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Home , Edward Lloyd (tenor), Harry Plunket Greene, Leon Botstein, Marie Brema, The Dream of Gerontius

in a side-by-side concert with musicians from The Conservatory Orchestra

THE DREAM OF GERONTIUS

apr 8/9 2017

The Richard B. Fisher Center for the Performing Arts at Bard College Enjoying in a side-by-side concert with musicians from The Bard College Conservatory Orchestra

The Richard B. Fisher Center for the Performing Arts at Bard College the concert? Sosnoff Theater

Saturday, April 8, 2017 at 8 PM Help keep the Sunday, April 9, 2017 at 2 PM music going! Performances #52 & #53: Season 2, Concerts 23 & 24 Leon Botstein, conductor This new generation of musicians is creating and presenting music education programs in libraries, schools, and , Op. 38 (1900) community centers in the Hudson Valley. (1857–1934) Part I

Intermission

Support their work Part II by making a gift of any size. Gerontius: Jonathan Tetelman, The Angel: Sara Murphy, mezzo-soprano The Priest / The Angel of the Agony: Christopher Burchett, Bard College Chamber Singers James Bagwell, director Cappella Festiva Chamber Choir Christine Howlett, artistic director Vassar College Choir or Christine Howlett, conductor TEXT VISIT Text from The Dream of Gerontius by John Henry Cardinal Newman TON TO 41444 THEORCHESTRANOW. ORG/SUPPORT This concert is supported in part by The

The concert will run approximately 2 hours and 10 minutes, including one 20-minute intermission.

For more info on The TŌN Fund, see page 20. No beeping or buzzing, please! Silence all electronic devices. Photos and videos are encouraged, but only before and the music.

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Brief remarks by Adam Romey, 20-Minute Intermission Edward Elgar at approx. 8:50 Sat, 2:50 Sun

Born: 6/2/1857 in Broadheath, Meet some of the musicians in the lobby! Share a selfie! @TheOrchNow #TheOrchNow Worcestershire, England Died: 2/23/1934 at age 76 in Worcester, Worcestershire, England WiFi: BardWireless Refreshments available in the lobby. Restrooms located on either side of the lobby.

The Dream of Gerontius Part II | 57 min Written Premiered Prelude 1900, at ages 42–43 10/3/1900 in , England at I went to sleep; and now I am refreshed...... The Soul of Gerontius as part of the My work is done...... The Angel Birmingham Triennial Music Festival All hail, my child and brother, hail!...... The Angel and the Soul , conductor Low-born clods of brute earth...... Chorus , mezzo-soprano It is the restless panting of their being...... The Angel , tenor The mind bold and independent...... Chorus , baritone I see not those false spirits...... The Soul and the Angel Praise to the Holiest...... Chorus The sound is like the rushing of the wind...... The Soul On Stage Glory to Him...... Chorus They sing of the approaching agony...... The Angel 18 violins 2 4 French horns 1 drum 1 triangle But hark! a grand mysterious harmony...... The Soul 7 1 English horn 4 chimes 1 organ And now the threshold as we traverse it...... The Angel 6 cellos 4 3 cymbals 1 harp Praise to the Holiest in the height...... Chorus 6 double basses 1 bass 1 bass 1 glockenspiel chorus The judgement now I near...... The Angel and the Soul 2 2 1 1 small side drum 3 vocal soloists Jesu! by that shuddering dread which fell on Thee...... The Angel of the Agony 1 piccolo 1 1 tam-tam Be merciful, be gracious...... Chorus Praise to His Name!...... The Angel Part I | 37 min Take me away...... The Soul Prelude Lord, Thou has been our refuge...... Chorus Jesu, Maria...... Gerontius Softly and gently, dearly-ransomed soul...... The Angel Kyrie eleison...... Chorus Lord, Thou has been our refuge...... Chorus Rouse thee, my fainting soul...... Gerontius Praise to the Holiest...... Chorus Be merciful, be gracious...... Chorus Sanctus fortis...... Gerontius I can no more...... Gerontius Rescue him, O Lord...... Chorus Novissima hora est...... Gerontius Proficiscere anima Christiana...... The Priest Go, in the name of Angels and Archangels...... Chorus

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Synopsis

Gerontius tells us that he is dying and that Jesus is calling him home. He lies on his deathbed surrounded by a group of friends, who offer prayers for the dying man. Gerontius declares his faith and meditates on his final illness. He sees a vision of the demons he will encounter later. The friends pray for Gerontius to be rescued, in the way that God rescued some famous figures from the Old Testament. Gerontius’ life slips away as he commends his soul to God. A priest sends Gerontius’ soul on its journey.

The Soul of Gerontius awakes. All is calm and the trauma of death is in the past. Realizing that he is not alone on his travels, the Soul meets his Guardian Angel, who tells him what is to happen next. The Soul is speeding toward the throne of God, where he will be judged. But first he passes snarling demons, hungry to “gather souls for Hell.” The Soul asks the Angel if he will see God when he arrives at the judgment hall. When he is told that he will see God for “a brief moment,” he is awed by the prospect.

The Soul and the Angel arrive at the judgment hall, and are now in the presence of God. The Soul meets the Angel of Agony, who asks Jesus to spare the Soul. In an instant, he is judged and spared. The Soul begs to be taken on to Purgatory. The Angel gently leads him onward, bidding him “Farewell, but not forever.”

Photo by Matt Dine Leon Botstein brings a renowned career as both a conductor and educator to his role Leon Botstein as music director of The Orchestra Now. He conductor has been music director of the American Symphony Orchestra since 1992, artistic codirector of Bard SummerScape and the since their creation, and president of Bard College since 1975. He was the music director of the Jerusalem Symphony Orchestra from 2003–11, and is now conductor laureate. In 2018 he will assume artistic directorship at Grafenegg, Austria. Mr. Botstein is also a frequent guest conductor with orchestras around the globe, has made numerous recordings, and is a prolific author and music historian. He is the editor of the prestigious The Musical Quarterly, and has received many honors for his contributions to music.

