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Wednesday–Friday Evenings, October 22–24, 2014, at 7:30

Post-performance discussion with Robert Hollingworth, Yaron Lifschitz, and Ara Guzelimian on Thursday, October 23

How Like an Angel (U.S. premiere)

Created by Yaron Lifschitz and Robert Hollingworth

Circa Yaron Lifschitz, Director I Fagiolini Robert Hollingworth, Director

This performance is approximately 70 minutes long and will be performed without intermission.

Please join the artists for a White Light Lounge immediately following the performance.

(Program continued)

The White Light Festival is sponsored by Time Warner Inc. Generous support for the White Light Festival presentation of How Like an Angel is provided by The Fan Fox and Leslie R. Samuels Foundation, Inc. These performances are made possible in part by the Josie Robertson Fund for Lincoln Center.

James Memorial Chapel, Please make certain all your electronic devices Union Theological Seminary are switched off.

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Endowment support is provided by the American Upcoming White Light Festival Events: Express Cultural Preservation Fund. Friday–Sunday, October 24–26, MetLife is the National Sponsor of Lincoln Center. in the Walter Reade Theater White Light on Film: The Decalogue Movado is an Official Sponsor of Lincoln Center. Krzysztof Kie slowski , Director The complete ´cycle of 10 films is screened over a United Airlines is the Official Airline of Lincoln weekend. Center. Introduced by Annette Insdorf on October 24 at 7:30 Presented in association with the Film Society of WABC-TV is the Official Broadcast Partner of Lincoln Center Lincoln Center. Saturday, October 25, from 3:45 to 5:15 William Hill Estate Winery is the Official Wine of in the Walter Reade Theater Lincoln Center. White Light Conversation: The Evolution of Morality Artist Catering is provided by Zabar’s and John Schaefer , Moderator Zabars.com. With John Luther Adams, Randy Cohen, Alice W. Flaherty, and Elaine Pagels

Circa acknowledges the assistance of the Thursday–Saturday, October 30–November 1, Australian Government through the Australia at 7:30 in Synod House, the Cathedral of Council, its arts funding and advisory body, and the St. John the Divine Queensland Government through Arts Queensland. Curlew River (U.S. premiere production) Ian Bostridge , Madwoman How Like an Angel was originally produced by Netia Jones , Director and Designer Norfolk & Norwich Festival in association with BRITTEN : Curlew River Circa and I Fagiolini, and commissioned by London A co-production between the Barbican Centre, 2012 Festival. London, Lincoln Center for the Performing Arts, Carolina Performing Arts, and Cal Performances Berkeley

Tuesday, November 4, at 7:30 in Alice Tully Hall Mavis Staples One True Vine

Sunday, November 9, at 5:00 in Avery Fisher Hall Cathedrals of Sound Gewandhaus Orchestra of Leipzig Riccardo Chailly , Conductor BACH : Orchestral Suite No. 4 BRUCKNER : Symphony No. 7 Pre-concert lecture by Scott Burnham at 3:45 in the Stanley H. Kaplan Penthouse

For tickets, call (212) 721-6500 or visit WhiteLightFestival.org. Call the Lincoln Center Info Request Line at (212) 875-5766 to learn about pro - gram cancellations or to request a White Light Festival brochure.

Visit WhiteLightFestival.org for more information relating to the Festival’s programs. Join the conversation: #LCWhiteLight

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. 10-22 Angel_GP 10/7/14 3:02 PM Page 3

How Like an Angel (U.S. premiere)

Created by Yaron Lifschitz and Robert Hollingworth

Circa Yaron Lifschitz, Director Rowan Heydon-White, Bridie Hooper, Rudi Mineur, Kathryn O’Keeffe, Paul O’Keeffe, Skip Walker-Milne, Billie Wilson-Coffey

I Fagiolini Robert Hollingworth, Director Anna Crookes, Charlotte Mobbs, Soprano Clare Wilkinson, Mezzo-soprano Robert Hollingworth, Countertenor Matthew Long, Nicholas Hurndall Smith, Tenor Greg Skidmore, Baritone Christopher Adams, Bass

TALLIS Excerpt from Gaude gloriosa Dei mater

DANIEL-LESUR Dialogue, from Le cantique des cantiques

BHEKA DLAMINI Umsindisi

HILDEGARD O viridissima virga

JOSQUIN Agnus Dei, from Missa “L’homme armé” sexti toni

VICTORIA Alma Redemptoris mater (c. 1581)

RODERICK WILLIAMS Tallis/Hildegard Patterns (2012)

ADRIAN WILLIAMS Hymn to Awe (2011–12)

Lawrence English, Electronic composer

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Note from the Artistic Director by Yaron Lifschitz

It begins with a phone call. It ends in voices and bodies and space. It starts with thought. It ends in emotion.

