T H E P Ro G

Thursday, April 19, 2018, at 7:30 pm m

a Art of the Song r g

o Mark Padmore , Tenor r

P Paul Lewis , Piano

h SCHUMANN Liederkreis (1840) Morgens steh’ ich auf und frage T Es treibt mich hin Ich wandelte unter den Bäumen Lieb Liebchen Schöne Wiege meiner Leiden Warte, warte, wilder Schiffmann Berg’ und Burgen schaun herunter Anfangs wollt’ ich fast verzagen Mit Myrten und Rosen

BRAHMS Es liebt sich so lieblich im Lenze Sommerabend Mondenschein (1878) Es schauen die Blumen Meerfahrt Der Tod, das ist die kühle Nacht

Intermission

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This performance is made possible in part by the Josie Robertson Fund for Lincoln Center.

Steinway Piano Alice Tully Hall, Starr Theater Adrienne Arsht Stage Great Performers

Support is provided by Rita E. and Gustave M. Hauser, Audrey Love Charitable Foundation, Great Performers Circle, Chairman’s Council, and Friends of Lincoln Center. Public support is provided by the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature. Endowment support for Symphonic Masters is provided by the Leon Levy Fund. Endowment support is also provided by UBS. Nespresso is the Official Coffee of Lincoln Center NewYork-Presbyterian is the Official Hospital of Lincoln Center

UPCOMING GREAT PERFORMERS EVENTS:

Friday, April 27 at 8:00 pm in David Geffen Hall Los Angeles Philharmonic Gustavo Dudamel, conductor ESA-PEKKA SALONEN: Pollux (New York premiere) VARÈSE: Amériques SHOSTAKOVICH: Symphony No. 5 Pre-concert lecture by Harlow Robinson at 6:45 pm in the David Rubenstein Atrium

Wednesday, May 2 at 7:30 pm in Alice Tully Hall Gerald Finley, bass-baritone Julius Drake, piano BEETHOVEN: Neue Liebe, neues Leben; Wonne der Wehmut; Mit einem gemalten Band; Aus Goethes Faust SCHUBERT: Prometheus; Geistes-Gruss; An den Mond; Rastlose Liebe; An Schwager Kronos; Schäfers Klagelied; Wandrers Nachtlied; Erlkönig TCHAIKOVSKY: Don Juan’s Serenade; At the ball; None, but the lonely heart; Over burning ashes RACHMANINOFF: O stay, my love; In the Silence of the Secret Night; Fate; On the Death of a Linnet; Christ is Risen; Spring Waters Selection of favorite folk songs

Sunday, May 6 at 3:00 pm in David Geffen Hall London Symphony Orchestra Simon Rattle, conductor Stuart Skelton, tenor Christian Gerhaher, baritone MAHLER: Das Lied von der Erde

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SCHUMANN Dichterliebe (1840) Im wunderschönen Monat Mai Aus meinen Tränen sprießen Die Rose, die Lilie, die Taube Wenn ich in deine Augen seh’ Ich will meine Seele tauchen Im Rhein, im heiligen Strome Ich grolle nicht Und wüßten’s die Blumen Das ist ein Flöten und Geigen Hör’ ich das Liedchen klingen Ein Jüngling liebt ein Mädchen Am leuchtenden Sommermorgen Ich hab’ im Traum geweinet Allnächtlich im Traume Aus alten Märchen Die alten, bösen Lieder Great Performers I Snapshot

By Susan Youens t Timeframe

o One of the most important poets in the history ARTS

h of song, and of German literature, was Heinrich 1840

s Heine, born the year of Schubert’s birth (1797) Schumann’s Liederkreis & and died the year of Schumann’s death (1756). Dichterliebe p Victor Hugo’s poem collec - Somehow the eerie coincidence seems only tion Les Rayons et les a appropriate, as both composers spun profound Ombres

n music from his words. 1878 S Brahms’s “Mondenschein” Schumann met Heine in 1828, and the poet, Gilbert & Sullivan’s H.M.S. somewhat unusually, exerted himself to be kind Pinafore opens in London. to the teenage musician; 12 years later, Schumann could embark on a succession of bril - liant settings of this man’s words and did so with SCIENCE his first Heine cycle: Liederkreis , Op. 24. These 1840 nine songs are a virtuosic “shot across the Publication of Louis Agassiz’s bow,” an announcement of something far more landmark Studies on Glaciers than parlor songs for the amateur bourgeoisie. 1878 Thomas Edison patents the Schumann’s protégé, Brahms, set a great deal of phonograph. Heine to music when he was young, but destroyed the settings. It wasn’t until later in life that he went back to Heine to create six master - IN NEW YORK ful songs on texts by the poet of his youth. Two 1840 of them (“Sommerabend” and “Monden- Coal is the city’s primary fuel. schein”) are paired, and the second is a variation of the first. In the final song of this evening’s 1878 group, Brahms turns the immortal coupling of The Brooklyn, Flatbush and Coney Island Railroad Eros and Death into consummately beautiful (“Brighton Line”) opens. music.

We then return to Schumann for one of the greatest song cycles in the entire repertoire: Dichterliebe , or Poet’s Love . In 1840, the com - poser selected 20 songs but omitted four for publication. The 16 songs of the final version are masterpieces of musical ingenuity in the service of contradictory inner experience—heartbreak and anger conjoined, irony and emotional truth yoked together. At the end, Schumann provides his own wordless ending in the piano, one differ - ent from the poet’s.

By Susan Youens

m When a poetic anthology entitled simply Buch der Lieder (“Book of Songs”)

a by Heinrich Heine first appeared in 1827, neither he nor his publisher, Julius r Campe, could have known what a phenomenon it would become. A best -

g seller, it was also one of the foremost sources for song composers, and no wonder: In these terse poems, a uniquely mordant voice entered German o

r literature. Here, unrequited love and misogynistic contempt, ironic negation of noble sentiments, and recurring battles between the dream world and P

reality are at contradictory and simultaneous work. Most of all, Romantic- poetic love is subjected to a drubbing. In the Buch der Lieder , the poet first e consecrates his beloved as something sacred, then lashes her with whips h made of words when she fails to meet the ideal in his mind. t

n Liederkreis , Op. 24 (1840) o ROBERT SCHUMANN

Born June 8, 1810, in Zwickau, Germany s Died July 29, 1856, in Endenich, Germany e t Approximate length: 23 minutes o

These nine songs, completed by the end of February 1840, trace a vague N narrative of love’s ardor, despair, and finally, the metamorphosis of love and grief into art. Schumann unifies his cycles musically; this one begins and ends in the same key (a true “Kreis” or “circle/cycle”). “Morgens steh’ ich auf und frage” is a Lied im Volkston , or folksong-like art song of the sort popular throughout the 19th century. If the back-and-forth alternation of the left- and right-hand parts sounds like a clock ticking or a young man pacing, that is only appropriate to this persona, who anxiously awaits his beloved. In Heine’s world, we expect her to be unfaithful or at least care - lessly tardy, but Schumann, whose thoughts of his fiancée Clara Wieck were far from this bitter, ends the postlude with a wistful cadence and ten - der thoughts.

