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Home , Aida, Angelo (opera), Canadian Opera Company, Casa Ricordi, Cavalleria rusticana, Edith Jane Miller

The Metropolitan Lindemann Young Artist Program and The present An Evening of Verdi

Evan Rogister, Conductor Stephen Wadsworth, Director Brian Hong,

Singers from the ’s Lindemann Young Artist Development Program Juilliard

Friday, February 23, 2018, 8:00pm Peter Jay Sharp Theater

GIUSEPPE VERDI I Lombardi alla prima crociata (1843, rev. 1847): Act III Trio (1813–1901) GISELDA Michelle Bradley ORONTE Kang Wang PAGANO David Leigh Brian Hong, Violin

Stiffelio (1850): Act II LINA Michelle Bradley RAFFAELE Gerard Schneider COUNT STANKAR Adrian Timpau Ian Koziara JORG David Leigh

Intermission

VERDI (1893): Act I, Scene 2 ALICE FORD Gabriella Reyes de Ramírez NANNETTA Hyesang Park MEG PAGE Emily D’Angelo Sara Couden DR. CAIUS Ian Koziara BARDOLFO Charles Sy FENTON Petr Nekoranec PISTOLA David Leigh FORD Adrian Timpau

(Program continues)

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Rigoletto (1851): Act III GILDA Hyesang Park Kidon Choi DUKE OF MANTUA Kang Wang MADDALENA Rihab Chaieb SPARAFUCILE David Leigh

Performance time: approximately 1 hour, 20 minutes, including one intermission

Music Preparation: John Fisher, Natalia Katyukova, Zalman Kelber, Ken Noda, Valeria Polunina, Nate Raskin Language Preparation: Corradina Caporello, Giuseppe Mentuccia Chorus Masters: Zalman Kelber (Stiffelio), Nate Raskin (Rigoletto) Supertitles: Courtesy of the Metropolitan Opera, edited and operated by Celeste Montemarano

The selection from Stiffelio is performed by with Hendon Music, Inc., a Boosey and Hawkes company, Sole Agent in the U.S., Canada, and Mexico for /Universal Music Publishing Ricordi S.R.L., publisher and copyright owner.

This performance is supported in part by the Muriel Gluck Production Fund.

Please make certain that all electronic devices are turned off during the performance. The taking of photographs and the use of recording equipment are not permitted in this auditorium.

2 Notes on the Program By Jay Goodwin

As is Beethoven's, Verdi’s body of work is often divided by contemporary commentators into three artistic periods. In the first period, stretching from 1839 to 1850, Verdi was at his most prolific, quickly completing 15 that established him with audiences of the time as one of the world’s leading opera composers and the successor to Bellini, Donizetti, and Rossini, all of whom had recently died or retired. The towering masterpieces that guaranteed Verdi’s position alongside opera’s few all-time great composers, however, did not appear until the second and third periods of his career, marked by a significant break away from, or at least a highly innovative re-interpretation of, the traditional forms and expectations of , to which his early works had mostly adhered. In tonight’s program, spanning works that date from 1843 to 1893, we’ll hear music from all three portions of Verdi’s life.

I Lombardi alla Prima Crociata (1843)—the first opera Verdi composed after the premiere of rocketed him to stardom and placed him in the highest demand the previous year—marked the beginning of the busiest time in the composer’s life, during which he composed 12 operas in just seven years, all of which display a varying balance of music the reveals Verdi’s unbridled young genius alongside passages of deft but less original craftsmanship. Stiffelio, which premiered in Trieste in 1850, is considered the last fruit of this early eruption of operas, though in some ways it shares more in common with the more mature works soon to follow. Moving forward from Stiffelio to his next opera, and keeping with the Beethoven analogy, Rigoletto was Verdi’s “Eroica,” marking the beginning of the composer’s middle period and surpassing in originality and achievement all of his previous work. Its compelling incisiveness and masterful adaptation of musical form to its dramatic context also points toward Verdi’s transcendent final two operas, of which we hear an excerpt from the second, Falstaff—the composer’s only mature comedy, and one of opera’s greatest marriages of words and music.

I Lombardi: Act III Trio

Verdi faced a tall task in writing a follow-up to Nabucco, which had become a true sensation, both for the young composer’s brilliant and infectious music and for the connection audiences made between the ’ struggle with their Babylonian oppressors in that biblical tale with ’s contemporary subjugation to Austrian rule. The public’s expectations for Verdi’s next opera, therefore, had risen to daunting heights. Hoping for a similar sense of scale, he and librettist turned to another tale from the distant past, Tommaso Grossi’s I Lombardi alla prima crociata (The Lombards at the First Crusade), a 15-part verse epic that focuses on a single family of Lombards and their exploits around the turbulent turn of the 12th century. I Lombardi is a less focused work than Nabucco but is perhaps even more exuberant, jam-packed with the dazzling vocal displays and rousing choral numbers that made the earlier opera such a crowd-pleaser. And it once again allowed Italians to see themselves as the protagonists of the story, this time engaged in a proactive quest to liberate their sacred land. The premiere

3 Notes on the Program (Continued)

was another smashing success, and from that point onward, there was no stopping Verdi’s exponentially growing stardom.

I Lombardi’s third act is subtitled “The Conversion,” and in its third and final scene, which we hear in tonight’s program, we witness that conversion, an onstage baptism that almost prevented the work from being performed due to the objections of ’s Archbishop, who considered the simulated sacrament sacrilegious. Oronte (), son of the Muslim ruler of Antioch, has been grievously wounded in battle with the Lombard Crusaders, led by Arvino, who are attempting to capture the city. Oronte hides in a grotto with Giselda (), Arvino’s daughter, who, after being captured by the Muslims, has fallen in love with him. As Oronte lies dying, Giselda rails against God for his cruelty. A hermitic holy man enters the cave—secretly Pagano (), Arvino’s brother and Giselda’s uncle, who has secluded himself to repent and seek absolution of his sins, especially the twice-attempted murder of his brother. Pagano reproaches Giselda for her blasphemy and baptizes Oronte, who dies promising to reunite with Giselda in heaven. The scene begins with a prelude featuring extended, rhapsodic writing for solo violin, which continues to enjoy a prominent role once the singing begins. The trio itself offers soaring lines for all three singers and perfectly encapsulates Verdi’s early style, with its blending of bel canto elements with more forceful declamation.

Stiffelio: Act II

Stiffelio is remarkable for several reasons, not least that it is a musically and dramatically outstanding work by one of opera’s most popular composers and yet languished in obscurity for more than 100 years—first because the majority of the original material was thought to be lost, and then because what manuscripts were discovered were versions that had been bowdlerized by censors prior to the work’s 1850 Trieste premiere. The reason for that censorship is the next remarkable aspect of the piece—the nature of the plot. Based on the play Le Pasteur, ou L’Évangile et le Foyer by Émile Souvestre and Eugène Bourgeois, Stiffelio concerns the raw, intimate drama of spousal and familial bonds being stretched and broken by suspicion, infidelity, and revenge, all considered alongside, and set in opposition to, Christian values. For contemporary audiences, it is startlingly direct and persuasively modern; for the mid–19th-century authorities, it was beyond the pale. The censors demanded the removal of several crucial plot elements, including the title character’s identity as a Protestant minister and the express comparisons drawn between his faith in Biblical teachings and the events occurring in his own life. The version audiences were presented with in 1850 was therefore dramatically neutered, and a predictable failure was the result.

In the 1960s, some manuscripts for Stiffelio were finally discovered, and in the early 1990s, a new —drawing on further discoveries and significant forensic musicological work to erase the stain of the censors—

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made it possible to perform something very close to what Verdi intended the opera to be. Though it will take time for this “new” Verdi opera to receive the exposure necessary to secure a place alongside the composer’s other repertory staples, the work’s intrinsic quality suggests that it may eventually do so.

