Recital Series: Sabine Devieilhe & Anne Le Bozec

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

sunday, october 1 at 3:00pm tuesday, october 3 at 7:30pm Thompson Arts Center at Park Avenue Armory

SABINE DEVIEILHE, soprano ANNE LE BOZEC, piano north american recital debut

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 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

SERIES SPONSOR

PROGRAM Berlioz Villanelle, H 82 Bizet Pastorale Viardot Seize ans Meyerbeer “Ombre légère” from Dinorah Lalo L'esclave Viardot Berceuse cosaque Bizet Adieux de l'hôtesse arabe, WD 72 Clara Schumann Ich stand in dunklen Träumen, Op.13, no.1 Liszt Ihr Glocken von Marling, S328 Viardot Hai Luli Fauré Le secret, Op.23, no.3 Bellini Vaga luna, che inargenti Intermission Berlioz Fauré

Le mort d’Ophélie, H 92A Au bord de l'eau, Op.8, no.1

Robert Schumann Brahms Mendelssohn Liszt

Widmung from Myrthen, Op.25 Lerchengesang, Op.70, no.2 Neue Liebe, Op.19a, no.4 Comment, disaient-ils, S.276

Hahn Massenet Chopin-Viardot

L'heure exquise, no.5 “Je suis encore tout étourdie” from Manon Aime-moi

This performance is approximately one hour and thirty minutes in length, performed with intermission.

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ABOUT THE PROGRAM Tonight's program centers on one of the most remarkable artistic personalities of the 19th century, singer, composer, pianist, and teacher Pauline Viardot, née García (1821-1910).

Born in Paris, she was the daughter of two singers. Her older siblings were Manuel García jr. (1805-1906), a famous baritone and voice teacher, and the legendary Maria Malibran (1808-36) whose early death cut short an exceptional operatic career.

Assuming her sister's mantle, Pauline became an opera star in her own right, making her debut in London at the age of 17; she subsequently performed with great success all over Europe.

She was also an accomplished pianist who received instruction from both Liszt and Chopin, and played duets with Clara Schumann. Of her compositions, Liszt reportedly said that the world had finally found a woman composer of genius.

In 1840, Pauline married Louis Viardot (1800-83), an author who for a short time served as the director of the ThéâtreItalien in Paris. They had four children, two of whom became professional musicians.

Pauline had a long-standing relationship with Ivan Turgenev (1818-83), who lived for years with the Viardot family. She knew Mendelssohn, Meyerbeer (who composed a spectacular role for her in his opera Le prophète), Berlioz, Saint-Saëns, Gounod, and Massenet. Gabriel Fauré was at one time engaged to Viardot's daughter Marianne, and he was devastated when Marianne broke off the engagement. Ms. Devieilhe's program brings many of Viardot's friends and acquaintances together as if we were at a soirée at her house.

In “Villanelle” by Hector Berlioz (1803-69), we encounter a pair of cheerful lovers, enjoying a beautiful spring day. La Mort d'Ophélie is a retelling of Ophelia’s death, mixing tender Romanticism with a disconcerting description of Ophelia’s body floating and then sinking into the water. (In 1838, Eugène Delacroix, who was also a friend of the Viardots, made a famous painting that captures the scene on canvas.)

Georges Bizet (1838-75) wrote Carmen at Bougival next door to the Viardot-Turgenev residence. In his charming “Pastorale,” the shepherdess is more than willing to give the kiss the shepherd is asking for. In the much more serious “Adieux de l'hôtesse arabe,” we will hear about the sad feelings a departing guest leaves in the heart of the hostess.

“Ombre légère,” the brilliant “Shadow Dance,” is an excerpt from the opera Dinorah by Giacomo Meyerbeer (1791-1864) where the heroine dances with her own shadow.

“Hai luli,” by Pauline Viardot, tells the common story of a girl abandoned by her lover, contrasting a gentle refrain and

a sudden passionate outburst. “Berceuse cosaque” is a poem

by Lermontov to which Viardot may have been introduced

by Turgenev. The polyglot Viardot first composed the song to the original Russian words, later translated into French by her friend Louis Pomey. Viardot also arranged several mazurkas

by Chopin as songs for voice and piano. “Seize ans” is an adaptation of the mazurka in A-flat major, Op. 50, No. 2; “Aime-moi” of that in D major, Op. 33, No. 2.

The sad resignation in “Le secret” by Gabriel Fauré (18451924), written a few years after the breakup with Marianne, and the exquisite idyll in “Au bord de l'eau,” written before they ever met, show two of the many facets of this great writer of mélodies.

The Heine poem “Ich stand in dunklen Träumen,” by Clara Schumann (1819-96) is familiar from Schubert’s stark setting (there entitled “Ihr Bild”) from Schwanengesang. Clara Schumann’s approach is completely different, focusing more on the beautiful memory than the ensuing tragedy. “Widmung,” by her husband Robert Schumann (1810-56), was called by one commentator “that rare thing, a piece that combines passion and tenderness, force and sweetness, a thrusting determination with an ability to yield.” Felix Mendelssohn (1809-47) is represented by “Neue Liebe,” one of his great “fairy” pieces, an exciting, mysterious vision with a hint of tragedy, Johannes Brahms (1833-97), who met Viardot in Baden-Baden, by a late song, “Lerchengesang,” whose mood is defined by the “ethereal distant voices” evoked in the first line.

By Vincenzo Bellini (1801-35), a great admirer of Viardot's sister Maria Malibran, we shall hear the enchanting canzonetta “Vaga luna.”

“Comment, disaient-ils” by Franz Liszt (1811-86) mixes playfulness and passion within the space of less than two minutes; the extraordinary “Ihr Glocken von Marling” (“You Bells of Marling”) is filled with nostalgia and introspection.

Édouard Lalo (1823-92), by whom we shall hear the nostalgic “L'esclave,” had his own salon in Paris where Viardot was a frequent guest. Jules Massenet (1842-1912) composed a cantata for Viardot that launched his career; it was also one of the last occasions where she performed a major work in public. Manon's bravura aria from the eponymous opera introduces us to a naïve young girl whose life is about to change dramatically...The youngest composer on the program, Reynaldo Hahn (1874-1947), left a vivid memoir of his visit to Mme. Viardot. His “L'heure exquise” is every bit as exquisite as the blessed hour it portrays.

—Peter Laki

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ABOUT THE ARTISTS Sabine Devieilhe is one of the most demanded artists on French and international stages in a large repertoire from ancient to contemporary music. She was awarded First Prize unanimously from Paris Conservatory in 2011, 2013 Opera Singer Discovery, and 2015 Opera Singer of the Year at the French Victoires de la Musique Classique.

During her young career, she has already performed Amina in La Sonnambula, La Folie in Platée, and Mélisande in Pelléas et Melisande (cond. Jean-Claude Malgoire); Serpetta in La finta giardiniera (staging Vincent Boussard) and Bellezza in Il Trionfo del Tempo e del Disinganno (Aix-en-Provence Festival/ Emmanuelle Haïm); the title role in Lakmé (Montpellier, Toulon, Avignon operas and Paris Opera Comique); Queen of the Night in Die Zauberflöte (Lyon National Opera, Paris National Opera/Robert Carsen); Constance in Dialogues des Carmélites (Lyon/Christophe Honoré; Paris Théâtre des Champs-Elysées -replacement with cond. Jérémie Rorher and staging Olivier Py ; Dutch National Opera/Pierre Audi); Eurydice in Orphée et Eurydice (Brussels La Monnaie/ staging Romeo Castellucci); Adèle in Die Fledermaus (OpéraComique/cond. Marc Minkowski); Nanetta in Falstaff and Lakmé (Opéra de Marseille); Fire/Princess/Nightingale from L’Enfant et les sortilèges (Glyndebourne Festival Opera; concerts in Paris, London, and Stockholm with Esa Pekka Salonen conducting the Orchestre de Paris, The Philharmonia, and the Swedish Radio Symphony Orchestras); Ismène in Mitridate (Paris Théâtre des Champs-Elysées/Emmanuelle Haïm); Hero in Béatrice et Bénédict (Paris National Opera); and debuted at La Scala as Blondchen in Die Entführung aus dem Serail.

