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Home , Daniela Barcellona, Francesco Meli, Requiem (Verdi), Simon Halsey, Vitalij Kowaljow

Sunday, October 30, 2016, at 3:00 pm Pre-concert lecture by Andrew Shenton at 1:45 pm in the Stanley H. Kaplan Penthouse Verdi Symphony Orchestra Gianandrea Noseda , Conductor Erika Grimaldi , Soprano Daniela Barcellona , Mezzo-Soprano Francesco Meli , Vitalij Kowaljow , Simon Halsey , Chorus Director

VERDI Messa da Requiem (“Requiem Mass”) (1874) Requiem and Kyrie Dies irae mirum Liber scriptus Quid sum miser Rex tremendae Recordare Ingemisco Confutatis Lacrymosa Offertorio Sanctus Agnus Dei Lux aeterna

This performance is approximately 90 minutes long and will be performed without intermission. This performance is also part of the Great Performers Symphonic Masters series.

Endowment support for Symphonic Masters is provided by the Leon Levy Fund. Endowment support is also provided by UBS. This performance is made possible in part by the Josie Robertson Fund for Lincoln Center.

David Geffen Hall Please make certain all your electronic devices are switched off. WhiteLightFestival.org Support for Great Performers is provided by UPCOMING WHITE LIGHT FESTIVAL EVENTS: Rita E. and Gustave M. Hauser, Audrey Love Charitable Foundation, Great Performers Circle, Saturday, November 5 at 4 pm in the Chairman’s Council, and Friends of Lincoln Center. Stanley H. Kaplan Penthouse White Light Conversation Public support is provided by the New York State Our Humanity: Past, Present, and Future Council on the Arts with the support of Governor John Schaefer , moderator Andrew M. Cuomo and the New York State Through the lenses of evolution, psychology, Legislature. religion, and art, this panel will provide fresh insight into the age-old question, “What makes us MetLife is the National Sponsor of Lincoln Center. human?”

Artist Catering provided by Zabar’s and Zabars.com Saturday, November 12 at 7:30 pm in Alice Tully Hall Venetian Coronation American Airlines is the Official Airline of Lincoln Gabrieli (formerly Gabrieli Consort & Players) Center Paul McCreesh , conductor Works by Andrea and Giovanni Gabrieli Nespresso is the Official Coffee of Lincoln Center Pre-concert lecture by Raymond Erickson at 6:15 pm in the Stanley H. Kaplan Penthouse NewYork-Presbyterian is the Official Hospital of “Prisoners in Their Own Palace: The Doges of Lincoln Center Venice”

Monday–Wednesday, November 14–16 at 7:30 pm in the Gerald W. Lynch Theater at John Jay College The Return of Ulysses Handspring Puppet Company William Kentridge , director Ricercar Consort Philippe Pierlot , musical director MONTEVERDI: Il ritorno d’Ulisse in patria Post-performance artist discussion on November 15

Wednesday, November 16 at 7:30 pm in Alice Tully Hall Medieval to Modern Jeremy Denk , piano Works by Machaut, Monteverdi, Bach, Mozart, Beethoven, Brahms, Debussy, Ligeti, Philip Glass, and more

For tickets, call (212) 721-6500 or visit WhiteLightFestival.org. Call the Lincoln Center Info Request Line at (212) 875-5766 to learn about pro - gram cancellations or to request a White Light Festival brochure.

