bernard haitink conductor emeritus seiji ozawa music director laureate

2014–2015 Season | Week 19 andris nelsons music director

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Table of Contents | Week 19

7 bso news 13 on display in symphony hall 14 bso music director andris nelsons 16 the boston symphony orchestra 19 szymanowski’s rarely heard masterpiece by matthew mendez 28 this week’s program

Notes on the Program

30 The Program in Brief… 31 Synopsis of “” 33 ’s “King Roger” 45 To Read and Hear More…

Guest Artists

47 49 Mariusz Kwiecien 49 Olga Pasichnyk 51 Yvonne Naef 53 Edgaras Montvidas 55 Rafa´l Majzner 56 Alex Richardson 57 Raymond Aceto 59 Tanglewood Festival Chorus 64 Voices Boston

66 sponsors and donors 80 future programs 82 symphony hall exit plan 83 symphony hall information

program copyright ©2015 Boston Symphony Orchestra, Inc. program book design by Hecht Design, Arlington, MA cover photo by Marco Borggreve cover design by BSO Marketing

BOSTON SYMPHONY ORCHESTRA Symphony Hall, 301 Massachusetts Avenue Boston, MA 02115-4511 (617)266-1492 bso.org

andris nelsons, ray and maria stata music director bernard haitink, lacroix family fund conductor emeritus seiji ozawa, music director laureate 134th season, 2014–2015

trustees of the boston symphony orchestra, inc.

William F. Achtmeyer, Chair • Paul Buttenwieser, President • Carmine A. Martignetti, Vice-Chair • Arthur I. Segel, Vice-Chair • Stephen R. Weber, Vice-Chair • Theresa M. Stone, Treasurer

David Altshuler • George D. Behrakis • Ronald G. Casty • Susan Bredhoff Cohen, ex-officio • Richard F. Connolly, Jr. • Diddy Cullinane • Cynthia Curme • Alan J. Dworsky • William R. Elfers • Thomas E. Faust, Jr. • Michael Gordon • Brent L. Henry • Susan Hockfield • Barbara Hostetter • Charles W. Jack, ex-officio • Stephen B. Kay • Edmund Kelly • Joyce Linde • John M. Loder • Nancy K. Lubin • Joshua A. Lutzker • Robert J. Mayer, M.D. • Robert P. O’Block • Susan W. Paine • Peter Palandjian, ex-officio • John Reed • Carol Reich • Roger T. Servison • Wendy Shattuck • Caroline Taylor • Roberta S. Weiner • Robert C. Winters life trustees

Vernon R. Alden • Harlan E. Anderson • David B. Arnold, Jr. • J.P. Barger • Gabriella Beranek • Leo L. Beranek • Deborah Davis Berman • Jan Brett • Peter A. Brooke • John F. Cogan, Jr. • Mrs. Edith L. Dabney • Nelson J. Darling, Jr. • Nina L. Doggett • Nancy J. Fitzpatrick • Thelma E. Goldberg • Charles H. Jenkins, Jr. • Mrs. Béla T. Kalman • George Krupp • Mrs. Henrietta N. Meyer † • Richard P. Morse • David Mugar • Mary S. Newman • Vincent M. O’Reilly • William J. Poorvu • Peter C. Read • Edward I. Rudman • Richard A. Smith • Ray Stata • Thomas G. Stemberg • John Hoyt Stookey • Wilmer J. Thomas, Jr. † • John L. Thorndike • Stephen R. Weiner • Dr. Nicholas T. Zervas other officers of the corporation

Mark Volpe, Managing Director • Thomas D. May, Chief Financial Officer • Bart Reidy, Clerk of the Board board of overseers of the boston symphony orchestra, inc.

Susan Bredhoff Cohen, Co-Chair • Peter Palandjian, Co-Chair

Noubar Afeyan • James E. Aisner • Peter C. Andersen • Lloyd Axelrod, M.D. • Liliana Bachrach • Judith W. Barr • Lucille M. Batal • Linda J.L. Becker • Paul Berz • James L. Bildner • Mark G. Borden • Partha Bose • Karen Bressler • Anne F. Brooke • Gregory E. Bulger • Joanne M. Burke • Richard E. Cavanagh • Yumin Choi • Dr. Lawrence H. Cohn • Charles L. Cooney • Ronald A. Crutcher • William Curry, M.D. • James C. Curvey • Gene D. Dahmen • Michelle A. Dipp, M.D., Ph.D. • Dr. Ronald F. Dixon • Ronald M. Druker • Philip J. Edmundson • Ursula Ehret-Dichter • Sarah E. Eustis • Joseph F. Fallon • Beth Fentin • Peter Fiedler • Steven S. Fischman • John F. Fish • Sanford Fisher • Jennifer Mugar Flaherty • Alexandra J. Fuchs • Robert Gallery • Levi A. Garraway • Zoher Ghogawala, M.D. • Cora H. Ginsberg • Robert R. Glauber • Stuart Hirshfield • Lawrence S. Horn • Jill Hornor • Valerie Hyman • Everett L. Jassy • Stephen J. Jerome • Darlene Luccio Jordan, Esq. • Paul L. Joskow • Karen Kaplan • Stephen R. Karp •

week 19 trustees and overseers 3

photos by Michael J. Lutch

John L. Klinck, Jr. • Jay Marks • Jeffrey E. Marshall • Robert D. Matthews, Jr. † • Paul M. Montrone • Sandra O. Moose • Robert J. Morrissey • Cecile Higginson Murphy • Joseph Patton • Donald R. Peck • Steven R. Perles • Ann M. Philbin • Wendy Philbrick • Randy Pierce • Claudio Pincus • Lina S. Plantilla, M.D. • Irene Pollin • Jonathan Poorvu • Dr. John Thomas Potts, Jr. • William F. Pounds • Claire Pryor • James M. Rabb, M.D. • Ronald Rettner • Robert L. Reynolds • Robin S. Richman, M.D. • Dr. Carmichael Roberts • Graham Robinson • Patricia Romeo-Gilbert • Susan Rothenberg • Joseph D. Roxe • Malcolm S. Salter • Kurt W. Saraceno • Donald L. Shapiro • Phillip A. Sharp, Ph.D. • Christopher Smallhorn • Michael B. Sporn, M.D. • Nicole Stata • Margery Steinberg • Patricia L. Tambone • Jean Tempel • Douglas Thomas • Mark D. Thompson • Albert Togut • Joseph M. Tucci • Sandra A. Urie • Robert A. Vogt • Dr. Christoph Westphal • June K. Wu, M.D. • Patricia Plum Wylde • Marillyn Zacharis • Dr. Michael Zinner • D. Brooks Zug overseers emeriti

Helaine B. Allen • Marjorie Arons-Barron • Diane M. Austin • Caroline Dwight Bain † • Sandra Bakalar • George W. Berry † • William T. Burgin • Mrs. Levin H. Campbell • Earle M. Chiles • Carol Feinberg Cohen • Mrs. James C. Collias • Ranny Cooper • Joan P. Curhan • Phyllis Curtin • Tamara P. Davis • Mrs. Miguel de Bragança • Paul F. Deninger • JoAnne Walton Dickinson • Phyllis Dohanian • Alan Dynner • Harriett Eckstein • George Elvin • John P. Eustis II † • Pamela D. Everhart • Judy Moss Feingold • Richard Fennell • Myrna H. Freedman • Mrs. James Garivaltis • Dr. Arthur Gelb • Robert P. Gittens • Jordan Golding • Mark R. Goldweitz • Michael Halperson • John Hamill • Deborah M. Hauser • Carol Henderson • Mrs. Richard D. Hill • Roger Hunt • Lola Jaffe • Martin S. Kaplan • Mrs. Gordon F. Kingsley • Robert I. Kleinberg • David I. Kosowsky • Robert K. Kraft • Farla H. Krentzman • Peter E. Lacaillade • Benjamin H. Lacy • Mrs. William D. Larkin • Robert J. Lepofsky • Edwin N. London • Frederick H. Lovejoy, Jr. • Diane H. Lupean • Mrs. Harry L. Marks • Joseph B. Martin, M.D. • Joseph C. McNay • Albert Merck † • Dr. Martin C. Mihm, Jr. • Robert Mnookin • John A. Perkins • May H. Pierce • Dr. Tina Young Poussaint • Daphne Brooks Prout • Robert E. Remis • John Ex Rodgers • Alan W. Rottenberg • Kenan Sahin • Roger A. Saunders • Lynda Anne Schubert • L. Scott Singleton • Gilda Slifka • Samuel Thorne • Diana Osgood Tottenham • Paul M. Verrochi • David C. Weinstein • James Westra • Mrs. Joan D. Wheeler • Margaret Williams-DeCelles • Richard Wurtman, M.D.

† Deceased

week 19 trustees and overseers 5

BSO News

BSO 101—The Free Adult Education Series at Symphony Hall BSO 101 continues to offer informative sessions about upcoming BSO programming and behind-the-scenes activities at Symphony Hall from 5:30-6:45 p.m. on selected Tuesday and Wednesday evenings throughout the season; the Wednesday sessions are also followed by a free, thirty-minute tour of Symphony Hall given by an experienced member of the Boston Symphony Association of Volunteers. The next Wednesday-evening “Are You Listening?” session, entitled “Symphonic Summit: Mozart’s Final Three,” is scheduled for March 11, to be followed on April 8 by “Musical Imaginings,” focusing on music of Schuller, Ravel, Schumann, and Brahms. BSO Director of Program Publications Marc Mandel will be joined by BSO violinist James Cooke on March 11, and by BSO principal violist Steven Ansell on April 8. Since each of these sessions is self-contained, no prior musical training, or attendance at any previous session, is necessary. This season’s remaining Tuesday “Insider’s View” session on March 24 will offer another of the popular round table discussions featuring BSO members, this time to include Stephen Lange, , Wendy Putnam, , and Robert Sheena, English horn. For further information, please visit bso.org, where BSO 101 can be found under the “Education & Community” tab on the home page.

BSO Community Chamber Concerts The BSO continues its series of free Community Chamber Concerts in communities through- out the greater Boston area, offering chamber music performances by BSO musicians on Sunday afternoons at 3 p.m. Each program lasts approximately one hour and is followed by a coffee-and-dessert reception for the audience and musicians. Upcoming concerts this season include string quintets of Mozart at Quincy High School (March 22) and music of Haydn and Mozart at the Colonial Theatre in Pittsfield (March 29). Admission is free, but reservations are required; please call 1-888-266-1200. The free Community Concerts are made possible by a generous grant from the Lowell Institute. For more information, please visit bso.org and go to “Education & Community” on the home page.

Friday Previews at Symphony Hall Friday Previews take place from 12:15-12:45 p.m. in Symphony Hall before all of the BSO’s Friday-afternoon subscription concerts throughout the season. Given by BSO Director of Program Publications Marc Mandel, Assistant Director of Program Publications Robert Kirzinger, and a number of guest speakers, these informative half-hour talks incorporate recorded examples from the music to be performed. Upcoming speakers include Helen Greenwald of the New England Conservatory on March 13, Robert Kirzinger on March 27, and Marc Mandel on April 3.

week 19 bso news 7 8 individual tickets are on sale for all concerts in the bso’s 2014-2015 season. for specific information on purchasing tickets by phone, online, by mail, or in person at the symphony hall box office, please see page 83 of this program book.

Go Behind the Scenes: rehearsals, and much more. Friends member- The Irving W. and Charlotte F. Rabb ships start at just $100. Contact the Friends Symphony Hall Tours Office at (617) 638-9276, friendsofthebso@ bso.org, or join online at bso.org/contribute, The Irving W. and Charlotte F. Rabb Symphony to play your part with the BSO by becoming Hall Tours—named in honor of the Rabbs’ a Friend. devotion to Symphony Hall with a gift from their children James and Melinda Rabb and Betty (Rabb) and Jack Schafer—provide a Planned Gifts for the BSO: rare opportunity to go behind the scenes at Orchestrate Your Legacy Symphony Hall. In these free, guided tours, There are many creative ways that you can experienced members of the Boston Sym- support the BSO over the long term. Planned phony Association of Volunteers unfold the gifts such as bequest intentions (through history and traditions of the Boston Symphony your will, personal trust, IRA, or insurance Orchestra—its musicians, conductors, and policy), charitable trusts, and gift annuities supporters—as well as offer in-depth infor- can generate significant benefits for you now mation about the Hall itself. Tours are offered while enabling you to make a larger gift to the most Wednesdays at 4 p.m. and two Satur- BSO than you may have otherwise thought days per month at 2 p.m. during the BSO possible. In many cases, you could realize season. Please visit bso.org/tours for more significant tax savings and secure an attrac- information and to register. tive income stream for yourself and/or a loved one, all while providing valuable future It’s Your BSO, Play Your Part: support for the performances and programs Become a Friend of the BSO you care about. When you establish and notify us of your planned gift for the Boston At Symphony Hall, everyone plays their part. Symphony Orchestra, you will become a From the musicians on stage, to the crew member of the Walter Piston Society, joining behind the scenes, to the ushers and box a group of the BSO’s most loyal supporters office staff, it takes hundreds of people to put who are helping to ensure the future of the on a performance, and it takes the dedicated BSO’s extraordinary performances. Named support of thousands of Friends of the BSO for Pulitzer Prize-winning composer and to make it all possible. Every $1 the BSO noted musician Walter Piston, who endowed receives in ticket sales must be matched with the BSO’s principal flute chair with a bequest, an additional $1 of contributed support to members of the Piston Society are recognized cover its annual expenses. Friends of the BSO in several of our publications and offered a play their part to help bridge that gap, keep- variety of exclusive benefits, including invita- ing the music playing to the delight of audi- tions to various events in Boston and at ences all year long. In addition to joining a Tanglewood. If you would like more informa- community of like-minded music lovers, tion about planned gift options and how to becoming a Friend of the BSO entitles you to join the Walter Piston Society, please contact benefits that bring you closer to the music John MacRae, Director of Principal and Planned you cherish. Friends receive advance ticket Giving, at (617) 638-9268 or [email protected]. ordering privileges, discounts at the Symphony We would be delighted to help you orchestrate Shop, and access to the BSO’s online newslet- your legacy with the BSO. ter InTune, as well as invitations to exclusive donor events such as BSO and Pops working

week 19 bso news 9 Complimentary Shuttle Service BSO Members in Concert Between Prudential Center and Concord Chamber Music Society founder and Symphony Hall on Friday BSO violinist Wendy Putnam is joined by BSO Afternoons assistant principal second violin Julianne Lee The BSO continues to offer patrons who park and BSO principal Steven Ansell, along in the Prudential Center garage a complimen- with cellists Jean-Michel Fonteneau and tary shuttle service between the Prudential Michael Reynolds, for a program of music by Center and Symphony Hall before and after Honegger, Reger, and Schubert on Sunday, the Friday-afternoon subscription concerts. March 8, at 3 p.m. at the Concord Academy The 23-passenger shuttle picks up passen- Performing Arts Center, 166 Main Street, Con- gers in front of P.F. Chang’s restaurant on cord, with a pre-concert discussion at 2 p.m. Belvidere Street near Huntington Avenue Tickets are $42 and $33 (discounts for seniors before the concert, and at Symphony Hall and students). For more information, visit after the concert. Service begins one hour concordchambermusic.org or call (978) before the concert starts and runs for up to 371-9667. one hour after it ends (or until there are no In residence at Boston University, the Muir more passengers needing return service). String Quartet—BSO violinist Lucia Lin and The shuttle is run by Commonwealth World- BSO principal violist Steven Ansell, violinist wide Chauffeured Transportation, is marked Peter Zazofsky, and cellist Michael Reynolds— “BSO Shuttle,” and loops to and from Sym- performs Mozart’s C major quartet, Dissonant, phony Hall every fifteen to twenty minutes, K.465; Janáˇcek’s String Quartet No. 1, Kreutzer depending on traffic. Please visit bso.org for Sonata, and Dvoˇrák’s String Quartet No. 11 in C, further details. Opus 61, at the Nazarian Center of Rhode

10 Island College, 600 Mt. Pleasant Avenue, Those Electronic Devices… Providence, on Monday, March 16, at 7:30 As the presence of smartphones, tablets, and p.m.—a concert rescheduled due to weather other electronic devices used for communica- from the original date of Monday, February 2. tion, note-taking, and photography continues General admission is $35 (discounts for sen- to increase, there have also been increased iors and students). For more information, visit expressions of concern from concertgoers ric.edu/pfa or call (401) 456-8144. and musicians who find themselves distracted The Muir String Quartet’s next local concert not only by the illuminated screens on these is scheduled for Monday, March 30, at 8 p.m. devices, but also by the physical movements at BU’s Tsai Performance Center, 685 Com- that accompany their use. For this reason, monwealth Avenue—a program including and as a courtesy both to those on stage and Dvoˇrák’s Cypresses, Barber’s Dover Beach fea- those around you, we respectfully request turing guest James Demler, and that all such electronic devices be turned Smetana’s Quartet No. 1 in E minor. Admission off and kept from view while BSO perform- is free. ances are in progress. In addition, please also keep in mind that taking pictures of the The Information Table: orchestra—whether photographs or videos— is prohibited during concerts. Thank you very Find Out What’s Happening much for your cooperation. at the BSO Are you interested in upcoming BSO concert Comings and Goings... information? Special events at Symphony Hall? BSO youth activities? Stop by the infor- Please note that latecomers will be seated mation table in the Brooke Corridor on the by the patron service staff during the first Massachusetts Avenue side of Symphony convenient pause in the program. In addition, Hall (orchestra level). There you will find please also note that patrons who leave the the latest performance, membership, and hall during the performance will not be Symphony Hall information provided by allowed to reenter until the next convenient knowledgeable members of the Boston pause in the program, so as not to disturb the Symphony Association of Volunteers. The performers or other audience members while BSO Information Table is staffed before each the concert is in progress. We thank you for concert and during intermission. your cooperation in this matter.

