BAM 2003 Spring

Brooklyn Academy of Music Brooklyn Philharmonic Alan H. Fishma n Robert Spano Chairman of the Board Music Director

William I. Campbell Craig G. Matthews Vice Chairman of the Board President, Board of Directors

Karen Brooks Hopkins Catherine M. Cahill President Chief Executive Officer

Joseph V. Melillo Executive Producer

present COS! fan tutte By Wolfgang Amadeus Mozart

Approximate BAM Harvey Theater running time: Apr 24, 26, 28,30, May 2, 2003 at 7:30pm; May 4 at 3pm 3 hours with Brooklyn Philharmonic one intermission Conducted by Robert Spano Di rected by Jonathan Miller

Soloists Alexandra Deshorties (soprano, Fiordiligi) Rinat Shaham (mezzo-soprano, Dorabella) Eric Cutler (tenor, Ferrando) Garry Magee (baritone, Guglielmo) Helen Donath (soprano, Despina) Thomas Allen (baritone, Don Alfonso)

The New York Virtuoso Singers, Harold Rosenbaum, director

Set and costume design by Anne Patterson Lighting design by Matthew Frey English titles by Chris Bergen Line producer/stage manager R. Michael Blanco Assistant costume designer Dawn Petrlik

BAM Spring Season is sponsored by Altria Group, Inc.

Leadership support for BAM Opera is provided by Alberto Vilar, Honorary Chairman, BAM Opera, and The Andrew W Mellon Foundation.

Major support for BAM Opera is also provided by Isak and Rose Weinman Foundation Inc., The Eleanor Naylor Dana Charitable Trust, Ann and Gordon Getty Foundation, and The Vincent Astor Foundation.

Women 's costumes are provided courtesy of Eileen Fisher.

The Brooklyn Philharmonic 2002-2003 season is sponsored by HSBC Bank USA. Cosl fa n tutte

Brooklyn Philharmonic Flute Katherine Fink Robert Spano Music Director David Wechsler Erik E. Ochsner Assistant Conductor Seann Alderking Rehearsal Pian ist Oboe Matt Dine Violin Pedro Diaz Brennan Sweet Diane Bruce Clarinet Carlos Villa Steven Hartman Fritz Krakowski Paul Garment Claudia Hafer Ashley Horne Bassoon Harry Searing Deborah Buck Jeff Marchand Katherine Hannauer Shinwon Kim French Horn Sebu Sirinian Paul Ingraham Min Young Song Scott Temple Cecelia Hobbs Gardner Trumpet Viola Jim Stubbs Ah Ling Neu Tom Hoyt Alexander Rees Jessica Troy Timpani Monica Gerard Richard Fitz

Cello Percussion Chris Finckel Wi lliam Trigg Lan ny Payki n Peter Rosenfeld Librarian Michael Finckel David Carp

Bass Personnel Manager Joseph Bongiorno Jonathan Taylor Gregg August

The New York Virtuoso Singers Tenors Harold Rosenbaum, Director A. Wright Moore Glenn White Sopranos Jacqueline Horner Basses Christine Sperry Jonathan Babcock L. Mark Wagstrom Altos Teresa Buchholz Choral contractor B. J. Fredricks Nancy Wertsch Program l\Iote

By Jonathan Miller

When a composer sets an opera in his own period there has to be a convincing reason for setting it anywhere else. In contrast to the romantic operas of the nineteenth century in which the action is all too often backdated to an implausibly 'historic' past, the three Da Ponte operas are set in a world with which the composer and librettist were immediately acquainted, so that the temptation to transpose them is not nearly so pressing. On the contrary, neither Figaro nor Don Giovanni make much sense in anything other than an eighteenth century context. The relationship between the characters is almost unintelligible in a world where social status determines the degrees of freedom enjoyed by the various protago­ nists. In both of these works the action is unarguably shaped by concepts of rank, title, and subservience. These constraints are less obvious in Cosl fan tutte, although the opera works perfectly well in its traditional Jonathan Miller. Photo: Gemma Levine setting, and in my four previous productions I was happy to present them more or less conventionally. All the same, Cosl differs from the other two in being relatively abstract, so that it's not recognizably disfigured by updating it. In fact when I decided to modernize it I was pleased to find that previously undisclosed themes became startlingly apparent, and that an action which is often criticized for sheer sill iness becomes surprisingly urgent and even tragic. It soon becomes apparent that the question of personal identity is much more significant than the plot seems to imply, and that by undertaking the morally doubt­ ful enterprise of disguise, the young men discover that when you pretend to be someone else the chances are that you will discover unsuspected versions of yourself and that infidelity is not, as Don Alfonso insists, confined to women'

A word of warning though. When I conceived this production I had no reason to believe that its American premiere would coincide with an actual war and that the scene of two young men setting out for combat might look like a tastelessly opportunistic exploitation of political tragedy. But there's no getting away from the words and action we've inherited and I hope you'll make an allowance for the unavoidable circumstances in which this opera is now presented.

