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Home , Ainadamar, Alan Gilbert (conductor), Alan Opie, Die Gezeichneten, Doug Fitch, Giants Are Small

11New York Philharmonic Janácˇ ek:

Alan Gilbert and the 2010–11 Season

2 3 and the New York Philharmonic: 2010–11 Season New York Philharmonic

Alan Gilbert’s journey of musical discovery available internationally — represents the Alan Gilbert, Conductor can be traced on Alan Gilbert and the New breadth of Alan Gilbert’s programs in his , Director York Philharmonic: 2010–11 Season; the second season as Music Director. Building Karole Armitage, Choreographer series’ wide-ranging repertoire reflects his on the success of last year’s Alan Gilbert: programmatic belief that individual works, The Inaugural Season, the first time an Edouard Getaz, Producer both familiar and brand-new, should be orchestra offered a season’s worth of re- A production created by combined in innovative ways in order to corded music for download, the new series G.W. Mercier and Doug Fitch, Scenic Design surprise, challenge, and delight the listener. is more accessible and more flexible, of- Clifton Taylor, Lighting Design “When I became the Music Director of fering performances either as a complete Doug Fitch, Costume Design the New York Philharmonic a year ago, I series or as individual works. was excited by the prospect of creating a The 2010–11 series allows listeners to Cookie Jordan, Make-Up Design close connection with the audience,” Alan explore and own music that spans world Gilbert has said, adding, “I wanted our premieres of Philharmonic commissions to Recorded live June 22–25, 2011, listeners to know that we choose every works by past masters. Subscribers also Avery Fisher Hall at for the Performing Arts work we perform out of a real commitment receive bonus content, including audio to its value, so that even if someone isn’t recordings of Alan Gilbert’s onstage com- ˇ familiar with a piece, they would feel mentaries, the program notes published in JANÁCEK (1854–1928) comfortable coming to hear it simply each concert’s Playbill, and encores given Prˇíhody lišky Bystroušky because we programmed it.” by the soloists — all in the highest possible (The Cunning Little Vixen) (1922–23) 1:34:29 Alan Gilbert and the New York Philhar- audio quality available for download. Act One monic: 2010–11 Season — 12 high- For more information about the series, How They Caught the Vixen 11:45 quality recordings of almost 30 works, visit nyphil.org/itunes. Vixen in the Farmyard of the Forester’s Lodge 9:51 Vixen the Politician 3:05 Vixen Runs Away 2:01

Act Two Vixen Expropriates 4:13 Vixen’s Philandering 13:18 Vixen’s Courtship and Love 18:48

Act Three Vixen Got Ahead of Harašta 17:54 How the Vixen Died 6:27 The Young Vixen 7:07

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Cast Production Forester Jimmy Smith Assistant Director Forester’s Wife/Owl Melissa Parks John Rourke Conners Assistant Set Designer Schoolmaster/Mosquito Keith Jameson Sebastian Adamo Assistant Lighting Designer Badger/Parson Wilbur Pauley Bennyroyce Royon Assistant Choreographer Harašta, a poultry dealer Joshua Bloom Laine Goerner Production Stage Manager Pásek, an innkeeper John Kawa Teri Jo Fuson Assistant Stage Manager Mrs. Pásková, innkeeper’s wife Tami Petty Michael S. LoBue Production Electrician Pepík, the Forester’s grandson Jennifer Bates Paul Sonnleitner Lighting Programmer Frantík, Pepík’s friend Serena Benedetti Young Vixen Noah Sadik Tim McLoraine Projection Design Vixen Nicholas DeMaison Ambient Soundscape Fox Marie Lenormand Cricket Kiki Porter Artistic Staff Grasshopper John Albert Daniel Boico Assistant Conductor Frog Yves Mervin-Leroy Dan Saunders Head Coach/Principal Rehearsal Pianist Lapák, a dog Kelley O’Connor Gareth Morrell Rehearsal Pianist/Musical Consultant Cock/Jay Emalie Savoy Chocholka, a hen Devon Guthrie Woodpecker Lacey Benter Giants Are Small Hen Kirsten Kane Partners and Co-Founders: Hen Helen Karloski Doug Fitch Hen Margarita Martinez Edouard Getaz (Intercontinental Pictures LLC) Hen Erica Powell Frederic Gumy (Projet 109 SA) Hen Elena Williamson Butterfly/Cricket cover Jane Albert Production Services: Chipmunk/Frog cover Seth Ewing-Crystal Intercontinental Pictures LLC/Incoprod LLC, New York Hedgehog Dylan Hamme Bird Boy Richard Hausman Administration/Project Coordination: Moth/Grasshopper cover Andrea Morokutti Roxana Ramseur Beetle Anthony Pedone Lianne Schuur Rabbit Sofus Rose Terynka Emily Wagner Public Relations: Carol Getaz New York Choral Artists Joseph Flummerfelt, Director Props Master & Logistics: Lee Clayton Metropolitan Children’s Chorus Anthony Piccolo, Director

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Costumes: David Burke, Costume Supervisor Roxana Ramseur, Assistant Costume Designer/Costume Engineer Marit Aagaard, Costume Crafts Head Kelli Haase, Wardrobe Mistress Mia Bednowitz, Costume Shopper and Stitcher Mariela Novoa, Stitcher/Dresser Matt Kessler, Crafts Assistant Virginia Ohnesorge, Stitcher Amy Kaskeski, Dresser Amanda McDowall, Dresser

Thingmakers (in alphabetical order): Isabel Becerra Sophia Janowitz Kirsten Mathas Kate Noll Seemo Perretti Michael Shannon Julieta Talavera Kirche Zeile

Cook Shaw, Child Fit Model

Jeff Fender, Dyer Rob Ritter, Shopper

Trees, scrims, and runway constructed by Tom Carroll Scenery

Lighting equipment: Four Wall

Rehearsed at the New 42nd Street Studios.

Opposite: The Forester and a young frog, at the end of the opera. Following pages: The New York Philharmonic performing in a field of sunflowers; The Schoolmaster being taunted by the Vixen

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10 11 Alan Gilbert on This Program

The Cunning Little Vixen is a great opera, a beautiful piece that can be appreciated on many levels. It presents its story in three separate scenes that together create a kind of composite picture of a life — specifically, of the Vixen’s life — and, by extension, creates a composite picture of life itself. And while the opera is highly symbolic and representational — it is about animals and, in a fantasy-like way, explores communication and contact between animals and people — it really is about the cycle that human beings experience over and over through time. There are long stretches of the opera that are purely instrumental — that is to say, when no voices are singing — and the challenge for a stage director is how to use those musi- cal expanses in a meaningful way. Janácˇek is a great opera composer, but his music is also completely pure, not representing anything except a directly human, spiritual place. The feel- ings and the emotions that it provokes are universal and, in many cases, indescribable. This makes the opera perfect for a treatment — a fully staged one, in this case — in a concert hall, a nontraditional venue for a lyric theater piece. Doug Fitch’s approach is sophisticated, with an appropriately light touch that allows the music to speak for itself. I can’t think of any orchestra I’d rather hear playing these gorgeous expanses of pure sonic brilliance, and Doug’s proven way in the way he approaches opera infuses just what this particular work needs.

