss’s Die Liebe der Danae (Telarc); Franz Schubert: Orchestrated (Koch); and Johannes Brahms’s Serenade No. 1 in D major, Op. 11 (Vanguard). The American Symphony inaugurated São Paolo’s new concert hall and has made several tours of Asia and Europe.

It has a long history of appearing in charitable and public benefits for such organizations as the Jerusalem Foundation and PBS.

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American Symphony Orchestra Leon Botstein, Music Director

violin i

bass

trumpet

Erica Kiesewetter, Concertmaster Yukie Handa Patricia Davis Elizabeth Nielsen John Connelly Ann Labin Jennifer Kim Ashley Horne Joanna Jenner Mara Milkis

Jacqui Danilow, Principal Jack Wenger Louis Bruno Peter Donovan Louise Koby

John Sheppard, Principal Nathan Botts Jason Covey

violin ii

oboe

timpani

Robert Zubrycki, Principal Wende Namkung Heidi Stubner Yana Goichman Lucy Morganstern Alexander Vselensky Ann Gillette David Steinberg

Laura Ahlbeck, Principal Erin Gustafson Katherine Halvorson

Benjamin Herman, Principal

flute Laura Conwesser, Principal Elizabeth Brown Diva Goodfriend-Koven, Piccolo

trombone Kenneth Finn, Principal Thomas Hutchinson Dean Plank

tuba Kyle Turner

percussion Laura Flax, Principal Marina Sturm Dennis Smylie, Bass clarinet

Kory Grossman, Principal Javier Diaz Charles Descarfino Matthew Beaumont Matthew Donello

Sarah Adams, Principal Shelley Holland-Mortiz Sally Shumway Adria Benjamin Crystal Garner Rachel Riggs

bassoon

harp

Charles McCracken, Principal Maureen Strenge Gilbert Dejean, Contrabassoon

Sara Cutler, Principal Victoria Drake

cello

horn

Eugene Moye, Principal Roberta Cooper Sarah Carter Diane Barere Tatyana Margulis Anik Oulianine

Zohar Schondorf, Principal Kyle Hoyt Chad Yarbrough Theodore Primis Sara Cyrus, Assistant

clarinet

viola

celeste Elizabeth DiFelice, Principal

assistant conductors Teresa Cheung Geoff McDonald

librarian Sebastian Danila

personnel manager Ronald Sell 24

banda/off-stage

cello

harp Victoria Drake

violin

Igor Scedrov Lanny Paykin

Ragga Petursdottir Pauline Kim Laura Hamilton Lisa Steinberg Sebu Sirinian Laura Bald Lisa Tipton Rick Dolan

viola Martha Brody Arthur Dibble David Fallo Sadie DeWall

celeste bass

Elizabeth DiFelice

John Babich Richard Ostrovsky

piano Jennifer Chu

flute Karla Moe

mandolin

clarinet

Scott Kuney Stephen Benson Kevin Kuhn

Pavel Vinnitsky Christopher Cullen

guitar horn Ronald Sell Sara Cyrus

Oren Fader William Anderson

cimbalom percussion

Richard Grimes

Matthew Strauss

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

Sustaining Society Sapphire Thurmond Smithgall Platinum National Endowment for the Arts New York State Council on the Arts The Winston Foundation Gold City of New York Department of Cultural Affairs Jeanne Donovan Fisher Rockefeller Brothers Fund Silver The Fan Fox and Leslie R. Samuels Foundation, Inc Mary and Sam Miller Open Society Institute Alicia and Tom Settle Felicitas S. Thorne

