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Home , Itzhak Perlman, John Corigliano, Juilliard School, Marin Alsop, Michael Jeffrey Shapiro

Saturday Evening, September 29, 2018, at 8:00 Auditorium / Ronald O. Perelman Stage

THE presents Juilliard , Conductor MEGHAN KASANDERS, Soprano NAOMI LOUISA O’CONNELL, Mezzo-soprano AMANDA LYNN BOTTOMS, Mezzo-soprano , Tenor AUBREY ALLICOCK, Baritone RYAN MCKINNY, Bass-baritone

LUCIANO BERIO From Bernstein Birthday Bouquet

LEONARD BERNSTEIN Songfest (1918 –90) I. To the Poem (Frank O’Hara) II. The Pennycandystore Beyond the El (Lawrence Ferlinghetti) III. A Julia de Burgos (Julia de Burgos) IV. To What You Said (Walt Whitman) V. I, Too, Sing America (Langston Hughes) Okay “Negroes” (June Jordan) VI. To My Dear and Loving Husband (Anne Bradstreet) VII. Storyette H. M. (Gertrude Stein) VIII. “if you can’t eat you got to” (e.e. cummings) IX. I Heard with You (Conrad Aiken) X. Zizi’s Lament (Gregory Corso) XI. Sonnet: “What Lips My Lips Have Kissed” (Edna St. Vincent Millay) XII. Israfel (Edgar Allan Poe)

Intermission

PLEASE SWITCH OFF YOUR CELL PHONES AND OTHER ELECTRONIC DEVICES. DMITRI No. 5 in D minor, Op. 47 SHOSTAKOVICH Moderato—Allegro non troppo (1906 –75) Allegretto Largo Allegro non troppo

Covers: KATERINA BURTON , Soprano MARIE ENGLE , Mezzo-soprano MYKA MURPHY , Mezzo-soprano JAMES LEY , Tenor GREGORY FELDMANN, Baritone WILLIAM SOCOLOF , Bass-baritone

Coaches: Musical Preparation: DIANE RICHARDSON Language Preparation: KATHRYN LABOUFF and ROBERT COWART Rehearsal : ADAM NIELSEN

Performance time: approximately two hours, including one intermission

This concert is made possible by the vision and generous funding of the International Foundation for Arts and Culture and its Chairman, Dr. .

The taking of photographs and the use of recording equipment are not permitted in this auditorium. Information regarding gifts to the school may be obtained from the Juilliard School Development Office, 60 Plaza, , NY 10023-6588; (212) 799-5000, ext. 278 (juilliard.edu/giving).

Juilliard’s Bernstein Centennial Celebration Continues with Bernstein’s Genius: The Maestro as Educator Sunday, September 30, 2018 3pm, Paul Hall

Join us tomorrow at Juilliard for a unique celebration of the life and legacy of . Co-hosted by Thomas Cabaniss and Brian Zeger, this event will feature excerpts from Bernstein’s celebrated television lectures along with per - formances by Juilliard students and a conversation with a distinguished panel that includes Jamie Bernstein, Peter Kazaras, and Stephen Wadsworth. Following the event, Bernstein will sign copies of her acclaimed new book Famous Father Girl: A Memoir of Growing Up Bernstein .

The event is free; tickets are required. For more information, visit Juilliard.edu/calendar. Notes ON THE PROGRAM by Thomas May

LUCIANO BERIO, JOHN CORIGLIANO, WILLIAM SCHUMAN, JOHN WILLIAMS From Bernstein Birthday Bouquet

When he turned 70 in 1988, Leonard Berio’s For Lenny (originally titled Bernstein enjoyed a foretaste of the LB.AM.LB.M.W.D.IS.LB ) adopts a tremendous outpouring of affection similarly eclectic approach, weaving that his memory would inspire on the together obvious allusions to the occasion of his centenary. The Boston canon into a fresh context. Indeed, Symphony Orchestra paid homage many of the contributors hit upon the with an impressive celebration lasting strategy of linking the distinctive pro - four days at Tanglewood, its home dur - file of the “New York, New York” ing Bernstein’s birthday month of melody to pieces with special signifi - August. Oliver Knussen, then director cance to Bernstein (including refer - of contemporary music at Tanglewood, ences to other examples of his own arranged for a suite of commissions work). John Corigliano, whose father from eight composers to be premiered had been concertmaster of the New by Seiji Ozawa and the BSO. The com - York Philharmonic under Bernstein, posers chosen were Luciano Berio, pays homage to the friendship with John Corigliano, John Williams, William (via Fanfare for the Schuman, Lukas Foss, , Common Man ) while also working in , and T ru Takemitsu, allusions to the Kander and Ebb hit ō each of whom had some tie to Bernstein “New York, New York” (hence the (and all but Takemitsu taught at or wittily titled For Lenny, with love— attended Juilliard). In the manner of and candor… ). In To Lenny! To projects like the Diabelli Variations , Lenny!, John Williams suggests a veri - each composer was asked to provide a table mini-narrative, making promi - brief set of variations on the same nent use of the irresistible rhythmic theme—in this case, on the tune to design of West Side Story ’s “America.” “New York, New York,” one of the hits from Bernstein’s first Bernstein had first met William Schuman musical, On the Town (1944). while still a Harvard undergraduate, and the elder composer (and former Juilliard alumna Marin Alsop, who Juilliard president) had hosted the made the first complete recording of national broadcast celebrating Lenny’s the Bernstein Birthday Bouquet suite, 60th birthday. His contribution, Let’s has chosen four of the contributions. Hear It for Lenny!, concluded Bernstein Bernstein had commissioned Luciano Birthday Bouquet with references to Berio to write his epochal Sinfonia West Side Story , , and the in 1968 to mark the New York Copland Fanfare. It would be Schuman’ s Philharmonic’s 125th anniversary . own orchestral farewell. LEONARD BERNSTEIN Songfest Born August 25, 1918, in Lawrence, Massachusetts; Died October 14, 1990, in

