FOR IMMEDIATE RELEASE DATE: September 4, 2013 contact: Katherine E. Johnson (212) 875-5718; [email protected] Royal Philharmonic Society contact: Sophie Cohen +44 (0)207 428 9850; [email protected] The Morgan Library & Museum contact: Alanna Schindewolf (212) 590-0311; [email protected]

ALAN GILBERT AND THE NEW YORK PHILHARMONIC ______

U.S. PREMIERE of Mark-Anthony TURNAGE’s FRIEZE, New York Philharmonic Co-Commission with Royal Philharmonic Society and BBC Radio 3, BEETHOVEN’s NINTH SYMPHONY October 3–5, 8–9 ______

Performances are Centerpiece of New York Activities Celebrating the Royal Philharmonic Society’s Bicentennial

NEW YORK PHILHARMONIC ARCHIVES To Present Exhibition Philharmonic Pioneers: The Founding of the New York and Royal Philharmonic Societies September 25–November 23 ______

Music Director will conduct the New York Philharmonic in Beethoven’s Symphony No. 9 and the U.S. Premiere of Mark-Anthony Turnage’s Frieze — written in response to Beethoven’s Ninth and co-commissioned by the Royal Philharmonic Society, New York Philharmonic, and BBC Radio 3 — on Thursday, October 3, 2013, at 7:30 p.m.; Friday, October 4 at 8:00 p.m.; Saturday, October 5 at 8:00 p.m.; Tuesday, October 8 at 7:30 p.m.; and Wednesday, October 9 at 7:30 p.m. Part of the Royal Philharmonic Society’s 2013 bicentennial, this program reflects the New York Philharmonic’s historic link to the Ninth Symphony: the Royal Philharmonic Society (RPS) commissioned the work in 1817, and the New York Philharmonic gave its U.S. Premiere in 1846, for which it commissioned the first English translation of “Ode to Joy.”

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These concerts mark Alan Gilbert’s first performances of the Ninth Symphony with the New York Philharmonic. The soloists will be soprano Julianna Di Giacomo (in her Philharmonic subscription debut), mezzo-soprano Kelley O’Connor, tenor Russell Thomas (subscription debut), and bass Shenyang, who will be joined by the Manhattan School of Music Symphonic Chorus, , director.

“For the modern audience, I think it’s fascinating to be reminded that when Beethoven’s music was first played, it was then a contemporary-music concert,” said Music Director Alan Gilbert. “The hope is that both pieces — Turnage’s Frieze and Beethoven’s Ninth — will be illuminated by the juxtaposition.”

The title of Mark-Anthony Turnage’s work is a reference to painter Gustav Klimt’s Beethoven Frieze, located in Vienna’s Secession building, which is itself a response to Beethoven’s Ninth Symphony. “I’ve been obsessed with Beethoven since the age of eight,” said Mr. Turnage. “He’s a towering figure, but I find him more inspiring than intimidating. As I discovered Klimt’s Beethoven Frieze I also studied and delved deeper into my favorite ’s work. In the end Frieze has little shadows cast from the Beethoven.”

The New York Philharmonic Archives will present the exhibition Philharmonic Pioneers: The Founding of the New York and Royal Philharmonic Societies, featuring materials relating to the 1846 U.S. Premiere of Beethoven’s Ninth Symphony, at Avery Fisher Hall’s Bruno Walter Gallery September 25–November 23. New York Philharmonic musicians will perform the U.S. Premiere of Poul Ruders’s No. 4, one of the works commissioned by the Royal Philharmonic Society for its bicentennial, October 7 at the Morgan Library & Museum as part of a private event featuring insights into the history and work of the Philharmonic and RPS.

