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Home , Adriana Mater, A Flowering Tree, Nora Kimball, Peter Sellars, Philippe Jaroussky, Polar Music Prize

Saturday, November 17, 2018 at 7:30 pm Sunday, November 18, 2018 at 5:00 pm

Pre-performance discussion with , , and Ara Guzelimian on Sunday, November 18 at 3:45 pm in the Agnes Varis and Karl Leichtman Studio

Only the Sound Remains (U.S. premiere)

An by Kaija Saariaho Directed by Peter Sellars

This performance is approximately two hours and 20 minutes long, including a 20-minute intermission.

This performance is made possible in part by the Josie Robertson Fund for .

Rose Theater Please make certain all your electronic devices Jazz at Lincoln Center’s Frederick P. Rose Hall are switched off.

WhiteLightFestival.org The White Light Festival 2018 is made possible by Join the conversation: #WhiteLightFestival The Shubert Foundation, The Katzenberger Foundation, Inc., Laura Pels International Foundation for Theater, The Joelson Foundation, The Harkness Foundation for Dance, Great Performers Circle, Chairman’s Council, and Friends of Lincoln Center Public support is provided by New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature Nespresso is the Official Coffee of Lincoln Center NewYork-Presbyterian is the Official Hospital of Lincoln Center

A co-production of Dutch National Opera, Amsterdam, Finnish National Opera, Opera National de Paris, Teatro Real, and Canadian Opera Company. As one of the original co-commissioners of Kaija Saariaho’s Only the Sound Remains , the Canadian Opera Company is proud to support the North American premiere of this work at Lincoln Center’s White Light Festival In collaboration with GRAME, Lyon By arrangement with G. Schirmer, Inc., publisher and copyright owner

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. Only the Sound Remains (U.S. premiere) An Opera in Two Parts

Music by Kaija Saariaho Directed by Peter Sellars Libretto based on the Noh plays Tsunemasa and Hagoromo , translated by Ezra Pound and Ernest Fenollosa

Philippe Jaroussky , Davóne Tines , Bass- Nora Kimball-Mentzos , Dancer and Choreographer

Ernest Martínez Izquierdo , Conductor Else Torp , Soprano Iris Oja , Alto Paul Bentley-Angell , Steffen Bruun , Bass Meta4 Antti Tikkanen , Violin Minna Pensola , Violin Atte Kilpeläinen , Viola Tomas Djupsjöbacka , Cello Eija Kankaanranta , Kantele Camilla Hoitenga , Flute Heikki Parviainen , Percussion

Julie Mehretu , Set Designer Robby Duiveman , Costume Designer James F. Ingalls , Lighting Designer Christophe Lebreton , Sound Designer

WhiteLightFestival.org Only the Sound Remains

Always Strong

Spirit of the young man Philippe Jaroussky

Monk Davóne Tines

Intermission

Feather Mantle

Angel Philippe Jaroussky

Fisherman Davóne Tines

Dancer Nora Kimball-Mentzos Synopsis

Always Strong ( Tsunemasa ) Sodzu Gyokei, a priest serving at the temple of the royal court, is praying for Tsunemasa, who died in the battle of the Western Seas. Tsunemasa was a favorite of the Emperor, who had given him a lute named Seizan (Blue Mountain). Gyokei now offers the instru - ment at the altar of the deceased, to bring peace to his tormented soul. While the prayers and music for Tsunemasa resonate, the faint shadow of a man appears. Gyokei asks who it is, and the shadow replies that he is the ghost of Tsunemasa, lured there by the sound of the prayers. Then the shadow vanishes and only the sound of his voice remains, telling the priest how it misses the old days. This happy moment, however, is short-lived. Tsunemasa’s ghost is tormented by visions of the battle in which he fought. He wants the lights to be extinguished and disappears.

Feather Mantle ( Hagoromo ) One spring morning, as the fisherman Hakuryo sets out to go fishing with his compan - ions, he finds a beautiful feather robe hanging on a pine branch. When he plans to take it home, a Tennin (moon spirit) appears and asks him to return the robe to her. At first Hakuryo refuses. But he is eventually moved by the moon spirit’s lament that she cannot go back into heaven without it. He will give her the robe in return for seeing her perform a celestial dance. When the fisherman again expresses distrust, she responds: “Doubt is for mortals; with us there is no deceit.” The Tennin dances in the feather robe; one of the dances represents the waxing and waning of the moon. Eventually she disappears in the haze beyond the peak of Mount Fuji.