ORCHESTRA CLUB Sponsor GGGroup, Inc. Robert A. Fippinger and Ann F. Kaplan Ms. Faith Golding and Dr. Peter J. Linden Eileen and Peter Rhulen Mrs. James P. Warburg Affiliate Anonymous The Bay and Paul Foundations, Inc. Leon Botstein Carroll, Guido & Groffman, LLP The Donner Canadian Foundation Ann and Gordon Getty Foundation Danny Goldberg and Rosemary Carroll Home Box Office, Inc. Jack Kliger Jay Kriegel M5 Networks, Inc. Lynne Meloccaro Dimitri Papadimitriou The David and Sylvia Teitelbaum Fund On behalf of the Estate of Henry and Sidney Cowell Mr. and Mrs. Richard Wilson Patron The Atlantic Philanthropies Director/Employee Designated Gift Fund Michael Dorf Jim and Mary Ottaway The Solon E. Summerfield Foundation 26

Fellow Sidney Babcock Joel and Ann Berson Connie Chen Russell Dian Mrs. Joan and Dr. Julius H. Jacobson Rachel and Shalom Kalnicki Arthur S. Leonard Mimi Levitt Ross Lipman JoAnne Meloccaro Ursula H. Moran Shirley A. Mueller Mark Ptashne Patricia Saigo Jan and Marcia Vilcek Tappan Wilder

STOKOWSKI CIRCLE Principal Karen A. Finkbeiner Erica Kiesewetter Pamela Mazur Leszek Wojcik Associate Anonymous (2) Gary Arthur Page Ashley Bialkin Family Foundation Melody Hunt Marcia Moor Kurt Rausch for Flowers Mr. and Mrs. David E. Schwab II David Schwartz Peter Sourian The John L. and Sue Ann Weinberg Foundation Friend Leslie Allen George W. Bahlke Reina Barcan Cecile Gray Bazelon David C. Beek Mark Beigelman Marjorie Burns Thomas Cassilly Bette R. Collom Peter E. De Janosi Paul Ehrlich Julie Fuentes Joseph L. Gilman Max Hahn Ellen Harris Sara Hunsicker George H. Hutzler Herbert P. Jacoby Robert Kalish Adrienne Katz Richard P. Kelisky David Kernahan Peter Kroll

Steve Leventis Daniel and Nina Libeskind Allan Mallach Jeanne Malter Stephen J. McAteer Carolyn McColley Phyllis Mishkin Tatsuji Namba Kenneth Nassau James and Andrea Nelkin Angelina Painter Peter Pohly Dr. and Mrs. Arnold Rosen Harriet Schon Lynn Schusterman Janet Z. Segal Joseph and Jean Sullivan Robin Thompson Jon P. Tilley Karen Unger Siri von Reis Larry A. Wehr Wayne and Dagmar Yaddow Alfred Zoller Music plays a special part in the lives of many New York residents.

The American Symphony Orchestra gratefully acknowledges the support of the following government agencies that have made a difference in the culture of New York: The National Endowment for the Arts Mr. Rocco Landesman, Chairman New York State Council on the Arts The Honorable David A. Paterson, Governor The New York City Department of Cultural Affairs The Honorable Michael R. Bloomberg, Mayor The Honorable Kate D. Levin, Commissioner List current as of June 18, 2010

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 Emily H. Fisher and John Alexander Jeanne Donovan Fisher 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.

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 True Love Productions

Mary I. Backlund and Virginia Corsi Sandra and A. John Blair III Anne Donovan Bodnar and James L. Bodnar Anne and Harvey Brown Mr. and Mrs. Gonzalo de las Heras Barbara and Richard Debs Tambra Dillon Dirt Road Realty, LLC Gordon Douglas Ines Elskop and Christopher Scholz Elizabeth W. Ely ’65 and Jonathan K. Greenburg Alan and Judith Fishman Susan Fowler-Gallagher Peter C. Frank GE Foundation Gideon and Sarah Gartner Foundation of the Fidelity Charitable Gift Fund Sally and William Hambrecht The Harkness Foundation for Dance, Inc. Eliot D. and Paula K. Hawkins HSBC Philanthropic Programs Dr. Harriette Kaley Mr. and Mrs. George A. Kellner Dr. Barbara Kenner Ruth Ketay and Rene Schnetzler Jane and Daniel Lindau Low Road Foundation Stephen Mazoh and Martin Kline Elizabeth I. McCann John McNally W. Patrick McMullan and Rachel McPherson Illiana van Meeteren Stuart Breslow and Anne Miller Stanley and Jane Moss Kathleen O’Grady Alexandra Ottaway

