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Friday and Saturday Evenings, August 21 –22, 2015, at 7:30 m Pre-concert lecture by Elaine Sisman on Friday, August 21 at 6 :15 a in the Stanley H. Kaplan Penthouse r

g Mostly Mozart Festival Orchestra o

r Louis Langrée , Conductor M|M P Sarah Tynan , Soprano Andrew Staples , Tenor M|M e Brindley Sherratt , Bass M|M

h Concert Chorale of New York

T James Bagwell , Director

HAYDN The Creation (1796 –98)

This program is approximately one hour and 50 minutes long and will be performed without intermission.

M|M Mostly Mozart debut

(Program continued)

Please make certain all your electronic devices are switched off.

These performances are made possible in part by the Josie Robertson Fund for Lincoln Center.

Fortepiano courtesy of Dongsok Shin Avery Fisher Hall 08-21 MMFO Creation_Gp 3.qxt 8/12/15 2:51 PM Page 2

Mostly Mozart Festival

The Mostly Mozart Festival is made possible by Sarah Billinghurst Solomon and Howard Solomon, Rita E. and Gustave M. Hauser, Chris and Bruce Crawford, The Fan Fox and Leslie R. Samuels Foundation, Inc., Charles E. Culpeper Foundation, S.H. and Helen R. Scheuer Family Foundation, and Friends of Mostly Mozart. Public support is provided by the New York State Council on the Arts. Artist Catering provided by Zabar’s and zabars.com MetLife is the National Sponsor of Lincoln Center United Airlines is a Supporter of Lincoln Center WABC-TV is a Supporter of Lincoln Center “Summer at Lincoln Center” is supported by Diet Pepsi Time Out New York is a Media Partner of Summer at Lincoln Center

Join the conversation: #LCMozart

We would like to remind you that the sound of coughing and rustling paper might distract the performers and your fellow audience members.

In consideration of the performing artists and members of the audience, those who must leave before the end of the performance are asked to do so between pieces. The taking of photographs and the use of recording equipment are not allowed in the building. 08-21 MMFO Creation_Gp 3.qxt 8/12/15 2:51 PM Page 3

Mostly Mozart Festival

HAYDN: The Creation (1796 –98) m PART I

a Introduction: The Representation of Chaos r Recitative with Chorus: In the beginning

g Aria: Now vanish before the holy beams Recitative: And God made the firmament o Chorus with Soprano Solo: The marv ’lous work beholds amaz ’d r Recitative: And God said: Let the waters

P Aria: Rolling in foaming billows Recitative: And God said: Let the earth bring forth grass

e Aria: With verdure clad the fields appear Recitative: And the heavenly host h Chorus: Awake the harp

T Recitative: And God said: Let there be lights Recitative: In splendor bright is rising now Chorus with Solos: The heavens are telling the glory of God

PART II Recitative: And God said: Let the waters bring forth Aria: On mighty pens uplifted soars Recitative: And God created great whales Recitative: And the angels struck their immortal harps Trio: Most beautiful appear Chorus with Solos: The Lord is great, and great his might Recitative: And God said: Let the earth bring forth Recitative: Strait opening her fertile womb Aria: Now heav ’n in fullest glory shone Recitative: And God created man Aria: In native worth and honor clad Recitative: And God saw ev ’rything Chorus: Achieved is the glorious work Trio: On thee each living soul awaits Chorus: Achieved is the glorious work

PART III Recitative: In rosy mantle appears Duet and Chorus: By thee with bliss, O bounteous Lord Recitative: Our duty we performed now Duet: Graceful consort! At thy side Recitative: O happy pair Chorus: Sing the Lord ye voices all! 08-21 MMFO Creation_Gp 3.qxt 8/12/15 2:51 PM Page 4

Mostly Mozart Festival

Welcome to Mostly Mozart

I am pleased to welcome you to the 49th Mostly Mozart Festival, our annual celebration of the innovative and inspiring spirit of our namesake composer. This summer, in addition to a stellar roster of guest conductors and soloists, we are joined by composer-in-residence George Benjamin, a leading contemporary voice whose celebrated opera Written on Skin receives its U.S. stage premiere. This landmark event is the first in a series of staged opera works to be presented in a new partnership with the New York Philharmonic.

Written on Skin continues our tradition of hearing Mozart afresh in the context of the great music of our time. Under the inspired baton of Renée and Robert Belfer Music Director Louis Langrée, the Mostly Mozart Festival Orchestra delights this year with the Classical repertoire that is its specialty, in addition to Beethoven’s joyous Seventh Symphony and Haydn’s triumphant Creation.

Guest appearances include maestro Cornelius Meister making his New York debut; Edward Gardner, who also leads the Academy of Ancient Music in a Mendelssohn program on period instruments; and Andrew Manze with violinist Joshua Bell in an evening of Bach, Mozart, and Schumann. Other preeminent soloists include Emanuel Ax, Matthias Goerne, and festival newcomers Sol Gabetta and Alina Ibragimova, who also perform intimate recitals in our expanded Little Night Music series. And don’t miss returning favorite Emerson String Quartet and artists-in-residence the International Contemporary Ensemble, as well as invigorating pre-concert recitals and lectures, a panel discussion, and a film on Haydn.

With so much to choose from, we invite you to make the most of this rich and splendid season. I look forward to seeing you often.