“Es treibt mich hin” is also a song about Time that separates lovers, but in impatient mode; the feverish young lover condemns the lazy hours, which dawdle rather than bringing him swiftly to his sweetheart. In “Ich wandelte unter den Bäumen ,” Heine’s paranoid singer cannot even trust the little birds telling him of the beloved’s “golden word.” The birds speak to pale, unhappy lovers in a magical song-within-a-song. In “Lieb Liebchen,” Heine takes on the Romantic compound of Eros and death, with Schumann’s stark vocal line dogged by the piano softly hammering an unwelcome message: Each heartbeat is a nail in the singer’s coffin. To Heine, the “beautiful cradle of my sorrows” ( “Schöne Wiege meiner Leiden”) was Hamburg, a city he hated, given his tense relationship with his rich uncle Salomon and his unsuccessful courtship of Salomon’s two daughters. We can be sure that Heine would have said “schöne” (“lovely”) Great Performers I Notes on the Program

with his lip curled. Not so Schumann, who begins with one of his most gor - geous melodies and then rides a roller coaster of misery, near madness, and exhaustion. “Warte, warte, wilder Schiffsmann” is almost hysterical in its rage, fueled by misogyny both Biblical (Eve as the origin of sin) and classical (Eris, the goddess of discord). In Schumann’s piano postlude, all this hyper- fury evaporates by degrees, with even a hint of a chuckle at the very end. Does the composer perhaps find all this inflated emotion a trifle ridiculous?

By contrast, “Berg’ und Burgen schaun herunter” is one of the loveliest specimens of water music in German song, with its lapping waves that gently enfold and buoy the vocal line. Another tiny masterpiece, “Anfangs wollt’ ich fast verzagen,” begins by quoting the Lutheran chorale “Wer nur den lieben Gott läßt walten.” The vocal line lies higher than congregational melodies, the piano part lower, and the conjunction tells both of triumph over adversity and continuing tension. “How did I survive it?” he asks (we don’t know what “it” is, and the omission makes the poem more powerful), and then answers the question in the final song, “Mit Myrthen und Rosen,” by turning it into art. The “Book of Songs” is a richly adorned coffin in which love and song are buried. Resurrection by readers and listeners is assured.

Es liebt sich so lieblich im Lenze, Op. 71, No. 1 Sommerabend, Op. 85, No. 1 Mondenschein, Op. 85, No. 2 (1878) Es schauen die Blumen, Op. 96, No. 3 Meerfahrt, Op. 96, No. 4 Der Tod, das ist die kühle Nacht, Op. 96, No. 1 JOHANNES BRAHMS Born May 7, 1833, in Hamburg, Germany Died April 3, 1897, in Vienna

Approximate length: 20 minutes

“Did you know that I too once set almost all of Heine to music?” wrote Brahms to a friend, in teasing reference to the songs he had written as a youth and destroyed in his typical self-critical way. It is fortunate for us that Brahms was lured back to Heine in his maturity.

In “Es liebt sich so lieblich im Lenze,” Heine (that master of irony) takes on 18th-century anacreontic conventions (poetry in imitation of the ancient Greek poet Anacreon of Teos) about springtime and shepherd-shepherdess love idylls in order to tell of unrequited love. Brahms perfectly captures the mixture of mockery and misery. Heine loved German folklore, and its supernatural creatures come to new life in poems such as “Sommerabend,” where a brook is the enchanted nocturnal setting for beautiful elves bathing in the waters. For such allure, Brahms assembles signature elements of his style: a bass line closely related to the singer’s melody (in contrary motion), richly uphol - stered harmonies in the middle section, and increasing rhythmic com plexity Great Performers I Notes on the Program throughout the song. In a fashion unusual for Brahms, he pairs “Som - merabend” with “Mondenschein” as a variation on the same elements. Beginning with Brahms’s “death motif” of stark descending thirds in the piano and a darkened palette, we return to the idyllic elfin music when moon - light bathes the landscape.

Brahms’s close friend Elisabeth von Herzogenberg described “Es schauen die Blumen” as “a gem indeed, a marvel of compactness!” and Clara Schumann wrote in May 1886: “Oh, how the third song moves one with its cry of despair at the end!” Notice in particular one obsession of late Brahms: the mixing of bright and dark, major and minor, in a fashion that evokes life’s ambivalence.

In “Meerfahrt ,” lovers in a little boat on the sea—antique symbols for indi - vidual existence as a frail skiff in a cosmic ocean of Time—cannot land on the unattainable moonlit isle of spirits, where beautiful music resounds; they can only drift by in inconsolable bleakness. Von Herzogenberg called the anguished dissonances in the piano that mark the statements of the principal melody “those strangely affecting hornblasts,” adding, “The A-minor song, with its final ‘trostlos’ [inconsolable], still haunts me perpetually.”

Despite his habit of mocking Romanticism, Heine admitted that he was “a Romantic in spite of myself.” “Der Tod, das ist die kühle Nacht” is a varia - tion on the über-Romantic dichotomy between Day (oppressive life) and Night (cooling, love-drenched death), its advent heralded by a young nightingale who sings only of love. This is Keats’s “easeful death” transposed to Germany. Hear how darkness creeps outward in the piano as the dying persona declares “Es dunkelt schon” (“It already grows dark”), and how the passionate outburst against “der Tag” (“day”) in minor mode cedes immediately to major so that we might hear the nightingale’s song—rapture en route to death.

Dichterliebe , Op. 48 (1840) ROBERT SCHUMANN

Approximate length: 35 minutes

Schumann originally set to music 20 poems from the section of the Buch der Lieder entitled Lyrisches Intermezzo (“Lyrical Intermezzo”) between May 24 and June 1 of 1840, the famous “miracle year” during which he wrote 130 songs. By the time the song cycle finally appeared in print in August 1844, Schumann had deleted four songs, made numerous emendations, and renamed the cycle Dichterliebe .