March 2003 Who's \Nho

Robert Spano, music director of the Brooklyn Sea Symphony which was recorded in Telarc's Philharmonic and the Atlanta Symphony new Super Audio Compact Disc format (SACD). Orchestra, is recognized internationally as one In addition to his commitments in both of the brightest, most talented, and imaginative Brooklyn and Atlanta, Spano makes his New York conductors of his generation. In addition to Philharmonic debut this season and returns to these prestigious posts, Spano was recently conduct the Cleveland Orchestra and the appointed director of the 2003 and 2004 Cincinnati and St. Louis Symphonies. In Europe, Festivals of Contemporary Music at the Boston Spano appears with the BBC Symphony in the Symphony Orchestra's Tanglewood Music British premiere of Saariaho's L'Amour de loin, Center. In this position he will be responsible with the Rundfunk-Sinfonieorchester Berlin, for artistic programming and conduct many of City of Birmingham Symphony Orchestra, and the works performed during the Festival. Orchestre National de Lyon. In summer 2003 Spano's list of achievements also includes two he conducts two programs with the Chicago Grammy awards (Best Classical Album, Best Symphony Orchestra at the Ravinia Festiva l. Choral Album) for his magnificent account of Born in Conneaut, OH and raised in Elkhart, IN, Vaughan Williams' A Sea Symphony with the he is a graduate of the Oberlin Conservatory of Atlanta Symphony Orchestra and Chorus on Music, where he studied conducting with Telarc. Music director of the Brooklyn Robert Baustian, and continued his studies at Philharmonic since 1996, Spano has renewed the Curtis Institute of Music with the late Max his contract through the 2003-04 season. He Rudolf. Spano has been featured on CBS' Late has designed a series of unique programs for Show with David Letterman, CBS Sunday the Philharmonic's 2002-03 season, which Morning, A&E's Breakfast with the Arts, and celebrates the healing powers of faith, magic, PBS' City Arts. He resides in Atlanta. invention, laughter, and literature as depicted in music. It includes an unprecedented three co­ The Brooklyn Philharmonic, under the artistic productions with BAM: the New York premiere vision of Music Di rector Robert Spano, has of La Pasi6n Segun San Marcos by Osvaldo emerged as one of the nation's premier music Golijov, Mark Morris' The Hard Nut, and Cos! ensembles and continues to be a vital presence fan tutte. The Atlanta Symphony Orchestra's in the cultural life of the New York metropolitan 2002-03 season marks Robert Spano's sec­ area . For nearly five years, the Brooklyn ond as music director, and it showcases what Philharrnonic has played a leading role in the promises to be a legacy of creative program­ presentation of innovative and thematic pro­ ming and continued excellence from this gramming, receiving nineteen ASCAP Awards renowned ensemble. Under his baton, the out of the last 21 years for "Adventurous Orchestra premieres his first commission as Programming of Contemporary Music." Since music director, a major new work by celebrated its inception in 1954, audiences have young composer Jennifer Higdon. Other high­ embraced the Brooklyn Philharmonic's lights include semi-staged performances of cornmitment to the concept of the orchestra as John Adams' acclaimed oratorio, EI Nino, and a contemporary performance ensemble, concerts featuring Golijov's Last Rounds and ernphasizing, as in the decades of Beethoven selections from David Del Tredici's Child Alice. and Brahms, important present-day music. The Spano programmed six works of living Philharmonic has premiered more than 150 composers throughout the season. He has works, including 60 commissions. The 2002- interviewed each composer on tape, which 2003 season , Transformations: The Healing audiences will view prior to the corresponding Power of Music, explores music and its power performances. He has also helped spearhead a by invoking faith , magic, invention and litera­ chamber music initiative, "ASO Connect," ture in five innovative programs. The season which brings concerts to the greater Atlanta opened with the New York premiere of Osvaldo community, and played a central role in the Golijov's La Pasi6n Segun San Marcos, a co­ ongoing growth and expansion of the Orchestra's production with BAM, and part of BAM 's 20th education and outreach projects. Spano's first Next Wave Festiva l. Called a "work of genius" recording with the Atlanta Symphony was by the Boston Globe, "a magnificent triumph" Rimsky-Korsakov's Scheherazade, joined by A by the Los Angeles Times and "a great popular \ALho's Who masterwork" by The New York Observer, the He has also worked at many of the world's concert performances featured soprano Dawn leading opera houses-the Maggio Musicale, Upshaw and the Schola Cantorum de Caracas. Florence; La Scala, Milan; the Metropolitan Additional season highlights have included The Opera, New York; Deutsche Staatsoper, Berlin; Hard Nut, a collaboration with the Mark Morris and Bayerische Staatsoper; Vienna Staatsoper; Dance Group; "American Lollapalooza" at the Salzburg Festival, and the Royal Opera featuring the Brooklyn Philharmonic debut of House, Covent Garden . He directed conductor Kristjan Jarvi, and a world premiere Monteverdi 's L'lncoronazione di Poppea at by John Mackey (commissioned by the BAM in 1996. His television work has been Brooklyn Philharmonic); and this production of wide-ranging and highly acclaimed, from his Mozart's Cosl fan tutte directed by Jonathan 1966 film of Alice in Wonderland, eleven plays Miller. The season concludes with an homage for the BBC's Shakespeare series, The Beggar's to Shakespeare including works by George Opera and Cosl fan tutte to The Body in Benjamin, Henze, and Verdi. Additionally, the Question , States of Mind, Born Talking, Brooklyn Philharmonic annually presents an Museums of Madness, and Anthropology. His ambitious series of community collaborations semi-staged performance of Bach's St. and educational partnerships comprising nearly Matthew Passion , which was performed in 200 events in schools, from elementary London , Spain, and at BAM, was also filmed through college, museums, public parks, for BBC2. His most recent series, however, houses of worship, and other sites across the returned to the world of opera-Opera Works. borough. The Brooklyn Philharmonic and In 2002, Miller was knighted in the Queens Robert Spano have been featured twice on Birthday honours list. CBS' Late Show With David Letterman as well as on CBS Sunday Morning, PBS's City Arts, Alexandra Deshorties (soprano) is a graduate NBC News, and A&E's Breakfast with the Arts. of the Metropolitan Opera's Li ndemann Young HSBC Bank USA is the major