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Home , Bruce Brubaker, Christopher Ventris, Ernst von Schuch, Fabio Luisi, Gerhard Siegel, Hans Neuenfels

bernard haitink conductor emeritus music director laureate

2013–2014 Season | Week 19A

music director designate

season sponsors

Table of Contents | Week 19A

7 bso news 15 on display in symphony hall 16 the boston symphony orchestra 19 “” in the fin-de-siècle imagination by helen m. greenwald 26 this week’s program

Notes on the Program

28 The Program in Brief… 29 ’s “Salome” 38 To Read and Hear More…

Guest Artists

41 Andris Nelsons 55 Dominic Armstrong 42 Gun-Brit Barkmin 56 Jason Ferrante 43 Jane Henschel 57 Walter Fink 45 Gerhard Siegel 57 Nathan Stark 47 Evgeny Nikitin 58 Michael Meraw 49 Carlos Osuna 59 Keith Miller 50 Renée Tatum 59 Ryan Speedo Green 51 David Cangelosi 60 Robert Honeysucker 53 Alex Richardson 61 Abigail Fischer

62 sponsors and donors 80 future programs 82 symphony hall exit plan 83 symphony hall information

program copyright ©2014 Boston Symphony Orchestra, Inc. program book design by Hecht Design, Arlington, MA cover design by BSO Marketing cover photo of Andris Nelsons by Marco Borggreve

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

andris nelsons, ray and maria stata music director designate , lacroix family fund conductor emeritus, endowed in perpetuity seiji ozawa, music director laureate 133rd season, 2013–2014

trustees of the boston symphony orchestra, inc.

Edmund Kelly, Chair • William F. Achtmeyer, Vice-Chair • Carmine A. Martignetti, Vice-Chair • Stephen R. Weber, Vice-Chair • Theresa M. Stone, Treasurer

David Altshuler • George D. Behrakis • Jan Brett • Paul Buttenwieser • Ronald G. Casty • Susan Bredhoff Cohen, ex-officio • Richard F. Connolly, Jr. • Diddy Cullinane • Cynthia Curme • Alan J. Dworsky • William R. Elfers • Thomas E. , Jr. • Michael Gordon • Brent L. Henry • Charles W. Jack, ex-officio • Stephen B. Kay • Joyce G. Linde • John M. Loder • Nancy K. Lubin • Robert J. Mayer, M.D. • Robert P. O’Block • Susan W. Paine • Peter Palandjian, ex-officio • John Reed • Carol Reich • Arthur I. Segel • Roger T. Servison • Wendy Shattuck • Caroline Taylor • Roberta S. Weiner • Robert C. Winters life trustees

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

Mark Volpe, Managing Director • Thomas D. May, Chief Financial Officer • Bart Reidy, Clerk of the Board board of overseers of the boston symphony orchestra, inc.

Susan Bredhoff Cohen, Co-Chair • Peter Palandjian, Co-Chair

Noubar Afeyan • Peter C. Andersen • Diane M. Austin • Lloyd Axelrod, M.D. • Judith W. Barr • Lucille M. Batal • Linda J.L. Becker • Paul Berz • James L. Bildner • Mark G. Borden • Partha Bose • Karen Bressler • Anne F. Brooke • Stephen H. Brown • Gregory E. Bulger • Joanne M. Burke • Richard E. Cavanagh • Dr. Lawrence H. Cohn • Charles L. Cooney • Ronald A. Crutcher • William Curry, M.D. • James C. Curvey • Gene D. Dahmen • Michelle A. Dipp, M.D., Ph.D. • Dr. Ronald F. Dixon • Ronald M. Druker • Alan Dynner • Philip J. Edmundson • Ursula Ehret-Dichter • Joseph F. Fallon • Peter Fiedler • Steven S. Fischman • John F. Fish • Sanford Fisher • Jennifer Mugar Flaherty • Alexandra J. Fuchs • Robert Gallery • Levi A. Garraway • Cora H. Ginsberg • Robert R. Glauber • Stuart Hirshfield • Susan Hockfield • Lawrence S. Horn • Jill Hornor • Valerie Hyman • Everett L. Jassy • Stephen J. Jerome • Darlene Luccio Jordan, Esq. •

week 19a trustees and overseers 3

photos by Michael J. Lutch

Paul L. Joskow • Stephen R. Karp • John L. Klinck, Jr. • Peter E. Lacaillade • Charles Larkin • Joshua A. Lutzker • Jay Marks • Jeffrey E. Marshall • Robert D. Matthews, Jr. • Maureen Miskovic • Robert Mnookin • Paul M. Montrone • Sandra O. Moose • Robert J. Morrissey • Cecile Higginson Murphy • Joseph J. O’Donnell • Joseph Patton • Donald R. Peck • Steven R. Perles • Ann M. Philbin • Wendy Philbrick • Claudio Pincus • Lina S. Plantilla, M.D. • Irene Pollin • Jonathan Poorvu • Dr. John Thomas Potts, Jr. • William F. Pounds • Claire Pryor • James M. Rabb, M.D. • Robert L. Reynolds • Robin S. Richman, M.D. • Dr. Carmichael Roberts • Graham Robinson • Susan Rothenberg • Joseph D. Roxe • Kenan Sahin • Malcolm S. Salter • Kurt W. Saraceno • Diana Scott • Donald L. Shapiro • Phillip A. Sharp, Ph.D. • Christopher Smallhorn • Michael B. Sporn, M.D. • Nicole Stata • Margery Steinberg • Patricia L. Tambone • Jean Tempel • Douglas Thomas • Mark D. Thompson • Albert Togut • Joseph M. Tucci • Robert A. Vogt • David C. Weinstein • Dr. Christoph Westphal • June K. Wu, M.D. • Patricia Plum Wylde • Dr. Michael Zinner • D. Brooks Zug overseers emeriti

Helaine B. Allen • Marjorie Arons-Barron • Caroline Dwight Bain • Sandra Bakalar • George W. Berry • William T. Burgin • Mrs. Levin H. Campbell • Earle M. Chiles • Carol Feinberg Cohen • Mrs. James C. Collias • Ranny Cooper • Joan P. Curhan • Phyllis Curtin • Tamara P. Davis • Mrs. Miguel de Bragança • Paul F. Deninger • JoAnneWalton Dickinson • Phyllis Dohanian • Harriett Eckstein • George Elvin • John P. Eustis II • Pamela D. Everhart • Judy Moss Feingold • Richard Fennell • Myrna H. Freedman • Mrs. James Garivaltis • Dr. Arthur Gelb • Robert P. Gittens • Jordan Golding • Mark R. Goldweitz • Michael Halperson • John Hamill • Deborah M. Hauser • Carol Henderson • Mrs. Richard D. Hill • Roger Hunt • Lola Jaffe • Martin S. Kaplan • Mrs. Gordon F. Kingsley • Robert I. Kleinberg • David I. Kosowsky • Robert K. Kraft • Farla H. Krentzman • Benjamin H. Lacy • Mrs. William D. Larkin • Robert J. Lepofsky • Edwin N. • Frederick H. Lovejoy, Jr. • Diane H. Lupean • Mrs. Harry L. Marks • Joseph B. Martin, M.D. • Joseph C. McNay • Albert Merck • Dr. Martin C. Mihm, Jr. • John A. Perkins • May H. Pierce • Dr. Tina Young Poussaint • Daphne Brooks Prout • Robert E. Remis • John Ex Rodgers • Alan W. Rottenberg • Roger A. Saunders • Lynda Anne Schubert • L. Scott Singleton • Gilda Slifka • Samuel Thorne • Diana Osgood Tottenham • Paul M. Verrochi • James Westra • Mrs. Joan D. Wheeler • Margaret Williams-DeCelles • Richard Wurtman, M.D.

† Deceased

week 19a trustees and overseers 5

BSO News

BSO “Insights,” March 9-17, 2014: “Beethoven and the Piano” The second of the BSO’s two “Insights” series this season—“Beethoven and the Piano,” presented in conjunction with the BSO’s Beethoven piano concerto cycle of March 13-22— offers a variety of events presented by the BSO in partnership with the New Conservatory of Music and the Museum of Fine Arts. For a listing of these events, as well as a listing of the BSO’s upcoming all-Beethoven concerts, please see page 80 of this pro- gram book or visit bso.org.

Free Chamber Music Concerts Featuring BSO Musicians at Northeastern University’s Fenway Center on St. Stephen Street Once again this season, the BSO in collaboration with Northeastern University is pleased to offer free chamber music concerts by members of the Boston Symphony Orchestra on selected Friday afternoons at 1:30 p.m. at the Fenway Center at Northeastern University, 77 St. Stephen St. (at the corner of St. Stephen and Gainsborough streets). Free general- admission tickets can be reserved by e-mailing [email protected] or by calling (617) 373-4700; on the day of the performance, remaining tickets are available at the door. This season’s remaining Fenway Center concert is scheduled for Friday, March 14, when BSO members Lucia Lin, Tatiana Dimitriades, Kazuko Matsusaka, and Jonathan Miller play music of Beetho- ven and Debussy. These free concerts are made possible in part by a generous grant from the Lowell Institute.

Boston Symphony Chamber Players 50th Anniversary Season Continues, Sunday, April 6, at 3 p.m. at Jordan Hall Founded in 1964, the Boston Symphony Chamber Players perform the final Jordan Hall concert of their 50th Anniversary Season on Sunday afternoon, April 6, at 3 p.m. at the New England Conservatory. The program includes Milhaud’s Suite après Corrette, for oboe, clarinet, and bassoon; Schubert’s Octet in F for winds and strings, D.803; and the Boston premiere of Sebastian Currier’s Parallel Worlds for flute and string quartet, a BSO co- commission. Single tickets are available through SymphonyCharge at (617) 266-1200, at the Symphony Hall box office, or online at bso.org. On the day of the concert, tickets are available only at the Jordan Hall box office, 30 Gainsborough Street.

week 19a bso news 7 8 BSO Community Chamber Concerts The BSO is happy to continue offering free Community Chamber Concerts in locations across Massachusetts during the 2013-14 season. These Sunday-afternoon concerts offer engaging chamber music performances by BSO musicians for communities limited in access to the BSO by either distance or economics; they are designed to build personal connections to the BSO and orchestral music, allowing community members to become more deeply engaged with the BSO. Each program lasts approximately one hour and is followed by a coffee-and-dessert reception for the audience and musicians. On Sunday, March 23, at Lowell High School, and on Sunday, April 6, at the Colonial Theater in Pittsfield, a brass quintet made up of BSO members Benjamin Wright, Michael Martin, Jason Snider, Stephen Lange, and James Markey plays music of Bach, Albinoni, Martin, and Arnold. These concerts are free, but tickets are required and available by calling SymphonyCharge at 1-888-266-1200. The BSO’s free Community Concerts are made possible in part by a generous grant from the Lowell Institute.

BSO 101—The Free Adult Education Series at Symphony Hall BSO 101 continues to offer informative sessions about upcoming BSO programming and behind-the-scenes activities at Symphony Hall. This season’s remaining “Are You Listening?” session is scheduled for Wednesday, April 9, when BSO Director of Program Publications Marc Mandel discusses “Symphonic Stances” in music of Berlioz, Tchaikovsky, Mahler, and Stravinsky, with special guest BSO associate principal bassoon Richard Ranti. These sessions take place from 5:30-6:45 p.m. at Symphony Hall, and each is followed by a reception

BSO Archives Spotlight: A Closer Look Though you’re probably aware of the various display cases of archival material to be found throughout Symphony Hall, the BSO Archives would like to draw your attention to some of the fascinating artifacts that may have escaped your notice. Anticipating this month’s all-Beethoven concerts, the Archives has mounted a display of memorabilia, located in the first-balcony, audience-left corridor, relevant to past BSO performances of the Beethoven concertos, particularly the piano concertos. Among the noted artists of the past who performed Beethoven piano concertos with the orchestra are Adele aus der Ohe, Amy Beach, Ferruccio Busoni, Teresa Carreño, and Ignace Jan Paderewski. In the second half of the 20th century, both Arthur Rubinstein, in the 1960s under Erich Leinsdorf, and Rudolf Serkin, in the 1980s under Seiji Ozawa, recorded all five of the piano concertos. The image shows the cover of Beethoven’s Piano Concerto No. 5, Emperor, as recorded by Seiji Ozawa, Rudolf Serkin, and the BSO for Telarc in January 1981.

week 19a bso news 9 offering beverages and a light meal. Admission to the BSO 101 sessions is free; please note, however, that there is a nominal charge to attend the receptions. To reserve your place for the date or dates you’re planning to attend, please e-mail [email protected] or call (617) 638-9395. For further information, please visit bso.org, where “BSO 101” can be found under the “Education & Community” tab on the home page. individual tickets are on sale for all concerts in the bso’s 2013-2014 season. for specific information on purchasing tickets by phone, online, by mail, or in person at the symphony hall box office, please see page 83 of this program book.

The Virginia Wellington Cabot the 1920s and ’30s. An expert canoeist, she Memorial Concert, and Mr. Cabot also explored virtually all of Thursday, March 6, 2014 New England’s watercourses, resulting in the volume “Quick Water and Smooth,” the first The concert on March 6, 2014, is given in printed guidebook for New England Rivers. memory of Virginia Wellington Cabot of She was also among the first wave of Ameri- Weston, who died on September 15, 1997, at cans who learned the Austrian technique for age 97. An attendee of Friday-afternoon con- downhill skiing from the legendary Hannes certs for more than seventy years, she took Schneider. Later in life, Mrs. Cabot was en- over her mother-in-law’s BSO subscription in gaged in conservation activities in Maine, 1934. In 1992 a gift from the Cabot Family New Hampshire, Colorado, and Honduras. Charitable Trust endowed a Boston Symphony Mrs. Cabot shared her love of music, riding, concert in her name. skiing, sailing, and the outdoors with all of Virginia Cabot was married to the late Thomas her progeny, including her children, grand- D. Cabot for 75 years. The daughter of Louis children, and great-grandchildren. B. Wellington and Louise Lawton Wellington, she loved a broad range of music and often Go Behind the Scenes: accompanied herself on the piano as she The Irving W. and Charlotte F. Rabb sang to her family. Born in Boston in 1899, Mrs. Cabot grew up on Beacon Hill and in Symphony Hall Tours Weston, in an extended family in which her The Irving W. and Charlotte F. Rabb Symphony parents, her aunt and uncle, and her older Hall Tours provide a rare opportunity to go sister all played and sang expertly at the behind the scenes at Symphony Hall. In these piano. She graduated from the Winsor School free, guided tours offered throughout the in 1917. On the Weston farm of her childhood, season by the Boston Symphony Association she nurtured a love for horses. Immediately of Volunteers, experienced volunteer guides after her marriage in 1920, the Cabots moved discuss the history and traditions of the BSO to the heart of rural Appalachia, where she and its world-famous home as they lead would often accompany her husband on participants through public and selected horseback as he inspected the West Virginia “behind-the-scenes” areas of the building. pipelines of his father’s gas company. An Free walk-up tours lasting approximately experienced mountaineer, she made the first one hour take place in March and April at ascent of Mount Magog in the Canadian 4 p.m. on six Wednesdays (March 5, 12, 19; Rockies and later journeyed to the American April 2, 9, 30), at 2 p.m. on three Saturdays Southwest to explore the Superstition Moun- (March 8; April 5, 19), and at 6:45 p.m. after tains of Arizona, the Zion and Bryce Canyons the remaining Wednesday BSO 101 session of Utah, and the Sangre de Cristo range—all (April 9). For more information, please visit virtually uncharted when she hiked them in bso.org/tours. All tours begin in the Massa-

week 19a bso news 11 chusetts Avenue lobby of Symphony Hall. students. For more information, visit www. Special private tours for groups of ten guests concordchambermusic.org or call (978) or more—free for Boston-area elementary 371-9667. schools, high schools, and youth/education BSO acting assistant concertmaster Julianne community groups—can be scheduled in Lee is both violinist and violist for a recital advance (the BSO’s schedule permitting). with pianist Susanne Son on Monday, March Make your individual or group tour reserva- 10, at 8 p.m. at Jordan Hall at the New England tions today by visiting bso.org/tours, by Conservatory of Music. The program includes contacting the BSAV office at (617) 638- music of Schubert, Brahms, Janáˇcek, Fritz 9390, or by e-mailing [email protected]. James Kreisler, and Tchaikovsky. Admission is free. and Melinda Rabb and Betty (Rabb) and Jack Schafer made a gift in memory of their par- ents Irving and Charlotte Rabb as a way to Those Electronic Devices… memorialize their more than sixty years of As the presence of smartphones, tablets, and loyal devotion to the Symphony and their other electronic devices used for communica- passion for introducing Symphony Hall to tion, note-taking, and photography continues the community. to increase, there have also been increased expressions of concern from concertgoers BSO Members in Concert and musicians who find themselves distracted not only by the illuminated screens on these The Boston Civic Symphony Orchestra, led devices, but also by the physical movements by former BSO violinist Max Hobart, presents that accompany their use. For this reason, an all-Beethoven concert on Sunday, March 9, and as a courtesy both to those on stage and at 2 p.m. at NEC’s Jordan Hall. Members of those around you, we respectfully request the Amici Trio— BSO violinist Lucia Lin, that all such electronic devices be turned BSO cellist Owen Young, and pianist Sergey off and kept from view while BSO perform- Schepkin—are the soloists in the Triple ances are in progress. In addition, please Concerto. Also on the program are The Ruins also keep in mind that taking pictures of the of and Symphony No. 8. orchestra—whether photographs or videos— Tickets at $38 (discounted for seniors and is prohibited during concerts. Thank you very students) are available by calling (617) 923- much for your cooperation. 6333 or at bostoncivicsymphony.org. The Concord Chamber Music Society, found- ed by BSO violinist Wendy Putnam, presents Comings and Goings... its fourth program of the season on Sunday, Please note that latecomers will be seated March 9, at 3 p.m. at the Concord Academy by the patron service staff during the first Performing Arts Center, 166 Main Street, convenient pause in the program. In addition, Concord, MA. Joining Ms. Putnam and the please also note that patrons who leave the Concord Chamber Players is pianist Jonathan hall during the performance will not be Biss, for a program including Beethoven’s allowed to reenter until the next convenient Piano Sonata in F, Opus 10, No. 2, Mendels- pause in the program, so as not to disturb the sohn’s E minor string quartet, Opus 44, and performers or other audience members while Schumann’s Piano Quintet in E-flat, Opus 44. the concert is in progress. We thank you for A pre-concert talk begins at 2 p.m. Tickets your cooperation in this matter. are $42 and $33, discounted for seniors and

week 19a bso news 13 on display in symphony hall This season’s BSO Archives exhibit once more displays the wide variety of the Archives’ holdings, which document countless aspects of BSO history—music directors, guest artists, and composers, as well as Symphony Hall’s world-famous acoustics, architectural features, and multi-faceted history. highlights of this year’s exhibit include, on the orchestra level of symphony hall: • a display in the Brooke Corridor celebrating the 50th anniversary this season of the Boston Symphony Chamber Players, with special emphasis on the ensemble’s early international tours to Europe and the Soviet Union in 1967, and to Colombia in 1972 • a display case also in the Brooke Corridor exploring the history of the famed Kneisel Quartet formed in 1885 by then BSO concertmaster Franz Kneisel and three of his BSO colleagues • marking the centennial of ’s birth, a display case in the Huntington Avenue corridor highlighting the American premiere of the composer’s War , given by Erich Leinsdorf and the BSO at Tanglewood in July 1963 exhibits on the first-balcony level of symphony hall include: • anticipating the BSO’s tour next May to China and Japan, a display case in the first- balcony corridor, audience-right, of memorabilia from the BSO’s 1956 concerts marking the first performances in the Soviet Union by a Western orchestra • a display case, also audience-right, on the installation of the Symphony Hall statues in the period following the Hall’s opening • anticipating this season’s complete cycle in March of the Beethoven piano concertos, a display case, audience-left, spotlighting several of the pianists who have performed those works with the BSO • a display case in the Cabot-Cahners Room spotlighting artists and programs presented in Symphony Hall by the Celebrity Series, which celebrates its 75th anniversary this year

