June Anderson, soprano

and Alfredo Kraus, tenor

Julius Rudel, conductor

Members of the Boston Symphony Orchestra

Sn

Presented by the BOSTON OPERA ASSOCIATION

Monday, March 11, 1991, at 8:15 p.m. Symphony Hall, Boston t f

Benefactors, Patrons, and Sponsors for the Boston Opera Association Opera Gala at Symphony

Mrs. Weston W. Adams Mr. and Mrs. Richard I. Johnson Mr. A. Samuel Adler Mr. and Mrs. Bela T. Kalman Mrs. Frank G. Allen* Mr. and Mrs. John M. Kucharski Mr. Frank G. Allen, Jr.* Mr. and Mrs. R. Willis Leith, Jr. Prof, and Mrs. Rae D. Anderson Mr. and Mrs. J. Peter Lyons Mr. and Mrs. David B. Arnold, Jr.| Hon. Charles Francis Mahoneyt Bierly-Drake Associates, Inc. Mr. Donald M. Manzelli 1 Mrs. Mary Louise Cabot Mrs. Barbara M. Marshall Mrs. Angelica Lloyd Clagett Merrill Lynch, Pierce, Fenner & Smith Inc. Mr. David C. Crockett* Miss Les J. Miller* Mr. and Mrs. William R. Cuming Mr. and Mrs. Wells Morss Selectman and Mrs. Luster Delany Mr. and Mrs. Albert L. Nickerson Dr. and Mrs. Charles C. Dickinsonf Miss Mary-Catherine O'Neill* Miss Catherine-Mary Donovan Hon. and Mrs. Lawrence T. Perera Dr. Richard W. Dwight Mr. and Mrs. William J. Poorvu Dynatech Corporation* Ms. Mattina R. Proctor Dr. and Mrs. Dean S. Edmonds, Jr.* Mr. and Mrs. Jerome Rosenfeld Mr. and Mrs. George Ellison Dr. and Mrs. Russell J. Rowell* Mrs. Harris Fahnestockt Mr. and Mrs. James D. St. Clair Ms. Anna E. Finnertyt Mrs. George Lee Sargent Mr. Raymond C. Foster Dr. and Mrs. Lawrence T. Shields Mr. Martin Gantshar Mr. and Mrs. Norman Silverman Mrs. Lee Day Gillespie Ms. Rosalie A. Simeone Mr. and Mrs. George B. Gordon Mr. and Mrs. Ezra F. Stevens Dr. Howard B. Gotlieb Mr. and Mrs. Charles A. Stewardf Mrs. Henry M. Halvorson* Dr. Raymond L. Taylot Mr. George B. Handron Tiffany and Companyf Ms. Emily C. Hood Mr. and Mrs. Carlos H. Tosi Mr. and Mrs. Walter Hunnewell Mrs. Reading Wagstaff-Callahan Mr. and Mrs. Horace H. Irvine Ilf Ms. Donna L. Wood Mr. and Mrs. Raymond D. Ivaska Ms. Doris Yaffe

1

* Benefactor tPatron

Names listed as of March 5, 1991. ''"'.. c. mmm^M

' 1

The Boston Opera Association

Mrs. Russell J. Rowell, President

Vice-Presidents Hon. Charles Francis Mahoney

'Anthony D. Ostrom James D. St. Clair

David C. Crockett Hon. Lawrence T. Perera Chairman, Board of Overseers Chairman, Board of Directors Robert L. Klivans Secretary

Bruce R. Bengston Michael J. Puzo Assistant Treasurer Assistant Secretary

Board of Directors

Mrs. Frank G. Allen Mrs. Jacqueline Foster Mrs. Nancy Rice Morss Mrs. J.P. Barger Eugene M. Freedman Miss Mary-Catherine O'Neill John T. Bennett, Jr. Martin Gantshar John Ryan Mrs. Mary Louise Cabot Gerard A. Glass Mrs. George L. Sargent Robert M. Cahners Milton L. Glass Robert H. Scott

William I. Cowin T. Howard Howell, D.D.S. Lawrence T. Shields, M.D. Dean Phyllis Curtin Miss Sally Hurlbut Charles A. Steward Miss Catharine-Mary Donovan Mrs. Myra Kraft Mrs. Lucius E. Thayer Dean S. Edmonds, Jr. Mrs. J. Peter Lyons Richard Van Pelt George H. Ellison Michael Lytton Mrs. Evelyn Wagstaff-Callahan Mrs. Harris Fahnestock Charles M. Manzella Robert E. Wise, M.D. Melvin D. Field, ScD. Donald M. Manzelli

Board of Overseers

Frank G. Allen, Jr. Mrs. Henry M. Halvorson Mrs. Frederic W. Schwartz Max Canter Robert D. Hilliard Mrs. Theodore C. Sturtevant Ron Delia Chiesa Mrs. Frank J. Kenney John Larkin Thompson Mrs. Polly F. Davidson Mark A. Langan Mrs. Byron G. Tosi Alfred L. Donovan Richard S. Milstein A. Raymond Tye Mrs. Melvin D. Field Denis Paiste John Hazen White Hirsh Freed Bertram B. Parker Ms. Doris Yaffe Mrs. Henry S. Hall, Jr. Miss Ann Sargent

