Contact: Katherine E. Johnson (212) 875-5718; [email protected] National Press Representative: Julia Kirchhausen (917) 453-8386; [email protected] Metropolitan Museum of Art contact: Meryl Cates (212) 650-2684; [email protected]

MAY 29–30 AND JUNE 1, 2014, AT THE METROPOLITAN MUSEUM OF ART: STAGED PRODUCTION of HK GRUBER’s Gloria – A Pig Tale Juilliard’s AXIOM Ensemble To Be Conducted by Created by and

As part of the NY PHIL BIENNIAL, Music Director and The ’s Director of Conducting and Orchestral Studies Alan Gilbert will lead a staged performance of Gloria – A Pig Tale, a two-act comic by HK Gruber (Austria, b. 1943), featuring vocalists affiliated with The Juilliard School — Lauren Snouffer, mezzo- soprano Brenda Patterson, Alexander Lewis, Carlton Ford, and Kevin Burdette — as well as Juilliard’s AXIOM ensemble. The performances — May 29–30 and June 1, 2014, at The Metropolitan Museum of Art’s Grace Rainey Rogers Auditorium, and a co- presentation of the New York Philharmonic, The Juilliard School, and Met Museum Presents — will be directed and designed by Doug Fitch, produced by Edouard Getaz, and staged by Giants Are Small; James Smith is production manager, Kate Noll is set designer, and Jeanette Oi-Suk Yew is lighting designer.

This unprecedented production will transform the Grace Rainey Rogers Auditorium with an imaginative landscape that brings farm to stage with costumes, sets, and projections. “I enjoy blurring the lines that delineate categories and this production will be no different,” says director/designer Doug Fitch. “Rather than seeing my signature sketchy drawings come to life via live-animation though, I am building soft, full-body, masks that look sort of like large Dubuffet drawings, allowing singers to quickly shift from being a cow to a frog to a pig — like New Yorker cartoons brought to life by a bunch of operatic rednecks!”

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“HK Gruber is an iconoclastic, crazy, fabulous composer,” Alan Gilbert said. “When the Philharmonic performed his Frankenstein!!, the performance coupled perfection with a magnificent irreverence, and I know this same excitement will happen again when the forces from Juilliard perform this wonderful opera. Doug Fitch’s signature visual touch combined with his incredibly developed dramatic sense, along with his total, faithful, and sensitive commitment to music, will be the perfect way to present Gloria – A Pig Tale in the ideal setting of The Metropolitan Museum of Art.”

The New York Philharmonic and Alan Gilbert last collaborated with Doug Fitch, Edouard Getaz, and their production company Giants Are Small in June 2013 for A Dancer’s Dream: Two Works by Stravinsky. In June 2011 the New York Philharmonic and Giants Are Small collaborated on the acclaimed staged production of Janáček’s The Cunning Little Vixen. In June 2010 they staged Ligeti’s Le Grand Macabre, a critical success that was named the number one cultural event of the year by several media outlets.

Limor Tomer, general manager of Concerts & Lectures at the Metropolitan Museum, said: “The NY PHIL BIENNIAL and Met Museum Presents are a perfect match, exuberantly embracing the newest works to enter the classical canon. I can’t imagine a more thrilling prospect than working with the dynamic and irrepressible team of Doug Fitch and Alan Gilbert!”

A flagship project of the New York Philharmonic envisioned by Music Director Alan Gilbert, the NY PHIL BIENNIAL is a kaleidoscopic exploration of today’s music showcasing an array of curatorial voices through concerts presented with cultural partners throughout . Modeled on the great visual art biennials, the inaugural NY PHIL BIENNIAL, taking place May 28–June 7, 2014, brings the public together with a diverse roster of more than 50 composers, ranging from elementary school students to icons, for concerts of symphonies, concertos, staged opera, chamber music, and solo works, many of which will be premieres. Meet-up events, lectures and panel discussions, and online interactivity are planned to encourage audience members to directly engage with composers, scholars, and artists. The 2014 NY PHIL BIENNIAL partners include 92nd Street Y, The , Orchestra of St. Luke’s, The Metropolitan Museum of Art, The Juilliard School, Gotham Chamber Opera, for the Performing Arts, Bang on a Can, American Composers Orchestra, and Kaufman Music Center’s Special Music School High School. For complete information about the 2014 NY PHIL BIENNIAL, see press release.

