Così Fan Tutte R Freiburg Baroque Orchestra P

Monday Evening, August 15, 2016, at 7:30 pm m Pre-concert lecture by Scott Burnham at 6:15 pm in the a

r Stanley H. Kaplan Penthouse g

o Così fan tutte r Freiburg Baroque Orchestra P

Louis Langrée , Conductor

e Lenneke Ruiten , Fiordiligi M|M

h Kate Lindsey , Dorabella

T Sandrine Piau , Despina Joel Prieto , Ferrando M|M Nahuel Di Pierro , Guglielmo M|M Rod Gilfry , Don Alfonso M|M Musica Sacra M|M Kent Tritle , Chorus Director Annette Jolles , Director Andrew Hill , Lighting Designer

MOZART Così fan tutte , ossia La scuola degli amanti (1789–90)

This performance is approximately three-and-a-half hours long, including one intermission between Acts I and II.

M|M Mostly Mozart debut

Please make certain all your electronic devices are switched off.

Tonight’s performance is dedicated in honor of Renée and Robert Belfer. The Mostly Mozart Festival is made possible by Renée and Robert Belfer, Sarah Billinghurst Solomon and Howard Solomon, and Rita E. and Gustave M. Hauser. This performance is made possible in part by the Josie Robertson Fund for Lincoln Center.

Fortepiano by R.J. Regier, Freeport, Maine Alice Tully Hall , Starr Theater Adrienne Arsht Stage Mostly Mozart Festival

Additional support is provided by Chris and Bruce Crawford, Laurie M. Tisch Illumination Fund, Anne and Joel Ehrenkranz, The Howard Gilman Foundation, 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. American Airlines is the Official Airline of Lincoln Center Nespresso is the Official Coffee of Lincoln Center NewYork-Presbyterian is the Official Hospital of Lincoln Center MetLife is the National Sponsor of Lincoln Center “Summer at Lincoln Center” is supported by Diet Pepsi Media Partner WQXR Artist Catering provided by Zabar’s and Zabars.com

The cast of Così fan tutte originally appeared at the 2016 Aix-en-Provence Festival.

UPCOMING MOSTLY MOZART FESTIVAL EVENTS :

Tuesday and Wednesday, August 1 6–17, at 7:30 pm in David Geffen Hall Mostly Mozart Festival Orchestra Matthew Halls , conductor (New York debut) Joshua Bell , violin MENDELSSOHN: Overture to A Midsummer Night’s Dream MOZART: Violin Concerto No. 4 in D major BEETHOVEN: Overture to Coriolan BEETHOVEN: Symphony No. 8 Pre-concert recitals by Alexi Kenney, violin, at 6:30 pm

Friday and Saturday, August 19–20, at 7:30 pm in David Geffen Hall Mostly Mozart Festival Orchestra Louis Langrée , conductor Joélle Harvey , soprano M|M Cecelia Hall , mezzo-soprano M|M Alek Shrader , tenor M|M Christian Van Horn , bass-baritone M|M Concert Chorale of New York James Bagwell , director ALL-MOZART PROGRAM Mass in C minor Requiem Pre-concert lecture by Andrew Shenton at 6:15 pm in the Stanley H. Kaplan Penthouse

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 photographs and the use of recording equipment are not allowed in the building. Mostly Mozart Festival

Shades of Humanity in Mozart’s Operas By Peter A. Hoyt

Mozart’s operas stand among the most celebrated artworks of European culture. They are beloved not only for arias of exquisite beauty, but also for ensembles of almost unbelievable dramatic range. Although most of the standard operatic repertoire was created in the 19th and early 20th centuries, Mozart managed to contribute a good half-dozen works to this collection of canonical offerings between 1781 and 1791.

Though the beauty of his works might seem sufficient justification, the promi - nence of Mozart in the operatic repertoire is not easy to explain. A number of his predecessors—Monteverdi, Purcell, Handel, Rameau, Gluck—also created extraordinarily attractive scores. Mozart, however, was among the first com - posers to give his characters a psychological depth that can be identified as modern. Previous composers typically regarded their singers as representing universal types: A noble monarch in an opera by Handel, for example, was understood as an allegorical representation of noble monarchs in general. The emotions portrayed by such figures were also regarded as universal; musical expressions of anger were so similar that they were collectively known as “rage arias” and were frequently regarded as interchangeable. In the early 18th cen - tury, singers often substituted one such aria for another, much to the annoyance of composers.

