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Home , CBSO Chorus, Konrad Jarnot, Marlis Petersen, RIAS Kammerchor, Sasha Waltz, Simon Halsey

Sunday, October 16, 2016, at 7:30 pm Tuesday–Wednesday, October 18–19, 2016, at 7:30 pm

Post-performance discussion on Tuesday, October 18 with , Jochen Sandig, and Patrick Castillo human requiem (U.S. premiere)

Rundfunkchor Simon Halsey , Conductor , Soprano Konrad Jarnot , Angela Gassenhuber , Piano Philip Mayers , Piano Nicolas Fink , Co-Conductor Jochen Sandig , Concept and Scenic Realization Brad Hwang , Spatial Concept Jörg Bittner , Lighting

BRAHMS Ein deutsches Requiem for soloists, chorus, and piano four hands (1868/2004) Arranged by Phillip Moll from the original transcription by Brahms 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

This performance is approximately 70 minutes long without intermission. Please join the artists for a White Light Lounge immediately following the performance.

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

Steinway Piano Please make certain all your electronic devices Synod House, are switched off. Cathedral of St. John the Divine WhiteLightFestival.org MetLife is the National Sponsor of Lincoln Center. UPCOMING WHITE LIGHT FESTIVAL EVENTS:

Artist Catering provided by Zabar’s and Zabars.com Friday, October 21 at 7:30 pm in the Church of St. Mary the Virgin American Airlines is the Official Airline of Lincoln Immortal Bach Center Rundfunkchor Berlin Gijs Leenaars , conductor Nespresso is the Official Coffee of Lincoln Center Ezra Seltzer , cello Avi Stein , chamber organ NewYork-Presbyterian is the Official Hospital of SCHÜTZ: Ist nicht Ephraim mein teurer Sohn Lincoln Center BACH: Fürchte dich nicht; Komm, Jesu, Komm! BRAHMS: Fest- und Gedenksprüche; Warum ist das Licht gegeben human requiem is a production of Rundfunkchor SCHOENBERG: Friede auf Erden Berlin () in cooperation with NYSTEDT: Immortal Bach Sasha Waltz & Guests and RADIALSYSTEM V Wednesday–Thursday, October 26–27 at 7:30 pm in the Rose Theater Babel(words) Sidi Larbi Cherkaoui , choreography , choreography Antony Gormley , visual design Music: Patrizia Bovi, Mahabub Khan, Sattar Khan, Gabriele Miracle, Shogo Yoshii Pre-performance discussion on October 26 at 6:15 pm with Sidi Larbi Cherkaoui and Jane Moss

Sunday, October 30 at 3:00 pm in David Geffen Hall Verdi Requiem Symphony Orchestra , conductor Erika Grimaldi , soprano Daniela Barcellona , mezzo-soprano Francesco Meli , tenor Vitalij Kowaljow , bass Simon Halsey , chorus director Pre-concert lecture by Andrew Shenton at 1:45 pm in the Stanley H. Kaplan Penthouse

For tickets, call (212) 721-6500 or visit WhiteLightFestival.org. Call the Lincoln Center Info Request Line at (212) 875-5766 to learn about pro - gram cancellations or to request a White Light Festival brochure.

Visit WhiteLightFestival.org for full festival listings.