Composer’s Note: Extending the Intimate By Kaija Saariaho

It often takes me several years to find all the right elements before I get to the point where I can begin to compose an opera. In the case of Only the Sound Remains , I dis - cussed ideas with Peter Sellars for a long time. I was looking for something new that I had never done before. It’s important to me, when I am workshopping a new major pro - ject, to exclude everything that I have done previously. At the beginning of the 2010s, I spent a lot of time in the United States. Notably, I was in residence at Carnegie Hall. I was working on another project in which I used short excerpts from Ezra Pound’s Cantos . I liked these texts, which left a lot of room for the music. I told myself that I would like to continue to work with Pound’s writings.

I talked about this with Peter and we decided on Tsunemasa and Hagoromo, two plays from Noh—a Japanese theatrical form that interests me and that Peter knows very well—adapted by Ezra Pound. This material is just a starting point. With regards to the overall structure, the stories of Tsunemasa and Hagoromo remain the same. In some ways, all Noh theater pieces deal with the same thing: the interaction between the human and the supernatural. Yet, these two plays are very different from each other. The first is somber and harrowing while the second one reaches for the light, the dance, end - ing with the angel vanishing into the clouds.

WhiteLightFestival.org I had originally thought of a baritone and a countertenor for the voices in the first play, and a baritone and a soprano for the second. While we were talking with Philippe Jaroussky, whom I had known and admired for years, he suggested taking on both roles—the spirit and the angel. This idea made it possible to unify the plays in an inter - esting way and Philippe was an important inspiration. While we were envisioning how these two roles could be characterized by different tessituras, he suggested that I save the highest notes for the second part, when his voice would be warmed up. I therefore used a lower register and more dramatic writing for Tsunemasa , while the music for Hagoromo is higher and more ornamented.

I challenged myself to write an intimate work for a big space, with restrained instrumen - tation that includes flutes to extend the human breath and the bird songs; kantele —a traditional Finnish instrument for which I’ve wanted to write for a long time—which embodies the magical sound of the first play; percussion; and a string quartet—a partic - ularly rich ensemble that makes it possible to cover a large pitch range. My goal was to write refined, well-defined music that breathes in the acoustics of a big space. I also made use of electronics to extend this sense of intimacy with the audience throughout the whole space. In Emilie , my previous opera, I was already using electronics to trans - form the soprano’s voice and to create the voices of children, her father, her lovers… Here, I wanted to continue this work but move out of the realistic framework: transform the voice to move towards something more abstract and supernatural. In the first play, the real-time treatments of the countertenor’s voice create veiled, low textures, like a shadow traveling through the room; in the second, they create high bell tones.

The idea of incorporating a dancer came from Peter. He was wondering how to represent the final disappearance of the angel when the text evoked its dances. He had a hard time imagining that I could compose the dance music…For me, the solution was clear: the angel’s musical material would evolve into writing that was more and more rhythmic, faster and faster, representing the dance of an enchanted creature that disappears into the clouds of Mount Fuji.

—Interview by Simon Hatab. Translated from the French by Amanda MacBlane Illumination

Coda By Ezra Pound

O My songs, Why do you look so eagerly and so curiously into people’s faces, Will you find your lost dead among them?

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

WhiteLightFestival.org Meet the Artists Robert Lepage. The Park Avenue Armory and New York Philharmonic presented a celebration of her orchestral music with visual accompaniment in October 2016, U J

R and the following February saw Paris come A H

Ö alive with her work when she was the fea - T Y K tured composer for the Festival Présences. T I R

A Ms. Saariaho is currently composing a new A Kaija Saariaho M opera to premiere in 2020. Kaija Saariaho is a prominent member of a group of Finnish composers and perform - ers who are making a worldwide impact. She studied composition in , Freiburg , and Paris, where she has lived Z L since 1982. Her studies and research at A W