Mozart, on the other hand, treated emotions as having many nuances that man - ifest the personality and experiences of a specific individual. Subtle shades of anger, for instance, can be heard in the music Mozart gives to Elettra in his Idomeneo of 1781. The Greek princess desires Idamante, the crown prince of Crete, but he is enamored of someone else. In her two outbursts of jealous rage, Elettra blends fury with a wide range of other emotions, including self-pity, offended dignity, and a covert pride in the gods’ choice of her royal house for unrelenting suffering. More than any previous composer, Mozart sought to jux - tapose such seemingly disparate states, an approach that gave his operatic ensembles an unprecedented scope. In his musical language, Mozart seems to be fashioning a modern individual torn between irreconcilable impulses.

The modern belief that the human personality is marked by inner conflicts reflects the psychological theories of Sigmund Freud (185 6–1939) and the his - torical accounts of Michel Foucault (1926–84), who maintained that our prevail - ing concepts of the individual originated in the late 18th century—precisely as Mozart was composing his greatest masterworks. If his stage works now mark the beginning of the standard operatic repertoire, it may be because he created the first musical characters we can recognize as fully sharing our own humanity.

Disguise upon disguise, and then disguise, Equivocations at the rose’s heart, Life’s surest pay a poet’s forgeries, The gossamer gold coinage of our art. Why hope for truth? Thy very being slips, Lost from thee, in thy crowd of masking moods. Why hope for love? Between quick-kissing lips Is room and stage for all hate’s interludes. One with thy love thou art!—her eyes, her hair Known to thy soul, a pure estate of bliss; But some least motion, look, or changëd air, And nadir unto zenith nearer is: Thou mayst control her limbs, but not begin To know what planet rules the tides within.

—“Soul unto Soul Glooms Darkling,” from Book of Day-Dreams , by Charles Leonard Moore

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

By Paul Schiavo t

o Romantic love famously separates lovers from common sense,

h objective reality, and emotional equilibrium. In order to restore those

s connections, men and women equally require hard lessons in La scuola degli amanti (“The School for Lovers”), which was the original p title of Mozart’s opera Così fan tutte . They must learn that lovers’ a promises do not predict their actions; that we tend to see our para -

n mours through proverbial rose-tinted glass; that our amatory pas - sions lie mostly beyond our control; and that, in matters of the heart, S we must accept and forgive our common frailties and imperfections.

Happily, the instruction in these matters that Mozart and his libret - tist, Lorenzo Da Ponte, offer in Così fan tutte entails a good deal of wit and mirth—and a great deal of inspired music. The opera’s story tells how two soldiers, each certain that his fiancée is a paragon of fidelity, are persuaded to put their faith to a test. To their dismay, their ladies’ constancy proves ephemeral. The mechanism by which this sad truth is proved involves preposterous disguises and out - landish courtship, making for high humor.

But Così fan tutte hides satiric barbs within its comedy. While the dialogue and music sparkle with gaiety, that quality cannot entirely mask an undercurrent of melancholy, of genuine regret at love’s imperfection. The lessons of Mozart and Da Ponte’s schooling are nothing if not bittersweet. Yet it is precisely their complex, nuanced view of love and lovers that makes Così fan tutte worthy of attention.

By Paul Schiavo s i ACT I s In Naples, two soldiers, Ferrando and Guglielmo, are dining with the elderly p Don Alfonso. The latter has evidently questioned the fidelity of the young

o men’s fiancées, and they demand that he prove his contention that their sweethearts cannot be trusted. Eventually they settle on a wager, the condi - n tion being that the soldiers follow Alfonso’s instructions precisely. y

S At the home of Ferrando and Guglielmo’s darlings, Dorabella and Fiordiligi, the sisters sing of their handsome soldiers and pledge to be true to them. Alfonso arrives with news that the young men have been ordered to war. Ferrando and Guglielmo follow, and the two couples bid tender farewells. To the strains of a march, soldiers and townsfolk gather outside. Ferrando and Guglielmo board a boat and sail off. The ladies and Alfonso join in wishing them safe passage.