In the second of Stiffelio’s three acts, the title character (tenor) has returned from a mission and discovered evidence that his wife, Lina (soprano), has been unfaithful. Her father, Count Stankar () has determined that her lover is the nobleman Raffaele (tenor), and, to defend his family’s honor, has challenged him to a duel. As Act II begins, Lina prays at her mother’s tomb for forgiveness. Raffaele arrives to declare his love, but she rejects him. Stankar arrives and attacks his daughter’s seducer, but their swordplay is interrupted by the arrival of Stiffelio. When he learns that Raffaele is Lina’s lover, he seizes Stankar’s sword and challenges his rival himself. At the sound of an offstage chorus singing a prayer, however, he remembers his faith and the Christian teachings of forgiveness, and is paralyzed by his conflicting emotions. The fast- paced action, free-flowing musical structure, and nuanced, relatable internal struggle of the title character in this act make for riveting musical theater and reveal that in Stiffelio, Verdi’s artistic thinking was already very close to the new style that would take full flight the following year in Rigoletto.

Falstaff: Act I, Scene 2

Verdi was an intensely intellectual and extremely well-read man for whom literature, poetry, and drama held as much significance as music. Consequently, the collection of authors on whose work he chose to base his operas reads like a cross-section of history’s great writers: Hugo, Byron, Schiller, Voltaire, Dumas, and most of all, Shakespeare, a formative influence and continual source of inspiration for Verdi, who had read and re-read the playwright’s works since childhood. And, in part, it is Shakespeare that we have to thank for Verdi’s final two masterpieces, and Falstaff. After in 1871, the composer had begun to withdraw from his great public notoriety. Rich, famous, and comfortable, he was not only one of ’s leading artistic figures, but had also become a patriotic icon, a symbol of Italy’s newly unified nation—a role he didn’t particularly embrace. He retreated to his country estate in Sant’Agata, southeast of Milan, and spent much of his time and energy living as a gentleman farmer and tending to the administrative affairs of the town. Despite the constant entreaties for new works for the theater, more than 15 years passed, and it seemed that the world had seen its last Verdi opera.

The composer’s longtime publisher finally succeeding in luring Verdi back to the stage with the combination of two irresistible collaborators: , the incandescent young librettist, and Shakespeare himself. After a successful trial run working with Boito to revise the failed Simon

5 Notes on the Program (Continued)

Boccanegra, Verdi agreed to work with the librettist on an operatic adaptation of Shakespeare’s , a dream project that inspired Verdi to unprecedented heights of creativity. Following that triumph, Boito was eager to collaborate with Verdi again, and to entice the now 76-year-old composer, he turned once again to Shakespeare, proposing an opera called Falstaff based on The Merry Wives of Windsor and bits of Henry IV. This time, Verdi needed little convincing. He had wanted to compose a successful comedy since the dreadful failure of his only other attempt with almost half a century earlier, and, as Boito argued in a reply to a letter from Verdi that laid out halfhearted concerns about taking on such a large project at his age, “There is only one way to end your career more splendidly than with Otello, and that is to end it with Falstaff.”

Verdi and Boito fully embraced the challenge of living up to their Shakespearean source (or rather exceeding it, as The Merry Wives is far from the Bard’s most inspired work). Boito’s —for once every bit the equal of the great operatic score to which it is set—is virtuosic in its use of language, overflowing with the allusions, puns, and wordplay that give Shakespeare’s plays their endless depth. Verdi’s music then paints that language with vivid color, enlivening every scene with breathless energy and an additional layer of meaning, and proving that innovation and a drastic change in style is possible even at almost 80 years of age. Act I, Scene 2 lacks any direct contribution from the title character, but its action nonetheless revolves around him. Falstaff has cooked up a harebrained and clumsy scheme to replenish his coffers by seducing either—or both—Alice Ford (soprano) or Meg Page (mezzo-soprano), the ladies of two wealthy Windsor households. The women immediately see through the plot and vow, along with Alice’s daughter Nannetta (soprano), to exact their revenge. Alice’s husband, Ford (baritone), is warned of the scheme by Falstaff’s frustrated friends, Bardolph (tenor) and Pistol (bass). They, along with their companions Dr. Caius (tenor) and Fenton (tenor, in love with Nannetta), also decide to have their vengeance. The scene, which features both groups laying plans to humiliate Falstaff, as well as a flirtatious episode for Nannetta and Fenton, showcases Boito and Verdi’s ability to balance a large number of characters on stage simultaneously, with interweaving dialogue and multiple dramatic avenues.

Rigoletto: Act III

Rigoletto was an enormous success at its 1851 premiere in , but like Stiffelio, it ran afoul of the authorities, needing something of a political miracle just to see the light of day. The opera draws on an uncomfortable source of inspiration: ’s Le roi s’amuse (The King Amuses Himself), a scathing and bleak play that centers on the amorous exploits of the historical French king Francois I and the downfall of his physically deformed and morally corrupt jester Triboulet, who encourages and makes light of the king’s lechery. The humpbacked antihero ultimately reaps the poisonous crop he has sown when Francois discovers and rapes his sheltered daughter, whom he has hidden away from the corruption of the court. Worse yet, in a botched attempt to arrange the king’s murder in revenge,

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Triboulet causes the death of his daughter instead. Naturally, the censors were not impressed, and extensive revisions to the work’s setting and its characters’ identities were required: The scene moved from the French court to Mantua, King Francois became the local duke, Triboulet became Rigoletto, and so on. Ultimately, the newly titled Rigoletto won its approval for performance from a censor who, by a crucial twist of fate, was an opera lover and an admirer of Verdi’s work.

The genius of Verdi’s transformation of Hugo’s spoken drama into Rigoletto—and indeed of the stylistic step forward represented by this first work of Verdi’s second creative period—is the closeness of music, text, and action. Form and content are streamlined and treated fluidly, so that neither the drama nor the music is distorted to fit the other, but rather the two are woven into a single organic whole. In the case of Rigoletto, this makes for a grim, vicious, and powerfully effective work, an opera noir in which the tension never flags and no respite is provided from the disturbing arc of the plot. This is not a cathartic tragedy or a tale of noble sacrifice. There are no admirable characters, no moral lesson, no redemption, and no silver lining—only a merciless depiction of the dark side of society.

To create the psychological and emotional dimension that is mostly absent from the minimalist, clear-eyed libretto, Verdi largely abandons the predictable alternating structure of , , and ensemble numbers, instead driving constantly forward in an arioso-like mixture of the three, relying mostly on passages for two or more characters that flow seamlessly together. It comes as no surprise, therefore, that Rigoletto’s finest moment is the ingenious Act III , combining the work’s emotional high point with its musical one and achieving a level of perfection matched by few other passages in all of opera. One is also constantly amazed by Verdi’s inventiveness and ability to unmistakably conjure his desired emotions and impressions while leaving them unspoken. Through evocative scoring (an Act III example being the chorus’s imitation of wind during the storm), thematic manipulation (the curse leitmotif that lurks beneath each of its character’s realizations of their fate), and pitch-perfect character painting (the very nature of each personality revealed by their music), Verdi’s score communicates subliminally with the listener. A genius example that encapsulates the brilliance of the entire work is the treatment of “La donna è mobile,” by far the most frequently excerpted bit of Rigoletto. So carefree and charmingly tongue-in-cheek in isolation, Verdi’s jaunty little tune is positively slimy in context, and when its distant strains return in the opera’s final scene to transform Rigoletto’s bloodthirsty gloating to horrible dread, the effect is viscerally sickening.

Jay Goodwin is managing editor at the Metropolitan Opera and writes about music for organizations around the world, including , the Boston Orchestra, and the Australian Chamber Orchestra.

7 Meet the Artists

Evan Rogister • Conductor

Evan Rogister is a dual citizen of the U.S. and , and highlights of his 2017–18 season include his Metropolitan Opera debut leading The Magic , a return to the Kennedy Center for Aida, at the , and Eugene Onegin at Stockholm’s Royal Opera. He will conduct Göteborg Opera’s first-ever Ring cycle beginning this year. In recent seasons he has led Tannhäuser and Rienzi at the Deutsche Oper Berlin, in Stockholm, and Le nozze di Figaro at the Malmö Opera. Recent debuts include Eugene Onegin at the Spoleto Festival USA and at the Théâtre du Capitole de Toulouseng. Additional projects include a double bill of Bartók’s Bluebeard's Castle and Schoenberg’s at the Göteburg Opera and , Szymanowski’s King Roger for the , Otello in Berlin and Luxembourg, Previn’s A Streetcar Named Desire for the and , and at the Kennedy Center. Concert work this season includes assignments with the Royal Stockholm Philharmonic Orchestra, Spoleto Festival Orchestra, and Malmö Symphony Orchestra. Recent orchestral appearances include conducting the National Symphony Orchestra, Gothenburg Symphony, l’Orchestre Philharmonique du Luxembourg, Bochum Symphoniker, Milwaukee Symphony Orchestra, and Atlanta Symphony Orchestra. His debut recording with , Follow, Poet, was released in 2015 and features Ensemble LPR in new works by Mohammed Fairouz. Mr. Rogister began his training as a trombonist and then an operatic baritone at Indiana University. He pursued graduate studies in voice and conducting at Juilliard.