Opposite: The Vixen and the Fox celebrating their love

12 13 Notes on the Program By James M. Keller, Program Annotator

Prˇíhody lišky Bystroušky In the Artist’s Words In Short (The Cunning Little Vixen) Born: July 3, 1854, in Hukvaldy, near Prˇibor, Moravia Director and designer Doug Fitch has provided the following commentary on The Cun- (now in the Czech Republic) ning Little Vixen: Leoš Janácˇek In the opera you hear on this record- Died: August 12, 1928, in Moravská Ostrava, Moravia Janácˇek’s The Cunning Little Vixen is a musical paean to what might be called ing, Janácˇek created a kind of acoustic The seventh of Leoš Janácˇek’s nine op- Work composed: apart from a tiny sketch on (with a little irony) the humanity of na- poetry that encapsulates the nature of eras began as a stack of about 200 draw- June 21, 1921, this opera was composed from ture. It is also a memento mori about nature. Perhaps beauty is imposed by January 1922 through March 17, 1923; by humans on a world that is otherwise ings, made by the artist Stanislav Lolek in the nature of being human, written by Janácˇek after a story by Rudolf Teˇsnohlídek Janácˇek as an old man facing his own just “doing its thing.” For there is a the 1890s, that depicted forest creatures, major difference between humans and World premiere: November 6, 1924, at the Brno mortality and looking for ways to make the other animals: let us call it self- domestic animals, and the people who National Theatre, František Neumann, conductor sense of it all at the end of his life. interact with them. More than two decades Ever since Aesop wrote his famous consciousness. Among the attributes New York Philharmonic premiere: of self-consciousness you could list later the editor-in-chief of Lidové noviny fables, the anthropomorphizing of these performances animals has been a means to em- “appreciation.” What an appreciative (The People’s Paper), a Brno newspaper phasize human foibles — to illustrate experiencialist Janácˇek was — impos- committed to cheerful and optimistic our strengths and weaknesses by at- ing such beauty on the world. content, acquired the portfolio of Lolek’s I handed him the newspaper, he looked taching them to stereotypes of animal characteristics. It is somehow easier drawings and tried to convince anyone at the picture, read to himself, and began to laugh at ourselves and accept who among his employees to write some copy to smile, and I said to him, “Sir, you know we are when we see it reflected by the that would bind the images into a narrative. so well what animals say, you’re always inevitability of the natural world. Finding no takers, he placed the file on writing down those bird calls — wouldn’t it I think there was something about this world in the forest, which revealed the desk of Rudolf Teˇsnohlídek, an editor make a marvelous opera!” He said nothing. to Janácˇek that perhaps the meaning who happened to be absent that day. On But he began collecting every installment of life is experience — experience it- his return, Teˇsnohlídek tried valiantly to of Bystrouška. self! By embracing the essence of na- wriggle out of the assignment, to no avail. ture, he came to see himself within it He grudgingly set to work in February For a while Janácˇek was absorbed in and realized that life, rather than end- ing with death, engenders and ensures 1920, and that April, May, and June the other operatic projects — completing Kát’a new life. Generations regenerate. He newspaper published the result in serial Kabanová, preparing for the premiere of moved from being to becoming. form, as what we might call a sequence of The Excursions of Mr. Broucˇek — but by One of my drawing teachers said, 51 comic strips. the middle of 1921 he told Lidové noviny “What’s more abstract than a so- called ‘realistic’ drawing? You put a Titled Prˇíhody lišky Bystroušky (often that he was collecting “suitable compan- bunch of graphite lines on a flat piece translated as The Adventures of Vixen ions for Vixen Bystrouška.” of paper and it suddenly looks just Sharp-ears), the story-with-pictures proved At the beginning of 1922, Janácˇek set like you!” A musical score is like that immensely popular. Janácˇek was intro- to work composing what he described too: black dots placed on a page by someone who heard something and duced to the comic when he overheard his as “a merry thing with a sad end,” using a notated it. It is a drawing of sound. housekeeper, Marie Stejskalová, chortling libretto that he himself had adapted liber- When interpreted by makers of music, over an episode in which the vixen carries ally from Teˇsnohlídek’s series. (Sixty-eight those dots can evoke a whole atmo- a flower while being courted by a male fox. years old at the time, he added, “I am tak- sphere: a forest glen ... after a storm; clear light, musty humus; no humans She later recounted: ing a place at that sad end myself.”) The are visible and little bugs are dancing to old-time music.

14 15 Notes on the Program (continued) score was largely complete by October, with different parish and has written that he is What’s in a Name? revisions extending through March 1924. In lonely. In the final scene the Forester, now his 1924 autobiography Janácˇek pointed out: alone, waxes nostalgic. “Is it a fairy tale or is Janácˇek’s opera is titled, in Czech, Prˇíhody handwriting, the vixen, whom he had named lišky Bystroušky, which means “The Bystronožka (“Sharp-footed one”), made it true?” he wonders, marveling at the beau- Adventures of Vixen Sharp-ears.” Rudolf it into print as Bystrouška (“Sharp-eared Each of my has grown for a year or ty of the world that surrounds him. Dozing Teˇsnohlídek, who penned the text for one”), a slip-up that seemed not worth two in my thoughts without my hindering its off, he dreams of — or perhaps actually the comic strip from which the libretto is worrying about. In English-speaking lands, growth by a single note. For a long time I sees — one of the Vixen cubs, and his gun derived, had intended something different. the title has long settled in as The Cunning He recounted of his work on the project, Little Vixen, with the “cunning” part not had a real headache with every work. I just drops to the ground as nature continues its “I scribbled so wildly that they couldn’t really being part of the original idea — but played with Liška Bystrouška as if she were everlasting cycle around him. decipher it at the printing house and threat- then, neither was “Sharp-ears.” tame. It’s strange how the rusty red of her ened to go on strike.” Due to his illegible fur continually blazed in my eyes. Instrumentation: four (two doubling piccolo), two and English horn, two In Teˇsnohlídek’s serial novella, the Vixen and , three Bystrouška is brought home by a Forester (one doubling ), four horns, who raises her with his dachshund (which three , three , , she befriends) and his hens (which she , , small orchestra bells, gradually devours). She escapes to the triangle, , large and small snare forest, returns periodically to the Forester’s , bass , , harp, and strings, farm on hunting forays, and eventually in addition to the large cast of solo and meets a gentleman Fox, with whom she choral singers. starts a family. Janácˇek restructured this narrative considerably, eliminating the The Edition: This performance adheres to various barnyard raids and expanding the the edition by Jirˇí Zahrádka, published in romance between the Fox and the Vixen. 2010 by Universal Edition, Vienna; English The most colossal change in the plot translation by . Used by ar- was the fate of the Vixen. She had been rangement with European American Music living happily when the newspaper serial Distributors LLC, U.S. and Canadian agent ended, but in the opera she dies, shot by a for Universal Edition AG, Vienna, publisher poacher. This is a shocking moment, and and copyright owner. yet it does not necessarily come across as the climactic point of the opera’s drama. It Opposite: As the opera approaches its end, the is merely a moment in the ongoing cycle of Forester falls asleep. Following pages: Insects life. The story continues through two further making music; The Cock presiding over his scenes. In the first, the Forester grouses to flock of Hens; the Vixen driving the Badger his friend the Schoolmaster about growing from his home; The Schoolmaster, the Forester, old — a fate he is sharing with Lapák, his and the Parson reminiscing at the local tavern; dog — and they reminisce about their friend The Vixen with her children; the Vixen studying the Parson, who has been transferred to a Harašta as he takes aim at her children

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28 29 New York Philharmonic

2010–2011 Season ALAN GILBERT Music Director, The Yoko Nagae Ceschina Chair Daniel Boico, Assistant Conductor , Laureate Conductor, 1943–1990 , Music Director Emeritus Marilyn Dubow Flutes Bassoons Tuba Orchestra Personnel Honorary Members Glenn Dicterow The Sue and Eugene Carter Brey Robert Langevin Judith LeClair Alan Baer Manager of the Society Concertmaster Mercy, Jr. Chair Principal Principal Principal Principal Carl R. Schiebler Emanuel Ax The Charles E. Culpeper Martin Eshelman The Fan Fox and Leslie R. The Lila Acheson Wallace The Pels Family Chair Chair Samuels Chair Chair Quan Ge Kim Laskowski* Timpani Stage Stanley Drucker Sheryl Staples The Gary W. Parr Chair Eileen Moon* Sandra Church* Roger Nye Markus Rhoten The Paul and Diane Representative Principal Associate Judith Ginsberg Mindy Kaufman Arlen Fast Principal Guenther Chair Louis J. Patalano Concertmaster Stephanie Jeong The Carlos Moseley Chair