sponsor of the Artists Development Program. At the Met, she Brooklyn Philharmonic's 2002-2003 season. debuted in the 1999-2000 season in Aida (Priestess), and the next season performed in Jonathan Miller (director) has a career spanning Nabucco (Anna) and Die Zauberf/ote (First many different fields-author, lecturer, Lady). In the 2001-02 season at the Met, television producer, and presenter; theater, she sang in Idomeneo (Elletra) and A opera, and film director. As a theater director, Midsummer Night's Dream (Tytania), and his productions have included The Merchant returns this season in Die Entfuhrung aus dem of Venice with Sir Laurence Olivier and Joan Serail (Costanza) and Ariadne auf Naxos Plowright, The Taming of the Shrew (Royal (Echo). Next season at the Met, she will appear Shakespeare Company), The Seagull in Don Giovanni (Donna Anna) and Le nozze di (Chichester Festival Theatre), A Long Day's Figaro (Countess Almaviva). This summer she Journey Into Night (Haymarket Theatre), and returns to Portland Opera Repertory Theater in The Emperor (Royal Court). As artistic director Lucia di Lammermoor (Lucia); other opera of the Old Vic, his work includes Andromache engagements include Fiordiligi at Ai x-en­ with Janet Suzman, The Tempest with Max von Provence Festival, the La Corur'ia Festival in Sydow, King Lear, and Corneille's comedy, The Spain, Theatre des Champs-Elysees, Countess Liar. More recent productions in London Almaviva with Portland Opera Repertory include A Midsummer Night's Dream (Almeida Theater; Donna Anna at Aix-en-Provence Theatre) and The Beggar's Opera (Broomhill Festival and the Gstaad Festival in Switzerland, Opera). Miller's first opera production was the and Elletra and First Lady at Wolf Trap Opera British premiere in 1974 of Arden Must Die Com pa ny. In concert th is season, she debuted (Alexander Goehr). He spent several seasons at Milwaukee Symphony (Carmina Burana) , with Kent Opera and subsequently with English sang in Munich with Munich Philharmonic National Opera where he directed many (Beethoven's Ninth Symphony); and at Weill famous productions-The Mikado, Rigoletto, Recital Hall in New York with the Met Chamber The Marriage of Figaro, The Turn of the Screw, Ensemble. As a soloist, she sang at the 2000 and more recently Rosenkavalier and Carmen. Salzburg Festival in Mozart's Missa Longa, in \ALho's Who the Verdi Requiem at the 2001 Berkshire Symphony, which she will perform at the Choral Festival, and with the National Ravinia Festival this summer. The 2003-04 Symphony Orchestra at Wolf Trap. Next season season includes debuts at the Berlin State she sings Beethoven's Ninth Symphony with Opera (L'Enfant et les Sortileges) and the the Philadelphia Orchestra and the Seattle Philadelphia Orchestra in Ravel's Scheherezade Symphony, and Mozart's Requiem with the with Rattle. She returns to NYCO in Le Nozze Saint Paul Chamber Music Society. Deshorties di Figaro (Cherubino) . Shaham completed her studied at the Marseilles Conservatory, where musical studies in the U.S. at the Curtis Instute she earned a gold medal/first prize for her per­ of Music, where, as a student, she was invited formance in vocal juries. She continued her to make her professional operatic debut education at the Manhattan School of Music. as Zerlina with the Opera Company of She was the 1999 winner of the Leonie Philadelphia. After winning prizes, including Rysanek memorial prize from the George the Mario Lanza Voice competition, Opera London Foundation Auditions, and the 1998 Index Competition, and the Concerto Soloists winner of the Houston Grand Opera's Eleanor Competition as well as career grants (the Gerda McCollum Awards. Lissner Foundation award and the Sullivan Foundation grant), Shaham worked closely with Rinat Shaham (mezzo-soprano), born in Israel, Marilyn Horne at the Music Academy of the received acclaim as Dido in Dido and Aeneas West in Santa Barbara. She was invited to par­ in the 1998 Aix-en-Provence Festival. Following ticipate in the Marilyn Horne Foundation that, she made her debut with the London Birthday Gala at Carnegie Hall. In 2001 she Symphony in L'Enfant et les Sortileges (which was presented by the Foundation in recital at she recorded for DGG), made her company Merkin Hall in New York City. debuts with the Los Angeles Philharmonic in the title role in 2000 and with the Minnesota Eric Cutler (tenor), from Iowa, is the winner Orchestra. Shaham performed in concert with of a 2002 ARIA award, an alumnus of the the Boston Symphony in Madama Butterfly in Metropolitan Opera Lindemann Young Artist 1999. She made her New York Philharmonic Development Program, and a winner of the Met debut in 2001 in the Jeremiah Symphony by Opera National Council Auditions in 1998. Bernstein. She had previously appeared at This season, he has made several debuts: Avery Fisher Hall with the Moscow Virtuosi Boston Lyric Opera (Belmonte, Die Entfuhrung in Mozart's Coronation Mass, and sang at aus dem SeraiJ); Pittsburgh Opera (Lysander; Alice Tully Hall with the New York Chamber A Midsummer Night's Dream); and Opera Ensemble. In 2002, Shaham first performed Australia (Nadir, Les Pecheurs de Perles). He with William Christie/Les Arts Florissants in a makes concert appearances with Minnesota Lully program which premiered at Theatres des Orchestra (Beethoven's Ninth Symphony), Champs Elysees in Paris and toured Europe, San Francisco Symphony (Steuermann, Die including stops at Vienna Musikverein and Fliegende Hollander), and in recital in Ames, London's Barbican Hall. Shaham has sung with Iowa with the Marilyn Horne Foundation; he the Opera Company of Philadelphia, Vancouver also performed at the foundation's annual gala, Opera, and Opera Pacific in Le Nozze di Figaro and appears at the Metropolitan Opera in (Cherubino). In 2001, she sang in Philadelphia Parsifal and Ariadne auf Naxos. Performances in Werther (Charlotte) and with Pittsburgh in the 2001-02 season included the Met Opera in Don Giovianni (Zerlina). She made (Vogelgesang, Die Meistersinger von Nurnberg); her New York City Opera debut in 2002 as Houston Grand Opera (Belmonte, Die Zerlina. This season marks her Miami Opera EntfUhrung aus dem SeraiJ); Opera Theatre of debut (Cherubino); she debuted with the St. Louis (Tamino, Die ZauberfI6te); Baltimore Birmingham Symphony in a program by De Symphony (Messiah); his New York solo recital Falla (Psyche) and Holt conducted by Simon debut, and the Met Chamber Ensemble Rattle. Shaham will appear with Rattle in (Renard). Additional productions at the Met London in Haydn's Paukenmesse, and makes include Fidelio (First Prisoner); Doktor Faust her Israel Philharmonic debut in the Jeremiah (First Student from Wittenberg); and songs by Who's Who

