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Home , Kyrie (Vivaldi), Michael Weinius, Nina Stemme, Thomas Dausgaard

Sunday, November 12, 2017, at 3:00 pm

Pre-concert lecture by Andrew Shenton at 1:45 pm in the Stanley H. Kaplan Penthouse

Missa Solemnis

Swedish Chamber Orchestra , Conductor Malin Christensson , Soprano Kristina Hammarström , Mezzo-Soprano , Josef Wagner , Bass Swedish Radio Choir Peter Dijkstra , Choral Director

BEETHOVEN Mass in D major, Op. 123 (“Missa solemnis”) (1819–23) Kyrie Sanctus Agnus Dei

This program is approximately 80 minutes long and will be performed without intermission.

This performance is also part of Great Performers.

This program is supported by the Leon Levy Fund for Symphonic Masters. Symphonic Masters is made possible in part by endowment support from UBS. This performance is made possible in part by the Josie Robertson Fund for Lincoln Center.

David Geffen Hall Please make certain all your electronic devices are switched off.

WhiteLightFestival.org Support for Great Performers is provided by Rita E. UPCOMING WHITE LIGHT FESTIVAL EVENTS: and Gustave M. Hauser, Audrey Love Charitable Foundation, Great Performers Circle, Chairman’s Tuesday, November 14 at 7:30 pm at Church of St. Council, and Friends of Lincoln Center. Mary the Virgin Swedish Radio Choir Public support is provided by the New York State Peter Dijkstra , conductor Council on the Arts with the support of Governor MAIJA EINFELDE: Lux aeterna Andrew M. Cuomo and the New York State SVEN-DAVID SANDSTRÖM: En ny himmel och en Legislature. ny jord Endowment support for Symphonic Masters is ANDERS HILLBORG: Mouyayoum provided by the Leon Levy Fund. SCHNITTKE: Concerto for Choir Endowment support is also provided by UBS. Wednesday, November 15 at 7:30 pm in the Rose American Airlines is the Official Airline of Lincoln Theater Center The Routes of Slavery Nespresso is the Official Coffee of Lincoln Center Jordi Savall , director John Douglas Thompson , narrator NewYork-Presbyterian is the Official Hospital of Hespèrion XXI Lincoln Center La Capella Reial de Catalunya Artist Catering provided by Zabar’s and Zabars.com The Fairfield Four Jordi Savall and international artists representing Europe, Africa, and the Americas explore the extra - ordinary resilience of the human spirit. Pre-concert talk with Jordi Savall and Ara Guzelimian at 6:15 pm in the Agnes Varis and Karl Leichtman Studio

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We would like to remind you that the sound of coughing and rustling paper might distract the performers and your fellow audience members. In consideration of the performing artists and members of the audience, those who must leave before the end of the performance are asked to do so between pieces. The taking of photographs and the use of recording equipment are not allowed in the building. Snapshot By Christopher H. Gibbs

In 1822 Beethoven stated that his Mass in D major (“Missa solemnis”) was the “greatest work I have composed so far.” Even allowing for the fact that he was pitching the piece to a publisher and that by this late point in his career he had not yet composed his Ninth Symphony and late string quartets, his declaration deserves to be taken seriously.

The Missa solemnis is Beethoven’s largest and longest composition (not counting the opera ), yet at the same time is one of his most intimate and personal. He inscribed the opening of the Kyrie movement with the words: “From the heart—may it again—go to the heart!” The work came at a crucial juncture in Beethoven’s life: As the aging and deaf composer increasingly withdrew from society, he created a musical testimony that is a supreme expression of personal belief.

—Copyright © 2017 by Christopher H. Gibbs

WhiteLightFestival.org Notes on the Program the concert hall was transformed into a church, and the Mass into a concert piece.” By Christopher H. Gibbs Perhaps Beethoven recognized some of the greatness of the Missa solemnis in his Mass in D major, Op. 123 (“Missa solem - hard-won ability to combine so much of nis”) (1819–23) music history, so much of the sacred and the secular, all the while expressing his Born December 16, 1770, in Bonn, Germany spiritual beliefs: “My primary goal in com - Died March 26, 1827, in Vienna posing this grand Mass was to awaken and permanently instill religious feelings in both Approximate length: 80 minutes the singers and listeners.”

