2012–2013 season | Week 5 season sponsors Bernard Haitink | Conductor Emeritus Seiji Ozawa | Music Director Laureate

Table of Contents | Week 5

7 bso news 13 on display in symphony hall 14 the boston symphony orchestra 17 a toast to french music by hugh macdonald 25 this week’s program

Notes on the Program

28 The Program in Brief… 29 Igor Stravinsky 37 Maurice Ravel 45 To Read and Hear More…

Guest Artists

48 Charles Dutoit 55 Jean-Paul Fouchécourt 49 Olga Peretyatko 57 David Wilson-Johnson 50 Julie Boulianne 58 David Kravitz 51 Sandrine Piau 59 Kelly Markgraf 52 Diana Axentii 60 Matthew Rose 53 Yvonne Naef 60 Tanglewood Festival 54 Edgaras Montvidas Chorus

64 sponsors and donors 80 future programs 82 symphony hall exit plan 83 symphony hall information

program copyright ©2012 Boston Symphony Orchestra, Inc. design by Hecht Design, Arlington, MA cover photo of BSO concertmaster Malcolm Lowe by Stu Rosner

BOSTON SYMPHONY ORCHESTRA Symphony Hall, 301 Massachusetts Avenue Boston, MA 02115-4511 (617)266-1492 bso.org

bernard haitink, lacroix family fund conductor emeritus, endowed in perpetuity seiji ozawa, music director laureate 132nd season, 2012–2013

trustees of the boston symphony orchestra, inc.

Edmund Kelly, Chairman • Paul Buttenwieser, Vice-Chairman • Diddy Cullinane, Vice-Chairman • Stephen B. Kay, Vice-Chairman • Robert P. O’Block, Vice-Chairman • Roger T. Servison, Vice-Chairman • Stephen R. Weber, Vice-Chairman • Theresa M. Stone, Treasurer

William F. Achtmeyer • George D. Behrakis • Alan Bressler† • Jan Brett • Susan Bredhoff Cohen, ex-officio • Richard F. Connolly, Jr. • Cynthia Curme • Alan J. Dworsky • William R. Elfers • Thomas E. Faust, Jr. • Nancy J. Fitzpatrick • Michael Gordon • Brent L. Henry • Charlies W. Jack, ex-officio • Charles H. Jenkins, Jr. • Joyce G. Linde • John M. Loder • Nancy K. Lubin • Carmine A. Martignetti • Robert J. Mayer, M.D. • Susan W. Paine • Peter Palandjian, ex-officio • Carol Reich • Arthur I. Segel • Thomas G. Stemberg • Caroline Taylor • Stephen R. Weiner • Robert C. Winters life trustees

Vernon R. Alden • Harlan E. Anderson • David B. Arnold, Jr. • J.P. Barger • Leo L. Beranek • Deborah Davis Berman • Peter A. Brooke • Helene R. Cahners • John F. Cogan, Jr. • Mrs. Edith L. Dabney • Nelson J. Darling, Jr. • Nina L. Doggett • Mrs. John H. Fitzpatrick • Dean W. Freed • Thelma E. Goldberg • Mrs. Béla T. Kalman • George Krupp • Mrs. Henrietta N. Meyer • Nathan R. Miller • Richard P. Morse • David Mugar • Mary S. Newman • Vincent M. O’Reilly • William J. Poorvu • Peter C. Read • Edward I. Rudman • Richard A. Smith • Ray Stata • John Hoyt Stookey • Wilmer J. Thomas, Jr. • John L. Thorndike • Dr. Nicholas T. Zervas other officers of the corporation

Mark Volpe, Managing Director • Thomas D. May, Chief Financial Officer • Suzanne Page, Clerk of the Board board of overseers of the boston symphony orchestra, inc.

Susan Bredhoff Cohen, Co-Chair • Peter Palandjian, Co-Chair • Noubar Afeyan • David Altshuler • Diane M. Austin • Lloyd Axelrod, M.D. • Judith W. Barr • Lucille M. Batal • Linda J.L. Becker • Paul Berz • James L. Bildner • Mark G. Borden • Partha Bose • Anne F. Brooke • Stephen H. Brown • Gregory E. Bulger • Joanne M. Burke • Ronald G. Casty • Richard E. Cavanagh • Dr. Lawrence H. Cohn • Charles L. Cooney • William Curry, M.D. • James C. Curvey • Gene D. Dahmen • Jonathan G. Davis • Paul F. Deninger • Michelle A. Dipp, M.D., Ph.D. • Dr. Ronald F. Dixon • Ronald M. Druker • Alan Dynner • Philip J. Edmundson • Ursula Ehret-Dichter • John P. Eustis II • Joseph F. Fallon • Judy Moss Feingold • Peter Fiedler • Steven S. Fischman • John F. Fish • Sanford Fisher • Jennifer Mugar Flaherty • Robert Gallery • Levi A. Garraway • Cora H. Ginsberg • Robert R. Glauber • Stuart Hirshfield • Susan Hockfield • Lawrence S. Horn • Jill Hornor • William W. Hunt • Valerie Hyman • Everett L. Jassy • Stephen J. Jerome • Darlene Luccio Jordan, Esq. • Paul L. Joskow • Stephen R. Karp • John L. Klinck, Jr. •

week 5 trustees and overseers 3

photos by Michael J. Lutch

Peter E. Lacaillade • Charles Larkin • Robert J. Lepofsky • Jay Marks • Jeffrey E. Marshall • Robert D. Matthews, Jr. • Maureen Miskovic • Robert Mnookin • Paul M. Montrone • Sandra O. Moose • Robert J. Morrissey • J. Keith Motley, Ph.D. • Cecile Higginson Murphy • Joseph J. O’Donnell • Joseph Patton • Ann M. Philbin • Wendy Philbrick • Claudio Pincus • Lina S. Plantilla, M.D. • Irene Pollin • Jonathan Poorvu • Dr. John Thomas Potts, Jr. • William F. Pounds • Claire Pryor • James M. Rabb, M.D. • John Reed • Robin S. Richman, M.D. • Dr. Carmichael Roberts • Susan Rothenberg • Joseph D. Roxe • Kenan Sahin • Malcolm S. Salter • Diana Scott • Donald L. Shapiro • Wendy Shattuck • Christopher Smallhorn • Michael B. Sporn, M.D. • Nicole Stata • Margery Steinberg • Patricia L. Tambone • Jean Tempel • Douglas Thomas • Mark D. Thompson • Albert Togut • Diana Osgood Tottenham • Joseph M. Tucci • Robert A. Vogt • David C. Weinstein • Dr. Christoph Westphal • James Westra • June K. Wu, M.D. • Patricia Plum Wylde • Dr. Michael Zinner • D. Brooks Zug overseers emeriti

Helaine B. Allen • Marjorie Arons-Barron • Caroline Dwight Bain • Sandra Bakalar • George W. Berry • William T. Burgin • Mrs. Levin H. Campbell • Earle M. Chiles • Carol Feinberg Cohen • Mrs. James C. Collias • Ranny Cooper • Joan P. Curhan • Phyllis Curtin • Tamara P. Davis • Mrs. Miguel de Bragança • JoAnneWalton Dickinson • Phyllis Dohanian • Harriett Eckstein • George Elvin • Pamela D. Everhart • J. Richard Fennell • Lawrence K. Fish • Myrna H. Freedman • Mrs. James Garivaltis • Dr. Arthur Gelb • Robert P. Gittens • Jordan Golding • Mark R. Goldweitz • Michael Halperson • John Hamill • Deborah M. Hauser • Carol Henderson • Mrs. Richard D. Hill • Marilyn Brachman Hoffman • Roger Hunt • Lola Jaffe • Martin S. Kaplan • Mrs. S. Charles Kasdon • Mrs. Gordon F. Kingsley • Robert I. Kleinberg • David I. Kosowsky • Robert K. Kraft • Farla H. Krentzman • Benjamin H. Lacy • Mrs. William D. Larkin • Edwin N. London • Frederick H. Lovejoy, Jr. • Diane H. Lupean • Mrs. Harry L. Marks • Joseph B. Martin, M.D. • Joseph C. McNay • Albert Merck • Dr. Martin C. Mihm, Jr. • John A. Perkins • May H. Pierce • Dr. Tina Young Poussaint • Daphne Brooks Prout • Patrick J. Purcell • Robert E. Remis • John Ex Rodgers • Alan W. Rottenberg • Roger A. Saunders • Lynda Anne Schubert • Mrs. Carl Shapiro † • L. Scott Singleton • Gilda Slifka • Samuel Thorne • Paul M. Verrochi • Robert A. Wells† • Mrs. Joan D. Wheeler • Margaret Williams-DeCelles • Richard Wurtman, M.D.

† Deceased

week 5 trustees and overseers 5

BSO News

“UnderScore Friday” This Friday, October 26 This Friday night’s double bill of Stravinsky’s The Nightingale and Ravel’s L’Enfant et les sortil`eges is the second of this season’s six “UnderScore Friday” concerts, at which attendees hear comments from the stage about each program. This Friday, BSO percussionist Daniel Bauch will greet the audience to begin the proceedings. The season’s remaining “UnderScore Friday” concerts—all to be introduced by members of the orchestra—take place on January 18 (Verdi’s Requiem with Daniele Gatti conducting), March 29 (Mahler’s Symphony No. 3, also with Gatti), April 12 (music of Miaskovsky, Knussen, and Mussorgsky led by British composer/conductor Oliver Knussen, with guest soloists Pinchas Zukerman and soprano Claire Booth), and April 26 (BSO Conductor Emeritus Bernard Haitink leading music of Schubert and Mahler). Tickets for all of these concerts are available at the Symphony Hall box office; by calling SymphonyCharge at (617) 266-1200, or at bso.org.

Boston Symphony Chamber Players 2012-13 Season at Jordan Hall: Four Sunday Afternoons at 3 p.m. The Boston Symphony Chamber Players perform four Sunday-afternoon concerts each sea- son at Jordan Hall at the New England Conservatory, beginning this year on November 18, with guest pianists Thomas Adès and Kirill Gerstein. The program includes Beethoven’s own arrangement for piano four-hands of his Grosse Fuge, with Messrs. Adès and Gerstein; Elliott Carter’s Figment III for double bass, Carter’s Wind Quintet, and Brahms’s Piano Quintet in F minor, with Mr. Gerstein. The series continues on January 13 (music of Lutosławski, Frank, and Copland), March 10 (Dvoˇrák, Schulhoff, and Mozart), and April 28 (Janáˇcek, Martin˚u, and Brahms). Subscriptions for the four-concert series are available at $128, $92, and $72. Single tickets are $38, $29, and $22. To purchase the four-concert series, please call the Subscription Office at (617) 266-7575. Single tickets may be purchased through SymphonyCharge at (617) 266-1200, at the Symphony Hall box office, or online at bso.org. On the day of the concert, tickets are available only at the Jordan Hall box office, 30 Gainsborough Street.

Upcoming BSO 101 Sessions BSO 101 is an informative series of free adult education sessions on selected Tuesdays and Wednesdays, from 5:30-6:45 p.m. at Symphony Hall. The Wednesday sessions—“BSO 101: Are You Listening?,” with Director of Program Publications Marc Mandel and members of the BSO—are designed to enhance your listening abilities and appreciation of music by focusing on music from upcoming BSO programs. The Tuesday sessions—“BSO 101: An Insider’s View”—focus on behind-the-scenes activities at Symphony Hall. Free to all inter-

week 5 bso news 7 8 ested, each session is followed by a complimentary reception offering beverages, hors d’oeuvres, and further time to share your thoughts with others. Though admission is free, we do ask that you please e-mail [email protected] or call (617) 638-9454 to reserve your place for the date or dates you’re planning to attend. The next Wednesday sessions are on October 31 (“Symphony vs. Concerto,” with BSO bass player Lawrence Wolfe) and November 14 (“The Orchestral Palette,” with BSO trumpet player Thomas Siders). Note that since each session is self-contained, no prior musical training, or attendance at any previous session, is required. The next Tuesday session—a discussion with the BSO’s Department of Education and Community Engagement—is on November 20. For further details, including repertoire to be discussed in the Wednesday sessions, please visit bso.org, where you can find the latest information under “Adult Education,” after clicking first on the “Education & Community” tab of the home page.

Dining at the BSO For Symphony Hall patrons who like to arrive early and relax over food and drink, Boston Gourmet’s on-site chefs prepare a variety of tempting culinary offerings. The Symphony Café, entered via the Cohen Wing doors on Huntington Avenue, offers prix fixe, buffet-style dining from 5:30pm until concert time for all evening Boston Symphony concerts and lunch from 11am prior to Friday-afternoon concerts. For reservations call 617-638-9328 or visit bso.org—where you can now also order a meal, appetizer, or drink ahead of time. Casual dining and a full complement of beverages are offered in both the Cabot-Cahners and O’Block/Kay rooms before concerts and at intermission. The Refreshment Bar, located next to the coatroom on the orchestra level, serves hot and cold non-alcoholic beverages, as well as snacks. The Champagne Bar, located outside the O’Block/Kay Room, offers cham- pagne by the glass, cognac, armagnac, and gourmet chocolates.

week 5 bso news 9 individual tickets are on sale for all concerts in the bso’s 2012-2013 season. for specific information on purchasing tickets by phone, online, by mail, or in person at the symphony hall box office, please see page 83 of this program book.

BSO Business Partner of the Month community of like-minded music lovers, becoming a Friend of the BSO also entitles Did you know that there are more than 400 you to benefits that bring you closer to the businesses and corporations that support the music you love to hear. Friends receive ad- Boston Symphony Orchestra, Inc.? You can vance ticket ordering privileges, discounts at lend your support to the BSO by supporting the Symphony Shop, and the BSO’s online the companies who support us. Each month, newsletter InTune, as well as invitations to we will spotlight one of our corporate sup- exclusive donor events such as BSO and Pops porters as the BSO Business Partner of the working rehearsals, and much more. Friends Month. This month’s partner is Natixis Global memberships start at just $75. To play your Asset Management. Natixis Global Asset part with the BSO by becoming a Friend, con- Management, S.A., manages $711 billion on tact the Friends Office at (617) 638-9276, behalf of clients around the world, placing it [email protected], or join online at among the fifteen largest asset-management bso.org/contribute. companies. Its Durable Portfolio Construction model helps clients navigate the investment challenges posed by the fast-changing and Go Behind the Scenes: unpredictable global economy. Natixis Global Symphony Hall Tours Asset Management calls its approach Better Get a rare opportunity to go behind the Thinking. Together®. Natixis Global Asset scenes at Symphony Hall with a free, guided Management is headquartered in Boston and tour, offered by the Boston Symphony Associ- a unit of Paris-based Group BPCE. Its twenty ation of Volunteers. Throughout the Symphony global affiliates include Loomis Sayles and season, experienced volunteer guides discuss AEW Capital Management locally. For more the history and traditions of the BSO and its information about becoming a BSO Business world-famous home, historic Symphony Hall, Partner, contact Rich Mahoney, Director of as they lead participants through public and BSO Business Partners, at (617) 638-9277 selected “behind-the-scenes” areas of the or at [email protected]. building. Free walk-up tours lasting approxi- mately one hour take place this fall at 2 p.m. Play Your Part: Become a on five Saturdays (October 6, 13; November Friend of the BSO 3, 17; December 1) and at 4 p.m. on eight Wednesdays (October 3, 10, 17, 24, 31; At Symphony Hall, everyone plays their part. November 7, 14, 28). For more information, From the musicians on stage, to the crew visit bso.org/tours. All tours begin in the behind the scenes, to the ushers and box Massachusetts Avenue lobby of Symphony office staff, it takes hundreds of people to put Hall. Special private tours for groups of ten on a performance, and it takes the dedicated guests or more—free for Boston-area elemen- support of thousands of Friends of the BSO tary schools, high schools, and youth/educa- to make it all possible. Every $1 the BSO tion community groups—can be scheduled receives in ticket sales must be matched with in advance (the BSO’s schedule permitting). an additional $1 of contributed support to Make your individual or group tour reservations cover its annual expenses. Friends of the BSO today by visiting bso.org/tours, by contacting play their part to help bridge that gap, keep- the BSAV office at (617) 638-9390, or by ing the music playing for the delight of audi- e-mailing [email protected]. ences all year long. In addition to joining a

10 BSO Members in Concert and Sunday, November 18, at 3 p.m. at the First Baptist Church, 848 Beacon Street, BSO violinist Tatiana Dimitriades and pianist Newton Centre. The program, entitled “Duo Jonathan Bass perform a recital of three violin of Threes,” includes Rachmaninoff’s Piano sonatas—Mozart’s F major sonata, K.376, Concerto No. 3 with soloist Abel Sanchez Debussy’s Sonata for Violin and Piano, and Aguilera, first prize-winner of the 2011 Boston Brahms’s Violin Sonata No. 3 in D minor, International Piano Competition, and Schu- Op. 108—on Sunday, November 4, at 2 p.m. mann’s Symphony No. 3, “Rhenish.” Tickets as part of the Fall Music Series at the Lawrence are $35-45, with discounts for seniors, stu- Public Library, 51 Lawrence Street. The con- dents, and families. For more information, or cert is free and open to the public. For more to order tickets, call (617) 527-9717 or visit information, visit lawrencefreelibrary.org or newphil.org. call (978) 620-3600. In residence at Boston University, the Muir String Quartet—BSO violinist Lucia Lin and The Information Table: BSO principal violist Steven Ansell, violinist Find Out What’s Happening Peter Zazofsky, and cellist Michael Reynolds— At the BSO performs Mozart’s D major quartet, K.575, Are you interested in upcoming BSO concert Bartók’s String Quartet No. 4, and Ravel’s information? Special events at Symphony String Quartet on Tuesday, November 13, at Hall? BSO youth activities? Stop by the infor- 8 p.m. at BU’s Tsai Performance Center, 685 mation table in the Brooke Corridor, on the Commonwealth Avenue. Admission is free. orchestra-level, Massachusetts Avenue side Visit bu.edu/tsai/calendar for more informa- of Symphony Hall. There you will find the tion. latest performance, membership, and Sym- Founded by BSO cellist Jonathan Miller, the phony Hall information provided by knowl- Boston Artists Ensemble performs Boccherini’s edgeable members of the Boston Symphony Quintet in C, G.349, Dvoˇrák’s String Sextet in Association of Volunteers. The BSO Informa- A, Opus 48, and Brahms’s String Sextet No. 2 tion Table is staffed before each concert and in G, Opus 36, on Friday, November 16, at 8 during intermission. p.m. at the Peabody Essex Museum in Salem, and on Sunday, November 18, at 2:30 p.m. Comings and Goings... at Trinity Church in Newton Centre. Joining Mr. Miller are violinists Yura Lee and Irina Please note that latecomers will be seated Muresanu, violists Roger Tapping and Lila by the patron service staff during the first Brown, and BSO cellist Blaise Déjardin. convenient pause in the program. In addition, Tickets are $27, with discounts for seniors please also note that patrons who leave the and students. For more information, visit hall during the performance will not be bostonartistsensemble.org or call (617) allowed to reenter until the next convenient 964-6553. pause in the program, so as not to disturb the performers or other audience members while Ronald Knudsen leads the New Philharmonia the concert is in progress. We thank you for Orchestra in their first “Classics” concerts of your cooperation in this matter. the season on Saturday, November 17, at 8 p.m.

