the richard b. fisher center for the performing arts at bard college

The Chocolate SoldierAUGUST 5–15, 2010

The Richard B. Fisher Center for the Performing Arts at Bard College

Chair Jeanne Donovan FisherPresident Leon BotsteinDirector Mark Tiarks

Presents

The Chocolate SoldierAn operetta by Oscar Straus

Directed and Choreographed by Will Pomerantz

Conducted by James Bagwell

Sung in English

Theater TwoAugust 5–15

Running time is approximately two hours and 25 minutes, with one 15-minute intermission.

English adaptation by Philip A. Kraus and Gregory Opelka. By arrangement with MusicAssociates of America, publisher and copyright owner.

This program is presented thanks to the generous support of Toni and Martin Sosnoff.

The use of recording equipment or the taking of photographs during the performance is strictly prohibited.

Meredith HudakMatthew KregerMadyson PageTyler PutnamDavid SchnellAlexandra Sweeton

Cast

Bumerli Andrew WilkowskeNadina Lynne AbelesAlexius Glenn Seven AllenMascha Camille ZamoraAurelia Madeleine GrayPopoff Jeffrey TuckerMassakroff Jason SwitzerStefan Matthew Kreger

Ensemble

Adam CavagnaroAndre ChiangTimothy CoombsJoseph FlaxmanDaniel ForanElena Gleason

Musicians

Roy Lewis ViolinJunah Chung ViolaAndy Kim CelloJeffrey Levine BassSato Moughalian FluteDan Spitzer ClarinetGili Starrett BassoonDominic Derasse TrumpetJacquelyn Adams Horn 1John Karschney Horn 2Andy Beall PercussionMargery Fitts Harp

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Set and Costume Designer Carol BaileyLighting Designer Allen HahnAssistant Music Director James BassiProduction Assistant Marianne Rendon

Stage Manager Anne DecheneAssistant Stage Manager Jenny LazarAccompanist Nino Sanikidze

Music arranged and prepared for this production by Jack Parton.

The producers wish to thank the Theatre Development Fund Costume Collection for its assistance with this production.

Scenes

Act I The interior of General Popoff’s home

Intermission

Act II The exterior of the Popoff homeAct III The interior and exterior of the Popoff home

Synopsis

Act INew members of the Bulgarian army are marching off to join the fight against theSerbians. Nadina, Aurelia, and Mascha—General Popoff’s daughter, wife, and niece—cheer the soldiers from the balcony of Nadina’s bedroom. The women speak admiringlyof Alexius, Nadina’s fiancée; to them he is the epitome of Bulgarian manhood. Aureliaand Mascha retire to bed, leaving Nadina alone, reflecting on her love for Alexius. Hercontemplation is interrupted by shouts and gunfire—and then by a man crashingthrough the door of her balcony. He is Lieutenant Bumerli, a fugitive. And, although he’sdressed in a Serbian uniform, he explains that he is actually a Swiss mercenary, with nointerest in fighting or warfare. In fact, he says, he carries chocolates, not bullets, in hisammunition pouch. Bumerli begs Nadina to hide him. She refuses, but he convinces herjust in time—Mascha arrives to announce that Bulgarian soldiers are in the house look-ing for an escaped Serbian soldier.

With assistance from Nadina, Bumerli manages to evade his pursuers. As he emergesfrom hiding, Mascha enters the room, soon followed by Aurelia. The women fawn overBumerli. They feed him, and then give him General Popoff’s bathrobe to wear. He fallsasleep as the ladies look on.

Act IIIt is a joyful day: the townspeople have gathered to welcome the triumphant army backhome, and the Popoff family is celebrating Nadina and Alexius’s nuptials—they are to be

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married today. Alexius happily recounts the stories of his recent triumphs in battle. Asthe general joins in enthusiastically, the women quickly realize that General Popoff andAlexius encountered a certain Swiss mercenary during their travels. In fact, the three ofthem drank together, and the Swiss officer told them a racy story about hiding in ayoung woman’s bedroom and escaping in her father’s bathrobe. Nadina, Aurelia, andMascha are furious at Bumerli’s lack of discretion (and they realize they might now haveto explain the strange coincidental fact of Popoff’s missing bathrobe). They are relieved,however, to know that he is back where he belongs, in Switzerland. After all, today isNadina and Alexius’s wedding day.

Bumerli appears, carrying the bathrobe. Nadina, Aurelia, and Mascha are flabber-gasted—and panicked at the sight of the robe. Mascha distracts Alexius while Nadinaand her mother conjure up a way to return the robe. There is consternation over a pho-tograph that Bumerli left in the pocket of the robe. Nadina storms out. Mascha hints toAlexius that Nadina may be in love with someone else. Now Alexius storms out.

The townspeople arrive, expecting a wedding. Massakroff, one of the guests, recognizesBumerli and accuses him of being the fugitive. The story comes out. Alexius refuses to gothrough with the marriage.

Act III

In her bedroom some time later, Nadina is writing an angry letter to Bumerli, telling himshe never wants to hear from him again. He appears on her balcony, and tells her that heknows she loves him. She denies it, showing him the letter. Massakroff enters toannounce that Alexius has challenged Bumerli to a duel, which he accepts. Nadina pan-ics, and begs her father to intervene. Alexius assures Mascha that Bumerli will neveraccept, and pledges that he and Mascha will soon be wed.

Nadina arrives, and reports that Bumerli has accepted the duel. Alexius, now panickedhimself, refuses to fight. General Popoff decides to take matters into his own hands;because his daughter’s honor has been compromised, he declares, a wedding will takeplace as scheduled. It’s not quite the wedding that was originally planned, however.Nadina and Bumerli agree to marry, and they join Mascha and Alexius in a double wedding that the townspeople are only too happy to celebrate.

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Director’s Note

George Bernard Shaw carefully chose his title for Arms and the Man, the play that is thesource material for The Chocolate Soldier. One of Shaw’s few punning titles, it potentlycaptures Shaw’s suspicion of those who overromanticize love, war, and love of war.Although Shaw had intended to write a savage satire of militarism, nationalism, jingo-ism, and hypocrisy, he would ultimately group the piece with those he called his “PlaysPleasant” (and yes, he labeled the other group his “Plays Unpleasant”). This attempt tobalance comedy and social critique was not a success in the playwright’s eyes: to his dis-may, the opening-night audience roared with laughter, seemingly unhampered by (orunaware of) Shaw’s social critique. When Shaw took the stage to thunderous cheers andapplause during the curtain call, a few men in the front row let loose with vociferousboos. Shaw quieted the crowd and, spreading his hands, directed his remarks to thenaysayers, stating, “Gentlemen, I could not agree with you more, but who are we againstso many?” Thus began the life of what has since been one of Shaw’s most-performedcomedies.

Shaw had a lifelong aversion to the idea of any of his plays being set to music. (Ironically,he began his professional writing career as a music critic.) He made a series of demandsthat had to be met before he would agree to allow Arms and the Man to be adapted intoan operetta by writers Rudolf Bernauer and Leopold Jacobson and composer OscarStraus (more on him later). One of Shaw’s provisos was that the piece would have to beadvertised as a “parody” of his play. This request was honored, as was his request that thetitle and the characters’ names be changed. He also demanded this his name not appearanywhere in connection with the enterprise, and finally, he said that he would not acceptany monies from any production of the new property. All these conditions were agreedto with alacrity, with the final item getting special attention.

I would argue that although Bernauer, Jacobson, and Straus agreed to advertise theirmusical entertainment as a parody, a parody is not what they ended up creating. Whatthey did write is a wonderful marriage of Shavian wit and Viennese fin-de-siècle style.Bernauer and Jacobson were faithful to Shaw’s plot. And Straus (who dropped one “s”from the end of his last name to make it clear he was not of the famous Viennese fam-ily of composers), inspired by the material, wrote some of his most engaging and endur-ing music. The operetta went on to become an international success, with two longBroadway runs—much to the chagrin of Shaw’s agent, who forbade him any furthernegotiating of contracts, at least where money was concerned.

