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the future is yours Table of Contents | Weeks 25/26
15 BSO NEWS
23 ON DISPLAY IN SYMPHONY HALL
25 BSO MUSIC DIRECTOR JAMES LEVINE
28 THE BOSTON SYMPHONY ORCHESTRA
31 "BERLIOZ'S VIRGILIAN MUSE" BY THOMAS MAY
40 THIS WEEK'S PROGRAMS
44 FROM THE MUSIC DIRECTOR
Notes on the Program
47 Synopsis of "Les Troyens"
53 Hector Berlioz's "Les Troyens"
69 To Read and Hear More...
Guest Artists
77 Yvonne Naef
79 Anne Sofie von Otter 80 Dwayne Croft
85 Clayton Brainerd
87 Jane Bunnell
87 Philippe Castagner
89 James Courtney
89 Eric Cutler
91 Christin-Marie Hill
93 David Kravitz
93 Kate Lindsey
95 Ronald Naldi
97 Eric Owens
97 Julien Robbins
99 Tanglewood Festival Chorus
106 SYMPHONY HALL EXIT PLAN
107 SYMPHONY HALL INFORMATION
THIS WEEK S PRE-CONCERT TALKS ARE GIVEN BY BSO DIRECTOR OF PROGRAM PUBLICATIONS MARC MANDEL.
program copyright ©2008 Boston Symphony Orchestra, Inc. design by Hecht Design, Arlington, MA cover photograph by Peter Vanderwarker THE ARTS ALLOW US TO DISCOVER WHO WE CAN BE
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'-" •J- ^ r* The path to recovery,• ••'- ^W- f§ — McLean Hospital ' The nation's top psych U.S. News & Wbr/d fte|£art " " £& 3^- ;ll::lDi::IS a**w The Pavilioja sf'Tfeaifc *t McLearf^ostfTiaJl Unparalleled psychiatric evaluation 5-TffiW- and treatment Unsurpassed discretion and service > JP * : Belmont, Massachusetts 6 1 7/855-3535 www.mclean.harvard.edu/pav/ McLean is the largest psychiatric clinical care, teaching and research affiliate Partners. of Harvard Medical School, an affiliate Massachusetts Healthcare of General Hospital and a member of Partners HealthCare. REASON #78 bump-bump bump-bump bump-bump A regular heartbeat is something most people take for granted. But if you're one of the millions afflicted with a cardiac arrhythmia, the prospect of a steadily beating heart is music to your ears. At Beth Israel Deaconess Medical Center, we wrote the book on arrhythmias and are leading the way with less invasive and more permanent treatments. We're also tending to matters of the heart in our renowned catheterization lab, cardiac MRI and peripheral vascular diseases units and unique diabetes partnership with Joslin Clinic. To find out more, visit www.bidmc.harvard.edu/heart or call 800-667-5356. Beth Israel Deaconess A teaching hospital of Harvard MedicaJ School $ Medical Center Affiliated Sox with Joslin Clinic I A Research Partner of Dana-Farber/Harvard Cancer Center I Official Hospital of the Boston Red JAMES LEVINE, MUSIC DIRECTOR BERNARD HAITINK, CONDUCTOR EMERITUS KM SEIJI OZAWA, MUSIC DIRECTOR LAUREATE 127th season, 2007-2008 ^=^>^^3 TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA, INC. Edward H. Linde, Chairman Diddy Cullinane, Vice-Chairman • Robert P. O'Block, Vice-Chairman • Stephen Kay, Vice-Chairman • Roger T. Servison, Vice-Chairman • Edmund Kelly, Vice-Chairman • Vincent M. O'Reilly, Treasurer • George D. Behrakis • Mark G. Borden • Alan Bressler Jan Brett • Samuel B. Bruskin • Paul Buttenwieser • Eric D. Collins • Cynthia Curme • William R. Elfers • Nancy J. Fitzpatrick • Charles K. Gifford Thelma E. Goldberg George Krupp Shari Loessberg, ex-officio • Carmine Martignetti Robert J. Mayer, M.D. • Nathan R. Miller • Richard P. Morse • Susan W. Paine • Ann M. Philbin, ex-officio Carol Reich Edward I. Rudman • Hannah H. Schneider • Arthur I. Segel Thomas G. Sternberg • Wilmer J. Thomas, Jr. Stephen R. Weber Stephen R. Weiner • Robert C. Winters LIFE TRUSTEES Vernon R. Alden Harlan E. Anderson David B. Arnold, Jr. J. P. Barger Leo L. Beranek • Deborah Davis Berman • Peter A. Brooke • Helene R. Cahners • James F. Cleary John F. Cogan, Jr. Abram T. Collier • Mrs. Edith L. Dabney • Nelson J. Darling, Jr. • Nina L. Doggett Mrs. John H. Fitzpatrick Dean W. Freed • Edna S. Kalman • George H. Kidder • R. Willis Leith, Jr. • Mrs. August R. Meyer • Mrs. Robert B. Newman • William J. Poorvu • Irving W. Rabb Peter C. Read • Richard A. Smith Ray Stata • John Hoyt Stookey • John L. Thorndike • Dr. Nicholas T. Zervas OTHER OFFICERS OF THE CORPORATION Mark Volpe, Managing Director • Thomas D. May, Chief Financial Officer Suzanne Page, Clerk of the Board BOARD OF OVERSEERS OF THE BOSTON SYMPHONY ORCHESTRA, INC. Shari Loessberg, Chairman • William F. Achtmeyer • Diane M. Austin Lucille M. Batal • Maureen Scannell Bateman • Linda J.L. Becker • George W. Berry James L. Bildner • Bradley Bloom Anne F. Brooke • Gregory E. Bulger • William Burgin Ronald G. Casty • Carol Feinberg Cohen Susan Bredhoff Cohen • Richard F. Connolly, Jr. • Charles L. Cooney • Ranny Cooper • James C. Curvey • Mrs. Miguel de Braganca • Disque Deane Paul F. Deninger > Ronald M. Druker Alan J. Dworsky • Alan Dynner • Ursula Ehret-Dichter John P. Eustis II • Pamela D. Everhart Joseph F. Fallon • Thomas E. Faust, Jr. • Judith Moss Feingold Steven S. Fischman John F. Fish • Lawrence K. Fish • Myrna H. Freedman Carol Fulp • Robert P. Gittens • Michael Gordon • Paula Groves • Carol Henderson • Brent L. Henry • Susan Hockfield • Osbert M. Hood Roger Hunt • William W. Hunt • Ernest Jacquet Everett L. Jassy • Charles H. Jenkins, Jr. Darlene Luccio Jordan, Esq. • Paul L. Joskow • Stephen R. Karp Brian Keane Douglas A. Kingsley Robert Kleinberg • Farla H. Krentzman • Peter E. Lacaillade • Renee Landers - Charles Larkin • Robert J. Lepofsky Christopher J. Lindop John M. Loder Edwin N. London Jay Marks Jeffrey E. Marshall • Joseph B. Martin, M.D. Thomas McCann Joseph C. McNay Albert Merck WEEKS 25/26 TRUSTEES AND OVERSEERS - MUSEUM OF FINE ARTS, BOSTON elGreco xVelAzouez ART DURING THE RE REX OF PHILIP 111 r"! APRIL 20-JULY 27, 2008 TICKETS ON SALE NOW Tickets: 800-440-6975 or www.mfa.org/elgreco BOSTON media The exhibition is presented The television The exhibition is sponsored by This exhibition is organized by the Museum of Fine Arts, Boston, and with the collaboration of sponsor is the Nasher Museum of Art at Duke University, and is supported by indemnity from the Federal Council on the Arts and the Humanities. America an Bank of ^ WCVBTV OI:X BOSTON Humanit Additional support provided by National Endowment for the Foundation, and National Endowment for the Arts. Toledo. The Homeland Mayor) (detail), about 1610-H. Oil on canvas. Museo del Greco, El Greco (Domenikos Theotokopoulos), St. James (Santiago el Dr. Martin C. Mihm, Jr. • Robert Mnookin Paul M. Montrone • Robert J. Morrissey • Evelyn Stefansson Nef Robert T. O'Connell • Joseph Patton • Ann M. Philbin • May H. Pierce Claudio Pincus • Joyce L. Plotkin Dr. John Thomas Potts, Jr. Dr. Tina Young Poussaint • James D. Price Claire Pryor • Patrick J. Purcell John Reed • Donna M. Riccardi • Susan Rothenberg Alan Rottenberg Joseph D. Roxe • Kenan Sahin • Gilda Slifka Christopher Smallhom • John C. Smith Charles A. Stakely • Patricia L. Tambone • Caroline Taylor • Mark D. Thompson • Samuel Thorne • Albert Togut Diana Osgood Tottenham Joseph M. Tucci Paul M. Verrochi • Robert S. Weil David C. Weinstein • James Westra • Mrs. Joan D. Wheeler • Richard Wurtman, M.D. Patricia Plum Wylde • Dr. Michael Zinner • D. Brooks Zug OVERSEERS EMERITI Helaine B. Allen Marjorie Arons-Barron Caroline Dwight Bain Sandra Bakalar • Mrs. Levin H. Campbell Earle M. Chiles • Mrs. James C. Collias • Joan P. Curhan • Phyllis Curtin Tamara P. Davis • Betsy P. Demirjian • JoAnne Walton Dickinson • Phyllis Dohanian • Goetz B. Eaton • Harriett Eckstein • George Elvin • J. Richard Fennell Peter H.B. Frelinghuysen Mrs. Thomas Galligan, Jr. • Mrs. James Garivaltis Dr. Arthur Gelb • Jordan Golding Mark R. Goldweitz • Michael Halperson John Hamill • Deborah M. Hauser • Mrs. Richard D. Hill • Marilyn Brachman Hoffman • Lola Jaffe Michael Joyce Martin S. Kaplan • Mrs. S. Charles Kasdon • Mrs. Gordon F. Kingsley • David I. Kosowsky • Robert K. Kraft Benjamin H. Lacy Mrs. William D. Larkin • Hart D. Leavitt Frederick H. Lovejoy, Jr. • Diane H. Lupean Mrs. Charles P. Lyman • Mrs. Harry L. Marks • John A. Perkins • Daphne Brooks Prout • Robert E. Remis John Ex Rodgers • Mrs. Jerome Rosenfeld Roger A. Saunders Lynda Anne Schubert • Mrs. Carl Shapiro L. Scott Singleton • Patricia Hansen Strang • Robert A. Wells • Margaret Williams-DeCelles • Mrs. Donald B. Wilson Mrs. John J. Wilson OFFICERS OF THE BOSTON SYMPHONY ASSOCIATION OF VOLUNTEERS Ann Philbin, President • Howard Cutler, Executive Vice President, Fundraising Richard Dixon, Executive Vice President, Administration Gerald Dreher, Treasurer • Margery Steinberg, Executive Vice President, Tanglewood EXECUTIVE BOARD Mary Gregorio, Vice President, Special Projects • Pat Kavanagh, Vice President, Membership • Rosemary Noren, Vice President, Symphony Shop • Aaron Nurick, Vice President, Education and Outreach Beverly Pieper, Vice President, Hall Services • Paula Strasser, Secretary Janis Su, Vice President, Public Relations • Leah Weisse, Nominating Chairman WEEKS 25/26 TRUSTEES AND OVERSEERS • re information lives / # When information comes together, it's always # a memorable performance. EMC is a proud partner of the Boston Symphony Orchestra. As the world's largest orchestral organization, the BSO understands the critical role that information plays in keeping its operations running fluidly— and as the world leader in information infrastructure solutions, we help enterprises of all sizes manage, use, protect, and share their information more efficiently and cost effectively. Learn more atwww.EMC.com. 2 EMC EMC, and where lives , information are registered trademarks of EMC Corporation. All other trademarks used herein are the property of their respective owners. © Copyright 2007 EMC Corporation. All rights reserved. Administration Mark Volpe, Managing Director, Eunice and Julian Cohen Managing Directorship, fully funded in perpetuity Anthony Fogg, Artistic Administrator Marion Gardner-Saxe, Director of Human Resources Ellen Highstein, Director of Tanglewood Music Center, Tanglewood Music Center Directorship, endowed in honor of Edward H. Linde by Alan S. Bressler and Edward I. Rudman Bernadette M. Horgan, Director of Public Relations Thomas D. May, Chief Financial Officer Peter Minichiello, Director of Development Kim Noltemy, Director of Sales, Marketing, and Communications Ray F. Wellbaum, Orchestra Manager ADMINISTRATIVE STAFF/ARTISTIC Bridget P. Carr, Senior Archivist, Position endowed by Caroline Dwight Bain • Vincenzo Natale, Chauffeur/Valet Suzanne Page, Assistant to the Managing Director/Manager of Board Administration • Claudia Robaina, Manager of Artists Services • Benjamin Schwartz, Assistant Artistic Administrator ADMINISTRATIVE STAFF/PRODUCTION Christopher W. Ruigomez, Director of Concert Operations Meryl Atlas, Assistant Chorus Manager • Amy Boyd, Orchestra Personnel Administrator • H.R. Costa, Technical Director • Jake Moerschel, Assistant Stage Manager • Leah Monder, Production Manager • John Morin, Stage Technician • Mark C. Rawson, Stage Technician Mark B. Rulison, Chorus Manager • Leslie D. Scott, Concert Operations Coordinator BOSTON POPS Dennis Alves, Director of Artistic Planning Margo Saulnier, Assistant Director of Artistic Planning BUSINESS OFFICE Sarah J. Harrington, Director of Planning and Budgeting Joseph Senna, Director of Investments Pam Wells, Controller Thomas Friso-Engeln, Budget Assistant • Michelle Green, Executive Assistant to the Chief Financial Officer • Karen Guy, Accounts Payable Supervisor • Minnie Kwon, Payroll Assistant • John O'Callaghan, Payroll Supervisor Mary Park, Budget Analyst • Nia Patterson, Accounts Payable Assistant Harriet Prout, Accounting Manager • Michael Shea, Cash Accountant Teresa Wang, Staff Accountant • Audrey Wood, Senior Investment Accountant WEEKS 25/26 ADMINISTRATION DEPOSIT & CASH MANAGEMENT • RESIDENTIAL MORTGAGE INVESTMENT MANAGEMENT & TRUST • COMMERCIAL BANKING -^/^ Philanthropic giving is always welcome, regardless of what form it takes. Boston Private Bank & Trust Company's Donor Advised Fund is a simple and flexible tool that makes charitable giving easier than ever. It enables you to set aside funds and recommend grants to qualified nonprofit organizations according to your interests and on your timetable, all while realizing a tax benefit. It is just one of the ways we make the connections that count — connections to the financial expertise you need, and a personal connection that goes far beyond the sum of our transactions. Boston Private Bank 19 Trust Company Please contact Richard MacKinnon, Senior Vice President, at (617) 912-4287 or [email protected] www.bostonprivatebank.com Investments are not FDIC insured, have no Bank guarantee, and may lose value. 10 DEVELOPMENT Alexandra Fuchs, Director of Annual Funds • Nina Jung, Director of Development Events and Volunteer Losey, Director of Foundation and Government Relations • Bart Reidy, Director of Outreach Ryan I M Development Communications • Elizabeth P. Roberts, Campaign Director/Director of Major and Planned ndri -- Giving • Mia Schultz, Director of Development Administration Amanda Aldi, Gift Processing and Donor Records Assistant Stephanie Baker, Major Gifts and Campaign Coordinator • Dulce Maria de Borbon, Beranek Room Hostess Cullen Bouvier, Executive Assistant to the Director of Development • Diane Cataudella, Associate Director of Stewardship for Donor Relations • Joseph Chart, Senior Major Gifts Officer • Kerri Cleghorn, Associate Director, BSO Business Partners Marcy Bouley Eckel, Annual Funds Membership Manager • Kara Gavagan, Assistant Manager, Development Special Events • Emily Gonzalez, Donor Information and Data Coordinator David Grant, Manager of Gift Processing and Donor Records • Laura Hahn, Annual Fund Projects Coordinator • Barbara Hanson, Manager, Koussevitzky Society • Joseph Heitz, Grant Writer • Emily Horsford, Assistant Manager of Friends Membership • Andrea Katz, Coordinator of Special Events • Jill Ng, Senior Major Gifts Officer Jennifer Raymond, Associate Director, Friends Membership • Joyce M. Serwitz, Major Gifts and Campaign Advisor • Yong-Hee Silver, Manager, Higginson and Fiedler Societies Kenny Smith, Acknowledgment and Gift Processing Coordinator Mary E. Thomson, Associate Director of Development Corporate Events • Laura Wexler, Assistant Manager of Development Communications EDUCATION AND COMMUNITY PROGRAMS Myran Parker-Brass, Director of Education and Community Programs Claire Carr, Manager of Education Programs • Sarah Glenn, Assistant Manager of Education and Community Programs • Emilio Gonzalez, Manager of Curriculum Research and Development • Darlene White, Manager, Berkshire Education and Community Programs EVENT SERVICES Cheryl Silvia Lopes, Director of Event Services Tony Bennett, Cafe Supervisor/Pops Service Staff Manager • Kristen Jacobson, Senior Sales Manager Sean Lewis, Assistant to the Director of Event Services Cesar Lima, Assistant Food and Beverage Manager • Kyle Ronayne, Food and Beverage Manager James Sorrentino, Bar Manager FACILITIES C. Mark Cataudella, Director of Facilities symphony hall Christopher Hayden, Facilities Manager Tyrone Tyrell, Facilities Services Lead • Michael Finlan, Switchboard Supervisor Judith Melly, Facilities Coordinator • Shawn Wilder, Mailroom Clerk m house crew Jim Boudreau, Electrician Charles F. Cassell, Jr., HVAC • Francis Castillo, Upholsterer Dwight Caufield, HVAC • Thomas Davenport, Carpenter Michael Frazier, Carpenter Paul Giaimo, Electrician • Sandra Lemerise, Painter custodial crew Landel Milton, Lead Custodian • Rudolph Lewis, Assistant Lead Custodian • Desmond Boland Julien Buckmire Angelo Flores Gaho Boniface Wahi tanglewood David P. Sturma, Director of Tanglewood Facilities and BSO Liaison to the Berkshires facilities crew Ronald T. Brouker, Supervisor of Tanglewood Crew Robert Lahart, Electrician • Peter Socha, Carpenter • Robert Casey Stephen Curley • Richard Drumm Bruce Huber weeks 25/26 administration ( 11 Your sn€€ Your coffee. Your reward. ENGLAND www.newenglandcoffee . com -LCOFFEE For recipes, coffee stories, special offers & more! NEW ENGLAND COFFEE Official Coffee of Symphony Hall 12 • HUMAN RESOURCES Susan Olson, Human Resources Recruiter Mary Pitino, Human Resources Manager Kathleen Sambuco, Benefits Manager INFORMATION TECHNOLOGY David W. Woodall, Director of Information Technology Guy W. Brandenstein, User Support Specialist • Andrew Cordero, Manager of User Support Timothy James, Senior Business Systems Analyst • David Tucker, Infrastructure Systems Manager Brian Van Sickle, User Support Specialist PUBLIC RELATIONS Kathleen Drohan, Associate Director of Public Relations • Matthew Robinson, Senior Public Relations Associate • Michael Wood, Public Relations Associate PUBLICATIONS Marc Mandel, Director of Program Publications Robert Kirzinger, Publications Associate • Eleanor Hayes McGourty, Publications Coordinator/ Boston Pops Program Editor SALES, SUBSCRIPTION, AND MARKETING Amy Aldrich, Manager, Subscription Office • Helen N.H. Brady, Director of Group Sales • Alyson Bristol, Director of Corporate Sponsorships • Sid Guidicianne, Front of House Manager • James Jackson, Call Center Manager • Roberta Kennedy, Buyer for Symphony Hall and Tanglewood Sarah L. Manoog, Director of Marketing Programs Michael Miller, SymphonyCharge Manager Duane Beller, SymphonyCharge Representative • Gretchen Borzi, Marketing Production Manager • Rich Bradway, Associate Director of E-Commerce and New Media • Allegra Brooke, Corporate Sponsorship Coordinator • Lenore Camassar, SymphonyCharge Assistant Manager • Theresa Condito, SymphonyCharge Representative • John Dorgan, Group Sales Coordinator • Paul Ginocchio, Manager, Symphony Shop and Tanglewood Glass House Erin Glennon, Graphic Designer • Randie Harmon, Customer Service and Special Projects Manager • Matthew Heck, Marketing Projects Coordinator • Michele Lubowsky, Assistant Subscription Manager • Jason Lyon, Group Sales Manager Dominic Margaglione, Senior Subscription Associate • Ronnie McKinley, Ticket Exchange Coordinator Maria McNeil, SymphonyCharge Representative Michael Moore, E-Commerce Marketing Analyst • Melina Moser, Senior Access Administrator/Subscription Representative • Clint Reeves, Graphic Designer • Doreen Reis, Marketing Coordinator for Advertising • Andrew Russell, Senior Manager, Corporate Sponsorships • Laura Schneider, Web Content Editor • Robert Sistare, SymphonyCharge Coordinator • Megan E. Sullivan, Senior Subscription Associate • Kevin Toler, Art Director • Himanshu Vakil, Web Application Lead box office Russell M. Hodsdon, Manager • David Chandler Winn, Assistant Manager box office representatives Mary J. Broussard • Cary Eyges Mark Linehan • Arthur Ryan TANGLEWOOD MUSIC CENTER Rachel Ciprotti, Coordinator • Karen Leopardi, Associate Director for Faculty and Guest Artists Michael Nock, Associate Director for Student Affairs • Gary Wallen, Manager of Production and Scheduling VOLUNTEER OFFICE Kris DeGraw Danna, Associate Director of Volunteers • Sabine Chouljian, Assistant Manager for Volunteer Services WEEKS 25/26 ADMINISTRATION ( 13 . T&ftFlM A Sophisticated South Shore Residential Destination (888) 515-5183 • WaterscapeHingham.com Luxury Waterfront Townhomes in Hingham RDSELAND -.-= URBAN = 'j:lc.';g : : -— - c.&sffll ftzn f l , , ^b/SSSm ^> BSO News Perspectives on Berlioz's "Les Troyens": A Symposium at Harvard University, Thursday, May i In connection with the BSO's concert performances of Berlioz's opera Les Troyens (April 22-May 4), Harvard University and the Boston Symphony Orchestra will present a sym- posium entitled "Perspectives on Berlioz's Les Troyens" on May 1 at Paine Hall on the Harvard University campus, from 1 p.m. to 6:30 p.m. The symposium will include ses- sions on the opera's literary connections, with reference to Virgil's Aeneid and to other 19th-century operas, with Harvard University English Professor Daniel Albright and Harvard Classics Professor Richard Thomas (1-2:30 p.m.); the history of Les Troyens in recordings, with Robert Dennis of the Eda Kuhn Loeb Music Library at Harvard, mezzo- soprano Yvonne Naef, and BSO Director of Program Publications Marc Mandel (2:45- 3:30 p.m.); the historical context of Paris in the 1860s, with Berlioz scholars Peter Bloom of Smith College, D. Kern Holoman of the University of California at Davis, and Hugh Macdonald of Washington University in St. Louis, moderated by BSO Assistant Artistic Administrator Benjamin Schwartz (3:45-5 p.m.); and performing Les Troyens today, a round table discussion moderated by Harvard Music Professor Thomas Forrest Kelly, with BSO Music Director James Levine, baritone Dwayne Croft, and Tanglewood Festival Chorus Conductor John Oliver (5:15-6:30 p.m.). The symposium is free and open to the public. For further details, please visit www.bso.org. Pre-Concert Talks Pre-Concert Talks available free of charge to BSO ticket holders precede all Boston Sym- phony subscription concerts. Given by a variety of distinguished speakers from Boston's musical community, these informative half-hour talks include recorded examples from the music being performed. For these last two weeks of the season (April 22-May 4), BSO Director of Program Publications Marc Mandel discusses Berlioz's Les Troyens. PLEASE NOTE that because of the varying start times for these concerts, the Pre- EH Concert Talks on April 22, 24, and 26 for Les Troyens, Part I, will be given at the usual JHb time of 6:45-7:15 (the concerts begin at 8 p.m.); that the Pre-Concert Talks on April 30 and May 2 for Les Troyens, Part II, will be from 6:15-6:45 (these concerts begin at 7:30 p.m.); and that on Sunday, May 4 (Les Troyens, Parts I and II, at 3 p.m. and 7:30 p.m., respectively), there will be a single, extended Pre-Concert Talk from 1:30-2:15. The BSO's Pre-Concert Talks are supported by New England Coffee. 2007-08 Season Summary Please note that the Season Summary previously printed in the last subscription program book of each season will this year be available online via the BSO's website, as of late WEEKS 25/26 BSO NEWS ( 15 ATLANTIC TRJJST PRIVATE WEALTH MANAGEMENT mes Down aving the Right Partner At Atlantic Trust, we are in step with the unique needs of our clients. We are proud to partner with you, helping you enhance your wealth and leave a legacy to future generations. We applaud you for your generosity and grace. The enduring relationships we've built are based on the personal touch we bring to the serious business of wealth management—the quality of our investment management, estate, trust and related advisory services, supplemented by our personalized family office capabilities. Proud Supporters of the oston Symphony Orchestra Managing Director [email protected] 617 357 9600 100 Federal Street, 37th Floor Boston, Massachusetts 02110 www. atlantictrust . com This ad is not to be construed as an offer to buy or sell any financial instruments. faff*.. April, in the form of a pdf, which can be accessed at www.bso.org/seasonsummary. Copies of the 2007-08 Season Summary can also be requested by phone, by calling the Subscription Office at (617) 266-7575 or 1-888-266-7575. From the Library of James Levine In conjunction with his programs here this season, materials from the personal library of BSO Music Director James Levine are being displayed on a rotating basis in a special exhibit case in the Massachusetts Avenue corridor of Symphony Hall. Among the items to be displayed are the score of Mahler's Das Lied von der Erde in Arnold Schoenberg's 1921 version for chamber orchestra; a "preliminary vocal score" of John Harbison's new Symphony No. 5 for baritone, mezzo-soprano, and orchestra, a BSO commission pre- miered in April; and a first-edition piano-vocal score of Berlioz's Les Troyens, printed in two volumes (Part I, La Prise de Troie, and Part II, Les Troyens a Carthage) by Choudens in Paris, in 1863, marking the first time Berlioz's opera was published complete. A New BSO Corporate Sponsor: Arbella Charitable Foundation The Boston Symphony Orchestra is proud to announce Arbella Charitable Foundation, part of the Arbella Insurance Group, as a new corporate sponsor. The sponsorship includes this year's Spring Pops Film Night Series (May 20-24) and Opening Night at Tanglewood (Les Troyens, Part I, on July 5), and also renews Arbella's support for both the BSO Business Partners and BSO Corporate Events. "We strive to engage in activities that have a significant, positive impact on the people and communities where we do business," says John Donohue, CEO of Arbella Insurance. "We pride ourselves on our New England roots and are so proud to expand on our partnership with the gem of New England's cultural institutions." Boston Symphony Chamber Players at Jordan Hall Sunday, May n, at 3 p.m. The Boston Symphony Chamber Players, joined by BSO Assistant Conductor Julian Kuerti, conclude their 2007-08 Jordan Hall series on Sunday afternoon, May 11, at 3 p.m. at Jordan Hall at the New England Conservatory. The all-American program for varying chamber ensembles includes Lukas Foss's For Aaron, William Bolcom's Serenata notturna for oboe and strings, Osvaldo Golijov's Dream of the King and the Butterfly, and Michael Gandolfi's Plain iPC Song, Fantastic Dances. Single tickets at $30, $22, and $17 may be purchased through Sym- phonyCharge at (617) 266-1200, at the Symphony Hall box office, or online at www.bso.org. On the day of the concert, tickets are available only at the Jordan Hall box office, 30 Gainsborough Street. Queen Mary 2® Welcomes the Boston Symphony Chamber Players The BSO is delighted to announce that Cunard® Line, the Official Cruise Line of the BSO, will continue its commitment to support both the 2008 Boston Pops at Tanglewood series and the Tanglewood Jazz Festival this summer. To celebrate the partnership between these WEEKS 25/26 BSO NEWS ( 17 two venerable organizations, the Boston Symphony Chamber Players will be performing on board the magnificent Queen Mary 2 on her Transatlantic Crossing from New York to Southampton, England, from September 4 through September 10, 2008. BSO members Malcolm Lowe, Steven Ansell, Martha Babcock, John Ferrillo, and Richard Svoboda, joined by pianist Randall Hodgkinson, will perform three hour-long concerts of favorite chamber repertoire during the six-day crossing, with musical insights provided by BSO Artistic Administrator Anthony Fogg. For further information regarding the Boston Symphony Chamber Players' Queen Mary 2 crossing, please contact the BSO Corporate Sponsorships Office at (617) 638-9270. INDIVIDUAL TICKETS ARE ON SALE FOR ALL CONCERTS IN THE BSO'S 2007-2008 SEASON. FOR SPECIFIC INFORMATION ON PURCHASING TICKETS BY PHONE, ONLINE, BY MAIL, OR IN PERSON AT THE SYMPHONY HALL BOX OFFICE, PLEASE SEE PAGE 107 OF THIS PROGRAM BOOK. The Nathan R. Miller Family Concert, and his wife Deborah Bennett Elfers. The Bos- Tuesday, April 22, 2008 ton Symphony Orchestra gratefully acknow- ledges Bill and Deborah for their continuing The performance of April 22, 2008, by the and devoted support. Boston Symphony Orchestra is supported by a generous gift from the Nathan R. Miller Bill and Deborah Elfers are longtime sub- Family. The BSO greatly appreciates their gen- scribers and supporters of the BSO and have erous support. Mr. Miller became a Trustee of attended the Friday-evening concerts together the BSO in 2003, having served as an Over- for nearly eleven years. Bill was appointed a seer since 1988. As a Great Benefactor, Mr. Trustee of the BSO in 2002 and served as until Miller is a long-standing supporter of the BSO a BSO Overseer from 1996 that