2012–2013 season | Week 12 season sponsors | Conductor Emeritus | Music Director Laureate

Table of Contents | Week 12

7 bso news 15 on display in symphony hall 16 the symphony orchestra 18 2013–year of italian culture 21 celebrating the verdi bicentennial: verdi’s paradoxical testament by thomas may 28 this week’s program

Notes on the Program

30 The Program in Brief… 31 Verdi 41 To Read and Hear More… 44 Text and Translation

Guest Artists

49 51 Fiorenza Cedolins 55 Ekaterina Gubanova 57 Fabio Sartori 59 60 Tanglewood Festival Chorus 61 John Oliver

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

program copyright ©2013 Boston Symphony Orchestra, Inc. design by Hecht Design, Arlington, MA cover photo of BSO players Thomas Siders (left) and Michael Martin by Stu Rosner

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

bernard haitink, lacroix family fund conductor emeritus, endowed in perpetuity seiji ozawa, music director laureate 132nd season, 2012–2013

trustees of the boston symphony orchestra, inc.

Edmund Kelly, Chairman • Paul Buttenwieser, Vice-Chairman • Diddy Cullinane, Vice-Chairman • Stephen B. Kay, Vice-Chairman • Robert P. O’Block, Vice-Chairman • Roger T. Servison, Vice-Chairman • Stephen R. Weber, Vice-Chairman • Theresa M. Stone, Treasurer

William F. Achtmeyer • George D. Behrakis • Alan Bressler† • Jan Brett • Susan Bredhoff Cohen, ex-officio • Richard F. Connolly, Jr. • Cynthia Curme • Alan J. Dworsky • William R. Elfers • Thomas E. , Jr. • Nancy J. Fitzpatrick • Michael Gordon • Brent L. Henry • Charlies W. Jack, ex-officio • Charles H. Jenkins, Jr. • Joyce G. Linde • John M. Loder • Nancy K. Lubin • Carmine A. Martignetti • Robert J. Mayer, M.D. • Susan W. Paine • Peter Palandjian, ex-officio • Carol Reich • Arthur I. Segel • Thomas G. Stemberg • Caroline Taylor • Stephen R. Weiner • Robert C. Winters life trustees

Vernon R. Alden • Harlan E. Anderson • David B. Arnold, Jr. • J.P. Barger • Leo L. Beranek • Deborah Davis Berman • Peter A. Brooke • Helene R. Cahners† • John F. Cogan, Jr. • Mrs. Edith L. Dabney • Nelson J. Darling, Jr. • Nina L. Doggett • Mrs. John H. Fitzpatrick • Dean W. Freed • Thelma E. Goldberg • Mrs. Béla T. Kalman • George Krupp • Mrs. Henrietta N. Meyer • Nathan R. Miller • 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 • John Hoyt Stookey • Wilmer J. Thomas, Jr. • John L. Thorndike • Dr. Nicholas T. Zervas other officers of the corporation

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

Susan Bredhoff Cohen, Co-Chair • Peter Palandjian, Co-Chair • Noubar Afeyan • David Altshuler • 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 • Anne F. Brooke • Stephen H. Brown • Gregory E. Bulger • Joanne M. Burke • Ronald G. Casty • Richard E. Cavanagh • Dr. Lawrence H. Cohn • Charles L. Cooney • William Curry, M.D. • James C. Curvey • Gene D. Dahmen • Jonathan G. Davis • Paul F. Deninger • Michelle A. Dipp, M.D., Ph.D. • Dr. Ronald F. Dixon • Ronald M. Druker • Alan Dynner • Philip J. Edmundson • Ursula Ehret-Dichter • John P. Eustis II • Joseph F. Fallon • Judy Moss Feingold • Peter Fiedler • Steven S. Fischman • John F. Fish • Sanford Fisher • Jennifer Mugar Flaherty • Robert Gallery • Levi A. Garraway • Cora H. Ginsberg • Robert R. Glauber • Stuart Hirshfield • Susan Hockfield • Lawrence S. Horn • Jill Hornor • William W. Hunt • Valerie Hyman • Everett L. Jassy • Stephen J. Jerome • Darlene Luccio Jordan, Esq. • Paul L. Joskow • Stephen R. Karp • John L. Klinck, Jr. •

week 12 trustees and overseers 3

photos by Michael J. Lutch

Peter E. Lacaillade • Charles Larkin • Robert J. Lepofsky • Jay Marks • Jeffrey E. Marshall • Robert D. Matthews, Jr. • Maureen Miskovic • Robert Mnookin • Paul M. Montrone • Sandra O. Moose • Robert J. Morrissey • J. Keith Motley, Ph.D. • Cecile Higginson Murphy • Joseph J. O’Donnell • Joseph Patton • 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. • John Reed • Robin S. Richman, M.D. • Dr. Carmichael Roberts • Susan Rothenberg • Joseph D. Roxe • Kenan Sahin • Malcolm S. Salter • Diana Scott • Donald L. Shapiro • Wendy Shattuck • Christopher Smallhorn • Michael B. Sporn, M.D. • Nicole Stata • Margery Steinberg • Patricia L. Tambone • Jean Tempel • Douglas Thomas • Mark D. Thompson • Albert Togut • Diana Osgood Tottenham • Joseph M. Tucci • Robert A. Vogt • David C. Weinstein • Dr. Christoph Westphal • James Westra • 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 • JoAnneWalton Dickinson • Phyllis Dohanian • Harriett Eckstein • George Elvin • Pamela D. Everhart • J. Richard Fennell • Lawrence K. Fish • 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 • Marilyn Brachman Hoffman • Roger Hunt • Lola Jaffe • Martin S. Kaplan • Mrs. S. Charles Kasdon • Mrs. Gordon F. Kingsley • Robert I. Kleinberg • David I. Kosowsky • Robert K. Kraft • Farla H. Krentzman • Benjamin H. Lacy • Mrs. William D. Larkin • 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 • Patrick J. Purcell • Robert E. Remis • John Ex Rodgers • Alan W. Rottenberg • Roger A. Saunders • Lynda Anne Schubert • Mrs. Carl Shapiro † • L. Scott Singleton • Gilda Slifka • Samuel Thorne • Paul M. Verrochi • Robert A. Wells† • Mrs. Joan D. Wheeler • Margaret Williams-DeCelles • Richard Wurtman, M.D.

† Deceased

week 12 trustees and overseers 5

BSO News

“UnderScore Friday” This Friday, January 18 This Friday night’s performance of the Verdi Requiem conducted by Daniele Gatti is the third of this season’s six “UnderScore Friday” concerts, at which attendees hear comments from the stage about the program. This Friday, BSO horn player Rachel Childers will greet the audience to begin the proceedings. The season’s remaining “UnderScore Friday” con- certs—all to be introduced by members of the orchestra—take place on March 29 (Mahler’s Symphony No. 3, also with Gatti), April 12 (music of Miaskovsky, Knussen, and Mussorgsky led by British composer/conductor Oliver Knussen, with guest soloists Pinchas Zukerman and Claire Booth), and April 26 (BSO Conductor Emeritus Bernard Haitink leading music of Schubert and Mahler). Tickets for all of these concerts are available at the Symphony Hall box office; by calling SymphonyCharge at (617) 266-1200, or at bso.org.

Boston Symphony Chamber Players CD Nominated for Grammy Award The Boston Symphony Chamber Players’ 2011 CD on BSO Classics—“Profanes et Sacrées: 20th-Century French Chamber Music,” featuring music of Ravel, Tomasi, Dutilleux, Debussy, and Françaix—has been nominated for a Grammy in the category of “Best Chamber Music/ Small Ensemble Performance.” This year’s Grammy Awards ceremony will take place on February 13. “Profanes et Sacrées,” along with the Chamber Players’ recent all-Mozart and all-American CDs on BSO Classics, is available at bso.org and at the Symphony Shop.

Free Chamber Music Concerts Featuring BSO Musicians at Northeastern University’s Fenway Center on St. Stephen Street Once again this season, the Boston Symphony Orchestra 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 week’s concert, on Friday, January 18, features the Hawthorne String Quartet (made up of BSO players), BSO clarinetist Thomas Martin, BSO cellist Mickey Katz, and guest pianist Aaron Likness in music of Verdi, Previn, William Grant Still, and Earle Brown. Further concerts are scheduled for March 1, March 8, and April 26. These free concerts are made possible in part by a generous grant from the Lowell Institute.

week 12 bso news 7

BSO 101 at Symphony Hall BSO 101 is an informative series of free adult education sessions on selected Tuesdays and Wednesdays, from 5:30-6:45 p.m. at Symphony Hall. The Wednesday sessions—“BSO 101: Are You Listening?,” with Director of Program Publications Marc Mandel and members of the BSO—are designed to enhance your listening abilities and appreciation of music by focusing on music from upcoming BSO programs. The Tuesday sessions—“BSO 101: An Insider’s View”—focus on behind-the-scenes activities at Symphony Hall. All of these free sessions are followed by a complimentary reception offering beverages, hors d’oeuvres, and further time to share your thoughts with others. The next session, on Tuesday, January 29, will offer the season’s second BSO players’ round table discussion, with cellist Blaise Déjardin, assistant concertmaster Elita Kang, and principal trumpet Thomas Rolfs. Though admission is free, we do ask that you e-mail [email protected] or call (617) 638- 9454 to reserve your place for the date or dates you’re planning to attend. Complete infor- mation about upcoming BSO 101 sessions can be found at bso.org, under the “Education & Community” tab on the BSO’s home page. individual tickets are on sale for all concerts in the bso’s 2012-2013 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.

In Memory of Constance Leeds stellar reviews. Her research for her novels Bennett, Thursday, January 17, 2013 took her from the banks of the Rhine to the Nile. She was also a trustee of the Huntington Thursday evening’s performance is given in Theatre. The world is less bright without her memory of Constance Leeds Bennett, by in it.” her friend, BSO Life Trustee David Mugar: “Constance Leeds Bennett was simply the best. She grew up in a house filled with The Deborah and William R. Elfers music. Her grandfather started the Roseland Concert, Saturday, January 19, 2013 Ballroom in New York City and her mother Saturday evening’s concert is supported by a was a lyricist. After graduating from Wellesley generous gift from BSO Trustee William Elfers College, she went on to and his wife, Deborah Bennett Elfers. The Bos- Law School. She retired from law to raise her ton Symphony Orchestra gratefully acknowl- three children. She created an environment edges Bill and Deborah for their continuing that was both challenging and supporting. and devoted support. She celebrated intelligence, athleticism, and the arts. She valued honesty, elegance, grace, Bill and Deborah are longtime subscribers and and kindness. And she did it in an idyllic set- supporters of the BSO and have attended con- ting—on a farm surrounded by chickens, a certs together for more than twenty years. Bill goat, and even an ill-tempered pig. Sitcoms was elected to the BSO Board of Overseers in were banned, but books were unlimited and 1996 and the Board of Trustees in 2002. Dur- trips to theatre were regular. When her chil- ing his tenure with the Symphony, he has dren were grown, she started her first novel, served as a member of the Budget, Investment, The Silver Cup. It won the International and Leadership Gifts committees. Reading Association’s 2008 Children’s and Bill and Deborah continue to support the BSO Young Adult Book Award for Intermediate generously in many ways. They are members Fiction. Her second book, The Unfortunate of the Higginson Society at the Encore level, Son, was published in 2012 and has received

week 12 bso news 9 have endowed several seats in the first bal- mation about becoming a BSO Business cony of Symphony Hall, and have attended Partner, contact Rich Mahoney, Director of Opening Night at Symphony and Opening BSO Business Partners, at (617) 638-9277 Night at Pops as Benefactors for the past sev- or at rmahoney@ bso.org. eral years. Deborah’s efforts on the BSO’s behalf include Dining at the BSO directing the Business Leadership Association’s For Symphony Hall patrons who like to arrive fundraising efforts as a member of the BSO early and relax over food and drink, Boston staff from 1992 to 1995. As a BSO volunteer, Gourmet’s on-site chefs prepare a variety of she has served on the Annual Giving Commit- tempting culinary offerings. The Symphony tee, chaired the Annual Fund’s Higginson Café, entered via the Cohen Wing doors on Society dinner, hosted Higginson Society Huntington Avenue, offers prix fixe, buffet- events, and, with other key volunteers, collab- style dining from 5:30 p.m. until concert time orated with the Boston Symphony Association for all evening Boston Symphony concerts of Volunteers to involve people in the BSO’s and lunch from 11 a.m. prior to Friday-after- artistic, educational, and community out- noon concerts. For reservations call 617-638- reach programs. In addition to her work with 9328 or visit bso.org—where you can now the orchestra’s Board and volunteer corps, also order a meal, appetizer, or drink ahead Deborah sang for several years with the of time. Casual dining and a full complement Tanglewood Festival Chorus. Deborah is a of beverages are offered in both the Cabot- graduate of Conservatory of Cahners and O’Block/Kay rooms before con- Music, where she studied voice; she now certs and at intermission. The Refreshment serves on the Conservatory’s Board of Trustees. Bar, located next to the coatroom on the or- chestra level, serves hot and cold non-alcoholic BSO Business Partner of the Month beverages, as well as snacks. The Champagne Bar, located outside the O’Block/Kay Room, Did you know that there are more than 400 offers champagne by the glass, cognac, arma- businesses and corporations that support the gnac, and gourmet chocolates. Boston Symphony Orchestra, Inc.? You can lend your support to the BSO by supporting the companies who support us. Each month, Go Behind the Scenes: we spotlight one of our corporate supporters Symphony Hall Tours as the BSO Business Partner of the Month. This month’s partner is Connell Limited Get a rare opportunity to go behind the Partnership. Connell Limited Partnership scenes at Symphony Hall with a free, guided (“Connell”) is an acquisition-minded family- tour, offered by the Boston Symphony Associ- owned business with a record of growth and ation of Volunteers. Throughout the Symphony creation of shareholder value. Connell’s port- season, experienced volunteer guides discuss folio is characterized by market-leading com- the history and traditions of the BSO and its panies providing hard-to-manufacture prod- world-famous home, historic Symphony Hall, ucts, superior customer service, excellence in as they lead participants through public and operations, and a strong commitment to their selected “behind-the-scenes” areas of the employees and their community. Connell cur- building. Free walk-up tours lasting approxi- rently operates companies in the manufactur- mately one hour take place in January and ing sector, principally serving customers in February at 2 p.m. on five Saturdays (Janu- the automotive, energy, agriculture, appli- ary 2, 12, 19; February 16, 23) and at 4 p.m. ance, mining equipment, mineral/ore pro- on six Wednesdays (January 16, 23, 30; cessing, electronics, and plastics industries. February 13, 20, 27). For more information, Connell has in excess of $750 million in funds visit bso.org/tours. All tours begin in the available for investment and is continually Massachusetts Avenue lobby of Symphony evaluating new opportunities. For more infor- Hall. Special private tours for groups of ten

week 12 bso news 11 guests or more—free for Boston-area elemen- Opus 18, No. 5, in A, and Opus 130 in B-flat tary schools, high schools, and youth/educa- (without the Grosse Fuge) on Monday, tion community groups—can be scheduled in February 4, at 7:30 at College’s advance (the BSO’s schedule permitting). Make Nazarian Center, 600 Mt. Pleasant Ave., your individual or group tour reservations Providence, RI. Tickets are $35, discounted today by visiting bso.org/tours, by contacting for students and seniors. For tickets or the BSAV office at (617) 638-9390, or by more information, visit ric.edu or call (401) e-mailing [email protected]. 456-8144.