As an Erato/Warner Classics exclusive artist, her recordings include Rameau, le Grand Théâtre de l’Amour with Les Ambassadeurs under Alexis Kossenko (2013), Une Académie pour les Soeurs Weber with Raphaël Pichon at the head of his Ensemble Pygmalion (2015), Fire/Princess/Nightingale from L’Enfant et les sortilèges with the Orchestre Philharmonique de Radio-France/Mikko Franck (2017), and Rachmaninoff’s Vocalise with Alexandre Tharaud (2017). Her next recording dedicated to the French repertoire (Les Siècles/François-Xavier Roth) should be released in the autumn of 2017.

In 2017-2018, Ms. Devieilhe debuts at London Covent Garden (Die Zauberflöte); Opernhaus Zürich and Vienna State Opera (Marie in La fille du régiment), the revival of Dialogues des Carmélites and Pelléas et Melisande in a concert version (Les Grandes Voix series) at Théâtre des Champs-Elysées; Zerbinetta in Ariadne auf Naxos at the Aix-en-Provence Festival; concerts tours with the Ensemble Pygmalion, Les Siècles for the release of her third solo album for Erato, Deutsche Symphonie Orchester at the Berliner Philharmonie, Le Concert d’Astrée, and concerts at Santa Cecilia Roma.

As a fervent defendant of lieder and the mélodie, she performs in recital with Anne Le Bozec (Lyon National Opera, Auvers sur Oise Festival) as well as at Park Avenue Armory and at Wigmore Hall later in the season.

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French pianist Anne Le Bozec studied the piano, chamber music, and accompaniment with Theodor Paraskivesco, Anne Grapotte, Hartmut Höll, and Mitsuko Shirai. She was awarded with three first prizes at the Conservatoire National Supérieur, Paris and the Konzertexamen for Lied at the Musikhochschule, Karlsruhe (Germany). Numerous masterclasses with Dietrich Fischer-Dieskau, Leonard Hokanson, Tabea Zimmermann, Gundula Janowitz, and Julia Varady, were decisive in her evolution as a musician and a person.

She has won prizes in numerous international competitions: special prize for best accompanying pianist in the Stuttgart international lied competition and the Lili Boulanger competition in Paris, First Prize in the Guérande International Piano Competition, and Second Prize in the International Competition Duo Schubert und die Moderne in Graz with the flautist Sandrine Tilly. She has received grants from the Yamaha Music Foundation, the Bleustein-Blanchet Foundation, and the Kunstiftung Baden-Württemberg.

Ms. Le Bozec’s regular partners on stage include lyrical artists Sabine Devieilhe, Marc Mauillon, Cyrille Dubois, Janina Baechle, Christian Immler, Philippe Huttenlocher, Amel Brahim-Djelloul, Karen Vourc'h, Isabelle Druet, Didier Henry, and Roland Hermann, as well as cellists Alain Meunier, Yan Levionnois; pianists Christian Ivaldi and Flore Merlin; violinists Nicolas Dautricourt, Olivia Hughes, Hélène Collerette; and the Ardeo, Navarra, and Akilone quartets, all over the world, from all major Parisian and European venues to the streets of Far East.

A number of her recordings devoted to the Lied repertoire (Schubert, Mahler, Szymanowski, Delage, Wolf, Duparc, Brahms, a tribute to Shakespeare in 2016, and many others) have received enthusiastic reviews. Her complete songs of Chopin with the soprano Urszula Cuvellier is now considered a landmark recording. She has released numerous albums of chamber music, including the full sets of Beethoven’s and Fauré’s sonatas for cello and piano with Alain Meunier. She has also made four recordings of previously unreleased works in the collection Musiciens et la Grande Guerre (“Musicians during WWI”) on the Hortus Label.

Anne Le Bozec teaches vocal accompaniment at the Conservatoire National Supérieur, Paris and regularly gives masterclasses for lied, piano, and chamber music. For five years she was in charge of the French melody class at the Karlsruhe Musikhochschule.

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TEXTS AND TRANSLATIONS BERLIOZ Villanelle from Les nuits d'été Country Song Text by Théophile Gautier Translated by Emily Ezust* Quand viendra la saison nouvelle, Quand auront disparu les froids, Tous les deux nous irons, ma belle, Pour cueillir le muguet aux bois.

Sous nos pieds égrenant les perles Que l’on voit au matin trembler, Nous allons écouter les merles Siffler.

When the new season arrives, when the frosts have disappeared, the two of us will go, my lovely one, to pick lilies-of-the-valley in the woods, Unstringing under our feet the pearls of dew that one sees trembling in the morning, we shall go to listen to the blackbirds singing.

Le printemps est venu, ma belle, C’est le mois des amants béni; Et l’oiseau, satinant son aile, Dit des vers au rebord du nid.

Oh! Viens donc sur ce banc de mousse Pour parler de nos beaux amours, Et dis-moi de ta voix si douce: Toujours !

Spring has come, my lovely one, it is the blessed month of lovers, and the bird, preening its wing, chants poems at the edge of its nest.

Oh! Come then to this mossy bank to speak of our tender love, and say to me in your gentle voice: Forever!

Loin, bien loin égarant nos courses, Faisons fuir le lapin caché, Et le daim, au miroir des sources Admirant son grand bois penché !

Puis chez nous, tout heureux, tout aises, En paniers enlaçant nos doigts, Revenons, rapportant des fraises Des bois !

Wandering far, very far from our path, setting to flight the hiding rabbit and the deer, admiring his great lowered antlers by the watery mirror!

Then, homeward, happy and joyous, entwining our fingers like a basket, we return, bringing wild strawberries from the woods!

BIZET Pastorale Text by Jean-François Regnard Translated by Peter Low* Un jour de printemps, Tout le long d'un verger, Colin va chantant, Pour ses maux soulager : Ma bergère, ma bergère, tra la la...

Ma bergère, laisse-moi Prendre un tendre baiser !

One day in the springtime as they walked in the valley, Colin sang a song to express his desire: My shepherdess, my shepherdess, tra la la...

My shepherdess, let me take a tender kiss!

La belle, à l'instant Répond à son berger: Tu veux, en chantant, Un baiser dérober?...

Non Colin, non Colin, Tra la la...

Tu voudrais, en chantant, Prendre un tendre baiser?

Non, Colin, ne le prends pas, Je vais te le donner !

She then immediately answered her shepherd: You wish, with your song, to steal a kiss?

No, Colin, no, Colin, tra la la, Would you like, with your song, to take a tender kiss?

No, Colin, don't take it.

I will give it to you!

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VIARDOT Seize ans Sixteen Years Text by Louis Pomey Translated by Barbara Miller* Voici que j'ai seize ans, On dit que je suis belle; Adieu, adieu, jeux innocents, Le monde à lui m'appelle, Quelle ivresse dans tous mes sens!

Toujours fête nouvelle!

J'entends, la nuit dans mon sommeil, Chanter la valse que j'adore, Et le matin, à mon réveil, La valse chante encore.

Plus d'un amoureux M'a dit pour vous je soupire; Mais l'oeil langoureux Et l'air piteux Me font rire. La la la la Mais peut-être quelque jour; Triste et pleurant sur moi-même, Faudra-t-il dire à mon tour.

Vous qui m'aimez, je vous aime!

Mais non, c'en est fait point d'amour!

La danse est ce que j'aime!

See that I am sixteen years old.

They say I am pretty; Goodbye, goodbye, innocent games, The world calls me to itself.

What intoxication in all my senses!

Always a new celebration!

I hear, at night in my sleep, The singing of the waltz that I adore, And the morning at my awakening, The waltz still sings.

More than one lover Said to me, for you, for you I sigh; But the langorous eye And the pitiful air Make me laugh. La la la.

But maybe someday, Sad and crying over myself, Will I have to say in my turn You who love me, I love you!

But no...it's done, no love!

Dancing is what I love!

MEYERBEER “Ombre légère” from Dinorah Text by Jules Barbier and Michel Carré Translated Anonymous from www.thoughtco.com Ombre légère, qui suis mes pas, Ne t'en va pas, non, non, non!

Fée ou chimère, qui m'est si chère, ne t'en va pas, non, non, non!

Courons ensemble, j'ai peur, je tremble quand tu t'en vas loin de moi!

Ah! Ne t'en va pas, ne t'en va pas!

A chaque aurore je te revois!

Ah! reste encore, danse à ma voix!

Pour te séduire je viens sourire, je veux chanter!

Approche-toi! Viens, réponds, chante avec moi!

Ah! réponds! Ah! c'est bien!

Ombre légère...

