HIGGLETY PIGGLETYPOP! MUSIC BY OLIVER KNUSSEN STORY BY MAURICE SENDAK

THE MAGIC FLUTE REDUX BY WOLFGANG AMADEUS MOZART

Bard College Conservatory 0f Music Graduate Vocal Arts Program

An Opera Double Bill

We are thrilled to present the New York premiere of Higglety Pigglety Pop!, the second of two extraordinary fantasy operas by acclaimed British composer and conductor Oliver Knussen, written in collaboration with the beloved American author Maurice Sendak and based on his children’s book of the same title. We have paired this colorfully orchestrated tale with an abridged version of The Magic Flute (Die Zauberflöte), which is, perhaps, the Western opera world’s most successful piece of music theater fantasy, written by Wolfgang Amadeus Mozart with libretto by Emanuel Schikaneder. Though these two pieces were born out of two extremely different musical styles (not to mention having been written about 200 years apart), they do actually have something in common: they both reflect upon an essential need among all humanity—a yearning for meaning and understanding of things outside our own experience.

—Dawn Upshaw, Director Graduate Vocal Arts Program, Bard College Conservatory of Music

Bard College Conservatory of Music Graduate Vocal Arts ProgramDawn Upshaw, Artistic DirectorKayo Iwama, Associate Directorpresents

An Opera Double Bill

HIGGLETYPIGGLETYPOP!Oliver KnussenLibretto by Maurice Sendak, based on his book of the same name

Intermission

THE MAGIC FLUTEREDUX(Die Zauberflöte) Wolfgang Amadeus MozartLibretto by Emanuel Schikaneder

Ticket sales benefit the Scholarship Fund of the Graduate Vocal Arts Program

Friday, March 4, 2016 at 7 pmSunday, March 6, 2016 at 2 pm

Sosnoff TheaterRichard B. Fisher Center for the Performing Arts at Bard College

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Bard College Conservatory of MusicSingers of the Graduate Vocal Arts ProgramBard College Conservatory OrchestraConductor James Bagwell Stage Director and Production Designer Nicholas Muni Producer Tricia ReedStage Manager Marci SkolnickAssistant Director Michael HofmannOrchestra Manager Marielle MetivierAssistant Orchestra Manager Hsiao-Fang LinLibrarian Sebastian DanilaMusical Coaches Kayo Iwama, Erika Switzer, Dawn UpshawChoreography and Movement Amii LeGendreHair and Makeup Tyler HollandCostumes Liene DobrajaProperties Master Aubrey EllisAssistant Conductors Jackson McKinnon, Lucas PaivaRehearsal Pianists Yumi Nomoto, Bethany Pietroniro, Rami Sarieddine, Jingwen Tu, Wei ZhouSupertitle Operators Yumi Nomoto, Bethany Pietroniro (Supertitles supplied by LEXICA Productions)Production Assistant Jesse Goldberg

Richard B. Fisher Center for the Performing Arts Production StaffProduction Manager Vincent RocaProduction Coordinator, Concerts and Lectures Stephen DeanTechnical Director Rick ReiserLighting Supervisor Josh ForemanCostume Shop Supervisor Moe SchellAudio/Video Supervisor Seth ChrismanAssistant to the Production Manager Hellena Schiavo

Director’s NoteWhat could the journeys of a Sealyham terrier and a Mozartean prince possibly have in com-mon? And since the music of the two operas is separated by 200 years, how could they possibly coalesce? I suppose we will find out in this performance! Those are just some of the questions raised by combining these two wonderful operas into one conceptual whole. As our team pondered links, the central one became clear: both are quests, journeys to the brink of death through self-sacrifice. Both also focus on unconditional love; first, in the form of motherly, pro-tective instinct (a dog protecting a baby); and second, in the form of love between soul mates. It seemed to us that this double bill added up to an evening about the evolutionary aspect of unconditional love—from mother love to partner love to love of humanity in all its forms. Since these operas involve “animals” in a central way, they also touch upon an ultimate kind of love—of all sentient beings and of the universe.

These pieces resonate with the contemporary struggle of embracing the “other” in various forms, including race, gender, sexual preference, religious beliefs, cultural differences, and physical appear-ance or challenges. There is a sense of humanity opening up to the notion that all such differences are minuscule in the face of mankind as a whole. Our collective sensitivity is even expanding to the animal and plant kingdoms, and the planet we inhabit. Though we have not attained the ideal, there is a sense of optimism as acceptance of the “other” continues to make inroads against the ignorance, prejudice, hatred, and violence that can separate us from one another. Collectively, we are slowly moving from the darkness into the light.

Beyond the quest/journey and the willingness to sacrifice one’s life, we are intrigued by other connections between the operas: first, both are fairy tales, involving animal-based characters as well as fantastical creatures; both feature music and theater as transformative devices; both look to ancient trees (the ash and the oak) as the embodiment of wisdom; both contrast the base instinct of hunger with higher-minded yearnings; and both feature characters who are neither as good nor as bad as they first appear.

The challenge lay in crafting a version of The Magic Flute that could function as half an evening! To alter such a complex and mystifying masterpiece was humbling, and may result in some jarring moments to those who love the original. So I invite you to embrace the redux on its own terms. Hopefully, assisting that effort is our decision to combine the two pieces into one, with The Magic Flute functioning as a second presentation in the World Mother Goose Theatre, following the musical play Higglety Pigglety Pop!, in which Jennie performs as leading lady. This choice continues Jennie’s journey as witness to, and occasional participant in, Mozart’s opera.

I am thrilled by the opportunity to join my colleagues in creating a new piece and further-ing the commitment to innovative work and artistic exploration that the Graduate Vocal Arts Program views as essential to training our future artists.