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We would like to remind you that the sound of coughing and rustling paper might distract the performers and your fellow audience members. In consideration of the performing artists and members of the audience, those who must leave before the end of the performance are asked to do so between pieces. The taking of photographs and the use of recording equipment are not allowed in the building. Note on the Program have been sadder or more moved than I was, even though I am far away. Now it is By James M. Keller finished! And with him dies the purest, holiest, and highest of our glories.” Messa da Requiem (“Requiem Mass”) (1874) Verdi soon resolved to compose a full Requiem Mass in memory of Manzoni— Born October 1813, near Busseto, Italy this time on his own. He already had a leg Died January 27, 1901, in up with his completed but unperformed “Libera me” for Rossini; and since that Approximate length: 85 minutes section includes some text that also appears in two earlier sections—“Requiem The story of Verdi’s Requiem Mass, one of aeternam” and “Dies irae”—it made sense the crowning glories of his oeuvre, begins for him to “extrapolate backwards” when with another composer, his predecessor composing those parts, getting further (and . Verdi viewed him as one perfectly logical) mileage out of the music of his most essential forefathers, and the he had already written, including some hair- aesthetic of that Rossini personi - raising passages spotlighting and fied continued to inform Verdi’s long . He completed his Requiem in after his own voice began to emerge in the time for it to be premiered on the first 1840s, following Rossini’s early retirement anniversary of Manzoni’s death, in the nov - from composition. Verdi premiered elist’s home city of Milan. his first opera in 1839, and by the time he completed his Requiem, in 1874, he had There were challenging problems to be unveiled about 25 operas, culminating in overcome. Although Verdi viewed the 1871 with . The Requiem had already Requiem as essentially a concert piece, he begun to germinate by then. When Rossini became fixated on the idea that the pre - died in 1868, Verdi felt the loss deeply. He miere should take place in Milan’s Church organized a plan for 13 composers to con - of San Marco. But there was a prohibition tribute movements to a composite against women singing in church, and this Requiem for Rossini, assigning himself the Requiem would involve a lot of singing concluding “Libera me” section. Bickering women—two of the four vocal soloists as politics got the better of the scheme, which well as half of the mixed chorus. Verdi per - never came to fruition. suaded the authorities to bend the rules for this occasion. At the premiere it was pre - “A great name has gone from the world!” sented as a “dry Mass” (i.e., as a liturgical Verdi wrote to his friend and confidante the celebration but without communion), with Countess Clara Maffei when Rossini died. Verdi’s settings separated by passages of “His was the most widespread, most pop - chant. The Archbishop remained nervous ular reputation of our time, and was the about the idea of female vocalists, but he glory of Italy! When the other one who is finally relented so long as “all possible pre - still alive will no longer be with us, what cautions [be taken] that the women be hid - will remain?” That “other one” was den by a grating, off to one side, or some - , a poet and novelist of thing similar.” international reputation and, like Verdi, a patriot for an Italy in the throes of national Three days after its church premiere, the unification. Manzoni died in 1873 at the age production moved lock, stock, and barrel to of 88. Verdi did not attend the funeral, but the opera house at for three perfor - he reported to Maffei: “Few people can mances, after which it made the rounds of

WhiteLightFestival.org the major European music capitals, always Thus was launched the composer’s only to immense acclaim. The Milanese news - large-scale sacred work. After an initial paper Il Sole reported on the first La Scala flurry of performances in Europe and the performance, detailing the ovations that Americas, however, interest waned and greeted movement after movement, often the work nearly dropped from sight. It requiring that sections be repeated: staged a firm comeback in the mid-20th century, and since then, Verdi’s Requiem At the “Offertorium” the enthusiasm has no shown no sign of relinquishing its knew no bounds, and the public insisted grip on the affection of music lovers. on the repetition of this admirable quar - tet with soloists.…they also encored the James M. Keller is program annotator of “Sanctus,” a fugue for double chorus, the New York Philharmonic and the San which was performed wonderfully. The Francisco Symphony. His book Chamber magic wand of Verdi seemed to have Music: A Listener’s Guide was published in electrified all the performers.…After the 2011 by Oxford University Press and is “Offertorium” had been repeated, a sil - now also available as an e-book and an ver crown was presented to Verdi on an Oxford paperback. elegant cushion, while the public applauded with rapture. —Copyright © 2016 by Lincoln Center for the Performing Arts, Inc. Illumination

All Souls By Jane Hirschfield

In Italy, on the day of the dead, they ring bells, from every church and village in every direction. At the usual times, the regular bells of the hour— eleven strokes, twelve. Oar strokes laid over and into the bottomless water and air. But the others? Tuneless, keyless, rhythm of wings at the door of the hive when the entrance is suddenly shuttered and the bees, returned heavy, see that the world of flowering and pollen is over. There can be no instruction to make this. Undimensioned the tongues of the bells, the ropes of the bells, their big iron bodies unholy. Barred from form, barred from bars, from relation. The beauty—unspeakable— was beauty. I drank it and thirsted, I stopped. I ran. Wanted closer in every direction. Each bell stroke released without memory or judgment, unviolent, untender. Uncaring. And yet: existent. Something trembling. I—who have not known bombardment— have never heard so naked a claim of the dead on the living, to know them.

—“All Souls” from THE BEAUTY: POEMS by Jane Hirshfield, compilation copyright © 2015 by Jane Hirshfield. Used by permission of Alfred A. Knopf, an imprint of the Knopf Doubleday Publishing Group, a division of Penguin Random House LLC. All rights reserved.

For poetry comments and suggestions, please write to [email protected].