TOP OF PAGE, LEFT TO RIGHT: A Celebrity Series flyer for a 1939 Symphony Hall appearance by Kirsten Flagstad Erich Leinsdorf in rehearsal with the BSO and soprano Phyllis Curtin for the American premiere of Britten’s “War Requiem” at Tanglewood (Heinz Weissenstein, Whitestone Photo) Album cover of the Boston Symphony Chamber Players’ 1966 Grammy-winning first commercial recording on RCA

week 19a on display 15 Boston Symphony Orchestra 2013–2014

andris nelsons bernard haitink seiji ozawa thomas wilkins Ray and Maria Stata LaCroix Family Fund Music Director Laureate Germeshausen Youth and Music Director Designate Conductor Emeritus Family Concerts Conductor endowed in perpetuity endowed in perpetuity

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

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

week 19a boston symphony orchestra 17

“Salome” in the fin-de-siècle Imagination by Helen M. Greenwald

Music, imagery, and subject matter align to make Richard Strauss’s “Salome” a powerful example of late-19th- and early-20th-century artistic, social, and psychological sensibilities.

When Salome premiered in in 1905 and in New York in 1907, reaction was deeply polarized. critic called the work “profound,” noting: “Its strong acid bit deep into the consciousness of all who saw and heard it.” Strauss was praised for his originality and vitality, his orchestral palette, and his detailed musical portrait of the astonishing title role. Other composers were among the ’s many champions; Ravel was especially impressed by Strauss’s energy and called the opera “stupendous,” one of the most “outstanding works in European music for the last fifteen years.” Negative were louder, though, reacting viscerally to the combination of a modernistic harmonic vocabulary, enigmatic anti-heroine, and moral ambiguity that was presented on the stage. Words like “horrible,” “disgusting,” and “revolting” were common currency. New York Tribune critic Henry Krehbiel said he was moved to “retch” by the “moral stench with which ‘Salome’ fills the nostrils of humanity.”

But Salome was by no means the first of Richard Strauss’s works to raise critical bile: Don Juan (1888) was “repellent,” Till Eulenspiegel (1894-95) a “musical obscenity” and a “blood-curdling nightmare,” and Zarathustra (1896) “unhealthy.” Given the history and

One of several versions of Gustave Moreau's "L'Apparition" (1876-77), an inspiration for Oscar Wilde's play "Salomé" (Fogg Museum, Harvard University)

week 19a “salome” in the fin-de-siècle imagination 19 chronology of such responses to his music, it seems likely that Strauss actually welcomed them. He had had from the very earliest stages of his career an interest in nonconformists (Don Juan and Eulenspiegel, for example), whom he imagined musically as noble, disso- nant, outsized, and often highly physical. Moreover, as is widely understood, Strauss’s mavericks were also extensions of himself, a “character” he repeatedly re-scripted musi- cally, as a Swiftian defender of ideas in (1898) or a true-hearted naïf in Don Quixote (1898). After all, who was Strauss if not the loving husband and father of the happy next installment of his musical autobiography, the Sinfonia domestica (1904), the calm before the storm of Salome.

Strauss’s first opera, Guntram (1893), was, essentially, a failure, but he tried again with (The Need for Fire, 1900-01), a “sung poem” in which fire is a metaphor for sexual heat. The public was shocked; W.J. Henderson in the New York Times said it was “unclean.” By this time Strauss surely equated scandal with success, and soon found

20 An 1883 photograph of Oscar Wilde (1854-1900) by Napoleon Sarony

another provocative subject in Hedwig Lachmann’s German translation of Oscar Wilde’s play Salomé (1893, in French). The play had also spurred profound indignation, and not least because its author, by the time of its premiere (1896), was in prison, convicted of “indecency.” Here, then, was a subject like no other: a dangerously seductive character, explored dramatically by an “immoral” author. Strauss attended a performance of the play produced by Max Reinhardt in , and soon began work on it, noting that “it was not difficult to purge the piece of purple passages to such an extent that it became quite a good .” Obviously, Strauss left in enough of the sensational to reap the critical reaction he seemed to want. The opera was banned in London until 1907 and until 1918, but resistance soon dissolved; it became and remains a standard repertory piece in opera houses throughout the world, as audiences continue to be fascinated by Strauss’s dreadfully beautiful score.

At the center of it all is the spellbinding Salome. Oscar Wilde had originally intended the role for the great Sarah Bernhardt, whose gifts as an extroverted actress fit well the character of Herod’s sexually precocious stepdaughter. Strauss also had a very clear, but rather different, vision about the casting of Salome, imagining her as “a sixteen-year-old princess with the voice of an Isolde.” But that ideal was more fantasy than reality. The challenges are many for who attempt the role: how is it possible to appear mysteriously ingenuous, while projecting bold sexuality and competing with a huge orchestra? And what about the sheer physicality of it? Every Salome must dance and make love to a severed head on a platter. Each singer has coped with the role in her own way, but one anecdote is worth retelling: the great Wagnerian, , who sang the title role at the 1907 premiere, reportedly prepared for her per- formance by visiting a morgue to learn how she might respond dramatically to the weight of a head.

An important way to understand Salome, the teenage “innocent,” is as one of a long line

week 19a “salome” in the fin-de-siècle imagination 21

An 1890 photograph by Napoleon Sarony of Sarah Bernhardt (1844-1923), for whom Wilde originally intended the role of Salome in his play

of temptresses who not only seduced men, but destroyed them. John Keats called the type a “belle dame sans merci,” and Mario Praz, in his classic study, The Romantic Agony, deemed her an “exotic,” a “femme fatale” who could paralyze men with a glance (Medusa), magical powers (Circe), or a song (Sirens). She is a creature of the night, almost always a virgin, and a worshipper of the moon, a not so subtle analogy for a disembodied head. Wilde injected his Salome with a massive dose of moonlight, and an account of Sarah Bernhardt’s reaction to a first reading of the play reveals just how powerful it was. According to Wilde biographer Richard Ellman, “As soon as she read Salome, [Bernhardt] decided to play the title role, though, as she told an interviewer, Wilde had said the lead- ing part was that of the moon.”

Strauss retained much of Wilde’s imagery in his libretto. The opera begins as Herodias’s page remarks on the moon’s unusual countenance: “See, the moon has risen, she looks strangely eerie, she's like a woman who rises from the grave.” Salome herself identifies the moon as a virgin goddess, unattainable: “How lovely just to watch the moon. She hovers like a huge silvery blossom, cool and chaste. She has the beauty of a virgin forever undefiled.” Later she compares Jochanaan to the moon: “How pale and wan he looks!... I’m sure he is chaste like the moon.” The moon imagery becomes more vivid and more dangerous, as Jochanaan, speaking from the cistern, forecasts violence: “The day is near, the sun shall then be veiled in darkness like a somber shroud. And the moon shall seem as of blood.”

What kind of music speaks for such potent text? Keeping in mind Strauss’s success with the genre of the one-movement tone poem, we may view the single act of Salome as a related form with the addition of words and singers (and of course, in the , sets and costumes). The sound world of Salome is a largely dissonant one, relieved by moments of shimmering beauty, often used for ironic effect. Strauss’s orchestra is enormous, seemingly out of proportion to a relatively short work with a small cast, but

week 19a “salome” in the fin-de-siècle imagination 23 we can understand this armory as a necessary manifestation of the opera’s dramatic extremes. An equal partner in these forces is the voice, which Strauss treats as another instrument, setting the vocal lines in a syllabic declamatory style and weaving them in and through the orchestra. The main characters rarely, if ever, sing together, allowing the words to cut through the often thick scoring. Despite such challenges, Strauss adeptly foregrounds his most important musical themes, especially the flourish heard in the opening moments of the opera in the clarinets as they accompany Narraboth’s expres- sion of love and desire for Salome. The same motive, in modified form, will later define some of the most shocking moments of the opera.

It is possible to look to Wagner as a source for many of the compositional approaches to harmony, form, motive, and orchestration that Strauss used in Salome. Strauss under- went a “conversion” to Wagner’s “Music of the Future” around 1883, when he assisted Hans von Bülow in Meiningen. One clear reference to Wagner in Salome is Strauss’s juxtaposition of Jochanaan’s diatonicism and Salome’s chromaticism, a ploy that seems

24 tapped from Tannhäuser, where the title character is torn between the chromatic world of Venus (lust) and the diatonic world of Elisabeth (love). Franz Liszt, Wagner’s father- in-law, was another profound influence, whose innovations not only reinforced Strauss’s growing modernistic harmonic vocabulary, but also provided a working motto for the young composer: “New ideas must seek new forms.”

Strauss, having been raised on a diet of Haydn, Mozart, and Beethoven, found these con- cepts to be revelatory, and realized them most vividly in his libretto for Salome. In his compression and musical setting of Wilde’s play, Strauss produced an example of so- called Literaturoper, an experimental form of the late 19th and early 20th centuries in which composers set pre-existing texts directly without reprocessing them into the verses that supported the and ensembles of more conventional . (Other examples of Literaturoper include Debussy’s Pélleas et Mélisande, based on a play by , and Strauss’s , which playwright and librettist Hugo von Hoffmansthal adapted from his own drama of the same name.) In Salome Strauss created verbal symmetry in the many phrases and images that repeat throughout the text, treat- ing reiterated words thematically (as in the case of the moon), and finding many oppor- tunities for word painting. For example, he underscored Herod’s remarks about the sound of the wind mimicking the “beating of wings” with accelerating chromatic scales in the winds and muted strings.

But there are many extended passages in Salome that defer wordlessly to the orchestra and physical gesture, including the extraordinary “Dance of the Seven Veils.” The title generates from various mythologies, including the biblical story of Salome and the pagan myth of Ishtar, the fertility goddess, who desires entry through the seven gates of the underworld. To be admitted, she must shed clothing (e.g., veils) at each stage until she is naked. In the opera, Salome’s objective is to inflame Herod to a degree that he will grant her any wish. The music pounds relentlessly until Salome is exhausted and bared, both physically and psychologically. And what does she want? The head of Jochanaan on a silver platter, a wish she declares with ironic—and diatonic—simplicity on a descending E major arpeggio. When the head is delivered, Salome sings an extended ode to it, a cor- rupt Liebestod. It is one of the most spine-chilling moments in the score as Salome hisses in a slithery whisper: “Ah, ich habe deinen Mund geküsst, Jochanaan” (“I have kissed your mouth, Jochanaan”). Flute and oboes hark back to the motif first heard in the opera’s opening measures, now elongated. It is also the gesture that ends the opera in a unison and fortissimo declaration, its final notes truncated, like a severed head.

Helen M. Greenwald helen m. greenwald has taught at the New England Conservatory since 1991. The author of numerous articles on 18th- 19th-, and 20th-century vocal music, she is co-editor of the critical edition of Rossini’s “Zelmira” and editor of the critical edition of Verdi’s “Attila,” which was premiered in 2010 by the conductor Riccardo Muti in his Metropolitan Opera debut. Her latest project is “The Oxford Handbook of Opera,” forthcoming this year from .

week 19a “salome” in the fin-de-siècle imagination 25 andris nelsons, ray and maria stata music director designate bernard haitink, lacroix family fund conductor emeritus seiji ozawa, music director laureate Boston Symphony Orchestra 133rd season, 2013–2014

Thursday, March 6, 8pm | the virginia wellington cabot memorial concert

andris nelsons gun-brit barkmin, soprano (salome) jane henschel, mezzo-soprano (herodias) gerhard siegel, (herod) evgeny nikitin, baritone (jochanaan) carlos osuna, tenor (narraboth) renée tatum, mezzo-soprano (page) david cangelosi, tenor (first jew) alex richardson, tenor (second jew) dominic armstrong, tenor (third jew) jason ferrante, tenor (fourth jew) walter fink, bass (fifth jew) nathan stark, bass (first nazarene) michael meraw, baritone (second nazarene) keith miller, bass-baritone (first soldier) ryan speedo green, bass-baritone (second soldier) robert honeysucker, baritone (a cappadocian) abigail fischer, mezzo-soprano (a slave)

strauss “salome,” opera in one act, opus 54 libretto from hedwig lachmann’s german translation of oscar wilde’s play

Salome demanding the head of John the Baptist, from the original 1905 Dresden production with Marie Wittich as Salome, Carl Burian as Herod, and (seated at left) Irene von Chavonne as Herodias

26 Characters in order of singing: Narraboth, a young Syrian, captain of the guard ...... CARLOS OSUNA, tenor PageofHerodias ...... RENÉE TATUM, mezzo-soprano FirstSoldier ...... KEITH MILLER, bass-baritone SecondSoldier...... RYAN SPEEDO GREEN, bass-baritone Jochanaan,theProphet ...... EVGENY NIKITIN, baritone A Cappadocian ...... ROBERT HONEYSUCKER, baritone Salome, daughter of Herodias ...... GUN-BRIT BARKMAN, soprano ASlave ...... ABIGAIL FISCHER, mezzo-soprano Herod Antipas, Tetrarch of Judaea ...... GERHARD SIEGEL, tenor Herodias, wife of the Tetrarch ...... JANE HENSCHEL, mezzo-soprano FirstJew...... DAVID CANGELOSI, tenor SecondJew ...... ALEX RICHARDSON, tenor ThirdJew ...... DOMINIC ARMSTRONG, tenor FourthJew ...... JASON FERRANTE, tenor FifthJew...... WALTER FINK, bass FirstNazarene ...... NATHAN STARK, bass SecondNazarene ...... MICHAEL MERAW, baritone

Setting: A moonlit terrace outside the banquet hall of Herod’s palace

Dan Saunders, rehearsal pianist

Please note that there is no intermission in this concert. See page 28 (“The Program in Brief”) for a concise summary of the plot.

Supertitles for “Salome” by Christopher Bergen SuperTitle System courtesy of DIGITAL TECH SERVICES, LLC, Portsmouth, VA Casey Smith, supertitles technician Melissa Wegner, supertitles caller

tonight’s guest artist appearances are supported by the alan j. and suzanne w. dworsky fund for voice and chorus. bank of america and emc corporation are proud to sponsor the bso’s 2013-2014 season.

Tonight’s concert will end about 10. Concertmaster Malcolm Lowe performs on a Stradivarius violin, known as the “Lafont,” generously donated to the Boston Symphony Orchestra by the O’Block Family. Steinway and Sons Pianos, selected exclusively for Symphony Hall. Special thanks to The Fairmont Copley Plaza and Fairmont Hotels & Resorts, and Commonwealth Worldwide Chauffeured Transportation. In consideration of the performers and those around you, please turn off all electronic devices during the concert, including tablets, cellular phones, pagers, watch alarms, and texting devices of any kind. Thank you for your cooperation. Please note that taking pictures of the orchestra—whether photographs or videos—is prohibited during concerts.

week 19a program 27 The Program in Brief...

The story of Salome originates from the Biblical account, in the Gospels of Mark and Matthew, in which Salome, the daughter of Herodias, demands, at her mother’s instigation, the head of John the Baptist from her stepfather Herod, in return for dancing for him. In Strauss’s opera, John the Baptist, imprisoned in an underground cell by Herod, rejects Salome’s attempts to seduce him. Narraboth, the young captain of the guard, himself infatuated with the teenaged princess, kills himself, horrified by the encounter between Salome and the prophet. Herod, likewise infatuated with Salome, entices her to dance for him by offering her whatever she might want by way of reward. After performing her “Dance of the Seven Veils” for Herod, Salome insistently demands John the Baptist’s head. Herod, appalled by Salome’s deviant interaction with the severed head, orders her to be killed.

Strauss created the libretto for Salome himself, by compressing a German translation of Oscar Wilde’s sensational French-language play, Salomé. The opera was premiered in Dresden in 1905 but banned in London until 1907 and Vienna until 1918. It had its Ameri- can premiere in 1907 at the Metropolitan Opera, where it was banned from the stage following a single performance (it was not seen there again until 1934). Critical reaction was polarized; those in favor saw in the new work a path to modernism, while others, shocked by its perversity, called it “horrible” and “repellent.”

The perverse subject fits into the fin-de-siècle fascination with the “femme fatale” as well as evolving interest in psychoses, dreams, decay, and fear. Many composers and artists reacted deeply to these cultural phenomena, notably Strauss, but also Schoenberg in Pierrot Lunaire (1912), which, like Salome, has a decadent text filled with moon imagery.

