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H. Kaplan Penthouse
Mostly Mozart Festival Orchestra
Louis Langrée, Conductor Stephen Hough, Piano Carolyn Sampson, Soprano Sasha Cooke, Mezzo-soprano Steve Davislim, Tenor M|M Concert Chorale of New York James Bagwell, Director
ALL-MOZART PROGRAM Piano Concerto No. 21 in C major, K.467 (1785)
Allegro maestoso Andante Allegro vivace assai Mr. Hough will play original cadenzas.
Intermission Davidde penitente, K.469 (1785)
Chorus: Alzai le flebili voci al Signor Chorus: Cantiam le glorie e le lodi Aria: Lungi le cure ingrate Chorus: Sii pur sempre benigno, oh Dio Duet: Sorgi, o Signore, e spargi Aria: A te, fra tanti affanni Chorus: Se vuoi, puniscimi Aria: Tra l’oscure ombre funeste Trio: Tutte le mie speranze Chorus: Chi in Dio sol spera
Mostly Mozart debut
This performance is made possible in part by the Josie Robertson Fund for Lincoln Center.
Avery Fisher Hall
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and Gustave M. and Helen R. The taking of photographs and the use of recording equipment are not allowed in the building. MetLife is the National Sponsor of Lincoln Center. “Summer at Lincoln Center” is sponsored by Diet Pepsi and The Wall Street Journal. S. The Mostly Mozart stage installation was designed by Fischer Dachs Associates. New England Foundation for the Arts. In consideration of the performing artists and members of the audience. Public support is provided by the New York State Council on the Arts and the National Endowment for the Arts. not during the performance. The Shubert Foundation. Charles E. Inc. . Hauser. and Friends of Mostly Mozart. Corporate support is provided by your Tri-State Cadillac Dealers.H. Scheuer Family Foundation. The Eleanor Naylor Dana Charitable Trust. Inc.Mostly Mozart Festival The Mostly Mozart Festival is made possible by Rita E. Artist hospitality provided by Zabar’s and Zabars. Continental Airlines is the Official Airline of Lincoln Center.com. Ann and Gordon Getty Foundation. Movado is an Official Sponsor of Lincoln Center. We would like to remind you that the sound of coughing and rustling paper might distract the performers and your fellow audience members. those who must leave before the end of the performance are asked to do so between pieces. Culpeper Foundation. Inc.
The Festival Orchestra continues to be the dynamic centerpiece of the Festival. late-night recitals. plays an important role this summer as well. That influence extends to Chopin and Schumann. as well as rising talents such as violinist James Ehnes. From August 13–16. we are pleased to offer you an outstanding array of music and dance in concerts by the Mostly Mozart Festival Orchestra. whose anniversary years we celebrate this season. all in their Mostly Mozart debuts. and Boulez. under the leadership of Renée and Robert Belfer Music Director Louis Langrée. and conductor Pablo Heras-Casado. and a return of the Deutsche Kammerphilharmonie Bremen and Mark Morris Dance Group—performances wide-ranging in scope. as well as the work of contemporary polyphonists Ligeti.Mostly Mozart Festival Welcome to Mostly Mozart It is hard for Louis Langrée and me to imagine a more sublime and rewarding way to experience summer in New York than celebrating the genius and inspiration of Mozart. pianists David Fray and Peter Jablonski. we feel extraordinary awe and gratitude for what he created and how he expands who we are in every note that is played. Johann Sebastian Bach. Bach’s polyphonic art takes center stage in a special series directed and performed by Mostly Mozart’s first pianist Artist-in-Residence. Lachenmann. he is joined by a varied group of ensembles and choirs to explore polyphony’s ancient roots in Georgian choral music. The Orchestra is joined by acclaimed soloists such as violinist Joshua Bell. In our 44th year. the acclaimed musician Pierre-Laurent Aimard. Mostly Mozart Festival . As we immerse ourselves in the spirit and music of Mozart. and mezzosoprano Stephanie Blythe. whose music Mozart greatly admired. pianist Emanuel Ax. Jane Moss Artistic Director. yet reflecting the profound influence of our namesake composer.
K. —Copyright © 2010 by Paul Schiavo . is one of the composer’s most appealing keyboard concertos. This time saw Mozart at the height of his professional success. on occasion. Among other things. in large part. Mozart also composed a pair of arias especially for the piece.467. They received their initial performances within three days of each other in March of that year. The seldom-heard cantata Davidde penitente is. Its expansive opening movement is balanced by a remarkable Andante intimating romantic reverie and a finale that evinces Mozart’s virtuosity at the piano. the Hapsburg emperor himself. the Piano Concerto in C major. K.427. he had launched a series of subscription concerts. Composed for a concert Mozart presented during the Lenten season of 1785. portions of which appear here with new texts adapted from the psalms of David. which were well attended by Vienna’s music-loving aristocracy—including.Mostly Mozart Festival Program Summary by Paul Schiavo Both of the compositions performed this evening date from the early part of 1785. a reworking of Mozart’s unfinished Mass in C minor.
