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Friday Evening, February 20, 2015, at 8:00 Auditorium/Ronald O. Perelman Stage Conductor’s Notes Q&A with at 7:00

presents LEON BOTSTEIN, Conductor

MAX VON SCHILLINGS Mona Lisa

ACT I

Intermission

ACT II

Foreigner/Francesco del Giocondo: MICHAEL ANTHONY MCGEE, - Woman/Mona Fiordalisa: PETRA MARIA SCHNITZER, Lay Brother/Giovanni de Salviati: PAUL MCNAMARA, Pietro Tumoni: JUSTIN HOPKINS, Bass-baritone Arrigo Oldofredi: ROBERT CHAFIN, Tenor Alessio Beneventi: JOHN EASTERLIN, Tenor Sandro da Luzzano: CHRISTOPHER BURCHETT, Baritone Masolino Pedruzzi: MICHAEL SCARCELLE, Bass-baritone Mona Ginevra: ILANA DAVIDSON, Soprano Dianora: LUCY FITZ GIBBON, Soprano Piccarda: KATHERINE MAYSEK, Mezzo-soprano Sisto: JOHN KAWA, Tenor

BARD FESTIVAL CHORALE JAMES BAGWELL, Director

This evening’s concert will run approximately two hours and 20 minutes including one 20-minute intermission. Used by arrangement with European American Music Distributors Company, sole U.S. and Canadian agent for Universal Edition Vienna, publisher and copyright owner. American Symphony welcomes the many organizations who participate in our Community Access Program, which provides free and low-cost tickets to underserved groups in New York’s five boroughs. For information on how you can support this program, please call (212) 868-9276. PLEASE SWITCH OFF YOUR CELL PHONES AND OTHER ELECTRONIC DEVICES. FROM THE Music Director The Stolen Smile DVDs or pirated videos. is the by Leon Botstein one medium from the past that resists technological reproduction. A concert This concert performance of Max von version still represents properly the Schillings’ 1915 Mona Lisa is the latest sonority and the multi-dimensional installment of a series of concert perfor- aspect crucial to the operatic experi- mances of rare the ASO has pio- ence. One ought not judge an opera neered since the mid 1990s. The list of from sound or video documents any operas performed by the ASO in New more than one can judge a work of York City includes French works: architecture from photographs or even Bizet’s Djamileh, Lalo’s Le Roi D’Ys, a sophisticated computer simulation Magnard’s Bérénice, Chausson’s Le Roi and video tour. Arthus, Dukas’ Ariane et Barbe Bleu, Chabrier’s Le Roi malgré lui, and The plain fact is that opera, which D’Indy’s Fervaal. The ASO also has fea- thankfully is experiencing some vitality tured Russian works: Rimsky-Korsakov’s as a medium for contemporary com- Mozart and Salieri and Dargomizhsky’s posers, possesses an enormous treasure . The German works trove of great works that are con- in the list include four one-act operas demned to silence. Not all may be by Hindemith (Mörder, Hoffnung der “original” in style. Many can be Frauen; Sancta Susanna; Nusch-Nuschi; regarded as “eclectic.” But greatness and The Long Christmas Dinner), and power in any art form, particularly Marschner’s Der Vampyr, Schreker’s opera, are not contingent on “original- , Schmidt’s Notre Dame, ity.” Consult any guidebook to opera three works of Strauss (Feuersnot, Die published before 1950 and one will be Liebe der Danae, and Die ägyptische astonished at how many operas are Helena), Weill’s and two described, with plots, as presumed con- full acts of , and two stituents of an active repertoire. Then works of Zemlinsky (Der Zwerg and check on the active repertoire today. Eine florentinische Tragödie). We have Look at what we are missing and how also offered Dallapicola’s Il Prigioniero distorted our connection to the history and Volo di Notte, and Ethyl Smyth’s of opera has become. One will be dis- The Wreckers (which will have a fully- mayed to find that most operas worthy staged production this summer at of performance have vanished from Bard’s SummerScape). view, except for a small community of cognoscenti. No opera the ASO has Mona Lisa fits this series. It is the sec- performed so far is unworthy of a ond “Renaissance” opera from the early staged production; and not one could 20th century, a work that can be placed ever be considered “obscure” or second in the same category as Zemlinsky’s rate. And there is a list of works that Eine florentinische Tragödie. What remain to be done that could take us defines the ASO’s long list is the judg- another half-century to perform at the ment that there are dozens and dozens rate of one each year. of great operas from the 19th and 20th centuries that deserve to be heard live, Schillings’ Mona Lisa falls squarely in not merely on old or new recordings, or the group of deserving operas. Its obscurity dates from 1933. Schillings not “original” in the sense of Strauss or died in July of that year, just months Puccini. It is simply inspired—beautiful, after the Nazis took power. Further- effective, and engaging—much like the more, he was an ardent nationalist who best works of Korngold and Zemlinsky. signed on to the Nazi cause. His leader- ship of the Prussian Academy of the Part of the allure and potential of the Arts under the Nazis permitted him to work as more than a rarity and period dismiss, with some relish, Jews, social- piece rests in the subject. Leonardo da ists, and communists from their posts, Vinci’s portrait, known mostly as “La including Schreker and Schoenberg. Gioconda” (a title that bears no relation- Schillings had earned respect before ship with the plot or subject matter of the 1933 as a but even more as opera of the same name by Giordano) an administrator. He served as head of was a well-known small portrait by the in , and had been Leonardo that hung unobtrusively in active as a conductor. He was, by all the Louvre alongside many other accounts, a martinet—stiff, unpleasant, Renaissance Italian paintings, a work and nasty. But he was nonetheless an purchased by Francis I of France from accomplished composer of several the painter himself. What turned the operas. His early works showed a high “Mona Lisa” into the most famous degree of craft and were successful, painting in the world was an event that although viewed as too explicitly deriv- occurred in August 1911. The painting ative and neo-Wagnerian. was stolen. The thief was an obscure Italian workman. He simply walked A bit like Leoncavallo, Schillings, how- out with it at 7 a.m. on a Monday. The