presents strauss: self-portrait of the artistamericansymphony.org/playbill/aso3.pdf · presents...

Sunday Afternoon, December 15, 2013, at 2:00Isaac Stern Auditorium/Ronald O. Perelman StageConductor’s Notes Q&A with Leon Botstein at 1:00

presents

Strauss: Self-Portrait of the ArtistLEON BOTSTEIN, Conductor

RICHARD STRAUSS Feuersnot

Diemut: JACQUELYN WAGNER, SopranoKunrad: ALFRED WALKER, Bass-baritoneOrtolf Sentlinger: JEFFREY TUCKER, Bass

Schweiker von Gundelfingen: CLAY HILLEY, TenorElsbeth: BRENDA PATTERSON, Mezzo-sopranoWigelis: CYNTHIA HANNA, Mezzo-sopranoMargret: MICAËLA OESTE, SopranoKunz Gilgenstock: RON LOYD, BaritoneJörg Pöschel: BRANCH FIELDS, Bass

Hämerlein: DANIEL SCOFIELD, BaritoneKofel: CHAD ARMSTRONG, Baritone

Ortlieb Tulbeck: ADAM BIELAMOWICZ, TenorUrsula: ANNMARIE SANDY, Mezzo-sopranoRuger Aspeck: TOMMY WAZELLE, TenorWalpurg: MARIE MASCARI, Soprano

withTHE COLLEGIATE CHORALE SINGERS; JAMES BAGWELL, DirectorMANHATTAN GIRLS CHORUS; MICHELLE OESTERLE, Director

PLEASE SWITCH OFF YOUR CELL PHONES AND OTHER ELECTRONIC DEVICES.

This afternoon’s concert will run approximately one hour and 30 minutes with no intermission.

American Symphony Orchestra welcomes the many organizations who participate in our Community AccessProgram, which provides free and low-cost tickets to underserved groups in New York’s five boroughs. For

information on how you can support this program, please call (212) 868-9276.

12-15 ASO_Carnegie Hall Rental 12/4/13 10:43 AM

Note ON THE PROGRAMStrauss: Self-Portrait of the Artistby Leon Botstein

Our conception of a composer’s life andcareer does not always correspond tothe image the composer has of himself.The discrepancy is particularly acute inthe case of Richard Strauss. Conven-tional wisdom has it he was a Philistine;a superficial man endowed with anincredible musical gift. Posterity haspraised him for the music he wrotetoward the end of the 19th century thatwas once considered modern and daring.That period in Strauss’s compositionallife is understood as coming to an endwith the premiere of Der Rosenkavalier(1911). The pinnacle of Strauss’s achieve-ment in this view is Elektra (1909). Afterthat, Strauss was regarded as an agingmaster repeating himself, someone whoachieved only glimpses of his former bril-liance, mostly during an “Indian sum-mer” after 1945 when he produced a fewacknowledged masterpieces.

It is quite clear that Strauss harbored nosuch view of himself. And in fact theconventional account is mistaken. Theone-act opera in this afternoon’s pro-gram is key to a more accurate and per-ceptive understanding of the composer.The historic neglect of Feuersnot(1901) is in part responsible for theprevalence of the distorted view of thecomposer described above. In the firstplace, Strauss’s aesthetic remained quiteconsistent. Mozart, not Wagner, wasalways at the core of his ambition andhis notion of beauty in music. Second,like Haydn and Mozart, Strauss wasincapable of writing inferior music. Justbecause the music he wrote in the1920s and 1930s was out of fashionwhen it appeared should not prevent usfrom perceiving its power and worth.

Feuersnot has remained obscure in partbecause its libretto seems so provincial,and the fairytale tradition with which itis associated seems so terribly German.Furthermore, although Strauss per-fected the form of the one-act opera ofa duration sufficient for an entireevening in Salome and Elektra, thiswork is just short enough as to render itan orphan on the opera stage. This is apity, since the work is at once brilliant,funny, and affecting. Unlike Weber’sDer Freischütz, there is nothing in theplot that is unfathomable. More impor-tantly, the opera represents the momentwhen Strauss openly signals his affinityto Mozart.

Perhaps the most helpful way toapproach the work of Richard Straussis indeed to consider the striking simi-larities between Mozart and Strauss.Both excelled in writing for the stage.Yet both were equally successful atcomposing instrumental music. Thisquite rare achievement resulted fromthe fact that Mozart and Strauss bothpossessed an uncanny and startlingfacility in the handling of musical mate-rials. They were virtuosic in their abil-ity to think with music. AlthoughStrauss never exhibited the same levelof precocity, there is little doubt thatlike Mozart he thought first in music,through its grammar and syntax, andthen in language. Mozart may now bethought of as profound and Strauss stillderided in some quarters as a superfi-cial “note spinner,” but we shouldremember that there was a time in the19th century when Mozart’s music wasdismissed as largely decorative.

But what links the two composers aboveall is their sense of humor, exceptionalwithin the pantheon of composers.


Haydn certainly displayed a sense ofhumor, but it was largely confined tomusic and it remains subtle if not dry.Beethoven seemed to have no humor atall. One suspects that the only peoplewho found Wagner funny were his fam-ily and inner circle. Mozart and Strausspossessed more than mere comicality.Because they perceived the world firstnot through the mechanism of languagebut through the temporal structures ofmusic, they developed a sharp but for-giving sense of human fallibility and adeep sense of irony. Their capacity forhumor, as expressed in music, was lacedwith a humane capacity for lightness.They delighted in satire. In their music,they revealed an understanding of forgive-ness, a sense of longing, and a sympatheticrecognition of the human condition. Thelast scenes of Der Rosenkavalier havetheir mirror image in the closing sec-tions of The Marriage of Figaro.

Mozart and Strauss are two composerswho possessed true wisdom. Theyshared with their listeners the abilitythrough music to cope with the disap-pointments and sufferings that comeinevitably with mortality. AlthoughWagner’s ghost inhabits Feuersnot, thisrarely performed one-act opera alreadyreveals the direction Strauss would takeduring his long career, and his basicartistic credo. Owing to the influence ofhis father (as Christopher Gibbs sug-gests in his note on today’s concert), butalso to that of Hans von Bülow (whoconverted from Wagner into an ardentproponent of Brahms), Strauss’ funda-mental instincts as a young man leanedtoward the classical style. He wasindeed always more like Mozart thanlike Wagner. This should come as nosurprise. Wagner possessed genius butlittle in the sense of sheer facility.Strauss, like Mozart, possessed facilityand like Mendelssohn (Wagner’s archrival in his own mind), displayed bothfacility and genius.

Although it is undeniable that Strausscame under the influence of Wagnerand recognized Wagner’s extraordinarycreation of a musical language ade-quate to the demands of narration andsufficient to meet the expectations gen-erated by the aesthetics of realism,Strauss remained skeptical regardingthe explicit philosophical and implicitmetaphysical claims about music andits power and meaning that Wagnerpopularized. For all of the evidentaspects of Wagnerian influence, theallures of sonata form and thematictransformation dominate the famoustone poems of the 1890s. In Feuersnotthe compositional technique owes asmuch to Brahms as it does to Wagner;the musical logic relies on strategies dis-tinct from Wagner’s use of repetitionand harmonic color. Strauss pokes funat Tristan und Isolde in Feuersnot, andhe pokes fun at the need in the Wagner-ian ambition to appear profound andits reliance on potions, magic, and mythas elements of the drama.

Strauss adored Wagner’s only successfulcomedy Die Meistersinger von Nürn-berg (1868). But in truth there is verylittle to laugh at in that opera except ina cruel, bullying way. Die Meistersingeris a comedy only because it has a happyending. Wagner, unlike Strauss, wasincapable of laughing at himself. Feuer-snot takes aim at many things, butamong its targets are not only Wagner-ian pretensions about opera and musicbut Strauss himself.