Later. the sternly tragic one in G minor. Mozart always included at least one piano concerto on these programs. however.” K. 1791. K. K. playing the solo part himself. Although not significantly longer than most of Mozart’s mature keyboard concertos. at least. in Salzburg Died December 5. The stormy Dminor Concerto is one of Mozart’s most desperate outbursts. As in many of Mozart’s concertos. (It would not be out of place in those supremely ironic operas. The contrast between these two pieces could hardly be more extreme. This feeling comes in part from the work’s orchestration. on March 9.467 (1785) WOLFGANG AMADEUS MOZART Born January 27. 1756. the composer was now enjoying the period of his greatest success in the Austrian capital. had become fashionable events for the city’s music-loving aristocracy.) While no one can prove the accuracy of this hypothesis. An Akademie that he gave on March 10. other well- known examples include the great string quintets in C major and G minor. in Vienna Approximate length: 28 minutes Mozart completed his Piano Concerto in C major. It appears first quietly.516 respectively. We find this especially in the first movement. and the “Jupiter. This C-major Concerto followed quickly on the heels of the composer’s Piano Concerto in D minor. even though this leads us into the difficult area of psychological speculation.Mostly Mozart Festival Notes on the Program by Paul Schiavo Piano Concerto No. he would have written the present C-major Piano Concerto to counter the grim drama of the preceding Dminor Concerto. K. Mozart develops it in chains of long melodic sequences. Le nozze di Figaro and Così fan tutte. the initial subject is a march. . or subscription concerts. 1785. Mozart created several such pairs of emotionally contrasted works. the other bright and joyous.515 and K. provided the occasion for writing the present work. 21 in C major. then with the force of the entire orchestra behind it. But it stems also from the expansive way in which the composer develops the work’s themes. K. K. More than one commentator has suggested that the composer produced these Janus-headed pairs in order to maintain within himself some sort of spiritual equilibrium. since Mozart has added trumpets. and his last two symphonies. it is tempting to look beyond such pragmatic concerns as Mozart’s need to fill out a concert program. but one more gay than martial in character.551.467 conveys a sense of grandeur and spacious design—grand and spacious by 18th-century standards. In particular. In considering the composition.466. These concertos thus form a complimentary set—one dark and turbulent.467. which he presented during Lent. flute.) Yet this disarmingly simple tune proves the abundant source for most of the movement. while its successor is relaxed and confident. we cannot but wonder at such vivid expressions of darkness and light coming nearly at once from the same source. just one day after he completed the Cmajor Concerto. (According to this idea.550. his Akademien. K. a cry of pathos and struggle. whose breadth is all the more remarkable for the apparent modesty of its principal melody. Having taken up residence in Vienna some four years earlier. and timpani to his usual concerto orchestra.
its gentle keyboard musings over a steady murmur of accompanying triplet figures producing a rhythmic fluidity that foreshadows the style of Chopin. that upon marrying Constanze he would compose a Mass. objecting to both Constanze and her family. K. This paradoxical situation is explained by the fact that most of Davidde penitente was originally composed for one of Mozart’s finest liturgical compositions. The music’s initial impression is one of sublime placidity. surprising chromatic inflections in the harmonies. offered his hand in marriage to Constanze Weber. the daughter of his first landlady in the Austrian capital. the unfinished Mass in C minor. The finale reveals still another side of Mozart’s character. presumably to thank his Creator and beseech his blessing. especially. when Mozart.Mostly Mozart Festival phrases that recur at different pitch levels. the composer’s father strongly opposed the union. Wolfgang and Constanze were wed on August 4.” This is to say that it is among the most Romantic utterances from the composer whose music we often think of as the paragon of musical Classicism. The somewhat complicated history of Davidde penitente begins in December 1781.” as he later described in a letter to his father. Among other obstacles. As C. creating a wonderful sense of slow melodic descent coupled with repeating cycles of harmonic tension and release.M. Davidde penitente. he “made the promise in my heart of hearts. Here the composer offers a brief movement in rondo form. and sensible. And yet. a family which comprises some of Mozart’s most beautiful slow movements. much of this music will be familiar to many listeners . clever. wide melodic leaps and. perhaps with music from one of his earlier Mass settings to fill in those portions of the liturgy he had not yet composed. But perhaps due to distractions arising from the persistent challenge of earning a living. Sometime during the months that followed. The ensuing slow movement brings an altogether different mood. 1782. There is no reason to think that Mozart did not plan eventually to complete the Mass in C minor. defending her as kind. we can also detect notes of deep yearning conveyed through the gentle clash of rhythms.427.469 (1785) WOLFGANG AMADEUS MOZART Approximate length: 43 minutes with more than a passing acquaintance with Mozart’s output. one as different from the earlier movements as each of those was from the other. the playful tone of its recurring principal theme complimented by a spirited display of keyboard virtuosity. The outcome of his proposal was far from certain. But Mozart stood up for his fiancée. the work lay unfinished a year after his wedding. he directed a performance of the composition. K. Girdlestone noted in his classic study Mozart and His Piano Concertos. Mozart took what he had composed of the Mass with him to Salzburg when he and his wife visited the composer’s father and sister there in the summer and early autumn of 1783. but if we listen more deeply. During their stay. “the world of the Andante is that of the ‘dream’ andantes. and perhaps for uncertain Mozart’s cantata Davidde penitente is infrequently performed. Although the composer made a promising start on the Mass he had vowed to write. a situation that should be surprising in regard to a substantial work containing some of the composer’s best choral music. newly settled in Vienna.
