2006 Spring Season Brooklyn Academy of Music Mark Morris Dance Group Alan H

2006 Spring Season Brooklyn Academy of Music Mark Morris Dance Group Alan H. Fishman Mark Morris Chairman of the Board Artistic Director William I. Campbell Nancy Umanoff Vice Chairman of the Board Executive Director Karen Brooks Hopkins President Joseph V. Melillo Executive Producer

present Mark Morris Dance Group 25th Anniversary Season

Approximate With the MMDG Music Ensemble running time for Choreography by Mark Morris each program: two hours, BAM Howard Gilman Opera House including Mar 8—11, 15, 17, 18, 22 & 25, 2006 at 7:30pm intermissions Mar 23 at 7pm (BAM Spring Gala)

Program A (Mar 8, 9, 10 & 11) V — Robert Schumann —intermission— Grand Duo — Lou Harrison —intermission— Gloria — Antonio Vivaldi

Program C (Mar 22, 23 & 25) Cargo — Darius Milhaud (NY Premiere) All Fours — Bela Bartók —intermission— Candleﬂowerdance — Igor Stravinsky (NY Premiere) Going Away Party — Western Swing

BAM 2006 Spring Season is sponsored by Bloomberg. Forest City Ratner Companies is the presenting sponsor for the Mark Morris Dance Group engagement at BAM.

Support for the BAM Spring Gala is provided by Alex Hillman Family Foundation, Bruce Kovner, and Diane and Adam E. Max. The Spring Gala dinner venue is provided by Steiner Studios. Wine for the Spring Gala is provided by Pine Ridge Winery. Spring Gala printing courtesy of Ruder Finn, Inc.

Altria Group, Inc. is the Lead Sponsor for Mark Morris Dance Group’s 25th Anniversary Season.

BAM Dance receives major support from The Harkness Foundation for Dance and Mertz Gilmore Foundation, with additional support from Mary L. Griggs and Mary Griggs Burke Foundation. Mark Morris Dance Group

CRAIG BIESECKER JOE BOWIE CHARLTON BOYD ELISA CLARK* AMBER DARRAGH RITA DONAHUE LORENA EGAN* MARJORIE FOLKMAN LAUREN GRANT JOHN HEGINBOTHAM DAVID LEVENTHAL BRADON McDONALD GREGORY NUBER MAILE OKAMURA JUNE OMURA NOAH VINSON JULIE WORDEN MICHELLE YARD *apprentice

Artistic Director MARK MORRIS Executive Director NANCY UMANOFF

PRODUCTION OPERATIONS Technical Director Johan Henckens General Manager Aaron Mattocks Dance Center Production Manager Studio Manager Karyn Treadwell Matthew Eggleton Administrative Assistant Kathleen Cannucci Music Director Wolfram Koessel Management Assistant Adrienne Bryant Lighting Supervisors Facility Manager José Suarez Michael Chybowski, Nicole Pearce Maintenance David Baez Wardrobe Supervisor Katherine McDowell Ofﬁce Assistant Jay Selinger Sound Supervisor Jim Abdou FINANCE DEVELOPMENT/MARKETING Director of Finance Elizabeth Fox Director of Development Lauren Cherubini Finance Assistant Liz Bloomﬁeld Special Projects Manager Alex Pacheco Development Associate Jenna Parks EDUCATION Marketing Manager Laura Wall Director of Education Eva Nichols School Administrator Diane Ogunusi Administrative Assistant Marc Castelli

Lead Sponsor of MMDG’s 25th Anniversary Season MMDG’s 25th Anniversary National Tour Sponsor

Major Support for the Mark Morris Dance Group is provided by Carnegie Corporation of New York, JP Morgan Chase Foundation, The Howard Gilman Foundation, Independence Community Foundation, The Fan Fox and Leslie R. Samuels Foundation, The Shubert Foundation, The Starr Foundation, and Target.

The Mark Morris Dance Group New Works Fund is supported by The Andrew W. Mellon Foundation and the Gladys Krieble Delmas Foundation.

The Mark Morris Dance Group’s performances are made possible with public funds from the National Endowment for the Arts Dance Program and the New York State Council on the Arts, a State Agency.

Major support for the Mark Morris Dance Group’s use of live music is provided by Shelby and Frederick Gans, Linda Erickson Rawlings, and American Music Center Live Music for Dance Program.

Additional funding has been received from The Capezio/Ballet Makers Dance Foundation, Con Edison, Dance Heritage Coalition, The Harkness Foundation for Dance, The Iovino Family Foundation, Leon Lowenstein Foundation, Materials for the Arts, McDermott, Will & Emery, The New York City Department of Cultural Affairs, and the Friends of the Mark Morris Dance Group. Program A

Program A — Mar 8, 9, 10 & 11

Choreography by Mark Morris

Music Robert Schumann—Quintet in E ﬂat for piano and strings, op. 44 (1842) Allegro brillante In modo d’una Marcia. Un poco largamente—Agitato Scherzo molto vivace Allegro, ma non troppo

Costumes Martin Pakledinaz Lighting Michael Chybowski

JESSE MILLS violin; JENNIFER CURTIS violin; JESSICA TROY viola; WOLFRAM KOESSEL cello; STEVEN BECK piano

CRAIG BIESECKER, JOE BOWIE, CHARLTON BOYD, AMBER DARRAGH, RITA DONAHUE, MARJORIE FOLKMAN, LAUREN GRANT, JOHN HEGINBOTHAM, DAVID LEVENTHAL, BRADON McDONALD, GREGORY NUBER, MAILE OKAMURA, JULIE WORDEN, MICHELLE YARD

Dedicated to the City of New York.

Premiere: October 16, 2001—Dance Umbrella, Sadler’s Wells, London, England

—intermission—

GRAND DUO

Music Lou Harrison—Grand Duo for Violin and Piano (1988) Prelude Stampede A Round Polka

Costumes Susan Ruddie Lighting Michael Chybowski

JESSE MILLS violin; STEVEN BECK piano

CRAIG BIESECKER, JOE BOWIE, CHARLTON BOYD, AMBER DARRAGH, MARJORIE FOLKMAN, LAUREN GRANT, JOHN HEGINBOTHAM, DAVID LEVENTHAL, BRADON McDONALD, GREGORY NUBER, MAILE OKAMURA, JUNE OMURA, JULIE WORDEN, MICHELLE YARD

Premiere: February 16, 1993—Fine Arts Center, University of Massachusetts, Amherst

—intermission— Program A . Photo: Marc Royce Gloria GLORIA

Music Antonio Vivaldi—Gloria in D (circa 1700)

Lighting Michael Chybowski

MMDG MUSIC ENSEMBLE MARK MORRIS conductor

JUILLIARD CHORAL UNION Judith Clurman director

EILEEN CLARK soprano; MARGARET BRAGLE alto

CRAIG BIESECKER, JOE BOWIE, CHARLTON BOYD, MARJORIE FOLKMAN, LAUREN GRANT, DAVID LEVENTHAL, JUNE OMURA, NOAH VINSON, JULIE WORDEN, MICHELLE YARD

Premiere: December 12, 1981—Bessie Schönberg Theater, Dance Theater Workshop, New York City Revised: November 28, 1984—Brooklyn Academy of Music, Brooklyn, New York Program C

Program C — Mar 22, 23 & 25

Choreography by Mark Morris CARGO

Music Darius Milhaud—La Création du monde, Opus 58 (1923)

Costumes Katherine McDowell Lighting Nicole Pearce

MMDG MUSIC ENSEMBLE ROBERT COLE conductor

CRAIG BIESECKER, RITA DONAHUE, LAUREN GRANT, JOHN HEGINBOTHAM, DAVID LEVENTHAL, BRADON McDONALD, MAILE OKAMURA, JULIE WORDEN, MICHELLE YARD

Cargo Cults of the South Paciﬁc believed that manufactured western goods (‘cargo’) were created for them by ancestral spirits.

Commissioned in part by Tanglewood Music Center of the Boston Symphony Orchestra (James Levine, Music Director) through the generous support of Michael and Sally Gordon and the Florence Gould Foundation.

Premiere: June 26, 2005—Tanglewood Music Festival, Seiji Ozawa Hall, Lenox, Massachusetts

Darius Milhaud La Création du monde is performed by arrangement with Boosey & Hawkes, Inc., sole agent in the United States, Canada and Mexico; for Editions Max Eschig, a BMG Editions Company, publisher and copyright owner.

—pause—

ALL FOURS

Music: Béla Bartók—String Quartet No. 4 (1928)

Costumes Martin Pakledinaz Lighting Nicole Pearce

YOSUKE KAWASAKI violin; JENNIFER CURTIS violin; JESSICA TROY viola; WOLFRAM KOESSEL cello

I. Allegro JOE BOWIE, AMBER DARRAGH, RITA DONAHUE, JOHN HEGINBOTHAM, DAVID LEVENTHAL, MAILE OKAMURA, JUNE OMURA, NOAH VINSON II. Prestissimo, con sordino CRAIG BIESECKER, BRADON McDONALD III. Non troppo lento CRAIG BIESECKER, LAUREN GRANT (3/23), MARJORIE FOLKMAN (3/22, 25), BRADON McDONALD, JULIE WORDEN (3/22, 25), MICHELLE YARD (3/23) IV. Allegretto pizzicato MARJORIE FOLKMAN, JULIE WORDEN (3/22, 25) LAUREN GRANT, MICHELLE YARD (3/23) Program C

V. Allegro molto JOE BOWIE, AMBER DARRAGH, RITA DONAHUE, JOHN HEGINBOTHAM, DAVID LEVENTHAL, MAILE OKAMURA, JUNE OMURA, NOAH VINSON

Commissioned in part by Cal Performances.

Premiere: September 12, 2003—Cal Performances, Zellerbach Hall, Berkeley, California

Béla Bartók’s String Quartet No. 4 is performed by arrangement with Boosey & Hawkes, Inc., publisher and copyright owner.

—intermission— CANDLEFLOWERDANCE

Music Igor Stravinsky—Serenade in A (1925)

Costumes Katherine McDowell Lighting Nicole Pearce

STEVEN BECK piano

CRAIG BIESECKER, CHARLTON BOYD, RITA DONAHUE, LAUREN GRANT, BRADON McDONALD, JULIE WORDEN

For Susan Sontag

Commissioned in part by Cal Performances.

Premiere: September 22, 2005—Cal Performances, Zellerbach Hall, Berkeley, CA.

Igor Stravinsky’s Serenade in A is performed by arrangement with Boosey & Hawkes, Inc., sole agent in the United States, Canada and Mexico; for Editions Max Eschig, a BMG Editions Company, publisher and copyright owner.

—pause—

GOING AWAY PARTY

Music Bob Wills and His Texas Playboys—“Playboy Theme,” “Yearning,” “My Shoes Keep Walking Back to You,” “Goin’ Away Party,” “Baby, That Sure Would Go Good,” “Milk Cow Blues,” “Crippled Turkey,” “When You Leave Amarillo, Turn Out the Lights” (1935—73)

Costumes Christine Van Loon Lighting Michael Chybowski

THE WESTERN CARAVAN Steve Alcott bass; David “Thirsty Dave” Hansen vocals; Kenny Kosek violin; Joe Kerr piano; Frank “Skip” Krevens guitar; Bob Mastro violin; Dave Sonneborn drums & vocals; John Widgren pedal steel

CHARLTON BOYD, LAUREN GRANT, JOHN HEGINBOTHAM, DAVID LEVENTHAL, GREGORY NUBER, MAILE OKAMURA, JULIE WORDEN

Premiere: April 14, 1990—Halles de Schaerbeek, Brussels, Belgium Who’s Who

Mark Morris was born on August 29, 1956 the world, most notably Berkeley, CA, where in Seattle, Washington, where he studied as Cal Performances presents the company in two a young man with Verla Flowers and Perry annual seasons, including engagements of The Brunson. In the early years of his career, he per- Hard Nut each December. It appears regularly in formed with Lar Lubovitch, Hannah Kahn, Laura Boston, MA; Fairfax, VA; Seattle, WA; Urbana, IL; Dean, Eliot Feld, and the Koleda Balkan Dance at the Jacob’s Pillow Dance Festival in Becket, Ensemble. He formed the Mark Morris Dance MA and at BAM in Brooklyn, NY. MMDG made Group in 1980, and has since created more than its debut at the Mostly Mozart Festival in 2002 120 works for the company. From 1988—91, and at the Tanglewood Music Festival in 2003 he was director of dance at the Théâtre Royal de and has since returned to both festivals annually. la Monnaie in Brussels, the national opera house The company’s London seasons have garnered of Belgium. Among the works created during his two Laurence Olivier Awards. MMDG is noted tenure were three evening-length dances: The for its commitment to live music, a feature of Hard Nut; L’Allegro, il Penseroso ed il Moderato; every performance on its full international tour- and Dido and Aeneas. In 1990, he founded the ing schedule since 1996. Cellist Yo-Yo Ma has White Oak Dance Project with Mikhail Barysh- frequently collaborated with the Dance Group; nikov. Morris is also much in demand as a ballet their projects include the 1997 Emmy Award- choreographer. He has created six works on the winning film Falling Down Stairs and the 2002 San Francisco Ballet since 1994 and received dance Kolam, created for The Silk Road Project in commissions from American Ballet Theatre, and collaboration with Indian composer Zakir Hussain the Boston Ballet, among others. His work is in and jazz pianist Ethan Iverson of The Bad Plus. the repertory of the Geneva Ballet, New Zealand MMDG’s film and television projects include Dido Ballet, Houston Ballet, English National Ballet, and Aeneas, The Hard Nut, and two documen- and The Royal Ballet, Covent Garden. Morris is taries for the U.K.’s South Bank Show. In fall noted for his musicality—he has been described 2001, the Dance Group opened the Mark Morris as “undeviating in his devotion to music”—and Dance Center in Brooklyn, the company’s first for his “ability to conjure so many contradictory permanent headquarters in the U.S, housing re- styles and emotions.” He has worked exten- hearsal space for the dance community, outreach sively in opera, directing and choreographing programs for local children, as well as a school productions for the New York City Opera, English offering dance classes to students of all ages. National Opera, and The Royal Opera, Cov- ent Garden. Morris was named a Fellow of the MMDG Music Ensemble was formed in 1996 MacArthur Foundation in 1991. He has received and since that time has joined the Mark Morris honorary doctorates from The Boston Conserva- Dance Group on tour throughout the U.S., U.K., tory of Music, The Juilliard School, Long Island Australia and Japan. The Ensemble’s repertory University, Pratt Institute, Bowdoin College, and ranges from seventeenth-century works by John George Mason University. Morris is the subject Wilson and Henry Purcell to more recent scores of a biography by Joan Acocella (Farrar, Straus & by Lou Harrison and Henry Cowell. In addition, Giroux). In 2001, Marlowe & Company published the Ensemble presents concerts at the Mark Mark Morris’ L’Allegro, il Penseroso ed il Mod- Morris Dance Center in Brooklyn and other ven- erato: A Celebration, a volume of photographs ues, and participates in the Mark Morris Dance, and critical essays. Music, and Literacy program in the New York City public school system. The Ensemble is under the The Mark Morris Dance Group, now celebrat- direction of Wolfram Koessel. ing its 25th Anniversary, was formed in 1980 and gave its first concert that year in New York The Juilliard Choral Union is a community-based City. The company’s touring schedule steadily symphonic chorus comprising 100 volunteer expanded to include cities both in the U.S. and singers dedicated to achieving the top level of in Europe, and in 1986 it made its first national choral performance. Founded by Judith Clurman, television program for the PBS series Dance the Choral Union includes singers from the New in America. In 1988, the Dance Group was York metropolitan area, as well as currently invited to become the national dance company enrolled graduate and undergraduate Juilliard of Belgium, and spent three years in residence students, staff, and administrators. In its short at the Théâtre Royal de la Monnaie in Brussels. history, the Juilliard Choral Union has compiled The company returned to the United States a singularly interesting performance profile. The in 1991 as one of the world’s leading dance group’s September 11 commemoration in 2002 companies, performing across the U.S. and at was a community sing of Mozart’s Requiem, led major international festivals. It has maintained by Judith Clurman. Nearly 1,000 New York- and strengthened its ties to several cities around ers joined the chorus, orchestra, and soloists. Who’s Who