BSO Members in Concert Those Electronic Devices... BSO violist Michael Zaretsky plays a Boston As the presence of smartphones, tablets, University School of Music faculty recital with and other electronic devices used for com- guest pianist Constantine Finehouse on Friday, munication and note-taking has continued to January 25, at 8 p.m. at BU’s CFA Concert Hall, increase, there has also been an increase in 855 Commonwealth Avenue. The program expressions of concern from concertgoers includes music of Bach, Martin˚u, Honegger, and musicians who find themselves distracted Penderecki, Schumann, and Enesco; admis- not only by the illuminated screens on these sion is free. Visit www.bu.edu/cfn, for more devices, but also by the physical movements information. that accompany their use. For these reasons, and as a courtesy to those on stage as well The Concord Chamber Music Society, found- as those around you, we respectfully request ed by BSO violinist Wendy Putnam, presents that all such electronic devices be turned off the Concord Chamber Players with Yehudi and kept from view while the BSO’s perform- Wyner, piano, performing Mr. Wyner’s new ances are in progress. Thank you very much work for piano quartet (commissioned by for your cooperation. the Concord Chamber Music Society with generous support from the Harvard Musical Association), Ravel’s Sonata for Violin and Comings and Goings... Cello, and Mozart’s Piano Quartet in E-flat, Please note that latecomers will be seated K.493, on Sunday, January 27, at 3 p.m. at the by the patron service staff during the first Concord Academy Performing Arts Center, convenient pause in the program. In addition, 166 Main Street in Concord. A pre-concert please also note that patrons who leave the talk begins at 2 p.m. Tickets are $42 and $33, hall during the performance will not be discounted for seniors and students. For allowed to reenter until the next convenient more information, visit www.concordcham- pause in the program, so as not to disturb the bermusic.org or call (978) 371-9667. performers or other audience members while The Muir String Quartet—BSO violinist Lucia the concert is in progress. We thank you for Lin and BSO principal violist Steven Ansell, your cooperation in this matter. violinist Peter Zazofsky, and cellist Michael Reynolds—performs two Beethoven quartets:

week 12 bso news 13 on display in symphony hall This season’s BSO Archives exhibit, located throughout the orchestra and first-balcony levels of Symphony Hall, continues to display the breadth and depth of the Archives’ holdings, which document countless aspects of BSO history—music directors, players, instrument sections, guest conductors, 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 case in the Brooke Corridor (the orchestra-level Massachusetts Avenue corridor) focusing on the influence of the Germania Society on musical life in 19th-century Boston prior to the founding of the BSO • also in the Brooke Corridor, a display case on the history of the BSO’s section, featuring a recent gift to the BSO Archives of two owned by Viktor Polatschek, the BSO’s principal clarinet from 1930 to 1948 • a pair of display cases, in the Huntington Avenue orchestra-level corridor adjacent to the O’Block/Kay Room, highlighting architectural features of Symphony Hall’s ceiling and clerestory windows exhibits on the first-balcony level of symphony hall include: • a display in the Cabot-Cahners Room of autographs and memorabilia donated to the Archives by legendary trumpet player Roger Voisin, a BSO member from 1935 to 1973 and principal trumpet from 1950 to 1965 • in the first-balcony corridor, audience-right, near the stage, a recently acquired sculpture by Rose Shechet Miller of , the BSO’s music director from 1962 to 1969 • also in the first-balcony corridor, audience-right, display cases documenting political events that took place in Symphony Hall, and in the first-balcony corridor, audience- left, documenting Duke Ellington’s Symphony Hall appearances in the 1940s

TOP OF PAGE, LEFT TO RIGHT: Serge Koussevitzky costumed as Joseph Haydn for a 1939 Pension Fund performance of the composer’s “Farewell” Symphony (photo by John B. Sanromá) A January 1937 autograph greeting, including a musical quote from Debussy’s “La Mer,” inscribed by guest conductor Dimitri Mitropoulos to BSO trumpet player Roger Voisin Program for a January 1943 Symphony Hall appearance by Duke Ellington

week 12 on display 15 Boston Symphony Orchestra 2012–2013

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

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

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

week 12 boston symphony orchestra 17 18 week 12 19 20 Celebrating the Verdi Bicentennial: Verdi’s Paradoxical Testament by Thomas May

The Boston Symphony Orchestra marks the bicentennials of (born in October 1813) and (born in May 1813) with performances under Daniele Gatti of Verdi’s Requiem this month and an all-Wagner program in March.

Now that we’ve made it past the apocalypse allegedly predicted by the Mayan calendar, the music world can carry on with its planned observance of the bicentennials of Giuseppe Verdi and Richard Wagner. This season’s Boston Symphony programs celebrating these two titans of afford us a special perspective on the utterly distinctive ways in which the two composers leverage the orchestra in the service of their aesthetic visions.

Both composers, who were born within a mere four-and-a-half months of each other, themselves survived times of violent change. In March we’ll take a look at how Wagner transferred, into artistic dreams, the revolutionary activism that led to his lengthy exile. Conceiving a new central role for the orchestra in his dramaturgy, Wagner actually intro- duced some of his “music of the future” outside the . Verdi, for his part, repeatedly confronted the strict censorship codes that regulated opera production in his sphere. Despite these restrictions, he never tired of reinventing himself—and in the process became an inspiring force, culturally and politically, within the movement that at last achieved the unification of in 1861 (a decade before Bismarck engineered a similar national fusion for Germany).

Verdi’s birthplace at Roncole, as painted by Achille Formis

week 12 verdi’s paradoxical testament 21

“Alone among his Italian contemporaries,” writes Julian Budden—indisputably one of the most perceptive English-language experts on the composer—“Verdi invariably treated each opera as an entirely separate artistic proposition,” devising a characteristic musical “color” so as “to realize the dramatic essence of a given subject as far as his currently available means would allow.” Such ongoing evolution is remarkable enough on its own terms—and all the more impressive when we recall that Verdi was creating his music in a field as ruthlessly competitive and commercially driven—and as beset by predictable formulas—as today’s film industry.

Yet for a long time, the phenomenal success of Wagnerism managed to distort assess- ments of Verdi’s own formidable art. While the Italian master reigned supreme by the time of (1871), for the commission of which he was first in line, his reputation suf- fered a precipitous decline with the new century. Patronizing praise reserved for his last (insofar as they were seen to veer in the Wagnerian direction) reaffirmed a false dichotomy reminiscent of the similarly misguided division between champions of Wagner and Brahms. This either/or mindset, which pitted Wagner’s self-proclaimed avant-garde reformism against attitudes conveniently labeled “reactionary,” effectively obscured the immense variety and scope of Verdi’s legacy. When it comes to the spectrum of accom- plishments of his “galley years” in particular—the frantically busy early period in which he established himself as the heir to the Italian operatic tradition and the guide to its

week 12 verdi’s paradoxical testament 23 An engraving of Verdi in Paris, c.1876

future course—the Verdi Renaissance that took root around the middle of the twentieth century has by no means completed its work of rediscovery.

Both Wagner and Verdi pioneered highly individual expressive means—including their use of the orchestra as a resource—to realize their visions of a vital form of music drama. “I, too, have attempted the fusion of music and drama,” declared Verdi to a reporter in 1875, looking back over his career while he was engaged in a high-profile tour of the Requiem. After announcing, upon the triumph of Aida, his retirement from writing for the stage, the Italian had surprised many of his contemporaries by unveiling the monumental score of the Requiem with its life outside the opera house. Its balance of ingenious orchestration and motivic intricacy with masterful deployment of the chorus and solo voices punctured stereotypes about the allegedly inherent differences between Italian and German music.

While Verdi himself remained wary of “symphonic” encroachment on the primacy of the voice in opera, crafting a work he knew would have an existence in the concert hall seems to have liberated him from operatic conventions by encouraging the integration of orchestral and vocal dimensions. This in turn carries forward a process he had been fol- lowing in his operas up to the interrupted “retirement”—namely, to rethink established formulas in favor of the particular dramatic truth of each new project for the stage. In terms of his approach to the orchestra, as Budden observes, this meant that “gradually the [instrumental] combinations become more varied and imaginative; the colors soften into more delicate shades. Rhetoric turns into poetry; the sharp shocks which drive the

24 earlier operas forward become smooth transitions, aided by an ever-widening melodic and harmonic vocabulary.”

In her recent book Verdi and the Germans, Gundula Kreuzer examines the astonishing success the Requiem aroused in and “in German lands, where most musical genres outside opera were considered national territory... .” Her study unpacks the anxieties embedded in the conductor Hans von Bülow’s notoriously pre-emptive (but constantly quoted) dismissal of the work as “an opera in ecclesiastical robes.” In fact, argues Kreuzer, the Requiem challenged a presiding historical narrative (one promoted not only by Wagnerians) that attempted to pit Verdi and his operatic tradition against “Germanness” in music: “Verdi’s unexpectedly careful elaboration elicited a heated debate about genre and style, national traits, and the essence of ‘truly religious’ music.”

The Requiem is rife with paradoxes. A freethinker who defied convention and had little patience for the institutional Catholicism in which he had been raised, Verdi writes music of soul-stirring profundity in response to this traditional liturgy of the Church. Confronting the stark reality of death somehow triggered a revival of creative energy, reawakening his desire to compose. While all manner of tragic demises had figured in the preceding operas, here the plot itself is catalyzed by our shared mortality. The Requiem is nothing less than a cosmic drama propelled by the quest for ultimate mean- ing. One parallel that comes to mind of another artist skeptical of orthodox belief, and who nevertheless created a soul-stirring meditation on death, is Johannes Brahms in Ein deutsches Requiem, premiered just six years before Verdi’s Requiem. Brahms was in fact quick to recognize the Italian’s effort as a masterpiece and to call his colleague von Bülow to task for his misjudgment. (In a few passages Verdi even comes uncannily close to the spirit of Brahms’s First Symphony, though the latter was premiered two years after the Requiem.) Both the German and Italian , moreover, are remarkable for breathing a fresh spirit of individuality into a tradition of sacred choral-symphonic music that had become enervated by the later nineteenth century.

Another paradoxical feature is that Verdi’s Requiem stands apart from his operatic oeuvre yet at the same time represents a summation of it. To enhance the terms of this drama, he draws from the rich store of experience gathered throughout decades of writing for the stage. It’s easy enough to notice echoes of Aida or Don Carlo; indeed, for the Lacrymosa ending of the immense drama that rages through the , he recycled the melody of a duet he decided to cut from Don Carlo.

Creating a work with the concert hall in mind seems also to have liberated the composer from further limitations of the opera house—both the practical inconveniences and the aesthetic restrictions of psychological realism. Verdi famously took pride in the unique “tinta” (or “colorito”) of each of his operas—the musical thumbprints that give them a special overall character, setting them apart from the one-size-fits-all of conventional formulas. In a sense, each movement of this enormous musical fresco reveals its own particular tinta, without sacrificing the symphonic cohesion that weaves the entire work together. Perhaps one of the most significant comments the composer made regarding

week 12 verdi’s paradoxical testament 25 New England Conservatory presents January 24, 2013 RD The 23 Annual Composers Anniversary Celebration 7:30 pm TATYANA DUDOCHKIN, NEC Jordan Hall founder and artistic director 290 Huntington Ave., Boston Ron Della Chiesa, host (WGBH) Tickets at NEC Box office 617 585-1260

Program Favorite arias, orchestral and choral music from operas Traviata, , , Trovatore, , , Aida, , ’Requiem aeternam’ from Requiem and String quartet in e-minor

Featuring Bolshoi Theater, MET and special guest soloist, Michail Svetlov, bass

NEC Alumni and Faculty Becky Wright, soprano Michael Meraw, Tatyana Dudochkin, piano Yelena Dudochkin, soprano Bradley Williams, Scholarship Brass Quintet, NEC Youth Chorale, Jonathan Richter, director Verdi String Quartet: Irina Muresanu, violin Sam Ou, cello Mark Berger, viola Joo-Mee Lee, violin NEC Youth Symphony Orchestra, Steven Karidoyanes, director NEC Brass Ensemble, Eli Epstein, director SSalutealute t too G Giuseppeiuseppe VerdiVerdi onon hishis b bicentennialicentennial An 1886 painting of Verdi by Giovanni Boldini

the Requiem was his caution that “one must not sing the Mass as one sings an opera”— that is, with the kind of phrasing and emphasis familiar from the stage.