Repertoire Gloria – A Pig Tale (1992–94) has been noted for its fast-paced action, syncopated rhythms, and challenging vocals. Described as “neo-tonal” and “neo-Viennese,” HK Gruber’s work stands out for its variety of influences (from jazz and cabaret to pop and modern music) as well as its skillful invocation of irony and dark humor. Alan Gilbert led Philharmonic musicians and Mr. Gruber, as chansonnier, in a performance of the composer’s “pan-demonium” Frankenstein!! as part of CONTACT!, the new-music series, in December 2011. Gloria – A Pig Tale tells the story of a pig named Gloria, whose beauty and curly, golden hair leave her ostracized among the other pigs in her sty who are envious of her looks and disdainful of their unconventionality. Gloria’s desire for love and acceptance causes her to fall for a butcher she mistakenly believes to be a

3 prince, but she is rescued in time from her would-be assassin by another outcast, a wild boar named Rodrigo.

Artists Alan Gilbert is the New York Philharmonic’s Music Director and The Juilliard School’s Director of Conducting and Orchestral Studies and the inaugural William Schuman Chair in Music Studies. Since beginning his New York Philharmonic tenure in September 2009, the first native New Yorker in the post, he and the Orchestra have introduced the positions of The Marie- Josée Kravis Composer-in-Residence and The Mary and James G. Wallach Artist-in-Residence; CONTACT!, the new-music series; and, beginning in the spring of 2014, the NY PHIL BIENNIAL. “He is building a legacy that matters and is helping to change the template for what an American orchestra can be,” acclaimed.

In addition to inaugurating the NY PHIL BIENNIAL, in the 2013–14 season Alan Gilbert conducts Mozart’s three final symphonies; the U.S. Premiere of Mark-Anthony Turnage’s Frieze coupled with Beethoven’s Ninth Symphony; world premieres; an all-Britten program celebrating the composer’s centennial; the score from 2001: A Space Odyssey as the film was screened; and a staged production of Sondheim’s Sweeney Todd starring Bryn Terfel and Emma Thompson. He continues The Nielsen Project — the multi-year initiative to perform and record the Danish composer’s symphonies and concertos, the first release of which was named by The New York Times as among the Best Classical Music Recordings of 2012 — and presides over the ASIA / WINTER 2014 tour. Last season’s highlights included Bach’s B-minor Mass; Ives’s Fourth Symphony; the EUROPE / SPRING 2013 tour; and the season-concluding A Dancer’s Dream, a multidisciplinary reimagining of Stravinsky’s The Fairy’s Kiss and Petrushka, created by Giants Are Small and starring principal dancer Sara Mearns.

Mr. Gilbert also holds the William Schuman Chair in Musical Studies at The Juilliard School. Conductor laureate of the Royal Stockholm Philharmonic Orchestra and principal guest conductor of Hamburg’s NDR Symphony Orchestra, he regularly conducts leading orchestras around the world. He made his acclaimed debut conducting John Adams’s Doctor Atomic in 2008, the DVD of which received a Grammy Award. Renée Fleming’s recent Decca recording Poèmes, on which he conducted, received a 2013 Grammy Award. His recordings have received top honors from the Chicago Tribune and Gramophone magazine. In May 2010 Mr. Gilbert received an Honorary Doctor of Music degree from The Curtis Institute of Music and in December 2011, Columbia University’s Ditson Conductor’s Award for his “exceptional commitment to the performance of works by American composers and to contemporary music.”