In the first song, “Im wunderschönen Monat Mai,” the singer says that in the cliché Maytime season of new life and love, he confessed his longing; Schumann’s music is so infused with ambivalence that we suspect an unhappy ending from the start. The pitch C-sharp grating against D at the out - set—almost unbearably poignant—is instantly identifiable as Dichterliebe . Great Performers I Notes on the Program

Schumann questioned both beginnings and endings in music, and he famously “ends” the first song hanging in mid-air. Thereafter, the persona sings of his tears and sighs transforming themselves into floral offerings and love’s nightin - gales in “Aus meinen Tränen sprießen” ; sings in alliterative excess of “die Kleine, die Feine, die Reine, die Eine” (“the dainty one, the refined one, the pure one, the only one”—invented, one notes, by Heine) in “Die Rose, die Lilie, die Taube” ; and finds that he cannot trust the beloved’s words of love in “Wenn ich in deine Augen seh’.”

In “Ich will meine Seele tauchen,” he sings of submerging his soul in the lily’s chalice—exquisitely sexualized imagery. We even seem to hear post-coital sob - bing in the piano at the end. The persona compares the beloved to the image of the Virgin in the great cathedral at Cologne in the sixth song, “Im Rhein, im heiligen Strome” ; excoriates her as someone with night and serpents in her heart in the seventh song, “Ich grolle nicht” ; and declares in No. 8, “Und wüßten’s die Blumen,” that if only the flowers, nightingales, and stars knew his distress, they would try to comfort him.

In the ninth song, “Das ist ein Flöten und Geigen,” the poet imagines the beloved’s wedding music through the scrim of his own psychological distress; at the end, he collapses in abject misery. “The little song that the beloved once sang” chimes on the offbeat throughout the melancholy lied, “Hör’ ich das Liedchen klingen,” while in its wake, the persona tries to universalize/trivialize his grief in No. 11, “Ein Jüngling liebt ein Mädchen,” which Schumann sets as a village dance gone awry. In the twelfth song, “Am leuchtenden Sommermorgen,” the flowers entreat him to forgive “our sister,” and the per - sona continues to mourn the loss of her love in the funereal “Ich hab’ im Traum geweinet,” shot through with silences. He sees her in his dreams in “Allnächtlich im Traume” and wishes he could go to some fairy-tale land, to relinquish his sorrow and be happy once again, in “Aus alten Märchen.” In the last song, “Die alten, bösen Lieder,” he resolves to bury “the old, evil songs” of hopeless Romantic love; to do so, he will need an immense coffin, carried by giants and sunk in the ocean. But Schumann does not allow his cycle to end with Heine’s bitterness. Instead, he concludes with a long piano postlude, a var - ied reminiscence of the twelfth song, “Am leuchtenden Sommermorgen,” where Nature itself pleads for the bereaved lover to forgive. Heine’s singer can - not, but Schumann’s can, and there are few things in the entire song repertory more moving than this affirmation of reconciliation in the heart’s depths.

Susan Youens, newly retired as the J. W. Van Gorkom Professor of Music at the University of Notre Dame, is the author of eight books on German song, including Schubert, Müller, and Die schöne Müllerin; Hugo Wolf and his Mörike songs; Schubert’s Late Lieder; and Heinrich Heine and the Lied (all from Cambridge University Press), as well as over 60 scholarly articles and chapters.

Morgens steh’ ich auf und frage Every morning I awake and ask Morgens steh’ ich auf und frage: Every morning I awake and ask: Kommt feins Liebchen heut? Will my sweetheart come today? Abends sink’ ich hin und klage: Every evening I lie down, Ausblieb sie auch heut. complaining that she did not appear.

In der Nacht mit meinem Kummer All night long with my grief Lieg’ ich schlaflos, lieg’ ich wach; I lie sleepless, lie awake; Träumend, wie im halben Schlummer, dreaming, as if half asleep, Wandle ich bei Tag. I wander through the day.

Es treibt mich hin I’ve driven this way Es treibt mich hin, es treibt mich her! I’m driven this way, driven that! Noch wenige Stunden, dann soll ich A few more hours, and I shall see sie schauen, her, Sie selber, die schönste der she, the fairest of the fair— schönen Jungfrauen;— Du armes Herz, was pochst du so faithful heart, why pound so hard? schwer!

Die Stunden sind aber ein faules Volk! But the hours are a lazy breed! Schleppen sich behaglich träge, They dawdle along and take their time, Schleichen gähnend ihre Wege;— crawl yawningly on their way— Tummle dich, du faules Volk! get a move on, you lazy breed!

Tobende Eile mich treibend erfaßt! Raging haste drives me onward! Aber wohl niemals liebten die But the Horae can never have Horen;— loved— Heimlich im grausamen Bunde cruelly and secretly in league, verschworen, Spotten sie tückisch der Liebenden they spitefully mock a lover’s haste. Hast.

Ich wandelte unter den Bäumen I wandered among the trees Ich wandelte unter den Bäumen I wandered among the trees, Mit meinem Gram allein; alone with my own grief, Da kam das alte Träumen, but then old dreams returned once more Und schlich mir ins Herz hinein. and stole into my heart.

(Please turn the page quietly.) Great Performers I Texts and Translations

Wer hat euch dies Wörtlein gelehret, Who taught you this little word, Ihr Vöglein in luftiger Höh’? you birds up there in the breeze? Schweigt still! wenn mein Herz es Be silent! If my heart hears it, höret, Dann tut es noch einmal so weh. my pain will return once more.

“Es kam ein Jungfräulein gegangen, “A young woman once passed by, Die sang es immerfort, who sang it again and again, Da haben wir Vöglein gefangen and so we birds snatched it up, Das hübsche, goldne Wort.” that lovely golden word.”

Das sollt ihr mir nicht erzählen, You should not tell me such things, Ihr Vöglein wunderschlau; you little cunning birds, Ihr wollt meinen Kummer mir stehlen, you thought to steal my grief from me, Ich aber niemanden trau’. but I trust no one now.

Lieb Liebchen My love Lieb Liebchen, leg’s Händchen aufs Just lay your hand on my heart, my Herze mein;— love; Ach, hörst du, wie‘s pochet im ah, can you not hear it throbbing in Kämmerlein? there? Da hauset ein Zimmermann a carpenter, wicked and evil, lives schlimm und arg, there, Der zimmert mir einen Totensarg. fashioning me my coffin.

Es hämmert und klopfet bei Tag und He bangs and hammers by day and bei Nacht; night, Es hat mich schon längst um den and has long since banished all Schlaf gebracht. sleep. Ach! sputet Euch, Meister Ah, master carpenter, make haste, Zimmermann, Damit ich balde schlafen kann. that I might soon find rest.

Schöne Wiege meiner Leiden Lovely cradle of my sorrows Schöne Wiege meiner Leiden, Lovely cradle of my sorrows, Schönes Grabmal meiner Ruh’, lovely tombstone of my peace, Schöne Stadt, wir müssen lovely city, we must part— scheiden,— Lebe wohl! ruf’ ich dir zu. Farewell! I call to you.

