Verdi's Messa da Requiem

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

giuseppe verdi

essa da RE UIEM Featuring members of the Bard College Conservatory Orchestra Longy Conservatory Orchestra American Symphony Orchestra

April 25 and 26, 2014

About The Richard B. Fisher Center for the Performing Arts at Bard College The Richard B. Fisher Center for the Performing Arts, an environment for world-class artistic presentation in the Hudson Valley, was designed by Frank Gehry and opened in 2003. Risk-taking performances and provocative programs take place in the 800-seat Sosnoff Theater, a proscenium-arch space, and in the 220-seat Theater Two, which features a flexible seating configuration. The Center is home to Bard College’s Theater & Performance and Dance Programs, and host to two annual summer festivals: SummerScape, which offers opera, dance, theater, film, and cabaret; and the Bard Music Festival, which will celebrate its 25th year in August with “Schubert and His World.”

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

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

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

Giuseppe Verdi

essa da Requiem Members of the Bard College Conservatory Orchestra, Longy Conservatory Orchestra, and American Symphony Orchestra Leon Botstein, Conductor Messa da Requiem (1869–74) I. Requiem and Kyrie II. Dies irae 1. Dies irae 2. Tuba mirum 3. Mors stupebit 4. Liber scriptus 5. Quid sum miser 6. Rex tremendae 7. Recordare 8. Ingemisco 9. Confutatis 10. Lacrymosa III. Offertory IV. Sanctus V. Agnus Dei VI. Lux aeterna VII. Libera me Jennifer Check, soprano; Sara Murphy, mezzo-soprano; Brian Cheney, tenor; Wayne Tigges, bass-baritone Bard College Chamber Singers, Longy Conservatory Chorale, and Bard Festival Chorale James Bagwell, chorus master Sosnoff Theater Friday, April 25, and Saturday, April 26 at 8 pm | Preconcert talk at 7 pm by Peter Laki

Running time for this concert is approximately 85 minutes, without intermission.

We dedicate these performances of Verdi’s Requiem to the memory of William Weaver, who taught at Bard College from 1992–2002. He was a beloved member of the community and one of the greatest experts on Italian opera, in particular the work of Verdi, in the 20th century.

There can be no finer tribute to his memory than the performance of this indescribably powerful requiem.—Leon Botstein

William Weaver and Verdi’s Requiem The Verdi Requiem that is being performed at the Richard B. Fisher Center for the Performing Arts on Friday and Saturday, April 25 and 26, was written in solemn grief at the death of the novelist Alessandro Manzoni—a heroic figure in 19th-century Italian literature. Verdi was paying homage to a writer whose masterwork, I promessi sposi, served as an important catalyst for the development of a sense of national identity for all Italians. The novel, which we know as The Betrothed, had some of the same rallying power that Verdi himself—his personality, his music, his very name—had for the development of a modern Italian national consciousness. For years, in fact, this immense, wellnigh operatic, funeral music was commonly known as the Manzoni Requiem. (I grew up in an Italian neighborhood in Brooklyn where the one book all the young people knew was that Manzoni novel; some even read it in Italian.)

It is wonderfully apt to choose the Manzoni Requiem as a way of honoring William Weaver, who did more than any writer ever to make that Italian consciousness and literature not just available in English, but powerful and beautiful in English, and by those efforts create in the American reading public a generous sense of modern Italy and its writers. Weaver’s language was never meager or simply adequate; he reached for the same sorts of beauty that he found in his original authors: Gadda, Calvino, Levi, Moravia, Morante, Eco. That quest for perfection showed up not just in translation (his version of Eco’s The Name of the Rose strikes me as one of the greatest translations I’ve ever read), but in his work with the students who had the good fortune to work with him at Bard. Whatever language they worked from, whatever the level of their own literary striving, Weaver insisted on the integrity of the finished product, which must be faithful not only to the meaning of the original, but to the genius of the language into which it must come. (His own novel, A Tent in This World, takes us to Naples at the end of World War II, the milieu of Malaparte’s The Skin. Weaver brilliantly and tenderly examines a young American sensibility finding its way into a great culture that has suffered an immense catastrophe.)

At Bard, we were lucky indeed to know Bill Weaver from 1992 to 2002, an inspiring colleague with a devilish wit on committees who was also one of the most generous scholars and writers we’ve ever enjoyed. He came to us at a time in his life when most people are thinking of retiring, but devoted to us the excited energy of someone fresh to the game.

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Some of us had known him before Bard—in fact, millions of us had listened to him week after winter week on the Saturday afternoon broadcasts of the Metropolitan Opera; for years Bill Weaver was a star of the Opera Quiz. His knowledge was immense but lightly administered: he always reacted not as a scholar but as a lover of music, playful, personal, funny. His solidity of information was backed by his thorough scholarship in opera, Verdi in particular, and in the performers who brought opera to life, often with largerthan-life lives of their own—Maria Callas his special diva.

This was the man who came to Annandale and gave us so much unforgettable collegiality and challenge, while continuing his lifelong agenda of bringing Americans the language of music and the music of language. We miss him still, and keep him in mind during the great Requiem.

—Robert Kelly, Asher B. Edelman Professor of Literature

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Notes on the Program Giuseppe Verdi Born in Le Roncole, Duchy of Parma, on October 10, 1813 Died in Sant’Agata, Italy, on January 27, 1901 Messa da Requiem (1869–74) Throughout his long life, Giuseppe Verdi devoted his energies almost exclusively to the writing of operas. He wrote only a few works in other forms, of which the Requiem is by far the most important. Since it is a vocal work for chorus and soloists (whose parts are every bit as demanding as any Verdian stage role), commentators have been quick to call the Requiem “operatic.” (The first to do so—and he definitely did not mean it as a compliment—was Hans von Bülow, the German pianist-conductor whose wife, Cosima Liszt, had recently left him for Richard Wagner.) Granted, Verdi was true to his own unmistakable personal style, which is primarily known from his operas. Yet it is important to remember that many of Verdi’s operas contain scenes of religious inspiration (the “Miserere” in Il trovatore and the “Ave Maria” in Otello are only two of the most famous examples); the works are not considered any less operatic for containing sacred texts.

Indeed, any separation between sacred and secular in Verdi’s work is artificial; what mattered to him was to express human emotions through the human voice, whatever the nature or the source of those emotions might be.

Verdi felt a spiritual need to write his Requiem. Unlike most of the operas, the Mass of the Dead was not commissioned by anyone; the composition was Verdi’s own initiative, a project that occupied him for several years. As a matter of fact, one has to talk about not one project but two, for the Requiem idea first arose in a form that never came to fruition.

On November 13, 1868, Gioachino Rossini passed away at the age of 76. The last surviving member of the great triumvirate of opera composers before Verdi was gone (Bellini and Donizetti had died many years earlier). Verdi, well aware that a whole era of musical history had come to an end, took the initiative—with the help of his publisher, Tito Ricordi— to invite a group of composers to write a joint Requiem. The composers duly completed their work, but the performance fell through because of technical difficulties. (The Messa per Rossini remained unperformed until 1988.)

Verdi had written the “Libera me” movement for this composite Requiem; this extremely powerful contribution subsequently languished in the composer’s drawer. Four years passed before Verdi decided to write an entire Requiem Mass of his own, to incorporate the unused “Libera me.” The completed work was eventually dedicated to the memory of another great Italian artist, the novelist Alessandro Manzoni. After completing Aida in 6

1871, Verdi may well have thought that he would write no more operas (his two late masterpieces for the theater, Otello and Falstaff, would only come many years later). By turning to sacred music, he may also have seen a parallel with Rossini, who, after the end of his operatic career, went on to write his Stabat Mater and Petite messe solennelle.

Yet there is no doubt that it was Manzoni’s death, at age 88 on May 22, 1873, that gave the writing of the Requiem a real purpose. Verdi deeply revered Manzoni, whose novel I promessi sposi (The Betrothed) is one of the great classics of Italian literature. As at the time of Rossini’s death five years earlier, he again voiced feelings about an era having ended, and offered his Requiem to the city of Milan, where Manzoni had made his home, to be performed on the first anniversary of the novelist’s death.

This time, nothing stood in the way of the performance; the premiere, at Milan’s San Marco church on May 22, 1874, was a resounding success and was followed by three more performances at La Scala, Milan’s famous opera house. (The two female soloists, Teresa Stolz and Maria Waldmann, were the first Aida and the first Amneris, respectively.)

Within a year, the work was performed in Paris, London, Vienna, and New York.

Any composer writing a Requiem in the 1870s had to be keenly aware of the great previous accomplishments of Mozart, Berlioz, and Cherubini (the latter almost completely neglected today, but held in high esteem throughout the 19th century). The first thing Verdi had to do was to define his own personal approach to the subject. From the outset, he clearly intended to give the vocal soloists far more important roles than had been the case in other Requiems.

In addition, he was committed to driving home the emotional meaning of the text as strongly as possible. As a result, the very first word, “Requiem,” is whispered rather than sung by the chorus, to avoid any musical embellishments standing in the way of the word itself.

