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Home , Dallas Opera, Der Diktator, Dessoff Choirs, Die Liebe der Danae, Donnie Ray Albert, Elektra (opera)

10-19 ASO_Carnegie Hall Rental 10/7/16 10:48 AM Page 1

Wednesday Evening, October 19, 2016, at 8:00 Isaac Stern Auditorium / Ronald O. Perelman Stage Conductor’s Notes Q&A with at 7:00

presents Troubled Days of Peace LEON BOTSTEIN, Conductor

ERNST KRENEK , Op. 49 Maria: KAREN CHIA-LING HO, The Dictator: , Charlotte: ILANA DAVIDSON, Soprano The Officer: MARK DUFFIN, Intermission

RICHARD STRAUSS , Op. 81 Commandant of the beleaguered town: DONNIE RAY ALBERT, Baritone Maria, his wife: TAMARA WILSON, Soprano Sergeant/The Holsteiner, commanding the besieging army: RICARDO LUGO, Corporal: DOUG JONES, Tenor Private Soldier/The Bishop: STEVEN EDDY, Baritone Musketeer: CARSTEN WITTMOSER, Bass-baritone Bugler: STEVEN MOORE, Baritone Officer: DANIEL COLLINS, Baritone Front-Line Officer: BENJAMIN COHEN, Baritone The Piedmontese: SCOTT JOINER, Tenor The Burgomaster: MARK DUFFIN, Tenor A Woman of the People: RACHEL ROSALES, Soprano

BARD FESTIVAL CHORALE JAMES BAGWELL, Director

This evening’s concert will run approximately two and a half hours including one 20-minute intermission. American Symphony welcomes the many organizations who participate in our Community Access Program, which provides free and low-cost tickets to underserved groups in New York’s five boroughs. For information on how you can support this program, please call (212) 868-9276.

PLEASE SWITCH OFF YOUR CELL PHONES AND OTHER ELECTRONIC DEVICES. 10-19 ASO_Carnegie Hall Rental 10/7/16 10:48 AM Page 2

ASO’S 2016–17 SEASON AT

Friday, November 18, 2016 Bernstein and the Bostonians This concert pays tribute to a group of known as the “Boston School” who lived, studied, taught, and composed in and around that city. They left a powerful impact on 20th- century American concert music. Leonard Bernstein – Candide Overture Irving Fine – Symphony Harold Shapero – Symphony for Classical Orchestra Arthur Berger – Ideas of Order Richard Wernick – …and a time for peace

Friday, February 10, 2017 Prague Central: Great 20th-Century Czech Composers These four Czech composers, who often felt like outsiders looking in, produced what has been thought to be some of the most original and influential works of the early 20th century. Víteˇzslav Novák – In the Tatras Bohuslav Martinuº – Symphony No. 3 Josef Suk – Fantastické scherzo Erwin Schulhoff – Symphony No. 5

Friday, May 12, 2017 The Apostles with the Bard Festival Chorale ’s greatest after Purcell wrote a magnificent but rarely heard setting of the New Testament. Elgar’s The Apostles follows the story of the Twelve through the Resurrec- tion, and is at once sublime and heartbreakingly human. Edward Elgar – The Apostles

FROM THE Music Director and Politics: Krenek and Strauss accounts of the past reveal dimensions by Leon Botstein of the human experience that are con- tinuous and constant. These can indeed We routinely invoke history as a means shed light on the present. History may to understand the present. This is at one never repeat itself exactly, but an exam- and the same time a noble and illusory ination of the past points out resem- enterprise. History is written with some blances that suggest the dangers and notion of the present moment in mind, opportunities we face. however submerged. Therefore, despite all of our disciplined efforts to render a Today’s concert takes place on the eve of construction of the past truthfully and a momentous presidential election in the objectively, the concerns of the present United States. That election will occur at give an inevitably selective shape to a com- a troubled and unstable moment, marked plex and contradictory series of events. by discontent, an exceptional frustra- At a minimum, however, all rigorous tion with democratic politics, economic 10-19 ASO_Carnegie Hall Rental 10/7/16 10:48 AM Page 3

anxiety, mistrust, and sharp divisions. It pre-war period. The values reflected in will take place in a world suffused with the art and culture of the late 19th cen- violence and war. tury and early 20th century seemed not to resist but rather encourage the rush The era in history that this concert towards a global destructive war. Ernst explores is the period in Central Krenek’s 1926 Der Diktator plainly Europe—particularly —between rejects the lush romanticism of Wagner, the end of World War I and the out- the sentimental beauties of Puccini. In break of World War II. It began in 1918 their place we find a brevity, a condensed with chaos, poverty, epidemics, and sense of time, and a transparent mix revolutions. In Germany a shaky new of neo-classical and romantic musical constitutional democracy emerged. Sur- rhetoric articulated with new sonorities rounding it to the east were new nation in a made up of fleeting episodes. states, each struggling to establish their But at the center is the exploration of physical borders and a domestic sense the irrationalities of charisma, the will of legitimacy. to power and the allure of the tyranni- cal. Krenek (an Austrian and a pupil of Democracy may have been the initial Schoenberg’s who briefly was Mahler’s rhetorical objective of populist political son-in-law) wrote his own . By and social aspirations in 1918, but it was placing the story in neutral Switzerland, not the ultimate victor. By the mid-1930s he sought to probe exclusively into the Germany, Poland, Italy, and Hungary— psychological attraction that Mussolini, to mention just a few examples—ended and later Hitler and Franco—all “strong- up embracing anti-democratic and anti- men” who cultivated the cult of personal- pluralist politics. ity and power—had on an astonishingly large segment of their nation’s popu- Fast forward to 1989 and the 25 fol- lace. His medium was the opera, the lowing years and one can see parallels: 19th century’s most popular musical the erosion of the ideal of the European form. Like Hindemith and , Union; the rise of anti-liberal xenopho- in the 1920s he sought to transform its bic politics in Poland, Hungary, France, aesthetic and its public role. Opera England, and Germany; and the atten- needed to cease being an affirmative dant virulent intolerance against refugees pleasing and escapist entertainment and and migrants from the Middle East and instead become a startling provocation Africa. The idealism spurred by the and a radical assertion of the new, directed collapse of the Soviet Empire and com- at the dominant middle-class audience munism has given way to intolerance for culture. and nationalism narrowly construed, all in response in part to economic stag- By the time embarked nation and inequality. One can easily on Friedenstag in the late 1930s (it was find similarities between this European premiered in July 1938), the Nazi dic- populist embrace of anti-liberal and anti- tatorship was already firmly in place. democratic politics and the discourse Strauss willingly collaborated with the that has surrounded the American pres- regime, naively believing that it would idential election. stem the corrosive anti-traditional aes- thetic that had flourished In the wake of the brutality of World during the , and spur War I there was concerted effort among a German cultural renaissance as well as artists to break with the past and the secure a proper copyright protection for traditions of culture associated with the composers. Strauss was a self-centered 10-19 ASO_Carnegie Hall Rental 10/7/16 10:48 AM Page 4