WhiteLightFestival.org Meet the Artists An exclusive Chandos artist, Mr. Noseda has made over 50 recordings. He led the Orchestra and Orchestra Torino on albums

2 with celebrated vocalists such as Anna 1 0 2

G Netrebko and Diana Damrau. Mr. Noseda R U B

L was named Conductor of the Year at the H A

E I Gianandrea

S International Opera Awards in 2016, S U S Noseda Musical America ’s Conductor of the Year in Gianandrea Noseda is among the most 2015, and is a Cavaliere Ufficiale al Merito sought-after conductors of his generation. della Repubblica Italiana. Since 2007 he has been music director of Teatro Regio Torino, where he leads perfor - mances of La bohème this month to cele - brate the 120th anniversary of the opera’s world premiere at the theater. In 2016 Mr. Noseda was appointed the eighth music director of the National Symphony Or- Erika Grimaldi chestra, a position he will assume in the Erika Grimaldi (soprano) has delivered criti - 2017–18 season, and was appointed prin - cally acclaimed performances at Italy’s cipal guest conductor of the London Teatro Regio di Torino, and appeared in Symphony Orchestra, with which he has a such major opera houses as Teatro alla long relationship and has toured exten - Scala in Milan, Teatro dell’Opera di Roma, sively over the last few months, culminat - , and Opéra National ing in these concerts. de Montpellier. Her 2016–17 season includes engagements as Mimì in La The principal guest conductor of the Israel bohème and her debut as Nedda in Philharmonic Orchestra since 2012, Mr. Pagliacci at Teatro Regio; Mathilde in Noseda is also a regular guest of the BBC Guillaume Tell at the Bavarian State Opera; Philharmonic, Cleveland Orchestra, Filar- and Mimì with . monica della Scala, Mariinsky Theatre, NHK Symphony Orchestra, Orchestra dell’ Recent highlights include the title role in Accademia Nazionale di Santa Cecilia , Giovanna d’Arco at Teatro alla Scala, Armilla in La donna serpente at Teatro Regio, Alice Philadelphia Orchestra, Pittsburgh Sym - Ford in at the Verbier Festival, Mimì phony Orchestra, and Wiener Symphon- with Opera de Oviedo and Savonlinna iker. Recent engagements include debuts Opera Festival in Finland, Amelia in Simon with the Phil harmonic, Royal Opera Boccanegra in Hong Kong, and Micaëla in House, Covent Garden, and the Berlin Carmen for her debut with San Francisco Philhar monic. In 2015 he made his Salzburg Opera. She has also sung Desdemona in Festival debut conducting the Vienna and the Countess in Le nozze di Philharmonic. Mr. Noseda returns to the Figaro at Teatro Regio, Donna Anna in Don this season to conduct Giovanni at Opera de Bellas Artes in a new production of Gounod’s Roméo et Mexico City, Donna Fiorilla in Il turco in Juliette , having led a new production of Les Italia for her debut at Staatsoper Hamburg, Pêcheurs de Perles in 2015–16. In 2013–14 and Mimì at Teatro di San Carlo. Ms. Mr. Noseda received praise for his interpre - Grimaldi made her U.S. debut in 2014 as a tation of Prince Igor, which was released soloist in Beethoven’s Symphony No. 9 at on DVD by Deutsche Grammophon. the Mostly Mozart Festival in New York. Born in Asti, Italy, Ms. Grimaldi graduated of , and later returned for from Conservatorio Statale di Musica Otello , , , Maria Giuseppe Verdi in Turin. Stuarda, and Der Rosenkavalier . He has sung in at the Metropolitan Opera, in Vienna, in Parma, in Venice, Werther in Washington, D.C., and in Los Angeles. Mr. Meli has given solo recitals in London, Tokyo, Oslo, Daniela and Pozna , Poland, and performed in Barcellona ń Verdi’s Requiem, conducted by Daniele Daniela Barcellona (mezzo-soprano) has Gatti, , Gianandrea Noseda, given numerous acclaimed performances and Yuri Temirkanov. at Teatro alla Scala, , Teatro Regio di Torino, Teatro dell’Opera, Mr. Meli’s future engagements include and other venues. She has also been a works by Verdi with Muti in Rome, guest performer with the Berlin Phil - Chicago, and Salzburg; Un ballo in harmonic, Bavarian Radio Symphony Or- maschera at Accademia di Santa Cecilia chestra, London Symphony Orchestra, with ; Il trovatore in Deutsche Oper Berlin, Metropolitan Opera, Salzburg; in Paris; I due Foscari and , Covent Garden. in London, Turin, and Parma; with Her upcoming appearances include the Metropolitan Opera and at Teatro in London and Munich, dell’Opera in Rome; Simon Boccanegra in in Marseille and Valencia, La Venice and Vienna; and Carmen, Giovanna Gioconda in Berlin, Aida in , Samson d’arco , and I due Foscari at La Scala. His et Dalila in Turin, and Falstaff in Munich and performances of Verdi’s Requiem, I Lom- Berlin with . bardi alla prima crociata , and Donizetti’s are available on DVD from Ms. Barcellona has collaborated with such Deutsche Grammophon and Unitel. conductors as Claudio Abbado, , , Bruno Campanella, and Riccardo Chailly. She has received prestigious awards that include the Franco G

