BAm

BROOKLYN ACADEMY OF MUSIC

THE BALLET PROGRAM III, IV, V IACCEPT THE CHALLENGE! I BOA Hon. Hon. ~th Leon: TAKE YOUR PLACE IN HISTORY AT BAM Paul l Hono ENDOW A SEAT IN THE OPERA HOUSE Neil l Ch: Rita I I. Sta CNI is the time, and now is your opportunity to OII CN! ing the tragic fire in 1903 that destroyed Arne Fran~ participate in BAM's future in a permanent way, the Academy's original structure on Montague Vice • N so that the BAM legacy can continue to meet FStreet, a "Committee of One Hundred" formed Harvt and shape the cultural challenges ahead. to raise $1,000,000 to erect a new, modem home for &< You can endow a seat in the Academy's magnificent Eli1.al the Academy on Lafayette Avenue. Hcnr: Opera House by making a special gift to the BAM The grand gala opening of the new Academy took Warn CHALLENGE FUND, which has been established to place on November 14, 1908. On that glittering evening, Chari achieve the $1.8 million goal in matching funds the Metropolitan Opera Company presented Gounod's Mall< Harol required by the National Endowment for the ArtS Faust in the Opera House with cast led by Geraldine Mich Challenge Grant awarded to BAM. The Academy's Farrar and Enrico Caruso. Davie challenge is to raise these funds For over 75 years BAM's Opera Sidne through new and increased contri­ House has been the setting for Roy 1 Euge• butions by June 30, 1987. scores of remarkable perfor­ Bruct An engraved plaque with your . mances. The roster of artists, La uri· name, or a name you wish to com­ companies and luminaries that E""IY Richa memorate, will be affixed to a seat have filled its stage are breath­ Mrs. in the area of the Opera House you taking: Anna Pavlova, Sarah Willi• designate through the level of your Bernhardt, H.G. Wells, Sergei Curti: contribution. Seat endCN~ment con­ Rachmaninoff, Fritz Kreisler, John OFFI Harvt tribution levels range from $500- McCormack, Amelia Earhart, Presic $1500 in the orchestra, $500-$1000 George Gershwin, Admiral Byrd, Ext in the mezzanine, and $250-$500 Woodrow Wilson, Paul Robeson, Juditt Vic in the balcony. Your gift to the BAM Ruth St. Denis, Vladimir HorCN~itz, Get CHALLENGE FUND may be Martha Graham, Franklin D. Richa paid in full or in multi-year pay­ Roosevelt, Enzio Pinza, Marian Vic ments through June 30, 1987. All Anderson, Benny Goodman, Louis Karer Vic gifts to the BAM CHALLENGE Armstrong, Jose Greco, Merce &I FUND are tax-deductible to the Cunningham, Rudolf Nureyev, John extent allowed by law. Renata Tebaldi, Cab Calloway, for The successful outcome of this Twyla Tharp, the Royal EXEI ADM special appeal will secure BAM's Shakespeare Company, Robert Robel financial future by creating the first Wilson, the Comedic Francaise, &I cash reserve in the Academy's 125- Philip Glass, and Pina Bausch- to Elai"' year history. A cash reserve means name but a few. Ass Sally that BAM can proceed confi ­ The jewel of the Academy's Get dently with long range planning and structure, the Opera House is Walle realize its various artistic initiatives, unsurpassed in accoustical design. Mary community-related acti vities and educational programs. It seats 2100 and incorporates a standard proscenium, FINA Jack < A cash reserve also prepares the way for the creation stage, orchestra pit and auditorium. Recent renovation Ma of a permanent endCN~ment in the future. has renewed the beauty of the Opera House in the spirit Karen R>r more information about endCN~ing a seat in BAM's and manner of the original architectural design. The Pearl Judith historic Opera House, or about other ways you can give repainted interior illuminates the detailed Cot to the BAM CHALLENGE FUND, call Mr. Denis Azaro nco-renaissance ornamentation that gives a sense of Marc at (718) 636-4138, or write to: BAM CHALLENGE intimacy to the theater. The installation of a PLAI' FUND, Planning Office, Brooklyn Academy of Music, hydraulic orchestra pit lift will complete the DE VI Denis 30 Lafayette Avenue, Brooklyn, NY 11217. renovation. Ass Dir Ninet Co• Amy Di11 ITHE BAM CHALLENGE FUNDI Kate I Spe MAHL ER"S THIRD SYM PHONY. choreographed by .

JOHN NEUMEIER AND THE by John Percival

Looking back over John Neumeier's first ten years The obsession has been there as long as he can re­ with the Hamburg Ballet, I see the events as a love member; right from the time when, as a four-year-old story-the story of one man's love affair with the art boy in Milwaukee, he was taken by his mother to see he serves. That, I believe, is the link that binds together a film with dancing in it. He wanted then to dance him­ what could otherwise seem the disparate strands in the self, and at the age of eight he managed to convince course of events over a decade of multifarious activity. his somewhat incredulous parents· to let him take Neumeier's home offers a clue to his nature. The walls classes; first in tap, to which he soon added acrobatic are lined with books. Not only books about dance, of dancing, and then eventually ballet, followed later still course. A choreographer needs a range of other interests by some experience of modem dance. So by the age too; and besides, this is a man who studied English liter­ of twenty, he had made his first choreography, for plays ature at college, who was much concerned at one time and for performance to poetry, he had worked with a with the dramatic theater, and was so seriously involved company directed by the modem dancer Sybil Shearer, in painting that he might as readily have made his career and he had acquired a grounding in the theater, liter­ in that activity. But among those rows of volumes, assid­ ature, and visual art. That was when he came to Europe uously assembled over the years, is an unusually com­ for further study, at School in London prehensive collection o(books on dance: its creators, (which opened the door to his first professional en­ practitioners, developments, theories and achievements. gagement, when saw him rehearsing for a Objets d'art and memorabilia serve as further evidence school performance-and recommended him, on account that, for Neumeier, dance is more than a career, it is of the temperament he showed, to ) and an obsession. also privately in Copenhagen with , whose