Doug Fitch, as co-founder of Giants Are Small (GAS), has collaborated on several acclaimed New York Philharmonic productions conducted by Alan Gilbert. He designed and directed György Ligeti’s Le Grand Macabre, which was named “Best Opera of the Year” by The New York Times, and New York magazine; New York called their second project, Janáček’s The Cunning Little Vixen (2011) the “Best Classical Event of the Year”; the third, A Dancer’s Dream (2013, a theatrical retelling of two Stravinsky ballets), received an international cinemacast in fall 2013, concurrent with the launch of the GAS Webseries W Hot Culture. Mr. Fitch has also created productions for the Los Angeles Opera, , ,

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National Arts Center in Canada, and Royal Stockholm Philharmonic Orchestra. For 15 years he collaborated with artist Mimi Oka to create multi-sensory experiences known as Orphic Feasts, subject of the book Orphic Fodder: Experiments in Dining, or, an Autobiography of an Artistic Collaboration. In the 1980s he emerged as an architectural designer, creating homes and furniture for major clients including violinist . Doug Fitch’s creative life began with his family’s touring puppet theater. He worked with , collaborated with director on productions including Wagner’s Ring, and worked with on Civil Wars at American Repertory Theatre. In Venice Mr. Fitch met Italian architect and designer Gaetano Pesce, an important influence. Born in 1959 in Philadelphia, Doug Fitch graduated magna cum laude in visual studies from Harvard University. He studied cooking at La Varenne, in Paris, and design at Institut d’Architecture et d’Etudes Urbaines, Strasbourg.

James Smith has worked on production produced by Giants Are Small and the New York Philharmonic since 2009, serving as assistant director on Ligeti’s Le Grand Macabre, Janáček’s The Cunning Little Vixen, and A Dancer’s Dream. He is currently working on several future projects with Giants Are Small including a special event with the Swiss Consulate General, Petrushka at the Barbican for the Philharmonic’s residency there in 2015, and Prokofiev’s . In addition to his work in classical music production, he is an executive producer at Intercontinental Pictures, and has been working with Edouard Getaz to develop a new interactive documentary iPad app called Inside Risk. Mr. Smith holds music degrees from Wesleyan and Bucknell Universities and has a diverse background in stage direction and artistic planning, having worked with such major U.S. performing arts institutions as The Metropolitan Opera and Santa Fe Opera.

Kate Noll’s credits include set design for Dario Fo’s Accidental Death of an Anarchist, co- produced by Yale Repertory Theater and Berkeley Repertory Theater. She designed the sets for Caryl Churchill’s Cloud Nine and the costumes for the Carlotta Festival of New Plays at the Yale School of Drama. Ms. Noll was the resident designer for the 2013 Summer Cabaret, designing sets for Tartuffe, Miss Julie, The Shoemaker’s Prodigious Wife, and Caryl Churchill’s Heart’s Desire and Drunk Enough to Say I Love You, as well as costumes for Tennessee Williams’s Bar at a Tokyo Hotel. Her other Yale Cabaret credits include sets designed for The Maids, Funnyhouse of a Negro, Ray Planta, The Fatal Eggs, and Ermyntrude and Esmeralda, and costumes for Ain’t Gonna Make It and The Bird Bath. Before her time at Yale, she worked with Giants Are Small on Janáček’s The Cunning Little Vixen for the New York Philharmonic. Kate Noll has been a resident set designer at the Sundance Directors Lab where she work-shopped the films Little Birds, My Brother the Devil, and Beasts of a Southern Wild. She has worked as a stylist and a production designer for photography, television, and film in New York City. Before studying set design at the Yale School of Drama, where she recently received her M.F.A., she practiced as a studio artist in Amsterdam and Rome, after receiving her B.F.A. in painting from the Rhode Island School of Design.

Jeanette Oi-Suk Yew is a New York City-based lighting designer. Her work has been seen in U.S. venues such as BAM Fisher, Rose Theater at Lincoln Center, HERE Arts Center, St. Ann’s Warehouse, La Mama, ArtsEmerson, Manhattan School of Music, Joyce SOHO, REDCAT, and Highways Performance Space, and internationally in Havana, Prague, Lima, and Edinburgh. Her recent new opera productions include Kamala Sankaram’s Thumbprint, premiered at Prototype

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2014; Gotham Chamber Opera’s Orientale; Jonathan Dawe’s Cosi Faran Tutti; Sheila Silver’s The Wooden Sword; and Peter Winkler’s Fox Fables with Rhoda Levine. Upcoming projects include Brother Brother with Experiments in Opera and Scarlet Ibis premiering at Prototype 2015. Other on which she has worked include Mozart’s Don Giovanni, Francesco Cavalli’s Eliogabalo and La Calisto, Monteverdi’s L’incoronazione di Poppea, Handel’s Alcina, Gilbert & Sullivan’s Princess Ida, Johann Strauss II’s Die Fledermaus, Peter Brook’s La Tragedie de Carmen, and Purcell’s Dido and Aeneas.