ever, managed to write one operatic crime was a sensation and captivated “hit”: Mona Lisa, in 1915. It was a the entire world. Picasso was accused, runaway success and experienced, in briefly, of the theft, as was Guillaume the successive decade and a half, well Apollinaire, the poet, who was held in over 1,200 performances, including a custody for a week. The case remained production at the , unsolved for two and a half years, baf- and in St. Petersburg in the 1920s fling the police around the world. alongside and Der Ferne Klang. The international rage for Mona The notoriety of the theft was enhanced Lisa came to an abrupt halt in 1933; two and a half years later when the Schillings’ death placed the work on the thief reappeared and clumsily attempted periphery in , and a revival to sell it to an art dealer in Florence. there after 1945 was unthinkable. The dealer contacted the Uffizi in Flo- rence, and together they retrieved the Bad people and anti-Semites have writ- painting and apprehended the thief. Its ten great operas, as the case of Wagner recovery, its display in Italy, its return amply illustrates. Despite the bad odor to the Louvre, and the trial of the thief surrounding its composer (who died were headline news. The story of the well before the onset of the most theft and the analysis of the culprit and heinous atrocities) Mona Lisa is a ter- his motives have remained the subject rific piece of music and theater. Its style of articles and books ever since. is far less Wagnerian than Schillings’ other operas and in fact it reveals a shift After its recovery it was put on tempo- toward the Italian style of verismo, rary display in Florence. More than befitting not only its subject matter, but 30,000 people showed up to view it, also the taste of the public in 1915. It is creating a riot. From the moment of its return, the portrait has remained the Gioconda, Mona Lisa, in Florence. The most reproduced and visited work of opening scene—which parallels the art in the Western world. More star- close of the opera—makes brilliant use tling is the fact that between 1911 and of the familiar discourse about Mona 1913 more people went to the Louvre Lisa’s smile and sexuality. Dovsky’s to gaze at the empty spot from which it opening text is suffused with contem- had been stolen than had ever visited porary notions concerning desire and the painting when it was there. It has marriage. The tourist couple is a young inspired painters, poets, and preten- beautiful woman and a bored, rich, tious mystery writers. The Mona Lisa older husband, now on his third mar- remains far and away the main reason riage. She is sad and introspective. She tourists go to the Louvre today. It was cares not for pearls and jewels, but for always a masterpiece, but it became the happiness. She is mesmerized by the most famous painting in history only visit to the home of a legendary enig- after the 1911 theft and its miraculous matic beauty where the unusual events return in 1913. took place in, of all years, 1492—the year the Spanish expelled the Moors The sensation surrounding the theft of from Europe and Columbus made his the Mona Lisa was the reason Schillings voyage to the New World. had the idea of writing an opera about the painting. He saw an opportunity In a brilliant theatrical gesture, their that could not be missed. The extensive guide, a friar, begins to recount the journalistic coverage of the whole affair events in 1492 that unfold scenically to included an extensive account of the the audience. A tale of an unhappy mar- painting’s merit and substance, particu- riage and jealousy, of greed, cruelty, and larly the enigmatic smile of the subject, romance unfolds, framed by the com- and, of course, her beauty. The intense peting claims of the Dionysian—revelry scrutiny of the painting invited fiction: and abandon—and the Apollonian— who was the subject? What sort of per- reserve and ascetic religiosity (repre- sonality was she? And, above all, what sented by the followers of Savonarola). is it with that smile? The clue to the husband’s jealousy and Mona Lisa’s adultery is her smile—that The librettist Schillings chose was an rare sign of her desire and happiness Austrian poet, actress, and writer of that periodically shatters her otherwise children’s literature, Beatrice von Dovsky icy exterior. Lover and husband in the (1870–1925). She acted in the Raimund tale die, but Mona Lisa survives. Theater, playing soubrette roles—the ingénue, the mischievous flirt. She went The story explains the painting’s subject on to write specifically Viennese charac- and the painter’s representation of ter pieces marked by humor and senti- Mona Lisa. When the story ends, we mentality. Her most lasting achievement are returned to the present. The audi- (apart from having a small street named ence is left alone with the visiting cou- after her in Vienna’s 13th district) is the ple and the friar. As the curtain falls, it of Mona Lisa. becomes apparent that the young bride is herself Mona Lisa, a reincarnation, Dovsky’s genius was to invent a some- or perhaps the immortal living person what mystical and supernatural frame- of the original Mona Lisa. work. The plot concerns a contemporary couple. They are visiting, on their hon- This fabulous and utterly operatic plot eymoon, the palace of the “real” La brought the very best out of Schillings. The opera boasts crowd scenes, affect- at modernization? The warhorses now ing melodies, a colorful and not over- function best as vehicles for succeeding whelming orchestral texture, and high generations of divas and divos. This drama. Mona Lisa possesses a great, opera, ironically in part because it is timeless, and accessible story, and entirely forgotten, makes its case beautiful music. So why should it not directly as music and drama; it requires regain a place in the operatic repertory, no gratuitous directorial ingenuity to alongside the warhorses from that captivate today’s audience. After all, same era that are so overexposed that everyone knows the “Mona Lisa.” We the music that initially made them are still entranced by her smile and famous is diminished in favor of bi- under the spell of the unique aura of the zarre productions and lame attempts painting and the painter.

