July 7 –August 16, 2014

Lincoln Center Festival is sponsored by American Express

July 10 –13 Park Avenue Armory

Houston Grand Opera in two acts

Music Mieczyslaw Weinberg Libretto by Alexander Medvedev English Translation David Pountney Based on the novel by Zofia Posmysz

Conductor Lighting Designer Fabrice Kebour Director David Pountney Sound Designer Mark Grey Associate Director Rob Kearley Fight Director Leraldo Anzaldúa Set Designer Johan Engels Movement Director Courtney D. Jones Costume Designer Marie-Jeanne Lecca Chorus Master Richard Bado

Approximate performance time: 3 hours, including 1 intermission

Co-presented by Festival and Park Avenue Armory The Lincoln Center Festival 2014 presentation of The Passenger is made possible in part by generous support from the Polska Music Program of the Adam Mickiewicz Institute, Robert and Helen Appel, the LuEsther T. Mertz Charitable Trust, Larry A. and Klara Silverstein, Judy and Michael Steinhardt, Nancy & Morris W. Offit, and one anonymous donor. Additional support provided by the National Endowment for the Arts. Major support for Lincoln Center Festival 2014 is provided by The Andrew W. Mellon Foundation. This performance is made possible in part by the Josie Robertson Fund for Lincoln Center. Lincoln Center Festival 2014 is made possible in part with public funds from the New York City Department of Cultural Affairs and New York State Council on the Arts. The Passenger is a co-production of , Teatr Wielki, , and Teatro Real. Grand Opera’s performances of The Passenger in New York are generously underwritten by Bill and Sara Morgan, and Amanda and Morris Gelb. Additional support provided by Robin Angly & Miles Smith, Greater Houston Convention and Visitors Bureau, Greater Houston Partnership, Joyce Z. Greenberg, Albert and Ethel Herzstein Charitable Foundation, Houston First Corporation, Houston Methodist, Schlumberger Oilfield Services, Rhonda and Donald Sweeney, Phoebe and Bobby Tudor, and Nina and Michael Zilkha. LINCOLN CENTER FESTIVAL 2014

Cast (in order of vocal appearance)

Walter, Liese’s husband, German diplomat, age 50 Joseph Kaiser Liese, German, on the ship age 37/in Auschwitz age 22 Michelle Breedt Steward/Elderly Passenger James Maddalena Senior Overseer/Capo in the female barracks Cheryl Parrish First SS Officer Robert Pomakov Second SS Officer Peixin Chen Third SS Officer Kevin Ray Marta, Polish, on the ship age 34/prisoner in Auschwitz age 19 Melody Moore Old Woman, prisoner Victoria Livengood Ivette, French, prisoner age 15 Uliana Alexyuk Vlasta, Czech, prisoner age 20 Carolyn Sproule Krystyna, Polish, prisoner age 28 Natalya Romaniw Bronka, older prisoner age 50 Hannah, Jewish, prisoner age 18 Agnieszka Rehlis Katya, a Russian partisan, prisoner age 21 Kelly Kaduce Tadeusz, Marta’s fiancé, prisoner age 25 Morgan Smith

Sung in English with projected titles LINCOLN CENTER FESTIVAL 2014

Synopsis Aboard an ocean liner bound for Brazil in the early 1960s and inside the Auschwitz concen - tration camp during World War II.

ACT I A German diplomat, Walter, and his wife, Liese, are on their way to Brazil where he will take up a diplomatic post. Suddenly, Liese sees a woman, a fellow passenger whom she thinks she recognizes, although Liese had thought her dead. Shocked by the encounter, she reveals to her husband for the first time that she was an SS Overseer at Auschwitz. This rev - elation causes a crisis for both of them.

The action goes back in time to the camp, where we discover the mysterious passenger seen on the ocean liner is Marta, a Polish prisoner whom Liese, the overseer, has identi - fied as someone who can help control the other prisoners. In the women’s barracks there are prisoners from every corner of Europe. A suspected Russian partisan, Katya, is brought in from a brutal interrogation, and the capo finds a note in Polish that may impli - cate her with communicating with an outside partisan group. Liese orders Marta to read it, and Marta coolly pretends it is a love letter to her own fiancé, Tadeusz, who she believes is also a prisoner.

Back on the boat, Liese and Walter try to come to terms with this information, which now hangs over their lives together.

Intermission

ACT II Under Liese’s supervision, the women are sorting belongings looted from the prisoners. An officer arrives demanding a violin. The commandant has ordered a concert at which one of the prisoners will be made to play the commandant’s favorite waltz. Liese produces a vio - lin, but the officer says he will send the prisoner himself to collect it. The prisoner is Tadeusz, Marta’s fiancé. He and Marta have a few moments together before Liese interrupts them. She allows them to remain together, hoping to capitalize on this act of kindness later.

Liese seeks Tadeusz out in the workshop where he produces silver ornaments to order for the SS officers. One is a Madonna, whose face Liese recognizes as Marta’s. Liese offers Tadeusz the chance to meet Marta, but Tadeusz refuses, not wanting to be in Liese’s debt.

In the women’s barracks, it is Marta’s birthday. She sings a song about being in love with death. Liese interrupts and tries to goad Marta by telling her that Tadeusz turned down a chance to see her. Marta remains unmoved, saying if that is what Tadeusz decided, he was right to do so. Yvette tries to teach French to an old Russian woman and Katya sings about Russia. Suddenly guards burst in; it is time for “selection.” A list of numbers is announced and, one by one, various prisoners are taken away. Liese tells Marta that it is not yet her turn; she will arrange for her to witness Tadeusz’s concert. LINCOLN CENTER FESTIVAL 2014

Back on the boat, Liese and Walter have come to a new understanding: even if the “pas - senger ” really is Marta, they are determined to put a brave face on it and decide to join the dancing in the salon. Liese is, however, horrified when the figure approaches the band, apparently to make a request, and they start to play the commandant’s waltz, the same one Tadeusz was to play in the camp.

It is time for the concert at the camp and all the officers and prisoners are assembled. Tadeusz does not play the waltz he was told to perform, but instead plays Bach’s sublime Chaconne. In the uproar that follows, his violin is smashed and he is dragged off to the death cells.

Marta is alone with her memories and the longing that all who suffered should not be forgotten. —David Pountney

landed in Tashkent, which was a major evac - Note from the Director uation destination for the Soviet artistic In 1939 a young pianist was sitting in his intelligentsia. There he married Natalya Vovsi mother’s kitchen in Warsaw, when he heard Michoels, the daughter of Solomon Michoels, over the radio the news of the German inva - a famous actor and director of the Moscow- sion of Poland. He immediately set off on based Yiddish Theatre for which Chagall had foot with his sister, who sadly had inade quate created his legendary murals. When Mich- shoes and had to turn back. That was the oels brought the score of Weinberg’s first last time he saw any member of his family. symphony to Dmitri Shostakovich, it was the start of a lasting and intimate friendship. It soon became apparent that he was not in front of the invading German troops, but in Through this intervention, Weinberg received the middle. He tried to get a place on a permission to move to Moscow. passing horse-drawn wagon, but was out - bid by wealthier walkers. Two kilometers far - Although Weinberg now had a direct link to ther, he passed the wagon lying in a ditch, the top echelons of Soviet intelligentsia, the passengers massacred from the air. things did not run smoothly for long. In 1948 Solomon Michoels was murdered (in a “car When he finally reached the Russian border, accident ”) by Stalin’s secret police, the the Soviet guard asked his name: “Mieczy- NKVD, and this was the opening salvo of slaw Weinberg.” “ Are you Jewish? ” “ Yes! ” semi-official Soviet anti-Semitism—in which “You are Moshe ”— and the rubber stamp “cosmopolitan ” was the deadly code-word thudded into his papers. With that nonchalant for “Jewish.” Weinberg was not only a for - bureaucratic “thump-thump ” Weinberg lost eigner and Jewish, but also now carried the not only his entire family, but his country and fatal stigma of having acquired the wrong his name. Moshe Vainberg (sic) would need relatives. From 1948 on, Weinberg was 30 years of relentless toil to regain his name; under daily surveillance and was arrested in his family and his country were lost forever. 1953—a torturous wait of five years before the inevitable knock on the door. The charge Weinberg continued his studies at the con - was “making propaganda for the establish - servatory in Minsk before again being ment of a Jewish State in the Crimea.” But obliged to flee the German invasion of the this delay was his luck: a month later Stalin Soviet Union. This time his luck was in. He was dead, and Shostakovich, who had signed LINCOLN CENTER FESTIVAL 2014