week 5 bso news 11 on display in symphony hall This season’s BSO Archives exhibit, located throughout the orchestra and first-balcony levels of Symphony Hall, continues to display the breadth and depth of the Archives’ holdings, which document countless aspects of BSO history—music directors, players, instrument sections, guest conductors, and composers, as well as Symphony Hall’s world-famous acoustics, architectural features, and multi-faceted history. highlights of this year’s exhibit include, on the orchestra level of symphony hall: • a display case in the Brooke Corridor (the orchestra-level Massachusetts Avenue corridor) focusing on the influence of the Germania Society on musical life in 19th-century Boston prior to the founding of the BSO • also in the Brooke Corridor, a display case on the history of the BSO’s clarinet section, featuring a recent gift to the BSO Archives of two clarinets owned by Viktor Polatschek, the BSO’s principal clarinet from 1930 to 1948 • a pair of display cases, in the Huntington Avenue orchestra-level corridor adjacent to the O’Block/Kay Room, highlighting architectural features of Symphony Hall’s ceiling and clerestory windows exhibits on the first-balcony level of symphony hall include: • a display in the Cabot-Cahners Room of autographs and memorabilia donated to the Archives by legendary trumpet player Roger Voisin, a BSO member from 1935 to 1973 and principal trumpet from 1950 to 1965 • in the first-balcony corridor, audience-right, near the stage, a recently acquired sculpture by Rose Shechet Miller of Erich Leinsdorf, the BSO’s music director from 1962 to 1969 • also in the first-balcony corridor, audience-right, display cases documenting political events that took place in Symphony Hall, and in the first-balcony corridor, audience- left, documenting Duke Ellington’s Symphony Hall appearances in the 1940s

TOP OF PAGE, LEFT TO RIGHT: Serge Koussevitzky costumed as Joseph Haydn for a 1939 Pension Fund performance of the composer’s “Farewell” Symphony (photo by John B. Sanromá) A January 1937 autograph greeting, including a musical quote from Debussy’s “La Mer,” inscribed by guest conductor Dimitri Mitropoulos to BSO trumpet player Roger Voisin Program for a January 1943 Symphony Hall appearance by Duke Ellington

week 5 on display 13 Boston Symphony Orchestra 2012–2013

first violins Jason Horowitz* violas Mickey Katz* Kristin and Roger Servison chair Stephen and Dorothy Weber Malcolm Lowe Steven Ansell chair, endowed in perpetuity Concertmaster Julianne Lee* Principal Charles Munch chair, Donald C. and Ruth Brooks Heath Charles S. Dana chair, endowed Alexandre Lecarme* endowed in perpetuity chair, endowed in perpetuity in perpetuity Nancy and Richard Lubin chair Tamara Smirnova Ala Jojatu* Cathy Basrak Adam Esbensen* Associate Concertmaster Assistant Principal Blaise Déjardin* Helen Horner McIntyre chair, Anne Stoneman chair, endowed in perpetuity second violins endowed in perpetuity Alexander Velinzon Haldan Martinson Edward Gazouleas basses Assistant Concertmaster˚ Principal Lois and Harlan Anderson chair, Carl Schoenhof Family chair, Edwin Barker Robert L. Beal, Enid L., and endowed in perpetuity Principal Bruce A. Beal chair, endowed endowed in perpetuity Robert Barnes Harold D. Hodgkinson chair, in perpetuity (position vacant) endowed in perpetuity Elita Kang Assistant Principal Michael Zaretsky Charlotte and Irving W. Rabb chair, Lawrence Wolfe Assistant Concertmaster Marc Jeanneret Assistant Principal endowed in perpetuity Edward and Bertha C. Rose chair, Maria Nistazos Stata chair, Mark Ludwig endowed in perpetuity Sheila Fiekowsky * endowed in perpetuity Shirley and J. Richard Fennell Bo Youp Hwang Rachel Fagerburg* Benjamin Levy John and Dorothy Wilson chair, chair, endowed in perpetuity Kazuko Matsusaka* Leith Family chair, endowed endowed in perpetuity (position vacant) in perpetuity Rebecca Gitter* Lucia Lin Ronan Lefkowitz Dennis Roy Dorothy Q.and David B.Arnold, Jr., Wesley Collins* Joseph and Jan Brett Hearne chair, endowed in perpetuity Ronald Knudsen* chair David H. and Edith C. Howie Ikuko Mizuno chair, endowed in perpetuity cellos Joseph Hearne Muriel C. Kasdon and Marjorie C. Paley chair Vyacheslav Uritsky* Jules Eskin James Orleans* Principal Nancy Bracken*§ Jennie Shames* Philip R. Allen chair, Todd Seeber* Ruth and Carl J. Shapiro chair, Eleanor L. and Levin H. Campbell Valeria Vilker Kuchment* endowed in perpetuity endowed in perpetuity chair, endowed in perpetuity Tatiana Dimitriades* Martha Babcock Aza Raykhtsaum* Assistant Principal John Stovall* Theodore W. and Evelyn Si-Jing Huang* Vernon and Marion Alden chair, Berenson Family chair endowed in perpetuity Nicole Monahan* flutes Bonnie Bewick* Sato Knudsen Wendy Putnam Elizabeth Rowe Stephanie Morris Marryott and * Mischa Nieland chair, Robert Bradford Newman chair, Principal Franklin J. Marryott chair endowed in perpetuity endowed in perpetuity Walter Piston chair, endowed James Cooke* Mihail Jojatu in perpetuity Xin Ding Catherine and Paul Buttenwieser * Sandra and David Bakalar chair chair Clint Foreman Glen Cherry* Jonathan Miller* Myra and Robert Kraft chair, Victor Romanul* Yuncong Zhang* Richard C. and Ellen E. Paine endowed in perpetuity Bessie Pappas chair chair, endowed in perpetuity Elizabeth Ostling Catherine French* Owen Young* Associate Principal Mary B. Saltonstall chair, John F. Cogan, Jr., and Mary L. Marian Gray Lewis chair, endowed in perpetuity Cornille chair, endowed in endowed in perpetuity perpetuity

bernard haitink seiji ozawa music director thomas wilkins LaCroix Family Fund Music Director Laureate Ray and Maria Stata Germeshausen Youth and Conductor Emeritus Music Director Family Concerts Conductor endowed in perpetuity endowed in perpetuity endowed in perpetuity

14 photos by Michael J. Lutch piccolo Suzanne Nelsen Michael Martin harp John D. and Vera M. MacDonald Ford H. Cooper chair, Cynthia Meyers chair endowed in perpetuity Jessica Zhou Evelyn and C. Charles Marran Nicholas and Thalia Zervas chair, chair, endowed in perpetuity Richard Ranti endowed in perpetuity by Associate Principal trombones Sophia and Bernard Gordon Diana Osgood Tottenham/ oboes Hamilton Osgood chair, Toby Oft endowed in perpetuity Principal voice and chorus John Ferrillo J.P. and Mary B. Barger chair, Principal endowed in perpetuity John Oliver Mildred B. Remis chair, contrabassoon Tanglewood Festival Chorus endowed in perpetuity Stephen Lange Conductor Gregg Henegar Alan J. and Suzanne W. Dworsky Mark McEwen Helen Rand Thayer chair chair, endowed in perpetuity James and Tina Collias chair bass trombone Keisuke Wakao horns James Markey librarians Assistant Principal John Moors Cabot chair, Farla and Harvey Chet Krentzman James Sommerville endowed in perpetuity Marshall Burlingame chair, endowed in perpetuity Principal Douglas Yeo Principal Helen Sagoff Slosberg/Edna S. ˚ Lia and William Poorvu chair, Kalman chair, endowed in endowed in perpetuity english horn perpetuity tuba William Shisler Robert Sheena Richard Sebring Mike Roylance Beranek chair, endowed in John Perkel Associate Principal Principal perpetuity Margaret Andersen Congleton Margaret and William C. chair, endowed in perpetuity Rousseau chair, endowed assistant clarinets Rachel Childers in perpetuity conductors John P. II and Nancy S. Eustis William R. Hudgins Marcelo Lehninger chair, endowed in perpetuity Principal timpani Anna E. Finnerty chair, Ann S.M. Banks chair, Michael Winter endowed in perpetuity Timothy Genis endowed in perpetuity Elizabeth B. Storer chair, Sylvia Shippen Wells chair, Andris Poga endowed in perpetuity Michael Wayne endowed in perpetuity Jason Snider Thomas Martin personnel Associate Principal & Jonathan Menkis percussion managers E-flat clarinet Jean-Noël and Mona N. Tariot Stanton W. and Elisabeth K. chair J. William Hudgins Lynn G. Larsen Davis chair, endowed in Peter and Anne Brooke chair, Bruce M. Creditor perpetuity endowed in perpetuity trumpets Assistant Personnel Manager Daniel Bauch bass clarinet Thomas Rolfs Assistant Timpanist Principal Mr. and Mrs. Edward H. Linde stage manager Craig Nordstrom Roger Louis Voisin chair, chair John Demick endowed in perpetuity Kyle Brightwell bassoons Benjamin Wright Peter Andrew Lurie chair, endowed in perpetuity Richard Svoboda Thomas Siders Principal Assistant Principal Matthew McKay participating in a system Edward A. Taft chair, Kathryn H. and Edward M. * of rotated seating endowed in perpetuity Lupean chair § on sabbatical leave ˚ on leave

week 5 boston symphony orchestra 15

A Toast to French Music by Hugh Macdonald

As the Boston Symphony Orchestra’s 2012-13 season proceeds, audiences have a chance to hear Ravel’s “L’Enfant et les sortilèges” (this week, October 25-27); Berlioz’s Overture to “Les Francs-juges,” Saint-Saëns’s Piano Concerto No. 5, “The Egyptian,” and Roussel’s “Bacchus et Ariane,” Suite No. 2 (all November 29-December 1); Dutilleux’s “Métaboles” and Ravel’s “La Valse” (both January 10-15), and Saint-Saëns’s “Organ Symphony” (March 14-16).

André Malraux, Charles de Gaulle’s Minister of Cultural Affairs, once declared: “France is not a musical nation.” Jean-Jacques Rousseau, a composer as well as a philosopher (Swiss-French, to be precise), similarly concluded that the “French have no music and cannot have any.” Germans and Italians have often looked at French music and wondered how such highly colored, over-literate, under-articulate music could win the admiration of their own people, let alone the world; and we are familiar with those famous falsehoods such as Germans calling England the “land without music,” or Hugo Wolf calling America the “last resort of the unmusical.” That excellent composer Edouard Lalo could see noth- ing admirable in Brahms’s Violin Concerto, even though he himself wrote a superb con- certo (curiously named Symphonie espagnole) which has a lot in common, to our ears, with the other great concertos of that era by Bruch, Tchaikovsky, and, yes, Brahms. But why would the French insult their own music?

There is, or there should be, a common courtesy by which those who lack knowledge or understanding of something should respect those who possess it. “I know nothing about [...] but I know what I like,” is embarrassing but harmless. In France that courtesy has

week 5 a toast to french music 17

Maurice Ravel (left) Hector Berlioz

been freely disregarded over many centuries since culture, in its broadest sense, is every- one's concern. A more accurate portrayal of the French approach might be: “I know nothing about [...] but I offer my judgment nonetheless.” Squirming at the hubris of this, we should in fact be envying French culture, since it is broadly spread throughout the educated population and embraces the whole world of literature and the arts. French music is of incredible richness, and it has, like French painting, a distinctive color and character that many other nations might envy. How is that to be explained?

The answer lies in the soil and the climate, which combine to produce the miracle of fine wine. Blessed with the nectar of the gods, the French have developed the only fitting partner for it: the greatest cuisine in the world. For the French the table is the altar of life; everything must give place to le repas, and the sanctity of eating and drinking well is cen- tral to all activities—family life, business affairs, farming subsidies, politics, even love. Nothing can or should disturb those long hours spent at the table where the bottle is always there and where seemingly endless courses, each more exquisite than the last, are placed before the company. From this stems the Frenchman’s unrivaled capacity for talk. If you partake of such a meal, woe betide you if you have not read the latest novel, seen the latest film, or heard the trendiest concert. The French are a nation of critics. Everyone can offer an opinion whether or not he or she is qualified to do so. As the con- versation heats up and yet another bottle is drained, no one questions his companion’s authority to declare, de haut en bas, that so-and-so is a master while such-and-such has no talent.

For music there have been two effects of this culinary culture. First, French music, while being generously subventioned by the state, has always been subject to political pressure, whether during the Revolution or even in modern times, when the Minister of Culture effectively determines who does what across the nation. Second, every Frenchman likes to think he knows all about music, whether he does or not. Music thus has much more chance of survival if it has a literary or pictorial dimension that can render it accessible to

week 5 a toast to french music 19

Camille Saint-Saëns

the tone-deaf. The sonatas, symphonies, suites, and fugues so characteristic of German music have never been easy to discuss at French dinner tables, whereas ballet, opera, song, dramatic symphonies, symphonic poems, and film scores are juicy meat for the self-appointed critic to sink his knife into.

Although the French are not obviously a nation of singers, as the Italians are, and the lan- guage is not obviously easy to sing, as Italian is, it is opera that has claimed the attention of criticism and gossip over the centuries, since its literary and visual dimensions expose it to everyone. Berlioz remarked after the failure of his opera Benvenuto Cellini in 1838: “The French love to get into arguments about music without having the first idea about it or any feeling for it.” Opera has always attracted the unmusical, but never more than in France. Ballet has an even stronger lineage in France than opera, so it was no surprise that Diaghilev chose Paris as the city where his extraordinary new ballets were to be seen. Many French composers contributed to the flood of new ballets in the twentieth century, including Ravel and Roussel, Satie and Poulenc.

At the same time, the literary quality of French music is one of its chief glories. One can truly use the epithet “poetic” to describe Berlioz’s La Damnation de Faust or Debussy’s Prélude à l’Après-midi d’un faune. A gift for apt and touching illustration marks Couperin’s and Rameau’s music; the exotic images of Ravel’s Shéhérezade for voice and orchestra are superbly vivid. Berlioz’s Symphonie fantastique is a drama about unrequited passion which might equally have been a novel rather than a symphony. It never occurred to Berlioz to compose music without a story, a poem, a text, an image, or an experience as its subject-matter. A title such as “Symphony No. 3 in C minor” is unthinkable in Berlioz, yet Saint-Saëns, who admired Berlioz deeply and was close to him in his last years, com- posed exactly that, even though we prefer to label it his Organ Symphony. After Berlioz’s death and after the humiliation of the Franco-Prussian war of 1870-71, Saint-Saëns led the movement for the regeneration of French music by establishing a concert series in which only French music was to be performed. Hostile to Wagner and to what he saw as

week 5 a toast to french music 21 German excess, he nonetheless regarded Mozart as the model of classical purity, and wrote piano concertos and symphonies of immaculate classicism devoid of the least lit- erary or pictorial image. An exception is to be found in the middle movement of the Fifth Piano Concerto, which has earned its nickname, the “Egyptian,” from the North African themes he imitated or adopted, since he composed the work mostly in a Cairo hotel. Only occasionally would Saint-Saëns drop his guard and compose something truly French such as the Carnaval des animaux, witty and delightful, but deeply embarrassing to the composer himself. Politically, he was a passionate nationalist who detested the Germans. So too was Vincent d’Indy, whose hostility to Germans and to Protestants could never eradicate his admiration of Bach.

The best French music depends on imagery and color, for French composers have a special feeling for orchestral sound, for visual effects, and for literary allusion. Neither Debussy nor Ravel was an admirer of Berlioz’s music, but they both acknowledged his mastery of orchestration and learnt much from it. Saint-Saëns, Massenet, and Messiaen, on the other hand, saw beyond the orchestration in Berlioz’s music to the substance and feeling also, just as Debussy found Rameau to be a worthy counterpart to Bach and Handel.

We call Debussy an Impressionist since he truly conveys the indistinct lines and subtle shades perfected by painters of the previous generation. There is a visual dimension in Debussy as there is a literary dimension in Berlioz. There are both in Dutilleux, a composer whose music is highly allusive, growing out of poetry and images without disclosing much about the secret of its structure. The sensitive orchestration of Dutilleux’s music is another element that connects him to his French forebears.

Ravel, the fastidious chain-smoker, seems wholly French in his perfect manners and effortless technique. Like Berlioz, he understood the orchestra completely without ever playing an orchestral instrument. He could draw on a palette of colors that a painter would envy, and he used that skill to evoke the world of children and animals in L’Enfant

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22 Albert Roussel (left) Henri Dutilleux

et les sortilèges with absolute precision. He was a master of the Spanish idiom, he could evoke the Orient or the world of Greek folk song, and in La Valse he wrote a Viennese waltz as Viennese as anything the Strausses could dream of.

Hans von Bülow argued that Berlioz’s spirit was German through and through. On the other hand, Romain Rolland regarded Saint-Saëns as distinctively German in temperament— which cannot have pleased him—even if French in “la parfaite clarté.” “La clarté!” he went on, “that is the mark of M. d’Indy’s intelligence. There is no mind more French than his.” With clarté repeatedly put forward as the hallmark of French culture, it is wise not to interpret it as “clarity” since it more nearly suggests brightness or transparency. Impres- sionism, after all, seeks a deliberate unclearness. Logic is similarly invoked from time to time as a distinctive element of French music, although if that were true we would have to acknowledge Brahms as more French than Fauré.

In truth the famed rationality of the French intellect does not extend to music, for the abstraction of a self-contained, rationally constructed art form has little appeal. French music is sensuous, pictorial, elegant, allusive, decorative, imaginative, ritualistic, poetic, and many other things besides, but scarcely ever rational. And it all goes back to the wine. hugh macdonald is Avis Blewitt Professor Emeritus of Music at Washington University in St. Louis. General editor of the New Berlioz Edition, he has written extensively on music from Mozart to Shostakovich and is a frequent guest annotator for the BSO. His latest book, “Music in 1853: Bio- graphy of a Year” (Boydell Press), was published this past spring.

week 5 a toast to french music 23

bernard haitink, conductor emeritus seiji ozawa, music director laureate Boston Symphony Orchestra 132nd season, 2012–2013

Thursday, October 25, 8pm Friday, October 26, 8pm (UnderScore Friday concert, including comments from the stage) Saturday, October 27, 8pm | sponsored by emc corporation charles dutoit conducting olga peretyatko, soprano (the nightingale in stravinsky) julie boulianne, mezzo-soprano (the child in ravel) sandrine piau, soprano diana axentii and yvonne naef, mezzo-sopranos edgaras montvidas and jean-paul fouchécourt, tenors david wilson-johnson, david kravitz, and kelly markgraf, baritones matthew rose, bass tanglewood festival chorus, john oliver, conductor

Program continues...

week 5 program 25 stravinsky “the nightingale,” lyric tale in three acts after hans christian andersen libretto by stepan mitusov (sung in russian with english supertitles) Act I Nocturnal scene, by the seashore. The edge of a forest. Act II Entr’acte Chinese March Song of the Nightingale Song of the Mechanical Nightingale Act III A room in the palace of the Emperor of China. Night. Moonlight. olga peretyatko, soprano (the nightingale) diana axentii, mezzo-soprano (the cook) yvonne naef, mezzo-soprano (death) edgaras montvidas, tenor (the fisherman) jean-paul fouchécourt, tenor (1st and 3rd japanese envoys) david wilson-johnson, baritone (the emperor of china) david kravitz, baritone (the chamberlain) kelly markgraf, baritone (2nd japanese envoy) matthew rose, bass (the bonze) tanglewood festival chorus, john oliver, conductor (courtiers; choruses; spectres)

A synopsis of the plot is on page 35.

