New York Philharmonic



New York Philharmonic
New York Philharmonic
Alan Gilbert and the New York Philharmonic
2012–13 Season
Alan Gilbert has said that every concert
should be an event, a philosophy that
pervades the New York Philharmonic’s programs week after week. Twelve of these
concerts are captured live in Alan Gilbert
and the New York Philharmonic: 2012–13
Season, demonstrating the excitement surrounding the Orchestra as the Music Director has entered the fourth year of his tenure.
About his rapport with the Philharmonic
players, Alan Gilbert has said: “The chemistry between the Orchestra and me is
ever-evolving and deepening. It is a great
joy to make music with these incredible
musicians and to share what we have to
offer with the audience in a very palpable,
visceral, and potent way.”
These high-quality recordings of almost
30 works, available internationally, reflect
Alan Gilbert’s wide-ranging interests and
passions, from Bach’s B-minor Mass to
brand-new music by Christopher Rouse.
Bonus content includes audio recordings of the Music Director’s occasional
onstage commentaries, program notes
published in each concert’s Playbill, and
encores — all in the highest audio quality
available for download.
For more information about the series,
New York Philharmonic
Alan Gilbert, Conductor/Magician
Doug Fitch, Director/Designer
Karole Armitage, Choreographer
Edouard Getaz, Producer/Video Director
A production created by Giants Are Small
Clifton Taylor, Lighting Designer
Irina Kruzhilina, Costume Designer
Matt Acheson, Master Puppeteer
Margie Durand, Make-Up Artist
Featuring Sara Mearns, Principal Dancer
Amar Ramasar, Principal Dancer/Puppeteer
Recorded live June 27–29, 2013
Avery Fisher Hall at Lincoln Center for the Performing Arts
STRAVINSKY (1882–1971)
Le Baiser de la fée (The Fairy’s Kiss) (1928, rev. 1950)
First Scene — Prologue
Second Scene — A Village Fete
Third Scene — By the Mill
Pas de Duex
Fourth Scene — Epilogue — Berceuse of the Eternal Dwellings
DUREY (1888–1979)
Excerpts from Neige (Snow) for Piano Four-Hands,
Op. 7 (1918)
New York Philharmonic
Petrushka (1911)
Tableau I: The Shrovetide Fair
Magic Trick
Russian Dance
Tableau II: Petrushka’s Room
Tableau III: The Moor’s Room
Dance of the Ballerina
Waltz of the Ballerina and the Moor
Tableau IV: The Shrovetide Fair (Evening)
Dance of the Coachmen and the Grooms
New York Philharmonic
The Moor (on film)
Petrushka (on film)
Steadicam Operator
Tripod Camera
Cover Dancer
Sara Mearns
Eric Owens
Anthony Roth Costanzo
Amar Ramasar
Abbey Roesner
William da Silva
Vincent McCloskey
Monica Lerch
Giacomo Belletti
Matt Manning
Zachary Catazaro
Puppet and Miniature Designers: Doug Fitch, Matt Acheson, Chris Fitch
Music Consultant: James
Ross Make-Up Artist: Kirk Cambridge-Delpeche
Assistant Director: James R. Smith
Assistant Choreographer: Abbey Roesner
Assistant Lighting Designer: Anshuman Bhatia
Assistant Costume Designer: Kate Fry
Wardrobe Supervisor: Melanie Schmidt
Wardrobe Assistant: Larry Callahan
Scenic Design Consultant: G.W. Mercier
Stage Manager: Laine Goerner
Assistant Stage Manager: Kaitlin Springston
Props Master/Logistics: Douglas Wright
Creative Media Manager: Lutz Rödig
Thing and Model Makers: Ceili Clemens, Robin Frohardt, Lisa Guerrero, Jessica Hirschorn,
Sidney Erin Johnson, Hannah Kohl, Monica Lerch, Eric James Novak, Mark Skelly,
Julianna Zarzycki, Dedalus Wainwright, Fergus J. Walsh
Costumes Constructed by: Krostyne Studio, Marianne Krostyne
Animator: Julia Eichhorn
Lighting Programmer: Paul Sonnleitner
Production Electrician: Michael LoBue
Production Assistant: Hannah Rubashkin
Costume Intern: Stephanie Petagno
Video System Integration and Switching Equipment:
Staging Techniques — Pete Bothner-By, Karen Zappone, Steven Albert
Camera Equipment: Hand Held Films — Alex Resnikoff
Crew Additional Video Footage
Video Editors: Edouard Getaz, James R. Smith
Director of Photography: Giacomo Belletti
Cameraman: Matt Manning
Art Director: Lee Clayton
Gaffer: Andrew Hubbard
Gaffer/Grip: Nate Milette
Hospitality: Rob Stupay
Rehearsal Pianist: Steve Beck
Giants Are Small LP
Partners, Co-Founders: Doug Fitch, Edouard Getaz, Frederic Gumy
Communications: Eric Latzky
Behind-the-Scenes Producer: Carol Getaz
Production Services: Incoprod LLC, a subsidiary of Intercontinental Pictures LLC
Special Thanks to
Robert Butters (And-entertainment), Lyla Fitch, Stephen Greco, Mahmoud Hamadani, Charles
Hamlen, Andi Floyd (Fettmann Ginsburg P.C.), Mood Fabrics, Yoko Essel, Thijs Beuming
Petrushka is based on the 2008 developmental production presented at the
University of Maryland, in collaboration with James Ross.
Rehearsed at the New 42nd Street Studios.
Some additional lighting equipment courtesy of Philips Strand Lighting.
Special thanks to Kara O’Grady.
Alan Gilbert on This Program
With Doug Fitch you know something brilliant and magical is in store, but you don’t
know what to expect. He has a unique ability to come at you from a new direction;
his projects all reflect a quintessential “Doug” quality, while no two are alike. This is
also true of the works Stravinsky composed over his lifetime — his essence can be
perceived in all of his music, although his oeuvre reflects a wide range of styles, from
Neoclassicism all the way to serialism.
This year, with A Dancer’s Dream, Doug’s dramatic and theatrical sensibility is serving Stravinsky’s music exquisitely — idiosyncratically yet in a way that suits it perfectly
— and I am proud to be part of what surely will be a landmark production of Le Baiser
de la fée and Petrushka, albeit one that you’d never experience at a ballet company.
This production’s blend of orchestra and ballet and a more explicitly theatrical role for
the musicians themselves reflects a new idea of what an orchestra can be while staying true to the essence of what makes the New York Philharmonic great.
