Recital Series: Lindemann Young Artist Concert 2017

A NOTE FROM THE ARTISTIC DIRECTOR Park Avenue Armory strives to engage audiences with eclectic, immersive, and thought-provoking works that are in direct dialogue with the vast sweep of the Armory’s unique spaces, whether it is the soaring Wade Thompson Drill Hall or the intimate period rooms. And with its pristine acoustic and austere elegance, the Board of Officers Room is like no other in offering the chance to enjoy the art of the recital and music-making in the most personal of settings.

The 2017 season marks the fifth year for the recital series, which continues to showcase both classical and contemporary repertoire performed by world class artists at the height of their craft. We are thrilled to introduce to the U.S. an international star in the making – Sabine Devieihle. One of the most talented French sopranos to emerge in recent years, she makes her North American recital debut at the Armory, after dazzling audiences at the Aix-en-Provence Festival, Dutch National Opera, and other opera houses throughout Europe. Barbara Hannigan, one of the world’s leading performers of contemporary opera, makes her U.S. recital debut with programs that showcase her extraordinary versatility, with an exploration of the Second Viennese School as well as the work of iconic French composer Erik Satie.

Paired with our ongoing partnership with the Metropolitan Opera’s Lindemann Young Artist Development Program, the series will be featuring exciting new voices not seen elsewhere in New York.

We continue to explore new directions with the acclaimed Wu Man and the esteemed Shanghai Quartet, who together perform new works by contemporary Chinese composers. And by using both the Board of Officers and Veterans Rooms for one recital, we are invited to enjoy the vocal artistry and multiple facets of musicianship of tenor Lawrence Brownlee in a progressive concert that presents his classical repertoire from lieder and opera to jazz songs and American spirituals, teaming up for the second part with pianist Jason Moran.

In a program of works by Copland, Berlioz, Schuman, and Poulenc, we are thrilled to welcome for the first time to the Armory, the distinguished British mezzo-soprano Sarah Connolly. Finally, the electrifying violinist Patricia Kopatchinskaja, one of the most dynamic and original classical music soloists in the world, works with cellist Jay Campbell in a program of duets. This year’s lineup offers audiences even more chances to enjoy the intimacy of a beautiful range of chamber music experiences performed by artists with a highly distinctive international profile.

I hope you will join in my excitement for witnessing these magical moments in music.

Pierre Audi Artistic Director

2017 RECITAL SERIES IN THE RESTORED BOARD OF OFFICERS ROOM

wednesday, february 1 at 7:30pm thursday, february 2 at 7:30pm thompson arts center at park avenue armory

LINDEMANN YOUNG ARTIST CONCERT MICHELLE BRADLEY, SOPRANO VIRGINIE VERREZ, MEZZO SOPRANO GIUSEPPE MENTUCCIA, PIANO VALERIYA POLUNINA, PIANO

The Metropolitan Opera Young Artist Recital Series is made possible by the Anthony B. and Judith W. Evnin Endowment Fund, in honor of Sarah Billinghurst Solomon.

The Recital Series is supported in part by The Reed Foundation. The Recital Series is also made possible by the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature.

Support for Park Avenue Armory’s artistic season has been generously provided by The Andrew W. Mellon Foundation, the Altman Foundation, The Harold and Mimi Steinberg Charitable Trust, the Achelis and Bodman Foundation, the Fan Fox and Leslie R. Samuels Foundation, the Howard Gilman Foundation, the Horace W. Goldsmith Foundation, The Shubert Foundation, The Emma and Georgina Bloomberg Foundation, the Marc Haas Foundation, The Kaplen Brothers Fund, the Juliet Lea Hillman Simonds Foundation, the Leon Levy Foundation, the May and Samuel Rudin Family Foundation, and the Isak and Rose Weinman Foundation.

SEASON SPONSORS

PROGRAM MONTEVERDI “Pur ti miro” from L’Incoronazione di Poppea Michelle Bradley, Virginie Verrez, Valeriya Polunina SCHUMANN Gedichte der Königin Maria Stuart, Op.135 Abschied von Frankreich

Nach der Geburt ihres Sohnes An die Königin Elisabeth Abschied von der Welt Gebet

Virginie Verrez, Giuseppe Mentuccia

STRAUSS Vier letzte Lieder Michelle Bradley, Valeriya Polunina Frühling September Beim Schlafengehen Im Abendrot Intermission RAVEL “O, la pitoyable aventure!” from L’Heure Espagnole Virginie Verrez, Giuseppe Mentuccia CHARPENTIER

“Depuis le jour” from Louise

Michelle Bradley, Valeriya Polunina

DUPARC L’Invitation au voyage Virginie Verrez, Giuseppe Mentuccia Au pays où se fait la guerre MESSAGER “Blanche-Marie et Marie-Blanche” from Michelle Bradley, Virginie Verrez, Les P’tites Michu Giuseppe Mentuccia POULENC

La Dame de Monte-Carlo Virginie Verrez, Giuseppe Mentuccia

ROREM The Silver Swan Michelle Bradley, Valeriya Polunina HOIBY The Serpent Michelle Bradley, Valeriya Polunina Spiritual, arr. Bonds

He’s Got the Whole World in His Hands

Michelle Bradley, Valeriya Polunina

This performance is approximately one hour and fifty minutes in length including intermission.

The piano for this recital has been generously provided by Yamaha.

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ABOUT THE PROGRAM It is a privilege to have members of the Metropolitan Opera Lindemann Young Artist Development Program return to the beautiful, intimate space of the Board of Officers Room. Indeed, hearing voices trained to project in the world’s largest opera houses in this setting is an opportunity that proves to be equal parts thrilling and transcendental.

This evening’s program displays the great versatility of our singers and pianists, traversing epochs, genres, and languages in two differently-conceived halves. The first features three sets of repertoire, each of which was the last created by the composer.

We begin with the rapturous final duet from Monteverdi’s L’Incoronazione di Poppea. The coronation ceremony has just occurred and, after much celebration, words and music achieve beautiful simplicity as Poppea and Nerone express their love and adoration of one another.

Leaping two centuries ahead, Schumann’s Gedichte der Königin Maria Stuart is the final song cycle of one of the most influential composers and musical minds of the Romantic era. Like his Frauenliebe und Leben, the cycle highlights several of the most important moments of a woman’s life. In this case, however, the woman is the historical figure Mary, Queen of Scots.

We close the first half with, perhaps, the most famous set of final songs ever composed: Richard Strauss’ Vier letzte Lieder (Four Last Songs). Published posthumously, it was his intent that the great Norwegian soprano, Kirsten Flagstad, premiere this orchestral song cycle. She did so, under the baton of Wilhelm Furtwängler, at Royal Albert Hall on May 22, 1950. The final song of the set, Im Abendrot, was actually composed first, serving as a source of inspiration for Strauss. It is the only one with poetry by Eichendorff (the other three are by Hesse, whose work equally touched him).

Aside from Frühling, the cycle confronts death without fear; rather, acceptance from the fulfillment of a life well-lived comes to the fore.

The second half of the program begins with a brief detour to the opera house, tipping its hat to France and the far-reaching influence of French music, composers, and teachers in the late 19th and early to mid-20th centuries. Ravel’s L’Heure Espagnole premiered at the Opéra-Comique in 1911, and tonight we present Concepción’s fiery aria O, la pitoyable aventure! The score is an ingenious hybrid of Spanish and French styles, and Ravel was meticulous in his musical setting of the nuance of the French language: “I have written an opéra-bouffe. Apart from [Gonzalve] who sings sérénades and cavatines with deliberately exaggerated melodies, the other roles will give, I think, the impression of being spoken.” Reflective of the form and flair of the Castilian dance of the sevillana, the aria presents Concepción in a moment of aggravated frustration: two of her would-be suitors are hiding in two different clocks in her husband’s workshop, a lamentable situation further exacerbated by the reality that she still must remain faithful and pure to her husband.

Louise, Charpentier’s rarely-performed opera, premiered at the Opéra-Comique in 1900 and enjoyed much success and many performances in the first half of the 20th century. The premiere was conducted by André Messager (a man we will hear from later

in the program) and the opera itself could be considered French verismo: a snapshot of the Parisian working class is revealed through the love story of Louise (a seamstress) and Julien (an artist). Louise had its Met premiere in 1921 with Geraldine Farrar in the title role, received a few revivals, and then disappeared from the Met repertory after 1949. Tonight’s selection, however, has become a cherished standard aria, frequently presented in concert and recital.

Henri Duparc’s 17 mélodies have remained central to the recital canon for decades. His compositional career was abruptly curtailed by illness in his thirties, leaving one to wonder what he else he might have achieved in the remaining 48 years of his life. The atmospheric L’Invitation au Voyage entices one to another place, with undulating accompaniment and sensual harmonic shifts.

Au pays où se fait la guerre takes a more narrative approach in its construction, telling the story of a woman who waits for her beloved soldier to return from war. The song ends with her still desperately anticipating his arrival.

The composer, conductor, organist, pianist, and administrator André Messager was prolific in the breadth of his professional work. His conducting repertoire was vast, encompassing the early baroque to a special affinity for Wagner. Aside from Louise, he also conducted another prominent world premiere: Debussy’s masterpiece Pelléas et Mélisande. A student of Saint-Säens and Fauré, he composed 30 opéra comiques and operettas, including Les P’tites Michu, the source of this evening’s duet.

Conceived as a “Monologue with Orchestra,” Poulenc’s La Dame de Monte-Carlo is also often performed with piano. The piece was written for Denise Duval, for whom he composed Elle in La voix humaine and Thérèse in Les mamelles de Tirésias. Jean Cocteau’s text sets an intriguing scene: A woman “of a certain age” has hit rock bottom. Abandoned and betrayed by lovers and the vicissitudes of life, she bitterly bemoans what her own life has become—one which has been both literally and figuratively consumed by gambling. The nearby Mediterranean Sea holds the only remedy for her suffering.

