Recital Series: Ensemble Correspondances

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WELCOME Park Avenue Armory strives to engage audiences with eclectic, immersive, and thought-provoking works that are in direct dialogue with the Armory’s unconventional spaces to gain new sonic perspectives. Our celebrated Recital Series expands during the 2022 Season to include performances of classical and contemporary music not only in the intimate setting of the Board of Officers Room, but also in other spaces including the Wade Thompson Drill Hall.

The Recital Series opens the season with performances by two notable ensembles performing repertoire from opposite ends of the musical spectrum. New music ensemble Alarm Will Sound take over the Drill Hall to perform Grammy and Pulitzer Prizewinning composer John Luther Adams’ Ten Thousand Birds, walking through the space as they play while the audience follows.

A major force in the 17th-century French repertory Ensemble Correspondances under the direction of founder Sébastien Daucé presents Plaisirs du Louvre, music from the Chamber of Louis XIII including works by Couperin, Boësset, de Chancy, and others performed on period instruments.

Celebrated baritone Justin Austin comes to the Board of Officers Room for an intimate program with pianist Howard Watkins, featuring art songs by Ricky Ian Gordon set to the poems of Langston Hughes as well as works by American composers Aaron Copland, Leonard Bernstein, Kurt Weill, Damien Sneed, and more. And after appearing on some of the world’s most important opera stages, soprano Ying Fang comes to the austerely elegant space with pianist Ken Noda to showcase her unique sensibility and operatic range.

We are proud to continue our tradition of fostering rising talent by hosting the North American solo recital debuts of tenor Michael Spyres and mezzo soprano Emily D’Angelo. One of the most sought-after tenors of his generation, Spyres showcases his brilliant artistry with a program of Rossini’s art songs and cantatas with pianist Mathieu Pordoy. D’Angelo partners with pianist Sophia Muñoz to perform works from her debut album enargeia (Deutsche Grammophon), including songs by Sarah Kirkland Snider, Missy Mazzoli, Hildegard von Bingen, and Hildur Guðnadóttir.

This year’s lineup offers audiences even more chances to enjoy a beautiful range of chamber music experiences performed by artists with a highly distinctive international profile. I hope you join in my excitement for witnessing these magical moments in music.

Rebecca Robertson Founding President and Executive Producer Pierre Audi Marina Kellen French Artistic Director

2022 RECITAL SERIES IN THE RESTORED VETERANS ROOM

LES PLAISIRS DU LOUVRE ENSEMBLE CORRESPONDANCES SÉBASTIEN DAUCÉ, CONDUCTOR tuesday, may

17, 2022 at 7:30pm

Before Versailles, the epicenter of power in the Kingdom of France was the Louvre, a genuine theater of ceremonies where music was duty-bound to impress with its magnificence. In the reign of Louis XIII, the air de cour and ballet mobilized elite composers such as Moulinié, Guédron, and de Chancy. The most famous of them, Boësset, guided the polyphonic air inherited from the Renaissance towards a more intimate conception: far from the sumptuous splendors to come in the shadow of the Sun King, this program is a rich array of delicately chiseled miniatures.

The Recital Series is supported in part by The Reed Foundation and the Howard & Sarah D. Solomon Foundation.

Support for Park Avenue Armory’s artistic season has been generously provided by the Charina Endowment Fund, the Donald A. Pels Charitable Trust, The Harold and Mimi Steinberg Charitable Trust, 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 Leon Levy Foundation, the May and Samuel Rudin Family Foundation, Gregory Annenberg Weingarten, GRoW @ Annenberg, the Richenthal Foundation, and the Isak and Rose Weinman Foundation. Additional support has been provided by the Armory’s Artistic Council.

2022 SEASON SPONSORS

PROGRAM Louis Constantin Antoine Boësset François de Chancy Pierre Guedron Étienne Moulinié J. Champion de Chambonnières Antoine Boësset Étienne Moulinié

Le Ballet Royal de la Nuit, “Chasseurs I & II” Ballet des nymphes bocagères de la forêt sacrée “Reine que je sers et que je connais” (Concert de Diane et ses nymphes) “Dialogue de la troupe d’Orphée et des Hamadryades” Allemande en Ut à 5 “Cesse mortel d’importuner” (Juste mespris de saincte Agnez) “Quels tourments rigoureux” (Le Purgatoire) “Il sort de nos corps emplumés” (Concert de différents oyseaux) L’Entretien des Dieux “Ne vante point flambeau des Cieux” Première fantaisie à 4 “Rompez les charmes du sommeil” (Air de la Ridicule)

Intermission M. de la Voye Antoine Boësset Louis Constantin Antoine Boësset Louis Couperin Antoine Boësset Louis Constantin Antoine Boësset Louis Couperin Antoine Boësset François de Chancy

Prélude “Noires forêts, demeures sombres” Le Ballet Royal de la Nuit, “Danses du Sabbat” “Quelle merveilleuse aventure” “Je suis l’adorable Équité” (Récit de la Félicité, la Justice, et les Amours) “Ce roi vainqueur de nos malheurs” (Pour le Roy) Fantaisie pour les violes “Que prétendez-vous, mes désirs” Le Ballet Royal de la Nuit, “Folia” (maggiore et minore) “Segua chi vuol iniquo Amore” La Piémontoise “Conseille-moi mon coeur” (David disgrâcié) “Rares fleurs, vivantes peintures”

This performance is approximately 90 minutes including a 15-minute intermission.

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WHEN THE KING COMMANDS:

ROYAL MUSIC AND ENTERTAINMENTS IN THE TIME OF LOUIS XIII During the reign of Louis XIII (1610-43), the entertainments and festivities of the French court under the House of Bourbon owed much to the legacy of the previous French sovereigns under the House of Valois, who had raised art and magnificence to the status of political tools, but also to the influence of salon culture and leisured society pursuits, which had emerged during the preceding reign of Henri IV (1589-1610). If the invention of the ballet de cour at the end of the 16th century sought to link entertainment and political necessity, the establishment under Henri III (1574-89) of a genuine court ceremonial, which found its emblematic setting in the Louvre, had made it possible to integrate music into the king’s day in a more organic and symbolic fashion. Under the early Bourbons, the influence of salon culture gave the court a more galant atmosphere, to which the codes and elegant manners of a new civility in high society added the last touch of refinement. While laying the foundations of the future splendors of the Grand Siècle, the reign of Louis XIII itself represents the golden age of this galant culture, whose musical emblem, the air de cour, pervaded the whole of society and was heard in all the salons, galleries, and ruelles of the capital’s aristocratic residences, and especially the most symbolic of them: the Louvre.

The air de cour at the time of Louis XIII The air de cour was a byproduct of the humanist debates of the late Renaissance and served as an ornament to royal ballets and divertissements, whose splendor it enhanced with large-scale récits (vocal solos) and dramatic or encomiastic choruses. Most such airs were short settings of refined galant poetry, the growing taste for which subsequently spread to literary, aristocratic, and bourgeois circles. With its subtle music capable of expressing all the nuances of the realm of love, the air de cour was one of the emblematic elements of a society where the honnête homme devoted himself to the art of pleasing his entourage (plaire) and expressing himself elegantly (bien dire) according to the codes of galant culture imposed by literary préciosité. The numerous collections published by Ballard, Imprimeur du Roi pour la musique (Printer of music to the King), were full of airs galants, paeans of praise, récits from the ballets danced at court, and saynètes (short dramatic sketches) in dialogue, but also airs à boire (drinking songs) or pieces of Italian or Spanish origin or showing the influence of those neighboring cultures with which the honnête homme was expected to be familiar. In the face of this formidable vogue, the air de cour became a target for the pious, who hastened to replace the amorous texts of fashionable airs with religious poetry more suitable for hymning the love of God.

Under Louis XIII, city and court influenced each other, bringing about changes in aspirations and practices. Just as Parisian society enjoyed singing the airs from the ballets danced by or before the King and Queen, the court in its turn yielded to the galant culture that flooded Parisian salons.

The polyphonic air, which remained the prerogative of the Musique de la Chambre du Roi, was infiltrated by new trends.

The rise of basso continuo and the domestic practice of singing with lute hastened the development of French accompanied monody. Depending on its intended recipients, its inspiration, and its texture, and thanks to the polymorphic character bestowed on it by different versions of the same pieces offered

by Ballard’s publications, the air de cour offered a wide range of interpretative possibilities, in combinations that could be adapted at will to suit the circumstances or the available vocal and instrumental resources.

The Musique de la Chambre du Roi At the same time as amateur music-making developed among the aristocracy, the Musique de la Chambre du Roi remained a professional elite, the heir to the polyphonic tradition of the Renaissance. It comprised a dozen adult male singers (chantres), two or three choirboys (enfants de la Musique), and a band of instrumentalists (playing recorders, lutes, viols, and keyboard instruments collectively referred to as épinettes, ‘spinets’), to which a few female voices might be unofficially added. The Musique de la Chambre du Roi was placed under the responsibility of a Surintendant, himself assisted by a Maître.

Among other functions and prerogatives, the Surintendant had the charge of providing the vocal music for the many ballets in which the King, Queen, and the whole court were the dancers. Airs, récits, and choruses performed by the Musique de la Chambre, reinforced for the occasion by the members of the Chapelle and the Ecurie du Roi, alternated with danced entrées accompanied by the Vingt-quatre Violons (themselves led by their ‘roi’ François Richomme, then, from 1624 to 1656, by Louis Constantin), or purely instrumental interludes played by lutes and viols. The Queen also had her own Musique, the organization of which was more or less modeled on that of the Chambre du Roi. It was reserved primarily for the Queen Mother, and then passed to the reigning Queen. Several musicians belonged to both bodies, serving the sovereigns for alternating six month terms, respectively.

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Among the outstanding personalities gravitating in court musical circles, first mention must go to Pierre Guédron (c.1565-1620), Maître (1608) then Surintendant (1613) of the Musique de la Chambre du Roi, the first great architect of the air de cour, which he helped to make fashionable. His extensive oeuvre (nearly 200 airs) is evoked here through sacred parodies of two of his most famous airs, Cessez mortels de soupirer and Quel espoir de guérir, published in 1612/13.

Although he was never actually a member of the Musique de la Chambre du Roi, Étienne Moulinié (1599-1676), a native of Languedoc who followed his brother Antoine to Paris after the latter became a chantre in the prestigious group, quickly made a name for himself in the capital’s elite circles with his airs de cour. Appointed Intendant de la Musique to the King’s brother, Gaston d’Orléans, in 1627, he left a large output of airs, published between 1624 and 1639, for voice and lute or for four and five voices. With a final book of Airs à 4 “avec la basse continue” published in 1668, he must be considered as one of the last representatives of the polyphonic tradition of the genre. Three representative examples of this rich corpus may be heard here: two airs originally from ballets (Il sort de nos corps emplumés and Rompez les charmes du sommeil) and published in 1625 and 1639 respectively, and an air galant (Ô doux sommeil) from the 1668 collection.

