CAL PERFORMANCES PRESENTS PROGRAM NOTES

Friday, November 9, 2012, 8pm Esa-Pekka Salonen (b. 1958) Zellerbach Hall Helix

Composed in 2005. Premiered on August 29, 2005, in London by the World Orchestra for Peace con- Philharmonia Orchestra ducted by Valery Gergiev. Esa-Pekka Salonen, Principal Conductor & Artistic Advisor Conducting is tough, composing probably even harder, but some of the most brilliant musi- PROGRAM cians—Busoni, Mahler, Bernstein, Boulez, Previn—have pursued parallel careers in both fields that enriched all the facets of their creative Esa-Pekka Salonen (b. 1958) Helix (2005) personalities. To this select company must now be added the Finnish composer-conductor Esa- Pekka Salonen. Born in Helsinki on June 30, 1958, Salonen majored in horn at the Sibelius Ludwig van Beethoven (1770–1827) Symphony No. 7 in A major, Op. 92 Conservatory, where he founded a “collective” (1811–1812) called Ears Open for promoting and perform- I. Poco sostenuto — Vivace ing new music with Jouni Kaipainen, Magnus II. Allegretto Lindberg, and Kaija Saariaho, now all major Esa-Pekka Salonen III. Presto — Assai meno presto musical figures in Finland. After graduating IV. Allegro con brio in 1977, Salonen studied composition privately Illustration by Tom Bachtell with Einojuhani Rautavaara and conducting with Jorma Panula, and attended conducting He also continues to guest conduct concerts and INTERMISSION courses in Siena and Darmstadt; he also stud- opera throughout the world and to serve as ar- ied composition with Niccolò Castiglioni and tistic director of the Baltic Sea Festival, which Franco Donatoni in Italy. In 1979, Salonen he co-founded in 2003. Esa-Pekka Salonen is Hector Berlioz (1803–1869) Symphonie fantastique, Op. 14 (1830) made his professional conducting debut with the recipient of several major awards, including the Finnish Radio Symphony Orchestra, and the Siena Prize from the Accademia Chigiana 1. Rêveries, Passions he was soon engaged as a guest conductor across (the first conductor ever to receive that distinc- 2. Un bal (“A Ball”) Scandinavia. Successful appearances conduct- tion), the Royal Philharmonic Society’s Opera 3. Scène aux champs (“Scene in the Country”) ing Wozzeck at the Swedish Royal Opera and the Award and Conductor Award, honorary doc- 4. Marche au supplice (“March to the Scaffold”) Mahler Symphony No. 3 with the Philharmonia torates from the Sibelius Academy, Hong Kong 5. Songe d’une nuit du Sabbat (“Dream of a Orchestra of London led to his appointment Academy of Performing Arts, and University of Witches’ Sabbath”) as conductor of the Swedish Radio Symphony Southern California, and the Helsinki Medal. Orchestra in 1985, a post he held until 1995. In 1998, he was awarded the rank of Officier de He was principal guest conductor of the Oslo l’Ordre des Arts et des Lettres by the French gov- The Philharmonia Orchestra would like to thank its Principal Supporter, Philharmonic from 1984 to 1989, and of the ernment. Musical America named him its “2006 The Meyer Foundation, and Proud Supporter British Airways. London Philharmonia from 1985 to 1994; he Musician of the Year.” On July 26, 2012, he was has also held positions with the New Stockholm chosen to carry the Olympic Flame as part of the Chamber Orchestra, Avanti! Chamber 2012 London Summer Games torch relay. Orchestra, Helsinki Festival, and London Though his widest recognition has been as a conductor, Salonen is also an accomplished The Philharmonia Orchestra’s residency under the baton of Esa-Pekka Salonen is made Sinfonietta. Salonen made his American debut composer. (“I actually think of myself more as possible, in part, by Ann and Gordon Getty, whose gift was made in honor of Jan Shrem and with the Los Angeles Philharmonic in 1984, and was that orchestra’s music director from a composer than a conductor,” he said in 1998.) Maria Manetti Shrem. Additional support is provided by the Barbro Osher Pro Suecia 1992 until 2009; he was named the ensemble’s His early compositions, including a saxophone Foundation and by Patron Sponsors Shirley D. and Philip D. Schild. Conductor Laureate in April 2009. Since 2008, concerto, an orchestral piece titled Giro and a he has been Principal Conductor and Artistic few works for solo instruments and unconven- Cal Performances’ 2012–2013 season is sponsored by Wells Fargo. Advisor of London’s Philharmonia Orchestra. tional chamber groupings, are rooted in the

16 CAL PERFORMANCES CAL PERFORMANCES 17 PROGRAM NOTES PROGRAM NOTES avant-garde enthusiasms of his student days, to benefit themselves. Beethoven was eager to Richard Wagner, who called the work “the apo- earlier movements and make it the goal toward but since his LA Variations of 1996, written for have the as-yet-unheard A major Symphony of theosis of the Dance in its highest aspect…the which they had all been aimed. So intoxicat- the Los Angeles Philharmonic, his work has the preceding year performed, and he thought loftiest deed of bodily motion incorporated in ing is this music that some of Beethoven’s con- been more immediate and easily approachable. the financial reward worth the trouble, so he an ideal world of tone.” Couching his observa- temporaries were sure he had composed it in a Of his Helix, composed in 2005 on a commis- agreed. The concert consisted of this “Entirely tion in less highfalutin language, John N. Burk drunken frenzy. An encounter with the Seventh sion from the BBC for the Proms Festival in New Symphony” by Beethoven, marches by believed that its rhythm gave this work a feeling Symphony is a heady experience. Klaus G. Roy, London and premiered at the Royal Albert Hall Dussek and Pleyel performed on a “Mechanical of immense grandeur incommensurate with its the distinguished musicologist and former pro- on August 29, 2005, by the World Orchestra Trumpeter” fabricated by Mälzel, and an orches- relatively short, 40-minute length. “Beethoven,” gram annotator for the Cleveland Orchestra, for Peace conducted by Valery Gergiev, Salonen tral arrangement of Wellington’s Victory, a piece Burk explained, “seems to have built up this im- wrote, “Many a listener has come away from wrote, “I decided to compose a celebratory and Beethoven had concocted the previous summer pression by willfully driving a single rhythmic a hearing of this Symphony in a state of being direct overture-like piece that would neverthe- for yet another of Mälzel’s musical machines, figure through each movement, until the mu- punch-drunk. Yet it is an intoxication with- less be very rigidly structured and based on es- the “Panharmonicon.” The evening was such a sic attains (particularly in the body of the first out a hangover, a dope-like exhilaration with- sentially one continuous process. The form of success that Beethoven’s first biographer, Anton movement and in the Finale) a swift propulsion, out decadence.” To which the composer’s own Helix can indeed be described as a spiral or a Schindler, reported, “All persons, however they an effect of cumulative growth which is akin to words may be added. “I am Bacchus incarnate,” coil; or more academically as a curve that lies had previously dissented from his music, now extraordinary size.” boasted Beethoven, “appointed to give human- on a cone and makes a constant angle with the agreed to award him his laurels.” A slow introduction, almost a movement ity wine to drown its sorrow.... He who divines straight lines parallel to the base of the cone. The orchestra for this important occasion in- in itself, opens the Symphony. This initial sec- the secret of my music is delivered from the mis- “The process of Helix is basically that of a cluded some of the most distinguished musicians tion employs two themes: the first, majestic and ery that haunts the world.” nine-minute accelerando. The tempo gets faster, and composers of the day: Spohr, Schuppanzigh, unadorned, is passed down through the winds but the note values of the phrases become corre- Dragonetti, Meyerbeer, Hummel, and Salieri all while being punctuated by long, rising scales in spondingly longer. Therefore only the material’s lent their talents. Spohr, who played among the the strings; the second is a graceful melody for Hector Berlioz (1803–1869) relation to the pulse changes, not necessarily the violins, left an account of Beethoven as conduc- oboe. The transition to the main part of the first Symphonie fantastique, Op. 14a impression of speed itself. Hence the spiral met- tor. “Beethoven had accustomed himself to in- movement is accomplished by the superbly con- aphor: the material (which consists essentially of dicate expression to the orchestra by all manner trolled reiteration of a single pitch. This device Composed in 1830. Premiered on December 5, two different phrases) is being pushed through of singular bodily movements,” wrote Spohr. not only connects the introduction with the ex- 1830, in Paris, conducted by François Habeneck. constantly narrowing concentric circles until the “So often as a sforzando [a sudden, strong at- position but also establishes the dactylic rhythm music reaches a point where it has to stop as it tack] occurred, he thrust apart his arms, which that dominates the movement. By 1830, when he turned 27, Hector Berlioz has nowhere else to go. he had previously crossed upon his breast. At The Allegretto scored such a success at its had won the Prix de Rome and gained a certain “The musical expression changes quite dras- piano [soft] he crouched down lower and lower premiere that it was immediately encored, a notoriety among the fickle Parisian public for tically in the course of these nine minutes: the as he desired the degree of softness. If a crescendo phenomenon virtually unprecedented for a slow his perplexingly original compositions. Hector idyllic, almost pastoral opening phrase for pic- [gradually louder] then entered, he slowly rose movement. Indeed, this music was so popular Berlioz was also madly in love. The object of his colo and contra-bassoon returns much later in again, and at the entrance of the forte [loud] that it was used to replace the brief slow move- amorous passion was an English actress of mid- the horns and trumpets, fortissimo, surrounded jumped into the air. Sometimes, too, he uncon- ment of the Eighth Symphony at several perfor- dling ability, one Harriet Smithson, whom the by a very busy tutti orchestra. The closing section sciously shouted to strengthen the forte.” mances during Beethoven’s lifetime. In form, composer first saw when a touring English the- shows the material in an almost manic light.” The Seventh Symphony is a magnificent cre- the movement is a series of variations on the atrical company performed Shakespeare in Paris ation in which Beethoven displayed several tech- heartbeat rhythm of its opening measures. In in 1827. During the ensuing three years, this ro- nical innovations that were to have a profound spirit, however, it is more closely allied to the mance was entirely one-sided, since the young Ludwig van Beethoven (1770–1827) influence on the music of the 19th century: he austere chaconne of the Baroque era than to the composer never met Harriet, but only knew her Symphony No. 7 in A major, Op. 92 expanded the scope of symphonic structure light, figural variations of Classicism. across the footlights as Juliet and Ophelia. He through the use of more distant tonal areas; he The third movement, a study in contrasts sent her such frantic love letters that she never Composed in 1811–1812. Premiered on December 8, brought an unprecedented richness and range of sonority and dynamics, is built on the for- responded to any of them, fearful of encourag- 1813, in Vienna, under the composer’s direction to the orchestral palette; and he gave a new mal model of the scherzo, but expanded to in- ing a madman. Berlioz, distraught and unable to awareness of rhythm as the vitalizing force in clude a repetition of the horn-dominated Trio work or sleep or eat, wandered the countryside In the autumn of 1813, Johann Nepomuk music. It is particularly the last of these char- (Scherzo–Trio–Scherzo–Trio–Scherzo). around Paris until he dropped from exhaustion Mälzel, the inventor of the metronome, ap- acteristics that most immediately affects the In the sonata-form finale, Beethoven not and had to be retrieved by friends. proached Beethoven with the proposal that the listener, and to which commentators have con- only produced music of virtually unmatched Berlioz was still nursing his unrequited love two organize a concert to benefit the soldiers sistently turned to explain the vibrant power of rhythmic energy (“a triumph of Bacchic fury,” for Harriet in 1830 when, full-blown Romantic wounded at the recent Battle of Hanau—with, the work. Perhaps the most famous such obser- in the words of Sir Donald Tovey), but did it in that he was, his emotional state served as the perhaps, two or three repetitions of the concert vation about the Seventh Symphony is that of such a manner as to exceed the climaxes of the germ for a composition based on a musical

