Tuesday Evening, July 28, 2015, at 8:00 m

a Opening-Night Program r

g Mostly Mozart Festival Orchestra Louis Langrée, Conductor o

r Emanuel Ax, Piano M|M

P Erin Morley, Soprano

e AL L-MOZART PROGRAM h

T Overture to Der Schauspieldirektor (“The Impresario”) (1786)

Piano Concerto No. 14 in E-flat major, K.449 (1784) Allegro vivace Andantino Allegro ma non troppo Mr. Ax will perform Mozart’s cadenza.

Intermission

Vorrei spiegarvi, oh Dio! (1783)

No, che non sei capace (1783)

Symphony No. 34 in C major, K.338 (1780) Allegro vivace Andante di molto (più tosto Allegretto) Menuetto (fragment) Finale: Allegro vivace

M|M Mostly Mozart debut

Please make certain all your electronic devices are switched off.

This performance is made possible in part by the Josie Robertson Fund for Lincoln Center.

Steinway Piano Avery Fisher Hall Mostly Mozart Festival

The Mostly Mozart Festival is made possible by Sarah Billinghurst Solomon and Howard Solomon, Rita E. and Gustave M. Hauser, Chris and Bruce Crawford, The Fan Fox and Leslie R. Samuels Foundation, Inc., Charles E. Culpeper Foundation, S.H. and Helen R. Scheuer Family Foundation, and Friends of Mostly Mozart. Public support is provided by the New York State Council on the Arts. Artist Catering provided by Zabar’s and zabars.com MetLife is the National Sponsor of Lincoln Center United Airlines is a Supporter of Lincoln Center WABC-TV is a Supporter of Lincoln Center “Summer at Lincoln Center” is supported by Diet Pepsi Time Out New York is a Media Partner of Summer at Lincoln Center

UPCOMING MOSTLY MOZART FESTIVAL EVENTS:

Wednesday Night, July 29, at 10:00 in the Stanley H. Kaplan Penthouse A Little Night Music Emanuel Ax , Piano Anna Polonsky , Piano M|M Orion Weiss , Piano BRAHMS: Waltzes, Op. 39 BRAHMS: Variations on a Theme by R. Schumann SCHUMANN: Bilder aus Osten

Friday and Saturday Evenings, July 31–August 1, at 7:30 in Avery Fisher Hall Mostly Mozart Festival Orchestra Louis Langrée , Conductor Jeremy Denk , Piano BACH (trans. BRAHMS): Chaconne for piano left hand MOZART: Piano Concerto No. 20 in D minor BRAHMS: Symphony No. 4 Pre-concert recitals by Orion Weiss, piano, at 6:30

Saturday Afternoon, August 1, at 1:00 in the Walter Reade Theater Film: In Search of Haydn (New York premiere) Introduced by director Phil Grabsky Co-presented with the Film Society of Lincoln Center’s Sound + Vision series.

M|M Mostly Mozart debut

For tickets, call (212) 721-6500 or visit MostlyMozart.org. Call the Lincoln Center Info Request Line at (212) 875-5766 to learn about program cancellations or request a Mostly Mozart brochure.

Visit MostlyMozart.org for full festival listings.

Join the conversation: #LCMozart

We would like to remind you that the sound of coughing and rustling paper might distract the performers 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 pho - tographs and the use of recording equipment are not allowed in the building. 07-31 Denk_Gp 3.qxt 7/22/15 10:13 AM Page 5

Mostly Mozart Festival

Welcome to Mostly Mozart

I am pleased to welcome you to the 49th Mostly Mozart Festival, our annual celebration of the innovative and inspiring spirit of our namesake composer. This summer, in addition to a stellar roster of guest conductors and soloists, we are joined by composer-in-residence George Benjamin, a leading contemporary voice whose celebrated opera Written on Skin makes its U.S. stage premiere.

This landmark event continues our tradition of hearing Mozart afresh in the context of the great music of our time. Under the inspired baton of Renée and Robert Belfer Music Director Louis Langrée, the Mostly Mozart Festival Orchestra delights this year with the Classical repertoire that is its specialty, in addition to Beethoven’s joyous Seventh Symphony and Haydn’s triumphant Creation.