Soon after that, of course, Verdi unleashed some of the great melodies of which he was the undisputed master. But his use of melody in the Requiem is always determined by what the sacred text calls for. The contrast between the whispered word “Requiem” and the beautiful violin melody that introduces the words “lux perpetua” (“eternal light”) shows how deeply Verdi penetrated the spirit of that text. For “Te decet hymnus,” Verdi wrote a hymn for unaccompanied chorus, whose contrapuntal imitations suggest Renaissance polyphony. After a return of the “Requiem aeternam” section (with choral whispers and lyrical violins) the soloists take over in the “Kyrie,” a fervent plea for mercy (“eleison”).

The dramatic high point of the Requiem is, without question, the monumental Dies irae, based on the famous medieval poem, attributed to Thomas of Celano (around 1250), depicting the Last Judgment. The mighty strokes of the timpani and bass drum serve as a backdrop for one of the most powerful expressions of fear and anguish in the entire history of music. The eruption of intense emotions gradually yields to silent shudders at the words “Quantus tremor est futurus” (“How great a trembling there shall be”).

Another violent explosion occurs at “Tuba mirum” (with onstage and offstage brass), followed by a whisper expressing the “stupefied” (stupebit) state in which death and nature 7

find themselves at the sound of the trumpet. The same extremes characterize the mezzo-soprano solo “Liber scriptus” (“A written book”), which culminates in a reprise of the movement’s dramatic opening.

The mood changes in “Quid sum miser,” as the tempo slows down and the mezzosoprano begins a beautiful lyrical melody surrounded by the figurations of a solo bassoon. This is where the poem suddenly switches to first-person singular: “What can a wretch like me say?” The section evolves into a profoundly moving trio between soloists (soprano, mezzo, tenor), which should perhaps be called a quartet, as the bassoon effectively takes the place of the bass singer as the fourth soloist in the section.

Bass voices and low-pitched instruments intone the solemn “Rex tremendae majestatis” (“King of terrible majesty”), answered by an ethereal melody at “Salva me” (“Save me”).

The two contrasting ideas are combined in a powerful passage uniting all the performing forces; a quiet restatement of “Salva me” leads into “Recordare” (“Remember”), a heart-rendingly beautiful duet for female voices. The tenor soloist sings “Ingemisco” (“I groan”) in a tone that is in turn tender and heroic; the bass’s “Confutatis maledictis” (“When the damned are dismayed”) again links images of turmoil and salvation in a dramatically poignant way. The lyrical conclusion of the bass aria is brusquely interrupted by another reprise of the movement’s opening with its formidable drum strokes.

The “Dies irae” concludes with the exceptionally moving “Lacrymosa,” whose melody comes from a duet Verdi had composed for Don Carlos but discarded before the premiere. The mezzo-soprano soloist begins the theme, gradually taken over by the entire orchestra and all the singers. The movement ends with a memorable coda, including an unaccompanied passage for the four soloists and a final Amen with some highly unusual chord combinations.

The main melody of the Offertory—an eminently lyrical idea—is introduced by unaccompanied cellos and subsequently taken over by the soloists. First the three lower voices sing together; the entrance of the soprano, on a long-held note and accompanied only by violins in their high register, depicts St. Michael showing the departed souls the light of eternity. A new theme, developed in imitation, and another idea, with strong rhythmic energy, express the image of the earthly community (“Abraham and his seed”). With the middle section “Hostias et preces” (“Sacrifices and prayers”) we are back to the heavens, as it were. Introduced by the tenor, this is a quiet prayer for eternal life, followed by an expanded return of the “Abraham” section. The movement ends quietly, with a repeat of the plea for life, rising from the lowest register of the voices to the highest, and fading away with the sound of the muted strings.

The Sanctus is a fugue for double chorus, in which the texts “Sanctus,” “Osanna,” and “Benedictus” are all combined, contrary to traditional practice. The vigorous contrapuntal activity stops in the final section of the movement, where the melody is presented in augmentation (twice as slowly as the first time) in preparation for a grandiose ending.

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The beginning of the austere Agnus Dei alludes to (though does not actually quote) Gregorian chant with its unaccompanied single vocal line, sung by the soprano and mezzo soloists in parallel octaves. The melody is repeated, without any changes, by the chorus. The instruments of the orchestra join in during further repeats of the melody, alternating between soloists and chorus. The most remarkable of these is the breathtaking quintet of two singers and three flutes, followed by a choral response and a short, highly emotional coda.

In Lux aeterna, the idea of eternal light is symbolized by the tremolos (fast, repeated notes) of the violins in a high register and—later in the movement—by the piccolo’s striking staccato motif (one moving in well-separated fast notes). A warm melody, first introduced by the bass soloist, is associated with the words “requiem aeternam” (“eternal rest”). Three of the four soloists (mezzo, tenor, and bass) come together in a harmonically intricate, unaccompanied trio to praise God for His mercy (“quia pius es”).

The Libera me movement (the one Verdi had written for the aborted Messa per Rossini and later revised for the Manzoni Requiem) returns to the intense contrasts that characterized earlier movements, especially the first two. This movement is for soprano solo and chorus.

Like the opening of the entire Requiem, the “Libera me” begins with some speechlike recitation, with nothing distracting from the dark words of the liturgy. Yet the judging of the world by fire soon prompts an impassioned outburst, and the trembling of the terrified soul is rendered by a very unsettling motion in descending half steps. Since the text repeats the words “Dies irae” here, it was logical for Verdi, while revising the Requiem in 1874, to bring back, once more, the dramatic theme with the unforgettable drum strokes, which had already been heard several times. The final evocation of the Judgment is followed by a varied repeat of the first movement (“Requiem aeternam”), scored here for a cappella voices. A brilliant and fiery fugue crowns the movement, but the last word, like the first, is barely whispered: the works ends on an introspective note rather than with grand gestures.

The contrast between the extremes of high drama and personal lyricism pervades the entire Requiem, yet Verdi took great pains to ensure that his work had sufficient musical coherence. Attentive listeners will discover that many of the work’s melodies are intimately related through the use of recurrent melodic and rhythmic elements; the literal repeats of earlier movements in the “Libera me” forge even stronger links among the different sections of the Requiem. That is why this monumental work seems so much of a piece: from the opening “Requiem aeternam” to the final “Libera me” it forms a single, bold musical arch, with a vast array of emotions—indeed, a comprehensive vision of life and death—portrayed during the intervening hour and a half.

—Peter Laki, Visiting Associate Professor of Music

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Who’s Who Leon Botstein Conductor Recognized as much for his visionary zeal as his performances, championing masterpieces unfairly ignored by history and creating concert programs that engage the head as well as the heart, Leon Botstein recently celebrated his 20th year as music director and principal conductor of the American Symphony Orchestra. He is also artistic codirector of the SummerScape and Bard Music Festivals, which take place at the Richard B. Fisher Center for the ©ric kallaher Performing Arts, designed by Frank Gehry. He is also conductor laureate of the Jerusalem Symphony Orchestra, where he served as music director from 2003 to 2011. He has been president of Bard College since 1975.

Botstein leads an active schedule as a guest conductor all over the world, and can be heard on many recordings with the London Symphony (their recording of Popov’s First Symphony was nominated for a Grammy), the London Philharmonic, NDR-Hamburg, and the Jerusalem Symphony Orchestra. Many of his live performances with the American Symphony Orchestra are available for download online. The Los Angeles Times called 2013’s Los Angeles Philharmonic performance under Botstein “the all-around most compelling performance of anything I’ve heard all summer at the Bowl.” In fall 2013, Botstein also conducted the Sinfónica Juvenil de Caracas in Venezuela and Japan, making him the first non-Venezuelan conductor invited by El Sistema to conduct on a tour.

Highly regarded as a music historian, Botstein is the editor of The Musical Quarterly and the author of numerous articles and books. His most recent book is Von Beethoven zu Berg: Das Gedächtnis der Moderne (2013). He is currently working on a book based on his talks given at the prestigious Tanner Lectures in Berkeley, California. For his contributions to music he has received the award of the American Academy of Arts and Letters and Harvard University’s Centennial Award, as well as the Cross of Honor, First Class, from the government of Austria. In 2009 he received Carnegie Foundation’s Academic Leadership Award, and in 2011 was inducted into the American Philosophical Society. He is also the 2012 recipient of the Leonard Bernstein Award for the Elevation of Music in Society. In 2013, following in the footsteps of Sir John Barbirolli, Otto Klemperer, and others, Botstein received the Bruckner Society’s Julio Kilenyi Medal of Honor for his interpretations of that composer’s music.

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James Bagwell Chorus Master James Bagwell maintains an active international schedule as a conductor of choral, operatic, and orchestral music. In 2009 he was appointed music director of The Collegiate Chorale and principal guest conductor of the American Symphony Orchestra (ASO), leading them in numerous concerts at Carnegie Hall. In July 2014 he will prepare The Collegiate Chorale for four concerts at the Verbier Festival in Switzerland; in 2012 they traveled to Israel and the Salzburg ©erin baiano Festival for performances with the Israel Philharmonic.

Bagwell has prepared The Concert Chorale of New York for many performances with the ASO, Los Angeles Philharmonic, and Mostly Mozart Festival, all in Avery Fisher Hall at Lincoln Center. Since 2012 he has collaborated with singer Natalie Merchant, appearing with a number of major American orchestras including the San Francisco and Seattle Symphony orchestras. Since 2003 he has been director of choruses for the Bard Music Festival, conducting and preparing choral works during the summer festival at the Fisher Center. Bagwell is professor of music at Bard College and codirector of the Graduate Conducting Program.