opportunist focused purely on his own is Beethoven and his sole opera, . career. He felt that he had suffered dur- As in Fidelio, Strauss’ opera contains ing the Weimar period. He saw himself two opposing male protagonists and a forgotten and dismissed as a holdover key female intermediary. Both from the 19th century by a younger end in the celebration of peace after generation of composers and critics. conflict. But Fidelio tells of the triumph The Nazis were, in his mind, instru- of justice and freedom over cruelty, ments of cultural revenge. tyranny, and violence. This theme, if present at all in Friedenstag, is at best a But he underestimated his new masters. veiled undercurrent, a residue perhaps When it became clear that he was not of the work of the opera’s covert libret- politically reliable and not a true believer tist, , the Austrian Jewish in Nazism, he was pushed aside. Yet he writer whom Strauss admired and who was too famous and possessed too much brought Strauss the work’s official libret- propaganda value not to be of value. tist, Gregor. Hitler himself attended the premiere of Friedenstag. But unlike Friedenstag, although written with hope and a host of lesser talents, Strauss, of official endorsement by the Nazi after the debacle of Die Schweigsame regime, projected through its unabashed Frau (described in the notes to this pro- rich sonorous music Strauss’ bittersweet gram by Bryan Gilliam), was not entirely and nostalgic evocation of a pre-World in favor with the regime. By choosing War I era, an era he viewed as marked the subject of the 1648 Peace of West- by peace and civility and the triumph of phalia and the end of the Thirty Years’ the continuity of German cultural supe- War for Friedenstag, Strauss was on the riority. Friedenstag picks up from Hans one hand playing into the overt politi- Sachs’ celebration of the noble German cal rhetoric of the mid and late 1930s, art of music in Wagner’s Meistersinger. in which Hitler sought to represent Germany as being committed to bring- The turmoil of the 1920s, and what ing lasting peace to Europe though its Strauss viewed as the vulgarities of mod- own expansion, best represented by the ernism and popular culture, reinforced his Anschluss and the agreements steadfast commitment to post-Wagnerian of 1938. In this regard the opera was a musical aesthetics of the fin de siècle. failure. It was coolly received and was Strauss does not repeat himself, despite quickly banished after Germany led evident audible reminiscences of Europe into a second world war. and . There are even modernist elements in the harmonic language and But on the other hand, Strauss, who vocal writing. However, the opera reveals despised all politicians and treasured an the composer’s gradual sojourn back- illusory notion of an autonomous tradi- wards in music history. Friedenstag sug- tion of high art and culture independent gests that Strauss turned away from of politics, sought in his one-act opera Wagner to Beethoven and ultimately, in to emulate and reference one of the his last years in the 1940s, even further towering German representatives of back to the 18th century and Mozart. If culture before the age of modern poli- Krenek and Hindemith were inspired tics: Beethoven. As the opening chords, by the radical break in political history the use of a musical signal as a key dra- that occurred after 1918 to engage matic device, and the triumphant clos- asceticism, transparency, and the exper- ing celebration of peace suggest, the imental, Strauss was drawn backwards musical dramatic model for Friedenstag to Viennese classicism. 10-19 ASO_Carnegie Hall Rental 10/7/16 10:48 AM Page 5

THE Program

by Bryan Gilliam

Ernst Krenek Born August 23, 1900, in Vienna Died December 23, 1991, in Palm Springs, California

Der Diktator, Op. 49 Composed in 1926 in Austria Premiered on May 6, 1928, at the Staatstheater in , Germany, by the State Opera conducted by Performance Time: Approximately 35 minutes

Instruments for this performance: 2 , 2 piccolos, 2 , 2 , 2 , 1 , 1 , 1 trombone, , percussion (, tam-tam, , triangle, ), 22 , 8 , 8 , 6 double basses, chorus, and 4 vocal soloists

Richard Strauss Born June 11, 1864, in Munich Died September 8, 1949, in Garmish-Partenkirchen, Germany

Friedenstag, Op. 81 Composed in 1935–36 Premiered on July 24, 1938, at the National Theater in Munich by the conducted by Performance Time: Approximately 1 hour and 20 minutes

Instruments for this performance: 3 flutes, 1 piccolo, 2 oboes, 1 English horn, 3 clarinets, 1 bass , 3 bassoons, 1 , 6 French horns, 4 , 3 trombones, 1 bass trombone, 1 , timpani, percussion (bass drum, large military drum, snare drum, tam-tam, chimes), 1 organ, 22 violins, 8 violas, 8 cellos, 6 double basses, chorus, and 8 vocal soloists

Today’s two Austro-German operas, Diktator was the product of Weimar Der Diktator and Friedenstag, have Germany, that relatively brief period of likely never been paired together, though democratic parliamentary government there are some links: both follow the that followed WWI. In an early act of theme of love, politics, and war, and that new government, censorship was both are one-acts taken from different lifted in 1918, and cultural institutions multi-opera sets. But in many ways they that had operated at the pleasure of the are quite different. Der Diktator lasts emperor were now run by the state. The just about half an hour with two main people’s belief in a brighter future was roles and two sub roles. The longer (80 accompanied by an equally powerful minutes) Friedenstag features two lead- distrust of the immediate past, for post- ing roles, sub roles, and extensive cho- Wagnerism and post-Romanticism in rus. The greater difference is that Der general served as symbols of the bygone 10-19 ASO_Carnegie Hall Rental 10/7/16 10:48 AM Page 6