Bernstein’s close relationship with the in New England (Anne Bradstreet) to Kennedy Center—for whose inaugura - three poets who were still alive at the tion he wrote —reached another time (June Jordan, Gregory Corso, and high point when Lawrence Ferlinghetti). In later per - (“Slava”) began his tenure as the formances Bernstein developed a prac - National Symphony Orchestra’s music tice of having actors recite the poems as director. Slava’s opening concert, on a prelude to the song settings. October 11, 1977, was an all-Bernstein affair, including the world premiere of That spirit of diversity extends to Songfest , subtitled A Cycle of American Bernstein’s sumptuously detailed scor - Poems for Six Singers and Orchestra ing (using a rich palette of percussion), (for which Bernstein took the Russian’s which allows for myriad combinations place on the podium). Initially, the plan and chamber-like intimacy, as well as was to introduce Songfest during the his organization of the voices. The U.S. Bicentennial (as a commission score calls for six soloists, who sing by the ), but three sextets that form the cycle’s spine Bernstein’s focus on 1600 Pennsylvania (Nos. 1, 8, and 12); each vocalist is also Avenue , his musical about the White given the opportunity for a solo num - House and its occupants through histo - ber (Nos. 2, 3, 4, 9, 10, and 11), and ry, had intervened. Five of the songs Bernstein supplies further textural and were performed on different occasions dramatic variety with a blend of smaller preceding the premiere of the complete ensembles: two duets (Nos. 5 and 7) cycle (including one for President and a trio (No. 6). Carter’s inauguration). In its emotional and stylistic range, its 1600 had been a deeply disappointing moments evoking , blues, European fiasco, but it provided a source for late Romanticism, and other idioms— some of the dozen numbers that made all filtered through Bernstein’s recogniz - up Songfest . Bernstein recycled what able sensibility— Songfest foreshadows had been the opening chorus for the the evolution of the contemporary musical to set Walt Whitman’s “To What American concert and operatic scene that You Said,” a pathos-filled reflection on has played out over the decades since repressed Eros (No. 5, which, with mov - he first envisioned this ambitious work. ing simplicity, sets an incomplete poem An openness to juxtaposing widely and that had only recently been discovered). wildly varied styles—which had, in turn, been anticipated by Bernstein’s idol, The unifying idea behind this cycle of Mahler—is the default mode among 12 songs is its very diversity—the diver - many of today’s composers. And the sity that is America’s strength, as mir - importance of opening up Songfest’s rored by Bernstein’s liberal range of poetic perspective to the range of humanity voices and musical styles. The texts come that forms American identity resonates from 13 poets (two combined for No. 5), even more for those concerned with reaching as far back as the Colonial era the role of art in today’s world. DMITRI SHOSTAKOVICH Symphony No. 5 in D minor, Op. 47 Born September 25, 1906, in St. Petersburg, Russia; Died August 9, 1975, in Moscow, Russia

In 1942, when Bernstein’s mentor Serge fragile dialog of flute and horn in the Koussevitzky led the Boston Symphony coda. Shostakovich’s signature mor dant in the American concert premiere of sarcasm dominates the brief scherzo. It Shostakovich’s wartime “Leningrad” opens in the lower depths, with a num - Symphony at the newly established ber of echoes of the scherzo from Tanglewood Festival, Lenny took part Beethoven’s Fifth Symphony. The music by playing the bass drum part. But begins to resemble a mad waltz, on the there’s no more telling example of brink of sanity—a foretaste of what is Bernstein’s deep affinity for Dmitri to come in the finale. Shostakovich than the latter’s stamp of approval when the American conducted Expansive like the opening movement, his Fifth Symphony in the presence of the Largo turns inward and calls for a the composer during the New York reduced palette—Shostakovich omits the Philharmonic’s historic tour to the brass—yet contains some of the Fifth’s in 1959. The Russian most radiant and emotionally gripping made it known that he had been “very music, alternating the string with taken by the performance.” passages for woodwinds and harp. An especially powerful long-term effect is Shostakovich had himself risen to inter - the contrast between thin-atmosphere national attention as a brilliant young textures (such as the lone flute’s solo, genius, riding the crest of his operatic voiced as if from atop a mountain) and success with simultaneous productions the ensemble climax toward which the of Lady Macbeth of Mtsensk . But in movement relentlessly builds. 1936 he found himself accused overnight of catering to “decadent” bourgeois The finale is the Fifth Symphony’s puz - tastes, thus demeaning the calling of zle movement. On the surface it seems the true Soviet composer. Because of to confirm a long tradition (since this public disgrace, the stakes could Beethoven’s Fifth) of achieving the end not have been higher when Shostakovich of the journey from darkness to tri - unveiled his next major public work, umph. Indeed the first movement’s the Fifth Symphony. tragic minor mode and scope seem to yield to brassy assertions of D-major Completed within an astonishing three triumphalism, punctuated by chest- months, the Fifth revealed a more pounding timpani and bass drum—an deliberately “populist” direction, resort - ending basically mandated by the doc - ing to traditional classical forms. The trine of Socialist Realism. Given the spe - first movement spans a highly charged cific circumstances in which Shostakovich landscape, all the while economically composed the work, a tendency arose playing out variants of two basic ideas. to view this finale as “selling out”—for First is the opening call-and-response those inclined to take a superficial, lit - statement in the strings. Immediately eralist view, that is. following, the sing a plaintive and long-breathed melody. Shostakovich’s But all is not as it seems here. The use of his large orchestra points to his score’s proportions—with those long close study of Mahler—an idol for him first and third movements full of as well as Bernstein—as in the touchingly pain—do not seem to gravitate toward an “optimistic” ending. Commenting tempo that is not too fast nor too slow, on the issue in an interview during neither giddy nor funereal.” Shostakovich’s centenary year, Marin Alsop noted that the composer’s origi - The Communist Party hack who praised nal tempo marking for the very end of the Fifth Symphony with the notoriously the Fifth is “quite slow,” yet Bernstein smug phrase “a Soviet artist’s creative “doubled the tempo in his recording response to just criticism” (which with the .” Shostakovich was forced to accept as his For Alsop, “this is a defining moment subtitle) was at least right—with unknow - in the symphony, determined by the ing irony—about the “creative response” entirety of the last movement, and even part. The real victory, in the end, the journey of the entire piece. I hear belongs to Shostakovich and the artistic the last movement as a gradual acceler - identity he succeeded in preserving. ation of forces, an increasing sense of hysteria and loss of control until things Thomas May is the English-language break down and the fanfare (like the editor for the Lucerne Festival and writes theme) becomes almost nightmarish in about the arts for a wide variety of pub - sound … Shostakovich ends by offering lications. His books include Decoding an opening for hopefulness, for a certain Wagner and The Reader . nobility in survival. Therefore, I take a © 2018 Thomas May

