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Home , Angela Meade, Der Vampyr, Frank Gehry, Impresario, Lord Ruthven (vampire), Nicole Cabell

03-17 ASO_Carnegie Hall Rental 3/7/13 5:09 PM Page 1

Sunday Afternoon, March 17, 2013, at 2:00 Auditorium/Ronald O. Perelman Stage Conductor’s Notes Q&A with at 1:00

presents The LEON BOTSTEIN, Conductor

HEINRICH AUGUST MARSCHNER Prologue Act I

Intermission

Act II

CAST in order of appearance: : NICHOLAS PALLESEN, Janthe: ALISON BUCHANAN, Soprano Sir Berkley: JUSTIN HOPKINS, -baritone Edgar Aubry: VALE RIDEOUT, Malwina: , Soprano Lord Davenaut: CARSTEN WITTMOSER, Bass-baritone George Dibdin: GLENN SEVEN ALLEN, Tenor Emmy: JENNIFER TILLER, Soprano with THE COLLEGIATE CHORALE SINGERS JAMES BAGWELL, Director

This afternoon’s will run approximately two hours and 50 minutes, inlcuding one 20-minute intermission. American Symphony Orchestra welcomes students and teachers from ASO’s arts education program, Notes. For information on how you can support Music Notes, visit AmericanSymphony.org. PLEASE SWITCH OFF YOUR CELL PHONES AND OTHER ELECTRONIC DEVICES. 03-17 ASO_Carnegie Hall Rental 3/7/13 5:09 PM Page 2

THE Program

HEINRICH AUGUST MARSCHNER Der Vampyr Born August 16, 1795, in Zittau, Saxony, Germany Died December 14, 1861, in , Lower Saxony, Germany Composed in 1827 Premiered on March 29, 1828, at the Theater der Stadt in

Instruments: 2 flutes, 2 piccolos, 2 oboes, 2 clarinets, 2 bassoons, contrabassoon, 4 French horns, 2 trumpets, 3 trombones, timpani, percussion, strings, chorus, and 16 vocal soloists

Notes ON THE PROGRAM

The Vampire to popular (and not unwarranted) fears, by Leon Botstein such as being buried alive, the mysterious powers of blood, of the moon, etc. But The great novelist Vladimir Nabokov the development of the story through the ridiculed the common impulse to find 19th century suggests that first and fore- symbolic meaning, particularly of a most it is about the connection between Freudian kind, in any narrative or wit- sex and death. It reminds us that our nessed event. But he might have made sexual drive, when realized, forces a con- an exception for the long-standing fas- frontation with our own mortality. In cination in Western culture for vam- the Christian narrative, the loss of inno- pires. Of all the manifestation of the cence triggers two forms of conscious- supernatural, have had the ness: the recognition of mortality and most enduring and adaptable symbolic the recognition of desire and sexuality. value for the last two centuries. With- In Western culture, love and death are out accounting for this utility, it would strange, but inseparable bed fellows. be difficult to understand why other- Therefore, love and death are not sur- wise intelligent people would be so prisingly the only subjects that make for obsessed by what Bram Stoker called great . Whatever the operatic plot the undead: individuals who have been may be, the potential for love and death infected by like-minded individuals must be present even if not realized. with a need to drink blood, who rest by Despite its obvious adaptability to the day in coffins, are afraid of light, and worst kitsch and the silliest of teenage (in some versions) of garlic and mirrors. , story has, They can be killed (or re-killed) only by like opera, offered a powerful analogy to driving a stake through their heart or our complex responses to love and death, by exposing them to the light of day. two of the most powerful sources of meaning in life. The vampire stories are a clear case in which the symbolic completely trumps Another analogy offered by the figure of any literal meaning. It is possible to the vampire, especially after Dracula, is trace the various features of the legend our ambivalence toward those who are 03-17 ASO_Carnegie Hall Rental 3/7/13 5:09 PM Page 3

