February 2001 BAMci nematek

2001 Spring Season 651 ARTS Brooklyn Philharmonic Orchestra

BAM Spring Season sponsor:

PHILIP MORRIS ~lA6f8lll COM PAN' E SIN C . 200] Spring

Brooklyn Academy of Music Bruce C. Ratner Alan H. Fishman Chairman of the Board Chairman, Campaign for BAM

Karen Brooks Hopkins Joseph V. Melillo President Executive Producer

presents Festival The Makropulos Case

Running time: BAM Howard Gilman Opera House approximately February 11,13,15, & 17, 2001, at 7:30pm two hours with Opera in three acts based on the comic play by Karel Capek one intermission Sung in Czech with English surtitles

Music by LeosJana~ek

Conductor David Atherton Director Nikolaus Lehnhoff Associate director Daniel Dooner Set and costume designer Original lighting designer Mark Henderson Revival lighting designer Jon Stevens English surtitles lIya Bohac

Brooklyn Philharmonic Orchestra New York Virtuoso Singers

First performed at the National Theatre, Bmo, on December 18, 1926 Used by arrangement with European American Music Distributors LLC , sole U.S. and Canadian agent for Universal Edition Vienna, publisher and copyright owner.

Alberto Vilar Honorary Chairman, BAM Opera

Leadership support has been provided by The Peter Jay Sharp Foundation, The Andrew W Mellon Foundation, The Vincent Astor Foundation, and Glyndebourne Association America Inc. Additional support has been provided by The Eleanor Naylor Dana Charitable Trust.

Support for the Spring Gala featuring The Makropulos Case has been provided by Bowne of New York and The Alex Hillman Family Foundation.

25 Cast Vitek, Dr. Kolenaty's clerk Neil Jenkins Albert Gregor, a client of Dr. Kolenaty Par Lindskog Kristina, Vitek's daughter, a young opera singer Linda Tuvas Dr. Kolenaty Jonathan Veira Emilia Marty, a famous opera singer Anja Silja Baron Jaroslav Prus, a lawyer and Gregor's legal adversary Steven Page Cleaner / Chambermaid Menai Davies Stagehand Henry Waddington Janek, Prus' son Steven Rooke Hauk-$endorf, an old , half-witted ex-diplomat Nigel Douglas

Brooklyn Philharmonic Orchestra VIOLIN CELLO BASSOON TIMPANI Eva Gruesser David Calhoun Harry Searing Richard Fitz Diane Bruce La nny Payki n Jeff Marchand Carlos Villa Peter Rosenfeld Ako Sato PERCUSSION Lenard Rivlin Sally Cline James Preiss Sander Strenger Michael Finckel HORN William Trigg Sarah Schwartz Robert Larue Francisco Donaruma Deborah Buck Richard Sher Katie Dennis HARP Conrad Harris Kaitilin Mahony Karen Lindquist Martin Agee BASS Larry Dibello EI izabeth Nielsen Joseph Bongiorno CELESTE Kate Light Gregg August OFF-STAGE HORN Ken Bowen Wharim Kim Richard Ostrovsky Peter Reit Troy Rinker David Wakefield Katherine Hannauer Pawel Knapik MUSIC DIRECTOR Shinwon Kim TRUMPET Robert Spano Heidi Modr FLUTE Jim Stubbs Cecelia Hobbs Katherine Fink Tom Hoyt PRESIDENT Gardner Brian Miller Lorraine Cohen Craig Matthews Stephani J. Bell David Wechsler Rena Isbin Dan Gerhard OFF-STAGE ADVISOR TO THE Roxanne Bergman TRUMPET BOARD OF Hector Falcon OBOE Don Batchelder DIRECTORS Janet Sung Henry Schuman Steve Ametrano Catherine M. Cahill Heather Bixler Pedro Diaz Melanie Feld TROMBONE LIBRARIAN VIOLA Thomas Olcott David Carp Ah Ling Neu CLARINET Keith Green Alexander Rees Steven Hartman Lawrence Benz PERSONNEL Jessica Troy Paul Garment MANAGER Monica Gerard Dennis Smylie TUBA Jonathan Taylor Juliet Haffner Andrew Seligson Leslie Tomkins Kenji Bunch Christine Ims 26 1\/1 ~ kropu lo~

New York Conductor Harold Rosenbaum Virtuoso Singers BASS Gregory Davidson Frank Barr Dennis Delgado Paul Burket Ronald Forsmo Roderick Gomez James Fredericks Rick Hoffenberg Richard Pickett Lawrence Picard John Steven Raiford Paul Rhodes Thomas Roche Mark Sullivan Daniel Smith Mark Wagstrom Nathan Wesselowski Lewis White

Additional Scenery construction Flint Scenery production Painting Chris Clarke credits Costumes made under the supervision of Pamela Mcintyre in the Glyndebourne Wardrobe Department Headdresses and jewelry Sally V. Smith Tutu by Jane Johnson Wig designs realized by Barbara Burrows, made under her supervision in the Glyndebourne Wig Department Props made under the supervision of Vigee Harding, in the Glyndebourne Props Department Surtitles administered and stage managed by Sarah Plummer

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Glyndebourne Founded in 1934 by Audrey & John Christie Festival Opera President Sir George Christie Executive chairman Gus Christie Music director Vladimir Jurowksi Director of music admin istration Steven Naylor Production and technica l director Peter Horne Director of finance and resources Sarah Hopwood Company manager/Head of planning Bernard W. Davies Musical resources administrator/Senior librarian Sarah Plummer Fund-raising and membership administrator Jenny KilBride Assistant conductor and chorus master Tecwyn Evans Senior coach David Gowland Repetiteur Steven Maughan Language coach lIya Bohac Production manager Dave Locker Senior stage manager Stephen Cowin Deputy stage manager Stephane Marlot Assistant stage managers Robbie Cullen , Ben Sedgewick Lighting manager Keith Benson Running wardrobe manager Christine Parker Wig manager Barbara Burrows Makeup manager Sarah Piper Stage technicians Andy Loader, Adrian Peacock, Stuart Wilson Controls systems Euart Richardson 28 The Makropulos Case