Texts AND Translations Songfest LEONARD BERNSTEIN

I. To the Poem II. The Pennycandystore Beyond the El Let us do something grand The pennycandystore beyond the El is just this once Something where I first small and important and fell in love unAmerican Some fine thing with unreality Jellybeans glowed in the semi-gloom will resemble a human hand of that september afternoon and really be merely a thing A cat upon the counter moved among Not needing a military band the licorice sticks nor an elegant forthcoming and tootsie rolls to tease spotlights or a hand and Oh Boy Gum from the public's thinking Outside the leaves were falling as they died But be In a defiant land A wind had blown away the sun of its own a real right thing A girl ran in Frank O’Hara Her hair was rainy Her breasts were breathless in the little room From The Collected Poems of Frank O’Hara Outside the leaves were falling by Frank O’Hara, edited by Donald Allen. and they cried Copyright © 1971 by Maureen Granville-Smith, Too soon! Too soon! Administratrix of Estate of Frank O’Hara. Lawrence Ferlinghetti Reprinted by permission of Alfred A. Knopf, Inc. From A Coney Island of the Mind by Lawrence Ferlinghetti. Copyright © 1958 by Lawrence Ferlinghetti. By permission of New Directions What rises from my lines is not your Publishing Corporation. voice; it’s my voice. For you are but drapery; the essence is I, III. A Julia de Burgos And between those two the deepest chasm lies. Ya las gentes murmuran que yo soy tu enemiga You are the frosty doll of social deceit, porque dicen que en verso doy al and I, a virile flash of human truth. mundo tu yo. You are the syrup of genteel Mien ten, Julia de Burgos. Mien ten, hypocrisy; not me. Julia de Burgos. In every poem I strip my heart bare. La que se alza en mis versos no es tu voz: es mi voz; You are selfish, like your universe; no t porque tu eres ropaje y la escencia soy yo; me. I gamble it all to be exactly as I am. y el mas profundo abismo se tiende entre las dos. You are that oh so lofty lady of consequence; not me. Tu eres fria muneca de mentira social, I am the life, the power, the woman. y yo, viril destello de la humana verdad. You are the property of your spouse, Tu, miel de cortesanas hipocresias; yo no; your boss; not me. que en todos mis poemas desnudo el I'm no one’s, or everyone’s, for to every corazon. single one Through’iny clear senses, through my Tii eres como tu mundo, egolsta; yo no; thoughts I offer myself. que todo me lo juego a ser lo que soy yo. You curl your hair and paint your Tu eres solo la grave senora senorona; face; not me. yo no; I get the wind to curl me, the sun to yo soy la vida, la fuerza, la mujer. paint me. Tu eres de tu marido, de tu amo; yo no; yo de nadie, ode todos, porque a todos, Housebound lady, you are resigned, a todos, compliant, en mi limpio sentir y en mi pensar me doy. Bound to the bigotries of men; not me. For I am runaway Rosinante, unbridled, Tu te rizas el pelo y te pintas; yo no; Sniffing out the horizons of the justice of ami me riza el viento; a mime pinta el sol. God. Translated by Jamie Bernstein Tu eres dama casera, resignada, sumisa, atada a los prejuicios de los hombres; yo Courtesy of Consuelo Burgos Garcia on behalf no; que yo soy Rocinante corriendo of the Estate of Julia de Burgos. English trans - desbocado olfateando horizontes de lation © 1977 by Jamie Bernstein. justicia de Dios. Julia de Burgos IV. To What You Said To what you said, passionately clasping To Julia de Burgos my hand. this is my answer: The talk’s around that I wish you ill Because, they say, through verse I give Though you have strayed hither, for my the world your I. sake, you can never belong to me, nor I to you. They lie, Julia de Burgos. They lie, Julia de Burgos. Behold the customary loves and friendships - the cold guards, looking for milk I am that rough and simple person crying out loud in the nursery of freedomland: I am he who kisses his comrade lightly the rides are rough. on the lips Tell me where you got that image of at parting, and I am one who is a male white mammy. kissed in return. God is vague and he don ’t take no sides. You think clean fingernails crossed legs a I introduce that new American salute smile shined shoes Behold love choked, correct, polite, a crucifix around your neck always suspicious good manners no more noise Behold the received models of the you think who’s gonna give you something? parlors - What are they to me? Come a little closer. Where you from? What to these young men that travel June Jordan with me? Walt Whitman Copyright © 1967, 1971, 1977 by June Meyer Jordan. V. VI. To My Dear and Loving Husband I, Too, Sing America I, too, sing America. If ever two were one, then surely we. If ever man were lov’d by wife, then thee. I am the darker brother. If ever wife was happy in a man, They send me to eat in the kitchen Compare with me, ye women, if you can. When company comes, I prize thy love more than whole Mines But I laugh, of gold, Or all the riches that the East And eat well, doth hold. and grow strong. My love is such that Rivers cannot quench, Nor ought but love from thee give Tomorrow, recompence. I’ll sit at the table When Thy love is such I can no way repay; company comes. The heavens reward thee manifold I pray. Nobody’ll dare Then while we live, in love let’s so persever, Say to me, That when we live no more, we may live “Eat in the kitchen,” ever. Then. Anne Bradstreet