Satie with the Met Chamber Ensemble at Weill Rachmaninov's Spring Cantata with the Recital Hall. In 2000, he made his Wolf Trap Orchestra of the Komische Opera Berlin and Opera Company debut in Don Giovanni (Don the BBC Symphony Orchestra at Royal Festival Ottavio) ; while there, performed with National Hall, City of Birmingham Symphony Orchestra, Symphony and in recital with pianist Steven and London Philharmonic Orchestra at the BBC Blier. He returned to Wolf Trap in 2001 in A Promenade Concerts. Magee has appeared Midsummer Night's Dream (Lysander). Cutler with the Philharmonia , the London Symphony appeared in concert at the Manchester Music Orchestra, the Aldeburgh Foundation , the Festival, Vermont. In 1998, he performed Stavanger Symphony Orchestra, and at Royal with the Cedar Rapids Opera in L'Enfant Albert Hall. Magee's discography includes Prodigue (Azaei). He is a graduate of Luther Valentin (Faust) and Donizetti Scenes and College, and received a Sara Tucker Study Overtures and the title role in Don Giovanni for Grant from the Richard Tucker Music Chandos, and John Adams' The Wound Foundation in 2000, followed by a Tucker Dresser for Naxos. Recent highlights include a Career Grant in 2001. He was a 1999 winner recital of Bantock songs and Vaughan Williams' of the Houston Grand Opera Studio's Eleanor Five Mystical Songs for the Three Choirs Festival, McCallum Auditions, and won the 2001 a recording of Guglielmo (Carlo di Borgogna) Martin E. Segal Award from Lincoln Center. for Opera Rara, a television appearance with the BBC National Orchestra of Wa les, The Garry Magee (baritone) recently appeared at Maiden in the Tower in concert with the the Royal Opera, Covent Garden (Guglielmo/ Estonian National Symphony Orchestra Cosi fan tutte). His debuts include La Monnaie (recorded for Virgin under Paavo Javi), Bach 's (MalatestalDon Pasquale and DandinilLa St. John Passion for the Irish Chamber Cenerentola), Flanders Opera (Yeletsky/Pique Orchestra, Kurt Weill's Das Berliner Requiem Dame) , Opera de Monte Carlo (Silvano/Un with the Birmingham Contemporary Music ballo in maschera), Glyndebourne Festival Group, and Britten's War Requiem with the Opera (Steward/Flight), and in Opera North 's Orquestra Sinfonica do Estado de Sao Paulo Don Giovanni and English National Opera 's This season Magee sings with Florida Grand Pelleas and Melisande in the title roles. Recent Opera (Silvio/ll Pagliacci) , WNO (title role, Don notable roles include Harry Heegan (The Silver Giovanni), with The Netherlands' de Doelen Tassie) for ENO, Achilla (Giulio Cesare) for (Valetin/Faust; concert performance), The Netherlands Opera, the title role in Don Creation in Pamplona, and on a recording Giovanni for ENO and Niedersachsische of Carmen (Escamillo) for Chandos. Magee Staatsoper in Hannover, Prince Yelyetsky in was the first prize winner of the prestigious WNO's production of The Queen of Spades, Kathleen Ferrier Award in 1995 and a prize Marcello (La Boheme) for the Deutsche Oper winner in the 1996 International Belvedere Berlin , and his American operatic debut as Competition in Vienna. He is a graduate of the Figaro (The Barber of Seville) for Florida Grand Guildhall School of Music and Drama and the Opera. Other roles include Guglielmo (Cosi fan National Opera Studio, and he currently studies tutte) and Schaunard (La Boheme) for Opera with Robert Dean. North; Second Nazarene (Salome) and Prince Afron (Le Coq d'Or) for Royal Opera, Covent Helen Donath (soprano) was born in Texas. Garden; Dancairo (Carmen) for the ENO; Pot North American engagements include Susanna Boy Guiscardo (Mario and The Magician), and the Countess (Le Nozze di Figaro) , Sophie Daisy (The Nightingale and the Rose) , Stinky (Der Rosenkavalier) and Marzelline (Fidelio) at (East and West), and Hermes (Ion) all at the the Metropolitan Opera; the Governess (Turn of Almeida Festival; the title role in Eugene the Screw) at the Los Angeles Music Center Onegin for British Youth Opera; and Papageno Opera; Rosalinde (Die Fledermaus), the (Die Zauberfl6te) and Sharpless (Madama Countess, the Governess, and Despina (Cosi Butterfly) at the Teatro Municipal in Santiago. fan tutte) at the Florida Grand Opera; the In concert, he has appeared at Wigmore Hall, Countess and Eva (Die Meistersinger) at the Theatre du Chatelet (Midis Musicaux Series), Seattle Opera; the Countess, Mimi (La Boheme) and Aix-en-Provence Festival. He has sung and the Marchallin (Der Rosenkavalier) at Who's Who