The initial impetus for Beethoven to com - The composer’s own religious feelings are pose the Missa solemnis was personal. not easy to characterize. Although he was Archduke Rudolph, son of Emperor exposed to a considerable amount of Leopold II, was his student and foremost Catholic sacred music during his youth in patron. Early in 1819, Pope Pius VII made his native Bonn and often participated as the archduke a Cardinal and then an organist in services, there is no indica - announced that he would become tion that he later supported any organized Archbishop of Olmütz (now in the Czech religion. He sought rather to create his Republic). In a letter of congratulations, own combination of sacred systems, spiri - Beethoven promised to compose a Mass tuality, and morality—what biographer “so that my poor talents may contribute to Maynard Solomon has called his “quest for the glorification of that solemn day.” But faith.” We find frequent entreaties, the composer had set himself an impossi - prayers, and expressions of thanks to God ble deadline, especially as the scope of the scattered in his sketches, manuscripts, let - work grew and other commitments, ters, and diaries. We even know some of together with health problems, distracted the relevant materials he read, which him. The Mass ultimately took some four included books on Eastern religious years to complete and the first perfor - thought. Classical antiquity also attracted mance occurred in distant St. Petersburg. him; he noted that “Socrates and Jesus Beethoven himself only heard (to the very have been my models.” Beethoven did not limited extent he could hear anything at all compose a large quantity of religious at this late point in his life) three move - music—principally some songs, an orato - ments that were performed in May 1824, rio, and an earlier Mass. And yet many of the occasion on which his Ninth Symphony his compositions strike listeners as “spiri - premiered. tual,” such as the exquisite slow move - ment of his late String Quartet in A minor, In the Missa solemnis, Beethoven Op. 132, which he labelled “Song of attempted to reconcile conventional Thanksgiving to the Deity on Recovery Christian views and Enlightenment rational - from Illness.” ism with more personal spiritual impulses. Even though he initially conceived it for The Missa solemnis unfolds in the five Archduke Rudolph’s installation ceremony, movements of the Mass Ordinary, those in he merged features associated with the which the words are the same at every traditional church Mass and music for the service. The opening Kyrie has the short - concert hall. The length of the work alone est text and is the only part in Greek rather virtually precludes its liturgical use. As than Latin. Beethoven’s music for this sim - music historian Carl Dahlhaus remarked, ple threefold plea for mercy is restrained “With the composition of a concert Mass, and reverent, presented by the full orches - tra, four vocal soloists, and chorus. ends with a monumental double fugue “Et Beethoven sought ways to unify the entire vitam venturi.” Mass through various musical ideas first presented in the Kyrie that reappear later. The initial celebratory words of the Sanctus derive from ancient Jewish rites The next two movements (Gloria and (Isaiah 6:3) and are followed by the serene Credo) have many more words and there - Benedictus (Matthew 21:9). These parts fore call for greater proportions and more invite contrasting musical treatment. The rapid declamation. Each one, subdivided tempo increases for the sections within into smaller sections, lasts more than 15 the Sanctus, from adagio , to allegro minutes. The Gloria, a long hymn of praise, pesante , to presto . In many Masses, this is is particularly joyous. After a lyrical middle the point in the service when the section (“Gratias agimus tibi”), the fervor Consecration and Elevation of the Host mounts to the end. Beethoven includes an occurs, often accompanied by organ expected fugue (“in gloria Dei Patris. improvisation. Beethoven adapts this tradi - Amen”), and then surprisingly returns to tion by inserting an instrumental the opening word, “Gloria.” The Credo— “Praeludium” with an ethereal violin solo. the Nicene Creed from the fourth cen - The final Agnus Dei alternates between tury—offers a recital of belief. Beethoven’s themes of peace and war. Beethoven mighty opening testifies to an emphatic conviction. He uses an imposing four-note headed the movement with the inscrip - motif, first intoned by the basses at the tion: “Prayer for inner and outer peace” opening, which returns at critical junctures and his music shows the struggle to and serves to support the larger architec - achieve this state. The drumrolls and mili - tural scaffolding. This allows for a variety of tary fanfares that evoke battle initially con - moods that reflect the meaning of the fused and upset some critics, who found words, which can be quite graphic. A solo the section inappropriately operatic, flute suggests the sounds of a dove, repre - although eventually peace triumphs. senting the Holy Ghost, in the “Et incarna - tus est.” The “Et resurrexit” is one of the Christopher H. Gibbs is James H. Ottaway most brilliant and exciting passages, with Jr. Professor of Music at Bard College. rising scales in chorus and orchestra repre - senting the risen Savior. The movement —Copyright © 2017 by Christopher H. Gibbs

