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Home , Allegro Brillante, Amaluna, Amar Ramasar, Chamber Dance, Doug Fitch, Erich Leinsdorf

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JUNE 2 7–29, 2013

Two Works by Stravinsky

Thursday, June 27, 2013, 7:30 p.m. 15, 579th Concert

Friday, June 28, 2013, 8 :00 p.m. 15,580th Concert

Saturday, June 29, 2013, 8:00 p.m. 15,58 1st Concert

Alan Gilbert , Conductor/Magician Global Sponsor , Director/Designer Karole Armitage, Choreographer Edouard Getaz, Producer/Video Director These concerts are sponsored by Yoko Nagae Ceschina. A production created by Generous support from The Andrew W. Mellon Foundation, Clifton Taylor, Lighting Designer The Susan and Elihu Rose Foun - Irina Kruzhilina, Costume Designer dation, Donna and Marvin Matt Acheson, Master Puppeteer Schwartz, the Mary and James G. Margie Durand, Make-Up Artist Wallach Family Foundation, and an anonymous . Featuring , Principal Dancer* Filming and Digital Media distribution of this Amar Ramasar , Principal Dancer/Puppeteer* production are made possible by the generos ity of The Mary and James G. Wallach Family This concert will last approximately one and Foundation and The Rita E. and Gustave M. three-quarter hours, which includes one intermission. Hauser Recording Fund .

Avery Fisher Hall at Home of the Philharmonic

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New York Philharmonic

Two Works by Stravinsky

Alan Gilbert, Conductor/Magician Doug Fitch, Director/Designer Karole Armitage, Choreographer Edouard Getaz, Producer/Video Director A production created by Giants Are Small Clifton Taylor, Lighting Designer Irina Kruzhilina, Costume Designer Matt Acheson, Master Puppeteer Margie Durand, Make-Up Artist

Featuring Sara Mearns, Principal Dancer* Amar Ramasar, Principal Dancer/Puppeteer*

STRAVINSKY Le Baiser de la fée (The Fairy’s Kiss ) (1882–1971) (1928, rev. 1950)

DUREY Excerpts from Neige (Snow) for Four-Hands, (1888–1979) Op. 7 (1918) ERIC HUEBNER, STEVE BECK, Piano

Intermission

STRAVINSKY (1911) Tableau I: The Shrovetide Fair Tableau II: Petrushka’s Room Tableau III: The Moor’s Room Tableau IV: The Shrovetide Fair (Evening) ERIC HUEBNER, Piano

20 Cast Ballerina/Columbine Sara Mearns* The Moor (on film) Eric Owens Petrushka (on film) Lover/Puppeteer Amar Ramasar* Shadow Abbey Roesner* Performer/Puppeteer William da Silva* Performer/Puppeteer Vincent McCloskey* Atmosphericist Monica Lerch* Steadicam Operator Giacomo Belletti* Tripod Camera Matt Manning* Cover Dancer Zachary Catazaro*

Production Puppet and Miniature Designers : Doug Fitch, Matt Acheson, Chris Fitch

Music Consultant : James Ross Make-Up Artist: Kirk Cambridge-Delpeche Assistant Director : James R. Smith Assistant Choreographer : Abbey Roesner Assistant Lighting Designer : Anshuman Bhatia Assistant Costume Designer : Kate Fry Wardrobe Supervisor : Melanie Schmidt Wardrobe Assistant : Larry Callahan Scenic Design Consultant : G.W. Mercier Stage Manager : Laine Goerner Assistant Stage Manager : Kaitlin Springston

Props Master/Logistics : Douglas Wright Creative Media Manager : Lutz Rödig

Thing and Model Makers : Ceili Clemens, Robin Frohardt, Lisa Guerrero, Jessica Hirschorn, Sidney Erin Johnson, Hannah Kohl, Monica Lerch, Eric James Novak, Mark Skelly, Julianna Zarzycki, Dedalus Wainwright, Fergus J. Walsh

Costumes Constructed by: Krostyne Studio, Marianne Krostyne Animator: Julia Eichhorn Lighting Programmer: Paul Sonnleitner Production Electrician: Michael LoBue Production Assistant: Hannah Rubashkin Costume Intern: Stephanie Petagno

*Denotes New York Philharmonic debut (continued)

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Video System Integration and Switching Equipment: Staging Techniques — Pete Bothner-By, Karen Zappone , Steven Albert Camera Equipment: Hand Held Films — Alex Resnikoff Crew Additional Video Footage Video Editors: Edouard Getaz, James R. Smith Director of Photography: Giacomo Belletti Cameraman: Matt Manning Art Director: Lee Clayton Gaffer : Andrew Hubbard Gaffer/Grip: Nate Milette Hospitality: Rob Stupay Rehearsal Pianist: Steve Beck Giants Are Small LP Partners, Co-Founders : Doug Fitch, Edouard Getaz, Frederic Gumy Communications : Eric Latzky Behind-the-Scenes Producer : Carol Getaz Production Services: Incoprod LLC, a subsidiary of Intercontinental Pictures LLC

Special Thanks to Robert Butters (And-entertainment), Lyla Fitch, Stephen Greco, Mahmoud Hamadani, Charles Hamlen, Andi Floyd (Fettmann Ginsburg P.C.), Mood Fabrics, Yoko Essel, Thijs Beuming

Petrushka is based on the 2008 developmental production presented at the University of Maryland, in collaboration with James Ross.

Rehearsed at the New 42nd Street Studios.

Some additional lighting equipment courtesy of Philips Strand Lighting. Special thanks to Kara ’Grady.

Composer and conductor Victoria Bond will give a talk one hour prior to these performances.

Classical 105.9 FM WQXR is the Radio The New York Philharmonic’s concert -recording Station of the New York Philharmonic. series, Alan Gilbert and the New York Phil - harmonic: 2012 –13 Season, is now available for download at all major online music stores. The New York Philharmonic This Week, Visit nyphil.org/recordings for more information. nationally syndicated on the WFMT Radio Network, is broadcast 52 weeks per year ; Follow us on Tumblr, Facebook, Twitter, and visit nyphil.org for information . YouTube.

PLEASE SILENCE YOUR ELECTRONIC DEVICES .