—Nicholas Muni

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New York PremiereHigglety Pigglety Pop!Music by Oliver Knussen (b. 1952)Libretto by Maurice Sendak (1928–2012)

James Bagwell, conductorNicholas Muni, stage director and production designer

Jennie, a Sealyham Terrier Kelly Newbury (3/4), Sophia Burgos (3/6)Potted Plant/Baby/Mother Goose Danika FeltyRhoda, a parlor maid Adanya DunnVoice of Baby’s Mother Lizabeth MalangaHigh Voice of Ash Tree Corey Dalton HartCat/Milkman Corey Dalton HartPig-in-Sandwich-Boards Kimberly FeltkampLion/Low Voice of Ash Tree Andrew Munn

OrchestraViolin I Yezu Woo, concertmaster, Sergio Carleo, Bihan Li, Xinyue Wang, Xinyi Wang, Alex Van der Veen Violin II Matthew Woodard, principal, Shuang Yang, Avery Morris, Benjamin Brashear, Gitta Markó, Valory Hight Viola Rosemary Nelis, principal, Andrew Carlson, Weilan Li, Alexandra Morris Cello Sarah Ghandour, principal, Emily Munstedt, Rastislav Huba, Daniel ZlatkinBass Andrew O’Connor, principal, David Mercier, Zhenyuan Yao, Julian Lampert + *Flute Bridget Bertoldi, principal, Emma Neiman, Alice Jones**Oboe Gregory Drilling, principal, Amy CassiereClarinet Caitlin Beare, principal, Jingyu Mao, Viktor TóthBassoon Adam Romey, principal, Cathryn Gaylord + *Horn Marc Gelfo, principal, László Csabay, Philip Brindise*, Jordan Miller*Trombone Chia-Hsien Lin, principal, Yu-Tien ChouTuba Jacob MooreTimpani Jonathan CollazoPercussion Samuel Gohl, Christopher Gunnell, Benjamin MalinskiHarp Xing GaoCeleste Alexander Hamme Piano Wei Zhou

+ Alumnus/a * Assisting Artist from The Orchestra Now** Assisting Artist

SynopsisJennie, a Sealyham terrier, has everything she needs. Yet she yearns for something more, and decides to leave home to find what is missing, packing all her possessions into a black and gold bag.

On her journey, she first encounters a Pig-in-Sandwich-Boards, who tells her that the World Mother Goose Theatre needs a leading lady, and suggests that if Jennie gains experience, she may get offered the role. Jennie, both hungry and excited, sets off in pursuit. She meets a Cat driving a milk truck. Cat knows of a Baby who needs a nurse, and drives Jennie to the Big White House, where the infant lives. Rhoda, the parlor maid, says Jennie has only one chance to make the infant eat—and if she fails, the Lion who lives in the cellar will devour her, as he has Baby’s six previous nurses. Jennie accepts the challenge, but fails to get Baby to take even a single bite of her delicious breakfast. In a panic, Jennie asks Baby’s Mother for advice. The Mother tells Jennie to have the Lion deliver Baby to Castle Yonder, where Mother lives. Jennie, afraid that the Lion might eat Baby, is calmed by Mother’s assurance that Jennie has only to say Baby’s name, and the Lion will deliver the infant safely. Jennie ventures into the cellar and is terrified by the hungry Lion, who, tired of eating nurses, tries to eat Baby instead. Jennie, not knowing Baby’s name, offers herself in sacrifice. As the Lion is about to swallow Jennie whole, she mentions her desire to be the leading lady at the World Mother Goose Theatre, at which point the Lion backs down and rushes away with Baby.

Jennie sinks down in despair at the foot of an ancient Ash Tree. She hears the Ash Tree lament-ing the coming of winter, and falls into a deep sleep. Jennie dreams she hears the familiar voices of Cat, Pig, and Rhoda congratulating her on becoming the leading lady in the World Mother Goose Theatre, which shocks her, considering her lack of experience. But Mother Goose herself appears and explains that overcoming Jennie’s fear of death in order to save Baby was experience enough: she now gets to star in the musical play Higglety Pigglety Pop! Jennie is thrilled, and, along with Cat, Pig, and Rhoda—who turn out to have been actors at the theater the entire time—prepares for the performance.

Oliver Knussen Higglety Pigglety Pop! or There Must Be More to LifeFantasy opera in one act (nine scenes)Text by Maurice SendakUsed by arrangement with European American Music Distributors Company, the U.S. and Canadian agent for Faber Music Ltd., London, publisher and copyright owner.

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The Magic Flute* Redux(Die Zauberflöte Redux)

Music by Wolfgang Amadeus Mozart (1756–1791)Libretto by Emanuel Schikaneder (1751–1812)*in an abridged-version adaptation by Nicholas Muni

James Bagwell, conductorNicholas Muni, stage director and production designer

Queen of the Night Zoe JohnsonPamina, her daughter Caroline Dunigan (3/4), Anna-Sophie Neher (3/6)1st Lady, servants of the Queen Lizabeth Malanga2nd Lady Katherine Rossiter3rd Lady Mary-Elizabeth O’NeillTamino, a Prince Christopher Remkus (3/4), Olivier Gagnon (3/6)Sarastro, Head of the Temple of Wisdom Andrew MunnSpeaker of the Temple Peter Rolfe DauzPapageno, a bird catcher Nathaniel SullivanPapagena, his mate Adanya DunnMonostatos Matthew Slipp1st Boy Katherine Rossiter2nd Boy Danika Felty3rd Boy Mary-Elizabeth O’Neill

OrchestraViolin I Lun Li, concertmaster, Jiayu Sun, Fang Xi Liu, Sebastian Carrasco, Zhi Ma, Hanni Xie, Gergo TóthViolin II Veronika Mojzesová, principal, Tianpei Ai, Eliot Roske, Zhen Liu, Reina Murooka, Xinran Li, Qun Dai Viola Joseph Burke, principal, Wenlong Huang, Yushi Pan, Zi Ye, Hsin-Fang Wu Cello John Belk, principal, Yi Cheng, Kaila Piscitelli, Stanley Moore, Rylan Gajek-LeonardBass Julian Lampert, principal + *, Margaret Pitman, Andrew O’ConnorFlute Eszter Ficsor, principal, Kelly Herrmann, Emma NeimanOboe Alessandro Cirafici, principal, Aleh Remezau*Clarinet Noemi Sallai, principal, Kristyna Petisková Bassoon Dávid A. Nagy, principal + *, Wade Coufal*Horn Stephanie Hollander, principal, Shannon Hagan*Trumpet Mátyás Dániel Fieszl, principal, Maxfield Hurvitt, Shanhui SunTrombone Conghao Tian, principal, Michael Ventoso

