July 25 August 23, 2014 Sponsored by Bloomberg Tuesday and Wednesday Evenings, August 12 13, 2014, at 7:00 Pre-concert Recital Amphion String Quartet Katie Hyun, Violin David Southorn, Violin Wei-Yang Andy Lin, Viola Mihai Marica, Cello BARBER String Quartet (1936) Molto allegro e appassionato Molto adagio Molto allegro (come prima) This performance is made possible in part by the Josie Robertson Fund for Lincoln Center. Avery Fisher Hall Please make certain your cellular phone, pager, or watch alarm is switched off.
Note on the Pre-concert Recital by Christopher H. Gibbs String Quartet (1936) SAMUEL BARBER Born March 9, 1910, in West Chester, Pennsylvania Died January 23, 1981, in New York Approximate length: 18 minutes Audiences do not often have the opportunity to hear Barber s String Quartet, and yet the work or more precisely, the core of it is one of the most famous pieces of the 20th century: the Adagio for Strings, a staple of the orchestral repertoire, was composed as the quartet s elegiac middle movement. Arturo Toscanini premiered Barber s own arrangement of the piece for full string orchestra with the NBC Symphony Orchestra in 1938, which catapulted the 28-year-old composer to international renown. Slow movements, including the second movement of Beethoven s Seventh Sym - phony, seem particularly susceptible to such independent fame. Like the Adagietto from Mahler s Fifth Symphony, Barber s Adagio entered popular culture through its use in films. These compositions have also been called upon in times of mourning and crisis; the Adagio for Strings was heard on the radio just after the announcement of Franklin D. Roosevelt s death in 1945. Barber s original String Quartet dates from 1936. When he began composing it that summer in Europe, he had another ethereal work Wagner s Siegfried Idyll on his mind. He remarked in a letter how difficult it was writing a quartet, but by mid- September he reported to Orlando Cole, cellist of the Curtis String Quartet: I have just finished the slow movement of my quartet today it is a knockout! Now for a Finale. The last movement caused him a good deal of trouble and went through various revisions even after the work s Ameri - can premiere at the Library of Congress in April 1937. (It had been performed the previous December at the American Academy in Rome.) Barber had met Toscanini a few years earlier in Italy, and the conductor took an interest in the young composer. Barber sent him the Adagio for Strings and his Essay for Orchestra, both of which Toscanini presented in a nationally broadcast performance. Toscanini went on to perform the Adagio for Strings on tour in South America and England, and recorded the work in 1942, further enhancing its fame. Barber later made yet another arrangement of the piece, a choral version to which he fitted the words of the Agnus Dei. The first of the quartet s three movements calls upon traditional sonata form with a powerful first theme and more lyrical second one. The beloved Adagio follows. It may not be surprising that Barber s final reincarnation for the movement was religious; a solemn, even chant-like character is evident from the start with the first of a series of slow phrases consisting of a stepwise diatonic melody accompanied by chords from the other strings. The music builds to a powerful climax louder, more chromatic, and in the highest register of the instruments. After a grand pause the music settles down with the calm return of the opening theme. A very brief finale concludes the work, bringing back material from the first movement. Copyright 2014 by Christopher H. Gibbs
July 25 August 23, 2014 Sponsored by Bloomberg Tuesday and Wednesday Evenings, August 12 13, 2014, at 8:00 Mostly Mozart Festival Orchestra Gianandrea Noseda, Conductor Erika Grimaldi, Soprano (U.S. debut) Anna Maria Chiuri, Mezzo-soprano M M Russell Thomas, Tenor Ildar Abdrazakov, Bass M M Concert Chorale of New York James Bagwell, Director ALL-BEETHOVEN PROGRAM Overture to The Consecration of the House (1822) Pause Symphony No. 9 in D minor (1822 24) Allegro ma non troppo, un poco maestoso Scherzo: Molto vivace Adagio molto e cantabile Presto Allegro ma non troppo Allegro assai (Choral Finale) M M Mostly Mozart debut This performance is made possible in part by the Josie Robertson Fund for Lincoln Center. Avery Fisher Hall Please make certain your cellular phone, pager, or watch alarm is switched off.
The Mostly Mozart Festival is sponsored by Bloomberg. The Mostly Mozart Festival is made possible by Rita E. and Gustave M. Hauser, The Fan Fox and Leslie R. Samuels Foundation, Inc., Ann and Gordon Getty Foundation, Charles E. Culpeper Foundation, S.H. and Helen R. Scheuer Family Foundation, and Friends of Mostly Mozart. Public support is provided by the New York State Council on the Arts. Artist Catering is provided by Zabar s and Zabars.com. MetLife is the National Sponsor of Lincoln Center. Bloomberg is the Official Sponsor of Lincoln Center Summer Programs. Movado is an Official Sponsor of Lincoln Center. United Airlines is the Official Airline of Lincoln Center. WABC-TV is the Official Broadcast Partner of Lincoln Center. William Hill Estate Winery is the Official Wine of Lincoln Center. Summer at Lincoln Center is sponsored by Diet Pepsi. Time Out New York is Media Partner of Summer at Lincoln Center. Ildar Abdrazakov appears by kind permission of the Metropolitan Opera. Upcoming Mostly Mozart Festival Events: Thursday Night, August 14, at 10:00 in the Stanley H. Kaplan Penthouse A Little Night Music Xavier de Maistre, Harp (New York debut) MOZART: Keyboard Sonata in C major LISZT: Le rossignol FAURÉ: Impromptu And works by CAPLET, PESCETTI, SMETANA, and TÁRREGA Friday and Saturday Evenings, August 15 16, at 8:00 in Avery Fisher Hall Mostly Mozart Festival Orchestra Louis Langrée, Conductor Magali Mosnier, Flute (U.S. debut) Xavier de Maistre, Harp GLUCK: Dance of the Furies, from Orphée et Eurydice MOZART: Flute and Harp Concerto, K.299 BERLIOZ: Symphonie fantastique Pre-concert lecture at 6:45 on August 15 by Peter Bloom Pre-concert recital at 7:00 on August 16 by Magali Mosnier, flute, and Xavier de Maistre, harp Saturday Evening, August 16, from 4:00 5:30 in the Stanley H. Kaplan Penthouse Panel Discussion: Mozart and the Promise of Opera Bruce Alan Brown, Moderator With Edmund J. Goehring, Christopher Lynch, and Steven Machtinger Presented in association with the Mozart Society of America For tickets, call (212) 721-6500 or visit MostlyMozart.org. Call the Lincoln Center Info Request Line at (212) 875-5766 to learn about program cancellations or request a Mostly Mozart brochure. Visit MostlyMozart.org for full festival listings. Join the conversation: #LCMozart We would like to remind you that the sound of coughing and rustling paper might distract the performers and your fellow audience members. In consideration of the performing artists and members of the audience, those who must leave before the end of the performance are asked to do so between pieces. The taking of photographs and the use of recording equipment are not allowed in the building.
