Friday Evening, February 20, 2015, at 8:00Isaac Stern Auditorium/Ronald O. Perelman StageConductor’s Notes Q&A with Leon Botstein at 7:00

presents

Mona LisaLEON BOTSTEIN, Conductor

MAX VON SCHILLINGSMona Lisa

ACT I

Intermission

ACT II

Foreigner/Francesco del Giocondo: MICHAEL ANTHONY MCGEE, Bass-baritone

Woman/Mona Fiordalisa: PETRA MARIA SCHNITZER, SopranoLay Brother/Giovanni de Salviati: PAUL MCNAMARA, Tenor

Pietro Tumoni: JUSTIN HOPKINS, Bass-baritoneArrigo Oldofredi: ROBERT CHAFIN, TenorAlessio Beneventi: JOHN EASTERLIN, Tenor

Sandro da Luzzano: CHRISTOPHER BURCHETT, BaritoneMasolino Pedruzzi: MICHAEL SCARCELLE, Bass-baritone

Mona Ginevra: ILANA DAVIDSON, SopranoDianora: LUCY FITZ GIBBON, Soprano

Piccarda: KATHERINE MAYSEK, Mezzo-sopranoSisto: JOHN KAWA, Tenor

BARD FESTIVAL CHORALEJAMES BAGWELL, Director

PLEASE SWITCH OFF YOUR CELL PHONES AND OTHER ELECTRONIC DEVICES.

This evening’s concert will run approximately two hours and 20 minutes including one 20-minute intermission.

Used by arrangement with European American Music Distributors Company, sole U.S. and Canadian agentfor Universal Edition Vienna, publisher and copyright owner.

American Symphony Orchestra welcomes the many organizations who participate in our Community AccessProgram, which provides free and low-cost tickets to underserved groups in New York’s five boroughs. For

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FROM THEMusic DirectorThe Stolen Smileby Leon Botstein

This concert performance of Max vonSchillings’ 1915 Mona Lisa is the latestinstallment of a series of concert perfor-mances of rare operas the ASO has pio-neered since the mid 1990s. The list ofoperas performed by the ASO in NewYork City includes French works:Bizet’s Djamileh, Lalo’s Le Roi D’Ys,Magnard’s Bérénice, Chausson’s Le RoiArthus, Dukas’ Ariane et Barbe Bleu,Chabrier’s Le Roi malgré lui, andD’Indy’s Fervaal. The ASO also has fea-tured Russian works: Rimsky-Korsakov’sMozart and Salieri and Dargomizhsky’sThe Stone Guest. The German worksin the list include four one-act operasby Hindemith (Mörder, Hoffnung derFrauen; Sancta Susanna; Nusch-Nuschi;and The Long Christmas Dinner),Marschner’s Der Vampyr, Schreker’sDer Ferne Klang, Schmidt’s Notre Dame,three works of Strauss (Feuersnot, DieLiebe der Danae, and Die ägyptischeHelena), Weill’s Der Protagonist and twofull acts of The Eternal Road, and twoworks of Zemlinsky (Der Zwerg andEine florentinische Tragödie). We havealso offered Dallapicola’s Il Prigionieroand Volo di Notte, and Ethyl Smyth’sThe Wreckers (which will have a fully-staged production this summer atBard’s SummerScape).

Mona Lisa fits this series. It is the sec-ond “Renaissance” opera from the early20th century, a work that can be placedin the same category as Zemlinsky’sEine florentinische Tragödie. Whatdefines the ASO’s long list is the judg-ment that there are dozens and dozensof great operas from the 19th and 20thcenturies that deserve to be heard live,not merely on old or new recordings, or

DVDs or pirated videos. Opera is theone medium from the past that resiststechnological reproduction. A concertversion still represents properly thesonority and the multi-dimensionalaspect crucial to the operatic experi-ence. One ought not judge an operafrom sound or video documents anymore than one can judge a work ofarchitecture from photographs or evena sophisticated computer simulationand video tour.

The plain fact is that opera, whichthankfully is experiencing some vitalityas a medium for contemporary com-posers, possesses an enormous treasuretrove of great works that are con-demned to silence. Not all may be“original” in style. Many can beregarded as “eclectic.” But greatnessand power in any art form, particularlyopera, are not contingent on “original-ity.” Consult any guidebook to operapublished before 1950 and one will beastonished at how many operas aredescribed, with plots, as presumed con-stituents of an active repertoire. Thencheck on the active repertoire today.Look at what we are missing and howdistorted our connection to the historyof opera has become. One will be dis-mayed to find that most operas worthyof performance have vanished fromview, except for a small community ofcognoscenti. No opera the ASO hasperformed so far is unworthy of astaged production; and not one couldever be considered “obscure” or secondrate. And there is a list of works thatremain to be done that could take usanother half-century to perform at therate of one each year.

Schillings’ Mona Lisa falls squarely inthe group of deserving operas. Its

obscurity dates from 1933. Schillingsdied in July of that year, just monthsafter the Nazis took power. Further-more, he was an ardent nationalist whosigned on to the Nazi cause. His leader-ship of the Prussian Academy of theArts under the Nazis permitted him todismiss, with some relish, Jews, social-ists, and communists from their posts,including Schreker and Schoenberg.Schillings had earned respect before1933 as a composer but even more asan administrator. He served as head ofthe State Opera in Berlin, and had beenactive as a conductor. He was, by allaccounts, a martinet—stiff, unpleasant,and nasty. But he was nonetheless anaccomplished composer of severaloperas. His early works showed a highdegree of craft and were successful,although viewed as too explicitly deriv-ative and neo-Wagnerian.

A bit like Leoncavallo, Schillings, how-ever, managed to write one operatic“hit”: Mona Lisa, in 1915. It was arunaway success and experienced, inthe successive decade and a half, wellover 1,200 performances, including aproduction at the Metropolitan Opera,and in St. Petersburg in the 1920salongside Wozzeck and Der FerneKlang. The international rage for MonaLisa came to an abrupt halt in 1933;Schillings’ death placed the work on theperiphery in Germany, and a revivalthere after 1945 was unthinkable.

Bad people and anti-Semites have writ-ten great operas, as the case of Wagneramply illustrates. Despite the bad odorsurrounding its composer (who diedwell before the onset of the mostheinous atrocities) Mona Lisa is a ter-rific piece of music and theater. Its styleis far less Wagnerian than Schillings’other operas and in fact it reveals a shifttoward the Italian style of verismo,befitting not only its subject matter, butalso the taste of the public in 1915. It is

not “original” in the sense of Strauss orPuccini. It is simply inspired—beautiful,effective, and engaging—much like thebest works of Korngold and Zemlinsky.