Wilhelmine era. The new buzzword of 1929 sealed its fate and the far-right was Neue Sachlichkeit, “New Objectiv- National Socialists attained a string of ity,” a principal genre beneath this rubric parliamentary victories. With the appoint- was , “topical opera,” which ment of Hitler as chancellor of the new sought to embrace the here-and-now government, the Weimar era was effec- and celebrate the contemporary life in tively over, and with it, all artistic free- music. Ernst Krenek, the master of the doms enjoyed by artists and intellectuals Zeitoper—with such international hits of the 1920s. It was also in 1929 that as (1926)—thus achieved Richard Strauss lost his greatest artistic his greatest historical fame in the 1920s. collaborator, the librettist Hugo von Der Diktator, one of a trio of Krenek’s Hofmannsthal. Strauss went through a Zeitopern, was composed in the wake period of depression, with the belief, of his early fame. The title character is according to his wife, that he might based on Benito Mussolini. It is not never compose opera again. However, intended to be political opera, but rather, in 1932, Strauss was introduced to nov- as Krenek remarked, “an anecdote elist, biographer, and playwright Stefan from the private life of a strong man. Zweig. The result of this meeting was a Only from the irrational does he retreat, three-act comedy based on Ben Johnson not so much out of fear, but because he called The Silent Woman (1935). Depres- can do nothing with it, he cannot dom- sion had given way to one of the happi- inate it.” Many of the Zeitopern had est creative periods of Strauss’ life. But surrealistic undertones, and in the case Zweig was a Jew, and with the rise of of Der Diktator the subtext explores Nazi anti-Semitism it became obvious the surreal relationship between power that Zweig could no longer serve as and sexual attractiveness. Strauss’ librettist. Strauss was in a state of denial, but reluctantly agreed to As the curtain rises, we see the Dictator Zweig’s recommendation that Joseph instructing a courier to deliver a declara- Gregor take his place, with the promise tion of war, to which his wife, Charlotte, that Zweig would remain in an advisory is opposed. The Dictator encounters position. Gregor was not, principally, a Maria, who does not trust him but is writer, but rather a theater historian and intrigued by his gaze. The Dictator exits founding director of the Austrian Na- with Charlotte, and the Soldier enters tional Theater Library. Gregor’s and in a wheelchair. He is Maria’s husband, Strauss’ first collaboration, set during blinded at war by poison gas while the time of the Thirty Years War, was fighting for the Dictator, whom Maria later known as Friedenstag. vows to kill as revenge for her hus- band’s injuries. When Maria goes to kill The story of Friedenstag involves a him, the Dictator declares his love for commander who is held under siege by Maria, and convinces her to join him. the enemy Holstein army. He is accom- Maria agrees and throws down her panied by his wife, Maria, who vows to revolver. Having overheard everything, stay with him to the end. The sound of Charlotte picks up Maria’s revolver and cannon fire creates confusion, and the shoots her husband, but Maria throws commander prepares for attack. How- herself in front of the Dictator and the ever, the next sound is that of bells, bullet kills her instead. bells of peace, and the enemy comman- der arrives to share this good news. The The Weimar government was a precari- Holsteiner Commander is skeptical and ous political proposition for most of its reaches for his sword. At that moment duration. The international depression Maria throws herself between the two 10-19 ASO_Carnegie Hall Rental 10/7/16 10:48 AM Page 7

commanders, pleading for peace between strength of Friedenstag comes from them. The two enemy commanders em - Strauss’ commitment to work against brace and the opera concludes with a undesirable circumstances—internally, chorus of reconciliation. composing for a weak libretto, and externally, composing a pacifist opera Strauss realized that he had a text that with the growing awareness that Ger- lacked strong psychological motivation many was gearing towards interna- and nuance and knew what he had to tional conflict. Indeed, after Germany’s do. The result is an opera with a simple, attack on Poland on September 1, 1939, concise, yet powerful musical structure, Friedenstag was removed from the Ger- a score that shows evidence of a well- man operatic repertoire. seasoned composer. Every dramaturgi- cal enigma that could not be solved by Bryan Gilliam is professor of music and the clarity of word is washed away by Germanic languages and Bass Fellow at the power of music. The paradoxical Duke University.

THE Artists LEON BOTSTEIN, Conductor RIC KALLAHER RIC Leon Botstein has been music director and principal conductor of the Ameri- can Symphony Orchestra since 1992. He is also music director of The Orches- tra Now, an innovative training orches- tra composed of top musicians from around the world. He is artistic direc- tor of Bard SummerScape and the Bard Music Festival, which take place at the Richard B. Fisher Center for the Per- forming Arts at Bard College, where he has been president since 1975. He is also conductor laureate of the Je rusalem Symphony Orchestra, where he served as music director from 2003–11. In 2018 he will assume artistic directorship of the institute of Grafenegg, Austria. conductor invited to conduct an El Sis- tema orchestra on an international tour. Mr. Botstein’s recent engagements Upcoming engagements include the include the Royal Philharmonic, Wies- Magna Grecia Festival in Italy and the baden, UNAM Mexico, and the Aspen Mariinsky Opera in St. Petersburg. Mr. Festival. He has appeared with the Los Botstein can be heard on numerous Angeles Philharmonic, Russian National recordings with the Symphony Orchestra, NDR-Hamburg, BBC Sym- (including a Grammy-nominated record- phony, and was the first non-Venezuelan ing of Popov’s First Symphony), the 10-19 ASO_Carnegie Hall Rental 10/7/16 10:48 AM Page 8

London Philharmonic, NDR-Hamburg, education system. Collections of his writ- and the Jerusalem Symphony Orches- ings and other resources may be found tra. Many of his live performances with online at LeonBotsteinMusicRoom.com. the American Symphony Orchestra are For his contributions to music he has available online. His recording with the received the award of the American ASO of ’s The Long Academy of Arts and Letters and Har- Christmas Dinner was named one of vard University’s prestigious Centennial the top recordings of 2015 by several Award, as well as the Cross of Honor, publications, and his recent recording First Class from the government of of Gershwin piano music was hailed by Austria. Other recent awards include The Guardian and called “something the Caroline P. and Charles W. Ireland special…in a crowded field” by Music - Prize, the highest award given by the web International. University of Alabama; the Bruckner Society’s Julio Kilenyi Medal of Honor Mr. Botstein’s most recent book is Von for his interpretations of that com- Beethoven zu Berg: Das Gedächtnis der poser’s music; the Leonard Bernstein Moderne (2013). He is the editor of Award for the Elevation of Music in The Musical Quarterly and the author Society; and Carnegie Foundation’s of numerous articles and books. He is Academic Leadership Award. In 2011 currently working on a sequel to Jeffer- he was inducted into the American son’s Children, about the American Philosophical Society.

DONNIE RAY ALBERT, Baritone

Opera, Florida , Min- nesota Opera, Utah Opera, and the opera companies of New Orleans, Bal- timore, Columbus, Kansas City, Omaha, and Pittsburgh, and in Canada with the companies in Calgary, Edmonton, Mon- treal, Manitoba, and Vancouver.

In Europe, Mr. Albert has appeared at the Cologne Opera, House, Covent Garden, , Royal Danish Opera in Copen- hagen, the Royal Opera Wallonie in Liège, the National Theater in Prague, the Deutsche Oper , Lithuanian National Opera, plus the opera houses in Bordeaux, Cologne, Bregenz, Milan, Donnie Ray Albert is a regular guest of Mannheim, Hamburg, and Vienna. He opera companies around the world, has appeared in Japan with the New including the and National Theater in Tokyo, and in Opera, plus numerous Brazil in São Paulo. appearances with Opera Pacific, Hous- ton Grand Opera, Florentine Opera of Mr. Albert has appeared with sym- Milwaukee, Opera, Arizona phony around the world, Opera, Atlanta Opera, Austin Lyric including the American Symphony, 10-19 ASO_Carnegie Hall Rental 10/7/16 10:48 AM Page 9

Atlanta Symphony, Cincinnati Sym- Deutsche Radio Philarmonie Saar- phony, Dallas Symphony, Los Angeles brücken Kaiserslautern, plus orchestras Philharmonic, Minnesota Orchestra, in Austin, Irving, Nashville, Plano, and , Grant Park Music Fes- Rhode Island. tival, Grand Teton Music Festival, Choral Arts Society of Washington, Mr. Albert is a professor of voice on the Radio France, Vienna Festival, and faculty of University of at Austin.