time. his and is well known for his gift of the Miller During tenure with the Symphony, he has Room at Symphony Hall. served as a member of the Budget, Develop- ment, and Investment committees and, with Nathan and his wife Lillian, who attended Deborah, is an enthusiastic promoter of the the New England Conservatory of Music, BSO's Youth Concerts Series in Symphony Hall. have a very strong commitment to music Deborah's efforts on the BSO's behalf include and the universal joy it brings. In 1985, the Millers' regard for then BSO Music Director directing the Business Leadership Association's Seiji Ozawa prompted them to establish the fundraising efforts as a member of the BSO staff volunteer, Seiji Ozawa Endowed Conducting Fellowship from 1992 to 1995. As a BSO at the Tanglewood Music Center. They also she has served on the Annual Giving Commit- endowed the Lillian and Nathan R. Miller tee, chaired the Annual Fund's Higginson Chair in the cello section of the BSO in 1987, Society dinner, hosted Higginson Society organ- and have named seats in Symphony Hall. events, and, with other key volunteers, ized the Leadership Mentoring Initiative, col- The Nathan R. Miller family continues to be laborating with the Boston Symphony Asso- among the BSO's most generous philanthro- ciation of Volunteers to involve people in the pists, and we warmly thank them for their BSO's artistic, educational, and community support. outreach programs. Deborah is a graduate of New England Conservatory of Music, where The Deborah and William R. Elfers she studied voice; she now serves on the Con- Concert, Saturday, April 26, 2008 servatory's Board of Trustees. Bill and Deborah continue to support the BSO This Saturday night's concert is supported by generously in many ways. They are members a generous gift from BSO Trustee Bill Elfers 18 of the Higginson Society of the BSO Annual Anne has energetically matched her husband's Fund, have endowed several seats in the first service to non-profits in the community. She balcony of Symphony Hall, and have attend- became a BSO Overseer in 2006, served as ed Opening Night at Symphony and Opening Chair of the Board of Trustees of the Concord Night at Pops as Benefactors for the past sev- Museum for many years, and is an Overseer eral years. Said Bill of their support for BSO: of the Museum of Fine Arts. Most recently at "I've greatly enjoyed combining a lifelong love the BSO she served as an Honorary Co-chair of music with the privilege of supporting and of the James Levine Inaugural Gala in the fall providing volunteer service to the Boston of 2004. She is currently on the board of the Symphony as the world's greatest orchestra Boston Arts Academy and Massachusetts organization." Audubon Society. n "We were both introduced to the Symphony The Peter and Anne Brooke Concert, as children," they have said, "and after years Wednesday, April 30, 2008 of exposure to its wonderful sound, we think it is appropriate to repay the BSO for all the The BSO concert on Wednesday night, April pleasure it has given us." 30, is supported by a generous gift from BSO Life Trustee, and past Chairman of the Board of Trustees, Peter A. Brooke and his wife, The Helen and Josef Zimbler Fund BSO Overseer Anne Brooke. Peter and Anne The appearances of the vocal soloists in the Brooke have been generous supporters of the concert performances of Berlioz's Les Troyens Boston Symphony Orchestra since the late are supported by the Helen and Josef Zimbler 1970s. The Brookes are longtime Friday-after- Fund in the BSO's endowment, established noon subscribers and members of the Hig- with a generous bequest from the Estate of ginson and Walter Piston Societies. In addi- Helen Zimbler supporting the artistic expens- tion, they have fully funded an endowed chair es of the BSO. A Cincinnati native, Helen in the percussion section of the orchestra, Rigby Zimbler pioneered the place of women and also provided major support for the con- in American orchestras when, in 1937, she struction of Ozawa Hall at Tanglewood in the accepted a position in the double bass sec- early 1990s and for the renovations to tion of the Houston Symphony. She was also Symphony Hall in the late 1980s. an accomplished singer, actor, and painter. In Peter joined the BSO's Board of Overseers in 1939 Helen married Josef Zimbler, who was a 1981. He served as a member of the BSO's BSO cellist from 1932 until his death in 1959. Board of Trustees from 1990 to 2005, was Josef Zimbler, born in 1900 in Pilsen (now elected Chairman of the Board of Trustees in part of the Czech Republic), was encouraged 1999, retired from that position on August 31, by his first cousin, Arthur Fiedler, to come to 2005, and became a Life Trustee on Septem- Boston in 1927. During his tenure with the ber 1, 2005. He served as co-chair of the BSO BSO, Josef founded the Zimbler Sinfonietta, 2000 Campaign from 1998 to 2000, help- composed of approximately twenty BSO ing lead that effort to historic success in rais- string players and performing, in most cases, ing more than $150 million for the orchestra's without a conductor. The Sinfonietta pio- endowment and operations. Peter is known neered a renewed appreciation of 17th- and worldwide as a leader in the venture capital 18th-century repertoire and performance, community, having pioneered business prac- championed contemporary music, made tices in that field for decades. He has brought numerous recordings, and in 1957 toured wisdom to his tenure at the Boston Symphony, Central and South America. Josef was held in participating in a dozen Board committees high esteem by his colleagues and always and currently serving as Chair of the Leader- performed with them, but never in first chair. ship Gifts Committee for the Artistic Initia- Helen remained in Boston until 1974 when tive that seeks to raise funds to endow the she returned to Cincinnati, where, over the continued artistic growth of the orchestra. years that followed, she gave numerous vocal WEEKS 25/26 BSO NEWS CONCERTOS? So do we. Our free upcoming orchestra concerts put brilliant student soloists in the spotlight in masterworks of the concerto repertoire. Coming up are concertos by Schumann (May 30) and Elgar (June 6) with soloists from our Preparatory School, ready to dazzle you with their cadenzas! calendar.newenglandconservatory.edu NEW ENGLAND CONSERVATORY <* JORDAN HALL 20 . fBGroBb •''', recitals and was active as a freelance bass The Boston Challenge: player. She passed away in 2005 at the age Help the BSO Reach New Heights of 91. Josef Zimbler left to Helen his entire of Musical Artistry estate, including a collection of correspon- dence, autographed photographs, and record- When you make a gift to support the Boston ings documenting his many years with the Symphony Orchestra this season, the effect of your BSO and the Zimbler Sinfonietta. This collec- generosity can be even greater by your participation in tion came to the BSO Archives in the spring The Boston Challenge, a chal- lenge of 2006, through a bequest from the Estate grant that will match certain gifts re- of Helen Zimbler. ceived by June 30, 2008. Through the gen- erosity of a small group of anonymous BSO Trustees, The Boston Challenge will match, BSO Members in Concert SW8& up to $250,000, all new or increased gifts to BSO cellist Jonathan Miller and fellow Boston the Symphony or Pops annual funds, as well as gifts Artists Ensemble members Sharan Leventhal, from participants in last year's Chal- violin, and Randall Hodgkinson, piano, are lenge if renewed at the same level or higher. soloists in Answer the Challenge by becoming a Friend Beethoven's Triple Concerto with <<* of the the Newton Symphony Orchestra led by BSO with an Annual Fund contribution of $75 or more during the 2007-08 Federico Cortese on Sunday, May 4, at 7:30 season. Wm Your support p.m. at Rashi Auditorium in Newton Corner. will help ensure that the BSO Also on the program are the overture to continue to enjoy the freedom to reach new heights Mozart's The Marriage of Figaro and Mendels- of musical artistry. To learn more about sohn's Symphony No. 3, Scottish. Tickets are becoming a Friend of the BSO, or to $30, discounted for children, students, and make a gift, please contact the Friends of the Office seniors. For further information, call (617) BSO at [email protected], 965-2555 or visit www.newtonsymphony.org. (617) 638-9276, or visit bso.org. The Walden Chamber Players, whose mem- bership includes BSO musicians Tatiana Comings and Goings . . Dimitriades and Alexander Velinzon, violins, Please note that latecomers will be seated Thomas Martin, clarinet, Richard Ranti, bas- by the patron service staff during the first soon, Richard Sebring, horn, and Lawrence convenient pause in the program. In addition, Wolfe, double bass, perform music of Carter, please also note that patrons who leave the Schnittke, Sheila Silver, Alice Spatz, Larry hall during the performance will not be Wallach, and Isang Yun at the Sterling and allowed to reenter until the next convenient Francine Clark Art Institute in Williamstown pause in the program, so as not to disturb the on Sunday, May 11, at 3 p.m. For further performers or other audience members while information or tickets, please call (866) the concert is in progress. We thank you for 393-2WCP. your cooperation in this matter. WEEKS 25/26 BSO NEWS (21 HOLSTEN GALLERIES Contemporary Glass Sculpture 3 Elm Street Stockbridge, MA 413.298.3044 www.holstengalleries.com Dale Chihuly A community of unique residential lifestyle options TkeGiSves for active older adults Visit our Information Center located at • 57 Bedford Street Lexington, MA A DEACONESS Abundant M/e 781.259.0800 WWW. GROVESINLINCOLN. ORG 22 ; •'• r 1 1 ^ v. pn *^ f. «*•.> >*«' 93 x Xh j= p&E n n = 33= BSO Archives ON DISPLAY IN SYMPHONY HALL THIS SEASON S BSO ARCHIVES EXHIBIT, LOCATED THROUGH- OUT THE ORCHESTRA AND FIRST-BALCONY LEVELS OF SYMPHONY HALL, DISPLAYS THE BREADTH AND DEPTH OF THE ARCHIVES' HOLDINGS IN ORDER TO DOCUMENT THE MANY FACETS OF THE ORCHESTRA'S HISTORY. HIGHLIGHTS OF THIS YEAR'S EXHIBIT INCLUDE ARTIS- TIC RENDERINGS INSPIRED BY THE BSO'S MUSICAL ACTIVITIES (ORCHESTRA AND FIRST BAL- CONY, AUDIENCE-RIGHT); THE BSO'S EARLY CONCERTMASTERS (MASSACHUSETTS AVENUE CORRIDOR); THE 90TH ANNIVERSARY OF A BENEFIT RELIEF CONCERT GIVEN BY THE BSO IN DECEMBER 1917 IN RESPONSE TO THE HALIFAX DISASTER (MASSACHUSETTS AVENUE CORRI- DOR); THE CLOSE CONNECTION OF COMPOSERS HENRI DUTILLEUX AND SAMUEL BARBER TO THE BSO (CABOT-CAHNERS ROOM); THE ANATOMY OF A SYMPHONY HALL SEAT (FIRST-BAL- CONY LEFT); BOSTON POPS ENCORES (ORCHESTRA-LEVEL CORRIDOR BETWEEN THE HATCH ROOM AND THE REAR OF THE SYMPHONY HALL AUDITORIUM), AND THE BSO'S TOURING HISTORY (COHEN WING). A CASE DEVOTED TO LINE DRAWINGS BY OLGA KOUSSEVITZKY (1901-1978), THE THIRD WIFE OF BSO MUSIC DIRECTOR SERGE KOUSSEVITZKY, CAN BE FOUND ON THE FIRST BALCONY (AUDIENCE-RIGHT). AN AMATEUR ARTIST, OLGA KOUSSEVITZKY WAS PARTICULARLY ADEPT AT CAPTURING THE LIKENESSES OF MUSICAL LUMINARIES WHO PERFORMED WITH THE ORCHESTRA. PHOTOGRAPHS OF HER SUBJECTS ARE DISPLAYED WITH THE DRAWINGS TO DEMONSTRATE HOW, IN JUST A FEW LINES, MRS. KOUSSEVITZKY WAS ABLE TO CATCH THE ESSENCE OF THE PERSON. A CASE DEVOTED TO THE BSO PERFORMANCE HISTORY OF SAMUEL BARBER'S PIANO CON- CERTO CAN BE FOUND IN THE CABOT-CAHNERS ROOM. PIANIST JOHN BROWNING WAS SOLOIST FOR THE WORLD PREMIERE WITH ERICH LEINSDORF CONDUCTING THE BOSTON MB SYMPHONY ORCHESTRA IN PHILHARMONIC HALL AT NEW YORK'S LINCOLN CENTER ON SEPTEMBER 9, 1962. SHOWN ABOVE ARE A PHOTO OF AARON COPLAND (BY CONSTANTINE MANOS) AND A PENCIL DRAWING OF COPLAND BY OLGA KOUSSEVITZKY. ALSO SHOWN ABOVE IS PART OF THE FAC- SIMILE MANUSCRIPT SCORE OF BARBER'S PIANO CONCERTO WITH JOHN BROWNING'S MARK- INGS (GIFT OF CYNTHIA STIEHL). WEEKS 25/26 ONDISPLAY (23 Destination Anywhere We know how to get you there. Music moves the soul; Commonwealth moves the body. Commonwealth Worldwide's team performs in perfect harmony to provide you with the finest in chauffeured transportation. Enjoy Commonwealth's luxury transportation services in Boston, New York, and all around the globe. Reserve your next business or leisure chauffeured transportation with Commonwealth Worldwide and experience the award-winning service you deserve. OMMONWEALTH WORLDWIDE CHAUFFEURED TRANSPORTATION Commonwealth Worldwide is honored to be the Official Chauffeured Transportation of the Boston Symphony Orchestra and Boston Pops. 800.558.5466 or 617.779.1919 • commonwealthlimo.com 24 in? James Levine ~-^7"^ Now in his fourth season as Music Director of the Boston Symphony Orchestra, James Levine is the BSO's 14th music director since the orchestra's founding in 1881 and the first American- born conductor to hold that position. Highlights of Maestro Levine's 2007-08 BSO programs (three of which again go to Carnegie Hall) include an Opening Night all-Ravel program; pre- mieres of new works by Elliott Carter, John Harbison, William Bolcom, and Henri Dutilleux; Mahler's First and Ninth symphonies and Dos Lied von der Erde; Smetana's complete A/Id Wast; the two Brahms piano concertos with Evgeny Kissin, and season-ending concert performances of Berlioz's Les Troyens. He also appears at Symphony Hall as pianist, performing Schubert's Winterreise with Thomas Quasthoff. Mr. Levine's 2007 Tanglewood season included seven programs with the BSO, a concert performance with the Tanglewood Music Center Orchestra of Verdi's Don Carlo, and a staged TMC production of Mozart's Cos! fan tutte, as well as classes devoted to orchestral repertoire, Lieder, and opera with the TMC's Instrumental, Vocal, and Conducting Fellows. Following Tanglewood, he and the Boston Symphony Orchestra made their first European tour together, performing in the Lucerne Festival, the Schleswig-Holstein Festival (in Hamburg), Essen, Diisseldorf, the Berlin Festival, Paris, and the BBC Proms in London. Maestro Levine made his BSO debut in April 1972; he has since led the orchestra in repertoire ranging from Haydn, Mozart, Schumann, Brahms, Dvorak, Verdi, Mahler, Debussy, Ravel, and Schoenberg to music of Babbitt, Cage, Carter, Gershwin, Harbison, Lieberson, Ligeti, Perle, Schuller, Sessions, and Wuorinen. He became music director in the fall of 2004, having been named music director designate in October 2001. James Levine is also Music Director of the Metropolitan Opera, where, in the thirty-six years since his debut there, he has developed a relationship with that company unparalleled in its history and unique in the musical world today. All told at the Met he has led nearly 2,500 performances— more than any other conductor in the company's history— of 83 different operas, including thirteen company premieres. In 2007-08 Maestro Levine leads new produc- WEEKS 25/26 JAMES LEVINE ( 25 tions of Lucia di Lammermoor (which opened the season) and Macbeth; revivals of Tristan und Isolde and Manon Lescaut, and concerts at Carnegie Hall with the MET Orchestra (with soloists Alfred Brendel, Deborah Voigt, and Jonathan Biss) and MET Chamber Ensemble (joined by, among others, John Harbison, Milton Babbitt, Elliott Carter, Yefim Bronfman, Gil Shaham, and Anja Silja). Mr. Levine inaugurated the "Metropolitan Opera Presents" televi- sion series for PBS in 1977, founded the Met's Young Artist Development Program in 1980, returned Wagner's complete Der Ring des Nibelungen to the repertoire in 1989 (in the compa- ny's first integral cycles in 50 years), and reinstated recitals and concerts with Met artists at the opera house— a former Metropolitan tradition. Expanding on that tradition, he and the MET Orchestra began touring in concert in 1991, and have since performed around the world. Also in New York this season, in February, Mr. Levine conducts the Juilliard Orchestra in Elliott Carter's Symphonia: Sum fluxae pretium spei (a New York premiere) and Cello Concerto to close the Juilliard School's Carter Festival. Outside the United States, Mr. Levine's activities are characterized by his intensive and endur- ing relationships with Europe's most distinguished musical organizations, especially the Berlin Philharmonic, the Vienna Philharmonic, and the summer festivals in Salzburg (1975-1993) and Bayreuth (1982-98). He was music director of the UBS Verbier Festival Orchestra from its founding in 2000 and, before coming to Boston, was chief conductor of the Munich Philhar- monic from 1999 to 2004. In the United States he led the Chicago Symphony Orchestra for twenty summers as music director of the Ravinia Festival (1973-1993) and, concurrently, was Anything lor a quiet life by r rederic Xvemineton generously provided by X redenc IVemineton Art -[V\_useum, Oedensbure, PNew York, www.lredericremington.ore. Anything for a quiet life. J_he 1 rusts and Instates Cjroup at _L)avis JVialm works hard to put your mind at ease. J or more information or a copy of our restate .Planning Lruide, please contact _M_arjorie ouisman at 617-367-2500 or [email protected]. dM & DAGOSTINjE EC, Attorneys at Law ON THE LEGAL FRONTIER SINCE 1979 One Boston Place • Boston • 617.367.2500 • www.davismalm.com 26 music director of the Cincinnati May Festival (1973-1978). Besides his many recordings with the Metropolitan Opera and the MET Orchestra, he has amassed a substantial discography with such leading ensembles as the Berlin Philharmonic, Chicago Symphony, London Sym- phony, Philharmonia Orchestra, Munich Philharmonic, Dresden Staatskapelle, Philadelphia ~Ssic Orchestra, and Vienna Philharmonic. Over the last thirty years he has made more than 200 recordings of works ranging from Bach to Babbitt. Maestro Levine is also active as a pianist, performing chamber music and in collaboration with many of the world's great singers. Born in Cincinnati, Ohio, on June 23, 1943, James Levine studied piano from age four and made his debut with the Cincinnati Symphony at ten, as soloist in Mendelssohn's D minor piano concerto. He was a participant at the Marlboro Festival in 1956 (including piano study with Rudolf Serkin) and at the Aspen Music Festival and School (where he would later teach and conduct) from 1957. In 1961 he entered the Juilliard School, where he studied conducting with Jean Morel and piano with Rosina Lhevinne (continuing on his work with her at Aspen). In 1964 he took part in the Ford Foundation-sponsored "American Conductors Project" with the Baltimore Symphony Orchestra and Alfred Wallenstein, Max Rudolf, and Fausto Cleva. As a direct result of his work there, he was invited by George Szell, who was on the jury, to become an assistant conductor (1964-1970) at the Cleveland Orchestra— at twenty-one, the youngest assistant conductor in that orchestra's history. During his Cleveland years, he also founded and was music director of the University Circle Orchestra at the Cleveland Institute of Music (1966-72). James Levine was the first recipient (in 1980) of the annual Manhattan Cultural Award and in 1986 was presented with the Smetana Medal by the Czechoslovak government, following performances of the composer's Ma Vlast in Vienna. He was the subject of a Time cover story in 1983, was named "Musician of the Year" by Musical America in 1984, and has been featured in a documentary in PBS's "American Masters" series. He holds numerous honorary doctor- ates and other international awards. In recent years Mr. Levine has received the Award for Distinguished Achievement in the Arts from New York's Third Street Music School Settle- ment; the Gold Medal for Service to Humanity from the National Institute of Social Sciences; the Lotus Award ("for inspiration to young musicians") from Young Concert Artists; the Anton Seidl Award from the Wagner Society of New York; the Wilhelm Furtwangler Prize from Baden-Baden's Committee for Cultural Advancement; the George Jellinek Award from re WQXR in New York; the Goldenes Ehrenzeichen from the cities of Vienna and Salzburg; the Crystal Award from the World Economic Forum in Davos, Switzerland; America's National Medal of Arts and Kennedy Center Honors; the 2005 Award for Distinguished Service to the Arts from the American Academy of Arts and Letters, and a 2006 Opera News Award. WEEKS 25/26 JAMES LEVINE (27 Boston Symphony Orchestra 200^-2008 # JAMES LEVINE Valeria Vilker Kuchment* Kelly Barr* Andrew Pearce* Stephanie Morris Marryott and Stephen and Dorothy Weber Music Director Jason Horowitz* Franklin J. Marryott chair chair Ray and Maria Stata Music Directorship, fully funded Tatiana Dimitriades* Mickey Katz* in perpetuity VIOLAS Catherine and Paul Buttenwieser Richard C. and Ellen E. Paine perpetuity chair Steven Ansell chair, fully funded in BERNARD HAITINK Principal Si-Jing Huang* (position vacant) Conductor Emeritus Charles S. Dana chair, endowed Mary B. Saltonstall chair, Lillian and Nathan R. Miller chair LaCroix Family Fund, in perpetuity in 1970 fully funded in perpetuity fully funded in perpetuity Cathy Basrak Nicole Monahan* BASSES Assistant Principal SEIJI OZAWA Kristin and Roger Servison chair 5 Anne Stoneman chair, fully Edwin Barker Music Director Laureate Wendy Putnam* funded in perpetuity Principal Donald C. and Ruth Brooks Heath Harold D. Hodgkinson chair, Edward Gazouleas chair, fully funded in perpetuity endowed in perpetuity in 1974 Lois and Harlan Anderson chair, FIRST VIOLINS Xin Ding* fully funded in perpetuity Lawrence Wolfe Assistant Principal Malcolm Lowe Glen Cherry* Robert Barnes Maria Nistazos Stata chair, Concertmaster Julianne Lee* Ronald Wilkison fully funded in perpetuity Charles Munch chair, fully funded in perpetuity Michael Zaretsky Benjamin Levy VIOLINS Leith Family chair, fully funded Tamara Smirnova SECOND Marc Jeanneret in perpetuity Associate Concertmaster Haldan Martinson Mark Ludwig* Horner Mclntyre chair, Dennis Roy Helen Principal endowed in perpetuity in 1976 Joseph and Jan Brett Hearne Carl Schoenhof Family chair, Rachel Fagerburg* chair perpetuity Velinzon fully funded in Alexander Kazuko Matsusaka* Joseph Hearne Assistant Concertmaster Vyacheslav Uritsky Beal, Enid L, and Rebecca Gitter* Erich and Edith Heymans chair Robert L Assistant Principal Bruce A. Beal chair, endowed Charlotte and Irving W. Rabb Marvin Moon** James Orleans* in perpetuity in 1980 chair, endowed in perpetuity Edward M. Lupean chair in 1977 Elita Kang CELLOS Todd Seeber* Assistant Concertmaster Knudsen Ronald Eleanor L and Levin H. Campbell Bertha C. Rose chair Edward and Edgar and Shirley Grossman chair Jules Eskin chair, fully funded in perpetuity 5 Principal Bo Youp Hwang Joseph McGauley Philip R. Allen chair, endowed JohnStovall* John and Dorothy Wilson chair, Shirley and J. Richard Fennell in perpetuity in 1969 fully funded in perpetuity chair, fully funded in perpetuity Martha Babcock FLUTES Lucia Lin Ronan Lefkowitz Assistant Principal Forrest Foster Collier chair David H. and Edith C Howie Elizabeth Rowe Vernon and Marion Alden chair, chair, fully funded in perpetuity Principal Ikuko Mizuno endowed in perpetuity in 1977 Walter Piston chair, endowed Dorothy Q. and David B. Arnold, Nancy Bracken* Sato Knudsen in perpetuity in 1970 Jr., chair, fully funded in perpetuity Robert Bradford Newman chair, Mischa Nieland chair, fully fully funded in perpetuity (position vacant) Amnon Levy funded in perpetuity Myra and Robert Kraft chair, Muriel C. Kasdon and Marjorie C. Aza Raykhtsaum* Mihail Jojatu endowed in perpetuity in 1981 Foley chair Bonnie Bewick* Sandra and David Bakalar chair Elizabeth Ostling Sheila Fiekowsky* Jonathan Miller* Associate Principal Ruth and Carl J. Shapiro chair, James Cooke* Charles and JoAnne Dickinson Marian Gray Lewis chair, fully funded in perpetuity Victor Romanul* chair fully funded in perpetuity Jennie Shames* Bessie Pappas chair Owen Young* Theodore W. and Evelyn Catherine French* John F Cogan, Jr., and Mary L. Berenson Family chair Cornille chair, fully funded in perpetuity 28 photos by Michael J. Lutch PICCOLO Suzanne Nelsen (position vacant) HARP John D. and Vera M. MacDonald Assistant Principal Cynthia Meyers chair Ann Hobson Pilot Evelyn and C. Charles Marran Benjamin Wright Principal Richard chair, endowed in perpetuity Ranti Arthur and Linda Gelb chair Nicholas and Thalia Zervas chair, in 1979 Associate Principal fully funded in perpetuity by Diana Osgood Tottenham/ Sophia and Bernard Gordon Hamilton Osgood chair, TROMBONES OBOES fully funded in perpetuity Ronald Barron John Ferrillo Principal VOICE AND CHORUS Principal J. P. and Mary B. Barger CONTRABASSOON chair, John Oliver Mildred B. Remis chair, endowed fully funded in perpetuity Tanglewood Festival Chorus in perpetuity in 1975 Gregg Henegar (position Conductor Helen Rand Thayer chair vacant) Mark McEwen Alan J. and Suzanne W. Dworsky James and Tina Collias chair chair, fully funded in perpetuity HORNS BASS TROMBONE Keisuke Wakao Assistant Principal James Sommerville Douglas Yeo LIBRARIANS Principal John Moors Cabot chair, Marshall fully funded in perpetuity Burlingame Helen Sagoff Slosberg/Edna S. ENGLISH HORN Principal Kalman chair, endowed in Lia and William Poorvu chair, Robert Sheena perpetuity in 1974 TUBA fully funded in perpetuity Beranek chair, fully funded Richard Sebring in perpetuity Mike Roylance William Shisler Associate Principal Principal Margaret Andersen Congleton John Perkel Margaret and William C chair, fully funded in perpetuity CLARINETS Rousseau chair, fully funded Daniel Katzen in perpetuity William R. Hudgins ASSISTANT Elizabeth 6. Storer chair, Principal CONDUCTORS fully funded in perpetuity Ann S.M. Banks chair, endowed TIMPANI Julian Kuerti in perpetuity in 1977 Jay Wadenpfuhl Anna E. Timothy Genis Finnerty chair, John P II and Nancy S. Eustis (position vacant) fully funded in perpetuity Sylvia Shippen Wells chair, chair, fully funded in perpetuity Thomas Sternberg chair endowed in perpetuity in 1974 Shi-Yeon Sung Jason Snider Thomas Martin Gordon and Mary Ford Kingsley Associate Principal & Family chair PERCUSSION E-flat clarinet PERSONNEL MANAGERS Stanton W. and Elisabeth K. Jonathan Menkis Frank Epstein Davis chair, fully funded in Peter and Anne Brooke Jean-Noel and Mono N. Tariot chair, Lynn G. Larsen perpetuity chair fully funded in perpetuity Bruce M. Creditor J. William Hudgins BASS CLARINET TRUMPETS Peter Andrew Lurie chair, fully funded in perpetuity STAGE MANAGER Craig Nordstrom Thomas Rolfs Farla W. Lee and Harvey Chet Krentzman Principal Vinson John Demick chair, fully funded in perpetuity Barbara Lee chair Roger Louis Voisin chair, endowed in perpetuity in 1977 (position vacant) * participating in a system Assistant Timpanist BASSOONS Peter Chapman of rotated seating Mr and Mrs. Edward H. Linde Ford H. Cooper chair, endowed Richard Svoboda chair § on sabbatical leave in perpetuity in 1984 Principal # on leave Edward A. Taft chair, endowed in perpetuity in 1974 WEEKS 25/26 BOSTON SYMPHONY ORCHESTRA '• ':' p at Life Care Centers of America We can compose a treatmentplan that's rightforyou. Massachusetts Rhode Island Life Care Center Life Care Center Life Care Center Cherry Hill Manor of Acton of Merrimack Valley of the South Shore Nursing and 978-263-9101 978-667-2166 781-545-1370 Rehabilitation Center 401-231-3102 Life Care Center Life Care Center Life Care Center ofAttleboro of Nashoba Valley ofStoneham Evergreen House* 508-222-4182 978-486-3512 781-662-2545 Health Center 401-438-3250 Life Care Center Life Care Center The Oaks of Auburn of the North Shore Nursing Center The Bridge at 508-832-4800 781-592-9667 508-998-7807 Cherry Hill 401-233-2880 Highlands Long