tjAIVIOll1 Brooklyn Academy of Music 1997 Spring Season

Louise Bourgeios, Hamlet and Ophelia for BAM, 1996, lithograph, 29 1/4")( 41 ~ Amadigi

BAM 1997 Spring Season and 135th Anniversary Season are sponsored by Philip Morris Companies Inc. \ The Brooklyn Academy of Music Bruce C. Ratner Chairman of the Board

Harvey lichtenstein President & Executive Prooucer

presents

Amadigi di Gaula Amadis of Gaul, an opera in three acts

BAM Majestic Theater March 11 , 12, 14 & 15, 1997 at 7,30pm

Running time: libretto by an unknown author approximately Adapted from Amadis de Grece by Antoine Houda r de la Motte two hours and twenty Translated and edited by Andrew Jones minutes, including intermission. Opera Theatre Company (Ireland) Conductor seamus Crimmins Director James Conway Designer Neil Irish lighting Designer Simon Corder

Arnadigi of Gaul-a famous hero in love with Oriana, Jonathan Peter Kenny Dardano-Pri nce of Thrace, ally of Amadigi, Buddug Verona James Oriana~aughter of the King of the Fortunate Isles, Anne O' Byrne Melissa- an Enchantress, in love with Amadigi, Majella Cullagh Orgando-visiting God of Love , Nicholas Frisch

london Baroque Sinfonia leader Stephen Bull Continuo Alastair Ross (harpsicord), Gabriel Amherst (cello)

British Airways is the officia l airline for th is presentation.

Amadigi takes place with the assistance of the British Council, Allied Irish Ban ks Group pic, and the Cultura l Relations Committee of the Department of Foreign Affairs, Ireland.

Additional support for BAM Opera: The Peter Jay Sharp Fund for Opera and Theater, and The Shubert Foundation, Inc. First performance on May 25, 1715 at the King's Theatre , Haymarket, london

First Irish performance on May 4, 1996 at the Theatre Royal, Wexford photo: Calm Henry

london Baroque Stephen Bull Nicola Cleminson Philip Gibbon Sinfonia Leader Viola Bassoon

Joanna Parker Gabriel Amherst Stephen Mason Violin I Violincello Trumpet

Chizuko Ishikawa Antonia Bakewell Alastair Ross Violin I Double Bass Continuo

Ben Sansom Mark Radcliffe Violin /I Oboe I / Recorder

leah Nelson Althea Ifeka Violin /I Oboe /I / Recorder

Technical Staff Production Manager- Paul Tucker Stage Manager- Paula Tierney Master Carpenter- David Butler Staging & lighting Technician- Kevin Treacy

BAM titles formatted by Michael Panayos projected by David Rebhun Act 1 Amadigi, a famous hero, is in love with Oriana, but he and Oriana are sep­ arately detained by the enchantress Melissa. Amadigi proposes to his ally, Dardano, that they escape by night from the garden of Melissa. When Dardano reproaches him for not returning Melissa's love, Amadigi shows him the picture of Oriana; Dardano is shocked, for it is the picture of the woman he too loves, and the sudden bitterness of his rivalry sends him secretly off to warn Melissa. Amadigi begs the night to help his plan, but he is con­ founded by the arrival of Melissa. She threatens him, but he is undaunted; alone, she admits she cannot kill the man she loves. A porch of flames blocks the entrance to the tower where Oriana is held captive. Having defeated a host of monsters, Amadigi makes ready to confront the flames. Dardano reads an inscription there which states that only the most valiant will conquer the obstacle; he confesses that he is a rival for Oriana's love, but Amadigi dismisses him and passes through the flames. Dardano is foiled in his own attempt, and in anger he goes off to fetch Melissa. Oriana and Amadigi are joyously reunited, but their escape is once again blocked by Melissa and Dardano. Oriana is imprisoned, and Amadigi is left alone in grief.