Jane Moss Ehrenkranz Artistic Director 08-21 MMFO Creation_Gp 3.qxt 8/12/15 2:51 PM Page 5

Mostly Mozart Festival

By Peter A. Hoyt t

o Whereas the Book of Genesis portrays the creative acts of a solitary

h deity, Haydn’s musical reworking of the account adds three

s archangels (performed by vocal soloists, who provide narration and poetic reflections), a host of jubilant angels (represented by the chorus), p and—very briefly—some non-singing demons. Haydn’s inventive use a of the orchestra introduces additional characterizations that typically

n appear before being explained in words. These musical depictions include portrayals of the boisterous sea, various types of weather, S and a wide range of animals. Particularly striking is Haydn’s ability to delineate such seemingly intangible concepts as the primordia l chaos that precedes God’s intervention, the first beams of light, and the wonder of the first mortals encountering a newly created world.

Cast in three asymmetrical parts, The Creation begins with the four days spent fashioning the heavens, the earth, and the plants. The second section depicts the fifth and sixth days, in which sentient life appears—here are animals capable of feeling and, with the appearance of man, reason. The conclusion models a fitting use of that reason as Adam and Eve survey Creation and join the angels in praising its Creator.

—Copyright © 2015 by Lincoln Center for the Performing Arts, Inc. 08-21 MMFO Creation_Gp 3.qxt 8/12/15 2:51 PM Page 6

Mostly Mozart Festival I Note on the Program

By Peter A. Hoyt m The Creation , Hob. XXI:2 (1796 –98)

a JOSEPH HAYDN r Born March 31, 1732, in Rohrau, Austria

g Died May 31, 1809, in Vienna o

r Approximate length:One hour and 50 minutes P

In 1795, during Haydn’s second visit to England, the composer was given a libretto based on the biblical account of Creation. The manuscript apparently e did not identify its author, but Haydn believed that it had been prepared for h (but not used by) George Frideric Handel, who had been writing oratorios t

in London and Dublin in the 1730s and 1740s. The libretto was therefore approximately 50 years old, and it incorporated passages from English n publications that were older still, including John Milton’s Paradise Lost of o 1667, psalms from several 17th-century British sources, and the King

James Bible of 1611. The language is at times archaic, as when it says e that the praise of the Lord “shall last for aye.” t

o Despite the age of its text and sources, Haydn’s finished composition has often been associated with the 18th century’s most progressive philosophica l N ideals. Historians have cited The Creation as representing the Enlightenment, an intellectual movement that emphasized empirical observation and reason over revelation and tradition as the basis for knowledge, spirituality, and politics. Enlightenment philosophers did not necessarily reject religion, but they questioned its irrational aspects, as when in 1784 Immanuel Kant criticized the church’s traditional “dogmas and formulas.” Similarly, in 1776 Thomas Jefferson attacked the class distinctions that empowered Europe’s aristocracies by asserting that “all men are created equal.”

The influence of the Enlightenment on The Creation has been attributed, in part, to Haydn’s collaborator in Vienna, Baron Gottfried van Swieten, who amended the English libretto. He also prepared a German translation that, by preserving the prosody of the original, allowed Haydn to create vocal lines that suited both languages. This aristocratic musical amateur had served Austria’s “enlightened despot,” Joseph II, during the latter’s unsuccessful attempts to reform his sprawling domain. It has seemed plausible that in preparing the libretto, van Swieten still adhered to Josephinian principles.

It is, however, Haydn’s opening musical sequence that makes The Creation seem an Enlightenment statement. The work begins with an orchestral illustration of an inchoate cosmos and progresses to the triumphant first appearance of light. Haydn’s depiction of the luminous dispellin g the dark has been compared to reason overthrowing ignorance and superstition. 08-21 MMFO Creation_Gp 3.qxt 8/12/15 2:51 PM Page 7

Mostly Mozart Festival I Note on the Program

The opening gesture of the piece has thus been seen as a tribute to the Enlightenment itself.

The portrayal of humanity in The Creation has also been considered consistent with Enlightenment thought. Whereas much theology regards individuals as inherently sinful, easily misled by their senses, and woefully limited in their intellectual capacities, The Creation celebrates man as “that wond’rous being” who is “the Lord and King of nature all.” Adam and Eve are not depicted as fallen creatures; the serpent, the forbidden fruit, and the expulsion from Eden are all omitted. Instead, the three-part structure of the oratorio is decidedly anthropocentric, culminating with the happy pair surveying God’s handiwork and inferring the majesty of their Creator. Although Haydn’s musical renderings of the first sunrise, the cooing dove, the roaring lion, and other acts of Creation offer some of the most memorable moments of the composition, it is only with the advent of humanity that God’s “glorious work” is complete.

Despite all this, however, there are powerful reasons to doubt whether The Creation was intended to advocate Enlightenment thought. In 1797, when Haydn began composing the oratorio, Enlightenment philosophers were being accused of instigating the chaos then engulfing Europe. France, the intellectual center of the new philosophy, had since 1789 overthrown and executed their monarchs, supplanted Christianity with a “Cult of Reason,” launched the Reign of Terror, and—led by a young Napoleon—conquered much of Italy. Europe blamed this turmoil on intellectuals whose critiques had weakened the religious and political foundations of the ancien régime.

This new opposition to Enlightenment thought outside France may prove that Haydn’s oratorio was actually intended as anti-revolutionary propaganda. This interpretation is supported both by the circumstances of its premiere in 1798, which was financed by a society of Viennese nobility, and by the subscribers to the first edition of the score, which included the crowned heads of the major European powers, including England, Russia, and the Holy Roman Empire. There were few subscriptions from among the French, however, and in 1800 some royalist conspirators attempted to assassinate Napoleon as he drove to the Paris premiere of the work. It is as if The Creation signaled resistance to the new political order.