Michigan Opera Theatre; Donna Anna (Don the Royal Academy of Music, Prince Consort Giovanni), Susanna and the Marschallin at Professor of the Royal College of Music, the Opera Pacific; Elisabeth (Tannhauser) at the Hambro Visiting Professorship of Opera Studies Austin Lyric Opera; and the Marschallin at the at Oxford University, Fellowship of the Royal Atlanta, Washington, and Nashville Operas. College of Music, Fellowship of the University She has given recitals in New York (Alice Tully of Sunderland, and D.Mus. from Durham Hall and the Metropolitan Museum of Art), University, and M.A. from Newcastle University. Miami, Washington , D.C., Amherst, San Diego, In the New Year's Honours of 1989 he was Bethesda, Louisville, and Toronto. Concerts created a Commander of the British Empire include collaborations with the Montreal and in the 1999 Queen 's Birthday Honours Symphony under both Charles Dutoit and he was made a Knight Bachelor. Zdenek Macal, James Judd and the Florida Philharmonic, John DeMain and the Madison The New York Virtuoso Singers , founded in Symphony, Jesus Lopez-Cobos and the 1988 by its artistic director, Harold Rosenbaum , Cincinnati Symphony, James Levine and the has become this country's leading exponent Chicago Symphony, Leonard Slatkin and the of contemporary choral music. Although the Boston Symphony, Leon Botstein and the chorus performs music of all periods, its American Symphony, Uriel Segal and the emphasis is on commissioning, performing, Louisville Orchestra, Kenneth Schermerhorn and recording the music of American composers. and the Nashvi lle Symphony, Marek Janowski From its early days in 1988, as an offshoot and the Minnesota Orchestra , Maximiano of a chorus-in-residence created expressly for Valdes and the San Diego Symphony, and the Brooklyn Philharmonic, until the present Klaus Donath leading the Pacific Symphony day, with self-produced concerts, recordings, and Woodstock Mozart Festival Orchestra. commissions, and tours, NYVS has carved a Festival appearances include Waterloo, Ravinia, unique niche for itself in the musical world . and New York's Mostly Mozart, Chautauqua, NYVS is a sixteen-member professional chora l and Bard Festivals. Represented on more than ensemble (sometimes expanded to 24 or more) 100 recordings, Donath's releases include dedicated to presenting both seldom-heard Haydn's L'anima del filosofo, Mendelssohn's Elijah works by past and contemporary masters, as (with Kurt Masur and the Israel Philharmonic) well as premieres by today's composers. Harold and the Marilyn Horne 60th Birthday Recital Rosenbaum has placed a special emphasis on Fund Gala recorded live at Carnegie Hall. Her supporting American composers. Despite its many awards and distinctions include the title of comparatively brief history, NYVS has been Kammersangerin, the highest award a singer can featured on New York and international tele­ receive in Germany or Austria. vision and radio. The group has performed at Tanglewood's Festival of Contemporary Music Thomas Allen (baritone) celebrated the 30th and at The Juilliard School. NYVS has twice anniversary of his debut at the Royal Opera received the ASCAP-Chorus America "Award for House Covent Garden in 2001 where he has Adventuresome Programming of Contemporary sung more than 40 roles . Last year, he cele­ Music," and has been given Chorus America 's brated his 20th anniversary of his debut at the "American Choral Works Performance Award ." Metropolitan Opera. He has been acclaimed for NYVS has several recordings to its credit, his Billy Budd , Pelleas, Eugene Onegin, Count including music by Charles Wuorinen (Koch), Almaviva , Sixtus Beckmesser and , most Leo Kraft (CRI), and Grammy finalist Requiem notably, Don Giovanni. Also renowned on the by Andrew Imbrie (Bridge). The New York concert platform , he appears in recital in the Virtuoso Singers has commissioned ten works U.K., Europe, Australia, and the U.S., has by composers including Michael Gordon, David appeared with the world's great orchestras and Winkler, George Tsontakis, and Tristan Keuris. conductors, and has also recorded extensively. The group has premiered dozens of works by Allen's first book, Foreign Parts- A Singer's composers such as Luciano Berio, John Journal, was published in 1993. His honors Harbison, Louis Andriessen, Katherine Hoover, and awards include Honorary Membership of George Perle, Elaine Lebenbom, Nancy Who's Who

