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Sunday Evening, November 9, 2014, at 8:00

Distinguished Concerts International New York (DCINY) Iris Derke, Co-Founder and General Director Jonathan Griffith, Co-Founder and Artistic Director presents Distinguished Concerts Orchestra Distinguished Concerts Singers International

I Believe…Remembering the Holocaust

In the Shadow of the Holocaust (New York Premiere) (45 minutes) Arranged by Donald McCullough Lyrics and Readings by Denny Clark Orchestrated by James Kessler

Donald McCullough, Composer/Conductor Sara Jean Ford, Soprano Rachel Arky, Mezzo-soprano Peter Kendall Clark, Baritone

I. The Prisoner Rises (1943) (Majdanek) Tune: Military Melody; Words: Unknown II. Singing Saved My Life (Gliwice, Camp #1003) Narrator: Karl Rogers III. Song of the Polish Prisoners (1944) (Buchenwald) Tune: J. Kropinski, Words: K. Wójtowicz IV. The Execution of the Twelve (Auschwitz) Narrator: Richard Sykes V. In Buchenwald (1944) (Buchenwald) Tune: J. Kropinski; Words: K.Wójtowicz VI. A State of Separation Irena Augustyska Kafka Narrators: Carole Banks, Mark Reasoner, Sharon Newton VII. The Train (1944) (Brzezinka) Tune: Unknown; Words: K. Zywulska VIII. Singing from Birth to Death (Brzezinka) Narrator: Suzie Hilgeman (program continued)

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IX. The Striped Ones (1943) (Majdanek) Tune: Folk Melody; Words: Z. Karpinska X. There’s No Life Like Life at Auschwitz (Auschwitz) Narrator: Osvaldo Medina XI. Tempo di Tango (1944) (Buchenwald) Tune: J. Kropinski XII. Letter to Mom (Gusen) Narrator: Janet Snell XIII. Song of Days Now Gone (1943) (Buchenwald) Tune: J. Kropinski; Words: J. Kropinski

Please hold your applause until after the last movement.

Intermission

I Believe (U.S. Premiere) (65 minutes) Composed by Zane Zalis

Jonathan Griffith, DCINY Principal Conductor Sara Jean Ford, Tova Alexander Gemignani, Reinhardt Drew Gehling, Aaron Zane Zalis, Visiting Composer

I. The Beginning II. Why? III. Not Wanted IV. The Children V. He Said! VI. The Directive VII. Numbers VIII. I Have a Name IX. Death March X. Freedom XI. What Now? XII. I Will Remember You/Finale

Please hold your applause until after the last movement.

**A portion of all ticket sales will go directly to the Holocaust Resource Center of Temple Judea, Manhasset, New York. Special thanks to Irving Roth, Holocaust survivor and director of the Holocaust Research Center, for speaking to our artists during the residency weekend. Additional thanks to The Museum of Jewish Heritage. Audience members are encouraged to meet with them in the venue lobby, pre-concert, post-concert, and at intermission. 11-09 DCINY_CH Rental 10/28/14 10:14 AM Page 3

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We Want to Hear from You! Upload your intermission photos and post-show feedback to Twitter, Instagram, and Facebook! #ibelieve @DCINY

DCINY thanks its kind sponsors and partners in education: Artist Travel Consultants, VH-1 Save the Music, Education Through Music, and High 5.

For information about performing on DCINY’s series or about purchasing tickets, e-mail [email protected], call 212-707-8566, or visit our website at www.DCINY.org.

Distinguished Concerts International New York 250 W. 57th Street, Suite 1610 New York, NY 10107 212-707-8566 11-09 DCINY_CH Rental 10/28/14 10:14 AM Page 4