3 teaching and, even more, whose conversation opened whlch crowned hls second year in office. That Nijinsk:y Mr. his eyes to the possibilities of the classical dance. Gala, and its successors, also reflected another vital Mr. aspect of Neumeier's work- the wish to share his & Neumeier served his apprenticeship under Cranko knowledge and enthusiasm with others. From the time Mr. at Stuttgart, as dancer, as designer, as choreographer Dr. of his arrival in Hamburg, that had led him to institute '·' Mr. for the Young Choreographers programs of the Noverre the informal workshop presentations in which he ex­ Mr. Society. From the first, a complete visual statement was plained and analysed aspects of current and forthcoming Mr. Dr. important to him, so instead of borrowing costumes productions to attentive audiences who thronged the from the theater wardrobe, as most of the aspirants md, Mr. Staatsoper in the mornings. In doing so, Neumeier not M s. he managed to have his own designs made up. Thus only educated his audiences but won their good will. Mr. he progressed to hls days as a journeyman choreog­ & rapher making ballets for Stuttgart, for the Harkness Besides, the Ballet Festival had begun with another Mr. Mr. Ballet, for the , and then taking charge major creation: Neumeier's ambitious ballet to Mahler's ( of the ballet at Frankfurt am Main, where he began to Third Symphony. In this and later treatments of his Mr. acquire the other skills of a ballet director: construct­ Fourth Symphony (originally for the Royal Ballet) c ing programs, building a repertory, developing dancers and his First and Tenth (first for Bejart's Ballet of the Ms Mr as individuals and as a team. Twentieth Century) as Lieb' und Leid und !#?It und ( Traum, Neumeier took up the challenge set by Massine Ms This background was important, since nobody can four decades earlier of making a balletic treatment of Mr take on the complex and demanding responsibilities Mr symphonic works. Massine's solution had been to create Mr of directing a company like the Hamburg Ballet with­ a dramatic theme in parallel with the music; Balanchlne Mr out first developing his skills. John Neumeier was still had indicated an alternative route, free of any plot and Reo a young man of thirty-one when he arrived at the following only the music's structure. Neumeier's ap­ I Staatsoper, but he had required experience and formed Mr proach lay somewhere between the two, with strong Mr his ideas; he was ready to become a master ofhls craft. emotional implications to his choreography but no Mr He had also made an important discovery about him­ explicit narrative. In this, he was not completely on his Mr Mr self; that, although his lifetime's ambition had been to own; Kenneth MacMillan-had adopted a somewhat dance, the opportunities of creation-not just ballets, I similar method, for instance, in his Mahler Song oft he M1 but building up a company- were so rewarding that he Earth and his Shostakovich Symphony. Yet Neumeier M! was ready to give up dancing for the sake of this. found his own manne r within thls form, defining his Jol M• If he arrived in Hamburg complete with knowledge theme for his first such work as being an attempt to M1 express visually the feelings he experiences in listening M1 and experience, there was equally a long tradition of M! ballet in the city. But although it had involved names to the music. That provided sufficient scope for a two­ hour succession of dances with a variety cf moods M• as famous as Taglioni, Grahn, Cerrito, Grisi and Eissler I within any given moment (the all-male first movement, in the nineteenth century, Laban and Balanchine in the M > twentieth, Hamburg had never bee.n a center of crea­ for instance, containing elements of aggression or M' serenity, swagger and rivalry, sometimes even a hint M' tivity in the dance, and consequently it had never been M in the first ranks of ballet. Only in the last ten years of comedy) and a contrast in the form and content of M has the Hamburg Ballet acquired a widespread inter­ the various movements, from the large scale of the first M and sixth to the use of the fifth as a solo of joyful M national reputation. And of course the process had to M begin at home with a complete reform of attitudes from innocence. Although his later Mahler symphonies M the dancers and their audience. became a little more specific in their reference, M Neumeier had once more laid out for himself a prece­ M dent that could be developed methodically in building M M It is easy to forget, in the light of so much subsequent a continuing repertory. 0 1 acclaim, that John Neumeier's arrival in Hamburg was M surrounded by controversy. Upsets and bitterness The making of ballets involves any number of M choices: Neumeier once described his own mind as M inevitably ensued, and it was a largely new group of M principals and soloists who opened the new season, constantly whirling like the "fruit machines" which M some from Frankfurt, some recruited from elsewhere; gamblers play with-"the wheels go round, and you M win if the three slots all show a picture ofthe same kind M though others stayed on from the previous company and M achieved greater success under the new regime. (It was, of fruit simultaneously. I've got three wheels going M incidentally, a year of big changes in German dance round in my head all the time. One wheel is ideas: M companies, with Cranko's death leaving Stuttgart tem­ perhaps something I have read, or simply an idea that M came to me, or perhaps a relationship that interests me. M ·porarily leaderless, a handover at Munich also, and Pina M Bausch simultaneously taking charge in Wuppertal.) Another wheel is music: perhaps I hear something and I think immediately 'l could do a ballet to that.' And M Neumeier's awareness of ballet history serves as a the third wheel is practicability, what can be done at w source for his own work. That awareness was one of IV a particular time. The wheels go round like the fruit IV the factors that led to his conception of a new kind of machine, and if they all come up together with an D program to close the fi rst Hamburg Ballet Festival, orange-that's it!" IV IV IV 4 THE HAMBURG BALLET in MAHLER'S FOURTH SYMPHONY