H IRCAM (Institut de Recherche et Coor - T U

R Peter Sellars dination Acoustique/Musique) have had a major influence on her music, and her char - Peter Sellars has gained international acteristically luxuriant and mysterious tex - renown for his groundbreaking and trans - tures are often created by combining live formative interpretations of artistic master - music and electronics. Although much of pieces and for collaborative projects with her catalogue comprises chamber works, an extraordinary range of creative artists. she has turned increasingly since the mid- He has staged at the Canadian 1990s to larger forces and broader struc - Opera Company, Dutch National Opera, tures, such as the operas L’Amour de loin Lyric Opera of Chicago, Paris National and and the oratorio La Opera, , and San Francisco Passion de Simone . Opera, among others. He has collaborated extensively with composer Ms. Saariaho has claimed such major com - on works that include , The posing awards as the Grawemeyer Award, Death of Klinghoffer, El Niño, Doctor Wihuri Prize, Nemmers Prize, Sonning Atomic, , and The Gospel Prize, and the . In 2018 According to the Other Mary . Inspired by she was recognized with the BBVA the compositions of Kaija Saariaho, Mr. Foundation’s Frontiers of Knowledge Sellars has guided the creation of produc - Award, and in 2015 she was the judge of tions of her work ( L’Amour de loin, Adriana the Toru Takemitsu Composition Award. Mater ) that have expanded the repertoire Always keen on strong educational pro - of modern opera. grams, Ms. Saariaho was the music men - tor of the 2014–15 Rolex Mentor and In addition to an acclaimed production of La Protégé Arts Initiative and was in resi - clemenza di Tito at the Salzburg Festival and dence at U.C. Berkeley’s music depart - Dutch National Opera, recent projects include ment in 2015. the premiere of the latest Adams/Sellars collaboration, Girls of the Golden West , at She continues to collaborate for the stage. the ; a staging of Only the Sound Remains , her most recent Schumann’s Das Paradis und die Peri for the opera collaboration with Peter Sellars, Philharmonic; and a new produc - opened in Holland in 2016. In the same tion of for the . year her first opera, L’Amour de loin, was given its New York premiere by the Mr. Sellars has led several major arts festi - Metropolitan Opera in a new production by vals, including the Los Angeles Festival (1990, 1993) and of Arts own vision of Berlioz’s Les nuits d’été with (2002). In 2006 he was artistic director of performances at the Auditorio Nacional in New Crowned Hope, a month-long festival Madrid and at Hamburg’s Elbphilharmonie, in celebrating the 250th anniversary where he has been an artist-in-residence of Mozart’s birth. He also served as the music and performed for its opening. Other per - director of the 2016 . formance highlights include Handel’s (Théâtre des Champs-Élysées with Mr. Sellars is a distinguished professor in ) and the title role in Gluck’s the department of world arts and cultures Orfeo at Théâtre des Champs-Élysées. at UCLA, a resident curator of the Telluride Film Festival, and was a mentor for the In 2002 Mr. Jaroussky founded Ensemble Rolex Arts Initiative. He is the recipient of , with whom he undertook an a MacArthur Fellowship, the Erasmus extensive Handel tour in fall 2017 to pro - Prize for contributions to European culture, mote The Handel Album ; in spring 2019 the Gish Prize, and is a member of the they will perform a new Francesco Cavalli American Academy of Arts and Sciences. program, to be released on Erato-Warner In 2014 he was awarded the prestigious Classics. Another project recently came to Polar Music Prize and named Artist of the fruition: the Academy Philippe Jaroussky, Year by Musical America . housed at La Seine Musicale near Paris and created to support the education of young musicians suffering from cultural isolation.