Lebe wohl, du heil’ge Schwelle, Farewell, O sacred threshold, Wo da wandelt Liebchen traut; where my dear beloved treads, Lebe wohl! du heil’ge Stelle, farewell! O sacred spot, Wo ich sie zuerst geschaut. where I first beheld her. Great Performers I Texts and Translations

Hätt’ ich dich doch nie gesehn, Had I never seen you though, Schöne Herzenskönigin! fair queen of my heart! Nimmer wär es dann geschehen, It would never then have come to pass Daß ich jetzt so elend bin. that I am now so wretched.

Nie wollt’ ich dein Herze rühren, I never wished to touch your heart, Liebe hab’ ich nie erfleht; I never begged for love, Nur ein stilles Leben führen to live in peace was all I wished, Wollt’ ich, wo dein Odem weht. and to breathe the air you breathed.

Doch du drängst mich selbst von But you yourself, you drive me hinnen, hence, Bittre Worte spricht dein Mund; your lips speak bitter words; Wahnsinn wühlt in meinen Sinnen, madness rages in my mind, Und mein Herz ist krank und wund. and my heart is sick and sore.

Und die Glieder matt und träge And my limbs, weary and feeble, Schlepp’ ich fort am Wanderstab, I drag away, my staff in hand, Bis mein müdes Haupt ich lege until I lay my tired head down Ferne in ein kühles Grab. in a cool and distant grave.

Warte, warte, wilder Schiffmann Wait, O wait, wild seaman Warte, warte, wilder Schiffmann, Wait, O wait, wild seaman, Gleich folg’ ich zum Hafen dir; soon I’ll follow to the harbor; Von zwei Jungfraun nehm’ ich Abschied , I’m taking leave of two maidens: Von Europa und von Ihr. of Europe and of her.

Blutquell, rinn’ aus meinen Augen, Stream from my eyes, O blood, Blutquell, brich aus meinem Leib, gush from my body, O blood, Daß ich mit dem heißen Blute that with my hot blood Meine Schmerzen niederschreib’. I may write down my agonies.

Ei, mein Lieb, warum just heute Why today of all days, my love, Schaudert’s dich, mein Blut zu sehn? do you shudder to see my blood? Sahst mich bleich und herzeblutend You’ve seen me pale and with bleeding heart Lange Jahre vor dir stehn! stand before you for years on end!

Kennst du noch das alte Liedchen Remember the old story Von der Schlang’ im Paradies, of the serpent in Paradise, Die durch schlimme Apfelgabe who, through the evil gift of an apple , Unsern Ahn ins Elend stieß? plunged our forebears into woe?

Alles Unheil brachten Äpfel! The apple has caused all our ills! Eva bracht’ damit den Tod, Eve brought death with it, Eris brachte Trojas Flammen, Eris brought flames to Troy, Du bracht’st beides, Flamm’ un d Tod. and you—both flames and death. Great Performers I Texts and Translations

Berg’ und Burgen schaun herunter Mountains and castles gaze down Berg’ und Burgen schaun herunter Mountains and castles gaze down In den spiegelhellen Rhein, into the mirror-bright Rhine, Und mein Schiffchen segelt munter, and my little boat sails merrily, Rings umglänzt von Sonnenschein. the sunshine glistening around it.

Ruhig seh’ ich zu dem Spiele Calmly I watch the play Goldner Wellen, kraus bewegt; of golden, ruffled waves surging; Still erwachen die Gefühle, silently feelings awaken in me Die ich tief im Busen hegt’. that I had kept deep in my heart.

Freundlich grüßend und verheißend With friendly greetings and promises , Lockt hinab des Stromes Pracht; the river’s splendor beckons; Doch ich kenn’ ihn, oben gleißend, but I know it—gleaming above Birgt sein Innres Tod und Nacht. it conceals within itself Death and Night.

Oben Lust, im Busen Tücken, Above, pleasure; at heart, malice; Strom, du bist der Liebsten Bild! river, you are the image of my beloved! Die kann auch so freundlich nicken, She can nod with just as much friendliness, Lächelt auch so fromm und mild. and smile so devotedly and gently.

Anfangs wollt’ ich fast verzagen At first I almost despaired Anfangs wollt’ ich fast verzagen, At first I almost despaired, Und ich glaubt’, ich trüg’ es nie; and I thought I could never be able to bear it; Und ich hab’ es doch getragen— yet even so, I have borne it— Aber fragt mich nur nicht, wie? but do not ask me how.

Mit Myrten und Rosen With myrtles and roses Mit Myrten und Rosen, lieblich und With myrtles and roses, sweet and hold, fair, Mit duft’gen Zypressen und with fragrant cypress and golden Flittergold, tinsel, Möcht’ ich zieren dies Buch wie I should like to adorn this book like a ‘nen Totenschrein, coffin Und sargen meine Lieder hinein. and bury my songs inside.

O könnt’ ich die Liebe sargen hinzu! Could I but bury my love here too! Am Grabe der Liebe wächst On Love’s grave grows the flower Blümlein der Ruh’, of peace, Da blüht es hervor, da pflückt man there it blossoms, there is plucked, es ab,— Doch mir blüht’s nur, wenn ich but only when I’m buried will it selber im Grab. bloom for me. Great Performers I Texts and Translations

Hier sind nun die Lieder, die einst so Here now are the songs which once wild, cascaded, Wie ein Lavastrom, der dem Ätna like a stream of lava pouring from entquillt, Etna, Hervorgestürzt aus dem tiefsten so wildly from the depths of my Gemüt, soul, Und rings viel blitzende Funken and scattered glittering sparks all versprüht! around!

Nun liegen sie stumm und Now they lie mute, as though they toten-gleich, were dead, Nun starren sie kalt und nebelbleich , now they stare coldly, as pale as mist, Doch aufs neu’ die alte Glut sie but the old glow shall kindle them belebt, once more, Wenn der Liebe Geist einst über sie when the spirit of Love floats over schwebt. them.

Und es wird mir im Herzen viel And a thought speaks loud within Ahnung laut: my heart, Der Liebe Geist einst über sie taut; that the spirit of Love will one day thaw them; Einst kommt dies Buch in deine one day this book will fall into your Hand, hands, Du süßes Lieb im fernen Land. my dearest love, in a distant land.

Dann löst sich des Liedes Then shall song’s magic spell break Zauberbann, free, Die blassen Buchstaben schaun and the pallid letters shall gaze at dich an, you, Sie schauen dir flehend ins schöne gaze imploringly into your beautiful Aug’, eyes, Und flüstern mit Wehmut und and whisper with sadness and the Liebeshauch. breath of love. Great Performers I Texts and Translations

Die Wellen blinken und fließen The waves glisten and flow away— dahin— Es liebt sich so lieblich im Lenze! how lovely to live in spring! Am Flusse sitzet die Schäferin The shepherdess sits by the river Und windet die zärtlichsten Kränze. weaving most delicate garlands.