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Alan Gilbert on This Program

With Doug Fitch you know something brilliant and magical is in store, but you don’t know what to expect. He has a unique ability to come at you from a new direction; his projects, all reflect a quin - tessential “Doug” quality, while no two are alike. This is also true of the works Stravinsky composed over his lifetime — his essence can be perceived in all of his music, although his oeuvre reflects a wide range of styles, from Neoclassicism all the way to . This year, with A Dancer’s Dream, Doug’s dramatic and theatrical sensibil - ity is serving Stravinsky’s music exquis - itely — idiosyncratically yet in a way that suits it perfectly — and I am proud to be part of what surely will be a landmark production of Le Baiser de la fée and Petrushka , albeit one that you’d never experience at a company. This pro - duction’s blend of and ballet and a more explicitly theatrical role for the musicians themselves reflects a new idea of what an orchestra can be while staying true to the essence of what Doug Fitch and Alan Gilbert, preparing for their first New York makes the New York Philharmonic great. Philharmonic collaboration, Ligeti’s Le Grand Macabre , in 2010

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Notes on the Program By James M. Keller, Program Annotator The Leni and Peter May Chair

Le Baiser de la fée Stravinsky. The composer explained in his (The Fairy’s Kiss) Autobiography :

Petrushka The idea was that I should compose something inspired by the music of Stravinsky Tchaikovsky. My well-known fondness for this composer, and, still more, the fact that The most renowned figure of cutting-edge November [1928], the time fixed for the ballet in the early 20th century was Serge performance, would mark the thirty-fifth Diaghilev, whose Russes introduced anniversary of his death, induced me to ten of ’s stage works. But he accept the offer. It would give me an op - was not the only adventurer in the dance portunity of paying heartfelt homage to world at that time. One of the most notable Tchaikovsky’s wonderful talent. of his colleagues — or competitors, really — was Ida Rubinstein. She made her debut The plan Stravinsky fixed on for the result - in 1908 in Oscar Wilde’s Salomé , with ing ballet, Le Baiser de la fée (The Fairy’s an interpretation of the “Dance of the Seven Veils” In Short that left absolutely nothing to the imagination. Rubin - Born: June 17, 1882, in Lomonosov, stein danced in the Ballets Died: April 6, 1971, in Russes from 1909 to

19 11 before leaving to form Works composed and premiered : Le Baiser de la fée composed April– her own dance company October 1928, the full score being dated October 30, 1928, at midnight ; (which got off to a strong revised 1950; premiered November 27, 1928, with the composer , in a staged production by the Ballets Ida Rubinstein at the House, start by creating the extrav - choreographed by Bronislava Nijinska . Petrushka composed August 1910 to aganza Le Martyre de Saint May 26, 1911; dedicated to Alexandre Benois, who prepared the scenario; Sébastien, with music by premiered June 13, 1911, with conducting a staged production Debussy ). In the late 1920s by the at the Théâtre du Châtelet in Paris she hoped to stage Stravin - New York Philharmonic premieres and most recent performances : sky’s Apollon musagète , but Le Baiser de la fée, only previous performances, March 4 –6, 1993, Oliver upon learning that Diaghilev Knussen, conductor. The first performance of this version of Petrushka , possessed exclusive per - February 4, 1923, , conductor; most recently, May 6, 2010, Valery Gergiev, conductor forming European rights,

decided instead to com mis - Estimated durations : Le Baiser de la fée, ca. 44 minutes; Petrushka, sion a new work from ca. 35 minutes

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In the Director’s Words

Tonight, our story unfolds as a kind of über Fairy Tale, connecting two great ballets by Stravinsky with an ex - cerpt from a piece for piano (four hands) by the surrealist composer . The thread that weaves them all together takes the form of a young woman who slips into the world of her own imagination and is swept away by muses to become a ballerina. By “über” I mean it amalgamates several The Fairy (Sara Mearns) blows a kiss themes that fairy tales share, and from which they derive their own subconscious logic. The Fairy’s Kiss is based on a haunting story by Hans Christian Andersen ( The Ice Maiden ) and was composed by Stravinsky as an homage to Tchaikovsky. Stravinsky saw the “kiss” as a metaphor for the artistic gift — that mysterious, intangible phenomenon that can bestow immortality, but not without extracting its human price. We have merged these into a kind of day - dream — a reverie induced by the seductive and transformative power of great music. Neige, Durey’s minimalist masterpiece, al - lows us to spend a moment with the heroine of our story, bearing witness to her moment of self- discovery — the emergent ballerina as chrysalis. She then enters into the world of the Shrovetide Fair-setting of Petrushka and be - comes the puppet ballerina character Columbine. Things in this daydream seem to have real consequences and it is hard to dis - tinguish the artifice from the reality it is de - signed to imitate. Petrushka is a work that sprang from the collective imagination of four well-known artists in one of the first great modernist col - laborations. It was inspired by Commedia del - l’Arte stories, mixed with Russian folk-tale motifs, and emerged as a completely unique, total work of art. After its premiere, Stravinsky said that dance is not applied arts — it is a union of arts; they strengthen and complement each other. It is in this spirit of developing a union between artistic media — some old, some new — that we have pursued this project. And you are not exempt! We invite you to enter this world with us — to put together the pieces in your own mind and to weave your own stories as you watch and listen. You are very much a part of this collaboration. Anthony Roth Costanzo as Petrushka — Doug Fitch

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Kiss) , was effectively a collaboration: he ma terial from 16 Tchaikovsky compositions (five would write a score that combined original songs and 11 piano pieces), all of which he du - themes with melodic material drawn from the tifully identified in Expositions and Develop - works of Tchaikovsky. Rather than follow the ments (1962), one of the series of memoirs he obvious , but redundant , path of borrowing co-created with . He disclosed: music Tchaikovsky had already used to su - perlative effect in his own ballet scores, I was already familiar with about half of the Stravinsky selected themes from non-balletic music I was to use; the other pieces were works — indeed, from pieces Tchaikovsky had discoveries. At this date I only vaguely re - not imagined for orchestra in any form. By the member which music is Tchaikovsky’s and time he was through, Stravinsky had employed which mine.

Entr’Acte

Louis Durey (born May 27, 1888, in Paris; died July 3, 1979, in Saint-Tropez, ) is scarcely represented on concert programs today, but he was a formidable musician in his time. It was not until 1907, after being smitten by a performance of Debussy’s opera Pelléas et Mélisande, that Durey set his sights on becoming a composer and accordingly embarked on teaching himself the principles of composition and orchestration. By 1914 he felt comfortable signing off on compositions, and in 1917 he achieved the first performance of one of his works, Carillons for Piano Four-Hands, which was unveiled at a concert in honor of the composer , who be - came something of a mentor. He and five colleagues clustered around this iconoclast, declaring themselves a Société des Nouveaux Jeunes (Society of Young Up-and-Comers). That name was replaced by the label Groupe des Six, a nickname first used by the music critic Henri Collet in describing this convivial band comprising , , , , and , in addition to Durey. In 1918 Durey added another piece, his myste - rious and moody Neige (Snow), for piano four- hands, to his Carillons, and the two were published together as his Op. 7. Neiges carried a dedication to another composer he admired, , who was greatly encouraging to the young com - poser. Durey later made an orchestrated version of this work, which he conducted at a 1929 concert of the Groupe des Six at the Théâtre des Champs- Élysées. It would have been a somewhat nostalgic gathering, as by that time the six composers had largely drifted off in their individual directions. In the 1930s Durey became deeply involved with the Communist Party and ended up devoting himself to choral compositions on anti-Fascist and other political themes, including late-in-life settings of texts by and .