WhiteLightFestival.org Illumination

O Ignis Spiritus Paracliti (“O Fire of God, the Comforter”) By Hildegard of Bingen

O Fire of God, the Comforter, O life of all that live, Holy art thou to quicken us, and holy, strength to give: To heal the broken-hearted ones, their sorest wounds to bind, O Spirit of all holiness, O Lover of mankind! O sweetest taste within the breast, O grace upon us poured, That saintly hearts may give again their perfume to the Lord. O purest fountain! we can see, clear mirrored in thy streams, That God brings home the wanderers, that God the lost redeems. O breastplate strong to guard our life, O bond of unity, O dwelling-place of righteousness, save all who trust in thee: Defend those who in dungeon dark are prisoned by the foe, And, for thy will is aye to save, let thou the captives go. O surest way, that through the height and through the lowest deep And through the earth dost pass, and all in firmest union keep; From thee the clouds and ether move, from thee the moisture flows, From thee the waters draw their rills, and earth with verdure glows, And thou dost ever teach the wise, and freely on them pour The inspiration of thy gifts, the gladness of thy lore. All praise to thee, O joy of life, O hope and strength, we raise, Who givest us the prize of light, who art thyself all praise.

—Translated from the Latin by Richard Frederick Littledale

For poetry comments and suggestions, please write to [email protected]. Meet the Artists As a recording artist, he enjoys long-stand - ing relationships with the BIS and Da Capo labels, having recorded well over 70 CDs, including complete symphonic cycles by L

H Beethoven, Schubert, Schumann, and A D N

Ø . His most recent release R G is a critically acclaimed recording of S A Thomas M Mahler’s Symphony No. 10 (completed by O H T Dausgaard Deryck Cooke, version III) with the Seattle Thomas Dausgaard is chief conductor of Symphony. He is currently completing a the Swedish Chamber Orchestra and the Brahms cycle for BIS Records, and, with BBC Scottish Symphony Orchestra. He is the Swedish Chamber Orchestra, a project also honorary conductor of Orchestra della that combines Bach’s Brandenburg Toscana (ORT) and the Danish National Concertos with six newly commissioned Symphony Orchestra. In 2019 Mr. companion works. Mr. Dausgaard has Dausgaard begins his appointment as been awarded the Cross of Chivalry by the music director of the . Queen of , and was elected to the He is renowned for his creativity and inno - Royal Academy of Music in Sweden. vation in programming, the excitement of his live performances, and his extensive catalogue of critically acclaimed recordings.

Mr. Dausgaard performs with the world’s G R U leading orchestras, appearing in recent sea - B L H A sons with the Munich Philharmonic, MDR I Malin S S

Leipzig Radio Symphony Orchestra, Kon- U S Christensson zert hausorchester Berlin, Vienna Sym- Born in Sweden, Malin Christensson phony, London and BBC Symphony (soprano) studied at the Royal College of Orchestras, L’Orchestre philharmonique de Music. Operatic highlights include Radio France, as well as the Philharmonia Susanna ( Le nozze di Figaro ) in Los and Royal Philharmonic Orchestras. Angeles, Lisbon, at the Festival d’Aix-en- Provence, and in Santiago; Barbarina at the Mr. Dausgaard began his North American ; Zerlina ( Don Giovann i) at career assisting Seiji Ozawa, and has since the Houston Grand Opera and at the appeared with the Cleveland Orchestra; Festival; Sophie ( Werther ) in Los Angeles Philharmonic; the Boston, Baden-Baden; Marzelline ( Fidelio ) at the National, and Baltimore symphony orches - Ludwig van Beethoven Easter Festival in tras; Houston Symphony; Los Angeles Warsaw; Drusilla ( L’incoronazione di Chamber Orchestra; as well as the Toronto Poppea ) at the Drottningholms Slotts - and Montreal Symphony Orchestras. He teater; Miss Wordsworth ( Albert Herring ) regularly visits Asia and Australia, appear - at the Glyndebourne Festival; Flower ing in recent seasons with the New Japan Maiden ( Parsifa l) at Royal Opera House, Philharmonic, Hong Kong Philharmonic Covent Garden; and Papagena ( Die Orchestra, and the Sydney and Melbourne Zauberflöte ) in Montpellier, at the Théâtre Symphony Orchestras. Festival appear - du Châtelet, and at the Vienna Festival. ances have included the BBC Proms; Edinburgh International, Salzburg, Mostly Recent concert highlights have included Mozart, and George Enescu festivals; and Bach’s St. Matthew Passion with the Phila- Tanglewood. delphia Orchestra and Yannick Nézet- Séguin;