Light shadow that is following my steps, Do not go away, no, no, no!

Fairy or fantasy, so dear to me, do not go away, no, no, no!

Let us run together, I fear, I tremble when you go away from me!

Ah! Do not go, do not go away!

At every dawn I see you again!

Ah! Stay longer, dance to my voice!

I come to seduce you with my smile, I want to sing!

Come closer to me! Come, answer and sing with me!

Ah! Answer me! Ah! It's good!

Light shadow ...

Sais-tu bien qu'Hoël m'aime, et qu'aujourd'hui même Dieu va pour toujours, bénir nos amours!

Do you know Hoël loves me, and this very day God will forever bless our love!

Le sais-tu?

Mais tu prends la fuite! Pourquoi me quitter?

Quand ma voix t'invite, pourquoi me quitter?

La nuit m'environne! Je suis seule, hélas!

Ah! reviens, sois bonne! Ah! c'est elle!

Ah! Méchante, est-ce moi que l'on fuit?

Do you know?

But you take flight! Why leave me?

When my voice invites you, why leave me?

The night surrounds me! I am alone, alas Ah! Come back, please! Ah! It's me!

Ah! Wicked, is it me you are leaving?

Ombre légère...

Ah! danse! Reste avec moi!

Light shadow ...

Ah! Dance! Stay with me!

Please turn page quietly.

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LALO L'esclave The Slave Text by Gautier Translated by Laura Prichard* Captive et peut-être oubliée, Je songe à mes jeunes amours, À mes beaux jours, Et par la fenêtre grillée Je regarde l'oiseau joyeux Fendant les cieux.

Held captive and perhaps forgotten, I dream of my young loves, Of my halcyon days, And through the barred window I see the joyful bird Splitting the heavens.

Auprès de lui, belle Espérance, Porte-moi sur tes ailes d'or, S'il m'aime encor, Et, pour endormir ma souffrance, Suspends mon âme sur son cœur Comme une fleur !

Clasp me to you, fair Hope, Carry me on your wings of gold, If he loves me still.

And, to soothe my suffering, Attach my soul over his heart Like a flower!

VIARDOT Berceuse cosaque Cossack Lullaby Text by Pomey after Mikhail Lermontov Translated by Peter Laki Dors dans les plis de mon voile, Dors, ô mon enfant!

Jusqu'à toi la pâle étoile Glisse en souriant.

Je te dirai quelque conte, Quelque triste chant, Mais au ciel la lune monte, Dors, ô mon enfant!

Sleep in the folds of my veil, Sleep, my child!

The pale star glides towards you smiling.

I will tell you a story, I will sing you a sad song, But on the sky the moon is rising, Sleep, my child!

Du Térek longeant la rive, Et rampant sans bruit, Le Lesghin vers nous arrive, A travers la nuit.

Sois sans crainte, ton vieux père A vu maints combats, En riant, clos ta paupière, Ne t'éveille pas!

On the banks of the Terek, crawling silently, the Lezghin is approaching through the night.

Have no fear, your old father Has seen many a combat, Close your eyes smiling, Do not wake up!

Pour toi même de la guerre L'heure sonnera, Aux caresses de ta mère L'on t'arrachera!

Toi parti, combien de larmes Je répands tout bas!

Que ton front est plein de charmes, Ne t'éveille pas!

Your hour to go to war will also strike some day, you will be wrenched from your mother's caresses.

How many tears will I shed, silently, when you are gone!

Your face is so charming, Do not wake up!

Dans les pleurs passant ma vie, Plus de paix pour moi.

Nuit et jour pour toi je prie, Ou je rêve à toi.

Je me dis: sur ces parages Que fait-il là-bas?

Dors sans crainte des orages, Ne t'éveille pas!

I live my life in tears, There is no peace for me.

I pray for you day and night, Or I dream of you.

I ask myself: what is he doing in those surroundings?

Sleep, have no fear of the stroms, Do not wake up!

Je te donnerai l'image De ton saint patron, Ne crains pas, dans le voyage, D'invoquer son nom.

Quand viendra l'heure suprême, L'heure des combats, Souviens-toi combien je t'aime, Ne t'éveille pas!

I will give you a likeness of your patron saint.

Don't be afraid to call on him during your voyage.

When the last hour arrives, the hour of the battle, remember how much I love you.

Do not wake up!

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BIZET Adieux de l'hôtesse arabe Farewell of the Arab Hostess Text by Victor Hugo Translated by Faith Cormier* Puisque rien ne t'arrête en cet heureux pays, Ni l'ombre du palmier, ni le jaune maïs, Ni le repos, ni l'abondance, Ni de voir à ta voix battre le jeune sein De nos sœurs, dont, les soirs, le tournoyant essaim Couronne un coteau de sa danse,

Since nothing holds you to this happy land, neither the shade of a palm tree nor the yellow corn, neither rest nor abundance nor seeing how the youthful hearts of our sisters beat at hearing your voice.

Their dance, like that of a hive of bees, crowns the evening hills.

Adieu, beau voyageur, hélas ! que n'es-tu de ceux Qui donnent pour limite à leurs pieds paresseux Leur toit de branches ou de toiles !

Qui, rêveurs, sans en faire, écoutent les récits, Et souhaitent, le soir, devant leur porte assis, De s'en aller dans les étoiles !

Adieu, handsome traveler. Alas!

Oh, why aren't you one of those who limit their lazy feet to their own roofs of branches or canvas!

Who, dreamers, listen to stories without telling any, and dream of flying away to the stars, sitting before their doors in the evening?

Si tu l'avais voulu, peut-être une de nous, O jeune homme, eût aimé te servir à genoux Dans nos huttes toujours ouvertes ; Elle eût fait, en berçant ton sommeil de ses chants, Pour chasser de ton front les moucherons méchants, Un éventail de feuilles vertes.

Had you wished it, perhaps one of us, young man, would have liked to serve you, kneeling, in our huts that are always open.

She would have lulled you to sleep and made a fan of green leaves to chase away the flies from your brow.

Si tu ne reviens pas, songe un peu quelquefois Aux filles du désert, sœurs à la douce voix, Qui dansent pieds nus sur la dune ; O beau jeune homme blanc, bel oiseau passager, Souviens-toi, car peut-être, ô rapide étranger, Ton souvenir reste à plus d'une !

If you don't come back, think sometimes on the desert's daughters, soft-voiced sisters dancing barefoot on the dune.

Handsome young white man, lovely bird of passage, remember, for perhaps, oh fleet-footed stranger, your memory remains in more than one of them.

CLARA SCHUMANN Ich stand in dunklen Träumen Text by Heinrich Heine Translated by Emma Lazarus Ich stand in dunkeln Träumen und starrt’ ihr Bildnis an, und das geliebte Antlitz Heimlich zu leben begann.

I gazed upon her portrait, While dark dreams filled my brain, And those beloved features Began to breathe again.

Um ihre Lippen zog sich Ein Lächeln wunderbar, Und wie von Wehmutstränen Erglänzte ihr Augenpaar.

I saw upon her lips then A wondrous smile arise; And as with tears of pity Glistened once more her eyes.

Auch meine Tränen flossen Mir von den Wangen herab Und ach, ich kann's nicht glauben, Daß ich dich verloren hab!

Adown my cheeks in silence, The tears came flowing free.

And oh! I cannot believe it, That thou art lost to me!

Please turn page quietly.

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LISZT Ihr Glocken von Marling Bells of Marling Text by Emil Kuh Translated by Emily Ezust* Ihr Glocken von Marling, wie braust ihr so hell!

Ein wohliges Lauten, als sänge der Quell.

Ihr Glocken von Marling, ein heil'ger Gesang Umwallet wie schützend den weltlichen Klang, Nehmt mich in die Mitte der tönenden Flut Ihr Glocken von Marling, behütet mich gut!

Bells of Marling, how brightly you toll!

It is a pleasant sound, as if a spring were singing.

Bells of Marling, your holy song surrounds everything, as if protecting the worldly clangor; Take me into the midst of your flood of tones Bells of Marling, protect me well!

VIARDOT Hai luli Text by Comte Xavier de Maistre Translated by David Bamberger* Je suis triste, je m'inquiète, Je ne sais plus que devenir!

Mon bon ami devait venir, Et je l'attends ici seulette.

Haï luli! Haï luli! Haï luli!

Ah, qu'il fait triste sans mon ami.

I am sad, I am troubled, I no longer know what will happen!