If The Creation was conceived as part of the so-called “Counter- Enlightenment,” it would need to engage and refute the imagery employed by the philosophers. Accordingly, the libretto associates the creation of light not with knowledge or reason, but rather with the power to subdue disorder. Order thus hinges on the divine presence, and one may infer that atheism inevitably leads to chaos. Moreover, the libretto repeatedly suggests that the dignity of the human condition hinges upon the ability to survey God’s handiwork and “with devoted heart his bounty celebrate.” The anthropocentric conclusion of the oratorio is therefore not a tribute to reason itself, but a modeling of reason’s proper use. 08-21 MMFO Creation_Gp 3.qxt 8/12/15 2:51 PM Page 8

Mostly Mozart Festival I Note on the Program

What is perhaps the clearest refutation of Enlightenment thought comes at the close of the work, when a soloist explains to Adam and Eve, who both represent humanity, that their happiness requires they not “strive at more as granted is, and more to know as know ye should.” The Enlightenment rec - ognized no limits on knowledge, and the injunction runs directly counter to Kant’s motto for the Enlightenment’s aspirations: “Sapere aude! Have the courage to use your own understanding .” Such daring, it seems, was not to be encouraged when the European aristocracy was in danger.

A society confronting its own dissolution may feel compelled to re-examine the stories of its origins; Milton himself wrote Paradise Lost after the collapse of the Puritan government he had fervently supported. Haydn’s inspired response to a decades-old libretto may have stemmed, in part, from a belief that his society was threatened—and needed a powerful corrective.

Peter A. Hoyt, a former president of the Mozart Society of America, has had research on Haydn and Mozart appear in the New Grove Dictionary of Music and Musicians, the Cambridge University Press, and the New York Times. A curator at the Columbia Museum of Art, he also teaches at the University of South Carolina.

—Copyright © 2015 by Lincoln Center for the Performing Arts, Inc. 08-21 MMFO Creation_Gp 3.qxt 8/12/15 2:51 PM Page 9

Mostly Mozart Festival I Libretto

The Creation Text : Gottfried van Swieten

PART I

Introduction: The Representation of Chaos

Recitative with Chorus Raphael: In the beginning God created the heav’n and the earth; and the earth was without form, and void; and darkness was upon the face of the deep.

Chorus: And the Spirit of God moved on the face of the waters; and God said: Let there be Light, and there was Light.

Uriel: And God saw the Light, that it was good: and God divided the Light from the darkness.

Aria Uriel: Now vanish before the holy beams the gloomy dismal shades of dark; the first of days appears. Disorder yields to order fair the place. Affrighted fled hell’s spirits black in throngs; down they sink in the deep of abyss to endless night.

Chorus: Despairing, cursing rage attends their rapid fall. A new created world springs up at God’s command.

Recitative Raphael: And God made the firmament, and divided the waters, which were under the firmament, from the waters, which were above the firmament: and it was so. Outrageous storms now dreadful arose; as chaff by the winds impelled are the clouds. By heaven’s fire the sky is enflamed, and awful rolled the thunders on high. Now from the floods in steams ascend (Please turn the page quietly.) 08-21 MMFO Creation_Gp 3.qxt 8/12/15 2:51 PM Page 10

Mostly Mozart Festival I Libretto

reviving showers of rain, the dreary wasteful hail, the light and flaky snow.

Chorus with Soprano Solo Gabriel and Choir: The marv’lous work beholds amaz’d the glorious hierarchy of heav’n, and to th’ethereal vaults resound the praise of God, and of the second day.

Recitative Raphael: And God said: Let the waters under the heaven be gathered together unto one place, and let the dry land appear; and it was so. And God called the dry land: Earth, and the gathering of waters called he Seas; and God saw that it was good.

Aria Raphael: Rolling in foaming billows uplifted roars the boist’rous sea. Mountains and rocks now emerge, their tops into the clouds ascend. Thro’ th’open plains outstretching wide in serpent error rivers flow. Softly purling glides on thro’ silent vales the limpid brook.

Recitative Gabriel: And God said: Let the earth bring forth grass, the herb yielding seed, and the fruit tree yielding fruit after his kind, whose seed is in itself upon the earth; and it was so.

Aria Gabriel: With verdure clad the fields appear delightful to the ravish’d sense; by flowers sweet and gay enhanced is the charming sight. Here vent their fumes the fragrant herbs, here shoots the healing plant. By load of fruits th’expanded boughs are press’d; to shady vaults are bent the tufty groves; the mountain’s brow is crown’d with closed wood.

Recitative Uriel: And the heavenly host proclaimed the third day, praising God and saying: 08-21 MMFO Creation_Gp 3.qxt 8/12/15 2:51 PM Page 11

Mostly Mozart Festival I Libretto

Chorus Chorus: Awake the harp, the lyre awake! In shout and joy your voices raise! In triumph sing the mighty Lord! For he the heavens and earth has clothed in stately dress.

Recitative Uriel: And God said: Let there be lights in the firmament of heaven to divide the day from the night, and to give light upon the earth; and let them be for signs and for seasons, and for days, and for years. He made the stars also.

Recitative Uriel: In splendor bright is rising now the sun and darts his rays; an am’rous joyful happy spouse, a giant proud and glad to run his measur’d course. With softer beams and milder light steps on the silver moon thro’ silent night. The space immense of th’azure sky innum’rous host of radiant orbs adorns, and the sons of God announced the fourth day in song divine, proclaiming thus his power:

Chorus with Solos Chorus: The heavens are telling the glory of God. The wonder of his works displays the firmament.

Gabriel, Uriel, Raphael: To day that is coming speaks it the day; the night, that is gone, to following night.

Chorus: The heavens are telling…

Gabriel, Uriel, Raphael: In all the lands resounds the word, never unperceived, ever understood.