Act I Prague, the 1920s. The office of Dr. Kolenaty, a lawyer

Albert Gregor is visiting his lawyer's office in the hope of learning the outcome of the case of Gregor vs . Prus, a complicated lawsuit that has dragged on for nearly a century but is due to be decided today. While Gregor and the clerk, Vitek, await Dr. KolenatY's return from court, they are joined by Vitek's daughter Kristina , who is in rapture over the stage performances of the mysteri­ ous and beautiful singer, Emilia Marty.

Dr. KolenatY arrives with none other than Emilia Marty herself, who inquires about the case of Gregor vs. Prus. The lawyer explains: upon the death of Baron Josef Prus in 1827, the inheritance of his wealth and estates was disputed between a cousin (another Baron Prus) and one Ferdinand Gregor, ancestor of Dr. KolenatY's client.

Emilia Marty shows surprisingly detailed knowledge of the facts and personalities of the case, and asserts that Ferdinand Gregor was the illegitimate son of Baron Prus by a Scottish actress, Ellian MacGregor. She says that a hitherto undiscovered will naming Ferdinand as the rightful heir is concealed among Ellian MacGregor's letters at the house of the present Baron Prus-Gregor's opponent in the lawsuit. Dr. KolenatY is understandably skeptical, but since his case has foundered on the lack of documentary evidence, he goes off in search of the will.

Left alone with Emilia Marty, Albert Gregor finds himself simultaneously repelled by and attracted to her. She asks him for a document in Greek that she believes he must have inherited from Ferdinand Gregor.

Dr. KolenatY returns in triumph with the present Baron , Jaroslav Prus: the missing will was indeed among Ellian MacGregor's letters. He can now establish Albert Gregor's right to the inheritance. Only one thing is lacking: documentary proof that Ferdinand Gregor really was the son of the 19th-century Baron Prus. Emilia Marty promises to provide something in writing.

Act II The stage of the theater

The curtain has just come down on a triumphant performance by Emilia Marty. Kristina tells her lover Janek-who is Jaroslav Prus' son- that Marty's talents have made her despair of pursuing her own career on the stage.

Emilia has only harsh words for Janek and Kristina, and for Albert Gregor, who attempts to give her a present. However, when the dotty old Count Hauk-Sendorf appears, declaring that Emilia Marty reminds him of his Andalusian lover of 50 years ago , she lapses into Spanish and reveals that she is his beloved Eugenia Montez in person.

After signing a photograph for Vitek to give to his daughter Kristina, she dismisses all her admirers except for Baron Prus, who tells her that he has traced the record of Ferdinand Gregor's birth in 1806 in the parish register, where he is listed not as Gregor but as Ferdinand Makropulos, illegitimate son of one Elina Makropulos-thus negating Albert Gregor's claim to the inheritance. Emilia Marty begs Prus to give her the mysterious Greek document, but he refuses .

Albert Gregor reappears and declares his growing passion for the unfeeling Emilia. She tries to persuade him to steal her letter of authentication of Ferdinand Gregor's parentage back from Dr. KolenatY's office so that she can replace it with another in the name of Makropulos.

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Marty turns her attention to Janek, asking him to steal the Greek document from his father's house. Prus interrupts them ; as Janek slinks away, the Baron agrees to bring Marty the document if she will meet him later tonight.

Intermission

Act III A hotel room

Baron Prus has spent the night with Emilia Marty, but complains that her lovemaking was cold and passionless. Nevertheless he fulfills the bargain and hands over the envelope.

Prus receives a message that his son Janek has killed himself for love of Emilia: she is unmoved. Count Hauk-Sendorf appears, saying that he has come to take his "Eugenia Montez" back to Spain. He is led away by a doctor, as KolenatY , Vitek, Kristina , and Gregor all arrive to demand an explana­ tion from Emilia: the signature on the photograph she gave Vitek matches that on the letter supposedly signed a hundred years earlier proving that Ferdinand Gregor was the son of Baron Josef Prus. She refuses to answer their questions and goes off to get dressed, leaving them to rummage through her belongings in search of clues.

Emilia reappears and at last tells her story: she is Elina Makropulos, born in 1585, daughter of Hieronymus Makropulos from Crete, a physician at the court of Emperor Rudolf II. Her father invented a magic formula to prolong the Emperor's life for 300 Photo, Mike Hoban years, but Rudolf insisted that the physician try it out on his daughter first. She has lived on for more than 300 years, changing her name several times , always with the initials EM: she was Ellian MacGregor, and is Albert Gregor's great-great-great­ great-great-great-grandmother. Now the formula is wearing off, and she needs to take it again in order to stay alive.

But she realizes that she has lived too long. Her life has no meaning: life is precious only when it is finite. She gives the "Makropulos formula" to Kristina, who burns it to ashes as the 337-year-old Elina Makropulos at last finds peace in death. -Jonathan Burton

Jonathan Burton was librarian at Glyndebourne (1975-84) and, until recently, was senior music librarian of . He is a surtitler at House, Covent Garden, as well as a freelance writer and translator.