outside society, either because they pos- female sexuality. But later accounts sess unique qualities or because they often have a central male figure who romantically suffer from a tragic afflic- may or may not have female compan- tion. They are greeted with both desire ions trailing behind him. Scholars such and fear. The magnetism of the ordinary as Eve Sedgwick have argued that this person to the vampire is an attraction to shift in focus to male vampires suggest taboo-breaking freedom, deviance, and that the real sexual tension in vampires dissent from the usual rules. Much like stories is not between the vampire and the other, the non-European that Europe his female victims, but between the created in fanciful tales of the East, the vampire and the mortal men who vampire is compelling precisely because defend the women. In other words, the his or her presence calls into question focus of sexual fear for an implied male the vapid, oppressive rules of society. It reader has moved from female sexuality is no wonder that the vampire’s most to male sexuality. Modern readers compelling embodiment, Dracula, was familiar with Dracula films are often a product of the Victorian age, and that surprised to find that the novel is in refining his vampire, Stoker decided mostly about how the vampire invokes to displace the folktales of his native Ire- a deep bond between the male charac- land to Romania, then a remote border ters pledged to protect the nearly invis- region next to the Turkish Empire. For ible young woman. The vampire of our 19th-century Europeans who were opera, Lord Ruthven, is, as Thomas dulled by routine and industrialized Grey points out in his fine notes to this urban life, the vampire is the ultimate fig- concert, a relative of , ure of the artist and thinker who doesn’t whose devastating attractiveness derives play by the rules and is impossible to from his aesthetic refinement and poetic ignore. In that respect, the dangerous sensibilities. Ruthven-Giovanni mirrors vampire offered the same vicarious, pas- late 18th- and early 19th-century sionate experience that audiences notions of the masculine, in which aes- sought in the of Wagner, full of thetic sensibility, refinement, and ele- larger-than-life figures who suffered, cre- gance were more important, as they ated, used magic, and dared the gods. were for , than brawny The rebellious power of the vampire is insensitivity and a disposition to war- perhaps nowhere better acknowledged like behavior, a distinction to the ideal than by the dictator Ceausescu’s banning of masculinity which we have inherited of Stoker’s book in Romania. The from the later part of the century. Romanian government found the novel Marschner’s also points for- to be insulting, but clearly a story about ward particularly to Wagner in its breaking the rules and defying confor- emphasis on the relations between men. mity would not find favor with the Nominally Tristan und Isolde is about tyrant. Incidentally, Dracula was one of the love between Tristan and King the first books translated into Romanian Mark’s intended bride. In order for Tris- after Ceausescu’s fall. tan to love Isolde he must betray King Mark, but that betrayal is made possible The most resonant and complicated only by a magic potion, not Tristan’s free taboo symbolized by the vampire, how- will. Tristan’s transgression is in his ever, was and is sexuality. In earlier unfaithfulness to his male friend (thus the vampire stories such as Carmilla by J. greatest music—between King Mark and Sheridan Le Fanu, Stoker’s countryman, Tristan—comes at the end of Act II). In the vampire is female, and clearly repre- today’s opera, Aubrey’s seemingly in - sents a familiar story about the fear of comprehensible adherence to an oath 03-17 ASO_Carnegie Hall Rental 3/7/13 5:09 PM Page 4

made to Ruthven even to the point of however, Polidori’s aristocratic vampire, endangering his fiancée suggests how Lord Ruthven, derived his charismatic compelling the male relationship is. powers of fascination from the model of Lord Byron himself. The vampire story can invoke such pos- sibilities and offer tantalizing alterna- ’s 1827 opera Der tives to staid, acceptable European Vampyr rode the crest of a wave of vam- mores, but in the end, those mores and pire literature inspired by Polidori’s tale the rules of society must prevail, and so and the cult of Lord Byron throughout the vampire must die. But he has shown Europe. Popular vampire melodramas that he will always return. He has been sprang up instantly in England and embraced as an enduring image in popular France. The resourceful playwright and culture over generations, especially in impresario James Robinson Planché cinema and television. This may explain (the librettist for Weber’s Oberon in why he has not been seen more in operas 1826) produced The Vampire; or, the like this one, where he perfectly embodies Bride of the Isles at London’s Lyceum so many of the themes and symbols so Theatre in 1820, adapted from a melo- cherished in operatic stories. Today’s drama by that had opera is a tribute to the imagination and appeared in less than two months literary gifts that flourished in the early earlier. Closely modeled on these two 19th century. He is too much a favorite vampire melodramas, in turn, was Der of the most puerile media—from Dracula Vampyr, oder die Todten-Braut (“The to Count Chocula. But who can tell? Vampire, or the Bride of the Dead”) by Perish the thought, but perhaps someday one Heinrich Ludwig Ritter. When in we may see an operatic treatment of The 1826 Marschner discussed a plan to Twilight Saga. turn Ritter’s play into a libretto with the help of his brother-in-law, Wilhelm Music and the Romantic Vampire August Wohlbrück, the time was clearly by Thomas Grey ripe for the Byronic vampire to make an entrance on the operatic stage. While the vampire as a figure of folklore goes back to ancient times, the modern Marschner’s operatic version of the literary vampire was born in the com- Byronic vampire, Lord Ruthven, looks pany of Doctor Frankenstein’s monster back to Mozart’s Don Giovanni on one on the shores of Lake Geneva in the hand, and forward to Wagner’s Flying early summer of 1816. A clutch of vaca- Dutchman on the other. The figure that tioning English Romantics—including Wohlbrück adapted from the popular Lord Byron, Percy Shelley, and his stage vampires of the day is clearly related young fiancée Mary Wollstonecraft to the aristocratic libertine of the Don Godwin—passed some days of that Juan type: a serial seducer who must, in notoriously wet season reading German the end, be punished for his reckless ghost stories and, at Byron’s suggestion, ways. Ruthven’s three female victims— inventing new ones of their own. Two Janthe, Emmy, and Malwina—can even years later, Mary Shelley published her be identified with those of Mozart and Da Frankenstein; or, the Modern Pro- Ponte’s Don Giovanni: Donna Elvira, metheus, and a year after that Byron’s Zerlina, and Donna Anna, respectively. physician John Polidori produced a novella, The Vampyre (London, 1819), Like Don Giovanni, Lord Ruthven is a developed from a prose fragment by his baritone anti-hero capable of suave, celebrated patron. More to the point, lyrical seduction and energetic ensemble 03-17 ASO_Carnegie Hall Rental 3/7/13 5:09 PM Page 5