New York celebrations of the RPS bicentennial will also include the Royal Philharmonic Society’s annual lecture — the first time it is being presented outside the U.K. — by Roger Wright, controller of BBC Radio 3 and director of the BBC Proms, who will present “A Future for Music — We’re All in this Together,” October 9 at 6:00 p.m. at Lincoln Center’s Stanley H. Kaplan Penthouse. In addition, The and the Morgan Library & Museum will present the exhibition Beethoven’s Ninth: A Masterpiece Reunited, displaying together for the first time since 1842 the RPS’s copyist’s score of Beethoven’s Ninth Symphony, annotated by the composer, alongside Juilliard’s original copyist’s score; the exhibit will be on display at the Juilliard Library September 30–October 4, and at the Morgan October 8–December 1. RPS executive director Rosemary Johnson and RPS projects coordinator Tom Hutchinson will hold a public discussion at The Juilliard School’s Peter Jay Sharp Theater September 29 at 4:00 p.m. with Joel Sachs, conductor, author, teacher, and founder/director of the New Juilliard Ensemble, which will perform the U.S. Premieres of RPS commissions by Judith Weir and Magnus Lindberg September 29 at 5:00 p.m. On October 1 Juilliard will host a doctoral forum with Dr. Nicolas Bell, curator of the music collections at the British Library. In addition, the Music Division of the New York Public Library for the Performing Arts will present an exhibition on Beethoven’s Ninth Symphony October 15–November 30.

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Related Events  Pre-Concert Talk Writer and music historian Harvey Sachs will introduce the program October 3, 5, and 9. Nicolas Bell, curator of the music collections at the British Library, will introduce the program October 4 and 8. Pre-Concert Talks are $7; discounts available for multiple concerts, students, and groups. They take place one hour before each performance in the Helen Hull Room, unless otherwise noted. Attendance is limited to 90 people. Information: nyphil.org or (212) 875-5656.

 Exhibition: Philharmonic Pioneers: The Founding of the New York and Royal Philharmonic Societies The New York Philharmonic Archives presents this exhibit exploring the pioneering spirit of the founders of the Royal Philharmonic Society and the New York Philharmonic. Materials from both archives will be on display, including materials relating to the 1846 U.S. Premiere of Beethoven’s Ninth Symphony, the first time that the English translation of “Ode to Joy,” commissioned by the New York Philharmonic, was performed. The original choral parts, hand-written translation, and printing plates — all of which are housed in the New York Philharmonic Archives — will be on view alongside memorabilia and programs from the RPS. September 25–November 23 Bruno Walter Gallery on Avery Fisher Hall’s Grand Promenade

 Royal Philharmonic Society Lecture: “A Future for Music — We’re All in this Together” Roger Wright, controller of BBC Radio 3 and director of the BBC Proms, speaker Roger Wright, controller of BBC Radio 3 and director of the BBC Proms, offers his thoughts about the future of . Royal Philharmonic Society Lectures examine the future of classical music in a high profile public forum. This lecture is part of the Royal Philharmonic Society’s bicentennial celebrations in New York. www.rps200.org. Wednesday, October 9, 2013, 6:00 p.m. Stanley H. Kaplan Penthouse at Lincoln Center

Performance New York Philharmonic Musicians New York Philharmonic musicians will perform the U.S. Premiere of Poul Ruders’s String Quartet No. 4, one of the works commissioned by the Royal Philharmonic Society for its bicentennial, as part of a private event featuring insights into the history and work of the Philharmonic and RPS. Monday, October 7, 2013 The Morgan Library & Museum

 National and International Radio Broadcast This program will be broadcast the week of October 20, 2013* on The New York Philharmonic This Week, a radio concert series syndicated weekly to more than 300 stations nationally, and to 122 outlets internationally, by the WFMT Radio Network.

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The 52-week series, hosted by actor Alec Baldwin, is generously underwritten by The Kaplen Foundation, the Audrey Love Charitable Foundation, the National Endowment for the Arts, and the Philharmonic’s corporate partner, MetLife Foundation. The broadcast will be available on the Philharmonic’s Website, nyphil.org. The program is broadcast locally in the New York metropolitan area on 105.9 FM WQXR on Thursdays at 9:00 p.m. *Check local listings for broadcast and program information.

Artists Music Director Alan Gilbert began his New York Philharmonic tenure in September 2009, the first native New Yorker in the post. He and the Philharmonic have introduced the positions of The Marie-Josée Kravis Composer-in-Residence and The Mary and James G. Wallach Artist-in- Residence; CONTACT!, the new-music series; and, beginning in the spring of 2014, the NY PHIL BIENNIAL. “He is building a legacy that matters and is helping to change the template for what an American can be,” The New York Times praised.

