Program Notes

Transcription

Program Notes

08-17 Teseo_Gp 3.qxt 8/5/14 11:19 AM Page 1
July 25–August 23, 2014
Sponsored by Bloomberg
Sunday Afternoon, August 17, 2014, at 3:00
Pre-concert lecture by Ellen Rosand at 1:45 in the Stanley H. Kaplan Penthouse
Philharmonia Baroque Orchestra
Nicholas McGegan, Conductor
Amanda Forsythe, Teseo M|M
Amy Freston, Agilea M|M
Dominique Labelle, Medea
Céline Ricci, Clizia M|M
Robin Blaze, Arcane M|M
Drew Minter, Egeo
Jeffrey Fields, Minerva’s priest M|M
Jonathan Smucker, Tenor M|M
HANDEL Teseo (1712)
Teseo is an opera in five acts. It is approximately three hours long, with an intermission
between Acts III and IV.
M|M Mostly Mozart debut
This performance is made possible in part by the Josie Robertson Fund for Lincoln Center.
Alice Tully Hall, Starr Theater
Adrienne Arsht Stage
Please make certain your cellular phone,
pager, or watch alarm is switched off.
Mostly Mozart Festival
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.
Philharmonia Baroque Orchestra’s appearance is
made possible in part by Ross Armstrong, David
Low & Dominique Lahaussois, Martin & Kathy
Cohn, David & Mary Phillips, Doug & Carol Tanner
and Donna Williams.
Upcoming Mostly Mozart Festival Events:
Tuesday Evening, August 19, at 7:30
at Park Avenue Armory
International Contemporary Ensemble
ALL–ANNA THORVALDSDOTTIR PROGRAM
Shades of Silence (New York premiere)
Into—Second Self
In the Light of Air (New York premiere)
Co-presented with Park Avenue Armory
Tuesday and Wednesday Evenings, August 19–20,
at 8:00 in Avery Fisher Hall
Mostly Mozart Festival Orchestra
David Zinman, Conductor
Joshua Bell, Violin
Lawrence Power, Viola M|M
BOYCE: Symphony No. 1
MOZART: Sinfonia concertante, K.364
BEETHOVEN: Symphony No. 3 (“Eroica”)
Pre-concert recitals at 7:00 by Igor Kamenz, piano
Wednesday Evening, August 20, at 7:30
at the Clark Studio Theater
Steven Schick, Percussion
JOHN LUTHER ADAMS: The Mathematics of
Resonant Bodies
Thursday Evening, August 21, at 7:30
at Park Avenue Armory
International Contemporary Ensemble
Ellie Dehn, Soprano M|M
DAI FUJIKURA: Minina (New York premiere)
JOHN ZORN: Baudelaires (New York premiere)
ALVIN LUCIER: Chambers
MESSIAEN (arr. Cliff Colnot): Chants de terre et
de ciel (New York premiere)
Co-presented with Park Avenue Armory
M|M
Mostly Mozart debut
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.
Synopsis
by Ellen T. Harris
The heroic exploits of the great mythological figure of Theseus (Teseo) are detailed in
Plutarch’s Life of Theseus and many other
classical sources. Handel’s opera depicts an
early part of Theseus’s life, when after his
upbringing in the small city of Troezen, he
arrives in Athens to identify himself as the
son of Aegeus (Egeo) and claim his heritage.
The libretto uses bits of the classical story
filled out with supplementary characters
and a good deal of romantic complication.
King Aegeus is fighting off a rebellion and
has promised to marry the sorceress
Medea if she helps him to win. He is, however, in love with his ward, the Princess
Agilea. She, in turn, is in love with the
handsome young hero Theseus, who is
fighting on behalf of the king but whose
true identity is unknown; he has also fallen
in love with her. Aegeus plans to get out of
his promise to Medea by offering her
instead his long-lost son. Since she has
fallen in love with Theseus (still unknown
to her as Aegeus’s son), she is happy to
part ways. In addition to this love quadrangle, the opera contains a second young
couple—Arcane, the confidant of Aegeus,
and Clizia, the confidante of Agilea—who
share a mutual and unobstructed love. The
general thrust of the plot is that the older
generation, represented by Aegeus and
Medea, behaves rather badly, using subterfuge, outright lying, and deceit, but the
largely virtuous young couples come safe
to harbor at the end.
Despite its title, the leading characters of
Teseo are Medea and Agilea, and Handel
lavished his attention on their arias.
Agilea’s second aria in Act I, “Deh serbate,
oh giusti Dei!” in which she worries about
Theseus’s safety, is a musical marvel. The
solo oboe, silent during the instrumental
introduction, only enters in response to
Agilea, like a second voice, so that the aria
becomes a duet in which one of the
“singers” is absent in body, but whose
presence is clear. In fact, Handel gives
lovely orchestrations to Agilea’s arias
throughout the opera. Listen to the plaintive bassoons in her Act III aria, “Vieni,
torna, idolo mio” as she longs for Theseus
to return, and the gentle, paired flutes in
“Deh! v’aprite, oh luci belle” of Act IV
where, ordered by Medea to wake the
enchanted Theseus, Agilea speaks the
words asking him to open his eyes, while
her music depicts instead a protective lullaby.
