Program Notes - Mostly Mozart

Transcription

The Program
08-21 MMFO Creation_Gp 3.qxt 8/12/15 2:51 PM Page 1
Friday and Saturday Evenings, August 21–22, 2015, at 7:30
Pre-concert lecture by Elaine Sisman on Friday, August 21 at 6:15
in the Stanley H. Kaplan Penthouse
Mostly Mozart Festival Orchestra
Louis Langrée, Conductor
Sarah Tynan, Soprano M|M
Andrew Staples, Tenor M|M
Brindley Sherratt, Bass M|M
Concert Chorale of New York
James Bagwell, Director
HAYDN The Creation (1796–98)
This program is approximately one hour and 50 minutes long and will be
performed without intermission.
M|M
Mostly Mozart debut
(Program continued)
Please make certain all your electronic devices are switched off.
These performances are made possible in part by the Josie Robertson Fund for Lincoln Center.
Fortepiano courtesy of Dongsok Shin
Avery Fisher Hall
Mostly Mozart Festival
The Mostly Mozart Festival is made possible by Sarah Billinghurst Solomon and Howard Solomon,
Rita E. and Gustave M. Hauser, Chris and Bruce Crawford, The Fan Fox and Leslie R. Samuels
Foundation, Inc., 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 provided by Zabar’s and zabars.com
MetLife is the National Sponsor of Lincoln Center
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“Summer at Lincoln Center” is supported by Diet Pepsi
Time Out New York is a Media Partner of Summer at Lincoln Center
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.
The Program
HAYDN: The Creation (1796–98)
PART I
Introduction: The Representation of Chaos
Recitative with Chorus: In the beginning
Aria: Now vanish before the holy beams
Recitative: And God made the firmament
Chorus with Soprano Solo: The marv’lous work beholds amaz’d
Recitative: And God said: Let the waters
Aria: Rolling in foaming billows
Recitative: And God said: Let the earth bring forth grass
Aria: With verdure clad the fields appear
Recitative: And the heavenly host
Chorus: Awake the harp
Recitative: And God said: Let there be lights
Recitative: In splendor bright is rising now
Chorus with Solos: The heavens are telling the glory of God
PART II
Recitative: And God said: Let the waters bring forth
Aria: On mighty pens uplifted soars
Recitative: And God created great whales
Recitative: And the angels struck their immortal harps
Trio: Most beautiful appear
Chorus with Solos: The Lord is great, and great his might
Recitative: And God said: Let the earth bring forth
Recitative: Strait opening her fertile womb
Aria: Now heav’n in fullest glory shone
Recitative: And God created man
Aria: In native worth and honor clad
Recitative: And God saw ev’rything
Chorus: Achieved is the glorious work
Trio: On thee each living soul awaits
Chorus: Achieved is the glorious work
PART III
Recitative: In rosy mantle appears
Duet and Chorus: By thee with bliss, O bounteous Lord
Recitative: Our duty we performed now
Duet: Graceful consort! At thy side
Recitative: O happy pair
Chorus: Sing the Lord ye voices all!
Welcome to Mostly Mozart
I am pleased to welcome you to the 49th Mostly Mozart Festival, our annual
celebration of the innovative and inspiring spirit of our namesake composer.
This summer, in addition to a stellar roster of guest conductors and soloists, we
are joined by composer-in-residence George Benjamin, a leading contemporary
voice whose celebrated opera Written on Skin receives its U.S. stage premiere.
This landmark event is the first in a series of staged opera works to be presented
in a new partnership with the New York Philharmonic.
Written on Skin continues our tradition of hearing Mozart afresh in the context
of the great music of our time. Under the inspired baton of Renée and Robert
Belfer Music Director Louis Langrée, the Mostly Mozart Festival Orchestra
delights this year with the Classical repertoire that is its specialty, in addition
to Beethoven’s joyous Seventh Symphony and Haydn’s triumphant Creation.
Guest appearances include maestro Cornelius Meister making his New York
debut; Edward Gardner, who also leads the Academy of Ancient Music in a
Mendelssohn program on period instruments; and Andrew Manze with violinist
Joshua Bell in an evening of Bach, Mozart, and Schumann. Other preeminent
soloists include Emanuel Ax, Matthias Goerne, and festival newcomers Sol
Gabetta and Alina Ibragimova, who also perform intimate recitals in our
expanded Little Night Music series. And don’t miss returning favorite Emerson
String Quartet and artists-in-residence the International Contemporary
Ensemble, as well as invigorating pre-concert recitals and lectures, a panel
discussion, and a film on Haydn.
With so much to choose from, we invite you to make the most of this rich and
splendid season. I look forward to seeing you often.
Jane Moss
Ehrenkranz Artistic Director
Snapshot
By Peter A. Hoyt
Whereas the Book of Genesis portrays the creative acts of a solitary
deity, Haydn’s musical reworking of the account adds three
archangels (performed by vocal soloists, who provide narration and
poetic reflections), a host of jubilant angels (represented by the chorus),
and—very briefly—some non-singing demons. Haydn’s inventive use
of the orchestra introduces additional characterizations that typically
appear before being explained in words. These musical depictions
include portrayals of the boisterous sea, various types of weather,
and a wide range of animals. Particularly striking is Haydn’s ability to
delineate such seemingly intangible concepts as the primordial chaos
that precedes God’s intervention, the first beams of light, and the
wonder of the first mortals encountering a newly created world.
