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Home , Amanda Forsythe, Apollo e Dafne (Handel), Dixit Dominus (Handel), Frank Martin (composer), Robin Blaze, Semele (Handel)

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July 25–August 23, 2014 Sponsored by Bloomberg

Sunday Afternoon, August 17, 2014, at 3:00

Pre-concert lecture by Ellen Rosand at 1:45 in the Stanley H. Kaplan Penthouse

HANDEL Teseo (1712)

Teseo is an opera in five acts. It is approximately three hours long, with an intermission between Acts III and IV.

M|M Mostly Mozart debut

This performance is made possible in part by the Josie Robertson Fund for Lincoln Center.

Alice Tully Hall, Starr Theater Please make certain your cellular phone, Adrienne Arsht Stage pager, or watch alarm is switched off. 08-17 Teseo_Gp 3.qxt 8/5/14 11:19 AM Page 2

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The Mostly Mozart Festival is sponsored by Upcoming Mostly Mozart Festival Events: Bloomberg. Tuesday Evening, August 19, at 7:30 The Mostly Mozart Festival is made possible by at Park Avenue Armory Rita E. and Gustave M. Hauser, The Fan Fox and International Contemporary Ensemble Leslie R. Samuels Foundation, Inc., Ann and ALL–ANNA THORVALDSDOTTIR PROGRAM Gordon Getty Foundation, Charles E. Culpeper Shades of Silence (New York premiere) Foundation, S.H. and Helen R. Scheuer Family Into—Second Self Foundation, and Friends of Mostly Mozart. In the Light of Air (New York premiere) Co-presented with Park Avenue Armory Public support is provided by the New York State Council on the Arts. Tuesday and Wednesday Evenings, August 19–20, at 8:00 in Avery Fisher Hall Artist Catering is provided by Zabar’s and Zabars.com. Mostly Mozart Festival Orchestra David Zinman, Conductor MetLife is the National Sponsor of Lincoln Center. Joshua Bell, Violin Lawrence Power, Viola M|M Bloomberg is the Official Sponsor of Lincoln Center BOYCE : Symphony No. 1 Summer Programs. MOZART : Sinfonia concertante, K.364 BEETHOVEN : Symphony No. 3 (“Eroica”) Movado is an Official Sponsor of Lincoln Center. Pre-concert recitals at 7:00 by Igor Kamenz, piano

United Airlines is the Official Airline of Lincoln Center. Wednesday Evening, August 20, at 7:30 at the Clark Studio Theater WABC-TV is the Official Broadcast Partner of Steven Schick, Percussion Lincoln Center. JOHN LUTHER ADAMS : The Mathematics of Resonant Bodies William Hill Estate Winery is the Official Wine of Lincoln Center. Thursday Evening, August 21, at 7:30 at Park Avenue Armory “Summer at Lincoln Center” is sponsored by Diet International Contemporary Ensemble Pepsi. Ellie Dehn, Soprano M|M DAI FUJIKURA : Minina (New York premiere) Time Out New York is Media Partner of Summer at JOHN ZORN : Baudelaires (New York premiere) Lincoln Center. ALVIN LUCIER : Chambers MESSIAEN (arr. Cliff Colnot): Chants de terre et de ciel (New York premiere) Philharmonia Baroque Orchestra’s appearance is Co-presented with Park Avenue Armory made possible in part by Ross Armstrong, David Low & Dominique Lahaussois, Martin & Kathy M|M Mostly Mozart debut Cohn, David & Mary Phillips, Doug & Carol Tanner and Donna Williams. For tickets, call (212) 721-6500 or visit MostlyMozart.org. Call the Lincoln Center Info Request Line at (212) 875-5766 to learn about program cancellations or request a Mostly Mozart brochure.

Visit MostlyMozart.org for full festival listings.

Join the conversation: #LCMozart

We would like to remind you that the sound of coughing and rustling paper might distract the performers and your fellow audience members. In consideration of the performing artists and members of the audience, those who must leave before the end of the performance are asked to do so between pieces. The taking of photographs and the use of recording equipment are not allowed in the building. 08-17 Teseo_Gp 3.qxt 8/5/14 11:19 AM Page 3

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Welcome to Mostly Mozart

I am delighted to welcome you to the 2014 Mostly Mozart Festival, where we explore the many facets of our namesake composer’s brilliance and invention. What better way to usher in that spirit than with an outdoor world premiere work by American composer John Luther Adams. Sila: The Breath of the World transforms Lincoln Center’s Hearst Plaza into a sonic stage before we rejoin Mozart in Avery Fisher Hall with the acclaimed Mostly Mozart Festival Orchestra.

This summer, our Festival Orchestra reaches beyond many Mozart masterpieces to the signature works of some of his great successors: Beethoven’s Ninth Symphony, Berlioz’s Symphonie fantastique , Martin’s Polyptyque . We join with favorite soloists—Joshua Bell, Richard Goode, Christian Tetzlaff—and also introduce luminaries making their festival debuts, including pianists Yuja Wang and Steven Osborne, and bass Ildar Abdrazakov.

We are always pleased to welcome the Mark Morris Dance Group to Mostly Mozart. This August, Mark Morris brings his unparalleled affinity for Handel to his newest creation, Acis and Galatea . The Philharmonia Baroque Orchestra and the Emerson String Quartet delight us in Alice Tully Hall, while the International Contemporary Ensemble celebrates new music at Park Avenue Armory. And don’t forget to join us for music and wine in casual, intimate Little Night Music recitals at the Kaplan Penthouse.

We all embrace the joy that celebrating Mozart’s music brings to New York in the summer. I hope to see you often here at Lincoln Center.

Jane Moss Ehrenkranz Artistic Director 08-17 Teseo_Gp 3.qxt 8/5/14 11:19 AM Page 4

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Signature Works by Peter A. Hoyt

The musicologists who first investigated Johann Sebastian Bach (1685 –1750) discovered that some pieces, written in his handwriting and long attributed to him, were actually composed by other musicians. Bach had omitted their names during the copying process, and the scholars—disturbed by this hint of plagiarism—were relieved to learn that the early 18th century was often indifferent to niceties of attribution. Indeed, Bach himself frequently neglected to sign his own manuscripts.

In the decades following, however, authorial identity took on greater importance. The col - lapse of the French aristocracy led Europe to emphasize individual merit, endowing artists with new dignity. Music publishers, capitalizing upon an emerging middle class, promoted composers by name. Unprecedented ideas of individuality informed 19th-century Romanticism, which asserted that all great art embodies the self-expression of a great soul.