For Salome, Strauss employed an enormous orchestra of the kind customarily used for lengthier works involving large casts of characters, epic stories, and spectacular stage opportunities, including processions, church scenes, and battles. But Salome contains none of those things. Strauss uses the large orchestra to comment on the extreme emotional and psychological content of the situation, expressing horror by way of disso- nance, sudden splashes of color, word painting, and dance, and creating, in the view of many commentators, a giant orchestral tone poem with voices.

Viewed in the context of Strauss’s other works and the critical reaction to them, Salome reveals much of Strauss’s originality, forward-looking musical vocabulary, ongoing inter- est in shocking the public, and debt to . Salome was far more daring in its subject matter and musical execution than earlier attempts at modernism. Strauss’s next opera, Elektra, followed a similar path, outdoing even Wagner in setting the tone for the “Music of the Future.” However, Strauss never found a means to continue this particular direction. Though his later , starting with , continued to captivate the public, they did so for quite different reasons.

Helen M. Greenwald and Marc Mandel

28 Richard Strauss “Salome,” Opera in one act, Opus 54

RICHARD GEORG STRAUSS was born in , Germany, on June 11, 1864, and died in Garmisch-Partenkirchen, Bavaria, on September 8, 1949. He composed “Salome” from 1903 to 1905, to a libretto he derived from Oscar Wilde’s play of the same name, in the German transla- tion of Hedwig Lachmann. Though the last page of the score is dated June 20, 1905, Strauss did not compose the music for Salome’s dance until that August. The premiere took place at the Dresden Court Opera on December 9, 1905; conducted, with Marie Wittich as Salome, Karel (Carl) Burrian as Herod, Irene von Chavonne as Herodias, Karl Perron as Jochanaan, and Rudolf Ferdinand Jäger as Narraboth.

THE PRINCIPAL CHARACTERS are Salome (soprano), Herodias (mezzo-soprano), Herod (tenor), Jochanaan (baritone), and Narraboth (tenor). The other characters include Herodias’s page, five Jews, two Nazarenes, two soldiers, a Cappadocian, and a slave.

THE ORCHESTRA FOR “SALOME” calls for three flutes and piccolo; two oboes, English horn, and heckelphone; two clarinets each in A and B-flat, E-flat clarinet, and bass clarinet; three bassoons and contrabassoon; six horns, four trumpets, four trombones, bass tuba, four timpani (one player), one small kettledrum (one player), gong, cymbals, bass drum, snare drum, tambourine, triangle, xylophone, castanets, glockenspiel, two harps, celesta, offstage harmonium or organ, sixteen first violins, sixteen second violins, ten to twelve violas, ten cellos, and eight double basses.

The story of the death of John the Baptist is told in two almost identical versions in the Gospels of Matthew and Mark: For Herod himself had sent forth and laid hold upon John, and bound him in prison for Herodias’ sake, his brother Philip’s wife: for he had married her. For John had said unto Herod, It is not lawful for thee to have thy brother’s wife. Therefore Herodias had a quarrel against him, and would have killed him; but she could not: For Herod feared John, knowing that he was a just man and an holy, and observed him; and when he heard him, he did many things, and heard him gladly. And when a convenient day was come, that Herod on his birthday made a supper to his lords, high captains, and chief

week 19a program notes 29 estates of Galilee; and when the daughter of the said Herodias came in, and danced, and pleased Herod and them that sat with him, the king said unto the damsel, Ask of me whatsoever thou wilt, and I will give it thee. And he sware unto her, Whatsoever thou shalt ask of me, I will give it thee, unto the half of my kingdom. And she went forth, and said unto her mother, What shall I ask? And she said, The head of John the Baptist. And she came in straightway with haste unto the king, and asked, saying, I will that thou give me by and by in a charger the head of John the Baptist. And the king was exceeding sorry; yet for his oath’s sake, and for their sakes which sat with him, he would not reject her. And immediately the king sent an executioner, and com- manded his head to be brought: and he went and beheaded him in the prison, and brought his head in a charger, and gave it to the damsel: and the damsel gave it to her mother. (Mark 6:17-28, King James Bible) It should be noted in particular that in this, the earliest version of the story, it is Herodias who drives the action; the daughter, whom we know as Salome, is not even given a name.

The death of John the Baptist has long been a subject for painters, at least from the time of Dürer and Leonardo; and it was a painting that led to the creation of the drama on which Strauss’s opera is based. Already during his Oxford days Oscar Wilde had discov- ered, through the agency of his mentor, the art critic Walter Pater, Flaubert’s story Hérodias, which was inspired by two paintings by Gustav Moreau. Wilde drew from Flaubert’s story extensively in his own work, though his plot is almost the opposite of Flaubert’s, for Wilde makes Salome herself the moving spirit of the action.

30 Illustration by Aubrey Beardsley from Lord Alfred Douglas's translation, the first in English, of Oscar Wilde's "Salomé"

Wilde read widely on the subject of John the Baptist and looked at all the relevant paint- ings he could find, including those by Rubens, Leonardo, Dürer, and Ghirlandaio. The only treatments that satisfied him were the two by Moreau, first exhibited in the 1876 Salon. In the first, Salomé, the girl prepares to dance before Herod; the second, L’Apparition (reproduced on page 19), depicting the climax of the story, made Moreau’s reputation. The exotic, almost phosphorescent ripeness of the first painting, the mysterious hieratic attitude of the dancing girl who will so powerfully arouse Herod’s passion—these attracted wide attention. Soon after, Flaubert would write his short story and Massenet an opera on Herodias, and J.K. Huysmans described Moreau’s Salomé in an extended passage of perfervid prose in his most famous novel, À Rebours (Against the Grain, 1884).

Since the attention given at this time to the story of Salome, Herod, Herodias, and John the Baptist was essentially a Parisian phenomenon, Wilde wrote his play in a poetic French prose (he was almost completely bilingual). At first the play flopped in , and a precious, consciously old-fashioned English translation by Lord Alfred Douglas was banned by the Lord Chamberlain’s office, since it represented Biblical characters on stage. (Saint-Saëns’s Samson et Dalila, extremely mild by comparison with Strauss’s work, was likewise forbidden.) In 1901 a German translation by Hedwig Lachmann was a tremendous success at Max Reinhardt’s theater in Berlin. Upon seeing this version, Strauss immediately recognized its operatic potential. After briefly considering a verse libretto, he decided instead to set the translation of the original prose (with cuts).

The language of the play—largely retained in the opera—corresponds to a certain extent to that of Maeterlinck, whose dramas are filled with a kind of poetic simplicity, a childish prattle that seems to go nowhere and consist largely of non sequitur. (The most familiar example for music lovers is the libretto to Debussy’s Pelléas et Mélisande.) Wilde’s Salome employs simple sentences spoken by characters who do not always seem to be addressing

week 19a program notes 31

Hildegard Behrens as Salome and Jorma Hynninen as Jochanaan in the BSO's April 1991 concert staging of "Salome" under Seiji Ozawa (Photo copyright Lincoln Russell. All rights reserved.)

one another so much as speaking past one another. This simplicity of surface conceals a cunningly contrived pattern of literary motifs that recur time and again.

Wilde’s play definitively shaped certain aspects of the story. His Herodias hates Jochanaan as much as any earlier Herodias, but she takes no overt action to cause his execution. Far from persuading her daughter to rouse Herod’s passions with a dance, she is opposed to the entire idea from the first, quite naturally upset at the interest her husband is taking in her daughter by an earlier marriage. Only when Salome herself requests, as her reward, the head of Jochanaan, does Herodias enthusiastically praise her wise choice. In Wilde’s version, Salome becomes a fascinating and ambiguous figure, still young and chaste, completely inexperienced in any aspect of love, yet at the same time cruel and utterly depraved.

The score took Strauss two years to complete. The exotic subject stimulated him to experiment with harmony and orchestral color, with heightened intensity and emotional force. When Strauss played part of the score for his father, a famous horn player and a notoriously conservative musician, the poor man could only remark, “Oh God, what nervous music. It is exactly as if one had one’s trousers full of maybugs.”

The first performances of the opera at Dresden were an enormous success, but it faced censorship troubles almost everywhere. A single performance at the Metropolitan Opera shocked so many influential people that it was not heard again there for a quarter-century. Still, the opera has long been considered one of the composer’s finest achievements, a great theatrical tone poem, symphonic in its construction, with a richly worked tapestry of thematic ideas that grow and develop along with the plot.

The technique is basically Wagnerian—weaving together a constantly developing series of thematic ideas into an elaborate and flexible symphonic web. Strauss’s treatment of the orchestra is inventive from beginning to end, continually creating new combinations and sonorities to fit the changing moods and emotional states of the scenes through tim-

week 19a program notes 33

Playbill for the world premiere of Strauss's "Salome" on December 9, 1905, in Dresden

bre and harmony. As in the work of Wagner, thematic ideas come to symbolize or recall characters, ideas, and objects; as they appear in the story and take part in its develop- ment, the themes connected with them develop, vary, and intertwine. Some themes offer “types”—such as the bold assertions of Jochanaan, delivered from the crypt in which he is imprisoned. These descend from a long tradition of operatic prophets. Others suggest psychological states—Herod’s timorousness, Herodias’s unquenchable hatred, Salome’s simple infatuation growing to a mania—often first hinted at, but growing to extremes of harmonic complexity, textural intricacy, or melodic elaboration.

Salome’s “Dance of the Seven Veils” was the last music that Strauss composed for the opera, and was clearly intended by him to be performable as a separate piece (it is marked with letters, rather than the rehearsal numbers used elsewhere in the score, so it can be extracted as a separate piece). In fact, Strauss signed and dated the finished score two months before he composed the dance. When the opera was nearly finished, he played and sang the score for and the latter’s wife Alma. But when he got to the dance, Strauss simply muttered, “Haven’t got that done yet.” Mahler consid- ered it a serious risk to put off composing such an important part of the score and then trying to recapture the proper mood, but Strauss was confident he would be able to do it.

Despite the view of some critics that Salome’s dance is the weakest music of the opera, and the least integrated part of the score, it is, nonetheless, a wonderfully sensuous pot- pourri of the main themes of the opera, opening with new themes found only here to

week 19a program notes 35 give it a barbaric local color, but continuing with various seductive ideas, including a slow waltz that culminates in a brilliant presto section ending in a wild version of the theme of Salome’s lust for Jochanaan. Once Salome holds in her hands the silver charger bearing the head of Jochanaan, Strauss’s music erupts in a scene of tremendous emotional release. Salome’s moods range from fervor to mystery as she ponders the nature of love in a singularly morbid way. Her love song to Jochanaan from earlier in the opera now reappears, resolving into nostalgia and a chill consideration of the mysterious relationship between love and death.

Having built his score to the climactic moment, the height of Salome’s weird ecstasy, Strauss ends it with astonishing speed in a brutal anticlimax. Salome fondles Jochanaan’s detached head and Herod, in revulsion, orders all the lights put out. The sudden reap- pearance of the moon—a constant yet ever-changing presence throughout the opera— illumines the scene as Herod gives the order: “Kill that woman.”

Steven Ledbetter steven ledbetter was program annotator of the Boston Symphony Orchestra from 1979 to 1998 and now writes program notes for orchestras and other ensembles throughout the country.

THEAMERICANPREMIEREOF“SALOME” took place at the Metropolitan Opera in New York on January 22, 1907; Alfred Hertz conducted, with Olive Fremstad as Salome (Bianca Froehlich from the Met’s ballet corps performed Salome’s dance in her place), Carl Burrian as Herod, Marion Weed as Herodias, Anton Van Rooy as Jochanaan, and Andreas Dippel as Narraboth. Though three further performances had been scheduled for the following weeks, they were cancelled when “Salome” was banned from the Met stage following the premiere, and the opera was not performed there again until January 1934.

THEBOSTONSYMPHONYORCHESTRAHASGIVENCOMPLETEPERFORMANCESOF “SALOME” on two previous occasions, both with Seiji Ozawa conducting: in an April 1991 concert staging with (Salome), Mignon Dunn (Herodias), Ragnar Ulfung (Herod), Jorma Hynninen (Jochanaan), and Vinson Cole (Narraboth) in the lead roles; and in a at Tanglewood on August 4, 2001, with Deborah Voigt (Salome), Jane Henschel (Herodias), (Herod), Albert Dohmen (Jochanaan), and Christopher Ventris (Narraboth).

THEFIRSTBSOPERFORMANCESOFTHE“DANCEOFTHESEVENVEILS” were in April 1912 with Max Fiedler conducting; the most recent was given by Seiji Ozawa in the Opening Night con- cert of the 1995-96 subscription season. The other conductors who have led Salome’s dance as a concert excerpt with the BSO were Pierre Monteux, Serge Koussevitzky, Richard Burgin, , Erich Leinsdorf, and William Steinberg.

THEFIRSTBSOPERFORMANCEOFTHEFINALSCENE took place at Tanglewood on August 13, 1954, as part of Tanglewood on Parade; Thomas Schippers conducted, with soloist Brenda Lewis. The BSO’s most recent performances of the final scene were in November 2004; con- ducted, with soloist . The final scene has also been sung as a concert excerpt with the BSO by sopranos (with Erich Leinsdorf in March 1965, and with Seiji Ozawa at Tanglewood in July 1983), Phyllis Curtin (with Gunther Schuller at Tanglewood in August 1974), Hildegard Behrens (with Ozawa in Boston and New York in April 1983), and Jessye Norman (with Ozawa at Tanglewood in August 1987, and again with Ozawa in the Opening Night concert of the 1995-96 subscription season).

week 19a program notes 37 To Read and Hear More...

Standard life-and-works books on Strauss include Norman Del Mar’s three-volume Richard Strauss (Cornell University paperback); Michael Kennedy’s Richard Strauss (Oxford paperback) and Richard Strauss: Man, Musician, Enigma (Cambridge University Press); and Bryan Gilliam’s The Life of Richard Strauss, in the series “Musical Lives” (Cambridge paperback). Tim Ashley’s Richard Strauss is in the impressively illustrated series “20th-Century Composers” (Phaidon paperback). Charles Osborne’s The Complete Operas of Richard Strauss provides a first-rate introduction to all of Strauss’s operas (Da Capo paperback). Richard Strauss’s ‘Salome’ by Derrick Puffett, in the Cambridge Opera Handbook series, offers chapters on the literary tradition of the “femme fatale,” back- ground on Wilde’s play, the genesis of Strauss’s libretto, musical analysis, and critical reception; appendices include Strauss’s scenario for the “Dance of the Seven Veils” and an excerpt from Luigi Dallapiccola’s diary, essentially the composer’s “blog” on his

38 experience at a 1930 performance of the opera directed by composer (Cambridge). Also very useful is the Guide, Richard Strauss: ‘Salome’ and ‘Elektra,’ which includes German and English and thematic guides for both operas, as well as several short essays (John Calder and Riverrun Press). One of the first English-language “guides” to Salome was Strauss’s ‘Salome’ by Lawrence Gilman, published in the year of the opera’s London premiere (London, 1907). Gary Schmidgall’s classic Literature as Opera contains a chapter on Salome that focuses on English decadence (Oxford). Lawrence Kramer’s Opera and Modern Culture: Wagner and Strauss explores Salome as a cultural artifact and discusses various performances on video (California).

The role of Salome has attracted many great sopranos, resulting in an “A-list” of record- ings. Notable proponents of the title role on CD include with and the (Decca), Hildegard Behrens with and the Vienna Philharmonic (EMI), Leonie Rysanek with Karl Böhm conducting a live performance (RCA), Cheryl Studer with and the Orchestra of (Deutsche Grammophon), Jessye Norman with Seiji Ozawa and the Dresden Staatskapelle (Philips), with Christoph von Dohnányi and the Vienna Philharmonic (Decca), and Montserrat Caballé with Erich Leinsdorf and the London Symphony Orchestra (Sony; originally RCA). Performances on video include Karita Mattila with Patrick Summers conducting a Metropolitan Opera production (Sony), Teresa Stratas in a filmed performance with Karl Böhm conducting the Vienna Philharmonic (Deutsche Grammophon), and three performances originating from London’s Royal Opera: Maria Ewing with Edward Downes conducting (Kultur Video), Nadja Michael with conducting (Opus Arte), and Catherine Malfitano with Christoph von Dohnányi conducting (Decca). The Boston Symphony Orchestra recorded the final scene of Salome with Leontyne Price under Erich Leinsdorf’s direction in 1965 (RCA). The German soprano made a justifiably still-famous recording of the final scene in the mid-1950s with Fritz Reiner and the Chicago Symphony Orchestra (also RCA). More recently, Deborah Voigt recorded the final scene with Richard Armstrong conducting the Bavarian Radio Symphony Orchestra (EMI). The leg- endary Salome of the great Bulgarian soprano Ljuba Welitsch is preserved in a powerful Metropolitan Opera broadcast, also with Reiner conducting, from 1949 (Guild; preferable to the 1952 Met broadcast with the same soprano and conductor). Welitsch can also be heard in an equally powerful live recording of the final scene from a 1944 Vienna per- formance led by Lovro von Mataˇci´c (various labels).