In addition to inaugurating the NY PHIL BIENNIAL, in the 2013–14 season Alan Gilbert conducts Mozart’s three final symphonies; the U.S. Premiere of Mark-Anthony Turnage’s Frieze coupled with Beethoven’s Ninth Symphony; four world premieres; an all-Britten program celebrating the composer’s centennial; the score from 2001: A Space Odyssey as the film is screened; and a staged production of Sondheim’s Sweeney Todd starring Bryn Terfel. He continues The Nielsen Project — the multi-year initiative to perform and record the Danish composer’s symphonies and , the first release of which was named by The New York Times as among the Best Classical Music Recordings of 2012 — and presides over the ASIA / WINTER 2014 tour. Last season’s highlights included Bach’s B-minor Mass; Ives’s Fourth Symphony; the EUROPE / SPRING 2013 tour; and the season-concluding A Dancer’s Dream, a multidisciplinary reimagining of Stravinsky’s The Fairy’s Kiss and Petrushka, created by Giants Are Small and starring Ballet principal dancer Sara Mearns.

Mr. Gilbert is Director of Conducting and Orchestral Studies and holds the William Schuman Chair in Musical Studies at The Juilliard School. Conductor laureate of the Royal Stockholm Philharmonic Orchestra and principal guest conductor of Hamburg’s NDR Symphony Orchestra, he regularly conducts leading around the world. He made his acclaimed Metropolitan debut conducting John Adams’s Doctor Atomic in 2008, the DVD of which received a Grammy Award. Renée Fleming’s recent Decca recording Poèmes, on which he conducted, received a 2013 Grammy Award. His recordings have received top honors from the Chicago Tribune and Gramophone magazine. In May 2010 Mr. Gilbert received an Honorary Doctor of Music degree from The Curtis Institute of Music and in December 2011, Columbia University’s Ditson Conductor’s Award for his “exceptional commitment to the performance of works by American and to contemporary music.”

In the 2012–13 season soprano Julianna Di Giacomo made debuts at as Donna Anna in Mozart’s , Opéra National Montpellier in Lalo’s The King of Ys, and Teatro Petruzzelli as Desdemona in Verdi’s . She also returned to Teatro Real de Madrid as Puccini’s Suor Angelica and appeared in concert with the Israel and Netherlands Radio Philharmonic Orchestras. Recent opera engagements have included Clotilde in

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Bellini’s , Lina in Verdi’s , and Leonora in Verdi’s at The , as well as appearances at Teatro dell’Opera di Roma, ’sTeatro alla Scala, Caramoor International Music Festival, Pittsburgh Opera, , Palm Beach Opera, Teatro Real de Madrid, and Teatre Principal de Maó in Minorca.

Ms. Di Giacomo’s concert appearances have included solo appearances at Lincoln Center’s Rose Theater celebrating Puccini’s 150th birthday, Verdi’s at Teatro Massimo in Palermo and with the German Symphony Orchestra Berlin, Mendelssohn’s Elijah conducted by James Conlon at the Cincinnati May Festival, Leonora with Zubin Mehta and the Israel Philharmonic Orchestra, and Mahler’s Symphony No. 8 with and the in Los Angeles and Caracas, broadcast live in movie theaters in North and South America. At Ms. Di Giacomo has sung Lucrezia with Eve Queler and The Opera Orchestra of New York and Rossini’s Stabat Mater with the New York Choral Society. She was also a featured recitalist at Lincoln Center’s Walter Reade Theater in The Opera Orchestra of New York’s Rising Stars series.

Julianna Di Giacomo is a graduate of ’s Merola Opera Program and The ’s Apprentice Program. Her honors include Top Prize from the Gerda Lissner Foundation, Leonie Rysanek Award from the George London Foundation, First Prize from the Licia Albanese–Puccini Foundation’s Annual International Vocal Competition, Richard F. Gold Career Grant, and a prize at the Loren L. Zachary Society’s National Vocal Competition for Young Opera Singers. Ms. Di Giacomo last appeared with the Philharmonic performing the Finale to Act I of Don Giovanni, staged during Philharmonic 360, led by Alan Gilbert, in June 2012. This performance marks her New York Philharmonic subscription debut.