WhiteLightFestival.org the Weihnachtsoratorium with the Gewand - (Antwerp), Deutsche Oper am Rhein haus Orchestra of Leipzig and Trevor (Düsseldorf), Opéra de Lausanne, Grand Pinnock; Bach’s Mass in B minor with the Théâtre de Genève, Ópera de Bilbao, Royal Boston Symphony Orchestra and Andris Swedish Opera, Festival d’Aix-en- Nelsons; Beethoven’s Symphony No. 9 Provence, and Innsbrucker Festwochen with the Swedish Radio Symphony der Alten Musik. Her opera roles include Orchestra and Herbert Blomstedt; Haydn’s Charlotte in Werther , Octavian in Der Die Schöpfung with the Oslo Philharmonic Rosenkavalier , Rosina in Il barbiere di and Harry Bicket; Orff’s Carmina Burana Siviglia , Marguerite in Berlioz’s La damna - with the London Symphony Orchestra and tion de Faust , Arsace in , Daniel Harding; Mozart’s Mass in C minor Penelope in Il ritorno d’Ulisse in patria , and with the City of Birmingham Symphony numerous roles in operas by Mozart, Orchestra and Andris Nelsons; Nielsen’s Handel, and Vivaldi. Upcoming highlights Springtime on Funen at the BBC Proms include appearances at the Paris Opera and with the BBC Symphony Orchestra and Berlin State Opera. Andrew Litton; Adele in with the Philharmonia Orchestra and John Ms. Hammarström regularly works with Wilson; and Mahler’s Symphony No. 4 with conductors such as Herbert Blomstedt, the Nürnberger Symphoniker and William Christie, Jesús López Cobos, Alan Alexander Shelley. Curtis, Alessandro De Marchi, Marc Minkowski, Ádám Fischer, , Upcoming and recent projects include Emmanuelle Haïm, Philippe Herreweghe, Mahler’s Symphony No. 2 and Freia in Das Christopher Hogwood, René Jacobs, Fabio Rheingold with the Boston Symphony Luisi, Paul McCreesh, John Nelson, Yannick Orchestra, Missa solemnis on tour with the Nézet-Séguin, George Petrou, Josep Pons, Swedish Chamber Orchestra in Sweden, Christoph e Rousset, and Jean-Christophe Denmark, and the U.S., Handel’s Messiah Spinosi. Sought after in concert halls and with Nathalie Stutzmann and the Gothen- festivals throughout Europe and Asia, her burg Symphony Orchestra, Handel’s Silete repertoire includes Berlioz’s Les nuits venti with the Budapest Festival Orchestra, d’été ; Mahler’s Kindertotenlieder , Lieder and Waldvogel in Wagner’s with eines fahrenden Gesellen , Des Knaben Hallé Orchestra. Wunder horn , and Das Lied von der Erde ; Brahms’s Alto Rhapsody ; Elgar’s Sea Pictures ; Beethoven’s Symphony No. 9 and Missa solemnis ; Bernstein’s Symphony No. 1; as well as a large number of masses R

