wednesday evening, august 5, 2015, at 6:30 m pre-concert...

Wednesday Evening, August 5, 2015, at 6:30

Pre-concert Recital

Anderson & Roe Piano DuoGreg Anderson, PianoElizabeth Joy Roe, Piano

BRAHMS Variations on a Theme by J. Haydn in B-flat major (1873) Chorale St. Antoni: AndanteVariation 1: Andante con motoVariation 2: VivaceVariation 3: Con motoVariation 4: AndanteVariation 5: Poco prestoVariation 6: VivaceVariation 7: GraziosoVariation 8: Poco prestoFinale: Andante

ANDERSON & ROE Ragtime alla turca (2008)

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This performance is made possible in part by the Josie Robertson Fund for Lincoln Center.

Please make certain all your electronic devices are switched off.

Steinway PianoAvery Fisher Hall

Mostly Mozart Festival I Notes on the Program

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Variations on a Theme by J. Haydn in B-flat major, Op. 56b (1873)JOHANNES BRAHMSBorn May 7, 1833, in Hamburg, GermanyDied April 3, 1897, in Vienna

Approximate length: 18 minutes

For Brahms, variations were the route into symphonic composition. He composeda series of variation sets for piano in his 20s, and seems to have had theorchestra in mind for his Variations on a Theme by J. Haydn in B-flat major. Itwas composed for two pianos in 1873, then orchestrated that same summer.The keyboard version, however, remains a treasure of the repertoire.

The “Haydn“ theme (probably not actually by Haydn, scholars now say) is thesort of tune that appealed to Brahms: its five-bar phrases give it the irregularshape that he liked in Hungarian music, and he doubtless appreciated itshearty, masculine key of B-flat major, straightforward harmony, simplemelodic motion up and down the scale, and wealth of melodic details thatcould be developed as variations.

Brahms introduces the “Haydn“ theme exactly as he found it, a tune intwo-part song form with each part repeated plus an unusual coda that reinforcesthe tonic chord of B-flat major. The coda ends with five repeated chords, andthese last five iterations become the foundation for the first variation’sswirling figures. Seven more variations follow, leading to the triumphantFinale, itself a set of mini-variations over a repeating ground bass.

Ragtime alla turca (2008)GREG ANDERSONBorn September 28, 1981, in St. Paul, MinnesotaELIZABETH JOY ROEBorn September 18, 1981, in Chicago, Illinois


Mozart’s tuneful and exotic Rondo alla turca, the conclusion of his Sonata inA major, K.331, is one of the composer’s greatest hits, and Anderson & Roe’smadcap take on it amplifies the piece’s infectious energy. In the midst of thispiece’s many fantastical complications, the wide fluctuations of tempo—from insanely fast to lugubrious and back again—give it something of the airof one of Brahms’s Hungarian Dances.

—Copyright © 2015 by David Wright

Mostly Mozart Festival I

Wednesday Evening, August 5, 2015, at 7:30

Mostly Mozart Festival OrchestraCornelius Meister, Conductor (New York debut)Sol Gabetta, Cello M|M

MOZART Overture to Le nozze di Figaro (1786)

HAYDN Cello Concerto in C major (c. 1761– 65) ModeratoAdagioFinale: Allegro moltoMs. Gabetta will perform Haydn’s cadenza.

Intermission

BEETHOVEN Symphony No. 4 in B-flat major (1806) Adagio—Allegro vivaceAdagioAllegro vivaceAllegro ma non troppo

M|M Mostly Mozart debut

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This performance is made possible in part by the Josie Robertson Fund for Lincoln Center.

Please make certain all your electronic devices are switched off.

Avery Fisher Hall

Mostly Mozart Festival

The Mostly Mozart Festival is made possible by Sarah Billinghurst Solomon and Howard Solomon,Rita E. and Gustave M. Hauser, Chris and Bruce Crawford, The Fan Fox and Leslie R. SamuelsFoundation, Inc., Charles E. Culpeper Foundation, S.H. and Helen R. Scheuer Family Foundation, and Friends of Mostly Mozart.

Public support is provided by the New York State Council on the Arts.

