B OKLYN ACADEMY OF MUSIC
NIXON IN CIDNA !!!!!I!!!!!I!!II BROOKLYN ACADEMY OF MUSIC Harvey Lichtenstein, President and Executive Producer
in association with
HOUSlON GRAND OPERA, nlEJOHNF. KENNEDY CENTER FOR THE PERFORMING ARTS, DE NEDERLANDSE OPERA, and LOS ANGELES MUSIC CENTER OPERA ASSOCIATION
BAM Opera House December 4 - 17, 1987 presents NIXON IN CHINA New York Premiere Music by Libretto by JOHN ADAMS ALICE GOODMAN
Conducted by Directed by Choreography by EDODEWAART PETER SELLARS MARK MORRIS
SeiDesigner Costume Designer Lighting Designer Sound Designer ADRIANNELOBEL DUNYARAMICOVA JAMESR INGALLS OTTSMUNDERLOH
ORCHESTRA OF S1:LUKE'S
Nixon in China was commissioned by the Brooklyn Academy ofMusic, Houston Grand Opera, and the John F. Kennedy Center for the Petfonning Arts. John Adams dedicates the music ofNixon in China to Betty Freeman. Nixon in China is made possible, in part, with a grant from ROBERT W. WILSON. The Opening night reception for this program is sponsored by REMY MARTIN AMERIQUE, with additional furids provided by SPY.
BROOKLYN ACADEMY OF MUSIC II II FEI~~~AL SPONSORED BY PHILIP MORRIS COMPANIES INC. The 1987 NEXT WAVE Festival is sponsored by PIDLIPMORRIS COMPAN:JES n4c. The NEXT WAVE Production andTouring Fund and Festival are supported by: the NATIONAL ENDOWMENT FOR THEAR1S, THE ROCKEFELLER FOUNDATION, TIlEFORD FOUNDATION, TIlE ELEANOR NAYWR DANA CHARITABLE TRUST, PEW CHARITABLE TRUSTS, the BOOfH FERRIS FOUNDATION, TIlE IlENRYWCEFOUNDATION,INC.,theAT&TFOUNDATION, THE HOWARD GILMAN FOUNDATION, THE WILLIAM ANDFWRA IlEWLETfFOUNDATION, the MARY FLAGLER CARY CHARITABLE TRUST, THE HINDUJA FOUNDATION, THE EDUCATIONAL FOUNDATION OFAMERICA, the MORGAN GUARANTY TRUST COMP~ ROBERI' W. Wll.SON, THE REED FOUNDATION INC., tbeEMMAA. SHEAFER CHARITABLE TRUST, SCHLUMBERGER, YVES SAINT LAURENT INTERNATIONAL, andtheNEW YoRK STATE COUNCIL ON THE AR1S. Additional funds for the NEXT WAVE Festival are provided by: THEBEST PRODUCTS FOUNDATION, COCA-eOLA ENTEKI'AINMENT, INC., MEET THE COMPOSER, INC., the, CIGNA CORPORATION, THEWILLIAM AND MARY GREVE FOUNDATION, INC., the SAMUEL I. NEWHOUSE FOUNDATION, THE ARMAND G. ERPF FUND, the ARTHUR ROSS FOUNDATION, the HARKNESS BALLET FOUNDATION, INC., THEWEILER-ARNOW FOUNDATION, AIR INDIA, REMY MARTIN AMERIQUE, the BAM Committee for THE MAHABHARATA, and the BAM NEXT WAVE Producers Counell. WNYC-FM is the official radio station ofthe NEXT WAVE Festival. The Producers Council provides annual private patronage fot; BAM's NEXT WAVE Festival and also organizes and sponsors seminars, exhibitions, publications, and special events for this program throughout the year. The Brooklyn Academy ofMusic wishes to express its appreciation to Theatre Development Fund for its support ofthis season. The BAM facility is owned by the City ofNew York and its operation is supported, in part, with public funds provided through the NEW YORK CITYDEPARI'MENTOFCULTURAL AFFAIRS. The principal capital funding for the BAM MAJESTIC THEATER was provided by the City ofNew York through the New York City Department ofCultural Affairs with the special assistance ofthe Brooklyn Borough President's Office and the Office ofthe Mayor. Joseph V. MelUlo, Director Michael O'Rand, General Manag~r NIXON IN CHINA sung in English CAST (in order ofvocal appearance) Chou En-lai SANFORD SYLVAN Richard Nixon JAMES MADDALENA Henry Kissinger THOMAS HAMMONS Nancy Tang (First Secretary to Mao) MARl OPATZ Second Secretary to Mao STEPHANIE FRIEDMAN Third Secretary to Mao MARION DRY Mao Tse-tung JOHN DUYKERS Pat Nixon CAROLANN PAGE· Chiang Ch'ing (Madame Mao Tse-tung) TRUDY ELLEN CRANEY Hung Ch'ang-ch'ing STEVEN OCHOA Wu Ching-hua HEATHER TOMA Ensemble/Understudies: CHRISTOPHER ARNESON (Chou En-lai), TODD THOMAS (Richard Nixon), FRANK CURTIS (Henry Kissinger), BARRY CRAF T (Mao Tse-tung), SHARON DANIELS (Pat Nixon), JUDY BERRY (Chiang Ch'ing) Dancers: HOMER AVILA, MIGUEL AVILES, PAMELA GIARDINO, MICHAEL ING,ANDREW PACHO, CRISTINA PERERA, PAMELA SEMMLER, KELLY SLOUGH Assistant Stage Director: ROALD SIMONSON. Assistant Choreographer: PETE~ HEALY UME AND PLACE: Peking, China, February 1972 ACT I Scene 1: The airport outside Peking (Nixon's arrival) Scene 2: The ImPerial City (Meeting with Mao) Scene 3: The Great Hall ofthe People (The first banquet) ACT II Scene 1: Mrs. Nixon views China Scene 2: An evening at the Peking Opera (''The Red Detachment ofWomen") Scene 3: The last night in Peking The performance will last approximiltely three hours, with an intermission between acts1and11. SYNOPSIS ACT I , Scene 1: The airfield outside Peking: it isa'cold, clear, dry morriing~ Monday, Febtuary 21, 1972. Continged(s ofarmy, navy and air force circle the, field and sing "The Three Main Rules ofDiscipline and the Eight Points of Attention". Premier Chou En-lai, accompanied by a small group ofofficials, strolls onto the runway just as "The Spirit of '76" taxis into view. President Nixon disembarks. They shake hands and the President sings ofhis excitement and his fears. Scene 2: An hour later he is meeting with Chairman Mao. Mao's conversational armory contains philosophical apothegms, unexpect'ed political observations, and gnomic jokes, and everything he sings is amplified by his secretaries and the Premier. It is not easY,for a Westerner to hold his own in such a dialogUe. Scene 3: After the audience with Mao, everyone at the first evening's banquet is euphoric .. The President and Mrs. Nixon manage to exchange a few words before Premier Chou rises to make the first ofthe evening's toasts, a tribute to patriotic