In the period immediately following thecomposition of Feuersnot, Straussturned to myth but not to Germanicmyth. Working with the literary geniusof Wilde and Hofmannsthal, he found away to create a searing human drama inSalome and Elektra. In his instrumentalmusic, the Symphonia domestica andlater An Alpine Symphony, he pushedmusic’s potential as an instrument of


realist narration to its farthest limits.And then, in 1911 with Der Rosenkava-lier, he without reserve embraced the18th century and its pre-romantic aes-thetic of clarity and grace. For the restof his career it was not Wagner butMozart who became his explicit model.And it is ironic that it was Mozartwhom Brahms (Wagner’s antipode) alsorevered. In his last operatic works, DieLiebe der Danae and Capriccio, Straussmused on the nature of music and itsrelation to language and everyday life.He also made one last effort to rendermyth human and accessible in a waythat Wagner never did. If Tristan hoversover Feuersnot in an affectionate andadmiring manner, Tristan also is theobject of contrast in Strauss’ lastattempt at grand opera, Die Liebe derDanae, whose subject is—as is the casein Feuersnot—love and desire.

In order to understand Strauss’ per-sonal idea of love, one has to considerthat although he was inexplicablydevoted to his wife, Pauline (despite thefact that she was universally regardedas overbearing), the great love ofStrauss’ life occurred before his mar-riage, in the person of Dora Wihan, ayoung woman of Jewish extractionwho was married to the cellist HanušWihan, a friend of Strauss’ father.Needless to say, Strauss’ parents disap-proved of this liaison. Strauss’ trip toEgypt seemed to have coincided with anabrupt break with Dora. All the lettersbetween them were destroyed, and theentire affair is shrouded in mystery.Strauss’ unabashedly autobiographicalIntermezzo (1927), which contains adepiction of his wife that she along withmany others found unflattering, may

suggest that after this searing but trau-matic passion early in his life, reminis-cent of Tristan and other star-crossedlovers, Strauss, like many artists, couldexpress the intensity of love and desireas well as the sense of loss and longingonly through music. This allowed himto make peace with an unapologeticallyconventional life style.

It is the Mozartean sense of humor, theMozart-like recognition of the delight-ful and painful self-delusions surround-ing love, that explains the composer’slifelong regret at the neglect of Feuer-snot. This work is more than a harbin-ger of Strauss’ later achievements. It isthe first full-blown and successfulexample of Strauss’ greatness as anopera composer. It reveals his capacityto use modern, musical language andtechnique to achieve Mozartean grace,irreverence, formal beauty, and unspeak-able eloquence.

As is the case with all great comedies,Strauss in Feuersnot is deadly serious.The expectations that surround loveand desire and the place of the artistplay a central role in the comedy. Farfrom being a Philistine, Strauss wasdeeply reflective. He was a keen readerof literature and philosophy, and waspossessed of a skepticism that helpedjustify egotism, detachment, and a cal-lous disregard of the political evil aroundhim. The mask behind which he hid issuggestive of a deep pessimism aboutmodernity. Yet In Feuersnot we encountera passionate young Strauss whose capac-ity for affectionate irreverence speaksvolumes for who he was and how true heremained to himself as a composer untilhis death at the age of 85.


by Christopher Gibbs

Richard StraussBorn June 11, 1864, in Dresden, Germany

Died September 8, 1949, in Garmisch-Partenkirchen, Germany

FeuersnotComposed from 1900–01

Premiered November 21, 1901, in Dresden, GermanyApproximate performance time: 1 hour and 30 minutes

Instruments: 3 flutes (1 doubling piccolo), 3 oboes (2 doubling English horn), 3 clarinets (1 doubling bass clarinet), 3 bassoons (1 doubling contrabassoon), 4 French horns, 3 trumpets, 3 trombones, 1 tuba, timpani, percussion (snare

drum, bass drum, cymbals, tambourine, castanets, tamtam, triangle, glockenspiel),1 harmonium, 2 harps, strings, chorus, children’s chorus, and vocal soloists

THE Program

“It is, in its way, a kind of prelude.” Sothe 85-year-old Richard Strauss com-mented in a diary entry a few monthsbefore his death concerning Feuersnot(In Need of Fire), his second opera,which had premiered nearly a half cen-tury earlier in 1901. His first opera,Guntram, had bombed badly in 1894,yet Strauss’ career was nonethelessthriving on account of his daringorchestral works. He hit operatic stridein 1905 with the premiere of Salome.Haunting this trio of early operas is theghost of Wagner, “Richard the First.”(Strauss referred to himself as “littleRichard the Third,” noting that con-ductor Hans von Bülow said therecould be no Richard the Second.) Allu-sions and outright quotations fromWagner are sprinkled throughoutFeuersnot, which Strauss planned as anattack on the bourgeois provincialismof Munich, his hometown and a city hefelt had failed to recognize eitherRichard the First or the Third.

Strauss had been raised in a musicalhousehold where Wagner was perceivedas poison. His father played principal

French horn in the Munich CourtOrchestra and often performed hisoperas, including some premieres, butcould not stand the music. He steeredhis talented son in more conservativedirections, toward such “ClassicalRomantics” as Schumann, Mendelssohn,and Brahms. Amidst the fraught musi-cal politics of the time, the allegiancesof the Strauss family were clear, as wasthe enemy: the New German Schoolepitomized by Berlioz, Liszt, and Wagner.Then Strauss had what he called his“conversion.” Alexander Ritter, a com-poser and musician who had knownboth Liszt and Wagner, became like asecond father, as well as an artistic men-tor. Largely under his influence, Straussbegan writing symphonic “Tone Poems”and with works like Don Juan (1888–89)emerged as the most progressive figurein orchestral music.

While the failed premiere of Guntramin Munich was a setback, his orchestralsuccesses and notoriety continued withTill Eulenspiegels lustige Streiche(1894–95), Also sprach Zarathustra(1896), Don Quixote (1897), and Ein


Heldenleben (1897–98). Strauss, like hisslightly older friend and rival GustavMahler, was simultaneously building acareer as a prominent conductor thatincluded leading Wagner operas inBayreuth. He would eventually emergeas Wagner’s great operatic heir. His 15operas, written over a period of nearly50 years, vary greatly in subject matterand style, yet there remain fairly consis-tent Wagnerian affinities in his use ofleitmotivs, colorful deployment of largeorchestras placing substantial demandson singers, and in his abiding attractionto mythology. Strauss also had a terrificsense of humor (something Wagner can-not be accused of), even if the “in jokes”now sometimes fall flat in Feuersnot.

By 1900, after an interval of six yearsduring which he declared he “lost thecourage to write for the stage,” Strausswas ready to try his hand again at operaand collaborated with librettist Ernst vonWolzogen on a project he hoped wouldextract justified revenge on Munich.Feuersnot is based on a bawdy old Flem-ish legend about a young man who, afterbeing humiliated by the girl he loves,meets a magician who casts a spell thatputs the town in complete darkness—the“famine of fire” that gives the opera itstitle. Only once the girl is made to stripnaked can people light their fires fromflames that spring from her behind. Thiscolorful old story, need it be said, posesconsiderable challenges for a librettist.Wolzogen sanitized the tale somewhat,although it still proved too scandalousfor some opera houses and audiences. Heexplained his adaptation to Strauss: “Theyoung hero lover is himself a magician,and the Grand Old Master, his mentor,who was once expelled by the people ofMunich, never appears in person. Thewicked young girl is forced to sacrificeher virginity at the conclusion, to end thetown’s fire famine.”