Term Life Care Center Life Care Center Care Center of Plymouth ofWestBridgewater ^Featuring outpatient 978-343-4411 508-747-9800 508-580-4400 rehabilitation services Life Care Center Life Care Center Life Care Center of Leominster ofRaynham ofWilbraham 978-537-0771 508-821-5700 413-596-3111 Life Centers of America Skilled nursing Rehabilitation Long-term care 30 Berlioz's Virgilian Muse ' by Thomas May ; • Q^ Berlioz's most-abiding love affair was his passion for a dead poet. The writings of Virgil held a powerful grip on the composer's creative imagination ever since his first encoun- V ters with the Roman poet, who not only served as the source for what is perhaps Berlioz's greatest creation— Les Troyens— but was his lifelong touchstone for authentic artistic expression in an era he felt was becoming increasingly false and insincere. Berlioz cherished memories— Proustian in their vividness— of being overwhelmed as a child by his reactions to the Aeneid, which his father helped him learn in the original Latin. In a letter to Princess Caroline Sayn-Wittgenstein (a mistress of Liszt and a cat- alyzing force who convinced Berlioz to proceed with his opera), the composer recalls working through the grim battles of the epic's twelfth book. One Sunday at church serv- ice, the solemn liturgical ritual blended in the boy's imagination with the sufferings of his pagan heroes, so that "an immeasurable sadness took hold of me. I left the church in floods of tears and remained weeping for the rest of the day, unable to contain my epic sorrow." (Berlioz also recounts this episode in his Memoirs.) Not that fondness for Virgil was an eccentric phenomenon. Indeed, the Roman poet (who lived between 70 and 19 B.C.E.) had held sway for two millennia as what T.S. Eliot once termed "the classic of Europe." Try to imagine Shakespeare's prestige lasting five times longer than it already has to get a sense of Virgil's once-immense cultural presence. Ovid may have had more popular appeal thanks to his erotic temper, but Virgil became revered as a source of spiritual wisdom. In late classical times there even developed a practice- known as the sortes Virgilianae (literally, "Virgilian lots")—whereby random selections of lines from the Aeneid were thought to contain prophetic glimpses into the future. But by Berlioz's own time, classical literature, while still the backbone of education, had Placard from the Theatre-Lyrique in Paris, 1863 WEEKS 25/26 ( 31 LandVest Marketing Fine Homes, Land & Estates • Valuation of Complex Properties Conservation Planning • Timberland Management & Marketing Beacon Hill, Boston, Massachusetts BRIMMER STREET TRIPLEX Located on the first 3 floors of a brownstone on the flat of Beacon Hill, a grand parlor-level entrance cre- ates the feel of a single-family home. 3-beds/3-baths, 3,133 sq. ft, 11-ft ceilings, 3 fireplaces, 2 private entrances, large patio, and views of the Charles River through picturesque bay windows. $2, 690, 000 Back Bay, Boston, Massachusetts 234 BEACON STREET, DUPLEX UNIT 4B This riverside duplex is in the heart of Boston's Back Bay neighborhood.This unit has a private balcony on each level offering panoramic views of the Charles River.This corner unit offers 1 .200 sq. ft. of living space. l-bedroom,1.5 baths, a gourmet kitchen, and a fireplace. Includes 1 garage parking space. $1,250,000 Maryann Roos Hoskins 61 7-357-0446 [email protected] Exclusive Affiliate of www.landvest.com CHRISTIE'S Ten Post Office Square GREAT ESTATES Boston, MA 02109 • 617-723-1800 32 ";. TXhHBF lost much of its aura. Indeed, the domestication of classical myth was so commonplace in of Berlioz's artistic heroes— in the previous century that it had inspired Gluck—another mm a desire to reinvigorate the approach to classical sources. Myths had come to serve as decorative, rococo illustrations for uplifting precepts. The intervening French Revolution co-opted antiquity for its own ends, exchanging the decorative for the sternly moral— but with a result that was just as empty. In the same year that Berlioz completed his score for Les Troyens (1858), Offenbach's wickedly witty Orpheus in the Underworld was using opera's core myth—the one with which Gluck had launched his reforms—to lampoon stuffy conventions. For Berlioz, however, the intensity of those early encounters with Virgil never left him. Even before Les Troyens, the poet's presence is implicitly felt. In describing the Dies Irae of his Requiem, for example, Berlioz says "I hear nothing but cries of terror, rolls of thunder, the sound of worlds crumbling to the clangor tubarum" (that last phrase referring to a passage in the Aeneid depicting a warlike "clamor of trumpets"). Berlioz's frequently recurring references to Virgil speak of a profoundly personal kinship with the poet— as if he were a living friend, indeed a kind of soul mate. "I feel as though I knew Virgil," the composer writes, "I feel as though he knows how much I love him." Nowadays the Aeneid tends to get lumped together with Homer as simply another "epic" from the long-vanished ancient world. Virgil, however, came of age in a century of accel- erating wars and uncertainty, well aware of the fragility of the civilization he was cele- brating. Although he imagined a distant, mythic past, he drew on the pathos of his expe- rience to imbue his characters with a subjective intensity and his poetry with an ambigu- ity that at times seems eerily modern. To Berlioz, this Virgilian pathos disclosed a like-minded sensibility. The composer must have also been inspired by the sheer willpower of the poet's ambition. Virgil worked his way up from the miniatures of his pastoral poetry to the vast fresco of the Aeneid (which he left not quite finished at his death). He designed from the Homeric model but fash- ioned something new, an epic tuned to his personal vision. Berlioz similarly made Les Troyens a repository for every facet of the art he had developed throughout his career. The score is replete with the searing originality that can still startle Berlioz's listeners; at the same time, it is balanced by his masterful sense of form and proportion— a sense that for far too long was distorted by cuts and divisions inflicted on the work. Indeed, the opera's peculiar blend of in-the-moment passions with overarching classical composure—the love duet at the end of Act IV magnificently embodies both— is deeply rooted in the Virgilian aesthetic. The Aeneid continually varies its rhythmic patterns of tension and release, of violence alternating with repose, both in its large-scale organiza- tion and in specific episodes, down to the level of its articulation in meter. In one of his letters, Berlioz muses about his search for a way to shape the musical responses that Virgil's poetry so readily awakened: "What is immensely difficult about it is to find the musical form, that form without which music does not exist, or is no more WEEKS 25/26 Welch & Forbes llc Family wealth management since 1838 Welch & Forbes offers a broad range of financial services to meet the needs of our wealth management clients in a confidential and discreet manner Please contact any one of our portfolio managers for more information Investment Professionals Richard F. Young John H. Emmons, Jr. Theodore E. Ober President Seth Gelsthorpe Adrienne G. Silbermann Peter P. Brown Charles T. Haydock Oliver A. Spalding Pamela R. Chang Alexander S. Macmillan Benjamin J. Williams, Jr Charles P. Curtis Kathleen B. Murphy www.welchforbes . com 45 School Street Boston MA 02108 617-523-1635 BRENTANO STRING QUARTET • FINCKEL • HAN • MIAMI STRING QUARTET • PRESSLER • SERKIN • YANG AND OTHERS 5-July A beautiful, caring community June 2, 2008 offering seniors gracious David Deveau, living, independence and security at an affordable price. SUSAN Artistic Director BAILIS rockport RQCKPORT, MA Call us today! CHAMBER (617)247-1010 ASSISTED LIVING MUSIC 352 Massachusetts Ave. at St. Botolph St. ^ festival WWW.rcmf.org 1 978.546.7391 www.susanbailis.com 34 ffl An early mosaic of the poet Virgil, found at a villa in Tunis, the location of ancient Carthage HPt3H H1 than the downtrodden slave of the word." Berlioz continually rises to the challenge in Les Troyens with a variety of ingenious solutions. They culminate in the overwhelming sequence of emotions of the final act as Dido faces her abandonment. That this is per- haps the most moving passage in the Aeneid only made Berlioz's musical task all the more formidable. The Aeneid famously comprises two halves that encompass the epic worlds of the Odyssey (the Trojans' voyages in Books 1-6) and the Iliad (the series of wars as they claim a new home in Italy in Books 7-12). In refashioning the Aeneid for the operatic stage, Berlioz focuses on the wanderings and the fateful detour in Carthage, drawing on Books 1, 2, and 4. His libretto elaborates some characters— notably Cassandra—who are merely mentioned in Virgil and introduces theatrical strategies drawn from Shakespeare. (Berlioz's extraordinary synthesis of these two tutelary geniuses to create the world of Les Troyens is a richly fascinating topic unto itself.) Yet Berlioz still mirrors the Aeneid's overall structure by dividing Les Troyens into two sep- arate settings, Troy and Carthage. Each contains subtle parallels and cross-references with the other, reinforcing the work's larger unity but also adding new layers of meaning. Thus Cassandra's obsession with the inevitable that deafens her to the pleas of her lover Chorebus has an ironic counterpart when Aeneas abandons Dido to follow his foreor- dained destiny. Moreover, while he doesn't dramatize the Aeneid's second half, Berlioz in fact uses the idea of the arrival in Italy as an especially original unifying musical motif. When we first hear the Trojan March, in conjunction with Cassandra's dire warnings, it suggests the imminent downfall of Troy. Yet its significance changes with each recurrence. By the end, the march's peculiarly memorable harmonic contour— with its hint of French Revolu- tionary fervor— becomes associated not only with the promise of Italy but with the unstoppable momentum of historical change. WEEKS 25/26 . • Berlioz was especially savvy in constructing his libretto around moments that would allow for maximum musical resonance. Several of these are in fact wordless but among the most affecting passages in the opera: the exquisite pathos of the clarinet solo accom- panying Andromache's silent grieving with her son or, best-known of all, the deliriously inventive miniature tone poem of the "Royal Hunt and Storm," in which the orchestra conveys the entire narrative of Dido and Aeneas acknowledging their love for each other. In such moments, Berlioz reminds us that he has no interest in creating a merely decora- tive musical commentary on what is already a complete artwork in itself. A parallel can be found in his treatment of the lovers in his earlier "dramatic symphony" inspired by Romeo and Juliet. In his preface to that work, Berlioz writes that there is something in this love story so sublime that his imagination requires a "freedom which the limiting sense of sung words would never allow." The central pair of lovers, in other words, are not rep- resented by singers (which are used elsewhere in the piece) but by purely instrumental music, employing what Berlioz calls "a language richer, more vivid, less hindered, and, by its very vagueness, more powerful." Berlioz's response to Virgil embraces not just his characters and his dramatic situations but the very essence of his poetry. When he exclaims, "What a great composer Virgil is! What a melodist, what a harmonist!," Berlioz isn't just indulging in metaphorical exuber- ance. This is the aspect of Virgil that is especially difficult to grasp without knowing him in the original Latin. But Virgil as Berlioz knew him was not limited to his content or even to the arresting imagery of his epic similes: the style— indeed the very sounds—with which he expressed all this was at least as significant. In a very real sense, Virgil com- posed the Aeneid, painstakingly working from a prose sketch to work out, line by line, the dactylic hexameter verse that is the poem's real music and that was meant not to be read but to be performed aloud. The idea of the sounds of a poem reinforcing and commenting on their meaning is of course familiar in any language. What's special about Virgil's epic verse is the density of possibilities. The meter involves both stress and quantity, while Latin word order and syntax allow for greater flexibility, with the result that all of these elements can be played off of each other in a brilliant counterpoint of sound and sense. In the postscript to his translation of the Aeneid, Robert Fitzgerald reminds us that Dryden (another famous translator of the text) said Virgil's lines can actually play out in sound what they describe. Fitzgerald then cites an example from Book I: "Intonuere poli, et crebris micat ignibus aether," which he translates "It thundered from all quarters, as it lightened/Flash on flash through heaven." Even Fitzgerald's experienced hand can only hint at the rolling thunder and electric staccato of Virgil's Latin. This stylistic aspect, which was part of Berlioz's profound knowledge of the poet, inspired a whole new level of descriptiveness in his own compositional art. Les Troyens brims with orchestral "special effects" and inventive evocations: the stopped horns for the first appearance of Hector's ghost (and chilling harmonics when he returns in the final act), the growling trombones for the serpents, the serene Mediterranean night music of 36 hHm LAPRISEDETROIE OPERA EN TROIS ACTES HECTOR BERLIOZ MEMBRE DE L'INSTITUTETC Title page from Chouden's piano-vocal score lil i-S'HonorettS.psltanjfc of "La Prise de Troie," published 1863 in Paris Act IV, the lulling surge of the sea in Hylas' song—these are among the more obvious. Berlioz himself enumerated the different kinds of music Virgil inspired: "You can easily enough imagine what the scenes of passion are like, also the love scenes and the depic- tions of nature, whether calm or stormy, but there are scenes too of which you cannot possibly have any conception. Among these is the ensemble in which all the characters and the chorus express their horror and fear as they learn that Laocoon has met his death devoured by snakes, also the finale of the third act and Aeneas' last scene in the fifth." The sound-world Berlioz conjured for Les Troyens seems to be sparked in countlessly inventive ways from his response to Virgil's epic. He launches his mammoth opera liter- ally in medias res— in the middle of things—without an overture, the winds and brass bursting forth in a jaunty (and, it turns out, foolhardy) mood of festivity. The Trojans have come out to celebrate the illusory peace, gathered before the dead Achilles' burial mound. Later they will sound their falsely triumphal march while Cassandra listens in horror. It is a moment of emotional polyphony that shows, in microcosm, Berlioz's perfect attune- ment to the underlying ambiguity of Virgil's epic vision. His great achievement in Les Troyens was to incorporate the master's art and then transpose it to his own medium— "To discover the means of being expressive and true," as Berlioz said, "without ceasing to be a musician." THOMAS MAY writes and lectures about music and theater. WEEKS 25/26 OLIVER WYMAN You need the right musician to play the right instrument. Great businesses, like great orchestras, rely on a team of specialists to definitively solve their most pressing business problems. ^£^ Oliver Wyman is the leading management consulting firm that combines deep industry knowledge with specialized expertise in strategy, operations, risk management, organizational transformation, and leadership development. Collaborative specialization for real impact. www.oliverwyman.com Atlanta Barcelona » Beijing Boston • Calgary Chicago • Cleveland Columbus • Dallas Detroit Dubai • Dusseldorf Frankfurt - Hamburg Hong Kong Houston - Istanbul Leatherhead - Lisbon London Madrid Melville Mexico City Milan Milwaukee > Montreal • Munich - New York Paris Philadelphia Pittsburgh Portland Princeton San Francisco Sao Paulo - Seoul Shanghai " Singapore - Stockholm Sydney Toronto Washington, D.C. Zurich 38 - : -. The OfficialJeweler of the Boston Symphony Orchestra • Wendy Putnam, violinist, wearing a 5- 04 carat sapphire and diamond ring A PERFECT GIFT IS THE RESULT OF A CAREFUL BALANCE BETWEEN EXQUISITE TASTE AND IMPECCABLE TIMING. cggo We Promise exceptional Quality & extraordinary Service at competitive PRICES. .. Boston Flagship Store SHREVE.CRUMP & LOW Chestnut Hill Store corner of Berkeley & Boylston The Gem of Boston Since 1796™ The Mall at Chestnut Hill (800) 225-7088 (866) 965-2700 - VALIDATED PARKING IN BACK BAY GARAGE www.shrevecrumpandlow.com i ' • . JAMES LEVINE, MUSIC DIRECTOR BERNARD HAITINK, CONDUCTOR EMERITUS SEIJI OZAWA, MUSIC DIRECTOR LAUREATE Boston Symphony Orchestra nyth season, 2007-2008 Tuesday, April r. 22, 8pm | the nathan miller family concert Thursday, April 24, 8pm Saturday, r. April 26, 8pm | the deborah and william elfers CONCERT Sunday, May 4, 3pm JAMES LEVINE conducting MARCELLO GIORDANI, TENOR (AENEAS) YVONNE NAEF, MEZZO-SOPRANO (CASSANDRA) DWAYNE CROFT, BARITONE (CHOREBUS) JULIEN ROBBINS, BASS-BARITONE (PRIAM) CLAYTON BRAINERD, BASS-BARITONE (PANTHUS) KATE LINDSEY, MEZZO-SOPRANO (ASCANIUS) JANE BUNNELL, MEZZO-SOPRANO (HECUBA) RONALD NALDI, TENOR (HELENUS) DAVID KRAVITZ, BARITONE (TROJAN SOLDIER) JAMES COURTNEY, BASS-BARITONE (GREEK CAPTAIN) ERIC OWENS, BASS (GHOST OF HECTOR) TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, CONDUCTOR THE APPEARANCES OF THE VOCAL SOLOISTS IN THESE PERFORMANCES OF LES TROYENS ARE SUPPORTED BY THE HELEN AND JOSEF ZIMBLER FUND. THESE PERFORMANCES BY THE TANGLEWOOD FESTIVAL CHORUS ARE SUPPORTED BY THE ALAN J. AND SUZANNE W. DWORSKY FUND FOR VOICE AND CHORUS. ^J<^)j UBS IS PROUD TO SPONSOR THE BSO'S 2007"2008 SEASON. The evening concerts will end about 9:45 and the afternoon concert about 4:45. Steinway and Sons Pianos, selected exclusively for Symphony Hall Special thanks to The Fairmont Copley Plaza and Fairmont Hotels & Resorts, and Commonwealth Worldwide Chauffeured Transportation In consideration of the performers and those around you, cellular phones, pagers, and watch alarms should be switched off during the concert. 40 BOSTON SYMPHONY ORCHESTRA Director 4 James Levine, Music BOSTON 1 27th Season, 2007-2008 SYMPHONY ORCHESTRA LEVINE JAMES j Thursday, April 24, 8pm A \,_ Music yt& JAMES LEVINE conducting Please note that Dwayne Croft is suffering from a severe cold and regrettably can- not sing in tonight's concert. We are fortunate that baritone Richard Zellerwas Croft on short notice as Chorebus in Berlioz's "Les Troyens.' available to replace Mr. HI Richard Zeller One of America's leading baritones,Richard Zeller makes his Boston Symphony Orchestra debut this evening. Highlights of his 2007-08 season include Morales in Carmen at Portland Opera, the title role in/?/go/ettowith New Jersey Opera, and orchestral engagements with the Virginia Symphony and Evansville Philhar- monic. In 2008-09 he will return to Scottish Opera, where he will sing Germont in La trav i at a , subsequently repeating that role (which he has sung frequently) in the United States at Portland Opera. Last season his engagements included Valentin in Gounod's Faust with Port land Opera, covering the title role in Tchaikovsky's Eugene Onegin at the Metropolitan Opera, and performances as Enrico in Donizetti's Lucia di Lammermoor with New Orleans Opera. Recent concert performances have included an opera gala concert with the Johnstown Symphony (PA), Handel's Messiah with Seattle Symphony, Shostakovich's Symphony No. 14 with the Richmond Symphony, Weill's Seven Deadly Sins with the Oregon Symphony, a return to the Richmond Symphony for Brahms's German /?e^u/em,Mendelssohn's Elijah with the Memphis Symphony and Orff's Carmina burana with the Buffalo Philharmonic. Other engagements have W included new Metropolitan Opera productions of Berlioz's Les Troyens (as Chorebus), William Bolcom's/4 View From the Bridge {in the lead role of Eddie), and Bellini's // pirata (with Renee Fleming); the title role in Eugene Onegin with Kentucky Opera, the title role in Verd i's Macbeth with Portland Opera, Sharpless in Madama Butterfly *&H with New Orleans Opera, Mendelssohn's Elijah with the San Diego Symphony > and Wi nter Park Bach Festival, Schumann's /l/lan/>ed with the Seattle Symphony, Beethoven's Missa Solemnis with Donald Runnicles and the Saint Louis Symphony, i Walton's Belshazzar's Feast with Keith Lockhartand the Utah Symphony, Faure's Requiem and Berlioz's Romeo et Juliette with the Cleveland Orchestra, a nationwide "Live From Lincoln Center" telecast of Mozart's Requiem under Gerard Schwarz with the Mostly Mozart Festival, the world premiere of Henri Lazarof's Fifth Sym- phony with the Seattle Symphony, the title role in/?/go/erfowith New York City Opera, Count di Luna in // trovatore with both San Diego Opera and Scottish Opera, Gluck's Alceste at the Deutsche Staatsoper Berlin, and Gluck's Iphigenie en Tauride in Madrid. His recordings include Beethoven's Ninth Symphony for Centaur Records, and Virgil Thomson's Lo rd Byron and AaronCopland's The Tender Land for Koch >. Hi International. Week 25 m mHI loi .4 mwBHHSMm m am (Mm BERLIOZ LES TROYENS, OPERA IN FIVE ACTS! PART I— "THE CAPTURE OF TROY" LIBRETTO BY THE COMPOSER AFTER VIRGIL'S "AENEID' (PERFORMED WITHOUT INTERMISSION) Setting: Troy, at the end of the siege ACT I Site of the abandoned Greek camp on the plains of Troy ACT II First Tableau: A room in Aeneas' palace Second Tableau: Interior of Priam's palace Characters in order of singing: A Trojan Soldier David Kravitz, baritone Cassandra, daughter of Priam Yvonne Naef, mezzo-soprano Chorebus, betrothed to Cassandra Dwayne Croft, baritone Aeneas, a Trojan hero Marcello Giordani, tenor Helenus, son of Priam Ronald Naldi, tenor Ascanius, son of Aeneas Kate Lindsey, mezzo-soprano Hecuba, Queen of Troy Jane Bunnell, mezzo-soprano Panthus, a Trojan priest Clayton Brainerd, bass-baritone Priam, King of Troy Julien Robbins, bass-baritone The Ghost of Hector Eric Owens, bass A Greek Captain James Courtney, bass-baritone Chorus of Trojan people; Trojan soldiers; Greek soldiers Tanglewood Festival Chorus, John Oliver, conductor Denise Masse, musical preparation Julian Kuerti, assistant conductor Supertitles by Christopher Bergen SuperTitle System courtesy of DIGITAL TECH SERVICES, LLC, Portsmouth, VA David Rebhun, supertitles caller Critical score edited by Hugh Macdonald for the New Berlioz Edition Performed by arrangement with Barenreiter, publisher and copyright owner WEEKS 25/26 PROGRAM 41 ^l JAMES LEVINE, MUSIC DIRECTOR BERNARD HAITINK, CONDUCTOR EMERITUS SEIJI OZAWA, MUSIC DIRECTOR LAUREATE Boston Symphony Orchestra n'jth season, 200J-200S Wednesday, April 30, 7:30pm | the mr. and mrs. peter a. brooke CONCERT Friday, May 2, 7:30pm Sunday, May 4, 6:30pm JAMES LEVINE conducting MARCELLO GIORDANI, TENOR (AENEAS) ANNE SOFIE VON OTTER, MEZZO-SOPRANO (DIDO) KWANGCHUL YOUN, BASS (NARBAL) CHRISTIN-MARIE HILL, MEZZO-SOPRANO (ANNA) KATE LINDSEY, MEZZO-SOPRANO (ASCANIUS) ERIC CUTLER, TENOR (IOPAS) PHILIPPE CASTAGNER, TENOR (HYLAS) CLAYTON BRAINERD, BASS-BARITONE (PANTHUS) DAVID KRAVITZ, BARITONE (FIRST TROJAN SENTRY) JAMES COURTNEY, BASS-BARITONE (SECOND TROJAN SENTRY) YVONNE NAEF, MEZZO-SOPRANO (GHOST OF CASSANDRA) DWAYNE CROFT, BARITONE (GHOST OF CHOREBUS) JULIEN ROBBINS, BASS-BARITONE (GHOST OF PRIAM) ERIC OWENS, BASS (MERCURY; GHOST OF HECTOR) TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, CONDUCTOR THE APPEARANCES OF THE VOCAL SOLOISTS IN THESE PERFORMANCES OF LES TROYENS ARE SUPPORTED BY THE HELEN AND JOSEF ZIMBLER FUND. THESE PERFORMANCES BY THE TANGLEWOOD FESTIVAL CHORUS ARE SUPPORTED BY THE ALAN J. AND SUZANNE W. DWORSKY FUND FOR VOICE AND CHORUS. ^_J<^^ UBS IS PROUD TO SPONSOR THE BSO'S 2007-2008 SEASON. The Wednesday and Friday concerts will end about 10:30 and the Sunday concert about 9:30. Steinway and Sons Pianos, selected exclusively for Symphony Hall Special thanks to The Fairmont Copley Plaza and Fairmont Hotels & Resorts, and Commonwealth Worldwide Chauffeured Transportation In consideration of the performers and those around you, cellular phones, pagers, and watch alarms should be switched off during the concert. 