fraternity. The President replies,toasting the Chinese peopleandthehopeofPea,ce. The toasts continue, with less formality, as the night goes on. ACTO Scene 1: Snow has fallen during the night. In the morning Mrs. Nixon is ushered onstage by her party ofguides and journalists. She explains a little ofwhat it feels like for a woman like her to be First Lady,. and 'accepts a glass elephant from the workers at the Peking Glass Factory. She visits the Evergreen People's Commune and the Summer Palace, where she pauses in the Gate ofLongevity and Goodwill to sing, ''This is prophetic!" Then, on to the Ming Tombs before sunset. WQ~en", Scene 2: In the evening, the Nixons attend a performance of"The Red Detacmnent of a revolutionary i ballet devised by Mao's wife, Chiang Ch'ing. The ballet entwines ideological rectitu Before Nixon in China was Nixon In China, it was the allusions ofthe Chinese literary pantheon, and its 'the opera to be written in rhymed couplets.' Shortly meters, and turns them to its own ends; his admiration after I acquired a telephone, I received a call from ofWestern philosophy and the heroes ofthe American Peter Sellars asking whether I-would be interested in Revolution; Nixon's stint inthe navy during the war, writing the libretto for an opera, 'in couplets-John the fact that he was stationed on various Pacific Adams says he wants couplets' .I said 'Yes', and put islands, Mrs. Nixon's letters to him, the poverty of down the telephone. Not long afterwards Peter Sellars her childhood, and the various rented accommoda rang again to ask what I thought ofNixon in China as tions ofthe early years oftheir marriage; the poverty a title. I said I thought it was a perfect title, but that it ofChiang Chi'ing's childhood; Chou En-Iai's insom had to -be an heroic opera. I would not write it as a sat nia. There was the Long March to be thought about, ire. That, I was informed, was exactly what John 'one year ofalmost continuous marching, totalling Adams had said. And so the matter rested, the form 6,000 miles', as Snow succinctly puts it, the epic feat having evoked the title and the title the character of ofMao's revolution-astonishing that it should have the opera. A little more than a year later we met in taken.place as recently as 1935-andthe Chinese Washington D.C.-almostequidistantfrom John Communist Party's years in the wilderness in north Adams's hOII)e in California and mine in England west China, and its various internecine feuds before to work out the opera's structure. There were all-the the Second'Civil War began in 1946 and ended with back issues ofthe various news magazines, and the the taking ofPeking three years later and the exile of tapes ofthe television newscasts; the beginning ofour Chiang Kai-shek. There were details ofthe famines of research. Once it was clear what exactly had hap the first half ofthe century, echoed in the 1950's. And pened on each ofthe six historic days (21-27 February the Cultural Revolution. What can one say about that 1972), that the President had met with the Chairman blood-bath on Platonic principles? And having said it, on the first day, that the guards had started smiling on what can one say about the famines and the Long the second, that the Great Wall was viewed on the March? I pondered Nixon's love ofhistory and his fourth, and so on, we began to simplify. The opera belief in peace and progress, and I pondered the sig would have three acts, the first comprising three nificance ofthe characters' ages: the Nixons, Kis scenes, the second, two, and the third, one. Things singer and Chiang Ch'ing _in late middle-age, Mao change; Act III has become Act D;' scene 3. We gave and Chou, two old men; all-with the ambition oftheir the characters voices: Mrs. Nixon would be a lyric youth either achieved CHIANG CH'ING: Madame Mao circulated so many stories about her background thatitis difficult lObe sure ofthe troth. As "Lan P'ing" she was an actress in Shanghai and aspired to work in fdms (laterinlife site con fessed a partiality for Gone with the Wind and The Sound ofMusic). In her mid-twenties she found her way tQ the Chinese CommunistParty headquarters in Yenan and caught the roving eye ofMao Tse-tung. Shortly thereafter she became his fourth wife. For fifteen years she lived quietly, but her revolutionary zeal and artistic ambitions increased, to culminate in the major role she played in the Cultural Revolution. She to*command ofan extreme left-wing faction (with the notorious' 'Gang ofFour' ') and made the reform _Peking Opera herspe cial mission. During the 1960's she produced five ideologically pure revolutionary balets-amongthem, The RedDetachment ofWomen-which occupied the Chinese stage for a ten-year period. She is.stiIt alive. MAO TSE-TUNG: Chairman Mao was probably the closestlhing to Plato's Philosopher Kingdtat this world will ever see. He was a brilliant peasant autodidact who played up his thick Southern ICCe8t, spat, belcltod,and scratched·himself. He wrote great poetry in the classical Chinese forms, and laterbamted those forms. fa a ' country he had made puritan, he was an inveterate womanizer. His enemies destroyed-.e anodaer; millions died who opposed his thought. CHOU EN-LAI: That the Premier is difficult to characterize would probably bavepleasedthat elusive and self-effacing man. He never sought supreme,leadership, but for years held China ~s ~vemacbillery together, and more than once prevented the country from falling into civil war. To Edga'Soowke was "ellief reconciler and balancer offorces," to Richard Nixon, "one ofthe most extraordinaril1'ciftedpeeple I have ever known, with an incandescent grasp ofthe realities ofpower." Unlike Mao, he came from aManclainblck ground; unlike Mao, he received at least part ofhis education outside China; but likeMaD,he was .