467. In the end. the Society of Musical Artists. Among the latter was the Tonkünstler-Societät. This was the first opportunity Viennese listeners had to hear any of the music Mozart had written for the Cminor Mass. In January 1785 the Society asked Mozart to write a new large-scale work to be performed at a benefit concert in March. A colorful view of the situation is given by Leopold Mozart. in Italian. it would be their only such opportunity during the composer’s lifetime and long afterwards. something more: a pair of newly composed arias. and he contributed his talents to several of the concerts the organization presented to benefit its pension fund. with the result that “we never get to bed before one o’clock in the morning. in a relatively short time. based on the psalms of David.” He goes on to describe something of his son’s routine: “Concerts every day. which. they were written by the poet Lorenzo da Ponte.” In view of all this. These were verses. he never did so. and Così fan tutte. The addition of these two arias surely .. According to one near-contemporary report (that of the composer and cleric Abbé Maximillian Stadler. who traveled from Salzburg to visit his son and daughter-in-law in March. funded and distributed pensions for the widows and orphans of the city’s many professional musicians. Mozart returned with Constanze to Vienna from Salzburg in November 1783 and resumed the hectic schedule of activities required by his career as a freelance musician in the Austrian capital: teaching. and performing in concerts—both those which he initiated and others organized by colleagues. Writing to his daughter (Mozart’s sister. by members of the music-loving aristocracy or. Don Giovanni. K. and he wrote nothing at all of the Agnus Dei. etc.. who would later pen the librettos for Mozart’s operas Le nozze di Figaro. Still. copying. Mozart applied for membership in the Society shortly after settling in Vienna. however. he did not want to renege on his commitment. Indeed. His solution was to outfit music from his C-minor Mass. chorus.I am quite unable to describe all the bustle and disturbance. music. and orchestra. it is hardly surprising that Mozart found it impossible to compose.Mostly Mozart Festival psychological reasons. who befriended Constanze Mozart after her husband’s death). the composer’s father. Davidde penitente was presented as part of a concert for the Tonkünstler-Societät on March 13. occasionally. written in the final weeks of his life and also unfinished. composing. But Mozart gave his audience. your brother’s grand fortepiano has been taken to the theater or to some other house at least twelve times while I have been here. just three days after the Akademie in which Mozart gave the premiere performance of his C-major Piano Concerto. Nannerl). what the composer did finish far surpassed in quality all of his earlier liturgical music and would be equaled only by his superb Requiem Mass. Leopold observes that Wolfgang is often out in the evening performing in concerts. by beneficent organizations. both written in the week before the Tonkünstler-Societät concert. he left more than half of the Credo section in sketch only. always teaching. The early months of 1785 were. among other things. the cantata he had promised the Tonkünstler-Societät. with a new text. set for vocal soloists. and posterity. one of the busiest periods of Mozart’s career. Still. which had not been heard since its single performance in Salzburg a year and a half earlier. The composer agreed and evidently promised a cantata based on psalm verses.
—Copyright © 2010 by Paul Schiavo . There he had become acquainted with. e spargi. These new arias. Bach. van Swieten took it upon himself to remedy that situation. He humbled himself. When Mozart composed his Mass in C minor (the portions of it he completed). he hosted musical gatherings at his home each Sunday afternoon. he started to enrich the contrapuntal fabric of his own work. Beginning in 1782. A te. Alzai le flebili voci al Signor. which otherwise would have been weighted heavily with choral music. including Messiah. the effect was immediate and profound. Lungi le cure ingrate. the duet Sorgi. at a time he had already composed successful operas and symphonies. above all in the opening Kyrie. he was deeply affected by his recent discovery of the music of Handel and J. The other aria. in 1782.) More significantly. o Signore. it rebalanced the scoring of the new cantata. the music of J. (Each had sung leading roles in Mozart’s opera Die Entführung aus dem Serail when it was produced in Vienna. the result being music of unusual profundity. a Viennese nobleman who had served as Austria’s ambassador in Berlin. soprano Caterina Cavalieri and tenor Johann Adamberger. Mozart also flattered his soloists with a new cadenza-like passage inserted into the final movement. and the trio Tutte le mie speranze. puniscimi. are as fine as we might expect from Mozart in his maturity. which was still essentially unknown in Vienna. The first great fruit of this labor appears in the C-minor Mass. and a great admirer of. He transcribed Bach’s fugues for string quartet and began to incorporate fugal passages into his own compositions. all adapted from the Cminor Mass. are scarcely less admirable. and in the “Qui tollis” and “Cum sancto spiritu” sections of the Gloria. Still. Deeply impressed by Bach’s fugal writing.S. the grieving Se vuoi. He studied Handel’s oratorios and eventually would make arrangements of several of them. fra tanti affanni for tenor and the dramatic Tra l’oscure ombre funeste for soprano. For Mozart. That discovery occurred through the agency of Baron Gottfried van Swieten. it is the great choruses that contain the most striking music in Davidde penitente.Mostly Mozart Festival served to enlist and showcase the talents of two of Vienna’s leading singers. who attended those gatherings regularly.” Here Mozart adopts the contrapuntal style of Bach and Handel and makes it his own. Returning to the Austrian capital. Bach and Handel. These correspond in Davidde penitente to the first chorus. “Di tai pericoli non ha timore. and the fugue of the closing number.S. to write exercises in strict imitative counterpoint. where music of the old masters was performed and studied.