Pianist serves as the central figure in the 1921 painting Le Groupe des Six by Jacques-Émile Blanche. The group includes, from left: Germaine Tailleferre, Darius Milhaud, Arthur Honegger, Louis Durey, Francis Poulenc, , and Georges Auric

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The project bore some resemblance to A fairy marks a young man with her mys - Stravinsky’s ballet , which he had terious kiss while he is still a child. She composed for Diaghilev in 1920 by recasting withdraws him from his mother’s arms. bits and pieces attributed to the 18th- She withdraws him from life on the day of century composer Giovanni-Battista Pergolesi. his greatest happiness in order to possess But in Le Baiser de la fée, Stravinsky assimi - him and preserve this happiness forever. lates Tchaikovsky’s melodies more thoroughly, She marks him once more with her kiss. with the result that the score comes across as a more original endeavor than does Pulcinella, Stravinsky set the ballet in four scenes — which seems more like a highly spiced The Prologue, The Village Fête, By the Mill, arrangement of post-Baroque material. and Epilogue. He inscribed the completed For his scenario, Stravinsky turned to the score with this dedication: writings of Hans Christian Andersen, whose oeuvre had previously furnished the plot for I dedicate this ballet to the memory of his opera Le Rossignol . This time he focused Pyotr Tchaikovsky by relating the Fairy to on Andersen’s novella The Snow Maiden his Muse, and in this way the ballet be - (a.k.a. The Ice Maiden), because, as he comes an allegory, the Muse having simi - explained, “it suggested an allegory of Tchai - larly branded Tchaikovsky with her fatal kov sky himself.” The general plot, as pre - kiss, whose mysterious imprint made itself sen ted in the first edition of the score, is this: felt in all this great artist’s work.

From the Digital Archives: Stravinsky and the Dance

A Dancer’s Dream is not the first time Stravinsky’s music has been danced at the New York Philharmonic — indeed, a pro - gram was devoted to his works during one of the Philhar - monic’s first summer festivals. A Festival of Stravinsky: His Heritage and His Legacy was presented in 1966, with the composer himself in attendance. “Stravinsky and the Dance,” the seventh of ten programs, featured two contrasting short works choreographed by Stravinsky’s longtime friend , then artistic director of , and danced by company principals Suzanne Farrell and . Elégie, Stravinsky’s mournful five-minute meditation for solo unaccompanied was played by violist Jesse Levine and danced by Ms. Farrell; she was joined afterward by Mr. Mitchell for a 1920s dance-hall style movement to Stravin - sky’s for 11 instruments. As Howard Klein of reported, the pieces were audience favorites and “the response brought the composer to his feet twice to share bows with the dancers and the musicians.”

Scan here or visit archives.nyphil.org Stravinsky backstage at the Philharmonic per - to see programs, photos, and plan - formance of his works on July 23, 1966 ning papers for the 1966 Stravinsky festival.

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Stravinsky’s breakthrough to fame had ar - 1913), Le Rossignol ( , 1914), rived, more than a decade earlier, through his Pulcinella (1920), (1922), Reynard collaborations with Diaghilev’s Ballets (1922), (The Wedding , 1923), Russes. His first project was modest: a pair (1927), and Apollon musagète of Chopin orchestrations for the 1909 pro - ( , 1928). duction of Les Sylphides . The production Stravinsky wrote of how the idea for was a success, but some critics complained Petrushka coalesced: that the troupe’s choreographic and scenic novelty was not matched by its conservative I had in my mind a distinct picture of a musical score. Diaghilev set about address - puppet, suddenly endowed with life, exas - ing this by commissioning new ballet scores, perating the patience of the orchestra with of which the first was Stravinsky’s Firebird, diabolical cascades of arpeggi . The or - premiered in 1910. Thus began a collabora - chestra in turn retaliates with menacing tion that would include some of the most ir - -blasts. The outcome is a terrific replaceable items in the history of the early- noise which reaches its climax and ends 20th-century stage: Petrushka (1911), Le in the sorrowful and querulous collapse of Sacre du printemps ( , the poor puppet. … One day I leapt for joy.

At the Creation

In 1911 Pierre Monteux was assistant conductor of the Concerts Colonne Orchestra, which had been engaged to play for the productions of Serge Diaghilev’s Ballets Russes. He was assigned to lead the orchestra during rehearsals of their new ballet Petrushka. In his memoir It’s All in the Music (authored by his wife, Doris Mon - teux), he recalled:

At first, I wasn’t the least bit interested, I must say. However, as the rehearsals proceeded, I felt a cer - tain fascination for the score, which presented great difficulties to the orchestra. … I think the composer, Igor Stravinsky, interested me as much as his music. He spoke perfect French, which facilitated matters, and knew exactly what he wanted to hear. … This very slight, dynamic man, twenty-nine years of age, darting like a dragonfly from one end of the foyer to the other, never still, listening, moving to every part of the orchestra, landing at intervals behind my back, and hissing semi-voce instructions in my ears, in - trigued me. I should add that he in no way annoyed me, as I was by that time completely subjugated by the music and the composer. … After a few re - hearsals … Igor Stravinsky declared to Diaghilev: “Only Monteux will conduct my work.”

Stravinsky and Vaslav Nijinsky, as Petrushka, in 1911

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I had indeed found my title — Petrushka, puppetmaster assures the onlookers not to the immortal and unhappy of every worry — that it was nothing more than a pup - fair in all countries. pet made of wood and sawdust. The crowds withdraw, but in the end Petrushka’s ghost At first the score seemed to be taking the gets the final word, jeering sardonically from form of a concert work, as Diaghilev noted with the roof of the little theater . distress when he visited Stravinsky to check on In 1947, long after Petrushka had been es - the status of their collaboration; he thought it tablished as a classic of ballet repertoire, was to be about springtime celebrations in Stravinsky revised his score, making its or - pagan Russia. But once Stravinsky played him chestration smaller and otherwise refining the the first two movements, with their evocative piece in ways that seem biased more toward quotations and bi -tonal bite, it was Diaghilev’s concert performance than toward the de - turn to jump for joy. He immediately sensed the scriptive style of the ballet stage. In essence, choreographic possibilities in Petrushka and what he initially conceived as a concert piece was happy to postpone The Rite of Spring . evolved back into one. In this performance, Stravinsky’s original setting of Petrushka however, we return to the composer’s initial unrolls through four scenes set in St. Peters - orchestration, which is inventive and colorful burg in the 1830s. In the first, crowds stroll to the point of extravagance. through the Shrovetide Fair on a sunny winter day as musicians compete to entertain them. Instrumentation: Le Baiser de la fée em - A showman introduces the characters of a ploys three (one doubling piccolo), two puppet show he is going to present: and English horn, three (one Petrushka, the Ballerina, and The Moor. The doubling ), two , four puppets astonish everyone by stepping out horns, three , three , , from their little box theater and dancing all on , bass , harp, and strings . their own. The second scene takes place in Petrushka calls for four flutes (two doubling Petrushka’s cell, where our principal puppet, piccolo), four oboes (one doubling English now imbued with human feelings, bemoans horn), four clarinets (one doubling bass clar - his awkwardness. He loves the Ballerina, but inet), four bassoons (one doubling contrabas - she finds him repellent, and as the scene soon), four horns, four trumpets (two doubling closes Petrushka hurls himself against the and two doubling cornet), wall in despair. Scene Three is set in The three trombones, tuba, timpani, , Moor’s cell, where that brutal character, cymbals, tam-tam , orchestra bells, , decked out in his finery, proves irresistible to , triangle, , (four the Ballerina. Petrushka rushes in on their hands), piano, two harps, and strings . scene, insanely jealous, but The Moor throws him out. In the concluding tableau we are back An earlier version of the Petrushka note ap - at the fair, in the evening, where colorful char - peared in programs of New World Symphony. acters again roam about. A commotion breaks © James M. Keller out in the puppet-master’s little theater; in an - other jealous encounter Petrushka is slain by Stravinsky’s Le Baiser de la fée (The Fairy’s The Moor, and the latter escapes with the Bal - Kiss) is presented by arrangement with Boosey lerina. Petrushka dies in the snow, but the & Hawkes, Inc. publisher and copy right owner.