New York Philharmonic
Notes on the Program
By James M. Keller, Program Annotator
The Leni and Peter May Chair
Le Baiser de la fée
(The Fairy’s Kiss)
Igor Stravinsky
In Short
Born: June 17, 1882, in Lomonosov, Russia
Died: April 6, 1971, in New York City
The most renowned figure of cutting-edge
ballet in the early 20th century was Serge
Diaghilev, whose Ballets Russes introduced
ten of Igor Stravinsky’s stage works. But he
was not the only adventurer in the dance
world at that time. One of the most notable of
his colleagues — or competitors, really — was
Ida Rubinstein. She made her debut in 1908
in Oscar Wilde’s Salomé, with an interpretation
of the “Dance of the Seven Veils” that left absolutely nothing to the imagination. Rubinstein
danced in the Ballets Russes from 1909 to
1911 before leaving to form her own dance
company (which got off to a strong start by
creating the extravaganza Le Martyre de Saint
Sébastien, with music by Debussy). In the late
1920s she hoped to stage Stravinsky’s Apollon musagète, but upon learning that Diaghilev
possessed exclusive European performing
rights, decided instead to commission a
new work from Stravinsky. The composer
explained in his Autobiography:
The idea was that I should compose
something inspired by the music of
Tchaikovsky. My well-known fondness
for this composer, and, still more, the fact
that November [1928], the time fixed for
the performance, would mark the thirtyfifth anniversary of his death, induced me
Works composed and premiered: Le Baiser de la fée
composed April–October 1928, the full score being dated
October 30, 1928, at midnight; revised 1950; premiered
November 27, 1928, with the composer conducting,
in a staged production by the Ballets Ida Rubinstein at
the Paris Opera House, choreographed by Bronislava
Nijinska. Petrushka composed August 1910 to May 26,
1911; dedicated to Alexandre Benois, who prepared the
scenario; premiered June 13, 1911, with Pierre Monteux
conducting a staged production by the Ballets Russes at
the Théâtre du Châtelet in Paris
New York Philharmonic premieres: Le Baiser de la
fée, March 4–6, 1993, Oliver Knussen, conductor; the
first performance of this version of Petrushka, February 4,
1923, Albert Coates, conductor
The plan Stravinsky fixed on for the resulting
ballet, Le Baiser de la fée (The Fairy’s Kiss),
was effectively a collaboration: he would write
a score that combined original themes with
melodic material drawn from the works of
Tchaikovsky. Rather than follow the obvious,
but redundant, path of borrowing music Tchaikovsky had already used to superlative effect
in his own ballet scores, Stravinsky selected
themes from non-balletic works — indeed,
from pieces Tchaikovsky had not imagined
for orchestra in any form. By the time he was
through, Stravinsky had employed material
from 16 Tchaikovsky compositions (five songs
and 11 piano pieces), all of which he dutifully
identified in Expositions and Developments
(1962), one of the series of memoirs he cocreated with Robert Craft. He disclosed:
In the Director’s Words
Tonight, our story unfolds as a kind of über
Fairy Tale, connecting two great ballets by
Stravinsky with an excerpt from a piece for
piano (four hands) by the surrealist composer Louis Durey. The thread that weaves
them all together takes the form of a young
woman who slips into the world of her own
imagination and is swept away by muses to
become a ballerina.
By “über” I mean it amalgamates several
themes that fairy tales share, and from
which they derive their own subconscious
logic. The Fairy’s Kiss is based on a haunting
story by Hans Christian Andersen (The Ice
Maiden) and was composed by Stravinsky as
an homage to Tchaikovsky. Stravinsky saw
the “kiss” as a metaphor for the artistic gift
— that mysterious, intangible phenomenon
that can bestow immortality, but not without
extracting its human price.
We have merged these into a kind of daydream — a reverie induced by the seductive
and transformative power of great music.
Neige, Durey’s minimalist masterpiece,
allows us to spend a moment with the
heroine of our story, bearing witness to her
moment of self-discovery — the emergent
ballerina as chrysalis.
She then enters into the world of the
Shrovetide Fair-setting of Petrushka and
becomes the puppet ballerina character
Columbine. Things in this daydream seem
to have real consequences and it is hard
to distinguish the artifice from the reality it
is designed to imitate.
Petrushka is a work that sprang
from the collective imagination of four
well-known artists in one of the first
great modernist collaborations. It was
inspired by Commedia dell’Arte stories,
mixed with Russian folk-tale motifs, and
emerged as a completely unique, total
work of art. After its premiere, Stravinsky
said that dance is not applied arts — it
is a union of arts; they strengthen and
complement each other. It is in this spirit
of developing a union between artistic
media — some old, some new — that we
have pursued this project.
And you are not exempt! We invite
you to enter this world with us — to put
together the pieces in your own mind and
to weave your own stories as you watch
and listen. You are very much a part of
this collaboration.
— Doug Fitch
to accept the offer. It would give me an
opportunity of paying heartfelt homage to
I was already familiar with about half of the
Tchaikovsky’s wonderful talent.
music I was to use; the other pieces were
New York Philharmonic
discoveries. At this date I only vaguely
I dedicate this ballet to the memory of Pyotr
trumpet-blasts. The outcome is a terrific noise
remember which music is Tchaikovsky’s
Tchaikovsky by relating the Fairy to his
which reaches its climax and ends in the
and which mine.
Muse, and in this way the ballet becomes an
sorrowful and querulous collapse of the poor
allegory, the Muse having similarly branded
puppet. ... One day I leapt for joy. I had indeed
Tchaikovsky with her fatal kiss, whose
found my title — Petrushka, the immortal and
mysterious imprint made itself felt in all this
unhappy hero of every fair in all countries.
The project bore some resemblance
to Stravinsky’s ballet Pulcinella, which
he had composed for Diaghilev in 1920
by recasting bits and pieces attributed
to the 18th-century composer GiovanniBattista Pergolesi. But in Le Baiser de la
fée, Stravinsky assimilates Tchaikovsky’s
melodies more thoroughly, with the result
that the score comes across as a more
original endeavor than does Pulcinella,
which seems more like a highly spiced arrangement of post-Baroque material.
For his scenario, Stravinsky turned to
the writings of Hans Christian Andersen,
whose oeuvre had previously furnished
the plot for his opera Le Rossignol. This
time he focused on Andersen’s novella
The Snow Maiden (a.k.a. The Ice Maiden),
because, as he explained, “it suggested an
allegory of Tchaikovsky himself.” The general plot, as presented in the first edition of
the score, is this:
Louis Durey (born May 27, 1888, in Paris;
died July 3, 1979, in Saint-Tropez, France) is
scarcely represented on concert programs
today, but he was a formidable musician in
his time. It was not until 1907, after being
smitten by a performance of Debussy’s
opera Pelléas et Mélisande, that Durey set
his sights on becoming a composer and
accordingly embarked on teaching himself
the principles of composition and orchestration. By 1914 he felt comfortable signing off
on compositions, and in 1917 he achieved
the first performance of one of his works,
Carillons for Piano Four-Hands, which
was unveiled at a concert in honor of the
composer Erik Satie, who became something of a mentor. He and five colleagues
clustered around this iconoclast, declaring
themselves a Société des Nouveaux Jeunes
(Society of Young Up-and-Comers). That
name was replaced by the label Groupe des
Six, a nickname first used by the music critic
Henri Collet in describing this convivial band
comprising Francis Poulenc, Darius Milhaud,
Georges Auric, Arthur Honegger, and Germaine Tailleferre, in addition to Durey.
In 1918 Durey added another piece, his
mysterious and moody Neige (Snow), for
piano four-hands, to his Carillons, and the
two were published together as his Op. 7.
