Boston Symphony Orchestra Concert Programs, Season 112, 1992-1993, Subscription

Home , Alan Titus, Benjamin Luxon, Dawn Upshaw, Frank Guarrera, Frank Lopardo, Ilva Ligabue

One Hundred and Twelfth Season

1992-93 BOSTON SYMPHONY ORCHESTRA

»?

SEIJI OZAWA, MUSIC DIRECTOR : vi: y

THE ART OF

SE I KO

Bracelets, cases, and casebacks finished in 22 karat gold.

429 WASHINGTON ST. BOSTON 02108 617-542-3902 • OPEN MON. AND THURS. TIL 7 Seiji Ozawa, Music Director

One Hundred and Twelfth Season, 1992-93

Trustees of the Boston Symphony Orchestra, Inc.

J. P. Barger, Chairman George H. Kidder, President Mrs. Lewis S. Dabney, Vice-Chairman Nicholas T. Zervas, V ice-Chairman

Mrs. John H. Fitzpatrick, Vice-Chairman William J. Poorvu, Vice-Chairman andTreasurer

David B. Arnold, Jr. Nina L. Doggett R. Willis Leith, Jr. Peter A. Brooke Dean Freed Mrs. August R. Meyer

James F. Cleary AvramJ. Goldberg Molly Beals Millman

John F. Cogan, Jr. Thelma E. Goldberg Mrs. Robert B. Newman Julian Cohen Julian T. Houston Peter C. Read William F. Connell Mrs. BelaT. Kalman Richard A. Smith

William M. Crozier, Jr. Allen Z. Kluchman Ray Stata Deborah B. Davis Harvey Chet Krentzman Trustees Emeriti Vernon R. Alden Archie C. Epps Irving W. Rabb Philip K. Allen Mrs. Harris Fahnestock Mrs. George R. Rowland Allen G. Barry Mrs. John L. Grandin Mrs. George Lee Sargent

Leo L. Beranek Mrs. George I. Kaplan Sidney Stoneman Mrs. John M. Bradley Albert L. Nickerson John Hoyt Stookey

AbramT. Collier Thomas D. Perry, Jr. John L. Thorndike

Nelson J. Darling, Jr. Other Officers of the Corporation John Ex Rodgers, Assistant Treasurer Michael G. McDonough, Assistant Treasurer Daniel R. Gustin, Clerk

Administration

Kenneth Haas, Managing Director Daniel R. Gustin, Assistant Managing Director and Manager ofTanglewood

Michael G. McDonough, Director ofFinance and Business Affairs Evans Mirageas, Artistic Administrator Caroline Smedvig, Director ofPublic Relations and Marketing Josiah Stevenson, Director ofDevelopment Ray E Wellbaum, Orchestra Manager

Robert Bell, Manager ofInformation Systems Marc Mandel, Publications Coordinator Madelyne Cuddeback, Director of John C. Marksbury, Director of Corporate Sponsorships Foundation and Government Support Patricia Forbes Halligan, Director ofPersonnel Richard Ortner, Administrator of Services Tanglewood Music Center

Sarah J. Harrington, Budget Manager Myran Parker-Brass, Coordinator ofYouth Activities Margaret Hillyard-Lazenby, Director of Marie B. Pettibone, Director of Corporate Volunteers Development Scott Schillin, Assistant Russell M. Hodsdon, Manager ofBox Office Manager, Bernadette M. Horgan, Public Relations Pops and Youth Activities Coordinator Joyce M. Serwitz, Associate Director of Craig R. Kaplan, Controller Development /Director ofMajor Gifts Nancy A. Kay, Director ofSales & Cheryl L. Silvia, Function Manager Marketing Manager Michelle Leonard Techier, Media and Production Susan E. Kinney, Assistant Director of Manager, Boston Symphony Orchestra Development/Director ofBoston Symphony Julie Miner White, Manager ofFund Reporting Annual Fund Robin J. Yorks, Director ofTanglewood Steven Ledbetter, Musicologist & Development Program A nnotator

Cover by Jaycole Advertising, Inc. I Photo by Steve J. Sherman Board of Overseers of the Boston Symphony Orchestra, Inc.

Thelma E. Goldberg, Chairman

Robert P. O'Block, Vice-Chairman Jordan L. Golding, Secretary

Mrs. Herbert B. Abelow John P. Hamill Catalina B. Montes

Amanda Barbour Amis Ellen T. Harris Richard P. Morse Harlan E. Anderson Daphne P. Hatsopoulos E. James Morton Caroline Dwight Bain Bayard Henry David G. Mugar

Mrs. David Bakalar Joe M. Henson Robert J. Murray Mrs. Leo L. Beranek Glen H. Hiner David S. Nelson Lynda Schubert Bodman Mrs. Marilyn Brachman Hoffman Mrs. Hiroshi H. Nishino

Donald C. Bowersock, Jr. Lola Jaffe Paul C. O'Brien William L. Boyan Anna Faith Jones Vincent M. O'Reilly Mrs. Levin H. Campbell Susan B. Kaplan Andrall E. Pearson Earle M. Chiles Mrs. S. Charles Kasdon John A. Perkins

Gwendolyn Cochran Hadden Richard L. Kaye Millard H. Pryor, Jr. William H. Congleton Frances Demoulas Kettenbach Robert E. Remis

William F. Connell Robert D. King William D. Roddy

John M. Connors, Jr. Mrs. Gordon E Kingsley John Ex Rodgers

Joan P. Curhan Koji Kobayashi Keizo Saji Phyllis Curtin Mrs. Carl Koch Roger A. Saunders

Nader E Darehshori David I. Kosowsky Mrs. Carl Shapiro JoAnne Dickinson George Krupp Malcolm L. Sherman Harry Ellis Dickson John R. Laird Mrs. Donald B. Sinclair

Hugh Downs Mrs. William D. Larkin, Jr. L. Scott Singleton

Goetz B. Eaton Thomas H. Lee Micho F. Spring Harriett M. Eckstein Laurence Lesser Ira Stepanian

Deborah A. England Stephen R. Levy Vondal M. Taylor, Jr. Katherine Fanning Diane H. Lupean William E Thompson

J. Richard Fennell Mrs. Charles P. Lyman Robert A. Wells Eugene M. Freedman Mrs. Harry L. Marks Mrs. Thomas H.P. Whitney Mrs. James G. Garivaltis William E Meagher Margaret Williams-DeCelles

Mark R. Goldweitz Nathan R. Miller Mrs. John J. Wilson

Overseers Emeriti

Mrs. Weston W Adams Leonard Kaplan Mrs. Peter van S. Rice Mrs. Frank G. Allen Robert K. Kraft Mrs. Jerome Rosenfeld Bruce A. Beal Benjamin H. Lacy Mrs. William C. Rousseau Mrs. Richard Bennink Mrs. James E Lawrence Angelica L. Russell Mary Louise Cabot C. Charles Marran Francis P. Sears, Jr. Johns H. Congdon Hanae Mori W Davis Sohier, Jr. Peter H.B. Frelinghuysen Mrs. Stephen V. C. Morris Ralph Z. Sorenson

Mrs. Thomas J. Galligan Mrs. Thomas Spurr Morse Mrs. Edward S. Stimpson Mrs. Haskell R. Gordon Stephen Paine, Sr. Mrs. Arthur I. Strang Mrs. Richard D. Hill David R. Pokross Luise Vosgerchian Susan M. Hilles Daphne Brooks Prout Mrs. Donald B. Wilson

Mrs. Louis I. Kane

Symphony Hall Operations

Robert L. Gleason, Facilities Manager James E. Whitaker, House Manager

Cleveland Morrison, Stage Manager Wilmoth A. Griffiths, Assistant Supervisor ofHouse Crew William D. McDonnell, ChiefSteward H.R. Costa, Lighting Officers of the Boston Symphony Association of Volunteers

Molly B. Millman, President Florence T. Whitney, Executive Vice-President Patricia L. Tambone, Treasurer Arline Ziner, Secretary Susan D. Robinson, Nominating Chairman

Mce-Presidents

Kathryn Bray, Public Relations Paul S. Green, Resources Development Ileen S. Cohen, Tanglewood Association Kathleen G. Keith, Adult Education Helen A. Doyle, Symphony Shop Ann E. Macdonald, Youth Activities Elizabeth B. Eaton, Hall Services Carole G. Siegel, Tanglewood Association Joan W. Erhard, Membership Barbara Steiner, Fundraising Una Fleischmann, Development

Business and Professional Leadership Association Board of Directors

Harvey Chet Krentzman, Chairman Emeritus James F. Geary, Chairman

William F. Connell, President Members D. J. P. Barger Francis A. Doyle William Roddy Leo L. Beranek George H. Kidder Malcolm L. Sherman William L. Boyan William F. Meagher Ray Stata

Nader F. Darehshori Robert J. Murray Stephen J. Sweeney

Nelson J. Darling, Jr. Robert P. O'Block

Boston Symphony Orchestra concerts are funded in part by the National Endowment for the Arts and the Massachusetts Cultural Council, a state agency.

The Tanglewood Music Center: Fulfillment of a Dream

The Tanglewood Music Center was established by the Boston Symphony Orchestra as the Berkshire Music Center in 1940, fulfilling the hopes and dreams of two of the most important figures in the BSO's history, Henry Lee Higginson, the founder, and Serge Koussevitzky, who was the orchestra's music director from 1924 to 1949. An exhibit of photographs, letters, programs, and other memorabilia relating to the history of the Music Center has been installed in the Cohen Wing lobby by the BSO Archives. Shown here is a photograph of Serge Koussevitzky (center) with two of his conducting proteges, Leonard Bernstein and Eleazer de Carvalho, ca. 1949. Whee® FAsffiON Hrrs A High Nam

Copley Place. Afareme^ley ;

of difeciiyeif^hions. Ncpbly underscored

~: by Neiman Marcus, Tiffaiiy's

:^ and^erlQO^Musw^

Ethan Ayer Guest Artist Fund by a currently active player. Everyone who The appearance of this week's guest artist is cares about the future of the BSO is greatly made possible in part by an endowment fund indebted to Joe and Jan, two fine artists who established in 1983 by the late Ethan Ayer. are also exemplary philanthropists." The Ethan Ayer Guest Artist Fund provides income for the appearance of guest vocal BSO to Perform Beethoven's artists on one subscription program each "Missa Solemnis" for season. First Time Since 1976

Guest conductor Roger Norrington leads the A New Orchestra Chair: Boston Symphony Orchestra and the Tangle- The Joseph and Jan Brett wood Festival Chorus, John Oliver, conductor, Hearne Chair in the BSO's first performances of Beethoven's A thirty-one-year member of the Boston Missa Solemnis in more than fifteen years on Symphony Orchestra's double bass section, February 25, 26, and 27, and March 2. The Joseph Hearne, and his wife Jan Brett, author soloists will be Amanda Halgrimson, Sarah and illustrator, have chosen to endow the Walker, John Aler, and Alastair Miles. Tick- orchestra position currently occupied by Joe's ets are available at the Symphony Hall box standmate for those thirty-one years, Bela office, or by calling "Symphony-Charge" at Wurtzler. (617) 266-1200. For a related article, see Joe's and Jan's love for the orchestra and page 13 of this program book. their appreciation of the musicianship that Seiji Ozawa brings to every one of his perform- BSO Members in Concert ances are some of the reasons behind their philanthropic decision. "I love working with BSO Assistant Concertmaster Laura Park Seiji and hope he will continue as music appears in recital with pianist Judith Gordon director for many years," said Joe. on Sunday, February 7, at 3 p.m. in Seully Joe occupies the orchestra position en- Hall at the Boston Conservatory, at 8 The dowed by BSO Trustee R. Willis Leith and his Fenway. The program includes the Tartini/ wife Barbara in 1991. "Knowing the Leiths Kreisler Devil's Trill Sonata, violin sonatas by and enjoying their company both on tour and Debussy and Faure, and the Saint-Saens/ at their home have meant a great deal to us, Ysaye Waltz-Caprice, Opus 52. Admission and their decision to endow Joe's chair made is free. For more information, call (617) 536- us feel wonderful. When we realized we could 6340. make a similar contribution to the orchestra, BSO violinist Amnon Levy performs twen- Bill and Barbara were our role models," said tieth-century French chamber music with Jan. clarinetist Paul Beaudoin, harpist Brenda The success of Jan's very popular books Levy, and pianist Reginald Hache on Thurs- for children, which include Berlioz the Bear, day, February 11, at noon in the Ell Center The Wild Christmas Reindeer, The Mitten, Ballroom in the Ell Building of Northeastern and, most recently, Trouble with Trolls, have University on Huntington Avenue in Boston. helped make this gift possible. In addition to This "Music at Noon" program includes being a member of the BSO's bass section, music of Lili Boulanger, Dutilleux, Messiaen, Joe takes an active role in the marketing and Jean Francaix, and Milhaud. Admission is business aspects of Jan's profession. free. For more information, call (617) 437- "We believe that this splendid gift is a 2440. first," noted Boston Symphony Orchestra BSO members Tatiana Dimitriades, violin, Managing Director Kenneth Haas as he and Jerome Rosen, piano, perform the Bee- accepted the check presented to him in Janu- thoven violin sonatas in a series of three ary. "I know of no other orchestra that has Sunday-afternoon recitals at the First and enjoyed the endowment of a musician's chair Second Church, 66 Marlborough Street in An Outstanding Performance

Is Always The Result OfA Harmonious Effort.

BayBank applauds we continuing success of the Boston Symphony Orchestra. We congratulate all the performers and those behind the scenes for working in perfect harmony to create music loved around the world. Ba/Bank Boston. The first recital, on Sunday, February clude BSO Assistant Conductor Robert Spano 14, at 3 p.m. includes the sonatas in D, (Wednesday, February 17) and Assistant Opus 12, No. 1; A, Opus 30, No. 1; A minor, Orchestra Personnel Manager Bruce Creditor Opus 23; and F, Opus 24, Spring. The second (Thursday, March 4). BSO Musicologist & and third recitals are scheduled for March 14 Program Annotator Steven Ledbetter will and April 18. Admission is $5. For more continue giving talks before Friday-evening information, call (617) 876-7855. concerts, the last of which is March 19. Publi- BSO horn player Daniel Katzen will give a cations Coordinator Marc Mandel will be the solo faculty recital at Jordan Hall at the New speaker for all three Supper Talks held in England Conservatory on Sunday, February conjunction with the Tuesday 'B' series, the 21, at 8 p.m. The program includes Saint- second of which is March 23. Upcoming Saens' Morceau de Concert with pianist Shiela Supper Concerts will feature music of Haydn Kibbe, J.S. Bach's Suite No. 1 for solo cello and Beethoven (Thursday, February 25, and in Mr. Katzen's own adaptation for solo horn, Tuesday, March 2) and music of Dvorak and and Britten's Serenade for tenor, horn, and Brahms (Saturday, March 13, and Tuesday, strings, with tenor John Aler, and a string March 16). ensemble made up of BSO and Boston Pops The suppers are priced at $23 per person Espanade Orchestra members. Admission is for an individual event, $66 for any three, free. $88 for any four, or $132 for any six. Advance BSO members Edwin Barker, principal reservations must be made by mail. For reser- bass, and Fenwick Smith, flute, are featured vations the week of the Supper, please call with other members of the BSO in a program SymphonyCharge at (617) 266-1200. All of chamber music for double bass, flute, and reservations must be made at least 48 hours strings on Sunday, February 28, at 3 p.m. at prior to the Supper. There is a $1.00 handling Knesset Israel Congregation in Pittsfield. fee for each ticket ordered by telephone. For The program includes music of Vivaldi, further information, please call (617) 266- Schulhoff, Bloch, Krasa, and Bach, and is 1492, ext. 516. part of the Richmond Performance Series, Mark Ludwig, artistic director. Admission is Art Exhibits in the Cabot-Cahners Room $10 ($8 students and seniors). For more information, call (413) 698-2837 or (617) For the nineteenth year, a variety of Boston- 731-0004. area galleries, museums, schools, and non- profit artists' organizations are exhibiting their work in the Cabot-Cahners Room on the Suppers at Symphony Hall first-balcony level of Symphony Hall. On The Boston Symphony Association of Volun- display through February 15 is an exhibit of teers is pleased to continue its sponsorship of artwork for children, sponsored by Little, the BSO's evening series of preconcert events. Brown & Company. This will be followed by "Supper Talks" combine a buffet supper at "Exposition Charles Munch" (February 19- 6:30 p.m. in the Cohen Wing's Higginson March 13), an exhibit on the life of the late Hall with an informative talk by a BSO player BSO music director and his family. This or other distinguished member of the music exhibit will be drawn from one originally community. "Supper Concerts" offer a produced in Munch's native Strasbourg by the chamber music performance by members of Bibliotheque Nationale et Universitaire and the Boston Symphony Orchestra in the Cabot- the Cultural Services of the City of Stras- Cahners Room at 6 p.m., followed by a buffet bourg. Brought here by the Boston-Strasbourg supper served in Higginson Hall. Doors open Sister City Association and the BSO, the for all Suppers at 5:30 p.m. for a la carte Symphony Hall exhibit will also extend to the cocktails and conversation. These events are archival display cases in the Cohen Wing. offered on an individual basis, even to those These exhibits are sponsored by the Boston who are not attending that evening's BSO Symphony Association of Volunteers. Please concert. contact the Volunteer Office at (617) 638-9390 Speakers for upcoming Supper Talks in- for further information. SEIJI OZAWA

Now in his twentieth year as music director of the Boston Symphony Orchestra, Seiji Ozawa became the BSO's thirteenth music director in 1973, after a year as music adviser. His many tours with the orchestra have included four visits to Japan, an eight-city North American tour in the spring of 1991, and a seven-city European tour to Greece, Austria, Germany, France, and England following the 1991 Tanglewood season. His previous tours with the orchestra have included an historic visit to China in March 1979 for coaching, study, and discussion sessions with Chinese musicians, as well as concert performances, marking the first visit to China by an American performing ensemble following the establishment of diplomatic relations; the orchestra's first tour devoted exclusively to appearances at the major European music festivals, also in 1979; and, to celebrate the orchestra's centennial in 1981, a fourteen- city American tour and an international tour to Japan, France, Germany, Austria, and England. In October 1992 he led the orchestra in its first tour to South America, including eight concerts in Sao Paulo, Buenos Aires, and Caracas.