~voIutiOll ary from his earliest youth. IfMao was a Washington, Chou was a Lincoln; ifMao was a Napoleon, Chou was' a Talleyrand. By the 1930's their relative positions were clear; by the mid-thirties Chou was ClIiRa's leadiRg diplomatist, a role he was to maintain for forty years until his death. Laconic and yet'eblueal, a man ofirre proachable patriotism, Chou became, according to one memorial tribute (and there ~ 1IWIy), "lie very embodiment ofthe noble virt1Ies ofa proletarian revolutionary." According to anodIw. 'terlaepeaple:, cause, he ate 'grass' but gave 'milt' and 'blood' ... PremierChouneverflinchedorstoppel~.H . /' Compiled by Peggy Read, Houston Otud~~Mmager. NIXON IN CIDNA: THE]TINERARY \ .Via Hawaii, Guam, crossing the international dateline, landing in Shanghai to take OIl aOUnese navigator, the Spirit of '76 touches down at Capital Airport near Peking on February 21, 1972. CheuEn..Jli, 4ipitaries and a 500-man military h'onor guard are at the airport. No crowds, no speeches, no city~.o.e-h<8' visit to Mao at his residence:--' 'frank and serious" -withHenry Kissinger, Chou En-lai, ~. Evening 6iBquet hosted by the Chinese in the Great Hall ofthe People. Chou En-lai makes a toast,callillithe·1Iip ai''positive move;" Nixon responds that the world is paying attention to th~se historic moments. February 22,.1972: A four-hour meeting takes place between Nixon and ChouEn-lai.lntheevening, a private dinner'for the Nixons, followed by a performance ofthe "Red Detachment ofWomen," the revolutionary ballet fashioned by Chiang Ch'ing. Chou En-lai and his wife also attend. The Chinese present two giant pandas to the U.S. in response to Nixon's gift oftwo musk oxen. February 23, 1972: Nixon and Chou En~lai conduct four more hours oftalks.· During the day'Mrs. Nixon visits the EvergreenPeople's Commune, an agricultural cooperative near the capital, and the Peking Glassware Factory. Evening exhibitions ofgymnastics and table tennis. February 24, 1972: President Nixon. makes an eXCurSion to the Great Wall ofChina and the Ming Tombs (14 15th-century rulers). Nixon speakS informally to reporters for the first time during his visit. Three more hours of talks between Nixon and Chou En-lai. The session is followed by a private dinner, hosted by Premier Chou in the Great Hall. February 25, 1972: The Nixons visit the Forbidden City. One-hour meeting ofNixon and Chou. The President and First Lady host a banqttet honoring Premier Chou in the Great Hall to mark the last evening oftheir Peking stay. ' February 26-27, 1972: The President and members ofhis Party visit Hangchow and Shanghai with Premier Chou before departing for the U.S. on February 28, 1972. Compiled by Peggy Read, Houston Grand Opera PUblications'Manager. JOHN ADAMS (Composer) was born in Worcester, orchestras. He has drawn accolades for his opera con Massachusetts in 1947. In 1971, after graduating ducting at Covent Garden, Bayreuth, the Bavarian from Harvard University (BA magna cum laude, State Opera, the Netherlands Opera, Santa Fe, and the 1969; MA in music composition, 1971), he moved San Francisco Opera" where he led Wagner's com to California where for ten years he taught and con plete Ring cycle in the summer of 1985. Edo de ducted at the San Francisco Conservatory ofMusic, Waart's.many recordings, including those with the and from 1978 to 1985 he collaborated with the San San Fr~cisco Symphony, are available o~ the Francisco Symphony, serving as New Music Advisor Philips. label. and eventually Composer in-Residence. Mr. Adams has created works for video, film, dance, electronic PETERSELLARS (Stage Director) has directed and instrumental music. His compositions for orches more than. 100 plays, operas and miscellaneous spec tra include Harmonium, Grand Pianola Music, tacles. He was recently named Director ofthe Los Shaker Loops~-andHarmonielehre, which are among Angeles Festival. At present he is working on a book the best known and most frequently performed of for Harper and Rowand his first film. recent contemporary American orchestral music. John Adams' music has been recorded on several MARK MORRIS (Choreographer) was born, raised major international labels, with the 1985 recording and resides in Seattle where he studied with Vera ofHarmonium on ECM receiving a Grammy nom Flowers and Perry Brunson. He has performed with ination, and the Nonesuch digital recording of the Lar Lubovitch Dance Company, Hannah Kahn Harmonielehre chosen as one ofthe year's top Dance Company, -Laura Dean Dancers and Musi- ten classical recordings by both Time Magazine and •cians, Eliot Feld Ballet and Koleda Balkan Dance USA Today. In 1986 Mr. Adams signed an exclusive Ensemble. In addition to the Mark Morris Dance contract with Nonesuch Records which will release Group, which was formed in 1980 and gave its firSt six albums ofhis music over the next four years. annual New York home season concert that year at the Merce Cunningham Studio, he has set works for ALICE GOODMAN (Librettist), a poet now living Pacific Northwest Ballet, CoDanceCo. Jacob's Pillow in Cambridge, England, graduated from Harvard Dancers, Spokane Ballet, Batsheva Dance Company, College where she collaborated with classmate.Peter Concert Dance Company ofBoston and Repertory Sellars on a number oftheatrical productions. Ms. Dance Company