Consequently, one must expect to fmd changes of One element remains absolutely consistent all course in the pattern of his work, even though certain through: the emphasis on the company as a whole. No­ motifs recur: an interest in Stravinsky's music ofcourse; body who really cares for dancing can fail to be excited a frequent return to ballets written for Diaghilev which by the potentiality of an outstandingly gifted dancer. will repay a new interpretation; a consciousness of The Hamburg Ballet has been glad to welcome guest historical or artistic period. Doubtless it was having stars, from New York or Moscow, London or Paris, staged l*st Side Story that prompted the choreog­ Stuttgart or . Neumeier has been equally thrilled rapher to return to the same composer for a double bill by the recruitment of new members to the troupe, in the next season. The fact of Nijinsky's having intended whom he sees great possibilities, and also by the dis­ to make a ballet to music by Bach led to Neumeier's covery of hidden gifts or new aspects in an established first Bach ballet, from which his interest in the reli­ dancer. That is natural and understandable. But he has gious possibilities of dance, coupled with his interest always held the ensemble to be more important than in boldly conceived interpretations oflarge-scale musi­ any one dancer, and even when mounting some of his cal works, make the Saint Matthew Passion a logical ballets for other companies that can provide exceptional progression. Yet for the successful running of a ballet performers for the individual roles, he has made it clear company, consistency and adaptability are probably of that he prefers the way his own company dances the roughly equal importance. There has to be a steady, works. The secret is in the teamwork, the mutual trust, unifying policy, which in the case of Hamburg under understanding and belief in each other that come only Neumeier can best be defined as a continuing explora­ with nurture in the right conditions over a period. That tion of the expressive possibilities of classical dancing is probably the greatest single achievement of the in relation to music of good quality, the choice of sub­ past decade in Hamburg, the building up of a company ject being made always with a consciousness of what that works as a whole. And paradoxically, it leads to past experience (that of historical predecessors as well no diminution of the individual dancers; on the con­ as his own) has shown to be possible or desirable. At trary, it enables each to develop his or her gifts secure the same time, an element of the expedient is vital: this in the knowledge that they will be shown to advantage dancer needs a new role to bring out certain qualities, in the right setting. that program needs an extra work to balance or com­ plete it; there is an anniversary to celebrate, a dead­ line to meet. The muse has to arrive for the scheduled Excerpted with pennissionfrom John Percival's introduction time of rehearsal. to Zen Jahre: J ohn Neumeier und das Hamburger Ballett, 1973-1983 (Hamburg: Hans Christians Druckerei und Verlag; edited by Christoph Albrecht).

5 ,,

BAM wishes to thank

.BROOKLYN UNION GAS for sponsoring the ballet companies lll New Traditions & the BAMbus Express Opera House March 12- 24. 1985 THE HAMBURG BALLET'

Artistic Director John Neumeier Ballet Masters lise Wiedmann , Irina Yakobson, Truman Finney Ass istants RolfWarter, Victor Hughes, Roy Wierzbicki Choreologist Susanne Menck Administrative Director Ch ristoph Albrecht Tour Director Jurgen Simon Administ rat ive Assistants Birgit Pfitzner, Kathrin Benthaak The Company Lynne Charles Beatrice Cordua Marcia Haydee* Chantal Lefevre Colleen Scott Gamal Gouda Frant;ois Klaus Ivan Liska Max Midinet

Bettina Beckmann Eileen Brady Gigi Hyatt Robyn Wh ite Dinko Bogdanic Jeffrey Ki rk Anne Brossier Judith Carlson Gabrielle Gunthard Eduardo Bertini Anders Hellstrom Christoph Lechner Stephen Pier Alcssandra Alberti Stefanic Arndt Carmen Barth Marilyn Berlanger Valerie Chcrittwizer Indrani Del maine Christina Fritschi Jessica Funt Vivienne Gilligan Ulrike Hartmann Susanne Kll.!ment Zuhal Kutsal Caroli ne May lin Tania Philip Rena Robinson Nicoletta Santoro Susanna Vennerbeck Markus Annacker Vladimir Bukovec Olivier Chanut Maurice Courchay Jean-Jacques Defago RalfDornen Denis Feuillette Maurizio Giannetti Stefano Giannetti Jeremy Hodges Jean Laban Gabriel Manferdini Eric Miot William Parton Jeffrey Ross

Pianists Michael Huber. Edw<~rd A. Pinder. Richard Hoynes Technical Director Klaus Uffenwasser Technical Assistant Jiirgen Tiedemann Production Stage Managers Joachim Sachitzki. Helmut A pel Sound Wolfgang Kohnsen Costume Execution Lilimarie Schernau Make-up Robert Paulin Stage Manager Holger Haase

This presentation of The Hamburg Ballet is sponsored by 0 Brooklyn Union Gas. Support has also been provided by the Lepercq Dance Fund. Additional support for New Traditions has been provided by the New York State Council on the Arts.