Mr. Ozawa pursues an active international career, appearing regularly with the Berlin Philharmonic, the French National Orchestra, the New Japan Philharmonic, the Orchestre de Paris, the Philharmonia of London, and the Vienna Philharmonic. Recent appearances conducting opera have included the Paris Opera, La Scala, Salzburg, and the Vienna Staatsoper. He has also conducted the Royal Opera at Covent Garden, and made his Metropolitan Opera debut in December 1992, with Tchaikovsky's Eugene Onegin. In addition to his many Boston Symphony recordings, Mr. Ozawa has recorded with the Berlin Philharmonic, the Chicago Symphony, the London Philhar- monic, the Orchestre National, the Orchestre de Paris, the Philharmonia of London, the Saito Kinen Orchestra, the San Francisco Orchestra, and the Toronto Symphony, among others. His recordings appear on the Deutsche Grammophon, EMI/Angel, Erato, Hyperion, New World, Philips, RCA, Sony Classical/CBS Masterworks, and Telarc labels. In September 1992 Mr. Ozawa founded the Saito Kinen Festival in Matsumoto, Japan, in memory of his teacher Hideo Saito, a central figure in the culti- vation of Western music and musical technique in Japan, and a co-founder of theToho Gakuen School of Music in Tokyo.

Born in 1935 in Shenyang, China, to Japanese parents, Seiji Ozawa studied Western music as a child and later graduated with first prizes in composition and conducting from Tokyo's Toho School of Music, where he was a student of Hideo Saito. In 1959 he won first prize at the International Competition of Orchestra Conductors held in Besan- gon, France, and was invited to Tanglewood by Charles Munch, then music director of the Boston Symphony Orchestra and a judge at the competition. In 1960 he won the Tanglewood Music Center's highest honor, the Koussevitzky Prize for outstanding student conductor.

While a student of Herbert von Karajan in West Berlin, Mr. Ozawa came to the attention of Leonard Bernstein. He accompanied Mr. Bernstein on the New York Philhar- monic's 1961 tour of Japan and was an assistant conductor of that orchestra for the 1961-62 season. Mr. Ozawa made his first professional concert appearance in North America in January 1962, with the San Francisco Symphony. He was music director of the Chicago Symphony Orchestra's Ravinia Festival for five summers beginning in 1964, music director of the Toronto Symphony Orchestra from 1965 to 1969, and music director of the San Francisco Symphony from 1970 to 1976, followed by a year as that

8 orchestra's music adviser. He conducted the Boston Symphony Orchestra for the first time in 1964, atTanglewood, and made his first Symphony Hall appearance with the orchestra in 1968. In 1970 he was named an artistic director of the Tanglewood Festival.

Mr. Ozawa holds honorary doctor of music degrees from the University of Massa- chusetts, the New England Conservatory of Music, and Wheaton College in Norton, Massachusetts. He won an Emmy award for the Boston Symphony Orchestra's "Evening at Symphony" PBS television series.

Mr. Ozawa's compact discs with the Boston Symphony Orchestra include, on Philips, Mahler's First, Second, Fourth, Fifth, Seventh, Eighth, and Ninth symphonies, Mahler's Kindertotenlieder with Jessye Norman, Richard Strauss's Elektra with Hildegard Behrens in the title role, and Schoenberg's Gurrelieder, with Jessye Norman, James McCracken, and Tatiana Troyanos. Recordings on Deutsche Grammophon include Tchaikovsky's complete Nutcracker and the suite from Sleeping Beauty; Poulenc's Gloria and Stabat mater with Kathleen Battle and the Tanglewood Festival Chorus; Liszt's two piano concertos and Totentanz with Krystian Zimerman; Prokofiev's complete Romeo and Juliet; and Berlioz's Romeo et Juliette and Damnation ofFaust. Other recordings by Seiji Ozawa and the Boston Symphony Orchestra include Tchai- kovsky's opera Pique Dame with Mirella Freni, Maureen Forrester, and Vladimir Atlan- tov, on RCA Red Seal; Beethoven's five piano concertos and Choral Fantasy with Rudolf Serkin, onTelarc; and, on Sony Classical/CBS Masterworks, Strauss's Don Quixote with Yo-Yo Ma, Mendelssohn's Violin Concerto with Isaac Stern, and Berlioz's Les Nuits d'ete and Debussy's La Damoiselle elue with Frederica von Stade. First Violins Violas Malcolm Lowe Burton Fine Coneertmaster Principal Charles Munch chair Charles S. Dana chair Tamara Smirnova-Sajfar Patricia McCarty Associate Coneertmaster Assistant Principal Helen Horner Mclntyre chair Anne Stoneman chair, fullyfunded in perpetuity Assistant Coneertmaster Ronald Wilkison Robert L. Beal, and Lois and Harlan Anderson chair Enid L. and Bruce A. Beal chair Robert Barnes Laura Park Joseph Pietropaolo Coneertmaster Assistant Michael Zaretsky Edward and Bertha C. Rose chair Marc Jeanneret Music Directorship endowed by Bo Youp Hwang John Moors Cabot Acting Assistant Coneertmaster *Mark Ludwig John and Dorothy Wilson chair, * Rachel Fagerburg BOSTON SYMPHONY fullyfunded in perpetuity *Edward Gazouleas Lucia Lin *Kazuko Matsusaka ORCHESTRA Forrest Foster Collier chair 1992-93 Fredy Ostrovsky Dorothy Q. and David B. Arnold, Jr., Cellos chair, fullvfunded in perpetuity Jules Eskin Gottfried Wilfinger Principal Leo Panasevich Philip R. Allen chair Carolyn and George Rowland chair Martha Babcock Alfred Schneider Assistant Principal Muriel C. Kasdon and Vernon and Marion Alden chair Marjorie C. Paley chair Sato Knudsen Raymond Sird Esther S. and Joseph M. Shapiro chair Ruth and Carl Shapiro chair Joel Moerschel Ikuko Mizuno Sandra and David Bakalar chair Amnon Levy * Robert Ripley Theodore W. and Evelyn Berenson Richard C. and Ellen E. Paine chair, Family chair fullyfunded in perpetuity Luis Leguia Robert Bradford Newman chair Carol Procter Second Violins Lillian and Nathan R. Miller chair Marylou Speaker Churchill * Ronald Feldman Principal Charles and JoAnne Dickinson chair Fahnestock chair *Jerome Patterson Vyacheslav Uritsky ^Jonathan Miller Principal Assistant *Owen Young Charlotte and Irving W. Rabb chair Ronald Knudsen Edgar and Shirley Grossman chair Basses Joseph McGauley Edwin Barker Leonard Moss Principal Harold D. Hodgkinson chair * Harvey Seigel Lawrence Wolfe tJerome Rosen Assistant Principal *Sheila Fiekowsky Maria Nistazos Stata chair, Ronan Lefkowitz fullyfunded in perpetuity * Nancy Bracken Joseph Hearne Leith Family chair *Jennie Shames Bela Wurtzler *Aza Raykhtsaum Joseph and Jan Brett Hearne * Valeria Vilker Kuchment chair *Bonnie Bewick John Salkowski *Tatiana Dimitriades *Robert Olson *James Cooke * James Orleans *Si-Jing Huang *Todd Seeber * Victor Romanul *John Stovall

* Participating in a system of rotated seating within each string section %On sabbatical leave

10 Flutes Bassoons Tuba Richard Svoboda Chester Schmitz Principal Margaret and William C. Walter Piston chair Rousseau chair Edward A . Taft chair Leone Buyse Acting Principal Flute Roland Small Marian Gray Lewis chair Richard Ranti Timpani Fenwick Smith Associate Principal Everett Firth Acting Assistant Principal Sylvia Shippen Wells chair Myra and Robert Kraft chair Contrabassoon Gregg Henegar Percussion Helen Rand Thayer chair Piccolo Peter Andrew Lurie chair Geralyn Coticone Horns Assistant Timpani Evelyn and C. Charles Marran Thomas Gauger chair ^Charles Kavalovski Principal Peter and Anne Brooke chair Helen SagojfSlosberg chair Frank Epstein

Oboes Richard Sebring J. William Hudgins Alfred Genovese Associate Principal Margaret Andersen Congleton chair Principal Harps Mildred B. Remis chair Daniel Katzen Ann Hobson Pilot Elizabeth B. Storer chair Wayne Rapier Principal Jay Wadenpfuhl Keisuke Wakao Willona Henderson Sinclair chair Assistant Principal Richard Mackey Sarah Schuster Ericsson Jonathan Menkis Librarians English Horn Trumpets Laurence Thorstenberg Marshall Burlingame Charles Schlueter Beranek chair, Principal Principal fullyfunded in perpetuity Wlliam Shisler Roger Louis Voisin chair Peter Chapman James Harper Clarinets Ford H. Cooper chair Harold Wright Timothy Morrison Assistant Conductors Assistant Principal Principal Grant Llewellyn Thomas Rolfs Ann S.M. Banks chair Robert Spano William Hudgins Trombones Thomas Martin Personnel Managers Assistant Principal Ronald Barron Lynn Larsen E-flat clarinet Principal J.P. and Mary B. Barger chair, Bruce M. Creditor fullyfunded in perpetuity Bass Clarinet Norman Bolter Stage Manager Craig Nordstrom Position endowed by Farla and Harvey Chet Bass Trombone Angelica L. Russell Krentzman chair Douglas Yeo Peter Riley Pfitzinger

11 FREE MAGAZINE T7T?T7TT (^T^W^ nothing more to buy, ever! • Exclusive Magazine • Exclusive CD • Plus FREE CD buying service im/sicMAGAZINE Exclusive Magazine. The beautiful full-color MONTH; BBC Music Magazine - the only publication to cover all aspects of classical music - live, broadcast, and recorded - in equal depth. Over 100 large, luxurious pages of photographs, features and columns...plus over 100 new CDs reviewed and rated - the complete guide to classical music every month! An Exclusive CD. With every issue of the BBC Music Magazine you will also receive each month, a full-length Compact Disc that is not available anywhere else... an entire featured work most often performed by the internationally recognized BBC orchestras. Handsomely packaged in a jewel case... not in a paper sleeve. A Personal CD Buying Service. You may order CDs reviewed in the BBC Music © 1993 Warner Music Enterprises Magazine through the BBC Classical 'BBC and the BBC logo type are trademarks of the British Broadcasting Corporation and are used under license. Music Service, if you wish. A convenient way to shop but never an obligation. For charter membership, Satisfaction Guaranteed. Simply phone toll-free or call toll-free fill out the coupon and receive your free copy of the BBC Music Magazine and free CD. If not satisfied for 1-800-257-1100 any reason, return them with no further obligation. Dept. KBP or mail the coupon. )MPLETE MONTHLY GUIDE TO CLASSICAL MUSIC

Mail to: BBC Classical Music Service Box 61099, Tampa, FL 33661-1099 Please send my FREE copy of BBC Music Magazine plus my FREE CD. Bill me for just shipping and handling. Thereafter, I will receive the BBC GUARANTEED Music Magazine and an exclusive CD every month. As a charter member, PRICF I will always be guaranteed the low monthly price of $2.98 plus shipping PROTECTION. and handling for as long as I remain an active member in the program.

As a charter I have no obligation to buy anything ever and I may cancel at any time.

member, you Check here if you prefer your monthly recordings on cassette. will always be guaranteed the low price of $2.98 Name (please print) plus shipping and handling every Address Apt.# month, for as long as you City State Zip remain an active KBP member in the Phone We reserve the right to ask for additional information, reject program. Have you bought anything by mail any application, or cancel any membership. Limited to new 1 Last 6 months 2 Never members; one per family. Local tax, if any, will be added.

12 Beethovens "Missa Solemnis" will receive its first Boston Symphony performances in more than fifteen years when Roger Norrington conducts the orchestra on Feb- ruary 25, 26, and 27, and March 2. BSO audiences last heard the work under Colin Davis, who conducted subscription performances in December 1975 and a Tangle- wood performance the following August.

Beethoven's "Missa Solemnis": "From the Heart ... to the Heart" by Marc Mandel THE BACKGROUND The material circumstances surrounding Beethoven's writing of the Missa Solemnis can serve as little more than a backdrop against which to attempt an understanding of the music. Beethoven's decision to compose the work was with a view towards a specific occasion: the Archduke Rudolph of Austria, the son of Emperor Leopold II and one of Beethoven's most important patrons, for many years a student of Beethoven in piano and composition, dedicatee of fifteen works by the composer— including the Fourth and Fifth piano concertos, the Hammerklavier and Opus 111 piano sonatas, the Opus 97 piano trio (the Archduke), and the Grosse Fuge, Opus 133 —was to be installed as Archbishop of Olmutz in Moravia on March 9, 1820. Upon hearing of Rudolph's election, Beethoven wrote to him that "the day on which a High Mass composed by me will be performed during the ceremonies solemnized for Your Imperial Highness will be the most glorious day of my life ..." Beethoven did not complete the Mass in time for the ceremony that March of 1820. Though he began formulating ideas for the Kyrie by the spring of 1819 (anticipating the official announcement that June 4 of the Arch- duke's election), the Mass did not reach completion until December 1822, and during

An 1819 oil painting ofBeethoven

13 Week 14 the period of its creation Beethoven was also concerned with the last three piano sonatas, the Diabelli Variations and the Opus 119 Bagatelles, the Consecration of the House Overture, and the Ninth Symphony.

Many images of the composer dating from the time of the Missa Solemnis are familiar: Anton Schindler, friend and not entirely reliable biographer of the composer, describes

Beethoven at work on the fugue of the Credo, "singing, yelling, stamping his feet . . . The door opened and Beethoven stood before us, his features distorted to the point of inspiring terror. He looked as though he had just engaged in a life and death struggle with the whole army of contrapuntists, his everlasting enemies." Another incident is related by Alexander Thayer in his crucial biography of the composer: in this instance, we read of Beethoven awakening early one morning, dressing, slipping on an old coat but no hat, apparently losing direction during the course of his walk, peering in at the windows of nearby houses, and looking so like a beggar that he was arrested and im- prisoned for an entire day, until he finally prevailed in having someone brought to identify him late that night. These stories strengthen our image of the composer heed- less of the world around him, wrestling with his craft. Maynard Solomon refers to the Mass as "Beethoven's absorbing passion for four years, replacing Fidelio as the great 'problem work' of his career," and Schindler states that never before or after this period did he see Beethoven "in such a condition oi^Erdenentriicktheit]" oblivion of earthly matters.

IMAGINE A HEALTH CLUB SO EXCLUSIVE, YOU'RE THE ONLY MEMBER.

It is a health club of your own.

It's a TROTTER. TROTTER treadmills are so well regarded MA that they are the exclusive choice of the Pritikin Longevity Centers. They are MARIA found in over 2800 clubs worldwide, including La Costa and Canyon Ranch. The best of the best... All the elements oflapatria without the cliche knicknacks and the pizza-pasta-pudding routine TROTTER Time Travel Guide, 1993 A United Medical Company The unconventional menu breaks the North End mold... not justforfood, but ambiance as well. Zagat Survey, 1992

Were it notfor the dramatic Boston skyline in the background,

you 'd swear you were in Europe. A Taste of Boston, 1990 Plum ©Walking Center 3 NORTH SQUARE, BOSTON (617) 523-0077 (508)371-2000 Valet Parking Receptions Or call toll free: 1 -800-TLC-WALK

14 But Beethoven did have "earthly matters" to contend with as well. Not the least of these was the lawsuit over guardianship of his nephew Karl, a five-year struggle that ended in April 1820 with Beethoven winning the boy away from his mother Johanna, widow of the composer's brother Caspar Carl. And then there were matters pertaining specifically to the Missa Solemnis: his double-dealings with seven different publishers in an attempt to receive the highest possible fee for his work, and his offering of prepublication manuscript copies to whatever patrons would pay his price. There was the matter, too, of the premiere. Beethoven was anxious that the completed Mass and Ninth Symphony be heard. The original plan was to introduce the two works on the same concert, but fortunately this notion was scrapped: the program on May 7, 1824, in Vienna's Karntnertor Theatre consisted of the Consecration of the House Overture, the Kyrie, Credo, and Agnus Dei of the Mass (billed as "Three Grand Hymns with Solo and Choral Parts"— liturgical music was not permitted in the concert hall), and the symphony. Beethoven never witnessed a complete performance of the Missa Solem- nis, though the first one was given in St. Petersburg on April 18, 1824, under the aus- pices of Prince Nikolas Galitzin, a Russian admirer of Beethoven who had purchased one of the prepublication copies of the work and for whom the string quartets Opp. 127, 130, and 132 were written.

THE MUSIC So much for history. As suggested at the outset, this very brief account of names, dates, and places stands apart from consideration of the music itself. The question of Beethoven's religious beliefs might seem of some relevance, and the composer's diaries and notebooks include phrases copied from philosophical and religious tracts. And we know that, in preparing to compose the Missa Solemnis, Beethoven studied music of Palestrina and his contemporaries, of Handel, and of Bach; that he had the Mass text carefully translated so that its implications would be entirely clear to him; and that the resulting musical product uses images and patterns that may be traced to long-standing traditions and conventions in music written for the church service. But still, the

music makes its own statement, and it seems best to understand that statement as one of an individual who has come to terms with himself over a long period of time, and whose individual message will ultimately be distilled into the compositional essence of the final piano sonatas and string quartets. Martin Cooper writes that "as a young

man Beethoven was indeed both proud and self-sufficient, and it was only the experience of his deafness that broke this pride, slowly and painfully turning the heaven- storming, largely extrovert composer of the early and middle period works into the

self-communing and contemplative visionary of the last ten years . . . Beethoven moved

Over 1000 experienced and accredited • EXECUTIVE SERVICE SPECIALIST • LIMOUSINES, SEDANS, VANS, AND translators in all languages WAGONS FOR ALL OCCASIONS • DINNER & THEATRE PACKAGES Complete language services—translation, typesetting and printing 623-8700 Worldwide access via fax electronic Established 1924 and networks A & A LIMOUSINE RENTING, INC. 161 BROADWAY, SOMERVILLE. MA 02145 Free call for brochure, client endorsements LAWRENCE A. WILLWERTH, MGR. and estimate 24-HR. SERVICE. 7 DAYS A WEEK BY RESERVATION MAJOR CREDIT CARDS ACCEPTED Worldwide reservations • Dial toll free 1-800-336-4646 1-800-WORDNET SEE OUR AD IN THE NYNEX YELLOW PAGES

15 The Sun Setting Is No Less Beautiful Than The Sun Rising.

At Life Care Centers of America, we want our residents

to enjoy the sunrises, sunsets, and all the special moments in between. We offer a loving, caring environment which promotes resident dignity, self-respect and family involve- ment. For additional information, contact any of the ten smoke-free centers in Massachusetts and Rhode Island listed below.

