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T h e P ro g ram - Lincoln Center`s Great Performers
The Program Thursday Evening, February 25, 2016, at 7:30 Pre-concert lecture by Peter A. Hoyt at 6:15 in the Stanley H. Kaplan Penthouse Chamber Orchestras Freiburg Baroque Orchestra Gottfried von der Goltz, Violin and Conductor Christian Gerhaher, Baritone Lorenzo Coppola, Clarinet d’amour (Program continued) Please make certain all your electronic devices are switched off. This performance is made possible in part by the Josie Robertson Fund for Lincoln Center. Alice Tully Hall, Starr Theater Adrienne Arsht Stage Great Performers BNY Mellon is Lead Supporter of Great Performers Support is provided by Rita E. and Gustave M. Hauser, Audrey Love Charitable Foundation, Great Performers Circle, Chairman’s Council, and Friends of Lincoln Center. Public support is provided by the New York State Council on the Arts. Endowment support for Symphonic Masters is provided by the Leon Levy Fund. Endowment support is also provided by UBS. MetLife is the National Sponsor of Lincoln Center UPCOMING SYMPHONIC MASTERS EVENTS IN DAVID GEFFEN HALL: Sunday Afternoon, March 13, 2016 at 3:00 Los Angeles Philharmonic Gustavo Dudamel, Conductor Tamara Mumford, Mezzo-soprano Concert Chorale of New York James Bagwell, Director Brooklyn Youth Chorus Dianne Berkun-Menaker, Director MAHLER: Symphony No. 3 Pre-concert lecture by Christopher H. Gibbs at 1:45 in the Stanley H. Kaplan Penthouse Monday Evening, March 14, 2016 at 8:00 Los Angeles Philharmonic Gustavo Dudamel, Conductor Sergio Tiempo, Piano JOHN WILLIAMS: Soundings (New York premiere) GINASTERA: Piano Concerto No. 1 ANDREW NORMAN: Play: Level 1 (New York premiere) COPLAND: Appalachian Spring Monday Evening, March 21, 2016 at 8:00 Academy of St. Martin in the Fields Joshua Bell, Director and Violin Pamela Frank, Violin BACH: Concerto for two violins in D minor BEETHOVEN: Symphony No. 8 TCHAIKOVSKY: Violin Concerto For tickets, call (212) 721-6500 or visit LCGreatPerformers.org. Call the Lincoln Center Info Request Line at (212) 875-5766 to learn about program cancellations or to request a Great Performers brochure. Visit LCGreatPerformers.org for more information relating to this season’s programs. Join the conversation: #LCGreatPerfs We would like to remind you that the sound of coughing and rustling paper might distract the performers and your fellow audience members. In consideration of the performing artists and members of the audience, those who must leave before the end of the performance are asked to do so between pieces. The taking of photographs and the use of recording equipment are not allowed in the building. Great Performers I The Program Freiburg Baroque Orchestra Gottfried von der Goltz, Violin and Conductor Christian Gerhaher, Baritone Lorenzo Coppola, Clarinet d’amour ALL-MOZART PROGRAM Adagio—Allegro spiritoso, from Symphony No. 36 in C major, K.425 (“Linz”) (1783) Metà di voi qua vadano, from Don Giovanni (1787) Poco adagio, from Symphony No. 36 (“Linz”) Non siate ritrosi, from Così fan tutte (1790) Ah pietà, signori miei, from Don Giovanni Menuetto, from Symphony No. 36 (“Linz”) Tutto è disposto...Aprite un po’ quegli occhi, from Le nozze di Figaro (1786) Presto, from Symphony No. 36 (“Linz”) Intermission Clarinet Concerto in A major, K.622 (1791) Allegro Adagio Rondo: Allegro Madamina, il catalogo è questo, from Don Giovanni Non più andrai, farfallone amoroso, from Le nozze di Figaro Contredanse in G major, K.610 (“Les filles malicieuses”) (1791) Hai già vinta la causa!...Vedro, mentr’io sospiro, from Le nozze di Figaro Snapshot Great Performers By Paul Schiavo Timeframe This evening’s concert presents a program composed in a format that Mozart and his contemporaries would have readily recognized and accepted; it departs strikingly from modern concert practice. The typical orchestral performance today begins with an overture or other short piece, proceeds to a concerto, and concludes with a symphony or some other extended composition. But during Mozart’s lifetime things were different. Concert fare was more varied and frequently included vocal arias. More remarkably, these or other short pieces were usually interspersed between movements of a symphony. ARTS Tonight’s program follows a variation of this arrangement, which was quite usual in the late 18th century. Mozart’s splendid “Linz” Symphony is presented in the first half, and between each of its four movements we hear arias from the three operas Mozart wrote to librettos by Lorenzo da Ponte. By far the finest poet with whom he collaborated, da Ponte provided the composer with stories and texts whose dramatic momentum and psychological complexity prompted some of Mozart’s finest theatrical music. The second half brings three more arias, as well as dance music and the Clarinet Concerto. Written shortly before his death, this last is Mozart’s final work for solo instrument and orchestra and, apart from some of the piano concertos he wrote for his own performance, certainly the most beautiful. —Copyright © 2016 by Paul Schiavo 1783 Symphony No. 36 (“Linz”) The sustaining pedal is added to the piano. 