ILANA DAVIDSON, Soprano Grammy-winning soprano Ilana Davidson returns to Carnegie Hall after previous engagements for Mahler’s Symphony No. 2 with the Boston Phil- harmonic, Bolcom’s Songs of Inno- cence and of Experience with the Saint Louis Symphony, and Max von Schillings’ with Leon Botstein and the American Symphony Orchestra. Her extensive concert repertoire includes Brahms’ A German with North Carolina Symphony and Berkshire Choral Festival; Mahler’s Symphony No. 4 with the Fort Worth and Symphonies and at the Brevard Music Center and Bellingham Festival of Music; Handel’s Messiah with the Nashville, Pacific, Ann Weihnachtsoratorium and Jauchzet Gott Arbor, and Alabama symphonies, and in allen Landen with the Orchestra of National Philharmonic; Fauré’s Requiem St. Luke’s; and Mahler’s Symphony No. 2 with the Charlotte Symphony; Mozart’s with the Québec, Delaware, Baton Exsultate, jubilate with the Wheeling Rouge, and Acadiana symphonies, and Symphony and at the Brevard Music Cen- Rhode Island Philharmonic. In addition ter; Haydn’s Die Schöpfung with the Har- she sang Orff’s Carmina Burana for her risburg Symphony, Philadelphia’s Voces debuts with the Houston, Edmonton, Novae et Antiquae, and at the Belling- Reading, and Toledo symphonies. More ham Festival; Bach Cantatas with Bos- information can be found online at ton’s Handel and Haydn Society; Bach’s ilanadavidson.com. 10-19ASO_Carnegie Hall Rental 10/7/16 10:48Page AM 10

DAVID HOBBY n acln, diinl performances additional Barcelona, in in role title Staatsoper,the Bayerische the ater Dortmund, Florestan in oad Plin in Pollione Poland, Zambello Ring Cycle Francesca their for Opera National Washington the joins Duffin Mark Heldentenor American year This Tannhäuser in Kabanová Boris as Kát’a debut Colón Teatro his STEVEN EDDY, STEVEN DUFFIN, MARK Parsifal withthe Gran Teatre del . Recent engagements include ih h Tar ili in Wielki Teatr the with te il rl in role title the , Norma Baritone Tenor Fidelio ih The- with with Mozart, Fauré, and Duruflé; and Mahler’s amn Burana Carmina Beata Vergine and cantatas; Monteverdi’s Mass in B minor,B in Mass works include Handel’s His wide range of oratorio and concert and oratorio of range wide His Cantare, Ensemble VIII, Saginaw Choral hrls onain Clmi Pro Columbia Foundation, Choralis oit, n Klmzo ah Festival. Bach Kalamazoo and Society, ah epr a Hl Tiiy the Trinity, Holy at Vespers Bach Baltimore, New YorkSingers, VirtuosoNew Baltimore, du Rhin in . in Rhin du National Opéra and Festival, brunn” Schön- in “Mozart Vienna’smeroper, of Na Opéra U.S.A., Lyon,de Opera tional WienerKam- Festival Spoleto Lyric City, Kansas with roles leading pr; h wrd rmee f Bright Sheng’s of premiere world the Opera; Mines of Sulphur of Mines mann and the title role of roletitlethe and in Herod Louis; St. of Theatre h wrd rmee f ay John Cary of Franklin’s premiere world the in Hauptmann Bruno Theater; Opera St. Louis, Portland Opera, and Chicago China in Nixon Adams’ John in Tse-tung Mao Opera; men in José Don Opera; Francisco San the title role in Verdi’s include seasons earlier from Highlights Berlin. Oper i Lee e Danae der Liebe Strauss’ Die in Pollux and Staatstheater, Oldenburgische and Holland in Zuid of Boris in lsia Oceta Hne Cor of Choir Handel Orchestra, Classical erd ih eahc ie American Fire, Seraphic with peared ui seils, tvn dy a ap has - Eddy Steven specialist, music An avid concert performer and n Bcnin n Bennett’s in Boconnion and ih onciu Oea and Opera; Connecticut with aae Mao Madame Kát’a Kabanová os f Eden of Loss ; Mozart’s Mass in C minor; with Opera Theatre of Theatre Opera with St. Matthew Passion Matthew St. with New YorkCity New with te eues of Requiems the ; Les Contes d’Hoff-ContesLes Messiah ih Deutsche with ih at Fe Santa with ih Opera with Vespro della with Opera ; Bach’s Salome with Car- The , 10-19 ASO_Carnegie Hall Rental 10/7/16 10:48 AM Page 11

Lieder eines fahrenden Gesellen. This Cenerentola, Figaro in The Barber of performance marks his debut with the Seville, Aeneas in Dido & Aeneas, Nick American Symphony Orchestra. Other Shadow in The Rake’s Progress, John upcoming engagements include soloist Brooke in Little Women, Belcore in with Seraphic Fire, Messiah soloist with L’elisir d’amore, Raimbaud in Rossini’s Handel Choir of Baltimore, recitalist Le Comte Ory and Guglielmo in Così with Brooklyn Art Song Society, and fan tutte. the role of Charlie in Three Decembers with Opera Birmingham. He has been honored by the Metropol- itan Opera National Council Auditions, He has worked with Fort Worth Opera, Guild, Connecticut Opera Opera Saratoga, LoftOpera, Aspen Guild, Joy in Singing, and the Oratorio Opera Theater Center, Tanglewood Society of New York. In addition to his Music Center, Center for Contempo- B.M.Ed and M.M degrees from Indiana rary Opera, and Arbor Opera Theater, University, he holds an advanced degree and includes the roles of Dandini in La from the University of .