Part of the allure and potential of thework as more than a rarity and periodpiece rests in the subject. Leonardo daVinci’s portrait, known mostly as “LaGioconda” (a title that bears no relation-ship with the plot or subject matter of theopera of the same name by Giordano)was a well-known small portrait byLeonardo that hung unobtrusively inthe Louvre alongside many otherRenaissance Italian paintings, a workpurchased by Francis I of France fromthe painter himself. What turned the“Mona Lisa” into the most famouspainting in the world was an event thatoccurred in August 1911. The paintingwas stolen. The thief was an obscureItalian workman. He simply walkedout with it at 7 a.m. on a Monday. Thecrime was a sensation and captivatedthe entire world. Picasso was accused,briefly, of the theft, as was GuillaumeApollinaire, the poet, who was held incustody for a week. The case remainedunsolved for two and a half years, baf-fling the police around the world.

The notoriety of the theft was enhancedtwo and a half years later when thethief reappeared and clumsily attemptedto sell it to an art dealer in Florence.The dealer contacted the Uffizi in Flo-rence, and together they retrieved thepainting and apprehended the thief. Itsrecovery, its display in Italy, its returnto the Louvre, and the trial of the thiefwere headline news. The story of thetheft and the analysis of the culprit andhis motives have remained the subjectof articles and books ever since.

After its recovery it was put on tempo-rary display in Florence. More than30,000 people showed up to view it,creating a riot. From the moment of its

return, the portrait has remained themost reproduced and visited work ofart in the Western world. More star-tling is the fact that between 1911 and1913 more people went to the Louvreto gaze at the empty spot from which ithad been stolen than had ever visitedthe painting when it was there. It hasinspired painters, poets, and preten-tious mystery writers. The Mona Lisaremains far and away the main reasontourists go to the Louvre today. It wasalways a masterpiece, but it became themost famous painting in history onlyafter the 1911 theft and its miraculousreturn in 1913.

The sensation surrounding the theft ofthe Mona Lisa was the reason Schillingshad the idea of writing an opera aboutthe painting. He saw an opportunitythat could not be missed. The extensivejournalistic coverage of the whole affairincluded an extensive account of thepainting’s merit and substance, particu-larly the enigmatic smile of the subject,and, of course, her beauty. The intensescrutiny of the painting invited fiction:who was the subject? What sort of per-sonality was she? And, above all, whatis it with that smile?

The librettist Schillings chose was anAustrian poet, actress, and writer ofchildren’s literature, Beatrice von Dovsky(1870–1925). She acted in the RaimundTheater, playing soubrette roles—theingénue, the mischievous flirt. She wenton to write specifically Viennese charac-ter pieces marked by humor and senti-mentality. Her most lasting achievement(apart from having a small street namedafter her in Vienna’s 13th district) is thelibretto of Mona Lisa.

Dovsky’s genius was to invent a some-what mystical and supernatural frame-work. The plot concerns a contemporarycouple. They are visiting, on their hon-eymoon, the palace of the “real” La

Gioconda, Mona Lisa, in Florence. Theopening scene—which parallels theclose of the opera—makes brilliant useof the familiar discourse about MonaLisa’s smile and sexuality. Dovsky’sopening text is suffused with contem-porary notions concerning desire andmarriage. The tourist couple is a youngbeautiful woman and a bored, rich,older husband, now on his third mar-riage. She is sad and introspective. Shecares not for pearls and jewels, but forhappiness. She is mesmerized by thevisit to the home of a legendary enig-matic beauty where the unusual eventstook place in, of all years, 1492—theyear the Spanish expelled the Moorsfrom Europe and Columbus made hisvoyage to the New World.

In a brilliant theatrical gesture, theirguide, a friar, begins to recount theevents in 1492 that unfold scenically tothe audience. A tale of an unhappy mar-riage and jealousy, of greed, cruelty, andromance unfolds, framed by the com-peting claims of the Dionysian—revelryand abandon—and the Apollonian—reserve and ascetic religiosity (repre-sented by the followers of Savonarola).The clue to the husband’s jealousy andMona Lisa’s adultery is her smile—thatrare sign of her desire and happinessthat periodically shatters her otherwiseicy exterior. Lover and husband in thetale die, but Mona Lisa survives.

The story explains the painting’s subjectand the painter’s representation ofMona Lisa. When the story ends, weare returned to the present. The audi-ence is left alone with the visiting cou-ple and the friar. As the curtain falls, itbecomes apparent that the young brideis herself Mona Lisa, a reincarnation,or perhaps the immortal living personof the original Mona Lisa.

This fabulous and utterly operatic plotbrought the very best out of Schillings.

Although his music is virtually unknowntoday, even in his native Germany, Maxvon Schillings was recognized during thedecades around 1900 as one of the leadingfigures of early musical modernism inthe Austro-German sphere. Along withRichard Strauss and Hans Pfitzner,Schillings dominated the post-Wagnerian

operatic world, especially with his threeearly operas: Ingwelde (1894), Pfeifertag(1897), and Moloch (1907). Schillingswas also active as a conductor, and, withhis friend Strauss, he helped program theannual new music festivals of the presti-gious Allgemeiner Deutscher Musikverein(General German Music Association).

by Walter Frisch

Max von SchillingsBorn April 19, 1868, in Düren, Germany

Died July 24, 1933, in Berlin

Mona LisaComposed in 1913–15

Premiered on September 26, 1915, at the Stuttgart State Theatre conducted by Schillings.

Performance Time: Approximately 2 hours and 20 minutes, including one 20-minute intermission

Instruments for this performance: 3 flutes, 1 piccolo, 3 oboes, 1 English horn, 1 heckelphone, 3 clarinets, 1 E-flat clarinet, 1 bass clarinet, 3 bassoons, 1 contra-bassoon, 6 French horns, 4 trumpets, 3 trombones, 1 tuba, timpani, percussion(chimes, glockenspiel, xylophone, castanets, triangle, bass drum, cymbals, tamtam, snare drum, field drum), 1 celesta, 1 organ, 1 mandolin, 2 harps, 22 violins,8 violas, 8 cellos, 6 double-basses, chorus, 3 sopranos, 1 mezzo-soprano,

4 tenors, 1 baritone, and 3 bass-baritones.

THE Program

The opera boasts crowd scenes, affect-ing melodies, a colorful and not over-whelming orchestral texture, and highdrama. Mona Lisa possesses a great,timeless, and accessible story, andbeautiful music. So why should it notregain a place in the operatic repertory,alongside the warhorses from thatsame era that are so overexposed thatthe music that initially made themfamous is diminished in favor of bi -zarre productions and lame attempts

at modernization? The warhorses nowfunction best as vehicles for succeedinggenerations of divas and divos. Thisopera, ironically in part because it isentirely forgotten, makes its casedirectly as music and drama; it requiresno gratuitous directorial ingenuity tocaptivate today’s audience. After all,everyone knows the “Mona Lisa.” Weare still entranced by her smile andunder the spell of the unique aura of thepainting and the painter.