It was a typically humid Brisbane late afternoon when, mired in the Storey Bridge’s traf - fic, my phone rang. On the other end was a chuffed Jonathan Holloway, then artistic director of Norfolk and Norwich Festival. “Yaron,” he enthused, “if I said we could get funds to do a circus piece with vocal music in cathedrals for the Olympics, would you be interested?” I can’t remember what I said next, though I’m pretty sure it shouldn’t be repeated in a house of worship.

And now, years later, after many thousands of kilometers and hundreds of emails, we get to show the fruits of that wonderful phone call.

Jonathan got us here. The insight, patience, and intelligence of Robert Hollingworth, along with the talented musicians of his ensemble, I Fagiolini, created a wonderful musi - cal journey. This is counterpointed by Lawrence English’s powerful sonic disruptions and Libby McDonnell’s costumes, which pushed the visuals into wonderful new terrain. My extraordinary delivery team of Jason Organ, Benjamin Knapton, and Danielle Kellie made this happen. And of course our startling acrobats fill the stage with the impossible.

Certainly How Like an Angel is a show about belief, love, failure, ascent, humility, endurance, passion, loss, death, life—about our capacity for belief and the challenges and complexities of that belief. But I choose to work in a medium without words. So every one of these program notes is a trial—a sort of betrayal. The director’s note carries with it the promise to explain, “ How Like an Angel is a show about...” But if we could say it in words, it wouldn’t need enactment. Wittgenstein put it best: “Whereof one cannot speak, thereof one must remain silent.”

We know for sure that tonight, bodies will lift and drag, suspend and drop, hurl and recoil. Voices will soar and glide, delivering dense polyphony and intricate rhapsodies. There will be ferocity and tenderness, hope and fear, tension and release.

At the heart of this work is a mystery. Something that eludes words. Maybe it is a form of wonder.

I wanted to make something beautiful that makes you feel something, even if you can’t exactly say why.

—Copyright © 2014 by Yaron Lifschitz

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Note from the Music Director by Robert Hollingworth

We’ve done some unusual things for a vocal ensemble, but working with Circa was a par - ticular challenge. The basic energy of circus and music seemed to me (before meeting and working with Yaron Lifschitz and Circa) so different. Much of the music we sing is fun - damentally linear, whereas I thought that circus was a series of moments. One of the biggest discoveries for I Fagiolini in this project was watching Circa rehearse and seeing how their language is fundamentally linear and expressive: those “tada” moments are points on a line and ones they work hard to iron into the line.

Back at the beginning though, I went to some live Circa shows in London and Berlin, sent Yaron a lot of music (as he did me—he has very wide and informed musical tastes), and we drank a lot of coffee together. He had a shape in his mind for the piece, and I started to have ideas about music that could create some sort of relationship to the physical work I had seen. This led to the first version of the show in Perth, which was performed in a large hall.

The show was substantially re-imagined for UK cathedrals, building on our experience of working together in Perth. Specifically, we wanted to avoid the live music merely being a soundtrack and to play with how the energy could flow from one group to the other and one piece could set up another. This was easier once we had the experience of working together in Perth, and was fuelled by some interesting and slightly dangerous live impro - visations there (artistically dangerous but also literally—I don’t think our soprano Anna Crookes had actually expected to find herself standing on an acrobat’s shoulders without warning at one moment).

As performances and rehearsals continued, both singers and acrobats started to have a much stronger response to what the other was doing. Few of the acts are specifically choreographed in a conventional sense, but all are inspired by the music, and that process quickly started to flow back the other way.