My lover ought to come, And I await him here alone.

Hai luli!

Ah! how said it is without my love.

Hélas! je languis dans l'attente, Et l'ingrat se plaît loin de moi!

Peut-être il me manque de foi Auprès d'un nouvelle amante!

Haï luli! Haï luli! Haï luli!

Aurais-je perdu, perdu mon ami?

Alas, I languish in waiting, And the ingrate enjoys himself far from me!

Perhaps he is unfaithful to me Beside a new lover.

Hai luli!

Could I have lost my love?

Ah! s'il est vrai qu'il soit volage, S'il doit un jour m'abandonner, Le village n'a qu'à brûler Et moi-même avec le village!

Haï luli! Haï luli! Haï luli! À quoi bon vivre sans ami?

Ah! if it is true that he is fickle, If one day he should abandon me, The whole village can burn down And myself with the village.

Hai luli!

What use is it to live without my love?

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FAURÉ Le secret The secret Text by Armand Silvestre Translated by Peter Low* Je veux que le matin l'ignore Le nom que j'ai dit à la nuit, Et qu'au vent de l'aube, sans bruit, Comme une larme il s'évapore.

I want the morning not to know the name that I told to the night; in the dawn wind, silently, may it evaporate like a teardrop.

Je veux que le jour le proclame L'amour qu'au matin j'ai caché, Et sur mon cœur ouvert penché Comme un grain d'encens il l'enflamme.

I want the day to proclaim the love that I hid from the morning, and (bent over my open heart) to set it aflame, like a grain of incense.

Je veux que le couchant l'oublie Le secret que j'ai dit au jour, Et l'emporte avec mon amour, Aux plis de sa robe pâlie!

I want the sunset to forget the secret I told to the day, and to carry it away with my love in the folds of its pale robe!

BELLINI Vaga luna Lovely Moon Text by Anonymous Translated by Antonio Giuliano* Vaga luna, che inargenti queste rive e questi fiori ed inspiri agli elementi il linguaggio dell'amor; testimonio or sei tu sola del mio fervido desir, ed a lei che m'innamora conta i palpiti e i sospir.

Lovely moon, you who shed silver light On these shores and on these flowers And breathe the language Of love to the elements, You are now the sole witness Of my ardent longing, And can recount my throbs and sighs To her who fills me with love.

Dille pur che lontananza il mio duol non può lenir, che se nutro una speranza, ella è sol nell'avvenir.

Dille pur che giorno e sera conto l'ore del dolor, che una speme lusinghiera mi conforta nell'amor.

Tell her too that distance Cannot assuage my grief, That if I cherish a hope, It is only for the future.

Tell her that, day and night, I count the hours of sorrow, That a flattering hope Comforts me in my love.

Please turn page quietly.

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BERLIOZ La mort d'Ophélie Ophelia's Death Text by Ernest Legouvé Translated by Jennifer Tipton** Auprès d’un torrent Ophélie Cueillait, tout en suivant le bord, Dans sa douce et tendre folie, Des pervenches, des boutons d’or, Des iris aux couleurs d’opale, Et de ces fleurs d’un rose pâle Qu’on appelle des doigts de mort,

Beside a brook, Ophelia gathered along the water's edge, in her sweet and tender madness, periwinkles, buttercups, irises the color of opals and those flowers of pale purple called the fingers of death.

Puis, élevant sur ses mains blanches Les riants trésors du matin, Elle les suspendait aux branches, Aux branches d’un saule voisin; Mais trop faible, le rameau plie, Se brise, et la pauvre Ophélie Tombe, sa guirlande à la main.

Then, raising up in her white hands, the laughing treasures of the morning, she hung them on the branches, the branches of a nearby willow.

But too fragile, the bough bends, breaks, and poor Ophelia falls, the garland in her hand.

Quelques instants sa robe enflée La tint encore sur le courant Et, comme une voile gonflée, Elle flottait toujours chantant.

Chantant quelque vieille ballade, Chantant ainsi qu’une naïade, Née au milieu de ce torrent.

Her dress, spread instantly wide, bore her on the water awhile, and like an outstretched sail she floated, still singing, singing some old ballad, singing like a naiad, born amidst the stream.

Mais cette étrange mélodie Passa, rapide comme un son, Par les flots la robe alourdie Bientôt dans l’abîme profond Entraîna la pauvre insensée, Laissant à peine commencée Sa mélodieuse chanson.

But this strange melody passed, fast as sound.

Her garment, heavy with water, soon into the deep abyss dragged the poor distracted girl, leaving her melodious song, hardly started.

** In A Document in Death and Madness: a Cultural and Interdisciplinary Study of Nineteenth-century Art Song Settings on the Death of Ophelia.

Dissertation: aquila.usm.edu.

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FAURÉ Au bord de l'eau At the Water's Edge Text by René-François Sully-Prudhomme Translated by Peter Low* S'asseoir tous deux au bord du flot qui passe, Le voir passer ; Tous deux, s'il glisse un nuage en l'espace, Le voir glisser ; À l'horizon, s'il fume un toit de chaume, Le voir fumer ; Aux alentours si quelque fleur embaume, S'en embaumer ; Entendre au pied du saule où l'eau murmure L'eau murmurer ; Ne pas sentir, tant que ce rêve dure, Le temps durer ; Mais n'apportant de passion profonde Qu'à s'adorer, Sans nul souci des querelles du monde, Les ignorer ; Et seuls, tous deux devant tout ce qui lasse, Sans se lasser, Sentir l'amour, devant tout ce qui passe, Ne point passer!

To sit together beside the passing stream

and watch it pass; if a cloud glides by in the sky,

together to watch it glide; if a thatched house sends up smoke on the horizon,

to watch it smoke; if a flower spreads fragrance nearby,

to take on its fragrance; under the willow where the water murmurs,

to listen to it murmuring; for the time that this dream endures,

not to feel its duration; but, having no deep passion

except adoration for one another, without concern for the world's quarrels,

to ignore them; and alone together, in the face of all wearying things, unwearyingly, to feel love (unlike all things that pass away)

not passing away!

ROBERT SCHUMANN Widmung Dedication Text by Friedrich Rückert Translated by Emily Ezust* Du meine Seele, du mein Herz, Du meine Wonn’, o du mein Schmerz, Du meine Welt, in der ich lebe, Mein Himmel du, darein ich schwebe, O du mein Grab, in das hinab Ich ewig meinen Kummer gab.

You my soul, you my heart, You my rapture, o you my pain, You my world in which I live, My heaven you, in which I float, O you my grave, into which My grief forever I’ve consigned!

Du bist die Ruh, du bist der Frieden, Du bist vom Himmel mir beschieden.

Dass du mich liebst, macht mich mir wert, Dein Blick hat mich vor mir verklärt, Du hebst mich liebend über mich, Mein guter Geist, mein bessres Ich!

You are repose, you are peace, You are bestowed on me from heaven.

Your love for me gives me my worth, Your gaze transfigures me, You raise me lovingly above myself, my good spirit, my better self!

BRAHMS Lerchengesang The Larks' Song Text by Karl August Candidus Translated by Emily Ezust* Ätherische ferne Stimmen, Der Lerchen himmlische Grüße, Wie regt ihr mir so süße Die Brust, ihr lieblichen Stimmen!

Ethereal, distant voices, The heavenly greetings of the larks: How sweetly you move My heart, you lovely voices!

Ich schließe leis mein Auge, Da ziehn Erinnerungen In sanften Dämmerungen Durchweht vom Frühlingshauche.

I close my eyes gently; There pass memories Of soft twilights, Pervaded with the breath of Spring.

Please turn page quietly.

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MENDELSSOHN Neue Liebe New Love Text by Heine Translated by Marty Lucas* In dem Mondenschein im Walde Sah ich jüngst die Elfen reiten: Ihre Hörner hört' ich klingen, Ihre Glöcklein hört' ich läuten.

In the moonlit forest I watched the elves a-riding, I heard their horns sound I heard their bells ring.

Ihre weißen Rößlein trugen Goldnes Hirschgeweih und flogen Rasch dahin, wie wilde Schwäne Kam es durch die Luft gezogen.

Their white horses, with golden antlers, flew on swiftly, like white swans Travelling through the air.

Lächelnd nickte mir die Kön'gin, Lächelnd, im Vorüberreiten.

Galt das meiner neuen Liebe, Oder soll es Tod bedeuten?