Schillings, who came from a prominentRhenish family, was based initially inMunich, where he became associatedwith the so-called Munich School ofprogressive composers centered aroundLudwig Thuille. In 1908 he joined thestaff of the Stuttgart Opera House,where among other accomplishmentshe arranged for the premiere of Strauss’Ariadne auf Naxos in 1912. After 1915Schillings’ compositional output declinedas he focused more on administrationand conducting. From his position aspresident of the Prussian Academy of theArts in Berlin, which he assumed in 1932,Schillings would prove a willing partnerto the Nazis in purging the institution of“alien” elements (including its professorof composition, Arnold Schoenberg).

Schillings’ fourth and last opera, MonaLisa, was composed between 1913 and1915. Where his earlier operas hadbeen strongly indebted to Wagner’smusic dramas, Mona Lisa allies Wag-nerian devices like leitmotivs andintense chromaticism to the fast-paced

verismo of recent Italian operas byMascagni, Leoncavallo, and Puccini.

Mona Lisa’s two acts, not divided intoscenes, are continuous musically and dra-matically. The plot, as in many verismooperas, revolves around the themes of jeal-ousy, betrayal, despair, and revenge. Thereis also local color in the evocation of Flo-rentine church bells and Renaissance poly -phony. Critics praised Mona Lisa as animportant departure from Wagner’s style.One noted that Schillings “places beforeour eyes a mirror of real life, which seizesus more strongly than any mythology.”

Schillings would never follow up on theachievement of Mona Lisa. Another operabegun at about the same time, AlbanBerg’s Wozzeck, projected a different andmore powerful blend of modernism, real-ism, and Wagnerism that ultimately had afar greater impact on the 20th century.

Walter Frisch is H. Harold Gumm/Harryand Albert von Tilzer Professor ofMusic at Columbia University.

THE ArtistsLeon Botstein is now in his 23rd year asmusic director and principal conductorof the American Symphony Orchestra.He has been hailed for his visionaryzeal, often creating concert programsthat give audiences a once-in-a-lifetimechance to hear live performances ofworks that are ignored in the standardrepertory, and inviting music lovers tolisten in their own way to create a per-sonal experience. At the same time hebrings his distinctive style to core reper-tory works. He is also co-artistic director

LEON BOTSTEIN, Conductor

RIC KALLAHER

of Bard SummerScape and the BardMusic Festival, which take place at theRichard B. Fisher Center for the Per-forming Arts at Bard College, where hehas been president since 1975. He isalso conductor laureate of the JerusalemSymphony Orchestra, where he servedas music director from 2003–11.

Mr. Botstein leads an active schedule asa guest conductor all over the world,and can be heard on numerous record-ings with the London Symphony (includ-ing their Grammy-nominated recordingof Popov’s First Symphony), the Lon-don Philharmonic, NDR-Hamburg,and the Jerusalem Symphony Orches-tra. Many of his live performances withthe American Symphony Orchestra areavailable online, where they have cumu-latively sold more than a quarter of amillion downloads. Upcoming engage-ments include the Royal Philharmonicand the Russian National Orchestra.Recently he conducted the Taipei Sym-phony, the Los Angeles Philharmonic atthe Hollywood Bowl, and the SinfónicaJuvenil de Caracas in Venezuela andJapan, the first non-Venezuelan con-ductor invited by El Sistema to conducton a tour.

Highly regarded as a music historian,Mr. Botstein’s most recent book is VonBeethoven zu Berg: Das Gedächtnis derModerne (2013). He is the editor ofThe Musical Quarterly and the authorof numerous articles and books. He iscurrently working on a sequel to Jeffer-son’s Children, about the American edu-cation system. Collections of his writingsand other resources may be found onlineat LeonBotsteinMusicRoom.com. Forhis contributions to music he hasreceived the award of the AmericanAcademy of Arts and Letters and Har-vard University’s prestigious CentennialAward, as well as the Cross of Honor,First Class from the government of Aus-tria. Other recent awards include theCaroline P. and Charles W. Ireland Prize,the highest award given by the Univer-sity of Alabama; the Bruckner Society’sJulio Kilenyi Medal of Honor for hisinterpretations of that composer’s music;the Leonard Bernstein Award for theElevation of Music in Society; andCarnegie Foundation’s Academic Lead-ership Award. In 2011 he was inductedinto the American Philosophical Society.

Mr. Botstein is represented by ColumbiaArtists Management, LLC.

Christopher Burchett’s recent engage-ments have included Captain Corcoranin H.M.S. Pinafore and Harlequin inAriadne auf Naxos, both with VirginiaOpera; Father Palmer in Silent Nightwith Fort Worth Opera; and The PoeProject with Fargo-Moorhead Opera.The 2013 season began with SoldierSongs by David T. Little as part of thePROTOTYPE Festival produced by BethMorrison Projects and HERE.

Mr. Burchett began the 2012 seasonsinging the role of Blazes in Boston LyricOpera’s production of The Lighthouse,

CHRISTOPHER BURCHETT, Baritone

PETER KONERKO

followed by a return to Eugene Operato sing the role of Chou En-Lai in JohnAdams’ Nixon in China. A championof new music, he has been a part of sev-eral world premieres, creating the rolesof Orsen in Edwin Penhorwood’s TooMany Sopranos with Cedar RapidsOpera Theatre, M. Carré-Lamadon inStephen Hartke’s The Greater Goodwith Glimmerglass Opera, and Justin inAnthony Davis’ Wakonda’s Dream withOpera Omaha.

Mr. Burchett has appeared with many ofthe country’s finest Bach festivals, includ-ing the Carmel Bach Festival, BoulderBach Festival, Louisville Bach Society, andBethlehem Bach Festival, where he sangBach’s B-minor Mass as part of anEmmy-winning national PBS broadcastentitled Make a Joyful Noise. Currentengagements include Don Giovanni withCedar Rapids Opera Theatre; SweeneyTodd with Eugene Opera; and a return toForth Worth Opera for The Poe Project.

Robert Chafin has more than 70 operasin his repertoire and has performed as aguest artist at New York City Operaand in Carnegie Hall. He has per-formed internationally in Paris, TelAviv, Jerusalem, Stockholm, Vienna,Frankfurt, Brussels, Madrid, Milan,Leipzig, at the Salzburg Summer Festi-val, and in Berlin with the DeutscheOper and Philharmonie.