Grammy Award–winning mezzo-soprano Kelley O’Connor’s 2012–13 season included performances of a world premiere staging by Peter Sellars of John Adams’s The Gospel According to the Other Mary with Gustavo Dudamel and the Los Angeles Philharmonic, both in the U.S. and in Europe, and her role debut as Suzuki in Puccini’s Madama Butterfly at Boston Lyric Opera. Concert appearances included Lieberson’s Neruda Songs with the National Symphony Orchestra and with and the Toronto Symphony Orchestra; Debussy’s La Damoiselle élue and Duruflé’s Requiem with the Atlanta Symphony Orchestra; Lieberson’s The World in Flower with the Los Angeles Master Chorale; and Beethoven’s Ninth Symphony with the St. Louis Symphony, Pittsburgh Symphony Orchestra, Cincinnati Symphony Orchestra, and Detroit Symphony Orchestra. Ms. O’Connor returns to the City of Birmingham Symphony Orchestra to perform Elgar’s Sea Pictures and Britten’s Spring Symphony with Edward Gardner, and she makes her debut with the Netherlands Radio Philharmonic Orchestra singing The Gospel According to the Other Mary.

Highlights of Ms. O’Connor’s recent seasons include Ravel’s Shéhérazade with the Philharmonia Orchestra at the Edinburgh International Festival; Berio’s Folk Songs with the London Symphony Orchestra at the Berlin Festival; Mahler’s Third Symphony with the Hong Kong Philharmonic; Neruda Songs with the Berlin Philharmonic and Tonhalle-Orchester Zürich; and Beethoven’s Ninth Symphony, Bernstein’s Jeremiah Symphony, Stravinsky’s Requiem Canticles, and staged performances of Verdi’s (in Cleveland and at the Lucerne Festival)

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Mark-Anthony Turnage’s Frieze / Beethoven’s Symphony No. 9 / 6 with The . Ms. O’Connor has received critical acclaim for her many performances of Federico García Lorca in Osvaldo Golijov’s Ainadamar, a role she created for the work’s World Premiere at the Tanglewood Festival. She has also sung Hippolyta in Britten’s A Midsummer Night’s Dream at Lyric Opera of Chicago and Canadian Opera Company and Meg Page in Falstaff at Santa Fe Opera.

Kelley O’Connor’s discography includes Beethoven’s Ninth Symphony with The Cleveland Orchestra (Deutsche Grammophon) and two recordings with the Atlanta Symphony Orchestra: Neruda Songs (ASO Media) and the Grammy Award–winning Ainadamar (Deutsche Grammophon). Kelley O’Connor last appeared with the Philharmonic in Janáček’s The Cunning Little Vixen, led by Alan Gilbert, in June 2011.

Tenor Russell Thomas received First Prize in the Ricardo Viñas Competition and the Competizione dell’Opera in Dresden. In the 2011–12 season he performed Mahler’s Das Lied von der Erde with the Ballet, followed by the Verdi roles of Foresto in with Seattle Opera and the Duke of Mantua in with the Orlando Philharmonic, as well as his Canadian Opera Company debut in the title role of Offenbach’s The Tales of Hoffman. In the spring of 2012 Mr. Thomas participated in the World Premiere of John Adams’s The Gospel According to the Other Mary with the Los Angeles Philharmonic, conducted by Gustavo Dudamel. Future plans include debuts with the Royal Opera House, Covent Garden, and the Deutsche Oper Berlin.

Mr. Thomas’s recent engagements have included the Duke in Rigoletto with the Teatro Municipal in Santiago, followed by Tamino in Mozart’s The Magic Flute and Andres in Berg’s Wozzeck at The Metropolitan Opera, the title roles in Berlioz’s The Damnation of Faust in Frankfurt and Stravinsky’s Oedipus Rex with the Boston Symphony Orchestra, Pinkerton in Puccini’s Madama Butterfly with the Atlanta Symphony Orchestra and Robert Spano, and the Prince in John Adams’s A Flowering Tree with the . Notable concert appearances include Mozart’s Requiem with the Milwaukee Symphony and Edo de Waart, Beethoven’s Symphony No. 9 with the Dallas Symphony Orchestra, and Rossini’s Stabat Mater with the San Antonio Symphony. Russell Thomas is an alumnus of The Metropolitan Opera’s Lindemann Young Artist Development Program. He previously appeared with the Philharmonic performing the Finale to Act I of Don Giovanni, staged during Philharmonic 360, led by Alan Gilbert, in June 2012. This performance marks Russell Thomas’s New York Philharmonic subscription debut.

During the 2012–13 season bass-baritone Shenyang sang the title role in Mozart’s in a new production at Beijing’s National Centre for the Performing Arts and returned to the Beijing Music Festival for Jin Xiang’s opera Savage Land, conducted by Long Yu. He gave the world premiere of Xiaogang Ye’s orchestral song cycle Song of Farewell, which was written for him, performing it in Beijing and Berlin with the China National Symphony Orchestra. His North American engagements have included Beethoven’s Ninth Symphony with the Toronto Symphony Orchestra and Beethoven’s Missa solemnis with and the .