Chorus: The heavens are telling… (Please turn the page quietly.) 08-21 MMFO Creation_Gp 3.qxt 8/12/15 2:51 PM Page 12

Mostly Mozart Festival I Libretto

PART II

Recitative Gabriel: And God said: Let the waters bring forth abundantly the moving creature that hath life, and fowl that may fly above the earth in the open firmament of heaven.

Aria Gabriel: On mighty pens uplifted soars the eagle aloft, and cleaves the sky in swiftest flight to the blazing sun. His welcome bids to morn the merry lark, and cooing calls the tender dove his mate. From ev’ry bush and grove resound the nightingale’s delightful notes. No grief affected yet her breast, nor to a mournful tale were tun’d her soft enchanting lays.

Recitative Raphael: And God created great whales, and ev’ry living creature that moveth, and God blessed them, saying, Be fruitful all, and multiply, ye winged tribes, be multiply’d, and sing on ev’ry tree. Multiply, ye finny tribes, and fill each wat’ry deep. Be fruitful, grow and multiply! And in your God and Lord rejoice!

Recitative Raphael: And the angels struck their immortal harps, and the wonders of the fifth day sung.

Trio Gabriel: Most beautiful appear, with verdure young adorn’d the gently sloping hills. Their narrow sinuous veins distill in crystal drops, the fountain fresh and bright.

Uriel: In lofty circles plays, and hovers thro’ the sky, the cheerful host of birds. And in the flying whirl the glitt’ring plumes are dy’d, as rainbows by the sun. 08-21 MMFO Creation_Gp 3.qxt 8/12/15 2:51 PM Page 13

Mostly Mozart Festival I Libretto

Raphael: See flashing thro’ the wet in thronged swarms the fry on thousand ways around. Upheaved from the deep th’immense Leviathan sports on the foaming wave.

Gabriel, Uriel, Raphael: How many are thy works, O God! Who may their number tell? Who? O God!

Chorus with Solos Gabriel, Uriel, Raphael, and Chorus: The Lord is great, and great his might, his glory lasts for ever, and for evermore.

Recitative Raphael: And God said: Let the earth bring forth the living creature after his kind, cattle, and creeping thing, and beasts of the earth after their kind.

Recitative Raphael: Strait opening her fertile womb, the earth obey’d the word, and teem’d creatures numberless, in perfect forms and fully grown. Cheerful roaring stands the tawny lion. With sudden leap the flexible tiger appears. The nimble stag bears up his branching head. With flying mane and fiery look, impatient neighs the sprightly steed. The cattle in herds already seeks his food on fields and meadows green. And o’er the ground, as plants, are spread the fleecy, meek and bleating flock. Unnumber’d as the sands in whirl arose the host of insects. In long dimensions creeps with sinuous trace the worm.

Aria Raphael: Now heav’n in fullest glory shone; earth smiles in all her rich attire. The room of air with fowl is fill’d, the water swell’d by shoals of fish; by heavy beasts the ground is trod. But all the work was not complete. There wanted yet that wond’rous being, that grateful should God’s pow’r admire, with heart and voice his goodness praise.

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Mostly Mozart Festival I Libretto

Recitative Uriel: And God created man in his own image. In the image of God created he him. Male and female created he them. He breathed in to his nostrils the breath of life, and man became a living soul.

Aria Uriel: In native worth and honor clad, with beauty, courage, strength adorn’d, to heav’n erect and tall he stands a man, the Lord and King of nature all. The large and arched front sublime of wisdom deep declares the seat, and in his eyes with brightness shines the soul, the breath and image of his God. With fondness leans upon his breast the partner for him form’d, a woman fair and graceful spouse. Her softly smiling virgin looks, of flow’ry spring the mirror, bespeak him love and joy and bliss.

Recitative Raphael: And God saw ev’rything, that he had made; and behold, it was very good; and the heavenly choir in song divine thus closed the sixth day.

Chorus Chorus: Achieved is the glorious work, the Lord beholds it and is pleas’d. In lofty strains let us rejoice! Our song let be the praise of God!

Trio Gabriel, Uriel: On thee each living soul awaits; from thee, O Lord, they beg their meat. Thou openest thy hand, and sated all they are.

Raphael: But when thy face, O Lord, is hid, with sudden terror they are struck. Thou tak’st their breath away; they vanish into dust. 08-21 MMFO Creation_Gp 3.qxt 8/12/15 2:51 PM Page 15

Mostly Mozart Festival I Libretto

Gabriel, Uriel, Raphael: Thou sendest forth thy breath again, and life with vigor fresh returns. Revived earth unfolds new force and new delights.

Chorus Chorus: Achieved is the glorious work. Our song let be the praise of God! Glory to his name for ever, he sole on high exalted reigns, alleluia.

PART III

Recitative Uriel: In rosy mantle appears, by tunes sweet awak’d, the morning young and fair. From the celestial vaults pure harmony descends on ravished earth. Behold the blissful pair, where hand in hand they go! Their flaming looks express what feels the grateful heart. A louder praise of God their lips shall utter soon. Then let our voices ring, united with their song!

Duet and Chorus Eve, Adam: By thee with bliss, O bounteous Lord, the heav’n and earth are stor’d. This world, so great, so wonderful, thy mighty hand has fram’d.

Chorus: For ever blessed be his pow’r. His name be ever magnify’d!

Adam: Of stars the fairest, pledge of day, that crown’st the smiling morn! How brighten’st thou, O sun, the world, thou eye and soul of all!

Chorus: Proclaim in your extended course the glorious pow’r and might of God!

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Mostly Mozart Festival I Libretto

Eve: And thou that rul’st the silent night, and all ye starry host, spread wide and ev’rywhere his praise in choral songs about!

Adam: Ye strong and cumbrous elements who ceaseless changes make, ye dusky mists and dewy steams who raise and fall thro’ th’air,

Adam, Eve, Chorus: Resound the praise of God our Lord! Great his name, and great his might.