intermission

Act 2 In a garden, Amadigi sits by the well of True Love "whose waters faithful lovers undeceive;" he is horrified by a vision of Oriana caressing Dardano, and he faints. Melissa, who engineered the vision, has Oriana brought on. Oriana believes Amadigi dead, and takes his sword to kill herself. Amadigi awakens, denounces her faithlessness, and she departs in anger. Melissa stops him from killing himself in despair, but he still rejects her love and sneers at her tortures. Melissa then contrives to make Amadigi witness Oriana making love to Dardano; magically she gives the lamenting Dardano the appearance of Amadigi, and Oriana is seduced by him while the real Amadigi witnesses in secrecy. Dardano is triumphant, but Amadigi pursues him and kills him. Melissa is furious that her plans have failed, and she reveals her deception to Oriana, threatening her with hellfire.

pause

Act 3 Melissa's passion increases as it is spurned. In her dungeon, Amadigi and Oriana are resigned to die, but each pleads for the other with the sorceress. Melissa is going to wound Amadigi, but cannot; she then intends to stab Oriana, but decides that she would do better to prolong the agony. She calls the ghost of Oardano up from Hell; instead of assisting in her revenge, the Ghost announces that the Gods will protect the lovers. Melissa finds herself prevented from killing Oriana; in despair, she wounds herself, falls and dies, still looking for one kind word from Amadigi. The fortunate lovers triumph.

11 Amadigi is the third Handel opera Opera Theatre rejections from Amadigi does she assume transient Company has produced. Both OTC versions of majesty in the Act II finale, fulfilled in her death Tamber/ane (1992 & 1995) grappled wilh Ihe scene. heroic tragedy, and in Flavio (1994) we found a Amadigi and Oriana are the more problematic charming semi seria with a distinctly earthy bal­ to portray for their apparently blameless heroism; ance of sentiments. to love and be loved in return is a less interesting First performed in 1715, Amadigi is a magic dramatic situation than to love and be spurned. opera . Only four years before, Handel had enjoyed Their relationship develops slowly and certainly a stupendous success with Rinaldo, another magic from the simple code of a cherished image (the opera featuring a lovesick enchantress, and in picture of a pretty girl) and the raptures of their 1713 the success of his Teseo was due in no Act I meeting in the tower through the yearning small part to the magic spells and vivid charac­ and loneliness of their trials in the middle of the terization of the sorceress Medea. opera and the peevish quarrel which ensues, to The opera was extremely successful, and was the quiet, poignant harmonies of their Act III duet, revived in 1716 and 1717 before an ~arrange­ matured by suffering. True their quarrel is less ment" by Reinhard Keiser was taken into reper­ weighty, their separation and reunion less sus­ tory in Hamburg in 1717. It is an extraordinary penseful than the jagged intervention of the "vil­ opera in many ways, not least because the roles lains." But the villains are villains only because are all scored for high voice. In Handel's original they are unloved; so the clearer course of the production at the King's Theatre, Haymarket, the heroes and lovers is at least as important-though title role was taken by a man, the celebrated it be simple and honest- if the opera is really Neapolitan castrato Nicolo Grimaldi (Nicolini), about romantic love in all its forms. and the other alto role of Dardano by a woman, This is the path we have found through the Diana Vico (although in the 1717 revival Dardano opera, just as paternal affection and family rela­ was sung by the castrato Antonio Maria Bernacchi). tions indicated approaches to our other Handel Elisabetta Pilotti Schiavonetti, Handel's Melissa, productions. Romantic love is, rarely, a straight­ had also portrayed the spurned sorceresses in forward course strong enough to ignore obstacles Rinaldo and Teseo; Anastasia Robinson and then and resist enchantment; it is also a pitiless sen­ Caterina Ga lerati sang Oriana. Splendid effects timent which forges illusions, which temporarily complimented a rich, varied score; near the end inhibits self-knowledge, and which can take hold of the century the writer Charles Burney still like no other, driving the lover to bleak despair or maintained that Amadigi contained ~more inven­ violent anger and jealousy. Each scene of Amadigi tion, variety and goOO composition, than in any depicts a different facet of romantic love, just as one of the musical dramas of Handel which I have each aria draws a different facet of character. Not yet carefully and critically examined. " surprisingly, the Act III messages from realms above What has impressed me most about Amadigi­ and below Melissa's house of deception result in and indeed Flavia and Tamer/ano, even though the extreme manifestation of romantic love: they belong to different operatic genres- is the Melissa's abject suicide, terrifyingly lonely, and vividness and authenticity of the emotions depict­ the unquestioning jubilation of the hero Amadigi. ed . Melissa and Oardano are unrequited lovers, and their scenes chart the way in which the -James Conway agony of rejection bewilders and perverts them: they are profoundly characterized, their surface bravado and clenched anguish carefully measured. Unlike - the great enchantress to whom she is too often compared- Melissa is not loved by the object of her love, and never even able to enchant him into loving her. Indeed, there is little evidence that her magic has staying power. Her first aria is a tender, heartfelt, very human plea; only after repeated, blunt, humiliating ().- Over 6 billion served.