42 ftifim BERLIOZ LES TROYENS, OPERA IN FIVE ACTS: PART II— "THE TROJANS AT CARTHAGE" LIBRETTO BY THE COMPOSER AFTER VIRGIL'S "AENEID" Setting: Carthage ACT III A vast hall in the palace of Dido at Carthage ACT IV First Tableau: Royal Hunt and Storm Second Tableau: Dido's gardens by the sea; sunset {INTERMISSION} ACTV $$$» First Tableau: The seashore, covered with Trojan tents; Trojan ships .,'M are visible in the harbor; night Second Tableau: A room in Dido's palace; dawn Third Tableau: Dido's gardens by the sea; a huge pyre, with steps ascending on each side Characters in order of singing: Dido, Queen of Carthage Anne Sofie von Otter, mezzo-soprano Anna, Dido's sister Christin-Marie Hill, mezzo-soprano lopas, a Tyrian poet at Dido's court Eric Cutler, tenor Ascanius, son of Aeneas Kate Lindsey, mezzo-soprano Panthus, a Trojan priest Clayton Brainerd, bass-baritone Narbal, Dido's minister Kwangchul Youn, bass Aeneas, a Trojan hero Marcello Giordani, tenor Mercury Eric Owens, bass Hylas, a young Trojan sailor Philippe Castagner, tenor First Trojan Sentry David Kravitz, baritone Second Trojan Sentry James Courtney, bass-baritone Ghost of Priam Julien Robbins, bass-baritone Ghost of Chorebus Dwayne Croft, bass-baritone Ghost of Cassandra Yvonne Naef, mezzo-soprano Ghost of Hector Eric Owens, bass Chorus of Carthaginians; Trojans; Spirits; Nymphs; Fauns Tanglewood Festival Chorus, John Oliver, conductor Denise Masse, musical preparation Julian Kuerti, assistant conductor Supertitles by Christopher Bergen SuperTitle System courtesy of DIGITAL TECH SERVICES, LLC, Portsmouth, VA David Rebhun, supertitles caller Critical score edited by Hugh Macdonald for the New Berlioz Edition Performed by arrangement with Barenreiter, publisher and copyright owner WEEKS 25/26 PROGRAM (43 From the Music Director I've really been looking forward to this moment for a long time, and now it's here! Even before I arrived in Boston to become music director of the BSO, I found myself thinking a lot about the orchestra's historic longtime association with Berlioz's music. By now, in addition to the BSO's recordings and performances of Berlioz that I've heard with other conductors, I've had the chance to lead the orchestra in Romeo et Juliette, the Symphonie fantastique, the Corsair and Roman Carnival overtures, and La Damnation de Faust (which we also took to Europe last summer); and we have Harold in Italy coming up next season. But Berlioz's amazing, jaw-dropping Les Troyens is something altogether different, an opera on an astonishing scope and scale, and a work that, except for a number of excerpts the BSO has performed here or at Tanglewood, is entirely new to the orchestra's reper- toire. Given the extraordinary opportunities I've had to work on Les Troyens over the years (on stage at the Metropolitan Opera many times, and in several concert performances), and given how much I love it, it's a thrill for me to conduct it here in these final weeks of the season. I'm also very excited that we'll be opening our 2008 Tanglewood season with it, too. Every composer who writes music based on antiquity, myths, or legend necessarily uses musical thought and language of his own time, but coupled with his own particular imag- inings of how best to represent that earlier period (as Ravel did, for example, with the ancient Greek milieu of Daphnis et Chloe). This reaches its most extraordinary incarnation in Les Troyens, a conception beyond any other single epic work by any other composer I can think of, and in which Berlioz's uniquely individual responses to matters of form, dramaturgy, musical expression, and instrumentation (e.g., his use of specific instru- ments and instrumental combinations to suggest the sound of an ancient world) are nothing short of incredible. Les Troyens was never performed complete in Berlioz's lifetime; in fact, Part I only had its first performances ten years after his death. Since we know that Berlioz ultimately had to 44 settle, during his lifetime, for performances of just Part II (and even then with cuts!), one of the things about Les Troyens' history that remains so very moving for me is his own belief that there should have been no practical problems to keep it off the stage. He him- self projected timings for each act that, combined with the Paris Opera's usual four fif- teen-minute intermissions, suggested to him what should have been a relatively normal and manageable evening. This may have been ingenuous on his part: in 1867, two years before Berlioz died, Verdi's Don Carlos had to be cut by more than half an hour (to 3-1/2 hours), so that Paris Opera audiences wouldn't miss the last train! But still it suggests how much faith Berlioz had in the practicality of his operatic masterpiece. Unfortunately for him, and entirely apart from questions of practicality, there was just too much about Les Troyens, both musically and dramatically, that people were not used to. For example, the formal structure, based in a series of tableaux rather than real action, and arguably Classic to a fault, contrasts so strongly with the opera's Romantic and post-Romantic musical language that people thought he was crazy. As a result, it took a very long time for Berlioz's great achievement to gain recognition and acceptance, meaning that it found its way to a broad audience only very, very slowly. m Bostonians know how important this city is to the history of Les Troyens in the United States. Sarah Caldwell gave the first complete American stage performances with her Opera Company of Boston in 1972. And even before that, also in Boston, Boris Goldovsky and his New England Opera Theater gave the first-ever stage performance in America— in an abbreviated English-language version— in 1955. Here at Symphony Hall, giving per- formances of Parts I and II separately over the course of two weeks lets us digest the details of each before we finish with complete performances of both parts in a single day, on Sunday, May 4. And concert performances of Les Troyens (rather than seeing it in the opera house) provide the special benefits of allowing our imaginations to take flight in a way that most stagings could never match (for example, could the Trojan Horse ever be as convincing on a stage as we can make it in our own minds?), and reminding us of the extraordinary imagination and genius of Berlioz's conception and music on their own. The scope of Berlioz's achievement is evident even in the dramatis personae. There are only a few large roles, and many smaller ones. Only three of the roles are truly large- Aeneas, who appears in Parts I and II; Cassandra, the Trojan prophetess who is both blessed and cursed (blessed because she can foretell the future, cursed because nobody believes her), who appears only in Part I; and Dido, Queen of Carthage, who appears only in Part II. Then there are a number of characters whose presence is significant over large spans, or because they have particularly striking moments of their own— Chorebus in Part I; Anna, Narbal, lopas, and Hylas in Part II; and Aeneas' son Ascanius in both parts. But it's also through the many other small roles that we truly come to realize the scope of Berlioz's conception, how he's managed to take something so large as Virgil's Aeneid and use its inspiration to create his own equally epic drama, finding one extraor- dinary idea after another to produce a work that, from beginning to end, remains as convincing as it is immense. For example, Aeneas in Part II is reminded of his destiny— WEEKS 25/26 FROM THE MUSIC DIRECTOR . really the main subject of the whole opera— by the god Mercury and the ghosts of Priam, Chorebus, Cassandra, and Hector, a theatrical device comparable to the use of ghosts in Shakespeare (another literary figure whom Berlioz idolized). It's no wonder that Berlioz felt he had to write his own librettos (as did his fellow innovators Wagner and Schoen- berg). In order to do something entirely new, he had to write his own text— such an important part of the equation— because he was the one who knew what he wanted to do with it! (The collaborations between Verdi and Bo'ito, and between Mozart and Da Ponte, on the other hand, represent another successful way of creating great opera.) The stories of Aeneas, Cassandra, and Dido progress, as one might anticipate, through recitatives, arias, and ensembles. But there are also instances when time seems to stop, as Berlioz amplifies the emotion of a given moment—for example, in the stupendous ensemble following Aeneas' initial appearance, when he recounts the horror of Laocoon's death; or in the great "Nuit d'ivresse" love duet for Dido and Aeneas at the end of Act IV, or in Aeneas' and Dido's great solo arias in Act V The writing for the chorus, whose presence is so important in providing an epic backdrop, is astonishing—another element of the piece that simultaneously adds many aspects of unity and variety to the work— whether they represent the Trojans pulling the Wooden Horse into their city, the Trojan women committing suicide with Cassandra rather than submit to the invading Greek army, the Carthaginians hailing their queen at the start of Part II, or Aeneas' men leaving Carthage for Italy, to pursue their destiny. Given how big, varied, amazing, and detailed Les Troyens is, let me mention just a couple more things among many worth pointing out— e.g., Berlioz's extraordinary and frequent use of 6/8 time, a strongly unifying rhythmic factor that informs so much of the score, in many different tempi, again allowing for a great deal of variety (Brahms is the other com- poser one must think of who so well understands the possibilities for both duple and triple implications in this context); the vastness and variety of the opera's overall panora- ma, which includes pantomimes and ballets as well as arias, ensembles, and choruses; the depth of the characterizations, which shows us Aeneas and Dido torn between their public and private roles (hero and queen, respectively, vs. their love for each other); and the way Berlioz uses some of his favorite, "speaking-voice-range" instrumental timbres (like clarinet, English horn, and viola) to produce a strongly expressive vocal quality in the orchestral writing. Les Troyens is one of the most amazing works ever created by anyone, so any chance to experience it is special. I hope these relatively few words give you at least some sense of why I've been looking forward to these concerts so much. This should be an extraordi- nary time for all of us. }VZ_ 46 ' 8 r3f5B '*-. SYNOPSIS OF SCENES PART I: "LA PRISE DE TROIE" ("The Capture of Troy") ACT I Mmm Site of the abandoned Greek camp on the plains of Troy After ten years of siege by the Greeks, the Trojans rejoice at the prospect of peace. They marvel at the gigantic wooden horse the Greeks left behind as an offering to Pallas Athena. King Priam's daughter Cassandra, a prophetess, looks for the significance behind the mm Greeks' disappearance. In a moment of revelation, she saw her brother Hector's ghost m on the ramparts and has tried unsuccessfully to warn her father and Chorebus, her fiance, of further calamities. When Chorebus begs her to join the celebrations, she urges him to flee the city, because she foresees death for both of them. The Trojans offer thanks to the gods with the sacred objects of Troy. A somber note is introduced when Andromache, Hector's widow, brings her son Astyanax to King Priam (KH and Queen Hecuba. Aeneas arrives and reports that the priest Laocoon, suspecting the wooden horse to be some kind of trick, threw his spear at it and urged the crowd to set fire to it, whereupon two sea serpents devoured him and his two sons. Aeneas proposes they make amends to Athena by bringing the horse into the city as a holy object. As the Trojan march sounds in the distance and the horse is hauled closer, Cassandra realizes it bears disaster. ACT II First Tableau: A room in Aeneas' palace Aeneas is visited by the ghost of Hector, who tells him to escape, since his destiny is to found an empire that someday will rule the world. As the ghost disappears, Aeneas' friend Panthus rushes in to report on the Greek soldiers who emerged from the horse and are devastating Troy. Aeneas hastens to lead the defense forces. Second Tableau: Interior of Priam's palace Trojan women pray for deliverance from the invaders. Cassandra foretells that Aeneas and some of the Trojans will escape to Italy to build Rome— a new Troy. Chorebus is dead, and Cassandra prepares for her own death, asking the women whether they will submit to rape and enslavement. Some are afraid of death; driving these away, the others make a vow to die free. Greek soldiers, entering in search of Trojan treasure, are aghast at the sight of the women's mass suicide. Aeneas and his men escape with the treasures of Troy. PART II: "LES TROYENS A CARTHAGE" ("The Trojans at Carthage") ACT III A vast hall in the palace of Dido at Carthage Dido, Queen of Carthage, greets her subjects who hail her with an anthem. She reminds them that in only seven years, since they had to flee from Tyre, they have built a flourish- I WEEKS 25/26 SYNOPSIS OF SCENES , 47 JEFFREY RINK ARTISTIC DIRECTOR SUNDAY, JUNE 1 AT 3 PM NEC'S JORDAN HALL Jeffrey Rink, Conductor Victoria Livengood as Carmen Adam Klein as Don Jose Mr 4. Robert Honeysucker as Escamillo Noune Karapetian as Micaela '4pti With full orchestra I Concert performance in French with projected \J translation.translation, Sponsoredbponsorea by ConcertLoncert Operaupera Boston.boston. Tickets: www.choruspromusica.org or 800.658.4276^ The Passion of a Beautiful Symphony and the Fine Art of Furniture... Enhance the Quality of Life. We are Proud to Support the Boston symphony Orchestra. Stickley, Audi&Co. Collector Quality Furniture Since 1900 Natick.MA 508.647.0173 www.stickleyaudi.com 48 ' , « ,* Cn.it Jk W a V la**~lsj*H.i cci i\.isiii Jcll-.. mm m iUi -L/UtlfL- rEmSa jbiaOH. , tntc judi . Ccltux "it. /L<*) A*m£~ 3 IVX&ic ct 2 tit/Tit /h/lHtc » y :;iu.L- LCL*ui^ •CftU.1l it.) CJtMt-. JtuAAtA-A, Vl edition. 4* 'it. OA. uut.~fl'iU >-ULtt~^ft- Tu>ctull&~ tutl'jc , i h ( .'' f. -tlLLt- ing new kingdom. Her sister, Anna, assures Dido, who is a widow, that one day she will be able to love again. When lopas, the court poet, announces visitors who have narrowly escaped shipwreck in a recent storm, Dido welcomes them. They are the remnants of the Trojan army, asking a few days' hospitality en route to Italy and offering Dido what is left of their treasure. When word reaches Dido that the Numidian ruler, larbas, is about to attack Carthage because she refused his offer of marriage, Aeneas steps from among the sailors' ranks, identifies himself, and offers to fight alongside the pacifistic Carthaginians. Dido accepts, and Aeneas rallies his forces to repel the invader, entrusting his son, Ascanius, to the queen's care. ACT IV First Tableau: Royal Hunt and Storm (Orchestral Interlude) The war rages in another part of Africa. Aeneas returns victorious to Carthage. A storm breaks, and Dido and Aeneas seek shelter in a cave. They discover their passions for each other. Second Tableau: Dido's gardens by the sea; sunset Several months have passed and evening has fallen in Dido's palace. Anna asks Narbal, WEEKS 25/26 SYNOPSIS OF SCENES 49 . a/^6/z^ VNA Private Care fr/i£6ae/ice. Visiting Nurse Association of Boston & Affiliates ^/%^/^a^^6fr/^ t Your peace of mind is our goal. At VNA Private Care, Greater Boston's most respected name in home care, you are the center of care. Each of our carefully screened, trained, and bonded caregivers is supervised by an experienced registered nurse. Ask about our new \ Cultural Arts Companion service. Bringing quality care home 24 hours a day seven days a we 44 Washington Street, Suite 100 VNA Private Care WeUesley Hills, MA Visiting nurse association (781) 431-1484 of boston & Affiliates www.vnaprivatecare.com Greater Boston's most trusted care at home, since 1886 50 the queen's adviser, why he seems worried, now that the Numidians have been defeated. He replies that since Dido fell in love with Aeneas, she has been neglecting her duties, and that Aeneas' destiny is to go on to Italy— no good can come of the romance. Narbal is afraid that in extending hospitality to the strangers, Carthage has invited its own doom. Dido enters with Aeneas and her court. She provides entertainment for him. She asks him to tell her more about Troy's last days. When he says that Andromache, Hector's widow, at length succumbed to love and married Pyrrhus, one of the enemy, Dido sees a parallel to her own situation. She and Aeneas rhapsodize about their love, but they are interrupted when the god Mercury reminds Aeneas of his duty and destination— Italy. ACTV First Tableau: The seashore, covered with Trojan tents; Trojan ships are visible in the harbor; night In the Trojan camp with their ships moored near at hand, Hylas, a young sailor, expresses mri his longing for home in a ballad and falls asleep. Panthus tells other Trojan soldiers their delay is burdensome: daily omens and apparitions remind them of the gods' and the dead Hector's impatience with their failure to move on. Determined to leave the next day, they retire to their tents as two sentries pass, making way for Aeneas, who struggles to banish misgivings and do what he must. As he resolves to see Dido one more time, the ghosts of Priam, Hector, Chorebus, and Cassandra appear, pressing their demands. Forced to give up Dido, Aeneas wakens the Trojans and tells them to set sail before sun- rise. Dido finds him planning to depart, however, and rages at his desertion. Though he protests that he loves her, she curses him. As she rages, the distraught Aeneas boards his vessel. Second Tableau: A room in Dido's palace; dawn As dawn breaks, the queen asks her sister to go to Aeneas. She will try to persuade him to stay a few more days, but the Trojan ships are sighted already on their way out to sea. Dido laments that she did not foresee Aeneas' treachery and burn his fleet. Instead, she will burn his gifts and trophies; she orders a pyre built. Third Tableau (Ritual for the Dead): Dido's gardens by the sea; a huge pyre, with steps ascending on each side A pyre has been set up, with relics of Aeneas. Priests pray for the peace of Dido's heart, while Anna and Narbal curse Aeneas' venture to Italy. Dido predicts that her fate will be remembered, along with Aeneas' infamy: a future Carthaginian general, Hannibal, will avenge her against Italy one day. Seizing Aeneas' sword, she stabs herself. With her dying breath, Dido tells the shocked bystanders that fate is against Carthage: it will be destroyed, and Rome will rule eternal. Turning their backs on a vision of the Roman Capi- tol, the survivors pronounce undying hatred on Aeneas and his descendants. Courtesy of Opera News I WEEKS 25/26 SYNOPSIS OF SCENES 51 5 At The Fairmont Copley Plaza, we appreciate all our guests' preferences. In a city renowned for its passionate embrace of the arts, there is a hotel that sits at its center. The Fairmont Copley Plaza is honored to be the Official Hotel of two of the world's greatest orchestras, the Boston Symphony and the Boston Pops. For reservations or more information, call 1 800 441 1414 or visit www.fairmont.com mm Hector Berlioz 1 ' . "Les Troyens," Opera in Five Acts HECTOR BERLIOZ WAS BORN AT LA COTE-ST.-ANDRE, ISERE, FRANCE, ON DECEMBER 11, 1803, AND DIED IN PARIS ON MARCH 8, 1869. HE COMPOSED "LES TROYENS" (TO HIS OWN LIBRETTO, INSPIRED BY BOOKS 1, 2, AND 4 OF VIRGIL'S "AENEID") BETWEEN APRIL 1856 AND APRIL 1858, WITH REVISIONS CONTINUING UNTIL l86l. GIVEN THE INSURMOUNTABLE DIFFICULTIES FACED IN HIS EFFORTS TO PRO- DUCE THE OPERA COMPLETE, HE HAD TO SETTLE DURING HIS LIFETIME FOR A VERSION OF JUST THE LAST THREE ACTS (THE OPERA'S PART II), STAGED UNDER THE TITLE "LES TROYENS A CARTHAGE" (WITH A NEWLY ADDED PROLOGUE RECOUNTING THE EVENTS OF PART I) AT THE THEATRE-LYRIQUE IN PARIS ON NOVEMBER 4, 1863, WITH ADOLPHE DELOFFRE CONDUCTING. "LA PRISE DE TROIE" (THE COMPLETE OPERA'S PART I) WAS FIRST PERFORMED ON DECEMBER 7, 1879, IN PARIS AS A CONCERT WORK, TEN YEARS AFTER THE COMPOSER'S DEATH, IN TWO PERFORMANCES ON THAT SAME DATE, UNDER EDOUARD COLONNE AT THE THEATRE DU CHATELET (IN ONE OF HIS CONCERTS COLONNE) AND UNDER ERNEST REYER AT THE CIRQUE D'HIVER (IN THE CONCERTS PASDELOUP). THE FIRST STAGED PERFORMANCE OF THE COMPLETE OPERA (BUT WITH CUTS, AND IN GERMAN) WAS GIVEN IN TWO EVENINGS IN KARLSRUHE, GERMANY, ON DECEMBER 6 AND 7, 189O, WITH FELIX MOTTL CONDUCTING. THE FIRST NEARLY COMPLETE STAGING OF "LES TROYENS" IN MODERN TIMES (BUT SUNG IN ENGLISH) WAS CONDUCTED BY RAFAEL KUBELIK WITH THE ROYAL OPERA, COVENT GARDEN, IN LONDON, IN 1957. THE FIRST ENTIRELY COMPLETE STAGE PERFORMANCE WAS GIVEN — IN ENGLISH — BY SCOTTISH OPERA, AT THE KING'S THEATRE IN GLASGOW, ON MAY 3, 1969, TO MARK THE CENTENARY OF BERLIOZ'S DEATH, WITH ALEXANDER GIBSON CONDUCTING. THE FIRST ENTIRELY COMPLETE STAGE PERFORMANCE IN FRENCH WAS GIVEN BY THE ROYAL OPERA, COVENT GARDEN, LATER THAT SAME YEAR, ON SEPTEMBER 17, 1969, LED BY COLIN DAVIS (WHO HAD ALREADY GIVEN THE FIRST UNCUT CONCERT PERFORMANCE, SUNG IN ENGLISH, THE YEAR BEFORE, ON SEPTEMBER 1, 1968, WITH THE LONDON SYMPHONY ORCHESTRA AT THE ROYAL ALBERT HALL). FURTHER DETAILS OF THE OPERA'S PERFORMANCE HISTORY ARE GIVEN STARTING ON PAGE 66, FOLLOWING THE PROGRAM NOTE. IN ADDITION TO THE VOCAL SOLOISTS AND CHORUS, "LES TROYENS" CALLS FOR AN ORCHESTRA OF TWO FLUTES AND PICCOLO, TWO OBOES AND ENGLISH HORN, TWO CLARINETS AND BASS CLARINET, FOUR BASSOONS, FOUR HORNS, TWO TRUMPETS, TWO CORNETS, THREE TROMBONES, TUBA, TRIANGLE, BASS DRUM, CYMBALS, TENOR DRUM, PROVENCAL DRUM, ANTIQUE CYMBALS, TAM-TAM, TIMPANI, SIX OR EIGHT HARPS, AND STRINGS. THE STAGE BAND REQUIRES THREE OBOES, THREE TROMBONES, NINE SAXHORNS, TIMPANI, CYMBALS, THUNDER MACHINE, ANTIQUE SISTRA (A SISTRUM BEING A LYRE- SHAPED INSTRUMENT, OF EGYPTIAN ORIGIN, HELD IN ONE HAND), TARBUKA (A GOBLET-SHAPED, NORTH AFRICAN OR EGYPTIAN DRUM), AND TAM-TAM. WEEKS 25/26 PROGRAM NOTES 53 INVESTING »t PLAY MONEY ^^wfraa IT'S NOT A GAME TO US Derby and Company Investment, Trust & Retirement Services 7 Wells Ave • Newton, Ma 02459 Tel: 617.527.8900 • derbyandcompany.com to m 100 NEWBURY COURT CONCORD, MA 01742 978.369.5155 WWW.NEWBURYCOURT.ORG DEACONESS AbundantintLJ^ 54 m&>, 38r Q^ BERLIOZ AND LES TROYENS Berlioz, the outstanding musical figure among French Romantics, was a pioneer in Parisian music in the 1830s, offering the public a series of brilliant vocal and orchestral works, •''' and wielding a sharp pen as music critic of the Journal des debats. Within twenty years his standing had fallen sadly to the point where he no longer had the courage or the resources to give concerts in Paris, knowing that the public and the press would barely notice if they happened or not. The composition of The Trojans in the years 1856 to 1858 l was an act of desperate bravado as far as the public was concerned, but from his personal iJti point of view it was the repayment of a lifelong debt. The subject of the opera had been with him since childhood. When, in London in 1848, he first drafted his Memoirs, he recalled his early passion for Virgil and the emotional cri- sis caused by his father's reading of that part of Book IV of the Aeneid which tells of the death of Dido. "Virgil," he says, "was the first to find a way to my heart and to enflame •4TO my growing imagination." We may well suppose that the idea of The Trojans was fer- menting slowly in his mind from the beginning, and that when its time was ripe he set all else aside to compose it. On the eve of his second marriage, in October 1854, Berlioz completed (as he thought) his Memoirs and there confessed to an idea for a vast opera: "The subject strikes me as grand, magnificent and profoundly moving, which proves beyond a doubt that Parisians would find it insipid and boring." He reported that the idea had been tormenting him for three years, years that had been almost barren of music; discouraged by indifference at home and increasingly in demand as a conductor abroad, Berlioz had begun to see com- position as a luxury he could not afford. With the greatest difficulty his friends persuaded him to expand his little sacred scene La Fuite en Egypte ("The Flight into Egypt") into the larger trilogy L'Enfance du Christ, and the success of this in turn persuaded him that he might after all allow himself to begin the Virgilian drama he had long dreamed of. Liszt's mistress, the Princess Caroline Sayn-Wittgenstein, a woman of formidable intellect and artistic ambition on others' behalf, using language that admitted no refusal, urged Berlioz to set to work. Knowing full well that if he composed the opera it would cause him noth- ing but suffering, and that it would be misunderstood and imperfectly performed (if it were performed at all), he yielded. In April 1856 he drafted the libretto in rhymed, slightly archaic, French verse, and then composed the five acts one by one. The question of an overture he left aside for the time being, but eventually decided not to write one, pleased with the dramatic impact of an agitated wind accompaniment as the curtain rises to the sound of the Trojans' hollow rejoicing. For the finale of this first act he composed the grand, multi-layered Marche troyenne which accompanies the procession as the Wooden Horse is dragged into the city of Troy. The whole opera was completed in April 1858, in just under two years, although Berlioz still had many changes to make while he lobbied theater directors and even the Emperor himself in a vain dream of having the work played at the only theater in Paris capable of I WEEKS 25/26 PROGRAM NOTES 55 SSICAL [^BOSTON -^Anniversary \ v Relax with Boston's Classical Station wcrb.com SS9 NEWTON WELLESLEY D MASSACHUSETTS mp HOSPITAL K9 GENERAL HOSPITAL The Jim & Ellen Kaplan Center for Joint Reconstruction Surgery fP| M. Steinert & Sons ©YOUR LEXUS DEALER. PURSUING PERFECTION. Steinway & otherpianos ofdistinction 56 mounting it properly, the Opera. He had composed it with their resources in mind. It was a bitter pill to swallow when Wagner's Tannhauser was staged at the Opera at the Emperor's command, while Les Troyens was passed over. No expense was spared, yet Tannhauser was a noisy failure, and Wagner left Paris muttering venomous curses against the French. After much prevarication it became clear that the Opera would never stage Les Troyens, so Berlioz accepted an offer from a smaller, more adventurous management, the Theatre-Lyrique, where for a while he believed it might be worthily staged. But oppor- tunism and the usual shortage of funds soon brought the manager to Berlioz's door with excuses and apologies. Under the title Les Troyens a Carthage only the last three of the five acts were staged, and for these the orchestration had to be reduced. The first two acts, dealing with the fall of Troy, were published separately as La Prise de Troie. The trun- cated work was performed twenty-two times in the autumn of 1863. The public was impressed, not thrilled, and Berlioz himself became embittered by the cuts which seemed to reduce his work progressively until only shreds of the original were left. Of La Prise de Troie—the first two acts of the opera— Berlioz never heard more than a single scene. For the remaining years of his life he became yet further estranged from Parisian musical life, preferring the company of his friends and his favorite authors, Shakespeare above all. La Prise de Troie was first performed in 1879 as a concert work, when two rival Paris con- ductors, Pasdeloup and Colonne, gave it in two concerts simultaneously. Attempts to stage parts of the work were sporadic, and for nearly a hundred years the opera was uni- versally regarded as more or less unperformable, the monstrous legacy of an eccentric and uneven composer, only to be appreciated by fanatics. Even critics who were thor- oughly familiar with Wagner's works kept insisting that Les Troyens was too long for human endurance. Since the historic revival of Les Troyens at Covent Garden, London, in 1957 under Rafael Kubelik, this sorry history has changed into a story of majestic suc- cess. The first publication of the full score on the centenary of the composer's death in 1969, and the broadening recognition that the work not only stands at the summit of Berlioz's career but also belongs to the repertory of mighty masterpieces like Tristan und ",'l WEEKS 25/26 PROGRAM NOTES 57 THIS MONTH Music at the Gardner WORLD-CLASS CONCERTS IN AN INTIMATE SETTING April 13, 1:30pm April 27, 1:30pm Paavali Jumppanen, piano Katherine Chi, piano The Complete Beethoven Piano Sonatas, Beethoven & Schnabel Part VI May 4, 1:30pm April 20, 1:30pm Beth Guterman, viola Musicians from Marlboro Schubert, Hindemith, Brahms & Paganini Mozart, Britten & Dvorak Concerts every Sunday at 1:30pm Complete schedule at www.gardnermuseum.org ISABELIA *i s-ewart Gardner. BOX OFFICE 617 278 5156 MUSEUM 280 THE FENWAY, BOSTON Photographs by Ciive Grainger, 2006. • fflfK Isolde and Otello, has given a new perspective to all Berlioz's music and vindicated his own desperate faith in it. BERLIOZ AND THE TRADITION OF FRENCH OPERA mW TJUffl Les Troyens was always intended to take its due place in an established tradition Berlioz held in high honor, that of French classical opera and its more recent manifestation, French grand opera. For Berlioz the finest of all models was Gluck. Only Beethoven, in Berlioz's 4m view, approached the stature of Gluck, and then only in a different sphere of expression. '•: *m Gluck's capacity for passionate feeling within a classically restrained language stirred Berlioz deeply, and his devotion never wavered. It is reflected in many pages of Les Troyens where Virgil's world is evoked in serene yet heartfelt accents. Cassandra's opening aria ("Malheureux roil") and Chorebus' invocation of the beauties of nature ("Mais le del et la ferre"), both in the first scene of Act I, are good examples of this echo of Gluck's world. Berlioz kept repeating that he felt Gluck, Virgil, and Shakespeare would understand him if only they were alive to see his work, as if he had an intuition of mutual admiration. Gluck's mantle passed to Spontini, whose operas La Vestale and Fernand Cortez Berlioz greatly admired. He admired Meyerbeer too, although he was ultimately repelled by the falsity of grand opera. Like most French operas, Les Troyens has much for the chorus and the ballet. There are