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Home , Alan Opie, Alfred Poell, Arabella, Barbara Bonney, Benno Kusche, Bruce Boyce

2016–17 season andris nelsons music director

week 1 “”

season sponsors music director laureate conductor emeritus lead sponsor supporting sponsor thomas adès artistic partner Through January 29, 2017

Frances Stark, Chorus girl folding self in half (detail), 2008. Paper collage, graphite on The exhibition is presented at the MFA with generous support from The Ruth and Carl J. Shapiro Fund for Education, Public Programs paper. Collection Thea Westreich Wagner and Ethan Wagner. Promised gift to the Whitney and Special Projects. Additional support from the Robert and Jane Burke Fund for Exhibitions, the Amy and Jonathan Poorvu Fund for Museum of American Art, New York. Digital image © Whitney Museum of American Art. the Exhibition of Contemporary Art and Sculpture, the Diane Krane Family and Jonathan and Gina Krane Family Fund, the Barbara Jane Anderson Fund, the Bruce and Laura Monrad Fund for Exhibitions, and the Susan G. Kohn and Harry Kohn, Jr. Fund for Contemporary Prints. “UH-OH: Frances Stark 1991–2015” was organized by the Hammer Museum, . The exhibition was originated with support from Brenda Potter, along with generous support from Karyn Kohl and Maurice Marciano. Table of Contents | Week 1

7 bso news 1 7 on display in hall 18 bso music director andris nelsons 2 0 the boston symphony orchestra 2 3 a message from andris nelsons 2 4 this week’s program

Notes on the Program

26 The Program in Brief… 27 Synopsis of “Der Rosenkavalier” 31 Richard Strauss’s “Der Rosenkavalier” 43 To Read and Hear More…

Guest Artists

47 Renée Fleming 61 Neal Ferreira 48 Erin Morley 61 John McVeigh 49 62 David Kravitz 51 Franz Hawlata 63 David Cushing 51 64 Kelley Hollis 53 Irmgard Vilsmaier 64 Thea Lobo 55 Michelle Trainor 65 Sarah Beth Shelton 55 Jane Henschel 65 Tanglewood Festival 57 Graham Clark Chorus 58 Stephen Costello 67 Lidiya Yankovskaya 58 David Cangelosi 69 Voices Boston 59 Ronald Naldi 69 Steven Lipsitt

7 0 sponsors and donors 88 future programs 90 symphony hall exit plan 91 symphony hall information

program copyright ©2016 Boston Symphony Orchestra, Inc. program book design by Hecht Design, Arlington, MA cover photo by Chris Lee cover design by BSO Marketing

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

DATEJUST 41

rolex oyster perpetual and datejust are ® trademarks. andris nelsons, ray and maria stata music director bernard haitink, lacroix family fund conductor emeritus seiji ozawa, music director laureate thomas adès, deborah and philip edmundson artistic partner 136th season, 2016–2017

trustees of the boston symphony orchestra, inc.

William F. Achtmeyer, Chair • Paul Buttenwieser, President • George D. Behrakis, Vice-Chair • Carmine A. Martignetti, Vice-Chair • Theresa M. Stone, Treasurer

David Altshuler • Ronald G. Casty • Susan Bredhoff Cohen • Richard F. Connolly, Jr. • Cynthia Curme • Alan J. Dworsky • Philip J. Edmundson, ex-officio • William R. Elfers • Thomas E. , Jr. • Levi A. Garraway • Michael Gordon • Brent L. Henry • Susan Hockfield • Barbara W. Hostetter • Stephen B. Kay • Edmund Kelly • Martin Levine, ex-officio • Joyce Linde • John M. Loder • Nancy K. Lubin • Joshua A. Lutzker • Robert J. Mayer, M.D. • Susan W. Paine • Steven R. Perles • John Reed • Carol Reich • Arthur I. Segel • Wendy Shattuck • Caroline Taylor • Stephen R. Weber • Roberta S. Weiner • Robert C. Winters • D. Brooks Zug life trustees

Vernon R. Alden • Harlan E. Anderson • J.P. Barger • Gabriella Beranek • Leo L. Beranek • Deborah Davis Berman • Jan Brett • Peter A. Brooke • John F. Cogan, Jr. • Diddy Cullinane • Mrs. Edith L. Dabney • Nelson J. Darling, Jr. • Nina L. Doggett • Nancy J. Fitzpatrick • Charles H. Jenkins, Jr. • Mrs. Béla T. Kalman • George Krupp • Richard P. Morse • David Mugar • Mary S. Newman † • Robert P. O’Block • Vincent M. O’Reilly • William J. Poorvu • Peter C. Read • Edward I. Rudman • Roger T. Servison • Richard A. Smith • Ray Stata • John Hoyt Stookey • John L. Thorndike • Stephen R. Weiner • Dr. Nicholas T. Zervas other officers of the corporation

Mark Volpe, Eunice and Julian Cohen Managing Director • Thomas D. May, Chief Financial Officer • Bart Reidy, Clerk of the Board overseers of the boston symphony orchestra, inc. Philip J. Edmundson, Chair

Noubar Afeyan • James E. Aisner • Peter C. Andersen • Bob Atchinson • Lloyd Axelrod, M.D. • Liliana Bachrach • Judith W. Barr • Linda J.L. Becker • Paul Berz • Mark G. Borden • Partha Bose • William N. Booth • Karen Bressler • Anne F. Brooke • Gregory E. Bulger • Thomas M. Burger • Joanne M. Burke • Bonnie Burman, Ph.D. • Richard E. Cavanagh • Yumin Choi • Michele Montrone Cogan • Roberta L. Cohn • RoAnn Costin • William Curry, M.D. • Gene D. Dahmen • Lynn A. Dale • Anna L. Davol • Michelle A. Dipp, M.D., Ph.D. • Peter Dixon • Dr. Ronald F. Dixon • Ursula Ehret-Dichter • Sarah E. Eustis • Joseph F. Fallon • Beth Fentin • Peter Fiedler • Steven S. Fischman • John F. Fish • Sanford Fisher • Jennifer Mugar Flaherty • Alexandra J. Fuchs • Robert Gallery • Stephen T. Gannon • Zoher Ghogawala, M.D. • Cora H. Ginsberg • Robert R. Glauber • Todd R. Golub • Barbara Nan Grossman • Nathan Hayward, III • Ricki Tigert Helfer • Rebecca M. Henderson • James M. Herzog, M.D. • Stuart Hirshfield • Albert A. Holman, III • Lawrence S. Horn • Jill Hornor • Valerie Hyman •

week 1 trustees and overseers 3 CARING FOR WHAT’S IMPORTANT IS PART OF OUR MISSION. Official Airline of the Boston Symphony Orchestra. photos by Michael J. Lutch

Everett L. Jassy • Stephen J. Jerome • Darlene Luccio Jordan, Esq. • Paul L. Joskow • Karen Kaplan • Stephen R. Karp • Steve Kidder • John L. Klinck, Jr. • Tom Kuo • Sandra O. Moose • Cecile Higginson Murphy • John F. O’Leary • Peter Palandjian • Donald R. Peck • Wendy Philbrick • Randy Pierce • Claudio Pincus • Lina S. Plantilla, M.D. • Irving H. Plotkin • Irene Pollin • Jonathan Poorvu • William F. Pounds • Claire Pryor • James M. Rabb, M.D. • Ronald Rettner • Robert L. Reynolds • Robin S. Richman, M.D. • Dr. Carmichael Roberts • Graham Robinson • Patricia Romeo-Gilbert • Michael Rosenblatt, M.D • Susan Rothenberg • Sean C. Rush • Malcolm S. Salter • Dan Schrager • Donald L. Shapiro • Phillip A. Sharp, Ph.D. • Anne-Marie Soullière • Michael B. Sporn, M.D. • Nicole Stata • Margery Steinberg, Ph.D • Katherine Chapman Stemberg • Jean Tempel • Douglas Thomas • Mark D. Thompson • Albert Togut • Blair Trippe • Joseph M. Tucci • Sandra A. Urie • Edward Wacks, Esq. • Linda S. Waintrup • Sarah Rainwater Ward • Dr. Christoph Westphal • June K. Wu, M.D. • Patricia Plum Wylde • Marillyn Zacharis overseers emeriti

Helaine B. Allen • Marjorie Arons-Barron • Diane M. Austin • Sandra Bakalar • Lucille M. Batal • James L. Bildner • William T. Burgin • Hon. Levin H. Campbell • Carol Feinberg Cohen • Mrs. James C. Collias • Charles L. Cooney • Ranny Cooper • Joan P. Curhan • James C. Curvey • Tamara P. Davis • Mrs. Miguel de Bragança • Paul F. Deninger • JoAnne Walton Dickinson • Phyllis Dohanian • Alan Dynner • Harriett Eckstein • George Elvin • Pamela D. Everhart • Judy Moss Feingold • Myrna H. Freedman • Mrs. James Garivaltis • Dr. Arthur Gelb • Robert P. Gittens • Jordan Golding • Mark R. Goldweitz • Michael Halperson • John Hamill • Deborah M. Hauser • Carol Henderson • Mrs. Richard D. Hill • Roger Hunt • Lola Jaffe • Martin S. Kaplan • Mrs. Gordon F. Kingsley • Robert I. Kleinberg • David I. Kosowsky • Robert K. Kraft • Peter E. Lacaillade • Benjamin H. Lacy • Mrs. William D. Larkin • Robert J. Lepofsky • Edwin N. • Frederick H. Lovejoy, Jr. • Diane H. Lupean • Mrs. Harry L. Marks • Jay Marks • Jeffrey E. Marshall • Joseph B. Martin, M.D. • Joseph C. McNay • Dr. Martin C. Mihm, Jr. • Robert Mnookin • Paul M. Montrone • Robert J. Morrissey • Joseph Patton • John A. Perkins • Ann M. Philbin • May H. Pierce • Dr. John Thomas Potts, Jr. • Dr. Tina Young Poussaint • Brooks Prout • Robert E. Remis • John Ex Rodgers • Alan W. Rottenberg • Joseph D. Roxe • Kenan Sahin • Roger A. Saunders • Lynda Anne Schubert • L. Scott Singleton • Gilda Slifka • Christopher Smallhorn • Patricia L. Tambone • Samuel Thorne • Osgood Tottenham • Paul M. Verrochi • David C. Weinstein • James Westra • Mrs. Joan D. Wheeler • Margaret Williams-DeCelles • Richard Wurtman, M.D.

† Deceased

week 1 trustees and overseers 5

BSO News

Boston Symphony Chamber Players 2016-17 Season at Jordan Hall: Four Sunday Afternoons at 3 p.m. at Jordan Hall The Boston Symphony Chamber Players perform four Sunday-afternoon concerts each season at Jordan Hall at the New England Conservatory, beginning this year on October 30 with a concert featuring the BSO’s new Artistic Partner Thomas Adès as pianist, and , in a program of music by Britten, Adès, Brahms, Stravinsky, Pur- cell, and Schubert. Complete details of this season’s four-concert series are shown in the full-page ad on page 10. Subscriptions to the four-concert series are available at $132, $95, and $75; please call the Subscription Office at 1-888-266-7575. For single tickets at $38, $29, and $22, please call SymphonyCharge at (617) 266-1200 or visit bso.org.

BSO 101, the BSO’s Free Adult Education Series at Symphony Hall and Beyond “BSO 101: Are You Listening?” returns in 2016-17, again offering the opportunity to increase your enjoyment of BSO concerts. These five free sessions—an initial Tuesday (October 4) followed by four Wednesday sessions (November 2; February 15; March 15; April 12), all from 5:30-7 p.m. in Higginson Hall—with BSO Director of Program Publica- tions Marc Mandel joined by members of the BSO are designed to enhance your listening abilities and appreciation of music by focusing on upcoming BSO repertoire, examining and illuminating aspects of musical shape and form, and of the composers’ individual musical styles. All of the sessions include recorded musical examples, and each is self-contained, so no prior musical training, or attendance at any previous session, is required. The specific musical works to be discussed will be posted at bso.org. Also this season, again thanks to the generosity of an anonymous donor, “BSO 101: Listening Up Close” takes to the road, offering five BSO 101 sessions with Marc Mandel and BSO musi- cians on Sunday afternoons from 2-3:30 p.m., at the Newton Free Library (October 9), Salem State University (November 6), The Arlington Center (February 19), Belmont Public Library (March 19), and Waltham Public Library (April 9). For further details, please visit bso.org, where BSO 101 can be found under the “Education & Community” tab on the home page.

BSO Community Chamber Concerts This Fall The BSO continues its series of free Community Chamber Concerts in communities throughout the greater Boston area this season, offering chamber music performances by BSO musicians on Sunday afternoons at 3 p.m. Each program lasts approximately one

week 1 bso news 7 We are honored to support the Boston Symphony Orchestra

as Sponsor of Casual Fridays BSO Young Professionals BSO College Card and Youth and Family Concerts

H E R E . F O R O U R C O M M U N I T I E S . H E R E . F O R G O O D . hour and is followed by a coffee-and-dessert reception for the audience and musicians. Community Concerts this fall include performances at Methuen Memorial Music Hall (October 9), the Regent Theater in Arlington (October 23), and the Aeronaut Brewery in Somerville (November 6). Admission is free, but reservations are required; please call 1-888-266-1200. For full details, please visit bso.org and go to “Education & Community” on the home page.

BSO Broadcasts on WCRB BSO concerts are heard on the radio at 99.5 WCRB. Saturday-night concerts are broadcast live at 8 p.m. with host Ron Della Chiesa, and encore broadcasts are aired on Monday nights at 8 p.m. In addition, interviews with guest conductors, soloists, and BSO musi- cians are available online, along with a one-year archive of concert broadcasts. Listeners can also hear the BSO Concert Channel, an online radio station consisting of BSO concert performances from the previous twelve months. Visit classicalwcrb.org/bso. Current and upcoming broadcasts include an encore broadcast of the BSO’s all-Russian Opening Night program featuring pianist with Andris Nelsons (Monday, October 3); a live broadcast at 7 p.m. of this Saturday’s concert performance of Der Rosenkavalier (October 1; to be encored on New Year’s Eve at 7 p.m.); and music of Widmann and Brahms led by Andris Nelsons, featuring Yefim Bronfman, , Thomas Hamp- son, and the Tanglewood Festival Chorus (October 8; encore October 17). individual tickets are on sale for all concerts in the bso’s 2016-2017 season. for specific information on purchasing tickets by phone, online, by mail, or in person at the symphony hall box office, please see page 91 of this program book.

The Beranek Concert recognized authority in the field of sound and Thursday, September 29, 2016 acoustics, Dr. Beranek has published many The BSO’s performance this Thursday is works on acoustics, music, and architecture. endowed by a generous gift from Great His most recent book, an autobiography enti- Benefactors and Life Trustees Leo and tled Riding the Waves: A Life in Sound, Science, Gabriella Beranek. Leo and Gabriella, who and Industry, was published by The MIT Press are longtime BSO subscribers, have both in 2008. played significant roles in the life of the Gabriella Beranek served as Trustee of the Symphony. Boston Symphony Orchestra from 1997 to Dr. Leo Beranek began his appointed service 2007 and as Overseer from 1988 to 1997; to the BSO in 1968 as a charter member she was appointed a Life Trustee in 2013. of the Board of Overseers, and chaired the In the late 1980s, Gabriella was central to Board of Overseers from 1977 to 1980. the success of the “Salute to Youth” portion He was appointed a BSO Trustee in 1977, of the BSO’s Open House weekend, “Salute served as Chair from 1983 to 1986, and to Symphony,” which brought together the was made Honorary Chair and Life Trustee BSO, Yo-Yo Ma, the Greater Boston Youth in 1987. During his tenure as Trustee, Leo Symphony Orchestra, and the New England sought to increase dramatically the BSO’s Conservatory Orchestra to perform before endowment. In 1992, fellow donors and 5,000 children. The Friends’ component of Board members named the Beranek Room the March 1998 BSO European tour benefited in Leo’s honor; Higginson Society members from Gabriella’s expert coordination of their continue to gather regularly in this elegant fourteen days of travel and activities. From and comfortable space. An internationally- 1997 to 2000, Gabriella served on the Sym-

week 1 bso news 9 boston symphony chamber players at jordan hall Founded in 1964, the renowned Boston Symphony Chamber Players combine the talents of the BSO’s principal players with those of guest artists and other BSO members to explore the full spectrum of chamber music repertoire. Concerts take place on four Sunday afternoons at New England Conservatory’s Jordan Hall. Tickets: $38, $29, $22 sunday, october 30, 3pm sunday, april 2, 3pm with Thomas Adès, with Elizabeth Fischborn, soprano and Heidi Stober, soprano and David Deveau, piano BRITTEN Sinfonietta for winds and strings, Op. 1 JOLIVET Pastorales de Noël, for , Thomas ADÈS Court Studies from The Tempest, , and harp for , , , and piano Fred LERDAHL Fire and Ice, for soprano and BRAHMS Ophelia-Lieder, arranged by John double Woolrich for voice and chamber ensemble PROKOFIEV Quintet for , clarinet, violin, STRAVINSKY Three Shakespeare Songs , and , Op. 39 PURCELL (arr. ADÈS) Two Songs Daniel CROZIER Masques, for oboe and string trio SCHUBERT Quintet in A for piano and BRAHMS Trio in A minor for clarinet, cello, strings, D.667, Trout and piano, Op. 114 sunday, january 22, 3pm sunday, may 7, 3pm TAFFANEL Wind Quintet in G minor with , piano SAINT-SAËNS Septet in E-flat for piano, STRAVINSKY Octet for flute, clarinet, , and strings, Op. 65 two , two , and two Eric TANGUY Afterwards, for flute and piano FRANÇAIX Octet for winds and strings Sofia GUBAIDULINA Garden of Joys and Sorrows, for flute, viola, and harp Please note that on the day of the concert, WEINBERG Sonata for solo double bass, Op. 108 tickets may only be purchased at Jordan Hall. SHOSTAKOVICH Piano Trio No. 2 in E minor, Op. 67

Tickets: Call 617-266-1200 Please note that on the day of the concert, $38, $29, $22 or visit bso.org. tickets may only be purchased at Jordan Hall. phony Hall Centennial Committee; in 2000, with the community and social justice. Paul she created the spectacular Symphony Hall recently stepped down as chairman of the Centennial Ball. Institute of Contemporary Art, Boston, after a decade of leading the Board of Trustees. The BSO Boards, musicians, and staff He is a trustee and former chair of the Amer- appreciate the Beraneks’ extraordinary ican Repertory Theater, trustee of Partners contributions to the enduring legacy of the in Health, honorary trustee of the Museum BSO, and we extend warm birthday wishes of Fine Arts, Boston, fellow of the American to Leo on the occasion of his 102nd birthday Academy of Arts and Sciences, member of this month! the President’s Advisory Council at Berklee College of Music and the Director’s Advi- The Catherine and Paul sory Council of the Harvard University Art Buttenwieser Guest Artist Museums, and former overseer of Harvard Thursday, September 29, 2016 University. In 1988, Paul and Katie founded the Family-to-Family Project, an agency that Renée Fleming’s appearance on Thursday works with homeless families in Eastern evening is supported by a generous gift from Massachusetts. Katie, who is a social work- Great Benefactors Catherine and Paul But- er, spent most of her career in early child tenwieser. Elected a BSO Overseer in 1998 development before moving into hospice and Trustee in 2000, Paul currently serves as and bereavement work. She is a graduate of President of the Board of Trustees. He served Mount Holyoke College and Boston Univer- as a Vice-Chair of the Board of Trustees from sity School of Social Work. Paul is a psychia- 2010 to 2013. trist who specializes in children and adoles- Paul’s interest in music began at a young age, cents, as well as a writer. He is a graduate of when he studied piano, violin, clarinet, and Harvard College and Harvard Medical School. conducting as a child and teenager. Together, Paul and Katie developed their lifelong love of music, and they have attended the BSO’s The Traynor Family Concert performances at Symphony Hall and Tangle- Saturday, October 1, 2016 wood for more than 50 years. The Buttenwi- The performance on Saturday evening is sup- esers have generously supported numerous ported by a generous gift from longtime BSO BSO initiatives, including BSO commissions patrons Stephen and Ronney Traynor, and of new works, guest artist appearances at their daughters, Wendy Traynor and Roberta Symphony Hall and Tanglewood, fellowships Traynor. The Traynor family has subscribed at the Tanglewood Music Center, and Open- to the BSO for more than thirty-five years. It ing Nights at Symphony and Tanglewood. has been Ronney and Stephen’s great job to They also endowed a BSO first violin chair, raise their children on a heavy diet of , currently held by Aza Raykhtsaum. Paul and classical music, and jazz, and to expose them Katie, who have served on many gala com- to the great performers at the BSO, Boston mittees, chaired Opening Night at Symphony Pops, and Tanglewood, as well as through for the 2008-09 season. Paul serves on the Family Concerts, Popular Artist concerts, and Executive, Leadership Gifts, and Trustees other special events at Symphony Hall. That Nominating and Governance committees, love has become a passion for Ronney and and was a member of the Search Committee Stephen’s grandchildren, Hannah, Dana, and recommending the appointment of Andris Baird Feeney. Baird had the honor of singing Nelsons as the BSO’s Ray and Maria Stata with his high school choir as they performed Music Director. with the Boston Pops in December 2014. The Traynor family extends its thanks to the BSO The Buttenwiesers support many arts orga- nizations in Boston and are deeply involved for inspiring many generations.