Contributing to this entanglement of artwork and artist were a number of innovative com - posers, each with a distinctive style that represented their identity as decisively as their name. The 2014 Mostly Mozart Festival celebrates some of these composers’ signature pieces, from emblematic concertos and symphonies—including Haydn’s “London,” Mozart’s “Jupiter,” and Beethoven’s “Eroica”—to concise works like the overtures to Haydn’s L’isola disabitata and Beethoven’s Consecration of the House .

This season also explores the role of models in shaping artistic personalities. Gluck’s depic - tions of demonic Furies, for example, influenced Mozart’s music for Don Giovanni , and Gluck’s Dance of the Blessed Spirits permeates portions of Mozart’s Flute and Harp Concerto. Moreover, prominent stylistic elements can be parodied or dismantled, as in works by Prokofiev, Schnittke, and Shostakovich, whose Concerto for Piano and Trumpet recalls the brash music he once played for silent movies in Petrograd.

Berlioz’s Symphonie fantastique of 1830 stands as a landmark in the fusion of art and per - sona; the work is often regarded as autobiographical. Nevertheless, elements of the purely fictional prevail, as when the hero murders his beloved, is executed, and posthu - mously witnesses a witches’ sabbath. Berlioz treats his scenario with ironic detachment, perhaps best illustrated by the carnivalesque fugue that ends the piece. Whereas Mozart and Beethoven had employed culminating fugal procedures to suggest a kind of luminous unification, Berlioz here casts off the shackles of seriousness.

The conflation of composition and composer continued until the 20th century, when attempts to use the former to psychoanalyze the latter demonstrated their incompatibility. Indeed, human creators tend to be overshadowed by the impact of their creations, perhaps explaining Bach’s negligence in labeling works—including his own—with the names of mere mortals. Music in performance, like a religious service or civic commemoration, can transform a group’s isolated members into a collective body. The Mostly Mozart Festival ends with Mozart’s Requiem and Passion music by Bach and Frank Martin—art that cele - brates the moment when the individual dissolves into the universal.

Mostly Mozart Festival

Synopsis Theseus’s safety, is a musical marvel. The solo oboe, silent during the instrumental by Ellen T. Harris introduction, only enters in response to The heroic exploits of the great mythologi - Agilea, like a second voice, so that the aria cal figure of Theseus (Teseo) are detailed in becomes a duet in which one of the Plutarch’s Life of Theseus and many other “singers” is absent in body, but whose classical sources. Handel’s opera depicts an presence is clear. In fact, Handel gives early part of Theseus’s life, when after his lovely orchestrations to Agilea’s arias upbringing in the small city of Troezen, he throughout the opera. Listen to the plain - arrives in Athens to identify himself as the tive bassoons in her Act III aria, “Vieni, son of Aegeus (Egeo) and claim his heritage. torna, idolo mio” as she longs for Theseus The libretto uses bits of the classical story to return, and the gentle, paired flutes in filled out with supplementary characters “Deh! v’aprite, oh luci belle” of Act IV and a good deal of romantic complication. where, ordered by Medea to wake the enchanted Theseus, Agilea speaks the King Aegeus is fighting off a rebellion and words asking him to open his eyes, while has promised to marry the sorceress her music depicts instead a protective lullaby. Medea if she helps him to win. He is, how - ever, in love with his ward, the Princess The brilliant stroke of withholding Medea Agilea. She, in turn, is in love with the from the first act reaps huge rewards as handsome young hero Theseus, who is the sorceress is introduced in Act II as fighting on behalf of the king but whose Agilea’s rival and antagonist. Aegeus and true identity is unknown; he has also fallen Medea agree to end their “engagement,” in love with her. Aegeus plans to get out of and although both are happy to pursue his promise to Medea by offering her their separate desires, they will not admit instead his long-lost son. Since she has their pleasure to one another and spit out a fallen in love with Theseus (still unknown marvelously nasty “breaking-up” duet, “Si, to her as Aegeus’s son), she is happy to ti lascio/Si, ti spezzo.” Medea’s incanta - part ways. In addition to this love quadran - tions are as chilling as any Handel ever gle, the opera contains a second young wrote, perhaps none more menacing than couple—Arcane, the confidant of Aegeus, “Ombre, sortite—Sibillando, ululando” at and Clizia, the confidante of Agilea—who the end of Act III, where she calls up the share a mutual and unobstructed love. The dark spirits of eternal night and urges them general thrust of the plot is that the older to torment Agilea with hissing and howl - generation, represented by Aegeus and ing. She still holds powers in reserve, how - Medea, behaves rather badly, using sub - ever, which explode in Act V in her final aria terfuge, outright lying, and deceit, but the of revenge, “Morirò.” After Medea fails to largely virtuous young couples come safe trick Aegeus into poisoning his own son, to harbor at the end. she sets Athens aflame while flying off in a carriage drawn by dragons. Minerva’s Despite its title, the leading characters of priest descends, a true dea ex machina , Teseo are Medea and Agilea, and Handel and puts all to right. lavished his attention on their arias. Agilea’s second aria in Act I, “Deh serbate, —Copyright © 2014 by Lincoln Center for the oh giusti Dei!” in which she worries about Performing Arts, Inc. 08-17 Teseo_Gp 3.qxt 8/5/14 11:19 AM Page 6