The Elizabeth G. Beinecke Hanna Lachert Piccolo Kyle Zerna** Carlos Moseley Chair The Shirley and Jon Contrabassoon Audio Director Hyunju Lee Brodsky Foundation Chair Mindy Kaufman Michelle Kim Arlen Fast New York Joo Young Oh Evangeline Benedetti Percussion Lawrence Rock Assistant Concertmaster Philharmonic The William Petschek Daniel Reed Oboes Horns Christopher S. Lamb Gary W. Parr Family Chair Mark Schmoockler Eric Bartlett Liang Wang Philip Myers Principal The Constance R. Hoguet * Associate Principal Chairman Enrico Di Cecco Na Sun The Mr. and Mrs. James E. Principal Principal Friends of the ** Assistant Principal Zarin Mehta Carol Webb Buckman Chair The Alice Tully Chair The Ruth F. and Alan J. Vladimir Tsypin Philharmonic Chair + On Leave President and Executive Elizabeth Dyson Sherry Sylar* Broder Chair Yoko Takebe ++ Replacement/Extra Director Maria Kitsopoulos Robert Botti Stewart Rose++* Daniel Druckman* The Mr. and Mrs. Ronald J. The Lizabeth and Frank Acting Associate Principal Minyoung Chang+ Cynthia Phelps Sumire Kudo Ulrich Chair Qiang Tu Newman Chair Cara Kizer Aneff** The New York Philharmonic Hae-Young Ham Principal Kyle Zerna uses the revolving seating The Mr. and Mrs. Timothy The Mr. and Mrs. Frederick Ru-Pei Yeh R. Allen Spanjer English Horn method for section string M. George Chair P. Rose Chair The Credit Suisse Chair Erik Ralske+ Harp players who are listed in honor of Paul Calello Lisa GiHae Kim Rebecca Young* Howard Wall Nancy Allen alphabetically in the roster. Kuan-Cheng Lu Irene Breslaw** Wei Yu The Joan and Joel Smilow David Smith++ Chair Principal Newton Mansfield The Norma and Lloyd Wilhelmina Smith++ The Mr. and Mrs. William T. Chazen Chair The Edward and Priscilla Clarinets Trumpets Knight III Chair Pilcher Chair Dorian Rence Basses Philip Smith Kerry McDermott+ Ricardo Morales Eugene Levinson Principal Designate Principal Keyboard Anna Rabinova Katherine Greene Principal Mark Nuccio The Paula Levin Chair In Memory of Paul Jacobs The Mr. and Mrs. William J. The Redfield D. Beckwith Charles Rex Acting Principal Matthew Muckey* McDonough Chair Chair The Shirley Bacot Shamel The Edna and W. Van Alan Ethan Bensdorf Chair Dawn Hannay Orin O’Brien Clark Chair Thomas V. Smith Lionel Party Fiona Simon Vivek Kamath Acting Associate Principal* Pascual Martinez The Herbert M. Citrin Chair Sharon Yamada Peter Kenote Forteza Trombones Elizabeth Zeltser Kenneth Mirkin William Blossom Acting Associate Principal* Joseph Alessi The Karen and Richard S. The William and Elfriede The Honey M. Kurtz Family Judith Nelson The Ludmila S. and Carl B. Principal LeFrak Chair Chair Ulrich Chair Robert Rinehart Hess Chair The Gurnee F. and Harriet Wingreen Yulia Ziskel The Mr. and Mrs. G. Chris Randall Butler Alucia Scalzo++ Marjorie L. Hart Chair Jonathan Feldman Andersen Chair David J. Grossman Amy Zoloto++ Amanda Davidson* Marc Ginsberg Satoshi Okamoto David Finlayson Organ Principal E-Flat Clarinet The Donna and Kent Tritle Lisa Kim* Pascual Martinez Benjamin M. Rosen Chair In Memory of Laura Forteza Mitchell Bass Librarians Lawrence Tarlow Soohyun Kwon James Markey The Joan and Joel I. Picket Principal Amy Zoloto++ The Daria L. and William C. Chair Foster Chair Sandra Pearson** Duoming Ba Sara Griffin**

30 31 The Music Director

Alan Gilbert became Music Director, The Hall, including the venue’s 120th Anniver- Mr. Gilbert as the principal teacher for . In November 2008 Yoko Nagae Ceschina Chair of the New sary Concert; and a staged presentation all majors at the school. He he made his acclaimed Metropolitan York Philharmonic in September 2009. of Janácˇek’s The Cunning Little Vixen. In is also conductor laureate of debut conducting ’s The first native New Yorker to hold the his 2009–10 inaugural season Mr. Gilbert Stockholm Philharmonic Orchestra and Doctor Atomic. His recording of Prokofiev’s post, he ushered in what The New York led the Orchestra on a major tour of Asia principal guest conductor of Hamburg’s Scythian Suite with the Chicago Sym- Times called “an adventurous new era” at in October 2009, with debuts in Hanoi and NDR Symphony Orchestra. He has con- phony Orchestra was nominated for a the Philharmonic. In his inaugural season Abu Dhabi, and performances in nine cit- ducted other leading orchestras in the U.S. 2008 Grammy Award, and his recording he introduced a number of new initiatives: ies on the EUROPE / WINTER 2010 tour and abroad, including the Boston, Chicago, of Mahler’s Symphony No. 9 received the positions of The Marie-Josée Kravis in February 2010. Also in the 2009–10 and San Francisco symphony orchestras; top honors from the Chicago Tribune Composer-in-Residence, held by Magnus season, he conducted world, U.S., and New Philharmonic; Cleveland and and Gramophone magazine. On May 15, Lindberg; The Mary and James G. Wallach York premieres, as well as an acclaimed Philadelphia Orchestras; and the Berlin 2010, Mr. Gilbert received an Honorary Artist-in-Residence, held in 2010–11 by staged presentation of Ligeti’s opera, Le Philharmonic, Munich’s Bavarian Radio Doctor of Music degree from The Curtis violinist Anne-Sophie Mutter; an annual Grand Macabre. Symphony Orchestra, and Amsterdam’s Institute of Music. three-week festival, which in 2010–11 is In January 2011 Alan Gilbert was Royal Concertgebouw Orchestra. From titled Hungarian Echoes, led by Esa-Pekka named Director of Conducting and Or- 2003 to 2006 he served as the first music Salonen; and CONTACT!, the New York chestral Studies at The , director of the . Philharmonic’s new-music series. In the a position that will begin in fall 2011. Alan Gilbert studied at Harvard Uni- 2010–11 season Mr. Gilbert has lead the This adds to his responsibilities as the versity, The Curtis Institute of Music, and Orchestra on two tours of European music first holder of Juilliard's The Juilliard School. From 1995 to 1997 capitals; two performances at Carnegie Chair in Musical Studies, establishing he was the assistant conductor of The 32 33 The Artists

National Symphony Orchestra (NSO) at the choreographer of the Ballet de Lorraine Kennedy Center. Mr. Fitch designed and in France. She has created dances for directed a double bill of Virgil Thomson’s numerous companies throughout Europe Four Saints in Three Acts and the world and the United States, and has directed premiere of David Bruce’s A Bird in Your operas from the Baroque and contempo- Ear at Bard College with Dawn rary repertoire for many of the prestigious Upshaw. For the NSO, at Wolf Trap, he houses of Europe, including San Carlo in staged a version of Tchaikovsky’s Swan Naples, Het Muziektheater in Amsterdam, Lake featuring light, shadow, a single Théâtre du Châtelet in Paris, and Opéra dancer, and a child narrator. This season de Lorraine in Nancy. Ms. Armitage also Mr. Fitch made his Orchestre Philharmo- directed the choreographed monodrama nique de Radio France directorial debut Ariadne Unhinged for New York’s Gotham (at Paris’s Salle Pleyel): using projected Chamber Opera. She has choreographed for the camera for pop icons Doug Fitch (Director, Scenic and images painted with water on a calligraphy Karole Armitage (Choreographer) was and Michael Jackson and the filmmakers Costume Design) has worked in media board he recounted the story of Schoen- rigorously trained in classical ballet and Merchant and Ivory. Her choreography that ranges from architecture and food berg’s Pelleas et Melisande, conducted began her professional career in 1973 as was first seen on Broadway in the musical to opera and puppetry. Last season he by Alan Gilbert. In January he designed a member of the Ballet du Grand Théâtre Passing Strange, followed by the revival of directed the New York Philharmonic’s and directed Mozart’s The Abduction from de Genève, Switzerland, a company Hair, which opened on Broadway in 2009. performances of Ligeti’s Le Grand Ma- the Seraglio, the inaugural production of devoted exclusively to the repertory of This year she is choreographing a movie cabre, conducted by Music Director Alan Chile’s new Teatro del Lago. Currently he George Balanchine. In 1976 she joined musical in China created exclusively for Gilbert and produced by Giants Are Small. is directing a Giants Are Small production Merce Cunningham’s company, where the Chinese market, and will collaborate The production utilized the “live anima- of Prokofiev'sPeter and the Wolf, a project she remained for five years. Through on Cirque du Soleil’s new tent production. tion” technique Mr. Fitch originated with that originated with the Los Angeles her unique and acute knowledge of the producer Edouard Getaz at Avery Fisher Philharmonic at the Walt Disney Concert aesthetic values of Balanchine and Cun- Hall in 2005 for Stravinsky’s L’Histoire du Hall in 2008 and has since evolved into a ningham, Ms. Armitage has created her soldat, which involves filming and project- live-animation spectacle to be performed own voice in the dichotomy of classical ing a miniature theater of moving images. in a giant tent and scheduled to tour North and modern dance, and is seen by some He has designed and staged productions America in 2012. critics as the true choreographic heir to of Puccini’s Turandot for Santa Fe Opera; these two masters of 20th-century Ameri- Humperdinck’s Hansel and Gretel for Los can dance. She is inspired by disparate, Angeles Opera; Wagner’s Das Rheingold non-narrative sources that range from for the Royal Stockholm Philharmonic 20th-century physics to 16th-century Orchestra; Weill’s Rise and Fall of the City Florentine fashion, as well as pop culture of Mahagonny; What Next?, ’s and new media. Throughout the 1980s only opera, conducted by at she led her own New York–based dance Tanglewood (a film version of which was company. Ms. Armitage was appointed featured at New York’s Museum of Modern director of Maggio Danza in Florence, Italy. Art); as well as several productions for the From 1999 to 2003 she was the resident