week 1 bso news 11 MASTERCARD® IS PROUD TO SUPPORT THE BOSTON SYMPHONY ORCHESTRA

EXPLORE PRICELESS® BOSTON EXPERIENCES AT PRICELESS.COM

Certain terms and restrictions apply. Quantities are limited. For MasterCard® cardholders only. MasterCard, World MasterCard, Priceless and the MasterCard brand mark are registered trademarks of MasterCard International Incorporated. © 2016 MasterCard. Go Behind the Scenes: rehearsals, and much more. Friends member- The Irving W. and Charlotte F. Rabb ships start at just $100. To join our commu- Symphony Hall Tours nity of music lovers in the Friends of the BSO, contact the Friends Office at (617) 638-9276 The Irving W. and Charlotte F. Rabb Sympho- or [email protected], or join online at ny Hall Tours, named in honor of the Rabbs’ bso.org/contribute. devotion to Symphony Hall through a gift from their children James and Melinda Rabb and Betty (Rabb) and Jack Schafer, provide BSO Members in Concert a rare opportunity to go behind the scenes BSO principal second violin Haldan Martin- at Symphony Hall. In these free, guided son and BSO cellist Mihail Jojatu are soloists tours, experienced members of the Boston in Brahms’s Double Concerto with the Boston Symphony Association of Volunteers unfold Conservatory Orchestra under Bruce Hangen the history and traditions of the Boston Sym- for its season-opening concert, on a program phony Orchestra—its musicians, conductors, with Prokofiev’sRomeo and Juliet, suites 1 and and supporters—as well as offer in-depth 2, on Sunday, October 2, at 2 p.m. at Sanders information about the Hall itself. Tours are Theatre at Harvard University, 45 Quincy offered on selected weekdays at 4 p.m. and Street, Cambridge. Admission is $10-15. For some Saturdays during the BSO season. tickets, visit boxoffice.harvard.edu or call Please visit bso.org/tours for more informa- (617) 496-2222. tion and to register. The Concord Chamber Music Society, found- ed by BSO violinist Wendy Putnam, presents Join Our Community of cellist David Finckel and pianist Wu Han Music Lovers— in recital—playing cello sonatas by Bach, The Friends of the BSO Beethoven, Brahms, and Rachmaninoff—on Attending a BSO concert at Symphony Hall Sunday, October 9, at 3 p.m. at the Concord is a communal experience—thousands Academy Performing Arts Center, 166 Main of concertgoers join together to hear 100 Street, Concord, MA. Tickets are $42 and musicians collaborate on each memorable $33 (discounts for seniors and students). For performance. Without an orchestra, there is more information, call (978) 371-9667 or no performance, and without an audience, visit www.concordchambermusic.org. it is just a rehearsal. Every single person is Along with Boston Conservatory faculty important to ensuring another great expe- members and former students, members rience at Symphony Hall. There’s another of the BSO participate in the conservatory’s community that helps to make it all possible, memorial tribute to longtime BSO concert- one that you might not notice while enjoying master Joseph Silverstein (who taught at a concert—the Friends of the BSO. Every $1 Boston Conservatory from 2012 to 2015) the BSO receives through ticket sales must on Sunday, October 16, at 8 p.m. at Seully be matched by an additional $1 of contribut- Hall. The program features works by Bach, ed support to cover annual expenses. Friends Mozart, and Schubert. Admission is $10-$15. of the BSO help bridge that gap, keeping the For tickets, visit etix.com or call (617) 912- music playing to the delight of audiences all 2222. year long. In addition to joining a commu- nity of like-minded music lovers, becoming a Friend of the BSO entitles you to benefits Those Electronic Devices… that bring you closer to the music you cher- As the presence of smartphones, tablets, ish. Friends receive advance ticket ordering and other electronic devices used for com- privileges, discounts at the Symphony Shop, munication, note-taking, and photography and access to the BSO’s online newsletter has increased, there have also been continu- InTune, as well as invitations to exclusive ing expressions of concern from concertgoers donor events such as BSO and Pops working and musicians who find themselves distracted

week 1 bso news 13 NEVER HAS LUXURY BEEN THIS EXPRESSIVE.

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under 40? bso tickets $20! $20 tickets are available for most BSO concerts for patrons under 40 years of age. Proof of age required. Tickets are available on a first-come, first-served basis on both the orchestra and balcony levels.

Follow us on Twitter, Facebook, Instagram, and YouTube, or download the new BSO app. #BSO1617 bso.org • 617-266-1200

week 1 bso news 15 UnCommon consistency Commonwealth Worldwide has been the premier chauffeured transportation choice of discerning clientele - in Boston and beyond - for over 30 years; specializing in corporate executive travel, financial roadshows, private aviation, entertainment productions, five-star luxury hotels and meetings/special events in all 50 states and 79 countries worldwide. We’re proud to be the official provider of the Boston Symphony Orchestra and Boston Pops for yet another glorious year!

CommonwealthLimo.com 800-558-5466 • +1-617-787-5575 on display in symphony hall This season’s BSO Archives exhibit once again displays the wide variety of holdings in the Boston Symphony Archives. highlights of this year’s exhibit include, on the orchestra level of symphony hall: • a display case in the Brooke Corridor exploring the BSO’s early performances of works by Brahms • two display cases in the Brooke corridor focusing on BSO music directors Arthur Nikisch (1889-93) and Charles Munch (1949-62) • two display cases in the Huntington Avenue corridor featuring the percussionists and timpanists, and the contrabassoonists, of the BSO exhibits on the first-balcony level of symphony hall include: • a display case in the first-balcony corridor, audience-right, devoted to the BSO’s acquisition in 1926 of the Casadesus Collection of “ancient instruments” • a display case, also in the first-balcony corridor, audience-right, focusing on historic BSO performances of Shostakovich’s Sixth and Seventh • a display case in the first-balcony corridor, audience-left, exploring the early history of the Boston Pops

CABOT-CAHNERS ROOM EXHIBIT—THE HEINZ W. WEISSENSTEIN/WHITESTONE PHOTOGRAPH COLLECTION: 45 YEARS AT TANGLEWOOD An exhibit highlighting the acquisition by the BSO Archives of the Whitestone Photo- graph Collection, a collection of more than 90,000 negatives and prints documenting the rich musical life at Tanglewood, the BSO’s summer home

TOP OF PAGE, LEFT TO RIGHT: Photograph of a 19th-century serpent from the Casadesus Collection of Ancient Instruments, acquired by the BSO in 1926 (photographer unknown) Souvenir program for the U.S. and Canadian tour of the Orchestre National de France led by Charles Munch in 1948—the year before he became the BSO’s music director Photographer Heinz Weissenstein flanked by , Gunther Schuller, and Seiji Ozawa at Tangle- wood, 1970 (photo by then BSO Assistant Manager Mary H. Smith, using Weissenstein’s Rolleiflex camera)

week 1 on display 17 Marco Borggreve

Andris Nelsons

In 2016-17, his third season as the BSO’s Ray and Maria Stata Music Director, Andris Nelsons leads the Boston Symphony Orchestra in fourteen wide-ranging subscription programs at Symphony Hall, repeating three of them at New York’s in late February/early March, followed by two concerts in Montreal and . In the sum- mer of 2015, following his first season as music director, his contract with the Boston Symphony Orchestra was extended through the 2021-22 season. In addition, in 2017 he becomes Gewandhauskapellmeister of the Gewandhausorchester Leipzig, in which capacity he will also bring the BSO and GWO together for a unique multi-dimensional alliance. Following the 2015 Tanglewood season, Maestro Nelsons and the BSO under- took a twelve-concert, eight-city tour to major European capitals as well as the , , and Grafenegg festivals. A second European tour, to eight cities in (including the BSO’s first performance in Leipzig’s famed Gewandhaus), ustria,A and Luxembourg, took place in May 2016.

The fifteenth music director in the history of the Boston Symphony Orchestra, Andris Nelsons made his BSO debut at Carnegie Hall in March 2011 with Mahler’s Symphony No. 9. He made his Tanglewood debut in July 2012, leading both the BSO and Tangle- wood Music Center Orchestra as part of Tanglewood’s 75th Anniversary Gala. His first CD with the BSO—live recordings of Wagner’s Tannhäuser Overture and Sibelius’s Symphony No. 2—was released in November 2014 on BSO Classics. In 2014-15, in col- laboration with , he and the BSO initiated a multi-year recording project entitled “Shostakovich Under Stalin’s Shadow,” to include live performances of Shostakovich’s symphonies 5 through 10 and other works composed under the life-threatening shadow of Soviet dictator Joseph Stalin. Released in July 2015, their first Shostakovich disc—the Symphony No. 10 and the Passacaglia from the opera Lady of Mtsensk—won the 2016 Grammy Award for Best Orchestral Performance. May 2016 brought not only the second release in this series—a two-disc set including

18 symphonies 5, 8, and 9 and excerpts from Shostakovich’s 1932 incidental music for Hamlet—but also the extension of the collaboration with Deutsche Grammophon to encompass the composer’s complete symphonies and Lady Macbeth of Mtsensk. More recently, this past August, their disc of Shostakovich’s Symphony No. 10 won Gramo- phone Magazine’s Orchestral Award.

From 2008 to 2015, Andris Nelsons was critically acclaimed as music director of the City of Birmingham Symphony Orchestra. In the next few seasons, he continues his collaborations with the Philharmonic, Philharmonic, the Royal Concertge- bouw Orchestra of Amsterdam, the Bavarian Radio Symphony Orchestra, and the Philhar- monia Orchestra. A regular guest at the Royal , , and , he returned to the in summer 2014 to conduct Wagner’s , in a production directed by Hans Neuenfels, which he premiered at Bayreuth in 2010. Under a new, exclusive contract with Deutsche Grammophon, Mr. Nelsons will record the complete Beethoven symphonies with the and Bruckner symphonies with the Gewandhausorchester Leipzig.

Born in Riga in 1978 into a family of musicians, Andris Nelsons began his career as a trumpeter in the Latvian National Opera Orchestra before studying conducting. He was principal conductor of the Nordwestdeutsche Philharmonie in Herford, Germany, from 2006 to 2009 and music director of the Latvian National Opera from 2003 to 2007. Mr. Nelsons is the subject of a 2013 DVD from , a documentary film enti- tled “Andris Nelsons: Genius on Fire.” Marco Borggreve

week 1 andris nelsons 19 Boston Symphony Orchestra 2016–2017

andris nelsons bernard haitink seiji ozawa thomas adès Ray and Maria Stata LaCroix Family Fund Music Director Laureate Deborah and Philip Edmundson Music Director Conductor Emeritus Artistic Partner endowed in perpetuity endowed in perpetuity thomas wilkins Germeshausen Youth and Family Concerts Conductor endowed in perpetuity

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

20 photos by Michael J. Lutch

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

week 1 boston symphony orchestra 21

A Message from Andris Nelsons...

Very Dear Friends,

I am really excited to begin our third season with the Boston Symphony Orchestra. Each season, I feel the ties of our musical family growing stronger. It is wonderful to meet more and more members of the audience; all of you are so enthusiastic about our music.

We have a wonderful season ahead of us, with some of your favorite compos- ers, including Brahms, Strauss, Beethoven, and Mahler, plus an unparalleled group of soloists—with an incredible roster of pianists among them—who will be appearing with the orchestra. We will also perform more music by one of my favorite composers, Shostakovich, continuing our recording of the Shostakovich CD cycle. I am truly humbled that our first CD, Shostakovich's Symphony No. 10, was awarded both a Grammy and a Gramophone Award.

This season we continue the BSO’s commitment to new music with several premieres of BSO commissions. In that tradition, I am also so pleased to say that composer-conductor-pianist Thomas Adès will be our Artistic Partner for the next three seasons.

Thank you for your support and commitment to the BSO. It means so much to all of us to have you as a part of our musical family.

Warmest regards,

week 1 a message from andris nelsons 23 andris nelsons, ray and maria stata music director bernard haitink, lacroix family fund conductor emeritus andrisseiji ozawa, nelsons music, ray director and maria laureate stata music director bernardthomas adès,haitink, deborah lacroix and family philip fund edmundson conductor artistic emeritus partner seiji ozawa, music director laureate thomasBoston adès, deborah Symphony and philip edmundson Orchestra artistic partner Boston136th season, 2016–2017 Symphony Orchestra Thursday,136th season, September 2016–2017 29, 7pm | the beranek concert Saturday, October 1, 7pm | the traynor family concert

andris nelsons conducting renée fleming, soprano (marschallin) erin morley, soprano (sophie) susan graham, mezzo-soprano (octavian) franz hawlata, bass (baron ochs) alan opie, (faninal) irmgard vilsmaier, soprano (marianne) michelle trainor, soprano (a milliner) jane henschel, mezzo-soprano (annina) graham clark, (valzacchi) stephen costello, tenor (an italian singer) david cangelosi, tenor (marschallin’s majordomo) ronald naldi, tenor (faninal’s majordomo) neal ferreira, tenor (an animal vendor) john mcveigh, tenor (an innkeeper) david kravitz, baritone (a notary) david cushing, bass (a police commissary) kelley hollis, soprano (an orphan) thea lobo, mezzo-soprano (an orphan) sara beth shelton, alto (an orphan) tanglewood festival chorus, lidiya yankovskaya, guest chorus conductor members of voices boston, steven lipsitt, artistic director

strauss “der rosenkavalier,” opus 59 comedy for music in three acts by

bank of america and dell emc are proud to sponsor the bso’s 2016-17 season.

These concerts will end about 11:15. Concertmaster Malcolm Lowe performs on a Stradivarius violin, known as the “Lafont,” generously donated to the Boston Symphony Orchestra by the O’Block Family. Steinway & Sons , selected exclusively for Symphony Hall. The BSO’s Steinway & Sons pianos were purchased through a generous gift from Gabriella and Leo Beranek. Special thanks to Fairmont Copley Plaza, Delta Air Lines, and Commonwealth Worldwide Chauffeured Transportation. Broadcasts of the Boston Symphony Orchestra are heard on 99.5 WCRB. In consideration of the performers and those around you, please turn off all electronic equipment during the concert, including tablets, cellular phones, pagers, watch alarms, messaging devices of any kind, anything that emits an audible signal, and anything that glows. Thank you for your cooperation. Please note that the use of audio or video recording devices, or taking pictures of the orchestra—whether photographs or videos—is prohibited during concerts.

24 Characters in order of singing: Octavian ...... SUSAN GRAHAM, mezzo-soprano The Marschallin, Princess von Werdenberg ...... RENÉE FLEMING, soprano The Marschallin’s Majordomo ...... DAVID CANGELOSI, tenor Baron Ochs auf Lerchenau ...... FRANZ HAWLATA, bass Three Orphans ...... KELLEY HOLLIS, soprano THEA LOBO, mezzo-soprano SARA BETH SHELTON, alto A Milliner ...... MICHELLE TRAINOR, soprano An Animal Vendor ...... NEAL FERREIRA, tenor Annina ...... JANE HENSCHEL, mezzo-soprano Valzacchi ...... GRAHAM CLARK, tenor A Notary ...... DAVID KRAVITZ, baritone An Italian Singer ...... STEPHEN COSTELLO, tenor Faninal ...... ALAN OPIE, baritone Marianne ...... IRMGARD VILSMAIER, soprano Faninal’s Majordomo ...... RONALD NALDI, tenor Sophie ...... ERIN MORLEY, soprano An Innkeeper ...... JOHN MCVEIGH, tenor A Police Commissary ...... DAVID CUSHING, bass Footmen (Act I), Waiters (Act III), Servant (Act III) ...... DAVID CANGELOSI, NEAL FERREIRA, and JOHN MCVEIGH, ; DAVID KRAVITZ, baritone; DAVID CUSHING, bass Three Footmen, Ochs’s Servants, Faninal’s Servants (Act II) ...... MEMBERS of the TANGLEWOOD FESTIVAL CHORUS Onlookers, Heads from the Wall, Musicians, Coachmen (Act III) ...... MEMBERS of the TANGLEWOOD FESTIVAL CHORUS

Setting: Mid-18th-century Vienna Act I. The Princess von Werdenberg’s boudoir Act II. The reception room in Faninal’s palace Act III. A private room at an inn

Ken-David Masur, Assistant Conductor Dennis Giauque, Rehearsal Pianist and Coach Andrew Eggert, Production Assistant

There will be intermissions after Acts I and II. For a synopsis of “Der Rosenkavalier,” see page 27. Supertitles by Cori Ellison SuperTitle System courtesy of Digital Tech Services, LLC, Portsmouth, VA David Latham, Supertitles Technician John Geller, Supertitles Caller thursday evening’s appearance by renée fleming is supported by a generous gift from catherine and paul buttenwieser. this week’s performances by the tanglewood festival chorus are supported by the alan j. and suzanne w. dworsky fund for voice and chorus.

week 1 program 25 The Program in Brief...

Der Rosenkavalier, which brought him his greatest success, is Strauss’s fifth opera and second collaboration with Hugo von Hofmannsthal, who based his libretto on 17th- and 18th-century sources, including Beaumarchais’s Le Marriage de Figaro and Molière’s Monsieur de Porceaugnac. The story line is familiar: old lecher desires young woman, who loves young man and may be forced to marry older one against her will. Lecher is humili- ated and reluctantly surrenders; young love prevails. There is disguise, gender confusion, burlesque, and a romantic reunion. But there is no role for romantic tenor, save for the Italian who entertains during the morning levée in Act I. The lover is, rather, Octavian, a “trouser role”—a young man (or boy) played by a woman. Mozart’s hormonal young Cherubino (Le nozze di Figaro) was surely an inspiration, as Hofmannsthal’s remarks to Strauss in his letter of July 12, 1910, suggest: he “falls for the very first little girlto turn up.” But Octavian, unlike Cherubino, is a nobleman, sexually experienced, a courtly rose- bearer, a brash defender of Sophie (the most “familiar” character), and a savvy , who plays “Mariandel” to the hilt. There are several “wild cards” in Rosenkavalier: the Marschallin, who is the opera’s only truly serious character; the disconnection between late-19th-century waltzes and the opera’s setting in 18th-century Vienna; and the unusual casting of three female leads.

The Marschallin is the heart of Der Rosenkavalier. She feels the cold wind of mortality and consoles herself through an affair with Octavian, to whom she whispers a phrase that might just as easily have come out the mouth of a mother: “You are my boy, my treasure!” (“Du bist mein Bub, du bist mein Schatz!”) To herself, she murmurs inwardly: “I love thee so!” (“Ich hab’ dich lieb!”) There is a tinge of resignation in her words that channels , another serious character embedded in a comedy (Wagner’s Die Meistersinger von Nürnberg), who ruminates on human folly in his third-act “vanity” mono- logue. The Marschallin, left alone, muses on ageing, and later tells Octavian something he doesn’t yet understand: “All things pass, like mists and dreams...” (“Alles zergeht wie Dunst und Traum...”) In his letter to Strauss of July 12, 1910, Hofmannsthal advised that the entirety of Der Rosenkavalier should be understood through “the point of view of the Marschallin,” cautioning that “the musical and conceptual unity of the whole opera would suffer if the personality of the Marschallin were to be deprived her full stature.” Nonethe- less, the Marschallin appears only in Act I, to present the argument, and then near the end of Act III, as a dea ex machina, to untangle the fracas.

At the center of it all is the silver rose, presented to Sophie, de rigueur, by Octavian, splen- didly costumed as an envoy for Baron Ochs. The sender of the rose may be a fool, but the bearer is not, as Strauss and Hofmannsthal capture his heartfelt tidings with music and words of otherworldly beauty.