Centers of America

Country View Life Care Center Life Care Center Life Care Center Littleton House Nursing Home of Attleboro of the North Shore of Wilbraham Nursing Home N. Billerica, MA Attleboro, MA Lynn, MA Wilbraham, MA Littleton, MA 508-667-2166 508-222-4182 617-592-9667 413-596-3111 508-486-3512

Scituate Ocean Suburban Manor The Highlands The Oaks Evergreen House Manor Nursing Home Fitchburg, MA New Bedford, MA Health Center Scituate, MA Acton, MA 508-343-4411 508-998-7807 E. Providence, Rl 617-545-1370 508-263-9101 401-438-3250

16 from a position of militant stoicism ... to an acceptance which, whatever his everyday life may have been, bears in his music the unmistakable character of joy, that unearth- ly joy such as is only achieved through suffering." The Missa Solemnis speaks of joy and of suffering, of faith, hope, and trust. But it speaks, too, of self- awareness, of knowledge of one's place, and of awe in the face of greater powers and events.

Some brief observations on the music. It has been said that the Missa Solemnis is out of place in the concert hall and yet too big for the church. It is probably too big for any mortally prescribed space. Beethoven wrote at the start of his score: "From the heart —may it go to the heart," and he stated that his chief aim was "to awaken and permanently instill religious feelings not only into the singers but also into the listen- ers. "The opening Kyrie is marked "Mit Andacht" ("with devotion"); for the more direct, personal appeal of the Christe, the soloists predominate and the texture is more active. The unified intent of orchestra, chorus, and soloists is spelled out at the very beginning: the woodwinds, in singing phrases, give out the musical idea to which the initial words of the Kyrie will be sung, and this same technique of instruments anticipating vocal material will occur again for the "Gratias agimus tibi" and the "Qui tollis peccata mundi" of the Gloria. The sweep of the Gloria is overwhelming in its impact, and the overall impression is one of power and inevitability, so much so, in fact, that the combined effect of Kyrie and Gloria can leave the listener drained, almost unable to cope with or understand what is still to follow. In keeping with its statement of faith and trust, the Credo is affirmative in tone. The sense of musical motion in the Credo is rather different from that of the Gloria— part of the reason for this lies in the

£$$ M v^V-

( \ 'NEHBXISSrttO_Af! EMINKXTISj(lMO 7yv

iirofumliKitiTiia _oittii veiieraihiiu* /

tmfaeraa maiicc* B. SCHOTT filiorum.

PAR I S

The original edition ofBeethovens "Missa Solemnis''

17 Week 14 1

We salute the Boston Symphony Orchestra on its 112th season WELCH & FORBES

JOHN K. SPRING RICHARD OLNEY III KENNETH S. SAFE, JR. ARTHUR C. HODGES JOHN LOWELL M. LYNN BRENNAN THOMAS N. DABNEY JOHN H. EMMONS, JR. V. WILLIAM EFTHIM CHARLES T. HAYDOCK GUIDO R. PERERA, JR. OLIVER A. SPALDING

Creative investment management and fiduciary services since 1838

45 School Street, Boston, MA 02108 Tel. (617) 523-1635

BALDWIN m OF BOSTON

98 Boylston St., Boston 1-800-FOR PIANO

Boston Symphony Orchestra Boston Pops Orchestra Seiji Ozawa & John Williams

18 more specific attention Beethoven gives to word-painting and the emphasizing of key text phrases: for example, the burst of D major at the words "Et homo factus est," the sforzato stabs at "Crucifixus," the stressing of "passus," the descending and ascending motion at "descendit de coelis" and "et ascendit in coelum," respectively.

The Sanctus, like the Kyrie, is again marked "Mit Andacht," and is the first move- ment in which solo voices are heard before the chorus. This is in keeping with Bee- thoven's reserving the soloists for special moments of intimacy, awe, and/or supplica- tion (consider the "miserere nobis" of the Gloria, and the intensification of that plea for mercy to "o, miserere nobis" by, first, the tenor solo). The sense of "Sanctus" is one of mystery, with the chorus silent, held in reserve. The Benedictus is preceded by a solemn orchestral Praeludium, and a tender, dolce cantabile violin song descends from above: "Benedictus, qui venit in nomine Domini!" The mood, fittingly, is that of

a solemn processional, and it is essential that the solo instrument be a part of, and not, concerto-like, stand apart from, the sense of ceremony that pervades the whole. The threefold prayer of the Agnus Dei is dark-hued, and the prominence again given the soloists makes the entreaty a moving and personal one. The choral "Dona nobis pacem" bears the inscription "Prayer for inner and outer peace," and this prayer is threatened by intimations of war in the form of trumpet-and-drum alarums and fearful currents in the strings. Soloists and chorus renew the appeal for mercy, and the prayer for peace returns, this time interrupted by a jagged fugato for orchestra. But the ulti- mate message is one of hope: the last statement of the words "dona nobis pacem" is set to a musical phrase heard several times earlier but only now set apart to emphasize its particular breadth of feeling, and the final cadence of the orchestra is solid, affirmative, and speaks of trust.

The "Missa Solemnis" on Compact Disc Compelling, classic recordings of the Missa Solemnis include Otto Klemperer's 1965 account with the New Philharmonia Orchestra and Chorus, which is particularly overwhelming in the Kyrie-Gloria sequence (EMI, two mid-priced discs, with Bee-

thoven's Choral Fantasy) , and Carlo Maria Giulini's reverential 1975 statement with the London Philharmonic and New Philharmonia Chorus (EMI, two budget-priced discs, with Beethoven's Mass in C). John Eliot Gardiner's recent period instrument recording with the Monteverdi Choir and English Baroque Soloists is lean, energetic, sometimes stark, and in many ways controversial (Deutsche Grammophon Archiv, on a single disc). Robert Shaw's fine account with the Atlanta Symphony grows in beauty

and stature as it proceeds (Telarc, two discs, with Mozart's Great C minor Mass). Herbert von Karajan's polished 1966 recording with the Berlin Philharmonic is distinguished particularly by its vocal soloists —Gundula Janowitz, Christa Ludwig, Fritz Wunderlich, and Walter Berry—and by the solo playing of concertmaster Michel Schwalbe in the Benedictus (DG Galleria, two mid-priced discs, with Mozart's Coro- nation Mass). Arturo Toscanini's 1953 recording with the NBC Symphony and the Robert Shaw Chorale remains important and illuminating despite harsh, dry sound and distant-sounding soloists (RCA Gold Seal, two mid-priced discs, interestingly paired with Cherubini's Requiem in C minor). The same conductor's 1940 NBC Symphony broadcast with the Westminster Choir and four outstanding vocalists —Zinka Milanov, Bruna Castagna, Jussi Bjoerling, and Alexander Kipnis— is considered by many enthusiasts to be the greatest recording of the Missa Solemnis we have, despite its dated sound (on a single, hard-to-find AS Disc; in a two-disc Music & Arts set with Beethoven's Choral Fantasy; or in a three-disc Melodram set with Toscanini's famed 1940 broadcast of the Verdi Requiem).

19 Week 14 BOSTON SYMPHONY ORCHESTRA

Seiji Ozawa, Music Director Grant Llewellyn and Robert Spano, Assistant Conductors One Hundred and Twelfth Season, 1992-93

Friday, February 5, at 2 Tuesday, February 9, at 8 Thursday, February 11, at 8 Saturday, February 13, at 8

SEIJI OZAWA conducting

GIUSEPPE VERDI

FALSTAFF

Lyric comedy in three acts Text by Arrigo Boito, after Shakespeare's The Merry Wives of Windsor,

and parts of Henry IV, parts i and ii

Sir John Falstaff BENJAMIN LUXON, baritone Alice Ford DANIELA DESSI, soprano Nannetta (Anne), her daughter DAWN UPSHAW, soprano Meg Page DANNA FORTUNATO, mezzo-soprano Mistress Quickly MAUREEN FORRESTER, contralto Fenton FRANK LOPARDO, tenor Ford, Alice's husband PAOLO CONI, baritone Dr. Caius MICHEL SENECHAL, tenor Bardolph DAVID GORDON, tenor Pistol JAMES COURTNEY, bass

The Stage Manager VINNIE PETRARCA

Burghers, townspeople, Ford's servants, masqueraders, etc. TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor

These performances celebrate the hundredth anniversary of Falstaff 's premiere, which took place at La Scala, Milan, on February 9, 1893.

Please be sure the electronic signal on your watch or pager is switched off during the concert. The program books for the Friday series are given in loving memory of Mrs. Hugh Bancroft by her daughters Mrs. A. Werk Cook and the late Mrs. William C. Cox.

20 Concert staging by David Kneuss Designed by John Michael Deegan and Sarah G. Conly

Scenery constructed by Mystic Scenic Studio, Inc. Costumes supplied by Malabar Limited Lighting executed by H.R. Costa Donna Racik, prompter Robert Spano, rehearsal pianist

There will be intermissions after acts I and II. A synopsis of the plot begins on page 36.

The appearance of this week's soloists is funded in part by income from the Ethan Ayer Fund.

The Boston Symphony Orchestra gratefully acknowledges Lexus of Watertown for use of the LS400 Sedan during these performances of "Falstaff."

The Friday performance will end about 4:55 and the evening performances about 10:55. RCA, Deutsche Grammophon, Philips, Telarc, Sony Classical/CBS Masterworks, EMI/Angel, New World, Erato, and Hyperion records Baldwin piano

(Vczzo t.2 A special edition of'Illustrazione Italiana" featuring , "Verdi e il Falstaff

21 Week 14 FastenYour Cummerbmid.

I f you thought tonights performance was impressive, wait until you get to your Lexus dealer. LEXUS© The Relentless Pursuit OfPerfection.

L-EXLJS OF UiRTGRTOLUn 118 North Beacon Street • Watertown, MA 02172 (617) 926-0500 • Fax (617) 926-0260

22 , ,

Giuseppe Verdi Falstaff

Giuseppe Verdi was born in he Roncole, near Busseto in the Duchy ofParma, on October 10, 1813, and died in Milan, Italy, on January 27, 1901. He began composing Falstaff, his final opera, on a libretto by Arrigo Boito, in August 1889, and completed the last details of thefull score by Christmas 1892. Verdi himself directed the premiere at La Scala in Milan

on February 9, 1893. The American premiere took place at the Metropolitan Opera in New York on February 4, 1895. The only previous Boston Sym- phony performance of any part of Falstaff took place at Tanglewood on July 6, 1990, when Seiji Ozawa led the orchestra in a performance of the third act, with soloists consisting entirely offormer Tanglewood Music Center Vocal Fellows (Thomas Stewart as Falstaff, Haijing Fu as Ford, JohnAler as Fenton, Michael Best as Dr. Caius, Brad Cresswell as Bardolph, Thomas Paul as Pistol, Margaret Cusack as Alice, Dawn Upshaw as Nannetta, DAnna Fortunato as Meg Page, and Rosalind Elias as Mistress Quickly), on the occasion of the fiftieth anniversary of the Music Center; the Tanglewood Festival Chorus, John Oliver, conductor, also participated. The score calls for an orchestra of threeflutes (third doubling piccolo) , two oboes and English horn, two clarinets and bass

clarinet, two bassoons , four horns, three trumpets, three trombones and bass trombone, timpani, triangle, cymbals, bass drum, harp, and strings, plus offstage guitar, natural horn, and chime. The characters include Sir John Falstaff (baritone) , Ford (baritone) Fenton (tenor), Dr. Caius (tenor), Bardolph (tenor), Pistol (bass), Mrs. Alice Ford (soprano), Nannetta, daughter ofAlice and Ford (soprano), Mrs. Quickly (mezzo-soprano) and Meg Page (mezzo-soprano) . Non-singing roles include the Host of the Garter Inn, Falstaffs page, and a little page ofFord's. The chorus represents burghers and common- ers who take part in the masquerade ofgoblins, fairies, and witches in the last scene.

After the premiere of Aida at the end of 1871, Giuseppe Verdi retired from the theater. During the preceding forty-two years he had written operas for the major Italian houses, as well as for Paris and London. At the age of fifty-eight, he no doubt felt jus- tified in settling down to the life of a gentleman farmer on his estate, Sant'Agata, in his native province of Parma, to enjoy his remaining years in relative peace and quiet. He was a national hero, both for his music and for the role he had played in supporting the creation of a unified Italy in mid-century. Many of his twenty-six operas formed the core of the repertory wherever opera was performed.

Following his retirement, Verdi composed the Requiem in memory of the novelist Alessandro Manzoni, but, except for some revisions to earlier works, he seemed to have withdrawn from the theater for good. Wagner's music dramas were becoming more popular in Italy, and the younger Italian school— symbolized by Arrigo Boito, no less — had declared that Verdi was out of date. Who would have guessed that, during the course of the next twenty-two years, Verdi would twice emerge from retirement to produce, with the collaboration of Boito, the greatest tragic opera and the greatest comic opera of the Italian tradition?

Certainly not Verdi himself. He was busy overseeing his property and work on two special charities that he promoted, the construction of a hospital in a town near Piacenza, and the Casa di Riposo, his home for retired musicians, in Milan. He himself may have assented, to some degree, with the notion that his style was now passe, and he rejected a number of attempts to draw him out of retirement. But Boito, who

23 Week 14 I

GUILD, MONRAD & OATES, INC. Family Investment Advisers

50 Congress Street Boston, Massachusetts 02109 Telephone: (617) 523-1320

For Those Who Want Specialized Individual Attention and Care in the Management of Investments and Tax and Estate Planning

Henrv R. Guild, Jr. Ernest E. Monrad William A. Oates, Jr. Robert B. Minturn, Jr.

COLDUieiX BAMteRQ R HUNNEMAN & COMPANY RESIDENTIAL REAL ESTATE

Providing full service residential Real Estate with an unparalleled record of excellence ...

Serving the needs of both clients and customers in Wellesley and

Weston, West of Boston, and beyond ...

Contact our winning team today.

Thomas E Aaron Virginia Murray Boyle, CRS GRI voice mail 945-9548 voice mail 945-1302

(617) 237-9090 372 Washington Street, Wellesley Hills, MA 02181

24 The Art Of Conversation.

Cognac. LXrt De Martell.

Since 1715. _—eat I

'7 anticipate changes in my clients' lives and finances so they can make the most

'It's My Job

of those changes. I make suggestions before they're needed — whether it's refinancing

To Know What

a jumbo mortgage, reevaluating investment objectives or creating an estate plan."

My Clients Need

To learn more about how Judy Staubo and our firm offinancial professionals can

Before They Do.1

simplify both your finances and your life, contact Susan Dick at (617) 434-6732.

THE PRIVATE BANK BANKERS. INVESTMENT COUNSELLORS AND FIDUCIARIES ANK OF BOSTON

CASH MANAGEMENT • RESIDENTIAL MORTGAGES • PERSONAL LOANS • INVESTMENT COUNSELLING • TRUST AND ESTATE SERVICES HOSPITAL TRUST, BANK OF BOSTON CONNECTICUT, CASCO NORTHERN, BANK OF BOSTON FLORIDA £} MEMBER FDIC M-.-M

fck.

lliilfe Judy Staubo, Private Banker Sometimes, opportunity knocks twice.

When we opened in 1982, the demand nity awaits you. Introducing Winthrop was immediate and overwhelming. Terrace at Carleton-Willard Village Since then, Carleton-Willard Village —26 new residences which combine has been in a class by itself as the only traditional New England styling with accredited continuing care retirement a touch of luxury, set amidst 65 acres community in of countryside. Massachusetts. To take advantage of this rare Now, a second opportunity, and to schedule a tour of and final opportu- our community, call (617) 275-8700.

CARLETON-WILLARD VILLAGE Owned and operated by Carleton-Willard Homes, Inc., a not-for-profit corporation. 100 Old Billerica Road, Bedford, MA 01730 (617) 275-8700 was a gifted writer as well as a composer, and whose admiration of Verdi had grown with time, teamed up with Giulio Ricordi, the young director of Verdi's publishing house, to lure him with a project that he could scarcely resist, an opera based on one of the tragedies of his favorite dramatist, Shakespeare. Othello would be adapted with

a libretto by Boito. It took some time to persuade Verdi even to look at what Boito had done, but when he did, he must have realized instantly that this was the finest libretto he had ever been offered — the most consistent in characterization, the strongest in dramatic structure, with many passages that positively invited music.

Though at first wary of his young collaborator, Verdi soon came to trust him and to like him immensely. Thus, when Otello was finally produced, in 1887, and proved a

masterpiece, it was not difficult for Boito to tickle the old man's interest again with another project— especially another Shakespearean project. But the most daring part of this new project was the fact that it was to be a comedy! Verdi had composed one

comedy, Un giorno di regno, nearly a half-century earlier; it has always been regarded as one of his major flops. In 1847, Rossini was quoted as saying that Verdi "will never write a semi-serious opera like [Donizetti's] Linda [di Chamounix], much less a comic opera like Uelisir d'amore," and Giulio Ricordi had actually reprinted this opinion thirty years later in the Ricordi house journal. Verdi was universally regarded as a great composer of tragedies, and that was that.

Yet Verdi himself had thought about comedy on several occasions over the years, though nothing had come of it. For a time in 1850 he considered writing a version of Shakespeare's The Tempest for Covent Garden, and in 1868 his wife Giuseppina wrote that he would consider a comic opera if he could find a libretto that involved the human comedy, not low farce, a story that contained sentiment as well "as a delicate, sympa- thetic nuance" that would "temper the gaiety and the laughter."

S-tfii Boito and Verdi

25 Week 14 Choices without Compromised^ ...in Retirement Living

Choose Boston. Choose Financial Choose Your Own

Stay right here, close to Protection. Protect Way of Life. Do all of

friends, family, physicians, your assets with our 90% the things you'd like to do,

shopping, clubs ... and the refundable entrance fee and because our full services

Symphony. our built-in long-term give you the time you want

care insurance plan. and need. Choose Beauty. Enjoy award-winning archi- ChooserSprir^bouse tecture, a verdant setting

near the Arnold Arbor- A non-profit continuing care retirement community etum, and spacious, elegant now under development in Boston. apartment residences.

Please send more information about Springhouse to:

Choose Security. Name Address Feel safe and comfortable City State Zip with our security systems Mail to: Springhouse Information Center, and health care program. In 301 S. Huntington Ave., Boston, MA 02130 any emergency, help is there Or Call Today: (617) 522-0043 at the touch of a button. In the end, though, it was Boito who was ultimately responsible for Verdi's final opera. At first he hinted delicately, recalling in a letter the time when their correspon- dence was devoted to a great work of art (Otello). When Verdi failed to take the bait, Boito was more direct. Evidently in June 1889 he specifically proposed Falstaff as the subject of an opera. However tenuous Verdi's response may have been, Boito was en- couraged to draft a treatment of the scenario and send it to the other composer. Verdi's response, on July 6, 1889, was enthusiastic:

Dear Boito, Excellent, excellent!