Helen M. Greenwald and Marc Mandel

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Artists

Andris Nelsons Andris Nelsons made his first appearances as the BSO’s Ray and Maria Stata Music Director Designate this past October, with a subscription program of Wagner, Mozart, and Brahms. He will become the BSO’s fifteenth music director starting with the 2014-15 season, during which he will lead the orchestra in ten programs, including a special inaugural concert, at Symphony Hall, repeating three of them in New York’s Carnegie Hall. Mr. Nelsons made his Boston Symphony debut in March 2011, conducting Mahler’s Symphony No. 9 at Carnegie Hall in place of James Levine, whom he succeeds as music director. He made his Tanglewood debut in summer 2012, conducting both the Boston Symphony Orchestra and the Tanglewood Music Center Orchestra as part of Tanglewood’s 75th Anniversary Gala (subsequently issued on DVD and Blu-ray), fol- lowing that the next day with a BSO program of Stravinsky and Brahms. His Symphony Hall and BSO subscription series debut followed in January 2013, and this coming summer at Tanglewood he leads three BSO concerts in July, as well as a special Tanglewood Gala featur- ing both the BSO and the TMC Orchestra. Nelsons’ new appointment affirms his reputation as one of the most sought-after conductors on the international scene today, acclaimed for his work in both concert and opera with such distinguished institutions as the , Vienna Philharmonic, the Royal Concertgebouw Orchestra of Amsterdam, the Gewandhaus Orchestra of , the Bavarian Radio Symphony, Philharmonia Orchestra, Vienna State Opera, Metropolitan Opera, , and House–Covent Garden. This coming summer he conducts two Brahms concerts at the Lucerne Festival that were planned and originally to have been led by the late Claudio Abbado. In summer 2013 he returned to the Bayreuth Festival for , in a production directed by Hans Neuenfels, which Mr. Nelsons premiered at Bayreuth in 2010. Mr. Nelsons’ tenure since 2008 as music director of the City of Birmingham Symphony Orchestra has garnered critical acclaim. With the CBSO he undertakes major tours worldwide, including a tour this past November to Japan and the Far East, as well as regular appearances at such summer festivals as the Lucerne Festival, BBC Proms, and Berliner Festspiele, as well as an ongoing project to record the com- plete orchestral works of Tchaikovsky and Richard Strauss for Orfeo International. The first Strauss disc, featuring Ein Heldenleben, garnered critical praise. The majority of Mr. Nelsons’ recordings have been recognized with a Preis der Deutschen Schallplattenkritik; in October 2011 he received the prestigious ECHO Klassik of the German Phono Academy in the category “Conductor of the Year” for his 2010 recording with the CBSO of Stravinsky’s Firebird and Symphony of Psalms. For audiovisual recordings, he has an exclusive agreement with Unitel GmbH, the most recent release, released on DVD and Blu-ray in June 2013, being a disc entitled “From The New World” with the Bavarian Radio Symphony. He is also the subject of a recent DVD from Orfeo, a documentary film entitled “Andris Nelsons: Genius on Fire.” Born in Riga in

week 19a artists 41 1978 into a family of musicians, Andris Nelsons began his career as a trumpeter in the Latvian National Opera Orchestra before studying conducting. Prior to his position as the CBSO’s music director, he served as principal conductor of the Nordwestdeutsche Philharmonie in Herford, Germany from 2006 to 2009, and was music director of the Latvian National Opera from 2003 to 2007.

Gun-Brit Barkmin (Salome) Making her Boston Symphony debut with this performance, German soprano Gun-Brit Barkmin has created thrilling character portraits in operas by Janáˇcek, Britten, Berg, Wagner, and Richard Strauss. Her 2013-14 season includes Lady in a new David Hermann production of Verdi’s Macbeth at the Aalto Theatre in Essen under Tomáš Netopil, her Vienna State Opera debut singing Ellen Orford in Britten’s , followed by the title role in Strauss’s Salome under Andris Nelsons, and her role debut as Sieglinde in Wagner’s Die Walküre under . She also returns to Leipzig Opera as Chrysothemis in Strauss’s Elektra. Ms. Barkmin makes her Carnegie Hall debut with Andris Nelsons and the Vienna State Opera singing the title role in a concert perform- ance of Salome, subsequently repeating the role with the BSO. Also this season she sings Janáˇcek’s Glagolitic Mass with London’s Philharmonia Orchestra under Jakub Hruša.˚ Highlights of 2012-13 included her role debut as the /Ariadne in Richard Strauss’s with Leipzig Opera, the title role in Salome conducted by Peter Schneider with the Vienna State Opera on tour in Japan, her role debut as Katerina Izmailova in a new production of Shostakovich’s Lady Macbeth of Mtsensk at Zurich Opera conducted by Teodor Currentzis and directed by Andreas Homoki, and her much anticipated debut at the

42 singing Guinevere in a new production of Harrison Birtwistle’s Gawain con- ducted by Ingo Metzmacher and directed by Alvis Hermanis. On the concert stage she could be heard with Orquestra Petrobras Sinfônica in Rio de Janeiro singing Wagner’s Wesendonck- Lieder and the Liebestod from und Isolde. Ms. Barkmin has also appeared with Lyon Opera, Canadian Opera, Leipzig Opera, Deutsche Oper am Rhein, , and Welsh National Opera; with the at the Festspiele in Bregenz; and at Teatro delle Muse, the Edinburgh International Festival, New Zealand International Festival of Arts, the Peralada Festival in Spain, and the National Theatre in Prague. Ms. Barkmin joined the ensem- ble of the in 2000 and has been a regular guest there ever since, in such roles as Marie in , Alice Ford in Verdi’s Falstaff, Sylva Varescu in Kálmán’s Die Csárdásfürstin, Rosalinde in Johann Strauss’s , Mimì in La bohème, Ghita in Zemlinsky’s Der Zwerg, and Amelia in Reimann’s . As a concert soloist, she sang Emilia Marty in Janáˇcek’s The Makropulos Case in concert with Orquestra Petrobras Sinfônica at the Teatro Municipal in Rio de Janeiro, and concert performances of Wagner’s Wesendonck-Lieder and the Liebestod from with the Nordwestdeutsche Philharmonie conducted by Andris Nelsons. She was featured in Mahler’s Fourth Symphony with the Dresden Staatskapelle and in Schoenberg’s Gurrelieder at the International Festival in Nagoya, Japan. She also performed Shostakovich’s Blok Romances with the Zürich Piano Trio and selections from Beethoven’s Scottish songs in recital with the SWR Orchestra in Baden- Baden. Gun-Brit Barkmin makes her home in Berlin.

Jane Henschel (Herodias) Jane Henschel was born in Wisconsin, studied at the University of Southern California, and subsequently moved to Germany. In concert she has appeared with the Boston Symphony Orchestra, Berlin Philharmonic, London Symphony, BBC Symphony, , Orchestre de la Suisse Romande, and Orchestre de Radio France under such conductors as Ozawa, Conlon, Maazel, Rattle, Janowski, Colin Davis, Andrew Davis, and Schoenwandt. Her recordings include Krasa’s Verlobung im Traum under Zagrosek for Decca, The Rake’s Progress under Ozawa for Philips Classics, the Grammy- winning Decca recording of Albéniz’s with Domingo, Albéniz’s Henry Clifford (also Decca), Britten’s The Turn of the Screw with Daniel Harding for EMI/Virgin (a Gramophone Award-winner), and Mahler’s Eighth Symphony for EMI with the City of Birmingham Symphony Orchestra and Simon Rattle. On the opera stage, Ms. Henschel has sung Baba the Turk in The Rake’s Progress at the Glyndebourne, Saito Kinen, and Salzburg festivals; Brangäne in Tristan und Isolde for the Opera and the ; Klytem- nestra in Elektra for , the Principessa in with the Royal Con- certgebouw Orchestra and Chailly, Dialogues des Carmélites in Amsterdam,the Kostelniˇcka in Jen˚ufa under Ozawa in Japan, and the Kabanicha in Kátya Kabanová at the Salzburg Festival. For the Royal Opera–Covent Garden she has sung Fricka and Waltraute under Haitink, Ulrica in under Gatti, Klytemnestra under Thielemann and Mark Elder, and Mrs. Grose in The Turn of the Screw under Colin Davis and Daniel Harding; at , Milan, she has sung Herodias in Salome under Chung, Cassandre in under Colin Davis, and Waltraute under Muti. Her roles at the in Munich include Herodias, Klytemnestra, Ulrica, Mistress Quickly, and Ortrud; at the Deutsche Oper Berlin, Klytemnestra, Herodias, and Ortrud; and at the Vienna State Opera, Klytemnestra, Fricka, and Mistress

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Quickly. It is the Nurse in that has become her signature role, one which she has sung in Amsterdam, London, Los Angeles, Munich, Paris, Vienna, Berlin, and at the Metropolitan Opera. Jane Henschel sang Erda in the new Ring cycle at the Royal Opera– Covent Garden under Pappano, Auntie in Peter Grimes in Salzburg with Rattle, and Mistress Quickly under Nagano for . Recent engagements include returns to the opera houses of London, Paris, Munich, Vienna, Berlin, Madrid, and Barcelona, as well as concert appearances with the Oslo Philharmonic, Deutsches-Symphonie Orchester Berlin, the Dresden Staatskapelle, and the Berlin Philharmonic. Ms. Henschel’s previous Boston Symphony appear- ances have included the role of Baba the Turk in Stravinsky’s The Rake’s Progress at Symphony Hall in December 1995 under Seiji Ozawa, and three appearances at Tanglewood: as Herodias in Strauss’s Salome in August 2001 under Ozawa, as the Grandmother in Falla’s La vida breve in July 2003 with Rafael Frühbeck de Burgos, and in the opening night performance of Mahler’s Symphony No. 8 in July 2005 with James Levine conducting.

Gerhard Siegel (Herod) Making his Boston Symphony debut in this concert, the German tenor Gerhard Siegel began his musical career as an instrumentalist and composer. After completing his voice training with Liselotte Becker-Egner at the Augsburg Conservatory, he became a member of the ensemble at the Stadttheater Trier. For that company he composed the music for the world premiere of the stage version of ’s Deutschland—ein Wintermärchen. In 1995 Mr. Siegel was the winner of the International Hans Gabor Belvedere Singing Competition in Vienna. Following engagements as a dramatic and lyric tenor at the Anhaltisches Theater Dessau and guest performances in Germany, , Holland, and Spain, he was engaged in Augsburg in 1997, and in 1998 made his debut at the Bavarian State Opera in Munich. From 1999 to 2006 he was under contract at the Nuremberg Theater, where he expanded his repertoire of dramatic and heroic tenor roles, including , Bacchus, Herod in Salome, Florestan in , Laca in Jen˚ufa, and Sergei in Lady Macbeth of Mtsensk, also singing Mephistopheles in Busoni’s Doctor Faust, Tom Rakewell, and Alfredo. He won special acclaim for his debut as Stolzing in Die

week 19a artists 45 Meistersinger von Nürnberg and in the title role of Siegfried. Since that time, Gerhard Siegel has made guest appearances as Max in a new production of Weber’s Der Freischütz at the Comic Opera Berlin; in Hindemith’s Das Nusch-Nuschi under Gerd Albrecht, and as Max in Krenek’s Jonny spielt auf in Cologne; as Florestan at the Granada Festival, in the title role of Weill’s Der Protagonist at the Bregenz Festival, as Herod at Opéra Montpellier and at the Vienna State Opera; as the Hauptmann in Wozzeck at Madrid, at the Opéra Bastille in Paris, at Covent Garden, and the Metropolitan Opera; in Zemlinsky’s Traumgörge at the Deutsche Oper Berlin; as Sellem in The Rake’s Progress at the ; in in Geneva and Madrid, and as Shuisky in in Munich. A central role in his repertoire today is Mime in and Siegfried, which served for his debut at the Metropolitan Opera, at the Bayreuth Festival, and at Covent Garden, as well as in the Ring cycle directed by Jeffrey Tate at Cologne Opera, and also under Jun Märkl in . Other artistic highlights were singing Klaus-Narr in Schoenberg’s Gurrelieder on tour with and the SWR Symphony Orchestra, and his debut in Augsburg with Tristan und Isolde

46 and Mahagonny. Recent and upcoming engagements include Mime in Das Rheingold and Siegfried in Budapest, Barcelona, and at the Met, Lulu in Amsterdam, the Hauptmann in Wozzeck at Chicago Lyric Opera, and Herod in Berlin and Vienna.

Evgeny Nikitin (Jochanaan) Making his Boston Symphony Orchestra debut tonight, Evgeny Nikitin hails from North Russia and entered the Saint Petersburg Conservatory in 1992. Combining his studies with his first solo engagement at the famed Mariinsky Theatre, he was soon invited to major opera companies and festivals through Europe, the Americas, and Asia. Since making his Metropolitan Opera debut in 2002 in War and Peace, he has returned there as Colline in La bohème, Pogner in Die Meistersinger von Nürnberg, Fasolt in Das Rheingold, Orest in Elektra, the Wanderer in Siegfried, Rangoni in Boris Godunov, and Klingsor in Parsifal. Mr. Nikitin made his Parisian debut at the Théâtre du Châtelet in the title role of Rubinstein’s The Demon and returned in 2005 to sing the title role of Boris Godunov. Recent roles at the Paris Opera include Jochanaan, Klingsor, Count Tomsky in Pique Dame, Gunther in Götterdämmerung, and the title role of Dallapiccola’s Il prigioniero. Since his 2008 debut at the Bayerische Staatsoper as Jochanaan in Salome, he has appeared there as Klingsor and as Telramund in Lohengrin; this season he sings the title role in Der fliegende Holländer, and he will appear in a major new production in 2016. Other recent engagements include Der fliegende Holländer in Baden-Baden (under Gergiev), , Leipzig, and Tokyo; Amfortas in Parsifal in Berlin and in Valencia under Maazel, and Pizarro in Fidelio in Valencia, as well as Boris Godunov in Nice and in an acclaimed production at the

week 19a artists 47

Mariinsky. Major festival appearances include Fasolt under Rattle in Aix en Provence, the Wanderer at the BBC Proms under Eschenbach, Ibn-Hakia in Iolanta in Salzburg, and Jochanaan in Verbier, where he returns this season for Pizarro. Concert performances include Mussorgsky’s Songs and Dances of Death at the Schleswig-Holstein Festival and the Berlin Philharmonic, Mahler’s Eighth Symphony with the London Symphony Orchestra, Rubinstein’s The Demon at the Barbican, and Verdi’s Requiem with the National Symphony Orchestra in Washington, D.C. Mr. Nikitin returns home to the Mariinsky Theatre to sing Boris Godunov, Filippo in Don Carlo, the Dutchman, Amfortas, Wotan in Das Rheingold, the Wanderer, and . Last season he was Rangoni in Madrid, Telramund in Munich, Klingsor at the Met, and Gunther in Paris. Highlights of the current season include returns to the Paris Opera as Orest and to Munich as the Dutchman, as well as his debut at Barcelona’s in Il prigioniero, and Jochanaan in Zurich, as well as with the Boston Symphony Orchestra. Mr. Nikitin’s recordings include Amfortas in Parsifal with the Mariinsky and Gergiev and with the Berlin Radio Symphony under Janowski, as well Rangoni in Boris Godunov and Remeniuk in Semyon Kotko for Philips Classics. His cinema and DVD appearances include the Met’s Parsifal and Boris Godunov, Boris Godunov at the Mariinsky, and Lohengrin at the Bayerische Staatsoper.

Carlos Osuna (Narraboth) The young Mexican tenor Carlos Osuna is currently in the ensemble of the Vienna State Opera, where he recently sang the roles of Gastone in , Beppe in , Abdallo in Nabucco, the Third Jew in Salome, the Big Prisoner in Janáˇcek’s From the House of the Dead, and the Messenger in . This season he sings Narraboth in Salome with the Vienna State Opera at Carnegie Hall in New York as well as for his Boston Symphony debut this evening, both with conductor Andris Nelsons. In 2009 Mr. Osuna joined the opera studio Operavenir at the Theater in Switzerland. During the 2009-10 season he performed the title role in Werther and Pinkerton in and participated in From the House of the Dead in a production by the renowned Catalan stage director Calixto Bieito. Other past engagements include Rodolfo in a semi- staged performance of La bohème at the 2010 Verbier Festival Academy, Cassio in

week 19a artists 49 at the Festival Internacional de Santander alongside José Cura, and Spoletta in at the Verbier Festival conducted by Gianandrea Noseda. With other opera companies he has sung Nemorino in L’elisir d’amore, Remendado and Dancairo in , and Beppe in Pagliacci. Mr. Osuna won second prize in the 2010 -Puccini International Vocal Competition in New York and participated in the 2010 Internationalen Meisterkurs Neue Stimmen, where he was coached by, among others, Grace Bumbry and Francisco Araiza. He has also had work- ing sessions with such renowned artists as Mirella Freni, Dame , Ileana Cotrubas, José Carreras, and Sherrill Milnes. Born and raised in Mazatlán, Sinaloa, Mexico, in 1984, Carlos Osuna started his vocal studies at the Sociedad Internacional de Valores de Arte Mexicano and the Taller de Opera de Sinaloa, after which he continued his postgraduate studies at the Cardiff International Academy of Voice with Dennis O’Neill.

Renée Tatum (Page) Noted for her commanding and dramatic presence, mezzo-soprano Renée Tatum returns to the Metropolitan Opera in the 2013-14 season for conducted by Jane Glover, Rusalka led by Yannick Nézet-Séguin, and Die Frau ohne Schatten with Vladimir Jurowski. The California native makes her Houston debut as Wellgunde in Das Rheingold under Patrick Summers and joins the Orange County Philharmonic Society for Beethoven’s Ninth Symphony under Daniel Wachs. A recent alumna of the Metro- politan Opera’s Lindemann Young Artist Development Program, Ms. Tatum has sung such roles at the Met as Emilia in Otello under Semyon Bychkov, Adonella in Zandonai’s seldom heard Francesca da Rimini conducted by Marco Armiliato, Fenena in Nabucco with Paolo Carignani, and Flosshilde in Robert Lepage’s landmark production of led by . Ms. Tatum made her Metropolitan Opera debut in the 2010-11 season as Inez in conducted by Marco Armiliato. Other highlights of recent seasons include Háta in Smetana’s in a new production by Stephen Wadsworth, led by James Levine (a collaboration between the Metropolitan Opera and the ), and the roles of Flosshilde and Grimgerde in San Francisco Opera’s Der Ring des Nibelungen under Donald Runnicles. Other performances include La Haine in Gluck’s Armide in a Met-Juilliard co-production, and in Handel’s Teseo with Chicago Opera Theater. As a member of the Adler Fellowship program, she has appeared with San Francisco Opera as Inez in Il trovatore, Annina in La traviata, and Emilia in Otello. She has sung the Third Lady in The Magic Flute with both Santa Fe Opera and San Francisco Opera, Amando in Ligeti’s Le Grand Macabre with the and Alan Gilbert, and the Secretary in Menotti’s The Consul with Chautauqua Opera. Renée Tatum is a winner of the 2011 Gerda Lissner Foundation Competition, a finalist in the 2011 George London Foundation Competition, 2010 Grand Prize Winner of the Licia Albanese Puccini Foundation Competition, winner of the 2008 Opera Index Competition and the Jensen Foundation Award from Chautauqua Opera, and a two-time recipient of the Richard F. Gold Career Grant. A regional finalist in the Metro- politan Opera National Council Auditions, she holds degrees from the Juilliard School and the Manhattan School of Music. Ms. Tatum makes her Boston Symphony debut in tonight’s performance of Salome.