Mr. Chafin has appeared on recordingsof Franz Schreker’s Flammen andChristophorus, Richard Strauss’ DieLiebe der Danae, Leonard Bernstein’sCandide, and Beethoven’s Symphony No.9. He also has recorded for Opera Raraand performed Stravinsky songs and theHindemith oratorio Das Unafuhörlichefor CD and television productions. Onthe concert stage he has appearedthroughout Europe and the United States.

Recently Mr. Chafin debuted in theAmerican premiere of Franz Schmidt’sThe Hunchback of Notre Dame withLeon Botstein conducting the AmericanSymphony Orchestra at Carnegie Hall,performed Idomeneo in Germany, andsang in Mahler’s full and chamber ver-sions of Das Lied von der Erde inSpain, France, and Belgrade, Serbia. Inaddition to performing, he has beenrecently appointed visiting assistantprofessor of voice at Virginia Tech.

ROBERT CHAFIN, Tenor

DEVON CASS

Grammy-winning soprano IlanaDavidson returns to Carnegie Hall afterprevious engagements for Mahler’sSecond Symphony with the BostonPhilharmonic and Bolcom’s Songs ofInnocence and of Experience with theSaint Louis Symphony. Her AveryFisher Hall debut was with Leon Botsteinand the American Symphony Orchestrain Orff’s Trionfo di Afrodite. Herextensive concert repertoire includesthe Brahms Requiem with North Car-olina Symphony and Berkshire ChoralFestival; Mahler’s Fourth Symphonywith the Fort Worth and Detroit Sym-phonies and Brevard Music Center;Handel’s Messiah with the Nashville,Pacific, Ann Arbor, and Alabama sym-phonies and National Philharmonic;the Fauré Requiem with the CharlotteSymphony; Mozart’s Exsultate, jubilatewith the Wheeling Symphony andBrevard Music Center; Haydn’s DieSchöpfung with the Harrisburg Sym-phony, Philadelphia’s Voces Novae etAntiquae, and at the Bellingham Fes-tival; Bach Cantatas with Boston’sHandel and Haydn Society; Bach’sWeihnachtsoratorium and Jauchzet

Gott in allen Landen with the Orches-tra of St. Luke’s; and Mahler’s SecondSymphony with the Québec, BatonRouge, and Acadiana symphonies andRhode Island Philharmonic. In additionshe sang Orff’s Carmina Burana for herdebuts with the Houston, Edmonton,Reading, and Toledo symphonies.Abroad she has sung Cupid in Purcell’sKing Arthur in Stuttgart, and Amor inLegrenzi’s La Divisione del Mondo atthe Austrian festivals of Innsbruck andSchwetzingen. More information canbe found online at: ilanadavidson.com.

ILANA DAVIDSON, SopranoCHRISTIAN STEINER

John Easterlin has recently performedat the Wiener Staatsoper as Herodes inSalome, Covent Garden as Prince Nil-sky in The Gambler, and at Teatro RealMadrid in Wozzeck, Boris Godunov,and The Rise and Fall of the City ofMahagonny in the role of Jack O’Brien,and the world premiere of The PerfectAmerican in the role of Andy Warhol,which he later reprised with the EnglishNational Opera. Other engagementsinclude Opéra National de Paris in therole of Squeak in Billy Budd and withGlimmerglass Opera as the magician in

JOHN EASTERLIN, Tenor

The Consul. In 2010–11 he made hisdebut with the Canadian Opera Com-pany as Monostatos in Die Zauberflöteand the dancing master in Ariadne aufNaxos. That season he also sang withLake George Opera in the role of Alfredin Die Fledermaus. In 2011–12 hereturned to the Metropolitan Opera asthe Scribe in Khovanshchina, thePhiladelphia Orchestra as Aegistheus inElektra, and Madrid’s Teatro Real inLady Macbeth of Mtentsk. Engage-ments last season included appearances

at the Metropolitan Opera as Mono-statos, a debut with the WashingtonNational Opera as Monostatos, theNew York City Opera as Larry King inAnna Nicole, the Merida Festival inSpain as Herodes in Salome, and hisreturn to Covent Garden as Andres inWozzeck. This season he takes on therole of Pirelli in Sweeney Todd withSan Francisco Opera and HawaiiOpera Theatre, and debuts at HoustonGrand Opera in the role of Goro inMadama Butterfly.

Lucy Fitz Gibbon has made modernpremieres of important works bybaroque-era composers Francesco Sacratiand Barbara Strozzi, and has premierednumerous works by composers of hergeneration, including Sean Shepherd,David Hertzberg, Dante de Silva, andAnna Lindemann. Recent perfor-mances include her debut with theSaint Paul Chamber Orchestra in therole of Miles in Britten’s The Turn ofthe Screw, the premiere of Christopher

Stark’s Soldier Asleep at the Tomb withthe Cornell Symphony, and Mozart’sRequiem with the Tulsa Symphony. InMarch she will perform Claude Vivier’sLonely Child as part of “Environs Mes-siaen,” a festival at Cornell Universitydedicated to the naturalist aesthetic ofOlivier Messiaen. She will also appearin a presentation of Sheila Silver’sopera A Thousand Silver Suns at theNational Opera Center this June. Shewas honored to be a fellow at the Tan-glewood Music Center during the sum-mer of 2014, and was invited to returnin 2015.

A graduate of Yale University, Ms. FitzGibbon is the recipient of numerousawards for her musical and academicachievements. She holds an artistdiploma from the Glenn Gould Schoolof the Royal Conservatory and is com-pleting her master’s degree in the BardCollege Conservatory Graduate VocalArts Program. More information canbe found online at lucyfitzgibbon.com.

LUCY FITZ GIBBON, Soprano

BELLATRIX PHOTOGRAPHY

Mona Lisa marks Justin Hopkins’return to Carnegie Hall with the Amer-ican Symphony Orchestra, the previousbeing his debut in the role of Sir JohnBerkley in Heinrich Marschner’s DerVampyr. His 2014–15 season includesStrauss’ Daphne at Théâtre Royal de laMonnaie in Brussels; War Requiemwith the Dayton Philharmonic; KurtWeill’s The Road of Promise with TheCollegiate Chorale; Elijah with theChoristers of Lansdale, Pennsylvania;and La Clemenza di Tito with Opera inthe Heights. This season Mr. Hopkinsgave the world premiere of Repast, asolo opera-oratorio that was featurednationally on NPR’s Weekend Edition.He will also be featured in the worldpremiere of The Long Walk withOpera Saratoga. Mr. Hopkins has per-formed with orchestras such as the

Boston Pops; BBC Concert Orchestra,London; and Verbier Festival Orches-tra, Switzerland. He took second placein the 2012 Lotte Lenya Competition.More information can be found onlineat justinhopkinsopera.com.