Welcome to Mostly Mozart I am delighted to welcome you to the 2014 Mostly Mozart Festival, where we explore the many facets of our namesake composer s brilliance and invention. What better way to usher in that spirit than with an outdoor world premiere work by American composer John Luther Adams. Sila: The Breath of the World transforms Lincoln Center s Hearst Plaza into a sonic stage before we rejoin Mozart in Avery Fisher Hall with the acclaimed Mostly Mozart Festival Orchestra. This summer, our Festival Orchestra reaches beyond many Mozart masterpieces to the signature works of some of his great successors: Beethoven s Ninth Symphony, Berlioz s Symphonie fantastique, Martin s Polyptyque. We join with favorite soloists Joshua Bell, Richard Goode, Christian Tetzlaff and also introduce luminaries making their festival debuts, including pianists Yuja Wang and Steven Osborne, and bass Ildar Abdrazakov. We are always pleased to welcome the Mark Morris Dance Group to Mostly Mozart. This August, Mark Morris brings his unparalleled affinity for Handel to his newest creation, Acis and Galatea. The Philharmonia Baroque Orchestra and the Emerson String Quartet delight us in Alice Tully Hall, while the International Contemporary Ensemble celebrates new music at Park Avenue Armory. And don t forget to join us for music and wine in casual, intimate Little Night Music recitals at the Kaplan Penthouse. We all embrace the joy that celebrating Mozart s music brings to New York in the summer. I hope to see you often here at Lincoln Center. Jane Moss Ehrenkranz Artistic Director
Signature Works by Peter A. Hoyt The musicologists who first investigated Johann Sebastian Bach (1685 1750) discovered that some pieces, written in his handwriting and long attributed to him, were actually composed by other musicians. Bach had omitted their names during the copying process, and the scholars disturbed by this hint of plagiarism were relieved to learn that the early 18th century was often indifferent to niceties of attribution. Indeed, Bach himself frequently neglected to sign his own manuscripts. In the decades following, however, authorial identity took on greater importance. The collapse of the French aristocracy led Europe to emphasize individual merit, endowing artists with new dignity. Music publishers, capitalizing upon an emerging middle class, promoted composers by name. Unprecedented ideas of individuality informed 19th-century Romanticism, which asserted that all great art embodies the self-expression of a great soul. Contributing to this entanglement of artwork and artist were a number of innovative composers, each with a distinctive style that represented their identity as decisively as their name. The 2014 Mostly Mozart Festival celebrates some of these composers signature pieces, from emblematic concertos and symphonies including Haydn s London, Mozart s Jupiter, and Beethoven s Eroica to concise works like the overtures to Haydn s L isola disabitata and Beethoven s Consecration of the House. This season also explores the role of models in shaping artistic personalities. Gluck s depictions of demonic Furies, for example, influenced Mozart s music for Don Giovanni, and Gluck s Dance of the Blessed Spirits permeates portions of Mozart s Flute and Harp Concerto. Moreover, prominent stylistic elements can be parodied or dismantled, as in works by Prokofiev, Schnittke, and Shostakovich, whose Concerto for Piano and Trumpet recalls the brash music he once played for silent movies in Petrograd. Berlioz s Symphonie fantastique of 1830 stands as a landmark in the fusion of art and persona; the work is often regarded as autobiographical. Nevertheless, elements of the purely fictional prevail, as when the hero murders his beloved, is executed, and posthumously witnesses a witches sabbath. Berlioz treats his scenario with ironic detachment, perhaps best illustrated by the carnivalesque fugue that ends the piece. Whereas Mozart and Beethoven had employed culminating fugal procedures to suggest a kind of luminous unification, Berlioz here casts off the shackles of seriousness. The conflation of composition and composer continued until the 20th century, when attempts to use the former to psychoanalyze the latter demonstrated their incompatibility. Indeed, human creators tend to be overshadowed by the impact of their creations, perhaps explaining Bach s negligence in labeling works including his own with the names of mere mortals. Music in performance, like a religious service or civic commemoration, can transform a group s isolated members into a collective body. The Mostly Mozart Festival ends with Mozart s Requiem and Passion music by Bach and Frank Martin art that celebrates the moment when the individual dissolves into the universal. Copyright 2014 by Lincoln Center for the Performing Arts, Inc.