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“Episode from the Life of an Artist,” as he sub- suddenly inspired him, his moments of deliri- Saturday, November 10, 2012, 7pm titled the Symphonie fantastique. In this work, ous anguish, of jealous fury, his returns to loving Zellerbach Hall the artist visualizes his beloved through an tenderness, and his religious consolations. opium-induced trance, first in his dreams, then “Part II: A Ball. He sees his beloved at a ball, at a ball, in the country, at his execution and, in the midst of the tumult of a brilliant fête. Philharmonia Orchestra finally, as a participant in a witches’ sabbath. She “Part III: Scene in the Country. One summer is represented by a musical theme that appears in evening in the country he hears two shepherds Esa-Pekka Salonen, Principal Conductor & Artistic Advisor each of the five movements, an idée fixe (a term playing a ranz-des-vaches in alternate dialogue; Aidan Oliver, Assistant Conductor Berlioz borrowed from the just-emerging field of this pastoral duet, the scene around him, the psychology to denote an unhealthy obsession) light rustling of the trees gently swayed by the that is transformed to suit its imaginary musi- breeze, some hopes he has recently conceived, PROGRAM cal surroundings. The idée fixe is treated kindly all combine to restore an unwonted calm to his through the first three movements, but after heart and impart a more cheerful coloring to his the artist has lost his head for love (literally— thoughts; but she appears once more, his heart Alban Berg (1885–1935) Wozzeck (1914–1922) the string pizzicati followed by drum rolls and stops beating, he is agitated with painful presen- brass fanfares at the very end of the March to timents; if she were to betray him! … One of the Opera in Three Acts after Georg Büchner’s Woyzeck the Scaffold graphically represent the fall of the shepherds resumes his artless melody, the other guillotine blade and the ceremony of the formal no longer answers him. The sun sets…the sound cast execution), the idée fixe is transmogrified into a of distant thunder…solitude…silence.... Johan Reuter Wozzeck jeering, strident parody of itself in the finale in “Part IV: March to the Scaffold. He dreams Angela Denoke Marie music that is still original and disturbing almost that he has killed his beloved, that he is con- Hubert Francis Drum Major two centuries after its creation. The sweet-to- demned to death, and led to execution. The pro- Joshua Ellicott Andres sour changes in the idée fixe (heard first in the cession advances to the tones of a march which is Peter Hoare Captain opening movement on unison violins and flute now somber and wild, now brilliant and solemn, Tijl Faveyts Doctor at the beginning of the fast tempo after a slow in which the dull sound of the tread of heavy Henry Waddington First Apprentice introduction) reflect Berlioz’s future relationship feet follows without transition upon the most Eddie Wade Second Apprentice with his beloved, though, of course, he had no resounding outburst. At the end, the idée fixe Harry Nicoll Idiot way to know it in 1830. Berlioz did in fact marry reappears for an instant, like a last love-thought Anna Burford Margret his Harriet-Ophelia-Juliet in 1833, but their interrupted by the fatal stroke. Zachary Mamis Marie’s Child happiness faded quickly, and he was virtually “Part V: Dream of a Witches’ Sabbath. He sees estranged from her within a decade. himself at the Witches’ Sabbath, in the midst of UC Berkeley Chamber Chorus The composer gave the following program as a frightful group of ghosts, magicians and mon- Marika Kuzma, Director a guide to the Symphonie fantastique: “A young sters of all sorts, who have come together for his musician of morbid sensibility and ardent imag- obsequies. He hears strange noises, groans, ring- Members of the Piedmont East Bay Children’s Choir ination poisons himself with opium in a fit of ing laughter, shrieks to which other shrieks seem Robert Geary, Artistic Director amorous despair. The narcotic dose, too weak to to reply. The beloved melody again reappears, Sue Bohlin, Principal Accompanist & Associate Conductor result in death, plunges him into a heavy sleep but it has lost its noble and timid character; it accompanied by the strangest visions, during has become an ignoble, trivial and grotesque Members of the UC Berkeley Symphony Orchestra which his sensations, sentiments and recollec- dance-tune; it is she who comes to the Witches’ David Milnes, Director tions are translated in his sick brain into musical Sabbath.... Howlings of joy at her arrival…she thoughts and images. The beloved woman her- takes part in the diabolic orgy…Funeral knells, self has become for him a melody, like a fixed burlesque parody on the Dies Irae [the ancient idea which he finds and hears everywhere. ‘Day of Wrath’ chant from the Roman Catholic The Philharmonia Orchestra’s residency under the baton of Esa-Pekka Salonen is made “Part I: Reveries and Passions. He first recalls Requiem Mass for the Dead]. Witches’ Dance. possible, in part, by Ann and Gordon Getty, whose gift was made in honor of Jan Shrem and that uneasiness of soul, that vague des passions, The Witches’ Dance and the Dies Irae together.” Maria Manetti Shrem. Additional support is provided by the Barbro Osher Pro Suecia those moments of causeless melancholy and joy, Foundation and by Patron Sponsors Shirley D. and Philip D. Schild. which he experienced before seeing her whom he loves; then the volcanic love with which she © 2012 Dr. Richard E. Rodda Cal Performances’ 2012–2013 season is sponsored by Wells Fargo.

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Alban Berg Alban Berg scene 4: The Doctor’s study, a sunny afternoon. Wozzeck Wozzeck Wozzeck earns a few extra Groschen by allowing himself to be subjected to The Doctor’s outland- Text adapted by the composer from Georg Büchner’s play Woyzeck. ish dietary experiments—eat nothing, he is or- act i dered, but beans this week and mutton next. The five character pieces Doctor, like The Captain, is concerned with the Act I afterlife, but believes he can gain immortality five character pieces scene 1: The Captain’s room, morning. through his bizarre researches. (Wozzeck in Relationship to His Surroundings) Wozzeck shaves The Captain daily to earn some scene 5: Outside Marie’s door, dusk. Scene 1 Wozzeck and the Captain Suite extra money. The Captain says that he fears the Scene 2 Wozzeck and Andres Rhapsody time stretching before him and the eternity that Marie admires The Drum-Major as he preens Scene 3 Marie and Wozzeck Military March and Lullaby lies beyond, and he urges Wozzeck to go slowly and boasts of his prowess. When he tells her they Scene 4 Wozzeck and the Doctor Passacaglia in his chore. The Captain tells Wozzeck that he should “start a line of drum-majors” she initially Scene 5 Marie and the Drum Major Andante affettusoso (quasi Rondo) is a good man but “has no sense of morality” fights him off but soon submits. They go inside. because he has fathered a child with Marie out of wedlock. Wozzeck, who has been murmur- Act II ing submissive replies to The Captain’s earlier act ii symphony in five movements comments, becomes agitated and replies that symphony in five movements (Dramatic Development) he is too poor to have morals. The Captain is surprised by Wozzeck’s outburst but calms him scene 1: Marie’s room, morning. Scene 1 Marie and the Child, later Wozzeck Sonata Movement down before dismissing him. Scene 2 Captain and Doctor, later Wozzeck Fantasy and Fugue Marie sits with her child in her lap and glances Scene 3 Marie and Wozzeck Largo into a piece of broken mirror to admire the ear- scene 2: A field, late afternoon. Scene 4 Beer Garden Scherzo rings The Drum-Major has given her. Marie Scene 5 Sleeping in the Quarters in the Barracks Rondo con introduzione Wozzeck and his friend and comrade Andres wants the boy to sleep but she terrifies him in- are cutting sticks. Andres sings a lighthearted stead with a song about a child carried off by hunting song, but Wozzeck is troubled by sinis- gypsies. Wozzeck arrives and asks Marie about Act III ter visions, imagining that ominous sounds are the earrings. He is skeptical when she says she six inventions coming from the ground below him and that the found them in the street, but gives her money, (Catastrophe and Epilogue) setting sun is illuminated by fires on the earth. comments on his endless toil, and leaves. Marie A drum roll calls them back to their barracks. expresses remorse. Scene 1 Marie with the Child Invention on a Theme Scene 2 Marie and Wozzeck Invention on One Note scene 3: Marie’s room, evening. scene 2: A street, daytime. Scene 3 Inn Invention on a Rhythm Scene 4 Wozzeck’s Death Invention on a Chord of Six Notes Marie, her child in her arms, gazes from her The Doctor, in a hurry, and The Captain, mov- — Orchestral Interlude Invention on a Key window at the military parade in the street be- ing deliberately, encounter each other on the Scene 5 Children at Play Invention on Quaver Figure low to admire The Drum-Major. Her neighbor, street. The Doctor comments on The Captain’s Margret, comments on her obvious attraction poor physique and tells him that he might soon Source: Kobbé’s Opera Book to him, and Marie, annoyed, slams her win- suffer an apoplexia“ cerebri.” Wozzeck tries to dow shut. After Marie sings a lullaby to her son, rush past but they detain him and mock him Wozzeck enters and tells her of his hallucina- about Marie and her liking for other men. This program will be performed without intermission. tions in the field. She holds the child out to him, Wozzeck, saying he would “almost like to hang but he ignores the boy and leaves. “So haunted,” myself,” hurries away. she says when he is gone. The Philharmonia Orchestra would like to thank its Principal Supporter, The Meyer Foundation, and Proud Supporter British Airways. This concert is additionally supported by Esa Pekka Salonen.