Stephen Wadsworth • Director

Stephen Wadsworth is the James S. Marcus Faculty Fellow and director of the Artist Diploma in Opera Studies program at Juilliard and head of dramatic studies in the Metropolitan Opera’s Lindemann Young Artist Development Program. He has directed opera at the Met, , Covent Garden, State Opera, Netherlands Opera, Edinburgh Festival, , and many others, and plays on and off Broadway, in ’s West End, and in U.S. regional theaters. He wrote A Quiet Place with and is the author of Marivaux: Three Plays and the upcoming Moliere/Wadsworth: Don Juan (published by Smith and Kraus). He recently translated and directed the first two Beaumarchais Figaro plays—Le Barbier de Séville and Le Mariage de Figaro. He was named Chevalier de l’Ordre des Arts et des Lettres by the French government and is creative advisor for the Sundance Institute Theatre Program.

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Michelle Bradley • Soprano

Michelle Bradley is in her third year of the Lindemann Young Artist Development Program. This season she sang Clotilde in at the Met and will appear this spring at Teatro Municipal de Santiago as Donna Anna in . On the concert stage she will make her debut at the May Festival in the Verdi and sing Strauss’ Four Last Songs with the Santa Cruz Symphony and French chamber works with the New • Michelle Bradley’s World Symphony. She made her Met debut last season in participation in the followed by the High Priestess in Aida. Ms. Bradley is the 2017 recipient Lindemann Young of a Sullivan Foundation Award and the Award from the Artist Development Program is George London Foundation, and the 2016 recipient of the Hildegard sponsored by Behrens Foundation Award. She also won first place in the Gerda Lissner The Elroy and and Serge and Olga Koussevitzky vocal competitions. Terry Krumholz Foundation

Rihab Chaieb • Mezzo-Soprano

Rihab Chaieb is in her third year of the Lindemann Young Artist Development Program. This season at the Met she sings Lola in , the Sandman in Hansel and Gretel, and Laura in . She made her company debut last season as Zulma in L’Italiana in Algeri. Last fall she made her debut with the Philadelphia Opera in the world premiere of David Hertzberg’s . She has also sung Mercédès The Wake World • Rihab Chaieb’s in Carmen and Flora in at . A graduate of the participation in the ’s Ensemble Studio, she was also a participant Lindemann Young in San Francisco Opera’s Merola Program. Ms. Chaieb is winner of the Artist Development Gerda Lissner International Vocal Competition, the Christina and Louis Program is sponsored by the Quilico Award competition, the George London Foundation Competition, Kern Family, in and the Metropolitan Opera National Council Auditions. memory of Ralph W. Kern

Kidon Choi • Baritone

Baritone Kidon Choi is in his first year of the Lindemann Young Artist Development Program and made his Metropolitan Opera debut earlier this season as Yamadori in Madama Butterfly. He sang the title role in Rigoletto last summer at the Chautauqua Music Festival where he made his company debut in 2016 as Marcello in La bohème. While at Mannes School of Music, he sang Don Alfonso in Così fan tutte and Dulcamara in L’elisir d’amore. At the School of Music he sang Rodomonte in Haydn’s Orlando Paladino and Peter in Hänsel und Gretel. He received first prize in the 2017 Alfredo Silipigni Vocal Competition, third prize in the 2017 Opera at Florham Vocal Competition, second prize in the 2016 Gerda Lissner Competition, the major award in the 2016 Opera Index Vocal Competition, and was a grant winner in the 2016 Licia Albanese-Puccini Foundation International Vocal Competition.

9 Meet the Artists (Continued)

Sara Couden • Mezzo-Soprano

Sara Couden, is a recent graduate of the Lindemann Young Artist Program, as well as the Yale Institute of Sacred Music, and the San Francisco Conservatory. Highlights of her 2017–18 season include Albine in Thaïs at the Met, excerpts from Die Zauberflöte with the , Mahler’s Symphony No. 2 with the Santa Cruz Symphony, Deianira in Handel’s Hercules and Alto Rhapsody at the Staunton Music Festival, with the chamber ensemble Profana, Petr Eben’s Loveless Songs with Kim Kashkashian at the Marlboro Music Festival, From Jewish Folk Poetry and the Canary Cantata with Music @ Menlo, and Bach’s B-Minor Mass with Masaaki Suzuki at Yale’s Woolsey Hall. (saracouden.simpl.com)

Emily D’Angelo • Mezzo-Soprano

Emily D’Angelo is in her first year of the Lindemann Young Artist Development Program and recently sang the Second Lady in excerpts from Die Zauberflöte with the Los Angeles Philharmonic led by Gustavo Dudamel. She made her European debut at the 2016 Spoleto Festival as Cherubino in Le nozze di Figaro and her North American debut in 2016 with the Canadian Opera Company as the Second Lady. Last summer she sang Annio in with Opera Theatre of St. Louis and this summer sings Rosina in Il barbiere di Siviglia at the Glimmerglass Festival. She received second prize at the 2017 Neue Stimmen Competition and first prize at the 2016 Metropolitan Opera National Council Auditions and the 2017 Gerda Lissner International Voice Competition. She is a graduate of the Canadian Opera Company’s Ensemble Studio.

Ian Koziara • Tenor

Ian Koziara is in his second year of the Lindemann Young Artist Development Program, and earlier this season made his Metropolitan Opera debut as Enrique in Thomas Adès’ The Exterminating Angel followed by the Fourth Esquire in . He sang in Monteverdi’s Il Combattimento di e Clorinda last season at Weill Recital Hall and upcoming in the spring is a recital under the auspices of the Carnegie Hall Neighborhood Concert Series. He sang the title role in La clemenza di Tito last summer at the Aspen Opera Center and the previous summer made his debut at the Glimmerglass Festival as Ezekiel Cheever in Ward’s The Crucible. He returns to Wolf Trap Opera as a Filene Artist this summer where he will sing the title role in Idomeneo. Mr. Koziara has been a district winner of the Met’s National Council Auditions and a finalist of the Houston Eleanor McCollum Competition.

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David Leigh • Bass

David Leigh is in his second year of the Lindemann Young Artist Development Program and makes his Met debut this season as Le Surintendant in Massenet’s Cendrillon. This spring he appears in recital in New York at the Park Avenue Armory and in the summer makes his debut at the Bolshoi Opera as Colline in La bohème. Last summer he sang the Commendatore in Don Giovanni at the Aix-en-Provence Festival, then toured with the production to Nancy and Luxembourg. He had earlier sung the Commendatore with the Florentine Opera, was an apprentice at the Santa Fe Opera in 2016, and has been a participant in the Ravinia Festival’s Steans Music Institute. Mr. Leigh was a finalist in the 2016 Francisco Viñas Competition and was a 2015 regional winner of the Met’s National Council Auditions.

Petr Nekoranec • Tenor

Petr Nekoranec is in his second year of the Lindemann Young Artist Development Program. He sang in the Metropolitan Opera’s 2017 Summer Recital Series and makes his house debut this spring as Le Doyen de la Faculté in Massenet’s Cendrillon. Earlier this season he sang the title role in Le Comte Ory in Brno and . He has been a member of the Opera Studio at Munich’s where he sang Parpignol in La bohème, Albazar in Il Turco in Italia, the Animal Vendor in , and the Officer in . He has also sung Vašek in The Bartered Bride at Prague’s National Theater. He was awarded first prize and the Domingo Prize in the 2017 Francisco Viñas International Singing Contest in Barcelona.