E and oratorios. K C Ä B

S Kristina

T Ms. Hammarström has recorded the title A

M Hammarström role in Giulio Cesare , Giulia in Handel’s Kristina Hammarström (mezzo-soprano) Alessandro Severo , Idamante in Idomeneo , frequently appears at opera houses such in Mitridate, re di Ponto , Cecilio in as the Berlin and Vienna State Operas, Lucio Silla , Bach’s Christmas Oratorio , Teatro alla Scala, Opéra national de Paris, Mozart’s Requiem, and Handel’s Messiah. Théâtre des Champs-Élysées, Théâtre du DVD releases include Bradamante in Capitole (Toulouse), Opéra national du Rhin Alcina , Bradamante in Vivaldi’s Orlando (Strasbourg), Théâtre Royale de La furioso , and Daniel in Belshazzar . Monnaie (Brussels), Vlaamse Opera 2006 Prize for singers, and in 2008 was the winner of Seattle Opera’s International Wagner Competition. In 2013 Mr. Weinius received the honorable title of court singer from King Carl XVI Gustaf. Michael Weinius Michael Weinius (tenor), born in , has rapidly established himself R

as one of Europe’s most sought-after E D I . Following his transition from bari - A H

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tone to tenor in 2004, Mr. Weinius E T

S Josef Wagner achieved success in roles such as Laca in Janá cˇ ek’s Jen ůfa at the NorrlandsOperan Austrian bass/ Josef Wagner in Sweden, Loge in with (bass) studied at the University of Music Gothenburg Symphony Orchestra under and Performing Arts in Vienna with Kurt , and Sergei in Lady Macbeth Equiluz and Robert Holl. He currently stud - of the Mtsensk District at the Wermland ies with Wicus Slabbert. Following his Opera in Karlstad, Sweden. Other notable stage debut as Don Alfonso in Così fan engagements include Riccardo in Un ballo tutte and as Dulcamara in L’elisir d’amore , in maschera at Malmö Opera; Turiddu in Mr. Wagner became a member of the at Royal Swedish ensemble Vienna Volksoper in 2002, where Opera; the title role in both in he sang the roles of Figaro ( Le nozze di Mannheim and at Wermland Opera; Dick Figaro ), Papageno ( Die Zauberflöte ), and Johnson in and recently, the title role in Achim Freyer’s pro - Herodes in at the Malmö Opera; duction of Don Giovanni . Siegmund in Die Walküre at ; and Don José in at Opera In 2006 he gave his debut at the Salzburg Hedeland in Denmark. Festival as Don Cassandro ( La finta sem - plice ). Since then, he has performed such Mr. Weinius’s recent and future highlights roles as Herkules in Anton Schweitzer’s include Parsifal for Deutsche Oper am Alceste with Concerto Köln under the Rhein in Düsseldorf, Finnish National baton of Michael Hofstetter; Lord Sidney ( Il Opera, Bayerische Staatsoper in Munich, viaggio a Reims ) at Israeli Opera; Nick and Royal Swedish Opera; Siegmund for Shadow ( The Rake’s Progress ) at Angers Nationale Reisopera, Nationaltheater Nantes Opéra; Frank ( Die Fledermaus ) at Mannheim, and Opera North; Hans Grand Théâtre de Genève; and Escamillo Schwalb in Mathis der Maler conducted by (Carmen ) with the Bavarian Radio Christoph Eschenbach at Opéra Bastille in Symphony Orchestra and in Tel Aviv. Mr. Paris; Don José in Stockholm; in Wagner is also a regular guest at Opera Stockholm and at Deutsche Oper Berlin; as Vlaanderen, where he has sung Don well as highlights from Lohengrin in Baden- Alfonso, Ercole/Giove (Cavalli’s Giasone ), Baden with ; Tristan, Assur ( Semiramide ), Fra Melitone ( La forza Herodes, and Mao in Nixon in China at del destino ), and the title role in Don Royal Swedish Opera in Stockholm; and Giovanni . Other highlights include this year, his first Siegfried at Deutsche Jochanaan at Royal Swedish Opera with Oper am Rhein in Düsseldorf. soprano , Papageno at the Festival d’Aix-en-Provence, as well as Mr. Weinius was the recipient of the pres - Golaud ( Pelléas et Mélisande ) at Deutsche tigious 2004 Gösta Winbergh Award, the Oper Berlin. Most recently, Mr. Wagner WhiteLightFestival.org made his debut as in Opening Doors series, as well as Helsinki. This season marks his debuts as Bruckner’s Symphony No. 2. the Holländer ( Der fliegende Holländer ) and as the Ruler in Korngold’s Das Wunder The orchestra also regularly performs der Heliane (The Miracle of Heliane ) at with conductor/composer HK Gruber and Deutsche Oper Berlin, as well as his return early music specialist Andrew Manze, to Volksoper Wien with The Tales of both of whom spend several weeks each Hoffmann , to Nancy as Peter Besenbinder year at the group’s home base in Örebro, (Hänsel und Grete l), and to the Festival Sweden. Prominent visiting artists d’Aix-en-Provence as Musiklehrer ( Ariadne include Pierre-Laurent Aimard, Leif Ove auf Naxos ). Andsnes, Michael Collins, Brett Dean, and James Ehnes. Swedish Chamber Orchestra The Swedish Chamber Orchestra was Swedish Radio Choir founded in 1995 as the only full-time cham - The Swedish Radio Choir gave its first con - ber orchestra in Sweden, and was joined cert in 1925. When Eric Ericson assumed two years later by its current chief conduc - leadership in 1952, he expanded the tor, Thomas Dausgaard. For the past 19 choir’s repertoire and international reputa - years, Dausgaard has led the ensemble in tion, attracting such composers as Paul creating a unique and dynamic sound with Hindemith, Frank Martin, Igor Stravinsky, a wide range of repertoire and styles. and Aaron Copland, who went to Stockholm to