50 David Cangelosi (First Jew) Since his 2004 Metropolitan Opera debut as Mime in Das Rheingold conducted by James Levine, David Cangelosi has returned there as Incredibile (Andrea Chénier), Tinca (), Nathanael/Spalanzani (), Basilio (), Goro (Madama Butterfly), Spoletta (Tosca), and Nick (). In 2012-13 he returned for the Met’s new production of Wagner’s Ring cycle. Other recent perform- ances include Mime in Francesca Zambello’s “American” Ring cycle with San Francisco Opera; Shuisky (Boris Godunov) and Goro with Dallas Opera; Nick, Spalanzani, and Spoletta with Lyric Opera of Chicago; and the Four Servants in The Tales of Hoffmann with Santa Fe Opera. Following his 2012 Canadian Opera Company debut as Spoletta, he returned there for Die Fledermaus in 2012-13, also returning to Dallas Opera as Monostatos in The Magic Flute. A former member of the Lyric Opera Center for American Artists (now Ryan Opera Center), Mr. Cangelosi made his LOC debut in Salome in 1997. Engagements with that company have included Madama Butterfly, Ariadne auf Naxos, The Magic Flute, Carmen (Dancairo), , Boris Godunov, his signature role of Mime (Ring cycle, 2005), and Uncle Donato in the world premiere of William Bolcom’s A Wedding. His Spoleto Festival (USA) debut was as the Noctambulist/Pape des Fous in Louise, and he also was featured in Spoleto’s Intermezzi Recital Series. Recent recital and concert performances include the Montgomery Symphony, Davis Concert Hall (University of Alaska, Fairbanks) with Opera Fairbanks, and the PACC Concert series in Boston. He sang the First Jew in Salome with the Boston Symphony Orchestra at Tanglewood under Seiji Ozawa in 2001, his only previous BSO appearance. Career highlights include singing Beppe with Plácido Domingo and Washing- ton Opera for a “Live from the Kennedy Center” telecast on PBS; his Carnegie Hall debut with

week 19a artists 51 the Cleveland Orchestra as Torquemada in Ravel’s L’Heure espagnole under ; Monostatos and Basilio with Paris Opera (Bastille/Garnier), and Pedrillo with the Ensemble Orchestral de Paris. Mr. Cangelosi recorded the sword-forging scene from Siegfried with Plácido Domingo for the EMI Classics CD “Domingo/Scenes from the Ring.” In 2000 he completed the EMI CD/film project of Tosca with Angela Gheorghiu and Roberto Alagna and made his screen debut at the 2001 Venice Film Festival. David Cangelosi also serves as the artistic director of the Vann Vocal Institute in Montgomery, Alabama.

Alex Richardson (Second Jew) Born in Las Cruces, New Mexico, Alex Richardson is a former Fellow of the Tanglewood Music Center, where he performed under the baton of Rafael Frühbeck de Burgos and James Levine in programs featuring works by Stravinsky and Wagner. He subsequently returned to Tanglewood in 2012 as a soloist in Beethoven’s Choral Fantasy with the Boston Symphony Orchestra under David Zinman in Tanglewood’s 75th Anniversary Gala, a concert that has been issued on CD and Blu-ray. Tanglewood audiences may also remember him as Tom Buchanan in Emmanuel Music’s 2013 production of The Great Gatsby. In recent seasons Mr. Richardson has covered the title role of Werther for Washington National Opera, and debuted as Rinuccio () at the Princeton Festival, where he returned the following season as the Steersman (Der fliegende Holländer). Future engagements include his Spoleto USA debut as Váˇna Kudrjaš in Janáˇcek’s Kátya Kabanová; Molqi in with Long Beach Opera; a return to Tanglewood; the title role of Hamlet in Franco Faccio’s Amleto in its premiere

week 19a artists 53 with Opera Southwest, and a return engagement with the Boston Symphony Orchestra in 2015. Other repertoire and performances include Alfredo (La traviata) with Festival de Belle-Île, France, and the Duke (); Ernesto (Don Pasquale) with Boston Midsummer Opera; Alfred in Die Fledermaus with Opera Southwest; Will Tweedy in Carlisle Floyd’s Cold Sassy Tree with Amarillo Opera; Fenton (Falstaff), Camille (), the title role of Albert Herring, Cavaradossi (Tosca), and Rodolfo (La bohème); Vaudémont in Tchaikovsky’s Iolanta; André in Rufus Wainwright’s opera Prima Donna, and performances throughout America as part of the Marilyn Horne Foundation’s recital series “On Wings of Song.” Mr. Richardson holds a B.M. from the University of Colorado and an M.M. from Manhattan School of Music; he was a Studio Artist at Central City Opera and apprenticed for two seasons with Santa Fe Opera.

54 Dominic Armstrong (Third Jew) In the 2013-14 season, Dominic Armstrong makes his Boston Symphony debut this evening, and his New York Philharmonic debut in Britten’s Spring Symphony under Alan Gilbert. He also makes his role debut as Cavaradossi in Tosca with the Northwest Indiana Symphony; sings the First Jew in Salome with the Philadelphia Orchestra and Opera Philadelphia, conducted by Yannick Nézet-Séguin; appears in holiday concerts with the Oregon Symphony, in recital with the Brooklyn Art Song Society, and in Mozart’s Requiem with the Lansing Symphony; joins the Symphony in C and Princeton Symphony for Britten’s Serenade, and sings in recital with Christine Brewer and Craig Rutenberg under the auspices of the George London Foundation. Future appearances include his debut with Opera Colorado. In the 2012-13 season, Mr. Armstrong returned to New York City Opera as Peter Quint in The Turn of the Screw, followed by debuts at Carnegie Hall and with Lyric Opera of Chicago, as Steve in André Previn’s A Streetcar Named Desire. He closed the season premiering two new operas: La Reina (music by Jorge Sosa, libretto by Laura Sosa Pedroza) with American Lyric Theater, and Lera Auerbach’s The Blind with Ameri- can Opera Projects. Mr. Armstrong’s 2011-12 season included Chicago Opera Theatre’s Moscow, Cheryomushki, his Memphis Opera debut as Eisenstein in Die Fledermaus, and a return to Lorin Maazel’s Castleton Festival to cover Don José and perform Le Rémendado in Carmen. At Castleton he has also sung Macheath in Britten’s The Beggar’s Opera, Peter Quint, Le Petit Vieillard in L’Enfant et les sortilèges, and Luigi in Il tabarro. Recent seasons have taken Mr. Armstrong to such companies as Opera Philadelphia, Chicago Opera Theatre, Deutsche Oper Berlin, Opera Regio Torino, Wexford Festival Opera, Wolf Trap Opera, and Musica Viva Hong Kong. His many honors include being a Grand Finalist in the Metropolitan Opera’s 2008 National Council Auditions and the 2009 Liederkranz Art Song Competition winner.

week 19a artists 55 Jason Ferrante (Fourth Jew) American tenor Jason Ferrante makes his Boston Symphony debut this evening. Recent and upcoming engagements include his Boise Philharmonic debut and a return to the Jacksonville Symphony for Handel’s Messiah, a guest appearance with the Sarasota Artist Series, and, with Florida Grand Opera, Spoletta in Tosca and the Shepherd in Tristan und Isolde. Engagements for the 2012-13 season included his return to the Orlando Philharmonic for Basilio and Don Curzio in Le nozze di Figaro, the Fourth Jew in Salome for Palm Beach Opera, and his return to New York City Opera covering the role of Aronne in Mose in Egitto. Mr. Ferrante has also sung with Syracuse Opera, the Bard Summerscape Festival, Opera Boston, Opera Omaha, Kentucky Opera, Opera New Jersey, the Wexford Festival, Greenwich Music Festival, Eugene Opera, Madison Opera, Toledo Opera, Arizona Opera, Orlando Opera, and overseas at Teatro Comunale di Bologna, Teatro Municipale di Piacenza, Teatro Comunale di Modena, and Teatro Rossini di Lugo. He also traveled to China to sing Pong in Turandot under Lorin Maazel to open the Guangzhou Opera House. His other operatic credits include Goro in Madama Butterfly with Berkshire Opera, Harrisburg Opera, Opera Birmingham, Jacksonville Symphony, and Annapolis Opera, and St. Brioche in The Merry Widow with Indianapolis Opera, as well as Tybalt in Roméo et Juliette and the Beadle in Sweeney Todd at Wolf Trap Opera (where he was a two-time recipient of a Shouse Grant), the Magician in The Consul at Arizona Opera, Paolino in The Secret Marriage with Berkshire Opera, Cornaccio in the world premiere of John Musto’s Volpone at Wolf Trap, Peter Quint in The Turn of the Screw with Sideshow Opera, Rooster in the musical Annie with Ash Lawn Opera, Spalanzani in The Tales of Hoffmann with Sarasota Opera, Torquemada in L’Heure espagnole, Bardolfo in the Tanglewood Music Center’s production of Falstaff led by

56 Seiji Ozawa, and, with the Aspen Opera Theater Center, Brighella in Ariadne auf Naxos and Monostatos in The Magic Flute. While a student at Juilliard from 1993 to 2000, Jason Ferrante appeared in many roles, including Ximenes in the U.S. stage premiere of Weill’s Der Kuhhandel.

Walter Fink (Fifth Jew) Born in Bregenz, Walter Fink studied vocal arts and ancient philology in Vienna. He was accepted to the Opernstudio of the Vienna State Opera in 1977 and one year later became a member of the ensemble. From 1982 to 1991 he was engaged in Bremen, after which he returned to the State Opera. Other engagements have led him to Berlin, Lyon, Toulouse, the Metropolitan Opera, and the . Among his approxi- mately seventy roles at the Vienna State Opera are Sarastro (Die Zauberflöte), Osmin (Die Entführung aus dem Serail), Rocco (Fidelio), Colline (La bohème), Caspar (Der Freischütz), the Doctor (Wozzeck), Varlaam (Boris Godunov), Heinrich (Lohengrin), Pogner (Die Meistersinger von Nürnberg), Titurel (Parsifal), Daland (Der fliegende Holländer), the Grand Inquisitor (Don Carlo), Fafner (Siegfried), Melchtal (Guillaume Tell), and Cardinal of Brogni (La Juive). His roles at the Vienna State Opera in the cur- rent season include the Jailer (Tosca) and the Fifth Jew (Salome). In 2001 Walter Fink became an Österreichischer Kammersänger. He makes his Boston Symphony Orchestra debut in tonight’s performance of Salome.

Nathan Stark (First Nazarene) Nathan Stark’s engagements in the 2013-14 season include his Metropolitan Opera debut as the One-Armed Man in Strauss’s Die Frau ohne Schatten; singing with Fargo-Moorhead Opera’s Poe Project in the world premieres of Myers’s Buried Alive and Soluri’s Embedded; his return to Madison Opera as Sulpice in La Fille du regiment; Beethoven’s Symphony No. 9 with the Dayton Philharmonic Orchestra, and Verdi’s Requiem under Murry Sidlin with the Defiant Requiem Foundation at Strathmore. Recent engagements include returns to Cincinnati Opera for ’s Galileo Galilei, the Commendatore in Don Giovanni, and Monterone in Rigoletto; to Dayton Opera as Hunding in a staged presen- tation of Act I of Die Walküre; to Virginia Opera as Nourabad in Les Pêcheurs de perles, the King in Aida, and Sparafucile in Rigoletto; and to the Canton Symphony Orchestra as Basilio in Il barbiere di Siviglia. Other recent highlights include Leporello in Don Giovanni with Opera Grand Rapids; the Commendatore with Madison Opera; Haydn’s Creation with the Valdosta Symphony Orchestra; Mendelssohn’s Elijah at Concordia University, Texas; Mozart’s Requiem at Washington’s National Cathedral; Friar Laurence in Roméo et Juliette with Dayton Opera, and Messiah with the Pacific Symphony Orchestra. He has also sung Beethoven’s Symphony No. 9 with the Cincinnati Conservatory Philharmonia and the Pasadena Pops Orchestra; Don Quixote in ’s Master Peter’s Puppet Show with the Cincinnati Chamber Orchestra; Beethoven’s Mass in C and Brahms’s German Requiem with the CSU Long Beach Symphony Orchestra, and Verdi’s Requiem with the Holland Symphony Orchestra. In addition, Mr. Stark has given recitals throughout the United States and Germany and has performed in concerts at the Great Wall of China, the U.S. Colombian Embassy, and the U.S. Austrian Embassy. Tonight’s concert marks his debut with the Boston Symphony Orchestra.

week 19a artists 57 Michael Meraw (Second Nazarene) Baritone Michael Meraw has garnered critical acclaim not only in the standard repertoire, winning praise for his Figaro in Rossini’s Barber of Seville and Orff’s Carmina burana, but has also sung lesser-known works such as Szymanowski’s King Roger, in which he sang the title role. Mr. Meraw recently sang in workshop the title role in John Estacio and John Murrell’s new opera Frobisher. This season brings his Thunderbay Symphony debut under the direction of Dean Jobin Bevans in Fauré’s Requiem, a return to the McGill Symphony Orchestra for Britten’s War Requiem, and the role of Mizgir in Toronto Opera in Concert’s production of Rimsky-Korsakov’s The Snow Maiden. Recent highlights include singing Ernesto in Il mondo della luna with Atelier Lyrique de L’Opéra de Montréal and Elijah for the Pembroke Community Chorus and Orchestra, and record- ing Alan Belkin’s Six Songs for a Young Man. He has also been heard as Francesco in I masnadieri and Gryaznoy in The Tsar’s Bride for Opera in Concert, and performed Papa Costanzo and covered Emilio Picariello for Edmonton Opera’s remount and CBC taping of Estacio’s Filumena. He has sung Mozart’s Count for the Banff Centre for the Performing Arts, Garibaldo in Rodelinda for Virginia Opera, Harlekin in Strauss’s Ariadne auf Naxos for Pacific Opera Victoria, and John Brook in Adamo’s Little Women for the Ashlawn-Highland Summer Festival, as well as Escamillo, Marcello, and Guglielmo. Michael Meraw studied fencing and stage combat with Jean-François Gagnon of the National Theatre School, as well as ballet and modern dance with Daniel Seller, Vincent Warren, and Sasha Belinski at Les Grands Ballet Canadiens. He holds degrees from McGill University, has participated in the young artist pro- grams of Seattle Opera, Virginia Opera, and Des Moines Metro Opera, and is the recipient of multiple grants and competition prizes. A faculty member at the New England Conservatory of Music, he makes his Boston Symphony Orchestra debut in tonight’s concert.

58 Keith Miller (First Soldier) Making his BSO debut in this performance of Salome, bass-baritone Keith Miller returns to the Metropolitan Opera this season in ’s Two Boys and in Strauss’s Arabella. He has developed a close relationship with the Metropolitan Opera over the past several sea- sons, appearing in its new productions of Un ballo in maschera, Anna Bolena, Carmen, Armida, Tosca, Salome, Madama Butterfly, and Macbeth, all of which were featured in the popular “The Met: Live in HD” series. He was also a featured soloist in the Met’s inaugural Summer Recital Series in New York City and appeared in its recent revival of . Other recent opera engagements have included Sarastro in The Magic Flute at Nashville Opera, Riolobo in Florencia en Amazonas at Opera Colorado, Sarastro at Seattle Opera, Figaro in Le nozze di Figaro at Florida Grand Opera, the Bonze in Madama Butterfly at Washington National Opera, Monterone in Rigoletto and Ramfis in Aida at Portland Opera; Leporello, Monterone, Sparafucile in Rigoletto, and Don Basilio in Il barbiere di Siviglia with the Crested Butte Music Festival; Alidoro in with Fargo-Moorhead Opera, the Bonze with Emerald City Opera, Colline in La bohème with Poughkeepsie Opera, and Don Alfonso with Oberlin in . Mr. Miller’s many concert engagements have included Berlioz’s L’Enfance du Christ with the Utah Symphony, Beethoven’s Missa Solemnis with the Fanshawe Chorus London in Ontario, a concert version of La bohème (Colline) with the Rockford Symphony, and Handel’s Messiah with the of Philadelphia. He also recently held a week-long residency with the Savannah Children’s Choir that culminated in a recital and performance with the choir. Before studying voice at the prestigious Academy of Vocal Arts, Keith Miller played professional football for five years and had the honor of being an Olympic Torch Bearer for the 1996 Games in Atlanta. He currently holds the position of Director of Opera and the Opera Young Artists Program at the Crested Butte Music Festival in Colorado.

Ryan Speedo Green (Second Soldier) From Suffolk, Virginia, Ryan Speedo Green is in his third year of the Lindemann Young Artist Development Program at the Metropolitan Opera. In the 2013-14 season, Mr. Speedo Green returns to the Met stage to sing the Bonze in Madama Butterfly and the Jailer in Tosca. In the 2012-13 season, he made his Metropolitan Opera stage debut singing the Mandarin in Turandot and the Second Knight in Parsifal. In the 2014-15 season, Mr. Speedo Green will become a full company member of the Vienna State Opera. He has made debuts with Utah Opera singing Don Basilio in and with Wolf Trap Opera as Don Profondo in Rossini’s Il viaggio a Reims. He made his Met debut performing in the Met’s 2011 Summer Recital Series. Other recent highlights include the Commend- atore in Don Giovanni at the Juilliard School, Colline in La bohème with Central City Opera, Verdi’s Requiem with the Hartford Chorale, Mozart’s Coronation Mass with the Virginia Symphony, and Beethoven’s Symphony No. 9 with the Norwalk Symphony Orchestra. Mr. Speedo Green was also a featured soloist showcasing the works of Carlisle Floyd in a Florida State University Department of Music celebration under the composer’s direction and marking his 85th birthday. As a resident artist with Opera Colorado, he performed Colline in La bohème and Don Magnifico in La Cenerentola. In the 2011 Metropolitan Opera National Council Auditions, he was a National Grand Finals Winner. He is also the recipient of a 2011

week 19a artists 59 Sara Tucker Grant from the Richard Tucker Foundation and a recent finalist in the Palm Beach Opera Competition. Ryan Speedo Green received his master of music degree from Florida State University and his bachelor of music degree from the Hartt School of Music. He makes his Boston Symphony debut in tonight’s performance of Salome.