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Eckelman* Arthur Shapiro BAM Endowment Trust Mallory Factor Mlkki Shepard Boord 01 Trustees Chairman Ronald E. Feiner, Esq. Paul Srmth. D.Min. Bruce C. Ratner' Alan H. Fishman' Lawrence J. loal Chairman Thomas A. Florio Nora Ann Wallace Richard B. Fisher "' ...... Susan FOille Vaughn C. Williams, Esq. Harvey Lichtenstein" Robert l. Fortes Members Michael Fuchs Honorary Trustees Anthony T. Dean Chairman Garrett W Groscup Seth Faison Alan H. Fishman" of the uKutlve Committee Charles J. Hamm leonard Garment, Esq Charles J. Hamm William I. Campbell' Sidney Kantor Paul lepercQ Jeffrey C. Keil Stanley H. Kaplan Harvey lichtenstein Vice Chairmen Andrew K. Klink u-Offlcio James H. Ottaway, Jr. Neit D. Chrisman' Edgar A. Lampert* Hon. Rudolph Giuliani Steven C. Parrish Rita Hillman' John Lipsky Robert B. Catell, The Mayor's Dennis A. Suskind I. Stanley Kriegel' Eugene H. Luntey Representative Franklin R. Weissberg* laurie Mallet Hon, Howard Golden *-Chairman, Martin F. Mertz Hon. Herbert E. Berman The Campaisn for BAM Members John Morn ing Han. Schuyter G. Chapin James T. Anderson Jonathan Newcomb'" Norman J. Buchan Evelyn Ortner BAM Archive Chairmen Henry Christensen, III Steven C. Parrish Barbara B. Haws, C. A. Robert A. Cohen David l. Ramsay, M.D., M.Ed. William Josephson Beth Rooin DeVolocK1y ' Jonathan f. P: Rose Charles M. Dike!" Robert C. Rosenberg' Brendan J. Dugan Samuel H. Scripps '" £xe'Cut;ve Committee