Helen M. Greenwald

26 “Der Rosenkavalier”

SETTING: Vienna during the reign of the Empress Maria Theresa

Act I. The Princess von Werdenberg’s boudoir The Marschallin, Princess von Werdenberg, has spent the night with her young lover, Octavian, Count Rofrano. He hides when a page brings breakfast, then again when loud voices are heard in the antechamber. The unexpected vis- itor is the Marschallin’s country cousin, Baron Ochs auf Lerchenau. Bursting into the room, he brags about his am- orous conquests and his upcoming marriage to Sophie von Faninal, the young daughter of a wealthy bourgeois. When he asks the Marschallin for advice as to which cavalier could present Sophie with the traditional silver engage- ment rose, she suggests Octavian—who suddenly, to avoid discovery, emerges from his hiding place disguised as a chambermaid. The baron instantly starts to make advances toward “Mariandel,” who manages to make her escape as the room fills with the daily crowd of petitioners and sales- people. Among them is a singer, whose aria is cut short by Ochs’s wrangling with a lawyer over Sophie’s dowry. The Baron hires a pair of Italian intriguers, Annina and Valzac- chi, to locate the shy servant girl.

When the room is cleared, the Marschallin, appalled by the thought of the rude Ochs marrying the innocent young girl, muses on her own waning youth. The returning Octavian is surprised to find her in a distant and melancholy mood. Alfred Roller’s original costume He passionately declares his love but she can only think design for the Marschallin, about the passing of time and tells him that one day he will , 1911 leave her for a younger woman. Hurt, he rushes off. The Marschallin tries to call him back, but it is too late. She summons her page and sends Octavian the silver rose.

THE SILVER ROSE being used in these concert performances of Der Rosenkavalier is from the much-loved Metropolitan Opera production by and Robert O’Hearne premiered there in January 1969, and last seen there in November/December 2013, in performances celebrating the 100th anniversary of the work’s U.S. premiere at the Met in December 1913. (A new production by will supersede the Merrill-O’Hearne production next April.) The silver rose has been graciously loaned to the BSO by the Met’s former Assistant General Manager Sarah Billinghurst Solomon, to whom it was presented as a gift upon her retirement in 2014.

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45 School Street, Old City Hall, Boston, MA 02108 T: 617.557.9800 | www.welchforbes.com Act II. The reception room in Faninal’s palace On the morning of her engagement, Sophie excitedly awaits the arrival of the cavalier of the rose. Octavian enters and presents her with the silver rose on behalf of the Baron. Sophie accepts, enraptured, and the two young people feel an instant attraction to each other. When Ochs, whom Sophie has never met, arrives, the girl is shocked by his crude manners. Ochs goes off to discuss the wedding contract with Faninal, and Sophie asks Octavian for help. They end up embracing and are surprised by Annina and Valzacchi, who summon Ochs. The outraged Octavian grazes the Baron’s arm with his rapier and Ochs melodramatically calls for a doctor. In the ensuing confusion, Sophie tells her father that she will not marry the Baron, while Octavian enlists Annina and Valzacchi to partic- ipate in an intrigue he is hatching. When Ochs is alone, nursing his wound with a glass of wine, Annina, sent by Octavian, appears with a letter from “Mariandel,” asking Ochs to a rendezvous. Intoxicated with his own charm, the Baron is delighted at the prospect of a tête-à-tête. When he refuses to tip Annina, she determines to get even.

Act III. A private room at an inn At Octavian’s instigation, Annina and Valzacchi prepare the back room of a dingy inn for Ochs’s rendezvous. Before long, the Baron and “Mariandel” arrive for a private supper. As she coyly leads him on, grotesque apparitions pop out of windows and secret panels, terrifying the Baron. Annina, disguised as a widow, runs in crying that Ochs is the father of her many children. When the police appear, Ochs claims that “Mariandel” is his fian- cée. The arriving Faninal, furious at his future son-in-law’s behavior, summons Sophie to set matters straight, then faints and is carried off. At the height of the confusion, the Marschallin enters. Octavian takes off his disguise and the Marschallin explains to Ochs that it was all a farce. He finally admits defeat and leaves, pursued by the innkeeper and various other people who all demand payment of their bills. Left alone with Octavian and Sophie, the Marschallin laments that she must lose her lover so soon, but nevertheless accepts the truth. She gives the bewildered Octavian to Sophie and quietly leaves the room. The young lovers realize that their dream has come true.

Courtesy METROPOLITAN OPERA

Eva von der Osten (Octavian) and Margarethe Siems (the Marschallin) in the original 1911 Dresden production of “Der Rosenkavalier”

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performanc ® sound for yourself. of their their of And our And s. e— he he e . Richard Strauss “Der Rosenkavalier,” Comedy for music in three acts, Opus 59

RICHARD GEORG STRAUSS was born in , Germany, on June 11, 1864, and died in Garmisch-Partenkirchen, Bavaria, on September 8, 1949. He collaborated on “Der Rosenkavalier” with the poet and playwright Hugo von Hofmannsthal, who wanted it to bear the descriptive title “Burlesque Opera,” but Strauss preferred “Comedy for Music,” which he inscribed on the com- pleted score, dated September 26, 1910. “Der Rosenkavalier” was premiered at the Königliches Opernhaus in Dresden on January 26, 1911. conducted; scenic and costume designs were by Alfred Roller; and the production was directed by the theatrical innovator , with Margarethe Siems as the Marschallin, Minnie Nast as Sophie, as Octavian, Karl Perron as Baron Ochs, and Karl Schneidemantel as Faninal. (Following World War I, Reinhardt, Hofmannsthal, Strauss, Roller, and the conductor were founders of the .)

THE PRINCIPAL CHARACTERS OF “DER ROSENKAVALIER” are the Marschallin (soprano), Octavian (mezzo-soprano), Sophie (soprano), Baron Ochs (bass), and Faninal, Sophie’s father (baritone).

THE SCORE OF “DER ROSENKAVALIER” calls for more than forty solo singers, including four child and a small chorus of tenors and basses. A fully staged production would also include a large complement of non-singing roles, which Strauss wittily described as “various suspicious types.” The orchestra includes piccolo, three flutes, three oboes, English horn, three clarinets, E-flat clarinet, bass clarinet, , three bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, additional percussion (bass , , tri- angle, , , ratchet, , sleigh bells, and ), , two harps, sixteen first violins, sixteen second violins, twelve violas, ten cellos, and eight basses. An offstage orchestra calls for two flutes, oboe, three clarinets, two bassoons, two horns, trumpet, snare drum, harmonium, piano, first and second violins, viola, cello, and bass.

THE BACKGROUND

Strauss’s mother was the daughter of a successful brewer; his father, Franz, was the principal horn player of the Munich court orchestra. The young Richard was raised on a diet of Haydn, Mozart, and Beethoven; as a young composer, he focused mainly on

week 1 program notes 31

A 1912 photograph of Hugo von Hofmannsthal and Richard Strauss

instrumental genres. His appointment in 1885 as assistant to conductor Hans von Bülow in Meiningen exposed him to Wagner’s “Music of the Future,” as well as to Franz Liszt’s working motto: “New ideas must seek new forms.” Strauss first realized these aspira- tions in his orchestral and later in his , especially and . Hugo von Hofmannsthal (1874-1929), with whom he collaborated on Der Rosenkavalier (1910), also wrote the for Elektra (1909), (1912; rev. 1916), (1919), Die ägyptische Helen (1927), and (1933).

In his letter of November 2, 1909, about eleven months after the premiere of Elektra, Hofmannsthal revealed to Strauss that he had been working on “something which is (as I hope) of far greater importance to the two of us. I have spent three quiet afternoons here drafting the full and entirely original scenario for an opera, full of burlesque situ- ations and characters, with lively action.... I find the scenario enchanting.... It contains two big parts, one for baritone and another for a graceful girl dressed up as a man.... Period: the old Vienna under the Empress Maria Theresa.” He sent the text in install- ments, and Strauss, very pleased, responded on April 21, 1909: “The opening scene is delightful: it’ll set itself to music like oil and melted butter: I’m hatching it out already. You’re da Ponte and Scribe rolled into one....”

Strauss and Hofmannsthal rarely met, and the genesis and compositional priorities of Der Rosenkavalier can be traced through their detailed correspondence. Der Rosenkava- lier, like most of Strauss’s operas, is symphonic, a topic Strauss discussed in his letter of May 4, 1909: “[F]or the sake of symphonic unity, I must compose the music from the beginning to the end.” Such was Strauss’s confidence in his ideas for the whole that he sent the score for acts I and II to the publisher even before completing Act III. Other issues included pacing, anticipation, and surprise, exemplified in Strauss’s request of May 16, 1909, regarding a dramatic pause he wanted in Act II: “It would be very nice if...you could write a contemplative ensemble passage, to follow the moment when

week 1 program notes 33 Program page for the first Boston Symphony Orchestra performance of any music from “Der Rosenkavalier”—the Suite from “Der Rosenkavalier”—on January 18, 1949, in Cambridge with Thor Johnson conducting (BSO Archives)

34 some dramatic bomb has just gone off, when the action is suspended and everybody is lost in contemplation.” By contrast the inn scene of Act III must be chaotic and not “too broad, too scattered, everything in orderly succession instead of one thing bursting on top of another” (May 20, 1909). On August 30, 1910, in order to hasten the final cur- tain, Hofmannsthal cautioned, “The curtain is almost ready to fall, everything hastens towards the end. Any weariness at this point (and three minutes too much can produce fatal weariness and impatience) would be fatal to the overall success.”

To reinforce his ideas, Strauss often pointed to the work of other composers, explicitly or implicitly, to illustrate what he wanted; as was to be expected, he referred to Wagner, but sometimes also Rossini and Verdi. Strauss’s comments of May 4, 1910, about vocal casting—“I’ll need very good ...ordinary operatic singers won’t do”—suggest a lesson learned from Verdi’s final opera, (1893), for which the composer required “singing actors” and not “acting singers.”

THE OPERA

Der Rosenkavalier unfolds a skirmish between love and lust, the clumsy, often dissonant Baron Ochs and the graceful lyricism of the Marschallin and gorgeous harmonies of Octavian, and Sophie, whose euphoria is transfigured in the ethereal music of the rose, shimmering parallel triads played pianissimo by three flutes, three solo violins, celesta, and two harps. A third sonority is the waltz, which permeates the fabric and stymied

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Proudly Offered by Northland Residential Corporation, Developer of Exceptional Properties Throughout New England For Over 45 Years Alfred Roller's design for Act I of the world premiere in Dresden on January 26, 1911

some early critics; one snidely compared Rosenkavalier to an “ with its ‘sickly’ Viennese glissandi, its sticky sentimentalities and its utterly uncomplicated...eroticism.” Others thought the waltzes were anachronistic. But the waltz was a correct choice of “period” music, since it was popular in the Vienna of the late 18th century. The problem was one of style and intention, manifested in Strauss’s salute to contemporary Viennese culture through homage to the “Waltz King,” Johann Strauss II. Moreover, the waltzes (which are never actually seen), once thought of as too ribald for well-mannered folk, thus provide a fitting accompaniment for Baron Ochs’s attempted seduction of “Marian- del” in Act III.

Der Rosenkavalier begins with a stormy (stürmisch bewegt) orchestral movement, as the horns take a commanding leap to a high note, where they linger for a full measure and well into the next, countered by a luscious chromatic melody in contrary motion. The two themes develop into what appears to be a lively “Vorspiel.” But is it really a “pre- lude?” The curtain rises on a bedroom scene—a besotted Octavian, and a radiant Mar- schallin—and we may now understand the opening music as a fig leaf for what could not ceilings, first floor master suite and private outdoor space, be shown on stage (at least in 1911).

week 1 program notes 37 “A ROUGH-EDGED, OFTEN STARTLINGLY INSIGHTFUL STAGING OF BIZET’S MASTERPIECE.” – SAN JOSE NEWS

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TICKETS START AT $25 Alfred Roller's design for Act II of the world premiere in Dresden on January 26, 1911

The fun-house mirror image of such erotic beauty is the crude and lewd Baron Ochs. When developing the scene of Ochs’s “wounding” in Act II, Strauss (in his letter of August 13, 1909) again turned to Falstaff, particularly the scene in which he curses the world, and consoles himself with a glass of wine, after having been tossed into the Thames: “In Verdi’s Falstaff, there is an amusing monologue at the beginning of the last act.... I picture the scene of the Baron similarly: the Baron...talking in snatches, partly to himself and partly to others, in turn boastful and sorry for himself, always interrupted by orchestral interludes.” But Falstaff is far more charming than the Baron, who exhibits his lack of finesse at every turn, speaking a coarse Viennese dialect, declaiming, shouting, and often singing a banal refrain (“The luck of the Lerchenau”).

Many traditional comedies end with an assembly of characters, who sing a moral. Der Rosenkavalier, however, climaxes in a sublime trio that dissolves into a blissful duet, and eventually an empty stage. There are three victors, Sophie, Octavian, and the Marschal-

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For reservations or more information, call 1 800 441 1414 or visit www.fairmont.com/copley-plaza-boston Alfred Roller’s original costume designs for Octavian, Sophie, and Baron Ochs, Dresden, 1911

lin, who releases Octavian to Sophie, and exits the scene gracefully with the words, “I made a vow to love him rightly as a good woman should. Nay, even to love the love he bore another I promised!”

Helen M. Greenwald

Chair of the Department of Music History and Musicology at the New England Conservatory, where she has taught since 1991, musicologist helen m. greenwald writes and lectures internationally on a wide range of musical subjects, and edited “The Oxford Handbook of Opera,” published by Oxford University Press.

THE FIRST AMERICAN PERFORMANCE OF “DER ROSENKAVALIER” took place at the Metro- politan Opera in New York on December 9, 1913. Alfred Hertz conducted, with as the Marschallin, Margarete Ober as Octavian, Anna Case as Sophie, Otto Goritz as Baron Ochs, and Hermann Weil as Faninal.

THE FIRST BOSTON SYMPHONY PERFORMANCE of any music from “Der Rosenkavalier” was of the popular orchestral suite, in January 1949 with Thor Johnson conducting. Subsequent performances of the suite (and occasional other purely orchestral arrangements) were given by Pierre Monteux, Erich Leinsdorf, David Zinman, Andrew Davis, Seiji Ozawa, Neeme Järvi (the most recent subscrip- tion performances of the suite, in January/February 2003), Donald Runnicles, and Rafael Frühbeck de Burgos (the BSO’s most recent Tanglewood performance, on August 5, 2011). More recently, as part of a Tanglewood Gala on July 12, 2014, Andris Nelsons led the Tanglewood Music Center Orchestra in the suite and final scene, with, in the final scene, Sophie Bevan as Sophie, as the Marschallin, and Isabel Leonard as Octavian.

week 1 program notes 41

To Read and Hear More...

The biggest biography of Richard Strauss is still ’s three-volume Richard Strauss, which gives equal space to the composer’s life and music ( paperback); Der Rosenkavalier receives detailed consideration in Volume I, in a chapter entitled “The Crowning Success.” Charles Osborne’s The Complete Operas of Richard Strauss provides a first-rate introduction to all of Strauss’s operas (Da Capo paperback). Detailed consideration of each can also be found in William Mann’s Richard Strauss: A Critical Study of the Operas (Oxford University Press). Also useful is the Guide to Der Rosenkavalier, edited by Nicholas John, which includes German and English librettos, a thematic guide to the opera, and several introductory essays (John Calder and Riverrun Press). Equally valuable is Richard Strauss: Der Rosenkavalier, edited by Alan Jefferson, in the Cambridge Opera Handbooks series (Cambridge University Press). Relatively recent books on Strauss include Tim Ashley’s Richard Strauss in the well-illustrated series “20th-Century Composers” (Phaidon paperback); The life of Richard Strauss by Bryan Gilliam, in the series “Musical lives” (Cambridge paperback); Raymond Holden’s Richard Strauss: A Musical Life, which examines the composer’s life through detailed consideration of his work as a conductor (Yale University Press), and Richard Strauss: Man, Musician, Enigma (Cambridge University Press) by Michael Kenne- dy, who also wrote Richard Strauss in the “Master Musicians” series (Oxford paperback).

Important audio-only accounts of Der Rosenkavalier include several recorded with the Vienna Philharmonic (the singers being listed in the order Marschallin/Octavian/ Sophie/Ochs/Faninal): conductor ’s from 1954 with , , Hilde Gueden, , and (Decca); ’s from 1968/69 with Régine Crespin, , , , and (Decca); Karl Böhm’s preserved live from the 1969 Salzburg Festival with , , , , and Otto Wiener (Deutsche Grammophon); and a 1933 abridgement (about half the opera) led by with , , , , and Victor Madin (EMI). Also important is ’s 1956 recording with the Philhar- monia Orchestra and principal soloists , Christa Ludwig, Teresa Stich-Randall, , and Eberhard Waechter, with Nicolai Gedda as the Italian singer (originally EMI). Bernard Haitink recorded Der Rosenkavalier in 1990 with the and principal soloists , , Barbara Hendricks, , and (EMI). Andris Nelsons has record- ed the Rosenkavalier Suite with the City of Birmingham Symphony Orchestra (Orfeo).

week 1 read and hear more 43

Renée Fleming’s Marschallin is preserved on video in a 2009 Baden-Baden production (an update by stage director to the early 1930s) with Christian Thie- lemann conducting the Munich Philharmonic; the other principals are , , Franz Hawlata, and Franz Grundheber, with as the Ital- ian singer and Jane Henschel as Annina (Decca DVD; also CD). Ms. Fleming’s “Strauss Heroines” disc includes the extended scene for the Marschallin and Octavian that ends Act I (including the Marschallin’s monologue, “Die Zeit, die ist ein sonderbar Ding”) and the trio and finale of Act III (she is joined by Susan Graham as Octavian and as Sophie), plus excerpts from Arabella and , all with Christoph Eschen- bach conducting the Vienna Philharmonic (Decca). Noteworthy traditional productions on video include a 1982 Metropolitan Opera telecast led by with Kiri Te Kanawa, Tatiana Troyanos, , , and Derek Hammond-Stroud, plus as the Italian singer (Metropolitan Opera DVD), and a 1977 performance led by with , , , , and (Deutsche Grammo- phon). A later Kleiber video, from 1994 with the Vienna State Opera, features , Anne Sofie von Otter, Barbara Bonney, Kurt Moll, and Gottfried Hornik (Deutsche Grammophon).

Marc Mandel

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goulstonstorrs.com Guest Artists

Renée Fleming (Marschallin) Renée Fleming is one of the most acclaimed singers of our time. In 2013 President Obama awarded her America’s highest honor for an individual artist, the National Medal of Arts. She brought her voice to a vast new audience in 2014 as the first classical artist ever to sing “The Star-Spangled Banner” at the Super Bowl. Winner of the 2013 Grammy Award (her fourth) for Best Classical Vocal Solo (for her album “Poèmes”), Ms. Flem- ing has sung for momentous occasions around the world, from the 2006 Nobel Peace Prize ceremony to an historic first in 2012, when she sang on the balcony of Buck- ingham Palace in the Diamond Jubilee Concert for Queen Elizabeth II. In 2008 she became the first woman in the 125-year history of the Metropolitan Opera to headline an opening night gala. This year’s concert schedule takes Ms. Fleming to Boston, New York, Stockholm, London, , Vienna, Madrid, Monte Carlo, , and San Francisco. She performs the role of the Marschallin in a new production of Strauss’s Der Rosenkavalier at –Covent Garden and the Metropolitan Opera. Known for bringing new audiences to classical music and opera, Ms. Fleming has sung not only with Pavarotti, Domingo, and Bocelli but also with Elton John, Paul Simon, Sting, Lou Reed, Josh Groban, and Joan Baez. She has hosted a wide variety of television and radio broadcasts, including the Metropolitan Opera’s “Live in HD” and PBS’s “Live from Lincoln Center.” Decca released her most recent album, featuring Berg’s Lyric Suite and Wellesz’s Sonnets, last year. In recent years, this fourteen-time Grammy-nominated artist has recorded everything from complete operas and song recitals to jazz, indie rock, and the movie soundtrack of The Lord of the Rings. Her recent opera DVDs include Handel’s Rodelinda, Massenet’s Thaïs, and Ver- di’s , all three in the Metropolitan Opera “Live in HD” series; Strauss’s Arabella and Ariadne auf Naxos; and Verdi’s , filmed at London’s . Among her numerous awards are the Fulbright Lifetime Achievement Medal, Germany’s Cross of the Order of Merit, Sweden’s Polar Prize, France’s Chevalier de la Légion d’Honneur, Honorary Membership in the , and honorary doctorates from Harvard Univer- sity, Duke University, Carnegie Mellon University, the University of Pennsylvania, the East- man School of Music, and the Juilliard School. Her memoir, The Inner Voice, has been pub- lished around the world, and is currently in its fourteenth paperback printing from Penguin. In March 2016 Renée Fleming was named an Artistic Advisor at Large for the Kennedy Cen- ter in Washington, D.C. In 2010 she was named the first-ever creative consultant at , where she curated of the world premiere of an opera based on the bestselling novel Bel Canto. Her jewelry is by Ann Ziff for Tamsen Z. She is a board member of several organizations, including the Carnegie Hall Corporation, Sing for Hope, the Asia Society, and the Polyphony Foundation. Visit reneefleming.com for more infor-

week 1 guest artists 47 mation. Renée Fleming made her Tanglewood and Boston Symphony debuts in July 1991, as Ilia in a concert performance of Mozart’s led by Seiji Ozawa. Her BSO subscription debut was in December 1998, in Haydn’s The Creation with James Levine conducting. Among other Symphony Hall appearances she gave the American premiere of a work written for her, Henri Dutilleux’s Le Temps l’Horloge, a BSO co-commission, in 2007, as well as the American premiere of its definitive revised version this past January. She sang the role of Tatyana in a 2008 concert performance of Tchaikovsky’s Eugene Onegin with the Tangle- wood Music Center Orchestra, and at Tanglewood this past summer, she performed music of Egon Wellesz and with the Emerson String Quartet and Strauss’s with the Boston Symphony Orchestra under Ken-David Masur.