Wertsch, Arvo Part, Jonathan Harvey, and Kurt Orchestra and the Atlanta Symphony Orchestra. Phinney. NYVS collaborates regularly with New Patterson received a BA in Architecture from Yale York's leading orchestras and ensembles University and a MFA in theater design from the includ ing The Juilliard Orchestra, The O;chestra Slade School of Art in London. of St. Luke's, The American Symphony, Brooklyn Philharmonic, The Bard Festival Orchestra Matthew Frey (lighting designer) recently Mark Morris Dance Group, Bang On A Ca'n designed the new Warren Leight play No Festival, Parnassus , and The Riverside Symphony. Foreigners Beyond This Point at Center Stage, Last season the chorus once again collaborated The Chairs at the Guthrie, and She Stoops with the Brooklyn Philharmonic on a program To Comedy at Playwright's Horizons. Frey of Stravinsky, Bach , and Berio. Recently, NYVS designed the world premiere of Steve Reich performed again at the Bard festival (August), and Beryl Korot's Three Tales at the Vienna and with the Bard Festival Orchestra (October). Festival, BAM 's Next Wave Festival, and others. Harold Rosenbaum, founder and artistic direc­ Last season, he designed the world premiere of tor of NYVS, has collaborated with many lead­ Melissa James Gibson 's play [sic] at Soho Rep. ing orchestras and musicians over his 30-plus Current projects include The Orphan Of Zhao year career in music, including the New York with Chen Shi-Zheng at Lincoln Center Festival Philhamonic, Brooklyn Philharmonic, Orchestra and The Death of Klinghoffer with BAM and of St. Luke's, and many rnore. He is currently Ridge Theater. Frey's work has also been seen a professor at SUNY/Buffalo, where he also at the Lincoln Center Festival , Aspen Opera directs the choir, and created a commissioning Theatre Center, Brooklyn Philharmonic, Atlanta program for young composers. He also founded Symphony Orchestra, New York Theatre and directs the Canticum Novum Singers. Workshop, Signature Theater, Theatre For A New Audience, The Adirondack Theater Anne Patterson (set design and costumes), Festival, The Children's Theater Company based in New York City, focuses on scenic/ in Minneapolis, The Acting Company, The costume design for opera and classical music. Shakespeare Theatre, Long Wharf Theatre, The Her work has been seen in New York City at McCarter Theatre, and other regional theaters. BAM; Alice Tully Hall , Lincoln Center; The Juilliard School; NY Theatre Workshop; R. Michael Blanco (production stage manager) Ensemble Studio Theater; The Joyce; and has worked in dance, theater, opera, film , Dancespace Project at St. Mark's Church. For music, television, and radio in roles as diverse the Aspen Music Festival she has designed as director, line producer, production manager, eleven operas including a world premiere and lighting designer, actor, even dancer. He and three national premieres. Regionally her work Carol Blanco produce and host the morning has been seen at Atlanta Symphony Orchestra; drive-time musical radio show "Blanco & Pa cific Northwest Ballet; Ballet West; Houston Blanco" on WNYE-FM. The Metropolitan Opera Ballet; the Kennedy Center; Wolf Trap; the house has employed his freelance services for Wilma Theater, Philadelphia; Philadelphia projects ranging from the MTV Video Music Orchestra; Scottish Ballet; and the National Awards 9/9/99 to Robert Wilson's The Theatre, London. Patterson's production design Martyrdom of Saint Sebastian. Blanco's work has been seen on PBS and the BBC. In production stage management credits include: the last three years Patterson has been pioneer­ Karole Armitage's Predator's Ball in Florence ing a new area of design. The Brooklyn and at BAM ; Laurie Anderson's Nerve Bible Philharmonic, under Robert Spano's direction, Tour; the National Ballet of Cuba; the Stuttgart has commissioned Patterson to create visual Ballet; Jonathan Miller's St. Matthew Passion images to accompany the orchestra's concerts (1997 and 2001) and the Philip Glass opera at BAM. This introduction of scenic elements Mattogrosso. He and choreographer Carol and lighting effects, a new concept in concert Blanco directed and produced Pablo Picasso's presentation, is revolutionizing the concert play The Four Little Girls at the Clemente Soto experience. Patterson's orchestral installations Velez Cultural Center in NYC in 200l. have also been seen at the Philadelphia :z../I Brooklvn Philharmonic