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Notes on the Program was denounced for antifascist writings, arrested by the Gestapo and sent to Sachsen- In the Shadow of the Holocaust hausen concentration camp near Berlin. arr. by DONALD MCCULLOUGH An amateur singer and songwriter, It is well-known that during the Holocaust Kulisiewicz composed 54 songs during inmates wrote music while incarcerated in more than five years of imprisonment. concentration camps. Much of it has since After liberation he remembered his songs, been recorded. At Theresienstadt, for as well as those learned from fellow pris - instance—the infamous “Paradise Ghetto”— oners, dictating hundreds of pages of text the Nazis organized an orchestra made up to his attending nurse at a Polish infirmary. of young musicians who had studied under During the postwar period, Kulisiewicz such luminaries as Leos Janacek and continued to amass material through cor - Arnold Schoenberg. Most of these musi - respondence and traveled throughout cians perished during the Holocaust, leav - Europe recording hundreds of hours of ing behind but a few pieces composed interviews in a driven attempt to collect under duress and co-opted by the Nazis for and preserve what he could of the music their own propaganda purposes. What that had been written in the camps. might they have eventually accomplished had they survived? McCullough’s first task was to immerse himself in the collection, playing through the Such classical music—beautiful as it is— hundreds of tunes. He was encouraged to was the product of formally trained musi - find that they contained some compelling cians. What about the music of the common melodies, and for the first time he began to man—music embraced by the whole com - wonder whether a choral work—perhaps munity and passed secretly by aural trans - reflecting the role of music in the camps or mission—music that carried with it powerful evoking the daily lives of the prisoners— words revealing different aspects of camp might emerge from the material. But he still life, or expressing the inmates’ innermost had no idea what lay within the accompany - feelings, of mourning, or resistance, or patri - ing texts since most them were in Polish. otism? Was there other Holocaust music akin to the slave songs that sprang from For that, McCullough engaged Marcin slavery in America, music that spoke with Zmudzki, a young Polish translator, to assist the same startling immediacy to express the him in sifting through the mountain of mate - agony of the victims of the Nazi regime? rial. McCullough originally instructed Zmudzki that he was interested in finding It was this question that first led Donald lyrics that spoke of camp life. Upon discov - McCullough on a year-long journey through ering, however, that Kulisiewicz also collect - one of the cruelest chapters of the 20th cen - ed interviews, articles and letters related to tury. McCullough’s pursuit began when he life in the concentration camps, McCullough learned of the United States Holocaust decided they should explore the additional Memorial Museum’s possession of the documents as well, in search of material Aleksander Kulisiewicz archive, the largest suitable for readings that would further illu - extant collection of music composed in minate what life was really like in the camps. the Nazi camps. Aleksander Kulisiewicz “Because I wanted the work to speak with (1918 –1982) was a law student in German- a sense of immediacy,” says McCullough, “I occupied Poland when, in October 1939, he thought it should be sung in English. But 11-09 DCINY_CH Rental 10/28/14 10:14 AM Page 5

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before I could arrange a single note, I need - response. Sometimes the responses are ed to have singable translations. Here I jarring—who could find humor amid such employed the talents of my husband, horror? And yet humor—albeit dark in English/theatre arts teacher and lyricist nature—undoubtedly exists within this Denny Clark.” Clark worked closely with work. Nevertheless, the inmates’ respons - Zmudzki during the literal translations (he es never sink to the level of triteness. For typed as Zmudzki translated), which proved them, music functioned as something invaluable to his remaining faithful to the more than just a light in the darkness; its intent of the original Polish as he created the very existence was a form of spiritual singable lyrics and performable readings. resistance in an environment where such resistance risked instant extermination. In the Shadow of the Holocaust premiered under the title Holocaust Cantata: Songs In the end, what is this work, thi s In the from the Camps on March 17, 1998, with Shadow of the Holocaust ? That, as with McCullough conducting a small ensemble anything, is for each listener to decide. of 24 voices accompanied by piano and Donald McCullough himself has repeatedly cello in the Kennedy Center’s Terrace gone on record as saying that he “…holds Theater. Since its premiere, the original out hope that the work may transform sta - chamber version has received hundreds of tistics into people in the minds of its listen - performances by choirs throughout North ers and perhaps play a part in making it America as well as by several choirs more difficult for such a horror ever to throughout the world. A compact disc of occur again.” However, James Carman Holocaust Cantata: Songs from the Camps may have summarized the work best in his was recorded and commercially released insightful and apt closing to his Holocaust by Albany Records in 1999. Cantata CD liner notes when he stated: “In the end, for me, the work flows inexorably In 2004 McCullough was encouraged to back to its source: it is the voice of human - create a symphonic version of the work ity, crying out to be heard.” that could be performed in concert halls, thereby making it accessible for more *Program notes researched, compiled, choirs to perform and reaching larger audi - and written by Denny Clark using generous ences. Tonight’s concert, with an orches - excerpts from James Carman’s Holocaust tration by James Kessler, presents the sec - Cantata CD liner notes and material from ond performance of In the Shadow of the the United States Holocaust Memorial Holocaust . Much of the intimacy of the Museum’s website original chamber version is retained, as the haunting cello solos remain the heart and I Believe soul of the accompaniment. ZANE ZALIS

Finally, a few words about the structure of I Believe is a concert work about the the work. Since each song and reading rep - Holocaust. Using music and words, a story resents a different person, a different of hate, survival and hope is told from with - place and a different time in the Holocaust in the minds of the victims and perpetrators. experience, there is no streaming narra - It is a singular large scale work divided into tive. Instead, each musical arrangement 12 movements using the artistic forces of a and each individual reading should be symphony orchestra, large mixed chorus, viewed as petit récit , a snapshot in time children’s chorus, ensembles, soloists, and that reveals a personal, nakedly honest narrator. The artistic architecture is influ - 11-09 DCINY_CH Rental 10/28/14 10:14 AM Page 6

