December 1999

Brooklyn Academy of Music 1999 Next Wave Festival BAMcinematek Brooklyn Philharmonic 651 ARTS

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BAM Next Wave Festival sponsored by

PHILIP MORRIS ~lA6(8Ill COMPANIES INC Brooklyn Academy of· Music Brooklyn Philharmonic Orchestra Bruce C. Ratner 46th Season 1999-2000 Chairman of the Board The Century-Program 2

Karen Brooks Hopkins Robert Spano, Music Director President Lukas Foss, Conductor Laureate Craig G. Matthews, President Joseph V. Melillo Executive Producer

present a concert performa nce of the opera in th ree acts

Running time: BAM Opera House approximately December 3, 1999, at 8:00 p.m. 2 hours and 45 December 4, 1999, at 8:00 p.m. minutes, with one intermission Music Libretto Alice Goodman

Brooklyn Philharmonic Orchestra Cond uctor Robert Spano

Chou En-Iai William Sharp James Maddalena Henry Kissinger Thomas Hammons Nancy T'ang (First Secretary to Mao) Karen Krueger Second Secretary to Mao Nancy Wertsch Third Secretary to Mao Phyllis ·Jo Kubey Mao Tse-tung Richard Clement Madame Mao Tse-tungJudith Howarth Pat Nixon Heather Buck

The New York Virtuoso Singers Director Harold Rosenbaum

Visual Consultant and Designer Anne C. Patterson Lighting Designer Matthew Frey

Major support provided by The Dime Savings Bank of New York, FSB.

Nixon in China is presented by arrangement with Hendon Music, Inc., a Boosey & Hawkes company, publisher and copyright owner. Supertitles by permission of Hendon Music, Inc. Copyright 1987 by Hendon Music, Inc., a Boosey & Hawkes Company. Baldwin is the official piano of the Brooklyn Philharmonic Orchestra.

37 From the Executive Welcome to the Brooklyn Philharmonic's performances of Nixon in Director China. Tonight's concert, the second in a season-long survey of "The Century" by Robert Spano and the Brooklyn Philharmonic, returns John Adams' watershed opera to BAM. These are the first complete perfor­ mances of this work in North America since its premiere in 1987-88. Two of tonight's artists, James Maddalena and Thomas Hammons, are reprising the roles they created in the premiere performances of Nixon in China in 1987. We are delighted to welcome them back.

Subscriptions to the remaining three programs in the Brooklyn Philharmonic Orchestra's 1999-2000 season at BAM are still available, though some seating areas are sold out. Call the Brooklyn Philharmonic at 718.622.5555 for availability and to guarantee your seats.

Copies of the Brooklyn Philharmonic's subscriber companion guide, written and edited by Joseph Horowitz, are available. If you have not received a copy, please see an usher or call the Brooklyn Philharmonic at­ 718.622.5555.

The Brooklyn Philharmonic's 1999-2000 Annual Membership Campaign is your opportunity to make a meaningful investment in the cultural life of Brooklyn and New York. Information on the Membership Campaign, which supports the Orchestra's performance- and educational initiatives, has just been mailed, and can also be found in this program. There has never been a better time to join and to support the activities of the Brooklyn Philharmonic.

The 2000-2001 season is now being finalized, and Robert Spano has planned a season of powerful and provocative programs. Details will be mailed in advance of our next concert in late February. Remember, the number of subscribers has doubled this season,so be sure you renew early to secure your seats.

www.brooklynphnh~lfmonic.org debuts soon! The Brooklyn Philharmonic's new interactive website features program notes and infor­ mation on each ,upcoming Goncert, an illustrated h'istory of the orchestra, ticket information, interactive activities, and much more. Bookmark this "under construction" site now and scroll though a special site preview.

This weekend's concerts are the Brooklyn Philharmonic's final perfor­ mances in 1999. On behalf of Robert Spano, the musicians of the Brooklyn Philharmonic, the Board of Directors, and the' Management, I extend our very best wishes to you for the holiday and for a prosperous . We look forward to welcoming you back on February 24 and 25 at the BAM Harvey Theater for afterhours...