22 CAL PERFORMANCES CAL PERFORMANCES 23 SYNOPSIS PROGRAM NOTES scene 3: Outside Marie’s door, daytime. act iii Alban Berg (1885–1935) Lena and began the never-finished novel Lenz six inventions Wozzeck: Opera in Three Acts After (“Spring”). Büchner abandoned his political Wozzeck confronts Marie on her doorstep about Georg Büchner’s Woyzeck activities after his near-arrest in Giessen and he her infidelity. Her feigned innocence enrages scene 1: Marie’s room, night. resumed his medical career, earning a doctoral him and he threatens to strike her. “Rather a Composed 1914–1922. Premiered on December 14, degree from the University of Zurich for his re- knife in me than a hand on me,” she cries and Marie repentantly reads the Biblical story of 1925, at the Berlin State Opera, conducted by search on the cranial nerves of fish and joining goes inside. Wozzeck is stunned by her words the woman taken in adultery. Her child, upset, Erich Kleiber, with Leo Schützendorf in the title that institution’s faculty in October 1835 as a and goes off musing that “man is an abyss: it presses close to her and she tells him a sad story role and Sigrid Johanson as Marie. lecturer in natural science. During the following makes you feel dizzy looking down into it....” about a boy left alone in the world. She wonders months, he wrote 25 scenes for a play based on why she has not seen Wozzeck for two days be- On August 27, 1824, in Leipzig’s market square, the account of Woyzeck that he had discovered scene 4: Garden of an inn, late evening. fore she returns to reading the Bible. She prays Johann Christian Woyzeck, a barber and ex-sol- a dozen years before, but he was suddenly taken for mercy. Apprentices, soldiers and girls dance to a tavern dier, was beheaded for the crime of murdering ill in January 1837 and died on February 19th, band while Wozzeck watches from a bench near his unfaithful mistress, Christine Woost, three probably of typhoid fever, before completing the scene 2: Forest path by a pond, dusk. the door. After two drunken apprentices trade years before. Woyzeck’s lawyers had entered a drama. He was 23. songs, the dance resumes and Wozzeck sees Marie and Wozzeck sit beside a pond. Wozzeck plea of insanity on the grounds that he claimed In 1879, the German novelist Karl Emil Marie and The Drum-Major join the crowd. asks Marie how long they have known each oth- to have heard voices and was subject to hallucina- Franzos published Büchner’s play after pains- He curses them and starts to rise but gives up er and how long she thinks their time together tions, but that defense was rejected by the court taking research that included treating the origi- and slumps back onto the bench. Apprentices will last. She becomes apprehensive and tries to when Leipzig’s chief medical officer, Dr. Johann nal pages with chemicals to make the greatly and soldiers sing a rowdy hunters’ chorus and leave but he pulls her back onto the bench and Christian August Clarus, testified that his ex- faded characters visible and deciphering the Andres bellows a few lines of a tune before kisses her. As the blood-red moon rises, he draws amination of the accused showed that he was playwright’s miniscule script—so great were the speaking with Wozzeck, who says that he is a knife and stabs her in the throat. Marie dies not mentally unstable and was therefore fully ac- challenges of legibility that he even mistakenly comfortable on his hard bench “and in the cold and he runs off. countable for his actions. A year after Woyzeck’s transcribed the title as Wozzeck. Franzos’s edition grave I’ll be even more comfortable.” After one execution, Clarus published an account of his became well known among the literary avant- apprentice delivers a bibulous sermon, an Idiot scene 3: A rough tavern, night. part in the affair in a medical journal to which garde as a precursor of German expressionism, appears and tells Wozzeck he smells blood. As Dr. Ernst Büchner, a prominent district physi- and in 1909 it was made stageworthy as part Wozzeck gulps a glass of wine and shouts en- he watches Marie and The Drum-Major resume cian in the Grand Duchy of Hessen-Darmstadt of Paul Landau’s complete edition of Büchner’s couragement to the dancers moving to a course their nightmare waltz, Wozzeck, unnerved, ex- and a specialist in forensic medicine, subscribed. works. Wozzeck was first staged, 76 years after polka. He tries to dance a few steps with claims, “It’s all going red. It’s as though they It was from that report that the doctor’s twelve- its author’s death, at the Residezentheater in Margret, but she starts singing instead. When were all wallowing....” year-old son, Georg Büchner, first came to know Munich in November 1913 and reached Vienna he cuts her off, she notices blood on his hand. of the Woyzeck case. the following May, where it created a sensation His attempts to explain it prove futile and he scene 5: Barracks guardroom, night. Young Georg showed precocious literary and enthralled the 29-year-old composer Alban rushes out. gifts in his studies at the Darmstadt Gymnasium Berg. “Isn’t it fantastic, incredible?” a friend re- Surrounded by snoring soldiers, Wozzeck tells as a teenager, but Ernst determined that his son ported Berg saying after one of the several per- Andres he cannot sleep because he is tormented scene 4: Forest path by the pond, moonlight. should follow the generations-long family voca- formances that he attended. “Someone must set by memories of the dance at the tavern and by Wozzeck returns to the scene of the murder to tion and sent him in 1831 to begin his medical it to music.” visions of a knife. The Drum-Major, intoxicated, retrieve the knife. He stumbles over Marie’s studies at the University of Strasbourg, where he Berg began his operatic Wozzeck in 1914, but blunders in and picks a fight with Wozzeck. He corpse but finds the weapon and tosses it into passionately took up the causes of free speech, he had to stop work on it when he was conscript- starts to strangle Wozzeck but releases him and the pond. He wades into the water to throw the democracy and poverty relief. He continued ed into the Austrian army the following year. staggers out. The soldiers go back to sleep while knife farther out and to wash off the blood, and both his professional training and his outspoken He was unable to return to the opera until 1917, Wozzeck stares into the night. drowns. The Doctor and The Captain appear political advocacy at the University of Giessen, and made substantial progress on it only after he and hear strange noises, but the sounds cease near Darmstadt, from 1833 to 1835, when he was discharged from military service at the end and they leave anxiously. wrote his first play, Dantons Tod (“Danton’s of 1918; the score was completed in April 1922. Death”), a tragedy about the title character’s Wozzeck was daring in both its dramatic content scene 5: Outside Marie’s door, morning. disillusionment with the French Revolution. He and its musical style, and Berg, concerned about also wrote a political pamphlet at Giessen whose getting it staged, extracted Three Fragments from Marie’s son is playing with other children. A inflammatory sentiments necessitated his fleeing “Wozzeck” for concert performance, which the child bursts in and tells them that Marie has Germany and returning to Strasbourg, where he German conductor Herman Scherchen, a tire- been found dead by the pond. The children run authored a romantic comedy titled Leonce and less champion of new music, conducted at the off. Marie’s son hesitates, then follows.

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Music Festival in Frankfurt on June 17, 1924. Second String Quartet. Like Schoenberg, Berg Sunday, November 11, 2012, 3pm The Berlin State Opera accepted the challenge was wary of the loss of the structural scaffold- Zellerbach Hall of Wozzeck the following year and premiered the ing inherent in the traditional tonal system, epochal work on December 14, 1925. Despite and he took great care in his works written af- some expected reactionary carping about the ter finishing his studies (Altenberg Lieder, Op. 4 opera’s modernity, Wozzeck was a great suc- [1911–1912]; Four Pieces for Clarinet and Piano, cess, “a significant event in the history of mu- Op. 5 [1913]; Three Pieces for Orchestra, Op. 6 Philharmonia Orchestra sic drama,” according to the eminent German [1913–1915]) to create logical forms that would critic and musicologist H. H. Stuckenschmidt. support his characteristic lyricism and sense of Esa-Pekka Salonen, Principal Conductor & Artistic Advisor The opera was produced in Prague in 1926, dramatic expression. Leningrad in 1927 and Vienna in 1930; it was Berg built Wozzeck around two essential given its American premiere by the Philadelphia formal concepts. The first is the intimate con- Grand Opera Company, conducted by Leopold nection between the music and the expression PROGRAM Stokowski, on March 19, 1931. of character and situation, here heightened by Wozzeck, as adapted by Berg from Büchner’s associating recurring motives with the charac- play, tells of a woebegone soldier who is made ters and by weaving a web of thematic references Gustav Mahler (1860–1911) Symphony No. 9 in D major (1908–1910) the subject of demeaning and harmful physical across the opera—just one of the many possible I. Andante comodo trials by his disinterested superiors just to see examples: when Wozzeck confronts Marie with II. Im Tempo eines gemächlichen Ländlers. their effect. Wozzeck has had an illegitimate her infidelity in Act II, Scene 3, she denies the Etwas täppisch und sehr derb son with Marie, but she is now drawn to the accusation to his face but the orchestra plays III. Rondo — Burleske. Allegro assai. Sehr trotzig regiment’s Drum-Major, whom she allows to fragments from the scene of her seduction by seduce her. He gives her a pair of earrings that The Drum-Major to indicate that she is fully IV. Adagio. Sehr langsam und noch zurückhaltend arouse Wozzeck’s jealousy. Wozzeck broods and aware of her transgression. To implement the descends into nightmarish delusions until he second design plan, one unprecedented in op- stabs Marie to death at the edge of a forest pond. era, Berg derived from Büchner’s play three acts This program will be performed without intermission. When he goes to console himself at a local tav- of five scenes each connected by orchestral inter- ern, a friend of Marie notices blood on his hands ludes, and gave each act an overriding formal ar- and he returns to the pond to try to hide the rangement—Five Character Pieces, Symphony in evidence of his crime. The moon rises blood-red Five Movements, Six Inventions (the sixth is the and Wozzeck, imagining himself covered with extended interlude before the final scene)—and The Philharmonia Orchestra and Esa-Pekka Salonen, together with Cal Performances, dedicate Marie’s blood, wades deeper and deeper into the each scene a more detailed structure. (For those this performance of Mahler’s Ninth Symphony to the memory of Elliott Carter, 1908–2012. water to wash it off until he drowns. interested in exploring Wozzeck more fully, Berg enfolded this tale of scalded emotions Douglas Jarman [Cambridge University Press, in a musical score of great formal rigor. During 1989] and George Perle [University of California his study with Schoenberg, from 1904 to 1910, Press, 1980] have written book-length studies of Berg had been thoroughly indoctrinated in the the opera.) The Philharmonia Orchestra would like to thank its Principal Supporter, classics of the German repertory as well as the The Meyer Foundation, and Proud Supporter British Airways. daring atonal language of his teacher’s Chamber Symphony No. 1, Five Orchestral Pieces and © 2012 Dr. Richard E. Rodda

The Philharmonia Orchestra’s residency under the baton of Esa-Pekka Salonen is made possible, in part, by Ann and Gordon Getty, whose gift was made in honor of Jan Shrem and Maria Manetti Shrem. Additional support is provided by the Barbro Osher Pro Suecia Foundation and by Patron Sponsors Shirley D. and Philip D. Schild.

Cal Performances’ 2012–2013 season is sponsored by Wells Fargo.