Both the local aspect of changing tinta and the Requiem’s overarching unity of design rely on Verdi’s imaginative use of his orchestral palette. Particular sonorities, from the ’s violent accents to lyrically consoling cadences, function as characters in their own right, while the soloists are akin to archetypes of humanity rather than flesh-and- blood dramatis personae. The score’s derivation of thematic material from the opening phrases never sounds fussy but animates the interplay of voices and instruments. A balance of unity and variety is further grounded in Verdi’s pacing of moments of recall— e.g., the eruptions of the Dies irae that foreshadow ’s tempest—against dramatic contrasts. A particularly striking example of the latter occurs in the rainbow of shifting textures for each of the Agnus Dei repetitions—a kind of modern-day gloss on ancient chant. By this time, Verdi had declared his aesthetic motto as “torniamo all’antico: sarà un progresso” (“let us turn back to the past; that will be progress”). The Requiem is, in the end, a testament in which he bravely recuperates both a vast cultural past and a personal one, distilling the technique and artistic wisdom that could only have been gained through patient decades of labor. thomas may writes about the arts for the Boston Symphony Orchestra program book and other publications. He is the author of “Decoding Wagner: An Invitation to his World of Music Drama” and the editor of “The John Adams Reader: Essential Writings of an American Composer.”

week 12 verdi’s paradoxical testament 27 The first performance of Verdi’s Requiem, on May 22, 1874, at the 13th-century church of San Marco in , with the composer conducting

bank of america and emc corporation are proud to sponsor the bso’s 2012-2013 season.

The Thursday and Saturday concerts will end about 9:35, the Friday concert about 9:45. 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 do not take pictures during the concert. Flashes, in particular, are distracting to the performers and to other audience members.

28 bernard haitink, conductor emeritus seiji ozawa, music director laureate Boston Symphony Orchestra 132nd season, 2012–2013

Thursday, January 17, 8pm | in memory of constance leeds bennett Friday, January 18, 8pm | the joan and john bok concert (UnderScore Friday concert, including comments from the stage) Saturday, January 19, 8pm | the deborah and william r. elfers concert daniele gatti conducting verdi requiem mass for four solo voices, chorus, and orchestra, in memory of alessandro manzoni (marking the bicentennial of verdi’s birth) Requiem and Dies irae Dies irae Rex tremendae Tuba mirum Recordare Mors stupebit Ingemisco Liber scriptus Confutatis Quid sum miser Lacrymosa Offertorio (Domine Jesu Christe) Agnus Dei Lux aeterna fiorenza cedolins, soprano ekaterina gubanova, mezzo-soprano fabio sartori, tenor carlo colombara, bass tanglewood festival chorus, john oliver, conductor

Text and translation begin on page 44.

Please note that there is no intermission in this concert. friday evening’s performance by the boston symphony orchestra has been named by a generous gift from joan and john bok. this week’s performances by the tanglewood festival chorus are supported by the alan j. and suzanne w. dworsky fund for voice and chorus.

week 12 program 29 Boston Symphony Orchestra 132nd season, 2012–2013

Thursday, January 17, 8pm | in memory of constance leeds bennett Friday, January 18, 8pm | the joan and john bok concert Saturday, January 19, 8pm | the deborah and william r. elfers concert

Please note that tenor Fabio Sartori has had to cancel his appearances here this week due to illness. We are fortunate that Stuart Neill, making his Boston Symphony subscription series debut at short notice, was available to replace Mr. Sartori as tenor soloist in this week’s per- formances of the Verdi Requiem.

Stuart Neill Making his BSO subscription series debut this week, the American tenor Stuart Neill made his BSO debut at Tanglewood in 1998 as tenor soloist in Beethoven’s Ninth Symphony led by Mstislav Rostropovich. Through his performances in the world’s finest opera houses and concert halls with leading conductors and orchestras, he continues to establish himself as one of today’s most important . He has appeared at the , Teatro alla Scala, Teatro , Vienna Staatsoper, Royal Opera–Covent Garden, Teatro Colon, Alte Oper , Opera Company of Philadelphia, , and , as well as with the Atlanta, Boston, and San Francisco symphony orchestras, the New York, Israel, and Los Angeles philharmonic orchestras, and Dresden’s Staatskapelle. Mr. Neill debuted at the Metropolitan Opera as Arturo in ; at La Scala as Edgardo in ; at Opéra de Paris–Bastille and the as the Italian Singer in Der Rosenkavalier; at the Vienna Staatsoper as Arturo in I puri- tani, and at –Covent Garden as Riccardo in Verdi’s . His New York recital debut, sponsored by the Opera Orchestra of New York, was at ’s Alice Tully Hall. He has worked with conductors including Sir , Sir Andrew Davis, , , James Levine, Eduardo Müller, , , Michael Tilson Thomas, Sir Roger Norrington, Nello Santi, , Michelangelo Veltri, , and Anton Guadagno. Mr. Neill is internationally recognized as the leading interpreter of the tenor part in Verdi’s Requiem, which he has performed more than 200 times, and recently recorded with Sir Colin Davis and the London Symphony Orchestra. Upcoming performances include Radames in Aida at La Scala, Arena di , and Opéra de Wallonie de Liège; Calaf in in Oviedo and Arena di Verona; Manrico in at La Fenice in Venice, Deutsche Oper , Arena di Verona, Swedish Royal Opera, and Volksoper Wien; Peter Grimes in Toulon; with Pinchas Steinberg at San Carlo di Napoli; Canio in Pagliacci in Mannheim and at Santiago’s Municipal Theatre; Verdi’s Requiem in Stavanger, Lille, and Paris; and Wagner’s Rienzi and Verdi’s Otello at de Barcelona. Mr. Neill can be heard on more than a dozen recordings, including Bellini’s Il pirata on Berlin Classics, Verdi’s Oberto on Philips Classics, and the Grammy Award-winning recording of Stravinsky’s Perséphone with the San Francisco Symphony on RCA Red Seal.

week 12 insert 1 The Program in Brief...

This year, the BSO joins the music world in marking the bicentennials of two giants of opera—Giuseppe Verdi and Richard Wagner, both born in 1813. This week, the orchestra led by Daniele Gatti marks the 200th anniversary of Verdi’s birth with performances of his Requiem Mass dedicated to the memory of Alessandro Manzoni, the Italian poet and novelist whom Verdi revered as a saint. Maestro Gatti will also lead the BSO’s observance of the Wagner bicentennial, an all-Wagner program to be performed in March.

Verdi himself led the first performance of the “Manzoni Requiem” in Milan’s church of San Marco on May 22, 1874, the first anniversary of Manzoni’s death, following that with a performance several days later at La Scala, the city’s famed opera house (though the work in its final form was not heard until a year later, as introduced by Verdi in London). Although Verdi’s Requiem was once described, early on, as “an opera in ecclesiastical garb,” the fact that the initial performances took place in both church and opera house in no way suggests a case of “identity confusion.” Yes, it calls for four solo voices of operatic caliber; in fact, three of the original soloists had taken leading roles in the 1872 La Scala premiere of Aida. But in writing the Requiem, a work he surely knew was destined for the concert hall, Verdi, spared the constraints of opera-house convention, was able to treat the orchestra, and aspects of the work’s overall architecture, in freer and bolder ways than he might otherwise have attempted. (See also, on this point, Thomas May’s program book essay starting on page 21.)

Nor is it surprising that, like the two other truly great 19th-century liturgical settings— Beethoven’s Missa Solemnis and the Berlioz Requiem—Verdi’s Requiem lives its life pri- marily in the concert hall—though even there, the programming of these three works is rare, given the massive size of the performing forces required. (The BSO performed Verdi’s Requiem for the first time only in 1954, with the gifted but tragically short-lived Toscanini protégé Guido Cantelli on the Symphony Hall podium; see page 32.)

Throughout the work’s eighty-minute span, Verdi writes music that is extraordinarily wide-ranging, and masterfully balanced, in its interconnected musical and emotional content. The piece begins and ends in tones of hushed solemnity (pp at the start, ppp at the end), with powerful outbursts along the way. Also throughout the work, the juxtapo- sition of chorus and soloists serves to contrast the public vs. private utterances of the text. (The way Verdi achieves some of the intended effects via his specific markings in the score is one of the things Helen Greenwald discusses in her program note.) Soloists, chorus, and orchestra—whether individually or in varying combinations—are given music that is ingeniously and consistently expressive and engaging, joining with the conductor to enliven a world that properly balances the work’s devotional and dramatic aspects into a cumulatively moving, deeply spiritual whole.

Marc Mandel

30 Giuseppe Verdi Requiem Mass for four solo voices, chorus, and orchestra, in memory of Alessandro Manzoni

GIUSEPPE FORTUNINO FRANCESCO VERDI was born in the village of Roncole, near Busseto in the Duchy of Parma, on October 10, 1813, and died in Milan on January 27, 1901. As to the composition history of the Requiem: the theme of the Lacrymosa first appeared in 1866, in the duet “Qui me rendra ce mort?” in Verdi’s opera “Don Carlos” (making it the earliest part of his Requiem). The Libera me originated in different form in 1869 as part of a composite Requiem for Rossini. In April 1873, Verdi decided to expand this into a full Requiem of his own; he completed the Requiem aeternam and Dies irae in March 1874, using music from the earlier Libera me. On April 9, 1874, he sent the Sanctus, Agnus Dei, Lux aeterna, and the revised Libera me to his publisher, and he was finished with the Offertorio on April 15, thus completing the score. Verdi himself conducted the first performance of the Requiem on May 22, 1874, at the church of San Marco in Milan. The chorus and orchestra were especially assembled for the occa- sion, and the soloists were , Maria Waldmann, Giuseppe Capponi, and Ormondo Maini. By February 1875 he had written a new Liber scriptus, and the Requiem was first heard in its new, final version on May 15, 1875, in the , London. Again Verdi conducted and Stolz and Waldmann sang, but this time the tenor and bass soloists were Angelo Masini and Paolo Medini.

THE SCORE OF VERDI’S REQUIEM calls for soprano, mezzo-soprano, tenor, and bass soloists, mixed chorus, and an orchestra of two flutes and piccolo, two oboes, two clarinets, four bassoons, four horns, four trumpets (plus four “distant and invisible trumpets” in the Tuba mirum), three trombones, ophicleide (generally replaced by bass tuba today), timpani, bass drum, and strings.

Like most Italian composers of the nineteenth century, Verdi gained his first musical experience at the knee of a church organist; one of his earliest surviving works is a Tantum ergo (a segment of the Latin hymn Pange lingua) for tenor and orchestra, note- worthy, according to Julian Budden, for its “academic correctness.” Verdi made his most important foray into sacred music at the age of sixty-one with the Requiem, following it much later with a Pater noster and Ave Maria, and finally a compilation of choral pieces with sacred texts published in 1898 as the Quattro pezzi sacri (Four Sacred Pieces). He

week 12 program notes 31 Program page from the first Boston Symphony performances of Verdi's Requiem on December 17 and 18, 1954, with Guido Cantelli conducting (BSO Archives)

32 An engraving of Alessandro Manzoni and Giuseppe Verdi

composed the Requiem to commemorate the first anniversary of the death of the Italian patriot and writer Alessandro Manzoni. The completed “Messa da Requiem per l’anniversario della morte di Manzoni” was premiered May 22, 1874, at the church of San Marco in Milan under Verdi’s baton, and only days later (May 25) at La Scala. Verdi himself con- ducted it in numerous cities, and as David Rosen has noted, divided the work into two sections to include an intermission (after the Dies irae), generously accepted applause, and even encored numbers that were particularly well received.

The Requiem contains seven large movements—Requiem, Dies irae, Offertorio, Sanctus, Agnus Dei, Lux aeterna, and Libera me, a succession of prayers for eternal rest, the terror of Judgment Day, a plea for forgiveness, glorification of God, and finally, deliverance. Verdi used the internal sections of each movement to express the most “private” and intimate moments of the work through his soloists, as in the concluding Libera me for soprano, and also in sections of the Dies irae that he assigned to the four soloists (the Mors stupebit for bass, the Liber scriptus for mezzo-soprano, the Recordare for soprano and mezzo, the Ingemisco for tenor, and the Confutatis for bass).

Verdi’s career blossomed in the 1840s, and soon after he produced the famous trio of Rigoletto (1851), Il trovatore (1853), and (1853/1854) he moved permanently to his rural estate at Sant’Agata (near his birthplace) with the soprano Giuseppina Strepponi, whom he had met in 1841 and finally married in 1859. Between 1855 and 1871 he composed only six works and was more than content to live the life of a “gentleman farmer,” away from the grind of the city, its politics, and often byzantine artistic machin- ations. Verdi’s idyll was shattered by the deaths of two monumental figures in the formation, restoration, and survival of Italian culture in the nineteenth century, on November 13, 1868, and Alessandro Manzoni on May 22, 1873. For Rossini, Verdi proposed a collaborative Mass by thirteen of “the most distinguished Italian composers.” But plans for the intended Messa per Rossini fell apart before they could be

week 12 program notes 33

A note from Manzoni to Verdi: “To Verdi/ [engraved] Alessandro Manzoni/an insignificant echo of his public admiration for the great master and his fortunate personal acquaintance with the noble and lovable qualities of the man.”

fully realized, and the work only first saw the light of day in 1988, following musicologist David Rosen’s discovery of the lost manuscript in 1970. Verdi’s unused contribution to the project was a Libera me, which he later used as a point of departure for the “Manzoni Requiem.”

Verdi had read Manzoni’s most famous novel, I promessi sposi (“The Betrothed”), as a teenager, and sustained his reverence and personal affection for the author throughout his life. In a letter of July 1868 to his dear friend Clara Maffei, Verdi called Manzoni a “Saint,” declaring that he “would have knelt before him, if men could be worshipped.” The project gave the semi-retired Verdi a sense of purpose, even of dignity, as it removed him from the role of “public clown,” as he put it to friends. He threw himself wholeheartedly into the task, not only as an artist, but also as a scholar, studying, according to anecdotal account, the sacred works of Mozart, Cherubini, and Berlioz before him.