7 Thesday, March 19 at 8:00pm KINDERSZENEN Scenes of Childhood Choreography John· Neumeier Music , t/ Kinderszenen, Opus 15 Piano Edward A. Pinder World Premiere May 12 , 1974

Bettina Beckmann Eileen Brady Judith Carlson Vivienne G illigan Gigi Hyatt G

I. Beckmann. Hyatt. Gouda. Hellstrom ., Beckmann . Brady. Carlson, Hyatt, Gouda, Hellstrom, Lechner ~ . Hellstrom 4. Beckmann. Brady, Gilligan. Hyatt, Gouda, Hellstrom, Laban, Parton 5. Beckmann. Brady, Gill igan. Hyatt, Gouda, Hell strom, Laban, Parton L }- 6. Gouda. Hell strom, Lechner, Parton 7. Beckmann . Hyatt , Gouda. Lechner 8. Brady. Carlson. Gilligan, Lechner 9. Brady. Carlson. Gilligan 10. Hyatt II. Beckmann. Gouda 12. Ensemble 13. Ensemble

Pause

8 MOZART338

Choreography John Neumeier Music , Symphony No. 34 in C Major, K. 338 Costumes Jil Sander World Premiere January 8, 1984

Dedicated to the memory of -not in sadness. but rather with joy and thanks ­ celebrating, in my way. the treasure of his ballets.

Chantal Lefevre Ivan Liska Bettina Beckmann Jeffrey Kirk

Carmen Barth Indrani Delmaine Zuhal Kutsal Caroli ne Maylin

Markus Annacker Maurice Courchay Ralf Dornen Stefano Giannetti Jean Laban Eric Miot William Parton Stephen Pier

Recording used courtesty of POLYDOR INTERNATIONAL: DGG - Z740 044 Wolfgang Amadeus Mozart: Symphony No. 34. C Major. KV .D8 Orchestra Conductor: Karl Bohm

Intermission

9 MAHLER'S FOURTH SYMPHONY

Choreography John Neumeier Music Decor and Costumes Marco Arturo Marelli

World Pre111iere March 31, 1(}77 in London by II The Royal Ballet

My first note in July 1976 before starting the choreography of Mahler's Fourth Symphony for the Royal Ballet in London was, "The choreographic images of the symphony seem to me to emerge from a dual point of view: innocence and experience. First and second movement: birth and development-as if seen through a child's eyes, the discovery of movement as the adventure of growing up. In the third movement. the focus shifts to the woman-and in the last through her eyes, nostalgia for the purity. the lost paradise of childhood."

I. Beginning Christoph Lechner Lynne Charles Eduardo Bertini Ralf Dornen Anders Hellstrom Maurizio Giannetti Stefano Giannetti Jean Laban Eric Miot William Parton

Alessandra Alberti Marilyn Berlanger Judith Carlson Jessica Funt Caroline Maylin Tania Philip Carmen Barth - Markus Annacker Indrani Delmaine - Maurice Courchay Susanne Klement -Jeremy Hodges Rena Robinson - Gabriel Manferdini Nicoletta Santoro- Denis Feuillette Susanna Vcnnerbeck · Stephen Pier

II. Shadows Christoph Lechner Chantal Lefevre Ralf Dornen Bettina Beckmann Jean-Jacques Dclago Eileen Brady Stephen Pier Gabrielle Gunthard Jean Laban Gigi Hyatt

10 III. Evening Lynne Charles Eduardo Bertini Dinko Bogdanic Markus Annacker Vladimir Bukovec Maurice Courchay Denis Feui llcttc Jeremy Hodges Jean Laban Gabriel Manferdini Wi lliam Parton

IV. The Lost Paradise Lynne Charles Christoph Lechner Eduardo Bertini Gigi Hyatt - Ralf Dornen Bettina Beckmann - Jean-Jacques Dchtgo Eileen Brady - Stephen Pier Gabrielle Giinthard - Jean Laban Alessandra Alberti - Maurizio Giannetti Marilyn Berlanger- Stefano Giannetti Caroline Mayl in - Eric Miot Tania Philip - Markus Annacker Judith Carlson - William Parton lndrani Delmainc - Denis Fcuillctte Jessica Funt- Anders Hellstrom Nicoletta Santoro - Maurice Courchay

Recording used courtesy of POLYDOR INTERNATIONAL: DGG - 2530 966 Gustav Mahler: Fourth Symphony Vienna Phil harmonic Orchestra Conductor: Claudio Abbado Soloist: Frederica von Stade

c:.-{!Yulcomc !o Cfhe Oak c:Room exp~ri~ne~

Scott Nickrcnz. th~Joy~of Music Dir('Ctor ;Brooklyn 23 MARCH & 24, 1985 Feel the aura and gentle elegance of Victorian Americana. Relive an Old Joseph Swmsnt, violin New New York Night of glamour and Scott Nickrmz, viola romance. as you visit the century· IA~~rmc~ Lessn; cello old palatial habitat of Brooklyn·s Seymour Lipkin, piano fashionable and elite. Gold Coast Society. hms. lvn. Bmh.,.,.,. Dvoiifk s.. Ek!.!ant Frc1H..' h Cui:-.inl•. APRIL Zl & 28, 1985 ISMAEL AYT EKIN : C hef Leon Kirchnn-, piano, conductor V;1kt Parlin~ * Jou,; kc t R'-"<.lllirc-d Bev"ly Hoch, soprano PHONE 71 K-7MK·0777 Paula Robison, flute 21>3 Prnspccl A"cnuc Bklyn. plus U·piK~ wind ~nHmblt AdtHn, Kirrhnrr. Mti'ZRrt

SA1t/RDAY E:VCNINGSATB,JO PM SUNDAY AITCRIVOONS AT HKI PM For Information Call (718) 636-4IOO

II Thursday, March 21 at 7:00pm SAINT. MATTHEW PASSION

Choreography John Neumeier Music Decor and Costumes John Neumeier World Premiere June 26, 1981