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The heroine of Janace k's penultimate opera, Vec Makropulos-it means, literally, The Makropulos Thing but is usually rendered into English as The Makropulos Case or Affair- is certainly the most extraordinary and bizarre of his female creations. She is Emilia Marty, an opera singer who began her amazing career as 15-year-old Elina Makropulos, the daughter of a physician at the Prague court of the Hapsburg Emperor, Rudolf II, who commissioned an elixir of eternal youth from his doctor. However, fearing poison, he forced Makropulos to try it out first on his daughter.

When we meet her in the early 1920s, she is 337 years old and has undergone a series of transformations, changing her name and nationality to avoid explaining her unfading beauty. She has been the Russian Ekaterina Mishkin, the German Else Muller, the Spanish gypsy Eugenia Montez-always EM-and Ellian MacGregor, the Scottish alias she used on her last visit to Prague almost 100 years earlier, when she became the mistress of Baron Joseph "Pepi" Prus. She has returned to Prague because her time is running out: she needs a top-up of her father's potion, but she left the formula- the Vec Makropulos-with Pepi , as a token of her intention to come back to him.

Unfortunately he died apparently intestate and his estate has been the subject of a lengthy legal battle between the descendants of Prus' cousin and those of an illegitimate son named Gregor, the child of EM (the Causa Gregor-Prus mentioned by the lawyer's clerk, Vitek, in the opening scene). In order to get her hands on the Makropulos formula , Emilia Marty must be on the winning side of the case: although she knows the whereabouts of Pepi's will, she has forgotten one crucial detail which gives her away: on the birth certificate of her child, she used her real name, Makropulos, rather than her assumed one, MacGregor. Her botched attempt to produce a retrospective document proving that Elina Makropulos and Ellian McGregor are one and the same person, ultimately leads to her unmasking.

For Janacek, this supernatural character was a contemporary figure. He encountered her for the first time in the stage play by Karel Capek -successful author of the cele­ brated R. U.R. (Rossom's Universal Robots) and The Insect Play-in December 1923 and immediately applied to the playwright for permission to transform Makropulos into an opera. Capek was initially reluctant, claiming his play was unsuitable for operatic treatment, although he saw no reason why Janacek could not use the figure of the 337-year-old woman in a scenario of his own devising. For Capek, the character was not his copyright; she could be- he told Janacek-the Wandering Jew, Ahasuerus. One might add that the character resembles a female Faust, Don Juan, Dorian Gray, or a combination of all three-yearning, like Goethe's hero, for eternal youth; sating herself with sex, like the Burlador of Seville, until it becomes a heartless act, devoid of love or passion even; retaining her external beauty, like Wilde's monstrous creation, while her soul sinks into corruption. With his play Capek aimed to illustrate the horror of eternal life. Elina Makropolos has become cynical and cruel: look at her treatment of Kristina Vitekova, of Albert Gregor and her matter-of-fact response-"everyone has to die"-to young Janek Prus' suicide after she has humiliated him in front of his father.

Yet it is Janacek's great achievement that he evokes sympathy even for this figure afflicted, as Erik Chisolm eloquently puts it in his monograph The of Janacek,

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by "a sempiternal ennui." Some com­ mentators have criticized Janacek for transforming Capek's black "universal comedy" into a "personalized tragedy" focused on the central figure of Emilia Marty. But it is precisely the composer's personal identification with his characters that have given his operas far wider currency than their original sources. The tragedy of Jenufa (1905) and her infanti­ cide foster mother touched a raw nerve with a man who had lived through the deaths of both his two-year-old son in 1890 and his 20-year-old daughter in 1903. The adultery of Kat'a Kabanova, too, had personal resonances, perhaps wishful-thinking ones. He identified the heroine of Ostrovsky's play, The Storm, with the young married woman, Kamila Stbsslova, whom he met-like the composer Zivny in his earlier opera, Osud (Fate)-at the holiday spa of Luhacovice.

Although Janacek corresponded with Mrs. Stbsslova until the end of his life, his doting passion was not reciprocated and it is hard not to detect hints of reproach in his letters to her about Makropulos. Between the years 1923 and 1925 he repeatedly refers to Emilia Marty as "my cold, 300-year-old beauty, " "the icy one," or merely as "brrrr, " "but I'll warm her up, so that people sympathize with her." Janacek was clearly sympathetic, as he made clear in a later letter (dated December 1925) to the reluctant object of his affection: "People took her for a thief and a liar, a heartless animal. They called her beast, slut and wanted to strangle her-and her fault? That she had to live too long. I felt sorry for her."

Janacek's compassion for a superficially unsympathetic character shines out from the music he wrote for Emilia Marty: for all her cynicism and spitefulness, she emerges­ especially in the extraordinary performance of Anja Silja-as a figure of much humor (her affectionate dalliance with old , mad Hauk-Sendorf) as well as human frailty. As the composer wrote of the murderers, thugs, and thieves who make up the dramatis per­ sonae of his last opera, From the House of the Dead: "in every creature a spark of God." Is there a more moving conclusion to any of Janacek's operas than the dying Emilia Marty crying out to the Deity in her native Greek, Pater Hemon (God my father) against a chorus mysticus of "dead things and shadows?" -Hugh Canning

Hugh Canning writes about classical music and opera every week in the Sunday Times of London. He contributes regularly to Gramophone and International Record Review, and is a member of the editorial board of Opera magazine.