Cast in three asymmetrical parts, The Creation begins with the four
days spent fashioning the heavens, the earth, and the plants. The second
section depicts the fifth and sixth days, in which sentient life
appears—here are animals capable of feeling and, with the appearance
of man, reason. The conclusion models a fitting use of that reason as
Adam and Eve survey Creation and join the angels in praising its Creator.
—Copyright © 2015 by Lincoln Center for the Performing Arts, Inc.
Note on the Program
Mostly Mozart Festival I Note on the Program
By Peter A. Hoyt
The Creation, Hob. XXI:2 (1796–98)
JOSEPH HAYDN
Born March 31, 1732, in Rohrau, Austria
Died May 31, 1809, in Vienna
Approximate length: One hour and 50 minutes
In 1795, during Haydn’s second visit to England, the composer was given
a libretto based on the biblical account of Creation. The manuscript apparently
did not identify its author, but Haydn believed that it had been prepared for
(but not used by) George Frideric Handel, who had been writing oratorios
in London and Dublin in the 1730s and 1740s. The libretto was therefore
approximately 50 years old, and it incorporated passages from English
publications that were older still, including John Milton’s Paradise Lost of
1667, psalms from several 17th-century British sources, and the King
James Bible of 1611. The language is at times archaic, as when it says
that the praise of the Lord “shall last for aye.”
Despite the age of its text and sources, Haydn’s finished composition has
often been associated with the 18th century’s most progressive philosophical
ideals. Historians have cited The Creation as representing the
Enlightenment, an intellectual movement that emphasized empirical
observation and reason over revelation and tradition as the basis for
knowledge, spirituality, and politics. Enlightenment philosophers did not
necessarily reject religion, but they questioned its irrational aspects, as
when in 1784 Immanuel Kant criticized the church’s traditional “dogmas
and formulas.” Similarly, in 1776 Thomas Jefferson attacked the class
distinctions that empowered Europe’s aristocracies by asserting that “all
men are created equal.”
The influence of the Enlightenment on The Creation has been attributed,
in part, to Haydn’s collaborator in Vienna, Baron Gottfried van Swieten,
who amended the English libretto. He also prepared a German translation
that, by preserving the prosody of the original, allowed Haydn to create
vocal lines that suited both languages. This aristocratic musical amateur
had served Austria’s “enlightened despot,” Joseph II, during the latter’s
unsuccessful attempts to reform his sprawling domain. It has seemed
plausible that in preparing the libretto, van Swieten still adhered to
Josephinian principles.
It is, however, Haydn’s opening musical sequence that makes The
Creation seem an Enlightenment statement. The work begins with an
orchestral illustration of an inchoate cosmos and progresses to the triumphant
first appearance of light. Haydn’s depiction of the luminous dispelling the dark
has been compared to reason overthrowing ignorance and superstition.
The opening gesture of the piece has thus been seen as a tribute to the
Enlightenment itself.
The portrayal of humanity in The Creation has also been considered consistent
with Enlightenment thought. Whereas much theology regards individuals as
inherently sinful, easily misled by their senses, and woefully limited in their
intellectual capacities, The Creation celebrates man as “that wond’rous
being” who is “the Lord and King of nature all.” Adam and Eve are not
depicted as fallen creatures; the serpent, the forbidden fruit, and the expulsion
from Eden are all omitted. Instead, the three-part structure of the oratorio is
decidedly anthropocentric, culminating with the happy pair surveying God’s
handiwork and inferring the majesty of their Creator. Although Haydn’s musical
renderings of the first sunrise, the cooing dove, the roaring lion, and other acts
of Creation offer some of the most memorable moments of the composition,
it is only with the advent of humanity that God’s “glorious work” is complete.
Despite all this, however, there are powerful reasons to doubt whether The
Creation was intended to advocate Enlightenment thought. In 1797, when
Haydn began composing the oratorio, Enlightenment philosophers were being
accused of instigating the chaos then engulfing Europe. France, the intellectual
center of the new philosophy, had since 1789 overthrown and executed their
monarchs, supplanted Christianity with a “Cult of Reason,” launched the
Reign of Terror, and—led by a young Napoleon—conquered much of Italy.
Europe blamed this turmoil on intellectuals whose critiques had weakened the
religious and political foundations of the ancien régime.
This new opposition to Enlightenment thought outside France may prove that
Haydn’s oratorio was actually intended as anti-revolutionary propaganda. This
interpretation is supported both by the circumstances of its premiere in 1798,
which was financed by a society of Viennese nobility, and by the subscribers
to the first edition of the score, which included the crowned heads of the
major European powers, including England, Russia, and the Holy Roman
Empire. There were few subscriptions from among the French, however, and
in 1800 some royalist conspirators attempted to assassinate Napoleon as he drove
to the Paris premiere of the work. It is as if The Creation signaled resistance to the
new political order.