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Note on the Program contrasting, lyrical role of Agilea. She prob - ably also premiered the role of Galatea in by Ellen T. Harris Handel’s Acis and Galatea (1718). The great castrato Nicolini, who had created the title Teseo , Op. 9 (1712) role in Rinaldo , was not available, so the GEORGE FRIDERIC HANDEL title role of Theseus (Teseo) was sung by Born February 23, 1685, in Halle Valeriano Pellegrini. Handel knew Valeriano Died April 14, 1759, in London from Venice where he played the role of Nero in Agrippina (1709); the singer had When Handel arrived in London in the also appeared in Il pastor fido . He clearly autumn of 1710, one of his goals was to did not have the vocal power of Nicolini, establish himself as a composer of opera. however, and the character of Theseus is He accomplished this in great style with drawn by Handel more as a man of feeling his first London opera, Rinaldo , which than a man of war. Aegeus (Egeo) was opened in February 1711, and had 15 per - taken by the castrato Valentini, who had formances before the end of the season in also played an elder statesman in Rinaldo , June. By then, however, Handel had left but one less duplicitous than Aegeus. London, his contractual obligations requir - ing him to return to the court of Hanover, Unfortunately, despite all of its strengths, where he was music director. Over the the opera was also plagued with problems. next year, while Handel studied English in The expense of the singers, new sets, and Germany, Rinaldo was given another nine new costumes had left the manager of the performances in London. Returning to theater, Owen Swiney, close to bankruptcy, England by the autumn of 1712, he worked and after two performances with full quickly to produce another opera, Il pastor houses, he absconded with the proceeds fido , which premiered in November. It moved and fled the country. Handel and the away from the spectacle and virtuosic singers “were in Some confusion but at splendor of Rinaldo and was not a success, last concluded to go on with ye operas on managing only seven performances. Not their own accounts, & divide ye Gain surprisingly, Handel hastened to recapture amongst them.” But this did not end their public acclaim—the result was Teseo , difficulties. At the fourth performance which he completed on December 19, 1712, (January 21) the machinery did not func - and premiered about a month later. With all tion properly, and the company was “much new sets and spectacular machinery, the concerned” that it had not given “the success of Teseo seemed inevitable. The Nobility and Gentry all the Satisfaction they work was, indeed, much more popular could have wished, when they repre - than Il pastor fido , not only because of the sented it on Wednesday last, having been visual display, but also because of the par - hindered by some unforeseen Accidents at ticularly fine cast of singers. that time insurmountable.” This led to all the remaining advertisements for Teseo Elisabetta Pilotti-Schiavonetti, an extraordi - stating that the opera “will be represented narily dramatic and powerful singer, took in its Perfection, that is to say with all the the role of Medea; she was one of three Scenes, Decorations, Flights, and Machines.” singers held over from Rinaldo , where she The final performance (May 16) was given had sung the role of the sorceress Armida. “For the Benefit of Mr. Hendel…with an The soprano Margarita de l’Epine, who first Addition of several New Songs, and partic - sang with Handel in Il pastor fido , took the ularly an entertainment for the harpsichord, 08-17 Teseo_Gp 3.qxt 8/5/14 11:19 AM Page 7

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Compos’d by Mr. Hendel on purpose for Nicola Haym, left the French scenic struc - that Day.” Between his benefit night and ture in place, but made heavy cuts to the his portion of the remaining income after recitative—as demanded by English audi - Swiney’s departure, Handel received less ences. In Teseo this results in relatively long than half what was owed him. Whether arias (by French standards, although Handel’s this left a bad taste in his mouth or for arias would grow much longer over his life - some other reason, Handel never revived time) coming one after another with little sep - Teseo —as he repeatedly did both Rinaldo aration and without any sense of climax. The and Il pastor fido —despite its fine score singers rarely exit after singing an aria and and proven audience appeal. frequently a single character has multiple arias within a scene. As in so many cases, The libretto of Handel’s Teseo was adapted however, what might look unpromising on from Lully’s Tésée (1675), which leaves its the page Handel transmutes into music of mark on the five-act structure, unique exquisite beauty and astonishing power. among all of Handel’s operas, and also affects the flow of the opera within those Ellen T. Harris is professor emeritus in shortened acts. Whereas French opera music and theater arts at MIT and president- was musically constructed on a base of elect of the American Musicological Society. heightened recitative speech out of which Her most recent book, George Frideric tuneful mélodies would periodically arise, Handel: A Life with Friends , is due out Italian opera developed the distinct juxta - from W. W. Norton in September. position of fast-paced, simple recitative and scene-ending, virtuosic arias, generally —Copyright © 2014 by Lincoln Center for the leading to a grand exit. Handel’s librettist, Performing Arts, Inc.

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Words and Music Love by Anna Akhmatova

A snake, it coils Bewitching the heart. Day after day, coos A dove on the white sill.

A bright flash in frost, Drowsy night-scented stock… Yet, sure and secret, It’s far from peace and joy.

It knows how to weep sweetly In the violin’s yearning prayer; And is fearfully divined In a stranger’s smile.

For poetry comments and suggestions, please write to [email protected]. 08-17 Teseo_Gp 3.qxt 8/5/14 11:19 AM Page 9

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Henry Purcell’s King Arthur and Jean-Philippe Meet the Artists Rameau’s ballet-opera Platée . Philharmonia has also collaborated with many Bay Area per - forming arts groups. Its recording of Haydn Symphonies No. 104 (“London”), No. 88, and No. 101 (”The Clock”) was nominated for a Grammy for Best Orchestral Performance. It has also released Vivaldi’s Four Seasons and other violin concertos featuring Elizabeth H C

A Blumenstock as soloist; an acclaimed record - E B

D ing of Handel’s Ata lanta ; Brahms’s Serenades; N A R Beethoven Symphonies Nos. 4 and 7, and Philharmonia Baroque Orchestra Handel’s Teseo (Highlights) . The orchestra was founded by harpsichordist and early- Entering its 34th season, Philharmonia music pioneer Laurette Goldberg. Baroque Orchestra has been dedicated to authentic performances of Baroque, Classical, and early Romantic music on original instru - ments since its inception in 1981. Under the leadership of Nicholas McGegan, the orches - N A

tra performs an annual subscription season in M R E H S

the San Francisco Bay Area and is regularly

E Nicholas V E

heard on tour around the world. The orches - T S McGegan tra has its own professional chorus, the Philharmonia Chorale, under the leadership of Nicholas McGegan, one of his generation’s Bruce Lamott. It welcomes eminent guest finest Baroque conductors, has been artists who have included mezzo-soprano increasingly recognized for his probing and Susan Graham, countertenor David Daniels, revelatory explorations of music from all fortepianist Emanuel Ax, violinist Rachel periods. He has been music director of Podger, and guest conductors such as Jordi Philharmonia Baroque Orchestra for 28 Savall, Masaaki Suzuki, and Trevor Pinnock. years and was artistic director of the Göttingen International Handel Festival for Philharmonia’s recent U.S. tour appearances 20 years. Beginning in the 2013–14 sea - include Lincoln Center’s Great Performers son, Mr. McGegan became principal guest series, the Ravinia Festival in Chicago, the conductor of the Pasadena Symphony, and International Chamber Orchestra Festival in in 2014 he was appointed artist in associa - Minnesota, Carnegie Hall, and Walt Disney tion with the Adelaide Symphony Orchestra. Concert Hall in Los Angeles. In 2006, to The coming months will feature an appear - mark its 25th season and the 20th anniver - ance at the Caramoor International Music sary of Mr. McGegan’s tenure as music Festival and collaborations with the New director, Philharmonia premiered its first Zealand, Tasmania, and National symphony commissioned work, a one-act opera by orchestras, Orchestra of Padova Veneto, Jake Heggie with a libretto by Gene Scheer Swedish Chamber Orchestra, Bournemouth entitled To Hell and Back . Sinfonietta, and the Orchestra of St. Luke’s.