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in 2009. Mr. Getaz is now developing his Drama Desk nominations for scenery for the direction of James Levine; and for the first full-length feature film. For almost 15 Dream True by Tina Landau and Ricky Ian National Symphony Orchestra in Wash- years he contributed to the programming Gordon and Bed and Sofa by Polly Penn ington, D.C. Mr. Taylor's Broadway credits of the Cully Jazz Festival, which became and Lawrence Klavan. Mr. Mercier is the include Frozen, Jay Johnson: The Two and one of the most prominent jazz festivals recipient of the Daryl Roth Creative Spirit Only, and Hot Feet. His Off-Broadway in Switzerland. He subsequently worked Award for Outstanding Talent and Vision credits over the past 25 years include the with Claude Nobs, Montreux Jazz Festival’s in Design. His recent work includes The long-running play Freud’s Last Session, legendary producer and founder. In 1998 Music Man, directed by Mark Cuddy for several Encores! productions at New Mr. Getaz co-founded Creatives, the event Geva Theatre in Rochester, New York; York’s City Center, and others at many communications agency where he was the Dead Man’s Cell Phone by Sarah Ruhl, theaters around New York. His opera artistic director for five years. He earned directed by Anne Bogart at Playwrights credits include Mozart’s The Abduction a master’s degree in law and has studied Horizons; What We’re Up Against by The- from the Seraglio; the U.S. Premiere of film direction and production at New York resa Rebeck, directed by Loretta Greco at Elliott Carter’s What Next?; Karole Armit- Born in Lausanne, Switzerland, Edouard University. the Magic Theatre in San Francisco; and age’s choreographed monodrama Ariadne Getaz (Producer) works both as a director Resurrection by Daniel Beaty, directed by Unhinged for Gotham Opera; Weill’s The and a producer with his company, Intercon- Oz Scott for Arena Stage. Rise and Fall of the City of Mahagonny for tinental Pictures. He produced the New the Tanglewood Music Festival; Pamina York Philharmonic’s May 2010 presenta- Devi, a Cambodian Magic for the tion of Ligeti’s opera Le Grand Macabre, Vienna New Crowned Hope Festival; and conducted by Alan Gilbert, and its 2005 Rameau’s Pigmalion for the Opéra national presentation of Stravinsky’s L’Histoire du de Lorraine at Paris’s Théâtre du Châtelet. soldat, both at Avery Fisher Hall. Under the In the world of dance, Mr. Taylor’s designs umbrella of Giants Are Small, he also pro- have been commissioned by American duced Prokofiev’sPeter and the Wolf with Ballet Theatre, San Francisco Ballet, and the in 2008. Alvin Ailey American Dance Theater, Mr. Getaz has produced public events among many others. He is the resident worldwide, ranging from major fashion designer for the Armitage Gone! and shows to giant projections on large histori- Elisa Monte Dance Companies, and has cal buildings. He is currently co-producing G.W. Mercier (Scenic Design) is a set, cos- been the lighting director for the Fall for and video-directing a new version of tume, and puppet designer with more than Dance Festival at New York’s City Center Giants Are Small’s , a 350 designs realized. He designed the set Clifton Taylor (Lighting Design) has since its inception in 2004. In addition, show scheduled to tour throughout North and costumes for Juan Darien: A Carnival collaborated with Doug Fitch on several Mr. Taylor is a sought-after lecturer on America in a giant tent in 2012. Mr. Getaz’s Mass by Julie Taymor and Elliot Goldenthal projects, including last year’s production lighting and projection design. Under first directorial endeavor was the short film at the Vivian Beaumont Theater, which re- of Ligeti’s Le Grand Macabre by the New grants from the Asian Cultural Council, Virgin Red (2005), which was screened at ceived a Tony nomination for scenery, and York Philharmonic, conducted by Alan Gil- he has created numerous master classes several major international film festivals. two Drama Desk nominations for scenery bert. They have worked together in Chile both in Cambodia and Indonesia, where His second short, Freud’s Magic Powder, and costumes. Off-Broadway, at the Vine- at the new Teatro del Lago in Patagonia; he has ongoing relationships with several was premiered at the Locarno Film Festival yard Theater, he received two additional at the Tanglewood Music Center, under arts organizations and foundations.

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in Verdi’s with Cleveland Opera; Cookie Jordan (Make-Up Design) was den; Verdi’s at San Diego Op- and Erda in Wagner’s Das Rheingold with the make-up designer for the New York era; Janácˇek’s The Makropulos Affair at La New Orleans Opera. Ms. Parks recently Philharmonic’s production of Ligeti’s Scala; Bernstein’s Candide with Naples’s reprised the role of Mrs. Peachum in Weill’s Le Grand Macabre in May 2010. Her Teatro San Carlo; Falstaff with l’Opéra du The Beggar’s Opera, conducted by Lorin Broadway credits include The Mother Rhin and Washington National Opera; and Maazel at his Castleton Festival. ... with the Hat, Lombardi, Fela (wig and Puccini’s Tosca and Verdi’s make-up design), The Miracle Worker, A with the Canadian Opera Company. His View from the Bridge, and South Pacific. extensive concert work has included per- Her Off-Broadway credits include Fela; formances of Mendelssohn’s Elijah in San Nigeria; Liberty Smith at Ford’s Theater in Francisco and Dallas; Walton’s Belshaz- Washington, D.C.; the national tours of Dirty zar’s Feast in Dallas and at ; Dancing and Disney’s High School Musical; Britten’s War in Washington, and Neighbors at the Public Theater. D.C.; Vaughan Williams’s Sea Symphony Mezzo-soprano Melissa Parks (Forester’s in Los Angeles; Elgar’s The Kingdom with Wife/Owl) made her New York Philhar- the Halle Orchestra in honor of the 150th monic debut as Mescalina in the critically anniversary of Elgar’s birth; and Elgar’s acclaimed production of Ligeti’s absurdist Apostles as part of the BBC Proms 2007 opera Le Grand Macabre conducted by season. Alan Opie has recorded for the Alan Gilbert in May 2010. Earlier that CBS, EMI, Hyperion, Chandos, and Decca season she had made her Italian debut labels. His releases include Alan Opie as Mrs. Lovett in Stephen Sondheim’s Keith Jameson (Schoolmaster/ Sings Bel Canto Arias; Britten’s , Sweeney Todd with the Teatro Comu- Mosquito) began the 2010–11 season , (Grammy nale di Bologna, Teatro Luciano Pava- as Flute in Britten’s A Midsummer Night’s Award), Death in Venice, and The Rape rotti di Modena, Teatro Rossini di Lugo, Dream at Lyric Opera of Chicago, followed of Lucretia; the title role in Dallapiccola’s and Teatro Municipale di Piacenza. Her by the Simpleton in Musorgsky’s Boris Ulisse; Tonio in Leoncavallo’s I ; 2010–11 season roles included Katisha Godunov at Dallas Opera. In concert he re- Enrico in Donizetti’s ; in Gilbert & Sullivan’s The Mikado with turned to Boston Baroque for performanc- Alan Opie (Forester) is a regular Smirnov in Walton’s The Bear; Don Carlos Michigan Opera Theatre, Marcellina in es of Handel’s Messiah and Monteverdi’s guest at The , Milan’s in Verdi’s ; Count di Luna in Verdi’s Mozart’s with Il combattimento di Tancredi e Clorinda. Teatro alla Scala, Vienna’s Staatsoper, Il Trovatore; Figaro in Rossini’s Il barbiere Madison Opera, and Mistress Quickly in Future roles include Triquet in Tchai- Munich’s Bayerische Staatsoper, Deutsche di Siviglia; and Beckmesser in Wagner’s Verdi’s Falstaff with Utah Opera — where kovsky’s Eugene Onegin with Los Angeles Oper Berlin, Glyndebourne Festival Opera, Die Meistersinger von Nürnberg led by she returns the following season to per- Opera; Goro in Puccini’s (ENO), and Royal , which also received a Grammy form Baba in Menotti’s The Medium. Ms. with Arizona Opera; Grandpa Joe in Peter , Covent Garden. At ENO Award. Parks has appeared with The Metropolitan Ash's The Golden Ticket, based on Roald he was nominated for the Outstanding Opera in Donizetti’s La Fille du Régiment Dahl’s Charlie and the Chocolate Factory, Achievement in Opera Olivier Award for and Weill’s The Rise and Fall of the City of with Atlanta Opera; and the Novice in his performance of Verdi’s Falstaff. Mr. Mahagonny; as Dritte Dame in R. Strauss’s Britten’s Billy Budd with The Metropolitan Opie’s recent appearances have included Elektra with Seattle Opera; Dame Quickly Opera. In concert he performed Messiah Puccini’s Madama Butterfly at Covent Gar-