week 19 bso news 11 on display in symphony hall This season’s BSO Archives exhibit once more displays the wide variety of the Archives’ holdings, which document countless aspects of BSO history—music directors, guest artists, and composers, as well as Symphony Hall’s world-famous acoustics, architectural features, and multi-faceted history. highlights of this year’s exhibit include, on the orchestra level of symphony hall: • a display case in the Brooke Corridor exploring the history of the famed Kneisel Quartet formed in 1885 by then BSO concertmaster Franz Kneisel and three of his BSO colleagues • two displays in the Huntington Avenue corridor celebrating the 200th anniversary of Boston’s Handel and Haydn Society, the oldest continually operating arts organization in the United States, and which performs fourteen concerts at Symphony Hall during its 2014-2015 bicentennial season exhibits on the first-balcony level of symphony hall include: • a display in the first-balcony corridor, audience-right, celebrating the recent 50th anniversary of the Boston Symphony Chamber Players • a display case in the first-balcony corridor, audience-right, of memorabilia from the BSO’s 1956 concerts marking the first performances in the Soviet Union by a Western orchestra • a display case, also audience-right, on the installation of the Symphony Hall statues in the period following the Hall’s opening • a display case in the Cabot-Cahners Room spotlighting artists and programs presented in Symphony Hall by the Celebrity Series, which celebrated its 75th anniversary last season

TOP OF PAGE, LEFT TO RIGHT: A Celebrity Series flyer for a 1939 Symphony Hall appearance by Kirsten Flagstad A portrait of Paul Cherkassy (BSO violinist from 1923 to 1952), a 2014 gift to the BSO from the estate of Paul and Chloe Cherkassy, part of a display of orchestra member memorabilia located at the stage-end of the first-balcony corridor, audience-right Album cover of the Boston Symphony Chamber Players’ 1966 Grammy-winning first commercial recording on RCA

week 19 on display 13 ac Borggreve Marco

Andris Nelsons

Andris Nelsons begins his tenure as the BSO’s Ray and Maria Stata Music Director with the 2014-15 season, during which he leads the orchestra in ten programs at Symphony Hall, repeating three of them at New York’s Carnegie Hall in April. Mr. Nelsons made his Boston Symphony debut in March 2011, conducting Mahler’s Symphony No. 9 at Carnegie Hall. He made his Tanglewood debut in July 2012, leading both the BSO and the Tanglewood Music Center Orchestra as part of Tanglewood’s 75th Anniversary Gala (a concert subsequently issued on DVD and Blu-ray, and televised nationwide on PBS), following that the next day with a BSO program of Stravinsky and Brahms. His Sym- phony Hall and BSO subscription series debut followed in January 2013, and at Tanglewood this past summer he led three concerts with the BSO, as well as a special Tanglewood Gala featuring both the BSO and the TMC Orchestra. His appointment as the BSO’s music director cements his reputation as one of the most renowned conductors on the international scene today, a distinguished name on both the and concert podiums. He made his first appearances as the BSO’s music director designate in October 2013 with a subscription program of Wagner, Mozart, and Brahms, and returned to Symphony Hall in March 2014 for a concert performance of Strauss’s . He is the fifteenth music director in the history of the Boston Symphony Orchestra.

Maestro Nelsons has been critically acclaimed as music director of the City of Birming- ham Symphony Orchestra since assuming that post in 2008; he remains at the helm of that orchestra until summer 2015. With the CBSO he undertakes major tours worldwide, including regular appearances at such summer festivals as the Lucerne Festival, BBC Proms, and Berlin Festival. Together they have toured the major European concert halls, including Vienna’s Musikverein, the Théâtre des Champs-Élysées in Paris, the Gasteig in Munich, and Madrid’s Auditorio Nacional de Música. Mr. Nelsons made his debut in Japan on tour with the Vienna Philharmonic and returned to tour Japan and the Far East with the CBSO in November 2013. Over the next few seasons he will continue collabora- tions with the Berlin Philharmonic, Vienna Philharmonic, the Royal Concertgebouw

14 Orchestra of Amsterdam, the Gewandhaus Orchestra of Leipzig, the Bavarian Radio Symphony Orchestra, and the Philharmonia Orchestra. He is a regular guest at the Royal Opera House–Covent Garden, the , and New York’s Metro- politan Opera. In summer 2014 he returned to the Bayreuth Festival to conduct Lohengrin, in a production directed by Hans Neuenfels, which Mr. Nelsons premiered at Bayreuth in 2010.

Andris Nelsons and the CBSO continue their recording collaboration with Orfeo Inter- national as they work toward releasing all of Tchaikovsky’s orchestral works and a majority of works by , including a particularly acclaimed account of Strauss’s Ein Heldenleben. Most of Mr. Nelsons’ recordings have been recognized with the Preis der Deutschen Schallplattenkritik. In October 2011 he received the prestigious ECHO Klassik of the German Phono Academy in the category “Conductor of the Year” for his CBSO recording of Stravinsky’s Firebird and Symphony of Psalms. For audiovisual recordings, he has an exclusive agreement with Unitel GmbH, the most recent release being a Dvoˇrák disc entitled “From the New World” with the Bavarian Radio Symphony Orchestra, released on DVD and Blu-ray in June 2013. He is also the subject of a recent DVD from Orfeo, a documentary film entitled “Andris Nelsons: Genius on Fire.”

Born in Riga in 1978 into a family of musicians, Andris Nelsons began his career as a trumpeter in the Latvian National Opera Orchestra before studying conducting. He was principal conductor of Nordwestdeutsche Philharmonie in Herford, Germany, from 2006 to 2009 and music director of Latvian National Opera from 2003 to 2007. ac Borggreve Marco

week 19 andris nelsons 15 Boston Symphony Orchestra 2014–2015

andris nelsons bernard haitink seiji ozawa thomas wilkins Ray and Maria Stata LaCroix Family Fund Music Director Laureate Germeshausen Youth and Music Director Conductor Emeritus Family Concerts Conductor endowed in perpetuity endowed in perpetuity endowed in perpetuity

first Jason Horowitz* Cathy Basrak Adam Esbensen* Ronald G. and Ronni J. Casty Assistant Principal Richard C. and Ellen E. Paine Malcolm Lowe chair Anne Stoneman chair, endowed chair, endowed in perpetuity Concertmaster in perpetuity Charles Munch chair, Ala Jojatu* Blaise Déjardin* endowed in perpetuity Wesley Collins Lois and Harlan Anderson chair, Tamara Smirnova second violins endowed in perpetuity basses Associate Concertmaster Haldan Martinson Edwin Barker Helen Horner McIntyre chair, Robert Barnes Principal Principal endowed in perpetuity Carl Schoenhof Family chair, Michael Zaretsky Harold D. Hodgkinson chair, endowed in perpetuity endowed in perpetuity Alexander Velinzon Mark Ludwig* Assistant Concertmaster Julianne Lee Lawrence Wolfe Robert L. Beal, Enid L., and Rachel Fagerburg* Assistant Principal Assistant Principal Bruce A. Beal chair, endowed Charlotte and Irving W. Rabb Maria Nistazos Stata chair, in perpetuity Kazuko Matsusaka* chair, endowed in perpetuity endowed in perpetuity Elita Kang Rebecca Gitter* Sheila Fiekowsky Benjamin Levy Assistant Concertmaster Shirley and J. Richard Fennell Jonathan Chu* Leith Family chair, endowed Edward and Bertha C. Rose chair, ˚ chair, endowed in perpetuity in perpetuity endowed in perpetuity Daniel Getz* Nicole Monahan Dennis Roy Bo Youp Hwang § David H. and Edith C. Howie John and Dorothy Wilson chair, chair, endowed in perpetuity Joseph Hearne endowed in perpetuity Jules Eskin Ronan Lefkowitz James Orleans* Lucia Lin Principal Dorothy Q. and David B. Arnold, Vyacheslav Uritsky* Philip R. Allen chair, endowed Todd Seeber* Jr., chair, endowed in perpetuity in perpetuity Eleanor L. and Levin H. Campbell Jennie Shames* chair, endowed in perpetuity Ikuko Mizuno Martha Babcock Ruth and Carl J. Shapiro chair, Valeria Vilker Kuchment* Associate Principal John Stovall* Vernon and Marion Alden chair, endowed in perpetuity Tatiana Dimitriades* Thomas Van Dyck* endowed in perpetuity Nancy Bracken* Si-Jing Huang* Stephanie Morris Marryott and Sato Knudsen flutes Franklin J. Marryott chair Victor Romanul* Mischa Nieland chair, endowed Bessie Pappas chair in perpetuity Elizabeth Rowe Aza Raykhtsaum* Principal Catherine and Paul Buttenwieser Wendy Putnam* Mihail Jojatu Walter Piston chair, endowed chair Robert Bradford Newman chair, Sandra and David Bakalar chair in perpetuity endowed in perpetuity Bonnie Bewick* Owen Young* Clint Foreman Mary B. Saltonstall chair, Xin Ding* John F. Cogan, Jr., and Mary L. Myra and Robert Kraft chair, endowed in perpetuity Cornille chair, endowed endowed in perpetuity Glen Cherry* in perpetuity James Cooke* Elizabeth Ostling Kristin and Roger Servison chair Yuncong Zhang* Mickey Katz* Associate Principal Stephen and Dorothy Weber Marian Gray Lewis chair, Catherine French* chair, endowed in perpetuity Donald C. and Ruth Brooks endowed in perpetuity Heath chair, endowed Steven Ansell Alexandre Lecarme* in perpetuity Principal Nancy and Richard Lubin chair Charles S. Dana chair, endowed in perpetuity

16 photos by Michael J. Lutch piccolo Suzanne Nelsen Michael Martin voice and chorus John D. and Vera M. MacDonald Ford H. Cooper chair, Cynthia Meyers chair endowed in perpetuity John Oliver Evelyn and C. Charles Marran Tanglewood Festival Chorus chair, endowed in perpetuity Richard Ranti § Conductor Associate Principal Alan J. and Suzanne W. Dworsky Diana Osgood Tottenham/ chair, endowed in perpetuity Hamilton Osgood chair, Toby Oft endowed in perpetuity Principal John Ferrillo J.P. and Mary B. Barger chair, librarians Principal endowed in perpetuity Mildred B. Remis chair, endowed D. Wilson Ochoa in perpetuity Stephen Lange Principal Gregg Henegar Lia and William Poorvu chair, Mark McEwen Helen Rand Thayer chair endowed in perpetuity James and Tina Collias chair trombone John Perkel Keisuke Wakao horns James Markey Assistant Principal John Moors Cabot chair, Farla and Harvey Chet James Sommerville endowed in perpetuity associate Krentzman chair, endowed Principal conductor in perpetuity Helen Sagoff Slosberg/ Edna S. Kalman chair, endowed Marcelo Lehninger in perpetuity Mike Roylance Anna E. Finnerty chair, english horn endowed in perpetuity Richard Sebring Principal Robert Sheena Associate Principal Margaret and William C. Beranek chair, endowed Margaret Andersen Congleton Rousseau chair, endowed assistant in perpetuity chair, endowed in perpetuity in perpetuity conductor Rachel Childers Ken-David Masur John P. II and Nancy S. Eustis timpani chair, endowed in perpetuity William R. Hudgins Timothy Genis personnel Principal Michael Winter Sylvia Shippen Wells chair, managers Ann S.M. Banks chair, Elizabeth B. Storer chair, endowed in perpetuity endowed in perpetuity endowed in perpetuity Lynn G. Larsen Michael Wayne Jason Snider percussion Bruce M. Creditor Assistant Personnel Manager Thomas Martin Jonathan Menkis J. William Hudgins Associate Principal & Jean-Noël and Mona N. Tariot Peter and Anne Brooke chair, E-flat chair endowed in perpetuity stage manager Stanton W. and Elisabeth K. Daniel Bauch Davis chair, endowed John Demick Assistant Timpanist in perpetuity Mr. and Mrs. Edward H. Linde Thomas Rolfs chair Principal Roger Louis Voisin chair, Kyle Brightwell Craig Nordstrom endowed in perpetuity Peter Andrew Lurie chair, endowed in perpetuity * participating in a system Benjamin Wright of rotated seating Matthew McKay Thomas Siders § on sabbatical leave Richard Svoboda Assistant Principal on leave Principal Kathryn H. and Edward M. harp ˚ Edward A. Taft chair, endowed Lupean chair Jessica Zhou in perpetuity Nicholas and Thalia Zervas chair, endowed in perpetuity by Sophia and Bernard Gordon

week 19 boston symphony orchestra 17

Szymanowski’s Rarely Heard Masterpiece by Matthew Mendez

This week Charles Dutoit leads the Boston Symphony Orchestra in its first performances of Polish composer Karol Szymanowski’s operatic masterpiece “King Roger,” being sung in the original Polish with English supertitles, with the internationally acclaimed Polish baritone Marius Kwiecien making his BSO subscription series debut in the title role. Matthew Mendez here places Szymanowski’s great work in the context of the composer’s life, work, and times.

“What a lot we write, say, and think about Frédéric Chopin here in Poland! What an abundance of rhetorically colored tributes we strew at his feet!” So remarked Karol Szymanowski, lamenting the retrospective emphasis that had prevailed in Polish musical life since the boyhood days of his sculptor uncle Wacław, designer of Warsaw’s famous Chopin monument. Much as he treasured the work of his great countryman, Szymanowski had little patience for the cultism surrounding Chopin, which he saw as an unquestioning hero-worship that had stifled the subsequent development of Polish music. Rather than stimulate the discovery of new expressive veins and furrows, Chopin’s stature as tower- ing national wieszcz (“bard-prophet”) had frozen Polish composition in its tracks, leaving it languishing in provincial obscurity. Referring to Igor Stravinsky, whose innovations were not welcomed with great enthusiasm in interwar Poland, Szymanowski asked: “When will we manage to create our own values? Was Chopin truly the beginning and the end of Polish music? Meanwhile, let us at least be able to respect those who have boldly thrown off the shackles from their arms!”

It was only after Szymanowski’s premature death in 1937 that his views began to achieve any real currency, when a new generation of Polish composers, spearheaded by the likes of Witold Lutosławski, Henryk Górecki, and Krzysztof Penderecki, forged an idiom whose

Karol Szymanowski, March 1930, Davos, Switzerland

week 19 szymanowski’s rarely heard masterpiece 19 contemporary resonance ensured success both at home and abroad. Their accomplish- ments brought Szymanowski’s back into focus, and in his native country he is now credited as the man who singlehandedly thrust Polish music into the 20th century. Not so, how- ever, in the English-speaking world, where he had been a closed book until recently. Much of this can be attributed to the surface qualities of his work, which betray a composer attuned, although certainly not in thrall, to myriad influences. (Szymanowski complained of negligent critics who contended that “everything I do has already been done before me by Schoenberg, Debussy, Scriabin, e tutti quanti.”) But in Szymanowski’s most charac- teristic music, all the presumptive “stimuli” have been absorbed, filtered through a sensibility of enormous discernment and cosmopolitan sophistication. In a life thick with self-contradictions, Szymanowski’s struggle to establish a musical language both Polish and not-Polish was decisive, and nowhere was that truer than in King Roger, the composer’s artistic summa and most ambitious work.

In late 1918, soon after plans for the opera had been hatched, Szymanowski wrote to his co-librettist, his distant cousin the poet Jarosław Iwaszkiewicz: “This drama is to some extent the question of my further artistic existence—so deeply has this idea struck root within my being.” Szymanowski was scarcely exaggerating. Over the next six years, work on King Roger would become a vehicle for the attainment of self-knowledge in the wake of considerable personal misfortunes. Not least of these was the loss of Szymanowski’s beloved family estate, razed when the Bolshevik Revolution swept across Ukraine. Here he had grown up in an environment of extraordinary artistic cultivation (one of

20 Jarosław Iwaszkiewicz (1894-1980), librettist for “King Roger,” in later life

Szymanowski’s childhood friends was Henryk Neuhaus, who later taught such luminaries as Sviatoslav Richter and Emil Gilels, and his family was on good terms with the local Korzeniowski clan, whose most famous progeny took the name Joseph Conrad); it was the only place where the chronically peripatetic composer ever felt truly at home. He tried to carve out a niche in newly independent Poland, but he found his efforts to import Parisian-style modernist refinements rebuffed at every turn. Then there was Szymanow- ski’s personal life, which was in upheaval following his forcibly terminated amour with the fifteen-year-old Boris Kochno, thereafter the secretary (and lover) of Sergei Diaghilev. As one of Szymanowski’s closest confidants noted, the Kochno affair left him “a con- firmed homosexual.”

The dualities governing the composer’s inner life were manifest in his looks, as none other than Arthur Rubinstein, that same confidant, indicated: Rubinstein offered, tantaliz- ingly, that Szymanowski’s “beautiful greyish blue” eyes radiated “a dreamy sadness” and “infinite charm, which betrayed his true self, the rest of his appearance giving rather the impression (and he liked it) of an embassy attaché.” Whether by accident or design, Rubinstein’s image is like a skeleton key to the composer’s musical universe, in which voluptuous, “decadent” themes are given the most crystalline, exquisitely manicured form. King Roger is no exception: ostensibly an adaptation of Euripides’ The Bacchae, the libretto provides Szymanowski with the pretext to mine this dichotomy as expressed in Friedrich Nietzsche’s The Birth of Tragedy, where form-giving Apollonian “being” and renewing Dionysian “becoming” are in perennial conflict. Szymanowski judged Nietzsche’s tome one of the “most beautiful books in the world”—a view fully reflecting the tastes of the fin-de-siècle “Young Poland” poets who so shaped his early worldview. Of no little import is Nietzsche’s claim, albeit spurious, that he was descended from the same class of Polish gentry as Szymanowski.