spectacular scenes that require elaborate stagecraft and lighting. The processions, the temple scenes, and the splendor of Priam's and Dido's courts all belong to a revered French tradition which presupposes impressive decor, costumes, and action grandly conceived. Yet Berlioz was not primarily a visual composer and seems sometimes to speak as much to the imagination as to the eye. In the case of the Wooden Horse, there is evidence that Berlioz felt that no stage could do it justice, for although he clearly planned the processional scene to reach its climax with the entrance of the horse, in the end his instructions keep the horse offstage while the chorus report what is going on. No modern production, needless to say, can resist the staging of such a machine, but in a concert performance Berlioz's belief that the mind's eye can see everything it needs to see (if the music is functioning properly) will surely be shown to be correct. The "Royal Hunt and Storm" that precedes Act IV was intended to be accompanied by vivid stage action, with hunters on horseback, cascading waterfalls, and the crash of thunder and lightning. So clumsy was the attempt made in 1863 to stage this piece that it was immedately cut from the production, and since that time it has often been played in front of a lowered curtain. The music scarcely needs the enactment of all that; if we know what the music portrays, our closed eyes will surely see something of what Berlioz had in mind, although whether our own imagination can ever fully match his is to be doubted. Time and again in his correspondence and writings Berlioz emphasized the "expressive veracity" of his score, and no sensitive ear can fail to respond to it. One feature of current practice at the Opera that appealed to Berlioz greatly was the expanded role of offstage bands. In 1847, when Verdi adapted his / lombardi for the Paris Opera as Jerusalem, the theater engaged Adolphe Sax to provide a group of twelve brass players and some percussion to play offstage. Sax paid court to Meyerbeer, who then WEEKS 25/26 PROGRAM NOTES INAUGURAL RELEASES BOSTON MODERN ORCHESTRA PROJECT GIL ROSE NOW AVAILABLE JOHN HARBISON ULYSSES [1001] MICHAEL GANDOLFI Y2K COMPLIANT [1002] COMPLETE BALLET POINTS OF DEPARTURE THEMES FROM A MIDSUMMER NIGHT Available in stores and online at bmopsound.org. RELEASES AVAILABLE FOR PRE-ORDER MAY LEEHYLA LIVES OF THE SAINTS [1003] AT SUMA BEACH Mary Nessinger, mezzo-soprano JUNE GUNTHERSCHULLER JOURNEY INTO JAZZ [1004] CONCERTINO I VARIANTS Gunther Schuller, narrator JULY CHARLES FUSSELL WILDE [1005] SYMPHONY FOR BARITONE AND ORCHESTRA HIGH BRIDGE PRELUDE Sanford Sylvan, baritone Order all five inaugural releases and receive the BMOP concert price (10% discount). Call 617.363.0396 to take advantage of this special offer. BMOP/sound. the label of the acclaimed Boston Modern Orchestra Project, explores the evolution of the music formerly known as classical. Its eclectic catalog offers both rediscovered classics of the 20th Century and the music of today's most influential and innovative composers. BMOP/sound gives adventurous listeners a singular opportunity to explore the music that is defining this generation and the next. Gil I BMOP/sound Rose, Executive Producer I 617.363.0396 bmopsound.org 6o 91 '•"'«v LES TROYENS '''- A CARTHAGE '. HECTOR BERLIOZ KKMBRBDE li'lH! TITO confor Title page from Chouden's piano- r CWOUDBHS F.M rS'lloiiore,265,|KR Ifcsmplwi vocal score of "Les Troyens a Carthage," published 1863 in Paris 9B put no less that twenty-two brass players in full view on stage in his Le Prophete in 1849. Most of these musicians played saxhorns, the family of brass patented by Sax and des- tined to find a permanent home in brass bands and as "Wagner tubas," and it was the same saxhorns that Berlioz employed, in somewhat reduced numbers, in Les Troyens. The finale of Act I, as the procession is heard in the distance approaching with the Wooden Horse, is built on three groups at different distances from the stage, made up of conven- tional brass, saxhorns, oboes, and harps, a total of over twenty musicians. MUSIC AND DRAMA IN "LES TROYENS" All of Berlioz's symphonies call for offstage instruments, and his scores often specify which instruments are on the right and which on the left. His essay on the art of con- ducting is full of instructions about the proper platform arrangement for orchestras, and— most famously— his Requiem calls for four extra brass brands at the four corners of the main orchestra. He had always been absorbed by the spatial dimension of music, so it was natural for him in his grandest opera to recreate in the theater the cities of Troy and Carthage and the vast plains that surround them. Space, in the geographical sense, is one of the opera's themes, for, like Virgil, Berlioz has the whole Mediterranean as his theater. The two locations of the action, Troy and Carth- age, are merely preliminary to the ultimate destiny of the Trojan people as citizens of Imperial Rome. The Trojans, les Troyens, are indeed at the center of an epic story in which Priam, Cassandra, even Dido, are merely incidental figures. The cry of "Itolie!" is heard on the lips of Cassandra and the Trojan women as they immolate themselves at the end of Act II, again from Mercury at the end of Act IV, and finally from Aeneas himself as he summons his men for their final journey that takes them away from Carthage. Time, too, WEEKS 25/26 PROGRAM NOTES / 6l ! , is extended on an epic scale. The first words we hear, "Apres dix ans," remind us of the long toil of the Trojan War. Thereafter there is the constant sense of a destiny that will call Aeneas to flee from Troy and build a new city in Italy. Hector's ghost (in Act II) and the ghosts of Priam, Cassandra, Chorebus, and Hector (in Act V) are reminders of the role of fotum in shaping the future. The close of the opera, as Dido mounts her funeral pyre, gave Berlioz much trouble, since he felt committed to Virgil's sense of Imperial des- tiny. He even at one stage contemplated a reference to France's colonies in North Africa. He then had Dido invoke the name of Hannibal as the Carthaginian who would one day take revenge on the Romans for Aeneas' desertion. The final scene was a vision of Scipio, Caesar, Augustus, Virgil, and a train of artists and Roman legions filing past Clio, the Muse of History, in front of the Capitol in Rome. Eventually Berlioz replaced this with a shorter ending, with the Carthaginians hurling a furious imprecation against the Romans as the Marche troyenne rings out gloriously in the orchestra as a symbol of Rome, the new Troy. Berlioz invoked Shakespeare as in some sense the co-author, with Virgil, of his epic opera. This is most literally the case in the love duet at the end of Act IV, whose verses are based on the exchanges of Jessica and Lorenzo in The Merchant of Venice, "In such a ." night as this. . . The appearance of ghosts is clearly derived from Hamlet, Macbeth, and the history plays. Quite consciously aping Shakespeare's blend of comic and tragic, Berlioz introduced two sentinels in the last act who exchange chat about their girlfriends and grumble about the unpredictable ways of their superiors. OPERA BOSTON New subscriptions will be available soon! Weber Der Freischiitz / October 17, 19,21 Shostakovich The Nose / February 27, March I & 3 Smetana The Bartered Bride /May 1,3,5 All performances conducted by Music Director Gil Rose Call 6 1 7-45 I -9944 to make a reservation or to request a brochure www.operaboston.org/0809season 62 Wi . . : -'• m I XE Original design by Philippe Chaperon for the throne room of Dido's palace in the original 1863 production of "Les Troyens a Carthage" at the Theatre-Lyrique In a more general sense, Berlioz would claim that the supremacy of feeling in many scenes is a reflection of his passion for Shakespeare. Aeneas and Dido both have great mono- logues in Act V that could be classed as profoundly Shakespearean, Aeneas in a state of Hamlet-like indecision, Dido in a storm of self-destructive agony. One of the most touch- ing scenes is the appearance in Act I of Andromache, Hector's widow, with her son Astyanax. Neither of them sings, yet there is no more moving music of mourning than this. Berlioz knew instinctively that for the most heartrending scenes he could do more with instruments than with voices. The symbolism of Andromache's silence and the fact of great emotion being bestowed on an instrument (the clarinet) confirm Berlioz's faith in wordless music, as if Les Troyens still upheld the symphonic ideals of Romeo et Juliette, whose love scene is similarly expressed by instruments alone. Intense feeling is more literally personal in the character of Hylas, the young Trojan sailor, whose nostalgic song opens Act V. Berlioz was thinking of his son Louis, then just begin- ning a career in the navy and always far from home. The heaving sea (in the cellos) and the sailor's poignant melody are timeless reminders of incurable yearning. Other second- ary characters are stikingly vivid. Ascanius, Aeneas' son, escapes from Troy with his father, but he is still not old enough to fight. He is entrusted to Dido in one of Berlioz's most moving passages. Anna, Dido's sister, is touchingly portrayed as sympathetic to the queen's distress but too shallow to see beyond the excitement of falling in love. Narbal, Dido's minister, is pessimistic, seeing too clearly that no good can come of the visitors' prolonged stay in Carthage, but sorrowful, not bitter, when the worst happens, lopas, the court poet, sings an enchanting pastoral idyll. It has often been observed that the cities of Troy and Carthage each drew from Berlioz a separate musical tone or mood, what Verdi would have called a tinta. The Trojans' rejoic- ing at the start has no bass line because it is illusion; the solemn procession, with Priam and his court, in celebration of what they think is a hard-won victory is solemn but banal, WEEKS 25/26 PROGRAM NOTES Limited Edition Living ONLY ONE RESIDENCE WITH A 70 FT. TERRACE REMAINS. ACT NOW FOR THE BEST VIEWS IN BOSTON. Don't miss this opportunity. Regent Boston Hotel services ana amenities, andraoulous views could be yours. Visit Latterywnarr.com or our Sales Center at 344 Commercial St., Boston, any day of tne week. Or call 617-994-9090. Prices start at $1.15M. BATTERY WHARF Utopia engineered »* nciij anaI 83U mm zfMm mk m ifMU :.-» A page from Berlioz's autograph full score of the "Royal Hunt and Storm" in Part II; crossed out are parts for offstage brass that were incorporated into the full orchestra since disaster is unseen. Aeneas' terrifying account of the death of Laocoon, breathlessly delivered, is the first sign that all is not well, since Cassandra's predictions of disaster have been treated by all, not just by her lover Chorebus, as the ravings of a lunatic. But the music tells us all along that she is right. Death and disaster, lurking throughout Act I, strike at the city in Act II, and we seem to hear the fire and smoke of destruction from which only a handful, including Aeneas and his son, escape. When the curtain opens on the city of Carthage in Act III, however, all is bright and bril- liant, with a radiance in the music that gives no hint of tragedy. Under Dido's benign rule, the city is prosperous and happy. Normal enemies like the Numidians can be beaten off; Dido's inner longing can be kept under control. Only when the Trojan March is heard in the minor key, as Aeneas and his men arrive seeking shelter, does the tone shift. The storm that interrupts the Royal Hunt may bring Aeneas and Dido lustfully together, but storms bode ill, and Narbal is the one to bemoan the danger that Aeneas' stay presents. He knows that destiny has other plans, so we watch the dancers dance, we listen to lopas' idyllic song, we watch Ascanius remove from Dido's finger her former husband's ring, we revel in the sweetness of the Mediterranean night, we hear the lovers pour out their hearts to each other in the great duet, all the while knowing that the blow will fall, as it does when the god Mercury strikes Aeneas' shield with the ominous threefold cry of "Italie!" Act V is full of sadness. Hylas, the young sailor, yearns for home. The Trojans lament the call of fate that forces them to leave Carthage where life seems (but only seems) to be so agreeable. Aeneas is sad to the point of despair that he has to obey the gods, a truly tragic figure compelled by fate to cause the death of the one he loves. He hesitates and I WEEKS 25/26 PROGRAM NOTES 65 changes his mind more than once, but we know he is helpless. This is more powerfully expressed in Dido's music than in his, for her final monologue when she pours out her despair is at the very summit of Berlioz's art. Her farewell to her beloved subjects carries a depth of sadness that truly aligns him with Virgil, Shakespeare, and Gluck. The blend of modern and traditional is a striking aspect of Berlioz's mature craft. He writes for the latest instruments, yet his dramatic ideal goes back to the eighteenth cen- tury. He draws on the most intense emotional expression, yet preserves a sense of clas- sical dignity quite alien to the work of Verdi or Wagner. It is perhaps not surprising that such a personal and unorthodox approach to opera should take so long to win recogni- tion, for there were few in his own time who could grasp his purpose. Wagner himself heard Berlioz read the libretto to him in 1859 and confessed he could make no sense of what Berlioz was trying to do. Berlioz, likewise, could make no sense of Tristan und Isolde. Time now allows us to love and admire the work of both men without having to succumb to the rivalries and conflicts that dogged them in their lives. Hugh Macdonald HUGH MACDONALD is Avis Blewett Professor of Music at Washington University in St. Louis and princi- pal pre-concert speaker for the Saint Louis Symphony Orchestra. A frequent guest annotator for the BSO, he taught at Oxford and Cambridge universities before moving to the United States in 1987. The author of books on Berlioz and Scriabin, and general editor of the New Berlioz Edition, he has also written extensively on music from Mozart to Shostakovich and has had his opera translations sung in a number of leading opera houses. THE AMERICAN PERFORMANCE HISTORY OF "LES TROYENS" began with a concert perform- ance of Part I, "Act II," led by Theodore Thomas as part of "Thomas's May Festival" on May 6, 1882, at the 7th Regiment Armory in New York. (Since, by this time, the opera's Part I— originally in two acts—had been divided by Berlioz into three acts for performance on its own, this "Act II" would coro allegro *\ David Hodgkins, Artistic Director .THE CITY S MO STING Works by Dello Job, MacMillan, Rosenthal, CHOR OIRE.?. Lloyd Schw N PHOENIX Whifacre + Spirituals and Gospels TICKETS: $18, $28, $36 nday, May 18, 2008, 3:00 PM '17-236-4011 'irch Boston of the Covenant, ^a2lASA£LrjaoL 66 ' have begun with what we know as the original Part I's "No. 4: Marche et Hymne," immediately fol- lowing the Cassandra/Chorebus duet [which in this version ends with a full close, rather than con- tinuing directly into No. 4], and ended with "No. 11: Final: Marche Troyenne.") The first stage per- wK formance in America (in an abbreviated version) was given, in English, by Boris Goldovsky and the 5« New England Opera Theater on March 27, 1955, in Boston, at the Opera House (which once stood on Opera Place just a bit west of Symphony Hall). San Francisco Opera gave what it called the "American professional stage premiere" on November 4, 1966, at that city's War Memorial Opera . House with Jean Perisson conducting, this being a cut version (about three hours long) showcasing French mezzo-soprano Regine Crespin as both Cassandra and Dido, effectively reducing even the role of Aeneas to supporting-cast status. Sarah Caldwell and the Opera Company of Boston gave the first complete American staging of "Les Troyens" on February 3 (Part I) and 4 (Part II), 1972, at the S2w Aquarius Theater in Boston. (Caldwell's performance of both parts on Sunday, February 6, has circu- lated on compact disc.) The first complete concert performance in America took place the following •Ma*? month, on March 17, 1972, with John Nelson conducting the Pro Arte Chorale and Orchestra at AK*'.*C Carnegie Hall in New York. TW/ JAMES LEVlNE's HISTORY with "les TROYENS" extends back thirty years, PERFORMANCE H '< to his concert performance of Part II with the Cincinnati Symphony Orchestra and Chorus on May 28, 1977, at the Cincinnati May Festival, and his complete concert performance, in two parts, with the Chicago Symphony Orchestra and Chorus at the Ravinia Festival on June 30 (Part I) and July 1 (Part II), 1978. It was Levine who also led the first absolutely complete Metropolitan Opera perform- ance, which opened the A/let's centennial season in the fall of 1983. (This was the initial revival of the Met's first-ever "Troyens" production, which had been introduced with Rafael Kubelik conducting on October 22, 1973; the performances in 1973-74 omitted the entrance music for the builders, sailors, and farm-workers near the start of Part II [Nos. 20-22 of the critical score] and the two scenes [Nos. 45-46] immediately preceding Dido's monologue, "Je vais mourir...," at the end of Part II.) Levine led the subsequent revival of that production in 1993 and most recently introduced a new Met production in February 2003, the performances that season being the most recent occasion "Les Troyens" was given in that house. THE MUSIC FROM "LES TROYENS" PLAYED MOST FREQUENTLY BY THE BOSTON SYM- PHONY ORCH estra has been the "Royal Hunt and Storm" from the opera's Part II, first under Henri Rabaud in February 1919 and later under Thomas Beecham (January 1928), Charles Munch (on numerous occasions between 1952 and 1963, including a 1959 recording for RCA), Erich Leins- dorf (August 1969), Colin Davis (November 1974, and later at Tanglewood in August 1980), and Seiji Ozawa, who led the most recent BSO performances in October 1994 in Boston and New York, followed by tour performances that December in Tokyo and Osaka. Ozawa 's program at that time also included the Prelude to "Les Troyens a Carthage" (written by Berlioz to introduce Part II of the complete opera when performed separately), and featured the Tanglewood Festival Chorus, John Oliver, conductor, in all of the "Royal Hunt and Storm" performances except the final one in Osaka. On July 23, 1977, at Tanglewood, Sarah Caldwell led the BSO in a sequence of orchestral and vocal excerpts featuring mezzo-soprano Shirley Verrett as both Cassandra and Dido. The only other BSO performances of music from "Les Troyens" were of Cassandra's Act I aria in October 1899 (with con- tralto Gertrude May Stein under Wilhelm Gericke's direction), and "Hail to the Queen" (an English- language version of the Carthaginian national anthem, "Gloire a Didon," from early in Part II of the opera) on December 31, 1974, led by Colin Davis with the Tanglewood Festival Chorus, plus audience participation, to open a "Last Night of the Proms"-type New Year's Eve gala at Symphony Hall. WEEKS 25/26 PROGRAM NOTES .- Certainly we know how to advise you on governance for your nonprofit. We also know what inspired you to get involved. Hemenway & Barnes is well into its second century as close, trusted advisors dedicated to helping clients make a lifetime of right decisions. We remain, by commitment, a small firm whose members are themselves actively involved in charitable endeavors giving us a uniquely personal perspective on your nonprofit. Hemenway&Barnes Counselors at Law » Private Fiduciaries A Wealth of Experience Seeing Families and Businesses Thrive 60 State Street, Boston, Massachusetts 02109 • 617-227-7940 • vvrww.hembar.com 68 To Read and Hear More... • • a The Cambridge Opera Handbook Hector Berlioz: Les Troyens, edited by Ian Kemp, is now out of print and, though findable used, expensive should you find it (Cambridge Univer- \ 1 m sity Press, 1989). Paul Robinson's Opera and Ideas from Mozart to Strauss includes a fifty- page chapter on "The Idea of History: Hector Berlioz's Les Troyens," which examines how % fSm Berlioz's choice and treatment (both dramatically and musically) of his subject—the ' §£§§§ ft*! fulfillment of Aeneas' destiny— reflects the inevitability of history in terms of the opera's setting and Berlioz's portrayals of the principal characters (Cornell University paperback). n '.,.**u£ A comprehensive modern Berlioz biography in two volumes— Berlioz, Volume I: The *> Making of an Artist, 1803-1832 and Berlioz, Volume II: Servitude and Greatness, 1832-1869— by Berlioz authority David Cairns appeared in 1999 (University of California paperback). Another important modern biography, from 1989, is D. Kern Holoman's Berlioz, subtitled "A musical biography of the creative genius of the Romantic era" (Harvard University Press). Berlioz, by Hugh Macdonald, general editor of the Berlioz critical edition, offers a compact introduction to the composer's life as part of the Master Musicians series (Oxford paperback). Even more compact is Peter Bloom's The life of Berlioz, in the series "Musical lives" (Cambridge University paperback). Bloom also served as editor of The Cambridge Companion to Berlioz (Cambridge University paperback) and of Berlioz: Past, Present, Future. The latter book, published in 2003 to mark the bicentennial of the com- poser's birth, is a compendium of articles by various musical and cultural historians who examine, among other things, Berlioz's own responses to music of his past, his interac- tions with musical contemporaries, and views proffered about him in subsequent genera- tions (Eastman Studies in Music/University of Rochester Press). Most recently, Bloom has produced Berlioz: Scenes from the Life and Work, published this past March (Eastman Studies in Music). Hugh Macdonald's Berlioz article from The New Grove Dictionary of Music and Musicians (1980) was reprinted in The New Grove Early Romantic Masters 2 (Norton paperback, also including the 1980 Grove articles on Weber and Mendelssohn). That article was retained, with revisions to the discussion of Berlioz's musical style, in the 2001 edition of Grove. In addition, Macdonald served as editor for Selected Letters of Berlioz, a fascinating volume of the composer's letters as translated by Roger Nichols (Norton). Julian Rushton's The Music of Berlioz (2001) provides detailed consideration of the composer's musical style and works (Oxford paperback). Brian Primmer's The Berlioz Style offers another good discussion of the music (originally Oxford). The best English translation of Berlioz's Memoirs is David Cairns's (Everyman's Library; also once available as a Norton paperback). Still also available is the much older edition by Ernest Newman WEEKS 25/26 READ AND HEAR MORE 69 S Join the Family! George and Nancy Mumford, Fox Hill Village residents Friends have always been important to the Mumfords. In fact, when George (an astronomer and former Dean of Liberal Arts and the Graduate School of Tufts University) and Nancy (a mentor and board member of Associated Day Care Services of Boston) moved from their hill top farm to an elegant apartment at Fox Hill Village, they brought their friends with them! Now new friends and old enjoy the many onsite cultural activities available (college courses, movies, lectures, and concerts), and the dependable security that means worry-free travel. The Mumfords agree that the Fox Hill Village "family" of welcoming residents and friendly staff make life a pleasure! Distinguished floor plans, convenient fitness center, superb dining, and most importantly, the flexibility and the accommodation afforded by resident ownership and management, help rate Fox Hill Village highest in resident satisfaction. Like Nancy and George, come and experience for yourself the incomparable elegance of Fox Hill Village, New England's premiere retirement community. To learn more, call us at 781-329-4433. Developed by the Massachusetts General Hospital. Fox Hill Village at WESTWOOD 10 Longwood Drive, Wesrwood, MA 02090 (781) 329-4433 (Exit 16B offRoute 128) 70 • (Dover paperback). Jacques Barzun's two-volume Berlioz and the Romantic Century, first m m published in 1950, is a distinguished and still very important older study (Columbia Uni- versity Press). Barzun's own single-volume abridgment, Berlioz and his Century, remains available as a University of Chicago paperback. James Levine leads a 1983 Metropolitan Opera performance of Les Troyens—a DVD release of what was originally a "Live From the Met" telecast—featuring Placido Domingo as Aeneas, Jessye Norman as Cassandra, Tatiana Troyanos as Dido, and Allan Monk as Chorebus (Deutsche Grammophon; previously issued on Pioneer Classics). On compact disc, Sir Colin Davis's two recordings of the complete opera remain paramount— the first from 1969, with Jon Vickers (Aeneas), Berit Lindholm (Cassandra), Josephine Veasey (Dido), Peter Glossop (Chorebus), and the Chorus and Orchestra of the Royal Opera House, Covent Garden, dating from the time of the first uncut production there (Philips), the more recent from 2000, recorded live during concert performances featuring Ben Heppner (Aeneas), Petra Lang (Cassandra), Michelle DeYoung (Dido), and Peter Mattei (Chorebus) with the London Symphony Orchestra and Chorus (LSO Live). Another important DVD release, from a 2003 production at the Theatre du Chatelet in Paris, has John Eliot Gardiner conducting the Orchestre Revolutionnaire et Romantique with Gregory Kunde (Aeneas), Anna Caterina Antonacci (Cassandra, the role she will sing in HI the BSO's season-opening concert performances of Les Troyens at Tanglewood this sum- mer), and Susan Graham (Dido); note that this production employs, in a reconstruction For tickets call CelebrityCharge 617-482-6661 (Mon-Fri 10-4) or online at Celebrity Series of Boston www.celebrityseries.org Berlin Philharmonic Sir Simon Rattle conductor Ben Heppner tenor Thomas Quasthoff bass-baritone Monday | November 19 | 8pm | Symphony Hall Sponsored by Foley and Lardner LLP Royal Coneertgebouw Orchestra Mariss Jansons conductor Friday 1 | February | 8pm | Symphony Hall sponsored by DeMoulas Foundation Academyof St. Martin in the Fields Murray Perahia conductor and piano soloist April Wednesday | 2 | 8pm | Symphony Hall Sponsored by Bank of America Orchestre National de France Kurt Masur conductor David Fray piano soloist April 27 Sponsored by PTC Sunday \ | 3pm | Symphony Hall WEEKS 25/26 READ AND HEAR MORE . BOSTON LYRIC OPERA is proud to announce the 2008-2009 Season: SPELLBOUND ANYTHING CAN HAPPEN Offenbach 's LES CONTES D'HOFFMANH ( The Tales of Hoffmann) November 7-1 8, 2008 Dvorak's RUSALKA March 20-31, 2009 Mozart's DON GIOVANNI April 24-May S, 2009 Season ticket information available now — visit blo.org for details or call 617.542.6772 to request a brochure. Orders for new subscriptions will be taken starting May 1 , 2008 72 .. MSwt by Berlioz scholar Hugh Macdonald, a shortened version of Berlioz's original ending v. .