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New York Philharmonic

2012 –2013 SEASON ALAN GILBERT, Music Director Case Scaglione, Assistant Conductor Joshua Weilerstein, Assistant Conductor , Laureate Conductor, 1943–1990 , Music Director Emeritus

VIOLINS Soohyun Kwon FLUTES Glenn Dicterow The Joan and Joel I. Picket Carter Brey Robert Langevin Concertmaster Chair Principal Principal The Charles E. Culpeper Duoming Ba The Fan Fox and Leslie R. The Chair Samuels Chair Chair Sheryl Staples Marilyn Dubow Eileen Moon* Sandra Church* Principal Associate The Sue and Eugene The Paul and Diane Yoobin Son Concertmaster Mercy, Jr. Chair Guenther Chair Mindy Kaufman The Elizabeth G. Beinecke Martin Eshelman Eric Bartlett Chair The Shirley and Jon Judith Ginsberg PICCOLO Michelle Kim Brodsky Foundation Chair Hyunju Lee Assistant Concertmaster Maria Kitsopoulos Mindy Kaufman The William Petschek Joo Young Oh Family Chair Daniel Reed Elizabeth Dyson OBOES Enrico Di Cecco Mark Schmoockler The Mr. and Mrs. James E. Liang Wang Buckman Chair Carol Webb Na Sun Principal Alexei Yupanqui Gonzales Yoko Takebe Vladimir Tsypin The Alice Tully Chair Sumire Kudo Sherry Sylar* Quan Ge Qiang Tu Robert Botti The Gary W. Parr Chair Cynthia Phelps Ru-Pei Yeh The Lizabeth and Frank The Credit Suisse Chair Newman Chair Hae-Young Ham Principal The Mr. and Mrs. Timothy M. in honor of Paul Calello The Mr. and Mrs. Frederick Keisuke Ikuma++ George Chair P. Rose Chair Wei Yu Lisa GiHae Kim Rebecca Young* Susannah Chapman++ ENGLISH HORN Kuan Cheng Lu The Joan and Joel Smilow Alberto Parrini++ Keisuke Ikuma++ Newton Mansfield Chair The Edward and Priscilla Irene Breslaw** BASSES CLARINETS Pilcher Chair The Norma and Lloyd Fora Baltacigil Mark Nuccio Kerry McDermott Chazen Chair Principal Acting Principal Anna Rabinova Dorian Rence The Redfield D. Beckwith The Edna and W. Van Alan Charles Rex Chair Clark Chair Katherine Greene The Shirley Bacot Shamel Satoshi Okamoto* Pascual Martínez Chair The Mr. and Mrs. William J. Acting Associate Principal McDonough Chair Forteza* Fiona Simon The Herbert M. Citrin Chair Dawn Hannay Acting Associate Principal Sharon Yamada Orin O’Brien Vivek Kamath The Honey M. Kurtz Family Elizabeth Zeltser Chair The William and Elfriede Peter Kenote William Blossom Alucia Scalzo++ Ulrich Chair Kenneth Mirkin The Ludmila S. and Carl B. Amy Zoloto++ Yulia Ziskel Judith Nelson Hess Chair Randall Butler Robert Rinehart E-F LAT CLARINET Marc Ginsberg David J. Grossman The Mr. and Mrs. G. Chris Pascual Martínez Principal Andersen Chair Blake Hinson Lisa Kim* Forteza In Memory of Laura Mitchell Max Zeugner Rex Surany++

Instruments made possible, in part, by The Richard S. and Karen LeFrak Endowment Fund .

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BASS CLARINET BASS ORGAN Amy Zoloto++ Kent Tritle The Daria L. and William C. Foster BASSOONS Chair LIBRARIANS Judith LeClair George Curran++ Lawrence Tarlow Principal Principal The Pels Family Chair TUBA Sandra Pearson** Kim Laskowski* Alan Baer Sara Griffin** Roger Nye Principal Arlen Fast ORCHESTRA PERSONNEL TIMPANI MANAGER Markus Rhoten Carl R. Schiebler Arlen Fast Principal The Carlos Moseley Chair STAGE REPRESENTATIVE HORNS Kyle Zerna** Philip Myers Joseph Faretta Principal PERCUSSION The Ruth F. and Alan J. Broder Chair Christopher S. Lamb AUDIO DIRECTOR R. Allen Spanjer Principal Lawrence Rock The Rosalind Chair The Constance R. Hoguet Friends of Howard Wall the Philharmonic Chair * Associate Principal Richard Deane++ Daniel Druckman* ** Assistant Principal The Mr. and Mrs. Ronald J. Ulrich Leelanee Sterrett++ Chair + On Leave Kyle Zerna ++ Replacement/Extra TRUMPETS Philip Smith The New York Philharmonic uses Principal HARP The Paula Levin Chair Nancy Allen the revolving seating method for Matthew Muckey* Principal section string players who are The Mr. and Mrs. William T. Knight III listed alpha betically in the roster. Ethan Bensdorf Chair Thomas V. Smith HONORARY MEMBERS OF THE KEYBOARD ROMBONES SOCIETY T In Memory of Paul Jacobs Joseph Alessi Emanuel Ax Principal The Gurnee F. and Marjorie L. Hart Stanley Drucker Chair Paolo Bordignon David Finlayson The Donna and Benjamin M. Rosen PIANO Chair Eric Huebner the late Carlos Moseley

Steinway is the Official Piano of the New York Philharmonic and Avery Fisher Hall.

Programs are supported, in part, by public funds from the New York City Department of Cultural Affairs , in partner - ship with the City Council , New York State Council on the Arts , and the National Endowment for the Arts .