Oscar Straus (1870–1954) studied music in Berlin under Max Bruch and first became anorchestral conductor at the Über-Brettl Cabaret. He would ultimately write 500 cabaretsongs, chamber music, waltzes, ballets, and choral works. When Franz Lehar’s The MerryWidow premiered in 1905, to great success, Straus is said to have remarked, “Das kann ichauch!” (“I can do that too!”) He went on to write several successful operettas, as well asnumerous film scores, having fled to Hollywood soon after the Anschluss. After the war,he returned to Austria, and he died in the resort town of Bad Ischl.

Working on this production of The Chocolate Soldier has given me the chance to redis-cover the inspired craftsmanship, soaring melodies, and lush tonalities that madeViennese operetta one of the most popular stage forms of all time. It influenced all theater music that followed it, and, I would argue, continues to wield a considerable pullon audiences today as they succumb to the sophistication and artistry of wonderfulcomposers such as Oscar Straus.

Will PomerantzJuly 2010

Annandale-on-Hudson, New York

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Notes on the Program

Ruritania, G. B. Shaw, and The Chocolate Soldierby William Everett

During the “Silver Age” of Viennese operetta—the first quarter of the 20th century—audiences were transported to fanciful milieus where they delighted in the romanticand comic antics of colorfully dressed locals and dim-witted public officials. GloriousViennese waltzes, evocations of created ethnic music and dances, and witty dialoguecharacterized the immensely popular genre. The finest of these works were quicklytranslated into English, allowing theatergoers in America and Britain to partake in thisengaging repertory.

Ruritania became the collective name for the imagined Balkanesque settings typical ofmany of these operettas. The evocative title comes from the illusory setting of AnthonyHope’s novel The Prisoner of Zenda (1894). At the turn of the 20th century, as the Balkanregion was being discovered through travelogues and journalistic literature, truth andimagination became inseparable in Ruritanian creations. Fantasy and veracity were deli-cately balanced, allowing for social and political commentary in musical realms thatwere simultaneously exotic and yet somewhat familiar.

Franz Lehár’s 1905 operetta Die lustige Witwe (The Merry Widow) exemplifies this para-digm. Hanna, a wealthy widow from Pontevedro (a thinly disguised Montenegro), mustmarry a man from her country in order to keep it from going bankrupt. The plot gaveLehár the opportunity to create music of an exotic Ruritanian region (Hanna’s “Lilia”),while also filling the score with the waltz, the archetype of Viennese musical identity. Theoperetta also implied that Balkan lands, such as Pontevedro, were financially insecureand needed to rely on large states, such as the Austro-Hungarian Empire, for their eco-nomic stability. This less-than-subtle subtext reinforced the perceived superiority of theViennese over non-Austrian parts of the empire.

Likewise, in Oscar Straus’s 1907 Ein Walzertraum (A Waltz Dream), Princess Hélène ofFlausenthurn (another imaginary kingdom) is engaged to Lieutenant Niki, a Vienneseofficer. He, though, is obsessed with Franzi, leader of an all-female Viennese orchestra.Niki ultimately marries the princess, who has learned the operetta’s central musicalnumber, the glorious waltz “Leise, ganz leise” (“Gentle, completely gentle”), as a symbolof her love for the Viennese lieutenant. Ein Walzertraum was second only to Die lustigeWitwe in popularity among Viennese audiences.

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Following this success, Leopold Jacobson, the librettist for Ein Walzertraum, thought ofcreating, with Straus, a musical version of George Bernard Shaw’s satirical play Arms andthe Man. In the story, Raina, the daughter of a Bulgarian general, falls in love withCaptain Bluntschli, a Swiss mercenary working for the Serbs during the Serbo-BulgarianWar of 1885. Early on, though, she thinks she is in love with Sergius, a pompous Bulgarianofficer. Shaw, in his play, attacks familiar 19th-century concepts of the noble military heroand romantic idealism. Sergius, who poses as a battlefield champion, is indeed inept, andthe more valiant of Raina’s suitors turns out to be Bluntschli, the heir to a Swiss hotelconglomerate who carries chocolate rather than cartridges. With its Balkan-Ruritaniansetting, love triangle, and mocking characterizations of Bulgarian heroism, Shaw’s playechoes tropes of Viennese operetta.

Shaw’s self-described “Pleasant Play” opened at the Avenue Theatre in London on April21, 1894. Audiences and critics alike were ecstatic in their response. However, when theGerman translation, Der tapfere Soldat (The Brave Soldier), opened in Vienna more thana decade later (on November 14, 1908, at the Theater an der Wien), the reception wasquite the opposite: cool, due to escalating conflict in the Balkans. The original run inVienna lasted a mere 62 performances. Ruritanian fiction was melding into real-lifepolitical turmoil; the Balkan setting was no longer escapist fancy. Furthermore, the satir-ical nature of the German title was not immediately obvious, so the operetta was alsobilled as Der Praline-Soldat (The Praline Soldier), referring to its candy-loving male lead.This led the way to The Chocolate Soldier, the title used for the English translation.

Producer F. C. Whitney suspected, that as an adaptation of Shaw, Straus’s operetta wouldfind an appreciative audience in the English-speaking world. He secured the rights for anEnglish-language production and engaged Liverpool-born Stanislaus Stange to translatethe libretto and lyrics. The Chocolate Soldier opened to elated Broadway audiences onSeptember 13, 1909, at the Lyric Theatre, where it became the biggest success of the sea-son and played a total of 295 performances. It opened at London’s Lyric Theatre the fol-lowing year, where it enjoyed a substantial 500-performance run. Tours and revivals keptthe work in the public’s eye and ear for decades.

Adhering to the dictates of Viennese operetta, the musical centerpiece of The ChocolateSoldier is a waltz. Nadina introduces “My Hero” early in Act I, singing it dreamily to a pic-ture of her supposed beloved, Alexius. Its refrain, marked “slow waltz tempo,” remainsone of the most recognizable operetta waltzes because of its three languid openingnotes, all on the same pitch. In an orthodox operetta, Nadina would sing reprises of thewaltz with Alexius, and the melody would become an expression of their mutual love.

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But just as Shaw transgresses norms regarding his depiction of a brave soldier, Strausalters the expected musical dramaturgy for a centerpiece waltz. “My Hero” indeedreturns, but in unexpected dramatic contexts. One of the most effective reprises occursin a trio for Alexius, Nadina, and Bumerli during the finale. In this passage, Nadina pub-licly changes the focus of her affection from Alexius to Bumerli. Alexius becomes a “zero,”according to Stange’s translation, while Bumerli assumes the role of “hero,” all to thestrains of the waltz refrain.

Straus employs the recognizable figure of three repeated notes as a leitmotif forNadina’s romantic thoughts throughout the score. (He was keenly aware of Wagner,even creating a spoof, Die lustigen Nibelungen [The Merry Nibelungs], in 1904.) The firstnotable appearance occurs in the trio Nadina sings with her mother and cousin justbefore “My Hero,” during which the three women fantasize about men. The motif alsoappears in “The Letter Song”; here, Nadina is reticent to admit that she loves Bumerli, butthe recurrence of three emphatic notes indicates her true feelings. The recurring three-note motif also centers the score in a folk-inspired aesthetic, hinting at a rustic, non-Viennese flavor.

In an operetta with military characters, marches are as obligatory as waltzes. The open-ing number is indeed a march, and Alexius tells of his (imagined) heroic deeds in anothermarch, “Alexius the Brave.” General Popoff, Nadina’s father, interrupts to give his broaderperspective on the war as the music shifts to a polka. Straus and Jacobson reinforceShaw’s satirical view of wartime heroics by setting Popoff’s remarks to an effervescentlight-hearted dance.

But Straus certainly does not limit himself to waltzes, marches, and polkas. Delightfulduets, sparkling trios, and carefully crafted ensembles fill The Chocolate Soldier. Especiallymemorable musical moments include the contrapuntal refrain of the title song, a comicduet for Nadina and Bumerli; the exotic and comically menacing Bulgarian soldiers’entrance in “Seek the Spy”; and the unforgettable sextet “The Tale of the Coat,” duringwhich Straus aptly controls the dramatic pacing of the scene through musical means.