JUSTIN HOPKINS, Bass-baritonePAUL SIROCHMAN

This is Katherine Maysek’s first appear-ance with the American SymphonyOrchestra in Carnegie Hall. She willspend the summer with the Des MoinesMetro Opera as an apprentice artist andat Bard College’s composer-conductorprogram singing the title role of HaroldFarberman’s Medea. Recent operaticroles include Mrs. Grose in The Turn ofthe Screw, Nerone in L’incoronazionedi Poppea, and Cherubino in Le nozzedi Figaro. She has been repeatedlyengaged by the Blanche Moyse Choralein Marlboro, Vermont, as a soloist inBach’s Christmas Oratorio and Mass inB minor. Her summer engagementshave included, most notably, the Tan-glewood Music Center and the TorontoSummer Music Festival. She is a gradu-ate of McGill University and is a mas-ter’s degree candidate at Bard College’s

Graduate Vocal Arts Program. AtBard, in addition to expanding heroperatic and concert experience, she isdeveloping lasting collaborative rela-tionships and exploring the extensiveart song repertoire.

KATHERINE MAYSEK, Mezzo-soprano

BEABE GALLERY

Michael Anthony McGee is a native ofDallas, Texas. He made his Europeandebut as Winston Smith in LorinMaazel’s 1984 at the Palau de les Artsin Valencia, Spain. Additional rolesinclude Don Geronio in Rossini’s IlTurco in Italia, Snug in Britten’s A Mid-summer Night’s Dream, and the titlerole in Sondheim’s Sweeney Todd, allwith the Wolf Trap Opera Company;title roles in both Verdi’s Falstaff and

Puccini’s Gianni Schicchi with the Seat-tle Opera Young Artist Program; Her-mann Ortel in Wagner’sDie Meistersingervon Nürnberg at the TanglewoodMusic Festival; and both Marcello inPuccini’s La bohème and Moralès inBizet’s Carmen at Maazel’s CastletonFestival. Concert appearances haveincluded the baritone soloist in Faure’sRequiem with the Seattle Symphony;Orff’s Carmina Burana with both theSeattle Symphony and the Pacific North-west Ballet; Britten’s War Requiem withthe Hong Kong Philharmonic; and solorecitals at Merkin Concert Hall, WeillHall, the Trinity Church on Wall Street,the Philips Collection in Washington,D.C., and Nordstrom Hall in Seattle.Winner of numerous prestigious inter-national competitions, Mr. McGeewas the 2010 recipient of the GeorgeLondon Award from the George Lon-don Foundation for Singers. Moreinformation can be found online atmichaelanthonymcgee.com.

MICHAEL ANTHONY MCGEE, Bass-baritoneKRISTIN HOEBERMANN

Originally from Ireland and based inBerlin, Paul McNamara has sung inseveral German theaters where hismany notable successes have includedhis critically-acclaimed debut at the

Deutsche Oper Berlin in Braunfels’ Szenenaus dem Leben der Heiligen Johanna, andthe title roles in Wagner’s Tannhäuser andParsifal at the Mainfranken TheaterWürzburg, performances that both gar-nered him a nomination as Singer ofthe Year in the German magazineOpernwelt. He has also appeared at theTeatr Wielki in Warsaw, la Monnaie inBrussels, the Stadttheater Bern, OperaIreland, Northern Ireland Opera, CapeTown Opera, the Janáček Festival inBrno, the Opera Lesna Sopot inPoland, the Theatro Municipal in Riode Janeiro, and with the Salzburg Festi-val at the Beijing Music Festival. InDecember 2010 he performed at theNational Opera in Almaty, Kazakh stan,where he sang Tannhäuser in the first

PAUL MCNAMARA, Tenor

UWE FRIEDRICH

ever production of a Wagner opera inCentral Asia.

In addition to Wagner’s Erik, Loge,Tannhäuser, Tristan, and Parsifal, Mr.McNamara’s extensive repertoire encom-passes roles by Monteverdi, Cavalli,Mozart, Weber, Meyerbeer, Tchaikovsky,Leoncavallo, Dvořák, Strauss, Janáček,Zemlinsky, Berg, and Britten. A keen reci -talist and concert singer, his engagements

include appearances with the NationalSymphony Orchestra of Ireland, the RTÉConcert Orchestra, the Irish Chamber Or -chestra, the Deutsches Kammerorchester,the Nordwestdeutsche Philharmonie, theNeubrandenburger Philharmonie, theSWR-Rundfunkorchester, the Staats -kapelle Halle, the Stavanger Symfo-niorkester, the Rundfunk-Sinfonieorch-esters Berlin, and the NetherlandsRadio Philharmonic Orchestra.

Michael Scarcelle’s recent performancesinclude Herrmann Augustus in Candidewith Leipzig MDR Symphony Orchestra,a role he reprised with Munich Philhar-monic, London Symphony Orchestra,Die Deutsche KammerphilharmonieBremen, and Tonkünstler-OrchesterNiederösterreich; Pooh-Bah in TheMikado with both Mobile Opera andShreveport Opera; Hydrogen Jukeboxwith Skylight Music Theatre; Demetriusin A Midsummer Night’s Dream withOpera Naples; King Melchior in Amahland the Night Visitors, Beaupertuis inThe Italian Straw Hat, and Don Pedroin La Périchole with Amarillo Opera;Pirate King in The Pirates of Penzancewith Anchorage Opera; Death in Sāvitriwith Little Opera Theater of NY; andElviro in Serse with Boston Baroque.

Mr. Scarcelle made his European debutsinging Crespel in Les contes d’Hoffmannand Marchese in La traviatawith Festivallyrique international de Belle-Ile en Merand returned to the festival as Schaunardin La bohème. Other performancesabroad include a concert of Broadwaymusic with the Macedonia PhilharmonicOrchestra that earned him a CulturalDiplomacy award from the U.S. Embassy,and Escamillo in Carmen, Figaro in Le

nozze di Fiagro, and Dominick in theworld premiere of Georg Kreisler’s DasAquarium with Volkstheater Rostock.

Other notable engagements includeAvery Fisher Hall performances as basssoloist for Handel’s Messiah withDCINY, Schütz’s Fili mi, Absalon withSt. Luke’s Trombone Quartet, Bach’sMagnificat (nationally televised from theNational Cathedral) with NorddeutschePhilharmonie, and Mozart’s Mass in Cminor with Yale Symphony Orchestra.This season includes Papageno in DieZauberflöte with Anchorage Operaand Figaro in Le nozze di Fiagro withOpera Theatre of Pittsburgh.