Our tour of France ends with American music. The profound impact French music, composers, and teachers had upon American artists in the 20th century is remarkable. Indeed, Paris itself was a muse for many people. Ned Rorem, composer of over 500 art songs, made his home there for several years. Lee Hoiby studied with composer Darius Milhaud (a member of Les Six) at Mills College in Oakland after Milhaud and his wife were forced to flee France as a result of the Nazi invasion. His whimsical setting of The Serpent comes from a cycle entitled Songs for Leontyne, composed for the great American soprano, Leontyne Price. Finally, we close tonight’s program with one of the most famous spiritual arrangements ever written: He’s Got the Whole World in His Hands by Margaret Bonds, an African-American woman who was a musical trailblazer in Chicago and New York. And what of her connection to France? When Bonds attempted to have lessons with the famed Nadia Boulanger, the latter reviewed her work and refused to teach her, citing that she required no further instruction.

—Michael Heaston Executive Director, Lindemann Young Artist Development Program

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ABOUT THE ARTISTS Soprano Michelle Bradley, from Versailles, Kentucky, is in her second year of the Lindemann Young Artist Development Program.

This season she makes her Met house debut as the Cretan Soprano in Idomeneo, the High Priestess in Aida, and joins the Santa Cruz Symphony for Verdi’s Messa da Requiem. Last month she appeared in recital at the Théâtre du Châtelet in Paris as part of the Festival international des Académies lyriques and at Zankel Hall in the Marilyn Horne Song Celebration. In October, she performed with pianist Ken Noda in Miami. This past summer she made her Met debut in the Summer Recital Series in New York City parks.

Ms. Bradley was the 2014 grand prize winner of The Music Academy of the West’s Marilyn Horne Song Competition and completed a nationwide recital tour in May 2015. Last season, she gave a recital in New York City as part of the Carnegie Hall neighborhood concert series.

She received her Master of Music in Vocal Performance from Bowling Green State University and is the recipient of the 2015 Hildegard Behrens Foundation Award.

Michelle Bradley’s participation in the Lindemann Young Artist Development Program is sponsored by the Elroy and Terry Krumholz Foundation.

Pianist Giuseppe Mentuccia, from Bassano Romano, Italy, is in his second year of the Lindemann Young Artist Development Program. This season he served the Italian diction coach for the Met’s production of L’Italiana in Algeri, conducted by James Levine.

This past summer, Mr. Mentuccia was resident coach and conductor at Music Academy of the West, conducting the 2016 Voice Fellows in a gala program of opera scenes.

He previously served as assistant conductor for the MET+Juilliard performances of Bellini’s La Sonnambula in the spring of 2016. He has given solo recitals and concerto performances throughout Europe and the USA including at the Accademia Musicale Chigiana, Alice Tully Hall, The Greene Space at WQXR, Valencia International Piano Festival.

He has also served on the faculties of Caramoor Center for Music and the Arts and at the Juilliard School.

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After studying with Robert Kettelson, specializing in Italian operatic repertoire, he was appointed collaborative pianist at the Accademia Nazionale di Santa Cecilia. He has participated in numerous conducting workshops in America and Europe, studying with Martin Åkervall, Frans Rasmussen, John Keenan and Simeone Tartaglione.

Mr. Mentuccia has won the Premio Vittoria, as best graduate of the Conservatory of Santa Cecilia, first prize at the Rotary Club International Music Competition, and first prize at the Juilliard Stravinsky Piano Concerto Competition.

He received his Artist Diploma in Piano Performance at the Accademia Nazionale di Santa Cecili, his Master of Music at The Juilliard School, and is currently a third-year CV Starr Doctoral Fellow at Juilliard.

Pianist Valeriya Polunina, from Tashkent, Uzbekistan, is in her first year of the Lindemann Young Artist Development Program.

Last month Ms. Polunina appeared in recital at the Théâtre du Châtelet in Paris as part of the Festival international des Académies lyriques. She served as rehearsal pianist in the Juilliard Opera’s 2015 production of Mozart’s The Magic Flute conducted by David Stern and as rehearsal pianist for Juilliard’s 2016 biannual Gala conducted by Alan Gilbert. She was vocal coach and rehearsal pianist for Juilliard’s production of Le Nozze di Figaro conducted by Gary Thor Wedow.

Her recital engagements this past season included concerts with soprano Sofia Fomina in London at The Travellers Club and the Tchaikovsky Competition Winners’ Recital, hosted by Valery Gergiev at Carnegie Hall.

Ms. Polunina has also been an active participant of festivals and summer courses including Crested Butte Music Festival, Miami Summer Music Festival, Solti Peretti Répétiteurs course, Tel-Hai International Piano Festival, and the International Keyboard Institute and Festival. During the Solti Peretti residency in Venice, Italy she had the privilege of playing under the baton of Richard Bonynge and closely worked with Jonathan Papp.

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She made her orchestral debut at the age of 15 with Russia’s renowned BACH Chamber Orchestra. Ms. Polunina received her Bachelor’s and Master’s degrees at Gnessin’s Academy of Music in Moscow, her Professional Diploma in Piano Solo Performance at Chicago College of Performing Arts, and her Master of Music in Collaborative Piano at The Juilliard School.

Mezzo Soprano Virginie Verrez, a native of France, is in her second year of the Lindemann Young Artist Development Program.

This season she returns to the Met in the roles of Stéphano in Roméo et Juliette and Enrichetta in I Puritani, after making her house debut last season as the Madrigalist in Manon Lescaut.

She debuted at Santa Fe Opera in 2016 as Erika in Vanessa, and last season she performed Falla’s El sombrero de tres picos with the New York Philharmonic.

In the summer of 2015 Ms. Verrez was privileged to sing Béatrice in Béatrice et Bénédict at Seiji Ozawa’s Saito Kinen Festival and Fenena in Nabucco with the Passion Theater in Southern Germany. Other recent engagements include: Lola in Cavalleria Rusticana with Avignon Opera, Mercédès in Carmen with Wolf Trap Opera, Beethoven’s Symphony No. 9 with the Philadelphia Orchestra and made her Carnegie Hall debut in Bruckner’s Te Deum.

The Metropolitan Opera’s Lindemann Young Artist Development Program was created in 1980 by Met Music Director Emeritus James Levine to identify and develop extraordinarily talented young artists in the realm of opera.

The program has trained a new generation of celebrated American and international opera singers, as well as coaches and pianists, who perform at the highest standards in productions at the Met and opera houses around the world.

The Met’s Lindemann Young Artist Development Program is unparalleled for the quality and scope of resources available to its participants. Throughout their instruction, young artists draw upon the vast pool of world-renowned talent available at the Met, including current and former Met artists, internationally recognized coaches, and master teachers.

Program participants have access to daily rehearsals and practice sessions, where they can observe opera’s great singers preparing their roles for the current Met repertory. They are presented with the unparalleled opportunity to perform onstage in Met productions, as many are assigned supporting roles and serve as understudies for featured singers.

Ms. Verrez is a winner of the Metropolitan Opera National Council Auditions and has been awarded first prizes by the Opera Index Competition, the Gerda Lissner Foundation and the Art Song Society of New York.

She received both her Bachelor and Master of Music degrees in Vocal Performance from The Juilliard School, where her roles included Clytemnestre in Iphigénie en Aulide under the baton of Jane Glover, Zenobia in Handel’s Radamisto and Junon in Charpentier’s Acteon, together with the Historical Performance 415 conducted by William Christie.

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TEXTS AND TRANSLATIONS MONTEVERDI “Pur ti miro” from L’Incoronazione di Poppea Translation by Ellen Hargis Libretto by Giovanni Francesco Busenello Pur ti miro, Pur ti godo, Pur ti stringo, Pur t’annodo, Più non peno, Più non moro, O mia vita, o mi tesoro.

Io son tua…

Tuo son io…

Speme mia, dillo, dì, Tu sei pur, speme mia L’idol mio, dillo, dì, Tu sei pur, Sì, mio ben, Sì, mio cor, mia vita, sì.

Pur ti miro, Pur ti godo, Pur ti stringo, Pur t’annodo, Più non peno, Più non moro, O mia vita, o mi tesoro.

I gaze at you, I rejoice in you, I clasp you, I entwine you, I suffer no longer, I die no longer, O my life, O my treasure.

I am yours…

Yours am I… My hope, say it, say, You are my hope My idol, say it, say, You are, Yes, my love, Yes, my heart, my life, yes.

I gaze at you, I rejoice in you, I clasp you, I entwine you, I suffer no longer, I die no longer, O my life, O my treasure.

SCHUMANN Gedichte der Königin Maria Stuart, Op. 135 Text by Freiherr von Vincke Gisbert Translation by Sharon Krebs* Abschied von Frankreich Ich zieh’ dahin!

Ade, mein fröhlich Frankenland, Wo ich die liebste Heimath fand, Du meiner Kindheit Pflegerin.

Ade, du Land, du schöne Zeit— Mich trennt das Boot vom Glück so weit!

Doch trägt’s die Hälfte nur von mir: Ein Theil für immer bleibet dein, Mein fröhlich Land, der sage dir, Des Andern eingedenk zu sein!

Farewell from France I travel away!

Adieu, my joyful France, Where I found the dearest home, Thou, who tended to me in childhood.

Adieu, thou land, thou lovely time The boat is carrying me so far away from happiness!

But it bears only half of me: One part shall ever remain thine, My joyful land, [and that part] shall urge thee To remember the other part!

Nach der Geburt ihres Sohnes Herr Jesu Christ, den sie gekrönt mit Dornen, Beschütze die Geburt des hier Gebor’nen.

Und sei’s dein Will’, lass sein Geschlecht zugleich Lang herrschen noch in diesem Königreich.

Und alles, was geschieht in seinem Namen, Sei dir zu Ruhm und Preis und Ehre, Amen

After the birth of her son Lord Jesus Christ, whom they crowned with thorns, Guard the birth of the child born here.

And if it be Thy will, let his line Long reign [yet in]1 this kingdom, And may everything that comes to pass in his name Be to Thy glory and praise and honour—Amen!

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An die Königin Elisabeth Nur ein Gedanke, der mich freut und quält, Hält ewig mir den Sinn gefangen, Sodaß der Furcht und Hoffnung Stimmen klangen, Als ich die Stunden ruhelos gezählt.