Program Summary by Christopher H. Gibbs This year marks the bicentennial of the 1814 15 Congress of Vienna, which established the balance of powers in Europe after the Napoleonic Wars. Beethoven wrote several pieces connected with the Congress, and during this time he reached the height of his popular fame. After 1815, however, his productivity began to wane. Deafness caused him to retreat further from society, he was involved in a nasty custody battle for his nephew, and he found himself increasingly viewed as an eccentric figure. Beethoven nonetheless retained his stature as one of the great masters in the history of music. When he contemplated giving the premiere of his Ninth Symphony in Berlin rather than Vienna, the leading members of the Viennese nobility and musical establishment joined forces and wrote a lengthy public letter to joyfully acknowledge your worth and what you have grown to be to the present as well as the future. They declared that his creations stood beside the great and immortal works of Mozart and Haydn, and also touched on his isolation: Need we tell you with what regret your retirement from public life has filled us? In the end, Beethoven decided to give the premiere of his final symphony in Vienna, at a famous concert held on May 7, 1824. The evening began with the Overture to The Consecration of the House, a work that abundantly displays his longstanding admiration for Handel. Beethoven had written the piece two years earlier to mark the opening of the newly rebuilt Josephstadt Theater in Vienna. The concert also featured the first performance in Vienna of three movements from his Missa solemnis, which had premiered the previous month in St. Petersburg. Then came the Ninth, a work that redefined the genre of the symphony and influenced numerous composers in its wake. Much of it was immediately shocking, even baffling for some listeners: the soft and mysterious opening, the unconventional order of the movements, its extraordinary length, and above all the use of vocal soloists and chorus for the last movement. Here Beethoven called upon a poem by Friedrich Schiller that he had long wanted to set to music: the Ode to Joy. The sentiments expressed in this text are consistent with Enlightenment ideals that attracted Beethoven throughout his career. The poem is also the reason that the work has so often been enlisted for political purposes not always, it must be noted, in harmony with the verses lofty ideals. Copyright 2014 by Christopher H. Gibbs
Notes on the Program by Christopher H. Gibbs Overture to The Consecration of the House, Op. 124 (1822) LUDWIG VAN BEETHOVEN Born December 16, 1770, in Bonn, Germany Died March 26, 1827, in Vienna Approximate length: 12 minutes The latest in Vienna is that Beethoven is to give a concert at which he is to produce his new symphony, three movements from the new Mass, and a new overture. So wrote Schubert to a good friend in March 1824. Evidently he had inside information about the master s first self-produced public concert in nearly a decade. The event took place on May 7, 1824, and opened with A Grand Overture, followed by parts of the Missa solemnis, and then concluded with the premiere of the Ninth Symphony. Beethoven had written the Overture two years earlier, when it premiered as Die Weihe des Hauses (The Consecration of the House), and the entire Mass had first been performed the previous month in St. Petersburg. Because of restrictions on presenting a sacred Mass at a secular concert, the censor after much negotiation allowed select movements (Kyrie, Credo, and Agnus Dei) to be performed under the title Three Grand Hymns. Beethoven had originally written the Overture for the October inauguration of the newly rebuilt Josephstadt Theater in Vienna. Most of the music performed on that occasion was an adaptation of The Ruins of Athens, incidental music he had composed a decade earlier for the opening of a new theater in Pest. New words were commissioned and the title changed, as befit the circumstances, to The Consecration of the House. In addition, Beethoven provided a new chorus and a new overture, which opens this evening s program. It is clear, as Beethoven commented while composing the Overture, that the inspiration came preeminently from the music of Handel. It opens with a majestic slow introduction often associated with the so-called French Overture style Handel employed in most of his operas and oratorios. A marvelous transition, redolent of Rossini, leads to a fast double fugue. It is a most effective, underperformed late work that Beethoven felt worthy to set beside his great Mass and final symphony at one of the most important events of his career. Symphony No. 9 in D minor, Op. 125 (1822 24) LUDWIG VAN BEETHOVEN Approximate length: 65 minutes Beethoven s final symphony, long celebrated for both its musical qualities and its political implications, is one of a handful of masterpieces that changed the course of music history. Its musical innovations and ambition, together with its humanistic message and Enlightenment vision, have inspired musicians and audiences for nearly two centuries, even if its utopian ideals remain unfulfilled. As a child of the Enlightenment, Beethoven grew up during the American and French Revolutions. Throughout his life he followed political events closely and he experienced war close at hand when Napoleon s troops invaded Vienna in 1805 and 1809. His first large composition, written at the age of 19, was an impressive cantata commemorating the death of Emperor Joseph II, who had done so much to liberalize the Austrian Empire in the 1780s. Years later
he composed his sole opera, Fidelio, which tells the story of a loving wife saving her husband, an unjustly jailed political prisoner. Through her heroic deeds he is rescued and evil exposed. Resistance to tyranny is the focus of Beethoven s music to Goethe s Egmont, and a common theme for other works by the composer. For his final symphony Beethoven turned to a lengthy poem by Friedrich Schiller that he had long wanted to set to music: the Ode to Joy. Schiller s famous words state that in a new age the old ways will no longer divide people and that all men shall become brothers. Ever since the premiere of the Ninth Symphony in Vienna in May 1824, performances have become almost sacramental occasions, as musicians and audiences alike are exhorted to universal fraternity. In addition, few pieces of music have exerted such an impact on later composers. How, many wondered, should one write a symphony after the Ninth? Schubert, Berlioz, Brahms, Wagner, Bruckner, Mahler the list goes on all directly engaged with this question in fascinating ways that fundamentally shaped 19th-century music. Schubert, who apparently attended the 1824 premiere, briefly quoted the joy theme in his own final symphony, written the following year. Almost every Bruckner symphony begins in the manner of the Ninth, with soft rumblings in the strings. Mendelssohn, Mahler, and Shostakovich followed