Abbiati Prize and a 2002 Opera Award in R U B L

Italy, and she was the youngest-ever recip - H A

E I ient of the San Giusto d’Oro Award. S S U

S Vitalij Kowaljow Praised for the depth and richness of his voice, Vitalij Kowaljow (bass) has estab - lished himself as a leading performer of more than 40 roles and has appeared at opera houses including the Metropolitan Opera, San Francisco Opera, Bavarian State Francesco Meli Opera, Teatro alla Scala, Mariinsky Theatre, Born in , Francesco Meli (tenor) Gran Teatre del Liceu, and Royal Opera began training at age 17 with soprano House, Covent Garden. Highlights this Norma Palacios at Conservatorio Niccolò season include Mr. Kowaljow’s debut at Paganini. He made his debut at La Scala in Salzburg Easter Festival as Wotan in Die Dialogues des Carmélites under the baton Walküre with Christian Thielemann,

WhiteLightFestival.org Zaccaria in for Bavarian State Berlin, artistic director of the Berliner Opera and others, and Banco in at Philharmoniker’s Youth Choral Program, Gran Teatre del Liceu and Teatro Regio di and artistic advisor of the Schleswig- Torino. Recent highlights include his criti - Holstein Musik Festival . This year he cally acclaimed debut at Edinburgh Festival added the roles of artistic director of the as Wotan in Das Rheingold with Mariinsky Orfeó Català and artistic adviser to Opera and Valery Gergiev, Zaccaria in the Palau de la Música, . Mr. Nabucco and Fiesco in Simon Boccanegra Halsey has a growing relationship with at Gran Teatre del Liceu in Barcelona, and Lincoln Center, where this summer he led Banco in a new production of Macbeth for the world premiere of ’s the Dutch National Opera. public domain , a huge community project, as part of the Mostly Mozart Festival. He On the concert platform, recent highlights also conducted Rundfunkchor Berlin in include appearances with the orchestra of human requiem as part of the White Light Accademia Nazionale di Santa Cecilia, Festival earlier this month. Deutsches Symphonie-Orchester Berlin, and the and Mr. Halsey has worked on nearly 80 Chicago Symphony Orchestra. Mr. Kowal- recording projects, winning three Grammy jow collaborates with conductors including Awards. He was made Commander of the Daniel Barenboim, Valery Gergiev, Plácido British Empire in 2015, awarded the Domingo, Nicola Luisotti, and Fabio Luisi. Queen’s Medal for Music in 2014, and the He has made recordings on Deutsche Officer’s Cross of the Order of Merit of the Grammophon and stars as Colline in La Federal Republic of Germany in 2011. He bohème, directed by Oscar- and Emmy- holds three honorary doctorates from uni - nominated director Robert Dornhelm. versities in the U.K., and in 2011 Schott Music published his book and DVD on choral conducting, Chorleitung: Vom Konzept zum Konzert . As a teacher and academic, Mr. Halsey gives a post-gradu - E