To Queen Elizabeth One thought alone that gladdens and tortures me Holds my spirit captive eternally So that the voices of both dread and hope rang out While restlessly I counted the hours.

Und wenn mein Herz dieß Blatt zum Boten wählt, Und kündet, Euch zu sehen, mein Verlangen, Dann, theure Schwester, fasst mich neues Bangen, Weil ihm die Macht, es zu beweisen fehlt.

And when my heart chooses this leaf of paper as its messenger, And tells of my longing to see you, Then, valued sister, I am gripped by new anxiety, Because [this leaf of paper] lacks the power to give evidence thereof.

Ich seh den Kahn, im Hafen fast geborgen, Vom Sturm und Kampf der Wogen festgehalten, Des Himmels heit’res Antlitz nachtumgraut.

I see the barque, almost safe in harbour, Held fast by the storm and the battle of the waves, The bright visage of the heavens shrouded by night.

So bin auch ich bewegt von Furcht und Sorgen, Vor Euch nicht, Schwester! Doch des Schicksals Walten Zerreißt das Segel oft, dem wir vertraut.

Thus, I too, am beset by fears and cares, Not [fear of ] you, sister! But the machinations of fate Often tear the sail that we trusted.

Abschied von der Welt Was nützt die mir noch zugemess’ne Zeit?

Mein Herz erstarb für irdisches Begehren, Nur Leiden soll mein Schatten nicht entbehren, Mir blieb allein die Todesfreudigkeit.

Farewell from the world Of what use is the time still allotted to me?

My heart is dead to all earthly desires, I am shadowed by nothing but suffering, All that remains to me is looking forward to death.

Ihr, Feinde, lasst von eurem Neid: Mein Herz ist abgewandt der Hoheit Ehren, Des Schmerzes Uebermaß wird mich verzehren, Bald geht mit mir zu Grabe Haß und Streit.

You, enemies, leave off your envy: My heart has turned away from the honors of a high station, An excess of pain shall consume me, Soon hate and contention shall pass with me into a grave.

Ihr Freunde, die ihr mein gedenkt in Liebe, Erwägt und glaubt, daß ohne Kraft und Glück Kein gutes Werk mir zu vollenden bliebe.

You friends who remember me lovingly, Reflect and believe that without strength and good fortune No good work remained for me to complete.

So wünscht mir bess’re Tage nicht zurück, Und weil ich schwer gestrafet werd hienieden, Erfleht mir meinen Theil am ew’gen Frieden.

So do not wish for the return of better times, And since I am being sorely tried here on earth, Beseech [God to grant] me my portion of eternal peace.

Gebet O Gott, mein Gebieter, Ich hoffe auf Dich!

O Jesu, Geliebter, Nun rette Du mich!

Im harten Gefängniß, In schlimmer Bedrängniß Ersehne ich Dich; In Klagen, Dir klagend, Im Staube verzagend, Erhör’, ich beschwöre, Und rette Du mich

Prayer Oh God, my Master, I place my trust in Thee!

Oh Jesus, Beloved, Save me now!

In a cruel prison, In sore distress I yearn for Thee; In lamentations sobbing to Thee, Despairing in the dust, Hear my plea, I implore Thee, And save Thou me! *Reprinted with kind permission

Please turn the page quietly.

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STRAUSS Vier letzte Lieder Translation by Emily Ezust* Text by Hermann Hesse Frühling In dämmrigen Grüften träumte ich lang von deinen Bäumen und blauen Lüften, von deinem Duft und Vogelsang.

Spring In dusky vaults I have long dreamt of your trees and blue skies, of your scents and the songs of birds.

Nun liegst du erschlossen in Gleiß und Zier, von Licht übergossen wie ein Wunder vor mir.

Now you lie revealed in glistening splendour, flushed with light, like a wonder before me.

Du kennst mich wieder, du lockst mich zart, es zittert durch all meine Glieder deine selige Gegenwart!

You know me again, you beckon tenderly to me; all of my limbs quiver from your blissful presence!

September Der Garten trauert, kühl sinkt in die Blumen der Regen.

Der Sommer schauert still seinem Ende entgegen.

September The garden is mourning, the rain sinks coolly into the flowers.

Summer shudders as it meets its end.

Golden tropft Blatt um Blatt nieder vom hohen Akazienbaum.

Sommer lächelt erstaunt und matt in den sterbenden Gartentraum.

Leaf upon leaf drops golden down from the lofty acacia.

Summer smiles, astonished and weak, in the dying garden dream.

Lange noch bei den Rosen bleibt er stehen, sehnt sich nach Ruh. Langsam tut er die großen müdgewordnen Augen zu.

For a while still by the roses it remains standing, yearning for peace.

Slowly it closes its large eyes grown weary.

Beim Schlafengehen Nun der Tag mich müd gemacht, soll mein sehnliches Verlangen freundlich die gestirnte Nacht wie ein müdes Kind empfangen.

While going to sleep Now that the day has made me so tired, my dearest longings shall be accepted kindly by the starry night like a weary child.

Hände, laßt von allem Tun, Stirn, vergiß du alles Denken, alle meine Sinne nun wollen sich in Schlummer senken.

Hands, cease your activity, head, forget all of your thoughts; all my senses now will sink into slumber.

Und die Seele unbewacht will in freien Flügen schweben, um im Zauberkreis der Nacht tief und tausendfach zu leben.

And my soul, unobserved, will float about on untrammeled wings in the enchanted circle of the night, living a thousandfold more deeply.

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Text by Joseph von Eichendorff Translation by Emily Ezust* Im Abendrot Wir sind durch Not und Freude Gegangen Hand in Hand, Vom Wandern ruhen wir Nun überm stillen Land.

In the twilight Through adversity and joy We’ve gone hand in hand; We rest now from our wanderings Upon this quiet land.

Rings sich die Täler neigen, Es dunkelt schon die Luft, Zwei Lerchen nur noch steigen Nachträumend in den Duft.

Around us slope the valleys, The skies grow dark; Two larks alone are just climbing, As if after a dream, into the scented air.

Tritt her, und laß sie schwirren Bald ist es [Schlafenszeit]2, Daß wir uns nicht verirren In dieser Einsamkeit.

Come here and let them whir past, For it will soon be time to rest; We do not wish to get lost In this solitude.

O weiter, stiller Friede!

So tief im Abendrot, Wie sind wir wandermüde Ist dies etwa der Tod?

O wide, quiet peace, So deep in the red dusk...

How weary we are of our travels Is this perhaps - Death? *Reprinted with kind permission from lieder.net.

Please turn the page quietly.

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RAVEL “O, la pitoyable aventure!” from L’Heure Espagnole Translation by Fred Rullman Libretto by Franc Nohain Oh! la pitoyable aventure!

Et faut il que, de deux amants, L’un manque de temperament, Et I’autre, à ce point de nature!

Oh! la pitoyable aventure!

Et ces gens là se disent Esoagnols Dans le pays de dona Sol, A deux pas de I’Estramadure! …

Le temps me dure, dure, dure …

Oh! la pitoyable aventure!

L’un ne veut mettre ses efforts, Ou’à composer des vers baroques, Et I’autre, plus grotesque encor, De l’horloge n’a pu sortir rien qu’à mi corps, Avec son ventre empêtré de broloquez!...

Maintenant, le jour va finir.

Et mon époux va revenir: Et je reste fidéle et pure. . .

A deux pas de l’Estramadure Au pays du Guadalquivir! ...

Le temps me dure, dure, dure! …

Ah! pour ma colère passer.

Avoir quelque chose a casser, A mettre en bouillie, en salade!

Oh, pitiful adventure!

And is it necessary that of two lovers, One lacks temperament, And the other, this natural essential.

Oh, pitiful adventure!

And these people call themselves Spaniards In the country of the Sun, Two steps from Extramadura Time hangs heavy upon my hands.

Oh, pitiful adventure!

One does not want to take pains, Except to compose florid verses, And the other, still more grotesque, Could come only halfway out of the clock, With his belly entangled with trinkets.

Now, the day nears its end.

And my husband will return, And I remain faithful and pure.

Two steps from the Extramadura In the country of the Guadalquivir!

Time hangs heavy upon my hands.

Ah ! To end my anger, To have something to break, To smash, to shatter...

CHARPENTIER “Depuis le jour” from Louise Translation by Stacey Martin Libretto by Gustave Charpentier Depuis le jour où je me suis donnée, toute fleurie semble ma destinée.

Je crois rêver sous un ciel de féerie, l’âme encore grisée de ton premier baiser!

Quelle belle vie!

Mon rêve n’était pas un rêve!

Ah! je suis heureuse!

L’amour étend sur moi ses ailes!

Au jardin de mon coeur chante une joie nouvelle!

Tout vibre, tout se réjouit de mon triomphe!

Autour de moi tout est sourire, lumiére et joie!

Et je tremble délicieusement Au souvenir charmant Du premier jour D’amour!

Quelle belle vie!

Ah! je suis heureuse! trop heureuse ...

Et je tremble délicieusement Au souvenir charmant Du premier jour D’amour!

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Since the day I gave myself, my fate seems all in flower.

I seem to be dreaming beneath a fairy sky, my soul still enraptured by that very first kiss!

What a wonderful life!

My dream was not a dream!

Oh! I am so happy!

Love spreads its wings over me!

In the garden of my heart a new joy sings!

Everything resonates, everything rejoices in my triumph!

About me all is smiles, light and happiness!

And I tremble deliciously at the delightful memory of the first day of love!

What a glorious life!

Oh, how happy I am! Too happy!...

And I tremble deliciously at the delightful memory of the first day of love!

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DUPARC L’Invitation au voyage Translation by Peter Low* Text by Charles Baudelaire Mon enfant, ma sœur, Songe à la douceur D’aller là-bas vivre ensemble, Aimer à loisir, Aimer et mourir Au pays qui te ressemble.

Les soleils mouillés De ces ciels brouillés Pour mon esprit ont les charmes Si mystérieux De tes traîtres yeux, Brillant à travers leurs larmes.

Là, tout n’est qu’ordre et beauté, Luxe, calme et volupté.

My child, my sister, think of the sweetness of going there to live together!

To love at leisure, to love and to die in a country that is the image of you!