With the Orchestra of St. Luke’s, they sang at the Performances on the campus of the University of televised first memorial service at the World Trade California, Berkeley. Cole is also general director Center site, and returned again for the final family of the Berkeley Festival & Exhibition, an interna- memorial. The Choral Union often collaborates tional festival of early music he founded in June with Juilliard ensembles at Carnegie Hall, as they of 1990. In 2003 he was appointed Principal did for a performance of Britten’s War Requiem Guest Conductor of the Perm Opera and Ballet with the Juilliard Symphony and for a perfor- Theater (Russia). Recently he conducted the Kirov mance of Brahms’ Ein Deutsches Requiem. Orchestra with the Perm Ballet at the Mariinsky Juilliard’s centennial celebration in 2005—06 Theatre in St. Petersburg as part of the White also will feature the Juilliard Choral Union in Nights Festival. In 2002 Cole conducted The several performances and special events. Hard Nut with the Mark Morris Dance Group at BAM, and conducted the same work last season Judith Clurman serves on the faculty of The at Sadler’s Wells in London. In 1995 Cole was Juilliard School where she is director of choral ac- named a Chevalier of the Order of Arts and Letters tivities and founder of the Juilliard Choral Union. by the Government of France. She also is artistic director of the newly-created Prism Concerts in New York City, which begins its The Western Caravan featuring Thirsty Dave inaugural season in December 2005. In addition, was formed in 1995 by guitarist Whit Smith she has been named artistic director of Harvard (now with Austin-based Hot Club Of Cowtown). University’s Leonard Bernstein Celebration, which This eight-piece Western Swing Orchestra has takes place in the fall of 2006. Clurman has been serving up classic country, western swing, served as guest conductor for the Orchestra of and honky-tonk standards as well as their own St. Luke’s, Lincoln Center’s Great Performers and engaging originals to New York’s connoisseurs and Mostly Mozart Festival, Bravo: Vail Music Festival, homesick Texans ever since. Virginia Symphony, Rebecca Kelly Ballet, José Limon Dance Company, and Alvin Ailey II. She Michael Chybowski (lighting design) recently recently led the Juilliard Choral Union in the world designed Four Saints in Three Acts, V, and Kolam premiere of the New York City Ballet production of for the Mark Morris Dance Group, as well as Peter Martins’ Chichester Psalms. Her choruses Morris’s A Garden for San Francisco Ballet and have performed with major orchestras including Gong for ABT and the Royal Ballet. Other recent the New York Philharmonic and Boston Sym- work includes Parsifal for Seattle Opera, Songs phony. A strong supporter of American music, and Stories From Moby Dick with Laurie Anderson Clurman has commissioned works by award-win- (BAM/Barbican), Wit (New York, West End) and ning composers Milton Babbitt, William Bolcom, Da at the Guthrie, Beckett/Albee, The Beard of David Diamond, Libby Larsen, Paul Moravec, Avon for New York Theatre Workshop, and Antony Stephen Paulus, Augusta Read Thomas, and and Cleopatra for Théâtre de Carouge in Geneva. Christopher Rouse. She has received critical Upcoming work includes Much Ado About Noth- acclaim for her recordings with the New York ing at the Delacorte, two pieces at the Oregon Concert Singers—Divine Grandeur, The Mask, Shakespeare Festival, and Lady With A Lapdog and A Season’s Promise. In addition to her choral at the Guthrie. Chybowski was the recipient of an conducting classes and summer workshops at Obie Award for Sustained Excellence in 1999. Juilliard, Clurman has given master classes and lectures at Cambridge University and Eton College Katherine McDowell (costume design), who re- in England; the Janácek Academy in Brno, the ceived a B.F.A. from Cooper Union, has designed Czech Republic; the Universitá d’Ancona in Italy; Foursome, Kolam, Something Lies Beyond the and the Zimriya in Israel. Clurman is a member Scene, and Marble Halls for Mark Morris. She of the Special Classifications Committee of ASCAP has also designed for the Limón Dance Company, and a consultant at G. Schirmer Music. Singapore Ballet, American Ballet Theatre Studio Company, Ice Theater of New York, and Ben Robert Cole (conductor) received his MA in music Munisteri Dance Projects, among others. from the University of Southern California School of Music and went on to study conducting with Martin Pakledinaz (costume design) is represent- Richard Lert in California, Leonard Bernstein and ed this year with The Pajama Game on Broadway Leon Barzin at the Tanglewood Music Center, starring Harry Connick, Jr., The Trip to Bountiful and Hans Swarowsky in Europe. He served with the Signature Theatre in New York, and a as associate conductor of the Buffalo Philhar- new opera by Kaija Saariaho and Amin Malouf, monic Orchestra and was the executive director Adrianna Mater, directed by Peter Sellars for the and music director of the Ballet Society of Los Paris Opera/ Bastille. Previous work includes Won- Angeles. Since 1986, he has been director of Cal derful Town; Thoroughly Modern Millie; A Year Who’s Who With Frog And Toad; The Boys From Syracuse; Century. Van Loon has designed the costumes for Kiss Me, Kate; The Life; Andrew Lippa’s The Wild several Mark Morris productions including Dido Party; and Waste, among others. He has worked and Aeneas. with esteemed regional theaters throughout the United States. His work in opera includes Tristan Steven Beck (piano) was born in 1978 and is und Isolde for the Paris Opera/Bastille; Rodelinda a graduate of The Juilliard School, where his for the Metropolitan Opera; L’amour de Loin in teachers were Seymour Lipkin and Peter Serkin. Salzburg, Paris, Santa Fe, and Helsinki; and He made his debut with the National Symphony Lohengrin and The Ring in Seattle. Pakledinaz has Orchestra and toured Japan as soloist with the designed for many dance companies, including New York Symphonic Ensemble. Other orchestras the costumes for Helgi Tomasson’s The Nutcrack- with which he has appeared include the New Juil- er for the San Francisco Ballet in 2004. His work liard Ensemble (under David Robertson), Sequitur, with Mark Morris includes the recent Sylvia for and the Virginia Symphony. Beck has performed San Francisco Ballet, The Hard Nut, Wonderland, as soloist and chamber musician at the Ken- Le Nozze di Figaro, Ein Herz, Maelstrom, Pacific, nedy Center, Alice Tully Hall, Merkin Hall, Miller A Lake, Orfeo ed Euridice, Rhymes with Silver, Theater, Steinway Hall, and Tonic, as well as on Medium, V, All Fours, and upcoming projects with WNYC; summer appearances include the Aspen Boston Ballet and the Mostly Mozart Festival. He Music Festival, Lincoln Center Out of Doors, and has won the Tony, Drama Desk, Lucille Lortel, the Woodstock Mozart Festival. He is an artist Cable, and Obie awards, among others. presenter and frequent performer at Bargemusic. He has worked with Elliott Carter, Henri Dutil- Nicole Pearce (lighting design) has designed leux, and George Perle, and has appeared with for Mark Morris All Fours, Rock of Ages, From ensembles such as Speculum Musicae, Sospeso, Old Seville, Candleflowerdance, Cargo, and Up Friends and Enemies of New Music, and Counter- and Down (Boston Ballet). Other dance credits induction, and is also a member of the notorious include Swan Lake and The Little Mermaid (Bal- Knights of the Many-Sided Table. His recordings let Memphis); Carmina Burana (Ballet Theatre of are on the Albany, Monument, and Annemarie Maryland); and Hold the Line with choreographer Classics labels. He has played with the MMDG Alexander Proia (Symphony Space). Theater cred- Music Ensemble since 2004. its include The Sugar Syndrome (Williamstown Theatre Festival), and in New York, Mimesophobia Craig Biesecker, from Waynesboro, PA, received and Wet (SPF); 16 Wounded and 99 Histories a B.S. in Music Education from West Chester (Cherry Lane alternative); Sakharam Binder (The University of Pennsylvania. While teaching music Play Company); Mémoire (LABrynth Theatre in Philadelphia, he studied ballet with John Company); Blood in the Sink; The Secret Garden; White, Margarita de Saa, and Bryan Koulman Jump Rope; An Unseen Energy Swallows Space and worked with choreographers Tim and Lina (The Kitchen); Judith; and five productions with Early. In New York City he has worked with Pascal The Juilliard School. Rioult, Carolyn Dorfman, New York Theater Ballet, Mark Dendy, and Gerald Casel. Biesecker joined Susan Ruddie (costume designer) for MMDG has the Mark Morris Dance Group in 2003. designed costumes for Somebody’s Coming to See Me Tonight, Polka, Beautiful Day, Bedtime, Joe Bowie was born in Lansing, MI, and began Grand Duo, Home, A Spell, Lucky Charms, and dancing while attending Brown University where World Power. Other dance work include designs he graduated with honors in English and American for Ruth Davidson Hahn & Company’s premier Literature. In New York he has performed in the season, Ramon Oller for Ballet Hispanico, Gina works of Robert Wilson and Ulysses Dove and Gibney Dance, Infinity Dance Theater, and as- also danced with the Paul Taylor Dance Company sociate design on ABT’s Othello and Coppélia for two years before going to Belgium to work with and MMDG’s The Hard Nut. Ruddie is currently Mark Morris in 1989. costume director for Troika Entertainment where she has recently designed costumes for national Charlton Boyd was born in New Jersey, where tours of Fiddler on the Roof and a revival of Evita he studied and performed with the Inner City directed by Hal Prince. Ensemble Theater and Dance Company. He graduated from The Juilliard School. He went on Christine Van Loon (costume designer) was to dance with the Limón Dance Company and born in Hoeilaart, Belgium, and has studied appears in Jose Limón Technique Video, Volume commercial art and costume and set design. At 1, among other music videos. He first appeared the Théâtre Royal de la Monnaie in Brussels, she with the Mark Morris Dance Group in 1989 and worked in both the set and costume departments became a company member in 1994. and with Maurice Béjart’s Ballet of the 20th Who’s Who

Margaret Bragle (mezzo-soprano) made her Carn- Jennifer Curtis (violin) a recent graduate of The egie Hall debut in 2002 singing Handel’s Messiah Juilliard School, gives her New York debut at with the Masterwork Chorus. She was the winner Carnegie Hall’s Weill Recital Hall May 6, 2006. of the first Young American Singer Competition Curtis recently performed Dutilleux’s violin concert awarded by the American Bach Society and the L’Arbre des Songes, in Alice Tully Hall with the Bethlehem Bach Festival, and the recipient of an Juilliard Orchestra. Last fall The New York Times Adams Fellowship to the Carmel Bach Festival in recognized Curtis’ “fine solos” from her perfor- 1999. Other recent highlights include performance as concert master of the Juilliard Orchestra mances with the Charlotte Symphony, the San for Mahler’s Ninth Symphony in Avery Fisher Hall. Antonio Symphony, Dallas Bach Society, Apollo’s Curtis is also a composer and her music has been Fire, Masterwork Chorus, the Choral Arts Society performed throughout the U.S., Central America, of Philadelphia, the North Carolina and Canton and Europe. Her recent endeavor, Tres Americas Symphonies, Seattle Baroque, and New York’s Project, began with a tour in Panama, where she Ensemble for Early Music. Bragle was featured performed several of her own works for violin, in the world premiere performance and recording mandolin, guitar, and vocals. In 2000—01 Curtis of Toby Twining’s Chrysalid Requiem, and sang was the percussionist for Strong Current Dance in the 2002 Carnegie Hall Festival “When Morty Company in San Francisco. This is Curtis’ first met John.” Bragle can be heard in recordings season with the MMDG Music Ensemble. with Apollo’s Fire in Monteverdi’s L’Orfeo and Vespers of 1610 as well as the Mozart Requiem, Amber Darragh is originally from Newport, OR, available from Electra. She is featured on the where she began her dance training with Nancy Musica Omnia recording of the complete works of Mittleman. She received her B.F.A. from The Chiara Margarita Cozzolani; she can also be heard Juilliard School in 1999 and then danced with on the Charlotte Symphony Oratorio Singers CD the Limón Dance Company for two years. She is Sacred Voices of America singing Copland’s In the a recipient of the 2001 Princess Grace Award and Beginning. has presented her own choreography both in New York and abroad. Darragh joined the Mark Morris Eileen Clark (soprano) has sung with the Dance Group in 2001. MMDG Music Ensemble since 1997 in works of Monteverdi, Purcell, Bach, Brahms, and old Rita Donahue was born and raised in Fairfax, VA, Broadway. She has sung Queen of the Night (The and attended George Mason University, where she Magic Flute) and Naiad (Ariadne auf Naxos) with graduated with honors in dance and English in Syracuse Opera, Adina (Elixir of Love) with Com- 2002. She danced with bopi’s black sheep/dances monwealth Opera, and the baroque dance role by kraig patterson and joined the Mark Morris Galatea (Pygmalion) with Concert Royal. Clark has Dance Group in 2003. also enjoyed singing for the dancers of the Limón Dance Company, Anita Feldman Tap, Toby Twin- Lorena Egan began her training at the Phoenix ing Music, and at Kaatsbaan and Jacob’s Pillow. School of Ballet in Arizona. She graduated from This year Clark is a winner of a JPF record award The Juilliard School in 1998 and went on to for her CD Lemons Descending with cellist Matt dance with Buglisi/Foreman Dance and the Pascal Haimovitz (Oxingale records). Rioult Dance Theater (1999—2005). Egan joined the Mark Morris Dance Group as an apprentice in Elisa Clark received her early training from the 2005. Maryland Youth Ballet, and her BFA from The Juilliard School, under the direction of Benjamin Marjorie Folkman graduated summa cum laude Harkarvy. She has danced with the Lar Lubovitch from Barnard College and has attended Colum- Dance Company, the Nederlands Dans Theater, bia University’s Graduate Program in American the Peridance Ensemble, and Battleworks Dance Studies. She has danced with Amy Spencer and Company. Clark has staged works by Robert Richard Colton, Kraig Patterson, Neta Pulvermach- Battle, David Parsons, Igal Perry, and Adam er, Sally Hess, Ellen Cornfield, Sara Rudner, and Hougland on various schools and companies, the Repertory Understudy Group for the Merce including the Alvin Ailey American Dance Theater. Cunningham Dance Company. Folkman began She has been on the faculty of the American dancing with Mark Morris in 1996. Dance Festival, and currently works closely with Carolyn Adams and the American Dance Legacy Lauren Grant was raised in Highland Park, IL, Institute, as well as serves on an advisory panel and has danced with the Mark Morris Dance for Capezio. She first appeared with MMDG in Group since 1996. She has appeared in 34 of L’Allegro in August 2005. Mark Morris’s dances, originating thirteen roles. Lauren has played the role of Marie in The Hard Who’s Who Nut since 1998, the same year she became was featured on WQXR’s Young Artists Showcase. a company member. At age three, she began Upon completion of his master’s degree at the studying ballet and character dance. She attended Mannes College of Music, he was the recipient New York University’s Tisch School of the Arts, of the George and Elizabeth Gregory Award for graduating with a B.F.A. She teaches master Excellence in Performance. He has played with classes in ballet and modern technique, as well as the MMDG Music Ensemble since 2000 and was Mark Morris repertory, at schools and universi- named its music director in 2004. ties around the world, and MMDG’s school in Brooklyn. She is married to fellow dancer David David Leventhal, raised in Newton, MA, has Leventhal. danced with the Mark Morris Dance Group since 1997. He has appeared in 35 of Mark Morris’ John Heginbotham is from Anchorage, AK, and dances, including eleven premieres. He studied at graduated from The Juilliard School in 1993. He Boston Ballet School and has danced with José has performed with such artists as Susan Marshall Mateo’s Ballet Theatre and the companies of Mar- and Company, John Jasperse, and Ben Munis- cus Schulkind, Richard Colton/Amy Spencer, Zvi teri; he was a guest artist with Pilobolus Dance Gotheiner, Neta Pulvermacher, and Ben Munisteri. Theater. Heginbotham’s choreography is featured He graduated with honors in English Literature in the performances and Emerge music video of from Brown University in 1995. He teaches mas- recording artists Fischerspooner. He joined the ter classes in technique and repertory at schools Mark Morris Dance Group in 1998. and colleges around the country. He gives classes regularly at MMDG’s school, including one for Yosuke Kawasaki (violin) is currently the co- people with Parkinson’s Disease. He is married to concertmaster of the Saito Kinen Orchestra and fellow dancer Lauren Grant. the Mito Chamber Orchestra of Japan. He was the former concertmaster of the Montgomery Sym- Bradon McDonald received his B.F.A. from The phony Orchestra from 1999—2001. As an active Juilliard School in 1997. He danced with the chamber musician, Kawasaki has worked with Limón Dance Company for three years and was artists such as Lukas Foss, Gary Graffman, Karl the recipient of the 1998 Princess Grace Award. Leister, and Walter Van Hauwe. He has made duo He has choreographed and presented his own appearances with Vadim Serebryany in America works internationally, served as choreographer for and Japan which included the complete cycle of seven Juilliard Opera Company productions under Beethoven’s Sonata for Piano and Violin in the director Frank Corsaro, and was the choreographic 2000 season. His debut recording was recently assistant to Donald McKayle at the Alvin Ailey released of Bach’s Brandenburg Concertos on the American Dance Theater. McDonald joined the King label. He has been playing with the MMDG Mark Morris Dance Group in 2000. Music Ensemble since 2002. Jesse Mills (violin) graduated with a Bachelor of Wolfram Koessel (cello) made his critically ac- Music degree from The Juilliard School in 2001. claimed debut at Weill Recital Hall at Carnegie He has performed as soloist with the Juilliard Pre- Hall in 1994, since then he has performed as College Chamber Orchestra; the Teatro Argentino soloist and chamber musician in concert halls Orchestra in Buenos Aires, Argentina; the New throughout the world. Based in New York City, Jersey Symphony; the Sarah Lawrence College Koessel appears with a wide range of ensembles Symphony; the Plainfield Symphony; the Hudson and chamber music groups, most notably the Valley Philharmonic; and Aspen Music Festival’s Orpheus Chamber Orchestra and The Jupiter Sinfonia Orchestra as winner of the Festival’s E. Symphony. As a soloist, Koessel has performed Nakamichi Violin Concerto Competition. Mills the standard as well as unusual cello concerto received an Aspen Music Festival String Fellow- repertoire with the Jupiter Symphony, the New ship in 1997. As a chamber musician Mills has York Metamorphoses Orchestra, which he co- performed at Lincoln Center’s Alice Tully Hall, founded in 1994, the Mannes Orchestra and New York City’s Merkin Concert Hall and Barge- the Symphony Orchestras of Cordoba, Mendoza, music, the Rising Stars series at Caramoor, the Costa Rica, and Stuttgart. Multifaceted as a cham- Ravinia Festival’s Bennett-Gordon Hall, and at the ber musician, Koessel is on the faculty of the New Marlboro Music Festival. He has performed cham- York Youth Symphony Chamber Music Program ber music with such artists as Richard Goode, and is the music director of “Sundays on the David Soyer, Donald Weilerstein, Anton Kuerti, Island” (a chamber music series on New York’s Peter Wiley, Miriam Fried, Claude Frank, and Fred City Island). He served until recently as cellist with Sherry. He was a member of the FLUX Quartet the award-winning Meridian String Quartet. His from 2001—03. Currently, Mills is a member performance of Tchaikovsky’s Rococo Variations of Nurse Kaya, an ensemble comprised of string Who’s Who quartet plus bass and drums which exclusively husband, her family and MMDG for their love and plays compositions written by its members. Mills support. is also a member of the Denali Trio, with cellist Sarah Carter and pianist Ashley Wass. This is his Jessica Troy (viola), a native New Yorker, has first season performing with the MMDG Music played with the Mark Morris Dance Group Music Ensemble. Ensemble since 1998. She wears a wide variety of freelance hats; a member of the Brooklyn Gregory Nuber graduated from Arizona State Philharmonic, she has recently performed with University, where he studied acting and dance. He Sequitur, the new music ensemble, on baroque danced with Pascal Rioult Dance Theatre for three viola with Renee Fleming on the David Letterman years; appeared as a guest artist with New York Show, and everything in between. She has partici- City Opera, Cleveland Opera, and Tennessee Rep- pated at many illustrious chamber music festivals, ertory Theatre; and worked with numerous New including Prussia Cove and Marlboro—she can York-based choreographers. Nuber began working be heard on the latter’s 50th anniversary CD. She with the Mark Morris Dance Group in 1998 and is a proud resident of MMDG’s own Fort Greene became a company member in 2001. He is on neighborhood in Brooklyn. the faculty at the School at the Mark Morris Dance Center and teaches master classes in the United Noah Vinson received his B.A. in dance from States and abroad. Columbia College Chicago, where he worked with Shirley Mordine, Jan Erkert, and Brian Jeffrey. Maile Okamura is originally from San Diego, CA. In New York, he has danced with Teri and Oliver She was a member of Boston Ballet II in 1992— Steele and the Kevin Wynn Collection. He began 93 and Ballet Arizona in 1993—96. She has working with the Mark Morris Dance Group in danced with choreographers Neta Pulvermacher, 2002 and became a company member in 2004. Zvi Gotheiner, and Gerald Casel, among others. Okamura began working with the Mark Morris Julie Worden graduated from the North Carolina Dance Group in 1998 and became a company School of the Arts and joined the Mark Morris member in 2001. Dance Group in 1994.