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Abbreviation key Glyndebourne closed during the war years ENO: English National Opera and re-opened briefly in 1947 when it ROH: The , Covent Garden founded, and for three years ran, the RSC: Royal Shakepeare Company Festival. In 1950 Glyndebourne WNO: focused its operations exclusively on its home territory. In 1954 the Glyndebourne Arts Trust Glyndebourne Festival Opera was founded was formed to ensu re the futu re of the festiva I in 1934 by John Christie and his wife, the by establishing an endowment fund. The soprano Audrey Mildmay. This unique insti­ death of Busch in 1951, Audrey Mildmay in tution has matured unequivocally, but its 1953, John Christie in 1962, and the retire­ legacy has remained resolutely the same; of ment of Ebert in 1962 left huge artistic and "doing not the best we can do but the best leadership gaps at Glyndebourne. Bu sch was that can be done anywhere" (John Christie). succeeded by Vittorio Gui and in turn by John The inaugural season included six perfor­ Pritchard , Bernard Haitink, , mances each of Le nozze di Figaro and Cos! and currently the young Russian conductor, fan tutte. Audiences and critics came out of Vladimir Jurowski. was followed curiosity and duty. They left unanimously by Gunther Rennert, Franco Enriquez, Peter knowing they had witnessed something Hall, John Cox, and Graham Vick. The exceptional. This accomplishment was administration of the festival has been achieved by Christie's vision and aim- to admirably handled by various successors of present opera in an undisturbed atmosphere its precursor, Rudolf Bing. During each of with unlimited opportunity for rehearsal. these successions, the festival repertoire has Although he was an enthusiastic music lover, expanded to include operas from Baroque to Christie had no professional experience. He contemporary works, including seven of its did , however, wisely surround himself with own commissions and 12 British premieres. professionals. Both from Dresden and Carl Ebert from had left George Christie took over from his father in unable to work under the ideology of the 1958. He retained his parents' objectives Hitler regime. They accepted the posts of of artistic excellence, and most notably music director and artistic director respectively rebuilt the opera house , which now seats on condition that all artistic matters were to 1,200, with the opening taking place on be their sole responsibility. John Christie May 28, 1994- 60 years to the day of the would manage all matters regarding the cost festival 's inauguration. His son Gus took of running the company and the actual build­ over the reins in January 2000. In his first ing of the opera house . foreword in the 2000 Programme Book, he quotes his grandfather: "We should aim at By the start of the war Glyndebourne was the sky, but have our feet on the ground " an established house, international by repu­ (John Christie, 1952). tation and for engaging international artists . The performers were not chosen because David Atherton (conductor) studied at they were stars; on the contrary, the inten­ Cambridge University and joined the ROH in tion (which continues today) was to discover 1967, where he was resident conductor for 12 emerging talent. Among the many artists years and where he returns frequently as a who began their careers at Glyndebourne guest conductor. He co-founded the London were Monserat Caballe, Ileana Cotrubas, Sinfonietta and , as its music director, made Geraint Evans, Luciano Pavarotti, Joan many record ings. His new productions include Sutherland , , John Tomlinson , , The Love of Three Oranges , Der Amanda Roocroft, , and Rosenkavalier, , , Billy John Pritchard. Budd, and . Productions for the

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Metropolitan Opera include Death in Venice, and (WNO); The , Peter Grimes, and A Cunning Little Vixen, The Makropulos Case, Midsummer Night's Dream. He was music Die Fledermaus, and Aufstieg und Fall der director of the Symphony Orchestra, Stadt Mahagonny (Scottish Opera); Ariadne founded the Mainly Mozart Festiva l in auf Naxos (); Orphee aux Califomia, has been Principal Guest Conductor enfers, Die Fledermaus, Salome, Wozzeck, of the BBC National Orchestra, and music Christmas Eve, Lear (ENO); Capriccio, director of the Philharmonic, where Albert Herring (Garsington); and Herodes / he is now conductor laureate. He is co-founder, Salome (Paris). He appears regularly in president, and artistic director of the Global major opera houses and concert halls Music Network and his recordings can be abroad and has recorded for Decca , HMV, heard on www.gmn .com . Future plans include and . A Midsummer Night's Dream at the Met, con­ certs in London with the Tobias Hoheisel (set and costume designer) and the Philharmonia, and BBC Symphony was born in Frankfurt and trained in Berlin. Orchestra on tour in France. He has designed three Janacek operas at Glyndebourne-Kat'a Kabanova, JenUfa, and Menai Davies (cleaner, chambermaid) was The Makropulos Case-as well as Death in bom in Wales and was a member of Welsh Venice and . He made his National Opera, where roles included Mamma debut as a set and costume designer with Lucia / , Arnalta / Salome (R io de Janeiro). He has worked for L:incoronazione di Poppea, Fi Ii pyvena / many companies, including Deutsche Oper, Yevgeny Onegin, Mrs. Herring / Albert Herring, Staatsoper, Schillertheater and Schaubuhne in Auntie / Peter Grimes, Mrs. Grose / Turn of the Berlin; Staatsoper and in Vienna; Screw, Contessa / Andrea Chenier, and Gwen / Opera; ; La Monnaie; The Journey. She made her Glyndebourne Staatsoper Hamburg; ; Chicago; debut in 1987 in L'Enfant et les sorti!i~ges, and opera companies in Zurich, Paris, and returning as Grandmother Buryja / Jenufa and Cologne. He designed Yasmina Reza 's Art Auntie / Peter Grimes. She has appeared with (Berlin) and the premiere of Handke's The Hour Scottish Opera, ENO, and in , Cologne, We Knew Nothing of Each Other (Vienna). In Paris, Belgium, and Barcelona, as well as at Britain he has designed Julius Caesar and the Aix Festival, where her roles include Richard 11/ (RSC); La boheme and The Tales Grandmother Buryja , Mrs. Grose, La gouver­ of Hoffmann (EN O); Ivanov and Galileo Galilei nante / Le Chevalier Imaginaire , and La femme (Almeida); and The Strip (Royal Court). epuisee /60 paral!e!e. Recent productions include and (Paris). Future plans include Boulevard Nigel Douglas (Hauk-Sendorf) was born in Solitude (ROH); (Munich); and Kent and studied at the Vienna Music his debut as director of (Nationale Academy and in London. He made his Reisopera Holland in 2002). debut with Vienna Kammeroper singing reg­ ularly thereafter at the Vienna Volksoper in Neil Jenkins (Vitek) was born in Sussex and Basel and Zurich. He made his British debut studied as a chorister at Westminster Abbey with Sadler's Wells in Der Zigeunerbaron. and at Cambridge University and the Royal Other roles and productions include Peter College of Music. He made his Glynde­ Grimes (Edinburgh ), Owen Wingrave (ROH), bourne debut in 1985 in Where the Wild Orphee aux enfers, , The Things Are followed by Higglety Pigglety Makropulos Case, The Servants , The POpl, The Queen of Spades, Le nozze di Cunning Little Vixen, From the House of the Figaro , , and Owen Wingrave. He has Dead, , Wozzeck, Salome, sung with Scottish Opera, ENO, WNO,