1787 Don Giovanni Thomas Gainsborough paints Cottage Children (The Wood Gatherers). 1791 Clarinet Concerto and Contradance in G major Thomas Paine pens The Rights of Man. SCIENCE 1783 The unusually bright Great Meteor passes over Great Britain. 1787 The first moons of Uranus are discovered. 1791 France decides to adopt the metric system. IN NEW YORK 1783 British troops leave New York City, followed by the end of the Revolutionary War. 1787 Alexander Hamilton, James Madison, and John Jay start publishing the Federalist Papers. 1791 Aaron Burr takes a seat as New York senator. Notes on the Program Great Performers I Notes on the Program By Paul Schiavo Symphony No. 36 in C major, K.425 (“Linz”) (1783) WOLFGANG AMADEUS MOZART Born January 27, 1756, in Salzburg Died December 5, 1791, in Vienna Approximate length: 32 minutes Mozart composed his “Linz” Symphony in the autumn of 1783, while visiting the Austrian city that is its namesake. The circumstances surrounding the work’s genesis reveal the astonishing speed at which the composer could create. On October 31, Mozart wrote from Linz to his father, in Salzburg: “On Tuesday, November 4, I am giving a concert in the theater here, and as I haven’t a single symphony with me, I am writing at breakneck speed a new one which must be ready at that time.” Apparently, then, Mozart completed his “Linz” Symphony in just four or, at most, five days. Mozart opens the symphony with an introduction in slow tempo, the first time in his career that he employs this device in a symphony. The main Allegro portion of the movement begins, in typical Mozartian fashion, with a theme that initially seems placid but shows a more vigorous character during its consequent phrase, where the winds bolster the string choir. Unusually, the second subject seems even more animated than the first. Its faintly alla turca flavor seems an echo of the opera The Abduction from the Seraglio, which Mozart had completed the previous year. Next comes a slow movement presenting a beautiful play of sunlight and shadow (this and the ensuing movements follow at intervals over the course of the first half of the concert). The third movement brings a sonorous minuet, which Mozart balances with a lightly scored central section featuring an echoic duet for oboe and bassoon. Contrapuntal dialogues form a prominent part of the finale also. But despite the skilled use of counterpoint here, Mozart wears his learning lightly. Indeed, there is an insouciance to much of this movement that suggests the spirit of comic opera. Mozart further enlivens the proceedings with sudden contrasts in dynamic levels and by juxtaposing small groups of instruments with the full orchestra. Metà di voi qua vadano, from Don Giovanni, K.527 (1787) WOLFGANG AMADEUS MOZART Approximate length: 3 minutes Don Giovanni resists categorization as either a tragic or a comic opera. Though descended from a straightforward morality tale—the Great Performers I Notes on the Program centuries-old story of Don Juan, that seducer extraordinaire whose refusal to abandon his licentious ways brings about his doom—the work walks an uncertain line between high humor and pathos. Mozart’s librettist, Lorenzo da Ponte, recalled in his memoirs that the composer was intent on a serious approach to the story, while he, da Ponte, preferred a comic one. In the end, the collaborators managed to fuse both views to create what William Mann, the English critic and authority on Mozart’s stage works, called “an opera of ambivalences.” In the opera’s second act, the title character manages a narrow escape by donning the cloak of his servant. Through this disguise he keeps his true identity hidden from a group of upstanding citizens seeking to find and punish him. He even purports to aid their search but sends them in the wrong direction. The aria “Metà di voi qua vadano” also allows Don Giovanni to brag surreptitiously about his amatory prowess. Metà di voi qua vadano Text: Lorenzo da Ponte Half of You Go That Way Trans.: © 1990 Avril Bardoni Metà di voi qua vadano, E gli altri vadan là, E pian pianin lo cerchino, Lontan non fia di qua. Half of you go that way, and the rest down there. Softly, softly we’ll track him down; he can’t be far away. Se un uom e una ragazza Passeggian per la piazza, Se sotto a