hear their works performed. Comprising 39 regular members, the Swedish Chamber Orchestra made its U.K. With its wide range of expression—from and U.S. debuts with Dausgaard in 2004, the most delicate to the most powerful— performing at London’s BBC Proms and the choir has worked with leading orches - Lincoln Center’s Mostly Mozart Festival. tral conductors such as , Since then, the orchestra has toured regu - Riccardo Muti, , and the larly throughout Europe, and also made its Swedish Radio Symphony Orchestra’s debut in Japan. Tour highlights include per - own chief conductor Daniel Harding. formances in New York, Washington, Cleveland, and across the West coast of Highly acclaimed for its recordings, the the U.S.; at the BBC Proms and at the Swedish Radio Choir has made a formida - Salzburg Festival with Nina Stemme ble mark in contemporary ensemble per - (2010); as well as tours to Germany, includ - formance, having received praise by ing the orchestra’s debut at the Berliner Gramophone in 2011 as well as at the Philharmonie (2011) and a tour with Cannes Classical Awards. The choir’s Andrew Manze and clarinetist Sabine 2017–18 season includes collaborations Meyer (2012). and new commissions by composers such as Lera Auerbach, Martin Smolka, and The Swedish Chamber Orchestra contin - Jacob Mühlrad; guest performances and ues to expand its repertoire and open long-anticipated return visits to Japan and doors to new challenges; together with the U.S.; as well as a concert with the Dausgaard, the ensemble has recorded Berlin Philharmonic in Berlin. Beethoven’s complete orchestral works for Simax Classics, all of Schumann’s sym - Peter Dijkstra phonies as well Dvo řák’s Symphonies Peter Dijkstra has been chief conductor of Nos. 6 and 9 for BIS Records, Schubert’s the Swedish Radio Choir since 2007. He is Symphonies Nos. 8 and 9 as part of its also chief conductor of the Netherlands Chamber Choir. He is highly sought-after as scholars and post-performance White Light a guest conductor by orchestras and choirs Lounges. throughout the world, and has conducted the BBC Singers, RIAS Chamber Choir in Lincoln Center’s Great Performers Berlin, Norwegian Soloists’ Choir, Danish Initiated in 1965, Lincoln Center’s Great National Radio Choir, the Copen hagen Performers series offers classical and Philharmonic Orchestra, Bavarian Radio contem porary music performances from Symphony Orchestra, and the Japan the world’s outstanding symphony orches - Philharmonic Orchestra, among others. tras, vocalists, chamber ensembles, and recitalists. One of the most significant Mr. Dijkstra was awarded the Kersjes van music presentation series in the world, de Groenekan Prize for young orchestral Great Per formers runs from October conductors in 2002 and the Eric Ericson through June with offerings in Lincoln Award in 2003, where, at the organization’s Center’s David Geffen Hall, Alice Tully Hall, competition finals, he first conducted the Walter Reade Theater, and other perfor - Swedish Radio Choir. mance spaces around New York City. From symphonic masterworks, lieder recitals, Mr. Dijkstra was born in Roden, Holland in and Sunday morning coffee concerts to 1978. In his youth, he sang with the boys’ films and groundbreaking productions spe - choir Roder Jongenskoor, founded by his cially commissioned by Lincoln Center, father Bouwe Dijkstra, and also performed Great Performers offers a rich spectrum of in larger opera productions in Amsterdam, programming throughout the season. including Mozart’s Die Zauberflöte at Dutch National Opera. He studied choral and Lincoln Center for the Performing orchestral conducting and voice at the Arts, Inc. Royal Conservatory of the Hague, the Lincoln Center for the Performing Arts Hochschule für musik und Tanz Köln, and at (LCPA) serves three primary roles: presen - the Royal College of Music in Stockholm ter of artistic programming, national leader with Jorma Panula. In 1999 he formed his in arts and education and community rela - own all-male vocal group, The Gents. tions, and manager of the Lincoln Center campus. A presenter of more than 3,000 White Light Festival free and ticketed events, performances, I could compare my music to white light, tours, and educational activities annually, which contains all colors. Only a prism can LCPA offers 15 programs, series, and festi - divide the colors and make them appear; vals including American Songbook, Great this prism could be the spirit of the listener. Performers, Lincoln Center Festival, Lincoln —Arvo Pärt. Now in its eighth year, the Center Out of Doors, Midsummer Night White Light Festival is Lincoln Center’s Swing, the Mostly Mozart Festival, and the annual exploration of music and art’s power White Light Festival, as well as the Emmy to reveal the many dimensions of our inte - Award–winning Live From Lincoln Center , rior lives. International in scope, the multi - which airs nationally on PBS. As manager of disciplinary festival offers a broad spectrum the Lincoln Center campus, LCPA provides of the world’s leading instrumentalists, support and services for the Lincoln Center vocalists, ensembles, choreographers, complex and the 11 resident organizations. dance companies, and directors, comple - In addition, LCPA led a $1.2 billion campus mented by conversations with artists and renovation, completed in October 2012.