Jennifer Check Soprano This season, Jennifer Check sings her first performances of Ariadne auf Naxos (Toulon) and makes her debut with the Royal Opera House at Covent Garden as the Fifth Maid in Elektra and with the Shanghai Symphony in Strauss’s Vier letzte Lieder. She returns to the Metropolitan Opera (Marianne in Der Rosenkavalier, Falke in Die Frau ohne Schatten). Last season, she sang her first performances of Macbeth (Nancy, France), Don Carlos (Caramoor Music ©kristin hoebermann Festival), and Il trovatore (Utah Opera), and returned to the Met to reprise the High Priestess in Aida. Other recent operatic performances include Almera in Muhly’s Dark Sisters (Gotham Chamber Opera; Philadelphia), Norma (Palm Beach; Philadelphia), Iphigénie en Tauride (Valencia), Dialogues des Carmélites (Austin), The Legend of the Invisible City of Kitezh (Amsterdam), and Elektra (Tokyo). At the Metropolitan Opera, she has sung in many productions including Turandot, Don Carlo, Gianni Schicchi, and Stiffelio. Concert performances include engagements with the Milwaukee Symphony Orchestra, New Jersey Symphony Orchestra, Boston Symphony Orchestra, Verbier Festival, Spoleto Festival USA, Charlotte Symphony, Utah Symphony, and Memphis Symphony Orchestra, among others.

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Brian Cheney Tenor Brian Cheney is emerging as one of opera’s most versatile and exciting tenors. The protégé of legendary tenor Jerry Hadley, Cheney is quickly gaining national acclaim for his portrayal of characters such as Nemorino in L’elisir d’amore, Edgardo in Lucia di Lammermoor, Rodolfo in La bohème, the Duke in Rigoletto, and Don José in Carmen. He has performed many times as a soloist at Carnegie Hall, most recently in the 2013 world and U.S. premieres of Hungarian ©leslie hassler music with the American Symphony Orchestra, under the baton of Leon Botstein. In 2011, he made his Lincoln Center debut as tenor soloist for the 10th anniversary of 9/11 at Avery Fisher Hall, appearing with acclaimed soprano Jessye Norman. He was featured as tenor soloist in the popular New Year’s concert Salute to Vienna at Lincoln Center on January 1, 2014. Cheney’s self-titled debut solo album was released worldwide on October 8.

Sara Murphy Mezzo-soprano Mezzo-soprano Sara Murphy debuted at the Ravinia Festival in 2013 with the Chicago Symphony Orchestra under the baton of James Conlon, earning critical acclaim for Britten’s Phaedra, Barber’s Dover Beach, and High Priestess in Verdi’s Aida. The Chicago Tribune praised her “rich, voluminous mezzo voice, excellent diction and an acute feeling for words and music.” In 2013, she was the first-prize winner in the Oratorio Society of New York Solo Vocal Competition and received ©joshua south a grant from the Inter-Cities Performing Arts. Over the past decade, she has appeared in Wagner’s Die Walküre, Mozart’s Don Giovanni, and Puccini’s Madama Butterfly, Verdi’s Requiem, Handel’s Messiah, and Beethoven’s Symphony No. 9, among others. Upcoming highlights include Cincinnati May Festival for performances of Mahler’s Symphony No. 8, Beethoven’s Symphony No. 9, and Tchaikovsky’s Ode to Joy, and Berkshire Choral Festival for Elgar’s Dream of Gerontius. She received a B.A. from Oberlin College and an M.A. from Catholic University.

Wayne Tigges Bass-baritone

©rion photography

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Lauded by the Chicago Sun-Times for his “rich, dark tone and beautiful legato,” Wayne Tigges this season creates the role of Joe St. George in Picker’s Dolores Claiborne (San Francisco) and sings Tosca (Austin), Le nozze di Figaro (Ongaku-Juku Festival), Salome (Philadelphia Orchestra), and Le Comte Ory (Des Moines). Last season, he sang in Mose in Ègitto (New York City Opera), La donna del lago (Santa Fe), Hamlet (Minnesota), Albert Herring (Toulouse), and Don Giovanni (Pittsburgh). Recent operatic engage-

ments include Giulio Cesare (Metropolitan Opera, Lyric Opera of Chicago); Carmen (Glyndebourne Festival); The Makropulos Case (Opéra National de Paris); Les contes d’ Hoffmann, Alceste, and Il barbiere di Siviglia (Santa Fe); Das Rheingold (Los Angeles); Le nozze di Figaro and Il barbiere di Siviglia (Lyric Opera of Chicago); and Salome (Arizona).

Concert engagements include appearances with the Los Angeles Philharmonic, Chicago Symphony Orchestra, Orchestra of St. Luke’s, Cincinnati May Festival, Cleveland Orchestra, and Washington Chorus.

The Bard College Conservatory of Music Robert Martin, Director Recognized as one of the finest conservatories in the United States, The Bard College Conservatory of Music, founded in 2005, is guided by the principle that musicians should be broadly educated in the liberal arts and sciences to achieve their greatest potential.

All undergraduates complete two degrees over a five-year period, a bachelor of music and a bachelor of arts in a field other than music.

In addition to a successful concert tour of China in 2012, the Conservatory Orchestra has performed twice at Lincoln Center, in 2010 and 2013, under Maestro Leon Botstein. In June 2014, the Conservatory Orchestra will perform in Warsaw, St. Petersburg, Moscow, Budapest, Bratislava, Vienna, Prague, and Berlin during a three-week concert tour of Europe with soloists Peter Serkin and Dawn Upshaw.

The Graduate Vocal Arts Program is a two-year master of music degree conceived by soprano Dawn Upshaw. The course work is designed to support a broad-based approach to a singing career that extends from standard repertory to new music. Alongside weekly voice lessons, diction, and repertory courses, the program provides training in acting, as well as core seminars that introduce and tie together the historical/cultural perspective, analytical tools, and performance skills that distinguish vocal and operatic performance at the highest level.

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

The Preparatory Division offers young people between the ages of 3 and 18 the joy of studying music in the context of a first-class conservatory. The early study of music brings important benefits to young people, touching many areas of their lives: language, motor and social skills, and an appreciation for the value of diligent effort. Most important, music enriches the young person’s life and provides a lifetime of enjoyment.

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Bard College Chamber Singers Formed in 2002 by music director James Bagwell, Bard College Chamber Singers is an auditioned choir of Bard students and alumni/ae from all programs of the College. In the past few seasons, the Chamber Singers have performed Arvo Pärt’s Magnificat, Maurice Duruflé’s Requiem, and Mozart’s Requiem in concert at the Fisher Center’s Sosnoff Theater. During the spring of 2010, the group filled the role of the chorus in the Bard College Graduate Vocal Arts Program’s performances of two original operas, Vinkensport

by David Little and Song from the Uproar: The Lives and Deaths of Isabelle Eberhardt by Missy Mazzoli, as well as in a production of Maurice Ravel’s L’enfant et les sortilèges. In October 2012, the Chamber Singers performed Mahler’s Eighth Symphony at Carnegie Hall with the American Symphony Orchestra, and in December joined the Bard College Symphonic Chorus performing Beethoven’s Mass in C.

Bard Festival Chorale The Bard Festival Chorale was formed in 2003 as the resident choir of the Bard Music Festival. It consists of the finest ensemble singers from New York City and surrounding areas. Many of its members have distinguished careers as soloists and as performers in a variety of choral groups; all possess a shared enthusiasm for the exploration of new and unfamiliar music.

Longy School of Music of Bard College Longy School of Music of Bard College, founded as Longy School of Music in 1915 by renowned oboist Georges Longy, is a degree-granting conservatory located in Harvard Square in Cambridge, Massachusetts. The school serves 250 undergraduate and graduate students from 36 states and 27 countries at its central Cambridge campus and its recently opened master of arts in teaching campus in Los Angeles. Longy’s mission is to prepare musicians to make a difference in the world. It is rapidly gaining international recognition for its efforts to meet a changing musical landscape head-on, giving its graduates the skills to perform, the ambition to teach, and the ability to reach new audiences and new communities beyond those traditionally associated with classical music.

The American Symphony Orchestra The American Symphony Orchestra was founded 50 years ago by Leopold Stokowski, with the avowed intention of making orchestral music accessible and affordable for everyone. Under Music Director Leon Botstein, Stokowski’s mission is not only intact, but also thriving. Beyond that, the ASO has become a pioneer in what the Wall Street Journal called “a new concept in orchestras,” presenting concerts curated around various themes drawn from the visual arts, literature, politics, and history, and unearthing rarely performed masterworks for well-deserved revival. These concerts are performed in the Vanguard Series at Carnegie Hall.

The orchestra also gives the celebrated concert series Classics Declassified at Peter Norton Symphony Space, and regularly performs at The Richard B. Fisher Center for the 14

Performing Arts at Bard College, where it appears in a winter subscription series as well as Bard’s annual SummerScape festival and the Bard Music Festival. In 2010, the ASO became the resident orchestra of The Collegiate Chorale, performing regularly in the Chorale’s New York concert series. The orchestra has made several tours of Asia and Europe, and has performed in countless benefits for organizations including the Jerusalem Foundation and PBS. Many of the world’s most accomplished soloists have performed with the ASO, among them Yo-Yo Ma, Deborah Voigt, and Sarah Chang. In addition to CDs released by the Telarc, New World, Bridge, Koch, and Vanguard labels, many live performances by the American Symphony are now available for digital download. In many cases, these are the only existing recordings of some of the rare works that have been rediscovered in ASO performances.