In 1940, MGM wanted to add The Chocolate Soldier to its film operetta catalog. The stu-dio could not reach an agreement with Shaw concerning rights, so Straus’s score wasappended to the plot of Ferenc Molnar’s play Testor, which Philip Moeller had adapted asThe Guardsman. The story concerned Viennese singers Maria and Karl Lang. Karl testsMaria’s loyalty by posing as a Russian man and trying to seduce his own wife. Scenesfrom The Chocolate Soldier are interspersed throughout the film, with Nelson Eddy and

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Risë Stevens singing rapturously on an Art Deco set. “My Hero” assumes musical primacyin the film, just as it did in the original stage production. The famous refrain is the firstmusic heard during the opening credits, and performances of it initiate and provide finalresolution to the film’s story line. Those familiar only with the film may not recognize theplot of the stage version of The Chocolate Soldier, but they will surely be acquainted withits hallmark feature: Straus’s radiant musical score.

William Everett is professor of musicology and associate dean for graduate studies andcurriculum at the University of Missouri–Kansas City Conservatory of Music and Dance.

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Who’s Who

Will Pomerantz DirectorWill Pomerantz directed the much-loved 2008 SummerScape production of George andIra Gershwin’s Of Thee I Sing. He has directed operas and new musicals across the coun-try and abroad, and developed new plays with such theaters as Playwrights Horizons, ThePublic Theatre, Hartford Stage, New York Theatre Workshop, Signature Theatre,Williamstown Theatre Festival, and the Guthrie. He has directed world premieres by JohnGuare, David Auburn, Neil LaBute, Craig Lucas, Kia Corthron, David Lindsay-Abaire,Stephen Belber, Linda Cho, and Kira Obolensky. In addition to his work on new plays,Pomerantz has directed texts by Chekhov, Ibsen, Strindberg, Shakespeare, Shaw, andSophocles. Pomerantz has been director-in-residence for Culture Project, guest artist forThe Juilliard School, the Boris Sagal Fellow at Williamstown, and associate artist for EpicTheatre Ensemble. His productions have won Helen Hayes and Lucille Lortel Awards, anda Drama Desk nomination.

James Bagwell ConductorJames Bagwell has been director of choruses for the Bard Music Festival since 2003. Inaddition to conducting The Chocolate Soldier, he is the chorus master for theSummerScape 2010 production of Franz Schreker’s opera The Distant Sound (July 30 –August 6 in the Sosnoff Theater). In 2009 he was appointed music director of theCollegiate Chorale and principal guest conductor of the American Symphony Orchestra.He has prepared the Concert Chorale of New York for a number of appearances, mostnotably the Mostly Mozart Festival. He has taught at Bard College since 2000, where heis director of the Music Program and co-director of the graduate Choral ConductingProgram at the Bard College Conservatory of Music.

Andrew Wilkowske BumerliBaritone Andrew Wilkowske’s recent engagements include the role of Noah in the 2007

world premiere of Ricky Ian Gordon’s The Grapes of Wrath in 2007 with Minnesota Opera.He sang the role again earlier this year, with the Collegiate Chorale in Carnegie Hall. Hisother recent performances include Gepetto in the U.S. premiere of Jonathan Dove’s TheAdventures of Pinocchio, with Minnesota Opera; and a Scientist in the U.S. premiere ofHoward Shore’s The Fly, with Los Angeles Opera. His upcoming roles include Figaro in Ilbarbiere di Siviglia with Opera on the James, and the title role in Ullmann’s The Emperorof Atlantis with Boston Lyric Opera.  

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Lynne Abeles NadinaSoprano Lynne Abeles recently sang the role of Sophie in Tobias Picker’s Emmeline andVeronique in Thomas Pasatieri’s Hotel Casablanca, both at Dicapo Opera Theatre. Lastseason the New York Times and Wall Street Journal praised her performance as MaryWarren in Robert Ward’s The Crucible. She made her international debut in Hungary withthe same production, which was broadcast worldwide on the Mezzo Arts TelevisionChannel. Abeles recently made her Carnegie Hall debut as a featured soloist in theMusical Explorers program at Zankel Hall. She also attended Ash Lawn Opera’s programfor young artists, and the Israeli Vocal Arts Institute. Abeles studied theater at theUniversity of Southern California before completing her music and theater degrees atthe University of Miami.

Madeleine Gray AureliaMadeleine Gray’s recent performances include the Witch in Hansel and Gretel with Operaon the James, Emilia in the Opera Roanoke production of Otello, and Mama Lucia inCavalleria rusticana with Washington National and with Toledo Opera. A favorite atBaltimore Opera, her roles there have included Berta in Il barbiere di Siviglia, Marcellinain Le nozze di Figaro, Antonia’s Mother in Les contes d’Hoffmann, and Anna in MariaStuarda. Her concert appearances include performances with the York and Quad Citysymphonies, the National Chorale at Avery Fisher Hall, and the National Cathedral ChoralSociety. In 2011, she will be the mezzo soloist in a performance of Mahler’s EighthSymphony at the Sydney Opera House.

Camille Zamora MaschaThis season, soprano Camille Zamora’s performances have included Ilia in Idomeneo atBoston Lyric Opera, Elle in La voix humaine at Auckland (New Zealand) Opera, ClaraSchumann in Twin Spirits (with Sting and Trudie Styler) at Lincoln Center, and recitalswith Carnegie Hall’s Musical Connections series and New York Festival of Song’s Nextseries. Recent career highlights include Ermione in Oreste at the Spoleto Festival, Despinain Così fan tutte at Glimmerglass Opera, and Amore/Valetto in L’incoronazione di Poppeaat Houston Grand Opera. She has appeared with the Orchestra of St. Luke’s and theLondon Symphony Orchestra, and Boston Festival Orchestra, and in live recital broadcastson NPR, BBC Radio, and Deutsche Radio.

Glenn Seven Allen AlexiusGlenn Seven Allen’s 2009–10 season credits include Alfredo in La traviata at Long IslandOpera, Rodolfo in William Bolcom’s A View from the Bridge with Vertical Player Repertory

Opera, the Duke in Rigoletto at Bleecker Street Opera and at New York Lyric Opera, andRodolfo in La bohème with Cardona Theater. His Broadway credits include The Light in thePiazza at Lincoln Center Theatre, and Girl Crazy with City Center Encores. Allen was afinalist in the 2009–10 Merola Opera Program Competition. He has a B.F.A. in musicaltheater from the University of Michigan and an M.F.A. in acting from the University ofWashington.

Jeffrey Tucker PopoffBass Jeffrey Tucker recently made his New York City Opera debut as Judge III in MargaretGarner, followed by an appearance as Lesbo in Agrippina and, this season, as Sirocco inL’étoile. In 2008 Tucker was invited back to Sarasota Opera to perform Sparafucile inRigoletto and Loredano in I due foscari. He returns to Sarasota Opera in 2011 to performthe role of Reverend John Hale in The Crucible. Other highlights of recent seasons includethe Sacristan in Tosca and the Grand Inquisitor in Don Carlos with Sarasota; Rocco inFidelio with Opera Roanoke; Sparafucile with the Opera Company of North Carolina;Pistola in Falstaff with Toledo Opera; and the roles of Speaker/Death in Der Kaiser vonAtlantis with the Greenwich Music Festival. Tucker returns to Toledo Opera next seasonfor The Rake’s Progress.

Jason Switzer MassakroffAmerican baritone Jason Switzer sang the role of Merú in the SummerScape 2009 pro-duction of Meyerbeer’s Les Huguenots. He made his professional debut in 2005 withCentral City Opera, singing the role of Hel Helson in Paul Bunyan. Soon after this per-formance, he made his debuts with both Utah Opera and Opera Tampa in the role ofCapulet in Roméo et Juliette. Switzer sang the role of Lord Henry Wotton in The Picture ofDorian Gray in 2007, and he was Theodore Weiss in last year’s world premiere of PeterWestergaard’s The Always Present Present, which were both produced by Center CityOpera Theater in Philadelphia. 