MICHAEL SCARCELLE, Bass-baritone

Now in its 53rd season, the AmericanSymphony Orchestra was founded in1962 by Leopold Stokowski, with amission of making orchestral musicaccessible and affordable for everyone.Music Director Leon Botstein expandedthat mission when he joined the ASO in1992, creating thematic concerts thatexplore music from the perspective of thevisual arts, literature, religion, and history,and reviving rarely-performed works thataudiences would otherwise never have achance to hear performed live.

The orchestra’s Vanguard Series, whichincludes these themed programs as wellas an opera-in-concert and a celebra-tion of an American composer, consists

of six concerts annually at CarnegieHall. ASO goes in-depth with threefamiliar symphonies each season in thepopular series Classics Declassified atPeter Norton Symphony Space, and hasan upstate home at the Richard B.Fisher Center for the Performing Artsat Bard College, where it performs inan annual subscription series as well asBard’s SummerScape Festival and theBard Music Festival. The orchestra hasmade several tours of Asia and Europe,and has performed in countless benefitsfor organizations including the JerusalemFoundation and PBS.

Many of the world’s most accom-plished soloists have performed with

THE AMERICAN SYMPHONY ORCHESTRA

Petra-Maria Schnitzer was a member ofthe opera studio of the Vienna StateOpera. In 1993 she won the ViñasSinging Competition in Barcelona. Thatsame year she gave her debut as Agathein Der Freischütz at the Vienna StateOpera, followed by roles such as Count-ess Rosina Almaviva in Le nozze diFigaro, Ilia in Idomeneo, Rosalinde inDie Fledermaus, Micaëla in Carmen,and Freia in Das Rheingold. Furtherengagements brought her to Salzburger

Festspielen and Bayerische Staatsoperfor The Bartered Bride, Der Freischu� tz,Arabella, and Elisabeth in Tannha�user.She went on to the Wiener Festwochenwhere she sang Fiordiligi in Così fantutte, and has performed in numerousengagements at the opera houses ofBarcelona, Madrid, Tokyo, and Beijing.She was highly acclaimed for her por-trayal of Elsa in Lohengrin at BayreutherFestspiele, Sieglinde in Die Walküre inValencia, and at the Maggio Musicalein Florence. She sang Elisabeth inTannha�user in Los Angeles, San Fran-cisco, and at the Metropolitan Opera,as well as Ariadne in Ariadne aufNaxos in Los Angeles. Recently shehad success as Isolde in Tristan undIsolde at Deutsche Oper Berlin and atthe Bayerische Staatsoper in Munich, andas Elisabeth and Venus in Tannhäuser atDeutsche Oper Berlin. Ms. Schnitzer isalso a highly recommended concert andlieder singer and can be heard on a CDperforming lieder and duets by Robertand Clara Schumann.

PETRA MARIA SCHNITZER, SopranoJAVIER DEL REAL

The Bard Festival Chorale was formedin 2003 as the resident choir of theBard Music Festival. It consists of thefinest ensemble singers from New YorkCity and surrounding areas. Many of

its members have distinguished careersas soloists and as performers in a vari-ety of choral groups; all possess a sharedenthusiasm for the exploration of newand unfamiliar music.

BARD FESTIVAL CHORALE

James Bagwell maintains an active inter-national schedule as a conductor ofchoral, orchestral, and theatrical works.He has been chorus master for the BardMusic Festival and SummerScape since2003. In 2009 he was appointed musicdirector of The Collegiate Chorale andprincipal guest conductor of the Ameri-can Symphony Orchestra, leading both

in critically acclaimed performances atCarnegie Hall. He has prepared chorusesfor a number of international festivals,including Salzburg and Verbier, alongwith the Mostly Mozart Festival in NewYork. He is professor of music at BardCollege, where he directs the undergrad-uate music program and co-directs thegraduate conducting program.

JAMES BAGWELL, Director, Bard Festival Chorale

VIOLIN IErica Kiesewetter,

ConcertmasterSuzanne GilmanYukie HandaElizabeth NielsenDiane BrucePatricia DavisJohn ConnellyWende NamkungRagga PetursdottirAshley HorneEllen PayneMara Milkis

VIOLIN IIRichard Rood,

PrincipalRobert ZubryckiJames TsaoYana GoichmanAnn Labin

Lucy MorgansternDorothy StrahlSophia KessingerElizabeth KleinmanAlexander Vselensky

VIOLAWilliam Frampton,

PrincipalSally ShumwayJohn DexterDebra Shufelt-DineShelley Holland-Moritz

Martha BrodyAdria BenjaminCrystal Garner

CELLOEugene Moye,

PrincipalRoberta Cooper

Annabelle HoffmanSarah CarterMaureen HynesDiane BarereEliana MendozaStephen Fang

BASSJordan Frazier,

PrincipalJack WengerLouis BrunoRichard OstrovskyTony FlyntWilliam Sloat

FLUTELaura Conwesser,

PrincipalRie SchmidtDiva Goodfriend-Koven, Piccolo

OBOEAlexandra Knoll,

PrincipalErin GustafsonMelanie Feld,

English horn

HECKELPHONEHarry Searing

CLARINETLaura Flax, PrincipalShari HoffmanLino Gomez, Bass

Clarinet

BASSOONCharles McCracken,

PrincipalMarc GoldbergGilbert Dejean,

Contrabassoon

AMERICAN SYMPHONY ORCHESTRALeon Botstein, Conductor

the ASO, including Yo-Yo Ma, DeborahVoigt, and Sarah Chang. The orches-tra has released several recordings onthe Telarc, New World, Bridge, Koch,and Vanguard labels, and many live

performances are also available for dig-ital download. In many cases these arethe only existing recordings of some ofthe rare works that have been rediscov-ered in ASO performances.

Dimitri B. Papadimitriou, ChairThurmond Smithgall, Vice Chair

Miriam R. BergerMichael DorfRachel KalnickiJack KligerShirley A. Mueller, Esq.