D ate course in Birmingham and has taught Y E H

S master classes at Princeton and Yale A I H T

T Universities and elsewhere. A

M Simon Halsey Simon Halsey occupies a unique position London Symphony Orchestra as a trusted advisor on choral singing to The London Symphony Orchestra’s com - the world’s greatest conductors, orches - mitment to serve music and the tras, and choruses, and as an inspirational people who love music is borne of a teacher and ambassador for choral sing- unique ethos developed over more than ing to amateurs of every age, ability, and 100 years. Established in 1904 by a num - background. He has been instrumental in ber of London’s finest musicians, the LSO changing the level of symphonic singing is a self-governing musical collective built across Europe and nurturing the next gen - on artistic ownership and partner ship. The eration of choral conductors. orchestra is still owned by its members and has a signature sound emanating from Mr. Halsey is choral director of the London the combined zeal and virtuosity of these Symphony Orchestra and Chorus, chorus 95 brilliant musicians who come from director of the City of Birmingham around the world; its music-making Symphony Orchestra Choruses, and direc - remains firmly at the center of the orches - tor of the BBC Proms Youth Choir. He is tra’s activities. The LSO is resident orches - also conductor laureate of Rundfunkchor tra at the Barbican in the City of London, where it gives 70 symphonic concerts Other highlights with the LSO will be a every year, and performs a further 70 con - semi-staging of Ligeti’s Le Grand Macabre certs worldwide on tour. The orchestra with and Peter Sellars, John works with a family of artists that includes Adams’s El Ninõ conducted by the com - the world’s greatest conductors: Simon poser, Brahms’s Requiem with Fabio Luisi, Rattle as music director designate, and Bruckner’s with Bernard Gianandrea Noseda and Daniel Harding as Haitink. Highlights from last season include principal guest conductors, Michael Tilson Haydn’s The Seasons with Rattle; Elgar’s Thomas as conductor laureate, and André Dream of Gerontius with Mark Elder; and a Previn as conductor emeritus. LSO new opera commission by Peter Maxwell Discovery, the orchestra’s community and Davies, The Hogboon . education program based at LSO St. Luke’s, brings the work of LSO to all parts The LSC’s large catalogue of recordings fea - of society and engages with 60,000 people tures renowned conductors and soloists, every year. The LSO reaches out much fur - and has won five Grammys, a Gramophone ther with its own recording label—LSO and other awards. Recent releases include Live, the first of its kind which launched in Britten’s with Noseda and 1999—and now streams its music to mil - Mahler’s Symphonies Nos 2, 3 and 8 with lions around the world. Valery Gergiev. The Seasons by Haydn, Belshazzar’s Feast by Walton, Otello by London Symphony Chorus Verdi, and the world premiere of the St. The London Symphony Chorus was John Passion by James MacMillan were all formed in 1966 to complement the work of under the baton of the late . the London Symphony Orchestra and this year marks its 50th anniversary. The part - White Light Festival nership between the LSC and LSO was I could compare my music to white light, strengthened in 2012 with the appoint - which contains all colors. Only a prism can ment of Simon Halsey as joint chorus direc - divide the colors and make them appear; tor of the LSC and choral director for the this prism could be the spirit of the listener. LSO. It now plays a major role in furthering —Arvo Pärt. Now in its seventh year, the the vision of the LSO Sing initiative. White Light Festival is Lincoln Center’s annual exploration of music and art’s power The LSC has also partnered many other to reveal the many dimensions of our inte - major orchestras and has performed rior lives. International in scope, the multidis - nationally and internationally with the Berlin ciplinary festival offers a broad spectrum of and Vienna Philharmonics, and the Leipzig the world’s leading instrumentalists, vocal - Gewandhaus Orchestra. Championing the ists, ensembles, choreographers, dance musicians of tomorrow, it has also worked companies, and directors complemented by with both the National Youth Orchestra of conversations with artists and scholars and Great Britain and the European Union post-performance White Light Lounges. Youth Orchestra. The chorus has toured extensively throughout Europe and has Lincoln Center’s Great Performers also visited North America, Israel, Australia, Initiated in 1965, Lincoln Center’s Great and Southeast Asia. Performers series offers classical and con - temporary music performances from the In 2016 –17 the LSC continues to celebrate world’s outstanding symphony orchestras, its 50th anniversary with performances of vocalists, chamber ensembles, and recital ists. Verdi’s Requiem with Gianandrea Noseda One of the most significant music presen - at the Barbican Theatre and Lincoln Center. tation series in the world, Great Per formers

WhiteLightFestival.org runs from October through June with and manager of the Lincoln Center cam - offerings in Lincoln Center’s Avery Fisher pus. A presenter of more than 3,000 free Hall, Alice Tully Hall, Walter Reade Theater, and ticketed events, performances, tours, and other performance spaces around and educational activities annually, LCPA New York City. From symphonic master - offers 15 programs, series, and festivals works, lieder recitals, and Sunday morning including American Songbook, Great coffee concerts to films and groundbreak - Performers, Lincoln Center Festival, ing productions specially commissioned by Lincoln Center Out of Doors, Midsummer Lincoln Center, Great Performers offers a Night Swing, the Mostly Mozart Festival, rich spectrum of programming throughout and the White Light Festival, as well as the the season. Emmy Award–winning Live From Lincoln Center , which airs nationally on PBS. As Lincoln Center for the Performing manager of the Lincoln Center campus, Arts, Inc. LCPA provides support and services for Lincoln Center for the Performing Arts the Lincoln Center complex and the 11 res - (LCPA) serves three primary roles: presenter ident organizations. In addition, LCPA led a of artistic programming, national leader in $1.2 billion campus renovation, completed arts and education and community rela tions, in October 2012. 5 1 0 2