Before reading your sketch I wanted to re-read The Merry Wives, the two parts of

Henry IV and Henry V, and I can only repeat: Excellent, for one could not do better

than you have done. . . . We now have very different matters to discuss, so that this Falstaff, or Merry Wives, which two days ago was in the world of dreams, now takes shape and becomes reality!

Though Verdi was concerned about his age (he was approaching his seventy- sixth birthday when they began the project), and though he advised Boito to do nothing that would interfere with his own career, he found the very thought of presenting a new opera to be tonic: "What joy to be able to say to the public: Here we are again! Come and see us!!'''' Finally, as with Otello, he enjoined Boito to secrecy for the time being. Always the most private of men, Verdi did not relish the thought of being the object of journalistic second-guessing. The secret was kept for more than a year, when, on November 27, 1890, Milan's Corriere della sera broke the news to an astonished public that Verdi had already written more than half of a comic opera. A critic who managed to interview the composer re- ported the next day that he had called Boito's libretto

beautiful; so comic that even while composing it he has to break off work from time to time to burst into laughter. This reminds us of what he wrote to our late [critic] Filippi many years ago, that he would only compose a comic opera after finding a libretto that made him laugh first.

Giulio Ricordi, Verdi s publisher

27 Week 14 According to long-standing legend, Shakespeare wrote The Merry Wives ofWindsor to satisfy the request of Queen Elizabeth to "see Falstaff in love"— Falstaff, the fat, roguish knight who had caroused with young Prince Hal in the early parts of King Henry IV, was repudiated by the rapscallion prince upon his ascent to the throne, and died virtually unmourned in Henry V. The Merry Wives has never been regarded as one of Shakespeare's greatest comedies, however. The plot is complicated and rambling, not to say repetitious, and there are probably too many characters for the play's own good.

Boito did a masterful job of pruning the more luxuriant branches of Shakespeare's structure, of simplifying the outline by cutting whole scenes and characters and sub- plots, and of highlighting the principal personalities (Falstaff and the jealous Ford, Alice, Dame Quickly, and the young lovers Fenton and Anne Ford [Nannetta]), while retaining good character roles for the others, especially Bardolph, Pistol, and Dr. Caius. From the beginning Boito saw the opera cast in three acts of two scenes each. He reduced the number of Falstaff's embarrassments from three to two, reduced the number of suitors for the hand of Anne Ford (Nannetta), and highlighted the purity of the young lovers by scattering tiny little quicksilver love duets throughout the score.

Verdi made a few suggestions, but on the whole he was delighted with Boito's

Performance Art Allston Piano Co. Piano Rentals i^f Bang & Olufsen Beosystem 7000: Short & Long Term Receiver, CD, turntable, tape deck

Redefines the relationship between Quality Pre-Owned Pianos music, technology, and design Bought & Sold 167 Brighton Ave., Allston

Bang&Olufsen 617 - 254 - 8228 Boston

30 Newbury Street 617-262-4949 Enjoy the finest coffees and desserts

after the BSO concert 90 Exeter Street, Boston in the Copley Square Hotel 266-1979

28 scenario. During the fall and winter of 1889, Boito worked constantly on the actual text of the libretto. He probably saw Verdi frequently, since there are very few letters from this period, and when they were apart, they wrote constantly with careful discussion and analysis of what they were doing.

Early in March 1890, Boito finished the libretto. When Verdi sent him the payment for his work, on March 8, he added the comment that this was not simply a payment but "a sign of gratitude for having written this stupendous FalstaffTor me." Gratitude, indeed. Boito's text so inspired the composer that, only nine days after receiving the text, Verdi wrote to inform his librettist that he had already completed the first act! By this he almost certainly meant the composition of a kind of sketch that has come to be called a "continuity draft," providing the complete melodic thread through the act, all the voice parts, the bass for the harmonic line, and the principal instrumental melodic line. Much detail remained to be completed in a full score, but the essence of his conception was firmly fixed on paper.

This is a considerable feat for a composer of any age, but for one who has turned

seventy-six it is nothing short of amazing, particularly in view of the masterly quality of the final product, the unflagging energy and wit and color. But he was unable to

continue the pace. Several times in the course of the next months he heard of the ill- ness and death of close friends, sometimes people younger than himself, who had been important in his career. This led to a period of depression in which he could write little. In addition, he was embroiled in a lawsuit over the rights to the French version of // trovatore, and he had to give a series of depositions regarding his memory of events more than thirty years old. Verdi regarded the lawsuit as nothing but a nui- sance; he would have preferred to yield the issue in order to save time and energy, but Ricordi would not.

On November 26, 1890, Verdi invited Boito and the Ricordi family to dinner in Milan. There Boito offered a toast to "the health and triumphs of Big-Belly." The guests were confused. Boito explained, "I drink the health of Falstaff." Still Ricordi

Baritone Victor Maurel, who created the roles ofOtello and Falstaff

29 Week 14 —

HHHBBHBalM

Without You, This Is The Whole Picture,

This year, there is a $12 million difference educational and youth programs, and to attract between what the BSO will earn-and what the world's finest musicians and guest artists. we must spend to make our music. Make your generous gift to the Annual Fund Your gift to the Boston Symphony Annual and become a Friend of the Boston Symphony Fund will help us make up that difference. Orchestra today. Because without you, the It will help us continue to fund outreach, picture begins to fade. r "i Yes, I want to keep great music alive. I'd like to become a Friend of the BSO for the 1992-93 season. (Friends' benefits begin at $50.) Enclosed is my check for $ payable to the Boston Symphony Annual Fund.

Name. .Tel..

Address.

City State. Zip.

Please send your contribution to: Susan E. Kinney, Assistant Director of Development,

Boston Symphony Orchestra, Symphony Hall, Boston, MA 02 11 5. KEEP GREAT MUSIC AUVE LA portion of your gift may not be tax-deductible. For information call (617) 638-9251. J 30 failed to comprehend, but his wife did. She turned to Giuseppina Verdi and asked, "A new opera?" And so the world learned that the near-octogenarian was halfway through the composition of a Shakespearean comedy. The instant response of the musical world made Verdi wary. He was feeling more than intimations of mortality, with the deaths of two of his closest friends, both younger than he, within a fortnight of one another. In March 1891 he told Boito that he had done nothing on FalstaffTor four months, but gradually he returned to his work.

By September he began the sketch of the orchestral score, though he had not yet fully drafted the first scene of Act III. He worked on this score until the middle of October 1892, during the course of which he completed the rough sketching of those passages not yet finished and worked at a number of changes in detail with Boito's help on the texts. There was one substantial addition as late as July 1892, when Verdi showed the opera to the singer who would eventually play Dame Quickly and realized that she should have some more substantial solo work in this heavily ensemble-filled score; Boito quickly wrote the text of her narrative at the beginning of Act II, scene 2, and Verdi set it to music and inserted it into the score. By Christmas, Verdi had essen- tially finished the score, though he made many small adjustments and revisions during the rehearsal period at La Scala, which began in early January 1893.

Interest in the premiere was so high that the directors of La Scala obtained permis- sion from the city to raise the ticket prices to an unprecedently high level — a seat that

A commemorative postcard issued after Verdi s death

31 Week 14 David L. Babson & Co., Inc. Investment Counsel

One Memorial Drive Cambridge, Massachusetts 02142-1300 617-225-3800

Tower Records has the largest selection of Classical, Opera and Chamber Music.

(Located three blocks from Symphony Hall) TH«ms TOP 100 ALWAYS ON SALE! • OPEN TIL MIDNIGHT EVERYDAYI CAMBRIDGE BURLINGTON BOSTON ^Mt-.AuburnSt. 10 1 Middlesex Turnpike Mass. Ave at Newbury Harvard Square (617) 876-3377 Bay (617 ird® Hynes Convention Cenlei/ICA ® Slop on the Greenline VDCO SALES *

32 normally went for 5 lire brought no less than 150 on opening night! Even so, every seat was filled.

The opening night was without question a triumph, but Falstaff held a somewhat ambiguous place in Verdi's output, at least in Italy, for many years. Given the ascen- dancy of Wagner in the international musical scene, it was only natural for critics to compare the late Verdi operas with Wagner's work, particularly since they found the treatment of the orchestra to be richer, more varied, and more continuous than in his earlier operas, a change also attributed to Wagnerian influence. Verdi always insisted that his operas—not excluding Otello and Falstaff—were examples of the true Italian spirit, the spirit of vocal music. However significant or richly detailed his orchestra became, the essence of his art was still the projection of the drama by means of the human voice.

Falstaff, however, is different from Verdi's other operas in a significant way: almost everything happens in ensembles, and even the largest solo numbers (such as Falstaff's

Honor Monologue in Act I, scene i, and Ford's Jealousy Monologue in Act II, scene i) are brief insertions into the ongoing ensemble action compared to Verdi's earlier works.

The action begins almost instantly with the argument between Dr. Caius and Fal- staff, abetted by Bardolph and Pistol, in the very opening bars of the first scene (where the orchestral music certainly shapes our perception of the event, but the voices carry the drama). It continues at a lightning pace through the end of Act II, when Sir John gets his first comeuppance. Even the young lovers, whose song (derived from lines in Boccaccio's Decameron) sounds so sweetly on the ear, never get more than a few stolen seconds to express their love and convince us, the audience, of its significance and purity.

The third act moves at a more leisurely and expansive pace. Boito and Verdi were both aware of this change of character for the conclusion. To keep the act, and especially the final scene, from becoming an anticlimax, Boito provided Verdi with many opportunities for varied kinds of music, from Fenton's opening sonnet of love (in which Boito cleverly creates the opening lines out of whole cloth to graft them onto the Boc- caccio text, which has already come to symbolize the lovers) to Falstaff's final fugue.

This fugue is perhaps Verdi's own central contribution to the scenario. Just a month after receiving Boito's scenario, in the summer of 1889, Verdi wrote to his librettist:

You are working, I hope? The strangest thing of all is that I am working too! I'm

amusing myself by writing fugues! Yes, sir; a fugue . . . and a comic fugue, which would be in place in Falstaffl

Evidently Boito accepted the idea of ending the opera with a fugue. (Indeed, everything after the mock wedding seems to be Verdi's idea.) So the closing music of Verdi's last opera was almost the first music conceived for the work. The "comic fugue," celebrating good-naturedly the folly of all mankind, caps Verdi's lifelong devotion to the creation and fully rounded projection of human beings by way of music on the stage. In this final operatic score, we have music of a continually astonishing freshness and invention, music that we would insist had to be the creation of a young artist, except that every bar displays the mastery of a lifetime's experience.

—Steven Ledbetter

33 Week 14 More . . .

The Verdi revival of recent years has brought with it a wonderful series of publications that make the latest research accessible to the general reader. The fullest source of information on Verdi's work is the magnificent three-volume study The Operas of Verdi by Julian Budden (Oxford), which deals with the creation of each of his operatic works, the libretto and its sources, and the music itself in a way that will not be surpassed for a long time to come. Moreover Budden is unusually enlightening on the tradition in which Verdi wrote, explaining many of the operatic conventions that so often seem ridiculous to the uninitiated in ways that explain their development and purpose. The richly informative but extensive discussion of Falstaff in the third volume is almost a small book in itself. Budden has also written an excellent single-volume life-and-works survey, Verdi, for the Master Musicians series (Vintage paperback). A collection of varied and interesting essays on general topics related to Verdi's work, plus an excellent annotated Verdi bibliography and a calendar of events in the composer's life, will be found in The Verdi Companion, edited by William Weaver and Martin Chusid (Nor- ton). William Weaver's Verdi, A Documentary Study (Thames & Hudson, distributed by

Norton) is large enough and beautiful enough to be a coffee-table book, but it is much more valuable than most volumes that fall into that category. In addition to a rich selection of illustrations, Weaver provides a narrative thread constructed of original docu- ments—letters, memoirs, reviews, and the like — in translation; it is both elegant and

Oxxford Norman Hilton GOLDEN Southwick CARE Zareh

Four names that have Geriatric stood for quality for Home Health Care as long as you can Specializing in Live -In Services remember A 15 Year Tradition

607 Boylston Street Copley Square Boston, MA 02116 ONE LIBERTY SQ. 02109 BOSTON, 617 267-5858 350-6070

34 useful. George Martin's Verdi: His Music, Life, and Times (out of print) is a straighi biography that is particularly useful for its rich cultural and political background. Andrew Porter's informative Verdi article from The New Grove has been reprinted in The New Grove Masters ofItalian Opera: Rossini, Bellini, Donizetti, Verdi, Puccini (Norton paperback). A chapter-length discussion of Falstaff, with the themes of the principal musical ideas, can be found in Ernest Newman's Great Operas, Volume I (Vintage paperback). An informative and wide-ranging discussion of almost everything about the opera, from the sources of the libretto and the work's compositional history to the first production and the tradition of its interpretation since then, can be found in James Hepokoski's Verdi s Falstaff in the invaluable series of Cambridge Opera Hand- books (available in paperback).

— S.L.

"Falstaff" on Compact Disc

Two recordings of Falstaff are considered "classic." The first is Arturo Toscanini's 1950 NBC Symphony broadcast, a dazzling "live" performance now available on CD in the best sound it's ever had. The Falstaff is Giuseppe Valdengo, who also sang Iago in Otello and Amonasro in Aida with the conductor; the cast also includes Herva Nelli (the Aida on Toscanini's recording of that opera) as Alice, Chloe Elmo as Mistress Quickly, and Frank Guarrera as Ford (RCA Gold Seal, monaural). The second classic set is Herbert von Karajan's brilliantly theatrical 1956 recording with Tito Gobbi's vividly nuanced Falstaff, Elisabeth Schwarzkopf a sparkling Alice, Fedora Barbieri arguably the best Quickly on disc, and Rolando Panerai a splendid Ford. The Philhar- monia Orchestra offers playing so staggeringly virtuosic it sometimes seems to over- shadow the opera itself (EMI, two discs — not to be confused with Karajan's later recording for Philips). A third good choice, in fully digital sound, is Carlo Maria Giulini's recording drawn from "live" performances with the Los Angeles Philhar- monic. Critical response to this set was mixed, given some uneven vocalism, Giulini's desire to play things "straight," and his tendency toward some slower-than-usual tem- pos. But what you do get is the sense of a real performance from a committed ensemble guided by an equally committed conductor, who lovingly creates a world for the opera's characters to inhabit (Deutsche Grammophon).

The remaining stereo recordings offer mixed results. RCA's recent, warmly spacious set with Sir Colin Davis and the Bavarian Radio Symphony boasts Rolando Panerai's fine Falstaff, Alan Titus's impressive Ford, humane leadership from Davis, and elegant playing from his orchestra; Frank Lopardo, who sings in this week's Boston Symphony performances, is Fenton. Unfortunately, aside from Julie Kaufmann's engaging Nan- netta, the women do little with their roles, leaving a serious gap when the female characters take center stage (RCA Victor Red Seal, two discs). Not surprisingly, Leonard Bernstein's approach to Verdi's score is strongly extrovert and pointedly detailed; the Vienna Philharmonic plays brilliantly for him. Bernstein is also well served by his cast, including Dietrich Fischer-Dieskau's intricately detailed Falstaff, Rolando Panerai's second recorded Ford, and Ilva Ligabue's charming Alice (CBS Masterworks). At the opposite pole, Georg Solti, seemingly more attuned to his orchestra than to his singers, leads a brusque, generally uneventful recording. Geraint Evans is a suave Falstaff and Robert Merrill's Ford is vocally and dramatically persuasive, though Ilva Ligabue's Alice registers less well than for Bernstein (London, mid-priced). Finally, despite the merits of a vivid cast— including Giuseppe Taddei as Falstaff, Rolando Panerai (again) as Ford, Raina Kabaivanska as Alice, and Christa Ludwig as Mistress Quickly— Karajan's indulgent, glutinous remake with the Vienna Philharmonic remains earthbound (Philips).

—Marc Mandel

35 Week 14 The Plot

The plot of Falstaffis derived largely from Shakespeare's The Merry Wives ofWindsor,

with other material drawn from Henry IV, part i and Henry IV, part ii, in which the character of Falstaff also figures. The action takes place in Windsor during a single day in the early fifteenth century.

Act I, scene i. Inside the Garter Inn, favorite haunt of the aging, corpulent, but self- satisfied knight Sir John Falstaff.

As the music begins, an enraged Dr. Caius bursts into the room to complain that Falstaff has beaten his servants, worn out his horses, and broken into his house. The fat knight is unperturbed by this denunciation; calmly he admits everything. When Caius threatens to take the matter to the royal council, Falstaff assures him that he will only become a subject of derision. Further incensed, Caius turns on FalstafFs cronies, Bardolph ("Bardolfo" in Italian) and Pistol ("Pistola"), claiming that they got him drunk and then emptied his pockets, a charge they indignantly deny. Falstaff accepts their view of the matter, and Caius storms out, determined never to get drunk again except in the company of "honest, sober, and pious people." Bardolph and Pistol see him out chanting a mocking "Amen" in counterpoint. Falstaff abruptly ends their singing with the complaint that they are clumsy thieves.

But now Falstaff has a more serious problem. The host of the inn has presented his bill, and Falstaffis practically penniless. He has, however, developed a plan. Firmly convinced that he is irresistible to women, he has written identical love letters to two married women of Windsor— Alice Ford and Meg Page, who are married to rich hus- bands — in the expectation of seducing them and thereby lining his pocketbook. He asks his cronies to deliver the letters. But both men refuse, as a matter of honor. In a rage, Falstaff summons a page and sends him off with the letters, then turns to the two

men and lectures them on the uselessness of "honor": "Can it fill your belly? Can it give you back a leg? or a finger? or even a hair? No. It is just a word— that floats away in the air." Rejecting the very idea, Falstaff picks up a broom and chases his men out.

Act I, scene ii. A garden outside Ford's house.

Alice and her marriageable daughter Nannetta, on the point of going out, run into their friends Meg Page and Mistress Quickly. Each wife has something funny to share with the other: she has received a love letter from a knight. This coincidence is strik-

Mass, Broadcasters Association Station of the Year qASBACK W W CLASSICAL MUSIC 1Q4.9 FM

36 ing. They exchange letters and begin to read them aloud, discovering that, except for the name to which they are addressed, the letters are identical. Laughing at the knight's ardent doggerel, the women decide he needs to be taught a lesson. In a vigor- ous quartet they hurl insults at him. The instant they leave, a group of five men— Ford, Dr. Caius, Fenton, Bardolph, and Pistol — enter with their own outburst. Falstaff's former cronies are trying to warn Ford of the impending seduction of his wife. Pistol describes the letter and Bardolph chaffs Ford at his impending cuckoldom, claiming that he can even see the horns beginning to sprout on Ford's head. The two groups catch sight of one another and slip away in opposite directions to plan their revenge. Young Fenton, catching sight of Nannetta, remains behind, and the two young lovers steal a momentary embrace and kiss. They must do this in secret, since Ford is determined to marry Nannetta to Dr. Caius. Each time they part, they sing a brief, lyric pledge of their love (the words are drawn from Boccaccio): "A mouth that is kissed does not lose its future, but renews itself like the moon."