Of course, the music you will hear was not intended to be performed for such an occa - sion, but neither was it intended to be performed to a partly atheist 21st-century public who have paid for their tickets. Context is everything, and we hope that the juxtapositions of the music, sounds, light, and physical work (both corporeal and vocal) take you some - where interesting tonight and give you pause for thought.

—Copyright © 2014 by Robert Hollingworth

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Excerpt from Gaude gloriosa Dei mater THOMAS TALLIS

Gaude gloriosa Dei mater Rejoice, glorious mother of God, Virgo Maria vere honorificanda, Virgin Mary truly honored, Quae a domino in gloria super caelos who is exalted by God in glory above the exaltata heavens Adepta es thronum to attain your throne.

Dialogue, from Le cantique des cantiques JEAN YVES DANIEL-LESUR Text: Song of Solomon (1:9,13) (1:15) (2:2 –4) (3:5)

À ma cavalle attellée au char de Pharaon je To the horses that pull Pharaoh’s chariot te compare. do I compare thee. Mon bien-aimée est à moi comme un My beloved is to me like a posy of myrrh bouquet de myrrhe Qui repose entre mes seins. placed between my breasts. Que tu es belle, ma bien-aimée; How fair thou art, my beloved; Tes yeux sont des colombes. your eyes are like doves. Comme le lis entre les chardons, As the lily among thorns, Tel est ma bien-aimée entre les jeunes-filles. so is my beloved among the maidens. Comme le pommier parmi les arbres du verger As the apple tree among the orchard trees, Tel est ma bien-aimée parmi les jeunes so is my beloved among the young hommes. men.

J’ai désirée son ombrage et m’y suis assise I desired his shade and sat down there, Et son fruit est doux à ma bouche. and his fruit is sweet to my mouth. Il m’a menée au cellier du vin He took me to his wine-cellar Et la bannière qu’il dresse sur moi, c’est and the banner with which he dresses me is l’amour. love.

Filles de Jerusalem, n’éveillez pas la Daughters of Jerusalem, do not wake bien-aimée the beloved Avant l’heure de son bon plaisir. before the hour of his choosing.

Umsindisi BHEKA DLAMINI

Uma ngimbona loMsindisi When I see the savior Efa esiphambanweni maa… dying on a cross Ngingayisa ntoni kuye efanele ukumbonga, What can I offer which will be worthy of giving thanks to him? Anginakho okwanele kodwa ng’zomnik’ I have nothing great enough but I’ll surrender uqobo lwami. myself to Thee. Uqobo lwami lugcwel’ isono lugcwele I am full of sin and unrighteousness. konk’ ukonakala 10-22 Angel_GP 10/7/14 3:02 PM Page 7

Awushwele Nkosi yami Forgive, my Lord. Asenyuke siye Golgotha Let’s ascend to Golgotha. Ziyohlanzwa zibemhlophe lee ngegazi They will be washed whiter there by the leMvana blood of the lamb. Awu hlanz’ izono zami Please wash my sins. O! gazi leMvana siyosindiswa O, by the blood of the lamb we will be saved. Siyosinda k’lelogazi; O kulelogazi… We will be saved by that blood. Uzodinsa k’lelogazi; elaphum’emanxebeni You will be saved by that blood; it has flowed from the wounds. Ngegazi leMvana ma With the blood of the lamb. Nxeba l’ka Jesu; ngiz’fihle kuwe; Wound of Jesus, let me hide myself Ng’thethelelwe. in thee and be forgiven.

O viridissima virga HILDEGARD OF BINGEN

O viridissima virga ave, Hail, o greenest branch, Que in ventoso flabro sciscitationis sanctorum sprung forth in the airy breezes of the prodisti. prayers of the saints.

Cum venit tempus So the time has come Quod tu floruisti in ramis tuis; that your sprays have flourished; Ave, ave sit tibi, hail, hail to you, Quia calor solis in te sudavit because the heat of the sun has exuded from you Sicut odor balsami. like the aroma of balm.

Nam in te floruit pulcher flos For the beautiful flower sprang from you Qui odorem dedit omnibus aromatibus which gave the aroma to all perfumes Que arida erant. which were parched.

Et illa apparuerunt omnia And they have radiated anew In viriditate plena. in their full freshness.