Artist Catering provided by Zabar’s and zabars.com

MetLife is the National Sponsor of Lincoln Center

United Airlines is a Supporter of Lincoln Center

WABC-TV is a Supporter of Lincoln Center

“Summer at Lincoln Center” is supported by Diet Pepsi

Time Out New York is a Media Partner of Summer at Lincoln Center

UPCOMING MOSTLY MOZART FESTIVAL EVENTS:

Wednesday Night, August 5, at 10:00 in the Stanley H. Kaplan PenthouseA Little Night MusicSol Gabetta, CelloIlya Yakushev, Piano M|MRACHMANINOFF: Sonata in G minor SERVAIS: Fantaisie sur deux Airs russes

Thursday Night, August 6, at 10:00 in the Stanley H. Kaplan PenthouseA Little Night MusicAlina Ibragimova, Violin M|MSteven Osborne, Piano PROKOFIEV: Violin Sonatas Nos. 1 and 2

Friday and Saturday Evenings, August 7–8 at 7:30 in Avery Fisher HallMostly Mozart Festival OrchestraEdward Gardner, ConductorSteven Osborne, PianoWEBER: Overture to Der FreischützMOZART: Piano Concerto No. 24 in C minorBEETHOVEN: Symphony No. 7 Pre-concert recitals by the Calidore String Quartet at 6:30

M|M Mostly Mozart debut

For tickets, call (212) 721-6500 or visit MostlyMozart.org. Call the Lincoln Center Info Request Line at(212) 875-5766 to learn about program cancellations or request a Mostly Mozart brochure.

Visit MostlyMozart.org for full festival listings.

Join the conversation: #LCMozart

We would like to remind you that the sound of coughing and rustling paper might distract theperformers and your fellow audience members.

In consideration of the performing artists and members of the audience, those who must leavebefore the end of the performance are asked to do so between pieces. The taking of pho-tographs and the use of recording equipment are not allowed in the building.


Welcome to Mostly MozartI am pleased to welcome you to the 49th Mostly Mozart Festival, our annualcelebration of the innovative and inspiring spirit of our namesake composer.This summer, in addition to a stellar roster of guest conductors and soloists,we are joined by composer-in-residence George Benjamin, a leading contemporary voice whose celebrated opera Written on Skin makes its U.S. stage premiere.

This landmark event continues our tradition of hearing Mozart afresh in the context of the great music of our time. Under the inspired baton of Renée andRobert Belfer Music Director Louis Langrée, the Mostly Mozart Festival Orchestradelights this year with the Classical repertoire that is its specialty, in addition toBeethoven’s joyous Seventh Symphony and Haydn’s triumphant Creation.

Guest appearances include maestro Cornelius Meister making his New Yorkdebut; Edward Gardner, who also leads the Academy of Ancient Music in aMendelssohn program on period instruments; and Andrew Manze with violin-ist Joshua Bell in an evening of Bach, Mozart, and Schumann. Other preemi-nent soloists include Emanuel Ax, Matthias Goerne, and festival newcomersSol Gabetta and Alina Ibragimova, who also perform intimate recitals in ourexpanded Little Night Music series. And don’t miss returning favorite EmersonString Quartet and the International Contemporary Ensemble, our artists-in-residence, as well as invigorating pre-concert recitals and lectures, a panel discussion, and a film on Haydn.

With so much to choose from, we invite you to make the most of this rich andsplendid festival. I look forward to seeing you often.

Jane MossEhrenkranz Artistic Director

Mostly Mozart Festival I Words and Music

The Marriage of FigaroBy Diane Fahey

If only real life were so vivid, however confusing:from far-off, lots of dazzle and noise and speed…Closer in, mouths laugh, shout, kiss—butterfly shapescollide with passions aflutter, or part with mirroreddoubleness. Constantly, new things are about to happen,reversals wait in the wings, except when—closer still—spotlit interludes of pure feeling set forth dilemma,infolded outcome, like a tarot card.

At the finale,threads of love and illusion weave a mandala of sound,with everyone chastened, heartened, eager to go on.But such hard work! It must be the music that keeps them cheerful; even Where are the Happy Times?buoyed my spirit for weeks, an echo deep in the mind.Then, too, they have the consolation of dignity:the Count gets, not a custard pie, but the Countess,Figaro’s doubts are healed by Susannah’s faith,with Cherubino saved from polymorphous perversity…Reborn unions litter the stage like happy endings:Eros will have his day now Thanatos the trickster’s been sent packing—until tomorrow’s matinée.

—© by Diane Fahey. Reprinted by kind permission of Diane Fahey. dianefaheypoet.com

For poetry comments and suggestions, please write to [email protected].