6| @TheOrchNow #TheOrchNow THEORCHESTRANOW.ORG | 7 MEET THE MEET THE GUEST SOLOISTS GUEST SOLOISTS

Palmer in Silent Night with Fort Worth This season: The Wife in the world Opera; The Poe Project with Fort Worth premiere of Gisle Kverndokk’s sacred and Fargo-Moorhead Opera; David T. opera Upon this handful of Earth; Mary Little’s Soldier Songs at the PROTOTYPE Magdalene in Elgar’s with New Music Festival; several world the American Symphony Orchestra at premieres, including M. Carré-Lamadon in Stephen Hartke’s The Greater Good with Glimmerglass Opera, and Justin in Performances: European debut as Anthony Davis’ Wakonda’s Dream and Ulrica in Verdi’s Un Ballo in Maschera baritone soloist in Paul Moravec’s Blizzard at the Opera Theater of Rome; Ligeti’s Voices, both with Opera Omaha Requiem, Schnittke’s Nagasaki, and Hindemith’s The Long Christmas Dinner Appearances: Beethoven’s Ninth with the American Symphony Orchestra; Symphony with the York Symphony Verdi’s Othello, Mendelssohn’s , Orchestra; Carmina Burana with the Mahler’s Symphony No. 8, Beethoven’s Omaha Symphony; Carmel and Boulder Symphony No. 9, and Tchaikovsky’s Ode Bach Festivals, and Bethlehem Bach to Joy at the Cincinnati May Festival; Festival singing Bach’s B-minor Mass Britten’s Phaedra, Barber’s Dover Beach, as part of an Emmy-winning national and High Priestess in Aida at the Ravinia PBS broadcast entitled “Make a Joyful Festival with the Symphony Noise”; Vaughn Williams’ Fantasia on Orchestra Christmas Carols with the New York Photo by Marc Schreiner Choral Society; Britten’s War Requiem Discography: Mother Bayard and with the Louisville Orchestra; “So in Love Ermengarde in Hindemith’s The Long With Broadway,” a concert of musical Christmas Dinner with the American Christopher Burchett standards and selections from the Symphony Orchestra, named by Opera Sara Murphy music of Frank Lesser with the Omaha News as one of the “Top Ten Opera baritone Symphony Recordings of 2015” mezzo-soprano

Upcoming: Larry Foreman in The Cradle Awards: First-prize winner, Society Will Rock and Sander in Zémire et Azor of New York Solo Vocal Competition; with Opera Saratoga grant recipient, Inter-Cities Performing Arts and the Wagner Society of New Performances: Dad/Cafe Manager/ Recordings: World-premiere recording York; finalist, Joy in Singing Competition; Police Chief in Turnage’s Greek of The Greater Good, Naxos; “Opera honorable mention, The George London with Boston Lyric Opera; Ming America Songbook,” a recorded Foundation Competition in Gilgamesh (part of the world collection of 47 songs commissioned premiere of the Ouroboros Trilogy) by Opera America to celebrate the Education: Oberlin College, Catholic with Beth Morrison Projects; Captain opening of the National Opera Center University Corcoran in H.M.S. Pinafore and Harlekin in Ariadne auf Naxos with Virginia Opera; Sweeney Todd with Eugene Opera; Don Giovanni with Cedar Rapids Opera Theatre; Father

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This season: Verdi’s Requiem with the Milan Festival Orchestra; Agamemnone in Gnecchi’s Cassandra with Teatro Grattacielo; Luigi in Puccini’s Il Tabarro Founded in 2015, The Orchestra Now (TŌN) is with the Opera Company of Middlebury; an innovative pre-professional orchestra and selections of Alfredo in La Traviata, master’s degree program at Bard College that Werther in Werther, Rodolfo in La is preparing a new generation of musicians to bohème, and Hoffmann in Les contes break down barriers between modern audiences d’Hoffmann with the Gulf Shore Opera and great orchestral music of the past and present. Under the leadership of conductor, Performances: Eisenstein in Die educator, and music historian Leon Botstein, TŌN Fledermaus with the Martina Arroyo mines the wealth of underperformed repertoire, Foundation; Alfredo in La Traviata with reimagines traditional concert formats, and strives the New York Opera Exchange; Steven to make the experience of the performers a part Sanky in Weil’s Street Scene, Freddy of the listeners’ experience. At a TŌN concert, Eynsford-Hill in My Fair Lady, and Alfredo musicians and audience inspire one another, in La Traviata with Opera North (New each following their curiosity with a shared sense Hampshire); The Count in Paisiello’s Nina, of adventure. Falke in Die Fledermaus, and the Drunken Poet in The Fairy Queen at The musicians of TŌN hail from across the U.S. School of Music; Elder Gleaton in Floyd’s and eleven other countries: Australia, Canada, Susannah at the International Vocal Arts China, France, Hungary, Japan, Korea, Malaysia, Photo by Stephen Howard Dillon Institute in Blacksburg, Virginia Spain, Taiwan, and Venezuela. In addition to a concert series at their home base—the Richard Awards: First-prize winner, 2016 New York B. Fisher Center for the Performing Arts at Bard Jonathan Tetelman Lyric Opera Competition; prize-winning College—they perform multiple concerts each finalist, 2016 Mildred Miller (Opera tenor season at Carnegie Hall and , and Theater of Pittsburg) Competition; semi- offer complimentary concerts at venues across finalist, Giulio Gari International Vocal the boroughs of in the Around Town Competition; semi-finalist, Gerda Lissner series. At The Metropolitan Museum of Art they International Vocal Competition; semi- join Leon Botstein in the series Sight & Sound as finalist, Meitersinger Competition at the he explores the places where musical and visual AIMS Festival in Graz, Austria expression meet, pairing orchestral works with masterpieces from the museum’s collection. Education: Manhattan School of Music; The New School of Music, Mannes In addition to Mr. Botstein and TŌN’s Associate College Conductor and Academic Director, James Bagwell, guest conductors in the first two seasons include Fabio Luisi, Gerard Schwarz, and JoAnn Falletta.