Erin Morley (Sophie) Erin Morley has stepped into the international spotlight in recent years with a string of crit- ically acclaimed appearances in the world’s great opera houses, including the Metropolitan Opera, the Vienna Staatsoper, Munich’s Bayerische Staatsoper, the Opéra National de Paris, the Palau de les Arts in Valencia, Spain, and . She has also appeared as a soloist with America’s premier symphony orchestras, including the Cleveland Orchestra, Chicago Symphony Orchestra, , and the . Ms. Morley’s 2016-17 season features the title role of with the Bayerische Staatsoper and Zerbinetta in Ariadne auf Naxos with Glyndebourne Festival Opera. In concert she reprises Angelica in Handel’s with Harry Bicket and The English Concert on tour in Ferrara, Italy. Ms. Morley sings in recital at Alice Tully Hall and at Brigham Young University. Future projects include returns to the Metropolitan Opera, Glyndebourne Festival Opera, Wiener Staatsoper, Santa Fe Opera, and Carnegie Hall. The 2015-16 season included a return to Munich (the Fiaker- milli in Arabella) and Paris (Sophie), and debuts at Minnesota Opera (Zerbinetta), Opéra de Nancy (Lucia), and The English Concert in a European and North American tour singing Angelica. A graduate of the Metropolitan Opera’s Lindemann Young Artist Development Program, Ms. Morley has sung more than seventy performances at the Metropolitan Opera, enjoying particular success in 2013-14 as Sophie in Der Rosenkavalier, a role she reprises in this season’s new production alongside Elīna Garanˇca and Renée Fleming. Equally at home in chamber music, she has appeared with Louis Langrée and the Mostly Mozart Festival Orchestra, with the Chamber Music Society of Lincoln Center, in a recital tour with pianist Vlad Iftinca, with pianist Ken Noda (Webern’s Four Songs), and with James Levine and the Met Chamber Ensemble in Carnegie’s Zankel Hall (Satie’s Socrate). In DVD recordings, Ms. Morley can be seen as Sandrina in La finta giardinieraunder Emmanuelle Haïm in the Opéra de Lille production for Erato, and as Woglinde in Götterdämmerung with in the Metropolitan Opera’s Grammy Award-winning Lepage Ring cycle for Deutsche Grammo- phon. She can be heard as Marguerite de Valois (in Les Huguenots, live from Bard Summer- Scape), for the ASO label; in ’s Symphony No. 3, Espansiva, with Alan Gilbert and the New York Philharmonic for Da Capo Records; and as Sylvie in Gounod’s opéra-comique La Colombe with and the Hallé Orchestra for the Opera Rara label. With these concerts, Erin Morley makes her Boston Symphony Orchestra debut, having appeared at Tanglewood in 2015 with the Tanglewood Music Center Orchestra in Mahler’s Symphony No. 8 under the direction of Andris Nelsons.

48 Susan Graham (Octavian) Susan Graham’s operatic roles span from Monteverdi’s Poppea to Sister Helen Prejean in ’s , which was written especially for her. She won a Grammy Award for her collection of Ives songs, and her most recent album, “Virgins, Vixens and Viragos,” features composers from Purcell to Sondheim. One of the foremost exponents of French vocal music, she was awarded the title Chevalier de la Légion d’Honneur by the French government. In the 2016-17 season Ms. Graham joins Renée Fleming and for the ’s opening gala; stars in Washington National Opera’s revival of Dead Man Walking, making her role debut as the convict’s mother; and performs with Santa Fe Opera as Prince Orlofsky in ; Deutsches Symphonie-Orchester Berlin as Erika in Barber’s Vanes- sa; the MET Orchestra and Esa-Pekka Salonen at Carnegie Hall in selections from Mahler’s Des Knaben Wunderhorn; the Philadelphia Orchestra and Yannick Nézet-Séguin in selections from Canteloube’s Chants d’Auvergne; San Antonio Symphony in Berlioz’s La Mort de Cléopâtre, and the Sydney Symphony under David Robertson in Ravel’s Shéhérazade and Mahler’s Symphony No. 3. In recital she and perform “Frauenliebe und -leben Variations” (inspired by Schumann’s iconic song cycle) in Santa Barbara, Baltimore, and Portland, Oregon. Last season brought her role debut as Countess Geschwitz in Berg’s at the Metropolitan Opera, where she also starred in Die Fledermaus under James Levine. In concert, she celebrated New Year’s Eve in a Parisian-themed program with the New York Philharmonic, joined the Orchestra of St. Luke’s for Purcell at Carnegie Hall, sang Berlioz with the San Francisco Symphony, premiered her “Frauenliebe und -leben Variations” recital program with Bradley Moore in Boston and London, and made her role debut as Clarion in Capriccio at Santa Fe Opera. Besides creating the role of Sister Helen Prejean in ’s world premiere of Dead Man Walking, she created leading roles in the Metropolitan Opera’s world premieres of Harbison’s The Great Gatsby and Picker’s An American Tragedy, and made her debut as Tina in Argento’s The Aspern Papers. As ’s Lynn Wyatt Great Artist, she starred there as Prince Orlofsky before singing Syco- rax in the Met’s Baroque pastiche The Enchanted Island and making her acclaimed musical theater debut in ’s The King and I in Paris. Additional Metropoli- tan Opera highlights include Berlioz’s (“Live in HD” series) and the title role in Lehár’s . Her affinity for French repertoire also serves as the foundation for her extensive concert and recital career. Such works as Berlioz’s La Mort de Cléopâtre and Les Nuits d’été, Ravel’s Shéhérazade and Chausson’s Poème de l’amour et de la mer take her to the world’s leading orchestras. In addition to many recordings of complete operas, she has released several solo albums. Since her BSO debut performances in November 1994 at Sym- phony Hall in several Berlioz works, immediately repeated on tour in Hong Kong and , Susan Graham has appeared numerous times with the orchestra in Boston and at Tangle- wood, most recently at Tanglewood in July 2011 singing arias of Gluck and Handel; at Tan- glewood in July 2012, as Marguerite in Berlioz’s ; and at Symphony Hall singing Shéhérazade under Bernard Haitink in January/February 2014. Also with the BSO she has sung the role of The Child in Ravel’s L’Enfant et les sortilèges, as well as music of Debussy, Mozart, Strauss, Mendelssohn, and Mahler.

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Developed by Massachusetts General Hospital Proudly Celebrating 25 Years! Franz Hawlata (Baron Ochs) Born in Eichstätt, Bavaria, Franz Hawlata studied musicology before entering the Musikhoch- schule München, where Ernst Häfliger, , and Erik Werba were his teachers. In 1986 he made his debut with the Gaertnerplatztheater München. His international career began in 1992 with Busoni’s in Lyon and Le nozze di Figaro in Preto- ria. His more than 200 performances since 1994 at the Vienna State Opera include Baron Ochs in Der Rosenkavalier, Orest in Elektra, Sir Morosus in , Rocco in , Caspar in Der Freischütz, Leporello in , Papageno and Sarastro in Die Zauberflöte, Osmin in Die Entführung aus dem Serail, Figaro in Le nozze di Figaro, the title role in , Daland in Der fliegende Holländer, and Pogner in Die Meistersinger von Nürnberg. His 1995 Metropolitan Opera debut was as Ochs and in November 1996 he was Leporello at the Royal Opera–Covent Garden, where he later returned as Ochs. Guest appearances have also taken him to San Francisco, Tokyo, Chicago, Torino, Florence, and to the Staatstheater Meiningen, where he sang his first Wotan in 2001. In 2007 he sang his first Hans Sachs inDie Meistersinger von Nürnberg at the Bayreuth Festi- val and his first Barak in Die Frau ohne Schatten in Chicago and Paris. Other highlights include Gurnemanz and Pogner at the Tyrolean Festival (where he also sang Zaccaria in Verdi’s Nab- ucco and King Marke in ), Falstaff in Nicolai’s The Merry Wives of Windsor in Tokyo, Sir Morosus in Chemnitz, Ochs and Pasquale in both opera houses of Munich, Wotan ( and Die Walküre) in Palermo, La Roche in Budapest, King Marke in Warsaw, Daland in Beijing, the Doctor (Wozzeck) in a new production at Madrid’s (where he also sang King Henry in Lohengrin), and Osmin in Liège (where he also sang Rocco). Also in demand for concert and recital performances, Mr. Hawlata has appeared in great concert halls worldwide. He has recorded Lieder by (with Juliane Banse and Helmut Deutsch), German opera arias, an all-Verdi recital, and ’s Das Buch mit sieben Siegeln. Opera recordings include Spohr’s Faust, Loewe’s The Three Wishes, Marschner’s Der Vampyr, Nicolai’s The Merry Wives of Windsor, Dvoˇrák’s , Beethoven’s Leonora, and Berlioz’s Benvenuto Cellini. These are Franz Hawlata’s first appearances with the Boston Sym- phony Orchestra.

Alan Opie (Faninal) Baritone Alan Opie is a regular guest at the Metropolitan Opera, , Wiener Staatsop- er, Bayerische Staatsoper Munich, Santa Fe Festival, Glyndebourne Festival Opera, English National Opera, , and the Royal Opera House–Covent Garden. He opens the 2016-17 season performing the Gamekeeper in Rusalka and Arbace in Idomeneo at the Metropolitan Opera, where he has also sung the title role in , Count Zeta in The Merry Widow, and Frank in Die Fledermaus. At the Bayreuth Festival he has been Beckmesser (Die Meistersinger von Nürnberg), a role he repeated in Berlin, Amsterdam, Munich, Vienna, and . He was nominated for an Olivier Award for his performance in the title role of Falstaff with English National Opera. Alan Opie’s operatic appearances have included leading roles for the Deutsche Staatsoper and , the Opéra-Bastille and Théâtre du Châtelet in Paris, and the opera houses of Chicago, Los Angeles, San Diego, Sydney, Amsterdam, Brus- sels, Florence, Cagliari, Spoleto, Strasbourg, and Oslo, among others. His roles with these companies have included the title role in , Giorgio Germont in La traviata, Balstrode

week 1 guest artists 51 BOSTON PHILHARMONIC BOSTON PHILHARMONIC ORCHESTRA YOUTH ORCHESTRA

An all-Russian program The astonishing In Mo opens the season with Lera Yang, recent winner of the Auerbach’s enthralling Icarus, Paganini competition, is Rachmaninoff’s brilliantly a magnet who will draw inventive Rhapsody on a Theme everyone interested in the of Paganini with the dazzling violin to this concert. In pianist Ya-Fei Chuang, and Prokofiev’s thrilling Fifth Tchaikovsky’s heart-wrenching Symphony the BPYO itself Sixth Symphony. will be the virtuoso soloist.

LERA AUERBACH BENJAMIN SIBELIUS BENJAMIN Icarus ZANDER Finlandia ZANDER (Boston premiere) conductor conductor SIBELIUS RACHMANINOFF YA-FEI IN MO CHUANG Violin Concerto YANG Rhapsody on a piano violin Theme of Paganini PROKOFIEV Symphony No. 5 TCHAIKOVSKY Symphony No. 6, Pathétique

THURSDAY, OCTOBER 20 / 7:30PM MONDAY, NOVEMBER 7 / 7:30PM SANDERS THEATRE / DISCOVERY SYMPHONY HALL SATURDAY, OCTOBER 22 / 8:00PM NEC’S JORDAN HALL SUNDAY, OCTOBER 23 / 3:00PM SANDERS THEATRE

TICKETS FROM $15 / STUDENTS $10 / CALL 617.236.0999 BUY TICKETS AT BOSTONPHIL.ORG in , Fieramosca in Benvenuto Cellini, Scarpia in , the Forester in , Sharpless in , Napoleon in War and Peace, and Falstaff. He per- formed in the world premieres of Berio’s Outis and Bright Sheng’s Chairman Mao. His concert performances with major orchestras worldwide have included Mendelssohn’s Elijah in San Francisco and Dallas; Walton’s ’s Feast in Dallas, Denver, and at Carnegie Hall; Britten’s War in Washington, Vaughan Williams’s Sea Symphony in Los Angeles, and Elgar’s The Kingdom with the Hallé Orchestra for the 150th anniversary of Elgar’s birth. Alan Opie has recorded for CBS, EMI, Hyperion, Chandos, Naxos, and Decca. Releases include “Alan Opie Sings Bel Canto Arias,” Britten’s , , a Grammy-winning Peter Grimes, Death in , , and The Beauty Stone, Delius’s Mass of Life, the title role in Dallapiccola’s Ulisse, and Beckmesser in Die Meistersinger von Nürnberg under Sir Georg Solti, for which he received his second Grammy Award. In the birthday honours of 2013 Alan Opie received an OBE for services to music. His only previous Boston Symphony appearances were in March/April 2002, singing Uncle Sarvaor in concert performances of Falla’s La vida breve with Rafael Frühbeck de Burgos conducting.

Irmgard Vilsmaier (Marianne) Making her Boston Symphony Orchestra debut this week, the German Irmgard Vilsmaier started her career as a member of the Bavarian State Opera in Munich. She has since appeared in such opera houses as Flaamse Opera Antwerpen, De Ned- erlandse Opera Amsterdam, Opera Weimar, Volksoper Vienna, and at the Salzburg Festival. From 2000 to 2004 she was an annual guest at the Bayreuth Festival. She has sung Mother in Hänsel und Gretel at the Staatsoper Hamburg, Marianne in Der Rosenkavalier at both the Salzburg and San Sebastian festivals, and Sieglinde in Die Walküre with in Toronto for her North American debut, as well as appearing with Dresden, Opéra Bastille in Paris, and the Vienna State Opera, where she sang Helmwige in Die Walküre, Gutrune and Third Norn in Götterdämmerung, and Marianne. Recent and future engagements include Mother and Witch in Hänsel and Gretel in Vienna and Dresden and at the Bavarian State Opera; Sieglinde, Third Norn, and Gutrune in Amsterdam; Mother at the Glyndebourne Festival and Covent Garden; Chrysothemis in Elektra with ; Santuzza in at the Estonian National Opera Talinn, and in Tannhäuser and Ariadne in Ariadne auf Naxos in Dresden. Ms. Vilsmaier sang her first Brünnhilde inDie Walküre in Trier in 2007 and her first Isolde in Tristan und Isolde in 2008 at the Estonian National Opera. She sang Der Rosenkavalier in Baden-Baden, Kundry in at the State Opera Budapest, Goneril in Reimann’s Lear at the Komische Oper Berlin, Prokofiev’s Love for Three Oranges in Vienna, Hänsel und Gretel at Glyndebourne, and Sieglinde in Die Walküre at Mannheim National Theatre. Other recent highlights include Ghita in Zemlinsky’s Der Zwerg at the Bavarian State Opera, Kundry in Tal- linn, Mère Marie in Dialogues des Carmélites in Berlin and at the Staatsoper (where she also sang Brünnhilde in Götterdämmerung), Third Norn in Munich, Der Rosenkavalier in Dresden, Hänsel und Gretel at Opéra Bastille, Isolde under Myung-Whun Chung in Seoul and Tokyo, and all the Brünnhildes during one evening, in four concerts in Vienna. She has col- laborated with such conductors as , , Semyon Bychkov, Hartmut Haenchen, Marcello Viotti, Peter Schneider, , , Fabio Luisi, Kirill Petrenko, and .

week 1 guest artists 53 BE INSPIRED! 59th SEaSoN, 2016–2017

BOSTON YOUTH SYMPHONY ORCHESTRAS BYSO ON PARADE Federico Cortese, Music Director Sunday, March 12, 2017 • 3pm • Symphony Hall BRiTTEN the Young Person’s Guide to the orchestra 59TH SEASON OPENING CONCERT Sunday, October 16, 2016 • 3pm • Symphony Hall 59TH SEASON FINAL CONCERT MOZART Symphony No. 41, “” Sunday, June 11, 2017 • 3pm BEETHOVEN Symphony No. 8 Sanders Theatre at Harvard University BARTÓK Concerto for orchestra BRaHMS Symphony No. 4 BYSO OPERA Sunday, January 29, 2017 • 3pm For tickets visit www.BYSOweb.org Sanders Theatre at Harvard University Experience the Future of Classical Music photo by Michael J. Lutch TcHaikOVSky Eugene Onegin

In residence at BYSO/BSO: Partnering for the Future

54 Michelle Trainor (Milliner) Michelle Trainor makes her Boston Symphony Orchestra debut this week as the Milliner in Der Rosenkavalier under Andris Nelsons. Also this season, she returns to Boston Lyric Opera as Marcellina in Le nozze di Figaro. Highlights of previous seasons include Nicholas White’s Magnificat in New Hampshire’s First Church, reprising the title role of Tosca with La Forza dell’Opera in Brooklyn, The Merry Widow with Boston Lyric Opera, acclaimed performances as Brangain in Martin’s The Love Potion and in the title role of with MetroWest Opera, a staged version of Schubert’s early song Hagar’s Lament, the Second Lady in , and performances at the Tuscia Opera Festival in Viterbo, Italy. As a Boston Lyric Opera Emerging Artist, she has sung roles in BLO productions of Hansel and Gretel, Macbeth, The Inspector, The Magic Flute, and The Love Potion. She is a frequent performer in the BLO Signature Series at Boston’s Museum of Fine Arts and was nominated by ArtsImpulse for Best Female Performer in an Opera. Equally at home with concert repertoire, Ms. Trainor has performed such works as Beethoven’s Ninth Symphony and Haydn’s Missa in Angustiis, Mozart’s Requiem, Mass in C minor, Solemn Vespers, and Missa Brevis in B-flat, Mahler’s Eighth Symphony, and Vaughan Williams’s . Ms. Trainor made her Carnegie Hall debut in Mahler’s Eighth Symphony with Canterbury Choral Society. She has performed at Boston’s First Night, has sung works with Composers in Red Sneakers, and was soprano soloist in Boston Ballet’s pro- duction of A Midsummer Night’s Dream.

Jane Henschel (Annina) Jane Henschel has appeared with the Boston Symphony Orchestra, , New York Philharmonic, London Symphony, BBC Symphony, Philadelphia Orchestra, the Orchestre de la Suisse Romande, and the Orchestre de Radio France under such conductors as Ozawa, Conlon, Nelsons, Maazel, Rattle, Janowski, , Andrew Davis, and Schoenwandt. Her recordings include Krása’s Verlobung im Traum, The Rake’s Prog- ress, Albéniz’s and Henry Clifford, Britten’s The Turn of the Screw, and Mahler’s Eighth Symphony. She has sung Baba the Turk in Stravinsky’s The Rake’s Progress at the Glyndebourne, Saito Kinen, and Salzburg festivals; Brangäne in Tristan und Isolde for and the ; Klytämnestra in Elektra at San Francisco Opera, the Principessa in Suor Angelica with the Royal Orchestra, Dia- logues des Carmélites in Amsterdam, the Kostelnicka (Jen˚ufa) under Ozawa in Japan, Auntie in Peter Grimes under Rattle, and the Kabanicha (Kátya Kabanová) for the Salzburg Festival. For the Royal Opera–Covent Garden she has sung Fricka, Waltraute, Ulrica in , Klytämnestra, Mrs. Grose in The Turn of the Screw, and Erda in the new Ring cycle; at La Scala, , she has sung Herodias in Salome, Cassandre in Les Troyens, and Waltraute. Her roles at the Bavarian State Opera include Herodias, Klytämnestra, Ulri- ca, Mistress Quickly, and Ortrud; at the Deutsche Oper Berlin, Klytämnestra, Herodias, and Ortrud; at the Vienna State Opera, Klytämnestra, Mistress Quickly, and Fricka; and Mistress Quickly at Los Angeles Opera. She has sung her signature role, the Nurse in Die Frau ohne Schatten, in Amsterdam, London, Los Angeles, Munich, Paris, Vienna, Berlin, and at the Met- ropolitan Opera. Recent engagements include the opera houses of London, Paris, Munich, Berlin, Madrid, Barcelona, and New York, concerts with the Dresden Staatskapelle, Berlin

week 1 guest artists 55 Philharmonic, Vienna Philharmonic, and Boston Symphony Orchestra, and at the Salzburg Easter Festival, the Festspielhaus Baden-Baden, and the Saito Kinen Festival Matsumoto. The 2016-17 season brings return engagements with the Vienna State Opera (Salome and Kátya Kabanová), Semperoper Dresden and Shanghai Symphony Orchestra (both for Salome), and the Staatstheater Stuttgart (Eugene Onegin). Jane Henschel’s previous Boston Sym- phony appearances have included Baba the Turk in The Rake’s Progress at Symphony Hall in December 1995 under Seiji Ozawa; appearances at Tanglewood as Herodias in Salome under Ozawa, as the Grandmother in Falla’s La vida breve under Rafael Frühbeck de Burgos, and in Mahler’s Symphony No. 8 under James Levine; and, under Andris Nelsons, Herodias in a concert performance of Salome in March 2014 and Klytämnestra in concert performances of Elektra in October 2015.

