06-27 Stravinsky:Layout 1 6/19/13 12:21 PM Page 23 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 Doug Fitch, Director/Designer Karole Armitage, Choreographer Edouard Getaz, Producer/Video Director These concerts are sponsored by Yoko Nagae Ceschina. A production created by Giants Are Small 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 donor. Featuring Sara Mearns, 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 Lincoln Center Home of the New York Philharmonic June 2013 23 06-27 Stravinsky:Layout 1 6/19/13 12:21 PM Page 24 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 Piano Four-Hands, (1888–1979) Op. 7 (1918) ERIC HUEBNER, STEVE BECK, Piano Intermission STRAVINSKY Petrushka (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 New York Philharmonic Cast Ballerina/Columbine Sara Mearns* The Moor (on film) Eric Owens Petrushka (on film) Anthony Roth Costanzo 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) June 2013 25 06-27 Stravinsky:Layout 1 6/19/13 12:21 PM Page 26 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 O’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 . 26 New York Philharmonic 06-27 Stravinsky:Layout 1 6/19/13 12:21 PM Page 27 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 serialism. 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 ballet company. This pro - duction’s blend of orchestra 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 June 2013 27 06-27 Stravinsky:Layout 1 6/19/13 12:21 PM Page 28 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 Igor 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 Ballets Russes introduced anniversary of his death, induced me to ten of Igor Stravinsky’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, Russia stein danced in the Ballets Died: April 6, 1971, in New York City 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 conducting, in a staged production by the Ballets Ida Rubinstein at the Paris Opera 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 Pierre Monteux conducting a staged production Debussy ). In the late 1920s by the Ballets Russes 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, Albert Coates, 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 28 New York Philharmonic 06-27 Stravinsky:Layout 1 6/19/13 12:21 PM Page 29 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 Louis Durey. 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.