No composition more programmatically acts out Nietzsche’s call to “mediterraneanize” music, to exchange a “wicked, capricious, southern” ethos for the weight and heft of the

week 19 szymanowski’s rarely heard masterpiece 21

King Roger II being crowned by Christ, detail from a 12th-century mosaic in the Church of Santa Maria dell’Ammiraglio, , Sicily

grand Germanic tradition, than King Roger, set in and indelibly marked by Szymanowski’s visits to Sicily. Significantly, Nietzsche’s proclivity for warmer climes was a symptom of his revulsion for cultural and spiritual decadence, of which his animus for the church is only the most famous instance. With its oratorio-like slightness of action, minimalist the- atrical impetus, and formidable conceptual density, Szymanowski’s “Sicilian drama” (as the composer initially called King Roger) seems most strongly to resemble the very work Nietzsche regarded as the height of life-negating decadence, Wagner’s Parsifal. Not only are both easily weighed down by their “philosophy,” and not only in both is the East at once a source of seduction and wisdom, but their plots run unmistakably paral- lel. In the first act a Christ-like outsider intrudes on a closed community; the second sees the ostensible hero tempted, forced to confront the depths of his innermost self; and after a period spent wandering in the wilderness, the finale brings transfiguration and a semblance of “salvation.” But Szymanowski departs from Parsifal precisely where it mat- tered most to Nietzsche, by rejecting Wagner’s monkish panacea for collective decay. Instead, King Roger’s paradoxical insight is that decadence’s ill effects can be overcome only by facing up to and even embracing some of the urges that civilization politely sweeps under the rug.

In this sense, King Roger is but a highly self-conscious intensification of poetic subject matter Szymanowski had been exploring for years, as “Dionysian” and related themes had already figured in numerous prior songs and character pieces. In King Roger the Shepherd is an amalgam of Euripides’ Dionysus, Jesus Christ, and John the Baptist, the last as portrayed by Leonardo da Vinci, where he smiles so provocatively that the viewer is left unsure if he is prophet or madman. The ambivalence is exactly the point, though, as the allure and charisma of the historical Christ would certainly have been insepara- ble from the disturbing fanaticism of his then novel views. It was thus paramount to Szymanowski that the Shepherd be played by an attractive, even magnetic singer (he

week 19 szymanowski’s rarely heard masterpiece 23

The ancient Greek amphitheater at Taormina in Sicily, the setting for Act III of Szymanowski’s “King Roger”

bemoaned the prospect of “some loathsome with pink tights covering his flabby calves”), and not only because the character, a teenage ephebe, was a thinly veiled stand-in for Kochno. With the Shepherd radiating an irresistible, even demagogic charm, it is easy to imagine how his presence could throw Roger’s repressed, Church-dominated court into chaos.

Musically, King Roger is the very embodiment of hedonism. These qualities are most apparent in the hothouse second act, with its yearning, voluptuous harmonies redolent of Scriabin. The kaleidoscopic orchestral “tinta” takes a cue from Stravinsky’s glittering Firebird, and the climactic bacchanal’s snake charmers and whirling dervishes far surpass Ravel’s Daphnis and Chloé for insidious incantation. Intoxication was not, after all, a purely abstract idea for Szymanowski: following the completion of King Roger, he reputedly became a morphine and cocaine addict, and in any case experimentation with psycho- active drugs was far from unheard of in some of the circles in which he moved. It has been suggested that the harlequin opulence of his orchestration has roots here. This is most apparent in the spectacular, riotously many-layered vortex of chant, birdsong, and ecstatic arabesques that accompanies Roger’s “initiation” prior to the denouement of his “hymn to the sun.” Szymanowski referred to it as “a real instrumental-contrapuntal hocus-pocus,” but the stress Lutosławski placed on his forerunner’s “narcotic sound lan- guage” may be more to the point.

As in Nietzsche, however, the reality is more gray than black-and-white. Iwaszkiewicz’s original scenario concluded with Roger following his wife, Roxana, and offering himself to the Dionysian cult. But Szymanowski was unsatisfied with his cousin’s ending, which was also in essence that of his unfinished cantata Agave, named after the mother of King Pentheus, Roger’s equivalent in Euripides’ tragedy. Like Roxana, Agave fell under Dionysus’ spell, and in the resulting delirium murdered her son. The experience of Agave informed the King Roger libretto, whose third act Szymanowski rewrote. He opted for a middle way,

week 19 szymanowski’s rarely heard masterpiece 25 so that Roger retains his self-possession, but the scales fall from his eyes to the accom- paniment of the “hocus-pocus,” the most rapturous music in the entire opera. This would seem incongruous had Szymanowski not already been blurring the lines between far- reaching antipodes: at the opera’s very start, for example, the Archbishop’s “Byzantine” recitative is subsequently taken up by his antagonist, the Shepherd, in his pseudo-archaic air (“My God is as beautiful as I am”). Szymanowski is preaching the unity of opposites, or empathy. That which is foreign, or even distasteful, to each one of us is nevertheless hidden deep within each of us.

Szymanowski has thought through the hedonism of his musical lexicon, and while King Roger never renounces it outright, the opera does subject it to a self-critique. The score’s most breathtaking moment is perhaps its simplest: in the moments leading up to the “hocus-pocus,” the texture thins out to a low murmur and the Shepherd, his true identity as Dionysus at last revealed, summons the King (“Roger! Roger! Did you hear my voice?”). The tenor’s rough-hewn melody strikes a new note, closely mirroring one of the move- ments of Szymanowski’s Słopiewnie (“Word-songs”). These were written during a hiatus from King Roger and are the first fruits of the composer’s folkloristic period, when he turned his gaze to Poland’s rustic Podhale region. (In 1922, Szymanowski began spending time in the rowdy, permissive local resort town of Zakopane.) Yet in many ways Dionysus’ Podhale call sounds more “exotic” than all of the opera’s pseudo-Islamisms. Alluding to an “undreamt dream of great power,” Dionysus seems to be exhorting the composer to realize his own brand of truly Polish music—to “create his own values.” Notable here is the way that the “alien,” profoundly Slavic diction of Podhale indigenous music (the her- itage of which, Szymanowski asserted, was already in decadence by the 1920s) came in Szymanowski’s work to stand in for the Polish nation—a nation whose intelligentsia had always fancied itself authentically Western European.

The setting for the third act, the real-life Greek amphitheater in Taormina, Sicily, was not chosen haphazardly. It is comparable to Athens’ famous Dionysian theater, where The Bacchae was first staged. Like the inhabitants of so many fledgling countries before him, Szymanowski revered the culture of ancient Greece, and with its “all-embracing artistic lyricism,” he argued that the Dionysian theater represented “the highest ideal” for a nation. To judge by King Roger’s initial reception, however, it was not a message his fellow citizens were especially eager to hear. Nor did the score fare any better in Germany, where right-wing nationalists disrupted a high-profile performance. It was 1928, the age of Art Deco, and Szymanowski’s opera was still rooted in prewar Art Nouveau. Hence the critics’ query of “what all this has to do with us, in our present times.” But King Roger’s lessons of tolerance and self-actualization would become all too relevant in the coming years. Even Szymanowski did not always practice what he preached: as the poet Czesław Miłosz observed of the composer’s Zakopane milieu, “it was a time of Dionysian intoxication with no presentiment of dread.” Only eighty miles away and a few years after Szymanowski’s death, Auschwitz was opened. matthew mendez is a New York-based music critic (visit soundproofedblog.blogspot.com) and composer who was the 2014 Tanglewood Music Center Publications Fellow.

week 19 szymanowski’s rarely heard masterpiece 27 andris nelsons, ray and maria stata music director bernard haitink, lacroix family fund conductor emeritus seiji ozawa, music director laureate Boston Symphony Orchestra 134th season, 2014–2015

Thursday, March 5, 8pm Saturday, March 7, 8pm | the john f. bok memorial concert

charles dutoit conducting mariusz kwiecien, baritone (king roger) olga pasichnyk, soprano (roxana) yvonne naef, mezzo-soprano (deaconess) edgaras montvidas, tenor (shepherd) rafał majzner, tenor (edrisi) alex richardson, solo tenor, acts i and iii raymond aceto, bass (archbishop) tanglewood festival chorus, john oliver, conductor voices boston, andy icochea icochea, conductor

szymanowski “king roger,” opera in three acts, opus 46 Concert performance sung in Polish with English supertitles; performed without intermission

saturday evening's performance by the boston symphony orchestra has been named by a generous gift from joan bok in memory of john f. bok.

this week’s performances by the tanglewood festival chorus are supported by the alan j. and suzanne w. dworsky fund for voice and chorus.

bank of america and emc corporation are proud to sponsor the bso’s 2014-2015 season.

These concerts will end about 9:45. Concertmaster Malcolm Lowe performs on a Stradivarius violin, known as the “Lafont,” generously donated to the Boston Symphony Orchestra by the O’Block Family. Steinway and Sons Pianos, selected exclusively for Symphony Hall. Special thanks to The Fairmont Copley Plaza and Fairmont Hotels & Resorts, and Commonwealth Worldwide Chauffeured Transportation. Broadcasts of the Boston Symphony Orchestra are heard on 99.5 WCRB. In consideration of the performers and those around you, please turn off all electronic devices during the concert, including tablets, cellular phones, pagers, watch alarms, and messaging devices of any kind. Thank you for your cooperation. Please note that taking pictures of the orchestra—whether photographs or videos—is prohibited during concerts.

28 Principal characters in order of singing: Archbishop ...... RAYMOND ACETO, bass Deaconess ...... YVONNE NAEF, mezzo-soprano KingRoger ...... MARIUSZ KWIECIEN, baritone Edrisi ...... RAFAŁ MAJZNER, tenor Roxana ...... OLGA PASICHNYK, soprano Shepherd ...... EDGARAS MONTVIDAS, tenor Priests, monks, nuns, acolytes, courtiers, guards, eunuchs, Shepherd’s disciples ...... TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor VOICES BOSTON, ANDY ICOCHEA ICOCHEA, conductor Solotenor(ActsIandIII) ...... ALEX RICHARDSON, tenor Solo soprano (Act III) ...... MEGHAN RENEE ZUVER, soprano* *Tanglewood Festival Chorus member

Setting: Palermo, Sicily, in the 12th century, under the rule of the Normans

ACT I: The interior of a Byzantine cathedral ACT II: An inner courtyard of the royal palace ACT III: The ruins of an ancient Greek theater

A synopsis of the plot begins on page 31.

Marcelo Lehninger, assistant conductor Brett Hodgdon, rehearsal pianist

Supertitles by Christopher Bergen SuperTitle System courtesy of DIGITAL TECH SERVICES, LLC, Portsmouth, VA David Latham, supertitles technician Daniel McGaha, supertitles caller

Detail from the autograph libretto of “King Roger”

week 19 program 29 The Program in Brief...

Of the Polish composer Karol Szymanowski, the unfailingly useful Baker’s Biographical Dictionary of Music and Musicians succinctly states: “Through successive influences, Szymanowski devel- oped into a national composer whose music acquired universal significance.” Those influences— of course including his Polish predecessor Fryderyk Chopin—will also have encompassed late- 19th-century German Romanticism’s extended harmonic language and increased orchestral size (think Wagner and Strauss); the orchestral palette (think Rimsky-Korsakov) and atmospheric conjurings (think Scriabin) of the Russian colorists; and the notably diaphanous orchestral shadings of French Impressionism (think Debussy). But still more important is to remember that in absorbing these manifold influences—whose traces we can’t help but notice in his works, especially on first listening—Szymanowski created his own varied and versatile sound- world convincingly adaptable to the multiple genres in which he wrote, and nowhere more compellingly utilized than in his opera King Roger, premiered in Warsaw in 1926, and often cited as his masterpiece.

Perhaps the most obvious inspiration for Szymanowski’s opera was his fascination with foreign countries and cultures, reflected in the opera’s setting of 12th-century Sicily, with its amalgam of historic influences. In fact, the three acts of the opera are sometimes referred to specifically with reference to their individual locations: the first, set in an ornate Byzantine cathedral, as the “Byzantine act”; the second, set in the courtyard of Roger’s palace with its display of Eastern and Norman elements, as the “Oriental act”; the third, set in the ruins of an ancient Greek amphi- theater, as the “Greco-Roman act.” These distinctions also extend to the way in which Szymanow- ski through his music characterizes not only each locale, but even individual characters.

Still more specifically, as basis for the plot Szymanowski drew upon Euripides’ great tragedy and cautionary tale The Bacchae, which depicts the clash between Pentheus, the young, tradi- tion-bound heir to the Theban throne, and the pleasure-oriented god Dionysus (also known as Bacchus, the “Bacchae” being his followers), ultimately leading to Pentheus’ being torn to bits by the fanatical Bacchae, among whom is his own deluded mother. In Szymanowski’s opera, the clash between King Roger and the mysterious, alluring Shepherd (who ultimately appears as Dionysus) parallels that of their ancient Greek counterparts—though Szymanowski quite pointedly opted to end things differently, with Roger ultimately achieving a newfound sense of self-awareness and spiritual awakening. Pentheus and Dionysus, Roger and the Shepherd, can in each case be seen to represent two sides of the same coin—with an implicit homoerotic element further heightening the tension between them.

Ultimately King Roger is perhaps best understood as Szymanowski’s endeavor to convey through opera the experience of a spiritual awakening on the part of its central character. One definition of “spirituality” (Wikipedia’s, to be precise) is “a process of personal transformation, either in accordance with traditional religious ideals, or, increasingly, oriented on subjective experience and psychological growth independently of any specific religious context.” If we apply this measure to Szymanowski’s opera, it takes little effort to see King Roger as a parable of self- actualization representing a quest for, and journey toward, personal growth.

Marc Mandel

30 “KING ROGER” Synopsis of the Plot

SETTING: Palermo, Sicily, in the 12th century, under the rule of the Normans

ACT I takes place in a Byzantine cathedral. Before a huge crowd of church dignitaries in full vestments, the Archbishop is celebrating Mass. King Roger enters with his court and the crowds acclaim their king. Edrisi, an Arabian sage, reports that a Shepherd has appeared in the region turning the people against their faith. Urged by the Queen Roxana, the King orders him to be sent for.

The Shepherd appears and in a lengthy aria proclaims his creed of love and beauty, a pantheistic vision of peace and joyous- ness free of dogma or constraint. This works hypnotically on the people and Roxana is bewitched. The church digni- taries on the other hand demand that he be put to death for blasphemy. Roger at first orders the execution, but Edrisi pleads for his release. Roger agrees, and commands the Shepherd to visit him in Mariusz Kwiecien as Szymanowski's King Roger, , July 2012 his palace that evening.

ACT II is set in an inner courtyard of the royal palace which displays architectural elements derived both from Normandy (severe stone arches) and from the East (rich carpets and colorful arabesque ornamentation). Roger confides his misgivings to Edrisi, his fear of the Shepherd arising from jealousy at Roxana’s enthusiasm for him. He feels threatened. Offstage, Roxana can be heard singing a rapturous aria, with the women’s chorus joining in, urging her husband to soften his heart; the aria is itself an example of the gorgeous indulgent beauty that the Shepherd stands for. The Shepherd enters, wearing an elabo- rate colored costume in Indian style; as he sings, more and more people fill the courtyard: beautiful young women, youths, boys, and eunuchs, forming a semicircle around him and holding out their arms to him.

After a tense exchange between Roger and the Shepherd, the latter’s followers perform an oriental, Dionysian dance. Roxana appears in an upper gallery, then runs down and joins the Shepherd in song. Roger, in exasperation, orders the guards to seize the Shepherd. The Shepherd breaks free and tells Roger he has to test his kingship in the “kingdom of light.” He runs off with his joyous companions, including Roxana. Left alone with Edrisi, Roger throws off his crown, royal mantle, and sword, then follows along as a pilgrim.

ACT III is set in the ruins of an ancient Greek theater. The sea is visible in the distance; a pale moon casts the scene in shadow. Edrisi attempts to comfort the weary Roger, urging

week 19 program notes 31 him to awaken the spirit of the ruins around them. Roger calls Roxana’s name; to Edrisi’s amazement she answers, as if from the sea. At Roger’s second call it is the Shepherd who replies, and when Roxana appears, Roger insists on confronting the Shepherd: he has come to be judged, after all. They make a burnt offering and out of the flames emerges the Shepherd—now in the form of Dionysus himself, radiating brilliance and light.

As day begins to break, the Shepherd’s song brings everyone together in a chorus of “almost unbearable joy.” Roxana throws off her long cloak and appears as a Greek mae- nad. The flames die down and the stage gradually empties, leaving only the King and Edrisi. Roger climbs to the top of the theater steps and sings a hymn to the rising sun, his acknowledgment of liberation and spiritual freedom.

Hugh Macdonald

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32 Karol Szymanowski “King Roger,” Opera in three acts, Opus 46

KAROL SZYMANOWSKI was born in Tymoszówka, Ukraine, on October 3 or 6, 1882, and died in Lausanne, Switzerland, on March 29, 1937. He composed “King Roger” between 1918 and 1924, mostly in Warsaw, in collaboration with the librettist Jaros´law Iwaszkiewicz (1894-1980). The first performance took place at the Wielki Theater, Warsaw, on June 19, 1926, conducted by Emil M´lynarski, with Eugeniusz Mossakowski as King Roger, Stanis´lawa Korwin-Szymanowska (the composer’s cousin) as Roxana, Adam Dobosz as the Shepherd, and Maurycy Janowski as Edrisi. The first American performance of “King Roger” was a concert version given by the St. Louis Symphony Orchestra with conducting on May 9, 1981; the first American staging was given by the Long Beach Opera led by Murray Sidlin on January 24, 1988. This week’s con- ductor, Charles Dutoit, has been a particular champion of “King Roger,” leading concert perform- ances with the Orchestre National de France in 1996 (the Paris premiere), the Montreal Symphony in 1999 (the Canadian premiere in Montreal, followed by the New York premiere at Carnegie Hall), the NHK Symphony Orchestra in 2002 (the Japanese premiere, in Tokyo), and the Czech Philharmonic in 2007.