a document promising to raise Weinberg’s miraculously survived for three years. She daughter if both parents were taken, was had the immense good luck to be taken in to instead able to secure Weinberg’s release. work in the kitchens and subsequently became the bookkeeper responsible to the Weinberg was now free to compose, and it SS overseer, Aufseherin Anne-Liese Franz. is clear that for him composition was an act After the war, like so many survivors, she of atonement: why else had he alone been had no wish to revisit these appalling expe - allowed to survive? He honed his sym - riences, but once in Paris as a journalist, she phonic skills within the Soviet tradition of heard a German woman on the Place de la Mayaskovsky, Prokofiev, and Shostakovich, Concorde and for an instant thought it was but had his own more delicate and private “her ” Aufseherin Franz. From that moment, voice, tinged with melancholy and evocative she began to explore how she would actu - use of Jewish musical material. ally react if she did indeed meet her. (Franz had never been traced by any of the various Shostakovich’s increasing interest in Jewish war-crimes commissions.) The first result of themes probably derives substantially from this was a radio play, which then became a his friendship with Weinberg; their dialogue novel, in which she in effect reverses the sit - was one of equals and their influence on each uation: Franz is now married and traveling on other mutual. They had an amicable competi - a boat with her husband to Brazil where he tion to see who could write the most string will take up a diplomatic post. On the boat quartets, which Weinberg won, and indeed Franz sees “The Passenger,” a young woman his chamber music is of superlative quality . she had known well and who Franz is certain died as a prisoner in Auschwitz. The impact The big difference between them was that of this vision, whether real or not, provokes Weinberg remained an outsider, a foreigner, her to confess to her husband that she was never a member of the party, who was an SS overseer in Auschwitz, and from this forced to earn his living with film music. moment on, the work switches to and fro During his lifetime he created more than 50 between the boat and the camp. film scores, even circus music, and the famous and very charming music for the Medvedev adapted this story as a Soviet Russian children’s cartoon Winnie the Pooh opera libretto extremely intelligently. He (“Vinnie Pukh ”). In the early 1960s, Shosta- introduced Russian characters into the bar - kovich encouraged Weinberg to think of writ - racks (the first prisoners to be gassed in ing an opera, perhaps thinking that Weinberg Auschwitz were Russians) and created a could write the opera that was for him a polit - musical masterstroke for the end by having ical impossibility, and put him in touch with the young violinist “booked ” to play the com - the dramaturg Alexander Medvedev. At this mandant’s favorite waltz instead deliver fertile moment, Zofia Posmysz’s Polish novel, Bach’s Chaconne, thereby throwing an Pasażerka, appeared in the Soviet publication apogee of German culture into the faces of Stralny Literatura (“Foreign Literature.”) its Nazi betrayers. Of course the riveting rela - tionship is between Marta the prisoner and Zofia Posmysz was a young Polish Catholic Franz the Aufseherin, because in essence in Krakow when she was arrested in 1942 they are two young women who should for possessing leaflets advertising Polish have met in a university cafeteria, fallen out underground schools (the Nazis wanted over a boy, or helped each other with their slave labor, not educated Poles) and very studies. But this university is Auschwitz, so quickly ended up in Auschwitz, where she “falling out ” has consequences. LINCOLN CENTER FESTIVAL 2014

When I met Medvedev in Moscow, he achieving international recognition decades explained to me very graphically his spatial after its creation, is a time capsule. It is conception of the work with its upper deck obviously not a modern opera, but is rather of the liner and the steep staircases as if an undiscovered masterpiece by descending into the hell of Auschwitz, and Britten had suddenly come to light, and, of Johan Engels and I tried to follow his ideas course, the intriguing thing is that if this as closely as possible. He also explained novel had ever appeared in English, Britten his concept, which does not appear in the might very well have been tempted to set libretto at all, that the choristers were to be it. Jörg Ammann, an Austrian writer, reacted observers from a third time zone—the pre - violently to Jonathan Littell’s book The sent. The original action took place in Kindly Ones and riposted with an edited Auschwitz in the 1940s, the action on the version of Commandant of Auschwitz , ship some 15 years later, and the chorus Rudolf Höss’s autobiography, saying: should, according to Medvedev, be an echo “Angesichts der Wirklichkeit ist alles of our concerned role as observers of Erfinden obszön ” (“ In the face of reality these terrible events. every fiction is obscene”). What comes out so strongly from the work of Posmysz/ Weinberg, too, reacts to this material with Weinberg/Medvedev is that this fiction is astonishing intelligence and discretion, not rooted in an unmatchable, authentic experi - the first words you think of in relation to an ence of that reality—a truth so powerful opera composer. Weinberg’s style is never that even the all-powerful Soviet state had prone to emotional grandstanding in the to crush it—and which still has the power clichéd operatic manner, but the delicacy to show all of our lives in a different per - and patience with which he establishes the spective. That is what art is for! timeless misery of prison life and allows —David Pountney the story’s weight of emotion to speak for itself is masterly. And utterly wasted! The Soviets didn’t want anything to do with pity for the Jews; anything that did not actively About the Creative Team (Conductor) was born in further the Communist agenda was offi - Patrick Summers cially condemned as “Abstract Humanism.” Indiana and is the artistic and music director (The Nazis used the same phrase about for (Margaret Alkek Red Cross inspections of the camps.) Williams Chair) , a position he has held since Despite attempts to get it in “under the 2011. He joined the company in 1998 as wire ” in Czechoslovakia, The Passenger music director and has conducted more was never allowed to be performed in than 50 there. He has been respon - Weinberg’s lifetime. sible for many of HGO’s important artistic advances, including the development of the Today The Passenger might be sidelined Houston Grand Opera Orchestra. He con - for different reasons. There is an entirely ducts regularly at the justified debate about the propriety of rep - and is principal guest conductor for San resenting Auschwitz/the Holocaust in any Francisco Opera; he has also been closely fictional forum, a debate fueled by the associated with . This sum - increasing flippancy and irresponsibility of mer, he conducts at the referencing this subject in books and films Bregenz Festival. Next season, he conducts that merely seek to exploit its emotional Otello, Cos ì fan tutte, and Die Walküre at weight as a marketing device. The Passenger , HGO; Anna Bolena at Lyric Opera of LINCOLN CENTER FESTIVAL 2014

Chicago; and at San was the basis for the libretto by Yuri Lukin Francisco Opera. and Alexander Medvedev for Wein-berg’s The Passenger . David Pountney (Director/English Translation) was born in Oxford, England, and was last at Johan Engels (Set Designer) was born in Lincoln Center Festival in 2008, when he South Africa and has collaborated with directed Zimmermann’s . He director David Pountney on The Magic Flute has been chief executive and artistic director (Bregenz), Lulu and Khovanshchina (Welsh of (WNO) since 2011 National Opera), The Passenger (Bregenz, and i ntendant of the Bregenz Festival since English National Opera, and Warsaw), Il trit - 2003. He has created productions for more tico (Lyon), (Bregenz and than ten world premieres (including Philip ), Osud (Vienna State Opera), Smetana’s The Devil s Wall (Prague), Glass’s The Voyage at the Metropolitan ’ (Salzburg Festival), and Zemlinsky’s Opera in 1992) and has translated dozens of Turandot Der kreidekreis and Pfitzner’s Die rose vom operas into English. Among his recent pro - liebesgarten (Zurich). Recent work includes jects are a double bill of Gordon Getty’s Parsifal (Lyric Opera of Chicago), Mavra and Usher House (world premiere) and Iolanta (Bolshoi Theatre), Orpheus ed Euridice Debussy’s The Fall of the House of Usher (Scottish Opera), Mathis der maler (Theater for WNO, Die Zauberflöte for the Bregenz an der Wien), and Faust (Paris Opera). HGO Festival, Glass’s Spuren der Verirrten to productions include Don Carlos (2012), open the new opera house in Linz, and Chorus! (2009), and The Elixir of Love (2000). ’s Kommilitonen! for The Juilliard School. His productions for (Costume Designer) HGO include (2009), Marie-Jeanne Lecca Chorus! The Flying designed the costumes for Zimmermann’s Dutchman (1984), Katya Kabanova (1981), Die Soldaten, which was seen during Lincoln Jenůfa (1978), Bilby ’s Doll (1976), and Center Festival 2008. Born in Bucharest Macbeth (1973). and now living in , she has worked with David Pountney on numerous opera Zofia Posmysz (Author) was born in 1923 productions worldwide, including the cur - in Krakow. During the Nazi occupation of rent Bregenz Festival production of The Poland, she was sent to Auschwitz, where Magic Flute, for which she also designed she was imprisoned from 1942 to 1945. the puppets. Set and costume designs After the war, she worked as a newspaper include Thérèse Raquin for its world pre - journalist and copy editor before moving to miere at The Dallas Opera; , The Stone Polish radio where she wrote news stories. Guest, and Pelleas and Melisande for English In 1959 she began writing works that drew National Opera; and Carmen, seen at HGO, on her life experiences, ultimately leading to , and Minnesota Opera. She the radio play The Passenger from Cabin 45 . received the Marti n u˚ Medal for It was the basis for her 1962 novel, The () and Greek Passion (Covent Passenger , the first of four books centered Garden) and was part of the British team on the Nazi death camps. The novel has been that won the Golden Triga, the highest translated into 15 languages (but is not avail - honor of the 2003 Prague Quadrennial. able in English), adapted into a film based on a screenplay written by Posmysz and director Fabrice Kebour (Lighting Designer), a Andrej Munk, performed as a radio play and native of France, has designed lighting for in televised dramatic performances, and more than 200 productions over the past LINCOLN CENTER FESTIVAL 2014