KAREN CHIA-LING HO, Soprano Winner of the prestigious Renee Flem- ing Award from Eastman School of Music, soprano Karen Chia-ling Ho began her music career at the age of six singing in the Taipei Hua-Hsin Children’s

Choir of Taiwan. This performance RICHARD BLINKOFF marks her debut with the American Sym- phony Orchestra. This fall she made her debut in the role of Princess Jia in Bright Sheng’s Dream of the Red Chamber, a role she reprises with the Hong Kong Arts Fes- tival in 2017. Ms. Ho was a San Francisco Opera young artist where she sang Donna Elvira in and sang in their grand finale concert. She was pre- Stabat Mater and David Lang’s the lit- sented in concert with the American tle match girl passion. She has per- Composers Orchestra in music by the formed at the Royal Opera House in Chinese composer Li Shaosheng and Muscat, Oman, in The Music Man as sang operatic arias and duets with the Alma Hix and has since added the roles Shanghai Symphony and Philharmonic of Liù and Pamina to her repertoire. orchestras. She was featured with the New Jersey Festival Orchestra in the Ms. Ho was honored as a participant in Yellow River Cantata, Strauss’ Op. 27, the final rounds of the Belvedere, Viñas, and operatic arias by Verdi. NeueStimmen, and competitions and was a district winner As a Glimmerglass Festival young artist of the Metropolitan Opera National she covered leading roles in Pergolesi’s Council Auditions. 10-19 ASO_Carnegie Hall Rental 10/7/16 10:48 AM Page 12

SCOTT JOINER, Tenor

in Die Entführung aus dem Serail with St. Petersburg Opera, and Danceny in FAY FOX FAY Dangerous Liaisons with Manhattan School of Music.

In the 2014–15 season, Mr. Joiner cre- ated the role of Captain Scott in the world premiere of The Boston Tea Party Opera at the New York Interna- tional Fringe Festival and made role debuts as Fenton in and Pang in . His concert activity includes appearances with the Colorado Music Festival, Asheville Symphony, Green- wich Choral Society, Harrisburg Choral Society, Wintergreen Music Festival, This season Scott Joiner returns to Hendersonville Symphony, Garden State Carnegie Hall as soloist in Howard Philharmonic, and Escher String Quar- Goodall’s Eternal Light with Distin- tet. Winner of the Heafner-Williams guished Concerts International, appears Competition and a Metropolitan Opera at the National Opera Center in Victoria Regional Finalist, he has performed with Bond’s Mrs. President, and in concert Opera Colorado, Central City Opera, with the Helena Symphony and the Knoxville Opera, Opera Company of Center for Contemporary Opera. Mr. Middlebury, , New Joiner made his San Francisco Opera York City’s Center for Contemporary debut as Dickon in the 2013 premiere Opera, Cinna bar Opera Theater, Opera of Gasser’s The Secret Garden. Recent Company of Brooklyn, American Opera appearances include Ivan in Giordano’s Projects, and internationally at Teatro Siberia with Teatro Grattacielo, Pedrillo Magnani di Fidenza.

DOUG JONES, Tenor

American tenor Doug Jones’ repertoire embraces all styles from Monteverdi to premieres of new works by composers such as György Ligeti, Sir Harrison Birtwistle, Luca Lombardi, and Tobias Picker. He recently performed at Co - vent Garden in Elektra, as well as a live-in-cinema production of Turandot (available on DVD, Opus Arte). Other recent performances include in Seattle, the American pro- fessional stage premiere of Bloch’s Mac- beth with Long Beach Opera, Puts’ Silent Night and with Kansas City Lyric Opera, and 10-19 ASO_Carnegie Hall Rental 10/7/16 10:48 AM Page 13

with the National Symphony featuring House in Covent Garden, Grand Théâtre Renée Fleming. de Genève, Teatre Liceu in Barcelona, Oper , Grand Théâtre de Bor- In the U.S., Mr. Jones has performed deaux, Dutch National Opera, Theater with Seattle Opera, San Francisco Opera, Basel, Théâtre du Capitole de Toulouse, , San Diego Opera, Wiener Operntheater, and the Israeli , Dallas Opera, Opera. He also appeared with the sum- Austin Opera, Arizona Opera, Opera mer festivals of , Bregenz, Inns- Colorado, Baltimore Lyric Opera, Hawaii bruck, San Sebastián in Spain, Batignano Opera Theatre, the Los Angeles Phil- in Italy, and Aix-en-Provence. harmonic at the Hollywood Bowl, the Atlanta Symphony Orchestra, and the Mr. Jones can be heard on the pre- Bard Music Festival. Internationally he miere recording of the opera Die Men- has appeared in many European houses, schen on the Wergo label by Detlev including the Opéra Bastille, Royal Opera Müller-Siemens.

RICARDO LUGO, Bass Puerto Rican bass Ricardo Lugo made his Metropolitan Opera debut as Un

Barnabotto in La Gioconda and has since TIM HILL been involved in multiple productions with the company, including The Nose, Ariadne auf Naxos, Khovanshchina, Billy Budd, La fanciulla del West, Adri- ana Lecouvreur, , The Gambler, , Tannhäuser, Tosca, Turandot, Manon Lescaut, and Salome. In recent seasons Mr. Lugo has joined Michigan Opera Theater as Timur in Turandot, Alfieri in Bolcom’s A View from the Bridge, and Don Fernando in Fidelio, and has sung Dulcamara in L’elisir d’amore with Opera Memphis and Mr. Page in The Merry Wives of Windsor with Boston Midsummer Opera. With Butterfly, and the Prison Guard in Lady the San Francisco Opera he has appeared Macbeth of Mtsensk, the Sacristan in as Reinmar von Zweter in Tannhäuser, Tosca, and Bartolo in Le nozze di the Second Priest in Die Zauberflöte, Figaro with Sarasota Opera and the Sarastro in their adapted Magic for Princeton Festival. In the 2016–17 sea- families, and covered Banquo in Mac- son he will return to Michigan Opera beth. Additional recent highlights include Theater as the French General in Silent his return to the Metropolitan Opera as Night, debut with Virginia Opera as Hans Schwarz in Die Meistersinger von Timur in Turandot, and return to the Nürnberg and Il bonzo in Madama Metropolitan Opera for Salome. 10-19 ASO_Carnegie Hall Rental 10/7/16 10:48 AM Page 14

TAMARA WILSON, Soprano

Following her triumph in Act 3 of Die Walküre with the BBC National Or- chestra of Wales, Ms. Wilson returned to the BBC Proms for Verdi’s Messa da Requiem with the Orchestra of the Age STACEY DERSHEM STACEY of Enlightenment, which was commer - cially recorded. This season she also sings the Verdi Requiem with the Or - chestra de Lyon. She makes debuts with the Atlanta Symphony in Ralph Vaughan Williams’ A Sea Symphony, North Caro - lina Symphony in Britten’s War Requiem, Malaysian Philharmonic in Verdi and Wagner, and returns to the Oregon Sym - phony for Mahler’s Symphony No. 2.