You have heard my prayers. o Signore. let at least your scorn find relief. Sorgi. and scatter your enemies. E le preghiere ti muovano a pietà. Penitent David. but first. Lord. Che vedi il mio bel core. Lord. Udisti i voti miei. Fuga ognun che t’odia. Arise. punish me. Lord. Aria Lungi le cure ingrate. I sought mercy. puniscimi Ma pria. (Please turn the page quietly. Pietà cercai. O God and let our prayers move you to mercy.469 Text: Lorenzo da Ponte Coro Alzai le flebili voci al Signor Alzai le flebili voci al Dio Da mali oppresso. e spargi i tuoi nemici. I raised my weeping cries to God oppressed by evils. Signore. Che sfoghi. che si moderi Il tuo sdegno. Duetto Sorgi. Signore. that you should see my good heart. S’è palpitato assai È tempo da goder. Aria A te. let us repeat them a hundred hundred ways the praises of the most loving Lord. Chorus If you will. Replichiamole in cento e cento modi Del Signore amabilissimo. and already my soul has rejoiced since through you the storms in my bosom have been calmed. Coro Sii pur sempre benigno. Chorus Be ever gracious. scatter and disperse your enemies. Aria In you. K. Duet Arise. E già godea quest’alma Per te l’usata calma Delle tempeste in sen. oh Dio.) . o Signore.469 Chorus I raised my weeping cries to the Lord I raised my weeping cries to God oppressed by evils. amid such tribulation. Fuga da te che t’odia.Mostly Mozart Festival Davidde penitente. Chorus Let us sing the glories and praises. If once you were afraid now is the time to rejoice. that at least you should know me. Respirate omai. Alzai le flevili mie voci a Dio Da mali oppresso. fra tanti affanni. put to flight those who hate you. il tuo furore. arise and scatter your enemies. Put to flight whomsoever may hate you. Coro Cantiam le glorie e le lodi. your anger be tempered. feel free again. Sorgi e spargi i tuoi nemici. Che mi conosci almen. spargi E dissipa i tuoi nemici. Coro Se vuoi. lascia che almeno. K. Lord. Aria Far away from sad afflictions.
godete. Fair souls. help. Lord.Mostly Mozart Festival Puniscimi. se vuoi. o Dio. O God. Next season Mr. Langrée has worked with many other orchestras in Europe. Meet the Artists conducting La bohème. sanami. Di cui solo è Dio l’autor. bring me succor. Signor. He will conduct in Vienna again at the end of the year in performances at the Konzerthaus of Beethoven’s Ninth Symphony with the Vienna Symphony Orchestra. O Dio. he will make his debut at the Vienna State Opera . if you will. Lascia. He was named Renée and Robert Belfer Music Director in August 2006. deh. salvami! Coro Chi in Dio sol spera: Di tai pericoli non ha timore. Salvami. from the cruel enemy that pursues me and that presses upon me. This year. rejoice that no one dares to disturb that joy and that peace of which God alone is the author. Lord. godete! Alme belle! ah sì. He will also conduct Pelléas et Mélisande in Paris and return to the Aix-en-Provence Festival with La traviata. Terzetto Tutte le mie speranze Ho tutte riposte in te. North America. Signore. Né alcun fia che turbi audace. Alme belle. Punish me. Splende al giusto il ciel sereno. Aria Tra l’oscure ombre funeste. and B. Mr. O God. you are able. Aita. Behold my pale weak face. as well as conduct the Camerata Salzburg at the Mozartwoche and London Philharmonic Orchestra at the Royal Festival Hall. heal me. rejoice! Fair souls! Ah yes. tu puoi. Quella gioia e quella pace. che sfoghi il tuo furore. ah sì. following his debut at La Scala (Don Giovanni) and return to the Metropolitan Opera and Aix-en-Provence Festival. Serba ancor nelle tempeste La sua pace un fido cor. Save me. Ealovega Louis Langrée The French musician Louis Langrée has been music director of the Mostly Mozart Festival in New York since December 2002. save me! Chorus Who hopes in God alone has no fear of such dangers. porgimi aita. porgimi soccorso. and during the storms brings peace to the faithful heart. Vedi la mia pallida guancia inferma. deh. dal nemico feroce Che m’insegue e che m’incalza. Aria Through the dark grievous shadows the serene heaven shines on the just. bring help. Trio All my hopes I have placed in you. ah yes. Langrée will make his debut with the Budapest Festival and Cincinnati Symphony Orchestras. let your anger find relief.