Guest appearances include maestro Cornelius Meister making his New York debut; Edward Gardner, who also leads the Academy of Ancient Music in a Mendelssohn program on period instruments; and Andrew Manze with violin - ist Joshua Bell in an evening of Bach, Mozart, and Schumann. Other preemi - nent soloists include Emanuel Ax, Matthias Goerne, and festival newcomers Sol Gabetta and Alina Ibragimova, who also perform intimate recitals in our expanded Little Night Music series. And don’t miss returning favorite Emerson String Quartet and the International Contemporary Ensemble, our artists-in- residence, as well as invigorating pre-concert recitals and lectures, a panel discussion, and a film on Haydn.

With so much to choose from, we invite you to make the most of this rich and splendid festival. I look forward to seeing you often.

Jane Moss Ehrenkranz Artistic Director Mostly Mozart Festival I Words and Music

Orpheus By William Jay Smith

Orpheus with music charms the birds And animals, the fish, the falling waves, The stars that might be starfish overhead, And dragons in their oriental caves. By men who suffer he is always heard, And speaks of life, and death which darkness brings, Of roads that wind like sorrow through the trees, Of forest, and of hills like sleeping kings.

Let us prepare; the god of music comes. He will have laurel, and a fountain playing, Moon-men ready at the kettledrums, Fire-tipped lances, moon-white horses neighing, Earth awakening from her tragic sleep, The cool, ecstatic earth. O hear, O hear.

—© by William Jay Smith. Reprinted by kind permission of William Jay Smith.

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

By Paul Schiavo t

o Early in 1781, Mozart left his native Salzburg and settled in Vienna,

h where he would remain for the rest of his life. His first half-decade

s in the Austrian capital proved to be the period of his greatest suc - cess, and the first three works we hear this evening embody the p qualities that make Mozart’s compositions from this time so a appealing. n Mozart wrote several operas during his first years in Vienna. All are S comedies, and the Overture to Der Schauspieldirektor (“The Impresario”) gives us Mozart in his humorous vein. In addition to his own theatrical works, Mozart occasionally wrote arias to be added to operas by other composers. We hear two splendid exam - ples this evening, both fashioned for Mozart’s sister-in-law.

His operatic efforts notwithstanding, Mozart’s major achievement during his first five years in Vienna is the series of piano concertos he composed. The Concerto in E-flat major, K.449, typifies his mature writing for piano and orchestra. Our final offering, the Symphony No. 34 in C major, K.338, dates from just before Mozart’s move to Vienna, though its music is on the same high level as the works he produced there.

—Copyright © 2015 by Paul Schiavo Mostly Mozart Festival I Notes on the Program

By Paul Schiavo

m Overture to Der Schauspieldirektor (“The Impresario”), K.486 (1786)

a WOLFGANG AMADEUS MOZART r Born January 27, 1756, in Salzburg

g Died December 5, 1791, in Vienna o

r Approximate length: 5 minutes P

Mozart’s short opera Der Schauspieldirektor (“The Impresario”) is a one-act farce about opera itself—or, more precisely, the vanities of singers and the e manipulative ways of the theater director of its title. Composed in 1786, it is h a slender work, consisting only of a pair of arias, a trio, a finale, and a good t

deal of spoken dialogue. It is also dramatically slight, but its overture provides a worthy concert piece. n

o The principal theme of this prelude, announced in the opening measures,

conveys an impish, mischievous humor. Soon, Mozart introduces other s melodies and proceeds to juxtapose them against the first subject in rapid e succession. The lively interplay of these ideas prompted Otto Jahn, the great t 19th-century Mozart biographer, to venture that “the whole overture resem - o bles a comedy, with the different characters and intrigues crossing each other until, at last, all ends well.” One could hardly put it better. N

Piano Concerto No. 14 in E-flat major, K.449 (1784) WOLFGANG AMADEUS MOZART

Approximate length: 21 minutes

After taking up residence in Vienna in 1781, Mozart achieved considerable success composing and performing concertos for piano and orchestra. He wrote some 15 works of this kind between 1782 and 1786, endowing them with some of his most satisfying instrumental music.