singing. But our first introduction to ing ensemble, bring us closer to the the character, in his recitative and world of the Norwegian sailors in Wag- in Act I (“Ha! Noch einen ganzen ner’s Dutchman. Tag!…Ha! Welche Lust!”), immediately reveals the inner demon, singing of his The aristocratic pedigree of the early thirst for the blood of young maidens. Romantic vampire is another sign of his A later key moment of self-revelation, roots in the late ancien régime. It is not the grand scene with the tenor protago- difficult to see his vampirism as a thinly nist, Aubry, in Act II (“Wohl, du veiled critique of feudal privilege: the zwingst mich zum Verbrechen”), brings economic exploitation of the peasant Ruthven closer to the musical-dramatic class and the sexual exploitation of orbit of Wagner’s Dutchman as he lower- or middle-class female virtue, as in threatens Aubry with his own fate—to Don Giovanni’s or Count Almaviva’s destroy whomever on earth is dearest to exercise of the notorious droit du you—should Aubry fail to keep his seigneur. The model for later vampires in oath of silence regarding Ruthven’s the title character of Bram Stoker’s vampiric identity. Dracula (1897) is still a count, it’s true, but he has become an exotic outsider, a The opera buffa element of Don Gio- bloodless relic from the distant past, pre- vanni is detectable in the role of the served, like the folk customs and super- peasant-girl, Emmy, whom Ruthven stitions of his countrymen, only in the seduces in a distinctly Mozartian key. remote mountains of Transylvania. After Yet Emmy, with her melancholy Lied more than two centuries of cultural about waiting in vain through the migrations and resurrections in different evening hours for the return of her mediums, the vampire has remained one bridegroom (“Dort am jenem Felsen- of our most potent mythic tropes. hang”) and her Romanze warning the Marschner’s Lord Ruthven constitutes a villagers about vampires (“Sieh, Mutter, fascinating operatic link between the dort den bleichen Mann”), is a senti- Romantic origins of the figure and its mental, Romantic figure, almost closer ubiquitous presence in the mythology of to Wagner’s Senta than Mozart’s Zer- contemporary popular culture. lina. The carousing villagers who pro- vide comic relief before the denouement Read the full essay at americansym- in Act II remind us of the mixture of phony.org/concerts/the-vampire. comedy and high drama which had rec- ommended Don Giovanni to the Dr. Grey is a professor of musicology Romantic taste. But the hearty village at Stanford University. He is the tone of their drinking song, no less than author of Wagner’s Musical Prose: the polyphonic textures of the follow- Texts and Contexts. 03-17 ASO_Carnegie Hall Rental 3/7/13 5:09 PM Page 6

THE Artists LEON BOTSTEIN, Conductor

Chausson, as well as works of Sho - stakovich, Dohnanyi, Liszt, Bruckner, Bartók, Hartmann, Reger, Gliere, Szy- manowski, Brahms, Copland, Sessions, Perle, and Rands. Many of his live per- formances with the American Sym- phony Orchestra are now available for download on the Internet.

Mr. Botstein is highly regarded as a music historian. He is the editor of The Musical Quarterly and the author of numerous articles and books. Last year he gave the

PHOTO BY MATT DINE MATT BY PHOTO prestigious Tanner Lectures in Berkeley, This season, Leon Botstein celebrates his CA. For his contributions to music he has 20th anniversary as music director and received the award of the American Acad- principal conductor of the American Sym- emy of Arts and Letters and Harvard Uni- phony Orchestra. He is co-artistic director versity’s prestigious Centennial Award, as of the acclaimed Summerscape and Bard well as the Cross of Honor, First Class Music Festivals, which take place at the from the government of Austria. In 2009 Richard B. Fisher Center for the Perform- he received Carnegie Foundation’s Acade- ing Arts, designed by Frank Gehry for mic Leadership Award, and in 2011 was . He is also conductor laure- inducted into the American Philosophical ate of the Jerusalem Symphony Orchestra, Society. He is also the 2012 recipient of where he served as music director from the Leonard Bernstein Award for the Ele- 2003–11. He has been president of Bard vation of Music in Society. In 2013 Mr. College in New York since 1975. Botstein received the Bruckner Society’s Julio Kilenyi Medal of Honor. Mr. Botstein leads an active schedule as a guest conductor all over the world, and Maestro Botstein is represented by can be heard on numerous recordings, Columbia Artists Management, LLC. including operas by Strauss, Dukas, and 03-17 ASO_Carnegie Hall Rental 3/7/13 5:09 PM Page 7

NICHOLAS PALLESEN, Baritone

Nicholas Pallesen’s 2012–13 season sees his debut at Carnegie Hall as Filippo in Bellini’s with The Collegiate Chorale followed by his role debut as Rigoletto in Rigoletto with Shreveport Opera. He again joins the roster of the for The Tempest to cover the role of Sebas- tian. In recent seasons he appeared as Enrico in with Baltimore Concert Opera, John Sorel in The Consul with Opera New Jersey, and participated in the Susan Graham

and Friends concert with Santa Fe ROSE LAURA BY PHOTO Opera. Mr. Pallesen has appeared with Ehre der Nation, the title role in John the Opera as Pluto in Adams’ The Death of Klinghoffer, Telemann’s Orpheus, Robert Storch in the title role in Stephen Wadsworth’s Strauss’ , and Sharpless in production of Verdi’s , and Madama Butterfly. Additional work Top in Copland’s The Tender Land. with New York City Opera includes He is a former young artist with the covering the roles of Philippe in the and Opera Theatre of American premiere of Rufus Wain- Saint Louis, where he sang several wright’s Prima Donna and Bill Foster in featured roles. the New York premiere of Stephen Schwartz’s Séance on a Wet Afternoon. Mr. Pallesen is a 2012 recipient of the Richard Tucker Music Foundation Mr. Pallesen is a recent graduate of Career Grant and was a grand finalist the Juilliard Opera Center. There he in the Metropolitan Opera National performed Professor Himmelhuber in Council Auditions. He can be seen in Krenek’s Schwergewicht, oder Die the documentary The Audition.