{intermission}

Supertitles for “The Nightingale” by Sonya Haddad Supertitles for “L’Enfant et les sortilèges” by Chris Mattaliano SuperTitle System courtesy of DIGITAL TECH SERVICES, LLC, Portsmouth, VA John Geller, supertitles caller Gordon Martin, supertitles technician

“The Nightingale” is performed by arrangement with Boosey & Hawkes, Inc., publisher and copyright owner.

26 ravel “l’enfant et les sortilèges,” lyric fantasy in two parts libretto by colette (sung in french with english supertitles) julie boulianne, mezzo-soprano (the child) sandrine piau, soprano (the princess; the bat; the screech-owl; a shepherdess) diana axentii, mezzo-soprano (the bergère; the white cat; the squirrel; a shepherd) olga peretyatko, soprano (the fire; the nightingale) yvonne naef, mezzo-soprano (mother; the chinese cup; the dragonfly) edgaras montvidas, tenor (the teapot) jean-paul fouchécourt, tenor (the little old man [arithmetic]; the frog) david wilson-johnson, baritone (the clock; the black cat) matthew rose, bass (the armchair; the tree) tanglewood festival chorus, john oliver, conductor (bench, sofa, stool, wicker chair; shepherds and shepherdesses; numbers; animals, insects, and trees)

A synopsis of the plot is on page 43.

this week’s performances by the tanglewood festival chorus are supported by the alan j. and suzanne w. dworsky fund for voice and chorus. bank of america and emc corporation are proud to sponsor the bso’s 2012-2013 season.

The Thursday and Saturday concerts will end about 10:10, the Friday concert about 10:20. Concertmaster Malcolm Lowe performs on a Stradivarius violin, known as the “Lafont,” generously donated to the Boston Symphony Orchestra by the O’Block Family. Steinway and Sons Pianos, selected exclusively for Symphony Hall. Special thanks to The Fairmont Copley Plaza and Fairmont Hotels & Resorts, and Commonwealth Worldwide Chauffeured Transportation. In consideration of the performers and those around you, please turn off all electronic devices during the concert, including tablets, cellular phones, pagers, watch alarms, and texting devices of any kind. Thank you for your cooperation. Please do not take pictures during the concert. Flashes, in particular, are distracting to the performers and to other audience members.

week 5 program 27 The Program in Brief...

Stravinsky’s “lyric tale” The Nightingale, based on a Hans Christian Andersen story, and Ravel’s “lyric fantasy” L’Enfant et les sortilèges (“The Child and the Magic Spells”), were premiered a decade apart—the former in Paris in 1914, the latter in Monte Carlo in 1925. Each underwent a long gestation. Though Stravinsky completed Act I of The Nightingale in 1909, he did not compose Acts II and III until 1913-14, meanwhile having written The Firebird, Petrushka, and The Rite of Spring. Though Ravel received the novelist/music hall entertainer Colette’s libretto for L’Enfant et les sortilèges (which was conceived originally as a ballet project) in 1918, he did not finish the opera until 1924.

Both works are wonderfully imaginative and fanciful. The Nightingale is set in and near “the porcelain palace of the Emperor of China.” The story is simple. The Emperor is entranced by the song of a fabled nightingale brought to him from the nearby woods, but his favor shifts to a mechanical nightingale delivered as a gift by envoys from Japan. Ultimately, it is the song of the real nightingale, upon its return, that vanquishes Death and restores the mortally ill Emperor to strength and life.

L’Enfant et les sortilèges is the story of a naughty child awakened to the importance of companionship and love after being confronted by characters he has wronged or dam- aged (some of them in a fit of pique after he refuses to do his homework at the start of the opera). These characters are both animate and inanimate. Among them are pieces of furniture, a grandfather clock, the child’s arithmetic text, a teapot and china cup, shep- herds and shepherdesses from wallpaper he has torn, a princess from another book he has ruined, and numerous animals and insects who appear to him in the moonlit, garden setting of the opera’s second part—all providing Ravel an extraordinary opportunity to write music in a wide variety of styles as the various characters come and go.

The musical affect of these two works could not be more different. Stravinsky was famously disinclined to acknowledge the emotional capacity of music. In The Nightingale, vocal lines that sound truly “melodic” are given only to the Nightingale and the Fisher- man, whose song is first heard at the beginning, returns at key junctures, and is heard again at the very end. But the composer’s typically brilliant manipulation of colors (both vocal and instrumental), textures, rhythms, exotic harmonies, and dynamic range, coupled with his unerring feel for musical architecture, keeps the listener consistently engaged.

Given the episodic nature of L’Enfant et les sortilèges, the cumulative power of Ravel’s magical opera to move the listener is perhaps even more remarkable, and perhaps best explained by our relatability to its story. Ravel loved children (remember that his Mother Goose originated as four-hand music for the children of close friends). Whereas The Nightingale is set in a remote time and place, L’Enfant et les sortilèges is about childhood— which makes it, in a very real sense, a story about us all.

Marc Mandel

28 Igor Stravinsky “The Nightingale,” Lyric tale in three acts for soloists, chorus, and orchestra, after Hans Christian Andersen

IGOR STRAVINSKY was born in Oranienbaum, Russia, on June 17, 1882, and died in New York on April 6, 1971. He began composing “The Nightingale” (“Solovyei” in Russian; “Le Rossignol” in French) in 1908 to a libretto adapted by himself and Stepan Mitusov from Hans Christian Andersen’s story “The Emperor and the Nightingale.” Act I was completed in summer 1909 in Ustilug, Russia. After an extended hiatus, Acts II and III were completed in Russia and Europe in 1913-14. The first performance of the opera was given by Serge Diaghilev’s Ballets Russes at the Opera House in Paris on May 26, 1914, conducted by Pierre Monteux. The score was published by Serge Koussevitzky’s Édition Russe de Musique in 1923.

“THE NIGHTINGALE” is scored for nine soloists (two sopranos, one alto, three tenors, one baritone, three basses), chorus, and an orchestra including two flutes and piccolo, two oboes and English horn, three clarinets, piccolo clarinet, and bass clarinet, two bassoons and contrabassoon (also doubling bassoon), four horns, four trumpets, three trombones, tuba, timpani, percussion (two glockenspiels, antique cymbals, tambourine, side drum, bass drum, triangle, cymbals, suspended cymbal, tam-tam), piano, celesta, two harps, guitar (ad lib.), mandolin (ad lib.), and strings.

What a difference six years made in Igor Stravinsky’s life. In 1908, when he began work at age twenty-six on the lyrical, oriental fairy-tale opera The Nightingale in St. Petersburg, he was still an obscure Russian apprentice learning the ropes of composition. But by early 1914, when Stravinsky finished the opera (after a hiatus of four busy years) in Switzerland, he had become an acclaimed cosmopolitan trend-setter with three block- buster ballet successes in Paris (The Firebird, Petrushka, and The Rite of Spring) behind him. Stravinsky’s transformation from provincial pupil to lionized leader of European musical modernism occurred with dazzling speed and force. By 1914, his fame had already outstripped that of his revered teacher, Nikolai Rimsky-Korsakov. Stravinsky did have a little help from some very important friends. Chief among them was another ambitious Russian from St. Petersburg, the impresario Serge Diaghilev, creator of the

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It was Diaghilev, in fact, who interrupted Stravinsky’s original work on The Nightingale in 1909. The composer had started the project, an adaptation of Hans Christian Andersen’s beloved tale, with the literary assistance of his friend Stepan Mitusov, a former law stu- dent, aspiring music student, and friend of the Rimsky-Korsakov family. Mitusov acted as something of a guide for Stravinsky in the richly varied St. Petersburg cultural scene at the height of the Russian Silver Age. Stravinsky also claims that he showed preliminary musical sketches of what was to be his first opera to Rimsky-Korsakov, who expressed his approval. But Stravinsky’s (often faulty) memory seems to fail him here, since, according to Stravinsky biographer Stephen Walsh, Rimsky-Korsakov died (in June 1908) before any work had been done on the score. More likely, Rimsky endorsed the preliminary scenario, prepared with the help of Vladimir Belsky, the author of libretti for three of Rimsky’s operas, including The Golden Cockerel, another atmospheric fairy tale. Stravinsky had completed all of Act I and had started on Act II by the summer of 1909.

The event that changed Stravinsky’s life, and delayed the completion of The Nightingale, was a telegram he received from Diaghilev in autumn 1909 offering a commission for a new ballet—The Firebird—to be performed in Paris in the spring of 1910. The Nightingale was set aside—temporarily, it seemed. But in fact four years passed before Stravinsky returned to the opera, in the summer of 1913, close on the heels of the raucous premiere of The Rite of Spring and a nasty bout of typhoid fever.

What revived Stravinsky’s interest in The Nightingale was (not surprisingly) money, a commodity often in short supply for a father with two young children, another on the way, and a taste for luxurious living. He had received a commission for the opera from a new Moscow company, the Free Theatre. That shaky venture soon foundered, however. Once again, Diaghilev came to the rescue. Overcoming his usual hostility toward opera, the impresario proposed to present The Nightingale in Paris in the spring as a hybrid of opera and ballet, with the singers in the orchestra pit, and dancers on the stage miming the action. The lavishly fantastic sets and costumes were created by Alexandre Benois, designer of Petrushka and a major artist in his own right. Despite trying personal circum- stances (his wife had fallen seriously ill after giving birth to a daughter), Stravinsky managed to complete the score by early spring, in time for the Paris premiere on May 26, 1914.

The Nightingale is an opera about the power of music. Its three acts run only about 45 minutes—really a one-act opera in three scenes. There is little dramatic action, and the decorative language of the libretto (later translated elegantly into English by Stravinsky’s protégé Robert Craft) reflects the obscure, mystical style of the Symbolist poets who dominated the Russian literary scene in the years before World War I. The first lines the Nightingale sings provide a good example: “From the sky a star in diamond dew fell scattered, fell on the garden roses, fell in diamond dew, the gardens of the palace, the gardens of the rose.” Unlike many Russian operas, The Nightingale contains no obvious

week 5 program notes 31

Original set design by Alexandre Benois for Stravinsky’s “The Nightingale”

political or social message; the subject matter is art and what Stephen Walsh has called “the beauty of inconsequence.” Oriental subjects and chinoiserie enjoyed a vogue around the turn of the century in Russia and elsewhere, especially among the representatives of the art nouveau movement.

Stravinsky’s musical style and taste had changed radically in the four years that separated the composition of Act I from Acts II and III, and he at first doubted if he could find a way to connect them smoothly. It helped that the setting and action of Act I, an enchanted wood, differed so much from what Stravinsky described as the “baroque luxury of the Chinese court” of the last two acts, “with its bizarre etiquette, its palace fêtes, its thou- sands of little bells and lanterns, and the grotesque humming of the mechanical Japanese nightingale.” Stravinsky also decided to use the fisherman’s song as a unifying refrain, heard at the beginning and end of Act I, and repeated at the end of Acts II and III. The luminous nocturnal scene of Act I shimmers with oscillating fifths and thirds clearly influenced by the impressionistic music of Debussy (especially Nuages). One can also hear echoes of Rimsky-Korsakov’s fantastic operas (the recently completed Golden Cockerel) and even, perhaps, of the recent harmonic experiments of Alexander Scriabin. The representatives of the Emperor’s court are succinctly characterized by their vocal mannerisms: the stiffly formal Bonze obsessively repeats the nonsense syllables “Tsing-Pe” on the interval of a tritone.

The startling opening measures of Act II (marked “Presto”) drastically change the mood, however. They pulsate with dynamic rhythmic patterns and astringent sonorities. Two three-part choruses (sopranos, altos, and tenors, without basses) plus tenor and soprano soloists intone the text (“Bring light, bring light”) in the insistent declamatory style that Stravinsky would soon use to brilliant effect in Les Noces. To convey the Chinese atmos- phere of the Emperor’s court, Stravinsky builds ingenious diatonic harmonies on top of

week 5 program notes 33 the notes of the Chinese pentatonic scale (F-sharp, G-sharp, A-sharp, C-sharp, D-sharp)— orientalism disoriented, as it were. To illustrate the singing of the mechanical nightingale, he uses the oboe (a sharp contrast to the Nightingale’s lilting human soprano) over a jangling, spare celesta ostinato (two repeating dissonant clusters separated by a rest) accompanied by piano and two harps. To the familiar orientalism practiced by so many Russian composers (Mussorgsky, Rimsky-Korsakov, Tchaikovsky, Borodin), Stravinsky adds a fresh, modern, de-romanticized perspective. In the more somber third act, he stages a compelling dialogue between Death and the Nightingale, contrasting their respective declamatory and melodic lines.

Benois’s lavish sets and costumes for the Ballets Russes production (sung in Russian) almost overshadowed Stravinsky’s music in the memories of many who saw it. Some were confused by the score’s decorative nature, expecting something more wild and aggressive—more like Rite of Spring. In 1917, at Diaghilev’s suggestion, Stravinsky arranged a symphonic poem in three parts from the music of Acts II and III of The Nightingale for a ballet (without singers) staged in Paris in early 1920.

Harlow Robinson

harlow robinson is the author of “Sergei Prokofiev: A Biography,” “The Last Impresario: The Life, Times and Legacy of Sol Hurok,” and other books. A frequent lecturer and annotator for the Boston Symphony Orchestra and Metropolitan Opera Guild, he is Matthews Distinguished University Professor of History at Northeastern University.

THEFIRSTAMERICANPERFORMANCE of “The Nightingale” was given by the Metropolitan Opera, in French, as “Le Rossignol,” on March 6, 1926, with Tullio Serafin conducting, on the second half of a double bill that began with Manuel de Falla’s “La vida breve.”

THESEARETHEFIRSTBOSTONSYMPHONYPERFORMANCES of Stravinsky’s “The Night- ingale,” though the orchestra has performed “Song of the Nightingale”—a symphonic poem drawn by Stravinsky from the complete score, premiered by Ernest Ansermet in 1919 in Geneva, and then subsequently mounted as a ballet by Diaghilev in 1920 in Paris, also under Ansermet—on a number of occasions between October 1925 and January 2011: under the direction of Serge Koussevitzky (October 1925 and April 1926), Ernest Ansermet (January 1949), Lorin Maazel (December 1960), Charles Wilson (November 1968 in Boston), Erich Leinsdorf (November 1968 in New York, February 1969 in Boston, and later at Tanglewood in 1982), Pierre Boulez (March 1986), and Maazel again (January 2011).

34 Igor Stravinsky “The Nightingale” Synopsis of the Plot

ACT I After a brief orchestral introduction, Act I opens in a forest by the seashore. A Fisherman in a boat sings about a Nightingale who makes regular appearances with a fantastically beautiful song. The Nightingale appears and sings (a coloratura soprano in the orchestra pit), eliciting sighs of delight from the Fisherman. Representatives from the court of the Chinese Emperor arrive: the Chamberlain (bass), Bonze (bass), Cook (soprano) and assorted Courtiers. They, too, are searching for the Nightingale, hoping to bring the bird to the Emperor’s court. With the Cook leading the way, they at first mistake the sounds of cows mooing and frogs croaking for the Nightingale. The bird finally appears and gratefully accepts their invitation. They exit, and the act ends with a return of the Fisher- man and his folksy refrain.

ACT II Act II opens with an interlude (“Breezes”) for chorus and orchestra, followed by a “Marche Chinoise” for orchestra announcing the arrival of the Chinese Emperor to his porcelain palace, where the Nightingale awaits him, perched on a staff. Once the Emperor (bari- tone) is seated, the Nightingale begins to sing. When the bird has finished, the Emperor asks what reward he can give. “The teardrops shining in your grateful eyes” are sufficient, replies the bird. Now three Japanese envoys enter carrying a gift for the Emperor: a large mechanical nightingale that begins to sing (wordlessly) with the wheezing and whirring of gears. But the Emperor prefers the real Nightingale, who has inexplicably flown away. Insulted, the Emperor declares the real bird banished and the mechanical one installed as official “first singer” of the Empire. The act ends with a return of the Fisherman and his refrain.

ACT III Act III opens with a melancholy orchestral introduction, setting the mood for the scene of the Emperor lying deathly ill in his palace. At his bedside sits Death (alto), wearing the Imperial crown and holding the sword of state and standard. The Nightingale enters and sings, joining in a ghostly dialogue with Death. The beautiful song seduces Death (who disappears) and revives the grateful Emperor. Believing the Emperor to be dead, the Courtiers arrive to find him recovered, his Imperial crown, sword, and standard now restored. The curtain falls as the Fisherman sings a final refrain of his song.

Harlow Robinson

week 5 program notes 35

Maurice Ravel “L’Enfant et les sortilèges,” Lyric fantasy in two parts

JOSEPH MAURICE RAVEL was born in Ciboure near Saint-Jean-de-Luz, Basses-Pyrénées, in the Basque region of France just a short distance from the Spanish border, on March 7, 1875, and died in Paris on December 28, 1937. He composed “L’Enfant et les sortilèges” (“The Child and the Spells”), on a libretto by Colette, between 1920 and 1925, though mostly in 1924-25. The first performance took place at the Monte Carlo Opera on March 21, 1925, with Victor de Sabata con- ducting, Geroge Balanchine as ballet master, and Raoul Gunsberg directing.

THE SCORE OF “L’ENFANT ET LES SORTILÈGES” calls for a mezzo-soprano as the Child, a number of other singers among whom the numerous smaller parts are distributed, chorus, and an orchestra of two flutes and piccolo, two oboes and English horn, two clarinets, E-flat clarinet, and bass clarinet, two bassoons and contrabassoon, four horns, three trumpets, three trombones, tuba, two timpani, small kettledrum in D, triangle, tambourine, side drum, cymbals, bass drum, tam- tam, whip, rattle (with a crank), rasp, wood block, wind machine, crotales, slide-flute, xylophone, celesta, harp, piano, piano-luthéal (a prepared upright piano is used in these concerts), and strings.

Ravel’s two one-act operas—L’Enfant et les sortil`eges and the earlier L’Heure espagnole— are perfect gems. Far from the remote brooding worlds of Wagner’s and Debussy’s operas, they evoke color and action and draw the audience into fantastical scenes with brilliantly clever stagecraft and music. They are not ideological tracts, not bitter cries against pain or injustice, not designed to shock or alienate; their purpose is to entertain, to bewitch, to evoke laughter and tears, and to send us home in a state of high euphoria, lost in admiration of the fantasy, imagination, and technique that went into their making. All good operas are unique, but most belong to a tradition or at the very least to a special body of works. Not so with Ravel: neither of his operas can readily be compared to any other of his own time or of previous centuries.