the model of a choral finale. Wagner was the composer perhaps most influenced by the Ninth, arguing that in it Beethoven pointed the way to a universal drama uniting music and words that, in short, was realized in his own operas. (Wagner was the ultimate self-promoter and the Ninth was the crucial work in his agenda of forging a link between Beethoven and his own Music of the Future. ) Composers were not the only ones deeply engaged with the Ninth. For nearly two centuries now, the work has been appropriated for widely diverse purposes. As the ultimate feel good piece, it s been used to open the Olympic Games and bring nations together in song, and yet during the Nazi era it was repeatedly performed to celebrate Hitler s birthday. Its melody is the official anthem of the European Union, but was also the anthem of Ian Smith s racist regime in Rhodesia during the 1970s. In Beijing protestors played recordings of the Ninth at Tiananmen Square, and jubilant students in Germany did the same when the Berlin Wall fell in 1989. The opening of the first movement arises out of a void. Against the murmurings of the low strings emerge falling fifths in the violins that grow to a loud and imposing first theme; it has all been likened to the creation of the world, and certainly no symphony before sounded anything like it. Beethoven switched the expected order of movements another trait later composers would imitate by placing the Scherzo second. A favorite with audiences from the beginning (especially the prominent role given to the timpani), it projects both humor and power. The lyrical slow movement, Adagio molto e cantabile, explores more personal, even spiritual realms. The finale opens with what Wagner called the terror fanfare, a dissonant and frantic passage that leads to a recitative (so marked in the score) for the cellos and basses. Fragments from the previous three movements pass in review a few measures of the opening theme of each but are rejected by the strings. Following this strange, extended recitative comes the aria: the famous Ode to Joy melody to which words later will be added. After some seven minutes the movement starts over again the terror fanfare returns,
but this time leads to a vocal recitative with the bass soloist singing O friends, not these sounds! But let us raise our voices together in joyous song! (These initial words are Beethoven s own addition to Schiller s poem.) The chorus and four vocal soloists take up the joy theme, which undergoes a continuing series of variations, including a brief section in the Turkish manner. The music reaches a climax with a new theme: Be embraced, you millions above the stars surely lives a loving Father, which is later combined in counterpoint with the joy theme and eventually builds to a frenzied coda. Christopher H. Gibbs is James H. Ottaway Jr. Professor of Music at Bard College. Copyright 2014 by Christopher H. Gibbs Final Chorus from Friedrich Schiller s Ode to Joy Bass: O Freunde, nicht diese Töne! Sodern lasst uns angenehmere Anstimmen und freudenvollere. Bass with Chorus: Freude, schöner Götterfunken, Tochter aus Elysium, Wir betreten feuertrunken, Himmlische, dein Heiligtum. Deine Zauber binden wieder, Was die Mode streng geteilt. Alle Menschen werden Brüder, Wo dein sanfter Flügel weilt. Soloists and Chorus: Wem der grosse Wurf gelungen, Eines Freundes Freund zu sein, Wer ein holdes Weib errungen, Mische seinen Jubel ein! Ja, wer auch nur eine Seele Sein nennt auf dem Erdenrund! Und wer s nie gekonnt, der stehle Weinend sich aus diesem Bund. Freude trinken alle Wesen An den Brüsten der Natur; Alle Guten, alle Bösen Folgen ihrer Rosenspur. Küsse gab sie uns und Reben, O friends, not these sounds! But let us raise our voices together in joyful song. Joy, divine spark of the Gods, daughter of Elysium, we come drunk with fire, Goddess, to your sanctuary. Your magic brings together all whom earthly laws divide. All mankind shall be brothers where you spread your wings. He who has had the fortune to his friend a friend to be, he that s won a noble wife, let him now rejoice with us! Yes, and he who another soul does love like his own! But he who does not shall steal away weeping from our band. All beings drink in joy from Nature s breast; all good and all evil follow her rose-strewn path. Kisses she gives us, and wine,
Einen Freund, geprüft im Tod; Wollust ward dem Wurm gegeben, Und der Cherub steht vor Gott! Tenor and Chorus: Froh, wie seine Sonnen fliegen Durch des Himmels prächt gen Plan, Laufet, Brüder, eure Bahn, Freudig, wie ein Held zum Siegen. Chorus: Freude, schöner Götterfunken, Tochter aus Elysium, Wir betreten feuertrunken, Himmlische, dein Heiligtum. Deine Zauber binden wieder Was die Mode streng geteilt. Alle Menschen werden Brüder, Wo dein sanfter Flügel weilt. Seid umschlungen, Millionen! Diesen Kuss der ganzen Welt! Brüder, über m Sternenzelt Muss ein lieber Vater wohnen. Ihr stürtz nieder, Millionen? Ahnest du den Schöpfer, Welt? Such ihn über m Sternenzelt! Über Sternen muss er wohnen. Freude, schöner Götterfunken, Tochter aus Elysium, Wir betreten feuertrunken, Himmlische, dein Heiligtum. Seid umschlungen, Millionen! Diesen Kuss der ganzen Welt! Ihr stürtz nieder, Millionen? Ahnest du den Schöpfer, Welt? Such ihn über m Sternenzelt! Brüder, über m Sternenzelt Muss ein lieber Vater wohnen. friendship faithful unto death; joy of life the worm receives, and the Seraph stands by God! Joyful as the sun s rays that course through heavenly expanse, hurry, Brothers, on your ways, joyful as a hero in triumph. Joy, divine spark of the Gods, daughter of Elysium, we come drunk with fire, Goddess, to your sanctuary. Your magic brings together all whom earthly laws divide. All mankind shall be brothers where you spread your wings. Be embraced, you millions! This kiss is for all the world! Brothers, above the stars surely lives a loving Father. Do you kneel, O millions? Do you fear your Creator? Seek Him beyond the stars! There He must dwell. Joy, divine spark of the Gods, daughter of Elysium, We come drunk with fire, Goddess, to your sanctuary. Be embraced, you millions! This kiss is for all the world! Do you kneel, O millions? Do you fear your Creator? Seek Him beyond the stars! Brothers, above the stars surely lives a loving Father. (Please turn the page quietly)
Soloists and Chorus: Freude, Tochter aus Elysium, Deine Zauber binden wieder, Was die Mode streng geteilt. Alle Menschen werden Brüder, Wo dein sanfter Flügel weilt. Seid umschlungen, Millionen! Diesen Kuss der ganzen Welt! Brüder, über m Sternenzelt Muss ein lieber Vater wohnen. Freude, schöner Götterfunken, Tochter aus Elysium, Freude, schöner Götterfunken! Joy, Daughter of Elysium, your magic brings together all whom earthly laws divide. All mankind shall be brothers where you spread your wings. Be embraced, you millions! This kiss is for all the world! Brothers, above the stars Surely lives a loving Father. Joy, divine spark of the Gods, daughter of Elysium, Joy, divine spark of the Gods!