In collaboration with the Mark Morris Dance Mr. McGegan’s intelligent and joyful approach Group, Philharmonia gave the U.S. premieres to period style has led to appearances with of Morris’s highly acclaimed productions of major orchestras, including the New York, 08-17 Teseo_Gp 3.qxt 8/5/14 11:19 AM Page 10

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Los Angeles, and Hong Kong philharmonics; Apollo e Dafne (Pacific MusicWorks), and the Chicago, Milwaukee, St. Louis, Toronto, the title role in Teseo (Philharmonia Baroque and Sydney symphony orchestras; the Orches tra). Her major opera roles include Cleveland and Philadelphia Orchestras; and Jemmy in Guillaume Tell , Corinna in Il viag - the Royal Northern Sinfonia and Scottish gio a Reims , Rosalia in L’equivoco strava - Chamber Orchestra, where his programs gante (Rossini Opera Festival), Dalinda in often mingle Baroque with later works. He Ariodante (Geneva and Munich), Manto in is also at home in opera houses, having Niobe, regina di Tebe (Royal Opera House– conducted companies including London’s Covent Garden and Luxembourg), Amenaide Royal Opera, San Francisco Opera, Santa in Tancredi (Opera Boston), and Nannetta Fe Opera, and Washington National Opera. in Falstaff (Angers-Nantes Opéra and Royal Opera House–Covent Garden). Mr. McGegan was made an Officer of the Most Excellent Order of the British Empire Her recordings include Mozart’s “In un (OBE) for services to music overseas. istante…Parto, m’affretto” from Lucio Silla Other awards include the Halle Handel and Handel’s Messiah with Apollo’s Fire Prize, the Order of Merit of the State of (Avie); Aglaure in Lully’s Psyché , Venus in Lower Saxony (Germany), the Medal of Venus and Adonis , Manto in Niobe , regina di Honour of the City of Göttingen, and a dec - Tebe , Minerve and La Grande Prêtresse in laration of Nicholas McGegan Day by the Lully’s Thésée with Boston Early Music mayor of San Francisco. His extensive Festival (CPO); Dorinda in Orlando with Early discography includes five recent releases Music Vancouver (ATMA); and Haydn’s Die on Philharmonia Baroque’s label, Philhar - Schöpfung with the Boston Baroque (Linn). monia Baroque Productions (PBP), includ - ing Brahms’s Serenades; Berlioz’s Les nuits Upcoming engagements include Iris in d’été and Handel arias with Lorraine Hunt Semele (Seattle Opera); Poppea in L'incoron - Lieberson; Haydn’s Symphonies Nos. 88, azione di Poppea and Serpina in La serva 101, and 104 (nominated for a Grammy padrona (Boston Early Music Festival); Poppea Award); Vivaldi’s Four Seasons and concer - in Agrippina and Vagaus in Juditha Triumphans tos; and Handel’s Atalanta . (Boston Baroque); Bach’s Magnificat and Brahms’s Requiem (Accademia Nazionale di Santa Cecilia in Rome and Moscow) under Sir Antonio Pappano; Amour in Gluck’s Orfeo at the Royal Opera House –Covent Garden, and with the Monteverdi Choir and Orches - tra, both under Sir John Eliot Gardiner.

Amanda Forsythe Amanda Forsythe’s (soprano, Teseo) major concert engagements have included Handel’s L’Allegro, il Penseroso, ed il Moderato E G

(Netherlands Radio Philharmonic Orchestra), R A L

Alexander’s Feast (Ulster Orchestra), Mes - N I

N Amy Freston siah (Seattle Symphony Orchestra, Boston Baroque, Apollo’s Fire, and Baltimore Amy Freston (soprano, Agilea) trained as a Symphony Orchestra), Dorinda in Orlando classical dancer before studying singing at (Vancouver Early Music Festival), Dafne in the Royal Northern College of Music and 08-17 Teseo_Gp 3.qxt 8/5/14 11:19 AM Page 11

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the National Opera Studio. A frequent guest at Opera North and Glyn debourne‚ Ms. Freston’s roles include Cherubino in Le nozze di Figaro ‚ Miss Wordsworth in Albert Z E R

Herring ‚ Valencienne in The Merry Widow ‚ A V L A Dominique

Amore in L’incoronazione di Poppea ‚ O N I Sandman in Hänsel und Gretel ‚ Despina in L Labelle Così fan tutte ‚ First Niece in Peter Grimes , Dominique Labelle’s (soprano, Medea) prob - Elsa in the world premiere of David Sawer’s ing explorations of a wide range of reper - Skin Deep ‚ Belinda in Dido and Aeneas , toire have led her to create close and Rose Maybud in Ruddigore , and La Musica enduring collaborations with a number of in Orfeo . She also appeared in The Owl the world’s most respected conductors and and the Pussycat for ROH2 as part of the composers, including Nicholas McGegan, London 2012 Festival. In concert, Ms. Iván Fischer, Jos van Veldhoven, and the Freston has performed St. Matthew Passion Pulitzer Prize –winning composer Yehudi with the Orchestra of the Age of Enlighten - Wyner. She also treasures her long associ - ment‚ Carmina Burana with City of Bir - ation with the late Robert Shaw. mingham Symphony Orchestra‚ L’Allegro‚ il Penseroso ed il Moderato with Northern In addition to her renowned Handel, Mozart, Sinfonia‚ Mozart’s C-minor Mass with and Bach interpretations, Ms. Labelle is Northern Sinfonia and Thomas Zehetmair‚ drawn to contemporary music. Recently and a tour with Le Concert d’Astrée and she sang Shostakovich’s Seven Romances Emmanuelle Haïm. Ms. Freston has recorded on Poetry of Alexander Blok and Britten’s Birtwistle’s Nine Settings of Lorine Niedecker Les Illuminations . She also performed and with Adrian Brendel. recorded John Harbison’s The Rewaking with the Lydian String Quartet. Among her Further operatic engagements include Car - numerous recordings of opera and concert men (Welsh National Opera), La Belle Hélène repertoire is Monsigny’s Le Déserteur with (English National Opera)‚ James Macmillan’s Opera Lafayette and Ryan Brown (Naxos). Parthenogenesis (Royal Opera House’s Lin - She has also recorded with Virgin Veritas, bury Theatre)‚ Ilia in Idomeneo (Grange Park Deutsche Harmonia Mundi, RCA Victor Opera), The Philosopher’s Stone (Garsington Red Seal, Koss, Denon, New World, Carus, Opera)‚ Despina in Così fan tutte (English and Muisica Omnia. Her recording of Touring Opera and Samling Foundation Handel’s Arminio (Virgin Classics) won the directed by Sir Thomas Allen)‚ and Pergolesi’s 2002 Handel Prize. Her latest recording, La serva padrona with the Gabrieli Consort. Moments of Love , is a recital with pianist Ms. Freston created the roles of Io and Yehudi Wyner with a program of Britten, Woman Three in Harrison Birtwistle’s The Hahn, Ravel, and Saint-Saëns. Io Passion directed by Stephen Langridge at the Aldeburgh‚ Almeida, and Bregenz Ms. Labelle first came to international promi - festivals. She also created Mirror Echo in nence as Donna Anna in Peter Sellars’s daring Birtwistle’s The Second Mrs Kong with the production of Mozart’s Don Giovanni , set BBC Symphony Orchestra at the Royal Fes - in Spanish Harlem, which she performed in tival Hall. New York, Paris, and Vienna. Born in Montreal 08-17 Teseo_Gp 3.qxt 8/5/14 11:19 AM Page 12

