Thursday, November 15, 2018 at 7:30 pm

Pre-concert lecture with Benjamin D. Sosland at 6:15 pm in the Stanley H. Kaplan Penthouse

Haydn’s Creation Les Arts Florissants

William Christie , Conductor Sandrine Piau , Soprano Hugo Hymas , Tenor Alex Rosen , Bass

This performance is dedicated in the loving memory of Ronald P. Stanton.

This program is approximately two hours and ten minutes long, including intermission.

Please join us for a White Light Lounge in the lobby following the performance.

This performance is made possible in part thanks to American Friends of Les Arts Florissants’ sup - porters Mercedes T. Bass Charitable Corporation, Joan Granlund, Danny Kaye and Sylvia Fine Kaye Foundation, The Kovner Foundation, Katharine Rayner, Beatrice Santo Domingo, The Versailles Foundation, Inc., Anonymous, and with the support of the Selz Foundation Matching Grant. This performance is made possible in part by the Josie Robertson Fund for Lincoln Center.

Alice Tully Hall, Starr Theater Please make certain all your electronic devices Adrienne Arsht Stage are switched off.

WhiteLightFestival.org The White Light Festival 2018 is made possible by UPCOMING WHITE LIGHT FESTIVAL EVENTS: The Shubert Foundation, The Katzenberger Foundation, Inc., Laura Pels International Friday–Saturday, November 16–17 at 7:30 pm in Foundation for Theater, The Joelson Foundation, the Gerald W. Lynch Theater, John Jay College The Harkness Foundation for Dance, Great Blak Whyte Gray (U.S. premiere) Performers Circle, Chairman’s Council, and Friends Boy Blue of Lincoln Center Michael “Mikey J” Asante , creative direction and music This evening’s performance is also a part of the Kenrick “H2O” Sandy , choreography Great Performers series. Great Performers is made Post-performance discussion with Michael possible by Rita E. and Gustave M. Hauser, The “Mikey J” Asante and Kenrick “H2O” Sandy on Shubert Foundation, The Katzenberger Foundation, Friday, November 16 Inc., and Audrey Love Charitable Foundation Public support is provided by New York State Saturday, November 17 at 7:30 pm in the Council on the Arts with the support of Governor Rose Theater; Sunday, November 18 at 5:00 pm Andrew M. Cuomo and the New York State Only the Sound Remains (U.S. premiere) Legislature An opera by Kaija Saariaho Directed by Peter Sellars Endowment support for Symphonic Masters is Philippe Jaroussky , countertenor provided by the Leon Levy Fund Davóne Tines , bass-baritone Endowment support is also provided by UBS Nora Kimball-Mentzos , dancer and choreographer Pre-performance discussion with Kaija Saariaho, Nespresso is the Official Coffee of Lincoln Center Peter Sellars, and Ara Guzelimian on Sunday, NewYork-Presbyterian is the Official Hospital of November 18 at 3:45 pm in the Agnes Varis and Lincoln Center Karl Leichtman Studio

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We would like to remind you that the sound of coughing and rustling paper might distract the per - formers and your fellow audience members.

In consideration of the performing artists and members of the audience, those who must leave before the end of the performance are asked to do so between pieces. The taking of photographs and the use of recording equipment are not allowed in the building. HAYDN Die Schöpfung (“The Creation”) (1796–98)

PART I Introduction: Die Vorstellung des Chaos Recitative with Chorus: Im Anfange schuf Gott Himmel und Erde Aria with Chorus: Num schwanden vor dem heiligen Strahle Recitative: Und Gott machte das Firmament Chorus with Soprano Solo: Mit Staunen sieht das Wunderwerk Recitative: Und Gott sprach: Es sammle sich das Wasser Aria: Rollend in schäumenden Wellen Recitative: Und Gott sprach: Es bringe die Erde Gras hervor Aria: Nun beut die Flur das frische Grün Recitative: Und die himmlischen Heerscharen verkündigten Chorus: Stimmt an die Saiten Recitative: Und Gott sprach: Es sei’n Lichter an der Feste des Himmels Recitative: In vollem Glanze steiget jetzt die Sonne Chorus with Solos: Die Himmel erzählen die Ehre Gottes