Bass Trombone Marco JaimesTimpani Petra ElekCeleste Anna Obbágy

+ Alumnus/a * Assisting Artist from The Orchestra Now** Assisting Artist

SynopsisTamino, a young prince lost in a strange land, is being assaulted by a serpent. Saved by servants of the Queen of the Night, he is sent on a quest to rescue the Queen’s daughter, Pamina (whose image he has fallen in love with), from her abductor, the tyrant Sarastro. Papageno, an eccentric bird catcher who works for the Queen, is commanded to accompany Tamino on his mission. To assist the travelers, the Queen offers Tamino a flute and Papageno silver bells, both of which have magical powers.

Pamina is guarded by Sarastro’s slave, Monostatos, who is also in love with her, and tries to force himself on her. Papageno happens upon the princess and frightens Monostatos away. Pamina and Papageno sing about love: Pamina for the young prince she has yet to meet, and Papageno for the girl of his dreams, Papagena, whom he fears he will never meet.

Three young boys advise Tamino to be patient and steadfast in his quest. They guide him to Sarastro’s temple, where Tamino confronts the Speaker of the Temple. Tamino berates the villain Sarastro for callously separating an innocent girl from her mother. The Speaker tells Tamino that Sarastro is benevolent, not evil, and that he should not trust the Queen of the Night. Confused, Tamino wonders if Pamina is still alive. Mysterious voices answer in the affir-mative and in his joy, Tamino plays the magic flute and animals appear and dance enraptured to the music.

Sarastro punishes Monostatos for his lustful behavior toward Pamina, and explains why he abducted her: if she’d stayed with her mother, the Queen of the Night, her life would have been destroyed. He says he will neither harm her nor force her to love—but neither will he set her free.

Tamino is captured by Monostatos, who hopes that Sarastro will reward him by giving him Pamina’s hand in marriage. Instead, the prince and princess declare their eternal love for each other, and Sarastro orders Monostatos to be punished for his duplicity. Sarastro, seeing the young couple’s potential, decides to admit Tamino to the Temple to undergo the ritual of enlightenment, during which the initiate must face the terror of death.

The twists and turns in Tamino’s journey reveal the Queen’s true intention: to destroy the Temple and recover the all-powerful sun circle from Sarastro, which allows the Queen to rule

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both the Night and the Day, thus avoiding the excruciating, terrifying weakness she feels with each sunrise. When she discovers that Tamino has been swayed by Sarastro, and is taking part in the ritual of enlightenment, she gives her daughter a knife and threatens to disown her if she does not kill Sarastro. Sarastro intervenes and demonstrates the principal tenet of his soci-ety: forgiving one’s enemy is the only path to peace.

Tamino faces difficult trials, including giving up the woman he loves in order to achieve an enlightened state of being. Pamina, devastated, decides to end her life. The three boys assure her that Tamino not only loves her but needs her by his side as he faces possible death. As Tamino prepares to face the trials of fire and water, Pamina joins him, and suggests he play the magic flute, whose music will protect them from danger. Papageno is reminded that if he plays the magic bells, he too will find true love and happiness in Papagena.

The Queen joins forces with Monostatos to defeat Sarastro before sunrise, when she will be robbed of her nocturnal power. Just as they launch their attack, the light of transcendence floods the space and transforms everyone involved: they now see the world with different eyes. In triumph, Sarastro and his followers hail Tamino and Pamina.

ArtistsSophia Burgos (Jennie), soprano, is a second-year student in the Graduate Vocal Arts Program. She completed her undergraduate studies at the Eastman School of Music, and has partic-ipated in festivals such as the Tanglewood Music Center Festival and the Lucerne Festival Academy. An advocate of contemporary music, Burgos has collaborated with artists such as Osvaldo Golijov, Andre Previn, Simon Rattle, and Barbara Hannigan.

Peter Rolfe Dauz (Speaker of the Temple) received his bachelor of music in vocal performance at the San Francisco Conservatory of Music in 2011. Dauz recently made his Opera McGill debut in the title role of Le nozze di Figaro. He is a first-year student in the Graduate Vocal Arts Program, studying with Sanford Sylvan.

Caroline Dunigan (Pamina), soprano, is a first-year master’s degree student in the Graduate Vocal Arts Program, where she is a student of Lorraine Nubar. Most recently, Dunigan performed with the Chautauqua Institute Voice Program in La bohème. She received her bachelor of music degree from the Manhattan School of Music.

Soprano Adanya Dunn (Rhoda, Papagena) is a second-year student in the Graduate Vocal Arts Program and currently studies with Edith Bers and Patricia Misslin. She holds M.Mus. opera performance and B.Mus. voice performance degrees from the University of Toronto. She par-ticipated in The Song Continues: Marilyn Horne Master Class and received an Encouragement Award from the Metropolitan Opera National Council Auditions (2014).

Kimberly Feltkamp (Pig), mezzo-soprano, is a second-year student in the Graduate Vocal Arts Program. She most recently created the lead role of Elizabeth in Griffin Candey’s Sweets by Kate and performed Ottavia in a Baroque gesture production of Monteverdi’s Poppea. Last summer, she launched an opera company as an offshoot of her online community, OperaRox, with a production of Mozart’s Le nozze di Figaro.

Danika Felty’s (Potted Plant, Baby, 2nd Boy) recent performances include Jerry Bock’s She Loves Me, Benjamin Britten’s Albert Herring, and Puccini’s Gianni Schicchi and Suor Angelica. Felty has performed as a soloist with the Eastman Philharmonia in Kodak Hall and Carnegie Hall while earning her B.M. in vocal performance at the Eastman School of Music.