una finestra Fare all’amor sentite: Ferite pur, ferite, Il mio padron sarà. In testa egli ha un cappello Con candidi pennacchi, Addosso un gran mantello, E spada al fianco egli ha. If you see a man and a girl strolling through the square, or if you hear billing and cooing underneath a window, then strike and don’t hold back: It’s bound to be my master. He’s wearing a hat with white plumes and an ample cape, and has a sword at his side. Andate, fate presto! Tu sol verrai con me. Noi far dobbiamo il resto, E già vedrai cos’è. Go now, make haste! You alone will come with me. The rest is up to us, and you’ll soon see what I mean. Non siate ritrosi, from Così fan tutte, K.588 (1790) WOLFGANG AMADEUS MOZART Approximate length: 2 minutes Così fan tutte is the third and final opera that Mozart wrote with Lorenzo da Ponte. Like its predecessors, Le nozze di Figaro and Don Giovanni, it is a complex and finely nuanced work, especially with regard to its portrayal of love. The opera’s plot centers on two soldiers who accept a wager to test their sweethearts’ devotion. Disguising themselves beyond recognition, each woos the Great Performers I Notes on the Program other’s belle to see whether or not she will remain faithful. In doing so, they learn painful lessons about human frailty and the ephemeral nature of love. Near the end of the opera’s first act, Guglielmo, one of the disguised soldiers, attempts to ingratiate himself and his companion with their unwitting fiancées. In the aria “Non siate ritrosi,” he urges the ladies not to be coy and lists the fine features of himself and his friend: their muscles and well-made figures, their feet, eyes, noses, and mustaches, the last being “manly triumphs, the plumage of love.” Mozart’s light-hearted music reminds us not to place much stock in Guglielmo’s boasts. Non siate ritrosi Text: Lorenzo da Ponte Be not reluctant Trans.: Stewart Spencer Non siate ritrosi, Occhietti vezzosi: Due lampi amorosi Vibrate un po’ qua. Be not reluctant, dear beguiling eyes; let two loving lightning-flashes strike for a moment here. Felici rendeteci, Amate con noi, E noi felicissime Faremo anche voi; Make us happy, and love with us, and we will make you in return the happiest of women. Guardate, toccate, Il tutto osservate; Siam due cari matti, Siam forti e ben fatti, Look at us, touch us, take stock of us: we’re crazy, but we’re charming, we’re strong and well-made, E come ognun vede, Sia merto, sia caso, Abbiamo bel piede, Bell’occhio, bel naso; and, as anyone can see, whether by merit or by chance, we’ve good feet, good eyes, good noses; E questi mustacchi Chiamare si possono Trionfi degli uomini, Pennacchi d’amor. and these moustaches could be called manly triumphs, the plumage of love. Ah pietà, signori miei, from Don Giovanni, K.527 (1787) WOLFGANG AMADEUS MOZART Approximate length: 2 minutes As we saw in connection with the aria “Metà di voi qua vadano,” the ruse of trading cloaks with his servant worked well for Don Giovanni. Not so, however, for his hired man, Leporello. For when the latter is discovered in his master’s garb, he is very nearly beaten for the Don’s misdeeds. Leporello manages to avoid punishment by explaining the situation and insisting that the fault lies with Don Giovanni, not himself. Great Performers I Notes on the Program Ah pietà, signori miei Text: Lorenzo da Ponte Ah have pity, sir and madam Trans.: © 1990 Avril Bardoni Ah pietà, signori miei, Ah pietà, pietà di me! Do ragione a voi e lei, Ma il delitto mio non è. Ah have pity, sir and madam, ah have pity on me! I admit you have right on your side, but I’m not the guilty one. Il padron con prepotenza L’innocenza mi rubò. Donna Elvira, compatite! Già capite come andò. My master bullied me into doing wrong. Donna Elvira, I appeal to you! You know what happened. Di Masetto non so nulla; Vel dirà questa fanciulla: È un’ oretta circumcirca Che con lei girando vo. I know nothing about Masetto, as this young lady will tell you. For the last hour, more or less, I’ve been with her. A voi, signore, non dico niente. Certo timore…certo accidente… Di fuori chiaro…di dentro oscuro… To you, sir, I say nothing. Partly fear…and partly bad luck… it being light out there…and dark in here… no shelter…the door…the wall… I…tried… to…find a way out… then hiding here…it all got, you know… But if I’d only known, I’d have gone this way. Non c’è riparo…la porta…il muro… Lo…il…la…vo da quel lato… Poi qui celato…l’affar si sa… Ma s’io sapeva fuggia per qua. Tutto è disposto...Aprite un po’ quegli occhi, from Le nozze di Figaro (1786) WOLFGANG AMADEUS MOZART Approximate length: 4 minutes Mozart’s first collaboration with Lorenzo da Ponte, Le nozze di Figaro (The Marriage of Figaro), is another comic opera