The brilliant stroke of withholding Medea
from the first act reaps huge rewards as
the sorceress is introduced in Act II as
Agilea’s rival and antagonist. Aegeus and
Medea agree to end their “engagement,”
and although both are happy to pursue
their separate desires, they will not admit
their pleasure to one another and spit out a
marvelously nasty “breaking-up” duet, “Si,
ti lascio/Si, ti spezzo.” Medea’s incantations are as chilling as any Handel ever
wrote, perhaps none more menacing than
“Ombre, sortite—Sibillando, ululando” at
the end of Act III, where she calls up the
dark spirits of eternal night and urges them
to torment Agilea with hissing and howling. She still holds powers in reserve, however, which explode in Act V in her final aria
of revenge, “Morirò.” After Medea fails to
trick Aegeus into poisoning his own son,
she sets Athens aflame while flying off in
a carriage drawn by dragons. Minerva’s
priest descends, a true dea ex machina,
and puts all to right.
—Copyright © 2014 by Lincoln Center for the
Performing Arts, Inc.
Note on the Program
by Ellen T. Harris
Teseo, Op. 9 (1712)
GEORGE FRIDERIC HANDEL
Born February 23, 1685, in Halle
Died April 14, 1759, in London
When Handel arrived in London in the
autumn of 1710, one of his goals was to
establish himself as a composer of opera.
He accomplished this in great style with
his first London opera, Rinaldo, which
opened in February 1711, and had 15 performances before the end of the season in
June. By then, however, Handel had left
London, his contractual obligations requiring him to return to the court of Hanover,
where he was music director. Over the
next year, while Handel studied English in
Germany, Rinaldo was given another nine
performances in London. Returning to
England by the autumn of 1712, he worked
quickly to produce another opera, Il pastor
fido, which premiered in November. It moved
away from the spectacle and virtuosic
splendor of Rinaldo and was not a success,
managing only seven performances. Not
surprisingly, Handel hastened to recapture
public acclaim—the result was Teseo,
which he completed on December 19, 1712,
and premiered about a month later. With all
new sets and spectacular machinery, the
success of Teseo seemed inevitable. The
work was, indeed, much more popular
than Il pastor fido, not only because of the
visual display, but also because of the particularly fine cast of singers.
Elisabetta Pilotti-Schiavonetti, an extraordinarily dramatic and powerful singer, took
the role of Medea; she was one of three
singers held over from Rinaldo, where she
had sung the role of the sorceress Armida.
The soprano Margarita de l’Epine, who first
sang with Handel in Il pastor fido, took the
contrasting, lyrical role of Agilea. She probably also premiered the role of Galatea in
Handel’s Acis and Galatea (1718). The great
castrato Nicolini, who had created the title
role in Rinaldo, was not available, so the
title role of Theseus (Teseo) was sung by
Valeriano Pellegrini. Handel knew Valeriano
from Venice where he played the role of
Nero in Agrippina (1709); the singer had
also appeared in Il pastor fido. He clearly
did not have the vocal power of Nicolini,
however, and the character of Theseus is
drawn by Handel more as a man of feeling
than a man of war. Aegeus (Egeo) was
taken by the castrato Valentini, who had
also played an elder statesman in Rinaldo,
but one less duplicitous than Aegeus.
Unfortunately, despite all of its strengths,
the opera was also plagued with problems.
The expense of the singers, new sets, and
new costumes had left the manager of the
theater, Owen Swiney, close to bankruptcy,
and after two performances with full
houses, he absconded with the proceeds
and fled the country. Handel and the
singers “were in Some confusion but at
last concluded to go on with ye operas on
their own accounts, & divide ye Gain
amongst them.” But this did not end their
difficulties. At the fourth performance
(January 21) the machinery did not function properly, and the company was “much
concerned” that it had not given “the
Nobility and Gentry all the Satisfaction they
could have wished, when they represented it on Wednesday last, having been
hindered by some unforeseen Accidents at
that time insurmountable.” This led to all
the remaining advertisements for Teseo
stating that the opera “will be represented
in its Perfection, that is to say with all the
Scenes, Decorations, Flights, and Machines.”
The final performance (May 16) was given
“For the Benefit of Mr. Hendel…with an
Addition of several New Songs, and particularly an entertainment for the harpsichord,
Compos’d by Mr. Hendel on purpose for
that Day.” Between his benefit night and
his portion of the remaining income after
Swiney’s departure, Handel received less
than half what was owed him. Whether
this left a bad taste in his mouth or for
some other reason, Handel never revived
Teseo—as he repeatedly did both Rinaldo
and Il pastor fido—despite its fine score
and proven audience appeal.