If The Creation was conceived as part of the so-called “CounterEnlightenment,” it would need to engage and refute the imagery employed by
the philosophers. Accordingly, the libretto associates the creation of light not
with knowledge or reason, but rather with the power to subdue disorder.
Order thus hinges on the divine presence, and one may infer that atheism
inevitably leads to chaos. Moreover, the libretto repeatedly suggests that the
dignity of the human condition hinges upon the ability to survey God’s handiwork
and “with devoted heart his bounty celebrate.” The anthropocentric conclusion
of the oratorio is therefore not a tribute to reason itself, but a modeling of
reason’s proper use.
What is perhaps the clearest refutation of Enlightenment thought comes at
the close of the work, when a soloist explains to Adam and Eve, who both
represent humanity, that their happiness requires they not “strive at more as
granted is, and more to know as know ye should.” The Enlightenment recognized no limits on knowledge, and the injunction runs directly counter to
Kant’s motto for the Enlightenment’s aspirations: “Sapere aude! Have the
courage to use your own understanding.” Such daring, it seems, was not to
be encouraged when the European aristocracy was in danger.
A society confronting its own dissolution may feel compelled to re-examine
the stories of its origins; Milton himself wrote Paradise Lost after the collapse
of the Puritan government he had fervently supported. Haydn’s inspired
response to a decades-old libretto may have stemmed, in part, from a belief
that his society was threatened—and needed a powerful corrective.
Peter A. Hoyt, a former president of the Mozart Society of America, has had
research on Haydn and Mozart appear in the New Grove Dictionary of Music
and Musicians, the Cambridge University Press, and the New York Times. A
curator at the Columbia Museum of Art, he also teaches at the University of
South Carolina.
—Copyright © 2015 by Lincoln Center for the Performing Arts, Inc.
Mostly Mozart Festival I Libretto
The Creation
Text: Gottfried van Swieten
PART I
Introduction: The Representation of Chaos
Recitative with Chorus
Raphael:
In the beginning God created the heav’n and the earth;
and the earth was without form, and void;
and darkness was upon the face of the deep.
Chorus:
And the Spirit of God moved on the face of the waters;
and God said: Let there be Light,
and there was Light.
Uriel:
And God saw the Light, that it was good:
and God divided the Light from the darkness.
Aria
Uriel:
Now vanish before the holy beams the gloomy
dismal shades of dark;
the first of days appears.
Disorder yields to order fair the place.
Affrighted fled hell’s spirits black in throngs;
down they sink in the deep of abyss to endless night.
Chorus:
Despairing, cursing rage attends their rapid fall.
A new created world springs up at God’s command.
Recitative
Raphael:
And God made the firmament,
and divided the waters, which were under the
firmament,
from the waters, which were above the firmament:
and it was so.
Outrageous storms now dreadful arose;
as chaff by the winds impelled are the clouds.
By heaven’s fire the sky is enflamed,
and awful rolled the thunders on high.
Now from the floods in steams ascend
(Please turn the page quietly.)
reviving showers of rain,
the dreary wasteful hail,
the light and flaky snow.
Chorus with Soprano Solo
Gabriel and Choir:
The marv’lous work beholds amaz’d the glorious hierarchy of heav’n,
and to th’ethereal vaults resound the praise of God, and of the second day.
Recitative
Raphael:
And God said:
Let the waters under the heaven be gathered
together unto one place,
and let the dry land appear;
and it was so.
And God called the dry land: Earth,
and the gathering of waters called he Seas;
and God saw that it was good.
Aria
Raphael:
Rolling in foaming billows
uplifted roars the boist’rous sea.
Mountains and rocks now emerge,
their tops into the clouds ascend.
Thro’ th’open plains outstretching wide in serpent error rivers flow.
Softly purling glides on thro’ silent vales the limpid brook.
Recitative
Gabriel:
And God said:
Let the earth bring forth grass, the herb yielding seed,
and the fruit tree yielding fruit after his kind,
whose seed is in itself upon the earth; and it was so.
Aria
Gabriel:
With verdure clad the fields appear delightful to the ravish’d sense;
by flowers sweet and gay enhanced is the charming sight.
Here vent their fumes the fragrant herbs, here shoots the healing plant.
By load of fruits th’expanded boughs are press’d;
to shady vaults are bent the tufty groves;
the mountain’s brow is crown’d with closed wood.
Recitative
Uriel:
And the heavenly host proclaimed the third day, praising God and saying:
Chorus
Chorus:
Awake the harp, the lyre awake!
In shout and joy your voices raise!
In triumph sing the mighty Lord!
For he the heavens and earth has clothed in stately dress.
Recitative
Uriel:
And God said:
Let there be lights in the firmament of heaven
to divide the day from the night,
and to give light upon the earth;
and let them be for signs and for seasons,
and for days, and for years.
He made the stars also.
Recitative
Uriel:
In splendor bright is rising now the sun and darts his rays;
an am’rous joyful happy spouse,
a giant proud and glad
to run his measur’d course.