ALISON BUCHANAN, Soprano Alison Buchanan’s recent engagements include her debut role as Ariadne in Ari- adne auf Naxos with Birmingham Opera Company, her Carnegie Hall debut singing the soprano solo in the Mozart Requiem, Nedda in Pagliacci with Pega- sus Opera Company and English Tour- ing Opera, and her first Donna Elvira in Don Giovanni at New York City Opera. Ms. Buchanan sang a concert perfor- mance of with the London Symphony Orchestra at the Barbican and Avery Fisher Hall, and in the spring of 2004 she made her Michigan Opera 03-17 ASO_Carnegie Hall Rental 3/7/13 5:09 PM Page 8

Theatre debut as First Lady in Die Francisco Opera’s commission A Zauberflöte. Recently Ms. Buchanan Streetcar Named Desire, working made her role debut as Floria Tosca in closely with composer André Previn. Tosca for the Sédières Festival in France, and performed the role of Palmyra in She made her New York City Opera Delius’ Koanga with Pegasus Opera at debut in 2002, performing the role of Sadler’s Wells Theater in London. Bess in and has since sung the role with Mobile Opera and After completing her Adler Fellowship Delaware Opera. She also performed as with , Ms. the soprano soloist in concert versions Buchanan made her main stage debut of Porgy and Bess with Baltimore Sym- in 1996 as Mimì in La bohème and phony Orchestra, and in 2012 she per- Micaëla in . At San Francisco formed in a similar concert with the São Opera she also appeared in Harvey Paulo Symphony Orchestra followed by Milk, , Rigoletto, and Elektra, and a concert performance of the opera with sang Blanche in a workshop for San Boston Symphony Orchestra.

JUSTIN HOPKINS, Bass-baritone Le nozze di Figaro, and Berger and Médecin in Pelléas et Mélisande with the Verbier Festival Orchestra.

During the 2010–11 season Mr. Hop- kins performed Frère Laurent in Roméo et Juliette with Opera Com- pany of Philadelphia, as well as in Philip Glass’ Hydrogen Jukebox with Fort Worth Opera. He performed in the young artist programs with Sarasota Opera and Des Moines Metro Opera and was awarded the Sarasota Opera Guild Encouragement Award in 2007. In 2010 Mr. Hopkins performed the With Des Moines Metro Opera, he per- combined roles of Il Servio, Il Medico, formed Cal in Marc Blitzstein’s Regina, and Heraldo in Macbeth with the Jimmy in Mahagonny Songspiel, and Théâtre Royal de la Monnaie in Brussels, the roles of Zuniga in Carmen, Sam in which was awarded Production of the , and Lodovico Year by Opernwelt. In the same season in . Mr. Hopkins also per- Mr. Hopkins performed the role of formed as Don Alfonso in Così fan Colline in La bohème with the Verbier Fes- tutte and Il Re d’Egitto in Aida as an tival Academy and a Cappadocian in artist-in-residence with Pensacola Salome with the Verbier Festival Orchestra Opera. He has performed Balthazar in in Switzerland. The 2012–13 season Amahl and the Night Visitors with includes performances of Astolfo in Fort Worth Opera and Il Registrario with the Théâtre Royal in Madama Butterfly with Opera de la Monnaie, Bartolo and Antonio in Company of Philadelphia. 03-17 ASO_Carnegie Hall Rental 3/7/13 5:09 PM Page 9

VALE RIDEOUT, Tenor In the 2012–13 season, Vale Rideout is tenor soloist in Beethoven’s Symphony No. 9 with the Detroit Symphony, The Essential Bernstein with the Washing- ton Chorus, and Britten’s Serenade for Tenor, Horn, and Strings with the Wis- consin Philharmonic. He also sings the role of Tamino in Die Zauberflöte with Nashville Opera, Count Almaviva in Il barbiere di Siviglia with Shreveport Opera, and stage manager in Rorem’s Our Town with Central City Opera. Recent highlights include the title role

in Faust with Opera Coeur d’Alene, FOX KEVIN BY PHOTO Nadir in Les pêcheurs de perles with Widow with Opera Tampa, Tamino in Hawaii Opera Theatre, Messiah with Die Zauberflöte with the Phoenix and the Nashville and Pacific Symphony Chautauqua Operas, Don Ottavio in Orchestras, Haydn’s The Creation with Don Giovanni with , Tan- Highland Park United Methodist credi in the world premiere of John Church, Beethoven’s Symphony No. 9 Musto’s The Inspector with Wolf Trap with Greenville Symphony, Duke in Opera, and tenor soloist in Britten’s Rigoletto with Ann Arbor Symphony War Requiem with the New York and Orchestra, Count Almaviva in Il barbi- Philharmonics. He can be ere di Siviglia with Imperial Symphony heard on the Grammy-nominated Orchestra, Prologue/Peter Quint in The recording of Elmer Gantry, voted No. 1 Turn of the Screw with Central City by –Best of the Year, as Opera, and Berlioz’s Te Deum with Col- well as The Inspector and Stucky’s orado’s Summer Choralfest. Other high- August 4th, 1964. He has also per- lights include Igneo in the world pre- formed leading roles with Boston Lyric miere of Don Davis’ Rio de Sangre with Opera, Opera Theater, and Florentine Opera, Camille in The Merry Palm Beach Opera.