Brooklyn Philharmonic Timothy Gilles Board of Directors Richard Hayden Jules Hirsh Craig G. Matthews, President Daniel Holt Jerry Jacobs Stanley Kaplan, Chairman Emeritus Christoph M. Kimmich Robert C. Rosenberg, Honorary Chairman Gloria Messinger I. Stanley Kriegel, Honorary Chairman John Morning Joseph Rosalie Kenneth Adams Nancy Schuh Scott Ageloff Tazewell Smith Gina Bolden-Rivera John Tamberlane Lou Bruno Paul Travis George Bugliarello Laura Walker Kevin Burke Cecille Wasserman J. Barclay Collins Wayne C. Winborne Thomas Dargan Judy M. Witt Dona ld H. Elliott Richard J. Wood Leslie Gaines-Ross

Brooklyn Philharmonic

Catherine M. Cahill Marketing and Communications Chief Executive Officer Kathleen Drohan, Director of Marketing and Communications Executive Office Benjamin Porter, Marketing and Sponsorship Deborah Langdon , Assistant to the Chief Executive Coordinator Officer and Board of Directors Thomas Johnstone, Marketing Assistant Rachel McBeth, Business Manager Sarah Ward, Patron Services Representative Kirshbaum Demler and Associates, Inc., Public Artistic and Operations Relations Evans Mirageas, Artistic Advisor Lorna Dolci, Interim General Manager Brooklyn Philharmonic Aaron Grad, Production and Education Coordinator One Hanson Place, Suite 1806 Maurice Ed wards, Archivist Brooklyn, NY 11243

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02IJ Brooklvn Philharmonic

Brooklyn Philharmonic salutes the generous contributors who have provided support for our concert and education programs. The many individuals, corporations, foundations and government agencies listed below have helped sustain the Orchestra by providing the vital support necessary for our subscription concerts at the Brooklyn Academy of Music, free concerts in the parks, and special education concerts and programs, which reach nearly 75,000 people annually.

The Brooklyn Philharmonic's SOLOIST Richard Hayden concert, education, and ($20,000-$49,999) The Houston Exploration Company Anonymous Iroquois Pipeline community engagement Brooklyn Borough President Marty Island Asset Management programs are supported by Markowitz Jephson Educational Trust public funds from: Mary Flagler Cary Charitable Tru st Rita J. and Stanley H. Kaplan Donald H. Elliott Fami ly Foundation Forest City Ratner Companies, Inc. KeySpan Business Solutions Hearst Foundation KeySpan Home Energy Services Independence Community Charlotte and 1. Stanley Kriegel ~NYSCA Foundation Fran Liner Kupferman Metromedia Fiber Network Gloria Messinger and Charles New York Community Tru st Mandelstam Brooklyn Borough President: Verizon Communications, Inc John Morning Marty Markowitz Josephine Bay Paul and C. PRINCIPAL Michael Paul Foundation 2002-2003 Season Sponsor ($10,000-$19,999) Pfizer Foundation Aaron Copland Fund for Music, Inc. Pfizer Inc. HSBCID American Express Company Philip Morris Companies Inc. Rose M. Badgeley Residuary Joseph A. Rosalie Charitable Trust Shea Financial Group Brooklyn Philharmonic Bank of America Simpson Thacher & Bartlett Donors George Bugliarello Tazewell Smith Credit Suisse First Boston Trump Management, Inc. Ann and Gordon Getty Foundation United Reprographic Services LEADERSHIP GIFTS ($100,000 and Above) The Greenwall Foundation Velocita KeySpan Laura R. Walker and Albert L. Wells Booth Ferris Foundation Craig G. and Carol Matthews Cecille Wasserman Carnegie Corporation The Andrew W. Mellon Foundation Wayne C. Winborne HSBC Bank USA Merrill Lynch WNYC Th e John S. and James L. Kni ght Music Performance Trust Fund Foundation Sempra Energy Trading MAESTRO CIRCLE­ Music Liberty Initiative for New Swanke Hayden Connell Ltd. PLATINUM LEVEL York Utendahl Capital Partners, L. P. ($2,500-$4,999) New York City Department of Turner Construction Company The Amphion Foundation, Inc. Cultural Affairs Virgil Thomson Foundation Barbara and Robert Berger Wager Contracting Co. , Inc. Kevin and Patricia Burke CONDUCTOR'S CIRCLE Dar & Company ($50,000-$99,999) BENFACTOR Gladys Krieble Delmas Foundation Brooklyn Delegation of the New ($5,000-$9,999) Heathcote Art Foundation York City Council Scott Ageloff Richard W. and Dorothy Hulbert Louis Calder Foundation Amerada Hess MetLife Foundation Con Edison The Barker Welfare Foundation R.F. Binder JP Morgan Chase Burson-Marsteller SIAC National Endowment for the Arts Catherine M. Cahill Nancy E. Schuh and Joseph E. New York City Central Labor Cooper Robertson & Partners Mohbat Council and the Consortium for Coral Energy The Paul Singer Family Foundation Worker Education Eleanor Naylor Dana Charitable The Teagle Foundation New York State Council on the Arts Trust Michael Tuch Foundation, Inc. Rockefeller Brothers Fund Deloitte & Tou che LLP Zwicker Electric Co., Inc. The Rockefeller Foundation DFW Capital Partners The Fan Fox and Leslie R. Leslie Gaines-Ross MAESTRO CIRCLE Samuels Foundation , Inc. Timothy and Sealy Ann Gilles ($1 ,000-$2,499) Goldman , Sachs & Co. Anonymous (2) The Hallen Construction Co., Inc. Accenture 21K Brooklvn Philharmonic