Ms. Wilson adds to her Wagner and American soprano Tamara Wilson Strauss repertoire when she sings makes a number of debuts in the Wagner’s Wesendonck Lieder with the 2016–17 season, including the Bayerische Milwaukee Symphony, tonight’s per - Staatsoper as Élisabeth de Valois in Don formance of Strauss’ rarity Friedenstag, Carlos and the as and Act 3 of Die Walküre for her debut Amelia in , a role with the Concertgebouw Orchestra. she will also sing at Florida Grand She recently made her Metropolitan Opera. She returns to Barcelona’s Gran Opera debut in the title role of Teatre del Liceu as Leonora in Il and her London debut in Calixto trovatore, sings her first performances Bieto’s new production of La forza del as Elvira in at Théâtre du destino at the . Capitole, and debuts in Amsterdam as Ms. Wilson is the 2016 recipient of the Lucrezia Contarini in I due Foscari with Richard Tucker Award from the Richard the Netherlands Radio Philharmonic. Tucker Music Foundation. 10-19 ASO_Carnegie Hall Rental 10/7/16 10:48 AM Page 15

CARSTEN WITTMOSER, Bass-baritone Carsten Wittmoser became an ensem- ble member of the Staatstheater , followed by contracts with the Lan- destheater Linz, the Opera of Freiburg, and the Hamburgische Staatsoper. Roles he performed in these houses include Seneca in L’incoronazione di Poppea, Sarastro in Die Zauberflöte, Colline La bohème, Raimondo in Lucia di Lam- mermoor, the Doctor in Wozzeck, Don Alfonso in Così fan tutte, Hermann in Tannhäuser, and Sparafucile in . Guest engagements include Hermann in Tannhäuser at the Staatsoper Berlin, the Bayerische Staatsoper, and the Volksoper in Vienna; and Ramfis in Aida, Daland in Der fliegende Hollän- der (after becoming a finalist in their Palacio de Bellas Artes in Mexico City, International Wagner-Competition), and cover for Animal tamer/Rodgrio in Lulu Pogner in Die Meistersinger von Nürn- with the Metropolitan Opera, a Carnegie berg with the Seattle Opera. Hall debut as Lord Humphrey in Marschner’s , and Jupiter Recent engagements include his Deutsche in Strauss at Bard Oper Berlin debut as Escamillo in Car- SummerScape. men, Don Pizarro in Fidelio with the Michigan Opera Theatre and the Sin- In concert he has appeared at the Wiener gapore Symphony Orchestra, a debut Musikverein with the Wiener Philhar- at Teatro Real Madrid as Cecco del moniker, at the Stuttgart Liederhalle, at Vecchio in (a role he has also the Lugano Festival alongside sung in Bayreuth), Baron Scarpia in Argerich, in the Herkulessaal in Munich, Tosca with the Tiroler Festspiele Erl, at the Lucerne Festival, and in Taiwan Basilio in Il barbiere di Siviglia at the with the Taiwan Symphony Orchestra.

AMERICAN SYMPHONY ORCHESTRA

Now in its 55th season, the American would otherwise never have a chance Symphony Orchestra was founded in to hear performed live. 1962 by Leopold Stokowski, with a mission of making orchestral music The orchestra’s Vanguard Series con- accessible and affordable for everyone. sists of multiple concerts annually at Music Director Leon Botstein ex - Carnegie Hall. ASO has also performed panded that mission when he joined the at the Richard B. Fisher Center for the ASO in 1992, creating thematic con- Performing Arts at Bard College in certs that explore music from the per- Bard’s SummerScape Festival and the spective of the visual arts, literature, Bard Music Festival. The orchestra has religion, and history, and reviving made several tours of Asia and Europe, rarely performed works that audiences and has performed in countless benefits 10-19 ASO_Carnegie Hall Rental 10/7/16 10:48 AM Page 16

for organizations including the Jerusalem several recordings on the Telarc, New Foundation and PBS. World, Bridge, Koch, and Vanguard la - bels, and many live performances are also Many of the world’s most accomplished available for digital download. In many soloists have performed with the ASO, cases these are the only existing record- including Yo-Yo Ma, , and ings of some of the rare works that have Sarah Chang. The orchestra has released been rediscovered in ASO performances.

BARD FESTIVAL CHORALE

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

JAMES BAGWELL, Director, Bard Festival Chorale

James Bagwell maintains an active Mr. Bagwell has trained choruses for a international schedule as a conductor of number of major American and interna- choral, operatic, and orchestral music. He tional orchestras, including the New York was most recently named associate con- Philharmonic; ; ductor of The Orchestra Now (TŌN) and San Francisco, NHK (Japan), and St. in 2009 was appointed principal guest Petersburg Symphonies; and the Budapest conductor of the American Symphony Festival, Mostly Mozart Festival, Ameri- Orchestra, leading them in concerts at can Symphony, Cincinnati Symphony, both Carnegie Hall and . Cincinnati Pops, and Indianapolis Sym- From 2009–15 he served as music direc- phony orchestras. Since 2003 he has been tor of The Collegiate Chorale, with director of choruses for the Bard Music whom he conducted a number of rarely Festival, conducting and preparing choral performed operas-in-concert at Carnegie works during the summer festival at the Hall, including Bellini’s Beatrice di Tenda, Richard B. Fisher Center for the Perform- Rossini’s Möise et Pharaon, and Boito’s ing Arts at Bard College. Mefistofele. He conducted the New York premiere of ’ Toltec He conducted some 25 productions as Symphony and Golijov’s Oceana, both at music director of Light Opera Okla- Carnegie Hall. His performance of Kurt homa. At Bard SummerScape he has led Weill’s Knickerbocker Holiday at Alice various theatrical works, most notably Tully Hall was recorded live for Gaslight The Tender Land, which received glow- Records and is the only complete record- ing praise from The New York Times, ing of this musical. Since 2011 he has The New Yorker, and . collaborated with singer and composer From 2005–10 he was music director Natalie Merchant, conducting a num- of The in New York, ber of major orchestras across the who under his leadership made numer- country, including the San Francisco ous appearances at Carnegie Hall in and Seattle Symphonies. addition to their regular season. 10-19 ASO_Carnegie Hall Rental 10/7/16 10:48 AM Page 17