Unde celi dederunt rorem super gramen Whence the skies bestowed dew upon the pasture, Et omnis terra leta factus est, and all the Earth was made joyful Quoniam viscera ipsius because her womb Frumentum protulerunt, brought forth corn, Et quoniam volucres celi and because the birds of the firmament Nidos in ipsa habuerunt. built their nests in her.

Deinde facta est esca hominibus, Then there was harvest ready for Man Et gaudium magnum epulantium; and a great rejoicing of banqueters, Unde, o suavis virgo, whence, o sweet Virgin, In te non deficit ullum gaudium. no joy is lacking in you.

Hec omnia Eva contempsit. Eve rejected all these things.

Nunc autem laus sit altissimo. Now let there be praise to the Highest.

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Agnus Dei, from Missa “L’homme armé” sexti toni JOSQUIN DES PREZ Text: Based on John (1:29)

Agnus Dei, qui tollis peccata mundi, O Lamb of God, that takes away the sins of the world, Miserere nobis. have mercy on us. Agnus Dei, qui tollis peccata mundi, O Lamb of God, that takes away the sins of the world, Dona nobis pacem. give us peace.

Alma Redemptoris mater TOMÁS LUIS DE VICTORIA

Alma Redemptoris mater, Gracious mother of the Redeemer, Quae pervia caeli porta manes, who remains the ever-open gate to heaven, Et stella maris, succurre cadenti, and star of the sea, help your people who fall Surgere qui curat populo. but try to rise again. Tu, quae genuisti, natura mirante, You who gave birth, while nature marvelled, Tuum sanctum Genitorem: to your Holy Creator: Virgo prius ac posterius, a virgin before and after, Gabrielis ab ore sumens illud who heard from the mouth of Gabriel that Ave, peccatorum miserere. “Ave”: have mercy on sinners.

Hymn to Awe ADRIAN WILLIAMS Text: Based on the poem “Cathedral” by Gillian Clarke, with permission

Before the Saints Before bishops, builders and stonemasons; Before artists and sculptors, Before music, organists and choirs; Before architects Before the poetry of psalm and hymn and common prayer;

Before there was a word for “cathedral” Before there was a word for “architecture” Before there was a word for “art” When our first house was the great original forest Before there was a word for “cathedral” Before there was a word for “architecture” Before there was a word for “art” When our first house was the great original forest 10-22 Angel_GP 10/7/14 3:02 PM Page 9

Before the Saints Before bishops, builders and stonemasons; Before there was a word for “wonder,” Names for stars or footprints on the moon; Before a man looked at a tree and made a cross And felt the hammering rain and thought of nails and made a cross And felt the hammering rain and thought of nails and made a cross. Hammering rain. Hammering nails.

Before… First mark, first word, first hymn to awe, First vision of a building taller than a forest, Aisled, vaulted, clerestoried with sunlight.

h

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Meet the Artists projects that present music to audiences in innovative ways. He founded I Fagiolini in 1986; with the ensemble he has presented signature projects such as Simunye , The Full Monteverdi , Tallis in Wonderland , and How Like an Angel with Circa. He has also directed Accentus (France), Norddeutscher Rundfunk Chor, Nederlands Kamerkoor, Wrocław Philhar monic Choir, Sinfonie - Yaron Lifschitz orchester Wuppertal ( Judas Maccabeus ), Yaron Lifschitz, the artistic director and English Concert (Purcell), and the Academy CEO of Circa, is a graduate of the of Ancient Music (Bach). University of New South Wales, University of Queensland, and National Institute of Mr. Hollingworth writes and presents for Dramatic Arts (NIDA), where he was the BBC Radio 3 ( CD Review , The Early Music youngest director ever accepted into its Show, The Choir , and Discovering Music ). graduate directors’ course. Since graduat - In 2010 he delivered the Lufthansa Lecture ing, Mr. Lifschitz has directed more than 60 entitled “Monteverdi the Modern Man” and productions, including large-scale events, spoke at the European Early Music Network opera, theater, physical theater, and circus. conference. Mr. Hollingworth has worked His work has been seen in 30 countries on a number of films, including Quills . In and across six continents. 2011, his world premiere recording of Striggio’s (until recently) lost Mass in 40 He was the founding artistic director of the Parts was released on Decca with an all-star Australian Museum’s Theatre Unit, the UK lineup. His latest recording, 1612 Italian head tutor of directing at Australian Theatre Vespers , was released on Decca Classics in for Young People, and has been a regular 2012, was chosen as Gramophone CD of guest tutor in directing at NIDA since 1995. the month, and was performed at the 2012 With Circa, Mr. Lifschitz has created works BBC Proms at the Royal Albert Hall to criti - such as by the light of stars that are no cal acclaim. He recently arranged the music longer... , CIRCA , Wunderkammer , How for the album Shakespeare: The Sonnets Like an Angel , “S,” Beyond , Opus , and, and appeared extensively on BBC TV and most recently, Carnival of the Animals , radio discussing the disc. which premiered in 2014. Mr. Lifschitz lives in Brisbane, Australia, with his son, Oscar. Mr. Hollingworth is a regular guest conduc - His passion is for creating works of philo - tor at the Dartington International Summer sophical and poetic depth while drawing School and gives master classes and resi - from the traditional languages of circus. dencies throughout Europe. He ran a con - ducting master class and lecture for the American Choral Directors Association at their 2012 conference, and recently organized a new master of arts degree in solo-voice