Ravel was proud of his highly polished technique and liked to challenge his extraordinary powers of description. He was, after all, the most accomplished musician of his time. Those who knew him well attested to the warm heart beating beneath that fastidious

week 5 program notes 37 exterior, and only envious critics accused him of being a “mere technician.” In harmony, in rhythm, and in orchestration he was simply far ahead of the field, not excluding Strauss and Stravinsky, both of whom, in their own ways, were formidably well-equipped as com- posers. In melodic richness perhaps Ravel cannot here be compared to Puccini or to his own earlier tunefulness in the string quartet or the Sonatine, but in his operas he was after a different effect, in pursuit of which he succeeded spectacularly well.

In L’Heure espagnole (“The Spanish Hour”), his first opera, performed in 1911, his aim was to regenerate Italian opera buffa by crossing it with French farce. He was looking beyond Offenbach and traditional French opéra-comique (regular favorites like Auber’s Fra Diavolo and Hérold’s Zampa) to the genre we know best from Mozart’s Da Ponte operas. He stressed that it was not an opera but a “musical comedy,” which to a Frenchman recalled plays such as those by Feydeau, whose incomparable skill at maneuvering his characters in and out of bedrooms is well matched in the short play by Franc-Nohain which Ravel chose as the subject for his first opera. The humor resides in the series of

38 The French novelist Colette (1873-1954), who wrote the libretto for Ravel’s “L’Enfant et les sortilèges”

lovers, each more absurd than the last, who pay court to the beautiful Concepcion while her husband, a Toledo clockmaker, is out attending to the city’s clocks. Ravel responded eagerly to the story’s Spanish background.

When he came to compose his other opera, L’Enfant et les sortilèges, his style had changed considerably. It was originally as a ballet, to be staged by the Paris Opéra, that it was devised during World War I by the novelist and music hall entertainer Colette. She pro- posed Ravel as the composer, following his striking success with Daphnis et Chloé, but he saw it, with a remarkable leap of the imagination, as an opera of a very unusual kind. Animals and objects had conventionally been represented in ballet, but how on earth was this vast cast of animals and things (furniture, flames, teapots, etc.) to be realized on stage and asked to sing? The score in fact contains a continuous stream of stage directions of the most precise kind, showing the detailed transmogrifications that occur in the action and allowing (it seems) little scope for creative variation. The main character is a boy of six or seven (to be sung by a mezzo of considerable ability), and the crowds of other characters and animals are to be doubled up in various ways. In the end it was the Monte Carlo Opera, with its reputation as one of the most enterprising of European houses at that time, that undertook to stage the piece, and it opened there in March 1925.

Some of Ravel’s fluency had faded, but not his highly polished craft. To some extent he was turning his back on the richly chromatic style that he cultivated before the war. He was now fond of truly ascetic textures like the accent-less flow of oboes in fourths and fifths that introduces the bored child in the opening scene, and the touching aria for the Princess, accompanied only by a lonely flute. After the Princess disappears, the boy sings a sad little song, “Toi, le coeur de la rose,” that could have been one of Fauré’s more austere mélodies. Elsewhere, though, the orchestral texture is richer and more delicately colored than ever. His orchestra is large, but selectively used, with a huge array of percussion,

week 5 program notes 39 40 including whip, rattle, cheese-grater, wind-machine, and slide-flute. He also called for a kind of piano whose timbre could be altered in various ways (the piano-luthéal, now extinct, which he also called for in his violin-and-orchestra piece Tzigane).

The opera is not unlike a revue, with its succession of characters and scenes, many of them humorous. A new element is American popular music, the craze that swept Europe in the wake of all those doughboys hanging around in Paris cafés in 1918. Ravel seems to anticipate Gershwin in his languorous tune for the china cup, and hints constantly at ragtime and the blues. The Viennese waltz is more present than ever, especially in the beautiful scene for the dragonfly, which seems to carry on where the Valses nobles et sentimentales left off. Sometimes Ravel can reduce us to tears with the most simple means, as for example when the shepherds and shepherdesses lament their suffering in a little pastoral song accompanied by drones and little drums. And when at the end the animals all come forward to sing, in the plainest language and in an archaic contrapuntal style, “Il est bon, l’enfant, il est sage,” the story is touchingly complete. The boy’s final “Maman!,” on a falling fourth, is the perfection of understatement.

What is it all about? Both Colette and Ravel loved cats and both were very fond of their mothers, but it’s not a plea for animal rights, surely, nor is it a hymn to Nature. If the moral is that boys must not be naughty, we can only shrug and reply “duh.” As in Janáˇcek’s The Cunning Little Vixen, animals can teach us much about emotion and responsibility, forgiveness and remorse. And while we are learning these lessons, we are dazzled and delighted by the scenic wonders before our eyes and the musical magic wrought by Ravel’s incomparable craft.

Hugh Macdonald hugh macdonald is Avis Blewitt Professor Emeritus of Music at Washington University in St. Louis. General editor of the New Berlioz Edition, he has written extensively on music from Mozart to Shostakovich, is a regular pre-concert speaker for the St. Louis Symphony Orchestra, and is a fre- quent guest annotator for the BSO. His latest book, “Music in 1853: Biography of a Year” (Boydell Press), was published this past spring.

THEFIRSTAMERICANPERFORMANCE of Ravel’s “L’Enfant et les sortilèges” was given in San Francisco, at the Civic Auditorium, on September 19, 1930.

ALLOFTHEPREVIOUSBOSTONSYMPHONYPERFORMANCES of “L’Enfant et les sortilèges” were conducted by Seiji Ozawa: first in October 1974 in Boston and at Avery Fisher Hall in New York, with mezzo-soprano Jan de Gaetani as the Child, soprano Phyllis Bryn-Julson, mezzo-soprano D’Anna Fortunato, contralto Mary Davenport, tenor Neil Rosenshein, baritone David Evitts, bass Mark Pearson, and the Tanglewood Festival Chorus, John Oliver, conductor; then on August 23, 1975, at Tanglewood, with the same cast except with mezzo-soprano Joy Davidson in place of Mary Davenport; and more recently in November 1996, with mezzo-soprano Susan Graham as the Child, sopranos Sumi Jo and Elizabeth Norberg-Schulz, mezzo-soprano Monica Bacelli, contralto Nathalie Stutzmann, tenor Robert Tear, baritone Chris Pedro Trakas, bass-baritone José van Dam, and the Tanglewood Festival Chorus.

week 5 program notes 41

Maurice Ravel “L’Enfant et les sortilèges” Synopsis of the Plot

A little boy of six or seven is sitting idly at an exercise book. He is out of sorts, and just wants to get up to mischief. His mother scolds him and leaves him some tea and dry bread. As soon as she’s gone, he flies into a rage, smashes the teapot and cup, sticks his pen into the caged squirrel, pulls the cat’s tail, stirs up the fire, knocks over the kettle, attacks the wallpaper with the poker, swings on the clock’s pendulum, tears up his books, and collapses in an armchair.

At this point fantastic things begin to happen and the child’s world fights back. The arm- chair stirs into life and begins to dance with a Louis XV bergère: they’ll not let the little boy sit on them anymore. Nor will the bench, the couch, or the wicker chair. The clock, striking irregularly, is badly damaged. The Wedgwood teapot, in broken English, and the china cup, in broken Chinese, console each other by teasing the boy. The fire flares out of the hearth and threatens him, but is restrained by the cinder.

Night is falling and a group of shepherds and shepherdesses peel away from the torn wallpaper and lament their fate. From the page of a mutilated book a beautiful princess appears, sad that her story will never reach its end and her prince will never come. She disappears, leaving the child desolate. From another book leaps a cavalcade of numbers led by a little old man spouting meaningless mathematics. The moon is now up, and the boy attempts to stroke the cat. But the cat spits back and pays more attention to another cat out in the garden.

At this point the walls of the room fall away and the boy finds himself in the moonlit garden. Insects, frogs, owls, and nightingales are heard. The child is happy to be in the garden, but is rebuffed by a tree which he had attacked with a knife. A dragonfly dances with some moths and sings a duet with a nightingale, to a chorus of frogs. The dragonfly wants his mate back, so does a bat, both bereaved by the wicked child. Frogs dance, and a squirrel complains about being prodded in its cage. The frogs and squirrels dance and fight in the night, the cats miaow to each other. The child realizes that they care nothing for him and that he is alone. “Maman!” he cries, as they all persecute him. A baby squir- rel falls wounded and the boy ties up its paw with a ribbon.

Suddenly the animals feel sorry for him and are touched by his action. The child, too, has been hurt, and wants his mother, they realize. He is a good child after all. They lead him back to the house, where he holds out his arms to his mother.

Hugh Macdonald

week 5 program notes 43

To Read and Hear More...

The Stravinsky article in the 2001 New Grove Dictionary of Music and Musicians is by Stephen Walsh, who is also the author of an important two-volume Stravinsky biography: Stravinsky–A Creative Spring: Russia and France, 1882-1934 and Stravinsky–The Second Exile: France and America, 1934-1971 (Norton). The 1980 Grove entry was by Eric Walter White, author of the crucial reference volume Stravinsky: The Composer and his Works (University of California). Other useful books include The Cambridge Companion to Stravinsky, edited by Jonathan Cross, which includes a variety of essays on the composer’s life and works (Cambridge University Press), Michael Oliver’s Igor Stravinsky in the wonderfully illustrat- ed series “20th-Century Composers” (Phaidon paperback), Neil Wenborn’s Stravinsky in the series “Illustrated Lives of the Great Composers” (Omnibus Press), Stephen Walsh’s The Music of Stravinsky (Oxford paperback), and Francis Routh’s Stravinsky in the “Master Musicians” series (Littlefield paperback). Charles M. Joseph’s Stravinsky Inside Out chal- lenges some of the popular myths surrounding the composer (Yale University Press). If you can find a used copy, Stravinsky in Pictures and Documents by Vera Stravinsky and Robert Craft offers a fascinating overview of the composer’s life (Simon and Schuster). Craft, who worked closely with Stravinsky for many years, has also written and compiled numerous other books on the composer. Noteworthy among the many specialist publica- tions are Confronting Stravinsky: Man, Musician, and Modernist, edited by Jann Pasler (California), and Richard Taruskin’s two-volume, 1700-page Stravinsky and the Russian

week 5 read and hear more 45

Traditions: A Biography of the Works through “Mavra,” which treats Stravinsky’s career through the early 1920s (University of California).

Stravinsky himself recorded The Nightingale in 1960 with the Orchestra and Chorus of the Opera Society of Washington, D.C. (Sony). Other recordings include Pierre Boulez’s with the BBC Symphony (Erato), James Conlon’s with the Orchestre de l’Opéra National de Paris (EMI), Robert Craft’s with the Philharmonia Orchestra (Naxos), and James Levine’s with Metropolitan Opera forces (a 1984 radio broadcast issued by the Met as part of a large collection celebrating the conductor’s fortieth anniversary with the company).

Roger Nichols’s Ravel, published in 2011 (Yale University Press), has now replaced his earlier biography of the composer that was part of the “Master Musicians” series. Nichols also assembled Ravel Remembered, which brings together recollections from musicians and non-musicians who knew the composer personally (Farrar Straus & Giroux). Gerald Larner’s Maurice Ravel is one of the many well-illustrated volumes in the biographical series “20th-Century Composers” (Phaidon paperback). Also useful are The Cambridge Companion to Ravel, edited by Deborah Mawer (Cambridge University Press), Arbie Orenstein’s Ravel: Man and Musician (Dover), Orenstein’s A Ravel Reader: Correspon- dence, Articles, Interviews (also Dover), and Benjamin Ivry’s Maurice Ravel: a Life (Welcome Rain). Laurence Davies’s Ravel Orchestral Music in the series of BBC Music Guides pro- vides a good brief introduction to that subject (University of Washington paperback). Also out of print but worth seeking is Davies’s The Gallic Muse, a collection of essays on Fauré, Duparc, Debussy, Satie, Ravel, and Poulenc (Barnes).

Charles Dutoit recorded L’Enfant et les sortilèges with the Montreal Symphony Orchestra (Decca). On other recordings, Lorin Maazel conducts the French National Radio Orchestra (Deutsche Grammophon Originals), André Previn conducts the London Symphony Orchestra (two recordings, the earlier on EMI, the later one on DG), Simon Rattle con- ducts the Berlin Philharmonic (EMI), Ernest Ansermet conducts the Orchestre de la Suisse Romande (Decca Eloquence), and James Levine conducts Metropolitan Opera forces (another of the radio broadcasts—this one from 2002—issued by the Met to cele- brate Levine’s fortieth anniversary with the company). An esteemed 1947 recording— the first complete recording of L’Enfant—with Ernest Bour conducting the ORTF National Orchestra remains available and important (reissued on compact disc by Testament).

Marc Mandel

week 5 read and hear more 47 Guest Artists

Charles Dutoit Since his initial Boston Symphony appearances in February 1981 at Symphony Hall and August 1982 at Tanglewood, Charles Dutoit has returned frequently to the BSO podium at both venues, most recently for subscription appearances here in February 2012, and for concerts at Tanglewood this past summer with both the Boston Symphony Orchestra and the Tanglewood Music Center Orchestra. This season at Symphony Hall he conducts two programs this month and another in January. In 2010-11, the Philadelphia Orchestra celebrated its thirty-year artistic collaboration with Mr. Dutoit, who made his debut with that orchestra in 1980 and who has held the title of chief conductor there since 2008. With the 2012-13 season, he becomes the Philadelphia Orchestra’s conductor laureate. Also artistic director and principal conductor of London’s Royal Philharmonic Orchestra, Mr. Dutoit regularly collaborates with the world’s leading orchestras, including the Chicago Symphony, Boston Symphony, Berlin Philharmonic, and Amsterdam’s Royal Concertgebouw Orchestra, as well as the Israel Philharmonic and the major orchestras of Japan, South America, and Australia. His more than 170 recordings for Decca, Deutsche Grammophon, EMI, Philips, and Erato have garnered more than forty awards and distinctions. For twenty-five years, from 1977 to 2002, he was artistic director of the Montreal Symphony Orchestra, a dynamic musical partnership recognized the world over. Between 1990 and 2010, he was artistic director and principal conductor of the Philadelphia Orchestra’s summer festival at the Saratoga Performing Arts Center in upstate New York. From 1991 to 2001, Charles Dutoit was music director of the Orchestre National de France,

48 with which he has toured extensively on five continents. In 1996 he was appointed music director of the NHK Symphony Orchestra in Tokyo, with which he has toured Europe, the United States, China, and Southeast Asia; he is now music director emeritus of that orchestra. Mr. Dutoit has been artistic director of both the Sapporo Pacific Music Festival and the Miyazaki International Music Festival in Japan, as well as the Canton International Summer Music Academy in Guangzhou, China, which he founded in 2005. In summer 2009 he became music director of the Verbier Festival Orchestra. When still in his early twenties, Charles Dutoit was invited by Herbert von Karajan to lead the Vienna State Opera. He has since conducted regularly at the Royal Opera House–Covent Garden, the Metropolitan Opera in New York, and Deutsche Oper in Berlin, and has also led productions at the Los Angeles Music Center Opera and the Teatro Colón in Buenos Aires. He is an Honorary Citizen of the City of Philadelphia, a Grand Officier de l’Ordre National du Québec, a Commandeur de l’Ordre des Arts et des Lettres of France, and an Honorary Officer of the Order of Canada, the country’s highest award of merit. The recipient of the 2010 Governor’s Distinguished Arts Award, which recognizes a Pennsylvania artist of international fame, he recently received an honorary doctorate from the Curtis Institute of Music. He also holds honorary doctorates from McGill University, the University of Montreal, and Université Laval. Charles Dutoit was born in Lausanne, Switzerland; his extensive musical training included violin, viola, piano, percussion, the history of music, and composition at the conservatoires and music academies of Geneva, Siena, Venice, and Boston. A globetrotter motivated by his passion for history and archaeology, political science, art, and architecture, Charles Dutoit has traveled in all the nations of the world.

Olga Peretyatko (The Nightingale in “The Nightingale”) Making her Boston Symphony Orchestra debut this week, Russian soprano Olga Peretyatko comes from St. Petersburg, where she began her musical career at age fifteen in the children’s choir of the Mariinsky Theatre. She completed a course of training as a choirmaster before enrolling to study voice at the Hanns Eisler-Hochschule für Musik in Berlin. Ms. Peretyatko has already been among the prizewinners in such competitions as the international Operalia competition in Paris, where she was awarded second prize. From 2005 to 2007 she was a member of the opera studio at the Hamburg State Opera. Subsequent engagements have taken her to Deutsche Oper Berlin, the Berlin and Munich state operas, the Théâtre des Champs-Élysées in Paris, La Fenice in Venice, and the Rossini Opera Festival in Pesaro and the Festival La Folle Journée de Nantes. Ms. Peretyatko attracted international attention in the title role of Stravinsky’s Le Rossignol (The Nightingale) in the acclaimed Robert Lepage production performed for the first time at the Aix-en-Provence Festival in 2010 and subsequently in Toronto, New York, Lyon, and, most recently, in Amsterdam. Other recent successes include her role debuts as Adina in L’elisir d’amore in Lille, Lucia di Lammermoor at the Teatro Massimo Palermo, and Gilda in Rigoletto at both La Fenice and the Festival Avenches; her role debut as Giulietta in I Capuleti e i Montecchi in Lyon and Paris, her debut in the title role of Handel’s Alcina in Lausanne, and her role debut as Fiorilla in ll turco in Italia in Amsterdam. She garnered praise as Adina during the Pfingstfestspiele at the Festspielhaus Baden-Baden, replacing a colleague on short notice. Recent and upcoming engagements take her to Deutsche Oper Berlin for Lucia di Lammermoor, to the Salzburg Festival for Giunia in Lucio Silla, to the Wiener Staatsoper for Gilda, and to the Bayerische Staatsoper München for Il turco in Italia. She sings Marfa in

week 5 guest artists 49 Rimsky-Korsakov’s The Tsar’s Bride at both the Staatsoper Berlin and La Scala in Milan, and returns to Aix-en-Provence for Fiorilla in ll turco in Italia. In this country, she sings Gilda with the Los Angeles Philharmonic at the Hollywood Bowl; the Queen of the Night in The Magic Flute with Washington Opera, and, with the Metropolitan Opera, Fiakermilli in Arabella, Oscar in Un ballo in maschera, and Gilda. Her debut as Violetta in La traviata is scheduled for 2015 (including a DVD release) at the Festspielhaus Baden-Baden. Olga Peretyatko has worked with such conductors as Daniel Barenboim, Lorin Maazel, Zubin Mehta, Renato Palumbo, Marc Minkowski, and Alberto Zedda. She has an exclusive recording contract with Sony Classical. Visit www.olgaperetyatko.com for further information.