Eve: Ye purling fountains tune his praise and wave your tops, ye pines! Ye plants exhale, ye flowers breathe at him your balmy scent!

Adam: Ye, that on mountains stately tread and ye that lowly creep, ye birds, that sing at heavens gate, and ye that swim the stream,

Adam, Eve, Chorus: ye living souls extol the Lord! Him celebrate, him magnify!

Adam, Eve: Ye valleys, hills and shady woods, our raptur’d notes ye heard; from morn to eve you shall repeat our grateful hymns of praise.

Chorus: Hail, bounteous Lord! Almighty, hail! Thy word called forth this wondrous frame. Thy pow’r adore the heav’n and earth; we praise thee now and evermore.

Recitative Adam: Our duty we performed now, in off’ring up to God our thanks. Now follow me dear partner of my life! thy guide I’ll be; and ev’ry step pours new delights into our breast, shews wonders ev’rywhere Then may’st thou feel and know the high degree of bliss the Lord allotted us, and with devoted heart his bounty celebrate. Come, come, follow me! thy guide I’ll be. 08-21 MMFO Creation_Gp 3.qxt 8/12/15 2:51 PM Page 17

Mostly Mozart Festival I Libretto

Eve: O thou, for whom I am! My help, my shield, my all! Thy will is law to me. So God, our Lord, ordains, and from obedience grows my pride and happiness.

Duet Adam: Graceful consort! At thy side softly fly the golden hours. Ev’ry moment brings new rapture; ev’ry care is put to rest.

Eve: Spouse adored! At thy side purest joys o’erflow the heart. Life and all I am is thine, my reward thy love shall be.

Adam, Eve: The dew dropping morn, O how she quickens all! The coolness of ev’n, O how she all restores! How grateful is of fruits the savor sweet! How pleasing is of fragrant bloom the smell! But without thee, what is to me the morning dew, the breath of ev’n, the sav’ry fruits, the fragrant bloom? With thee is ev’ry joy enhanced; with thee delight is ever new; with thee is life incessant bliss; thine it whole shall be.

Recitative Uriel: O happy pair, and always happy yet, if not, misled by false conceit, ye strive at more as granted is, and more to know as know ye should!

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Mostly Mozart Festival I Libretto

Chorus Sing the Lord ye voices all! Utter thanks all ye his works. Celebrate his pow’r and glory. Let his name resound on high! The Lord is great, his praise shall last for aye. Amen.

—The New Novello Choral Edition 08-21 MMFO Creation_Gp 3.qxt 8/12/15 2:51 PM Page 19

Mostly Mozart Festival I Meet the Artists s t s i t r A

e R O L h Y A T

t R E

F I N t N E J e

e Louis Langrée

M Louis Langrée, music director of the Mostly Mozart Festival since December 2002, was named Renée and Robert Belfer Music Director in August 2006. Under his musical leadership, the Mostly Mozart Festival Orchestra has received extensive critical acclaim, and their performances are an annual summertime highlight for classical music lovers in New York City.

Mr. Langrée is also music director of the Cincinnati Symphony Orchestra and chief conductor of Camerata Salzburg. During the 2015–16 season, he will conduct the Cincinnati Symphony Orchestra at Lincoln Center as part of the Great Performers series. At home in Ohio, the ensemble’s performances will include a Brahms festival and three world-premiere concertos for orchestra. Mr. Langrée will also tour Germany with Cam erata Salzburg. His guest engagements include appearances with the Gewandhaus Orchestra of Leipzig and performances of Così fan tutte at the Aix-en-Provence Festival.

Mr. Langrée frequently appears as guest conductor with the Berlin and Vienna Philharmonics, Budapest Festival Orchestra, London Philharmonic Orchestra, Paris Orchestra, and NHK Symphony Orchestra, as well as with the Freiburg Baroque Orchestra and Orchestra of the Age of Enlightenment. His opera engagements include appearances with the Metropolitan Opera, Lyric Opera of Chicago, La Scala, Opéra Bastille, Royal Opera House–Covent Garden, and the Vienna State Opera. Mr. Langrée was appointed Chevalier des Arts et des Lettres in 2006 and Chevalier de l’Ordre National de la Légion d’Honneur in 2014.

Mr. Langrée’s first recording with the Cincinnati Symphony Orchestra, released in September 2014, features commissioned works by Nico Muhly and David Lang, as well as Copland’s Lincoln Portrait narrated by Maya Angelou. His DVD of Verdi’s La traviata from the Aix-en-Provence Festival featuring Natalie Dessay and the London Symphony Orchestra was awarded a Diapason d’Or. His discography also includes recordings on the Accord, Naïve, Universal, and Virgin Classics labels. 08-21 MMFO Creation_Gp 3.qxt 8/12/15 2:51 PM Page 20

Mostly Mozart Festival I Meet the Artists

Sarah Tynan

Sarah Tynan’s exceptional versatility and engaging stage presence have earned her a place in the league of elite British sopranos. During the 2014–15 season, Ms. Tynan sang the world premiere of Dai Fujikura’s Solaris at Théâtre des Champs- Élysées, Opéra de Lille, and Opéra

G de Lausanne. She also sang Haydn’s A O L with the London Symphony G

Creation S I

R Orchestra and the Handel and Haydn H C

© Society, Toch’s Die chinesische Flöte with the Continuum Ensemble, and a Vivaldi program with the Orchestra of the Age of Enlightenment. Forthcoming engagements include performances of Merab in Handel’s Saul with Glyndebourne Tour, Ginevra in Handel’s Ariodante with Scottish Opera, Mendelssohn’s Elijah at Southwell Music Festival, Mahler’s Symphony No. 4 at the Ryedale Festival, and concerts with the London Philharmonic Orchestra and the London, BBC, Bournemouth, and City of Birmingham symphony orchestras.