Olivier Gagnon (Tamino), an Irish and Québécois baritone, holds a B.Mus. (Honors) 1st and a Concert Recital Diploma from London’s Guildhall School of Music and Drama, where he studied under Professor Susan McCulloch. He was a 2014 Britten-Pears Young Artist. He is a first-year student in the Graduate Vocal Arts Program and studies with Sanford Sylvan.

Corey Dalton Hart (High Voice of the Ash Tree, Cat), tenor, is a native of Asheville, North Carolina, and has soloed with the American Symphony Orchestra, Bard Baroque Ensemble, and Furman

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University Orchestra in works by Handel, Haydn, and Mozart. Last summer, he attended SongFest 2015 at the Colburn School. Hart is a second-year student and studies with Lorraine Nubar.

Zoe Johnson (Queen of the Night) is a soprano from Los Angeles, California. After a summer at the Aspen Opera Theater Center, she is thrilled to be back at Bard for her second year. In 2015, she performed the role of Papagena with the Albany Symphony in an adaptation of The Magic Flute, and premiered a work by Andy Vores at the Morgan Library, New York City.

As an interpreter of classical vocal music, soprano Lizabeth Malanga (Baby’s Mother, 1st Lady) finds joy in discovering musical gems and bringing them to life, which she did at SongFest for the past two summers. Malanga enjoys the challenge of infusing music with her unique instrument and multifaceted artistry. She is a second-year student in the Graduate Vocal Arts Program.

Andrew Munn (Low Voice of the Ash Tree, Lion, Sarastro) most recently performed the role of Beethoven in Steven Stucky and Jeremy Denk’s The Classical Style at the 2015 Aspen Music Festival. In 2014, Munn was also the bass soloist in Mozart’s Requiem under Ádám Fischer, Raphael in Haydn’s Creation with Leon Botstein, Jesus in Bach’s St. John Passion, and Sarastro in The Magic Flute. He is a second-year student.

Soprano Anna-Sophie Neher (Pamina) holds a bachelor’s degree from the Conservatoire de musique de Montréal, where she studied with Donna Brown. Since the beginning of her vocal studies, she has won a number of awards and competitions and has been a soloist with L’Orchestre du Festival International de Lanaudière. She is a first-year student, now studying under the guidance of Sanford Sylvan.

Praised by Opera News as “a compelling narrator,” mezzo-soprano Kelly Newberry (Jennie) recently performed in recital at SongFest as a Fellow. Favorite roles include Cherubino (Le nozze di Figaro) and Amastre (Serse) at the San Francisco Conservatory. Now in her second year in the Graduate Vocal Arts Program, Newberry studies with Sanford Sylvan.

Hailing from Long Island, mezzo-soprano Mary-Elizabeth O’Neill (3rd Lady, 3rd Boy) is thrilled to have joined the Bard Graduate Vocal Arts Program, after completing her undergraduate degree at The Juilliard School. She is continuing her vocal studies with Lorraine Nubar and Sanford Sylvan, and enjoys the acting challenges that opera offers.

Christopher Remkus (Tamino), tenor, recently made his regional debut with the Gilbert & Sullivan Light Opera Company of Long Island as Richard in Ruddigore. A native of Miller Place, New York, Remkus holds a B.S. in music from Hofstra University, where he frequently appeared as a featured soloist and was a recipient of the Dorothy B. Hoag Honors Recital Award.

Katherine Rossiter (2nd Lady, 1st Boy) is a recent graduate of the University of Cincinnati, College-Conservatory of Music, where she studied with Gwen Detwiler. Favorite roles performed include Le

Feu/Le Rossignol in L’Enfant et les sortilèges and Morgana in Alcina, both at CCM, and Mabel in The Pirates of Penzance with the International Gilbert and Sullivan Festival.

Matthew Slipp (Monostatos), a New England native, found his love for vocal music at the age of 15 while attending the Boston University Tanglewood Institute, in Lenox, Massachusetts. In the decade since he has performed numerous opera and musical theater roles, as well as exciting recital programs throughout the United States.

Nathaniel Sullivan (Papageno), baritone, is a first-year student in the Graduate Vocal Arts Program. In 2014 he received his bachelor of music degree in vocal performance from the University of Nebraska-Lincoln, where he was recognized as a Chancellor’s Scholar. Sullivan grew up in Bettendorf, Iowa, and currently resides in Red Hook, New York.

James Bagwell maintains an active international schedule as a conductor of choral, operatic, and orchestral music. In 2015 he was named associate conductor of The Orchestra Now while continuing his role as principal guest conductor of the American Symphony Orchestra. From 2009–15 he was music director of The Collegiate Chorale; some of the highlights of his tenure include conducting a number of rarely performed operas-in-concert such as Bellini’s Beatrice di Tenda, Rossini’s Moise et Pharaon, and most recently, Boito’s Mefistofele. He conducted the New York premiere of Philip Glass’s Toltec Symphony and Osvaldo Golijov’s Oceana, both at Carnegie Hall. His performance of Kurt Weill’s Knickerbocker Holiday at Alice Tully Hall was recorded live for Gaslight Records and is the only complete recording of this musical. Since 2011 he has collaborated with singer and composer Natalie Merchant, conducting a number of major orchestras across the country, including the San Francisco and Seattle Symphonies. He is professor of music and director of performance studies at Bard College and Bard College Conservatory of Music.