Neiges carried a dedication to another composer he admired, Maurice Ravel, who was
greatly encouraging to the young composer.
Durey later made an orchestrated version
of this work, which he conducted at a 1929
concert of the Groupe des Six at the Théâtre
des Champs-Élysées. It would have been
a somewhat nostalgic gathering, as by that
time the six composers had largely drifted
off in their individual directions. In the 1930s
Durey became deeply involved with the
Communist Party and ended up devoting
himself to choral compositions on antiFascist and other political themes, including
late-in-life settings of texts by Ho Chi Minh
and Mao Zedong.
great artist’s work.
Stravinsky’s breakthrough to fame had arrived, more than a decade earlier, through
his collaborations with Diaghilev’s Ballets
Russes. His first project was modest: a
pair of Chopin orchestrations for the 1909
production of Les Sylphides. The production
was a success, but some critics complained
that the troupe’s choreographic and scenic
novelty was not matched by its conservative
musical score. Diaghilev set about addressing this by commissioning new ballet
scores, of which the first was Stravinsky’s
Firebird, premiered in 1910. Thus began a
collaboration that would include some of
the most irreplaceable items in the history
of the early-20th-century stage: Petrushka
(1911), Le Sacre du printemps (The Rite of
Spring, 1913), Le Rossignol (The Nightingale, 1914), Pulcinella (1920), Mavra
(1922), Reynard (1922), Les Noces (The
Wedding, 1923), Oedipus Rex (1927), and
Apollon musagète (Apollo, 1928).
Stravinsky wrote of how the idea for
Petrushka coalesced:
A fairy marks a young man with her
mysterious kiss while he is still a child. She
withdraws him from his mother’s arms. She
withdraws him from life on the day of his
greatest happiness in order to possess
him and preserve this happiness forever.
She marks him once more with her kiss.
I had in my mind a distinct picture of
Stravinsky set the ballet in four scenes
— The Prologue, The Village Fête, By
the Mill, and Epilogue. He inscribed the
completed score with this dedication:
a puppet, suddenly endowed with life,
exasperating the patience of the orchestra
with diabolical cascades of arpeggi. The
orchestra in turn retaliates with menacing
At first the score seemed to be taking the
form of a concert work, as Diaghilev noted with
distress when he visited Stravinsky to check
on the status of their collaboration; he thought
it was to be about springtime celebrations in
pagan Russia. But once Stravinsky played him
the first two movements, with their evocative
quotations and bi-tonal bite, it was Diaghilev’s
turn to jump for joy. He immediately sensed the
choreographic possibilities in Petrushka and was
happy to postpone The Rite of Spring.
Stravinsky’s original setting of Petrushka
unrolls through four scenes set in St. Petersburg in the 1830s. In the first, crowds
stroll through the Shrovetide Fair on a sunny
winter day as musicians compete to entertain
them. A showman introduces the characters
of a puppet show he is going to present:
Petrushka, the Ballerina, and The Moor. The
puppets astonish everyone by stepping out
from their little box theater and dancing all on
their own. The second scene takes place in
Petrushka’s cell, where our principal puppet,
now imbued with human feelings, bemoans
his awkwardness. He loves the Ballerina, but
she finds him repellent, and as the scene
closes Petrushka hurls himself against the
wall in despair. Scene Three is set in The
Moor’s cell, where that brutal character,
decked out in his finery, proves irresistible to
the Ballerina. Petrushka rushes in on their
love scene, insanely jealous, but The Moor
New York Philharmonic
throws him out. In the concluding tableau
we are back at the fair, in the evening,
where colorful characters again roam about.
A commotion breaks out in the puppetmaster’s little theater; in another jealous
encounter Petrushka is slain by The Moor,
and the latter escapes with the Ballerina.
Petrushka dies in the snow, but the puppetmaster assures the onlookers not to worry
— that it was nothing more than a puppet
made of wood and sawdust. The crowds
withdraw, but in the end Petrushka’s ghost
gets the final word, jeering sardonically from
the roof of the little theater.
In 1947, long after Petrushka had been
established as a classic of ballet repertoire,
Stravinsky revised his score, making its
orchestration smaller and otherwise refining
the piece in ways that seem biased more
toward concert performance than toward
the descriptive style of the ballet stage. In
essence, what he initially conceived as a
concert piece evolved back into one. In this
performance, however, we return to the composer’s initial orchestration, which is inventive
and colorful to the point of extravagance.
Instrumentation: Le Baiser de la fée
employs three flutes (one doubling piccolo),
two oboes and English horn, three clarinets
(one doubling bass clarinet), two bassoons,
four horns, three trumpets, three trombones,
tuba, timpani, bass drum, harp, and strings.
Petrushka calls for four flutes (two doubling
piccolo), four oboes (one doubling English
horn), four clarinets (one doubling bass
clarinet), four bassoons (one doubling contrabassoon), four horns, four trumpets (two
doubling piccolo trumpet and two doubling
At the Creation
In 1911 Pierre Monteux was assistant conductor of the Concerts Colonne Orchestra,
which had been engaged to play for the productions of Serge Diaghilev’s Ballets Russes.
He was assigned to lead the orchestra during
rehearsals of their new ballet, Petrushka. In
his memoir, It’s All in the Music (authored by
his wife, Doris Monteux), he recalled:
At first, I wasn’t the least bit interested,
I must say. However, as the rehearsals
proceeded, I felt a certain fascination
for the score, which presented great
difficulties to the orchestra. ... I think the
composer, Igor Stravinsky, interested
me as much as his music. He spoke
perfect French, which facilitated matters,
and knew exactly what he wanted to
hear. ... This very slight, dynamic man,
twenty-nine years of age, darting like a
dragonfly from one end of the foyer to
the other, never still, listening, moving
to every part of the orchestra, landing
at intervals behind my back, and hissing semi-voce instructions in my ears,
intrigued me. I should add that he in no
way annoyed me, as I was by that time
completely subjugated by the music and
the composer. … After a few rehearsals
… Igor Stravinsky declared to Diaghilev:
“Only Monteux will conduct my work.”
cornet), three trombones, tuba, timpani,
bass drum, cymbals, tam-tam, orchestra
bells, snare drum, tambourine, triangle,
xylophone, celesta (four hands), piano, two
harps, and strings.