Intermission

PART II Recitative: Und Gott sprach: Es bringe das Wasser in der Fülle hervor Aria: Auf starkem Fittiche schwinget sich der Adler stolz Recitative: Und Gott schuf grosse Walfische Recitative: Und die Engel rührten ihr’ unsterblichen Harfen Trio: In holder Anmut stehn Chorus with Solos: Der Herr ist gross in seiner Macht Recitative: Und Gott sprach: Es bringe die Erde hervor lebende Geschöpfe Recitative: Gleich öffnet sich der Erde Schoss Aria: Nun scheint in vollem Glanze der Himmel Recitative: Und Gott schuf den Menschen Aria: Mit Würd’ und Hoheit angetan Recitative: Und Gott sah jedes Ding Chorus and Trio: Vollendet ist das grosse Werk—Zu dir, o Herr, blicket alles auf

PART III Recitative: Aus Rosenwolken bricht Duet and Chorus: Von deiner Güt’, o Herr und Gott Recitative: Nun ist die erste Pflicht erfüllt Duet: Holde Gattin! Dir zur Seite Recitative: O glücklich Paar, und glücklich immerfort Chorus: Singt dem Herren alle Stimmen!

WhiteLightFestival.org Snapshot By David Wright

Haydn was 65 years old—well past retire - simultaneously in two languages) confirmed ment age for his time—when a lover of that the master had outdone himself. Baroque music, Baron Gottfried van Swieten, approached him with a libretto, in This oratorio glows with the simple, hum - English and German versions, for a grand ble religious faith of the composer, who oratorio in the manner of Handel. During said that every time he thought of God it his earlier sojourns in London, Haydn had made him smile. Haydn’s expert use of the been thrilled by performances of such High Classical orchestra—with fresh felici - Handel masterpieces as Messiah and ties of scoring cropping up on every page Israel in Egypt, and the thought of compos - of the piece—and his witty take on ing a work to match those was daunting Handel’s cinematic text-setting make even to the universally recognized master God’s Creation come vividly to life. And of symphonies and string quartets. Praying when humans finally arrive in Part Three, daily to God for strength, Haydn saw the their love duet in charming Singspiel style work to completion, and the acclaim that may remind listeners of Mozart’s The greeted the Vienna and London pre - Magic Flute. mieres of Die Schöpfung/The Creation (the first musical work in history to be set —Copyright © 2018 by David Wright Notes on the Program by David Wright

Die Schöpfung (“The Creation”) (179 6– 98) FRANZ JOSEPH HAYDN Born March 31, 1732, in Rohrau, Austria Died May 31, 1809, in Vienna

Approximate length: 105 minutes

In many ways, Franz Joseph Haydn was a man of the Enlightenment, the 18th-century movement that glorified everything rational and scientific. Certainly, his imagination and persistence as a musical experimenter puts him in a class with the likes of Thomas Edison, but his simple country upbringing also fortified Haydn with a simple, religious faith. As he told a biographer, when he was facing (at age 65) the new and daunting task of composing a grand oratorio in the manner of the late, revered Handel, God came to his aid:

Only when I had reached the halfway mark in my composition did I perceive that it was succeeding, and I was never so devout as during the time I was working on Die Schöpfung. Every day I fell to my knees and prayed God to grant me the strength for a happy completion of the work.

Haydn had composed Masses and other sacred works to order for his noble employers, but nothing had prepared him for the musical evenings at the Vienna home of Baron Gottfried van Swieten, a literary man and diplomat, where he and his young friend Mozart first heard the works of the late masters Bach and Handel. Later, during his triumphant sojourns in London during the early 1790s, Haydn was thrilled by massive performances of Handel oratorios, from the lyrical theology of Messiah to the Technicolor scene-painting of Israel in Egypt.

Soon after Haydn returned to Vienna in 1795, van Swieten presented him with an oratorio libretto in English based on the Book of Genesis, said to have been written for Handel but never used. He further offered to provide a German translation that scanned the same as the English original (quite a feat in itself) so that one musical setting would fit both, setting up the possibility of triumphant premieres in both Vienna and London. Haydn accepted the challenge, and so Die Schöpfung/The Creation became the first musical work in history to be set simultaneously in two languages.