Hyesang Park • Soprano

Hyesang Park is a graduate of Juilliard and in her third year of the Lindemann Young Artist Development Program. Season highlights include Barbarina in Le nozze di Figaro and the Dew Fairy in Hansel and Gretel at the Metropolitan Opera and her debut with Munich’s Bavarian State Opera as Despina in Così fan tutte. Last season she made her Met debut as the First Wood Nymph in , sang Najade in Ariadne auf Naxos at the Glyndebourne Opera, and appeared in concert in South Korea with Plácido Domingo and sang Juliette in Roméo and Juliette. In 2015–16 she sang Amina in the Met+Juilliard production of . She won second prize and the audience choice award at the 2015 Montreal International Competition, as well as second prize in the 2015 Operalia Competition. She is the recipient of the 2018 Foundation award.

11 Meet the Artists (Continued)

Gabriella Reyes de Ramírez • Soprano

Gabriella Reyes de Ramírez is in her first year of the Lindemann Young Artist Development Program and recently sang the First Lady in excerpts from Die Zauberflöte with the Los Angeles Philharmonic led by Gustavo Dudamel. She recently made her debut with the New York Choral Society in Beethoven’s Symphony No. 9 with the New Haven Symphony Orchestra and her debut with the Boston University Opera Institute in ’s Hydrogen Jukebox followed by the title role in Tobias Picker’s Emmeline. Last spring she sang the Countess in Le nozze di Figaro at the Boston University Opera Institute in a production directed by David Paul. She has also sung Minskwoman in Jonathan Dove’s Flight and a Greek Woman and Priestess in Gluck’s Iphigénie en Tauride. She was a Grand Finalist of the 2017 Metropolitan Opera National Council Auditions.

Gerard Schneider • Tenor

Austrian-Australian tenor Gerard Schneider has appeared in opera houses and venues around the world including debuts in leading roles at the Sydney , Carnegie Hall, , and , in repertoire spanning the bel canto, romantic, and styles. Recent appearances include Alfano’s Risurrezione directed by Rosetta Cucchi and conducted by Francesco Cilluffo and his debut as Arturo in Bellini’s with Antony Walker leading the Washington Concert Opera. Mr. Schneider joins the Ensemble of the Frankfurt Opera for the 2018–19 season. He holds an Artist Diploma in Opera Studies from Juilliard, where he studied with Edith Wiens.

Charles Sy • Tenor

Charles Sy is from and is in the Artist Diploma in Opera Studies program at Juilliard, where he studies with Marlena Malas. Last fall he appeared here with Juilliard Opera as Conte Belfiore in Mozart’s La finta giardiniera. He is a graduate of the Canadian Opera Company Ensemble Studio and completed his BM and MM at the University of Toronto. He is

• Juilliard Scholarship an alumnus of several training programs including the Music Academy of • Hardesty and the West, Opera Theatre of Saint Louis, Opera as Theatre program at the Beverley Peck Banff Centre, and Britten-Pears Young Artist Program. Mr. Sy received first Johnson Fund prize and the audience choice award in the Canadian Opera Company’s 2014 Centre Stage Competition. He is also the recipient of the 2013 Hnatyshyn Foundation Developing Artist Grant for Classical Voice after being nominated to represent the University of Toronto and competing at the national level.

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Adrian Timpau • Baritone

Adrian Timpau, who is in his first year of the Lindemann Young Artist Development Program, made his Glimmerglass Festival debut last summer as Eustachio in a new production of Donizetti’s The Siege of Calais. Earlier this season he appeared in concert at St. Thomas Church in Vaughan Williams’ Dona nobis pacem and sang Escamillo in a concert performance of Carmen with the Queensland Symphony Orchestra. This spring he sings Escamillo with Opera Philadelphia. Mr. Timpau is a graduate of the Opera Studio of the Zurich Opera where he has sung Schaunard in La bohème and Dancaïro in Carmen. He made his professional debut at Moldova’s National Opera as Robert in Tchaikovsky’s Iolanta, where he has also sung the title role in Eugene Onegin, Yeletsky in Pique Dame, and Escamillo.

Kang Wang • Tenor Kang Wang is in his third year of the Lindemann Young Artist Development Program and this season at the Metropolitan Opera he is heard as Mitrane in and covers Arturo in . He made his Met debut last season as Narraboth in Salome and also appeared as the First Prisoner in . Mr. Wang sang Rossini’s Stabat Mater with the London Philharmonic Orchestra last fall and appeared with the San Antonio Symphony in Mendelssohn’s Elijah. He recently stepped in for Jonas Kaufman in the New Year’s Eve concert in the Great Hall of the Moscow Conservatoire with the National Philharmonic Orchestra of Russia. A grand finalist in the 2017 Cardiff Singer of the World competition, he has also won second prize in the 2017 Belvedere Singing Competition and was the recipient of the 2017 Hildegard Behrens Award.

13 Juilliard Orchestra

Alan Gilbert, Director of Conducting and Orchestral Studies, William Schuman Chair in Musical Studies Evan Rogister, Guest Conductor

Violin I French Brian Joonwoo Hong, Yifei Li, Principal Cort Roberts, Principal Concertmaster Jenny Bahk Nathaniel Silberschlag, Zeynep Alpan Drew Cone Principal Ji Soo Choi Songhee Lee David Alexander Tal First Jeffrey Li Jaimee Reynolds Diana Do Hyung Kim Yu Yu Liu Abigél Králik Sung Moon Park Ariel Seung Hyun Lee Rachel Siu Anthony Barrington, Principal Kenta Nomura Marza Merophi Wilks Federico Montes, Principal Yue Qian Aaron Wolff Benjamin Keating Yeri Roh Hannah Tarley Helenmarie Vassiliou Markus Lang, Principal Ethan Shrier, Principal Christine Wu Nina Bernat Stephen Whimple, Principal Hikaru Yonezaki Szu Ting Chen Hanae Yoshida Fox Myers Violin II Justin Smith Bass Trombone Mary Grace Johnson, Reed Tucker Marco Gomez, Principal Ehren L. Valmé, Principal Principal Ewald Cheung Flute Chisa Kodaka James Dion Blanchard, Cimbasso Hsueh-Hung Lee Principal David Freeman Haokun Liang Jake Chabot, Principal Peter Lin Olivia Staton, Principal K.J. McDonald Benjamin Cornavaca, Jonathan Miron Piccolo Principal Emma Richman James Dion Blanchard Marty Thenell, Principal Grace Rosier Jake Chabot Sophia Steger Olivia Staton Percussion Jessica Jo-Tzu Yang Benjamin Cornavaca, Mitsuru Yonezaki Principal Brenden Zak Jonathan Gentry, Principal Marty Thenell, Principal Ryan Roberts, Principal Toby Grace Charles Galante, Principal English Horn Harp Dariya Barlybayeva Ryan Roberts Alethea Grant Isabella Bignasca Hannah Burnett Keyboard Graham Cohen Noemi Sallai, Principal Zalman Kelber Halam Kim Ning Zhang, Principal Frida Oliver Claire Satchwell Lauren Siess Thomas English, Principal Jasper Snow Blair Shepperd, Principal Sarah Semin Sung Chieh I Yang

14 About the Juilliard Orchestra

Juilliard’s largest and most visible student performing ensemble, the Juilliard Orchestra, is known for delivering polished and passionate performances of works spanning the repertoire. Comprising more than 350 students in the bachelor’s and master’s degree programs, the orchestra appears throughout the 2017–18 season in more than a dozen performances on the stages of Hall, Carnegie Hall, , and Juilliard’s Peter Jay Sharp Theater. The season opened in August with a collaboration between Juilliard and Finland’s Sibelius Academy members conducted by Esa-Pekka Salonen with concerts in Alice Tully Hall, Helsinki, and Stockholm. The orchestra is a strong partner to Juilliard’s other divisions, appearing in opera and dance productions. Under the musical leadership of , the director of conducting and orchestral studies, the Juilliard Orchestra welcomes an impressive roster of world-renowned guest conductors this season including Thomas Adès, Joseph Colaneri, Edo de Waart, Chen Lin, David Robertson, Speranza Scappucci, and , as well as faculty members Jeffrey Milarsky and Mr. Gilbert. The Juilliard Orchestra has toured across the U.S. and throughout Europe, South America, and Asia, where it was the first Western conservatory ensemble allowed to visit and perform following the opening of the People’s Republic of China in 1987, returning two decades later, in 2008. Other ensembles under the Juilliard Orchestra umbrella include the conductorless Juilliard Chamber Orchestra, the Juilliard Wind Orchestra, and the new-music groups AXIOM and New Juilliard Ensemble.