The misty suns of those changeable skies have for me the same mysterious charm as your fickle eyes shining through their tears.

There, all is harmony and beauty, luxury, calm and delight.

Vois sur ces canaux Dormir ces vaisseaux Dont l’humeur est vagabonde; C’est pour assouvir Ton moindre désir Qu’ils viennent du bout du monde.

Les soleils couchants Revêtent les champs, Les canaux, la ville entière, D’hyacinthe et d’or; Le monde s’endort Dans une chaude lumière!

Là, tout n’est qu’ordre et beauté, Luxe, calme et volupté.

See how those ships, nomads by nature, are slumbering in the canals.

To gratify your every desire they have come from the ends of the earth.

The westering suns clothe the fields, the canals, and the town with reddish-orange and gold.

The world falls asleep bathed in warmth and light.

There, all is harmony and beauty, luxury, calm and delight. *Reprinted with kind permission.

Please turn the page quietly.

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Au pays où se fait la guerre Translation by Victoria de Menil* Text by Pierre-Jules-Théophile Gautier Au pays où se fait la guerre Mon bel ami s’en est allé; Il semble à mon cœur désolé Qu’il ne reste que moi sur terre !

En partant, au baiser d’adieu, Il m’a pris mon âme à ma bouche.

Qui le tient si longtemps, mon Dieu?

Voilà le soleil qui se couche, Et moi, toute seule en ma tour, J’attends encore son retour.

To the country where war is waged My beautiful love departed.

It seems to my desolate heart That I alone remain on earth.

When leaving, at our kiss goodbye, He took my soul from my mouth...

Who is holding him back so long, O God? There is the sun setting.

And I, all alone in my tower, I still await his return.

Les pigeons sur le toit roucoulent, Roucoulent amoureusement ; Avec un son triste et charmant Les eaux sous les grands saules coulent.

Je me sens tout près de pleurer; Mon cœur comme un lis plein s’épanche, Et je n’ose plus espérer.

Voici briller la lune blanche, Et moi, toute seule en ma tour, J’attends encore son retour.

The pigeons on the roof are cooing, Cooing lovingly With a sad and charming sound; The waters under the large willows flow...

I feel ready to cry; My heart, like a full lily, overflows And I no longer dare to hope.

Here gleams the white moon.

And I, all alone in my tower, I still await his return.

Quelqu’un monte à grands pas la rampe: Serait-ce lui, mon doux amant?

Ce n’est pas lui, mais seulement Mon petit page avec ma lampe.

Vents du soir, volez, dites-lui Qu’il est ma pensée et mon rêve, Toute ma joie et mon ennui.

Voici que l’aurore se lève, Et moi, toute seule en ma tour, J’attends encore son retour.

Someone is climbing the ramp rapidly.

Could it be him, my sweet love?

It isn’t him, but only My little page with my lamp.

Evening winds, veiled, tell him That he is my thoughts and my dream, All my joy and my longing.

Here is the dawn rising.

And I, all alone in my tower, I still await his return. *Reprinted with kind permission.

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MESSAGER “Blanche-Marie et Marie-Blanche” from Les P’tites Michu Translation by Steven Blier* Libretto by Albert Vanloo and Georges Duval Blanche-Marie et Marie-Blanche, Deux têtes sous un seul bonnet, Deux fleurs sur une même branche, Qui voit l’une, l’autre connaît: Blanche-Marie et Marie-Blanche, Blanche-Marie et Marie-Blanche, Les deux forment tout complet!

Blanche-Marie and Marie-Blanche, Two heads under a single bonnet, Two flowers on the same branch, Whoever sees one of us instantly knows the other.

Blanche-Marie and Marie-Blanche, Blanche-Marie and Marie-Blanche, The two of us make up a single entity!

Comme entre nous tout devait être Pareil en tout absolument, Le ciel prudent nous a fait naître Toutes les deux au même instant…

Tout juste j’arrivais au monde Mes yeux s’ouvraient à peine au jour…

Que moi, dans la même seconde, Je fis mon entrée à mon tour!

Since everything between us had to be Exactly the same in every way, The prudent heavens caused us to be born At the same moment…

Marie-Blanche: The moment I arrived in the world My eyes were just opening to see the day…

Blanche-Marie: I, at the same second, I made my own entrance!

Blanche-Marie et Marie-Blanche…

Blanche-Marie and Marie-Blanche….

Nous sommes toutes deux semblables Avec la gaîté d’un pinson, Malignes comme deux vrais diables, Et l’effroi de la pension!

Mais avec ça, douces, gentilles, Malgré nos airs de casse-cou, En résumé fort bonnes filles Et pas méchantes pour un sou!

The two of us are exactly the same, Cheerful as songbirds, Mischievous as two little devils, Terrified of being sent to boarding school!

But for all that, sweet and kindhearted, Despite our daredevil ways, In summary: very good girls And never, ever mean!

Blanche-Marie et Marie-Blanche…

Blanche-Marie and Marie-Blanche… *Reprinted with kind permission.

Please turn the page quietly.

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POULENC La Dame de Monte-Carlo Translation Courtesy of The Schubert Club Text by Jean Cocteau Quand on est morte entre les mortes, qu’on se traîne chez les vivants lorsque tout vous flanque à la porte et la ferme d’un coup de vent, ne plus être jeune et aimée… derrière une porte fermée, il reste de se fiche à l’eau ou d’acheter un rigolo.

Oui, messieurs, voilà ce qui reste pour les lâches et les salauds.

Mais si la frousse de ce geste s’attache à vous comme un grelot, si l’on craint de s’ouvrir les veines, on peut toujours risquer la veine d’un voyage à Monte-Carlo Monte-Carlo, Monte-Carlo.

When you are dead amongst the dead when you drag yourself amongst the living, when everything kicks you out and the wind slams the door shut, no longer young and loved… behind a closed door, there’s nothing left but to drown oneself or buy some mustard plaster.

Yes, gentlemen, that’s what’s left for cowards and bastards.

But if fear of this gesture haunts you like a tinkling bell, if you are scared to slash your wrists, you can always take the gamble of a trip to Monte Carlo Monte Carlo, Monte Carlo.

J’ai fini ma journée.

Je veux dormir au fond de l’eau de la Mediterranée.

Après avoir vendu à votre âme et mis en gage des bijoux que jamais plus on ne réclame, la roulette est un beau joujou.

C’est joli de dire: “je joue”.

Cela vous met le feu aux joues et cela vous allume l’œil.

Sous les jolis voiles de deuil on porte un joli nom de veuve.

Un titre donne de l’orgueil!

Et folie, et prête, et toute neuve, on prend sa carte au casino.

Voyez mes plumes et mes voiles, contemplez les strass de l’étoile qui mène à Monte-Carlo.

I’ve finished my day.

I want to sleep on the seabed of the Mediterranean.

After selling your soul and pawning jewellery you’ll never come to reclaim, roulette is a pretty plaything.

It’s a nice thing to say: “I gamble”.

It makes your cheeks flush and lights up your eyes.

Beneath one’s fine mourning veils one bears a fine widow’s name.

There’s pride in a title!

So crazy, up for anything, and fresh, you take out a casino card.

Look at my feathers and my veils, admire the sequins of the star that leads to Monte Carlo.

La chance est femme. Elle est jalouse de ces veuvages solennels.

Sans doute ell’ m’a cru l’épouse d’un véritable colonel.

J’ai gagné, gagné sur le douze.

Et puis les robes se decousent, la fourrure perd des cheveux.

On a beau répéter: “Je veux”, dès que la chance vous déteste, dès que votre cœur est nerveux, vous ne pouvez plus faire un geste, pousser un sou sur le tableau sans que la chance qui s’écarte change les chiffres et les cartes des tables de Monte-Carlo.

Luck is a woman. She is jealous of solemn widowhoods.

No doubt she thought I was the wife of a real colonel.

I won, I won on the twelve.

And then dresses come unstitched, fur sheds its hair.

As much as you say: “I want”, once luck turns against you, once your heart is nervous, you cannot move a muscle, push a coin on the board, without luck stepping aside and changing numbers and cards on the tables at Monte Carlo.

Les voyous, le buses, les gales!

Ils m’ont mise dehors… dehors… et ils m’accusent d’être sale, de porter malheur dans leurs salles, dans leurs sales salles en stuc.

Moi qui aurais donné mon truc à l’œil, au prince, à la princesse,

The scoundrels, the fools, the worms! they threw me out… out…

They accuse me of being dirty, of bringing bad luck to their rooms, to their filthy stucco gaming rooms.

I would have told them my system for nothing, told the prince, the princess,

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au Duc de Westminster, au Duc, parfaitement.

Faut que ça cesse, qu’ils me criaient, votre boulot! Votre boulot?...

Ma découverte.

J’en priverai les tables vertes.

C’est bien fait pour Monte-Carlo, Monte-Carlo.

the Duke of Westminster, yes, that’s right, the Duke himself.

This has to stop, they shouted at me, this business of yours! This business?…

My discovery.

I’ll deprive the green tables of it.

Serves Monte Carlo right. Monte Carlo.

Et maintenant, moi qui vous parle, je n’avouerai pas les kilos que j’ai perdus, que j’ai perdus à Monte-Carle, Monte-Carle, ou Monte-Carlo.

Je suis une ombre de moi-même... les martingales, les systèmes et les croupiers qui ont le droit de taper de loin sur vos doigts quand on peut faucher une mise.

Et la pension où l’on doit et toujours la même chemise que l’angoisse trempe dans l’eau.

Ils peuvent courir. Pas si bête.

Cette nuit je pique une tête dans la mer de Monte-Carlo, Monte-Carlo…

And now, I who am talking to you, I’ll not admit how much weight I lost, I lost at Monte Carle, Monte Carle, or Monte Carlo.

I am a shadow of myself... the winning formulas, the systems and the croupiers who have the right to rap you over the knuckles when you’re about to pinch the stake.

And the board I owe at the guest house, and always the same wet nightdress drenched in anguish.

They can sing for it. I’m not that stupid.

Tonight I will dive head first into the sea at Monte Carlo, Monte Carlo...