In another room, the sisters’ maid, Despina, prepares breakfast, but her mis - tresses are distraught by their fiances’ departure. Despina finds their anguish absurd and urges them simply to find new lovers. After the indignant sisters depart, Alfonso enlists Despina into his conspiracy. Ferrando and Guglielmo reappear, disguised as foreigners and, aided by Alfonso, declare their pas - sionate love-at-first-sight to Dorabella and Fiordiligi. The latter, in an impres - sive aria, rebuffs them. Guglielmo commends his and his companion’s manly appearances, but this has no effect, and the ladies depart. The soldiers are confident of winning their bet, but Alfonso is unconvinced. Later, the men feign suicide in response to the sisters’ indifference. Despina, disguised as a doctor, restores them, but the ladies are adamant in refusing their requests for kisses.

ACT II Despina advises her mistresses to enjoy the attentions of their new suitors. The ladies finally agree. Outside, Ferrando and Guglielmo, still in disguise, serenade the sisters with a song of love. Upon its conclusion, an awkward shyness takes over until Despina and Alfonso prod the courting along. Dorabella begins to enjoy her flirtation with Guglielmo and, falling to his pro - fessions of love, allows her fiance’s portrait to be replaced with a heart- shaped pendant. But Fiordiligi holds out against Ferrando’s entreaties. In an elaborate recitative and aria, she wrestles with her conflicting feelings of desire and loyalty.

Guglielmo exults in Fiordiligi’s faithfulness, but chides women generally for their fickle ways. Ferrando, however, is furious and wounded by Dorabella’s betrayal. Although Guglielmo is ready to claim victory in the wager with Alfonso, the latter requires one last test before conceding. Mostly Mozart Festival I Synopsis

Elsewhere, Despina congratulates Dorabella on adopting what the maid consid - ers a sensible attitude toward love. Fiordiligi remains tormented by the discord in her heart and, despite her sister’s advice to enjoy love’s pleasures, resolves to join her fiancé at the front. She is prevented from leaving by the disguised Ferrando, who resumes his courtship. No longer able to resist, Fiordiligi embraces him, and they exit arm in arm.

Now it’s Guglielmo’s turn to rue his sweetheart’s inconstancy. Ferrando joins him and exacts a small measure of taunting revenge. Don Alfonso advises the soldiers to forgive the women, whose nature makes them incapable of fidelity in love, and all three sing the motto heard in the overture, “Così fan tutte.”

The opera’s final scene has the sisters preparing to wed their new paramours. But a reprise of the Act I march signals the return of the departed soldiers, throwing the women into panicked consternation. Eventually the deception played upon the ladies is revealed. They beg forgiveness, which their fiancés grant, and all join in singing an affirmation of Enlightenment rationality: Those guided by reason will laugh at what causes others to weep.

By Paul Schiavo

m Così fan tutte , ossia La scuola degli amanti , K.588 (1789–90)

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

g Died December 5, 1791, in Vienna o

r Così fan tutte is the last of the three operas Mozart wrote in collaboration with the worldly and insightful poet Lorenzo Da Ponte, the others being Le P

nozze di Figaro and Don Giovanni . This operatic trilogy is notable for contain - ing most of Mozart’s great theatrical music, outstanding passages in La e clemenza di Tito , Die Zauberflöte , and several earlier operas notwithstanding. h No less impressively, the Mozart/Da Ponte operas represent an extraordinary t

breakthrough in bringing fully drawn, sympathetic human characters and sit - uations to the operatic stage. n

o Building on the work of earlier authors of operatic comedy, Da Ponte and

Mozart brought to lyric theater people whose character traits are both humor - e

t ously and painfully recognizable, whose passions, prejudices, jealousies, and vanities are essentially universal—which is to say that they are our own. To o do this took special genius. Neither the philandering Count, the bereft

N Countess, the lovesick teenager, and the clever servants in The Marriage of Figaro , nor the variously scorned, righteous, and coquettish women and the put-upon servant in Don Giovanni lacked precedent in drama or opera when Mozart and Da Ponte came to write those works. We can find their antecedents in Shakespeare, Molière, and especially in commedia dell’arte , the centuries-old improvised comedic theater that flourished first in Italy and then in France during the 16th and 17th centuries. But Da Ponte’s verses and Mozart’s music are so far from hackneyed that Figaro, Susanna, Cherubino, Donna Elvira, Leporello, and other characters in Figaro and Don Giovanni attain an individuality that had never before been realized in opera.