The queen nodded at me and smiled, smiled, as she rode overhead; Was it because of my new love?

Or does it mean death?

LISZT Comment, disaient-ils Text by Hugo Translated by Faith Cormier* Comment, disaient-ils, Avec nos nacelles, Fuir les alguazils?

Ramez, disaient-elles.

"How," asked the men, "can we flee the bailiffs in our small boats?"

"Row," replied the women.

Comment, disaient-ils, Oublier querelles, Misère et périls?

Dormez, disaient-elles.

"How," asked the men, "can we forget strife, misery and danger?"

"Sleep," replied the women.

Comment, disaient-ils, Enchanter les belles Sans philtres subtils?

Aimez, disaient-elles.

"How," asked the men, "can we enchant beautiful women without love potions?"

"Love," replied the women.

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HAHN L'heure exquise The Exquisite Hour Text by Paul Verlaine Translated by Grant A. Lewis* La lune blanche Luit dans les bois ; De chaque branche Part une voix Sous la ramée...

The white moon shines in the woods.

From each branch springs a voice beneath the arbor.

Ô bien aimée.

Oh my beloved...

L'étang reflète, Profond miroir, La silhouette Du saule noir Où le vent pleure...

Like a deep mirror the pond reflects the silhouette of the black willow where the wind weeps.

Rêvons, c'est l'heure.

Let us dream! It is the hour...

Un vaste et tendre Apaisement Semble descendre Du firmament Que l'astre irise...

A vast and tender calm seems to descend from a sky made iridescent by the moon.

C'est l'heure exquise.

It is the exquisite hour!

MASSENET “Je suis encore tout étourdie” from Manon Text by Henri Meilhac Translated by Anonymous from www.opera-arias.com Je suis encor tout étourdie, je suis encor tout engourdie!

Ah! mon cousin! Excusez-moi!

Excusez un moment d'émoi!

Je suis encor tout étourdie!

Pardonnez à mon bavardage, j'en suis à mon premier voyage!

Le coche s'éloignait à peine, que j'admirais de tous mes yeux, les hameaux, les grands bois, la plaine, les voyageurs jeunes et vieux.

Ah! mon cousin, excusez-moi, c'est mon premier voyage!

Je regardais fuir, curieuse, les arbres frissonnant au vent!

Et j'oubliais toute joyeuse, que je partais pour le couvent!

Devant tant de choses nouvelles, ne riez pas, si je vous dis que je croyais avoir des ailes et m'envoler en paradis!

Oui, mon cousin!

Puis, j'eus un moment de tristesse, je pleurais, je ne sais pourquoi.

L'instant d'après, je le confesse, je riais, ah, ah, ah, Je riais, mais sans savoir pourquoi!

Ah, mon cousin, excusez-moi, ah, mon cousin, pardon!

Je suis encor tout étourdie...

I'm still completely dizzy, I feel numb all over!

Cousin, forgive me!

Excuse an emotional moment!

I'm still totally dizzy!

Please forgive my chattering, this is the first trip I've ever taken!

The coach had scarcely started to move when I opened my eyes wide watching the little villages, the forest, the plain, the passengers, both young and old.

Cousin, forgive me, it's the first time I've travelled!

Attentively I saw the trees rush by, trembling in the wind.

And overwhelmed with delight I was forgetting that I was leaving for the convent!

Faced with so many new things, don't laugh when I tell you that I thought I had wings and was flying to paradise!

Yes, cousin!

Then, I felt a moment of sadness, I cried, I don't know what about.

Then the very next minute, I confess I was laughing, ha, ha, ha, I was laughing, but without knowing why!

Cousin, excuse me, cousin, forgive me!

I'm still completely dizzy...

Please turn page quietly.

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CHOPIN-VIARDOT

Aime-moi Text by Pomey Translated by Barbara Miller* Tu commandes qu'on t'oublie, J'ai grand peine à t'obéir; Mais ainsi le veut ma mie, Son désir est mon désir.

Vraiment, mon désir, Lorsque joyeux je m'élance, Tu rougis et veux me fuir; Mon amour est une offense, Pourquoi donc t'en souvenir?

Mais quoi! des pleurs, ma belle; Ecoute, apaise-toi; Plus de folle querelle, Je t'adore, aime-moi.

You command one to forget you, I take great pains in obeying you; But thus my sweetheart wants it, Her wish is my wish.

Truly, truly, my desire, While, happy, I rush forward, You blush and want to flee me My love is an offense, Why then do you remember it?

But what! tears, my beauty; Listen, calm down; No more crazy quarrelling, I adore you, love me.

Tu commandes qu'on t'oublie ...

You command one to forget you...

Mais quoi! tu pleures, ma belle!

Sois clémente, apaise-toi, Plus d'inutile querelle, Je t'adore; Sois à moi!

But what! you weep, my beauty, Be merciful, calm down, No more useless quarrelling, I adore you, be mine.

*Translations throughout from www.lieder.net. Reprinted with kind permission.

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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 Wade Thompson 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 Matthew Bird, Deputy Director of Development Jenni Bowman, Producer Hanna Brody, Special Events Coordinator David Burnhauser, Collection Manager Courtney F. Caldwell, Venue Events Manager Leandro Dasso, Porter Khemraj Dat, Accountant John Davis, Facilities Director Jordana De La Cruz, Program Manager Mayra DeLeon, Porter Sam DeRubeis, Building Engineer Melanie Forman, Chief Development Officer Alexander Frenkel, Controller Lissa Frenkel, Managing Director Sharlyn Galarza, Education Assistant Pip Gengenbach, Education Coordinator Kirsten Harvey, Production Assistant Reginald Hunter, Building Mechanic Cassidy Jones, Education Director Chelsea Emelie Kelly, Youth Corps Manager Paul King, Director of Production Allison Kline, Director of Foundation and Government Relations Nicholas Lazzaro, Technical Director Jennifer Levine, Director of Special Events Michael Lonergan, Producing Director Wayne Lowery, Director of External Operations Aidan Nelson, Production Assistant Lars Nelson, Technical Director Lori Nelson, Executive Assistant to the President

Timothy Nim, Chief Financial and Administrative Officer Drew Petersen, Education Special Projects Manager Anna Pillow, Office Manager Charmaine Portis, Executive Assistant to the Chief Development Officer Morgan Powell, Individual Giving Coordinator Kirsten Reoch, Director of Design and Construction Rachel Risso-Gill, Associate Director of Individual Giving Erik Rogers, Production Coordinator Matthew Rymkiewicz, Tessitura Database Manager William Say, Superintendent Melissa Stone, Manager of Special Events Tom Trayer, Director of Marketing Brandon Walker, Technical Director Jessica Wasilewski, Producer Monica Weigel McCarthy, Associate Director of Education Avery Willis Hoffman, Program Director Nick Yarbrough, Digital Marketing Manager Olga Cruz, Mario Esquilin, Carlos Goris, Victor Lora, Josthen Noboa, Candice Rushin, Antonio Sanders, Porters Coral Cohen, House Manager Kara Kaufman, Erik Olson, Box Office Managers Summer 2017 Youth Corps Fatima Bah, Mosammat Jannat Begum, Eliana Boyd, Alyssa Carde, Chanse Catlyn, Koralys De La Cruz, Zeinebou Dia, Saran Diawara, Luis González, Chamonte Greenfield, Rabia Khan Laraib, Oyon Lotif, Alexa Maldonado, Cindy Mendoza, Christian Montan, Anai Ortiz Production Acknowledgements Sarah Billinghurst Solomon and Matthew Epstein, Artistic Consultants for Vocal Recitals Steinway & Sons

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NEXT AT THE ARMORY BARBARA HANNIGAN, soprano REINBERT DE LEEUW, piano

RÉPONS

october 6–7 “It’s gritty and rigorous, but also sumptuous and fanciful– the sheer visceral excitement of being caught in the middle was like nothing else in music.”

— The New York Times Rarely staged in concert halls given its unconventional configuration of the space, Pierre Boulez’s spatial masterwork is written for and realized at the Armory by Ensemble intercontemporain and conductor Matthias Pintscher, who perform this emblematic work twice in succession each evening, with the audience changing seats in between to gain a new sonic perspective. This remarkable presentation marks the first performance in New York of a major work by Boulez since his death in early 2016.

PATRICIA KOPATCHINSKAJA, violin JAY CAMPBELL, cello october 9–10

“…there is astonishing artistry to complement her creativity. She plays most of the time barefoot onstage. Her body and her instrument and the music she makes all seem one. She is ever thrilling alive to the moment.”