The Dancers: Alessandra Alberti, Carmen Barth, Bettina Beckmann, Marilyn Berlanger, Eileen Brady, Anne Brossier, Judith Carlson, Lynne Charles, Beatrice Cordua, Indrani Delmaine, Christina Fritschi, Gabrielle Giinthard, Susanne Klement, Zuhal Kutsal, Chantal Lefevre, Caroline Maylin, Rena Robinson, Nicoletta Santoro, Susanna Vennerbeck, Robyn White Markus Annacker, Eduardo Bertini, Vladimir Bukovec, Maurice Courchay, Jean-Jacques Defago, Ralf Domen, Denis Feuillette, Maurizio Giannetti', Stefano Giannetti, Gamal Gouda, Jeffrey Kirk, Fran~ois Klaus, Jean Laban, Christoph Lechner, Ivan Liska, Gabriel Manferdini, Max Midinet, Eric Miot, William Parton, Stephen Pier, Ray Wierzbicki

Live recording by NDR (North German Radio, Hamburg) made during a concert in Saint Michael Church in Hamburg on March 29th, 1980. Conductor: Gunter Jena ' The Singers: Peter Schreier (tenor: Evangelist and arias), Bernd Weikl (bass: Christ), Mitsuko Shirai (soprano), Marga Schiml (contralto), Franz Grundheber (baritone)

Instrumentalists Friedrich Wiihrer, Ruben Gonzales (violins), Siegfried Pank (viola da gamba), Paul Meisen (flute), Manfred Zeh, Rainer Tadge (oboe and oboe d'amore), Rainer Herweg, Harald Erbsloh (oboe da caccia)

Continuo: Klaus Stoppel (violoncello), Gerhard Dzwiza (double bass), Frank Dietzelt (bassoon), Gerhard Dickel (organ)

Cantus firmus: Boys Chorus Hannover (rehearsed by Heinz Hennig) Boys Chorus St. Michael (rehearsed by Gerhard Dickel) Chorus and Orchestra of Saint Michael

12 PART I

• l. Ensemble I 2. Midinet-Annacker, Dornen Liska 3. Ensemble 4. Cordua, Delmaine 5/6. Midinet-Annacker, Dornen Del maine 7/8. Midinet-Annacker, Dornen Delmaine, Bertini, Courchay, Defago, Gouda, Kirk, Klaus, Laban, Liska, Miot, Parton, Pier, Wierzbicki 9/10. Cordua, Gouda, Pier 11. Midinet-Annacker, Do men Liska 12. Robinson, Delmaine, Beckmann 13/15. Midinet- Annacker, Dornen Bertini, Courchay, Defago, Gouda, Kirk, Klaus, Laban, Liska, Miot, Parton, Pier, Wierzbicki 16. Ensemble 17. Midinet-Annacker, Dornen Bertini, Courchay, Defago, Gouda, Kirk, Klaus, Laban, Miot, Parton, Pier, Wierzbicki 18. Charles 19. Midinet-Annacker, Do men Bertini, Courchay, Defago, Gouda, Kirk, Klaus, Laban, Miot, Parton, Pier, Wierzbicki 20/24. Midinet-Annacker, Dornen Bertini, Courchay, Defago, Gouda, Kirk, Klaus, Laban, Liska, Miot, Parton, Pier, Wierzbicki 25. Defago 26. Kirk, Klaus, Parton Tl. Midinet 28/29. Midinet-Gouda, Laban, Pier, Wierzbicki 30/31. Midinet 32. Ensemble 33. Midinet- Annacker, Dornen Brossier, Carlson, Charles, Cordua, Lefevre, White, Gouda, Pier 34/35. Ensemble

Intermission

13 PART II

36. Alberti, Beckmann, Brady, Delmaine, Fritschi, Giinthard , Klement, Robinson, Santoro '57/39. Giinthard, Parton, Bukovec, Feuillette, M . Giannetti, S. Giannetti, Lechner, Manferdini 40/41. Kirk 42. Midinet - Annacker, Dornen Bukovec, Feuillette, M. Giannetti, S. Giannetti, Lechner, Manferdini 43. Bukovec, Feuillette, M. Giannetti, S. Giannetti, Lechner, Manferdini, Barth, Berlanger, Brossier, Carlson, Kutsal, Lefevre, Maylin, Vennerbeck, White 44. Ensemble 45/46. Klaus and Ensemble 47. Klaus 48. Brady, Giinthard, Gouda, Klaus, Pier, Wierzbicki 49150. Midinet-Annacker, Dornen Liska-Bukovec, Feuillette, M. Giannetti, S. Giannetti. Lechner, Manferdini 51. Liska 52. Midinet - Annacker, Dornen Liska- Bukovec, Feuillette, M. Giannetti, S. Giannetti, Lechner, Manferdini 53. Midinet-Annacker, Dornen Liska, Cordua 54. Midinet-Annacker, Dornen Liska, Cordua and Ensemble 55. Carlson, Gquda and Ensemble 56. Midinet Liska, Cordua and Ensemble 57. Charles 58. Charles, Kirk 59. Midinet Liska, Cordua and Ensemble 60. Robinson 61. Berlanger, Brossier, Lefevre, Robinson,White Bertini, Gouda, Klaus 62/64. Midinet- Bukovec, Feuillette, M. Giannetti, S. Giannetti, Lechner, Manferdini, Bertini, Courchay, Gouda, Miot, Parton, Pier, Wierzbicki 65/66. Midinet- Liska, Defago 67/68. Ensemble 69. Cordua 70. Midinet Cordua and Ensemble 71/72. Midinet and Ensemble 73. Midinet- Annacker, Dornen and Enst;mble 74. Charles, Klaus 75. Charles, Cordua, Robinson, Defago, Gouda, Kirk, Klaus, Pier 76178. Ensemble