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Opera North, and in the Netherlands, Israel, Linden. He made his Glyndebourne debut as Madrid , Venice, , Berlin, Frankfurt, Albert Gregor in 1997. Engagements have Lyon, Geneva, Tours, and Wexford. included Max / Der Freischutz, Steva / Productions include Les Pecheurs de per/es, Jenufa, Narraboth / Salome, Steuerman / Der , Die Zauberfl6te, Salome, fliegende Hollander, Alfred / Die Fledermaus , II barbiere di Siviglia, The Rake's Progress , Walter von der Vogelwiede / Tannhauser, Der Peter Grimes, L'incoronazione di Poppea , Sanger / Von Heute auf Morgen, and Prinz Boris Godunov, Dialogues des Carmelites , and Marquis / Lulu (Berlin); Jungling / Moses The Queen of Spades, Yevgeny Onegin, La und Aron (Salzburg); Novagerio / Palestrina finta giardiniera , , Paul (Deutsche Oper am Rhein); Albert Gregor Bunyan, Le Comte Ory, Zaide, The Turn of (Hamburg); and Alwa / Lulu, , Erik / the Screw, Cos! fan tutte, Idomeneo, Der fliegende Hollander, and Florestan / E/ektra, Le nozze di Figaro , and Billy Budd. (Deutsche Oper am Rhein). He appears in concert internationally and at Recordings include Moses und Aron (DG); the Ald eburgh , Edinburgh, Bath, Chelten­ Busoni's Die Brautwahl (Erato); and ham, and Three Choirs festivals. Krenek's Das geheime K6nigreich, Tach's Die Prinzessin auf der Erbse, and Kalman's Nikolaus Lehnhoff (director) was born in Die Herzogin von Chicago (Decca). Hanover and worked as an assistant at the Future engagements include Boris / Mfa , at Bayreuth, and at Kabanova (Glyndebourne); Chovansky / the Met. He made his Glyndebourne debut Khovanschina, and Guido / fine florentinis­ in 1988 directing the first of three Janacek che Tragoedie (La Monnaie). operas -Ki!Jt'a Kabanova followed by JenUfa (1990) and The Makropulos Case (1995), Steven Page (Baron Jaroslav Prus) was born returning in 1999 with The Bartered Bride. in Surrey. He made his Glyndebourne debut He made his directing debut with Die Frau as Nick Shadow / The Rake's Progress. ohne Schatten in Paris. He has directed Other roles for Glyndebourne include und Isolde (Orange); Fidelio Leporello / , Anubis / The (Bremen); E/ektra (Chicago, Leipzig) ; Second Mrs. Kong , Spencer Coyle / Owen Salome (Leipzig, Met); Marschner's Hans Wingrave, and Minskman / Flight. Other Heiling and Kelterborn's Der Kirschgaarten roles have included his debut at the ROH, in (Zurich); Cos! fan tutte (Bonn); Don La Cenerentola; Don Alfonso / Cos! fan Giovanni (Toronto); Ring (San Francisco, tutte; Tarquinius / The Rape of Lucretia; Munich); Don Giovanni; Albert / Werther; Paolo / (Hamburg); Der fliegende Hollander (Santa Simon Boccanegra; Figaro and the Count / Fe); Idomeneo (Salzburg); Die Meistersinger Le nozze di Figaro (ENO); Guglielmo / Cos! von Nurnberg (La Scala); Der Prinz von fan tutte; Count Marcello / La boheme; Homburg (Munich, ENO) ; Ford / Falstaff; Chorebe / Les Troyens (Frankfurt); Palestrina (ROH) ; Der Freischutz (Scottish Opera); Figaro; Geronio / II turco (Berlin) ; (Amsterdam); Parsifal (ENO, in Italia and Asdrubale / La pietra del San Francisco) ; and Lulu (DUsseldorf). paragone (Garsington); Sweeney Todd; Future plans include Turandot (Amsterdam) , Sharpless / Madama Butterfly (Opera Der fliegende Hollander (Chicago) , and North); Torquato Tasso (Buxton); and Don (ROH). Giovanni (Opera Factory). Overseas engage­ ments have taken him to Israel , France, Par Lindskog (Albert Gregor) was born in Germany, Stockholm, and the United States , Sweden and studied at the Academy in where he has sung in The Love for Three Gothenburg and at the Stadtische Buhnen Oranges , Susannah, L'Enfance du Christ, Mainz before joining Staatsoper Unter den The Rake's Progress, A Mask of Time , and