With softer beams and milder light steps on the
silver moon
thro’ silent night.
The space immense of th’azure sky
innum’rous host of radiant orbs adorns,
and the sons of God announced the fourth day in song divine,
proclaiming thus his power:
Chorus with Solos
Chorus:
The heavens are telling the glory of God.
The wonder of his works displays the firmament.
Gabriel, Uriel, Raphael:
To day that is coming speaks it the day;
the night, that is gone, to following night.
Chorus:
The heavens are telling…
In all the lands resounds the word,
never unperceived, ever understood.
Chorus:
The heavens are telling…
PART II
Recitative
Gabriel:
And God said:
Let the waters bring forth abundantly the moving creature that hath life,
and fowl that may fly above the earth in the open firmament of heaven.
Aria
Gabriel:
On mighty pens uplifted soars the eagle aloft,
and cleaves the sky in swiftest flight to the blazing sun.
His welcome bids to morn the merry lark,
and cooing calls the tender dove his mate.
From ev’ry bush and grove resound the nightingale’s delightful notes.
No grief affected yet her breast,
nor to a mournful tale were tun’d her soft enchanting lays.
Recitative
Raphael:
And God created great whales,
and ev’ry living creature that moveth,
and God blessed them, saying,
Be fruitful all, and multiply, ye winged tribes,
be multiply’d, and sing on ev’ry tree.
Multiply, ye finny tribes, and fill each wat’ry deep.
Be fruitful, grow and multiply!
And in your God and Lord rejoice!
Recitative
Raphael:
And the angels struck their immortal harps,
and the wonders of the fifth day sung.
Trio
Gabriel:
Most beautiful appear,
with verdure young adorn’d the gently sloping hills.
Their narrow sinuous veins distill in crystal drops,
the fountain fresh and bright.
Uriel:
In lofty circles plays,
and hovers thro’ the sky,
the cheerful host of birds.
And in the flying whirl
the glitt’ring plumes are dy’d,
as rainbows by the sun.
Raphael:
See flashing thro’ the wet in thronged swarms the fry on thousand ways
around.
Upheaved from the deep th’immense Leviathan sports on the foaming wave.
How many are thy works, O God!
Who may their number tell?
Who? O God!
Chorus with Solos
Gabriel, Uriel, Raphael, and Chorus:
The Lord is great, and great his might,
his glory lasts for ever, and for evermore.
Recitative
Raphael:
And God said:
Let the earth bring forth the living creature after his kind,
cattle, and creeping thing, and beasts of the earth after their kind.
Recitative
Raphael:
Strait opening her fertile womb, the earth obey’d the word,
and teem’d creatures numberless, in perfect forms and fully grown.
Cheerful roaring stands the tawny lion.
With sudden leap the flexible tiger appears.
The nimble stag bears up his branching head.
With flying mane and fiery look, impatient neighs the sprightly steed.
The cattle in herds already seeks his food on fields and meadows green.
And o’er the ground, as plants, are spread the fleecy, meek and bleating flock.
Unnumber’d as the sands in whirl arose the host of insects.
In long dimensions creeps with sinuous trace the worm.
Aria
Raphael:
Now heav’n in fullest glory shone;
earth smiles in all her rich attire.
The room of air with fowl is fill’d,
the water swell’d by shoals of fish;
by heavy beasts the ground is trod.
But all the work was not complete.
There wanted yet that wond’rous being,
that grateful should God’s pow’r admire,
with heart and voice his goodness praise.
Recitative
Uriel:
And God created man in his own image.
In the image of God created he him.
Male and female created he them.
He breathed in to his nostrils the breath of life,
and man became a living soul.
Aria
Uriel:
In native worth and honor clad,
with beauty, courage, strength adorn’d,
to heav’n erect and tall he stands a man,
the Lord and King of nature all.
The large and arched front sublime of wisdom deep declares the seat,
and in his eyes with brightness shines the soul,
the breath and image of his God.
With fondness leans upon his breast the partner for him form’d,
a woman fair and graceful spouse.
Her softly smiling virgin looks, of flow’ry spring the mirror,
bespeak him love and joy and bliss.
Recitative
Raphael:
And God saw ev’rything, that he had made;
and behold, it was very good;
and the heavenly choir in song divine thus closed the sixth day.
Chorus
Chorus:
Achieved is the glorious work,
the Lord beholds it and is pleas’d.
In lofty strains let us rejoice!
Our song let be the praise of God!
Trio
Gabriel, Uriel:
On thee each living soul awaits;
from thee, O Lord, they beg their meat.
Thou openest thy hand, and sated all they are.
Raphael:
But when thy face, O Lord, is hid,
with sudden terror they are struck.
Thou tak’st their breath away;
they vanish into dust.
Thou sendest forth thy breath again,
and life with vigor fresh returns.
Revived earth unfolds new force and new delights.
Chorus
Chorus:
Achieved is the glorious work.
Our song let be the praise of God!
Glory to his name for ever,
he sole on high exalted reigns,
alleluia.