TAMARA WILSON, Soprano Tamara Wilson makes her debut with the American Symphony Orchestra as Malwina in Der Vampyr. The 2012–13 season has her appearing with the as Ros- alinde in a Christopher Alden produc- tion of Die Fledermaus, Lady Billows in Albert Herring with Théâtre du Capitole in Toulouse, Leonora in with Houston Grand Opera, and her company and role debut as Hélène in Les vêpres siciliennes with PHOTO BY AARON GANG AARON BY PHOTO 03-17 ASO_Carnegie Hall Rental 3/7/13 5:09 PM Page 10

Opera de la ABAO in . In con- Opera. Recent performances include the cert, Ms. Wilson performs Mahler’s Sym- title role in Aida with Teatro Municipal phony No. 2 with the Eugene Symphony de Santiago, Elisabeth de Valois in Don Orchestra and Messiah with the Saint Carlos with Houston Grand Opera, Louis Symphony. Future seasons will see Leonora in Il trovatore with Théâtre du her performing Verdi, Bellini, Mozart, Capitole, Elettra in at the and Strauss at the Oper Frankfurt, Gran , Amelia in Un ballo in Teatre del , National maschera with Washington National Opera, de Madrid, Los Opera, and Miss Jessel in The Turn of Angeles Opera, and Houston Grand the Screw with .

CARSTEN WITTMOSER, Bass-baritone chütz for Theater Linz; Ramfis and Re in Aida, Raimondo in Lucia de Lammer- moor, and Doktor in Wozzeck for Freiburg Opera; and Pommersfelden in Mathis der Maler, Sarastro in Die Zauberflote, Sparafucile in Rigoletto, Bar- tolo in Le nozze di Figaro, and Seneca in L’incoronazione di Poppea for Hambur- gische Staatsoper. He also made his debut at the Deutsche Staatsoper Berlin as Land- graf in Tannhäuser and sung in Daphne with the WDR Sinfonie Orchester in Köln alongside Renée Fleming. Mr. Wittmoser appears in concert and recital throughout Carsten Wittmoser’s career began at the the world with a repertoire that includes Staatsoper Stuttgart in Germany where works by Mozart, Bach, Haydn, Puccini, his roles included First Nazarene in Beethoven, and Brahms. Recent engage- Salome and Basilio in Il barbiere di ments include Germont in La traviata, Siviglia. During that time he also the Four Villains in Les Contes d’Hoff- appeared at the Gergiev-Festival in Rot- mann, and Pizarro in Fidelio at the terdam, the Bayerische Staatsoper in Komische Oper Berlin. Future roles , and the Volksoper in Vienna. include the title role in Der fliegende Hol- Since then his roles have included Colline länder at Theater Bremen and Theater St. in La bohème, Landgraf in Tannhäuser, Gallen, Wotan in Der Ring des Nibelun- Don Alfonso in Così fan tutte, Banquo in gen for Tyrolean Festival Erl, and Pizarro Macbeth, and the Hermit in Der Freis- in Fidelio for . 03-17 ASO_Carnegie Hall Rental 3/7/13 5:09 PM Page 11

GLENN SEVEN ALLEN, Tenor Glenn Seven Allen has appeared on Broadway and at major theater, con- cert, and opera venues throughout the . Recent appearances include Tonio in La fille du régiment with Connecticut Concert Opera, Peter Quint in The Turn of the Screw with Opera Moderne in NYC, Count Alma- viva in Il barbiere di Siviglia with Inter- mountain Opera Bozeman, The Duke of Mantua in Rigoletto with the Queens Symphony, Ernesto in Don Pasquale with Hubbard Hall Opera The- atre, and roles with American Lyric The- atre’s Opera in Eden project, a concert of Bridge under the supervision of the new American operas supervised by composer. Current engagements include Mark Adamo. Other highlights include Roméo in Roméo et Juliette with Inter- Alexius in The Chocolate Soldier at mountain Opera Bozeman, and Ralph Bard Summerscape, The Duke of Man- Rackstraw in H.M.S. Pinafore with tua in Rigoletto with Bleecker Street Opera Saratoga. Acclaimed for his dra- Opera, Alfredo in La traviata with matic gifts, Mr. Allen’s appearances as Long Island Opera, Roméo in Roméo et an actor include Julius Caesar at the Juliette with New York Lyric Opera, Utah Shakespeare Festival, The Ark at and Rodolfo in a new production of the Village Theatre, and Mrs. Bromley William Bolcom’s A View from the at The Harold Clurman Theatre.

JENNIFER TILLER, Soprano Jennifer Tiller’s 2010–11 season marked her first operatic soprano role as Nedda in Pagliacci with Anchorage Opera. Last season Ms. Tiller also per- formed the bravura role of Sifare in the New York City stage premiere of Mozart’s early opera Mitridate, as well as the role of the Notary’s Wife in Richard Strauss’ Intermezzo with New York City Opera.