THE SCORE OF “KING ROGER” calls for six principal soloists—King Roger (baritone), Queen Roxana (soprano), the Shepherd (tenor), Edrisi (tenor), Archbishop (bass), and Deaconess ()— plus mixed chorus and boys’ chorus, and an orchestra including three flutes and piccolo, three oboes and English horn, three clarinets, E-flat clarinet, and bass clarinet, three bassoons and contrabassoon, four horns, seven trumpets, three trombones, tuba, timpani, snare drum, tam- bourine, bass drum, triangle, cymbals, tam-tam, xylophone, bells, celesta, two harps, piano, organ, and strings.

In 1910 the twenty-eight-year-old Szymanowski was fascinated by his first trip to Italy, and the following year he returned with his close friend Stefan Spiess, going as far as Sicily, the setting of his opera King Roger. “You have no idea what a huge impression these ruins and the surrounding nature make—Stefan and I are constantly in a state of ecstasy.” In 1914 they went again to Sicily and extended the trip to parts of North Africa and Greece, whose ancient culture was central to Szymanowski’s consciousness. Born to

week 19 program notes 33 an aristocratic Polish family in a part of Ukraine then under Russian jurisdiction, Szymanow- ski was brought up in a highly cultured milieu where travel and the arts were considered the essentials of life, even when money ran short, as it inevitably did. All his family were musicians or poets or painters, and there were cousins on both sides in similar professions.

Szymanowski moved to Warsaw in 1901 to extend his study of music, and although he found the city’s music to be backward in many respects, he met a number of individuals to whom he remained close all his life, including the pianist Arthur Rubinstein and the violinist Paweł Kocha´nski. He was a fine pianist himself and composed a number of important works for the piano. Chopin was naturally central to his studies, and he soon discovered the brilliance of Strauss’s orchestration. This was superseded by the much stronger stimulus from the Russian Scriabin, whose works were advancing in language and novelty throughout the first decade of the century, and whose final orchestral work, Prometheus, The Poem of Fire, left a distinct mark on the works of Szymanowski’s middle period, including the opera King Roger.

Suffering from a limp, Szymanowski escaped conscription in World War I, so he spent the war years in seclusion at the family home, writing some of his finest music, including the First Violin Concerto, the Third Symphony, Mythes (for violin), and (for piano). The Revolution of October 1917 put an end to this productive existence, for the family house was destroyed and he became a wandering exile who traveled constantly, but with a strong attachment to the newly independent Poland that emerged after 1918.

week 19 program notes 35

The Szymanowski monument in the city of Bydgoszcz, northern Poland

In that year he began to sketch out an opera with his young cousin, the poet Jarosław Iwaszkiewicz, taking as his subject the clash of cultures in the ancient world symbolized by the Norman kingdom of Sicily. The Normans were not only conquering Britain in the last years of the 11th century, they also established the kingdom of Sicily with its capital in Palermo. Of the three Norman kings named Roger, the second is the closest to Szyman- owski’s portrayal, for the action of the opera owes nothing to 12th-century history but everything to literary and religious fantasy.

Long after Szymanowski’s death, Iwaszkiewicz explained that the central theme of the opera, the conflict between the traditional order and the world of free love and hedonistic indulgence, came from the composer, who contributed the words for much of the last act. The starting point was Euripides’ Bacchae, a play in which the antithesis between Apollo and Dionysus is played out in the character of a king who represses Dionysian urges in himself and persecutes what he is secretly attracted to. Szymanowski’s King Roger is more of an aesthete; he resists the epicurean pleasures presented in the form of a beautiful young Shepherd who preaches the life of indulgence and dissipation. The queen, Roxana, makes no secret of her attachment to the world of delight and to the per- son of the Shepherd, while for the king the attraction is unspoken and a cause of great tension within himself.

The story has a certain kinship with that of Thomas Mann’s Death in Venice, although Mann presents a current of homosexual attraction against a background of disease and decay, while King Roger’s world is the glittering silvers and golds of Byzantium and the perfumes and forbidden fruits of Arabia. The contrary pull of Apollo, insisting on order and obedience to a more formal rule of life, is represented in the opera by the Norman architecture and by the Archbishop’s exhortations to his people. Norman Sicily as the

week 19 program notes 37 setting of his opera was an inspired choice, for its northern architecture carrying rich oriental decoration enabled Szymanowski to evoke the clash of cultures in that kingdom as a symbol for the tensions in King Roger and, of course, in himself.

A similar theme was at the center of a novel Szymanowski wrote just before King Roger. This was named Ephebos, influenced, he admitted, by certain stories set in ancient Greece by Walter Pater, aesthete par excellence, who consistently extolled the Dionysian way of life. Nietzsche too was Szymanowski’s favorite reading. Dionysus, according to Nietzsche, consecrates spiritual and bodily ecstasy in which man most perfectly realizes his own highest nature. This spirit is incarnate in Szymanowski’s Shepherd, who leads his followers in an orgy of song and dance. The novel Ephebos, of which only extracts survive, was destroyed in Warsaw in 1939.

Put simply, the music that Szymanowski wrote in the 1910s, including King Roger, is an ardent quest for beauty in its purest form, even when it is a setting of words. It is a com- monplace to describe the First Violin Concerto as “rapturous” or the Third Symphony (the Song of the Night) as “pure sensuousness.” So long as he was influenced by Chopin or Strauss, there was a more business-like quality to his music; once it was Scriabin most prominently in the background, sensuality derived from sumptuous orchestration and rich harmony took over. In the final phase of his life, the austere aesthetics of the 1920s (in the person of Stravinsky) and a dedication to Polish folk song brought about another change in his style, and the lushness fades.

Szymanowski’s orchestra for King Roger is the huge array that became familiar in the first years of the century. The sound is rooted in Wagner, given filigree string textures by Debussy, exotic color by Rimsky-Korsakov, and a strong presence of the horns by Strauss. Szymanowski’s distinctive additions to this rich brew encompass a reaching out to both higher and lower pitches. The celestial sound of very high violins, either solo or in a section, is often pitted against a bass line that seems to plumb the depths. The double basses have a very low C that seems to carry the entire superstructure, and as in much music

week 19 program notes 39

Szymanowski's autograph sketch for the opening of Act II

from the later Romantic period, the bass line moves at a stately pace while the upper music is a glittering maze of active parts. The harmony is highly sophisticated, based on the primacy of the dominant-seventh, a chord familiar from Mozart but now, as in Scriabin, exploited for its mobility and ambiguity. The richness of the harmony comes home to us at the very end, when Szymanowski concludes the opera on a blazing chord of pure, unadulterated C major.

The three acts of the opera are set in three separate locations, each decor being precisely formulated in the score. The cathedral scene of Act I is dominated by a huge icon sus- pended in the apse above the altar. At the opening the cathedral service is solemn, with suggestions of Byzantine chant, but when the King enters with his court the music is greatly enriched. The King’s advisor, Edrisi, a faithful Arabian savant, gives us the first report of the Shepherd who preaches the virtues of the indulgent life. By wanting to hear what the Shepherd has to say, the King gives the first hint of sympathetic feeling even though his public utterances are stern.

The entry of the Shepherd is supported by music of wonderful richness, for he embodies Beauty in himself; in his song (“Mój Bóg jest pi˛ekny, jako ja”/“My God is beautiful as I am”) he calls on the assembled worshippers to abandon their faith and follow his cult of pleasure and light. Queen Roxana makes no secret of her support for the Shepherd in soaring soprano lines over the voices of Edrisi (supportive too) and the congregation, who are firmly resistant and increasingly angry. Like the enraged crowds in Bach’s St. John Passion, the people here demand the Shepherd’s death for blasphemy. The King, already torn, agrees, but then allows his other self to release the Shepherd and find out more

week 19 program notes 41 about him. The Shepherd’s music throughout has a feeling of remoteness, as if from another world, always beautiful, always calm.

The King’s disturbed state of mind is further revealed at the opening of Act II, Edrisi acting as confessor. Roger suffers strange feelings of jealousy when Roxana too openly adores this beautiful newcomer. The tambourine announces the approach of the Shepherd’s dis- ciples. Roxana’s voice is heard in a song (“U´snyjcie krwawe sny króla Rogera”/“Go to sleep, gory dreams of King Roger”) that seems to embody the enchantment of the soprano voice (and was arranged as a memorable piece for violin). She is supported by wordless invisible female voices in a scene of pure enchantment.

Trumpets herald the Shepherd’s arrival, and when the excitement dies down he has another aria-like song, which in turn leads to the climax of the act, a Dionysian dance which begins in a lopsided 7/8 rhythm and generates a sustained ecstatic scene. This is interrupted by the King, who sternly orders the Shepherd to be chained. When the Shepherd’s chains do not hold him, we may infer that the King’s order was perhaps not meant to be effective. The final act carries little action. It moves from a desolate Greek temple seen at night to a glorious sunrise, symbolizing the King’s eventual response to the Shepherd’s magical lure, the latter expressed late in the act in a more solemn ritualistic dance in which the Shepherd takes on the form of Dionysus himself.

In the 1920s, Szymanowski’s music was regularly performed in Europe and America. His first opera, , was played in Warsaw in 1922, and King Roger in 1926; his reputation was then at its height. In 1927 he took on the directorship of the Warsaw Conservatoire, but his attempt to modernize the institution alienated most of the professional staff and caused great bitterness. He left two years later, disillusioned and chastened, and the nervous strain remained with him in the remaining few years of his life. The music from these years is austere, especially when compared with the previous phase; in 1929 he even published an essay questioning Romanticism. The two violin concertos perfectly illustrate this change of style, for the Second is much less lush than the First. His last works were mazurkas and Polish dances for the piano. His favorite consolation was to spend time in Zakopane, in the Tatra mountains, which had become an artists’ retreat and where the air seemed to soothe his troubled nerves.

Tormented, like Tchaikovsky, by his orientation in an intolerant society, always short of money, in increasingly bad health (he smoked and drank heavily), restlessly traveling around Europe for concerts or simply in search of change, proud of Poland but appalled at its administration, Szymanowski was, in his last years at least, a deeply unhappy man. Yet in a series of now rarely heard works, including King Roger, he produced what he had always regarded as the prime goal of a creative artist—objects of ineffable beauty.

Hugh Macdonald hugh macdonald was for many years Avis Blewett Professor of Music at Washington University in St. Louis. A frequent guest annotator for the BSO, he has written extensively on music from Mozart to Shostakovich; his most recent books are “Bizet” (Oxford University Press, 2014) and “Music in 1853” (University of Rochester Press, 2012).

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To Read and Hear More...

Writings in English about Szymanowski include Christopher Palmer’s Szymanowski in the series of BBC Music Guides (BBC Books) and Jim Samson’s The Music of Szymanowski (Crescendo). Samson is also the author of the Szymanowski entry in the 2001 New Grove Dictionary of Music and Musicians. Szymanowski on Music: Selected Writings of Karol Szymanowski, edited and translated by Alistair Wightman, is a very good anthology of the composer’s own critical writings (Toccata Press). Useful older sources include B.M. Maciejewski’s Karol Szymanowski: His Life and Music (Poets’ and Painters’ Press, London) and Teresa Chyli´nska’s well-illustrated Szymanowski (The Ko´sciusko Foundation, New York). The website www.karolszymanowski.pl is worth investigating. Books on the gen- eral subject of Polish composers after Szymanowski include Bernard Jacobson’s A Polish Renaissance in the copiously illustrated series “20th-Century Composers” (Phaidon paperback) and Adrian Thomas’s Polish Music Since Szymanowski in the series “Music in the 20th Century” (Cambridge University Press).

Recordings of King Roger that offer meaningful connectivity to the language and country of the opera’s origin include Karol Stryja’s with the Polish State Philharmonic Orchestra and Chorus, with Andrzej Hiolski as Roger, Barbara Zagórzanka as Roxana, and Wiesław Ochman as the Shepherd (budget-priced Naxos), and Jacek Kasprzyk’s with the Wielki Theater Orchestra and Chorus, with Wojciech Drabowicz as Roger, Olga Pasichnyk as Roxana, and Piotr Beczala as the Shepherd, originating from the venue where the opera was premiered (CD Accord). is the conductor of a production preserved on video featuring Scott Hendricks as Roger, Olga Pasichnyk as Roxana, and Will Hartmann as the Shepherd, with the Vienna Symphony and Polish Radio Chorus, Kraków (C major Blu-ray and DVD). ’s 1998 recording with the City of Birmingham Symphony Orchestra and Chorus, as Roger, Elzbieta Szmytka as Roxana, Ryszard Minkiewicz as the Shepherd, and as Edrisi remains admirable for the conductor’s advocacy of the piece (EMI).

Marc Mandel

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Guest Artists

Charles Dutoit Since his initial Boston Symphony appearances in February 1981 at Symphony Hall and August 1982 at Tanglewood, Charles Dutoit has returned frequently to the BSO podium at both venues. He conducts both the BSO and the Tanglewood Music Center Orchestra at Tangle- wood and last spring, substituting at short notice for Lorin Maazel, led the final three programs of the BSO’s 2013-14 subscription season, as well as, immediately following those concerts, the orchestra’s tour to China and Japan. Captivating audiences through- out the world, Maestro Dutoit is one of today’s most sought-after conductors, having performed with all the major orchestras on most stages of the five continents. Currently artistic director and principal conductor of London’s Royal Philharmonic Orchestra, he recently celebrated his thirty-year artistic collaboration with the Philadelphia Orchestra, which, in turn, bestowed upon him the title of conductor laureate. He collaborates each season with the orchestras of Boston, Chicago, San Francisco, New York, and Los Angeles and is also a regular guest on the concert stages of London, Berlin, Paris, Munich, Moscow, Sydney, Beijing, Hong Kong, and Shanghai, among others. His more than 200 recordings for Decca, Deutsche Grammophon, EMI, Philips, and Erato have garnered multiple awards and distinc- tions, including two Grammys. For twenty-five years, Charles Dutoit was artistic director of the Montreal Symphony Orchestra, a dynamic musical team recognized the world over. From 1991 to 2001 he was music director of the Orchestre National de France. In 1996 he was appointed principal conductor of the NHK Symphony Orchestra in Tokyo, becoming its music director soon thereafter; today he is music director emeritus of that orchestra. He was music director of the Philadelphia Orchestra’s season at the Mann Music Center for ten years and at the Saratoga Performing Arts Center for twenty-one years. Charles Dutoit’s interest in the younger generation has always held an important place in his career; he has successively been music director of the Sapporo Pacific Music Festival and Miyazaki International Music Festival in Japan, as well as the Canton International Summer Music Academy in Guangzhou. In 2009 he became music director of the Verbier Festival Orchestra. When still in his early twenties, Charles Dutoit was invited by Herbert von Karajan to conduct the Vienna State Opera. He has since conducted at Covent Garden in London, the in New York, Deutsche Oper Berlin, Rome Opera, and the Teatro Colón in Buenos Aires. In 1991 he was made Honorary Citizen of the City of Philadelphia; in 1995, Grand Officier de l’Ordre National du Québec, and in 1996, Commandeur de l’Ordre des Arts et des Lettres by the gov- ernment of France. In 1998 he was invested as Honorary Officer of the Order of Canada. In 2007 he received the Gold Medal of the city of Lausanne, his birthplace, and in 2014 he was given the Lifetime Achievement Award from the International Classical Music Awards. Charles

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Dutoit holds honorary doctorates from McGill, Montreal, and Laval universities, and from the Curtis School of Music. A globetrotter motivated by his passion for history and archaeology, political science, art, and architecture, he has traveled in all 196 nations of the world.

Mariusz Kwiecien (King Roger) A native of Krakow, Mariusz Kwiecien is recognized worldwide as one of the leading before the public today. Known for his handsome voice, incisive musicianship, and captivating stage presence, he performs with the Metropolitan Opera, Covent Garden, Paris Opera, Vienna State Opera, Lyric Opera of Chicago, Bavarian State Opera, and many other renowned companies around the world. He is in demand for his portrayals of the title roles in , King Roger, and , as well as for Almaviva in Le nozze di Figaro, Malatesta in , Riccardo in I puritani, and Rodrigo in Don Carlo. Mr. Kwiecien opened the 2014-15 season at Lyric Opera of Chicago in the title role of Don Giovanni. At the Metropolitan Opera this season he sings Marcello in La bohème and the Count in the new production of Le nozze di Figaro. He sings the title role of King Roger with the Royal Opera at Covent Garden and with the Boston Symphony Orchestra, and will then be heard at the Gran Teatre del Liceu in Barcelona as Malatesta in Don Pasquale and at the Bayerische Staatsoper as Eugene Onegin. In 2013-14, Mariusz Kwiecien opened the Metropolitan Opera’s season singing the title role in a new production of Eugene Onegin conducted by . He also returned to the Paris Opera to sing Riccardo in a new production of I puritani, a role he reprised later in the season at the Metropolitan Opera. In February 2014 he sang Don Giovanni for the Royal Opera, Covent Garden, in a new produc- tion directed by Kasper Holten and conducted by . He was also heard at the Vienna State Opera and the Warsaw Opera as Eugene Onegin. Making his BSO subscription series debut this week, Marius Kwiecien made his Boston Symphony debut—his only previous BSO appearance—at Tanglewood in July 2006 with James Levine conducting, singing the title role of Mozart’s Don Giovanni in a concert performance marking the 250th anniversary of the composer’s death.