ofCanada. In 1985, Mr. _Morris cre Goodman's poetry has appeared in major literary and ated Mort Subite for the Boston Ballet, one ofnine poetry journals. Her 1986libretto for Nixon in China, commissions ofthe National Choreography Project which is her first work for opera, is. written in verse. and received a second commission in 1986 to create In addition to her studies at Harvard, Ms. Goodman Esteemed Guests for the Joffrey Ballet. Mr. Morris studied at Cambridge. She is currently writing a new also teaches regularly at the University ofWashington text for Debussy's Martyrdom ofSt. Sebastian. in Seattle. He has received choreography fellowships from the New Jersey State Council on the Arts (1980 EDO DE WAART (Conductor) became the eighth 81 and 1983-84) and from the National Endowment music director ofthe Minnesota Orchestra in Septem for the Arts (1983-86). He was commissioned by the ber 1986. Born in Amsterdam in 1941 ~ Mr. de Waart Jerome Foundation to c~ate two new works, New began his music training at that city's Lyceum, study LoveSong Waltzes (1982) and The Death ofSocrates ing oboe and conducting~ Upon graduating he became (1983) for Dance Theater Workshop's New Works associate principal oboist ofthe Concertgebouw PrOj~ct. Mr. Morris received a Bessie Award in 1984 Orchestra. At age 23 he won the Dimitri Mitropoulos for· Choreographic Achievement and was awarded a Conductors' Competition and became assistant con Guggenheim Fellowship for choreography. Since ductor to Leonard Bernstein at the New York Philhar 1984, The Mark Morris Dance Group has toured monic. Returning to the Netherlands he was Assistant extensively throughoutthe United States and Europe Conductor ofthe Concertgebouw Orchestra. In 1967 and was recently featured on an hour-long program on he became conductorofthe Netherlands Wind the PBS "Dance in America" series. Ensemble and ofthe Rotterdam Philharmonic where, in 1973, he was appointed music director. After two ADRIANNE LOBEL (Set Designer) has collabo years as principal guest conductor ofthe San Fran rated with Peter Sellars for Cosifan tutte at the cisco Symphony in 1975 came his appointment as Pepsi'Co Summerfare, The Mikado at the Chicago music director there. He also established the New and Lyric Opera, Hang on to Me at the Guthrie, The Unusual Music Series, which became a model for the Visions ofSimone Machard at La Jolla Playhouse, nationwide Meet the Composer/Orchestra Residen and The Inspector General at the American Repertory cies program, organized by the San Francisco Sym Theatre. Ms. Lobel designed sets for My One and phony Youth Symphony, and he launched major Only on Broadway. She won an Obie Award for her recording and touring programs. In 1980 he opened designs for The Vampires, written and directed by Louise M. Davies Symphony Hall, the Symphony's Harry Kondoleon at the Astor Place Theatre and All first1>ermanent home. Edo de Waart'sguest conduct Night Long, directed by Andre Gregory, at the Second ing engageptents take him to the world's leading Stage. Other off-Broadway credits include Women of ; { =~.;:.:.~ ji:r..:.·.=.;.=.. Manlulttan at the Manhattan Theatre Club, for which with'night Mother, and The Human Comedy. He she received a Maharam nomination. The Dreamer designed both the Los Angeles and New York produc Examines His Pillow and Savage in Limbo, all by tions ofIsn't II Romantic? His work in regional theatre John Patrick Shanley; Anteroom at Playwright's Hori includes productions with the Boston Shakespeare zons and Orclulrds for the Acting Company. Her Company, La Jolla Playhouse, Santa Fe Festival work has also been seen at Hartford Stage Company, Theatre, Hartford Stage Company, Seattle Repertory The Guthrie Theater, The American National Theatre, Theatre, Goodman Theatre, Guthrie Theatre and The Oxford Playhouse, Yale Repertory Theatre, American Repertory Theatre. Mr Ingalls' opera American Repertory Theatre, Goodman Theatre and credits include /I Matrimonio Segreto at the Santa Fe Arena Stage, where she has served as an Associate Opera, Orlando and The Lighthouse (with Peter Sel Artist. Recently, Ms. Lobel completed production lars) and Passaggio at the Aix-en-Provence Festival. design on Five Corners, a film directed by Tony Bill Mr. Ingalls has received numerous awards, among and Bad, a new Michael Jackson video directed by them Helen Hayes Awards for lighting design for Martin Scorsese. Count ofMonte Cristo and Ajax and an Obie Award, 1987, for Acting Company's On the Verge. He also DUNYA RAMICOVA (Costume Designer) is a resi designed the lighting for American National Theatre's dent costume designer at the Yale Repertory Theatre Ajax in Washington, La Jolla and current European and a faculty member at the Yale School of Drama. tour, as well as Cosifan tutte for PepsiCo Summerfare She has designed costumes for Alaska Repertory The 1986 and Stuttgart. atre, American Repertory Theatre, American Ballet Theatre, American National Theatre, Arena Stage OTIS MUNDERLOH (Sound Designer) has Company, Acting Company, Brooklyn Academy of designed the sound for Bring Back Birdie, Harold Music, Chicago Lyric Opera, Castle Hill Opera Com andMaude. The Rink, I Remember Mama, The Glass pany, Double Image Theatre, Goodman Theatre, Menagerie, Personals, Angry Housewives, Big River. Guthrie Theatre, Hartford Stage Company, Hartford J)reamgirls. Hurlyburly, The Real Thing. Sophisti Ballet, Juilliard School, Long Wharf Theatre, Man cated Ladies, Whoopi Goldberg. My One and Only, hattan Theatre Club, Mark Taper Forum, Opera The Harrigan n' Hart, A