As for François de Chançy (c.1600-56), who was in the service of Cardinal Richelieu before becoming Maître des Enfants (Master of the Choirboys) in the Musique de la Chambre du Roi between 1630 and 1635, his contemporaries placed him alongside Guédron, Moulinié, and Antoine Boësset (15871643), to whom this program chiefly pays homage.

A native of Blois, Antoine Boësset was still a child when he entered the court of Henri IV, where he was able to rub shoulders with the leading musicians of the kingdom, among them Eustache du Caurroy and Claude le Jeune. But it was most likely from Guédron that he learned the secrets of an art that was to take him to the highest musical offices at court. His career took a decisive step forward in 1613 when Guédron, the new Surintendant de la Musique de la Chambre, offered him his daughter’s hand and endowed him with his own previous position as Maître de la Musique de la Chambre du Roi. From then on, the musical and social career of the so-called “Apollon de la France” progressed steadily. Four years later, in 1617, his appointment as Maître de la Musique de la Chambre de la Reine confirmed him as the guarantor of his father-in-law’s artistic legacy. In due time, Boësset succeeded in his turn to the highest musical position in the realm: when he became Surintendant de la Musique de la Chambre in 1623, it was his task to organize the official entertainments—such as the ballets danced by or in front of the sovereigns—and private concerts for Louis XIII and Anne of Austria, and to provide the vocal music required for their pleasure. At the head of the court’s musical elite, he moved very close to the seat of power through the intimate relationships he was able to establish 4

with the sovereigns and the links he maintained with his most influential contemporaries, in political and financial circles as well as artistic and scholarly milieux.

A renowned musician, a sought-after singing master, but also a courtier, Boësset amassed a substantial fortune and held numerous honorary offices and functions at court that gained him the support of its most prestigious figures. His airs de cour and airs de ballet—nearly 250 published between 1606 and 1643—represent the peak not only of their composer’s art but also of the golden age of the polyphonic air, and more generally illustrate the evolution of the genre towards a lighter form for solo voice and continuo. These delicately chiseled miniatures reveal great understanding of the poetic text and a keen feeling for word-setting, melody, and counterpoint, underlined by a refined use of vocal scoring.

Alongside entrées from royal ballets from the years 1635-36, themselves compiled in a large-scale “Concert” offered to Louis XIII for the feast of Saint Louis (25 August), the airs on this program are punctuated by pieces written for harpsichord by the King’s musicians (here arranged for viols). Jacques Champion de Chambonnières (c.1601-72), a member of the Musique de la Chambre du Roi and his father’s successor as épinette du Roi (1611), enjoyed a solid reputation at court and in Parisian circles from the 1630s on. He is regarded as the founder of the French harpsichord school, and it was he who introduced the three Couperin brothers to court, the eldest of whom, Louis (uncle of François “le Grand”), was to become violiste ordinaire (viol player in ordinary) of the Chambre du Roi at the beginning of Louis XIV’s reign.

All the King’s musicians had to be ready to serve in all circumstances, to respond to the daily demands of court ceremonial and the imperatives of protocol, and to play for the sovereign’s official and private entertainments. Hence, logically enough, most of them lived close to the Louvre, in the Parisian parishes of Saint-Germain-l’Auxerrois or Saint-Eustache.

The pleasures of the Louvre Although less vast, convenient, and comfortable at this period than other palaces, such as Fontainebleau or Saint-Germainen-Laye, the Louvre had become, since the reign of Henri III, the chief residence of the King, who spent part of every year there, chiefly the winter months. It was a key hub of the monarchy and of royal symbolism, the epicenter of power, where the important events in the life of the court naturally took place: a veritable ceremonial was developed within its walls, which was to reach its apogee under Louis XIV. In this theater of power, music was an object of entertainment as well as an instrument of magnificence and was performed in a setting at once public and intimate.

For major events of a political dimension, the court moved to the hall of the Hôtel du Petit-Bourbon, situated between the Louvre and the Church of Saint-Germain-l’Auxerrois.

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However, the palace itself had two halls for entertainments, built under Henri II in the south-west wing (by Pierre Lescot) of what was to become the Cour Carrée. On the ground floor was the “Grande Salle” (now the Salle des Caryatides), measuring over 7,500 square feet with a ceiling height of 26 feet. This played host to the grand dynastic ballets, such as the Ballet de la Félicité, danced in 1639 to celebrate the long-awaited birth of the future Louis XIV—and the last royal ballet for which Boësset provided the récits (Je suis l’adorable Equité). Above all, it was there that, every year during Carnival, the court attended the Ballet du Roi, an allegorical spectacle in which the sovereign himself performed, “representing” the image of majesty in his dancing. This ceremonial hall was extended to the south by a raised platform known as the tribunal, decorated with columns and featuring an imposing triumphal arch composed of two richly worked porticoes joined by a barrel vault. It was in this space, a symbol of regal power, that the royal family was placed, as was the “haut-dais” under which the King would sit when he was not dancing. On the opposite side, under a richly sculpted gallery with standing space for a few musicians, a “théâtre” was set up, the point of departure for the dancers, who performed before the gaze of the court, placed in terraced seating around the sides of the hall. On the first floor of the palace, a slightly smaller and less official “Salle haute” was also used for divertissements, balls, ballets, and banquets of lesser political importance. It was usually here that Anne of Austria and the ladies of her household danced the Ballet de la Reine a few days after the Ballet du Roi. The royal apartments were also used for divertissements and for the moments in the sovereigns’ day that were accompanied by music. At the Louvre, Louis XIII occupied the apartment built in the reign of Henri II (and modified under Henri III) on the first floor of the south wing along the Seine. Its most remarkable room was the “Chambre de Parade,” where the ceremonies of the King’s levée and couchée took place, as well as receptions and public meetings. Henri Sauval (1623-76), an invaluable historiographer of Paris, describes at length the beauty of the paneling, ceilings, and decorations, while also providing rare information on the acoustic qualities of the room: The Chambre de Parade is a truly royal room.

Connoisseurs and musicians find it so ideal that they not only call it the finest chamber in the world, but also assert that, of its type, it is the height of all the perfections of which the imagination can form an idea… Musicians also make observations about it that neither painters nor sculptors make… They declare that in all Paris there is no place more suitable for soft music and attribute the reason for this to the wood of its ceilings, its paneling, and the embrasures of each casement. For they are convinced that stone vaults are less flattering to concerts than those made of wood; experience having taught them that stone treats the

voice with a much greater degree of reflection and echo than wood; that it is too dry, has too much brilliance and creates excessively harsh echoes; and that, on the contrary, wood has all the softness that music can desire…

(Sauval, Histoire et recherches des antiquités de la ville de Paris; Paris: Charles Moette, Jacques Chardon, 1724, vol. II, pp. 35-36).

Sauval probably obtained these observations from musicians of the Musique de la Chambre du Roi, who could enjoy these ideal conditions at their leisure; and Louis XIII himself, an artistking who composed from time to time, writing several airs de cour and the Ballet de la Merlaison (Ballet of the Blackbird Hunt, 1635), from which an entrée (Les Gascons) is heard here, could not but appreciate them. It was mainly there that the sovereign heard the “concert” of his musicians, especially at his petit coucher, a custom recalled at the end of the 17th century in L’État de la France: “In the past, in Paris, there was the Musique du Petit Coucher on certain days of the week. This ensemble comprised a few voices and sometimes also a few instruments.”

The antechamber was the venue for the King’s midday and evening meals (dîner and souper), which, when they were held in public, were also accompanied by music. The Cabinet du Roi, the study reserved for the monarch’s private conversations and his repose, might also echo with music on occasion.

Another key center of sociability was the Queen’s apartment, located on the ground floor beneath the King’s apartment.

This had been laid out by Pierre Lescot for Catherine de Medici, and was scarcely smaller than the King’s, consisting of a reception hall, an antechamber, a bedroom and wardrobe, a large study and two small ones, and an oratory. The Queen Mother Marie de Medici occupied it until her exile in 1631, whereas on the first floor Anne of Austria confined herself to the few rooms of the apartment reserved for the reigning Queen, adjoining that of the King. It was in these different spaces that the Musique de la Reine could be heard. Since the reign of Henri III, musical entertainments had normally been held in the Queen’s apartment three evenings a week, on Mondays, Tuesdays, and Wednesdays.

So let us allow ourselves to be guided by the echoes of these “pleasures,” inhabited by the sometimes strange and whimsical divinities, allegorical characters or characters from the realm of galanterie, which delighted Louis XIII, Marie de Medici, Anne of Austria, and their court, in what was, before Versailles, the emblematic residence of the Kings of France.

—Ensemble Correspondances

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ABOUT THE ARTISTS ENSEMBLE CORRESPONDANCES Founded in Lyon in 2009, Ensemble Correspondances brings together a group of singers and instrumentalists under the direction of the harpsichordist and organist Sébastien Daucé, all of whom are specialists in the music of the Grand Siècle.

In a few short years of existence, Correspondances has become a benchmark ensemble in the 17th-century French repertory.

Placing itself under the auspices of Baudelaire’s notion of correspondences between the arts, it performs music whose sonorities can still directly touch today’s listeners while presenting staged productions of rarer and more original forms such as the oratorio and the ballet de cour.

The ensemble’s twin commitments to breathing new life into already well-known composers and restoring the image of figures less familiar today but celebrated and frequently performed in their own time has already yielded 16 critically acclaimed recordings, which have earned such distinctions as the Choc Classica of the year, ffff de Télérama, Diapason d’Or of the year, ECHO Preis for the World Premiere Recording of the Year 2016, Editor’s Choice in Gramophone, German Record Critics’ Award, Operatic Recording of the Year 2016 in Limelight Magazine, and the Prix de l’Académie Charles Cros.

All these recordings bear witness to the ensemble’s fundamental values and its exploratory spirit, whether with Marc-Antoine Charpentier in O Maria ! (2010), the Litanies de la Vierge (2013), the Pastorale de Noël et O de l’Avent (2016), La Descente d’Orphée aux Enfers (2017), or his “Histoires Sacrées” (2019), Antoine Boësset with “L’Archange et le Lys” (2011), Étienne Moulinié and his “Meslanges pour la Chapelle d’un Prince” (2015), Henry du Mont in “O Mysterium” (2016) and Michel- Richard de Lalande in his “Leçons de Ténèbres” with Sophie Karthäuser (2015); or even “Perpetual Night”, Lucile Richardot’s first solo recording (2018), acclaimed by the national and international press (German Record Critics’ Award, Choc de l’année Classica, ffff de Télérama, Diapason d’Or de l’année, Diamant d’Opéra Magazine...).

The exceptional reconstruction of the score of Le Ballet Royal de la Nuit, the result of three years of research, allowed modern audiences to discover a major musical event of the 17th century, the unprecedented moment that inaugurated the reign of the Sun King. After the public and critical success of the Le Concert Royal de la Nuit, (harmonia mundi, 2015), the ensemble returned to this extraordinary spectacle in 2017 and 2020 with the théâtre de Caen in a contemporary production

by Francesca Lattuada. This staged version has been published recently in a box set gathering the full music and the recording of the show.