Diapason d’Or. London. performances with the New York. the Chicago. Opéra Bastille and Théâtre des Champs-Élysées in Paris. and Le Concert d’Astrée. and the San Francisco Symphony.Mostly Mozart Festival further afield. and Czech philharmonics. and Grand Teton festivals. the Cleveland. Orchestre de Paris. including the Detroit and Pittsburgh Symphony Orchestras. Many of these have won awards. and the Deutsche Kammerphilharmonie Bremen. and Sydney. and others who have made unique contributions to contemporary life. Grand Théâtre in Geneva. Wiener Festwochen. including Victoire de la Musique. Madrid. and Russian National orchestras. In 2001 he was awarded a MacArthur Fellowship. Tokyo Philharmonic Orchestra. For his performance in Fidelio at Glyndebourne Opera in 2001. Hong Kong. Hough’s 2010–11 season include performances of all four of Tchaikovsky’s piano concertos over six concerts with the Chicago Symphony Orchestra. he was the joint recipient. BBC Philharmonic. Saint Louis. Boston. re-engagements with the Philadelphia Orchestra. Universal. In 2006 he was appointed Chevalier des Arts et des Lettres by the French Ministry of Culture. writers. with Simon Rattle. and Naïve. and Gramophone. Philadelphia. and Oregon sym- . Orchestre des ChampsÉlysées. Houston. Highlights of Mr. and the BBC Proms. and a worldwide televised performance with the Berlin Philharmonic and Simon Rattle. Langrée was music director of Glyndebourne Touring Opera for five years and has worked regularly at Glyndebourne Festival Opera. Mr. Grant Hiroshima Stephen Hough Stephen Hough is widely regarded as one of the most important and distinctive pianists of his generation. During the summer of 2010 he returns to the Hollywood Bowl and the Blossom. He received the 2008 Northwestern University School of Music’s Jean Gimbel Lane Prize in Piano Performance and was recently named winner of the 2010 Royal Philharmonic Society Instrumentalist Award. Orchestre de la Suisse Romande. and on the main stage of Carnegie Hall. Concerto Köln. Houston Symphony. of the Royal Philharmonic Society’s award for Best Musical Achievement for Opera. Langrée has an extensive discography. Hough has appeared with most of the major American and European orchestras and plays recitals regularly in the important halls and concert series around the world. Paris. and Atlanta symphony orchestras. Minnesota. les Chorégies d’Orange. Recent engagements include recitals in London. Netherlands Opera in Amsterdam. Dresden Staatsoper. Netherlands Radio Philharmonic. Aspen. Toronto. He has held positions as music director of the Orchestre de Picardie. and Royal Opera House. Covent Garden. Mr. Festival appearances have included Spoleto. Los Angeles. and Orchestre Philharmonique de Liège. He also regularly conducts such period-instrument orchestras as the Orchestra of the Age of Enlightenment. joining prominent scientists. Opéra National de Lyon. including recordings for Virgin Classics. Pittsburgh. Mr. He has also conducted at the Lyric Opera of Chicago. Colorado.