Strauss loved working autobiographicalallusions into his music and in Feuersnot

he identified with the young loverKudrad while Wagner is clearly theunseen master magician. Strauss alsoweaved in several folk songs connectedto his native Munich together with thevarious quotations from Wagner. Theopera proved a considerable successwhen it premiered in Dresden in Novem-ber 1901 and Mahler presented it inVienna two months later. The Americanpremiere was given in Philadelphia in1927 with the lead sung by Nelson Eddya few years before he won fame in Hol-lywood films. The one-act Feuersnot israrely performed these days, althoughthe marvelous love scene that ends theopera is sometimes programmed sepa-rately as an orchestral excerpt.

At the start of the opera Kunrad isinfatuated with the maiden Diemut,daughter of the town mayor, and stealsa kiss. That evening he serenades herbeneath her balcony window and theysing an over-the-top love duet. Diemut,however, is just pretending to be inter-ested in Kunrad, angered as she is byhis actions earlier that day. She says shewill hoist him up to her room in a bas-ket, but in fact pulls him up only halfway and leaves him hanging there allnight. Kunrad retaliates by causing theblackout and eventually all the townfolk want Diemut to submit to him soas to end the fire famine. The conclud-ing love scene lets us listen and imaginewhat is happening behind closed doors.As the music reaches its climax there isa grand pause and the fires of the townare suddenly reignited. This all owes alot to Wagner’s Tristan und Isolde,except in this case everyone ends up liv-ing happily ever after. For listeners whoknow and love Strauss’ later operas, hissecond one does indeed seem “a kind ofprelude” to his brilliant career.

Christopher Gibbs is James H. Ott-away, Jr. professor of music at BardConservatory of Music and co-artisticdirector of the Bard Music Festival.


THE ArtistsRecognized as much for his visionaryzeal as his performances, championingmasterpieces unfairly ignored by his-tory and creating concert programsthat engage the head as well as theheart, Leon Botstein recently celebratedhis 20th year as music director andprincipal conductor of the AmericanSymphony Orchestra. He is also co-artistic director of the Summerscapeand Bard Music Festivals, which takeplace at the Richard B. Fisher Centerfor the Performing Arts, designed byFrank Gehry for Bard College, whereMr. Botstein has been president since1975. He is also conductor laureate ofthe Jerusalem Symphony Orchestra,where he served as music director from2003–11.

Mr. Botstein leads an active schedule asa guest conductor all over the world,and can be heard on numerous record-ings with the London Symphony (theirrecording of Popov’s First Symphonywas nominated for a Grammy), theLondon Philharmonic, NDR-Hamburg,and the Jerusalem Symphony Orches-tra. Many of his live performances withthe American Symphony Orchestra areavailable for download online. The LosAngeles Times called this summer’s LosAngeles Philharmonic performanceunder Mr. Botstein “the all-aroundmost compelling performance of any-thing I’ve heard all summer at theBowl.” Earlier this season he con-ducted the Sinfónica Juvenil de Caracasin Venezuela and Japan, the first non-Venezuelan conductor invited by El Sis-tema to conduct on a tour.

Highly regarded as a music historian,Mr. Botstein’s most recent book is Von

Beethoven zu Berg: Das Gedächtnisder Moderne (2013). He is the editorof The Musical Quarterly and theauthor of numerous articles andbooks. He is currently working on abook based on his talks given at theprestigious Tanner Lectures in Berke-ley, California. For his contributions tomusic he has received the award of theAmerican Academy of Arts and Lettersand Harvard University’s prestigiousCentennial Award, as well as the Crossof Honor, First Class from the govern-ment of Austria. In 2009 he receivedCarnegie Foundation’s Academic Lead-ership Award, and in 2011 wasinducted into the American Philosoph-ical Society. He is also the 2012 recipi-ent of the Leonard Bernstein Award forthe Elevation of Music in Society. Thisyear, following in the footsteps of SirJohn Barbirolli, Otto Klemperer, andothers, Mr. Botstein received theBruckner Society’s Julio Kilenyi Medalof Honor for his interpretations of thatcomposer’s music.

Mr. Botstein is represented by Colum-bia Artists Management, LLC.

LEON BOTSTEIN, Conductor

PHOTO BY RIC KALLAHER


Tenor Adam Bielamowicz returned forthe third time to Sarasota Opera in the2012–13 season, where he covered

Calaf in Turandot, Borsa in Rigoletto,and Count Ivrea in Verdi’s Un giornodi regno. With the Central FloridaBach Festival he appeared as guesttenor soloist for Bach’s Cantata BWV78. The season culminated in a suc-cessful return to the Glimmerglass Fes-tival, where he debuted in 2012 asEwart Dunlop in Marcia MilgromDodge’s smash-hit production ofMeredith Willson’s The Music Man.Earlier this year he received numerousaccolades for his Wagnerian debut inthe role of the Steersman.

A native Texan, Mr. Bielamowiczenjoyed his Houston Grand Opera debut

CHAD ARMSTRONG, Baritone

Chad Armstrong performs throughoutthe United States and Europe, and earlierthis year he made his debut in the titlerole of Rigoletto with Annapolis Opera.

Recent performances include FrankMaurrant in Street Scene with Okla-homa Baptist and Figaro in Le nozze diFigaro with Western Plains Opera. Lastsummer Mr. Armstrong joined NewYork City’s Gotham Chamber Opera to

cover the role of Rappaccini in La Hijade Rappaccini. In the spring of 2011 hemade his debut with the Teatro Comu-nale di Bologna and the Teatro LucianoPavarotti in Modena, singing the titlerole in Luigi Dallapiccola’s Il prigioniero.

His other notable roles include La Fan-ciula del West with Dicapo Opera The-ater, John Proctor in The Crucible,Lescaut in Manon Lescaut, Tom Carterin Thomas Pasatieri’s Hotel Casa blanca,Pope Pius IX in the world premiere of IlCado Mortara by Francesco Cilluffo,Mr. Fox in the New York premiere ofTobias Picker’s Fantastic Mr. Fox, Silvioin I Pagliacci, Taddeo in L’italiana inAlgeri, and Marcello in La bohème.

Mr. Armstrong has made several CarnegieHall appearances, most notably as bari-tone soloist in Beethoven’s Symphony No.9. His other concerts have included suchworks as Puccini’s Messa di Gloria andChristof Bergman’s Piazza Navona.

ADAM BIELAMOWICZ, Tenor


as the Burgess in Britten’s Peter Grimes in2011. Roles assigned to him in earlierseasons at Sarasota Opera includeParpignol in La bohème, and the cover ofNormanno in Lucia di Lammermoor.

Earlier in his career Mr. Bielamowiczwas invited to prestigious apprenticeshipswith Santa Fe Opera, covering Fenton inVerdi’s Falstaff; Crested Butte Opera, cov-ering and singing Rodolfo in La bohème;and Cedar Rapids Opera, singing theFirst Armored Man in Die Zauberflöte.

Collegiate roles include Chester Arthur inThe Ballade of Baby Doe, Basilio in Lenozze di Figaro, and Beppo in Donizetti’sRita with Texas Tech University.

No stranger to the concert stage, Mr.Bielamowicz has been the featuredtenor soloist in three choral master-works with the Lubbock Symphony:Mendelssohn’s Elijah, Handel’s Mes-siah, and Mozart’s Mass in C minor.Other concert repertoire includes theEvangelist in Bach’s St. John Passion.

Branch Fields’ recent highlights includehis first Méphistophélès in Faust atOpera San Jose, Palémon in Thaïs atOpera Company of Middlebury, Simonein Gianni Schicchi on Martha’s Vine-yard, and debuting at Bard Music Festi-val as Thomas Cranmer in a concertversion of Saint-Saëns’ Henry VIII.