The clash between opera house and church became the central issue for the reception of Verdi’s Requiem from the beginning. Conductor Hans von Bülow (1830-1894), an ardent champion of Richard Wagner’s works (despite the fact that his wife Cosima, daughter of Franz Liszt, left him for Wagner), attended the premiere and called it, among other things, an “opera in ecclesiastical costume.” Verdi, a self-defined atheist, was not partic- ularly concerned about the issue of genre or performance venue (keep in mind that the Requiem was first performed in church and opera house in close succession). Moreover, as Giuseppina wrote to family friend Cesare Vigna in 1875, “a man like Verdi must write like Verdi, that is, according to his way of feeling and interpreting the texts....[T]he works must carry the imprint of the time and (if you will) of the individual.” While the Requiem projects a bit of theatricality, chiefly in the Dies irae and Libera me, Verdi left individual listeners to internalize his work intellectually, spiritually, and aesthetically for themselves. Modern audiences, accustomed to diversity of expression in the concert hall, opera house, and church, will be less likely to debate the issue.

week 12 program notes 35 One important way to understand the music of the Requiem is through what Verdi himself called “tinta,” a “characteristic color” or sonority that can be defined by any number of factors ranging from musical motif to rhythmic gesture to semantic recurrences. Tinta in the Requiem lies in the spiritual and musical polarities between eternal peace and judg- ment expressed in the broadest musical terms as low and high and loud and soft in the first two large movements—Requiem (“Rest”) and Dies irae (“Day of wrath”). Verdi begins and ends the work softly, situating much of the vocal and instrumental tessitura on the low side, while the vocal and textual “high,” not surprisingly, is in the Libera me for soprano. But such a large and complex work contains still more elements that contribute to its sonic footprint. First and foremost among these are the contrapuntal musical devices common to sacred expression—thematic imitation (played out fully in the fugues of the Sanctus and Libera me) and unaccompanied voices in the a cappella style (notably in the Pie Jesu). Moreover, Verdi’s musical lines have a tendency to move down- ward, usually through arpeggios, sighing motives, or a chromatic series (known as the

36 “lament”) that then turn back on themselves, upward. Equally important are the pro- foundly dramatic roles for chorus and orchestra, and, finally, the expressive use of the voice—at first whispering and declamatory, but also lyrical, pleading, and often soaring, though always absent the stylistic flourishes and virtuosic displays essential to opera.

Verdi’s Requiem begins in A minor, as soli muted cellos outline a descending A minor triad (E-C-A) and then slip even further down the scale to land on and hold the E an octave lower—the unstable fifth note of the home key (the so-called “dominant”), requir- ing resolution. So the phrase is a question, even though no words have been uttered;a conspicuous silence follows. There is an answer in the upward resolution to the tonic pitch, A, articulated by the cellos as the tenors and basses repeat sotto voce E’s on the word “Requiem”—“rest.” Altos follow and then in staggered succession, work- ing their way back up through the same triad, but avoiding the tonic, which Verdi seems to withhold from his voices by keeping it below the surface in the orchestra. There is

For rates and information on advertising in the Boston Symphony, Boston Pops, and Tanglewood program books, please contact

Eric Lange Lange Media Sales 781-642-0400 [email protected]

week 12 program notes 37 Verdi (center) with the soloists from the premiere of the Requiem, all of whom had sung in the La Scala premiere of “Aida” two years earlier

hope, though: A minor yields quickly to A major at the words “et lux perpetua luceat eis” (“let perpetual light shine upon them,” referring to the dead).

Verdi differentiated levels of piano (“soft”) and forte (“loud”) with near-surgical skill, often through sometimes lengthy expressive markings—in the Requiem, “il più piano possibile” (“the softest piano possible”), in the Dies irae, “pppp con voce cupa e tristissima” (“with a hollow voice and the utmost sadness”), and later in the Ingemisco, “dolce con calma— dolcissimo morendo” (“sweetly, quietly dying”), on the words “Qui Mariam absolvisti” (“Thou, who pardoned Mary”). Julian Budden referred to the Dies irae as “an unearthly storm,” epitomized by chaotic scales and the crashes of the bass drum, which Verdi required to be struck ffff with “Le corde ben tese onde questo contrattempo riesca secco e molto forte” (“the skin well tightened in order to make this disruption dry and very loud”). There are few events in all of music more viscerally exciting or dramatic than the path to the Tuba mirum section, where four trumpets in the orchestra are answered by four trumpets offstage (“in lontananza ed indivisibili”—“in the distance and invisible”) and become increasingly louder and faster, climaxing in the “Tutta forza fff” explosion, “Tuba mirum spargens sonum per sepulchra regionum...” (“The trumpet, scattering its awful sound across the graves of all lands...”).

Verdi weaves the main musical themes of the Requiem and the Dies irae into later por- tions of the work, most poignantly in the final movement, the Libera me, where they reappear in reverse of the order first heard. The Dies irae interrupts the Libera me like the final crack of a storm and then dissolves into the peaceful repose of the falling triad,

38 “Requiem.” The Requiem ends in C major, emerging from C minor (pppp) on a hushed, freely declamatory (“senza misura,” “unmeasured”) recitation, on just one note, of the words, “Deliver me.”

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 “” and editor of the critical edition of Verdi’s “,” which was pre- miered in 2010 by the conductor in his Metropolitan Opera debut. Her latest project is “The Oxford Handbook of Opera,” forthcoming from Oxford University Press.

THEFIRSTAMERICANPERFORMANCE of music from Verdi’s Requiem took place on October 25, 1874, when portions of the work were given by the choir (forty singers) of St. Ann’s Church, New York, on October 25, 1874, under the direction of Louis Dachauer. The full work received its American premiere just a few weeks later, on November 17, 1874, at the Academy of Music, New York, with the Strakosch Italian Opera Company, a chorus of 150 including choirs from St. Ann’s and St. Stephen’s Catholic Churches, and soloists Annie Louise Cary, “Mdle. Maresi,” and “Messrs. Carpi, Fiorini.” The first complete Boston performance was given by the Handel & Haydn Society on May 5, 1878, with Carl Zerrahn conducting a chorus of 425, an orchestra of fifty players, soloists “Mme. Pappenheim,” Adelaide Phillips, Charles Adams, and Alwin Blum, and organist Benjamin J. Lang. The BSO did not perform Verdi’s Requiem until 1954 (as detailed just below).

THEFIRSTBOSTONSYMPHONYPERFORMANCES of Verdi’s Requiem took place only on December 17 and 18, 1954; Guido Cantelli conducted, with soloists Herva Nelli, Claramae Turner, Eugene Conley, and Nicola Moscona, and the New England Conservatory Chorus, Lorna Cooke deVaron, conductor. Subsequent BSO performances were given by Erich Leinsdorf (August 1964, with Lucine Amara, Lili Chookasian, , Ezio Flagello, and the Chorus Pro Musica assisted by the Festival Chorus; then again in August 1967, with Martina Arroyo, , Michele Molese, Ezio Flagello, the Tanglewood Choir, and the Berkshire Chorus); William Steinberg (March 1973, with Martina Arroyo, Lili Chookasian, Carlo Cossutta, Robert Hale, and the New England Conservatory Chorus); Seiji Ozawa (August 1973, with Lou Ann Wyckoff, Maureen Forrester, Seth McCoy, Ezio Flagello, and the Tanglewood Festival Chorus, John Oliver, conductor—the TFC then going on to participate in every BSO performance of the Verdi Requiem after that one); Mstislav Rostropovich (August 1975, with Galina Vishnevskaya, Lili Chookasian, Seth McCoy, and Ezio Flagello); Ozawa again, on several occasions (July 1981, with , , Ermanno Mauro, and ; July 1987, with Susan Dunn, Shirley Verrett, Vinson Cole, and Paul Plishka; and February 1992, with [substituting for Jessye Norman], Agnes Baltsa, Luis Lima, Roberto Scandiuzzi, and James Courtney [substituting for Scandiuzzi in the first performance of the three-concert run]); Christoph Eschenbach (August 1995, with Sharon Sweet, , Michael Sylvester, and Ferruccio Furlanetto); and Rafael Frühbeck de Burgos (Opening Night and the first subscription performance of the 2002-03 season, in September 2002 with Barbara Frittoli, Larissa Diadkova, Giuseppe Sabbatini, and Reinhard Hagen; and then the most recent Tanglewood performance, on August 1, 2003, with Sondra Radvanovsky, Yvonne Naef, Richard Leech [substitut- ing for Giuseppe Sabbatini], and John Relyea).

week 12 program notes 39

To Read and Hear More...

Verdi: A Biography by Mary Jane Phillips-Matz is the key modern account of the composer’s life (Oxford University paperback). John Rosselli’s The life of Verdi is a handy brief biogra- phy in the series “Musical lives” (Cambridge University paperback). Important older biographies include Julian Budden’s Verdi in the Master Musicians series (Oxford University Press) and Frank Walker’s The Man Verdi (University of Chicago paperback). David Rosen’s Verdi Requiem in the Cambridge Music Handbooks series is worth seeking for a concise, single-volume source of information about the piece (Cambridge University Press, 1995). Michael Steinberg’s program note on the Verdi Requiem is in his compilation volume Choral Masterworks–A Listener’s Guide (Oxford paperback). Donald Francis Tovey’s pro- gram note on the Requiem is among his Essays in Musical Analysis (Oxford). The crucial source for detailed discussion of the individual operas is Julian Budden’s three-volume The Operas of Verdi (Oxford paperback). Also very useful on the individual operas are Charles Osborne’s The Complete Operas of Verdi (Da Capo paperback; originally Knopf) and Roger Parker’s concise New Grove Guide to Verdi and his Operas, which brings together the relevant entries from The New Grove Dictionary of Opera (Oxford paperback). Also still worth seeking is Verdi: A Documentary Study compiled and edited by William Weaver, which offers a wealth of prose and pictorial material (Thames and Hudson). The Verdi article in the 2001 New Grove Dictionary of Music and Musicians is by Roger Parker. The article in the 1980 edition of Grove was by Andrew Porter.

The best recordings of the Verdi Requiem are those that properly integrate the devotional and dramatic aspects of the work into a unified whole, as exemplified by such classic accounts as Carlo Maria Giulini’s 1963-64 recording (EMI “Great Recordings of the Century,” with Elisabeth Schwarzkopf, , Nicolai Gedda, Nicolai Ghiaurov, and the and Chorus) and Arturo Toscanini’s NBC Symphony broadcasts, both from , of 1951 (RCA, with Herva Nelli, Barbieri, Giuseppe di Stefano, Cesare Siepi, and the Chorale) and 1940 (Music & Arts, in decent but dated sound, with Zinka Milanov, Bruna Castagna, Jussi Björling, Nicola Moscona, and the Westminster Choir). Erich Leinsdorf and the Boston Symphony Orchestra recorded Verdi’s Requiem for RCA in 1964, with Birgit Nilsson, Lili Chookasian, , Ezio Flagello, and the Chorus Pro Musica (RCA). Good recordings of more recent vintage (listed alphabetically by conductor) include ’s with the and the combined forces of three choruses (EMI), ’s with the Chicago Symphony Orchestra and Chorus (Erato), John Eliot

week 12 read and hear more 41 42 Gardiner’s with the period-instrument Orchestre Révolutionnaire et Romantique and Monteverdi Choir (Philips), Sir Colin Davis’s with the London Symphony Orchestra and Chorus (LSO Live), Valery Gergiev’s with the Kirov Orchestra and Chorus (Philips), ’s with the Orchestra and Chorus of the Santa Cecilia Academy, (EMI), and Robert Shaw’s with the Atlanta Symphony Orchestra and Chorus (Telarc).

A famous La Scala performance from 1969 has leading the La Scala Orchestra and Chorus with soloists , , , and Nicolai Ghiaurov (Philips DVD). Still much esteemed is the historic 1939 recording with conducting the Rome Opera House Orchestra and Chorus with soloists Maria Caniglia, , , and Ezio Pinza (various labels). A famous 1960 recording with conducting the Moscow Philharmonic Orchestra and Russian State Academy Chorus, with Galina Vishnevskaya among the soloists, was reissued earlier this year (ICA Classics). An exciting 1955 concert performance with Toscanini protégé Guido Cantelli conducting the and Westminster Choir will also be of interest to collectors (Archipel; it was Cantelli who conducted the first BSO performances of the Verdi Requiem, in December 1954). For those wanting to pursue things further, the 1869 Libera me Verdi wrote for the collaborative Requiem marking the first anniversary of Rossini’s death, and which he then reworked for his own Manzoni Requiem, has been recorded by Myung-Whun Chung (Deutsche Grammophon, along with a fine performance of Verdi’s Quattro pezzi sacri), (Decca, on a disc of virtually unknown early sacred music by the composer), and Helmuth Rilling (as part of the complete Requiem for Rossini on Hänssler Classic). The 1874 Liber scriptus fugue (heard in the initial performances of Verdi’s Requiem but subsequently replaced by the music we know) was included in a recording of Verdi’s Requiem by conductor Peter Tiboris with the Sofia National Opera Orchestra and Chorus, a release otherwise notable only for the detailed, comprehensive annotations by Verdi authority David Rosen (Elysium).

Marc Mandel

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 12 read and hear more 43 GIUSEPPE VERDI Requiem Mass in memory of Alessandro Manzoni

REQUIEM AND KYRIE Quartet and Chorus Requiem aeternam dona eis, Eternal rest grant them, O Lord; Domine; et lux perpetua luceat eis. and may light perpetual shine upon them. Te decet hymnus Deus in A hymn, O God, becometh Thee Sion; et tibi reddetur votum in in Sion; and a vow shall be paid Jerusalem: exaudi orationem to Thee in Jerusalem: O hear my meam; ad te omnis caro veniet. prayer; to Thee shall all flesh come. Kyrie eleison. Lord, have mercy upon us. Christe eleison. Christ, have mercy upon us. Kyrie eleison. Lord, have mercy upon us.