Mozart wrote the Piano Concerto in E-flat major, K.449, in 1784. He initially created it for Barbara von Ployer, the daughter of a family whom he had known in their common native city of Salzburg and who became his student in the Austrian capital. That she was a talented and capable pupil is evident from the solo part, which is entirely characteristic of Mozart’s concerto style. The only concession her teacher made on her behalf is in the work’s orches - tral forces. Mozart could count on a fairly substantial ensemble for his own public performances, and he did not hesitate to include flutes, clarinets, trumpets, and timpani in his concerto scoring. Ployer, however, would have had more modest resources at her disposal. We find, therefore, only pairs of oboes and horns joining the usual string ensemble. Mozart performed the work himself in Vienna, providing further evidence that it is very much on a par with his other piano concertos. Mostly Mozart Festival I Notes on the Program

The 3/4 meter of the first movement is a rarity among Mozart’s concerto open - ings, which usually unfold in a spacious 4/4 time. In part because of this more restless pulse, and in part because Mozart moves with what is even for him unusual rapidity between thematic ideas and harmonic shadings, the music has an unusually energetic, mercurial character. There follows a leisurely Andantino . The ease with which this movement seems to unfold is countered by a finale displaying a wealth of contrapuntal invention in its treatment of the recurring principal theme. This may have been for the benefit of Ployer, whose notebook contains one entry that her teacher signed “Signor Maestro Contrapunto,” but its larger significance is the growing influence of the poly - phonic style of Bach and Handel on Mozart’s music at this time.

Vorrei spiegarvi, oh Dio!, K.418 (1783) No, che non sei capace, K.419 (1783) WOLFGANG AMADEUS MOZART

Approximate length: 10 minutes

In Vienna, Mozart devoted much of his energy to vocal music and Did you know? hoped above all for success in the field of opera. In addition to com - Mozart fell in love with soprano posing his own works for the the - Aloysia Lange and was deeply disap - ater, Mozart occasionally wrote pointed that she did not reciprocate arias for interpolation into operas his feelings; he eventually married by other composers. He was her sister, Constanze. especially glad to provide such pieces for insertion into scores by musicians he considered his rivals, for he expected to benefit from the close comparison of his music to theirs.

We owe the two arias we hear this evening to just such a circumstance. Mozart wrote these pieces in 1783 at the request of his sister-in-law, Aloysia Lange, a fine soprano who made her Vienna debut in Il curioso indiscreto , an opera written by an Italian composer named Pasquale Anfossi. Whether she disliked Anfossi’s music or, as Mozart more diplomatically claimed, the arias she had been given were written for another singer and did not suit her voice, Lange insisted that two numbers be replaced and nominated her sister’s hus - band to fashion new ones.

In the first of them, “Vorrei spiegarvi, oh Dio!,” K.418, the character played by Lange rebuffs the amorous advances of a suitor, for she is already the fiancée of another. Typical of such numbers, a dramatic prologue prefaces the aria itself.

Later in the opera, the same character is falsely accused of being unfaithful to her fiancé. Learning that her honor has been thus defamed, she defends her - self in a brilliant aria, “No, che non sei capace,” K.419. Its wide melodic leaps and virtuosic runs attest that Lange was indeed an accomplished singer. Mostly Mozart Festival I Notes on the Program

Vorrei spiegarvi, oh Dio! Oh heaven! I would like to tell you Text: Anonymous

Vorrei spiegarvi, oh Dio! Oh heaven! I would like to tell you Qual è l’affanno mio; the reason for my anguish, Ma mi condanna il fato but Fate condemns me A piangere e tacer. to weep in silence.

Arder non può il mio core My heart cannot burn Per chi vorrebbe amore for one who would love me E fà che cruda io sembri, and a bitter duty Un barbaro dover. makes me seem cruel.