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and trained at McGill and Boston Universities, Spinosi, Martin Haselböck, Martin Gester, she enjoys sharing her technical and musical Matthew Dirst, and Attilio Cremonesi, insights with young singers, and has taught among others. She has also worked with master classes at Harvard University, McGill choreographer Sasha Waltz and director University, Smith College, and the University Deborah Warner on a number of projects. of Massachusetts. She is now professor of Ms. Ricci has toured in New York, Los voice at the Schulich School of Music at Angeles, Berlin, London, Brussels, Israel, McGill University. Barcelona, Paris, Vienna, Amsterdam, Moscow, and St. Petersburg. E S I E H

A E H T

Céline Ricci O R O

D Robin Blaze Born in Florence, Céline Ricci (mezzo- soprano, Clizia) first studied in Paris and Robin Blaze (countertenor, Arcane) is firmly continued her post-graduate studies at the established as a leading interpreter of Purcell, Guildhall School of Music and Drama in Bach, and Handel, and he works with numer - London. Selected by renowned conductor ous distinguished conductors in the early- William Christie for his academy, Le Jardin music field, including Harry Christophers, des Voix, she was named one of opera’s John Eliot Gardiner, Emmanuelle Haïm , promising new talents in 2005 by Opernwelt . Phillippe Herreweghe, Christopher Hogwood, During this season, Ms. Ricci will perform Ton Koopman, Paul Goodwin, Robert King, with Akademie für Alte Musik in Sydney Nicholas Kraemer, Trevor Pinnock, and and Berlin, with the Philharmonia Baroque Masaaki Suzuki . Recent and future high - Orchestra at Lincoln Center and Tanglewood, lights include Handel’s Israel in Egypt with and with Ars Lyrica at the Berkeley Early the Choir of King’s College Cambridge and Music Festival and in Houston, among the Academy of Ancient Music, Buxtehude’s other projects. Membra Jesu with the Ricercar Consort, St. Matthew Passion with the Bach Choir, Ms. Ricci’s impressive discography includes Messiah in Annapolis and with the Mel - a number of CDs and two DVDs. Her CD bourne Symphony Orchestra, Hamor in as Arbace in Terradellas’s Artaserse gar - Jephtha with The Sixteen, Barak in Deborah nered great critical acclaim: Opernwelt at the London Handel Festival, Bach’s described her performance as an exciting Christmas Oratorio with Kammerorchester tour de force. Ms. Ricci’s solo CDs, Cirque Basel, and performances with Florilegium and Le Bestiaire , were released on Sono and the King’s Consort at Wigmore Hall. Luminus with art direction by Ms. Ricci. She will also be part of a forthcoming Mr. Blaze regularly appears with the Aca - release devoted to 17th-century vocal demy of Ancient Music, Bach Collegium works on Sono Luminus with El Mundo. Japan, Collegium Vocale, English Concert, Gabrieli Consort, King’s Consort, and Ms. Ricci has collaborated with a number of Orchestra of the Age of Enlightenment. distinguished conductors, including Nicholas Other engagements have included the McGegan, William Christie, Jean-Christophe Berliner Philhar moniker, National Symphony 08-17 Teseo_Gp 3.qxt 8/5/14 11:19 AM Page 13

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Orchestra, Washington Symphony Orchestra, Society, Philharmonia Baroque Orchestra, Royal Flanders Philharmonic Orchestra, and Freiburg Baroque Orchestra. He has also BBC Philharmonic , Royal Philharmonic performed at festivals such as Tanglewood, Orchestra, Royal Northern Sinfonia, and the Ravinia, Regensburg, BAM’s Next Wave, Philharmoni a Orchestra. Mr. Blaze has vis - Edinburgh, Spoleto, and Boston Early Music. ited festivals in Ambronay, Beaune, Boston, Other orchestra credits include the Phila - Edinburgh, Halle, Iceland, Jerusalem, delphia Orchestra, San Francisco Symphony, Innsbruck, Karlsruhe, Leipzig, Lucerne, and Saint Paul Chamber Orchestra. Mr. Saintes, and Utrecht, and has given recitals Minter was a founding member of the in Paris, Innsbruck, and Göttingen, as well Newberry Consort, TREFOIL, and My Lord as the York Early Music and Three Choirs Chamber lain’s Consort, and he sings fre - Festivals, BBC Radio 3, and Wigmore Hall. quently with ARTEK and the Folger Consort.