Julie Boulianne (The Child in “L’Enfant et les sortilèges”) Winner of the Prix Lyrique Français, French-Canadian mezzo-soprano Julie Boulianne, who makes her BSO debut this week, distinguished herself in the role of Isolier in Rossini’s Le Comte Ory while still a member of the Juilliard Opera Center. In summer 2012 she made her role debut as Miranda in a new Robert Lepage production of Thomas Adès’s The Tempest, under the composer’s direction at the Festival Opéra de Québec. She also made her Japanese debut at the Saito Kinen Festival, in Honegger’s Jeanne d’Arc au bûcher, and her Mostly Mozart Festival debut in Haydn’s Lord Nelson Mass under Yannick Nézet-Séguin at Lincoln Center. During the 2012-13 season, Ms. Boulianne returns to the Metropolitan Opera as Ascanio in Francesca Zambello’s production of Les Troyens (included in the Metropolitan Opera “HD Live” series) conducted by Fabio Luisi. She also appears there as Siébel in Faust and returns to Opéra de Rheims as Romeo in I Capuleti e i Montecchi. In addition to this week’s Boston Symphony debut, her concert calendar includes Beethoven’s Ninth Symphony with Pinchas Zukerman and the National Arts Centre Orchestra in Ottawa. Career highlights include Metropolitan Opera appearances as Diane in Iphigénie en Tauride and as Stéphano in Roméo et Juliette; her New York City Opera debut as Lazuli in Chabrier’s L’Étoile; Cherubino in Le nozze di Figaro at Vancouver Opera and Opéra de Montréal; the title role in Massenet’s Cendrillon at l’Opéra de Montréal and l’Opéra de Marseille; Rosina in Il barbiere di Siviglia for her Minnesota Opera debut; the title role in La Cenerentola at Aspen Opera Theater, Florida Grand Opera, Glimmer- glass Opera, and Pacific Opera Victoria; and Fragoletto in Offenbach’s Les Brigands at both Opéra de Toulon and Opéra Comique in Paris. She has sung Ravel’s Shéhérazade with Emmanuel Villaume and the Utah Symphony, Berlioz’s Les Nuits d’été with Yannick Nézet-Séguin and l’Orchestre Métropolitain du Grand Montréal, Messiah and Bach’s Mass in B minor with the Atlanta Symphony, Mahler’s Symphony No. 3 with the Calgary Philharmonic, and Mozart’s Coronation Mass with the Cincinnati Symphony; she is a regular guest with the Orchestre de la Francophonie Canadienne, Montreal Symphony, Nashville Symphony, Quebec Symphony, Edmonton Symphony, and Les Violons du Roy. Her recordings include a Grammy-nominated Naxos release of Shéhérazade and L’Enfant et les sortilèges and Mahler’s Lieder eines fahrenden Gesellen and Kindertotenlieder on ATMA Classique. She has appeared frequently at Montreal Opera, Quebec Opera, and McGill Opera, and in France at Opéra de Reims, Opéra d’Avignon, and Opéra de Tours. Her U.S. debut came in 2006 at Nashville Opera as the Child in L’Enfant et les sortilèges. A graduate of McGill University’s Schulich School of Music, Julie Boulianne won first prizes in the Canadian Music Competition and the Joy of Singing Competition in New York.

50 Sandrine Piau A renowned figure in the world of Baroque music, French soprano Sandrine Piau makes her Boston Symphony Orchestra debut this week. Ms. Piau performs regularly with such celebrated conductors as William Christie, Philippe Herreweghe, Christophe Rousset, Gustav Leonhardt, Ivor Bolton, Ton Koopman, René Jacobs, Marc Minkowski, and Nikolaus Harnoncourt. She embraces both the lyric and Baroque repertoire, performing such roles as Pamina in Mozart’s Die Zauberflöte, Titania in Britten’s A Midsummer Night’s Dream, and Servilia in Gluck’s La clemenza di Tito. Previous engagements have taken her to the Grand Théâtre de Genève as Ismène in Mitridate, re di Ponto, and to the Théâtre des Champs-Elysées as Cleopatra in Handel’s Giulio Cesare, Servilia in La clemenza di Tito, and Ännchen in Weber’s Der Freischütz. Other recent opera projects include Sandrina in La finta giardiniera and Mélisande in Pelléas et Mélisande at La Monnaie Brussels, and Sophie in Massenet’s Werther at the Capitole de Toulouse and the Théâtre du Châtelet. On the concert stage in recent years she has performed at the Salzburg Festival, Covent Garden, the Concertgebouw in Amsterdam, Teatro Comunale in Florence, and with the Munich Philharmonic, the Teatro Comunale di Bologna, the Berlin Philharmonic, and the Orchestre de Paris. Ms. Piau takes great pleasure in the art of recital. As a singer of both French and German repertoire, she has performed with many renowned recital accompanists, including Jos van Immerseel, Susan Manoff, Roger Vignoles, and Corine Durous; she regularly gives recitals in Paris, Amsterdam, London, and New York. Ms. Piau has an exclusive recording contract the Naïve label. Her latest recital recording, “Après un rêve,” was released in April 2011 to critical acclaim and features an eclectic program of German Lieder and French mélodies. Her

week 5 guest artists 51 new album, “Le Triomphe de l’amour,” was released earlier this year. Highlights of recent sea- sons include her first Donna Anna in Don Giovanni at the Théâtre des Champs-Élysées, the title role in L’incoronazione di Poppea in Cologne, and Sandrina in a new production of La finta giardiniera at La Monnaie in Brussels. She also gave concerts at London’s Wigmore Hall, Carnegie Hall in New York, Vienna’s Musikverein, and Salle Pleyel in Paris. This season’s engagements also include Pamina at the Théâtre des Champs-Élysées, concerts at the Royal Opera Versailles and the Salzburg Festival, recitals across the United States and at Wigmore Hall, and her first recital tour of Japan.

Diana Axentii Diana Axentii makes her Boston Symphony Orchestra debut this week. Born in Nisporeni, Moldavia, Ms. Axentii began her musical studies on the violin. After winning numerous prizes as a violinist, most notably in the Stefan Neaga and Barbu Lautarul competitions, she decided to dedicate herself to singing, and began studies with Jana Vdovicenco in Moldavia. In 2002 she moved to France and pursued studies under Isabelle Germain at the Conservatoire National Supérieur de Musique de Lyon, where she won her first prize for singing. She was a winner at the Concours International Reine Élisabeth (Brussels) in 2004 and has since found success in many other international competitions, including the Prix Spécial at the Concours International de Chant Montserrat Caballé (Andore), the Prix des Amis of the Festival d’Aix-en-Provence at the Académie d’été (master classes with Margreet Honig and Gwyneth Jones), and the Prix Spécial de l’Académie at the Concours International de Musique de Verbier (master class with Gundula Janowitz and Thomas Quasthoff). In 2004 she was Speranza in Monteverdi’s Orfeo with the Atelier Lyrique de l’Opéra du Lyon and was also heard in the Academie du Festival d’Aix-en- Provence’s production of Purcell’s Dido and Aeneas. She recently appeared in Martin˚u’s Julietta at the Opéra National de Paris (Bastille) and in a concert entitled “Vienna at the Time of Lehár” at the Opéra Comique. She joined the Atelier d’art lyrique de l’Opéra National de Paris in January 2005, singing Xavier Dayer’s Les Aveugles under Guillaume Tournaire at the Théâtre Gérard Philippe de Saint-Denis. More recently she was Cherubino in Le nozze di Figaro with the opera companies of Nancy and Bordeaux; Martha in Benoît Mernier’s Frühlingser- wachen at the Monnaie in Brussels and in Strasbourg; Sélysette in Ariane et Barbe-bleue at the Opéra National de Paris, on tour in Japan, and at the Amsterdam Concertgebouw; Clotilde in Norma in Avignon, Vichy, and Monte Carlo; Bersi in Andrea Chénier in Nancy, Dido in Dido and Aeneas with the Aix-en-Provence Festival, Anna Kennedy in Maria Stuarda at the Opéra Royal de Wallonie, the Kitchen Boy in Rusalka in Glyndebourne and Nancy, Javotte in Manon in Saint-Etienne, Dorothée in Cendrillon, and Alice in Le Comte Ory in Marseille. She has also sung L’Enfant et les sortilèges and Weinberg’s Portrait in Nancy, Mercédès in Carmen in Bordeaux, Albina in La donna del lago and Dryade in Ariadne auf Naxos at the Opéra National de Paris, and Busoni’s Turandot in Dijon. In concert she has performed music of Berlioz and Gluck under Sylvain Cambreling at the Palais Garnier, Mozart’s Requiem in Antibes, and Berlioz’s Les Nuits d’été at the Paris Opera. Recent and upcoming engagements include Dvoˇrák’s Mass in Marseille, L’Enfant et les sortilèges and The Nightingale in Tokyo under Charles Dutoit, L’Enfant et les sortilèges and Rusalka at the Paris National Opera, Stiffelio in Monte Carlo, and Götter- dämmerung in Geneva.

52 Yvonne Naef A native of Switzerland, Yvonne Naef is one the most sought-after mezzo-sopranos on both the concert and operatic stages, as demonstrated by her recent successes as Mistress Quickly in Falstaff, Ulrica in Un ballo in maschera, and Kundry in Parsifal under the baton of Daniele Gatti in Zurich. Her extensive opera repertoire includes the major mezzo roles in Verdi’s operas (Aida, Il trovatore, Don Carlo, and Un ballo in maschera), which she has sung at the Metropolitan Opera, the Royal Opera House, Vienna State Opera, and Opéra de Paris. She also sings the operas of Richard Wagner, Russian operas, and, in the French repertoire, Ariane et Barbe-bleue, Carmen, Les Troyens, and La Damnation de Faust. On the concert stage she performs a wide range of repertoire, from Bach to Boulez, with prominent orchestras and conductors. Noted for her performances of Mahler’s symphonies and song cycles, she has performed that composer’s Second, Third, and Eighth symphonies, Kindertotenlieder, Rückert Lieder, Lieder eines fahrenden Gesellen, Lieder aus Des Knaben Wunderhorn, and other songs under the direction of Pierre Boulez, James Levine, Christoph Eschenbach, Semyon Bychkov, Marin Alsop, Franz Welser-Möst, Sylvain Cambreling, Rafael Frühbeck de Burgos, Kent Nagano, and Jonathan Nott. Other important conductors with whom she has worked include Mariss Jansons, Sir Simon Rattle, Bernard Haitink, Georges Prêtre, and Sir John Eliot Gardiner. Engagements this season include Mistress Quickly and Ulrica with Zurich Opera, Fricka in Die Walküre with Hamburg State Opera, Ravel’s L’Enfant et les sortilèges at the Saito Kinen Festival under Seiji Ozawa, and concert appearances in Vienna, Sydney, Paris, St. Gallen, and in Japan. She has also performed in recital. Ms. Naef’s recordings, some of which have received coveted international awards, include Il trovatore, Das Rheingold, Die Walküre, Bach’s Christmas Oratorio and various cantatas,

week 5 guest artists 53 Rossini’s Petite Messe solennelle, Schoeck’s Penthesilea, Schoenberg’s Gurrelieder, Beethoven’s Ninth Symphony, songs by Shostakovich, Berlioz, and Wagner, Brahms’s Alto Rhapsody, Mahler’s Second and Eighth symphonies, and Messiaen’s Poèmes pour mi. Yvonne Naef made her Boston Symphony Orchestra in Verdi’s Requiem at Tanglewood in 2003, subsequently returning for Mahler’s Symphony No. 8 in Boston, at Carnegie Hall, and at Tanglewood; Berlioz’s Damnation of Faust in Boston, New York, at Tanglewood, and on tour in Lucerne, Essen, Paris, and London; and Berlioz’s Les Troyens (as Cassandra) at Symphony Hall.

Edgaras Montvidas Making his Boston Symphony debut this week, Lithuanian tenor Edgaras Montvidas was educated in Vilnius at the Lithuanian Music Academy. From 2001 to 2003 he was a member of the Royal Opera House–Covent Garden Young Artists Programme, where he sang Alfredo in La traviata, Arminio in Verdi’s I masnadieri, Marcellus and Laertes in Thomas’s Hamlet, and Fenton in Falstaff. From 2004 to 2006, as a member of the ensemble of Frankfurt Opera, he was Des Grieux in Manon, Belmonte in Die Entführung aus dem Serail, Tamino in Die Zauberflöte, Ottavio in Don Giovanni, Alfredo in La traviata, and Macduff in Macbeth. Recent and upcoming engagements include Prunier in Puccini’s La rondine at Covent Garden; Lensky in Eugene Onegin and Belmonte for Glyndebourne Festival Opera, and Lensky with the Bayerische Staatsoper, Munich. He sings the Fisherman in Stravinsky’s The Nightingale and Ravel’s L’Enfant et les sortilèges with both the BSO and the NHK in Japan conducted by Charles Dutoit; Dvoˇrák’s Stabat Mater in Poland under Paul McCreesh; Mendelssohn’s Symphony No 2, Lobgesang, on tour with the Orchestra della Toscana and Daniele Rustioni, including Florence and Pisa; Bruneau’s Requiem at La Monnaie, Brussels, under Ludovic Morlot, and Stravinsky’s Renard at London’s Queen Elizabeth Hall with the London Sinfonietta. Recent opera appearances have also included Nemorino in L’elisir d’amore with English National Opera and Scottish Opera, where he has also been the Duke in Rigoletto and Tom Rakewell in The Rake’s Progress; Ruggero in La rondine for Leipzig Opera; Belfiore in Rossini’s Il viaggio a Reims at Covent Garden; Alfredo, the Fisherman, and Lensky for Lyon Opera; Tebaldo in I Capuleti e i Montecchi for Opera North; Lensky for Glynde- bourne Festival Opera; Belmonte for Bayerische Staatsoper, Hamburg Opera, and Netherlands Opera; Edgardo in Lucia di Lammermoor in St. Gallen; the Fisherman at the Aix-en-Provence Festival; Tamino at Opéra National de Bordeaux; and the Fisherman at Netherlands Opera. Also active on the concert platform, he recently sang the Fisherman with the Berlin Philhar- monic and Pierre Boulez and has sung with the BBC Symphony, Scottish Chamber, Russian National, and Netherlands Philharmonic orchestras, as well as with the major orchestras in Lithuania and Latvia, in repertoire including music of Berlioz, Mozart, Franck, Beethoven, and Liszt At the BBC Proms he has sung the Voice from the Forge in Falla’s La vida breve with the BBC Symphony Orchestra, as well as the Shepherd in Stravinsky’s Oedipus Rex and the Young Lover in Puccini’s Il tabarro with the BBC Philharmonic Orchestra. In 2009, for his performances as Werther, he was awarded the Gold Cross of the Stage in Lithuania.

54 Jean-Paul Fouchécourt Renowned for his interpretation of the French Baroque repertoire, Jean-Paul Fouchécourt has earned acclaim for his performances on both the opera and concert stage and for over one hundred recordings, including works by Rameau, Lully, and Campra. He has also mastered repertoire ranging from Berlioz to Offenbach, Ravel, Britten, and Verdi. In a career that has taken him to major opera houses and orchestras around the world, he has performed numerous roles with Les Arts Florissants, Les Musiciens du Louvre, Netherlands Opera, the Metropolitan Opera, Antwerp Opera, Paris Opera, the Aix- en-Provence Festival, Chorégies d’Orange, Théâtre des Champs-Élysées, Edinburgh Festival, Opéra de Lyon, Geneva Opera, the Salzburg Festival, Berlin Philharmonic, Opéra de Bordeaux, Saito Kinen Festival, the Boston Symphony Orchestra, BBC Symphony Orchestra, Orchestre National de France, and BBC Proms. Conductors with whom he has worked include James Levine, Marc Minkowski, William Christie, René Jacobs, Charles Dutoit, Seiji Ozawa, Myung-Whun Chung, Valery Gergiev, James Conlon, and Sir Simon Rattle. Known for his portrayal of the title role in Rameau’s Platée, he has performed it at the Royal Opera House–Covent Garden, Paris Opera, Opéra de Bordeaux, Geneva Opera, New York City Opera, the Salzburg Whitsun Festival, and with the Philharmonia Baroque Orchestra. He has also frequently sung King Ouf in Chabrier’s L’Étoile (Cincinnati Opera, Geneva Opera, Austin Lyric Opera, New York City Opera, Staatsoper Berlin, and recently in Bergen). Jean-Paul Fouchécourt’s recent engagements include Monsieur Triquet in Eugene Onegin at the Paris Opera; Berlioz’s Roméo et Juliette in concert with the Los Angeles Phil- harmonic, the Boston Symphony Orchestra, and with Japan’s Yomiuri Nippon Symphony Orchestra led by Sylvain Cambreling; Le théière, L’aritmethique, and La rainette in Ravel’s

week 5 guest artists 55 L’Enfant et les sortilèges with the Rotterdam Philharmonic under Yannick Nézet-Séguin; and Remendado in Carmen with the Berlin Philharmonic and Sir Simon Rattle at the Salzburg Festival and in Berlin. Engagements in the 2012-13 season and beyond include, among others, L’Enfant et les sortilèges with the Boston Symphony Orchestra under Charles Dutoit, with l’Orchestre National de Lyon under Leonard Slatkin, and at the Saito Kinen Festival under Seiji Ozawa; L’heure espagnole with the BBC Symphony Orchestra under Josep Pons, and The Tales of Hoffmann under Marc Minkowski at the Salle Pleyel in Paris. He has previously appeared on two occasions with the Boston Symphony Orchestra: as Goro in Puccini’s Madama Butterfly in February 1999 under the direction of Seiji Ozawa and Federico Cortese, and in Berlioz’s Roméo et Juliette in May 2011 with Charles Dutoit conducting.