Nicholas Muni, stage director and production designer, has recently been appointed artistic director at the A. J. Fletcher Opera Institute at the University of North Carolina School of the Arts. In addition, he teaches acting and stagecraft at the Academy of Vocal Arts in Philadelphia and Bard College Conservatory of Music Graduate Vocal Arts Program. He served as artistic director for the Tulsa Opera (1987–93) and Cincinnati Opera (1996–2005). His productions have been seen at San Francisco Opera, New York City Opera, Canadian Opera Company in Toronto, Houston Grand Opera, Seattle Opera, Los Angeles Opera, Glimmerglass Opera, and Opera Theatre of St. Louis. In Europe he has directed for the Prague National Opera, the Kurt Weill International Festival, Stadttheater Giessen, Opera Ireland, Theater Erfurt, Tiroler landestheater in Innsbruck, and Stadttheater Bern. His revival of Jenu fa at the Canadian Opera Company in 2003 received Canada’s prestigious DORA award for best theater production of the year. His recent productions include the U.S. stage premiere of Das Liebesverbot at Glimmerglass Opera, La finta giardiniera and L’amico Fritz at San Francisco Opera Merola, Carmen at Boston Lyric Opera, Cardillac at Opera Boston, U.S. stage premiere of El amor brujo/La vida breve at

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Manhattan School of Music, Don Giovanni at Opera Philadelphia and San Diego Opera, Elektra at Michigan Opera Theater, Dido and Aeneas/Orpheus Brittanicus and Die Fledermaus at Shenandoah Conservatory of Music, Powder Her Face at Odyssey Opera in Boston, and Don Pasquale at San Francisco Opera Merola Program. Among his upcoming projects are Norma at Florida Grand Opera, La tragédie de Carmen at the Fletcher Opera Institute, and The Seven Deadly Sins at the Tanglewood Festival.

Soprano Dawn Upshaw has achieved worldwide celebrity as a singer of opera and concert rep-ertoire ranging from the sacred works of Bach to the freshest sounds of today. She is artis-tic director of the Graduate Vocal Arts Program at Bard College Conservatory of Music, and was recently appointed as head of the Vocal Arts Program at the Tanglewood Music Center. Upshaw’s acclaimed performances on the opera stage comprise the great Mozart roles (Pamina, Ilia, Susanna, Despina) as well as modern works by Stravinsky, Poulenc, and Messiaen. She has performed in venues from Salzburg, Paris, and Glyndebourne to the Metropolitan Opera, where she began her career in 1984 and has since made nearly 300 appearances. Upshaw has also championed numerous new works created for her including The Great Gatsby by John Harbison; the Grawemeyer Award–winning opera L’ Amour de loin and the oratorio La passion de Simone by Kaija Saariaho; John Adams’s nativity oratorio El Niño; and Osvaldo Golijov’s chamber opera Ainadamar and song cycle Ayre. A five-time Grammy Award winner, Upshaw recently received the 2014 Best Classical Vocal Solo Grammy for Maria Schneider’s Winter Morning Walks. She is featured on more than 50 recordings, including the million-selling Symphony No. 3 by Henryk Gorecki for Nonesuch Records. In 2007, she was named a Fellow of the MacArthur Foundation, and in 2008, a Fellow of the American Academy of Arts and Sciences.

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The Conservatory gratefully acknowledges the generous support of these recent donors:

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The Bard College Conservatory of Music Robert Martin, Director Frank Corliss, Associate DirectorEileen Brickner, Dean of StudentsSebastian Danila, Orchestra Librarian Nick Edwards, Admissions CounselorAnn Gabler, Concert Office CoordinatorLauren Gerken, Business ManagerLisa Hedges, Production CoordinatorHsiao-Fang Lin, Administrative

Coordinator; Assistant Orchestra Manager

Katherine Maysek, Admissions CounselorMarielle Metivier, Orchestra ManagerTricia Reed, Communications and Special

Projects CoordinatorKristin Roca, Graduate Program

Coordinator

Bard College Conservatory Advisory BoardGonzalo de Las Heras, ChairTheodore HeppAlan D. Hilliker Susan B. HirschhornBelinda KayeStephen Kaye Y. S. LiuDon M. RandelMaximiliaan Rutten Gabriella SperryEric Wong

Undergraduate Program FacultyViolin Shmuel Ashkenasi, Eugene Drucker,

Yi-Wen Jiang, Ani Kavafian (master classes), Ida Kavafian, Honggang Li, Weigang Li, Daniel Phillips, Todd Phillips, Laurie Smukler, Arnold Steinhardt

Viola Marka Gustavsson, Honggang Li, Steven Tenenbom, Michael Tree, Ira Weller

Cello Sophie Shao, Peter Wiley Double Bass Leigh MeshHarp Sara Cutler, Bridget KibbeyPiano Melvin Chen (master classes),

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Flute Nadine Asin (master classes), Tara Helen O’Connor

Oboe Elaine Douvas, Alexandra KnollClarinet Laura Flax, David Krakauer,

Anthony McGillBassoon Marc Goldberg, Patricia RogersHorn Barbara Jöstlein Currie, Julie

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Denson Paul Pollard, Weston SprottTuba Derek FenstermacherPercussion Eric Cha-Beach, Josh Quillen,

Adam Sliwinski, Jason Treuting (Sō Percussion); Daniel Druckman, Jonathan Haas, Tzong-Ching Ju, Garry Kvistad, Jan Williams, Greg Zuber

Orchestral Studies Leon Botstein, Erica Kiesewetter

Chamber Music Marka Gustavsson, coordinator; Edward Carroll, Stephen Hammer, Robert Martin, Blair McMillen, Raman Ramakrishnan

Composition Da Capo Chamber Players (in residence), Joan Tower, George Tsontakis

Performance Practice Advisers Raymond Erickson, Stephen Hammer

Performance Studies Luis Garcia-RenartMusic Theory and History Leon Botstein,

Christopher H. Gibbs, John Halle, Peter Laki, Ben Laude

Alexander Technique Alexander Farkas

Graduate Vocal Arts Program(M.M. Degree)Dawn Upshaw, Artistic Director,

Vocal CoachKayo Iwama, Associate Director,

Vocal CoachErika Switzer, Coordinator of

Extracurricular ConcertsVoice Edith Bers, Patricia Misslin, Lorraine

Nubar, Sanford SylvanAlexander Technique Gwen Ellison Opera Workshop Nic MuniActing Workshop Lynn HawleyDiction Erika SwitzerMovement Amii LeGendreProfessional Development Workshop Lucy

Dhegrae, Carol Yaple

Orchestral and Choral Conducting (M.M. Degree)James Bagwell, CodirectorLeon Botstein, CodirectorHarold Farberman, CodirectorOrchestral Conducting Leon Botstein,