Mr. Blaze’s recordings include the Cantata Mr. Minter has made more than 60 record - Cycle with Bach Collegium Japan, Handel’s ings on Harmonia Mundi, Decca/London, oratorio duets, lute songs with Elizabeth Newport Classics, Hungaroton, and Bridge, Kenny, Didymus in Theodora (Gabrieli among others. He has also appeared in the Consort under Paul McCreesh), works by filmed versions of Peter Sellars’s Giulio Vivaldi, Kuhnau, and Knüpfer (The King’s Cesare as Tolomeo, and as the Devil for In Consort), Purcell’s Odes (Collegium Vocale the Symphony of the World: a Portrait of Gent under Phillippe Herreweghe), and Hildegard of Bingen . An active opera stage Adès’s The Lover in Winter . director, Mr. Minter directed regularly at the Göttingen Handel Festival and Boston’s Opera Aperta. He was artistic director of Boston Midsummer Opera from 2006–11. In addition to leading numerous workshops in the vocal and dramatic performance of E

L Baroque music, he teaches voice at Vassar P M I

R College, where he directs the Vassar Opera

N E

K Drew Minter Workshop and conducts the Vassar Madrigal Singers. He also directs an annual Baroque Regarded as one of the world’s finest coun - opera at the Amherst Early Music Institute, tertenors, Drew Minter (countertenor, Egeo) where he has taught since 1989. grew up as a boy treble in the Washington Cathedral Choir of Men and Boys. He con - tinued his education at Indiana University and the Musikhochschule of Vienna. Mr.

Minter has appeared in leading roles with T N A H

the opera companies of Brussels, Toulouse, C R E M

Boston, Washington, Santa Fe, Wolf Trap, E N A Glimmerglass, and Nice, among others. A I D Jeffrey Fields recognized specialist in the works of Handel, he has performed at the Handel festivals of A graduate of the University of Iowa, Göttingen, Halle, Karlsruhe, and Maryland. Jeffrey Fields (baritone, Minerva’s priest) sings regularly as a soloist and ensemble Mr. Minter has sung with many of the member with Philharmonia Baroque Orches - world’s leading Baroque orchestras, includ - tra (since 1999), American Bach Soloists ing Les Arts Florissants, Handel and Haydn (since 2002), Bach Collegium San Diego 08-17 Teseo_Gp 3.qxt 8/5/14 11:19 AM Page 14

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(since 2011), and Carmel Bach Festival (since Entführung aus dem Serail , Scaramuccio in 1998). Mr. Fields made his Carnegie Hall solo Ariadne auf Naxos , and tenor soloist in debut in Handel’s Messiah in 2007 under Dioclesian with Philharmonia Baroque Andrew Megill, and returned to Carnegie Orchestra. In demand throughout the San Hall in 2012 with the Aoede Consort. Francisco Bay Area and United States, he has appeared as a soloist with companies Upcoming solo engagements include works including Aspen Opera Theater Center, San of J.C. Bach with the Philharmonia Baroque Francisco Opera Guild, Opera San Jose, Orchestra, J.S. Bach cantatas with the Ash Lawn Opera Festival, Festival Opera, Angelus recital series at the University of West Edge Opera, Ensemble Parallèle, San Diego, and concerts with Pacific Bach Opera San Luis Obispo, Townsend Opera, and the Spire Chamber Ensemble. Recent Livermore Valley Opera, and in preview engagements include Purcell’s Dioclesian concerts for Opera Santa Barbara. with Philharmonia Baroque, the role of Jesus in St. Matthew Passion in Los Angeles, An Ohio native, Mr. Smucker earned his Handel’s Dixit Dominus with Bach Collegium bachelor’s, master’s, and postgraduate San Diego, Haydn’s Seasons at UC Berkeley, degrees in voice at the San Francisco Con - Haydn’s Die Schöpfung at Stanford, Dvo rˇák’s servatory of Music, receiving special hon - Stabat Mater in San Francisco, Handel’s ors for excellence in operatic and Baroque Alexander’s Feast under Jeffrey Thomas, performance. He is a member of the Handel’s Samson with Philharmonia Baroque, Vinaccesi Ensemble, and is featured on their Orff’s Carmina Burana , the title role in recently released CD Benedetto Vinaccesi: Mendelssohn’s Elijah for Marin Oratorio, The Solo Cantatas (Centaur Records). and Handel’s Acis and Galatea with California Bach Society. Mr. Fields studied with Albert Mostly Mozart Festival Gammon, taught voice and singer’s diction Lincoln Center’s Mostly Mozart Festival— at the University of Iowa, and was an artist America’s first indoor summer music fellow for three seasons at Stony Brook’s festival—was launched as an experiment Bach Aria Festival. He was a three-time in 1966. Called Midsummer Serenades: A winner of the NATS Central Region auditions. Mozart Festival, its first two seasons were devoted exclusively to the music of Mozart. Now a New York institution, Mostly Mozart continues to broaden its focus to include works by Mozart’s predecessors, contem - poraries, and related successors. In addi - tion to concerts by the Mostly Mozart Jonathan Festival Orchestra, Mostly Mozart now Smucker includes concerts by the world’s outstand - ing period-instrument ensembles, chamber Jonathan Smucker’s repertoire spans more orchestras and ensembles, and acclaimed than 40 roles, ranging from Baroque to soloists, as well as opera productions, contemporary and encompassing opera, dance, film, late-night performances, and oratorio, operetta, and musical theater. visual art installations. Contemporary music Recent credits include Ralph Rackstraw in has become an essential part of the festival, H.M.S. Pinafore , Evangelist in St. John embodied in annual artists-in-residence Passion , Acis in Acis and Galatea , Don including Osvaldo Golijov, John Adams, Ottavio in Don Giovanni, Belmonte in Die Kaija Saariaho, Pierre-Laurent Aimard, and 08-17 Teseo_Gp 3.qxt 8/5/14 11:19 AM Page 15

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the International Contemporary Ensemble. A presenter of more than 3,000 free and Among the many artists and ensembles ticketed events, performances, tours, and who have had long associations with the educational activities annually, LCPA offers festival are Joshua Bell, Christian Tetzlaff, 15 programs, series, and festivals, includ - Itzhak Perlman, Emanuel Ax, Garrick Ohlsson, ing American Songbook, Great Performers, Stephen Hough, Osmo Vänskä, the Emerson Lincoln Center Festival, Lincoln Center Out String Quartet, Freiburg Baroque Orchestra, of Doors, Midsummer Night Swing, the Orchestra of the Age of Enlightenment, Mostly Mozart Festival, and the White and the Mark Morris Dance Group. Light Festival, as well as the Emmy Award–winning Live From Lincoln Center , Lincoln Center which airs nationally on PBS. As manager for the Performing Arts, Inc. of the Lincoln Center campus, LCPA pro - Lincoln Center for the Performing Arts (LCPA) vides support and services for the Lincoln serves three primary roles: presenter of Center complex and the 11 resident orga - artistic programming, national leader in arts nizations. In addition, LCPA led a $1.2 bil - and education and community relations, lion campus renovation, completed in and manager of the Lincoln Center campus. October 2012.