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Members of Bard College Chamber Singers, Longy Conservatory Chorale, and Bard Festival Chorale James Bagwell, chorus master Soprano Nelle Anderson* Alexandra Armantrading++ Michelle Asher*** Dana Badala* Isabel Bennet* Samantha Burke* Jamie Chelel++ Stacey Chou++ Madeleine Clearfield* Amy Cohen* Eliza Cornwell* Rhaea D’Aliesio++ Elizabeth Darnell* Emily Donato* Lori Engle+ Leanne Estabrook++ Lucy Fitz Gibbon** Rebecca Ganellen* Jennifer Gliere+ Maia Gokhale* Eileen Goodrich* Christiana Jamroz++ Melissa Kelley+ Tanya Liebman* Sierra Marcy++ Kathleen Miller* Juana Monsalve++ María Alejandra Montero++ Melany Piech++ Rachel Rosales+ Ellen Taylor Sisson+ Liz Sherman* Elizabeth Smith+ Megan Snyder* Laura Soto-Bayomi** Christine Sperry+ Sarah Tuttle** Sage Warner* Carla Wesby+

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Alto Jane Ann Askins+ Sarah Bleasdale+ Teresa Buchholz+ Katie Coates* Audrey Collins++ Dani Dobkin* Allison Emanuel* Agueda Fernandez+ Maureen Gregory* Kristen Keymont++ Emily Lane++ Hannah Livant* Mary Marathe+ Moraima Ortiz* Page Redding* Margaux Robles* Hannah Rommer*** Sylvia Schwartz++ Suzanne Schwing+ Anastasia Serdsev*** Megan Smillie* Raina Sokolov-Gonzalez* Annarose Stewart* Ariana Stultz* Polina Vulakh* Nancy Wertsch+ Bolivia Williams* Tenor Brendan Beecher* Keith Brinkley++ Danny Castellanos* John Cherichello* Yoon Chung++ Joseph Demarest+ Mark Donato+ Brendan Eprile* Sean Fallen+ James Fredericks+ German Garcia* Alex Guerrero+ Jack Harrell* Theo Lowrey* Mukund Marathe+ Keith Roscoe* Nathan Siler+ Matthew Woolever***

Bass Paul Bombardier++ Joseph Chappel+ Clifford Derix+ Andrew Feyer * James Fitzwilliam* Harrison Forman* James Gregory+ Kenneth Griffith*** Gilbert High+ Jeremy Hirsch** Michael Hofmann** Muir Ingliss* Shane Klingensmith++ Enrico Lagasca+ Peter Lane* Isaac Lertola* Noah Lundgren* Steven Moore+ Michael Riley+ Roger Sweet* Scott Wheatley+ *Bard College Chamber Singers **Vocal Arts Program graduates ***Graduate Conducting students +Bard Festival Chorale ++Longy Chorale All Bard Festival Chorale singers are contracted by Nancy Wertsch.

Members of the Bard College Conservatory Orchestra, Longy Conservatory Orchestra, and American Symphony Orchestra Leon Botstein, Conductor Violin I Erica Kiesewetter*+, Concertmaster Reina Murooka Yukie Handa* Yue Sun Consuelo Lepauw** Tianpei Ai Kaleigh Acord** Diane Bruce* Ashley Horne* Gabriel Baeza Patricia Davis* Lydia Bassett** Violin II Suzanne Gilman*, Principal Veronika Mojzesˇová Wende Namkung* Rebecca Phillips** Ann Labin* James Alers** Gerg˝ o Tóth Yana Goichman* Mathew Ward** Avery Morris Viola Marka Gustavsson*+, Principal Jiawei Yan Adria Benjamin* Rosemary Nelis Shelley Holland-Moritz* Alexandra Morris Sandrine Masse-Savard Louis Day* Cello Alexander Scheirle*, Principal Emma Schmiedecke Mina Kim** Rastislav Huba Sarah Ghandour Stanley Moore Daniel Zlatkin Sarah Carter* Bass Jacqui Danilow*, Principal Julian Lampert Bence Botár Zhenyuan Yao Bingwen Yang Louis Bruno*

Flute Laura Conwesser*, Principal Eszter Ficsor Maies Hriesh Oboe Alexandra Knoll*, Principal Alessandro Cirafici Gregory Drilling Clarinet Laura Flax*+, Principal Noémi Sallai Viktor Tóth Bassoon Charles McCracken*, Principal Joshua Hodge Anna Opatka Michelle Keem Horn Julie Landsman*+, Principal Cameron West András Ferencz Szilárd Molnár Claire Worsey Jonathan Croy Trumpet Carl Albach*+, Principal Trygve Butler Szabolcs Koczur Kyle Spraker** Offstage Trumpet Thomas Hoyt* Timothy Schadt* Lorraine Cohen* Michael Blutman*

Personnel Manager, American Symphony Orchestra Ann Yarbrough Guttman Orchestra Librarian, American Symphony Orchestra Marc Cerri Director of Orchestral Studies, Bard College Conservatory of Music Erica Kiesewetter Orchestra Manager, Bard College Conservatory of Music Fu-chen Chan Production Manager Emily Cuk Stage Manager Stephen Dean Music Director, Longy School of Music of Bard College Geoffrey McDonald Orchestra Manager, Longy School of Music of Bard College Eve Boltax Personnel Coordinator, Longy School of Music of Bard College Claudia Garcia *American Symphony Orchestra **Longy Conservatory Orchestra +Bard College Conservatory faculty

Trombone Kenneth Finn*, Principal Václav Kalivoda Hsiao-Fang Lin Tamás Markovics Ophicleide Péter Blága Timpani Benjamin Herman*, Principal Jonathan Collazo Percussion Jonathan Haas*+, Principal Christopher Gunnell

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American Symphony Orchestra Patrons Ticket sales cover only a small percentage of the expenses for our full-size orchestral concerts.

The American Symphony Orchestra Board of Directors, staff, and artists gratefully acknowledge the following individuals, foundations, corporations, and government agencies who help us to fulfill Leopold Stokowski’s avowed intention of making orchestral music accessible and affordable for everyone. While space permits us only to list gifts made at the Friends level and above, we value the generosity and vital support of all donors.

Maestro’s Circle The Booth Ferris Foundation Michael Dorf The Fan Fox & Leslie R. Samuels Foundation, Inc. Jeanne Donovan Fisher The Frank & Lydia Bergen Foundation Rachel and Shalom Kalnicki New York City Department of Cultural Affairs New York State Council on the Arts Open Society Foundations Dimitri B. and Rania Papadimitriou Thurmond Smithgall Felicitas S. Thorne The Winston Foundation

Michael and Anne Marie Kishbauch Jack Kliger and Amy Griggs Jay L. Kriegel and Kathryn McAuliffe, in honor of Leon Botstein Arthur S. Leonard William McCracken and Cynthia Leghorn Susan and Graham McDonald Marcia H. Moor Joanne and Richard Mrstik Shirley A. Mueller David E. Schwab II and Ruth Schwartz Schwab Ronnie Streichler Tart-Wald Foundation

Stokowski Circle Anonymous The Ann & Gordon Getty Foundation Microsoft Mary and Sam Miller The Spektor Family Foundation Mrs. James P. Warburg

Contributors Anonymous (2) Nancy Banks and Stephen Penman Dr. Miriam Roskin Berger Thomas and Carolyn P. Cassilly Nicole M. de Jesús and Brian P. Walker Max and Eliane Hahn Steve Leventis Jeanne Malter Sally McCracken Tatsuji Namba Andrea and James Nelkin Martha and David Schwartz Alan Stenzler Robert F. Weis William C. Zifchak

Benefactors Anonymous Mr. and Mrs. Richard E. Wilson Patrons Anonymous Joel and Ann Berson Eric Czervionke The David & Sylvia Teitelbaum Fund, Inc. Karen Finkbeiner Gary M. Giardina Peter L. Kennard Dr. Pamela F. Mazur JoAnne Meloccaro Mark Ptashne and Lucy Gordon Sustainers Anonymous Ellen Chesler and Matthew J. Mallow Irwin and Maya B. Hoffman Erica Kiesewetter

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Supporters Anonymous (7) American Express Gift Matching Program Madelyn P. Ashman John and Joanne Baer Bank of America Reina Barcan Carol Kitzes Baron Ruth Baron Mary Ellin Barrett Dr. Robert Basner David C. Beek and Gayle Christian Simone Belda

Stephen M. Brown Marjorie Burns Moshe Burstein Isabelle A. Cazeaux Richard C. Celler Roger Chatfield Alice and Theodore Cohn Bette R. Collom and Anthony Menninger Paul Ehrlich Martha Ferry Laura Flax Veronica Frankenstein Jeffrey F. Friedman Christopher H. Gibbs Todd Gordon and Susan Feder Michael and Ilene Gotts Greenwich House, Inc. Nathan Gross Eric S. Holtz Sara Hunsicker George H. Hutzler IBM Corporation José Jiménez Ronald S. Kahn Robert and Susan Kalish The Kanter Riopelle Family David Kernahan Irving and Rhoda Kleiman Caral G. and Robert A. Klein Adnah G. and Grace W. Kostenbauder Peter Kroll Kurt Rausch LLC Thomas Lambert Dr. Nancy Leonard and Dr. Lawrence Kramer Steve Leventis Peter A. Q. Locker Linda Lopez Alan Mallach Stephen J. McAteer Carolyn McColley Joan and Alan McDougall Sally and Bruce McMillen Clifford S. Miller Martin L. and Lucy Miller Murray Maury Newburger Clarence W. Olmstead Jr. and Kathleen F. Heenan