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Caroline Weynants soprano Perrine Devillers soprano Maire-Lou Jacquard mezzo soprano Paul Figuier countertenor Antonin Rondepierre tenor Étienne Bazola bass baritone Renaud Bres bass Josephe Cottet violin Simon Pierre violin Lucile Perret flutes Louise Bouedo viola de gamba Étienne Floutier viola de gamba Mathilde Vialle viola de gamba Thibaut Roussel theorbo Sébastien Daucé organ, harsichord, direction Correspondances is in residence at the théâtre de Caen. It is associate ensemble at the Opéra and Chapelle of the Château de Versailles, at the Louvre Museum, and at the Théâtre de l’Aquarium at the Cartoucherie de Vincennes. Correspondances is supported by the Ministère de la Culture - DRAC Normandie, the Région Normandie, the Ville and the théâtre de Caen.

Fondation Société Générale C’est vous l’avenir is a major patron of Correspondances. The ensemble receives assistance from the Fondation Correspondances, under the aegis of the Fondation Bullukian, a group of music lovers who give active support to research into and publication and performance of the music of the 17th century. It also receives regular support from the Institut Français, the Odia Normandie, and the Centre National de la Musique for its concerts and recordings. The ensemble Correspondances is member of Arviva – Arts vivants, Arts durables, and gets involved in the environmental shift for performing arts. The ensemble is member of the FEVIS, the Profedim, and the European Early Music Network.

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SÉBASTIEN DAUCÉ Organist and harpsichordist Sébastien Daucé aims to promote the little known, yet abundant 17th-century repertoire. At the Conservatoire National Supérieur de Musique et Danse in Lyon he studied harpsichord and bass continuo with Françoise Lengellé and Yves Rechsteiner.

The exploration of a little-performed and often unpublished repertory by Ensemble Correspondances has led, with the support of the harmonia mundi label, to a discography of 13 recordings that have attracted considerable press attention and have received such distinctions as the Diapason d’Or of the Year, ffff de Télérama, Editor’s Choice in Gramophone, Choc of the Year in Classica, German Record Critics Award, and IRR Outstanding.

Alongside his activities as a performing musician, Sébastien Daucé edits the music that makes up the Ensemble’s repertory, going so far as to recompose complete pieces when necessary, as in Le Ballet Royal de la Nuit. He has taught at the Pôle Supérieur de Paris since 2012. In 2018 he was Guest Artistic Director of the London Festival of Baroque Music.

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TEXTS AND TRANSLATIONS ANTOINE BOËSSET (1587-1643) Ballet des nymphes bocagères de la forêt sacrée, 1627

Ballet of the woodland nymphs of the sacred forest, 1627

“Reine que je sers et que je connais” (Concert de Diane et de ses nymphes)

“Queen that I serve and that I know” (Concert of Diane and her nymphs)

Reyne que je sers et que je cognoy Bien plus belle, et plus chaste que moy: Astre divin, flambeau nompareil, Pardonnez-moy si je vous prens pour mon Soleil.

The queen that I serve and that I know Much more beautiful, and more chaste than me: Divine star, unique beacon, Forgive me if I consider you my Sun.

Ce feu qui faisoit toute ma splendeur Ne luit plus que pour vostre grandeur, De vos Enfants il est amoureux, Et ne fait plus le tour du monde que pour eux.

This fire that made all my splendor Is now burning only for your greatness, It is in love with your Children, And it goes around the world only for them.

L’encens et les voeux que tant de mortels M’ont donnez, sont deus à vos Autels, Astre divin, flambeau nompareil, Je luis pas vous, et vous cognoy pour mon Soleil.

The incense and the wishes that so many mortals Have given me, are gifts to your Altars, Divine star, unique beacon, I glow not on you, I know you as my Sun.

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Dialogue de la troupe d’Orphée et des Hamadriades

Dialogue of the troupe of Orpheus and the Hamadriades

ORPHÉE & SA TROUPE Suivez nous belles Nymphes des bois, Qui vous cachez sous cette escorse?

ORPHEUS & HIS TROUPE Follow us beautiful Nymphs of the forest, Who are you hiding under this tree bark?

LES HAMADRIADES Qui nous attire avecques tant de force?

HAMADRIADES What attracts us with so much strength?

ORPHÉE Ce sont les accords charmants de nos douces voix.

ORPHEUS This is the charming harmony of our sweet voices.

LES HAMADRIADES Où nous conduisez-vous?

HAMADRIADES Where are you leading us?

ORPHÉE Vers le plus grand des Roys.

ORPHEUS To the greatest of all Kings.

ORPHÉE & LES HAMADRIADES Allons donc tous ensemble, accordons nos voix En l’honneur du miracle des Roys.

ORPHEUS & THE HAMADRIADES Let’s go together, let’s grant our voices In honor of the miracle of the Kings.

ORPHÉE Quittez-vous à regret les beaux lieux Où vous retenoyent vos racines?

ORPHEUS Do you leave with regret the beautiful places Where your roots hold you back?

LES HAMADRIADES Ô que d’attraits! que de beautez divines!

HAMADRIADES Oh, only attractions! Only divine beauty!

ORPHÉE Un bien plus charmant objet va ravir vos yeux;

ORPHEUS Something much more charming will be a delight to your eyes;

LES HAMADRIADES Et que verrons-nous plus?

HAMADRIADES And what more will we see?

ORPHÉE Un Roy chery des Cieux.

ORPHEUS A King beloved in Heaven.

ORPHÉE & LES HAMADRIADES Allons donc tous ensemble, accordons nos voix En l’honneur du miracle des Roys.

ORPHEUS & THE HAMADRIADES Let’s go together, let’s grant our voices In honor of the miracle of all Kings.

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PIERRE GUÉDRON (ca. 1565-1620) Cesse mortel d’importuner (Juste mespris de saincte Agnez)

Cease, mortal, to importune (Just contempt of Saint Agnes)

Cesse Mortel d’importuner Mon chaste cœur de tes complaintes, Je ne le peux abandonner À l’artifice de tes plaintes; Un Dieu tant seulement, Doit estre aimé parfaictement.

Cease, mortal, from importuning My chaste heart with your laments; I cannot abandon it To the stratagem of your complaints; One God alone Must be loved perfectly.

Fuis promptement loing de mes yeux Gibier de la mort éternelle, Je voy dans la flamme des Cieux Que la tienne est trop criminelle.

Un Dieu tant seulement, Doit estre aimé parfaictement

Flee from my eyes at once, Prey of eternal death; I see by the flame of Heaven That your flame is all too wicked.

One God alone Must be loved perfectly.

Voudrais-tu bien te comparer Au doux amant qui m’a choisie?

Luy penses-tu faire endurer Les tourments de la jalousie?

Un Dieu tant seulement, Doit estre aimé parfaictement

Would you compare yourself To the sweet Lover who has chosen me?

Do you think you can make Him endure The torments of jealousy?

One God alone Must be loved perfectly.

Son père est plus beau qu’un Soleil, Sa mère enchérit sur la Lune, Et le fils n’a point de pareil Dans le bonheur de sa fortune.

Un Dieu tant seulement, Doit estre aimé parfaictement.

His Father is more beautiful than a sun, His Mother is fairer than the moon, And the Son has no peer In the happiness His fortune brings.

One God alone Must be loved perfectly.

“Quels tourments rigoroux” (Le Purgatoire)

“What rigorous torments” (Purgatory)

Quels tourments rigoureux Souffrons-nous dans ces feux Pour un plaisir volage?

Nos maux sont douloureux: Mais, l’espoir nous soulage.

What rigorous torments We are suffering from in these fires For a fickle pleasure?

Our ills are painful: But hope gives us relief.

Dans les lieux obscurcis Nos esprits sont transis Pensant à leur dommage, Nous plaignons nos soucis : Mais l’espoir nous soulage.

In dark places Our spirits are cold Thinking of the damage done to them, We complain about our worries: But hope gives us relief.

Ce qui fait au milieu Des ombres de ce lieu Nostre esprit tout sauvage, C’est de ne voir point Dieu: Mais l’espoir nous soulage.

What is our wild spirit doing Among The shadows of this place Where God cannot be seen?

But hope gives us relief.

Le plus grand des malheurs Qui nous résout en pleurs, C’est que son beau visage Se cache à nos douleurs: Mais l’espoir nous soulage.

The greatest of misfortunes Which bring us tears, Is that his beautiful face Hides in our pains: But hope gives us relief.

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Thompson Arts Center at Park Avenue Armory | 643 Park Avenue at 67th Street

ÉTIENNE MOULINIÉ (1599-1676) “Il sort de nos corps emplumés” (Concert de différents oyseaux) du Ballet du monde renversé (1625)

“He comes out of our feathered bodies” (Concert of various birds) from Ballet of the Reversed World (1625)

Il sort de nos corps emplumés Des voix plus divines qu’humaines, Qui tiennent les soucis charmés, Et font dormir les peines.

He comes out of our feathered bodies Voices more divine than those of a human, Voices that charm all the worries, And put to sleep all the pain.

Nous vous appellons à tesmoins, Que si nos voix font des merveilles, Nos Luths ne penetrent pas moins Les coeurs, que les oreilles.

We call you to witness, That if our voices do wonders, Our lutes penetrate The hearts, just as much as the ears.

Gardez de vous abuser tous, Ce seroyent choses estranges, Si les Corbeaux et les Hibous Chantoyent comme des Anges.

You all, do not be deceived, It would be strange, If Ravens and Owls Sang like angels.

Nous sommes des Dieux deguisez Qu’en ce lieu ces beautez attirent, Et c’est pour nos coeurs embrasez Que nos bouches soupirent.

We are Gods in disguise Attracted by the beauty of this place, And it’s for our burning hearts That our mouths sigh.

ANTOINE BOËSSET (1587-1643) “Ne vante point flambeau des Cieux”

“Do not vaunt, you, Heaven’s torch”

Il sort de nos corps emplumés Des voix plus divines qu’humaines, Qui tiennent les soucis charmés, Et font dormir les peines.

He comes out of our feathered bodies Voices more divine than those of a human, Voices that charm all the worries, And put to sleep all the pain.

Nous vous appellons à tesmoins, Que si nos voix font des merveilles, Nos Luths ne penetrent pas moins Les coeurs, que les oreilles.

We call you to witness, That if our voices do wonders, Our lutes penetrate The hearts, just as much as the ears.

Gardez de vous abuser tous, Ce seroyent choses estranges, Si les Corbeaux et les Hibous Chantoyent comme des Anges.

You all, do not be deceived, It would be strange, If Ravens and Owls Sang like angels.

Nous sommes des Dieux deguisez Qu’en ce lieu ces beautez attirent, Et c’est pour nos coeurs embrasez Que nos bouches soupirent.

We are Gods in disguise Attracted by the beauty of this place, And it’s for our burning hearts That our mouths sigh.