Orchestra Administration

Adam Meyer, Associate Dean and Director, Music Division Joe Soucy, Assistant Dean for Orchestral Studies

Joanna K. Trebelhorn, Director of Orchestral and Ensemble Operations Matthew Wolford, Operations Manager Lisa Dempsey Kane, Principal Orchestra Librarian Michael McCoy, Orchestra Librarian Kate Northfield Lanich, Orchestra Personnel Manager Deirdre DeStefano, Orchestra Management Apprentice

15 About the Lindemann Young Artist Development Program

The Metropolitan Opera’s Lindemann Young Artist Development Program was created in 1980 to identify and develop extraordinarily talented young artists in the realm of opera. The program has trained a new generation of celebrated American and international opera singers, as well as coaches and pianists, who perform at the highest standards in productions at the Met and opera houses around the world. In recognition and gratitude for their leadership and generous support, the Lindemann Young Artist Development Program has been named after Mr. and Mrs. George Lindemann.

While many opera companies across the country conduct young artist training programs, the Met’s Lindemann Young Artist Development Program is unparalleled for the quality and scope of resources available to its participants. Throughout their instruction, young artists draw upon the vast pool of world-renowned talent available at the Met, including current and former Met artists, internationally recognized coaches, and master teachers. Program participants have access to daily rehearsals and practice sessions, where they can observe opera’s great singers preparing their roles for the current Met repertory. They are also presented with the opportunity to participate in Met productions, as many singers perform supporting roles and pianists serve as assistant conductors.

Lindemann Young Artists are already in high demand and receive frequent invitations for performance opportunities outside the Met. This season alone current members of the program will perform at Munich’s Bavarian State Opera, the Aix-en-Provence Festival, Glimmerglass Festival, Teatro Municipal de Santiago, Opera Philadelphia, Teatro del Lago (Chile), Los Angeles Philharmonic, London Philharmonic Orchestra, New World Symphony, Toronto Symphony Orchestra, and Queensland Symphony Orchestra.

16 The Metropolitan Opera

Peter Gelb, General Manager Yannick Nézet-Séguin, Music Director Designate

Diana Fortuna, Deputy General Manager

Assistant General Managers Mia Bongiovanni, Media Gillian Brierley, Marketing and Communications John Fisher, Music Administration John Sellars, Production Coralie Toevs, Development

Jonathan Friend, Artistic Administrator

Lindemann Young Artist Development Program

Michael Heaston, Executive Director and Acting Artistic Director

Ken Noda, Musical Advisor Natalia Katyukova, Staff Musical Coach Stephen Wadsworth, Head of Dramatic Studies Robert Cowart, Head of Linguistic Studies David Paul, German Instructor Nathaniel Murray, Fitness Instructor

17 The Metropolitan Opera Board

Ann Ziff MANAGING DIRECTORS ADVISORY DIRECTORS MEMBERS OF THE Chairman Mrs. Veronica Atkins M. Beverly Bartner ASSOCIATION Mercedes T. Bass Ellen S. Berelson Mahmoud M. Abdallah Judith-Ann Corrente Frank A. Bennack, Jr. Stephen Berger Dr. Joan Taub Ades President and Susan S. Braddock Stanley M. Bergman Agnieszka R. Balaban Chief Executive Officer Alexa Bator Chae Noreen Buckfire R. Joseph Barnett Betsy Cohen Ms. Angela Chao Jane Beasley Mercedes T. Bass Leonard S. Coleman, Jr. Nabil N. Chartouni Mrs. Thomas S. Brush Vice Chair Judith-Ann Corrente Daniel C. Cochran Eleanor N. Caulkins John Cryan Jerry del Missier Dr. Patrizia A. Cavazzoni William C. Morris Rena De Sisto Gary B. Flom Betsy Cohn Chair of the Mrs. Paul G. Desmarais Sr. Gordon P. Getty Robert J. Cubitto Executive Committee Misook Doolittle Richard Gilbert Robert G. Edge Elizabeth M. Eveillard Nancy A. Green Beatrice Esteve Jeanette Lerman-Neubauer Stephanie T. Foster Ephraim Greenwall Sanford H. Fisher Secretary Marina Kellen French H. Alexandra Kauka Hamill Rosalind Glaser Joan Granlund Howard W. Hunter Eugene M. Grant Betsy Cohen Beth A. Grosshans Linda E. Johnson G. Morris Gurley Treasurer Ekkehart Hassels-Weiler Klaus Kleinfeld Barbara Guss Rolf Heitmeyer Dr. Herbert G. Kloiber Mrs. Randolph H. Guthrie Frayda B. Lindemann Marlene Hess Dr. David G. Knott O. Delton Harrison, Jr. Vice President H. M. Agnes Hsu-Tang, Ph.D. Meyer G. Koplow Erik Hartmann Christine F. Hunter Theodore A. Kurz Vikas Kapoor Christine F. Hunter Frederick Iseman Dominique Laffont Mrs. Martin S. Kimmel Honorary Chair David Henry Jacobs Mitchell L. Lathrop Mrs. Joan C. Long Tod Johnson Dr. Coco Lazaroff Sandra Ourusoff Massey James W. Kinnear James W. Kinnear Marguerite L. Lee John L. McGraw Honorary Chair Bruce Kovner Helen Y. Little Mrs. Peter H. Nicholas Camille D. LaBarre Andrew J. Martin-Weber Dr. Steve Prystowsky Paul M. Montrone Harry T. Lee Frances Marzio Thomas J. Reid President Emeritus Jeanette Lerman-Neubauer Dafna Meitar-Nechmad Cynthia D. Sculco Frayda B. Lindemann Richard J. Miller, Jr. Paul J. Sekhri Kathryn A. Miller Linda Mirels Mrs. William F. Sondericker EXECUTIVE COMMITTEE William R. Miller Franci Neely Jackson Tai William C. Morris Marta Nottebohm Barry Tucker Mercedes T. Bass Elena A. Prokupets Ellen F. Oelsner George L. Van Amson Frank A. Bennack, Jr. Sana H. Sabbagh Katharina Otto-Bernstein Betsy Cohen Howard Solomon Miss Judith-Ann Corrente Marc I. Stern Winthrop Rutherfurd, Jr. Ekkehart Hassels-Weiler YOUNG ASSOCIATE Hon. David A. Straz, Jr. Jacqui Smith Christine F. Hunter DIRECTORS Ambassador Nicholas F. Daisy M. Soros Jeanette Lerman-Neubauer Amanda S. Brainerd Taubman Kimberly V. Strauss Frayda B. Lindemann Diego De Giorgi Douglas Dockery Thomas John J. Veronis William C. Morris Aslanbek Dzhaliev Robert I. Toll Arete S. Warren Ambassador Nicholas F. Jordan A. D. Fudge Robert L. Turner Taubman Heather H. Georges Ann Ziff Robert L. Turner Matthew G. Hurd Ann Ziff Amy H. Lee So-Chung Shinn Lee HONORARY DIRECTORS Pedro Magalhães Bruce Crawford Julie Warner McAskin Foster Daniels Bryan L. McCalister Emily Fisher Landau Fonzarelli Ong Mrs. Walter J. Laughery, Jr. Frederick Perlberg Mrs. Alexander M. Laughlin Evelyn M. M. Popp Paul M. Montrone Chad J. Shampine Itai Shoffman Siddhartha Shukla Kevin M. Tagami Michael J. Woods Satoko Yahata

18 Lindemann Young Artist Development Program

The Metropolitan Opera is grateful to the following donors for their generous support of the Lindemann Young Artist Development Program. For more information, please call Kathy Liu, Director of Major Gifts, at 212.870.4570.