Roger and Lorelle Phillips David R. Pozorski and Anna M. Romanski Phyllis and Leonard Rosen Henry Saltzman Peter Lars Sandberg and Nancy Whitaker Gerald and Gloria Scorse Georgi Shimanovsky Bruce Smith and Paul Castellano Gertrude Steinberg Hazel C. and Bernard Strauss Paul Stumpf Jon P. Tilley Elisabeth F. Turnauer, M.D. Larry A. Wehr Janet Whalen Donald W. Whipple Michael P. A. Winn Kurt Wissbrun Richard J. Wood Alfred Zoller Myra and Matthew Zuckerbraun Friends Anonymous (2) Karen Bedrosian-Richardson Adria Benjamin Stephen Blum Mona Yuter Brokaw Mrs. A. Peter Brown Leonard Chibnick Lois Conway Ruth Dodziuk-Justitz and Jozef Dodziuk Barton Dominus Robert Durst Lee Evans ExxonMobil Foundation Richard Farris Barbara Gates Robert Gottlieb Mr. and Mrs. Sidney Greenberg John Haggerty

John Hall Laura Harris AndrĂŠe Hayum Robert Herbert Gerald and Linda Herskowitz Christopher Hollinger Cyma Horowitz Peter Keil Kaori Kitao Frederick R. Koch Seymour and Harriet Koenig Mr. and Mrs. Robert LaPorte Walter Levi Judd Levy JosĂŠ A. Lopez Sarah Luhby Dr. Karen Manchester Richard and Maryanne Mendelsohn Mark G. Miksic Alex Mitchell Michael Nassar Kenneth Nassau Jane and Charles Prussack Bruce Raynor Wayne H. Reagan Catherine Roach John W. Roane Dr. and Mrs. Arnold Rosen Nick Sayward Sari Scheer Nina C. and Emil Scheller Harriet Schon Sharon Schweidel The Honorable Michael D. Stallman Helen Studley Andre Sverdlove Lorne and Avron Taichman Madeline V. Taylor Gretchen Viederman James Wagner and Barry Hoggard Ann and Doug William Leonard and Ellen Zablow

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: New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature The City of New York The Honorable Bill de Blasio, Mayor New York City Council New York City Department of Cultural Affairs List current as of 2/24/14

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The Bard College Conservatory of Music The Conservatory gratefully acknowledges the generous support of these recent donors.

Robert and Marilyn Adams James Akerberg and Larry Simmons Arbor Ridge at Brookmeade Jane Evelyn Atwood ’70 Wayne Baden Dr. R. Etta Baines Erica Ball ’11 Simone Belda Berkshire Taconic Community Foundation, Inc. Marshall S. Berland and John E. Johnson Bettina Baruch Foundation Malcolm Bilson ’57 Dr. László Z. Bitó ’60 and Olivia Cariño Robert Blacker Carolyn Marks Blackwood Clare Brandt Francesca Bray and Alexander Robertson Frances Brent C. Ann and James Brudvig Theodora Budnik Alfred M. Buff and Lenore Nemeth Catherine Cattabiani ’77 Fu-chen Chan Dr. Henry L. Clinton, Jr. Columbia Festival Orchestra Pilar Conde and Alfonso Lledo-Perez George Connerat Ellen Curtis Arnold J. Davis ’44 Marsha and George Davis Georgia and Michael de Havenon Kathy and Gonzalo de Las Heras Dennis Dempster and Priscilla Miller Nancy Dicken Hal and Valery Einhorn Cornelia Z. and Timothy Eland Wendy Ewald Linda and Edwin Faber Susan Feder and Todd Gordon Mildred and Arnold Feinsilber Douglas K. and Faith W. Finnemore FOSUN International Raymond Foye The Fred Stein Family Foundation Friends of Beattie-Powers Place Friends of Chamber Music of Reading Luis Garcia-Renart Christopher H. Gibbs Gwen Gould Katherine Gould-Martin and Robert L. Martin Jan and Lester Greenberg Nan and David Greenwood 20

Marka Gustavsson and John Halle Louis and Caroline Haber Kathy W. Hammer and G. Arthur Seelbinder Dorothy and Leo Hellerman Theodore Hepp and Regula Aregger Richard Herbert Babette Hierholzer Susan B. Hirschhorn and Arthur Klebanoff Robert Hoven IBM Matching Grants Program Morimi and Midori Iwama Dr. and Mrs. Bertrand R. Jacobs Hedy Jellinek John Cage Trust Goyn Jones David and Renée Kaplan Michael I. Katz Belinda and Stephen Kaye Felicia Keesing and Richard Ostfeld Martin Kenner Ruth Ketay and Rene Schnetzler David and Janet E. Kettler Jamie Kibel and Michael DeCola Erica Kiesewetter Martha and Basil King Richard Kortright and Claudia Rosti Dr. Lawrence Kramer and Dr. Nancy S. Leonard Stephanie and Gerald Kufner Kvistad Foundation Gary and Edna Lachmund Alison L. and John C. Lankenau Glenda Fowler Law and Alfred Law Joy Lee and Richard Packert Tania J. Leon The Leonard & Evelyn Lauder Fund of the Lauder Foundation Karen B. Leonard Angela Kiche Leung Michael and Monica Jakuc Leverett Annemarie Levitt Lifetime Learning Institute at Bard Alice Linder and Steve Siegel Vivian Liu and Alan Hilliker Harvey Marek Martin and Toni Sosnoff Foundation Ed Matthew Dr. Peter D. McCann and Deborah L. Berke John and Patricia McNulty William J. McTighe Sheila M. Moloney ’84 and John Pruitt Herbert Morris

The Mortimer Levitt Foundation Inc. Donn Mosenfelder and Frances Goodwin Elizabeth and Gary Munch Martin L. and Lucy Miller Murray New Albion Records Marta and Fernando Nottebohm Sakiko Ohashi Elizabeth J. and Sevgin Oktay Marilyn and Peter Oswald Mr. and Mrs. James H. Ottaway Jr. Debra Pemstein and Dean Vallas Pepsico Foundation Hart Perry Barbara Post Marina L. Preussner D. Miles Price Puffin Foundation, Ltd. Susan Rabinowitz and Joel Longenecker Cathy and Fred Reinis Rhinebeck Chamber Music Society Gilda Riccardi Peter Richman Stephen Richman Barbara J. Ritchie Roaring Brook Group Rishin Roy and Laura Martin Stephen H. and Sheila Sachs Saugerties Pro Musica, Inc. David L. and Rebecca Y. Schroedel Lizbeth and Stephen Shafer Tara Shafer and Gavin Curran Paul D. Sheats Martin and Toni Sosnoff Scott Spencer Gabriella and Harvey Sperry Charles P. Stevenson Jr. and Alexandra Kuczynski Susannah Satten Terra Nova Foundation Felicitas S. Thorne Katherine and Richard Tobey Dr. H. Tucker and Martha Upshaw Illiana van Meeteren and Terence C. Boylan ’70 Dr. Jan and Marica Vilcek Marla and Brian Walker Susan Weber David Wetherill Barbara Jean Weyant Maureen A. Whiteman and Laurance J. Zlatkin Wheelock Whitney III Eric Wong Ann and Warren Wyrick Henry Young List current as of 3/15/14

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. Ticket sales cover less than 15 percent of our extraordinary programs. Help us sustain the Fisher Center and ensure that the performing arts are a part of our lives. We encourage and need you to join our growing list of donors.