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ÉTIENNE MOULINIÉ (1599-1676) “Rompez les charmes du sommeil” (Air de la Ridicule) du Ballet du Mariage de Pierre de Provence et de la belle Maguelonne (1638)

“He comes out of our feathered bodies” (Concert of various birds) from Ballet of the Reversed World (1625)

Rompez les charmes du sommeil, O beautez qui brillez comme fait le Soleil, Quand le jour est encore a naistre!

Il faut qu’a ce doux bruit Vous paroissiez a la fenestre Pour aveugler la nuict.

Break the charms of sleep, O beauties who shine like the Sun, When the day is yet to be born!

With that sweet sound You appeared at the window To blind the night.

Que vos appas sont ravissants!

Ils charment les humains qui sont privez de sens, Leur pouvoir n’eust jamais d’exemple: Vous attaignez au coeur, Et tout mortel qui vous contemple S’en va mourant de peur.

How lovely are your charms!

Powerful, they enchant Humans who lost all meaning.

You attack their heart, And any mortal who contemplates you Runs away dying of fear.

Rompez les charmes du sommeil, O beautez qui brillez comme fait le Soleil, Quand le jour est encore a naistre!

Il faut qu’a ce doux bruit Vous paroissiez a la fenestre Pour aveugler la nuict.

Break the charms of sleep, O beauties who shine like the Sun, When the day is yet to be born!

With that sweet sound You appeared at the window To blind the night.

ANTOINE BOËSSET (1587-1643) “Noires forêts, demeures sombres”

“Black forests, dark dwellings”

Noires forêts, demeures sombres, Où le Soleil ne luit que rarement, Que je me plais parmy vos ombres: Et qu’elles flattent bien les plaintes d’un amant.

Black forests, dark dwellings, Where the sun rarely shines, How I like to be in your shadows: And how well they flatter the laments of a lover.

Depuis le jour que ma cruelle, M’eut fait sçavoir l’arrest de mon trespas, Toute clarté me fut mortelle: Et le flambeau du jour n’eut pour moy plus d’appas.

Since the day that my cruel love, Announced to me my death, All clarity was deadly to me: And the torch of the day didn’t charm me anymore.

“Quelle merveilleuse aventure”

“What a wonderful adventure”

Quelle merveilleuse advanture?

Les Songes hostes de la Nuit Fuyoient la lumière et le Bruit.

Et contre l’ordre de nature, Au lieu du Palais du Sommeil, Ils trouvent celuy du Soleil.

What a wonderful adventure?

The Host Dreams of the Night Flee light and Noise.

And against the order of nature, Instead of the Palace of Sleep, They find that of the Sun.

Portés sur l’aisle du silence Ils venoyent troubler les espris À qui de jour Mars ou Cypris Font ressentir leur violence, Et vouloyent mesmes, ô grand Roy, Dans ton Louvre semer l’effroy.

Carried on the aisle of silence They came to disturb the minds To whom of the day Mars or Cypris make their violence felt, And wanted myself, oh great King, In your Louvre sow terror.

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Thompson Arts Center at Park Avenue Armory | 643 Park Avenue at 67th Street

“Je suis l’adorable Equité” (Récit de la Felicité, la Justice, et les Amours) du Ballet de la Félicité (1638)

“I am the adorable Fairness” (Tale of Bliss, Justice, and Loves) from Ballet of Felicity (1638)

LA JUSTICE COMMENCE Je suis l’adorable Equité, Qui conduis la Felicité.

JUSTICE BEGINS I am the adorable Fairness, Who leads the Happiness.

LA FÉLICITÉ Apres tant de malheurs, en fin je viens paroistre Avec ce noble Enfant.

BLISS After so many misfortunes, in the end I come With this noble Child.

LES AMOURS Et nous l’avons fait naistre D'un grand Roy triomphant.

LOVES And we made it Of a great Roy triumphant.

TOUS ENSEMBLE Soit la tristesse bannie, L’heur surpasse les desirs, O l’agreable Harmonie Des vertus et des plaisirs.

ALL TOGETHER May the sadness be banished, When time overcomes the desires, O, the pleasant Harmony Virtues and pleasures.

LA JUSTICE Reyne, que le Ciel justement T’a donné ce contentement.

JUSTICE Queen, whom the Heaven Rightfully gave that satisfaction.

LA FÉLICITÉ Il a consideré la bonté de ton ame, Rendant tes voeux contens.

BLISS He remembered the goodness of your soul, When making your wishes come true.

LES AMOURS Et la pudique flame De deux coeurs si constans.

THE LOVES And the modest flame From two hearts so faithful.

TOUS ENSEMBLE Soit la tristesse bannie, L’heur surpasse les desirs, O l’agreable Harmonie Des vertus et des plaisirs.

ALL TOGETHER May the sadness be banished, When time overcomes the desires, O, the pleasant Harmony Virtues and pleasures.

“Ce roi vainqueur de nos malheurs” (Pour le Roy)

“This King conqueror of our misfortunes” (For the King)

Ce Roy vainqueur de nos malheurs, Le plus révéré de la Terre, Des-jà des mortelles douleurs Esprouvoit la cruelle guerre: Mais son destin heureux enfin à tout soumis, Triomphant de la mort, et de ses ennemis.

This King conqueror of our misfortunes, Earth’s most revered, Already deadly pain Expect the cruel war: But his happy destiny finally submitted to everything, Triumphant over death, and its enemies.

Il est eschappé du tombeau: La Parque eut esté bien ravie De pouvoir d’un coup de ciseau Trancher une si belle vie.

Mais son destin etc.

He escaped from the tomb: The Fate would have been delighted Power with a scissor Slice such a beautiful life.

But his fate etc.

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“Que prétendez-vous, mes désirs?”

“What do you aspire to, my desires?”

Que prétendez-vous, mes désirs, Ne songez plus à ma défense: Faites cesser tant de soupirs.

L’ingrate Olympe s’en offense.

Puis que sa cruauté ne vous sçauroit souffrir, Mourez, ou me faites mourir.

What do you aspire to, my desires?

Think no more of defending me: Cease your many sighs; The ungrateful Olympia takes offence at them.

Since her cruelty cannot tolerate you, Die, or else make me die.

Ses regards me donnent la mort, Et je ne puis vivre sans elle: Si je me plains, c’est de mon sort, Rien ne me plaist que cette belle.

Puis que sa cruauté se plaist à voir souffrir, Désirs, il vous faut donc mourir.

Her eyes give me death, And I cannot live without her: If I complain, it is of my fate; Nothing can please me more than that beauty.

Since her cruelty enjoys looking upon suffering, Desires, therefore you must die.

“Segua chi vuol iniquo Amore”

“Whoever wants it, follows this Iniquitous Love”

Segua chi vuol iniquo’Amore, Ch’io lo scacciai d’al core, Poi che fia bel seren, Lo stral ascoso tien.

L’alma che scioltar gnor s’en va, Ma piu ritornera Ne duri laccia, laccia por il pie Ch’amor non merta se.

Che’l duro cor chin se non ha Ne fede ne pieta.

Whoever wants it, follows this Iniquitous Love That I chased out of my heart, Since the calm has returned, It is careful to hold back its traits.

The soul that flies away, released forever, Will never come back To be bound in chains again, Because Love does not deserve our faith, And its insensitive heart does not bear Neither loyalty nor pity.

Giri chi fa verrosi rai, Ma non fia piu gia mai Con viso mentitor, Che mi luzinghi amor: Goda mio sen la liberta, Poiche a morit s’en va Ch’a finti vezzi creder: vol’ Che fol tormento edol, Al fin puo dat quel?

Che falso e luzinghies.

May whoever wishes Turn towards love their bright eyes, But to me May Love never come again with its flatteries Under the features of a treacherous face; As the one who wants to believe these false attractions Is going to die here, Because this cruel Archer, False and flattering, Can only bring torments and pain.

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Thompson Arts Center at Park Avenue Armory | 643 Park Avenue at 67th Street

“Conseille-moi mon coeur” (David disgrâcié)

“Advise me, my heart” (David disgraced)

Conseille moy mon coeur, Avant que la rigueur Du grand Dieu de vengeance Donne en dernier effort ma funeste sentence.

Ne puis-je en aucun lieu Trouver une retraitte, Qui ne soit point sujette A l’empire de Dieu.

Advise me, my heart, Before the rigor Of the Great God of revenge Gives me my fatal sentence.

Nowhere can I Find a retreat, That is not subject To the empire of God.

Si je pretends aller Dans le vide de l’air; L’air aussi tost appreste Mille foudres vengeurs pour lancer sur ma teste.

If I pretend to go In the emptiness of the air; The air, too, prepares A thousand vengeful thunders to launch on my head.

Helas que ferons nous?

“Quand ce grand Dieu se fasche, Tout cét univers tasche De servir son courroux.”

Alas what will we do?

“When this great God is angry, All this universe tries To serve his wrath.”

Si je fuys vers la mer; Ses flots, pour m’abysmer, Coup sur coup se crevassent, Et d’un horrible bruit, en grondant me menacent.

Insensible clement, Qui vous à fait cognoistre Que mon peché doit estre Puny si rudement?

If I flee to the sea; Its waves are rising, One after the other, to drown me in the abyss.

And a horrible sound, growling, threatens me.

Insensitive clement, Who tells you That my sin must be Punished so severely?

Si je fuys aux enfers; On y forge des fers Pour captiver mon ame Dans le brouillant torrent d’une eternelle flame.

Fuy donc ou tu voudras ; David, il n’y à place, Que ce grand Dieu n’embrasse Dans l’enclos de ses bras.

If I flee to hell; There they will forge irons To captivate my soul In the blurring torrent of eternal flame.

Flee where you want; David, there is no place, That this great God does not embrace With his arms.

Souvenez-vous, Seigneur, De vostre petit coeur, De cét homme d’eslite: Pensez à vostre amour, & non à son merite.

C’est David, o grand Dieu, Qui dans vos bras se jette N’ayant point de retraitte Plus seure en aucun lieu.

Remember, Lord, From your heart, Of this remarkable man: Think of your love, and not of his merit.

It's David, oh great God, Who throws himself into your arms Having no refuge Anywhere else.

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FRANÇOIS DE CHANCY (1600-1656) “Rares fleurs, vivantes peintures”

“Rare flowers, living paintings”

Rares fleurs, vivante peinture, Aymables filles du Printemps, Qui pour embellir la Nature Voulez renaistre tous les ans: Voyez sur le teint d’Artenice les plus vives couleurs peintes sans artifice.

Rare flowers, vibrant paintings, Kind daughters of Spring, Who to beautify Nature Want to be reborn every year: You shall see in Artenice's complexion the most vivid true colors.

Avant que vous soyez escloses, Des-ja l’Amour a fait dessein De cueillir ses lys et ses roses Sur la blancheur de son sein.

Voyez sur le teint d’Artenice les plus vives couleurs peintes sans artifice.

Before you become enslaved, Love has already designed To pick her lilies and her roses On the whiteness of her breast.

You shall see in Artenice's complexion the most vivid true colors.

Flore vous forme avec des larmes, Et le Soleil vous fait mourir : Mais Artenice a tant de charmes Qu’ils ne sçauroient jamais périr : Le lys, la rose, et le narcisse Vivent sur son beau teint sans aucun artifice.