26 CAL PERFORMANCES CAL PERFORMANCES 27 PROGRAM PROGRAM NOTES

Gustav Mahler (1860–1911) Already shaken in his career and his physi- The Ninth Symphony is a gesture of farewell Here Mahler stands once more upon the myste- Symphony No. 9 in D major cal well-being, the third fateful stroke numbed in the historical sense, as well. Mahler, heir to rious threshold beyond which lies a new unex- his family life. In July, his beloved four-year-old two centuries of the greatest and most profound plored province of the realm of music. Mahler’s Composed in 1908–1910. Premiered on June 26, daughter, Maria, died of scarlet fever and diph- German music, knew that his works stood at themes appear as ghostly symbols, reduced to 1912, in Vienna, conducted by Bruno Walter. theria. Mahler, like Shakespeare’s Brutus, was the end of the hallowed tradition of symphonic bare outlines; the texture is thinned out, much “sick of many griefs.” music extending back through Brahms and as in some passages of the latest Beethoven; “I don’t choose what to compose. It chooses me,” After the discovery of his heart condition, Beethoven to Mozart and Haydn and Bach. the independent melodic entities are projected insisted Gustav Mahler. In the three towering Mahler limited his physical exercise, carry- He was also acutely aware that more than just bluntly against a vast empty horizon and clash works comprising the final phase of his creative ing a pedometer with him so as not to exceed this mode of artistic expression was waning. with each other in harsh, portentous friction.” life (Das Lied von der Erde, the Ninth Symphony the prescribed number of daily steps. He re- The forces that ignited World War I were al- The Ninth Symphony proved to be an enor- and the unfinished Tenth Symphony), the Fate fused, however, to abandon his work. He spent ready swinging into place in 1909, and Mahler mous influence on Mahler’s younger Viennese that had chosen to smite him was not just hinted four winter seasons in New York conducting was convinced that life as he knew it would be colleagues, especially Arnold Schoenberg, who at by the music, but was the very essence of its the Metropolitan Opera and the New York destroyed and would never come again. In the followed its lead in creating a new musical style message. These late works were born in the shat- Philharmonic, returning to Austria during the words of Edward Downes, “The composer felt for the new century. tering year of 1907, during which not one but summers to compose. During the summer of that the entire tradition, the works of the past he three separate shocks befell the composer that 1909, he worked feverishly on his Symphony No. loved, the values by which he lived, even the sen- 2 crushed his happiness and hastened his early 9, a composition that took considerable courage sitivity to perceive these things—were all sliding death at the age of 50. on his part to complete, since he was supersti- with him irretrievably into oblivion.” The formal structure of Mahler’s Ninth First, Mahler severed his stormy association tiously wary of ninth symphonies: Beethoven, As did all of his sensitive European contem- Symphony is unusual. It comprises two fast, sar- with the Vienna Opera, over which he had pre- Schubert, Bruckner, and Dvořák had all died poraries, Mahler perceived around him a crack- donic central movements flanked at beginning sided for the preceding decade. Although, ac- without getting past that number. In an attempt ing of society, one that he felt was going to bring and end by massive Adagio statements. Each cording to every report, he had raised the level of to skirt the problem, Mahler had not numbered down the very political, social and artistic struc- movement represents a particular kind of fare- performance both on stage and in the orchestra the successor to his Eighth Symphony but cre- tures upon which he had built his life. He could well. The first is a farewell to love, to intimacy, pit to an unprecedentedly high level, he had also ated it instead as a song cycle-symphony titled not, of course, foretell his own calamities or the to spiritual pleasures. The second, a hard-edged acquired many enemies in the process. A demo- Das Lied von der Erde (“The Song of the Earth”). start of the Great War in 1914 that realized his Ländler, an Austrian peasant dance, could be niacal worker and an unremitting perfectionist, Since this new work would therefore actually be vision, but he did bring to his last works a sense either (or both) a farewell to the simple joys of he alienated performers through his criticisms his tenth symphony, Mahler reasoned that “now of portentous uneasiness and irreplaceable loss country life or a modern evocation of that fear- when they could not achieve the standards he the danger is past.” The music, however, gives that mirror the era in which he lived. “Mahler’s ful Medieval omnipresence, the Dance of Death. demanded. Against the continuing background a different message—a message of farewell, of music expressed the intuitive forebodings of an The third movement, a mocking Burleske, leaves of budgetary distress, hide-bound Viennese con- acceptance of mortality, and of the deep real- artist listening to the distant rumblings of the behind the tawdry attractions of the city and of servatism and muted but pervasive anti-Semi- ization of the wondrous gift of life just when it future and, as such, formulating the apprehen- sophisticated life. The stunning finale is a fare- tism, Mahler began to feel that his tenure had seemed, because of its imminent loss, to be most sions of the suppressed and inarticulate…who well to life itself. been a failure, and he resigned in March 1907. precious to Mahler. “I am thirstier than ever for found in him, the Austrian Jew, their most sym- Throughout his score, both in the musical The second blow landed early that summer, life, and I find the ‘habit of living’ sweeter than pathetic spokesman,” commented the Austrian notes and in the performance markings, Mahler though premonitory quiverings had been herald- ever,” he wrote in 1909 to his dear friend and composer, conductor and musicologist Hans left not mere indications of these meanings, but ing its arrival for several months. Dr. Friedrich disciple, the conductor Bruno Walter. Redlich. The overwhelming poignancy of a trail of neon signposts. The ending is marked Kovacs of Vienna diagnosed a serious heart con- In addition to the personal leave-taking Mahler’s music arises from his juxtaposition of ersterbend (“dying away”); one section bears the dition in Mahler caused by subacute endocardi- embodied in its notes, the Ninth Symphony, these cosmic concerns with the simple, personal legend Freund Hein spielt auf (“the Grim Reaper tis, and advised him that all strenuous activity like all of Mahler’s works, expands beyond the joys of nature, family, love, and the other essen- plays”), another Wie ein schwerer Kondukt (“like would have to cease if the disease were not to limits of the composer’s daily life in two impor- tial values that nurture our humanity. As a testa- a somber funeral procession”); “O vanished days prove rapidly fatal. To Mahler, an avid swimmer tant directions—the communicative and the ment to the ebbing of a great man’s life, the art of youth, O scattered love…” is scrawled at one and hiker, this was terrible news. Apart from historical. Of all Mahler’s symphonies, this one he cherished, and even the society in which he point in the manuscript. It is the music, how- the change in his daily schedule, however, this goes most directly to the listener’s heart. It has lived, Mahler’s Ninth Symphony is among the ever, that most fully reflects Mahler’s mind: the condition also forced the 46-year-old composer a quality almost unmatched by any other music most poignant works ever composed. violent clashes of contrasting materials in the to face squarely up to his own mortality—some- to turn our thoughts inward, to encourage us to Bruno Walter, who led the premiere of unique and complex structure of the first move- thing that had been a residual undercurrent in examine the deepest and most secret recesses of the Ninth Symphony in Vienna a year after ment (the works of Beethoven’s last years, such his lifelong melancholia, but that now became our humanity. the composer’s death, spoke also of the work’s as the Piano Sonata, Op. 109, come to mind); Mahler’s obsession. “prophetic significance in purely musical terms. the distorted and brittle dance of the second; the

28 CAL PERFORMANCES CAL PERFORMANCES 29 PROGRAM NOTES ORCHESTRA ROSTER chaotic maelstrom of the third; the gradual slip- PHILHARMONIA ORCHESTRA ping away of the delicate strands of melody—of life itself—in the finale. These tell us more about Patron HRH The Prince of Wales, KG, KT, GCB, OM the feelings of the dying composer than could President Vincent Meyer Principal Conductor & Artistic Advisor Esa-Pekka Salonen any written words. Honorary Conductor for Life Christoph von Dohnányi “What one makes music from is still the Conductor Laureate Vladimir Ashkenazy whole—that is the feeling, thinking, breath- Artistic Director, Music of Today Unsuk Chin ing, suffering human being,” Mahler told Bruno Concert Master Andrew Haveron, Zsolt-Tihamér Visontay Walter. Mahler lived his life bravely, productive- ly, wholly, right to the end. Walter, in his loving violin i Carol Hultmark book on his mentor, wrote, “The music [of the Zsolt-Tihamér Visontay* Fiona Opie Ninth Symphony] grew to be a tragically mov- Sarah Oates Linda Kidwell ing and noble epitome of the farewell feeling. A Nathaniel Anderson-Frank Rebecca Wade unique soaring between farewell sadness and a Imogen East Eleanor Wilkinson cello vision of Heavenly light, it lifts the Symphony Soong Choo Timothy Walden* into an atmosphere of celestial bliss.” Lulu Fuller Karen Stephenson Karin Tilch Eric Villeminey Adrián Varela Richard Birchall © 2012 Dr. Richard E. Rodda Stuart James Anne Baker Benjamin Roskams Victoria Simonsen Laura Dixon Maria Zachariadou Grace Lee Morwenna Del Mar Susie Watson Judith Fleet Caroline Frenkel Hetty Snell Alan Brind bass violin ii Neil Tarlton* Emily Davis* Christian Geldsetzer Fiona Cornall Simon Oliver Susan Hedger Michael Fuller Gideon Robinson Adam Wynter Jan Regulski Brendan Kane Julian Milone William Cole Helena Roques Jeremy Watt Timothy Colman Teresa Pople flute Helen Cochrane Samuel Coles* Franziska Mattishent June Scott Sali-Wyn Ryan Sophie Johnson (Nov. 11) Nicola Gleed Luke Strevens (Nov. 11) Charlotte Reid piccolo viola Keith Bragg Ida Bryhn* Sophie Johnson (Nov. 10) Nicholas Bootiman Michael Turner oboe Cheremie Hamilton-Miller Gordon Hunt* Gwendolyn Fisher Timothy Rundle Samuel Burstin Eugene Feild Julia O’Riordan Ellen Blythe cor anglais Jill Crowther*