2016-17

Our upcoming NOVEMBER concerts Darkness & Light Salem Salem 11/11 8:00 Brookline 11/13 3:00 Friday Evenings at 8:00 In Historic Hamilton Hall Szymanowski Nov 11 | Jan 6 | Mar 10 | Apr 21 String Quartet No. 2, Opus 56 Beethoven Brookline String Quartet No. 7, Opus 59, No. 1 in F Sunday Afternoons at 3:00 In Beautiful St. Paul’s Church Lucia Lin, Tatiana Dimitriades, violins Nov 13 | Jan 8 | Mar 12 | Apr 23 Rebecca Gitter, viola – , cello

You ™ Please note Hamilton Hall is a Registered National Historic Landmark and is not handicap accessible to the performance hall on the second floor. Are Hear BostonArtistsEnsemble.org

56 Graham Clark (Valzacchi) Born in Lancashire, Graham Clark studied with Bruce Boyce, began his operatic career with Scottish Opera in 1975, and was a company principal at English National Opera (1978-85). He has performed with all of the leading UK opera houses, and his extensive interna- tional career includes opera and concert performances in North America, Asia, and Europe, in particular at the Bayreuth Festival (more than 120 performances), and at the Metropolitan Opera (82 performances). Especially associated with the works of Wagner, he has performed Loge and Mime () more than 275 times. Among his many roles are Mephistopheles in Busoni’s , for which he won an Olivier Award; Bégearss in the world premiere of Corigliano’s ; Captain Vere in , Steva in Jen˚ufa, Herodes in Salome, Hauptmann in Wozzeck, and Gregor in The Makropulos Case. In 2011 he made his acting debut as Socrates in The Trial of Socrates, Plato’s Apology at the Grand Théâtre, Luxembourg. Mr. Clark has recorded extensively on multiple labels, including DVD releases of Die Meistersinger von Nürnberg, Der fliegende Holländer, Der Ring des Nibelungen (Bayreuth); The Ghosts of Versailles, Wozzeck (Metropolitan Opera); Der Ring des Nibelungen, Lady Macbeth of Mtsensk, Khovanshchina (Gran Teatre del , Barcelona); Der Ring des Nibelungen (Netherlands Opera, Amsterdam); The Makropulos Case (Canadian Opera, Toronto); Wozzeck (Deutsche Staatsoper, Berlin); The Rake’s Progress (Glyndebourne Festival Opera), and The Trial of Socrates (Théâtres de la Ville de Luxembourg). Recent and future operatic engagements include Wozzeck, Metanoia, Lulu, and Die Meistersinger von Nürnberg for Berlin Staatsoper; Reimann’s Lear and The Makropoulos Case for Oper , Schreker’s Der Schatzgräber for Netherlands Opera, Der Traum ein Leben for Theater Bonn, Capriccio for Paris Opera, Hänsel und Gretel for Northern Ireland Opera, Falstaff for Glyndebourne, for English National Opera, a new commission by Iain Bell, In Parenthesis, for Welsh National Opera, and Capriccio and Tristan und Isolde for the Royal Opera House–Covent Garden. Concert engagements include a concert performance of Melot in Tristan und Isolde with the West-Eastern Divan Orchestra in Seville and Falstaff with the City of Birmingham Symphony Orchestra. He makes his Boston Symphony Orchestra debut in this week’s performances of Der Rosenkavalier.

week 1 guest artists 57 Stephen Costello (Italian Singer) The Philadelphia-born tenor Stephen Costello came to national attention in 2007 when he made his Metropolitan Opera debut on the company’s opening night. Two years later he won the prestigious Richard Tucker Award. He has since appeared at opera houses and music festivals including London’s Royal Opera House–Covent Garden, Deutsche Oper Berlin, Vienna State Opera, Lyric Opera of Chicago, San Francisco Opera, Washington’s National Opera, and the Salzburg Festival. In 2010 he created the role of Greenhorn (Ishmael) in Dallas Opera’s world premiere of Jake Heggie and ’s Moby-Dick. Mr. Costello returns to Dallas Opera to launch the 2016-17 sea- son with his role debut as Lensky in Eugene Onegin before reprising Moby-Dick. The season also brings his Boston Symphony Orchestra debut in Der Rosenkavalier under Andris Nelsons (he has previously appeared with the Boston Pops), a return to the Metropolitan Opera as Roméo in Bartlett Sher’s staging of Gounod’s Roméo et Juliette, and, also at the Met, the Duke of Mantua in Michael Mayer’s Vegas setting of Verdi’s Rigoletto. In Europe, besides giving his signature account of Rodolfo in La bohème at Madrid’s Teatro Real, he makes his Paris Opera debut as Camille in The Merry Widow. Recent highlights include the Duke in Rigoletto at the Metropolitan Opera, Lord Percy in , his first Des Grieux in Massenet’s at Dallas Opera, Verdi’s Duke at Madrid’s Teatro Real, Edgardo in Lucia di Lammermoor at the Royal Opera House, his Santa Fe Opera debut as Roméo in Roméo et Juliette, and Nemorino in L’elisir d’amore. His performance as Cassio in Otello at the Salzburg Festival was released on DVD in 2010, and his Covent Garden debut in was issued on CD a year later. The DVD of San Francisco Opera’s Moby-Dick (a performance televised nationwide on PBS’s “Great Performances”) was named a Gramophone “Editor’s Choice.” His appearance in 2013’s Richard Tucker Gala was broadcast on PBS’s “Live from Lincoln Center” and subsequently issued on DVD. That same year saw the release of “here/ after: songs of lost voices,” featuring his world premiere recording of Heggie’s Friendly Persua- sions: Homage to Poulenc.

David Cangelosi (Marschallin’s Majordomo) Since his 2004 Metropolitan Opera debut as Mime in Das Rheingold conducted by James Levine, David Cangelosi has returned there in recent seasons for Andrea Chenier, Il tabar- ro, The Tales of Hoffmann, and Die Meistersinger von Nürnberg. Other roles at the Met include Basilio (), Goro (Madama Butterfly), and Spoletta (Tosca). He sang Mime for Washington National Opera’s Ring cycle in 2015-16, and continues a performance/recording project of that work with the Hong Kong Philhar- monic in 2015 and 2017. Recent and upcoming engagements include his role debut as the Witch in Hansel and Gretel, his company debut with Houston Grand Opera (Tosca and Eugene Onegin), performances with the Cleveland Orchestra and Dallas Opera, Mime in Francesca Zambello’s “American” Ring cycle with San Francisco Opera; Shuisky (), Goro, and Monostatos (The Magic Flute) with Dallas Opera; Nick (La fanciulla del West), Spalanzani (The Tales of Hoffmann), and Spoletta with Lyric Opera of Chicago; and the Four Servants (Hoffmann) with Santa Fe Opera. Following his 2012 Canadian Opera Company debut as Spoletta, he returned there for Die Fledermaus, which he also reprised in Chicago in 2014. Additional 2014-15 performances included singing at the Saito Kinen Festival in Matsumoto, Japan, and The Cunning Little Vixen with the Cleve-

58 land Orchestra. Career highlights include singing Beppe in I with Plácido Domingo and Washington Opera for a “Live from the Kennedy Center” telecast; his Carnegie Hall debut with the Cleveland Orchestra as Torquemada in Ravel’s L’Heure espagnole under ; Monostatos and Basilio with Paris Opera, and Pedrillo in Die Entführung aus dem Serail with the Ensemble Orchestral de Paris. Mr. Cangelosi recorded the sword-forging scene from with Plácido Domingo for the EMI Classics CD “Domingo/Scenes from the Ring.” In 2000 he completed the CD/film project ofTosca and made his screen debut at the 2001 Venice Film Festival. David Cangelosi also serves as the artistic/program director of the Vann Vocal Institute in Montgomery, Alabama. David Cangelosi’s only previous BSO appear- ances were as the First Jew in concert performances of Strauss’s Salome, under Seiji Ozawa at Tanglewood in August 2001, and under Andris Nelsons at Symphony Hall in March 2014.

Ronald Naldi (Faninal’s Majordomo) A New Jersey native, Ronald Naldi has sung over one hundred roles ranging from the famous lyric tenor repertoire to chamber operas. Since his 1983 Metropolitan Opera debut in Les Troyens, he has appeared with the company in more than twenty operas including Lucia di Lammermoor, The Ghosts of Versailles, Pique Dame, Le Rossignol, Die Meister- singer von Nürnberg, , Oedipus Rex, Arabella, Dialogues of the Carmelites, Fidelio, The Gambler, , Macbeth, The Makropulos Case, Otello, War and Peace, Don Carlo, Lulu, Die Zauberflöte, , , , Wozzeck, Capriccio, and Salome. The 2016-17 season sees him in the Met’s Aida. His appearances there last season in Turandot were broadcast worldwide as part of the Met’s “Live in HD” series. Mr. Naldi has also sung The Ghosts of Versailles with Lyric Opera of Chicago, Pinkerton in Madama Butterflyfor Palm Beach Opera and Salzburg Opera, and on the international stage he has sung at Verona Opera (Almaviva in Il barbiere di Siviglia) and at the Verbier Festival in Elektra conducted by Levine. Three world premiere operas are also to his credit: Ulysses Kay’s Frederick Douglass with New Jersey State Opera, Franco Pagani’s Così il destino volle in Brescia, and Dorothy Rudd Moore’s Frederick Douglass with Opera Ebony. Mr. Naldi

week 1 guest artists 59 sang the American premiere of Haydn’s La vera costanza at the Caramoor Festival and the first performance in over a hundred years of Donizetti’sBelisario with Rutgers Opera. For his BSO debut, he sang in Les Troyens under James Levine in April 2008 in Symphony Hall, reprising the role at Tanglewood that summer.

Neal Ferreira (Animal Vendor) Making his Boston Symphony Orchestra debut in these performances of Der Rosenkavalier, lyric tenor Neal Ferreira has earned praise for both his voice and stage presence. In the 2015- 16 season he sang the Visitor in Boston Lyric Opera’s production of ’s In the Penal Colony at the Cyclorama, for which he earned critical acclaim. Mr. Ferreira has become a regular performer with the Boston Youth Symphony Orchestras in recent years, singing roles in Otello, Un ballo in maschera, Tosca, Rigoletto, and Falstaff. In spring 2015 he created the role of Ferdinand in the world premiere performance of Joseph Summer’s The Tempest with the Shakespeare Concerts, and he can be heard on the original cast recording recently released on Albany Records. Over the last ten seasons, Mr. Ferreira has appeared with Boston Lyric Opera in numerous roles, including in John Musto’s The Inspector, Monostatos in The Magic Flute, and Snout in A Midsummer Night’s Dream, to name a few. He received the 2013 Artist of the Year Award from Syracuse Opera, with which he most recently sang Alfred in Die Fledermaus to much acclaim. He has also appeared with Florida Grand Opera, the Glimmerglass Festival, , Virginia Opera, Anchorage Opera, Opera Boston, American Repertory Theatre, Guerilla Opera, and Emmanuel Music. Upcoming performances include a return to Jordan Hall with the Shakespeare Concerts in spring 2017.

John McVeigh (Landlord) This season John McVeigh performs the tenor solo in Beethoven’s Symphony No. 9 with the Portland Symphony Orchestra, Phillip Glass’s Symphony No. 5 with the Washington Chorus, and Handel’s with the Indianapolis Chamber Orchestra, Evansville Philharmonic Orchestra, and with DCINY. He sings the Landlord in Der Rosenkavalier for his Boston Symphony Orchestra debut and returns to the Metropolitan Opera for Eugene Onegin. He has sung Lysander in A Midsummer Night’s Dream at and for his Central City Opera debut; Johnny Inkslinger in Britten’s with Central City Opera; Feeny in Bennett’s The Mines of Sulphur and Hot Biscuit Slim in Paul Bunyan at Opera (broadcast on PBS’s “Live from Lincoln Center”); Henrick in A Little Night Music alongside Patti LuPone for his Ravinia Festival debut; the title role in Candide with Austin Lyric Opera; the title role in Romberg’s The Stu- dent Prince with Central City Opera; and Anatol in Vanessa with San Diego Opera. Favorite Metropolitan Opera engagements include his debut as Pang in Turandot; Bardolfo in Falstaff; Tinca in Il tabarro; and Little Bat in Susannah. Also a house favorite at Houston Grand Opera, he was Will Tweedy in the world premiere of Carlisle Floyd’s Cold Sassy Tree (also performed at Atlanta Opera, Austin Lyric Opera, Lyric Opera of Kansas City, Opera Omaha, San Diego Opera, and Opera Carolina) and Remendado in . An alumnus of Houston Grand Opera Studio, he sang numerous roles there. Mr. McVeigh’s most recent concert engage-

week 1 guest artists 61 ments include The Blind at the Lincoln Center Festival; Handel’s L’allegro with Mark Morris Dance Group at the Kennedy Center and Lincoln Center; Lackey in Der Rosenkavalier with the National Symphony Orchestra; Haydn’s Creation with the Portland Symphony; and Mozart’s Mass in C minor with the St. Catherine of Siena Concert Series. He has recorded Cold Sassy Tree on the Albany Label, Daugherty’s Jackie O, and Emilio in Handel’s .

David Kravitz (Notary) This season baritone David Kravitz joins the Santa Fe Chamber Music Festival for Ullman, Poulenc, and Brahms, and the Center for Contemporary Opera in a collaboration with Labo- ratorio Opera for the premiere of Love Hurts (music by Nicola Moro, libretto by Lisa Hilton), singing the role of Marquis de Sade/Gilles de Rais. He makes his Opera Santa Barbara debut as the Forester in The Cunning Little Vixen. Recent seasons have includ- ed Mr. Kravitz’s role debut as Scarpia in Tosca with Skylight Opera, Handel’s Messiah with the Virginia Symphony, a debut with Palm Beach Opera as the Rabbi in the world premiere of Enemies, A Love Story, the workshop and acclaimed world premiere of Matthew Aucoin’s Crossing: A New American Opera with American Repertory Theater, and a return to Boston Lyric Opera as Baron Duphol in La traviata. Mr. Kravitz has per- formed world or regional premieres of numerous works, earning acclaim as Leontes in John Harbison’s Winter’s Tale with Boston Modern Orchestra Project. He has sung Dominick Argento’s song cycle The Andrée Expedition, newly commissioned songs by Andy Vores and James Yannatos, the world premiere of an oratorio by Kareem Roustom, and the world pre- mieres of Thomas Whitman’s A Scandal in Bohemia with Orchestra 2001; James Yannatos’s Lear Symphony with the Harvard-Radcliffe Orchestra; Julian Wachner’s My dark eyed one with Back Bay Chorale, and short operas by Andy Vores and Theo Loevendie with Boston Musi- ca Viva. His recordings include Bach’s Cantata No. 20 and St. John Passion with Emmanuel Music, and Harbison’s Four Psalms and Peter Child’s Estrella with Cantata Singers. Before devoting himself full time to a career in music, David Kravitz had a distinguished career in the law that included clerkships with U.S. Supreme Court Justices Sandra Day O’Connor and Ste-

Symphony Shopping

VisitVisit the Symphony ShopShop inin the the Cohen Cohen Wing atat the West Entrance onon Huntington Huntington Avenue. Hours:Open Thursday Tuesday andthrough Saturday, Friday, 3-6pm, 11–4; Saturdayand for all from Symphony 12–6; and Hall from performances one hour beforethrough each intermission. concert through intermission.

62 phen Breyer. He later served as Deputy Legal Counsel to the Governor of Massachusetts. He made his BSO debut in Schoenberg’s under James Levine in 2006, returned for Bach’s St. Matthew Passion and Berlioz’s Les Troyens in 2008 (appearing in the latter also at Tanglewood that summer), and appeared with the orchestra most recently in October 2012 for Stravinsky’s The Nightingale under Charles Dutoit.

David Cushing (Police Officer) David Cushing’s recent appearances include the title roles of and Le nozze di Figaro, Frère Laurence in Roméo et Juliette, and Bottom in A Midsummer Night’s Dream. This season Mr. Cushing returns to Boston Lyric Opera as Bartolo in Le nozze de Figaro and Trulove in The Rake’s Progress; sings Frère Laurence/Duke in Roméo et Juliette with Opera Tampa; the Police Officer inDer Rosenkavalier with the Boston Symphony Orchestra (his BSO debut); and the Commendatore/Masetto in Don Giovanni at the Bar Harbor Music Festival. Among recent highlights are Sarastro in Die Zauberflöte, Count Monterone in Rigoletto, Dr. Grenvil in La traviata, Masetto in Don Giovanni, and Frank Martin’s Le Vin herbé with Boston Lyric Opera. Since his debut with that com- pany as Count Monterone in Rigoletto, he has returned there for Palèmon in Thaïs, Truffaldino in Ariadne auf Naxos, Osmin in Die Entführung aus dem Serail, Raimondo in Lucia di Lammermoor, Don Basilio in Il barbiere di Siviglia, the Bonze in Madama Butterfly, Angelotti in Tosca, Count Horn/Tom in Un ballo in maschera, Arthur in The Lighthouse, and Adolfo in John Musto’s The Inspector. Mr. Cushing was George Wilson in Emmanuel Music’s production of Harbison’s The Great Gatsby at Jordan Hall and at Tanglewood, and was Montano in Boston Youth Symphony Orchestra’s production of Otello. He has also appeared with Opera Colorado, Florentine Opera of Milwaukee, Syracuse Opera, Opera Theatre of St. Louis, Michigan Opera Theatre, Opera Columbus, Lake George Opera, , Baltimore Concert Opera, Mill City Summer Opera, Nashville Opera, and Opera New Jersey. He sang the leading role of Maometto in Rossini’s rarely performed opera L’assedio di Corinto alongside renowned soprano with the former Baltimore Opera, and appeared in Opera Parallèle’s production of The Lighthouse. His performances at Boston University’s Opera Institute included Don Pasquale and Frère Laurence.

Celebrating

Finding the Key OCT 29 8 PM Andy Vores Xylophonic WORLD PREMIERE Yehudi Wyner Piano Concerto “Chiavi in mano” Geoffrey Burleson, piano Carl Ruggles Evocations Béla Bartók Concerto for Orchestra TICKETS ON SALE ALL PERFORMANCES AT TSAI PERFORMANCE CENTER NEPhilharmonic.org

week 1 guest artists 63 Kelley Hollis (First Orphan) Kelley Hollis is a singing actress originally from Wellington, Florida. In June 2016 she made her European debut performing as a featured artist with festival Americké Jaro in the Czech Republic. October brings the role of Eliza in Nico Muhly’s Dark Sisters with Chicago’s Third Eye Theater Ensemble. Ms. Hollis is a graduate of the Boston University Opera Institute, where she sang Florencia in Daniel Catán’s Florencia en el Amazonas, Donna Anna in Don Giovanni, Eliza in Dark Sisters, Micaëla in Le Tragédie de Carmen, and Harp- er in Peter Eötvös’s Angels in America. In 2015 Ms. Hollis made her Symphony Hall debut as the soprano soloist in Mahler’s Symphony No. 2 with the Boston University Symphony Orchestra. A 2014 finalist for Lyric Opera of Chicago’s Ryan Opera Center, she received an encouragement award from the Wisconsin District of the Metropoli- tan Opera National Council in 2011. In 2014 Ms. Hollis sang Nina in the New England premiere of Pasatieri’s The Seagull with Opera del West and last winter sang the role of Beth in MetroWest Opera’s production of ’s Little Women. She has also performed with Chautauqua Opera and at the Castleton Festival, where she covered the role of Muset- ta in La bohème. A student of soprano Lynn Eustis, Kelley Hollis received both master’s and bachelor’s degrees from Northwestern University; she is a graduate of the Dreyfoos School of the Arts in West Palm Beach, Florida.