•".! I It (later replaced) in which the Carthaginians' cursing of the Trojans upon Dido's death is followed by a vision of Imperial Rome portraying the Trojans' destiny as the founders of that city (BBC/Opus Arte). A complete recording made under Charles Dutoit's direction with the Montreal Symphony Orchestra and Chorus features Ben Heppner (Aeneas), Deborah Voigt (Cassandra), and Francoise Pollet (Dido); this includes the Prelude to Part II that Berlioz wrote to introduce the Carthage portion of the opera (Part II) when it is performed on its own, plus an added scene (reconstructed by Hugh Macdonald from the surviving piano score) preceding Aeneas' entrance in Part I (Decca). The great French mezzo-soprano Regine Crespin is showcased as both Cassandra and Dido in a set of excerpts (totaling nearly eighty minutes) recorded in 1965 with Georges Pretre leading the orchestra and chorus of the Paris Opera; unfortunately, the musical selection is such that even the role of Aeneas, sung here by Guy Chauvet, is substantially reduced (EMI). The great English mezzo-soprano Janet Baker recorded the two final scenes of the opera (Dido's death) in 1969 with Alexander Gibson conducting the London Symphony Orches- tra, Bernadette Greevy (Anna), Gwynne Howell (Narbal), Keith Erwen (lopas), and the Ambrosian Opera Chorus (EMI). Of historic interest is a near-complete (3-3/4 hours) 1947 concert broadcast led by Sir Thomas Beecham featuring Jean Giraudeau (Aeneas) and Marisa Ferrer (Cassandra and Dido) with the Royal Philharmonic Orchestra and BBC Theatre Chorus (Malibran Music CDs). Among the numerous live performances that have circulated on "private" labels is one from February 6, 1972, given by Sarah Caldwell with the Opera Company of Boston—from the opera's first, essentially complete staging in America, with Ronald Dowd as Aeneas, Maralin Niska as Cassandra, Regine Crespin as Dido, Louis Quilico as Chorebus, and Eunice Alberts as Anna (Premiere Opera Ltd. and House of Opera, though current availability is unclear). 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PartoerS ParSSrS Home Care Private Care Lifeline Member of Partners HealthCare, founded by Massachusetts General Hospital and Brigham and Women's Hospital omecare.org WEEKS 25/26 READ AND HEAR MORE You'll find Steinway plan concert stages around the world* In Boston, you'll find them exclusively in our showroom* No other piano compares to a Steinway, And no other piano store can match M. Steinert & Sons, the area's only authorized Steinway dealer. Featuring the entire Family of Steinway-designed pianos — Steinway, Boston and Essex, tifl M. Steinert & Sons Steinway & otherpianos ofdistinction (800)944-2358 www.msteinert.com Boston Natick Worcester O^ Guest Artists mm Marcello Giordani (Aeneas) Tenor Marcello Giordani opened the Metropolitan Opera's 2007-08 season as Edgardo in Donizetti's Lucio di Lammermoor in a new production by Tony Award-winning director Mary Zimmerman. Last fall he made two unscheduled appearances at the Met: as Romeo in Gounod's Romeo et Juliette and as Pinkerton in Madama Butterfly, replacing the sched- - uled tenors on short notice. He has since returned to the Met this season for Puccini's - Marion Lescaut (shown live in movie theaters throughout the U.S., Europe, and Japan) and his role debut as Verdi's Ernani. This season also includes his debut in Verdi's La forza del destino with the Maggio Musicale Fiorentino, in Florence, Italy, under the direction of Zubin Mehta; his debut in concert performances of Puccini's Edgar with Opera Orchestra of New York; concert performances as Aeneas in Berlioz's Les Troyens with the Boston Symphony Orchestra under James Levine; a gala concert for Opera m Orchestra of New York in Carnegie Hall; "Marcello Giordani and Friends" at Florida's Vero Beach Opera; and the role of Des Grieux in Manon Lescaut at the Teatro Massimo Bellini of ' Catania. Other recent highlights include La boheme at the Arena di Verona; Tosca at the Festi- val Puccini of Torre del Lago; his BSO debut in The Damnation of Faust with James Levine and the orchestra at Tanglewood last August, followed by European tour performances in Lucerne, Essen, Paris, and London; Metropolitan Opera appearances last season as Pinkerton, Enzo in La Gioconda, Rodolfo in La boheme, and Gabriele Adorno in Simon Boccanegra; a master class at the Manhattan School of Music; Des Grieux in Barcelona and Zurich; the annual recital of the Marilyn Home Foundation; a recital at the U.S. Supreme Court at the invitation of Justice Ruth Bader Ginsburg; the title role of Giordano's Andrea Chenier at the Teatro Massimo Bellini of Catania, and his debut as Paolo il Bello in Zandonai's Francesco da Rimini in Zurich. Television appearances have included the Richard Tucker Gala and the Christmas midnight mass at St. Patrick's Cathedral. Mr. Giordani's discography includes the first studio recording of Verdi's Jerusalem (Philips) and two solo recordings—tenor arias by Bellini, Bizet, Donizetti, Mascagni, Rossini, Verdi, and others, on Naxos; and classical songs from Giordani's native Sicily, on VAI. He is also featured on "Many Voices," a compilation on Sony Classical of songs by Steven Mercurio. His roles on DVD include Pinkerton in Madama Butterfly from the Arena di Verona (TDK) and Rodolfo in La boheme from the Zurich Opera House (EMI). Scheduled for release on DVD are La boheme from the Arena di Verona, La forza del destino from the Maggio Musicale Fiorentino, and the Metropolitan Opera's production of Manon Lescaut. The opening night per- formance of La forza del destino will also appear in movie theaters throughout the U.S. and Europe as part of La Scala's new venture for the recording, distribution, and broadcasting of opera productions in high-definition video and digital audio. a WEEKS 25/26 GUEST ARTISTS WILMINGTON TRUST You've created the life you want. Now, what about your legacy? We get to know our clients intimately for one important reason: the things that matter most to you today should help shape tomorrow. At Wilmington Trust, we know wealth management is about so much more than money. It's about personal goals, choices, and milestones that profoundly affect all aspects of your life, not to mention the lives of those closest to you. To begin building a bridge between your wealth and your future, call Peter E. Simmons, at 617.457.2000. Florida Georgia Maryland Massachusetts New York Pennsylvania wilmingtontrust.com California Delaware | | | | | | | | 888.456.9361 ©2007 Wilmington Trust Corporation. Affiliates in California, Delaware, Florida, t£> Georgia, Maryland, Massachusetts, New York and Pennsylvania. Members FDIC. ; Hfl / SGSk •*< Yvonne Naef (Cassandra; Ghost of Cassandra) 1HHHI Ljjfj Yvonne Naef's recent appearances as Marguerite in Berlioz's The Damnation of Faust on tour - • . with the Boston Symphony Orchestra and James Levine, as Kundry under Bernard Haitink in Zurich, in Mahler's Second Symphony with the Philadelphia Orchestra and Christoph Eschenbach, in Berlioz's Les Troyens and Mahler's Kindertotenlieder at the Opera-Bastille fifties in Paris, and as Judith in Bluebeard's Castle with Christoph von Dohnanyi in Hamburg and Frankfurt have enhanced her reputation as one of today's most sought-after mezzo- sopranos on both the concert and operatic stages. Her opera repertoire includes the major mezzo roles in Verdi's operas—which she has sung at the Metropolitan Opera, Royal Opera House, Vienna State Opera, and Opera de Paris— as well as the French repertoire, Russian operas, and the operas of Richard Wagner. A native of Switzerland, Ms. Naef has performed a wide range of concert repertoire, from Bach to Boulez, with the most important orchestras and conductors at such venues as Vienna's Konzerthaus and Musikverein, Berlin's Philharmonie, Hamburg's Musikhalle, Munich's Gasteig, St. Thomas Church in Leipzig, the Lucerne Festival, the Tonhalle in Zurich, Salle Pleyel in Paris, Milan's Teatro alia Scala, London's Royal Albert and Festival Halls, Tanglewood, and Carnegie Hall. Noted for her performances of Mahler's symphonies and song cycles, she has performed that composer's Second, Third, and Eighth symphonies, Kindertotenlieder, Ruckert Lieder, Lieder eines fahrenden Gesellen, Lieder aus Des Knaben Wunderhorn, and other songs under the direc- tion of Boulez, Levine, Eschenbach, Bychkov, Welser-Most, Cambreling, Fruhbeck de Burgos, Nagano, and Nott, and has also performed in recital. Recent and future engagements include the role of Cassandra in concert performances of Les Troyens with James Levine and the Bos- ton Symphony Orchestra, Eboli in Don Carlo with the Opera-Bastille, Sieglinde in Die Walkure with Hamburg State Opera, Wagner's Ring cycle, also with James Levine, at the Metropolitan Opera, and Verdi's Requiem in Baden-Baden. Ms. Naef has appeared on numerous radio and television broadcasts and on CD and DVD recordings, including // trovatore from Covent Garden (BBC), Mahler's Second Symphony from the Schleswig-Holstein Festival, Das Rheingold from the Baden-Baden Festival, Schoenberg's Moses und Aron (DGG), Bach's Christmas Oratorio and cantatas (Philips), Rossini's Petit Messe solennelle (Edel BC), Schoeck's Penthesilea (PAN Classics), Beethoven's Ninth Symphony (Euroarts), songs by Berlioz and Wagner (Claves), The Best Location for Seniors in Cambridge The Cambridge Homes Independent & Assisted Living Next to Mount Auburn Hospital www.SeniorLivingResidences.com • 617-876-0369 WEEKS 25/26 GUEST ARTISTS ( 77 ANSWER THE CHALLENGE Help the BSO Reach New Heights of Musical Artistry When you make a gift to support the Boston Symphony Orchestra this season, the effect of your generosity can be even greater by participating in the Boston Challenge, a challenge grant that will match certain gifts received by June 30, 2008. There are three ways you can participate: 1. Make a new gift to the Symphony or Pops annual funds. 2. Increase your annual contribution above and beyond what you gave last year. 3. If you participated in the Challenge last season, renew your gift at the same level or higher this year. Through the generosity of a small group of anonymous BSO trustees, the Boston Challenge will match these gifts, dollar for dollar, up to $250,000. THE BOSTON CHALLENGE Extended and Expanded for a Second Year Help us answer the Challenge and ensure that the BSO continues to enjoy the freedom to reach new heights of musical artistry THE HIGGINSON SOCIETY riends OF THE BOSTON SYMPHONY ORCHESTRA BOSTON SYMPHONY ORCHESTRA Brahms's Alto Rhapsody, and Schoenberg's Gurrelieder. Yvonne Naef made her BSO debut at Tanglewood in 2003, in Verdi's Requiem under Rafael Fruhbeck de Burgos, subsequently singing in BSO performances under James Levine of Mahler's Eighth Symphony at Symphony •*M Hall, Carnegie Hall and Tanglewood. Her most recent BSO appearances, also with James Levine, were in Berlioz's The Damnation of Faust, at Symphony Hall in February 2007, then at Tanglewood last summer, followed by tour performances in Lucerne, Essen, Paris, and London. Anne Sofie von Otter (Dido) Mezzo-soprano Anne Sofie von Otter is sought after by many of the world's major orchestras, conductors, opera companies, and recording companies. Born in Sweden, she began her stud- ies in Stockholm and continued with Vera Rozsa at London's Guildhall School. She was a principal member of Basel Opera before launching an international career that has now spanned more than two decades. She is particularly renowned for her interpreta- tion of Oktavian in Der Rosenkavalier, a role she has recorded for EMI with Bernard Haitink and has performed at Stockholm, Munich, Chicago, Vienna, Covent Garden, the Opera-Bastille in Paris, and the Met, as well as in Japan with the late Carlos Kleiber (a performance available on DVD). Her repertoire also includes Gluck's Orfeo and Alceste, the title roles of Handel's Ariodante and Xerxes, Ruggerio in Alcina, Sesto in Giulio Cesare, Sesto in Mozart's La demenza di Tito, Clairon in Strauss's Capriccio, the Composer in Ariadne auf Naxos, Nerone and Ottavia in Monteverdi's L'incoronazione di Poppea, Concepcion in Ravel's L'heure espagnole, and the title role of Carmen. At the Metropolitan Opera she has sung numerous performances of Der Rosenkavalier, La demenza di Tito, and Idomeneo as well as making her stage debut as Melisande in Debussy's Pelleas et Melisande. Highlights of last season included her acclaimed debut as Brangane in Wagner's Tristan und Isolde in Los Angeles and New York (a semi-staging by Peter Sellars conducted by Esa-Pekka Salonen), Bluebeard's Castle with the Boston Symphony and James Levine in Boston and New York, and Ravel's Sheherazade in Paris and Vienna with Myung-Whun Chung. The current sea- son brings her debut as Didon in the Kokkos staging of Les Troyens at Geneva Opera, a new Orphee in Stockholm with Mats Ek, Lully's Thesee with Emanuelle Haim at Paris's Theatre des Champs-Elysees, and a May 2008 residency at Vienna's Musikverein, to include orchestral concerts with Philippe Jordan. Concert engagements take her throughout Europe and America. An acclaimed recitalist, she performs around the world with her accompanist Bengt Forsberg. Anne Sofie von Otter's recording relationship with Deutsche Grammophon began in 1985. Her discography encompasses award-winning Lieder and chamber music recordings, orches- tral repertoire ranging from Bach to Berg, and an extensive opera catalogue including Debussy's Melisande, Bartok's Judith, Monteverdi's Ottavia, Gluck's Orfeo, Mozart's Sesto, Idamante, and Cherubino, Strauss's Composer, Charlotte in Werther, Baba the Turk in The Rake's Progress, and Handel's Ariodante, Hercules, and Sesto in Giulio Cesare. Other Deutsche Grammophon releases include "For the Stars," an award-winning collaboration with Elvis Costello; the Baroque recital "Music for a While"; "I Let the Music Speak," celebrating the music of Benny Andersson and Bjorn Ulvaeus, and, most recently, "Theresienstadt," which was awarded France's Diapason d'or de I'Annee 2007. Anne Sofie von Otter previous BSO appearances, all with James Levine conducting, have included Mahler's Das Lied von der Erde in November 1994, Judith in Bluebeard's Castle in November 2006, and repeat performances this season, two weeks ago, of Mahler's Das Lied von der Erde. WEEKS 25/26 GUEST ARTISTS (79 Dwayne Croft (Chorebus; Ghost of Chorebus) The 1996 winner of the prestigious Richard Tucker Foundation Award, American baritone Dwayne Croft has performed with prominent opera companies throughout the world. Since joining the Metropolitan Opera's Young Artist Development Program in 1989, Mr. Croft has appeared in more than 300 performances of twenty-five roles with the com- pany, including Pelleas in Pelleos et Melisande, the title roles in Billy Budd, Don Giovanni, II barbiere di Siviglia, and Eugene Onegin, Count Almaviva in Le nozze di Figaro, Germont in La traviata, Nick Carraway in the world premiere of Harbison's The Great Gatsby, Ernesto in Bellini's II pirata, Ford in Falstaff, Guglielmo in Cos) fan tutte, de Siriex in Fedora, Valentin in Faust, Sharpless in Madama Butterfly, Marcello in La boheme, Chorebus in Les Troyens, and Rodrigo in Don Carlo. He has appeared in seven televised Metropolitan Opera productions and on five occasions has opened the Met season. During 2007-08, Mr. Croft creates the role of Robert E. Lee in Philip Glass's Appomattox with San Francisco Opera and returns to the Met as Germont, Puccini's Lescaut, and Marcello. Highlights of his Preparing musicians to make a difference in the world Longy SeffJo Q/s. School of Music ^—^ -JL. DIAMONDS INTERNATIONAL i BAROQUE INSTITUTE AT LONGY 2008 PRECIOUS STONES The qenteel FINE JEWELRY com o anion Friends See us lastfor the bestprice. For Severall Monday, July 21 at 8:00 PM - $15 -1 H The Private Musick Thursday, July 24 at 8:00 PM - Free The Passions of the Soul Virtuoso Friday, July 25 at 8:00 PM - Free Grand Finale and Gala Reception - DftrTD&COMPANY Saturday, July 28 at 7:00 PM $25 Sellers & Collectors Of Beautiful jewelry Longy School of Music 232 BOYLSTON STREET (ROUTE 9) One Follen Street i Cambridge, MA CHESTNUT HILL, MA 02467 617.876.0956x500 617.969.6262 • 1.800.328.4326 www.davidandcompany.com www.longy.edu 8o concert engagements include two works by Berlioz— Le7/'o with the San Francisco Symphony and Les Troyens with the Boston Symphony Orchestra at Symphony Hall and at Tanglewood. In Europe, Mr. Croft made his Vienna Staatsoper debut as Count Almaviva followed by Don Giovanni and the title role in // barbiere di Siviglia. At the Salzburg Festival he has sung Count Almaviva, Posa, Ford, and Jaufre Rudel in Kaija Saariaho's L'Amour de loin. In Paris he has sung Posa, Eugene Onegin, Don Giovanni, and Sharpless. Mr. Croft made his debuts at the Chatelet Em in Takemitsu's My Way of Life, at Venice's Teatro la Fenice as Eugene Onegin, and at Genoa's Teatro Carlo Felice as Billy Budd. Following his German operatic debut as Guglielmo with Cologne Opera, he was immediately reengaged for his signature role, Eugene Onegin. In North America, in addition to his work with the Metropolitan Opera, he appeared as Don Giovanni for his official debut with Washington Opera, returning for Posa, Guglielmo, and Billy Budd. His unscheduled debut there came in 1995 when, after singing a Met matinee perform- ance as Guglielmo, he boarded a private jet to Washington to replace an ailing colleague that evening as Marcello. Mr. Croft has appeared with Lyric Opera of Chicago as Figaro in both // barbiere di Siviglia and Corigliano's The Ghosts of Versailles; he has also appeared with San WEEKS 25/26 GUEST ARTISTS i Stately Meets State-of-the-Art The oodla at Belmont jtiill. The Woodlands at Belmont Hill, where historical grace and timeless style unite to create endless possibilities. Proudly offered from $995,000. Visit our three elegantly decorated models, open daily from 10 a.m. to 5 p.m., or call 617-489-4898 for a private showing. WWW.THEWOODLANDSATBELMONTHILL.COM Proudly presented by Northland Residential Corporation, New England's premier developer of exceptional properties. Prices subject to change without . : 11 Francisco Opera, Los Angeles Opera, Santa Fe Opera, Baltimore Opera, and the Canadian Opera Company. His German concert debut was as Scherasmin in Weber's Oberon with the Giirzenich Orchestra in Cologne, recorded for EMI. He has also recorded Lescaut in Manon Lescaut and Takemitsu's My Way of Life. Mr. Croft appeared in London's Royal Albert Hall for a "Pavarotti Plus" gala concert, returning to London for Covent Garden's "Gold and Silver Mm Anniversary Concert" honoring Placido Domingo. He makes his Boston Symphony Orchestra debut with these performances of Les Troyens. Kwangchul Youn (Narhal) As a member of the Berlin State Opera ensemble from 1993 until 2004, Korean bass Kwangchul Youn sang roles in Aida, La boheme, Christoph Kolumbus, Don Carlo, Don Giovanni, Elektra, Fidelio, II nozze di Figaro, Die Meistersinger von Nurnberg, Parsifal, Robert Le Diable, Tosca, Tristan und Isolde, and The Magic Flute. He has since performed at Gran Teatre del Liceu in Barcelona, Karlsruhe State Opera, Leipzig Opera, Opera National de Paris, the Theatre du Chatelet in Paris, Vienna State Opera, and at such festivals as the Dresdner Musikfestspiele, the Ludwigsburger Schlossfestspiele, Ravinia, the Salzburg Festival, the KlangBogen Wien, and regularly at the Bayreuth Festival. In 2004-05 he made debuts at the Metropolitan Opera, Madrid's Teatro Real (with his role debut as King Heinrich in Lohengrin), and Washington Opera. Concert engagements have taken him to various orchestras in Berlin, to Amsterdam (VARA Radio), to the Orchesta Sinfonica de Barcelona, to Bonn, to the Chicago Symphony Orchestra, to Cologne, Dresden, to the Gul- benkian Foundation Lisbon, to Lyon, Madrid, Monte Carlo, and Vienna, among others. His recordings include Die Meistersinger with the Bayreuth Festival under Daniel Barenboim, Croesus under Rene Jacobs (harmonia mundi), Le nozze di Figaro, Cos! fan ruffe, Don Giovanni, and Tiefland (all Arte Nova), and Daphne with the WDR Symphony Orchestra Cologne (Decca; 2006 Grammy nomination). In 2006-07, Kwangchul Youn returned to the Opera National de Bastille in Paris for Lucia di Lammermoor and Les Troyens, and to the Berlin State Opera for Tristan und Isolde and Don Carlo. He made his debut in Bilbao with Die Zauberflote; has sung Anna Bolena in concert with the RSO Vienna under Bertrand de Billy and Gurrelieder in Berlin and Monte Carlo with the Rundfunk-Symphonie-Orchester Berlin; made debuts at the Musikverein in Vienna and at the Accademia Santa Cecilia in Rome, and sang the Missa Solemnis with the Berlin Philharmonic Orchestra under Haitink in Berlin and at the Salzburg Easter Festival. Last summer he returned to Bayreuth for Tannhduser, Das Rheingold, and Die Walkure. Recent and future engagements include his Frankfurt Opera debut in Don Carlo; returns to the Opera National de Bastille in Luisa Miller and to the Vienna State Opera in Lohengrin; and concerts at the Konzerthaus Vienna and at La Scala (under Daniel Barenboim), with the Rundfunk-Symphonie-Orchester Berlin, and with the Munich Philharmonic (under Christian Thielemann). He makes his Boston Symphony Orchestra debut with these concert performances of Les Troyens under James Levine. WEEKS 25/26 GUEST ARTISTS 83 Brookhaven at Lexington offers an abundance of opportunities for intellectual growth, artistic expression and personal wellness. Our residents share your commitment to live a vibrant lifestyle in a lovely community. Call today for a tour of our model apartment and newly renovated Commons! A Full-Service Lifecare Community (781)863-9660 (800)283-1114 www.aboutbrookhaven.org BROOKHAVEN AT LEXINGTON EQUAL HOUSING Wondering WhichWay to Go With Your Finances? Get Clear Direction & Insightful Advice Rick Miller, PhD ^ Frequently Quoted in the Boston Globe's "Money Makeover" Column MAKE SMARTER SPENDING, SAVING AND INVESTING DECISIONS Lower Fees /Complimentary Consultation SENSIBLE FINANCIAL Fee^oniy 245 First Street Suite 1800 Cambridge, MA 02142 (617)444-8677 www.sensiblefinancial.com [email protected] 84 m ' '*' '•$ ' ^Hff 1 \ Clayton Brainerd (Panthus) 1 . k£3$5B" 1 .:'" In the 2007-08 season, bass-baritone Clayton Brainerd performs Mozart's Requiem and 1* Beethoven's Ninth Symphony with the Seattle Symphony and Bach's St Matthew Passion at Bt-' the University of Nebraska, and returns to the Boston Symphony Orchestra for concert tftSSfn performances of Berlioz's Les Troyens under James Levine. Last season, Mr. Brainerd 4 made his Washington Opera debut in the U.S. premiere of Nicholas Maw's Sophie's Choice; sang Brotan's Stobat Mater with the Portland Symphonic Choir and Beethoven's ' Missa Solemnis with the Seattle Symphony; and was the Commendatore in Don . Giovanni with Grand Rapids Opera. He has sung Elijah with the Mormon Tabernacle Choir, Britten's War Requiem in Anchorage, Alaska, and Messiah with the Montreal Symphony. In addition, Mr. Brainerd sang Wotan in Siegfried with New Orleans Opera, US - and covered Wotan in five complete Ring cycles for Scottish Opera. In 2005 he sang ' Hans Sachs in Die Meistersinger von Nurnberg with Berkeley Opera. Highlights of past seasons ' . ' jmBE include replacing James Morris as Wotan in Die Walkure at the Teatro Colon in Buenos Aires; performing and recording excerpts from Mussorgsky's The Dream of the Peasant Grishko with kill the New Jersey Symphony under Zdenek Macal; singing Kurvenal in a performance and :$&£ Ms 'W..-.JK, recording of Tristan und Isolde at Carnegie Hall with the Opera Orchestra of New York; and ; singing Scarpia in Tosca with Teatro Arriaga in Bilbao, Spain. Mr. Brainerd's versatility encom- mm passes not only the Wagnerian repertoire of Wotan, the Wanderer, and Gunther in Wagner's Ring and the title role of The Flying Dutchman, but also roles in the Italian and French operatic repertoire, including Scarpia in Tosca, the four villains in The Tales of Hoffmann, Golaud in Pelleas et Melisande, and Mephistopheles in The Damnation of Faust. Clayton Brainerd made This organization is supported in part by the Massachusetts Cultural Council, a state agency. \ • ' '.. '. : WEEKS 25/26 GUEST ARTISTS A Steady Partner In Workers' Compensation There are many reasons why Atlantic Charter has earned a premier reputation in the complex area of workers' compensation: over fifteen years of innovation, financial stability, client service «' ; and unmatched III -8'- t! resulting in a 98% client retention rate. There's also the A.M. Best rating of "A" (Excellent) and an outstanding combined loss ratio well below the industry average. Of course, we're always striving to exceed these accomplishments. We just wanted you to know how high we set the bar. To learn more, please visit www.atlanticcharter.com ^Atlantic ^Charter INSURANCE COMPANY Boston, MA 86 m ' his Boston Symphony debut in February 1999, as the Bonze in the BSO's concert staging of SBHkv 1 Modama Butterfly led by Seiji Ozawa, and returned in May 2006 as the Messenger in Stravin- sky's Oedipus Rex with Christoph von Dohnanyi conducting. Jane Bunnell (Hecuba) IIS* Mezzo-soprano Jane Bunnell recently made her debut with the Saito Kinen Festival as Auntie ' ' T •''''>' in Peter Grimes, conducted by Seiji Ozawa, and also joined Washington Opera's tour to Japan for appearances in Sly and Otello with Placido Domingo. Other recent engagements have included Octavian in Der Rosenkavolier at the Oper der Stadt Bonn; Romeo et Juliette, Otello, I vespri siciliani, Les Contes d'Hoffmann, Le nozze di Figaro, Faust, and Die •jMV' Walkure with the Metropolitan Opera; and her Boston Symphony debut as Mary in The Flying Dutchman under James Levine. Upcoming engagements include Die Walkure on £&l tour in Japan with the Metropolitan Opera, where she has sung many roles since her debut as Annio in La clemenza di Tito. Also with the Met she has recorded Tebaldo in Don Carlo and a Flower Maiden in Parsifal, and sang Emilia for the "Metropolitan Opera am bfi Presents" telecast of Otello. She has appeared in a wide variety of roles with New York City Opera and was featured in that company's premieres of Argento's Casanova and Mozart's L'oca del Cairo, as well as its "Live From Lincoln Center" telecasts of Die Zauberflote and La rondine. She has also performed at Houston Grand Opera, Opera Roanoke, the Teatro Comunale di Firenze, Opera Pacific, the Opera Festival of New Jersey, Lake George Opera, the Casals Festival, San Diego Opera, Dallas Opera, Minnesota Opera, San Diego Opera, Seattle Opera, Virginia Opera, Sarasota Opera, Chicago Opera Theatre, Lyric Opera of Kansas City, and Florida Grand Opera. In Europe she has sung at the Theatre du Capitole, Toulouse, Vienna Volksoper, Schwetzingen Festival, and Oper der Stadt Koln. She has been a frequent guest artist for Lincoln Center's Mostly Mozart Festival, the Seattle Symphony, and the New York Chamber Orchestra at the 92nd Street Y. Ms. Bunnell made her Boston Symphony debut as Mary in concert performances under James Levine of Der fliegende Hollander in March 2005, and sang the role of Flosshilde in Gotterddmmerung, Act II, with James Levine conducting the Tanglewood Music Orchestra in July 2005. Philippe Castagner (Hylas) Making his Boston Symphony debut as Hylas in Part II of Les Troyens, Canadian-American tenor Philippe Castagner has been acclaimed for his appearances in symphonic concerts, in opera, and in recital. Born in Canada and raised in New Jersey, Mr. Castagner joined the Metropolitan Opera Lindemann Young Artist Development Program in 2002 and made his Metropolitan Opera debut that season as the First Prisoner in Fidelio and, later, as Beppe in I pagliacci. Since then he has appeared with New York City Opera, Portland Opera, and Granite State Opera, the New York Philharmonic, and the Pitts- burgh, Dallas, and American symphony orchestras, and has performed in recital at Carnegie Hall's Zankel Hall, the 92nd Street Y, Washington's Terrace Theater, and Boston's Gardner Museum. The 2007-08 season brings debuts with a number of orchestras and opera companies. He sings Beethoven's Ninth Symphony with Michael Tilson Thomas and the Los Angeles Philharmonic at the Hollywood Bowl and with Gustavo WEEKS 25/26 GUEST ARTISTS wtimJA '.yS COLDWELL BANKER P R E V I E W S INTERNATIONAL' BOXFORD, MASSACHU!