R Mr. Jaroussky is an exclusive artist with E L

W Erato-Warner Classics and has received O F many awards for his recordings. He has N

O Philippe M

I been recognized by the French Victoires

S Jaroussky de la Musique (Révélation Artiste Lyrique Countertenor Philippe Jaroussky has estab - in 2004, Artiste Lyrique de L’Année in 2007 lished himself as a major singer, with a and 2010) and with several vast Baroque repertoire ranging from the Awards (2008, 2009, 2016). In 2009 he refinements of the Italian Seicento with was appointed Chevalier des Arts et des Monteverdi, Sances, and Rossi to the bril - Lettres by the French government. liance of Handel and Vivaldi. He has also made strong contributions to the redis -

cov ery of composers such as Caldara, N E R

Porpora, and Steffani. U U H C S R E V

Increasingly captivated by contemporary E I

works, Mr. Jaroussky performed a song W O

B Davóne Tines cycle by Marc-André Dalbavie from the sonnets of Louise Labbé. He premiered Bass-baritone Davóne Tines’s performances Kaija Saariaho’s Only the Sound Remains , in the 2018–19 season include the world written specifically for his voice, at Dutch premiere of The Black Clown in a produc - National Opera in March 2016, in addition tion directed by Zack Winokur at American to performances at Paris National Opera Repertory Theater, Kaija Saariaho’s Only the and Teatro Real. He has also been explor - Sound Remains at the Teatro Real and Lincoln ing a very different repertoire of French Center, and John Adams’s El Niño with mélodies accompanied by the pianist Vladimir Jurowski conducting the Rundfunk- Jérôme Ducros , and recently proposed his Sinfonieorchester Berlin. Mr. Tines reprises

WhiteLightFestival.org his acclaimed portrayal of Ned Peters in the European premiere of John Adams and Peter Sellars’s Girls of the Golden West at Dutch National Opera and performs in Henze’s El Cimarrón in a new production at Nora the Metropolitan Museum of Art in collab - Kimball-Mentzos oration with the American Modern Opera Company. Mr. Tines also makes a debut at Nora Kimball-Mentzos was born in Brooklyn. Opera Theatre of Saint Louis in the world She has worked with many well-known premiere of Fire Shut Up in My Bones by choreographers, teachers, and in major Terence Blanchard and Kasi Lemmons. Sym - companies including Ballet, the phonic appearances include concerts with Stuttgart Ballet under the direction of Glen Esa-Pekka Salonen and the Los Angeles Tetley and Marcia Haydée, Nederlands Philharmonic, Michael Tilson Thomas and Dans Theater with director/choreographer the San Francisco Symphony, and Aram Ji rˇí Kylián, with Demirjian leading the Kansas City Symphony. director , Karole Armitage Ballet, Ballett Frankfurt with director/ Highlights of recent seasons include the choreographer William Forsythe, as well world premiere of Girls of the Golden as being a muse for the opera director West at San Francisco Opera, Stravinsky’s Peter Sellars. Oedipus Rex at the Baltic Sea Festival con - ducted by Salonen, and Com ing Together Ms. Kimball-Mentzos’s creative diversity by Frederic Rzewski and Schumann’s Das extends into film and photography, which Paradies und die Peri , both under the baton includes modeling muse for Issey Miyake of Gustavo Dudamel, with the Los Angeles and acting in small short films. Her partici - Philharmonic. Mr. Tines made his debut at pation in the opera world, where she has the Brooklyn Academy of Music in Matthew danced in multiple productions by Sellars Aucoin’s Crossing , directed by Tony Award– (Kurt Weill’s The Seven Deadly Sins at Opéra winning director Diane Paulus, in a role de Lyon, Stravinsky’s Biblical Pieces at Dutch he originated. National Opera, John Adams’s El Niño at Théâtre du Châtelet, and Kaija Saariaho’s Mr. Tines is a founding core member of the Only the Sound Remains at Paris National American Modern Opera Company and the Opera, Dutch National Opera, and Finnish recipient of the 2018 Emerging Artists Award National Opera), also includes her choreo - given by Lincoln Center for the Performing graphic efforts in his stagings. Arts. He graduated from and received a master of music degree As an avid supporter of body awareness from The Juilliard School. and creativity, she has created workshops for children in “body expression through dance” and supports non-profit organiza - tions to help underprivileged children seek - ing a better way of life through dance. A pedagogue and coach at the Hochschule für Musik und Darstellende Kunst Frankfurt teaching classical ballet, the Zena Rommett floor-barre technique, and a diverse reper - toire, she also teaches worldwide to pro - fessionals and non-professionals alike. T Izquierdo has been honored with several S I T

R prizes, including El Ojo Crítico (1995), the A

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H Catalan Roland Journalism Prize for Classical T