38 39 The Artists (continued)

Dottore Bartolo in Il barbieri di Siviglia. and Haydn’s The Creation with Boston der Apostel, led by Pierre Boulez. His Other roles in San Francisco included Baroque. Last season he appeared at The solo debut was as the basso profundo Angelotti in Puccini’s Tosca, Garibaldo in Metropolitan Opera as Gherardo in Puc- in Stravinsky’s Les Noces under John Handel’s Rodelinda, Ribbing in Verdi’s Un cini’s Gianni Schicchi, and as Remendado Lanchbery. His other performances with ballo in maschera, and the Black Minister in a new production of Bizet’s Carmen, the Orchestra have included the bass in the U.S. premiere of Ligeti’s Le Grand conducted by Yannick Nézet-Séguin solo in Beethoven’s Choral Fantasy, with Macabre — a role he repeated in May (also broadcast in HD). Additional roles Zubin Mehta, and the role of Peter in J.S. 2010 with the New York Philharmonic. He have included Don Basilio in Mozart’s Bach’s St. Matthew Passion. Highlights of made his Chicago Opera Theater debut in The Marriage of Figaro at Lyric Opera of Mr. Pauley’s 30-year career include the Berlioz’s Béatrice et Bénédict, appeared in Chicago and Pietro in Franz Schreker’s world premiere of John Corigliano’s The Mozart’s and R. Strauss’s Die Gezeichneten with Los Angeles Op- Ghosts of Versailles at The Metropolitan Salome for the Santa Fe Opera, and sang era, conducted by James Conlon. In the Opera; Weill’s The Rise and Fall of the City Don Alfonso in Così fan tutte for San summer of 2011 Mr. Jameson returned to of Mahagonny at the ; two Baritone Joshua Bloom (Harašta, a Francisco Opera’s Western Opera Theater. Santa Fe Opera for performances as Goro Broadway engagements — the musical poultry dealer) was born in Melbourne, His engagements also include Masetto in in Madama Butterfly and Clarin in Lewis Band in Berlin, and The Merchant of Venice Australia, and completed his B.A. in history Mozart’s Don Giovanni and Truffaldino in R. Spratlan’s Life Is a Dream. with Dustin Hoffman; and some dozen at the University of Melbourne. In 1998 Strauss’s Ariadne auf Naxos for The Metro- film sound tracks, includingBeauty and he made his Opera Australia debut in politan Opera; a new commission by Gerald the Beast, Dead Man Walking, Enchanted, Rossini’s Il barbiere di Siviglia on tour with Barry in concert with the Los Angeles and Disney's 2010 feature Tangled. In OzOpera; he became a Young Artist, and Philharmonic, conducted by Thomas Adès; 1992 Mr. Pauley founded the male vocal later a Principal Guest Artist, for the com- and a return to Opera Australia as Figaro. ensemble Hudson Shad. Recent New York pany and received Green Room Awards City performances include Iannis Xenakis’s for Dandini in Rossini’s La cenerentola and Oresteia at Columbia University’s Miller Nick Shadow in Stravinsky’s The Rake’s Theatre, and the Carnegie Hall premiere of Progress. Other roles for Opera Australia The Seven Deadly Sins with Ute Lemper have included Schaunard in Puccini’s La and the Toronto Symphony Orchestra. bohème, Guglielmo in Mozart’s Così fan In March 2010 Mr. Pauley made his tutte, Figaro in Mozart’s The Marriage debut with the Orchestre symphonique of Figaro, Escamillo in Bizet’s Carmen, du Luxembourg in Xenakis’s Ais, and in Leporello in Mozart’s Don Giovanni, and November 2010 he appeared in Brit- Count Rodolfo in Bellini’s La Sonnambula. American bass Wilbur Pauley (Badger/ ten’s A Midsummer Night’s Dream at Lyric In 2002 he was an Opera Foundation Aus- Parson) appeared with the New York Opera of Chicago. In March–April 2011 tralia Stipendiat at the Vienna Staatsoper, Philharmonic as Astradamors in Ligeti’s he made his debut at the Teatro Colón in performing Fiorello in Il barbiere di Siviglia Le Grand Macabre in May 2010. He has Buenos Aires, performing Astradamors and the Imperial Commissioner in Puc- performed in almost 90 concerts with the in the La Fura Dels Baus’s production of cini’s Madama Butterfly. Mr. Bloom joined Soprano Serena Benedetti (Frantík, New York Philharmonic since his debut Le Grand Macabre. He returns to Lyric San Francisco Opera’s Merola Program, Pepík’s friend) was a winner of a Mar- at age 18 with the Westminster Sym- Opera in 2011 to perform in R. Strauss’s performing Puccini’s Gianni Schicchi and ian Anderson Career Grant for Emerging phonic in Wagner’s Das Liebesmahl Ariadne auf Naxos.

40 41 The Artists (continued)