June Omura is originally from New York City and Michelle Yard was born in Brooklyn and began grew up in Birmingham, AL. She graduated from her professional dance training at the New York Barnard College in 1986 with honors in dance City High School of the Performing Arts. Upon and English; she ﬁrst performed with Mark Morris graduation she received the Helen Tamiris and that summer, as a workshop student. In 1988, B’nai Brith awards. For three years she was a Omura joined the Mark Morris Dance Group, and scholarship student at the Alvin Ailey Dance in 2005 she was awarded a New York Dance and Center, and attended New York University’s Tisch Performance Award (Bessie) for her career with School of the Arts, where she graduated with a the company. Omura is also the proud mother of Bachelor of Fine Arts. Yard joined the Mark Morris twin girls, born in 2003, and is grateful to her Dance Group in 1997. Mom, thank you.

For Mark Morris Dance Group

Booking Representation Michael Mushalla Thanks to Maxine Morris. (Double M Arts & Events) Sincerest thanks to all the dancers for their Media and General Consultation Services dedication, support and incalculable contribution William Murray (Better Attitude, Inc) to the work.

Legal Counsel Mark Selinger For information contact: (McDermott, Will & Emery) Mark Morris Dance Group 3 Lafayette Avenue Accountant Kathryn Lundquist, CPA Brooklyn, NY 11217-1415 Tel: (718) 624-8400 Orthopaedist David S. Weiss, M.D. Fax: (718) 624-8900 (NYU-HJD Department of Orthopaedic Surgery) [email protected] www.mmdg.org Hilot Therapist Jeffrey Cohen MMDG Music Ensemble Gloria (Vivaldi) Trumpet Clarinet Carl Albach Todd Palmer Violin Shari Hoffman Jesse Mills, concertmaster Oboe Jennifer Curtis, principal Alexandra Knoll Saxophone Mae Barizo Taimor Sullivan Jonathan Dinklage Harpischord/organ Claire Jolivet Robert Wolinsky Bassoon Max Moston Seth Baer Katie Pawluk Benjamin Russel Cargo (Milhaud) French Horn Sebu Sirinian Theodor Primis Lisa Tipton Violin Trumpet Amie Weiss Yosuke Kawasaki Wayne du Maine Jennifer Curtis Viola Sycil Mathai Jessica Troy Cello Trombone Andrea Andros Wolfram Koessel David Cerutti Richard Clark Todd Low Double Bass Percussion Jordan Frazier Cello James Baker Sam Lazzara Wolfram Koessel Flute Susan Babini Tanya Dusevic Witek Piano Ariane Lallemand Lance D. Suzuki Koji Attwood Double Bass Oboe Jordan Frazier Alexandra Knoll Gregg August

CHORUS

The Juilliard Choral Union Judith Clurman, Director Randy Neff, Chorus Manager Colin Fowler, Rehearsal Pianist Christine McLeavey, Rehearsal Pianist

Soprano Alto Tenor Bass Louise Bloomﬁeld Nancy DeVore Scott Addison Gregory Bossler Julie Fisher Karen Feder Michael Banino Brian Carson Haruko Gil Caroline Moore Paul Phillips Jonathan Ferrantelli Elizabeth Hillebrand Michelle Oesterle Douglas Riccardi Andrew Martens Marie Mascari Reneé Thiel Joshua Rubinger Randy Neff Patricia Newkirk Andrew Willett Robert Zimmerman Owen Sheridan Sara Schmidtchen Sonya Stepanyan Mark Morris Dance Group

Mark Morris Craig Biesecker Joe Bowie

Charlton Boyd Elisa Clark Amber Darragh Rita Donahue

Lorena Egan Marjorie Folkman Lauren Grant John Heginbotham

David Leventhal Bradon McDonald Gregory Nuber Maile Okamura

June Omura Noah Vinson Julie Worden Michelle Yard

Photos by Amber Darragh Mark Morris Dance Group

Board of Directors Independence Community William & Christine Campbell Barbara Martin Cathryn Collins Foundation Capezio/Ballet Makers Dance Margaret Mastrianni Seth Edwards Iovino Family Foundation Foundation, Inc. Dianne E. O’Donnell Shelby Gans Leon Lowenstein Foundation Barbara Cipolla Martin Pakledinaz Jennifer Goodale Isaac Mizrahi Citibank Private Bank Kathleen Pavlick & Bill Agmado Sandy Hill Mr. Leon B. Polsky & Gerard Conn & Carol Yorke James & Barbara Pearce Isaac Mizrahi Mrs. Cynthia Hazen Polsky Ranny Cooper & David Smith Harriet Rosenstein & Mark Morris The Untitled Foundation Belden & Pamela Daniels Herbert Krohn Linda Erickson Rawlings David Resnicow Anonymous Susan & Gary De Long Carissa M. Schlosser Mark Selinger Jim & Sheila Foley Kathleen C. & James C. Shaffer Jane Stine Leaders Jennifer Goodale and Mark Edward Storm Nancy Umanoff John Brooks Adams & Lisa Russell David Vaughan Liebmann The Perry & Martin Granoff Andrea & David Weiss 2005-2006 Annual Fund American Music Center Family Foundation David Wertheimer Donors to the Mark Morris Arts International Joan & Burton Grant Susan White & Robert Kubacki Dance Group City of New York Department of Henry & Karoly Gutman Janice Wilford The Mark Morris Dance Cultural Affairs Shirley E. Hanigan Megan Williams & Group would like to thank Iris Cohen & Mark Selinger Roberta & Joe Hellman Andy Wollowitz the following individuals Con Edison Marvin Hoshino Atnonymous - 2 and organizations whose The Harkness Foundation The Lucille M. & George F. contributions have helped for Dance Jewett, Jr. Fund Patrons make the continued success Howard Hodgkin Harold J. Koda & Alan W. Anne E. Beaumont and growth of this organization Kathleen & Hugh Howard Kornberg Paul Beirne possible. JP Morgan Chase & Co. Michael Bowen Kulp Leslie & Alan Beller (List as of 02.15.06) Elizabeth Amy Liebman Fred & Jean Leventhal Petra Bober The Adele Markwitz William Li Louanna Carlin Fellows Memorial Fund Adrianne Lobel & Constance Christensen Altria Group, Inc. Carol S. Morton Mark Linn-Baker Albert Clowes Carnegie Corporation of Michael Mushalla Neil Mendoza Millard Cofﬁn New York Eliot Nolen & Timothy Bradley Mary & Bill McFeely Sharon L. Cumberland Linda Erickson Rawlings David Resnicow & Virginia Morrow Minges Mr. & Mrs. Kent R. Darragh Jane Stine & R.L. Stine Diane E. Solway Judy & Robert Munzenrider Cory & Bob Donnalley James Rosenthal & Dr. Robert A. Nichols & Charitable Foundation Crusaders Marvin Schofer Su-Mei Yu John & Linda S. Donovan Shelby & Frederick Gans Jane Levy Troy Maureen J. Nuber Barbara Epstein The Howard Gilman Foundation Nancy Umanoff & Drs. Emily & George Omura Neil Ericcson & Karen Florini The Andrew W. Mellon Johan Henckens Keith & Jill Pattiz Janet Farbstein Foundation Laura E. Schwartz & Olivia Falconer James MetLife Foundation Premiere Circle Arthur H. Jussel Katharine D. Jones Meyer Sound Jane E. Aaron Marjorie Randell-Silver & Eric Carolyn George National Endowment for Rosalind & Walter Bernheimer Silver Nonie Greene & Todd Werby the Arts Frederick & Morley Bland Robert S. Rubin Peter Hamlen & New York State Council on Charles & Birgit Blyth Herbert Sambol Rachel Schwartz the Arts Parks & Christie Campbell Debra & David Segal-Brackman John Harbison Robert Couturier Joan & Mark Sherman Margaret D. Howard Champions The Daedalus Foundation Elizabeth & William Sledge Phyllis Hyde, MD JP Morgan Chase Foundation Dance Heritage Coalition Alida B. Stange Ilene & Richard Jacobs The Fan Fox & Leslie R. Seth Edwards Patricia & Jeff Tarr Amy & David Jaffe Samuels Foundation June O. Goldberg George L. Turin T. Radey Johnson McDermott Will & Emery V Hansmann Washington Square Partners Helene Kaplan Ellen M. Poss Eric S. Hanson & Anita Storr Mary R. Waters Marianne Karmel & The Shubert Foundation Macduff Hughes Micki Wesson Murray Sackman The Starr Foundation Phyllis & Harvey Lichtenstein Anonymous Julie Kaufman Target Carol A. McFate & Bob Jensen Gabriella Kiss Jessie B. & Thomas J. Paul Sponsors Albert & Joan Kronick Directors Mary Anne & Douglas Macky Bennett Dann Krueger E. Terese Carpenter Schwalbe Christine & Donald Benson Claudia Brodsky Lacour Cathryn Collins & Ruth Turner Dancewave, Inc./Kid’s Café Joe E. Lewis Dr. Gerald Imber Joan Waricha Festival Kathleen Lingo The Gladys Krieble Delmas William Wegman Thomas Evans John Lipsky & Foundation Donna D. & Walter Wick Joan & Peter Faber Zsuzsanna Karasz James Duffy Francis H. Williams Hazel Fehlandt Keith Lockhart & Lucia Lin Judith R. & Alan H. Fishman Angela & James Worden John & Gillett Gilbert John P. MacDonald & Jonathan Gans & Abigail Turin Joan Greenﬁeld & Thomas von Foerster Sally & Michael L. Gordon Benefactors Dominique Singer Eugene Malinowski Sandy Hill & Thomas H. Judith Blumert James F. Ingalls Arthur Manzi Dittmer Bob Buckholz & Lizanne M.J. Karger Hon. Marty Markowitz Fontaine Erica Marks & Dan George Ann Bell McCoy Mark Morris Dance Group

Daniel D. McCrary Sarah R. Cohen Jan & Nina Jirka Dr. & Mrs. James Pennington Dennis McNally & Sally Collins Ruth Katz James & Ellen Perrin Susana Millman Suzanne Colt Julie Ann Keller & Christopher Judith J. Plows Allen Moyer Jean Crichton & Robert J. L. Campbell Nicholas Polimeros Ann Marie Napolitano Gunhouse Victoria Keller Andrea G. & Eran Preis Karen Nelson Linda & Ronald Daitz John Kelly Harold Pratt Jaylyn Olivo & Dale Flecker Cindy & Russ D’Ambra Barbara Kern Judith Lewis Rameior Ann Omura David & Lori Damrosch Kathleen M. King Judith & Sanford Randell Carl Paradiso Dale-anna Dean Frederick C. & Marion B. Kneip Carolyn Sloss Ratliff & William Carol Pardo Phil & Hilary Deely Margaret E. Kneip T. Ratliff, III Marcy & Leonard Plavin Barbara Deutsch Dr. & Mrs. Lawrence R. Krakoff Preston Reed Diana Prechter Tom Doneker Bennette & Eliot Kramer Alison Akin Righter Paul D. Ralston Vicki & Joseph Douglas Sali Ann & Alan M. Kriegsman Rina Rinkewich & Warren Nancy Reynolds Barry Durst Lucille Kurian Spielberg Marit Oybo Roman Elle Eddy Susan Laity Susan S. Rowland Lisa Roumell & Mark Rosenthal Judith Edelman Genevieve P. Lane Jane & Anthony Scotto Stephen Saitas Francine & Merton Ekelman Jean M. Lay Edna Seaman Sophia D. Schachter Carolyn Ellis & H. Lake Wise Alison & Marvin Lee Margaret M. Sharkey Judith Scoﬁeld Lisa Ernst Roy Leeper Vivien Shelanski Joshua Shapiro & Bonnie Feldman Deirdre Leipziger Michael Shernoff Heller B. Berman Ericka Ferguson Mia Leo & Dick Kuczowski Daphne & Andrew Silverstein Cyndi Stivers Carol Fippin Suzannah Lessard & Noel Siri Smedvig Gregory F. Taylor Glenda Fishman Brennan Sidney Smith Dr. Irena Tocino Fred H. Forrest Wendy Lesser Therese Smith Cory Toevs Barbara W. Foster Charlotte & J,C. Levenson Ilene Solomon & Larry Cohen Paul A. Travis Denis S. Frawley & Jon S. Kate D. Levin Keith Somers Jean-Georges Vongerichten Novick Francois Chasseigne Levinthal Lorraine & Lee Steele Sarah & Kenneth Wall Melinda & Lawrence Friedman Howard Levy & Sandra Mary Steinbauer Marian M. Warden Jane Furth & August Matzdorf Hockman Helen A. Strassberg Jane Weingold Steven Gale Maren Lindstrom Honorable & Mrs. John. A. Jesse & Eva Weiss Arthur Gary & Bernard Welt Lisa Llorente Sutro Marissa Wesely Lauren Gee Matthew Lore Mary Lou & Robert Sutter Harry C. White Beth Genné Kate Lorig Dr. Naomi G. Tamerin Ellen Gesmer & Alan Hyde Dennis & Vivian Low Lynne & Michael Tanner Associates Carin Goldberg Gerard E. Lynch Heather Thomas & Charles Kerr Barbara Alldredge Leslie Gould & Simeon Bruner William Lynch Robert Tumbelston & Craig DD Allen Emily Greenberg Dr. & Mrs. Bruce MacIntyre Seligman Patrick J. Aquilina Eleanor S. Groper Miriam Malach Dorothea Vahlberg Amy A. Arcangel Madeleine Grynsztejn Carol Mandel Patrick J. Vaz Peter G. Azrak & Anne Rhodes Sharon Gurwitz Phyllis Massar Francois & Isabelle Velde David P.R. & Nancy Bailin Stuart Haber Toni & Noboru Matsu Haydee D. von Sternberg David Barnett Jane Hamilton Erin Matthiessen Jean E. Walsh Frances Beatty Adler Andrew D. Hamingson Cynthia Mayeda Lynn Warshow Katherine A. Becker Nancy & John Hammond MEH Multimedia Howard & Ruth Warshower Lisa Belvin Anne Ryan & Michael A. Svend Mejdal Gordon & Cressida Wasserman Merithew Benington Hanaﬁn Maria S. Mejia Carol Weil Buzz Bense Sybil Hannah Paul Melo S. Douglas & Judith Weil John Bergman Wendall K. Harrington Barbara & Wayne Miller Suzanne Weil Daniel Berkenblit, M.D. Fred M. Hartwick Todd Webster Miller Herbert & Marcia Stecker Laura Brooks Joan Barkhorn Hass & Michael Mark C. Minton Weller Marilyn D. Brus S. Hass Andrew J. Moore Peter J. Wender Robert & Marie-France Bunting Mr. & Mrs. Scott M. Hand Susan Moore Julie K. Wildhaber Sarah Burnes Donald Hartline Kathryn & Peter Muhs Marguerite Williams Karen Burkhardt & Marilyn Elise Hauenstein & Norm Jean Nordhaus Mark & Carol Willis Rinsler Abram Zoë Nousiainen & Joseph Levy Elizabeth & Paul Wilson Regina Bustillos William Herbst Frankie Ocasio Dr. & Mrs. Steven Wolfe Alice Byrd Mary Jo Hill Ellen Offner Nancy Workman & Jonathan Elaine Carmen Nancy J. Hodin Everett & Evelyn Ortner Miller Jane Castaneda Jean Holmblad Michael Osso Kenneth L. Wyse Claire & Henry Castner Katharine Homans & Patterson Sandra Ourusoff Anne & Daniel Yanow Wynne Sax Cedar Sims Steve C. Owen Judith A. & Edward J. Zakreski Toby Chuah Carol H. Howard Ruth Pachman & Donald Fallati Christopher B. Zunner Cyanne Chutkow Mildred Iantosca & John F. Thomas Palmer & Dominique Anonymous - 2 George Cody & Francesca Costa Alfandre Benson John S. Ireland Mary J. Pane Jonathan Cohen John & Patricia Jacoby David J. Pearl Marcia Cohen Caroline Jennings Audrey Peltz & Jeffrey Amer 2006 Spring Season Brooklyn Academy of Music Mark Morris Dance Group Alan H. Fishman Mark Morris Chairman of the Board Artistic Director William I. Campbell Nancy Umanoff Vice Chairman of the Board Executive Director Karen Brooks Hopkins President Joseph V. Melillo Executive Producer

present Mark Morris Dance Group 25th Anniversary Season

Approximate With the MMDG Music Ensemble running time: Choreography by Mark Morris two hours, including one BAM Howard Gilman Opera House intermission Mar 8—11, 15, 17, 18, 22 & 25, 2006 at 7:30pm Mar 23 at 7pm (BAM Spring Gala)

Program B (Mar 15, 17 & 18)

Four Saints in Three Acts — Virgil Thomson

—intermission—

Dido and Aeneas — Henry Purcell

Forest City Ratner Companies is the presenting sponsor for the Mark Morris Dance Group engagement at BAM.