The 2012–13 season included his firstDon Alfonso in Così fan tutte in Boze-man, Sarastro in Die Zauberflöte atOpera on the James, back to Bozemanfor Frère Laurent in Roméo et Juliette,and a reprise of Méphistophélès forOpera Fort Collins. Last summer hewas in the 12-member ensemble of LeraAuerbach’s opera The Blind at LincolnCenter Festival, and he returned toMartha’s Vineyard to sing Mustafa inL’italiana in Algeria. Upcoming eventsinclude a live radio broadcast of Can-dide from Leipzig, Germany, with Mit-teldeutcher Rundfunk (MDR) and hisCanadian debut as 5th Jew in Salome atEdmonton Opera.

Other recent highlights include Pistolain Falstaff with Utah Opera, Varlaam in

Boris Gudunov with UFOMT, DonBasilio in Il barbiere di Siviglia withOpera on the James, and Colline in Labohème with DiCapo Opera Theater.

Other roles performed include Raimondoin Lucia di Lammermoor, Alidoro inCenerentola, Marco in A View from theBridge, and Il Commendatore in DonGiovanni. Mr. Field’s versatility as asinging actor led to his Broadway debutin South Pacific, understudying the roleof Emile de Becque in the Lincoln Cen-ter production.

BRANCH FIELDS, Bass


CYNTHIA HANNA, Mezzo-soprano

This season Cynthia Hanna makes herdebut with the Lyric Opera of Chicagoas the Third Wood Nymph in Rusalkaand sings Suzuki in Madama Butterflywith Opera Grand Rapids. She madeher international debut as Suzuki inMadama Butterfly at the SavonlinnaOpera Festival and returned to thecompany for roles in two world pre-mieres: Joan of Arc in Free Will, com-posed by an international communityonline; and the Guard in Hakola’s LaFenice. Other recent performancesinclude Maddalena in Rigoletto alongside

Placido Domingo in the title role at Bei-jing’s Reignwood Theater, Meg Page inFalstaff with Utah Opera, Alisa inLucia di Lammermoor with DallasOpera, Dritte Dame in Die Zauberflötewith Baltimore Symphony Orchestraand Opera North, Emilia in Otello withSarasota Opera, and MademoiselleDangeville in Adriana Lecouvreur withWashington Concert Opera. She recentlyreturned to Washington National Operafor the Page in Salome after havingbeen a young artist with the companyand singing Mercedes in Carmen andDryad in Ariadne auf Naxos. On theconcert stage she has joined the Balti-more Symphony Orchestra for Handel’sMessiah; Utah Symphony for Debussy’sLa demoiselle elue, Mozart’s Requiem,and Bernstein’s Mass; Charleston Sym-phony Orchestra for Verdi’s Requiem;and the Kennedy Center Chamber Play-ers for Brahms’ Zwei Gesänge. She haspreviously joined the American Sym-phony Orchestra at Carnegie Hall forSpohr’s Die letzten Dinge and FannyMendelssohn’s Musik Für die Toten derCholera-Epidemie.

CLAY HILLEY, Tenor

Georgia native Clay Hilley returns tothe American Symphony Orchestra

after last season’s debut in Mahler’sSymphony No. 8. Since then he hasmade his Lincoln Center debut in theVerdi Requiem, covered the role ofManrico in Il trovatore with ArizonaOpera, sung the Steuermann in Derfliegende Holländer with IndianapolisOpera, and covered the role of Erik atthe Glimmerglass Festival. This seasonhe sings Radames in Aida, the title roleof Faust with Winter Opera St. Louis,returns to Lincoln Center in Beethoven’sSymphony No. 9, makes his debut withMadison Opera as Father Grenvillein Dead Man Walking, and coversCavaradossi in Tosca with Atlanta


Opera. Past concert appearances haveincluded Brahms’ Neue Liebeslieder-Waltzer; Britten’s Canticle II, Abrahamand Isaac; Handel’s Messiah; Haydn’sCreation; Mendelssohn’s Elijah andLobgesang; Mozart’s Requiem andCoronation Mass; and Janácek’s Diaryof One Who Vanished. Other operaticroles include Pinkerton in Madama

Butterfly; Don José in La tragedie deCarmen; Froh in Das Rheingold; DonJosé in Carmen; the title roles ofWerther,Hoffmann, and Faust; Turidduin Cavalleria Rusticana; Anatol inVanessa; Canio in Pagliacci; Roméo inRoméo et Juliette; Edgardo in Lucia diLammermoor; and Molqi in The Deathof Klinghoffer.

RON LOYD, Baritone

Ron Loyd has performed on opera,concert, and musical theater stagesacross the United States, including forAmarillo, Chautauqua, Des MoinesMetro, El Paso, Mobile, Nevada, PalmBeach, Pensacola, and Sarasota Operacompanies and internationally inChina, the West Indies, and Italy inroles including Germont in La traviata,Marcello and Schaunard in La bohème,Sharpless in Madama Butterfly, Ping inTurandot, Papageno in Die Zauber-flöte, and the title roles of Rigoletto, Lenozze di Figaro, and Sweeney Todd.Recent seasons include performances ofRigoletto with Salt Marsh Opera, theroles of Scarpia in Tosca with BaltimoreConcert Opera, Lucas in Gluck’s TheReformed Drunkard at Off-Broadway’s59E59 Theaters produced by the LittleOpera Theatre of NY, Tonio in Pagli-acci with New Jersey Verismo, and Lep-orello in Don Giovanni at OperaSouthwest. Notable concert perfor-mances include Handel’s Israel in Egypt

with the American Symphony Orchestraand The Collegiate Chorale under thedirection of James Bagwell, Beethoven’sNinth Symphony with Pensacola Sym-phony, Brahms’ Ein deutsches Requiemwith the Chorale Society of NY, andBernstein’s West Side Story with the FortWorth Symphony. Mr. Loyd makes hisupcoming house debut at Winter OperaSaint Louis as Ford in Verdi’s Falstaff.


MICAËLA OESTE, Soprano

In the 2013–14 season Micaëla Oestemakes her debuts with Opéra deMonte-Carlo as Lucy in Menotti’s TheTelephone and with San Diego Operaas Pedro in Don Quichotte. She joinsPlácido Domingo for concerts of operafavorites in Seoul, Korea, and at Berke-ley’s Greek Theater. Last season shejoined Los Angeles Opera as Zerlina inDon Giovanni and Opéra National deMontpellier as Virtù and Pallade inL’incoronazione di Poppea in additionto returning to Opera Tampa for a gala

concert. Recent engagements includeZerlina in Don Giovanni with PolishNational Opera and Croyble in Thaisand L’Infante in Le Cid at the Palau deles Arts Reina Sofía. She sang Gilda inRigoletto alongside Domingo in thetitle role at Beijing’s Reignwood The-ater and has since joined the famedtenor in concerts in Oman, Zagreb,Amsterdam, Stockholm, and MexicoCity. She recently returned to Washing-ton National Opera as Oscar in Unballo in maschera, where she previ-ously triumphed as Ophélie in Hamletas she stepped in mid-performance, aswell as sang Nannetta in Falstaff,Woodbird in Siegfried, and First Niecein Peter Grimes while a Domingo-Cafritz Young Artist. Other perfor-mances include Créuse in Charpentier’sMédée and Giunone in Il ritornod’Ulisse in patria with Chicago OperaTheater, the title role in La Cecchina,ossia La buona figliuola at the PiccinniFestival in Bari, and Barber’s Knoxville:Summer of 1915 as a guest artist atNorthern Illinois University.