THE Program by Walter Frisch

Max von Schillings Born April 19, 1868, in Düren, Germany Died July 24, 1933, in Berlin

Mona Lisa Composed in 1913–15 Premiered on September 26, 1915, at the State Theatre conducted by Schillings. Performance Time: Approximately 2 hours and 20 minutes, including one 20-minute intermission

Instruments for this performance: 3 , 1 piccolo, 3 , 1 English , 1 heckelphone, 3 , 1 E-flat , 1 , 3 , 1 contra- , 6 French horns, 4 , 3 , 1 , , percussion (chimes, , , castanets, triangle, , , tam tam, , field drum), 1 celesta, 1 organ, 1 , 2 harps, 22 , 8 , 8 , 6 double-basses, chorus, 3 , 1 mezzo-soprano, 4 , 1 baritone, and 3 bass-.

Although his music is virtually unknown operatic world, especially with his three today, even in his native Germany, Max early operas: Ingwelde (1894), Pfeifertag von Schillings was recognized during the (1897), and Moloch (1907). Schillings decades around 1900 as one of the leading was also active as a conductor, and, with figures of early musical modernism in his friend Strauss, he helped program the the Austro-German sphere. Along with annual new music festivals of the presti- and Hans Pfitzner, gious Allgemeiner Deutscher Musikverein Schillings dominated the post-Wagnerian (General German Music Association). Schillings, who came from a prominent verismo of recent Italian operas by Rhenish family, was based initially in Mascagni, Leoncavallo, and Puccini. Munich, where he became associated with the so-called Munich School of Mona Lisa’s two acts, not divided into progressive centered around scenes, are continuous musically and dra- . In 1908 he joined the matically. The plot, as in many verismo staff of the Stuttgart Opera House, operas, revolves around the themes of jeal- where among other accomplishments ousy, betrayal, despair, and revenge. There he arranged for the premiere of Strauss’ is also local color in the evocation of Flo- in 1912. After 1915 rentine church bells and Renaissance poly - Schillings’ compositional output declined phony. Critics praised Mona Lisa as an as he focused more on administration important departure from Wagner’s style. and conducting. From his position as One noted that Schillings “places before president of the Prussian Academy of the our eyes a mirror of real life, which seizes Arts in Berlin, which he assumed in 1932, us more strongly than any mythology.” Schillings would prove a willing partner to the Nazis in purging the institution of Schillings would never follow up on the “alien” elements (including its professor achievement of Mona Lisa. Another opera of composition, ). begun at about the same time, ’s Wozzeck, projected a different and Schillings’ fourth and last opera, Mona more powerful blend of modernism, real- Lisa, was composed between 1913 and ism, and Wagnerism that ultimately had a 1915. Where his earlier operas had far greater impact on the 20th century. been strongly indebted to Wagner’s music dramas, Mona Lisa allies Wag- Walter Frisch is H. Harold Gumm/Harry nerian devices like leitmotivs and and Albert von Tilzer Professor of intense chromaticism to the fast-paced Music at Columbia University.

THE Artists LEON BOTSTEIN, Conductor

Leon Botstein is now in his 23rd year as music director and principal conductor of the American Symphony Orchestra. He has been hailed for his visionary RIC RIC KALLAHER zeal, often creating concert programs that give audiences a once-in-a-lifetime chance to hear live performances of works that are ignored in the standard repertory, and inviting music lovers to listen in their own way to create a per- sonal experience. At the same time he brings his distinctive style to core reper- tory works. He is also co-artistic director of Bard SummerScape and the Bard Highly regarded as a music historian, Music Festival, which take place at the Mr. Botstein’s most recent book is Von Richard B. Fisher Center for the Per- Beethoven zu Berg: Das Gedächtnis der forming Arts at Bard College, where he Moderne (2013). He is the editor of has been president since 1975. He is The Musical Quarterly and the author also conductor laureate of the Jerusalem of numerous articles and books. He is Symphony Orchestra, where he served currently working on a sequel to Jeffer- as music director from 2003–11. son’s Children, about the American edu- cation system. Collections of his writings Mr. Botstein leads an active schedule as and other resources may be found online a guest conductor all over the world, at LeonBotsteinMusicRoom.com. For and can be heard on numerous record- his contributions to music he has ings with the London Symphony (includ- received the award of the American ing their Grammy-nominated recording Academy of Arts and Letters and Har- of Popov’s First Symphony), the Lon- vard University’s prestigious Centennial don Philharmonic, NDR-, Award, as well as the Cross of Honor, and the Jerusalem Symphony Orches- First Class from the government of Aus- tra. Many of his live performances with tria. Other recent awards include the the American Symphony Orchestra are Caroline P. and Charles W. Ireland Prize, available online, where they have cumu- the highest award given by the Univer- latively sold more than a quarter of a sity of Alabama; the Bruckner Society’s million downloads. Upcoming engage- Julio Kilenyi Medal of Honor for his ments include the Royal Philharmonic interpretations of that composer’s music; and the Russian National Orchestra. the Award for the Recently he conducted the Taipei Sym- Elevation of Music in Society; and phony, the Los Angeles Philharmonic at Carnegie Foundation’s Academic Lead- the Hollywood Bowl, and the Sinfónica ership Award. In 2011 he was inducted Juvenil de Caracas in Venezuela and into the American Philosophical Society. Japan, the first non-Venezuelan con- ductor invited by El Sistema to conduct Mr. Botstein is represented by Columbia on a tour. Artists Management, LLC.

CHRISTOPHER BURCHETT, Baritone

Christopher Burchett’s recent engage- KONERKO PETER ments have included Captain Corcoran in H.M.S. Pinafore and Harlequin in Ariadne auf Naxos, both with Virginia Opera; Father Palmer in Silent Night with Fort Worth Opera; and The Poe Project with Fargo-Moorhead Opera. The 2013 season began with Soldier Songs by David T. Little as part of the PROTOTYPE Festival produced by Beth Morrison Projects and HERE.

Mr. Burchett began the 2012 season singing the role of Blazes in Boston Lyric Opera’s production of The Lighthouse, followed by a return to Eugene Opera Mr. Burchett has appeared with many of to sing the role of Chou En-Lai in John the country’s finest Bach festivals, includ- Adams’ Nixon in China. A champion ing the Carmel Bach Festival, Boulder of new music, he has been a part of sev- Bach Festival, Louisville Bach Society, and eral world premieres, creating the roles Bethlehem Bach Festival, where he sang of Orsen in Edwin Penhorwood’s Too Bach’s B-minor Mass as part of an Many Sopranos with Cedar Rapids Emmy-winning national PBS broadcast Opera Theatre, M. Carré-Lamadon in entitled Make a Joyful Noise. Current Stephen Hartke’s The Greater Good engagements include with with Glimmerglass Opera, and Justin in Cedar Rapids Opera Theatre; Sweeney Anthony Davis’ Wakonda’s Dream with Todd with Eugene Opera; and a return to Opera Omaha. Forth Worth Opera for The Poe Project.

ROBERT CHAFIN, Tenor

Mr. Chafin has appeared on recordings of Franz Schreker’s and Christophorus, Richard Strauss’ Die

DEVON DEVON CASS Liebe der Danae, Leonard Bernstein’s Candide, and Beethoven’s Symphony No. 9. He also has recorded for Opera Rara and performed Stravinsky songs and the Hindemith oratorio Das Unafuhörliche for CD and television productions. On the concert stage he has appeared throughout Europe and the United States.