Lincoln Center Programming Department Jane Moss, Ehrenkranz Artistic Director Hanako Yamaguchi, Director, Music Programming Jon Nakagawa, Director, Contemporary Programming Lisa Takemoto, Production Manager Bill Bragin, Director, Public Programming Charles Cermele, Producer, Contemporary Programming Kate Monaghan, Associate Director, Programming Jill Sternheimer, Producer, Public Programming Mauricio Lomelin, Associate Producer, Contemporary Programming Julia Lin, Associate Producer Nicole Cotton, Production Coordinator Regina Grande, Assistant to the Artistic Director Luna Shyr, Interim Programming Publications Editor Mariel O’Connell, House Seat Coordinator Honor Bailey, House Program Intern ; Brenton O’Hara, Theatrical Productions Intern ; Jacob Richman, Production Intern

For the Mostly Mozart Festival Celeste Montemarano, Supertitle Operator Supertitles by Adam Cockerham, from a translation by Ross Armstrong

Program Annotators: Don Anderson, Christopher H. Gibbs, Ellen T. Harris, Kathryn L. Libin, Hugh Macdonald, Ellen McSweeney, Harlow Robinson, Paul Schiavo, David Wright 08-17 Teseo_Gp 3.qxt 8/5/14 11:19 AM Page 16

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Philharmonia Baroque Orchestra Nicholas McGegan , Music Director

The Players and Their Instruments

Philharmonia Baroque’s musicians perform on historically accurate instruments. Below each player’s name is information about his or her instrument’s maker and origin.

Violin Cello Elizabeth Blumenstock, Concertmaster Phoebe Carrai* Andrea Guarneri, Cremona, 1660; on loan from Joseph Panormo, London, England, 1811 Philharmonia Baroque Orchestra Period Instrument Trust Paul Hale Joseph Grubaugh & Sigrun Seifert, Petaluma, Jolianne von Einem 1988; after A. Stradivari Rowland Ross, Guildford, England, 1979; after Antonio Stradivari, Cremona William Skeen Anonymous, Northern Italy, ca. 1680 Lisa Grodin Laurentius Storioni, Cremona, Italy, 1796 Bass Katherine Kyme Kristin Zoernig* Johann Gottlob Pfretzschner, Mittenwald, Joseph Wrent, Rotterdam, Holland, 1648 Germany, 1791 Timothy Spears Tyler Lewis Anonymous, Germany, date unknown Timothy Johnson, Hewitt, Texas, 2009; after A. Stradivari Flute Anthony Martin Stephen Schultz* Thomas Oliver Croen, Walnut Creek, CA, 2005; Martin Wenner, Singen, Germany 2011; after after F. Gobetti, Venice, 1717 A. Grenser, c. 1790

Carla Moore Mindy Rosenfeld Johann Georg Thir, Vienna, Austria, 1754 Roderick Cameron, Mendocino, California, 1997; after J. H. Grenser, Dresden, Germany, Maxine Nemerovski c. 1790 Timothy Johnson, Bloomington, Indiana, 1999; after A. Stradivari Oboe Laurie Young Stevens Marc Schachman* Rowland Ross, London, 1995; after A. Amati Sand Dalton, Lopez Island, Washington, 1993; after Floth, c. 1800 Noah Strick Celia Bridges, Cologne, Germany, 1988 Gonzalo Ruiz H. A. Vas Dias, Decatur, Georgia, 1988; after Lisa Weiss † C. A. Grenser, Dresden, Germany, c. 1780 Anonymous, London; after Testore

Bassoon Viola Danny Bond* Maria Ionia Caswell* Peter de Koningh, Hall, Holland, 1985; after Anonymous, Mittenwald, circa 1800 Grenser, Dresden, Germany, c. 1800

David Daniel Bowes Kate van Orden Richard Duke, London, c. 1780 Peter de Koningh, Hall, Holland, 1978; after Prudent, Paris, France, c. 1760 Ellie Nishi Aegidius Klotz, Mittenwald, Germany, 1790 08-17 Teseo_Gp 3.qxt 8/5/14 11:19 AM Page 17

Mostly Mozart Festival

Trumpet Theorbo John Thiessen* David Tayler* Rainer Egger, Basel, Switzerland, 2003; after Andreas von Holst, Munich, Germany, 2004; Ehe, 1746 after Magno Tieffenbrucker, Venice, Italy, 1610

Fred Holmgren Fred Holmgren, Massachusetts, 2005; after Harpsichord J. L. Ehe III, 1746 Hanneke van Proosdij* Thomas Andreas Wolf, The Plains, Virginia, 1988 Recorder Hanneke van Proosdij* Nicholas McGegan von Huene, Brookline, Massachusetts, 2010; Carl Dudash, Norfolk, Connecticut, 1991 after Jacob Denner, c. 1720

Gonzalo Ruiz * Principal Thomas M. Prescott, Hanover, New Hampshire, † Principal Second Violin 1989; after Stanesby Jr., London, 1710

Philharmonia Touring Staff Michael Costa, Executive Director Courtney Beck, Associate Executive Director Jeff Phillips, Artistic Administrator Alexander Kort, Stage Manager 08-17 Teseo_Gp 3.qxt 8/5/14 11:19 AM Page 18

Mostly Mozart Festival

Lectures, Discussions, and Pre-concert Recitals

All events are FREE to ticketholders of the accompanying performance.