The libretto of Handel’s Teseo was adapted
from Lully’s Tésée (1675), which leaves its
mark on the five-act structure, unique
among all of Handel’s operas, and also
affects the flow of the opera within those
shortened acts. Whereas French opera
was musically constructed on a base of
heightened recitative speech out of which
tuneful mélodies would periodically arise,
Italian opera developed the distinct juxtaposition of fast-paced, simple recitative
and scene-ending, virtuosic arias, generally
leading to a grand exit. Handel’s librettist,
Nicola Haym, left the French scenic structure in place, but made heavy cuts to the
recitative—as demanded by English audiences. In Teseo this results in relatively long
arias (by French standards, although Handel’s
arias would grow much longer over his lifetime) coming one after another with little separation and without any sense of climax. The
singers rarely exit after singing an aria and
frequently a single character has multiple
arias within a scene. As in so many cases,
however, what might look unpromising on
the page Handel transmutes into music of
exquisite beauty and astonishing power.
Ellen T. Harris is professor emeritus in
music and theater arts at MIT and presidentelect of the American Musicological Society.
Her most recent book, George Frideric
Handel: A Life with Friends, is due out
from W. W. Norton in September.
—Copyright © 2014 by Lincoln Center for the
Performing Arts, Inc.
h
Words and Music
Love
by Anna Akhmatova
A snake, it coils
Bewitching the heart.
Day after day, coos
A dove on the white sill.
A bright flash in frost,
Drowsy night-scented stock…
Yet, sure and secret,
It’s far from peace and joy.
It knows how to weep sweetly
In the violin’s yearning prayer;
And is fearfully divined
In a stranger’s smile.
—Translated from the Russian by A.S. Kline, © 2012
For poetry comments and suggestions, please write
to [email protected].
Henry Purcell’s King Arthur and Jean-Philippe
Rameau’s ballet-opera Platée. Philharmonia
has also collaborated with many Bay Area performing arts groups. Its recording of Haydn
Symphonies No. 104 (“London”), No. 88, and
No. 101 (”The Clock”) was nominated for a
Grammy for Best Orchestral Performance. It
has also released Vivaldi’s Four Seasons and
other violin concertos featuring Elizabeth
Blumenstock as soloist; an acclaimed recording of Handel’s Atalanta; Brahms’s Serenades;
Beethoven Symphonies Nos. 4 and 7, and
Handel’s Teseo (Highlights). The orchestra
was founded by harpsichordist and earlymusic pioneer Laurette Goldberg.
RANDI BEACH
Meet the Artists
Entering its 34th season, Philharmonia
Baroque Orchestra has been dedicated to
authentic performances of Baroque, Classical,
and early Romantic music on original instruments since its inception in 1981. Under the
leadership of Nicholas McGegan, the orchestra performs an annual subscription season in
the San Francisco Bay Area and is regularly
heard on tour around the world. The orchestra has its own professional chorus, the
Philharmonia Chorale, under the leadership of
Bruce Lamott. It welcomes eminent guest
artists who have included mezzo-soprano
Susan Graham, countertenor David Daniels,
fortepianist Emanuel Ax, violinist Rachel
Podger, and guest conductors such as Jordi
Savall, Masaaki Suzuki, and Trevor Pinnock.
STEVE SHERMAN
Nicholas
McGegan
Philharmonia’s recent U.S. tour appearances
include Lincoln Center’s Great Performers
series, the Ravinia Festival in Chicago, the
International Chamber Orchestra Festival in
Minnesota, Carnegie Hall, and Walt Disney
Concert Hall in Los Angeles. In 2006, to
mark its 25th season and the 20th anniversary of Mr. McGegan’s tenure as music
director, Philharmonia premiered its first
commissioned work, a one-act opera by
Jake Heggie with a libretto by Gene Scheer
entitled To Hell and Back.
Nicholas McGegan, one of his generation’s
finest Baroque conductors, has been
increasingly recognized for his probing and
revelatory explorations of music from all
periods. He has been music director of
Philharmonia Baroque Orchestra for 28
years and was artistic director of the
Göttingen International Handel Festival for
20 years. Beginning in the 2013–14 season, Mr. McGegan became principal guest
conductor of the Pasadena Symphony, and
in 2014 he was appointed artist in association with the Adelaide Symphony Orchestra.
The coming months will feature an appearance at the Caramoor International Music
Festival and collaborations with the New
Zealand, Tasmania, and National symphony
orchestras, Orchestra of Padova Veneto,
Swedish Chamber Orchestra, Bournemouth
Sinfonietta, and the Orchestra of St. Luke’s.
In collaboration with the Mark Morris Dance
Group, Philharmonia gave the U.S. premieres
of Morris’s highly acclaimed productions of
Mr. McGegan’s intelligent and joyful approach
to period style has led to appearances with
major orchestras, including the New York,
Apollo e Dafne (Pacific MusicWorks), and
the title role in Teseo (Philharmonia Baroque
Orchestra). Her major opera roles include
Jemmy in Guillaume Tell, Corinna in Il viaggio a Reims, Rosalia in L’equivoco stravagante (Rossini Opera Festival), Dalinda in
Ariodante (Geneva and Munich), Manto in
Niobe, regina di Tebe (Royal Opera House–
Covent Garden and Luxembourg), Amenaide
in Tancredi (Opera Boston), and Nannetta
in Falstaff (Angers-Nantes Opéra and Royal
Opera House–Covent Garden).