Donors to the Fisher Center Leadership Support The Andrew W. Mellon Foundation Carolyn Marks Blackwood Emily H. Fisher and John Alexander Jeanne Donovan Fisher The Marks Family Foundation Martin and Toni Sosnoff Foundation Millbrook Tribute Garden, Inc. National Endowment for the Arts (NEA) Martin T. and Toni Sosnoff Felicitas S. Thorne True Love Productions Golden Circle Estate of Richard B. Fisher Tricia and Foster Reed Director Mr. and Mrs. Lewis W. Bernard Steven M. Dawson Michael J. Del Giudice and Jaynne Keyes Stefano Ferrari and Lilo Zinglersen Britton Fisher Florence & Robert Rosen Family Foundation Dr. Terry S. Gotthelf Doris J. Lockhart The Maurer Family Foundation, Inc. Stephen Mazoh and Martin Kline New York State Council on the Arts (NYSCA) Mr. and Mrs. James H. Ottaway Jr. Florence and Robert A. Rosen David E. Schwab II ’52 and Ruth Schwartz Schwab ’52 Thendara Foundation Coram Williams and Juliane Fuerst Producer Kay Brover and Arthur Bennett Goethe Institute New York Barbara Lemperly Grant Ronald Guttman Karen and Robert G. Scott Aida and Albert Wilder

Wilder Consolidated Enterprises Inc. Patron Fiona Angelini and Jamie Welch Dr. Leon Botstein and Barbara Haskell Stuart Breslow and Anne Miller Bob Bursey and Leah Cox Catskill Mountain Foundation, Inc. Thomas and Bryanne Hamill The Harkness Foundation for Dance, Inc. Frederic K. and Elena Howard Alfred J. Law and Glenda A. Fowler Law Amala and Eric Levine Bonnie Loopesko and Daniel Shapiro David J. Marshall Ted Ruthizer and Jane Denkensohn Barbara and Dick Schreiber David A. Schulz Ted Snowdon Illiana van Meeteren Benefactor Helen and Roger Alcaly Dr. Miriam Roskin Berger ’56 Sandra and Dr. A. John Blair III Anne Donovan Bodnar and James L. Bodnar Harlan Bratcher and William L. Usnik Jr. Alexandre and Lori Chemla Michael F. Dupree Elizabeth W. Ely ’65 and Jonathan K. Greenburg Beverly Fanger and Dr. Herbert S. Chase Jr. Eliot D. and Paula K. Hawkins Susan Hendrickson Susan and Roger Kennedy Roy and Amy Kulick Geraldine and Kit Laybourne Margrit and Albrecht Pichler Quality Printing Company, Inc. Drs. M. Susan and Irwin Richman Sarah and Howard Solomon Darcy Stephens Allan and Ronnie Streichler Mr. Jann S. Wenner

Sustainer Roland Augustine Mary I. Backlund and Virginia Corsi Ward C. Belcher Alfred Buff and Lenore Nemeth Mr. Claude Dal Farra C. Douglas and Leslie Dienel Tambra Lee Dillon Martha J. Fleischman Frederic Harwood James Hayden Hyman J. & Florence Hammerman Family Foundation Mr. and Mrs. George A. Kellner Dr. Barbara Kenner Cesar Ramon Lascano Patricia Duane Lichtenberg Susan Lorence Barbara L. and Arthur Michaels Joanne and Richard Mrstik Sky Pape and Alan Houghton Mr. and Mrs. Frederick P. Payton Samuel and Ellen Phelan Craig & Renee Snyder Mark Sutton Taconic Farms, Inc. Irene Zedlacher Sponsor Marshall S. Berland and John E. Johnson Harriet Bloch and Evan Sakellarios Richard Cheek Jonathan A. Clark Jennifer and Jonathan H. Cohen Richard D. Cohen Gordon Douglas The Eve Propp Family Foundation, Inc. Harvey and Mary Freeman I. Bruce Gordon Nan and David Greenwood Rosemary and Graham Hanson Bonnie Johnson Charles S. Maier John and Claire Reid Mr. Randy J. Tryon Margo and Anthony Viscusi Supporter Rev. Winston L. Bath Marge and Ed Blaine

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Gisa Botbol James C. and Pauline G. Carafotes Neil and Kathleen Chrisman Ellen K. Coleman Amy K. and David Dubin Arthur and Janet Eschenlauer K.F. Etzold and Carline Dure-Etzold Thomas F. Froese Frances A. and Rao Gaddipati Marvin and Maxine Gilbert Laurie Gilmore Arthur and Judy Gold Mims and Burton Gold Dorothy and Leo Hellerman Kenneth P. Hodges Martin Holub Jan Hopkins and Richard Trachtman Daniel Idzik Neil Isabelle Timur Kanaatov Kassell Family Foundation of the JCF Harold and Raquel Kleinfeld Rose and Josh Koplovitz Dr. Nancy Leonard and Dr. Lawrence Kramer Robert F. Kurilla Leon and Fern Lerner Joe Lombardi Janet C. Mills Dr. David T. Mintz Debra R. Pemstein and Dean Vallas Susan Price George and Gail Hunt Reeke Blanche and Bruce Joel Rubin Ms. Myrna B. Sameth Michael W. Scheringer Nevin Shalit Mr. Ian Shrank Larry Simmons Elisabeth A. Simon Clare L. Smith Dr. Sanford B. Sternlieb Mia Unson Mike and Kathy Zdeb Friend Dr. and Mrs. Morton Alterman Sybil Baldwin Matthew Beatrice Dr. Alvin and Arlene Becker Frederick Berliner Lewis J. Bernstein Khurshed Bhumgara Roselee Blooston Gary Boyd Jerry and Brenda Brockett David and Jeannette T. Brown Jeffrey and Ellyn Burstein Prof. Mary Ellen Caponegro ’78 Ellen and Mac Caputo Daniel Chu and Lenore Schiff Paula T. Ciferni

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Robert and Isobel Clark Ms. Darrah L. Cloud Marshall J. Cohen Marianthe Colakis Dr. Edward Conrad Ms. Heather Croner Ellen C. Curtis Frank J. Cutolo Dr. Bruce Cuttler and Joanne E. Cuttler ’99 Estate of James Deguire Joan and Wolcott Dunham Abby H. and John B. Dux David Ebony and Bruce Mundt Floyd and Phyllis Glinert Foundation of the FCGF Ann and Robert Freedman David Gable James J. Gebhard Joseph W. and Joyce Gelb Gregory F. Gilmartin Mr. and Mrs. Floyd Glinert Debby and Fred Glynn Susan and David Goldin Steven Goldstein Stanley and Anne Gordon Sheryl Griffith Matthew M. Guerreiro and Christina Mohr Dr. Arthur A. Guffanti Ms. Julio Guillen Gilbert and Mary Hales Johanna Hecht and Raymond Sokolov Delmar D. Hendricks HSBC Philanthropic Programs Mark R. Joelson Dr. Eleanor C. Kane Linda L. Kaumeyer Brenda and Stephen Kaye Martin Kenner and Camilla Smith Marilyn Kirchner Dr. Seymour and Harriet Koenig Prof. Marina Kostalevsky Daniel Labar Myron Ledbetter Mr. Maurice Dupont Lee Ronald Leibler Joan Mack Barbara Mansell Ms. Phyllis Marsteller Denise Maynard Joy McManigal Dr. Naomi Mendelsohn Monsanto Fund Roy Moses Vernon Mosheim Edmund M. Murphy Dr. Abraham and Gail Nussbaum Lucille H. Orzach Marilyn and Peter Oswald Steven Pollak and Robin Tanenbaum Neila Beth Radin

Sandra Ray Mr. Douglas Reeser Ms. Esther Rosenfeld Fred Sagarin Barbara A. Schoenberg Marc Sferrazza Denise S. Simon and Paulo Vieiradacunha Marcia Sprules Alice and Tim Stroup Katrina Thomas Taun N. Toay ’05 Gerald and Grace Wapner David and Meliza E. Woolner Dr. Herbert M. and Audrey S. Wyman

Friends of the Bard Music Festival Leadership Support Helen and Roger Alcaly The Andrew W. Mellon Foundation Bettina Baruch Foundation Michelle R. Clayman Estate of John A. Dierdorff Jeanne Donovan Fisher HSBC Philanthropic Programs Susan and Roger Kennedy Mrs. Mortimer Levitt The Mortimer Levitt Foundation Inc. Mr. and Mrs. James H. Ottaway Jr. Denise S. Simon and Paulo Vieiradacunha Felicitas S. Thorne Golden Circle Jane W. Nuhn Charitable Trust Dr. Barbara Kenner National Endowment for the Arts (NEA) Millie and Robert Wise The Wise Family Charitable Foundation Director The Ann and Gordon Getty Foundation Joan K. Davidson Elizabeth W. Ely ’65 and Jonathan K. Greenburg Matthew M. Guerreiro and Christina Mohr Eliot D. and Paula K. Hawkins The J. M. Kaplan Fund, Inc. Edna and Gary Lachmund Amy and Thomas O. Maggs Marstrand Foundation New York State Council on the Arts (NYSCA) Jim and Talila O’Higgins Peter Kenner Family Fund of the JCF

Drs. M. Susan and Irwin Richman David E. Schwab II ’52 and Ruth Schwartz Schwab ’52 Dr. Sanford B. Sternlieb Charles P. Stevenson Jr. and Alexandra Kuczynski Stewart’s Shops Margo and Anthony Viscusi Dr. Siri von Reis Producer Helen ’48 and Robert L. Bernstein Alan Hilliker and Vivien Liu Alison L. and John C. Lankenau Allan and Ronnie Streichler Dr. Elisabeth F. Turnauer-Derow Merida Welles and Chip Holman Irene Zedlacher Patron Joshua J. Aronson Mary I. Backlund and Virginia Corsi Lydia Chapin and David Soeiro Blythe Danner ’65 Amy K. and David Dubin Helena and Christopher Gibbs Anne E. Impellizzeri Belinda and Stephen Kaye James Klosty Alfred J. Law and Glenda A. Fowler Law The McGraw-Hill Companies Matching Gift Program MetLife Foundation Sarah and Howard Solomon Edwin Steinberg Rosemary and Noel Werrett Benefactor Roland Augustine Dr. Miriam Roskin Berger ’56 Jane R. Cottrell David G. Whitcomb Foundation Mr. and Mrs. Gonzalo de Las Heras Laurel Durst Emily H. Fisher and John Alexander John Geller Marieluise Hessel and Edwin L. Artzt Martin Holub Rachel and Dr. Shalom Kalnicki Helene L. and Mark N. Kaplan Richard Kortright Murray Liebowitz Andrea and Kenneth L. Miron Elizabeth R. and Gary J. Munch Ms. Anna Neverova ’07 Barbara B. Reis Elizabeth Farran Tozer and W. James Tozer Jr. UBS Matching Gift Program Maureen A. Whiteman and Lawrence J. Zlatkin