14 Friday, March 22 at 8:00pm Saturday, March 23 at 2:00pm Saturday, March 23 at 8:00pm

~EWSS~THSYMPHONY

II Choreography John Neumeier Music Gustav Mahler Decor and Costumes John Neumeier World Premiere May 25th, 1984

Gustav Mahler's Sixth, frequently called "The Tragic," is in my opinion, the most pessimistic of his symphonies. Its basic mood reflects fear, loneliness, a sense of false hope, negativism­ something of the mood of our world today. The ballet was planned as a pure dance piec·e. During rehearsals, however, fragments of situations, conflicts, and relationships emerged. In the end, the four movements, although contrasting in theme, became interrelated. The vision presented in each is poetic rather than narrative. and should not be "understood" as a continuous story, but experienced as various roads to a "No Man's Land." In May 1984 my dancers and I dedicated this ballet to the Peace Movement throughout the world. Prologue Music: Last Rose of Summer with Allan Bergius, Tolzer Knabenchor, and Howard Arman, piano Beatrice Cordua Max Midinet I. Desert Rena Robinson Gamal Gouda Maurice Courchay Jean-Jacques Defago Jean Laban Gabriel Manferdini Stephen Pier Olivier Chanut Denis Feuillette Maurizio Oiannetti Stefano Giannetti Christoph Lechner Eric Miot William Parton II. Au Bal Bettina Beckmann Christoph Lechner Carmen Barth Marilyn Berlanger Judith Carlson Valerie Cherittwizer Vivienne Gilligan Susanne Klement Zuhal Kutsal Caroline Maylin Markus Annacker Maurice Courchay Jean-Jacques Defago Ralf Dornen Maurizio Giannetti Jean Laban Eric Miot William Parton Stephen Pier Max Midinet Beatrice Cordua

15 III. Shadow Plays Gigi Hyatt Jeffrey Kirk Eduardo Bertini Alessandra Alberti lndrani Delmaine Christina Fritschi Susanna Vennerbeck Markus Annacker Vladimir Bukovec Ralf Dornen Gamal Gouda William Parton Bettina Beckmann Max Midinet Beatrice Cordua IV. No Man's Land Beatrice Cordua Max Midinet Bettina Beckmann Gigi Hyatt Gamal Gouda Jeffrey Kirk Eileen Brady Alessandra Alberti Stefanie Arndt Carmen Barth Marilyn Berlanger Anne Brossier Judith Carlson Valerie Cherittwizer lndrani Delmaine Christina Fritschi Jessica Funt Vivienne Gilligan Gabrielle Giinthard Susanne Klement Zuhal Kutsal Tania Philip Nicoletta Santoro Susanna Vennerbeck Markus Annacker Eduardo Bertini Vladimir Bukovec Olivier Chanut Maurice Courchay Jean-Jacques Defago Ralf Dornen Denis Feuillette Maurizio Giannetti Stefano Giannetti Anders Hellstrom Jeremy Hodges Jean Laban Christoph Lechner Gabriel Manferdini Eric Miot William Parton Stephen Pier Rena Robinson

Recording used courtesy of POLYDOR INTERNATIONAL: DGG-Tl('fll06 Gustav Mahler: Sixth Symphony Berlin Philharmonic Orchestra Conductor: Herbert von Karajan

Use of an extract from the movie Gone With the Wind by courtesy of UIP Filmverleih GmbH. Frankfort.

16 Sunday, March 24 at 2:00pm SAINT MATTHEW PASSION

Choreography John Neumeier Music Johann Sebastian Bach Decor and Costumes John Neuroeier 1/ World Premiere June 26, 1981

The Dancers: Alessandra Alberti, Carmen Barth, Bettina Beckmann, Marilyn Berlanger, Eileen Brady, Anne Brossier, Judith Carlson, Beatrice Cordua, lndrani Delmaine, Christina Fritschi, Vivienne Gilligan, Gabrielle Giinthard, Gigi Hyatt, Susanne Klement, Zuhal Kutsal, Chantal Lefevre, Caroline Maylin, Rena Robinson, Nicoletta Santoro, Susanna Vennerbeck Markus Annacker, Eduardo Bertini, Vladimir Bukovec, Maurice Courchay, Jean-Jacques Defago, Ralf Dornen, Denis Feuillette, Maurizio Giannetti, Stefano Giannetti, Gamal Gouda, Jeffrey Kirk, Fran~ois Klaus, Jean Laban, Christoph Lechner, Ivan Liska, Gabriel Manferdini, Eric Miot, John Neumeier, William Parton, Stephen Pier, Ray Wierzbicki

Live recording by NDR (North German Radio, Hamburg) made during a concert in Saint Michael Church in Hamburg on March 29th, 1980. Conductor: Gunter Jena The Singers: Peter Schreier (tenor: Evangelist and arias) , Bernd Weikl (bass: Christ), Mitsuko Shirai (soprano), Marga Schirnl (contralto), }"ranz Grundheber (baritone)

Instrumentalists Friedrich Wiihrer, Ruben Gonzales (violins), Siegfried Pank (viola da gamba), Paul Meisen (flute), Manfred Zeh, Rainer Tadge (oboe and oboe d'amore), Rainer Herweg, Harald Erbsloh' (oboe da caccia) Continuo: Klaus Stoppel (violoncello), Gerhard Dzwiza (double bass), Frank Dietzelt (bassoon), Gerhard Dickel (organ) Cantus firmus: Boys Chorus Hannover (rehearsed by Heinz Hennig) Boys Chorus St. Michael (rehearsed by Gerhard Dickel) Chorus and Orchestra of Saint Michael