Operatic highlights include performances of Manon in Henze’s Boulevard Solitude at Welsh National Opera, for which she received a Wales Theatre Award; Marzelline in Fidelio at English National Opera; Carrie Pipperidge in Carousel at Opera North; Sharon Disney in the world premiere of Philip Glass’s The Perfect American at Madrid’s Teatro Real and then at English National Opera; Susanna in Le nozze di Figaro at Cincinnati Opera; Iris in Semele at La Monnaie; Dalinda in Ariodante at Ópera de Oviedo; and Servilia in La clemenza di Tito with the Orchestra of the Age of Enlightenment.

On the concert platform, Ms. Tynan has sung Orff’s Carmina Burana with the Cincinnati Symphony Orchestra, BBC Philharmonic, Royal Philharmonic Orchestra, and BBC National Orchestra of Wales; Mahler’s Symphony No. 8 with the Royal Scottish National and Philharmonia Orchestras; Handel’s Messiah with the Early Opera Company; Ryan Wigglesworth’s Augenlieder with the City of Birmingham Symphony Orchestra; Dallapiccola’s Partita with the BBC Philharmonic at the BBC Proms; and Campra’s Le carnaval de Venise with Le Concert Spirituel and Hervé Niquet. 08-21 MMFO Creation_Gp 3.qxt 8/12/15 2:51 PM Page 21

Mostly Mozart Festival I Meet the Artists

Andrew Staples

Tenor Andrew Staples sang as a chorister in St. Paul’s Cathedral before winning a choral scholarship to King’s College, Cambridge, where he earned a degree in music. He was the first recipient of the RCM Peter Pears Scholarship, sponsored by the Britten-Pears Foundation, at the Royal College of Music and subsequently joined the Benjamin Britten International Opera School. He studies with Ryland Davies. His concert engagements include Schumann’s Das Paradies und die Peri with the Berlin Philharmonic with Simon Rattle and the Swedish Radio Symphony Orchestra with Daniel Harding; Mahler’s Das Lied von der Erde with the Orchestra Academy of the Berlin Philharmonic, Magdalena Kožená, and Rattle; Britten’s Serenade with the Swedish Chamber Orchestra conducted by Andrew Manze; Britten’s War Requiem at the King’s College Chapel with David Hill; and Mozart’s Requiem with the Scottish Chamber Orchestra and Manze.

Mr. Staples made his Royal Opera House–Covent Garden debut as Jacquino (Fidelio ), returning for Flamand ( Capriccio ), Tamino ( Die Zauberflöte ), Artabanes ( Artaxerxes ), and Narraboth ( Salome ). He sang Belfiore ( La finta giardiniera ) for Prague’s National Theatre and Don Ottavio ( Don Giovanni ) for the Salzburg Festival. He has also sung Ferrando ( Così fan tutte ) for Opera Holland Park and Narraboth for the Hamburg State Opera. He semi-staged and sang Tamino for the Lucerne Music Festival and at Drottningholms Slottsteater with Daniel Harding conducting.

Mr. Staples will sing Kudrjáš ( Kát’a Kabanová ) and Luzio ( Das Liebesverbot ) for the Royal Opera House–Covent Garden and Madrid’s Teatro Real. In concert he appears with the Philadelphia Orchestra; the BBC, Swedish Radio, Bavarian Radio, and London symphony orchestras; and the Berlin and Vienna Philharmonics. 08-21 MMFO Creation_Gp 3.qxt 8/12/15 2:51 PM Page 22

Mostly Mozart Festival I Meet the Artists

Brindley Sherratt

Born in Lancashire, UK, bass Brindley Sherratt studied at the Royal Academy of Music, where he is now a visiting professor. His 2014–15 engagements include Sparafucile in Rigoletto at the Royal Opera House–Covent Garden, Sarastro in Die Zauberflöte at Netherlands Opera, the King in Inés de Castro in his debut at Scottish Opera, Trulove in

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Notable career highlights have included Sarastro ( Die Zauberflöte ), Gremin (Eugene Onegin ), Narbal ( Les Troyens ), and Ramfis ( Aida ) at the Royal Opera House–Covent Garden; Balducci ( Benvenuto Cellini ) and Hobson ( Peter Grimes ) in Salzburg; Sarastro at the Vienna and Hamburg State Operas; and Claggart ( Billy Budd ) and Rocco ( Fidelio ) at Glyndebourne. His many roles for English National Opera have included Sarastro and Fiesco ( Simon Boccanegra ); other appearances include Banco ( Macbeth ) for the Opéra National de Bordeaux; Pimen ( Boris Godunov ) for the Nice Opera; Rocco in Seville; Il Commendatore ( Don Giovanni ) and Claudio ( Agrippina ) in Santa Fe; Pogner ( Die Meistersinger von Nürnberg ) for Welsh National Opera; and Fasolt ( Das Rheingold ) and Filippo ( Don Carlo ) for Opera North. Future seasons see Mr. Sherratt return to the Royal Opera House–Covent Garden, Glyndebourne, the Metropolitan Opera, and English National Opera; he will also make major debuts with the Lyric Opera of Chicago, Zurich Opera House, and Madrid’s Teatro Real.