ROREM

HOIBY

The Silver Swan Text by Orlando Gibbons

The Serpent Text by Theodore Roethke

The silver swan who, living, had no note, when death approached, unlocked her silent throat.

There was a Serpent who had to sing.

There was. There was.

He simply gave up Serpenting.

Because. Because.

He didn’t like his Kind of Life; He couldn’t find a proper Wife; He was a Serpent with a soul; He got no Pleasure down his Hole.

And so, of course, he had to Sing, And Sing he did, like Anything!

Leaning her breast against the reedy shore, thus sung her first and last, and sung no more: “Farewell all joys, O death come close my eyes.

More geese than swans now live, more fools than wise.”

The Birds, they were, they were Astounded; And various Measures Propounded To stop the Serpent’s Awful Racket: They bought a Drum. He wouldn’t Whack it.

They sent, —you always send, —to Cuba And got a Most Commodious Tuba; They got a Horn, they got a Flute, But Nothing would suit.

He said, “Look, Birds, all this is futile: I do not like to Bang or Tootle.”

And then he cut loose with a Horrible Note That practically split the Top of his Throat.

“You see,” he said, with a Serpent’s Leer, “I’m Serious about my Singing Career!”

And the Woods Resounded with many a Shriek As the Birds flew off to the end of Next Week.

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ABOUT THE ARMORY Part American palace, part industrial shed, Park Avenue Armory is dedicated to supporting unconventional works in the visual and performing arts that need non-traditional spaces for their full realization, enabling artists to create, students to explore, and audiences to consume epic and adventurous presentations that can not be mounted elsewhere in New York City.

Since its first production in September 2007, the Armory has organized and commissioned immersive performances, installations, and cross-disciplinary collaborations by visionary artists, directors, and impresarios in its vast drill hall that defy traditional categorization and to push the boundaries of their practice. In its historic period rooms, the Armory presents small-scale performances and programs, including its acclaimed Recital Series in the intimate salon setting of the Board of Officers Room and the Artists Studio series in the newly restored Veterans Room. The Armory also offers robust arts education programs at no cost to underserved New York City public school students, engaging them with the institution’s artistic programming and the building’s history and architecture.

Built between 1877 and 1881, Park Avenue Armory has been hailed as containing “the single most important collection of nineteenth century interiors to survive intact in one building” by the New York City Landmarks Preservation Commission. The 55,000-square-foot Wade Thompson Drill Hall, with an 80-foot-high barrel vaulted roof, is one of the largest unobstructed spaces in New York City. The Armory’s magnificent reception rooms were designed by leaders of the American Aesthetic Movement, among them Louis Comfort Tiffany, Stanford White, Candace Wheeler, and Herter Brothers. The building is currently undergoing a $210-million renovation designed by Herzog & de Meuron and Platt Byard Dovell White Architects as Executive Architects.

PARK AVENUE ARMORY STAFF Rebecca Robertson, President and Executive Producer Pierre Audi, Artistic Director Katrina Berselius, Special Assistant to the President Jenni Bowman, Producer David Burnhauser, Collection Manager Courtney Caldwell, Venue Events Manager Leandro Dasso, Porter Khemraj Dat, Accountant John Davis, Facilities Director Jordana De La Cruz, Special Projects Coordinator Mayra DeLeon, Porter Marcia Ebaugh-Pallán, Manager of Special Events Alexander Frenkel, Controller Lissa Frenkel, Managing Director Melanie Forman, Chief Development Officer Caelan Fortes, Individual Giving Assistant Peter Gee, Chief Financial and Administrative Officer Pip Gengenbach, Education Coordinator Carlie Guevara, Administrative Assistant, President’s Office Jennie Herreid, Ticket Services Manager Reginald Hunter, Building Mechanic Cassidy Jones, Education Director Chelsea Emelie Kelly, Youth Corps Coordinator Nicole Kidston, Deputy Director of Development Paul King, Director of Production Allison Kline, Director of Foundation and Government Relations 16

Nicholas Lazzaro, Production Operations Manager Jennifer Levine, Director of Special Events Michael Lonergan, Producing Director Wayne Lowery, Security Director Jason Lujan, Operations Manager Walter Nin, Security Manager Maxine Petry, Manager of Individual Giving Charmaine Portis, Executive Assistant to the Chief Development Officer Morgan Powell, Membership Coordinator Kirsten Reoch, Director of Design and Construction Erik Rogers, Production Coordinator Matthew Rymkiewicz, Tessitura Database Manager William Say, Superintendent Jennifer Smith, Associate Director of Corporate Relations Tom Trayer, Director of Marketing Chris Van Alstyne, Technical Director Brandon Walker, Associate Technical Director Jessica Wasilewski, Producer Monica Weigel, Associate Director of Education Avery Willis Hoffman, Program Director Nick Yarbrough, Digital Marketing Manager Joshua Zajdman, Press and Editorial Manager Youth Corps Santiago Budier, Rachel Calabrese, Logan Delgado, Joselin Flores, Lizmarie Garcia, Isatu Jalloh, Sinaia Jones, Terrelle Jones, Destiny Lora, Leidy Dania Carrasco Paulino, Angela Reynoso, Rafael Rosario, Cory Sierra, Keshawn Wallace, Maegan Wright

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NEXT IN THE RECITAL SERIES SARAH CONNOLLY, mezzo-soprano JOSEPHY MIDDLETON, piano

LAWRENCE BROWNLEE, tenor MYRA HUANG AND JASON MORAN, piano

“If one proper definition of ‘diva’ is someone who exhibits unimpeachable musical authority, Sarah Connolly qualifies in a big way.” —Opera News

“He sang with agility, elegance, and Rossinian style, tossing off high notes and roulades…this was a winning performance for an increasingly important artist.”

—The New York Times

march 15–17

august 9–11

Sarah Connolly is “unrivaled: simply the best, most exciting, most galvanizing performer we have today” (The Independent, UK), performing in some of the world’s most renowned opera houses including English National Opera, Glyndebourne Festival, Covent Garden, Bayreuther Festspiele, and the Metropolitan Opera. The celebrated British mezzo-soprano moves from the vast opera stage to the intimate Board of Officers Room for a recital that showcases her communicative power of lieder and art song with a program to include works

by Copland, Berlioz, Schuman, and Poulenc.

WU MAN AND THE SHANGHAI QUARTET june 20–21

“The pipa and the quartet achieved a kind of exuberant synergy together, as if each were leapfrogging over the other in a mad rush to expressive extremes, and when it ended, it ended too soon.” —The Washington Post The acclaimed Shanghai Quartet and pipa (Chinese lute) virtuoso Wu Man unite to perform new works by contemporary Chinese composers, including works by YiWen Jang, Zhou Long, and Tan Dun. Called “wonderfully ferocious and illuminating” by The Washington Post, the Shanghai Quartet are recognized for their unique fluency in both Eastern folk and Western Classical idioms. Hailed as a leading ambassador of Chinese music, Wu Man is “the artist most responsible for bringing the pipa to the Western world” (Los Angeles Times).

Known as one of the world’s leading bel canto tenors, American-born Lawrence Brownlee has captivated audiences and critics alike with a wide range of roles from opera to contemporary music and jazz. The acclaimed singer comes to the Armory for a progressive concert that bridges multiple historic period rooms. The evening begins in the Board of Officers Room with a recital of lieder and art songs and continues in the Veterans Room with jazz standards and American spirituals, both designed to showcase his unique vocal artistry as well as the ambience of the spaces in which it is showcased.

SABINE DEVIEIHLE, soprano ANNA LE BOZEC, piano october 1–3

“irresistibly good…expressive and incisive, Devieilhe is in command of everything…” —The Guardian (UK) Coloratura soprano Sabine Devieilhe is quickly making a name for herself as one of the most exciting young voices around, making lauded debuts at opera houses throughout Europe including Dutch National Opera, Opéra national de Paris, Aix-en-Provence Festival, and the Glyndebourne Festival. She makes here North American recital debut with a program of French art songs that perfectly showcases the sheer beauty of her vocal virtuosity in one of the most elegant and intimate spaces—the Board of Officers Room.

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NEXT AT THE ARMORY THE HAIRY APE

BLANK OUT

“Superb … a rare and exhilarating revival of a play that shows the ability of expressionism to pin down the encaged isolation of the eternally oppressed.” —The Guardian (UK)

“A wonderfully fluent and effective piece of music theatre” —The Guardian (UK)

september 21-25

march 25–april 22

Nobel Prize-winning playwright Eugene O’Neill’s iconic piece of expressionist drama gets a thrilling new life in a production by visionary dirmector Richard Jones. Tony-nominated actor Bobby Cannavale stars as Yank, whose journey literally revolves around the audience like the conveyer belt of a larger machine. This fresh approach creates an inventive and contemporary rallying cry addressed as much to our own gilded age as to O’Neill’s that rattles the cages of capitalism.

Based on the life and work of South African poet Ingrid Jonker, this groundbreaking work by innovative composer and creator Michel van der Aa combines live action, innovative techniques of interactive film, and inventive music to consider the ways in which we reconstruct and deal with traumatic life events. Soprano Miah Person sings live, combined with replayed loops of herself and the voice of baritone Roderick Williams in 3D film to create haunting musical passages and ensembles, and in the process, an entirely new form of opera.

FLEXN EVOLUTION

ARTISTS STUDIO

may 18–21

“… [a] searing example of dance as protest” ” —The Boston Globe Characterized by snapping, pausing, bone-breaking, gliding, get-low, hat tricks, and real-time in-body animation, FLEXN is a form of street dance that has evolved from the Jamaican bruk-up found in dance halls and reggae clubs in Brooklyn.

After dazzling audiences in 2015, this thrilling group of dance innovators returns to the Armory with a constantly evolving style and vocabulary that continually reflects the new virtuosity and new urgency demanded by the times.

HANSEL & GRETEL june 7–august 6

“[Herzog & de Meuron] are always dedicated to enlarging experience where others would flatten it, and heightening the specifics of a place when there are pressures to erase them. They are champions of nuance” —Architectural Review

Curated by jazz pianist, composer, and MacArthur fellow Jason Moran, these performances explore the culture of sound that can be visibly seen in the newly reopened Veterans Room, while allowing these creative thinkers to actively explore bold new directions of global influence in contemporary music.