Das knospet und quillt und duftet There budding and swelling and und blüht— fragrance and blossom— Es liebt sich so lieblich im Lenze! how lovely to live in spring! Die Schäferin seufzt aus tiefer The shepherdess sighs from the Brust: depths of her heart: “Wem geb ich meine Kränze?” “To whom shall I give my garlands?”

Ein Reiter reitet den Fluß entlang; Along the river a horseman rides; Er grüßet so blühenden Mutes! he greets her in youthful high spirits! Die Schäferin schaut ihm nach so She anxiously watches him go on bang, his way, Fern flattert die Feder des Hutes. the plume in his hat flutters afar.

Sie weint und wirft in den gleiten - She weeps, and into the waves she den Fluß flings Die schönen Blumenkränze. her beautiful garlands of flowers. Die Nachtigall singt von Lieb und The nightingale sings of loving and Kuß— kissing— Es liebt sich so lieblich im Lenze! how lovely to love in spring!

Dämmernd liegt der Sommerabend Summer evening twilight lies Über Wald und grünen Wiesen; over forest and green meadows; Goldner Mond im blauen Himmel a golden moon in the blue sky Strahlt herunter, duftig labend. shines down in a soothing haze.

An dem Bache zirpt die Grille, By the brook the cricket chirps Und es regt sich in dem Wasser, and the waters stir, Und der Wandrer hört ein Plätschern and the traveller hears a plashing Und ein Atmen in der Stille. and a breathing in the stillness.

Dorten, an dem Bach alleine, Over there by the brook, alone, Badet sich die schöne Elfe; a lovely water-nymph is bathing; Arm und Nacken, weiß und lieblich, arms and neck, white and comely, Schimmern in dem Mondenscheine. shimmer in the moonlight. Great Performers I Texts and Translations

Nacht liegt auf den fremden Wegen, Night lies over unknown pathways, Krankes Herz und müde Glieder,— sick heart and tired limbs,— Ach, da fließt, wie stiller Segen, then, sweet moon, like a silent blessing, Süßer Mond, dein Licht hernieder; your radiance streams down;

Süßer Mond, mit deinen Strahlen With your beams, sweet moon, Scheuchest du das nächtge Grauen; you dispel nocturnal terrors; Es zerrinnen meine Qualen all my torments melt away Und die Augen übertauen. and my eyes brim over.

Es schauen die Blumen All the flowers gaze Text : Heinrich Heine Trans .: Emily Ezust

Es schauen die Blumen alle All the flowers gaze Zur leuchtenden Sonne hinauf; up to the brilliant sun; Es nehmen die Ströme alle all the streams run Zum leuchtenden Meere de Lauf. to the gleaming sea.

Es flattern die Lieder alle All songs flutter Zu meinem leuchtenden Lieb— to my bright love— Nehmt mit meine Tränen und take along with you my tears and Seufzer, sighs, Ihr Lieder, wehmütig und trüb! your songs so mournful and dreary!

Mein Liebchen, wir saßen beisammen My sweetest, we sat together, Traulich im leichten Kahn. lovingly in our light boat. Die Nacht war still und wir The night was still, and we drifted schwammen Auf weiter Wasserbahn. along a wide waterway.

Die Geisterinsel, die schöne, The beautiful haunted island Lag dämmrig im Mondenglanz; lay dimly in the moon’s light; Dort klangen liebe Töne sweet music was sounding there, Und wogte der Nebeltanz. and dancing mists were swirling.

Dort klang es lieb und lieber The sounds grew sweeter and sweeter, Und wogt es hin und her; the mists swirled this way and that; Wir aber schwammen vorüber we, however, drifted past, Trostlos auf weitem Meer. desolate on the wide sea.

(Please turn the page quietly.) Great Performers I Texts and Translations

Der Tod, das ist die kühle Nacht, Death is cool night, Das Leben ist der schwüle Tag. life is sultry day. Es dunkelt schon, mich schläfert, Dusk falls now, I feel drowsy, Der Tag hat mich müd gemacht. the day has wearied me.

Über mein Bett erhebt sich ein Baum, Over my bed rises a tree, Drin singt die junge Nachtigall; in which the young nightingale sings; Sie singt von lauter Liebe, she sings of nothing but love, Ich hör es sogar im Traum. I hear it even in my dreams.

Intermission

Dichterliebe A Poet’s Love Text : Heinrich Heine Trans .: Richard Stokes

Im wunderschönen Monat Mai In the wondrous month of May Im wunderschönen Monat Mai, In the wondrous month of May, Als alle Knospen sprangen, when all buds were bursting into bloom, Da ist in meinem Herzen then it was that in my heart Die Liebe aufgegangen. love began to blossom.

Im wunderschönen Monat Mai, In the wondrous month of May, Als alle Vögel sangen, when all the birds were singing, Da hab’ ich ihr gestanden then it was I confessed to her Mein Sehnen und Verlangen. my longing and desire.

Aus meinen Tränen sprießen From my tears will spring Aus meinen Tränen sprießen From my tears will spring Viel blühende Blumen hervor, many blossoming flowers, Und meine Seufzer werden and my sighs will become Ein Nachtigallenchor. a choir of nightingales.

Und wenn du mich lieb hast, And if you love me, child, Kindchen, Schenk’ ich dir die Blumen all’, I’ll give you all the flowers, Und vor deinem Fenster soll klingen and at your window shall sound Das Lied der Nachtigall. the nightingale’s song. Great Performers I Texts and Translations

Die Rose, die Lilie, die Taube Rose, lily, dove Die Rose, die Lilie, die Taube, die Rose, lily, dove, sun, Sonne, Die liebt’ ich einst alle in I loved them all once in the bliss of Liebeswonne. love. Ich lieb’ sie nicht mehr, ich liebe I love them no more, I only love alleine Die Kleine, die Feine, die Reine, die she who is small, fine, pure, rare; Eine; Sie selber, aller Liebe Wonne, she, most blissful of all loves, Ist Rose und Lilie und Taube und is rose and lily and dove and sun. Sonne.

Wenn ich in deine Augen seh’ When I look into your eyes Wenn ich in deine Augen seh’, When I look into your eyes, So schwindet all’ mein Leid und Weh; all my pain and sorrow vanish; Doch wenn ich küsse deinen Mund, but when I kiss your lips, So werd’ ich ganz und gar gesund. then I am wholly healed.

Wenn ich mich lehn’ an deine Brust, When I lay my head against your Kommt’s über mich wie breast, Himmelslust; heavenly bliss steals over me; Doch wenn du sprichst: ich liebe dich! but when you say: I love you! So muß ich weinen bitterlich. I must weep bitter tears.