that is far more than just farce. Rather, it offers a wise and humane look at love, with all its pleasure and pain. The title character, Figaro, is at the center of the action. From one fast-paced incident to the next he endeavors to foil his employer’s lecherous designs on his bride, mollify her suspicions about his own behavior, comfort his patron’s neglected wife, and negotiate various other complications. Were all this not enough, by the opera’s final act, Figaro has mistakenly become convinced that his beloved Susanna means to cuckold him on their wedding night. This erroneous conclusion leads him to bitterly decry the falsehood of women generally. Mozart prepares his aria with an anguished recitative in which Figaro imagines himself betrayed even as he and Susanna exchanged wedding vows. Great Performers I Notes on the Program Tutto è disposto…Aprite un po’ quegli occhi Text: Lorenzo da Ponte Everything is ready…Open your eyes for a moment Trans.: Stewart Spencer Tutto è disposto: l’ora Dovrebbe esser vicina; io sento gente. È dessa…non è alcun…buia è la notte… Ed io comincio omai A fare il scimunito Mestiero di marito. Everything is ready: the hour must be near, I hear them coming. It’s her; no, it’s no one. The night is dark, and I’m already beginning to ply the foolish trade of cuckolded husband. Ingrata! Nel momento Della mia cerimonia Ei godeva leggendo: e nel vederlo Ungrateful! At the moment of my wedding ceremony he enjoyed her through a letter, and seeing him I laughed at myself without knowing it. Io rideva di me senza saperlo. Oh Susanna, Susanna, Quanta pena mi costi! Con quell’ingenua faccia… Con quegli occhi innocenti… Chi creduto l’avria? Ah che il fidarsi a donna è ognor follia. Oh, Susanna, Susanna, what pains have you cost me! With that artless face, with those innocent eyes, who would have believed it? Ah, it’s always madness to trust a woman. Aprite un po’ quegli’occhi, Uomini incauti e sciocchi, Guardate queste femmine, Guardate cosa son! Queste chiamate Dee Dagli ingannati sensi, A cui tributa incensi La debole ragion, Son streghe che incantano Per farci penar, Sirene che cantano Per farci affogar, Civette che allettano per trarci le piume, Comete che brillano Per toglierci il lume; Son rose spinose, Son volpi vezzose, Son orse benigne, Colombe maligne, Maestre d’inganni, Amiche d’affanni Open your eyes for a moment, rash and foolish men, look at these women, look at what they are. You call them goddesses, with your befuddled senses, and pay them tribute with your weakened minds. They are witches who work spells to make you miserable, sirens who sing to make you drown, screech-owls that lure you to pluck out your feathers, comets that dazzle to take away your light: they are thorny roses, cunning vixen, hugging bears, spiteful doves, masters of deceit, friends of trouble, (Please turn the page quietly.) Great Performers I Notes on the Program Che fingono, mentono, Amore non senton, Non senton pietà. Il resto nol dico, Già ognuno lo sa! who pretend, lie, feel no love, feel no pity! The rest I won’t say, because everyone knows it already. Clarinet Concerto in A major, K.622 (1791) WOLFGANG AMADEUS MOZART Approximate length: 30 minutes Mozart composed his Clarinet Concerto, K.622, for his friend and Masonic brother Anton Stadler during the autumn of 1791. Stadler was a superb clarinetist. Moreover, he was active in the technical development of the clarinet, which was, in his day, a fairly new instrument. Among other things, he had built an experimental clarinet with an extended range somewhat below that of the standard instrument, and it was for this that Mozart composed his concerto. But because Stadler’s altered instrument never came into widespread use, the music was published in a revised version that accommodates the slightly smaller range of the standard clarinet pitched in A. This evening’s performance uses neither the “Stadler clarinet” nor the familiar clarinet in A but another instrument, the clarinet d’amour. This instrument, which has a rounded bell like that of an English horn, enjoyed popularity during the years around 1800 but subsequently fell into disuse. With very nearly the same range as Stadler’s clarinet, and with a dark tone color, it is well suited to Mozart’s Clarinet Concerto. This composition differs noticeably from Mozart’s earlier works for solo instrument and orchestra. Instead of the extroverted tone and delight in virtuosity that mark his concertos for violin, piano, flute, oboe, or horn, Mozart here gives us music of grace, tenderness, and intimacy. Some commentators have also detected an autumnal sadness beneath its bright surface, particularly in the central slow movement. Madamina, il catalogo è questo, from Don