20 years. He has designed for the Paris include large works for the Atlanta Symphony Opera, Vienna State Opera, Bregenz Orchestra, Los Angeles Philhar-monic, and a Festival, La Scala, Arena di Verona, and La new opera for based on Mary Monnaie in Brussels. He was selected for Shelley’s Frankenstein , scheduled to pre - the 2011 Prague Quadrennial of Performance miere in Brussels in 2016. Design and Space exhibit “Light Speaks,” showing a retrospective of the work of out - Leraldo Anzaldú a (Fight Director) is a standing lighting designers, and has Houston-based actor, director, and fight received three nominations for best light - director. He is a certified teacher of stage ing design in the French Molière theatrical combat with the Society of American Fight awards. Recent work includes The Magic Directors. As an actor and fight director, he Flute at the Bregenz Festival, The Marriage has worked at the Alley Theatre on Venus in of Figaro and at the Vienna Fur, A Few Good Men, The Mountaintop, State Opera, and The Elixir of Love in Peter Pan, Treasure Island, Hitchcock Monte Carlo. He made his HGO debut ear - Blonde, Wait Until Dark, Black Comedy, lier this season with this production. Equus, and A Midsummer Night ’s Dream . He has also worked with the Houston Rob Kearley (Associate Director) is from Shakespeare Festival, Theatre Under the Northamptonshire, England, and has worked Stars, Stages Repertory Theatre, Mildred’s with companies across Europe and North Umbrella, Ensemble Theatre, Opera in the America including English National Opera, Heights, and Catastrophic Theatre. , Opera North, Lyon Opera, Prague State Opera, Prague Courtney D. Jones (Movement Director) National Theatre, Teatro Comunale Bolzano, is from Houston and has danced with Hope and the Bregenz Festival. He has worked Stone Dance (company member for four with directors including David Pountney, seasons), Jennifer Muller/The Works, The Christopher Alden, Tim Albery, Robert Kevin Wynn Collection, and Freddick Carsen, Chen Shi-Zheng, and Yoshi Oida. Bratcher and Company Contemporary Recent and future engagements include Dance Theater. Her theater credits include Weir’s Miss Fortune at Covent Garden, a Broadway’s first national tour of Wicked , a new production of Faust and a production of concert performance of Show Boat at Britten’s Death in Venice for Opera North, , A Chorus Line, Failure: A Love The Magic Flute for the Bregenz Festival, Story, In the Next Room, Auntie Mame, and for Lyon Opera. Urban Cowboy the Musical , and Panto Pinocchio. She earned her bachelor of fine Mark Grey (Sound Designer) made history arts degree with honors from SUNY Purchase as the first sound designer to work with and was named one of Dance Magazine ’s the New York Philharmonic at Avery Fisher ”25 to Watch” in 2012. Hall (2002), Walt Disney Concert Hall (2003), Lyric Opera of Chicago (2007), and Richard Bado (Chorus Master) received Metropolitan Opera for ’s Doctor HGO’s Silver Rose Award last season in Atomic (2008), (2011), and The honor of his 25th anniversary as HGO cho - Death of Klinghoffer (2014). He toured exten - rus master. The native of Pittsburgh has con - sively with Kronos Quartet for more than a ducted at La Scala, the Paris National Opera, decade, and continues to design and collabo - , Aspen Music Festival, rate with John Adams after 20 years. Grey is Tulsa Opera, Russian National Orchestra, also a composer whose current commissions Florida Philharmonic, Montreal Symphony, LINCOLN CENTER FESTIVAL 2014

Wolf Trap Opera, and Houston Ballet. An Onegin , Matteo in Arabella , and Flamand accomplished pianist, he appeared last with the Paris Opera. He has sung Gaylord spring in a concert tour with Renée Fleming. Ravenal in Show Boat (2013) with HGO. He has also played for Susan Graham, Frederica von Stade, Cecilia Bartoli, Denyce Melody Moore (Marta) has appeared with Graves, Marcello Giordani, Ramón Vargas, the in the title role of Samuel Ramey, and Nathan Gunn, and Tosca , Mimì in La bohème , and the appeared on A Prairie Home Companion Countess in The Marriage of Figaro ; with Garrison Keillor . He is the director of English National Opera as Marguerite in the opera studies program at Rice Faust and Mimì; as the University’s Shepherd School of Music. Countess; Bordeaux Opera as Pamina in The Magic Flute ; and Glimmerglass Opera as Senta in The Flying Dutchman . The About the Artists has recently sung Alice Ford in Falstaff with Michelle Breedt (Liese) was born in South Opera Santa Barbara and Tosca with Afr ica. The mezzo-soprano has appeared Madison Opera. Upcoming are debuts with regularly at the Semperoper Dresden, Washington National Opera and Lyric Opera Deutsche Oper Berlin, and Paris Opera, as of Kansas City and a return to HGO next sea - well as in Hamburg, Amsterdam, Lisbon, son as Dorabella in Così fan tutte. She has , Madrid, Tokyo, and Hong Kong. appeared with HGO as Julie LaVerne in Show At the Bayreuth Festival she has sung Boat (2013) and Freia in Das Rheingold (2014). Magdalene in Die Meistersinger von Nürn- berg , Fricka in Wagner’s Ring cycle, Brangäne Morgan Smith (Tadeusz) was born in in Tristan und Isolde , and Venus in Tann- White Plains, New York, and began the hä user . She has also appeared with the 2013–14 season with his debut with Florida Vienna State Opera and Zurich Opera in roles Grand Opera as Adam Brandt in Levy’s including Octavian in Der Rosenkavalier , the Mourning Becomes Electra, followed by Fritz Composer in , Adalgisa in Korngold’s Die tote Stadt with The Dallas in Norma , and Brangäne. She made her Opera, and Lt. Audebert in Kevin Puts’s Silent HGO debut earlier this season as Liese. Night with Fort Worth Opera. Recent engage - ments for the American include Joseph Kaiser (Walter), a native of Montreal, Starbuck in ’s Moby-Dick with first appeared at Lincoln Center Festival in the San Francisco Opera, a role he originated 2002 in Bright Sheng’s The Silver River. The in the work’s world premiere at The Dallas has recently sung Lysander in A Mid- Opera and later performed with the San summer Night ’s Dream at the Metropolitan Diego Opera. He has also sung Figaro in The Opera, Narraboth in at the Bavarian Barber of Seville , Billy in Rise and Fall of the State Opera, and Tamino in The Magic Flute Cit y of Mahagonny, Papageno in The Magic with Washington National Opera. Past high - Flute, Marcello in La bohème , and Guglielmo lights include Roméo in Roméo et Juliette , in Così fan tutte with Opera Leipzig. He made Narraboth, Flamand in Capriccio , Grimoaldo in his HGO debut earlier this season as Tadeusz. Rodelinda , and Tamino with the Met Opera; Tamino at Covent Garden; Admète in Alceste Kelly Kaduce (Katya) has been heard this at the Vienna State Opera; Števa in Jenůfa season with Opera Theatre of St. Louis as with Munich’s ; Tamino in Blanche in Dialogues of the Carmelites , Kenneth Branagh’s 2007 film adaptation of Minnesota Opera in the title role of The Magic Flute ; and Lenski in Eugene Lescaut , Lyric Opera of Kansas City as LINCOLN CENTER FESTIVAL 2014

