2012–2013 season | Week 1 season sponsors Bernard Haitink | Conductor Emeritus Seiji Ozawa | Music Director Laureate

Table of Contents | Week 1

7 bso news 13 on display in symphony hall 14 the boston symphony orchestra 17 a brief history of the bso 20 this week’s program

Notes on the Program

22 A Brief Introduction… 23 The Gershwins’ “Porgy and Bess” 31 Synopsis of the Plot 35 To Read and Hear More…

Guest Artists

39 Bramwell Tovey 51 Gregg Baker 41 Alfred Walker 51 Patrick Blackwell 42 Laquita Mitchell 52 John Fulton 43 Alison Buchanan 53 Robert Honeysucker 44 Angel Blue 54 Leon Williams 45 Marquita Lister 55 Will LeBow 45 Krysty Swann 56 Patrick Shea 46 Gwendolyn Brown 56 Joel Colodner 47 Jermaine Smith 57 Matthew Heck 49 Calvin Lee 57 Jeffrey Toussaint 49 Chauncey Packer 57 Tanglewood Festival Chorus

62 sponsors and donors 72 future programs 74 symphony hall exit plan 75 symphony hall information

program copyright ©2012 Boston Symphony Orchestra, Inc. design by Hecht Design, Arlington, MA cover photo of BSO concertmaster Malcolm Lowe by Stu Rosner

BOSTON SYMPHONY ORCHESTRA Symphony Hall, 301 Massachusetts Avenue Boston, MA 02115-4511 (617)266-1492 bso.org

bernard haitink, lacroix family fund conductor emeritus, endowed in perpetuity seiji ozawa, music director laureate 132nd season, 2012–2013

trustees of the boston symphony orchestra, inc.

Edmund Kelly, Chairman • Paul Buttenwieser, Vice-Chairman • Diddy Cullinane, Vice-Chairman • Stephen B. Kay, Vice-Chairman • Robert P. O’Block, Vice-Chairman • Roger T. Servison, Vice-Chairman • Stephen R. Weber, Vice-Chairman • Theresa M. Stone, Treasurer

William F. Achtmeyer • George D. Behrakis • Alan Bressler • Jan Brett • Susan Bredhoff Cohen, ex-officio • Richard F. Connolly, Jr. • Cynthia Curme • Alan J. Dworsky • William R. Elfers • Thomas E. Faust, Jr. • Nancy J. Fitzpatrick • Michael Gordon • Brent L. Henry • Charles W. Jack, Jr., ex-officio • Charles H. Jenkins, Jr. • Joyce G. Linde • John M. Loder • Nancy K. Lubin • Carmine A. Martignetti • Robert J. Mayer, M.D. • Susan W. Paine • Peter Palandjian, ex-officio • Carol Reich • Arthur I. Segel • Thomas G. Stemberg • Caroline Taylor • Stephen R. Weiner • Robert C. Winters life trustees

Vernon R. Alden • Harlan E. Anderson • David B. Arnold, Jr. • J.P. Barger • Leo L. Beranek • Deborah Davis Berman • Peter A. Brooke • Helene R. Cahners • John F. Cogan, Jr. • Mrs. Edith L. Dabney • Nelson J. Darling, Jr. • Nina L. Doggett • Mrs. John H. Fitzpatrick • Dean W. Freed • Thelma E. Goldberg • Mrs. Béla T. Kalman • George Krupp • Mrs. Henrietta N. Meyer • Nathan R. Miller • Richard P. Morse • David Mugar • Mary S. Newman • Vincent M. O’Reilly • William J. Poorvu • Peter C. Read • Edward I. Rudman • Richard A. Smith • Ray Stata • John Hoyt Stookey • Wilmer J. Thomas, Jr. • John L. Thorndike • Dr. Nicholas T. Zervas other officers of the corporation

Mark Volpe, Managing Director • Thomas D. May, Chief Financial Officer • Suzanne Page, Clerk of the Board board of overseers of the boston symphony orchestra, inc.

Susan Bredhoff Cohen, Co-Chair • Peter Palandjian, Co-Chair • Noubar Afeyan • David Altshuler • Diane M. Austin • Lloyd Axelrod, M.D. • Judith W. Barr • Lucille M. Batal • Linda J.L. Becker • Paul Berz • James L. Bildner • Mark G. Borden • Partha Bose • Anne F. Brooke • Stephen H. Brown • Gregory E. Bulger • Joanne M. Burke • Ronald G. Casty • Richard E. Cavanagh • Dr. Lawrence H. Cohn • Charles L. Cooney • William Curry, M.D. • James C. Curvey • Gene D. Dahmen • Jonathan G. Davis • Paul F. Deninger • Michelle A. Dipp, M.D., Ph.D. • Dr. Ronald F. Dixon • Ronald M. Druker • Alan Dynner • Philip J. Edmundson • Ursula Ehret-Dichter • John P. Eustis II • Joseph F. Fallon • Peter Fiedler • Judy Moss Feingold • Steven S. Fischman • John F. Fish • Sanford Fisher • Jennifer Mugar Flaherty • Robert Gallery • Levi A. Garraway • Cora H. Ginsberg • Robert R. Glauber • Stuart Hirshfield • Susan Hockfield • Lawrence S. Horn • Jill Hornor • William W. Hunt • Valerie Hyman • Everett L. Jassy • Stephen J. Jerome • Darlene Luccio Jordan, Esq. • Paul L. Joskow • Stephen R. Karp • John L. Klinck, Jr. •

week 1 trustees and overseers 3

photos by Michael J. Lutch

Peter E. Lacaillade • Charles Larkin • Robert J. Lepofsky • Jay Marks • Jeffrey E. Marshall • Linda A. Mason • Robert D. Matthews, Jr. • Maureen Miskovic • Robert Mnookin • Paul M. Montrone • Sandra O. Moose • Robert J. Morrissey • J. Keith Motley, Ph.D. • Cecile Higginson Murphy • Joseph J. O’Donnell • Joseph Patton • Ann M. Philbin • Wendy Philbrick • Claudio Pincus • Lina S. Plantilla, M.D. • Irene Pollin • Jonathan Poorvu • Dr. John Thomas Potts, Jr. • William F. Pounds • Claire Pryor • James M. Rabb, M.D. • John Reed • Robin S. Richman, M.D. • Dr. Carmichael Roberts • Susan Rothenberg • Joseph D. Roxe • Kenan Sahin • Malcolm S. Salter • Diana Scott • Donald L. Shapiro • Wendy Shattuck • Christopher Smallhorn • Michael B. Sporn, M.D. • Nicole Stata • Margery Steinberg • Patricia L. Tambone • Jean Tempel • Douglas Thomas • Mark D. Thompson • Albert Togut • Diana Osgood Tottenham • Joseph M. Tucci • Robert A. Vogt • David C. Weinstein • Dr. Christoph Westphal • James Westra • June K. Wu, M.D. • Patricia Plum Wylde • Dr. Michael Zinner • D. Brooks Zug overseers emeriti

Helaine B. Allen • Marjorie Arons-Barron • Caroline Dwight Bain • Sandra Bakalar • George W. Berry • William T. Burgin • Mrs. Levin H. Campbell • Earle M. Chiles • Carol Feinberg Cohen • Mrs. James C. Collias • Ranny Cooper • Joan P. Curhan • Phyllis Curtin • Tamara P. Davis • Mrs. Miguel de Bragança • JoAnneWalton Dickinson • Phyllis Dohanian • Harriett Eckstein • George Elvin • Pamela D. Everhart • J. Richard Fennell • Lawrence K. Fish • Myrna H. Freedman • Mrs. James Garivaltis • Dr. Arthur Gelb • Robert P. Gittens • Jordan Golding • Mark R. Goldweitz • Michael Halperson • John Hamill • Deborah M. Hauser • Carol Henderson • Mrs. Richard D. Hill • Marilyn Brachman Hoffman • Roger Hunt • Lola Jaffe • Martin S. Kaplan • Mrs. S. Charles Kasdon • Mrs. Gordon F. Kingsley • Robert I. Kleinberg • David I. Kosowsky • Robert K. Kraft • Farla H. Krentzman • Benjamin H. Lacy • Mrs. William D. Larkin • Edwin N. London • Frederick H. Lovejoy, Jr. • Diane H. Lupean • Mrs. Harry L. Marks • Joseph B. Martin, M.D. • Joseph C. McNay • Albert Merck • Dr. Martin C. Mihm, Jr. • John A. Perkins • May H. Pierce • Dr. Tina Young Poussaint • Daphne Brooks Prout • Patrick J. Purcell • Robert E. Remis • John Ex Rodgers • Alan W. Rottenberg • Roger A. Saunders • Lynda Anne Schubert • Mrs. Carl Shapiro • L. Scott Singleton • Gilda Slifka • Samuel Thorne • Paul M. Verrochi • Robert A. Wells • Mrs. Joan D. Wheeler • Margaret Williams-DeCelles • Richard Wurtman, M.D.

week 1 trustees and overseers 5

BSO News

Boston Symphony Orchestra and Boston Youth Symphony Orchestra Announce New Partnership for Classical Music in Boston BSO Managing Director Mark Volpe and Cathy Weiskel, Executive Director of the Boston Youth Symphony Orchestra (BYSO), have announced a new BSO/BYSO partnership aimed toward developing new training programs and performance opportunities for young musi- cians, audiences, and the wider community, while also exploring new ways to foster the future of classical music. As part of this unique collaboration, BSO management will work closely with BSO musicians, guest conductors, and assistant conductors to schedule their participation in BYSO coaching, master classes, rehearsals, and auditions. The BSO and BYSO will also develop a mentor/“godparent” program involving the musicians of both organizations. This new relationship represents a significant expansion of the previous rela- tionship between the two organizations, through which the BSO has presented the BYSO in Symphony Hall as part of its Family Concerts series for the past three seasons. In addition to continuing performances by BYSO ensembles as part of the BSO’s Family Concert series, a production of Mozart’s The Magic Flute for younger audiences, to include the participation of BSO musicians as coaches and performers, is already in the planning phase for 2013-14. The BSO and BYSO also aim to organize “side-by-side” performances for either a large ensemble or instrumental sections; to develop opportunities for BYSO musicians and ensembles to be involved in pre-concert activities as part of the BSO’s own Family Concerts; and to provide BYSO members and their families special access to selected BSO concerts, rehearsals, and other events. The BSO and BYSO will also explore such other possible opportunities as the creation of a BYSO alumni ensemble for educational performances at Tanglewood; performances by BYSO musicians in the BSO’s Community Chamber Music series; and performances by BYSO ensembles at other BSO-sponsored events.

“UnderScore Friday” Series Begins This Week Beginning this season, all of the BSO’s Friday-evening concerts will be “UnderScore Friday” performances offering patrons comments from the stage about the music being performed— but starting now at 8 p.m. rather than at the early 7 p.m. start-time of the past two years. For this week’s first “UnderScore Friday” concert of the season, on September 28, BSO pic- colo player Cynthia Meyers will greet the audience. The season’s remaining “UnderScore Friday” concerts—all to be introduced by members of the orchestra—take place on October 26 (Stravinsky’s The Nightingale and Ravel’s L’Enfant et les sortil`eges led by Charles Dutoit), January 18 (Verdi’s Requiem with Daniele Gatti conducting), March 29 (Mahler’s Symphony No. 3, also with Gatti), April 12 (music of Miaskovsky, Knussen, and Mussorgsky led by British composer/conductor Oliver Knussen, with guest soloists Pinchas Zukerman

week 1 bso news 7 and soprano Claire Booth), and April 26 (BSO Conductor Emeritus Bernard Haitink leading music of Schubert and Mahler). Tickets for all of these concerts are available at the Sym- phony Hall box office; by calling SymphonyCharge at (617) 266-1200, or at bso.org.

BSO 101—A Free Adult Education Series at Symphony Hall BSO 101 is a free adult education series offering informative sessions about upcoming BSO programming and behind-the-scenes activities at Symphony Hall. Free to all interested, the sessions take place from 5:30-6:45 p.m. on selected Tuesdays and Wednesdays at Symphony Hall, and each is followed by a complimentary reception offering beverages, hors d’oeuvres, and further time to share your thoughts with others. Admission is free, but we ask that you please e-mail [email protected] to reserve your place for the date or dates you’re planning to attend. “BSO 101: Are You Listening?” offers seven Wednesday sessions with Director of Program Publications Marc Mandel and members of the BSO. Designed to enhance your listening abilities and appreciation of music by focusing on music from the BSO’s repertoire, these take place on October 10 and 31, November 14, January 9, February 6, March 13, and April 10. The specific musical repertoire to be discussed is posted at bso.org 3-4 weeks before each session. No prior musical training, or attendance at any previous session, is required, since each session is self-contained. “BSO 101: An Insider’s View,” focusing on behind-the-scenes activities at Symphony Hall, offers four Tuesday-evening sessions featuring BSO musicians and administrative staff, on October 16, November 20, January 29, and March 5. New this season: two of the sessions will offer round-table discussions with BSO musicians. Please visit bso.org for further information.

From the Tanglewood Audio Archives: A Tanglewood 75th Anniversary Celebration To celebrate the Tanglewood Festival’s 75th anniversary this past summer, the Boston Symphony Orchestra released 75 newly remastered historic performances from the BSO’s audio archives, one each day from June 20 through September 2, including orchestral con- certs, chamber music, opera, musical theater, jazz, and more—by performers including the Boston Symphony and Boston Pops Orchestras, Boston Symphony Chamber Players, Tangle- wood Music Center Orchestra, Beaux Arts Trio, Juilliard Quartet, and James Taylor; con- ductors including Bernstein, Copland, Colin Davis, Fiedler, Haitink, Koussevitzky, Leinsdorf, Levine, Lockhart, Masur, Monteux, Munch, Ozawa, Schuller, Steinberg, and Williams; and such celebrated guest soloists as Arrau, Ax, Cliburn, Curtin, Du Pré, Fleisher, Horne, Ma, Milnes, Ohlsson, Piatigorsky, Rudolf and Peter Serkin, Sills, and Stern. Including, among many other things, BSO concert performances of Verdi’s Otello, the original version of Beethoven’s Fidelio, and Mozart’s The Magic Flute led by Erich Leinsdorf; Berlioz’s Damnation of Faust and Act I of Wagner’s Die Walküre led by Charles Munch; Ozawa-led performances of Bach, Berlioz, Bizet, and Messiaen; Mozart and Berlioz with Sir Colin Davis; Beethoven’s Symphony No. 9, Brahms’s Alto Rhapsody and the Suite No. 2 from Ravel’s Daphnis et Chloé with Koussevitzky; and Mahler’s Symphony No. 8, Schoenberg’s Gurrelieder, Part I of Berlioz’s Les Troyens (The Fall of Troy), and Dvoˇrák’s Symphony No. 8 with James Levine, these historic performances remain available for purchase, as downloads, at bso.org: click “Symphony Shop” on the BSO’s home page, select the option for “Digital Media,” choose “Tanglewood,” and look for the items marked with the “Tanglewood 75” logo. Clicking on the individual items will then provide complete information—artists, original performance date, and descriptive notes—for each recording.

week 1 bso news 9 individual tickets are on sale for all concerts in the bso’s 2012-2013 season. for specific information on purchasing tickets by phone, online, by mail, or in person at the symphony hall box office, please see page 75 of this program book.

The Beranek Concert BSO Members in Concert Thursday, September 27, 2012 Founded by BSO cellist Jonathan Miller, the The BSO’s performance this Thursday is en- Boston Artists Ensemble performs Beethoven’s dowed by a generous gift from Life Trustee Piano Trio in D, Opus 70, No. 1, Ghost, and Leo Beranek and Gabriella Beranek. Both of Mendelssohn’s Piano Trio No. 2 in C minor, the Beraneks have played significant roles in Opus 66, on Friday, September 28, at 8 p.m. the life of the Symphony. at the Peabody Essex Museum in Salem, and on Sunday, September 30, at 2:30 p.m. at Dr. Leo Beranek began his appointed service Trinity Church in Newton Centre. Joining to the BSO in 1968 as a Charter Member Mr. Miller are violinist Sharan Leventhal and of the Board of Overseers and chaired the pianist Randall Hodgkinson. Tickets are $27, Board of Overseers from 1977 to 1980. Dr. with discounts for seniors and students. Visit Beranek was appointed a BSO Trustee in bostonartistsensemble.org or call (617) 964- 1977, was Chairman from 1983 to 1986, and 6553 for more information. was made Honorary Chairman and Life Trustee in 1987. During his tenure as Trustee, BSO members Kazuko Matsusaka and Rebecca Leo sought to increase dramatically the Gitter, violas, and Mihail Jojatu, cello, are BSO’s endowment. In 1992, fellow donors and among the musicians performing “La Muse Board members named the Beranek Room in on Voyage,” part of Longy School of Music’s Leo's honor; Higginson Society members con- “Septemberfest,” on Friday, September 28, tinue to gather regularly in this elegant and at 8 p.m. in the Edward M. Pickman Concert comfortable space. His most recent book, an Hall, 27 Garden Street, Cambridge. The pro- autobiography entitled Riding the Waves: A gram features works by Foss, Ibert, Tchaikovsky, Life in Sound, Science, and Industry, was pub- and Longy faculty composer John Morrison. lished recently by The MIT Press. Admission is free. Gabriella Beranek served as Trustee of the The Walden Chamber Players, whose mem- Boston Symphony Orchestra from 1997 to bership includes BSO musicians Tatiana 2007 and as Overseer from 1988 to 1997. In Dimitriades and Alexander Velinzon, violins, the late 1980s, Gabriella was central to the Thomas Martin, clarinet, and Richard Ranti, success of the “Salute to Youth” portion of bassoon, perform two concerts for the Nan- the BSO’s Open House weekend, “Salute to tucket Historical Association: the program Symphony,” which brought together the BSO, for Friday, September 28, at 7 p.m. includes Yo-Yo Ma, the Greater Boston Youth Sym- Schubert’s Adagio and Rondo concertante for phony Orchestra, and the New England piano and string trio, Bolcom’s Fairy Tales for Conservatory Orchestra to perform before viola, cello, and double bass, and Schubert’s 5,000 children. The Friends’ component of Piano Quintet in A, D.667, Trout; the program the March 1998 BSO European tour benefited for Sunday, September 30, at noon includes from Gabriella’s expert coordination of their Bottesini’s Grand duo concertante for violin fourteen days of travel and activities. From and double bass, Carson Cooman’s Morning 1997 to 2000, Gabriella served on the Sym- at Brant Point for viola and cello, Gernot Wolf- phony Hall Centennial Committee; in 2000 gang’s Metamorphosis for piano quartet, and she created the spectacular Symphony Hall Mark O’Connor’s Appalachian Waltz and Chief Centennial Ball. Sitting in the Rain for violin, cello, and double bass. The performances take place at Nan- The BSO Boards, musicians, and staff appre- tucket’s Whaling Museum, 15 Broad Street. ciate their extraordinary contributions to the For ticket information, call (508) 228-1894. enduring legacy of the BSO.