More info online at theorchestranow.org

| THEORCHESTRANOW.ORG 11 10 @TheOrchNow #TheOrchNow Photo by Matt Dine | MEET THE MEET THE ARTISTS ARTISTS

Bard College Chamber Singers Cappella Festiva Chamber Choir Formed in 2002 by music director James Bagwell, Bard College Chamber Singers is an Cappella Festiva Chamber Choir has garnered a reputation throughout the Hudson auditioned choir of Bard students and alumni/ae from all programs of the College. In Valley for producing creative, high-quality concerts of compelling . the past few seasons they have performed Arvo Pärt’s Magnificat, Maurice Duruflé’s What started as a small group of distinguished musicians who wished to perform Requiem, and Mozart’s Requiem in concert at the Fisher Center’s Sosnoff Theater. the music of has become an excellent choir performing an During the spring of 2010, the group filled the role of the chorus in the Bard College eclectic musical repertoire, often collaborating with the Hudson Valley Philharmonic, Graduate Vocal Arts Program’s performances of two original operas, David Little’s Bard College, and other fine area musicians. The Chamber Choir performs in five to Vinkensport and Missy Mazzoli’s Song from the Uproar: The Lives and Deaths of Isabelle six concerts each season. Christine Howlett was appointed artistic director in 2006. Eberhardt, as well as Ravel’s L’enfant et les sortilèges. In October 2012 they performed Cappella Festiva is a registered non-profit organization which supports three choirs: Mahler’s Symphony No. 8 at Carnegie Hall with the American Symphony Orchestra, The Chamber Choir, Treble Choir (ages 11–18) and Cor Cappriccio (ages 7–10). More and in December joined the Bard College Symphonic Chorus in Beethoven’s Mass in C. info online at cappellafestiva.org.

James Bagwell, Director, Bard College Chamber Singers Vassar College Choir James Bagwell maintains an active international schedule as a conductor of choral, The Vassar College Choir, formed in 1971, is an auditioned mixed choral ensemble. operatic, and orchestral music. He was most recently named associate conductor Repertoire includes a cappella and accompanied works from the Renaissance of The Orchestra Now (TŌN) and in 2009 was appointed principal guest conductor to the 21st century, as well as works with orchestra, including Bach’s Christ lag in of the American Symphony Orchestra. From 2009–15 he served as music director Todesbanden, Handel’s , Haydn’s Lord Nelson Mass, Beethoven’s Ninth of The Collegiate Chorale. Some of the highlights of his tenure with them include Symphony, Duruflé’s Requiem, Bernstein’s Kaddish, and many others. In past years, a number of operas-in-concert at Carnegie Hall, including Bellini’s the choir has toured in Cuba, England, France, Germany, Italy, Japan, and Uganda. Beatrice di Tenda, Rossini’s Möise et Pharaon, and Boito’s Mefistofele. He conducted The Choir has been invited numerous times to perform at Carnegie Hall. The ensemble the New York premiere of Philip Glass’ Toltec Symphony and Golijov’s Oceana, both performs regularly with the Hudson Valley Philharmonic. Recent premieres include at Carnegie Hall. Since 2011 he has collaborated with singer and composer Natalie works by Tarik O’Regan, Timothy Takach, and Leonard Enns. Next fall, the choir will Merchant, conducting a number of major orchestras across the country, including premiere a commissioned work by Eric William Barnum. Christine Howlett has been the San Francisco and Seattle Symphonies. the director of choral activities at Vassar College since 2003.

Mr. Bagwell has trained choruses for numerous American and international orchestras, Christine Howlett, Artistic Director, Cappella Festiva Chamber Choir, and Conductor, including the Mostly Mozart Festival Orchestra, New York Philharmonic, Boston Vassar College Choir Symphony Orchestra, , Budapest Festival Orchestra, and Christine Howlett is associate professor of music, director of choral activities, and American Symphony Orchestra. He prepared The Collegiate Chorale for concerts chair of the music department at Vassar College, where she conducts the Vassar at the Verbier Festival in ; in 2012 the Chorale traveled to Israel and the College Women’s Chorus and Choir, and teaches music theory and voice. Her Salzburg Festival for four programs with The Israel Philharmonic. Since 2003 he has been choruses have sung at Lincoln Center and Carnegie Hall, and have toured overseas director of choruses for the Bard Music Festival, conducting and preparing choral in Cuba, England, France, Germany, Italy, Japan, Spain, and Turkey. Members of the works during the summer festival at The Richard B. Fisher Center for the Performing Vassar Choirs performed in “At Home in the World,” a collaborative performance Arts. He frequently appears as guest conductor for orchestras around the country and with musicians and dancers from Japan and Uganda, with artistic direction by John abroad, including the Cincinnati Symphony, Jerusalem Symphony, and the Interlochen Caird (Nicholas Nickleby, Les Misérables). Students performed at Vassar College Music Festival. He is Professor of Music at Bard College, and Director of Performance and then traveled to Tokyo, Japan, and Kampala, Uganda. The Vassar College Studies and the Graduate Conducting Program at the Bard College Conservatory. Women’s Chorus has performed at the National Collegiate Choral Association at Yale University and the ACDA Eastern Division Conferences in Philadelphia and . Ms. Howlett is artistic director of Cappella Festiva Treble Choir, and music director of the Danbury Concert Chorus in Connecticut. She collaborates regularly as chorus master and guest conductor with the Hudson Valley Philharmonic. She earned a B.A. in Voice Performance from the University of , and an M.M. in Early Music Voice Performance and a D.M.A. in Choral Conducting from Indiana University.