Matthew Kreger StefanMatthew Kreger gave a “winning” (New York Times) performance as John Styx in BronxOpera’s 2008 staging of Offenbach’s satirical operetta Orpheus in the Underworld. Hehas performed on stage with Sigourney Weaver, James Earl Jones, Robert Goulet, andPaul McCartney, and at venues including Lincoln Center, Carnegie Hall, and theEdinburgh Festival in Scotland. Kreger created the role of Hosie Roach in the world pre-miere of Carlisle Floyd’s Cold Sassy Tree at Houston Grand Opera, which was released onAlbany Records.

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Carol Bailey Set and Costume DesignerCarol Bailey has previously collaborated with Will Pomerantz for Bard SummerScape’s2008 Of Thee I Sing, the Theatreworks/USA production of Great Expectations (withKathleen Chalfant), Ma-Yi Theater Company’s production of Sung Rno’s play Wave, andLandscape of the Body for the Juilliard Drama Theater. Her opera commissions includeproductions for the Royal Danish Opera, New York City Opera, Chicago Opera Theater,Spoleto USA Festival, Glimmerglass, Opera Zuid, San Francisco Opera Center, and L’OpèraFrançais de New York. Her designs for theater and dance have been seen in New York Cityand regionally throughout the United States as well as in Munich and Kassel, Germany.

Allen Hahn Lighting DesignerAllen Hahn has designed many previous productions with Will Pomerantz and CarolBailey. He has also worked at City Opera, Santa Fe Opera, Glimmerglass, the Spoleto USAFestival, and internationally for companies and festivals in the Netherlands, Spain,France, Germany, and the United Kingdom. He has designed world-premiere operas atJuilliard and at the Royal Danish Opera. Several of his productions were selected for exhi-bition in the 2007 Prague Quadrennial of Performance and Space, and he is the lightingdesign curator for the 2011 Quadrennial. He has worked with artist Tony Oursler oninstallations at the Metropolitan Museum of Art and ARoS Kunstmuseum in Denmark.

James Bassi Assistant Music DirectorJames Bassi’s credits as a music director include James Lapine’s Twelve Dreams at LincolnCenter Theatre; I and Albert and The Grand Tour, both at the York Theatre; Pirates ofPenzance at South Street Seaport; Ragtime, Camelot, and A Little Night Music at WhitePlains Performing Arts Center; and Side By Side by Sondheim and A Day in Hollywood / ANight in the Ukraine at the New Harmony Theatre. Bassi has played concerts for UteLemper, Judy Kaye, Jessye Norman, and Deborah Voigt. His composition Petrarch Danceswas commissioned and premiered by the Orchestra of St. Luke’s. Bassi has been awardedcomposition grants by the NEA, Meet the Composer, and the New York Foundation forthe Arts.

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Leadership SupportEmily H. Fisher and

John AlexanderJeanne Donovan FisherMartin and

Toni Sosnoff FoundationMr. and Mrs. James H. Ottaway Jr.Richard B. Fisher

Endowment FundMartin T. and Toni Sosnoff

Golden CircleAnonymousCarolyn Marks BlackwoodStefano Ferrari and Lilo ZinglersenFMH FoundationLinda Hirshman and

David ForkoshThe Marks Family FoundationMillbrook Tribute Garden, Inc.

National Endowment for the Arts AmericanMasterpieces: Dance

New England Foundation for the Arts

Senator Stephen M. SalandThaw Charitable TrustThendara FoundationFelicitas S. ThorneTrue Love Productions

ProducerFiona Angelini and Jamie WelchArthur F. and Alice E. Adams

FoundationChartwells School and University

Dining ServicesBarbara Ettinger and Sven HusebyThe Ettinger Foundation, Inc.Alexander Fisher MFA ’96

Catherine C. Fisher and Gregory A. Murphy

R. Britton and Melina FisherThe Jerome Robbins FoundationKey Bank FoundationMichael Del Giudice and

Jaynne KeyesHarvey and Phyllis LichtensteinChris Lipscomb and

Monique SegarraThe Maurer Family

Foundation, Inc.Mid Atlantic Arts FoundationMillbrook Vineyards and WineryNational Dance Project of the

New England Foundation for the Arts

National Endowment for the Arts(NEA)

New England Foundation for the Arts

New York State Council on the Arts(NYSCA)

Dimitri B. and Rania PapadimitriouDrs. M. Susan and Irwin RichmanIngrid RockefellerDavid E. Schwab II ’52 and

Ruth Schwartz Schwab ’52

Allan and Ronnie Streichler

PatronHelen and Roger E. AlcalyKathleen and Roland Augustine

Mary I. Backlund and Virginia CorsiSandra and A. John Blair IIIAnne Donovan Bodnar and

James L. BodnarAnne and Harvey BrownMr. and Mrs. Gonzalo de las HerasBarbara and Richard DebsTambra DillonDirt Road Realty, LLCGordon Douglas Ines Elskop and Christopher ScholzElizabeth W. Ely ’65 and

Jonathan K. GreenburgAlan and Judith FishmanSusan Fowler-GallagherPeter C. FrankGE FoundationGideon and Sarah Gartner

Foundation of the FidelityCharitable Gift Fund

Sally and William HambrechtThe Harkness Foundation

for Dance, Inc.Eliot D. and Paula K. HawkinsHSBC Philanthropic ProgramsDr. Harriette KaleyMr. and Mrs. George A. KellnerDr. Barbara KennerRuth Ketay and Rene SchnetzlerJane and Daniel LindauLow Road FoundationStephen Mazoh and Martin KlineElizabeth I. McCannJohn McNallyW. Patrick McMullan and

Rachel McPhersonStuart Breslow and Anne MillerStanley and Jane MossKathleen O’GradyAlexandra OttawayQuality Printing Company

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Stephen MillikinCarlos Gonzalez and

Katherine StewartDr. Eva GrieppBryanne and Thomas HamillMel and Phyllis HeikoRachel and Dr. Shalom Kalnicki Helene L. and Mark N. KaplanDemetrios and

Susan KarayannidesKassell Family Foundation of the

Jewish Communal FundBryce Klontz

We honor the late Richard B. Fisher for his generosity and leadership in building and supporting this superb center that bears his name by offering outstanding arts experiences. We recognize and thank the following individuals, corporations, and foundations that share Dick’s and our belief in presenting and creating art for theenrichment of society. Help us sustain the Fisher Center and ensure that the performing arts are a part of our lives. We encourage and need you to join our growing list of donors. (The list reflects donations received in the last 12 months.)

Donors to the Fisher Center

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John KnottLaura KuhnGeraldine and

Lawrence LaybourneCynthia Hirsch Levy ’65

Barbara L. and Arthur MichaelsAndrea and Kenneth L. MironSamuel and Ellen PhelanChris Pomeroy and Frank FrattaroliMelanie and Philippe RadleyWilliam Ross and John LongmanCatherine M. and

Jonathan B. SmithJohn Tancock SupporterLucy and Murray AdamsMartina Arfwidson and

David WeissHarriet Bloch and Evan SakellariosCharles BlythPhyllis BrazielKay Brover and Arthur BennettGary Capetta and Nick JonesEileen and Michael CohenAnne CottonDr. Robert CrowellBruce CuttlerEmily M. Darrow and

Brendon P. McCraneGeorge and Marsha DavisLeslie and Doug DienelAmy K. and David DubinK. F. Etzold and Carline Dure-EtzoldPatricia FalkMartha J. FleischmannFrances A. and Rao GaddipatiHelena and Christopher GibbsGilberte Vansintejan Glaser and

William A. GlaserMiriam and Burton GoldNan and David GreenwoodAlexander Grey and David CabreraRosemary and Graham HansonJanet and William HartSue HartshornLars Hedstrom and Barry JuddHedstrom and Judd, Inc.Darren HenaultDr. Joan Hoffman and