Gregg Gustafson Executive Director

38 By Alice Goodman, Before Nixon in China was Nixon in China, it was "the opera to be written in Librettist rhymed couplets." Shortly after I acquired a telephone, I received a call from asking whether I would be interested in writing the libretto for an opera, "in couplets-John Adams says he wants couplets." I said, "Yes," and put down the telephone. Not long afterwards Peter Sellars rang again to ask what I thought of Nixon in China as a title. I said I thought it was a perfect title, but that it had to be a heroic opera. I would not write it as a satire. That, I was informed, was exactly what John Adams had said. And so the matter rested, the form having evoked the title and the title the character of the opera. A little more than a year later we met in Washington, D.C.-almost equidistant from John Adams' home in California and mine in England-to work out the opera's structure. There were all the back issues of the various news magazines and the tapes of the television newscasts; the beginning of our research. Once it was clear what exactly had happened on each of the six historic days (February 21-27, 1972), that the President had met with the Chairman on the first day, that the guards had started smiling on the second, that the Great Wall was viewed on the fourth, and so on, we began to simplify. The opera would have three acts, the first comprising three scenes, the second, two, and the third, one. We gave the characters voices: Mrs. Nixon would be a lyric soprano, Chiang Ch'ing a coloratura, and Mao's secretaries would have lower voices and sing backup. We discussed the atmosphere of each scene and worked out where the various arias and choruses would go. When I got back to England, I resumed reading, relentlessly ignoring everything published after 1972 except for the Nixon and Kissinger memoirs. Having started out blissfully ignorant, I was not going to become wise after the fact. I read Agnes Smedley's biography of Chu Teh, Edger Snow's Red Star over China, The Dream of the Red Chamber, and the richly purple prose of Han Su-yin: the authorized edition of the Selected Works of Mao Tse-tung, not to mention his pamphlet on the arts and A Single Spark Can Start a Prairie Fire. I broke my ban on books published after 1972 when I came across We Will Always Remember Premier Chou En­ lai (1977), the memorial volume with essays by committees, and Roxane Witke's Comrade Chiang Ch'ing. Odd little biographies of Richard Nixon turned up, written while he was a congressman, or a senator, or vice-president, or wondering if he could possibly make a comeback after losing the California gubernatorial election of 1962. I began to collect translations of Mao's poems. And there was more: books, good, bad, and indifferent, pertinent or ostensibly irrelevant, magazine articles, newspaper clippings, photographs. Certain facts became important: Mao's classical education, the way in which his writing takes the allusions of the Chinese literary pantheon, and its meter, and turns them to its own ends; his admiration of Western philosophy and the heroes of the American Revolution; Nixon's stint in the Navy during the war, the fact that he was stationed on various Pacific islands, Mrs. Nixon's letters to him, the poverty of her childhood, and the various rented accommodations of the early years of their marriage; the poverty of Chiang Ch'ing's childhood; Chou En-Iai's insomnia. There was the Long March to be thought about, "one year of almost continuous marching, totaling 6,000 miles," as Snow succinctly puts it, the epic feat of Mao's revolution-astonishing that it should have taken place as recently as 1935-and the Chinese Communist Party's years in the wilderness

39 in northwest China, and its various intemecine feuds before the Second Civil War began in 1946 and ended with the taking of Peking three years later and the exile of Chiang Kai-shek. There were details of the famines of the first half of the century, echoed in the 1950s. And the Cultural Revolution. What can one say about that blood-bath on Platonic principles? And having said it, what can one say about the famines and the Long March? I pondered Nixon's love of his­ tory and his belief in peace and progress, and I pondered the significance of the characters' ages: the Nixons, Kissinger, and Chiang Ch'ing in late middle-age, Mao and Chou, two old men-all with the ambition of their youth either achieved or abandoned. I became more and more certain that every character in the opera should be made as eloquent as possible. Everyone should have a voice. It would be a heroic opera-that would be the character of the work­ and an opera of character-that had become inevitable-and the heroic quality of the work as a whole would be determined by the eloquence of each charac­ ter in his or her own argument. In February 1985, greatly to everyone's relief, I wrote the first couplet. I think the last was written in December '86. During that time, and since, I discovered a fair amount about the nature of collaborative work. Choruses which I loved had to be cut for the greater good, and arias were composed and inserted. We disagreed violently about one thing and another, and while some of these disagreements were resolved, others were amicably maintained. There are places where the music goes against the grain of the libretto, and places where the staging goes against the grain of both. My Nixon is not quite the same character as John Adams' Nixon, and they both differ slightly from Peter Sellars' Nixon, not to mention James Maddalena's. My view of the Cultural Revolution is not the same as theirs, and theirs are not the same. I suspect we disagree about peace and progress. This collaboration is polyphonic. We have done our best to make our disagreements counterpoints; not to drown each other out, but, like the characters in the opera, each to be as eloquent as possible. -Copyright 1987 by Alice Goodman. All rights reserved.