Support for the BAM Spring Gala is provided by Alex Hillman Family Founda- tion, Bruce Kovner, and Diane and Adam E. Max. The Spring Gala dinner venue is provided by Steiner Studios. Wine for the Spring Gala is provided by Pine Ridge Winery. Spring Gala printing courtesy of Ruder Finn, Inc.

Altria Group, Inc. is the Lead Sponsor for Mark Morris Dance Group’s 25th Anniversary Season.

Artistic Director MARK MORRIS Executive Director NANCY UMANOFF

DEVELOPMENT/MARKETING FINANCE Director of Development Lauren Cherubini Director of Finance Elizabeth Fox Special Projects Manager Alex Pacheco Finance Assistant Liz Bloomﬁeld Development Associate Jenna Parks Marketing Manager Laura Wall EDUCATION Director of Education Eva Nichols School Administrator Diane Ogunusi Administrative Assistant Marc Castelli

Lead Sponsor of MMDG’s 25th Anniversary Season MMDG’s 25th Anniversary National Tour Sponsor

The Mark Morris Dance Group New Works Fund is supported by The Andrew W. Mellon Foundation and the Gladys Krieble Delmas Foundation.

The Mark Morris Dance Group’s performances are made possible with public funds from the National Endowment for the Arts Dance Program and the New York State Council on the Arts, a State Agency.

Major support for the Mark Morris Dance Group’s use of live music is provided by Shelby and Frederick Gans, Linda Erickson Rawlings, and American Music Center Live Music for Dance Program.

Program B — Mar 15, 17 & 18

Choreography by Mark Morris

FOUR SAINTS IN THREE ACTS Music Virgil Thomson (1934) Libretto Gertrude Stein

Set design Maira Kalman Costumes Elizabeth Kurtzman Lighting Michael Chybowski

MMDG MUSIC ENSEMBLE

JEFFREY THOMAS conductor

RIVERSIDE CHORAL SOCIETY CHAMBER SINGERS Patrick Gardner, director

SINGERS ST. TERESA I CHRISTINE BRANDES ST. TERESA II SONIA GARIAEFF ST. SETTLEMENT JAYNE WEST ST. IGNATIUS JAMES MADDALENA ST. CHAVEZ / ST. STEPHEN RUFUS MÜLLER ST. PLAN JESSE BLUMBERG COMMÈRE ELSPETH FRANKS COMPÈRE CHRISTOPHER ROSELLI

DANCERS ST. TERESA MICHELLE YARD ST. IGNATIUS JOHN HEGINBOTHAM

Assorted Saints JOE BOWIE, CHARLTON BOYD, AMBER DARRAGH, LORENA EGAN, MARJORIE FOLKMAN, LAUREN GRANT, DAVID LEVENTHAL, BRADON McDONALD, GREGORY NUBER, JUNE OMURA, NOAH VINSON, JULIE WORDEN

Four Saints in Three Acts was made possible, in part, with public funds from the National Endowment for the Arts. Additional support was provided by the Virgil Thomson Foundation.

Premiere: June 28, 2000—London Coliseum, London, England

(Libretto for Four Saints in Three Acts follows in BAMbill)

—intermission— Program B

DIDO AND AENEAS Music Henry Purcell (1689) Libretto Nahum Tate

Set design Robert Bordo Costumes Christine Van Loon Lighting James F. Ingalls

MMDG MUSIC ENSEMBLE

JEFFREY THOMAS conductor

RIVERSIDE CHORAL SOCIETY CHAMBER SINGERS Patrick Gardner director

SINGERS BELINDA / FIRST WITCH CHRISTINE BRANDES DIDO / SORCERESS BETH CLAYTON SECOND WOMAN / SECOND WITCH JAYNE WEST AENEAS JAMES MADDALENA SAILOR RUFUS MÜLLER SPIRIT ELSPETH FRANKS

DANCERS BELINDA MARJORIE FOLKMAN DIDO AMBER DARRAGH SECOND WOMAN RITA DONAHUE AENEAS CRAIG BIESECKER SORCERESS BRADON McDONALD WITCHES GREGORY NUBER MAILE OKAMURA SAILOR LAUREN GRANT

Courtiers, Witches, Spirits, Sailors, and Conscience JOE BOWIE, RITA DONAHUE, MARJORIE FOLKMAN, LAUREN GRANT, DAVID LEVENTHAL, GREGORY NUBER, MAILE OKAMURA, JUNE OMURA, NOAH VINSON, JULIE WORDEN

Premiere: March 11, 1989—Théâtre Royal de la Monnaie, Théâtre Varia, Brussels

(Libretto for Dido and Aeneas follows in BAMbill) Dido & Aeneas

SYNOPSIS Scene 3. The Grove Dido and Aeneas make love. Another triumph for Scene 1. The Palace the hero. The royal party enters and tells a story The Trojan war is over. Aeneas and his people for Aeneas’ beneﬁt. Dido senses the approaching have found themselves in Carthage after a treach- storm. Belinda, ever practical, organizes the trip erous sea voyage. His destiny, as decreed by back to the palace. Aeneas is accosted by the the Gods, is to found Rome, but he has become false Mercury with this command: “Leave Car- obsessed with Dido, Queen of Carthage. Her sister thage Now.” He accepts his orders, then wonders and conﬁdante, Belinda, and other optimistic how to break the news to Dido. He is worried. courtiers urge her to enjoy her good fortune, but the young widow Dido is anxious. Aeneas arrives to ask the Queen, again, to give herself to him. Scene 4. The Ships Belinda notices, with relief, that Dido seems to be Aeneas and the Trojans prepare for the journey. capitulating. Dido and Aeneas leave together. Love The Sorceress and her witches are quite pleased triumphs. to see that their plot is working. Once Aeneas has sailed they will conjure an ocean storm. They are proud of themselves. Scene 2. The Cave The evil Sorceress summons her colleagues to Scene 5. The Palace make big trouble in Carthage. Dido must be Dido sees the Trojans preparing their ships. destroyed before sunset. Knowing of Aeneas’ Aeneas tries to explain his predicament and offers destiny to sail to Italy, the Sorceress decides to to break his vow in order to stay with her. Dido is send a Spirit disguised as Mercury to tell him he appalled by his hypocrisy. She sends him away must depart immediately. Since Dido and Aeneas and contemplates the inevitability of death. “Re- and the rest are out on a hunt, the witches plan member me but forget my fate.” Dido dies. to make a storm to spoil the lovers’ fun and send everyone back home. The witches cast their spell. Who’s Who

Mark Morris was born on August 29, 1956 in has been described as “undeviating in his devo- Seattle, Washington, where he studied as a young tion to music”—and for his “ability to conjure so man with Verla Flowers and Perry Brunson. In many contradictory styles and emotions.” He has the early years of his career, he performed with worked extensively in opera, directing and choreo- Lar Lubovitch, Hannah Kahn, Laura Dean, Eliot graphing productions for the New York City Opera, Feld, and the Koleda Balkan Dance Ensemble. He English National Opera, and The Royal Opera, formed the Mark Morris Dance Group in 1980, Covent Garden. Morris was named a Fellow of the and has since created more than 120 works for MacArthur Foundation in 1991. He has received the company. From 1988—91, he was director of honorary doctorates from The Boston Conserva- dance at the Théâtre Royal de la Monnaie in Brus- tory of Music, The Juilliard School, Long Island sels, the national opera house of Belgium. Among University, Pratt Institute, Bowdoin College, and the works created during his tenure were three George Mason University. Morris is the subject evening-length dances: The Hard Nut; L’Allegro, il of a biography by Joan Acocella (Farrar, Straus & Penseroso ed il Moderato; and Dido and Aeneas. Giroux). In 2001, Marlowe & Company published In 1990, he founded the White Oak Dance Project Mark Morris’ L’Allegro, il Penseroso ed il Mod- with Mikhail Baryshnikov. Morris is also much in erato: A Celebration, a volume of photographs demand as a ballet choreographer. He has created and critical essays. six works on the San Francisco Ballet since 1994 and received commissions from American Ballet The Mark Morris Dance Group, now celebrat- Theatre, and the Boston Ballet, among others. ing its 25th Anniversary, was formed in 1980 His work is in the repertory of the Geneva Ballet, and gave its ﬁrst concert that year in New York New Zealand Ballet, Houston Ballet, English City. The company’s touring schedule steadily National Ballet, and The Royal Ballet, Covent expanded to include cities both in the U.S. and Garden. Morris is noted for his musicality—he in Europe, and in 1986 it made its ﬁrst national Who’s Who

television program for the PBS series Dance Musical Offering, motets, chamber music, and in America. In 1988, the Dance Group was works by Schütz, Pergolesi, Vivaldi, Haydn, and invited to become the national dance company Beethoven. He has appeared with the Baltimore, of Belgium, and spent three years in residence Berkeley, Boston, Detroit, Houston, National, at the Théâtre Royal de la Monnaie in Brussels. Rochester, Minnesota, and San Francisco sym- The company returned to the United States phony orchestras; with the Vienna Symphony in 1991 as one of the world’s leading dance and the New Japan Philharmonic; with virtually companies, performing across the U.S. and at every American baroque orchestra; and in Austria, major international festivals. It has maintained England, Germany, Italy, Japan, and Mexico. He and strengthened its ties to several cities around has performed at the Santa Fe Chamber Music the world, most notably Berkeley, CA, where Festival, Spoleto USA Festival, Ravinia Festival, Cal Performances presents the company in two Saratoga Performing Arts Center, Berkeley Festival annual seasons, including engagements of The and Exhibition, Boston Early Music Festival, Hard Nut each December. It appears regularly in Bethlehem Bach Festival, Göttingen Festival, Tage Boston, MA; Fairfax, VA; Seattle, WA; Urbana, IL; Alte Musik Festival in Regensburg, E. Nakamichi at the Jacob’s Pillow Dance Festival in Becket, Baroque Festival in Los Angeles, the Smithsonian MA, and at BAM in Brooklyn, NY. MMDG made Institution, and at BAM’s Next Wave Festival, and its debut at the Mostly Mozart Festival in 2002 he has collaborated on several occasions as con- and at the Tanglewood Music Festival in 2003 ductor with the Mark Morris Dance Group. Before and has since returned to both festivals annually. devoting all of his time to conducting, he was one The company’s London seasons have garnered of the first recipients of the San Francisco Opera two Laurence Olivier Awards. MMDG is noted Company’s prestigious Adler Fellowships. Cited for its commitment to live music, a feature of by The Wall Street Journal as “a superstar among every performance on its full international tour- oratorio tenors,” Thomas’ extensive discography ing schedule since 1996. Cellist Yo-Yo Ma has of vocal music includes dozens of recordings frequently collaborated with the Dance Group; of major works for Decca, EMI, Erato, Koch their projects include the 1997 Emmy Award- International Classics, Denon, Harmonia Mundi, winning film Falling Down Stairs and the 2002 Smithsonian, Newport Classics, and Arabesque. dance Kolam, created for The Silk Road Project in Thomas is an avid exponent of contemporary collaboration with Indian composer Zakir Hussain music, and has conducted the premiers of new and jazz pianist Ethan Iverson of The Bad Plus. operas, including David Conte’s Gift of the Magi MMDG’s film and television projects include Dido and Firebird Motel, and premiered song cycles of and Aeneas, The Hard Nut, and two documenta- several composers, including two cycles written ries for the U.K.’s South Bank Show. In fall 2001, especially for him. He has performed lieder recit- the Dance Group opened the Mark Morris Dance als at the Smithsonian, song recitals at various Center in Brooklyn, the company’s first permanent universities, and appeared with his own vocal headquarters in the U.S, housing rehearsal space chamber music ensemble, L’Aria Viva. Educated for the dance community, outreach programs for at the Oberlin Conservatory of Music, Manhat- local children, as well as a school offering dance tan School of Music, and the Juilliard School of classes to students of all ages. Music, with further studies in English literature at Cambridge University, he has taught at the MMDG Music Ensemble was formed in 1996 Amherst Early Music Workshop, Oberlin College and since that time has joined the Mark Morris Conservatory Baroque Performance Institute, San Dance Group on tour throughout the U.S., U.K., Francisco Early Music Society, and Southern Utah Australia and Japan. The Ensemble’s repertory Early Music Workshops, presented master classes ranges from seventeenth-century works by John at the New England Conservatory of Music, San Wilson and Henry Purcell to more recent scores Francisco Conservatory of Music, SUNY at Buf- by Lou Harrison and Henry Cowell. In addition, falo, Swarthmore College, and Washington Uni- the Ensemble presents concerts at the Mark Mor- versity, been on the faculty of Lehigh University in ris Dance Center in Brooklyn and other venues, Pennsylvania, and was artist-in-residence at the and participates in the Mark Morris Dance, University of California, where he is now professor Music, and Literacy program in the New York City of music (Barbara K. Jackson Chair in Choral public school system. The Ensemble is under the Conducting) and director of choral ensembles in direction of Wolfram Koessel. the Department of Music at UC Davis. In 2001 he was designated a UC Davis Chancellor’s Fellow. Jeffrey Thomas (conductor) is artistic and music director of the American Bach Soloists, with Riverside Choral Society Chamber Singers whom he has directed and conducted recordings This is the second appearance of the Riverside of more than 25 cantatas, the Mass in B Minor, Choral Society Chamber Singers with the Mark Who’s Who Morris Dance Group. The Riverside Choral also Director of Choral Activities at Rutgers Society, celebrating its 25th season, is a vital University. This season Gardner will prepare presence in the cultural life of New York City. RCS and the Rutgers Choirs for performances of Under the baton of director Patrick Gardner, the Shostakovich’s Second, Third, and Thirteenth group has performed major works by Beethoven, Symphonies with the Kirov Orchestra and the Bruckner, Brahms, Mozart, Schubert, Haydn, Rotterdam Philharmonic under the baton of Britten, Pärt, Fauré, Lou Harrison, and many Valery Gergiev. Last season he prepared RCS others. RCS is noted for presenting both master- for presentations of Mahler’s Second Symphony works and new and unusual choral works under with Gergiev and the Kirov Orchestra at Carnegie Gardner’s direction and was the first New York Hall and the NJPAC. Gardner has prepared the ensemble to perform Robert Levin’s reconstruc- Riverside Choral Society for the Mostly Mozart tion of the Mozart Requiem. RCS presented the Festival in performances of Mozart’s Requiem first New York performance of Carl Orff’s Nänie and the C Minor Mass, Haydn’s Creation, and und Dithyramb, and has several times received numerous other major works in the past decade, grants from the Kurt Weill Foundation to present appearing with both the Mostly Mozart Festival seldom-heard works such as Weill’s Das Berliner Orchestra and London’s Orchestra of the Age of Requiem and his Vom Tod im Wald. In recent Enlightenment. In the past several years Gardner seasons Patrick Gardner conducted RCS in perfor- has conducted RCS in their own Lincoln Center mances at Alice Tully Hall of the Beethoven Missa performances of Beethoven’s Missa Solemnis, Solemnis, the Stravinsky Symphony of Psalms, Stravinsky’s Symphony of Psalms, Mozart’s and La Koro Sutro, the late Lou Harrison’s setting C Minor Mass and Lou Harrison’s La Koro of the Buddhist Heart Sutra for chorus and the Sutro. On May 19, 2006 he will conduct the American Gamelan, an orchestra of percussion Brahms Requiem with Riverside Choral Society instruments built by the composer. Last sum- at Lincoln Center’s Alice Tully Hall. Recently mer RCS returned to the Mostly Mozart Festival Gardner conducted the Shostakovich Piano to perform Handel’s L’Allegro with MMDG. In Concerto No. 1 and the Schubert Fifth Symphony the summer of 2004 RCS performed Mozart’s with the Rutgers Summer Festival Orchestra, Requiem at MMF under the direction of Louis the professional orchestra in residence at the Langrée, with whom RCS performed Haydn’s University. In other recent orchestral concerts he Creation in 2003 and the Beethoven Choral has conducted Haydn Symphony No. 88 and Fantasy with Robert Levin as fortepiano soloist the Mozart D Minor Piano Concerto, the Ibert in 2002. The group made its Lincoln Center Flute Concerto, Prokofiev’s Alexander Nevsky, debut in August 1998 in the Festival’s lauded and the Fauré Pavane. Gardner has prepared the presentation of Mozart’s Idomeneo, returned Rutgers University Glee Club for a performance to Mostly Mozart in 2000 for two acclaimed of Schoenberg’s Gurrelieder with Sir Simon Rattle performances of Mozart’s Great Mass in C minor, and the Philadelphia Orchestra. He was the and presented two highly praised performances chorus master for the internationally acclaimed of Schumann’s Das Paradies und die Peri at the Robert Altman production of Stravinsky’s Rake’s Festival in 2001. Last season RCS presented Progress at the Opera de Lille in France and Mario Castelnuovo-Tedesco’s Sacred Service un- has recorded for Naxos, Albany, Ethereal and der Gardner’s direction at Safra Hall at New York Folkways records. City’s Museum of Jewish Heritage. In April RCS joined the Kirov Opera Orchestra at Carnegie Hall Robert Bordo (set design) was born in Montreal and the New Jersey Performing Arts Center for and has lived and worked in New York since performances of the Mahler Second Symphony 1972. His first New York solo exhibition was held under the direction of Valery Gergiev. Maestro at Brooke Alexander in 1987. His paintings were Gergiev has requested that RCS join him again to most recently seen in Incorrigible, Sentimental perform the three choral symphonies in Lincoln curated by Merline James (Kerlin Gallery, Dublin) Center’s 2006 presentation of the complete cycle and Mirage, curated by Julie Ault and Martin of Shostakovich’s symphonies with the Kirov Beck (Alexander and Bonin). He is a professor at Orchestra and the Rotterdam Philharmonic. the Cooper Union School of Art where he leads the painting program. In 2003, he was visiting Patrick Gardner, active in premièring new critic for the MFA program at Yale University and music, has won the praise of audiences, the Glasgow School of Art, Scotland as well as a critics, and notable composers whose work visiting artist at the American Academy in Rome. he has conducted, such as Lou Harrison, He has collaborated with Mark Morris designing William Bolcom, John Harbison, and Lukas sets and costumes for several dances, including Foss. Now in his sixteenth season as director Henry Purcell’s opera Dido and Aeneas. of the Riverside Choral Society, Gardner is Who’s Who

Michael Chybowski (lighting design) recently One woman shows at the Julie Saul Gallery NYC. designed Four Saints in Three Acts, V, and Soon to be a guest columnist for New York Times Kolam for the Mark Morris Dance Group, as well Select. Co-founder of The Rubber Band Society as Morris’s A Garden for San Francisco Ballet founded on the love of rubber bands. Lives in and Gong for ABT and the Royal Ballet. Other NYC. recent work includes Parsifal for Seattle Opera, Songs and Stories from Moby Dick with Laurie Elizabeth Kurtzman (costume design) was Anderson (BAM/Barbican), Wit (New York, West born in Manhattan. She began her career as a End), and Da at the Guthrie, Beckett/Albee, The product and textile designer for several prestigious Beard of Avon for New York Theatre Workshop, New York design houses after studying fashion and Antony and Cleopatra for Théâtre de Carouge at Parsons School of Design. She then added in Geneva. Upcoming work includes Much Ado costume design and illustration to her list of About Nothing at the Delacorte, two pieces at vocations and designed numerous pieces for the the Oregon Shakespeare Festival, and Lady Mark Morris Dance Company including Dancing With A Lapdog at the Guthrie. Chybowski was Honeymoon, The Argument, Greek to Me, and the recipient of an Obie Award for Sustained Four Saints in Three Acts. Kurtzman lives and Excellence in 1999. works in New York City.