Giovanni, K.527 (1787) WOLFGANG AMADEUS MOZART Approximate length: 6 minutes One of the lighter moments in Don Giovanni is the famous “catalog aria” in Act I. Here Leporello, Don Giovanni’s manservant, tries to assuage Donna Elvira, whom the Don has loved and abandoned. To prove that she is hardly in a unique position, Leporello shows her a list of his master’s amorous conquests and describes it in detail. It is a preposterous account—more than a thousand women in Spain alone—and Mozart lets us know that we are not to take it seriously by punctuating Leporello’s enumeration with laughing figures from the orchestra. Great Performers I Notes on the Program Madamina, il catalogo è questo Text: Lorenzo da Ponte Little lady, this is the record Trans.: © 1990 Avril Bardoni Madamina, il catalogo è questo Delle belle che amò il padron mio, Un catalogo egli è che ho fatt’io, Osservate, leggete con me. Little lady, this is the record of the beauties my master has loved; ’tis a catalogue that I myself compiled. Come closer, read it with me. In Italia seicento e quaranta, In Lamagna duecento e trent’una, Cento in Francia, in Turchia novant’una, Ma in Ispagna son già mille e tre. In Italy six hundred and forty, in Germany two hundred and thirty-one, one hundred in France, in Turkey ninety-one, but in Spain already one thousand and three. V’han fra queste contadine, Cameriere e cittadine, V’han contesse, baronesse, Marchesane, principesse, E v’han donne d’ogni grado, D’ogni forma, d’ogni età. Here are country wenches, chambermaids and city ladies, countesses, baronesses, marchionesses, princesses; there are women of every social class, every shape and every age. Nella bionda egli ha l’usanza Di lodar la gentilezza, Nella bruna la costanza, Nella bianca la dolcezza. With a fair-haired girl his habit is to praise her kindliness, a brunette is always constant, a blonde is always sweet. Vuol d’inverno la grassotta, Vuol d’estate la magrotta; È la grande maestosa, La piccina è ognor vezzosa… In winter he likes plumpish girls, in summer slender ones; tall ones he calls majestic, short ones always dainty. Delle vecchie fa conquista Pel piacer di porle in lista; Ma passion predominante È la giovin principiante. He seduces older women just to add them to his list; but his ruling passion is for the young novice. Non si picca se sia ricca, Se sia brutta, se sia bella: Purchè porti la gonnella, Voi sapete quel che fa. He doesn’t give a hoot for wealth, or ugliness or beauty; provided that she wears a skirt, you know what he’ll do. Great Performers I Notes on the Program Non più andrai, farfallone amoroso, from Le nozze di Figaro, K.492 (1786) WOLFGANG AMADEUS MOZART Approximate length: 4 minutes Among the vexations with which the title character must contend in Le nozze di Figaro is a love-sick teenager whose romantic hijinks threaten to land him, and several others, in trouble. When that amorous young man is sent packing to join the army, Figaro bids him a cheery farewell in the aria “Non più andrai, farfallone amoroso.” Text: Lorenzo da Ponte No more will you, amorous butterfly Trans.: Stewart Spencer Non più andrai farfallone amoroso, Notte e giorno d’intorno girando, Delle belle turbando il riposo Narcisetto, Adoncino d’amor. No more will you, amorous butterfly, flit around the castle night and day, upsetting all the pretty girls, love’s little Narcissus and Adonis. Non più avrai questi bei pennacchini, No more will you have those fine plumes, that soft and stylish hat, those fine locks, that striking air, those rosy, girl-like cheeks. Non più andrai, farfallone amoroso Quel cappello leggero e galante, Quella chioma quell’aria brillante, Quel vermiglio donnesco color. Tra guerrieri poffar Bacco! Gran mustacchi, stretto sacco. Schioppo in spalla, sciabla al fianco, Collo dritto, muso franco, Un gran casco, o un gran turbante, Molto onor, poco contante! Ed invece del fandango Una marcia per il fango Per montagne, per valloni Con le nevi e i sollioni, Al concerto di tromboni, Di bombarde, di cannoni, Che le palle in tutti i tuoni All’orecchio fan fischiar. Cherubino alla vittoria; Alla gloria militar. Among warriors swearing by Bacchus! A splendid moustache, holding your pack, a gun on your shoulder, a sabre hanging at your right, musket ready, or some great helmet or a turban, winning honors, but little money, and in place of the fandango a march through the mud, over mountains, over valleys, through the snow and burning sun, to the music of trumpets, of shells and cannons, with balls sounding thunder, making your ears ring. Cherubino, on to victory, on to victory in war! Great Performers I Notes on the Program Contredanse in G major, K.610 (“Les filles malicieuses”) (1791) WOLFGANG AMADEUS