Ah conte, partite, Ah, go, Count, Correte, fuggite leave me, fly Lontano da me; far from me; La vostra diletta Your beloved Emilia v’aspetta, Emilia awaits you, Languir non la fate, do not cause her to pine. È degna d’amor. She is worthy of your love. Ah stelle spietate! Oh pitiless stars! Nemiche mi siete. You are my foes. Mi perdo s’ei resta, oh Dio! I am lost if he remains, oh heaven! Partite, correte, Go, go in haste; D’amor non parlate, do not speak of love; È vostro il suo cor. yours is her heart.

No, che non sei capace No, you are not capable Text: Anonymous

No, che non sei capace No, you are not capable Di cortesia, d’onore, of courtesy or honor, E vanti a torto un core, and falsely boast of a heart Ch’arde d’amor per me. that burns with love for me.

Vanne! t’abborro, ingrato, Go, ingrate, I abhor you, E più me stesso abborro, and abhor myself more Che t’ho un istante amato, for having loved you for a moment, Che sospirai per te. and having sighed for you. Mostly Mozart Festival I Notes on the Program

Symphony No. 34 in C major, K.338 (1780) WOLFGANG AMADEUS MOZART

Approximate length: 26 minutes

Mozart’s “grand journey” to Mannheim and Paris, where he hoped to estab - lish himself in one of Europe’s more important musical centers, was neither happy nor productive. Departing his native Salzburg in the autumn of 1777, the young composer repeatedly met with frustration in his efforts to secure either commissions or patronage. The death, in Paris, of his mother, who had accom - panied him on the trip, as well as the unhappy end of a romance with the singer Aloysia Weber, further dampened his spirits. In this cheerless state, Mozart wrote relatively little music, and he returned home early in 1779 having failed utterly in his first attempt to make his own way in the world.

Once back in his native Salzburg, however, Mozart began to compose with greater authority than ever. Among the important works he produced was the Symphony No. 34 in C major, K.338. As an inscription in the autograph score attests, it was completed on August 29, 1780. Mozart cast the composition in three movements; he also began a minuet movement but eventually aban - doned it. Fourteen measures of that movement, written on the back of the last page of the initial movement and crossed out, have survived. Mozart excised the rest from his manuscript. The symphony is usually performed with just the three completed movements; this evening we hear it with the surviving frag - ment of the minuet.

The composition reflects a number of influences Mozart absorbed during his travels. The concerted opening statement is typical of French symphonic music of the late 18th century, as is the block-like alternation of wind and string choirs in subsequent passages. In addition, the initial movement offers conspicuous imitation of the famous “Mannheim crescendo,” in which the whole orchestra swells impressively in volume over the length of a phrase.

At the same time, however, the music shows its 24-year-old author beginning to find his own symphonic voice. The outer movements have about them a dis - tinctly Mozartian energy, and there is a prominent role for the oboes in the jig- like Finale . By contrast, the central Andante is relaxed and gracious. Less than a decade later, Mozart would achieve an exalted level of symphonic invention in his “Prague” Symphony (No. 38) and the great trilogy of 1788 (Symphonies Nos. 39, 40, and 41), a road to mastery whose early steps are evident in the composition heard this evening.

Paul Schiavo serves as program annotator for the St. Louis and Seattle Symphonies, and writes frequently for concerts at Lincoln Center.

—Copyright © 2015 by Paul Schiavo Mostly Mozart Festival I Meet the Artists s t s i t r A

e R O h L Y A t T

R

E F I t N N E J e

e Louis Langrée

M Louis Langrée, music director of the Mostly Mozart Festival since December 2002, was named Renée and Robert Belfer Music Director in August 2006. Under his musical leadership, the Mostly Mozart Festival Orchestra has received extensive critical acclaim, and their performances are an annual summertime highlight for classical music lovers in New York City.