Olga Pasichnyk (Roxana) Making her Boston Symphony Orchestra debut this week, Olga Pasichnyk studied at the Kiev Conservatory and the Chopin Academy of Music in Warsaw. In 1992 she joined the chamber opera of Warsaw, performing in such famous European halls as Théâtre des Champs- Élysées, Salle Pleyel, Châtelet, deSingel Antwerpen, Concertgebouw Amsterdam, Konzerthaus Berlin, the Bozar in Brussels, and De Doelen in Rotterdam, as well as in the United Kingdom, Italy, Japan, and Australia. Recent highlights include Donna Anna (Don Giovanni) in concert, followed by a recording for Harmonia Mundi with the Freiburg Baroque Orchestra under René Jacobs; the Countess (Le nozze di Figaro) in a revival of the Aix-en-Provence production; several Handel parts—for which she was named “Singer of the Year”—including Almirena (Rinaldo), Dalinda (Ariodante), Dorinda (Orlando) at Flanders Opera and Bavarian State Opera, Bellezza (Il trionfo del tempo e del disinganno) under Marc Minkowski at Salle Pleyel and in Düsseldorf and Granada, Morgana (Alcina) at the Paris Opera, the title role in Semele in Essen, Cleopatra (Giulio Cesare) in Warsaw,

week 19 guest artists 49 and Achille (Deidamia) at DNO Amsterdam. The last two seasons have included engagements as Pamina (Die Zauberflöte) at ONR Strasbourg; Euridice (Orfeo e Euridice) and the world premiere of Pawel Szymanski’s Qudsja Zaher at Polish National Opera; and her role debut as Ginevra in Ariodante at the Aalto Theatre in Essen. In concert she sang Poulenc’s Gloria at the Prague Spring International Festival 2013 with the Prague Symphony Orchestra under Jean- Claude Casadesus and appeared at Zurich’s Tonhalle in Mahler’s Fourth Symphony and Lutosławski’s Chantefleurs et Chantefables under Michal Nesterowicz. This season she also makes her debut at the Komische Oper Berlin and participates in opera revivals in Essen and Warsaw. In concert she appears with, among others, the Tonhalle Orchestra Zurich (Penderecki’s Symphony No. 8), La Chambre du Roy, Munich Chamber Orchestra, and Belgian National Orchestra. Other appearances have included Blanche (Dialogues des Carmélites) at Flanders Opera, Ännchen (Der Freischütz) in Geneva, the title role in Cavalli’s La Calisto at Bavarian State Opera; Roxana at the Opéra-Bastille, Teatro Real de Madrid, Bregenz Festival, Wielki Theatre, and La Monnaie in Brussels; Micaëla (Carmen) in Lille, Ilia (Idomeneo) with Musiciens du Louvre under Marc Minkowski, Megacle in Pergolesi’s L’Olimpiade at the Innsbruck Festival, and Tomiri in Scarlatti’s Tigrane in Nice. Olga Pasichnyk has sung under the baton of numerous distinguished conductors. Her discography of more than forty recordings illustrates her large repertoire of concert works, Lied, and opera, as well as her mastery of various musical periods and styles. Ms. Pasichnyk tours regularly with her sister, the pianist Natalya Pasichnyk, with whom she has made several internationally acclaimed recordings.

Yvonne Naef (Deaconess) A native of Switzerland, Yvonne Naef is one of the most sought-after mezzo- on both the concert and operatic stages, as demonstrated by her recent successes as Mistress Quickly in Falstaff, Ulrica in Un ballo in maschera, and Kundry in Parsifal under the baton of Daniele Gatti in Zurich. Her extensive opera repertoire includes the major mezzo roles in Verdi’s Aida, Il trovatore, Don Carlo, and Un ballo in maschera, which she has sung at the Metropolitan Opera, the Royal Opera House, Vienna State Opera, and Opéra de Paris. She also sings operas of Richard Wagner, Russian operas, and, in the French repertoire, Ariane et Barbe-bleue, Carmen, Les Troyens, and La Damnation de Faust. On the concert stage she performs a wide range of repertoire, from Bach to Boulez, with prominent orchestras and conductors. Noted for her performances of Mahler’s symphonies and song cycles, she has performed that composer’s Second, Third, and Eighth symphonies, Kindertotenlieder, Rückert-Lieder, Lieder eines fahrenden Gesellen, Lieder aus Des Knaben Wunderhorn, and other songs under the direction of Pierre Boulez, James Levine, Christoph Eschenbach, Semyon Bychkov, Marin Alsop, Franz Welser-Möst, Sylvain Cambreling, Rafael Frühbeck de Burgos, Kent Nagano, and Jonathan Nott. Other conductors with whom she has worked include Mariss Jansons, Sir Simon Rattle, Bernard Haitink, Georges Prêtre, and Sir John Eliot Gardiner. Other engagements this season include concerts at the Musikverein in Vienna, in Prague, Katowice, and Tokyo, and singing Ulrica with Hamburg State Opera. Highlights of recent seasons include the first-ever production of Parsifal in Korea with Korean National Opera, Mistress Quickly and Ulrica with Zurich Opera, Fricka in Die Walküre with Hamburg State Opera, Kundry with Budapest State Opera, Ravel’s L’Enfant et les sortilèges at the Saito Kinen Festival under Seiji Ozawa and with the Boston Symphony Orchestra under Charles Dutoit, Mahler’s Eighth Symphony under Gustavo Dudamel at the Salzburg Festival,

week 19 guest artists 51 and concert appearances in Zurich, Paris, Amsterdam, and Rotterdam. She has also performed in recital. Ms. Naef’s recordings, some of which have received coveted international awards, include Il trovatore, Das Rheingold, Die Walküre, Bach’s Christmas Oratorio and various cantatas, Rossini’s Petite Messe solennelle, Schoeck’s Penthesilea, Schoenberg’s Gurrelieder, Beethoven’s Ninth Symphony, songs by Shostakovich, Berlioz, and Wagner, Brahms’s Alto Rhapsody, Mahler’s Second and Eighth symphonies, and Messiaen’s Poèmes pour mi. Yvonne Naef made her Boston Symphony debut at Tanglewood in August 2003 in Verdi’s Requiem; her BSO performances since then have included Mahler’s Symphony No. 8 in Boston, Carnegie Hall, and Tanglewood during James Levine’s inaugural season as BSO music director; the role of Marguerite in Berlioz’s La Damnation de Faust led by Levine at Symphony Hall, Carnegie Hall, Tanglewood, and on tour in Lucerne, Essen, Paris, and London; Cassandra in Berlioz’s Les Troyens in Symphony Hall also led by Levine; and, most recently, multiple roles in Stravinsky’s The Nightingale and Ravel’s L’Enfant et les sortilèges with Charles Dutoit conducting in October 2012.

Edgaras Montvidas (Shepherd) Lithuanian tenor Edgaras Montvidas was educated in Vilnius and from 2001 to 2003 was a member of the Royal Opera House, Covent Garden Young Artists Programme, where he sang Alfredo in La traviata, Arminio in Verdi’s I masnadieri, Marcellus and Laertes in Thomas’s Hamlet, and Fenton in Falstaff. From 2004 to 2006, as a member of the ensemble of Frankfurt Opera, he was Des Grieux in Manon, Belmonte in Die Entführung aus dem Serail, Tamino in Die Zauberflöte, Ottavio in Don Giovanni, Alfredo, and Macduff in Macbeth. Besides this week’s Boston Symphony concerts, recent and upcoming engagements include Belmonte for Glyndebourne Festival Opera; Lensky in Eugene Onegin for the Grande Théˆatre de Genève; Verdi’s Requiem with the Svetlanov Sym- phony Orchestra in Moscow; the title role in The Tales of Hoffmann at Komische Oper Berlin; Ottavio for Santa Fe Opera; Flamand in Strauss’s Capriccio for La Monnaie, Brussels; Alfred in Die Fledermaus for Bayerische Staatsoper Munich, and, in concert, the title role in Donizetti’s Roberto Devereux with the Russian National Orchestra and Antonini Fogliani, and the title role in Benjamin Godard’s Dante on a European tour and recording conducted by Hervé Niquet. Recent opera appearances have included Lensky for Glyndebourne Festival Opera and Bayerische Staatsoper Munich; Belmonte for Bayerische Staatsoper, Hamburg Opera, and Netherlands Opera; Nemorino in L’elisir d’amore for ENO and Scottish Opera (where he has also sung the Duke in Rigoletto and Tom Rakewell in The Rake’s Progress); Ruggero in La rondine for Leipzig Opera; Prunier in La rondine for the Royal Opera, Covent Garden; Alfredo, the Fisherman in Stravinsky’s The Nightingale, and Lensky for Lyon Opera; Tebaldo in I Capuleti e i Montecchi for Opera North; the Fisherman for Netherlands Opera and the Aix-en-Provence Festival; Rinuccio in Gianni Schicchi for Cincinnati Opera, and Arbace in Idomeneo for Nether- lands Opera. He was Helios both in concert and on a recording of Félicien David’s Herculanum with the Brussels Philharmonic Orchestra under Niquet. Also active on the concert platform, he recently sang Verdi’s Requiem in Vaasa, Finland; Bruneau’s Requiem at La Monnaie; the Fisherman with the Berlin Philharmonic Orchestra and Pierre Boulez; and The Nightingale and Ravel’s L’Enfant et les sortilèges with the Boston Symphony Orchestra and Dutoit. He has also appeared with the London Sinfonietta, BBC Symphony, Scottish Chamber, Russian National, and Netherlands Philharmonic orchestras, as well as with the major orchestras in Lithuania and Latvia, in music of Berlioz, Mozart, Beethoven, Dvoˇrák, Franck, Mendelssohn, Liszt, and

week 19 guest artists 53 54 Stravinsky. At the BBC Proms he has sung the Voice of the Forge in Falla’s La vida breve with the BBC Symphony Orchestra, as well as the Shepherd in Stravinsky’s Oedipus Rex, and the Young Lover in Puccini’s Il tabarro with the BBC Philharmonic Orchestra. Recently presented with the Lithuanian Order of Merit medal by President Dalia Grybauskaite, Edgaras Montvidas was awarded the Gold Cross of the Stage in Lithuania in 2009 for his performances as Werther. Edgar Montvidas’s only previous BSO performances were in October 2012, singing the roles of The Fisherman in Stravinsky’s The Nightingale and the Teapot in Ravel’s L’Enfant et les sortilèges with Charles Dutoit conducting.

Rafa´l Majzner (Edrisi) Making his BSO debut this week, tenor Rafał Majzner graduated from the Karol Szymanowski Academy of Music in Katowice, where he studied vocal performance and acting under the supervision of Eugenisz S˛asiadek. In 2012 he defended his Ph.D. dissertation (on issues related to performing tenor parts in operas by Karol Szymanowski) at the Stanisław Moniuszko Academy of Music in Gda´nsk. In 1998 and 2003, he was awarded scholarships from the Minister of Culture and National Heritage. Mr. Majzner has won many prizes and awards in Poland and abroad, including first prize in the Franiszka Platówna Vocal Competition in Wroclaw (1998), second prize in the Slavic Music Competition in Katowice (2001), the prize of the Frederick Chopin Society for the best performance of Chopin’s music within the framework of the Artistic Song Perform- ance Competition in Warsaw (2001), third prize and a special award in the Ryszard Karczykowski Vocal Competition in Dusznik-Zdrój (2001), and third prize in the 37th Inter- national Vocal Competition in Karlovy Vary (2002). To master his vocal and acting skills, he attended master classes given by Christian Elssner, Ryszard Karczykowski, Eugeniusz S˛asiadek, and Kaludi Kaludov. Even during his studies, he was already gaining stage experience by per- forming in oratorios, cantatas, and operas at home and abroad. Although he has a great affinity for music of the Romantic period, his repertoire also includes works up to the present day. He has sung Mozart’s Requiem, Bach’s St. Matthew Passion, Haydn’s The Creation, Handel’s Messiah, Beethoven’s Symphony No. 9, the First Sailor in Purcell’s , Lensky in Eugene Onegin, Tamino and Monostatos in The Magic Flute, Le Dancaïre in Carmen, Yeroshka in Prince Igor, Bob in Britten’s The Little Sweep, Frank in Moniuszko’s Flis (The Raftsman), Nemorino in L’elisir d’amore, Edrisi in Szymanowski’s King Roger, the young king in Szymanowski’s Hagith, the yuródïvy (the “Holy Fool”) in Boris Godunov, Fenton in Falstaff, and Podró˙znego in Joanna Bruzdowicz’s In the Penal Colony. Mr. Majzner has performed with Wroclaw Opera, Kraków Opera, Opera Nova in Bydgoszcz, the Silesian Philharmonic in Katowice, the Sudecka Philhar- monic in Wałbrzych, the Opolska Philharmonic, and Capella Cracoviensis, among others. He has given solo concerts in France, Austria, Italy, Germany, Switzerland, and the United States, and has appeared at such music festivals as Vratislavia Cantans, the G.G. Gorczycki International Festival, and the Polish Music Festival in Kraków. He has been soloist on several recordings, including CDs of Gorczycki’s Completorium, Mozart’s Litaniae Lauretanae, and Bach’s Magnificat, as well as DVDs of Moniuszko’s and Szymanowski’s King Roger. Also an academic lecturer, Rafał Majzner is an assistant professor at the Technical-Humanistic Academy in Bielsko-Biała. He is the author of many academic publications in the fields of the theory and history of music and music education.

week 19 guest artists 55 Alex Richardson (Solo Tenor, Acts I and III) An alumnus of the Tanglewood Music Center, Alex Richardson performed at Tanglewood under the baton of Rafael Frühbeck de Burgos and James Levine in programs featuring works by Stravinsky and Wagner, and returned in 2012 as a soloist in Beethoven’s Choral Fantasy with the Boston Symphony Orchestra under David Zinman in Tanglewood’s 75th Anniversary Gala. In recent seasons he covered the title role of Werther for Washington National Opera, debuted as Rinuccio (Gianni Schicchi) at the Princeton Festival, where he returned the following season as the Steersman (Die fliegende Holländer), and sang Ernesto (Don Pasquale) with Boston Midsummer Opera. He has sung the roles of Alfred in Die Fledermaus with Opera Southwest and Will Tweedy in Carlisle Floyd’s Cold Sassy Tree with Amarillo Opera, made his European debut as Alfredo in La traviata with Festival de Belle-Île, France, and returned the following sea- son as the Duke in Rigoletto. Among his other roles are Fenton in Falstaff, Camille in The Merry Widow, and the title role in Albert Herring; Cavaradossi in Tosca, and Rodolfo in La bohème with Opera Western Reserve; Vaudémont in with Dicapo Opera; André (cover) in Prima Donna with New York City Opera; the Psychologist in The Good Soldier Schweik with Long Beach Opera; Werther (role debut) in Denton, Texas, and Rinuccio with the Northern Lights Music Festival. He was the Soldier Ruiz Alonzo in Osvaldo Golijov’s Ainadamar at Santa Fe Opera and sang the Bullfighter in that same opera with the Atlanta and Chicago symphonies at the Ojai and Ravinia festivals, respectively. He has been Cavaradossi with Winter Opera St. Louis; Tom Buchanan in John Harbison’s The Great Gatsby with Emmanuel Music both in Boston and at Tanglewood; and Rodolfo with Opera Western Reserve. His 2013-14 perform-

56 ances included Romeo in Roméo et Juliette with St. Petersburg Opera; the Second Jew in Salome with the Boston Symphony Orchestra (his subscription series debut, in March 2014); Molqi in The Death of Klinghoffer with Long Beach Opera; a Los Angeles Philharmonic debut in Louis Andriessen’s De Materie under Reinbert de Leeuw, and his Spoleto USA debut as Váˇna Kudrjaš in Kátya Kabanová with Anne Manson conducting. For the 2014-15 season he debuts in the title role of Hamlet in Franco Faccio’s Amleto with Opera Southwest; sings Sam in Floyd’s Susannah (with Samuel Ramey as Olin Blitch) at Toledo Opera; is tenor soloist in Verdi’s Requiem with the Oratorio Society of New York under Kent Tritle, and returns this week to the Boston Symphony Orchestra for Szymanowski’s King Roger with Charles Dutoit conducting.