WhiteLightFestival.org Lincoln Center Programming Department Jane Moss, Ehrenkranz Artistic Director Hanako Yamaguchi, Director, Music Programming Jon Nakagawa, Director, Contemporary Programming Jill Sternheimer, Director, Public Programming Lisa Takemoto, Production Manager Charles Cermele, Producer, Contemporary Programming Mauricio Lomelin, Producer, Contemporary Programming Andrew C. Elsesser, Associate Director, Programming Luna Shyr, Senior Editor Regina Grande Rivera, Associate Producer Walker Beard, Production Coordinator Nana Asase, Assistant to the Artistic Director Olivia Fortunato, Programming Assistant Dorian Mueller, House Program Coordinator Janet Rucker, Company Manager

For the White Light Festival Megan Young, Supertitles Swedish Chamber Orchestra Thomas Dausgaard , Chief Conductor

Violin I Viola Flute Horn Sara Trobäck Hesselink Göran Fröst Alissa Rossius Terese Larsson Urban Svensson Gunnar Jedvik Urban Hallberg Göran Hulphers Roger Olsson Mikael Ludeen Alexander Hambleton Olof Ericsson Kate Pelly Oboe Björn Olsson Hans Elvkull Paul Morgan Karin Egardt Johan Andersson Lisa Almberg Trumpet Lena Ludeen Cello Anders Hemström Lena Sjölund Mats Levin Clarinet Margit Csökmei Hanna Thorell Ingrid Meidell Noodt Violin II Rajmund Follmann Alberto Alvarez-Garcia Trombone Per Drougge Kristin Malmborg Niklas Almgren Anna Jansson Bassoon Jonas Larsson Cecilia Bukovinszky Bass Mikael Lindström Anders Wiborg Robert Bruus Sebastien Dube Andreas Lyeteg Christina Olofsdotter Peter Nitsche Adam Nyquist Timpani Hallberg Josee Deschenes Lars Fhager Tino Fjeldli Organ Karl-Magnus Jansson