Mr. Langrée is also music director of the Cincinnati Symphony Orchestra and chief conductor of Camerata Salzburg. During the 2015–16 season, he will conduct the Cincinnati Symphony Orchestra at Lincoln Center as part of the Great Performers series. At home in Ohio, the ensemble’s performances will include a Brahms festival and three world-premiere concertos for orchestra. Mr. Langrée will also tour Germany with Cam erata Salzburg. His guest engagements include appearances with the Gewandhaus Orchestra of Leipzig and performances of Così fan tutte at the Aix-en-Provence Festival.

Mr. Langrée frequently appears as guest conductor with the Berlin and Vienna Philharmonics, Budapest Festival Orchestra, London Philharmonic Orchestra, Paris Orchestra, and NHK Symphony Orchestra, as well as with the Freiburg Baroque Orchestra and Orchestra of the Age of Enlightenment. His opera engagements include appearances with the Metropolitan Opera, Lyric Opera of Chicago, La Scala, Opéra Bastille, Royal Opera House–Covent Garden, and the Vienna State Opera. Mr. Langrée was appointed Chevalier des Arts et des Lettres in 2006 and Chevalier de l’Ordre National de la Légion d’Honneur in 2014.

Mr. Langrée’s first recording with the Cincinnati Symphony Orchestra, released in September 2014, features commissioned works by Nico Muhly and David Lang, as well as Copland’s Lincoln Portrait narrated by Maya Angelou. His DVD of Verdi’s La traviata from the Aix-en-Provence Festival fea - turing Natalie Dessay and the London Symphony Orchestra was awarded a Diapason d’Or. His discography also includes recordings on the Accord, Naïve, Universal, and Virgin Classics labels. Mostly Mozart Festival I Meet the Artists

Emanuel Ax

Born in Lvov, Poland, Emanuel Ax captured public attention in 1974 when he won the first Arthur Rubinstein International Piano Master Competition; he went on to win the Young Concert Artists Michaels Award (1975) and the Avery O

C Fisher Prize (1979). C U Z Z A M

E

I In the 2014–15 season, Mr. Ax partic - R A M

ipated in the Toronto Symphony A S I

L Orchestra’s Celebrate the Piano fes - tival and a European tour with the Philadelphia Orchestra and Yannick Nézet-Séguin. He performed with the orchestras of New York, Los Angeles, San Francisco, Boston, Cincinnati, Dallas, Washington, Nashville, Atlanta, St. Louis, Montreal, and Ottawa, and gave recitals in Vancouver, San Francisco, and the Midwest. In Europe, he returned to the Berlin Philharmonic, followed by a tour to Vienna, Salzburg, Graz, and London performing Schubert’s Winterreise with Simon Keenlyside, and he presented both Brahms concertos in Amsterdam and Paris with the Chamber Orchestra of Europe under Bernard Haitink. Mr. Ax also appeared with the London Symphony Orchestra, Czech Philharmonic Orchestra, Zurich Tonhalle Orchestra, Orchestre National du Capitole de Toulouse, and Orchestre National de Lyon.

A Grammy-winning artist exclusive to Sony Classical since 1987, his most recent release is a recital disc exploring variations by composers including Haydn, Schumann, and Copland. He is a fellow of the American Academy of Arts and Sciences and holds honorary doctorates from Yale and Columbia Universities. Mostly Mozart Festival I Meet the Artists

Erin Morley

Erin Morley is one of today’s most promising coloratura sopranos. Her 2014–15 season included company debuts at the Paris National Opera (Konstanze in Die Entführung aus dem Serail ) and the Vienna State Opera (Gilda in Rigoletto and Sophie von Faninal in Der Rosenkavalier ), as

N

O

S well as a return to the Metropolitan

N

H

O Opera as Olympia in Les contes

J

Y

E

L d’Hoffmann . This summer Ms.