Robert Honeysucker (A Cappadocian) Honored as 1995 “Musician of the Year” by the Boston Globe, baritone Robert Honeysucker has also been a winner of the National Opera Association Artists Competition and a recipient of the New England Opera Club Jacopo Peri Award. He has sung the roles of Amonasro, Escamillo, Ezio, Figaro, Germont, Miller, Iago, Renato, Rigoletto, and Sharpless, with such companies as Boston Lyric Opera, Connecticut Opera, Delaware Opera, Eugene Opera, Fort Worth Opera, Opera Boston, Opera Company of Boston, Sacramento Opera, Tulsa Opera, and Utah Opera. Overseas he has performed in Auckland, New Zealand, in Berlin, and as Daedalus in the world premiere of Paul Earls’s Icarus at the Brucknerfest in Linz, Austria. He has also appeared in opera concerts in the Persian Gulf, and in numerous concerts in Europe, Australia, and New Zealand. He made his London debut performing songs of Charles Griffes in Wigmore Hall. Mr. Honeysucker has appeared as soloist in Elijah with Boston’s Handel and Haydn Society under Christopher Hogwood; the world premiere of Howard Frazin’s The Voice of Isaac with PALS Children’s Chorus in Boston; Beethoven’s Missa Solemnis with the Northwest Bach Festival Orchestra (Spokane, WA) under Gunther Schuller; Ives’s General William Booth Enters into Heaven with the Pittsburgh Symphony under Michael Tilson Thomas at Great Woods Performing Arts Center; Copland’s Old American Songs with the Flagstaff Symphony Orchestra; Carmina burana with the Roanoke and Omaha symphony orchestras, and a PBS telecast of Vaughan Williams’s Hodie with the Utah Symphony and Mormon Tabernacle Choir led by Keith Lockhart. He has also performed with the Detroit Symphony, St. Louis Symphony, Long Island Philharmonic, Portland (Maine) Symphony Orchestra, and Sacramento Symphony Orchestra. In Japan he has been soloist with the Sapporo Symphony, Osaka Philharmonic, Tokyo Philharmonic, Tokyo Symphony, the Telemann Chamber Orchestra in Osaka, and the Kansai Chamber Orchestra in Kobe and Kyoto. Notable appearances with the Boston Symphony Orchestra include his BSO

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60 debut in December 1995 as Keeper of the Madhouse in The Rake’s Progress under Seiji Ozawa; Beethoven’s Ninth Symphony on the Boston Common; the Second Prisoner in Fidelio under James Levine, and Wynton Marsalis’s All Rise conducted by Kurt Masur at Symphony Hall and Tanglewood. Most recently he was Frazier in under Bramwell Tovey at Tanglewood in August 2011 and at Symphony Hall in September 2012. With the Boston Pops, he has appeared on the Esplanade and at Symphony Hall under John Williams, Keith Lockhart, Harry Ellis Dickson, and Grant Llewellyn. Mr. Honeysucker is a member of Videmus, as well as a member and co-founder of the Jubilee Trio, which presents American art songs, including those of under-performed African-American composers. He teaches at the Boston Conservatory, New England Conservatory Extension, and Longy School of Music.

Abigail Fischer (A Slave) In the 2013-14 season, Abigail Fischer sings Respighi’s Il tramonto and the premiere of John Harbison’s Crossroads with the St. Luke’s Chamber Ensemble; Messiah with the Asheville Symphony, Charlotte Symphony Orchestra, and Rhode Island Philharmonic; a double bill of Monteverdi’s Il combattimento di Tancredi e Clorinda and Beecher’s I Have No Stories to Tell You with Gotham Chamber Opera in New York City; Lieberson’s Neruda Songs with the Columbus Symphony Orchestra, and Mozart’s Requiem with the Alabama Symphony. She also performs in Europe, Jerusalem, Adelaide, at the Met Museum, and in the Lincoln Center Festival singing works of John Zorn to mark his 60th birthday. Recent highlights include Haydn’s Lord Nelson Mass with both Boston Baroque and the New Choral Society (New York City); the title role in The Rape of Lucretia with Opera Memphis; Eötvös’s Angels in America with the ; Mozart’s Coronation Mass with the New Choral Society; Messiah with the Virginia Symphony Orchestra; Paulus’s To Be Certain of the Dawn with the Mankato Symphony Orchestra; works of Vivaldi, Porpora, and Hasse with American Bach Soloists; Franny in Kamran Ince’s The Judgment of Midas with Present Music (Milwaukee); a recital at Adelphi University; Mozart’s Requiem with the American Classical Orchestra; Mahler’s Symphony No. 3 with the Adelphi Symphony Orchestra, and Beethoven’s Missa Solemnis with the Eastman Orchestra. Ms. Fischer was a soloist in the 2005 Boston Pops tribute to Stephen Sondheim led by Keith Lockhart, and is a featured singer in performances across the country of Ted Hearne’s song cycle Katrina Ballads, which incorporates primary-source texts from the week following Hurricane Katrina; the work was recorded and released as a full-length album on New Amsterdam Records. Ms. Fischer’s latest recording features Missy Mazzoli’s Song from the Uproar, also for New Amsterdam Records. Tonight’s concert performance of Salome marks her Boston Symphony Orchestra debut.

week 19a artists 61 The Great Benefactors

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

ten million and above

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

seven and one half million

Mr. and Mrs. George D. Behrakis • John F. Cogan, Jr. and Mary L. Cornille

five million

Bank of America and Bank of America Charitable Foundation • Catherine and Paul Buttenwieser • EMC Corporation • Germeshausen Foundation • Ted and Debbie Kelly • NEC Corporation • Megan and Robert O’Block • UBS • Stephen and Dorothy Weber

two and one half million

Mary and J.P. Barger • Peter and Anne Brooke • Eleanor L. and Levin H. Campbell • Chiles Foundation • Cynthia and Oliver Curme/The Lost & Foundation, Inc. • Mara E. Dole ‡ • Alan J. and Suzanne W. Dworsky • The Fairmont Copley Plaza Hotel and Fairmont Hotels & Resorts • Jane and Jack Fitzpatrick ‡ • Sally ‡ and Michael Gordon • Susan Morse Hilles ‡ • Stephen B. Kay and Lisbeth L. Tarlow/The Aquidneck Foundation • The Kresge Foundation • Liberty Mutual Foundation, Inc. • Kate and Al Merck • Cecile Higginson Murphy • National Endowment for the Arts • William and Lia Poorvu • John S. and Cynthia Reed • State Street Corporation and State Street Foundation • Thomas G. Stemberg • Miriam and Sidney Stoneman ‡ • Elizabeth B. Storer ‡ • Caroline and James Taylor • Samantha and John Williams • Anonymous (2)

62 one million Alli and Bill Achtmeyer • Helaine B. Allen • American Airlines • Lois and Harlan Anderson • Mariann Berg (Hundahl) Appley • Arbella Insurance Foundation and Arbella Insurance Group • Dorothy and David B. Arnold, Jr. • AT&T • Gabriella and Leo Beranek • William I. Bernell ‡ • Roberta and George Berry • BNY Mellon • The Boston Foundation • Lorraine D. and Alan S. ‡ Bressler • Jan Brett and Joseph Hearne • Gregory E. Bulger Foundation/Gregory Bulger and Richard Dix • Ronald G. and Ronni J. Casty • Commonwealth Worldwide Chauffeured Transportation • Mr. and Mrs. William H. Congleton ‡ • William F. Connell ‡ and Family • Country Curtains • Diddy and John Cullinane • Edith L. and Lewis S. Dabney • Elisabeth K. and Stanton W. Davis ‡ • Mary Deland R. de Beaumont ‡ • William and Deborah Elfers • Elizabeth B. Ely ‡ • Nancy S. ‡ and John P. Eustis II • Shirley and Richard Fennell • Anna E. Finnerty ‡ • The Ann and Gordon Getty Foundation • Marie L. Gillet ‡ • Sophia and Bernard Gordon • Mrs. Donald C. Heath ‡ • Francis Lee Higginson ‡ • Major Henry Lee Higginson ‡ • Edith C. Howie ‡ • Dorothy and Charlie Jenkins • John Hancock Financial Services • Muriel E. and Richard L. ‡ Kaye • Nancy D. and George H. ‡ Kidder • Kingsbury Road Charitable Foundation • Farla and Harvey Chet ‡ Krentzman • Lizbeth and George Krupp • Barbara and Bill Leith ‡ • Nancy and Richard Lubin • Vera M. and John D. MacDonald ‡ • Nancy Lurie Marks Family Foundation • Carmine A. and Beth V. Martignetti • Commonwealth of Massachusetts • Massachusetts Cultural Council • The McGrath Family • The Andrew W. Mellon Foundation • Henrietta N. Meyer • Mr. and Mrs. Nathan R. Miller ‡ • Mr. and Mrs. Paul M. Montrone • Richard P. and Claire W. Morse Foundation • William Inglis Morse Trust • Mary S. Newman • Mrs. Mischa Nieland ‡ and Dr. Michael L. Nieland • Mr. ‡ and Mrs. Norio Ohga • P&G Gillette • Polly and Dan Pierce • Carol and Joe Reich • Mary G. and Dwight P. Robinson, Jr. ‡ • Susan and Dan ‡ Rothenberg • Carole and Edward I. Rudman • Richard Saltonstall Charitable Foundation • Wilhemina C. (Hannaford) Sandwen ‡ • Hannah H. ‡ and Dr. Raymond Schneider • Carl Schoenhof Family • Kristin and Roger Servison • Ruth ‡ and Carl J. Shapiro • Miriam Shaw Fund • Marian Skinner ‡ • Richard and Susan Smith Family Foundation/Richard A. and Susan F. Smith • Sony Corporation of America • Dr. Nathan B. and Anne P. Talbot ‡ • Diana O. Tottenham • The Wallace Foundation • Edwin S. Webster Foundation • Roberta and Stephen R. Weiner • The Helen F. Whitaker Fund • Helen and Josef Zimbler ‡ • Brooks and Linda Zug • Anonymous (8)

‡ Deceased

week 19a the great benefactors 63

Symphony Annual Fund Loyalty Giving

The Symphony Annual Fund provides more than $4 million in essential funding to sustain the Boston Symphony Orchestra’s mission. The BSO gratefully acknowledges the following individuals for their loyalty as Symphony Annual Fund donors. The list below represents nearly 600 current Symphony Annual Fund donors who have contributed $500 or more to the Symphony Annual Fund annually for the past five years as of February 18, 2014. ‡ This symbol denotes a deceased donor.

Amy and David Abrams • Mrs. Sonia Abrams • Alli and Bill Achtmeyer • Noubar and Anna Afeyan • Jim and Virginia Aisner • Vernon R. Alden • Harl and Lois Aldrich • Constantine Alexander and Linda Reinfeld • Dr. and Mrs. Menelaos Aliapoulios • Joel and Lisa Alvord • David and Holly Ambler • Mrs. Oliver F. Ames • Shirley and Walter Amory • Mr. B. Scott S. Andersen and Ms. Sandra K. Peters • Lois and Harlan Anderson • Mrs. Mary R. Anderson • Dr. Donald A. Antonioli • Mr. Peter Arden • Dr. Ronald Arky • Dorothy and David Arnold • Drs. Elissa and Daniel Arons • Marjorie Arons-Barron and James H. Barron • Mr. and Mrs. Laurence Asquith • Diane M. Austin and Aaron J. Nurick • Lloyd Axelrod, M.D. • Carol and Sherwood Bain • Henry W. D. Bain • Sandy and David Bakalar • Mrs. Hope Lincoln Baker • Naomi and Peter Banks • Donald P. Barker, M.D. • Ms. Teresa Barlozzari and Mr. Roy B. Welke • Mr. and Mrs. Eugene F. Barnes III • Judith and Harry Barr • Mr. and Mrs. John D. Barry • Lucille Batal • Ms. Enid L. Beal • John and Molly Beard • Mr. and Mrs. George D. Behrakis • Mr. Lawrence Bell • Drs. A. Robert and Jean Bellows • Gabriella and Leo Beranek • Mrs. Betsy Bergen • Deborah Davis Berman and William H. Berman • Roz and Wally Bernheimer • Leonard and Jane Bernstein • Roberta and George Berry • Bob and Karen Bettacchi • Marion and Philip Bianchi • Susan and Walter Birge • Ann Bitetti and Doug Lober • Mrs. Linda Cabot Black • Mr. Peter M. Black • Mrs. Stanton L. Black • Mr. and Mrs. Zenas W. Bliss • Brad and Terrie Bloom • Mrs. Carolyn Boday • Joan and John Bok • Mark G. and Linda Borden • Mr. and Mrs. Partha P. Bose • Joyce M. Bowden and Adam M. Lutynski • Mr. and Mrs. John M. Bradley • Mr. and Mrs. Stephen P. Bradley • Mr. and Mrs. Hale Bradt • Alan ‡ and Lorraine Bressler • William David Brohn • Peter and Anne Brooke • John and Gail Brooks • Mr. Joseph J. Brooks • Ellen and Ronald Brown • Gertrude S. Brown • Elise R. Browne • Marilyn Bruneau • Drs. Andrea and Brad Buchbinder • Matthew Budd and Rosalind Gorin • Gregory E. Bulger Foundation/Gregory Bulger and Richard Dix • Mr. and Mrs. William T. Burgin • Joanne and Timothy Burke • Mrs. Winifred B. Bush • Catherine and Paul Buttenwieser • Mrs. Betsy Cabot • Julie and Kevin Callaghan • Eleanor L. and Levin H. Campbell • Mr. Levin H. Campbell, Jr. • Phyllis H. Carey • Jane Carr and Andy Hertig • Ronald G. and Ronni J. Casty • James Catterton and Lois Wasoff • The Cavanagh Family • Katherine Chapman and Thomas Stemberg • Mr. Theodore Chu •

week 19a symphony annual fund loyalty giving 65 66 Mr. and Mrs. Dan Ciampa • Mr. and Mrs. Eugene H. Clapp • Mr. Gregory T. Clark • Ronald and Judy Clark • Mr. and Mrs. Frederic M. Clifford • Mr. David R. Coffman • John F. Cogan, Jr. and Mary L. Cornille • Joseph M. Cohen • Dr. Lawrence H. and Roberta Cohn • Marjorie B. and Martin Cohn • Mr. Stephen Coit and Ms. Susan Napier • Mrs. I.W. Colburn • Mrs. Charles C. Colby III • Mrs. Abram Collier • Donna and Don Comstock • Mr. John E. Connolly, Jr. • Dr. Charles L. Cooney and Ms. Peggy Reiser • Mr. and Mrs. John C. Cox • Ernest Cravalho and Ruth Tuomala • Albert and Hilary Creighton • Robert and Sarah Croce • Mrs. Bigelow Crocker ‡ • Mr. Franklin P. Crownover • Prudence and William Crozier • Diddy and John Cullinane • Joanna Inches Cunningham • Joan P. and Ronald C. Curhan • Cynthia and Oliver Curme • Eve and Philip D. Cutter • Edith L. and Lewis S. Dabney • Gene and Lloyd Dahmen • Robert and Sara Danziger • Mr. and Mrs. Allen N. David • Tamara P. and Charles H. Davis II • Drs. Anna L. and Peter B. Davol • Mr. and Mrs. Miguel de Bragança • Mr. and Mrs. Robert J. De Valle • Dr. Mark Dershwitz and Dr. Renee Goetzler • Pat and John Deutch • Relly and Brent Dibner • Charles and JoAnne Dickinson • Richard Dixon and Douglas Rendell • Nina L. and Eugene B. Doggett • Phyllis Dohanian • Robert Donaldson and Judith Ober • Happy and Bob Doran • Mr. Richard R. Downey • Dr. Reed Drews and Dr. Lisa Iezzoni • Mr. David L. Driscoll • Julie and Ronald M. Druker • Alan J. and Suzanne W. Dworsky • Alan and Lisa Dynner • Mrs. Robert P. Easland, Jr. • Mrs. Harriett M. Eckstein • Mr. and Mrs. George Howard Edmonds • Deborah and Philip Edmundson • William and Deborah Elfers • Mrs. William V. Ellis • Mrs. Richard S. Emmet • Priscilla Endicott • Ms. Martha A. Erickson • Pamela Everhart and Karl Coiscou • Ziggy Ezekiel and Suzanne Courtright Ezekiel • Peter and Ellen Fallon Fund • Thomas and Winifred Faust • Mrs. Samuel B. Feinberg • Roger and Judith Feingold • Mr. and Mrs. John K. Felter • Shirley and Richard Fennell • Mr. and Mrs. Andrew J. Ferrara • Mr. and Mrs. Steven S. Fischman • Larry and Atsuko Fish • Mr. and Mrs. Niles D. Flanders • Mrs. Jeanne M. Forel • Velma Frank • Myrna H. and Eugene M. Freedman • Mr. Barry L. Friedman • Laurel E. Friedman • Rick and Lisa Frisbie • Dr. and Mrs. Stuart L. Fuld • Mr. Randolph J. Fuller • Beth and John Gamel • Martin Gantshar • Dozier and Sandy Gardner • Mr. Fred Gardner and Ms. Sherley Gardner-Smith • Mr. and Mrs. John L. Gardner • Jane ‡ and Jim Garrett • Rose and Spyros Gavris • Arthur and Linda Gelb • Joan and Francis Gicca • Mr. Nelson S. Gifford • Joy S. Gilbert • Mr. and Mrs. Paul B. Gilbert • Jody and Tom Gill • Bob and Donna Gittens • Barbara and Robert Glauber • Mrs. Bernice B. Godine • Drs. Alfred L. and Joan H. Goldberg • Carol R. and Avram J. Goldberg • Thelma and Ray Goldberg • Stephen A. Goldberger • Jordan and Sandy Golding • Roberta Goldman • Adele C. Goldstein • Mr. Alfred Goldstein • Mr. and Mrs. Mark Goldweitz • Mr. Frank C. Graves • Dr. and Mrs. Paul E. Gray • Ms. Winifred P. Gray • Mr. and Mrs. Alan Green • Judy Green, PhD and Mr. Daryl Durant • Phyllis and Robert Green • Raymond and Joan Green • Vivian and Sherwin Greenblatt • Madeline L. Gregory • Marjorie and Nicholas Greville • The Rt. Rev. and Mrs. J. Clark Grew • David and Harriet Griesinger • Mr. and Mrs. Lee Grodzins • Janice Guilbault • Mr. and Mrs. Graham Gund • Dr. and Mrs. John G. Gunderson • Mrs. Ralph L. Gustin, Jr. • Mrs. Frederick W. Haffenreffer • Anne Blair Hagan • John and Kathryn Hamill • Janice Harrington and John Matthews • John and Ellen Harris • Mrs. Francis W. Hatch • Daphne and George Hatsopoulos •