SUSSIE AHLBURG Meet the Artists Gianandrea Noseda Gianandrea Noseda, born in Milan, is among the most sought-after conductors of our time. Since becoming music director of the Teatro Regio Torino in 2007, he has joined the ranks of leading opera conductors. His leadership has transformed the Teatro Regio into a global institution and an artistic ambassador for Italy. In 2014 he will bring the Teatro Regio to its Edinburgh Festival debut and to North America for its debut there. Its Petrassi album (Chandos) was nominated for 2014 Best Recording of the Year by BBC Music Magazine. Mr. Noseda s recent highlights include celebrated performances of Britten s War Requiem with the London Symphony Orchestra and Chorus, a debut at La Scala with a new production of Verdi s Luisa Miller, and a debut at the Vienna State Opera. Mr. Noseda s work with the Metro - politan Opera has garnered considerable attention; recently he led a new production of Prince Igor and revivals of Macbeth and Andrea Chenier. Other guest conducting appearances include the Los Angeles Phil - harmonic, Pittsburgh Symphony Orchestra, and the Paris, Philadelphia, and Cleveland orchestras. Mr. Noseda also led the London Symphony Orchestra s opening concert of the 2013 14 season, and conducted the BBC Philharmonic for studio recordings, subscription concerts at Bridgewater Hall, and annual appearances at the Proms in London. In May 2015 he will make his debut with the Berliner Philharmoniker. Mr. Noseda is chief guest conductor of the Israel Philharmonic Orchestra, Victor De Sabata Guest Conductor of the Pittsburgh Symphony Orchestra, and laureate conductor of the BBC Philharmonic. Mr. Noseda s discography includes more than 35 recordings featuring works by Prokofiev, Karłowicz, Dvořák, Smetana, Shostakovich, Liszt, Rachmaninoff, Mahler, and Bartók, as well as the Musica Italiana project. Erika Grimaldi Erika Grimaldi is one of today s most talented young sopranos. Born in Asti, Italy, she graduated with distinction from the Conservatorio Giuseppe Verdi in Turin, where she studied voice and piano. Her first successes came at the 1998 Crescentino International Competition in Vercelli (Italy), and the International Giacomo Lauri-Volpi Competition (Spain). In the 2012 13 season Ms. Grimaldi appeared at the Teatro Regio Torino in three leading roles: Mimì in La bohème, Micaela in Carmen, and Elisetta in Il matrimonio segreto. She also appeared that season as Donna Anna in Don Giovanni and as Mimì at the Opéra National de Montpellier. She was heard last season in Montpellier as the Countess in Le nozze di Figaro and as Fiordiligi in Così fan tutte in Turin. Engage - ments for the 2013 14 season included performances as Maria in Simon Boccanegra and as Liu in Turandot under the direction of Gianandrea Noseda. Ms. Grimaldi also recently performed with Mr. Noseda at the Teatro Regio in her debut as Mathilde in Guillaume Tell, a role she also sang in a
surprise debut at the Bavarian State Opera in July 2014. She will open the 2014 15 season at the Teatro Regio as Desdemona in Otello, and will also appear there as the Countess in Le nozze di Figaro. In 2015 she will make her U.S. opera debut at the Wash - ington National Opera as Micaela in Carmen, and she will appear as Mimì in La bohème at the Teatro Petruzzelli in Bari. She joined Jonas Kaufmann in a scene from Il trovatore on the tenor s recent all-verdi CD for Sony. Born in Alto Adige, Italy, Ms. Chiuri graduated from the Boito Conservatory in Parma and perfected her technique with Franco Corelli. She was the winner of several competitions including the Mario del Monaco Vocal Competition, Basiola, and the Inter - national Francesco Paolo Tosti Singing Com petition. She also ranked in the Inter - national Tchaikovsky Competition. Future engagements include Rossini s Guillaume Tell conducted by Gianandrea Noseda at the Edinburgh International Festival, Weinberger s Švanda dudák at the Teatro Massimo in Palermo, Suor Angelica/Goyescas and Hänsel und Gretel at the Teatro Regio Torino, and Il trovatore with Teatro Social di Rovigo and Opera Giocosa di Savona. Anna Maria Chiuri Anna Maria Chiuri is internationally acclaimed as a true dramatic mezzo-soprano. Her colorful voice and charismatic presence have given life to the Verdi roles of Amneris, Azucena, Fenena, Preziosilla, Mrs. Quickly, Ulrica, and Eboli; the Wagner roles of Ortrud and Fricka; and the Strauss roles of Clytemnestra and Herodias. She has also performed as Adalgisa in Norma, Santuzza in Cavalleria rusticana, and Donna Elvira in Don Giovanni. Ms. Chiuri has performed at opera houses throughout Italy, including the Teatro alla Scala in Milan, Accademia Nazionale di Santa Cecilia in Rome, Teatro Massimo in Palermo, Teatro Regio Torino, Teatro di San Carlo in Naples, Teatro Carlo Felice in Genoa, Teatro La Fenice in Venice, Teatro Verdi in Trieste, and Teatro Regio Parma. Internationally, Ms. Chiuri has performed at the Wexford Opera Festival, Grand Théâtre de Genève, Oper Leipzig, and Opernhaus Zürich, and in cities such as New York, Tel Aviv, and Tokyo. She has also collaborated with many of today s foremost conductors and directors, including Angelo Campori, Riccardo Chailly, Zubin Mehta, Riccardo Muti, Gianandrea Noseda, Georg Solti, Claudio Abbado, Lorenzo Mariani, and Manfred Schweigkofler. DARIO ACOSTA Russell Thomas A native of Miami, tenor Russell Thomas is quickly establishing himself as one of the most exciting vocal and dramatic talents of the international opera and concert scene. Mr. Thomas s recent highlights include concert performances of John Adams s The Gospel According to the Other Mary at the Ravinia Festival and Verdi s I masnadieri with the Washington Concert Opera. He also debuted at Deutsche Oper Berlin in the title role of Verdi s Don Carlo, Andres in Wozzeck with the Metropolitan Opera, the title role in Les contes d Hoffmann with the Seattle Opera, and the Prince in Rusalka with the North Carolina Opera. In concert, Mr. Thomas sang Beethoven s Symphony No. 9 with the New York Philharmonic and Alan Gilbert, Handel s Messiah with the National Symphony Orchestra, and Verdi s Messa da Requiem with the New Jersey Symphony Orchestra. Future projects include a debut at the English National Opera and