Syd SilvermanSusan and Roger KennedyHarold KleinSeymour and Harriet KoenigRose and Josh KoplovitzDanielle Korwin and

Anthony DiGuiseppeJames KraftElissa Kramer and Jay H. NewmanRamone LascanoHelena LeeFred and Jean LeventhalMimi LevittSusan LorenceCharles S. MaierMark McDonaldBibhu MohapatraSybil Nadel

Alfred M. Buff and Lenore Nemeth Elizabeth J. and Sevgin OktaySky Pape and Alan HoughtonMargrit and Albrecht PichlerMark PodlaseckLen Floren and Susan RegisArlene RichardsNicole RingenbergWilliam SiegfriedElisabeth F. TurnauerMish TworkowskiSeymour WeingartenBarbara Jean WeyantArthur WeyheEarnest WurzbachDesi and Ben ZalmanFriendAnonymousJohn J. Austrian ’91 and

Laura M. AustrianSybil BaldwinAlvin and Arlene BeckerFrederick BerlinerHoward and Mary BellRichard L. BensonDr. Marge and Edward BlaineTimothy BonticouWalter BrightonJeanne and Homer ByingtonMaryAnn and Thomas CaseDaniel Chu and Lenore SchiffMr. and Mrs. John CioffiIrwin and Susan CohenEvelyn and James ConstantinoJean T. CookAbby H. and John B. DuxGordon DouglasDavid Ebony and Bruce MundtRuth EngArthur FenaroliDr. Marta P. FlaumMary and Harvey FreemanEdward FriedmanJoseph W. and Joyce GelbMarvin and Maxine GilbertNigel GillahEsther GlickMr. and Mrs. Floyd GlinertJudy R. and Arthur GoldRosalind GolembeStanley L. GordonFayal Greene and David J. SharpeSheryl GriffithElise and Carl HartmanSue HartshornJames HaydenDorothy and Leo HellermanDelmar D. HendricksNeil IsabelleRyland JordanJohn KalishEleanor C. KaneNathan M. Kaplan Linda L. KaumeyerMartha Klein and David HurvitzJames KraftRobert J. Kurilla

James LackMichael and Ruth LammJeffrey LangGerald F. LewisSara F. Luther and John J. NeumaierJohn P. MackenzieHermes Mallea and Carey MaloneyFlorence MayneHerbert MayoMarcus de Albuquerque Mello ’04

Dr. Naomi MendelsohnEdie Michelson and

Sumner MilenderJanet C. MillsMilly Sugarman Interiors, Ltd. Roy MosesArvia MorrisRoy MosesJoanne and Richard MrstikMartha NickelsDouglas Okerson and

William WilliamsRobert M. OsborneDavid Pozorski and Anna RomanskiLeopold Quarles van UffordSerena RattazziYael Ravin and Howard SacharGeorge and Gail Hunt ReekeHarry ReingoldBarbara B. ReisPeter and Linda RubensteinHeinz and Klara SauerBarbara and Dick SchreiberEdward and Marion ScottJames E. ScottSusan SeidelFrank SelfWilliam ShumElisabeth A. SimonPeter SipperleyJoel SteinDr. Sanford B. SternliebMark SuttonLuRaye TateJaneth L. ThoronTiffany & Co.Linda Steinitz VehlowDr. Siri von ReisJoan E. WebermanDr. and Mrs. Stanley WeinstockBarbara K. and Roger H. WesbyWendy and Michael WestermanNaomi J. Miller and

Thomas M. WilliamsWilliams Lumber and

Home CentersAlbert L. YarashusRobert and Lynda YoumansRena Zurofsky

Current as of July 14, 2010

17

BenefactorHelen and Roger E. AlcalyThe Ann and Gordon Getty

Foundation Leonie F. BatkinMichelle ClaymanJoan K. DavidsonMr. and Mrs. Gonzalo de las HerasJohn A. Dierdorff Elizabeth W. Ely ’65 and

Jonathan K. Greenburg FMH Foundation Eliot D. and Paula K. HawkinsLinda Hirshman and David Forkosh Homeland Foundation, Inc. HSBC Philanthropic ProgramsAnne E. Impellizzeri The J. M. Kaplan Fund, Inc.Susan and Roger KennedyBarbara KennerAmy and Thomas O. MaggsMarstrand FoundationJoanna M. Migdal The Mrs. Mortimer Levitt

Endowment Fund for thePerforming Arts

National Endowment for the Arts(NEA)

New York State Council on the Arts(NYSCA)

Dimitri B. and Rania PapadimitriouPeter Kenner Family Fund of the

Jewish Communal Fund Ralph E. Ogden Foundation, Inc Drs. M. Susan and Irwin RichmanSantander Central Hispano David E. Schwab II ’52 and

Ruth Schwartz Schwab ’52

H. Peter Stern and Helen Drutt English

Margo and Anthony ViscusiDr. Siri von ReisThe Wise Family Charitable

Foundation Elaine and James WolfensohnBetsey and E. Lisk Wyckoff Jr. PatronABC Foundation Constance Abrams and Ann VerberEdwin L. Artzt and

Marieluise HesselMr. and Mrs. Ronald AtkinsKathleen and Roland Augustine Gale and Sheldon Baim Elizabeth Phillips Bellin and

Marco M. S. Bellin Dr. Miriam Roskin Berger ’56

Helen ’48 and Robert Bernstein Helen and Robert Bernstein

Philanthropic Fund of theJewish Communal Fund

Anne Donovan Bodnar and James L. Bodnar

Sarah Botstein and Bryan DoerriesLydia Chapin Constance and David C. Clapp J. T. Compton Jane Cottrell and Richard KortrightArnold J. ’44 and Seena DavisBarbara and Richard DebsMichael Del Giudice and

Jaynne KeyesRt. Rev. Herbert A. and

Mary Donovan Amy and David DubinRobert C. Edmonds ’68

Helena and Christopher Gibbs Kim Z. GoldenCarlos Gonzalez and

Katherine Stewart

Barbara K. HoganFrederic K. and Elena Howard Rachel and Dr. Shalom KalnickiHelene and Mark N. Kaplan Belinda and Stephen KayeMr. and Mrs. Thomas W. Keesee IIIMr. and Mrs. George A. Kellner Klavierhaus, Inc.Seymour and Harriet KoenigAlison and John LankenauEdna and Gary LachmundGlenda Fowler Law and Alfred LawBarbara and S Jay Levy Cynthia Hirsch Levy ’65

Patti and Murry LiebowitzMartin and Toni Sosnoff

FoundationStephen Mazoh and Martin KlineW. Patrick McMullan and

Rachel McPhersonMetropolitan Life Foundation

Matching Gift ProgramAndrea and Kenneth L. MironKen MortensonMartin L. Murray and

Lucy Miller Murray Alexandra OttawayEve ProppDr. Gabrielle H. Reem and

Dr. Herbert J. Kayden Drs. Morton and Shirley Rosenberg Blanche and Bruce Rubin Ines Elskop and Christopher Scholz Mr. and Mrs. Howard Solomon Martin T. and Toni Sosnoff Dr. S.B. Sternlieb Stewart’s ShopsAllan and Ronnie StreichlerElizabeth Farran Tozer and

W. James Tozer Jr.

Friends of the Bard Music Festival

Events in this year’s Bard MusicFestival are underwritten in partby special gifts fromBettina Baruch Foundation Jeanne Donovan FisherMimi LevittJames H. Ottaway Jr.Felicitas S. ThorneFestival Underwriters

James H. Ottaway Jr.Opening Concert

Mimi LevittOpening Night DinnerGuest ArtistsFilms

Homeland FoundationBard Music Festival Preview

at Wethersfield

Roger E. and Helen AlcalyFestival Program

Margo and Anthony ViscusiPreconcert Talks

Joanna M. MigdalPanel Discussions

Furthermore: A Program of the J. M. Kaplan FundFestival Book

Paula and Eliot HawkinsChristina Mohr and

Matthew GuerreiroBetween the Concerts Supper

National Endowment for the ArtsNew York State Council on the ArtsLeadership SupportMimi LevittThe Mortimer Levitt FoundationMr. and Mrs. James H. Ottaway Jr.