PHOTO BY DARIO ACOSTA

BRENDA PATTERSON, Mezzo-soprano

This season mezzo-soprano BrendaPatterson sings the Solo Pig in HK Gru-ber’s Gloria: A Pig Tale at the Metro-politan Museum of Art as a part of the

inaugural New York PhilharmonicBiennial, and also returns to the Metro-politan Opera roster. She recently per-formed Idamante in Idomeneo, Niklaussein Les contes d’Hoffmann, Dorabellain Così fan tutte, Hänsel in Hänsel undGretel, Cherubino in Le nozze diFigaro, Annio in La clemenza di Tito,and Rosina in Il barbiere di Siviglia atthe Staatsoper Hamburg. She made herMetropolitan Opera debut as a WoodSprite in Rusalka and has sincereturned to the company in Lulu,Iphigénie en Tauride, Dialogues desCarmélites, and Le nozze di Figaro.Other opera engagements includeStephano in Roméo et Juliette withOpera Colorado, Cherubino in Le

PHOTO BY SAM HANDEL


DANIEL SCOFIELD, Baritone

Daniel Scofield has performed withSeattle Opera, Indianapolis Opera,Opera Cleveland, Brevard Music Center,Central City Opera, Wolf Trap Opera,and Augusta Opera. In the 2013–14 sea-son he plays Danilo in Opera Colum-bus’ Opera on the Edge production ofThe Merry Widow, and in December hejoins the Annapolis Opera in their season-opening Celebrate Opera concert beforereturning to California to play Masettoin his Opera San Jose debut.

Last season Mr. Scofield performedSharpless in Madama Butterfly with theLoon Opera, Falke in Die Fledermausand Sonora in La fanciulla del West withKnoxville Opera, Joseph de Roucher inDead Man Walking with Opera Fayet-teville, Tonio in Pagliacci with OperaIdaho, and Count Almaviva in Le nozzedi Figaro with the Pacific Opera Project.

Previously, Mr. Scofield performed Wag-ner in the premiere of Bernard Uzan’s

new production of Faust and PrinceYamadori in Madama Butterfly, alsocovering Sharpless, both at ArizonaOpera. He apprenticed at Seattle Opera,where he was seen as Mamma Agatha inDonizetti’s Viva la mamma and Fiorelloin their mainstage production of Il bar-biere di Siviglia. He has also performedBaron Douphol in La traviata with Indi-anapolis Opera.

nozze di Figaro with Lyric Opera ofKansas City, Alcina in Haydn’sOrlando Paladino with GlimmerglassOpera, and the soloist in AriadneUnhinged, a staging of Schoenberg,Haydn, and Monteverdi with GothamChamber Opera.

Active within the realm of concert andchamber music, Ms. Patterson has sungBach’s Weihnachstsoratorium; Erforsche

mich, Gott, und erfahre mein Herz;and Ich liebe den Hochsten vonganzem Gemute with Orchestra ofSaint Luke’s; and Weihnachstsorato-rium and Tilge, Höchster, meine Sündewith the Handel and Haydn Society.She has sung Berio’s Folk Songs at theGreenwich Music Festival and Mozart’sRequiem at Saint Thomas Church. Shehas also premiered more than thirtyworks by living composers.

PHOTO BY NATASHA KOMODA


JEFFREY TUCKER, Bass

Jeffrey Tucker made his New York CityOpera debut in 2007 as Judge III inMargaret Garner, followed by anappearance as Lesbo in Agrippina andas Siroco in L’étoile. Last season Mr.Tucker performed at the Bard MusicFestival in Henry VIII, as Der Laut-sprecher in Der Kaiser von Atlantis withthe University of Denver, and as Dr. Bar-tolo in Le nozze di Figaro and The Dukein Roméo et Juliette with Des MoinesMetro Opera. This season he performsPistola in Falstaff with Virginia Operaand Sacristan in Tosca with the BostonYouth Symphony Orchestra.

Other operatic roles include Hortensiusin La Fille de Regiment, the title char-acter in The Mikado, Banco in Mac-beth, Il Commendatore in Don Gio-vanni, Stolnik in the U.S. premiere ofHalka, Bartolo in Le nozze di Figaro,Sarastro in Die Zauberflöte, The Bonzein Madama Butterfly, Dr. Grenvil in Latraviata, Luther in Les Contes D’Hoff-man, Montano in Otello, Frank in DieFledermaus, and Benoit/Alcindoro inLa bohème.

Mr. Tucker made his internationaldebut in Katowice, Poland, singing thetitle role in Agamemnonwith the SilesianPhilharmonic. In 2008 he was featured ina concert performance of Candide at theKonzerthaus in Vienna, which was sub-sequently revived in Bremen, Germany,and most recently with the LondonSymphony Orchestra.

On the concert stage Mr. Tucker hasperformed Schubert’s Mass in A-flatand the Mozart Requiem and SolemnVespers with Mid-America Productionsat Carnegie Hall. Other concert perfor-mances include Haydn’s Creation, Bach’sMagnificat, and Handel’s Messiah.

JACQUELYN WAGNER, Soprano

In the 2013–14 season soprano JacquelynWagner sings her first performances ofthe title role of Arabella in a return toMinnesota Opera, and returns to boththe Wiener Volksoper and TheaterBasel for Contessa in Le nozze di Figaroand Opéra de Toulon for Donna Elvirain Don Giovanni. She joins the RoyalLiverpool Philharmonic for Haydn’sCreation and in Krasnoyarsk, Russia,sings her first performances of Wagner’sWesendonck Lieder. Other recent per-formances include the title role of Suor

PHOTO BY MARY DUPRIE


Angelica with Oper Köln, Rosalinde inDie Fledermaus with Oper Frankfurtand Opéra National du Rhin, Agathe inDer Freischütz with Opéra de Toulon,Donna Anna in Don Giovanni withOpéra de Lyon and Florida GrandOpera, Contessa in Le nozze di Figarowith Oper Frankfurt, and Violetta in Latravitata with Festival Internacional deMúsica de Almansa. She has performedthe role of Fiordiligi in Così fan tutte indebuts at the Grand Théâtre de Genève,Vlaamse Oper, Staatstheater Stuttgart,Opera de Marseille, Opéra National duRhin, and Minnesota Opera. She has

joined the Deutsche Oper Berlin forPamina in Die Zauberflöte, Musetta inLa bohème, Gretel in Hänsel und Gre-tel, Contessa in Le nozze di Figaro,Micaela in Carmen, Nuri in Tiefland,and Marei in Der Traumgörge. She hassung Humperdinck’s Königskinder withthe Deutsche Symphonie-OrchesterBerlin and Bruckner’s Mass in F minorwith the St. Gallen Symphony Orches-tra. She joined the Detroit SymphonyOrchestra for a gala concert and theDeutsches Kammerorchester Berlin fora program of Mozart concert arias atthe Berlin Philharmonie.

ALFRED WALKER, Bass-baritone

This season Alfred Walker returns tothe title role of Der fliegende Holländerwith Wagner Geneva Festival, as well asFour Villains in Les contes d’Hoffmannwith Seattle Opera, Banquo in Macbethwith Minnesota Opera, Colline in Labohème with New Orleans Opera, andPorgy in Porgy and Bess with TorontoSymphony Orchestra. Engagements infuture seasons include Les contesd’Hoffmann with Den Norske Operaand Der fliegende Holländer at Théâtrede Caen and Grand Théâtre de Luxem-bourg. His recent operatic engagementsinclude Der fliegende Holländer,Amfortas in Parsifal, and Amonasro inAida with Theater Basel; Parsi Rus-tomji in Satyagraha with MetropolitanOpera; Orest in Elektra with Teatroalla Scala, Deutsche Oper Berlin, Seat-tle Opera, and San Sebastián Festival;Allazim in Zaide with Festival d’Aix enProvence, Wiener Festwochen, Lon-don’s Barbican Centre, and MostlyMozart Festival; Kurwenal in Tristanund Isolde with Angers Nantes Opéraand Opéra de Dijon; Creonte in Médéewith Opéra national de Lorraine; Telra-mund in Lohengrin with Oviedo; Porgyin Porgy and Bess with Los AngelesOpera, Boston Symphony Orchestra,

and Los Angeles Philharmonic; Achillain Giulio Cesare and Colline in Labohème with San Diego Opera; and thetitle role of Don Quichotte, Four Vil-lains in Les contes d’Hoffmann, andMéphistophélès in Faust with TulsaOpera. On the concert stage he hassung Beethoven’s Symphony No. 9 withAtlanta Symphony Orchestra, StuttgarterPhilharmoniker, Utah Symphony, andSun Valley Summer Symphony; Rossini’sStabat Mater with Boston SymphonyOrchestra; Verdi’s Requiem with Balti-more Symphony Orchestra and SpoletoFestival U.S.A.; and Mozart’s Requiemwith Handel and Haydn Society.