$500,000 OR MORE $35,000 OR MORE $10,000 OR MORE Frayda and George Lindemann* The Theodore H. Barth Susan A. Babson Opera Fund for Foundation Emerging Artists Trust of Claire J. Swan Estate of Viola Dunn Jeannette and H. Peter Kriendler Charitable Trust Estate of Anne Tallman Fondation Rumsey-Cartier Margaret Mellon Hitchcock The Sybil B. Harrington Foundation Endowment Fund** $250,000 OR MORE The Nancy Peery Marriott Dr. Nancy Maruyama and Foundation The Starr Foundation** Charles Cahn David Shustak, in memory of Daniel and Janet Mordecai Herbert J. Frank Foundation, Inc. C. F. Roe Slade Foundation $100,000 OR MORE Hans J. Heinz and Estate of Charles E. Carter Memorial Fund** $25,000 OR MORE William Randolph Hearst Foundation** The Hildegard Behrens Foundation The Veale Foundation, Jane Kober, Max Kade Foundation, Inc. Trustee Estate of Matilda Cascio Mr. and Mrs. Dennis W. LaBarre Norman and Rosita Winston Eleanor N. Caulkins Dominique and Frédéric Laffont Foundation** The Chervenak-Nunnallé Annette Merle-Smith 1 Anonymous Donor Foundation Estate of Theodora Petropulos Jephson Educational Trusts Jane P. Long Endowment Fund Mrs. Walter Taussig, in memory of $50,000 OR MORE Maestro Walter Taussig The Bodman Foundation Estate of Ella Upsher Estate of Sylvan C. Coleman Epstein Teicher Philanthropies, in memory of Milton S. Teicher Anthony B. and Judith W. Evnin Fund, in honor of Sarah Billinghurst** The Erich P. Holzer Charitable Remainder Trust** The Kern Family, in memory of Ralph W. Kern * Annual contributions and income on designated endowment funds The Elroy and Terry Krumholz ** Income on designated endowment Foundation funds The Alice Tully Foundation** † In Memoriam

19 Juilliard Annual Supporters

The Juilliard School is deeply grateful to the following individuals, foundations, and corporations for their annual gifts and pledges in support of scholarship funding and Juilliard’s multifaceted performance and educational activities.

Over $1 million The Fan Fox and Leslie R. Samuels Cecil M. Yarbrough and Ronald S. The Jerome L. Greene Foundation Foundation Csuha Bruce and Suzie Kovner The Shubert Foundation, Inc. Anonymous (2) Ellen Marcus Jeremy Smith Katheryn C. Patterson and Thomas Bruce B. Solnick $10,000–$14,999 L. Kempner Jr. The Meredith and Rosemary AON Foundation Susan and Elihu Rose Foundation Willson Charitable Foundation Jody and John Arnhold Anonymous Bootsie Barth $500,000–$999,999 Mercedes T. Bass International Foundation for Arts $25,000–$49,999 Anne L. Bernstein and Culture Anna Schoen-René Fund at Sander and Norma K. Buchman Michael E. Marks Family The New York Community Trust Fund Foundation The Annenberg Foundation Joyce and Barry Cohen Arnhold Foundation Crankstart Foundation $250,000–$499,999 Raymond-Cryder Designated Fund The Gladys Krieble Delmas Max H. Gluck Foundation of the Lehigh Valley Community Foundation Corporate Fund Foundation and Paul DeRosa The Edwin Caplin Foundation Memorial Fund $100,000–$249,999 Susanne D. Ellis Vivian Donnelley Pierre T. Bastid Sidney E. Frank Foundation Dr. Lee MacCormick Edwards Beth and Christopher Kojima The George L. Shields Foundation Charitable Foundation Constance Goulandris Foundation The Horace W. Goldsmith Syril H. Frank Michael Loeb Foundation Allen R. and Judy Brick Freedman Stephanie and Carter McClelland/ Princess Grace Foundation–USA Abraham & Mildred Goldstein The Stephanie and Carter Gordon D. Henderson Charitable Trust McClelland Foundation Dominique and Frédéric Laffont Dr. Elliot Gross and Dr. Alice Deborah J. Simon LCU Fund for Women’s Education Helpern Sarah Billinghurst Solomon and Edward F. Limato Foundation Jennifer and Bud Gruenberg Howard Solomon Joyce F. Menschel Harold P. Hope III Marcelline Thomson Enid and Lester Morse Mr. and Mrs. Scott Kauffmann The Virginia B. Toulmin Foundation Mrs. Susan L. Robinson Mr. and Mrs. Peter Kend Jack Shear Younghee Michelle Kim-Wait $50,000–$99,999 Barbara J. Slifka Dr. Min Kwon and Dr. Leonard Lee The Achelis and Bodman Tomodachi Suntory Music Roberta C. Lobel Foundations Scholarship Fund Marya Martin and Kenneth S. Akin Gump Anonymous Davidson The Augustine Foundation Mr. and Mrs. Jean-Hugues J. Norman S. Benzaquen $15,000–$24,999 Monier Helen V. Vera and Kent A. Clark Edwin L. Artzt Terry Morgenthaler and Patrick Choi & Burns, LLC Laurel and Clifford Asness Kerins Lisa and Sanford B. Ehrenkranz Mary L. Bianco Bohram Leslie and Mitchell Nelson Dan J. Epstein and the Dan J. Barbara and Gary Brandt Howard S. Paley Epstein Family Foundation Joan and Peter Faber John R. Philpit Barbara G. Fleischman Brian and Darlene Heidtke The Presser Foundation Edythe Gladstein Elinor and Andrew Hoover Julia Raiskin Keith and Barbara Gollust The Katzenberger Foundation, Inc. Grace E. Richardson Ms. Mary L. Graham Heidi Castleman Klein Mr. and Mrs. Frank J. Rodriguez Joan W. Harris/The Irving Harris Sidney R. Knafel and Londa Elizabeth S. Sheppard Foundation Weisman Marjorie Tallman Educational Matt Jacobson and Kristopher L. Wynton L. Marsalis Foundation Dukes The Moca Foundation Sandra and John W. Thompson Karen and Paul Levy Karen K. Nelson Robert and Jane Toll Terry and Bob Lindsay Pre-College Parents’ Association Doris Travis Vincent and Anne Mai of The Juilliard School LoRaine Kent Vichey Memorial Nancy A. Marks Evelyn and John Popp Trust Christina M. McInerney Dr. Gary Portadin Lucille and Jack Yellen Foundation The Ambrose Monell Foundation Jack Seidler Judy Francis Zankel Edward John Noble Foundation Gerald L. Schuld Anonymous (3) Stephen Novick and Evan Galen‡ Bradley Whitford The Philanthropy Roundtable