Thea Lobo (Second Orphan) Acclaimed Grammy-nominated mezzo-soprano Thea Lobo sings during the 2016-17 season with Guerilla Opera, Bucknell Bach Festival, Halcyon Chamber Series, Sarasota-Manatee Bach Festival, Sunshine City Opera, Callithumpian Consort, Sarasota Choral Society, and the Shakespeare Concerts. She has recently appeared with Boston Landmarks Orchestra, fortepianist Sylvia Berry, Cambridge Concentus, Brandeis New Music, Emmanuel Music, and the Brookline Symphony Orchestra. Ms. Lobo has appeared under conductors Gunther Schuller, Harry Christophers, Stephen Stubbs, Joshua Rifkin, Martin Pearlman, and Helmuth Rilling, and has been featured by the Firebird Ensemble, Carmel Bach Festival, , Handel and Haydn Society, The Ber- muda Festival, Boston Early Music Festival, and Europäisches Musikfest Stuttgart. Her varied career has seen her featured on True Concord’s Grammy-winning recording of Stephen Paulus’s Prayers and Remembrances, invited to the Carmel Bach Festival as an Adams Fellow, a prizewinner at the Bach Vocal Competition for American Singers, a grant recipient of the Julian Autrey Song Foundation, a featured recitalist for the Boston Portuguese Festival, and performing as a soloist under the direction of composers Steve Reich, Fred Lerdahl, Lee Hyla, Christian Wolff, and Louis Andriessen. Thea Lobo is a graduate of New England Con- servatory and Boston University.

64 Sara Beth Shelton (Third Orphan) Sara Beth Shelton currently lives in Boston and actively performs throughout New England. Recently Ms. Shelton was a featured artist with Opera Theater of Pittsburgh, where she was selected as a Marianne Cornetti Scholar, and gave a critically acclaimed performance as Cornelia in . This past spring, with Metro- West Opera, she sang the role of Aunt Cecilia in Adamo’s Little Women. While attending Boston University, Ms. Shelton performed such roles as Madame de la Haltière in Cendrillon, Hannah Pitt in Angels in America, and Thelma Yablonski in Later the Same Evening. In concert she has performed as soloist in Mahler’s Symphony No. 2, Handel’s Messiah, and Vivaldi’s Gloria. Ms. Shelton holds a bachelor of music degree from the University of South Carolina, and a master of music degree from Boston University, where she studied voice with Penelope Bitzas.

Tanglewood Festival Chorus Lidiya Yankovskaya, Guest Chorus Conductor John Oliver, Founder and Conductor Laureate

This season at Symphony Hall, the Tanglewood Festival Chorus joins the Boston Symphony Orchestra for performances of Richard Strauss’s Der Rosenkavalier, Brahms’s Ein deutsches Requiem, Bach’s B minor Mass, and Mozart’s Requiem under BSO Music Director Andris Nel- sons, Holst’s The Planets under Charles Dutoit, Busoni’s Piano Concerto under Sakari Oramo, and Debussy’s Nocturnes under BSO Conductor Emeritus Bernard Haitink. Originally formed under the joint sponsorship of Boston University and the Boston Symphony Orchestra, the all-volunteer Tanglewood Festival Chorus was established in 1970 by its founding conductor John Oliver, who stepped down from his leadership position with the TFC at the end of the 2014 Tanglewood season. Awarded the Tanglewood Medal by the BSO to honor his forty-five years of service to the ensemble, Mr. Oliver now holds the lifetime title of Founder and Conductor Laureate and occupies the Donald and Laurie Peck Master Teacher Chair at the Tanglewood Music Center.

Though first established for performances at the BSO’s summer home, the Tanglewood Festival Chorus was soon playing a major role in the BSO’s subscription season as well as BSO concerts at Carnegie Hall. Now numbering more than 300 members, the ensemble

week 1 guest artists 65 performs year-round with the Boston Symphony and Boston Pops. It has performed with Seiji Ozawa and the BSO in Hong Kong and Japan, and with the BSO in Europe under James Levine and Bernard Haitink, also giving a cappella concerts of its own on the two latter occa- sions. The TFC made its debut in April 1970, in a BSO performance of Beethoven’s Ninth Symphony with Leonard Bernstein conducting. Its first recording with the orchestra, Berlioz’s La Damnation of Faust with Seiji Ozawa, received a Grammy nomination for Best Choral Performance of 1975. The TFC has since made dozens of recordings with the BSO and Boston Pops, with James Levine, Seiji Ozawa, Bernard Haitink, Sir Colin Davis, Leonard Bernstein, Keith Lockhart, and John Williams. In August 2011, with John Oliver conducting and soloist Stephanie Blythe, the TFC gave the world premiere of Alan Smith’s An Unknown Sphere for mezzo-soprano and chorus, commissioned by the BSO for the ensemble’s 40th anniversary. Its most recent recordings on BSO Classics, all drawn from live performances, include a disc of a cappella music led by John Oliver and released to mark the TFC’s 40th anniversary; and, with James Levine conducting, Ravel’s complete Daphnis and Chloé (a Grammy-winner for Best Orchestral Performance of 2009), Brahms’s German Requiem, and William Bolcom’s Eighth Symphony for chorus and orchestra (a BSO 125th Anniversary Commission). Besides their work with the Boston Symphony, members of the Tanglewood Festival Chorus have performed Beethoven’s Ninth Symphony with Zubin Mehta and the Israel Philharmonic; participated in a Saito Kinen Festival production of Britten’s Peter Grimes under Seiji Ozawa in Japan, and sang Verdi’s Requiem with Charles Dutoit to help close a month-long Inter- national Choral Festival given in and around Toronto. The ensemble had the honor of sing- ing at Sen. Edward Kennedy’s funeral; has performed with the Boston Pops for the Boston Red Sox and Boston Celtics; and can also be heard on the soundtracks of Clint Eastwood’s Mystic River, John Sayles’s Silver City, and Steven Spielberg’s Saving Private Ryan. TFC mem- bers regularly commute from the greater Boston area, western Massachusetts, Connecticut, Rhode Island, New Hampshire, Vermont, and Maine, and TFC alumni frequently return each summer from as far away as Florida and California to sing with the chorus at Tanglewood. Throughout its history, the TFC has established itself as a favorite of conductors, soloists, critics, and audiences alike.

Lidiya Yankovskaya Russian-born conductor Lidiya Yankovskaya’s engagements this season include Beth Mor- rison Projects, American Lyric Theater, New Opera NYC, MetroWest Opera, Marin Alsop’s Cabrillo Festival, the Center for Contemporary Opera in NYC, and the Flagstaff Symphony Orchestra. She also participates in Dallas Opera’s Inaugural Institute for Women Conductors and Marin Alsop’s Taki Concordia Fellowship. Ms. Yankovskaya serves as artistic director of Juventas New Music Ensemble and as a conductor with Boston Youth Symphony Orchestras. She was previously music director/conductor of Commonwealth Lyric Theater, music director of Harvard’s Lowell House Opera, and assistant conductor and chorus master with Opera Boston, Odyssey Opera, and Gotham Chamber Opera. As a Conducting Fellow under Lorin Maazel at his Castleton Festival, she assisted Mr. Maazel and regularly filled in for him in rehearsal and per- formance. Lidiya Yankovskaya’s choral, symphonic, and operatic work has garnered critical acclaim and numerous awards. Recent projects include San Francisco productions of Boris

week 1 guest artists 67 Godunov and Iolanta with New Opera NYC; performances with National Sawdust’s Composer in Residence program; Tchaikovsky’s Queen of Spades and Britten’s A Midsummer Night’s Dream (first place, The American Prize) with Lowell House Opera; Juventas New Music’s NEA-funded puppetry collaboration entitled Music in Motion; the world premiere perform- ances and recording of the ballet HackPolitik; Rachmaninoff’s Aleko with Commonwealth Lyric Theater (winner of the National Opera Association Award for Best Production in the Profes- sional Category), Rimsky-Korsakov’s Snegurochka (the first fully staged, Russian-language production of the opera in the U.S. and the work’s New England premiere); and the world premiere of Isaac Schankler’s Light and Power with Juventas (winner of the National Opera Association Award and the American Prize for best professional production). Ms. Yankovskaya holds degrees from Vassar College and Boston University. Visit www.LidiyaYankovskaya.com for more information.

Tanglewood Festival Chorus Lidiya Yankovskaya, Guest Chorus Conductor John Oliver, Founder and Conductor Laureate In the following list, § denotes membership of 40 years or more, * denotes membership of 35-39 years, and # denotes membership of 25-34 years.

sopranos

Anna S. Choi • Carrie Louise Hammond • Cynde Hartman • Donna Kim • Nancy Kurtz # • Deirdre Michael • Laurie Stewart Otten • Kimberly Pearson • Melanie Salisbury # • Laura C. Sanscartier • Sarah Telford # • Lauren Woo

mezzo-sopranos Virginia Bailey • Lauren A. Boice • Cypriana Slosky Coelho • Irene Gilbride* • Denise Glennon • Mara Goldberg • Betty Jenkins • Yoo-Kyung Kim • Gale Tolman Livingston* • Ada Park Snider* • Amy Spound • Karen Thomas Wilcox

tenors

Brad W. Amidon # • Stephen Chrzan • John Cunningham • Carey D. Erdman • Keith Erskine • J. Stephen Groff* • John W. Hickman # • James R. Kauffman # • Michael Levin • Lance Levine • Dwight E. Porter* • Tom Regan • David Roth • Hyun Yong Woo basses

Nicholas Altenbernd • Scott Barton • Marc J. Kaufman • David M. Kilroy • Carl Kraenzel • Timothy Lanagan # • Ryan M. Landry • Greg Mancusi-Ungaro • Eryk P. Nielsen • Stephen H. Owades§ • Michael Prichard # • Jonathan Saxton • Scott Street • Bradley Turner #

Martin Amlin, Rehearsal Pianist Julia Carey, Rehearsal Pianist Livia M. Racz, German Diction Coach Erik Johnson, Chorus Manager Kristie Chan, Chorus and Orchestra Management Assistant

68 VOICES Boston Steven Lipsitt, Artistic Director VOICES Boston, formally PALS Children’s Chorus, is an acclaimed performing arts program based in Brookline, Massachusetts. Johanna Hill Simpson founded the program in 1990 for students at W.H. Lincoln School to train them in choral singing, dance, and drama. From 1996 to 2003, Ms. Simpson continued to guide the ensemble, building relationships with leading arts organizations including the Boston Symphony Orchestra, Boston Lyric Opera, and Bos- ton Early Music Festival. Since her retirement, VOICES Boston has extended participation to children all over Boston, continuously grown its membership in diversity and size, toured nationally and internationally, and expanded its training choirs. To reflect its broader reach and subsequent national and international collaborations, PALS was renamed VOICES Boston in 2014. In late 2015, the acclaimed Brookline-based conductor Steven Lipsitt became the ensemble’s artistic director. He has already led it in successful collaborations with the Boston Symphony Orchestra, Boston Lyric Opera, Boston Baroque, Boston University Opera Institute, and the Boston Youth Symphony Orchestras. With singing at its core and training in dance and drama, VOICES Boston changes the lives of its children, building confidence, discipline, leadership, and a love of music that will last a lifetime.

Steven Lipsitt Steven Lipsitt has prepared choruses for Robert Shaw, Seiji Ozawa, and Leonard Slatkin; has prepared orchestras for Kurt Masur, , and Gunther Schuller; and has conducted for Boston Lyric Opera, the Kennedy Center Opera House, and Scottish Opera. First prize-winner of the Dimitri Mitropoulos International Conducting Competition in Athens, he has led orchestras in North and South America, Europe, and Asia. Director of Choruses at Boston University for six years, he led the first Tanglewood perform- ances of Britten’s Cantata academica, as well as a performance of Bernstein’s Chiches- ter Psalms during the “Bernstein at 70” summer. Artistic Director of VOICES Boston since November 2015, he is also the founding music director of the Bach, Beethoven, & Brahms Society Orchestra. His work has twice been recognized as the “Best in Clas- sical Music” by the Boston Globe’s year-end wrap-up. Steven Lipsitt studied at Yale and Tanglewood as a clarinetist, singer, and conductor.

VOICES Boston Steven Lipsitt, Artistic Director onstage

Mira Donahue • Chloe Locke • Miles Luther • Olivia Sarkis understudies

Jade Blais-Ellis • Veronika Kirsanova

week 1 guest artists 69 The Great Benefactors

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

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

seven and one half million Mr. and Mrs. George D. Behrakis • John F. Cogan, Jr. and Mary L. Cornille • Cynthia and Oliver Curme/The Lost & Foundation, Inc. • EMC Corporation

five million Alli and Bill Achtmeyer • Bank of America • Catherine and Paul Buttenwieser • Alan J. and Suzanne W. Dworsky • Germeshausen Foundation • Sally ‡ and Michael Gordon • Barbara and Amos Hostetter • Ted and Debbie Kelly • NEC Corporation • Megan and Robert O’Block • UBS • Stephen and Dorothy Weber

two and one half million Mary and J.P. Barger • Gabriella and Leo Beranek • Roberta and George ‡ Berry • Peter and Anne Brooke • Eleanor L. and Levin H. Campbell • Chiles Foundation • Mara E. Dole ‡ • Fairmont Copley Plaza and Fairmont Hotels and Resorts •

Jane and Jack Fitzpatrick ‡ • Susan Morse Hilles ‡ • Dorothy and Charlie Jenkins • Stephen B. Kay and Lisbeth L. Tarlow/The Aquidneck Foundation • The Kresge Foundation • Lizbeth and George Krupp • Liberty Mutual Foundation, Inc. • Massachusetts Cultural Council • Kate and Al ‡ Merck • Cecile Higginson Murphy • National Endowment for the Arts • William and Lia Poorvu • John S. and Cynthia Reed • Carol and Joe Reich • Kristin and Roger Servison • Miriam Shaw Fund • State Street Corporation and State Street Foundation • Thomas G. Stemberg ‡ • Miriam and Sidney Stoneman ‡ • Elizabeth B. Storer ‡ • Caroline and James Taylor • Samantha and John Williams • Anonymous (3)

70 one million Helaine B. Allen • American Airlines • Lois and Harlan Anderson • Mariann Berg (Hundahl) Appley • Arbella Insurance Foundation and Arbella Insurance Group • Dorothy and David B. ‡ Arnold, Jr. • AT&T • William I. Bernell ‡ • BNY Mellon • The Boston Foundation • Lorraine D. and Alan S. ‡ Bressler • Jan Brett and Joseph Hearne • Gregory E. Bulger Foundation/Gregory Bulger and Richard Dix • Ronald G. and Ronni J. Casty • Commonwealth Worldwide Chauffeured Transportation • Mr. and Mrs. William H. Congleton ‡ • William F. Connell ‡ and Family • Country Curtains • Diddy and John Cullinane • Edith L. and Lewis S. ‡ Dabney •

Elisabeth K. and Stanton W. Davis ‡ • Mary Deland R. de Beaumont ‡ • Delta Air Lines • Bob and Happy Doran • Alan and Lisa Dynner and Akiko ‡ Dynner • Deborah and Philip Edmundson • William and Deborah Elfers • Elizabeth B. Ely ‡ • Nancy S. and John P. Eustis II ‡ • Shirley and Richard ‡ Fennell • Anna E. Finnerty ‡ • John and Cyndy Fish • Fromm Music Foundation • The Ann and Gordon Getty Foundation • Marie L. Gillet ‡ • Sophia and Bernard Gordon • Mrs. Donald C. Heath ‡ • Francis Lee Higginson ‡ • Major Henry Lee Higginson ‡ • John Hitchcock ‡ • Edith C. Howie ‡ • John Hancock Financial •

Muriel E. and Richard L. ‡ Kaye • Nancy D. and George H. ‡ Kidder • Kingsbury Road Charitable Foundation • Audrey Noreen Koller ‡ • Farla and Harvey Chet Krentzman ‡ • Barbara and Bill Leith ‡ • Nancy and Richard Lubin • Vera M. and John D. MacDonald ‡ • Nancy Lurie Marks Family Foundation • Carmine A. and Beth V. Martignetti • Commonwealth of Massachusetts • The McGrath Family • The Andrew W. Mellon Foundation • Henrietta N. Meyer ‡ • Mr. and Mrs. Nathan R. Miller ‡ • Mr. and Mrs. Paul M. Montrone • Richard P. and Claire W. Morse Foundation • William Inglis Morse Trust •

Mary S. Newman ‡ • Mrs. Mischa Nieland ‡ and Dr. Michael L. Nieland • Mr. ‡ and Mrs. Norio Ohga • P&G Gillette • The Claudia and Steven Perles Family Foundation • Polly and Dan ‡ Pierce • Mary G. and Dwight P. Robinson, Jr. ‡ • Susan and Dan ‡ Rothenberg • Carole and Edward I. Rudman • Richard Saltonstall Charitable Foundation • Wilhemina C. (Hannaford) Sandwen ‡ • Hannah H. ‡ and Dr. Raymond Schneider • Carl Schoenhof Family • Ruth ‡ and Carl J. Shapiro • Marian Skinner ‡ • Richard and Susan Smith Family Foundation/Richard A. and Susan F. Smith • Sony Corporation of America • Dr. Nathan B. and Anne P. Talbot ‡ • Diana O. Tottenham • The Wallace Foundation • Edwin S. Webster Foundation • Roberta and Stephen R. Weiner • The Helen F. Whitaker Fund • Helen and Josef Zimbler ‡ • Brooks and Linda Zug • Anonymous (9)

‡ Deceased

week 1 the great benefactors 71 Bowers & Wilkins congratulates the Boston Symphony Orchestra on its Grammy Award for “Shostakovich: Under Stalin’s Shadow”

Bowers & Wilkins products consistently set the benchmark for high-performance stereo, home theater and personal sound. The 802 Diamond loudspeakers are the reference monitors in the control room at Boston Symphony Hall. Bowers & Wilkins offers best in class speakers for nearly every budget and application, along with award-winning headphones and Wireless Music Systems. Most recently, Bowers & Wilkins has become the audio system of choice for premium automotive manufacturers such as BMW and Maserati. The Maestro Circle Annual gifts to the Boston Symphony Orchestra provide essential funding to the support of ongoing operations and to sustain our mission of extraordinary music-making. The BSO is grateful for the philanthropic leadership of our Maestro Circle members whose current contributions to the Orchestra’s Symphony, Pops and Tanglewood annual funds, gala events, and special projects have totaled $100,000 or more during the 2015-16 season. ‡ This symbol denotes a deceased donor.