Besides, VII. Storyette H. M. They’ll see how beautiful I am And be ashamed - One was married to some one. That one was going away to have a good time. I, too, am America. The one that was married to that one Langston Hughes did not like it very well that the one to whom that one was married then was By permission of Harold Ober Associates, going off alone to have a good time and Inc. Copyright © 1926 by Alfred A. Knopf, was leaving that one to stay at home Inc. Renewed. then. The one that was going came in all glowing. The one that was going had Okay “Negroes” everything he was needing to have the Okay “Negroes” good time he was wanting to be having American Negroes then. He came in all glowing. The one he was leaving at home to take care of All that was once so beautiful is dead. the family living was not glowing. The Your hands once touched this table and one that was going was saying, the one this silver, that was glowing, the one that was And I have seen your fingers hold this glass. going was saying then, I am content, you These things do not remember you, are not content, I am content, you are beloved, – not content, I am content, you are And yet your touch upon them will not content, you are content, I am content. pass. For it was in my heart you moved Gertrude Stein among them, And blessed them with your hands and with your eyes; From Portraits and Prayers @ 1934 by And in my heart they will remember Random House. Renewed 1961 by Alice B. always, – Toklas. Renewed 1971, assigned by Daniel They knew you once, O beautiful and wise. Stein, Gabrielle Stein Tyler, Michael Stein. Conrad Aiken

VIII. “if you can’t eat you got to ” Copyright 1919, 1947 by Conrad Aiken. if you can’t eat you got to X. Zizi’s Lament and we aint got nothing to smoke: come on kid I am in love with the laughing sickness it would do me a lot of good if I had it – let’s go to sleep I have worn the splendid gowns of Sudan, if you can’t smoke you got to carried the magnificent halivas of Boudodin Bros., sing and we aint got kissed the singing Fatimas of the pimp of Aden, wrote glorious psalms in nothing to sing: come on kid Hakhaliba’s cafe, let’s go to sleep but I’ve never had the laughing sickness, so what good am I? if you can’t sing you got to die and we aint got The fat merchant offers me opium, kief, hashish, even nothing to die, come on kid camel juice, all is unsatisfactory – let’s go to sleep O bitter damned night! you again! must if you can’t die you got to I yet pluck out my unreal teeth undress my unlaughable self dream and we aint got put to sleep this melancholy head? nothing to dream (come on kid I am nothing without the laughing sick - ness. let’s go to sleep) e. e. cummings My father’s got it, my grandfather had it; surely my Uncle Fez will get it, but me, Text by E. E. Cummings by permission of me who it would do the most good, Harcourt Brace Jovanovich, Inc.; copyright 1940 by E. E. Cummings; copyright 1968 by will I ever get it? Marion Morehouse Cummings. Gregory Corso

IX. Music I Heard with You Copyright © 1958 by Gregory Corso. Used by permission of City Lights Books. Music I heard with you was more than XI. Sonnet: “ What Lips My Lips Have music, Kissed” And bread I broke with you was more than bread; What lips my lips have kissed, and Now that I am without you, all is desolate; where, and why, I have forgotten, and what arms have lain Is owing to that lyre Under my head till morning; but the rain By which he sits and sings – Is full of ghosts tonight, that tap and sigh The trembling living wire Upon the glass and listen for reply. Of those unusual strings. And in my heart there stirs a quiet pain For unremembered lads that not again But the skies that angel trod, Will turn to me at midnight with a cry. Where deep thoughts are a duty, Thus in the winter stands the lonely tree, Where Love’s a grown-up God, Nor knows what birds have vanished Where the Houri glances are one by Imbued with all the beauty one, Which we worship in a star. Yet knows its boughs more silent than before: I cannot say what loves have Therefore, thou art not wrong, come and gone, Israfeli, who despisest I only know that summer sang in me An unimpassioned song: A little while, that in me sings no more. To thee the laurels belong, Edna St. Vincent Millay Best bard, because the wisest! Merrily live, and long! From Collected Poems, Harper & Row. Copyright 1921, 1948 by Edna St. Vincent The ecstasies above Millay. With thy burning measures suit – Thy grief, thy joy, thy hate, thy love, XII. Israfel With the fervour of thy lute – Well may the stars be mute! In Heaven a spirit doth dwell ‘Whose heart-strings are a lute,’* Yes, Heaven is thine; but this None sing so wildly well Is a world of sweets and sours, As the angel Israfel, Our flowers are merely – flowers, And the giddy stars (so legends tell), And the shadow of thy perfect bliss Ceasing their hymns, attend the spell Is the sunshine of ours. Of his voice, all mute. If I could dwell Tottering above Where Israfel In her highest noon, Hath dwelt, and he where I, The ‘enamoured moon He might not sing so wildly well Blushes with love, A mortal melody, While, to listen, the red levin While a bolder note than his might swell (With the rapid Pleiads, even, From my lyre within the sky. Which are seven,) Edgar Allan Poe Pauses in Heaven. * From the Koran : “And the angel Israfel, And they say (the starry choir whose heart-strings are a lute, and who has And other listening things) the sweetest voice of all God’s creatures.” That Israfel’s fire THE Artists

MARIN ALSOP , Conductor G R

Marin Alsop (Pre-College, ’72; B.M. A N

’77, M.M. ’78, ), music director T

L of the Symphony Orchestra E I G since 2007, has had two extensions in H T O

her tenure, now confirmed until 2021. As N part of her artistic leadership in Baltimore, she has created several bold initiatives, including OrchKids for the city’s most deprived young people, and the BSO Academy and Rusty Musicians for adult amateur musicians. She became principal conductor and music director of the Symphony Orchestra in 2012, with her contract now extended to the end of 2019, when she becomes conductor of honor. In September 2019 member of the Royal Academy of she becomes chief conductor of the ORF Music and Royal Philharmonic Society, Radio Symphony Orchestra . She and was recently appointed director received the prestigious MacArthur of graduate at the Johns Fellowship in 2005, is an honorary Hopkins .