PHOTO BY WALTER HILL


The American Symphony Orchestrawas founded 50 years ago by LeopoldStokowski, with the avowed intentionof making orchestral music accessibleand affordable for everyone. Under MusicDirector Leon Botstein, Stokowski’s mis-sion is not only intact but thrives. Andbeyond that, the ASO has become apioneer in what The Wall Street Jour-nal called “a new concept in orches-tras,” presenting concerts curatedaround various themes drawn from thevisual arts, literature, politics, and his-tory, and unearthing rarely-performedmasterworks for well-deserved revival.These concerts are performed in theVanguard Series at Carnegie Hall.

The Orchestra also gives the celebratedconcert series Classics Declassified atPeter Norton Symphony Space, andregularly performs at the Richard B.Fisher Center for the Performing Artsat Bard College, where it appears in a

winter subscription series as well asBard’s annual SummerScape Festivaland the Bard Music Festival. In 2010the ASO became the resident orchestraof The Collegiate Chorale, performingregularly in the Chorale’s New Yorkconcert series. The Orchestra has madeseveral tours of Asia and Europe, andhas performed in countless benefits fororganizations, including the JerusalemFoundation and PBS.

Many of the world’s most accomplishedsoloists have performed with the ASO,among them Yo-Yo Ma, DeborahVoigt, and Sarah Chang. In addition toCDs released by the Telarc, NewWorld, Bridge, Koch, and Vanguardlabels, many live performances by theAmerican Symphony are now availablefor digital download. In many cases,these are the only existing recordings ofsome of the rare works that have beenrediscovered in ASO performances.

THE AMERICAN SYMPHONY ORCHESTRA

THE COLLEGIATE CHORALE SINGERS

The Collegiate Chorale Singers wasfounded in 2003 as an elite, mostly-professional ensemble of The CollegiateChorale. The Singers, led by ChoraleMusic Director James Bagwell, performas featured artists on select concerts ofthe American Symphony Orchestra, aswell as in other engagements aroundNew York City.

Among New York’s foremost vocalensembles, The Collegiate Chorale hasadded to the richness of the city’s cul-tural fabric for more than 70 years.Founded in 1941 by the legendary con-ductor Robert Shaw and currently underthe direction of James Bagwell, TheChorale has established a pre-eminentreputation for its interpretations of thetraditional choral repertoire, vocalworks by American composers, and

rarely heard operas-in-concert, as well ascommissions and premieres of newworks by today’s most exciting creativeartists. The many guest artists withwhom The Chorale has performed inrecent years include Thomas Hampson,Bryn Terfel, Nathan Gunn, VictoriaClark, Stephanie Blythe, Eric Owens,Rene Papé, and Deborah Voigt.

Last season’s highlights included Bellini’srarely performed opera Beatrice diTenda, featuring Angela Meade andJamie Barton; the New York premieresof Philip Glass’ Symphony No. 7“Toltec” and Osvaldo Golijov’s Oceana;and a festive performance of Wright andForrest’s operetta Song of Norway withTom Gold Dance and Broadway greatsJudy Kaye, Santino Fontana, AlexandraSilber, and Jason Danieley.


James Bagwell was appointed musicdirector of The Collegiate Chorale in2009, the same year he was appointedprincipal guest conductor of the Ameri-can Symphony Orchestra. Highlights ofprevious seasons with The Chorale atCarnegie Hall include rare perfor-mances of Rossini’s Moïse et Pharaonand Bellini’s Beatrice di Tenda. Lastseason he conducted an acclaimed NewYork premiere of Philip Glass’ “Toltec”Symphony. Earlier this year Mr. Bagwellprepared The Collegiate Chorale forfour concerts at the Verbier Festival. InJuly 2012 they made their debut at theSalzburg Festival performing with TheIsrael Philharmonic Orchestra. He hasprepared the Concert Chorale of NewYork for numerous performances withthe American Symphony Orchestra, theLos Angeles Philharmonic, and theMostly Mozart Festival (broadcastnationally on Live from Lincoln Centerin 2006).

Since 2003 he has been director of cho-ruses for the Bard Music Festival andSummerscape, both conducting andpreparing choruses. His recent collabo-rations with singer Natalie Merchanthas led to his appearances with some ofthe leading orchestras in the UnitedStates, including the San Francisco,Seattle, and Detroit Symphonies,among others. In December 2011 Mr.Bagwell made his debut with theCincinnati Symphony and the May Fes-tival Chorus.

Mr. Bagwell has trained choruses for anumber of major American and inter-national orchestras, including the IsraelPhilharmonic, St. Petersburg Sym-phony, Los Angeles Philharmonic, andthe NHK (Japan) Orchestra. He is pro-fessor of music at Bard College, wherehe chairs the undergraduate music pro-gram and co-directs the graduate con-ducting program.

JAMES BAGWELL, Director

MANHATTAN GIRLS CHORUS

The Manhattan Girls Chorus is a nur-turing community of young womengrades five through 12 from all ethnicand socio-economic backgrounds seek-ing an extraordinary music educationand opportunities for performing excel-lence. In addition to helping each singerrealize her full musical potential, MGCencourages mentoring relationshipswith women in the arts and other pro-fessions. Self-esteem, confidence, andleadership skills are cultivated througha community of love, respect, and sup-port. MGC’s hope for every youngwoman is for her to develop a lifelongpassion for singing, serving others, andbringing her inner beauty to the world.

The Chorus, founded in 2011, madetheir Carnegie Hall debut in October2012 in the New York premiere ofNoam Sheriff’s Mechaye Hametimwith the Israel Philharmonic Orchestraand Thomas Hampson. Additionalperformances include Mefistofele byArrigo Boito at Carnegie Hall with theAmerican Symphony Orchestra, EricOwens, and Maestro James Bagwell;Oceana by Osvaldo Golijov atCarnegie Hall with the American Sym-phony Orchestra, Venezuelan vocalistBiella Da Costa, and Maestro JamesBagwell; and New York City CenterEncores! Off-Center, led by ArtisticDirector Jeanine Tesori.


MICHELLE OESTERLE, Director

Michelle Oesterle has been immersed inthe world of music her entire life, havingbeen the stepdaughter of MetropolitanOpera star Eleanor Steber. Performingsince the age of four, her early musiceducation was in church music as amember of an 800-voice music program.This experience proved to be the foun-dation for her lifelong passion for music.

Ms. Oesterle was a public music educa-tor in Ohio and Michigan for thousandsof children. She founded and directedThe Ensemble, an adult chorus knownnot only for its beautiful sound but alsofor the expressiveness and spiritualitywith which it sang. They commerciallyreleased two recordings and premieredseveral works. Subsequently, Ms. Oesterledirected The Festival of Voices adult choirand The Marble Collegiate Children’s

Choir which, under her direction, wasfeatured in the 2007 nationally-televisedCBS Christmas Eve special.