Broadway Baby. Little Shop of atre of St. Louis, Opera Theatre of Boston, Public Horrors. Ballroom, Ain't Misbelulvin'. ADay in Hol Theatre, PepsiCo Summerfare, Philadelphia Com lywood. A Night in the Ukraine. Barnum. The 1940's pany and Williamstown Theatre Festival. Radio Hour. Follies in Concert. Social Security, Sweet Charity. The Searchfor Signs oflmelligem Life JAMES F. INGALLS (Lighting Designer) lighted in the Universe. The Front Page. Smile, Stepping Peter Sellars' 1986 PepsiCo Summerfare production Out, The Knife. Cabaret, Roza and Sing Hallelujah at of Handel's Giulio Cesare in Egitto. He also lighted the Village Gate. Mr. Sellars' production ofThe Count ofMonte Cristo for the American National Theatre at the Kennedy CAROLANN PAGE (Lyric Soprano, Pat Nixon) is a Center in Washington D.C. He designed the lighting frequent guest artist with leading regional opera the for The Plough and the Stars for Boston's Huntington aters throughout America. During the past two sea Theatre Company and was represented on Broadway sons, she has performed principal operatic roles with the opera companies of Anchorage, Cincinnat.i, include performances with the Connecticut Grand Cleveland, Pittsburgh, Stamford and Toledo, Includ Opera, Center for Contemporary Opera, Monmouth ing the roles of Adina in L EUsir d'Amore, Norina in Arts Center, Syracuse Opera, :Canterbury Concert Don Pasquale, Mimi and Musetta in La Boheme, _ Series and the Monmouth Symphony. Nanetta in Falstaff, Susanna in The Marriage of Figaro, and Pamina in The Magic Flute. As an JAMES MADDALENA (Baritone, RichardNixon) actress as well as a singer, Carolann Page has made his debut at the age of nineteen with Arthur appeared in two Broadway productions, as Cu~e Fiedler and the Boston Pops; while still a student at gonde in Hal Prince's revival of Candide, and In the New England Conservatory of Music, he ~as George Abbott's Music Is. She has also performed invited to perform a Rodgers and Hammersteln med Rosabella in the Kansas City Opera's Most Happy ley atthe orchestra's 1974 season premiere. For three Fella and Julie in Carousel with the Cincinnati Opera. seasons (1975-77), Mr. Maddalena took part in the Her recent operetta appearances include The Merry Wolf Trap Opera Program, where he performed Widow Die Fledermaus, The-Pirates ofPenzance Th~ Aaron Copland's arrangements ofEarly Ameri~an and Mikado. Ms. Page's recent orchestra engage Songs with the National Symphony under the drrec ments have included dates with the Philadelphia tion ofthe composer. At Wolf Trap he also performed Orchestra, Cleveland Orchestra, Boston Pops Orches Stravinsky'sPribaoutki Orle~ns with the St. Paul Chamber tra, San Francisco Symphony Pops, New Orchestra, under the direction of Dennis Russell Philharmonic, Oklahoma Symphony, Denver Sym Davies, and Mahler's RuckertLieder with the phony, Cedar Rapids Symphony, Trenton Symphony; Feld Ballet and has appeared numerous times as guest the Chautauqua Orchestra, Flint Symphony, and Con artist with the Ballet. Since 1973, Mr. Maddalena,an certo Soloists of Philadelphia in repertoire that has expert in Bach performance, has appeared as soloist included the Faure Requiem, Poulenc's Stabat Mater, in all ofBach's cantatas with Emmanuel Music, the Barber's Knoxville: Summer of1915, Berlioz' Les choir and orchestra ofBoston's Emmanuel ,Church Nuits d'Ete, Mahler's Symphonies No.2 and 4, conducted by Craig Smith. In New York, he was Bar Haydn's Creation, and Villa-Lobos' Bachianas Brasi itonesoloist at Carnegie Hall in Banchetto Musicale's lieras, as well as popular programs of operetta and 1984 Messiahon Qriginal instruments. In 1983 Boston Broadway selections. Carolann Page has performed Phoenix music critic Lloyd Schwartz named James as a featured soloist in recitals and chamber music Maddalena performer ofthe year. He is a founding concerts in Philadelphia,. New York, Baltimore, Pitts member ofthe Liederkreis Ensemble, which won the burgh and New Jersey, and at Chautauqua, Ambler, 1980 Nauniburg Award for chamber music. With Blossom and the Berkshire Music Festivals. A native Liederkreis he recorded both sets ofBrahms' Liebes of Philadelphia, Carolann Page 'is a graduate ofthe lieder Waltzes. He has also made three recordings Curtis Institute ofMusic and a pupil of the late Judith with Banchetto Musicale: Telemann's St. Luke Pas Raskin. At the invitation of Rudolf Serkin, she made sion, performing the role ofJesus (Titanic TI-88 & her professional debut atthe Marlboro Music Festival 89)' Handel'sLAliegro~ IlPenseroso, edIlModerato singing the Beethoven Choral Fantasy under the (Ar~besqueABQ 655~-2); and Haydn'sLor~Nelson baton of Pablo Casals. Mass (Arabesque, to be released in 1987). SInce 1982 Mr. Maddalena has been voice instruc,tor at Phillips TRUDY ELLEN CRANEY (Soprano,Chiang Exeter Academy in New Hampshire. Since 1981, Mr. Ch'ing [Madame Mao]) has been acclaimed for her Maddalena has performed regularly in the operatic diverse operatic repertOire. She has performed in productions ofstage director Peter Sellars. Mr. Sellars Rudenstein's Faustus and in Cherubini's Medea. cast Maddalena in the title role ofMozart's Don Following her performances as Berta in Connecticut Giovanni,as well as in key roles in Handel's Orlando Grand Opera's The Barber ofSeville, in which tradi (American Repertory Theatre, 1982), Mozart's Cosi re~tored tionally cut sections ofthe Rossini score were fan tutte (Castle Hill Festival, 1984): PepsiCo Sum- by the conductors so that she had m?re opPOrtunltr to merfare, 1986 and 1987), Haydn's