By David Wright

Classical music of the late 18th century wasn’t always a cheerfulbustle of notes, but this program of works by the prominentcomposers of the period shows that it was certainly a favoritemood of the time. Mozart’s opera Le nozze di Figaro is a comedyfull of intrigue, plot twists, and subversion of the master–servantrelationship. With its irregularly shaped themes and unpredictableturns, the opera’s overture is a genial introduction to a worldturned upside down.

Haydn’s Cello Concerto in C major was lost for nearly 200 yearsbefore being discovered in Prague’s National Museum in 1961. Ithas since become one of the composer’s most popular worksthanks to its tunefulness and grace, a touch of introspectioninspired by the cello itself, and a busy Finale generated from justone theme.

After its mysterious introduction, Beethoven’s Fourth Symphonyis a mostly sunny work that came to him more easily than did hisother symphonies. It is full of the novel ideas and startling twiststhat came to make Beethoven’s music so distinctly his.



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Overture to Le nozze di Figaro, K.492 (1786)WOLFGANG AMADEUS MOZARTBorn January 27, 1756, in SalzburgDied December 5, 1791, in Vienna


Beaumarchais’s The Crazy Day, or The Marriage of Figaro was one of themost talked-about plays of 1784; harassed by official censors for its insolentattitude toward the upper classes, it evoked in performance not thewinds of revolution but the gales of laughter from plebeian and aristocratalike. Its whirlwind plot mingled romance, farce, intrigue, and satire withdevilish ingenuity. Itching to make his name in Italian opera in Vienna,Mozart could hardly wait to set it to music.

Mozart’s “crazy day“ opens with a theme in seven bars instead of theusual eight, followed by a lusty tune that is ten bars long. In this music,as in the household of Count Almaviva, everything starts off out of balance.Order is partially restored in what is technically a sonata form without adevelopment section, but is effectively a single dizzy swirl of eighth notesthat sweeps us happily to the exhilarating coda.

Cello Concerto in C major, Hob. VIIb:1 (c. 1761–65)JOSEPH HAYDNBorn March 31, 1732, in Rohrau, AustriaDied May 31, 1809, in Vienna


Unlike Mozart and Beethoven, Haydn was a competent player of nearlyevery instrument but a virtuoso at none. His orchestra at the Esterházycourt, however, included some star performers, and it seems to haveamused Haydn to compose music that showcased their skills. The CelloConcerto in C major appears on an early list of his compositions that hemade in 1765, but was lost for nearly two centuries until a Czech scholardiscovered the performing parts in the National Museum in Prague.Today it’s hard to believe that this familiar favorite had never been heardin public until its Prague premiere in May 1962.

Haydn’s composition of music this suave, tender, and melodious after themid-1780s would later be cited as evidence of Mozart’s influence on hisstyle. However, since Mozart was less than ten years old and had nevermet Haydn when this concerto was written, we must look elsewhere forinfluences: the personality of the cello itself, the liquid Italian vocal style


that also shaped Mozart’s music, and Haydn’s distinctly “modern“ attitudetoward the concerto form during an era when the memory of Vivaldi andHandel was still fresh. As in a Baroque concerto, the first movement movesthrough a wide range of keys, spending much of its middle part in the minor;unlike a Baroque concerto, the opening tutti comprises several distinctthemes shared by orchestra and soloist thereafter.

The Adagio begins with a melodic motion from C to F that gives this openingtheme a familial resemblance to that of the previous movement. The cello’smelancholy side appears in a substantial minor-key middle section with bothmelody and accompaniment subtly derived from the first theme.

The Finale’s opening phrase is also all in the family, finding yet another routefrom C to F and back again. The sonata-form movement is nearly monothematic,with just a hint of a more expansive, lyrical phrase amid the bustle.

Symphony No. 4 in B-flat major, Op. 60 (1806)LUDWIG VAN BEETHOVENBorn December 16, 1770, in Bonn, GermanyDied March 26, 1827, in Vienna


In 1803 or 1804, Beethovenbegan jotting ideas for aforceful symphony in Cminor that would have beenhis fourth, but work on itwas interrupted while hespent a year and a halfcomposing his opera Fidelio.After that herculean effort, anentirely different symphony—a jovial giant in B-flat major—more or less sprang from his pen to become theFourth. The other long-gestating piece in C minor would go on to become theFifth Symphony.