Ms. Oesterle has studied with Dr.Simon Carrington, Dr. Rene Clausen,Dr. Anton Armstrong, and Dr. DoreenRao, where she was selected as a masterconductor for more than 250 singers,conductors, and composers fromaround the world.

These experiences led to the founding ofthe Manhattan Girls Chorus, which pro-vides a nurturing community for youngwomen focused on personal growth, self-esteem, and performing excellence. LastOctober, on the one-year anniversary oftheir founding, they performed atCarnegie Hall with the Israel Philhar-monic Orchestra and Thomas Hampson.

VIOLIN IErica Kiesewetter, ConcertmasterSuzanne GilmanDiane BruceRobert ZubryckiJohn ConnellyElizabeth NielsenAshley HorneAnn LabinKatherine Livolsi-LandauMara MilkisKatherine HannauerSarah Zun

VIOLIN IIRichard Rood, PrincipalSophia KessingerJames TsaoWende NamkungYana GoichmanAlexander VselenskyLucy MorgansternLaura FrautschiAnn GilletteNazig Tchakarian

VIOLANardo Poy, PrincipalSally Shumway

John DexterRachel RiggsShelley Holland-MoritzCrystal GarnerMartha BrodyAdria Benjamin

CELLOEugene Moye, PrincipalSarah CarterAnnabelle HoffmanMaureen HynesDiane BarereTatyana MargulisAnik OulianineStephen Fang

BASSJohn Beal, PrincipalJordan FrazierJack WengerLouis BrunoPeter DonovanRichard Ostrovsky

FLUTELaura Conwesser, PrincipalKarla MoeDiva Goodfriend-Koven, Piccolo

OBOEAlexandra Knoll, PrincipalMelanie Feld, English hornErin Gustafson

CLARINETLaura Flax, PrincipalShari HoffmanLino Gomez, Bass clarinet

BASSOONMarc Goldberg, PrincipalMaureen StrengeGilbert Dejean, Contrabassoon

HORNZohar Schondorf, PrincipalTheodore PrimisLawrence DiBelloKyle HoytSara Cyrus, Assistant

TRUMPETCarl Albach, PrincipalJohn DentJohn Sheppard

AMERICAN SYMPHONY ORCHESTRALeon Botstein, Conductor


TROMBONERichard Clark, PrincipalKenneth FinnJeffrey Caswell

TUBAKyle Turner, Principal

TIMPANIBenjamin Herman, Principal

PERCUSSIONJonathan Haas, PrincipalKory GrossmanCharles Descarfino

HARPVictoria Drake, PrincipalCecile Schoon

HARMONIUMChristopher Oldfather

PERSONNEL MANAGERAnn Yarbrough Guttman

ASSISTANT CONDUCTORZachary Schwartzman

ORCHESTRA LIBRARIANMarc Cerri

THE COLLEGIATE CHORALE SINGERSJames Bagwell, Director

SOPRANOSEliza Bagg Margaret Dudley Lori Engle Maggie Finnegan Sarah Griffiths Sophia HuntSandy MacDonaldMarie Mascari Caroline Miller Julie Morgan Ellen Taylor Sisson Elizabeth Smith Sarah Caldwell Smith Martha Sullivan Carla Wesby

ALTOSSarah Best Donna Breitzer Martha BuckwalterAnne Doyle

Katharine Emory Sylvia FloydKatherine Korsak Kimberly MosselMargaret O’Connell Elizabeth Picker Christine Reimer AnnMarie Sandy Irene Snyder Lara Stevens Nancy Wertsch*

TENORSSean Clark Bruce CoganJoseph Demarest Matthew Deming Sean Fallen Daniel Greenwood Joseph GrilloAlex Guerrero Chad Kranak

James LouisMukund Marathe Timothy O’Connor Tommy Wazelle

BASSESDaniel Alexander David Baldwin Justin Beck Dennis Blackwell James Gregory Nicholas Hay Daniel Hoy Nathan Milholin Steven Moore Jose Pietri-Coimbre Robert RainierMichael Riley Scott Wheatley

*Choral Contractor

MANHATTAN GIRLS CHORUSMichelle Oesterle, Director

Rosemarie AlbaneseShaari AndersonKorinne ArenasAzana BaldeKate BralowerCaroline CahillPatrice CahillJacqueline CarapetyanEvelyn CarrEmma ChampeauGeorgia Rose CrawfordAva H. CutlerTanna Hill DodsonKatie DorfmanLee EdenKaitlin EvansSade FamuyiwaMaeve FarrellAdriana German

Ariana GibbSamantha GordonBeyoncé HaseleyJasmine HenryKeanna HunterIsabella IoffredaMichelle JosephAva Marijke LawrenceJamee LockardCourtney LyonsAndrianna MackeyJessi McGlashanGrace McVeyLena Atkin MolyneuxSarah MorganCarol NievesAmanda O’DellMolly OatesMelinda Orengo

Alexis Paige FishmanMatilda PhillipsViolet PreteJulia ReillyBrooke RemsenJalese RodriguezChloe RoeBianca RoseSamantha SeamanMargalit Shetreat-KleinPaige SimunovichApurva SinghCaroline StemermanChristine TempletonKyla WatkinsTaylor WeinsteinJohanna Wolfgram


Dimitri B. Papadimitriou, ChairThurmond Smithgall, Vice ChairKaren L. Zorn, Treasurer

Miriam R. BergerMichael DorfRachel KalnickiJack KligerShirley A. Mueller, Esq.

Debra R. PemsteinEileen RhulenFelicitas S. Thorne

HONORARY MEMBERSJoel I. Berson, Esq.L. Stan Stokowski

ASO BOARD OF DIRECTORS

Lynne Meloccaro, Executive DirectorOliver Inteeworn, General ManagerBrian J. Heck, Director of MarketingNicole M. de Jesús, Director of DevelopmentSebastian Danila, Library ManagerMarielle Métivier, Operations ManagerKatrina Herfort, Ticketing Services CoordinatorMarc Cerri, Orchestra LibrarianAnn Yarbrough Guttman, Orchestra Personnel

Manager

Ben Oatmen, Production AssistantLeszek M. Wojcik, Concert Archival Recording

James Bagwell, Principal Guest ConductorGeoffrey McDonald, Assistant ConductorZachary Schwartzman, Assistant ConductorRichard Wilson, Composer-In-ResidenceJames Bagwell, Artistic Consultant

ASO ADMINISTRATION

STOKOWSKI SOCIETY The Booth Ferris FoundationMichael DorfFaith Golding Foundation, Inc.The Fan Fox & Leslie R. Samuels Foundation, Inc.Jeanne Donovan FisherThe Frank & Lydia Bergen FoundationDanny Goldberg and Rosemary CarrollRachel and Shalom KalnickiPeter LindenNew York City Department of Cultural Affairs New York State Council on the ArtsOpen Society FoundationsDimitri B. and Rania PapadimitriouRobert Rauschenberg FoundationThurmond SmithgallFelicitas S. ThorneThe Winston Foundation

SUSTAINING SUPPORTER AnonymousThe Ann & Gordon Getty FoundationMary and Sam MillerThe Spektor Family FoundationMrs. James P. Warburg

DISTINGUISHED PATRON AnonymousThe Elroy & Terry Krumholz FoundationMr. and Mrs. Richard E. Wilson

GOLDEN CIRCLE Anonymous Joel and Ann BersonEric CzervionkeThe David & Sylvia Teitelbaum Fund, Inc.Gary M. GiardinaPeter L. KennardArthur S. LeonardDr. Pamela F. MazurJoAnne MeloccaroShirley A. MuellerJoseph and Jean SullivanMark Ptashne and Lucy GordonIrene Zedlacher