Così fan tutte , written during the last months of 1789 and completed in January 1790, might seem a step back from the achievement of the two ear - lier Mozart/Da Ponte collaborations. Lacking the audacious political subtext of Figaro , in which a titled aristocrat is defeated by his servants in a running bat - tle of wits, and the dramatic tension of Don Giovanni , Così fan tutte presents what we now recognize as a more conventional sort of sex farce. The male members of the two couples who are the focus of the plot disguise them - selves and romance each other’s fiancées.

Incognito wooing has been a time-honored device of romantic comedy from Shakespeare ( Twelfth Night and other plays) and Marivaux ( The Triumph of Love ) to modern cinema (Billy Wilder’s Some Like It Ho t). That the women eventually succumb to their mysterious suitors in Così fan tutte is a pre - dictable outcome. Even so, the opera’s workings, both dramatic and musical, Mostly Mozart Festival I Note on the Program are by no means formulaic. Through Da Ponte’s verses and Mozart’s score, the four lovers gain individuality and our empathy.

Especially moving are the expressions of emotional torment sung by two of the lovers, Fiordiligi and Ferrando, in the opera’s most important solo numbers. At the other end of the opera’s dramatic spectrum, the maid Despina’s freedom from the idealism and self-pity displayed by Dorabella and Fiordiligi is voiced so delightfully that Richard Strauss and his librettist Hugo von Hofmannsthal, work - ing more than a century after Mozart and Da Ponte, would reproduce it exactly in the relationship of the comedienne Zerbinetta to the titular tragic heroine of their Ariadne auf Naxos .

For all its zest and hijinks, Così fan tutte is more than merely farcical, and not only for the sympathy its characters elicit. Beneath its humor, the opera advances an idea whose importance, at least, cannot be contested: the rejection of what had been a neo-Platonic conception—and in the 19th century would become the Romantic ideal—of pure and irreproachable love. One can imagine how Wagner, whose music dramas never depict love as anything but transcen - dent, would have been dismayed to contemplate that notion.

In our own age of feminist sensibilities, a charge of misogyny has been leveled at Così fan tutte . It is true that the opera’s title, with its feminine-plural verb form, seems a blanket condemnation of women: “Thus Do They ( fem .) All.” It also is true that the deception perpetrated upon the two ladies can appear cruel. Yet their fiancés fare no better in Mozart and Da Ponte’s hands. Male van - ity, jealousy, and romantic delusions are as sharply lampooned in Così fan tutte as are female fragility and inconstancy. Moreover the men, no less than the women, are caught and wounded in the trap they have helped set. It would only be our loss if we allowed present-day mores to come between us and the wisdom embodied in Così fan tutte , for the opera’s antics serve a higher pur pose—indeed, comedy’s highest purpose—creating a mirror in which we can see our foolish selves.

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

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- l Mostly Mozart Festival I Meet the Artists

Lenneke Ruiten

Soprano Lenneke Ruiten (Fiordiligi) has been invited to perform in leading music venues worldwide, including opera houses in Paris, Vienna, Baden- Baden, Stuttgart, Brussels, Amsterdam, and Lausanne. She has worked with the Vienna Philharmonic, Mozarteum Orchestra Salzburg, Zurich Tonhalle Or - S

A chestra, Staatskapelle Dresden, Acad - M O

H emy of Ancient Music, and Musiciens T

O du Louvre. She is a frequent guest per - T C I V former at festivals such as the BBC Proms and the Salzburg, Aldeburgh, and Lucerne Music festivals. Ms. Ruiten has performed lieder in venues such as the Concertgebouw in Amsterdam, Wigmore Hall in London, and Kaisersaal in Frankfurt.

Recent and upcoming engagements include performances as Sophie in Der Rosenkavalier at the Stuttgart State Opera, Fiordiligi in Così fan tutte at the Aix- en-Provence Festival, Konstanze in Die Entführung aus dem Serail at Teatro alla Scala, the title role in The Cunning Little Vixen and Giunia in Lucio Silla at La Monnaie, and Lucia in Lucia di Lammermoor at the Opéra de Lausanne. Ms. Ruiten studied voice and flute at the Royal Conservatory of the Hague and the Bavarian Theater Academy in Munich. In 2002 she won several prizes at the International Vocal Competition in ’s-Hertogenbosch, the Netherlands.