Recently Mr. Chafin debuted in the American premiere of Franz Schmidt’s Robert Chafin has more than 70 operas The Hunchback of Notre Dame with in his repertoire and has performed as a Leon Botstein conducting the American guest artist at Opera Symphony Orchestra at Carnegie Hall, and in Carnegie Hall. He has per- performed Idomeneo in Germany, and formed internationally in , Tel sang in Mahler’s full and chamber ver- Aviv, Jerusalem, , Vienna, sions of Das Lied von der Erde in Frankfurt, Brussels, Madrid, Milan, Spain, France, and Belgrade, Serbia. In , at the Salzburg Summer Festi- addition to performing, he has been val, and in Berlin with the Deutsche recently appointed visiting assistant Oper and Philharmonie. professor of voice at Virginia Tech. ILANA DAVIDSON, Soprano

Grammy-winning soprano Ilana STEINER CHRISTIAN Davidson returns to Carnegie Hall after previous engagements for Mahler’s Second Symphony with the Boston Philharmonic and Bolcom’s Songs of Innocence and of Experience with the Saint Louis Symphony. Her Avery Fisher Hall debut was with Leon Botstein and the American Symphony Orchestra in Orff’s Trionfo di Afrodite. Her extensive concert repertoire includes the Brahms Requiem with North Car- olina Symphony and Berkshire Choral Festival; Mahler’s Fourth Symphony with the Fort Worth and Detroit Sym- phonies and Brevard Music Center; Gott in allen Landen with the Orches- Handel’s Messiah with the Nashville, tra of St. Luke’s; and Mahler’s Second Pacific, Ann Arbor, and Alabama sym- Symphony with the Québec, Baton phonies and National Philharmonic; Rouge, and Acadiana symphonies and the Fauré Requiem with the Charlotte Rhode Island Philharmonic. In addition Symphony; Mozart’s Exsultate, jubilate she sang Orff’s for her with the Wheeling Symphony and debuts with the Houston, Edmonton, Brevard Music Center; Haydn’s Die Reading, and Toledo symphonies. Schöpfung with the Harrisburg Sym- Abroad she has sung in Purcell’s phony, Philadelphia’s Voces Novae et King Arthur in Stuttgart, and Amor in Antiquae, and at the Bellingham Fes- Legrenzi’s La Divisione del Mondo at tival; Bach Cantatas with Boston’s the Austrian festivals of Innsbruck and Handel and Haydn Society; Bach’s Schwetzingen. More information can Weihnachtsoratorium and Jauchzet be found online at: ilanadavidson.com.

JOHN EASTERLIN, Tenor

John Easterlin has recently performed at the Wiener Staatsoper as Herodes in , Covent Garden as Prince Nil- sky in , and at Teatro Real Madrid in Wozzeck, Boris Godunov, and The Rise and Fall of the City of Mahagonny in the role of Jack O’Brien, and the world premiere of The Perfect American in the role of Andy Warhol, which he later reprised with the English National Opera. Other engagements include Opéra National de Paris in the role of Squeak in Billy Budd and with Glimmerglass Opera as the magician in The Consul. In 2010–11 he made his at the Metropolitan Opera as Mono- debut with the Canadian Opera Com- statos, a debut with the Washington pany as Monostatos in Die Zauberflöte National Opera as Monostatos, the and the dancing master in Ariadne auf as Larry King in Naxos. That season he also sang with Anna Nicole, the Merida Festival in Lake George Opera in the role of Alfred Spain as Herodes in Salome, and his in Die Fledermaus. In 2011–12 he return to Covent Garden as Andres in returned to the Metropolitan Opera as Wozzeck. This season he takes on the the Scribe in , the role of Pirelli in Sweeney Todd with Philadelphia Orchestra as Aegistheus in and Hawaii , and Madrid’s Teatro Real in Opera Theatre, and debuts at Houston Lady Macbeth of Mtentsk. Engage- Grand Opera in the role of Goro in ments last season included appearances Madama Butterfly.

LUCY FITZ GIBBON, Soprano

Stark’s Soldier Asleep at the Tomb with the Cornell Symphony, and Mozart’s Requiem with the Tulsa Symphony. In March she will perform Claude Vivier’s Lonely Child as part of “Environs Mes- siaen,” a festival at Cornell University dedicated to the naturalist aesthetic of

BELLATRIX PHOTOGRAPHY BELLATRIX Olivier Messiaen. She will also appear in a presentation of Sheila Silver’s opera A Thousand Silver Suns at the National Opera Center this June. She was honored to be a fellow at the Tan- glewood Music Center during the sum- mer of 2014, and was invited to return Lucy Fitz Gibbon has made modern in 2015. premieres of important works by baroque-era composers Francesco Sacrati A graduate of Yale University, Ms. Fitz and Barbara Strozzi, and has premiered Gibbon is the recipient of numerous numerous works by composers of her awards for her musical and academic generation, including Sean Shepherd, achievements. She holds an artist David Hertzberg, Dante de Silva, and diploma from the Glenn Gould School Anna Lindemann. Recent perfor- of the Royal Conservatory and is com- mances include her debut with the pleting her master’s degree in the Bard Saint Paul Chamber Orchestra in the College Conservatory Graduate Vocal role of Miles in Britten’s The Turn of Arts Program. More information can the Screw, the premiere of Christopher be found online at lucyfitzgibbon.com. JUSTIN HOPKINS, Bass-baritone PAULSIROCHMAN Mona Lisa marks Justin Hopkins’ return to Carnegie Hall with the Amer- ican Symphony Orchestra, the previous being his debut in the role of Sir John Berkley in ’s Der Vampyr. His 2014–15 season includes Strauss’ Daphne at Théâtre Royal de la Monnaie in Brussels; War Requiem with the Dayton Philharmonic; ’s The Road of Promise with The Collegiate Chorale; Elijah with the Choristers of Lansdale, Pennsylvania; and La Clemenza di Tito with Opera in the Heights. This season Mr. Hopkins gave the world premiere of Repast, a solo opera-oratorio that was featured Boston Pops; BBC Concert Orchestra, nationally on NPR’s Weekend Edition. London; and Verbier Festival Orches- He will also be featured in the world tra, Switzerland. He took second place premiere of The Long Walk with in the 2012 Competition. Opera Saratoga. Mr. Hopkins has per- More information can be found online formed with such as the at justinhopkinsopera.com.