When connoisseurs of the time criticized Haydn’s sacred music for lacking the spiritual rap - ture of Palestrina or the somber meditations of Bach, Haydn would reply that he couldn’t help it—the thought of God always made him smile. Never one for theological abstrac - tions, this country boy heard God’s presence in the rolling of the waves and the buzzing of the bees—although, like Beethoven later with his “Pastoral” Symphony, he wanted to be known as a master composer, not a musical cartoonist. But with Handel’s vivid musi - cal imagery for a precedent, what did he have to lose?

Eventually Haydn’s prayers were answered, and the “happy completion” of Die Schöpfung was followed by star-studded private performances at the Prince of

WhiteLightFestival.org Schwarzenburg’s palace in Vienna on April 29 and 30, 1798, where police had to be posted to control the curious crowds outside. The work’s public premiere the following year earned more at the box office than any previous theatrical event in Vienna. The sub - scription list for Die Schöpfung ’s publication in 1800 was headed by the Empress and members of the imperial family, as well as the King and Queen of England and the Prince of Wales. All who heard Die Schöpfung agreed that Haydn, already recognized as the master of the symphony and string quartet, had outdone himself, and time has not altered that judgment.

After composing 104 symphonies, Haydn seems to use the High Classical orchestra as a single, supremely flexible instrument. Felicities of scoring abound on every page, some inspired by a detail in the text, others just wonderful new sonorities from the old com - poser’s sound laboratory.

Likewise, Haydn’s lucid text-setting needs little explanation here. As with Handel, every line of the text has just the right color, mood, and weight for its subject. In particular, Haydn’s savvy humor is everywhere—as, for example, when the sun (“A giant proud and glad to run his measured course”) gets some of Haydn’s most blocky and foursquare music, followed immediately by the vaporous, sinuous tones that accompany the moon, with its “softer beams and milder light.” This example also reminds us that The Creation, like other vocal masterpieces over the centuries, has the power to turn poetic lead into musical gold.

Mention should be made in particular of the work’s opening orchestral movement, Die Vorstellung des Chaos (“Representation of Chaos”). It begins with a stark unison C, forte; out of the ensuing silence emerges a constantly modulating, labyrinthine Adagio in C minor, in which each dissonance points down a path that leads only to another disso - nance. Surely this movement sounded strange and disorienting to its first listeners, more “without form and void” than any noisy infernal scene would have been. To modern ears, however, this music has a familiar, affecting quality; in his effort to represent a world bereft of meaning, the pious Haydn has unwittingly anticipated our own deracinated 20th and 21st centuries, and the probing harmonies of Wagner and Mahler. He writes feelingly of life without light; but he immediately dispels Chaos in the subsequent chorus (“Let there be Light!”), and the rest of the oratorio is a C-major celebration of God’s wondrous works.

David Wright, a music critic for New York Classical Review , has provided program notes for Lincoln Center since 1982.

—Copyright © 2018 by David Wright Illumination

Haydn By Rolf Jacobsen

In the great Haydn concerto where the violins were hosannas to heaven and the harps the deep heartbeats of creation, her fingers across the bronze strings were the dance of butterflies as they unfolded and closed, unfolded, unfolded and closed like moth wings translucent with frost, fluttering, fluttering at the large window that never opens, outside the glass, outside the glass and never inside.

—Translation by Robert Hedin

For poetry comments and suggestions, please write to [email protected].

WhiteLightFestival.org Meet the Artists Since 2007, Mr. Christie has been artist-in- residence at The Juilliard School, where he gives master classes twice a year. In 2002 he created an academy for young singers, the Jardin des Voix, and in 2012 he E