Kate Lindsey

Kate Lindsey (Dorabella) has performed many of the great lyric mezzo-soprano roles to critical acclaim in leading opera houses including the Théâtre des Champs-Élysées, Metropolitan Opera, San Francisco Opera, Bavarian and Vienna State Operas, and the Royal Opera House, Covent Garden. She has K

E also appeared at the Glyndebourne, E R G

Salzburg, and Aix-en-Provence festivals, A T T

E as well as at Tanglewood. She starred S O R in the Metropolitan Opera’s broadcast of its new production of Les contes d’Hoffmann , and was featured in its broadcasts of La clemenza di Tito and The Magic Flute . An accomplished concert singer, Ms. Lindsey has appeared with the Boston Symphony Orchestra, New York Philharmonic, Cleveland Orchestra, and the MET Chamber Ensemble, and has performed in Europe with the Mostly Mozart Festival I Meet the Artists

Balthasar-Neumann-Ensemble and Royal Concertgebouw Orchestra, among others. She has worked with such distinguished conductors as Vladimir Jurowski, Louis Langrée, James Levine, Lorin Maazel, and Franz Welser- Möst. In recital, she has been presented by the Metropolitan Museum of Art and Rockefeller University.

During the 2015–16 season, Ms. Lindsey made her debut at Netherlands Opera in Hänsel und Gretel , returned to the Royal Opera House, Covent Garden in both Le nozze di Figaro and L’étoile , and appeared with Thomas Hengelbrock and the Balthasar-Neumann-Ensemble in performances of Dido and Aeneas at the Hamburg International Music Festival. This summer she returned to the Aix-en-Provence Festival and will make her debut at the Edinburgh International Festival in Così fan tutte . Next season she will make her debut at Washington National Opera in Dead Man Walking , return to the Royal Opera House, Covent Garden, and LA Opera for Les contes d’Hoffmann , and appear at the Vienna State Opera for Le nozze di Figaro .

Sandrine Piau

A renowned figure in the world of Baroque music, French soprano Sandrine Piau (Despina) regularly performs both lyric and Baroque repertoires on leading international stages. She has recently appeared in concert in Moscow, Paris, and Turin, E V Ï

A and has given recitals in London and N / Y L L

I Zurich. On the opera stage, Ms. Piau P X E has performed the role of Tytania in E N I R A Midsummer Night’s Dream at the D N A

S Aix-en-Provence Festival, Cleopatra in Giulio Cesare in Egitto at the Paris National Opera, the title role in Pelléas et Mélisande at La Monnaie, and the roles of Aennchen in Der Freischütz , Constance in Dialogues des Carmélites , Pamina in Die Zauberflöte , and Donna Anna in Don Giovanni at the Théâtre des Champs-Élysées.

A recital singer of both French and German repertoire, Ms. Piau performs with renowned accompanists including Jos van Immerseel, Roger Vignoles, and Susan Manoff, with whom she has recorded two recital albums. Ms. Piau is an exclusive recording artist for the Naïve label. Her latest disc, Desperate Heroines , is a selection of Mozart arias. She received the title of Chevalier de l’Ordre des Arts et des Lettres in 2006. Mostly Mozart Festival I Meet the Artists

Joel Prieto

Since he was awarded first prize in Plácido Domingo’s 2008 Operalia, the World Opera Competition, tenor Joel Prieto (Ferrando) has become one of the most exciting artists of his genera - tion. His professional opera debut came in 2006 when he played Tamino in Die Zauberflöte at the Deutsche Oper Berlin. In 2008 he began his inter - Y L U

A national career, appearing in Luisa P

O Fernanda at the Theater an der Wien M I S with soprano Patricia Petibon. Mr. Prieto has performed at leading opera venues that include the Teatro dell’Opera di Roma, Deutsche Oper Berlin, Gran Teatre del Liceu in Barcelona, Royal Opera House, Covent Garden, and the Bavarian and Berlin State Operas.