10 Collage New Music, founded by former BSO Pickman Concert Hall, 27 Garden Street, percussionist Frank Epstein, and whose mem- Cambridge. Admission is $15, discounted bers include BSO violinist Catherine French for seniors. For further information, visit and former BSO cellist Joel Moerschel, opens longy.edu or call (617) 876-0956, ext. 1500. its 42nd season with Elliott Carter’s Triple Duo and the Boston premieres of Eric Nathan’s Walls of Light and Corey Dargel’s Thirteen Comings and Goings... Near-Death Experiences on Sunday, September Please note that latecomers will be seated 30, at 8 p.m. in the Edward M. Pickman by the patron service staff during the first Concert Hall at the Longy School of Music, convenient pause in the program. In addition, 27 Garden Street, Cambridge. General admis- please also note that patrons who leave the sion is $15 ($10 for seniors, free for students). hall during the performance will not be For reservations or information, e-mail info@ allowed to reenter until the next convenient collagenewmusic.org or call (617) 901-1677. pause in the program, so as not to disturb the performers or other audience members while BSO violist Michael Zaretsky, joined by mezzo- the concert is in progress. We thank you for soprano Olga Bykhovsky and pianist William your cooperation in this matter. Merrill, perform in recital on Sunday, October 7, at 7 p.m., in the Longy School’s Edward M.

week 1 bso news 11 on display in symphony hall This season’s BSO Archives exhibit, located throughout the orchestra and first-balcony levels of Symphony Hall, continues to display the breadth and depth of the Archives’ holdings, which document countless aspects of BSO history—music directors, players, instrument sections, guest conductors, and composers, as well as Symphony Hall’s world-famous acoustics, architectural features, and multi-faceted history. highlights of this year’s exhibit include, on the orchestra level of symphony hall: • a display case in the Brooke Corridor (the orchestra-level Massachusetts Avenue corridor) focusing on the influence of the Germania Society on musical life in 19th-century Boston prior to the founding of the BSO • also in the Brooke Corridor, a display case on the history of the BSO’s clarinet section, featuring a recent gift to the BSO Archives of two clarinets owned by Viktor Polatschek, the BSO’s principal clarinet from 1930 to 1948 • a pair of display cases, in the Huntington Avenue orchestra-level corridor adjacent to the O’Block/Kay Room, highlighting architectural features of Symphony Hall’s ceiling and clerestory windows exhibits on the first-balcony level of symphony hall include: • a display in the Cabot-Cahners Room of autographs and memorabilia donated to the Archives by legendary trumpet player Roger Voisin, a BSO member from 1935 to 1973 and principal trumpet from 1950 to 1965 • in the first-balcony corridor, audience-right, near the stage, a recently acquired sculpture by Rose Shechet Miller of Erich Leinsdorf, the BSO’s music director from 1962 to 1969 • also in the first-balcony corridor, audience-right, display cases documenting political events that took place in Symphony Hall, and in the first-balcony corridor, audience- left, documenting Duke Ellington’s Symphony Hall appearances in the 1940s

TOP OF PAGE, LEFT TO RIGHT: Serge Koussevitzky costumed as Joseph Haydn for a 1939 Pension Fund performance of the composer’s “Farewell” Symphony (photo by John B. Sanromá) A January 1937 autograph greeting, including a musical quote from Debussy’s “La Mer,” inscribed by guest conductor Dimitri Mitropoulos to BSO trumpet player Roger Voisin Program for a January 1943 Symphony Hall appearance by Duke Ellington

week 1 on display 13 Boston Symphony Orchestra 2012–2013

first violins Jason Horowitz* violas Mickey Katz* Kristin and Roger Servison chair Stephen and Dorothy Weber Malcolm Lowe Steven Ansell chair, endowed in perpetuity Concertmaster Julianne Lee* Principal Charles Munch chair, Donald C. and Ruth Brooks Heath Charles S. Dana chair, endowed Alexandre Lecarme* endowed in perpetuity chair, endowed in perpetuity in perpetuity Nancy and Richard Lubin chair Tamara Smirnova Ala Jojatu* Cathy Basrak Adam Esbensen* Associate Concertmaster Assistant Principal Blaise Déjardin* Helen Horner McIntyre chair, Anne Stoneman chair, endowed in perpetuity second violins endowed in perpetuity Alexander Velinzon Haldan Martinson Edward Gazouleas basses Assistant Concertmaster˚ Principal Lois and Harlan Anderson chair, Carl Schoenhof Family chair, Edwin Barker Robert L. Beal, Enid L., and endowed in perpetuity Principal Bruce A. Beal chair, endowed endowed in perpetuity Robert Barnes Harold D. Hodgkinson chair, in perpetuity (position vacant) endowed in perpetuity Elita Kang Assistant Principal Michael Zaretsky Charlotte and Irving W. Rabb chair, Lawrence Wolfe Assistant Concertmaster Marc Jeanneret Assistant Principal endowed in perpetuity Edward and Bertha C. Rose chair, Maria Nistazos Stata chair, Mark Ludwig endowed in perpetuity Sheila Fiekowsky * endowed in perpetuity Shirley and J. Richard Fennell Bo Youp Hwang Rachel Fagerburg* Benjamin Levy John and Dorothy Wilson chair, chair, endowed in perpetuity Kazuko Matsusaka* Leith Family chair, endowed endowed in perpetuity (position vacant) in perpetuity Rebecca Gitter* Lucia Lin Ronan Lefkowitz Dennis Roy Dorothy Q.and David B.Arnold, Jr., Wesley Collins* Joseph and Jan Brett Hearne chair, endowed in perpetuity Ronald Knudsen* chair David H. and Edith C. Howie Ikuko Mizuno chair, endowed in perpetuity cellos Joseph Hearne Muriel C. Kasdon and Marjorie C. Paley chair Vyacheslav Uritsky* Jules Eskin James Orleans* Principal Nancy Bracken*§ Jennie Shames* Philip R. Allen chair, Todd Seeber* Ruth and Carl J. Shapiro chair, Eleanor L. and Levin H. Campbell Valeria Vilker Kuchment* endowed in perpetuity endowed in perpetuity chair, endowed in perpetuity Tatiana Dimitriades* Martha Babcock Aza Raykhtsaum* Assistant Principal John Stovall* Theodore W. and Evelyn Si-Jing Huang* Vernon and Marion Alden chair, Berenson Family chair endowed in perpetuity Nicole Monahan* flutes Bonnie Bewick* Sato Knudsen Wendy Putnam Elizabeth Rowe Stephanie Morris Marryott and * Mischa Nieland chair, Robert Bradford Newman chair, Principal Franklin J. Marryott chair endowed in perpetuity endowed in perpetuity Walter Piston chair, endowed James Cooke* Mihail Jojatu in perpetuity Xin Ding Catherine and Paul Buttenwieser * Sandra and David Bakalar chair chair Clint Foreman Glen Cherry* Jonathan Miller* Myra and Robert Kraft chair, Victor Romanul* Yuncong Zhang* Richard C. and Ellen E. Paine endowed in perpetuity Bessie Pappas chair chair, endowed in perpetuity Elizabeth Ostling Catherine French* Owen Young* Associate Principal Mary B. Saltonstall chair, John F. Cogan, Jr., and Mary L. Marian Gray Lewis chair, endowed in perpetuity Cornille chair, endowed in endowed in perpetuity perpetuity

bernard haitink seiji ozawa music director thomas wilkins LaCroix Family Fund Music Director Laureate Ray and Maria Stata Germeshausen Youth and Conductor Emeritus Music Director Family Concerts Conductor endowed in perpetuity endowed in perpetuity endowed in perpetuity

14 photos by Michael J. Lutch piccolo Suzanne Nelsen Michael Martin harp John D. and Vera M. MacDonald Ford H. Cooper chair, Cynthia Meyers chair endowed in perpetuity Jessica Zhou Evelyn and C. Charles Marran Nicholas and Thalia Zervas chair, chair, endowed in perpetuity Richard Ranti endowed in perpetuity by Associate Principal trombones Sophia and Bernard Gordon Diana Osgood Tottenham/ oboes Hamilton Osgood chair, Toby Oft endowed in perpetuity Principal voice and chorus John Ferrillo J.P. and Mary B. Barger chair, Principal endowed in perpetuity John Oliver Mildred B. Remis chair, contrabassoon Tanglewood Festival Chorus endowed in perpetuity Stephen Lange Conductor Gregg Henegar Alan J. and Suzanne W. Dworsky Mark McEwen Helen Rand Thayer chair chair, endowed in perpetuity James and Tina Collias chair bass trombone Keisuke Wakao horns James Markey librarians Assistant Principal John Moors Cabot chair, Farla and Harvey Chet Krentzman James Sommerville endowed in perpetuity Marshall Burlingame chair, endowed in perpetuity Principal Douglas Yeo Principal Helen Sagoff Slosberg/Edna S. ˚ Lia and William Poorvu chair, Kalman chair, endowed in endowed in perpetuity english horn perpetuity tuba William Shisler Robert Sheena Richard Sebring Mike Roylance Beranek chair, endowed in John Perkel Associate Principal Principal perpetuity Margaret Andersen Congleton Margaret and William C. chair, endowed in perpetuity Rousseau chair, endowed assistant clarinets Rachel Childers in perpetuity conductors John P. II and Nancy S. Eustis William R. Hudgins Marcelo Lehninger chair, endowed in perpetuity Principal timpani Anna E. Finnerty chair, Ann S.M. Banks chair, Michael Winter endowed in perpetuity Timothy Genis endowed in perpetuity Elizabeth B. Storer chair, Sylvia Shippen Wells chair, Andris Poga endowed in perpetuity Michael Wayne endowed in perpetuity Jason Snider Thomas Martin personnel Associate Principal & Jonathan Menkis percussion managers E-flat clarinet Jean-Noël and Mona N. Tariot Stanton W. and Elisabeth K. chair J. William Hudgins Lynn G. Larsen Davis chair, endowed in Peter and Anne Brooke chair, Bruce M. Creditor perpetuity endowed in perpetuity trumpets Assistant Personnel Manager Daniel Bauch bass clarinet Thomas Rolfs Assistant Timpanist Principal Mr. and Mrs. Edward H. Linde stage manager Craig Nordstrom Roger Louis Voisin chair, chair John Demick endowed in perpetuity Kyle Brightwell bassoons Benjamin Wright Peter Andrew Lurie chair, endowed in perpetuity Richard Svoboda Thomas Siders Principal Assistant Principal Matthew McKay participating in a system Edward A. Taft chair, Kathryn H. and Edward M. * of rotated seating endowed in perpetuity Lupean chair § on sabbatical leave ˚ on leave

week 1 boston symphony orchestra 15

S Archives BSO

The first photograph, actually a collage, of the Boston Symphony Orchestra under Georg Henschel, taken 1882

A Brief History of the BSO

Now in its 132nd season, the Boston Symphony Orchestra gave its inaugural concert in 1881, realizing the dream of founder Henry Lee Higginson, who envisioned a great and perma- nent orchestra in his hometown. Today the BSO reaches millions through radio, television, recordings, and tours. It commissions works from today’s most important composers; its summer season at Tanglewood is among the world’s most important music festivals; it helps develop future audiences through BSO Youth Concerts and programs involving the Boston community; and, during the Tanglewood season, it sponsors the Tanglewood Music Center, one of the most important training grounds for young professional-caliber musicians. The Boston Symphony Chamber Players, made up of BSO principals, is known world- wide, and the Boston Pops Orchestra sets an international standard for performances of lighter music.

The BSO played its inaugural concert on October 22, 1881, under Georg Henschel, who remained as conductor until 1884. For nearly twenty years Boston Symphony concerts were held in the Old Boston Music Hall; Symphony Hall, one of the world’s most highly regarded concert halls, was opened on October 15, 1900. Henschel was succeeded by German-born and -trained conductors Wilhelm Gericke, Arthur Nikisch, Emil Paur, and Max Fiedler, cul- minating in the appointment of the legendary Karl Muck, who served two tenures, 1906-08 and 1912-18. Meanwhile, in July 1885, the musicians of the Boston Symphony Orchestra had given their first “Promenade” concert, offering both music and refreshments, and ful- filling Major Higginson’s wish to give “concerts of a lighter kind of music.” These concerts, soon to be given in the springtime and renamed first “Popular” and then “Pops,” fast became a tradition.

In 1915 the orchestra made its first transcontinental trip, playing thirteen concerts at the Panama-Pacific International Exposition in San Francisco. Henri Rabaud, engaged as con- ductor in 1918, was succeeded a year later by Pierre Monteux. These appointments marked

week 1 a brief history of the bso 17

S Archives BSO

Rush ticket line at Symphony Hall, probably in the 1930s

the beginning of a French tradition maintained, even during the Russian-born Serge Kousse- vitzky’s tenure (1924-49), with the employment of many French-trained musicians.

In 1929 free Esplanade concerts were inaugurated by Arthur Fiedler, a member of the orches- tra since 1915 and who in 1930 became eighteenth conductor of the Boston Pops. Fiedler was Pops conductor for half a century, being followed by John Williams in 1980 and Keith Lockhart in 1995.

It was in 1936 that Koussevitzky led the orchestra’s first concerts in the Berkshires. A year later, he and the players took up annual summer residence at Tanglewood. Koussevitzky passionately shared Major Higginson’s dream of “a good honest school for musicians,” and in 1940 that dream was realized with the founding of the Berkshire Music Center (now called the Tanglewood Music Center).

Koussevitzky was succeeded in 1949 by Charles Munch, who continued supporting con- temporary composers, introduced much French music to the repertoire, and led the BSO on its first international tours. Erich Leinsdorf began his term as music director in 1962, to be followed in 1969 by William Steinberg. Seiji Ozawa became the BSO’s thirteenth music director in 1973. His historic twenty-nine-year tenure extended until 2002, when he was named Music Director Laureate. Bernard Haitink, named principal guest conductor in 1995 and Conductor Emeritus in 2004, has led the BSO in Boston, New York, at Tanglewood, and on tour in Europe, as well as recording with the orchestra.

The first American-born conductor to hold the position, James Levine was the BSO’s music director from 2004 to 2011. Levine led the orchestra in wide-ranging programs that included works newly commissioned for the orchestra's 125th anniversary, particularly from significant American composers; issued a number of live concert performances on the orchestra’s own label, BSO Classics; taught at the Tanglewood Music Center, and in summer 2007 led the BSO in an acclaimed tour of European music festivals.

Through its worldwide activities and more than 250 concerts annually, the Boston Symphony Orchestra continues to fulfill and expand upon the vision of its founder Henry Lee Higginson.

week 1 a brief history of the bso 19 bernard haitink, conductor emeritus seiji ozawa, music director laureate Boston Symphony Orchestra 132nd season, 2012–2013

Thursday, September 27, 8pm | the beranek concert Friday, September 28, 8pm (UnderScore Friday concert, including comments from the stage) Saturday, September 29, 8pm

bramwell tovey conducting alfred walker, bass-baritone (porgy) laquita mitchell, soprano (bess) alison buchanan, soprano (lily, strawberry woman, solo soprano, a woman) angel blue, soprano (clara) marquita lister, soprano (serena) krysty swann, mezzo-soprano (annie) gwendolyn brown, contralto (maria, woman) jermaine smith, tenor (sporting life) calvin lee, tenor (mingo, nelson, crab man) chauncey packer, tenor (peter, solo tenor, a man) gregg baker, baritone (crown) patrick blackwell, baritone (jim, undertaker, solo baritone) john fulton, baritone (robbins) robert honeysucker, baritone (frazier) leon williams, baritone (jake) will lebow, actor (detective) patrick shea, actor (coroner) joel colodner, actor (archdale) matthew heck, actor (policeman) jeffrey toussaint, child actor (scipio) tanglewood festival chorus, john oliver, conductor

the gershwins’® porgy and bessSM Opera in three acts by George Gershwin, DuBose and Dorothy Heyward, and Ira Gershwin Original 1935 production version Restoration from the original production materials by John Mauceri with assistance from Wayne Shirley, Charles Hamm, and Scott Dunn

20 INTRODUCTION

ACT I Scene 1: Catfish Row – A Summer Evening Scene 2: Serena’s Room – The Following Night ACT II Scene 1: Catfish Row – A Month Later

{intermission}

Scene 2: Kittiwah Island – Evening, the Same Day Scene 3: Catfish Row – Before Dawn, A Week Later Scene 4: Serena’s Room – Dawn of the Following Day ACT III Scene 1: Catfish Row – The Next Night Scene 2: Catfish Row – The Next Afternoon Scene 3: Catfish Row – A Week Later

Scott Dunn, assistant conductor and rehearsal pianist Andris Poga, BSO assistant conductor

These concerts will end at approximately 11pm, including a 20-minute intermission starting about 9:25. A synopsis of the plot begins on page 31.