Los Angeles, and Hong Kong philharmonics;
the Chicago, Milwaukee, St. Louis, Toronto,
and Sydney symphony orchestras; the
Cleveland and Philadelphia Orchestras; and
the Royal Northern Sinfonia and Scottish
Chamber Orchestra, where his programs
often mingle Baroque with later works. He
is also at home in opera houses, having
conducted companies including London’s
Royal Opera, San Francisco Opera, Santa
Fe Opera, and Washington National Opera.
Mr. McGegan was made an Officer of the
Most Excellent Order of the British Empire
(OBE) for services to music overseas.
Other awards include the Halle Handel
Prize, the Order of Merit of the State of
Lower Saxony (Germany), the Medal of
Honour of the City of Göttingen, and a declaration of Nicholas McGegan Day by the
mayor of San Francisco. His extensive
discography includes five recent releases
on Philharmonia Baroque’s label, Philharmonia Baroque Productions (PBP), including Brahms’s Serenades; Berlioz’s Les nuits
d’été and Handel arias with Lorraine Hunt
Lieberson; Haydn’s Symphonies Nos. 88,
101, and 104 (nominated for a Grammy
Award); Vivaldi’s Four Seasons and concertos; and Handel’s Atalanta.
Her recordings include Mozart’s “In un
istante…Parto, m’affretto” from Lucio Silla
and Handel’s Messiah with Apollo’s Fire
(Avie); Aglaure in Lully’s Psyché, Venus in
Venus and Adonis, Manto in Niobe, regina di
Tebe, Minerve and La Grande Prêtresse in
Lully’s Thésée with Boston Early Music
Festival (CPO); Dorinda in Orlando with Early
Music Vancouver (ATMA); and Haydn’s Die
Schöpfung with the Boston Baroque (Linn).
Upcoming engagements include Iris in
Semele (Seattle Opera); Poppea in L'incoronazione di Poppea and Serpina in La serva
padrona (Boston Early Music Festival); Poppea
in Agrippina and Vagaus in Juditha Triumphans
(Boston Baroque); Bach’s Magnificat and
Brahms’s Requiem (Accademia Nazionale di
Santa Cecilia in Rome and Moscow) under Sir
Antonio Pappano; Amour in Gluck’s Orfeo
at the Royal Opera House–Covent Garden,
and with the Monteverdi Choir and Orchestra, both under Sir John Eliot Gardiner.
Amanda Forsythe’s (soprano, Teseo) major
concert engagements have included Handel’s
L’Allegro, il Penseroso, ed il Moderato
(Netherlands Radio Philharmonic Orchestra),
Alexander’s Feast (Ulster Orchestra), Messiah (Seattle Symphony Orchestra, Boston
Baroque, Apollo’s Fire, and Baltimore
Symphony Orchestra), Dorinda in Orlando
(Vancouver Early Music Festival), Dafne in
NINA LARGE
Amanda Forsythe
Amy Freston
Amy Freston (soprano, Agilea) trained as a
classical dancer before studying singing at
the Royal Northern College of Music and
the National Opera Studio. A frequent guest
at Opera North and Glyndebourne‚ Ms.
Freston’s roles include Cherubino in Le
nozze di Figaro‚ Miss Wordsworth in Albert
Herring‚ Valencienne in The Merry Widow‚
Amore in L’incoronazione di Poppea‚
Sandman in Hänsel und Gretel‚ Despina in
Così fan tutte‚ First Niece in Peter Grimes,
Elsa in the world premiere of David Sawer’s
Skin Deep‚ Belinda in Dido and Aeneas,
Rose Maybud in Ruddigore, and La Musica
in Orfeo. She also appeared in The Owl
and the Pussycat for ROH2 as part of the
London 2012 Festival. In concert, Ms.
Freston has performed St. Matthew Passion
with the Orchestra of the Age of Enlightenment‚ Carmina Burana with City of Birmingham Symphony Orchestra‚ L’Allegro‚
il Penseroso ed il Moderato with Northern
Sinfonia‚ Mozart’s C-minor Mass with
Northern Sinfonia and Thomas Zehetmair‚
and a tour with Le Concert d’Astrée and
Emmanuelle Haïm. Ms. Freston has recorded
Birtwistle’s Nine Settings of Lorine Niedecker
with Adrian Brendel.
Further operatic engagements include Carmen (Welsh National Opera), La Belle Hélène
(English National Opera)‚ James Macmillan’s
Parthenogenesis (Royal Opera House’s Linbury Theatre)‚ Ilia in Idomeneo (Grange Park
Opera), The Philosopher’s Stone (Garsington
Opera)‚ Despina in Così fan tutte (English
Touring Opera and Samling Foundation
directed by Sir Thomas Allen)‚ and Pergolesi’s
La serva padrona with the Gabrieli Consort.