In 2011 Ms. a European tour with the Budapest Festival Orchestra. and Orchestra e Coro dell’Accademia Nazionale di Santa Cecilia. and a recital for the Van Cliburn Foundation in Fort Worth. Montreal. with the King’s Consort as a featured soloist and has performed with the San Francisco Symphony. Her most recent recording of Purcell songs for BIS was selected as Editor’s Choice in the December 2007 issue of Gramophone Magazine. Matthew Passion with the Hallé Orchestra and Mark Elder. Britten’s Les Illuminations with the Manchester Camerata and Nicholas Kraemer. Annelies van der Vegt Carolyn Sampson Carolyn Sampson’s many roles for the English National Opera have included the title role in Semele and Pamina (Die Zauberflöte) as well as roles in L’incoronazione di Poppea and The Fairy Queen. Hough is currently a visiting professor at the Royal Academy of Music in London and holds the International Chair of Piano Studies at his alma mater. Sampson is a guest at the BBC Proms and has also appeared on the BBC Proms Chamber Music series and given recitals for BBC Radio 3.S. Saint Paul Chamber Orchestra. In Europe her many appearances have included performances of Bach’s St. Seattle. the Royal Northern College in Manchester. and Vancouver symphony orchestras. She has also appeared with the Bayerische Rundfunk. Matthew Passion with the Royal Concertgebouw Orchestra and Philippe Herreweghe. and Chicago’s Music of the Baroque.K. including London’s Royal Festival Hall. Her numerous concert engagements in the U. Washington Bach Consort. Mr. and St. Sampson has toured the U. as well as with the Freiburg Baroque Orchestra and Gustav Leonhardt. Detroit Symphony Orchestra.Mostly Mozart Festival phonies. and his catalogue of over 50 CDs has garnered many international prizes. WDR Symphonieorchester Köln. She took part in the BBC’s Purcell celebrations at Westminster Abbey in November 2009. She performs with Deutsches Symphonie-Orchester Berlin in Mahler’s . Bach’s St. She made her recital debut at the Concertgebouw in 2007 and gave a recital at the 2008 Aldeburgh Festival. Next season she makes her debut with the Leipzig Gewandhaus Orchestra and Riccardo Chailly in performances and a Decca recording of Bach’s Christmas Oratorio. Mr. Ms. Nick Granito Sasha Cooke The 2010–11 season brings several notable debuts for American mezzo-soprano Sasha Cooke. Matthew Passion at the BBC Proms with the English Concert and Trevor Pinnock. and Saint Louis. Ms. She regularly appears at the Wigmore Hall and the Saintes Festival. Sampson will make her debuts with the Melbourne Symphony Orchestra. Rotterdam Philharmonic Orchestra. Hough is an exclusive Hyperion recording artist. and New York Philharmonic. He is also an avid writer and composer. have included Messiah with the Orchestra of the Age of Enlightenment.
and the Mondavi Center. John Eliot Gardiner. Cooke won First Prize in the Young Concert Artists International Auditions in 2007. In concert. Houston Symphony under Mark Wigglesworth in Prokofiev’s Alexander Nevsky. and the Edmonton Symphony Orchestra under William Eddins in Duruflé’s Requiem. Nikolaus Harnoncourt. and both Lensky and David (Die Meistersinger von Nürnberg) for Opera Australia. Cooke has appeared at Carnegie’s Weill and Zankel Halls. the United States. Merkin Concert Hall. Max (Weber’s Der Freischütz) in Baden-Baden. She has sung with leading conductors and orchestras including Bernard Haitink and the Chicago Symphony Orchestra. Steve Davislim The Australian tenor Steve Davislim trained as a horn player before studying voice at the Victorian College of the Arts with Joan Hammond. Alan Gilbert. she was acclaimed for her portrayal of Kitty Oppenheimer in the Met’s premiere of Doctor Atomic. which was also broadcast live in high definition to cinemas across the country. returns to Carnegie Hall’s Zankel Hall with James MacMillan’s Raising Sparks. Pong (Turandot) at the Salzburg Festival. and the University of Minnesota. A former member of the Metropolitan Opera’s Lindemann Young Artist Development Program. Ms. Fenton (Falstaff) at the Royal Opera in London. and Australia under conductors such as Colin Davis. She performs Mahler’s “Resurrection” Symphony both with Michael Tilson Thomas and the San Francisco Symphony and with Gerard Schwarz and the Seattle Symphony. He subsequently joined the International Opera Studio in Zurich. Lensky. He performed Die Entführung aus dem Serail at the Metropolitan Opera and in Chicago. Saint Paul Chamber Orchestra under Edo de Waart in Das Lied von der Erde. Davislim made his debut with Chicago Lyric Opera as Jacquino (Fidelio) under Ernö Dohnányi and played Tom Rakewell in Dresden and Görge (Zemlinsky’s Der Traumgörge) in Berlin. and the title role in Mozart’s Idomeneo at the opening of La Scala in Milan under Daniel Harding. the Los Angeles Chamber Orchestra under Jeffrey Kahane in sacred music of Bach. . Don Ottavio in Sydney and Naples. Valery Gergiev. Davislim began his career as an ensemble member of the Zurich Opera.Mostly Mozart Festival Rückert Lieder. Mr. Mr. among others. A dedicated recitalist. Ms. A graduate of Rice University and The Juilliard School. Adam Fischer. Rafael Frühbeck de Burgos. Weber’s Oberon at the Châtelet in Paris. Mr. Bernard Haitink. and Tom Rakewell (The Rake’s Progress) in Hamburg. Opera appearances include Almaviva in Berlin. Davislim has performed with the major orchestras in Europe. and Edo de Waart with both the Milwaukee Symphony Orchestra and the Hong Kong Philharmonic Orchestra. reprises Alexander Nevsky and Brahms’ Alto Rhapsody with the Kansas City Symphony. Baltimore Symphony Orchestra under Marin Alsop in songs of Alma Mahler. Jaap van Zweden and the Dallas Symphony Orchestra. Manfred Honeck and the Pittsburgh Symphony Orchestra. essays the title role in a concert version of Carmen with the Brazos Valley Symphony Orchestra. Alice Tully Hall. and gives recitals at the Kennedy Center. These performances mark her Mostly Mozart debut. Almaviva.