Sustainer Kathleen Augustine Alexander and Margaret Bancroft Barbara and Donald Tober Foundation Prof. Jonathan and Jessica K. Becker Sandra Bendfeldt Sarah Botstein and Bryan Doerries Rt. Rev. Herbert A. and Mary Donovan Kay Brover and Arthur Bennett Frederick and Jan Cohen Willem F. De Vogel Diana Hirsch Friedman ’68 Laura Genero Eric Goldman David and Nancy Hathaway Dr. Barbara K. Hogan Jack & Marion’s Fund of the JCF Edith and Hamilton F. Kean Mr. and Mrs. Thomas W. Keesee III John R. and Karen Klopp Dr. Seymour and Harriet Koenig Cynthia Hirsch Levy ’65 Dr. and Mrs. Arthur Menken Mr. and Mrs. Frederick P. Payton John and Claire Reid Blanche and Bruce Joel Rubin Barbara and Donald Tober Illiana van Meeteren Mr. Michael P. A. Winn ’59 Sponsor Anonymous Linda Baldwin Marshall S. Berland and John E. Johnson Clara Botstein Ms. Joan Costa Ana and J. Roberto De Azevedo Patricia Falk Mr. Donald C. Fresne Elizabeth D. and Robert Hottensen I.B.M. Matching Grants Program John and Mary Kelly Erica Kiesewetter Lucas Pipes ’08 and Sarah Elizabeth Coe Paden ’09 Art and Jeannette Taylor Olivia van Melle Kamp Prof. Marina van Zuylen

Anne Stewart Fitzroy Laura Flax Deborah and Thomas Flexner Luisa E. Flynn Francis Finlay and Olivia J. Fussell Joseph W. and Joyce Gelb Mr. and Mrs. Harrison J. Goldin Samuel L. Gordon Jr. Lawrence and Lorna Graev Alison Granucci Sandy Graznow and Jim Kearns Sally S. Hamilton James Hayden Emilie and William Henry Fritz and Nancy Henze Demetrios and Susan Karayannides Mr. and Mrs. George A. Kellner Fernanda Kellogg and Kirk Henckels Charles and Katherine King Debra I. and Jonathan Lanman Wayne Lawson Beth Ledy Catherine Anne Luiggi Lynn Favrot Nolan Family Fund Claire and Chris Mann Don and Evelyn McLean Mr. and Mrs. Seth Melhado Joanna M. Migdal Maury Newburger Mr. and Mrs. William T. Nolan David B. and Jane L. Parshall Gary S. Patrik Encarnita and Robert Quinlan Emma Richter ’09 and Alex Gaudio ’10 Joseph M. Rinaldi and Elizabeth McClintock Alfred J. and Deirdre Ross Ms. Phyllis Ross Barbara A. Schoenberg Peter Schwalbe and Jody Soltanoff Dagni and Martin Senzel John Tancock Jessica and Peter Tcherepnine Mila Tewell Robert E. Tully Jack and Jill Wertheim Barbara Jean Weyant Serena H. Whitridge Ms. Chanel M. Wood ’08

Supporter Jamie Albright Melva Bucksbaum and Raymond J. Learsy Ms. Katherine Burstein ’09 Phyllis Busell and James M. Kostell Philip and Mimi Carroll Constance and David C. Clapp Jennifer and Jonathan H. Cohen Seth Dubin June and Peter Felix

Friend Barbara J. Agren Mr. and Mrs. Jack Auspitz Howard and Mary Bell Elizabeth Phillips Bellin ’00 and Marco M. S. Bellin Khurshed Bhumgara Madge Briggs John C. D. and Nancy Bruno Mr. George Carrothers Mr. & Mrs. Timothy Delaney

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David and Tracy Finn Floyd and Phyllis Glinert Foundation of the FCGF John Foreman Mary Ann Free Samantha R. J. Free Emily Rutgers Fuller Maxwell H. and Victoria Goodwin Ms. Maureen W. Gregory Andrea E. Gross Frederick Fisher Hammond Ms. Boriana Handjiyska ’02 Tameka L. Harvey Juliet Heyer Susan Hoehn John Cage Trust Linda L. Kaumeyer Robert E. Kaus Diana Niles King Harold and Raquel Kleinfeld Chloe A. Kramer Ms. Carol Lee Mr. Maurice Dupont Lee E. Deane and Judith S. Leonard John Robert Massie Caroline Mecartney Roy Moses Dr. Vanessa Neumann Michael Nishball Elizabeth J. and Sevgin Oktay Susan Heath and Rodney Paterson David Pozorski and Anna Romanski D. Miles Price Mr. Robert Schweich Susan Shine Mr. and Mrs. Charles Stukenborg Alexandra Tuller and Dean Temple Arete B. S. Warren Miranda Wei ’12 List current as of 3/25/14

Boards and Administration Bard College Board of Trustees David E. Schwab II ’52, Chair Emeritus Charles P. Stevenson Jr., Chair Emily H. Fisher, Vice Chair Elizabeth Ely ’65, Secretary; Life Trustee Stanley A. Reichel ’65, Treasurer Fiona Angelini Roland J. Augustine Leon Botstein+ , President of the College Stuart Breslow+ Mark E. Brossman Thomas M. Burger+ James C. Chambers ’81 David C. Clapp Marcelle Clements ’69* The Rt. Rev. Andrew M. L. Dietsche, Honorary Trustee Asher B. Edelman ’61, Life Trustee Paul S. Efron Robert S. Epstein ’63 Barbara S. Grossman ’73* Sally Hambrecht George F. Hamel Jr. Marieluise Hessel Maja Hoffmann Matina S. Horner+ Charles S. Johnson III ’70 Mark N. Kaplan, Life Trustee George A. Kellner Murray Liebowitz, Life Trustee Marc S. Lipschultz Peter H. Maguire ’88 Fredric S. Maxik ’86 James H. Ottaway Jr., Life Trustee Martin Peretz, Life Trustee Stewart Resnick, Life Trustee Roger N. Scotland ’93* Martin T. Sosnoff Susan Weber Patricia Ross Weis ’52 Senior Administration Leon Botstein, President Dimitri B. Papadimitriou, Executive Vice President Michèle D. Dominy, Vice President and Dean of the College Mary Backlund, Vice President for Student Affairs and Director of Admission Norton Batkin, Vice President and Dean of Graduate Studies Jonathan Becker, Vice President and Dean for International Affairs and Civic Engagement James Brudvig, Vice President for Administration

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John Franzino, Vice President for Finance Susan H. Gillespie, Vice President for Special Global Initiatives Max Kenner ’01, Vice President for Institutional Initiatives Robert Martin, Vice President for Academic Affairs and Director of The Bard College Conservatory of Music Debra Pemstein, Vice President for Development and Alumni/ae Affairs

The Richard B. Fisher Center for the Performing Arts Advisory Board Jeanne Donovan Fisher, Chair Carolyn Marks Blackwood Leon Botstein+ Stefano Ferrari Harvey Lichtenstein Robert Martin+ Dimitri B. Papadimitriou+ Martin T. Sosnoff Toni Sosnoff Felicitas S. Thorne Administration and Programming Debra Pemstein, Vice President for Development and Alumni/ae Affairs Bob Bursey, Senior Producer Gideon Lester, Director of Theater Programs Caleb Hammons, Associate Producer Jeannie Schneider, Business Manager Marla Walker, Executive Assistant Production Vincent Roca, Production Manager Stephen Dean, Production Coordinator, Concerts and Lectures Matthew Waldron ’07, Production Coordinator, Dance and Theater Steven Michalek, Technical Director Josh Foreman, Lighting Supervisor Moe Schell, Costume Shop Supervisor Adam Kushner, Audio/Video Supervisor Communications Mark Primoff, Director of Communications Eleanor Davis, Media and Marketing Manager Joanna Szu, Associate Marketing Manager

Publications Mary Smith, Director of Publications Ginger Shore, Consultant to Publications Audience Services David Steffen, Audience Services Manager and Communications Coordinator Nicholas Reilingh, Box Office Manager Caitlyn DeRosa, Assistant Box Office Manager Patrick King ’12, House Manager Alec Newell ’15, Assistant House Manager Anne Phelps ’15, Assistant House Manager Kay Schaffer ’14, Assistant House Manager Facilities Mark Crittenden, Facilities Manager Ray Stegner, Building Operations Manager Doug Pitcher, Building Operations Coordinator Daniel DeFrancis, Building Assistant Robyn Charter, Building Assistant Katie O’Hanlon, Housekeeping Patricia O’Hanlon, Housekeeping Anna Simmons, Housekeeping

The Bard Music Festival Board of Directors Denise S. Simon, Chair Roger Alcaly Leon Botstein+ Michelle R. Clayman Robert C. Edmonds ’68 Jeanne Donovan Fisher Christopher H. Gibbs+ Paula K. Hawkins Susan Petersen Kennedy Barbara Kenner Gary Lachmund Thomas O. Maggs Robert Martin+ Kenneth L. Miron Christina A. Mohr James H. Ottaway Jr. Felicitas S. Thorne Siri von Reis Artistic Directors Leon Botstein Christopher H. Gibbs Robert Martin Executive Director Irene Zedlacher