The Boston Opera Association Continues the Tradition

For more than 100 years the Boston Opera Association has brought to this city the most distinguished artists of the operatic world for the enjoyment of Bostonians: Caruso, Flag- stad, Pinza, Milanov, Sills, Price, Corelli, Nilsson, Caballe, Pavarotti, Freni, and conduc- tors Mahler, Toscanini, Leinsdorf, Monteux, Bernstein, and many more. This evening the Association continues its tradition by presenting June Anderson and Alfredo Kraus — two outstanding artists from the Metropolitan Opera whose reputations are well-known here and abroad — in a bel canto program which is certain to delight the patrons of opera and symphony who join us on this occasion. This evening marks the second collaborative event between the Boston Opera Association and the Boston Symphony Orchestra, two of Boston's oldest cultural institutions, and there is a promise of more such ventures in the future with programs designed to contrib- ute to the enrichment of both opera and symphony audiences. We can look forward to the return of Mirella Freni next October in a semi-staged version of Tchaikovsky's Pique Dame first presented at Tanglewood in the summer of 1990 under the baton of Seiji Ozawa. This production was warmly received by critics and audiences alike. The B.O.A. takes pleasure in presenting Pique Dame next October 16 here at Symphony Hall for our friends in the Boston area. Meanwhile the collateral educational and artistic programs of the Association continue: the Young Artists Award Program, baritone Haijing Fu being the first recipient in 1988 and, most recently, mezzo-soprano Mary Ann McCormick in November 1990; and the highly acclaimed educational outreach program "Opera-tunity," which helps develop audi- ences of tomorrow through workshops, in-school instruction, and performances conducted by professional artists. Study materials emphasize the acquisition of basic skills and con- tent related to the art of opera. Participating schools include the following in Boston: Boston Latin, Boston Technical, and Madison Park High Schools; Grover Cleveland, Phyllis Wheatley, Dearborn, and Wood- row Wilson Middle Schools; The Ohrenburger, James Curley, Elihu Greenwood, Winship, Eliot, The Agassiz, Alexander Hamilton, Hugh Roe O'Donnell, Rafael Hernandez, Mather, Beethoven, and Mattahunt Elementary Schools. Suburban schools include the John F. Kennedy and Woodrow Wilson Middle Schools in Natick, and the Chestnut Hill Elemen- tary School. This evening's Gala is made possible by the underwriting of the Boston Opera Associa- tion with the support of Dynatech, Jordan Marsh, Merrill Lynch, The Ritz-Carlton, Tif- fany, and loyal friends of the Association to whom we are deeply grateful. Our thanks also to our friends at Symphony Hall who make our new cooperative partnership a pleasurable experience and assist the Boston Opera Association to continue its tradition of artistic excellence.

Dedham Choral Society 'and Orchestra Brian Jones, Director GREAT OPERA CHORUSES Bizet- Puccini Verdi-Mussorgsky

Laurie Stewart Otten, soprano Victoria Livengood, mezzo-soprano Thomas Barrett, bass-baritone SYMPHONY HALL, BOSTON Sunday, April14,1991, 3:00 PM Tickets: $20, $15, $10 GOOD VIBRATIONS 7-/CJ<{=f///isaST(=^y& TOWER RECORDS AMD MORE CALL-FORTIX (617)931-2000 The Boston Opera Association presents A Gala Evening of Bel Canto

Monday, March 11, 1991, at 8:15 p.m.

JUNE ANDERSON, soprano ALFREDO KRAUS, tenor

JULIUS RUDEL conducting MEMBERS OF THE BOSTON SYMPHONY ORCHESTRA

ROSSINI Overture to R barbiere di Siviglia

DONIZETTI "Depuis l'instant ou dans mes bras," Duet from La Fille du regiment, Act I Ms. ANDERSON and Mr. KRAUS

WOLF-FERRARI Two Intermezzi (Introductions to Acts II and III) from The Jewels of the Madonna

DONIZETTI "Ah, mes amis, quel jour de fete . . . Pour mon ame," Tonio's aria from La Fille du regiment, Act I Mr. KRAUS

DONIZETTI Lucia di Lammermoor, Act I:

"Regnava nel silenzio . . . Quando rapito in estasi" Ms. ANDERSON

"Lucia, perdona . . . Sulla tomba . . . Verranno a te" Mr. KRAUS and Ms. ANDERSON

Intermission

THOMAS "A vos yeux" (Ophelia's mad scene), from Hamlet, Act IV Ms. ANDERSON

GOUNOD "Ah! leve-toi soleil," Romeo's aria from Romeo et Juliette, Act II Mr. KRAUS

program continues .

9H «*-: MASSENET Ballet music from Le Cid Aragonaise Aubade Castillane Andalouse Navarraise

GOUNOD "Va! Je t'ai pardonne . . . Nuit d'hymenee," Bridal chamber duet from Romeo et Juliette, Act IV Ms. ANDERSON and Mr. KRAUS

The Boston Opera Association is deeply grateful to the following, whose special generosity has helped to underwrite this evening's gala performance: Dynatech Corporation; Dr. Dean S. Edmonds, Jr.; Jordan Marsh; Hon. Charles Francis Mahoney; Merrill Lynch, Pierce, Fenner & Smith Inc.; Hon. Lawrence T. Perera; The Raytheon Company; The Ritz-Carlton Hotel; Tiffany and Company.

Patron Committee Chair: Mrs. Reading Wagstaff-Callahan Corporate Committee Co-Chairs: Mr. Charles Manzella and Mr. Anthony Ostrom

Program notes, Texts, and Translations Notes by Steven Ledbetter, copyright ©1991, Boston Symphony Orchestra, Inc.

GIOACCHINO ROSSINI (1792-1868) Overture to The Barber of Seville

Rossini was both remarkably fluent as a composer and notoriously lazy. He frequently recycled musical ideas between one work and another, especially if he thought he wouldn't be found out! In his day, operas were composed the way TV sitcoms are written today— fast, for a specific occasion and a specific group of performers. As little as a month might elapse from the signing of the contract for a new opera to opening night! Every possible means of streamlining the production was called for, and if Rossini had to write an opera in February for Naples and another one in October for Milan, he might be tempted to include some of the same music in both, since neither audience would ever be likely to hear the other work. This is exactly what happened with an overture that Rossini composed in 1813 for La Scala. It was connected to the opera Aureliano in Palmira, which treated of imperial Roman history. The opera premiered in Milan on December 26. All through 1814 Rossini was composing for the Milanese audience, but as soon as he had a commission from Naples — in the fall of 1815 — he re-used the overture to Aureliano as the overture to his new historical opera — now set in 16th-century England— Elisabeth, Queen of England. Just a few months later he had to write a new opera for Rome. This was a comic opera, and, though it was not a great success at first, it has become far and away Rossini's best-known score, The Barber of Seville. Once again he used old music to introduce the evening's enter-

tainment, the already twice-used overture from Elisabeth. This time it stuck.

GAETANO DONIZETTI (1797-1848) "Depuis l'instant ou, dans mes bras" from La fille du regiment, Act I

After having seen no fewer than fifty-four of his operas on the stage in Italy in the space of twenty years, Donizetti arrived in Paris in October 1838. Within two years his operas had been performed at four different theaters there, to the dismay of French composers like Berlioz, who were being pushed aside by the Italian's popularity. In addition to reworking older pieces to suit French taste, Donizetti composed new operas in French, of which the first — and one of the most delightful of all his operas— was The Daughter of the Regiment, produced at the Opera-Comique on February 11, 1840. Marie was a foundling discovered as an infant on the field of battle by the regiment that has raised her ever since, making her truly the "daughter of the regiment." She is now the lively vivandiere of the troops. But recently she has become unaccountably moody; she has been seen with a young man who, she explains, saved her life by preventing her from fall- ing over a precipice. Tonio is dragged in by the grenadiers, who believe him to be a spy, but he has only been hiding near the camp in the hope of seeing Marie again. He decides to join the regiment, and, when the two are left alone, they gently confess their love.