Marc Minkowski. Antonio Pappano. Since 2003 he has been director of choruses for the Bard Music Festival. and Philippe Herreweghe. L’arbore di Diana in Barcelona. Simone Young. René Jacobs. the New York premier of Paul McCartney’s Ecce Cor Meum. and productions of Dido and Aeneas. and a performance of The Death of Klinghoffer conducted by the composer. The Chorale participated in Live From Lincoln Center’s “A Salute to the American Musical. and he was recently named principal guest conductor of the American Symphony Orchestra in New York. Charles Mackerras. Bach. He was the music director of the Dessoff Choirs. Munich). Max at the Lucerne Festival (under Hengelbrock). Jesu. and at the Mostly Mozart Festival (broadcast nationally in 2006 on Live From Lincoln Center). Davislim’s current and future projects include Beethoven’s Symphony No. who under his leadership made numerous . the Los Angeles Philharmonic. John Adams. and Beethoven. John Adams’ Nixon in China. Armin Jordan. Franz Welser-Möst. London. The artistic administrator of the Concert Chorale of New York is Jacqueline Pierce. It was a participant in a project at the Performing Arts Center at Purchase in performances of Gilbert and Sullivan works Dave Gribbens James Bagwell James Bagwell maintains an active schedule as a conductor of choral. 9 with Gardiner on tour. Roger Norrington. and a concert series featuring the works of Haydn. and Julietta with both the Berlin Philharmonic Orchestra and Thomás ˇ Netopil and in Geneva with Jir ˇi Be ˇlohlávek. He has also prepared the Concert Chorale of New York for performances with the American Symphony Orchestra. operatic. Hamburg. 3 with Pierre Boulez in Vienna. Meine Freude. Mr. and it has recorded with CBS and Nonesuch Records.Mostly Mozart Festival Thomas Henglebrock. Idomeneo at La Scala and with Hengelbrock on tour (Berlin. conducted by Leonard Slatkin. il Penseroso ed il Moderato.S. and it was involved in a performance with Judy Collins at Carnegie Hall. The Chorale recently appeared with the America Symphony Orchestra under Leon Botstein. Concert Chorale of New York The Concert Chorale of New York is a group of professional singers who perform with various conductors and presenters.” which was nominated for an Emmy. and orchestral music throughout the U. They have appeared at the Caramoor Festival in productions of operas and oratorios. It also participated in the highly acclaimed concert version of Rodgers’ and Hammerstein’s Carousel. and they also performed in The Tristan Project with the Los Angeles Philharmonic at Avery Fisher Hall. Szymanowski’s Symphony No. The men of the Chorale sang with the Chicago Symphony Orchestra in a performance of Tristan und Isolde. It was heard in Stravinsky’s Les noces at Lincoln Center. Lorin Maazel. conducting and preparing choral works at the Fisher Center for the Performing Arts. The Chorale has also worked with Gerard Schwarz at the 92nd Street Y and the L’Opéra Français conducted by Yves Abel. Other credits include the Brooklyn Academy of Music’s productions of Philip Glass’ Civil Wars. Riccardo Chailly. and Vivaldi’s Gloria with the Mark Morris Dance Group. In 2009 he was appointed music director of the Collegiate Chorale. L’Allegro.
Conductors who made their New York debuts with the Mostly Mozart Festival Orchestra include Yannick Nézet-Séguin. and the NHK. Mezzo-soprano Cecilia Bartoli. Great Performers. Schubert. including the San Francisco Symphony. Bagwell is music director of the May Festival Youth Choir in Cincinnati. flutist James Galway. David H. Mostly Mozart Festival Orchestra The Mostly Mozart Festival Orchestra is the resident orchestra of the Mostly Mozart Festival. the Festival has broadened its focus to include works by Bach. Petersburg Symphony. Lincoln Center Festival. Esa-Pekka Salonen. Richard Stoltzman. Multidisciplinary presentations related to the Classical and Baroque periods are also an important focus of the festival. where he is director of the music program. and now includes significant Baroque and early music presentations featuring some of the world’s outstanding period-instrument ensembles. Mr. Emanuel Ax. the Mostly Mozart Festival. Lynch Theater at John Jay College. Alicia de Larrocha. Handel. and pianist Mitsuko Uchida all made their New York debuts at the Mostly Mozart Festival. and André Watts have had long associations with the Festival. Pinchas Zukerman. the Mostly Mozart Festival has expanded into several venues (Avery Fisher Hall. the Tilles Center. Gerald W. recently featured on the radio program From the Top. He has collaborated with Lorin Maazel. Cincinnati Pops Orchestra. James Conlon. and Beethoven. LCPA’s programs include American Songbook. Tanglewood. He has led numerous theatrical works at Bard SummerScape. Lincoln Center for