Saturday Afternoon, July 26, at 4:00 Saturday Afternoon, August 16, at 4:00 Discussion of Sila: The Breath of the Panel Discussion: Mozart and the World with John Luther Adams and Promise of Opera John Schaefer Bruce Alan Brown, moderator Bruno Walter Auditorium Presented in association with the Mozart Society of America Friday and Saturday Evenings, Stanley H. Kaplan Penthouse August 1–2, at 7:00 Members of the Mostly Mozart Festival Saturday Evening, August 16, at 7:00 Orchestra Magali Mosnier, flute, and Mozart: Serenade for Winds in E-flat Xavier de Maistre, harp major, K.375 Works by Gluck, Smetana, and Fauré Avery Fisher Hall Avery Fisher Hall

Monday Evening, August 4, at 6:30 Sunday Afternoon, August 17, at 1:45 Emerson String Quartet Lecture on Handel’s Teseo by Ellen Rosand Haydn: String Quartet in G major Stanley H. Kaplan Penthouse Alice Tully Hall Tuesday Evening, August 19, at 7:00 Tuesday and Wednesday Evenings, Igor Kamenz, piano August 5–6, at 7:00 Beethoven: Sonata No. 7 in D major Christian Tetzlaff, violin, and Avery Fisher Hall Caroline Goulding, violin Works by Leclair and Bartók Wednesday Evening, August 20, at 7:00 Avery Fisher Hall Igor Kamenz, piano Liszt: Dante Sonata Friday Evening, August 8, at 6:15 Wagner (trans. Liszt): Isoldes Liebestod Pre-performance discussion of Acis and Avery Fisher Hall Galatea with Mark Morris and Jane Moss David Rubenstein Atrium Friday Evening, August 22, at 6:45 Lecture on Mozart, Bach, and Martin by Friday and Saturday Evenings, Andrew Shenton August 8–9, at 7:00 Stanley H. Kaplan Penthouse Philip Cobb, trumpet, and Joseph Turrin, piano Works by Purcell, Bellstedt, and Joseph Turrin Avery Fisher Hall ALICE TULLY HALL, AVERY FISHER HALL Broadway at 65th Street Tuesday and Wednesday Evenings, August 12–13, at 7:00 BRUNO WALTER AUDITORIUM Amphion String Quartet Dorothy and Lewis B. Cullman Center New York Public Library for the Performing Arts Barber: String Quartet 111 Amsterdam Ave., between 64th and 65th Avery Fisher Hall Streets Friday Evening, August 15, at 6:45 DAVID RUBENSTEIN ATRIUM Lecture on Berlioz’s Symphonie Broadway between 62nd and 63rd Streets fantastique by Peter Bloom STANLEY H. KAPLAN PENTHOUSE Stanley H. Kaplan Penthouse 165 West 65th Street, 10th Floor 08-17 Teseo_Gp 3.qxt 8/5/14 11:19 AM Page 19

Are you an LC Kid?

LC Kids makes Lincoln Center and the performing arts accessible to children between the ages of 2 and 12 through interactive performances, behind-the-scenes tours, educational activities and so much more. Become an LC Kids family today.

Learn more at LincolnCenter.org/LCKids or call Kristel Kempin at 212.875.5443

Photo: Martin Schott 08-17 Teseo_Gp 3.qxt 8/5/14 11:19 AM Page 20

Mostly Mozart Festival

Wolfgang Amadeus Mozart Chronology 1756 January 27: Joannes Chrysostomus Wolfgangus Theophilus Mozart born in Salzburg, Austria, the youngest child of Johann Georg Leopold Mozart and his wife, Anna Maria. 1761 Firstcomposition,AndanteinCmajorforkeyboard;firstknownpublicappearanceat Salzburg University in a music theater piece. 1762 Leopold Mozart journeys to Munich and Vienna with Wolfgang and his older sister, Nannerl, to exploit their prodigious talents on the harpsichord. 1764 Meets J.C. Bach, youngest son of J.S. Bach. Mozart writes his first symphony. 1767 Performance of Apollo et Hyacinthus, Mozart’s first theatrical work, in Salzburg. Travels to Vienna. Wolfgang and Nannerl fall ill with smallpox. 1769 Return to Salzburg. Mozart named honorary Konzertmeister of the Hofkapelle in Salzburg. 1772 Premiere of opera seria Lucio Silla on December 26 in Milan; completion of motet Exsultate, jubilate a few weeks later. 1778 Arrival in Paris after a lengthy journey through Augsburg and Mannheim, where he meets soprano Aloysia Weber. Performance of the “Paris” Symphony. Illness and death of Mozart’s mother. Aloysia rejects Mozart’s marriage proposal. 1779 Composition of “Coronation” Mass in C major. 1781 First major adult opera commission results in Idomeneo, premiered in Munich. Travels to Vienna, where he is discharged from the service of the archbishop of Salzburg. 1782 Composition and premiere of the opera Die Entführung aus dem Serail in Vienna. Marriage to Constanze Weber, sister of Aloysia. 1783 First child born in June and dies in August. Premiere of unfinished Mass in C minor, K.427. 1784 Mozart accepted into the Freemason lodge Zur Wohlthätigkeit. Six piano concertos written in Vienna. Frequent public and private concerts in Vienna show him at the peak of his for- tunes. Birth of second child, Karl Thomas, who survives. Probable first meeting with Haydn; the beginning of a devoted friendship between the two masters. 1785 Cycle of six string quartets, which Mozart dedicates to Haydn, is published by Artaria. Composes Piano Concerto No. 20 in D minor and No. 21 in C major. 1786 Premiere of Le nozze di Figaro in Vienna’s Burgtheater is successful despite the opera’s potential to be politically and socially inflammatory. Writes Symphony in D major (“Prague”) and Piano Concerto No. 25 in C major. Mozart’s third child is born in October and dies in November. 1787 Mozart directs a performance of Figaro in Prague to great success. Performance of “Prague” Symphony and premiere of Don Giovanni in Prague also meet with positive reception. Leopold Mozart, age 68, dies in Salzburg. Returns to Vienna in November and birth of fourth child, Theresia, in December. The 16-year-old Beethoven briefly visits Vienna and most likely meets Mozart. 1788 Viennese premiere of Don Giovanni meets with moderate success. Death of Theresia. Last three symphonies written: No. 39 in E-flat major, No. 40 in G minor, and No. 41 in C major (“Jupiter”). 1789 Financial instability. Starts work on Così fan tutte. Mozart’s fifth child, Anna Maria, dies one hour after birth. Mozart conducts his reorchestration of Handel’s Messiah. 1790 Premiere of Così fan tutte in Vienna. Musical productivity hindered by ongoing financial stress. Before leaving for London, Haydn dines with Mozart for the last time. 1791 Mozart completes his 27th and last piano concerto. Interruption of work on Die Zauberflöte to writethecommissionedworkLa clemenza di Tito, celebrating the coronation of Leopold II as king of Bohemia. Birth of sixth child, Franz Xaver, who survives. Premiere of Die Zauberflöte in Vienna with Mozart conducting from the keyboard. Clarinet Concerto written for Anton Stadler. Receives commission for a requiem mass and begins work on the Requiem, K.626, but falls ill in November. Mozart dies in Vienna on December 5 and is buried quietly and unceremoniously in a mass grave.