The 2004–05 season was Tiller’s first season with the New York City Opera, debuting as the Second Maid in Richard Strauss’ Daphne. Since that time she and Dika in the New York City pre- performed the pants role of Hansel in miere of Mark Adamo’s Lysistrata. Of Hansel und Gretel, Mercedes in Car- her many roles with this company, the men, the Fox in Rachel Portman’s The most notable was during the 2008–09 Little Prince, and the roles of Alecto season when she performed the role of 03-17 ASO_Carnegie Hall Rental 3/7/13 5:09 PM Page 12

Suzuki in Madama Butterfly on PBS’ new opera compositions in a concert Live From , which setting. The summer before, she sang in received an Emmy Award that year. performances of a new adaptation of Mozart’s The Impresario with the The summer of 2011 marked Ms. YardArts! Summer Festival in Martha’s Tiller’s fifth year participating in New Vineyard. She also performed in a con- York City Opera’s VOX Showcase, cert version of Franco Alfano’s Risur- which presents a variety of abridged rezione atAlice Tully Hall.

THE AMERICAN SYMPHONY ORCHESTRA

The American Symphony Orchestra was as well as Bard’s annual SummerScape founded 50 years ago by Leopold Festival and the Bard Music Festival. In Stokowski with the specific intention of 2010 the American Symphony became making orchestral music accessible and the resident orchestra of The Collegiate affordable for everyone. Under music Chorale, performing regularly in the director Leon Botstein, the ASO has Chorale’s New York concert series. The kept Stokowski’s mission intact, and has orchestra has made several tours of Asia also become a pioneer in what The Wall and Europe, and has performed in count- Street Journal called “a new concept in less benefits for organizations including orchestras,” presenting curated the Jerusalem Foundation and PBS. around various themes drawn from the ASO’s award-winning music education visual arts, literature, politics, and his- program, Music Notes, integrates sym- tory, and unearthing rarely performed phonic music into core humanities classes masterworks for well-deserved revival. in high schools across the tri-state area. These concerts are performed for the Vanguard Series at Carnegie Hall. In addition to many albums released on the Telarc, New World, Bridge, In addition the orchestra performs in Koch, and Vanguard labels, many live the celebrated concert series Classics performances by the American Sym- Declassified at Peter Norton Symphony phony are now available for digital Space, and is the resident orchestra of download. In many cases these are the the Richard B. Fisher Center for the Per- only existing recordings of some of the forming Arts at Bard College, where it rare works that have been rediscovered appears in a winter subscription series, in ASO performances.

THE COLLEGIATE CHORALE SINGERS

The Collegiate Chorale Singers was Founded in 1941 by the legendary con- founded in 2003 as an elite, mostly ductor , The Collegiate professional ensemble of The Colle- Chorale has established a preeminent giate Chorale. The Singers, led by reputation for its interpretations of the Chorale music director James Bagwell, traditional choral repertoire, vocal perform as featured artists on select works by American composers, and concerts of American Symphony rarely heard operas in concert, as well Orchestra, as well as in other engage- as commissions and premieres of new ments around New York City. works by today’s most exciting creative 03-17 ASO_Carnegie Hall Rental 3/7/13 5:09 PM Page 13

artists. The many guest artists with concert performance of Gilbert and Sulli- whom The Chorale has performed in van’s with Broadway greats recent years include , Kelli O’Hara, Victoria Clark, Christo- Victoria Clark, Nathan Gunn, Thomas pher Fitzgerald, and Jason Danieley. Hampson, , Kelli O’Hara, Eric Owens, Réne Pape, , and Performances in The Chorale’s 2012–13 Deborah Voigt. season include Golijov’s Oceana and Glass’ Symphony No. 7 Toltec, and Last season’s highlights include Michael musical-theater gem Song of Norway Tippett’s moving oratorio A Child of Our by Wright and Forrest. The Chorale will Time with soloists Nicole Cabell and make its sixth appearance at the Verbier John Relyea, and a critically acclaimed Festival in July 2013.

JAMES BAGWELL

James Bagwell maintains an active Dessoff Choirs in New York. He has schedule throughout the United States trained choruses for a number of major as a conductor of choral, operatic, and American and international orchestras. orchestral music. In 2009 he was appointed music director of The Colle- For 12 seasons Mr. Bagwell has been giate Chorale. He was also recently music director for the May Festival named principal guest conductor of the Youth Choir in Cincinnati. He has con- American Symphony Orchestra and ducted some 25 productions as music director of the music program at Bard director of Light Opera Oklahoma, College. Since 2003 he has been direc- including Candide, Sweeney Todd, and tor of choruses for the Bard Music Fes- The Merry Widow, among others. He tival, conducting and preparing choral frequently appears as guest conductor works during their annual summer fes- for orchestras around the country and tival. He has also prepared The Concert abroad, including the Jerusalem Sym- Chorale of New York for performances phony, Tulsa Symphony, and the Indi- with the American Symphony Orches- anapolis Chamber Orchestra. tra, the , and the Mostly Mozart Festival. This past He has taught since 2000 at Bard College, summer marked his sixth season as cho- where he is the chair of the undergraduate rus master for The Mostly Mozart Fes- music department and co-director of the tival at Lincoln Center. From 2005 to graduate program in conducting. 2009 he was music director of the 03-17 ASO_Carnegie Hall Rental 3/7/13 5:09 PM Page 14