The worldwide copyrights in the music of George and Ira Gershwin® for this presentation are licensed by the Gershwin Family. PORGY AND BESS SM is presented by arrangement with TAMS-WITMARK MUSIC LIBRARY, INC. 560 Lexington Avenue, New York, New York 10022. GERSHWIN is a registered trademark and service mark of Gershwin Enterprises. PORGY AND BESS is a trademark and service mark of Porgy and Bess Enterprises. this week’s performances by the tanglewood festival chorus are supported by the alan j. and suzanne w. dworsky fund for voice and chorus. bank of america and emc corporation are proud to sponsor the bso’s 2012-2013 season.

Steinway and Sons Pianos, selected exclusively for Symphony Hall. Special thanks to The Fairmont Copley Plaza and Fairmont Hotels & Resorts, and Commonwealth Worldwide Chauffeured Transportation. In consideration of the performers and those around you, please turn off all electronic devices during the concert, including tablets, cellular phones, pagers, watch alarms, and texting devices of any kind. Thank you for your cooperation. Please do not take pictures during the concert. Flashes, in particular, are distracting to the performers and to other audience members.

week 1 program 21 A Brief Introduction...

When George Gershwin determined to write an “American folk opera” based on DuBose Heyward’s novel Porgy, he set himself a challenge that let him draw upon his strongest instincts, skills, and affinities as a composer—including not only his classical technical training and his by that time considerable experience as both composer and performer, but also his profound interest in and feel for jazz, blues, ragtime, and the music of what would in those days have been called the American Negro community. And despite criti- cisms and controversy surrounding questions of racial stereotyping—perhaps not sur- prising when considering what one writer has called “a tale about southern blacks by a white novelist, set to music by a New York-based, Jewish songwriter-lyricist team and played on the Broadway stage”—Porgy and Bess continues more and more to affirm its place in the public consciousness, thanks not only to the acumen of Gershwin and his collaborators in fashioning his American folk opera in a popular style along the lines he originally envisioned, but also thanks to its basis in brilliantly conceived popular song that has transcended the bounds of both musical theater and opera.

In just the first few minutes of Porgy and Bess, Gershwin’s music evokes an astonishingly broad sense of mood, range, time, and place, moving from a brief, bustling introduction for the full orchestra, to a bluesy piano solo, to the lyrical, blues-inspired lullaby “Summertime,” the show’s best-known number. The score abounds in contrasts. Threaded throughout are numbers that solidify a sense of the South Carolina 1920s fishing-community setting of Catfish Row—for example, the ensembles, knowingly styled by Gershwin as spirituals, in scenes of a community in mourning, or fearful of a hurricane that descends upon it. And there are the instantly ear-catching tunes that bring vividly and specifically to life the individual, sharply drawn characters who inhabit that commu- nity—among them the crippled beggar Porgy; the drug-addicted Bess taken into Porgy’s loving protection when her brutish lover Crown flees town after committing a murder; the insinuating, dope-dealing Sporting Life who ultimately lures Bess away with him to far-off New York; Clara and her fisherman husband Jake, and the earthy Maria.

Though conceived originally as an opera, Porgy and Bess was first staged—following a Boston tryout run at the Colonial Theatre—on Broadway in 1935. A number of reworked versions followed, including a U.S. State Department-sponsored production that toured to Europe, Latin America, the Middle East, and Russia, and also played in New York. In 1976, a restored, full-length, “opera-house version” of Porgy and Bess (which had been shortened and tightened during the pre-Broadway rehearsal and tryout period) finally came to public view, thereby bringing the work still wider attention. This week’s perform- ances employ the 1935 Broadway score of Porgy and Bess played previously by the BSO at Tanglewood in 2011, and now offered for the first time to audiences at Symphony Hall.

Marc Mandel

22 THE GERSHWINS’® “PORGY AND BESS”SM Opera in three acts by George Gershwin, DuBose and Dorothy Heyward, and Ira Gershwin

GEORGE GERSHWIN was born Jacob Gershvin in Brooklyn, New York, on September 26, 1898, and died in Los Angeles on July 11, 1937. Though it was in 1926 that he first wrote to DuBose Heyward suggesting they collaborate on a “folk opera” based on Heyward’s novel “Porgy,” it was not until after signing a contract with the Theatre Guild of New York in 1933 that they began work- ing on it. The music, completed by early 1935 and then orchestrated that year, was by Gershwin (who marked the manuscript “finished” on September 2, 1935); the libretto and lyrics were by DuBose Heyward, though some lyrics were also provided by Ira Gershwin (notably for “It Ain’t Necessarily So”). Following a private concert performance for family and friends at Carnegie Hall on September 21 (the only representation of the work in its complete, original form, as it turned out, until Lorin Maazel’s Cleveland Orchestra recording in 1976 and the Houston Grand Opera production that same year), “Porgy and Bess” began a pre-Broadway, week-long trial run at the Colonial Theatre in Boston on September 30, 1935. The Broadway opening took place October 10, 1935, at the Alvin Theatre, by which time the work had been cut by more than half an hour to tighten the dramatic action and shorten the original running time of more than three hours (which, with two intermissions, had stretched to about four hours). The production and stage direction were by Rouben Mamoulian, musical direction by Alexander Smallens, and the cast included Todd Duncan as Porgy, Anne Brown as Bess, Warren Coleman as Crown, and John W. Bubbles as Sporting Life. This week’s Boston Symphony Orchestra performances use the 1935 Broadway production version, as restored from the original materials for that production by John Mauceri with assistance from Wayne Shirley, Charles Hamm, and Scott Dunn; Mauceri led con- cert performances of that version with the Nashville Symphony Orchestra in February 2006, fol- lowed immediately by a recording for Decca. The BSO’s only previous performance of “Porgy and Bess”—led by Bramwell Tovey at Tanglewood on August 26, 2011, with the same cast of singers except that Nicole Cabell sang the role of Clara on that occasion—also used this edition. Some minor cuts made at Tanglewood have now been opened for the present Symphony Hall performances.

THE ORCHESTRA FOR “PORGY AND BESS” calls for two flutes (second doubling piccolo), two oboes and English horn, three clarinets and bass clarinet, two alto saxophones, one tenor saxophone,

week 1 program notes 23 one bassoon, three horns, three trumpets, two trombones, tuba, timpani, percussion (snare drum, bass drum, bells, boat bell [ice bell], cowbells, sandpaper, cymbal, suspended cymbal, tom-tom, train whistle, triangle, wind machine, wood block, xylophone), drum set, piano, banjo, and strings.

George Gershwin had the idea for Porgy and Bess as soon as he read DuBose Heyward’s novel Porgy in 1926. He immediately wrote to Heyward, who was enthusiastic, but it was not until October 1933 that they signed a contract with the Theatre Guild in New York and began work. (In 1927 Heyward and his wife Dorothy had turned the novel into a play with spirituals. This ran on Broadway for 367 performances in a Theatre Guild production.)

“No story could have been more ideal for the serious form I needed than Porgy and Bess,” Gershwin wrote. “First of all, it is American, and I believe that American music should be based on American material. I felt when I read Porgy in novel form that it had 100 per cent dramatic intensity in addition to humor. It was then that I wrote to DuBose Heyward suggesting that we make an opera of it.

“My feelings about it, gained from that first reading of the novel, were confirmed when it was produced as a play, for audiences crowded the theater where it played for two years. Mr. Heyward and I, in our collaboration on Porgy and Bess, have attempted to heighten the emotional values of the story without losing any of its original quality. I have written my music to be an integral part of that story.”

Gershwin started the score the next year, spending the summer in South Carolina, famil- iarizing himself with the setting of the opera. He had most of the composition done by early 1935, orchestrated it in the following months, and in October it opened on Broad- way at the Alvin Theater (after a private performance at Carnegie Hall and a tryout in Boston). Directed by Rouben Mamoulian, who had also staged the Heywards’ play, Porgy and Bess ran for 124 performances, but still lost money in this original production. (It did tour in 1936, and was revived in 1938.)

This original three-act version—itself greatly revised before it reached Broadway—ran for almost four hours, with two intermissions. A few years later, director/producer Cheryl Crawford cut it sharply, reducing the cast and orchestra and replacing many of the recitatives with spoken dialogue. In that form it returned to Broadway in 1942 for a com- mercially much more successful run.

These performances were with all-black casts, a very progressive artistic and social experiment for the time. (The cast led a protest of the segregation at the Washington, D.C., theater where the 1936 tour ended, resulting in the first integrated audience there.) The European premiere of the opera, however, took place in 1943 at the Royal Danish Theater in Copenhagen with an all-white cast in blackface. It was closed by Nazi authori- ties after twenty-two sold-out performances.

Much of the music that Crawford had cut was restored by Blevins Davis and Robert Breen for their 1952 production, including some of the recitatives. That production, with

week 1 program notes 25

George and Ira Gershwin flanking DuBose Heyward, 1935; photo autographed by the Gershwin brothers to Heyward (Gershwin Archive/Library of Congress)

William Warfield as Porgy, Leontyne Price as Bess, and Cab Calloway as Sporting Life, had very successful runs in Europe and on Broadway.

All of these performances were presented as Broadway-style theater productions, not in opera houses. The work, which Gershwin called a “folk opera,” came in for criticism on a number of counts, social and musical. It was considered racially patronizing by many (including some of its cast members), and all the cuts and the theater venues created an image of it as a song show in the manner of Gershwin’s previous revues, rather than a through-composed opera.

“Since the opening of Porgy and Bess I have been asked frequently why it is called a folk opera,” the composer wrote. “The explanation is a simple one. Porgy and Bess is a folk tale. Its people naturally would sing folk music. When I first began work on the music I decided against the use of original folk material because I wanted the music to be all of one piece. Therefore I wrote my own spirituals and folksongs. But they are still folk music—and therefore, being in operatic form, Porgy and Bess becomes a folk opera.”

He addressed the song issue—one that hardly seems vexing today—rather plaintively later in the same account:

“It is true that I have written songs for Porgy and Bess. I am not ashamed of writing songs at any time so long as they are good songs. In Porgy and Bess I realized I was writing an opera for the theater and without songs it could be neither of the theater nor entertain- ing, from my viewpoint....

“Of course, the songs in Porgy and Bess are only a part of the whole. The recitative I have tried to make as close to the Negro inflection in speech as possible, and I believe my song-writing apprenticeship has served invaluably in this respect, because the song writ- ers of America have the best conception of how to set words to music so that the music

week 1 program notes 27

Playbill from the original 1935 Broadway production of “Porgy and Bess” (Photofest)

gives an added expression to the words. I have used sustained symphonic music to unify entire scenes, and I prepared myself for that task by further study in counterpoint and modern harmony.”

A groundbreaking production of Gershwin’s original score—the full score, without the cuts Gershwin himself made before the New York premiere—by the Houston Grand Opera in 1976 began to change many minds about these issues, forcing an acceptance of the work on its own terms as an opera. Coming to it without an extracurricular agenda, it seems clear that Porgy and Bess is indeed an opera in every meaningful technical and musical way, written about a community that Gershwin felt he understood and appreci- ated culturally and musically, even as an outsider.

In 2006, John Mauceri and the Nashville Symphony Orchestra gave concert performanc- es and recorded Porgy and Bess using the cuts that Gershwin had made for the New York premiere. That version is the basis for tonight’s performance.

John Henken john henken is the Los Angeles Philharmonic Association’s Director of Publications. His program note and plot summary for “Porgy and Bess” are copyright © Los Angeles Philharmonic Association and are reprinted here courtesy of that organization.

week 1 program notes 29

Synopsis of the Plot

ACT I Porgy and Bess takes place mainly in Catfish Row, a black neighborhood in Charleston, South Carolina, in the “recent past,” i.e., circa 1930. Gershwin introduces the setting briefly in the orchestra, followed by a swirl of nightlife—a piano blues and dancing, with a crap game setting up in the background. From this emerges “Summertime,” the lullaby Clara sings to her baby. Her husband, the fisherman Jake, tries his hand at singing their baby to sleep with the jaunty, cynical “A woman is a sometime thing.” Porgy, a crippled beggar, enters to join the crap game. Crown, a tough dockhand, and his girlfriend Bess also enter; Crown is drunk and ready to join the crap game. When he loses, Crown attacks Robbins, one of the men in the game, and kills him, to an agitated but contrapun- tally complex ensemble. Crown flees, and Bess remains behind, buying some “happy dust” from the drug dealer Sporting Life but refusing to go away with him to New York. She looks for shelter among the Catfish Row residents, who all shun her except for Porgy, who takes her in just as the police arrive.

Scene 2 takes place the following night in the room of Serena, wife of the murdered Robbins. Mourners fill the room and sing Gershwin’s call-and-response spiritual, “Gone, gone, gone.” Porgy and Bess enter, and join the others in placing money in a saucer to cover the cost of Robbins’s funeral. Porgy leads the mourners into another spiritual, “Overflow, overflow.” Police detectives interrupt the mourning, eliciting the fact that Crown was the killer, but taking away Peter, an old man, as a material witness. Porgy reflects on the injustice of this, and then the mourning resumes, led by Serena’s anguished “My man’s gone now” and culminating in the exultant “Leavin’ for the promise’ lan’.” The emotional and musical range of these original “spirituals” reveal the depth of Gershwin’s researches into this kind of music and his skill as a dramatic composer in a tautly devel- oped sequence.

week 1 program notes 31 ACT II Act II begins a month later, with Jake and other men preparing to set out fishing, until they are reminded that this is the day of a big community picnic. Porgy sings his irre- sistibly cheerful banjo song “I got plenty o’ nuttin’,” and everyone remarks on how changed Porgy has become since Bess moved in with him. Lawyer Frazier enters and sells Porgy a divorce for Bess from Crown, noting that it costs more to get a divorce for somebody who has never been married. Alan Archdale, a white man, tells everyone that he has posted bail for Peter, who will soon return. Sporting Life tries again to get Bess to go with him to New York, but she spurns him and the dope he offers her, and Porgy also warns him off. Jake and Clara invite Bess to go to the picnic. In a love duet, “Bess, you is my woman,” Porgy urges her to go, although she is reluctant to go without him. The happy picnickers and a band parade pass to “Oh, I can’t sit down!” and Bess is finally persuaded to join them, leaving Porgy happily singing “I got plenty o’ nuttin’.”

INTERMISSION

The picnic takes place on Kittiwah Island in the second scene of Act II. Sporting Life leads the community in the subversively cynical “It ain’t necessarily so,” a sort of secular parody of the call-and-response singing of the mourning in Act I. Crown has been hiding on the island, and he now pulls Bess away, despite her weakening protestations in “What you want wid Bess?”

Act II, Scene 3, begins a week later, with Jake and the men once more setting out to fish, to a reprise of their work song from the opening of the act. Old Peter finally returns, and

From the pre-Broadway Boston tryout of “Porgy and Bess”

32 a delirious Bess is heard from Porgy’s room. She had come back two days after everyone else and has been sick since. When Peter suggests that they take Bess to the hospital, Serena volunteers to pray over her, which she does in “Oh doctor Jesus.” After the street cries of the Strawberry Woman and the Crab Man, Porgy and Bess have another duet, in which Bess pleads with him to keep her from Crown, who is planning to come back for her. A storm rises at the end of the scene, in ominously agitated music and the clanging of the hurricane bell.

In Scene 4, everyone is gathered, frightened and singing in Serena’s room, as the storm continues outside. A knocking is heard, and Crown bursts into the room, mocking them and Porgy, reaching the oddly cheerful menace of his jazz song “A red-headed woman makes a choo-choo jump its tracks.” Clara’s scream cuts this off when she spots Jake’s boat floating upside down in the river. Clara rushes off to help him, entrusting her baby to Bess. Only Crown is willing and able to go after her, which he does, promising to return for Bess. The scene ends with chanted prayers for mercy.

ACT III Act III opens the next day on another scene of mourning, for Jake, Clara, and Crown, all believed dead. Sporting Life laughs at the prayer for Crown and hints that Crown is not dead. Bess is heard singing “Summertime” to Clara’s baby. After everyone has gone to bed, Crown sneaks back into Catfish Row. Porgy intercepts Crown and kills him in a fight. The scene ends with Porgy’s triumphant laughter and proud proclamation, “Bess, you got a man now, you got Porgy!”