Flora shapes you with tears, And the Sun makes you die: But Artenice has so many charms That they could never perish: Lily, rose, and narcissus Truly live on her beautiful skin.

—Ensemble Correspondances.

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Thompson Arts Center at Park Avenue Armory | 643 Park Avenue at 67th Street

PARK AVENUE ARMORY STAFF Rebecca Robertson Founding President and Executive Producer Pierre Audi Marina Kellen French Artistic Director ARTISTIC PLANNING AND PROGRAMMING Michael Lonergan Chief Artistic Producer Kevin Condardo General Manager Jenni Bowman Producer Melanie Milton Producer Darian Suggs Associate Director, Public Programming Sam Cortez Associate Producer/Company Manager Oscar Peña Programming Coordinator

Jason Moran Curator, Artists Studio Tavia Nyong’o Curator, Public Programming

Jacqueline Babek, Emma Buford, Sarah Gallick, Daniel Gomez, Eboni Green, Nariah Green, Maxim Ibadov, Sandra Kitt, Christine Lemme, Beth Miller, Drew O’Bryan, Jon Ovadia, Regina Pearsall, Shimel Purnell, Eileen Rourke, Michael Simon, Kin Tam, Kathleen White, Ushers Liz Bickley Covid Compliance Team Manager CAPITAL PROJECTS & ARCHIVES Kirsten Reoch Director of Capital Planning, Preservation, and Institutional Relations David Burnhauser Collection Manager

ARTISTIC PRODUCTION Paul King Director of Production Claire Marberg Deputy Director of Production Nicholas Lazzaro Technical Director Lars Nelson Technical Director Rachel Baumann Production Coordinator ARTS EDUCATION Cassidy L. Jones Chief Education Officer Monica Weigel McCarthy Director of Education Chelsea Emelie Kelly Director of Youth Corps Aarti Ogirala Associate Director of Education, School Programs Drew Petersen Education Special Projects Manager Nadia Parfait School Programs Coordinator Bev Vega Youth Corps Coordinator Kate Bell, Emily Bruner, Donna Costello, Alexander Davis, Asma Feyijinmi, Hawley Hussey, Larry Jackson, Hector Morales, Peter Musante, Drew Petersen, Leigh Poulos, Neil Tyrone Pritchard, Vickie Tanner Teaching Artists Wilson Castro, Sharlyn Galarza, Daniel Gomez, Nancy Gomez, Maxim Ibadov, Stephanie Mesquita, Paola Ocampo, Ashley Ortiz, Catherine Talton Teaching Associates Zeinebou Dia, Taylor Maheia, Jason Quizhpi, Angela Reynoso, Lucille Vasquez, Milen Yimer Youth Corps BUILDING & MANAGEMENT OPERATIONS Jenni Kim Chief Operating Officer Marc Von Braunsberg Director of Operations Aurelio Roman Director of Facilities Patricia English Security Director Chris Sperry Facilities Manager Darrell Thimoleon Office Manager Williams Say Superintendent Leandro Dasso, Mayra DeLeon, Mario Esquilin, Jeferson Avila, Olga Cruz, Justin DeLeon Nieto, Jazmin Dominguez, Howard Johnson, Cristina Moreira, Tyrell Shannon Castillo, Joshua Rosa, Cindy Fabara Maintenance Staff

DEVELOPMENT Melanie Forman Chief Development Officer Charmaine Portis Executive Assistant to the Chief Development Officer Sam Cole Director of Development Rachel Risso-Gill Senior Director of Individual Giving Billy Fidler Director of Institutional Giving Jennifer Ramon Associate Director of Individual Giving Michael Buffer Database Manager Kaitlin Overton Manager of Institutional Giving Yejin Kim Special Events Coordinator Adithya Pratama Individual Giving Coordinator EXECUTIVE OFFICE Lori Nelson Executive Assistant to the President Nathalie Etienne Administrative Assistant, President’s Office Simone Elhart Project Manager FINANCE Arthur Bulacan Interim Chief Financial Officer Christy Kidd Controller Khemraj Dat Accountant MARKETING, COMMUNICATIONS & BOX OFFICE Tom Trayer Chief Marketing Officer Nick Yarbrough Senior Digital Marketing Manager Allison Abbott Press and Editorial Manager Joe Petrowski Director of Ticketing and Customer Relations Monica Diaz Box Office Manager Emily Cifuentes, Janel Ridley Box Office Shift Leads Anne Amundson, Mary McDonnell, Rocky Nardone, Sienna Sherman, Danielle Shubsda, Laura Rizzo Box Office Associates Resnicow + Associates, Inc. Press Representatives PRODUCTION ACKNOWLEDGMENTS Baroque Keyboards Davison Scandrett Production Manager

Oku Okoko Director of IT Ethan Cohen IT Administrator Bobby Wolf Senior House Manager Daniel George House Manager Alexandra Ortiz Assistant House Manager

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ABOUT PARK AVENUE ARMORY Part palace, part industrial shed, Park Avenue Armory fills a critical void in the cultural ecology of New York, supporting unconventional works in the performing and visual arts that cannot be fully realized in a traditional proscenium theater, concert hall, or white wall gallery. With its soaring 55,000-square-foot Wade Thompson Drill Hall and an array of exuberant period rooms, the Armory enables a diverse range of artists to create, students to explore, and audiences to experience epic, adventurous, relevant work that cannot be done elsewhere in New York.

Programmatic highlights from the Wade Thompson Drill Hall include Ernesto Neto’s anthropodino, a magical labyrinth extended across the Drill Hall; Bernd Alois Zimmermann’s harrowing Die Soldaten, in which the audience moved “through the music”; the event of a thread, a site-specific installation by Ann Hamilton; the final performances of the Merce Cunningham Dance Company on three separate stages; an immersive Macbeth set in a Scottish heath with Kenneth Branagh; WS by Paul McCarthy, a monumental installation of fantasy, excess, and dystopia; a radically inclusive staging of Bach’s St. Matthew Passion staged by Peter Sellars and performed by Sir Simon Rattle and the Berliner Philharmoniker; eight-time Drama Desk-nominated play The Hairy Ape, directed by Richard Jones and starring Bobby Cannavale; Hansel & Gretel, a new commission by Ai Weiwei, Jacques Herzog, and Pierre de Meuron that explored publicly shared space in the era of surveillance; FLEXN and FLEXN Evolution, two Armorycommissioned presentations of the Brooklyn-born dance activists group the D.R.E.A.M. Ring, created by Reggie “Regg Roc” Gray and Director Peter Sellars; Simon Stone’s heralded production of Yerma starring Billie Piper in her North American debut; The Let Go, a site-specific immersive dance celebration by Nick Cave; Satoshi Miyagi’s stunning production of Antigone set in a lake; Sam Mendes’ critically acclaimed production of The Lehman Trilogy; the Black Artists Retreat hosted by Theaster Gates, which included public talks and performances, private sessions for the 300 attending artists, and a roller skating rink; Deep Blue Sea by Bill T. Jones and the Bill T. Jones/Arnie Zane Dance Companies; The Shape of Things, a multi-work installation, convening, and performance series by Carrie Mae Weems; Rashaad Newsome’s Assembly; and the North American premiere of Michel van der Aa’s Upload featuring Julia Bullock and Roderick Williams. Productions in the Armory’s Social Distance Hall included works by Bill T. Jones; David Byrne, Christine Jones, and Steven Hoggett; Laurie Anderson and Jason Moran; and Robert Icke.

In its historic period rooms, the Armory presents more intimate performances and programs, including its acclaimed Recital Series, which showcases musical talent from across the globe within the intimate salon setting of the Board of Officers Room; the Artists Studio series curated by MacArthur “Genius” and jazz phenom Jason Moran in the newly restored Veterans Room, which features a diverse array of innovative artists and artistic pairings that reflect the imaginative improvisation of the young designers and artists who originally conceived the space; and a Public Programming series that brings diverse artists and thought-leaders together for discussion and performance around the important issues of our time.

Among the performers who have appeared in the Recital Series and the Artists Studio in the Armory’s restored Veterans Room or the Board of Officers Rooms are: Christian Gerhaher; Ian Bostridge; Jason Moran; Lawrence Brownlee; Barbara Hannigan; Lisette Oropesa; Roscoe Mitchell; Conrad Tao and Tyshawn Sorey; Rashaad Newsome; and Krency Garcia (“El Prodigio”).

Highlights from the public programs include: symposiums such as Carrie Mae Weems’ day-long event called The Shape of Things, whose participants included Elizabeth Alexander, Theaster Gates, Elizabeth Diller, and Nona Hendryx; a day-long Lenape Pow Wow and Standing Ground Symposium held in the Wade Thompson Drill Hall, the first congregation of Lenape Leaders on Manhattan Island since the 1700s; salons such as the Literature Salon hosted by Branden Jacobs-Jenkins, whose participants included Lynn Nottage, Suzan Lori-Parks, and Jeremy O. Harris, and a Spoken Word Salon co-hosted with the Nuyorican Poets Cafe; and most recently, 100 Years | 100 Women, a multi-organization commissioning project that invited 100 women artists and cultural creators to respond to women’s suffrage.

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Thompson Arts Center at Park Avenue Armory | 643 Park Avenue at 67th Street

Current Artists-in-Residence at the Armory include two-time Pulitzer Prize-winning playwright Lynn Nottage; Obie winner and Pulitzer short-listed playwright Branden Jacobs-Jenkins and Carmelita Tropicana; Reggie “Regg Roc” Gray and the D.R.E.A.M. Ring; singer and composer Sara Serpa; Tony Award-winning set designer and director Christine Jones and choreographer Steven Hoggett; and Mimi Lien, the first set designer to receive a MacArthur Fellowship. The Armory also supports artists through an active commissioning program including such artists as Bill T. Jones, Lynn Nottage, Carrie Mae Weems, Michel van der Aa, Tyshawn Sorey, Raashad Newsome, Julian Rosefeldt, Branden Jacobs-Jenkins, and others.

The Armory also offers creativity-based arts education programs at no cost to thousands of underserved New York City public school students, engaging them with the institution’s artistic programming and outside-the-box creative processes.

The Armory has undertaken an ongoing $215-million renovation and restoration of its historic building designed by architects Herzog & de Meuron, with Platt Byard Dovell White as Executive Architects.