PART III
Recitative
Uriel:
In rosy mantle appears,
by tunes sweet awak’d,
the morning young and fair.
From the celestial vaults pure harmony descends on ravished earth.
Behold the blissful pair, where hand in hand they go!
Their flaming looks express what feels the grateful heart.
A louder praise of God their lips shall utter soon.
Then let our voices ring, united with their song!
Duet and Chorus
Eve, Adam:
By thee with bliss, O bounteous Lord,
the heav’n and earth are stor’d.
This world, so great, so wonderful,
thy mighty hand has fram’d.
Chorus:
For ever blessed be his pow’r.
His name be ever magnify’d!
Adam:
Of stars the fairest,
pledge of day, that crown’st the smiling morn!
How brighten’st thou, O sun, the world,
thou eye and soul of all!
Chorus:
Proclaim in your extended course
the glorious pow’r and might of God!
Eve:
And thou that rul’st the silent night,
and all ye starry host,
spread wide and ev’rywhere his praise in choral songs about!
Adam:
Ye strong and cumbrous elements who ceaseless changes make,
ye dusky mists and dewy steams who raise and fall thro’ th’air,
Adam, Eve, Chorus:
Resound the praise of God our Lord!
Great his name, and great his might.
Eve:
Ye purling fountains tune his praise and wave your tops, ye pines!
Ye plants exhale, ye flowers breathe at him your balmy scent!
Adam:
Ye, that on mountains stately tread and ye that lowly creep,
ye birds, that sing at heavens gate, and ye that swim the stream,
Adam, Eve, Chorus:
ye living souls extol the Lord!
Him celebrate, him magnify!
Adam, Eve:
Ye valleys, hills and shady woods,
our raptur’d notes ye heard;
from morn to eve you shall repeat our grateful hymns of praise.
Chorus:
Hail, bounteous Lord! Almighty, hail!
Thy word called forth this wondrous frame.
Thy pow’r adore the heav’n and earth;
we praise thee now and evermore.
Recitative
Adam:
Our duty we performed now,
in off’ring up to God our thanks.
Now follow me dear partner of my life!
thy guide I’ll be;
and ev’ry step pours new delights into our breast,
shews wonders ev’rywhere
Then may’st thou feel and know the high degree of bliss the Lord allotted us,
and with devoted heart his bounty celebrate.
Come, come, follow me! thy guide I’ll be.
Eve:
O thou, for whom I am!
My help, my shield, my all!
Thy will is law to me.
So God, our Lord, ordains,
and from obedience grows my pride and happiness.
Duet
Adam:
Graceful consort!
At thy side softly fly the golden hours.
Ev’ry moment brings new rapture;
ev’ry care is put to rest.
Eve:
Spouse adored!
At thy side purest joys o’erflow the heart.
Life and all I am is thine,
my reward thy love shall be.
Adam, Eve:
The dew dropping morn,
O how she quickens all!
The coolness of ev’n,
O how she all restores!
How grateful is of fruits the savor sweet!
How pleasing is of fragrant bloom the smell!
But without thee, what is to me the morning dew,
the breath of ev’n,
the sav’ry fruits,
the fragrant bloom?
With thee is ev’ry joy enhanced;
with thee delight is ever new;
with thee is life incessant bliss;
thine it whole shall be.
Recitative
Uriel:
O happy pair, and always happy yet,
if not, misled by false conceit,
ye strive at more as granted is,
and more to know as know ye should!
Chorus
Sing the Lord ye voices all!
Utter thanks all ye his works.
Celebrate his pow’r and glory.
Let his name resound on high!
The Lord is great, his praise shall last for aye.
Amen.
—The New Novello Choral Edition
JENNIFER TAYLOR
Meet the Artists
Mostly Mozart Festival I Meet the Artists
Louis Langrée
Louis Langrée, music director of the Mostly Mozart Festival since December
2002, was named Renée and Robert Belfer Music Director in August 2006.
Under his musical leadership, the Mostly Mozart Festival Orchestra has
received extensive critical acclaim, and their performances are an annual
summertime highlight for classical music lovers in New York City.
Mr. Langrée is also music director of the Cincinnati Symphony Orchestra and
chief conductor of Camerata Salzburg. During the 2015–16 season, he will
conduct the Cincinnati Symphony Orchestra at Lincoln Center as part of the
Great Performers series. At home in Ohio, the ensemble’s performances will
include a Brahms festival and three world-premiere concertos for orchestra.
Mr. Langrée will also tour Germany with Camerata Salzburg. His guest
engagements include appearances with the Gewandhaus Orchestra of
Leipzig and performances of Così fan tutte at the Aix-en-Provence Festival.
Mr. Langrée frequently appears as guest conductor with the Berlin and
Vienna Philharmonics, Budapest Festival Orchestra, London Philharmonic
Orchestra, Paris Orchestra, and NHK Symphony Orchestra, as well as with
the Freiburg Baroque Orchestra and Orchestra of the Age of Enlightenment.