Recent orchestral engagements include appearances with the Orchestra of the Royal Opera House with Antonio Pappano, the Philharmonia Orchestra with Andrew Davis, the Hall é Orchestra with Mark Elder, the Mahler Chamber Orchestra with Daniel Harding, the Rotterdam Philharmonic Orchestra with Harry Bicket, the Monteverdi Choir with John Eliot Gardiner, the Scottish Chamber Orchestra with Yannick Nézet-Séguin, and the Orchestre des Champs-Élysées and Deutsche Kammerphilharmonie Bremen with Louis Langrée. 08-21 MMFO Creation_Gp 3.qxt 8/12/15 2:51 PM Page 23

Mostly Mozart Festival I Meet the Artists

Concert Chorale of New York The Concert Chorale of New York’s performance highlights include Beethoven’s Symphony No. 9 with Gianandrea Noseda, as well as Mozart’s Requiem with Louis Langrée. This summer the ensemble appeared at Lincoln Center Festival in Danny Elfman’s Music from the Films of Tim Burton and with the Cleveland Orchestra in Strauss’s Daphne . At Mostly Mozart in 2013, the Chorale performed Rossini’s Stabat mater under Noseda. It has also appeared at the Caramoor Festival in productions of operas and oratorios. Other credits include the Brooklyn Academy of Music’s productions of Philip Glass’s the CIVIL warS ; John Adams’s Nixon in China ; and productions of Dido and Aeneas , Vivaldi’s Gloria , Jesu , meine Freude , and L’Allegro , il Penseroso ed il Moderato with the Mark Morris Dance Group. The Chorale has also worked with Gerard Schwarz at New York’s 92nd Street Y and with Opéra Français de New York conducted by Yves Abel. The group recently appeared with the American Symphony Orchestra under Leon Botstein. Past highlights include performances in Stravinsky’s Les noces at Lincoln Center, the New York premiere of Paul McCartney’s Ecce Cor Meum , and a performance of Adams’s The Death of Klinghoffer conducted by the composer. The Chorale also participated in the Performing Arts Center, Purchase College’s performances of works by Gilbert and Sullivan, as well as a concert series of Haydn, Bach, and Beethoven. It also performed in the highly acclaimed concert version of Rodgers and Hammerstein’s Carousel , conducted by Leonard Slatkin. Members of the Chorale have been featured in performances with the Pet Shop Boys and Sting. The ensemble men sang with the Chicago Symphony Orchestra in a performance of Tristan und Isolde , and they performed in The Tristan Project with the Los Angeles Philharmonic at Avery Fisher Hall. The Chorale has recorded with CBS and Nonesuch Records.

James Bagwell James Bagwell maintains an active international schedule as a conductor of choral, operatic, and orchestral music. In 2009 he was appointed music director of the Collegiate Chorale and principal guest conductor of the American Symphony Orchestra, leading them in concerts at both Carnegie Hall and Lincoln Center. Some highlights of his tenure with the Collegiate Chorale include conducting a number of rarely per formed operas in concert, including Bellini’s Beatrice di Tenda , Rossini’s Moïse et Pharaon , and, most recently, Boito’s Mefistofele . Mr. Bagwell conducted the New York premiere of Philip Glass’s Symphony No. 7 (“Toltec”) and Osvaldo Golijov’s Oceana , both at Carnegie Hall. His performance of Weill’s Knickerbocker Holiday at Alice Tully Hall was recorded live for Gaslight Records and is the only complete recording of the musical. Since 2011 he has collaborated with singer and composer Natalie Merchant, conducting a number of major orchestras across the country, including the San Francisco and Seattle Symphonies. Other recent New York performances include conducting Glass’s Another Look at Harmony at the Park Avenue 08-21 MMFO Creation_Gp 3.qxt 8/12/15 2:51 PM Page 24

Mostly Mozart Festival I Meet the Artists

Armory and leading the Little Opera Theatre of New York’s production of Rossini’s Opportunity Makes the Thief .

Mr. Bagwell has trained choruses for a number of major American and international orchestras, including the San Francisco Symphony, Los Angeles Philharmonic, Budapest Festival Orchestra, Cincinnati Pops Orchestra, and the NHK, American, Cincinnati, and Indianapolis symphony orchestras. He has prepared choruses with notable conductors such as Charles Dutoit, Gianandrea Noseda, Valery Gergiev, Zubin Mehta, Riccardo Muti, Lorin Maazel, Esa-Pekka Salonen, Michael Tilson Thomas, Louis Langrée, Iván Fischer, Vladimir Ashkenazy, Leon Fleisher, and Robert Shaw. He has taught since 2000 at Bard College, where he is director of the music program and co-director of the master’s program in conducting.

Mostly Mozart Festival

Lincoln Center’s Mostly Mozart Festival—America’s first indoor summer music festival—was launched as an experiment in 1966. Called Midsummer Serenades: A Mozart Festival, its first two seasons were devoted exclusively to the music of Mozart. Now a New York institution, Mostly Mozart continues to broaden its focus to include works by Mozart’s predecessors, contempo - raries, and related successors. In addition to concerts by the Mostly Mozart Festival Orchestra, Mostly Mozart now includes concerts by the world’s outstanding period-instrument ensembles, chamber orchestras and ensem - bles, and acclaimed soloists, as well as opera productions, dance, film, late- night performances, and visual art installations. Contemporary music has become an essential part of the festival, embodied in annual artists-in- residence, including Osvaldo Golijov, John Adams, Kaija Saariaho, Pierre- Laurent Aimard, and the International Contemporary Ensemble. Among the many artists and ensembles who have had long associations with the festival are Joshua Bell, Christian Tetzlaff, Itzhak Perlman, Emanuel Ax, Garrick Ohlsson, Stephen Hough, Osmo Vänskä, the Emerson String Quartet, Freiburg Baroque Orchestra, Orchestra of the Age of Enlightenment, and the Mark Morris Dance Group.