MOZART Approximate length: 2 minutes In 1787 Mozart was appointed Imperial Chamber Composer to the court of the Austrian emperor. This was, to be sure, a minor post. One of the few duties it entailed was the production of dance music for court balls held in the Redoutensaal, the grand ballroom of the Imperial Palace. Mozart began writing minuets and other dances for these events in 1788, but his most notable production of such music came early in 1791, the last year of his life. Between January 23 and March 6, Mozart produced over 30 dances for the Redoutensaal balls. Among them is a contredanse he had written some years earlier—precisely when remains unknown—but now re-scored for a larger orchestra. The date of its composition is not the only mystery attending this music, for the score bears the curious title “Les filles malicieuses.” The identity of the malicious girls alluded to in that title has eluded investigation and probably will never be known. Be that as it may, this short composition is light and enjoyable, a very brief minor-mode episode notwithstanding. It affirms the view of the renowned Mozart scholar H. C. Robbins Landon, who wrote of the composer’s dance pieces that “clearly Mozart took them seriously, lavishing on them the same care, particularly as regards orchestration, that he took with his larger instrumental works.” Hai già vinta la causa!...Vedro, mentre io sospiro, from Le nozze di Figaro, K.492 (1786) WOLFGANG AMADEUS MOZART Approximate length: 5 minutes In Le nozze di Figaro, the title character’s nemesis is his aristocratic employer, Count Almaviva, who lusts after Figaro’s young bride, Susanna. During the opera’s third act, the Count overhears the betrothed couple exulting that they have already won their case in a legal challenge their master has raised against their marriage. Incensed, Almaviva vows not to be defeated and robbed of his happiness by a mere servant. Paul Schiavo serves as program annotator for the St. Louis and Seattle Symphonies, and writes frequently for concerts at Lincoln Center. —Copyright © 2016 by Paul Schiavo Great Performers I Notes on the Program Hai già vinta la causa!… Vedrò, mentre io sospiro Text: Lorenzo da Ponte Their case is won!… Shall I live to see Trans.: Stewart Spencer Hai già vinta la causa! Cosa sento! In qual laccio io cadea? Perfidi! io voglio di tal modo punirvi… Ma s’ei pagasse la vecchia pretendente? Pagarla! In qual maniera! E poi v’è Antonio, Che a un incognito Figaro ricusa Di dare una nipote in matrimonio. Coltivando l’orgoglio Di questo mentecatto… Tutto giova a un raggiro… Il colpo è fatto. Their case is won! What’s that! What trap have I fallen into? Tricksters! I’m going to punish you in such a way… the punishment shall be what I choose… But what if he should pay the old suitor? Pay her! With what? And then there is Antonio, who will refuse to give his niece in marriage to the upstart Figaro. By flattering the pride of that half-wit… Everything’s falling into my scheme… I’ll strike while the iron’s hot. Vedrò, mentre io sospiro, Felice un servo mio! E un ben che invan desio, Ei posseder dovrà? Vedrò per man d’amore Unita a un vile oggetto Chi in me destò un affetto Che per me poi non ha? Ah no, lasciarti in pace, Non vo’ questo contento, Tu non nascesti, audace Per dare a me tormento, E forse ancor per ridere Di mia infelicità. Già la speranza sola Delle vendette mie Quest’anima consola, E giubilar mi fa. Shall I live to see a servant of mine happy And enjoying pleasure that I desire in vain? Shall I see the hand of love Unite a lowly person to one who arouses feelings in me she does not feel herself? Ah no! I shall not leave that carefree creature in peace! You were not born, bold fellow, to give me torment or perhaps to laugh at my unhappiness. Now only hope of my revenge consoles my soul and makes me rejoice! A piacer mio la sentenza sarà… —Texts © 2015 Sony Music Entertainment ANNELIES VAN DER VEGT Meet the Artists Great Performers I Meet the Artists Gottfried von der Goltz Gottfried von der Goltz has established himself in the international music scene as a Baroque violinist and as one of the artistic directors of the Freiburg Baroque Orchestra. As was common in the 18th century, he leads the ensemble from the concertmaster position. Mr. von der Goltz’s repertoire ranges from early Baroque to contemporary music, illustrated by his broad discography as both a soloist and orchestra director. He has gained a reputation as a specialist in the music of the longforgotten Dresden Baroque and the four songs of Bach. In addition to his engagement with the Freiburg Baroque Orchestra, Mr. von der Goltz regularly performs as guest director and soloist with Berliner Barock Solisten, Frankfurt Radio