F

O Music (2000), the Latin Grammy (2006), and

Y S

E the Diapason d’Or (2012). Since 2006 he T

R Ernest Martínez

U has been a member of the Reial Acadèmia O C Izquierdo Catalana de Belles Arts de Sant Jordi. Born in , Ernest Martínez Izquierdo (conductor) is honorary conductor of the Navarre Symphony Orchestra of Pamplona and principal guest conductor of the contemporary- music ensemble Barcelona 216, which he founded in 1985. He has been music director of the Navarre Symphony Orchestra (1997–2013) and music director of the Barcelona Symphony Orchestra (2002–06), where he continued to serve as principal guest conductor through 2009. Theatre of Voices Theatre of Voices was founded by the Mr. Izquierdo has also conducted many English conductor and artistic director Paul principal Spanish orchestras and ensem - Hillier. The ensemble received a Grammy bles. Internationally, he has worked with Award for The Little Match Girl Passion orchestras such as the Tokyo and Kyoto in 2010—the year of the group’s 20th Symphony Orchestras, Finnish Radio Sym - anniversary— and was nominated for the phony Orchestra, Helsinki Philharmonic Nordic Council Music Prize in 2013. Projects Orchestra, Trondheim Symphony Orchestra, cover music ranging from Pérotin to Orchestre Philharmonique de Radio France, Mozart and contemporary composers Orchestre National de Lyon, and Warsaw such as Arvo Pärt, Kaija Saariaho, Steve Philharmonic. In spring 2019 he will make Reich, as well as Pelle Gudmundsen- his debut with the Hong Kong Philharmonic Holmgreen and Stockhausen. Theatre of Orchestra and return to Orchestre National Voices works and records with some of the Montpellier Occitanie. world’s best instrumentalists. Tracks from more than 30 recordings have been Mr. Izquierdo’s opera credits include Kaija featured in scores for films like La grande Saariaho’s Adriana Mater, directed by Peter bellezza (“”) , The Far - Sellars (with premieres at the Finnish mer and the Universe , and Arrival. The National Opera and Santa Fe Opera) and ensemble’s 2018–19 season includes Only the Sound Remains (Paris National appearances at Teatro Real in Madrid, Opera); Mozart’s Le nozze di Figaro , directed Lincoln Center, Carnegie Hall, Barbican by Emilio Sagi; Orff’s Carmina Burana , Centre, and Hamburg’s Elbphilharmonie. directed by La Fura dels Baus; Saariaho’s The members performing this evening L’Amour de loin , directed by Robert Lepage; are Danish soprano Else Torp, Estonian and the world premiere of L’Ombre de mezzo-soprano Iris Oja, Sussex-based Venceslao by Martin Matalon, directed by tenor Paul Bentley-Angell, and Danish Jorge Lavelli. He has recorded for Deutsche bass Steffen Bruun. Theatre of Voices is Grammophon, Telarc, Harmonia Mundi, Col sponsored by the Danish Arts Foundation Legno, Ircam, Stradivarius, and Naxos. Mr. and Augustinus Foundation.

WhiteLightFestival.org Haydn’s String Quartets (2009), which earned an Echo Klassik Award; Shostakovich’s String Quartets Nos. 3, 4, and 7 (2012), which received the Record of the Year award from the Finnish Broadcasting Company YLE and the Emma prize (the Finnish N

E Grammys) for Classical Album of the Year; N O

H and Bartók’s String Quartets Nos. 1 and 5. A

O Meta4 has also released two albums of R E T Saariaho’s chamber music works ( Ondine , Meta4 2013) and Sibelius’s string quartet Voces Meta4, formed in Finland in 2001, is an Intimae (Berliner Meister Schallplatten, 2013). acclaimed string quartet lauded for its vital - ity and richly colored sound. In 2018–19,