James F. Ingalls (lighting design) has designed Christine Van Loon (costume designer) was several works for Mark Morris including born in Hoeilaart, Belgium, and has studied Rameau’s Platée at the New York City Opera and commercial art and costume and set design. At the Royal Opera; Dido and Aeneas; The Hard the Théâtre Royal de la Monnaie in Brussels, she Nut; the ﬁrst White Oak Dance Project tours; Ein worked in both the set and costume departments Herz for the Paris Opera Ballet; and Maelstrom, and with Maurice Béjart’s Ballet of the 20th Paciﬁc, and Sandpaper Ballet for San Francisco Century. Van Loon has designed the costumes for Ballet. For the Boston Ballet he has designed several Mark Morris productions including Dido The Four Seasons choreographed by Christopher and Aeneas. Wheeldon, Lila York’s Celts, and Nine Lives and Resurrection, choreographed by Daniel Pelzig. Craig Biesecker, from Waynesboro, PA, received Recent work includes The Elephant Man on a B.S. in Music Education from West Chester Broadway, War and Peace at the Metropolitan University of Pennsylvania. While teaching music Opera, Counter/Part choreographed by Jim in Philadelphia, he studied ballet with John Vincent for Hubbard Street Dance Company and White, Margarita de Saa, and Bryan Koulman L’Amour de Loin directed by Peter Sellars at Santa and worked with choreographers Tim and Lina Fe Opera, Théâtre du Châtelet/Paris and the Early. In New York City he has worked with Pascal Salzburg Festival. He often collaborates with Beth Rioult, Carolyn Dorfman, New York Theater Ballet, Burns and the Saint Joseph Ballet. Mark Dendy, and Gerald Casel. Biesecker joined the Mark Morris Dance Group in 2003. Maira Kalman (costume design) Born at a young age. Tel Aviv. Moved to New York with her Jesse Blumberg (baritone) recently returned family. Studied music at High School of Music from his second season at Glimmerglass Opera, and Art. Literature at NYU. Illustrator/author of where he performed the role of the Hotel Waiter thirteen children’s books including Max Makes A in Britten’s Death in Venice. Equally at home on Million and Ooh La La (Max in Love). Illustrator opera and concert stages, he has been recognized of The Elements of Style by Strunk and White. in several vocal competitions, including the Met- Conceived of and performed in the opera version ropolitan Opera National Council Auditions and of Elements of Style with music by Nico Muhly. the International Johannes Brahms Competition. Co-author of (UN)fashion with Tibor Kalman. In addition to his debut with MMDG, this season Cover artist for The New Yorker Magazine. Most Blumberg also joins the artist roster of the Marilyn notably NEWYORKISTAN cover in collaboration Horne Foundation, which will present him on its with Rick Meyerowitz. Article/art contributor to On Wings of Song series. He will give additional The New York Times, The New Yorker, Travel and recitals in New York City and Washington, DC. Leisure, Interview among others. Designed fabric for Isaac Mizrahi and MAHARAM, mannequins Joe Bowie was born in Lansing, MI, and began for Ralph Pucci, products for Museum of Modern dancing while attending Brown University where Art under the M&Co label. Set design for MMDG he graduated with honors in English and Ameri- for Four Saints in Three Acts. Murals for Grand can Literature. In New York he has performed in Central Station and Wave Hill Gardens. Teach the works of Robert Wilson and Ulysses Dove and graduate design at School of Visual Arts. In NYC. also danced with the Paul Taylor Dance Company Who’s Who

for two years before going to Belgium to work with Platée, and at the Opera Company of Philadel- Mark Morris in 1989. phia in Die Zauberflöte, L’Elisir d’amore, and Don Giovanni. Additionally, Brandes has performed Charlton Boyd was born in New Jersey, where Le Nozze di Figaro with New York City Opera, he studied and performed with the Inner City Opera Pacific, and with the opera companies of Ensemble Theater and Dance Company. He Philadelphia, Montréal, and Quebec. Brandes has graduated from The Juilliard School. He went on recorded for EMI, BMG/Conifer Classics, Dorian, to dance with the Limón Dance Company and Harmonia Mundi USA, Virgin Classics, and Koch appears in Jose Limón Technique Video, Volume International. 1, among other music videos. He first appeared with the Mark Morris Dance Group in 1989 and Elisa Clark received her early training from the became a company member in 1994. Maryland Youth Ballet, and her BFA from The Juilliard School, under the direction of Benjamin Christine Brandes (soprano) brings her committed Harkarvy. She has danced with the Lar Lubovitch artistry to a repertoire ranging from seventeenth- Dance Company, the Nederlands Dans Theater, century to newly composed works performing at the Peridance Ensemble, and Battleworks Dance many of the world’s most distinguished festivals Company. Clark has staged works by Robert and concert series in programs spanning from Battle, David Parsons, Igal Perry, and Adam recitals and chamber music to oratorio and opera. Hougland on various schools and companies, In the 2005—06 season Brandes’ operatic including the Alvin Ailey American Dance Theater. appearances include the role of The Governess She has been on the faculty of the American in The Turn of the Screw at the Lyric Opera of Dance Festival, and currently works closely with Kansas City, Susanna in Le Nozze di Figaro at Carolyn Adams and the American Dance Legacy the Opera Compnay of Philadelphia, and the title Institute, as well as serves on an advisory panel role of L’Incoronazione di Poppea at Central City for Capezio. She first appeared with the MMDG in Opera.Her busy concert schedule brings her to L’Allegro in August 2005. the Chamber Music Society of Lincoln Center for Melinda Wagner’s Four Settings, a piece written for Brandes; the New York Philharmonic for Beth Clayton’s (mezzo-soprano) extensive Messiah; the San Francisco Symphony; the Saint repertoire ranges from frequent collaborations Paul Chamber Orchestra with Nicholas McGegan; with today’s leading composers to major roles of Music of the Baroque for Bach’s St. John Passion the baroque. Among the composers with whom with Nicholas Kraemer; and Mahler with the she has worked are Kaija Saariaho, John Adams, National Symphony Orchestra and Leonard Thomas Adès, Aaron Jay Kernis, William Bolcom, Slatkin. She has appeared with many of the finest Carlisle Floyd, Peter Lieberson, and Deborah orchestras, including those of Cleveland, Chicago, Dratell. She has also sung the title role of Handel’s Los Angeles, Houston, Tokyo, Detroit, Minnesota, Ariodante with the Handel and Haydn Society of Milwaukee, St. Louis, and the National Sympho- Boston under Christopher Hogwood and the role of Nerone in Agrippina at Glimmerglass Opera under ny, with such conductors as Esa Pekka Salonen, Harry Bicket. Her operatic repertoire also includes Sir Simon Rattle, Pierre Boulez, Sir Charles the title role of Carmen (Welsh National Opera, Mackerras, Hans Graf, Rafael Frühbeck de Burgos, Santa Fe Opera, and Opera Colorado), Octavian among many others. She also has bowed at (Vancouver Opera), Maddalena in Rigoletto Lincoln Center’s Mostly Mozart Festival and at The (Lyric Opera of Chicago, Santa Fe Opera), Olga Ravinia Festival with the Philharmonia Baroque in Yevgeny Onegin (Santa Fe Opera), the Fox in Orchestra as well as working with the Orpheus Cunning Little Vixen (Canadian Opera Company) Chamber Orchestra, Ensemble Orchestral de and Andromaca in Rossini’s Ermione (Dallas Paris and the Chamber Orchestra of Philadelphia. Opera). Other operatic appearances include the Brandes’ operatic career has been highlighted by world premieres of Bolcom’s A Wedding (Lyric engagements at Houston Grand Opera, both as Opera of Chicago) and Adams’ Doctor Atomic (San Dalinda in Handel’s Ariodante with Christopher Francisco Opera) and Handel’s Xerxes (New York Hogwood and as Nannetta in Falstaff with Patrick City Opera). In concert, she has appeared with Summer, and by performances at San Diego Op- the Cleveland Orchestra, New York Philharmonic, era in Ariodante, Lisbon’s Gulbenkian Foundation Minnesota Orchestra, BBC Symphony, Baltimore as Despina in Così fan tutte, Opera Theatre of St. Symphony, Dallas Symphony, and San Diego Louis in Cimarosa’s The Secret Marriage, Glim- Symphony with conductors including Pierre merglass Opera both as Dorinda in Handel’s Or- Boulez, Kurt Masur, David Zinman, Dennis lando and in the title role of Acis and Galatea, San Russell Davies, Robert Spano, and Donald Francisco Opera in Semele under the baton of Sir Runnicles. Clayton is a graduate of Southern Charles Mackerras, the Opéra de Nancy in Alcina, Methodist University and the Manhattan School of New York City Opera in Acis and Galatea and Music and is a native of Arkansas. Who’s Who

Amber Darragh is originally from Newport, OR, the Grand Prize in the Carmel Music Society Vocal where she began her dance training with Nancy Competition. She was a National Grand Finalist in Mittleman. She received her B.F.A. from The the prestigious Loren L. Zachary Competition in Juilliard School in 1999 and then danced with 2002 and 2004, and was selected as a regional the Limón Dance Company for two years. She is finalist in the Metropolitan Opera National Council a recipient of the 2001 Princess Grace Award and Awards in both 2000 and 2003. She sang the has presented her own choreography both in New role of Rosina in Barber of Seville at Eugene Opera York and abroad. Darragh joined the Mark Morris in December 2005 and she’s been engaged by Dance Group in 2001. Opera San Jose for the 2006—07 season in the roles of Stefano (Romeo and Juliet) and Flora Rita Donahue was born and raised in Fairfax, VA, (Traviata). In 2004, she was named a Resident and attended George Mason University, where she Artist in Education with the San Francisco Opera graduated with honors in dance and English in Center. Her oratorio and concert work includes 2002. She danced with bopi’s black sheep/dances Handel’s Messiah (Davies Symphony Hall, San by kraig patterson and joined the Mark Morris Francisco), Rossini’s Petite Messe Solemnelle, Dance Group in 2003. Pergolesi’s Stabat Mater, and Bach’s Magnificat. In 2001, Gariaeff performed Schoenberg’s Brettl- Lorena Egan began her training at the Phoenix leider as part of the Olympic Music Festival in School of Ballet in Arizona. She graduated from Washington State. She received her Master’s The Juilliard School in 1998 and went on to degree in Vocal Performance from the San dance with Buglisi/Foreman Dance and the Pascal Francisco Conservatory of Music, and resides in Rioult Dance Theater (1999—2005). Egan joined San Francisco. She sang the role of Rosina in the Mark Morris Dance Group as an apprentice Barber of Seville at Eugene Opera in December in 2005. 2005 and she’s been engaged by Opera San Jose for the 2006—07 season in the roles of Stefano Marjorie Folkman graduated summa cum laude (Romeo and Juliet) and Flora (Traviata). from Barnard College and has attended Columbia University’s Graduate Program in American Lauren Grant was raised in Highland Park, IL, Studies. She has danced with Amy Spencer and and has danced with the Mark Morris Dance Richard Colton, Kraig Patterson, Neta Pulvermach- Group since 1996. She has appeared in 34 of er, Sally Hess, Ellen Cornfield, Sara Rudner, and Mark Morris’s dances, originating thirteen roles. the Repertory Understudy Group for the Merce Lauren has played the role of Marie in The Hard Cunningham Dance Company. Folkman began Nut since 1998, the same year she became dancing with Mark Morris in 1996. a company member. At age three, she began studying ballet and character dance. She attended Elspeth Franks (mezzo-soprano) performs a wide New York University’s Tisch School of the Arts, array of operatic and concert roles throughout the graduating with a B.F.A. She teaches master mezzo, alto and soprano repertoires. She made classes in ballet and modern technique, as well as her New York debut with the Mark Morris Dance Mark Morris repertory, at schools and universi- Group as Commère, a role she is delighted to ties around the world, and MMDG’s school in reprise. Named a “Virginia Best Adams Fellow” Brooklyn. She is married to fellow dancer David at the Carmel Bach Festival for 2002 and 2003, Leventhal. Franks returned there this summer as featured soprano soloist. She made her European debut John Heginbotham is from Anchorage, AK, and in 2004 in Haydn’s Harmoniemesse in Munich, graduated from The Juilliard School in 1993. He Prague, Budapest, and Vienna. has performed with such artists as Susan Marshall and Company, John Jasperse, and Ben Munis- Sonia Gariaeff’s (mezzo-soprano) signature roles teri; he was a guest artist with Pilobolus Dance include Dorabella, Cherubino, Orlofsky, Rosina, Theater. Heginbotham’s choreography is featured Annio and the title roles of La Cenerentola and in the performances and Emerge music video of Ariodante. As a member of Portland Opera’s recording artists Fischerspooner. He joined the Young Artist program, she made her company Mark Morris Dance Group in 1998. debut as the Voice of Antonia’s Mother in Les contes d’Hoffmann. Gariaeff is increasingly in David Leventhal, raised in Newton, MA, has demand with such companies as West Bay danced with the Mark Morris Dance Group since Opera, Pocket Opera, San Francisco Lyric Opera, 1997. He has appeared in 35 of Mark Morris’ Festival Opera, and Berkeley Opera. She debuted dances, including eleven premieres. He studied at with Eugene Opera in the role of Orlovsky in Boston Ballet School and has danced with José December 2004. Gariaeff was recently awarded Mateo’s Ballet Theatre and the companies of Mar- Who’s Who cus Schulkind, Richard Colton/Amy Spencer, Zvi recitals in the Wigmore Hall and the Barbican Gotheiner, Neta Pulvermacher, and Ben Munisteri. Concert Hall in London, on BBC Radio, and in He graduated with honors in English Literature Munich, Tokyo, Barcelona, Madrid, Utrecht, Paris, from Brown University in 1995. He teaches mas- Salzburg, and New York, including numerous ter classes in technique and repertory at schools recitals with pianist Maria João Pires. He makes and colleges around the country. He gives classes regular appearances at Carnegie Hall, and is regularly at MMDG’s school, including one for particularly acclaimed for his portrayal of the people with Parkinson’s Disease. He is married to Bach Evangelists, and the Messiah. Operatic fellow dancer Lauren Grant. roles include Tamino (Garsington Opera), Lucano James Maddalena (baritone) is known for his in L’Incoronazione di Poppea (Houston Grand outstanding work in contemporary music. He cre- Opera), the title role in García’s Don Quijote with ated the notable characters of Richard Nixon and KL Opera Madrid, the title roles in Rameau’s The Captain in two operas by John Adams, the Pygmalion and Lully’s Persée (Opera Atelier award winning Nixon in China and The Death of in Toronto), the title role in Monteverdi’s Orfeo Klinghoffer, respectively. He is closely associated (Opera Zuid in The Netherlands), Aminta in Peri’s with other composers such as John Harbison, Euridice, (Opéra de Normandie), Alessandro in Gunther Schuller, Eliot Goldenthal, Robert Handel’s Poro (Halle), and Lurcanio in Handel’s Moran, Domenic Argento, Marc Blitzstein, and Ariodante in Göttingen with Nicholas McGegan Michael Tippett, among others, via performances released on a prize-winning disc by Harmonia with such companies as New York City Opera, Mundi USA. He has also sung Tersandre in Houston Grand Opera, The Washington Opera, Lully’s Roland with René Jacob in Paris, Lisbon, San Francisco Opera, The Atlanta Opera, Opera and Montpellier, Giuliano in Handel’s Rodrigo Theatre of St. Louis, The Frankfurt Opera, Opera in Siena, Castor in Rameau’s Castor et Pollux in de la Monnaie in Brussels, Australia’s Adelaide Magdeburg, Il Ritorno d’Ulisse in Patria (Athens, Festival, The Netherlands Opera, Glyndebourne Festival Opera and The Opera de Lyon as well as Florence, and Cremona), Oronte in Alcina with with The Chicago Symphony, The Los Ange- Paul Goodwin and the Academy of Ancient les Philharmonic, The Boston Symphony, San Music in Montreux and Poissy, and Soliman in Francisco Symphony, The Brooklyn Philharmonic, Zaïde with Ivor Bolton and the Freiburg Baroque The Royal Scottish Orchestra, The Orchestra of the Orchestra in London. Other recordings include Accademia di Santa Cecilia in Rome and The Lon- Bach’s St. John Passion and Bach Cantatas don Symphony. Other highlights of Maddalena’s with J.E. Gardiner, Mozart’s Die Zauberflöte and career include Schubert’s demanding song cycle Beethoven’s Choral Fantasia with R. Norrington, Die Winterreise sung at BAM with Robert Spano Telemann’s Admiralitätsmusik, Telemann solo as accompanist and the complete cycle of Bach cantatas, Ned Rorem’s Evidence of Things Not cantatas with Boston’s Emmanuel Music. He has Seen with the New York Festival of Song, and the recorded prolifically for Decca/London, BMG Clas- Evangelist in Bach’s St. Matthew Passion from the sical Catalyst, Nonesuch, Teldec, Sony Classical, production by Jonathan Miller, on BBC TV and Harmonia Mundi and EMI. revived at BAM this season. Müller, born in Kent, Bradon McDonald received his B.F.A. from The England, is studying in New York with Thomas Juilliard School in 1997. He danced with the LoMonaco. Limón Dance Company for three years and was Gregory Nuber graduated from Arizona State the recipient of the 1998 Princess Grace Award. University, where he studied acting and dance. He He has choreographed and presented his own danced with Pascal Rioult Dance Theatre for three works internationally, served as choreographer for years; appeared as a guest artist with New York seven Juilliard Opera Company productions under City Opera, Cleveland Opera, and Tennessee Rep- director Frank Corsaro, and was the choreographic ertory Theatre; and worked with numerous New assistant to Donald McKayle at the Alvin Ailey York-based choreographers. Nuber began working American Dance Theater. McDonald joined the with the Mark Morris Dance Group in 1998 and Mark Morris Dance Group in 2000. became a company member in 2001. He is on Rufus Müller (tenor) has worked with many the faculty at the School at the Mark Morris Dance leading conductors including Sir John Eliot Center and teaches master classes in the United Gardiner, Roger Norrington, Ivor Bolton, Richard States and abroad. Hickox, Nicholas McGegan, Gustav Leonhardt, Maile Okamura is originally from San Diego, CA. Frans Brüggen, Trevor Pinnock, Philippe She was a member of Boston Ballet II in 1992— Herreweghe, Joshua Rifkin, Andrew Parrott, 93 and Ballet Arizona in 1993—96. She has Nicholas Kraemer, and Ivan Fischer. He has given danced with choreographers Neta Pulvermacher, Who’s Who Zvi Gotheiner, and Gerald Casel, among others. Noah Vinson received his B.A. in dance from Okamura began working with the Mark Morris Columbia College Chicago, where he worked with Dance Group in 1998 and became a company Shirley Mordine, Jan Erkert, and Brian Jeffrey. member in 2001. In New York, he has danced with Teri and Oliver Steele and the Kevin Wynn Collection. He began June Omura is originally from New York City and working with the Mark Morris Dance Group in grew up in Birmingham, AL. She graduated from 2002 and became a company member in 2004. Barnard College in 1986 with honors in dance and English; she first performed with Mark Morris Jayne West (soprano) has performed with many that summer, as a workshop student. In 1988, of the country’s leading orchestras and chamber Omura joined the Mark Morris Dance Group, and groups, including the Boston Symphony Orches- in 2005 she was awarded a New York Dance and tra, Philadelphia Orchestra, National Symphony, Performance Award (Bessie) for her career with Detroit Symphony, Orchestra of St. Luke, Handel the company. Omura is also the proud mother of & Haydn Society, and St. Paul Chamber Or- twin girls, born in 2003, and is grateful to her chestra under notable conductors Seiji Ozawa, husband, her family and MMDG for their love and Bernard Haitink, Trevor Pinnock, Neeme Järvi, support. Roberto Abbado, Jesus Lopez-Cobos, Christopher Hogwood, Jane Glover, and Grant Llewellyn. She Christopher Roselli (bass-baritone), has appeared has sung at the Edinburgh Festival, Tanglewood in operatic performances with the Utah Opera, Music Festival, Grant Park Series, Saito Kinen Spoleto Festival, Italy and USA, New York Grand Festival, and with the Brussels National Opera, Opera, Virginia Opera, Opera Colorado, Opera Houston Grand Opera, The New Israeli Opera Theatre of the Rockies, El Paso Opera, Piedmont Tel Aviv, and Boston Lyric Opera. She has sung Opera Theater, Sarasota Opera, Breckenridge virtually all of the existing Bach Cantatas as soloist Music Festival, Brevard Music Festival, the Young and in the chorus with Emmanuel Music, where Artists Opera Theater of North Carolina, with she has sung since 1987. West has recordings on Mark Morris Dance Group, and at BAM. Roselli’s Koch, Decca/Argo, London Records, CRI, Newport concert engagements have included national and Classics, Music Masters, and Telarc. She is on the international tours in Germany, Austria, France, faculty of Longy School of Music and Boston Arts Switzerland, Denmark, and Italy. Roselli has sung Academy. in many ensembles in and around New York City including the Metropolitan Opera, Voices of Ascen- Julie Worden graduated from the North Carolina sion, New York Choral Artists, New York Col- School of the Arts and joined the Mark Morris legium, Pro Arte Singers, St. Ignatius Loyola Choir, Dance Group in 1994. Collegiate Chorale, Musica Viva, Bard Festival, Virtuoso Singers, and The Chants Mystique Cho- Michelle Yard was born in Brooklyn and began rale. In addition to his varied performing credits, her professional dance training at the New York Roselli is a member of the voice faculties at New City High School of the Performing Arts. Upon York University and the New School for Drama. graduation she received the Helen Tamiris and During the summer, he serves on the voice faculty B’nai Brith awards. For three years she was a of Colorado College’s Vocal Arts Symposium. scholarship student at the Alvin Ailey Dance Roselli received his Doctor of Music degree from Center, and attended New York University’s Tisch Indiana University and his Bachelor and Master School of the Arts, where she graduated with a degrees from the University of North Carolina. Bachelor of Fine Arts. Yard joined the Mark Morris Dance Group in 1997. Mom, thank you.