On the concert stage, Mr. Prieto has sung in Mozart’s C-minor Mass for the opening of the Salzburg Festival in 2010. He has also performed in Haydn’s Stabat Mater under the baton of Ivor Bolton at the Mozarteum in Salzburg and in Haydn’s Creation at the Teatro de la Maestranza in Seville. In a concert ver - sion of Lucia di Lammermoor with Edita Gruberova, he sang Arturo at the Sächsische Semperoper in Dresden and also the role of Tybalt in a concert ver - sion of Romeo et Juliette at the Concertgebouw in Amsterdam. During the 2015–16 season, Mr. Prieto toured Scandinavia and Russia with pianist Semjon Skigin as part of the Ocean Sun Festival. He appeared as Narraboth in Salome in concert with the Orchestre national de Lyon under Leonard Slatkin and per - formed the role of the Steersman in Der fliegende Holländer at the Berlin State Opera. He also made his debuts at Madrid’s Teatro Real as Tamino in Die Zauberflöte and at the Aix-en-Provence Festival as Ferrando in Così fan tutte . Mostly Mozart Festival I Meet the Artists

Nahuel Di Pierro

Born in Buenos Aires, bass Nahuel Di Pierro (Guglielmo) studied at the Artistic Institute of the Teatro Colón, where he sang Masetto in Don Giovanni , Haly in L’italiana in Algeri , Colline in La bohème , Guglielmo in Così fan tutte , and Figaro in Le nozze di Figaro . He is a former member of Atelier Lyrique at the Paris National Z E ̃ N

A Opera and the Young Singers Project Y

R at the Salzburg Festival. A V L A In recent seasons, Mr. Di Pierro has appeared at leading opera venues, including the Paris National Opera, Deutsche Oper Berlin, Théâtre des Champs-Élysées, and the Royal Opera House, Covent Garden. He has also performed in major cities such as Amsterdam, Zurich, Baden-Baden, and Buenos Aires. His diverse repertoire of roles includes Sarastro in Die Zauberflöte , Selim in Il turco in Italia , Lorenzo in I Capuleti e i Montecchi , Colline in La bohème , Walter and Melcthal in Guillaume Tell , and Leporello and the title role in Don Giovanni . Mr. Di Pierro has appeared at Rossini in Wildbad and the Glyndebourne and Aix-en-Provence Festivals, and regularly gives solo recitals. He has also performed in concert under such conductors as Kurt Masur, James Conlon, Riccardo Muti, John Eliot Gardiner, and Mark Elder.

Rod Gilfry

Baritone Rod Gilfry (Don Alfonso) is a two-time Grammy nominee, singer, and actor. Best known as an opera singer, he is also an acclaimed recital - ist and appears frequently in musical theater classics. He was brought to worldwide attention when he cre - ated the role of Stanley Kowalski in the 1998 premiere of André Previn’s K C I

R A Streetcar Named Desire at the San T A P

A Francisco Opera, opposite Renée N A

D Fleming. Other world premiere perfor - mances include the roles of Nicholas in Deborah Drattell’s Nicholas and Alexandra , Nathan in Nicholas Maw’s Sophie’s Choice , and Jack London in Libby Larsen’s Every Man Jack . In 2015 he created his eighth world premiere in Boston, as Walt Whitman in Matthew Aucoin’s Crossing , an opera he will revive at BAM in 2017. Mostly Mozart Festival I Meet the Artists

Mr. Gilfry’s 201 5–16 season included performances in Beethoven’s Ninth Symphony with the Alabama Symphony Orchestra, as Don Alfonso in Così fan tutte with the Milwaukee Symphony Orchestra, and as Hajj in Kismet with the Volksoper Vienna. He is part of the original cast in the new production of Così fan tutte at this year’s Aix-en-Provence and Mostly Mozart Festivals, with perfor - mances at the Edinburgh International Festival later this summer.

Next season Mr. Gilfry will create his ninth world premiere in David Lang’s new one-man opera the loser at BAM’s Next Wave Festival, produced by Bang on a Can. He will also return to the Phoenix Symphony to sing Handel’s Messiah and will make his role debut as Wotan in Das Rheingold at Japan’s Biwako Hall under the direction of Michael Hampe. Next summer he will sing Claudius in the world premiere of Brett Dean’s Hamlet at the Glyndebourne Festival.