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In the 2011–12 season Shenyang served as artist-in-residence at the Shanghai Symphony Orchestra, where his programs included works by Bach, Mozart, Mahler, and Rachmaninoff. Other recent engagements include appearing in recital with pianists James Levine and Daniel Barenboim at Carnegie Hall and in concert with: Daniel Harding and the China Philharmonic Orchestra; Sir Antonio Pappano and the Orchestra dell’Accademia Nazionale di Santa Cecilia; Rafael Frühbeck de Burgos and the Boston Symphony Orchestra; and Edo de Waart and the Hong Kong Philharmonic. In the summer of 2012 Shenyang made his debut as Alidoro in Rossini’s La cenerentola at the Glyndebourne Festival and at the Bavarian Staatsoper.

A graduate of The Metropolitan Opera’s Lindemann Young Artist Development Program, Shenyang’s numerous Met roles have included Masetto in Mozart’s Don Giovanni, Garibaldo in Handel’s Rodelinda , and Colline in Puccini’s La bohème . He is also an alumnus of the Shanghai Conservatory of Music and the Juilliard Opera Center.

Shenyang’s honors include the BBC Cardiff Singer of the World competition, Borletti-Buitoni Trust Award, Montblanc New Voices Award at the Stars of the White Nights Festival, and First Place in both the International Singing Competition in Verona and the Orfeo singing competition in Verona. In 2011 he was made a brand ambassador for Montblanc in an exclusive relationship with the luxury product company. Shenyang last appeared with the Philharmonic in Handel’s Messiah, led by Helmuth Rilling, in December 2009.

The Manhattan School of Music Symphonic Chorus membership is made up of students and alumni of the Manhattan School of Music (MSM), and is dedicated to performing the masterworks of the choral/orchestral repertoire. The Symphonic Chorus has recently performed Haydn’s The Creation, Brahms’s A German Requiem, Prokofiev’s Alexander Nevsky, Mozart’s Requiem, Schubert’s Mass in G major, Poulenc’s Gloria, and Mendelssohn’s Elijah, and premiered David Briggs’s transcription for organ, chorus, and soloists of Mahler’s Symphony No. 2, Resurrection. Members of the Symphonic Chorus joined New York City Opera in a performance of Rossini’s Moses in Egypt at City Center in April 2013. In the spring of 2014, the Symphonic Chorus will perform Bach’s Mass in B minor and Honegger’s King David.

Kent Tritle, director of choral activities at the Manhattan School of Music, is also director of cathedral music and organist at The Cathedral Church of Saint John the Divine in New York City. The 2013–14 season marks his ninth as music director of the Oratorio Society of New York and his seventh as music director of Musica Sacra, the longest continuously performing professional chorus in New York City. He is the founder of Sacred Music in a Sacred Space, the concert series at New York’s Church of St. Ignatius Loyola, a member of the graduate faculty of The Juilliard School, and the organist of the New York Philharmonic. Mr. Tritle was the host of the weekly radio show The Choral Mix with Kent Tritle and, from 1996 to 2004, music director of the Emmy-nominated Dessoff ; under his direction the group performed with the New York Philharmonic, The Cleveland Orchestra, San Francisco Symphony, and Czech Philharmonic, as well as on a nationally telecast Live From Lincoln Center concert of Mozart’s Requiem. Kent Tritle has made more than a dozen recordings on the Telarc, AMDG, Epiphany, Gothic, VAI, and MSR Classics labels.

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Repertoire Mark-Anthony Turnage’s Frieze was composed in response to Beethoven’s Ninth Symphony to celebrate the bicentennial of the Royal Philharmonic Society. It was co-commissioned by the Royal Philharmonic Society, the New York Philharmonic, and BBC Radio 3. In a 2012 program note, Mr. Turnage explained that the title was inspired by Gustav Klimt’s Beethoven Frieze, a painting housed in Vienna that is another artistic response to Beethoven’s Ninth. Of the music itself, Turnage wrote: “Frieze has little shadows cast from the Beethoven. Although in four movements, it’s not a symphony. The opening movement opens with open fifths as in the Beethoven but then goes in a different direction. The second is more bluesy but shares with the Beethoven Scherzo a lot of dramatic silences. The third quotes a little phrase from the glorious slow movement but disguised as an inversion. I didn’t attempt to be in the shadow of the epic last movement so I opted for a fast and furious rondo more like the final movement of the Seventh.” These concerts mark the composition’s U.S. Premiere.