Alli and Bill Achtmeyer • Mr. and Mrs. George D. Behrakis • Peter and Anne Brooke • Cynthia and Oliver Curme • Michael L. Gordon • Barbara and Amos Hostetter • Charlie and Dorothy Jenkins/The Ting Tsung and Wei Fong Chao Foundation • Ted and Debbie Kelly • Joyce Linde • Nancy and Richard Lubin • Carmine A. and Beth V. Martignetti • Mr. and Mrs. Paul M. Montrone • Richard P. and Claire W. Morse Foundation • The Nancy Foss Heath and Richard B. Heath Educational, Cultural and Environmental Foundation • National Endowment for the Arts • The Claudia and Steven Perles Family Foundation • Mrs. Irene Pollin • John S. and Cynthia Reed • Carol and Joe Reich • Sue Rothenberg • Wendy Shattuck and Samuel Plimpton • Caroline and James Taylor • Stephen and Dorothy Weber • Marillyn Zacharis • Anonymous

The Higginson Society ronald g. casty, chair, boston symphony orchestra annual funds peter c. andersen, vice-chair, symphony annual funds

The Higginson Society embodies a deep commitment to supporting musical excellence, which builds on the legacy of the Boston Symphony Orchestra’s founder and first benefactor, Henry Lee Higginson. The BSO is grateful to current Higginson Society members whose gifts to the Symphony Annual Fund provide more than $5 million in essential funding to sustain our mission. The BSO acknowledges the generosity of the donors listed below, whose contributions were received by August 31, 2016. For further information on becoming a Higginson Society member, please contact Kara O’Keefe, Leadership Gifts Officer, at 617-638-9259. ‡ This symbol denotes a deceased donor. founders Peter and Anne Brooke • Barbara and Amos Hostetter • Ted and Debbie Kelly • Wendy Shattuck and Samuel Plimpton virtuoso Alli and Bill Achtmeyer • Mr. and Mrs. George D. Behrakis • Alan J. and Suzanne W. Dworsky • Joyce Linde • Elizabeth W. and John M. Loder • Nancy and Richard Lubin • Carmine A. and Beth V. Martignetti • John S. and Cynthia Reed • Sue Rothenberg • Kristin and Roger Servison • Stephen and Dorothy Weber • Brooks and Linda Zug • Anonymous

week 1 the maestro circle 73 PRO ARTE CHAMBER ORCHESTRA FALLOF BOSTONGALA 39TH SEASON 39TH FEATURING BOSTON CELLO QUARTET BARBARA QUINTILIANI includING GIMENEZ GRANADOS ALBENIZ & Villa-Lobos’s enchanting Bachianas Brasileiras no. 5 $30 - $100 617-779-0900 | proarte.org FRI, OCT 21 concert followed FIRST BAPTIST CHURCH NEWTON

TICKETS by gala reception 848 BEACON ST, NEWTON CENTRE 8PM Pro Arte Chamber Orchestra is a member of the Newton Cultural Alliance www.newtonculture.org

74 encore Noubar and Anna Afeyan • Jim and Virginia Aisner • Lloyd Axelrod, M.D. • Gabriella and Leo Beranek • Mrs. Philip W. Bianchi • Joan and John ‡ Bok • Gregory E. Bulger Foundation/Gregory Bulger and Richard Dix • John F. Cogan, Jr. and Mary L. Cornille • Dr. Lawrence H. ‡ and Roberta Cohn • Donna and Don Comstock • Diddy and John Cullinane • Cynthia and Oliver Curme • Alan and Lisa Dynner • Paul and Sandy Edgerley • Deborah and Philip Edmundson • William and Deborah Elfers • Thomas and Winifred Faust • Mr. and Mrs. Steven S. Fischman • Joy S. Gilbert • The Grossman Family Charitable Foundation • Mr. and Mrs. Brent L. Henry • Mrs. Nancy R. Herndon • Josh and Jessica Lutzker • Sandra Moose and Eric Birch • Megan and Robert O’Block • William and Lia Poorvu • Louise C. Riemer • Cynthia and Grant Schaumburg • Richard and Susan ‡ Smith Family Foundation: Richard and Susan ‡ Smith; John and Amy S. Berylson and James Berylson; Jonathan Block and Jennifer Berylson Block; Robert Katz and Elizabeth Berylson Katz; Robert and Dana Smith; Debra S. Knez, Jessica Knez and Andrew Knez • Theresa M. and Charles F. Stone III • Stephen, Ronney, Wendy and Roberta Traynor • Robert and Roberta Winters • Anonymous (4) patron Mr. and Mrs. Peter Andersen • Lois and Harlan Anderson • Judith and Harry Barr • Lucille Batal • Roz and Wally Bernheimer • Roberta and George ‡ Berry • Ann Bitetti and Doug Lober • Mrs. Linda Cabot Black • Mr. and Mrs. William N. Booth • Mr. and Mrs. ‡ John M. Bradley • Karen S. Bressler and Scott M. Epstein • Lorraine Bressler • William David Brohn • Thomas Burger and Andree Robert • Joanne and Timothy Burke • Mrs. Winifred B. Bush • Catherine and Paul Buttenwieser • Eleanor L. and Levin H. Campbell • Ronald G. and Ronni J. Casty • Katherine Chapman and Thomas Stemberg ‡ • Ernest Cravalho and Ruth Tuomala • David and Victoria Croll • Sally Currier and Saul Pannell • Edith L. and Lewis S. ‡ Dabney • Gene and Lloyd Dahmen • Mr. and Mrs. Miguel de Bragança • Michelle Dipp • Happy and Bob Doran • Pamela Everhart and Karl Coiscou • Roger and Judith Feingold • Dr. David Fromm • Dr. and Mrs. Levi A. Garraway • The Gerald Flaxer Charitable Foundation, Nancy S. Raphael and Asher Waldfogel, Trustees • Barbara and Robert Glauber • Thelma ‡ and Ray Goldberg • Mr. and Mrs. Mark Goldweitz • Mrs. Francis W. Hatch • Richard and Nancy Heath • Mr. and Mrs. Ulf B. Heide • Dr. Rebecca M. Henderson and Dr. James A. Morone • Mr. ‡ and Mrs. Richard D. Hill • Dr. Susan Hockfield and Dr. Thomas Byrne • Albert A. Holman III and Susan P. Stickells • Ms. Emily C. Hood • Intercontinental Real Estate Corporation, Peter Palandjian • Prof. Paul L. Joskow and Dr. Barbara Chasen Joskow • Stephen B. Kay and Lisbeth L. Tarlow • Paul L. King • Seth A. and Beth S. Klarman • Dr. Nancy Koehn • Mr. Robert K. Kraft • Lizbeth and George Krupp • Tom Kuo and Alexandra DeLaite • Dr. and Mrs. Frederick H. Lovejoy, Jr. • Anne R. Lovett and Stephen G. Woodsum • Mr. and Mrs. Jeffrey E. Marshall • Dr. and Mrs. Joseph B. Martin • Jane and Robert J. Mayer, M.D. • Jack and Elizabeth Meyer • Dr. Martin C. Mihm, Jr. • Mr. and Mrs. Paul M. Montrone • Richard P. and Claire W. Morse Foundation • Kristin A. Mortimer • Avi Nelson • Jerry and Mary ‡ Nelson • John O’Leary • Jane and Neil Pappalardo • Polly and Dan ‡ Pierce • Mr. and Mrs. Randy Pierce • Janet and Irv Plotkin • Susanne and John Potts • William and Helen Pounds • James and Melinda Rabb • Rita and Norton Reamer • Linda H. Reineman • Mr. Graham Robinson and Dr. Jeanne Yu • Dr. Michael and Patricia Rosenblatt • Debora and Alan Rottenberg • Sean Rush and Carol C. McMullen •

week 1 the higginson society 75 Darin S. Samaraweera • Benjamin Schore • Arthur and Linda Schwartz • Eileen Shapiro and Reuben Eaves • Dr. and Mrs. Phillip A. Sharp • Solange Skinner • Anne-Marie Soullière and Lindsey C.Y. Kiang • Maria and Ray Stata • Blair Trippe • Eric and Sarah Ward • Harvey and Joëlle Wartosky • Drs. Christoph and Sylvia Westphal • Marillyn Zacharis • Anonymous (6) sponsor Helaine B. Allen • Dr. Ronald Arky • Marjorie Arons-Barron and James H. Barron • Diane M. Austin and Aaron J. Nurick • Liliana and Hillel Bachrach • Mrs. Hope Lincoln Baker • Dr. Peter A. Banks • Mr. and Mrs. Eugene F. Barnes III • John and Molly Beard • Deborah Davis Berman and William H. ‡ Berman • Jim and Nancy Bildner • Brad and Terrie Bloom • Mark G. and Linda Borden • Traudy and Stephen Bradley • Drs. Andrea and Brad Buchbinder • Julie and Kevin Callaghan • Jane Carr and Andy Hertig • James Catterton ‡ and Lois Wasoff • The Cavanagh Family • Yi-Hsin Chang and Eliot Morgan • Dr. Frank O. Clark and Dr. Lynn Delisi • Ronald and Judy Clark • Arthur Clarke and Susan Sloan • Mr. and Mrs. Frederic M. Clifford • Marjorie B. and Martin Cohn • Mrs. Abram Collier • Jill K. Conway • Albert and Hilary Creighton • Prudence and William Crozier • Joan P. and Ronald C. Curhan • Dr. William T. Curry, Jr. and Ms. Rebecca Nordhaus • Eve and Philip D. Cutter • Robert and Sara Danziger • Tamara P. and Charles H. Davis II • Drs. Anna L. and Peter B. Davol • Charles and JoAnne Dickinson • Richard Dixon and Douglas Rendell • Phyllis Dohanian • Mrs. Richard S. Emmet • Joe and Susan Fallon • Shirley and Richard ‡ Fennell • Beth and Richard Fentin • Barbie and Reg Foster • Nicki Nichols Gamble •

BEETHOVEN EROICA

From the heroic drama of Beethoven’s Eroica to the romantic beauty of Mendelssohn’s Italian Symphony, this is going to be quite the ride.

RICHARD EGARR Beethoven: Symphony No. 3, Eroica CONDUCTS THE H+H Mendelssohn: Symphony No. 4, Italian PERIOD INSTRUMENT FRI. OCT 28, 2016 AT 7:30PM ORCHESTRA SUN. OCT 30, 2016 AT 3:00PM SYMPHONY HALL

HANDELANDHAYDN.ORG 617.266.3605

76 Beth and John Gamel • Mr. and Mrs. Paul B. Gilbert • Jody and Tom Gill • Jordan and Sandy Golding • Adele C. Goldstein • Jack Gorman • Mrs. Winifred P. Gray • Raymond and Joan Green • Marjorie and Nicholas Greville • John and Ellen Harris • William Hawes and Mieko Komagata ‡ • Carol and Robert Henderson • Drs. James and Eleanor Herzog • Mr. James G. Hinkle and Mr. Roy Hammer • Mary and Harry Hintlian • Patricia and Galen Ho • Timothy P. Horne • G. Lee and Diana Y. Humphrey • Mr. and Mrs. Roger Hunt • Joanie V. Ingraham • Anne and Blake Ireland • Mimi and George Jigarjian • Dr. and Mrs. G. Timothy Johnson • Holly and Bruce Johnstone • Rita J. and Stanley H. Kaplan Family Foundation, Inc./ Susan B. Kaplan and Nancy and Mark Belsky • Barbara and Leo Karas • The Karp Family Foundation • Mrs. Thomas P. King • Mr. John L. Klinck, Jr. • The Krapels Family • Barbara N. Kravitz • Pamela S. Kunkemueller • Mr. and Mrs. David S. Lee • Rosemarie and Alexander Levine • Betty W. Locke • Nancy Lurie Marks Family Foundation • Kurt and Therese Melden • Ann Merrifield and Wayne Davis • Jo Frances and John P. Meyer • Dale and Robert Mnookin • Kyra and Jean Montagu • Anne M. Morgan • Betty Morningstar and Jeanette Kruger • Mr. and Mrs. Joseph M. Paresky • Drs. James and Ellen Perrin • Slocumb H. and E. Lee Perry • Ann M. Philbin • Dr. Herbert Rakatansky and Mrs. Barbara Sokoloff • Mr. Lawrence A. Rand and Ms. Tiina Smith • Peter and Suzanne Read • Peggy Reiser and Charles Cooney • Robert and Ruth Remis • Dr. and Mrs. George B. Reservitz • Sharon and Howard Rich • and Roger A. Saunders • Mary and William Schmidt • Lynda Anne Schubert • Robert and Rosmarie Scully • Betsy and Will Shields • Gilda Slifka • Christopher and Cary Smallhorn • Ms. Nancy F. Smith • Sharon and David Steadman • Tazewell Foundation • Jean C. Tempel • Charlotte and Theodore Teplow • Mr. and Mrs. Mark D. Thompson • John Lowell Thorndike • Marian and Dick Thornton • Magdalena Tosteson • John Travis • Marc and Nadia Ullman • Sandra A. Urie and Frank F. Herron • Mark and Martha Volpe • Matthew and Susan Weatherbie • Sally and Dudley Willis • Frank Wisneski and Lynn Dale • Rosalyn Kempton Wood • Drs. Richard and Judith Wurtman • Dr. and Mrs. Nicholas T. Zervas • Anonymous (6) member Mrs. Sonia Abrams • Nathaniel Adams and Sarah Grandfield • Dr. and Mrs. Menelaos Aliapoulios • Joel and Lisa Alvord • Shirley and Walter ‡ Amory • Ms. Eleanor Andrews • Lisa G. Arrowood and Philip D. O’Neill, Jr. • Mr. and Mrs. Laurence Asquith • Sandy and David Bakalar • Mr. and Mrs. Frederic D. Barber • Donald P. Barker, M.D. • Hanna and James Bartlett • Clark and Susana Bernard • Leonard and Jane Bernstein • Mr. Thomas Bigony • Mrs. Stanton L. Black • Dr. and Mrs. Neil R. Blacklow • Partha and Vinita Bose • Catherine Brigham • Mr. and Mrs. David W. Brigham • Ellen and Ronald Brown • Elise R. Browne • Matthew Budd and Rosalind Gorin • George ‡ and Assunta Cha • Mr. and Mrs. Dan Ciampa • Mr. Stephen Coit and Ms. Susan Napier • Mrs. I.W. Colburn • Robert and Sarah Croce • Joanna Inches Cunningham • Mr. and Mrs. Stephen Cutler • Pat and John Deutch • Relly and Brent Dibner • Nina L. and Eugene B. Doggett • Robert Donaldson and Judith Ober • Mr. David L. Driscoll • Barbara and Seymour Ellin • Mrs. William V. Ellis • Elaine Epstein and Jim Krachey • Dr. Mark Epstein and Ms. Amoretta Hoeber • Peter Erichsen and David Palumb • Ziggy Ezekiel ‡ and Suzanne Courtright Ezekiel • Deborah and Ron Feinstein • Andrew and Margaret Ferrara • Mr. and Mrs. Peter Fiedler • Velma Frank •

week 1 the higginson society 77

Myrna H. and Eugene M. ‡ Freedman • Ms. Ann Gallo • Dozier and Sandy Gardner • Jim and Becky Garrett • Rose and Spyros Gavris • Arthur and Linda Gelb • Nelson S. Gifford • Drs. Alfred L. and Joan H. Goldberg • Roberta Goldman • Mr. Eric Green • Harriet and George Greenfield • Paula S. Greenman • Madeline L. Gregory • The Rt. Rev. and Mrs. J. Clark Grew • David and Harriet Griesinger • Janice Guilbault • Anne Blair Hagan • Elizabeth M. Hagopian • Mr. and Mrs. Thomas Hamilton III • Janice Harrington and John Matthews • Daphne and George Hatsopoulos • Deborah Hauser • Dr. Edward Heller, Jr. and Ms. Uni Joo • Mr. Gardner C. Hendrie and Ms. Karen J. Johansen • Joan and Peter Hoffman • Pat and Paul Hogan • Mr. and Mrs. Charles Hood • Cerise Lim Jacobs, for Charles • Susan Johnston • Ms. Teresa Kaltz • Joan Bennett Kennedy • Elizabeth Kent • Mary S. Kingsbery • Mr. and Mrs. Gordon F. Kingsley • Susan G. Kohn • Dr. and Mrs. David Kosowsky • Mr. and Mrs. ‡ Benjamin H. Lacy • Robert A. and Patricia P. Lawrence • Mr. and Mrs. Don LeSieur • Emily Lewis • Alice Libby and Mark Costanzo • Thomas and Adrienne Linnell • Mr. and Mrs. Francis V. Lloyd III • Dr. Judith K. Marquis and Mr. Keith F. Nelson • Vincent Mayer and Dana Lee • Michael and Rosemary McElroy • Margaret and Brian McMenimen • Mr. and Mrs. James Mellowes • Richard S. Milstein, Esq. • Robert and Jane Morse • Phyllis Murphy M.D. and Mark Hagopian • Anne J. Neilson • Cornelia G. Nichols • Judge Arthur Nims • George and Connie Noble • Kathleen and Richard Norman • Lawrence ‡ and Mary Norton • Mr. and Mrs. Geoffrey Nunes • Jan Nyquist and David Harding • Dr. Christine Olsen and Mr. Robert J. Small • Mr. and Mrs. Gerald F. O’Neil • Martin and Helene Oppenheimer • Drs. Roslyn W. and Stuart H. Orkin • Jon and Deborah Papps • Peter Parker and Susan Clare • Joyce and Bruce Pastor • Michael and Frances Payne • Kitty Pechet • Donald and Laurie Peck • Mr. Edward Perry and Ms. Cynthia Wood • Mr. and Mrs. Nicholas J. Philopoulos • Elizabeth F. Potter and Joseph L. Bower • Dr. Tina Young Poussaint and Dr. Alvin Poussaint • Michael C.J. Putnam • Jane M. Rabb • Helen and Peter Randolph • Mr. and Mrs. Michael Rater • Douglas Reeves and Amy Feind Reeves • John Sherburne Reidy • Kennedy P. and Susan M. Richardson • Dr. Robin S. Richman and Dr. Bruce Auerbach • Mrs. Nancy Riegel • Dorothy B. and Owen W. Robbins • Mr. Daniel L. Romanow and Mr. B. Andrew Zelermyer • Dr. and Mrs. Michael Ronthal • Mr. and Mrs. Donald Rosenfeld • Judy and David Rosenthal • Ms. Francine Rosenzweig and Dr. David Davidson • Mr. and Mrs. Henry Rosovsky • William and Kathleen Rousseau • Maureen and Joe Roxe/The Roxe Foundation • Arnold Roy • Joanne Zervas Sattley • Betty and Pieter Schiller • Mr. and Mrs. Marvin G. Schorr • David and Marie Louise Scudder • Carol Searle and Andrew Ley • The Shane Foundation • Mr. and Mrs. Michael Simon • Kitte ‡ and Michael Sporn • Mr. and Mrs. Joseph D. Spound • George ‡ and Lee Sprague • In honor of Ray and Maria Stata • Nancy F. Steinmann • Valerie and John Stelling • Mrs. Edward A. Stettner • Mr. John Stevens and Ms. Virginia McIntyre • Fredericka and Howard Stevenson • John and Katherine Stookey • Louise and Joseph Swiniarski • Jeanne and John Talbourdet • Patricia L. Tambone • Judith Ogden Thomson • Mr. and Mrs. W. Nicholas Thorndike • Mr. and Mrs. Richard K. Thorndike III • Diana O. Tottenham • Philip C. Trackman • Mr. and Mrs. John H. Valentine • Ms. Ellen B. Widmer • Howard and Karen Wilcox • Albert O. Wilson, Jr. • Elizabeth H. Wilson • Chip and Jean Wood • The Workman Family • Jean Yeager • Dr. and Mrs. Bernard S. Yudowitz • Dr. Xiaohua Zhang and Dr. Quan Zhou • Anonymous (10)

week 1 the higginson society 79

Administration

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

Bridget P. Carr, Senior Archivist • Julie Giattina Moerschel, Executive Assistant to the Managing Director • Vincenzo Natale, Chauffeur/Valet • Sarah Radcliffe-Marrs, Manager of Artists Services • Eric Valliere, Assistant Artistic Administrator administrative staff/production Christopher W. Ruigomez, Director of Concert Operations and Assistant Director of Tanglewood Kristie Chan, Chorus and Orchestra Management Assistant • Tuaha Khan, Stage Technician • Jake Moerschel, Technical Supervisor/Assistant Stage Manager • Leah Monder, Operations Manager • John Morin, Stage Technician • Mark C. Rawson, Stage Technician • Emily W. Siders, Concert Operations Administrator • Nick Squire, Recording Engineer • Andrew Tremblay, Orchestra Personnel Administrator boston pops Dennis Alves, Director of Artistic Planning Wei Jing Saw, Assistant Manager of Artistic Administration • Amanda Severin, Manager of Artistic Planning and Services business office

Sarah J. Harrington, Director of Planning and Budgeting • Mia Schultz, Director of Investment Operations and Compliance • Natasa Vucetic, Controller Karen Guy, Accounts Payable Supervisor • Jared Hettrick, Budget and Finance Reporting Assistant • Erik Johnson, Finance and Marketing Administrator • Minnie Kwon, Payroll Associate • Evan Mehler, Budget Manager • Robin Moxley, Payroll Supervisor • Nia Patterson, Staff Accountant • Mario Rossi, Staff Accountant • Lucy Song, Accounts Payable Assistant • Teresa Wang, Staff Accountant • Maggie Zhong, Senior Endowment Accountant

week 1 administration 81 Wolfgang, Gustav, Johann Sebastian, Sergei, and Franz, meet NEC’s 2016-17 Orchestra Season Cindy, Ellen, features work by seven women composers. That’s in addition to Augusta, Anna, favorites by Mozart, Mahler, Bach, and more. Fabulous performances, Caroline, Jennifer, superb young musicians, Jordan Hall—and such exciting music. All for free. You don’t want to miss and Kati. this season!