For Mark Morris Dance Group Thanks to Maxine Morris. Booking Representation Michael Mushalla Sincerest thanks to all the dancers for their (Double M Arts & Events) dedication, support and incalculable contribution Media and General Consultation Services to the work. William Murray (Better Attitude, Inc) Legal Counsel Mark Selinger For information contact: (McDermott, Will & Emery) Mark Morris Dance Group Accountant Kathryn Lundquist, CPA 3 Lafayette Avenue Orthopaedist David S. Weiss, M.D. (NYU-HJD Brooklyn, NY 11217-1415 Department of Orthopaedic Surgery) Tel: (718) 624-8400 / Fax: (718) 624-8900 Hilot Therapist Jeffrey Cohen [email protected] / www.mmdg.org MMDG Music Ensemble

Violin Double Bass Trombone † Yosuke Kawasaki, Jordan Frazier Richard Clark concertmaster Gregg August Jennifer Curtis, principal Percussion† Aaron Brown Flute/Piccolo † Matthew Gold Cordelia Hagmann Tanya Dusevic Witek Eric Poland Claire Jolivet Pauline Kim Oboe/English Horn † Accordion† Vivienne Kim Alexandra Knoll Will Holshouser Max Moston Benjamin Russell Clarinet † Harpsichord/Harmonium Sebu Sirinian Todd Palmer Robert Wolinsky Amie Weiss Bassoon † Lute * Viola Seth Baer Dan Swenberg Jessica Troy Todd Low French Horn † Irena Momchilova Theodor Primis Four Saints in Three Acts only † Melissa Reardon Chad Yarbrough Dido and Aeneas only *

Cello Trumpet † Wolfram Koessel Wayne du Maine Susan Babini Ariane Lallemand

CHORUS

Riverside Choral Society Chamber Singers Patrick Gardner, Director

Soprano Tenor Esther Chen Naoki Achiwa Robyn Cucurullo Peter Gillett Cathy Jewell Fischer Matthew Kreger Barbara Morgan Paul Promadhat Jane Rady Jason Tramm Sara Stevens Jonathan Wind Kay Welch Alexander Wang

Alto Bass Stephanie Cook Stephen Herschkorn Laurie Dunn Dennis Longwell Lauren Faria Gideon Dabi Karyn Gerhard Greg Jackson Sara Roemer Scott Wheatley Martha Shershin Lewis White Catherine Ward Carla Williams Mark Morris Dance Group

Mark Morris Craig Biesecker Joe Bowie

Charlton Boyd Elisa Clark Amber Darragh Rita Donahue

Lorena Egan Marjorie Folkman Lauren Grant John Heginbotham

David Leventhal Bradon McDonald Gregory Nuber Maile Okamura

June Omura Noah Vinson Julie Worden Michelle Yard

Photos by Amber Darragh Fours Saints — Libretto PROLOGUE ACT I

CHORUS I: To know to know to love her so. COMMÈRE: Saint Teresa in a storm at Avila there Four saints prepare for saints. can be rain and warm snow and warm that is the It makes it well fish. water is warm the river is not warm the sun is not Four saints it makes it well fish. warm and if to stay to cry. Four saints prepare for saints it makes it well well fish it makes it well fish prepare for saints. CHORUS II: If to stay to if to stay if having to stay to if having to stay if to cry to stay if to cry stay to SAINT STEPHEN: In narrative prepare for saints. cry to stay.

SAINT SETTLEMENT: Prepare for saints. CHORUS I: Saint Teresa half in and half out of doors.

SAINT PLAN: Two saints. COMMÈRE: Saint Ignatius not there. Saint Ignatius staying where. Never heard them speak SAINT SARAH: Four saints. speak of it.

SAINT SETTLEMENT: Two saints prepare for CHORUS I: Saint Ignatius silent motive not saints it two saints prepare for saints in prepare hidden. for saints. COMMÈRE: Saint Teresa silent. SAINT STEPHEN: A narrative of prepare for saints in narrative prepare for saints. CHORUS II: They were never beset.

SAINT SETTLEMENT AND SAINT SARAH: CHORUS I: Come one come one. Remain to narrate to prepare two saints for saints. COMMÈRE: No saint to remember to remember. SAINT PLAN: At least. CHORUS II: No saint to remember. SAINT STEPHEN: In finally. CHORUS I: Saint Teresa knowing young and told. SAINT PLAN: Very well if not to have and miner. SAINT SETTLEMENT: If it were possible to kill five SAINT STEPHEN: A saint is one to be for two thousand chinamen by pressing a button would it when three and you make five and two and cover. be done.

CHORUS I: A at most. COMMÈRE: Saint Teresa not interested. Saint saint a saint. Forgotten saint. What happened today, a narrative. COMPÈRE: Repeat First Act.

COMMÈRE: Saint Teresa Saint Martyr Saint COMMÈRE: A pleasure April fool’s day a pleasure. Settlement Saint Thomasine Saint Electra Saint Saint Teresa seated. Wilhelmina Saint Evelyn Saint Pilar Saint Hillaire Saint Bernadine. SAINT TERESA I: Not April fool’s day a pleasure.

COMPÈRE: Saint Ignatius Saint Paul Saint William CHORUS I: Saint Teresa seated. Saint Gilbert Saint Settle Saint Arthur Saint Selmer Saint Paul Seize Saint Cardinal Saint Plan Saint SAINT TERESA I: Not April fool’s day a pleasure. Giuseppe. CHORUS I: Saint Teresa seated. CHORUS I: Any one to tease a saint seriously. SAINT TERESA I: April fool’s day April fool’s day as not as pleasure as April fool’s day not a pleasure. Fours Saints — Libretto

CHORUS I: Saint Teresa seated and not surround- COMMÈRE: Saint Teresa. ed. There are a great many persons and places near together. Saint Teresa not seated. SAINT TERESA I: Nobody visits more than they do visits them Saint Teresa. SAINT TERESA I: There are a great many persons and places near together. CHORUS I: As loud as that as allowed as that.

COMPÈRE: Saint Teresa not seated at once. SAINT TERESA I: Nobody visits more than they do visits them. SAINT TERESA I: There are a great many places and persons near together. COMPÈRE: Who settles a private life.

COMPÈRE: Saint Teresa once seated. ALL: Saint Teresa.

SAINT TERESA I: There are a great many places CHORUS I, II: Who settles a private life. and persons near together. COMPÈRE: Saint Teresa COMPÈRE: Saint Teresa seated and not surrounded. CHORUS I, II: Who settles a private life. SAINT TERESA I: There are a great many persons and places near together. COMPÈRE: Saint Teresa

CHORUS I: Saint Teresa visited by very many as CHORUS I: Saint Teresa seated and if he could be well as the others really visited before she was standing and standing and saying and saying left seated. to be.

SAINT TERESA I: There are a great many persons COMPÈRE: Introducing Saint Ignatius and places close together. SAINT IGNATIUS: Left to be. CHORUS I: Saint Teresa not young and younger but visited like the others by some, who are COMMÈRE: She can have no one no one can frequently going there. have any one any one can have not any one can have not any one can have can have to say so. COMPÈRE: Saint Teresa very nearly half inside and half outside outside the house and not sur- CHORUS I and II: Saint Teresa seated and not rounded. standing half and half of it and not half and half of it seated and not standing surrounded and not SAINT TERESA I and II: How do you do. Very well seated and not seated and not standing and not I thank you. And when do you go. I am staying on surrounded not not surrounded and not not not quite continuously. When is it planned. Not more seated not seated not seated not surrounded not than as often. seated and Saint Ignatius standing standing not seated Saint Teresa not standing not standing and SAINT STEPHEN: The garden inside and outside Saint Ignatius not standing standing surrounded of the wall. as if in once yesterday. In place of situations.

CHORUS I: Saint Teresa about to be. CHORUS I: Saint Teresa could be photographed having been dressed like a lady and then they SAINT STEPHEN: The garden inside and outside taking out her head changed it to a nun and a nun outside and inside of the wall. a saint and a saint so.

COMPÈRE: Nobody visits more than they do COMMÈRE: Saint Teresa seated and not sur- visits them. rounded might be very well inclined to be settled. Fours Saints — Libretto

SAINT TERESA I: Made to be coming here. How hyacinths and ﬁnd violets. many saints can sit around. A great many saints can sit around with one standing. SAINT TERESA I: Saint Teresa can never change herbs for pansies and dry them. COMPÈRE AND COMMÈRE: A saint is easily re- sisted. Saint Teresa. Let it as land Saint Teresa. As CHORUS II: They think there that it is their share. land beside a house. Saint Teresa. As land beside a house and at one time Saint Teresa. CHORUS I: And please.

SAINT TERESA II: As land beside a house to be to COMPÈRE: Saint Teresa makes as in this to be this this which theirs beneath Saint Teresa. stems.

CHORUS I, II: Saint Teresa saints make sugar with CHORUS I: And while. a ﬂavor. In different ways when it is practicable. COMPÈRE: Saint Teresa settled and some come. SAINT TERESA I: Could she know that that he was not not to be to be very to be dead not dead. SAINT STEPHEN: Some come to be near not near her but the same. CHORUS I, II and SAINT TERESA I: Saint Teresa must be must be chain left chain right chain chain CHORUS II: Sound them with the thirds and that. is it. No one chain is it not chain is it, chained to not to life chained to not to snow chained to SAINT TERESA I: How many are there halving. chained to go and and gone. CHORUS I: Scene Three. CHORUS II: Not this not in this not with this. SAINT SETTLEMENT: Saint Teresa having known COMPÈRE: Saint Teresa as a young girl being that no snow in vain as snow is not vain. widowed. COMMÈRE: Saint Teresa needed it as she was. COMMÈRE: Can she sing. COMPÈRE: Saint Teresa made it be third. SAINT TERESA I: Leave later gaily the troubadour plays his guitar. CHORUS II: Snow third high third there third.

SAINT STEPHEN: Saint Teresa might it be Martha. COMPÈRE: Saint Teresa in allowance. Saint Louise and Saint Celestine and Saint Louis Paul and Saint Settlement Fernande and Ignatius. SAINT TERESA I: How many saints can remember a house which was built before they can SAINT TERESA I: Can women have wishes. remember.

COMPÈRE: Scene Two. CHORUS I: Ten saints can. How many saints can be and land be and sand be and on a high CHORUS I: Scene three. plateau there is no sand there is snow and there is Could all four saints not only be in brief. made to be so and very much can be what there is to see when there is a wind to have it dry and COMMÈRE: Contumely. be what they can understand to undertake to let it be to send it well as much as none to be to be COMPÈRE: Saint Teresa advancing. behind. None to be behind.

SAINT TERESA I: In this way as movement. In COMPÈRE: Enclosure. having been in. SAINT TERESA I: None to be behind. CHORUS I: Does she want to be neglectful of Fours Saints — Libretto COMMÈRE: Enclosure. SAINT IGNATIUS: A scene and withers. Scene CHORUS I: Did wish did want did at most agree Three and Scene Two. How can a sister see Saint that it was not when they had met that they were Teresa suitably. Pear trees cherry blossoms pink separated longitudinally. blossoms and late apples and surrounded by Spain and lain. Why when in lean fairly rejoin COMPÈRE: While it escapes it adds to it just as it place dismiss calls. did when it has and does with it in that to intend COMPÈRE: Whether weather soil. to intensity and sound. COMMÈRE: Saint Teresa refuses to bestow. COMMÈRE: Is there a difference between a sound a hiss a kiss a as well. COMPÈRE: Saint Teresa with account.

CHORUS I: Could they grow and tell it so if it was COMMÈRE: Saint Teresa having felt it with it. left to be to go to go to see to see to saw to saw to build to place to come to rest to hand to beam to SAINT TERESA I: There can be no peace on earth couple to name to rectify to do. with calm with calm. There can be no peace on earth with calm with calm. There can be no peace COMMÈRE: Saint Ignatius Saint Settlement Saint on earth with calm with calm and with whom Paul Seize Saint Anselmo made it be not only whose with calm and with whom whose when obligatory but very much as they did in little they well they well they call it there made mes- patches. sage especial and come.