PARK AVENUE ARMORY BOARD OF DIRECTORS Chairman Emeritus Elihu Rose, PhD Co-Chairs Adam R. Flatto Amanda J.T. Riegel

Vice Presidents Ken Kuchin Pablo Legorreta Emanuel Stern

President Rebecca Robertson Vice Chair Wendy Belzberg

Founding Chairman, 2000–2009 Wade F.B. Thompson

Marina Abramović Sir David Adjaye OBE Abigail Baratta Martin Brand Joyce F. Brown Cora Cahan Hélène Comfort Paul Cronson Tina R. Davis Marc de La Bruyère Emme Levin Deland Jessie Ding Sanford B. Ehrenkranz David Fox Roberta Garza

Pierre Audi, Marina Kellen French Artistic Director

armoryonpark.org | @ParkAveArmory

Andrew Gundlach Marjorie L. Hart Branden Jacobs-Jenkins Samhita Jayanti Edward G. Klein, Brigadier General NYNG (Ret.) Ralph Lemon Heidi McWilliams Jason Moran Joel Press Janet C. Ross Joan Steinberg Mimi Klein Sternlicht Deborah C. van Eck Peter Zhou Directors Emeriti Harrison M. Bains, Jr. Angela E. Thompson

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ABOUT THE RECITAL SERIES Park Avenue Armory presents more intimate performances and programs in its acclaimed Recital Series, which showcases musical talent from across the globe in an intimate salon setting. Launched in 2013 with the revitalization of the Board of Officers Room, the series has held the debuts of many world-class artists, including: the North American recital debuts of pianist Igor Levit, soprano Sabine Devieilhe, tenor Ilker Arcayürek, baritones Benjamin Appl and Roderick Williams, clarinetist Andreas Ottensamer, and cellist István Várdai; the US Recital debuts of sopranos Barbara Hannigan and Anna Lucia Richter and baritone Thomas Oliemans; and the New York debut of pianist Severin von Eckardstein and the Dudok Quartet Amsterdam.

The Recital Series has programmed the world premieres of Roger Reynolds’ FLiGHT performed by the JACK Quartet and Michael Hersch’s “…das Rückgrat berstend” performed by violinist Patricia Kopatchinskaja and cellist Jay Campbell.

Actor Charlotte Rampling and cellist Sonia Wieder-Atherton gave the US premiere of The Night Dances on the series in 2015, which brought together Benjamin Britten’s suites for solo cello and poetry by Sylvia Plath; Wieder-Atherton returned to the Armory in 2017 for the North American premiere of Little Girl Blue, a program that reimagined the music of Nina Simone. New York premieres include: Anna Thorvaldsdottir’s In the Light of Air and Shades of Silence performed by the International Contemporary Ensemble; Dai Kujikura’s Minina, John Zorn’s Baudelaires, and a new arrangement of Messiaen’s Chants de terre et de ciel, also performed by ICE; Michael Gordon’s Rushes performed by the Rushes Ensemble; Michael Harrison’s Just Constellations performed by Roomful of Teeth; David Lang’s depart, Gabriel Jackson’s Our flags are wafting in hope and grief and Rigwreck, Kile Smith’s “Conversation in the Mountains” from Where Flames A Word, Louis Andriessen’s Ahania Weeping, Suzanne Giraud’s Johannisbaum, David Shapiro’s Sumptuous Planet, Benjamin CS Boyle’s Empire of Crystal, and Ted Hearne’s Animals (commissioned by Park Avenue Armory), all performed by The Crossing under conductor Donald Nally; and John Zorn’s Jumalatteret sung by soprano Barbara Hannigan with pianist Stephen Gosling.

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Additional notable programs include performances by: baritone Christian Gerhaher with pianist Gerold Huber; the Flux Quartet; tenor Ian Bostridge with pianist Wenwen Du; pianist David Fray; soprano Lisette Oropesa with pianist John Churchwell; countertenor Andreas Scholl with harpsichordist Tamar Halperin; soprano Kate Royal with pianist Joseph Middleton; pipa player Wu Man and the Shanghai Quartet; tenor Lawrence Brownlee with pianists Myra Huang and Jason Moran; mezzo soprano Isabel Leonard with pianist Ted Sperling; soprano Nadine Sierra with pianist Brian Wagorn; Rosa Feola with pianist Iain Burnside; cellist Nicolas Altstaedt; tenor Paul Appleby with pianist Conor Hanick; baritone Will Liverman with pianist Myra Huang; and mezzo soprano Jamie Barton with pianist and composer Jake Heggie.

Thompson Arts Center at Park Avenue Armory | 643 Park Avenue at 67th Street

NEXT IN THE RECITAL SERIES JUSTIN AUSTIN & HOWARD WATKINS

EMILY D’ANGELO & SOPHIA MUNOZ

Justin Austin brings his “mellifluous baritone” (The Wall Street Journal) to the Board of Officers Room for a program of music to showcase the power of his voice with pianist Howard Waktins.

Internationally recognized Emily D’Angelo will present a program that will highlight pieces from her debut album enargeia on Deutsche Grammophon, including songs by Sarah Kirkland Snider, Missy Mazzoli, Hildegard von Bingen, and Hildur Guðnadóttir.

may 24

MICHAEL SPYRES & MATHIEU PORDOY september 7 & 9

One of the most sought-after tenors of his generation, Michael Spyres has been seen on stages across Europe and the United States including La Scala, Wiener Staatsoper, Aix-en-Provence Festival, and The Metropolitan Opera. His Armory debut will be a unique opportunity to see his command of a wide ranges of repertoire from Baroque to Classical to 20th-Century.

september 16 & 17

YING FANG & KEN NODA october 26 & 27

“Star in the making” (The New York Times) soprano Ying Fang is cultivating a burgeoning international career on some of the world’s most important opera stages. The New York Times praised her performance at The Metropolitan Opera as “a source of pure joy and light…sung with a soprano of succulent sweetness.”

armoryonpark.org | @ParkAveArmory

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NEXT AT THE ARMORY HAMLET

MONOCHROMATIC LIGHT (AFTERLIFE)

The Olivier Award-winning director Robert Icke unleashes his visionary creativity at the Armory with the North American premiere of a radical new staging of Shakespeare’s classic. This highly charged staging transforms the traditional family drama into a psychological thriller, transporting the action to our current surveillance society in which rolling media news feeds provide juicy updates of a life lived on screen while blurring the lines between public and private life. Alex Lawther (The Imitation Game, The Last Duel, The French Dispatch, Black Mirror) portrays the obsessive prince consumed by grief, brilliantly embodying his mental decay to boldly examine the devastating effects his anguish has not only on his own psyche, but on his family and country.

For nine performances, MacArthur “Genius,” multiinstrument virtuoso and genre-defying composer Tyshawn Sorey offers a new musical commission inspired by Houston’s iconic Rothko Chapel and by the work written by Morton Feldman as a tribute to it. Using the same instrumentation as Feldman—viola, percussion, celesta, and choir—Sorey amplifies the mission of the Chapel to give audiences a different perspective on time, space, and movement in their lives. For the Armory performances, director Peter Sellars creates a staging of the composition, designed specifically for the Wade Thompson Drill Hall.

june 1 – august 13

september 27 – october 8

november 30, 2022 – january 1, 2023

ORESTEIA

june 9 – august 13 Aeschylus’ greatest and final play is a searing familial saga that examines the sins of a family over several decades and explores whether justice can ever really be done. Robert Icke’s Olivier Award-winning adaptation comes to the Armory for its North American premiere following sold-out runs at the Almeida Theatre and in London’s West End. Icke radically reimagines this Greek drama for the modern stage, condensing the tragic trilogy into a single performance that electrifies and devastates in equal measure. Lia Williams (The Crown, His Dark Materials) returns as the enthralling Klytemnestra (Olivier nomination for Best Actress). This daring update allows audiences to investigate the justification of vengeance, the possibility of finding justice in retaliation, and the role of judicial democracy at work—themes that continue to resonate nearly two and a half millennia after the play was written.

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EUPHORIA

Julian Rosefeldt returns to Park Avenue Armory with Euphoria, an immersive multi-channel film and musical installation that will explore the concepts of “capital, money, and greed” and what Rosefeldt describes as “the destructive potential of unlimited economic growth.” The installation, projected on screens that surround the audience, will feature fragments of quotations from Donna Haraway, Warren Buffet, Socrates, John Steinbeck, Ayn Rand, Ursula K. Le Guin, Milton Friedman, and others, that take on new meaning as they are offered in real and imagined scenes of “euphoric production and consumption.” Euphoria is scored with original music composed by Samy Moussa and with additional music by Cassie Kinoshi, performed by 140 singers from the Brooklyn Youth Chorus and five acclaimed jazz drummers: Terri Lyne Carrington, Steve Gadd, Yissy García, Eric Harland, and Antonio Sanchez.

Thompson Arts Center at Park Avenue Armory | 643 Park Avenue at 67th Street

ARTISTS STUDIO

MAKING SPACE AT THE ARMORY

JASON MORAN

ARCHER AYMES RETROSPECTIVE: A JUNETEENTH EXHIBITION

may 20 & 21

Pianist and composer Jason Moran returns to the Armory’s Artists Studio series for a night of solo piano and jazz, his first solo program at the Armory since the series’ inception in 2016.

RODNEY MCMILLIAN

october 15

Conceptual artist Rodney McMillian presents his musical performance Hanging with Clarence, based on Supreme Court Justice Clarence Thomas’ 1985 commencement address at Savannah State University that was rich with conservative views on social programs, race, and sexual harassment.

Performed by McMillian and two back-up singers, the theater work uses Thomas’ speech as its text, while weaving in the artist’s music and poetry.

CAMILLE NORMENT & CRAIG TABORN

november 18

june 19

In commemoration of Juneteenth, Park Avenue Armory presents a critical fabulation of the newly discovered archive of Archer Aymes, subject of Carl Hancock Rux’s Obie awardwinning play Talk. At once a magical mystery tour through American history and a searing indictment of the unfulfilled promise of emancipation, this installation features a performance by mezzo soprano Alicia Hall Moran accompanied by Aaron Diehl. Curated and installed by Rux and Dianne Smith, this retrospective is presented in collaboration with concurrent events at HarlemStage and Lincoln Center.

SKILLSHARE

august 21

Artists-in-Residence activate the Armory as a space for mutual aid through skill share, maker spaces, and master classes.

Pianist, composer, and electronic musician Craig Taborn is joined by multimedia artist Camille Norment as they return to the Armory after their debut in 2016. Using the physical elements of automobiles to launch in their exploration of space and sound, these two mavericks explore what is known and unknown in the world of sonic play.

armoryonpark.org | @ParkAveArmory

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JOIN THE ARMORY FRIEND $100 $28 is tax deductible » Members-only pre-sale or preferred access for performance tickets » Free admission for you and a guest to visual art installations » Invitations to visual art VIP preview parties, plus admission to installations for two » Discounts on Armory Historic Interiors Tours*** » Discounts at local partnered restaurants » 20% discount on member subscription packages*

SUPPORTER $250 $148 is tax deductible All benefits of the Friend membership plus: » Fees waived on ticket exchanges* » Two free tickets to Armory Historic Interiors Tours*** » Discount on tickets to the Malkin Lecture Series, Artist Talks, and Public Programming*

ASSOCIATE $500 $266 is tax deductible All benefits of the Supporter membership plus: » Access to concierge ticket service » Free admission for two additional guests (a party of four) to visual art installations » Two free art fair passes**

CHAIRMAN’S CIRCLE starting at $2,500

Chairman’s Circle members provide vital support for the Armory’s immersive arts and education programming and the restoration of our landmark building. In grateful appreciation of their support, they are provided unique and exclusive opportunities to experience the Armory and interact with our world-class artists.