Ms. Freston created the roles of Io and
Woman Three in Harrison Birtwistle’s The
Io Passion directed by Stephen Langridge
at the Aldeburgh‚ Almeida, and Bregenz
festivals. She also created Mirror Echo in
Birtwistle’s The Second Mrs Kong with the
BBC Symphony Orchestra at the Royal Festival Hall.
LINO ALVAREZ
Dominique
Labelle
Dominique Labelle’s (soprano, Medea) probing explorations of a wide range of repertoire have led her to create close and
enduring collaborations with a number of
the world’s most respected conductors and
composers, including Nicholas McGegan,
Iván Fischer, Jos van Veldhoven, and the
Pulitzer Prize–winning composer Yehudi
Wyner. She also treasures her long association with the late Robert Shaw.
In addition to her renowned Handel, Mozart,
and Bach interpretations, Ms. Labelle is
drawn to contemporary music. Recently
she sang Shostakovich’s Seven Romances
on Poetry of Alexander Blok and Britten’s
Les Illuminations. She also performed and
recorded John Harbison’s The Rewaking
with the Lydian String Quartet. Among her
numerous recordings of opera and concert
repertoire is Monsigny’s Le Déserteur with
Opera Lafayette and Ryan Brown (Naxos).
She has also recorded with Virgin Veritas,
Deutsche Harmonia Mundi, RCA Victor
Red Seal, Koss, Denon, New World, Carus,
and Muisica Omnia. Her recording of
Handel’s Arminio (Virgin Classics) won the
2002 Handel Prize. Her latest recording,
Moments of Love, is a recital with pianist
Yehudi Wyner with a program of Britten,
Hahn, Ravel, and Saint-Saëns.
Ms. Labelle first came to international prominence as Donna Anna in Peter Sellars’s daring
production of Mozart’s Don Giovanni, set
in Spanish Harlem, which she performed in
New York, Paris, and Vienna. Born in Montreal
Céline Ricci
Born in Florence, Céline Ricci (mezzosoprano, Clizia) first studied in Paris and
continued her post-graduate studies at the
Guildhall School of Music and Drama in
London. Selected by renowned conductor
William Christie for his academy, Le Jardin
des Voix, she was named one of opera’s
promising new talents in 2005 by Opernwelt.
During this season, Ms. Ricci will perform
with Akademie für Alte Musik in Sydney
and Berlin, with the Philharmonia Baroque
Orchestra at Lincoln Center and Tanglewood,
and with Ars Lyrica at the Berkeley Early
Music Festival and in Houston, among
other projects.
Ms. Ricci’s impressive discography includes
a number of CDs and two DVDs. Her CD
as Arbace in Terradellas’s Artaserse garnered great critical acclaim: Opernwelt
described her performance as an exciting
tour de force. Ms. Ricci’s solo CDs, Cirque
and Le Bestiaire, were released on Sono
Luminus with art direction by Ms. Ricci.
She will also be part of a forthcoming
release devoted to 17th-century vocal
works on Sono Luminus with El Mundo.
Ms. Ricci has collaborated with a number of
distinguished conductors, including Nicholas
McGegan, William Christie, Jean-Christophe
Spinosi, Martin Haselböck, Martin Gester,
Matthew Dirst, and Attilio Cremonesi,
among others. She has also worked with
choreographer Sasha Waltz and director
Deborah Warner on a number of projects.
Ms. Ricci has toured in New York, Los
Angeles, Berlin, London, Brussels, Israel,
Barcelona, Paris, Vienna, Amsterdam,
Moscow, and St. Petersburg.
DOROTHEA HEISE
and trained at McGill and Boston Universities,
she enjoys sharing her technical and musical
insights with young singers, and has taught
master classes at Harvard University, McGill
University, Smith College, and the University
of Massachusetts. She is now professor of
voice at the Schulich School of Music at
McGill University.
Robin Blaze
Robin Blaze (countertenor, Arcane) is firmly
established as a leading interpreter of Purcell,
Bach, and Handel, and he works with numerous distinguished conductors in the earlymusic field, including Harry Christophers,
John Eliot Gardiner, Emmanuelle Haïm,
Phillippe Herreweghe, Christopher Hogwood,
Ton Koopman, Paul Goodwin, Robert King,
Nicholas Kraemer, Trevor Pinnock, and
Masaaki Suzuki. Recent and future highlights include Handel’s Israel in Egypt with
the Choir of King’s College Cambridge and
the Academy of Ancient Music, Buxtehude’s
Membra Jesu with the Ricercar Consort,
St. Matthew Passion with the Bach Choir,
Messiah in Annapolis and with the Melbourne Symphony Orchestra, Hamor in
Jephtha with The Sixteen, Barak in Deborah
at the London Handel Festival, Bach’s
Christmas Oratorio with Kammerorchester
Basel, and performances with Florilegium
and the King’s Consort at Wigmore Hall.
Mr. Blaze regularly appears with the Academy of Ancient Music, Bach Collegium
Japan, Collegium Vocale, English Concert,
Gabrieli Consort, King’s Consort, and
Orchestra of the Age of Enlightenment.