>ETTS BROOKLINE, MASSACHUSETTS " n &L_ fTvL \wj^] '"111 I - JBmSmitjL .111 last \ MM ^£p TsMV "hi'it i*Mt£ $3,200,000. A truly remarkable property built in 1991 on over 11 private acres of $3,595,000. Exquisitely appointed and thoughtfully planned, this exciting properly, on beautifully-landscaped and wooded grounds. 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There are 1 1 rooms, four bedrooms, three and one-half baths, three fireplaces and a theatre and financial districts, shopping and fine dining. This home offers 2,133 squ;l 2-car garage. There is a lower level with glass doors leading outdoors to an in-ground feet of custom living space with two bedroom suites, a living/dining room and a kitch<| pool. Minutes to urban amenities including public transportation. Deborah Gordon, Jonathan Radford, Boston, MA office, (617) 335-1010, [email protected] I Brookline, MA office, (617) 731-2447, [email protected] For information on the Previews International Program offered by Coldwell Banker Residential Brokerage, please call (800) 548-500 www.NewEnglandMoves.com 2008 i 'oldwell Banker Real Estate Corporation. Coldwell Banker is a registered trademark licensed to Coldwell Banker Real Estate Corporation. An 1 qn.il Opportunity Company. Equal Housing Opportunity. Owned and Operated by NRT. II.C WL «fcft Dudamel and the Simon Bolivar Orchestra in Caracas. He also sings Beethoven with Louis Langree and the Mostly Mozart Orchestra; performs Beppe with Vancouver Opera; travels to JviMfvV Bilbao, Spain, to sing Ferrando in Cost fan tutte and to Arizona Opera for Tamino in Die Zauber- Symphony singing Vaughan Williams's On Wenlock Edge; flote; appears with the New World mcWm \2EL performs Handel's Messiah at Carnegie Hall and Bach's St. Matthew Passion in Bethesda, Maryland, and gives a number of recitals under the auspices of Young Concert Artists, as well HtaW as for the Harvard Theater Collection and San Francisco Opera. During 2006-07, Mr. Castagner made his New York Philharmonic debut with Loren Maazel in Ravel's L'Enfant et ies sortileges, which led to his reengagement for performances in 2009. In addition, he sang Tamino in Van- couver Opera's production of Die Zauberflote and Golo in Robert Schumann's Genoveva at the Bard Festival, and made a theatrical appearance as Freddy Eynsford-Hill in My Fair Lady with the New York Philharmonic. Philippe Castagner and his wife reside in Brooklyn, New York. James Courtney (Greek Captain; Second Trojan Sentry) Commanding a broad repertory that extends from Verdi, Wagner, Puccini, and Berg to Bach, Handel, and Beethoven, bass-baritone James Courtney is one of the most active vocalists in the United States today. He has performed with leading opera companies and sym- phony orchestras around the world, in collaboration with such conductors as James Levine, Seiji Ozawa, Kurt Masur, Lorin Maazel, and Mstislav Rostropovich. Highlights from his twenty-nine seasons and 1,700 performances with the Metropolitan Opera include Lulu, Wozzeck, Salome, Die Meistersinger von Nurnberg, The Flying Dutchman, and Parsifal. He has also appeared with Lyric Opera of Chicago, Florentine Opera of Milwaukee, Opera de Montreal, San Francisco Opera, and Seattle Opera. He made his BSO debut at Tanglewood in July 1991, as the Voice of Neptune in Mozart's Idomeneo, returning for that summer's season-ending performance of Beethoven's Ninth Sym- phony with Christoph von Dohnanyi and the Cleveland Orchestra. He was a soloist in Verdi's Requiem with the BSO in February 1992 at Symphony Hall, and sang the role of Pistol in BSO concert performances of Verdi's Falstaffm February 1993. Eric Cutler (Iopas) Winner of the 2005 Richard Tucker Award, American tenor Eric Cutler has been hailed as one of his generation's most promising singers. This season he makes his role debut in La Damnation de Faust at De Vlaamse Opera; sings Tamino in Die Zauberflote at both the Metropolitan Opera and Houston Grand Opera; and returns to Opera Australia for another role debut, Edgardo in Lucia di Lammermoor, and to Boston Lyric Opera as Nemorino in L'elisir d'amore. On the recital stage, he performs in Kansas City under the auspices of the Harriman-Jewell Series and at his alma mater, Luther College. The summer of 2006 brought his critically acclaimed debut with the Royal Opera, Covent Garden, as Ernesto in Don Pasquale as well as his debut at the Edinburgh Festival as Tamino under Claudio Abbado and Mozart's Mass in C minor at the Proms under Sir Charles Mackerras. Last season he sang Iopas in Les Troyens for his Paris Opera debut, Arturo in / puritani at the Metropolitan Opera (a performance telecast to theaters and to be issued on DVD), Ferrando in Cos) fan tutte for his Lyric Opera of Chicago debut, his Boston WEEKS 25/26 GUEST ARTISTS ^Boslon £arly Music Teslival Your Smile "An astounding assortment of concerts." - The New York Times Announcing the 2008*2009 StdSOU October 18 Collegium Vocale Gent with Kristian Bezuidenhout, fortepiano Is Your October 25 Best Investment! 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For more information, please contact Paul D. Simpson at 617.896.8531 27 School Street, Boston, 617.227.0600 MA 02108 | | www.woodstockcorp.com psimpson(5iwoodstockcorp.com | 90 Symphony debut at Tanglewood in Haydn's Mass in Time of War (August 2007), and a con- cert performance of Die Zauberflote at the Hollywood Bowl. Highlights of recent seasons mm. include singing Andres in Wozzeck at the Met under James Levine, his role debut as Gounod's Romeo at Opera Australia, debuts at Madrid's Teatro Real (as Belmonte in Die Entfuhrung aus dem Sera/7) and with the Vlaamse Opera (as Leicester in Maria Stuarda), recital debuts at Sftl London's Wigmore Hall and at New York's Weill Recital Hall, and Mozart's Requiem with the mm Los Angeles Philharmonic. His first solo recording, music of Barber, Schumann, Hahn, and Liszt on EMI with pianist Bradley Moore, was named "Record of the Month" by Opera News. 1 Other Met roles have included Leopold in Halevy's La Juive and Vogelgesang in Die Meister- - singer von Nurnberg (telecast on PBS and available on DVD), as well as the First Prisoner in Fidelio and the First Student from Wittenberg in Busoni's Doktor Faust. He made his Houston Grand Opera debut as Belmonte, his Opera Theatre of St. Louis debut as Tamino, and his Wolf Trap Opera Company debut as Don Ottavio in Don Giovanni. Noteworthy concert appearances have included Messiah with the Baltimore Symphony, his New York solo recital debut under the auspices of the Marilyn Home Foundation, and a gala to honor Ms. Home at the University of Michigan. With the MET Chamber Ensemble under James Levine, he sang a concert ver- • .•> i sion of Stravinsky's Renard and performed songs by Erik Satie. ; Christin-Marie Hill (Anna) Making her Boston Symphony debut as Anna in Les Troyens, mezzo-soprano Christin-Marie Hill began her musical career as a jazz vocalist in Paris before beginning the transition into classical music in 1999. She has since added a wide range of operatic roles to her repertoire, including Carmen, Jezibaba (Rusalka), Ulrica (Un ballo in maschera), Dido and the Sorceress (Dido and Aeneas), Maddalena (Rigoletto), the Witch (Hansel and Gretel), Prince Orlofsky (Die Fledermaus), and La Principessa (Suor Angelica). In 2006, as a Tanglewood Music Center Vocal Fellow, she was Stella in the U.S. stage premiere of Elliott Carter's What Next? under the direction of James Levine at Tanglewood. Last summer at Tanglewood she sang William Bolcom's song cycle for mezzo-soprano and orchestra, A Whitman Triptych. Upcoming engagements include a return to Tangle- wood this summer as Leokadja Begbick in Kurt Weill's The Rise and Fall of the City of Mahagonny, also under Levine, and a 2009 appearance with the Rochester Symphony. Ms. Hill has appeared with the San Francisco Opera Merola Program, Minnesota Opera, Lyric ' Opera of Kansas City, the Connecticut Early Music Festival, Pensacola Opera, Des Moines Metro Opera, and Utah Festival Opera. She has performed in concert with the Tanglewood Music Center Orchestra, Springfield Symphony, New River Valley Symphony, the Prairie Ensemble, Sinfonia di Camera, Concerto Urbano, the University of Illinois Symphony, the Schubert Club, and the Blacksburg Master Chorale of Virginia. A native of Evanston, Illinois, she received a fellowship in voice from the University of Illinois as well as career grants from the San Francisco Opera, the Rislov Foundation, the Kaplan Foundation, and the 2005 Elardo International Opera Competition. Ms. Hill holds degrees in French literature, sociology, and vocal performance from the University of Illinois. WEEKS 25/26 GUEST ARTISTS 91 ' New Britain Museum of American Art New Britain, CT AnnBehaArchitects www.annbeha.com RUTH'S STEAK HOUSE BOSTON DLD CITY HALL, 45 SCHDDL ST., (617) 742-B401 Open for Lunch, Mdnday - Friday at Noon Providence GTech Center, ID Memorial Blvd., (4D1) 272-2271 Group Private Dining Available Reservations &. Gift Cards at www.RuthsChris.com The new 'Berkshire vttagefra % begins here.. .TV 3 HISTORY .,. j first-ever Boston' Pops internet TV show on bostonppps.tv :lusive footage fr BHHrHH ) I the newly released "Oscar & if. cd recording session, intervii 50-acre compound • Minutes to TanglewoocL musicians, conducting lesson by iv „ Starting at $1.2 million • www.erskinej)ark-com Lockhart, behind the scenes footage, and more. Goto bostonpops.tvl Erskine Park • Lee ma • 617.710.2740 92 David Kravitz (Trojan Soldier; First Trojan Sentry) Baritone David Kravitz has received wide critical acclaim for his singing, acting, and careful attention to text, on both the operatic and the concert stages. He appeared with the Boston Symphony Orchestra last season under the baton of James Levine in Schoenberg's Moses und Aron, and returned this March for the roles of Peter and Pilate in Bach's St. Matthew Passion under Bernard Haitink. In the 2005-06 season he joined the roster of New York City Opera, appearing as Olivier in Strauss's Capriccio. Last season's opera roles included Ko-Ko in The Mikado with Opera Theatre of St. Louis and the title role in Wozzeck with the New England Philharmonic; other opera roles have included Leporello and the title role in Don Giovanni, Figaro in The Barber of Seville, Count Almaviva in The Marriage of Figaro, Papageno in The Magic Flute, Don Alfonso in Cos/ fan tutte, Nick Shadow in The Rake's Progress, and Captain Corcoran in HMS Pinafore. He has performed as a featured soloist at Carnegie Hall (to which he returns this year for Handel's Messiah), Avery Fisher Hall, and Boston's Symphony Hall and Jordan Hall, under such conductors as Seiji Ozawa, Roger Norrington, Grant Llewellyn, Martin Pearlman, Craig Smith, David Hoose, and Gil Rose. Mr. Kravitz has presented world and regional premieres of works by John Harbison, Andy Vores, Edward Cohen, and George Rochberg, among others, and has recorded for Koch International Classics and New World. Highlights of the current season include Handel's Semele with Opera Boston, Mahler's Lieder eines fahrenden Gesellen with the New England Philharmonic, Purcell's King Arthur with Boston Baroque, and return engagements with Opera Theatre of St. Louis, Emmanuel Music, and the Cantata Singers. Kate Lindsey (Ascanius) Mezzo-soprano Kate Lindsey appears twice with James Levine and the Boston Symphony Orchestra this season— she made her BSO debut in John Harbison's BSO-commissioned Symphony No. 5 in mid-April, and she sings Ascanius in these season-ending concert performances of Berlioz's Les Troyens. Ms. Lindsey returned to the Metropolitan Opera this season as Cherubino in Le nozze de Figaro, Stephano in Romeo et Juliette, and the Madrigal Singer in Manon Lescaut. A recent graduate of the Metropolitan Opera's Lindemann Young Artist Development Program, she made her debut there as Javotte in Manon and has since appeared as the Second Lady in the new English-language chil- dren's version of The Magic Flute (which was broadcast in HD in movie theaters around the world), Tebaldo in Don Carlo, and Siebel in Faust. Other recent engagements have included several debuts— with Boston Lyric Opera as Cherubino, with the Cleveland Orchestra in performances of Haydn's Harmoniemesse conducted by Franz Welser-Most, and with the Met Chamber Ensemble in Zankel Hall. Ms. Lindsey has also appeared as Stephano, Rosina in // barbiere di Siviglia, and Mercedes in Carmen at Opera Theatre of Saint Louis (where she was a Gerdine Young Artist), as Angelina in La Cenerentola at Wolf Trap Opera, and as Rosina at Washington East Opera. A native of Richmond, Virginia, Ms. Lindsey holds a bache- lor of music degree with distinction from Indiana University. Her many awards include the 2007 Richard F. Gold Career Grant, the 2007 George London Award in memory of Lloyd Rigler, the 2007 Lincoln Center Martin E. Segal Award, and a 2006 Sullivan Foundation Grant. She was first-place winner of the 2005 Licia Albanese Puccini Foundation Competition, a WEEKS 25/26 GUEST ARTISTS Ronald Thomas, Artistic Director Alan Mann, Executive Director UPCOMING EVENTS Apr. 25, Jordan Hall • Apr. 27, Sanders Theatre • 7:30 p.m. Prokofiev Sonata for Two Violins, Op. 56 Brahms Viola Sonata in E-flat major, Op. 120, No. 2 Dvorak Piano Quintet in A major, Op. 81 May 1 8, Sanders Theatre • 7:30 p.m. Mozart Piano Trio in C major, K. 548 Brahms Piano Quartet in C minor, Op. 60 Mahler Das Lied von der Erde (The Song of the Earth) Arranged for chamber ensemble by Schoenberg/Ftiehm www.bostonchambermusic.org 61 7.349.0086 Specializing in private homes and private schools HP 94 regional finalist in the 2004 Metropolitan Opera National Council Auditions, first-place win- ner in the Student Division of the 2004 Palm Beach Opera Competition, and a major winner in the 2004 Opera Index Competition. Ronald Naldi (Heknus) Making his Boston Symphony debut in these performances of Les Troyens, lyric tenor Ronald Naldi has sung in more than 100 operas, among them Nobucco, Macbeth, Un giorno di regno, Rigoletto, La traviata, Le villi, La boheme, Madama Butterfly, Gianni Schicchi, Don Giovanni, Cos! fan tutte, Die Entfuhrung aus dem Serail, L'elisir d'amore, Lucia di Lammermoor, Don Pasquale, La sonnambula, Faust, Boris Godunov, The Bartered Bride, and A Midsummer Night's Dream. With St. Luke's Chamber Ensemble he has sung more than 200 per- formances of chamber operas by Haydn, Mozart, Offenbach, Rieti, Bakst, Fioravanti, and Rossini. He made his Metropolitan Opera debut in Les Troyens and has since sung Rodolfo in La boheme, Arturo and Normanno in Lucia, the Marquis in The Ghosts of Versailles, Tchekalinsky in Pique Dame, Vogelgesang in Die Meistersinger von Nurnberg, Ismaele in Nabucco, and the Shepherd in Oedipus Rex, among others. This season brings Met performances as Malcolm in Macbeth, and Helenus in Les Troyens with the Boston Sym- phony in Boston and at Tanglewood conducted by James Levine. With Coro Lirico he recently sang the title role in Mozart's Idomeneo. Mr. Naldi has sung at the festivals of Spoleto, Waterloo, and the Garden State Arts Center, and has toured China, Egypt, the Arab Emirates, and Paki- stan with the Ambassadors of Opera. He has sung an extensive repertory of thirty oratorios WEEKS 25/26 GUEST ARTISTS 95 ' Casner & Edwards, llp ATTORNEYS AT LAW Personalized Legal Services for Individuals, Businesses and Institutions Estate Planning and Wealth Management Probate & Family Tax Business & Corporate Real Estate Nonprofit Organizations Civil Litigation 303 Congress Street, Boston, Massachusetts 02210 Phone 617-426-5900, Fax 617-426-8810, www.casneredwards.com ORCHESTRAS Federico Cortese, Music Director BOSTON YOUTH SYMPHONY Federico Cortese, Conductor Yo-Yo Ma, cello DVORAK Symphony No. 8 DVORAK Cello Concerto in B minor 'BYSO has earned a reputation for excellence" May 18, 2008 at 3 pm -THE BOSTON GLOBE Symphony Hall For ticket information: The 2007-2008 50th anniversary season is presented by (617)-266-1200 JPMorgan Chase & Co. www.BYSOweb.org BYSO is in residence at Boston University's College of Fine Arts 9 6 and has performed with more than twenty symphony orchestras, working with such noted conductors as Levine, Gergiev, and Mackerras. A native of New Jersey, he holds degrees from Indiana University and later studied with Luigi Ricci in Rome under a Fulbright grant. He made his professional debut with the Rome Chamber Opera in Pergolesi's Maestro di cappella. mm3£sb t«2l •'..- Eric Owens (Ghost of Hector; Mercury) ''•'' Hk American bass-baritone Eric Owens is equally at home singing new music and classic works, v& in recital, in opera. engagements for the current season include his in concert, and Opera nHBB debut with Lyric Opera of Chicago as General Leslie Groves— a role he originated— in John Adams's Doctor Atomic; the King of Scotland in Handel's Ariodante at San Fran- cisco Opera, and Oroveso in Bellini's Norma with the Opera Company of Philadelphia. 12» Concert performances include Beethoven's Ninth Symphony with the Los Angeles Philharmonic at the Hollywood Bowl; concert performances of Adams's most recent opera, A Flowering Tree, with the London Symphony Orchestra (also recorded by None- such); his Chicago Symphony debut in Mozart's Mass in C minor; Verdi's Requiem with the Milwaukee Symphony Orchestra; Paulus's To Be Certain of the Dawn with the Minnesota Orchestra (to be recorded for commercial release); concert performances of Berlioz's Les Troyens with the Boston Symphony Orchestra under James Levine; and A Flowering Tree with the Radio Filharmonisch Orkest in Amsterdam. He is featured on a Telarc recording of Mozart's Requiem with Donald Runnicles and the Atlanta Symphony. In addition to both popular and critical acclaim, Eric Owens has been recognized with multiple awards, including the 2003 Marian Anderson Award, a 1999 ARIA award, and first prize in the Placido Domingo Operalia Competition, the Metropolitan Opera National Council Auditions, and the Luciano Pavarotti International Voice Competition, among many others. A native of Philadel- phia, he serves on the Board of Trustees of the National Foundation for Advancement in the Arts and Astral Artistic Services. Visit www.eric-owens.com for additional information. Mr. Owens's only previous Boston Symphony appearances were in December 2006, in John Adams's El Nino with David Robertson conducting. Julien Robbins (Priam; Ghost of Priam) American bass-baritone Julien Robbins has sung more than fifty roles at the Metropolitan Opera in twenty-four consecutive seasons since his 1979 debut. Internationally, the Pennsyl- vania native has appeared in productions of Don Giovanni, Le nozze di Figaro, La boheme, Aida, Carmen, Trouble in Tahiti, II barbiere di Siviglia, Otello, Le Comte Ory, and Un ballo in maschera, with such companies as Milan's Teatro alia Scala, Berlin's Deutsche Oper, the Hamburg Staatsoper, Lisbon Opera, Opera de Nice, and Opera de Monte Carlo, as well as in Sao Paulo, Brazil, and at the Glyndebourne Festival. In the United States he is a frequent guest of such companies as San Francisco Opera, Lyric Opera of Chicago, Florida Grand Opera, and Washington Opera, as well as Spoleto Festival USA and the opera companies of San Diego, Baltimore, Los Angeles, Santa Fe, Philadelphia, and Cincinnati. He has made concert appearances in / Capuleti ed i Montecchi with Opera Orchestra of New York, Beethoven's Choral Fantasy with the Boston Symphony Orchestra under Seiji Ozawa, Berlioz's Romeo et Juliette with the BSO under James Levine, Beethoven's WEEKS 25/26 GUEST ARTISTS (97 EH BOSTON SYMPHONY ORCHESTRA salutes MetLife Foundation a leading foundation supporter of BSO Youth Education Programs Recognizing the contribution the arts make to the health, vitality, and development of our communities, MetLife Foundation has made a significant commitment to assisting the BSO in making high-quality learning experiences in music and the arts available to schoolchildren statewide. MetLife Foundation's generous multi- year support has helped fund these youth programs over the past six years. ;3v,."j£Si£ A variety of BSO K-12 education programs ) serve over 60,000 stu- dents (as well as hun- ) dreds of teachers) across the Commonwealth, providing substantive, i curriculum-integrated arts exposure and education in the public schools and helping to ensure the continued role of the arts in public education. For program and teacher workshop information, please call the BSO's Education Office at 617-638-9300. PHOTOGRAPHY: MIRO VINTONIV 1 ' Symphony No. 9 with the Israel Philharmonic under Zubin Mehta, Messiah and Bach's B minor Mass with New York's Musica Sacra, and Mozart's Mass in C at Lincoln Center's Mostly jWJJUi Mozart Festival, among others. Mr. Robbins has recorded Beethoven's Choral Fantasy with the Verdi's La traviata for Deutsche Grammophon, and Boston Symphony Orchestra for Telarc, Baal Strauss's Salome for Sony Classical. He made his Boston Symphony debut with Beethoven's Vivaldi in March 1983. His most recent Choral Fantasy in October 1982, returning for music of MM BSO performances were in Berlioz's Romeo et Juliette with James Levine conducting, in Decem- Mm ber 2004 in Boston and at Carnegie Hall. w Tanglewood Festival Chorus John Oliver, Conductor The Tanglewood Festival Chorus opened its 2007-08 season in October 2007 performing Ravel's Daphnis et Chloe with James Levine and the Boston Symphony Orchestra in Boston and at Carnegie Hall. Also this season with the BSO the chorus performs the world and New York premieres of William Bolcom's Eighth Symphony and concert performances of Berlioz's Les Troyens with James Levine; Bach's St. Matthew Passion with BSO Con- ductor Emeritus Bernard Haitink, and Elgar's The Dream of Gerontius with Sir Colin Davis. In summer 2008 at Tanglewood, the chorus will perform Les Troyens, Eugene Onegin, and The Rise and Fall of the City of Mahagonny with James Levine, Mahler's Symphony No. 2, Resurrection, with Bernard Haitink, Beethoven's Mass in C with Rafael Fruhbeck de Burgos, and Beethoven's Ninth Symphony with Christoph von Dohnanyi, as well as its annual Prelude Concert led by John Oliver in Seiji Ozawa Hall. Following its summer 2007 Tanglewood performances, the chorus joined Mr. Levine and the BSO in Europe for Berlioz's La Damnation de Faust in Lucerne, Essen, Paris, and London, also performing an a cappella program of its own in Essen and Trier. Organized in the spring of 1970, when founding conductor John Oliver became director of vocal and choral activities at the Tanglewood Music Center, the Tanglewood Festival Chorus ASSISTED LIVING Welcome To Living Well Welcome to the region's most rejuvenating and culturally enriching assisted living choice, where seniors can thrive in a community that promotes a healthy body, mind and spirit. . . Call 617-527-6566 today jLtoins Center for more information. A welcoming place for everyone • • . • We are open to people of all nationalities. 206 Wa tham Street. West Newton. MA 02465 www.scenter.or H« WEEKS 25/26 GUEST ARTISTS celebrated its thirty-fifth anniversary in 2005. Made up of members who donate their servic- es, and originally formed for performances at the BSO's summer home, the group is now the official chorus of the Boston Symphony Orchestra year-round, performing in Boston, New York, and at Tanglewood. The Tanglewood Festival Chorus has also performed with the BSO in Europe under Bernard Haitink and in the Far East under Seiji Ozawa. It can be heard on Boston Symphony recordings under Ozawa and Haitink, and on recordings with the Boston Pops Orchestra under Keith Lockhart and John Williams, as well as on the soundtracks to Clint Eastwood's Mystic River, Steven Spielberg's Saving Private Ryan, and John Sayles's Silver City. In addition, members of the chorus have performed Beethoven's Ninth Symphony with Zubin Mehta and the Israel Philharmonic at Tanglewood and at the Mann Music Center in Philadelphia, and participated in a Saito Kinen Festival production of Britten's Peter Grimes under Seiji Ozawa in Japan. In February 1998, singing from the General Assembly Hall of the United Nations, the chorus represented the United States in the Opening Ceremonies of the 1998 Winter Olympics when Mr. Ozawa led six choruses on five continents, all linked by satellite, in Beethoven's Ode to Joy. The Tanglewood Festival Chorus performed its Jordan Hall debut program at the New England Conservatory of Music in May 2004. In addition to his work with the Tanglewood Festival Chorus, John Oliver was for many years conductor of the MIT Chamber Chorus and MIT Concert Choir, and a senior lecturer in music at MIT. Mr. Oliver founded the John Oliver Chorale in 1977; has appeared as guest conductor with the New Japan Philharmonic and Berkshire Choral Institute; and has prepared the cho- ruses for performances led by Andre Previn of Britten's Spring Symphony with the NHK Symphony in Japan and of Brahms's Ein deutsches Requiem at Carnegie Hall. He made his Boston Symphony conducting debut in August 1985 and led the orchestra most recently in July 1998. NEW ENGLAND PHILHARMONIC Richard Pittman, Music Director WORLD TOUR Saturday, April 26 2008 8:00 p.m. Tsai Performance Center at Boston University Copland: Piano Concerto (with Randall Hodgkinson); Bartok: The Miraculous Mandarin; Rivera: Popol-Vuh: Four Mayan Dance Scenes (Call for Scores co-winner) www.nephilharmonic.org, 617-868-1222 100 Tanglewood Festival Chorus John Oliver, Conductor The Tanglewood Festival Chorus celebrated its 35th anniversary in the summer of 2005. In the following list, * denotes membership of 35 years or more, # denotes membership of 25-34 years. SOPRANOS Deborah Abel • Emily Anderson • Joy Emerson Brewer • Myfanwy Callahan • Jenifer Lynn Cameron • Catherine C. Cave • Anna S. Choi • Lorenzee Cole • Karen G insburg • Bonnie Gleason • Beth Grzegorzewski • Eileen Huang • Donna Kim • Yoo-Kyung Kim • Nancy Kurtz Barbara Levy* • Ruthie Miller • Kieran Murray • Livia Racz • Hannah Rosenbaum • Melanie W. Salisbury • Johanna Schlegel • Clara Schuhmacher • Joan P. Sherman * • Dana Sullivan Alison L. Weaver MEZZO - SOPRANOS Virginia Bailey • Martha A. R. Bewick • Betty Blanchard Blume • Betsy B. Bobo • Lauren A. Boice • Elizabeth Clifford • AnnMarie Darrow • Diane Droste • Paula Folkman # • Dorrie Freedman' • Irene Gilbride # • Mara Goldberg • Jessica Hao • Betty Jenkins • Gale Livingston' • Louise-Marie Mennier • Antonia R. Nedder • Andrea Okerholm • Roslyn Pedlar • Kathleen Schardin Katherine Slater • Ada Park Snider' • Julie Steinhilber # • Martha F. Vedrine • Cindy Vredeveld • Jennifer Walker • Marguerite Weidknecht • Jan Zimmerman TENORS John C. Barr • Brendan P. Buckley • Fredric Cheyette • Stephen Chrzan • Tom Dinger • Ron Efromson • Keith Erskine • Len Giambrone • J. Stephen Groff' • David M. Halloran • John W. Hickman' • Stanley Hudson' • Timothy Jarrett • James R. Kauffman • Carl Kraenzel • Lance Levine • Henry Lussier* • Glen F. Matheson • Mark Mulligan • Kevin Parker • David R. Pickett • Dwight E. Porter' • Guy F. Pugh • Peter Pulsifer • Sean Santry • Arend Sluis • Peter L. Smith • Stephen E. Smith • Stratton P. Vitikos BASSES Tyler Alderson • Thomas Anderson • Daniel E. Brooks# • Nicholas A. Brown • Matthew E. Crawford • Arthur M. Dunlap • Michel Epsztein • Jim Gordon • Marc J. Kaufman • David Kilroy • John Knowles* • G.P. Paul Kowal • Timothy Lanagan • Nathan Lofton • David K. Lones # • Christopher T. Loschen • Lynd Matt • Stephen H. Owades* • Michael Prichard Steven Ralston • Karl Josef Schoellkopf • Kenneth D. Silber • Scott Street • Bradley Turner • Thomas C. Wang • Terry L. Ward • Peter J. Wender' • Matthew Wright Mark B. Rulison, Chorus Manager Meryl Atlas, Assistant Chorus Manager Michel Epsztein and Henry Lussier, Diction Coaches Martin Amlin and Jodi Goble, Rehearsal Pianists WEEKS 25/26 GUEST ARTISTS 101 We take the same approach to investment advice. "Incredibly satisfying." That's how Fiduciary Trust clients describe the personalized, customized advice they receive from us. And with no predetermined menu of investment options, there's no limit to what we can do to achieve your goals. Personalized attention. Personalized investments. Find out how much more we bring to the table. To learn more, call Randy Kinard at 617-574-3432 or visit us at fiduciary-trust.com FIDUCIARYTRUST Managing Investments for Families since 1885 Investment Management • Estate and Financial Planning Corporate Trustee • Estate Settlement • Family Office Services 102 . , I i Experience eie^Kce/ on a whole new scale HtFV There may be many choices in retirement living, but few offer Hot the sophistication, elegance and culturally rich programming of Hebrew SeniorLife. Our two premier continuing care communities, "- Orchard Cove in Canton and NewBridge on the Charles in Dedham, opening in 2009, offer you a luxurious lifestyle, with spacious ' - residences, gourmet dining and lifelong learning experiences. All ':'" ..' •:, '. • backed by the security of the area's preeminent healthcare continuum. i raHi Discover retirement living that's in tune with your way of life. -v- Contact us for a tour today. Call us at (617) 363-8866 or log on to hebrewseniorlife.org. ' s ; w»i ., 'i • *! ' * " ; Hebrew . SeniorLife Care • Community • Innovation . ... ., 103 • • . i .. • LEEN SHER (55 EJJlM ' 1 " • . ' • • ; BERMUDA injoy the splendour of The Fairmont Southampton and it's magnificent medley of activities. Spend the day on the world-class golf course, at the private beach or the energizing Willow Stream Spa. Or, immerse yourself in the historic elegance and harbourside charm of The Fairmont Hamilton Princess, with afternoon tea at Heritage Court or a delightful dinner in the award-winning Harley's Restaurant. Treat yourself to an escape at one hotel and enjoy both with full exchange privileges and complimentary ferry service. No other hotels in Bermuda provide a more resplendent and rewarding retreat than the famed Fairmont hotels. BSO Patrons receive 20% off rates at The Fairmont Southampton and The Fairmont Hamilton Princess. For reservations please call 1 800 441 1414 or visit us at www.fairmont.com Symphony Hall Exit Plan MASSACHUSETTS AVENUE llll * -t. I c n z 2 > H A oo Hin O Z LU C) \ 1ST BALCONY CD *> "? 