An earlier version of the Petrushka note
appeared in programs of New World Symphony. © James M. Keller
New York Philharmonic
Music Director
Case Scaglione
Joshua Weilerstein
Assistant Conductors
Leonard Bernstein
Laureate Conductor, 1943–1990
Kurt Masur
Music Director Emeritus
Glenn Dicterow
The Charles E. Culpeper Chair
Sheryl Staples
Marilyn Dubow
Ru-Pei Yeh
The Sue and Eugene Mercy, Jr. Chair
The Credit Suisse Chair
in honor of Paul Calello
Mark Nuccio
George Curran
Carl R. Schiebler
Wei Yu
Susannah Chapman++
Alberto Parrini++
Pascual Martínez Forteza*
Martin Eshelman
Judith Ginsberg
Hyunju Lee
Joo Young Oh
Daniel Reed
Mark Schmoockler
Na Sun
Vladimir Tsypin
Acting Principal
The Edna and W. Van Alan Clark Chair
Acting Associate Principal
The Honey M. Kurtz Family Chair
The Redfield D. Beckwith Chair
Markus Rhoten
Satoshi Okamoto*
Pascual Martínez Forteza
Cynthia Phelps
The Carlos Moseley Chair
Orin O’Brien
Kyle Zerna**
The Mr. and Mrs. Frederick P. Rose
Amy Zoloto++
William Blossom
Rebecca Young*
The Ludmila S. and Carl B. Hess Chair
The Joan and Joel Smilow Chair
Judith LeClair
Michelle Kim
The Norma and Lloyd Chazen Chair
Assistant Concertmaster
The William Petschek Family Chair
Dorian Rence
Randall Butler
Blake Hinson
David J. Grossman*
The Herbert M. Citrin Chair
Kim Laskowski*
Roger Nye
Arlen Fast
Quan Ge
The Gary W. Parr Chair
Hae-Young Ham
The Mr. and Mrs. Timothy M. George
Lisa GiHae Kim
Kuan Cheng Lu
Newton Mansfield
The Edward and Priscilla Pilcher Chair
Kerry McDermott
Anna Rabinova
Charles Rex
The Shirley Bacot Shamel Chair
Fiona Simon
Sharon Yamada
Elizabeth Zeltser
The William and Elfriede Ulrich Chair
Yulia Ziskel
Marc Ginsberg
Lisa Kim*
In Memory of Laura Mitchell
Soohyun Kwon
The Joan and Joel I. Picket Chair
Duoming Ba
Alan Baer
Fora Baltacigil*
Acting Associate Principal
Irene Breslaw**
Katherine Greene
The Mr. and Mrs. William J. McDonough
Dawn Hannay
Vivek Kamath
Peter Kenote
Kenneth Mirkin
Judith Nelson
Robert Rinehart
Max Zeugner
Rex Surany++
Robert Langevin
Arlen Fast
The Lila Acheson Wallace Chair
Sandra Church*
Yoobin Son
Mindy Kaufman
The Mr. and Mrs. G. Chris Andersen
Mindy Kaufman
The Fan Fox and Leslie R. Samuels
Liang Wang
The Paul and Diane Guenther Chair
Eric Bartlett
Philip Myers
The Ruth F. and Alan J. Broder Chair
R. Allen Spanjer
Carter Brey
Eileen Moon*
The Pels Family Chair
The Rosalind Miranda Chair
Howard Wall
Richard Deane++
Leelanee Sterrett++
The Alice Tully Chair
Philip Smith
Sherry Sylar*
Robert Botti
The Paula Levin Chair
Maria Kitsopoulos
Sumire Kudo
Keisuke Ikuma++
Matthew Muckey*
Ethan Bensdorf
Thomas V. Smith
Elizabeth Dyson
Keisuke Ikuma++
Joseph Alessi
The Shirley and Jon Brodsky
Foundation Chair
The Mr. and Mrs. James E. Buckman
Alexei Yupanqui Gonzales
Patrick Jee
Qiang Tu
The Lizabeth and Frank
Newman Chair
Lawrence Rock
Christopher S. Lamb
The Constance R. Hoguet Friends of
the Philharmonic Chair
Daniel Druckman*
The Mr. and Mrs. Ronald J. Ulrich Chair
Kyle Zerna
Nancy Allen
The Mr. and Mrs. William T. Knight III
In Memory of Paul Jacobs
Paolo Bordignon
Eric Huebner
Kent Tritle
Lawrence Tarlow
Sandra Pearson**
Sara Griffin**
The Gurnee F. and Marjorie L. Hart
David Finlayson
The Donna and Benjamin M. Rosen
Joseph Faretta
Alucia Scalzo++
Amy Zoloto++
Principal Associate
The Elizabeth G. Beinecke Chair
Enrico Di Cecco
Carol Webb
Yoko Takebe
The Daria L. and William C. Foster
*Associate Principal
**Assistant Principal
+On Leave
The New York Philharmonic uses the revolving seating method for section string players who are listed alphabetically in the roster.
Emanuel Ax
Pierre Boulez
Stanley Drucker
Lorin Maazel
Zubin Mehta
the late Carlos Moseley
The Music Director
New York Philharmonic Music Director
Alan Gilbert began his tenure in September 2009, launching what New York
magazine called “a fresh future for the
Philharmonic.” The first native New Yorker
to hold the post, he has sought to make
the Orchestra a point of civic pride for the
city and country.
Mr. Gilbert combines works in fresh
and innovative ways; has forged important artistic partnerships, introducing
the positions of The Marie-Josée Kravis
Composer-in-Residence and The Mary
and James G. Wallach Artist-in-Residence;
and introduced an annual multi-week festival and CONTACT!, the new-music series.
In the 2012–13 season he conducted
world premieres; presided over a cycle
of Brahms’s symphonies and concertos;
conducted Bach’s Mass in B minor and an
all-American program, including Ives’s Fourth
Symphony; led the Orchestra’s EUROPE /
SPRING 2013 tour; and continued The
Nielsen Project, the multi-year initiative to
perform and record the Danish composer’s
symphonies and concertos, the first release
of which was named by The New York Times
as among the Best Classical Music Recordings of 2012. The season concluded with
Gilbert’s Playlist, four programs showcasing
the Music Director’s themes and ideas, culminating in a theatrical reimagining of Stravinsky ballets with director/designer Doug Fitch
and New York City Ballet principal dancer
Sara Mearns. The previous season’s highlights included performances of three Mahler
symphonies, including the Second, Resurrection, on A Concert for New York; tours to
Europe (including the Orchestra’s first International Associates residency at London’s
Barbican Centre) and California; and Philharmonic 360, the Philharmonic and Park
Avenue Armory’s acclaimed spatial-music
program featuring Stockhausen’s Gruppen,
building previous seasons’ successful productions of Ligeti’s Le Grand Macabre and
Janáček’s The Cunning Little Vixen, each
acclaimed in 2010 and 2011, respectively,
as New York magazine’s number one classical music event of the year.
In September 2011 Alan Gilbert became Director of Conducting and Orchestral Studies at The Juilliard School, where
he is the first to hold the William Schuman
Chair in Musical Studies. Conductor Laureate of the Royal Stockholm Philharmonic
Orchestra and Principal Guest Conductor
of Hamburg’s NDR Symphony Orchestra,
he regularly conducts leading ensembles
such as the Boston Symphony Orchestra,
Amsterdam’s Royal Concertgebouw Orchestra, Leipzig Gewandhaus Orchestra,
and Berlin Philharmonic.
Alan Gilbert’s acclaimed 2008 Metropolitan Opera debut, leading John
Adams’s Doctor Atomic, received a
2011 Grammy Award for Best Opera
Recording. Renée Fleming’s recent
Decca recording Poèmes, on which he
conducted, received a 2013 Grammy
Award. Mr. Gilbert studied at Harvard
University, The Curtis Institute of Music,
and Juilliard and was assistant conductor
of The Cleveland Orchestra (1995–97).