Other engagements have included the
Berliner Philharmoniker, National Symphony
Society, Philharmonia Baroque Orchestra,
and Freiburg Baroque Orchestra. He has also
performed at festivals such as Tanglewood,
Ravinia, Regensburg, BAM’s Next Wave,
Edinburgh, Spoleto, and Boston Early Music.
Other orchestra credits include the Philadelphia Orchestra, San Francisco Symphony,
and Saint Paul Chamber Orchestra. Mr.
Minter was a founding member of the
Newberry Consort, TREFOIL, and My Lord
Chamberlain’s Consort, and he sings frequently with ARTEK and the Folger Consort.
Mr. Blaze’s recordings include the Cantata
Cycle with Bach Collegium Japan, Handel’s
oratorio duets, lute songs with Elizabeth
Kenny, Didymus in Theodora (Gabrieli
Consort under Paul McCreesh), works by
Vivaldi, Kuhnau, and Knüpfer (The King’s
Consort), Purcell’s Odes (Collegium Vocale
Gent under Phillippe Herreweghe), and
Adès’s The Lover in Winter.
Mr. Minter has made more than 60 recordings on Harmonia Mundi, Decca/London,
Newport Classics, Hungaroton, and Bridge,
among others. He has also appeared in the
filmed versions of Peter Sellars’s Giulio
Cesare as Tolomeo, and as the Devil for In
the Symphony of the World: a Portrait of
Hildegard of Bingen. An active opera stage
director, Mr. Minter directed regularly at
the Göttingen Handel Festival and Boston’s
Opera Aperta. He was artistic director of
Boston Midsummer Opera from 2006–11.
In addition to leading numerous workshops
in the vocal and dramatic performance of
Baroque music, he teaches voice at Vassar
College, where he directs the Vassar Opera
Workshop and conducts the Vassar Madrigal
Singers. He also directs an annual Baroque
opera at the Amherst Early Music Institute,
where he has taught since 1989.
Drew Minter
Regarded as one of the world’s finest countertenors, Drew Minter (countertenor, Egeo)
grew up as a boy treble in the Washington
Cathedral Choir of Men and Boys. He continued his education at Indiana University
and the Musikhochschule of Vienna. Mr.
Minter has appeared in leading roles with
the opera companies of Brussels, Toulouse,
Boston, Washington, Santa Fe, Wolf Trap,
Glimmerglass, and Nice, among others. A
recognized specialist in the works of Handel,
he has performed at the Handel festivals of
Göttingen, Halle, Karlsruhe, and Maryland.
Mr. Minter has sung with many of the
world’s leading Baroque orchestras, including Les Arts Florissants, Handel and Haydn
DIANE MERCHANT
KEN RIMPLE
Orchestra, Washington Symphony Orchestra,
Royal Flanders Philharmonic Orchestra,
BBC Philharmonic, Royal Philharmonic
Orchestra, Royal Northern Sinfonia, and the
Philharmonia Orchestra. Mr. Blaze has visited festivals in Ambronay, Beaune, Boston,
Edinburgh, Halle, Iceland, Jerusalem,
Innsbruck, Karlsruhe, Leipzig, Lucerne,
Saintes, and Utrecht, and has given recitals
in Paris, Innsbruck, and Göttingen, as well
as the York Early Music and Three Choirs
Festivals, BBC Radio 3, and Wigmore Hall.
Jeffrey Fields
A graduate of the University of Iowa,
Jeffrey Fields (baritone, Minerva’s priest)
sings regularly as a soloist and ensemble
member with Philharmonia Baroque Orchestra (since 1999), American Bach Soloists
(since 2002), Bach Collegium San Diego
(since 2011), and Carmel Bach Festival (since
1998). Mr. Fields made his Carnegie Hall solo
debut in Handel’s Messiah in 2007 under
Andrew Megill, and returned to Carnegie
Hall in 2012 with the Aoede Consort.
Upcoming solo engagements include works
of J.C. Bach with the Philharmonia Baroque
Orchestra, J.S. Bach cantatas with the
Angelus recital series at the University of
San Diego, and concerts with Pacific Bach
and the Spire Chamber Ensemble. Recent
engagements include Purcell’s Dioclesian
with Philharmonia Baroque, the role of
Jesus in St. Matthew Passion in Los Angeles,
Handel’s Dixit Dominus with Bach Collegium
San Diego, Haydn’s Seasons at UC Berkeley,
Haydn’s Die Schöpfung at Stanford, Dvořák’s
Stabat Mater in San Francisco, Handel’s
Alexander’s Feast under Jeffrey Thomas,
Handel’s Samson with Philharmonia Baroque,
Orff’s Carmina Burana, the title role in
Mendelssohn’s Elijah for Marin Oratorio,
and Handel’s Acis and Galatea with California
Bach Society. Mr. Fields studied with Albert
Gammon, taught voice and singer’s diction
at the University of Iowa, and was an artist
fellow for three seasons at Stony Brook’s
Bach Aria Festival. He was a three-time
winner of the NATS Central Region auditions.