17 PART I

I. Ensemble 2. Neumeier- Annacker, Dornen Liska 3. Ensemble 4. Cordua, Delmaine 516. Neumeier-Annacker, Dornen Del maine 7/8. Neumeier-Annacker, Dornen Delmaine, Bertini, Courchay, Defago, Gouda, Kirk, Klaus, Laban, Liska, Miot, Parton, Pier, Wierzbicki 9/10. Cordua, Gouda, Pier II. Neumeier- Annacker, Dornen Liska 12. Robinson, Delmaine, Beckmann 13/15. Neumeier-Annacker, Dornen Bertini, Courchay, Defago, Gouda, Kirk, Klaus, Laban, Liska, Miot, Parton, Pier, Wierzbicki 16. Ensemble 17. Neumeier- Annacker, Dornen Bertini, Courchay, Defago, Gouda, Kirk, Klaus, Laban, Miot, Parton, Pier, Wierzbicki 18. Hyatt 19. Neumeier-Annacker, Dornen Bertini, Courchay, Defago, Gouda, Kirk, Klaus, Laban , Miot, Parton, Pier, Wierzbicki 20/24. Neumeier- Annacker, Dornen Bertini, Courchay, Defago, Gouda, Kirk, Klaus, Laban, Liska, Miot, Parton, Pier, Wierzbicki 25. Defago 26. Kirk, Klaus, Parton Tl. Neumeier 28/29. Neumeier-Gouda, Laban, Pier, Wierzbicki 30/31. Neumeier 32. Ensemble 33. Neumeier-Annacker, Dornen Brossier, Carlson, Cordua, Gilligan, Hyatt, Lefevre, Gouda, Pier 34/35. Ensemble

Intermission

18 PART II

36. Alberti, Beckmann, Brady, Delmaine, Fritschi, Giinthard, Klement, Robinson, Santoro '37/39. Giinthard, Parton, Bukovec, Feuillette, M. Giannetti, S. Giannetti, Lechner, Manferdini 40/41. Kirk " 42. Neumeier-Annacker, Dom en Bukovec, Feuillette, M. Giannetti, S. Giannetti, Lechner, Manferdini 43. Bukovec, Feuillette, M. Giannetti , S. Giannetti, Lechner, Manferdini, Barth, Berlanger, Brossier, Carlson, Gilligan, Kutsal, Lefevre, Maylin, Vennerbeck 44. Ensemble 45/46. Klaus and Ensemble 47. Klaus 48. Brady, Giinthard, Gouda, Klaus, Pier, Wierzbicki 49/50. Neumeier- Annacker, Dornen Liska-Bukovec, Feuillette, M. Giannetti, S. Giannetti, Lechner, Manferdini 51. Liska 52. Neumeier- Annacker, Dornen Liska- Bukovec, Feuillette, M. Giannetti, S. Giannetti, Lechner, Manferdini 53. Neumeier-Annacker, Dornen Liska, Cordua 54. Neumeier-Annacker, Dornen Liska, Cordua and Ensemble 55. Carlson, Gouda and Ensemble 56. Neumeier Liska, Cordua and Ensemble 57. Hyatt 58. Hyatt, Kirk 59. Neumeier Liska, Cordua and Ensemble 60. Robinson 61. Berlanger, Brossier, Gilligan, Lefevre, Robinson Bertini, Gouda, Klaus 62/64. Neumeier- Bukovec, Feuillette, M. Giannetti, S. Giannetti, Lechner, Manferdini, Bertini, Courchay, Gouda, Miot, Parton, Pier, Wierzbicki 65/66. Neumeier-Liska, Defago 67/68. Ensemble 69. Cordua 70. Neumeier Cordua and Ensemble 71172. Neumeier and Ensemble 73. Neumeier-Annacker, Dornen and Ensemble 74. Hyatt, Klaus 75. Hyatt, Cordua, Robinson, Defago, Gouda, Kirk, Klaus, Pier 76178. Ensemble