Golden CircleBettina Baruch FoundationJeanne Donovan FisherJane W. Nuhn Charitable TrustDenise S. Simon and

Paulo Vieira da CunhaThe Andrew W. Mellon FoundationFelicitas S. ThorneMillie and Robert WiseThe Wise Family Charitable

Foundation

Donors to the Bard Music Festival

18

Tozer Family Fund of the New York Community Trust

Aida and Albert WilderIrene ZedlacherWilliam C. Zifchak and

Margaret EvansSponsorAnonymousAna AzevedoMargaret and Alec BancroftEverett and Karen CookPhillip S. Cooke Blythe Danner ’65

Dasein FoundationWillem F. De Vogel and

Marion Davidson Cornelia Z. and Timothy Eland Shepard and Jane Ellenberg Ellenberg Asset

Management Corp. Field-Bay FoundationLaura FlaxDeborah and Thomas Flexner Donald C. FresneFrancis Finlay and Olivia J. FussellSamuel L. Gordon Jr. and

Marylou TapallaMr. and Mrs. Jay M. GwynneMarjorie HartNancy and David HathawayMartin Holub and Karen KidderLucas Hoogduin and

Adriana OnstwedderElizabeth D. and Robert HottensenPamela HowardJohn R. and Joyce Hupper I.B.M. Matching Grants Program Susan JonasEdith Hamilton KeanFernanda Kellogg and

Kirk HenckelsClara F. and David J. LondonerJames and Purcell Palmer Mr. and Mrs. Frederick P. PaytonEllen and Eric PetersenJohn and Claire ReidAlfred J. and Deirdre RossDr. Paul H. Schwartz and

Lisa Barne-Schwartz James and Sara SheldonAndrew Solomon and John HabichDavid and Sarah StackRichard C. Strain and Eva Van RijnTimothy and Cornelia Eland

Fund of the Fidelity Charitable Gift Fund

Barbara and Donald ToberArete and William Warren Jack and Jill WertheimRosalind Whitehead Serena H. WhitridgeJulia and Nigel WiddowsonPeter and Maria WirthSupporterMunir and Susan Abu-HaidarBarbara J. AgrenJames Akerberg

Leora and Peter ArmstrongIrene and Jack BanningDidi and David Barrett Karen H. Bechtel Dr. Susan Krysiewicz and

Thomas Bell Carole and Gary Beller Mr. and Mrs. Andy BellinMr. and Mrs. David Bova Mr. and Mrs. William B. BrannanKay Brover and Arthur Bennett Dan F. and Nancy BrownKate Buckley and Tony Pell Peter Caldwell and Jane Waters Miriam and Philip CarrollFrederick and Jan CohenSeth Dubin and Barbara FieldJoan and Wolcott DunhamRuth EngIngrid and Gerald FieldsEmily Rutgers Fuller Donald Gellert and Elaine Koss Mims and Burton GoldVictoria and Max Goodwin Janine M. GordonMary and Kingdon Gould Jr.Nan and David GreenwoodMortimer and Penelope C. HallSally S. HamiltonJuliet HeyerSusan Hoehn and Allan BahrsWilliam HolmanJay JollyKaren Bechtel Foundation of the

Advisor Charitable Gift FundRobert E. KausCharles and Katharine KingDr. and Mrs. Vincent KohLowell H. and Sandra A. LambDebra I. and Jonathan LanmanE. Deane and Judith S. LeonardWalter LippincottLynn Favrot Nolan Family FundJeanette MacDonald and

Charles MorganPhilip and Tracey MactaggartCharles S. MaierClaire and Chris MannElizabeth B. MavroleonSamuel C. MillerMr. and Mrs. Alfred MudgeBernadette Murray and

Randy FertelKamilla and Donald NajdekJay H. Newman and Elissa KramerMr. and Mrs. William T. NolanMarta E. NottebohmElizabeth J. and Sergin OktayDr. Bernhard Fabricius and

Sylvia OwenDavid B. and Jane L. ParshallSusan Heath and Rodney PatersonRosalie Rossi, Ph.DJohn RoyallDagni and Martin SenzelDenise and Lawrence ShapiroNadine Bertin StearnsMim and Leonard Stein

Carole TindallJohn Tuke and Leslie FarhangiDr. Elisabeth F. TurnauerMonica WamboldTaki and Donald WiseJohn and Mary YoungFriendAnonymousRev. Albert R. AhlstromLorraine D. AlexanderZelda Aronstein and

Norman EisnerArtscope, Inc.John K. AylingAntonia SalvatoPhebe and George BantaJames M. BartonMr. and Mrs. Francis D. BartonSaida BaxtRegina and David BeckmanDr. Howard BellinRichard L. BensonDr. Marge and Edward BlaineEric and Irene BrocksDavid and Jeannette T. BrownMr. and Mrs. John C. D. BrunoAlfred M. Buff and Lenore NemethIsobel and Robert ClarkMillicent O. McKinley CoxLinda and Richard DainesDana and Brian DunnPeter EdelmanPeter Elebash and Jane RobinsonJim and Laurie Niles ErwinPatricia FalkHarold FarbermanArthur L. FenaroliDavid and Tracy FinnLuisa E. FlynnPatricia and John ForelleMary Ann FreeSamantha FreeStephen and Jane GarmeyAnne C. GillisMr. and Mrs. Harrison J. GoldinDr. Joel and Ellen GoldinStanley L. GordonThurston GreeneBen-Ali and Mimi HagginDavid A. HarrisSy HeldermanCarol HenkenNancy H. HenzeGary HermanDr. and Mrs. Gerald ImberPatricia H. KeeseeDiana Niles KingThea KlirosSharon Daniel KroegerJeffrey LangBeth LedyLaurence and Michael LevinRuthie and Lincoln LymanM Group, LLCJohn P. MacKenzieHermes Mallea and Carey MaloneyAnnette S. and Paul N. Marcus

19

AnonymousThe Andrew W. Mellon FoundationArthur F. and Alice E. Adams

FoundationHelen and Roger E. Alcaly Fiona Angelini and Jamie WelchThe Ann & Gordon Getty

FoundationMs. Leonie F. BatkinBettina Baruch FoundationCarolyn Marks Blackwood Chartwells School and University

Dining ServicesMichelle ClaymanJoan K. DavidsonMr. and Mrs. Gonzalo de las HerasMichael Del Giudice and

Jaynne KeyesJohn A. DierdorffRobert C. Edmonds ’68

Elizabeth W. Ely ’65 and Jonathan K. Greenburg

Barbara Ettinger and Sven HusebyThe Ettinger Foundation, Inc.Stefano Ferrari and Lilo ZinglersenAlexander D. Fisher MFA ’96

Catherine C. Fisher and Gregory A. Murphy

Emily H. Fisher and John AlexanderJeanne Donovan FisherR. Britton and Melina FisherFMH FoundationEliot D. and Paula K. HawkinsLinda Hirshman and David ForkoshHomeland Foundation, Inc.HSBC Philanthropic ProgramsAnne E. ImpellizzeriJane’s Ice Cream

Jane W. Nuhn Charitable TrustThe Jerome Robbins FoundationThe J. M. Kaplan Fund, Inc.Susan and Roger KennedyDr. Barbara KennerKey Bank FoundationHarvey and Phyllis LichtensteinLucy Pang Yoa Chang FoundationMimi LevittChris Lipscomb and

Monique Segarra Amy and Thomas O. MaggsMagic Hat Brewing CompanyThe Marks Family FoundationMarstrand FoundationMartin and Toni Sosnoff

FoundationThe Maurer Family Foundation, Inc.Mid Atlantic Arts FoundationJoanna M. MigdalThe Millbrook Tribute GardenMillbrook Vineyards & WineryAndrea and Kenneth MironThe Mortimer Levitt

Foundation Inc.The Mrs. Mortimer Levitt

Endowment Fund for thePerforming Arts

National Dance Project of the NewEngland Foundation for the Arts

National Endowment for the Arts American Masterpieces:Dance

National Endowment for the Arts(NEA)

New England Foundation for theArts (NEFA)

New York State Council on the Arts(NYSCA)

Ralph E. Ogden Foundation, Inc.Mr. and Mrs. James H. Ottaway Jr.Dimitri B. and Rania PapadimitriouDr. Gabrielle H. Reem and Dr.