In May 2010 he received an Honorary
Doctor of Music degree from Curtis, and
in December 2011 he received Columbia
University’s Ditson Conductor’s Award for
his commitment to performing American
and contemporary music.
The Artists
theater. Later, while studying visual arts at
Harvard University, he collaborated with director Peter Sellars, including on a production of Wagner’s Der Ring des Nibelungen.
Mr. Fitch also worked on Robert Wilson’s
Civil Wars at the American Repertory
Theatre and, in England, with the late Jim
Henson of The Muppets. He graduated
magna cum laude with a degree in visual
studies from Harvard University, and also
studied cooking at La Varenne in Paris and
design at Institut d’Architecture et d’Études
Urbaines in Strasbourg, France.
Director/Designer Doug Fitch designed
and directed the New York Philharmonic’s
2010 production of Ligeti’s Le Grand Macabre and 2011 production of Janáček’s
The Cunning Little Vixen, both conducted
by Alan Gilbert. His first project for the
Orchestra was Stravinsky’s L’Histoire du
soldat in 2005. He has also created productions for the Los Angeles Opera (Humperdinck’s Hansel and Gretel), Los Angeles
Philharmonic (Prokofiev’s Peter and the
Wolf ), and the Santa Fe Opera (Puccini’s
Turandot). He has directed projects for other major institutions across North America
and Europe, including Canada’s National
Arts Centre and the Royal Stockholm
Philharmonic Orchestra. For more than 15
years he has collaborated with artist Mimi
Oka to create a series of multi-sensory
experiences known as Orphic Feasts. In
the 1980s he emerged as an architectural
designer and has designed several homes
and pieces of furniture.
Doug Fitch was born in 1959 in Philadelphia and his creative life began while
traveling with his family’s touring puppet
Choreographer Karole Armitage, director
of the New York–based Armitage Gone!
Dance Company, was trained in classical ballet and performed with George
Balanchine’s Grand Théâtre de Genève
Company and the Merce Cunningham
Dance Company. She is known for pushing boundaries to create works that blend
dance, music, and art, drawing upon her
technical knowledge of dance to blend
virtuosity with conceptual ideas from
the frontiers of movement research. She
has directed the Ballet of Florence, Italy
(1995–98) and the Biennale of Contemporary Dance in Venice (2004), served
as resident choreographer for the Ballet
de Lorraine in France (1999–2004), and
created works for The Bolshoi Ballet,
Ballet Nacional de Cuba, Les Ballets de
Monte Carlo, Paris Opéra Ballet, Kansas
City Ballet, and Alvin Ailey Dance Theater,
among others. Ms. Armitage collaborates
frequently with composers and artists
including Jeff Koons, Brice Marden,
David Salle, and Phillip Taaffe. She has
choreographed two Broadway productions
(Passing Strange and Hair, the latter earning
her a Tony nomination), videos for Madonna
and Michael Jackson, and several films for
Merchant Ivory Productions. Known for directing opera, she choreographed Janáček’s
The Cunning Little Vixen for the New York
Philharmonic (2011) as well as the Cirque du
Soleil production Amaluna (2012). Ms. Armitage was awarded Commandeur de l’Ordre
des Arts et des Lettres in 2009, received
a doctorate of the arts from the University
of Kansas in 2013, and is the recipient of a
Guggenheim Fellowship.
Producer/Video Director Edouard Getaz
has developed and produced a wide
variety of events, ranging from major
fashion shows to music festivals, large
historical celebrations, and concerts. His
first production under the banner of Giants
Are Small was Stravinsky’s L’Histoire du
soldat, directed by Doug Fitch, for the New
York Philharmonic in 2005; he has since
produced all Giants Are Small productions,
including two operas at the New York
Philharmonic: Ligeti’s Le Grand Macabre in
2010 — which was cited as the top opera
of that year by The New York Times, New
York magazine, and Time Out New York
— and Janáček’s The Cunning Little Vixen
in 2011, which was called “Best Classical
Event of the Year” by New York magazine.
Mr. Getaz also produced the Giants Are
Small adaptation of Prokofiev’s Peter and
the Wolf with the Los Angeles Philharmonic at Walt Disney Concert Hall in 2008. He
is currently developing a new multimedia
adaptation of the Prokofiev classic with Mr.
Fitch and Giants Are Small’s co-founder
Frederic Gumy titled Peter + Wolf in
The Artists
Hollywood, an immersive event incorporating theater, music, live filmmaking, and
puppetry. For the Montreux Jazz Festival,
in the mid-1990s, Mr. Getaz produced one
of the first multi-location music events to
be streamed live on the Internet. In 1998
he co-founded Creatives, an events and
communications agency in Switzerland. He
has directed two films, Virgin Red (2005)
and Freud’s Magic Powder (2009), both of
which were premiered at the Locarno Film
Festival and selected to appear at major
Edouard Getaz holds a law degree from
Fribourg University, Switzerland, and studied film, directing, and production at New
York University.
tion of Janáček’s The Cunning Little Vixen,
which was called the best classical music
event of the year by New York magazine.
The creative partnership of Doug Fitch and
Edouard Getaz began with Stravinsky’s
L’Histoire du soldat, with the New York
Philharmonic, in 2005, and was the first
production in which their idea of “live filmmaking” was brought to a wide audience.
Giants Are Small is currently developing
Peter + Wolf in Hollywood, an immersive
event incorporating theater, music, live
filmmaking, and puppetry based on the
Prokofiev classic. Additional projects in
development include theatrical amalgams
of media, technology, music, and visual art.
Since its founding in 2007 by American
director and visual artist Doug Fitch, Swiss
filmmaker and producer Edouard Getaz,
and multimedia entrepreneur Frederic
Gumy, Giants Are Small has become
one of the most out-of-the-box production
companies in New York. Collaborating with
top orchestras and contemporary talents,
Giants Are Small is known for a range of
genre-bending productions, which capitalize on its signature fusion of theater, live
filmmaking, music, and visual art.
The 2010 Giants Are Small production
of Ligeti’s Le Grand Macabre for the New
York Philharmonic, conducted by Alan
Gilbert, was cited as the top classical music
event of 2010 by The New York Times,
New York magazine, and Time Out New
York. Giants Are Small collaborated with the
Philharmonic again on the 2011 produc-
Lighting Designer Clifton Taylor’s previous projects for the New York Philharmonic include Janáček’s The Cunning
Little Vixen (2011) and Ligeti’s Le Grand
Macabre (2010). His Broadway credits
include Jay Johnson: The Two and Only
(Ovation Award), Frozen, and Hot Feet.
Off-Broadway, he has worked on several
shows for the Encores! series at New
York’s City Center and many plays and
musical events for Gotham Chamber
Opera, Irish Repertory Theatre, and MCC
Theater. Mr. Taylor’s lighting designs for
dance have been commissioned for Alvin
Ailey American Dance Theater, American
Ballet Theater, San Francisco Ballet, Les
Grands Ballets Canadiens, Ballet Jazz de
Montréal, Maggio Danza (Florence, Italy),
and Ballet Company of Rio de Janeiro. He
is the resident lighting designer for Armitage Gone! Dance Company, Philadanco,
and Elisa Monte Dance, and has designed
for choreographers Lar Lubovitch, Ronald
K. Brown, and Larry Keigwin. Other recent
collaborators include Benoit-Swan Pouffer
for Cedar Lake Contemporary Ballet and
Septime Webre for Washington Ballet. In
addition, Clifton Taylor is a theater consultant to venues in several countries, most
recently advising on the construction of
Teatro del Lago in Chile.