Eueutive .~ Pro&ram Staff Buildl. Opfialions ,..... Margueflte Allen Jack Dobson lucas Demetrious- OffICe AssiStant Harvey Uchtensteln Oirec\Or 01 Buildlfli OpeIations Donald Larrow StleIIy Marshall """"", Kevin R. ""ttllfSOfl Rawn RandaH OffICe Assistant and Executive ProdI.lCef Office Manalll!r lavelle Saunderson Karen Brooks HopIIlns Collie Dean Rawle Scott General M.nqementfProdoction Executive ViCe PTesk\ent Security Operatrons Manage!" Leslie Stevens General Management J05eptl V. Melillo Oarliel J. Oier lionel Stevens ""trick Scull~ Producing OireclOl' Bulkling services Assistant Jason Taylor Associate General Manager Alice Bernstein Altmease Frederick Mar~ E. Reilly Gerlefal Manalll!r Administrative Assistant Capital Projects Director 01 Artist Servlces Tambfa Oillorl Mali\ london T8mm~ lee ViCe PTesklent for Marketing MIJintenIJnce/Security capital PTo)ects Manager Artist Services Representative alld PTomoIiOIl Oamon Armstrong Ken Rinker Narrcy Kramer Arthur J. Shaw Ben McDonakl Cooslructloo Coordinator Assistant GeneI'al Marlagef Vice PTesldent lor Fil\ante Roberto Solis Roblrl M Ford aOO Administratloo Supervisors Education .~ HUll'Wlnit\es AdministJatlve Assistarlt ,,,,,,,-., Kenr!elh Aguiliefa Shilron M DeMark Oelrdre In.'eIl-OtlJen Ouector a/ Educatloo calvin Bracken Associate Oirector Rentals Manager and Humanrtres Terrence Caldeira Mal)' Jo lieSel HalOld Heath PII:wam Manargoer rhNter Manasement Administlltion MiChelle Hunler -",., Bob RlOfdan Elizabeth A. Sharp Matthew James -Prosram Assistant Theater Man.r Olrector 01 Personnel Eaefton Kelly ChriStine Gruder Olana Frazier Shirley Phillips "'~EducatlQrl ""'"' AssrSlant Associate Theater Manage!" Receptionist and Roo Ratnan Sarah Jencks, Inlefn Patnc!! Conlon AdmlnlSllatrve AssIstarlt Owight Richardson Jacqueline David Carmen J, Gonzalez Everton Smith Finan« 'Olm_ Assistant to the Vice President Winston Smith Judith l Stevens Bernadine Thomas and PelSOllnel Haskell Walker Director a/ AccountJnS Theater Staff Supef'lisors and Finance Sol Offici HV/tC artd Repair Services Ellen o. Anderson I..auaro Curato "'.Budget "" Manage!" Colman_"'''''' Rupp Treasurer HVAC Supervisor Cynthia Smith Production Manage!" Fred Dorso Courtney Harris ""yroH Manager lauren MacKenney First Assistant Treasurer Bernard Lawrence Ton~a Cobb Senkor PToduction Coordi nator John Chappell Michael O'Hara Fisca l Coordinator ""trick Hey(!enoorg Marsha Rosenbers Anthon~ Shields Claudette Griffith 000 COleman William Sr.eehan AccoontinS Manager P\;ller ArboUr Assistant Treasurers Majestic Theater OOOna Abraham Productian Coordinators Barry Jackson Accounts ReceivablelCash Peg Schuier 'Jy..-- BulldlnS Sefvices Supervisor ReceiptS SuperviSOf Production Office Maf\age!" Crew Chief Community Relations ¥Wi Brian W. Grundstrom BAM"""" Thomas Pauluccl Audience Dewe/opmefJI FISCal Manager Sherry Huntei' Pamela Mosley Lisa Rodriguez "" A""",," C~ Community Relations Manager Executi lle Assistant I Henry Beckman Stephen P. Millikin OffIce Manager PrHident'1 OtIlce Ulillty Man Audience DeYeIopment Richard Serrano Umor Tomet" Chris Buns Research Associate DirectOl c1 lepefcq Space Head EIectric:i¥l, l.epercq Space Dewonnle.,- Frederick Barbara Olsen Kathe RoQefson·Rein James D'Adamo Community Alfairs Assistant Development Associate Execulille Secretary Head Electrician, Opera Kouse and Bazaar Coordinator Robert Boyd Lawrence C. Henry Bill Horton, Jr. Special Projects Special Auistant to the '"'-I Electrician, Playhouse Jennifer Baker James Kehoe Rafael Weil Campaign I Membefship -, Head Ca rpenter. Playhouse """"Oi reclOf 01 Design CoclI"dinator PrOirammlnl Howard Larson and Publicatioos Lauren Winarsky Stoll A. Watson Master 0( I'ropefties MattheW Lanza Campaign Associate Auistant to the Cart Wullb«:h PubliCatIOnS Manager Pamela Gill Producing Director Sound Ensineer Jason Rillll lewiS ResniCk Designer Lycia""""""" Jeffrey Accountants E~triCian, Opera House OffK:e Assistant Lutz and Carr Peter Shuskewitch AdwHflSins Jens KOhler, Intern Campallfl Consultant Flyman, Opeli Hoose Jan Wlna~ HF 'Neissenstein & Co. 'oc Cyrus Simitty Advertising Manager SpcnsctsNps & Special Events Oesian Consultants Head Carpenter, ()peIa House Lynn M. Stirrup Pentagram Ernest Southerland Publicity & Public Relations Director 01 Sponsorship House PlMltolfipller House Maintenance William Murra~ and Special Events D.1niel Rest Mary Lou HousIon Director 0( Press M Lourdes MarqlJtZ Insurance Wardrobe Supervisor and Public Relations Associate Directol 0( MalY1&McLennan, Inc Sponsorship Leaal Counsel Man'lement Inlormation Subscription & Ticket Services Andrew Wagner Kaufman, Feiner, Yamir!, Glldlr! Systems Karen Winer Special Events Manager & Robbins Ranald T. Adams Director 0( TICket Medlciill tonsultar!t Director 01 MIS and CuSlomer SeMces """~Benefit Mir!aget" Jonathin loIch. MD StlUlrtWong Richird Larler Kendra L.ott Public.atiom Consultant Systems MaMI!« Telemarketing Special Eller!ts Associate Debbie Mlflmar! Larry Rose and Telelunding Mal1ll8f!r Joelle Danant Sound Consultanl TelecommunicatiOns Manaaer Tff!YOf David FISCal Coordinator AboJ_ Itya Gunenboim TICket SeMces Manaaer o"n Goldberg Video AKhiYist Programme.-I Analyst Suzette Bflscoe Membership Mafllll8el Character Generators Inc., Michael Moore Geneva o"vis Kelty Maginnis Mark Robison PC Support Gloria Hodgson Patron Services Mar!ager TiCket Service Associates RoIlert Bangiola BAMbili produced by: Marlletina: and Promotions Patron SeMces Coordinator MattheW Lanza; Jeffrey Levine; Marketins Plinn!nl .nd Dnelopme-nt Sarah Todd Jason Ring; Soptlle Robertson; Jeffrey Levine Patron SeMces Coordinator Rafael Weil; Jim Winarsky Director of MarkeUr!1I -,Denis Azaro Alison Spiriti Sophie Robertson DireclOf of Development Special Events Assistant Printed b)' Oif(fCI Advanta(!e Corp. Project Maf\3&'ef Manr- Sregrnar! Kelty Stirrup Director oIlr!stilllliooal Givir!g Special Events Intern To reseM! adVertlSillg space call7IS.636.4113