MEGHAN KASANDERS, Soprano J I Y

Meghan Kasanders is a second-year A N artist diploma in studies candi - G

C date at Juilliard, studying with Edith H E Wiens. Last season she sang Donna N Anna in the Act I finale of Mozart’s Don Giovanni in a live-streamed master class with maestro Yannick Nézet-Séguin of the Metro politan Opera. She also spent her summer debuting as Magda Sorel in Opera Saratoga’s production of The Consul . In February she will make her Hall debut, singing Sibelius’ Luonnatar under the direc - tion of Barbara Hannigan. She holds a master’s degree from Rice University, was recently a featured artist in Modern Singer magazine, has received awards Opera’s Mildred Miller International from the National Voice Competition, and has worked with Council Auditions and Pittsburgh Festival Opera Theatre of Saint Louis, Des Moines Metro Opera, Opera Saratoga, Union Risë Stevens Scholarship, Barbara Avenue Opera, and the Institute for Rogers Agosin Scholarship, Hardesty Young Dramatic Voices. and Beverley Peck Johnson Fund

NAOMI LOUISA O’CONNELL, Mezzo-soprano K

Y Terrence McNally’s play about Maria D

N Callas, Master Class . The singer, actress, A V

and cabaret artist’s most recent engage - R E

T ments include recitals at L

A and Stanford University, the one-woman W cabaret show The Cheater’s Almanac at New York’s Neue Galerie, and per - formances with Geneva Opera, Opera Omaha, and Spoleto Festival USA. Notable roles include Poppea with Oper Frankfurt, Cherubino with Welsh National Opera and Atlanta Opera, Mélisande with the Cincinnati Symphony, and Périchole with Garsington Opera. A Juilliard graduate and first-prize winner Naomi Louisa O’Connell made her of the 2011 Concert Artists Guild compe - professional debut in 2012, when she tition, she divides her time among recital starred on London’s West End in platforms and theater and opera stages.

AMANDA LYNN BOTTOMS, Mezzo-soprano Fredonia, where she studied with Laurie Tramuta, and a degree from Juilliard. Recent roles include at Chautauqua In - stitution, Baba ( The Medium ), Anita (West Side Story ), Olga ( Eugene Onegin ), Older Woman ( Flight ), Der Trommler ( Der Kaiser von Atlantis ), and Bianca ( The Rape of Lucretia ); numerous concert appearances at Juilliard; and Cenerentola, Ariodante, and Maddalena ( Rigoletto ) with the Hillman Opera and Chautauqua Insti - tution. She recently debuted with the Philadelphia Orchestra, Lansing Sym - Amanda Lynn Bottoms currently stud - phony Orchestra, Detroit Symphony, ies at the Curtis Institute of Music with and NHK Symphony Orchestra in Marlena Kleinman Malas as the proud Tokyo, and earned awards from the recipient of the Gene and Jean Stark Metropolitan Opera National Council’s Annual Fellowship. She received a Opera Index Vocal Competition and degree from SUNY Gerda Lissner Foundation. PAUL APPLEBY, Tenor J O

Paul Appleby’s dedication to perform - N A T

ing in the great concert halls of the H A world yields collaborations this season N

T I

with Manfred Honeck and the Pittsburgh C H

Symphony, Marin Alsop and the L E Chicago Symphony Orchestra, Thomas R Dausgaard and the BBC Scottish Sym - phony Orchestra, and John Butt and the Dunedin Consort at the Edinburgh International Festival. He presents solo recitals at Wigmore Hall and on Carnegie Hall’s Zankel Hall stage. Operatic performances feature promi - nently in the second half of the 2018 –19 season with the title role of Pelléas et Mélisande at the Metropolitan Opera Don Giovanni at the Metropolitan and Dutch National Opera, Girls of the Opera, and the title role of Candide at Golden West at Dutch National Opera, the Gran Teatre del Liceu.

AUBREY ALLICOCK, Baritone R E

Aubrey Allicock continues to make his B E C

mark among opera companies and C A

at home and abroad. Recent F A engagements include Figaro ( Le nozze Y di Figaro ) at Saltzburger Landestheater and Michigan Opera Theater; a Los Angeles Philharmonic debut with conducting; and John Henry ( We Shall Not Be Moved ) with Opera Philadelphia and Dutch National Opera. Past seasons include John Adams’ El Niño (Concertgebouw); General Groves ( Doctor Atomic ) with BBC Symphony Orchestra and Nonesuch recording; Young Emile (Champion ) with Washington National at Glyndebourne; and Young Emile Opera; and his Metropolitan Opera (Cham pion ) with New Orleans Opera debut as Mamoud ( The Death of and Opera de Montréal. He is a gradu - Klinghoffer ). Upcoming are Figaro ate of Juilliard (artist diploma in opera (Le nozze di Figaro ) with Opera studies) and Indiana University (master Theatre of Saint Louis; Argante ( Rinaldo ) of music). RYAN MCKINNY, Bass-baritone Y

L ’05, voice) makes two important role U A

P debuts: the title role in Don Giovanni at

N

O Houston Grand Opera and Wotan in M I

S Das Rheingold at Opéra de Montréal. He returns to the Dutch National Opera for the European premiere of John Adams’ Girls of the Golden West in a production by Peter Sellars, the same role in which he made his San Francisco Opera debut last season. He will also sing the title role in Der fliegende Holländer with Edo de Waart and the Milwaukee Symphony, and Mahler’s Symphony No. 8 with Gustavo Dudamel and the Los Angeles Philharmonic. He This season American bass-baritone Ryan returns to Bayreuth in 2019 to reprise McKinny (diploma ’04, graduate diploma Amfortas in Parsifal .