Arts at Bard College, and a barge on the
East River. Ms. Kruzhilina has designed
costumes for dozens of theater, dance,
opera, and puppetry performances, such
as The Merchant of Venice, Don Juan
in Prague with David Chambers, Three
Graces by Ruth Margraff, Arctic Hysteria
with Else-Marie Laukvik, Song for New
York with Mabou Mines, DNAWorks’s
HaMapah, Scrap Performance Group’s
Tide, and Adam McKinney’s Heliotrope.
Her work has appeared at the Philadelphia
Live Arts, Spoleto Fringe, and DAH Teatar
(Belgrade, Serbia) festivals. A native of
Moscow, Ms. Kruzhilina is dedicated to
connecting Western and Eastern European theater through international collaborations, which has led to multiple productions with Plovdiv Dramatischen Theater in
Bulgaria and director Stayko Murdjev, and
with director Alexander Sharovsky at the
Russian Drama Theatre in Baku, Azerbaijan. Irina Kruzhilina was selected to be a
participant in the 2007 NEA/TCG Career
Development Program for Theatre Designers, and is a resident artist with Chashama,
a nonprofit organization that transforms
underutilized real estate properties into
work and presentation spaces.
Master Puppeteer Matt Acheson is a
New York City–based artist who has
performed and toured extensively with
Basil Twist’s productions of Symphonie
Fantastique, Petrushka, and Master
Peter’s Puppet Show, as well as Dan
Hurlin’s productions of Hiroshima Maiden
and Disfarmer. He has also worked with
Irina Kruzhilina is a New York City–based
costume designer whose work has been
seen in venues including the Brooklyn
Academy of Music, the National Theatre in
Prague, Fischer Center for the Performing
The Artists
Mabou Mines’s Peter and Wendy, Paula
Vogel’s A Long Christmas Ride Home, Tom
Lee’s Ko’Olau, and Chris Green’s Luybo.
Mr. Acheson was the puppetry rehearsal
director for The Metropolitan Opera’s production of Puccini’s Madama Butterfly and
worked closely with choreographer Nami
Yamamoto on A Howling Flower and Flying
with My Shooting Stars. His film credits
include In the House of the Sin Eater,
which he wrote, directed, and designed
with filmmaker Paul Kloss. Other projects
have included Rinna Groff’s Compulsion,
for which he built the marionettes and
supervised the puppetry. Most recently,
he was the resident puppetry director for
the Broadway production of War Horse
at Lincoln Center Theater and currently
serves as the associate puppetry director
for that show’s North American tour. Matt
Acheson directs the St. Ann’s Warehouse
Puppet Lab and is in production for the
new Radio City Christmas Spectacular, to
be premiered in 2014.
after graduating from St. John’s University
in New York City, before shifting her focus
to make-up artistry with a New York University student film. After being invited to
study the work of make-up artist François
Nars at Calvin Klein, Dolce & Gabbana, and
Marc Jacobs fashion shows, she honed
her skills in editorial photo shoots, music
videos, and television commercials. Ms.
Durand left fashion to work in the make-up
department at New York City Opera and
for films including I Shot Andy Warhol,
Requiem for a Dream, The Manchurian
Candidate, Across the Universe, The Wrestler, and Noah. Ms. Durand was head of the
make-up department for Sex and the City:
The Movie, the pilot for the AMC series
Mad Men, and Black Swan.
Sara Mearns (Ballerina/Columbine) was
born in Columbia, South Carolina, and began
her dance training at the age of three with
Ann Brodie at the Calvert-Brodie School of
Dance. Following study with Patricia McBride
at Dance Place, School of North Carolina
Dance Theatre, South Carolina Governor’s
School for the Arts and Humanities, and
Make-up Artist Margie Durand began an
internship in post-production film editing
the School of American Ballet, she became
an apprentice with New York City Ballet in
2003 and danced a featured role in Michel
Fokine’s choreography for Chopiniana in
2004. Ms. Mearns joined the company as a
member of the corps de ballet in 2004, was
promoted to the rank of soloist in 2006, and
to principal dancer in 2008. At age 19, while
still a member of the corps de ballet, she
performed her first featured role as Odette/
Odile in Peter Martins’s staging of Swan
Lake. She has since appeared in featured
roles in works choreographed by George
Balanchine (including Apollo, BrahmsSchoenberg Quartet, Concerto Barocco,
Jewels, George Balanchine’s The Nutcracker,
Serenade, Stars and Stripes, Symphony in C,
and Walpurgisnacht), Jerome Robbins (such
as Dances at a Gathering, The Goldberg
Variations, and In the Night), Jerome Robbins
and Twyla Tharp (Brahms/Handel), Peter
Martins (Barber Violin Concerto, Beethoven
Romance, Chichester Psalms, and Fearful
Symmetries, among others), Christopher
Wheeldon (including DGV: Danse à Grande
Vitesse, Les Carillons, and Polyphonia), Alexei
Ratmansky (Concerto DSCH, Namouna, A
Grand Divertissement, and Russian Seasons); Susan Stroman (Double Feature and
Frankie and Johnny ... and Rose); and Richard
Tanner (Sonatas and Interludes). In 2011
Sara Mearns originated the role of Honorata
in Paul McCartney’s Ocean’s Kingdom with
choreography by Peter Martins, and she was
nominated for a Benois de la Danse award
for her performance. In 2003 she was a
recipient of the Mae L. Wien Award and a
nominee for the Princess Grace Award.
Amar Ramasar (Lover/Puppeteer) was
born in the Bronx, New York, and began
his studies at the School of American
Ballet in 1993. He also studied at the
American Ballet Theatre Summer Program and The Rock School of Pennsylvania Ballet. In July 2000 Mr. Ramasar
was invited to become an apprentice with
New York City Ballet, and in July 2001
he joined the company as a member of
the corps de ballet. He was promoted to
the rank of soloist in March 2006 and in
October 2009 was promoted to principal.
Mr. Ramasar’s featured roles at New York
City Ballet have included George Balanchine’s choreography for Agon, Allegro
Brillante, A Midsummer Night’s Dream,
and George Balanchine’s The Nutcracker;
Jerome Robbins’s 2 & 3 Part Inventions,
Concertino, Dances at a Gathering, Fancy
Free, and West Side Story Suite; and Peter Martins’s A Fool For You, Concerto for
Two Solo Pianos, Fearful Symmetries, Les
Gentilhommes, Guide to Strange Places,
The Infernal Machine, and Swan Lake.
Mr. Ramasar was featured in the 2010
The Artists
film adaptation of Jerome Robbins’s N.Y.