AVANT-GARDE starting at $350

The Avant-Garde is a group for individuals from their 20s to 40s. An Avant-Garde membership offers a deeper, more intimate connection to the unique and creative concepts behind the Armory’s mission.

Each membership applies to one household, and one membership card is mailed upon membership activation.

For more information about membership, please contact the Membership Office at (212) 616-3958 or members@armoryonpark.org.

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

BENEFACTOR $1,000 $766 is tax deductible 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 for you and a guest to a private Chairman’s Circle event » Two complimentary tickets to the popular Malkin Lecture Series*

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Thompson Arts Center at Park Avenue Armory | 643 Park Avenue at 67th Street

PARK AVENUE ARMORY ARTISTIC COUNCIL Anonymous Anne-Victoire Auriault/Goldman Sachs Gives Abigail and Joseph Baratta Wendy Belzberg and Strauss Zelnick Sonja and Martin J. Brand Noreen Buckfire Elizabeth Coleman Hélène and Stuyvesant Comfort Caroline and Paul Cronson Emme and Jonathan Deland Leslie and Thomas DeRosa Jennie L. and Richard K. DeScherer Krystyna Doerfler Lisa and Sanford B. Ehrenkranz The Lehoczky Escobar Family

Adam R. Flatto Roberta Garza Barbara and Peter Georgescu Kim and Jeff Greenberg Barbara and Andrew Gundlach Anita K. Hersh Wendy Keys Ken Kuchin and Tyler Morgan Almudena and Pablo Legorreta Christina and Alan MacDonald Jennifer Manocherian Kim Manocherian Heidi and Tom McWilliams Gwen and Peter Norton Lily O’Boyle Valerie Pels

Amanda J.T. and Richard E. Riegel Susan and Elihu Rose Janet C. Ross Caryn Schacht and David Fox Stacy Schiff and Marc de La Bruyère Joan and Michael Steinberg Emanuel Stern Mimi Klein Sternlicht Jon Stryker and Slobodan Randjelović Merryl and James Tisch Deborah C. van Eck Bob Vila and Diana Barrett Mary Wallach Peter Zhou and Lisa Lee

LEGACY CIRCLE The Armory’s Legacy Circle is a group of individuals who support Park Avenue Armory through a vitally important source of future funding, a planned gift. These gifts will help support the Armory’s outside-the-box artistic programming, Arts Education Programs, and historic preservation into the future.

Founding Members Angela and Wade F.B. Thompson Co-Chairs Lisa and Sanford B. Ehrenkranz Marjorie and Gurnee Hart

Ginette Becker Wendy Belzberg and Strauss Zelnick Emme and Jonathan Deland Adam R. Flatto Ken Kuchin Heidi McWilliams

Amanda Thompson Riegel Rebecca Robertson and Byron Knief Susan and Elihu Rose Francesca Schwartz Joan and Michael Steinberg

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 Citi Empire State Local Development Corporation Marina Kellen French Barbara and Andrew Gundlach Anna-Maria and Stephen Kellen Foundation, Inc. Mr. and Mrs. Peter L. Malkin and The Malkin Fund, Inc. Richard and Ronay Menschel New York City Council and Council Member Daniel R. Garodnick New York City Department of Cultural Affairs

New York State Assemblymember Dan Quart and the New York State Assembly The Pershing Square Foundation Susan and Elihu Rose The Arthur Ross Foundation and J & AR Foundation Joan Smilow and Joel Smilow* The Thompson Family Foundation Wade F.B. Thompson* The Zelnick/Belzberg Charitable Trust Anonymous

armoryonpark.org | @ParkAveArmory

$500,000 to $999,999 Bloomberg Philanthropies Lisa and Sanford B. Ehrenkranz Almudena and Pablo Legorreta The Andrew W. Mellon Foundation Adam R. Rose and Peter R. McQuillan Donna and Marvin Schwartz Emanuel Stern

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$250,000 to $499,999 American Express Michael Field and Doug Hamilton Adam R. 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 Linda and Earle Altman Abigail and Joseph Baratta Booth Ferris Foundation Sonja and Martin J. Brand Hélène and Stuyvesant Comfort Roberta Garza Howard Gilman Foundation Horace W. Goldsmith Foundation Marjorie and Gurnee Hart The Hearst Foundations Mary T. Kush Leonard & Judy Lauder Fund Meta Open Arts Mr. and Mrs. Lester Morse New York State Assembly New York State Council on the Arts Stavros Niarchos Foundation Gwendolyn Adams Norton and Peter Norton Daniel and Joanna S. Rose Mrs. Arthur Ross The Fan Fox & Leslie R. Samuels Foundation Caryn Schacht and David Fox Stacy Schiff and Marc de La Bruyère Harold and Mimi Steinberg Charitable Trust Joan and Michael Steinberg Mimi Klein Sternlicht Mr. William C. Tomson Deborah C. van Eck The Andy Warhol Foundation for the Visual Arts Peter Zhou and Lisa Lee

$25,000 to $99,999 The Avenue Association Michael Bloomberg The Cowles Charitable Trust Caroline and Paul Cronson Emme and Jonathan Deland Jennie L. and Richard K. DeScherer Krystyna Doerfler

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Andrew L. Farkas, Island Capital Group & C-III Capital Partners Ford Foundation Lorraine Gallard and Richard H. Levy Elizabeth Morse Genius Foundation Barbara and Peter Georgescu Janet Halvorson Anita K. Hersh Kaplen Brothers Fund Kirkland & Ellis LLP The Lehoczky Escobar Family George S. Loening Christine and Richard Mack Kim Manocherian Marc Haas Foundation Andrea Markezin Press and Joel Press National Endowment for the Arts Lily O’Boyle Slobodan Randjelović and Jon Stryker Katharine Rayner The Reed Foundation Rhodebeck Charitable Trust Genie and Donald Rice Amanda J.T. and Richard E. Riegel Rebecca Robertson and Byron Knief The Shubert Foundation Sydney and Stanley S. Shuman Amy and Jeffrey Silverman Sanford L. Smith TEFAF NY Tishman Speyer Robert and Jane Toll VIA Art Fund Bob Vila and Diana Barrett Mary Wallach Anonymous (3)

$10,000 to $24,999 AECOM Tishman Judy Hart Angelo Jody and John Arnhold Anne-Victoire Auriault / Goldman Sachs Gives Milton and Sally Avery Arts Foundation Harrison and Leslie Bains Emma Bloomberg The Emma and Georgina Bloomberg Foundation Marian and Russell Burke Elizabeth Coleman Con Edison Luis y Cora Delgado DHR Global William F. Draper Caryl S. Englander James Fingeroth

Teri Friedman and Babak Yaghmaie The Georgetown Company Sylvia Golden and Warren Friedman Kiendl and John Gordon Kim and Jeff Greenberg Allen and Deborah Grubman Agnes Gund Ralph and Cornelia Heins Karen Herskovitz Lawrence and Sharon Hite Peter Huntsman Jack Shainman Gallery Kekst The Charles & Lucille King Family Foundation The Emily Davie and Joseph S. Kornfeld Foundation Suzie and Bruce Kovner Bill Lambert Fernand Lamesch Leon Levy Foundation Christina and Alan MacDonald Steve and Sue Mandel Danny and Audrey Meyer Cynthia Woods Mitchell Fund of the National Trust for Historic Preservation The Donald R. Mullen Family Foundation, Inc. Nardello & Co. Michael Peterson Joan and Joel I. Picket Anne and Skip Pratt Deborah and Chuck Royce Fiona and Eric Rudin May and Samuel Rudin Family Foundation, Inc. Mrs. William H. Sandholm Lise Scott and D. Ronald Daniel Dr. and Mrs. Thomas P. Sculco Brian S. Snyder Howard & Sarah D. Solomon Foundation Patricia Brown Specter Dr. and Mrs. Eugene E. Stark, Jr. Michael and Veronica Stubbs Allen and Meghan Thorpe Merryl and James Tisch Barbara D. Tober Susan Unterberg Cristina Von Bargen and Jonathan McHardy Gregory Annenberg Weingarten, GRoW @ Annenberg Samuel and Kathryn Weinhoff Wescustogo Foundation Maria Wirth Anonymous (5)

$5,000 to $9,999 Amy and David Abrams Katie Adams Schaeffer Louis and Gabrielle Bacon Jay Badame

Thompson Arts Center at Park Avenue Armory | 643 Park Avenue at 67th Street

Candace and Rick Beinecke Franklin and Marsha Berger Tim and Amy Berkowitz Sara and Mark Bloom Nicholas Brawer Catherine and Robert Brawer James-Keith Brown and Eric Diefenbach Dr. Joyce F. Brown, President, Fashion Institute of Technology Betsy Cohn Consulate General Of The Kingdom Of The Netherlands Sissel Cooper and Peter Bos Joyce B. Cowin Jessie Ding and Ning Jin Jeanne Donovan Fisher J. Christopher and Violet Eagan Martin and Rebecca Eisenberg Foundation Leland and Jane Englebardt Dr. Nancy Eppler-Wolff and Mr. John Wolff The Felicia Fund Andrew and Theresa Fenster Candia Fisher Diane Fogg Jill and Michael J. Franco Bart Friedman and Wendy A. Stein Great Performances Cecilia Greene and Paul Verbinnen George and Patty Grunebaum Mimi and Peter Haas Fund Molly Butler Hart and Michael D. Griffin Peter Imber and Ali Zweben Imber Steve Jensen and Mark Grace Cynthia and Stephen Ketchum The David L. Klein, Jr. Foundation Kameron Kordestani Stewart F. Lane and Bonnie Comley Jo Carole and Ronald S. Lauder Chad A. Leat Denise Lefrak Gail and Alan Levenstein Jane Lombard Lili Lynton and Michael Ryan Linda Macklowe Shelly and Tony Malkin James C. Marlas and Marie Nugent-Head Marlas Joyce F. Menschel Moncler USA Inc. Beth and Joshua Nash Enid Nemy, Dorothy Strelsin Foundation Liz Neumark Jesse and Stéphanie Newhouse Michael and Elyse Newhouse Valerie Ohrstrom

David Orentreich, MD / Orentreich Family Foundation PBDW Architects Marnie Pillsbury Susan Porter Preserve New York, a grant program of Preservation League of New York Richenthal Foundation Ida and William Rosenthal Foundation Chuck and Stacy Rosenzweig Seymour and Robyn Sammell Eva Sanchez-Ampudia Susan Savitsky Susan and Charles Sawyers Carol and Chuck Schaefer Hillary Schafer and Mark Shafir Claude Shaw and Lara MeilandShaw Stephanie and Fred Shuman Dan Simkowitz and Mari Nakachi Lea Simonds Anne-Sophie Stern Beatrice Stern Michael and Marjorie Stern The Jay and Kelly Sugarman Foundation Robert Suiter and Debra Shuwarger The Annenberg Foundation Dave and Karen Thomas Michael Tuch Foundation L.F. Turner Mr. and Mrs. Jan F. van Eck Anastasia Vournas and J. William Uhrig Saundra Whitney Isak and Rose Weinman Foundation, Inc. Michael Weinstein Gary and Nina Wexler Lynne Wheat Brian and Jane Williams Francis H. Williams and Keris A. Salmon W. Weldon and Elaine Wilson Lisa and David Wolf Cynthia Young and George Eberstadt Judy Francis Zankel Bruce and Lois Zenkel Zubatkin Owner Representation, LLC Anonymous