Annette Jolles

Annette Jolles (director) has created a diverse body of work as a director, writer, and producer for stage and television. She received multiple Emmy Awards for 9/11 Memorial from Ground Zero and Mitzi Gaynor: Razzle Dazzle! The Special Years . She has directed programs for Live from Lincoln Center , including New York Philharmonic New Year: La Vie Parisienne , Norm Lewis: Who Am I? , Patina Miller In Concert , and three Richard Tucker Opera Galas: From Bocelli to Barton , A New Century , and Richard Tucker at 100: An Opera Celebration . She has directed two Michael Feinstein specials at the Rainbow Room, also for PBS. Ms. Jolles directed the Off-Broadway and regional premieres of That Time of the Year , Little By Little , Wallenberg , The Passion of the Hausfrau , The Jerusalem Syndrome , Keeping the Word , and The Handshake . Theatrical concerts include ten seasons of the New Voices series at Symphony Space, where she also staged Wall to Wall Stephen Sondheim , Wall to Wall Stephen Schwartz , Wall to Wall Cabaret , Frank Sinatra at 100 , and numerous concerts for Project Broadway , curated with producing partner Joel Fram. Ms. Jolles’s Broadway producing cred - its include Fiddler on the Roof , China Doll , The Scottsboro Boys , The Anarchist , and Looped . She teaches musical theater performance at Yale University.

Andrew Hill

Andrew Hill (lighting designer) has designed lighting for three previous pre - sen tations at the Mostly Mozart Festival: this year’s opening program, The Illuminated Heart , and the Budapest Festival Orchestra’s staged concerts of Le nozze di Figaro in 2013 and Don Giovanni in 2011. Other designs include La bella dormente nel bosco for Basil Twist and Gotham Chamber Opera at Lincoln Center Festival and Spoleto Festival USA; Twist’s Petrushka and Symphonie Fantastique at Lincoln Center and Dogugaeshi at Japan Society; Phantom Limb’s 69°S at BAM’s Next Wave Festival; So Long Ago I Can’t Remember… with the avant-garde troupe GAle GAtes et al; and Big Dance Theater’s Shunkin at the Kitchen and Jacob’s Pillow. Mostly Mozart Festival I Meet the Artists

Freiburg Baroque Orchestra

The Freiburg Baroque Orchestra has enjoyed success for more than 20 years. A self-administrated ensemble with its own subscription concerts at Konzerthaus Freiburg, Liederhalle in Stuttgart, and Philharmonie in Berlin, the orchestra is a popular guest at concert halls and opera houses around the world. Under the artistic directorship of its two concertmasters, Gottfried von der Goltz and Petra Müllejans, the orchestra presents performances in various formations from chamber ensemble to opera orchestra.

The orchestra performs a diverse repertoire, from Baroque to contemporary, and is known for its cultivated and rousing performances. The Freiburg Baroque Orchestra has collaborated with renowned artists such as Kristian Bezuidenhout, Christian Gerhaher, Isabelle Faust, René Jacobs, Pablo Heras-Casado, and Andreas Staier, and has a close alliance with the Harmonia Mundi record label. Its own members also play solo concerts. The artistic success of this musical partner - ship is expressed in numerous CD productions, and the group has received awards including Gramophone and Echo Klassik Awards, the German Record Critics’ Award, the Edison Classical Music Award, and the Classic Brit Award.

Musica Sacra

Founded in 1964 by Richard Westenburg and now under the artistic leadership of Kent Tritle, Musica Sacra is the longest continuously performing profes - sional chorus in New York City. The group has performed with such ensembles as the New York Philharmonic, Orchestra of St. Luke’s, and New York City Ballet, and its annual performances of Handel’s Messiah at Carnegie Hall are a New York holiday tradition.

Musica Sacra has given the New York premieres of more than 25 choral works, of which more than 12 were world premieres. Earlier this year it per - formed the world premiere of Evan Fein’s oratorio Deborah at Alice Tully Hall. In 2015 Musica Sacra released an album of vocal works by Robert Paterson that includes Lux Aeterna , a piece written for the ensemble. The album, released on the Naxos label, joins a growing discography of recordings on the BMG, RCA, MSR Classics, and Deutsche Grammophon labels. Musica Sacra is also dedicated to educating students in the appreciation and history of choral music, participating in a community engagement initiative in partnership with ten middle and high schools in all five New York City boroughs.

Kent Tritle

Kent Tritle (chorus director) is one of America’s leading choral conductors. He is in his tenth season as music director of Musica Sacra, and also serves as the director of cathedral music and organist at the Cathedral Church of St. John the Divine and music director of the Oratorio Society of New York. Mr. Mostly Mozart Festival I Meet the Artists

Tritle is the director of choral activities at the Manhattan School of Music and is a member of the graduate faculty of The Juilliard School. An acclaimed organ vir - tuoso, he is the organist of the New York Philharmonic and chair of the organ department of the Manhattan School of Music.