In Scene 2, the coroner and police are investigating Crown’s death. They take Porgy away to identify the body, to Bess’s dismay. Sporting Life insinuates that Porgy will be in jail for years, if not hanged, and gets Bess to take some of his dope. Once more Sporting Life entices Bess to go to New York with him, in the bluesy “There’s a boat dat’s leavin’ soon.” Bess angrily sends him away, but he leaves a packet of “happy dust” behind for her.

The final scene takes place a week later. It begins with a “Symphony of Sounds”—thuds, snores, brooms, saws, washboards, etc.—and community greetings. Porgy, who had been jailed for contempt of court for refusing to identify Crown, returns with a gift for Bess. When he discovers that she is gone, he sings “Bess, oh where’s my Bess?” with interjections by Maria and Serena. After this trio, Porgy calls for his goat and cart, preparing to go after her to the sound of another of Gershwin’s quasi-spirituals, “Oh Lawd, I’m on my way.”

John Henken

week 1 program notes 33

To Read and Hear More...

The crucial modern biography of George Gershwin is Howard Pollack’s George Gershwin: His Life and Work, published in 2006, and which includes four full chapters—nearly 100 pages—on Porgy and Bess (University of California). Richard Crawford’s concise, thought- ful, well-considered essay in The New Grove Dictionary of Opera says a great deal in a short space. For a larger, multi-faceted, equally interesting article on Porgy and Bess, including discussion of its genesis, production history, multiple versions, and critical reception over the years, go online to the Porgy and Bess article at Wikipedia. Other books about the composer include Edward Jablonski’s and Lawrence D. Stewart’s The Gershwin Years (Doubleday), Jablonski’s Gershwin: A Biography (also Doubleday), and Rodney Greenberg’s George Gershwin in the well-illustrated series “20th-Century Com- posers” (Phaidon paperback). A Gershwin Companion: A Critical Inventory and Discography, 1916-1984, by Walter Rimler, is a particularly useful sourcebook of information on Gershwin’s music (Popular Culture, Ink./PCI Collector Editions). Also worth investigating are George Gershwin, a collection of reminiscences edited by Merle Armitage (Da Capo); The Gershwins, edited by Robert Kimball and Alfred Simon, a coffee-table book including photographs, other memorabilia, and transcribed interviews (Atheneum), and The George Gershwin Reader (Oxford University), edited by Robert Wyatt and John Andrew Johnson, which includes, among other things, letters, reminiscences, and reviews (Oxford University Press). The Music of Gershwin by Steven E. Gilbert (Yale University) and The Gershwin Style, edited by Wayne Schneider (Oxford University), are more academically inclined.

The “original 1935 [Broadway] production version” of Porgy and Bess being used in this week’s BSO concerts was recorded in 2006 by John Mauceri with the Nashville Symphony Orchestra and Chorus and soloists including Alvy Powell as Porgy, Marquita Lister (the Serena of this week’s BSO performances) as Bess, Lester Lynch as Crown, and Calvin Lee and Chauncey Packer (both also singing at Symphony Hall this week) among the supporting cast (Decca). Recordings of the operatic version—Gershwin’s original con- ception—include Lorin Maazel’s from 1976 with the Cleveland Orchestra and Chorus and Willard White (Porgy), Leona Mitchell (Bess), and McHenry Boatwright (Crown) among the soloists (Decca); John DeMain’s from 1977 with the Houston Grand Opera and Chorus and Donnie Ray Albert (Porgy), Clamma Dale (Bess), and Andrew Smith (Crown) among the soloists (RCA), and Simon Rattle’s from 1988 with the London Philharmonic, Glynde- bourne Festival Chorus, and Willard White (Porgy), Cynthia Haymon (Bess), and Gregg Baker (Crown, the role he sings here this week) among the soloists (EMI). A more recent

week 1 read and hear more 35 recording led by Nikolaus Harnoncourt features Jonathan Lemalu (Porgy), Isabelle Kabatu (Bess), and Gregg Baker (again as Crown) with the Chamber Orchestra of Europe and Arnold Schoenberg Choir (RCA). A Berlin radio broadcast of September 21, 1952— transferred to CD in 2008—preserved a performance from the U.S. State Department- sponsored touring production of Porgy and Bess; Alexander Smallens conducts the Berlin Radio Symphony Orchestra, with soloists including William Warfield as Porgy, Leontyne Price as Bess, John McMurry as Crown, and Cab Calloway as Sporting Life (Guild). Leontyne Price and William Warfield were also among the artists who in 1963 recorded a still-available album of highlights from Porgy and Bess, with Skitch Henderson conducting the RCA Victor Orchestra and Chorus, and John W. Bubbles, who had sung the role in the original 1935 cast, as Sporting Life (RCA). A series of excerpts recorded in 1940 and 1942 featuring some members of the original cast (including Todd Duncan as Porgy and Anne Brown as Bess), with Alexander Smallens conducting the Decca Symphony Orchestra—released originally on 78rpm records as “Selections from George Gershwin’s Folk Opera Porgy and Bess”—has been reissued on compact disc (MCA Classics). The “new Broadway cast recording” of Diane Paulus’s recent, controversial rethinking of Porgy and Bess features Norm Lewis as Porgy, Audra McDonald as Bess, Phillip Boykin as Crown, and David Alan Grier as Sporting Life (P.S. Classics).

Marc Mandel

week 1 read and hear more 37

Guest Artists

Bramwell Tovey Bramwell Tovey’s career as a conductor is uniquely enhanced by his work as a composer and pianist. His tenures as music director with the Vancouver Symphony, Luxembourg Philharmonic, and Winnipeg Symphony orchestras have been characterized by his expertise in oper- atic, choral, British, and contemporary repertoire. Now entering his thirteenth season as music director of the Vancouver Symphony, he also continues his association with the Los Angeles Philharmonic at the Hollywood Bowl, and as founding host and con- ductor of the New York Philharmonic’s Summertime Classics series at Avery Fisher Hall. In 2008 those two orchestras co-commissioned him to write a new work, the well-received Urban Runway, which has also been programmed by other orchestras in the United States and Canada. An esteemed guest conductor, Mr. Tovey has worked with orchestras in the United States and Europe including the London Philharmonic, London Symphony, and Frankfurt Radio Orchestra. In North America he has made guest appearances with the orchestras of Baltimore, Philadelphia, St. Louis, Pittsburgh, Detroit, Seattle, and Montreal. He is a regular guest in Toronto, where his trumpet concerto, commis- sioned by the Toronto Symphony Orchestra, received its premiere in 2009 and represented a preview of his first full-length opera The Inventor, which was premiered in Calgary in 2011. In summer 2011 he made a return visit to the Philadelphia Orchestra, this time in its summer series in Saratoga, New York, and made debuts with the Cleveland Orchestra and Boston Symphony, both of which led to immediate re-engagements. Other guest engagements this season take him to the Nashville and Montreal symphonies as well as to Australia for return engagements with the symphonies in Perth, Sydney, and Melbourne. In winter 2013 he and the Vancouver Symphony embark on a west coast U.S. tour including visits to brand-new ven- ues in California and Nevada. The first artist to win a Juno Award in both conducting and composing, Mr. Tovey has also built a strong reputation as an accomplished jazz pianist, with two recordings to his name. Television appearances include two documentaries with the City of Birmingham Symphony Orchestra and a 1996 CBC TV broadcast of Victor Davies’s oratorio Revelation with the Winnipeg Symphony Orchestra. Mr. Tovey’s recordings include those with the London Symphony, Hallé, and Royal Philharmonic orchestras, DVDs of Holst’s The Planets and Beethoven’s Eroica Symphony, and many others. His recording of the Barber, Korngold, and Walton violin concertos with James Ehnes and the Vancouver Symphony received Grammy and Juno awards. Bramwell Tovey has received a Fellowship from the Royal Academy of Music in London and honorary doctorates from the universities of Winnipeg, Manitoba, and British Columbia, from Kwantlen University College, and a Fellowship from the Royal Conservatory of Music in Toronto. In 1999 he received the M. Joan Chalmers National Award for Artistic Direction for outstanding contributions in professional performing arts organizations. Bramwell

week 1 guest artists 39

Tovey made his BSO debut in August 2011 leading the Gershwins’ Porgy and Bess at Tanglewood. Having made his BSO subscription series debut at short notice replacing Riccardo Chailly in performances of Mendelssohn’s Elijah in January 2012, Bramwell Tovey most recently led the orchestra at Tanglewood this past August in music of Copland, Barber, and Beethoven.

Alfred Walker (Porgy) In the 2012-13 season Alfred Walker sings his first American performances of the title role in Der fliegende Holländer with Boston Lyric Opera and sings the same role at Teatro alla Scala. He returns to the Boston Symphony Orchestra to reprise Porgy in Porgy and Bess, to the Atlanta Symphony Orchestra for Verdi’s Requiem, and to the Metropolitan Opera for Il trovatore and Don Giovanni. Last season he reprised the role of Parsi Rustomji in Glass’s Satyagraha at the Metropolitan Opera, was Raimondo in Lucia di Lammermoor with Palm Beach Opera, and sang Beethoven’s Symphony No. 9 with the Stuttgart Philharmonic and Verdi’s Requiem with the Reno Philharmonic. After singing the title role in Der fliegende Holländer at Theater Basel, he returned there for his first perform- ances of both Amfortas in Parsifal and Amonasro in Aida. His celebrated characteriza- tion of Orest in Elektra has been seen at Teatro alla Scala, Seattle Opera, Deutsche Oper Berlin, and Spain’s San Sebastián Festival and he was acclaimed as Allazim in the Peter Sellars production of Zaide at the Festival d’Aix en Provence, Wiener Festwochen, London’s Barbican Center, and Lincoln Center’s Mostly Mozart Festival. In concert, Mr. Walker has sung Beethoven’s Symphony No. 9 with the Atlanta Symphony Orchestra under Robert Spano, with the Utah Symphony, and at the Sun Valley Music Festival. He has performed with the Handel

week 1 guest artists 41 and Haydn Society in Mozart’s Requiem; the American Symphony Orchestra in Mahler’s Kindertotenlieder and Rückert-Lieder, and the Los Angeles Philharmonic as Porgy in concert at the Hollywood Bowl. Other concert performances include his New York Philharmonic debut under Sir Colin Davis in Béatrice et Bénédict. He has also presented recitals at the Manchester Music Festival. His recording credits include Orest in Elektra (Hybrid) as well as performances on Plácido Domingo’s CD of Verdi tenor arias (Deutsche Grammophon). A New Orleans native, and the recipient of many distinguished awards, Alfred Walker is a graduate of Dillard University, Loyola University, and the Metropolitan Opera Lindemann Young Artist Program. Alfred Walker made his BSO debut in a concert performance of Strauss’s Salome at Tangle- wood in August 2001 and has since appeared in BSO concert performances of Debussy’s Pelléas et Mélisande at Symphony Hall and Carnegie Hall, in Rossini’s Stabat Mater, and as Porgy in the orchestra’s August 2011 concert performance of Porgy and Bess at Tanglewood.

Laquita Mitchell (Bess) Making her subscription series debut in these concerts, soprano Laquita Mitchell made her BSO debut in Wynton Marsalis’s All Rise at Tanglewood in 2004 and returned to sing the role of Bess in Porgy and Bess at Tanglewood in 2011. She has earned acclaim for perform- ances with Los Angeles Opera, San Francisco Opera, Houston Grand Opera, Lyric Opera of Chicago, New York City Opera, Washington National Opera, Opéra Comique in Paris, and many others. She made her 2009 role debut as Bess in Porgy and Bess in San Francisco and also sang the role with Atlanta Opera. Recent and future engagements include the New York Festival of Song at Carnegie Hall, concerts with the San Antonio Symphony, Madison Symphony Orchestra, and Augusta Symphony Orchestra, a return to New York City Opera for La traviata, and performances as Leonora in Il trovatore. Other recent engagements include Mimì in La bohème at Utah Opera; Christmas con- certs with Augusta Opera and Symphony; her theatrical debut as Sharon Graham in Terrance McNally’s Master Class starring Tyne Daly at the Kennedy Center; Donna Elvira in Don Giovanni with Opera New Jersey; Bess at New Jersey State Opera; her Carnegie Hall debut as the soprano soloist in Mozart’s Vesperae solennes and Vivaldi’s Gloria; her Lyric Opera of Chicago debut as Clara in Porgy and Bess; the world premiere of Steven Stucky’s August 4, 1964, with the Dallas Symphony Orchestra; and a return to Los Angeles Opera as Musetta in La bohème conducted by Plácido Domingo. Also active as a concert artist, Ms. Mitchell has performed with the Louisville Orchestra, Philadelphia Orchestra, New Jersey Symphony, Princeton Sym- phony Orchestra, the New York Symphonic Ensemble at Alice Tully Hall, and with Branford Marsalis and the Garden State Philharmonic. She was soprano soloist in Tippett’s A Child of our Time with the Washington Chorus at the Kennedy Center. She is an alumna of the Houston Grand Opera Studio and San Francisco Opera’s Merola Program, a 2004 Metropolitan Opera National Council Auditions Grand Prize Winner, and a 2004 Sara Tucker Award recipient. She completed her master’s degree and the professional studies certificate at the Manhattan School of Music, and also completed undergraduate studies at Westminster Choir College.

42 Alison Buchanan (Lily, Strawberry Woman) Alison Buchanan’s recent engagements include her role debut as Ariadne in Ariadne auf Naxos with Birmingham Opera Company directed by Graham Vick and at New York’s Merkin Hall with Opera Du Monde; her Carnegie Hall debut as soprano soloist in Mozart’s Requiem; Nedda in I pagliacci with Pegasus and English Touring Opera; and Bess in Porgy and Bess with both Mobile Opera and Delaware Opera. Other recent highlights include her first Donna Elvira in Don Giovanni at New York City Opera; a concert per- formance of Peter Grimes with Sir Colin Davis and the London Symphony Orchestra at London’s Barbican and New York’s Avery Fisher Hall; her Michigan Opera Theatre debut as the First Lady in Die Zauberflöte; her role debut as Tosca for the Sedieres Festival, France; and Palmyra in Delius’s Koanga with Pegasus Opera at Sadler’s Wells. She also recently added the role of Cilla in Margaret Garner to her operatic repertoire. She made her New York City Opera debut in 2002 as Bess, and has been soprano soloist in concert versions of Porgy and Bess with the Baltimore Symphony under Marin Alsop and with the São Paulo Symphony Orchestra. After completing her Adler Fellowship with San Francisco Opera, Ms. Buchanan made her mainstage debut in 1996 as Mimì in La bohème and Micaëla in Carmen. Also with that company she appeared in Harvey Milk, Aida, Rigoletto, and Elektra, and sang Blanche in a workshop production of André Previn’s A Streetcar Named Desire. With Sir Colin Davis conducting, Ms. Buchanan toured with the European Union Youth Orchestra as soprano soloist in Beethoven’s Missa Solemnis and again with the Bayerischer Rundfunk Orchestra. Other concert credits include Gershwin evenings with pianist Clive Lythgoe; Strauss’s Four Last Songs with the Oakland-East Bay Symphony and with the Macedonian Symphony Orchestra; concerts and national broadcasts with the BBC Concert Orchestra; Mozart’s Requiem at St. John’s, Smith Square; a “Mozart Evening” with the Belgian Chamber Orchestra; and a Proms concert with the London Philharmonic Concert Orchestra. Originally from Bedford, England, Alison Buchanan graduated from the Guildhall School of Music and studied at the Curtis Institute in Philadelphia. As the 1991 winner of the Maggie Teyte Compe- tition, she gave a recital at the Royal Opera House. She made her BSO debut at Tanglewood as Lily/Strawberry Woman and reprises those roles this week in her subscription series debut with the orchestra.

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week 1 guest artists 43 Angel Blue (Clara) Making her Boston Symphony Orchestra debut in this week’s performances of Porgy and Bess, California soprano Angel Blue began her career as a successful model. She participated in the Domingo-Thornton Young Artist Program, and won second prize in opera and first prize in zarzuela at the prestigious Operalia competition. Her voice has been recog- nized for its shining and agile upper register, “smoky” middle register, and beautiful timbre. Ms. Blue has sung in the Madrileños por Haití concert with La Orquesta Clásica de España in Madrid, Spain, and in “A Gala Evening with Thomas Hampson” in Buda- pest, Hungary. She made her debut at the Palau de les Arts Reina Sofía as Micaëla in Carmen opposite Marcelo Álvarez and Elina Garanˇca, conducted by Zubin Mehta. She has toured with Plácido Domingo, opening the Kaufmann Center in Kansas City, Missouri; she has sung at the Royal Opera House in Muscat, Oman, and in concerts in Beijing, Zagreb, and Fortaleza (Brazil). Most recently she sang the Third Norn in Oper Frankfurt’s production of Götterdämmerung with conductor Sebastian Weigle, and Giulietta in The Tales of Hoffmann in Vienna, directed by the Oscar-winning director William Friedkin. In 2012-13 Ms. Blue sings Clara in Porgy and Bess in concert with the Berlin Philharmonic and Sir Simon Rattle; returns to Frankfurt Opera as the Third Norn in Wagner’s Götterdämmerung, and performs Musetta in La bohème for English National Opera. Concert performances in Europe include Carmina burana at the Maggio Musicale Fiorentino with Zubin Mehta and Mahler’s Symphony No. 2 with the Munich Philharmonic.