56 David Wilson-Johnson British baritone David Wilson-Johnson was born in Northampton; he studied modern languages at St. Catharine’s College, Cambridge, and singing at London’s Royal Academy of Music. His long career has taken him to opera houses, orchestras, and festivals worldwide, per- forming under such conductors as Boulez, Brüggen, Giulini, Haenchen, Harnoncourt, Knussen, de Leeuw, Leonhardt, Mackerras, Mehta, Montgomery, Previn, and Rattle. Opera repertoire includes The Nightingale, L’Enfant et les sortilèges, Boris Godunov, Turandot, Werther, Die Zauberflöte, Arianna, and Così fan tutte (all at the Royal Opera House–Covent Garden), Peter Grimes (Amsterdam, Brussels, Geneva, Madrid), Billy Budd (English National Opera, Royal Opera House, Opéra Bastille), La Damnation de Faust (Berlin, Turin, Tanglewood), Die Meistersinger von Nürnberg (Amsterdam and Opera Garnier), Die Zauberflöte (Opera Garnier), Tristan und Isolde (Monte Carlo), Rameau’s Les Boréades (Salzburg Festival), Peter Maxwell Davies’s Eight Songs for a Mad King (Opéra Comique), Tippett’s A Midsummer Marriage (TV film), and the title role in Messiaen’s St. François d’Assise (London, BBC-TV, Lyon, Amsterdam, Brussels, New York, and Edinburgh Festival). In concert he has performed Parsifal and Mahler’s Symphony No. 8 at the BBC Proms; Henze’s Elegy for Young Lovers at the Amsterdam Concertgebouw; Ravel’s L’Heure espagnole and Brahms’s German Requiem in Carnegie Hall, Pittsburgh, and Oslo; and Haydn’s Seasons, Schumann’s Das Paradies und die Peri, The Creation, Britten’s Death in Venice, and Enescu’s Oedipe at the Holland Festival. At the 2001 Last Night of the Proms (after the events of 9/11), he sang Beethoven’s Ninth under Leonard Slatkin to a worldwide audience of 340 million. Recent and future engagements include Elijah in Strasbourg under Heinz Holliger, A Child of Our Time with the Royal Philharmonic; Berlioz’s Roméo et Juliette with the Philadelphia

week 5 guest artists 57 Orchestra and La Damnation de Faust with the Chicago Symphony, both under Charles Dutoit; The Creation with the New Japan Philharmonic, Beethoven’s Ninth Symphony with Daniele Gatti and Philippe Herreweghe, Haydn’s Harmoniemesse with Mariss Jansons, Stravinsky’s Oedipus Rex with the Orchestre de la Suisse Romande, Berlioz’s L’Enfance du Christ with the Saint Paul Chamber Orchestra, Peter Grimes at the Teatro Regio Turin, Maxwell Davies’s Taverner with the BBC Scottish Symphony, Handel’s Athalia with Paul Goodwin and the Basel Kammerorchester, Handel’s Messiah with Harry Christophers and The Sixteen in Paris, Bach’s St. Matthew Passion with the King’s Consort, and Stravinsky’s Threni and Tavener’s The Whale at the BBC Proms. David Wilson-Johnson made his BSO debut in Bach’s St. Matthew Passion in April 1998 in Boston and New York, subsequently returning for Tanglewood performances of Berlioz’s La Damnation de Faust and Beethoven’s Mass in C in July 1998, and Falla’s Master Peter’s Puppet Show in August 2005.

David Kravitz Baritone David Kravitz’s 2012-13 calendar includes appearances this week in The Nightingale under Charles Dutoit with the Boston Symphony; Abraham in the North American premiere of MacMillan’s Clemency with Boston Lyric Opera; his Lyric Opera of Kansas City debut, as Poo-Bah in The Mikado; King Fisher in a concert performance of The Midsummer Marriage with Boston Modern Orchestra Project, and Nick in Emmanuel Music’s production of Harbison’s The Great Gatsby. Future seasons bring his return to Boston Lyric Opera. In 2011-12 Mr. Kravitz made his Florentine Opera debut as Ping in Turandot, and appeared with the Washington Chorus for Wachner’s Come My Dark Eyed One and Mozart’s Mass in C Minor. He sang Melchior in Amahl and the Night Visitors with the Little Orchestra Society at Avery Fisher Hall; Dr. Falke in Die Fleder- maus with Opera Memphis; Lord Salt in The Golden Ticket with Atlanta Opera (having sung the world premiere with Opera Theatre of St. Louis in 2010), and Cosimo in John Musto’s The Inspector with Boston Lyric Opera. Highlights of previous seasons include his New York City Opera debut as the Businessman in Strauss’s Intermezzo; the United Nations Delegate in the world premiere of Tod Machover’s Death and the Powers at Opéra de Monte- Carlo, with subsequent performances at Chicago Opera Theater and at the American Repertory Theater; the Provost Marshall and Gold Merchant in Hindemith’s rarely performed Cardillac with Opera Boston; his Baltimore Symphony debut in Handel’s Messiah; Elijah, Schoenberg’s Moses und Aron, Berlioz’s Les Troyens, and Bach’s St. John Passion and St. Matthew Passion with the Boston Symphony Orchestra; Carnegie Hall performances of Messiah, and Nick Shadow in The Rake’s Progress with Emmanuel Music. Recent engagements have also included Leontes in John Harbison’s Winter’s Tale with Boston Modern Orchestra Project, Dominick Argento’s song cycle The Andrée Expedition, newly commissioned songs by Andy Vores and James Yannatos, and the world premiere of an oratorio by Kareem Roustom. Mr. Kravitz’s recordings of Vores’s song cycle Goback Goback and of Harbison’s Winter’s Tale, both with Boston Modern Orchestra Project, were released on the BMOP/sound label. Other recordings include Bach’s Cantata No. 20 and St. John Passion with Emmanuel Music (Koch) and Harbison’s Four Psalms and Peter Child’s Estrella with the Cantata Singers (New World). Before devoting himself full-time to a career in music, David Kravitz had a distinguished career in the law that included clerkships with U.S. Supreme Court Justices Sandra Day O’Connor and Stephen Breyer. He later served as Deputy Legal Counsel to the Governor of Massachusetts.

58 Kelly Markgraf American baritone Kelly Markgraf’s 2012 summer season brought appearances with the New York Philharmonic and Alan Gilbert, the Oklahoma Mozart Festival, Chamber Music Northwest, and the Music@Menlo Festival with pianist Gilbert Kalish. Highlights of his 2012-13 season and beyond include The Nightingale and L’Enfant et les sortilèges for his Boston Symphony Orchestra debut this week under Charles Dutoit; the title role in Don Giovanni with Madison Opera; a recital with the Marilyn Horne Foundation at Carnegie’s Zankel Hall; an art song program entitled “Love Songs” with the Chamber Music Society of Lincoln Center, and a return to Hawaii Opera. In 2011-12 he was Count Almaviva in Le nozze di Figaro with Kentucky Opera, made his role debut as Malatesta in Don Pasquale at Hawaii Opera, and sang Papageno in Die Zauberflöte with Apollo’s Fire Baroque Orchestra. In concert he joined the St. Paul Chamber Orchestra for Ned Rorem’s Aftermath. Highlights of previous seasons include the United States premiere of Shostakovich’s War Front Songs at Symphony Space, Allazim in Mozart’s Zaide at Carnegie’s Zankel Hall under David Robertson, his New York City Opera debut as Masetto in Don Giovanni, his role debut as Escamillo in Carmen with Pittsburgh Opera, Schumann’s Dichterliebe at the La Jolla Music Festival with pianist Ken Noda, and a recital appearance at Carnegie Hall as part of the Marilyn Horne Foundation’s “The Song Continues” series. Mr. Markgraf is a graduate of the Juilliard Opera Center, where he sang Mamoud in a staged concert version of John Adams’s The Death of Klinghoffer conducted by the composer, and Ford in Verdi’s Falstaff. In 2008 he participated in the West Side Story segment of the nationally televised all-Bernstein program under Michael Tilson Thomas that opened Carnegie Hall’s season. He made his Pittsburgh Opera debut as Ragged Man in Ricky Ian Gordon’s The Grapes of Wrath, a role he created at Minnesota Opera in 2007. In 2009 he was part of Ken Noda’s Winterreise project at the Juilliard School. He is a former member of the Resident Artist Program at Minnesota Opera and was an apprentice at Santa Fe Opera. Among his honors are a First Prize Award from the Gerda Lissner Foundation Competition (2010), the Sullivan Foundation’s Sullivan Award (2009), the Grand Prize in the Opera Index Competition (2009), awards from the Giulio Gari Foundation and the Licia Albanese Puccini Foundation (2009), a Richard F. Gold Career Grant (2009), an Outstanding Apprentice Award from Santa Fe Opera, a Richard Tucker Foundation Career Grant Nomination, the Civic Music Association Competition Grand Prize, and an Encouragement Award from the Metropolitan Opera National Council Auditions. A native of Wisconsin, Kelly Markgraf holds degrees from Boston University, the University of Cincinnati–College Conservatory of Music, and the Juilliard School.

week 5 guest artists 59 Matthew Rose Bass Matthew Rose makes his Boston Symphony Orchestra debut this week. In the 2012-13 season he returns to the Metropolitan Opera as Talbot in a new production of Maria Stuarda and at the Royal Opera–Covent Garden makes his role debut as Sarastro in Die Zauberflöte. This season’s concert appearances also take him to the Chamber Orchestra of Europe with Yannick Nézet-Séguin and the Orchestre Révolutionnaire et Romantique with John Eliot Gardiner. In 2006 Mr. Rose made an acclaimed debut at the Glynde- bourne Festival as Bottom in A Midsummer Night’s Dream, for which he received the John Christie Award; he has since gone on to sing the role at La Scala, Covent Garden, Opéra National de Lyon, and Houston Grand Opera. Other recent highlights have included Sparafucile in Rigoletto at Covent Garden; Colline in La bohème at the Metro- politan Opera; Mozart’s Figaro at the Bayerische Staatsoper in Munich; Claggart in Billy Budd at English National Opera, and Leporello in Don Giovanni and Nick Shadow in The Rake’s Progress at the Glyndebourne Festival. In future seasons he will sing Leporello at Deutsche Oper Berlin and Henry VIII in Anna Bolena for Opéra de Bordeaux, and he will return to Covent Garden, the Glyndebourne Festival, and the Metropolitan Opera. He has appeared in concert at the Edinburgh Festival, the BBC Proms, and at the Mostly Mozart Festival in New York. Recent engagements have included the London Symphony Orchestra with Sir Colin Davis; the Los Angeles Philharmonic with Gustavo Dudamel; the Swedish Radio Orchestra with Daniel Harding; the BBC Symphony Orchestra with Sir Andrew Davis; the Dresden Staatskapelle with Charles Mackerras, and the Accademia Nazionale di Santa Cecilia with Antonio Pappano. His recital appearances have taken him to London’s Wigmore Hall, the Concertgebouw in Amsterdam, and the Brighton, Edinburgh, Chester, and Cheltenham International festivals. A Grammy Award-winning artist, he has recorded prolifically.

Tanglewood Festival Chorus John Oliver, Conductor

This season at Symphony Hall with the Boston Symphony Orchestra, the Tanglewood Festival Chorus sings in Gershwin’s Porgy and Bess with conductor Bramwell Tovey to open the sub- scription season, the operatic double bill of Stravinsky’s The Nightingale and Ravel’s L’Enfant et les sortilèges with Charles Dutoit in October, Verdi’s Requiem with Daniele Gatti in January, Haydn’s Mass in Time of War with Rafael Frühbeck de Burgos in February, and Mahler’s

60 Symphony No. 3 with Daniele Gatti in March. Founded in January 1970 when conductor John Oliver was named Director of Choral and Vocal Activities at the Tanglewood Music Center, the Tanglewood Festival Chorus made its debut on April 11 that year, in a performance of Beethoven’s Ninth Symphony with Leonard Bernstein conducting the BSO. Made up of mem- bers who donate their time and talent, and formed originally under the joint sponsorship of Boston University and the Boston Symphony Orchestra for performances during the Tangle- wood season, the chorus originally numbered 60 well-trained Boston-area singers, soon expanded to a complement of 120 singers, and also began playing a major role in the BSO’s subscription season, as well as in BSO performances at New York’s Carnegie Hall. Now num- bering some 300 members, the Tanglewood Festival Chorus performs year-round with the Boston Symphony Orchestra and Boston Pops. The chorus gave its first overseas performanc- es in December 1994, touring with Seiji Ozawa and the BSO to Hong Kong and Japan. It per- formed with the BSO in Europe under James Levine in 2007 and Bernard Haitink in 2001, also giving a cappella concerts of its own on both occasions. In August 2011, with John Oliver con- ducting and soloist Stephanie Blythe, the Tanglewood Festival Chorus gave the world premiere of Alan Smith’s An Unknown Sphere for mezzo-soprano and chorus, commissioned by the BSO to mark the TFC’s fortieth anniversary.

The chorus’s first recording with the BSO, Berlioz’s La Damnation de Faust with Seiji Ozawa, received a Grammy nomination for Best Choral Performance of 1975. In 1979 the ensemble received a Grammy nomination for its album of a cappella 20th-century American choral music recorded at the express invitation of Deutsche Grammophon, and its recording of Schoenberg’s Gurrelieder with Ozawa and the BSO was named Best Choral Recording by Gramophone maga- zine. The Tanglewood Festival Chorus has since made dozens of recordings with the BSO and Boston Pops, on Deutsche Grammophon, New World, Philips, Nonesuch, Telarc, Sony Classical, CBS Masterworks, RCA Victor Red Seal, and BSO Classics, with James Levine, Seiji Ozawa, Bernard Haitink, Sir Colin Davis, Leonard Bernstein, Keith Lockhart, and John Williams. Its most recent recordings on BSO Classics, all drawn from live performances, include a disc of a cappella music released to mark the ensemble’s 40th anniversary in 2010, and, with James Levine and the BSO, Ravel’s complete Daphnis and Chloé (a Grammy-winner for Best Orches- tral Performance of 2009), Brahms’s Ein deutsches Requiem, and William Bolcom’s Eighth Symphony for chorus and orchestra, a BSO 125th Anniversary Commission composed specifi- cally for the BSO and Tanglewood Festival Chorus.

Besides their work with the Boston Symphony, members of the Tanglewood Festival Chorus have performed Beethoven’s Ninth Symphony with Zubin Mehta and the Israel Philharmonic at Tanglewood and at the Mann Music Center in Philadelphia; participated in a Saito Kinen Festival production of Britten’s Peter Grimes under Seiji Ozawa in Japan, and sang Verdi’s Requiem with Charles Dutoit to help close a month-long International Choral Festival given in and around Toronto. In February 1998, singing from the General Assembly Hall of the United Nations, the chorus represented the United States in the Opening Ceremonies of the Winter Olympics when Seiji Ozawa led six choruses on five continents, all linked by satellite, in Beethoven’s Ode to Joy. The chorus performed its Jordan Hall debut program at the New England Conservatory of Music in May 2004; had the honor of singing at Sen. Edward Kennedy’s funeral; has performed with the Boston Pops for the Boston Red Sox and Boston Celtics, and can also be heard on the soundtracks to Clint Eastwood’s Mystic River, John Sayles’s Silver City, and Steven Spielberg’s Saving Private Ryan.

week 5 guest artists 61 TFC members regularly commute from the greater Boston area, western Massachusetts, Connecticut, Rhode Island, New Hampshire, Vermont, and Maine, and TFC alumni frequently return each summer from as far away as Florida and California to sing with the chorus at Tanglewood. Throughout its history, the Tanglewood Festival Chorus has established itself as a favorite of conductors, soloists, critics, and audiences alike.

John Oliver John Oliver founded the Tanglewood Festival Chorus in 1970 and has since prepared the TFC for more than 900 performances, including appearances with the Boston Symphony Orchestra at Symphony Hall, Tanglewood, Carnegie Hall, and on tour in Europe and the Far East, as well as with visiting orchestras and as a solo ensemble. He has had a major impact on musical life in Boston and beyond through his work with countless TFC members, former students from the Massachusetts Institute of Technology (where he taught for thirty-two years), and Fellows of the Tanglewood Music Center who now perform with distinguished musical institutions throughout the world. Mr. Oliver’s affiliation with the Boston Symphony began in 1964 when, at twenty-four, he prepared the Sacred Heart Boychoir of Roslindale for the BSO’s performances and recording of excerpts from Berg’s Wozzeck led by Erich Leinsdorf. In 1966 he prepared the choir for the BSO’s performances and recording of Mahler’s Symphony No. 3, also with Leinsdorf, soon after which Leinsdorf asked him to assist with the choral and vocal music program at the Tangle- wood Music Center. In 1970, Mr. Oliver was named Director of Vocal and Choral Activities at the Tanglewood Music Center and founded the Tanglewood Festival Chorus. He has since prepared the chorus in more than 200 works for chorus and orchestra, as well as dozens more a cappella pieces, and for more than forty commercial releases with James Levine, Seiji Ozawa, Bernard Haitink, Sir Colin Davis, Leonard Bernstein, Keith Lockhart, and John Williams. John Oliver made his Boston Symphony conducting debut in August 1985 at Tanglewood with Bach’s St. Matthew Passion and his BSO subscription series debut in December 1985 with Bach’s B minor Mass, later returning to the Tanglewood podium with music of Mozart in 1995 (to mark the TFC’s twenty-fifth anniversary), Beethoven’s Mass in C in 1998, and Bach’s motet Jesu, meine Freude in 2010 (to mark the TFC’s fortieth anniversary). In February 2012, replac- ing Kurt Masur, he led the BSO and Tanglewood Festival Chorus in subscription performances of Beethoven’s Missa Solemnis, subsequently repeating that work with the BSO and TFC for his Carnegie Hall debut that March.

In addition to his work with the Tanglewood Festival Chorus and Tanglewood Music Center, Mr. Oliver has held posts as conductor of the Framingham Choral Society, as a member of the faculty and director of the chorus at Boston University, and for many years on the faculty of MIT, where he was lecturer and then senior lecturer in music. While at MIT, he conducted the MIT Glee Club, Choral Society, Chamber Chorus, and Concert Choir. In 1977 he founded the John Oliver Chorale, which performed a wide-ranging repertoire encompassing masterpieces by Bach, Beethoven, Mozart, and Stravinsky, as well as seldom heard works by Carissimi, Bruckner, Ives, Martin, and Dallapiccola. With the Chorale he recorded two albums for Koch International: the first of works by Martin Amlin, Elliott Carter, William Thomas McKinley, and Bright Sheng, the second of works by Amlin, Carter, and Vincent Persichetti. He and the Chorale also recorded Charles Ives’s The Celestial Country and Charles Loeffler’s Psalm 137 for Northeastern Records, and Donald Martino’s Seven Pious Pieces for New World Records. Mr.

62 Oliver’s appearances as a guest conductor have included Mozart’s Requiem with the New Japan Philharmonic and Shinsei Chorus, and Mendelssohn’s Elijah and Vaughan Williams’s A Sea Symphony with the Berkshire Choral Institute. In May 1999 he prepared the chorus and children’s choir for André Previn’s performances of Benjamin Britten’s Spring Symphony with the NHK Symphony in Japan; in 2001-02 he conducted the Carnegie Hall Choral Workshop in preparation for Previn’s Carnegie performance of Brahms’s Ein deutsches Requiem. John Oliver made his Montreal Symphony Orchestra debut in December 2011 conducting performances of Handel’s Messiah. In October 2011 he received the Alfred Nash Patterson Lifetime Achieve- ment Award, presented by Choral Arts New England in recognition of his outstanding contri- butions to choral music.