S ensemble singing at the University of York. N I G G I H

Y Robert N

N Circa A

D Hollingworth From Brisbane, Australia, comes a bold Robert Hollingworth specializes in Ren - new vision of contemporary circus. A aissance and contemporary repertoire (notably blending of bodies, light, sound, and skills. Monteverdi), and creates groundbreaking A place where acrobatics and movement 10-22 Angel_GP 10/7/14 3:02 PM Page 11

meld into a seamless whole. A celebration masks. In 2004 I Fagiolini premiered The of the expressive possibilities of the Full Monteverdi , a dramatized account of human body at its extremes. the composer’s Fourth Book of Madrigals by John La Bouchardière, which has since Circa has established an international repu - been turned into a highly successful film. tation as one of the most innovative cir - cuses on the planet. Since 2006 Circa has In 2011 I Fagiolini celebrated its 25th anni - toured to 30 countries across six conti - versary with the successful release of a nents. Circa’s work has been rapturously world premiere recording of Striggio’s received by audiences, presenters, and crit - Mass in 40 Parts on Decca. The recording ics around the world. Circa’s current touring stayed at the top of the specialist classical shows span diverse contexts from works chart for nearly four months, and won the for families in traditional arts centers to 2011 Gramophone Early Music Award and European contemporary arts festivals. Its a Diapason d’Or de l’Année. In 2012, the performances are highly innovative, genre- ensemble gave a UK tour of the Striggio bending pieces that stretch the practice project, made its Royal Albert Hall Proms and perceptions of circus. Circa features a debut, and released 1612 Italian Vespers full-time ensemble, a concentrated admin - (Gramophone CD of the month). The same istrative team, and a dedicated circus stu - year, I Fagiolini launched yet another dio. In 2013 Circa gave over 400 perfor - unlikely collaboration, this time with mances to over 150,000 audience mem - Australian contemporary circus company bers locally, nationally, and internationally. Circa. How Like an Angel premiered as part of the Perth International Arts Festival, Circa also runs a training center with a work - and toured the UK as part of the London shop program in Brisbane at its professional 2012 and 2013 Festivals. studio, in schools, and with partners through - out Queensland and beyond. Circa has an I Fagiolini is now presenting Carnevale impressive track record of producing quality Veneziano: A Night on the Piles and The workshops for children, young people, and Boat from Venice to Padua , which featured adults in a range of community contexts. in the inaugural season at the Sam Wanamaker Playhouse in London’s Globe Theatre. In the spring of 2015, I Fagiolini will premiere its latest music theater project, Betrayal: A Polyphonic Crime Drama , at the Barbican. I Fagiolini has recorded 19 CDs and three DVDs, and has given live performances around the world. The ensemble was recognized for its achievements in 2005 with the prestigious