44 Marquita Lister (Serena) Marquita Lister has been heard in the world’s most important opera houses, including San Francisco, Houston, Montreal, Buenos Aires, Berlin, Paris, and La Scala, with such colleagues as Plácido Domingo, Justino Díaz, Frederica Von Stade, Marcello Giordani, Simon Estes, and Sherrill Milnes. Her performance as Bess in New York City Opera’s Emmy- nominated production of Porgy and Bess earned her the company’s NYCO Diva Award. Highlights of 2011-12 included a Gershwin program with Bramwell Tovey at the keyboard in Vancouver, and Mahler’s Resurrection Symphony with the Vancouver Symphony Orchestra under Mr. Tovey’s direction; performances at the African American Art Song Alliance Conference at the UC–Irvine; and the University of North Carolina Music Festival’s “A Night At The Opera.” She sang Salome for the Semperoper Dresden’s 100th-anniversary production of Strauss’s opera, an unprecedented honor for an African-American soprano. Other roles include Alice Ford in Falstaff at Portland Opera, Salome in Austin, Liù in Turandot in Baltimore, and Tosca in Vancouver. She performed with Houston Grand Opera in Porgy and Bess on tour in the United States, Japan, Paris, and Milan and sang the role of Bess in concert at the Hollywood Bowl. Ms. Lister has appeared in several televi- sion productions, including “Evening at Pops” and “Live from Lincoln Center.” She has recorded George Gershwin’s Blue Monday and excerpts from Porgy and Bess with the Cincinnati Pops, Edward Knight’s Where the Sunsets Bleed, and the critically acclaimed Decca recording of Porgy and Bess. She is the spokesperson for the Negro Spiritual Scholarship Foundation and also works on behalf of the Negro Musicians Fund. She received the National Rehabilitation Hospital’s Victory Award and was honored by the Ben Holt Memorial Branch of the National Association of Negro Musicians. An alumna of the New England Conservatory and the Tangle- wood Music Center, she made her BSO debut at Tanglewood in August 2011 singing the role of Serena in Porgy and Bess, which she repeats for her BSO subscription series debut this week.

Krysty Swann (Annie) Mezzo-soprano Krysty Swann is the recipient of the New York City Opera 2009 Richard F. Gold Career Grant and the 2008 Intermezzo Foundation Award, given by the prestigious Elardo International Opera Competition. Other recent awards include the Silver Prize with Opera Index, a Licia Albanese-Puccini Foundation grant and a Gerda Lissner sec- ond-place award. In the 2012-13 season, she returns to the Metropolitan Opera for Die Walküre and a new production of Francesca da Rimini, to the Bregenz Festival for Andrea Chénier, and to the Boston Symphony Orchestra for Porgy and Bess. Highlights of recent seasons include Handel’s Messiah with the Rochester Symphony Orchestra and the Baltimore Symphony Orchestra and, for her Carnegie Hall debut, the role of Lola in Cavalleria rusticana with the Opera Orchestra of New York conducted by Alberto Veronisi. She was Emilia in Kurt Weill and Ira Gershwin’s The Firebrand of Florence with the Collegiate Chorale under Ted Sperling and sang in an opera gala concert with the Spring- field Symphony Orchestra. With New York City Opera, she has participated in various outreach programs and has sung Suzuki in Madama Butterfly. She recently made her Avery Fisher Hall debut in Verdi’s Requiem and joined Opera Orchestra of New York for Puccini’s Edgar under Eve Queler. She has also appeared with Michigan Opera Theatre and the International Vocal Arts Institute, Israel. A recent graduate of the Manhattan School of Music, Krysty Swann was

week 1 guest artists 45 featured on the cover of the July 2007 issue of Opera News with acclaimed dramatic mezzo Dolora Zajick. While at the Manhattan School of Music, she received critical acclaim for per- formances of Vaughan Williams’s Riders to the Sea and as Madame de la Haltière in Massenet’s Cendrillon. She made her debut with the Boston Symphony Orchestra at Tanglewood in its 2011 concert presentation of Porgy and Bess and makes her BSO subscription series debut this week.

Gwendolyn Brown (Maria) In 2010, for the 75th anniversary of Porgy and Bess, contralto Gwendolyn Brown performed her signature role of Maria in the Francesca Zambello production for Washington National Opera, Grand Rapids Opera Michigan, and with PAB Productions (Michael Capasso, producer). More recently, she performed the role with BB Productions New York Harlem in Germany, at New Orleans Opera and Seattle Opera, and in concert with the Boston Symphony Orchestra at Tanglewood. Ms. Brown has also performed the role in Amsterdam and Brussels, with Tulsa Opera, and at the Hollywood Bowl. Also acclaimed for her work in opera, concert, and symphonic works, she has sung the roles of Baba in The Medium, the Mother in Amahl and the Night Visitors, Fricka in Das Rheingold, Kabanicha in Kátya Kabanová, and Filippyevna in Eugene Onegin. Originally from Memphis, Tennessee, Gwendolyn Brown earned her bachelor of arts in music at Fisk University in Nashville, and a master’s degree in vocal performance at the University of Memphis. Her young artist development included the Des Moines Metro Opera Young Artist Program and the Ryan Center for American Artists of Lyric Opera of Chicago. Currently living

46 in Chicago, Illinois, she has performed for the Washington National Opera, Lyric Opera of Chicago, Tulsa Opera, Chicago Symphony, Chicago Sinfonietta, and overseas in Germany, Italy, Spain, Amsterdam, and Brussels. A regional winner of the Metropolitan Opera Council Auditions in Memphis and a finalist for the Central Region in Chicago, she has also been a finalist in the Altamura/Caruso International Voice Competition Study Grants, a semi-finalist in the New York Oratorio Society Solo Auditions, and has received awards from Classical Singer Magazine and the National Opera Association. She made her BSO debut as Maria in Porgy and Bess in August 2011; these concerts mark her subscription series debut.

Jermaine Smith (Sporting Life) Tenor Jermaine Smith is closely associated with the role of Sporting Life, with which he recently made his debut at Teatro San Carlo in Naples, Italy, at Seattle Opera, and at Tanglewood in August 2011, his only previous appearance with the Boston Symphony Orchestra. He makes his BSO subscription series debut in this week’s performances. In recent sea- sons, he also performed the role in the Hollywood Bowl’s first performance of Porgy and Bess in concert and in Lyric Opera of Chicago’s production of the work, as well as in Cape Town Opera’s guest engagement at the newly opened opera house in Oslo, Norway. Previous performances as Sporting Life have taken him to Japan, Germany, Sweden, Austria, the Netherlands, Italy, Spain, Sicily, the Grand Canary Islands, and in this country at Union Ave. Opera, Opera Pacific, and in Francesca Zambello’s produc- tion at both Washington National Opera and Los Angeles Opera. More recently he has taken his portrayal to Paris’s Opéra-Comique, the Théâtre de Caen, the Granada Festival, Opéra de Luxembourg, and the Santa Fe Symphony. His other operatic repertoire includes the title role in Joshua’s Boots (world premiere at Opera Theatre of Saint Louis, revival at Kansas City Lyric Opera), as well as Henry Davis in Street Scene and Zodzetrick in Treemonisha (both with Opera Theatre of Saint Louis). He has made numerous appearances with the St. Louis Symphony. An alumnus of the New England Conservatory of Music, he is a faculty member of Harris-Stowe State University.

week 1 guest artists 47

Calvin Lee (Mingo, Nelson, Crab Man) Tenor Calvin Lee has performed internationally in such notable opera houses as La Scala with Houston Grand Opera’s international tour of Porgy and Bess, Paris National Opera Bastille, and Japan’s Bunkamura Theater in Tokyo, Madrid’s Teatro Real, Berlin’s Theater des Westens, Opéra Luxembourg, and the Granada Festival in Spain. He made his debut in Paris at the Opéra Comique and at Théâtre Caen in Porgy and Bess, which he has per- formed worldwide in numerous productions. Mr. Lee has sung with New Jersey State Opera, the Los Angeles Philharmonic at the Hollywood Bowl, San Francisco Opera, the Arkansas Symphony, Atlanta Opera, Opera Company of Philadelphia, Orlando Opera, Connecticut Opera, Opera Memphis, Opera Carolina, Opera Colorado, Shreveport Opera, Key West Pops, Island Opera Theater, Mobile Opera, the Indianapolis Opera, and Opera Naples. His diverse repertoire includes Ruiz in Il trovatore, Narraboth and Third Jew in Salome, the Steersman in The Flying Dutchman, the Young Sailor in Tristan und Isolde, Froh in Das Rheingold, Normanno and Arturo in Lucia di Lammermoor, Pang and Pong in Turandot, the Four Servants in Les Contes d’Hoffmann, Monostatos in Die Zauberflöte, Don Ottavio in Don Giovanni, Beppe in I pagliacci, King Kaspar in Amahl and the Night Visitors, and Remus in Treemonisha. In concert Mr. Lee has been heard in Handel’s Messiah, Haydn’s Creation, Mozart’s Requiem, Schubert’s Mass in G, Stravinsky’s Pulcinella, and Beethoven’s Ninth Symphony and Missa Solemnis. He holds advanced degrees from the Conservatorio di Trento (Italy), the New World School of the Arts (Miami), and the North Carolina School of the Arts. Calvin Lee made his Boston Symphony Orchestra debut in the orchestra’s August 2011 concert performance of Porgy and Bess at Tanglewood and makes his BSO subscription series debut this week.

Chauncey Packer (Peter, Solo Tenor, A Man) In recent years, American tenor Chauncey Packer has sung the Steersman in Der fliegende Holländer with New Orleans Opera, Amon in Philip Glass’s Akhnaten with Atlanta Opera, Alfredo in La traviata with Pensacola Opera, and Rodolfo in La bohème with Mobile Opera. Noted for his captivating portrayal of Sporting Life in Porgy and Bess, he per- formed that role for his highly acclaimed San Francisco Opera debut, and has also appeared as Sporting Life with Opera Birmingham, Mobile Opera, Opera Grand Rapids, Pensacola Opera, Tulsa Opera, and in numerous major European cities with the Munich-based New York Harlem Productions tour. He has appeared in Porgy and Bess in Japan and on tour with Opéra Comique, singing Mingo in Paris, Caen, Granada, and Luxembourg. He is also featured on the acclaimed recording of Porgy and Bess conducted by John Mauceri with the Nashville Symphony, released in 2006 on Decca. Mr. Packer has also performed with Utah Festival Opera, Shreveport Opera, Nashville Opera, Des Moines Metro Opera, and LSU Opera, in such roles as Pinkerton in Madama Butterfly, the title role in Werther, Pong in Turandot, Sam in Carlisle Floyd’s Susannah, Ruggero in La rondine, Dr. Blind in Die Fledermaus, the Revival Singer in Robert Aldridge’s Elmer Gantry, Tamino in Die Zauberflöte, Edmondo in Manon Lescaut, Larry/Matt in The Face on the Barroom Floor, Arturo in Lucia di Lammermoor, Remendado in Carmen, and Beppe in I pagliacci. He has also performed with Edmonton Opera, Opera Noire of New York, the Baton Rouge Symphony, Mobile Symphony, Gulf Coast Opera, New River Valley Symphony, Grand Rapids Symphony, and Pensacola Sym-

week 1 guest artists 49 phony, in such works as Haydn’s Paukenmesse, Bruckner’s Te Deum, Schubert’s Mass in G, Handel’s Messiah, and Beethoven’s Mass in C and Ninth Symphony. Recent and future engage- ments include concerts with the Sarasota Artist Series and the premiere of Freedom Rides (about the historic 1960s civil rights movement) in New Orleans. He has been involved with outreach and young artist programs with several opera companies, and was a national semi- finalist in the 2005 Metropolitan Opera National Council Auditions. Chauncey Packer received his undergraduate degree from University of Mobile and his master’s degree in music from the University of New Orleans, and pursued post-graduate work at Louisiana State University, where he held the Huel Perkins Fellowship. He is featured as Remus on New World Records’ acclaimed recording of Treemonisha. Mr. Packer made his Boston Symphony Orchestra debut in Gershwin’s Porgy and Bess at Tanglewood in August 2011, in the roles he repeats this week for his BSO subscription series debut.

50 Gregg Baker (Crown) Since his operatic debut at the Metropolitan Opera in 1985, Gregg Baker has performed lead- ing roles at the Vienna Staatsoper, Arena di Verona, Glyndebourne Festival Opera, Hamburg Opera, New Israeli Opera, Stuttgart Opera, Frankfurt Opera, Vancouver Opera, Baden- Baden Opera, Scottish National Opera, Michigan Opera Theatre, Opera Company of Philadelphia, Houston Grand Opera, Greater Miami Opera, and Berkshire Opera. In February 2012 he returned to Philadelphia as Porgy in Porgy and Bess. Highlights of recent seasons include title role debuts in Macbeth (in Philadelphia) and Rigoletto (at Berkshire Opera), Macbeth at Memphis Opera, Cinque in Amistad at Spoleto Festival USA, performances with the Cincinnati Pops, Margaret Garner in Detroit, Porgy with New Jersey State Opera and an appearance in that company’s gala concert, Amfortas in Parsifal in Stuttgart (his first Wagner role), and Crown in Porgy and Bess with the Boston Symphony at Tanglewood, which he repeats for his BSO subscription series debut this week. A successful veteran of Broadway and a Lawrence Olivier Award nominee, Mr. Baker discovered his gift for and love of opera while performing the role of Crown in Porgy and Bess. After hearing his performance in Radio City Music Hall’s production of the work, the Metro- politan Opera immediately engaged him for its own production. Since then he has returned to that company in the roles of the High Priest (Samson et Delila), Amonasro (Aida), Escamillo (Carmen), Silvio (I pagliacci), Donner (Das Rheingold), and Belcore (L’elisir d’amore). In addition to his opera performances, Mr. Baker has performed and recorded with such leading orches- tras as the Royal Philharmonic, London Philharmonic, London Symphony Orchestra, New York Philharmonic, Los Angeles Philharmonic, Hollywood Bowl, Milwaukee Symphony Orchestra, Danish Symphony, and Radio Stuttgart Symphony, under such conductors as James Levine, Simon Rattle, Zubin Mehta, André Previn, Lorin Maazel, Esa-Pekka Salonen, Sir Roger Nor- rington, the late Robert Shaw, Jesús López-Cobos, Daniel Oren, the late Anton Guadagno, and the late Erich Kunzel. Other career highlights include a Grammy nomination in 1986, numer- ous engagements with Opera Company of Philadelphia, including his first Renato in Un ballo in maschera, and repeat engagements in Europe, particularly with Arena di Verona. He created the role of Robert in Danielpour’s Margaret Garner, a co-production of Michigan Opera Theatre and Cincinnati Opera.

Patrick Blackwell (Jim, Undertaker, Solo Baritone) Patrick Blackwell continues to expand his impressive repertoire in opera, oratorio, and musical theater. Summer 2011 brought two debuts in concert versions of Porgy and Bess: his Boston Symphony debut as Jim and the Undertaker under Bramwell Tovey at Tanglewood (roles he repeats for his subscription series debut this week); and at the Castleton Festival as Porgy under Lorin Maazel. In recent seasons he has sung Porgy in a staged production in St. Louis and also on tour in Europe. The 2011-12 season included the role of Tom in Un ballo in maschera for his New Orleans Opera debut and a return to Fresno Grand Opera as Joe in Show Boat, a role he has also performed with Rockwell Productions in Vancouver, British Columbia. Mr. Blackwell made his Lyric Opera of Chicago debut in 1997 as Bumah in the highly acclaimed world premiere of Anthony Davis’s Amistad, returning there as Henry Davis in Street Scene, as Cal in Regina, and as the Duke of Verona in Roméo et Juliette. His seasons with New York City Opera included the

week 1 guest artists 51 roles of Leporello in Don Giovanni, Dr. Grenvil and Baron Douphol in La traviata, Zuniga and Morales in Carmen, and Colline in La bohème. He recently returned to both Chamber Opera Chicago and Ars Viva of Chicago as Balthazar in Amahl and the Night Visitors, a role he has also performed with Des Moines Metro Opera and Opera Illinois. In the 2007-08 season he sang the Undertaker and Jim in Fresno Opera’s production of Porgy and Bess, performed in New Jersey State Opera’s concert gala as the King in Aida and Melitone in La forza del destino, and appeared with Toledo Opera as Count Ceprano in Rigoletto. He has also performed with Florentine Opera, Augusta Opera, and Fort Worth Opera. Mr. Blackwell made his Carnegie Hall debut as the bass soloist in the world premiere of Earnestine Rogers Robinson’s Crucifixion. In addition to performing works by Mozart at the Arts Festival in North Korea, he has sung Fauré’s Requiem with the Fresno Philharmonic and Osiride in Rossini’s Mosè in Egitto with the New Jersey Symphony Orchestra at Lincoln Center. Patrick Blackwell studied with Enrico Di Giuseppe at the Juilliard School and began his career as a young artist with the Santa Fe Opera, Houston Opera Studio, the Merola Opera Program of San Francisco Opera, Opera Music Theatre International with Jerome Hines, and the Aspen Opera Theatre Center.