12| Text TON to 33233 for email updates THEORCHESTRANOW.ORG | 13 SIDE-BY-SIDE WITH MUSICIANS FROM THE THE BARD COLLEGE CONSERVATORY ORCHESTRA CHORUSES

Leon Botstein, Music Director BARD COLLEGE CHAMBER SINGERS Violin I Cello Bassoon Percussion James Bagwell, Director Andrés Rivas, Jinn Shin, Principal Adam Romey, Jonathan Wisner, Concertmaster Alana Shannon Principal Principal Soprano Alto Tenor Bass Tianpei Ai* Zhilin Wang Gabrielle Hartman* Samuel Gohl* Anna-Sofia Botti Teresa Buchholz Andrew Burger Daniel Alexander Coline Berland Emily Munstedt* Dávid A. Nagy, Meilin Wei* Laura DeLuca Matthew Danny Juan Cabrera Gergő Tóth* Lauren Peacock Contrabassoon Amos C. Fayette Mariya Zabara* Harp Noni Donato Derning Castellanos Sonny Capacco Zongheng Zhang* Andrew Borkowski† Horn Xing Gao* Rachael Yonah Gershator John Philip Carroll Akiko Kamigawara Eleanor Lee† Philip Brindise, Gunning Brynn Gilchrist Howell Jonathan † Valory Hight* Hui Zhang Principal Guest Musicians Victoria Haschke Vivian (Yuwei) Jack Colver Estabrooks Fangxi Liu Zachary McIntyre* Emily Hegart Han Mark Donato James Fitzwilliam Jiyoung Moon Bass Claire Worsey* Haley Lugg Teddy McKell Ethan Isaac Muir Ingliss Paul Nemeth, Liri Ronen* Katherine Lee † Silvie Lundgren Madison Owings Luke Jennings Luke Koenig Violin II Principal Shannon Hagan Althen Leonardo Pineda, Kevin Schmidt* Tim Skelly† Denis Savelyev Kathleen Miller Samira Salame Gareth Lee Peter Lane Michael Franz Matthew Ross, Rachel Nalecz Shania Sinclair Theo Lowrey Woanjun Lee Principal Yungee Rhie Clover Stieve Mukund Jackson Erin David Rowan Puig Davis* Piccolo Holly Nelson Zhenyuan Yao Szabolcs Koczur, Rachel Rosales Nancy Wertsch Marathe McKinnon Maeve Schallert* Andrew Behrens* Principal Organ Christine Sperry Eric Raimondi Luke Patterson † Clara Engen Milad Daniari Anita Toth*, Assistant Paolo Bordignon Anneke Stern William Rowan Keith Roscoe † Gigi Hsueh* Julian Lampert Matyas Daniel Cassandra Jameson Bryan Rote † Jiayu Sun William McPeters Fieszl* Whitehead Williams Ben Ruesch Hao Xing Claudiu Cebotari* Lara Baker-Finch† Flute Chris Moran† Jamal Sarikoki Grace Choi† Sasha Haft† Zachary Jacob Testa † † † Jason Thomas Diego Gabete Thomas J. Wible Silberschlag *member of The Bard † Haemi Lee College Conservatory Jeff Wilson † Kurt Munstedt Trombone Orchestra Youyang Qu† Aleh Remezau, Matt Walley, † † Michael Rau Principal Principal TŌN musician not CAPPELLA FESTIVA CHAMBER CHOIR † Lili Sarayrah Amy Cassiere* Yu-Tien Chou*, performing in this † Christine Howlett, Adina Mu-Ying Tsai Zachary Boeding, Assistant concert Artistic Director † Drew Youmans English Horn Conghao (Natty) Kelly Mozeik† Tian* Soprano Alto Tenor Bass Marco Jaimes*, LeeAnne Annie Alford John Bassler Mark Colvson Chi Lee, Principal Clarinet Bass Trombone Andrews Debra Bucher Benedikt M. Wayne Delia Joseph Burke* Caitlin Beare*, Gabe Cruz† † Kit Cowan Theodora Budnik Kellner Eric Hepp Caleb Wong Principal Federico Ramos Yushi Pan* Kristýna Petišková*, Karen Gale Amanda Burdine Steve Lanser Maarten Reilingh Kristen Jemiolo Misty Decker John McCleary Robert Renbeck David Riker Assistant Tuba Matthew Norman* Jingyu Mao* Evan Petratos* Janice Meltzer Vera Ewing Kevin Rivers Andrew Wack Marie-Elyse Andrei Sergiu Dan Honaker† Sally Norvell Tamara Foster Liam Wack Forrest Walker Badeau Cebotari*, Assistant Susan Phillips Deborah Lanser Michael Wood Jeffrey Walker † Bonnie Heung Viktor Tóth*, Bass Timpani Amy Pickering Nancy Loomis Patrick Walker † Emmanuel Koh Clarinet Tyson J. Voigt Anne Rubin Betty Olson Matt Webber Scot Moore† Micah Candiotti- Omar Shelly† Pacheco† Jo Salas Celine Sigmen William Wolz Sangwon Lee† Lois Skelly Elias Rodriguez† Pat Zito