Advanced Networks John and Harriet Corporon Glantz Holdings, Inc. The American-Scandinavian C. F. Peters Corporation Steven D. Hartman Foundation Eileen Conyers The Hay Group American Symphony Orchestra Costas Kondylis & Partners, LLP Forbes I. and Lyn Hill League Conrad M. Cummings Jules and Julianne Hirsh Aon Risk Services Denver Investment Advisers LLC Barry Hoggard and James Wagner Bank of America Securities Dial Car Consuelo Hudgins Alan and Leslie Beller DiSalvo Contracting Co., Inc. Charles Ingham Amy Binder Dornbush Mensch Mendelstam & Mr. and Mrs. Paul Ingraham Gina Bolden-Rivera Schaeffer Christine Jackson Cecilia M. Brancato Emmett, Marvin & Martin, LLP Elliott J. Kaback Brown Raysman Millstein Felder & EPB Judithand Arthur Keller Steiner, LLP Norman Feit Frank Robert Kraft Checks and Balances NY, Inc. Allen Fischer and Renate Belville Bennette Kramer and Eliot Long Citibank Frank and Camille's Keyboard Robert Krones Gerard Conn and Carol Yorke Center Dr. Sanford and Mrs. Cathleen Leff Creamer Environmental, Inc. Nancy Hager John Lipsky and Zsuzsanna Cullen and Dykman Aaron David Isquith Karasz CW. Shaver & Company, Inc. Mr. David Kooy Leslie M. McKinley Vicky and Don Demuth Anne and Bernard Korman Ann C. McNeal and Robert J. Hester Diamond and Ralph Anthony V. Leness Moran Kaminsky Richard Mauro Michael McTwigan The Dreyfus Corporation Daniel D. McCrary Richard Wraxall and Barbara Fiona Morgan Fein Scott C. McDonald Forster Moore Hollyer, Brady, Smith and Hines Victoria Meyers Dr. Tatsuji Namba LLP Gayle Morgan The Reverand Clint Padgitt Jerry Jacobs Robert C. Newman John M. Powers, Jr. The Litwin Foundation Peerless Importers, Inc. Promenade Car & Limo Michael Lynch and Susan Baker PriceWaterhouseCoopers Mr. and Mrs. William D. Rifkin Mitchell & Titus, LLP Robert Rosenberg and Fran Gerald and Kathleen Raphael Charles Stewart Mott Foundation Kaufman Karen Bedrosian Richardson Muss Development Co. Dr. Martin and Mrs. Jane Salwen Andrew Seligson and Gloria Fields Newmark and Company Real David S. and Martha G. Schwartz John C. Sutherland Estate , Inc. Skadden, Arps, Slate, Meagher & Joanne Steller and Family The New York Times Company Flom Tavella Plumbing & Heating Corp. Foundation Peter D. and Lenore Sternlight Charles W. and Nancy Timmons Carl Podwoski and Virginia Lovejoy Jonathan J. Taylor Hon. John Warner Deborah and Alan Polinsky Tupper Thomas Joel I. and Kate Wechsler Theodore Presser Company John D. Titman Dasniel Weiscopf Prudential Total Piano & Organ Rentals LLC Herb and Marcia Weller The Resource Group for the Arts, Dr. Robert H. Vadheim Melinda D. Whittum LLC Jeffrey J. and TeriLynn Walsh Dr. Edward and Mrs. Carol Wolf R.F Binder Partners Christine Zamora Myra and Matthew Zuckerbraun Steven and Jeanne Stellman Syska & Hennessy ASSOCIATE More than 250 members made The Topps Company, Inc. ($250-$499) gifts of less than $250. Although Urban Foundation-Engineering, American Meter Company space limitations restrict us from LLC Thomas and Marilyn Aron listing each individual, their gener­ Bruce Van Dusen and Susan Rex Auchincloss ous support has helped make our Whiting Sarah Brown programs possible and is deeply Jill Weinstein Diane Bruce appreciated. Richard Wood Constance Burke Zeitz Foundation Michael Cairl We have made every effort to Peter M. Cline ensure the accuracy of our donor SUSTAINER DFW Capital Partners list. If you have any questions or ($500-$999) Charles Dische see an error, please call us at Anonymous Empire State Supply Co. 718.622.5566. Igou and Nedda Allbray Seth and Sara Faison American Sugar Refining Co. Fillmore Real Estate Andrea Barbieri Dr. Austin and Mrs. Selma Fink Arthur C. Bennett Kwok Sum and Kam Chee Fung Donald Carswell Abraham Gelfand