WhiteLightFestival.org L H O P

N A I T S I R K

Swedish Radio Choir Peter Dijkstra , Chief Conductor

Soprano Alto Tenor Bass Marie Alexis Helena Bjarnle Per-Gunnar Alpadie Staffan Alveteg Jessica Bäcklund Maria Erlansson Mats Carlsson Erik Arnelöf Lisa Carlioth Anna Graca Niklas Engquist Magnus Billström Maria Demérus Annika Hudak Thomas Köll Mathias Brorson Maria Edvardsson Christiane Höjlund Fredrik Mattsson Rickard Collin Jennie Eriksson Nordin Inger Kindlund Stark Philip Sherman Bengt Eklund Sofia Niklasson Elin Lannemyr Gunnar Sundberg Lars Johansson Jenny Ohlson Akre Maria Lundell Love Tronner Brissman Angela Rotondo Tove Nilsson Magnus Wennerberg Stefan Nymark Marika Scheele Janna Vettergren Johan Pejler Elin Skorup Anna Zander Sand David Wijkman Arts in the Middle r o l y a T

n a e J Students from South Bronx Academy for Applied Media everal studies have examined how term effectiveness of the program, Sexposure to the arts in middle has documented increased parent school strongly impact a student’s engagement, which can have an impact social skills and development as well as on student success. Some schools have likelihood to graduate from high school. also noted that students are becoming In 2013, Lincoln Center Education vibrant and vocal participants when launched a pilot program in partnership the arts are integrated into classrooms. with the New York City Department of If results continue in this direction, Education aimed at this specific issue. Lincoln Center Education hopes to Called Arts in the Middle, it focuses on develop an adaptable model of the arts education as a potential catalyst program that can be disseminated for improved student engagement and nationally to bring arts education to success in and out of school, as well as underserved communities. parent engagement, teaching practices, “As our partnership with the New and school and community culture. York City Department of Education Through Arts in the Middle, Lincoln continues to grow, so, too, does our Center Education is working with more commitment to supporting whole than a dozen underserved New York communities by providing thoughtful City middle schools that have little to programs for students and families no arts programs. LCE is supporting around New York City’s five boroughs,” schools with efforts to hire a part-time said Russell Granet. “Arts in the Middle or full-time arts teacher, in addition is just one of many ways Lincoln to deploying its own roster of skilled Center Education is leveraging high- teaching artists to help in the classroom quality arts programs to improve the and provide professional development lives of all New Yorkers.” for teachers and family engagement. Early results of these efforts to support educators and students are showing positive results. Metis Associates, hired by LCE to evaluate short- and long- 4 decades of thinking like an artist

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Accessibility at Lincoln Center

eflecting a quote by Lincoln Center venues. Another major R Center’s first president John D. component of Accessibility is its Rockefeller III that “the arts are not for longstanding “Passport to the Arts.” the privileged few, but for the many,” The program annually distributes to Lincoln Center has had as a central children with disabilities thousands mission from its start making the of free tickets to a variety of Lincoln arts available to the widest possible Center performances, including audiences. In 1985, that led to the New York City Ballet and the New establishment of the Department of York Philharmonic—a welcoming Programs and Services for People with introduction to the arts. A parent who Disabilities to ensure full participation participated in a recent “Passport” in the thousands of events presented event commented “It allowed my annually across the Lincoln Center family and I to enjoy and learn along campus. It was the first such program with everyone else. The accessibility… at any major performing arts center made it easier for our family to “relax” in the U.S. and has long- and truly enjoy the served as a model for experience.” other arts institutions Accessibility is around the country. expanding the Celebrating its 30th ways it serves anniversary with a new adults with name, Accessibility disabilities. It at Lincoln Center, introduced and the program oversees American continues to provide Sign Language- exceptional guest led official tours care to all visitors, of Lincoln Center, as well as training and offers live in accessibility to audio description colleagues at Lincoln for select Lincoln Center’s resident Center Festival organizations, including performances. the Film Society of Accessibility Lincoln Center, the looks forward to growing its inclusive New York Philharmonic, and Jazz programs in the years to come. at Lincoln Center. Accessibility oversees the production To learn more about Accessibility of large-print and Braille programs at Lincoln Center, please contact for hundreds of performances taking [email protected] or call place each year at various Lincoln 212.875.5375.