Giants Are Small — founded in 2007 by American director and visual artist Doug Fitch, Swiss filmmaker and producer Edouard Getaz, and multimedia entrepreneur Frederic Gumy — creates genre-bending productions that fuse together theater, live filmmaking, puppetry, music, and visual art. Collaborations with the New York Philharmonic have included Ligeti’s Le Grand Macabre (2010, named “Best Opera of the Year” by The New York Times, New York magazine, and Time Out New York), Janáček’s The Cunning Little Vixen (2011, New York’s “Best Classical Event of the Year”), and A Dancer’s Dream (2013, later cinemacast internationally). Other projects have included a new version of Prokofiev’s Peter + Wolf with the Los Angeles Philharmonic and the web series W Hot Culture in 2013. Giants Are Small is developing Peter + Wolf in Hollywood for mobile and site-specific venues, and creating a new adaptation of Petrushka for the New York Philharmonic’s 2015 appearance at London’s Barbican.

Producer and filmmaker Edouard Getaz has produced a wide variety of events, from major fashion shows to music festivals, historical celebrations and concerts. As co-founder of Giants Are Small and in collaboration with the New York Philharmonic, he produced Ligeti’s Le Grand Macabre, which was named “Best Opera of the Year” by The New York Times. New York magazine called their second collaboration, Janáček’s The Cunning Little Vixen (2011), the “Best Classical Event of the Year.” A Dancer’s Dream (June 2013), their third project together, received an international cinemacast in 2013. Mr. Getaz is currently developing two iPad apps: Peter + Wolf in Hollywood and Inside Risk, both scheduled to be launched this winter. Born in 1973 in Lausanne, Switzerland, Edouard Getaz graduated from the Fribourg University Law School and studied film, directing, and production at New York University.

American soprano Lauren Snouffer, a recent graduate of the Houston Grand Opera Studio and winner of a 2013 Sara Tucker Study Grant from the Richard Tucker Music Foundation and a Richard F. Gold Career Grant bestowed by Houston Grand Opera, has appeared at Houston Grand Opera as Elvira in Rossini’s L’italiana in Algeri, Ellie in Kern’s Show Boat in a production by Francesca Zambello led by Music Director Patrick Summers, Lucia in Britten’s The Rape of Lucretia conducted by Rory Macdonald and directed by Arin Arbus, Thibault in a Verdi’s Don Carlos directed by John Caird and conducted by Mr. Summers, and as Rosina in student performances of Rossini’s The Barber of Seville. During the 2013–14 season she sings Pamina in Mozart’s The Magic Flute for her Lyric Opera of Kansas City debut, conducted by Gary Thor Wedow, and joins the roster of Lyric Opera of Chicago in productions of Dvořák’s Rusalka and Mozart’s La clemenza di Tito. Ms. Snouffer joins Matthias Pintscher for J.S. Bach’s St. John Passion with the International Beethoven Project in Chicago, sings Poulenc’s Gloria with Bramwell Tovey and the San Antonio Symphony, Bernstein’s Candide with Marin Alsop and the Sao Paulo Symphony, and Handel’s Messiah with Nicholas McGegan and the Houston

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Symphony. She appears with the Aspen Contemporary Ensemble in Ligeti’s Mysteries of the Macabre, rings in the New Year with the Baltimore Symphony Orchestra in a Viennese program, and records of Hasse’s Solimano with Il Pomo d’Oro, conducted by Riccardo Minasi, for the Decca label. She has collaborated with Houston’s Mercury Baroque, Juilliard415, and with the AXIOM Ensemble. She was a grand finalist in the 2012 Metropolitan Opera National Council Auditions and is a graduate of Rice University and the Juilliard School.