Debra R. PemsteinEileen RhulenFelicitas S. Thorne

HONORARY MEMBERSJoel I. Berson, Esq.L. Stan Stokowski

ASO BOARD OF TRUSTEES

SOPRANOWendy BakerNonie DonatoMaggie FinneganJennifer GliereMelissa KelleyLauren-Rose KingCaroline MillerAmy RoodRachel RosalesEllen Taylor SissonElizabeth SmithChristine SperryEmily Werne

ALTOSishel ClaverieAgueda FernandezErica KoehringMary MaratheElizabeth MerrillNicole MitchellMargaret O’ConnellGuadalupe PerazaHeather PetrieRebecca RomanoSuzanne SchwingNancy Wertsch*

TENORSean FallenAndrew FuchsAlex GuerreroJohn KawaEric William LampMukund MaratheDouglas PurcellKevin RoseKannan VasudevanSorab WadiaTommy Wazelle

BASSDavid BaldwinBlake BurroughsDaniel CollinsRoosevelt CreditJames GregorySamuel HeplerDaniel HoyAndrew MartensSteven MooreJohn RoseKurt SteinhauerSean Sullivan

*Choral Contractor

BARD FESTIVAL CHORALEJames Bagwell, Director

HORNChris Komer, PrincipalSara CyrusLawrence DiBelloKyle HoytTheodore PrimisShelagh AbateRachel Drehmann,

Assistant

TRUMPETCarl Albach, PrincipalJohn SheppardThomas HoytDominic Derasse

TROMBONERichard Clark,

PrincipalKenneth FinnJeffrey Caswell

TUBAKyle Turner, Principal

TIMPANIBenjamin Herman,

Principal

PERCUSSIONJonathan Haas,

PrincipalKory Grossman

Charles DescarfinoMatthew BeaumontSean Statser

KEYBOARDElizabeth Wright,

Prinicpal

ORGANKent Tritle

HARPSara Cutler, PrincipalCecile Schoon

MANDOLINWilliam Anderson

PERSONNELMANAGER

Ann YarbroughGuttman

ASSISTANTCONDUCTOR

Zachary Schwartzman

ORCHESTRALIBRARIAN

Marc Cerri

Lynne Meloccaro, Executive DirectorOliver Inteeworn, General ManagerBrian J. Heck, Director of MarketingNicole M. de Jesús, Director of DevelopmentSebastian Danila, Library ManagerMarielle Métivier, Operations ManagerCarley Gooley, Marketing AssistantMarc Cerri, Orchestra Librarian

Ann Yarbrough Guttman, Orchestra Personnel Manager

Ben Oatmen, Production AssistantLeszek M. Wojcik, Concert Archival Recording

James Bagwell, Principal Guest ConductorZachary Schwartzman, Assistant ConductorRichard Wilson, Composer-In-ResidenceJames Bagwell, Artistic Consultant

ASO ADMINISTRATION

MAESTRO’S CIRCLE The Achelis FoundationMichael DorfJeanne Donovan FisherThe Frank & Lydia BergenFoundation

Rachel and Shalom KalnickiThe Lanie & Ethel FoundationNational Endowment for theArts (NEA)

New York City Departmentof Cultural Affairs (DCA)

New York State Council onthe Arts (NYSCA)

Open Society FoundationsDimitri B. and RaniaPapadimitriou

Thurmond SmithgallFelicitas S. ThorneThe Winston Foundation

STOKOWSKI CIRCLE AnonymousThe Ann & Gordon GettyFoundation

Michael and Anne MarieKishbauch

Mary F. and Sam MillerThomas P. Sculco, MD andCynthia D. Sculco

The Spektor Family FoundationMr. and Mrs. Richard E.Wilson

BENEFACTORSAnonymousThe Amphion FoundationCatharine Wilder GuilesMrs. James P. WarburgTappan WilderThe Wilder Family

PATRONSAnonymous (2)The Atlantic PhilanthropiesDirector/Employee Designated Gift Program

Joel I. and Ann BersonThe David & Sylvia TeitelbaumFund, Inc.

Karen FinkbeinerGary M. GiardinaPeter L. KennardRoss LipmanDr. Pamela F. Mazur and Dr. Michael J. Miller

Lisa Mueller and Gara LaMarche

Mark Ptashne and Lucy Gordon

Patricia E. SaigoTides Foundation, on the recommendation ofKathryn McAuliffe andJay Kriegel

SUSTAINERSAnonymous (2)The Bialkin Family FoundationThomas and Carolyn P. CassillyEllen Chesler and Matthew J. Mallow

Veronica FrankensteinIrwin and Maya B. HoffmanIBM CorporationPatricia Kiley and Edward Faber

Jack Kliger and Amy GriggsArthur S. LeonardWilliam McCracken andCynthia Leghorn

Susan and Graham McDonaldMarcia H. MoorJoanne and Richard MrstikShirley A. MuellerTatsuji NambaJames and Andrea NelkinJames H. and Louise V. NorthDavid E. Schwab II and Ruth Schwartz Schwab

Janet Zimmerman SegalJoseph and Jean SullivanSiri von Reis

CONTRIBUTORSAnonymous Gary ArthurDr. Miriam Roskin Berger

AMERICAN SYMPHONY ORCHESTRA PATRONS

Ticket sales cover only a small percentage of the expenses for our full-size orchestral con-certs. The American Symphony Orchestra Board of Trustees, staff, and artists gratefullyacknowledge the following individuals, foundations, corporations, and government agen-cies who help us to fulfill Leopold Stokowski’s avowed intention of making orchestralmusic accessible and affordable for everyone. While space permits us only to list giftsmade at the Friends level and above, we value the generosity of all donors.

This project has been made possible with the support of Thomas P. Sculco, MD andCynthia D. Sculco.

Bette R. Collom and Anthony Menninger

Nicole M. de Jesús and Brian P. Walker

Anna and Jonathan HaasMax and Eliane HahnAshley HorneErica Kiesewetter Adnah G. and Grace W.Kostenbauder

Steve LeventisPeter A. Q. LockerAlan MallachJeanne MalterCharles McCracken, in memory of Jane Taylor

Sally McCrackenPeter Lars Sandberg andNancy Whitaker

Martha and David SchwartzPeter and Eve SourianAlan StenzlerRobert F. WeisWilliam C. Zifchak

SUPPORTERSAnonymous (9)American Express GiftMatching Program

Madelyn P. AshmanJohn and Joanne BaerBank of AmericaReina BarcanCarol Kitzes BaronRuth BaronMary Ellin BarrettDr. Robert BasnerDavid C. Beek and Gayle Christian

Simone BeldaYvette and Maurice BendahanAdria BenjaminDaniel and Gisela BerksonStephen M. BrownMarjorie BurnsMoshe BursteinIsabelle A. CazeauxRichard C. CellerRoger ChatfieldAlice and Theodore CohnLaura ConwesserPaul EhrlichRichard FarrisLynda FergusonMartha FerryLaura FlaxJeffrey F. FriedmanChristopher H. GibbsTodd Gordon and Susan FederMichael and Ilene GottsGreenwich House, Inc.