20 Juilliard Annual Supporters (Continued)

$7,500–$9,999 Alec P. Stais and Elissa Burke John and Patricia Klingenstein Mr. and Mrs. Jonathan File Kristine Jarvi Tyler Paul E. Kwak, M.D. Peter J. Frenkel Foundation, Inc. Barbara and Sedgwick Ward Jay H. Lefkowitch, M.D. Candice and John Frawley Marjorie and Irving Weiser Lenni and Perry Lerner Bernard Holtzman Doreen and Martin Weisfuse Mrs. John M. Lewis Frances Kazan Nathaniel Wertheimer and Taya Nancy Long Mitzi Koo Schmid Christopher and Beth Lyon McKinsey & Company, Inc. Andrew P. Willoughby Robert and Bridget Lyons Sharon Ruwart and Tom Melcher Jean and Rick Witmer Mr. and Mrs. Adam E. Max Anonymous John J. Yarmick James and Stephania McClennen George K. Yin and Mary J. Walter Mr. Rodney McDaniel $5,000–$7,499 Dale Zand James G. McMurtry III, M.D. Margot Adams Anonymous (6) Paula P. Michtom Mr. and Mrs. Robert J. Appel Tim B. Nelson and Lisa M. Walter and Marsha Arnheim $2,500–$4,999 Benavides Mr. and Mrs. Seymour Askin, Jr. Mr. and Mrs. Kwangkyun Ahn Stanley Newman and Dr. Brian Janet E. Baumgartner Dr. Audrey S. Amdursky Rosenthal Marshall S. Berland and John E. Michelle and Jonathan Auerbach Michael Nochomovitz Johnson Emanuel and Yoko Ax James Park and Jungmin Kim Anne Louise and Matthew Bostock Casey C. Bayles Celia Paul and Stephen Rosen Nicholas Brawer Philip A. Biondo Craig and Stefanie Pintoff Mrs. Isabel Brenes Lucienne and Claude Bloch, M.D. Judy and Jim Pohlman Bryan Cogman and Mandy Olsen Mr. Robert Brenner Arthur C. Press Ron Daniel and Lise Scott Trudy and Julius Brown Dr. and Mrs. Stephen D. Dudley and Michael Del Balso Elaine J. Budin Prystowsky Ms. Nancy Fisher Steven C. Calicchio Foundation Ms. Wenhua Qi Seth E. Frank Kathryn G. Charles Donna M. Romer Beth and Gary Glynn Beverly and Herbert Chase Pamela and Richard Rubinstein Arlene‡ and Edmund Grossman Mr. Kenneth H. Chase Foundation Alec and Christy Guettel Ernest and Mary Chung Adel Sanchez Nancy and Bruce Hall James and Kanako Clarke Carol A. Scancella The Harkness Foundation for Betsy L. Cohn Nancy Schloss Dance Anne and Stephen Cunningham Richard E. Schneyer Japanese Chamber of Commerce Georgeann Delli Venneri Sandra Semel and Industry of New York Vivien and Michael Delugg Mr. Jiuling Shi Edward and In-Aie Kang Mrs. Vincent de Roulet The Margot Sundheimer Foundation John R. Doss Foundation Keller-Shatanoff Foundation Robert & Mercedes Eichholz Elise C. and Marvin B. Tepper Sharon and Cary A. Koplin Foundation Barbara and Donald Tober Mrs. William M. Lese Marilyn and Steven Emanuel Caroline Urvater Helen Little Mr. and Mrs. Anthony Evnin Anthony and Elaine Viola Mr. Jerome N. Lowenthal Dr. Edythe Fishbach Jonathan and Candace Wainwright Mr. and Mrs. Peter L. Malkin Elyse Fried Suzanne Weil Sylvia and Leonard Marx Jr. Alan S. Futerfas and Bettina Susan M. Whelan Pat and Peter Nadosy Schein Theodore Wilson B. Gregory Palitz Emma Gruber Frank and Lisa Wohl The Laura Pels International Maire E. Gullichsen-Ehrnrooth Rebecca Wui and Raymond Ko Foundation for Theater Dr. Daniel E. Haspert Anonymous (2) Joseph Piropato and Paul Michaud Joyce and Ira Haupt, II Edith Polvay-Kallas Peter Chung-Tao Ho and Anisa ‡ = In Memoriam John Re and Charles Palmer Sosthikul Sabine Renard Judy and Lindley Hoffman As of 10/31/17 Mary G. Roebling Musical Katherine L. Hufnagel Scholarship Fund, Inc. Juilliard Alumni Association of Ida & William Rosenthal Japan Foundation Elma and Howard Kanefield Yukari Saegusa Mel and Elaine Kaplan Gillian Sorensen William F.‡ and Frances M. Kelly Annaliese Soros Jackie and Andrew Klaber

Please consider making an investment in the future of dance, drama, and music today and help The Juilliard School remain at the forefront of performing arts education. For more information or to make a gift, please contact the Development Office at (212) 799-5000, ext. 278, or [email protected].

21 The Augustus Juilliard Society

The Augustus Juilliard Society recognizes those who have included The Juilliard School in their long-range financial plans with a bequest, gift annuity or trust arrangement. These future gifts will help ensure that Juilliard may continue to provide the finest education possible for tomorrow’s young artists. The School expresses its deep appreciation to the following members:

Donald J. Aibel Michael Stephen Gallo Ning Liang Veronica Maria Alcarese Anita L. Gatti Joseph M. Liebling Douglas S. Anderson Thelma and Seymour Geller, Jerry K. Loeb Mitchell Andrews on behalf of Jane Geller Richard Lopinto Dee Ashington Rabbi Mordecai Genn Ph.D. Eileen Lubars Jack Bakal Mark V. Getlein Chuck Manton Richard Beales Pia Gilbert Cyril‡ and Cecelia Marcus Yvette and Maurice‡ Bendahan John R. Gillespie Serena B. Marlowe Donald A. Benedetti Professor Robert Jay Glickman Dolores Grau Marsden Helen Benham Dr. Ruth J.E. Glickman Sondra Matesky Elizabeth Weil Bergmann Sheryl Gold Stephanie and Carter McClelland Marshall S. Berland and Terrine Gomez and The Stephanie and Carter John E. Johnson The Venerable John A. Greco McClelland Foundation Anne L. Bernstein Drs. Norman and Gilda Greenberg Joseph P. McGinty Benton and Fredda Ecker Bernstein Arlene‡ and Edmund Grossman James G. McMurtry III, M.D. Leslie Goldman Berro Miles Groth, Ph.D. Dr. and Mrs. N. Scott McNutt Susan Ollila Boyd Emma Gruber Pauline and Donald B.‡ Meyer Mrs. George E. Boyer Rosalind Guaraldo Stephen A. Meyers and Peter A. Boysen Ruth Haase Marsha Hymowitz-Meyers Nina R. Brilli Mr. and Mrs. Robert S. Haggart Jr. Paula P. Michtom Steven and Colleen Brooks Louise Tesson Hall Leo‡ and Anne Perillo Michuda Carol Diane Brown and Ralph Hamaker Warren R. Mikulka Daniel J. Ruffo Stephen and Andrea Handleman Stephen Mittman Beryl E. Brownman Meleen O’Brien Harben Robert A. Morgan Lorraine Buch Rev. Tozan Thomas Hardison Valerie Wilson Morris Eliane Bukantz Ralph‡ and Doris Harrel Diane Morrison Felix N. Calabrese Judith Harris and Tony Woolfson Mark S. Morrison Alan‡ and Mary Carmel Robert G. Hartmann L. Michael and Dorothy Moskovis Mr. and Mrs. N. Celentano Robert Havery Gail Myers Wendy Fang Chen S. Jay Hazan M.D. Myron Howard Nadel Julie A. Choi and Claudio Cornali Betty Barsha Hedenberg Steven W. Naifeh and Dr. Barbara L. Comins and Brian J. Heidtke Gregory White Smith‡ Mr. Michael J. Comins Gordon D. Henderson Anthony J. Newman Charlotte Zimmerman Crystal Mayme Wilkins Holt Oscar and Gertrude Nimetz Fund Rosemarie Cufalo Julie Holtzman Stephen Novick Christopher Czaja Sager Gerri Houlihan Mr.‡ and Mrs. Donald Parton Harrison R.T. Davis Katherine L. Hufnagel Celia Paul and Stephen Rosen Robert Lee Dean Joseph N. and Susan Isolano Jeanne M. and Stephen and Connie Delehanty Paul Johnston and Umberto Ferma Raymond Gerard‡ Pellerin Ronald J. Dovel and Thomas F. Lahr Janice Wheeler Jubin and Jane V. Perr M.D. John C. Drake-Jennings Herbert Jubin Jean Pierkowski Ryan and Leila Edwards Peter H. Judd Elissa V. Plotnoff Pinson Lou Ellenport Michael Kahn Fred Plotkin Audrey Ellinger Mr.‡ and Mrs. Martin Kaltman Judy and Jim Pohlman Lloyd B. Erikson George and Julia Katz Geraldine Pollack Eric Ewazen Younghee Kim-Wait Sidney J.‡ and Barbara S. Pollack Holly L. Falik Robert King John G. Popp Barbara and Jonathan File Linda Kobler and Dr. Albert Glinsky Thomas and Charlene Preisel Stuart M. Fischman J. D. Kotzenberg Arthur Press Dr.‡ and Mrs. Richard B. Fisk Bruce Kovner Bernice Price Judi Sorensen Flom Edith Kraft Gena F. Raps Ann Marie Smith Forde Mr. and Mrs. Paul A. Krell Nancy L. Reim Lorraine Fox Francine Landes Susan M. Reim John and Candice Frawley Sung Sook Lee Susan D. Reinhart Dr. Mio Fredland Paul Richards Lemma and Madeline Rhew Chaim Freiberg Wilhelmina Marchese Lemma‡ Michael Rigg Naomi Freistadt Loretta Varon Lewis‡ and Douglas Riva Constance Gleason Furcolo Norman J. Lewis Lloyd‡ and Laura Robb