Rosalinde in Die Fledermaus , and Liù in Gustavo Dudamel, Jacek Kaspszyk, Kazimierz Turandot with Utah Opera. Recent perfor - Kord, Bramwell Tovey, Antoni Wit, and Long mances for the Minnesota-born soprano Yu. She sang Hannah in the world premiere include Cio-Cio-San in of The Passenger at the Bregenz Festival and with West Australian Opera, Anne Sorenson later appeared as Liese when the opera was in Kevin Puts’s Silent Night with Opera performed in Warsaw. She made her HGO Philadelphia, the title role of with debut earlier this season as Hannah. Montreal Opera, Violetta in La traviata and Marguerite in Faust with Sweden’s Malmö Natalya Romaniw (Krystyna) was a mem - Opera, Mimì in La bohème with Michigan ber of the HGO Studio for the past two sea - Opera Theatre, Desdemona in Otello with sons (Joanie and Don Haley/Nancy and Ted Kentucky Opera, and the title roles of Haywood Fellow) . Born in Swansea, South Salome and Suor Angelica with Opera Wales, the soprano sang Micaela in Carmen, Theatre of St. Louis. She made her HGO Mrs. Anderssen in , debut earlier this season as Katya. and Rosalinde in performances of Die Fledermaus this past season at HGO. She Kathryn Day (Bronka) has recently sung has also sung the First Nymph in Rusalka the Respectable Lady in Shostakovich’s The for Glyndebourne, the title role of Lucia di Nose at the Metropolitan Opera, Ulrica in A Lamm ermoor for Clonter Opera, Giunia in Masked Ball with Seattle Opera and Mrs. Lucio Silla for the Classical Opera Company, Sedley in Peter Grimes at the Des Moines and Maliella in I gioielli della Madonna for Metro Opera. The Maryland-born mezzo- Opera Holland Park. Next season, she per - soprano has also sung Ortrud in forms the role of the Governess in The Turn of and Azucena in with the Seattle the Screw for Glyndebourne on Tour and Opera, Suzuki in Madama Butterfly with returns to HGO for Ortlinde in Die Walküre . Montreal Opera, Klytämnestra in with , Mrs. De Rocher in Jake Carolyn Sproule (Vlasta) was a member of Heggie’s with Austin the HGO Studio for the past two seasons Lyric Opera, and Herodias in Salome and (Dr. and Mrs. Thomas D. Barrow Fellow). The Jeanne Louise de in the world pre - Canadian mezzo-soprano sang Maddalena in miere of Pontalba— A Louisiana Legacy with , Countess Charlotte Malcolm in A New Orleans Opera. She has previously Lit tle Night Music, Prince Orlovsky in perfor - appeared with HGO as Lady Katherine de mances of Die Fledermaus, and Mercedes Vaucelles in The Vagabond King (1979) . in Carmen at HGO this past season. She performed A Lady with a Hat Box in Agnieszka Rehlis (Ha nnah) was a soloist Dominick Argento’s Postcard from Morocco of the Wroclaw Opera in her native Poland with the Merola Opera Program at San from 1996 to 2007, performing roles including Francisco Opera and Meg Page in Falstaff Fenena in Nabucco , Meg Page in Falstaff , with both Wolf Trap Opera and Aspen Music Maddalena in Rigoletto , Siebel in Faust , Mer- Festival. She returns to Wolf Trap this sum - cedes in Carmen , Cherubino in The Marriage mer to sing Sesto in Julius Caesar . Next sea - of Figar o, and Dorabella in Così fan tutte . In son she joins the roster of the Metropolitan 2003, the mezzo-soprano made her debut at Opera as the Sandman in Hansel and Gretel . Warsaw’s Grand Theatre-National Opera as Fenena. Her repertoire includes more than 60 Uliana Alexyuk (Ivette) was a member of works and she has worked with conduc tors the HGO Studio for the 2013–14 season including Ji ˘rí B e˘ l ohlávek, Gabriel Chmura, (Beth Madison Fellow) , singing Gilda in LINCOLN CENTER FESTIVAL 2014

Rigoletto, Frasquita in Carmen, Mrs. Night ’s Dream (2009), and Shchelkalov and Nordstrom in A Little Night Music, and Ida in Varlaam in Boris Godunov (2005). Die Fledermaus. The Ukrainian soprano is a featured soloist at the Bolshoi Theatre, Pe ixin Chen (Second SS Officer) is a member where she has been singing since 2010; of the HGO Studio ( Andrew C. Schirrmeis- she returned last December to perform ter III Fell ow). Roles at HGO include Adele in Die Fledermaus . In 2011 she sang Ferrando in Il trovatore (2013), and, next in the world premieres of Philippe Fénelon’s season, the Bonze in Madame Butterfly Le Cerisaie at the Paris Opera and Fabbio and Montano in Otello. The Chinese bass Vacchi’s Lo stesso mare at Bari’s Teatro graduated from Beijing’s Central Petruzzelli. Last summer, she sang Zerbinetta Conservatory of Music. With the National in Ariadne auf Naxos with the Glyndebourne Center for the Performing Arts (NCPA) in Festival and next season makes her Lyric Beijing, he has sung the King in Lalo’s Le Opera of Chicago debut as Ivette. roi d ’Ys , the Emperor in Tan Dun’s Tea , Don Magnifico in Rossini’s Cinderella , Bartolo in Victoria Livengood (Old Woman) made her The Marriage of Figaro, and Basilio in The debut at the Metropolitan Opera in 1991 and Barber of Seville . He made his Washington has since returned there to sing 125 perfor - National Opera debut this past season as mances of 19 roles, including the title role of Dulcamara in The Elixir of Love . Carmen , Giulietta in Les Contes d ’Hoffmann , and Orlofsky in Die Fledermaus . The mezzo- Kevin Ray (Third SS Officer) was a member soprano, a native of North Carolina, has of the HGO Studio for the past two seasons sung with opera companies in Chicago, San (Melinda and William Brunger/Lynn Guggolz Francisco, Santa Fe, Washington, and Seattle, Fellow). The tenor is from New York and and internationally with companies in has sung performances of Eisenstein in Barcelona, Madrid, Salzburg, Buenos Aires, Die Fledermaus, the Messenger in Aida , Cologne, Vancouver, and Montreal. Recent and Melot in Tristan and Isolde at HGO, performances include debuts with the Los among other roles. Last summer, he sang Angeles Opera in A Streetcar Named Desire the title role of Peter Grimes with Chautauqua and Utah Opera in Salome . She previously Opera and Don José in Carmen at the appeared with HGO as Giovanna in Rigoletto Lyrique-en-Mer/Festival de Belle-Île. (2014) and Lampito in Lysistrata (2005). Upcoming engagements include Don José with Wolf Trap Opera and his return to HGO Robert Pomakov (First SS Officer) is from next season for Otello , A Christmas Carol , Canada and has recently sung Monterone in and The Magic Flute . He will also partici - Rigoletto at the Metropolitan Opera and for pate in the International Wagner his debut with the San Francisco Opera. The Competition this summer. bass has also sung Hobson in Peter Grimes with Canadian Opera Company, Leporello in James Maddalena (Steward/Elderly Passen- Don Giovanni with Washington National ger) is a native of Massachusetts and sang Opera, Nikitich in Boris Godunov in Madrid, the title role of John Adams’s Nixon in China and Varlaam in Boris Godunov in Brussels. for its world premiere at Houston Grand His appearances with HGO include Mon- Opera followed by performances at the terone (2014), Benoit in La bohème (2012), Netherlands Opera, Edinburgh Festival, Haly in The Italian Girl in Algiers (2012), the Washington National Opera, Frankfurt Bonze in Madame Butterfly (2011), Hobson in Opera, Australia’s , Paris’s Peter Grimes (2010), Quince in A Midsummer Théâtre du Châtelet, English National Opera, LINCOLN CENTER FESTIVAL 2014 and Metropolitan Opera. The baritone has voice faculty of Texas State University in San also sung Jack Hubbard in Adams’s Doctor Marcos. Recent credits for the soprano Atomic at the San Francisco Opera and the include Despina in Così fan tutte , Cunegonde Captain in Adams’s in Candide and Rosina in The Barber of at Théâtre de la Monnaie (Brussels), Lyon Seville with Austin Lyric Opera, and the title Opera, Brooklyn Academy of Music, and role of The Ballad of Baby Doe for New San Francisco Opera. His appearances with Orleans Opera and Austin Lyric Opera. She HGO include Colonel/Madame Colette in has also sung Gilda in Rigoletto at Salsipuedes (2004), Slim in Of Mice and Vancouver Opera, and Sophie in Der Rosen- Men (2002), Gideon March in kavalier , Blondchen in The Abduction from the (2000), Impresario in The Dracula Diary Seraglio , Susanna in The Marriage of Figaro , (1994), and Merlin in (1989). and Marzelline in Fidelio at San Francisco Opera. Her HGO appearances include Parthy Cheryl Parrish (Senior Overseer/Capo) is Ann Hawks in Show Boat (2013) and Kitty from Texas and currently a member of the Hart in Dead Man Walking (2011).