Though written with apparent ease, the Fourth Symphony was no trivial pursuit.It is full of novel ideas that helped give later works their unpredictability andtherefore their distinctly Beethoven sound. The movement from darkness tolight in the Fourth’s opening anticipates such passages as the transition fromscherzo to finale in the Fifth Symphony and the storm scene in the Sixth. Infact, to those who have the Fifth ringing in their memory, the first movementof the Fourth may sound more like a finale than an opening argument.

Did you know?

Though Beethoven promised theFifth Symphony to Count Franz vonOppersdorf, the composer sent himthe previously published Fourthwith a dedication. The Count wasnot amused.


The extroverted first movement has little room for darker subdominant har-monies, so the Adagio in E-flat major, the subdominant key of B-flat major,appears like a calm, benign visitor from another world. With the Mozartianmelancholy of the solo clarinet in a subsidiary theme and the transformationof the delicate main theme into despondent, crushing fortissimo chords,however, the movement becomes remarkably volatile in mood. A rocking fig-ure provides an affirmative heartbeat throughout, most literally when the tim-pani plays alone just before the end.

The theme of the Allegro vivace resembles that of the first movement but isinverted (moving up instead of down) and given a new rhythmic charge bysyncopated accents that make the 3/4 bar feel like a 2/4 bar. The compara-tively mellow Un poco meno allegro for winds erases the rhythmic irregularitybut must endure some sniping from the violins and other agitating accompa-niments.

The finale begins with a very fast introduction full of whirring sixteenth notes,chords marching off in various directions, and a snatch of melody here andthere. The tonic key of B-flat major is finally affirmed, fortissimo, and thepropulsive conclusion begins. Eventually, the music takes on a dynamicmomentum, making the hesitant, teasing coda agonizingly effective.

David Wright, a music critic for Boston Classical Review, has provided pro-gram notes for Lincoln Center since 1982.


Mostly Mozart Festival I Meet the Artists

Cornelius Meister was appointed chief conductor and artistic director ofthe Vienna Radio Symphony Orchestra in 2010. Mr. Meister conducts anextensive concert and opera repertoire that includes the standard works(most recently Der Ring des Nibelungen), rarely performed works (includingall the symphonies by Martinu), and a number of world premieres, such asGiorgio Battistelli’s CO2 at the Teatro alla Scala in May 2015. Mr. Meisteralso collaborates with period-instrument orchestras, most recently on DieZauberflötewith the Orchestra La Scintilla, an ensemble of the Oper Zurich.

Since the early years of his international career, Mr. Meister has appearedat many prominent opera houses. At 21, he gave his debut at the HamburgState Opera, and since then he has performed at the San Francisco Opera,the Vienna and Bavarian State Operas, the Royal Opera House–CoventGarden, Teatro alla Scala, and Semperoper Dresden, as well as with the RoyalConcertgebouw Orchestra, National Academy of St. Cecilia, and DeutscheOper Berlin, with additional appearances in Zurich, Copenhagen, and Tokyo.

Mr. Meister has also conducted concerts with the City of Birmingham,NDR, and Yomiuri Nippon symphony orchestras; Paris and Zurich TonhalleOrchestras; National, Baltimore, Indianapolis and Bavarian Radio symphonyorchestras; BBC Philharmonic; Paris Orchestra; and Deutsches Symphonie-Orchester Berlin.

Mr. Meister studied piano and conducting at Hanover University withKonrad Meister, Martin Brauß, and Eiji Oue, as well as at the MozarteumUniversity of Salzburg with Dennis Russell Davies, Jorge Rotter, and KarlKamper. From 2005 to 2012, he served as music director of the Theaterund Orchester Heidelberg. He has received awards for his inspiring concertand education programs and has made numerous CD recordings. As apianist, Mr. Meister has given concerts in Europe and the U.S.; mostrecently, he play-conducted works by Grieg, Liszt, Gershwin, Beethoven,Mendelssohn, and Arvo Pärt.

Cornelius Meister©MARCO BORGGREVE

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Sol Gabetta achieved internationalacclaim upon winning the CreditSuisse Young Artist Award in 2004and making her debut with theVienna Philharmonic and ValeryGergiev. A Grammy nominee, Ms.Gabetta received the GramophoneYoung Artist of the Year award in 2010and the Würth Prize of JeunessesMusicales Germany in 2012.