the quartet performs Kaija Saariaho’s Only U J R

the Sound Remains at Teatro Real Madrid A ̈ H O T

and Lincoln Center, and conducts a joint Y K

T octet tour with the Gringolts Quartet to I R A

Hamburg’s Elbphilharmonie, Amsterdam’s A M Eija Kankaanranta Concertgebouw, Philharmonie Luxembourg, Festspielhaus Baden-Baden, and many Eija Kankaanranta (kantele) is a leading other European venues. Meta4 specializes Finnish kantele musician with a special inter - in working with orchestras and leading pro - est in contemporary music and improvisa - grams from the principal positions without tion. She has premiered works by Michael a conductor. In this role, the quartet has Finnissy, Jukka Tiensuu, Lotta Wennäkoski, worked with the Finnish Baroque Or - Juhani Nuorvala, and Kaija Saariaho. chestra, Turku Philharmonic Orchestra, Tapiola Sinfonietta, Swedish Musica Vitae, Ms. Kankaanranta is the first classical kantele and the Australian ACO Collective. player to complete a perfomer’s doctorate at the Sibelius Academy. Her solo CD, In 2004 Meta4 won first prize in the Griffyr–contemporary kantele music , was International Shostakovich Quartet Compe - released in 2007. She has appeared as a tition in Moscow, where it was also soloist with the Avanti! Cham ber Orchestra, awarded a special prize for the best Pori Sinfonietta, Joensuu City Orchestra, Shostakovich interpretation. The group and the Netherlands Wind Ensemble. She also won first prize in the International has also played the kantele in such Joseph Haydn Chamber Music Competitio n orches tras and ensembles as the Uusinta (2007) and was selected as a BBC New Ensemble, Finnish Baroque Orchestra, Generation Artist (2008–10). Meta4 has Moscow Contemporary Music Ensemble, also served as artistic director of the Lisbeth Diers Ensemble, and the Athelas Oulunsalo Music Festival (2008–11) and as Sinfonietta Copenhagen. Ms. Kankaanranta quartet in-residence at the Kuhmo Chamber receives the support of a working grant Music Festival (2008–17). from the Finnish Cultural Foundation.

Meta4 studied at the European Chamber Music Academy under Hatto Beyerle and Johannes Meissl. It has released three recordings on Hänssler Classic to date: L A R L E A H V C R S A R A I P

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O A K J K N A O A S Camilla Hoitenga J Heikki Parviainen Camilla Hoitenga’s (flute) repertoire ranges Heikki Parviainen (percussion) is timpanist from pre-Bach to post-Stockhausen and and percussionist of the Finnish National from concertos to interdisciplinary works Opera Orchestra. Before settling into the with live video and electronics. Her opera pit, he served as the timpanist of record ings—i n particular those with Kaija Lahti Symphony Orchestra. Mr. Parviainen Saariaho, with whom she has collaborated graduated from the Sibelius Academy in for more than 30 years—have won the Helsinki, and has extended his studies at Charles Cros Grand Prix, Diapason d’Or, both Musikhögskolan i Malmö, Sweden, and similar awards in France, Great Britain, and Civica Scuola di Musica in Milan, and North America. Italy. He is an alumnus of Gustav Mahler Jugendorchester, Pacific Music Festival Ms. Hoitenga has performed concertos Orchestra, and Orkester Norden, where he written for her by composers such as works as a tutor for the percussion group. Saariaho, Peter Koszeghy, Ken-Ichiro Mr. Parviainen has commissioned and pre - Kobayashi, and Raminta Šerkšnyt e˙, and miered a marimba concerto by Finnish worked with conductors like Jukka- Pekka composer Arttu Takalo. He is also the tim - Saraste, Susanna Mälkki, Christoph panist of Helsinki Baroque Orchestra. Eschenbach, Vladimir Jurowski, and Alan Gilbert in concert halls and festivals all Julie Mehretu over the world. A frequent guest in Japan, Julie Mehretu (set designer) is a world- and with a great interest in Japanese cul - renowned painter, born in Addis Ababa, ture, she has also premiered dozens of Ethiopia, in 1970, who lives and works in pieces written for her by Japanese com - New York City and Berlin. She received a posers such as Takehito Shimazu and master of fine arts degree with honors Miyuki Ito. Commissions for her own from the Rhode Island School of Design in music and improvisation have come from 1997. Ms. Mehretu is a recipient of many painters and sculptors (e.g. Mutsumi awards, including the MacArthur Award Okada, Jörg Immendorff) as well as from (2005) and the U.S. Department of State galleries and museums. Her own flute Medal of Arts Award (2015). She is best teachers were Darlene Dugan, Alexander known for her large-scale paintings that Murray, Peter Lloyd, and Marcel Moyse. take the abstract energy, topography, and Equally inspiring were her collaborations sensibility of global urban landscapes and with in Cologne. political unrest as a source of inspiration. Born in Grand Rapids, Michigan, Ms. She has shown her work extensively in Hoitenga now lives in Cologne, Germany and international and national solo and group Sylva, North Carolina. exhibitions, and is represented in public and private collections around the world. Recent projects include completing a large-scale painting commission for the San Francisco Museum of Modern Art’s Haas Atrium in September 2017, entitled