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Act One, Scene One While waiting for the aircraft, contingents of Army, Navy, and Air Force are The airfield outside singing "The Three Main Rules of Discipline and The Eight Points of Peking; a cold, dry Attention," a 1930s Red Army song. An airplane is heard and Premier Chou morning, Monday, En-Iai, accompanied by a small group of officials, strolls onto the runway just February 21, 1972 as The Spirit of '76 taxies into view. President Nixon, followed by his wife Pat and their entourage, disembarks. The Americans shake hands with the Premier, and Nixon ponders on the fact that the visit resembles the first moonlanding, and that the eyes of all America are on him via the television cameras.

Scene Two Chairman Mao's study, an hour later. Nixon and Kissinger are meeting with The Imperial City Mao and Chou En-Iai. The Chinese are assisted by three secretaries/interpreters, (Meeting with Mao) who repeat and amplify Mao's barrage of philosophical apothegms, unexpected political observations, and gnomic jokes. The Westerners find it difficult to take part in the dialogue. After they have left, Chairman Mao repeats one of his say­ ings, which the three secretaries note down enthusiastically.

A banquet is in progress. The chief guests are surrounded by the parties of Scene Three Americans and Chinese, and reporters swarm about them. Pat Nixon The Great Hall of the expresses the hope that the weather will improve. Premier Chou rises to People-the first make a speech and the first of the evening's toasts, to Americans and to evening brotherhood. The President replies, toasting the Chinese people and stressing the common aims of the two nations. The band plays Nixon's favorite tunes, and the toasts continue, with increasing joviality as the night goes on.

The next morning. Snow has fallen during the night. Mrs. Nixon is being Act Two, Scene One entertained by a sightseeing tour, which takes her from the kitchens at the Mrs. Nixon views Peking Hotel to the Evergreen People's Commune, the Summer Palace, and China the Ming Tombs. She is surrounded by a number of guides and journalists. She reflects on her own life as First Lady, and accepts a glass elephant from the workers at the Peking Glass Factory. At the Gate of Longevity and Goodwill in the Summer Palace, she pauses to describe her hopes for the future. At the end of the day, the party returns to the hotel.

Scene Two At the Peking Opera, the same evening. The Nixons attend a performance of An evening at the The Red Detachment of Women, a revolutionary ballet devised by Mao's Peking Opera wife, Chiang Ch'ing. The ballet is set on a tropical island and tells a tale of ideological rectitude concerning an evil landlord who persecutes three peas­ ant women. They are rescued by the arrival of the Red Detachment of Women. The Westerners become drawn into the action. Henry Kissinger seems to be playing the part of the villain and the Nixons take the side of simple virtue. Chiang Ch'ing also joins in the fray, encouraging the women to kill and maim their hated adversaries.

Act Three On the last night of the visit, all are exhausted. Kissinger is suffering from diges­ The last night in tion problems, while the others, Chou En-Iai, Mao Tse-tung, Chiang Ch'ing, and Peking the Nixons reflect on the weariness of their positions. Each recalls events from his or her past, and the opera ends with a reflective aria sung by Chou En-Iai. -Copyright 1987 by Alice Goodman. All rights reserved.