JUILLIARD ORCHESTRA Marin Alsop, Guest Conductor

Violin Yutong Zhang Double Bass Clarinet Agnes Tse, Wei Zhu Yi-Hsuan Annabel Wonchan Doh, Concertmaster Chiu, Principal Principal Valerie Kim, Nina Bernat Ning Zhang, Principal Second Emily Liu, Principal Szu Ting Chen Principal Zeynep Alpan Hannah Burnett Michael Gabriel Dan Giacobbe Shenae Anderson Kayla Cabrera Janice Gho Sydney Lusby Mark Chien Graham Cohen Vincent Luciano Ann Sangeun Cho Joshua Kail Fox Myers E-flat Clarinet Rinat Erlichman Esther Kim Reed Tucker Dan Giacobbe Tal First Natalie Loughran Isabella Geis Ji Eun Park Flute Bass Clarinet Qianru Elaine He Claire Satchwell Viola Chan, Sydney Lusby Alice Ivy-Pemberton Taylor Shea Principal Chisa Kodaka Lynn Sue-A-Quan JiHyuk Park, Alto Saxophone Abigél Králik Yin-Ying Tseng Principal Zoe Obadia Katherine Kyu Mei Stone, Principal Hyeon Lim Violoncello Bassoon Peter Lin Iona Batchelder, Piccolo Troy Baban, Principal MoLei Luo Principal Viola Chan Joey Lavarias, Jason Moon David Bender JiHyuk Park Principal Naoko Nakajima Mari Coetzee Soo Yeon Lee, Kenta Nomura Jessica Hong Principal Yaegy Park Ayoun Alexandra Kim Rachel Ahn, Principal Emma Richman Songhee Lee Mitchell Kuhn, Contrabassoon Sophia Steger Jonathan Lien Principal Joey Lavarias Lucas Stratmann Thapelo Masita Robert Nunes, Soo Yeon Lee Ziyao Sun Rachel Siu Principal Christine Wu Sebastian Stöger Mira Yamamoto Mosa Tsay English Horn Chener Cherry Yuan Yi Qun Xu Rachel Ahn Brenden Zak Robert Nunes Horn Brandon Bergeron, Timpani Omar El-Abidin Harry Chiu Principal Benjamin Cornavaca, Leo Simon Chin-pong, Madison Lusby, Principal Principal Principal Tyler Cunningham, Harp Kaitlyn Resler, Principal Madeline Olson, Principal Trombone Omar El-Abidin, Principal Cort Roberts, Ethan Shrier, Principal Clara Warford, Principal Principal Principal David Alexander James Tobias, Percussion Jasmine Lavariega Principal Joseph Bricker, Keyboard Principal Jiaying Ding Trumpet Bass Trombone Toby Grace, Christopher Staknys Wyeth Aleksei, Ehren L. Valmé Principal Chang Wang Principal Stella Perlic, Anthony Barrington, Tuba Principal Electric Bass Principal David Freeman Benjamin Cornavaca Michael Gabriel

ABOUT THE JUILLIARD ORCHESTRA Juilliard’s largest and most visible stu - this season including John Adams, dent performing ensemble, the Juilliard Joseph Colaneri, Sir Mark Elder, Orchestra, is known for delivering pol - Barbara Hannigan, Anne Manson, ished and passionate performances of Steven Osgood, and , as works spanning the repertoire. Com - well as faculty members , prising more than 350 students in the , Matthias Pintscher, and bachelor’s and master’s degree pro - David Robertson. The Juilliard Orchestra grams, the orchestra appears through - has toured across the U.S. and throughout out the season in concerts on the stages Europe, South America, and Asia, where of Juilliard’s Peter Jay Sharp Theater, it was the first Western conservatory , , ensemble allowed to visit and perform and Carnegie Hall. The orchestra is a following the opening of the People’s strong partner to Juilliard’s other divi - Republic of China in 1987, returning sions, appearing in opera and dance two decades later, in 2008. Other ensem - productions, as well as presenting an bles under the Juilliard Orchestra um - annual concert of world premieres by brella include the conductorless Juilliard Juilliard student composers. The Juilliard Chamber Orchestra, the Juilliard Wind Orchestra welcomes an impressive roster Orchestra, and the new-music groups of world-renowned guest conductors AXIOM and New Juilliard Ensemble.

Orchestra Administration Adam Meyer, Director, Music Division, and Deputy Dean of the College Joe Soucy, Assistant Dean for Orchestral Studies Joanna K. Trebelhorn, Lisa Dempsey Kane, Principal Adarsh Kumar, Orchestra Director of Orchestral and Orchestra Librarian Personnel Manager Ensemble Operations Michael McCoy, Orchestra Geoffrey Devereux, Matthew Wolford, Librarian Orchestra Management Operations Manager Daniel Pate, Percussion Apprentice Coordinator

BOARD OF TRUSTEES Ellen and James S. Marcus Institute for Vocal Arts Brian Zeger, Artistic Director Bruce Kovner, Chair Kirstin Ek, Director of Curriculum and Schedules J. Christopher Kojima, Vice Chair Monica Thakkar, Director of Performance Activities Katheryn C. Patterson, Vice Chair Julie Anne Choi Greg Margolies Library and Doctoral Fellows Program Kent A. Clark Vincent A. Mai Jane Gottlieb, Vice President for Library and Information Resources; Kenneth S. Davidson Ellen Marcus Director of the C.V. Starr Doctoral Fellows Program Barbara G. Fleischman Nancy A. Marks Jeni Dahmus-Farrar, Director, Archives Keith R. Gollust Stephanie Palmer McClelland Alan Klein, Director of Library Technical Services Mary Graham Christina McInerney Joan W. Harris Lester S. Morse Jr. Preparatory Education Matt Jacobson Stephen A. Novick Robert Ross, Assistant Dean for Preparatory Education Edward E. Johnson Jr. Susan W. Rose Karen M. Levy Deborah Simon Pre-College Division Teresa E. Lindsay Sarah Billinghurst Solomon Yoheved Kaplinsky, Artistic Director William E. "Wes" Stricker, MD Ekaterina Lawson, Director of Admissions and Academic Affairs Michael Loeb Anna Royzman, Director of Performance Activities

Music Advancement Program Anthony McGill, Artistic Advisor TRUSTEES EMERITI Teresa McKinney, Director of Community Engagement