— Los Angeles Times Born into a Moldavian family of musicians, violinist Patricia Kopatchinskaja is a bundle of energy known as much for the passion and virtuosity of her playing as for the fact that she often performs barefoot. The natural phenomenon comes to the Board of Officers Room with cellist Jay Campbell to perform duos from a wide ranging repertoire that perfectly showcases the pair’s extreme styles of music making, from the early music of Gibbons to classical works by Ravel and contemporary compositions by Xenakis, Ligeti, and a world premiere by Michael Hersch.

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november 16–18

“Barbara Hannigan sings the songs of Erik Satie as if she’s sitting next to you, whispering and cooing across the kitchen table with sufficient breathiness, soft edges and exquisite spaciousness to match Reinbert de Leeuw’s sweetmelancholy piano chords.” —The Guardian (UK) The soprano comes to the Board of Officers Room to make her U.S. recital debut with programs that showcase her versatility and superb musicianship. She opens her residency with an artfully curated look at the Second Viennese School, where new musical language was developed through the extraordinary collaboration between composers, painters, writers, and other artists in the city’s salons and cafes at the turn of the century. She then looks to Paris to explore the work of Erik Satie, from art songs written in his early career to his magnum opus Socrate, in a unique program performed with renowned Satie interpreter Reinbert de Leeuw.

Second Viennese School (November 16): Program to include works by Schoenberg, Webern, Berg, Zemlinsky, Alma Mahler, Wolf All-Erik Satie (November 18): Program to include art songs, solo piano works, and Socrate

A ROOM IN INDIA (UNE CHAMBER EN INDE) december 5–20

“it is a spectacle full of surprises…a joyful, funny, four hour show, even as it collides with the evil of our world…It is theater as Mnouchkine likes it: alive, dynamic, colorful, sung-danced, corporal and stylized” — Le Monde The matriarch of exploratory French theater Ariane Mnouchkine and her visionary theater company Théâtre du Soleil return for the North American premiere of this epic new work, which follows the adventures of a touring French theater company stranded in India without a director while the world around them falls into disarray. Touching on pressing issues that societies around the globe are currently facing from terrorism and religious extremism to climate change and gender equality, the expansive affair is a manifesto of the power of theater to heal a community, as well as an exploration of how to talk about the chaos of a world that has become incomprehensible.

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OTHER HAPPENINGS AT THE ARMORY ARTISTS STUDIO

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:

RASHAAD NEWSOME november 7

Get an insider’s look at the Armory with a guided walking tour of the building with our staff historian. From the soaring 55,000-square-foot Wade Thompson Drill Hall to the extraordinary interiors designed by Louis Comfort Tiffany, Stanford White, Herter Brothers, and others, and learn about the design plans by acclaimed architects Herzog & de Meuron.

ARTISTS-IN-RESIDENCE

DOMINIQUE EADE & RAN BLAKE WITH KAVITA SHAH november 21

INTERROGATIONS OF FORM: CONVERSATION SERIES

Held in our historic period rooms, these insightful conversations throughout the year feature artists, scholars, cultural leaders, and social trailblazers who gather to offer new points of view and unique perspectives on Armory productions, explore a range of themes and relevant topics, and encourage audiences to think beyond conventional interpretations and perspectives of art.

MALKIN LECTURE SERIES

Each fall, the popular Malkin Lecture Series presents scholars and experts on topics relating to the Armory and the civic, cultural, and aesthetic life of New York City in the 19th and early 20th centuries. Lecture topics have ranged from history makers like Abraham Lincoln and Theodore Roosevelt to Gilded Age society’s favorite restaurants and the Hudson River painters.

ARMORY AFTER HOURS

HISTORIC INTERIORS TOURS

Launched in 2010, the Armory’s artist-in-residence program supports artists across genres in the creation and development of new work. Each artist sets up a studio in one of the Armory’s period rooms, providing a unique backdrop that can serve as both inspiration and as a collaborator in their project development. Residencies also include participation in the Armory’s arts education program with artists working closely with the Armory’s Youth Corps interns. This season’s artists-inresidence include playwright and screenwriter Lynn Nottage, Cuban installation and performace artist Tania Bruguera, composer and guitarist Marvin Sewell, choreographer and flexn dance pioneer Reggie (Regg Roc) Gray and his company the D.R.E.A.M. Ring, and photographer and visual artist Carrie Mae Weems.

Previous Armory artists-in-residence have included inventive theater company 600 Highwaymen; theater artists Taylor Mac and Machine Dazzle; writer, director, and production designer Andrew Ondrejcak; vocalist, composer, and cultural worker Imani Uzuri; dancer and choreographer Wally Cardona; visual artist and choreographer Jason Akira Somma; soprano Lauren Flanigan; writer Sasha Frere-Jones; Trusty Sidekick Theater company; vocalist-songwriter Somi; multidisciplinary performer Okwui Okpokwasili; choreographer Faye Driscoll; artist Ralph Lemon; visual artist Alex Dolan; Musician Meredith Monk; sound artist Marina Rosenfeld; string quartet ETHEL; playwright and director Young Jean Lee; and Shen Wei Dance Arts; among others.

Salon culture has enlivened art since the 19th century, when friends gathered in elegant chambers to hear intimate performances and share artistic insights. Join us following select performances for libations with fellow attendees as we revive this tradition in our historic period rooms. You may also get to talk with the evening’s artists, who often greet friends and audience members following their performances. armoryonpark.org

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JOIN THE ARMORY JOIN OR RENEW YOUR MEMBERSHIP Support Park Avenue Armory as a member and enjoy insider access to what The New York Times has called “the most important new cultural institution in New York City.”

For more information about membership, please email members@armoryonpark.org or call (212) 616-3958. We are pleased to recognize the generous support of our members with these special benefits, updated as of April 25, 2016:

FRIEND $100

AVANT-GARDE STARTING AT $350

The Avant-Garde is a forward-thinking group of Park Avenue Armory supporters in their 20s to 30s that offers a deeper, more intimate connection to the unique and creative concepts behind the Armory’s mission. Members receive exclusive benefits throughout the year, including priority ticketing, special receptions, viewings, talks, and VIP events.

SUPPORTER $250 $200 is tax deductible

All benefits of the Friend membership plus: »» Fees waived on ticket exchanges* »» Free admission for you and a guest to guided tours of the Armory*** »» Discount on tickets to the Malkin Lecture Series* »» Discount on tickets to Artist Talks and Public Programs*

All benefits of the Supporter membership plus: »» Members concierge ticket service »» Free admission for two additional guests to visual art installations »» Access to VIP lounge during performance intermissions »» Two complimentary passes to an art fair**

All benefits of the Associate membership plus: »» Recognition in Armory printed programs »» No wait, no line ticket pick up at the patron desk »» Handling fees waived on ticket purchases* »» Invitation to a private Chairman’s Circle event for you and a guest »» Two complimentary tickets to the Under Construction Series, Recital Series, or Artists Studio*

Members of this exclusive group are offered unique and intimate opportunities to experience the Armory, including invitations to private tours and VIP receptions with world-class artists, access to priority seating and the Armory’s concierge ticket service.

»» Members only pre-sale access for Armory performances »» Invitation to the opening night preview for visual art installations »» Free admission for you and a guest to Armory visual arts installations »» Discounts at local partnered restaurants and hotels »» 10% discount on merchandise sold during Armory performances

$370 is tax deductible

$780 is tax deductible

CHAIRMAN’S CIRCLE STARTING AT $2,500

$70 is tax deductible

ASSOCIATE $500

BENEFACTOR $1,000

EDUCATION COMMITTEE STARTING AT $5,000

The Armory’s arts education program reaches thousands of public school students each year, immersing them in the creative process of exceptional visual and performing artists and teaching them to explore their own creative instincts.

Education Committee members are invited to special events, meetings, and workshops that allow them to witness the students’ progress and contribute to the growth of the program.

For more information about membership, please call (212) 616-3958 e-mail members@armoryonpark.org.