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Robert Spano (music director, conductor) is recog­ With the Brooklyn Philharmonic, he has been nized internationally as one of the outstanding con­ featured on television on City Arts, CBS' Sunday ductors of his generation. He became Music Director Morning, and The Late Show with David of the Brooklyn Philharmonic Orchestra in 1996, Letterman. He makes his home in Brooklyn. and is widely credited with lifting the orchestra to new levels of performance. He recently extended his Brooklyn Philharmonic Orchestra Audiences Brooklyn commitment to 2003-2004-the orches­ throughout New York City have embraced the tra's 50th anniversary season. Brooklyn Philharmonic's commitment to the con­ cept of the orchestra as a contemporary perfor­ Born in Conneaut, Ohio, in 1961, and raised in mance ensemble, emphasizing-as in the Elkhart, Indiana, Mr. Spano grew up in a musical decades of Beethoven and Brahms-important family, studying composition and playing flute, vio­ present-day music. The orchestra is equally com­ lin, and piano. By age 11 he had begun conduct­ mitted to serving New York's most populous bor­ ing. He continued his studies at the Oberlin ough through engaging education programs and Conservatory of Music, where he studied conduct­ community events. ing with Robert Baustian, and at the Curtis Institute of Music, where he studied with Max Rudolf. The Brooklyn Philharmonic was founded in 1954 by Siegfried Landau. Under Lukas Foss, Mr. Spano was appointed Assistant Conductor of the Music Director from 1971-90, the orchestra Boston Symphony Orchestra by Seiji Ozawa in became an annual recipient of ASCAP awards 1990. Since then, he has conducted nearly every for "adventuresome programming." Foss' Meet major North American orchestra, including the the Moderns was a national showcase for con­ Atlanta Symphony, Chicago Symphony, The temporary music. During the tenure of Foss' Cleveland Orchestra, Symphony, Los successor, Dennis Russell Davies, the orchestra Angeles Philharmonic, Minnesota Orchestra, achieved new prominence as resident orchestra Montreal Symphony, National Symphony, of the Brooklyn Academy of Music and was a Philadelphia Orchestra, San Francisco Symphony, frequent participant in opera and dance offer­ and Toronto Symphony. His American operatic ings at BAM. In 1996 the Brooklyn engagements have included the Chicago Lyric Philharmonic received the American Symphony Opera, , Opera Theatre of Orchestra League's Morton Gould Award for Saint Louis, and . He has also Innovative Programming, annually conferred appeared with orchestras and opera companies upon a single American Orchestra. That same around the world, including the Ensemble year Robert Spano became the Brooklyn Intercontemporain (Paris), Frankfurt Radio Sinfonie Philharmonic's Music Director. Orchestra, Orchestra Filarmonica della Scala (Milan), Orchestra of the Hague, Helsinki PhilharmoniC, New In recent seasons the Brooklyn Philharmonic Japan Philharmonic (Tokyo), Sydney Symphony, has presented local, national, or world pre­ Tonhalle Orchestra (Zurich), Welsh National Opera, mieres of music by Thomas Ades, John and Royal Oper~ovent Garden. Adams, Louis Andriessen, Georg Anton Benda, Elliott Carter, Chen Yi, Philip Glass, Henryk Since 1989 he has been Associate Professor of Gorecki, Sofia Gubaidulina, Lou Harrison, Giya Conducting at the Oberlin Conservatory of Music. Kancheli, Gyorgy Ligeti, Vladimir Martinov, In 1998 he became Director of the Conducting Arvo Part, Kaija Saariaho, Alfred Schnittke, Fellowship program at the Tanglewood Music Stephen Sondheim, Victor Suslin, Michael Center. He makes regular guest appearances at Tenzer, Claude Vivier, Dmitri Yanov-Yanovsky, the Curtis Institute of Music and The Juilliard Alexander Zemlinsky, and Zhou Long. It has School, as well as at the Aspen and Round Top recorded music by Marc Blitzstein, Lukas Foss, (Texas) music festivals, and with youth orchestras Lou Harrison, Colin McPhee, Steve Reich, Terry around the world. Riley, and Alec Wilder. 