22 The Augustus Juilliard Society (Continued)

Daniel P. Robinson Dr. Robert B. Sharon Dietrich and Alice Wagner Yvonne Robinson Edmund Shay and Raymond Harris Alberto and Paulina A. Waksman Carlos Romero and Dr. Edward Shipwright Stanley Waldoff Joanne Gober Romero Robert D. Sholiton Jessica Weber Linda N. Rose Arthur T. Shorin Catherine White Susan W. Rose Mel Silverman Miriam S. Wiener Dinah F. Rosoff Steven P. Singer M.D. and Robert Wilder‡ and Roger F. Kipp Roxanne Rosoman Alan Salzman M.D. Alice Speas Wilkinson Sam and Deborah Rotman Barbara Thompson Slater Yvonne Viani Williams Lynne Rutkin Bruce B. Solnick Margaret S. Williamson Edith A. Sagul Carl Solomon Sr. Dr. Theo George Wilson Joan St. James Barbara H. Stark Elizabeth R. Woodman Riccardo Salmona Sally T. Stevens Edward Yanishefsky Harvey Salzman James Streem Lila York Michael and Diane Sanders Henry and Jo Strouss Forty-nine Anonymous Members Nancy Schloss Cheryl V. Talib Casiana R. Schmidt Phyllis K. Teich Shelby Evans Schrader‡ and Tom Todoroff and Emily Moulton ‡ = In Memoriam John Paul Schrader Marie Catherine Torrisi Irene Schultz Dr. Marta Vago William C. Schwartz Walter and Elsa Verdehr David Shapiro Paul Wagenhofer

For information about becoming a member of the Augustus Juilliard Society, please visit us on the web at www.plannedgiving.juilliard.edu. You may also call us directly at (212) 799-5000, ext. 7152, or write to [email protected].

Estates and Trusts

The Juilliard School is profoundly grateful for the generous gifts received from the following Estates and Trusts between January 1, 2017 and December 31, 2017. We remember the individuals who made these gifts for their vision in supporting future generations of young performing artists at Juilliard.

The Jere E. Admire Charitable Trust Trust of Edward Jabes Harold Alderman Trust Bernice F. Karlen Revocable Grantor Trust Estate of Joan Anderson Estate of Melvin Kartzmer Estate of Celia Ascher Estate of Shirley Lewenthal Estate of Ruth Bamdas Trust of Lillian B. Madway Estate of Katherine S. Bang Estate of Samuel Marateck The Claire Lois Bechter 1998 Trust Estate of Shirley Nai Pan Trust of Sonia Block Estate of Walter P. Pettipas Betty and Daniel Bloomfield Fund Estate of Cynthia L. Rec Estate of Alan Broder Estate of George T. Rhodes Estate of Ruth F. Broder Estate of Lillian Rogers Estate of George Bryant Howard and Ethel Ross Trust Estate of John Nicholson Bulica Estate of Harold C. Schonberg Estate of Annette Burford Bertha Seals Trust Estate of Margaret P. Butterly Arline J. Smith Trust Estate of Alice Shaw Farber Janice Dana Spear Trust Fima Fidelman Trust Estate of Bruce Steeg Dora L. Foster Trust Estate of Stanley Tucker Trust of Gordon A. Hardy Trust of Helen Marshall Woodward William J. Henderson Memorial Fund Estate of Mildred Zucker Frances B. Hoyland Trust

23 Juilliard Board of Trustees and Administration

BOARD OF TRUSTEES Ellen and James S. Marcus Institute for Vocal Arts Bruce Kovner, Chair Brian Zeger, Artistic Director J. Christopher Kojima, Vice Chair Kirstin Ek, Director of Curriculum and Schedules Katheryn C. Patterson, Vice Chair Monica Thakkar, Director of Performance Activities Pierre T. Bastid Michael Loeb Pre-College Division Julie Anne Choi Vincent A. Mai Yoheved Kaplinsky, Artistic Director Kent A. Clark Ellen Marcus Ekaterina Lawson, Director of Admissions and Academic Affairs Kenneth S. Davidson Nancy A. Marks Anna Royzman, Director of Performance Activities Barbara G. Fleischman Stephanie Palmer McClelland Evening Division Keith R. Gollust Christina McInerney Danielle La Senna, Director Mary Graham Lester S. Morse Jr. Joan W. Harris Stephen A. Novick Lila Acheson Wallace Library Matt Jacobson Joseph W. Polisi Jane Gottlieb, Vice President for Library and Edward E. Johnson Jr. Susan W. Rose Information Resources; Director of the C.V. Starr Karen M. Levy Deborah Simon Doctoral Fellows Program Teresa E. Lindsay Sarah Billinghurst Solomon Laura Linney William E.“Wes” Stricker, MD Enrollment Management and Student Development Joan D. Warren, Vice President Kathleen Tesar, Associate Dean for Enrollment Management Barrett Hipes, Associate Dean for Student Development TRUSTEES EMERITI Sabrina Tanbara, Assistant Dean of Student Affairs June Noble Larkin, Chair Emerita Cory Owen, Assistant Dean for International Advisement Mary Ellin Barrett and Diversity Initiatives Sidney R. Knafel William Buse, Director of Counseling Services Elizabeth McCormack Katherine Gertson, Registrar John J. Roberts Tina Gonzalez, Director of Financial Aid Teresa McKinney, Director of Community Engagement Todd Porter, Director of Residence Life JUILLIARD COUNCIL Howard Rosenberg MD, Medical Director Beth Techow, Administrative Director of Health Mitchell Nelson, Chair and Counseling Services Michelle Demus Auerbach Sophie Laffont Holly Tedder, Director of Disability Services Barbara Brandt Jean-Hugues Monier and Associate Registrar Brian J. Heidtke Terry Morgenthaler Finance Gordon D. Henderson Pamela J. Newman Christine Todd, Vice President and Chief Financial Officer Peter L. Kend Howard S. Paley Irina Shteyn, Director of Financial Planning and Analysis Younghee Kim-Wait John G. Popp Nicholas Mazzurco, Director of Student Accounts/Bursar Paul E. Kwak, MD Grace E. Richardson Min Kyung Kwon Kristen Rodriguez Administration and Law Jeremy T. Smith Maurice F. Edelson, Vice President for Administration and General Counsel Joseph Mastrangelo, Vice President for Facilities Management EXECUTIVE OFFICERS AND SENIOR ADMINISTRATION Myung Kang-Huneke, Deputy General Counsel Carl Young, Chief Information Officer Office of the President Steve Doty, Chief Operations Officer Joseph W. Polisi, President Dmitriy Aminov, Director of IT Engineering Jacqueline Schmidt, Chief of Staff Caryn Doktor, Director of Human Resources Adam Gagan, Director of Security Office of the Provost and Dean Scott Holden, Director of Office Services Ara Guzelimian, Provost and Dean Jeremy Pinquist, Director of Client Services, IT José García-León, Associate Dean for Academic Affairs Helen Taynton, Director of Apprentice Program Robert Ross, Assistant Dean for Preparatory Education Kent McKay, Associate Vice President for Production Development and Public Affairs Alexandra Day, Associate Vice President for Marketing Dance Division and Communications Taryn Kaschock Russell, Acting Artistic Director Katie Murtha, Acting Director of Development Lawrence Rhodes, Artistic Director Emeritus Benedict Campbell, Website Director Katie Friis, Administrative Director Amanita Heird, Director of Special Events Drama Division Susan Jackson, Editorial Director Richard Feldman, Acting Director Sam Larson, Design Director Katherine Hood, Managing Director Lori Padua, Director of Planned Giving Ed Piniazek, Director of Development Operations Music Division Nicholas Saunders, Director of Concert Operations Adam Meyer, Associate Dean and Director Edward Sien, Director of Foundation and Corporate Relations Bärli Nugent, Assistant Dean, Director of Chamber Music Adrienne Stortz, Director of Sales Joseph Soucy, Assistant Dean for Orchestral Studies Tina Matin, Director of Merchandising Stephen Carver, Chief Technician Rebecca Vaccarelli, Director of Alumni Relations Joanna K. Trebelhorn, Director of Orchestral and Ensemble Operations Juilliard Global Ventures Christopher Mossey, Senior Managing Director Historical Performance Courtney Blackwell Burton, Managing Director for Operations Robert Mealy, Director Betsie Becker, Managing Director of Global K–12 Programs Benjamin D. Sosland, Administrative Director; Gena Chavez, Managing Director, The Tianjin Juilliard School Assistant Dean for the Kovner Fellowships Nicolas Moessner, Managing Director of Finance and Risk Management Jazz , Director of Juilliard Jazz Aaron Flagg, Chair and Associate Director

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