His opera engagements include appearances with the Metropolitan Opera,
Lyric Opera of Chicago, La Scala, Opéra Bastille, Royal Opera House–Covent
Garden, and the Vienna State Opera. Mr. Langrée was appointed Chevalier
des Arts et des Lettres in 2006 and Chevalier de l’Ordre National de la Légion
d’Honneur in 2014.
Mr. Langrée’s first recording with the Cincinnati Symphony Orchestra,
released in September 2014, features commissioned works by Nico Muhly
and David Lang, as well as Copland’s Lincoln Portrait narrated by Maya
Angelou. His DVD of Verdi’s La traviata from the Aix-en-Provence Festival
featuring Natalie Dessay and the London Symphony Orchestra was awarded
a Diapason d’Or. His discography also includes recordings on the Accord,
Naïve, Universal, and Virgin Classics labels.
© CHRIS GLOAG
Sarah Tynan
Sarah Tynan’s exceptional versatility
and engaging stage presence have
earned her a place in the league of
elite British sopranos. During the
2014–15 season, Ms. Tynan sang the
world premiere of Dai Fujikura’s
Solaris at Théâtre des ChampsÉlysées, Opéra de Lille, and Opéra
de Lausanne. She also sang Haydn’s
Creation with the London Symphony
Orchestra and the Handel and Haydn
Society, Toch’s Die chinesische Flöte
with the Continuum Ensemble, and a
Vivaldi program with the Orchestra of the Age of Enlightenment. Forthcoming
engagements include performances of Merab in Handel’s Saul with
Glyndebourne Tour, Ginevra in Handel’s Ariodante with Scottish Opera,
Mendelssohn’s Elijah at Southwell Music Festival, Mahler’s Symphony No. 4 at
the Ryedale Festival, and concerts with the London Philharmonic Orchestra and
the London, BBC, Bournemouth, and City of Birmingham symphony orchestras.
Operatic highlights include performances of Manon in Henze’s Boulevard
Solitude at Welsh National Opera, for which she received a Wales Theatre
Award; Marzelline in Fidelio at English National Opera; Carrie Pipperidge in
Carousel at Opera North; Sharon Disney in the world premiere of Philip Glass’s
The Perfect American at Madrid’s Teatro Real and then at English National
Opera; Susanna in Le nozze di Figaro at Cincinnati Opera; Iris in Semele at La
Monnaie; Dalinda in Ariodante at Ópera de Oviedo; and Servilia in La clemenza
di Tito with the Orchestra of the Age of Enlightenment.
On the concert platform, Ms. Tynan has sung Orff’s Carmina Burana with the
Cincinnati Symphony Orchestra, BBC Philharmonic, Royal Philharmonic
Orchestra, and BBC National Orchestra of Wales; Mahler’s Symphony No. 8
with the Royal Scottish National and Philharmonia Orchestras; Handel’s
Messiah with the Early Opera Company; Ryan Wigglesworth’s Augenlieder
with the City of Birmingham Symphony Orchestra; Dallapiccola’s Partita with
the BBC Philharmonic at the BBC Proms; and Campra’s Le carnaval de Venise
with Le Concert Spirituel and Hervé Niquet.
Andrew Staples
Tenor Andrew Staples sang as a
chorister in St. Paul’s Cathedral
before winning a choral scholarship
to King’s College, Cambridge, where
he earned a degree in music. He
was the first recipient of the RCM
Peter Pears Scholarship, sponsored
by the Britten-Pears Foundation, at
the Royal College of Music and
subsequently joined the Benjamin
Britten International Opera School.
He studies with Ryland Davies. His
concert
engagements
include
Schumann’s Das Paradies und die Peri with the Berlin Philharmonic with
Simon Rattle and the Swedish Radio Symphony Orchestra with Daniel
Harding; Mahler’s Das Lied von der Erde with the Orchestra Academy of the
Berlin Philharmonic, Magdalena Kožená, and Rattle; Britten’s Serenade with
the Swedish Chamber Orchestra conducted by Andrew Manze; Britten’s War
Requiem at the King’s College Chapel with David Hill; and Mozart’s Requiem
with the Scottish Chamber Orchestra and Manze.
Mr. Staples made his Royal Opera House–Covent Garden debut as Jacquino
(Fidelio), returning for Flamand (Capriccio), Tamino (Die Zauberflöte),
Artabanes (Artaxerxes), and Narraboth (Salome). He sang Belfiore (La finta
giardiniera) for Prague’s National Theatre and Don Ottavio (Don Giovanni) for
the Salzburg Festival. He has also sung Ferrando (Così fan tutte) for Opera
Holland Park and Narraboth for the Hamburg State Opera. He semi-staged and
sang Tamino for the Lucerne Music Festival and at Drottningholms Slottsteater
with Daniel Harding conducting.
Mr. Staples will sing Kudrjáš (Kát’a Kabanová) and Luzio (Das Liebesverbot) for
the Royal Opera House–Covent Garden and Madrid’s Teatro Real. In concert
he appears with the Philadelphia Orchestra; the BBC, Swedish Radio,
Bavarian Radio, and London symphony orchestras; and the Berlin and
Vienna Philharmonics.