Tanglewood Festival Chorus John Oliver, Conductor (Stravinsky The Nightingale and Ravel L’Enfant et les sortilèges, October 25, 26, and 27, 2012)

In the following list, § denotes membership of 40 years * denotes membership of 35-39 years, and # denotes membership of 25-34 years. sopranos

Carol Amaya • Emily Anderson • Aimée Birnbaum • Jeni Lynn Cameron • Anna S. Choi • Emilia DiCola • Eileen Huang • Polina Dimitrova Kehayova • Nancy Kurtz • Leslie A. Leedberg • Livia M. Racz • Melanie Salisbury # • Judy Stafford • Sarah Telford mezzo-sopranos Lauren A. Boice • Abbe Dalton Clark • Diane Droste • Dorrie Freedman* • Irene Gilbride # • Rachel K. Hallenbeck • Irina Kareva • Yoo-Kyung Kim • Annie Lee • Gale Tolman Livingston # • Ana Morel • Lelia Tenreyro-Viana tenors

John C. Barr # • Stephen Chrzan • Andrew Crain • Sean Dillon • Ron Efromson • Keith Erskine • Len Giambrone • Henry Lussier § • Dwight E. Porter* • David Roth • Joshuah Rotz • Leslie Tay basses

Nicholas Altenbernd • Scott Barton • Daniel E. Brooks # • Jim Gordon • Bruce Kozuma • Ryan M. Landry • Eryk P. Nielsen • Richard Oedel • Stephen H. Owades § • Michael Prichard # • Jayme Stayer • Bradley Turner # • Lawson L.S. Wong

William Cutter, Rehearsal Conductor Mark B. Rulison, Chorus Manager Bridget L. Sawyer-Revels, Assistant Chorus Manager Martin Amlin, Rehearsal Pianist Henry Lussier, Language Coach Sarah Telford, Language Coach Lidiya Yankovskaya, Language Coach

week 5 guest artists 63 The Great Benefactors

In the building of his new symphony for Boston, the BSO’s founder and first benefactor, Henry Lee Higginson, knew that ticket revenues could never fully cover the costs of running a great orchestra. From 1881 to 1918 Higginson covered the orchestra’s annual deficits with personal contributions that exceeded $1 million. The Boston Symphony Orchestra now honors each of the following generous donors whose cumulative giving to the BSO is $1 million or more with the designation of Great Benefactor. For more information, please contact Bart Reidy, Director of Development, at 617-638-9469 or [email protected].

ten million and above

Julian Cohen ‡ • Fidelity Investments • Linde Family Foundation • Maria and Ray Stata • Anonymous

seven and one half million

Mr. and Mrs. George D. Behrakis • John F. Cogan, Jr. and Mary L. Cornille

five million

Bank of America and Bank of America Charitable Foundation • Catherine and Paul Buttenwieser • EMC Corporation • Germeshausen Foundation • Ted and Debbie Kelly • NEC Corporation • Megan and Robert O’Block • UBS • Stephen and Dorothy Weber

two and one half million

Mary and J.P. Barger • Peter and Anne Brooke • Eleanor L. and Levin H. Campbell • Cynthia and Oliver Curme/The Lost & Foundation, Inc. • Mara E. Dole ‡ • Alan J. and Suzanne W. Dworsky • The Fairmont Copley Plaza Hotel and Fairmont Hotels & Resorts • Jane and Jack ‡ Fitzpatrick • Sally ‡ and Michael Gordon • Susan Morse Hilles ‡ • Stephen B. Kay and Lisbeth L. Tarlow/The Aquidneck Foundation • The Kresge Foundation • Liberty Mutual Foundation, Inc. • Cecile Higginson Murphy • National Endowment for the Arts • William and Lia Poorvu • Miriam and Sidney Stoneman ‡ • Elizabeth B. Storer ‡ • Samantha and John Williams • Anonymous (2)

64 one million

Helaine B. Allen • American Airlines • Lois and Harlan Anderson • Dorothy and David B. Arnold, Jr. • AT&T • Gabriella and Leo Beranek • William I. Bernell ‡ • Roberta and George Berry • BNY Mellon • The Boston Foundation • Lorraine D. and Alan S. Bressler • Jan Brett and Joseph Hearne • Gregory E. Bulger Foundation/ Gregory Bulger and Richard Dix • Chiles Foundation • Commonwealth Worldwide Chauffeured Transportation • Mr. ‡ and Mrs. William H. Congleton • William F. Connell ‡ and Family • Country Curtains • Diddy and John Cullinane • Edith L. and Lewis S. Dabney • Elisabeth K. and Stanton W. Davis ‡ • Mary Deland R. de Beaumont ‡ • William and Deborah Elfers • Elizabeth B. Ely ‡ Nancy S. ‡ and John P. Eustis II • Shirley and Richard Fennell • Anna E. Finnerty ‡ • The Ann and Gordon Getty Foundation • Marie L. Gillet ‡ • Sophia and Bernard Gordon • Mrs. Donald C. Heath ‡ • Francis Lee Higginson ‡ • Major Henry Lee Higginson ‡ • Edith C. Howie ‡ • Dorothy and Charlie Jenkins • John Hancock Financial Services • Muriel E. and Richard L. ‡ Kaye • Nancy D. and George H. ‡ Kidder • Farla and Harvey Chet ‡ Krentzman • Lizbeth and George Krupp • Barbara and Bill Leith ‡ • Nancy and Richard Lubin • Vera M. and John D. MacDonald ‡ • Nancy Lurie Marks Family Foundation • Carmine A. and Beth V. Martignetti • Commonwealth of Massachusetts • Massachusetts Cultural Council • The Andrew W. Mellon Foundation • Kate and Al Merck • Henrietta N. Meyer • Mr. and Mrs. ‡ Nathan R. Miller • Mr. and Mrs. Paul M. Montrone • Richard P. and Claire W. Morse Foundation • William Inglis Morse Trust • Mary S. Newman • Mrs. Mischa Nieland ‡ and Dr. Michael L. Nieland • Mr. ‡ and Mrs. Norio Ohga • P&G Gillette • John S. and Cynthia Reed • Carol and Joe Reich • Mary G. and Dwight P. Robinson, Jr. ‡ • Susan and Dan Rothenberg • Carole and Edward I. Rudman • Wilhemina C. (Hannaford) Sandwen ‡ • Hannah H. ‡ and Dr. Raymond Schneider • Carl Schoenhof Family • Kristin and Roger Servison • Ruth and Carl J. Shapiro • Miriam Shaw Fund • Richard and Susan Smith Family Foundation/Richard A. and Susan F. Smith • Sony Corporation of America • State Street Corporation • Thomas G. Stemberg • Dr. Nathan B. and Anne P. Talbot ‡ • Caroline and James Taylor • Diana O. Tottenham • The Wallace Foundation • Edwin S. Webster Foundation • Roberta and Stephen R. Weiner • The Helen F. Whitaker Fund • Helen and Josef Zimbler ‡ • Anonymous (10)

‡ Deceased

week 5 the great benefactors 65

Corporate, Foundation, and Government Contributors

The support provided by members of the corporate community, foundation grantors, and government agencies, enables the Boston Symphony Orchestra to maintain an unparalleled level of artistic excellence, to keep ticket prices at accessible levels, and to support extensive education and community engagement programs throughout the greater Boston area and the Commonwealth of Massachusetts. The BSO gratefully acknowledges the following contributors during the 2011-12 season for their generous support of the BSO Business Partners, corporate events, corporate sponsorships, foundations programs, and government grants.

$500,000 and above

Bank of America, Anne M. Finucane, Robert E. Gallery • Fidelity Investments • UBS

$250,000 - $499,999

EMC Corporation, William J. Teuber, Jr. • The Fairmont Copley Plaza Hotel and Fairmont Hotels & Resorts, Paul Tormey, Brian Richardson • Massachusetts Cultural Council

$100,000 - $249,999

American Airlines, Jim Carter, Gianni Tronza • Arbella Insurance Foundation, John F. Donohue • Chiles Foundation • Commonwealth Worldwide Chauffeured Transportation, Dawson Rutter • Dick and Ann Marie Connolly • Mugar Foundation • National Endowment for the Arts • Miriam Shaw Fund

$50,000 - $99,999

RBS Citizens Financial Group, Inc., Robert D. Matthews, Jr. • Fromm Music Foundation • The Ann and Gordon Getty Foundation • Harvard University Division of Continuing Education, Carol M. Stuckey • The Geoffrey C. Hughes Foundation • Intercontinental Real Estate Corporation, Peter Palandjian • MetLife Foundation • National Endowment for the Humanities • Putnam Investments, Robert L. Reynolds • Suffolk Construction Company and Suffolk Construction’s Red and Blue Foundation, John F. Fish

week 5 corporate, foundation, and government contributors 67

$25,000 - $49,999

The Aaron Copland Fund for Music • Accenture, William D. Green, Richard P. Clark • Associated Grant Makers of Massachusetts • Connell Limited Partnership, Frank Doyle • Elizabeth Taylor Fessenden Foundation • Fireman Capital Partners, Dan Fireman • Goodwin Procter LLP, Regina M. Pisa • Greater Media, Inc., Peter H. Smyth • Grew Family Charitable Foundation • John Hancock Financial Services, Craig Bromley • Kingsbury Road Charitable Foundation • Liberty Mutual Group and Liberty Mutual Foundation, Inc., Edmund F. Kelly • The Lowell Institute • Carolyn and Peter S. Lynch • The McGrath Family/Highland Street Foundation • Northeast Utilities, Thomas J. May • Mr. and Mrs. Stephen G. Pagliuca • The Parthenon Group, William F. Achtmeyer • Perspecta Trust, LLC, Paul M. Montrone • Red Sox Foundation, David Ginsberg, Meg Vaillancourt • Repsol Energy North America, Phillip Ribbeck • State Street Corporation, Joseph L. Hooley, John L. Klinck, Jr. • Sandra Urie and Frank Herron • Edwin S. Webster Foundation • Yawkey Foundation II

$15,000 - $24,999

Affiliated Managers Group, Inc., Sean M. Healey • Arthur J. Hurley Company, Inc., Arthur J. Hurley III • Anita and Joshua Bekenstein • Bingham McCutchen, LLP , Catherine Curtin • Blue Cross Blue Shield of Massachusetts, Andrew Dreyfus • Boston Private Bank & Trust Company, Mark D. Thompson • Boston Properties, Inc., Douglas T. Linde, Bryan Koop • The Britten-Pears Foundation • Eileen and Jack Connors, Jr. • Eaton Vance Corp., Thomas E. Faust, Jr. • Ernst von Siemens Music Foundation • Goldman, Sachs & Co., Stephen B. Kay • Herald Media, Inc., Patrick J. Purcell • J.P. Marvel Investment Advisors, Inc., Joseph F. Patton, Jr. • John Moriarty & Associates, Inc. • Loomis, Sayles & Company, L.P., Robert J. Blanding • Medical Information Technology, Inc., Howard Messing • Natixis Global Asset Management, John Hailer • New Balance Athletic Shoe, Inc., James S. Davis • New England Patriots Charitable Foundation, Jonathan A. Kraft • The Alice Ward Fund of The Rhode Island Foundation • Saracen Properties, Kurt W. Saraceno • William E. and Bertha E. Schrafft Charitable Trust • Sovereign | Santander, John P. Hamill, Edvaldo Morata • United Airlines • Verizon, Donna Cupelo • Waters Corporation, Douglas A. Berthiaume • Wayne J. Griffin Electric, Inc., Wayne J. Griffin • Wolf & Company, P.C., Margery L. Piercey, CPA • Anonymous

$10,000 - $14,999

Adage Capital Management, Robert G. Atchinson • Advent International Corporation, Peter A. Brooke • Albrecht Auto Group, George T. Albrecht • Analog Devices, Inc., Ray Stata • Baystate Financial Services, David C. Porter •

week 5 corporate, foundation, and government contributors 69 Bicon LLC, Vincent J. Morgan, D.M.D. • BNY Mellon, Lawrence Hughes, James P. Palermo • Boston Seed Capital, Nicole M. Stata • Dennis and Kimberly Burns • Cabot Corporation, Martin O’Neill • Charles River Laboratories, Inc., James C. Foster • Chubb Group of Insurance Companies, John Swords • Cisco Systems, Inc., Richard Wenning • Mrs. James F. Cleary • Consigli Construction Co., Inc., Anthony Consigli • Deluxe Corporation Foundation, Mary Ann Henson • Paul and Sandy Edgerley • Edwards Wildman • Ernst & Young LLP, Frank Mahoney • First Republic Bank, Beverly A. Buker • Flagship Ventures, Noubar Afeyan • Germeshausen Foundation • Gilbane Building Company, Ryan E. Hutchins • GRAMMY Foundation • Harvard Pilgrim Health Care, Eric H. Schultz • Hill Holliday, Michael Sheehan, Karen Kaplan • IBM, Maura O. Banta • Ironshore, Kevin H. Kelley • Kaufman & Company, LLC, Sumner Kaufman • KODA Enterprises Group, LLC, William S. Karol • Roger and Myrna Landay Charitable Foundation • June Rockwell Levy Foundation • LPL Financial Services, Mark S. Casady • Mintz, Levin, Cohn, Ferris, Glovsky and Popeo, P.C., R. Robert Popeo, Esq. • Navigator Management Company, Thomas M. O'Neill • New England Development, Stephen R. Karp • The New England Foundation, Joseph C. McNay • Nypro, Gordon B. Lankton • Public Consulting Group, William S. Mosakowski • Richards Barry Joyce & Partners, LLC, Robert B. Richards, Michael J. Joyce • Billy Rose Foundation • Saquish Foundation • Shawmut Design and Construction, Thomas E. Goemaat • Signature Printing & Consulting, Woburn, MA, Brian Maranian • SMMA, Ara Krafian • Spencer Stuart, Mike Anderson • Staples, Inc., Ronald L. Sargent • The Studley Press, Inc., Suzanne K. Salinetti • TA Associates Realty, Michael Ruane • Jean C. Tempel • Tetlow Realty Associates, Inc., Paul B. Gilbert • Trianz Consulting, Inc., Savio Rodrigues • Tsoi/Kobus & Associates, Richard L. Kobus • Tufts Health Plan, James Roosevelt, Jr. • United Liquors Ltd., Paul Canavan • Paul and Kelly Verrochi • Weiner Ventures, Adam J. Weiner • William Gallagher Associates, Philip J. Edmundson • Wingate Companies, Mark Schuster

$5,000 - $9,999

Affinity Solutions • AGAR Supply Co., Inc. • APS • Arnold Worldwide • The Arts Federation • Atlantic Trust • AVFX, Inc. • Bass, Doherty, & Finks, P.C. • Adelaide Breed Bayrd Foundation • The Beal Companies, LLC • Berkshire Bank • Blake & Blake Genealogists, Inc. • Braver PC • Hamilton Charitable Corporation • Cambridge Savings Bank • Cambridge Trust Company • Cleary Insurance, Inc. • Diddy and John Cullinane • Cumberland Farms Gulf Oil • Daley and Associates, LLC • Dana-Farber Cancer Institute • Davidson Kempner Capital Management LLC • Irene E. and George A. Davis Foundation • Demoulas Foundation • Alice Willard Dorr Foundation • The Drew Company, Inc. • Gaston Dufresne Foundation • Flagstar Bank, FSB • Gerondelis Foundation • Gibson Sotheby's International Realty • Global Partners LP • Gordon Brothers Group • Hays Companies • High Output, Inc. • Horne Family Charitable Foundation • Income Research & Management, Inc. •

70 Jack Madden Ford Sales, Inc. • Jofran Inc. • KPMG LLP • The Krentzman Family • Leader Bank, N.A. • Lee Kennedy Co., Inc. • Martignetti Companies • McKinsey & Company, Inc. • Meredith & Grew, Inc. • Lucia B. Morrill Charitable Foundation • Murphy & King Professional Corporation • New Boston Fund, Inc. • NGP Energy Capital Management, LLC • O'Neill and Associates, LLC • PwC • Risk Strategies Company • Rubin and Rudman, LLP • Thomas A. and Georgina T. Russo • State Street Development Management Corp. • Abbot and Dorothy H. Stevens Foundation • Edward A. Taft Trust • The TJX Companies, Inc. • Towers Watson • Ty-Wood Corporation • The George R. Wallace Foundation • Stetson Whitcher Fund • Wilmer Cutler Pickering Hale and Dorr LLP • Anonymous

$2,500 - $4,999

The Amphion Foundation • Biogen Idec Foundation • Boston Bruins • Brookline Youth Concerts Fund • Andrea and Erik Brooks • Cambridge Community Foundation • Carson Limited Partnership • Katherine Chapman and Thomas Stemberg • Clough Capital Partners, LP • Courier Corporation • CRA International • Katharine L. W. and Winthrop M. Crane, 3D Charitable Foundation • James W. Flett Co. Inc • Gaston Electrical Company, Inc. • Keith and Debbie Gelb • Jackson and Irene Golden 1989 Charitable Trust • Elizabeth Grant Trust • Elizabeth Grant Fund • Gryphon International Investment Corp. • The Hanover Insurance Group • Heritage Flag Company • Jay Cashman, Inc. • Longfellow Benefits • McGladrey • Daniela and Michael Muldowney • NorBella, Inc. • Nordblom Company • Oxford Fund • Abraham Perlman Foundation • Richard Purtell • Sametz Blackstone Associates • Kristin and Tobias Welo • Anonymous

week 5 corporate, foundation, and government contributors 71

Administration

Mark Volpe, Eunice and Julian Cohen Managing Director, endowed in perpetuity Anthony Fogg, Artistic Administrator Marion Gardner-Saxe, Director of Human Resources Ellen Highstein, Edward H. Linde Tanglewood Music Center Director, endowed by Alan S. Bressler and Edward I. Rudman Bernadette M. Horgan, Director of Public Relations Thomas D. May, Chief Financial Officer Kim Noltemy, Chief Marketing and Communications Officer Bart Reidy, Director of Development Ray F. Wellbaum, Orchestra Manager administrative staff/artistic

Bridget P. Carr, Senior Archivist • Felicia Burrey Elder, Executive Assistant to the Managing Director • Vincenzo Natale, Chauffeur/Valet • Claudia Robaina, Manager of Artists Services • Benjamin Schwartz, Assistant Artistic Administrator administrative staff/production Christopher W. Ruigomez, Director of Concert Operations

Jennifer Chen, Audition Coordinator/Assistant to the Orchestra Personnel Manager • H.R. Costa, Technical Director • Vicky Dominguez, Operations Manager • Jake Moerschel, Assistant Stage Manager • Julie Giattina Moerschel, Concert Operations Administrator • Leah Monder, Production Manager • John Morin, Stage Technician • Mark C. Rawson, Stage Technician • Mark B. Rulison, Chorus Manager boston pops Dennis Alves, Director of Artistic Planning

Gina Randall, Administrative/Operations Coordinator • Margo Saulnier, Assistant Director of Artistic Planning • Amanda Severin, Manager of Artistic Services/Assistant to the Pops Conductor business office

Sarah J. Harrington, Director of Planning and Budgeting • Mia Schultz, Director of Investment Operations and Compliance • Pam Wells, Controller

Sophia Bennett, Staff Accountant • Thomas Engeln, Budget Assistant • Michelle Green, Executive Assistant to the Business Management Team • Karen Guy, Accounts Payable Supervisor • Minnie Kwon, Payroll Associate • Evan Mehler, Budget Manager • John O’Callaghan, Payroll Supervisor • Nia Patterson, Accounts Payable Assistant • Harriet Prout, Accounting Manager • Mario Rossi, Staff Accountant • Teresa Wang, Staff Accountant • Audrey Wood, Senior Investment Accountant

week 5 administration 73 development

Joseph Chart, Director of Major Gifts • Susan Grosel, Director of Annual Funds and Donor Relations • Nina Jung, Director of Development Events and Volunteer Outreach • Ryan Losey, Director of Foundation and Government Relations • John C. MacRae, Director of Principal and Planned Gifts • Richard Subrizio, Director of Development Communications • Mary E. Thomson, Director of Corporate Initiatives • Jennifer Roosa Williams, Director of Development Research and Information Systems