S

E

W Morley recorded the role of Sylvie in Gounod’s La colombe with Mark Elder for Opera Rara and performed the Virgin with the New York Philharmonic in Honegger’s Joan of Arc at the Stake with Alan Gilbert and Marion Cotillard. Her season will conclude with a performance of Mater Gloriosa in Mahler’s Symphony No. 8 with the Boston Symphony Orchestra under Andris Nelsons at Tanglewood. Future projects include Zerbinetta in Ariadne auf Naxos at the Minnesota Opera, the Fiakermilli in Arabella at the Bavarian State Opera, and Sophie in Der Rosenkavalier at the Paris National Opera, as well as a European and American tour singing Angelica in Handel’s Orlando with the English Concert and Harry Bicket. Looking further ahead, Ms. Morley will have debuts at Glyndebourne and the Houston Grand Opera, and she returns to the Met, the Vienna State Opera, and the Bavarian State Opera.

Mostly Mozart Festival

Lincoln Center’s Mostly Mozart Festival—America’s first indoor summer music festival—was launched as an experiment in 1966. Called Midsummer Serenades: A Mozart Festival, its first two seasons were devoted exclusively to the music of Mozart. Now a New York institution, Mostly Mozart continues to broaden its focus to include works by Mozart’s predecessors, contempo - raries, and related successors. In addition to concerts by the Mostly Mozart Festival Orchestra, Mostly Mozart now includes concerts by the world’s outstanding period-instrument ensembles, chamber orchestras and ensem - bles, and acclaimed soloists, as well as opera productions, dance, film, late- night performances, and visual art installations. Contemporary music has become an essential part of the festival, embodied in annual artists-in-resi - dence, including Osvaldo Golijov, John Adams, Kaija Saariaho, Pierre-Laurent Aimard, and the International Contemporary Ensemble. Among the many artists and ensembles who have had long associations with the festival are Joshua Bell, Christian Tetzlaff, Itzhak Perlman, Emanuel Ax, Garrick Ohlsson, Stephen Hough, Osmo Vänskä, the Emerson String Quartet, Freiburg Baroque Orchestra, Orchestra of the Age of Enlightenment, and the Mark Morris Dance Group. Mostly Mozart Festival | Meet the Artists

Mostly Mozart Festival Orchestra

The Mostly Mozart Festival Orchestra is the resident orchestra of the Mostly Mozart Festival, and the only U.S. chamber orchestra dedicated to the music of the Classical period. Louis Langrée has been the Orchestra’s music director since 2002, and each summer the ensemble’s Avery Fisher Hall home is trans - formed into an appropriately intimate venue for its performances. Over the years, the Orchestra has toured to such notable festivals and venues as Ravinia, Great Woods, Tanglewood, Bunkamura in Tokyo, and the Kennedy Center. Conductors who made their New York debuts leading the Mostly Mozart Festival Orchestra include Jérémie Rhorer, Edward Gardner, Lionel Bringuier, Yannick Nézet-Séguin, Charles Dutoit, Leonard Slatkin, David Zinman, and Edo de Waart. Mezzo-soprano Cecilia Bartoli, flutist James Galway, soprano Elly Ameling, and pianist Mitsuko Uchida all made their U.S. debuts with the Mostly Mozart Festival Orchestra.

Lincoln Center for the Performing Arts, Inc.

Lincoln Center for the Performing Arts (LCPA) serves three primary roles: presenter of artistic programming, national leader in arts and education and community relations, and manager of the Lincoln Center campus. A presenter of more than 3,000 free and ticketed events, performances, tours, and educa - tional activities annually, LCPA offers 15 programs, series, and festivals, including American Songbook, Great Performers, Lincoln Center Festival, Lincoln Center Out of Doors, Midsummer Night Swing, the Mostly Mozart Festival, and the White Light Festival, as well as the Emmy Award–winning Live From Lincoln Center , which airs nationally on PBS. As manager of the Lincoln Center campus, LCPA provides support and services for the Lincoln Center complex and the 11 resident organizations. In addition, LCPA led a $1.2 billion campus renovation, completed in October 2012. Mostly Mozart Festival | Meet the Artists

4

1

0

2

R

O

L

Y

A

T

R

E

F

I

N

N

E

J Mostly Mozart Festival Orchestra Louis Langrée , Renée and Robert Belfer Music Director