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We would like to remind you that the sound of coughing and rustling paper might distract the performers and your fellow audience members. In consideration of the performing artists and members of the audience, those who must leave before the end of the performance are asked to do so between pieces. The taking of photographs and the use of recording equipment are not allowed in the building. Conductor’s Note the performance I expect that you, like me, may want to walk for some blocks lost in By Simon Halsey your own thoughts. “Well, here’s another nice mess you’ve The choir was initially apprehensive—it gotten me into!” takes a lot to learn such a big and complex —Oliver Hardy, 1930 work by heart, but the benefits are immense. It allows our singers to listen, Our best ideas at Rundfunkchor Berlin are collaborate, and think in a heightened way. the ones that were suggested almost off- Each singer must take an extraordinary handedly in the beginning: Why not do a degree of personal responsibility for the choral opera in ’s coolest techno notes, the text, the dynamics, colors, and club? Present a late-night concert of expression; they must tell you, the audi - polyphony in a disused power station? ence, the story eye to eye, and they must Let’s sing an all-night vigil in an art gallery! achieve balance and blend of their voices Bach Passions in October anyone? and splendid intonation without always being able to clearly see or even hear each Like the Bach Passions, Brahms’s Ein other. Subsequently, these heightened deutsches Requiem is beloved, even re - sensibilities and awareness have greatly vered. Isn’t it perfect as it stands in conven - impacted the choir’s more conventional tional concert form? Why stage a piece concerts. These singers have become a revered for its slow unfolding of inner truths? team that can be guided by a nudge to the steering wheel by their conductor. My job You decide whether Jochen Sandig, our has become an unusually collaborative one: director, has staged the work or not. I sug - guiding and suggesting the progress of the gest he has done something much more score rather than dictating it. It is the ulti - interesting: He has helped us all view mate listening. Brahms’s masterpiece from the inside—to contemplate the meaning of the text Why have we chosen the Synod House? together, audience and performers alike as human requiem works best in a relatively one community. small venue, where the ratio of performers to listeners is quite high. We were also The choir calls this Requiem “medicine for after a dignified, unusual space with a good the voice,” but it is also medicine for the acoustic in which we could include every - soul and perfect for the fractured times in one in telling this story. We are privileged which we live. It is not specifically denom - to be here and look forward to sharing this inational and invites us to consider our experience with you. place in the world and our relationships both on earth and in a wider context. After —Copyright © 2016 by Simon Halsey

WhiteLightFestival.org Note on the Program composer wrote an additional movement to complete the work as we know it. By Paul Schiavo

Brahms scored the music of his requiem Ein deutsches Requiem for soloists, for voices and orchestra, but he also made chorus, and piano four hands (1868/2004) two transcriptions of the orchestral accom - Born May 7, 1833, in Hamburg, paniment for keyboard. The first, written Died April 3, 1897, in Vienna toward the end of 1866, reduced the orchestra’s part to piano and seems Arranged by Phillip Moll from the original intended to show the piece to prospective transcription by Brahms conductors. Two years later, following the PHILLIP MOLL Bremen premiere, he made a more satis - Born September 16, 1943 in Chicago factory arrangement for two players at a single piano, an arrangement he permitted Approximate length: 70 minutes to be published, and which remains in use today. This evening’s performance uses an Brahms’s Ein deutsches Requiem grew out arrangement by Phillip Moll of Brahms’s of personal loss yet is deeply imbued with own transcription. universal significance. This work consti - tutes a profound meditation on death, one As the composition took shape, Brahms that expresses both sorrow and solace. occasionally showed the score to fellow Although its title and certain aspects of its musicians. One was Karl Reinthaler , direc - text and music make reference to the tor of music at the cathedral in Bremen. Requiem Mass of Catholic liturgy, Ein Reinthaler wanted the composition to con - deutsches Requiem departs significantly vey more conventional ecclesiastic doc - from ecclesiastic tradition. Rather, it is trine. “From a Christian perspective,” more closely allied to the spirit of human - Reinthaler argued, “it lacks the point ism, as Brahms himself indicated. around which everything rotates, namely the saving death of the Lord.” Brahms, Creation of Ein deutsches Requiem however, felt little sympathy for organized spanned more than a decade. In 1857, fol - religion, and he answered Reinthaler’s plea lowing the death of his mentor and early for a more specifically Christian orientation champion, , Brahms by declaring that he intended the composi - reworked music originally conceived for tion to be a “human requiem.” his early D-minor Piano Concerto into a choral setting of the verses “Denn alles The broad formal shape of Ein deutsches Fleisch, es ist wie Gras” (“Thus all flesh is Requiem has a symmetry comparable to like grass”), from the First Epistle of Peter. that of a Gothic arch: The first and final This would become the second movement movements resemble each other in tone, of Ein deutsches Requiem , though Brahms as do the second and sixth, and the third did not initially think of it as part of a larger and fifth movements. The fourth move - work. But with the passing of his mother, ment serves as a keystone, crowning the in February 1865, Brahms began to seek arch and unifying the entire structure. out other scriptural texts appropriate to mourning, drawing on the Gospels, Psalms, Brahms’s music for the first movement and other parts of the Bible in German trans - establishes a comforting tone well suited to lation (hence the composition’s title, “A the words “Selig sind, die da Leid tragen” German Requiem”). A prelim inary version, (“Blessed are they that mourn”). The tempo comprising six movements, was performed indication of the second movement reads in Bremen in 1868. Shortly thereafter, the “Slow, in the manner of a march,” and the music of the opening section indeed sug - and Brahms, despite his determina tion to gests a funeral procession. Its tone matches distinguish his “human requiem” from perfectly the fragment from 1 Peter (1:24): canonical liturgy, upholds this tradition in “Thus all flesh is like grass, and the glory of the sixth movement of his work. Following man as the flower of grass.” This music a brief choral introduction, the baritone frames a more hopeful middle section based soloist introduces the passage from on Psalm 126, and the movement closes Corinthians relating Saint Paul’s vision of with a triumphant vision of salvation. the final day, “Siehe, ich sage euch ein Geheimnes” (“Behold, I show you a mys - An anguished plea for guidance, voiced tery”). At the words “zu der Zeit der letzten alternately by baritone soloist and chorus, Posaune” (“At the last trumpet”), hell begins the third movement, “Herr, lehre vividly breaks loose, as swirling figures and doch mich” (“Lord, make me to know”). demonic outbursts accompany Paul’s The mood turns to hope at the line “Ich vision. Brahms concludes this sixth move - hoffe auf dich” (“My hope is in Thee”), ment, as he had the third, with a magnifi - with a spirited double fugue—a stirring pas - cent fugal passage, this time to comforting sage that combines two themes in echoic verses that begin “Tod, wo ist dein counterpoint—at the conclusion. Stachel?” (“O death, where is thy sting?”).