In the 2013 –14 season mezzo-soprano Brenda Patterson joins the American Symphony Orchestra at Carnegie Hall to sing Elsbeth in Richard Strauss’s Feuersnot and returns to The Metropolitan Opera’s roster. She recently triumphed in a number of leading roles at the Hamburg Staatsoper, including Idamante in Mozart’s Idomeneo, Niklausse in Offenbach’s The Tales of Hoffmann, Dorabella in Mozart’s Così fan tutte, Hansel in Humperdinck’s Hansel and Gretel, Cherubino in Mozart’s The Marriage of Figaro, Annio in Mozart’s La clemenza di Tito, and Rosina in Rossini’s The Barber of Seville. She made her Metropolitan Opera debut as a Wood Sprite in Dvořák’s Rusalka and has since returned to the company as Berg’s Lulu, Gluck’s Iphigénie en Tauride, Poulenc’s Dialogues des Carmélites, and The Marriage of Figaro. Other opera engagements include Stephano in Gounod’s Roméo et Juliette (at Opera Colorado), Cherubino (Lyric Opera of Kansas City), Alcina in Haydn’s Orlando Paladino (Glimmerglass Opera), and the soloist in Ariadne Unhinged, a staging of works by Schoenberg, Haydn, and Monteverdi (Gotham Chamber Opera). Also active in concert and chamber music, Ms. Patterson has sung Bach’s Weihnachstsoratorium, Erforsche mich, Gott, und erfahre mein Herz, and Ich liebe den Hochsten von ganzem Gemute (with Orchestra of Saint Luke’s) and Weihnachstsoratorium and Tilge, Höchster, meine Sünde (Handel and Haydn Society). She has sung Berio’s Folk Songs (Greenwich Music Festival) and Mozart’s Requiem (Saint Thomas Church). A passionate performer of new repertoire, has premiered more than 30 works by living composers.

Australian tenor Alexander Lewis is a graduate of The Metropolitan Opera’s Lindemann Young Artist Development Program. This season he featured in The Met’s HD Broadcasts as the title role in Shostakovich’s , and reprised his performance as Borsa in Verdi’s Rigoletto. He also made his Washington National Opera debut as Flask in ’s Moby Dick. As a young artist he appeared as Vasek in The Met–Juilliard production of Smetana’s , conducted by , and as Ferrando in Mozart’s Cosi fan tutte, conducted by Alan Gilbert. In 2010 he completed The Merola Opera Program in San Francisco where he performed Nemorino in Donizetti’s L’elisir d’amore. Mr. Lewis is also a graduate of The Western Australian Academy of Performing Arts (where he received his B.A. in Music Theatre). His professional musical theater credits include the Sondheim roles of George in Sunday in the Park with George (Victorian Opera Company) and Anthony Hope in Sweeney Todd (), Raoul in ’s The Phantom of the Opera, and Frederick Barret in Maury Yeston’s Titanic, the Musical. His concert highlights include the World Premiere of Kiss me, Katherina with The Southern Cross Soloists, Britten’s Serenade for Tenor, Horn, and Strings at The Bangalow Music Festival, Rossini’s Petite messe solennelle, The Met’s Summer Recital series, The Manchester Music Festival, the role of Poisson in The Opera Orchestra of New York's performance of Cilea’s Andriana Lecouvreur, Australia Plays Broadway, and APEC Australia’s Gala Cultural Performance. Alexander has received prizes in The Gerda Lissner, The Licia Albanese-Puccini Foundation, and Opera Index competitions and was also awarded Opera

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Foundation Australia’s New York Study Award, The Australian National Aria Competition, and The Sir Robert Askin Traveling Scholarship. His upcoming roles include Tamino in Mozart’s The Magic Flute for West Australian Opera and Raoul de St Brioche in Lehár’s The Merry Widow for The Met.