Houston Grand Opera Orchestra

Patrick Summers, Artistic and Music Director, The Margaret Alkek Williams Chair

VIOLINS Mila Neal FLUTES Denise Tarrant*, Sylvia Ouellette Seth Allyn Morris*, Principal Concertmaster, Trung Trinh Christina Medawar* The Sarah and Ernest Butler Melissa Suhr Concertmaster Chair VIOLAS Jonathan Godfrey*, Eliseo Rene Salazar*, Principal OBOES Assistant Concertmaster Lorento Golofeev*, Elizabeth Priestly Siffert*, Assistant Principal Principal Erica Robinson*, Erika C. Lawson* Robin Hough* Principal Second Violin Mary Fulgham* Carrie Kauk*, Suzanne LeFevre* Assistant Principal ENGLISH HORN Gayle Garcia-Shepard* Spring Hill Second Violin Elizabeth Charles Miriam Belyatsky* Meredith Harris CLARINETS Rasa Kalesnykaite ° Eric Chi*, Acting Principal Hae-a Lee* CELLOS James P. Johnson Sarah Ludwig* Barrett Sills*, Principal Chavdar Parashkevov* Louis-Marie Fardet*, BASS CLARINET Anabel Ramirez* Assistant Principal Molly Mayfield Mary Reed ° Erika Johnson* Linda Sanders* Wendy Smith-Butler* SAXOPHONE Oleg Sulyga* Steven Wiggs* Scott Plugge Sylvia VerMeulen* Steve Estes Matthew Detrick BASSOONS Andrés González DOUBLE BASSES Amanda Swain*, Principal Carole Marie Harris Dennis Whittaker*, Principal Drew Pattison Kana Kimura Erik Gronfor*, Assistant Karl Vilcins Maxine Kuo Principal Maria Lin Carla Clark ° Fiona Lofthouse Deborah Dunham LINCOLN CENTER FESTIVAL 2014

FRENCH HORNS GUITAR BANDA Sarah Cranston*, Principal Mark Moore Jonathan Godfrey*, Violin Kimberly Penrod Minson* Daniel Silveira, Accordion † Scott Strong* TIMPANI Elena Lacheva , Keyboard Gavin Reed Nancy Nelson*, Principal Mike Owen, Guitar Thomas Helton, Bass TRUMPETS PERCUSSION Tim Tull, Drums Jim Vassallo*, Principal Richard Brown*, Principal Randal Adams* Christina Carroll ORCHESTRA PERSONNEL George Chase Craig Hauschildt Richard Brown*, Manager Lindsey Höhn TROMBONES Karen Slotter Thomas Hultén*, Principal * HGO Orchestra core Mark Holley* PIANO musician Richard Bado ° HGO Orchestra core musician BASS TROMBONE on leave this production † Ilan Morgenstern* CELESTA HGO Studio artist Elena Lacheva †, TUBA Lynne Murray Sr. Educational Mark Barton*, Principal Foundation Fellow

HARP Joan Eidman*, Principal

Houston Grand Opera Chorus

Richard Bado, Chorus Master Patrick Harvey, Assistant Chorus Master , Mr. and Mrs. James A. Elkins Endowed Chair

Debra Alons Joe Key Steven Ponder Dennis Arrowsmith Maria Annette Khoobyar Martin Lowen Poock Shelley Auer Rebecca Kier Saïd Henry Pressley Megan Berti Kirsten Koerner Elisabeth Rosenberg G. Leslie Biffle Wesley Landry Priscilla Salisbury Eileen Buerkert Bor Liang Lin Michael J. Sawyer Patrick Contreras Miles Robert Lutterbie Kade Smith Cecilia Felix Alejandro Magallón John Stevens Ami Figg Alisa Magallón Logan Walsh Donald Figg Keenan Manceaux John Weinel Laurelle Gowing Kathleen Manley James M. Winslow Nancy L. Hall Katherine McDaniel Jennifer Wright Derek W. Henry Jason Milam Frankie Hickman Natasha Monette SUPERNUMERARIES Grover E. Holst Jeff Monette Luke Fedell Jeanne Ireland Octavio Moreno Brian Mitchell Jawan CM Jenkins Jammieca Mott Nick Reid Joy Jonstone Patrick Perez Dustin Salinas Esther M. Kelly Cristino Perez LINCOLN CENTER FESTIVAL 2014

Magic Flute and Lee Blakeley’s production Houston Grand Opera of ’s Sweeney Todd , the Houston Grand Opera was last in New York company’s first presentation of director during Lincoln Center Festival’s inaugural 1996 John Cox’s production of Verdi’s Otello , and season performing Robert Wilson’s produc - revivals of Mozart’s Così fan tutte and tion of Four Saints in Three Acts with music Puccini’s Madame Butterfly . by Virgil Thomson and libretto by Gertrude Stein. Since its inception in 1955, HGO has Houston Grand Opera Board of Directors grown from a small regional organization into Chairman of the Board John Mendelsohn an internationally renowned opera company. Vice Chairman of the Board Lynn Wyatt HGO enj oys a reputation for commissioning Senior Chairman of the Board Beth Madison and producing new works, including 54 world Chairman Emeritus Glen A. Rosenbaum premieres and seven American premieres Richard Agee since 1973. In addition to producing and per - Robin Angly forming world-class opera, HGO contributes Chair, Governance Committee John S. Arnoldy to the cultural enrichment of Houston and Marcia E. Backus the nation through a diverse and innovative Philip Bahr program of performances, community events, Shahzad Bashir and education projects that reaches the Chair, Audit Committee Astley Blair widest possible public. HGO has toured Pat Breen Chair, Special Events Committee Mrs. Robert J. exte nsively, including trips to Europe and Asia, Bruni and it is the only opera company to have won Martha Carnes a Tony, two Grammys, and two Emmy Albert Chao awards. Through HGOco, Houston Grand Donna Josey Chapman Opera creates opportunities for Houstonians Chair, Finance Committee Neil Chapman of all ages and backgrounds to observe, Mrs. Bobbie-Vee Cooney participate in, and create art. Its Song of Albert O. Cornelison Jr. Houston project is an ongoing initiative to cre - Franci Crane ate and share work based on stories that James W. Crownover Dan Domeracki define the unique character of the city of David Duthu Houston and its diverse cultures. Since 2007, Chair, Development Committee Larry Faulkner HGOco has commissioned 16 new works Steve Fulgham along with countless innovative community Morris Gelb projects, reaching more than one million peo - Dr. Ellen R. Gritz ple in the greater Houston metropolitan area. Robert C. Hunter Chairman, Houston Grand Opera Endowment Inc. Highlights of HGO’s 2014–15 season, the Janet Langford Kelly company’s 60th Anniversary Season, Alfred W. Lasher III include the world premiere of and Doug Lawler Perryn Leech Simon Callow’s A Christmas Carol , the con - Vice Chair, Studio and Training Committee tinuation of the company’s first cycle Ring Frances Marzio with the North American premiere of La Brucie Moore Fura dels Baus’s production of Wagner’s Die Sara Morgan Walküre , the American premieres of Sir Senior Chairman, Houston Grand Opera Nicholas Hytner’s production of Mozart’s Endowment Inc. Terrylin G. Neale LINCOLN CENTER FESTIVAL 2014

Chair, Marketing and Communications Committee Director of Finance Tanya Lovetro Ward Pennebaker Staff Accountant Lydia Middents Chair, HGOco Committee Cynthia Petrello Director of Information Systems Ken Vaughn Gloria M. Portela Director of Business Analytics Lee Whatley David Powell Director of Human Resources Melissa Williford General Counsel and Secretary; Vice Chair, Audit Committee Mark R. Spradling DEVELOPMENT Harlan C. Stai Director of Patron Services Rudy Avelar Patrick Summers Director of Major Gifts and Legacy Planning Chair, Studio and Training Committee Richard Buffett John G. Turner Director of Development, Institutional Giving Margaret Alkek Williams Kelly Finn David S. Wolff Associate Director of Special Events Clare Greene Director of Special Events Scott Ipsen HONORARY DIRECTORS Development Officer Veronica Kannan Samuel Ramey Special Events Coordinator Eva Kanouse Frederica von Stade Development Officer Rebecca Kier Development Officer David Krohn Houston Grand Opera Management Development Communications Manager and Staff Michelle Mariano Artistic and Music Director ( Margaret Alkek Development Officer Emily Schreiber Williams Chair ) Patrick Summers Special Events Operations Manager Managing Director Perryn Leech Denise Simon

Chief Advancement Officer Gregory S. Robertson MARKETING Director of HGOco Sandra Bernhard Senior Manager, Sales Virginia Ashton Director of HGO Studio Laura Canning Marketing Manager Kelly Buchanan General Manager Molly Dill Manager of Sales and Audience Development Technical and Production Director David Feheley Rebecca Koterwas Assistant Artistic Director Mena Mark Hanna Team Lead Cynthia Lewis Senior Director of Development Deborah Hirsch Customer Care Manager Samantha Storie Director of Marketing Steve Kelley Director of Sales and Services Richard Wong Director of Communications Judith Kurnick Associate Music Director ( Mr. and Mrs. Albert B. ADVANCEMENT SERVICES Alkek Chair ) Eric Melear Development Data Manager Henry Cantu III Director of Artistic Administration Diane Zola Development Operations Coordinator Dawn Gillespie OFFICE OF THE GENERAL DIRECTOR Marketing Data Manager M. Jane Orosco Liaison to the Office of the General Director Director of Advancement Operations James Byrne Joanna Torok Governance and Business Manager Toni Capra Development Administrative Assistant Executive Associate Mary Fanidi Kari Zimerman

FINANCE AND ADMINISTRATION COMMUNICATIONS Systems Manager Maria J. Blake Director of Publications Laura Chandler Office Services Coordinator Luis Franco Creative Services Associate Amy Garcia Accounts Payable Administrator Denise Fruge Communications Manager Christine Lee Database Administrator Matt Gonzales Communications Coordinator Ashley Seals Payroll Administrator Debbie Loper Art Director Pattima Singhalaka LINCOLN CENTER FESTIVAL 2014