40B William Sharp (Chou En-Iai; ) has 1990 Grammy Award-winning world-premiere earned a reputation as a singer of great versatility recording of Leonard Bernstein's Arias and and continues to garner critical acclaim for his Barcarolles (Koch International). He also collabo­ work in concert, recital, opera, and recordings. rated with soprano Judy Kaye and pianist Steven Highlights of his 1998-99 season included his Blier on Gershwin's Songs and Duets. Other second solo recital appearance in Washington, recent recordings include the Mass in B minor D.C., under the auspices of the Vocal Arts with the Bethlehem Bach Festival; songs of Marc Society; Bernstein's Arias and Barcarolles on tour Blitzstein with The New York Festival of Song, with The Chamber Music Society of Lincoln and J.S. Bach solo cantatas with the American Center; a recital of songs of Ernest Bacon at Bach Soloists (both on Koch). Mr. Sharp has also Merkin Hall in New York; performances of Sam recorded for Vox-Turnabout, Newport Classics, in Trouble in Tahiti with the Anchorage Columbia Records, Nonesuch, and CRI. Symphony; and a return to the Bethlehem Bach Festival for the St. John Passion, St. Matthew Judith Howarth (Madame Mao Tse-tung) studied Passion, and Mass in B minor. Mr. Sharp's at the Royal Scottish Academy of Music and engagements in the 1997-98 season included Drama and currently studies with Patricia performances of Pierne's Crusade of the Children Macmahon. On leaving college she joined the with the National Symphony Orchestra in Royal Opera House-Covent Garden as a principal Washington, D.C., and at Carnegie Hall in New soprano. Her roles there included Musetta in La York; Haydn's Lord Nelson Mass and Handel's boheme, Adele in Die Fledermaus, Gilda in Dixit Dominus with the Tafelmusik Baroque Rigoletto, Oscar in Un ballo in maschera, Elvira Orchestra; Mahler's Lieder eines fahrenden in L'italiana in AIgeri, Annchen in Der FreischOtz, Gesellen (Schoenberg arrangement) on tour with Marguerite de Valois in Les Huguenots, Liu in the St. Luke's Chamber Ensemble in New York Turandot, Norina in Don Pasquale, Marzelline in City, Ann Arbor, Kansas City, and Ontario; the Fidelio, Iris in Semele, and Morgana in Alcina. New York prem iere of Peter Sch ickele's Suite from The Rivals with The Chamber Music Society In 1991 she made her debut at the Salzburg of Lincoln Center; St. John Passion with the New Festival in Mozart's Der Schauspieldirektor and at Jersey Symphony Orchestra; St. Matthew Passion the Aix-en-Provence Festival as Susanna in Le with the Cathedral Choral Society in Washington, nozze di Figaro. In 1992 she made her debut at D.C.; Ned Rorem's Goodbye, My Fancy with the , Brussels, as Anne Trulove in The Mendelssohn Choir of Pittsburgh; solo recitals in Rake's Progress. Elsewhere in Europe she has Santa Barbara and in Wellesley, Massachusetts; sung Philidor's Tom Jones (also televised) at the performances of songs by Poulenc, Delage, Drottningholm Festival; Cressida in Walton's Antic, and Antheil in Texas and at Lincoln Troilus and Cressida for Opera North, which Center with the Da Camera Society of Houston; was recorded by Chandos and won the and as featured soloist in the New York/Paris/New Gramophone Opera Award; Violetta for York concert series at the Alliance Fran<;aise in Glyndebourne Touring Opera; Cavalli's La New York. In the summer of 1997, Mr. Sharp Didone and Hasse's Solimano for Deutsche appeared with the San Francisco Symphony, Staatsoper, Berlin; Handel's Xerxes and Marie in the Santa Fe Chamber Music Festival, and La Fille du regiment for Geneve Opera. Chamber Music Northwest. She made her American operatic debut with As a recording artist, William Sharp was nomi­ Florida Grand Opera, returning to sing the nated for a 1989 Grammy Award for Best soprano heroines in Les Contes d'Hoffman. In Classical Vocal Performance for his recording fea­ 1998 she made her debut with Wash ington turing the works of such American composers as Opera in Fedora with Placido Domingo. She Virgil Thomson and Lee Hoiby (New World has appeared with the Boston Symphony Records). Mr. Sharp can also be heard on the Orchestra, Vienna Symphony, Madrid Radio 40C \A/bo'c \A/b~o _