AMERICAN SYMPHONY ORCHESTRA Leon Botstein, Conductor

VIOLIN I Jennifer Herman CLARINET David Read Erica Kiesewetter, Louis Day Laura Flax, Jeffrey Caswell, Bass Concertmaster Jason Mellow Principal Trombone Yukie Handa Elise Frawley Molly Wyrick-Flax Robert Zubrycki Benjamin Baron TUBA Diane Bruce Lino Gomez, Bass Kyle Turner, John Connelly Eugene Moye, Clarinet Principal Ashley Horne Principal James Tsao Roberta Cooper TIMPANI Patricia Davis Annabelle Hoffman Charles McCracken, Jonathan Haas, Ann Labin Sarah Carter Principal Principal Katherine Livolsi- Alberto Parrini Nanci Belmont Landau Maureen Hynes Atsuko Sato PERCUSSION Nazig Tchakarian Diane Barere Damian Primis, Kory Grossman, Bruno Peña Tatyana Margulis Contrabassoon Principal Javier Diaz II BASS HORN Charles Descarfino Sophia Kessinger, John Beal, Principal Eric Reed, Principal David Nyberg Principal Louis Bruno Shelagh Abate Wende Namkung Richard Ostrovsky David Smith ORGAN Elizabeth Nielsen Peter Donovan Kyle Hoyt Alexander Vselensky Tony Flynt Adam Krauthamer Dorothy Strahl William Sloat Steven Sherts PERSONNEL Mara Milkis Judy Lee, Assistant MANAGER Brian Krinke FLUTE Matthew Dine Sarah Zun Laura Conwesser, TRUMPET Claire Chan Principal Raymond Riccomini, ASSISTANT Martin Agee Rie Schmidt Principal CONDUCTOR Karla Moe Thomas Hoyt Zachary Schwartzman Jason Covey William Frampton, Wayne Dumaine ORCHESTRA Principal Alexandra Knoll, LIBRARIAN Sally Shumway Principal TROMBONE Marc Cerri Shelley Holland- Erin Gustafson Bradley Ward, Moritz Julia DeRosa, Principal Rachel Riggs English Horn Michael Seltzer

BARD FESTIVAL CHORALE James Bagwell, Director

SOPRANO Elizabeth Smith Heather Petrie Adam MacDonald Wendy Baker Christine Sperry Elizabeth Picker Mukund Marathe Brooke Collins Ann Marie Sandy Stephen Rosser Nonie Donato ALTO Suzanne Schwing Emerson Sieverts Lori Engle Biraj Barkakaty Nancy Wertsch* Nathan Siler Chloe Holgate Sarah Bleasdale Eric Sorrels Melissa Kelley Donna Breitzer TENOR Kannan Vasudevan Lauren-Rose King Sishel Claverie Joseph Demarest Tommy Wazelle Megan Knapp Katharine Emory Matthew Deming Caroline Miller Agueda Fernandez John Des Marais BASS Nadia Petrella B. J. Fredricks Mark Donato David Asch Yungee Rhie Erin Kemp Sean Fallen David Baldwin Sian Ricketts Mary Marathe Ethan Fran Benjamin Cohen Rachel Rosales Margaret O’Connell John Kawa Daniel Collins Ellen Taylor Sisson Guadalupe Peraza Chad Kranak Jonathan Estabrooks 10-19 ASO_Carnegie Hall Rental 10/7/16 10:48 AM Page 18

David Flight Douglas Manes Mark Rehnstrom Charles Sprawls Nicholas Hay Steven Moore Michael Riley Peter Walker Paul Holmes Gregory Purnhagen John Rose Daniel Hoy *Choral Contractor

ASO BOARD OF TRUSTEES

Dimitri B. Papadimitriou, Chair Debra R. Pemstein Thurmond Smithgall, Vice Chair Eileen Rhulen Felicitas S. Thorne Miriam R. Berger Michael Dorf HONORARY MEMBERS Rachel Kalnicki Joel I. Berson, Esq. Jack Kliger L. Stan Stokowski Shirley A. Mueller, Esq.

ASO ADMINISTRATION

Lynne Meloccaro, Executive Director James Bagwell, Principal Guest Conductor Oliver Inteeworn, General Manager Zachary Schwartzman, Assistant Conductor Brian J. Heck, Director of Marketing Richard Wilson, Composer-In-Residence Nicole M. de Jesús, Director of Development James Bagwell, Artistic Consultant Sebastian Danila, Library Manager Carley Gooley, Marketing Assistant Carissa Shockley, Operations Assistant

AMERICAN SYMPHONY ORCHESTRA PATRONS

Ticket sales cover less than a quarter of the expenses for our full-size orchestral concerts.

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

MAESTRO’S CIRCLE Rachel and Shalom Kalnicki Gary M. Giardina Jeanne Donovan Fisher Michael and Anne Marie Arthur S. Leonard The Frank & Lydia Bergen Kishbauch Mary F. and Sam Miller Foundation Dimitri B. and Rania Dr. Pamela F. Mazur and The Lanie & Ethel Foundation Papadimitriou Dr. Michael J. Miller Department Mr. and Mrs. Richard E. James and Andrea Nelkin of Cultural Affairs (DCA) Wilson Mark Ptashne and New York State Council on Lucy Gordon the Arts (NYSCA) BENEFACTORS Patricia E. Saigo Open Society Foundations Anonymous Tides Foundation, on the Thurmond Smithgall recommendation of Felicitas S. Thorne PATRONS Kathryn McAuliffe and Anonymous (3) Jay Kriegel STOKOWSKI CIRCLE The Amphion Foundation Anonymous Lillian Barbash SUSTAINERS The Ann & Gordon Getty Joel I. and Ann Berson Anonymous (3) Foundation The David & Sylvia Veronica and John The Faith Golding Foundation, Teitelbaum Fund, Inc. Frankenstein Inc. Karen Finkbeiner Stephen M. Graham 10-19 ASO_Carnegie Hall Rental 10/7/16 10:48 AM Page 19