John Fulton (Robbins) During the summer of 2011 American baritone John Fulton made two important concert debuts: the first under the baton of Lorin Maazel at the Castleton Festival singing the baritone arias of Gershwin’s masterpiece Porgy and Bess, and the second as Robbins under Bramwell Tovey with the Boston Symphony Orchestra at Tanglewood, the role he repeats for his BSO subscription series debut this week. During the 2007-08 season he debuted as a member of the New York Harlem Productions Inc. touring production of Porgy and Bess. With this company Mr. Fulton has performed the roles of Jake, Crown, and Jim in numerous opera houses across Europe, including the Stadtstheater Hannover, the Carré Theater in Amsterdam, and the Strasbourg Theater, to name a few. Mr. Fulton recently completed two seasons with Arizona Opera in the Marian Roose Pulin Young Artist Studio, where he was Masetto in Don Giovanni, Sciarrone in Tosca, the Cappadocian in Salome, Schaunard in La bohème, and Fiorello/Police Sergeant in Il barbiere di Siviglia. Other recent engagements include his debut with the Berlin Philharmonic and Sir Simon Rattle as Robbins in Porgy and Bess, Morales in Carmen and Crown in Porgy and Bess at Tulsa Opera, Fiorello with Michigan Opera Theatre, and Marullo in Rigoletto in concert with the Westfield Symphony Orchestra in New Jersey. Mr. Fulton has performed Figaro in Il barbiere di Siviglia and the Marquis d’Obigny in La traviata with Opera Colorado, Count Almaviva in Le nozze di Figaro for Opera Theatre of the Rockies, and Count Ceprano in Rigoletto and David in A Hand of Bridge with Berkshire Opera. He has also taken part in several outreach projects for Cincinnati Opera, including the role of Robert Garner in Richard Danielpour’s Margaret Garner. In summer 2006 he returned to Berkshire Opera for Prince Yamadori in Madama Butterfly and Peter in Hänsel und Gretel. In 2003 and 2005, as an apprentice artist at Central City Opera, he sang John/Tom in Henry Mollicone’s Face on the Barroom Floor, Barney Ford in Mollicone’s Gabriel’s Daughter, and the Narrator and soloist in The Quartet of the Defeated in Britten’s Paul Bunyan. Mr. Fulton was awarded the Richard F. Gold Career Grant and the Apprentice Artist Award at Central City in 2005; he won the prestigious Dietrich Fischer-Dieskau Wolf Lieder Competition in New York in 2003. He has studied voice with Metropolitan Opera baritone Mark Oswald, and his primary vocal coaches are Kathleen Kelly

52 and Mark Trawka. He has collaborated with conductors Steuart Bedford and Hal France and been directed by Catherine Malfitano, Ken Cazan, and James Robinson. A native of Charlotte, North Carolina, John Fulton studied at UNC Greensboro, subsequently earning his master’s degree at the Eastman School of Music and his Professional Studies Degree at Manhattan School of Music.

Robert Honeysucker (Frazier) Baritone Robert Honeysucker is recognized internationally for performances in opera, con- certs, and recital. Honored as 1995 “Musician of the Year” by the Boston Globe, he has also been a winner of the National Opera Association Artists Competition and a recipient of the New England Opera Club Jacopo Peri Award. His opera performances have included the roles of Amonasro, Escamillo, Ezio, Figaro, Germont, Miller, Iago, Renato, Rigoletto, and Sharpless, with such companies as Boston Lyric Opera, Connecticut Opera, Delaware Opera, Eugene Opera, Fort Worth Opera, Opera Boston, Opera Company of Boston, Sacramento Opera, Tulsa Opera, and Utah Opera. Overseas he has performed in Auckland, New Zealand, in Berlin, and as Daedalus in the world pre- miere of Paul Earls’s Icarus at the Brucknerfest in Linz, Austria. He has also appeared in opera concerts in the Persian Gulf, and in numerous concerts in Europe, Australia, and New Zealand. He made his London debut performing songs of Charles Griffes in Wigmore Hall. Mr. Honeysucker has appeared as soloist in Elijah with Boston’s Handel and Haydn Society under Christopher Hogwood; the world premiere of Howard Frazin’s The Voice of Isaac with the PALS Children’s Chorus in Boston; Missa Solemnis with the Northwest Bach Festival Orchestra (Spokane, WA) under Gunther Schuller; Ives’s General William Booth Enters into Heaven with the Pittsburgh Symphony under Michael Tilson Thomas at Great Woods Perform- ing Arts Center; Copland’s Old American Songs with the Flagstaff Symphony Orchestra; Carmina burana with the Roanoke and Omaha symphony orchestras, and a PBS telecast of Vaughan Williams’s Hodie with the Utah Symphony and Mormon Tabernacle Choir led by Keith Lockhart. Mr. Honeysucker has also performed with the Detroit Symphony, St. Louis Symphony, Long Island Philharmonic, Portland (Maine) Symphony Orchestra, and Sacramento Symphony Orchestra. Engagements in Japan have featured him as soloist with the Sapporo Symphony, Osaka Philharmonic, Tokyo Philharmonic, Tokyo Symphony; with the Telemann Chamber Orchestra in Osaka, and with the Kansai Chamber Orchestra in Kobe and Kyoto. Notable appearances with the Boston Symphony Orchestra have included Beethoven’s Ninth Symphony in celebration of Seiji Ozawa’s twenty-fifth season as music director; the Second Prisoner in Beethoven’s Fidelio under James Levine; Wynton Marsalis’s All Rise conducted by Kurt Masur at Symphony Hall and Tanglewood; and Old American Songs under Marin Alsop. Most recently he was Frazier in Porgy and Bess under Bramwell Tovey at Tanglewood. With the Boston Pops he has appeared on the Esplanade and at Symphony Hall under John Williams, Keith Lockhart, Harry Ellis Dickson, and Grant Llewellyn. Mr. Honeysucker is a member of Videmus, as well as a member and co-founder of the Jubilee Trio, which presents American art songs, including those of underperformed African American composers.

week 1 guest artists 53 Leon Williams (Jake) American baritone Leon Williams is equally at home in classical repertoire and in programs of spirituals, holiday and popular standards, and show tunes; he makes his BSO subscription series debut this week, having made his BSO debut as Jake in Porgy and Bess at Tanglewood in 2011. He appeared on Broadway and on tour in the musical Ragtime, and has performed Christmas concerts with the Grand Rapids Symphony and a New Year’s Eve program with the Westfield Symphony. He is noted for performances of Mendelssohn’s Elijah (Honolulu Symphony and Florida Orchestra) and Orff’s Carmina burana (Florida Orchestra, Baltimore, Reading, Alabama, Westchester, Grand Rapids, Jacksonville, Hartford, and Colorado symphonies, National Philharmonic, and at the Berkshire Choral Festival). He has performed Britten’s War Requiem, the Requiems of Mozart and Fauré, and Haydn’s Creation with the Colorado Symphony; Vaughan Williams’s A Sea Symphony with the Portland, Grand Rapids, and Illinois symphonies and Florida Orchestra; Fauré’s Requiem with Raymond Leppard and the Kansas City Symphony;

54 Brahms’s A German Requiem with the Alabama and Santa Barbara symphonies; Haydn’s Il ritorno di Tobia and Harold Farberman’s War Cry on a Prayer Feather with the American Symphony Orchestra at Alice Tully Hall; Weill’s Lindberghflug with Dennis Russell Davies and the American Composers Orchestra at Carnegie Hall; Mahler’s Rückertlieder with Christoph Eschenbach at Japan’s Sapporo Festival, and Mahler’s Lieder eines fahrenden Gesellen and Eighth Symphony with Leon Botstein at New York’s Bard Festival. Other engagements have included Vaughan Williams’s Fantasia on Christmas Carols with the Orchestra of St. Luke’s at Carnegie Hall; Mozart’s Requiem with Joseph Flummerfelt at the Westminster Festival; Beethoven’s Mass in C at France’s Colmar Festival; Copland’s Old American Songs with the Warren Philharmonic, and Verdi’s Requiem with David Lockington and the Modesto Symphony. Mr. Williams opened the new concert hall in Amarillo, Texas, performing Lee Hoiby’s I Have a Dream with James Setapen and the Amarillo Symphony and returned there for Walton’s Belshazzar’s Feast, which also served as his Fort Wayne Philharmonic debut. He has performed Brahms’s Vier ernste Gesänge with Sarah Rothenberg and the Da Camera Society of Houston (to which he returned for a special Wuorinen program, repeated at the Guggenheim under James Levine); an “Art of the Spiritual” program at San Francisco’s Herbst Theater, and an all- American program at Japan’s Tochigi Music Festival and Maine’s Arcady Music Festival. He has given recitals in Hartford, Pittsburgh, Princeton, and throughout his native New York City, including Carnegie’s Weill Recital Hall, Merkin Hall (the songs of Richard Hundley), and the 92nd Street Y (a much-acclaimed all-Poulenc program with Michel Sénéchal and Dalton Baldwin). He earned acclaim as Anthony in Sweeney Todd (Toledo Opera) and Papageno in Die Zauberflöte (Hawaii Opera Theatre). Much in demand as a Porgy and Bess principal, he has sung Porgy, Sporting Life, and Jake.

Will LeBow (Detective) Will LeBow previously appeared with the Boston Symphony Orchestra as narrator for the 2010 Tanglewood performance of Mozart’s Abduction from the Seraglio. At the American Repertory Theatre, he has appeared in more than 55 productions over seventeen sea- sons, including Shylock in The Merchant of Venice (directed by Andrei Serban), Heiner Muller in Full Circle (Elliot Norton Award), Father in Nocturne (Drama Desk nomination), Hamm in Endgame, the Judge in David Mamet’s Romance, Bohr in Copenhagen, and Sagot in Steve Martin’s Picasso at the Lapin Agile. Roles at the Huntington Theatre have included Mr. Irvin in Ma Rainey’s Black Bottom, Sir Anthony Absolute in The Rivals, Don Armado in Love’s Labour’s Lost, and Sam/Orfeo in the premiere of Melinda Lopez’s Sonia Flew. This past season he appeared as studio head Herman Glogauer in the American Conservatory Theater’s production of Kaufman and Hart’s Once in a Lifetime. Will LeBow has performed extensively with the Boston Pops, narrating Casey at the Bat, ’Twas the Night Before Christmas, and world premieres of How the Grinch Stole Christmas, The Polar Express, and Charles Dickens’s A Christmas Carol. With Boston Baroque he performed the role of the Pasha in Mozart’s Abduction from the Seraglio, and with Boston Lyric Opera he appeared as the Major Domo in Ariadne auf Naxos. His film and TV credits include Next Stop Wonderland, What Doesn’t Kill You, Second Sight, and six seasons as Stanley on Comedy Central’s Dr. Katz: Professional Therapist.

week 1 guest artists 55 Patrick Shea (Coroner) This week Patrick Shea makes his first appearances with the Boston Symphony Orchestra; however, he is no stranger to Symphony Hall, having performed as an actor with the Boston Pops in a concert version of Carousel, as well as Lincoln Portrait, The Polar Express, and, on the Esplanade, Ragged Old Flag. Recently he has worked as an actor with the Boston Lyric Opera Signature Series at the MFA (In the Still of the Night, Interview with Rossini). A longtime member of the Boston cast of Shear Madness, he has also appeared in the Los Angeles production, earning a Dramalogue Critics Award. Mr. Shea was a member of the original Broadway cast of Child’s Play and began his career in the Acting Ensemble of the NY Shakespeare Festival (Peer Gynt, Twelfth Night). He played JFK in Jackie, an American Life at Boston’s Wilbur Theatre, and has performed in numerous productions at Merrimack Repertory Theater (Jake’s Women, Uncle Vanya, Table Manners, Round and Round the Garden, Christmas Carol, Noises Off), Gloucester Stage (The Last Yankee, Wenceslas Square, Benefactors), the Nickerson Theatre (Sleuth, The Odd Couple, The Foreigner), and Worces- ter Foothills Theater (Noises Off). Film credits include the 2012 comedy hit Ted, as well as The Invention of Lying, Gone Baby Gone, Mystic River, Killer Flood, and By The Sea. On TV he has been seen on Frontline, The Late Show with David Letterman, Brotherhood, Against the Law, Cheers, Unsolved Mysteries, and Spenser: For Hire. A graduate of the American Academy of Dramatic Arts, he was born in Manhattan, raised in Salem, Massachusetts, and now resides in Rhode Island. Patrick Shea will appear in David Mamet’s Race opening next month at the New Repertory Theater.

Joel Colodner (Archdale) Joel Colodner’s recent roles include Emil in Three Viewings at New Rep, and Aryeh Lev and Jacob Kahn in My Name Is Asher Lev at the Lyric Stage. At SpeakEasy Stage he has appeared as Signor Naccarelli in Light in the Piazza and as Louis Hillisum in The Wrestling Patient. For Actors’ Shakespeare Project he played King Henry in Henry IV (Parts I and II), the Cardinal in The Duchess of Malfi, the King of France in King John, Marcus in Titus Andronicus, and Polixenes in The Winter’s Tale. He replaced David Morse as Uncle Peck in How I Learned to Drive off-Broadway. Other credits include Starbuck in The Rainmaker (Guthrie Theatre), Ritchie in Streamers, Mick in Comedians, and Horatio in Hamlet (Arena Stage), and Konstantin in The Seagull (Pittsburgh Public Theatre). In addition to having many guest-starring roles on television, he was in the original cast of the musical Is There Life After High School? at Hartford Stage and in the revival of Arthur Miller’s An American Clock at the Mark Taper Forum.

56 Matthew Heck (Policeman) Matthew Heck devotes his time to a diverse range of musical activities when he is not writing podcasts, advocating for student discount programs, and maintaining social media channels for the Boston Symphony Orchestra. As an avid amateur violinist, Matthew performs regularly as a recitalist, chamber musician, and member of the Boston Philharmonic, and, as one half of the electronic music duo Elder Brothers?, Matthew spins records regularly in Cambridge, Boston, New York, and beyond.

Jeffrey Toussaint (Scipio) Jeffrey Toussaint was born on September 27, 2000, in Brockton, Massachusetts, and celebrates his twelfth birthday this week. Involved with the Boston Children’s Chorus since 2008, Jeffrey loves to sing and play soccer. He has had a role in Joseph and the Amazing Technicolor Dreamcoat and had the opportunity to sing the national anthem for the Boston Red Sox with the Boston Children’s Chorus. Jeffrey hopes to continue his music education and is very excited to be a part of this wonderful production.

Tanglewood Festival Chorus John Oliver, Conductor

This season at Symphony Hall with the Boston Symphony Orchestra, the Tanglewood Festival Chorus sings in Gershwin’s Porgy and Bess with conductor Bramwell Tovey to open the sub- scription season, the operatic double bill of Stravinsky’s The Nightingale and Ravel’s L’Enfant et

week 1 guest artists 57 les sortilèges with Charles Dutoit in October, Verdi’s Requiem with Daniele Gatti in January, Haydn’s Mass in Time of War with Rafael Frühbeck de Burgos in February, and Mahler’s Symphony No. 3 with Daniele Gatti in March. Founded in January 1970 when conductor John Oliver was named Director of Choral and Vocal Activities at the Tanglewood Music Center, the Tanglewood Festival Chorus made its debut on April 11 that year, in a performance of Beethoven’s Ninth Symphony with Leonard Bernstein conducting the BSO. Made up of mem- bers who donate their time and talent, and formed originally under the joint sponsorship of Boston University and the Boston Symphony Orchestra for performances during the Tangle- wood season, the chorus originally numbered 60 well-trained Boston-area singers, soon expanded to a complement of 120 singers, and also began playing a major role in the BSO’s subscription season, as well as in BSO performances at New York’s Carnegie Hall. Now num- bering some 300 members, the Tanglewood Festival Chorus performs year-round with the Boston Symphony Orchestra and Boston Pops. The chorus gave its first overseas performanc- es in December 1994, touring with Seiji Ozawa and the BSO to Hong Kong and Japan. It per- formed with the BSO in Europe under James Levine in 2007 and Bernard Haitink in 2001, also giving a cappella concerts of its own on both occasions. In August 2011, with John Oliver con- ducting and soloist Stephanie Blythe, the Tanglewood Festival Chorus gave the world premiere of Alan Smith’s An Unknown Sphere for mezzo-soprano and chorus, commissioned by the BSO to mark the TFC’s fortieth anniversary.

The chorus’s first recording with the BSO, Berlioz’s La Damnation de Faust with Seiji Ozawa, received a Grammy nomination for Best Choral Performance of 1975. In 1979 the ensemble received a Grammy nomination for its album of a cappella 20th-century American choral music recorded at the express invitation of Deutsche Grammophon, and its recording of Schoenberg’s Gurrelieder with Ozawa and the BSO was named Best Choral Recording by Gramophone maga- zine. The Tanglewood Festival Chorus has since made dozens of recordings with the BSO and Boston Pops, on Deutsche Grammophon, New World, Philips, Nonesuch, Telarc, Sony Classical, CBS Masterworks, RCA Victor Red Seal, and BSO Classics, with James Levine, Seiji Ozawa, Bernard Haitink, Sir Colin Davis, Leonard Bernstein, Keith Lockhart, and John Williams. Its most recent recordings on BSO Classics, all drawn from live performances, include a disc of a cappella music released to mark the ensemble’s 40th anniversary in 2010, and, with James Levine and the BSO, Ravel’s complete Daphnis and Chloé (a Grammy-winner for Best Orches- tral Performance of 2009), Brahms’s Ein deutsches Requiem, and William Bolcom’s Eighth Symphony for chorus and orchestra, a BSO 125th Anniversary Commission composed specifi- cally for the BSO and Tanglewood Festival Chorus.