30 CAL PERFORMANCES CAL PERFORMANCES 31 ORCHESTRA ROSTER ORCHESTRA ROSTER

clarinet timpani CHORUS baritone i Mark van de Wiel (Nov. 9 & 10)† Paul Philbert Nathaniel Ben-Horin Barnaby Robson (Nov. 10 & 11)* Timothy Gunnell Gregory Fair* Laurent Ben Slimane (Nov. 9) UC Berkeley Chamber Chorus Sam Maurer Duncan Gould (Nov. 10 & 11) percussion Marika Kuzma, Director Dylan Moore Katie Lockhart (Nov. 11) Henry Baldwin Nik Nackley† Peter Fry soprano e-flat clarinet David Corkhill Melanie Anderson* baritone ii Jennifer McLaren* Christopher Terian Jennifer Ashworth* Daniel Alley Katie Lockhart (Nov. 10) Timothy Gunnell Felicia Chen* Aviel Ballo Katherine Chen Jeff Fields† bass clarinet harp Seenia Hong Anders Froelich† Laurent Ben Slimane (Nov. 10 & 11)* Bryn Lewis Katherine Howell* Sean Mullin Ruth Holden Alison Mackey bassoon Valerie Pooudomsak bass i Amy Harman* Kayla Sheehan* Steven Anderson* † Michael Cole * Chamber Orchestra in Wozzeck Christina Swindlehurst-Chan Asher Davison Tamsin Thorn † Tavern Band in Wozzeck Vanessa Yang* Hayden Eric Godfrey Luke Whitehead Matthew Lovell† alto Anthony Pasqua† contrabassoon Miriam Anderson Rio Vander Stahl Luke Whitehead* PHILHARMONIA ADMINISTRATION Kira Bartholomew Deborah Benedict† bass ii horn Chairman Simon Oliver Elsa Bishop Andrew Chung* † Katherine Woolley (Nov. 9 & 11) Managing Director David Whelton Ellie Broadman David Hess Nigel Black (Nov. 10)* Deputy Managing Director Fiona Martin Nancy Hall Chulki Lee † Nicholas Hougham* Tours Manager Frankie Hutchinson Hong Ju Jung Chung-Wai Soong Antonio-Geremia Iezzi Concert & Tours Assistant Sarah Bennett Karen Kim Keith Watts Carsten Williams Personnel Manager Per Hedberg Miriam Kjellgren James Handy Assistant Personnel Manager David Thomas Lexi Kopan Librarian Tim Cotter Shan Hui Lin Members of the Piedmont East Bay Children’s Choir trumpet Stage & Transport Manager Roy Davies Alana Mailes Robert Geary, Director Alistair Mackie Assistant Stage & Transport Andrea Mich Sue Bohlin, Principal Accompanist & Associate Conductor Mark Calder Manager Steven Brown Tanya Varimezova Paul Sharp Michael Adams tenor i Robert Farley Rachel Adams Seth Arnopole† Madeleine Ahlers cornet Thomas Busse* Andres Beck-Ruiz Elliot Franks† Alistair Mackie Antonia Calabrese-Thomas Victor Huang Mark Calder Milo DeOlivares August Johannson Zachary Golden trombone Charles Olson Emma Grove Jimmy Wu Madeline Heaps Byron Fulcher for opus 3 artists Kristi Hong Philip White David V. Foster, President & CEO tenor ii Leonard Stein, Senior Vice President, Dylan Jones Ed Betts† bass trombone Director, Touring Division Seth Moure Kevin Gibbs† Benjamin Nguyen Daniel West William Bowler, Manager, Artists & Attractions Nicholas Koo John C. Gilliland III, Associate, Touring Division Bahar Ostadan Robert Landicho Francine Penikis tuba Kay McCavic, Tour Manager Eric Tuan† Elsa Savant Peter Smith (Nov. 9 & 10)† Joseph Castellano, Assistant Tour Manager Keith Perry† William Schaff Sasha Koushk-Jalali Garrett Wellenstein Ailey Simpson Alina Whatley * Alumni of the UC Berkeley Chamber Chorus Daphne Williams † Guest singer

32 CAL PERFORMANCES CAL PERFORMANCES 33 ORCHESTRA ROSTER ABOUT THE ARTISTS

MILITARY & TAVERN BANDS

Members of the UC Berkeley Symphony Orchestra David Milnes, Director

violin (tavern band) Tammy Lian Vivian Hou

flute Michael Williams Eric Delgado

piccolo Mary Anne Kidwell

oboe Liam Boisset Allison Schwartz

e-flat clarinet Greg Durrett Lauren Washburn

bassoon Drew Gascon he philharmonia orchestra is one of (2010), and Infernal Dance: Inside the World of Jim Lockwood-Stewart Tthe world’s great orchestras. Acknowledged Béla Bartók (2011)—have been critically ac- horn as the United Kingdom’s foremost musical pio- claimed. For 16 years, the Orchestra’s work has Nick Carnes neer, with an extraordinary recording legacy, been underpinned by its much admired U.K. John Betts the Philharmonia leads the field for its quality of and International Residency Programme, which playing, and for its innovative approach to audi- began in 1995 with the launch of its residencies trumpet ence development, residencies, music education, at the Bedford Corn Exchange and London’s Ross Venneberg and the use of new technologies in reaching a Southbank Centre. During 2012–2013, the Alan Matteri global audience. Together with its relationships Orchestra not only performs more than 35 trombone with the world’s most sought-after artists—most concerts at Southbank Centre’s Royal Festival Scott Michel importantly its Principal Conductor and Artistic Hall, but also celebrates its 16th year as Resident Alberto Aumentado Advisor Esa-Pekka Salonen—the Philharmonia Orchestra of De Montfort Hall in Leicester and Mike Hartglass Orchestra is at the heart of British musical life. its twelfth year as Orchestra in Partnership at Today, the Philharmonia has the great- The Anvil in Basingstoke; and enters the second tuba est claim of any orchestra to be the United year of its new residencies at the new Marlowe Francis Upton Kingdom’s national orchestra. It is commit- Theatre in Canterbury and the Three Choirs percussion ted to presenting the same quality, live music- Festival. The Orchestra’s extensive touring Miriam Anderson making in venues throughout the country as schedule this season also includes a Beethoven Karen Lin it brings to London and the great concert halls symphony cycle at the Bonn Beethovenfest Andy Lu of the world. In 2012–2013, the Orchestra is (October), a tour of the United States featuring Jane Kim performing more than 160 concerts, as well as a three-concert residency at Cal Performances recording scores for films, CDs, and computer and performances at Disney Hall, Los Angeles, piano (tavern band) games. Under Esa-Pekka Salonen a series of flag- and Lincoln Center, New York (November); and Priscilla Lee ship, visionary projects—City of Dreams: Vienna a tour to Japan (February), all conducted by Esa- 1900–1935 (2009), Bill Viola’s Tristan und Isolde Pekka Salonen.

34 CAL PERFORMANCES CAL PERFORMANCES 35 ABOUT THE ARTISTS ABOUT THE ARTISTS

During its first six decades, the Philharmonia Philharmonia recording, and in 2012–2013 au- Mr. Salonen’s artistic collaboration with the Mr. Salonen’s appointment with the Orchestra collaborated with most of the great diences can engage with the Orchestra through Philharmonia Orchestra has been dominated by Philharmonia cements a relationship that classical artists of the 20th century. Conductors webcasts, podcasts, downloads, computer games, landmark multidisciplinary festivals, exploring dates back over 25 years. He made his London associated with the Orchestra include Wilhelm and film scores. More than 3,500 people a the music of key 20th-century composers and conducting debut with the Orchestra in 1983, Furtwängler, Richard Strauss, Arturo Toscanini, month download free monthly Philharmonia musical movements in their widest possible cul- stepping in at the last minute to lead a now- Guido Cantelli, Herbert von Karajan, and Carlo video podcasts, which include artist interviews tural, social, and historical contexts. In 2013, legendary performance of Mahler’s Symphony Maria Giulini. Otto Klemperer was the first of and features on repertoire and projects; these the Philharmonia Orchestra marks the cente- No. 3. He accepted the position of Principal many outstanding Principal Conductors, and films have also been watched by more than nary of the birth of Witold Lutosławski with Guest Conductor, which he held from 1985 to other great names have included Lorin Maazel one million people on YouTube. In May 2010, Woven Words: “Music begins where words end”, 1994, and has regularly returned to conduct the (Associate Principal Conductor), Sir Charles the Orchestra’s digital “virtual Philharmonia a pan-European portrait of Mr. Salonen’s teach- Orchestra ever since. Some of the Philharmonia’s Mackerras (Principal Guest Conductor), Orchestra” project, RE-RITE, won both the er and mentor, Witold Lutosławski. Beyond most ambitious and important projects dur- Riccardo Muti (Principal Conductor and RPS Audience Development and Creative Lutosławski’s anniversary, 2013 also marks ing this time, from Clocks and Clouds (Ligeti, Music Director), Kurt Sanderling (Conductor Communication Awards, and after appearanc- another important centenary, that of the first 1996) to Related Rocks (Magnus Lindberg, Emeritus), and Giuseppe Sinopoli (Music es in London, Leicester, and Lisbon, toured to performance of Stravinsky’s 2001–2002), took place under Director). In addition to Esa-Pekka Salonen, Dortmund in November 2011, Tianjin in China iconic ballet The Rite of Spring. his artistic leadership. current titled conductors are Christoph von in April–May 2012, and Izmir (Turkey) in Mr. Salonen will be celebrat- In addition to the record- Dohnányi (Honorary Conductor for Life) and June 2012. RE-RITE, devised with Esa-Pekka ing the work, leading the ings of his own compositions, Vladimir Ashkenazy (Conductor Laureate). Salonen, secured the Philharmonia’s position as Philharmonia in performances Mr. Salonen has a consid- The Philharmonia Orchestra continues a digital innovator, and in 2011 the Orchestra at the Théâtre des Champs- erable discography on the to pride itself on its long-term collaborations announced the launch of a new digital pro- Élysées in Paris (where it was Signum (together with the with the finest musicians of our day, support- duction company, Rite Digital. The follow-up premiered in 1913), as well Philharmonia Orchestra), ing both new and established artists. This policy audio-visual installation to RE-RITE, Universe as at the Royal Festival Hall Deutsche Grammophon, and extends into the Orchestra itself, where many of Sound: The Planets, premiered at the Science in London, almost 100 years Sony Classical labels. of the players have solo or chamber music ca- Museum in May–July 2012, and will tour to the day after it was first Mr. Salonen’s dedica- reers alongside their work with the Orchestra. to Birmingham and Canterbury in May and performed. Autumn 2012 tion to technology, digital The Philharmonia’s Martin Musical Scholarship June 2013. saw Mr. Salonen embark on platforms and outreach has Fund has for many years supported talented Recording and broadcasting both continue an expansive tour with the been realized through his musicians at the start of their careers, including to play a significant part in the Orchestra’s ac- Philharmonia through the work with the Philharmonia an Orchestral Award which allows two young tivities, notably through its partnership with United States, including a resi- Orchestra on a number of in- players every year to gain performing experience Signum Records, releasing new live recordings dency at Cal Performances. novative projects. In 2012, within the Orchestra. of Philharmonia performances with its key con- Mr. Salonen holds the position of Artistic Mr. Salonen and the Philharmonia’s Digital The Orchestra is also recognized for its ductors. Since 2003, the Philharmonia has en- Director and co-founder of the Baltic Sea Department have created Universe of Sound, an innovative programming policy, at the heart of joyed a major partnership with Classic FM, as Festival, an event that annually invites celebrat- interactive hi-definition major installation at the which is a commitment to performing and com- The Classic FM Orchestra on Tour, as well as ed orchestras, conductors, and soloists to pro- Science Museum in London. In recent seasons, missioning new works by leading composers, continuing to broadcast on BBC Radio 3. Visit mote unity and ecological awareness among the the award winning RE-RITE, first exhibited among them the Artistic Director of its Music of www.philharmonia.co.uk. countries around the Baltic Sea. in London in 2009, has gone on to appear in Today series, Unsuk Chin. The Philhamonia’s 2012 U.S. tour is man- As a composer, Mr. Salonen sees his works Portugal, China and Turkey as well as Germany, Since 1945, the Philharmonia Orchestra has aged by Opus 3 Artists, 470 Park Avenue South, regularly performed and broadcast around the returning to London as part of the Rite of Spring commissioned more than 100 new works from 9th Floor North, New York, New York 10016, world; Floof and LA Variations have become Centenary in spring 2013. composers including Sir Harrison Birtwistle, Sir www.opus3artists.com. established as modern classics. His Violin At the beginning of the 2010–2011 sea- Peter Maxwell Davies, Mark-Anthony Turnage, Concerto won the 2012 University of Louisville son, Mr. Salonen began a residency at the and James MacMillan. Throughout its history, In 2012–2013, composer and conductor Esa- Grawemeyer Prize for Music Composition. Konzerthaus Dortmund. The project Expedition the Philharmonia Orchestra has been commit- Pekka Salonen commences his fifth season as Three major retrospectives of his work—the most Salonen has woven his life as conductor, compos- ted to finding new ways to bring its top quality Principal Conductor and Artistic Advisor of the recent at Festival Présences Paris in February er, and creator into the fabric of the Konzerthaus live performance to audiences worldwide, and Philharmonia Orchestra, London. Additionally, 2011, at the Stockholm International Composer Dortmund’s artistic life over three consecutive to use new technologies to achieve this. Many after 17 years as its Music Director, the Festival in October 2004, and at Musica Nova, seasons. He has appeared in Dortmund with millions of people since 1945 have enjoyed their Los Angeles Philharmonic appointed him Helsinki, in March 2003—were presented to ca- the Philharmonia Orchestra, Mahler Chamber first experience of classical music through a Conductor Laureate in 2009. pacity audiences and were critically acclaimed. Orchestra, Symphonieorchester des Bayerischen