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enced by a host of sources all in service to prevented from docking and its passen - capture the essence of a story that needs to gers were forced to wait in high anxiety as be told, in a plea for awareness, under - negotiations and alternate locations were standing and peace. considered. Despite efforts, eventually the ship and its unwanted passengers had to The Holocaust encompasses simultane - return to Europe, knowing fully well what ously the most depraved human behavior awaited them. and the most sublime human behavior; it is complex and simple; universal and particu - Chapter 4 - The Children lar. It is not to be forgotten nor should its To intentionally hurt a child elicits gut import be diluted in any manner. The wrenching responses from most human Holocaust is a telling commentary about beings. That is why the premeditated humanity by humanity and thus it is impor - action to annihilate approximately 1.5 mil - tant and necessary to share this most lion children during the Holocaust is singu - human story of despair and hope with our larly one of the most despicable and communities and especially our youth. heinous actions ever to be undertaken by human kind. Children’s lives should be Chapter 1 - The Beginning filled with love, laughter and learning, not Time passes, cataclysmic events unfold, violent hate and loathing. They truly were and the world changes, from war to peace, innocent and with profound sadness we all from peace to war, but through both war must ask, why? and peace an ancient hate lives. From 1933 –45 such entrenched hate towards a Chapter 5 - He Said! people is no longer a tense undercurrent He is Adolf Hitler and his manner and but is expressed openly, vehemently and words both frightened and fuelled the directly against those who are purportedly imagination of millions of people. His to blame for the ills and suffering of a words ripped and clawed at the body of nation and its citizens. Hate found its ulti - reason and compassion until it was unrec - mate expression in the Holocaust and this ognizable; we now call it, the Holocaust. expression of moral bankruptcy found its prelude in Kristallnacht. Chapter 6—The Directive On January 20, 1942, 15 high-ranking senior Chapter 2 - Why? officials gathered for a meeting of great It is doubtful that we will ever understand importance. They met in a beautiful villa by a the rabid and violent nature of extreme lake named Wannsee in the outskirts of racism. Nonetheless, we pursue the Berlin. In this idyllic setting they discussed dream of peace, for inherent in the pursuit the “Final Solution” to the Jewish question; is the hope for understanding and growth. a plan of action to deport, enslave labor and annihilate a people. The meeting was Chapter 3 - Not Wanted designed to consolidate and coordinate the The St. Louis sailed from Hamburg on plan from a state sanctioned level. Among May 13, 1939 with 937 men, women, and those present were: Secretary of State children aboard. Each had their story of why Dr. Stuckart –Reich Ministry for the Interior, they were crossing the Atlantic Ocean for Secretary of State Neumann –Plenipotentiary Cuba but all were hoping for a life of for the Four Year Plan, Secretary of State peace. Such was not to be as graft, greed, Dr. Freisler –Reich Ministry of Justice, deception, racism, and politics altered the Secretary of State Dr. Bühler –Office of the anticipated outcome. The St. Louis was Government General. Reinhard Heydrich, 11-09 DCINY_CH Rental 10/28/14 10:14 AM Page 7

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second in command of the SS convened of souls desperately hanging on to life. the meeting. Chapter 10 - Freedom Chapter 7 - Numbers/ The Allies were approaching and in some Chapter 8 - I Have a Name cases their approach was heralded by the When we are born we are given a name, and sound of artillery. At times freedom was with our name we build a life. Our identity as the unassuming approach of a single vehi - humans is forever connected with our name. cle to an isolated prison. Regardless, it was Remove names and replace them with num - a time of total confusion and chaos, the bers and in so doing we become objects, decision to run or stay in the camp could nothing more than a ledger entry in a book. be the difference between life and death. And, when the numbers are no longer use - The battle for freedom is two-fold; external ful, we toss them away, for it is much easier and internal. Despite being physically freed to erase a number, than to erase a name. by the Allies the assault of memory would When you are less than human in the eyes continue to take its toll. of those who count the numbers, extermi - nation is not a complicated moral issue. Chapter 11 - What Now! However, the human spirit is powerfully So, after all is said and done what is a resilient and that which is removed on the Holocaust survivor to do. For many, their surface is not so easily destroyed within. families were murdered, homes were Our names not only rest on our ears, but are stolen, and former neighborhoods were indelibly impressed upon our souls; a gift to unwelcoming to say the least. Immigration be cherished and guarded with love. During policies were unforgiving; who wanted the Holocaust millions of Jews and other “damaged goods”. Those that were fortu - condemned people had their names nate to have found surviving friends or fam - removed and replaced with numbers. They ily had nothing and depended on the wel - suffered the ignominious fate of being de- fare of others, as did the thousands of humanized, counted and herded like beasts orphaned children. The world had turned its of burden, and then they were exterminat - back on all of them and now it was attempt - ed. Those who survived remind us all of the ing to help; too little and too late for some. inextinguishable nature of the human spirit and the power of a name. Chapter 12 - I Will Remember You/ Finale It is important to remember. Remem- Chapter 9 - Death March brance walks beside us as an equal partner With the advance of the Allies there was as we move forward in moral growth. We growing realization that the truth about con - need to remember those people and centration camp activities would be discov - events that have shaped humankind and ered. The SS began to destroy evidence continue to do so. The Holocaust is a dec - both material and human. Those prisoners laration of the depth of human fallibility and that were still able to walk were forced to moral frailty. Reason and rationalism can march miles in brutal winter weather with be deceiving, imposters of truth, as they no food or water; they were being evacuat - were during the Holocaust. We must con - ed to camps in the German interior. tinuously build the moral fabric of our soci - Thousands died of exposure and starvation eties in the hope for informed peace. and many who were unable to maintain Peace is not a conclusion but a continuous pace were shot by SS guards. They walked, journey that requires the traveler to be a and walked, and walked. There were no thoughtful and compassionate navigator. words just the sound of death marching and 11-09 DCINY_CH Rental 10/28/14 10:14 AM Page 8