DIES IRAE Chorus Dies irae, dies illa The day of wrath, that day will Solvet saeclum in favilla, dissolve the world in ash, as Teste David cum Sibylla. David prophesied with the Sibyl. Quantus tremor est futurus, How great a terror there will be Quando Judex est venturus, when the Judge shall come who will Cuncta stricte discussurus. thresh out everything thoroughly. Tuba mirum spargens sonum The trumpet, scattering a wondrous Per sepulchra regionum, sound through the tombs of every land, Coget omnes ante thronum. will gather all before the throne.

Bass Mors stupebit et natura, Death and nature will stand Cum resurget creatura, amazed when creation rises again Judicanti responsura. to answer to the Judge.

Mezzo-soprano and Chorus Liber scriptus proferetur, A written book will be brought In quo totum continetur, forth which contains everything for Unde mundus judicetur, which the world shall be judged. Judex ergo cum sedebit, And so when the Judge takes his Quidquid latet, apparebit: seat whatever is hidden shall be Nil inultum remanebit. made manifest, nothing shall remain unavenged.

Soprano, Mezzo-soprano, Tenor, and Chorus Dies irae, dies illa The day of wrath, that day will Solvet saeclum in favilla, dissolve the world in ash, as Teste David cum Sibylla. David prophesied with the Sibyl. Quid sum miser tunc dicturus, What shall I, wretch, say, whom Quem patronum rogaturus, shall I ask to plead for me, when cum vix justus sit securus? scarcely the righteous shall be safe?

44 Solo Quartet and Chorus Rex tremendae majestatis, King of dreadful majesty, who Qui salvandos salvas gratis, freely saves the redeemed, save Salva me, fons pietatis. me, O Fount of Pity.

Soprano and Mezzo-soprano Recordare, Jesu pie, Recall, merciful Jesus, that I was Quod sum causa tuae viae, the reason for Thy journey: Ne me perdas illa die. do not destroy me on that day. Quaerens me, sedisti lassus, Seeking me, Thou didst sit down Redemisti crucem passus: weary, Thou didst redeem me, Tantus labor non sit cassus. having endured the cross: let not such great pains have been in vain. Juste Judex ultionis, Just Judge of vengeance, Donum fac remissionis give me the gift of redemption Ante diem rationis. before the day of reckoning.

Tenor Ingemisco tanquam reus, I groan as one guilty, Culpa rubet vultus meus, my face blushes with guilt; Supplicanti parce, Deus. spare the suppliant, O God. Qui Mariam absolvisti, Thou who didst absolve Mary Et latronem exaudisti, (Magdalen), and hear the prayer of Mihi quoque spem dedisti. the thief, hast given hope to me too. Preces meae non sunt dignae; My prayers are not worthy, but Sed tu bonus fac benigne, thou, O good one, show mercy, Ne perenni cremer igne. lest I burn in everlasting fire. Inter oves locum praesta, Give me a place among the sheep, Et ab haedis me sequestra, and separate me from the goats, Statuens in parte dextra. placing me on Thy right hand.

Bass and Chorus Confutatis maledictis, When the damned are confounded Flammis acribus addictis, and consigned to keen flames, Voca me cum benedictis. call me with the blessed. Oro supplex et acclinis, I pray, suppliant and kneeling, Cor contritum quasi cinis: a heart as contrite as ashes: take Gere curam mei finis. Thou my ending into Thy care. Dies irae, etc. The day of wrath, etc.

Solo Quartet and Chorus Lacrymosa dies illa, That day is one of weeping on Qua resurget ex favilla which shall rise again from the Judicandus homo reus. ashes the guilty man, to be judged. Huic ergo parce, Deus, Therefore spare this one, O God, Pie Jesu Domine, merciful Lord Jesus. Dona eis requiem. Amen. Grant them rest. Amen.

Please turn the page quietly, and only after the music has stopped.

week 12 text and translation 45 OFFERTORIO Solo Quartet Domine Jesu Christe, Rex O Lord Jesus Christ, King of gloriae, libera animas omnium Glory, deliver the souls of all the fidelium defunctorum de poenis faithful departed from the pains of inferni, et de profundo lacu; hell and from the deep pit: libera eas de ore leonis, ne deliver them from the mouth of absorbeat eas Tartarus, ne the lion, that hell may not swallow cadant in obscurum; sed signifer them up, and they may not fall into sanctus Michael repraesentet darkness, but may the holy eas in lucem sanctam. Quam standard-bearer Michael bring olim Abrahae promisisti, them into the holy light; which et semini ejus. Thou didst promise of old to Abraham and to his seed. Hostias et preces tibi, Domine, We offer Thee, O Lord, sacrifices and laudis offerimus; tu suscipe pro prayers of praise: do Thou receive animabus illis, quarum hodie them on behalf of those souls whom memoriam facimus; fac eas, we commemorate this day. Grant them, Domine, de morte transire ad O Lord, to pass from death to that vitam. Quam olim Abrahae life which Thou didst promise of old promisisti, et semini ejus. to Abraham and to his seed.

SANCTUS Double Chorus Sanctus, sanctus, sanctus, Holy, holy, holy, Lord God of Dominus Deus Sabaoth. Pleni Sabaoth. Heaven and earth are full sunt coeli et terra gloria tua. of Thy glory. Hosanna in the Hosanna in excelsis. Benedictus highest. Blessed is he who cometh qui venit in nomine Domini. in the name of the Lord. Hosanna in excelsis. Hosanna in the highest.

46 AGNUS DEI Soprano, Mezzo-soprano, and Chorus Agnus Dei qui tollis peccata O Lamb of God, that takest away mundi, dona eis requiem. the sins of the world: grant them rest. Agnus Dei qui tollis peccata O Lamb of God, that takest away mundi, dona eis requiem. the sins of the world: grant them rest. Agnus Dei qui tollis peccata O Lamb of God, that takest away mundi, dona eis requiem the sins of the world: grant them sempiternam. eternal rest.

LUX AETERNA Mezzo-soprano, Tenor, and Bass Lux aeterna luceat eis Domine, Let everlasting light shine on them, cum sanctis tuis in aeternum: O Lord, with Thy saints for ever; for quia pius es. Requiem aeternam Thou art merciful. Grant them eternal dona eis Domine, et lux perpetua rest, O Lord, and let everlasting light luceat eis cum sanctis tuis in shine upon them with Thy saints aeternum, quia pius es. for ever; for Thou art merciful.

LIBERA ME Soprano and Chorus Libera me, Domine, de morte Deliver me, O Lord, from eternal aeterna in die illa tremenda, death in that awful day when the quando coeli movendi sunt et heavens and earth shall be moved: terra, dum veneris judicare when Thou shalt come to judge saeculum per ignem. the world through fire. Tremens factus sum ego, et I am seized with trembling, and I timeo, dum discussio venerit fear the time when the trial shall atque ventura ira, quando approach, and the wrath to come: coeli movendi sunt et terra. when the heavens and the earth shall be moved. Dies irae, dies illa calamitatis et A day of wrath, that day of miseriae, dies magna et amara valde. calamity and woe, a great day and bitter indeed. Requiem aeternam dona eis, Rest eternal grant them, O Lord, Domine, et lux perpetua luceat eis. and may light perpetual shine upon them. Libera me, etc. Deliver me, O Lord, etc.

English translation copyright © Andrew Porter.

week 12 text and translation 47

Guest Artists

Daniele Gatti

Daniele Gatti has been music director of the Orchestre National de France since September 2008 and principal conductor of Zurich Opera since September 2009. He is also conductor laureate of the Royal Philharmonic Orchestra (of which he was music director from 1996 to 2009). He was previously music director of ’s Teatro Comunale (1997-2007) and Rome’s Accademia Nazionale di Santa Cecilia (1992-1997), and principal guest conductor of London’s –Covent Garden (1994-1997). He enjoys a close relationship with the and Royal Concertgebouw Orchestra, leading concerts during their regular seasons and on occasional tours. He also conducts such important American and European orchestras as the New York Philharmonic, Chicago Symphony, Boston Symphony, Bayerische Rundfunk Orchestra, Munich Philharmonic, and Philharmonia Orchestra. Mr. Gatti has conducted many new productions at leading opera houses, including the (, Moses und Aron, Otello, and ), La Scala in Milan (, Wozzeck, Don Carlo, and Lulu), Bavarian State Opera in Munich (Aida and Fidelio), Royal Opera House–Covent Garden (), the Zurich Opera House (Falstaff, Otello, , Die Meistersinger von Nürnberg, and Mathis der Maler), and New York’s Metropolitan Opera, where he made his debut with in 1994 and where he will return in February 2013 for Parsifal. In autumn 2013 he will open the new season at La Scala with La traviata. He has conducted Parsifal at the every year between 2008 and 2011. In recent seasons at the Salzburg Festival, he has led Elektra and La bohème and a concert with the Jugendorchester. He recently completed a European tour with the Vienna Philharmonic featuring the four Brahms symphonies to celebrate the bicentenary of the

week 12 guest artists 49

Society of the Vienna Friends of Music, of which Brahms was music director. Other recent and future engagements include concerts with the Royal Concertgebouw Orchestra and Bayerische Rundfunk Orchestra, the completion of a Mahler cycle with Orchestre National de France, Parsifal in concert at the Théâtre des Champs-Élysées, a tour to Italy with the Gustav Mahler Jugendorchester, the opening of the MiTo Festival in Turin and Milan, and concerts in Ferrara and Modena, Italy, with the . To celebrate the Verdi bicentenary, he leads the Requiem with the Boston Symphony Orchestra in Boston, with the Philharmonia Orchestra in London, and with the Orchestre National de France in Paris. In March he returns to Boston for two programs: an all-Wagner program marking the composer’s bicentenary, and Mahler’s Symphony No. 3, the latter also to be performed at New York’s Carnegie Hall in April. This season with the Orchestre National de France he leads a Beethoven symphony cycle in Paris, music of Rossini, Stravinsky, and Ravel at Vienna’s Musikverein, and a tour of Spain with works of Verdi and Wagner. His first recording under an exclusive contract with Sony Classical was dedicated to Debussy’s 150th anniversary in April 2012. His second CD for the label, marking the 100th anniversary of Stravinsky’s Rite of Spring, will be released in spring 2013. Mr. Gatti’s extensive discography also includes works by Rossini, Mahler, Prokofiev, Bartók, and Respighi, as well as Tchaikovsky’s Fourth, Fifth, and Sixth symphonies. Daniele Gatti made his Boston Symphony Orchestra debut with an all-Brahms program in February 2002, subsequently returning to the Symphony Hall podium in September/October 2004 with a program of Mozart and Mahler, and in March 2008 with music of Schumann and Shostakovich. In October 2009 he led the BSO in New York to open the Carnegie Hall season with a program of Berlioz, Chopin, John Williams, and Debussy.

Fiorenza Cedolins

Since winning the 1996 Luciano Pavarotti International Voice Competition in Philadelphia, in which she sang with Pavarotti, renowned Italian soprano Fiorenza Cedolins has performed at such leading opera houses as Teatro alla Scala in Milan (Madama Butterfly and Don Carlo), New York’s Metropolitan Opera (Aida), the Royal Opera House–Covent Garden in London (Il trovatore), and Opéra-Bastille in Paris (Tosca). She has opened the season of many Italian

week 12 guest artists 51 theaters, including Bologna’s Teatro Comunale (), Turin’s (Aida), Parma’s Festival Verdi (), Venice’s Teatro La Fenice (), and La Scala (Don Carlo). She has also sung Cavalleria rusticana with Riccardo Muti at the Ravenna Festival; Simon Boccanegra in Monte Carlo under ; in , Tokyo, , Barcelona, Ancona, and Bilbao; Aida in and at the Arena de Verona; Adriana Lecouvreur in and Rome, Donizetti’s in Bilbao, at the Teatro La Fenice, Andrea Chénier at Madrid’s Teatro Real, and Il trovatore at the Maggio Musicale Fiorentino under Zubin Mehta, later singing Il trovatore at the Arena di Verona and in Parma, Tokyo, Frankfurt, Munich, Palermo, Naples, Barcelona, and London. She has sung the title roles of Madama Butterfly at Barcelona’s Liceu and Luisa Miller at the Teatro Real. Her other Verdi repertoire includes I lombardi alla prima crociata and La battaglia de Legnano. Her other Puccini repertoire includes Lescaut, Gianni Schicchi, , Il tabarro, Le Villi, and Liù in Turandot. She has sung Verdi’s Requiem at the Arena di Verona, New York’s Avery Fisher Hall under Lorin Maazel, London’s Royal Albert Hall under Daniele Gatti, Rome’s Auditorium Santa Cecilia under Zubin Mehta, and at Vienna’s Konzerthaus under Riccardo Chailly. Among her awards are the Premio Abbiati della Critica Italiana 1999-2000; Opera Award 1999 and 2001; Zenatello Arena di Verona 2000 and 2001; Premio Campoamor “Best Singer of the Year” 2008; “Artist of the Year Award” 2007 at the Liceu in Barcelona from IV and V Piso Association; and Premio Muse 2009 in Florence. Her discography includes Ciléa’s Gloria; Il trovatore and Luisa Miller, both recorded live in Parma; Tosca with the Maggio Musicale Fiorentino; Tosca and Madama Butterfly recorded live at the Arena di Verona; La rondine live from Venice; Norma live from Tokyo and Barcelona, and a Puccini anniversary DVD recorded at Lucca’s Teatro del Giglio. In October 2009, Fiorenza Cedolins was appointed artistic director at the Rassegna Lirica Torelliana–Teatro della Fortuna in Fano. Recent and upcoming engagements include Falstaff at the Liceu; I pagliacci, , Otello, and Poliuto at Zurich Opera; Madama Butterfly and Simon Boccanegra at the Vienna State Opera; Don Carlo in Seville; La bohème at the Arena di Verona, and in Barcelona, Shanghai, and Las Palmas, Canary Islands; Luisa Miller in Bilbao; and Aida in Verona, Otello in Beijing, Falstaff at the Salzburg Festival (where she also sang with Plácido Domingo in a benefit concert led by Zubin Mehta), and Madama Butterfly in Venice and A Coruña. She makes her Boston Symphony Orchestra debut with this week’s performances of Verdi’s Requiem.