MARIE MARIE Quoi! vous m'aimez? What! You love me? TONIO TONIO Si je vous aime! Do I love you? Ecoutez! ecoutez et jugez vous-meme. Listen! Listen, and judge for yourself. MARIE MARIE

Voyons, ecoutons! We'll see — let's hear it! Ecoutons et jugeons! We'll hear it and decide! TONIO TONIO Depuis l'instant ou, dans mes bras, From the instant when, in my arms, je vous recus toute tremblante, I caught you, all trembling, votre image douce et charmante your sweet and charming image nuit et jour, s'attache a mes pas. dogs my footsteps night and day. MARIE MARIE

Mais, monsieur, c'est de la memoire, But, sir, it's only a memory,

et voila tout! and that's all! TONIO TONIO Attendez, attendez, Wait, wait,

vous n'etes pas au bout! you haven't heard it all! A mes aveux vous pouvez croire! You can believe my vows! MARIE MARIE Voyons, ecoutons! Ecoutons et jugeons! We'll see, we'll hear! Hear and judge! TONIO TONIO Le beau pays de mon enfance, The lovely countryside of my childhood, les amis que je cherissais, the friends I cherished — ah! pour vous, je le sens d'avance, ah! for you, I know already, sans peine je les quitterais! I'd leave without regret! MARIE MARIE Mais une telle indifference But such indifference est bien coupable, is indeed a crime, bien coupable assurement! a crime, surely! TONIO TONIO Et puis enfin, de votre absence, And finally, unable to bear ne pouvant vaincre le tourment, the torment of your absence, j'ai brave jusque dans ce camp all the way to this camp I risked le coup d'une balle ennemie, an enemy bullet, j'ai brave dans ce camp, etc. all the way to this camp, etc. , ne pouvant vaincre le tourment unable to bear the torment de votre absence. of your absence. MARIE MARIE Quand on aime les gens pour eux, When you love people for themselves, monsieur, sir, Ton conserve son existence. you preserve your life. Entendez-vous, monsieur? Do you understand, sir? De cet aveu si tendre, From this avowal so tender, non, mon coeur en ce jour, my heart on this day ne sait pas se defendre, simply cannot defend itself, non, car c'est de l'amour, de l'amour! no, for this is love, love! TONIO TONIO

A cet aveu si tendre, At this avowal so tender, non, son coeur en ce jour no, her heart on this day ne peut pas se defendre cannot prevent itself de croire a mon amour, a mon amour! believing in my love, in my love! BOTH BOTH

De cet aveu si tendre, etc. From this avowal so tender, etc. TONIO TONIO Vous voyez bien que je vous aime! You see clearly that I love you!

Mais j'aime seul . . . But I love alone . . . MARIE MARIE Jugez vous-meme! Judge for yourself! TONIO TONIO Voyons, ecoutons! Fjcoutons et jugeons! We'll see, we'll hear! Hear and judge! MARIE MARIE Longtemps coquette, heureuse et vive, Long a coquette, happy and vivacious, je riais d'un adorateur. I laughed at admirers. Maintenant mon ame pensive Now my pensive heart sent qu'il est un autre bonheur! senses a different happiness! J'aimais la guerre, I loved war, je detestais nos ennemis. I hated our enemies. Mais, a present, je suis sincere, But now — I am sincere — pour Tun d'eux, helas! je fremis! for one of them, alas, I tremble! Et du jour plein d'alarmes, And since that day, filled with alarm, ou ranimant mes sens au parfum d'un when, reviving me with the scent of a fleur flower, je la sentis humide de vos larmes, I felt it wet with your tears, la douce fleur, tresor rempli de that sweet flower, treasure filled with charmes, charm,

Please turn the page quietly. by Marc Blitzstein Sung in English

Based on Lillian Hellman's The Little Foxes

Friday, March 22, 1991 • 8:00 P.M. Sunday, March 24, 1991 • 3:00 P.M.

Emerson Majestic Theatre 219 Tremont St. • Boston Conductor: Stephen Lord, Director: Rosalind Elias Order tickets by calling (617) 267-1512 ($35, $28, $22, $11)

<$> A/ • • JustinMoss Richard Gaddes r. 199Q/91 < General Director ^ q^ Artistic Advisor 'e.o*

What The Press Says

Boston Lyric Opera "... served the opera [Ariadne aufNaxos] well, and it introduced one truly remarkable singer in Deborah Voigt." -The New York Times

Deborah Voigt's "...first [performance] ofAriadne revealed one of the most important American singers to come along in years." -The New York Times

"Boston Lyric Opera.. .[with Ariadne aufNaxos] reaches the highly honorable standards of the best American regional opera." -The Boston Globe depuis ce jour n'a pas quitte mon has not, since that day, left my heart. coeur. Jugez vous-meme. Judge for yourself. TONIO TONIO Marie! Marie! MARIE MARIE

Ah! . . . Ah! . . . De eet aveu si tendre, etc. From this avowal so tender, etc. TONIO TONIO

A eet aveu si tendre, etc. At this avowal so tender, etc.

Je t'aime, Marie .... I love you, Marie . . .

. . . je t'aime pour toujours, toujours! ... I love you for ever and ever! MARIE MARIE

De eet aveu si tendre . . . From this avowal so tender . . . TONIO TONIO

Plutot, plutot perdre la vie . . . Rather, far rather, lose my life . . .

. . . que perdre nos amours ...... than lose our love . . . MARIE MARIE — . . . non, mon coeur en ce jour . . . no, my heart this day— TONIO TONIO

. . .nos amours, nos amours. . . . our love, our love. MARIE MARIE

Sur le coeur de Marie, On Marie's heart, Tonio, compte toujours! Tonio, you can always rely! TONIO TONIO Oui, je t'aime, Marie, Yes, I love you, Marie, je t'aime, et pour toujours! I love you, forever!

Plutot . . . Rather . . . BOTH BOTH

. . . perdre la vie . . . lose our lives

que perdre nos amours, etc. than lose our love, etc.