JULIA BORODINA Lyric Opera of Chicago, as well as returns to the Metropolitan Opera, Canadian Opera Company, and Cincinnati Opera. In the 2012 13 season, Mr. Thomas performed in Donizetti s Belisario with Opera Rara in London and made his role debut as Tito in Mozart s La clemenza di Tito at the Metropolitan Opera. He returned to the Los Angeles Philharmonic to reprise his role as Lazarus in a new production of The Gospel According to the Other Mary directed by Peter Sellars, which was also seen in London, Lucerne, Paris, and New York. Further concerts included the tenor s return to the New York Philharmonic in Mahler s Das Lied von der Erde, Mozart s Requiem at Carnegie Hall, and Verdi s Messa da Requiem in Barcelona. Mr. Thomas ended the season with his debut at the Royal Opera House Covent Garden as Gabriele Adorno in Verdi s Simon Boccanegra, and with concert performances of Wagner s Der fliegende Holländer at the Concertgebouw, Amsterdam. Ildar Abdrazakov Since making his La Scala debut in 2001 at age 25, Ildar Abdrazakov has become a mainstay at leading houses worldwide, including the Metropolitan Opera, Vienna State Opera, and Bavarian State Opera. Also an active concert artist, he has performed at London s BBC Proms and at Carnegie Hall, as well as with leading international orchestras, including the Chicago Symphony Orchestra and Vienna Philharmonic. Among Mr. Abdrazakov s signature roles are the title role in Le nozze di Figaro; both the title character and Leporello in Mozart s Don Giovanni; Méphistophélès in Gounod s Faust and Berlioz s La damnation de Faust; Oroveso in Bellini s Norma; Selim in Rossini s Il turco in Italia; and Assur in Rossini s Semiramide. Mr. Abdrazakov is noted for Verdi roles, including Walter in Luisa Miller and the title character in Oberto, as well as Attila and Banquo. His discography includes a Grammy Award winning recording of Verdi s Messa da Requiem with Riccardo Muti and the Chicago Symphony Orchestra, as well as discs of Cherubini s masses, Shostakovich s Suite on Verses of Michelangelo, Rachmaninoff s The Miserly Knight, and unpublished arias by Rossini with Riccardo Chailly. He is also featured on video recordings of Oberto, Norma, Lucia di Lammermoor, and Attila. In 2014 Delos released his debut solo recording, Power Players: Russian Arias for Bass. Born in 1976 in the city of Ufa, then the capital of the Soviet republic of Bashkiria, Mr. Abdrazakov traces his lineage back to Genghis Khan. His first place award at the 2000 Maria Callas International Television Competition thrust him into the international spotlight and led to his debut at La Scala the following year. Since 2007 Mr. Abdrazakov has been an ambassador for the Zegna & Music project, a philanthropic initiative founded in 1997 by Ermenegildo Zegna to promote music and its values. Mr. Abdrazakov s concert attire is generously provided by the designer. Concert Chorale of New York The Concert Chorale of New York is a group of professional singers who perform with various conductors and presenters. In 2013 the Chorale performed Rossini s Stabat mater under Gianandrea Noseda for Lincoln Center s Mostly Mozart Festival. They have also appeared at the Caramoor Festival in productions of operas and oratorios. Other credits include the Brooklyn Academy of Music s productions of Philip
Glass s CIVIL wars; John Adams s Nixon in China; and productions of Dido and Aeneas, L Allegro, il Penseroso ed il Moderato, Jesu, meine Freude, and Vivaldi s Gloria with the Mark Morris Dance Group. The Chorale has also worked with Gerard Schwarz at the 92nd Street Y and Opéra Français conducted by Yves Abel. The Chorale recently appeared with the American Symphony Orchestra under Leon Botstein. It performed in Stravinsky s Les noces at Lincoln Center, the New York premiere of Paul McCartney s Ecce Cor Meum, and a performance of John Adams s The Death of Klinghoffer conducted by the composer. The Chorale participated in the Performing Arts Center at Purchase College SUNY s performances of Gilbert and Sullivan works, and a concert series of Haydn, Bach, and Beethoven. It also performed in the highly acclaimed concert version of Rodgers and Hammerstein s Carousel, conducted by Leonard Slatkin, and in a performance with Judy Collins at Carnegie Hall. The men of the Chorale sang with the Chicago Symphony Orchestra in a performance of Tristan und Isolde, and they performed in The Tristan Project with the Los Angeles Philharmonic at Avery Fisher Hall. The Chorale participated in Live From Lincoln Center s A Salute to the American Musical, which was nominated for an Emmy, and it has recorded with CBS and Nonesuch Records. The artistic administrator of the Concert Chorale of New York is Jacqueline Pierce. James Bagwell James Bagwell maintains an active international schedule as a conductor of choral, operatic, and orchestral music. He has prepared the Concert Chorale of New York for numerous performances with the American Symphony Orchestra, the Los Angeles Phil - harmonic, and the Mostly Mozart Festival (broadcast nationally in 2006 on Live From Lincoln Center). In 2009 he was appointed music director of the Collegiate Chorale and principal guest conductor of the American Symphony Orchestra, and led them in concerts at Carnegie Hall during the 2013 14 season. In 2011 and 2013 he prepared the Collegiate Chorale for three concerts at the Verbier Festival; the ensemble will return there in 2014 for four concerts. In 2012 the group traveled to Israel and the Salzburg Festival for four programs with the Israel Phil - harmonic, marking the first time an American chorus had appeared at the festival since 1989. In 2011 Mr. Bagwell made his debut with the Cincinnati Symphony Orchestra and May Festival Chorus, and he will return in December 2014 to lead them in a performance of Handel s Messiah. Mr. Bagwell has worked with noted conductors such as Valery Gergiev, Charles Dutoit, Zubin Mehta, Riccardo Muti, Lorin Maazel, Esa-Pekka Salonen, Michael Tilson Thomas, Louis Langrée, Leon Botstein, Iván Fischer, Vladimir Ashkenazy, and Robert Shaw. He conducted some 25 productions as music director of Light Opera Oklahoma, and led critically acclaimed theatrical works at Bard SummerScape. He recently conducted a recorded performance of Kurt Weill s Knickerbocker Holiday at Alice Tully Hall. Mr. Bagwell frequently appears as a guest conductor for orchestras, including the Jerusalem Symphony Orches - tra, Tulsa Symphony, and the Indianapolis Chamber Orchestra. He has taught since 2000 at Bard College, where he is director of the music program and co-director of the master s program in conducting. Amphion String Quartet The Amphion String Quartet won the 2011 Concert Artists Guild Victor Elmaleh Com - petition and joined the roster of The Chamber Music Society of Lincoln Center s CMS Two program in 2013. The ensemble made its Alice Tully Hall debut in March 2014. The group s 2014 15 season begins with these Mostly Mozart performances and a return to Korea for the Busan Chamber Music Festival.