AMERICAN SYMPHONY ORCHESTRA Leon Botstein, Conductor

VIOLIN I CELLO HORN Erica Kiesewetter, Concertmaster Eugene Moye, Principal Zohar Schondorf, Principal Yukie Handa Sarah Carter David Smith Diane Bruce Annabelle Hoffman Theo Primis Patricia Davis Maureen Hynes Wei-Ping Chou John Connelly Diane Barere Kyle Hoyt, Assistant Elizabeth Nielsen Dorothy Lawson Ashley Horne Tatyana Margulis TRUMPET James Tsao Elina Lang Toby Penk, Principal Ann Labin Thomas Hoyt Katherine Livolsi-Landau BASS Sander Strenger Jordan Frazier, Principal TROMBONE Mara Milkis Jack Wenger Richard Clark, Principal Louis Bruno Kenneth Finn VIOLIN II Peter Donovan Jeffrey Caswell Suzanne Gilman, Principal Richard Ostrovsky Wende Namkung William Sloat TIMPANI Yana Goichman Benjamin Herman, Principal Lucy Morganstern FLUTE Heidi Stubner Laura Conwesser, Principal PERCUSSION Elizabeth Kleinman Rie Schmidt Jonathan Haas, Principal Dorothy Strahl Diva Goodfriend-Koven, Piccolo Alexander Vselensky Patricia Zuber PERSONNEL MANAGER Katherine Hannauer Ann Yarbrough Guttman Ann GIllette OBOE Alexandra , Principal ASSISTANT CONDUCTOR VIOLA Melanie Feld Zachary Schwartzman William Frampton, Principal Sally Shumway CLARINET ORCHESTRA LIBRARIAN John Dexter Laura Flax, Principal Marc Cerri Rachel Riggs Shari Hoffman Adria Benjamin Ah Ling Neu BASSOON Louis Day Charles McCracken, Principal Emily Basner Marc Goldberg Gilbert Dejean, Contrabassoon 03-17 ASO_Carnegie Hall Rental 3/7/13 5:09 PM Page 15

ASO BOARD OF DIRECTORS

Danny Goldberg, Chair Jan Krukowski Thurmond Smithgall, Vice Chair Shirley A. Mueller, Esq. Dimitri Papadimitriou, Treasurer Eileen Rhulen Felicitas S. Thorne Miriam Berger Michael Dorf HONORARY MEMBERS Rachel Kalnicki Joel I. Berson, Esq. Jack Kliger L. Stan Stokowski

ASO ADMINISTRATION

Lynne Meloccaro, Executive Director Ben Oatmen, Production Assistant Oliver Inteeworn, General Manager Leszek M. Wojcik, Concert Archival Brian J. Heck, Director of Marketing Recording Nicole M. de Jesús, Director of Development Sebastian Danila, Library Manager James Bagwell, Principal Guest Conductor Marielle Métivier, Operations Manager Geoffrey McDonald, Assistant Conductor Katrina Herfort, Ticketing Services Zachary Schwartzman, Assistant Conductor Coordinator Richard Wilson, Composer-in-Residence Marc Cerri, Orchestra Librarian James Bagwell, Artistic Consultant Ann Yarbrough Guttman, Orchestra Personnel Manager AMERICAN SYMPHONY ORCHESTRA PATRONS

The American Symphony Orchestra board of directors, staff, and artists gratefully acknowledge the following individuals, foundations, corporations, and government agen- cies for their generosity and vital support. STOKOWSKI SOCIETY Mrs. James P. Warburg The Frank & Lydia Bergen Foundation Mr. and Mrs. Richard E. Wilson Michael Dorf The Fan Fox and Leslie R. Samuels DISTINGUISHED PATRON Foundation, Inc. The Jarvis & Constance Doctorow Family Jeanne Donovan Fisher Foundation The Booth Ferris Foundation The Elroy and Terry Krumholz Foundation Danny Goldberg and Rosemary Carroll Lynne Meloccaro Faith Golding Foundation, Inc. Shirley A. Mueller Rachel and Shalom Kalnicki The David and Sylvia Teitelbaum Fund, Inc. Peter Linden Stuart K. Nelson GOLDEN CIRCLE New York City Department of Cultural Affairs Miriam R. Berger New York State Council on the Arts Joel and Ann Berson Open Society Institute IBM Corporation Foundation Eric Czervionke Thurmond Smithgall Gary M. Giardina Felicitas Thorne Peter L. Kennard The Winston Foundation Arthur S. Leonard Mimi Levitt SUSTAINING SUPPORTER Dr. Pamela F. Mazur Dr. Leon Botstein JoAnne Meloccaro The Ann and Gordon Getty Foundation Bruce Slovin Mary and Sam Miller Joseph and Jean Sullivan Dimitri Papadimitriou Irene Zedlacher 03-17 ASO_Carnegie Hall Rental 3/7/13 5:09 PM Page 16