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Sweeney Todd . Future engagements include debut as an opera producer in Brussels Sweeney Todd (Opera North) and Pizarro / directing Lohengrin . Fidelio (Glyndebournel. Jon Stevens (revival lighting designer) was Steven Rooke (Janek) was born in Wales and born in Stratford-upon-Avon and studied at the studied at the Royal Northern College of Music. Guildhall School of Music and Drama, London . His roles for Glyndebourne include Ferrando / He has worked at Glyndebourne, RSC, the Cos! fan tutte , Pi lade / Ermione, Tchaplitsky / Crucible and Lyceum Theatres in Sheffield, and Queen of Spades, and Don Ottavio / Don Opera North and Phoenix Dance Company in Giovanni. Other roles include St. Brioche / Leeds. Lighting designs include Pelleas et The Merry Widow (ROH); Count Elerner / Melisande (Glyndebourne Touring Opera) and Arabella (Opera North) ; Captain Fonnegra and several productions for the RSC Winter Festival Forsyth / A Friend of the People (Scottish and Phoenix Dance Company. Other work Opera) ; Tamino / and Tom includes designing lighting and sound installa­ Rakewell / The Rake's Progress (ENO); Fenton / tions for Theatre Projects at the Lowry Centre Falstaff and Macduff / (City of and the Royal Academy of Dramatic Art. He is Birmingham Touring Opera); Musil / Broken currently engaged in various projects, including Strings; and Pilgrim 3 / Snatched by the Gods the Esplanade Theatres on the Bay in Singapore (Almeida and Scottish Opera). His concert and the Regional Music Centre in Gateshead. repertoire includes , Mozart's , Tippett's Songs for Dov, Elgar's The Linda TUV3S (Kristina) was born in Dream of Gerontius and Coronation Ode, Stockholm and studied at the Guildhall Beethoven's Missa solemnis , My Fair Lady, and School of Music and Drama , London, with Verdi 's Requiem . Recitals include Tivoli Thomas Hemsley. She won the 1997 John Festival, Copenhagen. Future engagements Christie Award having made her include Grimoaldo / Rodelinda (Glyndebourne) . Glyndebourne debut as Barbarina and Cherubino / Le nozze di Figaro, followed by Anja Silja (Emilia Marty) was born in Berlin Varvara / Kat'a Kabanova and Second and started her singing studies at age six, Niece / Peter Grimes . Other roles include giving many concerts in Europe between Musetta / La boheme and Amor / L'incoro­ ages 10 and 15. Her stage debut at age 16 nazione di Poppea (WNO); Tatyana / was at Braunschweig Opera as Rosina / Yevgeny Onegin (British Youth Opera); II barbiere di Sivig/ia followed by Zerbinetta / Pamina / Die Zauberflote, Micaela / Ariadne auf Naxos and Micaela / . Carmen, Susanna / Le nozze di Figaro, and After guest engagements in Vienna , Aix , and Mimi / La boheme (Gothenburg) ; and Fatme / Hamburg, among others , she began her Zemire et Azor (Drottningholm and the Wagner career in 1960 in Bayreuth as Senta / Champs-Elysees , Paris). Future plans include Der fliegende Hollander and has since sung Pamina (Royal Opera Stockholm) and Blanche / almost all the Wagner heroines under the Dialogues des Carmelites (Gothenburg). direction of in Bayreuth and the leading opera houses of Europe. Besides Jonathan Veira (Dr. KolenatY) was born in Wagner she has sung a wide repertoire, from London and studied at London University, coloratura to high dramatic roles , including Trinity College of Music, and the National the title roles in Salome , Lulu, , Opera Studio. He made his debut with Turandot , and Ariadne . At the Met she sang Glyndebourne in 1987 in The Electrification of Salome , Fidelio, Wozzeck , and in recent the Soviet Union and subsequently in Die years , JenUfa . Her first Glyndebourne engage­ Entfuhrung aus dem Serai/, New Year, Le ment was in 1989 as the Kostel-nicka / nozze di Figaro, Death in Venice , The Jen ufa (1992 and 2000), followed by Emilia Bartered Bride, Don Giovanni, Lulu , and The Marty (1995 and 1997). She made her Makropulos Case . He has sung with many 32D \A/ho'c \A/ho leading opera companies and festivals , includ­ into an essential contributor to the cultural ing ROH , WNO, Scottish Opera, Opera New life of greater New York ," (Anthony Zealand, Royal Danish Opera, Nice, Zurich, Tommasini, the New York Times, February 9, Opera Northem Ireland, Opera Ireland, Covent 2000). Audiences have embraced the Garden Festival, Wexford, and Garsington, Brooklyn Philharmonic Orchestra's cornmit­ where his many productions have included ment to the concept of the orchestra as a Falstaff, , The Magic Flute, contemporary performance ensemble, A Midsummer Night's Dream, Le nozze di emphasizing-as in the decades of Figaro , /I barbiere di Siviglia, L'elisir d'amore, Beethoven and Brahms- important present­ Aida , Madama Butterfly, Don Giovanni, The day music. The Philharmonic has performed Merry Widow, La boheme, La Bel/e Helene , more than 150 premieres including 60 com­ Boris Godunov, , The Magic missions, including Philip Glass' Symphony Fountain, Italian Girl in Algiers, Cos! fan tutte , No.5, which made its North American pre­ /I mondo della luna, and Porgy and Bess. miere in BAM 's 2000 Next Wave Festival. Future plans include Kat'a Kabanova and Don Giovanni (Glyndeboume), JenUta (Covent In addition to its regular season of subscrip­ Garden), and Falstaff (Royal Danish Opera). tion concerts, the Brooklyn Philharmonic Orchestra serves New York's most populous Henry Waddington (stagehand) was bom in borough with diverse programs, including Kent and studied at the RNCM where he made symposiums, educational programs, and free his operatic debut as Bottom / A Midsummer community concerts. Night's Dream. He made his Glyndebourne debut in 1992 as The Madhouse Keeper / The The Brooklyn Philharmonic Orchestra was Rake's Progress. Other roles at Glyndebourne founded by conductor Landau in include The Monstrous Messenger, Joe Shady / the spring of 1955. Landau programmed The Second Mrs. Kong , Graf Lamoral / many premieres during his tenure and from Arabella, Major Domo / Capriccio, Colline / La the beginning embraced the Brooklyn tradi­ boheme, and Publio / . tion of new and adventurous programming Other engagements include Fiorello / /I barbiere dating back a century to the era of Theodore di Siviglia , and Sacritan / Tosca (ROH); Falstaff Thomas. Visit www.brooklynphilharmonic .org and First Workman / Wozzeck (Opera North); for more information. Count Horn / , Don Basilio / II barbiere di Siviglia , and Police The New York Virtuoso Singers, founded in Commissioner / (WNO); 1988 by its conductor Harold Rosenbaum , is Don Magnifico / La Cenerentola and Banquo / this nation's leading professional choir special­ Macbeth (English Touring Opera). Future plans izing in contemporary music. It has performed include A Midsummer Night's Dream at Tanglewood , The Juilliard School, and on (Glyndebourne); La boheme (Opera North); the Late Show with David Letterman , and has and Three Sisters and L'Orteo (La Monnaie). collaborated with such orchestras as Brooklyn Philharmonic Orchestra , the American The Brooklyn Philharmonic Orchestra, Symphony, Orchestra of Saint Luke's, and Bard under the artistic vision of music director Festival Orchestra. Next season it will collabo­ Robert Spano, has emerged as one of the rate with the . NYVS has nation's premier music ensembles and con­ recorded on Sony Classical , Koch International , tinues to be a vital presence in the cultural CRI, and Bridge (Grammy Award finalist, life of the New York metropolitan area. 2000). Rosenbaum is also the founder and "Robert Spano's innovative programming has conductor of the Canticum Novum Singers and turned the Brooklyn Philharmonic Orchestra Westchester Oratorio Society, and is director of from a res~ed ensemble in an outer borough choirs at SUNY- Buffalo.