ERMANNO WOLF-FERRARI (1876-1948) Two Intermezzi from / gioielli delta Madonna

Offspring of a German father and an Italian mother, Ermanno Wolf-Ferrari (he himself added the "Ferrari"— his mother's name — in 1895 to emphasize his Italian heritage) found his greatest success writing comic operas based on the eighteenth-century plays of Carlo Goldoni (particularly / quattro rusteghi) and in R segreto di Susanna, a one-act opera in which the title character's horrible secret was that she was a smoker! In these works, Wolf-Ferrari mined a vein of musical pastiche mixing classical brilliance with a few roman- tic touches. The one great exception to this pattern was the opera he wrote in 1911, imme- diately after the two just named; here he seized with both hands the crude and melodra- matic style of post-Mascagni verismo. By far the most familiar music from The Jewels of the Madonna are the instrumental interludes that precede the second and third acts. The first of these introduces a nocturnal scene of serenading, but also of theft and passionate coupling bordering on rape. The intermezzo preceding the catastrophe of the final act quotes the music of the serenade from Act II. GAETANO DONIZETTI

"Ah, mes amis, quel jour de fete . Pour mon ame" from La fille du regiment, Act I

No sooner have Tonio and Marie confessed their mutual love than Tonio goes to the girl's "father"— the entire regiment — to ask for her hand. In the opening section of his cavatina, he sings of the joyous day that has dawned on him: he has joined the regiment and found love all at once. In a passage of dialogue (omitted here), the regiment expresses chagrin at his wedding plans, but when he assures them that Marie loves him, they give in with rea- sonably good grace, and Tonio concludes the scene with a brilliant expression of his happiness.

TONIO TONIO Ah! mes amis, quel jour de fete! Ahl My friends, what a happy day! Je vais marcher sous vos drapeaux. I will march under your banners. L' amour, qui m'a tourne la tete Love, which has turned my head, desormais me rend un heros. from now on will make me a hero. Ah! quel bonheur, oui, mes amis, Ah! what happiness, yes, my friends, je vais marcher sous vos drapeaux! I shall march under your banner! Oui, celle pour qui je respire, Yes, she for whom I sigh a mes voeux a daigne sourire has deigned to smile upon my suit et ce doux espoir de bonheur and this sweet hope of happiness trouble ma raison et mon coeur! Ahl unsettles my mind and my heart! Ah! Ah! mes amis, quel jour de fete! etc. Ah! my friends, what a happy day! etc.

Pour mon ame For my soul, quel destin! what a destiny! J'ai sa flamme, I have her love, et j'ai sa main! I have her hand! Jour prospere! Oh, happy day! Me voici Here I am, militaire et mari! a soldier and a husband! Ah! pour mon ame, etc. Ah! for my soul, etc.

GAETANO DONIZETTI "Regnava nel silenzio" from Lucia di Lammermoor, Act I

If any single opera epitomizes the art of Donizetti — and, indeed, the whole school of Ital- ian bel canto—it is his version of Sir Walter Scott's novel The Bride of Lammermoor, pre- miered in Naples on September 26, 1835, and heard all over the world since that day, whenever singers were available to do it justice. Lucia (or Lucy, to Scott) is first met early in Act I, describing to her companion Alisa the legend of the fountain in the garden where they are walking. It is dreamy with foreboding; Alisa expresses her fears at the evil omen (omitted here), but Lucy's cabaletta banishes the sombre mood in a rapture of transport brought on by thoughts of her beloved Edgar, the last of his line and sworn enemy to her family, in the person of her brother, Lord Hemy Ashton.

Regnava nel silenzio Darkness reigned in the silence alta la notte e bruna, at the dead of night. colpia la fonte un pallido A pallid ray from the sad moon raggio di tetra luna... struck the fountain... quando un sommesso gemito when a suppressed moan

fra l'aure udir si fe'; made itself heard on the breeze; ed ecco, ecco, su quel margin, ah, and there... there, on the brink, ah, l'ombra mostrarsi a me! Ah! the phantom revealed itself to me! Ah! Qual di ehi parla, muoversi I saw its lips move,

il labbro suo vedea, like one who speaks, e con la mano esanime and with a bloodless hand chiarmarmi a se parea. it seemed to be calling me. Stette un momento immobile, It stood a moment motionless,

poi ratta dileguo . . . then quickly faded... E l'onda pria si limpida and the water, so clear before, di sangue rosseggio, si, turned blood red, yes,

pria si limpida, ecc. so clear before, etc.

Quando rapita in estasi When, transported in an ecstasy del piu cocente ardore, of the most ardent passion, col favellar del core with words from his heart mi giura eterna fe, he swears eternal fidelity, gli affanni miei dimentico, I forget my cares,

gioia diviene il pianto... weeping turns to joy... Parmi che a lui d'accanto It seems that, at his side,

si schiuda il ciel per me. heaven opens up to me.

GAETANO DONIZETTI "Verrano a te" from Lucia di Lammermoor, Act I

Almost at once, Edgar himself appears to tell Lucy that he must leave for France, but before he goes they solemnly swear that they will wed, despite her brother's hatred of Edgar, then join in a deliciously poignant duet.

EDGARDO EDGAR

Lucia, perdona se ad ora inusitata Lucy, forgive me if at this unusual hour io vederti chiedea; ragion possente I asked to see you: pressing reasons a cio mi trasse. Pria che in ciel drove me to this. Before the new dawn biancheggi l'alba novella, dalle patrie brightens the sky, I shall be far sponde lungi sard. from my native shores. LUCIA LUCY Che dici? What are you saying? EDGARDO EDGAR

Pe' franchi lidi amici For the friendly shores of France sciolgo le vele; ivi trattar I am setting sail; there I must m'e dato le sorti della Scozia. deal with affairs of Scotland. LUCIA LUCY E me nel pianto abbandoi cosi? And you leave me like this, in tears? EDGARDO EDGAR

Pria di lasciarti Ashton mi vegga . . . Before I leave, let me see Ashton . . . io stendero placato a lui la destra I shall extend my right hand to him in peace e la tua destra, pegno fra noi di pace, and request your hand as a pledge of chiedero. peace between us. LUCIA LUCY Che ascolto! What do I hear!

Ah! no . . . rimanga nel silenzio sepolto Ah, no . . . let our secret love remain per or l'arcano affetto. buried in silence for now.

Please turn the page quietly. EDGARDO EDGAR

Intendo . . . I understand . . .

Di mia stirpe il reo persecutor The guilty persecutor of my race de' mali miei ancor page- non e! is still not satisfied by my misfortunes!

Mi tolse il padre, il mio retaggio He deprived me of my father and my avito! Ne basta? heritage! Was that not enough? Che brama ancor quel cor feroce e riol What more does that cruel and wicked heart desire?