E I N H C E K C A M

D L A N A R

London Symphony Orchestra

Sir Simon Rattle, OM CBE, Music Director Designate Daniel Harding, Gianandrea Noseda, Principal Guest Conductors Michael Tilson Thomas, Conductor Laureate André Previn, KBE, Conductor Emeritus Simon Halsey, CBE, Choral Director

Violin I Carmine Lauri, Leader Edward Vanderspar Adam Walker David Elton Lennox Mackenzie Malcolm Johnston Alex Jakeman Gerald Ruddock Clare Duckworth Anna Bastow Daniel Newell Nigel Broadbent German Clavijo Piccolo Robin Totterdell Ginette Decuyper Julia O’Riordan Sharon Williams Gerald Gregory Robert Turner Off-Stage Trumpet Jörg Hammann Heather Wallington Philip Cobb Maxine Kwok-Adams Jonathan Welch Olivier Stankiewicz Jason Evans Claire Parfitt Stephen Doman Rosie Jenkins Paul Mayes Laurent Quenelle Carol Ella Niall Keatley Harriet Rayfield Felicity Matthews Colin Renwick Caroline O’Neill Andrew Marriner Sylvain Vasseur Chi-Yu Mo Dudley Bright Rhys Watkins James Maynard Shlomy Dobrinsky Tim Hugh Helena Smart Alastair Blayden Daniel Jemison Bass Trombone Jennifer Brown Joost Bosdijk Paul Milner II Noel Bradshaw Dominic Morgan Thomas Norris Eve-Marie Caravassilis Lawrence O’Donnell Tuba Miya Vaisanen Daniel Gardner Patrick Harrild David Ballesteros Hilary Jones Horn Matthew Gardner Amanda Truelove Nicolas Fleury Timpani Julian Gil Rodriguez Steffan Morris Vittorio Schiavone Nigel Thomas Naoko Keatley Miwa Rosso Angela Barnes Antoine Bedewi Belinda McFarlane Alexander Edmundson William Melvin Bass Jonathan Lipton Percussion Iwona Muszynska Colin Paris Neil Percy Andrew Pollock Patrick Laurence Paul Robson Matthew Gibson Hazel Mulligan Thomas Goodman Alain Petitclerc Joe Melvin Robert Yeomans Jani Pensola Simon Oliver Nicholas Worters

WhiteLightFestival.org London Symphony Chorus

Sir Simon Rattle OM CBE, President André Previn KBE, President Emeritus Michael Tilson Thomas, Vice President Simon Russell Beale CBE; CBE, Patrons Simon Halsey CBE, Chorus Director Neil Ferris and Matthew Hamilton, Associate Directors Roger Sayer, Chorus Accompanist

Soprano Alto Tenor Bass Frances Arnull Elizabeth Boyden Jorge Aguilar Simon Backhouse * Liz Ashling Gina Broderick Paul Allatt * Roger Blitz Kerry Baker Jo Buchan * Erik Azzopardi Gavin Buchan Faith Baxter Elizabeth Campbell Brais Breijo Andy Chan Louisa Blankson Maggie Donnelly Iain Christie Steve Chevis Evaleen Brinton Lynn Eaton Michael Delany Matthew Clarke Anna Byrne-Smith Linda Evans Matt Fernando Damian Day Carol Capper * Amanda Freshwater Matthew Flood Joe Dodd Laura Catala-Ubassy Tina Gibbs Andrew Fuller * Thomas Fea * Jessica Collins Joanna Gill Simon Goldman Ian Fletcher Shelagh Connolly Rachel Green Euchar Gravina Sam Foster Harriet Crawford Kate Harrison Michael Harman Gerald Goh Rebecca Dent Elizabeth Iles Matt Horne Daniel Gosselin Katharine Elliot Ella Jackson Matt McCabe John Graham Lucy Farrington Kristi Jagodin Tom McNeil Owen Hanmer * Naomi Fletcher Christine Jasper Daniel Owers Anthony Howick Elisa Franzinetti Jill Jones Chris Riley Alex Kidney Isabel Hammond Gilly Lawson Chris Straw Thomas Kohut Emily Hoffnung Olivia Lawson Richard Street * Gregor Kowalski Denise Hoilette Belinda Liao Malcolm Taylor Andy Langley Josefin Holmburg Aoife McInerney Simon Wales Isaac Leaverton Claire Hussey * Jane Muir James Warbis Stefan Magier Debbie Jones Caroline Mustill Robert Ward * George Marshall Luca Kocsmarszky Dorothy Nesbit Paul Williams-Burton Hugh McLeod Naomi Kroll Susannah Priede * Peter Niven Winnie Lei Lucy Reay Malcolm Rowat Meg Makower Emma Recknell Richard Tannenbaum Jane Morley Maud Saint-Sardos Gordon Thomson Emily Norton Sarah Scott Robin Thurston * Maggie Owen Lis Smith John Wareing Andra Patterson Jane Steel Anthony Wilder Frances Pope Margaret Stephen Carole Radford Claire Trocmé * member of Council Liz Reeve Rachael Twyford Mikiko Ridd Kathryn Wells Alison Ryan Emma Smith Giulia Steidl Lizzie Webb Rebecca Vassallo London Symphony Orchestra Administration Kathryn McDowell, Managing Director Tim Davy, Tours and Projects Manager Miriam Loeben, Tours Manager Andrew Softley, Orchestra Personnel Manager Alan Goode, Stage and Transport Manager Neil Morris, Stage Manager