Jonathan
Smucker
Jonathan Smucker’s repertoire spans more
than 40 roles, ranging from Baroque to
contemporary and encompassing opera,
oratorio, operetta, and musical theater.
Recent credits include Ralph Rackstraw in
H.M.S. Pinafore, Evangelist in St. John
Passion, Acis in Acis and Galatea, Don
Ottavio in Don Giovanni, Belmonte in Die
Entführung aus dem Serail, Scaramuccio in
Ariadne auf Naxos, and tenor soloist in
Dioclesian with Philharmonia Baroque
Orchestra. In demand throughout the San
Francisco Bay Area and United States, he
has appeared as a soloist with companies
including Aspen Opera Theater Center, San
Francisco Opera Guild, Opera San Jose,
Ash Lawn Opera Festival, Festival Opera,
West Edge Opera, Ensemble Parallèle,
Opera San Luis Obispo, Townsend Opera,
Livermore Valley Opera, and in preview
concerts for Opera Santa Barbara.
An Ohio native, Mr. Smucker earned his
bachelor’s, master’s, and postgraduate
degrees in voice at the San Francisco Conservatory of Music, receiving special honors for excellence in operatic and Baroque
performance. He is a member of the
Vinaccesi Ensemble, and is featured on their
recently released CD Benedetto Vinaccesi:
The Solo Cantatas (Centaur Records).
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.
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
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
For the Mostly Mozart Festival
Celeste Montemarano, Supertitle Operator
Supertitles by Adam Cockerham, from a translation by Ross Armstrong
Program Annotators:
Don Anderson, Christopher H. Gibbs, Ellen T. Harris, Kathryn L. Libin,
Hugh Macdonald, Ellen McSweeney, Harlow Robinson, Paul Schiavo, David Wright
Nicholas McGegan, Music Director
The Players and Their Instruments
Philharmonia Baroque’s musicians perform on historically accurate instruments. Below each player’s
name is information about his or her instrument’s maker and origin.
Violin
Elizabeth Blumenstock, Concertmaster
Andrea Guarneri, Cremona, 1660; on loan from
Philharmonia Baroque Orchestra Period
Instrument Trust
Jolianne von Einem
Rowland Ross, Guildford, England, 1979; after
Antonio Stradivari, Cremona
Cello
Phoebe Carrai*
Joseph Panormo, London, England, 1811
Paul Hale
Joseph Grubaugh & Sigrun Seifert, Petaluma,
1988; after A. Stradivari
William Skeen
Anonymous, Northern Italy, ca. 1680
Lisa Grodin
Laurentius Storioni, Cremona, Italy, 1796
Katherine Kyme
Johann Gottlob Pfretzschner, Mittenwald,
Germany, 1791
Tyler Lewis
Timothy Johnson, Hewitt, Texas, 2009; after
A. Stradivari
Anthony Martin
Thomas Oliver Croen, Walnut Creek, CA, 2005;
after F. Gobetti, Venice, 1717
Carla Moore
Johann Georg Thir, Vienna, Austria, 1754
Maxine Nemerovski
Timothy Johnson, Bloomington, Indiana, 1999;
after A. Stradivari
Laurie Young Stevens
Rowland Ross, London, 1995; after A. Amati
Noah Strick
Celia Bridges, Cologne, Germany, 1988
Lisa Weiss †
Anonymous, London; after Testore
Viola
Maria Ionia Caswell*
Anonymous, Mittenwald, circa 1800
David Daniel Bowes
Richard Duke, London, c. 1780
Ellie Nishi
Aegidius Klotz, Mittenwald, Germany, 1790
Bass
Kristin Zoernig*
Joseph Wrent, Rotterdam, Holland, 1648
Timothy Spears
Anonymous, Germany, date unknown
Flute
Stephen Schultz*
Martin Wenner, Singen, Germany 2011; after
A. Grenser, c. 1790
Mindy Rosenfeld
Roderick Cameron, Mendocino, California,
1997; after J. H. Grenser, Dresden, Germany,
c. 1790
Oboe
Marc Schachman*
Sand Dalton, Lopez Island, Washington, 1993;
after Floth, c. 1800
Gonzalo Ruiz
H. A. Vas Dias, Decatur, Georgia, 1988; after
C. A. Grenser, Dresden, Germany, c. 1780
Bassoon
Danny Bond*
Peter de Koningh, Hall, Holland, 1985; after
Grenser, Dresden, Germany, c. 1800
Kate van Orden
Peter de Koningh, Hall, Holland, 1978; after
Prudent, Paris, France, c. 1760
Trumpet
John Thiessen*
Rainer Egger, Basel, Switzerland, 2003; after
Ehe, 1746
Fred Holmgren
Fred Holmgren, Massachusetts, 2005; after
J. L. Ehe III, 1746
Recorder
Hanneke van Proosdij*
von Huene, Brookline, Massachusetts, 2010;
after Jacob Denner, c. 1720
Gonzalo Ruiz
Thomas M. Prescott, Hanover, New Hampshire,
1989; after Stanesby Jr., London, 1710
Philharmonia Touring Staff
Michael Costa, Executive Director
Courtney Beck, Associate Executive Director
Jeff Phillips, Artistic Administrator
Alexander Kort, Stage Manager
Theorbo
David Tayler*
Andreas von Holst, Munich, Germany, 2004;
after Magno Tieffenbrucker, Venice, Italy, 1610
Harpsichord
Hanneke van Proosdij*
Thomas Andreas Wolf, The Plains, Virginia,
1988
Nicholas McGegan
Carl Dudash, Norfolk, Connecticut, 1991
* Principal
† Principal Second Violin
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,
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,
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
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
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
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
Lecture on Mozart, Bach, and Martin by
Andrew Shenton
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
Are you an LC Kid?