The quartet has several return engagements in New York in 2014 15, including two Chamber Music Society performances at Alice Tully Hall, Schneider Concerts at the New School, Brooklyn s Bargemusic, and the Tilles Center Chamber Music Series on Long Island. Collaborative performances include a recital with clarinetist David Shifrin at Rockford s Coronado Theatre and a special program with the renowned dance company BodyVox in Portland. In fall 2014 the Amphion String Quartet s first CD will be released by Nimbus. Violinists Katie Hyun and David Southorn, violist Wei-Yang Andy Lin, and cellist Mihai Marica first joined together for a performance at the Yale School of Music s Sprague Hall in 2009. The ecstatic audience response directly inspired the quartet s creation. Recent honors include the 2012 Salon de Virtuosi Career Grant, first prize at the Hugo Kauder String Quartet Competition, and first prize in the piano and strings category as well as the Audience Choice Award at the 2010 Plowman Chamber Music Competition. Mostly Mozart Festival Lincoln Center s Mostly Mozart Festival America s first indoor summer music festival was launched as an experiment in 1966. Called Midsummer Serenades: A Mozart Festival, its first two seasons were devoted exclusively to the music of Mozart. Now a New York institution, Mostly Mozart continues to broaden its focus to include works by Mozart s predecessors, contemporaries, and related successors. In addition to concerts by the Mostly Mozart Festival Orchestra, Mostly Mozart now includes concerts by the world s outstanding period-instrument ensembles, chamber orchestras and ensembles, and acclaimed soloists, as well as opera productions, dance, film, late-night performances, and visual art installations. Contemporary music has become an essential part of the festival, embodied in annual artists-in-residence including Osvaldo Golijov, John Adams, Kaija Saariaho, Pierre-Laurent Aimard, and the International Contemporary Ensemble. Among the many artists and ensembles who have had long associations with the festival are Joshua Bell, Christian Tetzlaff, Itzhak Perlman, Emanuel Ax, Garrick Ohlsson, Stephen Hough, Osmo Vänskä, the Emerson String Quartet, Freiburg Baroque Orchestra, Orchestra of the Age of Enlightenment, and the Mark Morris Dance Group. Mostly Mozart Festival Orchestra The Mostly Mozart Festival Orchestra is the resident orchestra of the Mostly Mozart Festival, and is the only orchestra in the U.S. dedicated to the music of the Classical period. Since 2002 Louis Langrée has been the Orchestra s music director, and since 2005 the Orchestra s Avery Fisher Hall home has been transformed each summer into an appropriately intimate venue for its performances. Over the years, the Orchestra has toured to such notable festivals and venues as Ravinia, Great Woods, Tangle - wood, Bunkamura in Tokyo, and the Kennedy Center. Conductors who made their New York debuts leading the Mostly Mozart Festival Orchestra include Jérémie Rhorer, Edward Gardner, Lionel Bringuier, Yannick Nézet-Séguin, Charles Dutoit, Leonard Slatkin, David Zinman, and Edo de Waart. Mezzo-soprano Cecilia Bartoli, flutist James Galway, soprano Elly Ameling, and pianist Mitsuko Uchida all made their U.S. debuts with the Mostly Mozart Festival Orchestra. Lincoln Center for the Performing Arts, Inc. Lincoln Center for the Performing Arts (LCPA) serves three primary roles: presenter of artistic programming, national leader in arts and education and community relations, and manager of the Lincoln Center campus. A presenter of more than 3,000 free and ticketed events, performances,
tours, and educational activities annually, LCPA offers 15 programs, series, and festivals, including American Songbook, Great Performers, Lincoln Center Festival, 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 provides support and services for the Lincoln Center complex and the 11 resident organizations. In addition, LCPA led a $1.2 billion campus renovation, completed in October 2012. JENNIFER TAYLOR 2014 Mostly Mozart Festival Orchestra Louis Langrée, Renée and Robert Belfer Music Director Violin I Ruggero Allifranchini, Concertmaster Martin Agee Robert Chausow Amy Kauffman Sophia Kessinger Katherine Livolsi-Landau Lisa Matricardi Ronald Oakland Deborah Wong Violin II Laura Frautschi, Principal Katsuko Esaki Lilit Gampel Michael Gillette Suzanne Gilman Kristina Musser Michael Roth Mineko Yajima Viola Shmuel Katz, Principal Meena Bhasin Danielle Farina Chihiro Fukuda Jack Rosenberg Jessica Troy Cello Ilya Finkelshteyn, Principal Ted Ackerman Ann Kim Alvin McCall Bass Zachary Cohen, Principal Lou Kosma Judith Sugarman Flute Tanya Dusevic Witek, Principal Elizabeth Mann Stephanie Mortimore, Piccolo Oboe Randall Ellis, Principal Kristin Kall Nick Masterson Clarinet Jon Manasse, Principal Steven Hartman Bassoon Marc Goldberg, Principal Tom Sefčovič Mark Romatz, Contrabassoon Horn Lawrence DiBello, Principal Michelle Baker David Byrd-Morrow Patrick Pridemore Stewart Rose Trumpet Neil Balm, Principal Lee Soper Trombone Richard Clark, Principal Demian Austin Don Hayward Timpani David Punto, Principal Percussion Kory Grossman, Principal Matthew Beaumont Charles Descarfino Librarian Michael McCoy Personnel Managers Neil Balm Jonathan Haas Gemini Music Productions, Ltd.