London Symphony Chorus Administration Andra East, LSO Choral Projects Manager Jo Buchan, Concert Manager Mimi Kroll, Tour Administrator Owen Hanmer, Chairman

Lincoln Center Programming Department Jane Moss, Ehrenkranz Artistic Director Hanako Yamaguchi, Director, Music Programming Jon Nakagawa, Director, Contemporary Programming Jill Sternheimer, Director, Public Programming Lisa Takemoto, Production Manager Charles Cermele, Producer, Contemporary Programming Mauricio Lomelin, Producer, Contemporary Programming Andrew C. Elsesser, Associate Director, Programming Regina Grande Rivera, Associate Producer Nana Asase, Assistant to the Artistic Director Luna Shyr, Senior Editor Olivia Fortunato, House Seat Coordinator Gabe Mizrachi, Program Content Coordinator

For the White Light Festival Megan Young, Supertitles Janet Rucker, Company Manager

The orchestra would like to thank the generous supporters of the American London Symphony Orchestra Foundation: Alan & Sally Bell, Tony & Gisela Bloom, Brian & Susan Dickie, Mr. Neil and Dr. Kira Flanzraich, Barbara G. Fleischman, Mr. Philip Keevil, Bruce and Suzie Kovner, Mr. & Mrs. Robert Marchbank, Sir Michael Moritz KBE & Ms. Harriet Heyman, Reidler Foundation, Elena Sardarova, Daniel Schwartz, Mrs. Ernest H. Seelhorst, Peter Soros, Mr. Martin Sullivan, The Philip and Irene Toll Gage Foundation, and those who wish to remain anonymous.

And the Advisory Council to the American London Symphony Orchestra Foundation: David Chavolla, John Fairchild, Philip C. Keevil, Shirley Lord Rosenthal, Ilona Nemeth Quasha, André Previn KBE, Louise Shackelton, Nigel Sheinwald, Ernest Steiner, Howard Stringer, Martin Sullivan, Michael Tilson Thomas

The London Symphony Chorus is generously supported on its 2016 tour to New York and Princeton by its members, and by: London Symphony Chorus Endowment Fund; American Friends of the London Symphony Chorus, Inc.; Westminster Choir College of Rider University, Princeton

WhiteLightFestival.org Arts in the Middle r o l y a T

n a e J Students from South Bronx Academy for Applied Media everal studies have examined how term effectiveness of the program, Sexposure to the arts in middle has documented increased parent school strongly impact a student’s engagement, which can have an impact social skills and development as well as on student success. Some schools have likelihood to graduate from high school. also noted that students are becoming In 2013, Lincoln Center Education vibrant and vocal participants when launched a pilot program in partnership the arts are integrated into classrooms. with the New York City Department of If results continue in this direction, Education aimed at this specific issue. Lincoln Center Education hopes to Called Arts in the Middle, it focuses on develop an adaptable model of the arts education as a potential catalyst program that can be disseminated for improved student engagement and nationally to bring arts education to success in and out of school, as well as underserved communities. parent engagement, teaching practices, “As our partnership with the New and school and community culture. York City Department of Education Through Arts in the Middle, Lincoln continues to grow, so, too, does our Center Education is working with more commitment to supporting whole than a dozen underserved New York communities by providing thoughtful City middle schools that have little to programs for students and families no arts programs. LCE is supporting around New York City’s five boroughs,” schools with efforts to hire a part-time said Russell Granet. “Arts in the Middle or full-time arts teacher, in addition is just one of many ways Lincoln to deploying its own roster of skilled Center Education is leveraging high- teaching artists to help in the classroom quality arts programs to improve the and provide professional development lives of all New Yorkers.” for teachers and family engagement. Early results of these efforts to support educators and students are showing positive results. Metis Associates, hired by LCE to evaluate short- and long- 4 decades of thinking like an artist