WhiteLightFestival.org HOWL eon (I, II). Ms. Mehretu will have a for Godot , directed by Garry Hynes; The mid-career survey beginning at LACMA in Renaissance Muse with Andreas Scholl; November 2019. Ms. Mehretu is rep re - Mark Morris’s Layla and Majnun and sented internationally by Marian Goodman Mozart Dances; and Kaija Saariaho’s La Gallery and is a member of the American Passion de Simone, John Adams’s The Academy of Arts and Letters. Flowering Tree, and ’s Desdemona , all directed by Peter Sellars. Robby Duiveman Robby Duiveman (costume designer) has His designs for dance include Paul Taylor’s been the director of costumes and make- Concertiana, Lila York’s Continuum, and up at the Dutch National Opera & Ballet Doug Varone’s Half Life, all for Paul Taylor since 1999, and held similar positions at American Modern Dance; Giselle for the the Salzburg Festival and Germany’s Finnish National Ballet; The Nutcracker for Ruhrtriennale. He has also been a teacher Miami City Ballet; and Twyla Tharp’s 50th of costume history and design at the Anniversary Tour. His other work for Mark Salzburg Mozarteum, director of the cos - Morris Dance Group includes The Hard tume department at Brussels’s La Monnaie, Nut, Dido and Aeneas , and L’Allegro, il and costume supervisor at the Hamburg penseroso ed il moderato . State Opera. Mr. Ingalls’s designs for opera include the Mr. Duiveman has designed costumes for world premieres of John Adams’s Nixon in the Hamburg Ballet, Schauspielhaus Ham - China, , El Niño, burg, Madrid’s Teatro Real, the Ruhrtriennale, Doctor Atomic, The Gospel According to the Salzburg Festival, Grand Thèatre de the Other Mary, and the world premieres Luxembourg, Welsh National Opera, Dutch of Kaija Saariaho’s L’Amour de Loin and National Opera & Ballet, the Holland Adriana Mater, all directed by Peter Sellars. Festival, Paris National Opera, Göttingen Other designs for Druid include Druid International Handel Festival, the Bris - Shakespeare: Richard III, Sive, King of the bane Baroque Festival, and Finnish Na- Castle, The Beauty Queen of Leenane , and tional Opera. DruidShakespeare: Richard II, Henry IV (Parts 1 & 2) and Henry V , all directed by As associate costume designer for Robert Garry Hynes. Wilson, he worked at the Ruhrtriennale, Los Angeles Opera, Ahmanson Theatre He often collaborates with the Wooden L.A., Bolshoi Theatre Moscow, National Floor dancers in Santa Ana, California. Theater Taipei, Dutch National Opera & Ballet, Schleswig-Holstein Musik Festival, Ara Guzelimian Teatro Real Madrid, Gran Teatre de Ara Guzelimian (discussion moderator) has Barcelona, and the Barbican Centre in been provost and dean of The Juilliard London. He worked as associate costume School since August 2006, where he designer for Miuccia Prada at the Metro - works closely with the president in over - politan Opera. Mr. Duiveman also created seeing the faculty, curriculum, and artistic the exhibition of Eiko Ishioka’s costumes planning in all three of its divisions: dance, for at the Stedelijk drama, and music. Prior to Juilliard, he was Museum in Amsterdam in 2014. senior director and artistic advisor of Carnegie Hall from 1998 to 2006; in that James F. Ingalls post he oversaw the artistic planning and James F. Ingalls’s (lighting designer) work programming for the opening of Zankel Hall at Lincoln Center includes Druid’s Waiting in 2003. In addition, he has given lectures at the invitation of the Metropolitan Opera, divide the colors and make them appear; Salzburg Easter Festival, Lincoln Center, this prism could be the spirit of the listener. Carnegie Hall, Banff Centre, Chicago —Arvo Pärt. Now in its ninth year, the Symphony Orchestra, the National Center White Light Festival is Lincoln Center’s for the Performing Arts in Taipei, and the annual exploration of music and art’s Jerusalem Music Center, where he was on power to reveal the many dimensions of the faculty of the 2000 Inter national our interior lives. International in scope, the Chamber Music Encounter, led by Isaac multidisciplinary festival offers a broad Stern. He has also been heard both on the spectrum of the world’s leading instru - Metropolitan Opera radio broadcasts and, mentalists, vocalists, ensembles, choreo - as a guest host, on public radio’s Saint Paul graphers, dance companies, and directors Sunday . He currently serves as artistic con - complemented by conversations with sultant for the Marlboro Music Festival and artists and scholars and post-performance School in Vermont. White Light Lounges.