For information on ticketing, or to purchase tickets, please call the Box Office at (212) 933-5812 *Subject to ticket availability **Certain restrictions apply ***Reservations required

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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 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 Sonja and Martin J. Brand A. Cary Brown and Steven Epstein Elizabeth Coleman Hélène and Stuyvesant Comfort Emme and Jonathan Deland Krystyna Doerfler Olivia and Adam Flatto Janet Halvorson Anita K. Hersh Wendy Keys Ken Kuchin and Tyler Morgan Almudena and Pablo Legorreta Chad A. Leat Aaron Lieber and Bruce Horten

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Christina and Alan MacDonald Elizabeth and Frank Newman Janet and David P. Nolan Gwen and Peter Norton Slobodan Randjelović and Jon Stryker Richard and Amanda J.T. Riegel Susan and Elihu Rose Janet C. Ross Susan Rudin Joan and Michael Steinberg Liz and Emanuel Stern Mimi Klein Sternlicht Deborah C. van Eck Mary Wallach

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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 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 Citi 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 and Wendy Adams Altman Foundation Linda and Earle S. Altman Bloomberg Philanthropies Booth Ferris Foundation Sonja and Martin J. 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. New York State Assembly David P. Nolan Foundation 22

Gwen and Peter Norton Daniel and Joanna S. Rose Janet C. Ross Caryn Schacht and David Fox Amy and Jeffrey Silverman Harold and Mimi Steinberg Charitable Trust Joan and Michael Steinberg M K Reichert Sternlicht Foundation Mr. William C. Tomson Deborah C. van Eck $25,000 to $99,999 Benigno Aguilar and Gerald Erickson The Avenue Association Harrison and Leslie Bains Emma Bloomberg Carolyn S. Brody Janna Bullock The Cowles Charitable Trust Caroline and Paul Cronson Mary Cronson / Evelyn Sharp Foundation 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 Allen and Deborah Grubman Agnes Gund Mr. and Mrs. Andrew Gundlach Anita K. Hersh Josefin and Paul Hilal Daniel Clay Houghton Anna Maria & Stephen Kellen Foundation, Inc. and Marina Kellen French La Perla Chad A. Leat Leon Levy Foundation Aaron Lieber and Bruce Horten Christina and Alan MacDonald Christine & Richard Mack Marc Haas Foundation National Endowment for the Arts New York State Council on the Arts Stavros Niarchos Foundation Donald Pels Charitable Trust Slobodan Randjelović and Jon Stryker The Reed Foundation Rhodebeck Charitable Trust Genie and Donald Rice Amanda J.T. and Richard E. Riegel Rebecca Robertson and Byron Knief Susan Rudin Nicholas and Shelley Schorsch The Shubert Foundation Sydney and Stanley S. Shuman Peter and Jaar-mel Sloane / Heckscher Foundation armoryonpark.org

The Fan Fox & Leslie R. Samuels Foundation Sanford L. Smith Swiss Arts Council Pro Helvetia Sharzad and Michael Targoff TEFAF NY Thor Industries, Inc. Tishman Construction, an AECOM Company Robert Vila and Diana Barrett Anonymous (3) $10,000 to $24,999 ADCO Electrical Corporation Gina Addeo AR Global Investments, LLC Ginette Becker and Joshua A. Becker* Noreen and Ken Buckfire Marco Cafuzzi Eileen Campbell and Struan Robertson Elizabeth Coleman Con Edison Mrs. Daniel Cowin Gina and James de Givenchy Jennie L. and Richard K. DeScherer Krystyna Doerfler Jeanne Donovan Fisher William F. Draper Peggy and Millard Drexler Andra and John Ehrenkranz Florence Fearrington Ella M. Foshay and Michael B. Rothfeld Kiendl and John Gordon Jeff and Kim Greenberg Janet Halvorson Molly Butler Hart and Michael D. Griffin Marlene Hess and James D. Zirin Rachel and Mike Jacobellis William and Elizabeth Kahane Kaplen Brothers Fund Erin and Alex Klatskin Suzie and Bruce Kovner Jill and Peter Kraus The Leonard and Judy Lauder Fund Mr. and Mrs. Fernand Lamesch Richard H. Levy & Lorraine Gallard Kamie and Richard Lightburn Lili Lynton and Michael Ryan Andrea Markezin and Joel Press Cynthia Woods Mitchell Fund of the National Trust for Historic Preservation Patty Newburger and Bradley Wechsler Elizabeth and Frank Newman Northern Bay Contractors, Inc. Nancy and Morris W. Offit PBDW Architects LLP Joan and Joel I. Picket Katharine and William Rayner Roberto Cavalli 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 Skadden, Arps, Slate, Meagher & Flom LLP Sarah Billinghurst Solomon and Howard Solomon Sotheby's Patricia Brown Specter Dr. and Mrs. Eugene E. Stark, Jr. Mr. and Mrs. Jeffrey Stevenson Michael and Veronica Stubbs Laurie M. Tisch Illumination Fund Tishman Speyer Properties, LP Barbara and Donald Tober Jane and Robert Toll Christopher Tsai and André Stockamp Mary Wallach Mike Weil and Shirley Madhere-Weil William Morris Endeavor Entertainment Foundation $5,000 to $9,999 ABS Partners Real Estate, LLC Jody and John Arnhold Milton and Sally Avery Arts Foundation Abigail Baratta Mr. and Mrs. Victor Barnett Tony Bechara The David Berg Foundation, Inc. Sara Steinhardt Berman Debra and Leon Black Nicholas Brawer Catherine and Robert Brawer Daniel and Estrellita Brodsky Tom and Meredith Brokaw Amy Brown Amanda M. Burden Marian and Russell Burke CBRE Betsy Cohn Sarah and Ronald Collins Margaret Crotty and Rory Riggs Constance and Gregory Dalvito Diana Davenport and John Bernstein Joan K. Davidson (The J.M. Kaplan Fund) Antoinette Delruelle and Joshua L. Steiner Liz Diller and Ricardo Scofidio Mary Ellen G. Dundon Eagle Capital Management, L.L.C. David and Frances Eberhart Foundation Karen Eckhoff Ehrenkranz & Ehrenkranz LLP Dr. Nancy Eppler-Wolff and Mr. John Wolff Alicia Ernst and John Katzman EverGreene Architectural Arts The Felicia Fund Bart Friedman and Wendy A. Stein Inger McCabe Elliott Barbara and Peter Georgescu The Georgetown Company Mr. and Mrs. Trevor Gibbons Debbi Gibbs Richard Gilder and Lois Chiles Mr. and Mrs. David Golub Sarah Gould and David Steinhardt Jamee and Peter Gregory

Gunther E. Greiner Mr. and Mrs. Lawrence Hite Nancy Josephson Jennie Kassanoff and Dan Schulman Adrienne Katz Lazard Sahra T. Lese Gail and Alan Levenstein Mr. and Mrs. Aaron Levine James C. Marlas and Marie Nugent-Head Marlas Diane and Adam E. Max Véronique Mazard and Andrew Vogel Joyce F. Menschel Adriana and Robert Mnuchin Christine Moog and Benoit Helluy Mr. and Mrs. Robert Morse Mr. and Mrs. Saleem Muqaddam Mary Kathryn Navab Mr. and Mrs. Michael Newhouse Peter and Beverly Orthwein Madison J Papp Liz and Jeff Peek Ron Perelman and Anna Chapman Susan Porter Anne and Skip Pratt Preserve New York, a grant program of Preservation League of New York Mr. and Mrs. Robert Pruzan David Remnick and Esther Fein Mr. and Mrs. Matthew Ruesch Michael D. Rhea Jonathan F.P. and Diana Rose Liz Rosen and Michael Rozen Ida and William Rosenthal Foundation Chuck and Stacy Rosenzweig Deborah and Chuck Royce Valerie Rubsamen and Cedomir Crnkovic H.O. Ruding and Renee Ruding-Hekking Jeanne Ruesch Bonnie J. Sacerdote Mr. and Mrs. Mortimer Sackler Mr. and Mrs. Jeff Sagansky Susan and Charles Sawyers Claude Shaw and Lara Meiland-Shaw Stephanie and Fred Shuman Lea Simonds Daisy M. Soros Mr. and Mrs. Jonathan Soros Elizabeth Stribling and Guy Robinson The Jay and Kelly Sugarman Foundation Michael Tuch Foundation Mr. and Mrs. Ronald Ulrich Liliana Vaamonde and Richard Pretsfelder Anastasia Vournas and J. William Uhrig Isak and Rose Weinman Foundation, Inc. Mr. and Mrs. Gregory Weingarten David Reed Weinreb Valda Witt and Jay Hatfield Mr. and Mrs. David Wolf Cynthia Young and George Eberstadt Richard and Franny Heller Zorn Anonymous (3) $2,500 to $4,999 Ark Restaurants Corp.