BENEFACTOR AnonymousMiriam R. BergerEllen Chesler and Matthew J. MallowPatricia K. Faber

AMERICAN SYMPHONY ORCHESTRA ANNUAL CONTRIBUTORS

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


Karen FinkbeinerIrwin and Maya HoffmanIBM CorporationMichael KishbauchJack Kliger and Amy GriggsWilliam McCracken and Cynthia LeghornMarcia H. MoorRichard and Joanne MrstikJames and Andrea NelkinDavid E. Schwab II and Ruth Schwartz SchwabPeter and Eve SourianRonnie Streichler, in honor of Leon BotsteinTart-Wald Foundation

CONTRIBUTOR AnonymousTania AhujaGary M. ArthurDavid Beek and Gayle ChristianThomas and Carolyn P. CassillyBette R. CollomNicole M. de Jesús and Brian P. WalkerMr. and Mrs. Joseph Lawrence GilmanRhea Graffman-Cohen, in honor of Miriam R. Berger

Eva Botstein GrieppMax and Eliane HahnSara HunsickerThe Kanter Riopelle FamilyErica KiesewetterIrving and Rhoda KleimanJohn D. KnoernschildPeter KrollPeter A. Q. LockerAlan MallachJeanne MalterKaren ManchesterSally McCrackenLisa Mueller and Gara LaMarcheTatsuji NambaKurt Rausch LLCHarriet SchonMartha and David SchwartzJon P. TilleyRobert F. WeisWayne and Dagmar Yaddow

ORCHESTRA CLUB Anonymous (6)American Express Gift Matching ProgramEllis ArnsteinJohn and Joanne BaerRonald BaranowskiCarol K. BaronRuth BaronMary Ellin BarrettRobert BasnerMatthew and Debra BeatriceKaren Bedrosian-RichardsonYvette and Maurice J. BendahanAdria BenjaminStephen BlumJohn BrautigamMona Yuter BrokawPatricia R. Brophy

Mrs. A. Peter BrownStephen M. BrownMarjorie L. Burns, in memory of Marden BateIsabelle A. CazeauxRichard C. CellerRoger ChatfieldBarbara ClapmanAlice and Theodore CohnMichele ConeMary M. CopeDiana DavisAntonio DiezRuth Dodziuk-JustitzBarton DominusThe Rt. Reverend and Mrs. Herbert A. Donovan, Jr.Robert DurstPaul EhrlichExxon Mobil FoundationRichard FarrisW.J. FenzaMartha FerryDonald W. FowleDeborah FrancoLyudmila GermanChristopher H. GibbsMacEllis K. GlassJune GoldbergRobert GottliebMichael GottsGreenwich House, Inc.Nathan GrossJohn HaggertyLaura HarrisJames HaydenRobert HerbertRoberta HershensonDr. and Mrs. Gerald HerskowitzDeb HoffmanEric S. HoltzJose JimenezDonald JulianoRonald S. KahnRobert KalishPeter KeilDavid KernahanCaral G. and Robert A. KleinAdnah G. and Grace M. KostenbauderRobert LaPorteThomas LambertGerald LaskeySteve LeventisWalter LeviJudd LevyJosé A. LopezLinda LopezHarvey MarekEllen Marshall, in honor of Louis MarshallStephen J. McAteerCarolyn McColleyJoan and Allan McDougallRichard and Maryanne MendelsohnJune MeyerClifford S. MillerPhyllis MishkinMark G. Miksic


Alex MitchellJudith MonsonElisabeth J. MuellerMarin L. and Lucy Miller Murray, in honor ofLeon Botstein

Michael NassarKenneth NassauMaury NewburgerJacob and Susan NeusnerJames NorthSandra NovickLawrence NylenJill ObrigClarence W. Olmstead, Jr. and Kathleen F. HeenanThomas O’MalleyJim and Mary OttawayRoger PhillipsJane and Charles PrussackBruce RaynorAnthony RichterKenneth RockPhyllis and Leonard RosenPeri RosenfeldHenry SaltzmanLeslie SalzmanPeter Lars Sandberg and Nancy WhitakerNina C. and Emil SchellerHarriet SchonGerald and Gloria ScorseJanet Z. Segal

Georgi ShimanovskyBruce SmithJohn SowleStanley StangrenGertrude SteinbergAlan StenzlerHazel and Bernard StraussPaul StumpfAndre SverdloveLorne and Avron TaichmanMadeline V. TaylorElisabeth F. Turnauer, M.D.William UlrichJames WagnerLarry A. WehrRenata and Burt WeinsteinBarbara WestergaardJanet WhalenAnn WilliamMichael P.A. WinnKurt WissbrunRichard J. WoodLeonard and Ellen ZablowMark ZarickAlfred ZollerKaren ZornMyra and Matthew Zuckerbraun

List current as of December 2, 2013

New York State Council on the Artswith the support of Governor AndrewCuomo and the New York State Legislature

The New York City Department of CulturalAffairsThe Honorable Michael R. Bloomberg,

MayorThe Honorable Kate D. Levin, Commissioner

Music plays a special part in the lives of many New York residents. The American SymphonyOrchestra gratefully acknowledges the support of the following government agencies thathave made a difference in the culture of New York:


Ensure the next 50 years: Support the American Symphony OrchestraOur success has been made possible by friends and music lovers like you. Tax-deductibledonations help us sustain the artistic excellence, music education, and preservation that arevital to our cultural life. Your contribution will provide insider information, discounts, andunparalleled access to one of the most dynamic and innovative orchestras performing today.

Annual FundAnnual gifts help support the Orchestra’s creative concert series and educational programs.In appreciation, you will receive exclusive benefits that enhance your concert-going experienceand bring you closer to the Orchestra.

Sustaining GiftsMake your annual gift last longer with monthly or quarterly installments. Sustaining giftsprovide the ASO with a dependable base of support and enable you to budget your giving.Minimum installments of $25.

Matching GiftsMore than 15,000 companies match employees’ contributions to non-profit organizations.Contact your human resources department to see if your gift can be matched. Matching giftscan double or triple the impact of your contribution while you enjoy additional benefits.

Corporate SupportHave your corporation underwrite an American Symphony Orchestra concert or educationprogram and enjoy the many benefits of the collaboration, including corporate visibility andbrand recognition, employee discounts, and opportunities for client entertainment. We willbe able to provide you with individually tailored packages that will help you enhance yourmarketing efforts. For more information, please call 646.237.5022.

How to donate:Make your gift online: www.amerciansymphony.org/support

Please make checks payable to: American Symphony Orchestra

Mail to:American Symphony Orchestra263 West 38th Street, 10th FloorNew York, NY 10018

For questions or additional information: Nicole M. de Jesús, Director of Development,646.237.5022 or [email protected].

SUPPORT ASO


ASO’S 2013–14 SEASON AT CARNEGIE HALL

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Subscribers get great seats, and when you add on a donation to ASO you get access to prime locations!Your gift helps sustain the artistic excellence, music education, and community outreach that arevital to our cultural life. For a full list of benefits, including invitations to rehearsals, name recognitionin programs, and more, visit AmericanSymphony.org.

Order your subscription at AmericanSymphony.org or call (212) 868-9ASO (9276).

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Friday, January 31, 2014This EnglandWorks by Sir Arthur Bliss, Frank Bridge, Robert Simpson, andWilliam Walton

Thursday, March 27, 2014MosesMax Bruch’s oratorio, with The Collegiate Chorale

Friday, May 30, 2014Forged From FireWWI-era works by Reger, Ives, Bloch, and Szymanowski


presents strauss: self-portrait of the artistamericansymphony.org/playbill/aso3.pdf · presents...

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