Raymond Aceto (Archbishop) In 2014-15, American bass Raymond Aceto appears in ’s production of Floyd’s Susannah as Olin Blitch opposite Patricia Racette; he also sings Oroveso in Norma at Barcelona’s Gran Teatre del Liceu under Renato Palumbo, and Vodník in Rusalka at New Orleans Opera. In addition to this week’s Boston Symphony performances, concert engagements include Verdi’s I due Foscari at the Gran Teatre del Liceu with Plácido Domingo, conducted by Massimo Zanetti, and “Wagner versus Beethoven,” a program of highlights from Lohengrin, Fidelio, and Tristan und Isolde at Opéra Théâtre de Limoges. Mr. Aceto’s 2013-14 season included a return to the Royal Opera House as Timur in Turandot, Daland in Der fliegende Holländer with Arizona Opera, Scarpia in Tosca with the Teatro Comunale di Bologna, Escamillo in Carmen with the Festival dell’Arena di Verona, and Zaccaria in Nabucco with the Teatro Comunale di Firenze. Symphonic highlights included The Cunning Little Vixen with the Cleveland Orchestra under Franz Welser-Möst, Beethoven’s Ninth Symphony with the Dallas Symphony, and Verdi’s Requiem with both the New West Symphony and Phoenix Symphony. A frequent presence at the Metropolitan Opera, he has performed there recently as Zaccaria in Nabucco, the King of Egypt in Aida, the Commendatore in Don Giovanni, and Sparafucile in Rigoletto. The first of his many Lyric Opera of Chicago roles was the High Priest in Nabucco. He made his San Francisco

week 19 guest artists 57

Opera debut as Monterone in Rigoletto and later returned as Banquo in Macbeth, the King in Aida, and Timur. He regularly appears with Houston Grand Opera and Dallas Opera, and has performed with the Canadian Opera Company, Opéra de Montréal, Santa Fe Opera, and the companies of Seattle, Philadelphia, Cincinnati, Baltimore, Boston, Colorado, Pittsburgh, North Carolina, and Cleveland, as well as the opera festivals in St. Louis and Spoleto USA. In Europe he has appeared at the Royal Opera, Covent Garden; Madrid’s Teatro Real, Deutsche Oper Berlin, Arena di Verona, Vienna Staatsoper, Palermo’s Teatro Massimo, Netherlands Opera, Théâtre de la Monnaie in Brussels, and Oper Frankfurt. Concert appearances have included numerous performances with the San Francisco Symphony and Cleveland Orchestra; Beetho- ven’s Ninth Symphony in Toronto, at the Hollywood Bowl, and with the Minnesota Orchestra, and engagements with the Boston Symphony, St. Louis Symphony, Dallas Symphony, Colorado Symphony, Nashville Symphony, Tucson Symphony, Boston’s Chorus Pro Musica, Opéra Français de New York, Opera Orchestra of New York (for his Carnegie Hall debut), and at the Festival International de Lanaudière. Born in Ohio, Raymond Aceto is a graduate of the Metropolitan Opera’s Young Artists Development Program. He received career grants from the Richard Tucker Foundation and a Sullivan Foundation Award. In 1996 he traveled to Japan for performances and a recording of The Rake’s Progress conducted by Seiji Ozawa. Mr. Aceto can also be heard as Capellio in Teldec’s recording of I Capuleti eiMontecchi. Raymond Aceto made his Boston Symphony debut at Tanglewood in August 2001 as the Second Soldier in Strauss’s Salome, subsequent BSO appearances having included Beethoven’s Ninth Symphony in 2004 and 2009 at Tanglewood (as well as a 2007 performance with the Tanglewood Music Center Orchestra), concert performances of Verdi’s Simon Boccanegra with James Levine in January 2009, and, most recently, Tiresias in Stravinsky’s Oedipus Rex with Levine conducting in January 2011.

Tanglewood Festival Chorus John Oliver, Conductor

Previously this season with the Boston Symphony Orchestra, the Tanglewood Festival Chorus has sung Brahms’s Ein deutsches Requiem in October with Bramwell Tovey conducting, and three works in a November program led by BSO Music Director Andris Nelsons: the Boston premiere of John Harbison’s BSO-commissioned Koussevitzky Said:, the world premiere of Latvian composer Eriks Ešenwalds’s BSO-commissioned Lakes Awake at Dawn, and Rachmani- noff’s The Bells, in its first BSO performances since the orchestra’s only previous ones in 1979.

week 19 guest artists 59 Founded in January 1970 when conductor John Oliver was named Director of Choral and Vocal Activities at the Tanglewood Music Center, the Tanglewood Festival Chorus made its debut on April 11 that year, in a performance of Beethoven’s Ninth Symphony with Leonard Bernstein conducting the BSO. Made up of members who donate their time and talent, and formed originally under the joint sponsorship of Boston University and the Boston Symphony Orchestra for performances during the Tanglewood season, the chorus originally numbered 60 well-trained Boston-area singers, soon expanded to a complement of 120 singers, and also began playing a major role in the BSO’s subscription season, as well as in BSO performances at New York’s Carnegie Hall. Now numbering over 300 members, the Tanglewood Festival Chorus performs year-round with the Boston Symphony Orchestra and Boston Pops. The chorus gave its first overseas performances in December 1994, touring with Seiji Ozawa and the BSO to Hong Kong and Japan. It performed with the BSO in Europe under James Levine in 2007 and Bernard Haitink in 2001, also giving a cappella concerts of its own on both occasions. In August 2011, with John Oliver conducting and soloist Stephanie Blythe, the Tanglewood Festival Chorus gave the world premiere of Alan Smith’s An Unknown Sphere for mezzo-soprano and chorus, commissioned by the BSO to mark the TFC’s 40th anniversary. The chorus’s first recording with the BSO, Berlioz’s La Damnation de Faust with Seiji Ozawa, received a Grammy nomination for Best Choral Performance of 1975. In 1979 the ensemble received a Grammy nomination for its album of a cappella 20th-century American choral music recorded at the express invitation of Deutsche Grammophon, and its recording of Schoenberg’s Gurrelieder with Ozawa and the BSO was named Best Choral Recording by Gramophone magazine. The Tanglewood Festival Chorus has since made dozens of recordings

60 with the BSO and Boston Pops, on Deutsche Grammophon, New World, Philips, Nonesuch, Telarc, Sony Classical, CBS Masterworks, RCA Victor Red Seal, and BSO Classics, with James Levine, Seiji Ozawa, Bernard Haitink, Sir Colin Davis, Leonard Bernstein, Keith Lockhart, and John Williams. Its most recent recordings on BSO Classics, all drawn from live performances, include a disc of a cappella music released to mark the ensemble’s 40th anniversary in 2010, and, with James Levine and the BSO, Ravel’s complete Daphnis and Chloé (a Grammy-winner for Best Orchestral Performance of 2009), Brahms’s Ein deutsches Requiem, and William Bolcom’s Eighth Symphony for chorus and orchestra, a BSO 125th Anniversary Commission composed specifically for the BSO and Tanglewood Festival Chorus. Besides their work with the Boston Symphony, members of the Tanglewood Festival Chorus have performed Beethoven’s Ninth Symphony with Zubin Mehta and the Israel Philharmonic at Tanglewood and at the Mann Music Center in Philadelphia; participated in a Saito Kinen Festival production of Britten’s Peter Grimes under Seiji Ozawa in Japan, and sang Verdi’s Requiem with Charles Dutoit to help close a month-long International Choral Festival given in and around Toronto. In February 1998, singing from the General Assembly Hall of the United Nations, the chorus represented the United States in the Opening Ceremonies of the Winter Olympics when Seiji Ozawa led six choruses on five continents, all linked by satellite, in Beethoven’s Ode to Joy. The chorus performed its Jordan Hall debut program at the New England Conservatory of Music in May 2004; had the honor of singing at Sen. Edward Kennedy’s funeral; has performed with the Boston Pops for the Boston Red Sox and Boston Celtics, and can also be heard on the soundtracks to Clint Eastwood’s Mystic River, John Sayles’s Silver City, and Steven Spielberg’s Saving Private Ryan. TFC members regularly commute from the greater Boston area, western Massachusetts, Connecticut, Rhode Island, New Hampshire, Vermont, and Maine, and TFC alumni frequently return each summer from as far away as Florida and California to sing with the chorus at Tanglewood. Throughout its history, the Tanglewood Festival Chorus has established itself as a favorite of conductors, soloists, critics, and audiences alike.

John Oliver John Oliver founded the Tanglewood Festival Chorus in 1970 and has since prepared the TFC for more than 1000 performances, including appearances with the Boston Symphony Orchestra at Symphony Hall, Tanglewood, Carnegie Hall, and on tour in Europe and the Far East, as well as with visiting orchestras and as a solo ensemble. Occupant of the BSO’s Alan J. and Suzanne W. Dworsky Chair for Voice and Chorus, he has had a major impact on musical life in Boston and beyond through his work with countless TFC members, former students from the Massachusetts Institute of Technology (where he taught for thirty-two years), and Fellows of the Tanglewood Music Center who now perform with distinguished musical institutions throughout the world. Mr. Oliver’s affiliation with the Boston Symphony began in 1964 when, at twenty-four, he prepared the Sacred Heart Boychoir of Roslindale for the BSO’s performances and recording of excerpts from Berg’s Wozzeck led by Erich Leinsdorf. In 1966 he prepared the choir for the BSO’s performances and recording of Mahler’s Symphony No. 3, also with Leinsdorf, soon after which Leinsdorf asked him to assist with the choral and vocal music program at the Tanglewood Music Center. In 1970, Mr. Oliver was named Director of Vocal

week 19 guest artists 61 and Choral Activities at the Tanglewood Music Center and founded the Tanglewood Festival Chorus. He has since prepared the chorus in more than 200 works for chorus and orchestra, as well as dozens more a cappella pieces, and for more than forty commercial releases with James Levine, Seiji Ozawa, Bernard Haitink, Sir Colin Davis, Leonard Bernstein, Keith Lockhart, and John Williams. John Oliver made his Boston Symphony conducting debut in August 1985 at Tanglewood with Bach’s St. Matthew Passion and his BSO subscription series debut in December 1985 with Bach’s B minor Mass, later returning to the Tanglewood podium with music of Mozart in 1995 (to mark the TFC’s 25th anniversary), Beethoven’s Mass in C in 1998, and Bach’s motet Jesu, meine Freude in 2010 (to mark the TFC’s 40th anniversary). In February 2012, replacing Kurt Masur, he led the BSO and Tanglewood Festival Chorus in sub- scription performances of Beethoven’s Missa Solemnis, subsequently repeating that work with the BSO and TFC for his Carnegie Hall debut that March. In addition to his work with the Tanglewood Festival Chorus and Tanglewood Music Center, Mr. Oliver has held posts as conductor of the Framingham Choral Society, as a member of the faculty and director of the chorus at Boston University, and for many years on the faculty of MIT, where he was lecturer and then senior lecturer in music. While at MIT, he conducted the MIT Glee Club, Choral Society, Chamber Chorus, and Concert Choir. In 1977 he founded the John Oliver Chorale, which performed a wide-ranging repertoire encompassing masterpieces by Bach, Beethoven, Mozart, and Stravinsky, as well as seldom heard works by Carissimi, Bruckner, Ives, Martin, and Dallapiccola. With the Chorale he recorded two albums for Koch International: the first of works by Martin Amlin, Elliott Carter, William Thomas McKinley, and Bright Sheng, the second of works by Amlin, Carter, and Vincent Persichetti. He and the Chorale also recorded Charles Ives’s The Celestial Country and Charles Loeffler’s Psalm 137 for Northeastern Records, and Donald Martino’s Seven Pious Pieces for New World Records. Mr. Oliver’s appearances as a guest conductor have included Mozart’s Requiem with the New Japan Philharmonic and Shinsei Chorus, and Mendelssohn’s Elijah and Vaughan Williams’s A Sea Symphony with the Berkshire Choral Institute. In May 1999 he prepared the chorus and children’s choir for André Previn’s performances of Benjamin Britten’s Spring Symphony with the NHK Symphony in Japan; in 2001-02 he conducted the Carnegie Hall Choral Workshop in preparation for Previn’s Carnegie performance of Brahms’s Ein deutsches Requiem. John Oliver made his Montreal Symphony Orchestra debut in December 2011 conducting performances of Handel’s Messiah. In October 2011 he received the Alfred Nash Patterson Lifetime Achieve- ment Award, presented by Choral Arts New England in recognition of his outstanding contri- butions to choral music.

62 Tanglewood Festival Chorus John Oliver, Conductor (Szymanowski King Roger, March 5 and 7, 2015)

In the following list, § denotes membership of 40 years or more, * denotes membership of 35-39 years, and # denotes membership of 25-34 years. sopranos

Aimée Birnbaum • Joy Emerson Brewer • Jeni Lynn Cameron • Anna S. Choi • Sarah Dorfman Daniello # • Emilia DiCola • Christine Pacheco Duquette* • Kaila J. Frymire • Hailey Fuqua • Diana Galeano • Beth Grzegorzewski • Carrie Louise Hammond • Alexandra Harvey • Eileen Huang • Polina Dimitrova Kehayova • Nancy Kurtz • Suzanne Lis • Sarah Mayo • Hannah McMeans • Christiana Donal Meeks • Kieran Murray • Ebele Okpokwasili-Johnson • Laurie Stewart Otten • Livia M. Racz • Adi Rule • Melanie Salisbury # • Sarah Telford # • Nora Anne Watson • Sarah Wesley • Lauren Woo • Meghan Renee Zuver mezzo-sopranos

Anete Adams • Virginia Bailey • Lauren A. Boice • Janet L. Buecker • Abbe Dalton Clark • Diane Droste # • Barbara Durham • Paula Folkman # • Dorrie Freedman § • Irene Gilbride # • Mara Goldberg • Betty Jenkins • Irina Kareva • Yoo-Kyung Kim • Annie Lee • Gale Tolman Livingston # • Anne Forsyth Martín • Louise-Marie Mennier • Ana Morel • Andrea Okerholm Huttlin • Lori Salzman • Kathleen Hunkele Schardin • Amy Spound • Julie Steinhilber # • Lelia Tenreyro-Viana • Michele C. Truhe • Cindy M. Vredeveld • Christina Wallace Cooper # • Laura Webb • Marguerite Weidknecht # • Karen Thomas Wilcox • Lidiya Yankovskaya

Brad W. Amidon • John C. Barr # • Jiahao Chen • Stephen Chrzan • Andrew Crain # • Sean Dillon • Tom Dinger • Ron Efromson • Keith Erskine • Len Giambrone • J. Stephen Groff # • David Halloran # • Timothy O. Jarrett • James R. Kauffman # • Kwan H. Lee • Lance Levine • Henry Lussier § • Mark Mulligan • Jonathan Oakes • Dwight E. Porter* • Guy F. Pugh • Peter Pulsifer • Tom Regan • Brian R. Robinson • David Roth • Arend Sluis • Martin S. Thomson • Adam Van der Sluis • Joseph Y. Wang • Hyun Yong Woo basses

Nicholas Altenbernd • Scott Barton • Nathan Black • Daniel E. Brooks # • Eric Chan • Michel Epsztein • Jim Gordon • Jay S. Gregory # • Mark L. Haberman # • David M. Kilroy • Will Koffel • Yangming Kou • Bruce Kozuma • Timothy Lanagan # • Ryan M. Landry • Lynd Matt • Richard Oedel • Stephen H. Owades § • William Brian Parker • Donald R. Peck • Sebastian Rémi • Jonathan Saxton • Karl Josef Schoellkopf • Scott Street • Samuel Truesdell • Bradley Turner # • Thomas C. Wang # • Lawson L.S. Wong • Channing Yu

William Cutter, Rehearsal Conductor Frank Corliss, Polish Diction Coach Martin Amlin, Rehearsal Pianist Eileen Huang, Rehearsal Pianist Erik Johnson, Chorus Manager Emily W. Siders, Assistant Chorus Manager

week 19 guest artists 63 Voices Boston Voices Boston was founded as Performing Artists at Lincoln School (PALS Children’s Chorus) in 1990 by Johanna Hill Simpson, with a group of parents at W.H. Lincoln School in Brookline. It was designed as a privately funded, after-school program for Lincoln students, training them in choral singing, dance, and drama. To reflect its broader reach and subsequent national and international collaborations, and in anticipation of its 25th anniversary in 2015, PALS was renamed Voices Boston in 2014. From 1996 to 2003, Johanna Hill Simpson continued to guide the ensemble, building relationships with leading arts organizations that are strong to this day, including those with the Boston Symphony Orchestra and Boston Pops, the Cantata

64 Singers, Boston Lyric Opera, and the Boston Early Music Festival. After her retirement, Alysoun Kegel built on the strong legacy and extended participation to children from beyond Lincoln School, growing the membership in diversity and size. In spring 2011, the board recruited Andy Icochea Icochea, a choral director of international renown, to assume the artistic leadership.

Andy Icochea Icochea Voices Boston conductor Andy Icochea Icochea is a multifaceted musician who regularly appears as an orchestral and opera conductor, choral conductor, and accompanist, and whose compositions and arrangements are performed internationally. He has appeared in over 500 concerts in twenty-seven countries and four continents, in such venues as Carnegie Hall, Suntory Hall, Vienna’s Musikverein, and Berlin’s Konzerthaus. He also serves as choral clinician and conductor for the World Peace Choir (Vienna and Beijing) and guest clinician for Boston Symphony Orchestra education programs. Mr. Icochea Icochea has collaborated as choral conductor and rehearsal accompanist under Riccardo Muti, Georges Prêtre, Adám Fischer, Franz Welser-Möst, Bertrand de Billy, Bernard Haitink, and Charles Dutoit. His choruses have performed with the Vienna Philharmonic, Vienna Symphony, Royal Stockholm Symphony Orchestra, and Boston Symphony Orchestra; he has conducted world premieres of operas in Austria, Italy, and the United States. Before joining Voices Boston, he served for six years as Kapellmeister with the Vienna Boys Choir. Born and raised in Peru, Andy Icochea Icochea began piano and music theory studies at the age of seven, held his first post as an accompanist at age four- teen, and started conducting children’s choirs the following year. His professional training began in Peru at the National Conservatory of Music and continued at Westminster Choir College in Princeton, N.J. He later studied orchestra, opera, and choral conducting at the Vienna Conservatory. Mr. Icochea Icochea lives in Brookline with his family.