Besides their work with the Boston Symphony, members of the Tanglewood Festival Chorus have performed Beethoven’s Ninth Symphony with Zubin Mehta and the Israel Philharmonic at Tanglewood and at the Mann Music Center in Philadelphia; participated in a Saito Kinen Festival production of Britten’s Peter Grimes under Seiji Ozawa in Japan, and sang Verdi’s Requiem with Charles Dutoit to help close a month-long International Choral Festival given in and around Toronto. In February 1998, singing from the General Assembly Hall of the United Nations, the chorus represented the United States in the Opening Ceremonies of the Winter Olympics when Seiji Ozawa led six choruses on five continents, all linked by satellite, in Beethoven’s Ode to Joy. The chorus performed its Jordan Hall debut program at the New England Conservatory of Music in May 2004; had the honor of singing at Sen. Edward Kennedy’s funeral; has performed with the Boston Pops for the Boston Red Sox and Boston

58 Celtics, and can also be heard on the soundtracks to Clint Eastwood’s Mystic River, John Sayles’s Silver City, and Steven Spielberg’s Saving Private Ryan.

TFC members regularly commute from the greater Boston area, western Massachusetts, Connecticut, Rhode Island, New Hampshire, Vermont, and Maine, and TFC alumni frequently return each summer from as far away as Florida and California to sing with the chorus at Tanglewood. Throughout its history, the Tanglewood Festival Chorus has established itself as a favorite of conductors, soloists, critics, and audiences alike.

John Oliver John Oliver founded the Tanglewood Festival Chorus in 1970 and has since prepared the TFC for more than 900 performances, including appearances with the Boston Symphony Orchestra at Symphony Hall, Tanglewood, Carnegie Hall, and on tour in Europe and the Far East, as well as with visiting orchestras and as a solo ensemble. He has had a major impact on musical life in Boston and beyond through his work with countless TFC members, former students from the Massachusetts Institute of Technology (where he taught for thirty-two years), and Fellows of the Tanglewood Music Center who now perform with distinguished musical institutions throughout the world. Mr. Oliver’s affiliation with the Boston Symphony began in 1964 when, at twenty-four, he prepared the Sacred Heart Boychoir of Roslindale for the BSO’s performances and recording of excerpts from Berg’s Wozzeck led by Erich Leinsdorf. In 1966 he prepared the choir for the BSO’s performances and recording of Mahler’s Symphony No. 3, also with Leinsdorf, soon after which Leinsdorf asked him to assist with the choral and vocal music program at the Tangle- wood Music Center. In 1970, Mr. Oliver was named Director of Vocal and Choral Activities at the Tanglewood Music Center and founded the Tanglewood Festival Chorus. He has since prepared the chorus in more than 200 works for chorus and orchestra, as well as dozens more a cappella pieces, and for more than forty commercial releases with James Levine, Seiji Ozawa, Bernard Haitink, Sir Colin Davis, Leonard Bernstein, Keith Lockhart, and John Williams. John Oliver made his Boston Symphony conducting debut in August 1985 at Tanglewood with Bach’s St. Matthew Passion and his BSO subscription series debut in December 1985 with Bach’s B minor Mass, later returning to the Tanglewood podium with music of Mozart in 1995 (to mark the TFC’s twenty-fifth anniversary), Beethoven’s Mass in C in 1998, and Bach’s motet Jesu, meine Freude in 2010 (to mark the TFC’s fortieth anniversary). In February 2012, replac- ing Kurt Masur, he led the BSO and Tanglewood Festival Chorus in subscription performances of Beethoven’s Missa Solemnis, subsequently repeating that work with the BSO and TFC for his Carnegie Hall debut that March.

In addition to his work with the Tanglewood Festival Chorus and Tanglewood Music Center, Mr. Oliver has held posts as conductor of the Framingham Choral Society, as a member of the faculty and director of the chorus at Boston University, and for many years on the faculty of MIT, where he was lecturer and then senior lecturer in music. While at MIT, he conducted the MIT Glee Club, Choral Society, Chamber Chorus, and Concert Choir. In 1977 he founded the John Oliver Chorale, which performed a wide-ranging repertoire encompassing masterpieces by Bach, Beethoven, Mozart, and Stravinsky, as well as seldom heard works by Carissimi, Bruckner, Ives, Martin, and Dallapiccola. With the Chorale he recorded two albums for Koch

week 1 guest artists 59 International: the first of works by Martin Amlin, Elliott Carter, William Thomas McKinley, and Bright Sheng, the second of works by Amlin, Carter, and Vincent Persichetti. He and the Chorale also recorded Charles Ives’s The Celestial Country and Charles Loeffler’s Psalm 137 for Northeastern Records, and Donald Martino’s Seven Pious Pieces for New World Records. Mr. Oliver’s appearances as a guest conductor have included Mozart’s Requiem with the New Japan Philharmonic and Shinsei Chorus, and Mendelssohn’s Elijah and Vaughan Williams’s A Sea Symphony with the Berkshire Choral Institute. In May 1999 he prepared the chorus and children’s choir for André Previn’s performances of Benjamin Britten’s Spring Symphony with the NHK Symphony in Japan; in 2001-02 he conducted the Carnegie Hall Choral Workshop in preparation for Previn’s Carnegie performance of Brahms’s Ein deutsches Requiem. John Oliver made his Montreal Symphony Orchestra debut in December 2011 conducting performances of Handel’s Messiah. In October 2011 he received the Alfred Nash Patterson Lifetime Achieve- ment Award, presented by Choral Arts New England in recognition of his outstanding contri- butions to choral music.

60 Tanglewood Festival Chorus John Oliver, Conductor (Gershwin Porgy and Bess, September 27, 28, and 29, 2012)

In the following list, § denotes membership of 40 years * denotes membership of 35-39 years, and # denotes membership of 25-34 years. sopranos

Joy Emerson Brewer • Alison M. Burns • Jeni Lynn Cameron • Catherine C. Cave • Anna S. Choi • Lisa Conant • Sarah Dorfman Daniello # • Emilia DiCola • Christine Pacheco Duquette # • Mary A.V. Feldman # • Bonnie Gleason • Stephanie Janes • Carrie Kenney • Donna Kim • Nancy Kurtz • Barbara Abramoff Levy § • Heather O'Connor • Laurie Stewart Otten • Reina Marielena Powell • Laura C. Sanscartier • Johanna Schlegel • Judy Stafford • Dana R. Sullivan • Alison Zangari mezzo-sopranos

Virginia Bailey • Kristen S. Bell • Martha A.R. Bewick • Betty Blanchard Blume • Betsy Bobo • Lauren A. Boice • Donna J. Brezinski • Janet Casey • Abbe Dalton Clark • Kathryn DerMarderosian • Diane Droste • Paula Folkman # • Debra Swartz Foote • Dorrie Freedman* • Irene Gilbride # • Denise Glennon • Mara Goldberg • Rachel K. Hallenbeck • Betty Jenkins • Yoo-Kyung Kim • Gale Tolman Livingston # • Anne Forsyth Martín • Louise-Marie Mennier • Tracy Elissa Nadolny • Julie Steinhilber # • Lelia Tenreyro-Viana • Michele C. Truhe • Marguerite Weidknecht tenors

John C. Barr # • Adam Kerry Boyles • Chad D. Chaffee • Jiahao Chen • Tom Dinger • Ron Efromson • Carey D. Erdman • Keith Erskine • Len Giambrone • Leon Grande • J. Stephen Groff # • Michael Lemire • Lance Levine • Dane Lighthart • Henry Lussier § • Dwight E. Porter* • Guy F. Pugh • Peter Pulsifer • Tom Regan • Joshuah Rotz • Stephen E. Smith • Stephen J. Twiraga basses

Daniel E. Brooks # • Jim Gordon • Jay S. Gregory # • Marc J. Kaufman • David M. Kilroy • Will Koffel • Timothy Lanagan # • David K. Lones # • Patrick McGill • Devon Morin • Eryk P. Nielsen • Stephen H. Owades § • William Brian Parker • Donald R. Peck • Jonathan Saxton • Karl Josef Schoellkopf • Kenneth D. Silber • Scott Street • Bradley Turner # • Thomas C. Wang # • Terry L. Ward • Channing Yu

William Cutter, Rehearsal Conductor Mark B. Rulison, Chorus Manager Bridget L. Sawyer-Revels, Assistant Chorus Manager Martin Amlin, Rehearsal Pianist

week 1 guest artists 61 The Great Benefactors

In the building of his new symphony for Boston, the BSO’s founder and first benefactor, Henry Lee Higginson, knew that ticket revenues could never fully cover the costs of running a great orchestra. From 1881 to 1918 Higginson covered the orchestra’s annual deficits with personal contributions that exceeded $1 million. The Boston Symphony Orchestra now honors each of the following generous donors whose cumulative giving to the BSO is $1 million or more with the designation of Great Benefactor. For more information, please contact Bart Reidy, Director of Development, at 617-638-9469 or [email protected].

ten million and above

Julian Cohen ‡ • Fidelity Investments • Linde Family Foundation • Maria and Ray Stata • Anonymous

seven and one half million

Mr. and Mrs. George D. Behrakis • John F. Cogan, Jr. and Mary L. Cornille

five million

Bank of America and Bank of America Charitable Foundation • Catherine and Paul Buttenwieser • EMC Corporation • Germeshausen Foundation • Ted and Debbie Kelly • NEC Corporation • Megan and Robert O’Block • UBS • Stephen and Dorothy Weber

two and one half million

Mary and J.P. Barger • Peter and Anne Brooke • Eleanor L. and Levin H. Campbell • Cynthia and Oliver Curme/The Lost & Foundation, Inc. • Mara E. Dole ‡ • Alan J. and Suzanne W. Dworsky • The Fairmont Copley Plaza Hotel and Fairmont Hotels & Resorts • Jane and Jack ‡ Fitzpatrick • Sally ‡ and Michael Gordon • Susan Morse Hilles ‡ • Stephen B. Kay and Lisbeth L. Tarlow/The Aquidneck Foundation • The Kresge Foundation • Liberty Mutual Foundation, Inc. • Cecile Higginson Murphy • National Endowment for the Arts • William and Lia Poorvu • Miriam and Sidney Stoneman ‡ • Elizabeth B. Storer ‡ • Samantha and John Williams • Anonymous (2)

62 one million

Helaine B. Allen • American Airlines • Lois and Harlan Anderson • Dorothy and David B. Arnold, Jr. • AT&T • Gabriella and Leo Beranek • William I. Bernell ‡ • Roberta and George Berry • BNY Mellon • The Boston Foundation • Lorraine D. and Alan S. Bressler • Jan Brett and Joseph Hearne • Gregory E. Bulger Foundation/ Gregory Bulger and Richard Dix • Chiles Foundation • Commonwealth Worldwide Chauffeured Transportation • Mr. ‡ and Mrs. William H. Congleton • William F. Connell ‡ and Family • Country Curtains • Diddy and John Cullinane • Edith L. and Lewis S. Dabney • Elisabeth K. and Stanton W. Davis ‡ • Mary Deland R. de Beaumont ‡ • William and Deborah Elfers • Elizabeth B. Ely ‡ Nancy S. ‡ and John P. Eustis II • Shirley and Richard Fennell • Anna E. Finnerty ‡ • The Ann and Gordon Getty Foundation • Marie L. Gillet ‡ • Sophia and Bernard Gordon • Mrs. Donald C. Heath ‡ • Francis Lee Higginson ‡ • Major Henry Lee Higginson ‡ • Edith C. Howie ‡ • Dorothy and Charlie Jenkins • John Hancock Financial Services • Muriel E. and Richard L. ‡ Kaye • Nancy D. and George H. ‡ Kidder • Farla and Harvey Chet ‡ Krentzman • Lizbeth and George Krupp • Barbara and Bill Leith ‡ • Nancy and Richard Lubin • Vera M. and John D. MacDonald ‡ • Nancy Lurie Marks Family Foundation • Carmine A. and Beth V. Martignetti • Commonwealth of Massachusetts • Massachusetts Cultural Council • The Andrew W. Mellon Foundation • Kate and Al Merck • Henrietta N. Meyer • Mr. and Mrs. ‡ Nathan R. Miller • Mr. and Mrs. Paul M. Montrone • Richard P. and Claire W. Morse Foundation • William Inglis Morse Trust • Mary S. Newman • Mrs. Mischa Nieland ‡ and Dr. Michael L. Nieland • Mr. ‡ and Mrs. Norio Ohga • P&G Gillette • John S. and Cynthia Reed • Carol and Joe Reich • Mary G. and Dwight P. Robinson, Jr. ‡ • Susan and Dan Rothenberg • Carole and Edward I. Rudman • Wilhemina C. (Hannaford) Sandwen ‡ • Hannah H. ‡ and Dr. Raymond Schneider • Carl Schoenhof Family • Kristin and Roger Servison • Ruth and Carl J. Shapiro • Miriam Shaw Fund • Richard and Susan Smith Family Foundation/Richard A. and Susan F. Smith • Sony Corporation of America • State Street Corporation • Thomas G. Stemberg • Dr. Nathan B. and Anne P. Talbot ‡ • Caroline and James Taylor • Diana O. Tottenham • The Wallace Foundation • Edwin S. Webster Foundation • Roberta and Stephen R. Weiner • The Helen F. Whitaker Fund • Helen and Josef Zimbler ‡ • Anonymous (10)

‡ Deceased

week 1 the great benefactors 63

Administration

Mark Volpe, Eunice and Julian Cohen Managing Director, endowed in perpetuity Anthony Fogg, Artistic Administrator Marion Gardner-Saxe, Director of Human Resources Ellen Highstein, Edward H. Linde Tanglewood Music Center Director, endowed by Alan S. Bressler and Edward I. Rudman Bernadette M. Horgan, Director of Public Relations Thomas D. May, Chief Financial Officer Kim Noltemy, Chief Marketing and Communications Officer Bart Reidy, Director of Development—Institutional Giving, Events, and Administration Elizabeth P. Roberts, Director of Development—Campaign and Individual Giving Ray F. Wellbaum, Orchestra Manager administrative staff/artistic

Bridget P. Carr, Senior Archivist • Felicia Burrey Elder, Executive Assistant to the Managing Director • Vincenzo Natale, Chauffeur/Valet • Claudia Robaina, Manager of Artists Services • Benjamin Schwartz, Assistant Artistic Administrator administrative staff/production Christopher W. Ruigomez, Director of Concert Operations

Jennifer Chen, Audition Coordinator/Assistant to the Orchestra Personnel Manager • H.R. Costa, Technical Director • Vicky Dominguez, Operations Manager • Jake Moerschel, Assistant Stage Manager • Julie Giattina Moerschel, Concert Operations Administrator • Leah Monder, Production Manager • John Morin, Stage Technician • Mark C. Rawson, Stage Technician • Mark B. Rulison, Chorus Manager boston pops Dennis Alves, Director of Artistic Planning

Gina Randall, Administrative/Operations Coordinator • Margo Saulnier, Assistant Director of Artistic Planning • Amanda Severin, Manager of Artistic Services/Assistant to the Pops Conductor business office

Sarah J. Harrington, Director of Planning and Budgeting • Mia Schultz, Director of Investment Operations and Compliance • Pam Wells, Controller

Sophia Bennett, Staff Accountant • Thomas Engeln, Budget Assistant • Michelle Green, Executive Assistant to the Business Management Team • Karen Guy, Accounts Payable Supervisor • Minnie Kwon, Payroll Associate • Evan Mehler, Budget Manager • John O’Callaghan, Payroll Supervisor • Nia Patterson, Accounts Payable Assistant • Harriet Prout, Accounting Manager • Mario Rossi, Staff Accountant • Teresa Wang, Staff Accountant • Audrey Wood, Senior Investment Accountant

week 1 administration 65 66 development

Joseph Chart, Director of Major Gifts • Susan Grosel, Director of Annual Funds and Donor Relations • Nina Jung, Director of Development Events and Volunteer Outreach • Ryan Losey, Director of Foundation and Government Relations • John C. MacRae, Director of Principal and Planned Gifts • Richard Subrizio, Director of Development Communications • Mary E. Thomson, Director of Corporate Initiatives • Jennifer Roosa Williams, Director of Development Research and Information Systems

Cara Allen, Assistant Manager of Development Communications • Leslie Antoniel, Assistant Director of Society Giving • Erin Asbury, Major Gifts Coordinator • Stephanie Baker, Campaign Manager • Dulce Maria de Borbon, Beranek Room Hostess • Cullen E. Bouvier, Donor Relations Officer • Maria Capello, Grant Writer • Diane Cataudella, Associate Director of Donor Relations • Catherine Cushing, Annual Funds Project Coordinator • Emily Diaz, Assistant Manager of Gift Processing • Laura Duerksen, Donor Ticketing Associate • Allison Cooley Goossens, Associate Director of Society Giving • David Grant, Assistant Director of Development Information Systems • Barbara Hanson, Major Gifts Officer • James Jackson, Assistant Director of Telephone Outreach • Jennifer Johnston, Graphic Designer • Sabrina Karpe, Manager of Direct Fundraising and Friends Membership • Anne McGuire, Assistant Manager of Donor Information and Acknowledgments • Jill Ng, Senior Major and Planned Giving Officer • Suzanne Page, Associate Director for Board Relations • Kathleen Pendleton, Development Events and Volunteer Services Coordinator • Emily Reeves, Assistant Manager of Planned Giving • Amanda Roosevelt, Executive Assistant • Laura Sancken, Assistant Manager of Development Events and Volunteer Services • Alexandria Sieja, Manager of Development Events and Volunteer Services • Yong-Hee Silver, Major Gifts Officer • Michael Silverman, Call Center Senior Team Leader • Thayer Surette, Corporate Giving Coordinator • Szeman Tse, Assistant Director of Development Research education and community engagement Jessica Schmidt, Helaine B. Allen Director of Education and Community Engagement