36 CAL PERFORMANCES CAL PERFORMANCES 37 ABOUT THE ARTISTS ABOUT THE ARTISTS

Rundfunks, and as part of the hugely success- soloists (Gramophone Award-winner), and Schubert’s Parsifal), Munich (Wozzeck and Parsifal) and ful interactive digital installation with the Winterreise in Danish. Latest additions to his Vienna (Parsifal and Salome). Philharmonia, RE-RITE, in autumn 2011. Copenhagen-born Johan discography are two critically acclaimed solo Her recordings include The Makropulos During Mr. Salonen’s tenure with the Los Reuter (Wozzeck) studied albums, Rare Verdi and a song recital disc of Case from the Salzburg Festival 2011 (DVD); Angeles Philharmonic, where he was Music at the Royal Academy of Strauss, Nielsen, and Børresen. Salome from Baden Baden (DVD); a New Year’s Director from 1992 to 2009, his contributions Music and at the Academy Eve Lehar Gala from Dresden with Christian extended far beyond subscription concerts and of the Royal Theatre in his Angela Denoke (Marie) Thielemann (CD and DVD); Die tote Stadt, Die international tours. The genesis of many unique hometown. He frequented was born in Stade near Walküre, Káťa Kabanová, Cardillac, Beethoven festivals and collaborations under his leadership the master classes of Ernst Hamburg, Germany. Symphony No. 9 (with Mikhail Pletnev for DG included a production of Saint François d’Assise Haefliger, Anthony Rolfe After completing her and Daniel Barenboim for Warner); Wozzeck at the Salzburg Festival (1992), and a Stravinsky Johnson, and Richard studies at Hamburg’s (with Ingo Metzmacher for EMI); and Fidelio festival together with Pierre Boulez at the Théâtre Trimborn. Since 1996, he Hochschule für Musik (with Sir Simon Rattle for EMI). MSM Music Ltd. du Châtelet in Paris (1996). Mr. Salonen’s or- has been a soloist of the und Theater, she joined She was voted Singer of the Year by chestral guest appearances are also diverse and Royal Theatre in Copenhagen, where he sings a the ensemble of the Opernwelt in 1999, and in 2007 she received include regular appearances with the Vienna variety of repertoire. Theater Ulm, followed by the Deutsche Theaterpreis der Faust for her

Philharmonic, Bavarian Radio Symphony, and He began his international career in 2000, the Staatsoper Stuttgart. Persson Johan portrayal of Salome. In February 2009, the North German Radio Symphony orchestras, as with a concert in Berlin conducted by Christian She is closely associ- Austrian Government awarded her the title of well as the Chicago Symphony and New York Thielemann, followed by performances of ated with the Vienna State Opera (Lady Macbeth Kammersängerin of the Wiener Staatsoper. Philharmonic. Visit esapekkasalonen.com. Guglielmo (Così fan tutte) in Hamburg and of Mtsensk, Arabella, Salome, Die tote Stadt, Figaro (Le nozze di Figaro) at the Deutsche Parsifal, Jenůfa, Der Rosenkavalier, Lohengrin, Australian tenor Hubert A versatile conductor Oper Berlin. Tannhäuser, and Pique Dame), the Opéra Francis (Drum Major) with particular in- During 2003–2004 season, he made his National de Paris (Salome, Káťa Kabanová, kicks off the 2012–2013 volvement in the fields highly acclaimed debut as Wotan in Kasper Cardillac, Der Rosenkavalier, Wozzeck, Parsifal, season as Vitek in The of opera and choral Bech Holton’s Ring cycle in Copenhagen. He Fidelio, and The Makropulos Case), the Deutsche Makropulos Case, a role and music, Aidan Oliver made his debut in the title role of Don Giovanni Staatsoper Berlin (Tannhäuser, Fidelio, Pique house debut at Finnish (Assistant Conductor) is in Frankfurt. That same year, he appeared at the Dame, and Erwartung under Daniel Barenboim; National Opera, followed by his return to the Director of Music at Paris Opéra and Teatro Real Madrid (From the Der Rosenkavalier and Tannhäuser under Royal Opera House, Covent Garden, to appear St. Margaret’s Church, House of the Dead directed by Patrice Chéreau Philippe Jordan) and the Bayerische Staatsoper as Spoletta in Jonathan Kent’s revival of Tosca, Westminster Abbey conducted by Marc Albrecht); the Salzburg (Salome, Der Rosenkavalier, Parsifal, Jenůfa and the production in which he previously appeared (the Parliamentary Church) and the founding Festival (Alceste conducted by Ivor Bolton); and Wozzeck). For the Salzburg festivals she has sung with Angela Gheorghiu, Jonas Kaufmann, and Director of Philharmonia Voices, the elite pro- in Copenhagen, where he sang Verdi’s Macbeth Káťa Kabanová, Die tote Stadt, Wozzeck, Fidelio Bryn Terfel that was committed to DVD for fessional chorus that collaborates regularly with for the first time. His universally praised debut and The Makropulos Case. commerical release. the Philharmonia Orchestra. As a guest chorus in the role of Wozzeck came in 2006 at Covent She has sung with the London Symphony Recent successes include his appearance master, he is in high demand: recent collabora- Garden, the house where he has since appeared Orchestra (Daniel Harding and Valery Gergiev) with Singapore Opera in his debut as Herod tions have included projects with the BBC regularly (Elektra, Salome, The Tsar’s Bride, and and the Berliner Philharmoniker (Sir Simon in Salome, a role he soon sings in Australia. He Symphony Chorus, English National Opera, the Birtwistle’s The Minotaur). Rattle), and she appears at the Royal Opera joined De Nederlandse Opera for the role of the John Wilson Orchestra, and the Bach Choir. He Mr. Reuter’s recent engagements include House, the Metropolitan Opera in New York, Bear Handler in The Legend of the Invisible City also assists regularly on the music staff at the his Metropolitan Opera debut in Janáček’s Netherlands Opera, Semperoper Dresden, of Kitezh and the Maiden Fevroniya, with which Royal Opera House, Covent Garden. Since The Makropulos Case opposite Karita Mattila; Teatro Real Madrid, Gran Teatre del Liceu company he also sang Thibault in a new produc- 2004 he has conducted Dulwich Choral Society, his role debut as Boris Godunov; Die Frau ohne Barcelona, and at the Théâtre du Châtelet in tion of Verdi’s Les Vêpres Siciliennes directed by and in 2012 he was appointed Associate Schatten in Copenhagen; Strauss’s Arabella Paris. She has also made a highly acclaimed Christof Loy, a role he repeated at the Grand Conductor of the St. Endellion Festival in in Vienna; and The Makropulos Case at the debut at Teatro alla Scala in Milan in The Théâtre de Genève. Cornwall. As director of Philharmonia Voices, Salzburg Festival. He has worked with such con- Makropulos Case. His past engagements at Covent Garden he has collaborated frequently with the orches- ductors as Valery Gergiev, Mark Elder, Antonio Her future engagements include appear- include Male Chorus in The Rape of Lucretia, tra’s Principal Conductor, Esa-Pekka Salonen, as Pappano, Sir Simon Rattle, Daniel Harding, ances with the London Symphony Orchestra Harlekin in Der Kaiser von Atlantis, Trin in well as with conductors including Vladimir Zubin Mehta, and Kazushi Ono. and Gianandrea Noseda and the Philharmonia La Fanciulla del West, Third Jew in David Ashkenazy, Lorin Maazel, Richard Hickox, and He has recorded Kunzen’s Holger Danske Orchestra with Esa-Pekka Salonen and Andris MacVicar’s new production of Salome conduct- Christoph von Dohnányi. (Grammy Award nominee), Nielsen’s Maskarade Nelson. She returns to London (Salome and ed by Philippe Jordan, and Loge (cover) in Das