Upcoming Performances:

DAWN OF MIDI february 18 RYUICHI SAKAMOTO april 25–26 RASHAAD NEWSOME november 7 JO LAWRY & KAVITA SHAH november 21

“ …it is the essence of Ai’s activism: …work that unleashes the political power of art.” —The Guardian (UK) In a new commission that is both object and environment, Pritzker Prize-winning architects Jacques Herzog and Pierre de Meuron with artist/activist Ai Weiwei explore the meaning of public space in our surveillance-laden world, referencing the story of Hansel and Gretel in which the children lose their way and feel a sense of menace in a space they know and trust. The artists create a 21st century public place in which the environment is disconcerting, the entrance is unexpected, and every movement is tracked and surveyed by drones and communicated to an unknown public.

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PARK AVENUE ARMORY BOARD OF DIRECTORS Co-Chairman Elihu Rose, PhD. Co-Chairman Adam R. Flatto President and Executive Producer Rebecca Robertson

Marina Abramović Harrison M. Bains Wendy Belzberg Emma Bloomberg Martin Brand Carolyn Brody Cora Cahan Peter C. Charrington Hélène Comfort Paul Cronson Emme Levin Deland Sanford B. Ehrenkranz David Fox Marjorie L. Hart Edward G. Klein, Major General NYNG (Ret.) Ken Kuchin Mary T. Kush

Pablo Legorreta Ralph Lemon Heidi McWilliams David S. Moross Gwendolyn Adams Norton Joel Press Genie H. Rice Amanda J.T. Riegel Janet C. Ross Joan Steinberg Emanuel Stern Mimi Klein Sternlicht Angela E. Thompson Deborah C. van Eck Founding Chairman, 2000-2009 Wade F.B. Thompson

PARK AVENUE ARMORY ARTISTIC COUNCIL Co-Chairs Noreen Buckfire Michael Field Caryn Schacht and David Fox Heidi and Tom McWilliams

Wendy Belzberg and Strauss Zelnick A. Cary Brown and Steven Epstein Elizabeth Coleman Hélène and Stuyvesant Comfort Emme and Jonathan Deland Krystyna Doerfler Olivia and Adam Flatto Anita K. Hersh Wendy Keys Ken Kuchin and Tyler Morgan Chad A. Leat Aaron Lieber and Bruce Horten Christina and Alan MacDonald Elizabeth and Frank Newman

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Janet and David P. Nolan Gwen and Peter Norton Slobodan Randjelović and Jon Stryker Richard and Amanda J.T. Riegel Susan and Elihu Rose Susan Rudin Joan and Michael Steinberg Liz and Emanuel Stern Mimi Klein Sternlicht Deborah C. van Eck Robert Vila and Diana Barrett Mary Wallach Richard and Franny Heller Zorn

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SUPPORTERS Park Avenue Armory expresses its deep appreciation to the individuals and organizations listed here for their generous support for its annual and capital campaigns. $1,000,000 + Charina Endowment Fund Empire State Local Development Corporation Richard and Ronay Menschel New York City Council and Council Member Daniel R. Garodnick New York City Department of Cultural Affairs The Pershing Square Foundation Susan and Elihu Rose The Arthur Ross Foundation and J & AR Foundation Joan and Joel Smilow The Thompson Family Foundation Wade F.B. Thompson* The Zelnick/Belzberg Charitable Trust Anonymous

$500,000 to $999,999 Citi Lisa and Sanford B. Ehrenkranz Almudena and Pablo Legorreta The Andrew W. Mellon Foundation Assemblymember Dan Quart and the New York State Assembly Adam R. Rose and Peter R. McQuillan Donna and Marvin Schwartz Liz and Emanuel Stern

$250,000 to $499,999 American Express Bloomberg Philanthropies Michael Field Olivia and Adam Flatto Ken Kuchin and Tyler Morgan The Pierre and Tana Matisse Foundation The Rockefeller Foundation Marshall Rose Family Foundation

$100,000 to $249,999 The Achelis and Bodman Foundations R. Mark Adams Altman Foundation Linda and Earle S. Altman Booth Ferris Foundation Martin Brand The W.L. Lyons Brown, Jr. Charitable Foundation Hélène and Stuyvesant Comfort Emme and Jonathan Deland Marjorie and Gurnee Hart Kirkland & Ellis LLP Mary T. Kush Mr. and Mrs. Peter L. Malkin and The Malkin Fund, Inc. Mr. and Mrs. Lester S. Morse, Jr. David P. Nolan Foundation Gwen and Peter Norton The Pinkerton Foundation Daniel and Joanna S. Rose Caryn Schacht and David Fox Amy and Jeffrey Silverman Harold and Mimi Steinberg Charitable Trust Joan and Michael Steinberg Mimi Klein Sternlicht

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Mr. and Mrs. William C. Tomson Deborah C. van Eck

$25,000 to $99,999 The Avenue Association Harrison and Leslie Bains Ginette and Joshua A. Becker Emily and Len Blavatnik Emma Bloomberg and Chris Frissora BMW of Manhattan Carolyn S. Brody Noreen and Ken Buckfire Janna Bullock The Cowles Charitable Trust Mary Cronson / Evelyn Sharp Foundation Caroline and Paul Cronson Ellie and Edgar Cullman Drake / Anderson Stuart J. Ellman and Susan H.B. Ellman The Emma and Georgina Bloomberg Foundation Andrew L. Farkas, Island Capital Group & C-III Capital Partners Mr. and Mrs. Martin Geller Elizabeth Morse Genius Foundation Howard Gilman Foundation Horace W. Goldsmith Foundation Golub Captial LLC Agnes Gund Mr. and Mrs. Andrew Gundlach The Hearst Foundations Josefin and Paul Hilal Anna Maria & Stephen Kellen Foundation, Inc. and Marina Kellen French Wendy Keys La Perla Christina and Alan MacDonald Christine & Richard Mack Marc Haas Foundation Andrea Markezin and Joel Press Cindy and David Moross National Endowment for the Arts New York State Council on the Arts Elizabeth and Frank Newman Stavros Niarchos Foundation Joan and Joel I. Picket Slobodan Randjelović and Jon Stryker The Reed Foundation Rhodebeck Charitable Trust Genie and Donald Rice Rebecca Robertson and Byron Knief Janet C. Ross Jack and Susan Rudin The Fan Fox & Leslie R. Samuels Foundation Nicholas and Shelley Schorsch The Shubert Foundation Sydney and Stanley S. Shuman Skadden, Arps, Slate, Meagher & Flom LLP Sanford L. Smith Sarah Billinghurst Solomon and Howard Solomon Michael and Veronica Stubbs Thor Industries, Inc. Barbara and Donald Tober VIA Art Fund Robert Vila and Diana Barrett Anonymous (2)

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$10,000 to $24,999 ADCO Electrical Corporation Gina Addeo AR Global Investments, LLC Jody and John Arnhold Sara Steinhardt Berman Mr. and Mrs. Chase Coleman Elizabeth Coleman Con Edison Krystyna Doerfler William F. Draper Andra and John Ehrenkranz Florence Fearrington Ella M. Foshay and Michael B. Rothfeld Amandine and Steve Freidheim Kiendl and John Gordon Jeff and Kim Greenberg Mr. and Mrs. Mikel Halvorson Elizabeth and Dale Hemmerdinger Anita K. Hersh Marlene Hess and James D. Zirin Daniel Clay Houghton William and Elizabeth Kahane Kaplen Brothers Fund Erin and Alex Klatskin Suzie and Bruce Kovner Jill and Peter Kraus Chad A. Leat Leon Levy Foundation Richard H. Levy & Lorraine Gallard Aaron Lieber and Bruce Horten Lili Lynton and Michael Ryan Cynthia Woods Mitchell Fund of the National Trust for Historic Preservation Patty Newburger and Bradley Wechsler Northern Bay Contractors, Inc. PBDW Architects LLP Katharine and William Rayner Mary Jane Robertson and James A. Clark Mr. and Mrs. Jeffrey Rosen May and Samuel Rudin Family Foundation, Inc. Mr. and Mrs. William Sandholm Oscar S. Schafer Stacy Schiff and Marc de la Bruyere Dr. and Mrs. Thomas P. Sculco Juliet Lea Hillman Simonds Foundation Lea Simonds Sotheby’s Dr. and Mrs. Eugene E. Stark, Jr. Laurie M. Tisch Illumination Fund Tishman Speyer Properties, LP Tishman Construction, an AECOM Company Jane and Robert Toll Mary Wallach Mike Weil and Shirley Madhere-Weil William Morris Endeavor Entertainment Foundation Richard and Franny Heller Zorn Anonymous (2)

$5,000 to $9,999 ABS Partners Real Estate, LLC Benigno Aguilar and Gerald Erickson Mr. and Mrs. Jonathan Auerbach Milton and Sally Avery Arts Foundation Abigail Baratta