week 19a symphony annual fund loyalty giving 67 68 Deborah Hauser • Ms. and Mr. Brenda Hawes • Mr. and Mrs. Ulf B. Heide • Dr. Edward Heller, Jr. • Carol and Robert Henderson • Mr. Gardner C. Hendrie and Ms. Karen J. Johansen • Mr. and Mrs. Brent L. Henry • Mrs. Nancy R. Herndon • Mrs. Patricia A. Herrin • Drs. James and Eleanor Herzog • Mr. and Mrs. Richard D. Hill • Mr. James G. Hinkle and Mr. Roy Hammer • Mr. and Mrs. Harry Hintlian • Mr. and Mrs. Richard B. Hirsch • John Hitchcock • Patricia and Galen Ho • Dr. Susan Hockfield and Dr. Thomas N. Byrne • Arthur C. and Eloise Hodges • Mr. and Mrs. Peter K. Hoffman • Pat and Paul Hogan • Albert A. Holman III and Susan P. Stickells • Mr. and Mrs. Charles Hood • Miss Isabel B. Hooker • Dr. and Mrs. Robert W. Hopkins • Timothy P. Horne • Mr. and Mrs. Amos B. Hostetter, Jr. • Sally and Fred Houck • Mr. Rogers V. Howard • Mrs. Lorraine K. Howland • Mr. and Mrs. D. Eric Huenneke • G. Lee and Diana Y. Humphrey • Mr. and Mrs. Roger Hunt • Joanie V. Ingraham • Cerise Lim Jacobs, for Charles • Mr. and Mrs. Norman A. Jacobs • Anna Street Jeffrey • Mr. and Mrs. Leland H. Jenkins • Mr. and Mrs. Gordon Jensen • Mr. and Mrs. Pliny Jewell III • Mimi and George Jigarjian • Holly and Bruce Johnstone • Prof. Paul L. Joskow and Dr. Barbara Chasen Joskow • Mrs. Johanna Kagan • Barbara and Leo Karas • Mr. and Mrs. Barry C. Kay • Stephen B. Kay and Lisbeth L. Tarlow • Mrs. Richard L. Kaye • Ted and Debbie Kelly • Joan Bennett Kennedy • Paul L. King • Mrs. Thomas P. King • Mary S. Kingsbery • Mr. and Mrs. Gordon F. Kingsley • Dr. Ethan Hillary Kisch and Dr. Helene Kisch-Pniewski • Seth A. and Beth S. Klarman • Mason J. O. Klinck • Mrs. Rita R. Knapp • Susan G. Kohn • Mr. Andrew Kotsatos and Ms. Heather Parsons • The Krapels Family • Barbara N. Kravitz • Farla Krentzman • Lizbeth and George Krupp • Ms. Donna Kuizenga • Pamela S. Kunkemueller • Melvin Kutchin • Mr. and Mrs. ‡ Benjamin H. Lacy • Robert A. and Patricia P. Lawrence • Mr. and Mrs. David S. Lee • Mr. Francis M. Lee • Mr. and Mrs. Henry Lee • Cynthia and Robert J. Lepofsky • Mr. and Mrs. Don LeSieur • Rosemarie and Alexander Levine • Dr. Lynne L. Levitsky • David W. Lewis, Jr. • Emily Lewis • Drs. Robert and Judy Lindamood • Joyce Linde • Christopher and Laura Lindop • Thomas and Adrienne Linnell • Mr. and Mrs. Calvin L. Litsey • Elizabeth W. and John M. Loder • Mr. Stephen E. Loher • Dr. and Mrs. Frederick H. Lovejoy, Jr. • Anne R. Lovett and Stephen G. Woodsum • Nancy and Richard Lubin • Mr. Anthony S. Lucas • Peter E. and Betsy Ridge Madsen • John F. Magee • Mr. Charles S. Maier and Pauline Maier • Mr. and Mrs. William S. Malcom • Mrs. William D. Manice • Hinda and Arthur Marcus • Nancy Lurie Marks Family Foundation • Ms. Geraldine Marshall and Dr. Harold Michtewitz • Mr. and Mrs. John E. Marshall III • Mr. and Mrs. Jeffrey E. Marshall • Carmine A. and Beth V. Martignetti • Dr. and Mrs. Joseph B. Martin • Takako Masamune • Jane and Robert J. Mayer, M.D. • Paul J. and Wladzia McCarthy • Michael and Rosemary McElroy • Father James R. McLellan • Margaret and Brian McMenimen • Mr. and Mrs. John F. McNamara • Kurt and Therese Melden • Kate and Al Merck • Ms. Gayle M. Merling and Mr. James D. Shields • Ann Merrifield and Wayne Davis • Mr. and Mrs. Bernard F. Meyer • Henrietta N. Meyer • Dr. Martin C. Mihm, Jr. • Ms. Sharon A. Miller • Dale and Robert Mnookin • Ms. Marjorie D. Moerschner • Mr. and Mrs. Paul M. Montrone • Sandra Moose and Eric Birch • Betty Morningstar and Jeanette Kruger • Mrs. John Hamilton Morrish • Richard P. and Claire W. Morse • Robert and Jane Morse • Kristin A. Mortimer • Dr. and Mrs. Michael A. Moskowitz • Anne J. Neilson • Mary S. Newman •

week 19a symphony annual fund loyalty giving 69 Mr. and Mrs. Peter M. Nicholas • Andrew Nichols and Roslyn Daum • George and Connie Noble • Ms. Sharon L. Nolan and Mr. Jim Rosenfeld • Kathleen and Richard Norman • Mr. and Mrs. Geoffrey Nunes • Jan Nyquist and David Harding • Mrs. Richard P. Nyquist • John David Ober • Megan and Robert O’Block • Mr. and Mrs. Paul J. O’Brien • Bob and Kathryn O’Connell • Mr. and Mrs. Herbert W. Oedel • Mr. and Mrs. Gerald F. O’Neil • Annette and Vincent O’Reilly • Dr. and Mrs. E. P. Palmer • Rev. Eleanor J. Panasevich • Jane and Neil Pappalardo • Mr. and Mrs. Michael Payne • Kitty Pechet • Dr. and Mrs. Joseph L. Pennacchio • Mr. John A. Perkins • Drs. James and Ellen Perrin • Mr. Edward Perry and Ms. Cynthia Wood • Mr. John A. Perry • Slocumb H. and E. Lee Perry • Ann M. Philbin • Mr. Daniel A. Phillips and Rev. Diana W. Phillips • Mr. and Mrs. Nicholas J. Philopoulos • Polly and Dan Pierce • Dr. and Mrs. Irving H. Plotkin • Josephine A. Pomeroy ‡ • Jonathan and Amy Poorvu • William and Lia Poorvu • Elizabeth F. Potter and Joseph L. Bower • Susanne and John Potts • William and Helen Pounds • Dr. Tina Young Poussaint and Dr. Alvin Poussaint • Helen C. Powell • Mandy and Robert Preyer • Mrs. Ann J. Prouty • Michael C.J. Putnam • James and Melinda Rabb • Jane M. Rabb • Dr. Herbert Rakatansky and Mrs. Barbara Sokoloff • Helen and Peter Randolph • Peter and Suzanne Read • Rita and Norton Reamer • John S. and Cynthia Reed • Douglas Reeves and Amy Feind Reeves • John S. Reidy • Linda H. Reineman • Robert and Ruth Remis • Dr. and Mrs. George B. Reservitz • Sharon and Howard Rich • Kennedy P. and Susan M. Richardson • Dr. Robin S. Richman and Dr. Bruce Auerbach • Louise C. Riemer • Dorothy B. and Owen W. Robbins • Rev. Raymond A. Robillard • John Ex and Pat Rodgers • Mr. Daniel L. Romanow and Mr. B. Andrew Zelermyer • Judy and David Rosenthal • Mr. and Mrs. Henry Rosovsky • Mr. and Mrs. Thomas A. Rosse • Susan and Dan ‡ Rothenberg • Debora and Alan Rottenberg • Lisa and Jonathan Rourke • William and Kathleen Rousseau • Maureen and Joe Roxe/The Roxe Foundation • Arnold Roy • Arlene Rubin • Jordan S. Ruboy, M.D. ‡ and Richard S. Milstein, Esq. • Sean Rush and Carol C. McMullen • Marjorie and Walter Salmon • Paul and Angela Sapienza • Norma and Roger A. Saunders • Mr. Ralph L. Sautter • Dr. Charles D. Schaeffer, Jr. • Cynthia and Grant Schaumburg • Carol Scheman and David Korn • Betty and Pieter Schiller • Benjamin Schore • Mr. and Mrs. Marvin G. Schorr • Mr. Rodney D. Schuller • Arthur and Linda Schwartz • Dr. and Mrs. R. Michael Scott • David and Marie Louise Scudder • Robert and Rosmarie Scully • Carol Searle and Andrew Ley • Anne and Douglas H. Sears • Mrs. Francis P. Sears, Jr. • Mr. and Mrs. George Senkler II • Mr. Stephen D. Senturia • Kristin and Roger Servison • The Shane Foundation • Ms. Ruth Shane • Ms. Eileen C. Shapiro and Dr. Reuben Eaves • Freema Shapiro • Wendy Shattuck and Samuel Plimpton • Mr. and Mrs. Ross E. Sherbrooke • Mrs. Mimi Simione • Marshall Sirvetz • Maggie and Jack Skenyon • Gilda and Alfred Slifka • Ms. Susan Sloan and Mr. Arthur Clarke • Christopher and Cary Smallhorn • Mr. Frank W. Smith • Ms. Nancy F. Smith • Mr. and Mrs. Richard J. Smith • Richard and Susan Smith Family Foundation • Mr. Shea Smith III • Mr. Edward Sonn • Ms. Eileen M. Sporing • Mr. and Mrs. Joseph D. Spound • George and Lee Sprague • David and Patricia Squire • Sharon Stanfill • Maria and Ray Stata • Nancy and Edward Stavis • Sharon and David Steadman • Mr. and Mrs. Joel A. Stein • Nancy F. Steinmann • Valerie and John Stelling • Mr. ‡ and Mrs. Edward A. Stettner •

70 Fredericka and Howard Stevenson • Eileen and James Stokes • Mr. and Mrs. David Stokkink • Galen and Anne Stone • Henry S. Stone ‡ • Theresa M. and Charles F. Stone III • Patricia Hansen Strang • Mr. Joseph A. Sullivan, Jr. • Mr. and Mrs. Patrick J. Sullivan • Ms. Paula C. Swartz • Mrs. William H. Sweet • Louise and Joseph Swiniarski • Jeanne and John Talbourdet • Patricia L. Tambone • Richard S. Taylor • Tazewell Foundation • Charlotte and Theodore Teplow • Mr. and Mrs. Mark D. Thompson • John Lowell Thorndike • Nick and Joan Thorndike • Mr. and Mrs. Richard K. Thorndike III • Mr. and Mrs. Samuel Thorne • Marian and Dick Thornton • Mr. and Mrs. Arnold B. Tofias • Magdalena Tosteson • Diana O. Tottenham • Mr. and Mrs. William R. Tower, Jr. • Philip C. Trackman • Ronney and Stephen Traynor • Blair Trippe • Marc and Nadia Ullman • Mr. Scott Utzinger • Mr. and Mrs. John H. Valentine • Mr. Jacobus Van Heerden • Mr. and Mrs. Jack H. Vernon • Robert and Theresa Vieira • Robert A. Vogt • Mr. and Mrs. Mark Volpe • Gail and Ernst von Metzsch • Mrs. Audrey F. Wagner • Ms. Sharon H. Walkey • Dr. Arthur C. Waltman and Ms. Carol Watson • Eric and Sarah Ward • Lyle Warner • Harvey and Joëlle Wartosky • Mrs. Charles H. Watts II • Ms. Jacqueline J. Waxlax • Matthew and Susan Weatherbie • Stephen and Dorothy Weber • Ruth and Harry Wechsler • Mr. and Mrs. Sinclair Weeks, Jr. • Roberta and Stephen R. Weiner • Mr. and Mrs. David Weinstein • Mr. and Mrs. John P. Weitzel • Allen C. West • Drs. Christoph and Sylvia Westphal • Elizabeth and James Westra • Joan D. Wheeler • Edward T. Whitney, Jr. • Mrs. Margaret Williams-DeCelles • Sally and Dudley Willis • Mr. Albert O. Wilson, Jr. • Elizabeth H. Wilson • Jay A. Winsten and Penelope J. Greene • Ms. Nancy Winterbottom • Robert and Roberta Winters • Frank Wisneski and Lynn Dale • Ms. Mary F. Wolfson • Chip and Jean Wood • Rosalyn Kempton Wood • Drs. Richard and Judith Wurtman • Patricia Plum Wylde • Dr. Hideo and Dr. Samantha Yamamoto • Dr. and Mrs. Bernard S. Yudowitz • Dr. and Mrs. Marvin Zelen • Dr. and Mrs. Nicholas T. Zervas • Rhonda and Michael J. Zinner, M.D. • Mr. Peter Zschokke • Brooks and Linda Zug • Anonymous (43)

Symphony Shopping

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

week 19a symphony annual fund loyalty giving 71 ZAREH THOMAJAN ~ GREG THOMAJAN

Celebrating our 80th Anniversary

SERVING THE FINANCIAL DISTRICT SINCE 1933

ONE LIBERTY SQUARE BOSTON, MA 02109 617-350-6070

New England’s Largest Oxxford Dealer Visit us at ZarehBoston.com Administration

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

Bridget P. Carr, Senior Archivist • Julie Giattina Moerschel, Executive Assistant to the Managing Director • Vincenzo Natale, Chauffeur/Valet • Claudia Robaina, Manager of Artists Services administrative staff/production Christopher W. Ruigomez, Director of Concert Operations

Jennifer Chen, Audition Coordinator/Assistant to the Orchestra Personnel Manager • H.R. Costa, Technical Director • Vicky Dominguez, Operations Manager • Erik Johnson, Chorus Manager • Jake Moerschel, Assistant Stage Manager • Leah Monder, Production Manager • John Morin, Stage Technician • Sarah Pantcheff, Concert Operations Administrator • Mark C. Rawson, Stage Technician boston pops Dennis Alves, Director of Artistic Planning

Wei Jing Saw, Assistant Manager of Artistic Administration • Amanda Severin, Manager of Artistic Planning and Services business office

Sarah J. Harrington, Director of Planning and Budgeting • Mia Schultz, Director of Investment Operations and Compliance • Natasa Vucetic, Controller

Sophia Bennett, Staff Accountant • Thomas Engeln, Budget Assistant • Karen Guy, Accounts Payable Supervisor • Minnie Kwon, Payroll Associate • Evan Mehler, Budget Manager • John O’Callaghan, Payroll Supervisor • Nia Patterson, Senior Accounts Payable Assistant • Harriet Prout, Accounting Manager • Mario Rossi, Staff Accountant • Teresa Wang, Staff Accountant

week 19a administration 73 development

Joseph Chart, Director of Major Gifts • Susan Grosel, Director of Annual Funds and Donor Relations • Nina Jung, Director of Board, Donor, and Volunteer Engagement • Ryan Losey, Director of Foundation and Government Relations • John C. MacRae, Director of Principal and Planned Gifts • Richard Subrizio, Director of Development Communications • Mary E. Thomson, Director of Corporate Initiatives • Jennifer Roosa Williams, Director of Development Research and Information Systems

Cara Allen, Assistant Manager of Development Communications • Leslie Antoniel, Assistant Director of Society Giving • Erin Asbury, Manager of Volunteer Services • Stephanie Baker, Assistant Director, Campaign Planning and Administration • Lucy Bergin, Annual Funds Coordinator • Maria Capello, Grant Writer • Diane Cataudella, Associate Director of Donor Relations • Allison Cooley, Associate Director of Society Giving • Catherine Cushing, Donor Relations Coordinator • Emily Diaz, Assistant Manager of Gift Processing • Christine Glowacki, Annual Funds Coordinator, Friends Program • David Grant, Assistant Director of Development Information Systems • Barbara Hanson, Senior Major Gifts Officer • James Jackson, Assistant Director of Telephone Outreach • Jennifer Johnston, Graphic Designer • Sabrina Karpe, Manager of Direct Fundraising and Friends Membership • Anne McGuire, Assistant Manager of Major Gifts and Corporate Initiatives • Jill Ng, Senior Major and Planned Giving Officer • Suzanne Page, Campaign Gift Officer • Kathleen Pendleton, Development Events and Volunteer Services Coordinator • Carly Reed, Donor Acknowledgment Coordinator • Emily Reeves, Manager of Planned Giving • Amanda Roosevelt, Senior Executive Assistant for Development • Alexandria Sieja, Manager of Development Events • Yong-Hee Silver, Senior Major Gifts Officer • Michael Silverman, Call Center Senior Team Leader • Szeman Tse, Assistant Director of Development Research • Nicholas Vincent, Donor Ticketing Associate education and community engagement Jessica Schmidt, Helaine B. Allen Director of Education and Community Engagement

Claire Carr, Manager of Education Programs • Anne Gregory, Assistant Manager of Education and Community Engagement • Emilio Gonzalez, Manager of Curriculum Research and Development • Darlene White, Manager of Berkshire Education and Community Programs facilities C. Mark Cataudella, Director of Facilities symphony hall operations Peter J. Rossi, Symphony Hall Facilities Manager • Tyrone Tyrell, Security and Environmental Services Manager