Symphony, London Philharmonic, BBC a new production of Nixon in China. Past Symphony, English Chamber, City of engagements at BAM include the Peter Sellars Birmingham Symphony, Orchestra of the Age of production of Das kleine Mahagonny and John Enlightenment, Royal Scottish National Adams' . Orchestra, BBC National Orchestra of Wales, and the Monteverdi Choir and Orchestra. She Mr. Maddalena sung the premiere of Eliot made her Promenade Concert debut in the Goldenthal's oratorio Fire, Water, Paper with 1991 BBC Proms (Dvorak's The Spectre's the Pacific Symphony (recorded by Sony Bride under Rozhdestvensky), returning each Classical) and the Boston Symphony, and par­ season since then. In 1993 she appeared for ticipated in concert performances of Nixon in the first time in Paris with the Orchestre China in Talinn, Estonia, and at the 1998 National de France under Jeffrey Tate in Aspen Music Festival; La Damnation de Faust Krenek's Jonny spielt auf. In 1995 she made with the Brooklyn ~hilharmonic; with her debuts in the Vienna Konzerthaus with Boston's Handel & Haydn Society and with the Claudio Abbado, with the Concertus Musicus Pacific Symphony; Hindemith's Requiem with under Harnoncourt, and the Edinburgh the Orchestra of the Accademia di Santa Cecilia Festival under John Eliot Gardiner. In 1997 she in Rome (Wolfgang Sawallisch, conductor); The toured with the City of Birmingham Symphony Passion According to St. John in Turin, Italy Orchestra under Sir Simon Rattle, which took (also with Sawallisch); the title role of Orfeo in her to the Vienna Konzerthaus, singing Strauss' Venice; John Adams' The Wound Dresser with Four Last Songs. the Royal Scottish Orchestra; Harbison's Word from Paterson with San Francisco Symphony; Recordings include Fennimore and Gerda for Carmina Burana in Seville, Spain, and Chandos and an album of Strauss songs to be Palermo, Italy; and Messiah with the London released next year. Future engagements include Philharmonic. He has also appeared as vocal her debut at ENO singing Madame Mao in soloist in the Mark Morris Dance Group's per­ Nixon in China. formances throughout the United States and in Hong Kong and Israel. He has sung with the James Maddalena (Richard Nixon; baritone) is a Spokane Bach Festival and at New York's AI ice native of Lynn, Massachusetts, and first gained Tully Hall. international recognition for his notable portrayal of Richard Nixon in the world premiere of John Recordings include Le nozze di Figaro and Cosl Adams' Nixon in China at the Houston Grand fan tutte, both directed by Peter Sellars, telecast Opera, which was telecast nationally on PBS' nationally on PBS and throughout Europe, and Great Performances series and won an Emmy released by Decca/London Records on videocas­ Award. The Peter Sellars-directed production sette- and laser disc, The Dracula Diary by Robert appeared subsequently at Netherlands Opera, Moran on the BMG Classical Catalyst label, and the Edinburgh Festival, BAM, Washington Regina for EMI (John Mauceri, conductor). Opera, Frankfurt Opera, Australia's Adelaide Continuing his involvement in contemporary Festival, and in Paris. Mr. Maddalena can also opera, Mr. Maddalena sang in the world premiere be heard on the Grammy Award-winning, best­ of Michael Tippet's New Year with the London selling Nonesuch recording. Philharmonic, recorded for BBC Television.