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The Artists

showcasing the Music Director’s themes and ideas, culminating in a theatrical reimagining of Stravinsky ballets with director/designer Doug Fitch and New York City Ballet principal dancer Sara Mearns. Last season’s highlights included performances of three Mahler symphonies, in - cluding the Second, Resurrection, on A Concert for New York ; tours to Europe (including the Or - chestra’s first International Associates residency at London’s Barbican Centre) and ; and Philharmonic 360, the Philharmonic and Park Avenue Armory’s acclaimed spatial -music pro - gram featuring Stockhausen’s Gruppen , building on previous seasons ’ successful productions of Ligeti’s Le Grand Macabre and Janá cˇek’s , each acclaimed in 2010 New York Philharmonic Music Director Alan and 2011, respectively , as New York magazine’s Gilbert began his tenure in September 2009 , number one event of the year. launching what New York magazine called “a In September 2011 Alan Gilbert became Di - fresh future for the Philharmonic.” The first na - rector of Conducting and Orchestral Studies at tive New Yorker to hold the post, he has sought The , where he is the first to hold to make the Orchestra a point of civic pride for the William Schuman Chair in Musical Studies. the city and the country. Conductor Laureate of the Royal Stockholm Phil - Mr. Gilbert combines works in fresh and in - harmonic Orchestra and Principal Guest Con - novative ways ; has forged important artistic ductor of Hamburg’s NDR Symphony Orchestra, partnerships, introducing the positions of The he regularly conducts leading ensembles such as Marie-Josée Kravis Composer-in-Residence the Boston Symphony Orchestra , Amsterdam’s and The Mary and James G. Wallach Artist-in- Royal Concertgebouw Orchestra , Leipzig Residence ; and introduced an annual multi- Gewandhaus Orchestra , and Berlin Philharmonic . week festival and CONTACT!, the new-music Alan Gilbert’s acclaimed 2008 Metropolitan series. In the 2012–13 season he conducts Opera debut , leading John Adams’s Doctor world premieres; presides over a cycle of Atomic , received a 2011 Grammy Award for Best Brahms’s symphonies and concertos; conducts Opera Recording. Renée Fleming’s recent Decca Bach’s in B minor and an all-American recording, Poèmes, on which he conducted, re - program , including Ives’s Fourth Symphony; ceived a 2013 Grammy Award. Mr. Gilbert stud - leads the Orchestra’s EUROPE / SPRING ied at Harvard University, The Curtis Institute of 2013 tour ; and continues The Nielsen Project, Music, and Juilliard and was assistant conductor the multi -year initiative to perform and record of The (1995–97). In May the Danish composer’s symphonies and con - 2010 he received an Honorary Doctor of Music certos, the first release of which was named by degree from Curtis, and in December 2011 he The New York Times as among the Best Clas - received ’s Ditson Conduc - sical Music Recordings of 2012. The season tor’s Award for his commitment to performing concludes with Gilbert’s Playlist, four programs American and contemporary music.

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American Repertory Theatre and, in England, with the late of The Muppets. He graduated magna cum laude with a de - gree in visual studies from Harvard Univer - sity, and also studied cooking at La Varenne in Paris and design at Institut d’Architecture et d’Études Urbaines in Strasbourg, France.

Director/Designer Doug Fitch designed and directed the New York Philharmonic’s 2010 production of Ligeti’s Le Grand Macabre and 2011 production of Janá cˇek’s The Cunning Little Vixen, both conducted by Alan Gilbert. His first project for the Orches - tra was Stravinsky’s L’Histoire du soldat in 2005. He has also created productions for Choreographer Karole Armitage, director the Opera (Humperdinck’s of the New York–based Armitage Gone! Hansel and Grete l ), Los Angeles Philhar - Dance Company, was trained in classical bal - monic (Prokofiev’s Peter and the Wol f ), and let and performed with George Balanchine’s the (Puccini’s Turandot ). He Grand Théâtre de Genève Company and the has directed projects for other major institu - Dance Company. She is tions across North America and Europe, in - known for pushing boundaries to create cluding Canada’s National Arts Centre and works that blend dance, music, and art, draw - the Royal Stockholm Philharmonic Orchestra. ing upon her technical knowledge of dance For more than 15 years he has collaborated to blend virtuosity with conceptual ideas from with artist Mimi Oka to create a series of the frontiers of movement research. She has multi-sensory experiences known as Orphic directed the Ballet of Florence, Italy (1995– Feasts. In the 1980s he emerged as an ar - 98) and the Biennale of Contemporary chitectural designer and has designed sev - Dance in Venice (2004), served as resident eral homes and pieces of furniture. choreographer for the Ballet de Lorraine in Doug Fitch was born in 1959 in Philadel - France (1999–2004), and created works for phia and his creative life began while travel - The Bolshoi Ballet, Ballet Nacional de Cuba, ing with his family’s touring puppet theater. Les Ballets de Monte Carlo, Paris Opéra Bal - Later, while studying visual arts at Harvard let, , and Alvin Ailey Dance University, he collaborated with director Peter Theater, among others. Ms. Armitage collabo - Sellars, including on a production of Wag - rates frequently with composers and artists in - ner’s . Mr. Fitch also cluding Jeff Koons, Brice Marden, David Salle, worked on ’s Civil Wars at the and Phillip Taaffe. She has choreo graphed

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two Broadway productions ( Passing Strange “Best Classical Event of the Year” by New and Hair, the latter earning her a Tony nomi - York magazine. nation), videos for and Michael Mr. Getaz also produced the Giants Are Jackson, and several films for Merchant Ivory Small adaptation of Prokofiev’s Peter and the Productions. Known for directing opera, she Wolf with the at choreographed Janá cˇek’s The Cunning Little Walt Disney Concert Hall in 2008. He is cur - Vixen for the New York Philharmonic (2011) rently developing a new multimedia adapta - as well as the production tion of the Prokofiev classic with Mr. Fitch and (2012). Ms. Armitage was awarded Giants Are Small’s co-founder Frederic Gumy Commandeur de l’Ordre des Arts et des Let - titled Peter + Wolf in Hollywood, an immersive tres in 2009, received a doctorate of the arts event incorporating theater, music, live film - from the University of Kansas in 2013, and is making, and puppetry. For the Montreux Jazz the recipient of a Guggenheim Fellowship. Festival, in the mid-1990s, Mr. Getaz pro - duced one of the first multi-location music events to be streamed live on the Internet. In 1998 he co-founded Creatives, an events and communications agency in Switzerland. He has directed two films, Virgin Red (2005) and Freud’s Magic Powder (2009), both of which were premiered at the Locarno Film Festival and selected to appear at major festivals. Edouard Getaz holds a law degree from Fribourg University, Switzerland, and stud - ied film, directing, and production at New York University.