THE GENEVIEVE P. DEMME ARCHIVES AND Production Stage Manager Kristen E. Burke RESOURCE CENTER Wig and Makeup Assistant Katherine Casalino Archivist Brian Mitchell Lighting Supervisor Michael Clark Properties Associate Andrew Cloud HGOco Head of Costumes Norma Cortez Programs Director Brittany Duncan Costume Coordinator Esmeralda De Leon Opera to Go! Stage Manager / Office Assistant Production Master Carpenter Brandon Dismukes Julie Hurley Assistant Stage Manager Meg Edwards Operations Manager Joy Hutton Assistant Stage Manager Mary Elsey Touring and Ensembles Manager Alisa Magallón Master Propertyman Zoltan Fabry Chief of Security Mario Gutierrez ARTISTIC / MUSIC Assistant Carpenter / Head Flyman Ed Hamala Chorus Master Richard Bado Costume Shop Supervisor Debbie Harrington Recording Engineer Marlan Barry Head Soundman Eduardo Hawkins Music Administrator Robert Boldin Technical Assistant Sonia Henao Orchestra Personnel Manager Richard S. Brown Associate Technical Director Brad Kanouse Assistant Chorus Master / Assistant Conductor Assistant Director Susan Li Patrick Harvey Technical / Production Administrator Marcie Lou Artistic and Rehearsal Coordinator Paul Hopper Assistant Director Shawna Lucey Artistic and Rehearsal Coordinator Properties Design Director Megan Danielle Kimball Assistant Director Louisa Muller Associate Artistic Administrator Mark C. Lear Stage Manager /Assistant Stage Manager Associate Company Manager Lisa Oswald Jessica L. Mullins Assistant Conductor Peter Pasztor Assistant Technical Director / HGOco Technical Children’s Chorus Director Karen Reeves Director Michael Mullins Assistant Conductor Bethany Self Assistant Stage Manager Liz Petley Company Manager Brian Speck Master Electrician Albert Pike Music Librarian Tim Tull Draper Mercedes Ramirez Costume Technician Maria Luisa Salinas HOUSTON GRAND OPERA STUDIO Wig and Makeup Department Head Administrator Amra Catovic Dotti Staker Stage Manager /Assistant Stage Manager TECHNICAL/PRODUCTION Christopher Staub Lighting Associate Philip Alfano Assistant Director Keturah Stickann Assistant Director Katrina Bachus Costume Technician Paully Lea Tran Assistant Carpenter Bobby Baker Costume Coordinator Myrna Vallejo Assistant Electrician Gregory Banfield Stage Manager /Assistant Stage Manager Assistant Electrician Terri Batcheller Annie Whee ler LINCOLN CENTER FESTIVAL 2014

The Passenger Production Team Lincoln Center for the Performing Arts Lincoln Center for the Performing Arts Musical Preparation Bethany Self , (LCPA) serves three primary roles: presen ter Eric Melear (Mr. and Mrs. Albert B. Alkek Chair ), Patrick Harvey (Mr. and Mrs. James A. of artistic programming, national leader in Elkins Jr. Endowed Chair ), Elena Lacheva arts and education and community rela - (Lynne Murray Sr. Educational Foundation Fellow ) tions, and manager of the Lincoln Center Stage Manager Kristen E. Burke campus. A presenter of more than 3,000 Assistant Director Katrina Bachus free and ticketed events, performances, Prompter Bethany Self tours, and educational activities annually, Surtitles Mena Mark Hanna LCPA offers 15 series, festivals, and pro - Surtitles cued by Mena Mark Hanna grams including American Songbook, Avery Fisher Artist Program, Great Houston Grand Opera Performers, Lincoln Center Books, Lincoln Acknowledgements Center Dialogue , Lincoln Center Festival, Houston Methodist is the official health Lincoln Center Out of Doors, Lincoln care provider for Houston Grand Opera. Center Vera List Art Project, Midsummer Night Swing, Martin E. Segal Awards, Meet United Airlines is the official airline of the Artist , , Target Houston Grand Opera. Free Thursdays , and the White Light Festival, as well as the Emmy Award–win - The activities of Houston Grand Opera are ning Live From Lincoln Center , which airs supported in part by funds provided by the nationally on PBS. As manager of the City of Houston and Theater District Lincoln Center campus, LCPA provides Improvement, Inc., and by a grant from the support and services for the Lincoln Center Texas Commission on the Arts. complex and the 11 resident organizations. In addition, LCPA led a $1.2 billion campus Lincoln Center Festival Since its inaugural season in 1996, Lincoln renovation, completed in October 2012. Center Festival has received worldwide attention for presenting some of the broad - Lincoln Center Festival est and most original performing arts pro - Acknowledgements grams in Lincoln Center’s history. The 2014 The Passenger is used by arrangement Festival will have 49 performances. Now in with Peermusic Classical, New York and its 19th year, the Festival has presented more Hamburg, publisher, and copyright holder. than 1,300 performances of opera, music, dance, theater, and interdisciplinary forms by Lincoln Center Festival gratefully acknowl - internationally acclaimed artists from over 50 edges the Polish Cultural Institute of New countries. To date, the Festival has commis - York for its support in bringing Zofia sioned more than 40 new works and offered Posmysz to New York for the performances some 139 world, U.S., and New York pre - of The Passenger and panel discussions. mieres. It places particular emphasis on showcasing contemporary artistic viewpoints Lighting Equipment PRG Lighting and multidisciplinary works that challenge Sound Equipment Audio Production the boundaries of traditional performance. Services LINCOLN CENTER FESTIVAL 2014

Marjorie L. Hart Park Avenue Armory Karl Katz Part American palace, part industrial shed, Edward G. Klein Park Avenue Armory is dedicated to support - Ken Kuchin ing unconventional works in the visual and per - Pablo Legorreta Ralph Lemon forming arts that need non-traditional spaces Burt Manning for their full realization, enabling artists to cre - Heidi McWilliams ate and audiences to experience epic and David S. Moross adventurous presentations that cannot be Gwendolyn Adams Norton Joel I. Picket mounted elsewhere in New York City. In its Joel Press first seven years, the Armory opened its doors Genie H. Rice to visionary artists, directors, and impresarios Janet C. Ross Jeffrey Silverman who provided extraordinary experiences in a Emanuel Stern range of art forms. Such was its impact that in Angela E. Thompson December 2011, noted, Donald J. Toumey Deborah C. van Eck “Park Avenue Armory has arrived as the most important new cultural institution in New York Wade F.B. Thompson , City.” Built between 1877 and 1881, Park Founding Chairman, 2000-09 Avenue Armory has been hailed as containing “the single most important collection of 19th Park Avenue Armory Staff century interiors to survive intact in one build - President and Executive Producer ing ” by the New York City Landmarks Rebecca Robertson Preservation Commission. The 55,000-square- Artistic Director Alex Poots foot Wade Thompson Drill Hall, with an 80- Executive Assistant to the President Laura Allen foot-high barrel vaulted roof, is one of the Manager of Institutional Giving largest unobstructed spaces in New York City. Elizabeth Bennett The Armory’s magnificent reception rooms Director of Special Events Liz Bickley Collection Manager David Burnhauser were designed by leaders of the American Associate Technical Director David Crouse Aesthetic Movement, among them Louis Porter Leandro Dasso Comfort Tiffany, Stanford White, Candace Accountant Khemraj Dat Wheeler, and Herter Brothers. The building is Director of Facilities Jay T. Dority currently undergoing a $200-million renovation Managing Director Lissa Frenkel designed by Herzog & de Meuron. Chief Financial and Administrative Officer Peter Gee Development Events Coordinator Mary Greene Senior Advisor, Special Projects Park Avenue Armory Board of Directors Isabelle Harnoncourt Co-Chairman Elihu Rose, PhD. Building Mechanic Reginald Hunter Co-Chairman Adam R. Flatto Office Manager Antonella Inserra President and Executive Producer Education Director Cassidy Jones Rebecca Robertson Project Coordinator Allison Kline Marina Abramov i’c Major Gifts Officer Jill Turner Lloyd Harrison M. Bains Security Director Wayne Lowery Kent L. Barwick Chief Development Officer and VP of Planning Wendy Belzberg Heather Lubov Emma Bloomberg Operations Manager Jason Lujan Carolyn Brody Development Assistant Rebecca Mosena Cora Cahan Production Coordinator Utsuki Otsuka Peter Clive Charrington Tessitura Application Manager Daniel Park Hélène Comfort Sanford B. Ehrenkranz Executive Assistant to the Chief Development Michael Field Officer Charmaine Portis David Fox Porter Nancy Ramirez-Gomez LINCOLN CENTER FESTIVAL 2014

Director of Design and Construction Kirsten Reoch Public support for this production has been Superintendent William Say provided by the New York State Council on the Technical Director Jerad Schomer Arts with the support of Governor Andrew Manager of Corporate Relations Jennifer Elise Smith Cuomo and the New York State Legislature. Director of Membership and Events Heather Thompson Support for Park Avenue Armory’s artistic Director of Marketing Tom Trayer season has been generously provided by Finance Director Ted Vasquez The Andrew W. Mellon Foundation, Booth Youth Corps Coordinator Libby Vieira da Cunha Ferris Foundation, The Harold and Mimi Security Manager Bernie Waters Education Coordinator Monica Weigel Steinberg Charitable Trust, The Shubert Foundation, the Fan Fox and Leslie R. Park Avenue Armory Sponsors Samuels Foundation, the Marc Haas Foundation, the Leon Levy Foundation, the Citi and Bloomberg Philanthropies are Juliet Lea Hillman Simonds Foundation, and the Armory’ s 2014 season sponsors. the Isak and Rose Weinman Foundation.