Harold FarbermanChoral Conducting James BagwellComposition Joan TowerMusic History and Theory James Bagwell,

Kyle Gann, Christopher H. Gibbs, Peter Laki

Languages Bard College FacultySecondary Instrument Bard College

Faculty

Postgraduate Collaborative Piano FellowshipsFrank Corliss, Director

The Conductors InstituteHarold Farberman, Founder and Director

Preparatory DivisionRyan Kamm and Susanne Son, CodirectorsVoice Lucy Dhegrae, Amy Palomo,

Amy TravisViolin Helena Baillie, Jaram KimCello Sean KatsuyamaDouble Bass Ryan KammPercussion David DeggePiano Renana Gutman, Luba Poliak,

Hiroko Sasaki, Susanne Son, Anna Stoytcheva, Cynthia Tobey

Clarinet/Saxophone Megan Shumate Guitar David TempleMusicianship Shawn Jaeger, David

Temple, Amy Travis

Composition Shawn JaegerEarly Childhood and Chorus Amy TravisChinese Language Class Shar Shuai

Participating Bard Music Program FacultyJames Bagwell, Program DirectorJazz Studies Thurman Barker, John

Esposito, Erica LindsayTheory and Composition Kyle GannChamber Music Luis Garcia-Renart, Marka

Gustavsson, Blair McMillenMusicology Alexander Bonus, Christopher

H. Gibbs, Peter LakiVoice Rufus MüllerComposition Richard Teitelbaum

StudentsCompositionDaniel Castellanos, New Jersey (Classics)Corey Chang, Connecticut* Joan Tower Composition ScholarshipTamzin Ferré Elliott, California (Written Arts) New Albion ScholarshipJackson Spargur, California*Obadiah Wright, California (Religion)Daniel Zlatkin, Connecticut (Political

Studies)PianoAnna-Sofia Botti, Vermont*Ana Felicia Doni, Oregon (Human Rights) Bettina Baruch Foundation ScholarshipJesse Goldberg, New York**Alexander Hamme, New Jersey*Domantas Karalius, Lithuania* Martin & Toni Sosnoff ScholarshipYa Ping (Chloe) Lo, Taiwan**Eri Nakamura, Japan**Anna Obbágy, Hungary (Psychology) Bitó Scholarship Tomoki Park, Korea/Japan**Fyodor Shiryaev, New York*Adam Zsolt Szokolay, Hungary* Belinda and Stephen Kaye ScholarshipMengying Wei, China (German Studies)ChaoJun Yang, China*ViolinTianpei Ai, China*Benjamin Brashear, Minnesota*Sergio Carleo, Venezuela*Sebastian Carrasco, California*Qun Dai, China (Asian Studies)Valory Hight, Virginia*Bihan (Leeya) Li, China* Luis Garcia-Renart ScholarshipLun Li, China* Luis Garcia-Renart ScholarshipXinran Li, China*Fang Xi Liu, China (Asian Studies)Zhen Liu, China*Zhi Ma, China (German Studies) Gitta Markó, Hungary*Veronika Mojzesová, Czech Republic

(Psychology)Avery Morris, California (Mathematics)Reina Murooka, Japan (German Studies)Eliot Roske, Texas*Jiayu Sun, China (Asian Studies)Gergo Tóth, Hungary (Asian Studies)Alex van der Veen, California*Xinyi Wang, China*Xinyue Wang, China*

Yezu Woo, Korea**Matthew Woodard, Massachusetts

(French Studies)Hanni Xie, China*Shuang Yang, China (German Studies)ViolaJoseph Burke, New Jersey*Andrew Carlson, South Dakota*Wenlong Huang, China (Languages and

Literature)Weilan Li, China*Alexandra Morris, California (Computer

Science)Rosemary Nelis, New York (Asian Studies) G. de Las Heras ScholarshipYushi Pan, China*Hsin-Fang Wu, Taiwan*Zi Ye, China (French Studies) Luis Garcia-Renart ScholarshipCelloJohn Belk, Minnesota (Computer Science)

George Martin/Hans Thatcher Clarke Scholarship

Yi Cheng, China (Asian Studies)Colyer Durovich, North Carolina

(Environmental and Urban Studies)Rylan Gajek-Leonard, Canada

(Mathematics) D. Miles Price ScholarshipSarah Ghandour, California

(Mathematics)Rastislav Huba, Slovakia (Russian Studies) Mischa Schneider ScholarshipStanley Moore, Illinois Emily Munstedt, Massachusetts*Maclean Pachkowski, Canada*Kaila Piscitelli, Connecticut*BassDavid Mercier, Vermont*Andrew O’Connor, Kansas**Zhenyuan Yao, China (Asian Studies)HarpXing Gao, China*FluteBridget Bertoldi, Connecticut

(Psychology)Eszter Ficsor, Hungary**Kelly Herrmann, Vermont**Maies Hriesh, Israel*Emma Neiman, California* OboeAmy Cassiere, Louisiana*Alessandro Cirafici, New York (German

Studies)Gregory Drilling, Iowa (Political Studies)ClarinetCaitlin Beare, New York**Jingyu Mao, China*Kristyna Petisková, Czech Republic*Noemi Sallai, Hungary (German Studies) Bitó Scholarship Viktor Tóth, Hungary (Italian Studies) Bitó Scholarship BassoonAdam Romey, Minnesota**HornLászló Csabay, Hungary*Marc Gelfo, Florida**Stephanie Hollander, New Jersey**Claire Worsey, California

TrumpetMátyás Dániel Fieszl, Hungary**Maxfield Hurvitt, Maine*Shanhui Sun, China*TromboneYu-Tien Chou, Taiwan*Marco Jaimes, New Jersey*Chia-Hsien Lin, Taiwan**Conghao (Natty) Tian, China*Michael Ventoso, New Jersey*TubaJacob Moore, Texas**PercussionJonathan Collazo, Florida*David Degge, Illinois^^Petra Elek, Hungary (German Studies) Bitó Scholarship Samuel Gohl, New Hampshire*Dylan Greene, Washington**Christopher Gunnell, Kentucky