The women return to lay out their plot. Mistress Quickly is chosen to carry Alice's reply to the letter—an invitation to a private meeting. They depart to begin their plot; Fenton and Nannetta seize the opportunity for another kiss before they hear people coming. This time it is the men with their own plot. Ford decides that he will visit FalstafF under an assumed name, "Signor Fontana" ("Master Brook"), with the conni- vance of Bardolph and Pistol, the better to discover what is happening. Both groups of plotters, men and women, restate— simultaneously but on separate sides of the stage — their anger and disdain for Falstaff. The men leave, and the women, with a final satirical quotation from Falstaff's love letter, burst out in gales of laughter.

Act II, scene i. Inside the Garter Inn, as in the first scene.

Bardolph and Pistol present themselves to Falstaff, pretending to be penitents for their earlier rash refusal to carry his letters. Bardolph introduces Mistress Quickly, who has requested an interview with Falstaff. With repeated deep curtsies of feigned

* 01 CIUSEPPE VEBOI. I PCIMI ESECUTOE1 DEU'OCEQA 'FALSTAFF

Dfil*A BAPPBESENTAZiONE - TEATBO AlLA SCALA - 9 FEBBCAlO 1893 a

-r <

'" >s4P 9

7 The composer, librettist, and original cast of "Falstaff

37 Week 14 respect, she waits for the other two men to leave, then gives Falstaff the happy news: that Alice is pining with love for him and that her husband is out of the house every day between two and three. Falstaff is delighted. Quickly has another message; the unfortunate Meg, she says, also loves him, but her husband is rarely away from home. "Ah, you bewitch all the ladies," says Quickly. Falstaff modestly replies, "It's not witchcraft, just a certain personal fascination that I have." He gives her a coin as a tip and she departs with a still deeper curtsey.

"Alice is mine!" Falstaff exults, and the orchestra joins him in hearty laughter. "Go on, old John, go, go your way," he sings to himself. Bardolph ushers in a stranger, "Master Brook," who offers him a gift of Cyprian wine and introduces himself as a man of "great abundance." Falstaff welcomes him warmly and drives his listening henchmen from the room. Ford dangles a purse full of jingling silver in front of Falstaff and offers to give it to him if only he succeeds in seducing a Windsor woman named Alice, "wife of a certain Ford." Falstaff, astonished, begs for an explanation. "Master Brook" replies that he has long loved Alice, but her virtue has made her proof against temptation. But once she has succumbed to Falstaff, he may hope to conquer her virtue as well. "Spend all my wealth on her seduction!" Astonished as he is by the strange proposition, Falstaff nonetheless has no hesitation in accepting the proffered silver. "You will have Ford's wife," he confidently predicts. "I'm already rather far along with her. In fact, she'll be in my arms within a half hour—between two and three!" "Brook" can scarcely believe this news, but Falstaff sings in glee of how he will put the horns on Ford's head in short order. He leaves to ready himself for the assignation.

Left alone, the jealous Ford ponders his deepest fears, which seem to be coming to pass. He imagines the ridicule and sneers of others. Now in a pitch of rage, he deter- mines to catch his wife with Falstaff and to avenge himself. The return of Falstaff, dressed in his best finery, interrupts these thoughts. As they prepare to leave, each man insists that the other precede him through the door. Finally they go through to- gether, arm in arm.

Act II, scene ii. A room in Fords house with a spacious open window looking out on the Thames.

The ladies are preparing their surprise for Falstaff. Quickly enters to recount her interview with the knight. She informs them that Falstaff will arrive, today, between two and three. Realizing that the time is almost at hand, Alice bids the servants carry in a large laundry basket. Then she notices that Nannetta is not sharing their happy

1412 B Beacon StreetTHflifllrie, Massachusetts 02146 W%m> 738-5700 • 1-800-343-8535* J=AX W§ Z38-1512

38 mood. Tearfully, the girl explains that her father insists that she marry Dr. Caius. Alice promises her that she has no reason to worry about such a marriage. Now all the women set out their props: a chair, a lute, an open folding screen between the laundry basket and the hearth. After a brief exhortation to the "merry wives of Windsor" to be ready to raise their voices in hearty laughter, Alice takes her place at the table, dream- ily strumming the lute, while the others hide nearby.

Entering, Falstaff begins singing along with Alice's lute. He promises to raise her social status above the middle class. She remains unsure, modest in her replies, and alludes to his "vulnerable flesh." He was not always this fat, he says. "When I was a page to the Duke of Norfolk, I was slender." Before Falstaff can proceed far with his seduction, Quickly rushes in and warns Alice that Meg, in a state of frenzy, is about to arrive. Falstaff hides behind the screen. Meg, as part of the pre-arranged plot, rushes in shouting that Ford is coming, suspicious that Alice is concealing a lover and swear- ing revenge. Quickly has gone out, but she rushes back screaming, "Mistress Alice, save yourself! Ford is coming— like a tempest!" Sensing a new intensity in Quickly's words, Alice asks quietly, "For real, or as a joke?" but Quickly is too frantic to whisper. "For real," she screams. Falstaff has been trying to slip out, but upon hearing Ford's angry voice in the distance, he once again hides behind the screen.

The enraged Ford rushes into the house with all of the other men who had plotted against Falstafff. He sees the large laundry basket and pounces on it, throwing the dirty laundry every which way. Then the men rush out to search the rest of the house. Falstaff is prevailed upon to hide in the basket, and the women quickly cover him with the washing. While they are doing this, Fenton and Nannetta take refuge behind the screen for another bout of kissing. No sooner are they out of sight than the horde of searchers reappears, furiously searching the room for a sign of the knight (but ignor- ing, of course, the laundry basket they had already searched). Suddenly, in a moment of silence, they hear a sonorous kiss from behind the screen. "He's there" exclaims Ford.

The action freezes as the men concentrate on the screen and whisper to one another as they slowly surround and approach it. Behind them, Falstaff keeps poking his head

Act II, scene ii, of "Falstaff,'" with Nannetta and Fenton behind the screen at left, and Falstaff in the laundry basket on the right

39 Week 14 out of the filthy laundry ("I'm suffocating," he moans), only to have one of the ladies push it back down out of sight. Over all this we hear the innocent song of the two lovers, in a world of their own, behind the screen. At Ford's signal, the men pull the screen away, to discover the wrong man and Ford's daughter. Ford explodes against Fenton: "I've told you a thousand times: she will not be yours." Bardolph and Pistol believe they see Falstaff on the steps outside. The men rush out in pursuit. At this moment Alice summons the servants who, with great difficulty, pick up the heavy laundry basket and throw the contents — Falstaff included — out the window.

Act III, scene i. Just outside the Garter Inn; sunset.

Falstaff is seated meditatively in a large chair. He is disgusted with his life and with the state of the world. Calling for some mulled wine, he ponders the miserable day he has had. "Go on, old John, go your way—until you die," he says despondently. But the wine improves his mood, sending through his body a warming trill (echoed in the orchestra), ultimately, he feels, to invade the whole world. This triumphant mood is shattered instantly by the arrival of Mistress Quickly. Falstaff wants nothing further to do with her or her friends. But Quickly insists that Alice regrets the day's misfortune and still hopes to arrange an assignation. She has sent another letter outlining the details: Falstaff is to appear at midnight by Heme's Oak in Windsor Park where, according to legend, the Black Hunter hanged himself. He is to come disguised as the Black Hunter himself. "Love adores mystery!" exclaims Quickly. As the two go inside to discuss the details, a group consisting of Alice, Ford, Nannetta, Meg, Dr. Caius, and Fenton all observe from a distance the progress of their plot to teach Falstaff a lesson once and for all.

Alice explains to them that Falstaff's disguise will involve his wearing two horns on his head, symbol of the cuckoldry he had tried to bring upon Ford. Ford is delighted at

Sit. Relax.

Rebuilt Steinways and Mason & Hamlin Grands for Sale

A Tradition of Excellence in Piano Restoration

Acme Piano Craftsmen Lee Doherty President

(617) 623 - 0600

North Shore: (508) 281 - 4527 10 Garfield Avenue • Somerville, MA 02145

40 Were here because there's a difference between making a living. And having a life.

J*L Fleet Bank A Member oi Fleet Financial Group

Were here to make a difference.8 "

Member FDIC. INTRODUCING

Philanthropy is an American tradition. Over the years, however, the process of charitable giving has become too time consuming and too complex. fortunately, fidelity Investments has a common sense solution.

The Charitable Gift Fund

It simplifies the process while enhancing the value of your contributions. it provides both immediate tax benefits and the luxury of being able to recommend gifts to qualified non-profits at your convenience.

The Charitable Gift Fund also eliminates the legal and accounting hassles, distribution requirements and investment management responsibilities typically associated with foundations and other giving plans.

The Charitable Gift Fund. New from Fidelity. A common sense solution for individuals and corporations. it will simply revolutionize the way you give.

For complete details, please call a Charitable Gift Fund representative at 1 -800-544-0275, ext. 26. or, fax your

inquiry to (617) 248-1 851 .

haritable

.-'.'0:.'V Investments This ship's lamp is mounted on a gimbal, a device that keeps it upright regardless ofmovement. STABILITY IN ANY WEATHER People turn to State Street for one of the world's largest custodians the kind of stability they can't find of financial assets and one of the elsewhere. largest money managers in the They know that for nearly 200 United States. years, State Street has guided both Our financial foundation is solid, our individuals and businesses through investment performance superior and good times and bad. our commitment to quality unwavering. Helping to grow and protect their Whatever the weather, you can assets for future generations and count on State Street for your finan- providing their growing businesses cial and investment needs. the kind of investment advice usually For more information, call Peter reserved only for Fortune 500 Talbot at (617) 654-3227. companies. Of course, over the years State Street has grown too. Today we are

State Street Bank and Trust Company, wholly-owned subsidiary of State Street Boston Corporation, 225 Franklin Street, Boston, MA 02110. (617) 786-3000. Offices in Boston, Worcester, Manchester, Hartford, New York, Los Angeles, Toronto, Montreal, London, Paris, Munich, Brussels, Luxembourg, Cayman Islands, Tokyo, Sydney, Melbourne, Wellington, Hong Kong. Member FDIC. © Copyright State Street Boston Corporation, 1992. fjISBHMHHI

Fortunately For Those Who Once Dared To Dream,

There Were Those Who Understood And Helped Make It Happen.

Talent, hard work and dedication aren't all it takes to become an accomplished pianist. Success

often requires the help of someone who listens to

your needs and knows what it takes to meet them.

Understanding a person's needs. It's something we feel very strongly about at Shawmut. Shawmut

And it's what makes our know-how all the more valuable. A Shawmut National Company

KNOW-HOWTHAT PAYS OFF Member FDIC the prospect, even though Alice reminds him that his nearly insane jealousy was almost as much at fault. Alice then describes the costumes the others will wear for the joke to be played: in particular, Nannetta all in white as Queen of the Fairies. After the others leave, Ford and Dr. Caius remain behind. Ford tells Caius to put on a monk's garb and bring the white-garbed Nannetta to him that night, after the punishment of Falstaff, so that he can formally bless their marriage. Their plotting has been overheard by Mistress Quickly, who hurries off to warn the ladies.

Act III, scene ii. Windsor Park at midnight; Heme's Oak in the center.

Fenton sings ecstatically of his love for Nannetta. She appears, recalling the frag- ment of song they have exchanged previously. But as Fenton is about to embrace her, Alice interrupts them; she tells Fenton to put on a monk's outfit, so that he can be substituted for Dr. Caius at the crucial moment. Everything is prepared for Falstaff's final comeuppance; the scene is empty for a moment.

Falstaff arrives, wrapped in a broad mantle and with the horns of a stag on his head. He counts the stroke of the clock signaling midnight and expresses a superstitious fear of the time and place. But the arrival of Alice raises his spirits. She flirts lightly with him, evading his embraces, and informs him that Meg has followed her. Falstaff antici- pates the pleasure of enjoying both women. Suddenly Meg cries out "Help!" from a distance, then hurries in to announce that she has seen evil spirits in the dark forest. Alice rushes away, leaving the superstitious Falstaff alone in the dark.

In the distance the voice of Nannetta is heard, as Queen of the Fairies, summoning all her nymphs and elves. Upon hearing this, the frightened Falstaff mutters, "Whoever looks upon them dies," and throws himself to the ground face down. Nannetta enters with her troop of costumed children and sings a delicately evocative song. At its conclusion, the others enter, masked, and, tripping over Falstaff, pretend to be horrified at discovering a human there. They hurl insults at him, after which the children pinch and poke him ceaselessly, despite his howls. They cudgel him and call him names, uttering mock prayers that he repent (he does so, but with the added prayer, "Save his belly").

Finally, though, the game goes too far. Bardolph shouts some abuse with such enthusiasm that his hood falls back and an astonished Falstaff recognizes him and begins to attack him in turn until he is out of breath. Gradually he realizes that the people around him are his Windsor neighbors. (Meanwhile Quickly gets Bardolph out of the way with some whispered instructions.) Only now does Falstaff realize that "Master

Brook" is Ford, Alice's husband. "I begin to see that I have been an ass," he brays.

Now Ford offers the surprise that will cap the evening: the marriage of the Queen of the Fairies. Dr. Caius approaches with a veiled figure in white. Another couple approaches; Alice requests that they be allowed to share in the happy occasion. Ford, confident of his victory, smilingly agrees. But when the masks are raised, the joke is on him: "Fenton with my daughter!" Caius is even more upset: "I've married Bar- dolph!" he shouts, to the crowd's mocking laughter. A calmer Falstaff now asks, "Dear Mr. Ford—who is it that has been gulled?" Ford and Caius point to each other, but Alice interrupts: "No— all three of you!"

Having been defeated in his intentions for his daughter, however, Ford gives in with good grace and invites everyone to join in a general chorus followed by a dinner. Falstaff himself leads the song, a concluding fugue that announces: "Everything in the world is a jest, and man is a born buffoon."

— S.L.

41 Week 14 Benjamin Luxon British baritone Benjamin Luxon has established a varied international career singing opera, concerts, and Lieder; he appears regularly in the major cities of Europe and the United States. Born in Cornwall, Mr. Luxon studied at the Guildhall School of Music, where he won the Gold Medal, then went on to become a prizewinner at the Munich Inter- national Competition. In the ensuing years he became widely known as one of Britain's most popular classical singers and also as a television personality, hosting his own program for Westward TV and presenting hi s for Mr. Luxon's in opera have in- 1 jfcv. AsP own show BBC2. appearances m. HBr>^H I eluded Covent Garden, Glyndebourne, Scottish Opera, Brussels Opera, English National Opera, Frankfurt Opera, the Metropolitan Opera, La Scala, and Philadelphia Opera. He has appeared with all the major United States orchestras, including frequent engagements with Seiji Ozawa and the Boston Symphony since his BSO debut in Beethoven's Ninth Symphony in March 1976; his appearances here have included the title roles in Tchaikovsky's Eugene Onegin and, most recently, in April 1987, Berg's Wozzeek. He also works frequently with all the major orchestras of London and has appeared with the Berlin Philharmonic, the Israel Philharmonic, and the Concertgebouw of Amsterdam, among others. Mr. Luxon's engagements this season include further performances of Falstaffwith Seiji Ozawa, in Vienna and Tokyo. Earlier this season he appeared in recital at Carnegie Hall and appeared as The Wolf in the premiere of Paul Patterson's Little Red Riding Hood with the London Philhar- monic at Royal Festival Hall. Mr. Luxon has made more than eighty recordings, including Mahler's Eighth Symphony with Seiji Ozawa and the Boston Symphony Orchestra, three records devoted to songs from the musical theater, a series devoted to English twentieth-century song, and Schubert's Schwanengesang, Die schone Mullerin, and Winterreise. In 1989 he and David Willison received the MRA solo vocal award for their Chandos recording of Elgar and Delius songs. Mr. Luxon was awarded the CBE for his services to music in 1986.

DEVOTED TO THE CONTINUITY OF EXCELLENCE Proudly serving Belmont and neighboring communities with the finest in professional health care. Now completely modernized to offer unsurpassed facilities and services.

i 34 Agassiz Avenue, Belmont, MA 02170 TEL 617-489-1200, FAX 617-489-0855 Owned and managed by the Karger family for 25 years.

42 Daniela Dessi Born in Genoa, Italy, soprano Daniela Dessi completed her musical education at the Parma Conservatory and at the Accademia Chigiana of

Siena; she won first prize at the international "RAI Auditorium" Com-

petition in 1980. Her first concert engagements included appearances in such works as Rossini's Stabat Mater and Petite Messe solennelle, the Verdi Requiem, and Haydn's Creation. Her operatic debut in Pergolesi's La serva padrona at the Teatro Savona led to engagements including the role of Desdemona opposite Placido Domingo's Otello in Barcelona, Don Giovanni with Renato Bruson in Turin, and the Verdi Requiem in Paris under Ricardo Muti. In 1989 Ms. Dessi was invited to appear at La Scala in Mozart's Le nozze di Figaro and Cost fan tutte under Muti's direction. She made her debut at Bologna's Teatro Comunale that same year, as Elisabetta in Verdi's Don Carlo, and opened the Teatro Comunale of Florence in a new production of Mefistofele that December. Recent engagements have included La boheme in Bologna, Don Giovanni at the Maggio Musicale Fiorentino, Cost fan tutte at the Accademia di Santa Cecilia in Rome, Otello with Domingo in Madrid, Simon Boccanegra at Venice's Teatro La Fenice, Don Carlo also in Venice, Pagliacci with Luciano Pavarotti and the Philadelphia Orchestra under Muti, her German debut with productions of Simon Boccanegra in Hamburg and Bonn, and La Scala's opening night Don Carlo this past December. Ms. Dessi's future plans include productions of Falstajf at La Scala and at Florence's Teatro Comunale. She is making her Boston Symphony debut with this week's performances of that opera.