R launched the festival Dans les Jardins de V U

O William Christie in his own gardens, R

S I

N located in the French village of Thiré in the E

D William Christie Vendée, where each summer he wel - Harpsichordist, conductor, musicologist, comes young musicians from Juilliard and teacher, William Christie has spear - together with members of Les Arts headed the reintroduction of French Florissants. In 2008 he was elected to Baroque music to a global audience. Born France’s Académie des Beaux-Arts, and in in Buffalo and educated at Harvard and 2018 he was named world ambassador for Yale, he has lived in France since 1971. French culture by Le Bureau Export, in the The turning point of his career came in presence of French culture minister 1979, when he founded Les Arts Florissants, Françoise Nyssen. a vocal and instrumental ensemble. Major public recognition came in 1987 with the E V I

production of Lully’s Atys at Opéra Comique A N / Y

in Paris. L L I P X E

E N

From Charpentier and Rameau through I R D

Couperin and Mondonville, Mr. Christie is N A

S Sandrine Piau the uncontested master of tragédie-lyrique as well as opéra-ballet. He explores other A renowned figure in the world of Baroque European repertoire as well, including music, Sandrine Piau (soprano) regularly Monteverdi, Scarlatti, Purcell, Handel, performs with celebrated conductors such Mozart, Haydn, and Bach . Recent notable as William Christie, Philippe Herreweghe, operatic work includes Campra’s Les fêtes Christophe Rousset, Gustav Leonhardt, Ivor vénitiennes in 2015 at Opéra Comique and Bolton, Ton Koopman, René Jacobs, Marc the Brooklyn Academy of Music; Rameau, Minkowski, and Nikolaus Harnoncourt. Maître à Danser created at Théâtre de Caen in 2014; Handel’s Theodora in 2016 at Ms. Piau’s previous roles include Cleopatra Théâtre des Champs-Élysées; Jephtha at (Giulio Cesare) and Morgana ( Alcina ) at the Opéra de Paris; and Ariodante at the Vienna Paris National Opera; Dalinda ( Ariodante ) at State Opera in 2018. the Salzburg Festival; Alcina, Mélisande, Sandrina ( La finta giardiniera ), and Sœur As a guest conductor, Mr. Christie often Constance ( Dialogue des Carmélites ) at appears at opera festivals such as Glyn - La Monnaie; Pamina ( Die Zauberflöte ), debourne and at opera houses including Donna Anna ( Don Giovanni ), and Sœur the Metropolitan Opera, Zurich Opernhaus, Constance at Théâtre des Champs- and Opéra National de Lyon. His exten - Élysées; and Despina ( Così fan tutte ) and sive discography includes more than Tytiana ( A Midsummer Night’s Dream ) at 100 recordings, most recently La Harpe the Aix-en-Provence Festival. Reine , Un jardin à l’italienne, Bien que l’amour, and Bach’s Mass in B minor , As a celebrated recital singer of both French released by Harmonia Mundi in the Les and German repertoire, Ms. Piau performs Arts Florissants collection. with renowned accompanists including Jos van Immerseel, Roger Vignoles, and Susan acclaimed European tour of St. Matthew’s Manoff. In recent years Ms. Piau has per - Passion with English Baroque Soloists under formed at the Salzburg Festival, Carnegie John Eliot Gardiner, and later that year on a Hall, Wigmore Hall, Musikverein, Salle tour of Bach’s Magnificat, both of which are Pleyel, Festival de Saint Denis, Amsterdam’s available on CD. He has also sung arias and Concertgebouw, and Teatro Communale in the Evangelist in St. John Passion in Florence and Bologna, and with the world’s Norway’s Nidaros Cathedral (with Trondheim most prestigious orchestras including the Barokk) and Croatia (with Croatian Baroque Berlin and Munich Philharmonics, Orchestre Ensemble), and arias for the Mass in de Paris, and Boston Symphony Orchestra. B minor in Munich (with Münchner Motet- Highlights of Ms. Piau’s 201 8–19 season tenn chor under Benedikt Haag). include a European tour with the Freiburg Baroque Orchestra, as well as her return to Mr. Hymas’s other regular concert reper - the Salzburg Festival for Alcina (Morgana). toire includes Monteverdi’s Vespers 1610 , Handel’s Messiah , Mozart’s Requiem, Ms. Piau has an extensive discography, Haydn’s Die Schöpfung , and Britten’s Saint including four CDs of Handel and Mozart Nicolas . On the opera stage, he has played and two recital albums with pianist Susan lead roles by Monteverdi, Purcell, Handel, Manoff, Apres un rêve and Évocation . She and Mozart. In 2017 he toured Monteverdi’s now records exclusively for Alpha Classics three operas— Il ritorno d’Ulisse in patria, and her first CD under the label, a recital L’incoronazione di Poppea, and L’Orfeo— disc with Manoff entitled Chimère , was with English Baroque Soloists, with perfor - released this year. Ms. Piau was given the mances at last year’s White Light Festival . title of Chevalier de l’Ordre des Arts et Mr. Hymas has also given song recitals Lettres in 2006. across the U.K. and was a Britten-Pears Young Artist in Aldeburgh. N N A M R E B E O H