LC Kids makes Lincoln Center and the performing arts accessible to
children between the ages of 2 and 12 through interactive performances,
behind-the-scenes tours, educational activities and so much more.
Become an LC Kids family today.
LincolnCenter.org/LCKids
or call Kristel Kempin at 212.875.5443
Learn more at
Photo: Martin Schott
Wolfgang Amadeus Mozart Chronology
1756 January 27: Joannes Chrysostomus Wolfgangus Theophilus Mozart born in Salzburg,
Austria, the youngest child of Johann Georg Leopold Mozart and his wife, Anna Maria.
1761 First composition, Andante in C major for keyboard; first known public appearance at
Salzburg University in a music theater piece.
1762 Leopold Mozart journeys to Munich and Vienna with Wolfgang and his older sister,
Nannerl, to exploit their prodigious talents on the harpsichord.
1764 Meets J.C. Bach, youngest son of J.S. Bach. Mozart writes his first symphony.
1767 Performance of Apollo et Hyacinthus, Mozart’s first theatrical work, in Salzburg. Travels to
Vienna. Wolfgang and Nannerl fall ill with smallpox.
1769 Return to Salzburg. Mozart named honorary Konzertmeister of the Hofkapelle in Salzburg.
1772 Premiere of opera seria Lucio Silla on December 26 in Milan; completion of motet Exsultate,
jubilate a few weeks later.
1778 Arrival in Paris after a lengthy journey through Augsburg and Mannheim, where he meets
soprano Aloysia Weber. Performance of the “Paris” Symphony. Illness and death of Mozart’s
mother. Aloysia rejects Mozart’s marriage proposal.
1779 Composition of “Coronation” Mass in C major.
1781 First major adult opera commission results in Idomeneo, premiered in Munich. Travels to
Vienna, where he is discharged from the service of the archbishop of Salzburg.
1782 Composition and premiere of the opera Die Entführung aus dem Serail in Vienna. Marriage
to Constanze Weber, sister of Aloysia.
1783 First child born in June and dies in August. Premiere of unfinished Mass in C minor, K.427.
1784 Mozart accepted into the Freemason lodge Zur Wohlthätigkeit. Six piano concertos written in Vienna. Frequent public and private concerts in Vienna show him at the peak of his fortunes. Birth of second child, Karl Thomas, who survives. Probable first meeting with Haydn; the
beginning of a devoted friendship between the two masters.
1785 Cycle of six string quartets, which Mozart dedicates to Haydn, is published by Artaria.
Composes Piano Concerto No. 20 in D minor and No. 21 in C major.
1786 Premiere of Le nozze di Figaro in Vienna’s Burgtheater is successful despite the opera’s
potential to be politically and socially inflammatory. Writes Symphony in D major (“Prague”) and
Piano Concerto No. 25 in C major. Mozart’s third child is born in October and dies in November.
1787 Mozart directs a performance of Figaro in Prague to great success. Performance of “Prague”
Symphony and premiere of Don Giovanni in Prague also meet with positive reception. Leopold
Mozart, age 68, dies in Salzburg. Returns to Vienna in November and birth of fourth child, Theresia,
in December. The 16-year-old Beethoven briefly visits Vienna and most likely meets Mozart.
1788 Viennese premiere of Don Giovanni meets with moderate success. Death of Theresia. Last three
symphonies written: No. 39 in E-flat major, No. 40 in G minor, and No. 41 in C major (“Jupiter”).
1789 Financial instability. Starts work on Così fan tutte. Mozart’s fifth child, Anna Maria, dies
one hour after birth. Mozart conducts his reorchestration of Handel’s Messiah.
1790 Premiere of Così fan tutte in Vienna. Musical productivity hindered by ongoing financial
stress. Before leaving for London, Haydn dines with Mozart for the last time.
1791 Mozart completes his 27th and last piano concerto. Interruption of work on Die Zauberflöte to
write the commissioned work La clemenza di Tito, celebrating the coronation of Leopold II as king
of Bohemia. Birth of sixth child, Franz Xaver, who survives. Premiere of Die Zauberflöte in Vienna
with Mozart conducting from the keyboard. Clarinet Concerto written for Anton Stadler. Receives
commission for a requiem mass and begins work on the Requiem, K.626, but falls ill in November.
Mozart dies in Vienna on December 5 and is buried quietly and unceremoniously in a mass grave.

Program Notes

Transcription

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