SAINT SETTLEMENT: Saint Teresa and Saint CHORUS I: This amounts to Saint Teresa. Teresa and Saint Teresa Seize and Saint Teresa might be very much as she would if she very CHORUS II: Saint Teresa has been and has been. much as she would if she were to be wary. All saints make Sunday Monday Sunday Monday Sunday Monday set. CHORUS I: They might be that much that far that with that widen never having seen and press, CHORUS I, II: One two three Saints. it was a land in one when altitude by this to be endowed. Might it be in claim. COMPÈRE: Scene Three.

COMPÈRE: Saint Teresa and conversation. COMMÈRE: Saint Teresa has been prepared for there being summer. SAINT TERESA II: In one. CHORUS I: Saint Teresa has been prepared for COMPÈRE: Saint Teresa in conversation. there being summer.

SAINT TERESA II: And one. COMPÈRE: Scene Four.

SAINT SETTLEMENT: Ah! CHORUS I: To prepare.

CHORUS I: Saint Teresa in and in and one and in COMMÈRE: One a window. and one. COMPÈRE: Two a shutter. COMMÈRE: Saint Teresa left in complete. COMMÈRE: Three a palace. COMPÈRE: Saint Teresa and better bowed. COMPÈRE: Four a widow. COMMÈRE: Saint Teresa did she and leave bright. COMMÈRE: Five an adopted son. CHORUS II: Snow in snow sun in sun one in one out. COMPÈRE: Six a parlor. Fours Saints — Libretto

COMMÈRE: Seven a shawl. never knew about it.

COMPÈRE: Eight an arbor. CHORUS I: Scene once seen once seen once seen.

COMMÈRE: Nine a seat. COMMÈRE: Scene Seven.

COMPÈRE: Ten a retirement. CHORUS I, II: One two three four ﬁve six seven all good children go to heaven some are good and CHORUS I: Saint Teresa has been with him. Saint some are bad one two three four ﬁve six seven. Teresa has been with him they show they show Saint Teresa when she had been left to come was that summer summer makes a child happening at left to come was left to right was right to left and all to throw a ball too often to please. there. There and not there by left and right.

CHORUS I: This is a scene where this is seen. COMPÈRE: Saint Teresa once and once. Saint Teresa has been a queen not as you might say royalty not as you might say worn not as you CHORUS I, II: No one surrounded trees as there might say. were none. This makes Saint Ignatius Act Two.

COMPÈRE: Saint Teresa preparing in as you might say. ACT II

CHORUS I: Act One. COMPÈRE: Act Two.

CHORUS I, II: Saint Teresa can know the differ- CHORUS I, II: Saint Ignatius was very well known. ence between singing and women. Saint Teresa can know the difference between snow and thirds. COMPÈRE: Scene Two. Saint Teresa can know the difference between when there is a day to-day today. To-day. CHORUS I, II: Would it do if there was a Scene Saint Teresa with the land and laid. Not observing. Two. Saint Teresa coming to go. COMPÈRE: Scene Three and Four. SAINT TERESA I: Saint Teresa coming and lots of which it is not as soon as if when it can left to CHORUS I, II: Saint Ignatius and more. Saint change change theirs in glass and yellowish at Ignatius with as well. Saint Ignatius needs not be most most of this can be when is it that it is very feared. necessary not to plant it green. COMMÈRE: Saint Ignatius might be very well SAINT IGNATIUS: Planting it green means that it adapted to plans and a distance. is protected from the wind and they never knew about it. COMPÈRE: Barcelona in the distance.

SAINT TERESA I, II AND SAINT IGNATIUS: COMMÈRE: Was Saint Ignatius able to tell the dif- They never knew about it green and they never ference between palms and Eucalyptus trees. knew about it she never knew about it they never knew about it they never knew about it she never CHORUS I: Saint Ignatius ﬁnally. knew about it. CHORUS II: Saint Ignatius well bound. SAINT IGNATIUS: Planting it green means that it is protected from the sun and from the wind and CHORUS I: Saint Ignatius with it just. the sun and CHORUS II: Saint Ignatius might be read. SAINT TERESA I, II AND SAINT IGNATIUS: They never knew about it and she never knew CHORUS I: Saint Ignatius with it Tuesday. about it and she never knew about it and they Fours Saints — Libretto

COMMÈRE: Saint Teresa has very well added it. COMPÈRE: Scene Five.

COMPÈRE: Scene Four. CHORUS II: They are left to many saints and those saints these saints these saints. COMMÈRE: Usefully. CHORUS I: Saints four saints. COMPÈRE: Scene Four. COMMÈRE: They are left to many saints. SAINT IGNATIUS: How many nails are there in it. Hard shoe nails and silver nails and silver does COMPÈRE: Scene Five. not sound valuable. CHORUS I: Saint Ignatius might be Five. CHORUS I, II: To be interested in Saint Teresa fortunately. SAINT IGNATIUS: When three were together one woman sitting and seeing one man leading and SAINT TERESA II: To be interested in Saint Teresa choosing one young man saying and selling. fortunately. CHORUS I: This is just as if it was a tribe. CHORUS I, II: Saint Ignatius to be interested fortunately. COMPÈRE: Scene Five.

SAINT IGNATIUS: Fortunately to be interested in COMMÈRE: Scene Six Saint Teresa. To be interested fortunately in Saint Teresa. Interested fortunately in Saint Teresa Saint CHORUS I: Away away away away a day it took Ignatius and saints who have been changed from three days and that day. the evening to the morning. COMMÈRE: Saint Teresa was very well parted and SAINT TERESA I: In the morning to be changed apart apart from that. from the morning to the morning in the morning. CHORUS I: Harry marry saints in place saints and COMMÈRE: A scene of changing from the morn- sainted distributed grace. ing to the morning. COMMÈRE: Saint Teresa in place. COMPÈRE: Scene Five. CHORUS I: Saint Teresa in place of Saint Teresa COMMÈRE: There are many saints. in place.

COMPÈRE: Scene Five. SAINT TERESA I, II: Can any one feel any one moving and in moving can any one feel any one COMMÈRE: They can be left to many saints. and in moving.

COMPÈRE: Scene Five. SAINT TERESA II: To be belied.

COMMÈRE: Many saints. SAINT TERESA I: Having happily married.

COMPÈRE: Scene Five. SAINT TERESA II: Having happily beside.

CHORUS I: Many many saints can be left to many SAINT TERESA I: Having happily had with it a many saints Scene Five left to many many saints. spoon.

COMPÈRE: Scene Five. SAINT TERESA II: Having happily relied upon noon. SAINT TERESA I: Scene Five left to many saints. Fours Saints — Libretto

COMPÈRE: Saint Teresa with Saint Teresa. SAINT PLAN: Ask Saint Teresa how much of it is finished. SAINT TERESA I, II: In place. SAINT SETTLEMENT, SAINT TERESA II, SAINT COMPÈRE: Saint Teresa and Saint Teresa. CHAVEZ, SAINT PLAN: How much of it is finished. CHORUS I: Saint Teresa to trace. Saint Teresa and place. SAINT TERESA II: Ask how much of it is finished. Saint Teresa beside. Saint Teresa added ride. Saint Teresa with tied. SAINT CHAVEZ: Ask how much of it is finished.

COMMÈRE: Saint Teresa and might. SAINT TERESA II: Ask how much of it is ﬁnished. Saint Teresa I Might with widow. COMPÈRE: Saint Teresa Saint Paul Saint Plan Saint Anne Saint Cecilia Saint Plan. SAINT TERESA II: Might. SAINT CHAVEZ: Once in a while. SAINT SETTLEMENT: Saint Teresa very made her in. SAINT TERESA I: Once in a while.

CHORUS I: Saint Teresa Saint Teresa. SAINT PLAN: Once in a while.

SAINT SETTLEMENT: Saint Teresa in in in Lynn. SAINT CHAVEZ: Once in a while.

COMPÈRE: Scene Seven. SAINT SETTLEMENT: Once in a while.

COMMÈRE and COMPÈRE: Scene Eight. To wait. SAINT TERESA II: Once in a while. Scene One. And begun. Scene Two. To and to. SAINT CHAVEZ: Once in a while. Scene Three. Happily be. Scene Four. Attached or. SAINT CECILIA: Once in a while. Scene Five. Sent to derive. Scene Six. Let it mix. SAINT GENEVIEVE: Once in a while. Scene Seven. Attached eleven. Scene Eight. To wait. SAINT ANNE: Once in a while.

SAINT TERESA I and II: Might be there. To be SAINT SETTLEMENT: Once in a while. sure. With them and. And hand. And alight. With them then. Nestle. SAINT TERESA I: Once in a while. Once in a while. COMPÈRE: With them and a measure. SAINT IGNATIUS: Once in a while. Once in a COMMÈRE: It is easy to measure a settlement. while. Once in a while.

COMPÈRE: Scene Nine. SAINT SETTLEMENT: Once in a while.

SAINT TERESA I: To be asked how much of it is SAINT TERESA II: Once in a while. Once in a finished. To be asked Saint Teresa Saint Teresa to while. be asked how much of it is finished. To be asked Saint Teresa to be asked Saint Teresa to be asked SAINT IGNATIUS: Once in a while. Once in a ask Saint Teresa ask Saint Teresa how much of it while. is finished. ALL THE SAINTS: When. Then. When. Then. Fours Saints — Libretto

Then. Men. When Ten. Then. When. Ten. When on the shorter longer yellow grass alas pigeons on then. Then. Then. Ten. Then. Ten. When then. the grass. Saints when. Saints when ten. Ten. Ten. Ten. Ten. Ten. Ten. Ten. Ten. Ten. CHORUS I, II: If they were not pigeons what were they. COMPÈRE: Scene Eleven SAINT IGNATIUS: If they were not pigeons on the SAINT CHAVEZ: In consideration of everything grass alas what were they. and that it is done by them as it must be left to them with this as an arrangement. Night and day COMPÈRE: He had heard of a third and he asked cannot be different. about it.

SAINT TERESA I: Completely forgetting. CHORUS I, II: It was a magpie in the sky.

SAINT TERESA II: I will try. SAINT IGNATIUS: If a magpie in the sky on the sky can not cry if the pigeon on the grass alas can SAINT TERESA I: Theirs and by and by. alas and to pass the pigeon on the grass alas and the magpie in the sky on the sky and to try and to SAINT CHAVEZ: With noon. try alas on the grass alas the pigeon on the grass the pigeon on the grass and alas.

ACT III CHORUS I, II: They might be very well very well very well they might be they might be very well SAINT IGNATIUS: With withdrawn. they might be very well very well they might be. Let Lucy Lily Lily Lucy Lucy let Lucy Lucy Lily Lily SAINT CHAVEZ: At that time. Lily Lily Lily let Lily Lucy Lucy let Lily: Let Lucy Lily. SAINT IGNATIUS: And all. COMPÈRE: Scene One. SAINT CHAVEZ: Then and not. CHORUS I, II: Saint Ignatius and please please SAINT IGNATIUS: Might it so. Do and doubling please please. with it at once left and right. COMPÈRE: Scene One. SAINT CHAVEZ: Left left left right left with what is known. In time. SAINT PLAN: One and one.

SAINT TERESA I: Scene Two. COMPÈRE: Scene One.

SAINT IGNATIUS: Within it within it within it as a CHORUS I, II: Might they be with they be with wedding for them in half of the time. Particularly. them might they be with them. Call it a day. With a wide water with within with withdrawn. As if a fourth class. SAINT CHAVEZ: Never to return to distinctions.

COMPÈRE: Scene Two. CHORUS I, II: Might they be with them with they be with they be with them. SAINT IGNATIUS: Pigeons on the grass alas. SAINT IGNATIUS: In line and in in line please say CHORUS I, II: Pigeons on the grass alas. it ﬁrst in line. When it is ordinarily thoughtful and making it be what they were wishing at one time SAINT IGNATIUS: Short longer grass short longer insatiably and with renounced where where ware longer shorter yellow grass. Pigeons large pigeons and wear wear with them with them and where Fours Saints — Libretto where will it be as long as long as they might with SAINT IGNATIUS: There are very sweetly many it with it individually removing left to it when it very sweetly René very sweetly there are many very well way well and crossed crossed in articu- very sweetly. lately minding what you do. Might be admired for Foundationally marvellously aboundingly illimit- himself alone. ably with it as a circumstance. Fundamentally and saints fundamentally and saints and fundamen- SAINT CHAVEZ: Saint Ignatius might be admired tally and saints. for himself alone and because of that it might be Once in a while and where and where around as much as any one could desire. Because of that around is as sound and around is a sound and because it might be as much as any one could around is a sound and around. Around is a sound desire. It might be that it could be done as easily around is a sound around is a sound and around. as because it might very much as if precisely why Around differing from anointed now. Now differing they were carried. from anointed now. Now differing differing. Now differing from anointed now. Now when there is SAINT IGNATIUS: Left when there was pre- left and with it integrally with it integrally with- cious little to be asked by the ones who were stood within without with drawn as much as could overwhelmingly particular about what they were be withstanding what in might might be so. adding to themselves by means of their arrange- ments which might be why they went away and COMMÈRE and COMPÈRE: Letting pin in letting came again. let in let in in in in in let in let in wet in wed in dead in dead wed led in led wed dead in dead in COMPÈRE: It is every once in a while very much led in wed in said in said led wed dead wed dead what they pleased. said led led said wed dead wed dead led in led in wed in wed in said in wed in led in said in dead COMMÈRE: In a minute. in dead wed said led led said wed dead in.

SAINT IGNATIUS: In a minute by the time that CHORUS I, II: That makes they have might kind it is graciously gratification and might be with find fined when this arbitrarily makes it be what them to be with them to be with them to be to be is it might they can it fairly well to be added to in windowed. this at the time that they can candied leaving as with with it by the the left of it with with in in the COMPÈRE: As seen as seen. Saint Ignatius sur- funniest in union. rounded by them. Saint Ignatius and one of two. COMPÈRE: Across across a cross coupled across SAINT STEPHEN: Saint Chavez might be with crept across crept crept crept crept across. They them at that time. crept across.

COMPÈRE: All of them. COMMÈRE: If they are between thirty and thirty five and alive who made them see Saturday. CHORUS: Might be with them at that time. All of them might be with them all of them at that time. CHORUS I, II: Between thirty five and forty five Might be with them at that time all of them might between forty five and three five as then when be with them at that time. they were forty five and thirty five when they were forty five and thirty five when they were then forty COMPÈRE: Scene Two. It is very easy to love five and thirty five and thirty two and to achieve alone. leave relieve and receive their astonishment. Were they to be left to do to do as well as they do mean SAINT STEPHEN: Too much too much. I mean I mean. Left to their in their to their to be their to be there all their to be there all there all SAINT CHAVEZ: There are very sweetly very their time to be there to be there all their to be all sweetly Henry very sweetly René very sweetly their time there. many very sweetly. COMMÈRE and COMPÈRE: With wed led said Fours Saints — Libretto with led dead said with dead led said with said very nearly ended with bread. dead led wed said wed dead led dead led said wed. SAINT CHAVEZ: Who can think that they can ALL: With be there all their all their time there be leave it here to me. there vine there be vine time there be there time there all their time there. CHORUS I, II: When this you see remember me. They have to be. They have to be. They have to be SAINT STEPHEN AND SAINT SETTLEMENT: to see. To see to say. Laterally they may. Let it be why if they were adding adding comes cunningly to be additionally cunningly in the sense COMPÈRE: Scene Five. of attracting attracting in the sense of adding adding in the sense of windowing and windowing and COMMÈRE: Who makes who makes it do. panes and pigeons and ordinary trees and while while away. CHORUS I, II: Saint Teresa and Saint Teresa too. ACT IV COMMÈRE: Who does and who does care. COMMÈRE, COMPÈRE: Act Four. CHORUS I, II: Saint Chavez to care. CHORUS I, II: One at a time regularly regularly by the time that they are in and and in one at at time. COMPÈRE: Saint Chavez to care.

SAINT CHAVEZ: The envelopes are on all the fruit COMMÈRE: Who may be what is it when it is of the fruit trees. instead.

COMPÈRE: Scene Two. SAINT TERESA I AND SAINT IGNATIUS: Saint Plan Saint Plan to may to say to say two SAINT CHAVEZ: Remembered as knew. may and inclined.

SAINT IGNATIUS: Meant to send, and meant to COMMÈRE: Who makes it be what they had as send and meant meant to differ between send and porcelain. went and end and mend and very nearly one to two. COMPÈRE: Saint Ignatius and left and right laterally be lined. SAINT SETTLEMENT: With this and now. ALL: All Saints. SAINT PLAN: Made it with with in with withdrawn. COMMÈRE: To Saints.

COMPÈRE: Scene Three. ALL: Four Saints.

COMMÈRE: Let all act as if they went away. COMMÈRE: And Saints.

COMPÈRE: Scene Four. ALL: Five Saints.

SAINT PHILIP: With them and still. COMMÈRE: To Saints.

SAINT SETTLEMENT: They will they will. COMPÈRE: Last Act.

SAINT TERESA I: Begin to trace begin to race ALL: Which is a fact. begin to place begin and in in that that is why this is what is left as may may follows June and June follows moon and moon follows soon and it is Dido & Aeneas — Libretto

Overture BELINDA and SECOND WOMAN: Fear no danger to ensue, SCENE 1 The hero loves as well as you. (The Palace. Enter Dido, Belinda and attendants) Ever gentle, ever smiling, And the cares of life beguiling BELINDA: Shake the cloud from off your brow, Cupids strew your paths with flowers Fate your wishes does allow; Gather’d from Elysian bowers. Empire growing, pleasures flowing, Fortune smiles and so should you. CHORUS: Fear no danger to ensue The hero loves as well as you. CHORUS: Banish sorrow, banish care, Ever gentle, ever smiling, Grief should ne’er approach the fair. And the cares of life beguiling. Cupids strew your paths with flowers DIDO: Ah! Belinda, I am press’d Gather’d from Elysian bowers. With torment not to be confess’d. Peace and I are strangers grown. Dance I languish till my grief is known, (Aeneas enters with his train) Yet would not have it guess’d. BELINDA: See, your royal guest appears; BELINDA: Grief increases by concealing. How godlike is the form he bears!