BAM eo.: Office HouR WARNING The photojjraphlog or sound recording 0( any perlormance or the possession of any device for M-F, 1Clam-6pm; Sat 12noon- such inside this tneatel', Without Wfinen permission of the mar!agemeflt, Is prohibited by law VIolators may 6pm; Sur!: ped;:rman::e ttrescrij be pI.lnlshed b)' ejectioo and ma~ be liable lor money damages. Performance days, IJrltiI curt"lir! FIRE NOTICE The exit ind~ted by a red light and sigr! !"Iearest to the seat you ocx:upy Is the shortest route BAM MajHtlc eo.: Office to the stteet. In the event of fire or oIhef emergency ~ WALK TO THAT EXIT, FOLLOWING THE DIREC­ Open at p(JbrnarI::e !ires eDt TIVES Of HOUSE STAFf. Thoughtless persons amJOy patJons and endanger the safety of others by lightlllll matches or smoll.lng ir! prohibited areas during the pellormances and Intel"missions. ThIS viOlates a City ordi· Rn trooml nance and is pimiShabie b)' law - Fire Commissioner Opera Hwse: mezzanine ie'Ye! The B?JkIYr! Academy 01 Music is a Charter Member of the League 01 HistoriC Amerlear! Theatres. and Sth 1\00(; handicapped • ordlestra level. BAM MaJeStIC: Backstage and Front 01 Kouse Emptoyees are represented b)' the tntel'natiooal Alliance 0( Theatrical Stage lobby level and gallefy level Emptoyees (or I.A.TSE.).