N I

Hugo Hymas T S I R

K Alex Rosen Hugo Hymas (tenor) grew up in Cambridge, England, and trained as a cho - Alex Rosen’s (bass) 201 8–19 season rister in Great St. Mary’s Church Choir includes performances of Die Schöpfung before singing with Clare College Choir at and a tour of Bach’s St. John Passion Cambridge. He studied music at Durham with Les Arts Florissants, and Handel’s University and is now based in London. Radamisto with Opera Lafayette. Through - out the season, he collaborates with Polish Mr. Hymas has performed as a soloist in pianist Michał Biel as one of four duos several of Europe’s great concert halls: the in the inaugural season of the Royaumont Paris Philharmonie, Amsterdam Concert - Foundation’s Song and Lied Academy gebouw, KKL Luzern, Berlin Philharmonie, in Paris. Royal Albert Hall, and Wigmore Hall. He is increasingly in demand on the international Prior season highlights include Handel’s stage and has built a reputation as the Messiah with Portland Baroque Orchestra Evangelist for Bach’s Passions. In 2016 he and Houston Symphony Orchestra, his New performed the tenor arias in a critically York Philharmonic debut in Beethoven’s

WhiteLightFestival.org Choral Fantasy , and a European tour of Die Thiré, where Mr. Christie lives, the festival Schöpfung with Les Arts Florissants. He Dans les Jardins de William Christie was also appeared as Seneca in L’incoronazione launched in 2012. Les Arts Florissants is di Poppea with Cincinnati Opera, in a also working to establish a permanent cul - reprise of Die Schöpfung, and in a concert tural venue in Thiré. The ensemble’s rela - version of Handel’s Acis and Galatea with tionship to the region strengthened in 2017 Les Arts Florissants. Mr. Rosen is a native with the settlement of Le Jardin des Voix in of California. Thiré, the creation of a spring festival (Festival de Printemps) directed by Paul Les Arts Florissants Agnew, a new annual event at the Founded in 1979 by William Christie, Les Fontevraud Abbey, and the acknowledge - Arts Florissants is an internationally ment of Les Arts Florissants and Les acclaimed Baroque vocal and instrumental Jardins de William Christie with the national ensemble. Specializing in the performance label “Centre culturel de Rencontre.” of Baroque music on period instruments, the ensemble is renowned for its pioneer - Benjamin D. Sosland ing role in the revival of 17th- and 18th- As the founding administrative director of century Baroque repertoire. Under the Juilliard Historical Performance , Benjamin D. batons of William Christie and Paul Agnew, Sosland (pre-concert lecturer) has been Les Arts Florissants gives around 100 con - responsible for creating, implementing, and certs and opera performances each year, overseeing the school’s newest degree with many concerts or semi-staged perfor - program, which The New York Times has mances of operas and oratorios, secular credited for a renaissance in early music in and sacred chamber music, as well as New York. Under Mr. Sosland’s leadership, large-scale works. the department has established itself as one of the leading programs of its kind, In addition to its performances, Les Arts combining a rigorous curriculum with fre - Florissants has launched several education quent performances on the national and programs for young musicians. Le Jardin international stage. He is a frequent pre- des Voix, its academy for young singers, concert lecturer at Carnegie Hall and was established in 2002. The Arts Flo Lincoln Center, and has been the research Juniors program, launched in 2007, enables associate and program editor for the New conservatory students to join with the York Festival of Song and a score consul - ensemble for the full length of a produc - tant for the Metropolitan Opera’s Live in tion. Mr. Christie and Les Arts Florissants HD series of satellite transmissions since have also developed a fruitful partnership the groundbreaking series of broadcasts with The Juilliard School. In order expand began. Mr. Sosland holds degrees from the the reach of its rich repertoire, the ensem - Eastman School of Music and The Juilliard ble organizes numerous outreach and edu - School, where he is the