week 12 guest artists 53 54 Ekaterina Gubanova

Mezzo-soprano Ekaterina Gubanova’s engagements have taken her to such opera houses as the Metropolitan Opera, Teatro alla Scala, Royal Opera House–Covent Garden, Bayerische Staatsoper, Vienna State Opera, Staatsoper Berlin, , Lyric Opera of Chicago, Teatro Real in Madrid, and Gran Teatro del Liceu in Barcelona. Born in Moscow, Ms. Gubanova began her musical studies on piano and also studied choral conducting. Following vocal training at the Moscow Tchaikovsky Conservatory and the Sibelius Academy in Helsinki, she became a member of the Young Artists Programme at London’s Royal Opera House. Since 2005, when she sang Brangäne in Tristan und Isolde at Opéra National de Paris to critical acclaim, she has reprised the role in Baden-Baden, Rotterdam, Paris, Berlin, Tokyo, St. Petersburg, and Munich, under such conductors as Daniel Barenboim, Valery Gergiev, Esa-Pekka Salonen, Semyon Bychkov, and Kent Nagano. Also under Barenboim, she was Fricka in and Die Walküre at both the Staatsoper Berlin and Teatro alla Scala. Her Japanese debut was in Verdi’s Requiem under Riccardo Muti, with whom she also made her debut in Italy as Clytem- nestra in Iphigénie en Aulide at Opera di Roma. In Russia she sang Princess Eboli in Don Carlo at Stars of the White Nights Festival in Saint Petersburg, later returning there as Lyubasha in Rimsky-Korsakov’s The Tsar’s Bride and as Marguerite in Berlioz’s . In 2007 she sang Olga in the Salzburg Festival’s new production of under Daniel Barenboim. Since her Metropolitan Opera debut in Prokofiev’s War and Peace, Ms. Gubanova has sung Giulietta in Les Contes d’Hoffmann under James Levine, Eboli during the 2011 Japan tour, and Jane Seymour in to open the 2011-12 season. In 2009 she sang her first Amneris in Aida at the Bayerische Staatsoper with Daniele Gatti, reprising the role for Teatro alla Scala’s tour to Japan and Israel with Daniel Barenboim and in 2011 for Chorégies d’Orange, to great acclaim. In concert she has sung Jocasta in Oedipus Rex in London and Stockholm under Esa-Pekka Salonen, in Paris, Moscow, Seoul, and Dublin, and the Rückert-Lieder in Wiesbaden. She returned to Rotterdam to sing Das Lied von der Erde to open the 2008 festival, and at the 2009 festival presented songs from Des Knaben Wunderhorn, a work she has also performed at Sydney Opera and the BBC Proms under Mark Elder. She has sung Verdi’s Requiem under Barenboim both with Teatro alla Scala and Staatsoper Berlin, and under Gustavo Dudamel in Los Angeles. Recent and future engagements include Rossini’s in Vienna, The Tsar’s Bride at Covent Garden, Oberto, Conte di San Bonifacio at the

week 12 guest artists 55

Théâtre des Champs-Élysées in Paris, Les Contes d’Hoffmann and Wagner’s Ring at La Scala; revivals of Anna Bolena at the Metropolitan Opera, Tristan und Isolde at Palau de les Arts in Valencia, and Don Carlo at the Berlin Staatsoper; Adriana Lecouvreur in London, Tristan und Isolde in Munich and Madrid, and Don Carlo at La Scala, Vienna, the Metropolitan Opera, and Maggio Musicale Fiorentino. She makes her Boston Symphony Orchestra debut this week.

Fabio Sartori

Born in Treviso, Fabio Sartori graduated from the Conservatoire Benedetto Marcello in Venice, where he studied singing under the guidance of Leone Magiera. In 1996 he made his debut in La bohème at La Fenice in Venice. Mr. Sartori took part in the opening production of the 1997-98 season at Teatro alla Scala, singing Macbeth under Riccardo Muti’s direction. He later returned there to perform in Verdi’s Requiem, again with Muti. He has also sung in season-opening productions at La Fenice and at Bologna’s Teatro Comunale. In 1998 he made debuts in two important Verdi roles: Gabriele Adorno in Simon Boccanegra at the Teatro Comunale in Bologna and the title role in Don Carlo, which he sang both in Bologna and at Teatro Regio in Parma. Simon Boccanegra also served for his debut in Berlin in 1999 under Claudio Abbado. That same year brought debuts with the Vienna State Opera, in , and with Lyric Opera of Chicago, in I Capuleti e i Montecchi. In 2009 Mr. Sartori returned to La Scala for I due Foscari and appeared in Simon Boccanegra in Zurich, Berlin, and Vienna. The following year included performances of Simon Boccanegra in Berlin, Milan, and Madrid, Adriana Lecouvreur in Florence, and a tour to with Teatro alla Scala performing Verdi’s Requiem. Also in recent seasons, he has sung Attila in Milan, performed in concert with Zubin Mehta and the Orchestra of the Maggio Musicale Fiorentino in Mumbai, made his debut with Zurich Opera in I masnadieri, and appeared in Norma in both Las Palmas and Rome. Recent and upcoming engagements include Luisa Miller and Norma in Zurich, Oberto, Conte di San Bonifacio at Teatro alla Scala, Giovanna d’arco in Bilbao, and several projects extending into 2014 in collaboration with Daniel Barenboim at the Berlin Staatsoper. This week’s performances of Verdi’s Requiem mark Fabio Sartori’s Boston Symphony Orchestra debut.

week 12 guest artists 57 58 Carlo Colombara

Bass Carlo Colombara’s notable performances, and in particular his interpretation of Verdi roles, have taken him to the top of the contemporary operatic scene. In 1986 he won the prize for the best Italian singer in the G.B. Viotti Competition, and the following year he won the As.Li.Co competition before making his debut at Rome’s Teatro dell’Opera as Silva in Verdi’s . In the 1990s he became recognized as one of the most outstanding singers of his gen- eration, with an acclaimed 1989 debut as Procida in , conducted by Riccardo Muti at Milan’s Teatro alla Scala, contributing to his reputation. He has appeared in many of the world’s most important opera houses, including the Bayerische Staatsoper in Munich, the Royal Opera House–Covent Garden in London, Arena di Verona, Zurich Opera, San Carlo in Naples, the Metropolitan Opera House in New York, the Bolshoi in Moscow, Teatro Real in Madrid, the New National Theater in Tokyo, and the Gran Teatre del Liceu in Barcelona, among many others. Career highlights of the last few years have included debuts in Boito’s at the Savonlinna Festival, as Escamillo in Carmen at the Festival of Caracalla, in the four bass- baritone roles in Les Contes d’Hoffmann at the Aichi Triennale in Nagoya, in at Spain’s Festival of Peralad, and in at the Teatro del Giglio in Lucca. In addition to Muti, Mr. Colombara has collaborated extensively with such distinguished conductors as Bartoletti, Bertini, Chailly, Davis, Gatti, Gavazzeni, Maazel, Mehta, Oren, Pappano, Plasson, Prêtre, Sawallisch, Sinopoli, Solti, and Steinberg. In addition to his operatic activity he is active on the concert stage, having sung Verdi’s Requiem more than one hundred times in such cities as Florence, Rome, London, Naples, Paris, and Modena, where the performance was given in memory of Luciano Pavarotti, with whom Mr. Colombara had shared the stage for the renowned tenor’s final performance of the work. Upcoming engagements include at the Théâtre des Champs-Élysées in Paris, Nabucco at the Stuttgart Staatstheater, in Beijing, and in Verona (for the 100th Arena Festival), Verdi and Wagner concerts in and Zlin, Verdi’s Requiem in London, Rossini’s in Paris and Vienna, Mefistofele at the Teatro Regio in Parma, and Macbeth at the Savonlinna Opera Festival. Carlo Colombara makes his Boston Symphony Orchestra debut this week.

week 12 guest artists 59 Tanglewood Festival Chorus John Oliver, Conductor

This season at Symphony Hall with the Boston Symphony Orchestra, the Tanglewood Festival Chorus sings in Gershwin’s Porgy and Bess with conductor Bramwell Tovey to open the sub- scription season, the operatic double bill of Stravinsky’s The Nightingale and Ravel’s L’Enfant et les sortilèges with in October, Verdi’s Requiem with Daniele Gatti in January, Haydn’s Mass in Time of War with Rafael Frühbeck de Burgos in February, and Mahler’s Symphony No. 3 with Daniele Gatti in March. Founded in January 1970 when conductor John Oliver was named Director of Choral and Vocal Activities at the Tanglewood Music Center, the Tanglewood Festival Chorus made its debut on April 11 that year, in a performance of Beethoven’s Ninth Symphony with Leonard Bernstein conducting the BSO. Made up of mem- bers who donate their time and talent, and formed originally under the joint sponsorship of Boston University and the Boston Symphony Orchestra for performances during the Tangle- wood season, the chorus originally numbered 60 well-trained Boston-area singers, soon expanded to a complement of 120 singers, and also began playing a major role in the BSO’s subscription season, as well as in BSO performances at New York’s Carnegie Hall. Now num- bering some 300 members, the Tanglewood Festival Chorus performs year-round with the Boston Symphony Orchestra and Boston Pops. The chorus gave its first overseas performanc- es in December 1994, touring with Seiji Ozawa and the BSO to Hong Kong and Japan. It per- formed with the BSO in Europe under James Levine in 2007 and Bernard Haitink in 2001, also giving a cappella concerts of its own on both occasions. In August 2011, with John Oliver con- ducting and soloist Stephanie Blythe, the Tanglewood Festival Chorus gave the world premiere of Alan Smith’s An Unknown Sphere for mezzo-soprano and chorus, commissioned by the BSO to mark the TFC’s fortieth anniversary.

The chorus’s first recording with the BSO, Berlioz’s La Damnation de Faust with Seiji Ozawa, received a Grammy nomination for Best Choral Performance of 1975. In 1979 the ensemble received a Grammy nomination for its album of a cappella 20th-century American choral music recorded at the express invitation of Deutsche Grammophon, and its recording of Schoenberg’s Gurrelieder with Ozawa and the BSO was named Best Choral Recording by Gramophone maga- zine. The Tanglewood Festival Chorus has since made dozens of recordings with the BSO and Boston Pops, on Deutsche Grammophon, New World, Philips, Nonesuch, Telarc, Sony Classical, CBS Masterworks, RCA Victor Red Seal, and BSO Classics, with James Levine, Seiji Ozawa, Bernard Haitink, Sir Colin Davis, Leonard Bernstein, Keith Lockhart, and John Williams. Its most recent recordings on BSO Classics, all drawn from live performances, include a disc of a

60 cappella music released to mark the ensemble’s 40th anniversary in 2010, and, with James Levine and the BSO, Ravel’s complete Daphnis and Chloé (a Grammy-winner for Best Orches- tral Performance of 2009), Brahms’s Ein deutsches Requiem, and William Bolcom’s Eighth Symphony for chorus and orchestra, a BSO 125th Anniversary Commission composed specifi- cally for the BSO and Tanglewood Festival Chorus.

Besides their work with the Boston Symphony, members of the Tanglewood Festival Chorus have performed Beethoven’s Ninth Symphony with Zubin Mehta and the Israel Philharmonic at Tanglewood and at the Mann Music Center in Philadelphia; participated in a Saito Kinen Festival production of Britten’s Peter Grimes under Seiji Ozawa in Japan, and sang Verdi’s Requiem with Charles Dutoit to help close a month-long International Choral Festival given in and around Toronto. In February 1998, singing from the General Assembly Hall of the United Nations, the chorus represented the in the Opening Ceremonies of the Winter Olympics when Seiji Ozawa led six choruses on five continents, all linked by satellite, in Beethoven’s Ode to Joy. The chorus performed its Jordan Hall debut program at the New England Conservatory of Music in May 2004; had the honor of singing at Sen. Edward Kennedy’s funeral; has performed with the Boston Pops for the Boston Red Sox and Boston Celtics, and can also be heard on the soundtracks to Clint Eastwood’s Mystic River, John Sayles’s Silver City, and Steven Spielberg’s Saving Private Ryan.

TFC members regularly commute from the greater Boston area, western Massachusetts, Connecticut, Rhode Island, New Hampshire, Vermont, and Maine, and TFC alumni frequently return each summer from as far away as Florida and to sing with the chorus at Tanglewood. Throughout its history, the Tanglewood Festival Chorus has established itself as a favorite of conductors, soloists, critics, and audiences alike.

John Oliver

John Oliver founded the Tanglewood Festival Chorus in 1970 and has since prepared the TFC for more than 900 performances, including appearances with the Boston Symphony Orchestra at Symphony Hall, Tanglewood, Carnegie Hall, and on tour in Europe and the Far East, as well as with visiting orchestras and as a solo ensemble. He has had a major impact on musical life

week 12 guest artists 61 in Boston and beyond through his work with countless TFC members, former students from the Massachusetts Institute of Technology (where he taught for thirty-two years), and Fellows of the Tanglewood Music Center who now perform with distinguished musical institutions throughout the world. Mr. Oliver’s affiliation with the Boston Symphony began in 1964 when, at twenty-four, he prepared the Sacred Heart Boychoir of Roslindale for the BSO’s perform- ances and recording of excerpts from Berg’s Wozzeck led by Erich Leinsdorf. In 1966 he pre- pared the choir for the BSO’s performances and recording of Mahler’s Symphony No. 3, also with Leinsdorf, soon after which Leinsdorf asked him to assist with the choral and vocal music program at the Tanglewood Music Center. In 1970, Mr. Oliver was named Director of Vocal and Choral Activities at the Tanglewood Music Center and founded the Tanglewood Festival Chorus. He has since prepared the chorus in more than 200 works for chorus and orchestra, as well as dozens more a cappella pieces, and for more than forty commercial releases with James Levine, Seiji Ozawa, Bernard Haitink, Sir Colin Davis, Leonard Bernstein, Keith Lockhart, and John Williams. John Oliver made his Boston Symphony conducting debut in August 1985 at Tanglewood with Bach’s St. Matthew Passion and his BSO subscription series debut in December 1985 with Bach’s B minor Mass, later returning to the Tanglewood podium with music of Mozart in 1995 (to mark the TFC’s twenty-fifth anniversary), Beethoven’s Mass in C in 1998, and Bach’s motet Jesu, meine Freude in 2010 (to mark the TFC’s fortieth anniversary). In February 2012, replacing , he led the BSO and Tanglewood Festival Chorus in subscription performances of Beethoven’s Missa Solemnis, subsequently repeating that work with the BSO and TFC for his Carnegie Hall debut that March.