KATHERINE MAYSEK, Mezzo-soprano BEABE GALLERYBEABE This is Katherine Maysek’s first appear- ance with the American Symphony Orchestra in Carnegie Hall. She will spend the summer with the Des Moines Metro Opera as an apprentice artist and at Bard College’s composer-conductor program singing the title role of Harold Farberman’s Medea. Recent operatic roles include Mrs. Grose in The Turn of the Screw, Nerone in L’incoronazione di Poppea, and Cherubino in Le nozze di Figaro. She has been repeatedly engaged by the Blanche Moyse Chorale in Marlboro, Vermont, as a soloist in Bach’s Christmas Oratorio and Mass in B minor. Her summer engagements Graduate Vocal Arts Program. At have included, most notably, the Tan- Bard, in addition to expanding her glewood Music Center and the Toronto operatic and concert experience, she is Summer Music Festival. She is a gradu- developing lasting collaborative rela- ate of McGill University and is a mas- tionships and exploring the extensive ter’s degree candidate at Bard College’s art song repertoire. MICHAEL ANTHONY MCGEE, Bass-baritone

Puccini’s Gianni Schicchi with the Seat- tle Opera Young Artist Program; Her- mann Ortel in Wagner’s Die Meistersinger von Nürnberg at the Tanglewood Music Festival; and both Marcello in Puccini’s La bohème and Moralès in

KRISTIN KRISTIN HOEBERMANN Bizet’s at Maazel’s Castleton Festival. Concert appearances have included the baritone soloist in Faure’s Requiem with the Seattle Symphony; Orff’s Carmina Burana with both the Seattle Symphony and the Pacific North- west Ballet; Britten’s War Requiem with the Hong Kong Philharmonic; and solo Michael Anthony McGee is a native of recitals at Merkin Concert Hall, Weill , Texas. He made his European Hall, the Trinity Church on Wall Street, debut as Winston Smith in Lorin the Philips Collection in Washington, Maazel’s 1984 at the Palau de les Arts D.C., and Nordstrom Hall in Seattle. in Valencia, Spain. Additional roles Winner of numerous prestigious inter- include Don Geronio in Rossini’s Il national competitions, Mr. McGee Turco in Italia, Snug in Britten’s A Mid- was the 2010 recipient of the George summer Night’s Dream, and the title London Award from the George Lon- role in Sondheim’s Sweeney Todd, all don Foundation for Singers. More with the Wolf Trap Opera Company; information can be found online at title roles in both Verdi’s and michaelanthonymcgee.com.

PAUL MCNAMARA, Tenor

Deutsche Oper Berlin in Braunfels’ Szenen aus dem Leben der Heiligen Johanna, and the title roles in Wagner’s Tannhäuser and Parsifal at the Mainfranken Theater

UWE UWE FRIEDRICH Würzburg, performances that both gar- nered him a nomination as Singer of the Year in the German magazine Opernwelt. He has also appeared at the Teatr Wielki in Warsaw, la Monnaie in Brussels, the Stadttheater Bern, Opera Ireland, Northern Ireland Opera, Cape Town Opera, the Janáček Festival in Brno, the Opera Lesna Sopot in Poland, the Theatro Municipal in Rio Originally from Ireland and based in de Janeiro, and with the Salzburg Festi- Berlin, Paul McNamara has sung in val at the Beijing Music Festival. In several German theaters where his December 2010 he performed at the many notable successes have included National Opera in Almaty, Kazakh stan, his critically-acclaimed debut at the where he sang Tannhäuser in the first ever production of a Wagner opera in include appearances with the National Central Asia. Symphony Orchestra of Ireland, the RTÉ Concert Orchestra, the Irish Chamber Or- In addition to Wagner’s Erik, Loge, chestra, the Deutsches Kammerorchester, Tannhäuser, Tristan, and Parsifal, Mr. the Nordwestdeutsche Philharmonie, the McNamara’s extensive repertoire encom- Neubrandenburger Philharmonie, the passes roles by Monteverdi, Cavalli, SWR-Rundfunkorchester, the Staats - Mozart, Weber, Meyerbeer, Tchaikovsky, kapelle Halle, the Stavanger Symfo- Leoncavallo, Dvořák, Strauss, Janáček, niorkester, the Rundfunk-Sinfonieorch- Zemlinsky, Berg, and Britten. A keen reci- esters Berlin, and the Netherlands talist and concert singer, his engagements Radio Philharmonic Orchestra.

MICHAEL SCARCELLE, Bass-baritone

Michael Scarcelle’s recent performances include Herrmann Augustus in Candide with Leipzig MDR Symphony Orchestra, a role he reprised with Munich Philhar- monic, London Symphony Orchestra, Die Deutsche Kammerphilharmonie Bremen, and Tonkünstler-Orchester Niederösterreich; Pooh-Bah in The Mikado with both Mobile Opera and Shreveport Opera; Hydrogen Jukebox with Skylight Music Theatre; Demetrius in A Midsummer Night’s Dream with Opera Naples; King Melchior in Amahl and the Night Visitors, Beaupertuis in The Italian Straw Hat, and Don Pedro in La Périchole with Amarillo Opera; nozze di Fiagro, and Dominick in the Pirate King in The Pirates of Penzance world premiere of Georg Kreisler’s Das with Anchorage Opera; Death in Sāvitri Aquarium with Volkstheater Rostock. with Little Opera Theater of NY; and Elviro in Serse with Boston Baroque. Other notable engagements include Avery Fisher Hall performances as bass Mr. Scarcelle made his European debut soloist for Handel’s Messiah with singing Crespel in Les contes d’Hoffmann DCINY, Schütz’s Fili mi, Absalon with and Marchese in La traviata with Festival St. Luke’s Quartet, Bach’s lyrique international de Belle-Ile en Mer Magnificat (nationally televised from the and returned to the festival as Schaunard National Cathedral) with Norddeutsche in La bohème. Other performances Philharmonie, and Mozart’s Mass in C abroad include a concert of Broadway minor with Yale Symphony Orchestra. music with the Macedonia Philharmonic This season includes Papageno in Die Orchestra that earned him a Cultural Zauberflöte with Anchorage Opera Diplomacy award from the U.S. Embassy, and Figaro in Le nozze di Fiagro with and Escamillo in Carmen, Figaro in Le Opera Theatre of Pittsburgh. PETRA MARIA SCHNITZER, Soprano

Festspielen and Bayerische Staatsoper for The Bartered Bride, Der Freischutz, Arabella, and Elisabeth in Tannhauser. She went on to the Wiener Festwochen