Associate Director Raissa St. Pierre ’87 Scholars in Residence 2014 Christopher H. Gibbs Morten Solvik Program Committee 2014 Byron Adams Leon Botstein Christopher H. Gibbs Robert Martin Richard Wilson Irene Zedlacher Director of Choruses James Bagwell Vocal Casting/ Producer, Staged Concerts Susana Meyer * alumni/ae trustee + ex officio

American Symphony Orchestra Board of Directors Dimitri B. Papadimitriou, Chair Thurmond Smithgall, Vice Chair Karen Zorn, Treasurer Miriam Berger Michael Dorf Rachel Kalnicki Jack Kliger Shirley A. Mueller, Esq. Debra R. Pemstein Eileen Rhulen Felicitas S. Thorne Honorary Members: Joel I. Berson, Esq. L. Stan Stokowski Administration Lynne Meloccaro, Executive Director Oliver Inteeworn, General Manager Brian J. Heck, Director of Marketing Nicole M. de Jesús, Director of Development Sebastian Danila, Library Manager Marielle Métivier, Operations Manager Katrina Herfort, Ticketing Services Coordinator Marc Cerri, Orchestra Librarian Ann Yarbrough Guttman, Orchestra Personnel Manager Ben Oatmen, Production Assistant Leszek M. Wojcik, Concert Archival Recording James Bagwell, Principal Guest Conductor Geoffrey McDonald, Assistant Conductor

Zachary Schwartzman, Assistant Conductor Richard Wilson, Composer-inResidence

The Bard College Conservatory of Music Advisory Board Gonzalo de Las Heras, Chair Alan D. Hilliker Susan B. Hirschhorn Belinda Kaye Stephen Kaye Y. S. Liu Gabriella Sperry Eric Wong Robert Martin, Director Eileen Brickner, Dean of Students Fu-chen Chan, Dean of Administration Frank Corliss, Director of Admission Ann Gabler, Development Manager Lauren Gerken, Administrative Assistant, Vocal Arts Program Tricia Reed, Concert Manager Kristin Roca, Administrative Assistant

Longy School of Music of Bard College Board of Governors Thomas M. Burger, Chair Matina S. Horner, Vice-Chair Melinda N. Donovan, Secretary Sandra Bakalar Joshua Boger Leon Botstein+, Chancellor and Chief Executive Officer, Longy; President, Bard College Gene D. Dahmen Patricia H. Deyton Robert S. Epstein Harriet E. Griesinger Charlotte I. Hall George F. Hamel Jr. Timothy J. Jacoby Ruth M. McKay Virginia Meany Patricia Ostrander Dimitri B. Papadimitriou+ Kalen Ratzlaff+ David E. Schwab II Charles P. Stevenson Jr. Marilyn Ray Smith Robert B. Straus Jeannette H. Taylor Karen Zorn+, President, Longy School of Music of Bard College; Vice President, Bard College + ex officio

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About Bard College Founded in 1860, Bard College in Annandale-on-Hudson, New York, is an independent, nonsectarian, residential, coeducational college offering a four-year B.A. program in the liberal arts and sciences and a five-year B.A./B.S. degree in economics and finance. The Bard College Conservatory of Music offers a five-year program in which students pursue a dual degree—a B.Music and a B.A. in a field other than music—and offers an M.Music in vocal arts and in conducting. Bard also bestows an M.Music degree at Longy School of Music of Bard College in Cambridge, Massachusetts. Bard and its affiliated institutions also grant the following degrees: A.A. at Bard High School Early College, a public school with campuses in New York City (Manhattan and Queens) and Newark, New Jersey; A.A. and B.A. at Bard College at Simon’s Rock: The Early College, in Great Barrington, Massachusetts, and through the Bard Prison Initiative at six correctional institutions in New York State; M.A. in curatorial studies, M.S. in economic theory and policy, and M.S. in environmental policy and in climate science and policy at the Annandale campus; M.F.A. and M.A.T. at multiple campuses; M.B.A. in sustainability in New York City; and M.A., M.Phil., and Ph.D. in the decorative arts, design history, and material culture at the Bard Graduate Center in Manhattan. Internationally, Bard confers dual B.A. degrees at the Faculty of Liberal Arts and Sciences, St. Petersburg State University, Russia (Smolny College); American University of Central Asia in Kyrgyzstan; and Bard College Berlin: A Liberal Arts University; as well as dual B.A. and M.A.T. degrees at Al-Quds University in the West Bank.

Bard offers nearly 50 academic programs in four divisions. Total enrollment for Bard College and its affiliates is approximately 5,000 students. The undergraduate College has an enrollment of more than 1,900 and a student-to-faculty ratio of 10:1. For more information about Bard College, visit www.bard.edu.

©2014 Bard College. All rights reserved.

Cover Scott Barrow Inside back cover ©Peter Aaron ’68/Esto

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Individual supporters are essential to sustaining the Richard B. Fisher Center for the Performing Arts as an extraordinary part of cultural life in the Hudson Valley. Generous gifts from arts supporters like you help make everything at the Fisher Center possible.

Our members support world-class performing arts and enjoy a variety of discounts and benefits through our Friends and Patrons programs.

Please join us!

For more information visit fishercenter.bard.edu/support or call 845-758-7414.

BECOME A FRIEND OF THE FISHER CENTER

BECOME A PATRON OF THE FISHER CENTER

Friends of the Fisher Center enjoy a behind-the-scenes look at Fisher Center presentations, invitations to exclusive events, and access to special services throughout the year.

Patrons enjoy all of the benefits of Benefactors of the Fisher Center, plus access to the best seats in the house, personalized ticketing, preferred parking, and exclusive events.

Friend ($75) Benefits include: • Access to tickets before the general public • Invitations to season previews and open house events • 10% discount on Spiegeltent dining • 20% discount on Fisher Center merchandise • Fully tax deductible

Patron ($1,500) All of the Friends benefits, plus: • Access to the best seats and personalized ticket handling through the Patron Priority Line • Access to the Bard Music Festival Patron’s Lounge at Olin Hall • Recognition in performance programs • $1,180 tax deductible

Supporter ($150) All of the above, plus: • Waived ticket handling fees (save $4.50 per ticket, $10 per subscription) • Invitation to a behind-the-scenes tour of the Fisher Center • Fully tax deductible

Producer ($2,500) All of the above, plus: • Invitation for two to an exclusive pre-performance dinner at a Hudson Valley home • $2,030 tax deductible Director ($5,000) All of the above, plus: • Reserved VIP parking for all events at the Fisher Center • Invitation for two to an intimate dinner with a world-class performer, creator, or scholar • $4,380 tax deductible

Sponsor ($300) All of the above, plus: • Invitations to opening night parties • SummerScape production poster • $250 tax deductible Sustainer ($500) All of the above, plus: • Bard Music Festival limited edition T-shirt • SummerScape production poster signed by the cast • $415 tax deductible Benefactor ($1,000) All of the above, plus: • Bard Music Festival book (Princeton University Press) • Private, behind-the-scenes tour of the Fisher Center for you and your guests • Invitations to working rehearsals and directors’ presentations • $750 tax deductible

Thank You! Please return your donation to: Bard College PO Box 28592 New York, NY 10087-8592

Enclosed is my check made payable to Bard College in the amount of $ Please designate my gift toward: n All Fisher Center programs n Bard Music Festival only Please charge my: n Amex n Discover n MasterCard n Visa in the amount of $

Credit card account number

Expiration date

Name as it appears on card (please print clearly) Name as it should appear in publications n I would like my gift to be anonymous Address City

State

Telephone

E-mail

Zip code

3F13

SAVE THE DATES

FISHER CENTER AT BARD COLLEGE SPRING EVENTS DANCE MAY 17

BILL T. JONES/ARNIE ZANE DANCE COMPANY Free work-in-progress residency showing MUSIC MAY 18

CONSERVATORY SUNDAYS Bard College Conservatory Orchestra with Peter Serkin, piano Conducted by Leon Botstein, music director

BARDSUMMERSCAPE DANCE JUNE 27–28

TRISHA BROWN DANCE COMPANY Proscenium Works: 1979–2011 THEATER JULY 10–20 World Premiere

LOVE IN THE WARS A Version of Heinrich von Kleist’s Penthesilea by John Banville Directed by Ken Rus Schmoll OPERA JULY 25 – AUGUST 3

EURYANTHE

By Carl Maria von Weber FILM SERIES JULY 3 – AUGUST 3

SCHUBERT AND THE LONG 19TH CENTURY SPIEGELTENT JULY 3 – AUGUST 16

CABARET, MUSIC, FINE DINING, AND MORE and

25TH ANNIVERSARY SEASON

BARD MUSIC FESTIVAL SCHUBERT AND HIS WORLD AUGUST 8–10 and 15–17 The 2014 SummerScape season and the 25th Bard Music Festival are made possible in part through the generous support of Jeanne Donovan Fisher, the Martin and Toni Sosnoff Foundation, 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 and the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State legislature.

845-758-7900 | fishercenter.bard.edu Be the first in line for news of upcoming events, discounts, and special offers. Join the Fisher Center's e-newsletter at fishercenter.bard.edu.