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Meet the Artists Dresden, Berlin, and at the Auschwitz- Birkenau Memorial during the European commemoration of the 60th anniversary of the end of WWII. Tonight’s performance includes the Lincoln Center premiere of this Donald work. A native of Jacksonville, Florida, he McCullough, recently moved to Atlantic Beach, Florida to Composer/ focus on his expanding composing career Conductor and in 2012 became the director of the Hailed by the Washington Post for his “daz - Jacksonville Symphony Chorus. His music zling expertise” on the podium, Donald can be found at donaldmccullough.com. McCullough is considered one of America’s pre-eminent choral conductors. After lead - ing the Master Chorale of Washington in the John F. Kennedy Center Concert Hall for more than a decade, he developed a reputation for creating choruses that sang Sara Jean Ford, “with an innate sense of lyricism and musi - Soprano/Tova cal poise” and “sensitive, scrupulous and heartfelt” ( The Washington Post ). Sara Jean Ford was most recently seen play - ing Christine Daae in Broadway’s The During his tenure with the Master Chorale, Phantom of the Opera . Other Broadway the 120-member symphonic chorus per - credits include A Little Night Music and formed 16 world premieres, produced three Finian’s Rainbow . She holds the unique dis - nationally distributed CDs, and toured twice tinction of performing in two Broadway throughout Central Europe. The Chorale shows at the same time; while playing the earned The Margaret Hillis Achievement leading lady in Phantom she received an Award for Choral Excellence in North emergency phone call from A Little Night America, performed in such renowned ven - Music to cover the role of Petra (a role which ues as and Avery Fisher Hall, she understudied for only a month and never and became the chorus of choice for the played). Off Broadway, she starred as Louisa National Symphony Orchestra, performing in the The Fantasticks and can be heard on with such renowned conductors as Leonard the original revival cast recording. National Slatkin, Kurt Masur, and Ivan Fischer. Mr. Tours: Wicked (Glinda/Nessarose cover), The McCullough is also a composer whose Phantom of the Opera (Christine Daae). Ms. works have been critically acclaimed Ford appeared as June in Anyone Can throughout North America and Europe. Whistle at City Center, Encores! She made Routinely sought after for commissions, his her Carnegie Hall debut with DCINY as Pieta works have been described as “powerful in Eric Whitacre’s critically acclaimed and heart-wrenching,” “mystically beauti - Paradise Lost: Shadows and Wings and her ful,” and “remarkably inspirational.” Lincoln Center concert debut as the Soprano Soloist in DCINY’s Messiah… Refreshed! In response to an invitation from German Regionally Ms. Ford has been seen in and Polish consulates, Mr. McCullough led Candide (Cunagonde), (Carrie the Master Chorale in the European pre - Pipperidge), and originating the role of Nellie miere of one of his most moving composi - Oleson in Little House on the Prairie (The tions, Holocaust Cantata: Songs from the Musical at The Guthrie Theatre). She can be Camps . The work was performed in Krakow, heard on Michael Jackson’s HIStory album, 11-09 DCINY_CH Rental 10/28/14 10:14 AM Page 9

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Harry Connick Jr.’s When My Heart Finds Ms. Arky completed her M.M. at Man- Christmas , Finian’s Rainbow revival cast hattan School of Music and her undergrad - recording, and The Sweet Bye and Bye . She uate studies at Barnard College, Columbia graduated with a BFA from Carnegie Mellon University, where she graduated summa University’s prestigious drama program. cum laude and Phi Beta Kappa. She cur - rently resides in New York City and is rep - resented by Wade Artist Management.