Symphony Orchestra, Tafelmusik Baroque Orchestra, and others. He has also worked closely with the Norsk Barokkorkester, serving as its artistic director. Mr. von der Goltz is also dedicated to performing chamber music in various formations. He is a professor of Baroque and modern violin at the University of Music in Freiburg. JIM RAKETE_SONY CLASSICAL Christian Gerhaher While completing his medical studies, Christian Gerhaher took private singing lessons with Raimund Grumbach and Paul Kuën, and attended master classes given by Dietrich Fischer-Dieskau and Elisabeth Schwarzkopf. Now, together with pianist Gerold Huber, Mr. Gerhaher’s exemplary lied interpretations have set standards, and the duo’s recordings Great Performers I Meet the Artists have received many awards. In 2006 their Schubert album Abendbilder received the Gramophone Award, and in 2009 Mr. Gerhaher received an Echo Klassik Singer of the Year award and a BBC Music Award for the Schumann album Mélancholie. Mr. Gerhaher also performs on the opera stage in select productions. For his performances as Prinz von Homburg and Wolfram in Vienna and Munich he was voted Singer of the Year 2010 by the journal Opernwelt. In 2011 he received the prestigious Laurence Olivier Award, and in 2013 the Der Faust Award for his art of interpretation on stage. Mr. Gerhaher has worked with world-renowned conductors and orchestras including the Bavarian Radio Symphony Orchestra and Berliner Philharmoniker, and was the artist in residence for both orchestras in addition to the Gesellschaft der Musikfreunde in Vienna and the Wigmore Hall in London. Currently Mr. Gerhaher has an exclusive recording partnership with Sony Classical. STEFAN LIPPERT Lorenzo Coppola Lorenzo Coppola received his degree in classical clarinet from the Royal Conservatory of the Hague, studying with Eric Hoeprich. Today he rates among the most sought-after clarinetists in the realm of historically informed performance practice, and teaches historical clarinet at the Escola Superior de Música de Catalunya in Barcelona. Mr. Coppola plays in ensembles such as La Petite Bande, Les Arts Florissants, the Orchestra of the Eighteenth Century, La Grande Écurie et la Chambre du Roy, Orchestra Libera Classica, and the Freiburg Baroque Orchestra. In addition he joins outstanding chamber ensembles like the Ensemble Zefiro and the Manon, Terpsycordes, and Kuijken quartets. He also appears with eminent musicians such as Andreas Staier, Isabelle Faust, and Alexander Melnikov. His recordings include a critically acclaimed 2008 release with the Freiburg Baroque Orchestra (directed by Gottfried von der Goltz) of Mozart’s Clarinet Concerto, K.622, on Harmonia Mundi France. Freiburg Baroque Orchestra The Freiburg Baroque Orchestra has enjoyed success for over 20 years. A selfadministrated ensemble with its own subscription concerts at Konzarthaus Freiburg, Liederhalle in Stuttgart, and Philharmonie in Berlin, the orchestra is a popular guest at concert halls and opera houses around the world. Under the artistic directorship of its two concertmasters, Gottfried von der Goltz and Great Performers I Meet the Artists Petra Müllejans, the orchestra presents around 100 performances each year in various formations from chamber ensemble to opera orchestra. The orchestra performs a diverse repertoire, and is known for its cultivated and rousing performances. The Freiburg Baroque Orchestra frequently collaborates with renowned artists such as Christian Gerhaher, Isabelle Faust, René Jacobs, Pablo Heras-Casado, and Andreas Staier, and has a close alliance with the Harmonia Mundi France record label. Its own members also play solo concerts. The artistic success of this musical partnership is expressed in numerous CD productions, and the group has received awards including Gramophone and Echo Klassik Awards, the German Record Critics’ Award, the Edison Classical Music Award, and the Classic Brit Award. Lincoln Center’s Great Performers Celebrating its 50th anniversary, Lincoln Center’s Great Performers offers classical and contemporary music performances from the world’s outstanding symphony orchestras, vocalists, chamber ensembles, and recitalists. Since its initiation in 1965, the series has expanded to include significant emerging artists and premieres of groundbreaking productions, with offerings from October through June in Lincoln Center’s David Geffen Hall, Alice Tully Hall, and other performance spaces around New York City. Along with lieder recitals, Sunday morning coffee concerts, and films, Great Performers offers a rich spectrum of programming throughout the season. Lincoln Center for the Performing Arts, Inc. Lincoln Center for the Performing Arts (LCPA) serves three primary roles: presenter of artistic programming, national leader in arts and education and community relations, and manager of the Lincoln Center campus. A presenter of more than 3,000 free and ticketed events, performances, tours, and educational activities annually, LCPA offers 15 programs, series, and festivals including American Songbook, Great Performers, Lincoln Center Festival, Lincoln Center Out of Doors, Midsummer Night Swing, the Mostly Mozart Festival, and the White Light Festival, as well as the Emmy Award–winning Live From Lincoln Center, which airs nationally on PBS. As manager of the Lincoln Center campus, LCPA provides support and services for the Lincoln Center complex and the 11 resident organizations. In addition, LCPA led a $1.2 billion campus renovation, completed in October 2012. ANNELIES VAN DER VEGT Great Performers I Meet the Artists Freiburg Baroque Orchestra Violin I Gottfried von der Goltz Martina Graulich Beatrix Hülseman Christa Kittel Brian Dean Peter Barczi Violin II Kathrin Tröger Brigitte Täubl Daniela Helm Eva Borhi Marie Desgoutte Viola Christian Goosses Ulrike Kaufmann Annette Schmidt Werner Saller Cello Guido Larisch Stefan Mühleisen Andreas Voss Bass Miriam Shalinsky Frank Coppieters Flute Daniela Lieb Aya Kaminishi Oboe Ann-Kathrin Brüggemann Maike Buhrow Clarinet Lorenzo Coppola Carlos Cerrada Cuesta Bassoon Javier Zafra Eyal Streett Horn Bart Aerbeydt Gijs Laceulle Trumpet Jaroslav Roucek Almut Rux Timpani Michael Juen Great Performers Lincoln Center Programming Department Jane Moss, Ehrenkranz Artistic Director Hanako Yamaguchi, Director, Music Programming Jon Nakagawa, Director, Contemporary Programming Jill Sternheimer, Director, Public Programming Lisa Takemoto, Production Manager Kate Monaghan, Associate Director, Programming Charles Cermele, Producer, Contemporary Programming Mauricio Lomelin, Producer, Contemporary Programming Regina Grande, Associate Producer Amber Shavers, Associate Producer, Public Programming Luna Shyr, Senior Editor Olivia Fortunato, House Seat Coordinator For Great Performers Megan Young, Supertitles Freiburg Baroque Orchestra’s representation: New World Classics www.newworldclassics.com 4 decades of thinking like an artist ith 40 years of experience, Lincoln Center Education (LCE) has a significant wealth of knowledge in arts education, teacher and teaching artist training, aesthetic education, communitybased programming, and more. Beyond the hundreds of local school and community partnerships in New York, LCE shares its expertise and perspective around the globe through customized national and international programs. A decade ago, LCE began working with the Seoul Foundation for Arts and Culture in South Korea’s capital city, facilitating workshops and discussions about the philosophy and methodology of aesthetic education (a central focus of LCE’s learning framework, which aims to foster creativity, collaboration, and grit through guided experiences with works of art). Today, this partnership continues to grow as LCE trains teachers and artists on how to bring the arts into the daily lives of thousands of students. In Singapore, the National Arts Council is focused on positioning its government as the next great creative economy by promoting city-wide opportunities for arts appreciation. LCE is working closely with Council staff, local artists, and teachers from the Ministry of Education to ensure that a life-long love of the arts begins in schools under the guidance of educators. Closer to home, LCE began work last year with the city of Mesa public school system, the largest unified school district in Arizona, where they are leading teacher Photo: Kaitlyn Meade W Participants from South Korea and China enjoy an LCE aesthetic immersion workshop at Summer Forum 2015 training programs and advising district leaders and school principals on how to integrate high-quality arts education into the lives of young people and their families. These programs also transcend art forms, as evidenced by LCE’s longstanding history with the Farnsworth Art Museum in Rockland, Maine, where they have been leading workshops for museum educators since 2010. Every summer, LCE also welcomes artists, educators, and practitioners from across the country and around the world to Lincoln Center to participate in Summer Forum, a professional development program open to the general public. These participants enjoy world-renowned keynote presentations, performances, panel discussions, and workshops, and share ideas, stories, and best practices from locations as near as Canada and Mexico, and as far away as Australia, Brazil, China, Ireland, Japan, New Zealand, and Switzerland. Learn more about Lincoln Center Education: LincolnCenterEducation.org