necmusic.edu/orchestras

82 development

Susan Grosel, Director of Annual Funds and Donor Relations • Nina Jung, Director of Board, Donor, and Volunteer Engagement • Ryan Losey, Director of Foundation and Government Relations • John C. MacRae, Director of Principal and Major Gifts • Jill Ng, Director of Planned Giving and Senior Major Gifts Officer • Richard Subrizio, Director of Development Communications • Mary E. Thomson, Director of Corporate Initiatives • Jennifer Roosa Williams, Director of Development Research and Information Systems Kyla Ainsworth, Donor Acknowledgment and Research Coordinator • Erin Asbury, Manager of Volunteer Services • Stephanie Baker, Assistant Director, Campaign Planning and Administration • Nadine Biss, Assistant Manager, Development Communications • Diane Cataudella, Associate Director, Donor Relations • Caitlin Charnley, Donor Ticketing Associate • Allison Cooley, Major Gifts Officer • Emily Diaz, Assistant Manager, Gift Processing • Elizabeth Estey, Major Gifts Coordinator • Emily Fritz-Endres, Executive Assistant to the Director of Development • Barbara Hanson, Senior Leadership Gifts Officer • Laura Hill, Friends Program Coordinator • James Jackson, Assistant Director, Telephone Outreach • Allison Kunze, Major Gifts Coordinator • Laine Kyllonen, Assistant Manager, Donor Relations • Andrew Leeson, Manager, Direct Fundraising and Friends Program • Anne McGuire, Assistant Manager, Corporate Initiatives and Research • Kara O’Keefe, Leadership Gifts Officer • Suzanne Page, Major Gifts Officer • Mark Paskind, Assistant Manager of Planned Giving • Kathleen Pendleton, Assistant Manager, Development Events and Volunteer Services • Johanna Pittman, Grant Writer • Maggie Rascoe, Annual Funds Coordinator • Emily Reynolds, Assistant Director, Development Information Systems • Francis Rogers, Major Gifts Officer • Alexandria Sieja, Assistant Director, Development Events • Yong-Hee Silver, Senior Major Gifts Officer • Szeman Tse, Assistant Director, Development Research education and community engagement Jessica Schmidt, Helaine B. Allen Director of Education and Community Engagement Claire Carr, Senior Manager of Education and Community Engagement • Emilio Gonzalez, Manager of Education and Community Engagement • Elizabeth Mullins, Assistant Manager of Education and Community Engagement • Darlene White, Manager of Berkshire Education and Community Engagement facilities Robert Barnes, Director of Facilities symphony hall operations Peter J. Rossi, Symphony Hall Facilities Manager Charles F. Cassell, Jr., Facilities Compliance and Training Coordinator • Alana Forbes, Facilities Coordinator • Shawn Wilder, Mailroom Clerk maintenance services Jim Boudreau, Lead Electrician • Thomas Davenport, Carpenter • Michael Frazier, Carpenter • Steven Harper, HVAC Technician • Sandra Lemerise, Painter • Adam Twiss, Electrician environmental services Landel Milton, Lead Custodian • Rudolph Lewis, Assistant Lead Custodian • Desmond Boland, Custodian • Julien Buckmire, Custodian/Set-up Coordinator • Claudia Ramirez Calmo, Custodian • Garfield Cunningham, Custodian • Errol Smart, Custodian • Gaho Boniface Wahi, Custodian tanglewood operations Robert Lahart, Director of Tanglewood Facilities Bruce Peeples, Grounds Supervisor • Peter Socha, Tanglewood Facilities Manager • Fallyn Davis, Tanglewood Facilities Coordinator • Stephen Curley, Crew • Richard Drumm, Mechanic • Maurice Garofoli, Electrician • Bruce Huber, Assistant Carpenter/Roofer human resources

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

week 1 administration 83 boston symphony orchestra bso 101 A FREE ADULT EDUCATION SERIES BSO 101: Are You Listening? Each BSO 101 session is followed by a free tour Increase your enjoyment of BSO concerts. of Symphony Hall. Though admission is free, we These five sessions at Symphony Hall from request that you make a reservation to secure 5:30–7pm with BSO Director of Program your place. Group rates (20 or more people) Publications Marc Mandel joined by members apply; call 617-638-9345 for details. of the BSO are designed to enhance your Tuesday, October 4: Surveying the Season listening abilities and appreciation of music Wednesday, November 2: – by focusing on upcoming BSO repertoire, Rethinking Tradition examining and illuminating aspects of musical shape and form, and of the Wednesday, February 15: Sibelius & Par Excellence composers’ individual musical styles. Shostakovich–Individualists Wednesday, March 15: Berlioz & Dutilleux– Please RSVP online or by calling 617-266-1200. Journeys in Sound Wednesday, April 12: Mozart & Mahler– bso.org/bso101 Speaking to the Heart

Available now at bso.org and in the Symphony Shop. $21.98

84 information technology Timothy James, Director of Information Technology Andrew Cordero, IT Asset Manager • Ana Costagliola, Database Business Analyst • Isa Cuba, Infrastructure Engineer • Stella Easland, Telephone Systems Coordinator • Michael Finlan, Telephone Systems Manager • Karol Krajewski, Infrastructure Systems Manager • Brian Van Sickle, User Support Specialist • Richard Yung, IT Services Manager public relations

Samuel Brewer, Senior Publicist • Alyssa Kim, Senior Publicist • Taryn Lott, Assistant Director of Public Relations publications Marc Mandel, Director of Program Publications Robert Kirzinger, Assistant Director of Program Publications—Editorial • Eleanor Hayes McGourty, Assistant Director of Program Publications—Production and Advertising sales, subscription, and marketing

Helen N.H. Brady, Director of Group Sales • Alyson Bristol, Director of Corporate Partnerships • Dan Kaplan, Director of Boston Pops Business Development • Roberta Kennedy, Buyer for Symphony Hall and Tanglewood • Sarah L. Manoog, Director of Marketing • Michael Miller, Director of Ticketing Amy Aldrich, Associate Director of Subscriptions and Patron Services • Christopher Barberesi, Assistant Manager, Corporate Partnerships • Gretchen Borzi, Associate Director of Marketing • Lenore Camassar, Associate Manager, SymphonyCharge • Megan Cokely, Group Sales Manager • Susan Coombs, SymphonyCharge Coordinator • Jonathan Doyle, Graphic Designer • Paul Ginocchio, Manager, Symphony Shop and Tanglewood Glass House • Mary Ludwig, Manager, Corporate Sponsor Relations • Tammy Lynch, Front of House Director • Ronnie McKinley, Ticket Exchange Coordinator • Michelle Meacham, Subscriptions Representative • Michael Moore, Associate Director of Internet Marketing and Digital Analytics • Laurence E. Oberwager, Director of Tanglewood Business Partners • Meaghan O’Rourke, Internet Marketing and Social Media Manager • Greg Ragnio, Subscriptions Representative • Doreen Reis, Advertising Manager • Laura Schneider, Internet Marketing Manager and Front End Lead • Robert Sistare, Senior Subscriptions Representative • Richard Sizensky, Access Coordinator • Kevin Toler, Art Director • Himanshu Vakil, Associate Director of Internet and Security Technologies • Claudia Veitch, Director, BSO Business Partners • Thomas Vigna, Group Sales and Marketing Associate • Amanda Warren, Graphic Designer • Ellery Weiss, SymphonyCharge Representative • David Chandler Winn, Tessitura Liaison and Associate Director of Tanglewood Ticketing box office Jason Lyon, Symphony Hall Box Office Manager • Nicholas Vincent, Assistant Manager Jane Esterquest, Box Office Administrator • Kelsy Devlin, Box Office Representative event services James Gribaudo, Function Manager • Kyle Ronayne, Director of Event Administration • Luciano Silva, Manager of Venue Rentals and Event Administration tanglewood music center

Karen Leopardi, Associate Director for Faculty and Guest Artists • Michael Nock, Associate Director for Student Affairs • Bridget Sawyer-Revels, Manager of Administration • Gary Wallen, Associate Director for Production and Scheduling

week 1 administration 85

Boston Symphony Association of Volunteers executive committee Chair, Martin Levine Vice-Chair, Boston, Suzanne Baum Vice-Chair, Tanglewood, Alexandra Warshaw Secretary, Susan Price Co-Chairs, Boston Mary Gregorio • Trish Lavoie • George Mellman Co-Chairs, Tanglewood Bob Braun • David Galpern • Gabriel Kosakoff Liaisons, Tanglewood Glass Houses, Adele Cukor • Ushers, Carolyn Ivory boston project leads 2016-17

Café Flowers, Stephanie Henry and Kevin Montague • Chamber Music Series, Rita Richmond • Computer and Office Support, Helen Adelman • Flower Decorating, Linda Clarke • Guide’s Guide, Audley H. Fuller and Renee Voltmann • Instrument Playground, Melissa Riesgo • Mailings, Steve Butera • Membership Table/Hall Greeters, Sabrina Ellis • Newsletter, Gordon • Volunteer Applications, Carol Beck • Symphony Shop, Karen Brown • Tour Guides, Cathy Mazza

MUSIC FOUNDATION

Silver Anniversary Gala MONDAY, OCTOBER 31 SYMPHONY HALL, BOSTON

GARRICK OHLSSON MEMBERS OF THE BSO BOSTON COMMUNITY GOSPEL CHOIR Tickets: www.tmfgala.org | Tel. 857-222-8263 photo © Michael J. Lutch

week 1 administration 87 Next Program…

Thursday, October 6, 8pm Friday, October 7, 1:30pm (Friday Preview from 12:15-12:45 in Symphony Hall) Saturday, October 8, 8pm

andris nelsons conducting

widmann “trauermarsch,” for piano and orchestra yefim bronfman

{intermission}

brahms “ein deutsches requiem” (“a german requiem”), opus 45, on words from holy scripture Selig sind, die da Leid tragen Denn alles Fleisch es ist wie Gras Herr, lehre doch mich Wie lieblich sind deine Wohnungen Ihr habt nun Traurigkeit Denn wir haben hie keine bleibende Statt Selig sind die Toten camilla tilling, soprano , baritone tanglewood festival chorus, lidiya yankovskaya, guest chorus conductor

Eminent Israeli-American pianist Yefim Bronfman joins Andris Nelsons and the BSO in Trauer- marsch (“Funeral March”) by the German Jörg Widmann, a composer new to the BSO. Writing this concerto-like piece for Bronfman and the Berlin Philharmonic, who premiered it in 2014, Widmann set out deliberately to evoke and engage with music of the Romantic era.

A German Requiem, Brahms’s largest work, originated with music he wrote following ’s attempted suicide in 1854 and seems also to have been connected to the death of the composer’s own mother. The result is an utterly personal, scarcely ceremonial Requiem for sopra- no and baritone soloists, chorus, and orchestra, episodically setting texts chosen by Brahms from the Bible. Its “German”-ness derives partly from the fact that, unlike the traditional Latin Requiem text, Brahms used Martin Luther’s German translations of scripture. A German Requiem was the composer’s first nearly universal success among his large-scale works, unequivocally fulfilling Schumann’s early predictions of Brahms’s greatness.

88 Coming Concerts… friday previews and rehearsal talks: The BSO offers half-hour talks prior to all of the BSO’s Friday-afternoon subscription concerts and Thursday-morning Open Rehearsals. Free to all ticket holders, the Friday Previews take place from 12:15-12:45 p.m. and the Open Rehearsal Talks from 9:30-10 a.m. in Symphony Hall.

Thursday ‘A’ October 6, 8-10:10 Thursday ‘A’ October 20, 8-10 Friday ‘A’ October 7, 1:30-3:40 Friday ‘A’ October 21, 1:30-3:30 Saturday ‘A’ October 8, 8-10:10 Saturday B’ October 22, 8-10 ANDRIS NELSONS, conductor Tuesday ‘B’ October 25, 8-10 YEFIM BRONFMAN, piano CHARLES DUTOIT, conductor CAMILLA TILLING, soprano YO-YO MA, cello THOMAS HAMPSON, baritone WOMEN OF THE TANGLEWOOD FESTIVAL CHORUS, TANGLEWOOD FESTIVAL CHORUS, LISA GRAHAM, guest chorus conductor LIDIYA YANKOVSKAYA, guest chorus conductor WALTON Portsmouth Point Overture WIDMANN Trauermarsch, for piano and ELGAR Cello Concerto orchestra HOLST The Planets BRAHMS A German Requiem

Thursday ‘C’ October 27, 8-10:05 Thursday ‘B’ October 13, 8-10 Friday ‘B’ October 28, 1:30-3:35 Friday ‘B’ October 14, 1:30-3:30 Saturday ‘B’ October 29, 8-10:05 Saturday ‘A’ October 15, 8-10 CHARLES DUTOIT, conductor ILDIKÓ KOMLÓSI JAKUB HRU˚ ŠA, conductor , mezzo-soprano (Judith) MATTHIAS GOERNE FRANK PETER ZIMMERMANN, violin , baritone (Bluebeard) MOZART SMETANA Šárka, from Ma Vlást Symphony No. 39 BARTÓK BARTÓK Violin Concerto No. 2 Bluebeard’s Castle (sung in Hungarian with MUSSORGSKY English supertitles) JANÁCˇEK Taras Bulba

Programs and artists subject to change.

The BSO’s 2016-17 season is supported in part by the Massachusetts Cultural Council, which receives support from the State of Massachusetts and the National Endowment for the Arts.

Single tickets for all Boston Symphony concerts throughout the season are available online at bso.org via a secure credit card order; by calling Symphony Charge at (617) 266-1200 or toll-free at (888) 266-1200; or at the Symphony Hall box office, Monday through Friday from 10 a.m. to 6 p.m. (Saturdays from 4-8:30 p.m. when there is a concert). Please note that there is a $6.50 handling fee for each ticket ordered by phone or online.

week 1 coming concerts 89 Symphony Hall Exit Plan

90 Symphony Hall Information

For Symphony Hall concert and ticket information, call (617) 266-1492. For Boston Symphony concert program information, call “C-O-N-C-E-R-T” (266-2378). The Boston Symphony Orchestra performs ten months a year, in Symphony Hall and at Tanglewood. For infor- mation about any of the orchestra’s activities, please call Symphony Hall, visit bso.org, or write to the Boston Symphony Orchestra, Symphony Hall, 301 Massachusetts Avenue, Boston, MA 02115. The BSO’s web site (bso.org) provides information on all of the orchestra’s activities at Symphony Hall and at Tanglewood, and is updated regularly. In addition, tickets for BSO concerts can be purchased online through a secure credit card transaction. The Eunice S. and Julian Cohen Wing, adjacent to Symphony Hall on Huntington Avenue, may be entered by the Symphony Hall West Entrance on Huntington Avenue. In the event of a building emergency, patrons will be notified by an announcement from the stage. Should the building need to be evacuated, please exit via the nearest door (see map on opposite page), or according to instructions. For Symphony Hall rental information, call (617) 638-9241, or write the Director of Event Administration, Symphony Hall, Boston, MA 02115. The Box Office is open from 10 a.m. until 6 p.m. Monday through Friday (12 noon until 6 p.m. on Saturday), until 8:30 p.m. on concert evenings, and for a half-hour past starting time for other events. In addition, the box office opens at least two hours prior to most Sunday performances. Single tickets for all Boston Symphony subscription concerts are available at the box office. To purchase BSO Tickets: American Express, MasterCard, Visa, Diners Club, Discover, a personal check, and cash are accepted at the box office. To charge tickets instantly on a major credit card, call “SymphonyCharge” at (617) 266-1200, from 10 a.m. until 6 p.m. Monday through Friday (12 noon to 6 p.m. on Saturday). Outside the 617 area code, phone 1-888-266-1200. As noted above, tickets can also be purchased online. There is a han- dling fee of $6.50 for each ticket ordered by phone or online. Group Sales: Groups may take advantage of advance ticket sales. For BSO concerts at Symphony Hall, groups of twenty-five or more may reserve tickets by telephone and take advantage of ticket discounts and flexible payment options. To place an order, or for more information, call Group Sales at (617) 638-9345 or (800) 933-4255, or e-mail [email protected]. For patrons with disabilities, elevator access to Symphony Hall is available at both the Massachusetts Avenue and Cohen Wing entrances. An access service center, large print programs, and accessible restrooms are avail- able inside the Cohen Wing. For more information, call the Access Services Administrator line at (617) 638-9431 or TDD/TTY (617) 638-9289. In consideration of our patrons and artists, children age four or younger will not be admitted to Boston Symphony Orchestra concerts. Please note that no food or beverage (except water) is permitted in the Symphony Hall auditorium. Patrons who bring bags to Symphony Hall are subject to mandatory inspections before entering the building. Those arriving late or returning to their seats will be seated by the patron service staff only during a convenient pause in the program. Those who need to leave before the end of the concert are asked to do so between pro- gram pieces in order not to disturb other patrons.

Each ticket purchased from the Boston Symphony Orchestra constitutes a license from the BSO to the pur- chaser. The purchase price of a ticket is printed on its face. No ticket may be transferred or resold for any price above its face value. By accepting a ticket, you are agreeing to the terms of this license. If these terms are not acceptable, please promptly contact the Box Office at (617) 266-1200 or [email protected] in order to arrange for the return of the ticket(s).

week 1 symphony hall information 91 Ticket Resale: If you are unable to attend a Boston Symphony concert for which you hold a subscription ticket, you may make your ticket available for resale by calling (617) 266-1492 during business hours, or (617) 638-9426 up to one hour before the concert. This helps bring needed revenue to the orchestra and makes your seat available to someone who wants to attend the concert. A mailed receipt will acknowledge your tax-deductible contribution. Rush Seats: There are a limited number of Rush Seats available for Boston Symphony subscription concerts on Tuesday and Thursday evenings, and on Friday afternoons. The low price of these seats is assured through the Morse Rush Seat Fund. Rush Tickets are sold at $9 each, one to a customer, at the Symphony Hall box office on Fridays as of 10 a.m. for afternoon concerts, and on Tuesdays and Thursdays as of 5 p.m. for evening concerts. Please note that there are no Rush Tickets available for Friday and Saturday evenings. Please note that smoking is not permitted anywhere in Symphony Hall. Camera and recording equipment may not be brought into Symphony Hall during concerts. Lost and found is located at the security desk at the stage door to Symphony Hall on St. Stephen Street. First aid facilities for both men and women are available. On-call physicians attending concerts should leave their names and seat locations at the Cohen Wing entrance on Huntington Avenue. Parking: The Prudential Center Garage and Copley Place Parking on Huntington Avenue offer discounted parking to any BSO patron with a ticket stub for evening performances. Limited street parking is available. As a special benefit, guaranteed pre-paid parking near Symphony Hall is available to subscribers who attend evening con- certs. For more information, call the Subscription Office at (617) 266-7575. Elevators are located outside the O’Block/Kay and Cabot-Cahners rooms on the Massachusetts Avenue side of Symphony Hall, and in the Cohen Wing. Ladies’ rooms are located on both main corridors of the orchestra level, as well as at both ends of the first balco- ny, audience-left, and in the Cohen Wing. Men’s rooms are located on the orchestra level, audience-right, outside the O’Block/Kay Room near the elevator; on the first-balcony level, also audience-right near the elevator, outside the Cabot-Cahners Room; and in the Cohen Wing. Coatrooms are located on the orchestra and first-balcony levels, audience-left, outside the O’Block/Kay and Cabot-Cahners rooms, and in the Cohen Wing. Please note that the BSO is not responsible for personal apparel or other property of patrons. Lounges and Bar Service: There are two lounges in Symphony Hall. The O’Block/Kay Room on the orchestra level and the Cabot-Cahners Room on the first-balcony level serve drinks starting one hour before each performance. For the Friday-afternoon concerts, both rooms open at noon, with sandwiches available until concert time. Drink coupons may be purchased in advance online or through SymphonyCharge for all performances. Boston Symphony Broadcasts: Saturday-evening concerts of the Boston Symphony Orchestra are broadcast live in the Boston area by 99.5 All-Classical. BSO Friends: The Friends are donors who contribute $100 or more to the Boston Symphony Orchestra Annual Funds. For information, please call the Friends of the BSO Office at (617) 638-9276 or e-mail [email protected]. If you are already a Friend and you have changed your address, please inform us by sending your new and old addresses to Friends of the BSO, Symphony Hall, Boston, MA 02115. Including your patron number will assure a quick and accurate change of address in our files. BSO Business Partners: The BSO Business Partners program makes it possible for businesses to participate in the life of the Boston Symphony Orchestra. Benefits include corporate recognition in the BSO program book, access to the Beranek Room reception lounge, two-for-one ticket pricing, and advance ticket ordering. For further infor- mation, please call the BSO Business Partners Office at (617) 638-9275 or e-mail [email protected]. The Symphony Shop is located in the Cohen Wing at the West Entrance on Huntington Avenue and is open Thurs day and Saturday from 3 to 6 p.m., and for all Symphony Hall performances through intermission. The Symphony Shop features exclusive BSO merchandise, including calendars, coffee mugs, an expanded line of BSO apparel and recordings, and unique gift items. The Shop also carries children’s books and musical-motif gift items. A selection of Symphony Shop merchandise is also available online at bso.org and, during concert hours, outside the Cabot-Cahners Room. All proceeds benefit the Boston Symphony Orchestra. For further information and telephone orders, please call (617) 638-9383, or purchase online at bso.org.

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