Ich will meine Seele tauchen Let me bathe my soul Ich will meine Seele tauchen Let me bathe my soul In den Kelch der Lilie hinein; in the lily’s chalice; Die Lilie soll klingend hauchen the lily shall resound Ein Lied von der Liebsten mein. with a song of my love.

Das Lied soll schauern und beben, The songs shall tremble and quiver Wie der Kuß von ihrem Mund, like the kiss her lips Den sie mir einst gegeben once gave me In wunderbar süßer Stund’. in a sweet and wondrous hour.

(Please turn the page quietly.) Great Performers I Texts and Translations

Im Rhein, im heiligen Strome In the Rhine, the holy river Im Rhein, im heiligen Strome, In the Rhine, the holy river, Da spiegelt sich in den Well’n, there is reflected in the waves, Mit seinem großen Dome, with its great cathedral, Das große, heilige Köln. great and holy Cologne.

Im Dom da steht ein Bildnis, In the cathedral hangs a picture, Auf goldenem Leder gemalt; painted on gilded leather; In meines Lebens Wildnis into my life’s wilderness Hat’s freundlich hineingestrahlt. it has cast its friendly rays.

Es schweben Blumen und Eng’lein Flowers and cherubs hover Um unsre liebe Frau; around our beloved Lady; Die Augen, die Lippen, die Wänglein, her eyes, her lips, her cheeks Die gleichen der Liebsten genau. are the image of my love’s.

Ich grolle nicht I bear no grudge Ich grolle nicht, und wenn das Herz I bear no grudge, though my heart is auch bricht, breaking, Ewig verlor’nes Lieb! Ich grolle nicht. O love forever lost! I bear no grudge. Wie du auch strahlst in However you gleam in diamond Diamantenpracht, splendor, Es fällt kein Strahl in deines Herzens no ray falls in the night of your heart. Nacht. Das weiß ich längst. I’ve known that long.

Ich grolle nicht, und wenn das Herz I bear no grudge, though my heart is auch bricht, breaking, Ich sah dich ja im Traume, For I saw you in my dreams, Und sah die Nacht in deines Herzens and saw the night within your heart, Raume, Und sah die Schlang’, die dir am and saw the serpent gnawing your Herzen frißt, heart— Ich sah, mein Lieb, wie sehr du elend I saw, my love, how pitiful you are. bist.

Und wüßten’s die Blumen If the little flowers knew Und wüßten’s die Blumen, die If the little flowers knew kleinen, Wie tief verwundet mein Herz, how deeply my heart is hurt, Sie würden mit mir weinen, they would weep with me Zu heilen meinen Schmerz. to heal my pain.

Und wüßten’s die Nachtigallen, If the nightingales knew Wie ich so traurig und krank, how sad I am and sick, Sie ließen fröhlich erschallen they would joyfully make the air resound Erquickenden Gesang. with refreshing song. Great Performers I Texts and Translations

Und wüßten sie mein Wehe, And if they knew of my grief, Die goldenen Sternelein, those little golden stars, Sie kämen aus ihrer Höhe, they would come down from the sky Und sprächen Trost mir ein. and console me with their words.

Sie alle können’s nicht wissen, But none of them can know, Nur Eine kennt meinen Schmerz; my pain is known to one alone; Sie hat ja selbst zerrissen, for she it was who broke, Zerrissen mir das Herz. broke my heart in two.

Das ist ein Flöten und Geigen What a fluting and fiddling Das ist ein Flöten und Geigen, What a fluting and fiddling, Trompeten schmettern darein; what a blaring of trumpets; Da tanzt wohl den Hochzeitreigen that must be my dearest love Die Herzallerliebste mein. dancing at her wedding feast.

Das ist ein Klingen und Dröhnen, What a booming and ringing, Ein Pauken und ein Schalmei’n; what a drumming and piping; Dazwischen schluchzen und stöhnen with lovely little angels Die lieblichen Engelein. sobbing and groaning between.

Hör’ ich das Liedchen klingen When I hear the little song Hör’ ich das Liedchen klingen, When I hear the little song Das einst die Liebste sang, my beloved once sang, So will mir die Brust zerspringen my heart almost bursts Von wildem Schmerzendrang. with the wild rush of pain.

Es treibt mich ein dunkles Sehnen A dark longing drives me Hinauf zur Waldeshöh’, up to the wooded heights, Dort löst sich auf in Tränen where my overwhelming grief Mein übergroßes Weh’. dissolves in tears. Great Performers I Texts and Translations

Ein Jüngling liebt ein Mädchen A boy loves a girl Ein Jüngling liebt ein Mädchen, A boy loves a girl Die hat einen andern erwählt; who chooses another; Der andre liebt eine andre, he in turn loves another Und hat sich mit dieser vermählt. and marries her.

Das Mädchen nimmt aus Ärger The girl, out of pique, Den ersten besten Mann, takes the very first man Der ihr in den Weg gelaufen; to come her way, Der Jüngling ist übel dran. the boy is badly hurt.

Es ist eine alte Geschichte, It’s an old story, Doch bleibt sie immer neu; yet remains ever new; Und wem sie just passieret, and he to whom it happens, Dem bricht das Herz entzwei. it breaks his heart in half.

Am leuchtenden Sommermorgen One bright summer morning Am leuchtenden Sommermorgen One bright summer morning Geh’ ich im Garten herum. I walk round the garden. Es flüstern und sprechen die The flowers whisper and talk, Blumen, Ich aber wandle stumm. but I move silently.

Es flüstern und sprechen die The flowers whisper and talk, Blumen, Und schaun mitleidig mich an: and look at me in pity: Sei unsrer Schwester nicht böse, be not angry with our sister, Du trauriger blasser Mann. you sad, pale man.

Ich hab’ im Traum geweinet I wept in my dream Ich hab’ im Traum geweinet, I wept in my dream, Mir träumte, du lägest im Grab. I dreamt you lay in your grave. Ich wachte auf, und die Träne I woke, and tears Floß noch von der Wange herab. still flowed down my cheeks.

Ich hab’ im Traum geweinet, I wept in my dream, Mir träumt’, du verließest mich. I dreamt you were leaving me. Ich wachte auf, und ich weinte I woke, and wept on Noch lange bitterlich. long and bitterly.

Ich hab’ im Traum geweinet, I wept in my dream, Mir träumte, du wärst mir noch gut. I dreamt you loved me still. Ich wachte auf, und noch immer I woke, and still Strömt meine Tränenflut. my tears stream. Great Performers I Texts and Translations

Allnächtlich im Traume Nightly in my dreams Allnächtlich im Traume seh’ ich dich, Nightly in my dreams I see you, Und sehe dich freundlich grüßen, and see your friendly greeting, Und laut aufweinend stürz’ ich mich and weeping loud, I hurl myself Zu deinen süßen Füßen. down at your sweet feet.