© SUSSIE AHLBERG
Brindley Sherratt
Born in Lancashire, UK, bass Brindley
Sherratt studied at the Royal Academy
of Music, where he is now a visiting
professor. His 2014–15 engagements
include Sparafucile in Rigoletto at the
Royal Opera House–Covent Garden,
Sarastro in Die Zauberflöte at
Netherlands Opera, the King in Inés
de Castro in his debut at Scottish
Opera, Trulove in The Rake’s Progress
in his debut at the Metropolitan
Opera, and Bottom in A Midsummer
Night’s Dream in his debut at the
Aix-en-Provence Festival.
Notable career highlights have included Sarastro (Die Zauberflöte), Gremin
(Eugene Onegin), Narbal (Les Troyens), and Ramfis (Aida) at the Royal Opera
House–Covent Garden; Balducci (Benvenuto Cellini) and Hobson (Peter
Grimes) in Salzburg; Sarastro at the Vienna and Hamburg State Operas; and
Claggart (Billy Budd) and Rocco (Fidelio) at Glyndebourne. His many roles for
English National Opera have included Sarastro and Fiesco (Simon
Boccanegra); other appearances include Banco (Macbeth) for the Opéra
National de Bordeaux; Pimen (Boris Godunov) for the Nice Opera; Rocco in
Seville; Il Commendatore (Don Giovanni) and Claudio (Agrippina) in Santa Fe;
Pogner (Die Meistersinger von Nürnberg) for Welsh National Opera; and
Fasolt (Das Rheingold) and Filippo (Don Carlo) for Opera North. Future seasons
see Mr. Sherratt return to the Royal Opera House–Covent Garden,
Glyndebourne, the Metropolitan Opera, and English National Opera; he will
also make major debuts with the Lyric Opera of Chicago, Zurich Opera House,
and Madrid’s Teatro Real.
Recent orchestral engagements include appearances with the Orchestra of
the Royal Opera House with Antonio Pappano, the Philharmonia Orchestra
with Andrew Davis, the Hallé Orchestra with Mark Elder, the Mahler Chamber
Orchestra with Daniel Harding, the Rotterdam Philharmonic Orchestra with
Harry Bicket, the Monteverdi Choir with John Eliot Gardiner, the Scottish
Chamber Orchestra with Yannick Nézet-Séguin, and the Orchestre des
Champs-Élysées and Deutsche Kammerphilharmonie Bremen with Louis Langrée.
The Concert Chorale of New York’s performance highlights include
Beethoven’s Symphony No. 9 with Gianandrea Noseda, as well as Mozart’s
Requiem with Louis Langrée. This summer the ensemble appeared at Lincoln
Center Festival in Danny Elfman’s Music from the Films of Tim Burton and
with the Cleveland Orchestra in Strauss’s Daphne. At Mostly Mozart in 2013,
the Chorale performed Rossini’s Stabat mater under Noseda. It has 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 the CIVIL warS; John Adams’s Nixon in China; and productions of Dido
and Aeneas, Vivaldi’s Gloria, Jesu, meine Freude, and L’Allegro, il Penseroso
ed il Moderato with the Mark Morris Dance Group. The Chorale has also
worked with Gerard Schwarz at New York’s 92nd Street Y and with Opéra
Français de New York conducted by Yves Abel. The group recently appeared
with the American Symphony Orchestra under Leon Botstein. Past highlights
include performances in Stravinsky’s Les noces at Lincoln Center, the New
York premiere of Paul McCartney’s Ecce Cor Meum, and a performance of
Adams’s The Death of Klinghoffer conducted by the composer. The Chorale
also participated in the Performing Arts Center, Purchase College’s performances
of works by Gilbert and Sullivan, as well as 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.
Members of the Chorale have been featured in performances with the Pet
Shop Boys and Sting. The ensemble men 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 has recorded with CBS and Nonesuch Records.
James Bagwell
James Bagwell maintains an active international schedule as a conductor of
choral, operatic, and orchestral music. In 2009 he was appointed music director
of the Collegiate Chorale and principal guest conductor of the American
Symphony Orchestra, leading them in concerts at both Carnegie Hall and Lincoln
Center. Some highlights of his tenure with the Collegiate Chorale include
conducting a number of rarely performed operas in concert, including Bellini’s
Beatrice di Tenda, Rossini’s Moïse et Pharaon, and, most recently, Boito’s
Mefistofele. Mr. Bagwell conducted the New York premiere of Philip Glass’s
Symphony No. 7 (“Toltec”) and Osvaldo Golijov’s Oceana, both at Carnegie
Hall. His performance of Weill’s Knickerbocker Holiday at Alice Tully Hall was
recorded live for Gaslight Records and is the only complete recording of the
musical. Since 2011 he has collaborated with singer and composer Natalie
Merchant, conducting a number of major orchestras across the country, including
the San Francisco and Seattle Symphonies. Other recent New York performances
include conducting Glass’s Another Look at Harmony at the Park Avenue
Armory and leading the Little Opera Theatre of New York’s production of
Rossini’s Opportunity Makes the Thief.