The fourth movement, “Wie lieblich sind The final movement commences with har - deine Wohnungen” (“How amiable are monies recalling those of the opening cho - Thy tabernacles”), brings a serene song for rus. The words, too, are similar, and as if to the chorus. Brahms strikes a more inti - confirm the sense of coming full circle, the mate tone in the ensuing movement, “Ihr melody introduced by the sopranos closely habt nun Traurigkeit” (“Ye now therefore resembles one heard in the first movement. have sorrow”), which features solo soprano. With texts from John, Isaiah, and Paul Schiavo serves as program annotator Ecclesiastes, this consolatory aria seems for the St. Louis and Seattle Symphonies, to speak of Brahms’s loss of his mother. and writes frequently for concerts at Lincoln Center. Visions of the Last Judgement form a cru - cial part of the traditional Mass for the Dead, —Copyright © 2016 by Paul Schiavo

WhiteLightFestival.org Illumination

The Well of Grief By David Whyte

Those who will not slip beneath the still surface on the well of grief

turning downward through its black water to the place we cannot breathe,

will never know the source from which we drink, the secret water, cold and clear,

nor find in the darkness glimmering, the small round coins, thrown by those who wished for something else.

—Printed with permission from Many Rivers Press, www.davidwhyte.com. David Whyte, “The Well of Grief,” from River Flow: New and Selected Poems . © 2012. Many Rivers Press, Langley, WA, USA

For poetry comments and suggestions, please write to [email protected]. Meet the Artists and artistic director of Rundfunkchor Berlin. Halsey remains as conductor laureate and a Rundfunkchor Berlin regular guest conductor. One of the world’s outstanding choral ensembles, Rundfunkchor Berlin (Berlin Radio Choir) is the winner of three Grammy Awards. The ensemble is known for the E D breadth of its repertoire, an excep tionally Y E H

S A warm, nuanced sound, and delight in exper - I H T T imentation, all of which makes it a chosen A