Following her highly acclaimeddebut with the Berlin Philharmonic

and Simon Rattle at the Baden-Baden Easter Festival in 2014, Ms. Gabettaperformed with the Staatskapelle Berlin. Other highlights of the 2014–15season included her debut with the Toronto Symphony Orchestra, a Europeantour with the London Philharmonic Orchestra and Vladimir Jurowski, andrecitals across Europe with Bertrand Chamayou, with whom she released arecital CD in 2015. In addition to this summer’s Mostly Mozart Festival debut,Ms. Gabetta’s upcoming season will include her debut with the Los AngelesPhilharmonic, a European tour with the Gewandhaus Orchestra of Leipzig andDaniele Gatti, and recitals with Bertrand Chamayou and others at the EdinburgInternational Festival and the Palais des Beaux-Arts in Brussels, where shewill be the artist-in-residence.

Ms. Gabetta has appeared with other leading orchestras, including the NationalAcademy of St. Cecilia, Philadelphia, Royal Concertgebouw, and ZurichTonhalle orchestras, and Orchestre National de France. She collaboratesextensively with conductors Giovanni Antonini, Mario Venzago, Pablo Heras-Casado, and Thomas Hengelbrock. Ms. Gabetta’s passion for chamber musicis evident in the SOLsberg Festival that she founded in Switzerland.

Ms. Gabetta received the Echo Klassik award for Instrumentalist of the Yearin 2007, 2009, 2011, and 2013. She also holds an extensive discography withSony and has released a duo recital recording with Hélène Grimaud forDeutsche Grammophon.

Thanks to a generous private stipend provided by the Rahn Kulturfonds, Ms.Gabetta performs on one of the very rare and precious cellos by G.B.Guadagnini dating from 1759.

Sol Gabetta©UWE ARENS


Known for their adrenalized performances, original compositions, and Emmy-nominated music videos, Greg Anderson and Elizabeth Joy Roe are revolutionizingthe piano duo experience for the 21st century. Their album When WordsFade (Steinway & Sons) was released to critical acclaim in 2011 and spentover a dozen weeks at the top of the Billboard classical charts. Highlights ofthe 2014–15 season include tours throughout North America, Asia, andEurope; performances with the Calgary Philharmonic Orchestra and theChautauqua and Winnipeg Symphony Orchestras; a new all-Bach album onthe Steinway label; and the release of their ambitious—and literally explosive—music film, The Rite of Spring.

Mr. Anderson and Ms. Roe met in 2000 as freshmen at The Juilliard Schooland formed their dynamic musical partnership shortly thereafter. They havetoured extensively, with recitals in Beijing, Seoul, Singapore, Italy, Vancouver,and most major U.S. cities. They have appeared on MTV’s Total RequestLive, NPR’s All Things Considered and From the Top, and APM’sPerformance Today. The duo has also performed at the Cliburn Concertsseries, the Irving S. Gilmore International Keyboard Festival, the GinaBachauer International Piano Foundation Festival, and dozens of summerchamber music festivals. Their orchestral engagements include performanceswith the Santa Fe Symphony and the Hartford and Lafayette SymphonyOrchestras, as well as appearances with members of the MetropolitanOpera Orchestra. In recognition of their vision for the advancement ofclassical music, they have been invited to present at international leadershipsymposiums such as EG (Entertainment Gathering), the Imagine SolutionsConference, Chicago Ideas Week, and Mexico’s Think Tank Festival. Mr.Anderson and Ms. Roe are Steinway Artists.


Lincoln Center’s Mostly Mozart Festival—America’s first indoor summermusic festival—was launched as an experiment in 1966. Called MidsummerSerenades: A Mozart Festival, its first two seasons were devoted exclusivelyto the music of Mozart. Now a New York institution, Mostly Mozartcontinues to broaden its focus to include works by Mozart’s predecessors,contemporaries, and related successors. In addition to concerts by theMostly Mozart Festival Orchestra, Mostly Mozart now includes concerts bythe world’s outstanding period-instrument ensembles, chamber orchestrasand ensembles, and acclaimed soloists, as well as opera productions,dance, film, late-night performances, and visual art installations.Contemporary music has become an essential part of the festival,embodied in annual artists-in-residence, including Osvaldo Golijov, JohnAdams, Kaija Saariaho, Pierre-Laurent Aimard, and the InternationalContemporary Ensemble. Among the many artists and ensembles who

Anderson & Roe Piano Duo


have had long associations with the festival are Joshua Bell, Christian Tetzlaff,Itzhak Perlman, Emanuel Ax, Garrick Ohlsson, Stephen Hough, Osmo Vänskä,the Emerson String Quartet, Freiburg Baroque Orchestra, Orchestra of theAge of Enlightenment, and the Mark Morris Dance Group.