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VASSAR COLLEGE CHOIR Hometown: St. Paul, Minnesota Christine Howlett, Conductor Alma maters: Wilfrid Laurier University, Soprano Naomi Davidson ’20 Bass B.A.; Glenn Gould School, A.D.; Indiana Chloe Catoya ’20 Melanie Donnelly ’17 Aidan Anderson ’20 University Jacobs School of Music, M.M. Carina Cohen ’19 Jennifer Gee ’20 Alexander Bartholomew Sophie Dewil ’17 Jackie Hwang ’19 ’19 Awards/competitions: Grant recipient, Emily Drossell ’19 Grace Kirkpatrick ’19 Remy Beauregard ’19 2014–15 Frank Huntington Beebe Fund Cami Hippee ’17 Grace Kushner ’20 Ari Bell ’18 for Musicians; Winner, 2009 Ken Murray Jay Leichtman ’18 Kira Peterson ’20 Pietro Geraci ’18 Competition Sophie Stephenson ’20 Sarah Rodeo ’17 Dylan Horowitz ’19 Gileann Tan ’17 Stephanie Saint Dong Min Jhang ’20 Appearances: Windfest, 2009; Centre for Anisa Threlkeld ’18 Germain ’18 William Yuze Li ’20 Opera Studies in Italy Festival, 2011–13, Ana Isabel Torruella Jeremy Middleman ’18 2015; Brevard Music Festival, 2014; Suárez ’17 Tenor Michael Oosterhout ’18 Weimar Bach Academy, 2016 Laura Vidano ’20 Diego Encarnacion ’18 Seamus Taylor ’17 Mira Villesvik ’17 Raphe Gilliam ’19 Logan Pitts ’17 Musical origins: I began playing when I George Luton ’19 Spencer Virtue ’16 was 13. It was the summer before eighth Alto Daniel Rosen grade, and I had to take a music class. Anna Abrams ’18 Nicholas Ruggeri ’18 As I already had played piano for a Allison Breeze ’19 Daniel Young ’17 few years and done some singing, I Sarah Chapman ’20 didn’t want to take choir or general music. I had always thought the sound Photo by Celine Admiraal and personality of the bassoon was The Bard College Conservatory of Music, founded in 2005, is guided by the principle really interesting. None of the other that musicians should be broadly educated in the liberal arts and sciences to achieve students played bassoon, and all of their greatest potential. All undergraduates complete two degrees over a five-year Adam Romey the bassoonists I had met had a sense period: a bachelor of music and a bachelor of arts in a field other than music. The of humor and distinct quirkiness about bassoon Conservatory Orchestra has performed twice at Lincoln Center and has completed them, so I settled on that. three international concert tours: in June 2012 to China, Hong Kong, and Taiwan; in June 2014 to Russia and six cities in Central and Eastern Europe; and in June 2016 to Adam will talk briefly about How did you hear about TŌN? I saw an three cities in Cuba. the music on stage before the announcement about it on a music performance The Graduate Vocal Arts Program is a two-year master of music degree conceived website and was very excited about by soprano Dawn Upshaw. The course work is designed to support a broad-based the general mission of the group. To approach to a singing career that extends from standard repertory to new music. me, questions about the contemporary Favorite composer fact: Not only did Alongside weekly voice lessons, diction, and repertory courses is training in acting, relevance of music and musicians in Bach master every genre of his time as well as core seminars that introduce and tie together the historical/cultural society as well as smaller communities and compose a huge amount of perspective, analytical tools, and performance skills that distinguish vocal and are especially important to this music, often writing it, making parts, operatic performance at the highest level. generation because societal change rehearsing it, and performing in a is accelerating. The idea of having a span of a couple of weeks or less, The Graduate Conducting Program, orchestral and choral, is a two-year curriculum community of musicians dedicated to but he also had 21 children. that culminates in the master of music degree. The program is directed by conductor tackling these questions together felt like ; James Bagwell, director of Bard’s undergraduate Music Program; a natural next step. and Leon Botstein, president of Bard College, music director and principal conductor of the American Symphony Orchestra, and conductor laureate of the Jerusalem Symphony Orchestra.

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Hometown: Caracas, Venezuela Edward Elgar The Dream of Gerontius Alma mater: Universidad Nacional Experimental de las Artes (UNEARTE) Notes by Zhilin Wang, cello The text to Elgar’s The Dream of Gerontius is based on a poem written by British Awards/Competitions: 2nd place, catholic cardinal in 1865. Newman’s poem was very popular, violin competition “Maurice Hasson”, and it was the favorite poem of British General . During the Venezuela siege of Khartoum, Gordon read it and underlined several parts in pencil, including passages such as “Now that the hour is come, my fear is fled,” while death and Appearances: Youth Orchestra of destruction loomed. He died with a copy of it on his person, but not before his markings Caracas; Simón Bolívar Symphony were duplicated and given to Frank Power, a special correspondent for The Times Orchestra of Venezuela; Festival de in Khartoum. It was later published and became hugely popular. Elgar received the Música de Santa Catarina, Brazil; copy of The Dream of Gerontius with Gordon’s markings as his wedding present Salzburg Festival; Beethovenfest Bonn; in 1889. But in fact, as early as 1885, Elgar already had his own personal copy with Bergen Festival General Gordon’s markings, which he lent to his future wife, Alice, in 1887. Musical origins: I began playing violin at In the summer of 1898 the organizing committee of the Birmingham Music Festival the age of 3 because I was too bad at asked Elgar to compose a new work for BMF 1900. Although Elgar was already baseball, but my dad realized I had a composing the and at that time, he also began to good ear and bought me a violin. write The Dream of Gerontius. At the premiere, Elgar told reporters that the work had been brewing in his mind for eight years. Most fun piece to play: Heitor Villa-Lobos’ Photo by Jito Lee Choros No. 6 Unfortunately, the debut of Elgar’s oratorio did not go smoothly; some critics described the premiere as a “disaster” while Elgar’s friend and publisher, , declined Favorite obscure piece: Antonio his support because he felt the subject was too complicated and it was too difficult Estevez’s Cantata Criolla Andrés Rivas to perform. Matters were made worse by the sudden death of the chorus master, whose replacement was unable to cope with the difficult score. However, Julius Favorite fact about your instrument: violin Buths, a German conductor and chorus master, recognized the true value of the Maestro Maurice Hasson gave it to me work after its premiere, translated the text, and arranged a successful performance as a gift when I was 6 years old in Düsseldorf in December 1901. Best music to have on repeat: Elgar In Greek, Gerontius means “old man.” Elgar has said that the protagonist is not a Symphony No. 1, Strauss’ Till Eulenspiegel saint, preacher, or evangelist, but just an ordinary man who also sins. At the end of the manuscript score, Elgar wrote this quotation from John Ruskin’s Sesame and Lilies: Favorite painting: Edvard Munch’s The “This is the best of me; for the rest, I ate, and drank, and slept, loved and hated, like Scream another; my life was as the vapour and is not; but this I saw and knew; this, if anything of mine, is worth your memory.” Time travel destination: The Golden Age