La mia perdita intera, il sangue mio? My utter ruin, my blood? Egli m'oda. He hates me. LUCIA LUCY Ah! no. Oh, no! EDGARDO EDGAR M'abborre. He abhors me. LUCIA LUCY

Calma, o ciel, quell'ira estrema! Heaven, calm that extreme wrath! EDGARDO EDGAR

Fiamma ardente in sen mi scorre! A hot flame fills my breast! M'odi! Hear me! LUCIA LUCIA Edgardo! Edgar! EDGARDO EDGAR M'odi e trema! Hear me, and tremble!

Sulla tomba che rinserra By the tomb that holds il tradito genitore, my betrayed father, al tuo sangue eterna guerra I have sworn, in my fury, io giurai nel mio furore. eternal war on your house. LUCIA LUCY Ah! Ah! EDGARDO EDGAR

Ma ti vidi, e in cor mi nacque But I saw you, and in my heart was born altro affetto, e l'ira tacque, a different feeling; my rage was stilled.

Pur quel voto non e infranto . . . Yet that vow has not been broken . . .

Io potrei, oh! si, ah! si, potrei I could — oh, yes! — I could fulfill it yet! compirlo ancor. LUCIA LUCIA

Deh! ti placa, deh! ti frena . . . Oh, calm yourself, restrain yourself . . . EDGARDO EDGAR Ah! Lucia. Ah, Lucia! LUCIA LUCY Pud tradirne un solo accento. A single word could betray us.

Non ti basta la mia pena? Is my suffering not enough for you? Vuoi ch'io mora di spavento? Do you want me to die of fright? EDGARDO EDGAR Ah! no, no, no, no. Oh, no, no, no, no. LUCIA LUCY Ceda, ceda, ogni altro affetto, Renounce, renounce any other feeling, solo amor t'infiammi il petto. let only love burn in your breast. Un piu nobile, piu santo d'ogni The noblest, holiest vow of all voto e un puro amor. is that of pure love. EDGARDO EDGARDO

. . . Pur quel voto . . . Yet that vow LUCIA LUCY

Ah, solo amore t'infiammi il petto, Ah, let only love burn in your breast, ecc. etc. EDGARDO EDGARDO

. . . has not been broken, I could, yes, . . . non e infranto, io potrei, si, potrei eompirlo ancor, ecc. I could fulfill it yet, etc. LUCIA LUCY Cedi, cedi a me! Yield, yield to me! EDGARDO EDGARDO

... si, potrei eompirlo ancor ...... yes, I could fulfill it yet . . . LUCIA LUCY Cedi, cedi all'amor! Yield, yield to love! EDGARDO EDGAR

. . . ancor! . . . yet! Qui di sposa eterna fede Here in the sight of heaven qui mi giura al cielo innante. swear to me a bride's eternal faith. Dio ci ascolta, Dio ci vede, God hears us, God sees us, tempio ed ara e un core amante. a loving heart is church and altar. (solemnly placing a ring on Lucy's finger)

Al tuo fato unisco il mio. To your fate I unite mine. Son tuo sposo. I am your husband. LUCIA LUCY (in her turn giving a ring to Edgar)

E tua son io. And I am your wife. LUCIA, EDGARDO LUCY, EDGAR

Ah, soltanto nostro foco Ah, only the chill of death spegnera di morte il gel. will quench the flame of our passion. A' miei voti amore invoco, I invoke love as witness to my vows, a' miei voti invoco il ciel! ecc. I invoke heaven as witness to my vows! EDGARDO EDGAR Separarci omai conviene. We must part now. LUCIA LUCY Oh, parola a me funesta! Oh bitter words! II mio cor con te ne viene. My heart goes with you. EDGARDO EDGAR II mio cor con te qui resta. My heart remains here with you. LUCIA LUCY Ah! Edgardo, ah! Edgardo. Oh, Edgar, Edgar! EDGARDO EDGAR Separarci omai conviene. We must part now. LUCIA LUCY Ah! talor del tuo pensiero Oh, sometimes send me words venga un foglio messaggiero, of your thoughts in a letter, e la vita fuggitiva and my fleeting life di speranze nudriro. I will feed with hopes.

Please turn the page quietly.

nm EDGARDO EDGAR 10 di te memoria viva The living memory of you, sempre, o cara, serbero. my dearest, I shall always preserve. LUCIA LUCY Ah! verranno a te sull'aure Ah, there will come to you on the breezes

i miei sospiri ardenti, my ardent sighs, udrai nel mar che mormora you shall hear in the murmuring waves l'eco de' miei lamenti. the echo of my laments. Pensando ch'io di gemiti Thinking then that I feed mi pasco e di dolor, on sighs and moans, spargi un'amara lagrima drop a bitter tear su questo pegno allor! on this token. EDGARDO EDGAR Verranno a te sull'aure, There will come to you on the breeze

i miei sospiri ardenti, ecc. my ardent sighs, etc. Spargi un'amara lagrima Then drop a bitter tear su questo pegno allor, on this token,

ah! su questo pegno allor . . yes, on this token . . . LUCIA LUCY

Ah! si, su quel pegno allor, Ah yes, on that token, Edgardo. Edgar.

11 tuo scritto sempre viva Your letters will keep the memory la memoria in me terra. always alive within me.

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Si, si, Lucia, si, si! Yes, yes, Lucy, yes! LUCIA, EDGARDO LUCIA, EDGARDO

Ah! verranno a me [te] sull'aure, ecc. There will come to me [you] on the breeze,

etc. EDGARDO EDGAR Io parto. I must go. LUCIA LUCY Addio! Farewell! EDGARDO EDGAR

Rammentati! Ne stringe il ciel! Remember, heaven has joined us! LUCIA, EDGARDO LUCY, EDGAR Addio! Farewell!

AMBROISE THOMAS (1811-1896) "A vos yeux" from Hamlet, Act IV

It is hard to imagine anyone attempting to convert Shakespeare's tragedy Hamlet into an opera, particularly as it is so dominated by the protagonist's inability to act no less than by the richness of the poetry. Even less likely, it would seem, is an opera on Hamlet by Ambroise Thomas, produced March 9, 1868. Thomas's reputation was made in a string of light operas-comiques, of which Mignon was the greatest hit, receiving more than 1,000 performances in Paris within thirty years of its premiere. Thomas considered Hamlet to be his masterpiece, and, indeed, it was enormously popular for a time, but that popularity was won by its failure to challenge convention, the same reason that has seen it disappear almost entirely from the repertory. Ophelia's mad scene is wildly florid, designed to provide a climax in an act that consisted mostly of a ballet-divertissement, and it has never lost its hold on coloratura sopranos. Since Shakespeare's original mad scene ("Tomorrow is St. Valentine's Day") was entirely too bawdy for the family audience that the opera-comique hoped to attract, Thomas's librettists substituted a song about a water nymph luring faith- less lovers to a watery death.