Rachel Arky, Mezzo-soprano Mezzo-soprano Rachel Arky, whose “expres - Peter Kendall sive phrasing and fine sound” are coupled Clark, Baritone with an “endearing” and “convincing” stage Peter Kendall Clark, a born New Yorker, is a presence, was recently seen as Carmen distinguished interpreter of opera, musical (cover/ La tragédie de Carmen at Des theater, concert, and contemporary reper - Moines Metro Opera), Berta ( Il barbiere di toire. Recent debuts: Saint Petersburg Opera Siviglia at Palm Beach Opera), Martha (Todd in Sweeney Tod d), Virginia Opera (Iolanta at New Opera NYC), Smeton (Arthur in Camelo t), Opera on the James (scenes/ Anna Bolena at Des Moines Metro (Baehr in Little Women ), and Teatro Opera AAP), Lady in Waiting ( Macbeth at Grattacielo (Alfano’s Sakuntala ). Previous Palm Beach Opera), Bradamante (scenes/ appearances: Skylight Music Theater (Pirate Alcina at Palm Beach Opera YAP), King, Don Alfonso ), Ashlawn Opera (King Maddalena ( Rigoletto at Natchez Festival of Arthur, Henry Higgins, Frank Butler), Cara - Music), and the Mezzo-soprano soloist in moor Opera (Papageno), Opera Slavica Mozart’s Coronation Mass with DCINY at (Eugene Onegin), and Belleayre Festival Avery Fisher Hall (her Lincoln Center debut). (Escamillo). As a concert artist he is fre - Upcoming engagements include Tamara quently in demand for Ein Deutsches (cover) in the world premiere of Ben Requiem, Elijah, Carmina Burana , and Moore’s Enemies, A Love Story and Messiah (upcoming with Helena Symphony.) Marquise (cover) in La fille du régiment , both Recordings: Michael Dellaira’s Cberì, and at Palm Beach Opera. three songs in the OPERA America Songbook. This season: Syracuse Opera Ms. Arky has placed as a finalist in a num - debut as Dr. Falke in Die Fledermaus and ber of prestigious competitions, including Fredrick in A Little Night Music . The the Giulio Gari International Voice Sondeheim 85th birthday celebration contin - Competition, the Opera at Florham Violetta ues at Hawaii Opera Theater with Sweeney DuPont Vocal Competition, the Marcello Todd and in St. Petersburg in Putting it Giordani Foundation International Voice Together . The New York Times has described Competition (two years in a row), the Mario Mr. Clark’s baritone as “strong,” “articulate,” Lanza Institute Competition, and the “stylish,” “resonant,” and “properly stentori - Liederkranz Voice Competition. She has an”; in Bronx Opera’s The Tender Land he also been featured in master classes with was cited as “a rascally and irrepressible several renowned singers and directors, Top.” Opera News praised him in DiCapo’s including Frederica von Stade, Catherine Off-Broadway run of The Most Happy Fella Malfitano, and Joseph Bascetta. as“…a strapping, energetic Joe, (whose) 11-09 DCINY_CH Rental 10/28/14 10:14 AM Page 10

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soothingly sexy rendition of “Don’t Cry” was, at Carnegie Hall; The European Symphony in its own way, the most memorable vocal Orchestra in Spain; Bohuslava Martin moment of the show.” He is a longtime Philharmonia and Philharmonia Chorus, member of the music faculty of Saint Ann’s Virtuosi Pragensis Chamber Orchestra, School in Brooklyn Heights where he teaches Karlovy Vary Symphony Orchestra, and violin and voice. Mr. Clark is a proud member Dvo ˇrák Chamber Orchestra, in the Czech of AGMA and AEA. peterkendallclark.com Republic; and the Bialystok State Philharmonic in Poland, as well as numer - ous regional orchestras and choruses across the United States. Jonathan Griffith, DCINY Co- The Jonathan Griffith Singers, an ensemble Founder, Artistic drawn from singers across North America Director, Principal and founded in 1987, has made its mark Conductor internationally. In recent years Maestro An acclaimed conductor, educator and lec - Griffith has led the Singers on highly turer, Jonathan Griffith has led performanc - acclaimed tours to Uruguay and Argentina; es across North America, Europe, and Asia. to the People’s Republic of China, premier - Maestro Griffith is co-founder and artistic ing Karl Jenkins’ The Armed Man: A Mass director of Distinguished Concerts Inter- for Peace in Beijing and Shanghai; and to national New York (DCINY), which has Pisa, Italy. Dr. Griffith and the Jonathan brought together, under Griffith’s artistic Griffith Singers toured Turkey in June of leadership, thousands of musicians and 2013 performing the acclaimed Turkish ora - choral singers in concert at prestigious ven - torio Yunus Emre by A. Adnan Saygun in ues across the United States, including Istanbul with the Cemal Reit Rey Carnegie Hall, Lincoln Center, and Disney Orchestra and in Ankara and Eskinehir with Hall. The founder and music director of the the Presidential Orchestra at the invitation Distinguished Concerts Orchestra, Maestro of the TURKSOY governmental agency. Griffith also oversees DCINY’s mentoring program for conductors. Dr. Griffith received his DMA in conducting from the Conservatory of Music/University He made his Carnegie Hall conducting of Missouri-Kansas City, a master’s in music debut in 1989 and has since conducted education from Wichita State University, well over 65 performances at Carnegie Hall and bachelor of music education from the and Lincoln Center combined. In addition to University of Kansas. the major works of the classical repertoire, conducting highlights include the U.S. pre - mieres of Karl Jenkins’ Stabat Mater and Te Deum ; Sergei Taneyev’s Upon Reading a Psalm ; Miloš Bok’s Missa Solemnis ; Luigi Boccherini’s Villancicos ; and Eugène Goossens’ reorchestration of Handel’s Zane Zalis, Messiah , along with world premieres by Visiting Composer Eric Funk, Seymour Bernstein, and Robert Zane Zalis is a composer/producer/educat or Convery. His additional conducting credits and the founder of the Music Production include the Mormon Tabernacle Choir in program, Mighty Mac Studio, and Prodigy Salt Lake City; Manhattan Philharmonic and at Miles Macdonell Collegiate in Winnipeg, New England Symphonic Ensemble, both Manitoba, Canada. He has composed/ 11-09 DCINY_CH Rental 10/28/14 10:14 AM Page 11