M Simon Halsey part ner of such orchestras and conductors Simon Halsey was principal conductor of as , Christian Thielemann, and Rundfunkchor Berlin from 2001 to 2015. Yannick Nézet-Séguin. It is the permanent Now conductor laureate, he retains his ties partner of the Berliner Philharmoniker, to the ensemble as a regular guest conduc - Deutsches Symphonie-Orchester Berlin, tor. Mr. Halsey’s enthusiasm, wit, perfec - and Rundfunk-Sinfonieorchester Berlin. tionism, and passionate pedagogical dedica - Rundfunkchor Berlin’s experimental pro - tion have made him one of the most ject series has attracted worldwide atten - sought-after choral conductors in the world. tion. In collaboration with artists from diverse disciplines, the chorus breaks Born in London in 1958, Mr. Halsey was down the classical concert formation and appointed director of music at the adopts new modes of choral music for a when he was only new audience. A prime example is human 22. In 1982 Simon Rattle engaged him as requiem, which has toured cities including director of the CBSO Chorus, a position Paris, Brussels, Athens, and , that he still holds today. Mr. Halsey has among others. This past spring the choir been guest conductor, then principal con - created an audio-visual concert experience ductor, of the Netherlands Radio Choir called cosmic lights around a multimedia (1997–2008), and, from 2004 to 2012, symphony about the aurora borealis. In directed the Chorus of Royal Northern addition, the music-dance-theater piece Sinfonia in England and the choral program LOVER by Christian Jost toured to Taipei at Sage Gateshead. In 2012 he took on and Hong Kong. In October, Rundfunk- two new directorships: the London chor Berlin undertakes its first South Symphony Chorus and the BBC Proms American tour. Youth Choir. He was also appointed artistic director of the Berliner Philharmoniker’s Founded in 1925 and shaped by conductors youth choral program. With the 2016–17 including Helmut Koch, Dietrich Knothe, season, Mr. Halsey assumes his new post Robin Gritton, and Simon Halsey, as artistic director of the chorus Orféo Rundfunkchor Berlin celebrated its 90th Català and artistic advisor at the Palau de la anniversary last year. The group gives Música Catalana in Barcelona. some 60 concerts per season and hosts annual activities that invite people of all Mr. Halsey has won three Grammy Awards ages and walks of life to become immersed for various recordings with Rundfunkchor in the world of professional choral music, Berlin, including discs of Brahms’s Ein including its big Sing-along Concert in the deutsches Requiem and Stravinsky’s Berlin Philharmonie and the Festival of Symphony of Psalms with Simon Rattle Choral Cultures. In 2015–16 Gijs Leenaars conducting the Berliner Philharmoni ker. Mr. assumed the post of principal conductor Halsey is also in demand as a peda gogue.

WhiteLightFestival.org The recipient of three honorary doctorates, orchestras such as Akamus Berlin, Bach- he is a professor at the University of Collegium , , and and has given guest lectures Freiburg Baroque. She has also collabo - at Princeton and Yale Universities. For his rated with leading orchestras, including the outstanding contributions to choral music , Royal Concert - in Germany, Mr. Halsey was awarded the gebouw, Boston Symphony and Mahler Order of Merit of the Federal Republic of Chamber Orchestras, and Staatskapelle Germany in 2011. In 2015 he was pre - Dresden. In 2016 Ms. Petersen performs sented by Queen Elizabeth II with Her the world premiere of Anno Schreier’s Majesty’s Medal for Music and appointed at the Theater an der Wien and Commander of the Order of the British stars in Massenet’s Manon at the Vienna Empire (CBE). In June he received the State Opera. Future plans include more Geschwister-Mendelssohn-Medaille of the performances, with recordings, Berlin Choral Association. recitals, and concerts at London’s Wig - more Hall, in Amsterdam, and Konzerthaus Berlin. S O L U O P O R V A M

S O G H R C S O I T I Y Marlis Petersen R

S A E R

After studying with at the D N

A Konrad Jarnot Musikhochschule Stuttgart, Marlis Petersen (soprano) began her career at the Nurem - Konrad Jarnot (baritone) is one of the most berg State Theater and later at the Deutsche sought-after singers of his generation. Oper am Rhein. She has appeared at the Since winning the first prize in 2000 at the Royal Opera House, Covent Garden, Opera ARD International Music Competition in Bastille, Metro politan Opera, Lyric Opera Munich, he has sung in such venues as the of Chicago, and the , Kennedy Center, Amsterdam’s Concert - as well as at the Salzburg, Bregenz, and gebouw, Konzerthaus Wien, London’s Aix-en-Provence festivals. and Royal Opera House, Covent Garden, Berliner Philharmonie, Ms. Petersen participated in the world pre - Gewandhaus , Teatro Real de mieres of ’s Phaedra in Madrid, Théâtre des Champs-Elysées in Berlin, Manfred Trojahn’s La Grande Magia Paris, and Deutsche Oper am Rhein. in Dresden, and starred in ’s Medea at the Vienna State Mr. Jarnot has worked regularly with lead - Opera. For this role she was given her sec - ing conductors, among them Riccardo ond Singer of the Year award by Chailly, Antonio Pappano, Marek Janowski, Opernwelt . Her third was for the new pro - Jesús López-Cobos, , duction of at the Bavarian State Opera Lothar Zagrosek, Andrey Boreyko, John in 2015, conducted by Kirill Petrenko. Fiore, , , and Jonathan Nott. He has sung with the Royal She sang in her first Traviata in Peter Concertgebouw Orchestra, Gewandhaus Konwitschny’s 2011 production in , Orchestra of Leipzig, Israel and Hong Kong and drew critical acclaim performing all Philharmonic Orchestras, and Orchestre four soprano roles in Les Contes National de France. Mr. Jarnot has per - D’ Hoffmann (Theater an der Wien). Ms. formed with choirs such as RIAS Petersen works regularly with Baroque Kammerchor, Collegium Vocale Gent, and Accentus, and at festivals including Schleswig-Holstein and Rheingau Musik Festivals, , Bachfest, Gstaad H T