38 CAL PERFORMANCES CAL PERFORMANCES 39 ABOUT THE ARTISTS ABOUT THE ARTISTS

Rheingold in Keith Warner’s recent Ring under and the London Sinfonietta; St. Matthew Rake’s Progress (Théâtre des Champs Élysées, Until summer 2012, he was a member of the musical direction of Antonio Pappano. Passion with Harry Bicket and the Rotterdam WNO); Desportes in Die Soldaten (Rhur the Theater Sankt Gallen. Guest appearances Mr. Francis’s international appearances in- Philharmonic Orchestra; and Beethoven’s Triannale; New National Theatre, Tokyo; led him to the Vlaamse Opera Gent, Grand clude Yannakos in David Pountney’s produc- Choral Fantasy with the BBC Symphony Lincoln Center, New York); and Luigi Nono’s Théâtre de Luxembourg, Festival d’Aix-en- tion of The Greek Passion at the Janáček Theatre Orchestra under Roger Norrington at the Last Al gran sole carico d’amore (Salzburg Festival and Provence, Vienna Festwochen, Theater an der in Brno; Shabby Peasant in Lady Macbeth of Night of the Proms. Staatsoper Berlin). Wien, Musikverein Vienna, Théâtre Royal Mtsensk, directed by Paul Curran, for Canadian Future plans include Beethoven’s Symphony In concert, Mr. Hoare has performed Das de la Monnaie, Concertgebouw Amsterdam, Opera Company; Terry Bond in Playing Away No. 9 with the Royal Philharmonic Orchestra Lied von der Erde with the Royal Concertgebouw Nederlandse Opera, Staatsoper Stuttgart, and (David Pountney) and Ferdinand in Karl V at London’s Barbican Centre and Symphony Orchestra, the Royal Flemish Philharmonic, and Israeli Opera Tel Aviv, where he worked with (Uwe-Eric Laufenberg) at the Bregenz Festival; Hall, Birmingham; Haydn’s Creation with the Fundacão OSESP in São Paulo; Berlioz’s Romeo such conductors as Jiři Kout, Kazushi Ono, and Kedril/Hlas in From the House of the Dead Valencia Orchestra under Robert King; and et Juliette (Berlin Philharmonic Orchestra/ Fabio Luisi, Daniel Harding, Carlo Rizzi, at Teatro Massimo in Palermo. a Monteverdi Vespers tour of Europe under Sir Simon Rattle); Britten’s Serenade for Tenor, Antonino Fogliani, Antonello Allemandi, Other credits include Chekalinsky in Emmanuelle Haim. Horn and Strings (Bournemouth Symphony David Stern, Andreas Spering, Carlo Franci, The Queen of Spades(Alexander Polianichko) No stranger to the opera stage, he works Orchestra; Bochumer Symphoniker); Judas and Tomáš Netopil. with Welsh National Opera; Don Basilio in regularly with Opera North, most recently as Maccabaeus, recorded for Anglia Television; and His opera repertoire includes roles like Le nozze di Figaro and Marquis des Grieux in Richard Dauntless in Gilbert and Sullivan’s La Damnation de Faust and Mahagonny at the Sarastro, Raimondo (Lucia di Lammermoor), The Gambler (André de Ridder) at Grange Park Ruddigore. Other roles there have included Edinburgh Festival. Alfonso (Così fan tutte), Sparafucile (Rigoletto), Opera; Ivan in The Nose for the Opera Group; Jaquino in Fidelio, Belmonte in Die Entführung His recordings include Delius’s Song of Zuniga (Carmen), Don Pasquale (Don Pasquale), and Poole in Burning Waters at Buxton Festival. aus dem Serail, and Sergei in Paradise Moscow. the High Hills and Master of Ceremonies in Commendatore (Don Giovanni), Old Hebrew He appeared as Pedrillo in Die Entführung for Britten’s Gloriana (Sir Charles Mackerras/ (Samson et Dalila), Eremit (Der Freischütz), Lyric tenor Joshua Ellicott English Touring Opera, Idiot in Wozzeck for La Decca) and Leonard Meryll in Yeomen of the Struthion (Des Esels Schatten), Doctor (Wozzeck), (Andres) was born in Monnaie Brussels, and he has also worked with Guard (Mackerras/Orchestra of WNO) for the and Des Grieux (Manon). Manchester, England, and Scottish Opera. In 2013, Mr. Ellicott will see Telarc label. Mr. Faveyts is a sought-after concert sing- read music at York University his Royal Opera House, Covent Garden, debut, Recent and future engagements include er and has performed Bach’s St. Matthew and before continuing his vocal as Basilio in Le nozze di Figaro under Sir John Bob Boles in Peter Grimes and A Dog’s Heart St. John passions, Handel’s The Messiah, Haydn’s studies at the Guildhall Elliot Gardiner. for Teatro alla Scala, Milan; Alwa in Lulu for Die Jahreszeiten, and Schubert’s Winterreise. School of Music and Drama WNO; Die Soldaten for Opernhaus Zürich; He studied at the Conservatory in Brussels in London. Peter Hoare (Captain) was Wozzeck with the Philharmonia Orchestra; Il and at the University of Music in Vienna with His recent performanc- born in Bradford and studied Prigioniero for the New York Philharmonic; and Ralf Döring and Robert Holl. He obtained the es include a gala concert with the Deutsche percussion at the Huddersfield Michel in Julietta for English National Opera. magister degree with distinction. Kammerphilharmonie Bremen; Purcell’s School of Music. Following In the 2013–2014 season he will join the en- Fairy Queen with the Gabrieli Consort un- several years as a freelance per- The Belgian bass Tijl Faveyts semble of the Aalto Theater Essen. der Paul McCreesh; Schubert’s Mass in E-flat cussionist, he began his profes- (Doctor) became internation- with Daniel Harding at the St. Denis Festival; sional singing career in 1992. ally known in 2006 when he Henry Waddington (First Handel’s Saul with The Sixteen in Versailles and His operatic roles have in- performed Sarastro in Die Apprentice) studied at the the Evangelist in Bach’s St. Matthew Passion for cluded Bacchus in Ariadne auf Zauberflöte at age 26 under Royal Northern College of Boston’s Handel and Haydn Society, both un- Naxos, Captain in Wozzeck, Daniel Harding’s baton at Music. He has sung regu- der Harry Christophers; Shepherd and Sailor Herod in Salome, and Laca in Jenůfa (Welsh the Festival Aix-en-Provence. larly with the Glyndebourne in Tristan und Isolde with the Philharmonia National Opera); Basilio in Le nozze di Figaro, Mr. Faveyts gives his U.S. Festival (most recently as Orchestra under Esa-Pekka Salonen; a staged Monostatos in Die Zauberflöte, Larry King debut as Doctor in Berg’s Christus in Bach’s St. Matthew Passion with the Orchestra of the in Anna Nicole (Royal Opera House, Covent Wozzeck with the Philharmonia Orchestra un- St. Matthew Passion), Age of Enlightenment; Mozart’s Requiem in Garden); and Shapkin in From the House of der Esa-Pekka Salonen’s baton in Berkeley, Los Glyndebourne on Tour, Gerald Place Gerald Japan with Mr. Harding and the Swedish Radio the Dead (Metropolitan Opera, New York; Angeles, and at Lincoln Center in New York. the Royal Opera House, Symphony Orchestra; Handel’s L’Allegro with Teatro Alla Scala, Milan; Wiener Festwochen; Further highlights of the 2012–2013 season La Monnaie in Brussels, Liceu in Barcelona, the Netherlands Radio Chamber Orchestra and the Holland Festival; and the Aix en Provence include his return to the Netherlandse Opera Teatro Real in Madrid, Opera North, Welsh Handel’s Theodora with the Scottish Chamber Festival); Sharikov in A Dog’s Heart (English in Amsterdam and to the Théâtre Royal de la National Opera, English National Opera, and Orchestra, both under Kenneth Montgomery; National Opera); Tikhon in Káťa Kabanová Monnaie in Brussels, as well as performances at Garsington and Grange Park operas. His reper- Birtwistle’s The Last Supper with Elgar Howarth (Grand Théâtre de Genève, WNO); Sellem The the Tchaikovsky Concert Hall in Moscow. toire includes the title role of Falstaff; Banquo in