Refreshments in the lobby b)' lighting Equipment provided by BASH TheatriCal Lighting. Concert FOIXts Freight Transportation provided b)' Union-Trar!sport Corporation. Hotel Accommodations prOYided b)' The OOwr!toYm AthletiC Club. No food Of drtnks permitted IIlSIde The design of the ties and scarves worn by the lISher5 has been gener~ donated by ~ Mizrahi the theaters. These Items are available lor sale exclusively ilt the SAMshop :33 Opera Theatre Company, founded in 1986, is the Majella Cullagh (Melissa) studied at the Cork national touring opera company of the Republic School of Music with Maeve Coughlan and the of Ireland. The company's work tours to small National Opera Studio (London). She currently theaters and sometimes more unusual venues like studies with Gerald Martin Moore. Her operatic prisons, hospitals, art galleries and churches. Its debut as the Mother in Amahl and the Night English language repertoire includes operas writ­ Visitors was followed by several Gilbert and ten for a chamber ensemble, or those to which Sullivan roles, Arletta in The Bohemian Girl, an intimate approach brings something new and and Paula in Frederika. exciting. The company has collaborated with some Other roles include Musetta in La Boheme of Ireland's most exciting visual artists, composers (Opera Ireland, English Touring Opera), Une and performing artists. Femme Grecque in Iphigenie en Tauride (English Recently OTC has concentrated on baroque and Bach FestivaVRoyal Opera Housel, Elsie Maynard modern repertoire including Handel's Tamberlane in Yeoman of the Guard (); (Brno 1992, Covent Garden Festival 1995, Prague title roles in Maritana (sBC, RTE Proms) and Autumn Festival 1995), Flavia (Covent Garden Gavin Bryar's Medea; Vanessa in the world pre­ Festival 1994, tour of Belgium 1995) and Amadigi miere of James Wilson's A Passionate Man (Irish tour, Edinburgh, Covent Garden Festival (Dublin), Dorelia in Das Uebesverbot (Wexford 1996, Buxton Festival 1996, Paris Opera Comique Festival Opera), Norina in Don Pasquale (Crystal 1996); Janacek's Katya Kabanova and Jenufa; Clear Opera), Melissa in Amadigi (OTC/lrish Tour, Haydn's Country Matters (L'lnfedeltfJ Delusa), BOC Covent Garden & Buxton Festivals), Adina High Fidelity (La Vera Costanza), and Ufe on the in L'elisir d'amore (Opera Ireland) and the cover Moon (1/ Mondo della luna); Monteverdi's Orfeo of Nina Cherubin (Royal Opera House, Covent and Britten's The Tum of the Screw and The Rape Garden). Forthcoming engagements include of Lucretia. In addition, the company has com­ Melissa in Am.digi (OTc/Lisbon, Oporto); Countess missioned seven short operas, six of which have Adele in Le Comte Ory (Glyndebourne Touring been performed in the UK as well as Ireland. Opera); First Lady in Die Zauberfl6te (Opera North) The company also runs an extensive school and concerts for RTE and in the UK. program in the Republic and Northern Ireland and holds masterciasses, acting and developmental Buddug Verona James (Oardano) is from Wales courses for young singers and workshops aimed and studied at the Guildhall School of Music and at composers and writers. Drama and the National Opera Studio. Roles Future plans include -a new performed at GSMD included Nancy in Martha, touring production and school program of Mozarfs Fyodor in Boris Godunov and Hermia in A magic opera sponsored by the ESB ; My Love, Midsummer Nisht's Dream . She subsequently My Umbrella , a new opera comjX)Sed by Kevin sang Orlofsky in Die Fledermaus (Craig-y-Nos), O'Connell with a setting and script by James Giacinta in La Finta Semplice (Park Lane Opera Conway based on short stories by John McGahern Group at the Camden Festival), and Meg Page (This tours the UK and Ireland in collaboration in Falstaff (Brighton Festival with Giuseppe Taddei with the Eastern Touring Agency and is commis­ and Federico Davia) . In 1986 she sang at the sioned by the Year of Opera and Music Theatre Glyndebourne Festival. 1997 in the UK); Stravinsky's The Rake's Progress; For OTC, Buddug sang Hansel in the 1991 Peter Maxwell Davies' The Ughthouse; and a new production of Hansel and Gretel and Dardano in production of Handel's Tamberlane for New York, Amadigi in Ireland, Paris, Covent Garden and Lisbon (Expo 98) and Melbourne Festival. Buxton Festivals, and Edinburgh. Recent work includes the British premieres of both Smetana's Oevil's Wall and Wolfgang Rihm's Jakob Lenz and Vitige in Flavia; Mercedes in Carmen and Festival); Andranico in Tamberlane (Opera Theatre Sorceress in Dido and Aeneas (Opera SOl; Fyodor Company, Glimmerglass Opera and Covent Garden in Boris Godonov (Opera North); the title role in Festival); Guido in Flavia for Opera Theatre Juditha Triumphans at the Vivaldi Festival (St. Company (Covent Garden Festival, Antwerp) John's Smith Square); Orlofsky (Opera Northern and Musica nel chiostro; Bertarido in Ireland); Rosina in The Barber of Seville and (Musica nel chiostra, Cambridge); Arsamenes in Orlofsky (Mid Wales Opera). She created the role Serse (Alden Biesen , Belgium); Narciso in of Faranesi in Gerald Barry's The Intelligence Park. /i8rippina for John Eliot Gardiner (Madrid, Vienna, for Opera Factory at the Almeida Festival. Paris and London); the title role in Amadigi for Other roles include Proserpina in Stephen OTe (Buxton and Covent Garden Festivals; Opera Oliver'S arrangement of Peri's Euridice for Music Comique, Paris); Demetrio in Berenice; and for Theatre Wales. She made her European debut Paul McCreesh and the GabrieJi Consort, Medora last season in the role of Hermia in a new pro­ in Orlando (Beaune and City of London Festivals) duction for the Netherlands Opera, produced by and David in Saul (Covent Garden Festival, la Brigitte Fassbaender. Buddug has sung the title Chaise Dieu). role in Rossini's La Cenerentola for Camberwell Other roles include Shepherd in Monteverdi's Pocket Opera, and recorded the roles of Rosina, Orfeo (Salzburg FestivaVJahn Eliot Gardiner, Maddalena, Mercedes and Second lady for English National Opera); the title role in Gluck's Operavox Cartoons. With Opera Circus she has Orfeo (Scottish Opera); Endimione in La Calisto performed in the Middle East, lithuania, Portugal, (Opera Factory Zurich); l'humana fragilita and Finland, Great Britain and for Wexford Festival Anfinomo in /I Ritorno d'Ulisse in Patria (Musica Opera and the Dublin Theatre Festival. nel chiostro); Death in Penderecki's Paradise Lost Buddug has released a recording of folk songs (Kracow). For Jonathan Dove he created the title arranged by classical and contemorary composers. role in L'augellino belverde for Musica nel chiostro Recent broadcasts include Y Sioe Fawr (Radio and the Poet in In Search of Angels for Wales, Operavox and Heno, S4C) and The Score Glyndeoourne Community Opera at Peteroorough. on BBC2. She recently performed the world pre­ He has also sung Mozart in Michael Nyman's miere and tour of Affeclions (Handel arias arranged Letters, Riddles and Writs for London Opera by Gerald Barry) for the Siobhan Davies Dance Festival. Company in a double bill with a work entitled Kenny's recordings include the alto arias in Trespass. She has toured In The House of Crossed Jonathan Miller's acclaimed BBC TV film and Desires by John Woolreich with Music Theatre CD of the Bach St Matthew Passion conducted Wales, and has undertaken several television by Paul Goodwin and performed in France and acting roles, recently filming a role created for her Spain; Israel in Egypt, Narciso in Agrippina and in a series for S4C. Future engagements include Spirit in Dido and Aeneas with John Eliot Gardiner work at the National Theatre, london, and the (Philips); Buxtehude Cantatas with Jos van title role in Gluck's Orfeo with Opera Atelier in Immerseel (Channel Classics); La conversione Toronto and Cleveland. di Clodoveo by Caldara with l e Parlement de Musique (Accord); Purcell Odes with Robert King Jonathan Peter Kenny (Amadigil was born in (Hyperion); and Deluge by Jocelyn Pock (Virgin). Liverpool, read music at Exeter University, and Other appearances include Sorceress and Spirit trained at the Guildhall School of Music and in Dido & Aeneas for Paul Goodwin and The Drama with James Bowman. He now studies English Concert (Stuttgart; National Arts Orchestra, with Ryland Davies and Robert Dean. Ottowa); Didymus in The