Dawn Upshaw ipsy^ Soprano Dawn Upshaw regularly performs major roles at the world's leading opera houses. She is equally acclaimed as a Lieder singer and recitalist, and for her commitment to new music. Her discography pliBf ~" % includes the 1991 Grammy Award-winning disc "The Girl With Orange Lips" (songs by Falla, Delage, Ravel, Stravinsky, and Earl Kim) and if% *h 1 the 1989 Grammy winner "Knoxville: Summer of 1915" (music of Barber, Menotti, Stravinsky, and John Harbison), both on Elektra/ Nonesuch. She has also recorded Susanna in Mozart's Le nozze di Fi- garo with James Levine for Deutsche Grammophon, Pamina in Mozart's Die Zauberflote with Roger Norrington for EMI, and Celia in Mozart's Lucio Silla with Nikolaus Harnoncourt forTeldec. Ms. Upshaw is a frequent guest at the major summer festivals; last summer found her at the Aix-en-Provence Festival in recital and in Stravinsky's The Rake's Progress. Also last summer she returned to Salzburg, for Peter Sellars'

Before the Show,

after the Symphony or GOEHON

A P A N E S E NOODLE RESTAURANT in between the Pops.

Great Tempura, Yakitori and Japanese Noodles.

267 Huntington Avenue, Telephone: 859-8669

43 Dinner, Parking

AndThe Shuttle, ForA Song. A VACATION FOR YOUR BODY, A TRIP Make dinner at Boodle s part of your FOR YOUR MIND night out at the Symphony. We're offering When you see the world's our customers special parking privileges greatest treasures with Swan Hellenic, in our private garage for just $5, and free you capture, experience, and take them home with you. "Symphony Express" shuttle service Whether an Art Treasures and Thursday. show us your Tuesday Just tour of the world or cruising the Nile, Symphony tickets, and we'll arrange for Aegean, Mediterranean, Black or Red Seas, you will be in the company of your $5 parking, take you to Symphony internationally-recognized experts, Hall after your meal, return to and you who will share their enthusiasm and your car after the performance. With a knowledge with you. Steeped in history, we jour- deal like that, a night at the Symphony ney through lands and myths of time never sounded better. to discover treasures of the past. Contact your local travel agent or Esplanade Tours for more information about these SWAJ\|K3f unforgettable programs. HELLENIC ESPLANADE TOURS RESTAURANT&BAR 581 Boylston Street, BS Boston, MA 021 16 (617) 266-7465 • (800) 426-5492 IN THE BACK BAY HILTON (617) BOODLES

A Gracious Alternative to Nursing Home Care

* Assistance with * Superb dining bathing, dressing ... • Health & Wellness program * Private, elegant * Short & Long term rental 1 & 2 room suites options available.

Dignified Retirement Living t»T 314 Commonwealth Avenue For Information Call £qUai Housing (617) 262-3900 Boston, MA 02115 Opportunity

44 production of Messiaen's St. Francis o/Assisi. This season brings a return to the Met as Pamina, performances of Falstaffwith Seiji Ozawa in Boston and Japan, a United States recital tour with pianist Richard Goode, a concert at New York's Merkin Hall with fortepianist Malcolm Bilson, and the premiere of Richard Danielpour's Sonnets to Orpheus with the Chamber Music Society of Lincoln Center. Ms. Upshaw was a winner of the Young Concert Artists International Auditions in 1984, the same year she was selected for the Metropolitan Opera's Young Artist Development Program. A first-prize winner in the Walter Naumberg Vocal Competition in 1985, she began performing major roles at the Metropolitan Opera in 1988. An alumna of the Tanglewood Music

Center, she first appeared with the Boston Symphony in the gala Tanglewood concert celebrating Leonard Bernstein's seventieth birthday in August 1988. She also participated in the gala BSO concert celebrating the fiftieth anniversary of the Tanglewood Music Center in 1990, which included the third act of Verdi's Falstaff.

D'Anna Fortunate* Mezzo-soprano D'Anna Fortunato's typically varied engagements this

' season range from Baroque opera in New York to American contempo- rary music in Berlin. With the Brewer Consort she participates in Handel's Muzio at New York's Merkin Hall; with Spectrum Concerts in Berlin she sings music by John Duke, Stephen Jaffee, and Lee Hoiby. She also sings music of Stravinsky and Frank Martin with the Boston Chamber Music Society, Bach cantatas with the Bach Aria Group, and Ruth Crawford Seeger's Three Songs with Leon Botstein and the Amer- ican Symphony at Carnegie Hall. To her long list of recordings she adds Scarlatti's Ishmael, for Newport Classics, and a selection of Amer- ican works with chorus, for Albany Records. Previous releases include Beethoven's Choral Fantasy with Vladimir Ashkenazy and the Cleveland Orchestra on London, an award-winning interpretation of Dido in Purcell's Dido and Aeneas on Harmonia Mundi, and an award-winning album of Amy Beach Songs on Northeastern. In the area of opera, Ms. Fortunato has been acclaimed for leading roles with New York City Opera, Glimmerglass Opera, Kentucky Opera, the Opera Company of Boston, the Monadnock Festival, Connecticut Grand Opera, and Roches- ter Opera Theater. As a concert and oratorio soloist, she has appeared with such groups as the Chamber Music Society of Lincoln Center, St. Luke's Ensemble, and the Boston Camerata. Festival engagements have included Marlboro, Tanglewood, Blossom, Brattleboro, the Bach Festival of Rome, and the Casals Festival. In the realm of American music, composers John Harbison, Stephen Albert, and John Heiss have chosen her for the premiere performances of their works. Ms. Fortunato was born in Pittsburgh to parents of Italian and German descent; an alumna of the Tanglewood Music Center, she studied at the New England Conservatory with Gladys Miller. She made her Boston Symphony debut in February 1972 and appeared with the orchestra most recently in April 1991.

Maureen Forrester In addition to this week's Boston Symphony performances, contralto Maureen Forrester's 1992-93 season includes a new production of Charpentier's Louise at the Grand Theatre de Geneve and a concert version of Candide with the San Francisco Symphony. She made her European operatic debut in the summer of 1990 at La Scala under Seiji Ozawa's direction, as the Countess in Tchaikovsky's Pique Dame. subsequently singing that role with the Boston Symphony at Tangle-

{ wood, Symphony Hall, and Carnegie Hall, and recording it with the orchestra for BMG Classics. Recent engagements have also included i ^J) the world premiere performances of Colin Matthews' orchestration of Britten's A Charm ofLullabies in Indianapolis and at Carnegie Hall with Raymond Leppard and the Indianapolis Symphony, and concert performances of Falstaff with Edo de Waart and the Minnesota Orchestra. Born in Montreal, Ms. Forrester made her debut at the YWCA and was immediately engaged to sing Beethoven's Ninth Symphony under Otto Klemperer. She

45 made her first Carnegie Hall appearance in 1957, singing Mahler's Resurrection Symphony under Bruno Walter's direction. A passionate advocate of twentieth-century music, especially

that of her fellow Canadians, and considered one of the world's great Mahler interpreters, she is represented on more than 130 recordings. Her candid 1986 autobiography, "Out of Character," was recently translated into French, Ms. Forrester's second language. The recipient of twenty- nine honorary doctorates and numerous other honors, Ms. Forrester finished her five-year term as Chairperson of the Canada Council in December 1988. She is on the Board of the Toronto Symphony, has been Chancellor of Wilfred Laurier University for the past six years, became spokesperson for The Arthritis Society in 1990, and was recently named to the Canadian Hall of Fame. Ms. Forrester has appeared frequently with the Boston Symphony since her debut here in December 1958.

Frank Lopardo Lyric tenor Frank Lopardo appears at the Metropolitan Opera, La Scala in Milan, the Bavarian State Opera in Munich, San Francisco Opera, Chicago Lyric Opera, the Royal Opera at Covent Garden, and the Salzburg Festival. His Metropolitan Opera roles this season include Tamino in Die Zauberflote, Idreno in Semiramide, and Fenton in Falstaff. The 1992-93 season also brings his return to La Scala, in Don

Giovanni under Riccardo Muti. Plans for 1993-94 include his first Tonio in La Fille du regiment, in San Francisco, and Met performances as Tonio and as Almaviva in // barbiere di Siviglia. Mr. Lopardo was born in New York and studied with Dr. Robert White, Jr., who remains his vocal mentor today. He made his professional debut in 1984 in St. Louis, as Tamino. After performances of Don Giovanni with Pittsburgh Opera, The Magic Flute in Houston, La cam- biale di matrimonio in Dallas, and his Carnegie Hall debut in Rossini's Guglielmo Tell with the Opera Orchestra of New York, he appeared as Tamino with the opera companies of Winnipeg

"Before the show, I like to have dinner in the Fine Arts Restaurant. ." It puts me in the proper frame of mind

Fine Arts Restaurant The perfect place to begin a cultural evening. Dinner: Wed. - Fri. evenings. Lunch: Tues. - Sun. Corporate functions. Reservations: 617-266-3663

46 and Edmonton, and in Verdi's Rigoletto with Riccardo Muti and the Philadelphia Orchestra. He first appeared in Europe in the 1985-86 season, as Fenton in Falstaff al theTeatro San Carlo in Naples. He made his French debut in the summer of 1986 as Don Ottavio at the Aix-en- Provence Festival and helped open the new theater of the Netherlands Opera as Fenton in the fall of 1986. His Vienna State Opera debut took place in the autumn of 1987 and his La Scala debut that December. His discography includes Mozart's Requiem and Don Giovanni under Muti on EMI, Rossini's // barbiere di Siviglia and Litaliana inAlgeri under Abbado on Deutsche Grammophon, and Verdi's Falstaff'under Sir Colin Davis on RCA Victor Red Seal. Mr. Lopardo made his Boston Symphony debut in the 1989-90 season-opening performances of Berlioz's Requiem and appeared with the orchestra most recently atTanglewood last summer, singing Almaviva's aria from // barbiere di Siviglia and as soloist in Orff's Carmina burana.

Paolo Coni

A native of Italy, baritone Paolo Coni studied music at the Morlacchi Conservatory in Perugia and worked under the guidance of Lajos Koszma and Rodolfo Celletti. Before launching his professional career in singing, he also obtained a degree in chemistry. Mr. Coni won the Mattia Battistini Competition for young singers in 1983 and made his debut in Lucia di Lammermoor. Since then, his European opera engagements have included Florence, Venice, Covent Garden, Barcelona, the Vienna Staatsoper, La Scala, San Carlo in Naples, Turin, Parma, Bologna, and Geneva, among others. In 1986-87 he won the prestigious Abbiati Prize for his performances as Germont in La traviata at the Teatro Comunale in Bologna. Last season he appeared opposite Pavarotti in Philadelphia Orches- tra performances of Pagliacci under Riccardo Muti. Mr. Coni made his debuts with San Fran- cisco Opera and Lyric Opera of Chicago in the fall of 1991. He made his Metropolitan Opera house debut in the 1988-89 season, having previously sung Metropolitan Opera concerts in the parks. His American debut took place in May 1988, as Miller in Luisa Miller with James Con- Ion at the Cincinnati May Festival. Mr. Coni's appearances in 1992-93 have included Simon Boccanegra in Genoa, and the opening of La Scala in Milan, where he appeared as Rodrigo in Don Carlo opposite Luciano Pavarotti under Riccardo Muti's direction. His season continues with Falstaff with Seiji Ozawa and the New Japan Philharmonic, followed by Un ballo in mas- chera in Cologne. Mr. Coni recently performed Puccini's Manon Lescaut and Verdi's Simon Boccanegra under the direction of Sir Georg Solti, subsequently recording both operas for Decca. He will also record Verdi's FalstaffTor Decca with Solti, following performances in Berlin and Salzburg. Mr. Coni is making his Boston Symphony debut with this week's performances as Ford in Verdi's Falstaff.

A Different Kind ARNOLD HOUSE INCORPORATED Nursing Care! of Dignified Private Residential Care

... in the lifestyle accustomed to. Convenient

to family and friends. Emphasis on living life

as fully as possible. Family owned & operated

since 1949. Truly a place to come home to

temporarily or longer. Respite and Hospice

care also available. Call for Brochure or

Inquiries: (617)438-1116 490 William Street, Stoneham

47 .

Michel Senechal

French tenor Michel Senechal made his debut at the Theatre Royal de la Monnaie of Brussels in 1950. He has since performed at the world's major opera houses and festivals, and has been a regular guest artist at the Paris Opera and at the Opera-Comique since 1958. One of the few French tenors to have sung principal Mozart roles at the Vienna Staatsoper, Mr. Senechal made his Metropolitan Opera debut in 1975 and has appeared there in the French repertoire since 1982. A frequent recitalist and concert performer throughout North America and Europe, he has also performed in several operatic films. He is Director of the ^^w School of Lyric Art at the Paris Opera and regularly offers master classes at the Metropolitan Opera. Mr. Senechal's numerous awards include Officer of the National Order of Merit, Officer of the Order of Arts and Letters, and Officer of the Legion of Honor. A prolific recording artist, his recordings include Ravel's UHeure espagnol and UEnfant et les sortileges, Rameau's Platee, Berlioz's LEnfance du Christ, and an anthology of Poulenc songs. Mr. Senechal made his only previous Boston Symphony appearance atTanglewood in 1981, as The Simpleton in a staging of scenes from Boris Godunov under Seiji Ozawa's direction.

David Gordon Tenor David Gordon has appeared as soloist with prestigious orchestras and festivals on four continents. His appearances in opera with San Francisco Opera, Lyric Opera of Chicago, Houston Grand Opera, Washington Opera, the Hamburg Staatsoper, and other companies have included performances of nearly sixty roles, encompassing music of Monteverdi, Handel, Haydn, Mozart, Smetana, Wagner, Mussorgsky, Leoncavallo, Puccini, Strauss, and Stravinsky. His engagements this season include Handel's Odefor St. Cecilia's Day with the New York Chamber Symphony, Stravinsky's Oedipus Rex with Charles Dutoit and the Philadelphia Orchestra, Messiah with the Kansas City Symphony, and Verdi's Falstaff with the Boston Symphony and the New Japan Philharmonic under Seiji Ozawa's direction. Mr. Gordon has won particular praise in North America, Europe, and Japan for his portrayal of Bach's Evangelist in the St. Matthew Passion, which he sings this season with Boston's Handel & Haydn Society in the American premiere of Mendelssohn's edition. Mr. Gordon has recorded for RCA Victor Red Seal, Decca/London, Telarc, Delos, Nonesuch, and Dorian. He made his BSO debut in October 1982 in Beethoven's Choral Fantasy, which he recorded with Seiji Ozawa and Rudolf Serkin for Telarc, and appeared with the orchestra most recently in Berlioz's Te Deum, in April 1990.

560TREMONTST 338-8070 I'm the Leader

• i of the Band.

n I lead more than 350 travel professionals

in a veritable Symphony

of Travel arrangements . <-i (aMa) 1 at no extra charge to you. to Travel is our forte.

Give us a call - 734-2100

we'll in I S T R A N ' T 1 and get tune o | R O | with your travel needs. 3 ITALIAN

c/> F O O D O F Main Office: DISTINCTION 1406 Beacon Street T Brookline •

48 James Courtney Bass-baritone James Courtney appears internationally with leading opera companies and orchestras. During the 1992-93 season he appears in Metropolitan Opera productions of Falstaff, Tales ofHoffmann, Tosca, Jenufa, The Magic Flute, La traviata, Das Rheingold, and Gotterdammerung. He also returns to Florentine Opera in Milwaukee, for Aida. A native of California, Mr. Courtney studied at the Eastman School of Music and made his professional debut with the Rochester Philharmonic. As a finalist in the 1974 San Francisco Opera Auditions, he participated in the Merola Opera Program and made his West Coast debut as Don Basilio in The Barber ofSeville. He made his Metropolitan Opera debut in 1979 and, in addition to his many Met performances each year, has sung with the St. Louis Opera Theatre, San Francisco Opera, Cincinnati Opera, and the companies of Kansas City, San Diego, Syracuse, Toledo, and Tucson. He has also performed at Wolf Trap and with many of Canada's leading musical organizations, and appears also as a recitalist. Mr. Courtney made his Boston Symphony debut in Mozart's Idomeneo atTanglewood in 1991; also that summer at Tanglewood he was soloist with the Cleveland Orchestra in Beethoven's Ninth Symphony. His most recent BSO appearance was as soloist in the Verdi Requiem in February 1992.

Viniiie Petrarca Vinnie Petrarca attended Emerson College in Boston and appeared in local productions oiTartuffe, The Caucasian Chalk Circle, Room Service, The Mousetrap, and The Man Who Came to Dinner. In New York City he attended the Circle-in-the-Square Professional Theater Program and also studied with Bobby Lewis. Mr. Petrarca's New York credits include Lonely Hero, Found a Peanut, Coming Attractions,

Conerico is Here to Stay, and the New York City premiere of Quincy Long's Shaker Heights.

David Kneuss

David Kneuss' first staged opera production for Seiji Ozawa and the Boston Symphony Orchestra was Tosca, at Tanglewood in 1980. Since then he has collaborated with Mr. Ozawa and the BSO on productions of Boris Godunov, Fidelio, Orfeo ed Euridice, Beatrice et Benedict, Bach's St. Matthew Passion, Falstaff s third act (part of a concert celebrating the fiftieth anniversary of the Tanglewood Music Center), Pique Dame, Salome, and Idomeneo. Pique Dame, staged initially atTanglewood in 1990 and then performed at Symphony Hall and Carnegie Hall in October 1991, was named as one of 1991's best musical events by the New York Times. Currently in his fifteenth season with the Metropolitan Opera, Mr. Kneuss recently became executive stage director with that company, for which he continues to direct revivals of many Met productions, including the staging of Eugene Onegin with which Seiji Ozawa made his Metropolitan Opera debut this past December. This spring he will work with Mr. Ozawa on Verdi's Falstaff in Osaka and Tokyo. Mr. Kneuss has also created productions for a number of other American opera companies, including San Francisco, Atlanta, and Columbus, as well as for the Maggio Musicale Fiorentino. His credits also include an afternoon of spirituals at Carnegie Hall with Kathleen Battle and Jessye Norman, and the recent Carnegie Hall Christmas Concert featuring Kathleen Battle and Frederica von Stade.

John Michael Deegan and Sarah G. Conly John Michael Deegan and Sarah G. Conly's association with the Boston Symphony Orchestra began in 1980 with Mr. Deegan's design for the Tanglewood production of Tosca. Since then the couple has collaborated on designs for nearly forty other productions, including twelve more for the Boston Symphony Orchestra. Prior to Falstaff, the most recent of these BSO productions

49 have included Pique Dame at Tanglewood in 1990 (repeated at Symphony Hall and Carnegie Hall in October 1991), Salome at Symphony Hall in April 1991, and Idomeneo at Tanglewood in July 1991. Their many design credits also include sets, costumes, and lighting for such geo- graphically widespread companies as the Maggio Musicale Fiorentino, Iceland National Opera, the Opera Company of Boston, and Atlanta Opera, and a New York City Opera production of Flotow's Martha. They also collaborated on the recent Carnegie Hall Christmas Concert featuring Kathleen Battle and Frederica von Stade. In addition to working with Mr. Deegan, Ms. Conly designs costumes for opera, dance, theater, and television. Mr. Deegan made his Broad- way debut as lighting designer for The Circle and also designed the lighting for the Broadway production of Shadowlands.