Armida (New be heard, Miss Craney at the 'last mInute stepped Into Hampshire Symphony, 1983), and Handel's Giulio the title role ofthe company's Lucia di Lammermoor. Cesare in Egitto and the BrechtlWeill Kleine Maha Miss Craney's major roles include Bach's Amadis des gonny, (both at PepsiCo Summerfare, 1985). Gaules, Wright's The Wings ofExpectation, Henze's Poccecino, Rogers' The Veil, I due Foscari and I Masnadieri, as well as La Traviata, Cosifan tutte, JOHN DUYKERS (Tenor, Mao Tse-tung) made .his Rigoletto and Carmen. She has been a guest on professional debut with the S~attle Opera,in 19?6. He Robert Sherman's Listening Room (WQXR) ofthe has appeared with many leadmg opera companIes New York Times, RAI-TV, RAI-Radio ofthe French around the world including San Francisco Opera, Network; at The Doelen in Rotterdam, Holland, Santa Fe Opera, the Grand Theatre ofGeneva, the Carnegie Recital Hall, Merkin Concert ~all" ~e Mai Stadttheater in Dusseldorf, the Stadtische Bubnen of Musical Bordeaux in France and the Festtvale dl Frankfurt, Thlsa, Portland, Arizona, Mobile, Vanco~ Norma (Italy) where she was guest artist with the ver, Sacramento Operas, and the Metropolitan Opera Gugliemi String Quartet. Her U. S. appearances Studio. His repertoire encompasses more than forty roles including Cavaradossi in Tosca, Canio inlPaq MARl OPATZ (Mezzo-soprano, First Secretary to liacci, Don Jose in Carmen and Alvaro in La Forza Mao) has performed with such companies as New del Destino. In the past twelve years Mr. Duykershas York City Opera National Company, Lyric Opera of Performed regularly 'with San Francisco Opera and its Dallas, Pennsylvania Opera Theatre, Chautauqua affiliates: Western Opera Theatre, Spring Opera The Opera, Mobile Opera, Chattanooga Symphony and atre, Brown Bag Opera, etc. He appears frequently in Opera Association, Opera Theatre ofRochester, recital and with symphony orchestras and he appears Charleston Opera, Pittsburgh Opera Theatre, Des at major music festivals worldwide. In the ,1986-87 Moines Opera, Composer's ChamberOPera, Opera series he appears with the San Francisco Opera in Die Delaware and Lincoln Center's Holiday Festival. She Meistersinger von Nurnberg and on the''Works and has appeared as Hansel in Hansel and Gretel, Cheru Process" series of the Guggenheim Museum. A noted bino in·The Marriage ofFigaro, Dorabella in Cosi interpreter ofcontemporary music, John Duykers was fan tune, Octavian in Der Rosenkavalier, .Charlotte in appointed to the music screening panel for opera and Werther, Mercedes in Carmen, Suzuki inMadama music theater ofthe National Endowment for the Arts. Butterfly, 2nd Lady in The Magic Flute and TIsbe in La Cenerentola. Marl has also appeared as Nancy in Albert Herring, Miss Todd in The Old Maid and the SANFORD SYLVAN (Baritone, Chou En-Iai) won Thief, Dinah in Trouble in Tahiti and La Ciesca in the Kennedy Center-Rockefeller Foundation Interna Gianni Schicchi. In New York, she· created the role of tional Vocal Competition in 1979, and since then has Polly in the world premiere ofthe contemporary performed a wide repertoire. A graduate ofthe Man opera, The Diet. Ms. Opatz was an Apprentice Artist hattan School of Music, he made his debut with the with the Santa Fe Opera and with Chautauqua Opera. New York Philharmonic in 1977 under the direction Last year she made her European debut singing Han ofPierre Boulez, singing the world premiere of Dan sel throughout Germany and Switzerland with the i~t'Plante's Love in the Asylum. A resident ofBoston, Philharmonie Pomorska and Pittsburgh Opera the Mr. Sylvan appears.annually with the Handel and atre. Ms. Opatz is a recipient ofthe William Matheus Haydn Society in Symphony Hall and performs with Sullivan Foundation Award for 1987. A native of the Cantata Singers" Alea m, Banchetto Musicale. Iowa, she received both her Bachelor and Master of the Pro Arte Chamber Orchestra, the New England Music degrees from the University ofNorthern Iowa. Bach Festival and the Marlboro Music Festival. She currently studies with Margaret Hoswell. Under the direction ofPeter Sellars he has Pelformed: the title role ofHandel's Orlando at the American Repertory Theatre; as a singer/actor in the American STEPHANIE FRIEDMAN (Mezzo-soprano, Sec premiere of Peter Maxwell Davies' oPera, The Light ond Secretary to Mao) made her professional opera house, at the Boston ShakeSPeare Company; at Pep debut in 1966 singing the role ofAmore in Montever soCo Summerfare 1985 in a concert ofBach Cantatas di's L'lncornazione de Poppea under Alan Curtis. She conducted by Craig Smith; and in Weill's Little Maha has appeared as La Haine in Gluck's Armide in Bolo gonny and Bach's Cantata 60.at PepsiCo Summerfare gna and Innsbruck; as Evanco in Handel's Rodrigo in 1985. Mr. Sylvan was also featured in the world pre Innsbruck; in Cesti's II Tito in Innsbruck, Ancona, miere ofPhilip Glass's oPera, The Juniper Tree, Venice and Turin. She has become known as a Handel directed by Andre Serban at the American Repertory specialist having sung the title roles ofXerxes, Theatre. Ariodante and Julius Caesar and the leading mezzo roles ofTeseo and Rinaldo with San Francisco's THOMAS HAMMONS (Bass-baritone, Henry Kis Pocket Opera, where she has also been heard as Dido si"ger) holds a Master ofMusic degree from the Cin in Purcell's Dido andAeneas. She has appeared as cinDati Conservatory, where he studied with Italo Tajo ,.Angelina in La Cenerentola, Elisabetta 'in Maria under a Corbett scholarship. Widely applauded for his ~Stuarda and Jane Seymour in Anna Bolena