32E G Iynrlphou rnp

Glyndebourne Festival Opera is extremely grateful to the following who have made a major contribution to Glyndebourne's first visit to BAM.

The Vincent Astor Foundation Mr. and Mrs. Paul Collins Ambassador and Mrs. Edward E. Elson Drue Heinz Trust

Mr. and Mrs. Sid R. Bass Mr. and Mrs. Robert Conway Mr. and Mrs. Eugene H. Gardner The Ann & Gordon Getty Foundation Mr. Munir Benjenk Mr. and Mrs. Richard Goeltz Mr. and Mrs . John Botts Mr. and Mrs. Morton Sosland Mr. and Mrs. Nicholas Firth Robert and Rebecca Thomas Mr. Joe E. Kasparek Mrs. Jayne Wrightsman Alfred and Glenda Law Mr. Roger Lloyd Dianne and Michael Bienes Ms. Barbara Mosbacher Mr. and Mrs. William Campbell Mr. and Mrs. Leon Polsky Mr. and Mrs. Bruce Crawford Mr. and Mrs. Greg Reyes Mr. and Mrs. John Wright Ingraham Mr. and Mrs. M. Schlesinger Mr. R. Montgomery Scott Roberta and Irwin Schneiderman Mr. and Mrs. Howard Phipps Jr.. Mr. and Mrs. A.J.C. Smith

We are also deeply grateful to the GLYNDEBOURNE ASSOCIATION AMERICA INC. which has provided generous encouragement and support for the visit.

Tru stees

Paul Collins (Chairman) John Botts Sir George Christie Robert Conway Roger Lloyd Robert Montgomery Scott

The Association was established in 1976 for the purpose of attracting support from people and organizations in America who are sympathetically disposed to the promotion of opera. The Association is recognized by the I RS as possessing charitable status in the United States. For further information about the Association please contact Mark Waldstein, Torys, 237 Park Avenue, 20th Floor, New York, N.Y. 10017-3142, tel: 212.880.6073.

32F Rrooklyn Ararlpmy of 1\/1 u,ir

The Makropulos Case

BAM Spring Gala February 11 , 2001

Gala Hosts Bruce C. Ratner Chairman of the Board Brooklyn Academy of Music

Alan H. Fishman Chairman of the Campaign for BAM Brooklyn Academy of Music

Karen Brooks Hopkins President Brooklyn Academy of Music

Joseph V. Melillo Executive Producer Brooklyn Academy of Music

Alberto Vilar Honorary Chairman , BAM Opera

Gala Chairs Mr. & Mrs. Henry Christensen III Mr. & Mrs. James S. Marcus

Gala Honorary Chairs The Honorable Mayor of the City of New York Rudolph W. Giuliani The Honorable U.S. Senator Charles Schumer The Honorable U.S. Senator Hillary Rodham Clinton The Honorable Howard Golden, President of the Borough of Brooklyn & Mrs. Aileen R. Golden The Honorable Councilman Herbert E. Berman & Frances Berman The Honorable Congressman Ed Towns

Gala Vice Chairs Mr. Robert J. Baker Mrs. Rita Hillman

Benefit Committee William I. Campbell & Christine Wachter Richard B. Fisher & Jeanne Donovan Fisher Judith R. & Alan H. Fishman Harvey & Phyllis Lichtenstein Natalie Moody RAI\/I Spring Gala