Tanglewood Festival Chorus John Oliver, Conductor The Tanglewood Festival Chorus was organized in the spring of 1970, when founding conductor John Oliver became director of vocal and choral activities at the Tanglewood Music Center; the chorus celebrated its twentieth anniversary in April 1990. Co-sponsored by the Tangle- wood Music Center and Boston University, and originally formed for performances at the Boston Symphony Orchestra's summer home, the chorus was soon playing a major role in the BSO's Symphony Hall season as well. Now the official chorus of the Boston Symphony Orches- tra, the Tanglewood Festival Chorus is made up of members who donate their services, performing in Boston, New York, and at Tanglewood, working with Music Director Seiji Ozawa, John Williams and the Boston Pops, and such promi- nent guest conductors as Bernard Haitink, Roger Norrington, and Simon Rattle. The chorus has also collaborated with Seiji Ozawa and the Boston Symphony Orchestra on numerous recordings, beginning with Berlioz's The Damnation ofFaust for Deutsche Grammophon, a 1975 Grammy nominee for Best Choral Performance. An album of a cappella twentieth-century

*-i NORTH AMERICAN MANAGEMENT CORPORATION

DAVID B. STONE • HANS H. ESTIN • JACOB F. BROWN II

JOHN H. GRUMMON • EARL E. WATSON III • JOHN M. REYNOLDS

Providing Investment and Financial Services for Individuals and Families

TEN POST OFFICE SQUARE, SUITE 300 BOSTON, MASSACHUSETTS 02109 • 617-695-2100

50 American music recorded at the invitation of Deutsche Grammophon was a 1979 Grammy nominee. Recordings with Seiji Ozawa and the Boston Symphony Orchestra currently available on compact disc include Tchaikovsky's Pique Dame, on RCA Red Seal; Strauss's Elektra, Mahler's Second and Eighth symphonies, and Schoenberg's Gurrelieder, on Philips; Beethoven's Choral Fantasy with Rudolf Serkin, on Telarc; Poulenc's Gloria and Stabat mater with Kathleen Battle, on Deutsche Grammophon; and Debussy's La Damoiselle elite with Frederica von Stade, on CBS Masterworks. Also for Philips, the chorus has recorded Ravel's Daphnis et Chloe with the Boston Symphony Orchestra under Bernard Haitink's direction. They may also be heard on two Christmas albums with John Williams and the Boston Pops Orchestra: "Joy to the World," on Sony Classical, and "We Wish You a Merry Christmas," on Philips.

In addition to his work with the Tanglewood Festival Chorus, John Oliver is conductor of the MIT Chamber Chorus and MIT Concert Choir, a senior lecturer in music at MIT, and conductor of the John Oliver Chorale, which he founded in 1977. Mr. Oliver has recently completed recording an album with the John Oliver Chorale for Koch International, to include three pieces written specifically for the Chorale— Bright Sheng's Two Folksongs from Chinhai, Martin Amlin's Time's Caravan, and William Thomas McKinley's Four Text Settings—and four works of Elliott Carter. His recent appearances as a guest conductor have included performances of Mozart's Requiem with the New Japan Philharmonic and Shinsei Chorus, and Mendelssohn's Elijah with the Berkshire Choral Institute. Mr. Oliver made his Boston Symphony conducting debut at Tanglewood in 1985.

Tanglewood Festival Chorus John Oliver, Conductor

Sopranos Paula Folkman Dean Armstrong Hanson Annette Anfinrud Irene Gilbride George W. Harper Bonita Ciambotti Donna Hewitt-Didham James R. Kauffman

Jane Circle Diane Hoffman Edward J. Kiradjieff Sara Dorfman Dorothy W. Love David Mooney

Christine P. Duquette April Merriam David Raish Ann M. Dwelley Sahoko Sato Barry Singer Nancy Ann Falco Linda Kay Smith Martha R. Golub Ada Park Snider Cheri E. Hancock Julie Steinhilber Basses Catherine Hatfield Sue Wilcox Mel Conway Holly MacEwen Krafka Cynthia Zimmerman James W. Courtemanche Barbara MacDonald Edward E. Dahl Charlotte C. Russell Tenors Mark Haberman S. Lynn Shane Antone Aquino David E Harrison Joan Pernice Sherman Richard A. Bissell David K. Kim

Deborah L. Speer Kenneth I. Blum Timothy Lanagan Patricia Stewart Michael Broyles Rene Miville Henry R. Costantino Donald R. Peck Mezzo-sopranos Andrew 0. Crain Dennis M. Pereira

Debra A. Basile Wayne N. Curtis Michael J. Pri chard Maisy Bennett Reginald Didham Steven Salbel

Sharon Brown Michael P. Gallagher N. Charles Thomas Sharon Carter Craig Hanson Brad Turner

Virginia S. Hecker, Manager Shiela Kibbe, Rehearsal Pianist

51 B Wmphony\ BSO Corporate Sponsorships $25,000 and above

The Boston Symphony wishes to acknowledge this distinguished group of corporations for their outstanding and exemplary support of the Orchestra during the 1992 fiscal year.

Digital Equipment Corporation Boston Pops Orchestra Public Television Broadcasts NEC Boston Symphony Orchestra European Tour

NYNEX Corporation WCVB-TV, Channel 5 Boston and WCRB 102.5 FM Salute to Symphony

Northwest Airlines Holiday Pops Series

Lexus Opening Night at Pops Tanglewood Opening Week

The Boston Company Opening Night At Symphony

Fleet Bank of Massachusetts Esplanade Concert Series

TDK Electronics Corporation Tanglewood Tickets for Children

Country Curtains and The Red Lion Inn Dynatech Corporation Houghton Mifflin Company BSO Single Concert Sponsors

For information on the BSO Corporate Sponsorship Program, contact Madelyne Cuddeback, Director of Corporate Sponsorships, Symphony Hall, Boston, MA 02115, (617) 638-9254.

52 BUSINESS 1992-93 Business Honor Roll $10,000 and above

Abex, Inc. Eastern Enterprises

Paul M. Montrone J. Atwood Ives

Advanced Management Associates EMC Corporation

Harvey Chet Krentzman Richard J. Egan

Analog Devices, Inc. Ernst & Young

Ray Stata Thomas P. McDermott

Arnold Fortuna Lawner & Cabot Essex Investment Management Co., Inc. Ed Eskandarian Joseph C. McNay, Jr.

Arthur Andersen & Co. Filene's William F. Meagher Joseph M. Melvin

AT&T The First Boston Corporation Neil Curran Malcolm MacColl

John F. McKinnon Fleet Bank of Massachusetts, N.A. Bank of Boston Leo R. Breitman Ira Stepanian Four Seasons Hotel Barter Connections Robin A. Brown Kenneth C. Barron Gardner Merchant Food Services, Inc./ Bingham, Dana & Gould Creative Gourmet Joseph Hunt Richard T.L. Hutchinson

Bolt Beranek & Newman General Cinema Corporation Stephen R. Levy Richard A. Smith

The Boston Company The Gillette Company

John Laird Alfred M. Zeien, Jr.

The Boston Globe Hill, Holliday, Connors, Cosmopulos, Inc.

William 0. Taylor Jack Connors, Jr.

Boston Herald Hewlett Packard Company Patrick J. Purcell Ben L. Holmes

Connell Limited Partnership Houghton Mifflin Company

William F. Connell Nader F. Darehshori

Coopers & Lybrand IBM Corporation Francis A. Doyle Michael E. Daniels

Country Curtains John Hancock Mutual Life Insurance Company Jane P. Fitzpatrick Stephen L. Brown

Data General Corporation Jordan Marsh Company Ronald L. Skates Harold S. Frank

Digital Equipment Corporation Lexus

Robert B. Palmer J. Davis Illingworth

Dynatech Corporation Liberty Mutual Insurance Group J. P. Barger Gary L. Countryman

53 1992-93 Business Honor Roll (continued)

Loomis-Sayles & Company, Inc. The Red Lion Inn

Charles J. Finlayson Jack and Jane Fitzpatrick

McKinsey & Company Royal Appliance Manufacturing Company, Inc. David G. Fabini John Balch

Millipore Corporation Shawmut Bank, N.A.

John A. Gilmartin Gunnar S. Overstrom, Jr.

NEC Corporation Signal Technology Corporation

Tadahiro Sekimoto Dale J. Peterson

New England Telephone Company State Street Bank & Trust Company PaulC. O'Brien William S. Edgerly

North American Mortgage Company The Stop & Shop Foundation

John F. Farrell, Jr. Avram Goldberg

Northern Telecom, Inc. TDK Electronics Corporation

Brian P. Davis Takashi Tsujii

Northwest Airlines Tucker Anthony Terry M. Leo John Goldsmith

NYNEX Corporation Von Hoffman Press, Inc. William C. Ferguson Frank A. Bowman

Orsatti & Parrish WCRB-102.5FM

Louis F. Orsatti Richard L. Kaye

PaineWebber, Inc. WCVB-TV, Channel 5 Boston

James F. Cleary S. James Coppersmith

KPMG Peat Marwick The Westin Hotel, Copley Place Robert D. Happ David King

Raytheon Company Whistler Corporation

Dennis J. Picard Charles A. Stott

Symphony Shopping

The Symphony Shop is in the Cohen Wing at the West Entrance on Huntington Avenue.

Hours:

Wednesday, Thursday, Friday, 11-4 BOSTON SYMPHONY ORCHESTRA Saturday 12-6; and from one hour before each concert through intermission.

54 BUSINESS AND PROFESSIONAL LEADERSHIP ASSOCIATION

The Boston Symphony Orchestra gratefully acknowledges the following business leaders for their generous contributions of $1,500 or more during the 1992 fiscal year. Business Honor Roll donors are recognized for their leadership support of $10,000 or more in bold capital letters. Companies listed in capital letters indicate gifts of $5,000-$9,999. An asterisk denotes contributions of $2,500-$4,999.

Accounting Antiques/Art Galleries ANDERSEN CONSULTING CO. William D. Green ARTHUR ANDERSEN & CO. *Galerie Mourlot William F. Meagher Sarah Hackett and Eric Mourlot ARTHUR D. LITTLE, INC. Charles Lamantia CHARLES E. DIPESA & Automotive COMPANY BAIN & COMPANY William E DiPesa LEXUS Charles M. Farkas COOPERS & LYBRAND J. Davis Illingworth THE BOSTON CONSULTING GROUP Francis A. Doyle Banking Jonathan L. Isaacs DELOITTE & TOUCHE James T. McBride BANK OF BOSTON CSC Index, Inc. Ira Stepanian ERNST & YOUNG David G. Robinson * Bankers Trust Thomas P. McDermott Cordel Associates, Inc. M. Howard Jacobson James B. Hangstefer KPMG PEAT MARWICK Robert D. Happ BAYBANKS, INC. *Fenwick Partners Richard F. Pollard James P. Masciarelli PRICE WATERHOUSE

Kenton J. Sicchitano THE BOSTON COMPANY The Forum Corporation John Laird John W. Humphrey Tofias, Fleishman, Shapiro & Co. PC. *Cambridge Trust Company LOCHRIDGE & COMPANY, INC. Allan Tofias Lewis H. Clark Richard K. Lochridge Wolf & Company FLEET BANK OF MCKINSEY & COMPANY Joseph A. Ribaudo MASSACHUSETTS, N.A. David G. Fubini Leo R. Breitman NORTH AMERICAN Advertising/Public Relations SHAWMUT BANK, N.A. MORTGAGE COMPANY Gunnar S. Jr. ARNOLD FORTUNA Overstrom, John E Farrell, Jr. LAWNER & CABOT South Boston Savings Bank *Prudential Capital Corporation Edward Eskandarian Richard Laine Allen Weaver HILL, HOLLIDAY, CONNORS, Sterling Bancshares Corporation RATH & STRONG COSMOPULOS, INC. John Warren Daniel Ciampa Jack Connors, Jr. USTRUST *Thomas H. Lee Company Ingalls, Quinn & Johnson James V. Sidell Thomas H. Lee Bink Garrison Wainwright Bank & Trust Company *The Wyatt Company Irma Mann Strategic Marketing John M. Plukas Paul R. Daoust Inc. Yankelovich Clancy Shulman Irma Mann Stearns Building /Contracting Kevin Clancy McDermott/O'Neill & Associates HARVEY INDUSTRIES, INC. Thomas P. O'Neill III Frederick Bigony Consumer Goods/ Food Service ORSATTI & PARRISH Lee Kennedy Co., Inc. Louis F. Orsatti Lee M. Kennedy BARTER CONNECTIONS Kenneth C. Barron Aerospace New England Insulation Theodore H. Brodie Boston Showcase Company NORTHROP CORPORATION *Walsh Brothers Jason E. Starr Robert W. Smith James H. Walsh III GARDNER MERCHANT FOOD SERVICES/ Alarm Systems Consulting: Management/ CREATIVE GOURMET Financial American Alarm & Richard T.L. Hutchinson Communications Advanced Management Associates Johnson O'Hare Co., Inc.

Richard Sampson Harvey Chet Krentzman Harry "Chip" O'Hare, Jr.

55 —

Ocean Spray Cranberries LOEWS THEATRES THE FIRST BOSTON Harold Thorkilsen A. Alan Fried berg CORPORATION Malcolm MacColl *0'Donnell-Usen Fisheries Corp. WCRB-102.5FM Arnold S. Wolf Richard L. Kaye *GE Capital Corporate Finance Group *Phelps Industries, Inc. WCVB-TV, CHANNEL 5 Richard A. Goglia Richard J. Phelps BOSTON S. James Coppersmith *Goldman, Sachs & Company *Seasoned-to-Taste Martin C. Murrer Tom Brooks WXKS FM-Kiss 108 John Madison JOHN HANCOCK MUTUAL Welch's LIFE INSURANCE COMPANY Everett N. Baldwin Environmental Stephen L. Brown WHISTLER CORPORATION KAUFMAN & COMPANY Charles A. Stott Jason M. Cortell and Associates, Sumner Kaufman Inc. Education Jason M. Cortell KIDDER, PEABODY & BENTLEY COLLEGE TOXIKON CORPORATION COMPANY B.J. Megargel Joseph M. Cronin Laxman S. DeSai, D.Sc. *Krupp Companies English Language Center Financial Services/ George Krupp Ellyn Levine Investments *Linsco/Private Ledger Electrical / Electronics Adams, Harkness & Hill Todd A. Robinson Joseph Hammer *Analytical Systems Engineering W LOOMIS-SAYLES & Corporation ADVENT INTERNATIONAL COMPANY, INC. Michael B. Rukin Peter A. Brooke Charles J. Finlayson

M/A-COM, INC. *Allmerica Financial PAINEWEBBER, INC. Thomas A. Vanderslice John F O'Brien James F Cleary

p.h mechanical corp. * Barclay's Business Credit *The Pioneer Group

Paul Hayes Charles J. Wyrwa III John F Cogan, Jr.

R&D ELECTRICAL COMPANY, * Boston Capital Partners THE PUTNAM MANAGEMENT INC. Christopher W Collins CO., INC. Richard D. Pedone Herbert F Collins Lawrence J. Lasser Richard DeAgazio *Sullivan & McLaughlin Electrical J. SPAULDING INVESTMENT John P. Manning Contractors, Inc. COMPANY John McLaughlin *BOT Financial Corporation C.H. Spaulding Bank of Tokyo Energy/Utilities STATE STREET BANK & E.F McCulloch, Jr. TRUST COMPANY BOSTON EDISON COMPANY Carson Limited Partnership Wlliam S. Edgerly Bernard W. Reznicek Herbert Carver STATE STREET DEVELOPMENT EASTERN ENTERPRISES Cowen Company COMPANY OF BOSTON J. Atwood Ives Raymond Moran John R. Gallagher III *Mobil Oil ESSEX INVESTMENT TUCKER ANTHONY Richard J. Lawlor MANAGEMENT COMPANY, John Goldsmith INC. New England Electric System Wellington Management C. McNay, Jr. JoanT Bok Joseph Robert W Doran FARRELL, HEALER & WOODSTOCK CORPORATION Engineering COMPANY INC. Nelson J. Darling, Jr. Richard A. Farrell, Jr. *GZA GeoEnvironmental W P. Stewart & Company Technologies, Inc. FIDELITY CAPITAL MARKETS Wlliam P. Stewart Donald T. Goldberg COMPANY Sherif A. Nada LEA Group High Technology FIDELITY INVESTMENT Eugene R. Eisenberg ABEX, INC. INSTITUTIONAL GROUP Stone & Webster Engineering Paul M. Montrone Paul Hondros Corporation ANALOG DEVICES, INC. Philip Garfinkle FIDELITY MANAGEMENT TRUST COMPANY Ray Stata Entertainment/ Media Alexander Webb III Automatic Data Processing Arthur S. Kranseler GENERAL CINEMA FIRST BOSTON ASSET CORPORATION MANAGEMENT CORPORATION BBF Corporation Richard S. Smith John J. Cook, Jr. Boruch B. Frusztajer