with mastery ofthe buffo repertory, Mr. Hammons has .Pocket Opera; Dorabella in Mozart's Cosifan tutte at performed over 30 roles from coast to coast, with r ,the San Luis Obispo Mozart FestiYal-Romeo in Bel the San Francisco, Santa Fe, Cleveland, Dayton, lini's I Capuletti edI Montecchi, produced by the Augusta, Fort Worth Opera companies and Michigan University ofCalifornia, Davis, and Suzuki in Puc Opera Theatre among many others. His principal cini's Madama Butterfly with the Marin Opera. With roles include Dr. Bartolo, Leperello, Don Pasquale, San Francisco Opera's Spring Opera Theatre she sang Don Magnifico, Dulcamara and Sacristan, and he has in Britten's Death in Venice and Kurka's Good Soldier also appeared in many contemporary operas. Most Schweik. Stephanie Friedman has appeared as soloist recently he sang Capulet in Romeo and Juliet in with most ofthe major California orchestras. In the Augusta, Bartolo inThe Marriage ofFigaro in Fort 1982-83 season she was featured soloist with the San Worth, Dulcamarain The Elixir ofLove in Grand Jose Symphony in Mahler's Ruchert Songs and in Rapids and Don Pasquale with Opera New England. 1986 in Mozart's Mass in CMinor. In January 1983 Mr. Hammons has also been a soloist with numerous she was featured by the San Francisco Symphony in orchestras including those of Cincinnati, Dayton, its Festival honoring composer Vivian Fine. She has Charlotte" Charleston and Duluth. performed in the San Francisco Symphony's annual Beethoven Festival under Michael Tilson Thomas and MARION DRY (Contralto, Third Secretary to Mao) at the Cabrillo Festival in Frank Martin's opera Le Vin has appeared in concert with the Cleveland Orchestra Herbe. Vivian Fine's recent Call/iclesfor Jerusalem at Severance Hall and at the Blossom Music Festival, were composed for and dedicated to Stephanie Fried the Hartford Symphony, Chicago's Music ofthe man. She was the soloist for the premiere of Roger Baroque, the Worcester Symphony, the Masterworks Sessions' When Lilacs Last in the DooryardBloom'd; Chorale and the John Oliver Chorale, among others. for Andrew Imbries' Roethke Songs and for the West These engagements included performances of Han Coast premiere ofCambodian composer Chinary del's Messiah, Beethoven's Mass inB millor and Ung's Mohori. She has performed works of Boulez, Christmas Oratorio. She has sung leading operatic George Crumb, David del Tredici and Edward Law roles with the New England Wagner Festival, Boston ton, as well as the 20th Century masters, Bartok, Hin Concert Opera, Boston Lyric Opera, Artists Interna demith, Britten and Stravinsky. tionale, Opera New England and at the Blossom Music Center. Among her roles are Marcellina in ORCHESTRA OF ST LUKE'S Mozart's Marriage ofFigaro; Erda, Schwertleite and Created by Artistic Director Michael Feldman in First Nom in Wagner's Der Ring des Niebelungen; 1979, the Orchestra of St. Luke's has become one of Otfeo in Gluck's Oifeo edEuridice, Dido in Purcell's the most highly sought-after and esteemed ensembles Dido andAeneas; Mistress Quickly in Verdi's Fal on the New York music scene, acclaimed for its per staff; Lucretia in Britt~n 's Rape ofLucretia; and the formances of a diversified repertoire from the Mother in Menotti's The Consul. She also sings many Baroque to the Contemporary. It ranges in size from Gilbert and Sullivan roles, such as Katisha in The 30 to 80 musicians, with members of the St. Luke's Mikado, Queen ofthe Fairies in Iolanthe and Ruth in Chamber Ensemble leading each section and serving The Pirates ofPenzance.Ofspecial interest is "The as a nucleus. The Orchestra of St. Luke's achieved English Contralto," her recital which explores the prominence during the 1984-85 season through its repertoire written for Dame Clara Butt and Kathleen participation in Carnegie Hall's Bach Festival and Ferrier. Marion Dry was chosen by composer Ivan , Handel Opera Series, as well as in the world premiere Tcherepnin to sing the world premiere 'of ~is "Five petformance ofAndrew Lloyd Webber's Requiem, Songs for Contralto, Flute and Electronics" for ~ which was internationally televised. The following series originated by WFMT radio in Chicago, "The season, the Orchestra presented its own Carnegie Hall Contemporary Art Song." A subsequent CRI label series and petformed in the Strauss Opera Festival recording has been called' 'one·of the best records of there. Among the distinguished artists who have per the year" by Richard Dyer ofthe Boston Globe. Ms. formed with the Orchestra of St. Luke's are conduc Dry has also performed Schoenberg's Pierrot tors James Levine, Lorin Maazel, Julius Rudel, and Lunaire. A Bachelor ofArts recipient in English Lit Michael Tilson Thomas, and soloists Janet Baker, Yo erature at Harvard University, Ms. Dry earned her Yo Ma, Rudolf Serkin, and Kiri Te Kanawa. Last sea Master ofMusic degree in Voice at Northwestern son, Marilyn Home, James Galway, Jorge Bolet, and University, winning several awards for singing and Elmar Oliveira appeared with the Orchestra, which opera. She has also studied at the Tanglewood Festi also performed with Murray Perahia at the Metropoli val, the Blossom Festival School, the Minnesota tan Museum ofArt; at the Spoleto Festival USA; and Opera Company, and with Boris Goldovsky. She cur at the Brooklyn Academy of Music's NEXT WAVE rently teaches voice at Harvard University. Festival, Twyla Tharp Dance, and Gershwin Celebra tion. During the 1987-88 season, the Orchestra will petform a series offour concerts atCamegie Hall STEVEN OCHOA (Hung Ch'ang-ch'ing) was