assistant dean for cational events, and has produced an the Kovner Fellowships, overseeing the impressive discography of nearly 100 school’s elite scholarship program, and a recordings, most notably in the Les Arts member of the Graduate Studies faculty. Florissants collection in collaboration with Harmonia Mundi. White Light Festival I could compare my music to white light, In residence at the Philharmonie de Paris which contains all colors. Only a prism can since 2015, Les Arts Florissants has devel - divide the colors and make them appear; oped a strong connection to the Vendée this prism could be the spirit of the region of France as well. In the village of listener. —Arvo Pärt. Now in its ninth year, the White Light Festival is Lincoln Center’s Lincoln Center, Great Performers offers a annual exploration of music and art’s power rich spectrum of programming throughout to reveal the many dimensions of our inte - the season. rior lives. International in scope, the multi - disciplinary festival offers a broad spectrum Lincoln Center for the Performing of the world’s leading instrumentalists, vocal - Arts, Inc. ists, ensembles, choreographers, dance Lincoln Center for the Performing Arts com panies, and directors complemented (LCPA) serves three primary roles: presen - by conversations with artists and scholars ter of artistic programming, national leader and post-performance White Light Lounges. in arts and education and community rela - tions, and manager of the Lincoln Center Lincoln Center’s Great Performers campus. A presenter of more than 3,000 Initiated in 1965, Lincoln Center’s Great free and ticketed events, performances, Performers series offers classical and con - tours, and educational activities annually, temporary music performances from the LCPA offers 15 programs, series, and festi - world’s outstanding symphony orchestras, vals including American Songbook, Great vocalists, chamber ensembles, and recital ists. Performers, Lincoln Center Out of Doors, One of the most significant music presen - Midsummer Night Swing, the Mostly tation series in the world, Great Per formers Mozart Festival, and the White Light runs from October through June with Festival, as well as the Emmy Award–win - offer ings in Lincoln Center’s David Geffen ning Live From Lincoln Center , which airs Hall, Alice Tully Hall, Walter Reade Theater , nationally on PBS. As manager of the and other performance spaces around Lincoln Center campus, LCPA provides New York City. From symphonic master - support and services for the Lincoln Center works, lieder recitals, and Sunday morning complex and the 11 resident organizations. coffee concerts to films and groundbreak - In addition, LCPA led a $1.2 billion campus ing pro ductions specially commissioned by renovation, completed in October 2012.

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é t t e h h d z e e i t Lincoln Center Programming Department Jane Moss, Ehrenkranz Artistic Director Hanako Yamaguchi, Director, Music Programming Jon Nakagawa, Director, Contemporary Programming Jill Sternheimer, Director, Public Programming Jordana Leigh, Director, David Rubenstein Atrium Lisa Takemoto, Production Manager Charles Cermele, Producer, Contemporary Programming Mauricio Lomelin, Producer, Contemporary Programming Andrew C. Elsesser, Associate Director, Programming Luna Shyr, Senior Editor Regina Grande Rivera, Associate Producer Viviana Benitez, Associate Producer, David Rubenstein Atrium Walker Beard, Production Coordinator Meera Dugal, Programming Manager, David Rubenstein Atrium Olivia Fortunato, Programming Assistant James Fry, Technical Manager, Contemporary Programming Jessica Braham, House Seat Coordinator Elizabeth Lee, Company Manager, Contemporary Programming Lucy Powis, House Program Coordinator

For the White Light Festival Katherine Lipow, Supertitles Operator Joshua Benghiat, Lighting

Les Arts Florissants Acknowledgments Thanks to the support of The Danny Kaye and Sylvia Fine Kaye Foundation, the Baroque LIVE program of Les Arts Florissants allows a group of teenagers to discover concerts under the best conditions and to expand those experiences on the Internet.

WhiteLightFestival.org