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arranged extensively and produced numer - ous works for the students of MMC. Professionally, he has created/produced music for or with the Winnipeg Symphony Orchestra, Opera Canada Symphony, CBC (television/radio), Rainbow Stage, national/ Alex Gemignani, international recording and performing Reinhardt artists across Canada and in Europe. As a Broadway: (Father), (Billy), composer Mr. Zalis was invited to New Les Misérables (Valjean, Drama League York to become a member of the presti - nomination), Sweeney Todd (Beadle, Drama gious BMI Musical Theatre Workshops. Desk nomination), (Hinckley, His symphonic contemporary oratorio, I ), The People in the Believe, has been performed to sell out Picture (Moishe), Sunday in the Park With audiences in Winnipeg (Winnipeg Sym - George (Boatman/Dennis). Off-Broadway: phony Orchestra), Toronto (Roy Thomson at the Public (Addison Mizner, Hall), Stuttgart, Germany (Solitude- Drama League nomination), Headstrong at Chor/Sinfonieorchester der Universitat EST (Nick) and Avenue Q at the Vineyard Hohenheim), and Murau (Austria), and Theatre (Brian). Favorite regional: The Three excerpted as a guest presenter in Sisters (Andrei) at Cincinnati Playhouse, The Jerusalem at Yad Vashem. Additionally, Mr. Boys From Syracuse (Sergeant) at The Zalis is the co-founder and artistic director Shakespeare Theatre of D.C., and the title of the Murau International Music Festival character in the world premiere musical (Austria) and a member of SOCAN. Saint-Ex at The Weston Playhouse. Concerts: the at It is a regular practice of Mr. Zalis’ to Avery Fisher Hall, the New York Pops at include students in his professional proj - Carnegie Hall, and the L.A. Philharmonic at ects providing unparalleled learning oppor - the Hollywood Bowl. TV/film: Homeland, tunities. He is most proud of his students The Good Wife, Empire State (pilot), who have worked intensely to achieve (Live From Lincoln Center ), personal excellence in the emotionally vul - (Great Performances ), and the film The nerable, intellectually demanding and Producers . His solo show, All At Once , pre - exacting studies of composition and musi - miered at the Kennedy Center as a part of cal performance. The learning is carried for Barbara Cook’s Spotlight Series. As a com - a lifetime. Additionally, graduates of MMC poser/lyricist, he is currently developing four music programs have achieved tremen - new musicals and recently composed the dous professional success and recognition incidental music for the plays Cadence: in a host of careers, not exclusively Home and swingset/moon . He also recently but including—professional musicians, served as co-music director and conductor Broadway/musical theater, composition, for the University of Michigan’s production professorship, major recording label sign - of Sunday in the Park With George and cre - ings, Grammy nominated projects, produc - ated a new orchestration and musically ers, educators, and audio engineers, directed Ragtime for Tisch School of the Arts among others. Mr. Zalis is most thankful at NYU. He is on faculty at NMTI at the for the gift of love and support from his O’Neill Center, a member of the BMI wife Debbie and sons Ryan and Jordan. Lehman Engel Musical Theatre Workshop, and a graduate of the University of Michigan. 11-09 DCINY_CH Rental 10/28/14 10:14 AM Page 12

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can be heard on A Minister’s Wife and Anne of Green Gables (both Off-Broadway, Award Winning Cast Recordings). As a con - cert performer Mr. Gehling will sing the music of Frank Wildhorn at 54 Below this Drew Gehling, fall and was a featured soloist for the World Aaron Science Festival’s 2012 gala at Jazz at Drew Gehling is an original revival cast Lincoln Center. His television and film member of the classic musical On A Clear appearances include the HBO film Day You Can See Forever where he played Muhammad Ali’s Greatest Fight starring the role of Warren to critical acclaim along - Christopher Plumber, Danny Glover, and side the incomparable Harry Connick, Jr. Ben Walker; 30 Rock, as the nemesis of He has also starred on Broadway in Jersey Kenneth the page; and NBC’s Smash . Boys as well as originating the role of Bob Academically, Mr. Gehling has co-authored Gaudio in the Chicago production of the a paper about professional singers along international smash hit. Mr. Gehling has with several faculty members at the NYU worked with several of the American Voice Center. The published data has gar - Theatre’s greatest directors at Lincoln nered a great deal of attention and although Center Theatre, A.R.T. in Boston, Atlantic an accomplished performer, he is also a Theatre Company, Playwrights Horizons, post-baccalaureate student at Columbia the Goodman Theatre in Chicago, Paper University. He also holds a degree from the Mill Playhouse, La Jolla Playhouse, Utah now centennially recognized School of Shakespearean Festival, and the NYTW. He Drama at Carnegie Mellon University.