JAVIER DEL REAL JAVIER where she sang Fiordiligi in Così fan tutte, and has performed in numerous engagements at the opera houses of Barcelona, Madrid, Tokyo, and Beijing. She was highly acclaimed for her por- trayal of Elsa in Lohengrin at Bayreuther Festspiele, Sieglinde in Die Walküre in Valencia, and at the Maggio Musicale in Florence. She sang Elisabeth in Tannhauser in Los Angeles, San Fran- Petra-Maria Schnitzer was a member of cisco, and at the Metropolitan Opera, the opera studio of the Vienna State as well as Ariadne in Ariadne auf Opera. In 1993 she won the Viñas Naxos in Los Angeles. Recently she Singing Competition in Barcelona. That had success as Isolde in Tristan und same year she gave her debut as Agathe Isolde at and at in Der Freischütz at the Vienna State the Bayerische Staatsoper in Munich, and Opera, followed by roles such as Count- as Elisabeth and in Tannhäuser at ess Rosina Almaviva in Le nozze di Deutsche Oper Berlin. Ms. Schnitzer is Figaro, Ilia in Idomeneo, Rosalinde in also a highly recommended concert and Die Fledermaus, Micaëla in Carmen, lieder singer and can be heard on a CD and Freia in Das Rheingold. Further performing lieder and duets by Robert engagements brought her to Salzburger and Clara Schumann.

THE AMERICAN SYMPHONY ORCHESTRA

Now in its 53rd season, the American of six concerts annually at Carnegie Symphony Orchestra was founded in Hall. ASO goes in-depth with three 1962 by Leopold Stokowski, with a familiar symphonies each season in the mission of making orchestral music popular series Classics Declassified at accessible and affordable for everyone. Peter Norton Symphony Space, and has Music Director Leon Botstein expanded an upstate home at the Richard B. that mission when he joined the ASO in Fisher Center for the Performing Arts 1992, creating thematic concerts that at Bard College, where it performs in explore music from the perspective of the an annual subscription series as well as visual arts, literature, religion, and history, Bard’s SummerScape Festival and the and reviving rarely-performed works that Bard Music Festival. The orchestra has audiences would otherwise never have a made several tours of Asia and Europe, chance to hear performed live. and has performed in countless benefits for organizations including the Jerusalem The orchestra’s Vanguard Series, which Foundation and PBS. includes these themed programs as well as an opera-in-concert and a celebra- Many of the world’s most accom- tion of an American composer, consists plished soloists have performed with the ASO, including Yo-Yo Ma, Deborah performances are also available for dig- Voigt, and . The orches- ital download. In many cases these are tra has released several recordings on the only existing recordings of some of the Telarc, New World, Bridge, Koch, the rare works that have been rediscov- and Vanguard labels, and many live ered in ASO performances.

BARD FESTIVAL CHORALE

The Bard Festival Chorale was formed its members have distinguished careers in 2003 as the resident of the as soloists and as performers in a vari- Bard Music Festival. It consists of the ety of choral groups; all possess a shared finest ensemble singers from New York enthusiasm for the exploration of new City and surrounding areas. Many of and unfamiliar music.

JAMES BAGWELL, Director, Bard Festival Chorale

James Bagwell maintains an active inter- in critically acclaimed performances at national schedule as a conductor of Carnegie Hall. He has prepared choruses choral, orchestral, and theatrical works. for a number of international festivals, He has been chorus master for the Bard including Salzburg and Verbier, along Music Festival and SummerScape since with the Mostly Mozart Festival in New 2003. In 2009 he was appointed music York. He is professor of music at Bard director of The Collegiate Chorale and College, where he directs the undergrad- principal guest conductor of the Ameri- uate music program and co-directs the can Symphony Orchestra, leading both graduate conducting program.

AMERICAN SYMPHONY ORCHESTRA Leon Botstein, Conductor

VIOLIN I Lucy Morganstern Annabelle Hoffman Erica Kiesewetter, Dorothy Strahl Sarah Carter Alexandra Knoll, Concertmaster Sophia Kessinger Maureen Hynes Principal Suzanne Gilman Elizabeth Kleinman Diane Barere Erin Gustafson Yukie Handa Alexander Vselensky Eliana Mendoza Melanie Feld, Elizabeth Nielsen Stephen Fang English horn Diane Bruce Patricia Davis William Frampton, BASS HECKELPHONE John Connelly Principal Jordan Frazier, Harry Searing Wende Namkung Sally Shumway Principal Ragga Petursdottir John Dexter Jack Wenger CLARINET Ashley Horne Debra Shufelt-Dine Louis Bruno Laura Flax, Principal Ellen Payne Shelley Holland- Richard Ostrovsky Shari Hoffman Mara Milkis Moritz Tony Flynt Lino Gomez, Bass Martha Brody William Sloat Clarinet II Adria Benjamin Richard Rood, Crystal Garner BASSOON Principal Laura Conwesser, Charles McCracken, Robert Zubrycki Principal Principal James Tsao Eugene Moye, Rie Schmidt Marc Goldberg Yana Goichman Principal Diva Goodfriend- Gilbert Dejean, Ann Labin Roberta Cooper Koven, Piccolo HORN TROMBONE Charles Descarfino MANDOLIN Chris Komer, Principal Richard Clark, Matthew Beaumont William Anderson Sara Cyrus Principal Sean Statser Lawrence DiBello Kenneth Finn PERSONNEL Kyle Hoyt Jeffrey Caswell KEYBOARD MANAGER Theodore Primis Elizabeth Wright, Ann Yarbrough Shelagh Abate TUBA Prinicpal Guttman Rachel Drehmann, Kyle Turner, Principal Assistant ORGAN ASSISTANT TIMPANI Kent Tritle CONDUCTOR Benjamin Herman, Zachary Schwartzman Carl Albach, Principal Principal HARP John Sheppard Sara Cutler, Principal ORCHESTRA Thomas Hoyt PERCUSSION Cecile Schoon LIBRARIAN Dominic Derasse Jonathan Haas, Marc Cerri Principal Kory Grossman

BARD FESTIVAL CHORALE James Bagwell, Director

SOPRANO ALTO TENOR BASS Wendy Baker Sishel Claverie Sean Fallen David Baldwin Nonie Donato Agueda Fernandez Andrew Fuchs Blake Burroughs Maggie Finnegan Erica Koehring Alex Guerrero Daniel Collins Jennifer Gliere Mary Marathe John Kawa Roosevelt Credit Melissa Kelley Elizabeth Merrill Eric William Lamp James Gregory Lauren-Rose King Nicole Mitchell Mukund Marathe Samuel Hepler Caroline Miller Margaret O’Connell Douglas Purcell Daniel Hoy Amy Rood Guadalupe Peraza Kevin Rose Andrew Martens Rachel Rosales Heather Petrie Kannan Vasudevan Steven Moore Ellen Taylor Sisson Rebecca Romano Sorab Wadia John Rose Elizabeth Smith Suzanne Schwing Tommy Wazelle Kurt Steinhauer Christine Sperry Nancy Wertsch* Sean Sullivan Emily Werne *Choral Contractor