Producer/Video Director Edouard Getaz Since its founding in 2007 by American direc - has developed and produced a wide variety tor and visual artist Doug Fitch, Swiss film - of events, ranging from major fashion shows maker and producer Edouard Getaz, and to music festivals, large historical celebra - multimedia entrepreneur Frederic Gumy, tions, and concerts. His first production Giants Are Small has become one of the under the banner of Giants Are Small was most out-of-the-box production companies in Stravinsky’s L’Histoire du soldat, directed by New York. Collaborating with top Doug Fitch, for the New York Philharmonic and contemporary talents, Giants Are Small is in 2005; he has since produced all Giants known for a range of genre-bending produc - Are Small productions, including two tions, which capitalize on its signature fusion at the New York Philharmonic: Ligeti’s Le of theater, live filmmaking, music, and visual art. Grand Macabre in 2010 — which was cited The 2010 Giants Are Small production of as the top opera of that year by The New Ligeti’s Le Grand Macabre for the New York York Times, New York magazine, and Time Philharmonic, conducted by Alan Gilbert, was Out New York — and Janá cˇek’s The Cun - cited as the top classical music event of ning Little Vixen in 2011, which was called 2010 by The New York Times, New York

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magazine, and Time Out New York. Giants commissioned for Alvin Ailey American Dance Are Small collaborated with the Philharmonic Theater, American Ballet Theater, San Fran - again on the 2011 production of Janá cˇek’s cisco Ballet, Les Grands Ballets Canadiens, The Cunning Little Vixen, which was called Ballet Jazz de Montréal, Maggio Danza (Flo - the best classical music event of the year by rence, Italy), and Ballet Company of Rio de New York magazine. The creative partnership Janeiro. He is the resident lighting designer for of Doug Fitch and Edouard Getaz began with Armitage Gone! Dance Company, Philadanco, Stravinsky’s L’Histoire du soldat, with the and Elisa Monte Dance, and has designed for New York Philharmonic, in 2005, and was choreographers Lar Lubovitch, Ronald K. the first production in which their idea of “live Brown, and Larry Keigwin. Other recent col - filmmaking” was brought to a wide audience. laborators include Benoit-Swan Pouffer for Giants Are Small is currently developing Cedar Lake Contemporary Ballet and Septime Peter + Wolf in Hollywood, an immersive Webre for Washington Ballet. In addition, event incorporating theater, music, live film - Clifton Taylor is a theater consultant to venues making, and puppetry based on the in several countries, most recently advising on Prokofiev classic. Additional projects in de - the construction of Teatro del Lago in Chile . velopment include theatrical amalgams of media, technology, music, and visual art.

Irina Kruzhilina is a New York City–based costume designer whose work has been seen Lighting Designer Clifton Taylor ’s previous in venues including the Brooklyn Academy of projects for the New York Philharmonic in - Music, the National Theatre in Prague, Fischer clude Janá cˇek’s The Cunning Little Vixen Center for the Performing Arts at Bard Col - (2011) and Ligeti’s Le Grand Macabre (2010). lege, and a barge on the East River. Ms. His Broadway credits include Jay Johnson: Kruzhilina has designed costumes for dozens The Two and Only (Ovation Award), Frozen, of theater, dance, opera, and puppetry per - and Hot Feet. Off-Broadway, he has worked formances, such as The Merchant of Venice, on several shows for the Encores! series at Don Juan in Prague with David Chambers, New York’s City Center and many plays and Three Graces by Ruth Margraff, Arctic Hyste - musical events for Gotham Chamber Opera, ria with Else-Marie Laukvik, Song for New Irish Repertory Theatre, and MCC Theater. Mr. York with Mabou Mines, DNAWorks’s HaMa - Taylor’s lighting designs for dance have been pah, Scrap Performance Group’s Tide, and

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Adam McKinney’s Heliotrope. Her work has puppetry. Most recently, he was the resident appeared at the Philadelphia Live Arts, Spo - puppetry director for the Broadway produc - leto Fringe, and DAH Teatar (Belgrade, Ser - tion of War Horse at Lincoln Center Theater bia) festivals. A native of Moscow, Ms. and currently serves as the associate pup - Kruzhilina is dedicated to connecting Western petry director for that show’s North Ameri - and Eastern European theater through inter - can tour. Matt Acheson directs the St. Ann’s national collaborations, which has led to mul - Warehouse Puppet Lab and is in production tiple productions with Plovdiv Dramatischen for the new Radio City Christmas Spectacu - Theater in Bulgaria and director Stayko Mur - lar, to be premiered in 2014. djev, and with director Alexander Sharovsky at the Russian Drama Theatre in Baku, Azerbai - jan. Irina Kruzhilina was selected to be a par - ticipant in the 2007 NEA/TCG Career Development Program for Theatre Designers, and is a resident artist with Chashama, a non - profit organization that transforms under- utilized real estate properties into work and presentation spaces .

Master Puppeteer Matt Acheson is a New York City–based artist who has performed and toured extensively with Basil Twist’s pro - ductions of Symphonie Fantastique, Pet - Make-up Artist Margie Durand began an in - rushka, and Master Peter’s Puppet Show, ternship in post-production film editing after as well as Dan Hurlin’s productions of graduating from St. John’s University in New Hiroshima Maiden and Disfarmer. He has York City, before shifting her focus to make- also worked with Mabou Mines’s Peter and up artistry with a New York University student Wendy, Paula Vogel’s A Long Christmas Ride film . After being invited to study the work of Home, Tom Lee’s Ko’Olau, and Chris Green’s make-up artist François Nars at Calvin Klein, Luybo. Mr. Acheson was the puppetry re - Dolce & Gabbana, and Marc Jacobs fashion hearsal director for The ’s shows, she honed her skills in editorial photo production of Puccini’s Madama Butterfly shoots, music videos, and television commer - and worked closely with choreographer Nami cials. Ms. Durand left fashion to work in the Yamamoto on A Howling Flower and Flying make-up department at with My Shooting Stars. His film credits in - and for films including I Shot Andy Warhol, Re - clude In the House of the Sin Eater, which quiem for a Dream , The Manchurian Candidate, he wrote, directed, and designed with film - Across the Universe, The Wrestler, and Noah. maker Paul Kloss. Other projects have in - Ms. Durand was head of the make-up depart - cluded Rinna Groff’s Compulsion, for which ment for Sex and the City: The Movie, the pilot he built the marionettes and supervised the for the AMC series Mad Men, and Black Swan.