Du siehest mich an wehmütiglich Wistfully you look at me, Und schüttelst das blonde Köpfchen; shaking your fair little head; Aus deinen Augen schleichen sich tiny little pearl-like tears Die Perlentränentröpfchen. trickle from your eyes.

Du sagst mir heimlich ein leises Wort, You whisper me a soft word Und gibst mir den Strauß von and hand me a wreath of cypress. Cypressen. Ich wache auf, und der Strauß ist fort, I wake up and the wreath is gone, Und’s Wort hab’ ich vergessen. and I cannot remember the word.

Aus alten Märchen A white hand beckons Aus alten Märchen winkt es A white hand beckons Hervor mit weißer Hand, from fairy tales of old, Da singt es und da klingt es where there are sounds and songs Von einem Zauberland; of a magic land;

Wo bunte Blumen blühen Where brightly colored flowers Im gold’nen Abendlicht, bloom in the golden twilight, Und lieblich duftend glühen, and glow sweet and fragrant Mit bräutlichem Gesicht; with a bride-like face;

Und grüne Bäume singen And green trees Uralte Melodein, sing primeval melodies, Die Lüfte heimlich klingen, mysterious breezes murmur, Und Vögel schmettern drein; and birds warble;

Und Nebelbilder steigen And misty shapes rise up Wohl aus der Erd’ hervor, from the very ground, Und tanzen luft’gen Reigen and dance airy dances Im wunderlichen Chor; in a strange throng;

Und blaue Funken brennen And blue sparks blaze An jedem Blatt und Reis, on every leaf and twig, Und rote Lichter rennen and red fires race Im irren, wirren Kreis; madly round and round;

Und laute Quellen brechen And loud springs gush Aus wildem Marmorstein, from wild marble cliffs. Und seltsam in den Bächen And strangely in the streams Strahlt fort der Widerschein. the reflection shines on.

(Please turn the page quietly.) Great Performers I Texts and Translations

Ach, könnt’ ich dorthin kommen, Ah, could I but reach that land, Und dort mein Herz erfreu’n, and there make glad my heart, Und aller Qual entnommen, and be relieved of all pain, Und frei und selig sein! and be blissful and free!

Ach! jenes Land der Wonne, Ah, that land of delight, Das seh’ ich oft im Traum, I see it often in my dreams, Doch kommt die Morgensonne, but with the morning sun Zerfließt’s wie eitel Schaum. it melts like mere foam.

Die alten, bösen Lieder The bad old songs Die alten, bösen Lieder, The bad old songs, Die Träume bös’ und arg, the bad and bitter dreams, Die laßt uns jetzt begraben, let us now bury them, Holt einen großen Sarg. fetch me a large coffin.

Hinein leg’ ich gar manches, I have much to put in it, Doch sag’ ich noch nicht, was; though what I won’t yet say; Der Sarg muß sein noch größer the coffin must be even larger Wie’s Heidelberger Faß. than the vat at Heidelberg.

Und holt eine Totenbahre, And fetch a bier Und Bretter fest und dick; made of firm thick timber: Auch muß sie sein noch länger, and it must be even longer Als wie zu Mainz die Brück’. than the bridge at Mainz.

Und holt mir auch zwölf Riesen, And fetch for me twelve giants, Die müssen noch stärker sein, they must be even stronger Als wie der starke Christoph, than Saint Christopher the Strong Im Dom zu Köln am Rhein. in Cologne Cathedral on the Rhine.

Die sollen den Sarg forttragen, They shall bear the coffin away, Und senken ins Meer hinab; and sink it deep into the sea; Denn solchem großen Sarge for such a large coffin Gebührt ein großes Grab. deserves a large grave.

Wißt ihr, warum der Sarg wohl Do you know why the coffin So groß und schwer mag sein? must be so large and heavy? Ich senkt’ auch meine Liebe I’d like to bury there my love Und meinen Schmerz hinein. and my sorrow too.

—Translations by Richard Stokes from The Book of Lieder , published by Faber & Faber, with thanks to George Bird, co-author of The Fischer-Dieskau Book of Lieder , published by Victor Gollancz Ltd. Great Performers I Meet the Artists s t s i t r A

E V e E R G G h R O B t

C R A t M e Mark Padmore e

Born in London, Mark Padmore has established an international career in M opera, concert, and recital. His appearances in Bach’s Passions have gained particular notice, especially his acclaimed performances (including at Lincoln Center’s 2014 White Light Festival) as the Evangelist in Bach’s St. Matthew and St. John Passions with the Berlin Philharmonic Orchestra and Simon Rattle, staged by Peter Sellars.

In opera, Mr. Padmore has worked with directors Peter Brook, Katie Mitchell, Mark Morris, and Deborah Warner. Recent work includes the leading roles in Harrison Birtwistle’s The Corridor and The Cure at the Aldeburgh Festival and Linbury Theatre, Covent Garden; Captain Vere in Britten’s Billy Budd at Glyndebourne Festival Opera; and Third Angel/John in George Benjamin’s Written on Skin with the Royal Opera, Covent Garden. Future projects include new works written for him by Tansy Davies and Thomas Larcher.

In concert, Mr. Padmore performs with the world’s leading orchestras. This season he is artist-in-residence with the Berlin Philharmonic. His work with the Orchestra of the Age of Enlightenment has involved projects exploring both the St. John and St. Matthew Passions of Bach. He also collaborates regularly with the Britten Sinfonia.

In recital, Mr. Padmore has performed all three Schubert song cycles in New York (2015 White Light Festival), Amsterdam, Barcelona, Birmingham, London, Liverpool, Paris, Tokyo, and Vienna. Regular recital partners include Kristian Bezuidenhout, Jonathan Biss, Imogen Cooper, Julius Drake, Till Fellner, and Paul Lewis. Composers who have written for him include Sally Beamish, Jonathan Dove, Nico Muhly, Alec Roth, Ryan Wigglesworth, and Hans Zender.

Mr. Padmore was awarded a choral scholarship to King’s College, Cambridge, and graduated with an honors degree in music in 1982. His extensive discography includes Beethoven’s Missa Solemnis and Haydn’s Great Performers I Meet the Artists

Die Schöpfung with Bernard Haitink and the Bavarian Radio Symphony Orchestra (BR Klassik) and lieder by Beethoven, Haydn, and Mozart with Kristian Bezuidenhout (Harmonia Mundi). Mr. Padmore was voted 2016 Vocalist of the Year by Musical America and was awarded an honorary doctor - ate by Kent University in 2014. He is artistic director of the St. Endellion Summer Music Festival in Cornwall, England.