Patrick Baldoni, Femenella & Associates, Inc. armoryonpark.org

Mr. and Ms. Jonathan Berger Judy and Howard Berkowitz Mr. and Mrs. Robert Birnbaum Cathleen P. Black and Thomas E. Harvey Allison M. Blinken Marc Brodherson and Sarah Ryan Stacey Bronfman Veronica Bulgari and Stephan Haimo Mr. and Mrs. Donald Calder Cartier S.A. Alexandre and Lori Chemla Mr. and Mrs. David Cohen Emy Cohenca Mr. and Mrs. Tony Coles Connelly & McLaughlin Creative Artists Agency The Cultivist Sasha Cutter and Aaron Hsu Joshua Dachs / Fisher Dachs Associates Theatre Planning and Design Virginia Davies and Willard Taylor Richard and Barbara Debs Luis y Cora Delgado Francesca and Michael Donner Denise Simon and Paulo Vieiradacunha Mr. and Mrs. Christopher Duda Anne and Joel Ehrenkranz Alice and David Elgart Mr. and Mrs. Jared Feldman Laura Jane Finn Edmée and Nicholas Firth Fisher Marantz Stone, Inc. Megan Flanigan Claudia Fleming & George Bitar Amandine and Steve Freidheim Teri Friedman and Babak Yaghmaie Sylvia Golden Marjorie and Ellery Gordon Elizabeth and David Granville-Smith Great Performances Marieline Grinda and Ahmad Deek Susan Gutfreund John Hargraves Roger and Susan Hertog Augusta Hoffman and Jonathan Swygert Mr. and Mrs. Morton Janklow Hon. Bruce M. Kaplan and Janet Yaseen Kaplan Nancy Kestenbaum and David Klafter Diana King / The Charles & Lucille King Family Foundation Elizabeth Kivlan Knickerbocker Greys Phyllis L. Kossoff Justin Kush Lagunitas Brewing Co. The Ronald and Jo Carole Lauder Foundation Bonnie Englebardt Lautenberg Mr. and Mrs. Thomas Lehrman Phyllis Levin Lisson Gallery Elizabeth Lubnina Heather Lubov Judith and Michael Margulies Angela Mariani Nina B. Matis Mr. and Mrs. Richard E. Mayberry, Jr. Constance and H. Roemer McPhee 23

Mr. and Mrs. William Michaelcheck Sergio and Malu Millerman Claire Milonas Sally Minard and Norton Garfinkle Barbara and Howard Morse Stephanie Newhouse Kathleen O'Grady David Orentreich, MD / Orentreich Family Foundation Mario Palumbo George Petrides Joseph Piacentile Cynthia Hazen Polsky and Leon B. Polsky Frank and Kimba Richardson Heidi Rieger Susan and Jon Rotenstreich Jane Fearer Safer Dr. and Ms. Nathan Saint-Amand Caroline Schmidt-Barnett Mr. and Mrs. Jonathan Schulhof Sara Lee and Axel Schupf Lise Scott and D. Ronald Daniel Alan and Sandy Siegel Laura Skoler Stephanie and Dick Solar Sara Solomon Sonnier & Castle Mr. and Mrs. Stephen Spahn Mr. and Mrs. Matthew Satnick Douglas C. Steiner Diane and Sam Stewart Angeline Straka Mr. and Mrs. Tom Strauss Bill and Ellen Taubman Lindsey Turner Jan and Cynthia van Eck Herbert P. Van Ingen Ambassador and Mrs. William J. vanden Heuvel Susan and Kevin Walsh Diana Wege Mati Weiderpass Jacqueline Weld Drake Katherine Wenning and Michael Dennis Kate R. Whitney and Franklin A. Thomas Michael Woloz Amy Yenkin and Robert Usdan Zubatkin Owner Representation, LLC Anonymous $1,000 to $2,499 Marina Abramović Ian and Lindsey Adelman Mr. and Mrs. John Argenti Rebecca Lynn Bagdonas Steve Bakunas Joslyn Barnes and Anita Nayar 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. Gilbert Butler 24

Cora Cahan and Bernard Gersten Chanda Chapin Shirin and Kasper Christoffersen Alexander Cooper Jessica and David Cosloy Mr. and Mrs. Andrew Crisses Austen and Ernesto Cruz Boykin Curry Mr. and Mrs. Charles Daniels Jiggs Davis Christina R. Davis Suzanne Dawson Mr. and Mrs. Thomas de Neufville Mr. and Mrs. Maurice Deane Jeffrey Deitch Diana Diamond and John Alschuler Jacqueline Didier and Noah Schienfeld Mr. and Mrs. Marty Eisenberg Amy Grovas Elliott Leland and Jane Englebardt Mr. and Mrs. Thomas N. Farmakis Amy Fine Collins and Bradley Collins Ann Fitzpatrick Brown Dr. and Mrs. Walter Flamenbaum Paul and Jody Fleming Scott Fulmer and Susan Kittenplan Fulmer Mr. and Mrs. Scott Gerber Kathleen and David Glaymon Nina Gorrissen von Maltzahn Mr. and Mrs. Peter Greenleaf Mr. and Mrs. George Grunebaum Jessica Guff Harvey and Kathleen Guion Cheryl Haines Robert H. Haines Stephanie Hessler Maria Hidrobo Kaufman and Gabriel Kaufman William T. Hillman Susanna Hong Patrick Janelle Jennifer Joel Mr. and Mrs. David Johnson Christopher and Hilda Jones Hattie K. Jutagir The Kandell Fund / Donald J. Gordon Jeanne Kanders Drs. Sylvia and Byram Karasu Margot Kenly and Bill Cumming Hadley C. King Major General Edward G. Klein, NYNG (Ret.) Kate Krauss Kathryn Kremnitzer Katherine Kwei Polly and Frank Lagemann Nanette L. Laitman Barbara Landau Judith Langer Kate Lauprete Mark and Taryn Leavitt Lexi Lehman Ralph Lemon Brenda Levin Donna and Wayne Lowery Liz MacNeill Alexander Maldutis and Reena Russell Nasr Mr. and Mrs. Anthony Mansour Christophe W. Mao armoryonpark.org

Match 65 Brasserie Mr. and Mrs. Patrick McClymont Melissa Meeschaert Mr. and Mrs. Berk Mesta Mr. and Mrs. Anthony Meyer Laura Michalchyshyn and Richard Gilbert Abby and Howard Milstein Sandra Earl Mintz Valerie Mnuchin Whitney and Andrew Mogavero Mr. and Mrs. Pierre Mordacq Sue Morris Leslie and Curt Myers Nicholson & Galloway, Inc. Mr. and Mrs. Marvin Numeroff Ellen Oelsner Robert Ouimette and Lee Hirsch Will Palley Mr. and Ms. Joseph Patton Mr. and Mrs. Richard Petrocelli Mr. and Mrs. Brian Pfeifler Mr. and Mrs. Lyon Polk Prime Parking Systems Martin and Anna Rabinowitz Mr. and Mrs. Richard Reiss Diana and Charles Revson Mr. and Mrs. Anthony Roberts Mr. and Mrs. David Rogath Marjorie P. Rosenthal Jane Royal and John Lantis Kathy Ruland Pat Schoenfeld Francesca Schwartz Marshall Sebring and Pepper Binkley Kimia Setoodeh Nadine Shaoul and Mark Schonberger Gil Shiva Mr. and Mrs. Michael Shuman Mary Snow Ted Snowdon Jeremy Snyder and Maggie Nemser Mr. and Mrs. Michael Spies Squadron A Foundation Mr. and Mrs. Benjamin Steiner Colleen Stenzler Tricia Stevenson Leila Maw Straus Dorothy Strelsin Foundation / Enid Nemy Summit Security Services, Inc. Joseph Vance Architects Mr. and Mrs. John Vogelstein Mr. and Mrs. Alexander von Perfall Amanda and John Waldron Caroline Wamsler and DeWayne Phillips Claude Wasserstein Lauren and Andrew Weisenfeld Christina Westley Ruth Wilson Reva Wurtzburger Mr. and Mrs. Michael Young Michel Zaleski Mr. and Mrs. Adam Zurofsky Anonymous (5) List as of September 15, 2017 * Deceased

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 $210-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.