June Noble Larkin, Chair Emerita Evening Division Mary Ellin Barrett Elizabeth McCormack Danielle La Senna, Director Sidney R. Knafel John J. Roberts Enrollment Management and Student Development Joseph W. Polisi, President Emeritus Joan D. Warren, Vice President Kathleen Tesar, Associate Dean for Enrollment Management Barrett Hipes, Associate Dean for Student Development Sabrina Tanbara, Assistant Dean of Student Affairs JUILLIARD COUNCIL Cory Owen, Assistant Dean for International Advisement and Diversity Mitchell Nelson, Chair Initiatives William Buse, Director of Counseling Services Michelle Demus Auerbach Terry Morgenthaler Katherine Gertson, Registrar Barbara Brandt Howard S. Paley Tina Gonzalez, Director of Financial Aid Brian J. Heidtke John G. Popp Camille Pajor, Title IX Coordinator Gordon D. Henderson Grace E. Richardson Todd Porter, Director of Residence Life Peter L. Kend Jeremy T. Smith Howard Rosenberg MD, Medical Director Younghee Kim-Wait Alexander I. Tachmes Beth Techow, Administrative Director of Health and Counseling Services Sophie Laffont Anita Volpe Holly Tedder, Director of Disability Services and Associate Registrar Jean-Hugues Monier Development Katie Murtha, Acting Director of Development EXECUTIVE OFFICERS Amanita Heird, Director of Special Events AND SENIOR ADMINISTRATION Lori Padua, Director of Planned Giving Ed Piniazek, Director of Development Operations Damian Woetzel, President Edward Sien, Director of Foundation and Corporate Relations Rebecca Vaccarelli, Director of Alumni Relations Office of the President Jacqueline Schmidt, Vice President and Chief of Staff Public Affairs Kathryn Kozlark, Special Projects Producer Alexandra Day, Vice President for Public Affairs Maggie Berndt, Communications Director Office of the Provost and Dean Benedict Campbell, Website Director Ara Guzelimian, Provost and Dean Jessica Epps, Marketing Director José García-León, Dean of Academic Affairs and Assessment Susan Jackson, Editorial Director Sam Larson, Design Director Dance Division Alicia Graf Mack, Director Office of the COO and Corporate Secretary Taryn Kaschock Russell, Associate Director Lesley Rosenthal, Chief Operating Officer and Corporate Secretary Katie Friis, Administrative Director Christine Todd, Vice President and CFO Joseph Mastrangelo, Vice President for Facilities Management Drama Division Kent McKay, Associate Vice President for Production Evan Yionoulis, Director Betsie Becker, Managing Director of K-12 Programs Richard Feldman, Associate Director Michael Kerstan, Controller Katherine Hood, Managing Director Irina Shteyn, Director of Financial Planning and Analysis Nicholas Mazzurco, Director of Student Accounts/Bursar Music Division Scott Adair Holden, Director of Office Services Adam Meyer, Director, Music Division, and Deputy Dean of the Nicholas Saunders, Director of Concert Operations College Tina Matin, Director of Merchandising Bärli Nugent, Assistant Dean, Director of Kevin Boutote, Director of Recording Joseph Soucy, Assistant Dean for Orchestral Studies Mario Igrec, Chief Technician Administration and Law Joanna K. Trebelhorn, Director of Orchestral and Ensemble Operations Maurice F. Edelson, Vice President for Administration and General Counsel Historical Performance Myung Kang-Huneke, Deputy General Counsel Robert Mealy, Director Carl Young, Chief Information Officer Benjamin D. Sosland, Administrative Director; Assistant Dean for Steve Doty, Chief Technology Officer the Kovner Fellowships Dmitriy Aminov, Director of IT Engineering Jeremy Pinquist, Director of Client Services, IT Jazz Caryn G. Doktor, Director of Human Resources , Director of Juilliard Jazz Adam Gagan, Director of Security Aaron Flagg, Chair and Associate Director Helen Taynton, Director of Apprentice Program Juilliard Annual Supporters