Saint Matthew Passion Hippolyte et Ariele BAM 135th Anniversary by Johann Sebastian Bach by Jean-Phillipe Rameau Season is sponsored by BAM Baroque Ensemble Featuring Los Arts FIorisunts PHILIP MORRIS COMPANIES INC . & Chorus Conducted by WI ..... ChrIstIe Conducted by Paul Goodwin Directed by Jean-Marte Call TIcketmaster Directed by Jonathan Miller VII ....r 212.307.4100 with Los F-" NIl.. , Fax 718.857.2021 Jonathan Miller, one of the Dance Ensemble Groups 212.398.8383 most respected opera and Information 718.636.4100 theater directors of our time, Known for their groond- www.bam .... transforms Bach's sacred breaking productions 01 early concert masterpiece into a French opera. _lam searing stage drama. ChrIstIe's Los Arts FIorIssants presents Rameau's stunning When ordering your tickets. BAM Majestic Theater music drama, based on the please use your Visa" Card Mar 23 at 3pm Euripidean tale of Phaedra lAodenIIip .- br. (Palm Sunday) and her incestuous love for p_ Mar 26-29 at 7,30pm her stepson Hippolylus. Association Fram,;aise d'Aclion Tickets, $60. 40, 20 Artislique D:::r.i.'1'3 BAM Opera House The Florence Gould Foundation Sung in English May 7 & 9 at 7,30pm Wkday Tickets: $95, 65, 25 C Major Corporate Sponsor: May 10 at 7,3Opm, The Job. N...... , ~ NYNEX. May 11 at 3pm Wkend TICkets, $110, 75, 30 ~ I@l-- ~ With English surtiUes • Movies · Sporh • Politics · Reltauronh • Nigh tclubs · Outdoors . Theoter • MUlic •