Mr. Bagwell has trained choruses for a number of major American and
international orchestras, including the San Francisco Symphony, Los Angeles
Philharmonic, Budapest Festival Orchestra, Cincinnati Pops Orchestra, and
the NHK, American, Cincinnati, and Indianapolis symphony orchestras. He has
prepared choruses with notable conductors such as Charles Dutoit,
Gianandrea Noseda, Valery Gergiev, Zubin Mehta, Riccardo Muti, Lorin
Maazel, Esa-Pekka Salonen, Michael Tilson Thomas, Louis Langrée, Iván
Fischer, Vladimir Ashkenazy, Leon Fleisher, and Robert Shaw. 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.
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, latenight performances, and visual art installations. Contemporary music has
become an essential part of the festival, embodied in annual artists-inresidence, including Osvaldo Golijov, John Adams, Kaija Saariaho, PierreLaurent 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.
The Mostly Mozart Festival Orchestra is the resident orchestra of the Mostly
Mozart Festival, and the only U.S. chamber orchestra dedicated to the music
of the Classical period. Louis Langrée has been the Orchestra’s music director since 2002, and each summer the ensemble’s Avery Fisher Hall home is
transformed 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, Tanglewood, 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.
Lincoln Center Programming Department
Jane Moss, Ehrenkranz Artistic Director
Hanako Yamaguchi, Director, Music Programming
Jon Nakagawa, Director, Contemporary Programming
Jill Sternheimer, Director, Public Programming
Lisa Takemoto, Production Manager
Charles Cermele, Producer, Contemporary Programming
Kate Monaghan, Associate Director, Programming
Claudia Norman, Producer, Public Programming
Mauricio Lomelin, Producer, Contemporary Programming
Julia Lin, Associate Producer
Nicole Cotton, Production Coordinator
Regina Grande, Assistant to the Artistic Director
Luna Shyr, Programming Publications Editor
Claire Raphaelson, House Seat Coordinator
Stepan Atamian, Theatrical Productions Intern; Annie Guo, Production Intern;
Grace Hertz, House Program Intern
Program Annotators:
Don Anderson, Peter A. Hoyt, Kathryn L. Libin, Paul Schiavo, David Wright
© JENNIFER TAYLOR 2014
Louis Langrée, Renée and Robert Belfer Music Director
Violin I
Ruggero Allifranchini,
Concertmaster
Robert Chausow
Katsuko Esaki
Sophia Kessinger
Nelly Kim
Katherine LivolsiLandau
Michael Roth
Dorothy Strahl
Deborah Wong
Violin II
Laura Frautschi,
Principal
Martin Agee
Eva Burmeister
Michael Gillette
Lisa Matricardi
Kristina Musser
Ronald Oakland
Mineko Yajima
Viola
Shmuel Katz, Principal
Meena Bhasin
Danielle Farina
Chihiro Fukuda
Jack Rosenberg
Cello
Ilya Finkelshteyn,
Principal
Ted Ackerman
Ann Kim
Alvin McCall
Bass
Zachary Cohen,
Principal
Lou Kosma
Judith Sugarman
Flute
Jasmine Choi,
Principal
Helen Campo
Kathleen Nester
Oboe
Randall Ellis, Principal
Nick Masterson
Clarinet
Jon Manasse, Principal
Steve Hartman
Bassoon
Daniel Shelly, Principal
Tom Sefčovič
Mark Romatz,
Contrabassoon
Horn
Lawrence DiBello,
Principal
Patrick Pridemore
Librarian
Michael McCoy
Personnel Managers
Neil Balm
Jonathan Haas
Gemini Music
Productions Ltd.
Trumpet
Neil Balm, Principal
Lee Soper
Trombone
Richard Clark, Principal
Demian Austin
Don Hayward,
Bass Trombone
Timpani
Jason Haaheim,
Principal
Fortepiano
Renee Louprette,
Principal
Get to know the Mostly Mozart Festival Orchestra musicians at MostlyMozart.org/MeetTheOrchestra
Jacqueline Pierce, Artistic Administrator
Soprano
Wendy Baker
Gail Blache-Gill
Miriam Chaudoir
Eileen Clark
Margery Daley
Toni Dolce
Lori Engle
Sarah Griffiths
Phenisher Harris
Melissa Casey Jose
Margarita Martinez
Lara Stevens
Elena Williamson
Alto
Bo Chang
Esther David
Emily Eyre
Sarona Farrell
Yonah Gershator
Wendy Gilles
Kristin Gornstein
Erin Kemp*
Nedra Neal
Tami Petty
Jacqueline Pierce
Rhesa Williams
Tenor
James Bassi
Martin Doner
Brian Giebler
Walker Jackson
John Kawa
Adam MacDonald
Drew Martin
Steven Rosser
Nate Widelitz
Bass
Daniel Alexander
Dennis Blackwell
Mischa Frusztajer
Roderick Gomez
Dominic Inferrara
Conor McDonald
Steven Moore
Joseph Neal
Mark Rehnstrom
Scott Wheatley
Lewis White
* Soloist

Program Notes - Mostly Mozart

Transcription

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