19 PATRONS New York City Youth Bureau The SIJ!rr Foundation Rev. Gardner C. Taylor 1984-85 New York Community Trusl John T. Underwood Ms. Monina Von Opel The Brooklyn Academy of The Helena Rubinstein Foundation Mr. Harvey & Ms. Rulll Music is owned by the City of Foundation Mr. & Mrs. Franklin R. Wagner New York and administered by The Scherman Foundation Weissberg Walter & Lorenz Foundation the Brooklyn Academy of Shuben Foundation Mr. Cunis A . Wood, Jr. Mr. & Mrs. Howard Weiss Music, Inc. The Brooklyn Michael Thch Foundation Ms. Shirley Werris Academy of Music's operacion Lila Acheson Wallace PRODUCERS Ms. Thea Westreich is supporttd in part with pub­ Anonymous $500-$999 The Wohlgemulll Foundation lic funds provided through the Mr. & Mrs. Roben Arnow Ms. Joanne Woodward New York City Department of BENEFACTORS Mr. Roben H . Becker Dr. William W. Wynn Cultural Affairs and willl grants $2,500-$9,999 Ms. Ellen Bemfeld & Or. IIana B. Pachter from the National Endowment Ms. Elizabeth D. 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BOARD OF TRUSTEES Carol A. Willis, Lauren Scott, NEXT WAVE FFSI"IVAL Hon. Edward I. Koch Development Officer Management Assistant Joseph V. Melillo, Director Hon. Howard Golden Thomas W. White. Ken Farris. Ellen Lampert, Seth Faison Development Assistant Management Assistant Publicity Director Leonard Garment Kim Konikow. Challenge Fund BUILDING MANAGEMENT Elsa Jacobson, Paul lepercq Associate/Benefit Coordinator Norman MacArthur. Assistant Director Honorary Chairmen; Jessica Chalmers, Building Manager Philip Bither, Neil D. Chrisman. Benefit Assistant Nick Marzano. Assistant to Administrative Director Chairman: Losa Daniello, Building Manager Roger W. Oliver, Rita Hillman Benefit Assistant Lazzaro Curato, Parking Humanities Director I. Stanley Kriegel Elizabeth Boghossian. Facilities Supervisor Peter C. Carley, Assistant Arne Vcnnema Systems Operator Leonard Abbruscato Humanities Director Franklin R. Weissberg MARKETING Iahue Cooper UR Company Arts Vice Chairmen; Jacques Brunswick, Director Nick Curato Management Inc., Harvey Lichtenstein. President Susan levy, Ray Dorso Special Consultants & Chief Executive Officer: Director of Group Sales Donald Farr Stephen Reichard, Anne Livet Elizabeth Bauman Diana Robinson Frazier, Bernard Lawrence Anne Hamburger, Intern Henry Bing, Jr. Office Manager Evaristo Hassell Video D. Studios, Inc. , Video Warren B. Coburn Paul Wasmund, Ellis Hunter Archivist Charles M. Diker Executive Assistant Wayne MacKay PERFORMING ARTS Mallory Factor Margo Abbruscato, Michael Maraventano PROGRAM FOR Harold L. Fisher Information Resource Sheraf Moustafa YOUNG PEOPLE Michael J. Fuchs Coodinator Joseph Patterson leonard Natman, Director David Geffen Ziff Marketing Inc., Mark Patterson leanne Wells, Sidney Kantor Marketing Consultant Patrick Rogers Assistant to Director Roy Lichtenstein PRESS Gloria Simon Tom Divan, Programming & Eugene H. Luntey Susan Hood Spier, James Victor Marketing Coordinator Bruce McAllister Press Representative Sadie Vinson Lyneue Bianchi, Lauric Mallet Thomas Connors, Angelos Voudouris Program Consultant Evelyn Ortner Press Assistant Robert \\lolls Teresa Abrams Richard M. Rosan Tom Caravaglia, Louis Mattera Francis Venezio Mrs. Marion Scotto House Photographer BOX OFFICE SPECIAL PROGRAMS William Tobey Rob Bauer, Mikki Shevard-Hemans. Curtis Wood ADVERTISING John Harris. Director Box Office Treasurer Director OFFICERS Sheryl Nelson, Graphics Ellen Anderson Harvey Lichtenstein Michele Travis. Jack Drury President & Chief Executive Orticer Graphics Assistant Judith E. Daykin, Executive MANAGEMENT Vice President & INFORMATION SYSTEMS General Manager Leonard Cohen, Manager Richard Balzano, Richard Lewis, Vice President & Treasurer Assistant Manager Karen Brooks Hopkins, COMMUNITY RELATIONS Vice President for Planning Ruth Mitchell, Director & Development PRODUCTION John Howleu. Vice President Malcolm J. Waters, for Marketing & Promotion Pnxluction Manager EXECUTIVE William Mintzer, ADMINISTRATIVE STAFF Lighting Consultant BAM DIRECI'ORY Robert Applegarth, lOuring Karl Stiegelbauer, & Media Coordinator Technical Director Bcx Offict: Elaine Cunningham, Michael Feldman. Monday through Friday, !O:OOam to 6:00pm: Performance days Assistant to President Music Consultant until performance times; Saturday and Sunday. performance Sally Morgan. Assistant to Sara Stuan. Assistant times only. General Manager Production Manager Lost and round: Walter Geiger, Mail Clerk Michael Schwartz. Telephone (718) 636-4150 Mary Simmen, Intern Video Archivist Restrooms: FINANCE Patricia Spanedda. Opera House: Production Assistant Jack C. Nulsen. Business Women and Men, Mezzanine level and Fifth Floor: Manager Manin Green, Crew Chief Handicapped, Orchestra level. Karen T. K. Eng, Accountant Walterina Potts, Carey Playhouse: Pearl Light. Payroll Manager Wardrobe Supervisor Women and Men, Mezzanine level: Judith L. Stevens. Fiscal John Fuller Handicapped. Orchestra level. Control Assistant Bernard Gilmartin lepercq Space: Marc Levy. Office Assistant Steve Greer Women and Men, Theater level and Fifth Floor. PLANNING& Naaman Griffin Public Ttltp/wntS: James Kehoe DEVELOPMENT Main lobby, St. Felix Street entrance. Howard Larson Denis Azaro. Development ror Information on Group 1/atts on 7icktts, call (718) 636-4125. Associate/Challenge Fund Patrick McDonald Donald Riordan THE TAKING OF PHOTOGRAPHS OR THE USE OF Director Cy Similly, Jr. RECORDING DEVICES IN THESE THEATERS IS Ninetta Remley. Director of STRICTLY PROHIBITED. Corporate Relations THEATER MANAGEMENT leonard Natman. The Brooklyn Academy of Music is a Charter Member of Amy E. Schancupp. The League of Historic American Theatres. Director of Membership Theater Manager Robert Sc:heps. Assistant Brooklyn Academy of Music. 30 Lafayette Avenue. Kate D. Levin, Director of Brooklyn. New York 11217-1486 (718) 636-4100. Special Projects Theater Manager A FREE sample of everything you need to keep up with NYC

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