56 BOLT BERANEK AND RAYTHEON COMPANY * Hanover New England NEWMAN, INC. Dennis J. Picard J. Barry May Stephen R. Levy SIGNAL TECHNOLOGY J. Peter Lyons Companies *Bull. Worldwide Information CORPORATION J. Peter Lyons Systems Dale Peterson J. *Johnson & Higgins Axel Leblois STRATUS COMPUTER Edward Buchwald Cambex Corporation William E. Foster Lexington Insurance Company Joseph Kruy *TASC Kevin H. Kelley COSTAR CORPORATION Arthur Gelb LIBERTY MUTUAL Richard L. Morningstar TDK ELECTRONICS INSURANCE GROUP CSC CONSULTING GROUP CORPORATION Gary L. Countryman Paul J. Crowley Takashi Tsujii THE NEW ENGLAND DATA GENERAL Termiflex Corporation Robert A. Shafto CORPORATION William E. Fletcher SAFETY INSURANCE Ronald L. Skates THERMO ELECTRON COMPANY DIGITAL EQUIPMENT CORPORATION Richard B. Simches CORPORATION George N. Hatsopoulos *Sedgwick James of New England, Robert B. Palmer Hotels/ Restaurants Inc. DYNATECH CORPORATION P. Joseph McCarthy * J. P. Barger Boston Marriott Copley Place William Munck Sun Life Assurance Company of EG&G, INC. Canada John M. Kucharski Christo's Restaurant David Horn EMC CORPORATION Christopher Tsaganis *Copley Plaza Hotel Richard J. Egan Legal James A. Daley Helix Technology Corporation BINGHAM, DANA & GOULD Robert J. Lepofsky FOUR SEASONS HOTEL Joseph F Hunt HEWLETT PACKARD Robin A. Brown CHOATE, COMPANY ITT Sheraton Corporation HALL & STEWART Robert W Gargill Ben L. Holmes John W Herold IBM CORPORATION Legal Seafoods Curhan, Kunian, Goshko, Burwick& Savran Michael E. Daniels George Berkowitz Stephen T. Kunian Instron Corporation THE RED LION INN Harold Hindman Jack and Jane Fitzpatrick Dickerman Law Offices Lola Dickerman International Data Group *The Ritz-Carlton, Boston *Fish & Richardson Patrick J. McGovern Sigi Brauer Robert E. Hillman IONICS, INC. *Sheraton Boston Hotel and Towers Friedman & Atherton Arthur L. Goldstein Robert J. Morse Lee H. Kozol IPL SYSTEMS, INC. *Sonesta International Hotels Robert W. Norton Corporation GOLDSTEIN & MANELLO Richard J. Snyder LOTUS DEVELOPMENT Paul Sonnabend CORPORATION THE WESTIN HOTEL, GOODWIN. PROCTER & HOAR Robert B. Fraser Jim P. Manzi COPLEY PLACE David King Microcom, Inc. HALE & DORR James Dow Insurance Robert E. Fast *Hemenway & Barnes MILLIPORE CORPORATION AMERICAN TITLE INSURANCE John A. Gilmartin COMPANY John J. Madden *The Mitre Corporation John F. Shea Hubbard & Ferris Charles A. Hubbard II Barry M. Horowitz *Arkwright NEC CORPORATION Frederick J. Bumpus Joyce & Joyce Tadahiro Sekimoto CADDELL & BYERS Thomas J. Joyce POLAROID CORPORATION INSURANCE AGENCY, INC. *Lynch, Brewer, Hoffman & Sands Paul D. Bertrand Owen B. Lynch I. MacAllister Booth

*Prime Computer, Inc. *Chubb Group of Insurance Cos. *McDermott, Will & Emery John Shields John H. Gillespie Harvey W Freishtat PRINTED CIRCUIT FRANK B. HALL & CO. OF MINTZ, LEVIN, COHN, FERRIS, CORPORATION MASSACHUSETTS, INC. GLOVSKY & POPEO, PC. Peter Sarmanian William J. Tvenstrup Kenneth J. Novack 57 ,

Nissenbaum Law Offices : Dean K. Webster Family THE BOSTON GLOBE Gerald L. Nissenbaum Foundation William 0. Taylor Dean K. Webster * Nutter, McClennen & Fish BOSTON HERALD

Michael J. Bohnen GTE ELECTRICAL PRODUCTS Patrick J. Purcell Dean T. Langford PALMER & DODGE *Cahners Publishing Company Robert E. Sullivan GE PLASTICS Robert L. Krakoff Gary Rogers Rackemann, Sawyer & Brewster DANIELS PRINTING Stephen Carr Anderson GENERAL LATEX AND Lee S. Daniels CHEMICAL CORP. Sarrouf, Tarricone & Flemming George H. Dean Company Robert W MacPherson Camille F. Sarrouf G. Earle Michaud THE GILLETTE COMPANY Wood, Clarkin & Sawyer HOUGHTON MIFFLIN Alfred M. Zeien, Jr. William C. Sawyer COMPANY HMK ENTERPRISES Nader F. Darehshori Steven Karol Manufacturer's Label Art, Inc.

Representatives/ Wholesale *Jones & Vining, Inc. Thomas J. Cobery Distribution Michel Ohayon *Lehigh Press Company *Alles Corporation LEACH & GARNER COMPANY John D. DePaul Stephen S. Berman Edwin F Leach II Little, Brown & Company Asquith Corporation Leggett & Piatt, Inc. William R. Hall Alexander M. Levine Lawrence L. Asquith PEOPLE/LIFE MAGAZINE Ben-Mac Enterprises NEW ENGLAND BUSINESS Peter S. Krieger Lawrence G. Benhardt SERVICE, INC. *Quebecor Printing (USA) Richard H. Rhoads Kitchen & Kutchin, Inc. Corporation Melvin Kutchin *Orion Research, Inc. Claude Monette Chane Graziano III VON HOFFMAN PRESS, INC Manufacturing * Parks Corporation Frank A. Bowman Lee Davidson Abbott Box Company, Inc. John Abbott Princess House, Inc. Real Estate/ Development Stephen Zrike ARLEY MERCHANDISE Abbey Group, Inc. CORPORATION RAND-WHITNEY David Epstein

David I. Reimer CORPORATION Robert Epstein Robert Kraft Autoroll Machine Corporation THE CHIOFARO COMPANY

Wdliam M. Karlyn *The Rockport Corporation Donald J. Chiofaro Anthony Tiberii AVEDIS ZILDJIAN COMPANY *The Codman Company Armand Zildjian ROYAL APPLIANCE Edward R. Haddad MANUFACTURING Biltrite ESTATE The Corporation COMPANY, INC. COPLEY REAL Bernstein ADVISORS Stanley J. John Balch Joseph W. O'Connor *Boston Acoustics, Inc. THE STRIDE RITE Frank Reed CORPORATION FIRST WINTHROP CORPORATION Cabot Corporation Ervin R. Shames Arthur Halleran, Jr. Samuel Bodman J. W *Summit Packaging Systems, Inc. *The Flatley Company *Century Manufacturing Co. , Inc. Gordon Gilroy Thomas J. Flatley Joseph W. Tiberio Textron Charitable Trust Heafitz Development Company C.R. BARD, INC. B.F Dolan Lewis Heafitz Richard J. Thomas THE TONON GROUP HINES INTERESTS *Chelsea Industries, Inc. Robert Ton on Thomas D. Owens Ronald G. Casty WATTS INDUSTRIES, INC. Horizon Commercial Management CONNELL LIMITED Timothy P. Home Joan Eliachar PARTNERSHIP Wire Belt Company of America F. Connell *John M. Corcoran & Company Wdliam F Wade Greer John M. Corcoran CONVERSE, INC. Gilbert Ford Printing/Publishing Meditrust Corporation David F. Benson Coz Division of Allied Products *Addison-Wesley Publishing Co. Corporation Inc. *New England Development Henry W Coz Warren R. Stone Stephen R. Karp

58 * Windsor Building Associates Baldpate Hospital *Phoenix Technologies Foundation Mona F. Freedman Lucille M. Batal Neil Colvin *Blake & Blake Genealogists Retail TAD TECHNICAL SERVICES Richard A. Blake, Jr. CORPORATION CML Group BLUE CROSS AND BLUE David J. McGrath, Jr. Charles M. Leighton SHIELD COUNTRY CURTAINS John Larkin Thompson Travel /Transportation P. Fitzpatrick Jane Boston Scientific Group LILY TRANSPORTATION FILENE'S RIVER CHARLES CORPORATION Joseph M. Melvin LABORATORIES, INC. John A. Simourian Grossman's, Inc. Henry L. Foster Thomas R. Schwarz DAMON CORPORATION National Retail Systems Norbert J. Walsh *J. Bildner & Sons, Inc. Robert L. Rosen L. Bildner NORTHWEST AIRLINES James *Genetics Institute Terry M. Leo *Jofran, Inc. Gabriel Schmergel Robert D. Roy *Genzyme Corporation JORDAN MARSH COMPANY Henri A. Termeer Telecommunications Harold S. Frank *HCA Portsmouth Regional AT&T *Marshalls Hospital John F. McKinnon Jerome H. Rossi William J. Schuler AT&T NETWORK SYSTEMS *J.A. Webster, Inc. Morse Shoe, Inc. Neil Curran Malcolm L. Sherman John A. Webster CELLULAR ONE *Massachusetts Biotechnology NEIMAN MARCUS Charles Hoffman William D. Roddy Research Institute Marc E. Goldberg *Ericsson Business *Saks Fifth Avenue Communications, Inc. Alison Strieder Mayher The Mediplex Group, Inc. John J. McDonald Jonathan S. Sherwin *Staples, Inc. GTE CORPORATION Wild Acre Inns, Inc. Thomas G. Stenberg Edward C. MacEwen Bernard S. Yudowitz THE STOP AND SHOP * Lifeline Systems, Inc. FOUNDATION Arthur Phipps Avram Goldberg Services J. NEW ENGLAND TELEPHONE *Tiffany Co. & Cambridge Reports /Research Paul C. O'Brien Anthony Ostrom International NORTHERN TELECOM, INC. THE TJX COMPANIES, INC. James V. Murphy Brian P. Davis Bernard Cammarata Massachusetts Convention Authority NYNEX CORPORATION William C. Ferguson Science/Medical Francis X. Joyce

*Astra Pharmaceuticals Products, Massachusetts State Lottery Inc. Commission Lars Bildman Eric Turner

59 NEXT PROGRAM . . •

Thursday, February 18. at 8 Friday, February 19, at 2 Saturday, February 20, at 8

SEIJI OZAWA conducting

HAYDN Symphony No. 101 in D, The Clock

Adagio — Presto Andante Menuet: Allegretto; Trio Finale: Vivace

ALBERT Cello Concerto

I. Audacemente ma sostenuto

II. Con brio - instante (urgent)

III. Larghetto — Andante IV Con moto; con imminenza e inquieto YO-YO MA

INTERMISSION

DVORAK Serenade in E for strings , Opus 22 Moderato Tempo di valse Vivace Larghetto Allegro vivace

Single tickets for all Boston Symphony Orchestra concerts throughout the season are available at the Symphony Hall box office, or by calling "Symphony- Charge" at (617) 266-1200, Monday through Saturday from 10 a.m. until 6 p.m., to charge tickets instantly on a major credit card, or to make a reservation and then send payment by check. Please note that there is a $2.00 handling fee for each ticket ordered by phone.

60 1 .

COMING CONCERTS . .

Wednesday, February 17, at 7:30 Boston's Overlooking Open Rehearsal Jamaicaway, historic Steven Ledbetter will discuss the program Goddard House offers a broad at 6:30 in Symphony Hall. range of nursing and rehabili- Thursday 'D'— February 18, 8-10:05 tative services for elderly men Friday 'B'—February 19, 2-4:05 and women. Private rooms Saturday 'A'—February 20, 8-10:05 and gracious public spaces SEIJI OZAWA conducting create an atmosphere of indi- YO-YO MA, cello viduality and privacy as well as HAYDN Symphony No. 101, fellowship and community. The Clock For information, call 522-3080. ALBERT Cello Concerto DVORAK Serenade for Strings

Thursday 'C— February 25, 8-9:40 Friday 'A'—February 26, 2-3:40 Saturday 'B'— February 27, 8-9:40 Tuesday 'B'—March 2, 8-9:40 ROGER NORRINGTON conducting AMANDA HALGRIMSON, soprano SARAH WALKER, mezzo-soprano JOHN ALER, tenor ALASTAIR MILES, bass TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor BEETHOVEN Missa Solemnis

Thursday A'—March 4, 8-9:55 Friday 'B'—March 5, 2-3:55 Saturday A'—March 6, 8-9:55 ROGER NORRINGTON conducting CHRISTIAN TETZLAFF, violin BACH Orchestral Suite No. 3 BERG Violin Concerto SCHUMANN Symphony No. 2

Wednesday, March 10, at 7:30 Open Rehearsal Marc Mandel will discuss the program at 6:30 in Symphony Hall. Thursday 'C—March 11, 8-9:45 Friday 'B'—March 12, 2-3:45 Saturday A'—March 13, 8-9:45 A .# Tuesday 'C— March 16, 8-9:45 BERNARD HAITINK conducting JARD VAN NES, mezzo-soprano 4-$^ MEN OF THE TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor

BERG Three Pieces for Orchestra BRAHMS Alto Rhapsody DVORAK Symphony No. 7

Bonnie Rapier Robinson (617) 585-5236 Programs and artists subject to change.

61 MHanm HHHHHI

Dinner and Symphony. In concert.

Our award-winning chef, Charles Grandon, has created a new symphony menu

that's a perfect prelude to the performance. The three-course dinners are

prepared and served with style. And accompanied by free parking.

You can enjoy your dinner, then stroll to symphony with time to spare.

Reservations are recommended. Call 424-7000.

At The Colonnade Hotel On Huntington Avenue across from the Prudential Center

Turn in this ad for free parking the next time you have dinner at the Cafe Promenade on a non-symphony night.

Performing to the Highest Standards.

For over 30 years, the Solomont family has provided the finest care and service to its nursing home residents. Few others can match this performance.

We cordially invite you to visit our facilities in Massachusetts. Coolidge House Nursing Home, Brookline • Palm Manor Nursing Home, Chelmsford • Heritage Nursing Care Center, Lowell • Willow Manor Retirement and Nursing Home, Lowell • Prescott House Nursing Home, North Andover • Sutton Hill Nursing and Retirement Center, North Andover • Reservoir Nursing Home, Waltham. Managed by A ID IS Management, Inc. - 508-689-3422

62 SYMPHONY HALL INFORMATION

FOR SYMPHONY HALL CONCERT AND TICKET INFORMATION, call (617) 266-1492. For Boston Symphony concert program information, call "C-O-N-C-E-R-T" (266-2378).

THE BOSTON SYMPHONY performs ten months a year, in Symphony Hall and at Tangle- wood. For information about any of the orchestra's activities, please call Symphony Hall, or write the Boston Symphony Orchestra, Symphony Hall, Boston, MA 02115.

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, or according to instructions.

FOR SYMPHONY HALL RENTAL INFORMATION, call (617) 638-9240, or write the Function Manager, 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 subscription concerts are available at the box office. For most outside events at Symphony Hall, tickets are available three weeks before the concert at the box office or through Symphony-Charge.

TO PURCHASE BSO TICKETS: American Express, MasterCard, Visa, 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 "Symphony-Charge" at (617) 266-1200. Monday through Saturday from 10 a.m. until 6 p.m. There is a handling fee of $2.00 for each ticket ordered by phone.

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.

LATECOMERS will be seated by the ushers during the first convenient pause in the program. Those who wish to leave before the end of the concert are asked to do so between program pieces in order not to disturb other patrons.

IN CONSIDERATION of our patrons and artists, children under four will not be admitted to Boston Symphony Orchestra concerts.

TICKET RESALE: If for some reason 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. This helps bring needed revenue to the orchestra and makes your seat available to someone who wants to attend the concert. A mailed receipt will acknowledge your tax-deductible contribution.

RUSH SEATS: There are a limited number of Rush Seats available for Boston Symphony subscription concerts Tuesday and Thursday evenings, and Friday afternoons. The low price of these seats is assured through the Morse Rush Seat Fund. The tickets for Rush Seats are sold at $6.50 each, one to a customer, on Fridays as of 9 a.m. and Tuesdays and Thursdays as of 5 p.m. Please note that there are no Rush Tickets available on Friday or Saturday evenings.

SMOKING IS NOT PERMITTED in any part of the Symphony Hall auditorium or in the

surrounding corridors; it is permitted only in the Hatch Room and in the main lobby on Massachusetts Avenue. Please note that smoking is no longer permitted in the Cabot-Cahners Room.

CAMERA AND RECORDING EQUIPMENT may not be brought into Symphony Hall during concerts.

WHEELCHAIR ACCESS to Symphony Hall is available via the Cohen Wing, at the West Entrance. Wheelchair-accessible restrooms are located in the main corridor of the West Entrance, and in the first-balcony passage between Symphony Hall and the Cohen Wing. 63 FIRST AID FACILITIES for both men and women are available. On-call physicians attending concerts should leave their names and seat locations at the switchboard near the Massa- chusetts Avenue entrance.

PARKING: The Prudential Center Garage offers a discount to any BSO patron with a ticket stub for that evening's performance, courtesy of R. M. Bradley & Co. , Inc. , and The Pruden- tial Property Company, Inc. 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 subscribers who attend evening concerts on Tues- day, Thursday, Friday, or Saturday. 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 the orchestra level, audience-left, at the stage end of the hall, on both sides of the first balcony, 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, audience-left, outside the Cabot-Cahners Room near the coatroom, 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. 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 12:15, with sandwiches available until concert time.

BOSTON SYMPHONY BROADCASTS: Friday-afternoon concerts of the Boston Symphony Orchestra are broadcast live by WGBH-FM (Boston 89.7) and by WAMC-FM (Albany 90.3, serving the Tanglewood area). Saturday-evening concerts are broadcast live by WCRB-FM (Boston 102.5).

BSO FRIENDS: The Friends are donors to the Boston Symphony Orchestra Annual Fund. Friends receive BSO, the orchestra's newsletter, as well as priority ticket information and other benefits depending on their level of giving. For information, please call the Development Office at Symphony Hall weekdays between 9 and 5, (617) 638-9251. If you are already a Friend and you have changed your address, please send your new address with your newsletter label to the Development Office, Symphony Hall, Boston, MA 02115. Including the mailing label will assure a quick and accurate change of address in our files.

BUSINESS FOR BSO: The BSO's Business & Professional Leadership program makes it possible for businesses to participate in the life of the Boston Symphony Orchestra through a variety of original and exciting programs, among them "Presidents at Pops," "A Company Christmas at Pops," and special-event underwriting. Benefits include corporate recognition in the BSO program book, access to the Beranek Room reception lounge, and priority ticket service. For further information, please call the BSO Corporate Development Office at (617) 638-9270.

THE SYMPHONY SHOP is located in the Cohen Wing at the West Entrance on Huntington Avenue and is open Wednesday, Thursday, and Friday from 11 a.m. until 4 p.m., Saturday from 12 p.m. 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, posters, and an expanded line of BSO apparel and recordings. The Shop also carries children's books and musical-motif gift items. A selection of Symphony Shop merchandise is also available during concert hours outside the Cabot-Cahners Room. All proceeds benefit the Boston Symphony Orchestra. For further information and telephone orders, please call (617) 638-9383.

64 Because culture touches on

the noblest impulses within

us all, The Boston Company

'Culture believes our cultural insti- Is Not tutions are central to the

Just An dignity of every individual.

Ornament Which is why, in addition to It Is The our enthusiastic support of

Expression many educational and social

OfA Nation's causes in our community, Character." the people of the boston

Company continue to W. Somerset Maugham contribute to a variety of

cultural institutions. we

urge that you, too, lend

your continuous and

generous support.

THE BOSTON COMPANY Boston Safe Deposit and Trust Company

Member FDIC 13 An Equal Housing Lender