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• Readings · Dance . Cabaret · Mops . Opero • Art · Convention I • Libraries · Kids · llo louise Bourgeois Although Louise Bourgeois was born and raised in Paris, her whole profes­ sionallife as an artist has taken place in New York. Her current studio is in Brooklyn, close to BAM.

In 1952, Bourgeois created the sets for Erick Hawkins' dance performance H-*t.oo ~ /of BAM. 1996 The Bridegroom of the Moon. She designed the sets, costumes and poster for lJ:lurseBou r ~ f'apef and Image sm.; the Women's Interart Center production of Tennessee Williams' This Property 291/4" . 41" is Condemned and August Strindberg's The Stronger in 1973. In 1982, the Each prinl signed . nd numbtred by the artist Museum of Modern Art in New York organ ized a traveling retrospective of Edition, 50 Bourgeois' paintings, drawings and sculptures. The Frankfurter Kunstverein Price: $1 250 Fr

For purchase InIormMion .nd 0IheI and the Musee d'Art Contemporain de Montreal. In 1995, the Museum of BAMan otIerircs con~ 1 Modern Art in New York organized a comprehensive traveling exhibition of Robert 8angiola. 718636. ]82 her print ouevre. Th is exhibition was accompanied by the publication of the catalogue raisonne of Bourgeois' prints. In 1996, she exhibited at the sao Paulo Sienal in Brazil and also designed the exhibition posters.

Louise Bourgeois has created sculptu res commissioned by the city of Chicago, Battery Park City in New York and the Bibtiotheque Nationale in Paris. She is currently working on a piece for the city of Pittsburgh.

BAM Ticket Services Fax Orders Membership Brooklyn 718.636.4100 718.857.2021 718.636.4194 Philharmonic General information, Information on BAM's 718.636.4137 subscription sales, Student I Senior membership program BAM insider and Rush Information and members' benefits. 651: An Arts Center Friends of BAM ticket 718.636.4100 718.636.4181 sales and customer For availability, please BAM Rentals service. call 011 tile day of tile 718.636.4198 lost & Found performance. BAM stages are M- F, 9am-5pm; Ticketmaster available for rent 718.636.4133 212.307.4100 Group Sales when not in use for Other times: Full price single tickets For orders BAM presentations. 718.636.4150 to all BAM, 651 and of 20 or more Past renters have Brooklyn Philharmonic In New York City: included MTV, H80, BAM Homepage events. 2 12.398.8383 PolyGram, Long Island www.bam.org Outside New York University & American BAM bus City, 800.223.7565 Public Radio. BAM email 718.636.4100 [email protected] Make your reservation Special Events BAM Administrative up to 24 hours prior 718.636.4182 Offices BAM on Citysearch to curtain-time. 718.636.4111 WIN'N.citysearchnyc.com 'iP