born conducted by Christoph Eschenbach, Christopher ,in Richmond, Texas and resides in New York. He has Hogwood, Blanche Moyse, and Julius Rudel, with danced with the Ballet du Nord in Roubaix, France, featured artists including Margaret Price and Benita the Eglevsky Ballet in New York, the Lone star Valente, sopranos, and Samuel Ramey, bass. In addi Ballet in Amarillo, Texas and studied at the School tion, the Orchestra will perform with Dame Joan ofAmerican Ballet. Sutherland in a program ofthree operatic mad scenes at Lincoln Center in April. Other performances HEATHER TOMA (Wu Ching-hua), from Los include concerts at leading New York churches and Angeles, studied at the University ofCalifornia/Irvine universities. The Orchestra ofSt. Luke's will mark its and has danced with the Los Angeles Junior Ballet, . . tenth year in residence at the Caramoor Festival in the Ballet La Jeunesse and New Breed Dance Theater. Westchester, New York this summer. The Orchestra She has appeared inA Chorus Line and in films can be heard with Kathleen Battle on an Angel Break in Two Electric Boogaloo and GirlsJust ,.recording ofChristmas classics. Its recordings of WannaHave Fun. ;Beethoven's "Eroica" Symphony and ofGershwin's OfThee I Sing and Let'Em EatCake, conducted by , Michael Tilson Thomas, will be released by CBS ROALD SIMONSON (Assistant Director) lives in Masterworks this season. The Orchestra will be mak-. Seattle where be is director ofthe Alazais Azema ing three new recordings this season: for Nonesuch, Theater. They have staged The Book ofRuth at the the Orchestra will record Nixon in China and music of Seattle Repertory Theatre, Romeo andJuliet in the Astor Piazzolla, and for New World Records, John streets ofColville, Washington and Love Mixes Nelson will conduct a recording ofMoravian music. Flames andIce, an evening ofMonteverdi madrigals Other projects have included the petformance oforig and Samuel Beckett plays. Each Christmastime they inal music for Horton Foote's critically acclaimed perform the medieval mystery drama The Second film On Valentine's Day. The Orchestra of S1. Luke's Shepherds' Play, this year in a bus station.' Mr. is one ofthe constituents ofthe St. Luke's Ensemble, Simonson has wOJked frequently with Peter Sellars, an umbrella organization that also encompasses the most recently on Don Giovanni and Julius Caesar. eighteen-member S1. Luke's Chamber Ensemble and He is a graduate ofHarvard where he studied the the award-winning educational program, Children's Italian Renaissance. Free Opera and Dance. CHORUS ROGER ANDREWS DANA HANCHARD EDGAR MOORE JAMES BASSI LORRAINE KELLEY MARTY PIERCE RODNEBROWN JAY-ANN LEE RUTH PORTER PATIYDAVIS KAREN LEIGH BARBARA REARICK LESLIE DORSEY MUKUND MARATHE MARY RUNYAN KAREN GRAHN MICHELE MCBRIDE JOE SHOCKLER SUPERNUMERARIES KARENAMANO FLORENCE GALPERIN JOHN JASON REILLY FREDO BOUCHE CONSTANCE GEORGE CHERYL RICH CELENA BURGESS LAURIE HENZEL EVA SIMONS DAVID A. CLARK SUSAN LEVIN MEGAN SULLIVAN TAJCLARK OLUWAFUMI PLEYDLE ALFRED TAO JOEDANISI SHAWN M. POWERS KEN THREET MICHAEL EWER JONATHAN READY SUSAN TROUT RICHARD T. FEINER iAIDA SIMONE REILLY ADAMWEIG LATOYA FLUKER ANDREW WILDER ERNEST E. FOEDERER SANDEZEIG ORCHESTRA OF ST. LUKE'S Michael Feldman, Artistic Director Louise Schulman, Associate Music Director VIOLINS BASSES SAXOPHONE KEYBOARDS Mayuki Fukuhara* John T. Kulowitsch* Lawrence Feldman Edmond Niemann Amy Hiraga John Feeney Ted Nash Nurit Tilles Anca Nicolau Albert Regni Martin Goldray Mineko Yajima FLUTE Roger Rosenberg Elizabeth Mann* TIMPANI/PERCUSSION VIOLAS Sheryl Henze TRUMPET Randall Max Louise Shulman* Chris Gekker* Jennie Hansen OBOE Carl Albach PRODUCTION MANAGER Stephanie Fricker Stephen Taylor* Susan Radcliffe HowardR. Jang Melanie Field CELLOS TROMBONE *Member of ScLuke's Ensemble Myron Lutzke* CLARINET Michael Powell Karl Bennion William Blount* KennFinn Rosalyn Clarke Gerhardt Koch* John Rojak David Stanton STAFF FOR NIXON IN CHINA CREDITS Assistant General Manager Peter G. Tutpbelston Scenery by Adirondack Scenic, Inc. Costumes by Production Manager PaulE. King Vincent Costumes, Inc., Nancy Brennan, Sharon K. Company Manager" Elsa Jacobson Hirsch, Katherine Hirsch, Certain costumes executed Production Stage Manager William Coiner by Colbath Ltd., Hats by Julie A. Edeburn, TheHX-l Stage Manager Wendy McNeny I Electone® and Clavinova® CLP-300 keyboards pro Project Coordinator Sondra R. Katz vided by Yamaha® Music Corporation, usA, Lighting Technical Director Peter Home Equipment by Production Arts Lighting, Inc., Sound Chorus Preparation Conoley Ballard Equipment by ProMix, Inc. and Masque Sound Musical Preparation Ward Holmquist and Recording Corporation. Additional Lighting Rehearsal Accompanists Nunt Tilles Equipment by Bash Lighting Inc. Special thanks Evelyn Golz Alan Johnson to Arnall Downs. Production Sound Operator Scot Stauffer Administrative------Assistant: Reid Davis, Company Costumer Jill Focke Management Interns: Karin Anderson, Amanda Wig Mistress Dotti Staker Barrett,Karin Coonrod, Rudy Sprogis. BAM Video Assistant Wig Mistress Sue Hornung Archivists: Character Generators, Mark Robison, Hair/Make-up Supervisor Vito Mastrogiovanni Michael Schwartz. BAM House Photographer: Assistant to Set Designer Jim Feng Martha Swope & Associates, Carol Rosegg, Linda Assistant to Costume Desiger Penny Larson Alaniz, Rebecca Lesher. House Physician: Jonathan Assistant to Lighting Designer Karl Haas Lorch, MD. Choral Contractor JacqueliQe Pierce Legal Counsel Ronald E. Feiner, Esq. Colton, Hartnick, Yamin & Sheresky