$2,500 to $4,999 Allen Adler and Frances Beatty Susan Heller Anderson Jeff Arnstein and Michael Bellante Francesca Beale Catherine Behrend Mr. Lawrence B. Benenson

Jonathan and Marjaleena Berger Stephanie Bernheim Annabel Buckfire Amanda M. Burden Mary and Brad Burnham Arthur and Linda Carter Joel and Ulrika Citron Margaret Conklin Colin Cowie and Danny Peuscovich Dominick Coyne and Michael Phillips Ellie and Edgar Cullman Joshua Dachs / Fisher Dachs Associates Peggy and Millard Drexler Family Foundation Christopher Duda Anne and Joel Ehrenkranz Jamshid and Mashid Ehsani Deborah and Ronald Eisenberg Foundation Jared Feldman Edmée and Nicholas Firth Megan Flanigan Ella M. Foshay and Michael B. Rothfeld Gwen and Austin Fragomen Eleanor Friedman and Jonathan J. Cohen The Garcia Family Foundation Emanuel E. Geduld Martin and Lauren Geller Mr. and Mrs. Andrew S. Georges Alexandra Giniger Rosalind and Eugene Glaser Elizabeth Granville-Smith Robert S. Gregory Ian and Lea Highet Andrea Hirsch Barbara Hoffman Johanna Hudgens and Matthew Wilson James Ingram Jeff and Hollye Jacobs Ann Jones Jeanne Kanders Rita J. and Stanley H. Kaplan Family Foundation Adrienne Katz Nancy Kestenbaum and David Klafter Zachary Kline Douglas and Judith Krupp Lizbeth & George Krupp Barbara and Richard Lane Suydam Lansing Lazarus Charitable Trust Julia Ledda Elliot Levenglick Phyllis Levin Gina Giumarra MacArthur Charles and Georgette Mallory Iris Z. Marden Judith and Michael Margulies Marian Goodman Gallery Joanie Martinez-Rudkovsky

Bonnie Maslin Nina B. Matis Peter and Leni May Claudia and Eduardo Mazzi Dennis McNeill and Robin Burns McNeill Constance and H. Roemer McPhee Claire Milonas Barbara and Howard Morse Saleem and Jane Muqaddam Aida Murad Nancy Newcomb and John Hargraves Peter and Susan Nitze Susan Numeroff Nancy and Morris W. Offit Kathleen O'Grady Peter and Beverly Orthwein Robert Ouimette and Lee Hirsch Robin and Carlos Palomares Madison J. Papp Lee and Lori Parks Louis and Barbara Perlmutter Richard and Rose Petrocelli Pistachio Culinary Studio & Experiences Geri Pollack Phyllis Posnick and Paul Cohen Mr. and Mrs. Michael and Kalliope Rena Diana and Charles Revson Diana and John Rice Laura and Gerald Rosberg Rose Brand Deborah Rose Marjorie P. Rosenthal Susan Rudin Jane Fearer Safer Sabina and Wilfred Schlumberger Caroline Schmidt-Barnett Benjamin Schor & Isabel Wilkinson Schor Nicholas and Shelley Schorsch Sara Lee and Axel Schupf Douglas Schwallbe and Nancy Lorenz Uma Seshamani and Jason van Itallie Jack Shainman Emilia Sherifova Denise Simon and Paulo Vieiradacunha Laura Skoler Daisy M. Soros Stephen and Constance Spahn Leila Maw Straus Stella Strazdas and Henry Forrest Ellen and Bill Taubman Thomas and Diane Tuft Union Square Events United States Tennis Association Mrs. William J. vanden Heuvel Andrew E. Vogel and Véronique Mazard

armoryonpark.org | @ParkAveArmory

Robert Warshaw and Debbie Schmidt Kate Whitney and Franklin Thomas Andrea Winter and Daniel Mintz Amy Yenkin and Robert Usdan Toni Young Freya Zaheer and Whit Bernard Anonymous (5)

$1,000 to $2,499 Diane and Arthur Abbey Marina Abramovic´ Ellen Abrams Eric Altmann Diane Archer and Stephen Presser Ms. Regula Aregger Dr. Lora Aroyo Assouline-Lichten Foundation Fabrizio and Enrica Bentivoglio D’arengi Stephen Berger and Cynthia Wainwright Deborah Berke and Peter McCann Judy and Howard Berkowitz Reid Berman Richard Berndt and MarieCamille Havard Elaine S. Bernstein Katherine and Marco Birch Boehm Family Foundation Jill and Sheldon Bonovitz Melanie Bouvard Mr. and Mrs. Kevin Brown Spencer Brownstone Hugh Burns and Molly Duffy Matthew Buten and Beth Brownstein Cora Cahan Thomas and Ann Charters Orla Coleman and Rikki Tahta Bradley A. Connor Alexander Cooper Krista and James Corl Sophie Coumantaros Andrew and Mimi Crawford Abby and Andrew Crisses L. Jay Cross Austen and Ernesto Cruz Charles and Norris Daniels Richard and Peggy Danziger Tina R. Davis Richard and Barbara Debs David desJardins & Nancy Blachman Thomas and Elizabeth Dubbs Karen Eckhoff Frederick & Diana Elghanayan Patricia Ellis Barry Ellsworth and Nathalie Pierrepont Femenella & Associates, Inc. Robert and Kimia Finnerty

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Walter and Judith Flamenbaum Gail Flatto Kristin Gamble Flood Kara Gaffney Ross Stefan Gargiulo Bruce and Alice Geismar David and Susan Getz Ryan Gillum Mrs. Leila Govi Nina DeKay Grauer Karen and Jeff Groeger Jan M. Guifarro Frances and Gerard Guillemot Yen Ha and Richard Tesler Nohra Haime Kathy Harrison and Edward Flinn Thomas Hartman In memory of Maria E. Hidrobo Kaufman William T. Hillman Bruce Hoffman Mr. Joseph C. Hoopes, Jr. Tom and Amy Houston Richard and Roberta Huber Peter Hunt Adrienne G Ingrum William and Weslie Janeway Morton and Linda Janklow Christopher and Hilda Jones Hon. Bruce M. Kaplan and Janet Yaseen Kaplan Jennie A. Kassanoff and Daniel H. Schulman Michael Kemezis and Maureen Page Kay Kimpton Walker and Sandy Walker Claire King Brigadier General Edward G. Klein, NYNG (Ret.) Kate Krauss Barbara Landau Judith and G Langer Ralph Lemon Alexia and David Leuschen Edward Mafoud Ryan Marshall & Mary Herms Match65 Diane Max Larry and Mary McCaffrey Rebecca Gold Milikowsky John and Lisa Miller Larry Morse and Sharon Bowen Stephanie Neville and Alan Beller Arlena Olsten Dr. Catherine Orentreich Sanjay and Leslie Patel Katherine Peabody Maya Polsky & Nicolas Bridon Prime Parking Systems Rajika and Anupam Puri David and Leslie Puth Martin and Anna Rabinowitz Jennifer Reardon Nathalie Solange Regnault Jill Reiter and Eric Riha

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Anthony and Susan Roberts David and Susan Rockefeller David and Meg Roth Julia and John Ryan Patty Sachs John and Shelby Saer Richard and Ann Sarnoff Paul H. Scarbrough, Akustiks, LLC. Charlie and Lindsey Schilling Pat Schoenfeld Robert Schroeder and Karen Brooks Amy Schulman Marshall Sebring and Pepper Binkley Adrianne and William Silver Bonnie Simon Albert Simons III Donna Snow and Michael Rubinoff Andre Spears and Anne Rosen Stacy, Passionate about the Arts Lauren Starke and Aric Domozick Bonnie and Tom Strauss Studio Institute Kris Togias Zachary Kress Turner Caroline Wamsler and DeWayne Phillips Arete Warren Mati Weiderpass and Nikolas Chen Lauren and Andrew Weisenfeld Shelby White Anonymous (5) List as of April 15, 2022 * Deceased

armoryonpark.org | @ParkAveArmory

ABOUT THE VETERANS ROOM The Veterans Room is among the most significant surviving interiors of the American Aesthetic Movement, and the most significant remaining intact interior in the world by Louis C. Tiffany and Co., Associated Artists. The newly formed collective led by Tiffany included some of the most significant American designers of the 19th century at early stages of their very distinguished careers: Stanford White, Samuel Colman, and Candace Wheeler among them. The design of the room by these artists was exotic, eclectic, and full of experimentation, as noted by Decorator and Furnisher in 1885 that “the prepondering styles appear to be the Greek, Moresque, and Celtic, with a dash of Egyptian, the Persian, and the Japanese in the appropriate places.”

A monument of late 19-century decorative arts, the Veterans Room is the fourth period room at the Armory completed (out of 18). The revitalization of the room responds to the original exuberant vision for the room’s design, bringing into dialogue some of the most talented designers of the 19th and 21st centuries – Associated Artists with Herzog & de Meuron, Platt Byrd Dovell White Architects, and a team of world-renowned artisans and experts in Tiffany glass, fine woodworking, and decorative arts.

The revitalization of the Veterans Room follows Herzog & de Meuron’s design approach for the Armory building, which seeks to highlight the distinct qualities and existing character of each individual room while interweaving contemporary elements to improve its function. Even more so than in other rooms at the Armory, Herzog & de Meuron’s approach to the Veterans Room is to amplify the beauty of the room’s original vision through adding contemporary reconstructions of lost historic materials and subtle additions with the same ethos and creative passion as the original artisans to infuse a modern energy into a harmonious, holistic design. The room’s restoration is part of an ongoing $215-million transformation, which is guided by the understanding that the Armory’s rich history and the patina of time are essential to its character, with a design process for the period rooms that emphasizes close collaboration between architect and artisan.

The restoration and renovation of the Veterans Room was made possible by The Thopson Family Foundation, Inc., Susan and Elihu Rose, Charina Endowment Fund, Lisa and Sanford B. Ehrenkranz, Almudena and Pablo Legorreta, Assemblymember Dan Quart and the New York State Assembly, Emanuel Stern, Adam R. Flatto, Olivia Tournay Flatto, Kenneth S. Kuchin, R. Mark and Wendy Adams, American Express, Rebecca Robertson and Byron Knief, Amy and Jeffrey Silverman, the Cynthia Woods Mitchell Fund of the National Trust for Historic Preservation, and Anonymous (2).

Cover photo by James Ewing. armoryonpark.org | @ParkAveArmory

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Thompson Arts Center at Park Avenue Armory | 643 Park Avenue at 67th Street