| THEORCHESTRANOW.ORG 19 18 @TheOrchNow #TheOrchNow | THE TŌN TŌN FUND DONORS

THE TŌN FUND DONORS The Orchestra Now gratefully acknowledges the generous support of each and every donor who makes our work a reality. Thank you for making this important investment in a new generation of musicians.

The Andrew W. Mellon Stan Harrison Mr. and Mrs. Robert Foundation Erica Kiesewetter Renbeck Anonymous (6) Marilyn and Ellen Reynolds Photo by Matt Dine by Photo Tamarah and Carley Balazs William L. Kirchner Susan and Joseph J. Baxer and The Kurt Weill Foundation D. Richard Rowland Barbara Anne Bacewicz for Music Roberta Sandeman Pamela Berlinghof Joy Lee and Barbara A. and Joseph YOU MAKE IT POSSIBLE! Maria J. Chiu Richard Packert Schoenberg Lisa Cohen Arthur S. Leonard Stephen Shafer Donor support helps guarantee the future and continued artistry of this innovative Elaine Dale Peter J. and Susan B. Frances Sharpless program, while providing vital funding for TŌN performances and community Nicole M. de Jesús LeVangia Jo Shute and Allan Wieman engagement programs. Thomas De Stefano Elinor Wallach Levin Jen Shykula and Tom Ochs Vincent M. Dicks Amala and Eric Levine Peter Sipperley Tax-deductible contributions to The TŌN Fund help to inspire and support TŌN Michael Dorf Ernest Lieber Felicitas S. Thorne graduate students and their education, providing stipends and health benefits. The Elgar Society Bonnie Loopesko and Howard Wallick Denise and Scott Engen Daniel Shapiro Ann and Douglas William, Your gifts will support free concerts and music education programs in libraries, Barbara Ewert Andrea Louie in honor of the weddings Arnold and Milly Feinsilber Warren R. Mikulka of Chelsea & Eric Gottlieb schools, and community centers in the Hudson Valley and New York City; and Elaine Frank Karen E. Moeller and and Stephanie & Fred make performances at Bard College, Carnegie Hall, The Metropolitan Museum of The Gallego and Maliner Charles H. Talleur Peters Art, and Jazz at Lincoln Center’s Rose Theater a reality. Families, in memory Roy Moses Shelley and Vic Wisner, in of Chester (Chet) J. Joanne and Richard Mrstik honor of Jonathan Wisner Donations from music lovers like you will also keep TŌN’s Around Town concerts, in Borkowski III John D. Murphy Wendy Wolfenson venues across the boroughs of New York City, free to the general public, so families GE Foundation Marcia Neeley Marlene Zaslavsky and communities can share the love of great concert music. Gary M. Giardina Maury Newburger Leila Zogby Hans R. Gunderud Please make an important investment in a new generation of musicians who are We also gratefully acknowledge the following donors who generously supported TŌN’s first redefining what it means to be an orchestra. Make your gift to The Orchestra Now anniversary celebration at City Winery on October 13, 2016. Thank you for joining the festivities! today! SET THE TŌN: A CELEBRATION OF THE ORCHESTRA NOW Rebecca Ackerman Caroline Kelch Arthur S. Reynolds To learn more about designating your gift or to get more involved, please contact Nicole M. de Jesús, Paul L. Audet Bridget Kibbey Brigitte R. Roepke, Hospitality Tamarah Balazs Sylvia and Nelson Kier Committee for United Director of Development, at 646.237.5022 or [email protected]. Susan Beckerman Lise Laurent Nations Delegations Miriam R. Berger Todd D. Marcus Charles Roth Dr. László Z. Bitó and Olivia Lisa Marshall Jen Shykula and Tom Ochs Cariño Christine Munson Felicitas S. Thorne José M. de Jesús, Jr. James and Andrea Nelkin Brian P. Walker Khoa Doan Maury Newburger Clint White To make a quick and easy online donation using your credit card Michael Dorf Hoang-Oanh Nguyen Philip and Martha White Elizabeth Duby Douglas Okerson and Ingrid Yen Lauren Effron William Williams Carrie E. Yotter text visit Scott Huang Mr. and Mrs. James H. Ian Zimmerman or TON to 41444 THEORCHESTRANOW.ORG/SUPPORT Laura Kaminsky Ottaway Jr. Lists current as of March 31, 2017

20| Text TON to 33233 for email updates THEORCHESTRANOW.ORG | 21 THE THE ADMINISTRATION ADMINISTRATION