Herbert J. KaydenRichard B. Fisher Endowment FundDrs. M. Susan and Irwin RichmanIngrid RockefellerSenator Stephen M. SalandSantander Central HispanoDavid E. Schwab II ’52 and

Ruth Schwartz Schwab ’52

Denise S. Simon and Paulo Vieira da Cunha

Martin T. and Toni SosnoffH. Peter Stern and

Helen Drutt EnglishRonnie and Allan StreichlerThorne and Tucker TaylorThaw Charitable TrustThendara FoundationFelicitas S. ThorneTrue Love ProductionsMargo and Anthony ViscusiDr. Siri von ReisRosalind C. WhiteheadMillie and Robert WiseThe Wise Family Charitable

FoundationElaine and James WolfensohnElizabeth and E. Lisk Wyckoff Jr.

Harvey MarekThe McGraw-Hill Companies

Matching Gift ProgramMarcus Mello ’04

Philip MessingDeborah D. MontgomeryKelly Morgan Debbie Ann and

Christopher MorleySusan and Robert MurphyHugh and Marilyn NissensonHarold J. and Helen C. NoahGary S. PatrikPeter and Sally V. PettusDr. Alice R. PisciottoDavid Pozorski and Anna RomanskiMiles Price

Sheila SandersDr. Thomas B. SandersKlara SauerMary ScottFrederick W. Schwerin Jr.Harriet and Bernard SadowMolly SchaeferDanny P. Shanahan and

Janet E. Stetson ’81

J. Kevin SmithPolly and LeRoy SwindellJessica and Peter TcherepnineGladys R. ThomasJaneth L. ThoronCynthia M. Tripp ’01

Laurie TuzoIlliana van Meeteren

Olivia van Melle Kamp Ronald VanVoorhiesAndrea A. WaltonJacqueline E. WarrenAnne WhiteheadVictoria and Conrad WicherMr. and Mrs. John WinklerAmy WoodsRobert and Lynda Youmans

Current as of July 14, 2010

Major support for the Fisher Center’s programs has been provided by:

20

Board and Administration for The Richard B. Fisher Center for the Performing Arts at Bard College

Advisory BoardJeanne Donovan Fisher, ChairLeon Botstein+

Stefano FerrariHarvey LichtensteinRobert Martin+

James H. Ottaway Jr.Dimitri B. Papadimitriou+

David E. Schwab II ’52

Martin T. SosnoffToni SosnoffFelicitas S. Thorne

+ ex officio

AdministrationMark TiarksDirectorSusana MeyerAssociate DirectorDebra PemsteinVice President for Development andAlumni/ae AffairsMark PrimoffDirector of CommunicationsMary SmithDirector of PublicationsGinger ShoreConsultant to PublicationsKimberly Keeley-HenschelBudget DirectorPaul LaBarberaSound and Video SupervisorStephen DeanStage Operations ManagerMark CrittendenFacilities Manager

Jeannie SchneiderBusiness ManagerElena BattBox Office ManagerAustin Miller ’06

Assistant General Manager Ray StegnerBuilding Operations ManagerDoug PitcherBuilding Operations CoordinatorKelly SpencerManaging EditorBonnie Kate AnthonyAssistant Production ManagerClaire WeberAssistant Box Office ManagerJohn PruittFilm Festival Curator

Board and Administration of Bard College

Board of TrusteesDavid E. Schwab II ’52, Chair EmeritusCharles P. Stevenson Jr., ChairEmily H. Fisher, Vice ChairElizabeth Ely ’65, SecretaryStanley A. Reichel '65, Treasurer

Fiona AngeliniRoland J. AugustineLeon Botstein, President of the College+

David C. ClappMarcelle Clements ’69*Asher B. Edelman ’61

Robert S. Epstein ’63

Barbara S. Grossman ’73*Ernest F. Henderson III, Life TrusteeMarieluise HesselJohn C. Honey ’39, Life TrusteeCharles S. Johnson III ’70

Mark N. KaplanGeorge A. KellnerCynthia Hirsch Levy ’65

Murray LiebowitzMarc S. LipschultzPeter H. Maguire ’88

James H. Ottaway Jr.Martin PeretzBruce C. RatnerStewart ResnickRoger N. Scotland ’93*

The Rt. Rev. Mark S. Sisk, Honorary TrusteeMartin T. SosnoffSusan WeberPatricia Ross Weis ’52

AdministrationLeon BotsteinPresidentDimitri B. Papadimitriou Executive Vice PresidentMichèle D. Dominy Vice President and Dean of theCollegeRobert L. Martin Vice President for Academic Affairs;Director, Bard College Conservatory of MusicJames Brudvig Vice President for AdministrationDebra Pemstein Vice President for Development andAlumni/ae Affairs

Mary Backlund Vice President for Student Affairs and Director of AdmissionNorton Batkin Vice President and Dean ofGraduate StudiesErin CannanDean of StudentsPeter GadsbyAssociate Vice President forEnrollment and RegistrarMary SmithDirector of PublicationsGinger ShoreConsultant to PublicationsMark PrimoffDirector of CommunicationsKevin ParkerControllerJeffrey KatzDean of Information ServicesJudith SamoffDean of Programs

+ ex officio* alumni/ae trustee

21

Denise Simon, ChairRoger AlcalyLeon Botstein+

Michelle ClaymanJohn A. DierdorffRobert C. Edmonds ’68

Jeanne Donovan FisherChristopher H. Gibbs+

Jonathan K. GreenburgPaula K. HawkinsLinda HirshmanAnne E. ImpellizzeriBarbara KennerMimi LevittThomas O. MaggsRobert Martin+Joanna M. MigdalLucy Miller MurrayKenneth L. MironChristina A. MohrJames H. Ottaway, Jr.David E. Schwab II ’52

H. Peter SternTucker TaylorFelicitas S. ThorneAnthony ViscusiSiri von ReisE. Lisk Wyckoff

+ ex officio

Artistic DirectorsLeon BotsteinChristopher H. GibbsRobert Martin

Executive DirectorIrene Zedlacher

Associate DirectorRaissa St. Pierre ’87

Scholar in Residence 2010

Christopher Hailey

Program Committee 2010

Byron AdamsLeon BotsteinChristopher H. GibbsChristopher HaileyRobert MartinRichard WilsonIrene Zedlacher

Administrative AssistantChristina Kaminski ’08

DevelopmentDebra PemsteinAndrea GuidoStephen Millikin

PublicationsMary Smith

Consultant to PublicationsGinger Shore

Public RelationsMark PrimoffEleanor Davis21C Media Group

Director of ChorusesJames Bagwell

Vocal Casting ConsultantSusana Meyer

Stage ManagerStephen Dean

Board and Administration of the Bard Music Festival

Board and Administration of the American Symphony Orchestra

Board of DirectorsDanny Goldberg, Chair Eileen Rhulen, Vice Chair Dimitri B. Papadimitriou, TreasurerMary F. Miller, Secretary

Michael Dorf Jack Kliger Jan Krukowski Shirley A. Mueller Thurmond Smithgall Felicitas S. ThorneJoel I. Berson*L. Stan Stokowski*

Chairmen EmeritiJoel I. BersonRobert A. FippingerJan Krukowski

* honorary

Artistic StaffLeon BotsteinMusic DirectorJames BagwellPrincipal Guest ConductorTheresa CheungAssistant ConductorGeoffrey McDonaldAssistant ConductorSusana MeyerArtistic ConsultantRichard WilsonComposer-in-Residence

Administration Lynne MeloccaroExecutive Director Oliver InteewornGeneral ManagerAlicia BenoistDirector of Development