Beethoven’s Symphony No. 9, commissioned by the Royal Philharmonic Society, had its world premiere on May 17, 1824, at the Kärtnerthor Theater in Vienna. The deaf composer stood on the stage beating time and turning the pages of his score, but the real conducting was done by Michael Umlauf. The performance evoked great enthusiasm, but when it ended, Beethoven was still hunched over, turning the leaves of his score. Someone onstage gently turned him around so that he might see the applause he could not hear. The New York Philharmonic gave the work’s first performance in the — for which it commissioned the first English translation of “Ode to Joy” — on May 20, 1846, under the direction of George Loder, and it was last performed by the Orchestra on New Year’s Eve 2004, with Kurt Masur on the podium.

* * * Credit Suisse is the Global Sponsor of the New York Philharmonic.

* * * These performances are made possible with generous support from the Anna-Maria and Stephen Kellen Foundation and The Francis Goelet Fund.

* * * Frieze is co-commissioned by the New York Philharmonic, BBC Radio 3, and the Royal Philharmonic Society. * * * Programs are supported, in part, by public funds from the New York State Council on the Arts, with the support of Governor Andrew Cuomo and the New York State Legislature, and from the New York City Department of Cultural Affairs and the National Endowment for the Arts.

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Tickets Single tickets for these performances start at $31. Single tickets for the Royal Philharmonic Society Lecture “A Future for Music — We’re All in this Together” are $20. Pre-Concert Talks are $7; discounts are available for multiple concerts, students, and groups (visit nyphil.org/preconcert for more information). All tickets may be purchased online at nyphil.org or by calling (212) 875-5656, 10:00 a.m. to 6:00 p.m. Monday through Friday, 1:00 p.m. to 6:00 p.m. on Saturday, and noon to 5:00 p.m. on Sunday. Tickets may also be purchased at the Avery Fisher Hall Box Office. The Box Office opens at 10:00 a.m. Monday through Saturday, and at noon on Sunday. On performance evenings, the Box Office closes one-half hour after performance time; other evenings it closes at 6:00 p.m. To determine ticket availability, call the Philharmonic’s Customer Relations Department at (212) 875-5656. [Ticket prices subject to change.]

For press tickets, call Lanore Carr in the New York Philharmonic Communications Department at (212) 875-5714, or e-mail her at [email protected].

New York Philharmonic

Avery Fisher Hall

Thursday, October 3, 2013, 7:30 p.m. Open Rehearsal — 9:45 a.m. Friday, October 4, 2013, 8:00 p.m. Saturday, October 5, 2013, 8:00 p.m. Tuesday, October 8, 2013, 7:30 p.m. Wednesday, October 9, 2013, 7:30 p.m.

Pre-Concert Talk (one hour before each concert) with writer and music historian Harvey Sachs (October 3, 5, and 9) and Nicolas Bell, curator of the music collections at the British Library (October 4 and 8)

Alan Gilbert, conductor Julianna Di Giacomo†, soprano Kelley O’Connor, mezzo-soprano Russell Thomas†, tenor Shenyang, bass Manhattan School of Music Symphonic Chorus Kent Tritle, director

Mark-Anthony TURNAGE Frieze (U.S. Premiere–New York Philharmonic Co-Commission with the Royal Philharmonic Society and BBC Radio 3) BEETHOVEN Symphony No. 9

†denotes New York Philharmonic subscription debut

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Royal Philharmonic Society Lecture: “A Future for Music — We’re All in this Together”

Stanley H. Kaplan Penthouse at Lincoln Center

Wednesday, October 9, 2013, 6:00 p.m.

Roger Wright, speaker

Roger Wright, controller of BBC Radio 3 and director of the BBC Proms, offers his thoughts about the future of classical music. Royal Philharmonic Society Lectures examine the future of classical music in a high profile public forum. This lecture is part of the Royal Philharmonic Society Bicentenary Celebrations (1813–2013) in New York. www.rps200.org.

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Photography is available in the New York Philharmonic’s online newsroom, nyphil.org/newsroom, or by contacting the Communications Department at (212) 875-5700; [email protected].