Menuhin and Hong Kong Arts Festivals. He A R O M

has also appeared with actors Bruno Ganz, R A M

Senta Berger, and Julia Stemberger. G A

D Philip Mayers Mr. Jarnot has also become a leading lied Born in Australia, Philip Mayers (piano) interpreter, with performances throughout graduated with distinction from the Europe, North America, and Asia. He has Queensland Conservatorium of Music in recorded CDs for Sony, , Brisbane and completed a post-graduate OehmsClassics, Orfeo, Capriccio, and diploma at the Conservatorium’s Opera Hänssler, winning prizes that include the School. He has worked as a freelance German Record Critics’ Award, Echo musician throughout Australia and New Klassik award, and Diapason d’Or. Mr. Zealand, performing with contemporary Jarnot is a professor at Robert Schumann- music ensembles such as Flederman and Hochschule in Düsseldorf and has taught Australia Ensemble, as well as with the master classes at the Summer Academy national opera and ballet companies. Mozarteum in Salzburg and Japan. Mr. Mayers is now based in Berlin, where he is a frequent accompanist and chamber music partner, with appearances at major festivals throughout Europe and Asia, R

E often with his new-music ensemble Blue L E S S

E Note. He has made a wide variety of F

T Angela S

N recordings, including several with RIAS R

E Gassenhuber Kammerchor for Harmonia Mundi. Choral Angela Gassenhuber (piano) received her music is a major focus, with numerous musical training in her native Munich and in concerts to his credit with such ensembles Manchester, England. Since completing as Rundfunkchor Berlin, NDR Chor her studies, she has focused on chamber Hamburg, Chorus Musicus Köln, and music, appearing regularly in Germany and Cappella Amsterdam. Mr. Mayers is musi - abroad in varied chamber formations. She cal director with companies such as the performs with diverse duo partners as well Berliner Kammeroper, Opernfestival as with Hamburg’s and Schloss Rheinsberg, Berlin Konzerthaus Kammerensemble Neue Musik Berlin. Ms. and, most recently, for the Maerzmusik Gassenhuber also plays orchestral piano (Berliner Festspiele) and Schwetzingen with all the Berlin orchestras and performs festivals. He is also increasingly known as as a soloist in theatrical productions at a composer—his first opera, Triest , was Konzerthaus Berlin. She has appeared at premiered by the Berliner Kammeroper in international festivals and teaches at 1998—and arranger, not only in opera seria Berlin’s Hochschule für Musik Hanns Eisler. but also in the world of cabaret and popular Her discography includes music by music. With the English cabaret singer Boulanger, Tailleferre, and other composers. Mary Carewe he has appeared throughout Britain and Europe.

WhiteLightFestival.org dance, and the visual arts in Berlin. In 2010 Mr. Sandig was awarded the French cul - tural fraternity Officier de l’Ordre des Arts E