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

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

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

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

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

Barbara Rogers Agosin Anita L. Gatti* Joseph M. Liebling* Donald J. Aibel* Thelma and Seymour Geller, In honor of Peter Limon Veronica Maria Alcarese on behalf of Jane Geller Jerry K. Loeb Douglas S. Anderson Rabbi Mordecai Genn Ph.D. Richard Lopinto Mitchell Andrews* Mark V. Getlein* Eileen Lubars* Dee Ashington John R. Gillespie Chuck Manton Richard Beales Professor Robert Jay Glickman Cyril‡ and Cecelia Marcus Yvette and Maurice‡ Bendahan Dr. Ruth J.E. Glickman Serena B. Marlowe Donald A. Benedetti* Sheryl Gold Dolores Grau Marsden* Helen Benham* Jennifer L. Granucci Sondra Matesky Elizabeth Weil Bergmann* The Venerable John A. Greco Stephanie and Carter McClelland Marshall S. Berland and Drs. Norman*‡ and and The Stephanie and Carter John E. Johnson Gilda Greenberg McClelland Foundation Anne L. Bernstein Arlene‡ and Edmund Grossman Joseph P. McGinty Benton and Fredda Ecker Bernstein Miles Groth, Ph.D. Dr. and Mrs. N. Scott McNutt Leslie Goldman Berro* Emma Gruber Pauline and Donald B.‡ Meyer Susan Ollila Boyd Rosalind Guaraldo Stephen A. Meyers and Mrs. George E. Boyer Ruth Haase Marsha Hymowitz-Meyers Peter A. Boysen Robert S. Haggart Jr.* and Paula P. Michtom Nina R. Brilli Stephanie Haggart* Leo*‡ and Anne Perillo Michuda* Steven and Colleen Brooks Louise Tesson Hall Warren R. Mikulka Carol Diane Brown and Ralph Hamaker Stephen Mittman Daniel J. Ruffo Stephen and Andrea Handleman Robert A. Morgan Beryl E. Brownman Rev. Tozan Thomas Hardison* Valerie Wilson Morris* Lorraine Buch Ralph*‡ and Doris Harrel* Diane Morrison Eliane Bukantz Judith Harris and Tony Woolfson Mark S. Morrison Alan‡ and Mary Carmel Robert G. Hartmann L. Michael and Mr. and Mrs. N. Celentano Robert Havery* Dorothy Moskovis Wendy Fang Chen* S. Jay Hazan M.D. Gail Myers Julie A. Choi* and Claudio Cornali Betty Barsha Hedenberg Myron Howard Nadel* Dr. Barbara L. Comins* and Brian J. Heidtke Steven W. Naifeh and Mr. Michael J. Comins Gordon D. Henderson ‡ Charlotte Zimmerman Crystal* Mayme Wilkins Holt Anthony J. Newman Rosemarie Cufalo Julie Holtzman* Oscar and Gertrude Nimetz Fund Christopher Czaja Sager* Gerri Houlihan* Stephen Novick Harrison R.T. Davis Katherine L. Hufnagel Jane Owens Robert Lee Dean Joseph N. and Susan Isolano Mr.‡ and Mrs. Donald Parton Stephen and Connie Delehanty Paul Johnston and Umberto Ferma Celia Paul and Stephen Rosen Ronald J. Dovel and Thomas F. Lahr Janice Wheeler Jubin* and Jeanne M.* and John C. Drake-Jennings Herbert Jubin Raymond Gerard*‡ Pellerin Ryan* and Leila Edwards Peter H. Judd Jane V. Perr M.D. Lou Ellenport Michael Kahn Jean Pierkowski Audrey Ellinger George* and Julia Katz Elissa V. Plotnoff Pinson* Lloyd B. Erikson Younghee Kim-Wait Fred Plotkin Eric Ewazen* Robert King* Judy and Jim Pohlman Holly L. Falik Linda Kobler* and Geraldine Pollack Barbara and Jonathan File Dr. * Sidney J.‡ and Barbara S. Pollack Stuart M. Fischman J. D. Kotzenberg John G. Popp Dr.*‡ and Mrs. Richard B. Fisk Bruce Kovner Thomas and Charlene Preisel Judi Sorensen Flom Edith Kraft* Arthur Press* Ann Marie Smith Forde Mr. and Mrs. Paul A. Krell Bernice Price Lorraine Fox Dr. Yvonne Lamy Gena F. Raps* John and Candice Frawley Francine Landes* Karen J. Raven Dr. Mio Fredland Sung Sook Lee* Nancy L. Reim Chaim Freiberg* Paul Richards Lemma and Susan M. Reim* Naomi Freistadt Wilhelmina Marchese Lemma‡ Susan D. Reinhart Constance Gleason Furcolo Loretta Varon Lewis‡ and Madeline Rhew* Michael Stephen Gallo* Norman J. Lewis Michael Rigg William Gati* and Paul Gati*‡ Ning Liang* Douglas Riva* The Augustus Juilliard Society (Continued)

Lloyd*‡ and Laura Robb Robert D. Sholiton Alberto and Paulina A. Waksman Daniel P. Robinson Arthur T. Shorin Stanley Waldoff* Yvonne Robinson* Mel Silverman Jessica Weber Carlos Romero and Steven P. Singer M.D. and Catherine White* Joanne Gober Romero Alan Salzman M.D. Miriam S. Wiener Linda N. Rose* Barbara Thompson Slater Robert Wilder‡ and Roger F. Kipp Susan W. Rose Bruce B. Solnick Alice Speas Wilkinson* Roxanne Rosoman* Carl Solomon Sr. Yvonne Viani Williams Sam* and Deborah Rotman Evelyn Sun Solomon* Margaret S. Williamson Lynne Rutkin Gary Soren Clark* and Sally Ann* Wilson Joan St. James* Barbara H. Stark Dr. Theo George Wilson Riccardo Salmona Lynn Steuer Elizabeth R. Woodman Harvey Salzman Sally T. Stevens Edward Yanishefsky Michael and Diane Sanders James Streem* Lila York Nancy Schloss Henry and Jo Strouss Seventy-five Anonymous Members, Casiana R. Schmidt Cheryl V. Talib including 24 alumni Shelby Evans Schrader‡ and Phyllis K. Teich John Paul Schrader Thomas W. Thompson Irene Schultz Tom Todoroff* and Emily Moulton * = alumnus/alumna William C. Schwartz Marie Catherine Torrisi ‡ = deceased David Shapiro Dr. Marta Vago* Dr. Robert B. Sharon* Walter* and Elsa Verdehr Edmund Shay* and Paul Wagenhofer Raymond Harris‡ Dietrich and Alice Wagner

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

Estates and Trusts

The Juilliard School is profoundly grateful for the generous gifts received from the following Estates and Trusts between July 1, 2017 and August 27, 2018. We remember the individuals who made these gifts for their vision in supporting future generations of young performing artists at Juilliard.

The Jere E. Admire Charitable Trust Estate of Melvin Kartzmer Harold Alderman Trust Estate of Shirley Lewenthal Estate of Celia Ascher Estate of Joseph Machlis Estate of Ruth Bamdas Trust of Lillian B. Madway The Claire Lois Bechter Trust Estate of Thomas J. Mahler Trust of Sonia Block Estate of Walter P. Pettipas Betty and Daniel Bloomfield Fund Estate of Richard H. Roberts Estate of Joseph Brinton Estate of Lillian Rogers Estate of Alan Broder Howard and Ethel Ross Trust Estate of Ruth F. Broder Estate of Harold C. Schonberg Estate of George Bryant Bertha Seals Trust Estate of John Nicholson Bulica Estate of Betty Simms Estate of Annette Burford Arline J. Smith Trust Trust of John Dexter Bush Janice Dana Spear Trust Estate of Alfred DelMoral Estate of Winifred Sperry Estate of Alice Shaw Farber Estate of Bruce Steeg Fima Fidelman Trust The George M. Stone 2006 Trust Dora L. Foster Trust Esta and Victor Wolfram Trust Gordon A. Hardy Charitable Remainder Trust Trust of Helen Marshall Woodward William J. Henderson Memorial Fund Irene Worth Fund for Young Artists Frances B. Hoyland Trust Estate of Mildred Zucker Trust of Edward Jabes Darrell Zwerling Living Trust