Classical Artists. Highlights of her operatic by Serouj Kradjian, with the Manitoba Summerscape in New York, Fragoletto in appearances have included Susanna in Chamber Orchestra led by Anne Manson; Offenbach’s Les Brigands at the Grand Mozart’s The Marriage of Figaro with the and return performances at the Canadian Théâtre du Luxembourg; Lapák, a dog, Sarasota Opera, Musetta in Puccini’s La Opera Company as Pamina in Mozart’s The in Janácˇek’s The Cunning Little Vixen in bohème with the Palm Beach Opera, Magic Flute and Euridice in Gluck’s Orfeo Florence; and Dorabella in Mozart’s Così Fiordiligi in Mozart’s Così fan tutte with ed Euridice. Born in Lebanon, of Armenian fan tutte at Rouen Opera. Ms. Lenormand the Utah Symphony and Opera, Violetta heritage, and now a Canadian citizen, Ms. has previously performed the roles of in Verdi’s La traviata with the Lake Placid Bayrakdarian has been honored with many Arsamene in Handel’s Xerxes with Boston , Marcellina in Beethoven’s awards, including four Juno awards — Baroque, Annio in Mozart’s La clemenza Fidelio with Virginia Opera, and Adina in Canada’s highest recording prize — and a di Tito with l’Opéra d’Avignon, Siebel in Donizetti’s L’elisir d’amore at Lyric Opera 2009 Grammy Nomination for Gomidas Gounod’s with Madison Opera, and Cleveland. She joined the roster of the Songs on the Nonesuch label. She can Cherubino with Cincinnati Opera. Addition- Opera for the 2006 season. be heard on the Grammy Award–winning ally, she has sung Siegrune in Wagner’s Debuts in 2011 have included the Ludwig Soprano Isabel Bayrakdarian (Vixen) sound track of The Lord of the Rings: The Die Walküre at Paris’s Théâtre du Châtelet van Beethoven Festival in Warsaw, Poland, won first prize in the 2000 Operalia Two Towers. under Christoph Eschenbach; was heard singing Lieder with pianist competition founded by Plácido Domingo. in Chabrier’s L’Étoile in Angers and Nantes; J.J. Penna; recitals at Carnegie Hall’s Weill She has since performed in many of the and sang Rosina in Rossini’s Il barbiere di Recital Hall and at Merkin Concert Hall; world’s major opera houses and concert Siviglia and Dorabella in Così fan tutte in and appearances with the Chelsea Sym- halls, and has sung the role of the Vixen at Stuttgart. She sang with François-Xavier phony, in repertoire ranging from Mozart to the Teatro del Maggio Musicale Fiorentino Roth and Les Siècles in Mozart’s Requiem Debussy and Schoenberg. Last season’s and at the Saito Kinen Festival, both with in Aix-en-Provence, and with Ars Lyrica concert highlights included performances Seiji Ozawa. In the 2011–12 season she Houston. Upcoming engagements include of Brahms’s A German Requiem, Orff’s will be heard at the Aspen Music Festival, Romeo in Bellini’s I Capuleti e i Montec- Carmina burana, and Handel’s Messiah with the Vancouver Symphony Orchestra, chi with Opera Boston, and two roles in with the Indianapolis Chamber Orchestra, and in a new production of Zemlinsky’s Così fan tutte: Dorabella with Kansas City and Barber’s Knoxville: Summer of 1915 Der Zwerg at the Gran Teatro del in Opera, and Despina with New York City and Mahler’s Symphony No. 4 with the Barcelona. She also appears in recital with Opera. Ms. Lenormand was named “Musi- Eroica Ensemble in Memphis, Tennessee. the University of Chicago, in a tour through cal Revelation of the Season” this year She recently performed these works with British Columbia, Canada, and at London’s French mezzo-soprano Marie Lenormand by the Syndicate of the French National New York’s Chelsea Symphony at Barge- Wigmore Hall with cellist Steven Isserlis. (Fox) was last heard at Houston Grand Press for her interpretation of the title role music. She made her Carnegie Hall debut Highlights of her recent seasons include Opera as Cherubino in Mozart’s The Mar- of Thomas’s Mignon. in Handel’s Messiah led by John Rutter, Mahler’s Symphony No. 2, Resurrection, riage of Figaro, a role she sang recently at and has returned there for appearances with the Toronto Symphony Orchestra and Rouen Opera. An alumna of the Houston with the New York Oratorio Society and Peter Oundjian; Cleopatra arias with the Grand Opera Studio, she has appeared in Mid-America Productions in repertoire Seattle Symphony Orchestra and Nicholas her native France as Olga in Tchaikovsky’s ranging from Vivaldi to Mendelssohn. She McGegan; Górecki’s Symphony No. 3 with Eugene Onegin and as Nicklausse and has also performed in the Sacred Music the Danish National Symphony Orches- the Muse of Poetry in Offenbach’s Les in a Sacred Space Series at St. Ignatius tra; a recital debut at London’s Wigmore Contes d’Hoffmann. She has sung Urbain Loyola in New York with Kent Tritle. Hall; the premiere of Trobairitz Ysabella in Meyerbeer’s Les Huguenots at Bard

42 43 The Artists (continued)

Philharmonic on an international tour with Hall; and sang the title role in R. Strauss’s opera studies program at The Juilliard Bernstein’s Jeremiah Symphony. She made Ariadne auf Naxos conducted by Christoph School, where she received her master’s her Lyric Opera of Chicago debut as Hip- von Dohnányi at the Tanglewood Music degree and studies with Marlena Malas. In polyta in the company’s new production Center. Ms. Savoy is the recipient of the the 2010–11 season at Juilliard she sang of Britten’s A Midsummer Night’s Dream. 2011 George London Foundation prize Drusilla in Monteverdi’s L’Incoronazione di She appeared as Federico García Lorca in in memory of Leonie Rysanek, and was a Poppea and covered the role of Marˇenka ’s Ainadamar — a role she second-prize winner at the 2011 Gerda in Smetana’s The Bartered Bride, and created for the world premiere at Tangle- Lissner International Vocal Competition. covered the role of Amore in Gluck’s Orfeo wood under the baton of Engagements in the 2011–12 season ed Euridice at The Metropolitan Opera. and which she has subsequently sung in include her Metropolitan Opera debut In past seasons at Juilliard Ms. Guthrie New York, London, Los Angeles, Chicago, as Kristina in Janácˇek’s The Makropulos covered the roles of Blanche in Poulenc’s Santa Fe, Ojai, Atlanta, and Adelaide, Case. Ms. Savoy has studied voice with Les Dialogues des Carmélites and Dalinda Australia. Ms. O’Connor’s discography Deborah Savoy and Karen Ranung and is in Handel’s Ariodante; performed the roles Born in , mezzo-soprano Kelley includes Ainadamar with Robert Spano currently a student of Marlena Malas. She of Laurie in Copland’s The Tender Land O’Connor (Lapák, a dog) has performed and the Atlanta Symphony Orchestra and completed her bachelor’s and master’s (as a part of The Focus Festival), Susanna Berio’s Folk Songs with Daniel Harding Beethoven’s Symphony No. 9 with Franz studies in vocal performance at The Juil- in Mozart’s The Marriage of Figaro, and and the London Symphony Orchestra at Welser-Möst and The Cleveland Orchestra, liard School, with additional master class Lucia in Britten’s The Rape of Lucretia, the Berlin Festival; excerpts from Rous- both on Deutsche Grammophon. repertoire study with Renée Fleming, and she was featured in Juilliard’s Vocal sel’s Padmâvatî with Christoph Eschenbach Roger Vignoles, Stephanie Blythe, Andrew Arts Honors Recital. Ms. Guthrie won and the National Symphony Orchestra; Davis, Craig Rutenberg, and Edith Wiens. the art song division of the Liederkranz and J.S. Bach’s Missa brevis with Franz Ms. Savoy is currently a member of the Competition and placed second in the Welser-Möst and The Cleveland Orches- Lindemann Young Artist Development Houston Grand Opera Eleanor McCol- tra in the 2010–11 season. Other recent Program at The Metropolitan Opera. lum Competition. This past summer she appearances have included Beethoven’s apprenticed at the Santa Fe Opera, where Ninth Symphony with Kurt Masur and the she covered the role of Rosaura in the Shanghai Symphony Orchestra; Lieber- world premiere of ’s Life son’s Neruda Songs with Stéphane Denève Is a Dream. Past seasons have included and the Seattle Symphony Orchestra, as the role of Donna Elvira in Mozart’s Don well as with the Royal Scottish National Giovanni at the Tanglewood Music Festival Orchestra; Mahler’s Symphony No. 2, Res- led by James Levine and participation in urrection, with Gustavo Dudamel and the the Bard Music Festival. At the Manhattan Simón Bolívar Symphony Orchestra, David This season soprano Emalie Savoy School of Music Ms. Guthrie performed Robertson and the Saint Louis Symphony (Cock/Jay) was the soloist in Mendels- in Weill’s Street Scene as Rose Maur- Orchestra, and Edo de Waart and the sohn’s Elijah with the Oratorio Society of rant, and as Belinda in Purcell’s Dido and Milwaukee Symphony; and Britten’s Spring New York at Carnegie Hall led by Kent Aeneas. Solo engagements have included Symphony with Robert Spano and the Tritle; she performed the title role in Ricky Ian Gordon’s Orpheus and Euridice, Atlanta Symphony Orchestra. Ms. O’Connor Satie’s Socrate led by James Levine with Soprano Devon Guthrie (Chocholka, a Mahler’s Symphony No. 4 with the Reno joined Mr. Dudamel and the Los Angeles The MET Chamber Ensemble at Zankel hen) is an artist diploma student in the Philharmonic, Barber’s Knoxville: Summer of