OPHELIE OPHELIA A vos jeux, mes amis, In your games, my friends, permettez-moi de grace permit me kindly De prendre part! to take part! Nul n'a suivi ma trace! No one has followed my footsteps! J'ai quitte le palais I left the palace

aux premiers feux du jour . . . at the first light of day . . . Des larmes de la nuit The tears of the night la terre etait mouillee; had soaked the ground; Et l'alouette avant l'aube eveillee, and the lark, before dawn awakened, Planait dans l'air, soared through the air. ah! Ah! Mais vous, pourquoi vous parler bas? But why do you speak so softly? Ne me reconnaissez-vous pas? Do you not recognize me? Hamlet est mon epoux Hamlet is my husband, et je suis Ophelie! and I am Ophelia. Un doux serment nous lie. A sweet promise binds us. II m'a donne son coeur He has given me his heart

en echange du mien . . . in exchange for mine . . .

Please turn the page quietly. Et si quelqu'un vous dit And if anyone tells you qu'il me fuit et m'oublie, that he has fled and forgotten me,

N'en croyez rien! don't believe it at all! Si Ton vous dit qu'il m'oublie, If anyone tells you he has forgotten me,

n'en croyez rien; don't believe it at all.

Non, Hamlet est mon epoux etc. No, Hamlet is my husband, etc. S'il trahissait sa foi, j'en perdrais la raison! If he should betray his faith, I would lose my reason!

Partagez-vous mes fleurs! Divide my flowers among you! A toi cette humble branche For you this humble sprig De rosmarin sauvage. of wild rosemary. Ah! Ah! A toi cette pervenche. For you this periwinkle. Ah! Ah!

Et maintenant ecoutez ma chanson! And now, hear my song! Pale et blonde Pale and blonde, Dort sous l'eau profonde she sleeps under the deep waters,

La Willis au regard de feu! the nymph with the glance of fire! Que Dieu garde God keep you Celui qui s'attarde him who lingers Dans la nuit at night au bord du Lac bleu! on the shores of the blue lake! Heureuse l'epouse Happy the wife Aux bras de l'epoux! in the arms of her husband! Mon ame est jalouse My spirit is envious D'un bonheur si doux! of such sweet happiness!

Nymph au regard de feu, Nymph with the glance of fire, Helas! tu dors les eaux du Lac bleu! alas! you sleep in the blue lake's waters!

Ah! Ah!

La la la la! La la la la! Ah! cher epoux! Ah! Dear husband! Ah! cher amant! Ah! Dear lover! Ah! doux aveu! Ah! Sweet avowal! Ah! tendre serment! Ah! Tender promise! Bonheur supreme! Supreme happiness! Ah! cruel! je t'aime! Oh, cruel one! I love you! Ah! cruel, tu vois mes pleurs! Ah, cruel one, you see my tears! Ah! pour toi je meurs! Ah! For you I die! Ah! je meurs! Ah! I die!

CHARLES GOUNOD (1818-1893) "Ah! leve-toi soleil" from Romeo et Juliette, Act II

While Thomas's operas enjoyed a popularity derived from their conventionality, Gounod's operas were, for the most part, unsuccessful precisely because their original features left the composer open to charges of being "tainted" with Wagnerism. Even Faust got off to a rocky start, though it quickly recovered to become one of the most popular operas of the entire century. But Romeo et Juliette was successful from the start. The libretto follows Shakespeare remarkably closely for an opera, and, of course, the predominance of love music will always recommend it to certain temperaments, while there are many other delights in the score as well. Romeo's cavatina in the second act, one of the loveliest tenor arias Gounod ever wrote, leads into the balcony scene in which the young people confess their love. LWB KMJM

ROMEO ROMEO L'amour, l'amour! Oui, son ardeur a trouble Love, love! Yes, its ardor has troubled tout mon etre! my whole being! (A light comes on in Juliet's window.) Mais quelle soudaine clarte But what sudden light Resplendit a cette fenetre? shines at this window? C'est la que dans la nuit rayonne sa It is there that by night her beauty beaute! shines!

Ah! leve-toi, soleil! fais palir les Ah, arise, sun! Turn pale the stars, etoiles Qui, dans l'azur sans voiles, which, unveiled in the azure sky, Brillent au firmament. sparkle in the firmament. Ah! leve-toi! parais! parais! Ah, arise! Appear! Appear! Astre pur et charmant! Star pure and enchanting! Elle reve, elle denoue She dreams, she loosens Une boucle de cheveux a lock of her hair, Qui vient caresser sa joue. which caresses her cheek. Amour! Amour! porte lui mes voeux! Love, Love! Carry my vows to her! Elle parle! Qu'elle est belle! She speaks! How lovely she is! Ah! Je n'ai rien entendu! Ah! I haven't heard a thing! Mais ses yeux parlent pour elle, But her eyes speak for her, Et mon coeur a repondu! and my heart has responded! Ah! leve-toi, soleil! fais palir les Ah, arise, sun! Turn pale the stars, etc.

etoiles, etc.

viens, parais . . . come, appear!

JULES MASSENET (1842-1912) Ballet music from Le Cid, excerpts

With Manon in 1884 Massenet achieved recognition as France's most popular opera com- poser, though that did not prevent him from writing a series of failures before he next hit his stride with Werther (1892). One of those failures was Le Cid (1885), an operatic ver- sion of the real and imaginary exploits of the eleventh-century knight, a Spanish national hero in the combat of the Christians against the Moors. The subject would hardly seem to be a suitable one for Massenet, who was far more at home in stories of perfumed senti- mentality. But it did give occasion for a splendid ballet, consisting largely of dances with a Spanish tinge to them, redolent of the various districts of the country, including Aragon, Castille, Andalusia, and Navarre.

CHARLES GOUNOD "Nuit d'hymenee" from Romeo et Juliette, Act IV

The fourth act of Gounod's opera opens with an eloquent nocturnal scene of loving farewell between Romeo and Juliet, now secretly married.