IBM Corporation Simone Belda Roger and Lorelle Phillips Erica Kiesewetter Yvette and Maurice Bendahan David R. Pozorski and Anna Jeanne Malter Adria Benjamin M. Romanski Joanne and Richard Mrstik Daniel and Gisela Berkson Wayne H. Reagan Shirley A. Mueller Stephen M. Brown John Roane James H. and Louise V. North Marjorie Burns Leonard Rosen and Phyllis Anthony Richter Moshe Burstein Rosen David E. Schwab II and Ruth CA Technologies Rochelle Rubinstein Schwartz Schwab Richard C. Celler Michael T. Ryan Janet Zimmerman Segal Barbara and Peter Clapman Henry Saltzman Peter and Eve Sourian Theodore and Alice Ginott Peter Lars Sandberg Joseph and Jean Sullivan Cohn Philanthropic Fund Albert Sargenti Siri von Reis Laura Conwesser Nina C. and Emil Scheller Michael and Frances Curran Joe Ruddick and Mary Lou CONTRIBUTORS Herbert and Mary Donovan Schemp Anonymous (2) Paul Ehrlich Sharon Schweidel Gary Arthur Richard Farris Gerald and Gloria Scorse Jeffrey Caswell Lynda Ferguson Margret Sell Isabelle A. Cazeaux Martha Ferry Georgi Shimanovsky Roger Chatfield Laura Flax Bruce Smith and B. Collom and A. Menninger Jeffrey F. Friedman Paul Castellano Elliott Forrest Christopher H. Gibbs Gertrude Steinberg Max and Eliane Hahn Ann and Lawrence Gilman Suzanne Steinberg Ashley Horne June O. Goldberg Susan Stempleski Peter Kroll Gordon Gould Hazel C. and Bernard Strauss Adnah G. and Grace W. Greenwich House, Inc. Helen Studley Kostenbauder John L. Haggerty Robert Sweeney Dr. Coco Lazaroff Laura Harris Margot K. Talenti Nancy Leonard and Eric S. Holtz Tart-Wald Foundation Lawrence Kramer Penelope Hort Catherine Traykovski Steve Leventis Hudson Guild, Inc. Susan and Charles Tribbitt Peter A. Q. Locker Sara Hunsicker Mr. and Mrs. Jack Ullman Stephen J. Mc Ateer George H. Hutzler Janet Whalen Christine Munson Jewish Communal Fund Victor Wheeler Kurt Rausch and Lorenzo José Jiménez Donald W. Whipple Martone Ronald S. Kahn Larry A. Wehr Roland Riopelle and Leslie Robert and Susan Kalish Leonard and Ellen Zablow Kanter Dr. Roses E. Katz Alfred Zoller Harriet Schon Robert and Charlotte Kelly Myra and Matthew Martha and David Schwartz David Kernahan Zuckerbraun Alan Stenzler Irving and Rhoda Kleiman Michael and Judith Thoyer Caral G. and Robert A. Klein FRIENDS Mr. and Mrs. Jon P. Tilley Dr. Carol Lachman Anonymous (4) Robert and Patricia Ross Weiss Shirley Leong Madelyn P. Ashman Linda Lopez Stephen Blum SUPPORTERS William Lubliner Mona Yuter Brokaw Anonymous (11) Joyce F. Luchtenberg Mrs. A. Peter Brown American Express Gift Alan Mallach Joan Brunskill Matching Program Elizabeth Mateo Stephen J. and Elena Chopek Bernard Aptekar Carolyn McColley Nancy L. Clipper John and Joanne Baer Alan B. McDougall Robert Cohen Marian D. Bach Sally and Bruce McMillen Concerts MacMusicson The Bank of America Clifford S. Miller Patricia Contino Charitable Foundation Phyllis and Stanley Mishkin Lois Conway Reina Barcan Martin L. and Lucy Miller Judy Davis Carol Kitzes Baron Murray Thomas J. De Stefano Ruth Baron Kenneth Nassau Susanne Diamond Mary Ellin Barrett Michael Nasser Ruth Dodziuk-Justitz and Dr. Robert Basner Karen Olah Jozef Dodziuk David C. Beek and Clarence W. Olmstead, Jr. Barton Dominus Gayle Christian and Kathleen F. Heenan Jonathan F. Dzik 10-19 ASO_Carnegie Hall Rental 10/7/16 10:48 AM Page 20

Lee Evans Frederick R. Koch Martin Richman Anne Stewart Fitzroy Seymour and Harriet Koenig Catherine Roach ExxonMobil Foundation Mr. and Mrs. Robert LaPorte John W. Roane Donald W. Fowle David Laurenson Dr. and Mrs. Arnold Rosen Helen Garcia Patricia Luca Leslie Salzman Goldman, Sachs & Co. Walter Levi Dr. and Mrs. Herbert C. Robert Gottlieb Judd Levy Schulberg Michael and Ilene Gotts José A. Lopez The Honorable Michael D. Mr. and Mrs. Sidney Greenberg Sarah Luhby Stallman John Hall Nancy Lupton Paul Stumpf Donald Hargreaves Dr. Karen Manchester Madeline V. Taylor John Helzer Richard and Maryanne Renata and Burt Weinstein Robert Herbert Mendelsohn Jon Wetterau Gerald and Linda Herskowitz John Metcalfe David A. Wilkinson Diana F. Hobson Mark G. Miksic Ann and Doug William Christopher Hollinger Myra Miller Kurt Wissbrun Cyma Horowitz Alex Mitchell Dagmar and Wayne Yaddow Drs. Russell and Barbara David Morton Lawrence Yagoda Holstein Michael Nassar Mark and Gail Zarick Theresa Johnson Leonie Newman Ginger Karren Sandra Novick List current as of Peter Keil Mather Pfeiffenberger September 12, 2016 Kaori Kitao Jane and Charles Prussack Pete Klosterman Bruce Raynor

Music plays a special part in the lives of many New York residents. The American Symphony Orchestra gratefully acknowledges the support of the following government agencies that have made a difference in the culture of New York: New York State Council on the Arts with The City of New York the support of Governor Andrew Cuomo The Honorable Bill De Blasio, Mayor and the New York State Legislature NYC Department of Cultural Affairs in partnership with the New York City Council 10-19 ASO_Carnegie Hall Rental 10/7/16 10:48 AM Page 21

UPHOLD THE CLASSICAL TRADITION: SUPPORT THE ASO!

Since 1962 the American Symphony Orchestra has done something incredible: Present the widest array of orchestral works, performed at exceptional levels of artistry—and offered at the most accessible prices in New York City. Be they rare works or beloved masterpieces, no other Orchestra dares to present the same depth of repertoire every single season.

But the ASO has urgent need of your support. Production costs for full-scale, orchestral con- certs are ever increasing, while public philanthropy for the arts has decreased at an alarm- ing rate. As always, we keep to our mission to maintain reasonable ticket prices, which means ASO depends even more than most other orchestras on philanthropic contributions.

That’s why we must call on you—our audiences, artists, and community partners, who can- not imagine a world without opportunities to hear live Strauss, Bernstein, or Elgar.

Every dollar counts. Please donate at any level to safeguard the ASO’s distinctive program- ming now and ensure another season!

ANNUAL FUND Annual gifts support the Orchestra’s creative concert series and educational programs. In appreciation, you will receive exclusive benefits that enhance your concert-going experience and bring you closer to the Orchestra.

SUSTAINING GIFTS Make your annual gift last longer with monthly or quarterly installments. Sustaining gifts provide the ASO with a dependable base of support and enable you to budget your giving.

MATCHING GIFTS More than 15,000 companies match employees’ contributions to non-profit organizations. Contact your human resources department to see if your gift can be matched. Matching gifts can double or triple the impact of your contribution while you enjoy additional benefits.

CORPORATE SUPPORT Have your corporation underwrite an American Symphony Orchestra concert and enjoy the many benefits of the collaboration, including corporate visibility and brand recognition, employee discounts, and opportunities for client entertainment. We will be able to provide you with individually tailored packages that will help you enhance your marketing efforts. For more information, please call 646.237.5022

HOW TO DONATE Make your gift online: www.americansymphony.org/support

Please make checks payable to: American Symphony Orchestra

Mail to: American Symphony Orchestra 263 West 38th Street, 10th Floor New York, NY 10018

For questions or additional information: Nicole M. de Jesús, Director of Development, 646.237.5022 or [email protected].