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1915 with the Manhattan School of Music La Marchande de Journaux in Poulenc’s Les Amsterdam. In 2005, under special invita- The chorus’s discography features Symphony Orchestra, and Schubert’s The Mamelles de Tirésias, Zita in Puccini’s Gianni tion, she performed Peter Breuer’s Bolero many recordings with the New York Shepherd on the Rock with pianist Brian Schicchi, and as a part of an ensemble cast in Salzburg, Austria, with the Salzburg Philharmonic, including On the Transmi- Zeger at the reopening of Alice Tully Hall. in New York Festival of Song at Juilliard’s Ballett. Another recent highlight was her gration of Souls with Lorin Maazel and 2011 concert in Alice Tully Hall. Last sum- performance for the Prince of Monaco in Mahler’s Symphony No. 3 with Leonard mer she attended the Castleton Festival Monte Carlo in 2009 with Karole Armit- Bernstein, both of which won Grammy and worked with Lorin Maazel in Puccini’s age. Emily Wagner dances as a tango Awards; Beethoven’s Symphony No. 9 Il trittico, appearing as Ciesca in Gianni artist with The New Generation Dance and Schoenberg’s Gurrelieder with Zubin Schicchi and as Mistress of the Novices in Company, is a guest artist with the Penn- Mehta; Shostakovich’s Symphony No. 13, Suor Angelica. During her Juilliard studies, sylvania Ballet, and is currently beginning Babi Yar, with Kurt Masur; and Stephen Ms. Benter was the recipient of the Regina her third season as a dancer with Armit- Sondheim’s Sweeney Todd. Recordings Sarfaty Rickless Voice Scholarship, Tatiana age Gone! Dance. with other orchestras include Stravinsky’s Troyanos Scholarship, Highley Scholarship, Symphony of Psalms, Oedipus Rex, and and the Novick Career Advancement Grant. The New York Choral Artists, a pro- Requiem Canticles; Beethoven’s The Ruins fessional chorus founded by Joseph of Athens; Gershwin’s Porgy and Bess; Flummerfelt in 1979, appears regularly an album of Christmas songs featuring with the New York Philharmonic. Recent soprano Kathleen Battle; and a Christmas Mezzo-soprano Lacey Benter (Woodpecker) performances with the Orchestra have album conducted by Joseph Flummerfelt. received her master’s degree in music from included Ligeti’s Le Grand Macabre in The New York Choral Artists are man- The Juilliard School in May 2010 where she May 2010; Ravel’s L’Enfant et les sorti- aged by Jacqueline Pierce. began her vocal studies with Marlena Malas. lèges in 2006 and at Carnegie Hall in The Cedar Rapids, Iowa, native graduated February 2009; Puccini’s Tosca in June from Lawrence University in Appleton, 2008; Verdi’s Requiem in 2006; the world Wisconsin, in June 2009 with a bachelor of premiere, in 2002, of John Adams’s On music degree in vocal performance with a the Transmigration of Souls; and Brahms’s minor in theater arts. While at Lawrence she A German Requiem in September 2001, in performed several roles for the main stage commemoration of the events of Septem- opera productions including Meg Page in Emily Wagner (Terynka) trained as a ber 11. Other performance highlights Nicolai’s The Merry Wives of Windsor and dancer under scholarships at the Flint include celebrating the rededication of Lazuli in Chabrier’s L’Étoile. She also took Ballet, Virginia School of the Arts, the Statue of Liberty in 1986 and the part in many musical theater productions, and the American Ballet Theatre School. 100th anniversary of Carnegie Hall, and appearing as Fraulein Schneider in Cabaret, Her most influential training came from the U.S. premiere of Paul McCartney’s Princess Puffer in The Mystery of Edwin her private coach Sabrina Pillars of the Standing Stone with the Orchestra of Drood, and several roles in a production of . She has performed St. Luke’s. The New York Choral Artists Named Conductor of the Year in 2004 by Working. More recently she has appeared on both nationally and internationally, with have sung under the batons of Bern- Musical America, Joseph Flummerfelt is the Juilliard stage as Ma Moss in Copland’s highlights including appearances with the stein, Chailly, Sir , Leinsdorf, the founder and musical director of the The Tender Land and as Madame de Croissy Ballet Austin, Eglevsky Ballet, Ballet Noir, Masur, Muti, Nelson, Shaw, Slatkin, Tilson New York Choral Artists and an artistic in Poulenc’s Les Dialogues des Carmélites, BalletX, and the Movement Network of Thomas, and others. director of Spoleto Festival U.S.A. He

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was conductor of the Westminster Choir The Metropolitan Opera Children’s for 33 years. Chorus has been a successful train- Mr. Flummerfelt has led more than 50 ing ground for several generations of performances with the Spoleto Festival talented young singers. Currently, there Orchestra in both Italy and the U.S. and has are approximately 100 children involved appeared as guest conductor with numer- in the chorus ranging in age from 7 to ous American orchestras. He made his 14. They attend twice-weekly afterschool New York Philharmonic conducting debut classes for beginner, intermediate, and in a performance of Haydn’s The Creation, advanced singers, taught by chorus direc- and in 2001 he led the Orchestra and the tor Anthony Piccolo, where they concen- Westminster Choir in the world premiere of trate on English, Italian, French, German, Stephen Paulus’s Voices of Light. He has and Russian diction, vocal technique, and collaborated with such conductors as Ab- music history, as well as the music they Anthony Piccolo was appointed Children’s Daniel Boico became the New York bado, Barenboim, Bernstein, Boulez, Chailly, will sing on stage. In the past two seasons Chorus Director of The Metropolitan Opera Philharmonic Assistant Conductor in the Sir Colin Davis, Gilbert, Giulini, Maazel, Ma- the Met Children’s Chorus has appeared in in January 2009 and has prepared the 2009–10 season. He made his Philharmon- sur, Mehta, Muti, Ozawa, Sawallisch, Shaw, numerous Met productions and Live in HD Met children in 19 new productions and ic debut on January 23, 2009, and in De- and Steinberg, among many others. transmissions, including performances of revivals. These include major principal roles cember 2009 he led the Orchestra in Rotary Joseph Flummerfelt’s have Verdi’s Attila; Bizet’s Carmen; Berlioz’s La in Musorgsky’s Boris Godunov (conducted International’s Concert to End Polio, featuring been featured on 45 recordings, includ- Damnation de Faust; Humperdinck’s Han- by Valery Gergiev) and Debussy’s Pelléas et violinist Itzhak Perlman. He conducted all of ing Grammy Award–winning versions of sel and Gretel; Tchaikovsky’s The Queen Mélisande (conducted by ), as the Philharmonic’s Young People’s Concerts Mahler’s Symphony No. 3 with Bernstein, of Spades; R. Strauss’s ; well as Verdi’s Attila (conducted by Riccardo in the 2009–10 and 2010–11 seasons, in Samuel Barber’s opera Antony and Puccini’s La bohème, Tosca, Il trittico, and Muti) and Berg’s Wozzeck (conducted by addition to working with Music Director Alan Cleopatra, and John Adams’s On the Turandot; and Berg’s Wozzeck. Members James Levine). Prior to joining the Met he Gilbert and guest conductors. Transmigration of Souls. He has also of the chorus have also appeared in signif- was assistant chorus master and children’s Mr. Boico has collaborated with numer- received two other Grammy nominations, icant solo roles in Musorgsky’s Boris Go- chorus director at the ous international soloists, including pia- and his Delos recording of Brahms’s dunov, Debussy’s Pelléas et Mélisande, and for 20 years where, among 80 new produc- nists Daniel Barenboim and Shai Wosner, choral works, Singing for Pleasure, with Mozart’s The Magic Flute. Twelve members tions and revivals, he prepared the children and violinists Gil Shaham and Shlomo the Westminster Choir, was chosen by of the chorus sing in this production of The in The Cunning Little Vixen and Britten’s The Mintz. He recently led London’s Royal Phil- The New York Times as a favorite among Cunning Little Vixen. Turn of the Screw. As a chamber pianist, he harmonic Orchestra at the Gabala Interna- Brahms recordings. has recently performed and sona- tional Music Festival in Gabala, Azerbaijan, Mr. Flummerfelt’s many honors include tas by Beethoven and Debussy, and works and returned to Mexico City to conduct the Le Prix du Président de la République by Falla, Stravinsky, Prokofiev, and Shosta- Orquesta Sinfónica Nacional de México. from L’Académie du Disque Français and kovich. Also a composer, Anthony Piccolo’s Past engagements have included the Mos- four honorary doctoral degrees. He is Imaginary Symphony No. 1 (which had cow Philharmonic, Moscow State Sym- sought out as a guest conductor and mas- its premiere at Carnegie Hall) and “Fever phony, Novosibirsk Philharmonic, Perm ter teacher of choral conducting, and also Time” (both employing children’s chorus), as Opera and Ballet, Berlin Radio Symphony oversees most of the choral presentations well as three of his chamber works, will be Orchestra, Taipei Symphony Orchestra, of the New York Philharmonic. released by PARMA Recordings next year. Israel Philharmonic Orchestra, and La

48 49 The Artists (continued)