Export: Opus Jazz. He was a Mae L. Wien
Award recipient in 2000.
residence at The Glimmerglass Festival in
the summer of 2012. Mr. Owens appeared in the New York Philharmonic’s
production of Ligeti’s Le Grand Macabre
in 2010, and the Orchestra’s performance
of Bach’s B-minor Mass in March 2013,
both conducted by Alan Gilbert.
American bass-baritone Eric Owens
(The Moor) portrayed the title role in
the world premiere of Elliot Goldenthal’s
Grendel with the Los Angeles Opera and
at Lincoln Center Festival. He was General Leslie Groves in the world premiere
of John Adams’s Doctor Atomic at San
Francisco Opera, and the Storyteller in
the world premiere of Adams’s A Flowering Tree in Vienna and with the Los Angeles Philharmonic. Mr. Owens appeared in
The Metropolitan Opera’s production and
recording of Doctor Atomic, conducted
by Alan Gilbert, and he sang lead roles in
The Met’s recent Ring cycle. His 2012–13
season included appearances at the San
Francisco and Los Angeles Operas, and
performances with the Seattle, Baltimore,
and Detroit symphony orchestras. Last
season he performed in Washington, D.C.,
Philadelphia, and with both the Boston
Symphony and Cleveland Orchestras
at Carnegie Hall; and he was artist-in-
Countertenor Anthony Roth Costanzo
(Petrushka) will return to The Metropolitan
Opera in 2013–14 for a new production
of Johann Strauss II’s Die Fledermaus and
for a revival of the Baroque pastiche The
Enchanted Island, in which he performed
the roles of Ferdinand and Prospero in the
2012–13 season, after making his debut
as Unulfo in Handel’s Rodelinda. He has
recently appeared with The Glimmerglass
Festival, Opera Philadelphia, Canadian Opera Company, New York City Opera, Boston Lyric Opera, Michigan Opera Theater,
Palm Beach Opera, North Carolina Opera,
and Juilliard Opera. In 2010 Mr. Costanzo
played Prince Go-Go in the New York
Philharmonic’s production of Ligeti’s Le
Grand Macabre. He has been a featured
soloist at Carnegie Hall, the Kennedy
Center, Mostly Mozart Festival, and with
the orchestras of Cleveland, Indianapolis,
Alabama, Detroit, Denver, and Seattle.
Among other awards, he won first place at
Operalia in 2012 and was a 2009 Grand
Finals Winner of the Metropolitan Opera
National Council Auditions. Mr. Costanzo
played Francis in the Merchant Ivory film A
Soldier’s Daughter Never Cries. He graduated magna cum laude from Princeton
University and received his master’s degree
from the Manhattan School of Music.
Robertson. She joined Les Grands Ballets
Canadiens de Montréal in 2007. There,
she danced works by Ohad Naharin, Stijn
Celis, George Balanchine, and Fernand
Nault while touring throughout Canada and
Europe. She joined Armitage Gone! Dance
Company in June 2008, while also working
at Dance Theater of Harlem, with Francesca Harper, and Harlem Dance Works 2.0.
Ms. Roesner has also danced with Julia
Gleich and Norte Maar, and collaborated
with director Robert Woodruff and choreographer Brook Notary. She assists with
teaching and recruitment for Eliot Feld’s
Ballet Tech School.
Abbey Roesner (Shadow/Assistant Choreographer) began her dance training at the
Baltimore School for the Arts. After attending the school’s TWIGS (To Work in Gaining
Skills) program, she enrolled there as a
full-time high school student. After graduating second in her class, she continued her
studies at The Juilliard School, where she
received her bachelor of fine arts degree
in 2006. Ms. Roesner started her professional career in New York City, dancing for
companies and choreographers including
The Metropolitan Opera Ballet, Chamber
Dance Project, Wally Cardona, and Davis
William da Silva (Performer/Puppeteer)
is an actor, circus artist, and playwright.
While in his native Brazil he was an active member of the street theater group
Mambembe Música e Teatro Itinerante for
four years and wrote several plays that
have been produced in theater festivals
throughout that country. He was accepted on full scholarship to the Dell’Arte
International School of Physical Theatre
in California, from which he obtained his
The Artists
master’s degree in 2011; while there, he
played leading roles in Iphigenia Must Die
(an adaptation of Euripides’s Iphigenia in
Aulis), an adaptation of The Musicians of
Bremen, and Land of Dreams, which he
co-wrote. Mr. da Silva studied Balinese
dance and shadow puppetry in Bali, and
he spent the 2011–12 season in New
York performing and teaching juggling,
acrobatics, and character clown work at
the Circus Warehouse. Mr. da Silva has
been engaged by Ferrari World in Abu
Dhabi to help create and star in Red, a
circus-theater production for the world’s
largest indoor theme park; he was recently
appointed to be a manager of the show.
He has performed in the Pam Tanowitz
Dance production of Wanderer Fantasy at
Dancespace Project in New York and was
a soloist in Washington National Opera’s
productions of Puccini’s Turandot and Madama Butterfly. Other opera performances
include Handel’s Giulio Cesare at Lyric
Opera of Chicago (principal dancer; choreography by Andrew George); Rameau’s
Platée (choreography by Laura Scozzi);
and Strauss’s Daphne (choreography by
Sean Curran) at Santa Fe Opera. He originated roles in Kiyoko Kashiwagi’s X Kills Y
And Vice Versa and Romeo and Juliet for
Anime Dance Theatre.
Monica Lerch (Atmosphericist) is a
performer, dancer, puppeteer, and puppet
maker based in Brooklyn. Her New York
City engagements include Labapalooza!
Festival of New Puppet Theater (directed by
Randy Ginsburg) at St. Ann’s Warehouse
and Double Aspect Bright and Fair (directed
by Dan Hurlin), a part of Soulographie, a
cycle of theater works performed in 2012
at La MaMa E.T.C. She is a 2012 graduate of Sarah Lawrence College, where
Vincent McCloskey (Performer/Puppeteer) has performed in a multitude of
dance styles for more than 15 years. Most
recently he toured internationally with the
revival of Philip Glass’s Einstein on the
Beach, dancing the choreography of Lucinda Childs. He has worked with choreographers Pam Tanowitz, Kiyoko Kashiwagi,
Mark Morris, and Dusan Tynek, filmmaker
Paul Kloss, and puppeteer Matt Acheson.
she studied physical theater, dance, and
puppetry. While there she worked with
artists including Dan Hurlin, David Neumann, Edwin Sherin, Matt Acheson, Lake
Simons, and Patti Bradshaw. She spent a
year studying physical theater, commedia
dell’arte, mask making, and clowning at the
Accademia Dell’Arte in Arezzo, Italy. Ms. Lerch grew up in Chicago, where she worked
as a performer and circus arts teacher with
CircEsteem, a youth-oriented nonprofit.
Music Consultant James Ross is director
of orchestras at the University of MarylandCollege Park, orchestra director of the
National Youth Orchestra of the United
States of America at Carnegie Hall, and was
a co-creator of this production of Petrushka.