13 >oA H < AND i- O > O 1- z 10 / 2ND BALCONY > Pi < 5 * m J Z C 4/ i i ^ ^ MASSACHUSETTS AVENUE IN CASE OF EMERGENCY Follow any lighted exit sign to street. Do not use elevators. Walk, do not run. 106 . 9BB -*vt& *K- • " - i *# Btffl?¥-2£.<*4 *5lK ...... Symphony Hall Information M ; mmI For Symphony Hall concert and ticket information, call (617) 266-1492. For Boston Symphony concert program information, call "C-O-N-C-E-R-T" (266-2378). .*»' '.« The Boston Symphony performs ten months a year, in Symphony Hall and at Tanglewood. For information about *M any of the orchestra's activities, please call Symphony Hall, or write the Boston Symphony Orchestra, Symphony TOrf Hall, Boston, MA 02115. The BSO's web site (www.bso.org) provides information on all of the orchestra's activities at Symphony Hall and at Tanglewood, and is updated regularly. In addition, tickets for BSO concerts can be purchased online through a secure credit card transaction. The Eunice S. and Julian Cohen Wing, adjacent to Symphony Hall on Huntington Avenue, may be entered by the Symphony Hall West Entrance on Huntington Avenue. In the event of a building emergency, patrons will be notified by an announcement from the stage. Should the ! building need to be evacuated, please exit via the nearest door (see map on opposite page), or according to instructions. For Symphony Hall rental information, call (617) 638-9240, or write the Director of Event Services, Symphony Hall, Boston, MA 02115. . The Box Office is open from 10 a.m. until 6 p.m. Monday through Saturday; on concert evenings it remains open through intermission for BSO events or just past starting time for other events. In addition, the box office opens Sunday at 1 p.m. when there is a concert that afternoon or evening. Single tickets for all Boston Symphony sub- scription concerts are available at the box office. For most outside events at Symphony Hall, tickets are available three weeks before the concert at the box office or through SymphonyCharge. To purchase BSO Tickets: American Express, MasterCard, Visa, Diners Club, Discover, a personal check, and cash are accepted at the box office. To charge tickets instantly on a major credit card, or to make a reservation and then send payment by check, call "SymphonyCharge" at (617) 266-1200, from 10 a.m. until 5 p.m. Monday through Friday (until 4 p.m. on Saturday). Outside the 617 area code, phone 1-888-266-1200. As noted above, tickets can also be purchased online. There is a handling fee of $5.50 for each ticket ordered by phone or online. Group Sales: Groups may take advantage of advance ticket sales. For BSO concerts at Symphony Hall, groups of twenty-five or more may reserve tickets by telephone and take advantage of ticket discounts and flexible payment options. To place an order, or for more information, call Group Sales at (617) 638-9345 or (800) 933-4255. For patrons with disabilities, elevator access to Symphony Hall is available at both the Massachusetts Avenue and Cohen Wing entrances. An access service center, large print programs, and accessible restrooms are avail- able inside the Cohen Wing. For more information, call the Access Services Administrator line at (617) 638-9431 or TDD/TTY (617) 638-9289. < Those arriving late or returning to their seats will be seated by the patron service staff only during a convenient pause in the program. Those who need to leave before the end of the concert are asked to do so between pro- gram pieces in order not to disturb other patrons. In consideration of our patrons and artists, children four years old or younger will not be admitted to Boston Symphony Orchestra concerts. Ticket Resale: If you are unable to attend a Boston Symphony concert for which you hold a subscription ticket, you may make your ticket available for resale by calling (617) 266-1492 during business hours, or (617) 638- 9426 up to one hour before the concert. This helps bring needed revenue to the orchestra and makes your seat WEEKS 25/26 SYMPHONY HALL INFORMATION ( "\OJ : available to someone who wants to attend the concert. A mailed receipt will acknowledge your tax-deductible contribution. Rush Seats: There are a limited number of Rush Seats available for Boston Symphony subscription concerts on Tuesday and Thursday evenings, and on Friday afternoons. The low price of these seats is assured through the Morse Rush Seat Fund. Rush Tickets are sold at $9 each, one to a customer, at the Symphony Hall box office on Fridays as of 10 a.m. and Tuesdays and Thursdays as of 5 p.m. Please note that there are no Rush Tickets avail- able for Friday or Saturday evenings. Please note that smoking is not permitted anywhere in Symphony Hall. Camera and Recording equipment may not be brought into Symphony Hall during concerts. Lost and found is located at the security desk at the stage door to Symphony Hall on St. Stephen Street. First aid facilities for both men and women are available. On-call physicians attending concerts should leave their names and seat locations at the Cohen Wing entrance on Huntington Avenue. Parking: The Prudential Center Garage offers discounted parking to any BSO patron with a ticket stub for evening performances. There are also two paid parking garages on Westland Avenue near Symphony Hall. Limited street parking is available. As a special benefit, guaranteed pre-paid parking near Symphony Hall is available to sub- scribers who attend evening concerts. For more information, call the Subscription Office at (617) 266-7575. Elevators are located outside the Hatch and Cabot-Cahners rooms on the Massachusetts Avenue side of Symphony Hall, and in the Cohen Wing. Ladies' rooms are located on both main corridors of the orchestra level, as well as at both ends of the first bal- cony, audience-left, and in the Cohen Wing. Men's rooms are located on the orchestra level, audience-right, outside the Hatch Room near the elevator; on the first-balcony level, also audience-right near the elevator, outside the Cabot-Cahners Room; and in the Cohen Wing. Coatrooms are located on the orchestra and first-balcony levels, audience-left, outside the Hatch and Cabot- Cahners rooms, and in the Cohen Wing. Please note that the BSO is not responsible for personal apparel or other property of patrons. Lounges and Bar Service: There are two lounges in Symphony Hall. The Hatch Room on the orchestra level and the Cabot-Cahners Room on the first-balcony level serve drinks starting one hour before each performance. For the Friday-afternoon concerts, both rooms open at noon, with sandwiches available until concert time. Boston Symphony Broadcasts: Friday-afternoon concerts of the Boston Symphony Orchestra are broadcast live in the Boston area by WGBH 89.7 FM. Saturday-evening concerts are broadcast live by WCRB 99.5 FM. BSO Friends: The Friends are donors to the Boston Symphony Orchestra Annual Funds. Friends receive priority ticket information and other benefits depending on their level of giving. For information, please call the Friends of the BSO Office at (617) 638-9276 or e-mail [email protected]. If you are already a Friend and you have changed your address, please inform us by sending your new and old addresses to the Development Office, Symphony Hall, Boston, MA 02115. Including your patron number will assure a quick and accurate change of address in our files. Business for BSO: The BSO Business Partners program makes it possible for businesses to participate in the life of the Boston Symphony Orchestra. Benefits include corporate recognition in the BSO program book, access to the Beranek Room reception lounge, two-for-one ticket pricing, and advance ticket ordering. For further informa- tion, please call the BSO Business Partners Office at (617) 638-9277 or e-mail [email protected]. The Symphony Shop is located in the Cohen Wing at the West Entrance on Huntington Avenue and is open Tuesday through Friday from 11 a.m. until 4 p.m.; Saturday from noon until 6 p.m.; and from one hour before each concert through intermission. The Symphony Shop features exclusive BSO merchandise, including the Symphony Lap Robe, calendars, coffee mugs, an expanded line of BSO apparel and recordings, and unique gift items. The Shop also carries children's books and musical-motif gift items. A selection of Symphony Shop merchandise is also available online at www.bso.org and, during concert hours, outside the Cabot-Cahners Room. All proceeds bene- fit the Boston Symphony Orchestra. For further information and telephone orders, please call (617) 638-9383. 108 . < Special Occasions require a Special Jeweler David&Company Sellers & Collectors Of Beautiful Jewelry 232 BOYLSTON STREET (RTE 9) CHESTNUT HILL,MA 02467 617.969.6262 • 1.800.328.4326 www.davidandcompany.com ' . ' 8 : . The Boston Symphony Orchestra is an ensemble of world-class musicians working as one to create something exceptional. At UBS, we understand that success relies on collaboration. It's why, as one of the world's leading financial firms, we work closely with our clients to deliver the customized solutions that help them pursue their goals. And it's why we celebrate the achievements of the Boston Symphony Orchestra and our other outstanding orchestral partners with you. UBS is the proud season sponsor of the Boston Symphony Orchestra. You & Us UBS 2008. All rights reserved. ..-..•. - . • ' '•• • • -•. • ...... JAMES LEVINE, MUSIC DIRECTOR BERNARD HAITINfC, CONDUCTOR EMERITUS SEiJI OZAWA, MUSIC DIRECTOR LAUREATE 127th season, 2007-2008 ' .... , „ - • • . - :' , ; . ' ,,• .- 1 2007-2008 SEASON SUMMARY - • • • •- WORKS PERFORMED DURING THE BOSTON SYMPHONY ORCHESTRA'S : 2007-2008 SUBSCRIPTION SEASON WEEK J.S. BACH The Passion According to St. Matthew, BWV 244 21 IAN BOSTRIDGE, tenor (Evangelist); THOMAS BAUER, baritone (Jesus); MARLIS PETERSEN, soprano; CHRISTIANNE STOTIJN, mezzo-soprano; : :; ' ' .'; : STEVE DAVISLIM, tenor; PETER HARVEY, bass-baritone; KENDRA COLTON, soprano (Pilate's Wife; 1st Maidservant); PAULA MURRIHY, mezzo-soprano (1st Witness; 2nd Maidservant); WILLIAM HITE, tenor (2nd Witness; 1st Priest); DAVID KRAVITZ, baritone (Peter; Pilate; Pontifex; 2nd Priest); MARK ANDREW CLEVELAND, bass (Judas); TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor; PALS CHILDREN'S CHORUS, ALYSOUN KEGEL, artistic director ' ' :-, , - ." * BARTOK . . . Piano Concerto No. 3 22 - ANDRAS SCHIFF, piano :%>• BEETHOVEN Piano Concerto No. 3 in C minor, Op. 37 3 LARS VOGT, piano Piano Concerto No. 5 in E-flat, Op. 73, Emperor 19 LEON FLEISHER, piano (March 6, 7, 8) ANTON KUERTI, piano (March 11) Symphony No. 5 in C minor, Op. 67 BERG i ' Chamber Concerto for piano and violin with thirteen wind instruments 17 ' i ... : ; ISABELLE FAUST, violin; PETER SERKIN, piano i ••'- Violin : ' Concerto 6 : CHRISTIAN TETZLAFF, violin BERLIOZ Les Troyens, Opera in five acts: Part 1 (Acts I and \\)-The Capture of Troy 25/26 MARCELLO GIORDANI, tenor (Aeneas); YVONNE NAEF, mezzo-soprano ; (Cassandra); DWAYNE CROFT, baritone (Chorebus); Richard Zeller, baritone (Chorebus; April 24 only); CLAYTON BRAINERD, bass-baritone (Panthus); JULIEN ROBBINS, bass-baritone (Priam); KATE LINDSEY, mezzo-soprano (Ascanius); • . .. JANE BUNNELL, mezzo-soprano (Hecuba); RONALD NALDI, tenor (Helenus); DAVID KRAVITZ, baritone (Trojan Soldier); JAMES COURTNEY, bass-baritone (Greek Captain); ERIC OWENS, bass (Ghost of Hector); TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor - Les Troyens, Opera in five acts: Part 2 (Acts 111, IV, and V)-7he Trojans at Carthage 25/26 MARCELLO GIORDANI, tenor (Aeneas); ANNE SOFIE VON OTTER, mezzo- soprano (Dido); KWANGCHUL YOUN, bass (Narbal); CHRISTIN-MARIE HILL, mezzo-soprano (Anna); KATE LINDSEY, mezzo-soprano (Ascanius); ERIC CUTLER, tenor (lopas); PHILIPPE CASTAGNER, tenor (Hylas); CLAYTON BRAINERD, bass-baritone (Panthus); DAVID KRAVITZ, baritone (First Trojan Sentry); JAMES COURTNEY, bass-baritone (Second Trojan Sentry); YVONNE NAEF, mezzo-soprano (Ghost of Cassandra); DWAYNE CROFT, baritone (Ghost of Chorebus); JULIEN ROBBINS, bass-baritone (Ghost of Priam); ERIC OWENS, bass (Mercury; Ghost of Hector); TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor Orchestral excerpts from Romeo et Juliette BOLCOM Eighth Symphony for Chorus and Orchestra on William Blake's Prophetic Books 18 (world premiere; BSO 125th Anniversary Commission) TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor BRAHMS Piano Concerto No. 1 in D minor. Op. 15 23 (April 11 and 12) EVGENYKISSIN, piano Piano Concerto No. 2 in B-flat 23 (April 8 and 9) EVGENYKISSIN, piano Serenade No. 2 in A, Op. 16 17; 18 (except Feb. 28)" Symphony No. 3 in F, Op. 90 23 BRUCKNER Symphony No. 9 in D minor CARTER Horn Concerto (world premiere; BSO commission) JAMES SOMMERVILLE, horn DEAN The Lost Art of Letter Writing, for violin and orchestra (American premiere) FRANK PETER ZIMMERMANN, violin DEBUSSY La Mer DUPARC Songs with orchestra: "L'lnvitation au voyage"; "Extase"; "Le Manoir de Rosemonde"; "Phidyle" RENEE FLEMING, soprano DUTILLEUX Le Temps THorloge, for soprano and orchestra (American premiere; BSO 125th Anniversary Co-commission) RENEE FLEMING, soprano DVORAK Symphony No. 7 in D minor, Op. 70 19 Symphony No. 8 in G, Op. 88 10 'replacing orchestrated Schubert Lieder due to Thomas Quasthoff's illness ELGAR The Dream of Gerontius, Op. 38 14 SARAH CONNOLLY, mezzo-soprano; BEN HEPPNER, tenor; GERALD FINLEY, bass-baritone; TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor GANDOLFI The Garden of Cosmic Speculation GOLIJOV Auseno'a, for cello and strings 10 YO-YO MA, cello Azul, for cello and orchestra 10 YO-YO MA, cello HARBISON Symphony No. 5 for Baritone, Mezzo-soprano, and Orchestra 24 (world premiere; BSO commission) NATHAN GUNN, baritone; KATE LINDSEY, mezzo-soprano HAYDN Symphony No. 104 in D, London 7, UBS KNUSSEN W The Way to Castle Yonder, Op. 21a 19 Hi LUTOSLAWSKI mm Musique funebre for string orchestra •'.-•' MAHLER M Das Lied von der Erde 24 ANNE SOFIE VON OTTER, mezzo-soprano; BEN HEPPNER, tenor Symphony No. 1 in D 7, UBS Symphony No. 9 6, Tues B MARTIN Petite Symphonie concertante, for harp, harpsichord, piano, and double string orchestra 15 ANN HOBSON PILOT, harp; MARK KROLL, harpsichord; RANDALL HODGKINSON, piano MOZART Piano Concerto No. 23 in A, K.488 13 MITSUKO UCHIDA, piano Symphony No. 1 in E-flat, K.16 5 Symphony No. 29 in A, K.201 17 Symphony No. 36 in C, K.425, Linz 13 Violin Concerto No. 2 in D, K.211 5 FRANK PETER ZIMMERMANN, violin MUSSORGSKY (orch. RAVEL) Pictures at an Exhibition 11 POULENC Concerto in G minor for Organ, Timpani, and Strings SIMON PRESTON, organ 2007-2008 SEASON SUMMARY PROKOFIEV Violin Concerto No. 1 in D, Op. 19 15 VIVIANEHAGNER, violin RACHMANINOFF Piano Concerto No. 2 in C minor, Op. 18 12 LEIFOVEANDSNES, piano RAVEL Alborada del gracioso Daphnis et Chloe (complete) TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor Pavane for a Dead Princess Piano Concerto in G JEAN-YVES THIBAUDET, piano SAINT-SAENS Symphony No. 3 in C minor, Op. 78, Organ Symphony 15 JAMES DAVID CHRISTIE, organ SCHUBERT Orchestrated Lieder: 18 (Feb 28 only) Tranenregen, D.795, No. 10 (orch. Webern) Prometheus, D.674 (orch. Reger) Der Wegweiser, D.911, No. 20 (orch. Webern) Stdndchen, D.957, No. 4 (orch. Offenbach) Erlkonig, D.328 (orch. Reger) THOMAS QUASTHOFF, bass-baritone Symphony No. 2 in B-flat, D.125 13 Symphony No. 4 in C minor, D.417, Tragic 18 Symphony in C, D.944, The Great 22 SCHUMANN Piano Concerto in A minor, Op. 54 20 GARRICKOHLSSON, piano Symphony No. 2 in C, Op. 61 5 SHOSTAKOVICH Cello Concerto No. 2, Op. 126 TRULS M0RK, cello Symphony No. 4 in C minor, Op. 43 16 Symphony No. 5 in D minor, Op. 47 20 SIBELIUS Violin Concerto in D minor, Op. 47 16 VADIMREPIN, violin SMETANA Overture to The Bartered Bride 8 Ma Vlast (complete) 8 STRAUSS An Alpine Symphony, Op. 64 12 Don Juan, Op. 20 11 7/7/ Eulenspiegel's Merry Pranks, Op. 28 11 TCHAIKOVSKY Symphony No. 6 in B minor, Op. 74, Pathetique . ' OPENING NIGHT Thursday, October 4, 2007, at 6:30 p.m. JAMES LEVINE, conductor SUSAN GRAHAM, mezzo-soprano JEAN-YVES THIBAUDET, piano '-. ALL-RAVEL Alborada del gracioso PROGRAM Sheherazade, for mezzo-soprano and orchestra Piano Concerto in G Daphnis et Chloe, Suite No. 2 = : " UBS THANKSGIVING CONCERT Friday, November 16, 2007, at 8:30 JAMES LEVINE, conductor HAYDN Symphony No. 104 in D, London .. MAHLER Symphony No. 1 in D ifsSe* ADDITIONAL SPECIAL CONCERTS AT SYMPHONY HALL Wednesday, November 7, 2007 SIMON BOLIVAR YOUTH ORCHESTRA OF VENEZUELA GUSTAVO DUDAMEL, conductor A* Presented by New England Conservatory in association with the Celebrity Series and the BSO BARTOK Concerto for Orchestra BEETHOVEN Symphony No. 7 in A, Op. 92 BERNSTEIN Symphonic Dances from West Side Story Sunday, February 24, 2008, at 3 p.m. THOMAS QUASTHOFF, bass-baritone t< JAMES LEVINE, piano SCHUBERT Winterreise, D.911 2007-2008 SEASON SUMMARY 5 i •- . . i •• QWkm -.«.'*' CONDUCTORS OF THE BOSTON SYMPHONY ORCHESTRA DURING THE 2007"2008 SEASON WEEK JAMES LEVINE, Music Director Opening Night, 1, 6/Tues B, 7/UBS, 8, 9, 17, 18, 23, 24, 25/26 BERNARD HAITINK, Conductor Emeritus 21,22 SIR COLIN DAVIS 13,14 CHRISTOPH VON DOHNANYI 3 CHARLES DUTOIT 15 MARK ELDER 16 RAFAEL FRUHBECK DE BURGOS 11,12 DANIELE GATTI 20 MIGUEL HARTH-BEDOYA 10 MAREKJANOWSKI 4 JULIAN KUERTI 19 ROBERT SPANO 2 MARKUSSTENZ 5 SOLOISTS WITH THE BOSTON SYMPHONY ORCHESTRA DURING THE 2007-2008 SEASON WEEK LEIFOVEANDSNES, piano 12 THOMAS BAUER, baritone 21 IAN BOSTRIDGE, tenor 21 CLAYTON BRAINERD, bass-baritone 25/26 JANE BUNNELL, mezzo-soprano 25/26 PHILIPPE CASTAGNER, tenor 25/26 JAMES DAVID CHRISTIE, organ 15 MARK ANDREW CLEVELAND, bass 21 KENDRA COLTON, soprano 21 SARAH CONNOLLY, mezzo-soprano 14 JAMES COURTNEY, bass-baritone 25/26 DWAYNE CROFT, baritone 25/26 ERIC CUTLER, tenor 25/26 STEVE DAVISLIM, tenor 21 ISABELLE FAUST, violin 17 GERALD FINLEY, bass-baritone 14 LEON FLEISHER, piano 19 RENEE FLEMING, soprano 9 MARCELLO GIORDANI, tenor 25/26 SUSAN GRAHAM, soprano Opening Night NATHAN GUNN, baritone 24 VIVIANEHAGNER, violin 15 PETER HARVEY, bass-baritone 21 BEN HEPPNER, tenor 14, 24* CHRISTIN-MARIE HILL, mezzo-soprano 25/26 ". WILLIAM HUE, tenor 21 RANDALL HODGKINSON, piano 15 EVGENY KISSIN, piano 23 m DAVID KRAVITZ, baritone 21, 25/26 harpsichord 15 MARK KROLL, '" ANTON KUERTI, pianot 19 - -, - KATE LINDSEY, mezzo-soprano 24, 25/26 YO-YO MA, cello 10 TRULS M0RK, cello 4 PAULA MURRIHY, mezzo-soprano 21 YVONNE NAEF, mezzo-soprano 25/26 RONALD NALDI, tenor 25/26 GARRICKOHLSSON, piano 20 ERIC OWENS, bass 25/26 MARLIS PETERSEN, soprano 21 ANN HOBSON PILOT, harp 15 SIMON PRESTON, organ 2 THOMAS QUASTHOFF, bass-baritone 18 VADIMREPIN, violin 16 JULIEN ROBBINS, bass-baritone 25/26 ANDRAS SCHIFF, piano 22 PETER SERKIN, piano 17 JAMES SOMMERVILLE, horn 7 CHRISTIANNE STOTIJN, mezzo-soprano 21 CHRISTIAN TETZLAFF, violin 6 JEAN-YVES THIBAUDET, piano Opening Night, 1 MITSUKO UCHIDA, piano 13 LARS VOGT, piano 3 ANNE SOFIE VON OTTER, mezzo-soprano 24, 25/26 KWANGCHUL YOUN, bass 25/26 RICHARD ZELLER, baritone* 25 FRANK PETER ZIMMERMANN, violin 5 TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor 1, 14, 18, 21, 25/26 PALS CHILDREN'S CHORUS, ALYSOUN KEGEL, artistic director 21 Replacing Johan Botha i" replacing Leon Fleisher * replacing Dwayne Croft • . - 2007-2008 SEASON SUMMARY 7 K^^y - - WORKS PERFORMED IN SYMPHONY HALL PRELUDE CONCERTS, CHAMBER MUSIC TEAS, AND COMMUNITY CONCERTS DURING THE 2007-2008 SUBSCRIPTION SEASON WEEK BARTOK Duos (arranged for horn and violin) 4 String Quartet No. 6 22 BRAHMS Trio in E-flat, for violin, horn, and piano, Op. 40 DVORAK Quintet in G for two violins, viola, cello, and double bass, Op. 77 FRANCK String Quartet in D GESSENEY-RAPPO L'Aube derobee for string quartet 14A MICHAEL HAYDN Divertimento in E-flat for viola, cello, and double bass 22 HEIDEN Quintet for Horn and String Quartet 14A KALABIS String Quartet No. 5, Op. 63, In Memory of Marc Chagoll 14A MENDELSSOHN String Quartet No. 2 in A minor, Op. 13 22 MOZART Quintet in E-flat for horn, violin, two violas, and cello, K.407(386c) 14A RAVEL Sonata for Violin and Cello SAINT-SAENS String Quartet No. 2 in G, Op. 153 SCHUBERT Octet in F for winds and strings, D. 803 23 Quintet in A for piano, violin, viola, cello, and double bass, D.667, Trout 22 SCHUMANN Quartet in E-flat for piano, violin, viola, and cello, Op. 47 20/21 SHOSTAKOVICH String Quartet No. 1 in C, Op. 49 20/21 . - I - -. ' PERFORMERS IN SYMPHONY HALL PRELUDE CONCERTS, CHAMBER MUSIC TEAS, ANC COMMUNITY CONCERTS DURING THE 2007"2008 SUBSCRIPTION SEASON WEEK ' - . ; JONATHAN BASS, piano 22 EDWIN BARKER, double bass 6 ROBERT BARNES, viola 6,23 NANCY BRACKEN, violin 6 TATIANA DIMITRIADES, violin 22 RACHEL FAGERBURG, viola 22 SHEILA FIEKOWSKY, violin 23 CATHERINE FRENCH, violin 20/21 EDWARD GAZOULEAS, viola 22 REBECCA GITTER, violin 7 HAWTHORNE STRING QUARTET 14A (RONAN LEFKOWITZ and SWING HUANG, violins MARK LUDWIG, viola; SATO KNUDSEN, cello) JASON HOROWITZ, violin 7,22 ELITA KANG, violin 7 MICKEY KATZ, cello 20/21, 23 DANIEL KATZEN, horn 4,23 SHIELA KIBBE, piano 4 VALERIA VILKER KUCHMENT, violin 6 JULIANNE LEE, violin 22,23 BENJAMIN LEVY, double bass 23 THOMAS MARTIN, clarinet 23 JONATHAN MILLER, cello 6,22 IKUKO MIZUNO, violin 4 ALINA POLYAKOV, piano 20/21 RICHARD RANTI, bassoon 23 AZA RAYKHTSAUM, violin 20/21 TODD SEEBER, double bass 22 OWEN YOUNG, cello 7,22 JAY WADENPFUHL, horn 14A MICHAEL ZARETSKY, viola 20/21 : •? • ... • . ' i . • - -••• • . 2007-2008 SEASON SUMMARY y - THREE-CONCERT SERIES AT CARNEGIE HALL Monday, October 8, 2007, at 8 p.m. JAMES LEVINE, conductor JEAN-YVES THIBAUDET, piano TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor ALL-RAVEL Alborada del gracioso PROGRAM Pavane for a Dead Princess Piano Concerto in G Daphnis et Chloe (complete) Monday, December 3, 2007, at 8 p.m. JAMES LEVINE conductor RENEE FLEMING, soprano BERLIOZ Orchestral excerpts from Romeo et Juliette DUTILLEUX Le Temps I'Horloge, for soprano and orchestra (American premiere; BSO 125th Anniversary Co-commission) DUPARC Songs with orchestra: "L'lnvitation au voyage"; "Extase"; "Le Manoir de Rosemonde"; "Phidyle" DEBUSSY La Mer Monday, March 3, at 8 p.m. JAMES LEVINE, conductor TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor SCHUBERT Symphony No. 4 in C minor, D.417, Tragic BRAHMS Serenade No. 2 in A, Op. 16* BOLCOM Eighth Symphony for Chorus and Orchestra on William Blake's Prophetic Books Replacing orchestrated Schubert Lieder due to Thomas Quasthoff's illness 10 BOSTON SYMPHONY CHAMBER PLAYERS 2007-2008 Subscription Season Four Sunday afternoons at 3 p.m. in Jordan Hall at New England Conservatory of Music October 21, 2007 with LARS VOGT, piano DVORAK Quintet No. 2 in A for piano and strings, Op. 81 BRAHMS Serenade No. 1 in D, Op. 11 (arr. Boustead) January 13, 2008 with LEIF OVE ANDSNES, piano PAULA MURRIHY, mezzo-soprano (Falla) JULIAN KUERTI, conductor (Falla) SCHUMANN Piano Trio No. 2 in F, Op. 80 FALLA El corregidor y la molinera, for mezzo-soprano and chamber ensemble February 10, 2008 HINDEMITH Morgenmusik, for brass ensemble TAKEMITSU Rain Spell, for flute, clarinet, piano, harp, and vibraphone HAG EN Concerto for Brass Quintet DAHL Duettino concertante for Flute and Percussion MOZART Serenade No. 11 in E-flat, K.375, for two oboes, two clarinets, two bassoons, and two horns May 11, 2008 with JULIAN KUERTI, conductor (Foss, Golijov) FINE Partita for Wind Quintet FOSS For Aaron GOLIJOV Zhuang Zhou's Dream GANDOLFI Plain Song, Fantastic Dances ARTICLES/FEATURES PRINTED IN THE BOSTON SYMPHONY ORCHESTRA PROGRAM BOOKS DURING THE 2007-2008 SUBSCRIPTION SEASON WEEK A Brief History of the Boston Symphony Orchestra 1,3,5 A Brief History of Symphony Hall l 4, 13, 19, 22, 23 "Music on the Cuff" by E. Power Biggs 2 In Defense of Mahler's Music—A 1925 Letter from Aaron Copland 6 to the Editor of the New York Times James Levine and the BSO— European Festivals Tour, 7,8,9 August 25-September 7, 2007 "The Great Strauss Tone Poems: A Composer's Journey Through Young Manhood 11,12 by Paul Thomason "Casts of Character—The Symphony Statues" by Caroline Taylor 15,16 "The Second Viennese School: Schoenberg, Berg, and Webern" by Joseph Auner 17 "Berlioz's Virgilian Muse" by Thomas May 25/26 2007-2008 SEASON SUMMARY 11 'tJtSrffi