Previously, Mr. Guzelimian was the artistic Lincoln Center for the Performing administrator of the Aspen Music Festival Arts, Inc. and School (1993–98) and artistic director Lincoln Center for the Performing Arts of the Ojai Music Festival (1992–97). As a (LCPA) serves three primary roles: presen - writer and music critic, he has contributed ter of artistic programming, national leader to such publications as Musical America , in arts and education and community rela - , Symphony Magazine , and tions, and manager of the Lincoln Center The New York Times . Mr. Guzelimian is campus. A presenter of more than 3,000 editor of Parallels and Paradoxes: Explor - free and ticketed events, performances, ations in Music and Society (Pantheon Books, tours, and educational activities annually, 2002), a collection of dialogues between LCPA offers 15 programs, series, and fes - Daniel Barenboim and Edward Said . His per - tivals including American Songbook, Great forming edition of Mendelssohn’s inciden - Performers, Lincoln Center Out of Doors, tal music to Shakespeare’s A Midsummer Midsummer Night Swing, the Mostly Night’s Dream has been performed by the Mozart Festival, and the White Light Chicago, , and London symphony Festival, as well as the Emmy Award– orchestras. In 2003 Mr. Guzelimian was winning Live From Lincoln Center , which awarded the title Chevalier des Arts et des airs nationally on PBS. As manager of the Lettres by the French government for his Lincoln Center campus, LCPA provides contributions to French music and culture. support and services for the Lincoln Center complex and the 11 resident orga - White Light Festival nizations. In addition, LCPA led a $1.2 bil - I could compare my music to white light, lion campus renovation, completed in which contains all colors. Only a prism can October 2012.

WhiteLightFestival.org Lincoln Center Programming Department Jane Moss, Ehrenkranz Artistic Director Hanako Yamaguchi, Director, Music Programming Jon Nakagawa, Director, Contemporary Programming Jill Sternheimer, Director, Public Programming Jordana Leigh, Director, David Rubenstein Atrium Lisa Takemoto, Production Manager Charles Cermele, Producer, Contemporary Programming Mauricio Lomelin, Producer, Contemporary Programming Andrew C. Elsesser, Associate Director, Programming Luna Shyr, Senior Editor Regina Grande Rivera, Associate Producer Viviana Benitez, Associate Producer, David Rubenstein Atrium Walker Beard, Production Coordinator Meera Dugal, Programming Manager, David Rubenstein Atrium Olivia Fortunato, Programming Assistant James Fry, Technical Manager, Contemporary Programming Jessica Braham, House Seat Coordinator Elizabeth Lee, Company Manager, Contemporary Programming Lucy Powis, House Program Coordinator

For the White Light Festival Timo Kurkikangas, Sound Engineer David Poissonnier, Assistant Sound Engineer Townsend Olcott, Production Manager Andrew Hill, Production Electrician Betsy Ayer, Stage Manager Pamela Salling, Assistant Stage Manager Amy Page and Joy Havens, Wardrobe Megan Young, Supertitles