Cara Allen, Assistant Manager of Development Communications • Leslie Antoniel, Assistant Director of Society Giving • Erin Asbury, Major Gifts Coordinator • Stephanie Baker, Campaign Manager • Dulce Maria de Borbon, Beranek Room Hostess • Cullen E. Bouvier, Donor Relations Officer • Maria Capello, Grant Writer • Diane Cataudella, Associate Director of Donor Relations • Catherine Cushing, Annual Funds Project Coordinator • Emily Diaz, Assistant Manager of Gift Processing • Laura Duerksen, Donor Ticketing Associate • Allison Cooley Goossens, Associate Director of Society Giving • David Grant, Assistant Director of Development Information Systems • Barbara Hanson, Major Gifts Officer • James Jackson, Assistant Director of Telephone Outreach • Jennifer Johnston, Graphic Designer • Sabrina Karpe, Manager of Direct Fundraising and Friends Membership • Anne McGuire, Assistant Manager of Donor Information and Acknowledgments • Jill Ng, Senior Major and Planned Giving Officer • Suzanne Page, Associate Director for Board Relations • Kathleen Pendleton, Development Events and Volunteer Services Coordinator • Emily Reeves, Assistant Manager of Planned Giving • Amanda Roosevelt, Executive Assistant • Laura Sancken, Assistant Manager of Development Events and Volunteer Services • Alexandria Sieja, Manager of Development Events and Volunteer Services • Yong-Hee Silver, Major Gifts Officer • Michael Silverman, Call Center Senior Team Leader • Thayer Surette, Corporate Giving Coordinator • Szeman Tse, Assistant Director of Development Research education and community engagement Jessica Schmidt, Helaine B. Allen Director of Education and Community Engagement

Claire Carr, Manager of Education Programs • Sarah Glenn, Assistant Manager of Education and Community Programs • Emilio Gonzalez, Manager of Curriculum Research and Development • Darlene White, Manager of Berkshire Education and Community Programs facilities C. Mark Cataudella, Director of Facilities symphony hall operations Peter J. Rossi, Symphony Hall Facilities Manager • Tyrone Tyrell, Security and Environmental Services Manager

Charles F. Cassell, Jr., Facilities Compliance and Training Coordinator • Judith Melly, Facilities Coordinator • Shawn Wilder, Mailroom Clerk maintenance services Jim Boudreau, Electrician • Thomas Davenport, Carpenter • Michael Frazier, Carpenter • Paul Giaimo, Electrician • Steven Harper, HVAC Technician • Sandra Lemerise, Painter environmental services Landel Milton, Lead Custodian • Rudolph Lewis, Assistant Lead Custodian • Desmond Boland, Custodian • Julien Buckmire, Custodian • Claudia Ramirez Calmo, Custodian • Errol Smart, Custodian • Gaho Boniface Wahi, Custodian tanglewood operations Robert Lahart, Tanglewood Facilities Manager

Bruce Peeples, Grounds Supervisor • Peter Socha, Buildings Supervisor • Fallyn Girard, Tanglewood Facilities Coordinator • Robert Casey, Painter • Stephen Curley, Crew • Richard Drumm, Mechanic • Maurice Garofoli, Electrician • Bruce Huber, Assistant Carpenter/Roofer human resources

Heather Mullin, Human Resources Manager • Susan Olson, Human Resources Recruiter • Kathleen Sambuco, Associate Director of Human Resources

week 5 administration 75 information technology Timothy James, Director of Information Technology

Andrew Cordero, Manager of User Support • Stella Easland, Switchboard Operator • Michael Finlan, Telephone Systems Manager • Karol Krajewski, Infrastructure Systems Manager • Snehal Sheth, Business Analyst • Brian Van Sickle, User Support Specialist • Richard Yung, Technology Specialist public relations

Samuel Brewer, Public Relations Assistant • Taryn Lott, Public Relations Manager publications Marc Mandel, Director of Program Publications

Robert Kirzinger, Assistant Director of Program Publications—Editorial • Eleanor Hayes McGourty, Assistant Director of Program Publications—Production and Advertising sales, subscription, and marketing

Amy Aldrich, Ticket Operations Manager • Helen N.H. Brady, Director of Group Sales • Alyson Bristol, Director of Corporate Partnerships • Sid Guidicianne, Front of House Manager • Roberta Kennedy, Buyer for Symphony Hall and Tanglewood • Sarah L. Manoog, Director of Marketing • Michael Miller, Director of Ticketing

Louisa Ansell, Marketing Coordinator • Elizabeth Battey, Subscriptions Representative • Gretchen Borzi, Associate Director of Marketing • Rich Bradway, Associate Director of E-Commerce and New Media • Lenore Camassar, Associate Manager, SymphonyCharge • Megan Cokely, Group Sales Coordinator • Susan Coombs, SymphonyCharge Coordinator • Jonathan Doyle, Junior Graphic Designer • Paul Ginocchio, Manager, Symphony Shop and Tanglewood Glass House • Randie Harmon, Senior Manager of Customer Service and Special Projects • Matthew P. Heck, Office and Social Media Manager • Michele Lubowsky, Subscriptions Manager • Jason Lyon, Group Sales Manager • Richard Mahoney, Director, Boston Business Partners • Ronnie McKinley, Ticket Exchange Coordinator • Maria McNeil, Subscriptions Representative • Jeffrey Meyer, Manager, Corporate Sponsorships • Michael Moore, Manager of Internet Marketing • Allegra Murray, Assistant Manager, Business Partners • Laurence E. Oberwager, Director of Tanglewood Business Partners • Doreen Reis, Advertising Manager • Laura Schneider, Web Content Editor • Robert Sistare, Subscriptions Representative • Richard Sizensky, SymphonyCharge Representative • Kevin Toler, Art Director • Himanshu Vakil, Web Application and Security Lead • Nicholas Vincent, Access Coordinator/SymphonyCharge Representative • Amanda Warren, Junior Graphic Designer • Stacy Whalen-Kelley, Senior Manager, Corporate Sponsor Relations box office David Chandler Winn, Manager • Megan E. Sullivan, Assistant Manager box office representatives Danielle Bouchard • Mary J. Broussard • Arthur Ryan event services Kyle Ronayne, Director of Event Administration • Sean Lewis, Manager of Venue Rentals and Events Administration • Luciano Silva, Events Administrative Assistant tanglewood music center

Andrew Leeson, Budget and Office Manager • Karen Leopardi, Associate Director for Faculty and Guest Artists • Michael Nock, Associate Director for Student Affairs • Gary Wallen, Associate Director for Production and Scheduling

week 5 administration 77

Boston Symphony Association of Volunteers executive committee Chair, Charles W. Jack Vice-Chair, Boston, Pattie Geier Vice-Chair, Tanglewood, Howard Arkans Secretary, Audley H. Fuller Co-Chairs, Boston Suzanne Baum • Mary C. Gregorio • Natalie Slater Co-Chairs, Tanglewood Judith Benjamin • Roberta Cohn • Martin Levine Liaisons, Tanglewood Ushers, Judy Slotnick • Glass Houses, Stanley Feld boston project leads and liaisons 2012-13

Café Flowers, Stephanie Henry and Kevin Montague • Chamber Music Series, Judy Albee and Sybil Williams • Computer and Office Support, Helen Adelman and Gerald Dreher • Flower Decorating, Linda Clarke • Instrument Playground, Beverly Pieper • Mailings, Rosemary Noren • Membership Table/Hall Greeters, Elle Driska • Newsletter, Judith Duffy • Recruitment/Retention/Reward, Gerald Dreher • Symphony Shop, Karen Brown • Tour Guides, Richard Dixon

week 5 administration 79 Next Program…

Thursday, November 1, 8pm Friday, November 2, 1:30pm Saturday, November 3, 8pm Tuesday, November 6, 8pm

juanjo mena conducting

saariaho “circle map” for orchestra and electronics (american premiere; bso co-commission) I. Morning Wind II. Walls closing III. Circles IV. Days are Sieves V. Dialogue VI. Day and Night, Music

britten concerto for violin and orchestra, opus 15 Moderato con moto Vivace— Passacaglia. Andante lento (un poco meno mosso) gil shaham

{intermission}

dvoˇrák symphony no. 7 in d minor, opus 70 Allegro maestoso Poco adagio Scherzo: Vivace Finale: Allegro

FRIDAY PREVIEW TALK (NOVEMBER 2) BY BSO ASSISTANT DIRECTOR OFPROGRAM PUBLICATIONSROBERTKIRZINGER

Next week, Spanish conductor Juanjo Mena, chief conductor of the BBC Philharmonic, leads the American premiere of the influential Finnish composer Kaija Saariaho’s Circle Map, for orchestra and electronics, a BSO co-commission. For the electronics part, Saariaho uses six poems by Rumi, spoken in Persian. Violinist Gil Shaham, a frequent guest with the orchestra, joins the BSO for Benjamin Britten’s rarely performed Violin Concerto, which has been programmed just twice before by the BSO, in November 1993 with concertmaster Malcolm Lowe and March 2004 with Frank Peter Zimmermann. The concert concludes with Dvoˇrák’s darkly majestic Symphony No. 7, which bespeaks both his love for his native Bohemia and the influence of his mentor, Johannes Brahms.

80 Coming Concerts… friday previews: The BSO offers half-hour Friday Preview talks prior to all of the BSO’s Friday-afternoon subscription concerts throughout the season. Free to all ticket holders, the Friday Previews take place from 12:15-12:45 p.m. in Symphony Hall.

Thursday ‘C’ November 1, 8-10:15 Thursday ‘D’ November 15, 8-10:10 Friday ‘B’ November 2, 1:30-3:45 Friday ‘B’ November 16, 1:30-3:40 Saturday ‘A’ November 3, 8-10:15 Saturday ‘A’ November 17, 8-10:10 Tuesday ‘C’ November 6, 8-10:15 THOMASADÈS, conductor JUANJOMENA, conductor DAWNUPSHAW, soprano GILSHAHAM, violin KIRILLGERSTEIN, piano SAARIAHO Circle Map, for orchestra and SIBELIUS Luonnotar, for soprano and electronics (American premiere; orchestra BSO co-commission) ADÈS In Seven Days, for piano and BRITTEN Violin Concerto orchestra DVORÁKˇ Symphony No. 7 PROKOFIEV Piano Concerto No. 1 SIBELIUS Symphony No. 6

Thursday ‘B’ November 8, 8-10:10 Friday ‘A’ November 9, 1:30-3:40 Sunday, November 18, 3pm Saturday ‘B’ November 10, 8-10:10 Jordan Hall, New England Conservatory GIANCARLOGUERRERO, conductor BOSTONSYMPHONYCHAMBERPLAYERS DANIILTRIFONOV, piano THOMASADÈS and KIRILLGERSTEIN, pianos SIERRA Fandangos for orchestra BEETHOVEN Grosse Fuge, arranged by the TCHAIKOVSKY Piano Concerto No. 1 composer for piano four-hands, PROKOFIEV Symphony No. 5 Op. 134 CARTER Figment III for double bass (2007) CARTER Wind Quintet (1948) BRAHMS Piano Quintet in F minor, Op. 34

Friday ‘A’ November 23, 8-10:10 Saturday ‘B’ November 24, 1:30-3:40 Tuesday ‘B’ November 27, 8-10:10 CHRISTIANZACHARIAS, conductor and piano

Programs and artists subject to change. HAYDN Symphony No. 76 MOZART Piano Concerto No. 18 in B-flat, K.456 BEETHOVEN Music from the ballet score The Creatures of Prometheus

Single tickets for all Boston Symphony Orchestra concerts throughout the season are available at the Symphony Hall box office, online at bso.org, or by calling SymphonyCharge at (617) 266-1200 or toll-free at (888) 266-1200, Monday through Friday from 10 a.m. to 6 p.m. (Saturday from 12 noon to 6 p.m.). Please note that there is a $6.25 handling fee for each ticket ordered by phone or online.

week 5 coming concerts 81 Symphony Hall Exit Plan

82 Symphony Hall Information

For Symphony Hall concert and ticket information, call (617) 266-1492. For Boston Symphony concert program information, call “C-O-N-C-E-R-T” (266-2378). The Boston Symphony Orchestra performs ten months a year, in Symphony Hall and at Tanglewood. For infor- mation about any of the orchestra’s activities, please call Symphony Hall, visit bso.org, or write to the Boston Symphony Orchestra, Symphony Hall, 301 Massachusetts Avenue, Boston, MA 02115. The BSO’s web site (bso.org) provides information on all of the orchestra’s activities at Symphony Hall and at Tanglewood, and is updated regularly. In addition, tickets for BSO concerts can be purchased online through a secure credit card transaction. The Eunice S. and Julian Cohen Wing, adjacent to Symphony Hall on Huntington Avenue, may be entered by the Symphony Hall West Entrance on Huntington Avenue. In the event of a building emergency, patrons will be notified by an announcement from the stage. Should the building need to be evacuated, please exit via the nearest door (see map on opposite page), or according to instructions. For Symphony Hall rental information, call (617) 638-9241, or write the Director of Event Administration, Symphony Hall, Boston, MA 02115. The Box Office is open from 10 a.m. until 6 p.m. Monday through Friday (12 noon until 6 p.m. on Saturday). On concert evenings it remains open through intermission for BSO events or a half-hour past starting time for other events. In addition, the box office opens Sunday at 12 noon when there is a concert that afternoon or evening. Single tickets for all Boston Symphony subscription concerts are available at the box office. For most outside events at Symphony Hall, tickets are available three weeks before the concert at the box office or through SymphonyCharge. To purchase BSO Tickets: American Express, MasterCard, Visa, Diners Club, Discover, a personal check, and cash are accepted at the box office. To charge tickets instantly on a major credit card, call “SymphonyCharge” at (617) 266-1200, from 10 a.m. until 6 p.m. Monday through Friday (12 noon to 6 p.m. on Saturday). Outside the 617 area code, phone 1-888-266-1200. As noted above, tickets can also be purchased online. There is a handling fee of $6.25 for each ticket ordered by phone or online. Group Sales: Groups may take advantage of advance ticket sales. For BSO concerts at Symphony Hall, groups of twenty-five or more may reserve tickets by telephone and take advantage of ticket discounts and flexible payment options. To place an order, or for more information, call Group Sales at (617) 638-9345 or (800) 933-4255, or e-mail [email protected]. For patrons with disabilities, elevator access to Symphony Hall is available at both the Massachusetts Avenue and Cohen Wing entrances. An access service center, large print programs, and accessible restrooms are avail- able inside the Cohen Wing. For more information, call the Access Services Administrator line at (617) 638-9431 or TDD/TTY (617) 638-9289. Those arriving late or returning to their seats will be seated by the patron service staff only during a convenient pause in the program. Those who need to leave before the end of the concert are asked to do so between pro- gram pieces in order not to disturb other patrons. In consideration of our patrons and artists, children age four or younger will not be admitted to Boston Symphony Orchestra concerts. Ticket Resale: If you are unable to attend a Boston Symphony concert for which you hold a subscription ticket, you may make your ticket available for resale by calling (617) 266-1492 during business hours, or (617) 638-9426

week 5 symphony hall information 83 up to one hour before the concert. This helps bring needed revenue to the orchestra and makes your seat available to someone who wants to attend the concert. A mailed receipt will acknowledge your tax-deductible contribution. Rush Seats: There are a limited number of Rush Seats available for Boston Symphony subscription concerts on Tuesday, Thursday, and Friday evenings, and on Friday afternoons. The low price of these seats is assured through the Morse Rush Seat Fund. Rush Tickets are sold at $9 each, one to a customer, at the Symphony Hall box office on Fridays as of 10 a.m. for afternoon concerts, and on Tuesdays, Thursdays, and Fridays as of 5 p.m. for evening concerts. Please note that there are no Rush Tickets available for Saturday evenings. Please note that smoking is not permitted anywhere in Symphony Hall. Camera and recording equipment may not be brought into Symphony Hall during concerts. Lost and found is located at the security desk at the stage door to Symphony Hall on St. Stephen Street. First aid facilities for both men and women are available. On-call physicians attending concerts should leave their names and seat locations at the Cohen Wing entrance on Huntington Avenue. Parking: The Prudential Center Garage and Copley Place Parking on Huntington Avenue offer discounted parking to any BSO patron with a ticket stub for evening performances. Limited street parking is available. As a special benefit, guaranteed pre-paid parking near Symphony Hall is available to subscribers who attend evening con- certs. For more information, call the Subscription Office at (617) 266-7575. Elevators are located outside the O’Block/Kay and Cabot-Cahners rooms on the Massachusetts Avenue side of Symphony Hall, and in the Cohen Wing. Ladies’ rooms are located on both main corridors of the orchestra level, as well as at both ends of the first bal- cony, audience-left, and in the Cohen Wing. Men’s rooms are located on the orchestra level, audience-right, outside the O’Block/Kay Room near the elevator; on the first-balcony level, also audience-right near the elevator, outside the Cabot-Cahners Room; and in the Cohen Wing. Coatrooms are located on the orchestra and first-balcony levels, audience-left, outside the O’Block/Kay and Cabot-Cahners rooms, and in the Cohen Wing. Please note that the BSO is not responsible for personal apparel or other property of patrons. Lounges and Bar Service: There are two lounges in Symphony Hall. The O’Block/Kay Room on the orchestra level and the Cabot-Cahners Room on the first-balcony level serve drinks starting one hour before each performance. For the Friday-afternoon concerts, both rooms open at noon, with sandwiches available until concert time. Drink coupons may be purchased in advance online or through SymphonyCharge for all performances. Boston Symphony Broadcasts: Saturday-evening concerts of the Boston Symphony Orchestra are broadcast live in the Boston area by 99.5 All-Classical. BSO Friends: The Friends are donors who contribute $75 or more to the Boston Symphony Orchestra Annual Funds. For information, please call the Friends of the BSO Office at (617) 638-9276 or e-mail [email protected]. If you are already a Friend and you have changed your address, please inform us by sending your new and old addresses to Friends of the BSO, Symphony Hall, Boston, MA 02115. Including your patron number will assure a quick and accurate change of address in our files. Business for BSO: The BSO Business Partners program makes it possible for businesses to participate in the life of the Boston Symphony Orchestra. Benefits include corporate recognition in the BSO program book, access to the Beranek Room reception lounge, two-for-one ticket pricing, and advance ticket ordering. For further information, please call the BSO Business Partners Office at (617) 638-9277 or e-mail [email protected]. The Symphony Shop is located in the Cohen Wing at the West Entrance on Huntington Avenue and is open Thursday and Saturday from 3 to 6 p.m., and for all Symphony Hall performances through intermission. The Symphony Shop features exclusive BSO merchandise, including calendars, coffee mugs, an expanded line of BSO apparel and recordings, and unique gift items. The Shop also carries children’s books and musical-motif gift items. A selection of Symphony Shop merchandise is also available online at bso.org and, during concert hours, outside the Cabot-Cahners Room. All proceeds benefit the Boston Symphony Orchestra. For further information and telephone orders, please call (617) 638-9383, or purchase online at bso.org.

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