Quality Printing Company 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 Darcy Stephens Barbara and Donald Tober Illiana van Meeteren and Terence C. Boylan Margo and Anthony Viscusi Aida and Albert Wilder

Friends of the Fisher Center Producer Fiona Angelini and Jamie Welch Arthur F. and Alice E. Adams Foundation Chartwells School and University Dining Services Barbara Ettinger and Sven Huseby The Ettinger Foundation, Inc. Alexander Fisher MFA ’96 Catherine C. Fisher and Gregory A. Murphy R. Britton and Melina Fisher The Jerome Robbins Foundation Key Bank Foundation Michael Del Giudice and Jaynne Keyes Harvey and Phyllis Lichtenstein Chris Lipscomb and Monique Segarra The Maurer Family Foundation, Inc. Mid Atlantic Arts Foundation 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 Drs. M. Susan and Irwin Richman Ingrid Rockefeller David E. Schwab II ’52 and Ruth Schwartz Schwab ’52 Allan and Ronnie Streichler Patron Helen and Roger E. Alcaly Kathleen and Roland Augustine

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 27

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 28

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

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 Trust

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 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 David and Nancy Hathaway

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.

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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 30

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 John and Claire Reid 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 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

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.

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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

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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Jeannie Schneider Business Manager

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

Artistic Staff Leon Botstein Music Director James Bagwell Principal Guest Conductor Theresa Cheung Assistant Conductor Geoffrey McDonald Assistant Conductor Susana Meyer Artistic Consultant Susana Meyer Artistic Consultant

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

Richard Wilson Composer-in-Residence

Ann Gabler Manager, Music Education and School Outreach

Administration

Michael Blutman Co-Manager, New Jersey In-School Programs

Lynne Meloccaro Executive Director Oliver Inteeworn General Manager

Clifford J. Brooks Co-Manager, New York In-School Programs

Alicia Benoist Director of Development 33

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: One World, 1899, Maximilian Lenz. ©Szépmûvészeti Múzeum, Budapest Page 7 and 10–11: Images courtesy of the Schreker Foundation

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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 Carpenters Mike Zally Assistant Technical Director Sean Maloney Master Carpenter 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

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

Spiegelmaestro Nik Quaife

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

Brie Furches Costume Shop Manager

Christina Reitemeyer ’07 Senior Assistant House Manager

Bethany Itterly First Hand

Lesley DeMartin ’11 Senior Assistant House Manager

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 Hair and Makeup Jennifer Donovan Hair and Makeup Supervisor

Brandon Koenig Master Electrician, Sosnoff Theater

Christal Schanes Makeup Artist

Sarah Bessel ’11 Morgan Blaich

Curtis Allen Matthew Waldron

Austin Miller ’06 House Manager

Andrew Hill Lighting Supervisor

Claire Moodey Master Electrician, Spiegeltent

Lily Fairbanks Assistant Properties Supervisor

Costumes

Electrics

Joshua Foreman Master Electrician, Theater Two

Brian Kafel Properties Supervisor

Caitlyn DeRosa Emily Rice ’10 Emily Di Palo Nicholas Reilingh Jenna Abrams ’10 Aram Kolesar Housekeeping Dennis Cohen Anna Simmons Melissa Stickle Assistants to the Facilities Manager Chad Cole Walter Tauvalt

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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)

Fax

E-mail

SAVE THE DATES

BARDSUMMERSCAPE 2010 operetta august 5–15 Oscar Straus’s

The Chocolate Soldier A charming comic take on an unusual boy-meets-girl scenario.

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.

spiegeltent july 9 – august 22

Cabaret, Family Fare, SpiegelClub, and more 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.