the Performing Arts (LCPA) serves three primary roles: presenter of superb artistic programming. and manager of the Lincoln Center campus. Lincoln Center Out of Doors. He has conducted 25 productions as music director of Light Opera Oklahoma. Mr. Koch Theater. Cincinnati. Mr. Mostly Mozart Festival Now in its 44th year. In addition. Leonard Slatkin. the Orchestra has toured to notable festivals and venues such as Ravinia. national leader in arts and education. St. LCPA is leading a series of major capital projects on behalf of the resident organizations across the campus. the Mostly Mozart Festival was launched as an experiment in 1966 as “Midsummer Serenades: A Mozart Festival. . The Orchestra also toured to Japan. Walter Reade Theater. American. Los Angeles Philharmonic. soprano Elly Ameling. and Live From Lincoln Center. the Tulsa Symphony Orchestra. and The Merry Widow. and the Kennedy Center. and Robert Shaw. David Zinman. Inc. and Edo de Waart. Bagwell currently teaches at Bard College. including the Jerusalem Symphony Orchestra. As a presenter of more than 400 events annually. Louis Langrée. Now a New York institution. Charles Dutoit. and most Lincoln Center for the Performing Arts. among others. He frequently appears as guest conductor for orchestras around the country and abroad. Haydn. In recent seasons.Mostly Mozart Festival appearances at Carnegie Hall in addition to their regular season. Alice Tully Hall. Sweeney Todd. including Candide. which have received praise from The New York Times. and Indianapolis symphony orchestras. Great Woods. Midsummer Night Swing. The New Yorker. Michael Tilson Thomas. where it was in residence at Tokyo’s Bunkamura Arts Center from 1991–99. In addition to the New York season. Soloists such as Itzhak Perlman.” This country’s first indoor music festival devoted its first two seasons exclusively to the music of Mozart. and Opera News. Bagwell has trained choruses for major American and international orchestras. and the Indianapolis Chamber Orchestra. recently The Allen Room and Rose Theater).
Paul Schiavo. Libin. Principal Bassoon Frank Morelli. Principal Katsuko Esaki Laura Frautschi Lilit Gampel Michael Gillette Suzanne Gilman Katherine Livolsi-Landau Dorothy Strahl Viola Shmuel Katz. Principal Librarian Paul Beck. House Program Coordinator Kimberly DeFilippi.Mostly Mozart Festival Mostly Mozart Festival Orchestra Louis Langrée. Principal Lou Kosma Judith Sugarman Flute Yoobin Son. Principal Hugh Eddy Donald Hayward. Renée and Robert Belfer Music Director Violin I Krista Bennion Feeney. Public Programming Kate Monaghan. Production Manager Bill Bragin. Production Coordinator Sheya Meierdierks-Lehman. Colette Garrigues. Producer. Contemporary Programming Lisa Takemoto. Public Programming Yukiko Shishikura. Director. House Program Intern. Production Intern Program Annotators: Joan Acocella. Graham. Peter A. Contemporary Programming Jill Sternheimer. Programming Charles Cermele. Jonathan Jager. Ruth Smith. Principal Bethany Slater Clarinet Steve Hartman. David Wright . Bass Trombone Timpani David Punto. Hoyt. John A. Production Intern. Principal Lee Soper Trombone Demian Austin. Principal Richard Hagen Trumpet Neil Balm. Associate Producer. Concert Chorale of New York James Bagwell. Ltd. Principal Mark Timmerman Horn Lawrence DiBello. Assistant to the Vice President Regina Grande. Vice President. Concertmaster Martin Agee Eva Burmeister Robert Chausow Amy Kauffman Sophia Kessinger Ronald Oakland Michael Roth Deborah Wong Violin II Mineko Yajima. Associate Director. Programming Hanako Yamaguchi. Director. Director Soprano Jennifer Bates Melissa Bauman Gail Blache-Gill Toni Dolce Michele Eaton Katherine Harris Leslie Hochman Linda Jones Melissa Casey Jose Margarita Martinez Stefanie Moore Erika Powell Amaranta Viera Alto Maria Bedo Antonella Delli Carpini Bo Chang Emily Eyre Kirsten Kane Helen Karloski Erin Kemp Misa Iwama Maren Montalbano Nedra Neal Jacqueline Pierce Rhesa Williams Jan Wilson Tenor John Bernard Matthew Deming Brian Dougherty David Guzman Matthew Kreger Joseph Palarca Frank Ream Bass Adam Alexander Alan Arak Frank Barr Dennis Blackwell Christopher DeVage Mischa Frusztajer Roderick Gomez Masami Morimoto Joseph Neal Aaron Theno Daniel Spratlan Peter Van Derick Lincoln Center Programming Department Jane Moss. Principal Danielle Farina Chihiro Fukuda Jack Rosenberg Jessica Troy Cello Ilya Finkelshteyn. Interim Programming Assistant Elizabeth Dobrska. Kathryn L. Music Programming Jon Nakagawa. Edward Taylor. Principal Oboe Randall Ellis. Director. Ticketing Intern. Principal Justin Vibbard Personnel Managers Neil Balm Jonathan Haas Gemini Music Productions. Principal Ted Ackerman Ann Kim Alvin McCall Bass Timothy Cobb.
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