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Violin Concerto, Beethoven Romance, Chi - chester Psalms, and Fearful Symmetries, among others), Christopher Wheeldon (in - cluding DGV: Danse à Grande Vitesse, Les Carillons, and Polyphonia ), (Concerto DSCH, Namouna, A Grand Diver - tissement, and Russian Seasons); Susan Stroman (Double Feature and Frankie and Johnny … and Rose); and Richard Tanner (Sonatas and Interludes). In 2011 Sara Mearns originated the role of Honorata in Paul McCartney’s Ocean’s Kingdom with choreography by , and she was Sara Mearns (Ballerina/Columbine) was nominated for a Benois de la Danse award born in Columbia, South Carolina, and began for her performance. In 2003 she was a re - her dance training at the age of three with cipient of the Mae L. Wien Award and a nom - Ann Brodie at the Calvert-Brodie School of inee for the Princess Grace Award. Dance. Following study with Patricia McBride at Dance Place, School of North Carolina Dance Theatre, South Carolina Governor’s School for the Arts and Human - ities, and the School of American Ballet, she became an apprentice with New York City Ballet in 2003 and danced a featured role in Michel Fokine’s choreography for Chopiniana in 2004. Ms. Mearns joined the company as a member of the corps de bal - let in 2004, was promoted to the rank of soloist in 2006, and to principal dancer in 2008. At age 19, while still a member of the corps de ballet, she performed her first Amar Ramasar (Lover/Puppeteer) was fea tured role as Odette/Odile in Peter Mar - born in , New York, and began his tins’s staging of . She has since studies at the School of American Ballet in appeared in featured roles in works choreo - 1993. He also studied at the American Bal - graphed by George Balanchine (including let Theatre Summer Program and The Rock Apollo, Brahms-Schoenberg Quartet, Con - School of Pennsylvania Ballet. In July 2000 certo Bar occo, , George Balanchine’s Mr. Ramasar was invited to become an ap - , , Stars and Stripes, prentice with New York City Ballet, and in , and Walpurgisnacht ), Jer - July 2001 he joined the company as a mem - ome Robbins (such as Dances at a Gather - ber of the corps de ballet. He was promoted ing, The Goldberg , and In the to the rank of soloist in March 2006 and in Night ), Jerome Robbins and Twyla Tharp October 2009 was promoted to principal. Mr. (Brahms/Handel), Peter Martins ( Barber Ramasar’s featured roles at New York City

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Ballet have included George Balanchine’s performances with the Seattle, Baltimore, choreography for , , A and Detroit symphony orchestras. Last sea - Midsummer Night’s Dream, and George Bal - son he performed in Washington, D.C., anchine’s The Nutcracker; Jerome Robbins’s Philadelphia, and with both the Boston Sym - 2 & 3 Part Inventions, Concertino, Dances at phony and Cleveland Orchestras at Carnegie a Gathering, Fancy Free, and West Side Hall; and he was artist-in-residence at The Story Suite; and Peter Martins’s A Fool For Glimmerglass Festival in the summer of You, Concerto for Two Solo , Fearful 2012. Mr. Owens appeared in the New York Symmetries, Les Gentilhommes, Guide to Philharmonic’s production of Ligeti’s Le Strange Places, The Infernal Machine, and Grand Macabre in 2010, and the Orchestra’s Swan Lake. Mr. Ramasar was featured in the performance of Bach’s B-minor Mass in 2010 film adaptation of Jerome Robbins’s March 2013, both conducted by Alan Gilbert . N.Y. Export: Opus Jazz . He was a Mae L. Wien Award recipient in 2000.

Countertenor Anthony Roth Costanzo (Petrushka) will return to The Metropolitan American bass- Eric Owens (The Opera in 2013–14 for a new production of Moor) portrayed the title role in the world Johann Strauss II’s Die Fledermaus and for premiere of Elliot Goldenthal’s Grendel with a revival of the Baroque pastiche The En - the Los Angeles Opera and at Lincoln Cen - chanted , in which he performed the ter Festival. He was General Leslie Groves in roles of and in the the world premiere of John Adams’s Doctor 2012–13 season, after making his debut as Atomic at San Francisco Opera, and the Sto - Unulfo in Handel’s Rodelinda. He has re - ryteller in the world premiere of Adams’s A cently appeared with The Glimmerglass Fes - Flowering Tree in and with the Los tival, Opera Philadelphia, Canadian Opera Angeles Philharmonic. Mr. Owens appeared Company, New York City Opera, Boston Lyric in The Metropolitan Opera’s production and Opera, Michigan Opera Theater, Palm Beach recording of Doctor Atomic, conducted by Opera, North Carolina Opera, and Juilliard Alan Gilbert, and he sang lead roles in The Opera. In 2010 Mr. Costanzo played Prince Met’s recent Ring cycle. His 2012–13 sea - Go-Go in the New York Philharmonic’s pro - son includes appearances at the San Fran - duction of Ligeti’s Le Grand Macabre. He cisco and Los Angeles Operas, and has been a featured soloist at ,

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The Kennedy Center, Mostly Mozart Festival, throughout Canada and Europe. She joined and with the orchestras of Cleveland, Indi - Armitage Gone! Dance Company in June anapolis, Alabama, Detroit, Denver, and Seat - 2008, while also working at Dance Theater tle. Among other awards, he won first place of Harlem , with Francesca Harper , and at Operalia in 2012 and was a 2009 Grand Harlem Dance Works 2.0. Ms. Roesner has Finals Winner of the Metropolitan Opera Na - also danced with Julia Gleich and Norte tional Council Auditions. Mr. Costanzo played Maar, and collaborated with director Robert Francis in the Merchant Ivory film A Soldier’s Woodruff and choreographer Brook Notary. Daughter Never Cries. He graduated magna She assists with teaching and recruitment for cum laude from Princeton University and re - Eliot Feld’s Ballet Tech School. ceived his master’s degree from the Man - hattan School of Music.

William da Silva (Performer/Puppeteer) is an actor, circus artist, and playwright. While Abbey Roesner (Shadow/Assistant Cho - in his native Brazil he was an active member reographer) began her dance training at the of the street theater group Mambembe Baltimore School for the Arts. After attending Música e Teatro Itinerante for four years and the school’s TWIGS (To Work in Gaining wrote several plays that have been produced Skills) program, she enrolled there as a full- in theater festivals throughout that country. time high school student. After graduating He was accepted on full scholarship to the second in her class, she continued her stud - Dell’Arte International School of Physical ies at The Juilliard School, where she re - Theatre in California, from which he obtained ceived her bachelor of fine arts degree in his master’s degree in 2011; while there, he 2006. Ms. Roesner started her professional played leading roles in Iphigenia Must Die career in New York City, dancing for compa - (an adaptation of Euripides’s Iphigenia in nies and choreographers including The Met - Aulis ), an adaptation of The Musicians of ropolitan Opera Ballet, Chamber Dance Bremen, and Land of Dreams, which he co- Project, Wally Cardona, and Davis Robertson. wrote. Mr. da Silva studied Balinese dance and She joined Les Grands Ballets Canadiens de shadow puppetry in Bali, and he spent the Montréal in 2007. There, she danced works 2011–12 season in New York performing by Ohad Naharin, Stijn Celis, George Balan - and teaching juggling, acrobatics, and char - chine, and Fernand Nault while touring acter work at the Circus Ware house.

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Mr. da Silva has been engaged by Ferrari World in Abu Dhabi to help create and star in Red, a circus-theater production for the world’s largest indoor theme park; he was recently appointed to be a manager of the show.