Mostly Mozart Festival Orchestra

The Mostly Mozart Festival Orchestra is the resident orchestra of the MostlyMozart Festival, and the only U.S. chamber orchestra dedicated to the musicof the Classical period. Louis Langrée has been the Orchestra’s music direc-tor since 2002, and each summer the ensemble’s Avery Fisher Hall home istransformed into an appropriately intimate venue for its performances. Overthe years, the Orchestra has toured to such notable festivals and venues asRavinia, Great Woods, Tanglewood, Bunkamura in Tokyo, and the KennedyCenter. Conductors who made their New York debuts leading the MostlyMozart Festival Orchestra include Jérémie Rhorer, Edward Gardner, LionelBringuier, Yannick Nézet-Séguin, Charles Dutoit, Leonard Slatkin, DavidZinman, and Edo de Waart. Mezzo-soprano Cecilia Bartoli, flutist JamesGalway, soprano Elly Ameling, and pianist Mitsuko Uchida all made their U.S.debuts with the Mostly Mozart Festival Orchestra.

Lincoln Center for the Performing Arts, Inc.

Lincoln Center for the Performing Arts (LCPA) serves three primary roles:presenter of artistic programming, national leader in arts and education andcommunity relations, and manager of the Lincoln Center campus. A presenterof more than 3,000 free and ticketed events, performances, tours, and educationalactivities annually, LCPA offers 15 programs, series, and festivals, includingAmerican Songbook, Great Performers, Lincoln Center Festival, LincolnCenter Out of Doors, Midsummer Night Swing, the Mostly Mozart Festival,and the White Light Festival, as well as the Emmy Award–winning Live FromLincoln Center, which airs nationally on PBS. As manager of the LincolnCenter campus, LCPA provides support and services for the Lincoln Centercomplex and the 11 resident organizations. In addition, LCPA led a $1.2 billioncampus renovation, completed in October 2012.


Mostly Mozart Festival OrchestraLouis Langrée, Renée and Robert Belfer Music Director

Violin IRuggero Allifranchini,Concertmaster

Martin AgeeEva BurmeisterRobert ChausowAmy KauffmanLisa MatricardiRonald OaklandMichael RothDeborah Wong

Violin IILaura Frautschi,Principal

Katsuko EsakiLilit GampelMichael GilletteSophia KessingerKatherine Livolsi-Landau

Dorothy StrahlMineko Yajima

ViolaShmuel Katz, PrincipalMeena BhasinDanielle FarinaChihiro FukudaJack Rosenberg

CelloAlvin McCall, PrincipalTed AckermanAmy Butler-VisscherAnn Kim

BassZachary Cohen,Principal

Lou KosmaJudith Sugarman

FluteJasmine Choi,Principal

Tanya Dusevic Witek

OboeRandall Ellis, PrincipalNick Masterson

ClarinetJon Manasse,Principal

Steve Hartman

BassoonDaniel Shelly, PrincipalTom Sefcovic�

HornLawrence DiBello,Principal

Richard Hagen

TrumpetNeil Balm, PrincipalLee Soper

TimpaniDavid Punto, Principal

Librarian Michael McCoy

Personnel ManagersNeil BalmJonathan HaasGemini MusicProductions, Ltd.

Get to know the Mostly Mozart Festival Orchestra musicians at MostlyMozart.org/MeetTheOrchestra

©JENNIFER TAYLOR 2014

Lincoln Center Programming DepartmentJane Moss, Ehrenkranz Artistic DirectorHanako Yamaguchi, Director, Music ProgrammingJon Nakagawa, Director, Contemporary ProgrammingJill Sternheimer, Acting Director, Public ProgrammingLisa Takemoto, Production ManagerCharles Cermele, Producer, Contemporary ProgrammingKate Monaghan, Associate Director, ProgrammingClaudia Norman, Producer, Public ProgrammingMauricio Lomelin, Producer, Contemporary ProgrammingJulia Lin, Associate ProducerNicole Cotton, Production CoordinatorRegina Grande, Assistant to the Artistic DirectorLuna Shyr, Programming Publications EditorClaire Raphaelson, House Seat CoordinatorStepan Atamian, Theatrical Productions Intern; Annie Guo, Production Intern;Grace Hertz, House Program Intern

Program Annotators: Don Anderson, Peter A. Hoyt, Kathryn L. Libin, Paul Schiavo, David Wright


wednesday evening, august 5, 2015, at 6:30 m pre-concert...

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