(Mathematics)Benjamin Malinski, Pennsylvania

(Computer Science)Dániel Matei, Hungary (Italian Studies) Bitó Scholarship Meilin Wei, China*Zihan Yi, China (Asian Studies) John Cage Trust ScholarshipGraduate Vocal Arts ProgramSophia Burgos, IllinoisRolfe Dauz, CaliforniaCaroline Dunigan, New YorkAdanya Dunn, CanadaKimberly Feltkamp, New YorkDanika Felty, CanadaOlivier Gagnon, Canada/IrelandCorey Dalton Hart, North CarolinaZoe Johnson, CaliforniaLizabeth Malanga, Massachusetts**Andrew Munn, West VirginiaAnna-Sophie Neher, CanadaKelly Newberry, CaliforniaMary-Elizabeth O’Neill, New YorkChristopher Remkus, New YorkKatherine Rossiter, PennsylvaniaMatthew Slipp, MaineNathaniel Sullivan, NebraskaGraduate Conducting ProgramAndrew Burger, New YorkMichael McCarty, New YorkAugustina-Paraskevi Kapoti, GreeceLucas Paiva, BrazilChristopher Puckett, OregonKevin Purcell, AustraliaAndres Rivas, VenezuelaWilliam Rowan, VermontHaley Rudolph, New YorkBen Ruesch, MassachusettsJamal Sarikoki, New YorkRowan Benedict Sheehan, PennsylvaniaPostgraduate Collaborative Piano FellowsYumi Namoto, JapanBethany Pietroniro, MarylandRami Sarieddine, CyprusJingwen Tu, FloridaWei Zhou, China

* Second major not yet declared** Advanced Performance Studies

Program^^ Percussion Fellow

Boards and Administration

Bard CollegeBoard of TrusteesDavid E. Schwab II ’52, Chair EmeritusCharles P. Stevenson Jr., ChairEmily H. Fisher, Vice ChairGeorge F. Hamel Jr., Vice ChairElizabeth Ely ’65, Secretary; Life TrusteeStanley A. Reichel ’65, Treasurer, Life

TrusteeFiona AngeliniRoland J. AugustineLeon Botstein+, President of the CollegeStuart Breslow+Mark E. BrossmanThomas M. Burger+James C. Chambers ’81Marcelle Clements ’69, Life TrusteeCraig Cogut The Rt. Rev. Andrew M. L. Dietsche,

Honorary TrusteeAsher B. Edelman ’61, Life TrusteePaul S. Efron Robert S. Epstein ’63Barbara S. Grossman ’73, Alumni/ae

TrusteeAndrew S. GundlachSally HambrechtMarieluise HesselMaja HoffmannMatina S. Horner+Charles S. Johnson III ’70 Mark N. Kaplan, Life TrusteeGeorge A. KellnerPaul S. LevyFredric S. Maxik ’86James H. Ottaway Jr., Life TrusteeMartin Peretz, Life TrusteeStewart Resnick, Life TrusteeRoger N. Scotland ’93, Alumni/ae TrusteeJonathan Slone ’84James A. von KlempererBrandon Weber ’97, Alumni/ae TrusteeSusan WeberPatricia Ross Weis ’52Senior AdministrationLeon Botstein, PresidentDimitri B. Papadimitriou, Executive

Vice President and President, Levy Economics Institute

Coleen Murphy Alexander ’00, Vice President for Administration

Mary Backlund, Vice President for Student Affairs and Director of Admission

Norton Batkin, Vice President and Dean of Graduate Studies

Jonathan Becker, Vice President for Academic Affairs and Director for Civic Engagement

James Brudvig, Vice President for Administration and Finance and Chief Financial Officer

Erin Cannan, Vice President for Student Affairs and Dean of Civic Engagement

Susan H. Gillespie, Vice President for Special Global Initiatives

Mark Halsey, Vice President for Institutional Research and Assessment

Max Kenner ’01, Vice President for Institutional Initiatives and Executive Director, Bard Prison Initiative

18

About The Richard B. Fisher Center for the Performing Arts at Bard CollegeThe Richard B. Fisher Center for the Performing Arts, an environment for world-class artistic presentation in the Hudson Valley, was designed by Frank Gehry and opened in 2003. Risk-taking performances and provocative programs take place in the 800-seat Sosnoff Theater, a proscenium-arch space, and in the 220-seat LUMA Theater, which features a flexible seat-ing configuration. The Center is home to Bard College’s Theater & Performance and Dance Programs, and host to two annual summer festivals: SummerScape, which offers opera, dance, theater, operetta, film, and cabaret; and the Bard Music Festival, which celebrated its 25th year in 2014. Last year’s festival, “Carlos Chávez and His World,” turned for the first time to the music of Latin America. The 2016 festival will be devoted to the life and work of Giacomo Puccini. The Center bears the name of the late Richard B. Fisher, former chair of Bard College’s Board of Trustees. This magnificent building is a tribute to his vision and leadership. The outstanding arts events that take place here would not be possible without the contributions made by the Friends of the Fisher Center. We are grateful for their support and welcome all donations.

About Bard CollegeFounded in 1860, Bard College in Annandale-on-Hudson, New York, is an independent, non-sectarian, residential, coeducational college offering a four-year B.A. program in the liberal arts and sciences and a five-year B.A./B.S. degree in economics and finance. The Bard College Conservatory of Music offers a five-year program in which students pursue a dual degree—a B.Music and a B.A. in a field other than music—and offers an M.Music in vocal arts and in conducting. Bard also bestows M.Music degrees in curatorial, critical, and performance stud-ies through The Orchestra Now, and at Longy School of Music of Bard College in Cambridge, Massachusetts. Bard and its affiliated institutions also grant the following degrees: A.A. at Bard High School Early College, a public school with campuses in New York City, Cleveland, Baltimore, and Newark, New Jersey; A.A. and B.A. at Bard College at Simon’s Rock: The Early College, in Great Barrington, Massachusetts, and through the Bard Prison Initiative at six cor-rectional institutions in New York State; M.A. in curatorial studies, M.S. in economic theory and policy, and M.S. in environmental policy and in climate science and policy at the Annandale campus; M.F.A. and M.A.T. at multiple campuses; M.B.A. in sustainability in New York City; and M.A., M.Phil., and Ph.D. in the decorative arts, design history, and material culture at the Bard Graduate Center in Manhattan. Internationally, Bard confers dual B.A. degrees at the Faculty of Liberal Arts and Sciences, St. Petersburg State University, Russia (Smolny College); American University of Central Asia in Kyrgyzstan; and Bard College Berlin: A Liberal Arts University; as well as dual B.A. and M.A.T. degrees at Al-Quds University in the West Bank.