Concert Chorale of New York James Bagwell, Director Soprano Melissa Bauman Gail Blache-Gill Melissa Casey-Jose Eileen Clark Margery Daley Toni Dolce Patti Dunham Phenisher Harris Margarita Martinez Adrienne Pardee Erika Grace Powell Elisa Singer Kathy Theil Sarah Viola Elena Williamson Alto Esther David Emily Eyre BJ Fredricks Yonah Gershator Wendy Gilles Erin Kemp Margaret Lias Nedra Neal Rosa Pascarella Tami Petty Jacqueline Pierce Rhesa Williams Tenor James Bassi Jonathan Blalock Max Blum Martin Doner Brian Giebler Jermaine Jackson Adam MacDonald Drew Martin John Tiranno James Archie Worley Bass Daniel Alexander Frank Barr Dennis Blackwell Clyde Crewey Mischa Frusztajer Roderick Gomez Joseph Neal Mark Rehnstrom Christopher Roselli Sean Sullivan Daniel Shigo Scott Wheatley Lewis White Lincoln Center Programming Department Jane Moss, Ehrenkranz Artistic Director Hanako Yamaguchi, Director, Music Programming Jon Nakagawa, Director, Contemporary Programming Lisa Takemoto, Production Manager Bill Bragin, Director, Public Programming Charles Cermele, Producer, Contemporary Programming Kate Monaghan, Associate Director, Programming Jill Sternheimer, Producer, Public Programming Mauricio Lomelin, Associate Producer, Contemporary Programming Julia Lin, Associate Producer Nicole Cotton, Production Coordinator Regina Grande, Assistant to the Artistic Director Luna Shyr, Interim Programming Publications Editor Mariel O Connell, House Seat Coordinator Honor Bailey, House Program Intern; Brenton O Hara, Theatrical Productions Intern; Jacob Richman, Production Intern Program Annotators: Don Anderson, Christopher H. Gibbs, Ellen T. Harris, Kathryn L. Libin, Hugh Macdonald, Ellen McSweeney, Harlow Robinson, Paul Schiavo, David Wright
Lectures, Discussions, and Pre-concert Recitals All events are FREE to ticketholders of the accompanying performance. Saturday Afternoon, July 26, at 4:00 Discussion of Sila: The Breath of the World with John Luther Adams and John Schaefer Bruno Walter Auditorium Friday and Saturday Evenings, August 1 2, at 7:00 Members of the Mostly Mozart Festival Orchestra Mozart: Serenade for Winds in E-flat major, K.375 Avery Fisher Hall Monday Evening, August 4, at 6:30 Emerson String Quartet Haydn: String Quartet in G major Alice Tully Hall Tuesday and Wednesday Evenings, August 5 6, at 7:00 Christian Tetzlaff, violin, and Caroline Goulding, violin Works by Leclair and Bartók Avery Fisher Hall Friday Evening, August 8, at 6:15 Pre-performance discussion of Acis and Galatea with Mark Morris and Jane Moss David Rubenstein Atrium Friday and Saturday Evenings, August 8 9, at 7:00 Philip Cobb, trumpet, and Joseph Turrin, piano Works by Purcell, Bellstedt, and Joseph Turrin Avery Fisher Hall Tuesday and Wednesday Evenings, August 12 13, at 7:00 Amphion String Quartet Barber: String Quartet Avery Fisher Hall Friday Evening, August 15, at 6:45 Lecture on Berlioz s Symphonie fantastique by Peter Bloom Stanley H. Kaplan Penthouse Saturday Afternoon, August 16, at 4:00 Panel Discussion: Mozart and the Promise of Opera Bruce Alan Brown, moderator Presented in association with the Mozart Society of America Stanley H. Kaplan Penthouse Saturday Evening, August 16, at 7:00 Magali Mosnier, flute, and Xavier de Maistre, harp Works by Gluck, Smetana, and Fauré Avery Fisher Hall Sunday Afternoon, August 17, at 1:45 Lecture on Handel s Teseo by Ellen Rosand Stanley H. Kaplan Penthouse Tuesday Evening, August 19, at 7:00 Igor Kamenz, piano Beethoven: Sonata No. 7 in D major Avery Fisher Hall Wednesday Evening, August 20, at 7:00 Igor Kamenz, piano Liszt: Dante Sonata Wagner (trans. Liszt): Isoldes Liebestod Avery Fisher Hall Friday Evening, August 22, at 6:45 Lecture on Mozart, Bach, and Martin by Andrew Shenton Stanley H. Kaplan Penthouse ALICE TULLY HALL, AVERY FISHER HALL Broadway at 65th Street BRUNO WALTER AUDITORIUM Dorothy and Lewis B. Cullman Center New York Public Library for the Performing Arts 111 Amsterdam Ave., between 64th and 65th Streets DAVID RUBENSTEIN ATRIUM Broadway between 62nd and 63rd Streets STANLEY H. KAPLAN PENTHOUSE 165 West 65th Street, 10th Floor