Learn more about Lincoln Center Education and its work at home and abroad: LincolnCenterEducation.org

Accessibility at Lincoln Center

eflecting a quote by Lincoln Center venues. Another major R Center’s first president John D. component of Accessibility is its Rockefeller III that “the arts are not for longstanding “Passport to the Arts.” the privileged few, but for the many,” The program annually distributes to Lincoln Center has had as a central children with disabilities thousands mission from its start making the of free tickets to a variety of Lincoln arts available to the widest possible Center performances, including audiences. In 1985, that led to the New York City Ballet and the New establishment of the Department of York Philharmonic—a welcoming Programs and Services for People with introduction to the arts. A parent who Disabilities to ensure full participation participated in a recent “Passport” in the thousands of events presented event commented “It allowed my annually across the Lincoln Center family and I to enjoy and learn along campus. It was the first such program with everyone else. The accessibility… at any major performing arts center made it easier for our family to “relax” in the U.S. and has long- and truly enjoy the served as a model for experience.” other arts institutions Accessibility is around the country. expanding the Celebrating its 30th ways it serves anniversary with a new adults with name, Accessibility disabilities. It at Lincoln Center, introduced and the program oversees American continues to provide Sign Language- exceptional guest led official tours care to all visitors, of Lincoln Center, as well as training and offers live in accessibility to audio description colleagues at Lincoln for select Lincoln Center’s resident Center Festival organizations, including performances. the Film Society of Accessibility Lincoln Center, the looks forward to growing its inclusive New York Philharmonic, and Jazz programs in the years to come. at Lincoln Center. Accessibility oversees the production To learn more about Accessibility of large-print and Braille programs at Lincoln Center, please contact for hundreds of performances taking [email protected] or call place each year at various Lincoln 212.875.5375.

The Table is Set

merican Table Café and Bar by AMarcus Samuelsson in Alice Tully Hall is a great dining option available to Lincoln Center patrons, along with Lincoln Ristorante on Hearst Plaza, indie food & wine in the Elinor Bunin Munroe Film Center, ‘wichcraft in the David Rubenstein Atrium, The Grand Tier in the Metropolitan Opera house, and Lincoln Center Kitchen and the cafe in David Geffen Hall.

Marcus Samuelsson, the youngest chef ever to be awarded a three-star review by The New York Times and the winner of the James Beard Award for both Marcus Samuelsson “Rising Star Chef” (1999) and “Best His current New York restaurant, the Chef: New York City” (2003), crafted wildly successful Red Rooster, is locat- the menu along with long-time associate ed in his home base of Harlem. Nils Noren, MSG’s Vice President of Restaurant Operations. American Table American Table Cafe and Bar seats 73 Cafe and Bar by Marcus Samuelsson inside, plus more space outside on the serves food that celebrates the diversity Alice Tully Hall Plaza. Diller Scofidio + of American cuisine, drawing on influ- Renfro, the designers of the critically ences and regions from across the acclaimed Alice Tully Hall, transformed country. Dishes on the menu, which is the glass-walled space with lounge-like offered for both lunch and dinner, furniture in warm, rich colors, a long include Smoked Caesar Salad, Shrimp communal couch, tree-trunk tables, and Roll, and Chocolate Cardamom Panna lighting that can be dimmed to adjust Cotta. The bar features a cocktail menu the mood. The design—an eclectic designed by consulting master mixolo- reinterpretation of Americana—draws gist, Eben Klemm, as well as a selection its inspiration from the cafe’s culinary of reasonably-priced wines. focus. Call 212.671.4200 for hours of operation. Marcus Samuelsson’s memoir, Yes, Chef, chronicles his remarkable journey from being orphaned at age three in his native Ethiopia to his adoption by a fami- ly in Göteborg, Sweden, where he first learned to cook by helping his grand- mother prepare roast chicken. He went on to train in top kitchens in Europe before arriving in New York, first taking the reins at Aquavit. He has won the television competition Top Chef Masters on Bravo as well as top honors on Chopped All Stars: Judges Remix.