Nathan GrossJohn L. HaggertyLaura HarrisEric S. HoltzHudson Guild, Inc. Sara HunsickerGeorge H. HutzlerJewish Communal FundJosé JiménezRonald S. KahnRobert and Susan KalishRobert and Charlotte KellyDavid KernahanIrving and Rhoda KleimanCaral G. and Robert A. KleinPeter KrollKurt Rausch LLCDr. Nancy Leonard and Dr. Lawrence Kramer

Linda LopezElizabeth MateoStephen J. Mc AteerCarolyn McColleyAlan B. McDougallSally and Bruce McMillenClifford S. MillerJudith MonsonMartin L. and Lucy MillerMurray

Kenneth NassauMichael NasserKaren OlahRoger and Lorelle PhillipsDavid R. Pozorski and Anna M. Romanski

Anthony RichterRoland Riopelle and Leslie Kanter

Bonita RochePhyllis and Leonard RosenMichael T. RyanHenry SaltzmanSari Scheer and Samuel KopelGerald and Gloria ScorseGeorgi ShimanovskyBruce Smith and Paul Castellano

Gertrude SteinbergHazel C. and Bernard StraussHelen StudleyTart-Wald FoundationMr. and Mrs. Jon P. TilleyElisabeth F. Turnauer, M.D.Donald W. WhippleLarry A. WehrMichael P. A. WinnKurt WissbrunRichard J. WoodLeonard and Ellen ZablowAlfred Zoller

Myra and Matthew Zuckerbraun

FRIENDSAnonymous (4)Stephen BlumMona Yuter BrokawMrs. A. Peter BrownRufus BrowningJoan BrunskillCA TechnologiesLeonard ChibnickSoriya ChumConcerts MacMusicsonPatricia ContinoLois ConwayJudy Davis Thomas J. De StefanoSusanne DiamondRuth Dodziuk-Justitz andJozef Dodziuk

Barton DominusRobert DurstLee EvansExxonMobil FoundationDonald W. Fowle Helen GarciaBarbara GatesJune O. GoldbergGoldman, Sachs & Co. Robert GottliebMr. and Mrs. Sidney GreenbergJohn HallDonald HargreavesAndrée HayumRobert HerbertGerald and Linda HerskowitzDiana F. HobsonChristopher HollingerCyma HorowitzDrs. Russell and Barbara Holstein

Theresa JohnsonPeter KeilKaori KitaoPete KlostermanFrederick R. KochSeymour and Harriet KoenigMr. and Mrs. Robert LaPortePatricia LucaWalter LeviJudd LevyJosé A. LopezSarah LuhbyDr. Karen ManchesterRichard and MaryanneMendelsohn

Mark G. MiksicAlex MitchellChristine MunsonMichael Nassar

Since 1962 the American Symphony Orchestra has done something incredible: Present thewidest array of orchestral works, performed at exceptional levels of artistry—and offered atthe most accessible prices in New York City. Be they rare works or beloved masterpieces, noother Orchestra dares to present the same depth of repertoire every single season.

But the ASO has urgent need of your support. Production costs for full-scale, orchestral con-certs are ever increasing, while public philanthropy for the arts has decreased at an alarm-ing rate. As always, we keep to our mission to maintain reasonable ticket prices, whichmeans ASO depends even more than most other orchestras on philanthropic contributions.

That’s why we must call on you—our audiences, artists, and community partners, who can-not imagine a world without live Schubert, Strauss, Cage, or Ives.

Every dollar counts. Please donate at any level to safeguard the ASO’s distinctive program-ming now and ensure another season!

Annual FundAnnual gifts support the Orchestra’s creative concert series and educational programs. Inappreciation, you will receive exclusive benefits that enhance your concert-going experienceand bring you closer to the Orchestra.

Sustaining GiftsMake your annual gift last longer with monthly or quarterly installments. Sustaining giftsprovide the ASO with a dependable base of support and enable you to budget your giving.

Matching GiftsMore than 15,000 companies match employees’ contributions to non-profit organizations.Contact your human resources department to see if your gift can be matched. Matching giftscan double or triple the impact of your contribution while you enjoy additional benefits.

Corporate SupportHave your corporation underwrite an American Symphony Orchestra concert and enjoy themany benefits of the collaboration, including corporate visibility and brand recognition,

CHAMPION LIVE MUSIC: SUPPORT THE ASO!

National Endowment for the ArtsJane Chu, Chairman

New York State Council on the Arts withthe support of Governor Andrew Cuomoand the New York State Legislature

The City of New YorkThe Honorable Bill De Blasio, MayorNYC Department of Cultural Affairs inpartnership with the New York CityCouncil

Music plays a special part in the lives of many New York residents. The American SymphonyOrchestra gratefully acknowledges the support of the following government agencies thathave made a difference in the culture of New York:

Clarence W. Olmstead, Jr.and Kathleen F. Heenan

Jane and Charles PrussackBruce RaynorWayne H. ReaganMartin RichmanCatherine RoachJohn W. RoaneDr. and Mrs. Arnold RosenLeslie SalzmanNick SaywardNina C. and Emil Scheller

Harriet SchonDr. and Mrs. Herbert C.Schulberg

Sharon SchweidelThe Honorable Michael D.Stallman

Susan StempleskiPaul StumpfAndre SverdloveLorne and Avron TaichmanMargot K. TalentiMadeline V. Taylor

Mr. and Mrs. Jack UllmanGretchen ViedermanJames Wagner and Barry Hoggard

Renata and Burt WeinsteinVictor WheelerAnn and Doug WilliamDagmar and Wayne Yaddow

List current as of January 9, 2015

ASO’S SPRING SEASON AT CARNEGIE HALL

Choose three concerts and ALL SEATS in ALL LOCATIONS are just $25! Subscribers getgreat locations, big discounts, easy exchanges, and special perks at local restaurants. VisitAmericanSymphony.org/subscribe for more info, or call (212) 868-9ASO (9276).

Single tickets to each concert are $29–$54 and can be purchased at CarnegieHall.org, CarnegieChargeat (212) 247-7800, or the box office at 57th St. & 7th Ave.

SUBSCRIBE TO ASO

Sunday, April 19, 2015Music U.A celebration of Ivy League composers, including a worldpremiere with the Cornell University Glee Club and Chorus

Friday, May 29, 2015 American Variations: Perle at 100Two works by George Perle, alongside variations by Copland, Lukas Foss, and William Schuman

Thursday, March 26, 2015Opus PosthumousOnce lost, hidden, and forgotten works by Schubert,Bruckner, and Dvorák

employee discounts, and opportunities for client entertainment. We will be able to provideyou with individually tailored packages that will help you enhance your marketing efforts.For more information, please call 646.237.5022

How to DonateMake your gift online: www.americansymphony.org/support

Please make checks payable to: American Symphony Orchestra

Mail to:American Symphony Orchestra263 West 38th Street, 10th FloorNew York, NY 10018

For questions or additional information: Nicole M. de Jesús, Director of Development,646.237.5022 or ndejesus@americansymphony.org.