D et des Lettres. In 2012 he celebrated his E R K S

first directorial credit with human requiem S U N

G in cooperation with Rundfunkchor Berlin A

M Nicolas Fink and Simon Halsey. Swiss conductor Nicolas Fink has appeared with Rundfunkchor Berlin, the choirs of Brad Hwang MDR Leipzig and WDR Cologne, Chœur de Born in Seoul and raised in rural Utah, Brad Radio France in Paris, and Coro Casa de Hwang (spatial concept) completed a mas - Música in Portugal. As a chorus master, he ter’s degree in sculpture and new forms has worked with Bavarian Radio Chorus under the tutelage of Sal Scarpitta, Rob and RIAS Kammerchor, and has prepared Storr, Charles Ray, Chris Burden, and Paul large choral works for Simon Rattle, Marek McCarthy. Mr. Hwang disposed of virtually Janowski, , and many all his worldly possessions and moved to others. In 2014 he began his tenure as cho - Berlin in order to intimately experience the ral director of Schleswig-Holstein Festival absence and subsequent regrouping of Chorus. His upcoming projects include structures within the reunited city. He wor - Sasha Waltz’s production Figure Humaine ked closely with numerous building occu - with Vocalconsort Berlin for the opening of pation projects and activist artists. Elbphilharmonie Hamburg. He debuts with Cor del Palau de la Música in Barcelona, Mr. Hwang’s work is included in several and will conduct Rundfunkchor Berlin at museum collections. His collaborations the Grand Prix of Nations at the Berliner with Jochen Sandig and Sasha Waltz date Philharmonie. Mr. Fink‘s recordings of back decades and have taken on many dif - Rachmaninoff’s Liturgy of St. John ferent forms. Mr. Hwang resides with his Chrysostom with Rundfunkchor Berlin and family in Berlin’s Tiergarten on the M.S. Vespers with Rundfunkchor WDR received Odin, a century-old river barge that he has resounding critical acclaim. been restoring—it is an ongoing and never- ending sculptural project that is an integral Jochen Sandig part of his artistic practice. Jochen Sandig (concept and scenic realiza - tion) was born in Germany, and studied Jörg Bittner psychology and philosophy in Berlin, where Following a period as assistant technical he worked with the foundation of the art director for the Theater Münster, Jörg Bittner center Kunsthaus Tacheles. In 1990 he (lighting) studied theater and event technol - became its artistic director. In 1993, with ogy in Berlin, where he served as lighting Sasha Waltz, he founded the Sasha Waltz designer for his first pieces while still a stu - & Guests dance company, and has been its dent. During his tenure as technical director artistic director since 2004. Mr. Sandig also of Berlin’s Sophiensæle from 2000 to 2008, cofounded the Sophiensæle theater in Bittner developed the lighting design for Berlin in 1996 and was its artistic director numerous productions. He supervised the until 1999. From 1999 to 2004, Mr. Sandig new music productions of the Ultraschall was a member of the artistic direction of and MaerzMusik festivals in Berlin. the Schaubühne am Lehniner Platz in Berlin and was also responsible for the After moving to RADIALSYSTEM V in 2008, dramaturgy of the dance section. He is he became heavily involved with Folkert also the founder of RADIALSYSTEM V, a Uhde and Jochen Sandig in the search for production and training center for music, new classical concert formats and in expanding the boundaries of the “normal” year, the White Light Festival is Lincoln classical concert. Examples include the pro - Center’s annual exploration of music and ductions human requiem and Liberté with art’s power to reveal the many dimensions Rundfunkchor Berlin and the St. John of our interior lives. International in scope, Passion and B-minor Mass with the the multidisciplinary festival offers a broad Bavarian Radio Chorus. He also created spectrum of the world’s leading instrumen - lighting concepts for the televised produc - talists, vocalists, ensembles, choreogra - tions of DaschSalon at RADIALSYSTEM V. phers, dance companies, and directors complemented by conversations with Patrick Castillo artists and scholars and post-performance Patrick Castillo leads a multifaceted career White Light Lounges. as a composer, performer, writer, and edu - cator. His music has been presented at Lincoln Center for the Performing festivals and venues throughout the Arts, Inc. United States and internationally. He is the Lincoln Center for the Performing Arts founding composer and managing director (LCPA) serves three primary roles: presen - of Third Sound and executive director of ter of artistic programming, national leader Hotel Elefant. He previously served as in arts and education and community rela - artistic administrator for Music@Menlo and tions, and manager of the Lincoln Center senior director of artistic planning of the campus. A presenter of more than 3,000 Saint Paul Chamber Orchestra, and free and ticketed events, performances, appears frequently as a guest lecturer for tours, and educational activities annually, The Chamber Music Society of Lincoln LCPA offers 15 programs, series, and festi - Center. The Quality of Mercy, an album of vals including American Songbook, Great Mr. Castillo’s vocal chamber music featur - Performers, Lincoln Center Festival, Lincoln ing mezzo-soprano Abigail Fischer, has Center Out of Doors, Midsummer Night been critically praised and is available on Swing, the Mostly Mozart Festival, and the Innova Recordings. White Light Festival, as well as the Emmy Award–winning Live From Lincoln Center , White Light Festival which airs nationally on PBS. As manager of I could compare my music to white light, the Lincoln Center campus, LCPA provides which contains all colors. Only a prism can support and services for the Lincoln Center divide the colors and make them appear; complex and the 11 resident organizations. this prism could be the spirit of the lis - In addition, LCPA led a $1.2 billion campus tener. —Arvo Pärt. Now in its seventh renovation, completed in October 2012.