Mr. and Mrs. Victor Barnett The David Berg Foundation, Inc. Amy Bermingham and Charles Wilson Debra and Leon Black Nicholas Brawer Catherine and Robert Brawer Daniel and Estrellita Brodsky Tom and Meredith Brokaw Veronica Bulgari and Stephan Haimo Amanda M. Burden Marian and Russell Burke Eileen Campbell and Struan Robertson CBRE Mr. and Mrs. David Cohen Betsy Cohn Sarah and Ronald Collins Mrs. Daniel Cowin Margaret Crotty and Rory Riggs Joshua Dachs / Fisher Dachs Associates Theatre Planning and Design Constance and Gregory Dalvito Diana Davenport and John Bernstein Antoinette Delruelle and Joshua L. Steiner Jennie L. and Richard K. DeScherer Liz Diller and Ricardo Scofidio Jeanne Donovan Fisher Peggy and Millard Drexler Mary Ellen G. Dundon Eagle Capital Management, L.L.C. David and Frances Eberhart Foundation Ehrenkranz & Ehrenkranz LLP EIDOS Inger McCabe Elliott Dr. Nancy Eppler-Wolff and Mr. John Wolff Alicia Ernst and John Katzman The Felicia Fund Fisher Marantz Stone, Inc. Barbara and Peter Georgescu The Georgetown Company Debbi Gibbs Richard Gilder and Lois Chiles Sarah Gould and David Steinhardt Mindy and Jon Gray Jamee and Peter Gregory Gunther E. Greiner Deborah Grubman Allen and Deborah Grubman Molly Butler Hart and Michael D. Griffin Mr. and Mrs. Lawrence Hite Mr. and Mrs. Daniel Hurwitz Tony Ingrao and Randy Kemper Max MF Power Jacobellis Nancy Josephson Jennie Kassanoff and Dan Schulman Mr. and Mrs. Richard Katzman Mr. and Mrs. Fernand Lamesch Sahra T. Lese Gail and Alan Levenstein Mr. and Mrs. Aaron Levine Kamie and Richard Lightburn Mr. and Mrs. Robert Martin Diane and Adam E. Max VĂŠronique Mazard and Andrew Vogel Adriana and Robert Mnuchin Mr. and Mrs. Michael Newhouse Nancy and Morris W. Offit Peter and Beverly Orthwein Mindy Papp Susan Porter Anne and Skip Pratt Preserve New York, a grant program of Preservation League of New York Mr. and Mrs. Robert Pruzan David J. Remnick and Esther B. Fein Jonathan F.P. and Diana Rose

Liz Rosen and Michael Rozen Ida and William Rosenthal Foundation Chuck and Stacy Rosenzweig Deborah and Chuck Royce H.O. Ruding and Renee Ruding-Hekking Mr. and Mrs. Matthew Ruesch Jeanne Ruesch Mr. and Mrs. Jeff Sagansky Mr. Leigh Seippel Stephanie and Fred Shuman Margaret Smith Daisy M. Soros Patricia Brown Specter Mr. and Mrs. Jeffrey Stevenson Diane and Sam Stewart Elizabeth Stribling and Guy Robinson The Jay and Kelly Sugarman Foundation Michael Tuch Foundation Mr. and Mrs. Ronald Ulrich Anastasia Vournas and J. William Uhrig David Wassong and Cynthia Clift Isak and Rose Weinman Foundation, Inc. Valda Witt and Jay Hatfield Cynthia Young and George Eberstadt Anonymous

$2,500 to $4,999 Ark Restaurants Corp.

Patrick Baldoni, Femenella & Associates, Inc. Tony Bechara Judy and Howard Berkowitz Mr. and Mrs. Robert Birnbaum Cathleen P. Black and Thomas E. Harvey Allison M. Blinken Amy Brown Mr. and Mrs. Donald Calder Alexandre and Lori Chemla Emy Cohenca Mr. and Mrs. Tony Coles Connelly & McLaughlin Creative Artists Agency The Cultivist Sasha Cutter and Aaron Hsu Joan K. Davidson (The J.M. Kaplan Fund) Megan del Valle Luis y Cora Delgado Mr. and Mrs. Christopher Duda Karen Eckhoff Cheryl and Blair Effron Anne and Joel Ehrenkranz Alice and David Elgart Mr. and Mrs. Michael Evans Mr. and Mrs. Jared Feldman Laura Jane Finn Megan Flanigan Claudia Fleming and George Bitar Melanie and Robert Forman Susan Freedman and Richard J. Jacobs Bart Friedman and Wendy A. Stein Teri Friedman Mr. and Mrs. Scott Gerber Mr. and Mrs. Trevor Gibbons Sylvia Golden Marjorie and Ellery Gordon Archie Gottesman and Gary S. DeBode Elizabeth and David Granville-Smith Great Performances Mr. and Mrs. Jeff Greene Mr. Jeff Greene and Ms. Kim Lovejoy The William and Mary Greve Foundation Marieline Grinda and Ahmad Deek Anne Grissinger John Hargraves Jay Herman

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Roger and Susan Hertog Augusta Hoffman and Jonathan Swygert Caron and Geoffrey Johnson Paul Kanavos and Dayssi Olarte de Kanavos Hon. Bruce M. Kaplan and Janet Yaseen Kaplan Nancy Kestenbaum and David Klafter Diana King / The Charles & Lucille King Family Foundation Knickerbocker Greys Phyllis L. Kossoff Judith Langer The Ronald and Jo Carole Lauder Foundation Bonnie Englebardt Lautenberg Mr. and Mrs. Thomas Lehrman Levien & Company, Inc. Maria Lilien Heather Lubov Luhring Augustine Gallery Judith and Michael Margulies Angela Mariani Mr. and Mrs. Richard E. Mayberry, Jr. Constance and H. Roemer McPhee Joyce F. Menschel Mr. and Mrs. William Michaelcheck Sergio and Malu Millerman Claire Milonas Achim and Colette Moeller Frank Moore Mr. and Mrs. Robert Morse Barbara and Howard Morse Mr. and Mrs. Saleem Muqaddam James C. Marlas and Marie Nugent-Head Marlas Francesca and Dick Nye Kathleen O’Grady David Orentreich, MD / Orentreich Family Foundation Mario Palumbo Madison J Papp Elizabeth and Jeffrey Peek Christos Petranis George Petrides Joseph Piacentile Marnie Pillsbury Eileen and Tom Pulling Jeff Rabin, TEFAF NY and Michael Plummer, TEFAF NY Frank and Kimba Richardson Heidi Rieger Susan and Jon Rotenstreich Valerie Rubsamen and Cedomir Crnkovic Bonnie J. Sacerdote Nathan E. Saint-Amand Mr. and Mrs. Matthew Satnick Mr. and Mrs. Andrew Saul Susan and Charles Sawyers Mr. Paul Scarbrough / Akustiks, LLC. Caroline Schmidt-Barnett Sara Lee and Axel Schupf Mr. Barry Schwartz / M&F Worldwide Corp.

Lise Scott and D. Ronald Daniel Uma Seshamani and Jason van Itallie Kimia Setoodeh Alan and Sandy Siegel Denise Simon and Paulo Vieiradacunha Stephanie and Dick Solar Sara Solomon Mr. and Mrs. David Sonenberg Sonnier & Castle Melissa Schiff Soros Mr. and Mrs. Stephen Spahn Douglas C. Steiner Angeline Straka Mr. and Mrs. Tom Strauss

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Ambassador and Mrs. Liangang Sun Bill and Ellen Taubman Mary Ann Tighe Lindsey Turner Mr. and Mrs. Jan van Eck Herbert P. Van Ingen Ambassador and Mrs. William J. vanden Heuvel Amanda and John Waldron Susan and Kevin Walsh Mati Weiderpass David Reed Weinreb Jacqueline Weld Drake Katherine Wenning and Michael Dennis Kate R. Whitney and Franklin A. Thomas Shannon Wu Amy Yenkin and Robert Usdan Judy Francis Zankel Zubatkin Owner Representation, LLC Anonymous

$1,000 to $2,499 Lindsey Adelman Marina Abramović Lindsey Adelman Eric Altmann Steve Bakunas The Bay and Paul Foundations, Inc. Norton Belknap Kristine Bell Dale and Max Berger Katherine Birch Hana Bitton Bluestem Prairie Foundation Dr. Suzy and Mr. Lincoln Boehm Mr. and Mrs. Sheldon Bonovitz Barbara Brandt Mr. and Mrs. Louis Brause Mr. and Mrs. Alexander Brodsky Cora Cahan and Bernard Gersten Chanda Chapin Anna Chapman Jennifer Chen Shirin and Kasper Christoffersen Alexander Cooper Jessica and David Cosloy Mr. and Mrs. Andrew Crisses Boykin Curry Mr. and Mrs. Charles Daniels Virginia Louise Davies Virginia Davies and Willard Taylor Jiggs Davis Suzanne Dawson Mr. and Mrs. Thomas de Neufville Mr. and Mrs. Maurice Deane Richard and Barbara Debs Diana Diamond and John H. Alschuler Hester Diamond Jacqueline Didier and Noah Schienfeld Mr. and Mrs. Michael Donner Mr. and Mrs. Marty Eisenberg Amy Grovas Elliott Gretchen Englander Fig & Olive Restaurant Amy Fine Collins and Bradley Collins EdmÊe and Nicholas Firth Ann Fitzpatrick Brown Paul and Jody Fleming Kathleen and David Glaymon Nina Gorrissen von Maltzahn Mr. and Mrs. Peter Greenleaf Mr. and Mrs. George Grunebaum Jessica Guff Robert H. Haines

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Stephanie Hessler Maria E Hidrobo Kaufman and Gabriel Kaufman William T. Hillman Mr. and Mrs. Michael Ho Susanna Hong Patrick Janelle Jennifer Joel Mr. and Mrs. David Johnson Patricia S. Joseph Mr. and Mrs. Kenneth Julian Hattie K. Jutagir The Kandell Fund / Donald J. Gordon Jeanne Kanders Drs. Sylvia and Byram Karasu Adrienne Katz Karl and Elizabeth Katz Jackie Keber Margot Kenly and Bill Cumming Lauren Kenny Major General Edward G. Klein, NYNG (Ret.) Gloria and Richard Kobrin Beth Kojima Mr. and Mrs. Kenneth Krueger Justin Kush Katherine Kwei Polly and Frank Lagemann Nanette L. Laitman Barbara Landau Kate Lauprete Mark and Taryn Leavitt Lexi Lehman Ralph Lemon Phyllis Levin Jane K. Lombard Donna and Wayne Lowery Liz MacNeill Mr. and Mrs. Anthony Mansour Nancy A. Marks Match 65 Brasserie Mr. and Mrs. Patrick McClymont Martha B. McLanahan Melissa Meeschaert Mr. and Mrs. Berk Mesta Mr. and Mrs. Anthony Meyer Laurent Mialhe Abby and Howard Milstein Sandra Earl Mintz Whitney and Andrew Mogavero Mr. and Mrs. Pierre Mordacq Sue Morris Leslie and Curt Myers The New York Community Trust Nicholson & Galloway, Inc. Beth Nowers and Jack Curtin Mr. and Mrs. Marvin Numeroff Ellen Oelsner Mr. and Ms. Joseph Patton Mr. and Mrs. Brian Pfeifler Stefani Phipps Max Pine Mr. and Mrs. Lyon Polk Mr. and Ms. Joshua Prentice Prime Parking Systems Anna Rabinowitz Mr. and Mrs. Richard Reiss Michael D. Rhea Rodgers & Hammerstein Foundation Isabel Rose and Jeffrey Fagen Marjorie P. Rosenthal Mr. and Mrs. Eric Roth Jane Royal and John Lantis Elizabeth Sarnoff and Andrew S. Cohen Mr. and Mrs. David Schiff Pat Schoenfeld