Highlights of Mr. Tritle’s 201 6–17 season include the U.S. premiere of Einojuhani Rautavaara’s Vigilia at the Cathedral Church of St. John the Divine; masses by Bach and Mozart with the Oratorio Society of New York at Carnegie Hall; pro - grams of Palestrina, Tavener, and Arvo Pärt and of Bach, Britten, and Brahms with Musica Sacra; and a presentation of Britten’s War Requiem by the Oratorio Society of the New York and the Manhattan School of Music at the Cathedral Church of St. John the Divine.

Mostly Mozart Festival

Celebrating its 50th anniversary, 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 has broadened its focus to include works by Mozart’s predeces - sors, contemporaries, and related successors. In addition to concerts by the Mostly Mozart Festival Orchestra, Mostly Mozart now includes concerts by the world’s out standing period-instrument ensembles, chamber orchestras and ensembles, and acclaimed soloists, as well as opera productions, dance, film, and late-night performances. Contemporary music has become an essential part of the festival, embodied in annual artists-in-residence 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.

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 rela - tions, and manager of the Lincoln Center campus. A presenter of more than 3,000 free and ticketed events, performances, tours, and educational 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 nation - ally 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 addi - tion, LCPA led a $1.2 billion campus renovation, completed in October 2012. Mostly Mozart Festival I Meet the Artists T G E V

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Freiburg Baroque Orchestra

Violin I Viola Flute Horn Petra Müllejans, Werner Saller Daniela Lieb Bart Aerbeydt Concertmaster Christian Goosses Anne Parisot Gijs Laceulle Martina Graulich Ulrike Kaufmann Beatrix Hülsemann Annette Schmidt Oboe Trumpet Péter Barczi Annkathrin Jaroslav Roucek Éva Borhi Cello Brüggemann Almut Rux Marie Desgoutte Stefan Mühleisen Maike Buhrow Jörn-Sebastian Guido Larisch Timpani Kuhlmann Ute Petersilge Clarinet Karl Fischer Ute Sommer Tindaro Capuano Violin II Eduardo Raimundo Fortepiano Kathrin Tröger Bass Beltran, Bass Roberta Ferrari Christa Kittel James Munro Clarinet Gerd-Uwe Klein Frank Coppieters Brigitte Täubl Barbara Fischer Bassoon Lotta Suvanto Javier Zafra Annelies van der Vegt Eyal Streett Mostly Mozart Festival I Meet the Artists

Musica Sacra Kent Tritle , Music Director

Soprano Alto Tenor Bass Miriam Chaudoir Katie Geissinger Drew Martin Joseph Beutel Jamet Pittman Heather Petrie Michael Steinberger Gregory Purnhagen Elisa Singer Strom Kirsten Sollek John Tiranno Peter Stewart Mostly Mozart Festival

Lincoln Center Programming Department Jane Moss, Ehrenkranz Artistic Director Hanako Yamaguchi, Director, Music Programming Jon Nakagawa, Director, Contemporary Programming Jill Sternheimer, Director, Public Programming Lisa Takemoto, Production Manager Charles Cermele, Producer, Contemporary Programming Mauricio Lomelin, Producer, Contemporary Programming Andrew C. Elsesser, Associate Director, Programming Regina Grande Rivera, Associate Producer Amber Shavers, Associate Producer, Public Programming Jenniffer DeSimone, Production Coordinator Nana Asase, Assistant to the Artistic Director Luna Shyr, Senior Editor Olivia Fortunato, Administrative Assistant, Public Programming

For the Mostly Mozart Festival Laura Aswad, Producer, ICE Presentations Anne Tanaka, Producer, the public domain Amrita Vijayaraghavan, Producer, A Little Night Music Benjamin Hochman, Musical Assistant George Dilthey, House Seat Coordinator Grace Hertz, House Program Coordinator Nick Kleist, Production Assistant Janet Rucker, Company Manager Jeanette Chen, Production Intern

For Così fan tutte Anne DeChene, Stage Manager Samantha Greene, Assistant Stage Manager Elizabeth Sargent, Wardrobe Coordinator Megan Young, Supertitles

Lincoln Center wishes to thank the TDF Costume Collection for its assistance in this production.

Program Annotators: Peter Carwell, Patrick Castillo, Paul Corneilson, Peter A. Hoyt, James Keller, Paul Schiavo, David Wright