JULIETTE JULIET Va! Je t'ai pardonne, Tybalt voulait Come, I've forgiven you. Tybalt wanted you ta mort; dead. S'il n'avait succombe, tu succombais If he had not succumbed, you would have! toi-meme! Loin de moi la douleur! loin de moi le Away with grief! Away with remorse! remords! H te haissait et je t'aime! He hated you, and I love you! ROMEO ROMEO

Ah! redis-le, redis-le, ce mot si doux! Oh, say it again, say it again, this word so sweet!

inHoc JULIETTE JULIET Je t'aime, 6 Romeo! Je t'aime, 6 mon I love you, O Romeo! I love you, my epoux! husband! JULIETTE, ROMEO JULIET, ROMEO Nuit d'hymenee! O bridal night! O douce nuit d'amour! O sweet night of love! La destinee Destiny M'enchaine a toi sans retour, binds me to you forever, volupte de vivre, delight in living, O charmes tout puissants! all-powerful charms! Ton doux regard m'enivre, Your sweet glance elates me, Ta voix ravit mes sens! your voice ravishes my senses! Sous tes baisers de flamme Beneath your flaming kisses, Le ciel rayonne en moi, heaven shines upon me, Je t'ai donne mon ame; 1 have given you my soul, A toi, toujours a toi. to you, to you forever. volupte de vivre, O delight in living,

charmes tout puissants, etc. all-powerful charms! etc.

Nuit d'hymenee! etc. bridal night! etc.

(The first glimmers of day lighten the windowpanes. A lark is heard singing.) JULIETTE JULIET

Romeo! qu'as tu done? What is it, Romeo? ROMEO ROMEO Ecoute, 6 Juliette! Listen, Juliet! L'alouette deja nous annonce le jour! The lark already announces the day! JULIETTE JULIET

Non! non, ce n'est pas le jour, No! No, it's not daylight, Ce n'est pas l'alouette that wasn't the lark Dont le chant a frappe ton oreille whose song struck your anxious ear, inquiete,

C'est le doux rossignol, confident de it was the nightingale, confidant of love.

1' amour. ROMEO ROMEO

C'est l'alouette, helas! messagere du It is the lark, alas, messenger of day! jour! Vois ces rayons jaloux dont l'horizon See those jealous rays of light by which the se dore; horizon is gilded. De la nuit les flambeaux palissent, Night's torches grow pale, et l'aurore, and dawn,

Dans les vapeurs de 1' Orient, amid the mists of the east, Se leve un souriant! rises smiling. JULIETTE JULIET

Non! non, ce n'est pas le jour! Cette No, it is not the day! That fatal lueur funeste gleam N'est que le doux reflet du bel astre is only the gentle reflection of the moon! des nuits! Reste! Reste! Stay! Stay! ROMEO ROMEO Ah! vienne done la mort! je reste! Ah, let death come! I shall stay! JULIETTE JULIET

Ah! tu dis vrai: c'est le jour! Fuis, Ah, you are right; it is the day. Flee, il faut quitter ta Juliette! you must leave your Juliet. -

ROMfiO ROMEO Non! non, ce n'est pas le jour, No! No, it's not daylight, Ce n'est pas l'alouette that wasn't the lark, C'est le doux rossignol, confident de it was the nightingale, confidant of love. l'amour. JULIETTE JULIET C'est l'alouette, helas! messagere du It is the lark, alas, messenger of day! jour! Pars! ma vie! Go now, my life! ROMfiO ROMEO Un baiser et je pars! A kiss and I part! JULIETTE JULIET Loi cruelle! Loi cruelle! Cruel decree! Cruel decree! ROM^O ROMEO Ah! Reste encor en mes bras enlaces! Ah! Stay in my entwining arms! Reste encor! reste encor! Stay a while, stay a while!

Un jour il sera doux a notre amour One day it will be sweet for our faithful fidele love De se ressouvenir de ses tourments to recall its past torments. passes. JULIETTE JULIET

II faut partir, helas! You must go, alas!

II faut quitter ces bras You must leave these arms Ou je te presse in which I hold you Et t'arracher a cette ardente ivresse. and tear yourself from this ardent joy. JULIETTE, ROMfiO JULIET, ROMEO

II faut partir, helas! You [I] must go, alas! H faut quitter ces bras You [I] must leave these arms Ou je te [elle me] presse in which I hold you [she holds me] Et t'arracher [m'arracher] a cette and tear yourself [myself] from this ardent ardente ivresse. joy. Ah! que le sort Ah! that fate Qui de toi me separe should separate you from me Plus que la mort is more cruel and barbarous Est cruel et barbare! than death itself!

II faut partir, helas! You [I] must go, alas! II faut quitter ces bras You [I] must leave these arms Ou je te [elle me] presse in which I hold you [she holds me] Et t'arracher [m'arracher] a cette and tear yourself [myself] from this ardent ardente ivresse. joy. ROMtiO ROMEO Adieu, ma Juliette, adieu! Farewell, my Juliet, farewell! JULIETTE JULIET Adieu! Farewell! ROMfiO ROMEO Toujours a toi! Forever yours! JULIETTE JULIET

Adieu, mon ame! adieu, ma vie! Farewell, my soul, farewell, my life! Anges du ciel, a vous je le confie! Angels in heaven, to you I confide him! •'*