Monica Lerch (Atmosphericist) is a per - former, dancer, puppeteer, and puppet maker based in Brooklyn. Her New York City en - gagements include Labapalooza! Festival of New Puppet Theater (directed by Randy Vincent McCloskey (Performer/Puppeteer) Ginsburg) at St. Ann’s Warehouse and Dou - has performed in a multitude of dance styles ble Aspect Bright and Fair (directed by Dan for more than 15 years. Most recently he Hurlin), a part of Soulographie, a cycle of the - toured internationally with the revival of Philip ater works performed in 2012 at La MaMa Glass’s Einstein on the Beach, dancing the E.T.C. She is a 2012 graduate of Sarah choreography of Lucinda Childs. He has Lawrence College, where she studied physi - worked with choreographers Pam Tanowitz, cal theater, dance, and puppetry. While there Kiyoko Kashiwagi, Mark Morris, and Dusan she worked with artists including Dan Hurlin, Tynek, filmmaker Paul Kloss, and puppeteer David Neumann, Edwin Sherin, Matt Ache - Matt Acheson. He has performed in the Pam son, Lake Simons, and Patti Bradshaw. She Tanowitz Dance production of Wanderer spent a year studying physical theater, com - Fantasy at Dancespace Project in New York media dell’arte, mask making , and clowning and was a soloist in Washington National at the Accademia Dell’Arte in Arezzo, Italy. Ms. Opera’s productions of Puccini’s Turandot and Lerch grew up in Chicago, where she worked Madama Butterfly. Other opera per formances as a performer and circus arts teacher with include Handel’s Giulio Cesare at Lyric Opera CircEsteem, a youth-oriented nonprofit . of Chicago (principal dancer; choreography by Andrew George); Rameau’s Platée (chor - Music Consultant James Ross is director of eography by Laura Scozzi); and Strauss’s orchestras at the University of Maryland - Daphne (choreography by Sean Curran) at College Park, orchestra director of the Na - Santa Fe Opera. He originated roles in Kiyoko tional Youth Orchestra of the United States Kashiwagi’s X Kills Y And Vice Versa and of America at Carnegie Hall, and was a co- Romeo and Juliet for Anime Dance Theatre. creator of this production of Petrushka . He

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has taught at Yale University, Haverford and Bryn Mawr Colleges, and the Curtis Institute of Music, and recently served as associate director of the conducting program at The Juilliard School . He began his conducting studies with Kurt Masur in Leipzig while serv - ing as solo horn of the Leipzig Gewandhaus Orchestra from 1981 to 1984. He was music director of the Yale Symphony Or - chestra from 1990 –94 and has worked as assistant conductor of the Boston Symphony Orchestra and Les Arts Florissants. Mr. Ross played an integral role in the development of young musicians in Spain, Japan, and in the Zachary Catazaro (Cover Dancer) is a U.S. as artistic director of the National Or - member of New York City Ballet’s corps de chestral Institute at the University of Mary - ballet. He was born in Canton, Ohio, and land from 2001 to 2012. He collaborates began his dance training at the School of frequently with designer/director Doug Fitch, Canton Ballet, where he trained with Laura choreographer Liz Lerman, and video artist Alonso. In 2002 and 2003 he won first place Tim McLoraine . in the Youth America Grand Prix competition. Mr. Catazaro began studying at the School of American Ballet, the official school of New York City Ballet, during the summer of 2003 and enrolled as a full time student in 2006. In October 2007 he became an apprentice with the company, and joined the corps de ballet in October 2008. In 2010 he traveled to Ha - vana, Cuba and trained at Centro Pro Danza, under the direction of Laura and Fernando Alonso. Since joining NYCB, he has per - formed featured roles such as Romeo in Peter Martins’s Romeo + Juliet, and the Cavalier in George Balanchine’s The Nutcracker , among many others.

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New York Philharmonic

The New York Philharmonic , founded in 1842 (Music Director 1922–30), Wilhelm Furtwängler, by a group of local musicians led by American- (Music Director 1928–36), Igor born Ureli Corelli Hill, is by far the oldest sym - Stravinsky, , (Music phony orchestra in the United States, and one of Advisor 1947–49), Dimitri Mitropoulos (Music Di - the oldest in the world. It plays some 180 con - rector 1949–58), Klaus Tennstedt, certs a year, and on May 5, 2010, gave its (Music Advisor 1969–70), and Erich Leinsdorf. 15,000th concert — a milestone unmatched by Long a leader in American musical life, the Phil - any other symphony orchestra in the world. harmonic has become renowned around the Music Director Alan Gilbert began his tenure in globe, appearing in 432 cities in 63 countries on September 2009, the latest in a distinguished 5 continents. Under Alan Gilbert’s leadership, the line of 20th-century musical giants that has in - Orchestra made its debut at the Hanoi cluded Lorin Maazel (2002–09); Kurt Masur Opera House in October 2009. In February 2008 (Music Director 1991–2002, Music Director the Philharmonic, conducted by then Music Di - Emeritus since 2002); Zubin Mehta (1978–91); rector Lorin Maazel, gave a historic performance Pierre Boulez (1971–77); and Leonard Bernstein in Pyongyang, D.P.R.K., earning the 2008 Com - (appointed Music Director in 1958; given the life - mon Ground Award for Cultural Diplomacy. In time title of Laureate Conductor in 1969). 2012 the Philharmonic became an International Since its inception the Orchestra has champi - Associate of London’s Barbican. oned the new music of its time, commissioning The Philharmonic has long been a media pioneer, and/or premiering many important works, such having begun radio broadcasts in 1922, and is cur - as Dvo rˇák’s Symphony No. 9, From the New rently represented by The New York Philharmonic World; Rachmaninoff’s No. 3; This Week — syndicated nationally and internation - Gershwin’s Piano Concerto in F; and Copland’s ally 52 weeks per year, and available at nyphil.org. Connotations . The Philharmonic has also given It continues its television presence on Live From the U.S. premieres of such works as Beethoven’s Lincoln Center on PBS, and in 2003 made history Symphonies Nos. 8 and 9 and Brahms’s Sym - as the first symphony orchestra ever to perform live phony No. 4. This pioneering tradition has con - on the Grammy Awards. Since 1917 the Philhar - tinued to the present day, with works of major monic has made nearly 2,000 recordings, and in contemporary composers regularly scheduled 2004 became the first major American orchestra to each season, including John Adams’s Pulitzer offer downloadable concerts, recorded live. Since Prize– and Grammy Award–winning On the June 2009 more than 50 concerts have been re - Transmigration of Souls; Melinda Wagner’s Trom - leased as downloads, and the Philharmonic’s self- bone Concerto; Esa-Pekka Salonen’s Piano Con - produced recordings will continue with Alan Gilbert certo; Magnus Lindberg’s EXPO and Al largo ; and the New York Philharmonic: 2012–13 Season, Wynton Marsalis’s Swing Symphony (Symphony comprising 12 releases. Famous for its long-run - No. 3); Christopher Rouse’s Odna Zhizn; and, by ning Young People’s Concerts, the Philharmonic the end of the 2010–11 season, 11 works in has developed a wide range of educational pro - CONTACT!, the new-music series. grams, among them the School Partnership Pro - The roster of composers and conductors who gram that enriches music education in New York have led the Philharmonic includes such historic City, and Learning Overtures, which fosters inter - figures as Theodore Thomas, Antonín Dvo rˇák, national exchange among educators . (Music Director 1909–11), Otto Credit Suisse is the Global Sponsor of the New Klemperer, , Willem Mengelberg York Philharmonic.

38H New York Philharmonic