In addition to his work with the Tanglewood Festival Chorus and Tanglewood Music Center, Mr. Oliver has held posts as conductor of the Framingham Choral Society, as a member of the faculty and director of the chorus at Boston University, and for many years on the faculty of MIT, where he was lecturer and then senior lecturer in music. While at MIT, he conducted the MIT Glee Club, Choral Society, Chamber Chorus, and Concert Choir. In 1977 he founded the John Oliver Chorale, which performed a wide-ranging repertoire encompassing masterpieces by Bach, Beethoven, Mozart, and Stravinsky, as well as seldom heard works by Carissimi, Bruckner, Ives, Martin, and Dallapiccola. With the Chorale he recorded two albums for Koch International: the first of works by Martin Amlin, Elliott Carter, William Thomas McKinley, and Bright Sheng, the second of works by Amlin, Carter, and Vincent Persichetti. He and the Chorale also recorded Charles Ives’s The Celestial Country and Charles Loeffler’s Psalm 137 for Northeastern Records, and Donald Martino’s Seven Pious Pieces for New World Records. Mr. Oliver’s appearances as a guest conductor have included Mozart’s Requiem with the New Japan Philharmonic and Shinsei Chorus, and Mendelssohn’s Elijah and Vaughan Williams’s A Sea Symphony with the Berkshire Choral Institute. In May 1999 he prepared the chorus and children’s choir for ’s performances of Benjamin Britten’s Spring Symphony with the NHK Symphony in Japan; in 2001-02 he conducted the Carnegie Hall Choral Workshop in preparation for Previn’s Carnegie performance of Brahms’s Ein deutsches Requiem. John Oliver made his Montreal Symphony Orchestra debut in December 2011 conducting performances of Handel’s Messiah. In October 2011 he received the Alfred Nash Patterson Lifetime Achieve- ment Award, presented by Choral Arts New England in recognition of his outstanding contri- butions to choral music.

62 Tanglewood Festival Chorus John Oliver, Conductor (Verdi Requiem, January 17, 18, and 19, 2013)

In the following list, § denotes membership of 40 years * denotes membership of 35-39 years, and # denotes membership of 25-34 years. sopranos

Michele Bergonzi # • Aimée Birnbaum • Joy Emerson Brewer • Jeni Lynn Cameron • Catherine C. Cave • Stephanie Chambers • Anna S. Choi • Lorenzee Cole # • Lisa Conant • Sarah Dorfman Daniello # • Emilia DiCola • Christine Pacheco Duquette # • Hailey Fuqua • Jean Grace • Carrie Louise Hammond • Alexandra Harvey • Beth Ann Homoleski • Eileen Huang • Polina Dimitrova Kehayova • Carrie Kenney • Sarah Kornfeld • Nancy Kurtz • Barbara Abramoff Levy § • Suzanne Lis • Sarah Mayo • Jaylyn Olivo • Naomi Lopin Osborne • Laurie Stewart Otten • Livia M. Racz • Melanie Salisbury # • Laura C. Sanscartier • Joan P. Sherman § • Erin M. Smith • Judy Stafford • Sarah Telford • Nora Anne Watson • Lauren Woo • Alison Zangari mezzo-sopranos

Virginia Bailey • Kristen S. Bell • Martha A. R. Bewick • Betty Blanchard Blume • Betsy Bobo • Lauren A. Boice • Janet L. Buecker • Janet Casey • Abbe Dalton Clark • Christina Wallace Cooper • Kathryn DerMarderosian • Diane Droste • Barbara Naidich Ehrmann • Paula Folkman # • Debra Swartz Foote • Dorrie Freedman* • Irene Gilbride # • Mara Goldberg • Rachel K. Hallenbeck • Betty Jenkins • Irina Kareva • Yoo-Kyung Kim • Annie Lee • Katherine Mallin Lilly • Gale Tolman Livingston # • Anne Forsyth Martín • Louise-Marie Mennier • Lori Salzman • Kathleen Hunkele Schardin • Julie Steinhilber # • Lelia Tenreyro-Viana • Martha F. Vedrine • Cindy M. Vredeveld • Marguerite Weidknecht • Tibisay Zea tenors

Brad W. Amidon • James Barnswell • John C. Barr # • Stephen Chrzan • Sean Dillon • Tom Dinger • Ron Efromson • Carey D. Erdman • Keith Erskine • Len Giambrone • James E. Gleason • Leon Grande • J. Stephen Groff # • Timothy O. Jarrett • James R. Kauffman # • Thomas Kenney • Jordan King • Kwan H. Lee • Michael Lemire • Lance Levine • Dane Lighthart • Henry Lussier § • Daniel Mahoney • Mark Mulligan • David Norris # • Dwight E. Porter* • Guy F. Pugh • Peter Pulsifer • Tom Regan • Brian R. Robinson • Francis Rogers • David Roth • Joshuah Rotz • Blake Siskavich • Stephen E. Smith • Andrew Wang • Hyun Yong Woo basses

Nicholas Altenbernd • Thomas Anderson • Vartan T. Babikyan • Scott Barton • Nathan Black • Daniel E. Brooks # • Michel Epsztein • Jeff Foley • Alexander Goldberg • Jim Gordon • Jay S. Gregory # • Mark L. Haberman # • Robert Hicks • Marc J. Kaufman • David M. Kilroy • Bruce Kozuma • Carl Kraenzel • Ryan M. Landry • David K. Lones # • Eryk P. Nielsen • Richard Oedel • Stephen H. Owades § • William Brian Parker • Donald R. Peck • Michael Prichard # • Sebastian Rémi • Peter Rothstein* • Jonathan Saxton • Karl Josef Schoellkopf • Jayme Stayer • Craig A. Tata • Bradley Turner # • Jonathan VanderWoude • Thomas C. Wang # • Terry L. Ward • Channing Yu

William Cutter, Rehearsal Conductor Erik Johnson, and Mark B. Rulison, Chorus Managers Bridget L. Sawyer-Revels, Assistant Chorus Manager Martin Amlin, Rehearsal Pianist

week 12 guest artists 63 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 • 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. • Cecile Higginson Murphy • National Endowment for the Arts • William and Lia Poorvu • John S. and Cynthia Reed • Miriam and Sidney Stoneman ‡ • Elizabeth B. Storer ‡ • Samantha and John Williams • Anonymous (2)

64 one million

Helaine B. Allen • American Airlines • Lois and Harlan Anderson • 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 • Chiles Foundation • 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 • 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 Andrew W. Mellon Foundation • Kate and Al Merck • 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 • 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 • Richard and Susan Smith Family Foundation/Richard A. and Susan F. Smith • Sony Corporation of America • State Street Corporation • Thomas G. Stemberg • Dr. Nathan B. and Anne P. Talbot ‡ • Caroline and James Taylor • Diana O. Tottenham • The Wallace Foundation • Edwin S. Webster Foundation • Roberta and Stephen R. Weiner • The Helen F. Whitaker Fund • Helen and Josef Zimbler ‡ • Anonymous (9)

‡ Deceased

week 12 the great benefactors 65

The Higginson Society

john m. loder, chair, boston symphony orchestra annual funds judith w. barr, co-chair, symphony annual fund gene d. dahmen, co-chair, symphony annual fund

The Higginson Society embodies a deep commitment to supporting musical excellence, which builds on the legacy of the Boston Symphony Orchestraís founder and first benefactor, Henry Lee Higginson. The BSO is grateful to the philanthropic leadership of our Higginson Sponsor members and those who have donated at the Sponsor level and above. The Symphony Annual Fund provides more than $3 million in essential funding to sustain our mission. The BSO acknowledges the generosity of the donors listed below, whose contributions were received by December 30, 2012. For more information about joining the Higginson Society, contact Allison Cooley Goossens, Associate Director of Society Giving, at (617) 638-9254 or [email protected]. ‡ This symbol denotes a deceased donor.

chairman’s $100,000 and above Peter and Anne Brooke • Ted and Debbie Kelly

1881 founders society $50,000 to $99,999 Carmine A. and Beth V. Martignetti • John S. and Cynthia Reed • Susan and Dan Rothenberg • Stephen and Dorothy Weber • Anonymous encore $25,000 to $49,999 Mr. and Mrs. George D. Behrakis • Joan and John Bok • Mr. and Mrs. John M. Bradley • Jan Brett and Joseph Hearne • William David Brohn • Gregory E. Bulger Foundation/Gregory Bulger and Richard Dix • Diddy and John Cullinane • Cynthia and Oliver Curme • Alan J. and Suzanne W. Dworsky • Alan R. Dynner • William and Deborah Elfers • Thomas and Winifred Faust • Mr. and Mrs. Steven S. Fischman • Joy S. Gilbert • Mr. and Mrs. Amos B. Hostetter, Jr. • The Karp Family Foundation • Paul L. King • Pamela S. Kunkemueller • Joyce Linde • Elizabeth W. and John M. Loder • Nancy and Richard Lubin • Mr. and Mrs. Jeffrey E. Marshall • Kate and Al Merck • Henrietta N. Meyer • Megan and Robert O’Block • Drs. Joseph and Deborah Plaud • William and Lia Poorvu • Louise C. Riemer • Richard A. and Susan F. Smith • Kitte ‡ and Michael Sporn • Theresa M. and Charles F. Stone III • Roberta and Stephen R. Weiner • Linda M. and D. Brooks Zug • Anonymous (2) maestro $15,000 to $24,999 Alli and Bill Achtmeyer • Lois and Harlan Anderson • Lorraine D. and Alan S. ‡ Bressler • Samuel B. and Deborah D. Bruskin • Catherine and Paul Buttenwieser • Ronald and Ronni Casty • John F. Cogan, Jr. and Mary L. Cornille • Dr. Lawrence H. and Roberta Cohn • Mr. and Mrs. Miguel de Bragança •

week 12 the higginson society 67

Happy and Bob Doran • Julie and Ronald M. Druker • Thelma and Ray Goldberg • Mrs. Francis W. Hatch, Jr. • Mr. and Mrs. Brent L. Henry • John Hitchcock • Lizbeth and George Krupp • Dr. and Mrs. Frederick H. Lovejoy, Jr. • Jane and Robert J. Mayer, M.D. • Ann Merrifield and Wayne Davis • Dr. Martin C. Mihm, Jr. • Mr. and Mrs. Daniel Pierce • Mr. Mark R. Rosenzweig and Ms. Sharon J. Mishkin • Benjamin Schore • Kristin and Roger Servison • Joan D. Wheeler • Robert and Roberta Winters patron $10,000 to $14,999 Amy and David Abrams • Lucille Batal • Gabriella and Leo Beranek • Roberta and George Berry • Ann Bitetti and Doug Lober • Mrs. Linda Cabot Black • Eleanor L. and Levin H. Campbell • Katherine Chapman and Thomas Stemberg • Joseph M. Cohen • Donna and Don Comstock • Mrs. William H. Congleton ‡ • Eve and Philip D. Cutter • Edith L. and Lewis S. Dabney • Mr. and Mrs. Philip J. Edmundson • Laurel E. Friedman • David Endicott Gannett • Jody and Tom Gill • Barbara and Robert Glauber • Mr. and Mrs. Ulf B. Heide • Dr. Susan Hockfield and Dr. Thomas Byrne • Prof. Paul L. Joskow and Dr. Barbara Chasen Joskow • Stephen B. Kay and Lisbeth L. Tarlow • Farla Krentzman • Mr. and Mrs. Peter E. Lacaillade • Anne R. Lovett and Stephen G. Woodsum • John Magee • Dr. and Mrs. Joseph B. Martin • Mr. and Mrs. Robert D. Matthews, Jr. • Maureen Miskovic • Richard P. and Claire W. Morse • Jerry and Mary Nelson • Mary S. Newman • Annette and Vincent O’Reilly • Jane and Neil Pappalardo • Susanne and John Potts • William and Helen Pounds • Douglas Reeves and Amy Feind Reeves • Linda H. Reineman • Debora and Alan Rottenberg • Ms. Eileen C. Shapiro and Dr. Reuben Eaves • Wendy Shattuck and Samuel Plimpton • Christopher and Cary Smallhorn • Maria and Ray Stata • Tazewell Foundation • Mr. and Mrs. David Weinstein • Elizabeth and James Westra • Rhonda and Michael J. Zinner, M.D. • Anonymous (5) sponsor $5,000 to $9,999 Noubar and Anna Afeyan • Vernon R. Alden • Helaine B. Allen • Joel and Lisa Alvord • Mr. and Mrs. Walter Amory • Dr. Ronald Arky • Dorothy and David Arnold • Marjorie Arons-Barron and James H. Barron • Diane M. Austin and Aaron J. Nurick • Lloyd Axelrod, M.D. • Mrs. Hope Lincoln Baker • Judith and Harry Barr • John and Molly Beard • Roz and Wally Bernheimer • Brad and Terrie Bloom • Mark G. and Linda Borden • John and Gail Brooks • Drs. Andrea and Brad Buchbinder • Joanne and Timothy Burke • Julie and Kevin Callaghan • The Cavanagh Family • Ronald and Judy Clark • Marjorie B. and Martin Cohn • Mrs. Abram Collier • Eric Collins and Michael Prokopow • Sarah Chapin Columbia and Stephen Columbia • Victor Constantiner • Albert and Hilary Creighton • Mrs. Bigelow Crocker • Prudence and William Crozier • Joan P. and Ronald C. Curhan • Gene and Lloyd Dahmen • Robert and Sara Danziger • Jonathan and Margot Davis • Tamara P. and Charles H. Davis II • Lori and Paul Deninger • Charles and JoAnne Dickinson • Michelle Dipp • Mrs. Richard S. Emmett • Pamela Everhart and Karl Coiscou • Mr. and Mrs. Joseph F. Fallon • Roger and Judith Feingold • Shirley and Richard Fennell • Mr. and Mrs. Andrew J. Ferrara • Larry and Atsuko Fish • Ms. Jennifer Mugar Flaherty and Mr. Peter Flaherty • The Gerald Flaxer Charitable Foundation, Nancy S. Raphael, Trustee • Ms. Ann Gallo • Beth and John Gamel • Dozier and Sandy Gardner • Dr. and Mrs. Levi A. Garraway • Jane and Jim Garrett • Jordan and Sandy Golding • Mr. and Mrs. Mark Goldweitz • Raymond and Joan Green • Vivian and Sherwin Greenblatt •