Engagements for James Maddalena during the Thomas Hammons (Henry Kissinger; bass­ 1999-2000 season include Madama Butterfly baritone) was born in Oklahoma and special­ with New York City Opera, concert performances izes in the buffo repertoire. He is a graduate of of Nixon in China with the Brooklyn Philharmonic the Cincinnati College Conservatory of Music, and his debut with The in where he studied with famed bass Italo Tajo, and

400 he began his career as an apprentice artist at Future engagements include his return to the Santa Fe Opera in The Duchess of Malfi. as Dr. Bartolo in Le nOlle di Figaro, the Sacristan in Tosca, Dr. Dulcamara in His heralded comic interpretations and rich voice L'elisir d'amore, Baron Zeta in The Merry Widow, have brought accolades for his performances Don Magfnifico in La Cenerentola, and throughout the United States, Canada, and BenoitiAlcindoro in La boheme, as well as another Europe. He joined the Metropolitan Opera during production of La boheme with Atlanta Opera and the 1996-97 season with his debut as the L'elisir d'amore with I'Opera de Montreal. Sacristan in Tosca prior to performances there of Le nOlle di Figaro and Billy Budd. He returned Heather Buck (Pat Nixon; soprano) holds degrees to the Metropolitan in the 1997-98 season for in music from both Yale University and Tufts L'elisir d'amore and Die Meistersinger. University, and a degree in studio art from the School of the Museum of Fine Arts in Boston. Her Other recent engagements incl ude prod uctions recent engagements include singing Jacob of Le nOlle di Figaro, Regina, and La boheme Druckman's song cycle Counterpoise with the Los with Atlanta Opera; Tosca, and /I barbiere di Angeles Philharmonic New Music Group. She Siviglia with Cincinnati Opera; Le nOlle di performed in the U.K. tour of Powder Her Face as Figaro and L'elisir d'amore; with Michigan the Maid, which she also sang this year at the Opera; La boheme and /I barbiere di Siviglia Aldeburgh Music Festival and with the Altricida with Opera Pacific; and the title role of Gianni Opera in London. Additionally, she filmed the role Schicchi with Chautuauqa Opera. for television broadcast with Channel 4 U.K. As an artist in residence this year at Wolf Trap Opera, Mr. Hammons created the role of Henry Kissinger she performed Die Konigin der Nacht in Die for Nixon in China, which originated with Houston Zauberfl6te and sang recital repertoire. Grand Opera in 1987 and was subsequently pro­ duced in Amsterdam, Paris, Frankfurt, and Los She first sang the Maid in Powder Her Face for its Angeles. Other work with Adams includes The American stage premiere at the Aspen Music Death of Klinghoffer, which had its inaugural per­ Festival. Later she reprised the role with the formances in Brussels at the Opera de la Monnaie Brooklyn Philharmonic and BAM for its New York during the 1990-91 season. Mr. Hammons' chill­ premiere. Other operatic roles include Tytania in A ing portrayal of the terrorist Rambo was then seen Midsummer Night's Dream, Miss Wordsworth in and heard in Lyons, Vienna, San Francisco, and , Despina in Cosl fan tutte, at BAM. Mr. Hammons can be heard on the Frasquita in Carmen, Josephine in H.M.S. Nonesuch recordings of Nixon in China and The Pinafore, Phyllis in Iolanthe, Leonora in The Long Death of Klinghoffer. Christmas Dinner, Laurette in Le Docieur Miracle, and Dido in Dido and Aeneas. In scenes she has He has sung Dr. Bartolo in Le nOlle di Figaro at performed as both Susanna and Cherubino in Le Barcelona's famed Teatro Liceu and Sulpice in La nOlle di Figaro, Konstanze and Blonde in Die Fille du regiment and Tosca with l'Opera de EntfOhrung aus dem SeraiI, Musetta in La Montreal. His credits also include engagements boheme, and Lakme. Her oratorio and orchestral with such companies as the Washington Opera, work includes soloist roles in Vivaldi's Gloria, New York City Opera, FloridCi Grand Opera, Opera Faure's Requiem, Handel's Messiah, Schubert's Theatre of Saint Louis, Opera Company of Mass in G, Mendelssohn's A Midsummer Night's Philadelphia, Spoleto Festival USA, Opera Dream, and Mozart's Requiem. Carolina, Orlando Opera, and Kentucky Opera, in such works as Don Pasquale, L'italiana in AIgeri, Her performance credits include engagements La Cenerentola, , Midsummer with the Brooklyn Philharmonic, the Aldeburgh Night's Dream, Martha, Cosl fan tutte, and Festival, the Aspen Music Festival, Connecticut Albert Herring, among others. Grand Opera, the Westchester Philharmonic, the 40E Brooklyn Philharmonic Orchestra The New York Virtuoso Singers Music Director Clarinet Director Robert Spano Steven Hartman* Harold Rosenbaum Paul Garment Assistant Conductor Dennis Smylie Soprano Ti mothy Long Eileen Clark Saxophone Maureen Haley Violin I Dan Goble, soprano Joan Krause Laura Park Concertmaster Ted Nash, alto Susan Lewis Robin Bushman Assistant Lino Gomez, tenor Gayla Morgan Concertmaster AI Hunt, baritone Martha Sullivan

Violin II Trumpet Alto Deborah Wong* Wilmer Wise* Jane Askins Katherine Hannauer Jim Stubbs Den ise Kelly Philip Ruecktenwald Ka ren Krueger Viola Phyllis Jo Kubey Sarah Adams* Trombone Kirsten Sollek-Avella Veronica Salas Tom Hutchinson* Nancy Wertsch* Monica Gerard Lisa Albrecht Lawrence Benz Tenor Cello Jonathan Goodman Chris Finckel* Percussion Gregory Hostetler David Calhoun James Preiss* Mukund Marathe Lanny Paykin Douglas Purcell Michael Rudiakov Piano John Steven Raiford Ken Bowen* Daniel Clark Smith Bass Ed Niemann Joseph Bongiorno* Elizabeth Wright Bass Jaime Austria Frank Barr Synthesizer­ Gregory Purnhagen Flute Ken Bowen Walter Richardson Katheri ne Fi nk* Kent Smith David Wechsler Personnel Manager Jon Szabo Jonathan Taylor Mark Wagstrom Oboe Melanie Feld* Librarian *Choral Contractor James Roe Paul Beck

*Principal

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