40 CAL PERFORMANCES CAL PERFORMANCES 41 ABOUT THE ARTISTS ABOUT THE ARTISTS

Macbeth; Colline in La bohème; Don Basilio in Eddie Wade (Second Harry Nicoll (Idiot) hails Anna Burford (Margret) Il barbiere di Siviglia; Tutor in Le comte Ory; Apprentice) studied at the from Inverness in the was born in Cornwall, Geronimo in The Secret Marriage; Publio in La Guildhall School of Music Scottish Highlands, stud- England, and studied at clemenza di Tito; Plutone in Orfeo; Valens in and Drama and at the ied at the Royal Academy the Royal Northern Theodora; Soljony in Three Sisters (Eötvös); National Opera Studio. of Music and Drama in College of Music. Leporello in Don Giovanni; Don Magnifico in He sings regularly with Glasgow, and now lives Operatic engagements Cenerentola; Don Fernando in Fidelio; Don the Royal Opera, Covent in London. include her U.S. debut in Alfonso in Così fan tutte; Pallante in Agrippina; Garden, Welsh National For many seasons, he the title role Giulio Cesare Frère Laurent in Roméo et Juliette; and Quince Opera, English National has been a regular guest for Seattle Opera; the and Bottom in A Midsummer Night’s Dream. Opera, Scottish Opera, at the Royal Opea House, title role Orfeo ed Euridice His concert repertoire includes the Mozart and Glyndebourne. He has worked with many Covent Garden, where his roles have included and Roswita in Heloise et Abelard for Opera Mass in C for the Salzburg Festival with Ivor leading conductors, including Mackerras, Elder, Goro in Madama Butterfly, Major Domo in National du Rhin, Strasbourg; Roswita in Bolton; Brander in La damnation de Faust for Pappano, Gatti, Benini, Wigglesworth, Rizzi, Der Rosenkavalier, Master of Ceremonies in Heloise et Abelard for Théâtre du Châtelet, Paris; the Philharmonia with Charles Dutoit; Puccini Auguin, and Edwards. The Queen of Spades, Erster Priester in Die Olga in Eugene Onegin at Théâtre de Caen; Messe di Gloria for the BBC National Orchestra Notable operatic appearances include Conte Zauberflöte, Doyen de la Faculté in Cendrillon, Owl in The Cricket Recovers at Bregenz Festival; of Wales at St. David’s Hall, Cardiff; and a tour Almaviva in Le nozze di Figaro, Foreman in Curzio in Le nozze di Figaro, and Joe in La Mrs. McLean in Susannah and Mrs. Nolan in of Handel’s Solomon with the Orchestra of the Jenůfa, Peter in Hansel and Gretel, Sprecher in Fanciulla del West. Among the highlights of his The Medium for Wexford Festival; and Cesare Age of Enlightenment and René Jacobs, includ- Die Zauberflöte, Marcello in La Bohème, Baron early career are Almaviva in Il barbiere di Siviglia in Giulio Cesare for Opera Ireland. In Britain, ing concerts in London, Paris, and New York. Douphol in La Traviata, and Melot in Tristan (Welsh National Opera, Scottish Opera, New her roles include Ursule in Beatrice and Benedict, He has performed Kurt Weill’s The Firebrand und Isolde for WNO; Baron Douphol in La Israeli Opera); Vašek in The Bartered Bride (New Magdalena in Die Meistersinger von Nürnberg, of Florence with the BBC Symphony Orchestra Traviata, Mandarin in Turandot, and Indian in Israeli Opera, Welsh National Opera, Oper Suzuki in Madama Butterfly, Maddalena in under Sir Andrew Davis, Haydn’s Sieben Letzten The Bartered Bride for the Royal Opera House, Köln); Pedrillo in Die Entführung aus dem Serail Rigoletto, and Page in Salome for Welsh National worten at the Edinburgh International Festival, Covent Garden; and Sharpless in Madama (Glyndebourne Touring Opera, de Vlaamse Opera; and Amastris in Xerxes, Maddalena, as well as a concert and recording of Getty’s Butterfly for WNO and Scottish Opera. Other Opera, Opéra de Nantes); Ballad Singer in Of Anna in The Trojans, and Dresser, Schoolboy, Plump Jack at St. John’s Smith Square. He made roles include Giorgio Germont in La Traviata Mice and Men (Bregenzer Festspiele); Médor in and Waiter in Lulu for English National Opera. his Wigmore Hall debut in January 2007 singing and Scarpia in Tosca with Diva Opera; and Roland (Lully) (Théâtre des Champs Élysées, Concert highlights include Messiah with Haydn arias with the Classical Opera Company. Executioner in the European premiere of James Paris); Soliman in Zaïde (La Fenice); and the the Seattle Symphony Orchestra; Handel’s Recent and future operatic engagements in- Macmillan’s Inés de Castro for Scottish Opera. Innocent in Boris Godounov (Teatro dell’Opera Rodelinda with the Gabrieli Consort; Sea clude Jupiter in Castor and Pollux; Sacristan in Mr. Wade’s concert performances include di Roma). Pictures and A Child of Our Time with the Royal Tosca and Lt. Ratcliffe in Billy Budd for English the Verdi’s and Brahms’s Requiems, Elgar’s In more recent years, he has concentrated Liverpool Philharmonic; Serenade to Music with National Opera; Spinellocchio in Gianni Dream of Gerontius, Mendelssohn’s Elijah, on character roles: The Old One inMagdalena the BBC Symphony Orchestra; Verdi’s Requiem Schicci for Royal Opera House, Covent Garden; Handel’s Messiah, and Dvořák’s Te Deum. He (Villa-Lobos) (Théâtre du Châtelet, Paris); the with the Royal Philharmonic Orchestra; and Bartolo in Figaro for Welsh National Opera; has sung with the London Symphony and Royal title role in Platée, Spalanzani in Les Contes Beethoven’s Symphony No. 9 with the Hallé Lt. Ratcliffe for Netherlands Opera; Pallante for Philharmonic orchestras, and for Raymond d’Hoffmann, and Sellem in A Rake’s Progress Orchestra, Orchestre de Tours, Royal Liverpool the Gran Teatre del Liceu, Barcelona; Kothner Gubbay at the Royal Albert Hall and the (Reisopera, Holland); Basilio in Le nozze di Philharmonic Orchestra, and Bournemouth in Die Meistersinger for Glyndebourne Festival Barbican Centre. His recent performance of Figaro (Glyndebourne Touring Opera, Opera Symphony Orchestra. Opera; Publio in La clemenza di Tito, Lodovico Orff ’s Carmina Burana with the RTÉ Concert North, Scottish Opera); Guillot de Morfontaine in Otello; and Bottom in A Midsummer Night’s Orchestra was live broadcast for Lyric FM. in Manon and Goro (Scottish Opera); Bardolfo Zachary Mamis (Marie’s Child) is a mem- Dream for Opera North; Swallow in Peter Grimes Recent and future highlights include in Falstaff, M. Triquet in Evgeny Onegin, and ber of the Ragazzi Boys Chorus, Joyce Keil, for the Aldeburgh Festival; as well as concert Baron Douphol in La Traviata for the Royal Monostatos in Die Zauberflöte (Glyndebourne Artistic Director. performances of Wozzeck with the Philharmonia Opera House and for WNO; Gunther in Touring Opera). Mr. Nicholl’s recordings in- Orchestra under Esa-Pekka Salonen in Europe Götterdämmerung for Longborough Festival clude Britten’s Company of Heaven for Hyperion chorus and the United States. Concert engagements Opera; Eustachio in L’assedio di Calais for and the Bayerischer Rundfunk. include Berlioz’s L’Enfance du Christ with English Touring Opera; Mereia and Lepidus in His current season and future plans include The Chamber Chorus of UC Berkeley is the BBC National Orchestra of Wales and Bach’s Detlev Glanert’s Caligula for English National Schmidt in Werther for Scottish Opera, Horace University’s premier concert choir ensemble. St. Matthew Passion with Aberdeen Bach Choir. Opera; and the title role in Rigoletto for Adams in Peter Grimes for the Accademia The Choir’s concert engagements have included Scottish Opera. Nazionale di Santa Cecilia in Rome, and Erster appearances throughout the Bay Area as well Priester and Curzio for the Royal Opera House. as concert tours to the East Coast, Canada,

42 CAL PERFORMANCES CAL PERFORMANCES 43 ABOUT THE ARTISTS ABOUT THE ARTISTS and Europe. Performances of the UC Chamber Choir has earned grand prizes, first prizes, and Herbert Blomstedt, Dale Warland, Kent Bruckner, Debussy, Ligeti, Lutosławski, Mahler, Chorus have been featured in broadcasts of the gold medals at prestigious competitions across Nagano, and Michael Tilson Thomas. Prokofiev, Shostakovich, and Sibelius, among Voice of America, Public Radio International, Europe, Asia, and the Americas, including three many others. Rehearsing, performing, and re- and Austrian Radio. Among Chamber Chorus gold medals at Grand Prix St. Petersburg Choral Sue Bohlin, Principal Accompanist & Associate cording works of faculty and graduate-student recordings, its Handel Susannah on the Festival (2008); two gold medals at the Hong Conductor of the Piedmont Choirs, enjoys a composers has long been a core mission for the Harmonia Mundi label won a Grammy Award, Kong International Children’s Choral Festival career as accompanist, freelance pianist, com- orchestra; the Symphony’s programs regularly and its Icons of Slavic Music is known in Eastern (2006); and first prize in Contemporary Music poser, vocal coach, and conductor. A music feature world premieres of major new works by Europe as well as the United States. A select at the Choral Olympics in Linz, Austria (2000). performance graduate of the Conservatory at gifted Berkeley composers. group of some 30 singers, it is particularly ac- Piedmont East Bay Children’s Choir is celebrat- University of the Pacific, she taught oboe at The UC Berkeley Symphony Orchestra per- claimed for its readings of early music and con- ing its 30th anniversary season in 2012–2013; the National Conservatory in Mexico City and forms several evening and noon concerts each temporary music. It has often performed with activities include chorus parts in Berg’s Wozzeck played with several orchestras. She was Music semester, supports a chamber orchestra and a the Philharmonia Baroque Orchestra in produc- with Esa-Pekka Salonen and Philharmonia Director with George Coates Performance wide-ranging chamber music program under tions with the Mark Morris Dance Group. In Orchestra in Berkeley and Los Angeles, Break Works Theater for a decade. She has toured the direction of Leighton Fong, and continues the realm of contemporary music, it has recently Bread with Michael Morgan and Oakland East and worked with Robert Geary’s choirs exten- during the summer months as the UC Berkeley performed Steve Reich’s Desert Music; Morton Bay Symphony, The Hard Nut with the Mark sively since 1984, including the San Francisco Summer Symphony. An annual concerto com- Feldman’s Rothko Chapel; James MacMillan’s Morris Dancy Company at Cal Performances, Chamber Singers (now Volti) and Piedmont petition results in regular concerto performanc- Seven Last Words with Berkeley Symphony and Battle Hymns by David Lang with Volti, East Bay Children’s Choir, where she has con- es by the orchestra’s leading soloists, and regular under Joana Carneiro; and Lou Harrison’s La the San Francisco Choral Society, and the Leah ducted the children in Britten’s War Requiem coachings for each section are given by a number Koro Sutro. Stein Dance Company. and The Hard Nut, among others, as well as of noted Bay Area professional musicians. trained them for solo parts in various profession- UC Chamber Chorus Director Marika Kuzma Robert Geary, founding Artistic Director of al opera or musical productions. She is recipient has been invited to prepare choruses for the the Piedmont East Bay Children’s Choir, Volti, of the Choir’s Founders Award and has written Berkeley Symphony, Midsummer Mozart and the Golden Gate International Choral several pieces for them and her own Anchor Festival, Oakland Symphony, Philharmonia Festival, also serves as Artistic Director of the Bay Children’s Choir, which recently premiered Baroque Orchestra, and Youth Orchestra of the San Francisco Choral Society. For the past 30 a work by Texas composer Marty Regan. Her Americas, and has been a guest “chef de chœur” years, he has overseen the development of the publishers are Alliance Music and Santa Barbara for the Montreal Symphony, collaborating with Piedmont East Bay Children’s Choir, an innova- Music Publishers. San Francisco composer Mark conductors Joana Carneiro, George Cleve, Jane tive education and performance program whose Winges has written music for her, including Oh Glover, Michael Morgan, and Kent Nagano. record of success in international competition of Moon and Piano for choir and piano, which is at the highest national standard. Recipient can be heard on Innova Records. The internationally acclaimed Piedmont East of awards for Outstanding Conductorial Bay Children’s Choir offers children through- Achievement in Giessen Germany and Artistic military & tavern bands out San Francisco’s East Bay an outstanding Interpretation from the Międzyzdroje Festival in program of choral training and performance. Poland, Mr. Geary has also received the KDFC Established in 1923, the UC Berkeley Led by Artistic Director Robert Geary, the Music Educator of the Year Award, and the Lois Symphony Orchestra is the oldest performing Choir has performed with the Oakland East B. Rawlings Educational Inspiration Award. arts ensemble in the University of California Bay Symphony, Berkeley Symphony, San His choirs have been recognized in the United system. Throughout its long history, the orches- Francisco Opera, San Francisco Symphony, States by invitations to perform for the national tra has provided students and other members San Francisco Choral Society, Volti, for na- conferences of Chorus America, the American of the campus community with the opportu- tional and regional conventions of ACDA and Choral Directors Association, the Organization nity to expand their musical talents, while at OAKE, with John Denver, the Mark Morris of American Kodály Educators, and the College the same time presenting outstanding musical Dance Group, the Barenaked Ladies, and more. Music Society. His choirs can be heard on re- programs to the campus and wider Bay Area In addition to its vigorous program of innova- cordings with many labels including Other communities. Past conductors have included tive new music projects, commissions, and Minds, Harmonia Mundi, Koch International, Modeste Alloo, Albert Elkus, Joaquin Nin- premieres, the Choir has established itself as a Swiss International Radio, Ablaze, and Innova. Culmell, Michael Senturia, and Jung Ho-Pak. leading force in international choral activities, Mr. Geary also has prepared his choirs for some David Milnes (see pages 12–13) has served as with far-reaching collaborations and the es- of the world’s leading conductors, including the University Symphony Orchestra’s Music tablishment of the Golden Gate International Helmuth Rilling, Robert Shaw, Kurt Herbert Director since 1996, and has instituted cycles Children’s and Youth Choral Festival. The Adler, Edo de Waart, Krzysztof Penderecki, of symphonic music of Beethoven, Brahms,

44 CAL PERFORMANCES CAL PERFORMANCES 45