Voices Boston Andy Ichochea Ichochea, Artistic Director

Ina Beinborn • Tim Beinborn • Dessie Bell-Kamen • Sabrina Bergin • Armaan Bhojwani • Jade Blais-Ellis • Maiya Cicmil • Billie Dunn-McMartin • Becca Edwards • Elana Friedlich • Christopher From • Katrine Gankin • Sarah Gleba • Avery Golub • Sam Greene • Molly Greenwold • Anamaria Grieco • Sarah Hough • Tristan Jensen • Benjamin Kiel • Veronika Kirsanova • Amy-Juliana Levine • Brianna Li • Marlyn Li • Kevin Liao • Chloe Locke • Isabella Massarelli • Ileana (Maggie) Menchu • Sophie Morganstern • Emiko Neuwalder • Noa Nissim Kobliner • Ethan O’Gara • Margaret Pirozzolo • Amita Polumbaum • Maya Prabhakar • Hanna Racz-Kozuma • Ana Radonjic-Sabbagh • Maya Radonjic-Sabbagh • Eleanor Raine • Dhruva Schlondorff • Noah Sesling • Frances Smith • Daphne Tilleman • Cecilia Viana • Francisco Viana • Julianna Watson • Sophia Wolfe

week 19 guest artists 65 The Great Benefactors

In the building of his new symphony for Boston, the BSO’s founder and first benefactor, Henry Lee Higginson, knew that ticket revenues could never fully cover the costs of running a great orchestra. From 1881 to 1918 Higginson covered the orchestra’s annual deficits with personal contributions that exceeded $1 million. The Boston Symphony Orchestra now honors each of the following generous donors whose cumulative giving to the BSO is $1 million or more with the designation of Great Benefactor. For more information, please contact Bart Reidy, Director of Development, at 617-638-9469 or [email protected].

ten million and above Julian Cohen ‡ • Fidelity Investments • Linde Family Foundation • Maria and Ray Stata • Anonymous

seven and one half million Mr. and Mrs. George D. Behrakis • John F. Cogan, Jr. and Mary L. Cornille

five million Alli and Bill Achtmeyer • Bank of America and Bank of America Charitable Foundation • Catherine and Paul Buttenwieser • Cynthia and Oliver Curme/The Lost & Foundation, Inc. • EMC Corporation • Germeshausen Foundation • Sally ‡ and Michael Gordon • Ted and Debbie Kelly • NEC Corporation • Megan and Robert O’Block • UBS • Stephen and Dorothy Weber

two and one half million Mary and J.P. Barger • Gabriella and Leo Beranek • Peter and Anne Brooke • Eleanor L. and Levin H. Campbell • Chiles Foundation • Mara E. Dole ‡ • Alan J. and Suzanne W. Dworsky • The Fairmont Copley Plaza Hotel and Fairmont Hotels & Resorts • Jane and Jack Fitzpatrick ‡ • Susan Morse Hilles ‡ • Stephen B. Kay and Lisbeth L. Tarlow/The Aquidneck Foundation • The Kresge Foundation • Lizbeth and George Krupp • Liberty Mutual Foundation, Inc. • Massachusetts Cultural Council • Kate and Al ‡ Merck • Cecile Higginson Murphy • National Endowment for the Arts • William and Lia Poorvu • John S. and Cynthia Reed • Carol and Joe Reich • Miriam Shaw Fund • State Street Corporation and State Street Foundation • Thomas G. Stemberg • Miriam and Sidney Stoneman ‡ • Elizabeth B. Storer ‡ • Caroline and James Taylor • Samantha and John Williams • Anonymous (2)

66 one million Helaine B. Allen • American Airlines • Lois and Harlan Anderson • Mariann Berg (Hundahl) Appley • Arbella Insurance Foundation and Arbella Insurance Group • Dorothy and David B. Arnold, Jr. • AT&T • William I. Bernell ‡ • Roberta and George ‡ Berry • BNY Mellon • The Boston Foundation • Lorraine D. and Alan S. ‡ Bressler • Jan Brett and Joseph Hearne • Gregory E. Bulger Foundation/Gregory Bulger and Richard Dix • Ronald G. and Ronni J. Casty • Commonwealth Worldwide Chauffeured Transportation • Mr. and Mrs. William H. Congleton ‡ • William F. Connell ‡ and Family • Country Curtains • Diddy and John Cullinane • Edith L. and Lewis S. ‡ Dabney • Elisabeth K. and Stanton W. Davis ‡ • Mary Deland R. de Beaumont ‡ • Bob and Happy Doran • William and Deborah Elfers • Elizabeth B. Ely ‡ • Nancy S. and John P. Eustis II ‡ • Shirley and Richard Fennell • Anna E. Finnerty ‡ • Fromm Music Foundation • The Ann and Gordon Getty Foundation • Marie L. Gillet ‡ • Sophia and Bernard Gordon • Mrs. Donald C. Heath ‡ • Francis Lee Higginson ‡ • Major Henry Lee Higginson ‡ • Edith C. Howie ‡ • Dorothy and Charlie Jenkins • John Hancock Financial Services • Muriel E. and Richard L. ‡ Kaye • Nancy D. and George H. ‡ Kidder • Kingsbury Road Charitable Foundation • Farla and Harvey Chet ‡ Krentzman • Barbara and Bill Leith ‡ • Nancy and Richard Lubin • Vera M. and John D. MacDonald ‡ • Nancy Lurie Marks Family Foundation • Carmine A. and Beth V. Martignetti • Commonwealth of Massachusetts • The McGrath Family • The Andrew W. Mellon Foundation • Henrietta N. Meyer ‡ • Mr. and Mrs. Nathan R. Miller ‡ • Mr. and Mrs. Paul M. Montrone • Richard P. and Claire W. Morse Foundation • William Inglis Morse Trust • Mary S. Newman • Mrs. Mischa Nieland ‡ and Dr. Michael L. Nieland • Mr. ‡ and Mrs. Norio Ohga • P&G Gillette • Polly and Dan ‡ Pierce • Mary G. and Dwight P. Robinson, Jr. ‡ • Susan and Dan ‡ Rothenberg • Carole and Edward I. Rudman • Richard Saltonstall Charitable Foundation • Wilhemina C. (Hannaford) Sandwen ‡ • Hannah H. ‡ and Dr. Raymond Schneider • Carl Schoenhof Family • Kristin and Roger Servison • Ruth ‡ and Carl J. Shapiro • Marian Skinner ‡ • Richard and Susan Smith Family Foundation/Richard A. and Susan F. Smith • Sony Corporation of America • Dr. Nathan B. and Anne P. Talbot ‡ • Diana O. Tottenham • The Wallace Foundation • Edwin S. Webster Foundation • Roberta and Stephen R. Weiner • The Helen F. Whitaker Fund • Helen and Josef Zimbler ‡ • Brooks and Linda Zug • Anonymous (8)

‡ Deceased

week 19 the great benefactors 67

Maestro Circle

Annual gifts to the Boston Symphony Orchestra provide essential funding to the support of ongoing operations and to sustain our mission of extraordinary music-making. The BSO is grateful for the philanthropic leadership of our Maestro Circle members whose current contributions to the Orchestra’s Symphony, Pops and Tanglewood annual funds, gala events, and special projects have totaled $100,000 or more. ‡ This symbol denotes a deceased donor.

Alli and Bill Achtmeyer • Mr. and Mrs. George D. Behrakis • Roberta and George ‡ Berry • Peter and Anne Brooke • Catherine and Paul Buttenwieser • Cynthia and Oliver Curme • Alan J. and Suzanne W. Dworsky • Fidelity Investments • Michael L. Gordon • Mr. and Mrs. Ulf B. Heide • Dorothy and Charlie Jenkins • Stephen Kay and Lisbeth Tarlow • Ted and Debbie Kelly • Joyce Linde • Carmine A. and Beth V. Martignetti • Richard P. and Claire W. Morse Foundation • Commonwealth of Massachusetts • National Endowment for the Arts • Megan and Robert O’Block • Mrs. Irene Pollin • John S. and Cynthia Reed • Carol and Joe Reich • Susan and Dan ‡ Rothenberg • Wendy Shattuck and Samuel Plimpton • Miriam Shaw Fund • Caroline and James Taylor • Stephen and Dorothy Weber • Roberta and Stephen R. Weiner

The Higginson Society Patrons ronald g. casty, chair, boston symphony orchestra annual funds committee peter c. andersen, co-chair, symphony annual fund gene d. dahmen, co-chair, symphony annual fund

The Higginson Society embodies a deep commitment to supporting musical excellence, which builds on the legacy of the Boston Symphony Orchestra’s founder and first benefactor, Henry Lee Higginson. The Symphony Annual Fund provides more than $4 million in essential funding to sustain our mission. The BSO is grateful to the philanthropic leadership of our Higginson Patron members and those who have donated at the Patron level and above. The BSO acknowledges the generosity of the donors listed below, whose contributions were received by February 18, 2015. For more information about joining the Higginson Society, contact Allison Cooley, Associate Director of Society Giving, at (617) 638-9254 or [email protected]. ‡ This symbol denotes a deceased donor. founders $100,000+ Peter and Anne Brooke • Alan J. and Suzanne W. Dworsky • Ted and Debbie Kelly virtuoso $50,000 to $99,999 Alli and Bill Achtmeyer • Mr. and Mrs. George D. Behrakis • Barbara and Amos Hostetter • Joyce Linde • Elizabeth W. and John M. Loder • Nancy and Richard Lubin • Carmine A. and Beth V. Martignetti • Megan and Robert O’Block • William and Lia Poorvu • John S. and Cynthia Reed • Sue Rothenberg • Kristin and Roger Servison • Wendy Shattuck and Samuel Plimpton • Stephen and Dorothy Weber • Brooks and Linda Zug • Anonymous

weeks 19 maestro circle 69 70 encore $25,000 to $49,999 Jim and Virginia Aisner • Gabriella and Leo Beranek • Joan and John ‡ Bok • William David Brohn • Gregory E. Bulger Foundation/Gregory Bulger and Richard Dix • John F. Cogan, Jr. and Mary L. Cornille • Dr. Lawrence H. and Roberta Cohn • Donna and Don Comstock • Diddy and John Cullinane • Cynthia and Oliver Curme • Alan and Lisa Dynner • William and Deborah Elfers • Thomas and Winifred Faust • Mr. and Mrs. Steven S. Fischman • Joy S. Gilbert • Mr. and Mrs. Brent L. Henry • Josh and Jessica Lutzker • Henrietta N. Meyer ‡ • Sandra Moose and Eric Birch • Louise C. Riemer • Richard and Susan Smith Family Foundation; Richard and Susan Smith; John and Amy S. Berylson and James Berylson; Jonathan Block and Jennifer Berylson Block; Robert Katz and Elizabeth Berylson Katz; Robert and Dana Smith; Debra S. Knez, Jessica Knez and Andrew Knez • Theresa M. and Charles F. Stone III • Stephen, Ronney, Wendy and Roberta Traynor • Robert and Roberta Winters • Anonymous (4) patron $10,000 to $24,999 Amy and David Abrams • Mr. and Mrs. Peter Andersen • Lois and Harlan Anderson • Dorothy and David Arnold • Lloyd Axelrod, M.D. • Judith and Harry Barr • Lucille Batal • Roz and Wally Bernheimer • Roberta and George ‡ Berry • Ann Bitetti and Doug Lober • Mrs. Linda Cabot Black • Mr. and Mrs. John M. Bradley • Karen S. Bressler and Scott M. Epstein • Lorraine Bressler • Joanne and Timothy Burke • Mrs. Winifred B. Bush • Catherine and Paul Buttenwieser • Eleanor L. and Levin H. Campbell • Ronald G. and Ronni J. Casty • James Catterton ‡ and Lois Wasoff • Katherine Chapman and Thomas Stemberg • Ernest Cravalho and Ruth Tuomala • Dr. William T. Curry, Jr. and Ms. Rebecca Nordhaus • Edith L. and Lewis S. ‡ Dabney • Gene and Lloyd Dahmen • Mr. and Mrs. Miguel de Bragança • Michelle Dipp • Deborah and Philip Edmundson • Roger and Judith Feingold • Laurel E. Friedman • Dr. David Fromm • The Gerald Flaxer Charitable Foundation, Nancy S. Raphael and Asher Waldfogel, Trustees • Jody and Tom Gill • Barbara and Robert Glauber • Thelma and Ray Goldberg • The Grossman Family Charitable Foundation • Mrs. Francis W. Hatch • Richard and Nancy Heath • Mr. and Mrs. Ulf B. Heide • Carol and Robert Henderson • Mr. and Mrs. Richard D. Hill • Dr. Susan Hockfield and Dr. Thomas Byrne • Ms. Emily C. Hood • Prof. Paul L. Joskow and Dr. Barbara Chasen Joskow • Rita J. and Stanley H. Kaplan Family Foundation, Inc./Susan B. Kaplan and Nancy and Mark Belsky • Stephen B. Kay and Lisbeth L. Tarlow • Paul L. King • Mr. John L. Klinck, Jr. • Dr. Nancy Koehn • Mr. Robert K. Kraft • Lizbeth and George Krupp • Mr. Thomas Ying Kuo and Ms. Alexandra DeLaite • Dr. and Mrs. Frederick H. Lovejoy, Jr. • Anne R. Lovett and Stephen G. Woodsum • Mr. and Mrs. Jeffrey E. Marshall • Dr. and Mrs. Joseph B. Martin • Mr. ‡ and Mrs. Robert D. Matthews, Jr. • Jane and Robert J. Mayer, M.D. • Dr. Martin C. Mihm, Jr. • Ann Merrifield and Wayne Davis • Mr. and Mrs. Jack R. Meyer • Kyra and Jean Montagu • Mr. and Mrs. Paul M. Montrone • Richard P. and Claire W. Morse Foundation • Kristin A. Mortimer • Avi Nelson • Jerry and Mary ‡ Nelson • Mary S. Newman • Peter Palandjian • Jane and Neil Pappalardo • Polly and Dan ‡ Pierce • Mr. and Mrs. Randy Pierce • Dr. and Mrs. Irving H. Plotkin • Susanne and John Potts • William and Helen Pounds • James and Melinda Rabb • Linda H. Reineman • Mr. Graham Robinson and Dr. Jeanne Yu • Dr. Michael and Patricia Rosenblatt • Debora and Alan Rottenberg • Cynthia and Grant Schaumburg • Benjamin Schore • Arthur and Linda Schwartz • Ron and Diana Scott • Ms. Eileen C. Shapiro and Dr. Reuben Eaves • Dr. and Mrs. Phillip Sharp • Solange Skinner • Christopher and Cary Smallhorn • Maria and Ray Stata • Blair Trippe • Eric and Sarah Ward • Harvey and Joëlle Wartosky • Drs. Christoph and Sylvia Westphal • Elizabeth and James Westra • Joan D. Wheeler • Marillyn Zacharis • Rhonda ‡ and Michael J. Zinner, M.D. • Anonymous (5)

weeks 19 the higginson society patrons 71

Administration

Mark Volpe, Eunice and Julian Cohen Managing Director, endowed in perpetuity Anthony Fogg, Artistic Administrator Marion Gardner-Saxe, Director of Human Resources Ellen Highstein, Edward H. Linde Tanglewood Music Center Director, endowed by Alan S. Bressler and Edward I. Rudman Bernadette M. Horgan, Director of Public Relations Thomas D. May, Chief Financial Officer Kim Noltemy, Chief Marketing and Communications Officer Bart Reidy, Director of Development Ray F. Wellbaum, Orchestra Manager administrative staff/artistic

Bridget P. Carr, Senior Archivist • Anna Le Tiec, Assistant to the Artistic Administrator • Julie Giattina Moerschel, Executive Assistant to the Managing Director • Vincenzo Natale, Chauffeur/Valet • Claudia Robaina, Manager of Artists Services administrative staff/production Christopher W. Ruigomez, Director of Concert Operations

Jennifer Chen, Audition Coordinator/Assistant to the Orchestra Personnel Manager • H.R. Costa, Technical Director • Vicky Dominguez, Operations Manager • Erik Johnson, Chorus Manager • Jake Moerschel, Technical Supervisor/Assistant Stage Manager • Leah Monder, Operations Manager • John Morin, Stage Technician • Sarah Radcliffe-Marrs, Concert Operations Administrator • Mark C. Rawson, Stage Technician • Nick Squire, Recording Engineer boston pops Dennis Alves, Director of Artistic Planning Wei Jing Saw, Assistant Manager of Artistic Administration • Amanda Severin, Manager of Artistic Planning and Services business office

Sarah J. Harrington, Director of Planning and Budgeting • Mia Schultz, Director of Investment Operations and Compliance • Natasa Vucetic, Controller

Sophia Bennett, Staff Accountant • Thomas Engeln, Budget Assistant • Karen Guy, Accounts Payable Supervisor • Minnie Kwon, Payroll Associate • Evan Mehler, Budget Manager • John O’Callaghan, Payroll Supervisor • Nia Patterson, Senior Accounts Payable Assistant • Mario Rossi, Staff Accountant • Teresa Wang, Staff Accountant • Maggie Zhong, Senior Endowment Accountant

week 19 administration 73 development

Susan Grosel, Director of Annual Funds and Donor Relations • Nina Jung, Director of Board, Donor, and Volunteer Engagement • Ryan Losey, Director of Foundation and Government Relations • John C. MacRae, Director of Principal and Major Gifts • Jill Ng, Director of Planned Giving and Senior Major Gifts Officer • Richard Subrizio, Director of Development Communications • Mary E. Thomson, Director of Corporate Initiatives • Jennifer Roosa Williams, Director of Development Research and Information Systems

Leslie Antoniel, Leadership Gifts Officer • Erin Asbury, Manager of Volunteer Services • Stephanie Baker, Assistant Director, Campaign Planning and Administration • Lucy Bergin, Annual Funds Coordinator • Nadine Biss, Assistant Manager, Development Communications • Maria Capello, Grant Writer • Diane Cataudella, Associate Director, Donor Relations • Caitlin Charnley, Donor Ticketing Associate • Allison Cooley, Major Gifts Officer • Catherine Cushing, Assistant Manager, Donor Relations • Emily Diaz, Assistant Manager, Gift Processing • Emily Fritz-Endres, Executive Assistant to the Director of Development • Christine Glowacki, Assistant Manager, Friends Program • Barbara Hanson, Senior Leadership Gifts Officer • James Jackson, Assistant Director, Telephone Outreach • Jennifer Johnston, Graphic Designer/Print Production Manager • Andrew Leeson, Manager, Direct Fundraising and Friends Program • Thomas Linehan, Beranek Room Host • Anne McGuire, Assistant Manager, Corporate Initiatives and Research • Suzanne Page, Major Gifts Officer • Kathleen Pendleton, Assistant Manager, Development Events and Volunteer Services • Carly Reed, Donor Acknowledgment and Research Coordinator • Emily Reeves, Assistant Director, Development Information Systems • Amanda Roosevelt, Assistant Manager, Planned Giving • Alexandria Sieja, Manager, Development Events • Yong-Hee Silver, Senior Major Gifts Officer • Szeman Tse, Assistant Director, Development Research education and community engagement Jessica Schmidt, Helaine B. Allen Director of Education and Community Engagement