American baritone Carlton Ford is a graduate of The Juilliard School and Rice University. In the 2012–13 season he made debuts with the New York Philharmonic, Crested Butte Music Festival, and Paris’s Théâtre du Châtelet as Dewain in John Adams’s I Was Looking At The Ceiling And Then I Saw The Sky. His 2013–14 season includes his Florida Grand Opera debut and his role debut as Harlekin in Glimmerglass Festival’s production of Richard Strauss’s Ariadne auf Naxos. During the 2011–12 season Mr. Ford made his Houston Grand Opera debut as Fiorello in Rossini’s The Barber of Seville, followed by the World Premiere of John Glover’s New Arrivals. He is featured on the Emmy-nominated Live From Lincoln Center broadcast of Rogers & Hammerstein’s Carousel with the New York Philharmonic, Carnegie Hall’s 2008 opening night gala filmed for PBS’s Great Performances series, and the Oscar-nominated HBO series Masterclass with Plácido Domingo. In previous seasons, Carlton Ford has sung the roles of Marcello (in Puccini’s La bohème), Gugliemo (Mozart’s Così fan tutte), Demetrius (Britten’s A Midsummer Night’s Dream), Ottone (Moteverdi’s L’incoronazione di Poppea), Voltore in Musto’s Volpone, Dancaïro (Bizet’s Carmen), and Mercutio (Gounod’s Roméo et Juliette). He has also appeared in several roles during his three seasons as a Gerdine Young Artist at the Opera Theatre of St. Louis, and collaborated numerous times in recital with Steven Blier, Michael Barrett, and the New York Festival of Song. A winner of the 2014 Opera Foundation Scholarship, Mr. Ford was a finalist in Houston Grand Opera’s 2012 Eleanor McCollum Competition and a recipient of both First Place and Grand Prize in Chicago’s 2011 Bel Canto Foundation Competition. A native of Chicago, Illinois, he recently completed his residency as a studio artist with the Florida Grand Opera and will spend his 2014–15 season as an ensemble artist with the Deutsche Oper Berlin.

Kevin Burdette’s 2013–14 engagements include Shostakovich’s The Nose with The Metropolitan Opera, Sergeant of Police in Gilbert & Sullivan’s The Pirates of Penzance with Portland Opera, Ko-Ko in Gilbert & Sullivan’s The Mikado with Opera Memphis, Osmin in Mozart’s The Abduction from the Seraglio with Opera Grand Rapids, Mozart’s Requiem with Grand Rapids Symphony, Handel’s Messiah with Seattle Symphony Orchestra, and Dulcamara in Donizetti’s L’elisir d’amore with San Diego Opera. Recent highlights include the roles in Thomas Adès’s The Tempest with The Metropolitan Opera (which received French Diapason d’Or and 2014 Grammy Award), Berg’s Wozzeck with London’s Philharmonia Orchestra, Donizetti’s La fille du régiment with San Diego Opera, Offenbach’s La Perichole with , Offenbach’s La Grande-duchesse de Gérolstein, and Morrison’s Oscar (creating the role of Justice Wills/Henry B. Isaacson in the World Premiere) with Santa Fe Opera. He also sang Messiah with the Chicago, Cincinnati, and Nashville symphony orchestras and Les Violons du Roy; Leporello in Mozart’s Don Giovanni (with the Los Angeles Philharmonic); Prophet/King in Nico Muhly’s Dark Sisters (World Premiere, co-produced by Gotham Chamber Opera and Opera Philadelphia); Bartolo in Rossini’s Il barbiere di Siviglia (Lyric Opera of Kansas City); Osmin (Teatro Colón, Buenos Aires); Stefano in The Tempest (L’Opéra de Québec); Ogre in Xavier Montsalvatge’s El gato con botas (U.S. Stage Premiere, Gotham Chamber Opera); Death/Loudspeaker in Viktor Ullmann’s Emperor of Atlantis (Boston

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Lyric Opera); Nick Shadow in Britten’s The Rake’s Progress (Princeton Festival); and Mr. Scattergood in Menotti’s (Santa Fe Opera debut). This summer he sings Herr Puff in Mozart’s The Impresario and Chamberlain in Stravinsky’s Le Rossignol with Santa Fe Opera, and in 2014–15 he will appear at Opera Philadelphia, Florentine Opera, Boston Lyric Opera, and as Beck Weathers in the World Premiere of Talbot’s with Dallas Opera (World Premiere).