week 12 the higginson society 69 70 The Grossman Family Charitable Foundation • Grousbeck Family Foundation • John and Ellen Harris • Carol and Robert Henderson • Mr. and Mrs. Richard D. Hill • Patricia and Galen Ho • Mr. and Mrs. Charles Hood • Timothy P. Horne • Judith S. Howe • Mr. and Mrs. Roger Hunt • Yuko and Bill Hunt • Mimi and George Jigarjian • Holly and Bruce Johnstone • Darlene and Jerry Jordan • Joan Bennett Kennedy • Seth A. and Beth S. Klarman • Mr. and Mrs. Jack Klinck • Dr. Nancy Koehn • The Krapels Family • Barbara N. Kravitz • Rosemarie and Alexander Levine • Nancy Lurie Marks Family Foundation • Linda A. Mason and Roger H. Brown • Kurt and Therese Melden • Dale and Robert Mnookin • Mr. and Mrs. Paul M. Montrone • Sandra Moose and Eric Birch • Kristin A. Mortimer • Mr. and Mrs. Rodger P. Nordblom • Mr. and Mrs. Joseph O’Donnell • Peter and Minou Palandjian • Mr. and Mrs. Joseph M. Paresky • Mr. Donald R. Peck • Slocumb H. and E. Lee Perry • Ann M. Philbin • Dr. and Mrs. Irving H. Plotkin • Josephine A. Pomeroy • Jonathan and Amy Poorvu • Dr. Tina Young Poussaint and Dr. Alvin Poussaint • James and Melinda Rabb • Dr. Herbert Rakatansky and Mrs. Barbara Sokoloff • Peter and Suzanne Read • Dr. Robin S. Richman and Dr. Bruce Auerbach • Mr. Graham Robinson and Dr. Jeanne Yu • Mr. Daniel L. Romanow and Mr. B. Andrew Zelermyer • Mr. and Mrs. Thomas A. Rosse • Lisa and Jonathan Rourke • William and Kathleen Rousseau • Mrs. George R. Rowland ‡ • Sean Rush and Carol C. McMullen • Norma and Roger A. Saunders • Cynthia and Grant Schaumburg • Arthur and Linda Schwartz • Ron and Diana Scott • Robert and Rosmarie Scully • Anne and Douglas H. Sears • Mr. Marshall H. Sirvetz • Gilda and Alfred Slifka • Ms. Nancy F. Smith • Mrs. Fredrick J. Stare • John and Katherine Stookey • Patricia L. Tambone • Mr. and Mrs. Theodore H. Teplow • Mr. and Mrs. Mark D. Thompson • John Lowell Thorndike • Marian and Dick Thornton • Dr. Magdalena Tosteson • Blair Trippe • Marc and Nadia Ullman • Robert A. Vogt • Gail and Ernst von Metzsch • Eric and Sarah Ward • Harvey and Joëlle Wartosky • Mrs. Charles H. Watts II • Ruth and Harry Wechsler • Drs. Christoph and Sylvia Westphal • Frank Wisneski and Lynn Dale • Rosalyn Kempton Wood • Drs. Richard and Judith Wurtman • Patricia Plum Wylde • Marillyn Zacharis • Dr. and Mrs. Nicholas T. Zervas • Anonymous (5)

week 12 the higginson society 71

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 • Felicia Burrey Elder, Executive Assistant to the Managing Director • Vincenzo Natale, Chauffeur/Valet • Claudia Robaina, Manager of Artists Services • Benjamin Schwartz, Assistant Artistic Administrator 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, Tanglewood Festival Chorus Manager • Jake Moerschel, Assistant Stage Manager • Julie Giattina Moerschel, Concert Operations Administrator • Leah Monder, Production Manager • John Morin, Stage Technician • Mark C. Rawson, Stage Technician boston pops Dennis Alves, Director of Artistic Planning

Gina Randall, Administrative/Operations Coordinator • Margo Saulnier, Assistant Director of Artistic Planning • Amanda Severin, Manager of Artistic Services/Assistant to the Pops Conductor business office

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

Sophia Bennett, Staff Accountant • Thomas Engeln, Budget Assistant • Michelle Green, Executive Assistant to the Business Management Team • Karen Guy, Accounts Payable Supervisor • Minnie Kwon, Payroll Associate • Evan Mehler, Budget Manager • John O’Callaghan, Payroll Supervisor • Nia Patterson, Accounts Payable Assistant • Harriet Prout, Accounting Manager • Mario Rossi, Staff Accountant • Teresa Wang, Staff Accountant • Audrey Wood, Senior Investment Accountant

week 12 administration 73 74 development

Joseph Chart, Director of Major Gifts • Susan Grosel, Director of Annual Funds and Donor Relations • Nina Jung, Director of Development Events and Volunteer Outreach • 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, Major Gifts Coordinator • Stephanie Baker, Campaign Manager • Dulce Maria de Borbon, Beranek Room Hostess • Cullen E. Bouvier, Donor Relations Officer • Maria Capello, Grant Writer • Diane Cataudella, Associate Director of Donor Relations • Catherine Cushing, Annual Funds Project Coordinator • Emily Diaz, Assistant Manager of Gift Processing • Laura Duerksen, Donor Ticketing Associate • Christine Glowacki, Annual Funds Coordinator, Friends Program • Allison Cooley Goossens, Associate Director of Society Giving • David Grant, Assistant Director of Development Information Systems • Barbara Hanson, 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 Donor Information and Acknowledgments • Jill Ng, Senior Major and Planned Giving Officer • Suzanne Page, Associate Director for Board Relations • Kathleen Pendleton, Development Events and Volunteer Services Coordinator • Emily Reeves, Assistant Manager of Planned Giving • Amanda Roosevelt, Executive Assistant • Laura Sancken, Assistant Manager of Development Events and Volunteer Services • Alexandria Sieja, Manager of Development Events and Volunteer Services • Yong-Hee Silver, Major Gifts Officer • Michael Silverman, Call Center Senior Team Leader • Thayer Surette, Corporate Giving Coordinator • Szeman Tse, Assistant Director of Development Research education and community engagement Jessica Schmidt, Helaine B. Allen Director of Education and Community Engagement

Claire Carr, Manager of Education Programs • 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 • Judith Melly, 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 • Robert Casey, Painter • 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 12 administration 75 76 information technology Timothy James, Director of Information Technology

Andrew Cordero, Manager of User Support • Stella Easland, Switchboard Operator • Michael Finlan, Telephone Systems Manager • Karol Krajewski, Infrastructure Systems Manager • Snehal Sheth, Business Analyst • 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

Louisa Ansell, Marketing Coordinator • 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 • Susan Coombs, SymphonyCharge Coordinator • Peter Danilchuk, Subscriptions Representative • Jonathan Doyle, Junior Graphic Designer • Paul Ginocchio, Manager, Symphony Shop and Tanglewood Glass House • Randie Harmon, Senior Manager of Customer Service and Special Projects • Matthew P. Heck, Office and Social Media Manager • Michele Lubowsky, Subscriptions Manager • Jason Lyon, Group Sales Manager • Richard Mahoney, Director, Boston Business Partners • Ronnie McKinley, Ticket Exchange Coordinator • Jeffrey Meyer, Manager, Corporate Sponsorships • Michael Moore, Manager of Internet Marketing • Allegra Murray, Assistant Manager, Business Partners • Laurence E. Oberwager, Director of Tanglewood Business Partners • Doreen Reis, Advertising Manager • Laura Schneider, Web Content Editor • Robert Sistare, Subscriptions Representative • Richard Sizensky, SymphonyCharge Representative • Kevin Toler, Art Director • Himanshu Vakil, Web Application and Security Lead • Nicholas Vincent, Access Coordinator/SymphonyCharge Representative • Amanda Warren, Junior Graphic Designer • Stacy Whalen-Kelley, Senior Manager, Corporate Sponsor Relations box office David Chandler Winn, Manager • Megan E. Sullivan, Assistant Manager box office representatives Danielle Bouchard • Mary J. Broussard • 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 12 administration 77

Boston Symphony Association of Volunteers executive committee Chair, Charles W. Jack Vice-Chair, Boston, Pattie Geier Vice-Chair, Tanglewood, Howard Arkans Secretary, Audley H. Fuller Co-Chairs, Boston Suzanne Baum • Mary C. Gregorio • Natalie Slater Co-Chairs, Tanglewood Judith Benjamin • Roberta Cohn • Martin Levine Liaisons, Tanglewood Ushers, Judy Slotnick • Glass Houses, Stanley Feld boston project leads and liaisons 2012-13

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 • Instrument Playground, Beverly Pieper • Mailings, Rosemary Noren • Membership Table/Hall Greeters, Elle Driska • Newsletter, Judith Duffy • Recruitment/Retention/Reward, Gerald Dreher • Symphony Shop, Karen Brown • Tour Guides, Richard Dixon

week 12 administration 79 Next Program…

Thursday, January 24, 8pm Friday, January 25, 1:30pm Saturday, January 26, 8pm

charles dutoit conducting

hindemith “symphonic metamorphoses on themes of carl maria von weber” Allegro Turandot: Scherzo Andantino March

liszt piano concerto no. 1 in e-flat Allegro maestoso—Quasi adagio— Allegretto vivace— Allegro marziale animato. Presto stephen hough

{intermission}

prokofiev music from the ballet “romeo and juliet,” opus 64 Montagues and Capulets Juliet the Young Girl Madrigal Minuet Masks Romeo and Juliet The Death of Tybalt Romeo at Juliet’s Tomb

FRIDAYPREVIEWTALKBYHELENGREENWALDOFTHENEWENGLANDCONSERVATORY

Conductor Charles Dutoit returns for his third week of concerts during the 2012-13 season, this time for a program featuring versatile English pianist Stephen Hough in Liszt’s scintillatingly virtuosic Piano Concerto No. 1. The program begins with Hindemith’s Symphonic Metamorphoses on Themes of Weber—which translates material from music by Carl Maria von Weber into a virtuoso showpiece for orchestra—and concludes with music from Prokofiev’s sweeping and colorful ballet score Romeo and Juliet.

80 Coming Concerts… friday previews: The BSO offers half-hour Friday Preview talks prior to all of the BSO’s Friday-afternoon subscription concerts throughout the season. Free to all ticket holders, the Friday Previews take place from 12:15-12:45 p.m. in Symphony Hall.

Thursday ‘C’ January 24, 8-9:55 Thursday ‘D’ February 14, 8-10:05 Friday ‘B’ January 25, 1:30-3:25 Friday ‘A’ February 15, 1:30-3:35 Saturday ‘A’ January 26, 8-9:55 Saturday ‘A’ February 16, 8-10:05 CHARLESDUTOIT, conductor CHRISTOPHVONDOHNÁNYI, conductor STEPHENHOUGH, piano RADULUPU, piano HINDEMITH Symphonic Metamorphoses on MOZART Piano Concerto No. 23 in A, Themes of Weber K.488 LISZT Piano Concerto No. 1 BRUCKNER Symphony No. 4, Romantic PROKOFIEV Suite from Romeo and Juliet

Thursday ‘A’ February 21, 8-9:50 Thursday ‘A’ January 31, 8-9:55 Friday ‘B’ February 22, 1:30-3:20 Friday ‘B’ February 1, 1:30-3:25 Saturday ‘B’ February 23, 8-9:50 Saturday ‘B’ February 2, 8-9:55 Tuesday ‘C’ February 26, 8-9:50 Tuesday ‘B’ February 5, 8-9:55 RAFAELFRÜHBECKDEBURGOS, conductor ANDRISNELSONS, conductor ALEXANDRACOKU, soprano BAIBASKRIDE, violin KARENCARGILL, mezzo-soprano MATTHEW POLENZANI, tenor SHOSTAKOVICH Violin Concerto No. 1 ILDEBRANDO D’ARCANGELO, bass TCHAIKOVSKY Symphony No. 5 TANGLEWOOD FESTIVAL CHORUS, JOHNOLIVER, conductor Thursday ‘B’ February 7, 8-10 STRAVINSKY Pulcinella (complete) Friday ‘B’ February 8, 1:30-3:30 HAYDN Mass in Time of War Saturday ‘A’ February 9, 8-10 Tuesday ‘B’ February 12, 8-10 CHRISTOPHVONDOHNÁNYI, conductor RENAUDCAPUÇON, violin BRAHMS Variations on a Theme by Haydn SIBELIUS Violin Concerto BEETHOVEN Symphony No. 5

Programs and artists subject to change.

Single tickets for all Boston Symphony Orchestra concerts throughout the season are available at the Symphony Hall box office, online at bso.org, or by calling SymphonyCharge at (617) 266-1200 or toll-free at (888) 266-1200, 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 12 coming concerts 81 Symphony Hall Exit Plan

82 Symphony Hall Information

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.

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 12 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. Business for BSO: 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 information, please call the BSO Business Partners Office at (617) 638-9277 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.

84