Violin I Viola Flute Trumpet Ruggero Allifranchini, Shmuel Katz, Principal Jasmine Choi, Neil Balm, Principal Concertmaster Meena Bhasin Principal Lee Soper Martin Agee Danielle Farina Tanya Dusevic Witek Eva Burmeister Chihiro Fukuda Timpani Robert Chausow Jack Rosenberg Oboe David Punto, Principal Lilit Gampel Jessica Troy Randall Ellis, Principal Amy Kauffman Nick Masterson Librarian Sophia Kessinger Cello Michael McCoy Lisa Matricardi Ilya Finkelshteyn, Clarinet Ronald Oakland Principal Jon Manasse, Personnel Managers Ted Ackerman Principal Neil Balm Violin II Amy Butler-Visscher Liam Burke Jonathan Haas Laura Frautschi, Alvin McCall Gemini Music Principal Bassoon Productions, Ltd. Katsuko Esaki Bass Daniel Shelly, Principal Michael Gillette Zachary Cohen, Tom Sef cˇovi cˇ Katherine Livolsi- Principal Landau Lou Kosma Horn Michael Roth Judith Sugarman Lawrence DiBello, Dorothy Strahl Principal Deborah Wong Richard Hagen Mineko Yajima

Get to know the Mostly Mozart Festival Orchestra musicians at MostlyMozart.org/MeetTheOrchestra Mostly Mozart Festival

Lincoln Center Programming Department Jane Moss, Ehrenkranz Artistic Director Hanako Yamaguchi, Director, Music Programming Jon Nakagawa, Director, Contemporary Programming Jill Sternheimer, Acting Director, Public Programming Lisa Takemoto, Production Manager Charles Cermele, Producer, Contemporary Programming Kate Monaghan, Associate Director, Programming Claudia Norman, Producer, Public Programming Mauricio Lomelin, Producer, Contemporary Programming Julia Lin, Associate Producer Nicole Cotton, Production Coordinator Regina Grande, Assistant to the Artistic Director Luna Shyr, Programming Publications Editor Claire Raphaelson, House Seat Coordinator Stepan Atamian, Theatrical Productions Intern ; Annie Guo, Production Intern ; Grace Hertz, House Program Intern

Program Annotators: Don Anderson, Peter A. Hoyt, Kathryn L. Libin, Paul Schiavo, David Wright

LINCOLN CENTER FOR THE PERFORMING ARTS Katherine Farley, Chair Jed Bernstein, President

MOSTLY MOZART FESTIVAL OPENING NIGHT GALA TUESDAY, JULY 28, 2015

HONORING Tom Brokaw

GALA SUPPORTERS

LEADERS Tom and Meredith Brokaw Katherine Farley and Jerry I. Speyer

BENEFACTORS Adrienne Arsht Renée and Robert Belfer Julia and David H. Koch Ralph Schlosstein and Jane Hartley Mostly Mozart Festival

PARTNERS Bloomberg Philanthropies Susan and David Coulter Ellen and Daniel Crown Cheryl and Blair Effron Anne and Joel Ehrenkranz Mimi Haas Rita E. and Gustave M. Hauser Hearst Corporation Jill and Peter Kraus Cheryl and Philip Milstein Anna Nikolayevsky Omnicom Group Inc. Alice and David M. Rubenstein Laurie M. Tisch Ann Ziff

PATRONS Ronnie and Lawrence D. Ackman Party Rental Ltd. US Trust

FRIENDS Akustiks, LLC Robert and Helen Appel Murat Beyazit Ted Chapin Joshua Dachs/Fisher Dachs Associates Jennie L. and Richard K. DeScherer Elizabeth Diller + Ricardo Scofidio Roberta and Harvey Golub Elliot and Roslyn Jaffe Movado Group, Inc. Nancy and Morris W. Offit Cynthia H. Polsky and Leon B. Polsky David and Susan Rockefeller Alexandra Munroe and Robert Rosenkranz/The Rosenkranz Foundation Tiger Baron Foundation In Memory of Ernest Tyrrasch Ann and Thomas Unterberg

(List as of July 17, 2015)