AXIOM, led by music director Jeffrey Milarsky, is dedicated to performing the masterworks of the 20th- and 21st-century repertoire. Since its 2006 debut, the group has rapidly established itself as a leading ensemble on the contemporary music scene. AXIOM’s 2013–14 season has featured works by Druckman and Subotnick in October; Andriessen, Haas, Knussen, and Lang in February; and Boulez and Stockhausen in April. The season is culminating with members of the ensemble performing in HK Gruber’s Gloria – A Pig Tale under the baton of Alan Gilbert at the Metropolitan Museum of Art in May and June, part of the inaugural NY PHIL BIENNIAL. Highlights of AXIOM’s 2012–13 season included works by John Adams, Oliver Knussen, Schoenberg, Takemitsu, and Charles Wuorinen. The 2011–12 season featured the World Premiere of ’s Three Explorations (2011); works by Babbitt, Birtwistle, Boulez, Grisey, and Lindberg; and Wolfgang Rihm’s rarely performed Jagden und Formen. The 2010– 11 season focused on music by Magnus Lindberg and Steve Reich, and a concert featuring Morton Feldman’s monumental Rothko Chapel, presented by Lincoln Center as part of its Tully Scope festival.

* * * Credit Suisse is the Global Sponsor of the New York Philharmonic.

* * * Major support for the NY PHIL BIENNIAL is provided by The Francis Goelet Fund, The Andrew W. Mellon Foundation, The Susan and Elihu Rose Foundation, and The Fan Fox and Leslie R. Samuels Foundation.

* * * HK Gruber’s Gloria – A Pig Tale is made possible with generous support from an anonymous donor.

* * * Classical 105.9 FM WQXR is the Radio Home of the New York Philharmonic.

* * * Programs are supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council, the National Endowment for the Arts, and the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature.

Tickets

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Tickets for these performances are $60. Tickets may be purchased online at nyphil.org or metmuseum.org. Biennial Passes are $95 each and are available by calling (212) 875-5656. To determine ticket availability, call the Philharmonic’s Customer Relations Department at (212) 875-5656, 10:00 a.m. to 6:00 p.m. Monday through Friday, 1:00 p.m. to 6:00 p.m. on Saturday, and noon to 5:00 p.m. on Sunday. Ticket prices subject to change.

For press tickets, call Meryl Cates at The Metropolitan Museum of Art at (212) 650-2684, or e- mail her at [email protected]. You can also contact Lanore Carr in the New York Philharmonic Marketing and Communications Department at (212) 875-5714, or e-mail her at [email protected].

For more information about all NY PHIL BIENNIAL events, visit nyphil.org/biennial.

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ALAN GILBERT CONDUCTS STAGED PRODUCTION OF HK GRUBER’S GLORIA – A PIG TALE A Co-Presentation of the New York Philharmonic, The Metropolitan Museum of Art, and The Juilliard School

Grace Rainey Rogers Auditorium The Metropolitan Museum of Art 1000 Fifth Avenue

Thursday, May 29, 2014, 7:00 p.m. Friday, May 30, 2014, 7:00 p.m. Sunday, June 1, 2014, 2:00 p.m.

Alan Gilbert, conductor A Production by Giants Are Small Doug Fitch, director, costume designer, co-set designer Edouard Getaz, producer James Smith, production manager Kate Noll, set designer Jeanette Oi-Suk Yew, lighting designer Lauren Snouffer, soprano (Gloria) Brenda Patterson, mezzo-soprano (Solo Pig and other roles) Alexander Lewis, tenor (Gerhard and other roles) Carlton Ford, baritone (Farmer and other roles) Kevin Burdette, bass (Rodrigo and other roles) The Juilliard School’s AXIOM ensemble

HK GRUBER Gloria  A Pig Tale

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ALL PROGRAMS SUBJECT TO CHANGE

Photography is available for the NY PHIL BIENNIAL at nyphil.org/newsroom/1314/Biennial, or by contacting the Communications Department at (212) 875-5700; [email protected].