Supporters of Park Avenue Armory Park Avenue Armory expresses its deep appreciation to the individuals and organizations listed here for their generous support for its annual and capital campaigns.

$1 Million or More $250,000 to $499,999 Mr. and Mrs. William C. National Endowment for Charina Endowment Michael Field and Jeff Tomson the Arts Fund, Inc. Arnstein Lizabeth and Frank Empire State Local The Rockefeller $25,000 to $99,999 Newman Development Foundation The Avenue Association Gwen and Peter Norton Corporation Marshall Rose Family Harrison and Leslie Bains Joan and Joel I. Picket New York City Council Foundation Emily and Len Blavatnik The Pinkerton and Council Member British Council Foundation Daniel R. Garodnick $100,000 to $249,999 Carolyn S. Brody Slobodan Randjelovic New York City The Achelis and Bodman Burberry and Jon Stryker Department of Cultural Foundations Paul Chan and Don Rhodebeck Charitable Affairs Linda and Earle S. Toumey Trust The Pershing Square Altman Chanel, Inc. Genie and Donald Rice Foundation American Express C-III Capital Partners LLC Janet C. Ross Susan and Elihu Rose Historic Preservation Hélène and Stuyvesant Fiona and Eric Rudin The Arthur Ross Fund Comfort Caryn Schacht and David Foundation and J & AR Bloomberg The Cowles Charitable Fox Foundation Philanthropies Trust The Shubert Foundation Joan and Joel Smilow Booth Ferris Foundation Crum & Forster Amy and Jeffrey The Thompson Family Marjorie and Gurnee Hart Emme and Jonathan Silverman Foundation Ken Kuchin and Tyler Deland Skadden, Arps, Slate, Wade F.B. Thompson* Morgan Lisa and Sandy Meagher & Flom LLP The Zelnick/Belzberg Mr. and Mrs. Peter L. Ehrenkranz Diane and Thomas W. Charitable Trust Malkin and The Malkin Sandi and Andrew Farkas Smith Anonymous (1) Fund, Inc. / Island Capital Group Sanford Smith and Jill Mr. and Mrs. Thomas Florence Fearrington Bokor $500,000 to $999,999 McWilliams Olivia and Adam Flatto The Harold and Mimi Citi Mr. and Mrs. Lester S. Elizabeth Morse Genius Steinberg Charitable Almudena and Pablo Morse, Jr. Foundation Trust Legorreta New York State Mr. and Mrs. Andrew Nanna and Daniel Stern The Andrew W. Mellon Assembly Gundlach and the Deborah Van Eck Foundation New York State Council Anna-Maria and Anonymous (1) Adam R. Rose and Peter on the Arts Stephen Kellen R. McQuillan Daniel and Joanna S. Foundation $10,000 to $24,999 Donna and Marvin Rose Kirkland & Ellis LLP Lindsey Adelman Schwartz Stavros Niarchos Lynne and Burt Manning Lily Auchincloss Liz and Emanuel Stern Foundation Cindy and David Moross Foundation, Inc. LINCOLN CENTER FESTIVAL 2014

Abigail and Joseph Juliet Lea Hillman Andrea Gluck National Philanthropic Baratta Simonds Foundation Gail Golden and Carl Trust Kelly Behun and Jay Margaret Smith Icahn Patty Newburger and Sugarman Sarah and Howard Valerie Gordon Johnson Bradley Wechsler Emma Bloomberg and Solomon John Gore Nancy Newcomb and Chris Frissora Judith and A. Alfred Sarah Gould and David John Hargraves Brown Harris Stevens Taubman Steinhardt Georgiana and Eric Noll Eileen Campbell and Tishman Construction, an Renata and Guenther E. Francesca and Dick Nye Struan Robertson AECOM Company Greiner Oberdier Ressmeyer Pamela and J. Michael Tishman Speyer Allen and Deborah LLP Cline Properties, LP Grubman Nancy and Morris W. Mrs. Daniel Cowin World of Deco Liliane and Christian Offit Mary Sharp Cronson; Mr. and Mrs. William Haub David Orentreich, MD / Paul Cronson; Caroline Zeckendorf Sheila and Isaac Orentreich Family Cronson Anonymous (3) Heimbinder Foundation William F. Draper Elizabeth and Dale Beverly and Peter Andra and John $5,000 to $9,999 Hemmerdinger Orthwein Ehrenkranz Akustiks, LLC Beth Jacobs Mr. and Mrs. Mark Joseph Frank Melissa Arana Mr. and Mrs. Andrew Ostroff Kathy and Richard Fuld Jody and John Arnhold Jarecki Katharina Otto-Bernstein The Felicia Fund Martin Atkin and Reid Nadine Johnson and Nathan Bernstein Ella M. Foshay and Balthaser Nancy Josephson Oxley Gin Michael B. Rothfeld Milton and Sally Avery Jennie Kassanoff and Mr. and Mrs. Simon Lorraine Gallard and Arts Foundation Dan Schulman Palley Richard H. Levy Tina Brown Florence and Robert Mindy Papp John and Kiendl Gordon Veronica Bulgari and Kaufman Cynthia Hazen Polsky Susan and Peter Stephan Haimo Mr. and Mrs. Dan and Leon B. Polsky Gottsegen Janna Bullock Keegan Anne and Skip Pratt Agnes Gund Marian and Russell Burke Christian K. Keesee Preserve New York, a Marc Haas Foundation Lyor Cohen Lola Kirke grant program of Molly Butler Hart and Paula Cooper Justin Kush Preservation League of Michael D. Griffin Marina Couloucoundis Mary Kush New York Josefin and Paul Hilal Carlos Couturier Stephen S. and Wendy David J. Remnick and Brenda King Joshua Dachs / Fisher Lehman Lash Esther B. Fein Suzie and Bruce Kovner Dachs Associates The Ronald and Jo David C. Rich Leon Levy Foundation Theatre Planning and Carole Lauder Richenthal Foundation Lili Lynton and Michael Design Foundation Ellen Robinson and Ryan Mr. and Mrs. Christopher Levien & Company, Inc. Reuben Gutoff Christina and Alan Davis Mr. and Mrs. Chris Isabel Rose and Jeffrey MacDonald Kathy Deane Liddell Fagen Nancy A. Marks Decorating with Fabric, Aaron Lieber / Bruce Jonathan F.P. and Diana Larry and Mary Inc. Horten Rose McCaffrey Luis Delgado Kamie Lightburn Charles and Deborah Northern Bay Antoinette Delruelle and Ambassador and Mrs. Royce Contractors, GDO Joshua L. Steiner John L. Loeb Jr. Merle Rubine and Elliot Contracting Corp & Jacqueline Marie Didier Pat and Michael Magdol M. Glass Phoenix Contracting Peggy and Millard Drexler Shelly and Tony Malkin Kathe A. Sackler Susan Patterson and Mary Ellen Dundon Diane and Adam E. Max Edmond Safra Leigh Seippel David and Frances Mr. and Mrs. Richard E. Stacy Schiff and Marc de Platt Byard Dovell White Eberhart Foundation Mayberry, Jr. la Bruyere Architects LLP Cheryl Cohen Effron and Anne H. McInerney Nicholas and Shelley Andrea Markezin Press Blair W. Effron Cynthia and Merrill Schorsch and Joel Press Alice and David Elgart Magowan Sara Lee and Axel Schupf The Reed Foundation Inger McCabe Elliott Rebekah McCabe Stephanie and Fred Mary Jane Robertson EverGreene Thomas McGrath Shuman and James A. Clark Anna May Feige Mr. and Mrs. J. K. JLH Simonds Rebecca Robertson and Edmée and Nicholas Firth Menoudakos Ted Snowdon Byron Knief Caitlin Fisher Deborah Miller Zabel and Mr. and Mrs. Jay Snyder Lady Susie Sainsbury Bart Friedman and William D. Zabel Melissa Schiff Soros and The Fan Fox & Leslie R. Wendy A. Stein Antonia and Spiro Robert Soros Samuels Foundation Samantha and John Milonas Sotheby’s William H. and Patricia Gellert Whitney and Andrew Patricia Brown Specter Sandholm Barbara and Peter Mogavero Gayfryd Steinberg Carl Saphier Georgescu Sue and Alan Morris Michael and Joan Dr. and Mrs. Thomas P. Mr. and Mrs. George J. The Donald R. Mullen Steinberg Sculco Gillespie, III Family Foundation, Inc. Steinway & Sons LINCOLN CENTER FESTIVAL 2014