ASO BOARD OF TRUSTEES

Dimitri B. Papadimitriou, Chair Debra R. Pemstein Thurmond Smithgall, Vice Chair Eileen Rhulen Felicitas S. Thorne Miriam R. Berger Michael Dorf HONORARY MEMBERS Rachel Kalnicki Joel I. Berson, Esq. Jack Kliger L. Stan Stokowski Shirley A. Mueller, Esq. ASO ADMINISTRATION

Lynne Meloccaro, Executive Director Ann Yarbrough Guttman, Orchestra Oliver Inteeworn, General Manager Personnel Manager Brian J. Heck, Director of Marketing Ben Oatmen, Production Assistant Nicole M. de Jesús, Director of Development Leszek M. Wojcik, Concert Archival Recording Sebastian Danila, Library Manager Marielle Métivier, Operations Manager James Bagwell, Principal Guest Conductor Carley Gooley, Marketing Assistant Zachary Schwartzman, Assistant Conductor Marc Cerri, Orchestra Librarian Richard Wilson, Composer-In-Residence James Bagwell, Artistic Consultant

AMERICAN SYMPHONY ORCHESTRA PATRONS

Ticket sales cover only a small percentage of the expenses for our full-size orchestral con- certs. The American Symphony Orchestra Board of Trustees, staff, and artists gratefully acknowledge the following individuals, foundations, corporations, and government agen- cies who help us to fulfill Leopold Stokowski’s avowed intention of making orchestral music accessible and affordable for everyone. While space permits us only to list gifts made at the Friends level and above, we value the generosity of all donors.

This project has been made possible with the support of Thomas P. Sculco, MD and Cynthia D. Sculco.

MAESTRO’S CIRCLE BENEFACTORS SUSTAINERS The Achelis Foundation Anonymous Anonymous (2) Michael Dorf The Amphion Foundation The Bialkin Family Foundation Jeanne Donovan Fisher Catharine Wilder Guiles Thomas and Carolyn P. Cassilly The Frank & Lydia Bergen Mrs. James P. Warburg Ellen Chesler and Foundation Tappan Wilder Matthew J. Mallow Rachel and Shalom Kalnicki The Wilder Family Veronica Frankenstein The Lanie & Ethel Foundation Irwin and Maya B. Hoffman National Endowment for the PATRONS IBM Corporation Arts (NEA) Anonymous (2) Patricia Kiley and New York City Department The Atlantic Philanthropies Edward Faber of Cultural Affairs (DCA) Director/Employee Jack Kliger and Amy Griggs New York State Council on Designated Gift Program Arthur S. Leonard the Arts (NYSCA) Joel I. and Ann Berson William McCracken and Open Society Foundations The David & Sylvia Teitelbaum Cynthia Leghorn Dimitri B. and Rania Fund, Inc. Susan and Graham McDonald Papadimitriou Karen Finkbeiner Marcia H. Moor Thurmond Smithgall Gary M. Giardina Joanne and Richard Mrstik Felicitas S. Thorne Peter L. Kennard Shirley A. Mueller The Winston Foundation Ross Lipman Tatsuji Namba Dr. Pamela F. Mazur and James and Andrea Nelkin STOKOWSKI CIRCLE Dr. Michael J. Miller James H. and Louise V. North Anonymous Lisa Mueller and David E. Schwab II and The Ann & Gordon Getty Gara LaMarche Ruth Schwartz Schwab Foundation Mark Ptashne and Janet Zimmerman Segal Michael and Anne Marie Lucy Gordon Joseph and Jean Sullivan Kishbauch Patricia E. Saigo Siri von Reis Mary F. and Sam Miller Tides Foundation, on the Thomas P. Sculco, MD and recommendation of CONTRIBUTORS Cynthia D. Sculco Kathryn McAuliffe and Anonymous The Spektor Family Foundation Jay Kriegel Gary Arthur Mr. and Mrs. Richard E. Dr. Miriam Roskin Berger Wilson Bette R. Collom and Nathan Gross Myra and Matthew Anthony Menninger John L. Haggerty Zuckerbraun Nicole M. de Jesús and Laura Harris Brian P. Walker Eric S. Holtz FRIENDS Anna and Jonathan Haas Hudson Guild, Inc. Anonymous (4) Max and Eliane Hahn Sara Hunsicker Stephen Blum Ashley Horne George H. Hutzler Mona Yuter Brokaw Erica Kiesewetter Jewish Communal Fund Mrs. A. Peter Brown Adnah G. and Grace W. José Jiménez Rufus Browning Kostenbauder Ronald S. Kahn Joan Brunskill Steve Leventis Robert and Susan Kalish CA Technologies Peter A. Q. Locker Robert and Charlotte Kelly Leonard Chibnick Alan Mallach David Kernahan Soriya Chum Jeanne Malter Irving and Rhoda Kleiman Concerts MacMusicson Charles McCracken, in Caral G. and Robert A. Klein Patricia Contino memory of Jane Taylor Peter Kroll Lois Conway Sally McCracken Kurt Rausch LLC Judy Davis Peter Lars Sandberg and Dr. Nancy Leonard and Thomas J. De Stefano Nancy Whitaker Dr. Lawrence Kramer Susanne Diamond Martha and David Schwartz Linda Lopez Ruth Dodziuk-Justitz and Peter and Eve Sourian Elizabeth Mateo Jozef Dodziuk Alan Stenzler Stephen J. Mc Ateer Barton Dominus Robert F. Weis Carolyn McColley Robert Durst William C. Zifchak Alan B. McDougall Lee Evans Sally and Bruce McMillen ExxonMobil Foundation SUPPORTERS Clifford S. Miller Donald W. Fowle Anonymous (9) Judith Monson Helen Garcia American Express Gift Martin L. and Lucy Miller Barbara Gates Matching Program Murray June O. Goldberg Madelyn P. Ashman Kenneth Nassau Goldman, Sachs & Co. John and Joanne Baer Michael Nasser Robert Gottlieb Bank of America Karen Olah Mr. and Mrs. Sidney Greenberg Reina Barcan Roger and Lorelle Phillips John Hall Carol Kitzes Baron David R. Pozorski and Donald Hargreaves Ruth Baron Anna M. Romanski Andrée Hayum Mary Ellin Barrett Anthony Richter Robert Herbert Dr. Robert Basner Roland Riopelle and Gerald and Linda Herskowitz David C. Beek and Leslie Kanter F. Hobson Gayle Christian Bonita Roche Christopher Hollinger Simone Belda Phyllis and Leonard Rosen Cyma Horowitz Yvette and Maurice Bendahan Michael T. Ryan Drs. Russell and Adria Benjamin Henry Saltzman Barbara Holstein Daniel and Gisela Berkson Sari Scheer and Samuel Kopel Theresa Johnson Stephen M. Brown Gerald and Gloria Scorse Peter Keil Marjorie Burns Georgi Shimanovsky Kaori Kitao Moshe Burstein Bruce Smith and Pete Klosterman Isabelle A. Cazeaux Paul Castellano Frederick R. Koch Richard C. Celler Gertrude Steinberg Seymour and Harriet Koenig Roger Chatfield Hazel C. and Bernard Strauss Mr. and Mrs. Robert LaPorte Alice and Theodore Cohn Helen Studley Patricia Luca Laura Conwesser Tart-Wald Foundation Walter Levi Paul Ehrlich Mr. and Mrs. Jon P. Tilley Judd Levy Richard Farris Elisabeth F. Turnauer, M.D. José A. Lopez Lynda Ferguson Donald W. Whipple Sarah Luhby Martha Ferry Larry A. Wehr Dr. Karen Manchester Laura Flax Michael P. A. Winn Richard and Maryanne Jeffrey F. Friedman Kurt Wissbrun Mendelsohn Christopher H. Gibbs Richard J. Wood Mark G. Miksic Todd Gordon and Susan Feder Leonard and Ellen Zablow Alex Mitchell Michael and Ilene Gotts Alfred Zoller Christine Munson Greenwich House, Inc. Michael Nassar Clarence W. Olmstead, Jr. Harriet Schon Mr. and Mrs. Jack Ullman and Kathleen F. Heenan Dr. and Mrs. Herbert C. Gretchen Viederman Jane and Charles Prussack Schulberg James Wagner and Bruce Raynor Sharon Schweidel Barry Hoggard Wayne H. Reagan The Honorable Michael D. Renata and Burt Weinstein Martin Richman Stallman Victor Wheeler Catherine Roach Susan Stempleski Ann and Doug William John W. Roane Paul Stumpf Dagmar and Wayne Yaddow Dr. and Mrs. Arnold Rosen Andre Sverdlove Leslie Salzman Lorne and Avron Taichman List current as of Nick Sayward Margot K. Talenti January 9, 2015 Nina C. and Emil Scheller Madeline V. Taylor