THE ORCHESTRA NOW BARD COLLEGE Artistic Staff Administrative Staff Senior Administration Susan H. Gillespie Leon Botstein Lynne Meloccaro Leon Botstein Vice President for Special Global Initiatives Music Director Executive Director President Mark Halsey James Bagwell Oliver Inteeworn Dimitri B. Papadimitriou Vice President for Institutional Research Associate Conductor and Academic Director Managing Director Executive Vice President; and Assessment Zachary Schwartzman Brian J. Heck President, Max Kenner ’01 Resident Conductor Director of Marketing Coleen Murphy Alexander ’00 Vice President for Institutional Initiatives; Erica Kiesewetter Nicole M. de Jesús Vice President for Administration Executive Director, Director of Audition Preparation and Director of Development Mary Backlund Robert Martin Sebastian Danila Principal String Coach Vice President for Student Affairs; Vice President for Policy and Planning; Bridget Kibbey Music Preparation and Researcher Director of Admission Director, Bard College Conservatory of Music Director of Chamber Music and Arts Advocacy Marielle Metivier Norton Batkin Debra Pemstein Orchestra Manager Vice President; Dean of Graduate Studies Vice President for Development Alice Terrett Jonathan Becker and Alumni/ae Affairs Marketing Associate Vice President for Academic Affairs; S. Rebecca Thomas Benjamin Oatmen Director, Center for Civic Engagement Dean of the College Librarian James Brudvig Taun Toay ’05 Hsiao-Fang Lin Vice President for Finance and Administration; Vice President for Strategic Initiatives; Assistant Orchestra Manager Chief Financial Officer Chief of Staff Kristin Roca Erin Cannan Stephen Tremaine ’07 BARD COLLEGE Administrative Assistant Vice President for Student Affairs; Vice President of Early Colleges Dean of Civic Engagement Board of Trustees Andrew S. Gundlach Charles P. Stevenson Jr., Chair Emeritus Sally Hambrecht James C. Chambers ’81, Chair Marieluise Hessel THE RICHARD B. FISHER CENTER FOR THE PERFORMING ARTS Emily H. Fisher, Vice Chair Maja Hoffmann George F. Hamel Jr., Vice Chair Matina S. Horner+ Advisory Board Live Arts Bard Creative Council Elizabeth Ely ’65, Charles S. Johnson III ’70 Secretary, Life Trustee Jeanne Donovan Fisher, Chair Alicia Davis Stanley A. Reichel ’65, Treasurer, Life Trustee Mark N. Kaplan, Life Trustee Carolyn Marks Blackwood Jeanne Donovan Fisher Fiona Angelini George A. Kellner Leon Botstein+ Dr. Terry S. Gotthelf Roland J. Augustine Fredric S. Maxik ’86 Stefano Ferrari Richard and Jane Katzman Leon Botstein+ James H. Ottaway Jr., Life Trustee Rebecca Gold Milikowsky Doris J. Lockhart Stuart Breslow+ Martin Peretz, Life Trustee Denise S. Simon Stephen Simcock Mark E. Brossman Stewart Resnick, Life Trustee Thurmond Smithgall Sarah and David Stack Thomas M. Burger+ David E. Schwab II ’52 Martin T. Sosnoff Marcelle Clements ’69, Life Trustee Roger N. Scotland ’93, Alumni/ae Trustee Toni Sosnoff Craig Cogut Jonathan Slone ’84 Felicitas S. Thorne The Rt. Rev. Andrew M. L. Dietsche, James A. von Klemperer Andrew E. Zobler Honorary Trustee Brandon Weber ’97, Alumni/ae Trustee Asher B. Edelman ’61, Susan Weber Life Trustee + ex officio Paul S. Efron Patricia Ross Weis ’52 Robert S. Epstein ’63 Barbara S. Grossman ’73, Alumni/ae Trustee + ex officio

| Photo courtesy of THEORCHESTRANOW.ORG 23 22 @TheOrchNow #TheOrchNow The Metropolitan Museum of Art | THE THE ADMINISTRATION RICHARD B. FISHER CENTER

THE RICHARD B. FISHER CENTER FOR THE PERFORMING ARTS Administration and Programming Publications About The Richard B. Fisher Center Debra Pemstein Mary Smith for the Performing Arts at Bard College Vice President for Development Director of Publications and Alumni/ae Affairs Diane Rosasco Bob Bursey The Richard B. Fisher Center for the Performing Arts, Production Manager an environment for world-class artistic presentation Executive Director Cynthia Werthamer Gideon Lester in the Hudson Valley, was designed by Editorial Director and opened in 2003. Risk-taking performances and Director of Theater and Dance provocative programs take place in the 800-seat Caleb Hammons Audience Services Sosnoff Theater, a proscenium-arch space, and in Senior Producer, Theater and Dance David Steffen the 220-seat LUMA Theater, which features a flexible Zia Affronti Morter ’12 Audience Services Manager and seating configuration. The Center is home to Bard Associate Producer Communications Coordinator College’s Theater & Performance and Dance Jeannie Schneider Nicholas Reilingh Programs, and host to two annual summer festivals: Business Manager Box Office Manager and Database Administrator SummerScape, which offers opera, dance, theater, Kieley Michasiow-Levy Emily Gildea ’11 operetta, film, and cabaret; and the Bard Music Development Manager Assistant Box Office Manager Festival, which celebrated its 25th year in 2014. The Lizabeth Malanga Michael Hofmann VAP ’15 2017 festival is devoted to the life and work of Frédéric Chopin. Executive Assistant Box Office Coordinator Lizabeth Malanga The Center bears the name of the late Richard B. Production House Manager Vincent Roca Jessica Dagg ’18 Fisher, former chair of Bard College’s Board of Trustees. This magnificent building is a tribute to his vision and Production Manager Assistant House Manager Hellena Schiavo Sophie Green ’17 leadership. Assistant Production Manager Assistant House Manager The outstanding arts events that take place here Stephen Dean Austin Lehn ’17 would not be possible without the contributions made Production Coordinator, Concerts and Lectures Assistant House Manager by the Friends of the Fisher Center. We are grateful for Rick Reiser their support and welcome all donations. Technical Director Facilities Josh Foreman Mark Crittenden Lighting Supervisor Facilities Manager Moe Schell Ray Stegner Costume Shop Supervisor Building Operations Manager Seth Chrisman Doug Pitcher Audio/Video Supervisor Building Operations Coordinator Robyn Charter Communications Fire Panel Monitor Mark Primoff William Cavanaugh Associate Vice President of Communications Environmental Specialist Eleanor Davis, Drita Gjokaj Director of Public Relations Environmental Specialist Darren O’Sullivan Nita Johannesen Senior Public Relations Associate Environmental Specialist Amy Murray Multimedia Web Editor