©2016 Bard College. All rights reserved. Cover ©Pierre Rochon photography/Alamy stock photo

Robert Martin, Vice President for Policy and Planning; Director, Bard College Conservatory of Music

Debra Pemstein, Vice President for Development and Alumni/ae Affairs

S. Rebecca Thomas, Dean of the CollegeTaun Toay ’05, Vice President for Strategic

Initiatives and Chief of StaffStephen Tremaine ’07, Vice President for

Early College Policies and Programs; Executive Director, Bard Early College in New Orleans

The Richard B. Fisher Center for the Performing ArtsAdvisory BoardJeanne Donovan Fisher, ChairCarolyn Marks BlackwoodLeon Botstein+Stefano FerrariRobert Martin+Dimitri B. Papadimitriou+Denise S. SimonThurmond SmithgallMartin T. SosnoffToni SosnoffFelicitas S. ThorneAdministration and ProgrammingDebra Pemstein, Vice President for

Development and Alumni/ae AffairsBob Bursey, Senior ProducerGideon Lester, Director of Theater

ProgramsCaleb Hammons, Associate ProducerJeannie Schneider, Business ManagerKieley Michasiow-Levy, Development

ManagerZia Affronti Morter ’12, Executive AssistantProductionVincent Roca, Production ManagerStephen Dean, Production Coordinator,

Concerts and LecturesMatthew Waldron ’07, Production

Coordinator, Dance and TheaterRick Reiser, Technical DirectorJosh Foreman, Lighting SupervisorMoe Schell, Costume Shop SupervisorSeth Chrisman, Audio/Video SupervisorHellena Schiavo, Assistant to the

Production ManagerCommunicationsMark Primoff, Associate Vice President of

CommunicationsEleanor Davis, Media and Marketing

ManagerSara Wintz, Marketing AssistantPublicationsMary Smith, Director of PublicationsAudience ServicesDavid Steffen, Audience Services Manager

and Communications CoordinatorNicholas Reilingh, Box Office Manager

and Database AdministratorEmily Gildea ’11, Assistant Box Office

ManagerLizabeth Malanga, Box Office CoordinatorHellena Schiavo, House ManagerSophie Green ’17, Assistant House

Manager

Austin Lehn ‘17, Assistant House ManagerKai Mote ’16, Assistant House ManagerBethany Zulick ’16, Assistant House

ManagerFacilitiesMark Crittenden, Facilities ManagerRay Stegner, Building Operations ManagerDoug Pitcher, Building Operations

CoordinatorDaniel DeFrancis, Building Operations

AssistantRobyn Charter, Fire Panel MonitorBill Cavanaugh, Environmental Specialist Drita Gjokaj, Environmental Specialist Patricia O’Hanlon, Environmental

Specialist

The Bard Music FestivalBoard of DirectorsDenise S. Simon, ChairRoger AlcalyJoshua J. AronsonLeon Botstein+Michelle R. ClaymanDavid DubinRobert C. Edmonds ’68Jeanne Donovan FisherChristopher H. Gibbs+Carlos GonzalezPaula K. HawkinsThomas HesseSusan Petersen KennedyBarbara KennerGary LachmundThomas O. MaggsRobert Martin+Kenneth L. MironChristina A. MohrJames H. Ottaway Jr.Felicitas S. ThorneSiri von ReisArtistic DirectorsLeon BotsteinChristopher H. GibbsRobert MartinExecutive DirectorIrene ZedlacherAssociate DirectorRaissa St. Pierre ’87Scholar in Residence 2016Arman Schwartz Emanuele Senici Program Committee 2016Byron AdamsLeon BotsteinChristopher H. GibbsRobert MartinArman Schwartz Emanuele Senici Richard WilsonIrene ZedlacherDirector of ChorusesJames BagwellVocal CastingSusana MeyerProducer, Staged ConcertsNunally Kersh

The Orchestra NowLeon Botstein, Music DirectorJames Bagwell, Associate Conductor and

Academic DirectorZachary Schwartzman, Resident

ConductorErica Kiesewetter, Director of Chamber

and Audition PreparationLynne Meloccaro, Executive DirectorOliver Inteeworn, Managing DirectorBrian J. Heck, Director of MarketingSebastian Danila, Librarian and

ResearcherNicole M. de Jesús, Development ManagerMarielle Metivier, Orchestra ManagerCarley Gooley, Marketing AssistantBenjamin Oatmen, LibrarianKristin Roca, Administrative Assistant

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jazzIMPROV CUBED: FROM BACH TO THE GREAT AMERICAN SONGBOOKLUMA Theater March 19 at 8 pm

music THE ORCHESTRA NOWGeorge Frideric Handel’s MessiahConducted by Leon Botstein, music director Sosnoff TheaterApril 9 at 8 pm and April 10 at 3 pm

jazzSALUTE TO AFRICA!Sosnoff TheaterApril 16 at 8 pm

music THE ORCHESTRA NOWConducted by Leon Botstein, music directorSosnoff TheaterApril 23 at 8 pm and April 24 at 3 pm

dance Live Arts Bard Presents MAY DAY DANCES: FAYE DRISCOLL AND JOHN JASPERSESosnoff Stage Right and LUMA TheaterApril 29 – May 1

music CONSERVATORY SUNDAYSBard College Conservatory Orchestra and The Orchestra NowConducted by Leon Botstein, music directorSosnoff Theater May 8 at 3 pm