He has taught at Yale University, Haverford
and Bryn Mawr Colleges, and the Curtis
Institute of Music, and recently served
as associate director of the conducting
program at The Juilliard School. He began
his conducting studies with Kurt Masur in
Leipzig while serving as solo horn of the
Leipzig Gewandhaus Orchestra from 1981
to 1984. He was music director of the Yale
Symphony Orchestra from 1990–94 and
has worked as assistant conductor of the
Boston Symphony Orchestra and Les Arts
Florissants. Mr. Ross played an integral role
in the development of young musicians
in Spain, Japan, and in the U.S. as artistic
director of the National Orchestral Institute
at the University of Maryland from 2001 to
2012. He collaborates frequently with designer/director Doug Fitch, choreographer
Liz Lerman, and video artist Tim McLoraine.
Zachary Catazaro (Cover Dancer) is a
member of New York City Ballet’s corps
de ballet. He was born in Canton, Ohio,
and began his dance training at the School
of Canton Ballet, where he trained with
Laura Alonso. In 2002 and 2003 he won
first place in the Youth America Grand Prix
competition. Mr. Catazaro began studying at
the School of American Ballet, the official
school of New York City Ballet, during the
summer of 2003 and enrolled as a full
time student in 2006. In October 2007 he
became an apprentice with the company,
and joined the corps de ballet in October
2008. In 2010 he traveled to Havana, Cuba,
and trained at Centro Pro Danza, under the
direction of Laura and Fernando Alonso.
Since joining New York City Ballet, he has
performed featured roles such as Romeo
in Peter Martins’s Romeo + Juliet, and the
Cavalier in George Balanchine’s The Nutcracker, among many others.
New York Philharmonic
Founded in 1842 by a group of local
musicians led by American-born Ureli
Corelli Hill, the New York Philharmonic
is by far the oldest symphony orchestra in
the United States, and one of the oldest
in the world. It currently plays some 180
concerts a year, and on May 5, 2010, gave
its 15,000th concert — a milestone unmatched by any other symphony orchestra.
Alan Gilbert began his tenure as
Music Director in September 2009, the
latest in a distinguished line of musical
giants that has included Lorin Maazel
(2002–09); Kurt Masur (Music Director
1991–2002; Music Director Emeritus
since 2002); Zubin Mehta (1978–91);
Pierre Boulez (1971–77); and Leonard
Bernstein (appointed Music Director in
1958; given the lifetime title of Laureate
Conductor in 1969).
Since its inception the Orchestra has
championed the new music of its time,
commissioning or premiering many
important works, such as Dvořák’s
Symphony No. 9, From the New World;
Rachmaninoff’s Piano Concerto No. 3;
Gershwin’s Concerto in F; and Copland’s
Connotations, in addition to the U.S.
premieres of works such as Beethoven’s
Symphonies Nos. 8 and 9 and Brahms’s
Symphony No. 4. This pioneering tradition
has continued to the present day, with
works of major contemporary composers
regularly scheduled each season, including
John Adams’s Pulitzer Prize– and Grammy
Award–winning On the Transmigration of
Souls; Melinda Wagner’s Trombone Concerto; Wynton Marsalis’s Swing Symphony
(Symphony No. 3); Christopher Rouse’s
Odna Zhizn; John Corigliano’s One Sweet
Morning, for mezzo-soprano and orchestra; Magnus Lindberg’s Piano Concerto
No. 2; and, by the end of the 2012–13
season, 22 works in CONTACT!, the newmusic series.
The roster of composers and conductors
who have led the Philharmonic includes
such historic figures as Theodore Thomas,
Antonín Dvořák, Gustav Mahler (Music
Director, 1909–11), Otto Klemperer, Richard Strauss, Willem Mengelberg (Music
Director, 1922–30), Wilhelm Furtwängler,
Arturo Toscanini (Music Director, 1928–
36), Igor Stravinsky, Aaron Copland, Bruno
Walter (Music Advisor, 1947–49), Dimitri
Mitropoulos (Music Director, 1949–58),
Klaus Tennstedt, George Szell (Music
Advisor, 1969–70), and Erich Leinsdorf.
Long a leader in American musical life,
the Philharmonic has become renowned
around the globe, having appeared in 432
cities in 63 countries on five continents.
In October 2009 the Orchestra, led by
Music Director Alan Gilbert, made its
Vietnam debut at the Hanoi Opera House.
In February 2008 the musicians, led by
then-Music Director Lorin Maazel, gave a
historic performance in Pyongyang, DPRK,
earning the 2008 Common Ground Award
for Cultural Diplomacy. In 2012 the Orchestra became an International Associate
of London’s Barbican. Highlights of the
EUROPE / SPRING 2013 tour included
a performance of Magnus Lindberg’s Kraft
at Volkswagen’s Die Gläserne Manufaktur
(The Transparent Factory) in Dresden and
the Philharmonic’s first appearance in
Turkey in 18 years.
The New York Philharmonic, a longtime
media pioneer, began radio broadcasts
in 1922 and is currently represented by
The New York Philharmonic This Week —
syndicated nationally 52 weeks per year
and available at Its television
presence has continued with annual appearances on Live From Lincoln Center on
PBS, and in 2003 it made history as the
first orchestra ever to perform live on the
Grammy Awards. Since 1917 the Philharmonic has made almost 2,000 recordings,
and in 2004 it became the first major
American orchestra to offer downloadable
concerts, recorded live. The Philharmonic’s
self-produced recordings continue with
Alan Gilbert and the New York Philharmonic:
2013–14 Season.
The Orchestra has built on its long-running Young People’s Concerts to develop a
wide range of education programs, including the School Partnership Program, which
enriches music education in New York
City, and Learning Overtures, which fosters
international exchange among educators
and has already reached as far as Japan,
South Korea, Venezuela, and Finland.
Credit Suisse is the Global Sponsor of
the New York Philharmonic.
New York Philharmonic
Executive Producer: Vince Ford
Producers: Lawrence Rock, Mark Travis, and Nick Bremer Korb
Recording and Mastering Engineer: Lawrence Rock
Performance photos: Chris Lee
Stravinsky’s Le Baiser de la fée (The Fairy’s Kiss) is presented by
arrangement with Boosey & Hawkes, Inc. publisher and copyright owner.
Major funding for this recording is provided to the New York Philharmonic by
Rita E. and Gustave M. Hauser.
These concerts are sponsored by Yoko Nagae Ceschina. Generous support from The Andrew W.
Mellon Foundation, The Susan and Elihu Rose Foundation, Donna and Marvin Schwartz, the
Mary and James G. Wallach Family Foundation, and an anonymous donor.
Filming and Digital Media distribution of this production are made possible by the generosity of
the Mary and James G. Wallach Family Foundation and The Rita E. and Gustave M. Hauser
Recording Fund.
Classical 105.9 FM WQXR is the Radio Station of the New York Philharmonic.
Instruments made possible, in part, by The Richard S. and Karen LeFrak Endowment Fund.
Steinway is the Official Piano of the New York Philharmonic and Avery Fisher Hall.
Programs are supported, in part, by public funds from the New York City Department of Cultural
Affairs, New York State Council on the Arts, and the National Endowment for the Arts.
Exclusive Timepiece of the New York Philharmonic
Performed, produced, and distributed
by the New York Philharmonic
© 2013 New York Philharmonic
NYP 20130110