BAM Spring Gala Support Susan & Francois de Menil Anne E. Delaney Gala Leaders Charles & Valerie Diker Mr. Robert J. Baker Christina Enriquez-Bocobo Mr. & Mrs. Henry Christensen III Mr. & Mrs. Mallory Factor Mrs. Rita Hillman Neil R. Feldman Mr. & Mrs. James S. Marcus Joan Salwen Fields Barbara L. Goldsmith Gala Promoters John M. Goldsmith Norman J. Buchan Ron Finkelstein William I. Campbell & Christine Wachter David Gruber The Dime Savings of New York, FSB John & Diana Herzog EAB William T. Hillman Richard B. Fisher & Jeanne Donovan Fisher Barbara Warner Howard Judith R. & Alan H. Fishman Miriam Katowitz & Arthur Radin John C. Simons KAZUKO.COM The Glyndebourne Association, Karen & Kevin Kennedy America, Inc. / Sir George & Lady Christie Bruce R. Kraus Agnes Gund & Daniel Shapiro Charlotte & Stanley Kriegel Philip Morris Companies Inc. Mr. Kenneth S. Kuchin Verizon Mr. & Mrs. Mark & Lisa Lane Nora Ann Wallace & Jack Nusbaum Nancy N. Lassalle LeBoeuf, Lamb, Greene & MacRae Gala Guarantors Amala & Eric Levine KeySpan Lewis B. & Dorothy Cullman Foundation Andrew Klink Frances A. Lewis David Kotheimer, HSBC Bank USA Scott C. McDonald Jonathan F.P Rose & Diana Ca lthorpe Rose Antonia Pew Robert & Joyce Menschel Family Foundation Next Society Martha A. & Robert S. Rubin Neil & Kathleen Chrisman Brian & Lindsay Shea Mr. & Mrs. G. Martin Fell P.J.S. Simpson John Lichtenstein Lavinia & Brian Snyder Sarah Miller & Frank Coulson Melissa & Robert Soros Laura Pels Foundation Dr. Ellen Sporn Evelyn & Everett Ortner Dr. & Mrs. Axel Stawski Mr. & Mrs. Richard J. Schwartz Theatrical Stage Employees / Local 4 , IATSE Jane Timken The Tomorrow Foundation Vaughn C. Williams Margo & Anthony Viscusi Charlene Magen Weinstein Chairman's Circle Judge Franklin R. Weissberg & Jayne Bentzen & Benedict Silverman Judge Marylin G. Diamond Charles R. Bjorklund & Stedman Mays Judith W. Blumert Producer's Council Conde Nast Publications Chris Ahearn & Marla Mayer Gerard Conn & Carol Yorke Don Allison & Sumiko Ito Ranny Cooper & David Smith George E. Berger, P.E. Douglas S. Cramer Sallie & Martin Blumenthal Catherine G. Curran Robert Bryan & Julie Jensen-Bryan Gordon J. Davis Joan Hardy Clark Elizabeth de Cuevas Constance Cranos RA 1\/1 Spri ng Ga la

Edgar Foster Daniels Gala Partners Max Dannis & Linda Gutter Robert Buckholz & Lizanne Fontaine Deloitte & Touche, LLP Clermont Communications Corp. Frederick N. Doner & Michele Oka Doner Robert J. Hurst Asher Edelman & Michelle Vrebalovich Paula Jarowski & Earl Black Lisa Ehrenkranz Robert Lide Arthur & Susan Fleischer Richard & Ronay Menschel Robert L. Forbes Barbara S. Mosbacher Mary Foster William A. Perlmuth, The Harkness Bea Friedland Foundation for Dance Hugh Hardy Georgia Shreve Marieluise Hessel Robert & Rebecca Thomas Barbara Hoffman Earl D. & Gina Ingoglia Weiner Joel S. & Lily M. Hoffman Jane Holzka & Mark Winter Gala Associates Pamela Howard Connie Benesch Charles Ingham Jane Brody & Richard Engquist Mill & Randy Jonakait Mr. & Mrs. Abraham E. Cohen Mary Yung Kantor Mr. & Mrs. Robert N. Downey Mary & Howard Kelberg Constance C. Ellis Jessie Kelly Paul A. Gangsei Joan & Albert Kronick Gruss Charitable Foundation Eugene H. Luntey Henry & Elaine Kaufman Foundation Donald & Gwen Arner Moffat Barbara Haws & William Josephson Peter Norton Mary Yung Kantor Jonathan Otto John Morning Barbara G. Pine Parnassus Foundation, courtesy of Masha Plotnitsky & Rens Lipsius Jane and Raphael Bernstein Cynthia & Leon Polsky Calvin Tsao & Zack McKown Anupum & Rajika Puri Gala Contributors Joe Regan Marco Polo Restaurant Robert C. Rosenberg & Fran Kaufman Diane & William Dreher Dr. & Mrs. Thomas P. Sculco Barbara Ken Neuberger Rena & Michael D. Shagan & Mr. Henry C. Preston Michael A. Sennott Harold & Myra Shapiro Gala decor: Mrs. C. Sidamon-Eristoff Karen Bussen, James Sollins Lynn Silverman Creative Event Planning Mr. Mrs. Jose Soriano & Gala catering: Annaliese Soros Tentation Juliet Taylor & James Walsh Gala entertainment by: Jane Timken Forte String Quartet Treasurers & Ticket Sellers Union Local 751 Gift bags provided by: Joan Waricha Fairfax Screen Printing John P. Wendell Jr. Glyndebourne Festival Opera Vaughn C. Williams Philip Morris Companies Inc. Susan R. Witter Mary Anne & Richard Yancey Gala program printing courtesy of: Matthew & Myra Zuckerbraun Bowne of New York

Listing as of 1.26.01