Mostly Mozart Festival Orchestra

The Mostly Mozart Festival Orchestra is the resident orchestra of the Mostly Mozart Festival, and the only U.S. chamber orchestra dedicated to the music of the Classical period. Louis Langrée has been the Orchestra’s music direc - tor since 2002, and each summer the ensemble’s Avery Fisher Hall home is transformed into an appropriately intimate venue for its performances. Over the years, the Orchestra has toured to such notable festivals and venues as Ravinia, Great Woods, Tanglewood, Bunkamura in Tokyo, and the Kennedy Center. Conductors who made their New York debuts leading the Mostly Mozart Festival Orchestra include Jérémie Rhorer, Edward Gardner, Lionel 08-21 MMFO Creation_Gp 3.qxt 8/12/15 2:51 PM Page 25

Mostly Mozart Festival I Meet the Artists

Bringuier, Yannick Nézet-Séguin, Charles Dutoit, Leonard Slatkin, David Zinman, and Edo de Waart. Mezzo-soprano Cecilia Bartoli, flutist James Galway, soprano Elly Ameling, and pianist Mitsuko Uchida all made their U.S. debuts with the Mostly Mozart Festival Orchestra.

Lincoln Center for the Performing Arts, Inc.

Lincoln Center for the Performing Arts (LCPA) serves three primary roles: presenter of artistic programming, national leader in arts and education and community relations, and manager of the Lincoln Center campus. A presenter of more than 3,000 free and ticketed events, performances, tours, and educa - tional activities annually, LCPA offers 15 programs, series, and festivals, including American Songbook, Great Performers, Lincoln Center Festival, Lincoln Center Out of Doors, Midsummer Night Swing, the Mostly Mozart Festival, and the White Light Festival, as well as the Emmy Award–winning Live From Lincoln Center , which airs nationally on PBS. As manager of the Lincoln Center campus, LCPA provides support and services for the Lincoln Center complex and the 11 resident organizations. In addition, LCPA led a $1.2 billion campus renovation, completed in October 2012.

Lincoln Center Programming Department Jane Moss, Ehrenkranz Artistic Director Hanako Yamaguchi, Director, Music Programming Jon Nakagawa, Director, Contemporary Programming Jill Sternheimer, Director, Public Programming Lisa Takemoto, Production Manager Charles Cermele, Producer, Contemporary Programming Kate Monaghan, Associate Director, Programming Claudia Norman, Producer, Public Programming Mauricio Lomelin, Producer, Contemporary Programming Julia Lin, Associate Producer Nicole Cotton, Production Coordinator Regina Grande, Assistant to the Artistic Director Luna Shyr, Programming Publications Editor Claire Raphaelson, House Seat Coordinator Stepan Atamian, Theatrical Productions Intern ; Annie Guo, Production Intern ; Grace Hertz, House Program Intern

Program Annotators: Don Anderson, Peter A. Hoyt, Kathryn L. Libin, Paul Schiavo, David Wright 08-21 MMFO Creation_Gp 3.qxt 8/12/15 2:51 PM Page 26

Mostly Mozart Festival I Meet the Artists 4 1 0 2

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Mostly Mozart Festival Orchestra Louis Langrée, Renée and Robert Belfer Music Director

Violin I Cello Bassoon Librarian Ruggero Allifranchini, Ilya Finkelshteyn, Daniel Shelly, Principal Michael McCoy Concertmaster Principal Tom Sef cˇovi cˇ Robert Chausow Ted Ackerman Mark Romatz, Personnel Managers Katsuko Esaki Ann Kim Contrabassoon Neil Balm Sophia Kessinger Alvin McCall Jonathan Haas Nelly Kim Horn Gemini Music Katherine Livolsi- Bass Lawrence DiBello, Productions Ltd. Landau Zachary Cohen, Principal Michael Roth Principal Patrick Pridemore Dorothy Strahl Lou Kosma Deborah Wong Judith Sugarman Trumpet Neil Balm, Principal Violin II Flute Lee Soper Laura Frautschi, Jasmine Choi, Principal Principal Trombone Martin Agee Helen Campo Richard Clark, Principal Eva Burmeister Kathleen Nester Demian Austin Michael Gillette Don Hayward, Lisa Matricardi Oboe Bass Trombone Kristina Musser Randall Ellis, Principal Ronald Oakland Nick Masterson Timpani Mineko Yajima Jason Haaheim, Clarinet Principal Viola Jon Manasse, Principal Shmuel Katz, Principal Steve Hartman Fortepiano Meena Bhasin Renee Louprette, Danielle Farina Principal Chihiro Fukuda Jack Rosenberg

Get to know the Mostly Mozart Festival Orchestra musicians at MostlyMozart.org/MeetTheOrchestra 08-21 MMFO Creation_Gp 3.qxt 8/12/15 2:51 PM Page 27

Mostly Mozart Festival I Meet the Artists

Concert Chorale of New York Jacqueline Pierce, Artistic Administrator

Soprano Alto Tenor Bass Wendy Baker Bo Chang James Bassi Daniel Alexander Gail Blache-Gill Esther David Martin Doner Dennis Blackwell Miriam Chaudoir Emily Eyre Brian Giebler Mischa Frusztajer Eileen Clark Sarona Farrell Walker Jackson Roderick Gomez Margery Daley Yonah Gershator John Kawa Dominic Inferrara Toni Dolce Wendy Gilles Adam MacDonald Conor McDonald Lori Engle Kristin Gornstein Drew Martin Steven Moore Sarah Griffiths Erin Kemp* Steven Rosser Joseph Neal Phenisher Harris Nedra Neal Nate Widelitz Mark Rehnstrom Melissa Casey Jose Tami Petty Scott Wheatley Margarita Martinez Jacqueline Pierce Lewis White Lara Stevens Rhesa Williams Elena Williamson * Soloist