DIDO: Mine admits of no revealing. AENEAS: When, royal fair, shall I be bless’d, With cares of love and state distress’d? BELINDA: Then let me speak; the Trojan guest Into your tender thoughts has press’d. DIDO: Fate forbids what you pursue.

SECOND WOMAN: The greatest blessing Fate AENEAS: Aeneas has no fate but you! can give, Let Dido smile, and I’ll defy Our Carthage to secure, and Troy revive. The feeble stroke of Destiny.

CHORUS: When monarchs unite, how happy CHORUS: Cupid only throws the dart their state; That’s dreadful to a warrior’s heart, They triumph at once o’er their foes and their fate. And she that wounds can only cure the smart.

DIDO: Whence could so much virtue spring? AENEAS: If not for mine, for empire’s sake. What storms, what battles did he sing? Some pity on your lover take; Anchises’ valor mix’d with Venus’ charms, Ah! make not in a hopeless ﬁre How soft in peace, and yet how ﬁerce in arms. A hero fall, and Troy once more expire.

BELINDA: A tale so strong and full of woe BELINDA: Pursue thy conquest, Love—her eyes Might melt the rocks, as well as you. Confess the ﬂame her tongue denies.

SECOND WOMAN: What stubborn heart unmov’d CHORUS: To the hills and the vales, could see To the rocks and the mountains, Such distress, such piety? To the musical groves, and the cool shady fountains DIDO: Mine with storms of care oppress’d Let the triumphs of love and of beauty be shown. Is taught to pity the distress’d; Go revel ye Cupids, the day is your own. Mean wretches’ grief can touch So soft, so sensible my breast, The Triumphing Dance But ah! I fear I pity his too much. Dido & Aeneas — Libretto SCENE 2 CHORUS: In our deep vaulted cell. (The Cave. Enter Sorceress) The charm we’ll prepare, Too dreadful a practice Prelude for the Witches for this open air.

SORCERESS: Wayward sisters, you that fright Echo Dance of Furies The lonely traveler by night, Who like dismal ravens crying Beat the windows of the dying, SCENE 3 Appear at my call, and share in the fame. Of a mischief shall make all Carthage ﬂame. Ritornelle Appear! Appear! Appear! Appear! (The Grove. Enter Aeneas, Dido, (Enter witches) Belinda and their train)

FIRST WITCH: Say, Beldame, what’s thy will? BELINDA: Thanks to these lonesome vales, These desert hills and dales, CHORUS: Harm’s our delight and mischief all So fair the game, so rich the sport our skill. Diana’s self might to these woods resort.

SORCERESS: The Queen of Carthage, whom CHORUS: Thanks to these lonesome vales, we hate, These desert hills and dales, As we do all in prosp’rous state, So fair the game, so rich the sport Ere sunset shall most wretched prove, Diana’s self might to these woods resort. Depriv’d of fame, of life and love. SECOND WOMAN: Oft she visits this lone CHORUS: Ho, ho, ho, etc. mountain, Oft she bathes her in this fountain. FIRST and SECOND WITCHES: Ruin’d ere the set Here, Actaeon met his fate, of sun? Pursued by his own hounds; Tell us, how shall this be done? And after mortal wounds, Discover’d too late SORCERESS: The Trojan Prince you know is Here Actaeon met his fate. bound By Fate to seek Italian ground; (A dance to entertain Aeneas The Queen and he are now in chase, by Dido’s women)

FIRST WITCH: Hark! Hark! The cry comes on AENEAS: Behold, upon my bending spear apace! A monster’s head stands bleeding With tushes [tusks] far exceeding SORCERESS: But when they’ve done, my Those did Venus’ huntsman tear. trusty elf, In form of Mercury himself, DIDO: The skies are clouded: As sent from Jove, shall chide his stay, Hark! How thunder And charge him sail tonight with all his ﬂeet away. Rends the mountain oaks asunder!

CHORUS: Ho, ho, ho, etc. BELINDA: Haste to town! this open ﬁeld No shelter from the storm can yield FIRST and SECOND WITCHES: But ere we Haste to town! this perform We’ll conjure for a storm. CHORUS: Haste to town! This open ﬁeld To mar their hunting sport, No shelter from the storm can yield And drive ‘em back to court. Haste to town!

Dido & Aeneas — Libretto

(The Spirit of the Sorceress descends SORCERESS: See, see the ﬂags and streamers to Aeneas in the likeness of Mercury) curling, Anchors weighing, sails unfurling. SPIRIT: Stay, Prince, and hear great Jove’s command: FIRST and SECOND WITCHES: He summons thee this night away. Phoebe’s pale deluding beams Gilding o’er deceitful streams. AENEAS: Tonight? Our plot has took, The Queen’s forsook! SPIRIT: Tonight thou must forsake this land; Elissa’s ruin’d, ho, o, ho, etc. The angry god will brook no longer stay. Jove commands thee, waste no more SORCERESS: Our next motion In love’s delights those precious hours Must be to storm her lover on the ocean. Allow’d by th’almighty powers From the ruin of others our pleasures we borrow; To gain th’Hesperian shore Elissa bleeds tonight, and Carthage ﬂames And ruin’d Troy restore. tomorrow.

AENEAS: Jove’s commands shall be obey’d; CHORUS: Destruction’s our delight, Tonight our anchors shall be weigh’d. Delight our greatest sorrow; But ah! What language can I try, Elissa dies tonight, My injur’d Queen to pacify? And Carthage ﬂames tomorrow. No sooner she resigns her heart Ho, ho, ho, etc. But from her arms I’m forc’d to part. How can so hard a fate be took? The Witches Dance One night enjoy’d, the next forsook. Yours be the blame, ye gods! for I (Jack of the Lanthorn leads the Sailors Obey your will; but with more ease could die out of their way among the Witches) (Enter Dido, Belinda and women)

SCENE 4 DIDO: Your counsel all is urg’d in vain, (The Ships) To earth and heaven I will complain; To earth and heaven why do I call? SAILOR: Come away, fellow sailors, your anchors Earth and heaven conspire my fall. be weighing, To Fate I sue, of other means bereft, Time and tide will admit no delaying; The only refuge for the wretched left. Take a boozy short leave of your nymphs on the shore, BELINDA: See, madam, see where Prince appears! And silence their mourning Such sorrow in his look he bears With vows of returning, As would convince you still he’s true. But never intending to visit them more. AENEAS: What shall lost Aeneas do? CHORUS: Come away, fellow sailors, your anchors How, royal fair, shall I impart be weighing The god’s decree, and tell you we must part? Time and tide will admit no delaying; Take a boozy short leave of your nymphs on DIDO: Thus on fatal banks of the Nile the shore, Weeps the deceitful crocodile; And silence their mourning Thus hypocrites that murder act With vows of returning, Make heav’n and gods the authors of the fact! But never intending to visit them more. AENEAS: By all that’s good— The Sailor’s Dance DIDO: By all that’s good, no more! (Enter Sorceress and Witches) All that’s good you have forswore. Dido & Aeneas — Libretto Cylla vo n Tiedemann . Photo: Dido and Aeneas To your promis’d empire ﬂy, But Death alas! I cannot shun; And let forsaken Dido die. Death must come when he is gone.

AENEAS: In spite of Jove’s commands I’ll stay, CHORUS: Great minds against themselves conspire, Offend the gods, and love obey. And shun the cure they most desire.

DIDO: No, faithless man, thy course pursue; DIDO: Thy hand, Belinda; darkness shades me, I’m now resolv’d, as well as you. On thy bosom let me rest; No repentance shall reclaim More I would but Death invades me; The injur’d Dido’s slighted ﬂame; Death is now a welcome guest. for ‘tis enough, what e’er you now decree, When I am laid in earth, may my wrongs create That you had once a thought of leaving me. No trouble in thy breast, Remember me! But ah! forget my fate. AENEAS: Let Jove say what he please, I’ll stay! (Cupids appear in the clouds o’er her tomb) DIDO: Away, away! CHORUS: With drooping wings ye Cupids come, AENEAS: No, no, I’ll stay and Love obey. And scatter roses on her tomb. Soft and gentle as her heart; DIDO: No, no, away, away, Keep here your watch, and never part. To Death I’ll ﬂy If longer you delay. (Cupid’s Dance) Away, Away! FINIS (Exit Aeneas) Mark Morris Dance Group

Featuring the following performance: Mark Morris Dance Group With the MMDG Music Ensemble Program C

Thursday, March 23, 2006

Chairs Judith R. & Alan H. Fishman

Vice Chairs Altria Group, Inc. Bloomberg Peter Finn, Ruder Finn, Inc. Rita Hillman, Alex Hillman Family Foundation Bruce Kovner Diane & Adam E. Max Merrill Lynch Michael Schubert, Ruder Finn, Inc. Joseph S. & Diane H. Steinberg David S. Steiner, Steiner Studios Douglas C. Steiner, Steiner Studios

Friends of BAM Chair Cate Blanchett

BAM Cinema Club Chairs John Turturro & Katherine Borowitz

Hosts Karen Brooks Hopkins, BAM President Joseph V. Melillo, BAM Executive Producer

Additional Gala support is provided by: Alex Hillman Family Foundation

Honorary Committee The Honorable Charles E. Schumer, U.S. Senator The Honorable Hillary Rodham Clinton, U.S. Senator The Honorable U.S. Congressman Major R. Owens The Honorable State Senator Velmanette Montgomery The Honorable Joan L. Millman, New York State Assembly The Honorable Comptroller William C. Thompson The Honorable Letitia James, New York City Council Brooklyn Borough President Marty Markowitz The Honorable Patricia E. Harris, Deputy Mayor for Administration The Honorable Yvonne J. Graham, Deputy Borough President BAM Spring Gala

Beneﬁt Committee Con Edison Laurie Anderson Judith R. & Alan H. Fishman Pierre Apraxine Charles J. & Irene F. Hamm Margaret C. Ayers KeySpan Matthew Barney Rachel & Jean-Pierre Lehmann Angela Bassett John Lipsky & Zsuzsanna S. Karasz Steve Buscemi & Jo Andres Meridian Capital Group LLC William I. Campbell & Christine Wächter Campbell James I. McLaren & Lawton W. Fitt Christian Clayton Jonathan F.P. & Diana V.C. Rose Robert Clayton The SHS Foundation Seth Edwards SI Bank & Trust Foundation Jennifer Goodale Nora Ann Wallace & Jack Nusbaum Agnes Gund & Daniel Shapiro Verizon Communications Charles J. & Irene F. Hamm Bill Irwin & Martha Roth Next Society Rachel & Jean-Pierre Lehmann Susan L. Baker & Michael R. Lynch Phyllis & Harvey Lichtenstein Bank of America Cynthia & Dan Lufkin Diana Barrett & Robert Vila for The Fledgling Fund James I. McLaren & Lawton W. Fitt Anne H. Bass John Cameron Mitchell Mr. & Mrs. Sid R. Bass Natalie Moody The Howard Bayne Fund Helen & Jack Nash Tony Bechara Mary-Louise Parker W.R. Berkley Corporation Charitable Foundation Scott Bernard Peterson Roger & Brook Berlind Lou Reed Mr. & Mrs. Lewis W. Bernard Directors of the Jerome Robbins Foundation: Susan E.B. Bloomberg Allen Greenberg Neil & Kathleen Chrisman Floria V. Lasky, Esq. Mr. & Mrs. Henry Christensen III Daniel Stern, M.D. Tony & Lawrie Dean Janet Rodriguez Anne Delaney Jonathan F.P. & Diana V.C. Rose Aashish & Dinyar Devitre Mr. & Mrs. Richard J. Schwartz Charles & Valerie Diker Lois Smith Brendan & Barbara Dugan Philip J. Smith Cristina Enriquez-Bocobo & Cody J Smith Lily Tomlin Mallory & Elizabeth Factor John R. Young Martin & Linda Fell Ronald Finkelstein Gala Leader Forbes Foundation Rita Hillman Susan & Michael Furman Bruce Kovner Barbara L. Goldsmith Diane & Adam E. Max John M. Goldsmith Merrill Lynch Albert Gottlieb Paul Gottlieb & Sara Adler Gala Promoters Regina M. Grifﬁn Altria Group, Inc. Semone Grossman, Andrew Grossman, Susan L. Baker & Michael R. Lynch GGMC Parking, LLC Bloomberg Agnes Gund & Daniel Shapiro William I. Campbell & Christine Wächter Campbell Rita E. & Gustave M. Hauser BAM Spring Gala Buck Henry Wolfensohn Family Foundation Rita Hillman Claire & Curtis Wood G. Penn Holsenbeck Carol Yorke & Gerard Conn IATSE - Theatrical Stage Employees International Creative Management Chairman’s Circle Frederick J. Iseman Donald Allison & Sumiko Ito Miriam Katowitz & Arthur Radin John H. Alschuler, Jr. James E. & Marcia Kelly Jody & John Arnhold Dan Klores Benjamin Barber & Leah Kreutzer-Barber Carole & Irwin Lainoff Nancy Barber-Stone Robin & Edgar Lampert The Harkness Foundation for Dance: Phyllis & Harvey Lichtenstein Theodore S. Bartwink Mr. & Mrs. Hamish Maxwell Etta Brandman James I. McLaren & Lawton W. Fitt William A. Perlmuth Selma & Martin Mertz Tony Bechara Sarah G. Miller & Frank L. Coulson George E. Berger & Associates LLC Edward L. Milstein Raphael & Jane Bernstein/Parnassus Foundation Donald R. Mullen Jr. Ranny Cooper & David Smith Alex G. Nason Catherine G. Curran Evelyn & Everett Ortner Elizabeth de Cuevas William A. & Loretta Perlmuth Beth Rudin DeWoody Rajika & Anupam Puri Hester Diamond & Ralph Kaminsky David L. Ramsay, MD Seth S. & Sara R. Faison The Reed Foundation, Inc. Ronald E. Feiner Esq. Michael Rena Egon R. Gerard Jonathan F.P. & Diana V.C. Rose David & Susie Gilbert Dr. Thomas W. Roush Gordon & Mary Gould Martha A. & Robert S. Rubin Cristina Grajales The Sequoia Foundation for Arts & Education Daniel & Sandra Grieser Amy W. Schulman & David Nachman Charles J. & Irene F. Hamm Mr. & Mrs. Richard J. Schwartz Kenneth V. Handal Mark Seliger Molly K. Heines & Thomas J. Moloney The Evelyn Sharp Foundation John & Diana Herzog Elizabeth Sidamon-Eristoff Donald & Adria S. Hillman Kent Simons Barbara Hoffman Mr. & Mrs. Howard Solomon Pamela J. Hoiles Ellen & Samuel Sporn Steven L. Holley Jean Stein Jane Holzka & Mark Winther Joseph A. Stern Madeline M. de Vries Hooper & Ian Hooper Jane M. Timken Richard & Dorothy Hulbert Peter C. Trent Stephanie & Tim Ingrassia Two Trees Management Company LLC Paula Jarowski & Earl Black Wendy vanden Heuvel Mary Kantor Margo & Anthony Viscusi Jeffrey C. Keil Charlene Magen Weinstein Amy Klein & Bruce Bender Judge Franklin R. Weissberg & Judge Marylin Bruce R. Kraus G. Diamond Charlotte & I. Stanley Kriegel Vaughn C. Williams James D. Kuhn Nina Winthrop Amala & Eric Levine BAM Spring Gala

Frances Lewis Dr. & Mrs. Jeffrey Borer John Lichtenstein D.J. R. Bruckner Scott C. McDonald Ida L. Castro Mr. & Mrs. Richard L. Menschel Michael Chun Richard W. & Barbara F. Moore Joan Hardy Clark Talya Nevo-Hacohen Bernard & Phoebe Cohen Kathleen C. O’Grady Frederick Cohen Thomas Paulucci David Coleman Richard Peterson & Ellen Flamm Michele & Terry Cone Antonia Pew Paul & Gila Daitz Diana Elzey Pinover Peter & Katharine Darrow Douglas P. Reetz & Julie D. Sorrentino Rohit & Katharine Desai Joe Regan Jr. Ann C. & Dwight Ellis Juergen Riehm & Jody Oberfelder Jim & Dawn Ellwood Mr. & Mrs. David Rockefeller Gail Erickson & Christa Rice Alvin J. Rockwell 1990 Charitable Trust Therese M. Esperdy Seth L. Rosenberg & Catherine Lebow Sherli Evans & Eric J. Vanderbush M.D. Anna Sampas David Farer & Elisa King Martin E. Segal Kathryn T. Farley Tad Sennott & Jennifer Kellog Mrs. Fiona Morgan Fein Siddhartha Shukla Joan Fields Patricia J. S. Simpson Arthur & Susan L. Fleischer Harry & Clare Smith The Ford Foundation Robert & Melissa Schiff Soros Barbara Hackman Franklin Susan Stewart M. Derene & Julius Frazier Juliet Taylor & James Walsh Stephanie French Michael M. Thomas The Georgetown Company James Truman Francis Greenburger & Isabelle Autones Charles Antoine van Campenhout Peter W. Greenleaf Frank Borsa & Jeffrey Wallace Stephen R. Greenwald & Rebecca A. Sullivan Susan R. Witter Mr. & Mrs. Henry B. Gutman Mary Anne & Richard C. Yancey Gunilla N. Haac Scott & Ellen Hand Producers Council Adrienne Harris & Robert Sklar Chris Ahearn & Marla Mayer Louis R. Hedgecock American Friends of the Paris Opera & Ballet Joel S. & Lily M. Hoffman Mr. & Mrs. Matthew Annenberg Stephanie Holmquist & Mark Allison Rina & Takis Anoussis Frank M. Holozubiec Armani Exchange Lauren Howard Sarah Jean Avery Phyllis S. Hyde & Jan Thomas Hyde Dan Baldini Jonathan V. Jackson Jayne Baum Steven M. & Diane Jacobson The Bay and Paul Foundations T. Radey Johnson & Jane Platt Lisa & Jim Bedell Randolph & G. Miller Jonakait Alan L. & Leslie Beller Mr. & Mrs. Alex Katz Therese & Paul Bernbach Gerri Kay Sarah Bleibtreu Frances Kazan Sallie & Martin Blumenthal Kraus Family Foundation BAM Spring Gala

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