Music plays a special part in the lives of many New York residents. The American Symphony Orchestra gratefully acknowledges the support of the following government agencies that have made a difference in the culture of New York: National Endowment for the Arts The City of New York Jane Chu, Chairman The Honorable Bill De Blasio, Mayor NYC Department of Cultural Affairs in New York State Council on the Arts with partnership with the New York City the support of Governor Andrew Cuomo Council and the New York State Legislature

CHAMPION LIVE MUSIC: SUPPORT THE ASO!

Since 1962 the American Symphony Orchestra has done something incredible: Present the widest array of orchestral works, performed at exceptional levels of artistry—and offered at the most accessible prices in New York City. Be they rare works or beloved masterpieces, no other Orchestra dares to present the same depth of repertoire every single season. But the ASO has urgent need of your support. Production costs for full-scale, orchestral con- certs are ever increasing, while public philanthropy for the arts has decreased at an alarm- ing rate. As always, we keep to our mission to maintain reasonable ticket prices, which means ASO depends even more than most other orchestras on philanthropic contributions. That’s why we must call on you—our audiences, artists, and community partners, who can- not imagine a world without live Schubert, Strauss, Cage, or Ives. Every dollar counts. Please donate at any level to safeguard the ASO’s distinctive program- ming now and ensure another season! Annual Fund Annual gifts support the Orchestra’s creative concert series and educational programs. In appreciation, you will receive exclusive benefits that enhance your concert-going experience and bring you closer to the Orchestra. Sustaining Gifts Make your annual gift last longer with monthly or quarterly installments. Sustaining gifts provide the ASO with a dependable base of support and enable you to budget your giving. Matching Gifts More than 15,000 companies match employees’ contributions to non-profit organizations. Contact your human resources department to see if your gift can be matched. Matching gifts can double or triple the impact of your contribution while you enjoy additional benefits. Corporate Support Have your corporation underwrite an American Symphony Orchestra concert and enjoy the many benefits of the collaboration, including corporate visibility and brand recognition, employee discounts, and opportunities for client entertainment. We will be able to provide you with individually tailored packages that will help you enhance your marketing efforts. For more information, please call 646.237.5022 How to Donate Make your gift online: www.americansymphony.org/support Please make checks payable to: American Symphony Orchestra Mail to: American Symphony Orchestra 263 West 38th Street, 10th Floor New York, NY 10018 For questions or additional information: Nicole M. de Jesús, Director of Development, 646.237.5022 or [email protected].

ASO’S SPRING SEASON AT CARNEGIE HALL

Thursday, March 26, 2015 Opus Posthumous Once lost, hidden, and forgotten works by Schubert, Bruckner, and Dvorˇák

Sunday, April 19, 2015 Music U. A celebration of Ivy League composers, including a world premiere with the Cornell University Glee Club and Chorus

Friday, May 29, 2015 American Variations: Perle at 100 Two works by George Perle, alongside variations by Copland, Lukas Foss, and William Schuman

SUBSCRIBE TO ASO

Choose three concerts and ALL SEATS in ALL LOCATIONS are just $25! Subscribers get great locations, big discounts, easy exchanges, and special perks at local restaurants. Visit AmericanSymphony.org/subscribe for more info, or call (212) 868-9ASO (9276).

Single tickets to each concert are $29–$54 and can be purchased at CarnegieHall.org, CarnegieCharge at (212) 247-7800, or the box office at 57th St. & 7th Ave.