Orquesta Filarmónica de la UNAM. In audience. In 2008 the company presented August 2000 he made the world premiere a new version of Prokofiev’sPeter and the New York Choral Artists recording of Nino Rota’s cello concertos Wolf with the Los Angeles Philharmonic Joseph Flummerfelt, Director with cellist Dimitry Yablonsky and I Virtuosi in a production that merged live classical ALTOS BASSES Italiani for the Chandos label. music, live animation, and video effects Wendy Baker Maria Bedo James Bassi Daniel Alexander Born in Israel and raised in Paris and the together in real time. In 2010 Giants Are Jennifer Bates* Emily Eyre Martin Doner Dennis Blackwell United States, Daniel Boico studied with Small created a production of Ligeti’s Margery Daley Megan Friar Matthew Deming Frank Barr Russian professor Ilya Musin at the St. Pe- Le Grand Macabre with the New York Toni Dolce Misa Iwama John Kawa* Mischa Frusztajer tersburg Conservatory, and also assisted Philharmonic, conducted by Alan Gilbert, Lori Engle Kate Maroney Matthew Kreger Kevin Grace him in performance projects. Mr. Boico which was declared a multimedia spec- Phenisher Harris Kirsten Kane* Adam MacDonald Steven Moore later was a prizewinner at the Prokofiev tacular by New York magazine and Best Melissa Casey-Jose Helen Karloski* Drew Martin Charles Sprawls and Pedrotti conducting competitions. He Classical Performance of the Year (2010) Margarita Martinez* Erin Kemp Peter Van Derick was music director of the Skokie Valley by The New York Times. Giants Are Small Tami Petty* Jacqueline Pierce Scott Wheatley (Illinois) Symphony Orchestra; assistant to is currently in co-production with Big Erika Grace Powell* Janice Wilson Lewis White the music director of the Civic Orchestra Heart Theatrical, a production company Arlene Travis Rhesa Williams of Chicago; a visiting professor and direc- headed by former Disney executive Annie Elena Williamson* *Step-outs tor of orchestras at Grand Valley State Hamburger, and And-Entertainment, University, Michigan; and an apprentice the company of Andrew Lloyd Webber’s conductor with the Chicago Symphony former CFO Robert Butters, to present an Metropolitan Opera Children’s Chorus Orchestra, where he worked with music innovative version of Peter and the Wolf, Anthony Piccolo, Director director Daniel Barenboim, principal guest scheduled to tour throughout the U.S. in a conductor Pierre Boulez, and Zubin Mehta. giant tent in 2012. Jane Albert Dylan Hamme Andrea Morokutti Kiki Porter John Albert Richard Hausman Neel Nagarajan Sofus Rose Giants Are Small (Production Company), Seth Ewing-Crystal Yves Mervin-Leroy Anthony Pedone Noah Sadik officially founded in 2007 after two years of experimental developments, was started by visual artist and opera director Doug Cover Cast Fitch, filmmaker and producer Edouard Forester Jan Opalach Getaz, and multimedia entrepreneur Schoolmaster/Mosquito Peter Tantsits Frederic Gumy. Its first production was Vixen Ani Maldjian Stravinsky’s L’Histoire du soldat with the Fox Abigail Nims New York Philharmonic in 2005. This was the first time that live animation — a technique utilizing puppeteering miniature elements in front of a camera to cre- ate moving images that are projected in (Current as of June 10, 2011) real time, in synch with the orchestra’s performance — was brought to a wide

50 51 New York Philharmonic

The New York Philharmonic, founded Pulitzer Prize- and Grammy Award-winning the first Tour to the USSR, in 1959; the in 1842 by a group of local musicians On the Transmigration of Souls; Stephen 1998 Asia Tour with Kurt Masur, featuring led by American-born , is Hartke’s Symphony No. 3; Augusta Read the first performances in mainland China; by far the oldest symphony orchestra in Thomas’s Gathering Paradise, Emily Dickin- and the 75th Anniversary European Tour, the United States, and one of the oldest son Settings for Soprano and Orchestra; in 2005, with Lorin Maazel. in the world. It currently plays some 180 Esa-Pekka Salonen’s ; A longtime media pioneer, the Philhar- concerts a year, and on May 5, 2010, gave ’s ; and Christopher monic began radio broadcasts in 1922, its 15,000th concert — a milestone un- Rouse’s Odna Zhizn. and is currently represented by The New matched by any other symphony orchestra The roster of composers and conductors York Philharmonic This Week — syndicated in the world. who have led the Philharmonic includes nationally 52 weeks per year, and available Alan Gilbert began his tenure as Music such historic figures as Theodore Thomas, on nyphil.org. On television, in the 1950s Director, The Yoko Nagae Ceschina Antonín Dvorˇák, (Music and 1960s, the Philharmonic inspired a Chair, in September 2009, the latest in a Director, 1909–11), Otto Klemperer, Rich- generation through Bernstein’s Young distinguished line of 20th-century musical ard Strauss, (Music People’s Concerts on CBS. Its television giants that has included Lorin Maazel Director, 1922–30), Wilhelm Furtwängler, presence has continued with annual ap- (2002–09); Kurt Masur (Music Direc- (Music Director, 1928– pearances on on tor from 1991 to the summer of 2002; 36), , , Bruno PBS, and in 2003 it made history as the named Music Director Emeritus in 2002); Walter (Music Advisor, 1947–49), Dimitri first Orchestra ever to perform live on the Zubin Mehta (1978–91); Pierre Boulez Mitropoulos (Music Director, 1949–58), Grammy Awards, one of the most-watched (1971–77); and Leonard Bernstein, who Klaus Tennstedt, (Music television events worldwide. In 2004 was appointed Music Director in 1958 and Advisor, 1969–70), and . the Philharmonic became the first major given the lifetime title of Laureate Conduc- Long a leader in American musical life, American orchestra to offer downloadable tor in 1969. the Philharmonic has over the last century concerts, recorded live. The most recent Since its inception the Orchestra has become renowned around the globe, ap- initiative is Alan Gilbert and the New York championed the new music of its time, pearing in 430 cities in 63 countries on 5 Philharmonic: 2010–11 — downloadable commissioning or premiering many continents. In October 2009 the Orches- concerts, recorded live, available either as important works, such as Dvorˇák’s tra, led by Music Director Alan Gilbert, a subscription or as 12 individual releases. Symphony No. 9, From the New World; made its debut in Hanoi, Vietnam. In Feb- Since 1917 the Philharmonic has made Rachmaninoff’s Piano Concerto No. 3; ruary 2008 the Orchestra, led by then-Mu- nearly 2,000 recordings, with more than Gershwin’s Piano Concerto in F; and sic Director Lorin Maazel, gave a historic 500 currently available. Copland’s Connotations. The Philharmonic performance in Pyongyang, Democratic On June 4, 2007, the New York Philhar- has also given the U.S. premieres of such People’s Republic of Korea — the first visit monic proudly announced a new partner- works as Beethoven’s Symphonies Nos. 8 there by an American orchestra and an ship with Credit Suisse, its first-ever and and 9 and Brahms’s Symphony No. 4. This event watched around the world and for exclusive Global Sponsor. pioneering tradition has continued to the which the Philharmonic earned the 2008 present day, with works of major contem- Common Ground Award for Cultural Diplo- porary composers regularly scheduled macy. Other historic tours have included each season, including John Adams’s the 1930 Tour to Europe, with Toscanini;

52 53 Executive Producer: Vince Ford Producers: Lawrence Rock and Mark Travis Recording and Mastering Engineer: Lawrence Rock

Performance photos: Chris Lee Alan Gilbert portrait: Hayley Sparks

Janácˇek’s The Cunning Little Vixen used by arrangement with Boosey & Hawkes, Inc.

Alan Gilbert, Music Director, holds The Yoko Nagae Ceschina Chair.

The Cunning Little Vixen is generously sponsored by Yoko Nagae Ceschina.

Major support provided by The Andrew W. Mellon Foundation, The Fan Fox and Leslie R. Samuels Foundation, and Honey M. Kurtz.

Major funding for this recording is provided to the New York Philharmonic by Rita E. and Gustave M. Hauser.

Classical 105.9 FM WQXR is the Radio Home of the New York Philharmonic.

Programs are supported, in part, by public funds from the New York City Department of Cultural Affairs, New York State Council on the Arts, and the National Endowment for the Arts.

Instruments made possible, in part, by The Richard S. and Karen LeFrak Endowment Fund.

Steinway is the Official Piano of the New York Philharmonic and Avery Fisher Hall.

Exclusive Timepiece of the New York Philharmonic

54 55 Performed, produced, and distributed by the New York Philharmonic © 2011 New York Philharmonic

NYP 20110111 56 57