WhiteLightFestival.org S U A H T L O H

S A N O J _ N I L R E B

R O H C K N U F D N U R

Rundfunkchor Berlin

Soprano Alto Tenor Bass Nora von Billerbeck Roksolana Chraniuk Peter Ewald Sören von Billerbeck Anne Bretschneider Sabine Eyer David Erich Fankhauser Nicolas Boulanger Katrin Fischer Katharina Heiligtag Robert Franke Joachim Fiedler Catherine Hense Annerose Hummel Jens Horenburg Oliver Gawlik Lotta Hultmark Ulrike Jahn Johannes Klügling Sascha Glintenkamp Petra Leipert Christine Lichtenberg Thomas Kober Young Wook Kim Gesine Nowakowski Ingrid Lizzio Christoph Leonhardt Artem Nesterenko Melinda Parsons Judith Löser Ulrich Löns Thomas Pfützner Heike Peetz Kristiina Mäkimattila Holger Marks Axel Scheidig Sabine Puhlmann Bettina Pieck Jan Remmers Jörg Schneider Sylke Schwab Judith Simonis Norbert Sänger Rainer Schnös Uta Schwarze Tatjana Sotin Joo-hoon Shin David Stingl Anett Taube Anne-Kristin Zschunke Johannes Spranger Wolfram Teßmer Beate Thiemann Doris Zucker Georg Taube Michael Timm Ricarda Vollprecht René Voßkühler Isabelle Voßkühler Georg Witt Gabriele Willert

Children Yonas Bretschneider Lila Grace Martinez Abayomi Hazel Millia Claire Martinez Emma Huang Anthony Mattson Busiso Maldonado-Hazel Ailynn O’Neill Allegra Jooss Mangerini Nicole Tatko Romy Jooss Mangerini Kaia Yamaguchi Liliana Mann Lincoln Center Programming Department Jane Moss, Ehrenkranz Artistic Director Hanako Yamaguchi, Director, Music Programming Jon Nakagawa, Director, Contemporary Programming Jill Sternheimer, Director, Public Programming Lisa Takemoto, Production Manager Charles Cermele, Producer, Contemporary Programming Mauricio Lomelin, Producer, Contemporary Programming Andrew C. Elsesser, Associate Director, Programming Regina Grande Rivera, Associate Producer Nana Asase, Assistant to the Artistic Director Luna Shyr, Senior Editor Olivia Fortunato, House Seat Coordinator Gabe Mizrachi, Program Content Coordinator

For the White Light Festival Neil Creedon, Production Manager Andrew Hill, Production Electrician Janet Rucker, Company Manager

For human requiem Ilka Seifert, Dramaturgy Sasha Waltz, Dramaturgy Simon Hamann, Technical Direction Claudia Lourenco De Serpa Soares, Artistic Collaboration/Répetiteur Davide Camplani, Artistic Collaboration/Répetiteur

WhiteLightFestival.org Arts in the Middle r o l y a T

n a e J Students from South Bronx Academy for Applied Media everal studies have examined how term effectiveness of the program, Sexposure to the arts in middle has documented increased parent school strongly impact a student’s engagement, which can have an impact social skills and development as well as on student success. Some schools have likelihood to graduate from high school. also noted that students are becoming In 2013, Lincoln Center Education vibrant and vocal participants when launched a pilot program in partnership the arts are integrated into classrooms. with the Department of If results continue in this direction, Education aimed at this specific issue. Lincoln Center Education hopes to Called Arts in the Middle, it focuses on develop an adaptable model of the arts education as a potential catalyst program that can be disseminated for improved student engagement and nationally to bring arts education to success in and out of school, as well as underserved communities. parent engagement, teaching practices, “As our partnership with the New and school and community culture. York City Department of Education Through Arts in the Middle, Lincoln continues to grow, so, too, does our Center Education is working with more commitment to supporting whole than a dozen underserved New York communities by providing thoughtful City middle schools that have little to programs for students and families no arts programs. LCE is supporting around New York City’s five boroughs,” schools with efforts to hire a part-time said Russell Granet. “Arts in the Middle or full-time arts teacher, in addition is just one of many ways Lincoln to deploying its own roster of skilled Center Education is leveraging high- teaching artists to help in the classroom quality arts programs to improve the and provide professional development lives of all New Yorkers.” for teachers and family engagement. Early results of these efforts to support educators and students are showing positive results. Metis Associates, hired by LCE to evaluate short- and long- 4 decades of thinking like an artist