Claire Carr, Manager of Education Programs • Sarah Glenn, Assistant Manager of Education and Community Programs • Emilio Gonzalez, Manager of Curriculum Research and Development • Darlene White, Manager of Berkshire Education and Community Programs facilities C. Mark Cataudella, Director of Facilities symphony hall operations Peter J. Rossi, Symphony Hall Facilities Manager • Tyrone Tyrell, Security and Environmental Services Manager

Charles F. Cassell, Jr., Facilities Compliance and Training Coordinator • Judith Melly, Facilities Coordinator • Shawn Wilder, Mailroom Clerk maintenance services Jim Boudreau, Electrician • Thomas Davenport, Carpenter • Michael Frazier, Carpenter • Paul Giaimo, Electrician • Steven Harper, HVAC Technician • Sandra Lemerise, Painter environmental services Landel Milton, Lead Custodian • Rudolph Lewis, Assistant Lead Custodian • Desmond Boland, Custodian • Julien Buckmire, Custodian • Claudia Ramirez Calmo, Custodian • Errol Smart, Custodian • Gaho Boniface Wahi, Custodian tanglewood operations Robert Lahart, Tanglewood Facilities Manager

Bruce Peeples, Grounds Supervisor • Peter Socha, Buildings Supervisor • Fallyn Girard, Tanglewood Facilities Coordinator • Robert Casey, Painter • Stephen Curley, Crew • Richard Drumm, Mechanic • Maurice Garofoli, Electrician • Bruce Huber, Assistant Carpenter/Roofer human resources

Heather Mullin, Human Resources Manager • Susan Olson, Human Resources Recruiter • Kathleen Sambuco, Associate Director of Human Resources

week 1 administration 67 information technology Timothy James, Director of Information Technology

Andrew Cordero, Manager of User Support • Stella Easland, Switchboard Operator • Michael Finlan, Telephone Systems Manager • Karol Krajewski, Infrastructure Systems Manager • Snehal Sheth, Business Analyst • Brian Van Sickle, User Support Specialist • Richard Yung, Technology Specialist public relations

Samuel Brewer, Public Relations Assistant • Taryn Lott, Public Relations Manager publications Marc Mandel, Director of Program Publications

Robert Kirzinger, Assistant Director of Program Publications—Editorial • Eleanor Hayes McGourty, Assistant Director of Program Publications—Production and Advertising sales, subscription, and marketing

Amy Aldrich, Ticket Operations Manager • Helen N.H. Brady, Director of Group Sales • Alyson Bristol, Director of Corporate Partnerships • Sid Guidicianne, Front of House Manager • Roberta Kennedy, Buyer for Symphony Hall and Tanglewood • Sarah L. Manoog, Director of Marketing • Michael Miller, Director of Ticketing

Louisa Ansell, Marketing Coordinator • Elizabeth Battey, Subscriptions Representative • Megan Bohrer, Group Sales Coordinator • Gretchen Borzi, Associate Director of Marketing • Rich Bradway, Associate Director of E-Commerce and New Media • Lenore Camassar, Associate Manager, SymphonyCharge • Susan Coombs, SymphonyCharge Coordinator • Jonathan Doyle, Junior Graphic Designer • Paul Ginocchio, Manager, Symphony Shop and Tanglewood Glass House • Randie Harmon, Senior Manager of Customer Service and Special Projects • Matthew P. Heck, Office and Social Media Manager • Michele Lubowsky, Subscriptions Manager • Jason Lyon, Group Sales Manager • Richard Mahoney, Director, Boston Business Partners • Ronnie McKinley, Ticket Exchange Coordinator • Maria McNeil, Subscriptions Representative • Jeffrey Meyer, Manager, Corporate Sponsorships • Michael Moore, Manager of Internet Marketing • Allegra Murray, Assistant Manager, Corporate Partnerships • Doreen Reis, Advertising Manager • Laura Schneider, Web Content Editor • Robert Sistare, Subscriptions Representative • Richard Sizensky, SymphonyCharge Representative • Kevin Toler, Art Director • Himanshu Vakil, Web Application and Security Lead • Amanda Warren, Junior Graphic Designer • Stacy Whalen-Kelley, Senior Manager, Corporate Sponsor Relations box office David Chandler Winn, Manager • Megan E. Sullivan, Assistant Manager box office representatives Danielle Bouchard • Mary J. Broussard • Arthur Ryan event services Kyle Ronayne, Director of Event Administration • Sean Lewis, Manager of Venue Rentals and Events Administration • Luciano Silva, Events Administrative Assistant tanglewood music center

Andrew Leeson, Budget and Office Manager • Karen Leopardi, Associate Director for Faculty and Guest Artists • Michael Nock, Associate Director for Student Affairs • Gary Wallen, Associate Director for Production and Scheduling

week 1 administration 69

Boston Symphony Association of Volunteers executive committee Chair, Charles W. Jack Vice-Chair, Boston, Pattie Geier Vice-Chair, Tanglewood, Howard Arkans Secretary, Audley H. Fuller Co-Chairs, Boston Suzanne Baum • Mary C. Gregorio • Natalie Slater Co-Chairs, Tanglewood Judith Benjamin • Roberta Cohn • Martin Levine Liaisons, Tanglewood Ushers, Judy Slotnick • Glass Houses, Stanley Feld boston project leads and liaisons 2012-13

Café Flowers, Stephanie Henry and Kevin Montague • Chamber Music Series, Judy Albee and Sybil Williams • Computer and Office Support, Helen Adelman and Gerald Dreher • Flower Decorating, Linda Clarke • Membership Table/Hall Greeters, Elle Driska • Instrument Playground, Beverly Pieper • Newsletter, Judith Duffy • Recruitment/Retention/Reward, Gerald Dreher • Symphony Shop, Karen Brown • Tour Guides, Richard Dixon

week 1 administration 71 Next Program…

Thursday, October 4, 8pm Friday, October 5, 1:30pm Saturday, October 6, 8pm Tuesday, October 9, 8pm

marcelo lehninger conducting

tchaikovsky “romeo and juliet,” overture-fantasy after shakespeare

bernstein serenade (after plato’s “symposium”), for violin and orchestra (October 4, 5, and 6) I. Phaedrus; Pausanias (Lento—Allegro) II. Aristophanes (Allegretto) III. Eryximachus (Presto) IV. Agathon (Adagio) V. Socrates; Alcibiades (Molto tenuto—Allegro molto vivace) joshua bell

schulhoff concerto for string quartet with wind orchestra (October 9 only) Allegro moderato; Allegro molto con spirito Largo Finale: Allegro con brio—Tempo di Slowfox—Tempo come primo hawthorne string quartet

{intermission}

dvoˇrák symphony no. 8 in g, opus 88 Allegro con brio Adagio Allegretto grazioso Allegro ma non troppo

FRIDAY PREVIEW TALK (OCTOBER 5) BY BSO DIRECTOR OF PROGRAM PUBLICATIONS MARCMANDEL

Acclaimed for his previous Boston Symphony performances at both Symphony Hall and Carnegie Hall, BSO assistant conductor Marcelo Lehninger leads a program bookended by two audience favorites: Tchaikovsky’s emotionally charged fantasy-overture Romeo and Juliet, and Dvoˇrák’s bucolic Symphony No. 8. In between, on Thursday, Friday, and Saturday, American violinist Joshua Bell is soloist in Bernstein’s Serenade—a violin concerto in all but name—inspired by Plato’s Symposium, a dialogue on the nature and value of love. On the following Tuesday, the Hawthorne String Quartet, made up of four BSO members, is featured in the multi-faceted Concerto for String Quartet with Wind Orchestra (1930) by the gifted, jazz-influenced Czech composer Ervín Schulhoff, who died of tuberculosis in a concentration camp in 1942.

72 Coming Concerts… friday previews: The BSO offers half-hour Friday Preview talks prior to all of the BSO’s Friday-afternoon subscription concerts throughout the season. Free to all ticket holders, the Friday Previews take place from 12:15-12:45 p.m. in Symphony Hall.

Thursday ‘A’ October 4, 8-10:05 Thursday ‘D’ October 11, 8-10:10 Friday ‘A’ October 5, 1:30-3:35 Friday ‘B’ October 12, 1:30-3:40 Saturday ‘A’ October 6, 8-10:05 Saturday ‘B’ October 13, 8-1010 MARCELOLEHNINGER, conductor VLADIMIRJUROWSKI, conductor JOSHUABELL, violin ARABELLASTEINBACHER, violin TCHAIKOVSKY Romeo and Juliet, Fantasy- MENDELSSOHN Violin Concerto overture after Shakespeare SHOSTAKOVICH Symphony No. 4 BERNSTEIN Serenade (after Plato’s Symposium), for violin and orchestra Thursday ‘B’ October 18, 8-9:55 DVORÁKˇ Symphony No. 8 Friday ‘A’ October 19, 1:30-3:25 Saturday ‘B’ October 20, 8-9:55 Tuesday ‘B’ October 23, 8-9:55 Tuesday ‘C’ October 9, 8-10 CHARLESDUTOIT, conductor MARCELOLEHNINGER , conductor NIKOLAILUGANSKY, piano HAWTHORNESTRINGQUARTET ELIZABETHROWE, flute TCHAIKOVSKY Romeo and Juliet JOHNFERRILLO, oboe SCHULHOFF Concerto for String Quartet WILLIAMR.HUDGINS, clarinet and Wind Orchestra RICHARDSVOBODA, bassoon DVORÁKˇ Symphony No. 8 JAMESSOMMERVILLE, horn THOMASROLFS, trumpet TOBYOFT, trombone DEBUSSY Symphonic Fragments from The Martyrdom of Saint Sebastian MARTIN Concerto for Seven Wind Instruments, Timpani, Percussion, and String Orchestra RACHMANINOFF Piano Concerto No. 3

Programs and artists subject to change.

Single tickets for all Boston Symphony Orchestra concerts throughout the season are available at the Symphony Hall box office, online at bso.org, or by calling SymphonyCharge at (617) 266-1200 or toll-free at (888) 266-1200, Monday through Friday from 10 a.m. to 6 p.m. (Saturday from 12 noon to 6 p.m.). Please note that there is a $6.25 handling fee for each ticket ordered by phone or online.

week 1 coming concerts 73 Symphony Hall Exit Plan

74 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 Orchestra performs ten months a year, in Symphony Hall and at Tanglewood. For infor- mation about any of the orchestra’s activities, please call Symphony Hall, visit bso.org, or write to the Boston Symphony Orchestra, Symphony Hall, 301 Massachusetts Avenue, Boston, MA 02115. The BSO’s web site (bso.org) provides information on all of the orchestra’s activities at Symphony Hall and at Tanglewood, and is updated regularly. In addition, tickets for BSO concerts can be purchased online through a secure credit card transaction. The Eunice S. and Julian Cohen Wing, adjacent to Symphony Hall on Huntington Avenue, may be entered by the Symphony Hall West Entrance on Huntington Avenue. In the event of a building emergency, patrons will be notified by an announcement from the stage. Should the building need to be evacuated, please exit via the nearest door (see map on opposite page), or according to instructions. For Symphony Hall rental information, call (617) 638-9241, or write the Director of Event Administration, Symphony Hall, Boston, MA 02115. The Box Office is open from 10 a.m. until 6 p.m. Monday through Friday (12 noon until 6 p.m. on Saturday). On concert evenings it remains open through intermission for BSO events or a half-hour past starting time for other events. In addition, the box office opens Sunday at 12 noon 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 SymphonyCharge. To purchase BSO Tickets: American Express, MasterCard, Visa, Diners Club, Discover, a personal check, and cash are accepted at the box office. To charge tickets instantly on a major credit card, or to make a reservation and then send payment by check, call “SymphonyCharge” at (617) 266-1200, from 10 a.m. until 6 p.m. Monday through Friday (12 noon to 6 p.m. on Saturday). Outside the 617 area code, phone 1-888-266-1200. As noted above, tickets can also be purchased online. There is a handling fee of $6.25 for each ticket ordered by phone or online. Group Sales: Groups may take advantage of advance ticket sales. For BSO concerts at Symphony Hall, groups of twenty-five or more may reserve tickets by telephone and take advantage of ticket discounts and flexible payment options. To place an order, or for more information, call Group Sales at (617) 638-9345 or (800) 933-4255, or e-mail [email protected]. For patrons with disabilities, elevator access to Symphony Hall is available at both the Massachusetts Avenue and Cohen Wing entrances. An access service center, large print programs, and accessible restrooms are avail- able inside the Cohen Wing. For more information, call the Access Services Administrator line at (617) 638-9431 or TDD/TTY (617) 638-9289. Those arriving late or returning to their seats will be seated by the patron service staff only during a convenient pause in the program. Those who need to leave before the end of the concert are asked to do so between pro- gram pieces in order not to disturb other patrons. In consideration of our patrons and artists, children age four or younger will not be admitted to Boston Symphony Orchestra concerts. Ticket Resale: If you are unable to attend a Boston Symphony concert for which you hold a subscription ticket, you may make your ticket available for resale by calling (617) 266-1492 during business hours, or (617) 638-9426

week 1 symphony hall information 75 up to one hour before the concert. 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 on Tuesday, Thursday, and Friday evenings, and on Friday afternoons. The low price of these seats is assured through the Morse Rush Seat Fund. Rush Tickets are sold at $9 each, one to a customer, at the Symphony Hall box office on Fridays as of 10 a.m. for afternoon concerts, and on Tuesdays, Thursdays, and Fridays as of 5 p.m. for evening concerts. Please note that there are no Rush Tickets available for Saturday evenings. Please note that smoking is not permitted anywhere in Symphony Hall. Camera and recording equipment may not be brought into Symphony Hall during concerts. Lost and found is located at the security desk at the stage door to Symphony Hall on St. Stephen Street. First aid facilities for both men and women are available. On-call physicians attending concerts should leave their names and seat locations at the Cohen Wing entrance on Huntington Avenue. Parking: The Prudential Center Garage and Copley Place Parking on Huntington Avenue offer discounted parking to any BSO patron with a ticket stub for evening performances. Limited street parking is available. As a special benefit, guaranteed pre-paid parking near Symphony Hall is available to subscribers who attend evening con- certs. For more information, call the Subscription Office at (617) 266-7575. Elevators are located outside the O’Block/Kay and Cabot-Cahners rooms on the Massachusetts Avenue side of Symphony Hall, and in the Cohen Wing. Ladies’ rooms are located on both main corridors of the orchestra level, as well as at both ends of the first bal- cony, audience-left, and in the Cohen Wing. Men’s rooms are located on the orchestra level, audience-right, outside the O’Block/Kay Room near the elevator; on the first-balcony level, also audience-right near the elevator, outside the Cabot-Cahners Room; and in the Cohen Wing. Coatrooms are located on the orchestra and first-balcony levels, audience-left, outside the O’Block/Kay and Cabot-Cahners rooms, and in the Cohen Wing. Please note that the BSO is not responsible for personal apparel or other property of patrons. Lounges and Bar Service: There are two lounges in Symphony Hall. The O’Block/Kay Room on the orchestra level and the Cabot-Cahners Room on the first-balcony level serve drinks starting one hour before each performance. For the Friday-afternoon concerts, both rooms open at noon, with sandwiches available until concert time. Drink coupons may be purchased in advance online or through SymphonyCharge for all performances. Boston Symphony Broadcasts: Saturday-evening concerts of the Boston Symphony Orchestra are broadcast live in the Boston area by 99.5 All-Classical. BSO Friends: The Friends are donors who contribute $75 or more to the Boston Symphony Orchestra Annual Funds. For information, please call the Friends of the BSO Office at (617) 638-9276 or e-mail [email protected]. If you are already a Friend and you have changed your address, please inform us by sending your new and old addresses to Friends of the BSO, Symphony Hall, Boston, MA 02115. Including your patron number will assure a quick and accurate change of address in our files. Business for BSO: The BSO Business Partners program makes it possible for businesses to participate in the life of the Boston Symphony Orchestra. Benefits include corporate recognition in the BSO program book, access to the Beranek Room reception lounge, two-for-one ticket pricing, and advance ticket ordering. For further information, please call the BSO Business Partners Office at (617) 638-9277 or e-mail [email protected]. The Symphony Shop is located in the Cohen Wing at the West Entrance on Huntington Avenue and is open Thursday and Saturday from 3 to 6 p.m., and for all Symphony Hall performances through intermission. The Symphony Shop features exclusive BSO merchandise, including calendars, coffee mugs, an expanded line of BSO apparel and recordings, and unique gift items. The Shop also carries children’s books and musical-motif gift items. A selection of Symphony Shop merchandise is also available online at bso.org and, 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, or purchase online at bso.org.

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