Distinguished Concerts Singers International: Cheshire High School Select Choir (Cheshire, CT), Beth Malvezzi Rosenblatt, Director DC Festival Chorus (Washington, D.C.), Donald McCullough, Director Jacksonville Symphony Chorus (Jacksonville, FL), Donald McCullough, Director Marion Civic Chorale (Ocala, FL), Matthew Bumbach, Director Murau International Music Festival Singers (Austria), Marko Zeiler, Director Project Z (Manitoba, Canada), Zane Zalis, Director The Reston Chorale (Reston, VA), David Brian Lang, Director Schola Cantorum (Mountain View, CA), Gregory Wait, Director Solitude-Chor Stuttgart e.V. (Stuttgart, Germany), Klaus Breuninger, Director Winnipeg Youth Chorus (Manitoba, Canada), Garth and Lisa Rempel, Co-Directors And individuals from around the globe 11-09 DCINY_CH Rental 10/28/14 10:14 AM Page 13

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Performing Arts Partners DCINY would like to thank our Performing Arts Partners, who, with their financial support, have made this performance possible.

Larry Alford Arlene Dinkins Shaelyn Hofer Magdalena Mandl Maria Andersson Stephanie Doerr Constanze Diane Martini Danika Aquila Tanja Dörfner Holdermann Elizabeth McAlhany Emily Arsenault Ilka Döring Mark Holmes à Court Allison McAlinden Barbara Autischer Erin A. Dower Emily Huminski Mickaela McAuliffe Theresa Autischer Thomas R. Dower Adrienne Hyde- Osvaldo Medina Connor Baker Kathryn Eaton Sawatsky Jutta Messelhäuser Jerrye Baker Tara Elias R. Christian Jones Andrea Michaluk Carole Banks Janet Elsila Cornelia Kampa Barbara Miller Laurie Barber Katie Erickson Annelore Kappus- Archie Miller Carly Baron Meghan Farrell Nakir Kellie Moran Alla Bartosh Quentin Fecyk Kiki Karpen Daniel Moses Rose Bauder Tierney Federau Megan Kaufman Sevella Mostella Paul-Hermann Bauder Kate Flint Sharon Kavanagh Stephen Mulholland Anneka Bear David Fram Cheryl Kennedy Birgit Müller-Jacobi Eliza Bell Carol Fram Isabel Keßler Emily Myers Carol Bhide Gale Franklin Kristina King Mareike Nabben Celeste Bicknell Nancy Frey Lloyd Kinzer McKenzie Naldrett Gabriele Bischoff Thomas Gaberschek Karin Kirmse Judith Neßler Jean Bittl Patricia Gavaletz Paul Klassen Sharon Newton Ursula Blanke Ursula Geppert Emily Klassen Sally Offen Hannah Bliem Megan Giles Abby Klimowicz Michael Ohle Ruth Bliem Brittany Ginter Margaretha Kopp Ruth Overton Matt Blum Udo Glatthaar Ulrike Krawczyk Eva Maria Pachlinger Ainsley Borus Jana Glawischnig Angelika Krifter Vanessa Pagan Marisa Bovenzi Kathleen Gohn Ann Kuo Kathleen Parry Helga Braun Barbara Graf Emma Kushnier Amber Pasha Dagmar Breuer Heike Graser Cornelia Kuster Kristen Pearsall Klaus Breuninger George Graveson Kenneth Kutch Melanie Penner Victoria Brimble Constance Greenspan Paul Kutcher Irene Penner Marty Brown Maura Gregory Cassandra Kutcher T.J. Pepper Nancy L. Brown Kasper Karin Lachenmayer John Petersen Joshua Brown Mark Grossman Bernard LaDue Anne Petersen Richard Brümmer Kurt Gustafson Allison Lage Ursula Pfisterer Dorothy Jean Bush Rebecca Gustafson David B. Lang Miriam Pfletschinger Isabella Carels Petra Hagelauer Lili Lauer Katrina Pierson Charles Carroll Janet Haines Montana Lehmann Debbie Pierson Megan Chan Marjorie Halloran Mario Leigh David Pierson Kenneth Chin Robert Harkness Christine Leisy Samantha Price Denny Clark June Harper Lena Leon de Lahaye Vickie Prince Tiffany Connor Terry Hayes Ginger Lindberg John Pugh Khalia Connor Dotty Hayes Monica Loewen Laura Pysall Susan Connors Wayne Heckrotte Pam Lyons Richard Quinn Cassandra Consigilio Carol Heckrotte Kristen Maddison Arianne Quinn Duncan Cox Jasmine Heesaker Shannon Mahaffy Mark Reasoner Bonnie Crocker Martina Hemprich Ryanna Mahaffy Valerie Redmon Julie Cross Claire Henrick James Maher Caitlin Regan Katherine Crowell Chelsea Hertzog Madeline Mainz Judy Reid Doris Dachtler Sarah Hilder Adam Majeski Garth Rempel Eric Davies Suzie Hilgeman Claudia Malinka Lisa Rempel Julia Davis John Jarrett Hissick Marianna Anah Rempel Karin de Beyer Deborrah Hoag Malinovskaya Kristin Rheinwald Jasmine DeFehr Juliane Hochstein Beth Malvezzi Nicole Richards Kris Diaz Shawna Hodges Rosenblatt Judith Richter 11-09 DCINY_CH Rental 10/28/14 10:14 AM Page 14