Learn more about Lincoln Center Education and its work at home and abroad: LincolnCenterEducation.org

Accessibility at Lincoln Center

eflecting a quote by Lincoln Center venues. Another major R Center’s first president John D. component of Accessibility is its Rockefeller III that “the arts are not for longstanding “Passport to the Arts.” the privileged few, but for the many,” The program annually distributes to Lincoln Center has had as a central children with disabilities thousands mission from its start making the of free tickets to a variety of Lincoln arts available to the widest possible Center performances, including audiences. In 1985, that led to the New York City Ballet and the New establishment of the Department of York Philharmonic—a welcoming Programs and Services for People with introduction to the arts. A parent who Disabilities to ensure full participation participated in a recent “Passport” in the thousands of events presented event commented “It allowed my annually across the Lincoln Center family and I to enjoy and learn along campus. It was the first such program with everyone else. The accessibility… at any major performing arts center made it easier for our family to “relax” in the U.S. and has long- and truly enjoy the served as a model for experience.” other arts institutions Accessibility is around the country. expanding the Celebrating its 30th ways it serves anniversary with a new adults with name, Accessibility disabilities. It at Lincoln Center, introduced and the program oversees American continues to provide Sign Language- exceptional guest led official tours care to all visitors, of Lincoln Center, as well as training and offers live in accessibility to audio description colleagues at Lincoln for select Lincoln Center’s resident Center Festival organizations, including performances. the Film Society of Accessibility Lincoln Center, the looks forward to growing its inclusive New York Philharmonic, and Jazz programs in the years to come. at Lincoln Center. Accessibility oversees the production To learn more about Accessibility of large-print and Braille programs at Lincoln Center, please contact for hundreds of performances taking [email protected] or call place each year at various Lincoln 212.875.5375.

The Table is Set

merican Table Café and Bar by AMarcus Samuelsson in Alice Tully Hall is a great dining option available to Lincoln Center patrons, along with Lincoln Ristorante on Hearst Plaza, indie food & wine in the Elinor Bunin Munroe Film Center, ‘wichcraft in the David Rubenstein Atrium, The Grand Tier in the house, and Lincoln Center Kitchen and the cafe in David Geffen Hall.

Marcus Samuelsson, the youngest chef ever to be awarded a three-star review by The New York Times and the winner of the James Beard Award for both Marcus Samuelsson “Rising Star Chef” (1999) and “Best His current New York restaurant, the Chef: New York City” (2003), crafted wildly successful Red Rooster, is locat- the menu along with long-time associate ed in his home base of Harlem. Nils Noren, MSG’s Vice President of Restaurant Operations. American Table American Table Cafe and Bar seats 73 Cafe and Bar by Marcus Samuelsson inside, plus more space outside on the serves food that celebrates the diversity Alice Tully Hall Plaza. Diller Scofidio + of American cuisine, drawing on influ- Renfro, the designers of the critically ences and regions from across the acclaimed Alice Tully Hall, transformed country. Dishes on the menu, which is the glass-walled space with lounge-like offered for both lunch and dinner, furniture in warm, rich colors, a long include Smoked Caesar Salad, Shrimp communal couch, tree-trunk tables, and Roll, and Chocolate Cardamom Panna lighting that can be dimmed to adjust Cotta. The bar features a cocktail menu the mood. The design—an eclectic designed by consulting master mixolo- reinterpretation of Americana—draws gist, Eben Klemm, as well as a selection its inspiration from the cafe’s culinary of reasonably-priced wines. focus. Call 212.671.4200 for hours of operation. Marcus Samuelsson’s memoir, Yes, Chef, chronicles his remarkable journey from being orphaned at age three in his native Ethiopia to his adoption by a fami- ly in Göteborg, Sweden, where he first learned to cook by helping his grand- mother prepare roast chicken. He went on to train in top kitchens in Europe before arriving in New York, first taking the reins at Aquavit. He has won the television competition Top Chef Masters on Bravo as well as top honors on Chopped All Stars: Judges Remix.