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Mr. and Mrs. Jonathan Schulhof Nadine Shaoul and Mark Schonberger Claude Shaw and Lara Meiland-Shaw Gil Shiva Mr. and Mrs. Michael Shuman Laura Skoler Jenny Slayton-Green Phyllis Smith Jeremy Snyder and Maggie Nemser Mr. and Mrs. Michael Spies Martha S. Sproule Squadron A Foundation Mr. and Mrs. Benjamin Steiner Colleen Stenzler Leila Maw Straus Dorothy Strelsin Foundation / Enid Nemy Shining Sung Mr. and Mrs. John Vogelstein Mr. and Mrs. Alexander von Perfall Claude Wasserstein Lauren and Andrew Weisenfeld Christina Westley Reva Wurtzburger Mr. and Mrs. Michael Young Michel Zaleski Mr. and Mrs. Adam Zurofsky Anonymous (6) List as of December 31, 2016 * Deceased

METROPOLITAN OPERA BOARD OF DIRECTORS Chairman Ann Ziff President and Chief Executive Officer Judith-Ann Corrente Vice Chairman Mercedes T. Bass Chairman of the Executive Committee William C. Morris Secretary Jeanette Lerman-Neubauer Treasurer Betsy Cohen Vice President Frayda B. Lindemann Honorary Chairman Christine F. Hunter Honorary Chairman James W. Kinnear President Emeritus Paul M. Montrone Vice Chairman Emerita Mrs. Ezra K. Zilkha Executive Committee Mercedes T. Bass Frank A. Bennack, Jr. Betsy Cohen Judith-Ann Corrente Ekkehart Hassels-Weiler Christine F. Hunter Jeanette Lerman-Neubauer Frayda B. Lindemann William C. Morris Ambassador Nicholas F. Taubman Robert L. Turner Ann Ziff

Managing Directors Mrs. Veronica Atkins Mercedes T. Bass Frank A. Bennack, Jr. Susan S. Braddock Alexa Bator Chae Betsy Cohen Leonard S. Coleman, Jr. Judith-Ann Corrente Rena De Sisto Jerry del Missier Mrs. Paul G. Desmarais Sr. Misook Doolittle Elizabeth M. Eveillard Stephanie T. Foster Marina Kellen French Joan Granlund Eugene P. Grisanti Beth A. Grosshans Ekkehart Hassels-Weiler Rolf Heitmeyer Marlene Hess H. M. Agnes Hsu-Tang, Ph.D. Christine F. Hunter Frederick Iseman James W. Kinnear Bruce Kovner Camille D. LaBarre Harry T. Lee Jeanette Lerman-Neubauer Frayda B. Lindemann Dafna Meitar-Nechmad Mrs. Corbin R. Miller William R. Miller William C. Morris Elena A. Prokupets Sana H. Sabbagh Laura J. Sloate Howard Solomon Marc I. Stern Hon. David A. Straz, Jr. Ambassador Nicholas F. Taubman Douglas Dockery Thomas Robert I. Toll Robert L. Turner Ann Ziff

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Honorary Directors Bruce Crawford Edgar Foster Daniels Kevin W. Kennedy Emily Fisher Landau Mrs. Walter J. Laughery, Jr. Mrs. Alexander M. Laughlin Paul M. Montrone Dr. M. Lee Pearce Mrs. Ezra K. Zilkha Advisory Directors M. Beverly Bartner Ellen S. Berelson Stephen Berger Stanley M. Bergman Jacques Brand Ms. Angela Chao Nabil N. Chartouni Christopher H. Cheever Daniel C. Cochran Gary B. Flom Gordon P. Getty Richard Gilbert Nancy A. Green Ephraim Greenwall H. Alexandra Kauka Hamill Thomas J. Hubbard Howard W. Hunter Linda E. Johnson Tod Johnson Klaus Kleinfeld Dr. Herbert G. Kloiber Dr. David G. Knott Meyer G. Koplow Theodore A. Kurz Dominique Laffont Mitchell L. Lathrop Dr. Coco Lazaroff Marguerite L. Lee Helen Y. Little Andrew J. Martin-Weber Dr. Richard J. Massey Richard J. Miller, Jr. Linda Mirels Ellen F. Oelsner Katharina Otto-Bernstein Joseph R. Perella Miss Leontyne Price Winthrop Rutherfurd, Jr. Jacqui Smith Daisy M. Soros John J. Veronis Arete S. Warren 23

Members of the Association Mahmoud M. Abdallah Dr. Joan Taub Ades Michael Angelakos Tonio Arcaini R. Joseph Barnett Jane Beasley Mrs. Thomas S. Brush Noreen Buckfire Eleanor N. Caulkins Dr. Patrizia A. Cavazzoni Betsy Cohn Robert J. Cubitto Robert G. Edge Beatrice Esteve Sanford H. Fisher Eugene M. Grant G. Morris Gurley Mrs. Randolph H. Guthrie O. Delton Harrison, Jr. Erik Hartmann Vikas Kapoor Mrs. Martin S. Kimmel Mrs. Joan C. Long Sandra Ourusoff Massey John L. McGraw

Mrs. Peter H. Nicholas Dr. Steve Prystowsky Joan C. Schwartz Cynthia D. Sculco Mrs. William F. Sondericker Kimberly V. Strauss Jackson Tai Barry Tucker Mrs. Robert Wagenfeld and all the Directors

Young Associate Directors Agnieszka R. Balaban Diego De Giorgi Aslanbek Dzhaliev Heather H. Georges Matthew G. Hurd Joshua Kindler Melissa Ko Amy H. Lee So-Chung Shinn Lee Helen Lee-Warren Pedro Magalhães Julie Warner McAskin Bryan L. McCalister Fonzarelli Ong Evelyn M. M. Popp Chad J. Shampine Itai Shoffman Siddhartha Shukla Kevin M. Tagami Michael J. Woods Satoko Yahata

LINDEMANN YOUNG ARTIST DEVELOPMENT PROGRAM SUPPORTERS The Metropolitan Opera is grateful to the following donors for their generous support of the Lindemann Young Artist Development Program.

For more information, please call Marita Altman, Director of Major Gifts, at 212.870.7685. $500,000 + Frayda and George Lindemann* Trust of Claire J. Swan Estate of Anne Tallman

$250,000 to $499,999 The Starr Foundation**

$100,000 to $249,999 Arconic Foundation Estate of Charles E. Carter William Randolph Hearst Foundation** Max Kade Foundation, Inc. Dominique and Frédéric Laffont Annette Merle-Smith

$50,000 to $99,999 The Bodman Foundation Epstein Teicher Philanthropies, in memory of Milton S. Teicher Anthony B. and Judith W. Evnin Fund, in honor of Sarah Billinghurst**

The Sybil B. Harrington Endowment Fund** The Kern Family, in memory of Ralph W. Kern The Elroy and Terry Krumholz Foundation Mr. and Mrs. Dennis W. LaBarre The Alice Tully Foundation**

$35,000 to $49,999 The Theodore H. Barth Foundation Estate of Viola Dunn Fondation Rumsey-Cartier Jane P. Long Endowment Fund** Daniel and Janet Mordecai Foundation, Inc.

$25,000 to $34,999 The Hildegard Behrens Foundation Estate of Matilda Cascio Eleanor N. Caulkins The Chervenak-Nunnallé Foundation Jephson Educational Trusts Dr. Nancy Maruyama and Charles Cahn Mitsubishi UFJ Financial Group Mrs. Walter Taussig, in memory of Maestro Walter Taussig Estate of Ella Upsher

$10,000 to $24,999 Susan A. Babson Opera Fund for Emerging Artists Louise G. Chapman The Erich P. Holzer Charitable Remainder Trust** Ms. Susan Petersen Kennedy The Veale Foundation, Jane Kober, Trustee Jeannette and H. Peter Kriendler Charitable Trust Margaret Mellon Hitchcock Foundation The Nancy Peery Marriott Foundation Nichols Foundation, Inc., in memory of C. Walter Nichols and Adelaide B. Nichols Edward John Noble Foundation, Inc.** Mr. David Shustak C. F. Roe Slade Foundation Hans J. Heinz and Tatiana Troyanos Memorial Fund** 1 Anonymous Donor

* Annual contributions and income on designated endowment funds ** Income on designated endowment funds

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ABOUT THE BOARD OF OFFICERS ROOM “The restoration of the Park Avenue Armory seems destined to set a new standard, not so much for its scale, but for its level of respect and imagination.”

– The New York Times The Board of Officers Room is one of the most important historic rooms in America and one of the few remaining interiors by Herter Brothers. After decades of progressive damage and neglect, the room completed a revitalization in 2013 by the architecture team at Herzog & de Meuron and executive architects Platt Byard Dovell White Architects to transform the space into a state-of-the- art salon for intimate performances and other contemporary art programing.

The Board of Officers Room is the third period room at the Armory completed (out of 18) and represents the full range of design tools utilized by the team including the removal of accumulated layers on the surfaces, the addition of contemporary lighting to the 1897 chandeliers, new interpretations of the stencil patterns on areas of loss, the addition of metallic finishes on new materials, new programming infrastructure, and custom designed furniture.

The room’s restoration is part of an ongoing $200-million transformation, which is guided by the understanding that the Armory’s rich history and the patina of time are essential to its character. A defining component of the design process for the period rooms is the close collaboration between architect and artisan. Highly skilled craftspeople working in wood, paint, plaster, and metals were employed in the creation of the building’s original interiors and the expertise – and hand – of similar artisans has been drawn upon for the renovation work throughout.

The renovation of the Board of Officers Room was made possible through the generosity of The Thompson Family Foundation.

Cover photo by Da Ping Luo.