BENEFACTOR Patricia R. Brophy Anonymous Roger Chatfield Karen and Mark Finkbeiner Connie Chen Irwin and Maya Hoffman Barbara Clapman Jack Kliger Michele Cone William McCracken and Cynthia Leghorn Mary M. Cope Marcia H. Moor Diana Davis Richard and Joanne Mrstik Elisabeth Derow Mr. and Mrs. David E. Schwab II Thomas J. DeStefano David and Martha Schwartz Antonio Diez Peter Sourian Ruth Dodziuk-Justitz Allan and Ronnie Streichler, in honor of Robert Durst Leon Botstein Paul Ehrlich Exxon Mobil Foundation CONTRIBUTOR W.J. Fenza Tania Ahuja Martha Ferry Harold P. Allen Donald W. Fowle Gary M. Arthur Deborah Franco David Beek and Gayle Christian Lyudmila German Thomas Cassilly Christopher H. Gibbs Isabelle A. Cazeaux MacEllis K. Glass Richard C. Celler June Goldberg Bette R. Collom Greenwich House, Inc. Mary S. Donovan Nathan Gross Mr. and Mrs. Joseph Lawrence Gilman John Haggerty Rhea Graffman-Cohen, in honor of Laura Harris Miriam Berger James Hayden Eva Botstein Griepp Roberta Hershenson Max Hahn Dr. and Mrs. Gerald Herskowitz Sara Hunsicker Deb Hoffman Erica Kiesewetter Eric S. Holtz Michael Kishbauch George H. Hutzler Peter Kroll Jose Jimenez Alan Mallach Donald Juliano Jeanne Malter Ronald S. Kahn Stephen McAteer Robert Kalish Sally McCracken David Kernahan Richard and Joanne Mrstik Irving Kleiman Lisa Mueller and Gara LaMarche Caral G. Klein James and Andrea Nelkin Adnah Kostenbauder Lawrence Nylen Robert LaPorte Kurt Rausch LLC Gerald Laskey Harriet Schon Steve Leventis Jon P. Tilley Walter Levi Kenneth Wald Juddy Levy Larry Wehr Peter A. Locker Robert Weis Harvey Marek Wayne and Dagmar Yaddow Ellen Marshall, in honor of Louis Marshall Alan B. McDougall ORCHESTRA CLUB June Meyer American Express Gift Matching Program Clifford S. Miller Ellis Arnstein Phyllis Mishkin Carol H. Ash Judith Monson Ronald Baranowski Elisabeth J. Mueller Carol K. Baron Marin L. and Lucy Miller Murray, in honor Ruth Baron of Leon Botstein Matthew and Debra Beatrice Tatsuji Namba Yvette and Maurice J. Bendahan Kenneth Nassau Adria Benjamin Maury Newburger John Brautigam Jacob and Suzanne Neusner Mona Yuter Brokaw James North 03-17 ASO_Carnegie Hall Rental 3/7/13 5:09 PM Page 17

Sandra Novick John Sowle Jill Obrig Stanley Stangren Thomas O’Malley Gertrude Steinberg James Ottaway Alan Stenzler Roger Phillips Hazel and Bernard Strauss Bruce Raynor Paul Stumpf Anthony Richter Andre Sverdlove The Kauter Riopelle Family Madeline V. Taylor Kenneth Rock William Ulrich Leonard Rosen James Wagner Peri Rosenfeld Renata Weinstein Henry Saltzman Barbara Westergaard Leslie Salzman Janet Whalen Emil Scheller Ann William Gloria Scorse Kurt Wissbrun Janet Z. Segal Leonard Zablow Georgi Shimanovsky Mark Zarick Bruce Smith Alfred Zoller

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 The New York City Department of The Honorable Andrew M. Cuomo, Governor Cultural Affairs The Honorable Michael R. Bloomberg, Mayor The Honorable Kate D. Levin, Commissioner

List current as of February 15, 2013 SUPPORT ASO

Be a part of the American Symphony Orchestra this season! Give a gift and help sustain the artistic excellence, music education, and preservation that are vital to our cultural life.

Gifts That Keep Giving – NEW! We’re grateful for your annual contribution to ASO. Now, you can support ASO all year with Monthly Installment giving. Call us and tell us how much you would like to give and how often you want to give it. Monthly installment giving is easier for you and sustaining income for the American Symphony.

How to donate: Online: www.AmericanSymphony.org Phone: 646.237.5022 Mail: American Symphony Orchestra Attn: Development 263 W 38th Street, 10th Floor New York, NY 10018 (Checks payable to: American Symphony Orchestra)

Corporate Support Have your corporation underwrite an American Symphony Orchestra concert or education program 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 212.868.9276. 03-17 ASO_Carnegie Hall Rental 3/7/13 5:09 PM Page 18

American Symphony Orchestra’s 50th Anniversary Season at Carnegie Hall

Thursday, May 2, 2013 Hungary Torn WWII-era Hungarian composers. Four U.S. premieres.

ASO’S 2013–14 SEASON AT CARNEGIE HALL

Thursday, Oct 3, 2013 New York Avant-Garde Antheil, Griffes, Ruggles, Copland, Strauss

Sunday, Nov 17, 2013 Elliott Carter: An American Original Six orchestral works from 1939 to 2007

Sunday, Dec 15, 2013 Ariane Opera-in-concert by Jules Massenet

Friday, Jan 31, 2014 This England Sir Arthur Bliss, Frank Bridge, Robert Simpson, William Walton

Thursday, March 27, 2014 Moses Oratorio by Max Bruch

Fri, May 30, 2014 Forged From Fire WWI-era works by Max Reger, Charles Ives, Ernest Bloch, and Karol Szymanowski

SUBSCRIBE TO ASO

Subscriptions for the 2013–2014 Season are now on sale. Order your subscription at American- Symphony.org/2013 or call (212) 868-9ASO (9276).

Subscribers get great seats, and when you add on a donation to ASO you get access to prime loca- tions! Your gift helps sustain the artistic excellence, music education, and community outreach that are vital to our cultural life. For a full list of benefits, including invitations to rehearsals, name recognition in programs, and more, visit AmericanSymphony.org.