Paul Lewis S L Paul Lewis is internationally regarded A U S I as one of the leading musicians of his V

A N

I generation. His cycles of core piano L O

M works by Beethoven and Schubert

D have received unanimous critical and N U public acclaim. His numerous awards M

A I

N have included the Royal Philharmonic O

M Society’s Instrumentalist of the Year, R A H - two Edison awards, three Gramo- A N I L phone awards, the Diapason D’or de O M

P l’Annee, and German Record Critics’ E S

O Award. He was appointed Com- J mander of the Order of the British Empire (CBE) in the 2016 Queen’s Birthday Honours.

Mr. Lewis appears regularly as soloist with the world’s great orchestras, including the Boston, Chicago, and London Symphony orchestras, New York and Los Angeles Philharmonics, Cleveland Orchestra, Bavarian Radio and NHK Symphony Orchestras, and the Royal Concertgebouw, Tonhalle Zurich, and Mahler Chamber orchestras.

The 2017–18 season sees the start of a two-year recital series exploring con - nections between the sonatas of Haydn, the late piano works of Brahms, and Beethoven’s Bagatelles and Diabelli Variations . In recital, Mr. Lewis has per - formed at Royal Festival Hall, Alice Tully Hall and Carnegie Hall, Vienna’s Musikverein and Konzerthaus, Théâtre des Champs Elysees, Amsterdam’s Concertgebouw, and the Berlin Philharmonie and Konzerthaus. He is also a frequent guest at leading festivals including Tanglewood, Ravinia, Schubertiade, Edinburgh, Salzburg, Lucerne, and the BBC Proms, where in 2010 he became the first person to play a complete Beethoven piano concerto cycle in a single season.

Mr. Lewis’s award-winning discography for Harmonia Mundi includes the complete Beethoven piano sonatas and concertos and all of Schubert’s major piano works from the last six years of his life, including the three song cycles with tenor Mark Padmore. Future recording plans include a multi-CD series of Haydn sonatas, Beethoven’s Bagatelles , and works by Bach. Great Performers I Meet the Artists

Mr. Lewis studied with Joan Havill at the Guildhall School of Music and Drama in London before studying privately with Alfred Brendel. He is co-artistic director of Midsummer Music, an annual chamber music festival held in Buck - inghamshire, U.K., and the Leeds International Piano Competition.

Lincoln Center’s Great Performers

Initiated in 1965, Lincoln Center’s Great Performers series offers classical and contemporary music performances from the world’s outstanding symphony orchestras, vocalists, chamber ensembles, and recitalists. One of the most significant music presentation series in the world, Great Performers runs from October through June with offerings in Lincoln Center’s David Geffen Hall, Alice Tully Hall, Walter Reade Theater, and other performance spaces around New York City. From symphonic masterworks, lieder recitals, and Sunday morning coffee concerts to films and groundbreaking productions specially commissioned by Lincoln Center, Great Performers offers a rich spectrum of programming throughout the season.

Lincoln Center for the Performing Arts, Inc.

Lincoln Center for the Performing Arts (LCPA) serves three primary roles: pre - senter of artistic programming, national leader in arts and education and com - munity relations, and manager of the Lincoln Center campus. A presenter of more than 3,000 free and ticketed events, performances, tours, and educa - tional activities annually, LCPA offers 15 programs, series, and festivals includ - ing American Songbook, Great Performers, Lincoln Center Out of Doors, Midsummer Night Swing, the Mostly Mozart Festival, and the White Light Festival, as well as the Emmy Award–winning Live From Lincoln Center , which airs nationally on PBS. As manager of the Lincoln Center campus, LCPA pro - vides support and services for the Lincoln Center complex and the 11 resident organizations. In addition, LCPA led a $1.2 billion campus renovation, com - pleted in October 2012. Great Performers

Lincoln Center Programming Department Jane Moss, Ehrenkranz Artistic Director Hanako Yamaguchi, Director, Music Programming Jon Nakagawa, Director, Contemporary Programming Jill Sternheimer, Director, Public Programming Jordana Leigh, Director, David Rubenstein Atrium Lisa Takemoto, Production Manager Charles Cermele, Producer, Contemporary Programming Mauricio Lomelin, Producer, Contemporary Programming Andrew C. Elsesser, Associate Director, Programming Luna Shyr, Senior Editor Regina Grande Rivera, Associate Producer Viviana Benitez, Associate Producer, David Rubenstein Atrium Walker Beard, Production Coordinator Meera Dugal, Programming Manager, David Rubenstein Atrium Nana Asase, Assistant to the Artistic Director Olivia Fortunato, Programming Assistant

Mr. Padmore’s representation: Maxine Robertson Management Ltd. www.maxinerobertson.com

Mr. Lewis’s representation: Maestro Arts www.maestroarts.com

Accessibility at Lincoln Center

Dedicated to ensuring everyone has Bringing a walker or transferring access to the arts, Lincoln Center for out of a scooter? The usher staff can the Performing Arts was one of the check your mobility device and return first performing arts organizations with it to you at intermission and after the a department focused on accessibility performance. for people with disabilities. With Need to borrow a wheelchair an eye toward universal design and for a performance? You can accommodations that can serve all make arrangements by contacting guests, the Accessibility team has tips Accessibility at Lincoln Center. (See to maximize your visits to contact information below). Lincoln Center. Use para-transit to Is the program print too get to Lincoln Center? tiny to read? You can A designated Access- pick up a large-print A-Ride drop-off is on Playbill from an usher. We Columbus Avenue print over 20,000 large between 63rd and 65th print programs annually. Streets near the grand We also have Braille stairs and ramps leading programs available. up to the fountain. When Need assistance booking your ride, use getting to your seat? the address “20 Lincoln Lincoln Center’s accessible Center Plaza.” campus map shows how to Would customized travel on campus and in theaters by performances be helpful for anyone elevators and ramps. in your family with a disability? For a copy of the Accessibility Guide, Lincoln Center offers a range of visit LincolnCenter.org/Accessibility. performances created for people with disabilities, including Relaxed Difficulty hearing the performance? Performances; Lincoln Center Assistive listening devices, with Moments, designed to connect headsets or t-coil loops that sync with individuals with dementia and their most hearing aids, can help turn up caregivers; and verbal description and the volume. ALDs are available at the touch tours of campus for people who head usher podium. are blind or have low vision. Need wheelchair-accessible seats Need accommodations to make or aisle seats? The box office can your experience at Lincoln Center assist you with selecting seats that accessible? Contact Accessibility best fit your needs. at Lincoln Center at least three weeks in advance to schedule ASL- interpretation, CART, audio description, or any other accommodations.

For more information, contact Accessibility at Lincoln Center at [email protected] or 212.875.5375.