D Ensemble Prize from the Royal Philhar - N O

M monic Society. I Fagiolini is currently the H C I R

C ensemble-in-residence at the University of I R E York in England. I Fagiolini I Fagiolini is renowned for its innovative Ara Guzelimian staged productions of vocal music from the Ara Guzelimian is provost and dean of The Renaissance to the present day. The group Juilliard School in New York City, having has staged Handel with masks, Purcell with been appointed to the post in August puppets, and madrigal come dies with more 2006. At Juilliard he oversees the faculty,

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curriculum, and artistic planning of the dis - the White Light Festival is Lincoln Center’s tinguished performing arts conservatory in annual exploration of music and art’s all three of its divisions—dance, drama, power to reveal the many dimensions of and music. Prior to the Juilliard appoint - our interior lives. International in scope, the ment, he was senior director and artistic multidisciplinary festival offers a broad advisor of Carnegie Hall from 1998 to 2006, spectrum of the world’s leading instrumen - where he was also host and producer of talists, vocalists, ensembles, choreogra - the acclaimed “Making Music” composer phers, dance companies, and directors series. In recent seasons he has been complemented by conversations with heard both on the Metropolitan Opera radio artists and scholars and post-performance broadcasts and, as a guest host, on public White Light Lounges. radio’s Saint Paul Sunday . Previously Mr. Guzelimian was the artistic administrator of Lincoln Center for the Performing the Aspen Music Festival and School in Arts, Inc. Colorado and artistic director of the Ojai Lincoln Center for the Performing Arts Festival in California. He was associated (LCPA) serves three primary roles: presen - with the Los Angeles Philharmonic from ter of artistic programming, national leader 1978 to 1993—first as producer for the in arts and education and community rela - orchestra’s national radio broadcasts and tions, and manager of the Lincoln Center subsequently as artistic administrator. He campus. A presenter of more than 3,000 is editor of Parallels and Paradoxes: free and ticketed events, performances, Explorations in Music and Society tours, and educational activities annually, (Pantheon Books, 2002), a collection of dia - LCPA offers 15 programs, series, and festi - logues between Daniel Barenboim and vals including American Songbook, Great Edward Said. In 2003 Mr. Guzelimian was Performers, Lincoln Center Festival, Lincoln awarded the title Chevalier des Arts et des Center Out of Doors, Midsummer Night Lettres by the French government for his Swing, the Mostly Mozart Festival, and the contributions to French music and culture. White Light Festival, as well as the Emmy Award–winning Live From Lincoln Center , White Light Festival which airs nationally on PBS. As manager of I could compare my music to white light, the Lincoln Center campus, LCPA provides which contains all colors. Only a prism can support and services for the Lincoln Center divide the colors and make them appear; complex and the 11 resident organizations. this prism could be the spirit of the listener. In addition, LCPA led a $1.2 billion campus —Arvo Pärt. Celebrating its fifth anniver sary, renovation, completed in October 2012. 10-22 Angel_GP 10/7/14 3:02 PM Page 13

Circa

Rowan Bridie Hooper Rudi Mineur Kathryn Heydon-White O’Keeffe

Paul O’Keeffe Skip Billie Walker-Milne Wilson-Coffey

Lincoln Center Programming Department Jane Moss, Ehrenkranz Artistic Director Hanako Yamaguchi, Director, Music Programming Jon Nakagawa, Director, Contemporary Programming Jill Sternheimer, Acting Director, Public Programming Lisa Takemoto, Production Manager Charles Cermele, Producer, Contemporary Programming Kate Monaghan, Associate Director, Programming Mauricio Lomelin, Associate Producer, Contemporary Programming Julia Lin, Associate Producer Nicole Cotton, Production Coordinator Regina Grande, Assistant to the Artistic Director Luna Shyr, Programming Publications Editor Nasrene Haj, House Seat Coordinator Utsuki Otsuka, Production Assistant Reshena Liao, House Program Intern

For the White Light Festival Avancy Inc., Production Services Andrew Hill, Production Electrician Jessica Barrios, Wardrobe

For Circa Yaron Lifschitz, Director Ben Knapton, Associate Director Jason Organ, Technical Director/Lighting Designer Libby McDonnell, Costume Designer Jennifer Cook, Director of International Partnerships

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Circa’s U.S. representation: Thomas O. Kriegsmann (ArKtype)

I Fagiolini’s representation: Percius Artist and Project Management www.percius.co.uk

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