Claire Carr, Senior Manager of Education and Community Engagement • Emilio Gonzalez, Manager of Education and Community Engagement • Anne Gregory, Assistant Manager of Education and Community Engagement • Darlene White, Manager of Berkshire Education and Community Engagement facilities C. Mark Cataudella, Director of Facilities symphony hall operations Peter J. Rossi, Symphony Hall Facilities Manager • Tyrone Tyrell, Security and Environmental Services Manager Charles F. Cassell, Jr., Facilities Compliance and Training Coordinator • Alana Forbes, Facilities Coordinator • Shawn Wilder, Mailroom Clerk maintenance services Jim Boudreau, Lead Electrician • Thomas Davenport, Carpenter • Michael Frazier, Carpenter • Steven Harper, HVAC Technician • Sandra Lemerise, Painter • Adam Twiss, Electrician environmental services Landel Milton, Lead Custodian • Rudolph Lewis, Assistant Lead Custodian • Desmond Boland, Custodian • Julien Buckmire, Custodian/Set-up Coordinator • Claudia Ramirez Calmo, Custodian • Errol Smart, Custodian • Gaho Boniface Wahi, Custodian tanglewood operations Robert Lahart, Tanglewood Facilities Manager

Bruce Peeples, Grounds Supervisor • Peter Socha, Buildings Supervisor • Fallyn Girard, Tanglewood Facilities Coordinator • Stephen Curley, Crew • Richard Drumm, Mechanic • Maurice Garofoli, Electrician • Bruce Huber, Assistant Carpenter/Roofer human resources

Heather Mullin, Human Resources Manager • Susan Olson, Human Resources Recruiter • Kathleen Sambuco, Associate Director of Human Resources

week 19 administration 75 information technology Timothy James, Director of Information Technology

Andrew Cordero, IT Asset Manager • Ana Costagliola, Database Business Analyst • Stella Easland, Telephone Systems Coordinator • Michael Finlan, Telephone Systems Manager • Karol Krajewski, Infrastructure Systems Manager • Brian Van Sickle, User Support Specialist • Richard Yung, IT Services Manager public relations

Samuel Brewer, Public Relations Associate • Taryn Lott, Senior Public Relations Associate • David McCadden, Senior Publicist publications Marc Mandel, Director of Program Publications

Robert Kirzinger, Assistant Director of Program Publications—Editorial • Eleanor Hayes McGourty, Assistant Director of Program Publications—Production and Advertising sales, subscription, and marketing

Helen N.H. Brady, Director of Group Sales • Alyson Bristol, Director of Corporate Partnerships • Sid Guidicianne, Front of House Manager • Roberta Kennedy, Buyer for Symphony Hall and Tanglewood • Sarah L. Manoog, Director of Marketing • Michael Miller, Director of Ticketing

Elizabeth Battey, Subscriptions Representative • Gretchen Borzi, Associate Director of Marketing • Rich Bradway, Associate Director of E-Commerce and New Media • Lenore Camassar, Associate Manager, SymphonyCharge • Megan Cokely, Group Sales Coordinator and Administrator of Visiting Ensemble Events • Susan Coombs, SymphonyCharge Coordinator • Karen Cubides, Subscriptions Representative • Jonathan Doyle, Graphic Designer • Paul Ginocchio, Manager, Symphony Shop and Tanglewood Glass House • Randie Harmon, Senior Manager of Customer Service and Special Projects • George Lovejoy, SymphonyCharge Representative • Ronnie McKinley, Ticket Exchange Coordinator • Jeffrey Meyer, Senior Manager, Corporate Partnerships • Michael Moore, Manager of Internet Marketing • Allegra Murray, Manager, Business Partners • Laurence E. Oberwager, Director of Tanglewood Business Partners • Doreen Reis, Advertising Manager • Laura Schneider, Web Content Editor • Robert Sistare, Senior Subscriptions Representative • Richard Sizensky, Access Coordinator • Megan E. Sullivan, Associate Subscriptions Manager • Kevin Toler, Art Director • Himanshu Vakil, Web Application and Security Lead • Amanda Warren, Graphic Designer • Stacy Whalen-Kelley, Senior Manager, Corporate Sponsor Relations • David Chandler Winn, Tessitura Liaison and Associate Director of Tanglewood Ticketing box office Jason Lyon, Manager • Nicholas Vincent, Assistant Manager box office representatives Jane Esterquest • Arthur Ryan event services James Gribaudo, Function Manager • Kyle Ronayne, Director of Event Administration • Luciano Silva, Manager of Venue Rentals and Event Administration tanglewood music center

Karen Leopardi, Associate Director for Faculty and Guest Artists • Michael Nock, Associate Director for Student Affairs • Bridget Sawyer-Revels, Office Coordinator • Gary Wallen, Associate Director for Production and Scheduling

week 19 administration 77

Boston Symphony Association of Volunteers executive committee Chair, Charles W. Jack Vice-Chair, Boston, Gerald Dreher Vice-Chair, Tanglewood/Chair-Elect, Martin Levine Secretary, Susan Price Co-Chairs, Boston Suzanne Baum • Leah Driska • Natalie Slater Co-Chairs, Tanglewood Judith Benjamin • Roberta Cohn • David Galpern Liaisons, Tanglewood Ushers, Judy Slotnick • Glass Houses, Stanley Feld boston project leads and liaisons 2014-15

Café Flowers, Stephanie Henry and Kevin Montague • Chamber Music Series, Judy Albee and Christine Watson • Computer and Office Support, Helen Adelman • Flower Decorating, Linda Clarke • Guide’s Guide, Audley H. Fuller and Renee Voltmann • Instrument Playground, Beverly Pieper • Mailings, George Mellman • Membership Table/Hall Greeters, Melissa Riesgo • Newsletter, Richard Pokorny • Recruitment/Retention/Reward, Rosemary Noren • Symphony Shop, Karen Brown • Tour Guides, Matthew Hott

week 19 administration 79 Next Program…

Thursday, March 12, 8pm Friday, March 13, 1:30pm Saturday, March 14, 8pm Tuesday, March 17, 8pm

christoph von dohnányi conducting

strauss sextet for strings from the opera “capriccio,” opus 85

mozart piano concerto no. 14 in e-flat, k.449 Allegro vivace Andantino Allegro ma non troppo emanuel ax

{intermission}

strauss “burleske” in d minor for piano and orchestra mr. ax

mozart symphony no. 35 in d, k.386, “haffner” Allegro con spirito [Andante] Menuetto Presto

Revered German conductor Christoph von Dohnányi’s first BSO program of this season features the esteemed pianist Emanuel Ax in two works—Mozart’s Piano Concerto No. 14 in E-flat, composed in early 1784 as the first of the dozen piano concertos dating from the height of his popularity in Vienna; and Richard Strauss’s Burleske, a sparkling, classically stylish early work composed when he was twenty-one. The program opens with the lovely Sextet for strings from Strauss’s final opera, Capriccio, and ends with Mozart’s Haffner Symphony, which began life as a serenade composed for the Haffner family in 1782, then was turned by Mozart into a symphony introduced in Vienna the following year.

80 Coming Concerts… friday previews and rehearsal talks: The BSO offers half-hour talks prior to all of the BSO’s Friday-afternoon subscription concerts and Thursday-morning Open Rehearsals. Free to all ticket holders, the Friday Previews take place from 12:15-12:45 p.m. and the Open Rehearsal Talks from 9:30-10 a.m. in Symphony Hall.

Thursday C’ March 12, 8-10 Thursday, ‘B’ March 19, 8-10 Friday ‘A’ March 13, 1:30-3:30 UnderScore Friday March 20, 8-10:10 Saturday ‘B’ March 14, 8-10 (includes comments from the stage) Tuesday ‘B’ March 17, 8-10 Saturday ‘A’ March 21, 8-10 CHRISTOPHVONDOHNÁNYI, conductor CHRISTOPHVONDOHNÁNYI, conductor EMANUELAX, piano ALL- Symphony No. 39 STRAUSS Sextet from Capriccio MOZART Symphony No. 40 MOZART Piano Concerto No. 14 in E-flat, PROGRAM Symphony No. 41, Jupiter K.449 STRAUSS Burleske for piano and orchestra MOZART Symphony No. 35, Haffner Thursday ‘A’ March 26, 8-10:20 Friday ‘B’ March 27, 1:30-3:50 Saturday ‘B’ March 28, 8-10:20 Sunday, March 15, 3pm Tuesday ‘B’ March 31, 8-10:20 Jordan Hall, New England Conservatory ANDRISNELSONS, conductor BOSTONSYMPHONYCHAMBERPLAYERS OLIVIER LATRY, organ with EMANUELAX, piano GANDOLFI Ascending Light for organ and and CHRISTINEBRANDES, soprano orchestra (world premiere; SCHUMANN Fantasy Pieces for clarinet and BSO commission) piano, Op. 73 MAHLER Symphony No. 6 SCHUMANN Adagio and Allegro for horn and piano, Op. 70 KURTÁG Scenes from a Novel for soprano and ensemble, Op. 19 KURTÁG Wind Quintet, Op. 2 SCHUMANN Piano Quintet in E-flat, Op. 44

Programs and artists subject to change.

Single tickets for all Boston Symphony concerts throughout the season are available online at bso.org, by calling Symphony Charge at (617) 266-1200 or toll-free at (888) 266-1200, or at the Symphony Hall box office Monday through Friday from 10 a.m. to 6 p.m. (Saturday from 12 noon to 6 p.m.). Please note that there is a $6.25 handling fee for each ticket ordered by phone or online.

week 19 coming concerts 81 Symphony Hall Exit PlanPlanSymphony

82 Symphony Hall InformationInformationSymphony

For Symphony Hall concert and ticket information, call (617) 266-1492. For Boston Symphony concert program information, call “C-O-N-C-E-R-T” (266-2378). The Boston Symphony Orchestra performs ten months a year, in Symphony Hall and at Tanglewood. For infor- mation about any of the orchestra’s activities, please call Symphony Hall, visit bso.org, or write to the Boston Symphony Orchestra, Symphony Hall, 301 Massachusetts Avenue, Boston, MA 02115. The BSO’s web site (bso.org) provides information on all of the orchestra’s activities at Symphony Hall and at Tanglewood, and is updated regularly. In addition, tickets for BSO concerts can be purchased online through a secure credit card transaction. The Eunice S. and Julian Cohen Wing, adjacent to Symphony Hall on Huntington Avenue, may be entered by the Symphony Hall West Entrance on Huntington Avenue. In the event of a building emergency, patrons will be notified by an announcement from the stage. Should the building need to be evacuated, please exit via the nearest door (see map on opposite page), or according to instructions. For Symphony Hall rental information, call (617) 638-9241, or write the Director of Event Administration, Symphony Hall, Boston, MA 02115. The Box Office is open from 10 a.m. until 6 p.m. Monday through Friday (12 noon until 6 p.m. on Saturday). On concert evenings it remains open through intermission for BSO events or a half-hour past starting time for other events. In addition, the box office opens Sunday at 12 noon when there is a concert that afternoon or evening. Single tickets for all Boston Symphony subscription concerts are available at the box office. For most outside events at Symphony Hall, tickets are available three weeks before the concert at the box office or through SymphonyCharge. To purchase BSO Tickets: American Express, MasterCard, Visa, Diners Club, Discover, a personal check, and cash are accepted at the box office. To charge tickets instantly on a major credit card, call “SymphonyCharge” at (617) 266-1200, from 10 a.m. until 6 p.m. Monday through Friday (12 noon to 6 p.m. on Saturday). Outside the 617 area code, phone 1-888-266-1200. As noted above, tickets can also be purchased online. There is a handling fee of $6.25 for each ticket ordered by phone or online. Group Sales: Groups may take advantage of advance ticket sales. For BSO concerts at Symphony Hall, groups of twenty-five or more may reserve tickets by telephone and take advantage of ticket discounts and flexible payment options. To place an order, or for more information, call Group Sales at (617) 638-9345 or (800) 933-4255, or e-mail [email protected]. For patrons with disabilities, elevator access to Symphony Hall is available at both the Massachusetts Avenue and Cohen Wing entrances. An access service center, large print programs, and accessible restrooms are avail- able inside the Cohen Wing. For more information, call the Access Services Administrator line at (617) 638-9431 or TDD/TTY (617) 638-9289. In consideration of our patrons and artists, children age four or younger will not be admitted to Boston Symphony Orchestra concerts. Please note that no food or beverage (except water) is permitted in the Symphony Hall auditorium. Patrons who bring bags to Symphony Hall are subject to mandatory inspections before entering the building.

Each ticket purchased from the Boston Symphony Orchestra constitutes a license from the BSO to the pur- chaser. The purchase price of a ticket is printed on its face. No ticket may be transferred or resold for any price above its face value. By accepting a ticket, you are agreeing to the terms of this license. If these terms are not acceptable, please promptly contact the Box Office at (617) 266-1200 or [email protected] in order to arrange for the return of the ticket(s).

week 19 symphony hall information 83 Those arriving late or returning to their seats will be seated by the patron service staff only during a convenient pause in the program. Those who need to leave before the end of the concert are asked to do so between pro- gram pieces in order not to disturb other patrons. Ticket Resale: If you are unable to attend a Boston Symphony concert for which you hold a subscription ticket, you may make your ticket available for resale by calling (617) 266-1492 during business hours, or (617) 638-9426 up to one hour before the concert. This helps bring needed revenue to the orchestra and makes your seat available to someone who wants to attend the concert. A mailed receipt will acknowledge your tax-deductible contribution. Rush Seats: There are a limited number of Rush Seats available for Boston Symphony subscription concerts on Tuesday, Thursday, and Friday evenings, and on Friday afternoons. The low price of these seats is assured through the Morse Rush Seat Fund. Rush Tickets are sold at $9 each, one to a customer, at the Symphony Hall box office on Fridays as of 10 a.m. for afternoon concerts, and on Tuesdays, Thursdays, and Fridays as of 5 p.m. for evening concerts. Please note that there are no Rush Tickets available for Saturday evenings. Please note that smoking is not permitted anywhere in Symphony Hall. Camera and recording equipment may not be brought into Symphony Hall during concerts. Lost and found is located at the security desk at the stage door to Symphony Hall on St. Stephen Street. First aid facilities for both men and women are available. On-call physicians attending concerts should leave their names and seat locations at the Cohen Wing entrance on Huntington Avenue. Parking: The Prudential Center Garage and Copley Place Parking on Huntington Avenue offer discounted parking to any BSO patron with a ticket stub for evening performances. Limited street parking is available. As a special benefit, guaranteed pre-paid parking near Symphony Hall is available to subscribers who attend evening con- certs. For more information, call the Subscription Office at (617) 266-7575. Elevators are located outside the O’Block/Kay and Cabot-Cahners rooms on the Massachusetts Avenue side of Symphony Hall, and in the Cohen Wing. Ladies’ rooms are located on both main corridors of the orchestra level, as well as at both ends of the first bal- cony, audience-left, and in the Cohen Wing. Men’s rooms are located on the orchestra level, audience-right, outside the O’Block/Kay Room near the elevator; on the first-balcony level, also audience-right near the elevator, outside the Cabot-Cahners Room; and in the Cohen Wing. Coatrooms are located on the orchestra and first-balcony levels, audience-left, outside the O’Block/Kay and Cabot-Cahners rooms, and in the Cohen Wing. Please note that the BSO is not responsible for personal apparel or other property of patrons. Lounges and Bar Service: There are two lounges in Symphony Hall. The O’Block/Kay Room on the orchestra level and the Cabot-Cahners Room on the first-balcony level serve drinks starting one hour before each performance. For the Friday-afternoon concerts, both rooms open at noon, with sandwiches available until concert time. Drink coupons may be purchased in advance online or through SymphonyCharge for all performances. Boston Symphony Broadcasts: Saturday-evening concerts of the Boston Symphony Orchestra are broadcast live in the Boston area by 99.5 All-Classical. BSO Friends: The Friends are donors who contribute $75 or more to the Boston Symphony Orchestra Annual Funds. For information, please call the Friends of the BSO Office at (617) 638-9276 or e-mail [email protected]. If you are already a Friend and you have changed your address, please inform us by sending your new and old addresses to Friends of the BSO, Symphony Hall, Boston, MA 02115. Including your patron number will assure a quick and accurate change of address in our files. BSO Business Partners: The BSO Business Partners program makes it possible for businesses to participate in the life of the Boston Symphony Orchestra. Benefits include corporate recognition in the BSO program book, access to the Beranek Room reception lounge, two-for-one ticket pricing, and advance ticket ordering. For further infor- mation, please call the BSO Business Partners Office at (617) 638-9275 or e-mail [email protected]. The Symphony Shop is located in the Cohen Wing at the West Entrance on Huntington Avenue and is open Thursday and Saturday from 3 to 6 p.m., and for all Symphony Hall performances through intermission. The Symphony Shop features exclusive BSO merchandise, including calendars, coffee mugs, an expanded line of BSO apparel and recordings, and unique gift items. The Shop also carries children’s books and musical-motif gift items. A selection of Symphony Shop merchandise is also available online at bso.org and, during concert hours, outside the Cabot-Cahners Room. All proceeds benefit the Boston Symphony Orchestra. For further information and telephone orders, please call (617) 638-9383, or purchase online at bso.org.

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