Artists

June Anderson

Since her 1982 debut in the title role of Rossini's Semiramide at the Rome Opera, soprano June Anderson has become one of the most important singers in the European opera world. Productions have been created for her in many of the world's most famous opera houses, such as La Scala, Covent Garden, La Fenice, and the Paris Opera. Her preeminence in the bel canto repertoire was evident in the summer of 1988, when she performed three Rossini rarities: Armida at Aix-en-Provence, Otello in Pesaro, and Maom- etto II in San Francisco. In October 1988 Ms. Anderson appeared at Carnegie Hall in Bellini's Beatrice di Tenda, returning to New York after an absence of several years. In November 1989 she made her Metropolitan Opera debut, as Gilda in Rigoletto. Her 1990-91 season has included an early summer pro- duction of Rigoletto at the Teatro Comunale in Bologna; the twentieth-century premiere and telecast of Rossini's Ricciardo e Zoraide in a new edition, conducted by Riccardo Chailly at the Rossini Opera Festival in Pesaro, Italy; recitals in Europe; Metropolitan Opera appearances in Rigoletto and the new production of Semiramide; the "Music for Life" gala benefit at Carnegie Hall; a new Chicago Lyric Opera production of Lucia di Lammermoor mounted especially for her; a gala New Year's Eve concert with Zubin Mehta and the New York Philharmonic, telecast by PBS; and a concert performance of Bellini's La sonnambula at Carnegie Hall with the Opera Orchestra of New York. Following a North American tour that includes concerts and recitals, the spring finds her concertizing throughout Europe, making her Kirov Opera debut in Lucia, appearing in Rigoletto in Rome, and recording an album of Rossini arias for London/Decca. June Anderson's career has taken her to virtually every major opera company in Europe and the United States; she has also participated in many of the world's leading festivals and appeared with several of America's leading orchestras. She has been heard by millions of moviegoers as the Queen of the Night in the film Amadeus. Her recordings, on the EMI/Angel, Erato, Deutsche Grammophon, London/Decca, Philips, Nimbus, and Vox labels, encompass a wide variety of operatic, concert, and recital repertoire, including a recent Rigoletto on London/Decca with Luciano Pavarotti and Leo Nucci, a French aria album on EMI, and Beethoven's Ninth Symphony with Leonard Bernstein on Deutsche Grammophon. Due this year is Bernstein's Candide on Deutsche Grammophon, conducted by the composer. Boston-born and Connecticut-raised, June Anderson began voice lessons at eleven and first came to public attention at fourteen, performing Toch's Princess and the Pea with the New Haven Symphony and the New Haven Opera. She became the youngest finalist in the Met- ropolitan Opera National Auditions and then attended Yale University as a French major, graduating cum laude. She made her professional debut with the New York City Opera in 1978, as the Queen of the Night. Ms. Anderson will appear at Tanglewood in July singing music of Leonard Bernstein, and performing Brahms 's German Requiem with the Boston Symphony Orchestra under Seiji Ozawa, on concerts dedicated to the memory of Leonard Bernstein. Alfredo Kraus Tenor Alfredo Kraus made his Metropolitan Opera debut on Febru- ary 16, 1966, as the Duke in Rigoletto and has returned there to sing many major roles, including Don Ottavio in Don Giovanni, Nemorino in L'elisir d'amore, Alfredo in La traviata, Tonio in La Fille du regiment, Hoffmann in Les Contes d'Hoffmann, Romeo in Romeo et Juliette, des Grieux in Manon, and the title roles of Faust and Werther. He has also been seen on PBS in Metropolitan Opera telecasts, as Edgardo in Lucia di Lammermoor, Ernesto in Don Pasquale, and in the telecast of the Metropolitan Opera Centennial A Gala. A native of Las Palmas, Spain, Mr. Kraus made his operatic debut in Cairo as the Duke in Rigoletto and engagements soon followed all over the world, at La Scala, Florence, Rome, Naples, Covent Garden, the Vienna State Opera, Lisbon, Paris, and Lyric Opera of Chicago, among others. His roles also include Rinuccio in Gianni Schicchi, Almaviva in R barbiere di Siviglia, Nadir in The Pearl Fishers, Arturo in / puritani, Elvino in La sonnambula, and Ferrando in Cost fan tutte.

Julius Rudel

Julius Rudel' s career has followed the tradition set by many of the great European conductors whose early years were spent directing

an opera house: it was during his twenty-two-year tenure as direc- tor and principal conductor of the New York City Opera that he developed his versatility, in a repertoire ranging from the Baroque to the contemporary. Also during this period he established himself internationally with a repertoire exceeding 150 operas. After leav- ing the New York City Opera in 1979, Mr. Rudel began a six-year tenure as music director of the Buffalo Philharmonic and extended his symphonic activities through guest engagements in the United States and Europe. A special relationship was formed with the Orchestra of St. Luke's, which he conducted at Carnegie Hall and at the Caramoor Festival, and with which he has made a series of recordings on the Music Masters label, including symphonies of Schubert and music of Kurt Weill. He has received six Grammy nominations and one Grammy award. His many opera recordings, available on Angel/EMI, RCA, Nonesuch, and CBS Masterworks, include Massenet's Manon and Cendrillon, Boito's Mefistofele, Verdi's Rigo- letto, Weill's Silverlake, Ginastera's Bomarzo, Bellini's / puritani, and Handel's Giulio Cesare, which won the Schwann award for best opera recording. Mr. Rudel has made sev- eral television films with such artists as Eva Marton, Kiri Te Kanawa, and Frederica von Stade. During his career he has held music directorships at the Cincinnati May Festival, the Caramoor Festival, and the Kennedy Center in Washington, D.C., where he directed the Center's inaugural seasons. Among numerous other honors, he was made a Chevalier des Arts et des Lettres by France and has been decorated by the governments of West Germany, Israel, and his native Austria. In the coming seasons he will return to the Met, Chicago Lyric Opera, and San Francisco Opera, and to several European music centers. He will also appear as guest conductor with leading orchestras and return to the studio for further recordings.

m W$, ^H Members of the Boston Symphony Orchestra

First Violins Basses Tuba Bo Youp Hwang Lawrence Wolfe Chester Schmitz Max Winder John Salkowski Timpani Fredy Ostrovsky §Robert Caplin Gottfried Wilfinger §Barry Boettger Frank Epstein Leo Panasevich §Henry Peyrebrune Percussion Sheldon Rotenberg §Nicholas Tsolainos Thomas Gauger Alfred Schneider Flutes William Hudgins Raymond Sird §Neil Grover Ikuko Mizuno Fenwick Smith Amnon Levy §Jane Garvin Harp Harvey Seigel Piccolo Ann Hobson Pilot Jerome Rosen Geralyn Coticone Nancy Bracken Piano Jennie Shames Oboes §Deborah DeWolf Emery §Laura Ahlbeck Second Violins Celesta §Frank Charnley Vyacheslav Uritsky Jerome Rosen Ronan Lefkowitz English Horn Librarians Aza Raykhtsaum Laurence Thorstenberg §Daniel Banner William Shisler §Victor Romanul Clarinets James Harper §William §Kristina Nilsson Wrzesien Personnel Manager Cynthia Cummings §Julie Vaverka § Lynn Larsen §Paul MacDowell Bass Clarinet §Gerald Itzkoff Stage Manager §Peter Cokkinias § Colin Davis Alfred Robison § Clayton Hoenen Bassoons Sophia Sogland § Richard Svoboda Violas Roland Small Burton Fine Contrabassoon Robert Barnes Richard Plaster Michael Zaretsky Marc Jeanneret Horns Mark Ludwig Charles Kavalovski Rachel Fagerburg Daniel Katzen § Susan Culpo Jonathan Menkis §Kenneth Stalberg Richard Mackey §Emily Bruell § Kevin Owen §David Rubinstein Trumpets Cellos Timothy Morrison Jules Eskin Steven Emery Martha Babcock Peter Chapman Sato Knudsen §Bruce Hall Joel Moerschel Robert Ripley Trombones Jerome Patterson Ronald Barron Jonathan Miller §Lawrence Isaacson §David Finch §Walter Brauer

§ Substituting