24| Text TON to 41444 to donate Photo by Peter Aaron ’68/Esto THEORCHESTRANOW.ORG | 25 ABOUT Individual supporters are essential to sustaining the Richard B. Fisher BARD COLLEGE Center for the Performing Arts as an extraordinary part of cultural life in the Hudson Valley. Generous gifts from arts supporters like you BARD COLLEGE help make everything at the Fisher Center possible. Bard College is a four-year residential college of the liberal Our members support world-class performing arts and enjoy a variety arts and sciences with a 157-year history of academic of discounts and benefits through our Friends and Patrons programs excellence. With the addition of the Montgomery Place estate, Bard’s campus consists of nearly 1,000 park-like acres Please join us! in the Hudson River Valley. The College offers bachelor of arts degrees, with nearly 50 academic programs in four divisions— BECOME A FRIEND OF THE FISHER CENTER Arts; Languages and Literature; Science, Mathematics, and Computing; and Social Studies—and Interdivisional Programs Friends of the Fisher Center enjoy a behind-the-scenes look at Fisher Center presentations, invitations to exclusive events, and access to special services throughout the year. and Concentrations. Bard also bestows several dual degrees, including a B.A./B.S. in economics and finance, and at the Friend ($75) Benefits include: Sustainer ($500) All of the above, plus: Bard College Conservatory of Music, where students earn • Access to tickets before the general public • Bard Music Festival limited edition T-shirt a bachelor’s degree in music and a B.A. in another field • Invitations to season previews and open • SummerScape production poster signed in the liberal arts or sciences. Bard’s distinguished faculty house events by the cast • 10% discount on Spiegeltent dining • $415 tax deductible includes winners of MacArthur Fellowships, National Science • 20% discount on Fisher Center merchandise Foundation grants, Guggenheim Fellowships, Grammy • Fully tax deductible Benefactor ($1,000) All of the above, plus: Awards, French Legion of Honor awards, and Pulitzer Prizes, • Bard Music Festival book (Princeton among others. Supporter ($150) All of the above, plus: University Press) • Waived ticket-handling fees (save $4.50 per • Private, behind-the-scenes tour of the Fisher Over the past 35 years, Bard has broadened its scope ticket, $10 per subscription) Center for you and your guests beyond undergraduate academics. The College operates • Invitation to a behind-the-scenes tour of • Invitations to working rehearsals and 12 graduate programs and has expanded to encompass the Fisher Center directors’ presentations • Fully tax deductible • $750 tax deductible a network of regional, national, and global partnerships— including dual-degree programs in four international Sponsor ($300) All of the above, plus: locations; the Bard Prison Initiative, which grants college • Invitations to opening night parties degrees to New York State inmates; and Bard High School • SummerScape production poster Early Colleges, where students earn a high school diploma • $250 tax deductible and an A.A. degree in four years. Bard’s philosophy sets a standard for both scholarly achievement and engagement in civic and global affairs on campus, while also taking the BECOME A PATRON OF THE FISHER CENTER College’s mission to the wider world. The undergraduate Patrons enjoy all of the benefits of Benefactors of the Fisher Center, plus access to the best seats in college in Annandale-on-Hudson, New York, has an the house, personalized ticketing, preferred parking, and exclusive events. enrollment of more than 1,900 and a student-to-faculty Patron ($1,500) All of the Benefactors Producer ($2,500) All of the above, plus: ratio of 10:1. For more information about Bard College, benefits, plus: • Invitation for two to an exclusive pre- visit bard.edu. • Access to the best seats and personalized performance dinner at a Hudson Valley home ticket handling through the Patron • $2,030 tax deductible Priority Line • Access to the Bard Music Festival Patron’s Director ($5,000) All of the above, plus: Lounge at Olin Hall • Reserved VIP parking for all events at the • Recognition in performance programs Fisher Center • $1,180 tax deductible • Invitation for two to an intimate dinner with a world-class performer, creator, or scholar • $4,380 tax deductible

©2017 The Orchestra Now | A Program of Bard College For more information visit Program Design: Nelson Yan fishercenter.bard.edu/support or call 845-758-7987. BARDSUMMERSCAPE 2017 on sale now Saturday, at April15 AMERICAN GODS GAIMAN AND NEIL conversation Sunday, Mayat 7 Josef Suk, Symphony No. 2Asrael. Leon Botsteinconducts Hartmann, Symphony No. 6; and CONSERVATORY SUNDAY conservatory orchestra Thursday, April27–Sunday, April30 surveillance,questions about security, anddemocracy. The second Bard Live Biennialexplores Arts vital A performance exhibition WE’RE WATCHING live arts bard Sunday, Mayat 28 Luisi Conducts Beethoven andBrahms Sunday, at April23 Saturday, at April 22 Bartók’s TheMiraculous Mandarin ORCHESTRATHE NOW music Saturday, Mayat 13 Gala Performance: Celebrating 100 Years ofJazz Friday, April14at Whisper ofaShadow CATSKILL JAZZ FACTORY music – August 20 June 30–August “Seven Weeks Cultural of Delight”Herald —International Tribune SPRING845-758-7900 EVENTS 3 pm 7:30 1 pm 2 pm 8 pm 7:30 8 pm pm | pm fishercenter.bard.edu