Lincoln Center

Irmgard Rieder Laura Schweitzer- Norbert Tausch Annette Werbke Nathan Riedner Meins Tessa Thevenot Madison Wery Grace Riley Stefanie Schwiebert Hudson Thiessen Chelsea Wicks Patricia Robertson Jenna Shankman Jessica Thomsen Petra Windmüller Angela Rodrigues Debra Shelton Hugh Tobias Paul Witkowski Karl Rogers Richard Shields Julia Torok Mary Cathy Wittman Samantha Rohringer Molly Silverman Stephan Trabert Albrecht Wittmann Ramona Rohringer Ina Skalbergs Monika Tschenk Collette Wivers Lloyd Rollins Joan Skurnick Alexys Ullman Astrid Wölker Ann J. Rollins Alan Smithee Margo Volftsun Joanna Rosner Janet Snell Ute von den Driesch Sonja Roth Grace Spulnick Cornelia Vosseler The Performing Arts Patricia Rovegno Brandon Spulnick Kristen Wachniak Partners list includes Sabine Ruckteschler- Matthew Stayner Susan Lentz Wagoner names supplied by Habermann Hella Steineck-Kinder Heather Wakefield Barbara Sabel Robert Stewart Julia Waldron choral directors as of Lauren Schick Isabel Strobelt Mary Walsh September 17, 2014. Regina Schitter Bettina Strohm Ray Wang Any questions regard - Werner Schmid Stefanie Sturm Eileen Ward ing missing or mis - Sophie Schneider Janelle Swensson Günter Wecker spelled names should Grayson Schoofs Tim Swynar Jill Weisblatt be addressed to the Michael Schröck Richard Sykes John Weitzel individual directors.

Distinguished Concerts International New York Founded by Iris Derke (general direc - tor) and Jonathan Griffith (artistic director and principal conductor) Distinguished Concerts International is driven by passion, innovative vision, a total belief in its artists, and unwavering commitment to bringing forth unforgettable audience experiences. DCINY is a creative pro - ducing entity with unmatched integrity that is a talent incubator, a star-maker, and a presenter of broadly accessible, world-class musical entertainment. For more information about Distinguished Concerts International New York and upcoming DCINY musical events around the world, please visit: www.DCINY.org.

DCINY Administrative Staff Iris Derke, Co-Founder and General Director Jonathan Griffith, Co-Founder, Artistic Director and Principal Conductor Danuta Gross, Director of Finance and Administration Kevin Taylor, Associate Director of Program Development Jason Mlynek, Program Development James Meaders, Program Development Robert Vuichard, Program Development Neil McDonald, Program Development Andrea Macy, Marketing & Promotions Laura Toppi, Marketing & Promotions Associate Edmundo Montoya, Production Manager DeAnna Choi, Finance & Accounting Karen Cohn, Website and Graphics Emily Nelson, Concert Operations Joshua Grace, Program Development Assistant Maria Braginsky, Program Development Assistant

For press inquires please contact Ms. Shira Gilbert at [email protected] or 212.707.8566 extension 316. 11-09 DCINY_CH Rental 10/28/14 10:14 AM Page 15

Lincoln Center

2014 DCINY Concert and Artist Series Please join us for one of our other events:

Friday Evening, November 21, 2014, at 7:00 Stern Auditorium/Perelman Stage, Carnegie Hall Carmina amoris: Songs of Love Steven Sametz, Conductor Featuring Lehigh Choral Union, Lehigh University Choir, Dolce, Lehigh Glee Club, and Distinguished Concerts Orchestra

Saturday Afternoon, November 22, 2014, at 2:00 Weill Recital Hall at Carnegie Hall Distinguished Concerts Artist Series The Oracle at Delphi: The Music of Dinos Constantinides

Saturday Evening, November 29, 2014, at 7:00 Alice Tully Hall, Lincoln Center With Grace: The Music of Gwyneth Walker Nancy Menk, Guest Conductor Gwyneth Walker, Composer-in-Residence SoHarmoniums Elizabeth Núñez, Director Featuring Distinguished Concerts Orchestra and Distinguished Concerts Singers International

Sunday Afternoon, November 30, 2014, at 2:00 Avery Fisher Hall, Lincoln Center Messiah...Refreshed! HANDEL Messiah (Thomas Beecham/Eugene Goossens’ 1959 re-orchestration for full symphony orchestra) Jonathan Griffith, DCINY Artistic Director and Principal Conductor Featuring Distinguished Concerts Orchestra and Distinguished Concerts Singers International

Dates, repertoire, and artists subject to change For a full 2014 –15 season listing, visit DCINY.org.

Distinguished Concerts International New York 250 W. 57th Street, Suite 1610, New York, NY 10107 (212) 707-8566 | DCINY.org