Brian J. HeckDirector of MarketingSebastian DanilaLibrary Manager Marielle MétivierProduction AssociateMicah Banner-BaineInstitutional Giving CoordinatorKatrina HerfortMarketing AssistantRonald SellOrchestra Personnel ManagerAnn GablerManager, Music Education and School OutreachMichael BlutmanCo-Manager, New Jersey In-School ProgramsClifford J. BrooksCo-Manager, New York In-School Programs

22

Bard College, in Annandale-on-Hudson, New York, is an independent, nonsectarian, residential, coeducational 

college that offers a four-year B.A. degree in the liberal arts and sciences and a five-year B.S./B.A. degree in economics

and finance. Bard and its affiliated institutions also grant the following degrees: A.A. at Bard High School Early

College, a New York City public school with two campuses; A.A. and B.A. at Bard College at Simon’s Rock: The Early

College, in Great Barrington, Massachusetts; M.S. in environmental policy and in climate science and policy and M.A.

in curatorial studies at the Annandale campus; M.F.A. and M.A.T. on multiple campuses; and M.A., M.Phil., and Ph.D. in

the decorative arts, design history, and material culture at the Bard Graduate Center: Decorative Arts, Design

History, and Material Culture in Manhattan. The Bard College Conservatory of Music grants a five-year dual degree, a

B.Music and a B.A. in a field other than music, and M.Music degrees in vocal arts and conducting. Internationally,

Bard offers dual B.A. degrees at Smolny College of Saint Petersburg State University, Russia, and Al-Quds University in

East Jerusalem. For more information about Bard College, visit www.bard.edu.

About Bard College

©2010 Bard College. All rights reserved.

Cover image: Cover of the score published in New York, 1910. ©Private Collection/Archives Charmet/The Bridgeman Art Library

23

ProductionVin RocaTechnical DirectorStephen DeanStage Operations SupervisorKelly WoodSpiegeltent Venue DirectorGrace Schultz ’10

Spiegeltent Stage ManagerJohn Boggs ’10

Production Office AssstantValerie Ellithorpe ’09

Production Assistant

Student Production AssistantsJesse Brown ’10

Taylor Lambert ’11

Marianne Rendon ’12

Alexander Wright ’10

Mette Loulou Von Kohl ’10

Emily Cuk ’10

CarpentersMike ZallyAssistant Technical DirectorSean MaloneyMaster CarpenterGlenna Broderick ’09

Connor GibbonsDale GibbonsDaniel GibbonsJake GoldwasserTrevor HendricksonMuir InglissCarley MateyDoreen PitcherJoseph PuglisiTodd RenadetteAshley Stegner ’12

ElectricsAndrew HillLighting SupervisorBrandon KoenigMaster Electrician, Sosnoff TheaterJoshua ForemanMaster Electrician, Theater TwoClaire MoodeyMaster Electrician, SpiegeltentSarah Bessel ’11

Morgan Blaich

Walter DanielsPaul FrydrychowskiThomas HollandJeremy LechtermanVictoria LoyeLiudmila Malyshava ’12

Jeremiah McClellandMike Porter ’11

Nora Rubinstone ’11

Sylvianne ShurmanKerk Soursourian ’12

Sound and VideoRichard PearsonAudio 1, Sosnoff TheaterThom PatznerAudio 2, Sosnoff TheaterSharlyne BrophyAudio 1, Theater TwoScott D. HoskinsAudio 2, Theater TwoCharles Mead

CostumesBrie FurchesCostume Shop ManagerBethany ItterlyFirst HandMolly FarleyDraperCorinne HawxhurstDraperMaria JuriLead Wardrobe, Theater TwoLindsay McWilliamsLead Wardrobe, Sosnoff TheaterAlice BroughtonMarissa Friedman ’10

Alexandra NattrassLea Preston

Hair and MakeupJennifer DonovanHair and Makeup SupervisorChristal SchanesMakeup Artist

PropertiesBrian KafelProperties SupervisorLily FairbanksAssistant Properties SupervisorCurtis AllenMatthew Waldron

SpiegelmaestroNik Quaife

Company ManagerKatrin Hall

Company Management AssistantsJack Byerly ’10

Marina Day ’12

Azfar Khan ’13

Olga Opojevici ’09

Front of HouseAustin Miller ’06

House ManagerChristina Reitemeyer ’07

Senior Assistant House ManagerLesley DeMartin ’11

Senior Assistant House ManagerEmily Gildea ’11

Assistant House ManagerAmy Strumbly ’11

Assistant House ManagerLynne CzajkaAssistant House Manager

Box Office TellersCaitlyn DeRosaEmily Rice ’10

Emily Di PaloNicholas ReilinghJenna Abrams ’10

Aram Kolesar

HousekeepingDennis CohenAnna SimmonsMelissa Stickle

Assistants to the FacilitiesManagerChad ColeWalter Tauvalt

SummerScape Staff

Enclosed is my check made payable to Bard College in the amount of $

Please designate my gift toward: ❑ Fisher Center Council ❑ Bard Music Festival Council ❑ Where it is needed most

Please charge my: ❑ VISA ❑ MasterCard ❑ AMEX in the amount of $

Credit card account number Expiration date

Name as it appears on card (please print clearly)

Address

City State Zip code

Telephone (daytime) Fax E-mail

BECOME A FRIEND OF THE FISHER CENTER TODAY!

Since opening in 2003, The Richard B.Fisher Center for the Performing Arts

at Bard College has transformed cultural life in the Hudson Valley with

world-class programming. Our continued success relies heavily on individuals such as you. Become aFriend of the Fisher Center today.

Friends of the Fisher Center membership is designed to give indi-

vidual donors the opportunity to support their favorite programs

through the Fisher Center Council or Bard Music Festival Council. As aFriend of the Fisher Center, you will

enjoy a behind-the-scenes look atFisher Center presentations and

receive invitations to special eventsand services throughout the year.

Friend ($100–249)• Advance notice of programming• Free tour of the Fisher Center• Listing in the program

($5 of donation is not tax deductible)

Supporter ($250–499) All of the above, plus:• Invitation for you and a guest to a season preview event• Invitations to opening night receptions with the artists• Invitation for you and a guest to a select dress rehearsal

($5 of donation is not tax deductible)

Sponsor ($500–999) All of the above, plus:• Copy of the Bard Music Festival book• Invitation for you and a guest to a backstage technical

demonstration ($40 of donation is not tax deductible)

Patron ($1,000–4,999) All of the above, plus:• Opportunity to buy tickets before sales open to

the general public• Exclusive telephone line for Patron Priority handling

of ticket orders• Invitation for you and a guest to a pre-performance

dinner at a Hudson River Valley home($150 of donation is not tax deductible)

Producer/Benefactor ($5,000+) All of the above, plus:• Seat naming opportunity• Invitations to special events scheduled throughout the year• Opportunity to underwrite events

($230 of donation is not tax deductible)

Please return your donation to:

Richard B. Fisher Centerfor the Performing Arts

Bard CollegePO Box 5000

Annandale-on-Hudson,NY 12504

BARDSUMMERSCAPE 2010

Subscriptions, group discounts, and gift certificates available.

SAV

E T

HE

DA

TES

TICKETS AND INFORMATION:fishercenter.bard.eduBox Office 845-758-7900

The 2010 SummerScape season is made possible in part through the generoussupport of the Board of The Richard B. Fisher Center for the Performing Arts atBard College, the Board of the Bard Music Festival, and the Friends of the FisherCenter, as well as grants from the National Endowment for the Arts, the NewYork State Council on the Arts, and the Mid Atlantic Arts Foundation.

spiegeltent july 9 – august 22

Cabaret, Family Fare, SpiegelClub, and more

film festival july 15 – august 19

The Best of G. W. PabstA celebration of the great German film director. All nine of the festival’s silent films feature live piano accompaniment.

and

the 21st annual bard music festival

Berg and His WorldWEEKEND ONE AUGUST 13–15

BERG AND VIENNA

WEEKEND TWO AUGUST 20–22

BERG THE EUROPEAN