Charles F. Cassell, Jr., Facilities Compliance and Training Coordinator • Alana Forbes, Facilities Coordinator • Shawn Wilder, Mailroom Clerk maintenance services Jim Boudreau, Electrician • Thomas Davenport, Carpenter • Michael Frazier, Carpenter • Paul Giaimo, Electrician • Steven Harper, HVAC Technician • Sandra Lemerise, Painter environmental services Landel Milton, Lead Custodian • Rudolph Lewis, Assistant Lead Custodian • Desmond Boland, Custodian • Julien Buckmire, Custodian • Claudia Ramirez Calmo, Custodian • Errol Smart, Custodian • Gaho Boniface Wahi, Custodian tanglewood operations Robert Lahart, Tanglewood Facilities Manager

Bruce Peeples, Grounds Supervisor • Peter Socha, Buildings Supervisor • Fallyn Girard, Tanglewood Facilities Coordinator • Stephen Curley, Crew • Richard Drumm, Mechanic • Maurice Garofoli, Electrician • Bruce Huber, Assistant Carpenter/Roofer human resources

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

week 19a administration 75 information technology Timothy James, Director of Information Technology

Andrew Cordero, Manager of User Support • Ana Costagliola, Database Business Analyst • Stella Easland, Telephone Systems Coordinator • Michael Finlan, Telephone Systems Manager • Karol Krajewski, Infrastructure Systems Manager • Brian Van Sickle, User Support Specialist • Richard Yung, IT Services Manager public relations

Samuel Brewer, Public Relations Associate • Taryn Lott, Senior Public Relations Associate • David McCadden, Senior Publicist publications Marc Mandel, Director of Program Publications

Robert Kirzinger, Assistant Director of Program Publications—Editorial • Eleanor Hayes McGourty, Assistant Director of Program Publications—Production and Advertising sales, subscription, and marketing

Amy Aldrich, Ticket Operations Manager • Helen N.H. Brady, Director of Group Sales • Alyson Bristol, Director of Corporate Partnerships • Sid Guidicianne, Front of House Manager • Roberta Kennedy, Buyer for Symphony Hall and Tanglewood • Sarah L. Manoog, Director of Marketing • Michael Miller, Director of Ticketing

Elizabeth Battey, Subscriptions Representative • Gretchen Borzi, Associate Director of Marketing • Rich Bradway, Associate Director of E-Commerce and New Media • Lenore Camassar, Associate Manager, SymphonyCharge • Megan Cokely, Group Sales Coordinator and Administrator of Visiting Ensemble Events • Susan Coombs, SymphonyCharge Coordinator • Peter Danilchuk, Subscriptions Representative • Jonathan Doyle, Graphic Designer • Paul Ginocchio, Manager, Symphony Shop and Tanglewood Glass House • Randie Harmon, Senior Manager of Customer Service and Special Projects • George Lovejoy, SymphonyCharge Representative • Jason Lyon, Director of Tanglewood Tourism/ Associate Director of Group Sales • Ronnie McKinley, Ticket Exchange Coordinator • Jeffrey Meyer, Senior Manager, Corporate Partnerships • Michael Moore, Manager of Internet Marketing • Allegra Murray, Manager, Business Partners • Laurence E. Oberwager, Director of Tanglewood Business Partners • Doreen Reis, Advertising Manager • Laura Schneider, Web Content Editor • Robert Sistare, Senior Subscriptions Representative • Richard Sizensky, Access Coordinator • Kevin Toler, Art Director • Himanshu Vakil, Web Application and Security Lead • Amanda Warren, Graphic Designer • Stacy Whalen-Kelley, Senior Manager, Corporate Sponsor Relations box office David Chandler Winn, Manager • Megan E. Sullivan, Assistant Manager/Subscriptions Coordinator box office representatives Mary J. Broussard • John Lawless • Arthur Ryan event services Kyle Ronayne, Director of Event Administration • Sean Lewis, Manager of Venue Rentals and Events Administration • Luciano Silva, Events Administrative Assistant tanglewood music center

Andrew Leeson, Budget and Office Manager • Karen Leopardi, Associate Director for Faculty and Guest Artists • Michael Nock, Associate Director for Student Affairs • Gary Wallen, Associate Director for Production and Scheduling

week 19a administration 77

Boston Symphony Association of Volunteers executive committee Chair, Charles W. Jack Vice-Chair, Boston, Audley H. Fuller Vice-Chair, Tanglewood, Martin Levine Secretary, Susan Price Co-Chairs, Boston Suzanne Baum • Leah Driska • Natalie Slater Co-Chairs, Tanglewood Judith Benjamin • Roberta Cohn • David Galpern Liaisons, Tanglewood Ushers, Judy Slotnick • Glass Houses, Stanley Feld boston project leads and liaisons 2013-14

Café Flowers, Stephanie Henry and Kevin Montague • Chamber Music Series, Judy Albee and Sybil Williams • Computer and Office Support, Helen Adelman and Gerald Dreher • Flower Decorating, Linda Clarke • Guide’s Guide, Audley H. Fuller and Renee Voltmann • Instrument Playground, Beverly Pieper • Mailings, George Mellman • Membership Table/Hall Greeters, Melissa Riesgo • Newsletter, Judith Duffy • Recruitment/Retention/Reward, Gerald Dreher • Symphony Shop, Karen Brown • Tour Guides, Richard Dixon

week 19a administration 79 Next Programs…

From Thursday, March 13, to Saturday, March 22, the Boston Symphony Orchestra under the direc- tion of Christoph von Dohnányi, with piano soloist Yefim Bronfman, performs all five of Beethoven’s piano concertos, plus the Triple Concerto for piano, violin, and cello and the three Leonore . In addition, the BSO is pleased to offer, in conjunction with these concerts, the second of this sea- son’s “Insights” series, as detailed below.

Thursday, March 13, 8pm Friday, March 14, 8pm (UnderScore Friday concert, including comments from the stage) christoph von dohnányi conducting yefim bronfman, piano beethoven “leonore” overture no. 3; piano concertos 1 and 2

Saturday, March 15, 8pm Tuesday, March 18, 8pm christoph von dohnányi conducting yefim bronfman, piano beethoven “leonore” overture no. 2; piano concertos 3 and 4

Thursday, March 20, 8pm Friday, March 21, 1:30pm (Friday Preview from 12:15-12:45 in Symphony Hall) Saturday, March 22, 8pm christoph von dohnányi conducting yefim bronfman, piano guy braunstein, violin alisa weilerstein, cello beethoven “leonore” overture no. 1; triple concerto; piano concerto no. 5, emperor

BSO “Insights,” March 9-17, 2014: BEETHOVEN AND THE PIANO The second of the BSO’s two “Insights” series this season—“Beethoven and the Piano,” presented in connection with the BSO’s Beethoven piano concerto cycle of March 13-22—offers a variety of events presented in partnership with the Museum of Fine Arts and the New England Conservatory of Music: Sunday, March 9, 2:30-4pm, Museum of Fine Arts: “Great Beethoven Piano Performances on Film,” session 1, selected and presented by Richard Dyer Monday, March 10, 7-8:30pm, Symphony Hall: “Beethoven the Pianist: Public and Private, Notation and Improvisation,” a lecture/performance/demonstration by pianists Ran Blake and Bruce Brubaker Thursday, March 13, 5:30-7pm, Museum of Fine Arts: “Sound Bites: Beethoven’s Legacy Among Contemporary Improvisers,” performances by students of the New England Conservatory’s Jazz and Contemporary Improvisation programs, offering personal responses to Beethoven’s enduring influence Sunday, March 16, 2:30-4pm, Museum of Fine Arts: “Great Beethoven Piano Performances on Film,” session 2, selected and presented by Richard Dyer Monday, March 17, 7-8:30pm, Symphony Hall: “From the Variations for Piano to the Eroica Symphony: Beethoven as Virtuoso Pianist and Symphonic Revolutionary,” a lecture by preeminent Beethoven scholar Lewis Lockwood For additional information, please visit bso.org.

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

Thursday ‘D’ March 13, 8-9:55 Thursday ‘B’ March 27, 8-9:55 UnderScore Friday March 14, 8-10:05 Friday ‘B’ March 28, 1:30-3:25 (includes comments from the stage) Saturday ‘B’ March 29, 8-9:55 CHRISTOPHVONDOHNÁNYI, conductor SIR ANDREW DAVIS, conductor YEFIMBRONFMAN, piano YUJAWANG, piano ALL- Leonore Overture No. 3 VAUGHAN WILLIAMS Symphony No. 6 BEETHOVEN Piano Concerto No. 1 PROKOFIEV Piano Concerto No. 2 PROGRAM Piano Concerto No. 2 RIMSKY-KORSAKOV Capriccio espagnol

Saturday ‘A’ March 15, 8-10 Thursday ‘C’ April 3, 8-9:55 Tuesday ‘B’ March 18, 8-10 Friday ‘A’ April 4, 1:30-3:25 CHRISTOPHVONDOHNÁNYI, conductor Saturday ‘A’ April 5, 8-9:55 YEFIMBRONFMAN, piano Tuesday ‘C’ April 8, 8-9:55 ALL- Leonore Overture No. 2 ROBERTSPANO, conductor BEETHOVEN Piano Concerto No. 3 JONATHAN BISS, piano PROGRAM Piano Concerto No. 4 DEBUSSY “Nuages” and “Fêtes” from Nocturnes RANDS Concerto for Piano and Thursday ‘A’ March 20, 8-10 Orchestra (world premiere; Friday ‘A’ March 21, 1:30-3:30 BSO commission) Saturday ‘A’ March 22, 8-10 RACHMANINOFF Symphonic Dances CHRISTOPHVONDOHNÁNYI, conductor YEFIMBRONFMAN, piano Sunday, April 6, 3pm GUYBRAUNSTEIN, violin Jordan Hall, New England Conservatory ALISAWEILERSTEIN, cello BOSTONSYMPHONYCHAMBERPLAYERS ALL- Leonore Overture No. 1 RANDALLHODGKINSON, piano BEETHOVEN Triple Concerto for piano, PROGRAM violin, and cello MILHAUD Suite d’après Corrette, for oboe, clarinet, and bassoon Piano Concerto No. 5, Emperor CURRIER Parallel Worlds, for flute and string quartet (Boston premiere; BSO co-commission) SCHUBERT Octet in F for winds and strings, D.803

Programs and artists subject to change.

Single tickets for all Boston Symphony concerts throughout the season are available online at bso.org, by calling Symphony Charge at (617) 266-1200 or toll-free at (888) 266-1200, or at the Symphony Hall box office Monday through Friday from 10 a.m. to 6 p.m. (Saturday from 12 noon to 6 p.m.). Please note that there is a $6.25 handling fee for each ticket ordered by phone or online.

week 19a coming concerts 81 Symphony Hall Exit PlanPlanSymphony

82 Symphony Hall InformationInformationSymphony

For Symphony Hall concert and ticket information, call (617) 266-1492. For Boston Symphony concert program information, call “C-O-N-C-E-R-T” (266-2378). The Boston Symphony Orchestra performs ten months a year, in Symphony Hall and at Tanglewood. For infor- mation about any of the orchestra’s activities, please call Symphony Hall, visit bso.org, or write to the Boston Symphony Orchestra, Symphony Hall, 301 Massachusetts Avenue, Boston, MA 02115. The BSO’s web site (bso.org) provides information on all of the orchestra’s activities at Symphony Hall and at Tanglewood, and is updated regularly. In addition, tickets for BSO concerts can be purchased online through a secure credit card transaction. The Eunice S. and Julian Cohen Wing, adjacent to Symphony Hall on Huntington Avenue, may be entered by the Symphony Hall West Entrance on Huntington Avenue. In the event of a building emergency, patrons will be notified by an announcement from the stage. Should the building need to be evacuated, please exit via the nearest door (see map on opposite page), or according to instructions. For Symphony Hall rental information, call (617) 638-9241, or write the Director of Event Administration, Symphony Hall, Boston, MA 02115. The Box Office is open from 10 a.m. until 6 p.m. Monday through Friday (12 noon until 6 p.m. on Saturday). On concert evenings it remains open through intermission for BSO events or a half-hour past starting time for other events. In addition, the box office opens Sunday at 12 noon when there is a concert that afternoon or evening. Single tickets for all Boston Symphony subscription concerts are available at the box office. For most outside events at Symphony Hall, tickets are available three weeks before the concert at the box office or through SymphonyCharge. To purchase BSO Tickets: American Express, MasterCard, Visa, Diners Club, Discover, a personal check, and cash are accepted at the box office. To charge tickets instantly on a major credit card, call “SymphonyCharge” at (617) 266-1200, from 10 a.m. until 6 p.m. Monday through Friday (12 noon to 6 p.m. on Saturday). Outside the 617 area code, phone 1-888-266-1200. As noted above, tickets can also be purchased online. There is a handling fee of $6.25 for each ticket ordered by phone or online. Group Sales: Groups may take advantage of advance ticket sales. For BSO concerts at Symphony Hall, groups of twenty-five or more may reserve tickets by telephone and take advantage of ticket discounts and flexible payment options. To place an order, or for more information, call Group Sales at (617) 638-9345 or (800) 933-4255, or e-mail [email protected]. For patrons with disabilities, elevator access to Symphony Hall is available at both the Massachusetts Avenue and Cohen Wing entrances. An access service center, large print programs, and accessible restrooms are avail- able inside the Cohen Wing. For more information, call the Access Services Administrator line at (617) 638-9431 or TDD/TTY (617) 638-9289. In consideration of our patrons and artists, children age four or younger will not be admitted to Boston Symphony Orchestra concerts. Please note that no food or beverage (except water) is permitted in the Symphony Hall auditorium. Patrons who bring bags to Symphony Hall are subject to mandatory inspections before entering the building.

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

week 19a symphony hall information 83 Those arriving late or returning to their seats will be seated by the patron service staff only during a convenient pause in the program. Those who need to leave before the end of the concert are asked to do so between pro- gram pieces in order not to disturb other patrons. Ticket Resale: If you are unable to attend a Boston Symphony concert for which you hold a subscription ticket, you may make your ticket available for resale by calling (617) 266-1492 during business hours, or (617) 638-9426 up to one hour before the concert. This helps bring needed revenue to the orchestra and makes your seat available to someone who wants to attend the concert. A mailed receipt will acknowledge your tax-deductible contribution. Rush Seats: There are a limited number of Rush Seats available for Boston Symphony subscription concerts on Tuesday, Thursday, and Friday evenings, and on Friday afternoons. The low price of these seats is assured through the Morse Rush Seat Fund. Rush Tickets are sold at $9 each, one to a customer, at the Symphony Hall box office on Fridays as of 10 a.m. for afternoon concerts, and on Tuesdays, Thursdays, and Fridays as of 5 p.m. for evening concerts. Please note that there are no Rush Tickets available for Saturday evenings. Please note that smoking is not permitted anywhere in Symphony Hall. Camera and recording equipment may not be brought into Symphony Hall during concerts. Lost and found is located at the security desk at the stage door to Symphony Hall on St. Stephen Street. First aid facilities for both men and women are available. On-call physicians attending concerts should leave their names and seat locations at the Cohen Wing entrance on Huntington Avenue. Parking: The Prudential Center Garage and Copley Place Parking on Huntington Avenue offer discounted parking to any BSO patron with a ticket stub for evening performances. Limited street parking is available. As a special benefit, guaranteed pre-paid parking near Symphony Hall is available to subscribers who attend evening con- certs. For more information, call the Subscription Office at (617) 266-7575. Elevators are located outside the O’Block/Kay and Cabot-Cahners rooms on the Massachusetts Avenue side of Symphony Hall, and in the Cohen Wing. Ladies’ rooms are located on both main corridors of the orchestra level, as well as at both ends of the first bal- cony, audience-left, and in the Cohen Wing. Men’s rooms are located on the orchestra level, audience-right, outside the O’Block/Kay Room near the elevator; on the first-balcony level, also audience-right near the elevator, outside the Cabot-Cahners Room; and in the Cohen Wing. Coatrooms are located on the orchestra and first-balcony levels, audience-left, outside the O’Block/Kay and Cabot-Cahners rooms, and in the Cohen Wing. Please note that the BSO is not responsible for personal apparel or other property of patrons. Lounges and Bar Service: There are two lounges in Symphony Hall. The O’Block/Kay Room on the orchestra level and the Cabot-Cahners Room on the first-balcony level serve drinks starting one hour before each performance. For the Friday-afternoon concerts, both rooms open at noon, with sandwiches available until concert time. Drink coupons may be purchased in advance online or through SymphonyCharge for all performances. Boston Symphony Broadcasts: Saturday-evening concerts of the Boston Symphony Orchestra are broadcast live in the Boston area by 99.5 All-Classical. BSO Friends: The Friends are donors who contribute $75 or more to the Boston Symphony Orchestra Annual Funds. For information, please call the Friends of the BSO Office at (617) 638-9276 or e-mail [email protected]. If you are already a Friend and you have changed your address, please inform us by sending your new and old addresses to Friends of the BSO, Symphony Hall, Boston, MA 02115. Including your patron number will assure a quick and accurate change of address in our files. BSO Business Partners: The BSO Business Partners program makes it possible for businesses to participate in the life of the Boston Symphony Orchestra. Benefits include corporate recognition in the BSO program book, access to the Beranek Room reception lounge, two-for-one ticket pricing, and advance ticket ordering. For further infor- mation, please call the BSO Business Partners Office at (617) 638-9275 or e-mail [email protected]. The Symphony Shop is located in the Cohen Wing at the West Entrance on Huntington Avenue and is open Thursday and Saturday from 3 to 6 p.m., and for all Symphony Hall performances through intermission. The Symphony Shop features exclusive BSO merchandise, including calendars, coffee mugs, an expanded line of BSO apparel and recordings, and unique gift items. The Shop also carries children’s books and musical-motif gift items. A selection of Symphony Shop merchandise is also available online at bso.org and, during concert hours, outside the Cabot-Cahners Room. All proceeds benefit the Boston Symphony Orchestra. For further information and telephone orders, please call (617) 638-9383, or purchase online at bso.org.

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