Miriam and Howard N. Mr. and Mrs. Carlton Amy Guttman Eileen and Tom Pulling Stern Cabot Mike & Janet Halvorson Mr. and Mrs. William P. Mr. and Mrs. Barry Ellen Sue Cantrowitz Jane Hartley and Ralph Rayner Sternlicht Carroll M. Carpenter Schlosstein Carolyn Risoli and Joseph Elizabeth F. Stribling and Shirin and Kasper Nancy Hutson and Ian Silvestri Guy Robinson Christoffersen Williams Hal and Linda Ritch Michael and Veronica Mr. and Mrs. Alan Cohn Fred Iseman Mrs. Frederick P. Rose Stubbs Elizabeth Coleman Carola Jain Liz Rosen Sharzad and Michael Bonnie Comley and Barbara and Donald Stacy and Chuck Targoff Stewart Lane Jonas Rosenzweig Laurie M. Tisch Margaret Crotty and Rory Carol-Jeanette Jorgensen Susan and Jon Merryl H. and James S. Riggs Nina and Bill Judson Rotenstreich Tisch Bernadette Cruz Jerri Kallam Ms. and Mr. Carmina Michael Tuch Foundation Ellie and Edgar Cullman Hon. Bruce M. Kaplan Roth Universal Builders Lewis B. Cullman and and Janet Yaseen Terez Rowley Supply, Inc. (UBS) / Louise Kerz Hirschfeld Kaplan Bonnie J. Sacerdote Kevin O’Callaghan - Barbara and Ray Dalio Karl and Elizabeth Katz Nathan E. Saint-Amand President Joan K. Davidson / The Wendy Keys and Donald MD Universal Services J.M. Kaplan Fund Pels Lisa and Gregg Schenker Group, Ltd. Gina and James de Mr. and Mrs. William Roberta Schneiderman Ambassador and Mrs. Givenchy Kistler Mr. Barry Schwartz / William J. vanden Richard and Barbara Knickerbocker Greys M&F Worldwide Corp. Heuvel Debs Phyllis L. Kossoff Lise Scott and D. Ronald Amanda and John Jane and Michael Rok Kvaternik Daniel Waldron DeFlorio Fernand Lamesch Alan and Sandy Siegel Susan and Kevin Walsh Jennie L. and Richard K. Nina Lesevoy Mr. and Mrs. David Isak and Rose Weinman DeScherer Gail and Alan Levenstein Simon Foundation, Inc. Beth Rudin DeWoody Belda and Marcel Barbara Slifka Patricia Wexler Hester Diamond Lindenbaum Carolyn M. Sofka Marcia Whitaker The East Pole John Lippert and Dawn Stephanie and Dick Solar Kate R. Whitney and Anne and Joel D’Aluisio Sonnier & Castle Food Franklin A. Thomas Ehrenkranz Heather Lubov Daisy Soros and Paul Beth Windsor Leland and Jane Gina Giumarra MacArthur Soros* Valda Witt and Jay Englebardt Benjamin and Hillary Stanley Stairs Hatfield Dr. Nancy Eppler-Wolff Macklowe Diane and Sam Stewart Judy Francis Zankel and Mr. John Wolff Melissa Meeschaert Angeline Straka Anonymous (2) Mr. & Mrs. Robin S. Joyce F. Menschel Mr. and Mrs. Melville Esterson Alexandra and Les Straus $2,500 to $4,999 Michael Finkelstein Meyers Mr. and Mrs. Paul Tanico ABSOLUT Fisher Marantz Stone Peter de.F. Millard Ellen and William R. Mark Adams, William Foreground Conservation Malu and Sergio Taubman Ritt, Joan Sussman and Decorative Arts Millerman Rabbi Malcolm Thomson Affinia Gardens & The Susan Freedman and Mr. and Mrs. Robert E. Barbara and Donald Tober Surrey Richard J. Jacobs Mnuchin Tony’s DiNapoli Olga Aidinian Amandine and Stephen Achim and Colette R.T. Vanderbilt Trust / Mr. Cristi Andrews Cohen Freidheim Moeller and Mrs. Hugh B. Helen and Robert Appel Ashley Garrett and Alan Nina and Frank Moore Vanderbilt, Jr. Ark Restaurants Corp. K. Jones Lauren and Don Morel Mr. and Mrs. William Von Frances Beatty The Georgetown Barbara and Howard Mueffling Candace and Rick Company Morse Anastasia Vournas and J. Beinecke Sallie Giordano Mary Kathryn Navab William Uhrig Judy and Howard Cynthia and Peter Ilona Nemeth and Alan David Wassong Berkowitz GoettlerMindy and Jon Quasha Michael Weil Sara and David Berman Gray Elyse and Michael Karla Wheeler Stephanie Bernheim Great Performances Newhouse Mr. and Mrs. Malcolm H. Debra and Leon Black The William and Mary Anne and Chuck Wiener Allison M. Blinken Greve Foundation Niemeth Daniel Clay Houghton Torrence Boone and Ted Jeff and Kim Greenberg Marie Nugent-Head and Shannon Wu Chapin Paula S. Greenman James C. Marlas Amy Yenkin and Robert Noreen and Kenneth Mr. and Mrs. Peter Kathleen O’Grady Usdan Buckfire Gregory Mary Ellen and Richard Melva Bucksbaum and Robert S. Grimes Oldenburg Raymond Learsy RJ and Anne Grissinger Susan Ollila List as of June 25, 2014 Sandra Buergi and Carol Mr. and Mrs. Frederick Rebecca Pietri Flaton Guest Mr. and Mrs. Robert * Deceased Sandra and Jack Burnett Sarah and Geoffrey Gund Pruzan LINCOLN CENTER FESTIVAL 2014

Lincoln Center Festival/Park Avenue Armory Facilities and Services

The Park Avenue Armory is a National Historic Information and Access for Patrons with Landmark. While visiting here please treat the Disabilities building with care and respect. Restrooms for persons with dis - Photography or any audio or video recording abilities are located on the first is strictly prohibited for any performance. floor inside the Drill Hall. The possession of any device for such pho - tographing or recording without written permission from management is prohibited by law. Offenders may be ejected and liable for damages and other lawful remedies. Large Type and Braille Programs are available free of charge. Lincoln Center’s Large Type and Fire Notice Please take a moment to identify Braille program services are made possible the emergency exit nearest your seat. Exits thanks to a generous endowment established are indicated by red lighted EXIT signs. In the by Fredrick P. Rose, Daniel Rose, and Elihu Rose event of fire or emergency please do not in honor of their mother, Belle B. Rose. run—walk to that exit. Infrared Hearing Systems are First Aid If you have an emergency or need available from a table located in the first aid, please approach the nearest usher or North Hall. security guard for assistance. For individuals requiring Concessions Available in the North Hall pre- assisted access performance and at intermission. A sidewalk-level entrance is available at 103 East 66th Street, located just off Park Armory After-Hours Enjoy a drink with fel - Avenue. Patrons can ring the service bell when low attendees after Saturday, July 12, and they arrive, or can make arrangements prior to Sunday, July 13, performances in the Armory’s arrival by calling the main security desk at historic rooms. (212) 616–3950, extension 1.

Restrooms Located on the lower level. Management reserves the right to remove any and all mobility assistive devices (walkers, Lost and Found (212) 616–3950, extension 1 . wheelchairs, etc.) when such devices obstruct Management is not responsible for personal a means of egress or ingress, causing a viola - items or other property brought into the Park tion of the fire safety provisions of the New Avenue Armory. Patrons are advised to take York City Building Code. Management will their belongings with them whenever they make all reasonable efforts to ensure that leave their seats. patrons will have access to their devices upon request, during intermission, and at the end of the performance.

For further accessibility information or to obtain a complimentary accessibility guide, call the Department of Programs and Services for People with Disabilities at (212) 875-5375. Japanese Artisan Village

During Nakamura-za’s New York engagement, be sure to visit the Japanese Artisan Village located on Lincoln Center’s Josie Robertson Plaza, right by the fountain. Comprised of a series of charming shop stalls modelled on nagaya—traditional bungalows built in rows—the village offers a variety of traditional one-of-a-kind Japanese handicrafts available for sale. From pottery and delicately carved and painted nihon ningyo (dolls) in kimonos cut from antique fabrics, to tenugui (fine cotton towels), intricately painted sensu (hand fans), and kanzashi (hair ornaments), each item represents a craft that has evolved from ancient folk traditions passed from one hand to another, over generations, to create finely wrought works of intricate beauty.

Open Sun–Thurs 12–8pm; Fri–Sat 12–9pm For more information visit LincolnCenterFestival.org. Are you an LC Kid?

LC Kids makes Lincoln Center and the performing arts accessible to children between the ages of 2 and 12 through interactive performances, behind-the-scenes tours, educational activities and so much more. Become an LC Kids family today.

Learn more at LincolnCenter.org/LCKids or call Kristel Kempin at 212.875.5443

Photo: Martin Schott